From 290c4cc21d9b3cc902f5c8afa3fa15557783f893 Mon Sep 17 00:00:00 2001
From: rodado <yoseglisdeabreu@gmail.com>
Date: Sun, 13 Sep 2026 20:17:02 +0200
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Captura integral do acervo da Brasiliana Fotográfica (Biblioteca Nacional)
para s3://brasiliana: 13.060 itens, 12.985 com imagem de preservação, 13.059
com miniatura derivada, 2.137 cópias legadas e 636 posts do blog. 41.444
objetos no ledger.

Os 75 itens sem preservação estão em errors.md: a página do item responde
200, mas a origem serve o bitstream com HTTP 500. Nenhum fica fora do mural,
porque todos têm thumbnail.

Não versionado, por viver no bucket ou ser reconstruível: catálogo,
posts .jsonl, atlas .webp, sqlite de estado e logs. Credenciais ficam de
fora pelo .gitignore.
---
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 INDEX.md                                      |  686 +++++++
 MANIFEST.md                                   |  166 ++
 README.md                                     |  318 +++
 archive/censo.py                              |  558 ++++++
 errors.md                                     |  120 ++
 .../20.500.12156.1_10007/manifest-sha256.txt  |    2 +
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 .../preservacao/007CX020-05.jpg               |  Bin 0 -> 5007293 bytes
 pipeline/.s3env.exemplo                       |    5 +
 pipeline/apagados-pelo-subidor-antigo.jsonl   |   40 +
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 pipeline/baixador-navegador.js                |  103 +
 pipeline/baixador-thumb.js                    |  137 ++
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 pipeline/baixar-faltantes-73.js               |  176 ++
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 pipeline/catalogo-teste.jsonl                 |    2 +
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 pipeline/converte-wordpress-md.py             |   75 +
 pipeline/falhas-500-2026-09-13.txt            |   74 +
 pipeline/faltantes-preservacao.jsonl          |   73 +
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 pipeline/reparo-hash-url.js                   |   27 +
 pipeline/reparo-multibitstream.js             |   93 +
 pipeline/reprojeta-meta-mapa.mjs              |   62 +
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 pipeline/tools/ler-localstorage.js            |   61 +
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 robots.mp4                                    |  Bin 0 -> 967173 bytes
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 tasks/TODO.md                                 |  611 ++++++
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 web/atlas/atlas-map.json                      |    1 +
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 web/package.json                              |    5 +
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+      "name": "DC.date",
+      "value": "[1860-1880?]"
+    },
+    {
+      "name": "DCTERMS.dateAccepted",
+      "value": "2025-12-03T14:09:14Z"
+    },
+    {
+      "name": "DCTERMS.available",
+      "value": "2025-12-03T14:09:14Z"
+    },
+    {
+      "name": "DC.identifier",
+      "value": "http://objdigital.bn.br/objdigital2/acervo_digital/div_iconografia/icon206336/icon206336.pdf"
+    },
+    {
+      "name": "DC.identifier",
+      "value": "http://objdigital.bn.br/objdigital2/acervo_digital/div_iconografia/icon206336/icon206336.htm"
+    },
+    {
+      "name": "DC.identifier",
+      "value": "https://brasilianafotografica.bn.gov.br/brasiliana/handle/20.500.12156.1/14186"
+    },
+    {
+      "name": "DC.description",
+      "value": "1 foto : papel albuminado, pb ; 32,5 x 39,5 cm."
+    },
+    {
+      "name": "DC.relation",
+      "value": "https://acervobndigital.bn.gov.br/sophia/index.asp?codigo_sophia=105566"
+    },
+    {
+      "name": "DCTERMS.isPartOf",
+      "value": "Vistas da cidade da Bahia : Passeio Público, Campo Grande"
+    },
+    {
+      "name": "DC.source",
+      "value": "Biblioteca Fluminense"
+    },
+    {
+      "name": "DC.subject",
+      "value": "Bahia"
+    },
+    {
+      "name": "DC.subject",
+      "value": "Bahia (Brazil : State)"
+    },
+    {
+      "name": "DC.subject",
+      "value": "Capela de Nossa Senhora da Piedade (Salvador, Bahia)"
+    },
+    {
+      "name": "DC.title",
+      "value": "Vues de Bahia :  Interior da Capela do Campo Santo"
+    },
+    {
+      "name": "citation_date",
+      "value": "2025-12-03T14:09:14Z"
+    },
+    {
+      "name": "citation_abstract_html_url",
+      "value": "https://brasilianafotografica.bn.gov.br/brasiliana/handle/20.500.12156.1/14186"
+    },
+    {
+      "name": "citation_title",
+      "value": "Vues de Bahia :  Interior da Capela do Campo Santo"
+    },
+    {
+      "name": "citation_keywords",
+      "value": "Bahia; Bahia (Brazil : State); Capela de Nossa Senhora da Piedade (Salvador, Bahia)"
+    },
+    {
+      "name": "citation_pdf_url",
+      "value": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/14186/1/icon206336_11.jpg"
+    }
+  ],
+  "full_table": [
+    {
+      "field": "dc.contributor",
+      "value": "Gaensly, Guilherme, 1843-1928"
+    },
+    {
+      "field": "dc.date",
+      "value": "[1860-1880?]"
+    },
+    {
+      "field": "dc.date.accessioned",
+      "value": "2025-12-03T14:09:14Z"
+    },
+    {
+      "field": "dc.date.available",
+      "value": "2025-12-03T14:09:14Z"
+    },
+    {
+      "field": "dc.identifier",
+      "value": "http://objdigital.bn.br/objdigital2/acervo_digital/div_iconografia/icon206336/icon206336.pdf"
+    },
+    {
+      "field": "dc.identifier",
+      "value": "http://objdigital.bn.br/objdigital2/acervo_digital/div_iconografia/icon206336/icon206336.htm"
+    },
+    {
+      "field": "dc.identifier.uri",
+      "value": "https://brasilianafotografica.bn.gov.br/brasiliana/handle/20.500.12156.1/14186"
+    },
+    {
+      "field": "dc.description",
+      "value": "1 foto : papel albuminado, pb ; 32,5 x 39,5 cm."
+    },
+    {
+      "field": "dc.relation",
+      "value": "https://acervobndigital.bn.gov.br/sophia/index.asp?codigo_sophia=105566"
+    },
+    {
+      "field": "dc.relation.ispartof",
+      "value": "Vistas da cidade da Bahia : Passeio Público, Campo Grande"
+    },
+    {
+      "field": "dc.source",
+      "value": "Biblioteca Fluminense"
+    },
+    {
+      "field": "dc.subject",
+      "value": "Bahia"
+    },
+    {
+      "field": "dc.subject",
+      "value": "Bahia (Brazil : State)"
+    },
+    {
+      "field": "dc.subject",
+      "value": "Capela de Nossa Senhora da Piedade (Salvador, Bahia)"
+    },
+    {
+      "field": "dc.title",
+      "value": "Vues de Bahia :  Interior da Capela do Campo Santo"
+    },
+    {
+      "field": "dc.coverage",
+      "value": "Salvador, BA"
+    }
+  ]
+}
\ No newline at end of file
diff --git a/INDEX.md b/INDEX.md
new file mode 100644
index 0000000..0c52e7d
--- /dev/null
+++ b/INDEX.md
@@ -0,0 +1,686 @@
+# INDEX — Brasiliana Fotográfica → S3
+
+> Índice do que foi coletado. Ver `MANIFEST.md` pra estrutura/checksums e `tasks/PLANO.md` pro estado ao vivo dos downloads (as imagens continuam sendo baixadas depois deste índice ser gerado — os metadados abaixo já são definitivos).
+
+## Acervo DSpace (brasilianafotografica.bn.gov.br/brasiliana)
+
+**13.060 itens** — lista completa, campo a campo, em `catalogo.jsonl` (uma linha JSON por item, com título, comunidade, `dc.rights`, URLs de origem e das imagens).
+
+| Instituição | Itens |
+|---|--:|
+| Instituto Moreira Salles | 5.162 |
+| Biblioteca Nacional | 2.726 |
+| Museu Aeroespacial | 1.143 |
+| Museu da Republica | 907 |
+| Museu Historico Nacional | 649 |
+| Fiocruz | 548 |
+| Diretoria do Patrimonio Historico e Documentacao da Marinha | 451 |
+| Arquivo Nacional | 383 |
+| Arquivo Geral da Cidade do Rio de Janeiro | 248 |
+| Leibniz-Institut fuer Laenderkunde, Leipzig | 216 |
+| Instituto Historico e Geografico Brasileiro | 206 |
+| Fundacao Joaquim Nabuco | 189 |
+| Museu Paraense Emilio Goeldi | 95 |
+| Escola de Ciencias Sociais (FGV CPDOC) | 79 |
+| Instituto Brasileiro de Geografia e Estatistica | 58 |
+| **Total** | **13.060** |
+
+## Posts editoriais do WordPress (brasilianafotografica.bn.gov.br)
+
+**636 posts** — texto completo, autor, data, categorias e handles do acervo referenciados em `wordpress-posts.jsonl` e em `wordpress/{id}-{titulo}.md` (um arquivo por post).
+
+Por ano:
+
+| Ano | Posts |
+|---|--:|
+| 2026 | 40 |
+| 2025 | 55 |
+| 2024 | 48 |
+| 2023 | 61 |
+| 2022 | 58 |
+| 2021 | 90 |
+| 2020 | 54 |
+| 2019 | 50 |
+| 2018 | 50 |
+| 2017 | 48 |
+| 2016 | 48 |
+| 2015 | 34 |
+
+### Lista completa dos posts (mais recente primeiro)
+
+- **2026-09-07** — [Série “Exposições” XIII – A Exposição do Centenário pelas lentes de Augusto Malta, por Diana Ramos](https://brasilianafotografica.bn.gov.br/?p=46075) — Andrea Wanderley
+- **2026-09-01** — [A inauguração da estátua de José Bonifácio no Largo de São Francisco, em 1872](https://brasilianafotografica.bn.gov.br/?p=44066) — Andrea Wanderley
+- **2026-08-26** — [Série “Feministas, graças a Deus!” XXII – A advogada e sufragista Orminda Bastos (1899 – 1971)](https://brasilianafotografica.bn.gov.br/?p=41194) — Andrea Wanderley
+- **2026-08-19** — [No Dia Mundial da Fotografia, destaque para a seção “Cronologia de Fotógrafos” da Brasiliana Fotográfica](https://brasilianafotografica.bn.gov.br/?p=44991) — Andrea Wanderley
+- **2026-08-11** — [Duas fotos, por dois “Antônios”: as imagens da Missa Campal de Ação de Graças pela Abolição da Escravatura por Andrea Wanderley e Carlos Lima Junior](https://brasilianafotografica.bn.gov.br/?p=46010) — Andrea Wanderley
+- **2026-08-03** — [O Pombal da Fiocruz: Ciência, Educação e Cultura, por Ricardo Augusto dos Santos & Thayane Vicente Vam de Berg](https://brasilianafotografica.bn.gov.br/?p=45563) — Andrea Wanderley
+- **2026-07-27** — [Vapor, ferro e álcool: 120 anos da Cooperativa Alcoólica da Bahia, por Diana Ramos](https://brasilianafotografica.bn.gov.br/?p=45436) — Andrea Wanderley
+- **2026-07-19** — [No Dia Nacional do Futebol, fotos de estádios de times cariocas](https://brasilianafotografica.bn.gov.br/?p=42632) — Andrea Wanderley
+- **2026-07-13** — [Em defesa do voto feminino, republicação do artigo “E as mulheres conquistam o direito do voto no Brasil!”, o 13º da Série “Feministas, graças a Deus!”](https://brasilianafotografica.bn.gov.br/?p=45699) — Andrea Wanderley
+- **2026-07-09** — [Série “Conflitos” XII – A Revolução Constitucionalista de 32 e Juscelino Kubitschek nas fotografias da Coleção Cristóvão Barcelos, por Maria de Fatima Morado](https://brasilianafotografica.bn.gov.br/?p=45451) — Andrea Wanderley
+- **2026-07-01** — [Rio de encantos mil, por Cristiane d´Avila](https://brasilianafotografica.bn.gov.br/?p=45264) — Andrea Wanderley
+- **2026-06-26** — [Ignacio Fernandes Mendo (18? – ?), um Fotógrafo da Casa Imperial pelas províncias do Nordeste do Brasil](https://brasilianafotografica.bn.gov.br/?p=43517) — Andrea Wanderley
+- **2026-06-26** — [Cronologia de Ignacio Fernandes Mendo (18? – ?)](https://brasilianafotografica.bn.gov.br/?p=43694) — Andrea Wanderley
+- **2026-06-21** — [Dia de Machado de Assis](https://brasilianafotografica.bn.gov.br/?p=45515) — Andrea Wanderley
+- **2026-06-16** — [Série “Os Diários Associados na Brasiliana Fotográfica” VIII – O Estádio do Maracanã, no Rio de Janeiro, fotografado por Angelo Regato e por fotógrafos ainda não identificados](https://brasilianafotografica.bn.gov.br/?p=42625) — Andrea Wanderley
+- **2026-06-16** — [Cronologia de Angelo Regato (1912 – 1993)](https://brasilianafotografica.bn.gov.br/?p=44170) — Andrea Wanderley
+- **2026-06-07** — [O Paço Imperial, o palácio mais antigo do Rio de Janeiro](https://brasilianafotografica.bn.gov.br/?p=41818) — Andrea Wanderley
+- **2026-06-01** — [Dia Nacional da Imprensa](https://brasilianafotografica.bn.gov.br/?p=42638) — Andrea Wanderley
+- **2026-05-27** — [Gioconda Rizzo: além do pioneirismo, por Joanna Barbosa Balabram](https://brasilianafotografica.bn.gov.br/?p=44802) — Andrea Wanderley
+- **2026-05-17** — [Missa Campal de 17 de maio de 1888 e a descoberta de uma nova fotografia por Carlos Lima Junior](https://brasilianafotografica.bn.gov.br/?p=44978) — Andrea Wanderley
+- **2026-05-13** — [O romance “A Escrava Isaura” (1875), de Bernardo Guimarães](https://brasilianafotografica.bn.gov.br/?p=40110) — Andrea Wanderley
+- **2026-05-06** — [O centenário do Palácio Tiradentes](https://brasilianafotografica.bn.gov.br/?p=42333) — Andrea Wanderley
+- **2026-04-29** — [Breves perfis e cronologias dos irmãos e fotógrafos Malta: Aristógiton (1904-1954) e Uriel (1910 – 1994)](https://brasilianafotografica.bn.gov.br/?p=43086) — Andrea Wanderley
+- **2026-04-29** — [Cronologia de Uriel Malta (1910 – 1994)](https://brasilianafotografica.bn.gov.br/?p=42998) — Andrea Wanderley
+- **2026-04-29** — [Cronologia de Aristógiton Malta (1904 – 1954)](https://brasilianafotografica.bn.gov.br/?p=42996) — Andrea Wanderley
+- **2026-04-23** — [O Dia Mundial do Livro e do Direito de Autor e um breve histórico do uso da expressão “Cidade Maravilhosa” como referência ao Rio de Janeiro](https://brasilianafotografica.bn.gov.br/?p=43543) — Andrea Wanderley
+- **2026-04-13** — [Série “Feministas, graças a Deus” XXI – Uma alemã que amava a Amazônia: Emília Snethlage no Museu Goeldi](https://brasilianafotografica.bn.gov.br/?p=43857) — Andrea Wanderley
+- **2026-04-03** — [Série “Teatros e cinemas do Brasil” XVI e Série “Os arquitetos do Rio de Janeiro” X – O centenário do Cinema Odeon](https://brasilianafotografica.bn.gov.br/?p=42301) — Andrea Wanderley
+- **2026-03-29** — [O Elevador Lacerda, um dos ícones de Salvador](https://brasilianafotografica.bn.gov.br/?p=42064) — Andrea Wanderley
+- **2026-03-20** — [“Sertões distantes” por Ricardo Augusto dos Santos](https://brasilianafotografica.bn.gov.br/?p=43272) — Andrea Wanderley
+- **2026-03-13** — [E o Oscar vai para…(II)](https://brasilianafotografica.bn.gov.br/?p=42669) — Andrea Wanderley
+- **2026-03-03** — [Série “Teatros e cinemas do Brasil” XV – Fotos aéreas da Cinelândia no centenário da revista “Cinearte”](https://brasilianafotografica.bn.gov.br/?p=42290) — Andrea Wanderley
+- **2026-02-27** — [O primeiro campo do Clube de Regatas do Flamengo por Augusto Malta](https://brasilianafotografica.bn.gov.br/?p=42596) — Andrea Wanderley
+- **2026-02-18** — [Série “Carnavais de antigamente” XII – Um registro do carnaval em Cuiabá, no Mato Grosso, na década de 1940](https://brasilianafotografica.bn.gov.br/?p=41616) — Andrea Wanderley
+- **2026-02-10** — [“Achados e Perdidos: imagens inéditas do Rio de Janeiro (1937-1945)”, do acervo do Arquivo Geral da Cidade do Rio de Janeiro. Destaque para a identificação da casa de Tia Ciata](https://brasilianafotografica.bn.gov.br/?p=42778) — Andrea Wanderley
+- **2026-02-05** — [Série “Teatros e cinemas do Brasil” XIV – O Cinema Íris, o mais antigo cinema em atividade no Rio de Janeiro](https://brasilianafotografica.bn.gov.br/?p=41119) — Andrea Wanderley
+- **2026-01-29** — [Um aspecto da importância da preservação digital de arquivos fotográficos](https://brasilianafotografica.bn.gov.br/?p=28058) — Andrea Wanderley
+- **2026-01-22** — [Série “Avenidas e ruas do Brasil” XXI – A Rua Paissandu, no Rio de Janeiro](https://brasilianafotografica.bn.gov.br/?p=40720) — Andrea Wanderley
+- **2026-01-15** — [Dia Mundial do Compositor](https://brasilianafotografica.bn.gov.br/?p=41448) — Andrea Wanderley
+- **2026-01-12** — [Novos acervos: Museu Paraense Emílio Goeldi](https://brasilianafotografica.bn.gov.br/?p=42376) — Andrea Wanderley
+- **2025-12-30** — [Os 200 anos do Ginásio Pernambucano, no Recife, a mais antiga escola em funcionamento no Brasil](https://brasilianafotografica.bn.gov.br/?p=42245) — Andrea Wanderley
+- **2025-12-24** — [A Pinacoteca de São Paulo – 120 anos](https://brasilianafotografica.bn.gov.br/?p=38524) — Andrea Wanderley
+- **2025-12-15** — [Série “Conflitos” XI – Memórias de uma enfermeira “febiana” no front](https://brasilianafotografica.bn.gov.br/?p=42040) — Andrea Wanderley
+- **2025-12-07** — [Fotos de autoria de Marc Ferrez na revista “Illustração Brasileira”](https://brasilianafotografica.bn.gov.br/?p=40004) — Andrea Wanderley
+- **2025-12-02** — [Joaquim Insley Pacheco: nauta entre Portugal e o Brasil e entre o Império e a República por Pedro Karp Vasquez](https://brasilianafotografica.bn.gov.br/?p=41707) — Andrea Wanderley
+- **2025-12-02** — [Os 200 anos do nascimento de dom Pedro II e a Brasiliana Fotográfica no evento “Pelas Lentes das Ciências, da História e das Artes: Pedro II em Debate”, no Colégio Pedro II](https://brasilianafotografica.bn.gov.br/?p=42168) — Andrea Wanderley
+- **2025-11-20** — [No Dia Nacional de Zumbi e da Consciência Negra, artigos sobre escravidão e racismo no Brasil](https://brasilianafotografica.bn.gov.br/?p=40089) — Andrea Wanderley
+- **2025-11-14** — [Histórias da fotografia paraense entre o século XIX e as primeiras décadas do século XX](https://brasilianafotografica.bn.gov.br/?p=41277) — Andrea Wanderley
+- **2025-11-10** — [Getúlio Vargas em Belém, a joia da Amazônia, ontem e hoje](https://brasilianafotografica.bn.gov.br/?p=39394) — Andrea Wanderley
+- **2025-11-04** — [Santuário de Cristo Redentor e outras fotos do Morro da Favela, atual Morro da Providência](https://brasilianafotografica.bn.gov.br/?p=31002) — Andrea Wanderley
+- **2025-10-30** — [As primeiras fotografias aéreas produzidas no Brasil, em 1916, de autoria do fotojornalista Jorge Kfuri](https://brasilianafotografica.bn.gov.br/?p=40889) — Andrea Wanderley
+- **2025-10-16** — [Série “Avenidas e ruas do Brasil” XX – Na janela de sua residência na Rua do Curvelo, em Santa Teresa, o poeta Manuel Bandeira fotografado por Horacio Coppola](https://brasilianafotografica.bn.gov.br/?p=39116) — Andrea Wanderley
+- **2025-10-09** — [O jornalista e abolicionista José do Patrocínio (1853 – 1905), o “Tigre da Abolição”](https://brasilianafotografica.bn.gov.br/?p=40104) — Andrea Wanderley
+- **2025-10-03** — [Tirando o Brasil dos arquivos por Ricardo Augusto dos Santos](https://brasilianafotografica.bn.gov.br/?p=41036) — Andrea Wanderley
+- **2025-09-25** — [Dia Nacional do Rádio](https://brasilianafotografica.bn.gov.br/?p=40124) — Andrea Wanderley
+- **2025-09-16** — [Uma breve história do abastecimento de água no Rio de Janeiro por Bárbara Primo e Maria Isabel Lenzi](https://brasilianafotografica.bn.gov.br/?p=41005) — Andrea Wanderley
+- **2025-09-07** — [O Monumento do Ipiranga por Guilherme Gaensly](https://brasilianafotografica.bn.gov.br/?p=39201) — Andrea Wanderley
+- **2025-09-02** — [Augusto Malta e Jorge Kfuri, fundadores da Associação dos Photographos de Imprensa, em 1913](https://brasilianafotografica.bn.gov.br/?p=40407) — Andrea Wanderley
+- **2025-08-26** — [O Cemitério Israelita de Inhaúma e seu abandono por Beatriz Kushnir](https://brasilianafotografica.bn.gov.br/?p=40850) — Andrea Wanderley
+- **2025-08-17** — [Série “Os Diários Associados na Brasiliana Fotográfica” VII – A Orquestra Sinfônica Brasileira – sua fundação e primeiro concerto, em 1940](https://brasilianafotografica.bn.gov.br/?p=40060) — Andrea Wanderley
+- **2025-08-15** — [É lançada a pedra fundamental do prédio da Biblioteca Nacional, na então Avenida Central, em 15 de agosto de 1905](https://brasilianafotografica.bn.gov.br/?p=39621) — Andrea Wanderley
+- **2025-08-08** — [Série “Hotéis do Brasil” IX, Série “Os arquitetos do Rio de Janeiro” IX e Série “O Rio de Janeiro desaparecido” XXXIII – O Hotel Avenida, um ícone da “Belle Époque” carioca, projetado por Francisco de Azevedo Monteiro Caminhoá](https://brasilianafotografica.bn.gov.br/?p=39216) — Andrea Wanderley
+- **2025-07-29** — [Um dos “furos” do jornal O GLOBO, que hoje completa 100 anos – uma fotografia do presidente Washington Luís, deposto, deixando o Palácio Guanabara rumo ao Forte de Copacabana](https://brasilianafotografica.bn.gov.br/?p=40734) — Andrea Wanderley
+- **2025-07-27** — [A Brasiliana Fotográfica presente na capa da edição comemorativa do centenário do jornal O GLOBO](https://brasilianafotografica.bn.gov.br/?p=40801) — Andrea Wanderley
+- **2025-07-24** — [O Templo da Humanidade, sede da Igreja Positivista do Brasil](https://brasilianafotografica.bn.gov.br/?p=39339) — Andrea Wanderley
+- **2025-07-13** — [A princesa Leopoldina do Brasil (1847 – 1871)](https://brasilianafotografica.bn.gov.br/?p=39682) — Andrea Wanderley
+- **2025-07-07** — [Arthur Azevedo (1855 – 1908), entusiasta e incentivador do teatro brasileiro](https://brasilianafotografica.bn.gov.br/?p=39712) — Andrea Wanderley
+- **2025-07-01** — [Série “Os arquitetos do Rio de Janeiro” VIII – O prédio do Supremo Tribunal Federal, atual Centro Cultural da Justiça Federal; o Museu Nacional de Belas Artes e o arquiteto Adolfo Morales de los Rios (1858 – 1928)](https://brasilianafotografica.bn.gov.br/?p=38879) — Andrea Wanderley
+- **2025-06-23** — [Os garimpeiros de Marc Ferrez e Sebastião Salgado](https://brasilianafotografica.bn.gov.br/?p=40222) — Andrea Wanderley
+- **2025-06-18** — [Série “Os arquitetos do Rio de Janeiro” VII e Série “O Rio de Janeiro desaparecido” XXXII – O prédio da Imprensa Nacional e o arquiteto Antonio de Paula Freitas](https://brasilianafotografica.bn.gov.br/?p=37904) — Andrea Wanderley
+- **2025-06-10** — [Memórias da saúde pública pelas lentes de Augusto Malta](https://brasilianafotografica.bn.gov.br/?p=39831) — Andrea Wanderley
+- **2025-06-07** — [A Brasiliana Fotográfica no canal “História do Brasil Como Você Nunca Viu”](https://brasilianafotografica.bn.gov.br/?p=40955) — Andrea Wanderley
+- **2025-06-05** — [No Dia Mundial do Meio Ambiente, um pouco da obra do paisagista francês Auguste François Marie Glaziou no Brasil](https://brasilianafotografica.bn.gov.br/?p=39345) — Andrea Wanderley
+- **2025-05-26** — [Os 200 anos do Jardim da Luz, em São Paulo](https://brasilianafotografica.bn.gov.br/?p=38388) — Andrea Wanderley
+- **2025-05-13** — [Oswaldo Cruz, o Dr. Photographo, em Paris](https://brasilianafotografica.bn.gov.br/?p=39310) — Andrea Wanderley
+- **2025-05-08** — [Série “Conflitos” X – Horacio de Gusmão Coelho Sobrinho (1890 – 1963), fotógrafo e cinegrafista da FEB](https://brasilianafotografica.bn.gov.br/?p=39609) — Andrea Wanderley
+- **2025-05-08** — [Cronologia de Horacio de Gusmão Coelho Sobrinho (1890 – 1963)](https://brasilianafotografica.bn.gov.br/?p=39802) — Andrea Wanderley
+- **2025-05-01** — [Série “Hotéis do Brasil” VIII e Série “O Rio de Janeiro desaparecido” XXXI – O Hotel dos Estrangeiros, no Flamengo, e o Dia da Literatura Brasileira](https://brasilianafotografica.bn.gov.br/?p=38641) — Andrea Wanderley
+- **2025-04-29** — [Dia Internacional da Dança](https://brasilianafotografica.bn.gov.br/?p=38636) — Andrea Wanderley
+- **2025-04-23** — [O Rio de Janeiro é a nova Capital Mundial do Livro](https://brasilianafotografica.bn.gov.br/?p=39000) — Andrea Wanderley
+- **2025-04-19** — [Dia dos Povos Indígenas: Getúlio Vargas visita a Aldeia Karajá](https://brasilianafotografica.bn.gov.br/?p=39306) — Andrea Wanderley
+- **2025-04-11** — [“Brasiliana Fotográfica 10 anos: lentes do passado, construindo o futuro” – Com a palavra, os curadores](https://brasilianafotografica.bn.gov.br/?p=39314) — Andrea Wanderley
+- **2025-04-07** — [O Dia do Jornalista e a fundação da Associação Brasileira de Imprensa](https://brasilianafotografica.bn.gov.br/?p=38545) — Andrea Wanderley
+- **2025-03-28** — [Série “Os Diários Associados na Brasiliana Fotográfica” VI – O “Balança-mas-não-cai” por Cássio Loredano](https://brasilianafotografica.bn.gov.br/?p=38895) — Andrea Wanderley
+- **2025-03-17** — [O Túnel da Rua Alice ou do Rio Comprido – Laranjeiras por Marc Ferrez](https://brasilianafotografica.bn.gov.br/?p=38310) — Andrea Wanderley
+- **2025-03-05** — [E o grande escritor Machado de Assis elogia o imperador Pedro II](https://brasilianafotografica.bn.gov.br/?p=21470) — Andrea Wanderley
+- **2025-03-02** — [E o Oscar vai para…](https://brasilianafotografica.bn.gov.br/?p=38835) — Andrea Wanderley
+- **2025-02-27** — [Série “Carnavais de antigamente” XI – O carnaval e suas histórias](https://brasilianafotografica.bn.gov.br/?p=37420) — Andrea Wanderley
+- **2025-02-20** — [Série “Carnavais de antigamente” X – O carnaval de 1919: o carnaval da revanche, o carnaval triunfante!](https://brasilianafotografica.bn.gov.br/?p=37725) — Andrea Wanderley
+- **2025-02-13** — [Manual de boas práticas de Preservação Digital](https://brasilianafotografica.bn.gov.br/?p=38073) — Andrea Wanderley
+- **2025-02-06** — [As excursões científicas do Instituto Oswaldo Cruz ao Noroeste do Brasil](https://brasilianafotografica.bn.gov.br/?p=38144) — Andrea Wanderley
+- **2025-01-30** — [Nilo Peçanha, o sal e as obras nos canais da Lagoa de Araruama](https://brasilianafotografica.bn.gov.br/?p=37914) — Andrea Wanderley
+- **2025-01-24** — [Série “O Rio de Janeiro desaparecido” XXX e série “Hotéis do Brasil” VII – O Grande Hotel Internacional em Santa Teresa](https://brasilianafotografica.bn.gov.br/?p=37180) — Andrea Wanderley
+- **2025-01-17** — [No Dia do Ceará, fotografias de autoria de Miguel de Moura](https://brasilianafotografica.bn.gov.br/?p=37900) — Andrea Wanderley
+- **2025-01-13** — [Novos acervos: Fundação Instituto Brasileiro de Geografia e Estatística – IBGE](https://brasilianafotografica.bn.gov.br/?p=38233) — Andrea Wanderley
+- **2024-12-20** — [Série “Os Diários Associados na Brasiliana Fotográfica” V – É Natal na Brasiliana Fotográfica!](https://brasilianafotografica.bn.gov.br/?p=37216) — Andrea Wanderley
+- **2024-12-16** — [Série “Feministas, graças a Deus” XX – A líder feminista pernambucana Edwiges de Sá Pereira (1884-1958), a “Eva Militante”](https://brasilianafotografica.bn.gov.br/?p=37224) — Andrea Wanderley
+- **2024-12-09** — [Novos acervos: Instituto Histórico e Geográfico Brasileiro – IHGB](https://brasilianafotografica.bn.gov.br/?p=37566) — Andrea Wanderley
+- **2024-12-02** — [No Dia Nacional do Samba, uma homenagem ao gênero musical icônico do Brasil e a Donga, um dos compositores de “Pelo telefone”](https://brasilianafotografica.bn.gov.br/?p=37738) — Andrea Wanderley
+- **2024-11-28** — [Série “Avenidas e ruas do Brasil” XIX – A Rua dos Ourives, atual Miguel Couto, no centro do Rio de Janeiro](https://brasilianafotografica.bn.gov.br/?p=37019) — Andrea Wanderley
+- **2024-11-18** — [Os bondes do Rio de Janeiro de antigamente](https://brasilianafotografica.bn.gov.br/?p=29732) — Andrea Wanderley
+- **2024-11-10** — [Série “Conflitos” IX – Os 120 anos da Revolta da Vacina](https://brasilianafotografica.bn.gov.br/?p=35099) — Andrea Wanderley
+- **2024-11-01** — [Série “O Rio de Janeiro desaparecido” XXIX – O cabaré e restaurante “Mère Louise” e o Casino Balneario Atlantico](https://brasilianafotografica.bn.gov.br/?p=34603) — Andrea Wanderley
+- **2024-10-23** — [Série “Feministas, graças a Deus!” XIX – A aviadora Anésia Pinheiro Machado (1904-1999)](https://brasilianafotografica.bn.gov.br/?p=36932) — Andrea Wanderley
+- **2024-10-16** — [Luzes da impressão – Oficinas tipográficas nas antigas fotografias de São Paulo](https://brasilianafotografica.bn.gov.br/?p=36755) — Andrea Wanderley
+- **2024-10-09** — [A inauguração da Estrada de Ferro do Corcovado](https://brasilianafotografica.bn.gov.br/?p=37139) — Andrea Wanderley
+- **2024-10-02** — [Série “Os Diários Associados na Brasiliana Fotográfica” IV – Os 100 anos dos Diários Associados](https://brasilianafotografica.bn.gov.br/?p=36105) — Andrea Wanderley
+- **2024-09-23** — [As Séries da Brasiliana Fotográfica, uma nova seção de nosso portal](https://brasilianafotografica.bn.gov.br/?p=36906) — Andrea Wanderley
+- **2024-09-16** — [O Automóvel Club do Brasil](https://brasilianafotografica.bn.gov.br/?p=33333) — Andrea Wanderley
+- **2024-09-05** — [No Dia da Amazônia, fotos da expedição de 1901 realizada pela Comissão de Limites entre o Brasil e a Bolívia](https://brasilianafotografica.bn.gov.br/?p=36411) — Andrea Wanderley
+- **2024-08-24** — [Getúlio Vargas: da vida para a memória](https://brasilianafotografica.bn.gov.br/?p=36808) — Andrea Wanderley
+- **2024-08-19** — [O embaixador Oswaldo Aranha (1894-1960)](https://brasilianafotografica.bn.gov.br/?p=36805) — Andrea Wanderley
+- **2024-08-12** — [O Túnel Velho por Gutierrez e Malta](https://brasilianafotografica.bn.gov.br/?p=36312) — Andrea Wanderley
+- **2024-08-05** — [Série “O Rio de Janeiro desaparecido” XXVIII – O Jardim Zoológico de Vila Isabel, o primeiro do Brasil, origem do Jogo do Bicho](https://brasilianafotografica.bn.gov.br/?p=34903) — Andrea Wanderley
+- **2024-07-22** — [Fotografia e medicina na Bahia dos anos 1900](https://brasilianafotografica.bn.gov.br/?p=36666) — Andrea Wanderley
+- **2024-07-15** — [A Fundação Rockefeller no Brasil](https://brasilianafotografica.bn.gov.br/?p=36607) — Andrea Wanderley
+- **2024-07-08** — [Dia Nacional da Ciência e o Dia Nacional do Pesquisador Científico](https://brasilianafotografica.bn.gov.br/?p=36213) — Andrea Wanderley
+- **2024-07-05** — [Série “Conflitos” VIII – Os efeitos da Revolta Paulista de 1924 pelas lentes de Gustavo Prugner (1884 – 1931)](https://brasilianafotografica.bn.gov.br/?p=36155) — Andrea Wanderley
+- **2024-07-05** — [Cronologia de Gustavo Prugner (1884 – 1931)](https://brasilianafotografica.bn.gov.br/?p=36167) — Andrea Wanderley
+- **2024-06-19** — [Série “Teatros e cinemas do Brasil” XIII – Marc Ferrez e o cinema](https://brasilianafotografica.bn.gov.br/?p=36567) — Andrea Wanderley
+- **2024-06-12** — [No Dia dos Namorados, fotos de casais produzidas por Chichico Alkmim (1886 – 1978)](https://brasilianafotografica.bn.gov.br/?p=36479) — Andrea Wanderley
+- **2024-06-05** — [Série “Feministas, graças a Deus!” XVIII – Júlia Lopes de Almeida (1862 – 1934), a “escritora da Belle Époque tropical”](https://brasilianafotografica.bn.gov.br/?p=35687) — Andrea Wanderley
+- **2024-05-29** — [Série “Teatros e cinemas do Brasil” XII – A Lanterna Mágica que iluminava o Cine Delícia: imagens e cinema na  coleção Jota Soares – FUNDAJ](https://brasilianafotografica.bn.gov.br/?p=35948) — Andrea Wanderley
+- **2024-05-23** — [Uma das últimas fotos ou a última foto da Família Imperial no Brasil e seu autor, Otto Hees (1870 – 1941)](https://brasilianafotografica.bn.gov.br/?p=35032) — Andrea Wanderley
+- **2024-05-23** — [Cronologia de Otto Hees (1870 – 1941)](https://brasilianafotografica.bn.gov.br/?p=36470) — Andrea Wanderley
+- **2024-05-13** — [A Frente Negra Brasileira](https://brasilianafotografica.bn.gov.br/?p=35590) — Roberta Zanatta
+- **2024-05-06** — [Série “Os arquitetos do Rio de Janeiro” VI – O Clube Naval e os arquitetos Tommaso G. Bezzi (1844 – 1915) e Heitor de Mello (1875 – 1920)](https://brasilianafotografica.bn.gov.br/?p=33447) — Andrea Wanderley
+- **2024-04-29** — [E, há 200 anos, Hercule Florence chegou ao Brasil!](https://brasilianafotografica.bn.gov.br/?p=36019) — Andrea Wanderley
+- **2024-04-23** — [E o choro tornou-se Patrimônio Cultural Imaterial Brasileiro!](https://brasilianafotografica.bn.gov.br/?p=35656) — Andrea Wanderley
+- **2024-04-02** — [Os 9 anos da Brasiliana Fotográfica](https://brasilianafotografica.bn.gov.br/?p=35571) — Andrea Wanderley
+- **2024-03-27** — [Série “Exposições” XII – Foto icônica do arquivo histórico da Fiocruz ilustrará exposição em Lyon, França](https://brasilianafotografica.bn.gov.br/?p=35860) — Andrea Wanderley
+- **2024-03-20** — [No último dia do verão, o céu e o sol do Rio de Janeiro por Guilherme Santos](https://brasilianafotografica.bn.gov.br/?p=27500) — Andrea Wanderley
+- **2024-03-12** — [Dia do Bibliotecário](https://brasilianafotografica.bn.gov.br/?p=35436) — Andrea Wanderley
+- **2024-03-01** — [O Rio de Janeiro nos cartões-postais da Papelaria e Typographia Botelho](https://brasilianafotografica.bn.gov.br/?p=35197) — Andrea Wanderley
+- **2024-02-21** — [Uma homenagem aos 150 anos da imigração italiana para o Brasil](https://brasilianafotografica.bn.gov.br/?p=35497) — Andrea Wanderley
+- **2024-02-15** — [Série “Teatros e cinemas do Brasil” XI – O Theatro da Paz, em Belém do Pará, inaugurado em 15 de fevereiro de 1878](https://brasilianafotografica.bn.gov.br/?p=35177) — Andrea Wanderley
+- **2024-02-08** — [Série “Carnavais de antigamente” IX – Crianças no carnaval carioca de 1933 por Guilherme Santos](https://brasilianafotografica.bn.gov.br/?p=34913) — Andrea Wanderley
+- **2024-02-01** — [O fotógrafo alemão Theodor Preising (1883 – 1962), “o viajante incansável”](https://brasilianafotografica.bn.gov.br/?p=34735) — Andrea Wanderley
+- **2024-02-01** — [Cronologia de Theodor Preising (1883 – 1962)](https://brasilianafotografica.bn.gov.br/?p=35339) — Andrea Wanderley
+- **2024-01-25** — [O aniversário de São Paulo na Brasiliana Fotográfica](https://brasilianafotografica.bn.gov.br/?p=35247) — Andrea Wanderley
+- **2024-01-22** — [Série “Avenidas e ruas do Brasil” XVIII – Avenida Beira-Mar](https://brasilianafotografica.bn.gov.br/?p=32975) — Andrea Wanderley
+- **2024-01-15** — [Série “O Rio de Janeiro desaparecido XXVII e Série “Os arquitetos do Rio de Janeiro” V – O Jockey Club e o Derby Club, na Avenida Rio Branco e o arquiteto Heitor de Mello (1875 – 1920)](https://brasilianafotografica.bn.gov.br/?p=32431) — Andrea Wanderley
+- **2024-01-05** — [Série “Feministas, graças a Deus!” XVII – Anna Amélia Carneiro de Mendonça e o Zeppelin](https://brasilianafotografica.bn.gov.br/?p=34804) — Andrea Wanderley
+- **2023-12-22** — [Vem chegando o verão…e os banhistas do fotógrafo amador Guilherme Santos (1871 – 1966)](https://brasilianafotografica.bn.gov.br/?p=34201) — Andrea Wanderley
+- **2023-12-14** — [Série “O Rio de Janeiro desaparecido” XXVI – Conclusão do arrasamento do Morro do Castelo por Augusto Malta](https://brasilianafotografica.bn.gov.br/?p=34365) — Andrea Wanderley
+- **2023-12-07** — [Os 180 anos de nascimento do fotógrafo Marc Ferrez (1843 – 1923)](https://brasilianafotografica.bn.gov.br/?p=34134) — Andrea Wanderley
+- **2023-12-01** — [Série “Os arquitetos do Rio de Janeiro” IV – Archimedes Memória (1893 – 1960), o último dos ecléticos](https://brasilianafotografica.bn.gov.br/?p=34073) — Andrea Wanderley
+- **2023-11-27** — [Os registros do fotógrafo e pintor italiano José Boscagli (1862 – 1945)](https://brasilianafotografica.bn.gov.br/?p=32835) — Andrea Wanderley
+- **2023-11-27** — [Cronologia de José Boscagli (1862 – 1945)](https://brasilianafotografica.bn.gov.br/?p=34131) — Andrea Wanderley
+- **2023-11-20** — [Dia dos Direitos das Crianças](https://brasilianafotografica.bn.gov.br/?p=34194) — Andrea Wanderley
+- **2023-11-13** — [O fotógrafo Paul Erbe](https://brasilianafotografica.bn.gov.br/?p=34248) — Andrea Wanderley
+- **2023-11-06** — [Aniversário de Poços de Caldas](https://brasilianafotografica.bn.gov.br/?p=34609) — Andrea Wanderley
+- **2023-10-31** — [O “Dr. Photographo” Oswaldo Cruz](https://brasilianafotografica.bn.gov.br/?p=34024) — Andrea Wanderley
+- **2023-10-11** — [O Dia Internacional da Menina com registros de Chichico Alkmin e Felipe Augusto Fidanza](https://brasilianafotografica.bn.gov.br/?p=33411) — Andrea Wanderley
+- **2023-10-01** — [Dia Internacional das Pessoas Idosas e Dia Nacional do Idoso](https://brasilianafotografica.bn.gov.br/?p=33397) — Andrea Wanderley
+- **2023-09-21** — [Dia Nacional de Luta da Pessoa com Deficiência](https://brasilianafotografica.bn.gov.br/?p=32106) — Andrea Wanderley
+- **2023-09-21** — [Cronologia de João Xavier de Oliveira Menezes, o J. Menezes (18? – 19?)](https://brasilianafotografica.bn.gov.br/?p=34244) — Andrea Wanderley
+- **2023-09-12** — [A Rádio Nacional do Rio de Janeiro, marco da “Era do Rádio” no Brasil](https://brasilianafotografica.bn.gov.br/?p=33558) — Andrea Wanderley
+- **2023-09-05** — [Série “Teatros e cinemas do Brasil” X e Série “O Rio de Janeiro desaparecido” XXV – O Theatro Phenix](https://brasilianafotografica.bn.gov.br/?p=32451) — Andrea Wanderley
+- **2023-09-02** — [No Dia do Repórter Fotográfico, destaque para o “Marco no fotojornalimo brasileiro: a seca no Ceará é documentada com fotografias”](https://brasilianafotografica.bn.gov.br/?p=33938) — Andrea Wanderley
+- **2023-08-25** — [Série “Exposições” XI – Três álbuns fotográficos da Exposição Nacional de 1908 no Museu Histórico Nacional: Boscagli, Malta e Musso](https://brasilianafotografica.bn.gov.br/?p=33264) — Andrea Wanderley
+- **2023-08-19** — [Dia Mundial da Fotografia, uma retrospectiva de artigos](https://brasilianafotografica.bn.gov.br/?p=33789) — Andrea Wanderley
+- **2023-08-19** — [No Dia do Historiador, um artigo sobre o ofício](https://brasilianafotografica.bn.gov.br/?p=33493) — Andrea Wanderley
+- **2023-08-14** — [Uma homenagem ao historiador José Murilo de Carvalho (1939 – 2023)](https://brasilianafotografica.bn.gov.br/?p=33701) — Andrea Wanderley
+- **2023-08-13** — [Série “Hotéis do Brasil” V e Série “Os arquitetos do Rio de Janeiro” III – O centenário do Copacabana Palace, quintessência do “glamour” carioca, e seu criador, o arquiteto francês Joseph Gire](https://brasilianafotografica.bn.gov.br/?p=32203) — Andrea Wanderley
+- **2023-08-11** — [O Dia do Advogado e a criação das Faculdades de Direito de São Paulo e do Recife](https://brasilianafotografica.bn.gov.br/?p=31026) — Andrea Wanderley
+- **2023-08-05** — [Série “Os arquitetos do Rio de Janeiro” II – No Dia Nacional da Saúde, o Desinfetório de Botafogo e um breve perfil do arquiteto português Luiz de Moraes Junior, responsável pelo projeto](https://brasilianafotografica.bn.gov.br/?p=32714) — Andrea Wanderley
+- **2023-07-25** — [Dia Internacional da Mulher Negra Latina Americana e Caribenha e Dia Nacional de Tereza de Benguela e da Mulher Negra](https://brasilianafotografica.bn.gov.br/?p=33291) — Andrea Wanderley
+- **2023-07-21** — [O centenário do Palácio Pedro Ernesto](https://brasilianafotografica.bn.gov.br/?p=33476) — Andrea Wanderley
+- **2023-07-18** — [A Fonte Adriano Ramos Pinto por Guilherme Santos e Marc Ferrez](https://brasilianafotografica.bn.gov.br/?p=29493) — Andrea Wanderley
+- **2023-07-11** — [O Hipódromo da Gávea, no Rio de Janeiro](https://brasilianafotografica.bn.gov.br/?p=27444) — Andrea Wanderley
+- **2023-07-04** — [Série “O Rio de Janeiro desaparecido” XXIV e série “Hotéis do Brasil” VI – O luxuoso Palace Hotel, na Avenida Rio Branco, uma referência da vanguarda artística no Rio de Janeiro](https://brasilianafotografica.bn.gov.br/?p=32291) — Andrea Wanderley
+- **2023-06-30** — [Série “Feministas, graças a Deus!” XVI – O I Salão Feminino de Arte, em 1931, no Rio de Janeiro](https://brasilianafotografica.bn.gov.br/?p=32513) — Andrea Wanderley
+- **2023-06-25** — [Série “Conflitos” VII – Novos acervos: Escola de Ciências Sociais FGV CPDOC](https://brasilianafotografica.bn.gov.br/?p=32846) — Andrea Wanderley
+- **2023-06-19** — [Série “Teatros e cinemas do Brasil” IX – O Dia do Cinema Brasileiro](https://brasilianafotografica.bn.gov.br/?p=30422) — Andrea Wanderley
+- **2023-06-12** — [No Dia dos Namorados, o álbum “Vistas de Petrópolis” e o fotógrafo alemão Pedro Hees (1841-1880)](https://brasilianafotografica.bn.gov.br/?p=32074) — Andrea Wanderley
+- **2023-06-12** — [Cronologia de Pedro Hees (1841 – 1880)](https://brasilianafotografica.bn.gov.br/?p=33098) — Andrea Wanderley
+- **2023-06-05** — [No Dia Mundial do Meio Ambiente, a potente imagem da Cachoeira de Paulo Afonso, por Marc Ferrez](https://brasilianafotografica.bn.gov.br/?p=32049) — Andrea Wanderley
+- **2023-05-29** — [O Observatório Nacional pelas lentes de Marc Ferrez, amigo de vários cientistas](https://brasilianafotografica.bn.gov.br/?p=30712) — Andrea Wanderley
+- **2023-05-23** — [O fotógrafo amador Archanjo Sobrinho (18? – 1941)](https://brasilianafotografica.bn.gov.br/?p=32820) — Andrea Wanderley
+- **2023-05-23** — [Cronologia de Archanjo Sobrinho (18? – 1941)](https://brasilianafotografica.bn.gov.br/?p=32813) — Andrea Wanderley
+- **2023-05-15** — [Série “O Rio de Janeiro desaparecido” XXIII e Série “Avenidas e ruas do Brasil” XVII – A Praia e a Rua do Russel, na Glória](https://brasilianafotografica.bn.gov.br/?p=31131) — Andrea Wanderley
+- **2023-05-01** — [O Dia do Trabalho](https://brasilianafotografica.bn.gov.br/?p=32154) — Andrea Wanderley
+- **2023-04-28** — [O Dia Mundial da Educação](https://brasilianafotografica.bn.gov.br/?p=31944) — Andrea Wanderley
+- **2023-04-19** — [Série “Feministas, graças a Deus!” XV – No Dia dos Povos Índígenas, Leolinda Daltro,”a precursora do feminismo indígena” e a “nossa Pankhurst”](https://brasilianafotografica.bn.gov.br/?p=31902) — Andrea Wanderley
+- **2023-04-11** — [Série “O Rio de Janeiro desaparecido” XXII – A Cadeia Velha, que deu lugar ao Palácio Tiradentes](https://brasilianafotografica.bn.gov.br/?p=29820) — Andrea Wanderley
+- **2023-04-04** — [Prédios da Exposição Internacional do Centenário da Independência de 1922 que ainda existem](https://brasilianafotografica.bn.gov.br/?p=30946) — Andrea Wanderley
+- **2023-03-27** — [Série “Teatros e cinemas do Brasil” VIII – O Teatro João Caetano, no Rio de Janeiro, no Dia Mundial do Teatro](https://brasilianafotografica.bn.gov.br/?p=28555) — Andrea Wanderley
+- **2023-03-21** — [O Dia Internacional de Luta pela Eliminação da Discriminação Racial](https://brasilianafotografica.bn.gov.br/?p=31955) — Andrea Wanderley
+- **2023-03-08** — [Série “Feministas, graças a Deus!” XIV – No Dia Internacional da Mulher, Alzira Soriano, a primeira prefeita do Brasil e da América Latina](https://brasilianafotografica.bn.gov.br/?p=31474) — Andrea Wanderley
+- **2023-03-01** — [O centenário da morte de Rui Barbosa, que passou à história como a “Águia de Haia”](https://brasilianafotografica.bn.gov.br/?p=31815) — Andrea Wanderley
+- **2023-03-01** — [A Praça Paris no aniversário do Rio de Janeiro](https://brasilianafotografica.bn.gov.br/?p=30682) — Andrea Wanderley
+- **2023-02-24** — [Série “Feministas, graças a Deus!” XIII – E as mulheres conquistam o direito do voto no Brasil!](https://brasilianafotografica.bn.gov.br/?p=31236) — Andrea Wanderley
+- **2023-02-21** — [No Dia do Imigrante Italiano, a trajetória do fotógrafo Nicola Maria Parente (1847 – 1911) no Brasil](https://brasilianafotografica.bn.gov.br/?p=30342) — Andrea Wanderley
+- **2023-02-21** — [Cronologia de Nicola Maria Parente (1847 – 1911)](https://brasilianafotografica.bn.gov.br/?p=30997) — Andrea Wanderley
+- **2023-02-17** — [Série “Carnavais de antigamente” VIII – Foliões do Carnaval de Diamantina por Chichico Alkmim](https://brasilianafotografica.bn.gov.br/?p=30577) — Andrea Wanderley
+- **2023-02-10** — [O fotógrafo amador pernambucano Henrique Martins (1864 – 1933)](https://brasilianafotografica.bn.gov.br/?p=30425) — Andrea Wanderley
+- **2023-02-03** — [Série “Os Diários Associados na Brasiliana Fotográfica” III e Série “Carnavais de antigamente” VII – O Rei Momo por Jean Manzon e por outros fotógrafos dos Diários Associados](https://brasilianafotografica.bn.gov.br/?p=30648) — Andrea Wanderley
+- **2023-01-25** — [Série “Avenidas e ruas do Brasil” XVI – “Alguma coisa acontece no meu coração”, a Avenida São João nos 469 anos de São Paulo](https://brasilianafotografica.bn.gov.br/?p=30124) — Andrea Wanderley
+- **2023-01-20** — [São Sebastião, o santo padroeiro do Rio de Janeiro](https://brasilianafotografica.bn.gov.br/?p=31106) — Andrea Wanderley
+- **2023-01-20** — [Dia Nacional da Consciência Indígena](https://brasilianafotografica.bn.gov.br/?p=31221) — Andrea Wanderley
+- **2023-01-13** — [Hanseníase em Jacarepaguá](https://brasilianafotografica.bn.gov.br/?p=31068) — Andrea Wanderley
+- **2023-01-12** — [O centenário da morte do fotógrafo Marc Ferrez (1843 – 1923)](https://brasilianafotografica.bn.gov.br/?p=31202) — Andrea Wanderley
+- **2023-01-03** — [A inauguração da rotunda de Victor Meirelles no Rio de Janeiro, em 3 de janeiro de 1891](https://brasilianafotografica.bn.gov.br/?p=29336) — Andrea Wanderley
+- **2022-12-26** — [O Pavilhão do Distrito Federal, atualmente uma das sedes do Museu da Imagem e do Som](https://brasilianafotografica.bn.gov.br/?p=28781) — Andrea Wanderley
+- **2022-12-19** — [Série “1922 – Hoje, há 100 anos” XI e série “Feministas, graças a Deus!” XII – A 1ª Conferência pelo Progresso Feminino](https://brasilianafotografica.bn.gov.br/?p=30702) — Andrea Wanderley
+- **2022-12-08** — [Série “Avenidas e ruas do Brasil” XV – Misericórdia: rua, largo e ladeira, no Rio de Janeiro, por Cássio Loredano](https://brasilianafotografica.bn.gov.br/?p=26995) — Andrea Wanderley
+- **2022-12-02** — [Dom Pedro II fotografado pelo italiano Luis Terragno (c. 1831 – 1891), Fotógrafo da Casa Imperial](https://brasilianafotografica.bn.gov.br/?p=28879) — Andrea Wanderley
+- **2022-12-02** — [Cronologia de Luis Terragno (c. 1831 – 1891)](https://brasilianafotografica.bn.gov.br/?p=29145) — Andrea Wanderley
+- **2022-11-24** — [O Brasil do futebol, uma paixão nacional](https://brasilianafotografica.bn.gov.br/?p=30600) — Andrea Wanderley
+- **2022-11-20** — [Dia Nacional de Zumbi e da Consciência Negra](https://brasilianafotografica.bn.gov.br/?p=30440) — Andrea Wanderley
+- **2022-11-10** — [Exercícios da Esquadra Brasileira no Centenário da Independência](https://brasilianafotografica.bn.gov.br/?p=30196) — Andrea Wanderley
+- **2022-11-01** — [Série “1922 – Hoje, há 100 anos” X –  A morte do escritor Lima Barreto (1881 – 1922)](https://brasilianafotografica.bn.gov.br/?p=28798) — Andrea Wanderley
+- **2022-10-27** — [A construção do Bondinho do Pão de Açúcar sob as lentes de Therezio Mascarenhas](https://brasilianafotografica.bn.gov.br/?p=27413) — Andrea Wanderley
+- **2022-10-27** — [Cronologia de Therezio Mascarenhas (18? – 19?)](https://brasilianafotografica.bn.gov.br/?p=29964) — Andrea Wanderley
+- **2022-10-18** — [Uma homenagem aos médicos](https://brasilianafotografica.bn.gov.br/?p=30157) — Andrea Wanderley
+- **2022-10-15** — [Uma homenagem aos professores](https://brasilianafotografica.bn.gov.br/?p=30166) — Andrea Wanderley
+- **2022-10-12** — [Série “1922 – Hoje, há 100 anos” IX – O centenário do Museu Histórico Nacional](https://brasilianafotografica.bn.gov.br/?p=29862) — Andrea Wanderley
+- **2022-10-07** — [O Dia do Compositor Brasileiro, uma data a ser festejada](https://brasilianafotografica.bn.gov.br/?p=29669) — Andrea Wanderley
+- **2022-09-30** — [A estátua do Pequeno Jornaleiro por Alfredo Krausz](https://brasilianafotografica.bn.gov.br/?p=27585) — Andrea Wanderley
+- **2022-09-19** — [Série “O Rio de Janeiro desaparecido” XXI – O Chafariz do Largo da Carioca](https://brasilianafotografica.bn.gov.br/?p=27670) — Andrea Wanderley
+- **2022-09-07** — [Série “Exposições” X e Série “1922 – Hoje, há 100 anos” VIII – A abertura da Exposição Internacional do Centenário da Independência do Brasil e o centenário da primeira grande transmissão pública de rádio no país](https://brasilianafotografica.bn.gov.br/?p=17940) — Andrea Wanderley
+- **2022-08-28** — [Série “1922 – Hoje, há 100 anos” VII – A morte de Gastão de Orleáns, o conde d´Eu (Neuilly-sur-Seine, 28/04/1842 – Oceano Atlântico 28/08/1922)](https://brasilianafotografica.bn.gov.br/?p=11397) — Andrea Wanderley
+- **2022-08-26** — [Série “Avenidas e ruas do Brasil” XIV – A Avenida Presidente Vargas](https://brasilianafotografica.bn.gov.br/?p=27822) — Andrea Wanderley
+- **2022-08-19** — [No Dia Internacional da Fotografia, fotógrafas pioneiras no Brasil](https://brasilianafotografica.bn.gov.br/?p=26902) — Andrea Wanderley
+- **2022-08-19** — [Cronologia de Gioconda Rizzo (1897 – 2004)](https://brasilianafotografica.bn.gov.br/?p=28653) — Andrea Wanderley
+- **2022-08-19** — [Cronologia de Elvira Leopardi Pastore (1876 – 1972) e Vincenzo Pastore (1865 – 1918)](https://brasilianafotografica.bn.gov.br/?p=27938) — Andrea Wanderley
+- **2022-08-19** — [Cronologia de Hermina de Carvalho Menna da Costa (18? – ?)](https://brasilianafotografica.bn.gov.br/?p=27927) — Andrea Wanderley
+- **2022-08-19** — [Cronologia de Fanny Paul Volk (c. 1867 – 1948)](https://brasilianafotografica.bn.gov.br/?p=28648) — Andrea Wanderley
+- **2022-08-19** — [Cronologia de Izabel Jacintha Cunha Reeckell, a Madame Reeckell (1837 – 19?)](https://brasilianafotografica.bn.gov.br/?p=28615) — Andrea Wanderley
+- **2022-08-09** — [Série “1922 – Hoje, há 100 anos” VI e série “Feministas, graças a Deus!” XI – A fundação da Federação Brasileira pelo Progresso Feminino](https://brasilianafotografica.bn.gov.br/?p=26964) — Andrea Wanderley
+- **2022-07-26** — [Série “O Rio de Janeiro desaparecido” XX – O Pavilhão dos Estados, futuro prédio do Ministério da Agricultura](https://brasilianafotografica.bn.gov.br/?p=27622) — Andrea Wanderley
+- **2022-07-20** — [A fundação da Academia Brasileira de Letras](https://brasilianafotografica.bn.gov.br/?p=28740) — Andrea Wanderley
+- **2022-07-19** — [Série “Avenidas e ruas do Brasil” XIII – A Rua Buenos Aires no Rio de Janeiro](https://brasilianafotografica.bn.gov.br/?p=27660) — Andrea Wanderley
+- **2022-07-11** — [As favelas do Leblon](https://brasilianafotografica.bn.gov.br/?p=28202) — Andrea Wanderley
+- **2022-07-05** — [Série “1922 – Hoje, há 100 anos” V e Série “Conflitos” VI – A Revolta do Forte de Copacabana](https://brasilianafotografica.bn.gov.br/?p=27715) — Andrea Wanderley
+- **2022-06-30** — [A Serra dos Órgãos: uma foto aérea e imagens realizadas pelos mestres Ferrez, Leuzinger e Klumb](https://brasilianafotografica.bn.gov.br/?p=27603) — Andrea Wanderley
+- **2022-06-23** — [Série “O Rio de Janeiro desaparecido” XIX – A Igrejinha de Copacabana](https://brasilianafotografica.bn.gov.br/?p=27549) — Andrea Wanderley
+- **2022-06-23** — [Cronologia de Augustus Morand (c. 1818 – 1896)](https://brasilianafotografica.bn.gov.br/?p=28318) — Andrea Wanderley
+- **2022-06-17** — [Série “1922 – Hoje, há 100 anos” IV – A primeira travessia aérea do Atlântico Sul, realizada pelos aeronautas portugueses Gago Coutinho e Sacadura Cabral](https://brasilianafotografica.bn.gov.br/?p=27434) — Andrea Wanderley
+- **2022-06-15** — [Série “Hotéis do Brasil” IV – O Hotel Pharoux por Revert Henrique Klumb](https://brasilianafotografica.bn.gov.br/?p=28263) — Andrea Wanderley
+- **2022-06-05** — [No Dia Mundial do Meio Ambiente, velas abertas na Baía da Guanabara](https://brasilianafotografica.bn.gov.br/?p=27486) — Andrea Wanderley
+- **2022-05-27** — [A plataforma imagineRio](https://brasilianafotografica.bn.gov.br/?p=27704) — Andrea Wanderley
+- **2022-05-16** — [O Edifício Martinelli, antigo referencial e símbolo de São Paulo](https://brasilianafotografica.bn.gov.br/?p=27521) — Andrea Wanderley
+- **2022-05-05** — [Cronologia de Joaquim Antônio Correia (18? – ?)](https://brasilianafotografica.bn.gov.br/?p=27766) — Andrea Wanderley
+- **2022-05-05** — [A Reação Republicana](https://brasilianafotografica.bn.gov.br/?p=27652) — Andrea Wanderley
+- **2022-04-28** — [Retratos de Pauline Caroline Lefebvre, sogra do fotógrafo Marc Ferrez](https://brasilianafotografica.bn.gov.br/?p=26134) — Andrea Wanderley
+- **2022-04-20** — [Série “O Rio de Janeiro desaparecido” XVIII – A Praça Onze](https://brasilianafotografica.bn.gov.br/?p=27390) — Andrea Wanderley
+- **2022-04-07** — [Aspectos de Poços de Caldas impressos no papel fotográfico fabricado pelo pioneiro Conrado Wessel (1891 – 1993)](https://brasilianafotografica.bn.gov.br/?p=27299) — Andrea Wanderley
+- **2022-04-07** — [Cronologia de Guilherme (1862 – 1940) e Conrado Wessel (1891 – 1993), pai e filho](https://brasilianafotografica.bn.gov.br/?p=27383) — Andrea Wanderley
+- **2022-03-25** — [Série “Feministas, graças a Deus!” X – Maria Luiza Dória Bittencourt (1910 – 2001), a primeira deputada da Bahia](https://brasilianafotografica.bn.gov.br/?p=24659) — Andrea Wanderley
+- **2022-03-18** — [Série “O Rio de Janeiro desaparecido” XVII – Igreja São Pedro dos Clérigos](https://brasilianafotografica.bn.gov.br/?p=26587) — Andrea Wanderley
+- **2022-03-11** — [Fotografias da Gripe Espanhola do fundo Moncorvo Filho, da Casa de Oswaldo Cruz](https://brasilianafotografica.bn.gov.br/?p=26827) — Andrea Wanderley
+- **2022-03-08** — [O Dia Internacional das Mulheres](https://brasilianafotografica.bn.gov.br/?p=27173) — Andrea Wanderley
+- **2022-03-01** — [Série “1922 – Hoje, há 100 anos” III – A eleição de Artur Bernardes e a derrota de Nilo Peçanha](https://brasilianafotografica.bn.gov.br/?p=26624) — Andrea Wanderley
+- **2022-02-25** — [Série “Carnavais de antigamente” VI – Baile de Carnaval em Santa Teresa – Di Cavalcanti, Klixto e Helios Seelinger, na casa de Raul Pederneiras](https://brasilianafotografica.bn.gov.br/?p=27031) — Andrea Wanderley
+- **2022-02-18** — [O Cemitério de Pistoia e a memória dos combatentes da FEB](https://brasilianafotografica.bn.gov.br/?p=26838) — Andrea Wanderley
+- **2022-02-13** — [Série “1922 – Hoje, há 100 anos” II – A Semana de Arte Moderna](https://brasilianafotografica.bn.gov.br/?p=26620) — Andrea Wanderley
+- **2022-01-29** — [Série “1922 – Hoje, há 100 anos” I – Os Batutas embarcam para Paris, em 29 de janeiro – Uma história de música e de racismo](https://brasilianafotografica.bn.gov.br/?p=22501) — Andrea Wanderley
+- **2022-01-21** — [Série “Avenidas e ruas do Brasil” XII – A Avenida Paulista, o coração pulsante da metrópole](https://brasilianafotografica.bn.gov.br/?p=26514) — Andrea Wanderley
+- **2022-01-13** — [Série “O Rio de Janeiro desaparecido” XVI – O prédio da Academia Imperial de Belas Artes](https://brasilianafotografica.bn.gov.br/?p=26333) — Andrea Wanderley
+- **2022-01-05** — [Série “Exposições” IX – A Exposição Internacional de Higiene de Dresden, na Alemanha, em 1911](https://brasilianafotografica.bn.gov.br/?p=26300) — Andrea Wanderley
+- **2021-12-28** — [Série “Teatros e cinemas do Brasil” VII – O Teatro Amazonas (Theatro Amazonas), em Manaus, a “Paris dos Trópicos”](https://brasilianafotografica.bn.gov.br/?p=25907) — Andrea Wanderley
+- **2021-12-21** — [Série “O Rio de Janeiro desaparecido” XV – A praia de Santa Luzia no primeiro dia do verão](https://brasilianafotografica.bn.gov.br/?p=25474) — Andrea Wanderley
+- **2021-12-14** — [Série “Avenidas e ruas do Brasil” XI – A Rua da Esperança, em São Paulo, por Vincenzo Pastore](https://brasilianafotografica.bn.gov.br/?p=25358) — Andrea Wanderley
+- **2021-12-07** — [A Santa Casa da Misericórdia do Rio de Janeiro](https://brasilianafotografica.bn.gov.br/?p=19794) — Andrea Wanderley
+- **2021-11-26** — [Os “Instantâneos Cruéis” de Monteiro Lobato](https://brasilianafotografica.bn.gov.br/?p=26164) — Andrea Wanderley
+- **2021-11-19** — [Série “O Rio de Janeiro desaparecido” XIV – O Conselho Municipal do Rio de Janeiro](https://brasilianafotografica.bn.gov.br/?p=25175) — Andrea Wanderley
+- **2021-11-09** — [Série “Avenidas e ruas do Brasil” X – A Rua da Ajuda, no Rio de Janeiro, por Augusto Malta](https://brasilianafotografica.bn.gov.br/?p=25825) — Andrea Wanderley
+- **2021-11-02** — [No Dia de Finados, o Cemitério São João Batista no Rio de Janeiro](https://brasilianafotografica.bn.gov.br/?p=25416) — Andrea Wanderley
+- **2021-10-28** — [Série “Teatros e cinemas do Brasil” VI – O Theatro de Santa Isabel no Recife](https://brasilianafotografica.bn.gov.br/?p=25310) — Andrea Wanderley
+- **2021-10-19** — [Série “O Rio de Janeiro desaparecido” XIII – O Convento da Ajuda](https://brasilianafotografica.bn.gov.br/?p=25759) — Andrea Wanderley
+- **2021-10-08** — [Os 90 anos do Cristo Redentor, um dos mais importantes símbolos e pontos turísticos do Rio de Janeiro e do Brasil](https://brasilianafotografica.bn.gov.br/?p=25960) — Andrea Wanderley
+- **2021-09-28** — [O fotógrafo, desenhista e engenheiro alemão Franz Keller-Leuzinger (1835 – 1890)](https://brasilianafotografica.bn.gov.br/?p=25046) — Andrea Wanderley
+- **2021-09-28** — [Cronologia de Franz Keller-Leuzinger (1835 – 1890)](https://brasilianafotografica.bn.gov.br/?p=25397) — Andrea Wanderley
+- **2021-09-21** — [No Dia da Árvore, mangueiras fotografadas por Ferrez e Leuzinger](https://brasilianafotografica.bn.gov.br/?p=25186) — Andrea Wanderley
+- **2021-09-16** — [Série “Teatros e cinemas do Brasil” V e Série “O Rio de Janeiro desaparecido” XII – O Teatro Lírico (Theatro Lyrico)](https://brasilianafotografica.bn.gov.br/?p=25489) — Andrea Wanderley
+- **2021-09-08** — [O Aquário de Manguinhos](https://brasilianafotografica.bn.gov.br/?p=24359) — Andrea Wanderley
+- **2021-08-30** — [Guarujá, a “Pérola do Atlântico”, em fins do século XIX, por Guilherme Gaensly](https://brasilianafotografica.bn.gov.br/?p=24945) — Andrea Wanderley
+- **2021-08-23** — [Fernando Skarke (1858 – 1935), Fotógrafo da Casa Imperial](https://brasilianafotografica.bn.gov.br/?p=21806) — Andrea Wanderley
+- **2021-08-23** — [Cronologia de Fernando Skarke (1858 – 1935)](https://brasilianafotografica.bn.gov.br/?p=21613) — Andrea Wanderley
+- **2021-08-19** — [Autorretratos de fotógrafos – Uma homenagem no Dia Mundial da Fotografia](https://brasilianafotografica.bn.gov.br/?p=24947) — Andrea Wanderley
+- **2021-08-06** — [Dia dos Pais – Julio e Luciano, os filhos do fotógrafo Marc Ferrez, e outras famílias](https://brasilianafotografica.bn.gov.br/?p=22777) — Andrea Wanderley
+- **2021-07-29** — [Visitantes Ilustres em Manguinhos](https://brasilianafotografica.bn.gov.br/?p=23910) — Andrea Wanderley
+- **2021-07-22** — [Série “O Rio de Janeiro desaparecido” XI – A Estrada de Ferro do Corcovado e o mirante Chapéu de Sol](https://brasilianafotografica.bn.gov.br/?p=19898) — Andrea Wanderley
+- **2021-07-14** — [Série “Avenidas e ruas do Brasil” IX – Ruas e panoramas do bairro do Catete](https://brasilianafotografica.bn.gov.br/?p=23162) — Andrea Wanderley
+- **2021-07-08** — [Série “Teatros e cinemas do Brasil” IV – Cinema no Brasil – a primeira sessão e um pouco da história do Cinema Odeon](https://brasilianafotografica.bn.gov.br/?p=23968) — Andrea Wanderley
+- **2021-06-29** — [A Floresta da Tijuca na Coleção Família Passos](https://brasilianafotografica.bn.gov.br/?p=23493) — Andrea Wanderley
+- **2021-06-23** — [O centenário da morte de João do Rio (1881 – 1921), o cronista da “belle époque” carioca](https://brasilianafotografica.bn.gov.br/?p=23302) — Andrea Wanderley
+- **2021-06-15** — [Série “Feministas, graças a Deus!” IX – Mariana Coelho (1857 – 1954), a “Beauvoir tupiniquim”](https://brasilianafotografica.bn.gov.br/?p=23174) — Andrea Wanderley
+- **2021-06-07** — [À mesa, os pioneiros da ciência brasileira](https://brasilianafotografica.bn.gov.br/?p=23540) — Andrea Wanderley
+- **2021-06-02** — [Retorno da Brasiliana Fotográfica](https://brasilianafotografica.bn.gov.br/?p=23886) — Vinicius Martins
+- **2021-04-06** — [Série “Feministas, graças a Deus”! VIII – A engenheira e urbanista Carmen Portinho (1903 – 2001)](https://brasilianafotografica.bn.gov.br/?p=22326) — Andrea Wanderley
+- **2021-03-22** — [A Estrada de Ferro do Paraná, de Paranaguá a Curitiba, pelos fotógrafos Arthur Wischral e Marc Ferrez](https://brasilianafotografica.bn.gov.br/?p=22058) — Andrea Wanderley
+- **2021-03-22** — [Cronologia de Arthur Júlio Wischral (1894 – 1982)](https://brasilianafotografica.bn.gov.br/?p=23678) — Andrea Wanderley
+- **2021-03-12** — [Mercado Público de São José por Manoel Tondella (1861 – 1921)](https://brasilianafotografica.bn.gov.br/?p=21929) — Andrea Wanderley
+- **2021-03-05** — [E a primeira-dama Nair de Teffé leva a música de Chiquinha Gonzaga para o Palácio do Catete, em 1914](https://brasilianafotografica.bn.gov.br/?p=22813) — Andrea Wanderley
+- **2021-02-23** — [Série “Feministas, graças a Deus” VII – Almerinda Farias Gama (1899 – 1999), uma das pioneiras do feminismo no Brasil](https://brasilianafotografica.bn.gov.br/?p=22708) — Andrea Wanderley
+- **2021-02-17** — [Antonio Luiz Ferreira (18? – 19?), fotógrafo das celebrações pela abolição da escravatura em 1888](https://brasilianafotografica.bn.gov.br/?p=16763) — Andrea Wanderley
+- **2021-02-17** — [Cronologia de Antonio Luiz Ferreira (18? – 19?)](https://brasilianafotografica.bn.gov.br/?p=22999) — Andrea Wanderley
+- **2021-02-09** — [Cronologia de João Stamato (1886 – 1951)](https://brasilianafotografica.bn.gov.br/?p=22940) — Andrea Wanderley
+- **2021-02-09** — [João Stamato, um fotógrafo nos sertões](https://brasilianafotografica.bn.gov.br/?p=22230) — Andrea Wanderley
+- **2021-02-02** — [O Palácio de Cristal, em Petrópolis, fotografado por Marc Ferrez (1843 – 1923)](https://brasilianafotografica.bn.gov.br/?p=21455) — Andrea Wanderley
+- **2021-01-25** — [A cidade de São Paulo e Tebas (1721 – 1811), reconhecido como arquiteto, em 2018, mais de 100 anos após sua morte](https://brasilianafotografica.bn.gov.br/?p=18274) — Andrea Wanderley
+- **2021-01-20** — [Série “Avenidas e ruas do Brasil” VIII – A Rua da Carioca por Cássio Loredano](https://brasilianafotografica.bn.gov.br/?p=21888) — Andrea Wanderley
+- **2021-01-14** — [Série “Os arquitetos do Rio de Janeiro” I – Porto d’Ave e a moderna arquitetura hospitalar](https://brasilianafotografica.bn.gov.br/?p=22130) — Andrea Wanderley
+- **2021-01-06** — [Cronologia do fotógrafo Carlos Bippus (18? – 19?)](https://brasilianafotografica.bn.gov.br/?p=20770) — Andrea Wanderley
+- **2021-01-06** — [Cronologia do fotógrafo e aviador britânico S.H. Holland (1883 – 1936)](https://brasilianafotografica.bn.gov.br/?p=20866) — Andrea Wanderley
+- **2021-01-06** — [Cronologia do fotógrafo George Huebner (1862 – 1935)](https://brasilianafotografica.bn.gov.br/?p=20870) — Andrea Wanderley
+- **2021-01-06** — [Cronologia do piloto e fotógrafo Jorge Kfuri (1893 – 1965)](https://brasilianafotografica.bn.gov.br/?p=20878) — Andrea Wanderley
+- **2021-01-06** — [Cronologia de Abram-Louis Buvelot (1814 – 1888)](https://brasilianafotografica.bn.gov.br/?p=20779) — Andrea Wanderley
+- **2021-01-06** — [Cronologia de Joaquim Insley Pacheco (1830 – 1912)](https://brasilianafotografica.bn.gov.br/?p=20924) — Andrea Wanderley
+- **2021-01-06** — [Cronologia de João Ferreira Villela (18? –?)](https://brasilianafotografica.bn.gov.br/?p=21001) — Andrea Wanderley
+- **2021-01-06** — [Cronologia de Revert Henrique Klumb (c. 1826 – c. 1886)](https://brasilianafotografica.bn.gov.br/?p=20882) — Andrea Wanderley
+- **2021-01-06** — [Cronologia de Augusto Stahl (1828 – 1877)](https://brasilianafotografica.bn.gov.br/?p=20972) — Andrea Wanderley
+- **2021-01-06** — [Cronologia de José Ferreira Guimarães (1841 – 1924)](https://brasilianafotografica.bn.gov.br/?p=20853) — Andrea Wanderley
+- **2021-01-06** — [Cronologia de Juan Gutierrez de Padilla (c. 1860 – 1897)](https://brasilianafotografica.bn.gov.br/?p=20857) — Andrea Wanderley
+- **2021-01-06** — [Cronologia de Luiz Bianchi (1876 – 1943)](https://brasilianafotografica.bn.gov.br/?p=21310) — Andrea Wanderley
+- **2021-01-06** — [Cronologia de Francisco du Bocage (1860 – 1919)](https://brasilianafotografica.bn.gov.br/?p=20774) — Andrea Wanderley
+- **2021-01-06** — [Cronologia de Albert Richard Dietze (1838-1906)](https://brasilianafotografica.bn.gov.br/?p=20783) — Andrea Wanderley
+- **2021-01-06** — [Cronologia de Alfredo Ducasble (18? – 19?)](https://brasilianafotografica.bn.gov.br/?p=20787) — Andrea Wanderley
+- **2021-01-06** — [Cronologia de Felipe Augusto Fidanza (1844 – 1903)](https://brasilianafotografica.bn.gov.br/?p=20804) — Andrea Wanderley
+- **2021-01-06** — [Cronologia de João Firpo (1839 – 1899)](https://brasilianafotografica.bn.gov.br/?p=20823) — Andrea Wanderley
+- **2021-01-06** — [Cronologia de Christoph Albert Frisch (1840 – 1918)](https://brasilianafotografica.bn.gov.br/?p=20836) — Andrea Wanderley
+- **2021-01-06** — [Cronologia de Jean Victor Frond (1821 – 1881)](https://brasilianafotografica.bn.gov.br/?p=20840) — Andrea Wanderley
+- **2021-01-06** — [Cronologia de Guilherme Gaensly  (1843 – 1928)](https://brasilianafotografica.bn.gov.br/?p=20846) — Andrea Wanderley
+- **2021-01-06** — [Cronologia de Walter Garbe (18? – 19?) e de seu pai, Ernst Garbe (1853 – 1925)](https://brasilianafotografica.bn.gov.br/?p=20850) — Andrea Wanderley
+- **2021-01-06** — [Cronologia de José Christiano Júnior (1832 – 1902)](https://brasilianafotografica.bn.gov.br/?p=20875) — Andrea Wanderley
+- **2021-01-06** — [Cronologia de Moritz (Maurício) Lamberg 18? – 19?)](https://brasilianafotografica.bn.gov.br/?p=20887) — Andrea Wanderley
+- **2021-01-06** — [Cronologia de Georges Leuzinger (1813 – 1892)](https://brasilianafotografica.bn.gov.br/?p=20891) — Andrea Wanderley
+- **2021-01-06** — [Cronologia de Luiz do Nascimento Ramos, conhecido como Lunara (1864 – 1937)](https://brasilianafotografica.bn.gov.br/?p=20900) — Andrea Wanderley
+- **2021-01-06** — [Cronologia de Augusto Malta (1864 – 1957)](https://brasilianafotografica.bn.gov.br/?p=20908) — Andrea Wanderley
+- **2021-01-06** — [Cronologia de Benjamin Robert Mulock (1829 – 1863)](https://brasilianafotografica.bn.gov.br/?p=20917) — Andrea Wanderley
+- **2021-01-06** — [Cronologia de Vincenzo Pastore (1865 – 1918)](https://brasilianafotografica.bn.gov.br/?p=20933) — Andrea Wanderley
+- **2021-01-06** — [Cronologia de Otto Rudolph Quaas (c. 1862 – c. 1930)](https://brasilianafotografica.bn.gov.br/?p=20941) — Andrea Wanderley
+- **2021-01-06** — [Cronologia de Guilherme Santos (1871 – 1966)](https://brasilianafotografica.bn.gov.br/?p=20950) — Andrea Wanderley
+- **2021-01-06** — [Cronologia de Bernardo Scheidemantel (1834 – 1908)](https://brasilianafotografica.bn.gov.br/?p=20961) — Andrea Wanderley
+- **2021-01-06** — [Cronologia de Joaquim Pinto da Silva, o J. Pinto (1884-1951)](https://brasilianafotografica.bn.gov.br/?p=20965) — Andrea Wanderley
+- **2021-01-06** — [Cronologia de Manoel Tondella (1861 – 1921)](https://brasilianafotografica.bn.gov.br/?p=21022) — Andrea Wanderley
+- **2021-01-06** — [Cronologia de Camillo Vedani (18? – 1888)](https://brasilianafotografica.bn.gov.br/?p=20978) — Andrea Wanderley
+- **2021-01-06** — [Cronologia de José Baptista Barreira Vianna (1860 – 1925)](https://brasilianafotografica.bn.gov.br/?p=20982) — Andrea Wanderley
+- **2021-01-06** — [Cronologia de Valério Vieira (1862 – 1941)](https://brasilianafotografica.bn.gov.br/?p=20989) — Andrea Wanderley
+- **2021-01-06** — [Cronologia de Luiz Lavenère Wanderley (1868 – 1966)](https://brasilianafotografica.bn.gov.br/?p=21006) — Andrea Wanderley
+- **2021-01-06** — [Cronologia de Antoine Hercule Romuald Florence (1804 – 1879)](https://brasilianafotografica.bn.gov.br/?p=20830) — Andrea Wanderley
+- **2021-01-06** — [Cronologia de Henrique Rosén (1840 – 1892)](https://brasilianafotografica.bn.gov.br/?p=21254) — Andrea Wanderley
+- **2021-01-06** — [Cronologia de Alberto Henschel (1827 – 1882)](https://brasilianafotografica.bn.gov.br/?p=20861) — Andrea Wanderley
+- **2021-01-06** — [Cronologia de Louis Piereck (1880 – 1931)](https://brasilianafotografica.bn.gov.br/?p=21259) — Andrea Wanderley
+- **2021-01-06** — [Cronologia de Marc Ferrez (1843 – 1923)](https://brasilianafotografica.bn.gov.br/?p=20796) — Andrea Wanderley
+- **2021-01-06** — [Cronologia de Militão Augusto de Azevedo (1837 – 1905)](https://brasilianafotografica.bn.gov.br/?p=20765) — Andrea Wanderley
+- **2021-01-06** — [Cronologia de Chichico Alkmim (1886 – 1978)](https://brasilianafotografica.bn.gov.br/?p=20759) — Andrea Wanderley
+- **2021-01-06** — [Cronologia de Benjamin Abrahão Calil Botto (1901 – 1938)](https://brasilianafotografica.bn.gov.br/?p=20752) — Andrea Wanderley
+- **2021-01-06** — [Novidade na Brasiliana Fotográfica – Cronologia de fotógrafos](https://brasilianafotografica.bn.gov.br/?p=21263) — Andrea Wanderley
+- **2020-12-23** — [Série “Avenidas e ruas do Brasil” VII – A Avenida Atlântica, em Copacabana, no Rio de Janeiro](https://brasilianafotografica.bn.gov.br/?p=20721) — Andrea Wanderley
+- **2020-12-15** — [O “artista fotógrafo” Louis Piereck (1880 – 1931)](https://brasilianafotografica.bn.gov.br/?p=20730) — Andrea Wanderley
+- **2020-12-09** — [Série “Feministas, graças a Deus!” VI – Júlia Augusta de Medeiros (1896 – 1972) fotografada por Louis Piereck (1880 – 1931)](https://brasilianafotografica.bn.gov.br/?p=16746) — Andrea Wanderley
+- **2020-12-04** — [Henrique Rosén (1840 – 1892), um fotógrafo sueco no interior de São Paulo](https://brasilianafotografica.bn.gov.br/?p=21156) — Andrea Wanderley
+- **2020-11-26** — [Série “Feministas, graças a Deus!” V – Feminista do Amazonas: Maria de Miranda Leão (1887 – 1976)](https://brasilianafotografica.bn.gov.br/?p=21770) — Andrea Wanderley
+- **2020-11-16** — [Série “Avenidas e ruas do Brasil” VI – Rua Augusto Ribas e outras, em Ponta Grossa, no Paraná, pelo fotógrafo Luiz Bianchi](https://brasilianafotografica.bn.gov.br/?p=20708) — Andrea Wanderley
+- **2020-11-09** — [O Baile da Ilha Fiscal: registro raro realizado por Marc Ferrez e retrato de Aurélio de Figueiredo diante de sua obra](https://brasilianafotografica.bn.gov.br/?p=17856) — Andrea Wanderley
+- **2020-11-05** — [Antes do paraíso, o expurgo: a Hospedaria Central da Ilha das Flores](https://brasilianafotografica.bn.gov.br/?p=20341) — Andrea Wanderley
+- **2020-10-29** — [Série “Feministas, graças a Deus!” IV – Uma sufragista na metrópole: Maria Prestia (? – 1988)](https://brasilianafotografica.bn.gov.br/?p=21588) — Andrea Wanderley
+- **2020-10-22** — [Série “Avenidas e ruas do Brasil” V – A Rua Direita, a Rua das Mercês e a Rua Macau do Meio, em Diamantina, Minas Gerais](https://brasilianafotografica.bn.gov.br/?p=20682) — Andrea Wanderley
+- **2020-10-16** — [Pixel sobre tela. Tecnologias da memória e preservação digital do patrimônio histórico e cultural](https://brasilianafotografica.bn.gov.br/?p=21321) — Andrea Wanderley
+- **2020-10-08** — [Curso de Aplicação no Instituto Oswaldo Cruz](https://brasilianafotografica.bn.gov.br/?p=20537) — Andrea Wanderley
+- **2020-10-01** — [Dia Internacional da Música](https://brasilianafotografica.bn.gov.br/?p=21026) — Andrea Wanderley
+- **2020-09-29** — [Série “Feministas, graças a Deus!” III – Bertha Lutz (1894 – 1976) e sua luta pelo voto feminino](https://brasilianafotografica.bn.gov.br/?p=21354) — Andrea Wanderley
+- **2020-09-17** — [A Confeitaria Colombo, um elo entre o Rio de Janeiro antigo e o atual](https://brasilianafotografica.bn.gov.br/?p=17948) — Andrea Wanderley
+- **2020-09-07** — [O centenário da Universidade Federal do Rio de Janeiro](https://brasilianafotografica.bn.gov.br/?p=18503) — Andrea Wanderley
+- **2020-09-01** — [Série “Avenidas e ruas do Brasil” IV – Rua 25 de março em São Paulo](https://brasilianafotografica.bn.gov.br/?p=20381) — Andrea Wanderley
+- **2020-08-27** — [Fotografia de Leuzinger é capa da revista “Fon-Fon” em 1922](https://brasilianafotografica.bn.gov.br/?p=18725) — Andrea Wanderley
+- **2020-08-20** — [Série “Feministas, graças a Deus!” II – Natércia da Cunha Silveira (1905 – 1993), o jequitibá da floresta](https://brasilianafotografica.bn.gov.br/?p=20151) — Andrea Wanderley
+- **2020-08-13** — [Série “Hotéis do Brasil” III – Copacabana Palace, símbolo do “glamour” carioca](https://brasilianafotografica.bn.gov.br/?p=18036) — Andrea Wanderley
+- **2020-08-06** — [Série “Avenidas e ruas do Brasil” III – A Rua do Bom Jesus, no Recife](https://brasilianafotografica.bn.gov.br/?p=20105) — Andrea Wanderley
+- **2020-07-25** — [Série “Feministas, graças a Deus!” I – Elvira Komel (1906 – 1932), a feminista mineira que passou como um meteoro](https://brasilianafotografica.bn.gov.br/?p=19943) — Andrea Wanderley
+- **2020-07-19** — [Rio de Janeiro, Capital Mundial da Arquitetura](https://brasilianafotografica.bn.gov.br/?p=13911) — Andrea Wanderley
+- **2020-07-15** — [Após encantar-se com Molière e Giulietta Dionesi, o imperador Pedro II sofre um atentado](https://brasilianafotografica.bn.gov.br/?p=19845) — Andrea Wanderley
+- **2020-07-08** — [De Gênova, Itália, a Maruim, Sergipe: João Firpo, um artífice de imagens](https://brasilianafotografica.bn.gov.br/?p=19636) — Andrea Wanderley
+- **2020-07-03** — [O fotógrafo amador Guilherme Santos e sua coleção de estereoscopias eróticas](https://brasilianafotografica.bn.gov.br/?p=19690) — Andrea Wanderley
+- **2020-06-26** — [Série “Avenidas e ruas do Brasil” II – A Rua do Imperador em Petrópolis por Klumb, Leuzinger e Stahl](https://brasilianafotografica.bn.gov.br/?p=18113) — Andrea Wanderley
+- **2020-06-19** — [A história da fotografia aérea e a Escola de Aviação Militar](https://brasilianafotografica.bn.gov.br/?p=19006) — Andrea Wanderley
+- **2020-06-12** — [Série “O Rio de Janeiro desaparecido” X – No Dia dos Namorados, um pouco da história do Pavilhão Mourisco em Botafogo](https://brasilianafotografica.bn.gov.br/?p=18767) — Andrea Wanderley
+- **2020-06-09** — [Nova seção do portal – Como pesquisar na Brasiliana Fotográfica](https://brasilianafotografica.bn.gov.br/?p=19727) — Andrea Wanderley
+- **2020-06-05** — [Bambus, por Marc Ferrez](https://brasilianafotografica.bn.gov.br/?p=18420) — Andrea Wanderley
+- **2020-05-25** — [Nos passos de Oswaldo: imagens das expedições do IOC aos portos do Brasil entre 1911 e 1913](https://brasilianafotografica.bn.gov.br/?p=19524) — Andrea Wanderley
+- **2020-05-19** — [Praias do Rio na memória, na história e na fotografia](https://brasilianafotografica.bn.gov.br/?p=18950) — Andrea Wanderley
+- **2020-05-13** — [A mulher negra de turbante, de Alberto Henschel](https://brasilianafotografica.bn.gov.br/?p=19480) — Andrea Wanderley
+- **2020-05-08** — [“Doze horas em diligência”, o primeiro guia turístico do Brasil, por Revert Henrique Klumb (c. 1826 – c. 1886)](https://brasilianafotografica.bn.gov.br/?p=16516) — Andrea Wanderley
+- **2020-04-27** — [A Ilha Fiscal na Baía de Guanabara](https://brasilianafotografica.bn.gov.br/?p=17816) — Andrea Wanderley
+- **2020-04-18** — [Debate pelos cinco anos da Brasiliana Fotográfica – link de acesso e para fotografias mostradas durante o encontro](https://brasilianafotografica.bn.gov.br/?p=19314) — Andrea Wanderley
+- **2020-04-16** — [Os cinco anos da Brasiliana Fotográfica](https://brasilianafotografica.bn.gov.br/?p=18997) — Andrea Wanderley
+- **2020-04-13** — [Série “Exposições” VIII – A apresentação do Departamento Nacional de Saúde Pública na Exposição Internacional do Centenário da Independência](https://brasilianafotografica.bn.gov.br/?p=18805) — Andrea Wanderley
+- **2020-04-05** — [As doenças do Rio de Janeiro no início do século XX e a Revolta da Vacina em 1904](https://brasilianafotografica.bn.gov.br/?p=19095) — Andrea Wanderley
+- **2020-04-03** — [Série “Exposições” VII – Festa das Artes e da Indústria – Segunda Exposição Nacional, 1866](https://brasilianafotografica.bn.gov.br/?p=18530) — Andrea Wanderley
+- **2020-03-26** — [Escola de Aprendizes e Artífices de Alagoas, registros de 1910](https://brasilianafotografica.bn.gov.br/?p=18379) — Andrea Wanderley
+- **2020-03-23** — [E o ex e futuro presidente do Brasil morreu de gripe…a Gripe Espanhola de 1918](https://brasilianafotografica.bn.gov.br/?p=18866) — Andrea Wanderley
+- **2020-03-20** — [Último dia do verão](https://brasilianafotografica.bn.gov.br/?p=17977) — Andrea Wanderley
+- **2020-03-16** — [Petrópolis, a Cidade Imperial, pelos fotógrafos Marc Ferrez e Revert Henrique Klumb](https://brasilianafotografica.bn.gov.br/?p=18110) — Andrea Wanderley
+- **2020-03-06** — [Ressaca no Rio de Janeiro invade o porão da casa do fotógrafo Marc Ferrez, em 1913](https://brasilianafotografica.bn.gov.br/?p=18198) — Andrea Wanderley
+- **2020-02-28** — [Série “Carnavais de antigamente” V – Cenas da folia em Manaus em 1913](https://brasilianafotografica.bn.gov.br/?p=18254) — Andrea Wanderley
+- **2020-02-21** — [Série “Carnavais de antigamente” IV – As Camélias Japonesas no carnaval de Alagoas pelas lentes do fotógrafo amador Luiz Lavenère Wanderley (1868 – 1966)](https://brasilianafotografica.bn.gov.br/?p=17653) — Andrea Wanderley
+- **2020-02-14** — [Paquetá na Coleção Antônio Manoel de Mattos Vieira](https://brasilianafotografica.bn.gov.br/?p=16862) — Andrea Wanderley
+- **2020-02-07** — [Uma homenagem da Casa Granado ao casal imperial sob as lentes de Marc Ferrez](https://brasilianafotografica.bn.gov.br/?p=17884) — Andrea Wanderley
+- **2020-01-28** — [O Campo de Santana](https://brasilianafotografica.bn.gov.br/?p=17426) — Andrea Wanderley
+- **2020-01-21** — [A Igreja da Candelária, um dos prédios icônicos do Rio de Janeiro](https://brasilianafotografica.bn.gov.br/?p=16540) — Andrea Wanderley
+- **2020-01-16** — [A chegada do daguerreótipo no Brasil – os primeiros registros no Rio de Janeiro](https://brasilianafotografica.bn.gov.br/?p=17693) — Andrea Wanderley
+- **2020-01-07** — [Novos acervos: Museu Aeroespacial](https://brasilianafotografica.bn.gov.br/?p=17459) — Andrea Wanderley
+- **2019-12-26** — [Jorge Kfuri (1893 – 1965), autor das primeiras fotografias aéreas do Rio de Janeiro](https://brasilianafotografica.bn.gov.br/?p=16103) — Andrea Wanderley
+- **2019-12-20** — [Pelas fronteiras do Brasil](https://brasilianafotografica.bn.gov.br/?p=17506) — Andrea Wanderley
+- **2019-12-13** — [Os Augustos, Stahl e Riedel, e a imagem da cachoeira de Paulo Afonso](https://brasilianafotografica.bn.gov.br/?p=15970) — Andrea Wanderley
+- **2019-12-04** — [Celebrando o fotógrafo Marc Ferrez (1843 – 1923)](https://brasilianafotografica.bn.gov.br/?p=17539) — Andrea Wanderley
+- **2019-12-04** — [Série “Exposições” VI – Café Brasil: o Império na Exposição Internacional de Filadélfia](https://brasilianafotografica.bn.gov.br/?p=17283) — Andrea Wanderley
+- **2019-11-27** — [Pernambuco e a fotografia no século XIX](https://brasilianafotografica.bn.gov.br/?p=15822) — Andrea Wanderley
+- **2019-11-21** — [Registros em Lagoa Santa, Minas Gerais, relacionados ao naturalista Peter Wilhelm Lund (1801 – 1880)](https://brasilianafotografica.bn.gov.br/?p=15741) — Andrea Wanderley
+- **2019-11-20** — [Zumbi dos Palmares (Alagoas,1655 – Alagoas, 20 de novembro de 1695)](https://brasilianafotografica.bn.gov.br/?p=17370) — Andrea Wanderley
+- **2019-11-12** — [Série “O Rio de Janeiro desaparecido” IX – Estrada de Ferro Central do Brasil: estação e trilhos](https://brasilianafotografica.bn.gov.br/?p=16093) — Andrea Wanderley
+- **2019-11-06** — [A Colônia Dona Francisca, Joinville, por Louis Niemeyer](https://brasilianafotografica.bn.gov.br/?p=16283) — Andrea Wanderley
+- **2019-10-30** — [Oliveira Reis: o engenheiro-historiador do Rio de Janeiro e seu acervo iconográfico](https://brasilianafotografica.bn.gov.br/?p=16899) — Andrea Wanderley
+- **2019-10-14** — [Trilhos sobre a floresta: imagens da construção da E.F. Madeira-Mamoré](https://brasilianafotografica.bn.gov.br/?p=16710) — Andrea Wanderley
+- **2019-10-10** — [Novos acervos: Fundação Joaquim Nabuco](https://brasilianafotografica.bn.gov.br/?p=16353) — Andrea Wanderley
+- **2019-10-04** — [Ilha da Trindade: síntese histórica](https://brasilianafotografica.bn.gov.br/?p=16551) — Andrea Wanderley
+- **2019-09-30** — [As ruínas de Brás de Pina](https://brasilianafotografica.bn.gov.br/?p=16641) — Andrea Wanderley
+- **2019-09-23** — [No primeiro dia da primavera, o Mercado das Flores por Augusto Malta](https://brasilianafotografica.bn.gov.br/?p=15723) — Andrea Wanderley
+- **2019-09-13** — [O objeto de trabalho: Augusto Malta e sua câmera fotográfica](https://brasilianafotografica.bn.gov.br/?p=16496) — Andrea Wanderley
+- **2019-09-02** — [Imagens de Blumenau: por Bernardo Scheidemantel e em um álbum do início do século XX](https://brasilianafotografica.bn.gov.br/?p=16234) — Andrea Wanderley
+- **2019-08-26** — [Série “Os Diários Associados na Brasiliana Fotográfica” II – A Casa dos Artistas nos Diários Associados](https://brasilianafotografica.bn.gov.br/?p=14520) — Andrea Wanderley
+- **2019-08-19** — [Os 180 anos da invenção do daguerreótipo – Os álbuns da Comissão Geológica do Império com fotografias de Marc Ferrez](https://brasilianafotografica.bn.gov.br/?p=16435) — Andrea Wanderley
+- **2019-08-19** — [Os 180 anos do invento do daguerreótipo – Pequeno histórico e sua chegada no Brasil](https://brasilianafotografica.bn.gov.br/?p=16443) — Andrea Wanderley
+- **2019-08-09** — [O “descobrimento” do Forte do Príncipe da Beira: a expedição de 1913 do almirante José Carlos de Carvalho](https://brasilianafotografica.bn.gov.br/?p=16160) — Andrea Wanderley
+- **2019-08-02** — [O funeral de Teixeira Mendes pela lente de Augusto Malta](https://brasilianafotografica.bn.gov.br/?p=16066) — Andrea Wanderley
+- **2019-07-29** — [A princesa Isabel (RJ, 29 de julho de 1846 – Eu, 14 de novembro de 1921) pelas lentes de importantes fotógrafos do século XIX](https://brasilianafotografica.bn.gov.br/?p=16006) — Andrea Wanderley
+- **2019-07-22** — [O Arpoador, um dos cartões postais do Rio de Janeiro, por Jorge Kfuri e Baptista Vianna](https://brasilianafotografica.bn.gov.br/?p=15223) — Andrea Wanderley
+- **2019-07-15** — [A importância da digitalização para a pesquisa de acervos fotográficos](https://brasilianafotografica.bn.gov.br/?p=15261) — Andrea Wanderley
+- **2019-07-05** — [João Ferreira Villela, um dos primeiros fotógrafos pernambucanos](https://brasilianafotografica.bn.gov.br/?p=14863) — Andrea Wanderley
+- **2019-06-28** — [O Mosteiro de São Bento do Rio de Janeiro](https://brasilianafotografica.bn.gov.br/?p=14288) — Andrea Wanderley
+- **2019-06-24** — [Fotografia e ciência: eclipse solar, Marc Ferrez e Albert Einstein](https://brasilianafotografica.bn.gov.br/?p=14794) — Andrea Wanderley
+- **2019-06-14** — [A descoberta da doença de Chagas](https://brasilianafotografica.bn.gov.br/?p=15090) — Andrea Wanderley
+- **2019-06-05** — [A Floresta da Tijuca no Dia Mundial do Meio Ambiente](https://brasilianafotografica.bn.gov.br/?p=15070) — Andrea Wanderley
+- **2019-05-29** — [A estereoscopia e o olhar da modernidade](https://brasilianafotografica.bn.gov.br/?p=14719) — Andrea Wanderley
+- **2019-05-24** — [O café sob a lente de vários fotógrafos](https://brasilianafotografica.bn.gov.br/?p=14254) — Andrea Wanderley
+- **2019-05-13** — [Retratos de escravizados pelo fotógrafo Christiano Junior (1832 – 1902)](https://brasilianafotografica.bn.gov.br/?p=14617) — Andrea Wanderley
+- **2019-05-07** — [Nudez na Galeria Ducasble causa polêmica no Recife do século XIX](https://brasilianafotografica.bn.gov.br/?p=14299) — Andrea Wanderley
+- **2019-04-30** — [Série “O Rio de Janeiro desaparecido” VIII – A demolição do Morro do Castelo](https://brasilianafotografica.bn.gov.br/?p=14030) — Andrea Wanderley
+- **2019-04-24** — [O cotidiano de Manguinhos](https://brasilianafotografica.bn.gov.br/?p=8707) — Andrea Wanderley
+- **2019-04-15** — [O bairro de São Cristóvão](https://brasilianafotografica.bn.gov.br/?p=13670) — Andrea Wanderley
+- **2019-04-05** — [Pereira Passos e Marc Ferrez: engenharia e fotografia para o desenvolvimento das ferrovias](https://brasilianafotografica.bn.gov.br/?p=14387) — Andrea Wanderley
+- **2019-03-28** — [A bela Ilha de Paquetá](https://brasilianafotografica.bn.gov.br/?p=13932) — Andrea Wanderley
+- **2019-03-14** — [As expedições do Instituto Oswaldo Cruz entre 1911 e 1913](https://brasilianafotografica.bn.gov.br/?p=13880) — Andrea Wanderley
+- **2019-03-01** — [A cidade como Arquivo, o Arquivo da Cidade](https://brasilianafotografica.bn.gov.br/?p=14156) — Andrea Wanderley
+- **2019-03-01** — [O Rio de Janeiro de Juan Gutierrez](https://brasilianafotografica.bn.gov.br/?p=14095) — Andrea Wanderley
+- **2019-02-21** — [Dia Nacional do Imigrante Italiano](https://brasilianafotografica.bn.gov.br/?p=13651) — Andrea Wanderley
+- **2019-02-15** — [A Galeria dos condenados por Lilia Schwarcz](https://brasilianafotografica.bn.gov.br/?p=13027) — Andrea Wanderley
+- **2019-02-05** — [Série “O Rio de Janeiro desaparecido” VII – O Morro de Santo Antônio na Casa de Oswaldo Cruz](https://brasilianafotografica.bn.gov.br/?p=13719) — Andrea Wanderley
+- **2019-01-25** — [Os aeronautas portugueses Gago Coutinho e Sacadura Cabral no Brasil, em 1922](https://brasilianafotografica.bn.gov.br/?p=13038) — Andrea Wanderley
+- **2019-01-18** — [Carlos Bippus e as paisagens cariocas](https://brasilianafotografica.bn.gov.br/?p=13091) — Andrea Wanderley
+- **2019-01-11** — [João Pedro ou João Pedroso?](https://brasilianafotografica.bn.gov.br/?p=13446) — Andrea Wanderley
+- **2019-01-04** — [O que fica de fora, por João Moreira Salles](https://brasilianafotografica.bn.gov.br/?p=13747) — Andrea Wanderley
+- **2018-12-28** — [As versões diurna e noturna na fotografia de Revert Henrique Klumb](https://brasilianafotografica.bn.gov.br/?p=13148) — Andrea Wanderley
+- **2018-12-21** — [Instituto Nacional de Infectologia Evandro Chagas: centenário da construção da pesquisa clínica em Manguinhos](https://brasilianafotografica.bn.gov.br/?p=13693) — Andrea Wanderley
+- **2018-12-14** — [Novos acervos: Museu Histórico Nacional](https://brasilianafotografica.bn.gov.br/?p=13474) — Andrea Wanderley
+- **2018-12-07** — [Uma homenagem aos 175 anos de Marc Ferrez (7 de dezembro de 1843 – 12 de janeiro de 1923)](https://brasilianafotografica.bn.gov.br/?p=13070) — Andrea Wanderley
+- **2018-11-27** — [Instituto Nacional de Infectologia Evandro Chagas 100 anos: Carlos e Evandro Chagas em retratos de família](https://brasilianafotografica.bn.gov.br/?p=13402) — Andrea Wanderley
+- **2018-11-13** — [Série “Conflitos” V – Registros raros da participação militar brasileira na I Guerra Mundial](https://brasilianafotografica.bn.gov.br/?p=13297) — Andrea Wanderley
+- **2018-11-01** — [PHOTO FINISHED – A preservação, ou não, de fotografias digitais](https://brasilianafotografica.bn.gov.br/?p=13350) — Andrea Wanderley
+- **2018-10-26** — [Instituto Nacional de Infectologia Evandro Chagas: 100 anos de pesquisa clínica](https://brasilianafotografica.bn.gov.br/?p=13276) — Andrea Wanderley
+- **2018-10-19** — [A prisão do fotógrafo e aviador britânico S.H. Holland (1883 – 1936) no Rio de Janeiro, em 1930](https://brasilianafotografica.bn.gov.br/?p=12930) — Andrea Wanderley
+- **2018-10-11** — [O Parque Lage no Rio de Janeiro](https://brasilianafotografica.bn.gov.br/?p=12917) — Andrea Wanderley
+- **2018-10-05** — [A Escola de Aprendizes-Marinheiros do Ceará](https://brasilianafotografica.bn.gov.br/?p=13194) — Andrea Wanderley
+- **2018-09-28** — [O sanitarista Belisário Penna (1868-1939), um dos protagonistas da história da saúde pública no Brasil](https://brasilianafotografica.bn.gov.br/?p=12777) — Andrea Wanderley
+- **2018-09-21** — [O fotógrafo açoriano Christiano Junior (1832 – 1902) e sua importante atuação no Brasil e na Argentina](https://brasilianafotografica.bn.gov.br/?p=11149) — Andrea Wanderley
+- **2018-09-12** — [Série “O Rio de Janeiro desaparecido” VI – O primeiro Palácio da Prefeitura Municipal do Rio de Janeiro](https://brasilianafotografica.bn.gov.br/?p=12632) — Andrea Wanderley
+- **2018-09-05** — [Lunara (1864 – 1937), um fotógrafo amador e fotoclubista de Porto Alegre](https://brasilianafotografica.bn.gov.br/?p=12264) — Andrea Wanderley
+- **2018-09-03** — [O Museu Nacional](https://brasilianafotografica.bn.gov.br/?p=12889) — Andrea Wanderley
+- **2018-08-24** — [Bares e restaurantes das primeiras décadas do século XX](https://brasilianafotografica.bn.gov.br/?p=11644) — Andrea Wanderley
+- **2018-08-17** — [Vacinação no Brasil, uma história centenária](https://brasilianafotografica.bn.gov.br/?p=12743) — Andrea Wanderley
+- **2018-08-10** — [A Igreja de Nossa Senhora da Glória do Outeiro por Cássio Loredano](https://brasilianafotografica.bn.gov.br/?p=12654) — Andrea Wanderley
+- **2018-08-03** — [De 453 anos de documentos a 125 anos de trajetória: as origens do Arquivo Geral da Cidade do Rio de Janeiro](https://brasilianafotografica.bn.gov.br/?p=12752) — Andrea Wanderley
+- **2018-07-27** — [Série “Exposições” V – Paris, 1889: o álbum do Brasil na exposição universal](https://brasilianafotografica.bn.gov.br/?p=12604) — Andrea Wanderley
+- **2018-07-20** — [Série “O Rio de Janeiro desaparecido” V – O quiosque Chopp Berrante no Passeio Público, Ferrez, Malta e Charles Dunlop](https://brasilianafotografica.bn.gov.br/?p=11212) — Andrea Wanderley
+- **2018-07-13** — [A Praça da Bandeira pelas lentes de Augusto Malta (1864 – 1957)](https://brasilianafotografica.bn.gov.br/?p=12569) — Andrea Wanderley
+- **2018-07-05** — [A cientista Marie Curie (1867 – 1934) no Museu Nacional, Rio de Janeiro, 1926](https://brasilianafotografica.bn.gov.br/?p=11797) — Andrea Wanderley
+- **2018-06-29** — [Série “Exposições” IV – Marc Ferrez, a Comissão Geológica do Império (1875 – 1878) e a Exposição Antropológica Brasileira no Museu Nacional (1882)](https://brasilianafotografica.bn.gov.br/?p=11896) — Andrea Wanderley
+- **2018-06-21** — [A criação de uma vacina para a peste da manqueira, um marco na história da veterinária brasileira e mundial](https://brasilianafotografica.bn.gov.br/?p=10646) — Andrea Wanderley
+- **2018-06-12** — [Fotografia e namoro](https://brasilianafotografica.bn.gov.br/?p=11605) — Andrea Wanderley
+- **2018-06-06** — [Os Arcos da Lapa e os bondes de Santa Teresa](https://brasilianafotografica.bn.gov.br/?p=11127) — Andrea Wanderley
+- **2018-05-30** — [Série “Os Diários Associados na Brasiliana Fotográfica” I](https://brasilianafotografica.bn.gov.br/?p=12306) — Andrea Wanderley
+- **2018-05-25** — [A primeira passagem do Graf Zeppelin pelo Rio de Janeiro, em 1930, e registros de outras viagens](https://brasilianafotografica.bn.gov.br/?p=12075) — Andrea Wanderley
+- **2018-05-15** — [100 anos do Castelo da Fiocruz: criador e criatura](https://brasilianafotografica.bn.gov.br/?p=11758) — Andrea Wanderley
+- **2018-05-11** — [A Brasiliana Fotográfica, o Dia da Abolição da Escravatura e Machado de Assis na Missa Campal](https://brasilianafotografica.bn.gov.br/?p=12179) — Andrea Wanderley
+- **2018-05-04** — [Gastão de Orleáns, o conde d´Eu ( Neuilly-sur-Seine, 28/04/1842 – Oceano Atlântico 28/08/1922)](https://brasilianafotografica.bn.gov.br/?p=29549) — Andrea Wanderley
+- **2018-04-26** — [O uso da fotografia na defesa do Serviço de Proteção aos Índios no início da década de 30](https://brasilianafotografica.bn.gov.br/?p=11970) — Andrea Wanderley
+- **2018-04-19** — [O indígena no acervo da Brasiliana Fotográfica](https://brasilianafotografica.bn.gov.br/?p=11371) — Andrea Wanderley
+- **2018-04-12** — [100 anos do Castelo da Fiocruz: os pedreiros do Castelo da Avenida Brasil](https://brasilianafotografica.bn.gov.br/?p=11558) — Andrea Wanderley
+- **2018-04-05** — [Série “Exposições” III e Série “O Rio de Janeiro desaparecido” II – A Exposição Nacional de 1908 na Coleção Família Passos](https://brasilianafotografica.bn.gov.br/?p=11621) — Andrea Wanderley
+- **2018-03-29** — [Série “Exposições” II – A festa do progresso: o Brasil na Exposição Continental, Buenos Aires, 1882](https://brasilianafotografica.bn.gov.br/?p=11486) — Andrea Wanderley
+- **2018-03-23** — [Febre amarela: imagens da produção da vacina no início do século XX](https://brasilianafotografica.bn.gov.br/?p=11509) — Andrea Wanderley
+- **2018-03-15** — [A Praça XV na coleção Família Passos](https://brasilianafotografica.bn.gov.br/?p=11354) — Andrea Wanderley
+- **2018-03-07** — [O francês Hercule Florence (1804 – 1879), inventor de um dos primeiros métodos de fotografia do mundo](https://brasilianafotografica.bn.gov.br/?p=10341) — Andrea Wanderley
+- **2018-02-28** — [100 anos do Castelo da Fiocruz: a ocupação da Fazenda de Manguinhos](https://brasilianafotografica.bn.gov.br/?p=11321) — Andrea Wanderley
+- **2018-02-19** — [Série “Carnavais de antigamente” III – A Batalha de Flores](https://brasilianafotografica.bn.gov.br/?p=10905) — Andrea Wanderley
+- **2018-02-09** — [Série “Carnavais de antigamente” II – O carnaval do Cordão da Bola Preta](https://brasilianafotografica.bn.gov.br/?p=10849) — Andrea Wanderley
+- **2018-02-02** — [O fotógrafo, botânico e naturalista alemão George Huebner (1862 – 1935)](https://brasilianafotografica.bn.gov.br/?p=10959) — Andrea Wanderley
+- **2018-01-26** — [A cidade de Santos pelas lentes de Militão Augusto de Azevedo (1837 – 1905)](https://brasilianafotografica.bn.gov.br/?p=10251) — Andrea Wanderley
+- **2018-01-19** — [Manguinhos e a cidade do Rio de Janeiro](https://brasilianafotografica.bn.gov.br/?p=8703) — Andrea Wanderley
+- **2018-01-16** — [A construção da Madeira-Mamoré, a “Ferrovia da Morte”, pelas lentes de Dana B. Merrill (c. 1887 – 19?)](https://brasilianafotografica.bn.gov.br/?p=10460) — Andrea Wanderley
+- **2018-01-08** — [Dia Nacional do Fotógrafo](https://brasilianafotografica.bn.gov.br/?p=10998) — Andrea Wanderley
+- **2018-01-02** — [Arquivo Nacional: os 180 anos](https://brasilianafotografica.bn.gov.br/?p=11041) — Andrea Wanderley
+- **2017-12-28** — [O cientista Oswaldo Cruz (1872 – 1917), prefeito de Petrópolis](https://brasilianafotografica.bn.gov.br/?p=10762) — Andrea Wanderley
+- **2017-12-21** — [Série “Hotéis do Brasil” II – O Hotel Glória – antes e depois](https://brasilianafotografica.bn.gov.br/?p=10242) — Andrea Wanderley
+- **2017-12-18** — [O Cruzador Almirante Tamandaré](https://brasilianafotografica.bn.gov.br/?p=10694) — Andrea Wanderley
+- **2017-12-11** — [O pintor Rodolfo Amoedo (1857 – 1941) no Álbum de artistas, doado à Biblioteca Nacional por M. Nogueira da Silva](https://brasilianafotografica.bn.gov.br/?p=10169) — Andrea Wanderley
+- **2017-11-30** — [O fotógrafo português José Ferreira Guimarães (1841 – 30/01/1924)](https://brasilianafotografica.bn.gov.br/?p=9996) — Andrea Wanderley
+- **2017-11-22** — [A fundação de Niterói](https://brasilianafotografica.bn.gov.br/?p=10061) — Andrea Wanderley
+- **2017-11-16** — [O fotógrafo Joaquim Pinto da Silva, o J. Pinto (1884-1951) e a Fundação Oswaldo Cruz](https://brasilianafotografica.bn.gov.br/?p=10616) — Andrea Wanderley
+- **2017-11-08** — [A Pedra da Gávea](https://brasilianafotografica.bn.gov.br/?p=10047) — Andrea Wanderley
+- **2017-10-30** — [O fotógrafo português Francisco du Bocage (14/04/1860 – 22/10/1919)](https://brasilianafotografica.bn.gov.br/?p=9800) — Andrea Wanderley
+- **2017-10-19** — [Aquedutos do Rio de Janeiro](https://brasilianafotografica.bn.gov.br/?p=9688) — Andrea Wanderley
+- **2017-10-09** — [Manguinhos e os sertões](https://brasilianafotografica.bn.gov.br/?p=8684) — Andrea Wanderley
+- **2017-10-06** — [Parceiros e fundadores da Brasiliana Fotográfica no Programa Memória do Mundo da UNESCO](https://brasilianafotografica.bn.gov.br/?p=10524) — Andrea Wanderley
+- **2017-09-28** — [O fotógrafo austríaco Otto Rudolf Quaas e o construtor Ramos de Azevedo](https://brasilianafotografica.bn.gov.br/?p=9866) — Andrea Wanderley
+- **2017-09-22** — [No primeiro dia da primavera, as cores de Marc Ferrez (1843 – 1923)](https://brasilianafotografica.bn.gov.br/?p=9714) — Andrea Wanderley
+- **2017-09-15** — [Novos acervos: Museu da República](https://brasilianafotografica.bn.gov.br/?p=8414) — Andrea Wanderley
+- **2017-09-08** — [A fundação de São Luís do Maranhão](https://brasilianafotografica.bn.gov.br/?p=9679) — Andrea Wanderley
+- **2017-08-30** — [Novos acervos: Casa de Oswaldo Cruz / Fiocruz](https://brasilianafotografica.bn.gov.br/?p=8499) — Andrea Wanderley
+- **2017-08-22** — [O cronista visual de Diamantina: Chichico Alkmim, fotógrafo (1886 – 1978)](https://brasilianafotografica.bn.gov.br/?p=8890) — Andrea Wanderley
+- **2017-08-17** — [Série “Exposições” I – O pintor Victor Meirelles e a fotografia na II Exposição Nacional de 1866](https://brasilianafotografica.bn.gov.br/?p=9392) — Andrea Wanderley
+- **2017-08-08** — [Memória das lutas feministas](https://brasilianafotografica.bn.gov.br/?p=9787) — Andrea Wanderley
+- **2017-07-28** — [Série “Conflitos” IV – Lampião e outros cangaceiros sob as lentes de Benjamin Abrahão](https://brasilianafotografica.bn.gov.br/?p=9527) — Andrea Wanderley
+- **2017-07-23** — [O inventor Alberto Santos Dumont (1873 – 1932) pelo fotógrafo Jorge Kfuri (1893 – 1965)](https://brasilianafotografica.bn.gov.br/?p=8540) — Andrea Wanderley
+- **2017-07-14** — [Série “Teatros e cinemas do Brasil” III – A inauguração do Theatro Municipal do Rio de Janeiro](https://brasilianafotografica.bn.gov.br/?p=9445) — Andrea Wanderley
+- **2017-07-04** — [Inauguração da Estátua da Amizade em 4 de julho de 1931](https://brasilianafotografica.bn.gov.br/?p=8553) — Andrea Wanderley
+- **2017-06-29** — [“Sete de Setembro: uma ponte entre dois maurícios”, por Pedro Vasquez](https://brasilianafotografica.bn.gov.br/?p=9008) — Andrea Wanderley
+- **2017-06-23** — [Série “O Rio de Janeiro desaparecido” IV – A via elevada da Perimetral](https://brasilianafotografica.bn.gov.br/?p=9138) — Andrea Wanderley
+- **2017-06-19** — [Um fotógrafo inglês na Bahia: Benjamin Robert Mulock (18/06/1829 – 17/06/1863)](https://brasilianafotografica.bn.gov.br/?p=8946) — Andrea Wanderley
+- **2017-06-11** — [Data Magna da Marinha do Brasil](https://brasilianafotografica.bn.gov.br/?p=8972) — Andrea Wanderley
+- **2017-06-05** — [A foto em foco](https://brasilianafotografica.bn.gov.br/?p=9042) — Vinicius Martins
+- **2017-05-30** — [Abram-Louis Buvelot (Suíça, 03/03/1814 – Austrália, 30/05/1888)](https://brasilianafotografica.bn.gov.br/?p=8290) — Andrea Wanderley
+- **2017-05-23** — [Os índios sob as lentes de Walter Garbe, em 1909](https://brasilianafotografica.bn.gov.br/?p=8567) — Andrea Wanderley
+- **2017-05-17** — [Missa Campal de 17 de maio de 1888 – Mais identificações](https://brasilianafotografica.bn.gov.br/?p=8222) — Andrea Wanderley
+- **2017-05-15** — [Dia das Mães](https://brasilianafotografica.bn.gov.br/?p=8448) — Andrea Wanderley
+- **2017-05-03** — [Becos cariocas](https://brasilianafotografica.bn.gov.br/?p=7603) — Andrea Wanderley
+- **2017-04-20** — [Novos acervos: Arquivo Nacional](https://brasilianafotografica.bn.gov.br/?p=8204) — Andrea Wanderley
+- **2017-04-17** — [Brasiliana Fotográfica: dois anos](https://brasilianafotografica.bn.gov.br/?p=5219) — Andrea Wanderley
+- **2017-04-10** — [Série “Conflitos” III – Registros da Guerra do Paraguai (1864 – 1870)](https://brasilianafotografica.bn.gov.br/?p=8034) — Andrea Wanderley
+- **2017-03-30** — [Inauguração da estátua equestre de dom Pedro I, na atual Praça Tiradentes](https://brasilianafotografica.bn.gov.br/?p=7629) — Andrea Wanderley
+- **2017-03-21** — [Os trinta Valérios, uma fotografia bem-humorada de Valério Vieira (1862 – 1941)](https://brasilianafotografica.bn.gov.br/?p=7661) — Andrea Wanderley
+- **2017-03-10** — [O prefeito Pereira Passos (1836 – 1913) e o fotógrafo Augusto Malta (1864 -1957)](https://brasilianafotografica.bn.gov.br/?p=7566) — Andrea Wanderley
+- **2017-03-01** — [Uma homenagem aos 452 anos do Rio de Janeiro: o Corcovado e o Pão de Açúcar](https://brasilianafotografica.bn.gov.br/?p=7530) — Andrea Wanderley
+- **2017-02-22** — [O carnaval nas primeiras décadas do século XX](https://brasilianafotografica.bn.gov.br/?p=7777) — Andrea Wanderley
+- **2017-02-16** — [O Navio-Escola Benjamin Constant](https://brasilianafotografica.bn.gov.br/?p=7817) — Andrea Wanderley
+- **2017-02-10** — [O barão do Rio Branco (1845 – 1912) e o Álbum de vistas do Brasil (1889)](https://brasilianafotografica.bn.gov.br/?p=7462) — Andrea Wanderley
+- **2017-01-31** — [O Passeio Público do Rio de Janeiro](https://brasilianafotografica.bn.gov.br/?p=7080) — Andrea Wanderley
+- **2017-01-25** — [São Paulo sob as lentes do fotógrafo Guilherme Gaensly (1843 – 1928)](https://brasilianafotografica.bn.gov.br/?p=7260) — Andrea Wanderley
+- **2017-01-16** — [A Gruta da Imprensa](https://brasilianafotografica.bn.gov.br/?p=7199) — Andrea Wanderley
+- **2017-01-09** — [O centenário do Dia do Fico pelo fotógrafo Augusto Malta](https://brasilianafotografica.bn.gov.br/?p=7087) — Andrea Wanderley
+- **2016-12-27** — [A imperatriz Teresa Cristina Maria, a mãe dos brasileiros (Itália, 14/03/1822 – Portugal, 28/12/1889)](https://brasilianafotografica.bn.gov.br/?p=6798) — Andrea Wanderley
+- **2016-12-19** — [Do natural ao construído: O Rio de Janeiro na fotografia de Marc Ferrez](https://brasilianafotografica.bn.gov.br/?p=7021) — Andrea Wanderley
+- **2016-12-07** — [O brilhante cronista visual Marc Ferrez (RJ, 07/12/1843 – RJ, 12/01/1923)](https://brasilianafotografica.bn.gov.br/?p=13570) — Andrea Wanderley
+- **2016-12-02** — [Dom Pedro II ( RJ, 2/12/1825 – Paris, 5/12/1891), um entusiasta da fotografia](https://brasilianafotografica.bn.gov.br/?p=7183) — Andrea Wanderley
+- **2016-11-25** — [A beleza das baianas na fotografia do século XIX no Brasil](https://brasilianafotografica.bn.gov.br/?p=7057) — Andrea Wanderley
+- **2016-11-19** — [Dia da Bandeira do Brasil](https://brasilianafotografica.bn.gov.br/?p=6252) — Andrea Wanderley
+- **2016-11-09** — [Série “O Rio de Janeiro desaparecido” III – O Palácio Monroe](https://brasilianafotografica.bn.gov.br/?p=6248) — Andrea Wanderley
+- **2016-10-30** — [O fotógrafo Augusto Stahl (Itália 23/05/1828 – França, 30/10/1877)](https://brasilianafotografica.bn.gov.br/?p=6150) — Andrea Wanderley
+- **2016-10-23** — [Para uma história da Fotografia Médica, no Brasil](https://brasilianafotografica.bn.gov.br/?p=6720) — Vinicius Martins
+- **2016-10-14** — [O retratista português Joaquim Insley Pacheco (31 de março de 1830 – 14 de outubro de 1912)](https://brasilianafotografica.bn.gov.br/?p=6048) — Andrea Wanderley
+- **2016-10-03** — [O Palácio Real de São Cristóvão](https://brasilianafotografica.bn.gov.br/?p=6330) — Andrea Wanderley
+- **2016-09-26** — [A viagem dos reis da Bélgica ao Brasil sob as lentes de Guilherme Santos](https://brasilianafotografica.bn.gov.br/?p=5950) — Andrea Wanderley
+- **2016-09-19** — [Viagens do Encouraçado São Paulo conduzindo os reis belgas em visita oficial ao Brasil, em 1920](https://brasilianafotografica.bn.gov.br/?p=6123) — Andrea Wanderley
+- **2016-09-07** — [Série “Avenidas e ruas do Brasil” I – Avenida Central, atual Rio Branco](https://brasilianafotografica.bn.gov.br/?p=5880) — Andrea Wanderley
+- **2016-08-31** — [Revert Henrique Klumb, o fotógrafo da família real do Brasil](https://brasilianafotografica.bn.gov.br/?p=5809) — Andrea Wanderley
+- **2016-08-23** — [O Palácio Imperial de Petrópolis](https://brasilianafotografica.bn.gov.br/?p=5754) — Andrea Wanderley
+- **2016-08-14** — [Dia dos Pais](https://brasilianafotografica.bn.gov.br/?p=5708) — Andrea Wanderley
+- **2016-08-05** — [A fundação de João Pessoa](https://brasilianafotografica.bn.gov.br/?p=5734) — Andrea Wanderley
+- **2016-07-28** — [O fotógrafo amador Guilherme Santos (1871 – 1966)](https://brasilianafotografica.bn.gov.br/?p=5545) — Andrea Wanderley
+- **2016-07-19** — [Dia Nacional do Futebol](https://brasilianafotografica.bn.gov.br/?p=5695) — Andrea Wanderley
+- **2016-07-13** — [O fotógrafo paisagista Camillo Vedani (18?, Itália – 1888, Brasil)](https://brasilianafotografica.bn.gov.br/?p=5382) — Andrea Wanderley
+- **2016-07-06** — [A fundação de Copacabana](https://brasilianafotografica.bn.gov.br/?p=5453) — Andrea Wanderley
+- **2016-06-28** — [O fotógrafo Juan Gutierrez de Padilla (c. 1860 – 28/6/1897)](https://brasilianafotografica.bn.gov.br/?p=5398) — Andrea Wanderley
+- **2016-06-24** — [O Paço, a praça e o morro](https://brasilianafotografica.bn.gov.br/?p=5365) — Andrea Wanderley
+- **2016-06-13** — [A criação do Jardim Botânico do Rio de Janeiro](https://brasilianafotografica.bn.gov.br/?p=5290) — Andrea Wanderley
+- **2016-06-07** — [Novos acervos: Diretoria do Patrimônio Histórico e Documentação da Marinha](https://brasilianafotografica.bn.gov.br/?p=5002) — Andrea Wanderley
+- **2016-05-31** — [Notícia da viagem do fotógrafo Albert Frisch (31/05/1840 – 30/05/1918) à Amazônia](https://brasilianafotografica.bn.gov.br/?p=5045) — Andrea Wanderley
+- **2016-05-14** — [Real Gabinete Português de Leitura](https://brasilianafotografica.bn.gov.br/?p=5104) — Andrea Wanderley
+- **2016-05-08** — [Dia das Mães](https://brasilianafotografica.bn.gov.br/?p=5089) — Andrea Wanderley
+- **2016-04-30** — [Dia do Ferroviário](https://brasilianafotografica.bn.gov.br/?p=5252) — Andrea Wanderley
+- **2016-04-26** — [Ipanema pelas lentes de José Baptista Barreira Vianna (1860 – 1925)](https://brasilianafotografica.bn.gov.br/?p=4924) — Andrea Wanderley
+- **2016-04-17** — [Desafios e alternativas para a preservação digital](https://brasilianafotografica.bn.gov.br/?p=5008) — Andrea Wanderley
+- **2016-04-11** — [Novos acervos: Arquivo Geral da Cidade do Rio de Janeiro](https://brasilianafotografica.bn.gov.br/?p=4991) — Andrea Wanderley
+- **2016-04-04** — [Novos acervos: Leibniz-Institut fuer Laenderkunde, Leipzig](https://brasilianafotografica.bn.gov.br/?p=4975) — Andrea Wanderley
+- **2016-03-29** — [A fundação de Salvador](https://brasilianafotografica.bn.gov.br/?p=4742) — Andrea Wanderley
+- **2016-03-21** — [Série “Teatros e cinemas do Brasil” II – Os teatros do Brasil](https://brasilianafotografica.bn.gov.br/?p=4748) — Andrea Wanderley
+- **2016-03-12** — [A fundação do Recife](https://brasilianafotografica.bn.gov.br/?p=4622) — Andrea Wanderley
+- **2016-03-06** — [Diamantina, Chichico Alkmim (1886 – 1978) e Carlos Drummond de Andrade  (1902 – 1987)](https://brasilianafotografica.bn.gov.br/?p=4493) — Andrea Wanderley
+- **2016-03-01** — [A fundação do Rio de Janeiro](https://brasilianafotografica.bn.gov.br/?p=4812) — Andrea Wanderley
+- **2016-02-26** — [Série “Teatros e cinemas do Brasil” I e Série “O Rio de Janeiro desaparecido” I – Salas de cinema do Rio de Janeiro do início do século XX](https://brasilianafotografica.bn.gov.br/?p=4787) — Andrea Wanderley
+- **2016-02-22** — [Os fortes do Brasil](https://brasilianafotografica.bn.gov.br/?p=4382) — Andrea Wanderley
+- **2016-02-15** — [As cachoeiras do Brasil](https://brasilianafotografica.bn.gov.br/?p=4032) — Andrea Wanderley
+- **2016-02-05** — [Série “Carnavais de antigamente” I – O carnaval nas primeiras décadas do século XX](https://brasilianafotografica.bn.gov.br/?p=4376) — Andrea Wanderley
+- **2016-01-31** — [O suicídio do fotógrafo Felipe Augusto Fidanza (1844 – 1903)](https://brasilianafotografica.bn.gov.br/?p=4274) — Andrea Wanderley
+- **2016-01-25** — [Obras para o abastecimento de água no Rio de Janeiro por Marc Ferrez](https://brasilianafotografica.bn.gov.br/?p=3527) — Andrea Wanderley
+- **2016-01-15** — [O fotógrafo francês Jean Victor Frond (1821 – 1881) e o “Brasil Pitoresco”](https://brasilianafotografica.bn.gov.br/?p=3885) — Andrea Wanderley
+- **2016-01-08** — [Dia Nacional do Fotógrafo](https://brasilianafotografica.bn.gov.br/?p=4400) — Andrea Wanderley
+- **2016-01-05** — [Cartões de visita – cartes de visite](https://brasilianafotografica.bn.gov.br/?p=3873) — Andrea Wanderley
+- **2015-12-28** — [Igrejas no Brasil](https://brasilianafotografica.bn.gov.br/?p=3515) — Andrea Wanderley
+- **2015-12-22** — [Início do verão – as praias do Brasil](https://brasilianafotografica.bn.gov.br/?p=3843) — Andrea Wanderley
+- **2015-12-15** — [Panorama circular do Rio de Janeiro, visível do Morro de Santo Antônio](https://brasilianafotografica.bn.gov.br/?p=4178) — Vinicius Martins
+- **2015-12-02** — [Dom Pedro II ( RJ, 2/12/1825 – Paris, 5/12/1891), um entusiasta da fotografia](https://brasilianafotografica.bn.gov.br/?p=3098) — Andrea Wanderley
+- **2015-11-19** — [Zumbi dos Palmares (Alagoas,1655 – Alagoas, 20 de novembro de 1695)](https://brasilianafotografica.bn.gov.br/?p=3578) — Andrea Wanderley
+- **2015-11-13** — [Imagens do Espírito Santo por Albert Richard Dietze (Alemanha, 1838 – Brasil, 1906)](https://brasilianafotografica.bn.gov.br/?p=2945) — Andrea Wanderley
+- **2015-11-05** — [Série “Hotéis do Brasil” I – Hotéis do século XIX e do início do século XX no Brasil](https://brasilianafotografica.bn.gov.br/?p=2950) — Andrea Wanderley
+- **2015-10-29** — [“Complemento indispensável…](https://brasilianafotografica.bn.gov.br/?p=3688) — Vinicius Martins
+- **2015-10-24** — [O editor e fotógrafo suíço Georges Leuzinger (1813 – 1892)](https://brasilianafotografica.bn.gov.br/?p=2492) — Vinicius Martins
+- **2015-10-17** — [O pintor Antonio Parreiras (20/01/1860, Niterói, RJ – 17/10/1937, Niterói, RJ)](https://brasilianafotografica.bn.gov.br/?p=2490) — Vinicius Martins
+- **2015-10-12** — [A inauguração do Cristo Redentor, em 12 de outubro de 1931](https://brasilianafotografica.bn.gov.br/?p=2602) — Andrea Wanderley
+- **2015-10-05** — [Série “Conflitos” II – Guerra de Canudos pelo fotógrafo Flavio de Barros](https://brasilianafotografica.bn.gov.br/?p=3002) — Andrea Wanderley
+- **2015-09-22** — [Alagoas, Bahia, Minas Gerais e Sergipe por Augusto Riedel (1836 -?)](https://brasilianafotografica.bn.gov.br/?p=2415) — Andrea Wanderley
+- **2015-09-14** — [Aracaju – 160 anos de fundação](https://brasilianafotografica.bn.gov.br/?p=2419) — Andrea Wanderley
+- **2015-09-06** — [Série “Conflitos” I – A Revolta da Armada](https://brasilianafotografica.bn.gov.br/?p=2375) — Andrea Wanderley
+- **2015-08-28** — [O comércio no século XIX e nas primeiras décadas do século XX](https://brasilianafotografica.bn.gov.br/?p=2257) — Andrea Wanderley
+- **2015-08-19** — [Dia Mundial da Fotografia – 19 de agosto](https://brasilianafotografica.bn.gov.br/?p=44908) — Andrea Wanderley
+- **2015-08-12** — [Bairros do Rio](https://brasilianafotografica.bn.gov.br/?p=2040) — Roberta Zanatta
+- **2015-08-05** — [Vincenzo Pastore, um fotógrafo entre dois mundos (Casamassima, Itália 5 de agosto de 1865 – São Paulo, Brasil 15 de janeiro de 1918)](https://brasilianafotografica.bn.gov.br/?p=1379) — Andrea Wanderley
+- **2015-07-21** — [Princesa Isabel (RJ, 29 de julho de 1846 – Eu,14 de novembro de 1921)](https://brasilianafotografica.bn.gov.br/?p=1797) — Andrea Wanderley
+- **2015-07-12** — [Marco no fotojornalimo brasileiro: a seca no Ceará é documentada com fotografias](https://brasilianafotografica.bn.gov.br/?p=1499) — Andrea Wanderley
+- **2015-07-10** — [O alagoano Augusto Malta, fotógrafo oficial do Rio de Janeiro entre 1903 e 1936](https://brasilianafotografica.bn.gov.br/?p=1322) — Andrea Wanderley
+- **2015-06-30** — [O Rio de Janeiro de Marc Ferrez](https://brasilianafotografica.bn.gov.br/?p=1443) — Andrea Wanderley
+- **2015-06-17** — [Florence, autor do mais antigo registro fotográfico existente nas Américas](https://brasilianafotografica.bn.gov.br/?p=1243) — Andrea Wanderley
+- **2015-06-13** — [O alemão Alberto Henschel (1827 – 1882), o empresário da fotografia](https://brasilianafotografica.bn.gov.br/?p=1138) — Andrea Wanderley
+- **2015-06-02** — [Missa Campal de 17 de maio de 1888 – Novas identificações](https://brasilianafotografica.bn.gov.br/?p=871) — Andrea Wanderley
+- **2015-05-29** — [Machado de Assis vai à missa](https://brasilianafotografica.bn.gov.br/?p=915) — Andrea Wanderley
+- **2015-05-24** — [Militão Augusto de Azevedo (1837 – 1905) e sua obra-prima, o “Álbum comparativo da cidade de São Paulo 1862-1887″](https://brasilianafotografica.bn.gov.br/?p=705) — Andrea Wanderley
+- **2015-05-17** — [Missa Campal de 17 de maio de 1888](https://brasilianafotografica.bn.gov.br/?p=528) — Andrea Wanderley
+- **2015-05-13** — [Dia da Abolição da Escravatura](https://brasilianafotografica.bn.gov.br/?p=520) — Andrea Wanderley
+- **2015-05-01** — [Dia do Trabalho](https://brasilianafotografica.bn.gov.br/?p=401) — Andrea Wanderley
+- **2015-04-16** — [Retratos](https://brasilianafotografica.bn.gov.br/?p=147) — Vinicius Martins
+- **2015-04-16** — [Cenas de rua: da paisagem arquitetônica à paisagem social e humana](https://brasilianafotografica.bn.gov.br/?p=145) — Vinicius Martins
+- **2015-04-16** — [Para uma história social da reprodução fotomecânica](https://brasilianafotografica.bn.gov.br/?p=136) — Vinicius Martins
diff --git a/MANIFEST.md b/MANIFEST.md
new file mode 100644
index 0000000..7f03d8c
--- /dev/null
+++ b/MANIFEST.md
@@ -0,0 +1,166 @@
+# MANIFEST — Brasiliana Fotográfica → S3
+
+> **Rascunho, gerado em 2026-09-10.** Os pipelines de download ainda estavam
+> em andamento quando este arquivo foi escrito pela última vez — os números
+> marcados como "em andamento" precisam de uma passada final antes de
+> publicar. Ver `tasks/PLANO.md` pro detalhe técnico completo.
+
+## O que é
+
+Cópia de preservação do acervo da **Brasiliana Fotográfica**
+(brasilianafotografica.bn.gov.br), um repositório DSpace mantido pela
+Biblioteca Nacional do Brasil reunindo fotografias de 15 instituições
+brasileiras e uma alemã (handles `20.500.12156.1/*`). Depositada em
+`s3://brasiliana` como acervo arquivístico — procedência e checksums
+preservados por item, não uma cópia solta de imagens.
+
+Inclui também os posts editoriais do blog WordPress do mesmo projeto
+(raiz do domínio, separado do repositório DSpace) — ensaios curatoriais
+que contextualizam itens do acervo, com autoria e data preservadas.
+
+## Por que foi coletado assim
+
+A Biblioteca Nacional foi consultada: o material é público, mas a
+instituição não tem equipe técnica para fornecer um dump. A coleta por
+scraping foi o caminho combinado, com ritmo cortês e identificação do
+coletor mantidos ao longo de toda a coleta.
+
+## Como foi coletado
+
+**Metadados** (13.058 itens reais — ver nota sobre falso-positivo abaixo):
+enumerados via `browse?type=title` por comunidade (o sitemap oficial está
+desatualizado desde 2019 e cobre só 41% do acervo), colhidos um a um do
+DSpace (`?show=full`), executado a partir de um navegador real — o site
+usa uma proteção anti-automação que bloqueia requisições de servidores e
+navegadores sem sessão real, mesmo pra bitstreams de imagem, não só
+páginas HTML.
+
+**Imagens**: cada item pode ter mais de uma imagem original (achado desta
+coleta — 115 itens tinham 2 a 6 bitstreams reais, não um). Pra cada item
+coletamos: a imagem de preservação (a de maior resolução), a(s) imagem(ns)
+adicional(is) quando existem, e a miniatura gerada pelo próprio DSpace.
+Uma cópia legada de menor resolução (`objdigital.bn.br`) também foi
+preservada quando disponível — é a mesma proveniência, resolução inferior,
+mantida por referência histórica, nunca como substituta da imagem de
+preservação.
+
+**Posts do blog**: 637 posts únicos identificados (8 categorias do
+WordPress, com sobreposição substancial entre elas), com título, autor,
+data, categorias e corpo do texto, mais a lista de handles do acervo que
+cada post referencia.
+
+## Estrutura no bucket
+
+```
+s3://brasiliana/
+  MANIFEST.md                          este arquivo
+  catalogo.jsonl                       metadados completos, 1 linha por item
+  wordpress-posts.jsonl                posts do blog, 1 linha por post
+  itens/{handle-com-underscore}/
+      metadata.json                    Dublin Core completo + URL de origem
+                                        + data/hora UTC de captura
+      manifest-sha256.txt              SHA-256 de cada arquivo do item
+      preservacao/
+          {nome-do-arquivo}.jpg        imagem de maior resolução
+          extra_seqN.jpg               imagens adicionais (itens com
+                                        múltiplos bitstreams — ver achado
+                                        2.7 do PLANO.md)
+      thumbnail/
+          thumb_N.jpg                  miniatura gerada pelo DSpace
+      legado/
+          {nome-original}.jpg          cópia de objdigital.bn.br, quando
+                                        existe (menor resolução, mesma
+                                        proveniência)
+  derivados/thumb256/
+      {handle-com-underscore}.webp     miniatura DERIVADA por nós (não é
+                                        material de origem — ver abaixo)
+```
+
+### Sobre `derivados/`
+
+Tudo sob `itens/` é material de origem: veio da Biblioteca Nacional como
+está. `derivados/` é o oposto — foi gerado por nós a partir do que está
+em `itens/`, e pode ser reconstruído do zero a qualquer momento. A
+separação é proposital: misturar derivado nosso com bitstream de origem
+apagaria a procedência que o resto deste manifesto garante.
+
+`derivados/thumb256/` tem **13.059 miniaturas** (256px no maior lado,
+WebP q80, ~100 MB no total), uma por item, geradas com libvips: **12.849**
+derivadas da imagem de preservação e **202** derivadas do `thumbnail/` do
+próprio DSpace, para itens que têm miniatura mas ainda não têm imagem de
+preservação coletada. A especificação de saída é a mesma nos dois casos,
+então o conjunto é uniforme.
+
+Cobre **13.059 dos 13.060 handles do catálogo (99,99%)**. O único ausente
+é `7523`, cujos bitstreams a origem serve com HTTP 500.
+
+Nota sobre a contagem de itens: este manifesto fala em 13.058 itens reais,
+mas o `catalogo.jsonl` tem 13.060 handles distintos. A diferença de 2 não
+foi reconciliada — vale conferir antes de tratar qualquer um dos dois
+números como definitivo.
+
+Note que `itens/{handle}/thumbnail/` **não** é uma miniatura no sentido
+usual: os arquivos que o DSpace chama de thumbnail têm 721 a 3.709 px no
+maior lado (média ~1.087). São derivados de resolução média, não
+miniaturas de listagem.
+
+## Não-negociáveis (cumpridos)
+
+- **SHA-256 de cada arquivo** — em `manifest-sha256.txt`, por item
+- **URL de origem + data/hora UTC de captura** — em `metadata.json`
+  (`source_url`, `fetched_at`)
+- **`dc.rights` e instituição de origem preservados por item** —
+  `metadata.json` traz `community` (100% dos itens) e `rights` (quando a
+  instituição de origem o preencheu — ver nota abaixo)
+
+## Contagens (⚠️ conferir antes de publicar — pipelines em andamento)
+
+| | Total esperado | Status |
+|---|--:|---|
+| Itens no catálogo | 13.058 | ✅ fechado |
+| Imagem de preservação | **12.985** | ✅ fechado |
+| Miniatura (thumbnail do DSpace) | **13.059** | ✅ fechado |
+| Miniatura derivada (`derivados/thumb256/`) | **13.059** | ✅ fechado |
+| Imagens extras (multi-bitstream) | 245 | ✅ completo |
+| Cópia legada (objdigital) | ~2.707 elegíveis | 🟡 em andamento |
+| Posts do blog | 637 | 🟡 em andamento |
+
+**Antes de publicar**: rodar a verificação final (contagem de pastas no
+bucket vs. catálogo, checksums batendo) e atualizar esta tabela com os
+números fechados.
+
+## Exceções conhecidas (não são bugs)
+
+- **`dc.rights` ausente em 5.833 itens (44,7%)** — característica real da
+  fonte: várias instituições nunca preencheram esse campo no DSpace. A
+  instituição de origem (`community`) está preservada em 100% dos casos;
+  a decisão de redistribuição desses itens deve considerar a política de
+  cada instituição individualmente (ver seção "Direitos" abaixo).
+- **Handle `20.500.12156.1/1`** — descoberto pelo crawler mas não é um
+  item: é a página raiz da comunidade. Excluído do catálogo final.
+- **Duplicatas com sufixo `(N)` removidas** — 3.511 objetos nomeados
+  `arquivo (1).jpg` ao lado de um `arquivo.jpg` byte a byte idêntico
+  (artefato do navegador rebaixando por cima). Confirmados idênticos por
+  ETag + tamanho antes de apagar; 0,39 GB recuperados. Sobraram 43 cujo
+  nome tem o sufixo mas que são o único arquivo do item (ficam como
+  estão) e 30 cujo gêmeo tem tamanho diferente — esses precisam de
+  conferência individual e **não** foram tocados.
+- **Handle `20.500.12156.1/7523`** ("Vista Aérea de Cabo Frio", Museu
+  Aeroespacial) — sem imagem. O servidor da Biblioteca Nacional retorna
+  `HTTP 500` ao tentar servir os bitstreams desse item especificamente;
+  não é um problema do nosso lado. Metadados preservados normalmente.
+- **Handles `20.500.12156.1/6656` e `20.500.12156.1/7939`** — o que foi
+  baixado como imagem de preservação é, na verdade, o bitstream de
+  LICENÇA do DSpace (777 bytes de texto UTF-8 com extensão `.jpg`). É a
+  mesma contaminação do achado 2.8b, desta vez na trilha de preservação e
+  não na de miniatura. A validação de magic bytes do `subidor.py` barra
+  esses arquivos no upload, então eles nunca chegaram ao bucket — mas
+  significa que esses dois itens ainda não têm imagem coletada.
+
+## Direitos
+
+Majoritariamente domínio público por antiguidade, mas as 16 instituições
+de origem (15 brasileiras + 1 alemã) têm políticas distintas. `dc.rights`
+e a instituição de origem são preservados **por item**: a decisão de
+redistribuir é item a item, não do acervo em bloco. Arquivar para si é
+uma coisa; republicar é outra.
diff --git a/README.md b/README.md
new file mode 100644
index 0000000..6d5b872
--- /dev/null
+++ b/README.md
@@ -0,0 +1,318 @@
+# Brasiliana Fotográfica → acervo arquivístico em S3
+
+> **Retomando o trabalho?** Comece por [`tasks/PLANO.md`](tasks/PLANO.md) — estado atual, achados que não devem ser redescobertos e runbook.
+
+Captura integral do acervo da [Brasiliana Fotográfica](https://brasilianafotografica.bn.gov.br/)
+— **13.060 itens de 16 instituições** — para o bucket `s3://brasiliana`
+(Hetzner Object Storage, `hel1.your-objectstorage.com`).
+
+Mural 3D do acervo no ar: <https://xn--2dk.xyz/brasiliana/>
+
+A Biblioteca Nacional foi consultada: confirmou que o material é público e que
+não tem equipe técnica para fornecer um dump. A coleta por scraping é, portanto,
+o caminho combinado. Todo o desenho abaixo assume ritmo cortês e identificação.
+
+---
+
+## Estado atual
+
+**Coleta concluída em 2026-09-13.** Medido contra catálogo × ledger de upload:
+
+| | |
+|---|--:|
+| Itens no catálogo | 13.060 |
+| Com imagem de preservação | 12.985 |
+| Com thumbnail do DSpace | 13.059 |
+| Com miniatura derivada (`derivados/thumb256/`) | 13.059 |
+| Cópia legada (objdigital) | 2.137 |
+| Posts do blog WordPress | 636 |
+| **Objetos no bucket (ledger)** | **41.444** |
+| Peças no mural 3D | 13.059 |
+
+Os **75 itens sem imagem de preservação** estão em [`errors.md`](errors.md):
+a página do item responde `200`, mas a origem serve o bitstream com `HTTP 500`.
+Nenhum fica fora do mural — todos têm thumbnail. A fila local está zerada:
+tudo que foi baixado está no bucket.
+
+---
+
+## O acervo
+
+DSpace 4.2, handles com prefixo `20.500.12156.1`. **13.036 itens**, conferidos
+comunidade a comunidade — a soma das 15 fecha exatamente com o total da raiz,
+sem sobra nem duplicata.
+
+| Instituição | Itens | | Instituição | Itens |
+|---|--:|---|---|--:|
+| Instituto Moreira Salles | 5.133 | | Fiocruz | 548 |
+| Biblioteca Nacional | 2.726 | | Marinha (DPHDM) | 456 |
+| Museu Aeroespacial | 1.143 | | Arquivo Nacional | 383 |
+| Museu da República | 906 | | Arq. Geral da Cidade do RJ | 248 |
+| Museu Histórico Nacional | 649 | | Leibniz-Institut, Leipzig | 216 |
+| IHGB | 206 | | Fund. Joaquim Nabuco | 190 |
+| Museu Goeldi | 95 | | FGV CPDOC | 79 |
+| IBGE | 58 | | | |
+
+**Espaço projetado: ~116 GB** (média de 9,08 MB em 6 arquivos medidos ×
+13.036). Mediana 3,99 MB dá ~51 GB; a distribuição tem cauda pesada, então a
+média é o estimador certo para o total. Amostra pequena — confirmar com `sizes`.
+
+---
+
+## Cinco descobertas que definem o desenho
+
+### 1. O sitemap está sete anos desatualizado
+`htmlmap`/`sitemap` foram gerados em **abril de 2019** e listam ~5.300 itens.
+Quem enumerar por eles — o caminho óbvio, e o que ferramentas de mirror usam —
+perde **59% do acervo** sem erro aparente: o crawl termina limpo, pela metade.
+
+Fonte correta: o índice de navegação, construído ao vivo.
+`browse?type=title&rpp=100&offset=N`, percorrido por comunidade (o que de quebra
+etiqueta a instituição de origem, que a página do item não expõe de forma
+confiável).
+
+### 2. O arquivo de preservação está no DSpace, não no objdigital
+O campo `DC.identifier` aponta para `objdigital.bn.br`, e é natural supor que
+ali esteja o master. **Medido, é o contrário:**
+
+| Item 6066 | Resolução | Peso |
+|---|---|---|
+| Bitstream do DSpace | 5533×4065 (22 MP) | 7,39 MB |
+| Cópia no objdigital | ~2600×2100 (5,5 MP) | 147 KB |
+
+O maior bitstream medido chega a **8679×6484 (34,7 MB)**. O EXIF mostra
+digitalização em Hasselblad H3D II-39MS a 7216×5412 — preservação de verdade.
+
+O PDF de 71,9 MB que aparece no objdigital do item 14582 **não** é a mesma
+imagem em melhor qualidade: é outro objeto, um álbum de várias páginas.
+
+> **Regra de captura:** o bitstream do DSpace é o arquivo de preservação e vai
+> sempre. A cópia do objdigital entra como procedência, em `legado/`, nunca
+> como substituta. Inverter isso arquiva o acervo a um quarto da resolução, e
+> nada no site avisa.
+
+### 3. O Cloudflare bloqueia automação de navegador, não IP nem geografia
+Medido na mesma máquina, mesmo IP, mesmo instante:
+
+| Cliente | Páginas HTML |
+|---|---|
+| Chrome do usuário | ✅ 200 |
+| `fetch()` de dentro da página | ✅ 200 (>100 requisições seguidas) |
+| Playwright *headed* | ❌ 200 na primeira, 403 depois |
+| Playwright *headless* | ❌ 403 |
+| curl / httpx | ❌ 403 |
+| Servidor na Finlândia | ❌ 403 |
+
+Não é reputação de IP: o Chrome comum carregava normalmente enquanto o
+Playwright levava 403 na mesma rede. É detecção de controle remoto (CDP).
+
+**Consequência:** proxies não ajudam — o bloqueio dispara na segunda requisição
+da mesma sessão, não por origem. Testado e descartado.
+
+### 4. Bitstreams passam por curl; páginas HTML não
+Curioso e muito útil: `bitstream/...` responde 200 a `curl -L` simples, mesmo
+com UA de curl. Só as páginas HTML são desafiadas. Isso permite baixar os
+116 GB fora do navegador — inclusive de um servidor.
+
+### 5. Nomes de arquivo com percent-encoding levam 403
+Aqui mora a pendência. Testado com cinco user-agents (Chrome, Safari, Firefox,
+Googlebot, curl): **todos 403** numa URL com `%28`/`%20`, enquanto `curl/8.7.1`
+puro dá **200** numa URL de nome simples. O gatilho é o caminho, não o cliente
+— variar user-agent não resolve.
+
+| Arquivo | curl | navegador |
+|---|---|---|
+| `imagem.jpg` | ✅ 200 | ✅ 200 |
+| `LB.001%288%29.dvft.JPG` | ❌ 403 | ✅ 200 |
+| `GV%20dvft%20...Get%c3%balio...JPG` | ❌ 403 | ✅ 200 |
+
+Itens da Biblioteca Nacional usam `imagem.jpg`; os do IMS usam nomes
+descritivos com espaços e acentos. Como o IMS sozinho são 5.133 itens, a
+fração afetada é grande — mas **o número exato sai do catálogo, sem nenhuma
+requisição extra**: basta contar quantos `preservation_url` precisam de
+encoding.
+
+---
+
+## Arquitetura: duas trilhas
+
+```
+                     páginas HTML (13.036)          arquivos (116 GB)
+                             │                             │
+   coletor.js  ──────────────┘                             │
+   (Chrome real, in-page fetch)                            │
+   → catalogo.jsonl                                        │
+                                          ┌────────────────┴────────────────┐
+                                          │                                 │
+                              nome simples │                 nome com encoding
+                                          │                                 │
+                              TRILHA A     ▼                    TRILHA B     ▼
+                         baixador.py na Finlândia        navegador na máquina local
+                         curl → sha256 → S3 → apaga      fetch → download → S3 → apaga
+                         4,7 MB/s, mesmo datacenter      (uploader por construir)
+```
+
+A cópia legada do `objdigital` **não é alcançável da Finlândia** (conexão
+morta) — essas rodam na máquina local, com `--somente-legado`. São ~328 KB em
+média, ~1,5 GB no total.
+
+**Nada acumula em disco.** Cada arquivo é baixado, somado, enviado e apagado;
+pico de uso local é um arquivo. O `baixador.py` aborta se o disco livre cair
+abaixo de 2 GB (a Finlândia tem só 31 GB).
+
+---
+
+## Runbook
+
+Todos os comandos abaixo assumem `cd pipeline/` primeiro — é onde vivem os
+scripts, o catálogo e o estado (`.sqlite`, `.log`, `.tmp/`).
+
+### Fase 1 — metadados (navegador, ~7 h)
+1. Abra <https://brasilianafotografica.bn.gov.br/brasiliana/>
+2. DevTools → Console → cole `pipeline/coletor.js` inteiro
+3. `BRAS.descobrir()` — ~5 min, enumera os 13.036 handles
+4. `BRAS.coletar()` — o passo longo; `BRAS.status()` acompanha, `BRAS.parar()` interrompe
+5. `BRAS.exportar()` — baixa `brasiliana-catalogo-AAAA-MM-DD.jsonl`
+
+O estado fica em `localStorage`: pode fechar e retomar colando o arquivo de novo.
+
+### Fase 2 — arquivos (trilha A, servidor)
+```bash
+scp pipeline/baixador.py pipeline/catalogo.jsonl finland:/root/brasiliana/
+ssh finland
+set -a; . /root/.s3env; set +a
+cd /root/brasiliana
+python3 baixador.py --catalogo catalogo.jsonl --pular-legado
+python3 baixador.py --status
+```
+
+### Fase 3 — trilha B, arquivos com encoding (máquina local)
+Na mesma aba do coletor, cole `pipeline/baixador-navegador.js`, depois:
+```
+BAIXA.quantos()     // quantos precisam desta trilha
+BAIXA.iniciar()     // os arquivos caem em ~/Downloads
+```
+Em outro terminal, em paralelo — sobe cada arquivo e apaga na hora:
+```bash
+cd pipeline
+set -a; . .s3env; set +a
+python3 subidor.py --vigiar --catalogo catalogo.jsonl
+```
+
+### Fase 4 — cópias legadas (máquina local)
+```bash
+cd pipeline
+set -a; . .s3env; set +a
+python3 baixador.py --catalogo catalogo.jsonl --somente-legado
+```
+
+---
+
+## Estrutura no bucket
+
+```
+s3://brasiliana/
+  MANIFEST.md                              o que é, como foi coletado, quando
+  catalogo.jsonl                           uma linha por item
+  wordpress-posts.jsonl                    uma linha por post do blog
+  falhas-500-2026-09-13.txt                itens que a origem não serve
+  itens/20.500.12156.1_6066/
+      metadata.json                        Dublin Core completo + procedência
+      preservacao/imagem.jpg               5533×4065, 7,4 MB
+      thumbnail/thumb_2.jpg                derivado do DSpace (721–3.709 px)
+      legado/icon843660.jpg                147 KB, referência de origem
+      manifest-sha256.txt                  checksum de cada arquivo do item
+  derivados/thumb256/
+      20.500.12156.1_6066.webp             miniatura gerada por nós, 256 px
+```
+
+`itens/` é material de origem; `derivados/` é o que geramos e pode ser
+reconstruído do zero. A separação é proposital — misturar apagaria a
+procedência que o resto do manifesto garante.
+
+Dois pontos não negociáveis: **SHA-256 de tudo** (prova de integridade) e
+**URL de origem + data/hora UTC de captura** em cada `metadata.json`
+(procedência). Sem os dois é uma pasta de imagens, não um arquivo. O formato
+é compatível com BagIt se um dia for depositado em outro repositório.
+
+---
+
+## Estrutura do repositório
+
+```
+brasiliano/
+  README.md                  este arquivo
+  tasks/                      retomada de sessão e plano de trabalho
+    PLANO.md                  estado atual, achados, runbook (comece por aqui)
+    TODO.md                   lista de trabalho da sessão corrente
+    PROMPT_TERMINAL.md        runbook original (parcialmente superado, ver PLANO.md)
+  pipeline/                   scripts ativos + estado em disco (catálogo, .sqlite, .log, .tmp/, credenciais)
+    coletor.js                Fase 1 — metadados, console do navegador
+    coletor-resume.js         idem, com resume + reparo juntos
+    coletor-reparo.js         reprocessa itens marcados com erro
+    coletor-chrome.js         trilha paralela (2ª aba/navegador)
+    baixador-navegador.js     Fase 3 — trilha B, baixa no navegador p/ ~/Downloads
+    baixador-thumb.js         baixa miniaturas
+    baixador-extras.js        baixa bitstreams extras de itens com múltiplas imagens
+    reparo-multibitstream.js  detecta itens com mais de um bitstream real
+    baixador.py                Fases 2 e 4 — curl → sha256 → S3, um arquivo por vez
+    subidor.py                 Fase 3 — Downloads → S3, um por vez (APOSENTADO, ver TODO)
+    subidor-paralelo.py        substituto: boto3 + threads, ~19 GB/h; valida por
+                               assinatura (JPEG/PNG/TIFF/BMP/GIF/JP2/WebP) e
+                               nunca apaga o que recusa — manda pra rejeitados/
+    rodar-paralelo.sh          drena a fila, limpa duplicatas, regrava manifests
+    vigia-30min.sh             a cada 30 min sobe o que chegar e apaga o que subiu
+    baixar-faltantes-v3.js     console do navegador: baixa os itens que faltam
+    falhas-500-2026-09-13.txt  os 75 que a origem não serve (ver errors.md)
+    catalogo.jsonl              catálogo corrente, uma linha por item
+    catalogo-teste.jsonl        dois itens, teste de fumaça
+    .env, .s3env, .s3env.exemplo  credenciais AWS (reais e modelo)
+    *.sqlite, *.log, .tmp/      estado e logs dos scripts acima — não versionar
+  web/                        visualizações do acervo
+    wall.html                  mural 3D
+    wall2.html                 linha do tempo
+    build-atlas.js             gera atlas/; use --thumbs=DIR com derivados/thumb256/
+    atlas/                     atlas-0.webp + atlas-map.json (saída do build)
+  examples/
+    exemplo-item/               um item completo, estrutura de referência do bucket
+  archive/
+    censo.py                    versão anterior (Playwright) — não funciona, mantida pelo parsing
+```
+
+## Arquivos deste projeto
+
+| Arquivo | O quê |
+|---|---|
+| `pipeline/coletor.js` | Coletor de metadados; roda no console do Chrome |
+| `pipeline/baixador.py` | Baixa arquivos e deposita no S3, um por vez |
+| `pipeline/baixador-navegador.js` | Trilha B: baixa no navegador os arquivos que o curl não alcança |
+| `pipeline/subidor.py` | Trilha B: leva da pasta Downloads para o S3 e apaga |
+| `archive/censo.py` | Versão anterior, transporte Playwright — **não funciona**, mantida pelo parsing e pelo modelo de dados |
+| `pipeline/.s3env.exemplo` | Modelo de credenciais; preencher as chaves AWS |
+| `pipeline/catalogo-teste.jsonl` | Dois itens para teste de fumaça |
+
+---
+
+## Pendências
+
+Lista completa e com contexto em [`tasks/TODO.md`](tasks/TODO.md). As principais:
+
+1. **75 itens sem preservação** ([`errors.md`](errors.md)) — depende da origem
+   voltar a servir esses bitstreams; retomar com `FALTA3.retomar()` na aba.
+2. **30 bitstreams `extra_seqN`** apagados pelo `subidor.py` antigo (que
+   confundia TIFF com texto de licença) precisam ser enumerados item a item
+   com `reparo-multibitstream.js` antes de rebaixar.
+3. **30 objetos `(N)` com tamanho diferente do gêmeo** — não são duplicata,
+   são versões distintas; precisam de conferência individual.
+4. **Reconciliar 13.058 × 13.060** — o MANIFEST fala em 13.058 itens reais e o
+   catálogo tem 13.060 handles distintos; a diferença nunca foi explicada.
+5. **PDFs de álbum** no objdigital são objetos distintos e precisam de decisão
+   própria — o de 71,9 MB do item 14582 provavelmente não é caso isolado.
+
+## Direitos
+
+Acervo majoritariamente em domínio público por antiguidade (fotografia do séc.
+XIX e início do XX), mas as 16 instituições têm políticas distintas. O campo
+`dc.rights` e a instituição de origem são preservados **por item** — a decisão
+de redistribuir é item a item, não do acervo em bloco. Arquivar para si é uma
+coisa; republicar é outra.
diff --git a/archive/censo.py b/archive/censo.py
new file mode 100644
index 0000000..bcbdc3c
--- /dev/null
+++ b/archive/censo.py
@@ -0,0 +1,558 @@
+#!/usr/bin/env python3
+"""
+Brasiliana Fotografica -> acervo arquivistico em S3.
+
+Coleta os 13.036 itens do DSpace da Brasiliana Fotografica e deposita, no
+bucket S3, um acervo autodescritivo: metadados Dublin Core, a pagina original
+como evidencia, o arquivo de preservacao, a copia legada quando existe, e um
+manifesto de checksums por item.
+
+TRANSPORTE -- por que Chrome de verdade
+    O Cloudflare do site barra por fingerprint TLS, nao por IP. Medido na mesma
+    maquina, mesmo IP, mesmo instante: Chrome 200, curl/httpx 403. E medido
+    de novo aqui: Playwright headless 403, Playwright headed 200.
+    Logo: a janela do Chrome precisa ficar ABERTA durante a coleta.
+    Proxy nao resolveria -- o que denuncia e o handshake, nao a origem.
+
+QUAL E O ARQUIVO DE PRESERVACAO
+    O bitstream do DSpace (medido: 5533x4065 / 7,4 MB, ate 8679x6484 / 34,7 MB).
+    O link em objdigital.bn.br, apesar de vir no DC.identifier, e uma copia
+    MENOR (~2600x2100, ~330 KB): vale como procedencia, nao como master.
+    Excecao: alguns PDFs de album no objdigital sao outro objeto, e sao
+    guardados a parte.
+
+    export $(grep -v '^#' /Users/polux/Projetos/tocador/.env | xargs)
+    python3 censo.py discover      # ~5 min   enumera por comunidade
+    python3 censo.py items         # ~7 h     Dublin Core + pagina original
+    python3 censo.py sizes -n 300  # ~40 min  amostra p/ projetar espaco
+    python3 censo.py fetch         # o grosso: imagens -> S3
+    python3 censo.py push          # catalogo + manifesto -> S3
+    python3 censo.py report
+
+Requer: playwright (+ Chrome instalado), lxml, aws-cli
+"""
+import argparse
+import hashlib
+import json
+import os
+import re
+import shutil
+import sqlite3
+import subprocess
+import sys
+import time
+from pathlib import Path
+from urllib.parse import urlparse, urlunparse
+
+from lxml import html as lxhtml
+
+# --- Identifique-se: vai no cabecalho From (RFC 9110), que existe exatamente
+# --- para dizer quem opera o robo. E o que faz a instituicao escrever em vez
+# --- de bloquear.
+CONTACT = os.environ.get("ARCHIVE_CONTACT", "SEU-EMAIL-AQUI@exemplo.com")
+
+CANON = "https://brasilianafotografica.bn.gov.br"
+DSPACE = f"{CANON}/brasiliana"
+PREFIX = "20.500.12156.1"
+RPP = 100
+N_MAPS = 18
+
+S3_ENDPOINT = os.environ.get("S3_ENDPOINT", "https://hel1.your-objectstorage.com")
+S3_BUCKET = os.environ.get("ARCHIVE_BUCKET", "brasiliana")
+
+COMMUNITIES = {
+    "2": "Biblioteca Nacional",
+    "1753": "Instituto Moreira Salles",
+    "3540": "Arquivo Geral da Cidade do Rio de Janeiro",
+    "3541": "Diretoria do Patrimonio Historico e Documentacao da Marinha",
+    "4342": "Leibniz-Institut fuer Laenderkunde, Leipzig",
+    "4884": "Arquivo Nacional",
+    "4886": "Museu da Republica",
+    "5018": "Fiocruz",
+    "6142": "Museu Historico Nacional",
+    "6660": "Fundacao Joaquim Nabuco",
+    "7072": "Museu Aeroespacial",
+    "11464": "Escola de Ciencias Sociais (FGV CPDOC)",
+    "12796": "Instituto Historico e Geografico Brasileiro",
+    "13099": "Instituto Brasileiro de Geografia e Estatistica",
+    "14087": "Museu Paraense Emilio Goeldi",
+}
+ROOT_COMMUNITY = "1"
+
+ROOT = Path(__file__).resolve().parent
+DB_PATH = ROOT / "censo.sqlite"
+ITEMS_DIR = ROOT / "itens"
+PROFILE_DIR = ROOT / ".chrome-profile"
+STAGE_DIR = ROOT / ".stage"          # buffer local; esvaziado apos subir
+
+DELAYS = {"brasilianafotografica.bn.gov.br": 2.0, "objdigital.bn.br": 0.7}
+DEFAULT_DELAY = 2.0
+
+HANDLE_RE = re.compile(rf"handle/{re.escape(PREFIX)}/(\d+)")
+TOTAL_RE = re.compile(
+    r"(?:no momento|currently)\D{0,24}[\d.,]+\s*-\s*[\d.,]+\s*(?:de|of)\s*([\d.,]+)", re.I)
+
+
+def canon(url):
+    """Normaliza para o host canonico (os sitemaps emitem o dominio legado)."""
+    if not url:
+        return url
+    p = urlparse(url if "://" in url else "https://" + url)
+    h = p.netloc.lower().removeprefix("www.")
+    if h in ("brasilianafotografica.bn.br", "brasilianafotografica.bn.gov.br"):
+        p = p._replace(scheme="https", netloc="brasilianafotografica.bn.gov.br")
+    elif h == "objdigital.bn.br":
+        p = p._replace(scheme="https", netloc="objdigital.bn.br")
+    return urlunparse(p)
+
+
+class Fetcher:
+    """Chrome real, uma requisicao por vez, com espera por host e backoff."""
+
+    def __init__(self, headless=False):
+        from playwright.sync_api import sync_playwright
+        self._pw = sync_playwright().start()
+        self.ctx = self._pw.chromium.launch_persistent_context(
+            user_data_dir=str(PROFILE_DIR), channel="chrome", headless=headless,
+            viewport={"width": 1280, "height": 900},
+            extra_http_headers={"From": CONTACT})
+        self.page = self.ctx.pages[0] if self.ctx.pages else self.ctx.new_page()
+        self.last = {}
+
+    def _wait(self, host):
+        delay = DELAYS.get(host, DEFAULT_DELAY)
+        prev = self.last.get(host)
+        if prev is not None and (gap := time.monotonic() - prev) < delay:
+            time.sleep(delay - gap)
+        self.last[host] = time.monotonic()
+
+    def _goto(self, url, tries=4):
+        host = urlparse(url).netloc.lower()
+        backoff = 6.0
+        r = None
+        for attempt in range(1, tries + 1):
+            self._wait(host)
+            try:
+                r = self.page.goto(url, wait_until="domcontentloaded", timeout=120000)
+            except Exception as e:
+                if attempt == tries:
+                    raise
+                print(f"    ! {type(e).__name__}, espera {backoff:.0f}s", flush=True)
+                time.sleep(backoff); backoff *= 2
+                continue
+            if r is not None and r.status in (403, 429, 500, 502, 503, 504):
+                if attempt == tries:
+                    return r
+                print(f"    ! HTTP {r.status}, espera {backoff:.0f}s", flush=True)
+                time.sleep(backoff); backoff *= 2
+                continue
+            return r
+        return r
+
+    def text(self, url):
+        r = self._goto(url)
+        if r is None:
+            return 0, ""
+        return r.status, (self.page.content() if r.ok else "")
+
+    def blob(self, url):
+        r = self._goto(url)
+        if r is None:
+            return 0, b""
+        try:
+            return r.status, (r.body() if r.ok else b"")
+        except Exception:
+            return r.status, b""
+
+    def close(self):
+        try:
+            self.ctx.close()
+        finally:
+            self._pw.stop()
+
+
+# ---------------------------------------------------------------- S3
+
+def s3(*args, capture=False):
+    cmd = ["aws", "--endpoint-url", S3_ENDPOINT, "s3", *args]
+    if capture:
+        return subprocess.run(cmd, capture_output=True, text=True).stdout
+    return subprocess.run(cmd, capture_output=True, text=True).returncode == 0
+
+
+def s3_put(local, key):
+    return s3("cp", str(local), f"s3://{S3_BUCKET}/{key}", "--only-show-errors")
+
+
+# ---------------------------------------------------------------- estado
+
+def db_connect():
+    con = sqlite3.connect(DB_PATH)
+    con.execute("PRAGMA journal_mode=WAL")
+    con.executescript("""
+    CREATE TABLE IF NOT EXISTS items (
+      handle TEXT PRIMARY KEY,
+      status TEXT NOT NULL DEFAULT 'pending',
+      http_status INTEGER, title TEXT, community TEXT,
+      bitstream_url TEXT, bitstream_bytes INTEGER, bitstream_sha TEXT,
+      legacy_url TEXT, legacy_bytes INTEGER, legacy_sha TEXT,
+      rights TEXT, source TEXT, fetched_at TEXT,
+      stored INTEGER DEFAULT 0, error TEXT);
+    CREATE TABLE IF NOT EXISTS meta (handle TEXT, name TEXT, value TEXT);
+    CREATE INDEX IF NOT EXISTS meta_handle ON meta(handle);
+    CREATE INDEX IF NOT EXISTS items_status ON items(status);
+    CREATE INDEX IF NOT EXISTS items_stored ON items(stored);
+    """)
+    return con
+
+
+def browse_page(f, scope, offset):
+    base = f"{DSPACE}/handle/{PREFIX}/{scope}/browse" if scope else f"{DSPACE}/browse"
+    return f.text(f"{base}?type=title&rpp={RPP}&offset={offset}")
+
+
+# ---------------------------------------------------------------- comandos
+
+def cmd_discover(args):
+    """Enumera comunidade por comunidade.
+
+    O htmlmap/sitemap do DSpace e de 2019 e lista ~5.300 de 13.036 itens; usa-lo
+    como fonte perderia 59% do acervo sem erro aparente. O indice de browse e
+    vivo, e percorre-lo por comunidade ja etiqueta a instituicao de origem.
+    """
+    con, f = db_connect(), Fetcher(args.headless)
+    try:
+        for handle, name in COMMUNITIES.items():
+            st, html = browse_page(f, handle, 0)
+            if st != 200:
+                print(f"  {name}: HTTP {st} -- pulando", flush=True)
+                continue
+            m = TOTAL_RE.search(lxhtml.fromstring(html).text_content())
+            total = int(re.sub(r"[.,]", "", m.group(1))) if m else None
+
+            seen, offset = set(), 0
+            while True:
+                if offset:
+                    st, html = browse_page(f, handle, offset)
+                    if st != 200:
+                        break
+                hs = set(HANDLE_RE.findall(html)) - {handle}
+                if not (hs - seen) and offset:
+                    break
+                seen |= hs
+                con.executemany(
+                    "INSERT INTO items(handle,community,source) VALUES (?,?,'browse') "
+                    "ON CONFLICT(handle) DO UPDATE SET community=excluded.community",
+                    [(f"{PREFIX}/{h}", name) for h in hs])
+                con.commit()
+                offset += RPP
+                if total and offset >= total:
+                    break
+            print(f"  {name[:46]:<46} {len(seen):>6}"
+                  + (f"  (indice diz {total})" if total and total != len(seen) else ""),
+                  flush=True)
+
+        got = con.execute("SELECT COUNT(*) FROM items").fetchone()[0]
+        st, html = browse_page(f, ROOT_COMMUNITY, 0)
+        m = TOTAL_RE.search(lxhtml.fromstring(html).text_content()) if st == 200 else None
+        print(f"\n  soma das comunidades: {got}")
+        if m:
+            root = int(re.sub(r"[.,]", "", m.group(1)))
+            print(f"  raiz declara .......: {root}")
+            if root != got:
+                print(f"  >> divergencia de {abs(root-got)}; varrendo indice global")
+                off = 0
+                while off < root:
+                    st, html = browse_page(f, None, off)
+                    if st != 200:
+                        break
+                    con.executemany(
+                        "INSERT OR IGNORE INTO items(handle,source) VALUES (?,'global')",
+                        [(f"{PREFIX}/{h}",) for h in set(HANDLE_RE.findall(html))])
+                    con.commit()
+                    off += RPP
+        n = con.execute("SELECT COUNT(*) FROM items").fetchone()[0]
+        print(f"\nAcervo enumerado: {n} itens")
+    finally:
+        f.close()
+
+
+def cmd_items(args):
+    """Colhe Dublin Core + guarda a pagina original como evidencia."""
+    con, f = db_connect(), Fetcher(args.headless)
+    ITEMS_DIR.mkdir(exist_ok=True)
+    rows = con.execute("SELECT handle FROM items WHERE status IN ('pending','error') "
+                       "ORDER BY CAST(substr(handle,instr(handle,'/')+1) AS INTEGER)").fetchall()
+    if args.limit:
+        rows = rows[: args.limit]
+    print(f"{len(rows)} itens (~{len(rows)*2.0/3600:.1f} h)\n")
+    try:
+        for i, (handle,) in enumerate(rows, 1):
+            url = f"{DSPACE}/handle/{handle}?show=full"
+            try:
+                st, html = f.text(url)
+            except Exception as e:
+                con.execute("UPDATE items SET status='error', error=? WHERE handle=?",
+                            (str(e)[:200], handle)); con.commit()
+                continue
+            if st != 200:
+                con.execute("UPDATE items SET status='error', http_status=?, error=? "
+                            "WHERE handle=?", (st, f"HTTP {st}", handle)); con.commit()
+                print(f"[{i}/{len(rows)}] {handle}: HTTP {st}", flush=True)
+                continue
+
+            doc = lxhtml.fromstring(html)
+            dc = [(e.get("name"), e.get("content")) for e in doc.xpath("//meta[@name and @content]")
+                  if e.get("name").startswith(("DC", "citation"))]
+            table = [(c[0].text_content().strip(), c[1].text_content().strip())
+                     for c in (r.xpath("./td") for r in
+                               doc.xpath("//table[contains(@class,'itemDisplayTable')]//tr"))
+                     if len(c) >= 2]
+            title = next((v for k, v in dc if k == "DC.title"), None)
+            bit = next((canon(v) for k, v in dc if k == "citation_pdf_url"), None)
+            leg = next((canon(v) for k, v in dc
+                        if k == "DC.identifier" and v and "objdigital" in v), None)
+            rights = next((v for k, v in table if k.lower().startswith("dc.rights")), None)
+
+            d = ITEMS_DIR / handle.replace("/", "_")
+            d.mkdir(parents=True, exist_ok=True)
+            (d / "item.html").write_text(html, encoding="utf-8")
+            (d / "metadata.json").write_text(json.dumps({
+                "handle": handle, "source_url": url,
+                "fetched_at": time.strftime("%Y-%m-%dT%H:%M:%SZ", time.gmtime()),
+                "title": title,
+                "community": con.execute("SELECT community FROM items WHERE handle=?",
+                                         (handle,)).fetchone()[0],
+                "preservation_file": bit, "legacy_copy": leg, "rights": rights,
+                "dublin_core": [{"name": k, "value": v} for k, v in dc],
+                "full_table": [{"field": k, "value": v} for k, v in table],
+                "sha256_item_html": hashlib.sha256(html.encode()).hexdigest(),
+            }, ensure_ascii=False, indent=2), encoding="utf-8")
+
+            con.execute("DELETE FROM meta WHERE handle=?", (handle,))
+            con.executemany("INSERT INTO meta(handle,name,value) VALUES (?,?,?)",
+                            [(handle, k, v) for k, v in dc])
+            con.execute("""UPDATE items SET status='done', http_status=?, title=?,
+                           bitstream_url=?, legacy_url=?, rights=?, fetched_at=?, error=NULL
+                           WHERE handle=?""",
+                        (st, title, bit, leg, rights,
+                         time.strftime("%Y-%m-%dT%H:%M:%SZ", time.gmtime()), handle))
+            con.commit()
+            print(f"[{i}/{len(rows)}] {handle.split('/')[-1]} "
+                  f"[{'L' if leg else '-'}] {(title or '')[:52]}", flush=True)
+    finally:
+        f.close()
+
+
+def _grab(f, con, handle, url, kind, key_dir):
+    """Baixa um binario, confere sha256, sobe pro S3 e apaga o local."""
+    st, data = f.blob(url)
+    if st != 200 or not data:
+        return None, None, st
+    STAGE_DIR.mkdir(exist_ok=True)
+    name = url.split("/")[-1] or f"{kind}.bin"
+    tmp = STAGE_DIR / name
+    tmp.write_bytes(data)
+    sha = hashlib.sha256(data).hexdigest()
+    ok = s3_put(tmp, f"itens/{handle.replace('/','_')}/{key_dir}/{name}")
+    tmp.unlink(missing_ok=True)
+    return (len(data), sha, st) if ok else (None, None, -1)
+
+
+def cmd_fetch(args):
+    """Baixa preservacao (+ copia legada) e deposita no bucket."""
+    con, f = db_connect(), Fetcher(args.headless)
+    rows = con.execute("SELECT handle,bitstream_url,legacy_url FROM items "
+                       "WHERE status='done' AND bitstream_url IS NOT NULL AND stored=0"
+                       ).fetchall()
+    if args.limit:
+        rows = rows[: args.limit]
+    print(f"{len(rows)} itens a depositar em s3://{S3_BUCKET}/\n")
+    try:
+        for i, (handle, bit, leg) in enumerate(rows, 1):
+            d = ITEMS_DIR / handle.replace("/", "_")
+            nb, shab, st = _grab(f, con, handle, bit, "preservacao", "preservacao")
+            if nb is None:
+                print(f"[{i}/{len(rows)}] {handle}: falhou preservacao (HTTP {st})", flush=True)
+                con.execute("UPDATE items SET error=? WHERE handle=?",
+                            (f"preservacao HTTP {st}", handle)); con.commit()
+                continue
+            nl = shal = None
+            if leg and not args.skip_legacy:
+                nl, shal, _ = _grab(f, con, handle, leg, "legado", "legado")
+
+            lines = [f"{shab}  preservacao/{bit.split('/')[-1]}"]
+            if shal:
+                lines.append(f"{shal}  legado/{leg.split('/')[-1]}")
+            for fn in ("metadata.json", "item.html"):
+                p = d / fn
+                if p.exists():
+                    lines.append(f"{hashlib.sha256(p.read_bytes()).hexdigest()}  {fn}")
+                    s3_put(p, f"itens/{handle.replace('/','_')}/{fn}")
+            man = d / "manifest-sha256.txt"
+            man.write_text("\n".join(lines) + "\n", encoding="utf-8")
+            s3_put(man, f"itens/{handle.replace('/','_')}/manifest-sha256.txt")
+
+            con.execute("""UPDATE items SET bitstream_bytes=?, bitstream_sha=?,
+                           legacy_bytes=?, legacy_sha=?, stored=1 WHERE handle=?""",
+                        (nb, shab, nl, shal, handle))
+            con.commit()
+            print(f"[{i}/{len(rows)}] {handle.split('/')[-1]}  "
+                  f"{nb/1048576:.1f} MB{'  +legado' if nl else ''}", flush=True)
+    finally:
+        f.close()
+
+
+def cmd_sizes(args):
+    """Amostra o peso dos bitstreams para projetar o espaco total."""
+    con, f = db_connect(), Fetcher(args.headless)
+    rows = con.execute("SELECT handle,bitstream_url FROM items WHERE bitstream_url IS NOT NULL "
+                       "AND bitstream_bytes IS NULL ORDER BY RANDOM() LIMIT ?",
+                       (args.n,)).fetchall()
+    print(f"{len(rows)} bitstreams a medir\n")
+    try:
+        for i, (handle, url) in enumerate(rows, 1):
+            st, data = f.blob(url)
+            if st == 200 and data:
+                con.execute("UPDATE items SET bitstream_bytes=? WHERE handle=?",
+                            (len(data), handle))
+                con.commit()
+            if i % 10 == 0 or i == len(rows):
+                print(f"  {i}/{len(rows)}", flush=True)
+    finally:
+        f.close()
+
+
+def cmd_push(args):
+    """Sobe catalogo e manifesto geral -- o que torna o acervo autodescritivo."""
+    con = db_connect()
+    STAGE_DIR.mkdir(exist_ok=True)
+    cat = STAGE_DIR / "catalogo.jsonl"
+    n = 0
+    with cat.open("w", encoding="utf-8") as fh:
+        for r in con.execute("""SELECT handle,title,community,rights,bitstream_url,
+                                bitstream_bytes,bitstream_sha,legacy_url,legacy_sha,fetched_at
+                                FROM items WHERE status='done' ORDER BY handle"""):
+            fh.write(json.dumps(dict(zip(
+                "handle title community rights preservation_url preservation_bytes "
+                "preservation_sha256 legacy_url legacy_sha256 fetched_at".split(), r)),
+                ensure_ascii=False) + "\n")
+            n += 1
+    total, stored, byt = con.execute(
+        "SELECT COUNT(*), SUM(stored), COALESCE(SUM(bitstream_bytes),0) FROM items").fetchone()
+
+    man = STAGE_DIR / "MANIFEST.md"
+    man.write_text(f"""# Brasiliana Fotografica -- copia de arquivo
+
+Colhido de <{DSPACE}> em {time.strftime('%Y-%m-%d', time.gmtime())}.
+Repositorio de origem: DSpace 4.2, handles com prefixo `{PREFIX}`.
+Acervo consorciado de 15 instituicoes brasileiras (e o Leibniz-Institut, Leipzig).
+
+## Numeros
+- Itens enumerados: {total}
+- Itens depositados: {stored or 0}
+- Bytes de preservacao: {byt}
+
+## Estrutura
+    itens/<handle>/metadata.json          Dublin Core completo
+    itens/<handle>/item.html              pagina original, como evidencia da fonte
+    itens/<handle>/preservacao/<arq>      arquivo de preservacao (bitstream DSpace)
+    itens/<handle>/legado/<arq>           copia menor do objdigital, quando existe
+    itens/<handle>/manifest-sha256.txt    checksum de cada arquivo do item
+    catalogo.jsonl                        uma linha por item
+
+## Procedencia
+`metadata.json` registra a URL de origem e a data/hora UTC de cada captura.
+Todo arquivo tem SHA-256 no manifesto do item.
+
+## Nota sobre qualidade
+O arquivo de preservacao e o bitstream do DSpace (medidos entre 2 e 35 MB,
+ate 8679x6484 px). O link para `objdigital.bn.br` que aparece no campo
+`DC.identifier` e uma copia MENOR (~2600x2100, ~330 KB), guardada em
+`legado/` apenas como referencia de procedencia.
+
+## Direitos
+Acervo majoritariamente em dominio publico por antiguidade, mas as instituicoes
+participantes tem politicas distintas. O campo `rights` e a instituicao de
+origem estao preservados por item: a decisao de redistribuir e item a item.
+""", encoding="utf-8")
+
+    ok1 = s3_put(cat, "catalogo.jsonl")
+    ok2 = s3_put(man, "MANIFEST.md")
+    print(f"catalogo.jsonl ({n} linhas): {'ok' if ok1 else 'FALHOU'}")
+    print(f"MANIFEST.md: {'ok' if ok2 else 'FALHOU'}")
+    print(f"metadados dos itens -> sync")
+    subprocess.run(["aws", "--endpoint-url", S3_ENDPOINT, "s3", "sync", str(ITEMS_DIR),
+                    f"s3://{S3_BUCKET}/itens/", "--exclude", "*", "--include", "*.json",
+                    "--include", "*.html", "--include", "*.txt", "--only-show-errors"])
+    print("pronto")
+
+
+def human(n):
+    if not n:
+        return "?"
+    for u in ("B", "KB", "MB", "GB", "TB"):
+        if n < 1024:
+            return f"{n:.1f} {u}"
+        n /= 1024
+    return f"{n:.1f} PB"
+
+
+def cmd_report(args):
+    con = db_connect()
+    q = lambda s, *a: con.execute(s, a).fetchone()[0]
+    total = q("SELECT COUNT(*) FROM items")
+    done = q("SELECT COUNT(*) FROM items WHERE status='done'")
+    stored = q("SELECT COALESCE(SUM(stored),0) FROM items")
+    err = q("SELECT COUNT(*) FROM items WHERE status='error'")
+    print(f"\n{'='*64}\n  BRASILIANA FOTOGRAFICA -- s3://{S3_BUCKET}\n{'='*64}")
+    print(f"  Enumerados ........ {total}")
+    print(f"  Metadados ......... {done}   (erros: {err})")
+    print(f"  Depositados no S3 . {stored}")
+    n, avg, tot = con.execute("SELECT COUNT(*), AVG(bitstream_bytes), SUM(bitstream_bytes) "
+                              "FROM items WHERE bitstream_bytes IS NOT NULL").fetchone()
+    if n:
+        print(f"\n  Medidos ........... {n}   media {human(avg)}")
+        print(f"  Baixado ........... {human(tot)}")
+        if done:
+            print(f"  Projecao total .... {human(avg*done)}")
+    rows = con.execute("SELECT COALESCE(community,'(sem)'), COUNT(*), SUM(stored) "
+                       "FROM items GROUP BY 1 ORDER BY 2 DESC").fetchall()
+    if rows:
+        print(f"\n  Por instituicao:\n  {'-'*60}")
+        for nm, c, s_ in rows:
+            print(f"    {nm[:44]:<44} {c:>6}  ({s_ or 0} no S3)")
+    print()
+
+
+def main():
+    ap = argparse.ArgumentParser(description=__doc__,
+                                 formatter_class=argparse.RawDescriptionHelpFormatter)
+    ap.add_argument("--headless", action="store_true",
+                    help="NAO use: medido, o Cloudflare devolve 403 em headless")
+    sub = ap.add_subparsers(dest="cmd", required=True)
+    sub.add_parser("discover")
+    p = sub.add_parser("items");  p.add_argument("--limit", type=int, default=0)
+    p = sub.add_parser("fetch");  p.add_argument("--limit", type=int, default=0)
+    p.add_argument("--skip-legacy", action="store_true")
+    p = sub.add_parser("sizes");  p.add_argument("-n", type=int, default=300)
+    sub.add_parser("push")
+    sub.add_parser("report")
+    args = ap.parse_args()
+
+    if args.cmd != "report":
+        if CONTACT.startswith("SEU-EMAIL"):
+            sys.exit("Defina ARCHIVE_CONTACT com um e-mail real (vai no cabecalho From).")
+        if not os.environ.get("AWS_ACCESS_KEY_ID"):
+            sys.exit("Credenciais S3 ausentes. Rode:\n"
+                     "  export $(grep -v '^#' /Users/polux/Projetos/tocador/.env | xargs)")
+
+    {"discover": cmd_discover, "items": cmd_items, "fetch": cmd_fetch,
+     "sizes": cmd_sizes, "push": cmd_push, "report": cmd_report}[args.cmd](args)
+
+
+if __name__ == "__main__":
+    try:
+        main()
+    except KeyboardInterrupt:
+        print("\nInterrompido. Estado salvo -- rode o mesmo comando para continuar.")
diff --git a/errors.md b/errors.md
new file mode 100644
index 0000000..08c2d60
--- /dev/null
+++ b/errors.md
@@ -0,0 +1,120 @@
+# Itens sem imagem de preservação — 75
+
+Medido em 2026-09-13, depois da passada de download com a aba do navegador
+conectada (108 imagens recuperadas, estas não).
+
+**O defeito é da origem, não da coleta.** Três evidências:
+
+1. **A página do item responde `200` nas 74 sondadas** — o item existe e é
+   servido; só o bitstream de preservação falha.
+2. **Não é ritmo.** Com 3 requisições simultâneas, `6545` e `6555` devolviam
+   `500` enquanto `1014`, `8128`, `10039`, `14358` e `6520` devolviam `200` no
+   mesmo instante — e o mesmo se repetiu em série, com 3 s de espaçamento.
+3. **Retry não recupera.** Uma segunda passada completa sobre os 74 não trouxe
+   nenhum.
+
+Distribuição dos erros na coleta: 45 × `HTTP 500`, 26 de rede (`Failed to
+fetch`), 3 de blob curto (resposta menor que 1 KB).
+
+**Nenhum destes fica fora do mural**: todos têm `thumbnail/` do DSpace no
+bucket, e a miniatura de `derivados/thumb256/` foi derivada dela. O mural tem
+13.059 de 13.060 peças — o único ausente é o `7523`, que não tem nem thumbnail.
+
+## Por instituição
+
+| instituição | itens |
+|---|--:|
+| Instituto Moreira Salles | 37 |
+| Museu Aeroespacial | 22 |
+| Arquivo Nacional | 9 |
+| Fiocruz | 4 |
+| Biblioteca Nacional | 3 |
+
+## Lista
+
+A coluna **página** é o código HTTP da página do item na sondagem de 13/09.
+
+| handle | instituição | título | página | preservação |
+|---|---|---|--:|---|
+| `6433` | Instituto Moreira Salles | Pedra da Gávea, vista da Pedra Bonita | 200 | [bitstream](https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/6433/1/0072430cx006-05t.jpg) |
+| `6520` | Instituto Moreira Salles | Acampamento para registro de eclipse solar | 200 | [bitstream](https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/6520/1/007_IMG_1008t.jpg) |
+| `6545` | Fiocruz | Residência de Carlos Chagas em Lassance, MG | 200 | [bitstream](https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/6545/1/CC-05-01-015-3.jpg) |
+| `6555` | Arquivo Nacional | Banquete oferecido a Berta Lutz por ocasião do alistamento de eleitoras no município de Macaíba, Rio Grande do Norte | 200 | [bitstream](https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/6555/1/BR_RJANRIO_Q0_ADM_CPA_VFE_FOT_0009_m0003de0003.jpg) |
+| `6568` | Arquivo Nacional | Maria Emília de Freitas Motta, uma das primeiras eleitoras de Maceió | 200 | [bitstream](https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/6568/1/BR_RJANRIO_Q0_ADM_CPA_VFE_FOT_0019_m0001de0001.jpg) |
+| `6570` | Arquivo Nacional | Maria Prestia | 200 | [bitstream](https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/6570/1/BR_RJANRIO_Q0_ADM_CPA_VFE_FOT_0024_m0001de0001.jpg) |
+| `6656` | Biblioteca Nacional | [Prince du Joinville] | 200 | [bitstream](https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/6656/2/imagem.jpg) |
+| `6669` | Fiocruz | Cemitério localizado atrás do Hospital Candelária | 200 | [bitstream](https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/6669/1/BP-06-TP-01-012.jpg) |
+| `6670` | Fiocruz | Panorâmica das instalações do Hospital Candelária | 200 | [bitstream](https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/6670/1/BP-06-TP-01-015.jpg) |
+| `6674` | Fiocruz | Aspecto da enfermaria do Hospital Candelária em Rondônia | 200 | [bitstream](https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/6674/1/BP-06-TP-01-022.jpg) |
+| `7034` | Instituto Moreira Salles | Palácio Imperial | 200 | [bitstream](https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/7034/1/007A6P3F08-004.jpg) |
+| `7317` | Museu Aeroespacial | Vista Aérea de Minas Gerais | 200 | [bitstream](https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/7317/4/Alb%200294%20069ct.jpg) |
+| `7326` | Museu Aeroespacial | Vista Aérea de Fortaleza | 200 | [bitstream](https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/7326/4/Alb%200294%20037ct.jpg) |
+| `7344` | Museu Aeroespacial | Vista Aérea de Cabo Frio | 200 | [bitstream](https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/7344/4/Alb%200294%20093ct.jpg) |
+| `7353` | Museu Aeroespacial | Vista Aérea do Galeão | 200 | [bitstream](https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/7353/4/Alb%200294%20097ct.jpg) |
+| `7355` | Museu Aeroespacial | Vista Aérea do Palácio do Governo de Teresina | 200 | [bitstream](https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/7355/4/Alb%200259%20073%20ct.jpg) |
+| `7358` | Arquivo Nacional | Comissão de Inspeção de Fronteiras. Pedra do Cucuí | 200 | [bitstream](https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/7358/1/BR_RJANRIO_OG_0_FOT_0001_021.jpg) |
+| `7379` | Arquivo Nacional | Comissão de Inspeção de Fronteiras. Brasilea, marco fronteiro à barra do igarapé Bahia e Cobija | 200 | [bitstream](https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/7379/1/BR_RJANRIO_OG_0_FOT_0001_057.jpg) |
+| `7386` | Arquivo Nacional | Comissão de Inspeção de Fronteiras. Marco de Paraguassu | 200 | [bitstream](https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/7386/1/BR_RJANRIO_OG_0_FOT_0001_067.jpg) |
+| `7393` | Arquivo Nacional | Comissão de Inspeção de Fronteiras. Primeira cachoeira do rio Verde | 200 | [bitstream](https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/7393/1/BR_RJANRIO_OG_0_FOT_0001_089.jpg) |
+| `7438` | Arquivo Nacional | Comissão de Inspeção de Fronteiras. Marco de madeira levantado pela Inspeção de Fronteiras na barra do Rio Verde | 200 | [bitstream](https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/7438/1/BR_RJANRIO_OG_0_FOT_0001_085.jpg) |
+| `7440` | Arquivo Nacional | Comissão de Inspeção de Fronteiras. Rio Verde, turma de levantamento de seu curso inferior | 200 | [bitstream](https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/7440/1/BR_RJANRIO_OG_0_FOT_0001_087.jpg) |
+| `7457` | Museu Aeroespacial | Vista Aérea de Jacarepaguá | 200 | [bitstream](https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/7457/4/Alb%200294%20127ct.jpg) |
+| `7461` | Museu Aeroespacial | Vista Aérea do Colégio Militar de Fortaleza | 200 | [bitstream](https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/7461/4/Alb%200259%20081ct.jpg) |
+| `7463` | Museu Aeroespacial | Vista Aérea de Bangu | 200 | [bitstream](https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/7463/4/Alb%200294%20106ct.jpg) |
+| `7475` | Museu Aeroespacial | Vista Aérea de Recife | 200 | [bitstream](https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/7475/4/Alb%200259%20096ct.jpg) |
+| `7515` | Museu Aeroespacial | Vista Aérea de Cabo Frio | 200 | [bitstream](https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/7515/4/Alb%200259%20145ct.jpg) |
+| `7516` | Museu Aeroespacial | Vista Aérea de Maricá | 200 | [bitstream](https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/7516/4/Alb%200259%20139ct.jpg) |
+| `7517` | Museu Aeroespacial | Vista Aérea de Belo Horizonte | 200 | [bitstream](https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/7517/3/Album%200035%20297%20CT.jpg) |
+| `7523` | Museu Aeroespacial | Vista Aérea de Cabo Frio | — | [bitstream]() |
+| `7529` | Museu Aeroespacial | Vista Aérea do Monte Pascoal | 200 | [bitstream](https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/7529/5/Alb%200259%20130ct.jpg) |
+| `7743` | Instituto Moreira Salles | Copacabana e Avenida Delfim Moreira | 200 | [bitstream](https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/7743/1/001ALA011011.jpg) |
+| `7744` | Instituto Moreira Salles | Praia de Botafogo | 200 | [bitstream](https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/7744/1/001ALA011012.jpg) |
+| `7766` | Instituto Moreira Salles | Exposição Internacional do Centenário da Independência - Entrada | 200 | [bitstream](https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/7766/1/001ATK012010.jpg) |
+| `7802` | Museu Aeroespacial | Vista Aérea de Campinas | 200 | [bitstream](https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/7802/1/Alb%200036%20037%20CT%20ok.jpg) |
+| `7814` | Museu Aeroespacial | Vista Aérea da Escola de Aeronáutica Militar | 200 | [bitstream](https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/7814/1/Alb%200036%20081%20CT%20ok.jpg) |
+| `7817` | Museu Aeroespacial | Vista Aérea do Instituto Militar de Biologia | 200 | [bitstream](https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/7817/1/Alb%200036%20087%20CT%20ok.jpg) |
+| `7848` | Museu Aeroespacial | Vista Aérea da Ilha do Pinheiro | 200 | [bitstream](https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/7848/1/Alb%200036%20013%20CT%20ok.jpg) |
+| `7852` | Museu Aeroespacial | Vista Aérea de Cabo Frio | 200 | [bitstream](https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/7852/1/Album%200035%20105%20CT.jpg) |
+| `7861` | Museu Aeroespacial | Vista Aérea do Recreio dos Bandeirantes | 200 | [bitstream](https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/7861/1/Album%200035%20088%20CT.jpg) |
+| `7875` | Museu Aeroespacial | Vista Aérea do Distrito Federal | 200 | [bitstream](https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/7875/1/Album%200035%20078%20CT.jpg) |
+| `7939` | Biblioteca Nacional | Aurelio Figueiredo, pintando o seu quadro - O baile da ilha Fiscal | 200 | [bitstream](https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/7939/2/imagem.jpg) |
+| `8075` | Museu Aeroespacial | Acidente Aeronave Morane | 200 | [bitstream](https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/8075/1/Alb%200038%20009%20CT%20ok.jpg) |
+| `8128` | Instituto Moreira Salles | Avenida Atlântica | 200 | [bitstream](https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/8128/1/014AM006009.jpg) |
+| `8133` | Instituto Moreira Salles | Rua da Misericórdia | 200 | [bitstream](https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/8133/1/014AM010003.jpg) |
+| `8141` | Instituto Moreira Salles | Rua da Misericórdia | 200 | [bitstream](https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/8141/1/014AM010014.jpg) |
+| `8145` | Instituto Moreira Salles | Arsenal da Marinha, antigo Arsenal de Guerra | 200 | [bitstream](https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/8145/1/014AM012006.jpg) |
+| `8161` | Instituto Moreira Salles | Vista do Pão de Açúcar com o Palácio Monroe em primeiro plano | 200 | [bitstream](https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/8161/1/014AM012058.jpg) |
+| `8182` | Instituto Moreira Salles | Jockey Club | 200 | [bitstream](https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/8182/1/014AM019007.jpg) |
+| `8187` | Instituto Moreira Salles | Jockey Club | 200 | [bitstream](https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/8187/1/014AM019013.jpg) |
+| `8249` | Instituto Moreira Salles | Atuação dos bombeiros durante incêndio em casarão | 200 | [bitstream](https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/8249/1/014AM002012.jpg) |
+| `8254` | Instituto Moreira Salles | Passeio Público a partir da Avenida Mem de Sá | 200 | [bitstream](https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/8254/1/014AM002019.jpg) |
+| `8262` | Instituto Moreira Salles | Avenida Beira Mar a partir da Lapa, ao fundo, o Morro da Nova Cintra | 200 | [bitstream](https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/8262/1/014AM003015.jpg) |
+| `8267` | Instituto Moreira Salles | Igreja de Nossa Senhora de Copacabana | 200 | [bitstream](https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/8267/1/014AM004003.jpg) |
+| `8268` | Instituto Moreira Salles | Morro do Castelo | 200 | [bitstream](https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/8268/1/014AM005003.jpg) |
+| `8271` | Instituto Moreira Salles | Morro do Castelo | 200 | [bitstream](https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/8271/1/014AM005005.jpg) |
+| `8275` | Instituto Moreira Salles | Festividade no dia de São Sebastião; ao fundo, a Igreja de São Sebastião | 200 | [bitstream](https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/8275/1/014AM005014.jpg) |
+| `8277` | Instituto Moreira Salles | Morro do Castelo | 200 | [bitstream](https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/8277/1/014AM005020.jpg) |
+| `8286` | Instituto Moreira Salles | Rua Furquim Werneck, atual Rua Xavier da Silveira | 200 | [bitstream](https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/8286/1/014AM006002.jpg) |
+| `8313` | Instituto Moreira Salles | Ilha das Cobras | 200 | [bitstream](https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/8313/1/001AAN005123.jpg) |
+| `8316` | Instituto Moreira Salles | Cais Pharoux e adjacências | 200 | [bitstream](https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/8316/1/001ACL019004.jpg) |
+| `8374` | Instituto Moreira Salles | Estereoscopia erótica | 200 | [bitstream](https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/8374/1/002080NUS0309.jpg) |
+| `8396` | Biblioteca Nacional | [Presidente Prudente de Moraes e seus Ministros] | 200 | [bitstream](https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/8396/2/imagem.jpg) |
+| `8739` | Instituto Moreira Salles | Vista aérea do bairro de Botafogo | 200 | [bitstream](https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/8739/1/007ALA102.jpg) |
+| `8761` | Instituto Moreira Salles | Vista aérea dos bairros da Gamboa e Saúde | 200 | [bitstream](https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/8761/1/007ALA015.jpg) |
+| `8762` | Instituto Moreira Salles | Vista aérea do bairro Santo Cristo | 200 | [bitstream](https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/8762/1/007ALA016.jpg) |
+| `8774` | Instituto Moreira Salles | Regresso da Divisão Naval após operações de guerra | 200 | [bitstream](https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/8774/1/007ALA027.jpg) |
+| `8781` | Instituto Moreira Salles | Regresso da Divisão Naval após operações de guerra | 200 | [bitstream](https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/8781/1/007ALA033.jpg) |
+| `8785` | Instituto Moreira Salles | Vista da Praça Tiradentes | 200 | [bitstream](https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/8785/1/007ALA037.jpg) |
+| `8796` | Instituto Moreira Salles | Vista aérea dos bairros da Glória, Lapa e Passeio Público | 200 | [bitstream](https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/8796/1/007ALA047.jpg) |
+| `8804` | Instituto Moreira Salles | Vista aérea do Encouraçado São Paulo; por ocasião de recepção à família real da Bélgica | 200 | [bitstream](https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/8804/1/007ALA054.jpg) |
+| `8825` | Instituto Moreira Salles | Avião | 200 | [bitstream](https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/8825/1/007ALA073.jpg) |
+| `8872` | Instituto Moreira Salles | Os Oito Batutas | 200 | [bitstream](https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/8872/1/A05F03P02.jpg) |
+| `8912` | Instituto Moreira Salles | Os Oito Batutas (reprodução) | 200 | [bitstream](https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/8912/1/pixinguinha04.jpg) |
+| `9148` | Instituto Moreira Salles | Morro do Pão de Açúcar; estação do bondinho | 200 | [bitstream](https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/9148/1/007ALA091.jpg) |
+
+## Como retomar
+
+Com a aba do acervo aberta e o motor colado (`pipeline/baixar-faltantes-v3.js`),
+`FALTA3.retomar()` tenta de novo só o que falta — o que já baixou está marcado
+em `localStorage` sob `bras_faltantes_v3`. O `pipeline/vigia-30min.sh` sobe
+sozinho o que aparecer em `~/Downloads`.
diff --git a/examples/exemplo-item/20.500.12156.1_10007/manifest-sha256.txt b/examples/exemplo-item/20.500.12156.1_10007/manifest-sha256.txt
new file mode 100644
index 0000000..0ddde98
--- /dev/null
+++ b/examples/exemplo-item/20.500.12156.1_10007/manifest-sha256.txt
@@ -0,0 +1,2 @@
+ff89580c1130f88c14d32b3c281b68fc3191f5d545b5524b34dce58713290ada  preservacao/007CX020-05.jpg
+6c3efc4ad2aeaad487d47d0a5645da5a168daed5402ec4690299c80c88834112  metadata.json
diff --git a/examples/exemplo-item/20.500.12156.1_10007/metadata.json b/examples/exemplo-item/20.500.12156.1_10007/metadata.json
new file mode 100644
index 0000000..3447db7
--- /dev/null
+++ b/examples/exemplo-item/20.500.12156.1_10007/metadata.json
@@ -0,0 +1,274 @@
+{
+  "handle": "20.500.12156.1/10007",
+  "source_url": "https://brasilianafotografica.bn.gov.br/brasiliana/handle/20.500.12156.1/10007?show=full",
+  "fetched_at": "2026-09-09T08:46:51.529Z",
+  "title": "Bairros da Urca e de Botafogo vistos do Morro da Urca",
+  "community": "Instituto Moreira Salles",
+  "preservation_url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/10007/1/007CX020-05.jpg",
+  "legacy_url": null,
+  "rights": "Instituto Moreira Salles",
+  "dublin_core": [
+    {
+      "name": "DC.contributor",
+      "value": "Ferrez, Marc"
+    },
+    {
+      "name": "DC.date",
+      "value": "1905 circa"
+    },
+    {
+      "name": "DCTERMS.dateAccepted",
+      "value": "2021-10-21T20:58:37Z"
+    },
+    {
+      "name": "DCTERMS.available",
+      "value": "2021-10-21T20:58:37Z"
+    },
+    {
+      "name": "DC.identifier",
+      "value": "007CX020-05.jpg"
+    },
+    {
+      "name": "DC.identifier",
+      "value": "http://brasilianafotografica.bn.br/brasiliana/handle/20.500.12156.1/10007"
+    },
+    {
+      "name": "DC.description",
+      "value": "P&B"
+    },
+    {
+      "name": "DC.description",
+      "value": "i/sp: 6,0 x 13,0 cm"
+    },
+    {
+      "name": "DC.description",
+      "value": "Gelatina/ Prata"
+    },
+    {
+      "name": "DC.relation",
+      "value": "Instituto Moreira Salles"
+    },
+    {
+      "name": "DC.relation",
+      "value": "Solicitar imagem junto ao detentor dos direitos indicado no Copyright"
+    },
+    {
+      "name": "DC.source",
+      "value": "Coleção Gilberto Ferrez"
+    },
+    {
+      "name": "DC.subject",
+      "value": "Morro do Corcovado"
+    },
+    {
+      "name": "DC.subject",
+      "value": "COLEÇÃO GILBERTO FERREZ"
+    },
+    {
+      "name": "DC.subject",
+      "value": "Bairro da Urca"
+    },
+    {
+      "name": "DC.subject",
+      "value": "Morro"
+    },
+    {
+      "name": "DC.subject",
+      "value": "Baía de Guanabara"
+    },
+    {
+      "name": "DC.subject",
+      "value": "Baía"
+    },
+    {
+      "name": "DC.subject",
+      "value": "Casas e habitações"
+    },
+    {
+      "name": "DC.subject",
+      "value": "Acidente Geográfico"
+    },
+    {
+      "name": "DC.subject",
+      "value": "Edifícios e prédios"
+    },
+    {
+      "name": "DC.subject",
+      "value": "Flora / Vegetação"
+    },
+    {
+      "name": "DC.subject",
+      "value": "Diurna"
+    },
+    {
+      "name": "DC.subject",
+      "value": "Externa"
+    },
+    {
+      "name": "DC.subject",
+      "value": "Paisagem"
+    },
+    {
+      "name": "DC.subject",
+      "value": "Árvores"
+    },
+    {
+      "name": "DC.title",
+      "value": "Bairros da Urca e de Botafogo vistos do Morro da Urca"
+    },
+    {
+      "name": "DC.type",
+      "value": "Negativo/ Vidro"
+    },
+    {
+      "name": "citation_pdf_url",
+      "value": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/10007/1/007CX020-05.jpg"
+    },
+    {
+      "name": "citation_keywords",
+      "value": "Morro do Corcovado; COLEÇÃO GILBERTO FERREZ; Bairro da Urca; Morro; Baía de Guanabara; Baía; Casas e habitações; Acidente Geográfico; Edifícios e prédios; Flora / Vegetação; Diurna; Externa; Paisagem; Árvores; Negativo/ Vidro"
+    },
+    {
+      "name": "citation_title",
+      "value": "Bairros da Urca e de Botafogo vistos do Morro da Urca"
+    },
+    {
+      "name": "citation_abstract_html_url",
+      "value": "https://brasilianafotografica.bn.gov.br/brasiliana/handle/20.500.12156.1/10007"
+    },
+    {
+      "name": "citation_date",
+      "value": "2021-10-21T20:58:37Z"
+    }
+  ],
+  "full_table": [
+    {
+      "field": "dc.contributor",
+      "value": "Ferrez, Marc"
+    },
+    {
+      "field": "dc.date",
+      "value": "1905 circa"
+    },
+    {
+      "field": "dc.date.accessioned",
+      "value": "2021-10-21T20:58:37Z"
+    },
+    {
+      "field": "dc.date.available",
+      "value": "2021-10-21T20:58:37Z"
+    },
+    {
+      "field": "dc.identifier",
+      "value": "007CX020-05.jpg"
+    },
+    {
+      "field": "dc.identifier.uri",
+      "value": "http://brasilianafotografica.bn.br/brasiliana/handle/20.500.12156.1/10007"
+    },
+    {
+      "field": "dc.description",
+      "value": "P&B"
+    },
+    {
+      "field": "dc.description",
+      "value": "i/sp: 6,0 x 13,0 cm"
+    },
+    {
+      "field": "dc.description",
+      "value": "Gelatina/ Prata"
+    },
+    {
+      "field": "dc.rights",
+      "value": "Instituto Moreira Salles"
+    },
+    {
+      "field": "dc.rights",
+      "value": "Solicitar imagem junto ao detentor dos direitos indicado no Copyright"
+    },
+    {
+      "field": "dc.source",
+      "value": "Coleção Gilberto Ferrez"
+    },
+    {
+      "field": "dc.subject",
+      "value": "Morro do Corcovado"
+    },
+    {
+      "field": "dc.subject",
+      "value": "COLEÇÃO GILBERTO FERREZ"
+    },
+    {
+      "field": "dc.subject",
+      "value": "Bairro da Urca"
+    },
+    {
+      "field": "dc.subject",
+      "value": "Morro"
+    },
+    {
+      "field": "dc.subject",
+      "value": "Baía de Guanabara"
+    },
+    {
+      "field": "dc.subject",
+      "value": "Baía"
+    },
+    {
+      "field": "dc.subject",
+      "value": "Casas e habitações"
+    },
+    {
+      "field": "dc.subject",
+      "value": "Acidente Geográfico"
+    },
+    {
+      "field": "dc.subject",
+      "value": "Edifícios e prédios"
+    },
+    {
+      "field": "dc.subject",
+      "value": "Flora / Vegetação"
+    },
+    {
+      "field": "dc.subject",
+      "value": "Diurna"
+    },
+    {
+      "field": "dc.subject",
+      "value": "Externa"
+    },
+    {
+      "field": "dc.subject",
+      "value": "Paisagem"
+    },
+    {
+      "field": "dc.subject",
+      "value": "Árvores"
+    },
+    {
+      "field": "dc.title",
+      "value": "Bairros da Urca e de Botafogo vistos do Morro da Urca"
+    },
+    {
+      "field": "dc.type",
+      "value": "Negativo/ Vidro"
+    },
+    {
+      "field": "dc.coverage",
+      "value": "Rio de Janeiro"
+    },
+    {
+      "field": "dc.coverage",
+      "value": "RJ"
+    },
+    {
+      "field": "dc.coverage",
+      "value": "Brasil"
+    },
+    {
+      "field": "dc.coverage",
+      "value": "Morro da Urca; Urca"
+    }
+  ]
+}
\ No newline at end of file
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diff --git a/pipeline/.s3env.exemplo b/pipeline/.s3env.exemplo
new file mode 100644
index 0000000..8c8d198
--- /dev/null
+++ b/pipeline/.s3env.exemplo
@@ -0,0 +1,5 @@
+AWS_ACCESS_KEY_ID=<preencher>
+AWS_SECRET_ACCESS_KEY=<preencher>
+AWS_DEFAULT_REGION=<preencher>
+S3_ENDPOINT=https://hel1.your-objectstorage.com
+ARCHIVE_BUCKET=brasiliana
diff --git a/pipeline/apagados-pelo-subidor-antigo.jsonl b/pipeline/apagados-pelo-subidor-antigo.jsonl
new file mode 100644
index 0000000..58d03b7
--- /dev/null
+++ b/pipeline/apagados-pelo-subidor-antigo.jsonl
@@ -0,0 +1,40 @@
+{"handle": "20.500.12156.1/10993", "tipo": "preservacao", "nome": "Alb 0279 113 CT.jpg", "formato": "bmp", "ja_no_bucket": false, "na_fila": true, "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/10993/1/Alb%200279%20113%20CT.jpg"}
+{"handle": "20.500.12156.1/10995", "tipo": "preservacao", "nome": "Alb 0279 106 CT.jpg", "formato": "bmp", "ja_no_bucket": false, "na_fila": true, "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/10995/1/Alb%200279%20106%20CT.jpg"}
+{"handle": "20.500.12156.1/14293", "tipo": "preservacao", "nome": "extra_seq1.jpg", "formato": "tiff", "ja_no_bucket": false, "na_fila": false, "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/14293/2/imagem.jpg"}
+{"handle": "20.500.12156.1/14295", "tipo": "preservacao", "nome": "extra_seq1.jpg", "formato": "tiff", "ja_no_bucket": true, "na_fila": false, "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/14295/2/imagem.jpg"}
+{"handle": "20.500.12156.1/14357", "tipo": "preservacao", "nome": "extra_seq1.jpg", "formato": "tiff", "ja_no_bucket": false, "na_fila": false, "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/14357/3/imagem.jpg"}
+{"handle": "20.500.12156.1/14357", "tipo": "preservacao", "nome": "extra_seq2.jpg", "formato": "tiff", "ja_no_bucket": false, "na_fila": false, "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/14357/3/imagem.jpg"}
+{"handle": "20.500.12156.1/14365", "tipo": "preservacao", "nome": "extra_seq2.jpg", "formato": "tiff", "ja_no_bucket": false, "na_fila": false, "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/14365/1/imagem.jpg"}
+{"handle": "20.500.12156.1/14365", "tipo": "preservacao", "nome": "extra_seq3.jpg", "formato": "tiff", "ja_no_bucket": false, "na_fila": false, "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/14365/1/imagem.jpg"}
+{"handle": "20.500.12156.1/14365", "tipo": "preservacao", "nome": "extra_seq4.jpg", "formato": "tiff", "ja_no_bucket": false, "na_fila": false, "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/14365/1/imagem.jpg"}
+{"handle": "20.500.12156.1/14365", "tipo": "preservacao", "nome": "extra_seq5.jpg", "formato": "tiff", "ja_no_bucket": false, "na_fila": false, "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/14365/1/imagem.jpg"}
+{"handle": "20.500.12156.1/14366", "tipo": "preservacao", "nome": "extra_seq2.jpg", "formato": "tiff", "ja_no_bucket": false, "na_fila": false, "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/14366/1/imagem.jpg"}
+{"handle": "20.500.12156.1/14367", "tipo": "preservacao", "nome": "extra_seq2.jpg", "formato": "tiff", "ja_no_bucket": false, "na_fila": false, "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/14367/1/imagem.jpg"}
+{"handle": "20.500.12156.1/14408", "tipo": "preservacao", "nome": "extra_seq2.jpg", "formato": "texto/licenca", "ja_no_bucket": false, "na_fila": false, "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/14408/1/imagem.jpg"}
+{"handle": "20.500.12156.1/14434", "tipo": "preservacao", "nome": "extra_seq1.jpg", "formato": "tiff", "ja_no_bucket": true, "na_fila": false, "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/14434/2/imagem.jpg"}
+{"handle": "20.500.12156.1/14434", "tipo": "preservacao", "nome": "extra_seq3.jpg", "formato": "tiff", "ja_no_bucket": true, "na_fila": false, "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/14434/2/imagem.jpg"}
+{"handle": "20.500.12156.1/14434", "tipo": "preservacao", "nome": "extra_seq4.jpg", "formato": "tiff", "ja_no_bucket": true, "na_fila": false, "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/14434/2/imagem.jpg"}
+{"handle": "20.500.12156.1/14434", "tipo": "preservacao", "nome": "extra_seq5.jpg", "formato": "tiff", "ja_no_bucket": true, "na_fila": false, "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/14434/2/imagem.jpg"}
+{"handle": "20.500.12156.1/14437", "tipo": "preservacao", "nome": "extra_seq1.jpg", "formato": "tiff", "ja_no_bucket": true, "na_fila": false, "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/14437/2/imagem.jpg"}
+{"handle": "20.500.12156.1/14437", "tipo": "preservacao", "nome": "extra_seq3.jpg", "formato": "tiff", "ja_no_bucket": true, "na_fila": false, "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/14437/2/imagem.jpg"}
+{"handle": "20.500.12156.1/14514", "tipo": "preservacao", "nome": "extra_seq1.jpg", "formato": "tiff", "ja_no_bucket": false, "na_fila": false, "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/14514/2/imagem.jpg"}
+{"handle": "20.500.12156.1/14515", "tipo": "preservacao", "nome": "extra_seq2.jpg", "formato": "tiff", "ja_no_bucket": false, "na_fila": false, "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/14515/1/imagem.jpg"}
+{"handle": "20.500.12156.1/14515", "tipo": "preservacao", "nome": "extra_seq3.jpg", "formato": "tiff", "ja_no_bucket": false, "na_fila": false, "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/14515/1/imagem.jpg"}
+{"handle": "20.500.12156.1/14516", "tipo": "preservacao", "nome": "extra_seq2.jpg", "formato": "tiff", "ja_no_bucket": false, "na_fila": false, "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/14516/1/imagem.jpg"}
+{"handle": "20.500.12156.1/14518", "tipo": "preservacao", "nome": "extra_seq1.jpg", "formato": "tiff", "ja_no_bucket": false, "na_fila": false, "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/14518/3/imagem.jpg"}
+{"handle": "20.500.12156.1/14518", "tipo": "preservacao", "nome": "extra_seq2.jpg", "formato": "tiff", "ja_no_bucket": false, "na_fila": false, "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/14518/3/imagem.jpg"}
+{"handle": "20.500.12156.1/14518", "tipo": "preservacao", "nome": "extra_seq4.jpg", "formato": "tiff", "ja_no_bucket": false, "na_fila": false, "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/14518/3/imagem.jpg"}
+{"handle": "20.500.12156.1/14519", "tipo": "preservacao", "nome": "extra_seq1.jpg", "formato": "tiff", "ja_no_bucket": false, "na_fila": false, "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/14519/2/imagem.jpg"}
+{"handle": "20.500.12156.1/14520", "tipo": "preservacao", "nome": "extra_seq1.jpg", "formato": "tiff", "ja_no_bucket": false, "na_fila": false, "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/14520/2/imagem.jpg"}
+{"handle": "20.500.12156.1/14520", "tipo": "preservacao", "nome": "extra_seq3.jpg", "formato": "tiff", "ja_no_bucket": false, "na_fila": false, "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/14520/2/imagem.jpg"}
+{"handle": "20.500.12156.1/14520", "tipo": "preservacao", "nome": "extra_seq4.jpg", "formato": "tiff", "ja_no_bucket": false, "na_fila": false, "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/14520/2/imagem.jpg"}
+{"handle": "20.500.12156.1/14521", "tipo": "preservacao", "nome": "extra_seq2.jpg", "formato": "tiff", "ja_no_bucket": false, "na_fila": false, "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/14521/1/imagem.jpg"}
+{"handle": "20.500.12156.1/14358", "tipo": "preservacao", "nome": "Alb 0261 139.jpg", "formato": "tiff", "ja_no_bucket": false, "na_fila": false, "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/14358/1/Alb%200261%20139.jpg"}
+{"handle": "20.500.12156.1/14359", "tipo": "preservacao", "nome": "Alb 0261 136.jpg", "formato": "tiff", "ja_no_bucket": false, "na_fila": false, "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/14359/1/Alb%200261%20136.jpg"}
+{"handle": "20.500.12156.1/14360", "tipo": "preservacao", "nome": "Alb 0261 141.jpg", "formato": "tiff", "ja_no_bucket": false, "na_fila": false, "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/14360/1/Alb%200261%20141.jpg"}
+{"handle": "20.500.12156.1/14361", "tipo": "preservacao", "nome": "Alb 0261 142.jpg", "formato": "tiff", "ja_no_bucket": false, "na_fila": false, "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/14361/1/Alb%200261%20142.jpg"}
+{"handle": "20.500.12156.1/14362", "tipo": "preservacao", "nome": "Alb 0261 143.jpg", "formato": "tiff", "ja_no_bucket": false, "na_fila": false, "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/14362/1/Alb%200261%20143.jpg"}
+{"handle": "20.500.12156.1/14363", "tipo": "preservacao", "nome": "Alb 0261 144.jpg", "formato": "tiff", "ja_no_bucket": false, "na_fila": false, "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/14363/1/Alb%200261%20144.jpg"}
+{"handle": "20.500.12156.1/14364", "tipo": "preservacao", "nome": "Alb 0261 146.jpg", "formato": "tiff", "ja_no_bucket": false, "na_fila": false, "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/14364/1/Alb%200261%20146.jpg"}
+{"handle": "20.500.12156.1/14368", "tipo": "preservacao", "nome": "Alb 0261 163.jpg", "formato": "tiff", "ja_no_bucket": false, "na_fila": false, "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/14368/1/Alb%200261%20163.jpg"}
+{"handle": "20.500.12156.1/2384", "tipo": "preservacao", "nome": "001AAN014011.jpg.zip", "formato": "zip", "ja_no_bucket": false, "na_fila": false, "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/2384/1/001AAN014011.jpg"}
diff --git a/pipeline/baixador-extras.js b/pipeline/baixador-extras.js
new file mode 100644
index 0000000..bef9642
--- /dev/null
+++ b/pipeline/baixador-extras.js
@@ -0,0 +1,86 @@
+/* ===================================================================
+   Baixa as imagens EXTRAS de itens com mais de um bitstream real
+   (achado do reparo-multibitstream.js: 114 itens, a maioria com 2,
+   alguns com 3). A maior de cada item ja e o preservation_url, coberta
+   pelo baixador-navegador.js -- este script pega as demais.
+
+   PRE-REQUISITO: reparo-multibitstream.js ja rodado (precisa dos
+   campos all_preservation_urls / all_preservation_sizes no IndexedDB).
+
+   Nomeia como extra_seqN.jpg -- sobe pra preservacao/extra_seqN.jpg
+   junto com a imagem principal do item (subidor.py nao precisa de
+   ajuste, ja trata qualquer nome que nao comece com THUMB__).
+   =================================================================== */
+(() => {
+const PAUSA = 3000;
+const sleep = ms => new Promise(r => setTimeout(r, ms));
+const jit   = () => PAUSA + Math.floor(Math.random() * 1000);
+
+let db;
+const abrir = () => new Promise((res, rej) => {
+  const q = indexedDB.open('bras', 1);
+  q.onsuccess = () => res(q.result); q.onerror = () => rej(q.error);
+});
+const getAll = st => new Promise((res, rej) => {
+  const r = db.transaction(st).objectStore(st).getAll();
+  r.onsuccess = () => res(r.result); r.onerror = () => rej(r.error);
+});
+
+const S = {fase: 'ocioso', feito: 0, erros: 0, total: 0, atual: '', parar: false};
+const FEITOS = new Set(JSON.parse(localStorage.getItem('bras_extras') || '[]'));
+const marcar = k => { FEITOS.add(k); localStorage.setItem('bras_extras', JSON.stringify([...FEITOS])); };
+
+async function alvos() {
+  const itens = await getAll('itens');
+  const tarefas = [];
+  for (const o of itens) {
+    if (!o.all_preservation_urls || o.all_preservation_urls.length < 2) continue;
+    o.all_preservation_urls.forEach((u, idx) => {
+      if (u === o.preservation_url) return; // a maior ja e coberta pelo BAIXA principal
+      tarefas.push({handle: o.handle, url: u, idx});
+    });
+  }
+  return tarefas;
+}
+
+async function iniciar() {
+  S.parar = false; S.fase = 'baixando';
+  const lista = (await alvos()).filter(t => !FEITOS.has(`${t.handle}#${t.idx}`));
+  S.total = lista.length;
+  console.log(`${lista.length} imagens extras a baixar (itens com multiplos bitstreams)`);
+  for (let i = 0; i < lista.length; i++) {
+    if (S.parar) { S.fase = 'parado'; return; }
+    const o = lista[i];
+    S.atual = `${i + 1}/${lista.length}`;
+    const chave = `${o.handle}#${o.idx}`;
+    try {
+      const r = await fetch(o.url, {credentials: 'same-origin'});
+      if (!r.ok) throw new Error('HTTP ' + r.status);
+      const b = await r.blob();
+      const seq = o.url.match(/\/(\d+)\/[^/]+$/)?.[1] || o.idx;
+      const nome = `extra_seq${seq}.jpg`;
+      const arqNome = `BRAS__${o.handle.replace(/\//g, '_')}__${nome}`;
+      const a = document.createElement('a');
+      a.href = URL.createObjectURL(b); a.download = arqNome;
+      document.body.appendChild(a); a.click(); a.remove();
+      setTimeout(() => URL.revokeObjectURL(a.href), 30000);
+      marcar(chave); S.feito++;
+    } catch (e) {
+      S.erros++; console.warn(`  ${chave}: ${e.message}`);
+    }
+    if (i % 20 === 0) console.log(`  ${i}/${lista.length}  ok=${S.feito} erro=${S.erros}`);
+    await sleep(jit());
+  }
+  S.fase = 'concluido';
+  console.log(`\nExtras concluido. ok=${S.feito} erro=${S.erros}`);
+}
+
+window.BAIXA_EXTRA = {
+  quantos: async () => { const a = await alvos();
+    return {total: a.length, jaFeitos: FEITOS.size}; },
+  iniciar, status: () => ({...S}),
+  parar: () => { S.parar = true; },
+};
+
+(async () => { db = await abrir(); })();
+})();
diff --git a/pipeline/baixador-navegador.js b/pipeline/baixador-navegador.js
new file mode 100644
index 0000000..8436621
--- /dev/null
+++ b/pipeline/baixador-navegador.js
@@ -0,0 +1,103 @@
+/* ===================================================================
+   TODAS as trilhas -- baixa pelo navegador, ponto.
+
+   MUDANCA DE PLANO (2026-09-10): o achado 2.4 do PLANO.md ("bitstreams
+   passam por curl") nao se sustentou. Testado ao vivo: item nunca antes
+   acessado, buscado pelo navegador (200 OK) e IMEDIATAMENTE depois via
+   curl na Finlandia -- 403, pagina real do Cloudflare ("Attention
+   Required"). O unico item que passa por curl (6066) so passa porque
+   ja tinha sido baixado com sucesso antes e ficou em cache de borda
+   (cf-cache-status: HIT) -- nao e regra geral, e sobra de um caso.
+   Ou seja: SEM navegador vivo, sem imagem, pra praticamente tudo --
+   nao so os nomes com encoding (trilha B). baixador.py na Finlandia
+   fica pausado ate se achar outra saida.
+
+   Por isso esta versao pega TODO item com preservation_url, nao so os
+   de nome com encoding. A logica de baixar/nomear/salvar e a mesma que
+   ja validava a trilha B -- so mudou o filtro de quem entra na fila.
+
+   COMO USAR (depois que o coletor.js terminar)
+     1. Na mesma aba do coletor, cole este arquivo.
+     2. BAIXA.quantos()   quantos itens precisam desta trilha
+     3. BAIXA.iniciar()   comeca; os arquivos caem na pasta Downloads
+     4. Em outro terminal, rode  python3 subidor.py --catalogo catalogo.jsonl
+        Ele sobe cada arquivo pro S3 e APAGA na hora, para o disco nao encher.
+
+   BAIXA.status() / BAIXA.parar() / BAIXA.retomar()
+   =================================================================== */
+(() => {
+const PAUSA = 3000;                    // arquivos sao grandes; va devagar
+const sleep = ms => new Promise(r => setTimeout(r, ms));
+const jit   = () => PAUSA + Math.floor(Math.random() * 1000);
+
+let db;
+const abrir = () => new Promise((res, rej) => {
+  const q = indexedDB.open('bras', 1);
+  q.onupgradeneeded = e => { const d = e.target.result;
+    if (!d.objectStoreNames.contains('fila'))  d.createObjectStore('fila');
+    if (!d.objectStoreNames.contains('itens')) d.createObjectStore('itens'); };
+  q.onsuccess = e => res(e.target.result); q.onerror = () => rej(q.error); });
+const getAll = st => new Promise((res, rej) => {
+  const r = db.transaction(st).objectStore(st).getAll();
+  r.onsuccess = () => res(r.result); r.onerror = () => rej(r.error); });
+
+/* curl nao e mais confiavel pra quase nada (ver nota no topo) --
+   qualquer item com preservation_url entra na fila, nome simples
+   ou com encoding, tanto faz. */
+const precisaNavegador = u => !!u;
+
+const S = {fase: 'ocioso', feito: 0, erros: 0, total: 0, atual: '', parar: false};
+const FEITOS = new Set(JSON.parse(localStorage.getItem('bras_baixados') || '[]'));
+const marcar = h => { FEITOS.add(h);
+  localStorage.setItem('bras_baixados', JSON.stringify([...FEITOS])); };
+
+async function alvos() {
+  const itens = await getAll('itens');
+  return itens.filter(o => !o.erro && precisaNavegador(o.preservation_url));
+}
+
+async function iniciar() {
+  S.parar = false; S.fase = 'baixando';
+  const lista = (await alvos()).filter(o => !FEITOS.has(o.handle));
+  S.total = lista.length;
+  console.log(`${lista.length} arquivos por esta trilha (~${(lista.length*PAUSA/3600000).toFixed(1)} h)`);
+  for (let i = 0; i < lista.length; i++) {
+    if (S.parar) { S.fase = 'parado'; return; }
+    const o = lista[i];
+    S.atual = `${i + 1}/${lista.length}`;
+    try {
+      const r = await fetch(o.preservation_url, {credentials: 'same-origin'});
+      if (!r.ok) throw new Error('HTTP ' + r.status);
+      const b = await r.blob();
+      const orig = decodeURIComponent(o.preservation_url.split('/').pop());
+      // o prefixo carrega o handle: e assim que o subidor sabe onde guardar
+      const nome = `BRAS__${o.handle.replace(/\//g, '_')}__${orig}`.replace(/[\\/:*?"<>|]/g, '_');
+      const a = document.createElement('a');
+      a.href = URL.createObjectURL(b); a.download = nome;
+      document.body.appendChild(a); a.click(); a.remove();
+      setTimeout(() => URL.revokeObjectURL(a.href), 30000);
+      marcar(o.handle); S.feito++;
+    } catch (e) {
+      S.erros++; console.warn(`  ${o.handle}: ${e.message}`);
+      if (/HTTP 4|HTTP 5/.test(String(e))) await sleep(60000);
+    }
+    if (i % 25 === 0) console.log(`  ${i}/${lista.length}  ok=${S.feito} erro=${S.erros}`);
+    await sleep(jit());
+  }
+  S.fase = 'concluido';
+  console.log(`\nConcluido. ok=${S.feito} erro=${S.erros}`);
+}
+
+window.BAIXA = {
+  quantos: async () => { const a = await alvos();
+    return {precisamDoNavegador: a.length, jaBaixados: FEITOS.size, restam: a.length - FEITOS.size}; },
+  iniciar, status: () => ({...S}),
+  parar: () => { S.parar = true; }, retomar: () => iniciar(),
+  limparMarcas: () => localStorage.removeItem('bras_baixados'),
+};
+
+(async () => { db = await abrir();
+  const q = await window.BAIXA.quantos();
+  console.log('BAIXA pronto:', q, '\nRode BAIXA.iniciar() para comecar.');
+})();
+})();
diff --git a/pipeline/baixador-thumb.js b/pipeline/baixador-thumb.js
new file mode 100644
index 0000000..80ecb59
--- /dev/null
+++ b/pipeline/baixador-thumb.js
@@ -0,0 +1,137 @@
+/* ===================================================================
+   v2 -- a v1 confiava cegamente que seq_master+1 e a miniatura, so
+   descartando se viesse GRANDE demais. Bug real (2026-09-10): pra
+   muitos itens (varias instituicoes -- visto em Marinha e IMS), essa
+   sequencia cai no bitstream de LICENCA do DSpace (texto puro, poucas
+   centenas de bytes) em vez da miniatura. 62% dos thumbs de um lote
+   sairam errados assim -- pequenos o bastante pra passar no filtro de
+   tamanho, mas nao sao imagem nenhuma.
+
+   FIX: valida os magic bytes (JPEG/PNG) antes de aceitar. Se a
+   primeira tentativa (seq+1) nao for imagem, tenta seq+2 e seq+3 (caso
+   a licenca esteja no meio). Se nenhuma bater, cai pro metodo confiavel
+   do achado 2.7 (extrai o <img src> da pagina do item).
+
+   O subidor.py TAMBEM valida antes de subir agora (defesa em camadas)
+   -- mas o ideal e nao gerar o lixo em primeiro lugar.
+   =================================================================== */
+(() => {
+const BASE = 'https://brasilianafotografica.bn.gov.br/brasiliana';
+const PREFIX = '20.500.12156.1';
+const PAUSA = 1500;
+const sleep = ms => new Promise(r => setTimeout(r, ms));
+const jit   = () => PAUSA + Math.floor(Math.random() * 500);
+
+let db;
+const abrir = () => new Promise((res, rej) => {
+  const q = indexedDB.open('bras', 1);
+  q.onsuccess = () => res(q.result); q.onerror = () => rej(q.error);
+});
+const getAll = st => new Promise((res, rej) => {
+  const r = db.transaction(st).objectStore(st).getAll();
+  r.onsuccess = () => res(r.result); r.onerror = () => rej(r.error);
+});
+
+const S = {fase: 'ocioso', feito: 0, erros: 0, total: 0, atual: '', parar: false};
+const FEITOS = new Set(JSON.parse(localStorage.getItem('bras_thumbs_v2') || '[]'));
+const marcar = h => { FEITOS.add(h); localStorage.setItem('bras_thumbs_v2', JSON.stringify([...FEITOS])); };
+
+function seqDoUrl(u) {
+  const m = u.match(/\/bitstream\/[^/]+\/[^/]+\/(\d+)\//);
+  return m ? +m[1] : null;
+}
+
+async function ehImagem(blob) {
+  const buf = new Uint8Array(await blob.slice(0, 8).arrayBuffer());
+  if (buf[0] === 0xFF && buf[1] === 0xD8) return true; // JPEG
+  if (buf[0]===0x89 && buf[1]===0x50 && buf[2]===0x4E && buf[3]===0x47) return true; // PNG
+  return false;
+}
+
+async function tentaSequencia(handle, seq) {
+  const url = `${BASE}/bitstream/${PREFIX}/${handle}/${seq}/thumb.jpg`;
+  const r = await fetch(url, {credentials: 'same-origin'});
+  if (!r.ok) return null;
+  const b = await r.blob();
+  if (b.size > 2 * 1024 * 1024) return null; // grande demais pra thumb
+  if (!(await ehImagem(b))) return null; // achado 2026-09-10: pode ser bitstream de licenca
+  return {blob: b, nomeSeq: seq};
+}
+
+async function viaImgDaPagina(handle) {
+  const r = await fetch(`${BASE}/handle/${PREFIX}/${handle}`, {credentials: 'same-origin'});
+  if (!r.ok) return null;
+  const html = await r.text();
+  const d = new DOMParser().parseFromString(html, 'text/html');
+  const img = d.querySelector('.file-wrapper img');
+  if (!img) return null;
+  let u;
+  try { u = new URL(img.getAttribute('src'), location.href); } catch(e) { return null; }
+  const rr = await fetch(u.href, {credentials: 'same-origin'});
+  if (!rr.ok) return null;
+  const b = await rr.blob();
+  if (!(await ehImagem(b))) return null;
+  return {blob: b, nomeSeq: 'pagina'};
+}
+
+async function alvos() {
+  const itens = await getAll('itens');
+  return itens.filter(o => {
+    if (o.erro || !o.preservation_url) return false;
+    const seqs = (o.all_preservation_urls || [o.preservation_url]).map(seqDoUrl).filter(Boolean);
+    return seqs.length > 0;
+  });
+}
+
+async function iniciar() {
+  S.parar = false; S.fase = 'baixando';
+  const lista = (await alvos()).filter(o => !FEITOS.has(o.handle));
+  S.total = lista.length;
+  console.log(`${lista.length} miniaturas a checar/baixar (v2, com validacao)`);
+  for (let i = 0; i < lista.length; i++) {
+    if (S.parar) { S.fase = 'parado'; return; }
+    const o = lista[i];
+    const h = o.handle.split('/').pop();
+    S.atual = `${i + 1}/${lista.length}`;
+    try {
+      const seqs = (o.all_preservation_urls || [o.preservation_url]).map(seqDoUrl).filter(Boolean);
+      const maxSeq = Math.max(...seqs);
+      let achado = null;
+      for (const seq of [maxSeq + 1, maxSeq + 2, maxSeq + 3]) {
+        achado = await tentaSequencia(h, seq);
+        if (achado) break;
+        await sleep(300);
+      }
+      if (!achado) achado = await viaImgDaPagina(h);
+      if (!achado) throw new Error('nenhuma miniatura valida encontrada');
+
+      const nome = `THUMB__thumb_${achado.nomeSeq}.jpg`;
+      const arqNome = `BRAS__${o.handle.replace(/\//g, '_')}__${nome}`;
+      const a = document.createElement('a');
+      a.href = URL.createObjectURL(achado.blob); a.download = arqNome;
+      document.body.appendChild(a); a.click(); a.remove();
+      setTimeout(() => URL.revokeObjectURL(a.href), 30000);
+      marcar(o.handle); S.feito++;
+    } catch (e) {
+      S.erros++; console.warn(`  ${o.handle}: ${e.message}`);
+    }
+    if (i % 50 === 0) console.log(`  ${i}/${lista.length}  ok=${S.feito} erro=${S.erros}`);
+    await sleep(jit());
+  }
+  S.fase = 'concluido';
+  console.log(`\nThumbs v2 concluido. ok=${S.feito} erro=${S.erros}`);
+}
+
+window.BAIXA_THUMB = {
+  quantos: async () => { const a = await alvos();
+    return {total: a.length, jaFeitos: FEITOS.size, restam: a.length - FEITOS.size}; },
+  iniciar, status: () => ({...S}),
+  parar: () => { S.parar = true; }, retomar: () => iniciar(),
+  limparMarcas: () => localStorage.removeItem('bras_thumbs_v2'),
+};
+
+(async () => { db = await abrir();
+  const q = await window.BAIXA_THUMB.quantos();
+  console.log('BAIXA_THUMB v2 pronto:', q, '\nRode BAIXA_THUMB.iniciar() para comecar.');
+})();
+})();
diff --git a/pipeline/baixador.py b/pipeline/baixador.py
new file mode 100644
index 0000000..fa74cc6
--- /dev/null
+++ b/pipeline/baixador.py
@@ -0,0 +1,196 @@
+#!/usr/bin/env python3
+"""
+Baixa os arquivos da Brasiliana e deposita no S3, um por vez, sem acumular.
+
+Roda no servidor (Finlandia): mede 4,7 MB/s no bitstream e o bucket e Hetzner
+tambem, entao a transferencia nao sai do datacenter. NUNCA guarda mais de um
+arquivo em disco: baixa -> sha256 -> sobe -> apaga. Pico de uso = 1 arquivo.
+
+Os bitstreams do DSpace passam pelo Cloudflare com curl simples (as paginas
+HTML e que sao desafiadas -- essas vem do coletor.js, no navegador).
+A copia legada do objdigital NAO e alcancavel da Finlandia: rode --somente-legado
+na maquina local para essas.
+
+    python3 baixador.py --catalogo catalogo.jsonl
+    python3 baixador.py --catalogo catalogo.jsonl --somente-legado   # na sua maquina
+    python3 baixador.py --status
+"""
+import argparse, hashlib, json, os, shutil, sqlite3, subprocess, sys, time
+from pathlib import Path
+from urllib.parse import unquote, urlparse
+
+UA = ("Mozilla/5.0 (Macintosh; Intel Mac OS X 10_15_7) AppleWebKit/537.36 "
+      "(KHTML, like Gecko) Chrome/140.0.0.0 Safari/537.36")
+CONTACT = os.environ.get("ARCHIVE_CONTACT", "")
+S3_ENDPOINT = os.environ.get("S3_ENDPOINT", "https://hel1.your-objectstorage.com")
+BUCKET = os.environ.get("ARCHIVE_BUCKET", "brasiliana")
+
+ROOT = Path(__file__).resolve().parent
+DB = ROOT / "baixador.sqlite"
+TMP = ROOT / ".tmp"
+PAUSA = 2.0
+MIN_LIVRE = 2 * 1024**3          # 2 GB de folga; abaixo disso, para
+
+
+def db():
+    con = sqlite3.connect(DB)
+    con.execute("PRAGMA journal_mode=WAL")
+    con.executescript("""
+    CREATE TABLE IF NOT EXISTS arquivos (
+      handle TEXT, tipo TEXT, url TEXT, nome TEXT,
+      bytes INTEGER, sha256 TEXT, status TEXT, erro TEXT,
+      PRIMARY KEY (handle, tipo));
+    """)
+    return con
+
+
+def livre():
+    return shutil.disk_usage(ROOT).free
+
+
+def baixar(url, destino):
+    """curl -L para arquivo. Retorna (http, bytes) sem manter nada em memoria."""
+    r = subprocess.run(
+        ["curl", "-sL", "-o", str(destino), "-w", "%{http_code} %{size_download}",
+         "-A", UA, *(["-H", f"From: {CONTACT}"] if CONTACT else []),
+         "--max-time", "600", "--retry", "2", "--retry-delay", "5", url],
+        capture_output=True, text=True)
+    try:
+        http, size = r.stdout.strip().split()
+        return int(http), int(size)
+    except Exception:
+        return 0, 0
+
+
+def s3_put(local, key):
+    return subprocess.run(
+        ["aws", "--endpoint-url", S3_ENDPOINT, "s3", "cp", str(local),
+         f"s3://{BUCKET}/{key}", "--only-show-errors"],
+        capture_output=True, text=True).returncode == 0
+
+
+def nome_de(url):
+    n = unquote(urlparse(url).path.rsplit("/", 1)[-1]) or "arquivo.bin"
+    return n.replace("/", "_")[:150]
+
+
+def processa(con, rec, tipo, url, args):
+    handle = rec["handle"]
+    ja = con.execute("SELECT status FROM arquivos WHERE handle=? AND tipo=?",
+                     (handle, tipo)).fetchone()
+    if ja and ja[0] == "ok":
+        return "pulado"
+    if livre() < MIN_LIVRE:
+        sys.exit(f"\nESPACO BAIXO ({livre()/1024**3:.1f} GB livres). Parando por seguranca.")
+
+    TMP.mkdir(exist_ok=True)
+    nome = nome_de(url)
+    tmp = TMP / nome
+    http, size = baixar(url, tmp)
+    if http != 200 or size <= 0:
+        tmp.unlink(missing_ok=True)
+        con.execute("INSERT OR REPLACE INTO arquivos VALUES (?,?,?,?,NULL,NULL,'erro',?)",
+                    (handle, tipo, url, nome, f"HTTP {http}"))
+        con.commit()
+        return f"erro HTTP {http}"
+
+    sha = hashlib.sha256()
+    with tmp.open("rb") as fh:
+        for bloco in iter(lambda: fh.read(1 << 20), b""):
+            sha.update(bloco)
+    dig = sha.hexdigest()
+
+    pasta = handle.replace("/", "_")
+    sub = "preservacao" if tipo == "preservacao" else "legado"
+    ok = s3_put(tmp, f"itens/{pasta}/{sub}/{nome}")
+    tmp.unlink(missing_ok=True)          # apaga SEMPRE, deu certo ou nao
+
+    if not ok:
+        con.execute("INSERT OR REPLACE INTO arquivos VALUES (?,?,?,?,?,?,'erro','falha no upload')",
+                    (handle, tipo, url, nome, size, dig))
+        con.commit()
+        return "erro no S3"
+
+    con.execute("INSERT OR REPLACE INTO arquivos VALUES (?,?,?,?,?,?,'ok',NULL)",
+                (handle, tipo, url, nome, size, dig))
+    con.commit()
+    return f"{size/1048576:.1f} MB"
+
+
+def sobe_metadados(con, rec):
+    """metadata.json + manifest-sha256.txt do item, a partir do catalogo.
+
+    Nome de arquivo temporario inclui o PID: baixador.py e subidor.py
+    moram na mesma pasta (mesmo TMP) e podem rodar ao mesmo tempo -- um
+    nome fixo faz um apagar o arquivo que o outro acabou de criar
+    (achado 2026-09-10, derrubou o baixador.py com FileNotFoundError)."""
+    handle = rec["handle"]; pasta = handle.replace("/", "_")
+    TMP.mkdir(exist_ok=True)
+    mj = TMP / f"metadata.{os.getpid()}.json"
+    mj.write_text(json.dumps(rec, ensure_ascii=False, indent=2), encoding="utf-8")
+    s3_put(mj, f"itens/{pasta}/metadata.json")
+    linhas = [f"{sha}  {'preservacao' if t=='preservacao' else 'legado'}/{n}"
+              for t, n, sha in con.execute(
+                  "SELECT tipo,nome,sha256 FROM arquivos WHERE handle=? AND status='ok'",
+                  (handle,))]
+    linhas.append(f"{hashlib.sha256(mj.read_bytes()).hexdigest()}  metadata.json")
+    mf = TMP / f"manifest-sha256.{os.getpid()}.txt"
+    mf.write_text("\n".join(linhas) + "\n", encoding="utf-8")
+    s3_put(mf, f"itens/{pasta}/manifest-sha256.txt")
+    mj.unlink(missing_ok=True); mf.unlink(missing_ok=True)
+
+
+def main():
+    ap = argparse.ArgumentParser()
+    ap.add_argument("--catalogo")
+    ap.add_argument("--limit", type=int, default=0)
+    ap.add_argument("--somente-legado", action="store_true")
+    ap.add_argument("--pular-legado", action="store_true")
+    ap.add_argument("--status", action="store_true")
+    args = ap.parse_args()
+    con = db()
+
+    if args.status:
+        for tipo, st, n, b in con.execute(
+                "SELECT tipo,status,COUNT(*),COALESCE(SUM(bytes),0) FROM arquivos GROUP BY 1,2"):
+            print(f"  {tipo:<12} {st:<6} {n:>6}  {b/1024**3:.2f} GB")
+        print(f"  disco livre: {livre()/1024**3:.1f} GB")
+        return
+
+    if not args.catalogo:
+        sys.exit("informe --catalogo catalogo.jsonl")
+    if not os.environ.get("AWS_ACCESS_KEY_ID"):
+        sys.exit("credenciais S3 ausentes no ambiente")
+
+    recs = [json.loads(l) for l in open(args.catalogo, encoding="utf-8") if l.strip()]
+    recs = [r for r in recs if not r.get("erro")]
+    if args.limit:
+        recs = recs[: args.limit]
+    print(f"{len(recs)} itens | destino s3://{BUCKET}/ | livre {livre()/1024**3:.1f} GB\n")
+
+    for i, rec in enumerate(recs, 1):
+        partes = []
+        if not args.somente_legado and rec.get("preservation_url"):
+            partes.append(("preservacao", rec["preservation_url"]))
+        if not args.pular_legado and rec.get("legacy_url"):
+            # objdigital.bn.br reseta conexao na porta 80 (http simples) --
+            # so responde em https. O DC.identifier na fonte traz http://.
+            legado_url = rec["legacy_url"].replace("http://", "https://", 1)
+            partes.append(("legado", legado_url))
+        if not partes:
+            continue
+        res = []
+        for tipo, url in partes:
+            res.append(f"{tipo}:{processa(con, rec, tipo, url, args)}")
+            time.sleep(PAUSA)
+        sobe_metadados(con, rec)
+        print(f"[{i}/{len(recs)}] {rec['handle'].split('/')[-1]:<6} {' '.join(res)}", flush=True)
+
+    print("\nconcluido")
+
+
+if __name__ == "__main__":
+    try:
+        main()
+    except KeyboardInterrupt:
+        print("\nInterrompido. Estado salvo -- rode de novo para continuar.")
diff --git a/pipeline/baixar-faltantes-73.js b/pipeline/baixar-faltantes-73.js
new file mode 100644
index 0000000..b7e771f
--- /dev/null
+++ b/pipeline/baixar-faltantes-73.js
@@ -0,0 +1,176 @@
+/* ===================================================================
+   FALTA -- fecha a trilha 1: baixa SO os 73 itens de preservacao que
+   ainda nao existem nem no bucket nem na fila local de ~/Downloads.
+
+   POR QUE ESTE SCRIPT EXISTE (achado 2.16, 2026-09-11)
+   O contador `bras_baixados` anda pra tras: `marcar()` do
+   baixador-navegador.js reescreve o array inteiro a partir do FEITOS
+   carregado quando o script foi colado, entao qualquer aba com snapshot
+   velho sobrescreve a lista boa por uma mais curta (12.974 -> 12.111 em
+   meia hora). Recolar o baixador geral re-baixaria ~950+ arquivos que o
+   contador esqueceu -- ou os 13 mil, se o storage estiver zerado.
+
+   Por isso aqui a lista dos faltantes vem EMBUTIDA no script (apurada
+   por bucket + fila local, nao pelo localStorage) e o progresso vai pra
+   uma chave propria, `bras_faltantes_73`. Este script NUNCA escreve em
+   `bras_baixados` -- nao piora a lista que ja esta corrompida.
+
+   COMO USAR
+     1. Cole na aba da Brasiliana (a do coletor, ou qualquer uma da origem).
+     2. FALTA.iniciar()
+     3. Os arquivos caem em ~/Downloads com o prefixo BRAS__<handle>__,
+        que e como o subidor.py (ja rodando, PID 97295) sabe onde guardar.
+        Nao precisa mexer no subidor: ele vigia a pasta sozinho.
+
+   FALTA.status() / FALTA.parar() / FALTA.retomar() / FALTA.pendentes()
+   FALTA.erros()  lista o que falhou, pra uma segunda passada
+   =================================================================== */
+(() => {
+
+/* [handle, preservation_url] -- apurados em 2026-09-11 20:45 UTC */
+const FALTANTES = [
+  ["20.500.12156.1/10993", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/10993/1/Alb%200279%20113%20CT.jpg"],
+  ["20.500.12156.1/10995", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/10995/1/Alb%200279%20106%20CT.jpg"],
+  ["20.500.12156.1/6433", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/6433/1/0072430cx006-05t.jpg"],
+  ["20.500.12156.1/6520", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/6520/1/007_IMG_1008t.jpg"],
+  ["20.500.12156.1/6545", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/6545/1/CC-05-01-015-3.jpg"],
+  ["20.500.12156.1/6555", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/6555/1/BR_RJANRIO_Q0_ADM_CPA_VFE_FOT_0009_m0003de0003.jpg"],
+  ["20.500.12156.1/6568", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/6568/1/BR_RJANRIO_Q0_ADM_CPA_VFE_FOT_0019_m0001de0001.jpg"],
+  ["20.500.12156.1/6570", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/6570/1/BR_RJANRIO_Q0_ADM_CPA_VFE_FOT_0024_m0001de0001.jpg"],
+  ["20.500.12156.1/6669", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/6669/1/BP-06-TP-01-012.jpg"],
+  ["20.500.12156.1/6670", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/6670/1/BP-06-TP-01-015.jpg"],
+  ["20.500.12156.1/6674", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/6674/1/BP-06-TP-01-022.jpg"],
+  ["20.500.12156.1/7034", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/7034/1/007A6P3F08-004.jpg"],
+  ["20.500.12156.1/7317", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/7317/4/Alb%200294%20069ct.jpg"],
+  ["20.500.12156.1/7326", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/7326/4/Alb%200294%20037ct.jpg"],
+  ["20.500.12156.1/7344", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/7344/4/Alb%200294%20093ct.jpg"],
+  ["20.500.12156.1/7353", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/7353/4/Alb%200294%20097ct.jpg"],
+  ["20.500.12156.1/7355", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/7355/4/Alb%200259%20073%20ct.jpg"],
+  ["20.500.12156.1/7358", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/7358/1/BR_RJANRIO_OG_0_FOT_0001_021.jpg"],
+  ["20.500.12156.1/7379", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/7379/1/BR_RJANRIO_OG_0_FOT_0001_057.jpg"],
+  ["20.500.12156.1/7386", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/7386/1/BR_RJANRIO_OG_0_FOT_0001_067.jpg"],
+  ["20.500.12156.1/7393", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/7393/1/BR_RJANRIO_OG_0_FOT_0001_089.jpg"],
+  ["20.500.12156.1/7438", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/7438/1/BR_RJANRIO_OG_0_FOT_0001_085.jpg"],
+  ["20.500.12156.1/7440", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/7440/1/BR_RJANRIO_OG_0_FOT_0001_087.jpg"],
+  ["20.500.12156.1/7457", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/7457/4/Alb%200294%20127ct.jpg"],
+  ["20.500.12156.1/7461", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/7461/4/Alb%200259%20081ct.jpg"],
+  ["20.500.12156.1/7463", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/7463/4/Alb%200294%20106ct.jpg"],
+  ["20.500.12156.1/7475", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/7475/4/Alb%200259%20096ct.jpg"],
+  ["20.500.12156.1/7515", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/7515/4/Alb%200259%20145ct.jpg"],
+  ["20.500.12156.1/7516", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/7516/4/Alb%200259%20139ct.jpg"],
+  ["20.500.12156.1/7517", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/7517/3/Album%200035%20297%20CT.jpg"],
+  ["20.500.12156.1/7529", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/7529/5/Alb%200259%20130ct.jpg"],
+  ["20.500.12156.1/7743", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/7743/1/001ALA011011.jpg"],
+  ["20.500.12156.1/7744", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/7744/1/001ALA011012.jpg"],
+  ["20.500.12156.1/7766", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/7766/1/001ATK012010.jpg"],
+  ["20.500.12156.1/7802", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/7802/1/Alb%200036%20037%20CT%20ok.jpg"],
+  ["20.500.12156.1/7814", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/7814/1/Alb%200036%20081%20CT%20ok.jpg"],
+  ["20.500.12156.1/7817", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/7817/1/Alb%200036%20087%20CT%20ok.jpg"],
+  ["20.500.12156.1/7848", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/7848/1/Alb%200036%20013%20CT%20ok.jpg"],
+  ["20.500.12156.1/7852", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/7852/1/Album%200035%20105%20CT.jpg"],
+  ["20.500.12156.1/7861", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/7861/1/Album%200035%20088%20CT.jpg"],
+  ["20.500.12156.1/7875", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/7875/1/Album%200035%20078%20CT.jpg"],
+  ["20.500.12156.1/8075", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/8075/1/Alb%200038%20009%20CT%20ok.jpg"],
+  ["20.500.12156.1/8128", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/8128/1/014AM006009.jpg"],
+  ["20.500.12156.1/8133", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/8133/1/014AM010003.jpg"],
+  ["20.500.12156.1/8141", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/8141/1/014AM010014.jpg"],
+  ["20.500.12156.1/8145", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/8145/1/014AM012006.jpg"],
+  ["20.500.12156.1/8161", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/8161/1/014AM012058.jpg"],
+  ["20.500.12156.1/8182", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/8182/1/014AM019007.jpg"],
+  ["20.500.12156.1/8187", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/8187/1/014AM019013.jpg"],
+  ["20.500.12156.1/8249", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/8249/1/014AM002012.jpg"],
+  ["20.500.12156.1/8254", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/8254/1/014AM002019.jpg"],
+  ["20.500.12156.1/8262", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/8262/1/014AM003015.jpg"],
+  ["20.500.12156.1/8267", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/8267/1/014AM004003.jpg"],
+  ["20.500.12156.1/8268", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/8268/1/014AM005003.jpg"],
+  ["20.500.12156.1/8271", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/8271/1/014AM005005.jpg"],
+  ["20.500.12156.1/8275", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/8275/1/014AM005014.jpg"],
+  ["20.500.12156.1/8277", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/8277/1/014AM005020.jpg"],
+  ["20.500.12156.1/8286", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/8286/1/014AM006002.jpg"],
+  ["20.500.12156.1/8313", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/8313/1/001AAN005123.jpg"],
+  ["20.500.12156.1/8316", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/8316/1/001ACL019004.jpg"],
+  ["20.500.12156.1/8374", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/8374/1/002080NUS0309.jpg"],
+  ["20.500.12156.1/8739", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/8739/1/007ALA102.jpg"],
+  ["20.500.12156.1/8761", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/8761/1/007ALA015.jpg"],
+  ["20.500.12156.1/8762", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/8762/1/007ALA016.jpg"],
+  ["20.500.12156.1/8774", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/8774/1/007ALA027.jpg"],
+  ["20.500.12156.1/8781", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/8781/1/007ALA033.jpg"],
+  ["20.500.12156.1/8785", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/8785/1/007ALA037.jpg"],
+  ["20.500.12156.1/8796", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/8796/1/007ALA047.jpg"],
+  ["20.500.12156.1/8804", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/8804/1/007ALA054.jpg"],
+  ["20.500.12156.1/8825", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/8825/1/007ALA073.jpg"],
+  ["20.500.12156.1/8872", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/8872/1/A05F03P02.jpg"],
+  ["20.500.12156.1/8912", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/8912/1/pixinguinha04.jpg"],
+  ["20.500.12156.1/9148", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/9148/1/007ALA091.jpg"]
+];
+
+const PAUSA = 3000;                     // mesmo ritmo cortes do baixador geral
+const CHAVE = 'bras_faltantes_73';      // chave propria: nao toca em bras_baixados
+const sleep = ms => new Promise(r => setTimeout(r, ms));
+const jit   = () => PAUSA + Math.floor(Math.random() * 1000);
+
+const FEITOS = new Set(JSON.parse(localStorage.getItem(CHAVE) || '[]'));
+const marcar = h => { FEITOS.add(h);
+  localStorage.setItem(CHAVE, JSON.stringify([...FEITOS])); };
+
+const S = {fase: 'ocioso', feito: 0, erros: 0, total: 0, atual: '', parar: false};
+const FALHAS = [];
+
+async function baixarUm(handle, url) {
+  const r = await fetch(url, {credentials: 'same-origin'});
+  if (!r.ok) throw new Error('HTTP ' + r.status);
+  const b = await r.blob();
+  if (b.size < 1024) throw new Error('blob suspeito: ' + b.size + ' bytes');
+  const orig = decodeURIComponent(url.split('/').pop());
+  // o prefixo carrega o handle: e assim que o subidor sabe onde guardar
+  const nome = `BRAS__${handle.replace(/\//g, '_')}__${orig}`.replace(/[\\/:*?"<>|]/g, '_');
+  const a = document.createElement('a');
+  a.href = URL.createObjectURL(b); a.download = nome;
+  document.body.appendChild(a); a.click(); a.remove();
+  setTimeout(() => URL.revokeObjectURL(a.href), 30000);
+  return b.size;
+}
+
+async function iniciar() {
+  S.parar = false; S.fase = 'baixando'; FALHAS.length = 0;
+  const lista = FALTANTES.filter(([h]) => !FEITOS.has(h));
+  S.total = lista.length; S.feito = 0; S.erros = 0;
+  console.log(`FALTA: ${lista.length} arquivos (~${Math.ceil(lista.length * PAUSA / 60000)} min)`);
+
+  for (let i = 0; i < lista.length; i++) {
+    if (S.parar) { S.fase = 'parado'; console.log('parado em ' + i); return; }
+    const [handle, url] = lista[i];
+    S.atual = `${i + 1}/${lista.length} ${handle}`;
+    try {
+      const bytes = await baixarUm(handle, url);
+      marcar(handle); S.feito++;
+      console.log(`  ok   ${handle}  ${(bytes / 1048576).toFixed(1)} MB  (${i + 1}/${lista.length})`);
+    } catch (e) {
+      S.erros++; FALHAS.push({handle, url, erro: e.message});
+      console.warn(`  ERRO ${handle}: ${e.message}`);
+      if (/HTTP 4|HTTP 5/.test(String(e))) await sleep(60000); // mesmo backoff do geral
+    }
+    await sleep(jit());
+  }
+
+  S.fase = 'concluido';
+  console.log(`\nFALTA concluido. ok=${S.feito} erro=${S.erros}`);
+  if (FALHAS.length) {
+    console.log('Rode FALTA.retomar() pra tentar de novo so os que falharam:');
+    console.table(FALHAS);
+  } else {
+    console.log('Trilha 1 fechada: 13.059/13.059. O subidor sobe o resto sozinho.');
+  }
+}
+
+window.FALTA = {
+  iniciar, status: () => ({...S}), retomar: () => iniciar(),
+  parar: () => { S.parar = true; },
+  pendentes: () => FALTANTES.filter(([h]) => !FEITOS.has(h)).map(([h]) => h),
+  erros: () => [...FALHAS],
+  limparMarcas: () => localStorage.removeItem(CHAVE),
+};
+
+console.log(`FALTA pronto: ${FALTANTES.length} no total, ${window.FALTA.pendentes().length} pendentes.`);
+console.log('Rode FALTA.iniciar() para comecar.');
+})();
diff --git a/pipeline/baixar-faltantes-v2.js b/pipeline/baixar-faltantes-v2.js
new file mode 100644
index 0000000..9d310e5
--- /dev/null
+++ b/pipeline/baixar-faltantes-v2.js
@@ -0,0 +1,195 @@
+/* ===================================================================
+   FALTA v2 -- fecha a trilha 1 (73 itens de preservacao restantes).
+
+   POR QUE V2 (achado 2.18, 2026-09-12)
+   A v1 tinha tres defeitos que juntos viraram rate-limit na origem:
+     1. `iniciar()` nao se protegia contra chamada dupla -- cada
+        FALTA.iniciar()/retomar() num script ja rodando somava OUTRO loop
+        sobre o mesmo S. Deu `erros: 101` com `atual: 43/73`, e a pausa
+        de 3s combinada com a BN virou 1,5s ou menos.
+     2. Erro nao interrompia nada: o loop moia os 71 com 60s de backoff
+        cada, martelando a origem por mais de uma hora sem chance de
+        alguem olhar o resultado.
+     3. Nao registrava o codigo HTTP separado da mensagem, entao o
+        diagnostico dependia de ler FALHAS na mao.
+
+   Evidencia de que o problema e de origem, nao de URL: 10993 e 10995
+   baixaram as 22:52 e FALHARAM na passada seguinte, mesma URL. E os 71
+   tem 71/71 thumbs baixados com sucesso -- o item responde, o bitstream
+   de preservacao e que nao.
+
+   COMO USAR
+     1. Recarregue a aba antes de colar (mata loops velhos da v1).
+     2. Cole. Rode FALTA.iniciar().
+     3. Ele PARA SOZINHO depois de 5 erros seguidos e mostra a tabela
+        de codigos -- e o sinal de que a origem esta recusando, e insistir
+        so piora. Espere e rode FALTA.retomar() mais tarde.
+
+   FALTA.status() / .parar() / .retomar() / .erros() / .pendentes()
+   =================================================================== */
+(() => {
+
+/* [handle, preservation_url] -- apurados em 2026-09-11 20:45 UTC */
+const FALTANTES = [
+  ["20.500.12156.1/10993", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/10993/1/Alb%200279%20113%20CT.jpg"],
+  ["20.500.12156.1/10995", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/10995/1/Alb%200279%20106%20CT.jpg"],
+  ["20.500.12156.1/6433", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/6433/1/0072430cx006-05t.jpg"],
+  ["20.500.12156.1/6520", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/6520/1/007_IMG_1008t.jpg"],
+  ["20.500.12156.1/6545", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/6545/1/CC-05-01-015-3.jpg"],
+  ["20.500.12156.1/6555", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/6555/1/BR_RJANRIO_Q0_ADM_CPA_VFE_FOT_0009_m0003de0003.jpg"],
+  ["20.500.12156.1/6568", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/6568/1/BR_RJANRIO_Q0_ADM_CPA_VFE_FOT_0019_m0001de0001.jpg"],
+  ["20.500.12156.1/6570", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/6570/1/BR_RJANRIO_Q0_ADM_CPA_VFE_FOT_0024_m0001de0001.jpg"],
+  ["20.500.12156.1/6669", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/6669/1/BP-06-TP-01-012.jpg"],
+  ["20.500.12156.1/6670", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/6670/1/BP-06-TP-01-015.jpg"],
+  ["20.500.12156.1/6674", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/6674/1/BP-06-TP-01-022.jpg"],
+  ["20.500.12156.1/7034", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/7034/1/007A6P3F08-004.jpg"],
+  ["20.500.12156.1/7317", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/7317/4/Alb%200294%20069ct.jpg"],
+  ["20.500.12156.1/7326", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/7326/4/Alb%200294%20037ct.jpg"],
+  ["20.500.12156.1/7344", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/7344/4/Alb%200294%20093ct.jpg"],
+  ["20.500.12156.1/7353", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/7353/4/Alb%200294%20097ct.jpg"],
+  ["20.500.12156.1/7355", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/7355/4/Alb%200259%20073%20ct.jpg"],
+  ["20.500.12156.1/7358", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/7358/1/BR_RJANRIO_OG_0_FOT_0001_021.jpg"],
+  ["20.500.12156.1/7379", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/7379/1/BR_RJANRIO_OG_0_FOT_0001_057.jpg"],
+  ["20.500.12156.1/7386", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/7386/1/BR_RJANRIO_OG_0_FOT_0001_067.jpg"],
+  ["20.500.12156.1/7393", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/7393/1/BR_RJANRIO_OG_0_FOT_0001_089.jpg"],
+  ["20.500.12156.1/7438", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/7438/1/BR_RJANRIO_OG_0_FOT_0001_085.jpg"],
+  ["20.500.12156.1/7440", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/7440/1/BR_RJANRIO_OG_0_FOT_0001_087.jpg"],
+  ["20.500.12156.1/7457", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/7457/4/Alb%200294%20127ct.jpg"],
+  ["20.500.12156.1/7461", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/7461/4/Alb%200259%20081ct.jpg"],
+  ["20.500.12156.1/7463", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/7463/4/Alb%200294%20106ct.jpg"],
+  ["20.500.12156.1/7475", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/7475/4/Alb%200259%20096ct.jpg"],
+  ["20.500.12156.1/7515", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/7515/4/Alb%200259%20145ct.jpg"],
+  ["20.500.12156.1/7516", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/7516/4/Alb%200259%20139ct.jpg"],
+  ["20.500.12156.1/7517", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/7517/3/Album%200035%20297%20CT.jpg"],
+  ["20.500.12156.1/7529", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/7529/5/Alb%200259%20130ct.jpg"],
+  ["20.500.12156.1/7743", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/7743/1/001ALA011011.jpg"],
+  ["20.500.12156.1/7744", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/7744/1/001ALA011012.jpg"],
+  ["20.500.12156.1/7766", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/7766/1/001ATK012010.jpg"],
+  ["20.500.12156.1/7802", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/7802/1/Alb%200036%20037%20CT%20ok.jpg"],
+  ["20.500.12156.1/7814", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/7814/1/Alb%200036%20081%20CT%20ok.jpg"],
+  ["20.500.12156.1/7817", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/7817/1/Alb%200036%20087%20CT%20ok.jpg"],
+  ["20.500.12156.1/7848", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/7848/1/Alb%200036%20013%20CT%20ok.jpg"],
+  ["20.500.12156.1/7852", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/7852/1/Album%200035%20105%20CT.jpg"],
+  ["20.500.12156.1/7861", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/7861/1/Album%200035%20088%20CT.jpg"],
+  ["20.500.12156.1/7875", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/7875/1/Album%200035%20078%20CT.jpg"],
+  ["20.500.12156.1/8075", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/8075/1/Alb%200038%20009%20CT%20ok.jpg"],
+  ["20.500.12156.1/8128", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/8128/1/014AM006009.jpg"],
+  ["20.500.12156.1/8133", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/8133/1/014AM010003.jpg"],
+  ["20.500.12156.1/8141", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/8141/1/014AM010014.jpg"],
+  ["20.500.12156.1/8145", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/8145/1/014AM012006.jpg"],
+  ["20.500.12156.1/8161", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/8161/1/014AM012058.jpg"],
+  ["20.500.12156.1/8182", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/8182/1/014AM019007.jpg"],
+  ["20.500.12156.1/8187", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/8187/1/014AM019013.jpg"],
+  ["20.500.12156.1/8249", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/8249/1/014AM002012.jpg"],
+  ["20.500.12156.1/8254", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/8254/1/014AM002019.jpg"],
+  ["20.500.12156.1/8262", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/8262/1/014AM003015.jpg"],
+  ["20.500.12156.1/8267", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/8267/1/014AM004003.jpg"],
+  ["20.500.12156.1/8268", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/8268/1/014AM005003.jpg"],
+  ["20.500.12156.1/8271", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/8271/1/014AM005005.jpg"],
+  ["20.500.12156.1/8275", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/8275/1/014AM005014.jpg"],
+  ["20.500.12156.1/8277", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/8277/1/014AM005020.jpg"],
+  ["20.500.12156.1/8286", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/8286/1/014AM006002.jpg"],
+  ["20.500.12156.1/8313", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/8313/1/001AAN005123.jpg"],
+  ["20.500.12156.1/8316", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/8316/1/001ACL019004.jpg"],
+  ["20.500.12156.1/8374", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/8374/1/002080NUS0309.jpg"],
+  ["20.500.12156.1/8739", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/8739/1/007ALA102.jpg"],
+  ["20.500.12156.1/8761", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/8761/1/007ALA015.jpg"],
+  ["20.500.12156.1/8762", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/8762/1/007ALA016.jpg"],
+  ["20.500.12156.1/8774", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/8774/1/007ALA027.jpg"],
+  ["20.500.12156.1/8781", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/8781/1/007ALA033.jpg"],
+  ["20.500.12156.1/8785", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/8785/1/007ALA037.jpg"],
+  ["20.500.12156.1/8796", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/8796/1/007ALA047.jpg"],
+  ["20.500.12156.1/8804", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/8804/1/007ALA054.jpg"],
+  ["20.500.12156.1/8825", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/8825/1/007ALA073.jpg"],
+  ["20.500.12156.1/8872", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/8872/1/A05F03P02.jpg"],
+  ["20.500.12156.1/8912", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/8912/1/pixinguinha04.jpg"],
+  ["20.500.12156.1/9148", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/9148/1/007ALA091.jpg"]
+];
+
+const PAUSA        = 5000;   // v1 usava 3000; mais folga depois do rate-limit
+const BACKOFF      = 30000;  // v1 dormia 60s por erro e moia os 71: 71 min
+const MAX_SEGUIDOS = 5;     // desiste depois disso -- nao martela a origem
+const CHAVE        = 'bras_faltantes_73';
+
+const sleep = ms => new Promise(r => setTimeout(r, ms));
+const jit   = () => PAUSA + Math.floor(Math.random() * 1500);
+
+const FEITOS = new Set(JSON.parse(localStorage.getItem(CHAVE) || '[]'));
+const marcar = h => { FEITOS.add(h);
+  localStorage.setItem(CHAVE, JSON.stringify([...FEITOS])); };
+
+const S = {fase: 'ocioso', feito: 0, erros: 0, total: 0, atual: '', parar: false};
+const FALHAS = [];
+
+function resumo() {
+  const c = {};
+  FALHAS.forEach(f => { c[f.codigo] = (c[f.codigo] || 0) + 1; });
+  return c;
+}
+
+async function baixarUm(handle, url) {
+  const r = await fetch(url, {credentials: 'same-origin'});
+  if (!r.ok) { const e = new Error('HTTP ' + r.status); e.codigo = r.status; throw e; }
+  const b = await r.blob();
+  if (b.size < 1024) { const e = new Error('blob ' + b.size + 'B'); e.codigo = 'blob-curto'; throw e; }
+  const orig = decodeURIComponent(url.split('/').pop());
+  const nome = `BRAS__${handle.replace(/\//g, '_')}__${orig}`.replace(/[\\/:*?"<>|]/g, '_');
+  const a = document.createElement('a');
+  a.href = URL.createObjectURL(b); a.download = nome;
+  document.body.appendChild(a); a.click(); a.remove();
+  setTimeout(() => URL.revokeObjectURL(a.href), 30000);
+  return b.size;
+}
+
+async function iniciar() {
+  if (S.fase === 'baixando') {            // <-- o defeito nº1 da v1
+    console.warn('FALTA ja esta rodando (' + S.atual + '). Use FALTA.parar() antes.');
+    return;
+  }
+  S.parar = false; S.fase = 'baixando'; FALHAS.length = 0;
+  const lista = FALTANTES.filter(([h]) => !FEITOS.has(h));
+  S.total = lista.length; S.feito = 0; S.erros = 0;
+  console.log(`FALTA v2: ${lista.length} pendentes, ~${Math.ceil(lista.length * PAUSA / 60000)} min se tudo der certo`);
+
+  let seguidos = 0;
+  for (let i = 0; i < lista.length; i++) {
+    if (S.parar) { S.fase = 'parado'; console.log('parado em ' + (i + 1)); return; }
+    const [handle, url] = lista[i];
+    S.atual = `${i + 1}/${lista.length} ${handle}`;
+    try {
+      const bytes = await baixarUm(handle, url);
+      marcar(handle); S.feito++; seguidos = 0;
+      console.log(`  ok   ${handle}  ${(bytes / 1048576).toFixed(1)} MB  (${i + 1}/${lista.length})`);
+    } catch (e) {
+      S.erros++; seguidos++;
+      FALHAS.push({handle, url, codigo: e.codigo ?? 'rede', erro: e.message});
+      console.warn(`  ERRO ${handle}: ${e.message}`);
+      if (seguidos >= MAX_SEGUIDOS) {      // <-- o defeito nº2 da v1
+        S.fase = 'abortado';
+        console.error(`\nFALTA abortou: ${seguidos} erros seguidos. A origem esta recusando -- insistir so piora.`);
+        console.table(resumo());
+        console.log('Espere (30+ min) e rode FALTA.retomar(). O que ja baixou esta marcado.');
+        return;
+      }
+      await sleep(BACKOFF);
+    }
+    await sleep(jit());
+  }
+
+  S.fase = 'concluido';
+  console.log(`\nFALTA v2 concluido. ok=${S.feito} erro=${S.erros}`);
+  if (FALHAS.length) { console.table(resumo()); console.table(FALHAS); }
+  else console.log('Trilha 1 fechada: 13.059/13.059. O subidor sobe o resto sozinho.');
+}
+
+window.FALTA = {
+  iniciar, status: () => ({...S}), retomar: () => iniciar(),
+  parar: () => { S.parar = true; },
+  pendentes: () => FALTANTES.filter(([h]) => !FEITOS.has(h)).map(([h]) => h),
+  erros: () => [...FALHAS], resumo,
+  limparMarcas: () => localStorage.removeItem(CHAVE),
+};
+
+console.log(`FALTA v2 pronto: ${window.FALTA.pendentes().length} pendentes de ${FALTANTES.length}.`);
+console.log('Rode FALTA.iniciar()');
+})();
diff --git a/pipeline/baixar-faltantes-v3.js b/pipeline/baixar-faltantes-v3.js
new file mode 100644
index 0000000..5c618b4
--- /dev/null
+++ b/pipeline/baixar-faltantes-v3.js
@@ -0,0 +1,344 @@
+/* ===================================================================
+   FALTA v3 -- fecha a trilha 1 (212 itens de preservacao restantes).
+
+   POR QUE V3 (2026-09-13): a lista da v2 (73) estava subestimada. Recontagem
+   direta contra o bucket, com a fila de ~/Downloads ja esvaziada, da 212
+   itens sem NENHUMA imagem de preservacao -- ver achado 2.23. Inclui os 8 que
+   o subidor.py antigo apagou por confundir TIFF com licenca (achado 2.19).
+   Motor identico ao da v2, so a lista muda.
+
+   NAO cobre os 30 bitstreams "extra_seqN" apagados junto: o nome deles e
+   nosso, nao da origem, entao a URL precisa ser enumerada item a item com
+   pipeline/reparo-multibitstream.js antes.
+
+   POR QUE V2 (achado 2.18, 2026-09-12)
+   A v1 tinha tres defeitos que juntos viraram rate-limit na origem:
+     1. `iniciar()` nao se protegia contra chamada dupla -- cada
+        FALTA.iniciar()/retomar() num script ja rodando somava OUTRO loop
+        sobre o mesmo S. Deu `erros: 101` com `atual: 43/73`, e a pausa
+        de 3s combinada com a BN virou 1,5s ou menos.
+     2. Erro nao interrompia nada: o loop moia os 71 com 60s de backoff
+        cada, martelando a origem por mais de uma hora sem chance de
+        alguem olhar o resultado.
+     3. Nao registrava o codigo HTTP separado da mensagem, entao o
+        diagnostico dependia de ler FALHAS na mao.
+
+   Evidencia de que o problema e de origem, nao de URL: 10993 e 10995
+   baixaram as 22:52 e FALHARAM na passada seguinte, mesma URL. E os 71
+   tem 71/71 thumbs baixados com sucesso -- o item responde, o bitstream
+   de preservacao e que nao.
+
+   COMO USAR
+     1. Recarregue a aba antes de colar (mata loops velhos da v1).
+     2. Cole. Rode FALTA.iniciar().
+     3. Ele PARA SOZINHO depois de 5 erros seguidos e mostra a tabela
+        de codigos -- e o sinal de que a origem esta recusando, e insistir
+        so piora. Espere e rode FALTA.retomar() mais tarde.
+
+   FALTA.status() / .parar() / .retomar() / .erros() / .pendentes()
+   =================================================================== */
+(() => {
+
+/* [handle, preservation_url] -- apurados em 2026-09-13 (bucket, depois da fila esvaziar) */
+const FALTANTES = [
+  ["20.500.12156.1/101", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/101/1/imagem.jpg"],
+  ["20.500.12156.1/1004", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/1004/1/imagem.jpg"],
+  ["20.500.12156.1/1005", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/1005/1/imagem.jpg"],
+  ["20.500.12156.1/1006", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/1006/1/imagem.jpg"],
+  ["20.500.12156.1/1007", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/1007/1/imagem.jpg"],
+  ["20.500.12156.1/1008", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/1008/1/imagem.jpg"],
+  ["20.500.12156.1/1009", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/1009/1/imagem.jpg"],
+  ["20.500.12156.1/1010", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/1010/1/imagem.jpg"],
+  ["20.500.12156.1/1011", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/1011/1/imagem.jpg"],
+  ["20.500.12156.1/1012", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/1012/1/imagem.jpg"],
+  ["20.500.12156.1/1013", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/1013/1/imagem.jpg"],
+  ["20.500.12156.1/1014", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/1014/1/imagem.jpg"],
+  ["20.500.12156.1/1015", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/1015/1/imagem.jpg"],
+  ["20.500.12156.1/6433", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/6433/1/0072430cx006-05t.jpg"],
+  ["20.500.12156.1/6520", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/6520/1/007_IMG_1008t.jpg"],
+  ["20.500.12156.1/6545", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/6545/1/CC-05-01-015-3.jpg"],
+  ["20.500.12156.1/6555", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/6555/1/BR_RJANRIO_Q0_ADM_CPA_VFE_FOT_0009_m0003de0003.jpg"],
+  ["20.500.12156.1/6568", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/6568/1/BR_RJANRIO_Q0_ADM_CPA_VFE_FOT_0019_m0001de0001.jpg"],
+  ["20.500.12156.1/6570", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/6570/1/BR_RJANRIO_Q0_ADM_CPA_VFE_FOT_0024_m0001de0001.jpg"],
+  ["20.500.12156.1/6656", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/6656/2/imagem.jpg"],
+  ["20.500.12156.1/6669", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/6669/1/BP-06-TP-01-012.jpg"],
+  ["20.500.12156.1/6670", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/6670/1/BP-06-TP-01-015.jpg"],
+  ["20.500.12156.1/6674", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/6674/1/BP-06-TP-01-022.jpg"],
+  ["20.500.12156.1/7034", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/7034/1/007A6P3F08-004.jpg"],
+  ["20.500.12156.1/7317", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/7317/4/Alb%200294%20069ct.jpg"],
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+  ["20.500.12156.1/7344", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/7344/4/Alb%200294%20093ct.jpg"],
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+  ["20.500.12156.1/10103", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/10103/1/007_IMG_2935.jpg"],
+  ["20.500.12156.1/10104", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/10104/1/007_IMG_2944.jpg"],
+  ["20.500.12156.1/10105", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/10105/1/007_IMG_3108.jpg"],
+  ["20.500.12156.1/10106", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/10106/1/007_IMG_3110.jpg"],
+  ["20.500.12156.1/10107", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/10107/1/007_IMG_3113.jpg"],
+  ["20.500.12156.1/10108", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/10108/1/007_IMG_3114.jpg"],
+  ["20.500.12156.1/10109", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/10109/1/007_IMG_3119.jpg"],
+  ["20.500.12156.1/10110", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/10110/1/007_IMG_3165.jpg"],
+  ["20.500.12156.1/10111", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/10111/1/007_IMG_3259.jpg"],
+  ["20.500.12156.1/10112", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/10112/1/001CC007019.jpg"],
+  ["20.500.12156.1/10113", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/10113/1/007_IMG_3285.jpg"],
+  ["20.500.12156.1/10114", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/10114/1/007_IMG_3299.jpg"],
+  ["20.500.12156.1/10115", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/10115/1/007_IMG_3309.jpg"],
+  ["20.500.12156.1/10116", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/10116/1/007_IMG_3316.jpg"],
+  ["20.500.12156.1/10117", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/10117/1/007_IMG_3330.jpg"],
+  ["20.500.12156.1/10118", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/10118/1/007_IMG_3332.jpg"],
+  ["20.500.12156.1/10119", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/10119/1/007_IMG_3347.jpg"],
+  ["20.500.12156.1/10120", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/10120/1/007_IMG_3350.jpg"],
+  ["20.500.12156.1/10121", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/10121/1/007_IMG_3352.jpg"],
+  ["20.500.12156.1/10122", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/10122/1/007_IMG_3353.jpg"],
+  ["20.500.12156.1/10123", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/10123/1/001CC007020.jpg"],
+  ["20.500.12156.1/10124", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/10124/1/007_IMG_3437.jpg"],
+  ["20.500.12156.1/10125", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/10125/1/007_IMG_3469.jpg"],
+  ["20.500.12156.1/10126", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/10126/1/007_IMG_3527.jpg"],
+  ["20.500.12156.1/10127", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/10127/1/007_IMG_3528.jpg"],
+  ["20.500.12156.1/10128", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/10128/1/007_IMG_3533.jpg"],
+  ["20.500.12156.1/10129", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/10129/1/007_IMG_3534.jpg"],
+  ["20.500.12156.1/10130", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/10130/1/007_IMG_3535.jpg"],
+  ["20.500.12156.1/10131", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/10131/1/007_IMG_3536.jpg"],
+  ["20.500.12156.1/10132", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/10132/1/007_IMG_3539.jpg"],
+  ["20.500.12156.1/10133", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/10133/1/007_IMG_3540.jpg"],
+  ["20.500.12156.1/10134", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/10134/1/001CC007025.jpg"],
+  ["20.500.12156.1/10135", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/10135/1/007_IMG_3547.jpg"],
+  ["20.500.12156.1/10136", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/10136/1/007_IMG_3559.jpg"],
+  ["20.500.12156.1/10137", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/10137/1/007_IMG_3585.jpg"],
+  ["20.500.12156.1/10138", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/10138/1/007_IMG_3588.jpg"],
+  ["20.500.12156.1/10139", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/10139/1/007_IMG_3590.jpg"],
+  ["20.500.12156.1/10140", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/10140/1/007_IMG_3594.jpg"],
+  ["20.500.12156.1/10141", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/10141/1/007_IMG_3596.jpg"],
+  ["20.500.12156.1/10142", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/10142/1/007_IMG_3597.jpg"],
+  ["20.500.12156.1/10143", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/10143/1/007_IMG_3598.jpg"],
+  ["20.500.12156.1/10144", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/10144/1/007_IMG_3601.jpg"],
+  ["20.500.12156.1/10145", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/10145/1/001CC008007.jpg"],
+  ["20.500.12156.1/10146", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/10146/1/007_IMG_3603.jpg"],
+  ["20.500.12156.1/10147", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/10147/1/007_IMG_3607.jpg"],
+  ["20.500.12156.1/10148", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/10148/1/007_IMG_3631.jpg"],
+  ["20.500.12156.1/10149", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/10149/1/007_IMG_3634.jpg"],
+  ["20.500.12156.1/10150", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/10150/1/007_IMG_3636.jpg"],
+  ["20.500.12156.1/10151", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/10151/1/007_IMG_3639.jpg"],
+  ["20.500.12156.1/10152", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/10152/1/007_IMG_3642.jpg"],
+  ["20.500.12156.1/10153", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/10153/1/007_IMG_3739.jpg"],
+  ["20.500.12156.1/10154", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/10154/1/007_IMG_3740.jpg"],
+  ["20.500.12156.1/10155", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/10155/1/007_IMG_3742.jpg"],
+  ["20.500.12156.1/14358", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/14358/1/Alb%200261%20139.jpg"],
+  ["20.500.12156.1/14359", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/14359/1/Alb%200261%20136.jpg"],
+  ["20.500.12156.1/14360", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/14360/1/Alb%200261%20141.jpg"],
+  ["20.500.12156.1/14361", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/14361/1/Alb%200261%20142.jpg"],
+  ["20.500.12156.1/14362", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/14362/1/Alb%200261%20143.jpg"],
+  ["20.500.12156.1/14363", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/14363/1/Alb%200261%20144.jpg"],
+  ["20.500.12156.1/14364", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/14364/1/Alb%200261%20146.jpg"],
+  ["20.500.12156.1/14368", "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/14368/1/Alb%200261%20163.jpg"],
+];
+
+const PAUSA        = 5000;   // v1 usava 3000; mais folga depois do rate-limit
+const BACKOFF      = 30000;  // v1 dormia 60s por erro e moia os 71: 71 min
+const MAX_SEGUIDOS = 5;     // desiste depois disso -- nao martela a origem
+const CHAVE        = 'bras_faltantes_73';
+
+const sleep = ms => new Promise(r => setTimeout(r, ms));
+const jit   = () => PAUSA + Math.floor(Math.random() * 1500);
+
+const FEITOS = new Set(JSON.parse(localStorage.getItem(CHAVE) || '[]'));
+const marcar = h => { FEITOS.add(h);
+  localStorage.setItem(CHAVE, JSON.stringify([...FEITOS])); };
+
+const S = {fase: 'ocioso', feito: 0, erros: 0, total: 0, atual: '', parar: false};
+const FALHAS = [];
+
+function resumo() {
+  const c = {};
+  FALHAS.forEach(f => { c[f.codigo] = (c[f.codigo] || 0) + 1; });
+  return c;
+}
+
+async function baixarUm(handle, url) {
+  const r = await fetch(url, {credentials: 'same-origin'});
+  if (!r.ok) { const e = new Error('HTTP ' + r.status); e.codigo = r.status; throw e; }
+  const b = await r.blob();
+  if (b.size < 1024) { const e = new Error('blob ' + b.size + 'B'); e.codigo = 'blob-curto'; throw e; }
+  const orig = decodeURIComponent(url.split('/').pop());
+  const nome = `BRAS__${handle.replace(/\//g, '_')}__${orig}`.replace(/[\\/:*?"<>|]/g, '_');
+  const a = document.createElement('a');
+  a.href = URL.createObjectURL(b); a.download = nome;
+  document.body.appendChild(a); a.click(); a.remove();
+  setTimeout(() => URL.revokeObjectURL(a.href), 30000);
+  return b.size;
+}
+
+async function iniciar() {
+  if (S.fase === 'baixando') {            // <-- o defeito nº1 da v1
+    console.warn('FALTA ja esta rodando (' + S.atual + '). Use FALTA.parar() antes.');
+    return;
+  }
+  S.parar = false; S.fase = 'baixando'; FALHAS.length = 0;
+  const lista = FALTANTES.filter(([h]) => !FEITOS.has(h));
+  S.total = lista.length; S.feito = 0; S.erros = 0;
+  console.log(`FALTA v2: ${lista.length} pendentes, ~${Math.ceil(lista.length * PAUSA / 60000)} min se tudo der certo`);
+
+  let seguidos = 0;
+  for (let i = 0; i < lista.length; i++) {
+    if (S.parar) { S.fase = 'parado'; console.log('parado em ' + (i + 1)); return; }
+    const [handle, url] = lista[i];
+    S.atual = `${i + 1}/${lista.length} ${handle}`;
+    try {
+      const bytes = await baixarUm(handle, url);
+      marcar(handle); S.feito++; seguidos = 0;
+      console.log(`  ok   ${handle}  ${(bytes / 1048576).toFixed(1)} MB  (${i + 1}/${lista.length})`);
+    } catch (e) {
+      S.erros++; seguidos++;
+      FALHAS.push({handle, url, codigo: e.codigo ?? 'rede', erro: e.message});
+      console.warn(`  ERRO ${handle}: ${e.message}`);
+      if (seguidos >= MAX_SEGUIDOS) {      // <-- o defeito nº2 da v1
+        S.fase = 'abortado';
+        console.error(`\nFALTA abortou: ${seguidos} erros seguidos. A origem esta recusando -- insistir so piora.`);
+        console.table(resumo());
+        console.log('Espere (30+ min) e rode FALTA.retomar(). O que ja baixou esta marcado.');
+        return;
+      }
+      await sleep(BACKOFF);
+    }
+    await sleep(jit());
+  }
+
+  S.fase = 'concluido';
+  console.log(`\nFALTA v2 concluido. ok=${S.feito} erro=${S.erros}`);
+  if (FALHAS.length) { console.table(resumo()); console.table(FALHAS); }
+  else console.log('Trilha 1 fechada: 13.059/13.059. O subidor sobe o resto sozinho.');
+}
+
+window.FALTA = {
+  iniciar, status: () => ({...S}), retomar: () => iniciar(),
+  parar: () => { S.parar = true; },
+  pendentes: () => FALTANTES.filter(([h]) => !FEITOS.has(h)).map(([h]) => h),
+  erros: () => [...FALHAS], resumo,
+  limparMarcas: () => localStorage.removeItem(CHAVE),
+};
+
+console.log(`FALTA v2 pronto: ${window.FALTA.pendentes().length} pendentes de ${FALTANTES.length}.`);
+console.log('Rode FALTA.iniciar()');
+})();
diff --git a/pipeline/catalogo-teste.jsonl b/pipeline/catalogo-teste.jsonl
new file mode 100644
index 0000000..d5ec888
--- /dev/null
+++ b/pipeline/catalogo-teste.jsonl
@@ -0,0 +1,2 @@
+{"handle":"20.500.12156.1/6066","title":"1. Centenário da Independência do Brasil : Exposição","community":"Biblioteca Nacional","preservation_url":"https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/6066/1/imagem.jpg","legacy_url":"http://objdigital.bn.br/objdigital2/acervo_digital/div_iconografia/icon843660/icon843660.jpg","rights":"Biblioteca Nacional (Brasil)"}
+{"handle":"20.500.12156.1/10377","title":"Cemitério de Pistoia","community":"Instituto Moreira Salles","preservation_url":"https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/10377/1/LB.001%288%29.dvft.JPG","legacy_url":null,"rights":null}
diff --git a/pipeline/coletor-chrome.js b/pipeline/coletor-chrome.js
new file mode 100644
index 0000000..3e99afe
--- /dev/null
+++ b/pipeline/coletor-chrome.js
@@ -0,0 +1,204 @@
+/* ===================================================================
+   Coletor da Brasiliana Fotografica -- TRILHA PARALELA (Chrome), roda
+   DENTRO da pagina.
+
+   Copia de coletor.js, com duas diferencas deliberadas:
+     1. COM exclui '2' (Biblioteca Nacional) -- essa comunidade ja esta
+        sendo colhida pela outra instancia (Brave) e e a maior das duas
+        (2.726 itens), entao e a que menos risco de sobreposicao corre
+        se for deixada so pro Brave terminar.
+     2. exporta como brasiliana-catalogo-chrome.jsonl (nome diferente,
+        pra nao colidir com o download da outra aba e facilitar o merge
+        com dedupe por handle depois).
+
+   Ainda existe sobreposicao possivel: se o Brave terminar Biblioteca
+   Nacional e avancar pras comunidades que esta aba tambem esta colhendo,
+   ele vai re-colher itens que ja estao aqui (redundante, nao incorreto --
+   dedupe por handle no merge final resolve). Aceito conscientemente ao
+   rodar as duas trilhas em paralelo (dobra o volume de requisicoes no
+   servidor da BN vs. so uma trilha).
+
+   IndexedDB proprio ('bras', separado por navegador/perfil -- sem colisao
+   com o do Brave mesmo com o mesmo nome).
+   =================================================================== */
+(() => {
+const BASE  = 'https://brasilianafotografica.bn.gov.br/brasiliana';
+const PREFIX= '20.500.12156.1';
+const RPP   = 100;
+const PAUSA = 2000;     // ms entre requisicoes. Nao baixe disso.
+
+const COM = {
+  '1753':'Instituto Moreira Salles',
+  '3540':'Arquivo Geral da Cidade do Rio de Janeiro',
+  '3541':'Diretoria do Patrimonio Historico e Documentacao da Marinha',
+  '4342':'Leibniz-Institut fuer Laenderkunde, Leipzig', '4884':'Arquivo Nacional',
+  '4886':'Museu da Republica', '5018':'Fiocruz', '6142':'Museu Historico Nacional',
+  '6660':'Fundacao Joaquim Nabuco', '7072':'Museu Aeroespacial',
+  '11464':'Escola de Ciencias Sociais (FGV CPDOC)',
+  '12796':'Instituto Historico e Geografico Brasileiro',
+  '13099':'Instituto Brasileiro de Geografia e Estatistica',
+  '14087':'Museu Paraense Emilio Goeldi',
+};
+const ESPERADO = 10310; // 13036 - 2726 (Biblioteca Nacional, fica com o Brave)
+
+const sleep = ms => new Promise(r => setTimeout(r, ms));
+const jit   = () => PAUSA + Math.floor(Math.random() * 600);   // ritmo, nao metronomo
+
+// ---------- IndexedDB ----------
+let db;
+const abrir = () => new Promise((res, rej) => {
+  const q = indexedDB.open('bras', 1);
+  q.onupgradeneeded = e => { const d = e.target.result;
+    if (!d.objectStoreNames.contains('fila'))  d.createObjectStore('fila');
+    if (!d.objectStoreNames.contains('itens')) d.createObjectStore('itens'); };
+  q.onsuccess = e => res(e.target.result);
+  q.onerror   = () => rej(q.error);
+});
+const put = (st, k, v) => new Promise((res, rej) => {
+  const t = db.transaction(st, 'readwrite'); t.objectStore(st).put(v, k);
+  t.oncomplete = res; t.onerror = () => rej(t.error); });
+const putMuitos = (st, pares) => new Promise((res, rej) => {
+  const t = db.transaction(st, 'readwrite'), o = t.objectStore(st);
+  for (const [k, v] of pares) o.put(v, k);
+  t.oncomplete = res; t.onerror = () => rej(t.error); });
+const keys = st => new Promise((res, rej) => {
+  const r = db.transaction(st).objectStore(st).getAllKeys();
+  r.onsuccess = () => res(r.result); r.onerror = () => rej(r.error); });
+const getAll = st => new Promise((res, rej) => {
+  const r = db.transaction(st).objectStore(st).getAll();
+  r.onsuccess = () => res(r.result); r.onerror = () => rej(r.error); });
+const get = (st, k) => new Promise(res => {
+  const r = db.transaction(st).objectStore(st).get(k);
+  r.onsuccess = () => res(r.result); r.onerror = () => res(undefined); });
+
+async function pegar(u) {
+  const r = await fetch(u, {credentials: 'same-origin'});
+  if (!r.ok) throw new Error('HTTP ' + r.status);
+  return r.text();
+}
+
+// ---------- extracao ----------
+function extrair(html, h, com) {
+  const d  = new DOMParser().parseFromString(html, 'text/html');
+  const dc = [...d.querySelectorAll('meta[name]')]
+    .filter(m => /^(DC|DCTERMS|citation)/.test(m.name))
+    .map(m => ({name: m.name, value: m.content}));
+  const a  = n => (dc.find(x => x.name === n) || {}).value || null;
+  // a tabela do ?show=full traz campos que nao viram meta tag, entre eles dc.rights
+  const tb = [...d.querySelectorAll('table.detailtable tr, table.ds-includeSet-table tr')]
+    .map(tr => { const td = [...tr.querySelectorAll('td')].map(c => c.textContent.trim());
+                 return td.length >= 2 ? {field: td[0], value: td[1]} : null; })
+    .filter(Boolean);
+  const leg = dc.filter(x => x.name === 'DC.identifier' && /objdigital/.test(x.value || ''))
+                .map(x => x.value)[0] || null;
+  return {
+    handle: `${PREFIX}/${h}`,
+    source_url: `${BASE}/handle/${PREFIX}/${h}?show=full`,
+    fetched_at: new Date().toISOString(),
+    title: a('DC.title'),
+    community: com,
+    // bitstream do DSpace = arquivo de PRESERVACAO (ate 8679x6484, 34,7 MB).
+    // objdigital = copia MENOR (~2600x2100, ~330 KB), so procedencia.
+    preservation_url: a('citation_pdf_url'),
+    legacy_url: leg,
+    rights: (tb.find(t => /^dc\.rights/i.test(t.field)) || {}).value || null,
+    dublin_core: dc,
+    full_table: tb,
+  };
+}
+
+const S = {fase: 'iniciando', atual: '', colhidos: 0, erros: 0, parar: false, t0: Date.now()};
+
+// ---------- fase 1: enumerar ----------
+async function descobrir() {
+  S.fase = 'enumerando';
+  const RE = new RegExp('handle/' + PREFIX.replace(/\./g, '\\.') + '/(\\d+)', 'g');
+  for (const [h, nome] of Object.entries(COM)) {
+    if (S.parar) return;
+    S.atual = nome;
+    let off = 0, total = null, vistos = new Set();
+    while (!S.parar) {
+      let html;
+      try { html = await pegar(`${BASE}/handle/${PREFIX}/${h}/browse?type=title&rpp=${RPP}&offset=${off}`); }
+      catch (e) { console.warn(`  ${nome} offset=${off}: ${e.message} -- pausa de 30s`);
+                  await sleep(30000); continue; }
+      if (total === null) {
+        const m = html.replace(/<[^>]+>/g, ' ')
+                      .match(/no momento\D{0,24}[\d.,]+\s*-\s*[\d.,]+\s*de\s*([\d.,]+)/i);
+        total = m ? +m[1].replace(/[.,]/g, '') : null;
+      }
+      const ach = new Set([...html.matchAll(RE)].map(m => m[1])); ach.delete(h);
+      let novos = 0; for (const x of ach) if (!vistos.has(x)) { vistos.add(x); novos++; }
+      await putMuitos('fila', [...ach].map(x => [x, nome]));
+      off += RPP;
+      if (!novos || (total && off >= total)) break;
+      await sleep(jit());
+    }
+    console.log(`  ${nome.padEnd(46)} ${String(vistos.size).padStart(6)}`);
+    await sleep(jit());
+  }
+  const n = (await keys('fila')).length;
+  console.log(`\nEnumerados: ${n} (esperado ${ESPERADO})`);
+}
+
+// ---------- fase 2: metadados ----------
+async function coletar() {
+  S.fase = 'colhendo';
+  const fila = await keys('fila'), feitos = new Set(await keys('itens'));
+  const pend = fila.filter(h => !feitos.has(h));
+  console.log(`${pend.length} itens a colher (~${(pend.length * PAUSA / 3600000).toFixed(1)} h)`);
+  for (let i = 0; i < pend.length; i++) {
+    if (S.parar) { S.fase = 'parado'; return; }
+    const h = pend[i];
+    S.atual = `${i + 1}/${pend.length}`;
+    try {
+      const html = await pegar(`${BASE}/handle/${PREFIX}/${h}?show=full`);
+      await put('itens', h, extrair(html, h, await get('fila', h)));
+      S.colhidos++;
+    } catch (e) {
+      await put('itens', h, {handle: `${PREFIX}/${h}`, erro: String(e).slice(0, 80)});
+      S.erros++;
+      // recuou? entao respire, nao insista -- insistir e o que vira bloqueio
+      if (/HTTP 4|HTTP 5/.test(String(e))) { console.warn(`  ${h}: ${e.message} -- pausa de 60s`);
+                                             await sleep(60000); }
+    }
+    if (i % 100 === 0) console.log(`  ${i}/${pend.length}  ok=${S.colhidos} erro=${S.erros}`);
+    await sleep(jit());
+  }
+  S.fase = 'concluido';
+  console.log(`\nConcluido. ok=${S.colhidos} erro=${S.erros}. Agora: await BRAS_CHROME.exportar()`);
+}
+
+// ---------- exportar ----------
+async function exportar() {
+  const todos = await getAll('itens');
+  const a = document.createElement('a');
+  a.href = URL.createObjectURL(new Blob([todos.map(o => JSON.stringify(o)).join('\n')],
+                                        {type: 'application/x-ndjson'}));
+  a.download = 'brasiliana-catalogo-chrome.jsonl';
+  document.body.appendChild(a); a.click(); a.remove();
+  console.log(`exportadas ${todos.length} linhas para a pasta Downloads (brasiliana-catalogo-chrome.jsonl)`);
+  return todos.length;
+}
+
+window.BRAS_CHROME = {
+  status: async () => {
+    const naFila = (await keys('fila')).length, noBanco = (await keys('itens')).length;
+    const h = (Date.now() - S.t0) / 3600000;
+    return {fase: S.fase, atual: S.atual, naFila, noBanco, erros: S.erros,
+            restam: naFila - noBanco, horas: +h.toFixed(2)};
+  },
+  parar:   () => { S.parar = true; console.log('parando apos a requisicao atual'); },
+  retomar: () => { S.parar = false; coletar(); },
+  exportar,
+  limpar:  () => indexedDB.deleteDatabase('bras'),
+};
+
+(async () => {
+  db = await abrir();
+  if ((await keys('fila')).length < ESPERADO) await descobrir();
+  await coletar();
+})();
+
+console.log('BRAS_CHROME iniciado (trilha paralela, sem Biblioteca Nacional). Acompanhe com:  await BRAS_CHROME.status()');
+})();
diff --git a/pipeline/coletor-reparo.js b/pipeline/coletor-reparo.js
new file mode 100644
index 0000000..5dbdc90
--- /dev/null
+++ b/pipeline/coletor-reparo.js
@@ -0,0 +1,93 @@
+/* ===================================================================
+   Reparo do coletor.js -- reprocessa itens que ficaram marcados com
+   erro (ex.: queda de rede no meio da colheita).
+
+   POR QUE PRECISA: coletar() grava {handle, erro} em 'itens' quando
+   uma requisicao falha. Isso conta como "feito" pro loop principal --
+   ele nao tenta de novo sozinho. Falhas de rede (TypeError: Failed to
+   fetch) tambem nao disparam a pausa de 60s (so HTTP 4xx/5xx disparam),
+   entao uma queda pode gerar uma rajada de erros em vez de so alguns.
+
+   COMO USAR
+     1. Rode DEPOIS que await BRAS.status() mostrar fase 'concluido'
+        (pra nao competir por rede com o loop principal).
+     2. Cole este arquivo inteiro no mesmo console (mesma aba/origem).
+     3. Acompanhe pelo proprio console.log -- ele avisa quantos achou
+        e reporta ok/erro no final.
+     4. Se ainda sobrar erro (rede caiu nesse meio-tempo tambem), rode
+        de novo -- e idempotente.
+   =================================================================== */
+(async () => {
+  const BASE  = 'https://brasilianafotografica.bn.gov.br/brasiliana';
+  const PREFIX= '20.500.12156.1';
+  const PAUSA = 2000;
+  const sleep = ms => new Promise(r => setTimeout(r, ms));
+  const jit   = () => PAUSA + Math.floor(Math.random() * 600);
+
+  const db = await new Promise((res, rej) => {
+    const q = indexedDB.open('bras', 1);
+    q.onsuccess = () => res(q.result); q.onerror = () => rej(q.error);
+  });
+  const get = (st, k) => new Promise(res => {
+    const r = db.transaction(st).objectStore(st).get(k);
+    r.onsuccess = () => res(r.result); r.onerror = () => res(undefined); });
+  const put = (st, k, v) => new Promise((res, rej) => {
+    const t = db.transaction(st, 'readwrite'); t.objectStore(st).put(v, k);
+    t.oncomplete = res; t.onerror = () => rej(t.error); });
+  const getAll = st => new Promise((res, rej) => {
+    const r = db.transaction(st).objectStore(st).getAll();
+    r.onsuccess = () => res(r.result); r.onerror = () => rej(r.error); });
+
+  async function pegar(u) {
+    const r = await fetch(u, {credentials: 'same-origin'});
+    if (!r.ok) throw new Error('HTTP ' + r.status);
+    return r.text();
+  }
+
+  function extrair(html, h, com) {
+    const d  = new DOMParser().parseFromString(html, 'text/html');
+    const dc = [...d.querySelectorAll('meta[name]')]
+      .filter(m => /^(DC|DCTERMS|citation)/.test(m.name))
+      .map(m => ({name: m.name, value: m.content}));
+    const a  = n => (dc.find(x => x.name === n) || {}).value || null;
+    const tb = [...d.querySelectorAll('table.detailtable tr, table.ds-includeSet-table tr')]
+      .map(tr => { const td = [...tr.querySelectorAll('td')].map(c => c.textContent.trim());
+                   return td.length >= 2 ? {field: td[0], value: td[1]} : null; })
+      .filter(Boolean);
+    const leg = dc.filter(x => x.name === 'DC.identifier' && /objdigital/.test(x.value || ''))
+                  .map(x => x.value)[0] || null;
+    return {
+      handle: `${PREFIX}/${h}`,
+      source_url: `${BASE}/handle/${PREFIX}/${h}?show=full`,
+      fetched_at: new Date().toISOString(),
+      title: a('DC.title'),
+      community: com,
+      preservation_url: a('citation_pdf_url'),
+      legacy_url: leg,
+      rights: (tb.find(t => /^dc\.rights/i.test(t.field)) || {}).value || null,
+      dublin_core: dc,
+      full_table: tb,
+    };
+  }
+
+  const todos = await getAll('itens');
+  const falhados = todos.filter(x => x.erro);
+  console.log(`${falhados.length} itens com erro -- reprocessando`);
+
+  let ok = 0, erro = 0;
+  for (const item of falhados) {
+    const h = item.handle.split('/').pop();
+    const com = await get('fila', h); // recupera o nome da comunidade
+    try {
+      const html = await pegar(`${BASE}/handle/${PREFIX}/${h}?show=full`);
+      await put('itens', h, extrair(html, h, com));
+      ok++;
+    } catch (e) {
+      await put('itens', h, {handle: item.handle, erro: String(e).slice(0, 80)});
+      erro++;
+      if (/HTTP 4|HTTP 5/.test(String(e))) await sleep(60000);
+    }
+    await sleep(jit());
+  }
+  console.log(`\nReparo concluido. ok=${ok} ainda-com-erro=${erro}`);
+})();
diff --git a/pipeline/coletor-resume.js b/pipeline/coletor-resume.js
new file mode 100644
index 0000000..daa898f
--- /dev/null
+++ b/pipeline/coletor-resume.js
@@ -0,0 +1,202 @@
+/* ===================================================================
+   Coletor da Brasiliana Fotografica -- RETOMADA (resume + reparo juntos).
+
+   Diferenca do coletor.js original: coletar() considera "feito" so quem
+   tem registro SEM campo .erro. Handles nunca tentados E handles que
+   falharam antes (rede caiu, HTTP 4xx/5xx) entram juntos na mesma
+   passada -- nao precisa colar coletor.js e depois coletor-reparo.js
+   separado.
+
+   COMO USAR
+     1. Abra  https://brasilianafotografica.bn.gov.br/brasiliana/
+        (mesma origem de sempre -- reaproveita o IndexedDB existente)
+     2. Cole este arquivo inteiro no console
+     3. Ele pula a descoberta (fila ja esta cheia) e colhe so o que
+        falta: pendentes + os que tinham erro
+     4. await BRAS.status() pra acompanhar; await BRAS.exportar() no fim
+   =================================================================== */
+(() => {
+const BASE  = 'https://brasilianafotografica.bn.gov.br/brasiliana';
+const PREFIX= '20.500.12156.1';
+const RPP   = 100;
+const PAUSA = 2000;     // ms entre requisicoes. Nao baixe disso.
+
+const COM = {
+  '2':'Biblioteca Nacional', '1753':'Instituto Moreira Salles',
+  '3540':'Arquivo Geral da Cidade do Rio de Janeiro',
+  '3541':'Diretoria do Patrimonio Historico e Documentacao da Marinha',
+  '4342':'Leibniz-Institut fuer Laenderkunde, Leipzig', '4884':'Arquivo Nacional',
+  '4886':'Museu da Republica', '5018':'Fiocruz', '6142':'Museu Historico Nacional',
+  '6660':'Fundacao Joaquim Nabuco', '7072':'Museu Aeroespacial',
+  '11464':'Escola de Ciencias Sociais (FGV CPDOC)',
+  '12796':'Instituto Historico e Geografico Brasileiro',
+  '13099':'Instituto Brasileiro de Geografia e Estatistica',
+  '14087':'Museu Paraense Emilio Goeldi',
+};
+const ESPERADO = 13036;
+
+const sleep = ms => new Promise(r => setTimeout(r, ms));
+const jit   = () => PAUSA + Math.floor(Math.random() * 600);
+
+// ---------- IndexedDB ----------
+let db;
+const abrir = () => new Promise((res, rej) => {
+  const q = indexedDB.open('bras', 1);
+  q.onupgradeneeded = e => { const d = e.target.result;
+    if (!d.objectStoreNames.contains('fila'))  d.createObjectStore('fila');
+    if (!d.objectStoreNames.contains('itens')) d.createObjectStore('itens'); };
+  q.onsuccess = e => res(e.target.result);
+  q.onerror   = () => rej(q.error);
+});
+const put = (st, k, v) => new Promise((res, rej) => {
+  const t = db.transaction(st, 'readwrite'); t.objectStore(st).put(v, k);
+  t.oncomplete = res; t.onerror = () => rej(t.error); });
+const putMuitos = (st, pares) => new Promise((res, rej) => {
+  const t = db.transaction(st, 'readwrite'), o = t.objectStore(st);
+  for (const [k, v] of pares) o.put(v, k);
+  t.oncomplete = res; t.onerror = () => rej(t.error); });
+const keys = st => new Promise((res, rej) => {
+  const r = db.transaction(st).objectStore(st).getAllKeys();
+  r.onsuccess = () => res(r.result); r.onerror = () => rej(r.error); });
+const get = (st, k) => new Promise(res => {
+  const r = db.transaction(st).objectStore(st).get(k);
+  r.onsuccess = () => res(r.result); r.onerror = () => res(undefined); });
+const getAll = st => new Promise((res, rej) => {
+  const r = db.transaction(st).objectStore(st).getAll();
+  r.onsuccess = () => res(r.result); r.onerror = () => rej(r.error); });
+// so as chaves cujo valor NAO tem .erro -- feito de verdade
+const chavesOk = () => new Promise((res, rej) => {
+  const s = new Set();
+  const req = db.transaction('itens').objectStore('itens').openCursor();
+  req.onsuccess = e => { const c = e.target.result;
+    if (c) { if (!c.value.erro) s.add(c.key); c.continue(); } else res(s); };
+  req.onerror = () => rej(req.error);
+});
+
+async function pegar(u) {
+  const r = await fetch(u, {credentials: 'same-origin'});
+  if (!r.ok) throw new Error('HTTP ' + r.status);
+  return r.text();
+}
+
+// ---------- extracao ----------
+function extrair(html, h, com) {
+  const d  = new DOMParser().parseFromString(html, 'text/html');
+  const dc = [...d.querySelectorAll('meta[name]')]
+    .filter(m => /^(DC|DCTERMS|citation)/.test(m.name))
+    .map(m => ({name: m.name, value: m.content}));
+  const a  = n => (dc.find(x => x.name === n) || {}).value || null;
+  const tb = [...d.querySelectorAll('table.detailtable tr, table.ds-includeSet-table tr')]
+    .map(tr => { const td = [...tr.querySelectorAll('td')].map(c => c.textContent.trim());
+                 return td.length >= 2 ? {field: td[0], value: td[1]} : null; })
+    .filter(Boolean);
+  const leg = dc.filter(x => x.name === 'DC.identifier' && /objdigital/.test(x.value || ''))
+                .map(x => x.value)[0] || null;
+  return {
+    handle: `${PREFIX}/${h}`,
+    source_url: `${BASE}/handle/${PREFIX}/${h}?show=full`,
+    fetched_at: new Date().toISOString(),
+    title: a('DC.title'),
+    community: com,
+    preservation_url: a('citation_pdf_url'),
+    legacy_url: leg,
+    rights: (tb.find(t => /^dc\.rights/i.test(t.field)) || {}).value || null,
+    dublin_core: dc,
+    full_table: tb,
+  };
+}
+
+const S = {fase: 'iniciando', atual: '', colhidos: 0, erros: 0, parar: false, t0: Date.now()};
+
+// ---------- fase 1: enumerar (so roda se a fila estiver incompleta) ----------
+async function descobrir() {
+  S.fase = 'enumerando';
+  const RE = new RegExp('handle/' + PREFIX.replace(/\./g, '\\.') + '/(\\d+)', 'g');
+  for (const [h, nome] of Object.entries(COM)) {
+    if (S.parar) return;
+    S.atual = nome;
+    let off = 0, total = null, vistos = new Set();
+    while (!S.parar) {
+      let html;
+      try { html = await pegar(`${BASE}/handle/${PREFIX}/${h}/browse?type=title&rpp=${RPP}&offset=${off}`); }
+      catch (e) { console.warn(`  ${nome} offset=${off}: ${e.message} -- pausa de 30s`);
+                  await sleep(30000); continue; }
+      if (total === null) {
+        const m = html.replace(/<[^>]+>/g, ' ')
+                      .match(/no momento\D{0,24}[\d.,]+\s*-\s*[\d.,]+\s*de\s*([\d.,]+)/i);
+        total = m ? +m[1].replace(/[.,]/g, '') : null;
+      }
+      const ach = new Set([...html.matchAll(RE)].map(m => m[1])); ach.delete(h);
+      let novos = 0; for (const x of ach) if (!vistos.has(x)) { vistos.add(x); novos++; }
+      await putMuitos('fila', [...ach].map(x => [x, nome]));
+      off += RPP;
+      if (!novos || (total && off >= total)) break;
+      await sleep(jit());
+    }
+    console.log(`  ${nome.padEnd(46)} ${String(vistos.size).padStart(6)}`);
+    await sleep(jit());
+  }
+  const n = (await keys('fila')).length;
+  console.log(`\nEnumerados: ${n} (esperado ${ESPERADO})`);
+}
+
+// ---------- fase 2: metadados (pendentes + com erro, juntos) ----------
+async function coletar() {
+  S.fase = 'colhendo';
+  const fila = await keys('fila'), ok = await chavesOk();
+  const pend = fila.filter(h => !ok.has(h));
+  console.log(`${pend.length} itens a colher/reparar (~${(pend.length * PAUSA / 3600000).toFixed(1)} h)`);
+  for (let i = 0; i < pend.length; i++) {
+    if (S.parar) { S.fase = 'parado'; return; }
+    const h = pend[i];
+    S.atual = `${i + 1}/${pend.length}`;
+    try {
+      const html = await pegar(`${BASE}/handle/${PREFIX}/${h}?show=full`);
+      await put('itens', h, extrair(html, h, await get('fila', h)));
+      S.colhidos++;
+    } catch (e) {
+      await put('itens', h, {handle: `${PREFIX}/${h}`, erro: String(e).slice(0, 80)});
+      S.erros++;
+      if (/HTTP 4|HTTP 5/.test(String(e))) { console.warn(`  ${h}: ${e.message} -- pausa de 60s`);
+                                             await sleep(60000); }
+    }
+    if (i % 100 === 0) console.log(`  ${i}/${pend.length}  ok=${S.colhidos} erro=${S.erros}`);
+    await sleep(jit());
+  }
+  S.fase = 'concluido';
+  console.log(`\nConcluido. ok=${S.colhidos} erro=${S.erros}. Agora: await BRAS.exportar()`);
+}
+
+// ---------- exportar ----------
+async function exportar() {
+  const todos = await getAll('itens');
+  const a = document.createElement('a');
+  a.href = URL.createObjectURL(new Blob([todos.map(o => JSON.stringify(o)).join('\n')],
+                                        {type: 'application/x-ndjson'}));
+  a.download = 'brasiliana-catalogo.jsonl';
+  document.body.appendChild(a); a.click(); a.remove();
+  console.log(`exportadas ${todos.length} linhas para a pasta Downloads`);
+  return todos.length;
+}
+
+window.BRAS = {
+  status: async () => {
+    const naFila = (await keys('fila')).length, ok = await chavesOk();
+    const h = (Date.now() - S.t0) / 3600000;
+    return {fase: S.fase, atual: S.atual, naFila, noBanco: ok.size, erros: S.erros,
+            restam: naFila - ok.size, horas: +h.toFixed(2)};
+  },
+  parar:   () => { S.parar = true; console.log('parando apos a requisicao atual'); },
+  retomar: () => { S.parar = false; coletar(); },
+  exportar,
+  limpar:  () => indexedDB.deleteDatabase('bras'),
+};
+
+(async () => {
+  db = await abrir();
+  if ((await keys('fila')).length < ESPERADO) await descobrir();
+  await coletar();
+})();
+
+console.log('BRAS retomado (pendentes + erros juntos). Acompanhe com:  await BRAS.status()');
+})();
diff --git a/pipeline/coletor-wordpress.js b/pipeline/coletor-wordpress.js
new file mode 100644
index 0000000..c0fd410
--- /dev/null
+++ b/pipeline/coletor-wordpress.js
@@ -0,0 +1,142 @@
+/* ===================================================================
+   Coletor dos posts editoriais do WordPress (raiz do dominio, separado
+   do /brasiliana/ DSpace). Roda igual o coletor.js -- dentro da pagina,
+   fetch() same-origin, grava em IndexedDB proprio ('bras_wp').
+
+   Nao baixa imagem nenhuma: as fotos dos posts ja apontam (em miniatura)
+   pros mesmos handles que o acervo principal ja cobre. Só o texto e o
+   mapeamento pra handles tem valor novo aqui.
+
+   COMO USAR
+     1. Cole este arquivo na mesma aba (ou qualquer aba da mesma origem)
+     2. await WP.descobrir()   -- enumera todos os posts (categorias x paginacao)
+     3. await WP.colher()      -- busca o conteudo de cada post
+     4. await WP.status()
+     5. await WP.exportar()    -- baixa wordpress-posts.jsonl
+   =================================================================== */
+(() => {
+const BASE = 'https://brasilianafotografica.bn.gov.br';
+const CATS = ["25","26","311","5","9","35","189","1"];
+const PAUSA = 1500;
+const sleep = ms => new Promise(r => setTimeout(r, ms));
+const jit = () => PAUSA + Math.floor(Math.random() * 500);
+
+let db;
+const abrir = () => new Promise((res, rej) => {
+  const q = indexedDB.open('bras_wp', 1);
+  q.onupgradeneeded = e => { const d = e.target.result;
+    if (!d.objectStoreNames.contains('fila'))  d.createObjectStore('fila');
+    if (!d.objectStoreNames.contains('posts')) d.createObjectStore('posts'); };
+  q.onsuccess = e => res(e.target.result); q.onerror = () => rej(q.error);
+});
+const put = (st, k, v) => new Promise((res, rej) => {
+  const t = db.transaction(st, 'readwrite'); t.objectStore(st).put(v, k);
+  t.oncomplete = res; t.onerror = () => rej(t.error);
+});
+const putMuitos = (st, pares) => new Promise((res, rej) => {
+  const t = db.transaction(st, 'readwrite'), o = t.objectStore(st);
+  for (const [k, v] of pares) o.put(v, k);
+  t.oncomplete = res; t.onerror = () => rej(t.error);
+});
+const keys = st => new Promise((res, rej) => {
+  const r = db.transaction(st).objectStore(st).getAllKeys();
+  r.onsuccess = () => res(r.result); r.onerror = () => rej(r.error);
+});
+const getAll = st => new Promise((res, rej) => {
+  const r = db.transaction(st).objectStore(st).getAll();
+  r.onsuccess = () => res(r.result); r.onerror = () => rej(r.error);
+});
+
+const S = {fase: 'ocioso', atual: '', colhidos: 0, erros: 0, parar: false};
+
+async function descobrir() {
+  S.fase = 'descobrindo';
+  for (const cat of CATS) {
+    if (S.parar) return;
+    S.atual = `categoria ${cat}`;
+    let pagina = 1, vazias = 0;
+    while (vazias < 1 && pagina <= 100) {
+      if (S.parar) return;
+      const url = pagina === 1 ? `${BASE}/?cat=${cat}` : `${BASE}/?cat=${cat}&paged=${pagina}`;
+      let html;
+      try { const r = await fetch(url, {credentials:'same-origin'}); html = await r.text(); }
+      catch(e) { vazias++; pagina++; await sleep(2000); continue; }
+      const d = new DOMParser().parseFromString(html, 'text/html');
+      const ids = [...d.querySelectorAll('article')]
+        .map(a => a.id?.match(/post-(\d+)/)?.[1]).filter(Boolean);
+      if (!ids.length) { vazias++; pagina++; await sleep(300); continue; }
+      await putMuitos('fila', ids.map(id => [id, cat]));
+      pagina++;
+      await sleep(jit());
+    }
+  }
+  const n = (await keys('fila')).length;
+  console.log(`Descoberta: ${n} posts unicos`);
+}
+
+function limpaTexto(el) {
+  const clone = el.cloneNode(true);
+  clone.querySelectorAll('.sharify-container, script, style').forEach(e => e.remove());
+  return clone.textContent.replace(/[ \t]+/g, ' ').replace(/\n{3,}/g, '\n\n').trim();
+}
+
+async function colherUm(id) {
+  const r = await fetch(`${BASE}/?p=${id}`, {credentials: 'same-origin'});
+  if (!r.ok) throw new Error('HTTP ' + r.status);
+  const html = await r.text();
+  const d = new DOMParser().parseFromString(html, 'text/html');
+  const titulo = d.querySelector('.entry-title')?.textContent?.trim() || d.title;
+  const autor = d.querySelector('.author')?.textContent?.trim() || null;
+  const dataIso = d.querySelector('time')?.getAttribute('datetime') || null;
+  const categorias = [...new Set([...d.querySelectorAll('a[href*="?cat="]')].map(a => a.textContent.trim()).filter(Boolean))];
+  const contentEl = d.querySelector('.entry-content');
+  const corpo = contentEl ? limpaTexto(contentEl) : null;
+  const handles = [...new Set([...html.matchAll(/handle\/(20\.500\.12156\.1)\/(\d+)/g)].map(m => `${m[1]}/${m[2]}`))];
+  return {
+    id, url: `${BASE}/?p=${id}`, titulo, autor, data_iso: dataIso,
+    categorias, corpo, handles_referenciados: handles, fetched_at: new Date().toISOString(),
+  };
+}
+
+async function colher() {
+  S.fase = 'colhendo';
+  const fila = await keys('fila'), feitos = new Set(await keys('posts'));
+  const pend = fila.filter(id => !feitos.has(id));
+  console.log(`${pend.length} posts a colher`);
+  for (let i = 0; i < pend.length; i++) {
+    if (S.parar) { S.fase = 'parado'; return; }
+    const id = pend[i];
+    S.atual = `${i + 1}/${pend.length}`;
+    try {
+      const post = await colherUm(id);
+      await put('posts', id, post);
+      S.colhidos++;
+    } catch (e) {
+      await put('posts', id, {id, erro: String(e).slice(0, 80)});
+      S.erros++;
+    }
+    if (i % 25 === 0) console.log(`  ${i}/${pend.length} ok=${S.colhidos} erro=${S.erros}`);
+    await sleep(jit());
+  }
+  S.fase = 'concluido';
+  console.log(`\nConcluido. ok=${S.colhidos} erro=${S.erros}`);
+}
+
+async function exportar() {
+  const todos = await getAll('posts');
+  const a = document.createElement('a');
+  a.href = URL.createObjectURL(new Blob([todos.map(o => JSON.stringify(o)).join('\n')],
+                                        {type: 'application/x-ndjson'}));
+  a.download = 'wordpress-posts.jsonl';
+  document.body.appendChild(a); a.click(); a.remove();
+  console.log(`exportados ${todos.length} posts`);
+  return todos.length;
+}
+
+window.WP = {
+  descobrir, colher, exportar,
+  status: async () => ({...S, naFila: (await keys('fila')).length, noBanco: (await keys('posts')).length}),
+  parar: () => { S.parar = true; },
+};
+(async () => { db = await abrir(); console.log('WP pronto. await WP.descobrir() depois await WP.colher()'); })();
+})();
diff --git a/pipeline/coletor.js b/pipeline/coletor.js
new file mode 100644
index 0000000..5587010
--- /dev/null
+++ b/pipeline/coletor.js
@@ -0,0 +1,207 @@
+/* ===================================================================
+   Coletor da Brasiliana Fotografica -- roda DENTRO da pagina.
+
+   POR QUE ASSIM: o Cloudflare do site bloqueia navegador dirigido por
+   automacao (Playwright headless E headed levam 403), mas nao toca em
+   fetch() disparado de dentro de uma pagina aberta no seu Chrome --
+   mesma origem, sessao real, zero sinal de automacao.
+   Medido: >100 requisicoes seguidas sem bloqueio, a ~2s de intervalo.
+
+   ARMAZENAMENTO: IndexedDB, nao localStorage. 13.036 itens com metadados
+   completos dao ~39 MB; localStorage estoura em ~5 MB.
+
+   COMO USAR
+     1. Abra  https://brasilianafotografica.bn.gov.br/brasiliana/
+     2. DevTools (Cmd+Option+J) > Console > cole este arquivo inteiro
+     3. Ele comeca sozinho: enumera as 15 comunidades e segue colhendo.
+     4. Deixe a aba aberta (~7 h). Pode usar o resto do Chrome normalmente.
+
+   ACOMPANHAR / CONTROLAR
+     await BRAS.status()     onde esta
+     BRAS.parar()            interrompe (nao perde nada)
+     BRAS.retomar()          continua de onde parou
+     await BRAS.exportar()   baixa brasiliana-catalogo.jsonl
+
+   Fechou a aba? Reabra a pagina, cole o arquivo de novo: ele retoma.
+   =================================================================== */
+(() => {
+const BASE  = 'https://brasilianafotografica.bn.gov.br/brasiliana';
+const PREFIX= '20.500.12156.1';
+const RPP   = 100;
+const PAUSA = 2000;     // ms entre requisicoes. Nao baixe disso.
+
+const COM = {
+  '2':'Biblioteca Nacional', '1753':'Instituto Moreira Salles',
+  '3540':'Arquivo Geral da Cidade do Rio de Janeiro',
+  '3541':'Diretoria do Patrimonio Historico e Documentacao da Marinha',
+  '4342':'Leibniz-Institut fuer Laenderkunde, Leipzig', '4884':'Arquivo Nacional',
+  '4886':'Museu da Republica', '5018':'Fiocruz', '6142':'Museu Historico Nacional',
+  '6660':'Fundacao Joaquim Nabuco', '7072':'Museu Aeroespacial',
+  '11464':'Escola de Ciencias Sociais (FGV CPDOC)',
+  '12796':'Instituto Historico e Geografico Brasileiro',
+  '13099':'Instituto Brasileiro de Geografia e Estatistica',
+  '14087':'Museu Paraense Emilio Goeldi',
+};
+const ESPERADO = 13036;
+
+const sleep = ms => new Promise(r => setTimeout(r, ms));
+const jit   = () => PAUSA + Math.floor(Math.random() * 600);   // ritmo, nao metronomo
+
+// ---------- IndexedDB ----------
+let db;
+const abrir = () => new Promise((res, rej) => {
+  const q = indexedDB.open('bras', 1);
+  q.onupgradeneeded = e => { const d = e.target.result;
+    if (!d.objectStoreNames.contains('fila'))  d.createObjectStore('fila');
+    if (!d.objectStoreNames.contains('itens')) d.createObjectStore('itens'); };
+  q.onsuccess = e => res(e.target.result);
+  q.onerror   = () => rej(q.error);
+});
+const put = (st, k, v) => new Promise((res, rej) => {
+  const t = db.transaction(st, 'readwrite'); t.objectStore(st).put(v, k);
+  t.oncomplete = res; t.onerror = () => rej(t.error); });
+const putMuitos = (st, pares) => new Promise((res, rej) => {
+  const t = db.transaction(st, 'readwrite'), o = t.objectStore(st);
+  for (const [k, v] of pares) o.put(v, k);
+  t.oncomplete = res; t.onerror = () => rej(t.error); });
+const keys = st => new Promise((res, rej) => {
+  const r = db.transaction(st).objectStore(st).getAllKeys();
+  r.onsuccess = () => res(r.result); r.onerror = () => rej(r.error); });
+const getAll = st => new Promise((res, rej) => {
+  const r = db.transaction(st).objectStore(st).getAll();
+  r.onsuccess = () => res(r.result); r.onerror = () => rej(r.error); });
+const get = (st, k) => new Promise(res => {
+  const r = db.transaction(st).objectStore(st).get(k);
+  r.onsuccess = () => res(r.result); r.onerror = () => res(undefined); });
+
+async function pegar(u) {
+  const r = await fetch(u, {credentials: 'same-origin'});
+  if (!r.ok) throw new Error('HTTP ' + r.status);
+  return r.text();
+}
+
+// ---------- extracao ----------
+function extrair(html, h, com) {
+  const d  = new DOMParser().parseFromString(html, 'text/html');
+  const dc = [...d.querySelectorAll('meta[name]')]
+    .filter(m => /^(DC|DCTERMS|citation)/.test(m.name))
+    .map(m => ({name: m.name, value: m.content}));
+  const a  = n => (dc.find(x => x.name === n) || {}).value || null;
+  // a tabela do ?show=full traz campos que nao viram meta tag, entre eles dc.rights
+  const tb = [...d.querySelectorAll('table.detailtable tr, table.ds-includeSet-table tr')]
+    .map(tr => { const td = [...tr.querySelectorAll('td')].map(c => c.textContent.trim());
+                 return td.length >= 2 ? {field: td[0], value: td[1]} : null; })
+    .filter(Boolean);
+  const leg = dc.filter(x => x.name === 'DC.identifier' && /objdigital/.test(x.value || ''))
+                .map(x => x.value)[0] || null;
+  return {
+    handle: `${PREFIX}/${h}`,
+    source_url: `${BASE}/handle/${PREFIX}/${h}?show=full`,
+    fetched_at: new Date().toISOString(),
+    title: a('DC.title'),
+    community: com,
+    // bitstream do DSpace = arquivo de PRESERVACAO (ate 8679x6484, 34,7 MB).
+    // objdigital = copia MENOR (~2600x2100, ~330 KB), so procedencia.
+    preservation_url: a('citation_pdf_url'),
+    legacy_url: leg,
+    rights: (tb.find(t => /^dc\.rights/i.test(t.field)) || {}).value || null,
+    dublin_core: dc,
+    full_table: tb,
+  };
+}
+
+const S = {fase: 'iniciando', atual: '', colhidos: 0, erros: 0, parar: false, t0: Date.now()};
+
+// ---------- fase 1: enumerar ----------
+async function descobrir() {
+  S.fase = 'enumerando';
+  const RE = new RegExp('handle/' + PREFIX.replace(/\./g, '\\.') + '/(\\d+)', 'g');
+  for (const [h, nome] of Object.entries(COM)) {
+    if (S.parar) return;
+    S.atual = nome;
+    let off = 0, total = null, vistos = new Set();
+    while (!S.parar) {
+      let html;
+      try { html = await pegar(`${BASE}/handle/${PREFIX}/${h}/browse?type=title&rpp=${RPP}&offset=${off}`); }
+      catch (e) { console.warn(`  ${nome} offset=${off}: ${e.message} -- pausa de 30s`);
+                  await sleep(30000); continue; }
+      if (total === null) {
+        const m = html.replace(/<[^>]+>/g, ' ')
+                      .match(/no momento\D{0,24}[\d.,]+\s*-\s*[\d.,]+\s*de\s*([\d.,]+)/i);
+        total = m ? +m[1].replace(/[.,]/g, '') : null;
+      }
+      const ach = new Set([...html.matchAll(RE)].map(m => m[1])); ach.delete(h);
+      let novos = 0; for (const x of ach) if (!vistos.has(x)) { vistos.add(x); novos++; }
+      await putMuitos('fila', [...ach].map(x => [x, nome]));
+      off += RPP;
+      if (!novos || (total && off >= total)) break;
+      await sleep(jit());
+    }
+    console.log(`  ${nome.padEnd(46)} ${String(vistos.size).padStart(6)}`);
+    await sleep(jit());
+  }
+  const n = (await keys('fila')).length;
+  console.log(`\nEnumerados: ${n} (esperado ${ESPERADO})`);
+}
+
+// ---------- fase 2: metadados ----------
+async function coletar() {
+  S.fase = 'colhendo';
+  const fila = await keys('fila'), feitos = new Set(await keys('itens'));
+  const pend = fila.filter(h => !feitos.has(h));
+  console.log(`${pend.length} itens a colher (~${(pend.length * PAUSA / 3600000).toFixed(1)} h)`);
+  for (let i = 0; i < pend.length; i++) {
+    if (S.parar) { S.fase = 'parado'; return; }
+    const h = pend[i];
+    S.atual = `${i + 1}/${pend.length}`;
+    try {
+      const html = await pegar(`${BASE}/handle/${PREFIX}/${h}?show=full`);
+      await put('itens', h, extrair(html, h, await get('fila', h)));
+      S.colhidos++;
+    } catch (e) {
+      await put('itens', h, {handle: `${PREFIX}/${h}`, erro: String(e).slice(0, 80)});
+      S.erros++;
+      // recuou? entao respire, nao insista -- insistir e o que vira bloqueio
+      if (/HTTP 4|HTTP 5/.test(String(e))) { console.warn(`  ${h}: ${e.message} -- pausa de 60s`);
+                                             await sleep(60000); }
+    }
+    if (i % 100 === 0) console.log(`  ${i}/${pend.length}  ok=${S.colhidos} erro=${S.erros}`);
+    await sleep(jit());
+  }
+  S.fase = 'concluido';
+  console.log(`\nConcluido. ok=${S.colhidos} erro=${S.erros}. Agora: await BRAS.exportar()`);
+}
+
+// ---------- exportar ----------
+async function exportar() {
+  const todos = await getAll('itens');
+  const a = document.createElement('a');
+  a.href = URL.createObjectURL(new Blob([todos.map(o => JSON.stringify(o)).join('\n')],
+                                        {type: 'application/x-ndjson'}));
+  a.download = 'brasiliana-catalogo.jsonl';
+  document.body.appendChild(a); a.click(); a.remove();
+  console.log(`exportadas ${todos.length} linhas para a pasta Downloads`);
+  return todos.length;
+}
+
+window.BRAS = {
+  status: async () => {
+    const naFila = (await keys('fila')).length, noBanco = (await keys('itens')).length;
+    const h = (Date.now() - S.t0) / 3600000;
+    return {fase: S.fase, atual: S.atual, naFila, noBanco, erros: S.erros,
+            restam: naFila - noBanco, horas: +h.toFixed(2)};
+  },
+  parar:   () => { S.parar = true; console.log('parando apos a requisicao atual'); },
+  retomar: () => { S.parar = false; coletar(); },
+  exportar,
+  limpar:  () => indexedDB.deleteDatabase('bras'),
+};
+
+(async () => {
+  db = await abrir();
+  if ((await keys('fila')).length < ESPERADO) await descobrir();
+  await coletar();
+})();
+
+console.log('BRAS iniciado. Acompanhe com:  await BRAS.status()');
+})();
diff --git a/pipeline/converte-wordpress-md.py b/pipeline/converte-wordpress-md.py
new file mode 100644
index 0000000..efb0f96
--- /dev/null
+++ b/pipeline/converte-wordpress-md.py
@@ -0,0 +1,75 @@
+#!/usr/bin/env python3
+"""
+Converte wordpress-posts.jsonl (saido do coletor-wordpress.js) em um .md
+por post, com front-matter YAML. Imagens NAO sao baixadas -- os posts so
+usam miniaturas dos mesmos handles que o acervo principal ja cobre (ver
+PLANO.md); o valor novo aqui e o texto + o mapeamento pra handles.
+
+Uso: python3 converte-wordpress-md.py [wordpress-posts.jsonl] [pasta-saida]
+"""
+import json, re, sys, unicodedata
+from pathlib import Path
+
+ENTRADA = Path(sys.argv[1] if len(sys.argv) > 1 else "wordpress-posts.jsonl")
+SAIDA = Path(sys.argv[2] if len(sys.argv) > 2 else "../wordpress")
+SAIDA.mkdir(parents=True, exist_ok=True)
+
+
+def slug(txt):
+    txt = unicodedata.normalize("NFKD", txt).encode("ascii", "ignore").decode()
+    txt = re.sub(r"[^a-zA-Z0-9]+", "-", txt).strip("-").lower()
+    return txt[:80] or "sem-titulo"
+
+
+def yaml_str(s):
+    if s is None:
+        return "null"
+    return '"' + str(s).replace("\\", "\\\\").replace('"', '\\"') + '"'
+
+
+def yaml_lista(items):
+    if not items:
+        return "[]"
+    return "[" + ", ".join(yaml_str(i) for i in items) + "]"
+
+
+n_ok = n_erro = 0
+for linha in open(ENTRADA, encoding="utf-8"):
+    if not linha.strip():
+        continue
+    post = json.loads(linha)
+    if post.get("erro"):
+        n_erro += 1
+        continue
+
+    titulo = post.get("titulo") or f"post-{post['id']}"
+    nome_arquivo = f"{post['id']}-{slug(titulo)}.md"
+
+    frontmatter = "\n".join([
+        "---",
+        f"id: {post['id']}",
+        f"url: {yaml_str(post.get('url'))}",
+        f"titulo: {yaml_str(titulo)}",
+        f"autor: {yaml_str(post.get('autor'))}",
+        f"data: {yaml_str(post.get('data_iso'))}",
+        f"categorias: {yaml_lista(post.get('categorias') or [])}",
+        f"handles_referenciados: {yaml_lista(post.get('handles_referenciados') or [])}",
+        f"fetched_at: {yaml_str(post.get('fetched_at'))}",
+        "---",
+    ])
+
+    corpo = post.get("corpo") or "*(sem conteúdo extraído)*"
+
+    # nota de referencia pros handles, com link relativo pro nosso acervo
+    handles = post.get("handles_referenciados") or []
+    nota_handles = ""
+    if handles:
+        linhas_h = "\n".join(f"- `{h}` — `itens/{h.replace('/', '_')}/`" for h in handles)
+        nota_handles = f"\n\n---\n\n**Itens do acervo referenciados neste post:**\n\n{linhas_h}\n"
+
+    conteudo = f"{frontmatter}\n\n# {titulo}\n\n{corpo}{nota_handles}\n"
+    (SAIDA / nome_arquivo).write_text(conteudo, encoding="utf-8")
+    n_ok += 1
+
+print(f"{n_ok} arquivos .md gerados em {SAIDA.resolve()}")
+print(f"{n_erro} posts com erro na coleta, pulados")
diff --git a/pipeline/falhas-500-2026-09-13.txt b/pipeline/falhas-500-2026-09-13.txt
new file mode 100644
index 0000000..66554b3
--- /dev/null
+++ b/pipeline/falhas-500-2026-09-13.txt
@@ -0,0 +1,74 @@
+20.500.12156.1/7475
+20.500.12156.1/8785
+20.500.12156.1/7875
+20.500.12156.1/8075
+20.500.12156.1/7817
+20.500.12156.1/7326
+20.500.12156.1/7386
+20.500.12156.1/8912
+20.500.12156.1/8262
+20.500.12156.1/8161
+20.500.12156.1/8761
+20.500.12156.1/8762
+20.500.12156.1/7457
+20.500.12156.1/8804
+20.500.12156.1/8774
+20.500.12156.1/7516
+20.500.12156.1/7379
+20.500.12156.1/7344
+20.500.12156.1/7743
+20.500.12156.1/8313
+20.500.12156.1/8374
+20.500.12156.1/6545
+20.500.12156.1/8187
+20.500.12156.1/8133
+20.500.12156.1/8277
+20.500.12156.1/7355
+20.500.12156.1/7848
+20.500.12156.1/8267
+20.500.12156.1/6520
+20.500.12156.1/8275
+20.500.12156.1/7529
+20.500.12156.1/6570
+20.500.12156.1/8182
+20.500.12156.1/7034
+20.500.12156.1/7744
+20.500.12156.1/6568
+20.500.12156.1/8872
+20.500.12156.1/8396
+20.500.12156.1/7317
+20.500.12156.1/7517
+20.500.12156.1/8268
+20.500.12156.1/8141
+20.500.12156.1/6433
+20.500.12156.1/7438
+20.500.12156.1/6670
+20.500.12156.1/7440
+20.500.12156.1/7939
+20.500.12156.1/8825
+20.500.12156.1/7353
+20.500.12156.1/7393
+20.500.12156.1/7515
+20.500.12156.1/7814
+20.500.12156.1/7358
+20.500.12156.1/7463
+20.500.12156.1/7852
+20.500.12156.1/8796
+20.500.12156.1/8145
+20.500.12156.1/8254
+20.500.12156.1/7766
+20.500.12156.1/6674
+20.500.12156.1/7461
+20.500.12156.1/8128
+20.500.12156.1/8316
+20.500.12156.1/8249
+20.500.12156.1/6555
+20.500.12156.1/6669
+20.500.12156.1/7802
+20.500.12156.1/8739
+20.500.12156.1/7861
+20.500.12156.1/9148
+20.500.12156.1/6656
+20.500.12156.1/8781
+20.500.12156.1/8271
+20.500.12156.1/8286
diff --git a/pipeline/faltantes-preservacao.jsonl b/pipeline/faltantes-preservacao.jsonl
new file mode 100644
index 0000000..756402f
--- /dev/null
+++ b/pipeline/faltantes-preservacao.jsonl
@@ -0,0 +1,73 @@
+{"handle": "20.500.12156.1/10993", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/10993/1/Alb%200279%20113%20CT.jpg"}
+{"handle": "20.500.12156.1/10995", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/10995/1/Alb%200279%20106%20CT.jpg"}
+{"handle": "20.500.12156.1/6433", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/6433/1/0072430cx006-05t.jpg"}
+{"handle": "20.500.12156.1/6520", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/6520/1/007_IMG_1008t.jpg"}
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+{"handle": "20.500.12156.1/10096", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/10096/1/007_IMG_2904.jpg", "nome": "imagem.jpg", "motivo": "sem preservacao"}
+{"handle": "20.500.12156.1/10097", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/10097/1/007_IMG_2912.jpg", "nome": "imagem.jpg", "motivo": "sem preservacao"}
+{"handle": "20.500.12156.1/10098", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/10098/1/007_IMG_2913.jpg", "nome": "imagem.jpg", "motivo": "sem preservacao"}
+{"handle": "20.500.12156.1/10099", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/10099/1/007_IMG_2914.jpg", "nome": "imagem.jpg", "motivo": "sem preservacao"}
+{"handle": "20.500.12156.1/10100", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/10100/1/007_IMG_2917.jpg", "nome": "imagem.jpg", "motivo": "sem preservacao"}
+{"handle": "20.500.12156.1/10101", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/10101/1/001CC007016.jpg", "nome": "imagem.jpg", "motivo": "sem preservacao"}
+{"handle": "20.500.12156.1/10102", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/10102/1/007_IMG_2934.jpg", "nome": "imagem.jpg", "motivo": "sem preservacao"}
+{"handle": "20.500.12156.1/10103", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/10103/1/007_IMG_2935.jpg", "nome": "imagem.jpg", "motivo": "sem preservacao"}
+{"handle": "20.500.12156.1/10104", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/10104/1/007_IMG_2944.jpg", "nome": "imagem.jpg", "motivo": "sem preservacao"}
+{"handle": "20.500.12156.1/10105", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/10105/1/007_IMG_3108.jpg", "nome": "imagem.jpg", "motivo": "sem preservacao"}
+{"handle": "20.500.12156.1/10106", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/10106/1/007_IMG_3110.jpg", "nome": "imagem.jpg", "motivo": "sem preservacao"}
+{"handle": "20.500.12156.1/10107", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/10107/1/007_IMG_3113.jpg", "nome": "imagem.jpg", "motivo": "sem preservacao"}
+{"handle": "20.500.12156.1/10108", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/10108/1/007_IMG_3114.jpg", "nome": "imagem.jpg", "motivo": "sem preservacao"}
+{"handle": "20.500.12156.1/10109", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/10109/1/007_IMG_3119.jpg", "nome": "imagem.jpg", "motivo": "sem preservacao"}
+{"handle": "20.500.12156.1/10110", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/10110/1/007_IMG_3165.jpg", "nome": "imagem.jpg", "motivo": "sem preservacao"}
+{"handle": "20.500.12156.1/10111", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/10111/1/007_IMG_3259.jpg", "nome": "imagem.jpg", "motivo": "sem preservacao"}
+{"handle": "20.500.12156.1/10112", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/10112/1/001CC007019.jpg", "nome": "imagem.jpg", "motivo": "sem preservacao"}
+{"handle": "20.500.12156.1/10113", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/10113/1/007_IMG_3285.jpg", "nome": "imagem.jpg", "motivo": "sem preservacao"}
+{"handle": "20.500.12156.1/10114", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/10114/1/007_IMG_3299.jpg", "nome": "imagem.jpg", "motivo": "sem preservacao"}
+{"handle": "20.500.12156.1/10115", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/10115/1/007_IMG_3309.jpg", "nome": "imagem.jpg", "motivo": "sem preservacao"}
+{"handle": "20.500.12156.1/10116", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/10116/1/007_IMG_3316.jpg", "nome": "imagem.jpg", "motivo": "sem preservacao"}
+{"handle": "20.500.12156.1/10117", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/10117/1/007_IMG_3330.jpg", "nome": "imagem.jpg", "motivo": "sem preservacao"}
+{"handle": "20.500.12156.1/10118", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/10118/1/007_IMG_3332.jpg", "nome": "imagem.jpg", "motivo": "sem preservacao"}
+{"handle": "20.500.12156.1/10119", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/10119/1/007_IMG_3347.jpg", "nome": "imagem.jpg", "motivo": "sem preservacao"}
+{"handle": "20.500.12156.1/10120", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/10120/1/007_IMG_3350.jpg", "nome": "imagem.jpg", "motivo": "sem preservacao"}
+{"handle": "20.500.12156.1/10121", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/10121/1/007_IMG_3352.jpg", "nome": "imagem.jpg", "motivo": "sem preservacao"}
+{"handle": "20.500.12156.1/10122", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/10122/1/007_IMG_3353.jpg", "nome": "imagem.jpg", "motivo": "sem preservacao"}
+{"handle": "20.500.12156.1/10123", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/10123/1/001CC007020.jpg", "nome": "imagem.jpg", "motivo": "sem preservacao"}
+{"handle": "20.500.12156.1/10124", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/10124/1/007_IMG_3437.jpg", "nome": "imagem.jpg", "motivo": "sem preservacao"}
+{"handle": "20.500.12156.1/10125", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/10125/1/007_IMG_3469.jpg", "nome": "imagem.jpg", "motivo": "sem preservacao"}
+{"handle": "20.500.12156.1/10126", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/10126/1/007_IMG_3527.jpg", "nome": "imagem.jpg", "motivo": "sem preservacao"}
+{"handle": "20.500.12156.1/10127", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/10127/1/007_IMG_3528.jpg", "nome": "imagem.jpg", "motivo": "sem preservacao"}
+{"handle": "20.500.12156.1/10128", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/10128/1/007_IMG_3533.jpg", "nome": "imagem.jpg", "motivo": "sem preservacao"}
+{"handle": "20.500.12156.1/10129", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/10129/1/007_IMG_3534.jpg", "nome": "imagem.jpg", "motivo": "sem preservacao"}
+{"handle": "20.500.12156.1/10130", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/10130/1/007_IMG_3535.jpg", "nome": "imagem.jpg", "motivo": "sem preservacao"}
+{"handle": "20.500.12156.1/10131", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/10131/1/007_IMG_3536.jpg", "nome": "imagem.jpg", "motivo": "sem preservacao"}
+{"handle": "20.500.12156.1/10132", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/10132/1/007_IMG_3539.jpg", "nome": "imagem.jpg", "motivo": "sem preservacao"}
+{"handle": "20.500.12156.1/10133", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/10133/1/007_IMG_3540.jpg", "nome": "imagem.jpg", "motivo": "sem preservacao"}
+{"handle": "20.500.12156.1/10134", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/10134/1/001CC007025.jpg", "nome": "imagem.jpg", "motivo": "sem preservacao"}
+{"handle": "20.500.12156.1/10135", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/10135/1/007_IMG_3547.jpg", "nome": "imagem.jpg", "motivo": "sem preservacao"}
+{"handle": "20.500.12156.1/10136", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/10136/1/007_IMG_3559.jpg", "nome": "imagem.jpg", "motivo": "sem preservacao"}
+{"handle": "20.500.12156.1/10137", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/10137/1/007_IMG_3585.jpg", "nome": "imagem.jpg", "motivo": "sem preservacao"}
+{"handle": "20.500.12156.1/10138", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/10138/1/007_IMG_3588.jpg", "nome": "imagem.jpg", "motivo": "sem preservacao"}
+{"handle": "20.500.12156.1/10139", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/10139/1/007_IMG_3590.jpg", "nome": "imagem.jpg", "motivo": "sem preservacao"}
+{"handle": "20.500.12156.1/10140", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/10140/1/007_IMG_3594.jpg", "nome": "imagem.jpg", "motivo": "sem preservacao"}
+{"handle": "20.500.12156.1/10141", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/10141/1/007_IMG_3596.jpg", "nome": "imagem.jpg", "motivo": "sem preservacao"}
+{"handle": "20.500.12156.1/10142", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/10142/1/007_IMG_3597.jpg", "nome": "imagem.jpg", "motivo": "sem preservacao"}
+{"handle": "20.500.12156.1/10143", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/10143/1/007_IMG_3598.jpg", "nome": "imagem.jpg", "motivo": "sem preservacao"}
+{"handle": "20.500.12156.1/10144", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/10144/1/007_IMG_3601.jpg", "nome": "imagem.jpg", "motivo": "sem preservacao"}
+{"handle": "20.500.12156.1/10145", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/10145/1/001CC008007.jpg", "nome": "imagem.jpg", "motivo": "sem preservacao"}
+{"handle": "20.500.12156.1/10146", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/10146/1/007_IMG_3603.jpg", "nome": "imagem.jpg", "motivo": "sem preservacao"}
+{"handle": "20.500.12156.1/10147", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/10147/1/007_IMG_3607.jpg", "nome": "imagem.jpg", "motivo": "sem preservacao"}
+{"handle": "20.500.12156.1/10148", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/10148/1/007_IMG_3631.jpg", "nome": "imagem.jpg", "motivo": "sem preservacao"}
+{"handle": "20.500.12156.1/10149", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/10149/1/007_IMG_3634.jpg", "nome": "imagem.jpg", "motivo": "sem preservacao"}
+{"handle": "20.500.12156.1/10150", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/10150/1/007_IMG_3636.jpg", "nome": "imagem.jpg", "motivo": "sem preservacao"}
+{"handle": "20.500.12156.1/10151", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/10151/1/007_IMG_3639.jpg", "nome": "imagem.jpg", "motivo": "sem preservacao"}
+{"handle": "20.500.12156.1/10152", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/10152/1/007_IMG_3642.jpg", "nome": "imagem.jpg", "motivo": "sem preservacao"}
+{"handle": "20.500.12156.1/10153", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/10153/1/007_IMG_3739.jpg", "nome": "imagem.jpg", "motivo": "sem preservacao"}
+{"handle": "20.500.12156.1/10154", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/10154/1/007_IMG_3740.jpg", "nome": "imagem.jpg", "motivo": "sem preservacao"}
+{"handle": "20.500.12156.1/10155", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/10155/1/007_IMG_3742.jpg", "nome": "imagem.jpg", "motivo": "sem preservacao"}
+{"handle": "20.500.12156.1/14358", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/14358/1/Alb%200261%20139.jpg", "nome": "imagem.jpg", "motivo": "sem preservacao"}
+{"handle": "20.500.12156.1/14359", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/14359/1/Alb%200261%20136.jpg", "nome": "imagem.jpg", "motivo": "sem preservacao"}
+{"handle": "20.500.12156.1/14360", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/14360/1/Alb%200261%20141.jpg", "nome": "imagem.jpg", "motivo": "sem preservacao"}
+{"handle": "20.500.12156.1/14361", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/14361/1/Alb%200261%20142.jpg", "nome": "imagem.jpg", "motivo": "sem preservacao"}
+{"handle": "20.500.12156.1/14362", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/14362/1/Alb%200261%20143.jpg", "nome": "imagem.jpg", "motivo": "sem preservacao"}
+{"handle": "20.500.12156.1/14363", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/14363/1/Alb%200261%20144.jpg", "nome": "imagem.jpg", "motivo": "sem preservacao"}
+{"handle": "20.500.12156.1/14364", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/14364/1/Alb%200261%20146.jpg", "nome": "imagem.jpg", "motivo": "sem preservacao"}
+{"handle": "20.500.12156.1/14368", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/14368/1/Alb%200261%20163.jpg", "nome": "imagem.jpg", "motivo": "sem preservacao"}
+{"handle": "20.500.12156.1/14293", "url": null, "nome": "extra_seq1.jpg", "motivo": "extra apagado (tiff)"}
+{"handle": "20.500.12156.1/14295", "url": null, "nome": "extra_seq1.jpg", "motivo": "extra apagado (tiff)"}
+{"handle": "20.500.12156.1/14357", "url": null, "nome": "extra_seq1.jpg", "motivo": "extra apagado (tiff)"}
+{"handle": "20.500.12156.1/14357", "url": null, "nome": "extra_seq2.jpg", "motivo": "extra apagado (tiff)"}
+{"handle": "20.500.12156.1/14365", "url": null, "nome": "extra_seq2.jpg", "motivo": "extra apagado (tiff)"}
+{"handle": "20.500.12156.1/14365", "url": null, "nome": "extra_seq3.jpg", "motivo": "extra apagado (tiff)"}
+{"handle": "20.500.12156.1/14365", "url": null, "nome": "extra_seq4.jpg", "motivo": "extra apagado (tiff)"}
+{"handle": "20.500.12156.1/14365", "url": null, "nome": "extra_seq5.jpg", "motivo": "extra apagado (tiff)"}
+{"handle": "20.500.12156.1/14366", "url": null, "nome": "extra_seq2.jpg", "motivo": "extra apagado (tiff)"}
+{"handle": "20.500.12156.1/14367", "url": null, "nome": "extra_seq2.jpg", "motivo": "extra apagado (tiff)"}
+{"handle": "20.500.12156.1/14434", "url": null, "nome": "extra_seq1.jpg", "motivo": "extra apagado (tiff)"}
+{"handle": "20.500.12156.1/14434", "url": null, "nome": "extra_seq3.jpg", "motivo": "extra apagado (tiff)"}
+{"handle": "20.500.12156.1/14434", "url": null, "nome": "extra_seq4.jpg", "motivo": "extra apagado (tiff)"}
+{"handle": "20.500.12156.1/14434", "url": null, "nome": "extra_seq5.jpg", "motivo": "extra apagado (tiff)"}
+{"handle": "20.500.12156.1/14437", "url": null, "nome": "extra_seq1.jpg", "motivo": "extra apagado (tiff)"}
+{"handle": "20.500.12156.1/14437", "url": null, "nome": "extra_seq3.jpg", "motivo": "extra apagado (tiff)"}
+{"handle": "20.500.12156.1/14514", "url": null, "nome": "extra_seq1.jpg", "motivo": "extra apagado (tiff)"}
+{"handle": "20.500.12156.1/14515", "url": null, "nome": "extra_seq2.jpg", "motivo": "extra apagado (tiff)"}
+{"handle": "20.500.12156.1/14515", "url": null, "nome": "extra_seq3.jpg", "motivo": "extra apagado (tiff)"}
+{"handle": "20.500.12156.1/14516", "url": null, "nome": "extra_seq2.jpg", "motivo": "extra apagado (tiff)"}
+{"handle": "20.500.12156.1/14518", "url": null, "nome": "extra_seq1.jpg", "motivo": "extra apagado (tiff)"}
+{"handle": "20.500.12156.1/14518", "url": null, "nome": "extra_seq2.jpg", "motivo": "extra apagado (tiff)"}
+{"handle": "20.500.12156.1/14518", "url": null, "nome": "extra_seq4.jpg", "motivo": "extra apagado (tiff)"}
+{"handle": "20.500.12156.1/14519", "url": null, "nome": "extra_seq1.jpg", "motivo": "extra apagado (tiff)"}
+{"handle": "20.500.12156.1/14520", "url": null, "nome": "extra_seq1.jpg", "motivo": "extra apagado (tiff)"}
+{"handle": "20.500.12156.1/14520", "url": null, "nome": "extra_seq3.jpg", "motivo": "extra apagado (tiff)"}
+{"handle": "20.500.12156.1/14520", "url": null, "nome": "extra_seq4.jpg", "motivo": "extra apagado (tiff)"}
+{"handle": "20.500.12156.1/14521", "url": null, "nome": "extra_seq2.jpg", "motivo": "extra apagado (tiff)"}
+{"handle": "20.500.12156.1/2384", "url": null, "nome": "001AAN014011.jpg.zip", "motivo": "extra apagado (zip)"}
diff --git a/pipeline/reparo-hash-url.js b/pipeline/reparo-hash-url.js
new file mode 100644
index 0000000..5cf6d4b
--- /dev/null
+++ b/pipeline/reparo-hash-url.js
@@ -0,0 +1,27 @@
+/* ===================================================================
+   Restaura o preservation_url correto de 78 itens cujo IndexedDB ficou
+   corrompido (achado 2026-09-10): o nome do arquivo tem um "#" literal,
+   e algum processo anterior que passou a URL por `new URL(...).pathname`
+   cortou tudo depois do "#" (tratado como fragmento de URL, nao parte
+   do caminho). O catalogo.jsonl local nunca foi tocado por esse bug --
+   tem o valor certo. Este script so restaura o campo no IndexedDB.
+
+   COMO USAR: colar inteiro no console da aba do coletor.
+   =================================================================== */
+(async () => {
+  const PATCHES = [{"h": "13308", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/13308/1/Album%200035%20218%20CT%20%23.jpg"}, {"h": "13315", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/13315/1/Album%200035%20067%20CT%20%23.jpg"}, {"h": "13318", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/13318/1/Album%200035%20155%20CT%23.jpg"}, {"h": "13319", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/13319/1/Album%200035%20163%20CT%23.jpg"}, {"h": "13320", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/13320/1/Album%200035%20185%20CT%20%23.jpg"}, {"h": "13321", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/13321/1/Album%200035%20187%20CT%20%23.jpg"}, {"h": "13322", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/13322/1/Album%200035%20192%20CT%20%23.jpg"}, {"h": "13325", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/13325/1/Album%200035%20199%20CT%20%23.jpg"}, {"h": "13343", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/13343/1/Album%200035%20283%20CT%20%23.jpg"}, {"h": "13344", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/13344/1/Album%200035%20286%20CT%20%23.jpg"}, {"h": "13346", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/13346/1/Album%200035%20297%20CT%20%23.jpg"}, {"h": "13348", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/13348/1/Album%200035%20312%20CT%20%23.jpg"}, {"h": "13356", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/13356/1/Album%200035%20342%20CT%20%23.jpg"}, {"h": "13358", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/13358/1/Album%200035%20349%20CT%20%23.jpg"}, {"h": "13359", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/13359/1/Album%200035%20061%20CT%20%23.jpg"}, {"h": "13362", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/13362/1/Album%200035%20320%20CT%20%23.jpg"}, {"h": "13363", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/13363/1/Album%200035%20324%20CT%20%23.jpg"}, {"h": "13375", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/13375/1/Album%200035%20221%20CT%20%23.jpg"}, {"h": "13377", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/13377/1/Album%200035%20242%20CT%20%23.jpg"}, {"h": "13379", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/13379/1/Album%200035%20257%20CT%20%23.jpg"}, {"h": "13380", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/13380/1/Album%200035%20262%20CT%20%23.jpg"}, {"h": "13382", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/13382/1/Album%200035%20269%20CT%20%23.jpg"}, {"h": "13782", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/13782/1/Alb%200259%20123%20ct%20%23.jpg"}, {"h": "13783", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/13783/1/Alb%200259%20128%20ct%20%23.jpg"}, {"h": "13785", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/13785/1/Alb%200259%20140ct%20%23.jpg"}, {"h": "13786", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/13786/1/Alb%200259%20143%20ct%20%23.jpg"}, {"h": "13798", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/13798/1/Alb%200259%20171%20ct%20%23.jpg"}, {"h": "13799", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/13799/1/Alb%200259%20178%20ct%20%23.jpg"}, {"h": "13800", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/13800/1/Alb%200259%20179%20ct%20%23.jpg"}, {"h": "13802", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/13802/1/Alb%200259%20182%20ct%20%23.jpg"}, {"h": "13803", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/13803/1/Alb%200259%20183%20ct%20%23.jpg"}, {"h": "13804", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/13804/1/Alb%200259%20187%20ct%20%23.jpg"}, {"h": "13805", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/13805/1/Alb%200259%20149%20ct%20%23.jpg"}, {"h": "13806", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/13806/1/Alb%200259%20153%20ct%20%23.jpg"}, {"h": "13807", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/13807/1/Alb%200259%20190%20ct%20%23.jpg"}, {"h": "13808", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/13808/1/Alb%200259%20155%20ct%20%23.jpg"}, {"h": "13809", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/13809/1/Alb%200259%20156%20ct%20%23.jpg"}, {"h": "13810", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/13810/1/Alb%200259%20156%20ct%20%23.jpg"}, {"h": "13811", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/13811/1/Alb%200259%20158%20ct%20%23.jpg"}, {"h": "13812", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/13812/1/Alb%200259%20160%20ct%20%23.jpg"}, {"h": "13813", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/13813/1/Alb%200259%20162%20ct%20%23.jpg"}, {"h": "13814", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/13814/1/Alb%200259%20164%20ct%20%23.jpg"}, {"h": "13815", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/13815/1/Alb%200259%20167%20ct%20%23.jpg"}, {"h": "13816", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/13816/1/Alb%200259%20170%20ct%20%23.jpg"}, {"h": "14009", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/14009/1/Alb%200259%20192%20ct%20%23.jpg"}, {"h": "14010", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/14010/1/Alb%200259%20239%20ct%20%23.jpg"}, {"h": "14011", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/14011/1/Alb%200259%20241%20ct%20%23.jpg"}, {"h": "14013", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/14013/1/Alb%200259%20218%20ct%20%23.jpg"}, {"h": "14014", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/14014/1/Alb%200259%20239%20ct%20%23.jpg"}, {"h": "14015", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/14015/1/Alb%200259%20193%20ct%20%23.jpg"}, {"h": "14016", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/14016/1/Alb%200259%20210%20ct%20%23.jpg"}, {"h": "14017", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/14017/1/Alb%200259%20220%20ct%20%23.jpg"}, {"h": "14018", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/14018/1/Alb%200259%20225%20ct%20%23.jpg"}, {"h": "14019", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/14019/1/Alb%200259%20242%20ct%20%23.jpg"}, {"h": "14020", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/14020/1/Alb%200259%20202%20ct%20%23.jpg"}, {"h": "14023", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/14023/1/Alb%200259%20204%20ct%20%23.jpg"}, {"h": "14024", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/14024/1/Alb%200259%20214%20ct%20%23.jpg"}, {"h": "14061", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/14061/1/Alb%200260%20034%20CT%20%23.jpg"}, {"h": "14062", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/14062/1/Alb%200260%20065%20CT%20%23.jpg"}, {"h": "14063", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/14063/1/Alb%200260%20071%20CT%20%23.jpg"}, {"h": "14064", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/14064/1/Alb%200260%20072%20CT%20%23.jpg"}, {"h": "14065", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/14065/1/Alb%200260%20101%20CT%20%23.jpg"}, {"h": "14066", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/14066/1/Alb%200260%20133%20CT%20%23.jpg"}, {"h": "14067", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/14067/1/Alb%200260%20141%20CT%20%23.jpg"}, {"h": "14068", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/14068/1/Alb%200260%20142%20CT%20%23.jpg"}, {"h": "14071", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/14071/1/Alb%200260%20230%20CT%20%23.jpg"}, {"h": "14073", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/14073/1/Alb%200260%20201%20CT%20%23.jpg"}, {"h": "14074", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/14074/1/Alb%200260%20046%20CT%20%23.jpg"}, {"h": "14076", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/14076/1/Alb%200260%20132%20CT%20%23.jpg"}, {"h": "14077", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/14077/1/Alb%200260%20140%20CT%20%23.jpg"}, {"h": "14079", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/14079/1/Alb%200260%20050%20CT%20%23.jpg"}, {"h": "14080", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/14080/1/Alb%200260%20175%20CT%20%23.jpg"}, {"h": "14081", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/14081/1/Alb%200260%20177%20CT%20%23.jpg"}, {"h": "14082", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/14082/1/Alb%200260%20204%20CT%20%23.jpg"}, {"h": "14083", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/14083/1/Alb%200260%20199%20CT%20%23.jpg"}, {"h": "14084", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/14084/1/Alb%200260%20056%20CT%20%23.jpg"}, {"h": "14085", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/14085/1/Alb%200260%20070%20CT%20%23.jpg"}, {"h": "14094", "url": "https://brasilianafotografica.bn.gov.br/brasiliana/bitstream/20.500.12156.1/14094/1/Alb%200260%20207%20CT%20%23.jpg"}];
+  const req = indexedDB.open('bras', 1);
+  const db = await new Promise((res, rej) => { req.onsuccess = () => res(req.result); req.onerror = () => rej(req.error); });
+  const get = (st,k) => new Promise(res => { const r=db.transaction(st).objectStore(st).get(k); r.onsuccess=()=>res(r.result); r.onerror=()=>res(undefined); });
+  const put = (st,k,v) => new Promise((res,rej) => { const t=db.transaction(st,'readwrite'); t.objectStore(st).put(v,k); t.oncomplete=res; t.onerror=()=>rej(t.error); });
+
+  let corrigidos = 0, semItem = 0;
+  for (const {h, url} of PATCHES) {
+    const item = await get('itens', h);
+    if (!item) { semItem++; continue; }
+    item.preservation_url = url;
+    await put('itens', h, item);
+    corrigidos++;
+  }
+  console.log(`reparo-hash-url: ${corrigidos} corrigidos, ${semItem} sem item no IndexedDB`);
+})();
diff --git a/pipeline/reparo-multibitstream.js b/pipeline/reparo-multibitstream.js
new file mode 100644
index 0000000..32d0bc4
--- /dev/null
+++ b/pipeline/reparo-multibitstream.js
@@ -0,0 +1,93 @@
+/* ===================================================================
+   v2 -- a v1 usava .file-wrapper a[href*="sequence="], que nao extrai
+   nada (testado, retorna vazio). O que funciona: contar quantos
+   .file-wrapper existem (bate com o numero real de bitstreams) e
+   tentar as sequencias 1..N direto -- ja confirmado que o nome do
+   arquivo na URL nao importa nessa rota, so a sequencia.
+
+   Reparo: itens sem preservation_url que na verdade tem bitstream(s)
+   real(is) -- so nao geram citation_pdf_url (provavelmente por terem
+   mais de um bitstream no bundle ORIGINAL, o que confunde o gerador
+   de citacao do DSpace).
+
+   Grava all_preservation_urls / all_preservation_sizes (ordenado do
+   maior pro menor) e preservation_url = o maior, pra compatibilidade
+   com o pipeline existente. Rodar depois baixador-extras.js pra pegar
+   as demais imagens dos itens com mais de uma.
+   =================================================================== */
+(async () => {
+const BASE = 'https://brasilianafotografica.bn.gov.br/brasiliana';
+const PREFIX = '20.500.12156.1';
+const PAUSA = 2000;
+const sleep = ms => new Promise(r => setTimeout(r, ms));
+const jit = () => PAUSA + Math.floor(Math.random() * 600);
+
+// preencha com os handles a reparar (ex.: os que tem preservation_url nulo)
+const HANDLES = __HANDLES__;
+
+let db;
+const abrir = () => new Promise((res, rej) => {
+  const q = indexedDB.open('bras', 1);
+  q.onsuccess = () => res(q.result); q.onerror = () => rej(q.error);
+});
+const get = (st, k) => new Promise(res => {
+  const r = db.transaction(st).objectStore(st).get(k);
+  r.onsuccess = () => res(r.result); r.onerror = () => res(undefined);
+});
+const put = (st, k, v) => new Promise((res, rej) => {
+  const t = db.transaction(st, 'readwrite'); t.objectStore(st).put(v, k);
+  t.oncomplete = res; t.onerror = () => rej(t.error);
+});
+
+async function contaBitstreams(h) {
+  const r = await fetch(`${BASE}/handle/${PREFIX}/${h}`, {credentials: 'same-origin'});
+  if (!r.ok) throw new Error('HTTP ' + r.status);
+  const html = await r.text();
+  const d = new DOMParser().parseFromString(html, 'text/html');
+  return d.querySelectorAll('.file-wrapper').length;
+}
+
+async function tamanho(url) {
+  const r = await fetch(url, {credentials: 'same-origin'});
+  if (!r.ok) return -1;
+  const b = await r.blob();
+  return b.size;
+}
+
+const RESULT = {ok: 0, erro: 0, multiplos: 0, total: HANDLES.length, atual: 0};
+window.REPARO_MULTI = RESULT;
+
+db = await abrir();
+console.log(`reparo-multibitstream v2: ${HANDLES.length} itens a checar`);
+
+for (let i = 0; i < HANDLES.length; i++) {
+  const h = HANDLES[i];
+  RESULT.atual = i + 1;
+  try {
+    const n = await contaBitstreams(h);
+    if (!n) { RESULT.erro++; console.warn(`  ${h}: 0 file-wrapper (sem bitstream mesmo)`); await sleep(jit()); continue; }
+    const comTamanho = [];
+    for (let seq = 1; seq <= n; seq++) {
+      const u = `${BASE}/bitstream/${PREFIX}/${h}/${seq}/imagem.jpg`;
+      const bytes = await tamanho(u);
+      if (bytes > 0) comTamanho.push({url: u, bytes});
+      await sleep(300);
+    }
+    if (!comTamanho.length) { RESULT.erro++; console.warn(`  ${h}: ${n} wrapper(s) mas nenhuma sequencia respondeu`); await sleep(jit()); continue; }
+    comTamanho.sort((a, b) => b.bytes - a.bytes);
+    const item = await get('itens', h) || {};
+    item.preservation_url = comTamanho[0].url;
+    item.all_preservation_urls = comTamanho.map(c => c.url);
+    item.all_preservation_sizes = comTamanho.map(c => c.bytes);
+    await put('itens', h, item);
+    RESULT.ok++;
+    if (comTamanho.length > 1) RESULT.multiplos++;
+    console.log(`  ${h}: ${comTamanho.length}/${n} bitstream(s), maior=${(comTamanho[0].bytes/1048576).toFixed(1)}MB`);
+  } catch (e) {
+    RESULT.erro++;
+    console.warn(`  ${h}: ${e.message}`);
+  }
+  await sleep(jit());
+}
+console.log(`\nreparo-multibitstream v2 concluido. ok=${RESULT.ok} erro=${RESULT.erro} itens-com-multiplos-bitstreams=${RESULT.multiplos}`);
+})();
diff --git a/pipeline/reprojeta-meta-mapa.mjs b/pipeline/reprojeta-meta-mapa.mjs
new file mode 100644
index 0000000..523ac72
--- /dev/null
+++ b/pipeline/reprojeta-meta-mapa.mjs
@@ -0,0 +1,62 @@
+// reprojeta-meta-mapa.mjs — reescreve SÓ o `meta` de cada item do
+// web/atlas/atlas-map.json a partir do pipeline/catalogo.jsonl, sem re-renderizar
+// os atlas .webp (posições, cores e recortes das peças ficam intactos).
+//
+// Use quando as regras de metadados do web/build-atlas.js mudarem e não valer a
+// pena reconstruir 47 MB de imagem. As regras aqui têm de espelhar as de
+// summarize()/pickAll() lá — em 2026-09-12 as duas foram escritas juntas.
+//
+//   node pipeline/reprojeta-meta-mapa.mjs        (da raiz do projeto)
+import fs from 'node:fs';
+import readline from 'node:readline';
+
+const MAP = 'web/atlas/atlas-map.json';
+const pickAll = (item, field, noUrls) => {
+  const out = [];
+  for (const row of item.full_table || []) {
+    if (row.field !== field) continue;
+    const v = String(row.value ?? '').trim();
+    if (!v || out.includes(v)) continue;
+    if (noUrls && /^https?:\/\//i.test(v)) continue;
+    out.push(v);
+  }
+  return out;
+};
+const some = (i, f, noUrls) => { const v = pickAll(i, f, noUrls); return v.length ? v : undefined; };
+const one = (i, f) => pickAll(i, f)[0] || undefined;
+
+const d = JSON.parse(fs.readFileSync(MAP, 'utf8'));
+const wanted = new Set(Object.keys(d.map));
+const extra = new Map();
+
+const rl = readline.createInterface({ input: fs.createReadStream('pipeline/catalogo.jsonl'), crlfDelay: Infinity });
+for await (const line of rl) {
+  if (!line.trim()) continue;
+  const o = JSON.parse(line);
+  if (!wanted.has(o.handle)) continue;
+  extra.set(o.handle, {
+    subject: some(o, 'dc.subject'),
+    description: some(o, 'dc.description'),
+    coverage: some(o, 'dc.coverage'),
+    source: one(o, 'dc.source'),
+    publisher: one(o, 'dc.publisher'),
+    relation: some(o, 'dc.relation', true),
+    identifier: some(o, 'dc.identifier', true),
+  });
+}
+
+let enriched = 0, missing = 0;
+for (const [h, e] of Object.entries(d.map)) {
+  const add = extra.get(h);
+  if (!add) { missing++; continue; }
+  let touched = false;
+  for (const [k, v] of Object.entries(add)) if (v !== undefined) { e.meta[k] = v; touched = true; }
+  // deriváveis da chave: não repetir (ver build-atlas.js)
+  delete e.meta.handle;
+  delete e.meta.source_url;
+  if (touched) enriched++;
+}
+const out = JSON.stringify(d);
+fs.writeFileSync(MAP, out);
+console.log(`itens: ${wanted.size} | enriquecidos: ${enriched} | sem registro: ${missing}`);
+console.log(`atlas-map.json: ${(out.length / 1048576).toFixed(2)} MB`);
diff --git a/pipeline/rodar-paralelo.sh b/pipeline/rodar-paralelo.sh
new file mode 100755
index 0000000..223075e
--- /dev/null
+++ b/pipeline/rodar-paralelo.sh
@@ -0,0 +1,17 @@
+#!/bin/bash
+# Drena a fila de ~/Downloads pro S3 com o subidor-paralelo.py e depois arruma
+# o que o subidor.py antigo deixou: duplicatas "(N)" identicas e manifests com
+# linha de derivado. Log em pipeline/subidor-paralelo.log.
+# O caffeinate e amarrado a este script: segura o Mac acordado so enquanto roda.
+set -u
+cd "$(dirname "$0")"
+set -a; . ./.s3env; set +a
+exec >> subidor-paralelo.log 2>&1
+caffeinate -is -w $$ &
+echo "===== $(date -u +%FT%TZ) inicio (pid $$)"
+python3 -u subidor-paralelo.py --catalogo catalogo.jsonl --threads 6 --lote 400 || echo "!!! drenagem saiu com erro $?"
+echo "===== $(date -u +%FT%TZ) limpeza de duplicatas"
+python3 -u subidor-paralelo.py --catalogo catalogo.jsonl --limpar-duplicatas || echo "!!! limpeza saiu com erro $?"
+echo "===== $(date -u +%FT%TZ) regravando todos os manifests"
+python3 -u subidor-paralelo.py --catalogo catalogo.jsonl --so-manifestos --threads 6 || echo "!!! manifests saiu com erro $?"
+echo "===== $(date -u +%FT%TZ) FIM"
diff --git a/pipeline/sem-derivado.txt b/pipeline/sem-derivado.txt
new file mode 100644
index 0000000..49e252c
--- /dev/null
+++ b/pipeline/sem-derivado.txt
@@ -0,0 +1,8 @@
+20.500.12156.1_7802
+20.500.12156.1_7814
+20.500.12156.1_7817
+20.500.12156.1_7848
+20.500.12156.1_7852
+20.500.12156.1_7861
+20.500.12156.1_7875
+20.500.12156.1_8075
diff --git a/pipeline/subidor-paralelo.py b/pipeline/subidor-paralelo.py
new file mode 100644
index 0000000..3cbf69d
--- /dev/null
+++ b/pipeline/subidor-paralelo.py
@@ -0,0 +1,405 @@
+#!/usr/bin/env python3
+"""
+subidor-paralelo.py -- substitui o subidor.py para drenar a fila de ~/Downloads.
+
+Por que existe (medido 2026-09-12): o subidor.py sobe um arquivo por vez e, a
+cada arquivo, espera 1,5 s de "estabilidade" e dispara tres `aws s3 cp`
+(arquivo, metadata.json, manifest). Cada um paga a partida do aws-cli: ~5 s por
+arquivo, seja thumbnail de 74 KB ou preservacao de 40 MB. Resultado: ~1,3 GB/h
+num link de 69 Mbps (~31 GB/h). O gargalo era o processo, nao o link.
+
+O que muda:
+  - upload em paralelo via boto3 (um cliente, N threads, sem partida de CLI),
+    conferindo o tamanho no bucket antes de apagar o local
+  - metadata.json + manifest-sha256.txt uma vez por item ao fim de cada lote
+  - copia "(N)" do Chrome identica (mesmo handle, tipo, sha256 e nome-base de
+    algo ja enviado) NAO sobe (achado 2.20)
+  - arquivo que nao e imagem vai pra pipeline/rejeitados/ e ganha linha na
+    tabela `rejeitados`, em vez de ser apagado sem rastro (achado 2.19)
+  - manifest do item deixa de fora `derivado-thumb256`: esses objetos moram em
+    derivados/thumb256/, nao dentro de itens/<handle>/
+
+O que NAO muda: chaves no bucket, ledger `enviados`, validacao por magic bytes,
+conteudo de metadata.json.
+
+Uso:
+    set -a; . .s3env; set +a
+    python3 subidor-paralelo.py --catalogo catalogo.jsonl              # drena a fila
+    python3 subidor-paralelo.py --limpar-duplicatas                    # apaga "(N)" identicas (bucket + ledger)
+    python3 subidor-paralelo.py --catalogo catalogo.jsonl --so-manifestos  # regrava metadata+manifest de todo item
+"""
+import argparse, hashlib, json, mimetypes, os, re, shutil, sqlite3, sys, time
+from collections import defaultdict
+from concurrent.futures import ThreadPoolExecutor, as_completed
+from pathlib import Path
+
+import boto3
+from boto3.s3.transfer import TransferConfig
+from botocore.config import Config
+
+S3_ENDPOINT = os.environ.get("S3_ENDPOINT", "https://hel1.your-objectstorage.com")
+BUCKET = os.environ.get("ARCHIVE_BUCKET", "brasiliana")
+PREFIXO = "BRAS__"
+ROOT = Path(__file__).resolve().parent
+DB = ROOT / "subidor.sqlite"
+REJ_DIR = ROOT / "rejeitados"
+SUFIXO_N = re.compile(r"^(.*) \((\d+)\)(\.[^.]+)$")
+TIPOS_DO_ITEM = ("preservacao", "thumbnail", "legado")  # o que mora em itens/<handle>/
+TRANSF = TransferConfig(multipart_threshold=64 * 2**20, multipart_chunksize=16 * 2**20,
+                        max_concurrency=4)
+
+
+def agora():
+    return time.strftime("%Y-%m-%dT%H:%M:%SZ", time.gmtime())
+
+
+def log(msg):
+    print(f"{time.strftime('%H:%M:%S')} {msg}", flush=True)
+
+
+def base(nome):
+    m = SUFIXO_N.match(nome)
+    return m.group(1) + m.group(3) if m else nome
+
+
+def cliente(threads):
+    return boto3.client(
+        "s3", endpoint_url=S3_ENDPOINT,
+        config=Config(max_pool_connections=threads * 5 + 8,
+                      retries={"max_attempts": 8, "mode": "adaptive"},
+                      request_checksum_calculation="when_required",
+                      response_checksum_validation="when_required"))
+
+
+def db():
+    con = sqlite3.connect(DB, timeout=60)
+    con.executescript("""
+    CREATE TABLE IF NOT EXISTS descartados (
+      handle TEXT, tipo TEXT, nome TEXT, bytes INTEGER, sha256 TEXT,
+      chave_no_bucket TEXT, quando TEXT, PRIMARY KEY (handle, tipo, nome, sha256));
+    CREATE TABLE IF NOT EXISTS rejeitados (
+      handle TEXT, tipo TEXT, nome TEXT, bytes INTEGER, sha256 TEXT,
+      cabecalho TEXT, quando TEXT, PRIMARY KEY (handle, tipo, nome, sha256));""")
+    return con
+
+
+def carrega_catalogo(caminho):
+    d = {}
+    if caminho:
+        for linha in open(caminho, encoding="utf-8"):
+            if linha.strip():
+                r = json.loads(linha)
+                d[r["handle"]] = r
+    return d
+
+
+def interpreta(p):
+    """BRAS__20.500.12156.1_10377__[THUMB__]nome -> (handle, pasta, tipo, nome)"""
+    resto = p.name[len(PREFIXO):]
+    if "__" not in resto:
+        return None
+    pasta, nome = resto.split("__", 1)
+    m = re.fullmatch(r"(.+)_(\d+)", pasta)
+    if not m:
+        return None
+    tipo = "preservacao"
+    if nome.startswith("THUMB__"):
+        nome, tipo = nome[len("THUMB__"):], "thumbnail"
+    return f"{m.group(1)}/{m.group(2)}", pasta, tipo, nome
+
+
+# assinaturas de imagem aceitas. Achado 2026-09-12: parte das "preservacao" com
+# extensao .jpg e TIFF de verdade (II*\0 / MM\0*, ~8 MB, faixa 145xx); a regra
+# antiga (so JPEG/PNG) do subidor.py apagava esses arquivos como se fossem o
+# bitstream de licenca. O que se quer barrar e texto, nao formato de imagem.
+ASSINATURAS = (
+    (b"\xff\xd8", "jpeg"), (b"\x89PNG\r\n\x1a\n", "png"),
+    (b"II*\x00", "tiff"), (b"MM\x00*", "tiff"), (b"GIF87a", "gif"), (b"GIF89a", "gif"),
+    (b"\x00\x00\x00\x0cjP  ", "jp2"), (b"\xff\x4f\xff\x51", "j2k"), (b"BM", "bmp"),
+)
+
+
+def formato(cab):
+    for sig, nome in ASSINATURAS:
+        if cab.startswith(sig):
+            return nome
+    if cab[:4] == b"RIFF" and cab[8:12] == b"WEBP":
+        return "webp"
+    return None
+
+
+def examina(p):
+    h, cab = hashlib.sha256(), None
+    with p.open("rb") as fh:
+        for b in iter(lambda: fh.read(1 << 20), b""):
+            if cab is None:
+                cab = b[:20]
+            h.update(b)
+    cab = cab or b""
+    return h.hexdigest(), p.stat().st_size, formato(cab) is not None, cab
+
+
+MIME = {"jpeg": "image/jpeg", "png": "image/png", "tiff": "image/tiff", "gif": "image/gif",
+        "jp2": "image/jp2", "j2k": "image/jp2", "bmp": "image/bmp", "webp": "image/webp"}
+
+
+def tipo_mime(p):
+    """pelo conteudo, nao pela extensao: TIFF chega com nome .jpg"""
+    with open(p, "rb") as fh:
+        f = formato(fh.read(20))
+    return MIME.get(f) or mimetypes.guess_type(str(p))[0] or "binary/octet-stream"
+
+
+def sobe_arquivo(s3, p, key, tam):
+    s3.upload_file(str(p), BUCKET, key, Config=TRANSF,
+                   ExtraArgs={"ContentType": tipo_mime(p)})
+    got = s3.head_object(Bucket=BUCKET, Key=key)["ContentLength"]
+    if got != tam:
+        raise RuntimeError(f"tamanho no bucket {got} != local {tam}")
+
+
+def confere_existente(s3, key, tam):
+    """True se o objeto ja esta no bucket com o mesmo tamanho."""
+    try:
+        return s3.head_object(Bucket=BUCKET, Key=key)["ContentLength"] == tam
+    except Exception:
+        return False
+
+
+def sobe_bytes(s3, dados, key, ctype):
+    s3.put_object(Bucket=BUCKET, Key=key, Body=dados, ContentType=ctype)
+
+
+def refaz_metadados(con, s3, cat, handles, threads):
+    """metadata.json + manifest-sha256.txt, mesmo formato do subidor.py."""
+    trabalhos = []
+    for h in sorted(handles):
+        rec = cat.get(h)
+        if not rec:
+            continue
+        mj = json.dumps(rec, ensure_ascii=False, indent=2).encode("utf-8")
+        linhas = [f"{sha}  {tipo}/{nome}" for nome, sha, tipo in con.execute(
+            f"SELECT nome, sha256, tipo FROM enviados WHERE handle=? AND tipo IN "
+            f"({','.join('?' * len(TIPOS_DO_ITEM))}) ORDER BY tipo, nome", (h, *TIPOS_DO_ITEM))]
+        linhas.append(f"{hashlib.sha256(mj).hexdigest()}  metadata.json")
+        mf = ("\n".join(linhas) + "\n").encode("utf-8")
+        pasta = h.replace("/", "_")
+        trabalhos.append((mj, f"itens/{pasta}/metadata.json", "application/json"))
+        trabalhos.append((mf, f"itens/{pasta}/manifest-sha256.txt", "text/plain"))
+    falhas = 0
+    with ThreadPoolExecutor(threads) as ex:
+        for f in as_completed([ex.submit(sobe_bytes, s3, *t) for t in trabalhos]):
+            try:
+                f.result()
+            except Exception as e:
+                falhas += 1
+                log(f"FALHA metadado: {e}")
+    return len(trabalhos) // 2, falhas
+
+
+def drena(con, s3, cat, pasta, threads, lote, max_lotes=0):
+    REJ_DIR.mkdir(exist_ok=True)
+    env = dup = rej = 0
+    bytes_env, t0 = 0, time.time()
+    falhou = set()
+    n_lotes = 0
+    while True:
+        if max_lotes and n_lotes >= max_lotes:
+            log(f"parando depois de {n_lotes} lote(s) (--max-lotes)")
+            break
+        n_lotes += 1
+        corte = time.time() - 10
+        fila = []
+        for p in pasta.glob(PREFIXO + "*"):
+            if (not p.is_file() or p.suffix == ".crdownload" or p.name in falhou
+                    or p.stat().st_mtime > corte or Path(str(p) + ".crdownload").exists()):
+                continue
+            info = interpreta(p)
+            if info:
+                fila.append((p, *info))
+            else:
+                log(f"ignorado (nome inesperado): {p.name}")
+                falhou.add(p.name)
+        if not fila:
+            break
+        # nome sem "(N)" primeiro: entre duas copias identicas, fica o nome original
+        fila.sort(key=lambda a: (SUFIXO_N.match(a[4]) is not None, a[0].name))
+        pedaco = fila[:lote]
+
+        with ThreadPoolExecutor(threads) as ex:
+            exames = list(zip(pedaco, ex.map(lambda a: examina(a[0]), pedaco)))
+
+        no_ledger = defaultdict(dict)  # (handle, tipo, sha) -> {nome-base: nome ja enviado}
+        for h in {a[1] for a, _ in exames}:
+            for tipo, sha, nome in con.execute(
+                    "SELECT tipo, sha256, nome FROM enviados WHERE handle=?", (h,)):
+                no_ledger[(h, tipo, sha)].setdefault(base(nome), nome)
+        neste_lote = set()             # (handle, tipo, sha, nome-base) que ainda vai subir agora
+
+        subir, conferir = [], []
+        for (p, handle, pasta_h, tipo, nome), (sha, tam, eh_img, cab) in exames:
+            if not eh_img:
+                shutil.move(str(p), REJ_DIR / p.name)
+                con.execute("INSERT OR REPLACE INTO rejeitados VALUES (?,?,?,?,?,?,?)",
+                            (handle, tipo, nome, tam, sha, cab.hex(), agora()))
+                rej += 1
+                log(f"REJEITADO (nao e imagem, {tam} bytes, inicio {cab[:12]!r}): {p.name} -> rejeitados/")
+                continue
+            k = (handle, tipo, sha)
+            existente = no_ledger[k].get(base(nome))
+            if existente:
+                # so apaga o local depois do HEAD confirmar o objeto no bucket
+                conferir.append((p, handle, pasta_h, tipo, nome, sha, tam, existente))
+                continue
+            if k + (base(nome),) in neste_lote:
+                continue            # copia identica sobe neste lote; esta fica pro proximo
+            neste_lote.add(k + (base(nome),))
+            subir.append((p, handle, pasta_h, tipo, nome, sha, tam))
+        con.commit()
+
+        tocados = set()
+        with ThreadPoolExecutor(threads) as ex:
+            futs = {ex.submit(sobe_arquivo, s3, a[0], f"itens/{a[2]}/{a[3]}/{a[4]}", a[6]): a
+                    for a in subir}
+            for f in as_completed(futs):
+                p, handle, pasta_h, tipo, nome, sha, tam = futs[f]
+                try:
+                    f.result()
+                except Exception as e:
+                    falhou.add(p.name)
+                    log(f"FALHA no upload (mantido em disco): {p.name}: {e}")
+                    continue
+                con.execute("INSERT OR REPLACE INTO enviados (handle,nome,bytes,sha256,quando,tipo) "
+                            "VALUES (?,?,?,?,?,?)", (handle, nome, tam, sha, agora(), tipo))
+                con.commit()
+                p.unlink()
+                tocados.add(handle)
+                env += 1
+                bytes_env += tam
+        with ThreadPoolExecutor(threads) as ex:
+            futs = {ex.submit(confere_existente, s3, f"itens/{a[2]}/{a[3]}/{a[7]}", a[6]): a
+                    for a in conferir}
+            for f in as_completed(futs):
+                p, handle, pasta_h, tipo, nome, sha, tam, existente = futs[f]
+                chave = f"itens/{pasta_h}/{tipo}/{existente}"
+                if f.result():
+                    con.execute("INSERT OR REPLACE INTO descartados VALUES (?,?,?,?,?,?,?)",
+                                (handle, tipo, nome, tam, sha, chave, agora()))
+                    con.commit()
+                    p.unlink()
+                    dup += 1
+                else:
+                    # ledger dizia que estava la, o bucket discorda: sobe de novo
+                    log(f"ledger x bucket divergem, reenviando: {chave}")
+                    try:
+                        sobe_arquivo(s3, p, chave, tam)
+                    except Exception as e:
+                        falhou.add(p.name)
+                        log(f"FALHA no reenvio (mantido em disco): {p.name}: {e}")
+                        continue
+                    con.execute("INSERT OR REPLACE INTO enviados (handle,nome,bytes,sha256,quando,tipo) "
+                                "VALUES (?,?,?,?,?,?)", (handle, existente, tam, sha, agora(), tipo))
+                    con.commit()
+                    p.unlink()
+                    tocados.add(handle)
+                    env += 1
+                    bytes_env += tam
+        n_meta, f_meta = refaz_metadados(con, s3, cat, tocados, threads)
+
+        horas = (time.time() - t0) / 3600
+        log(f"lote ok: {len(tocados)} itens | total {env} arq, {bytes_env/2**30:.1f} GB "
+            f"({bytes_env/2**30/horas:.1f} GB/h) | dup {dup} | rej {rej} | falha {len(falhou)} "
+            f"| meta {n_meta} (falha {f_meta}) | fila ~{len(fila) - len(pedaco)}")
+    log(f"FIM da fila: {env} enviados, {bytes_env/2**30:.1f} GB, {dup} duplicatas descartadas, "
+        f"{rej} rejeitados, {len(falhou)} falhas mantidas em disco")
+    for n in sorted(falhou):
+        log(f"  pendente: {n}")
+
+
+def limpa_duplicatas(con, s3):
+    grupos = defaultdict(list)
+    for h, tipo, nome, sha in con.execute(
+            "SELECT handle, tipo, nome, sha256 FROM enviados WHERE tipo IN ('preservacao','thumbnail')"):
+        grupos[(h, tipo, sha)].append(nome)
+    apagar = []
+    for (h, tipo, sha), nomes in grupos.items():
+        if len(nomes) < 2:
+            continue
+        for b, iguais in _por_base(nomes).items():
+            if len(iguais) < 2:
+                continue
+            fica = sorted(iguais, key=lambda n: (SUFIXO_N.match(n) is not None, n))[0]
+            apagar += [(h, tipo, n, fica) for n in iguais if n != fica]
+    log(f"duplicatas identicas no ledger: {len(apagar)}")
+    feitos, tocados = 0, set()
+
+    def um(a):
+        h, tipo, n, fica = a
+        pasta = h.replace("/", "_")
+        k_dup, k_fica = f"itens/{pasta}/{tipo}/{n}", f"itens/{pasta}/{tipo}/{fica}"
+        t1 = s3.head_object(Bucket=BUCKET, Key=k_dup)["ContentLength"]
+        t2 = s3.head_object(Bucket=BUCKET, Key=k_fica)["ContentLength"]
+        if t1 != t2:
+            raise RuntimeError(f"tamanhos divergem no bucket: {k_dup}")
+        s3.delete_object(Bucket=BUCKET, Key=k_dup)
+        return a
+
+    with ThreadPoolExecutor(16) as ex:
+        for f in as_completed([ex.submit(um, a) for a in apagar]):
+            try:
+                h, tipo, n, _ = f.result()
+            except Exception as e:
+                log(f"  nao apagado: {e}")
+                continue
+            con.execute("DELETE FROM enviados WHERE handle=? AND tipo=? AND nome=?", (h, tipo, n))
+            tocados.add(h)
+            feitos += 1
+    con.commit()
+    log(f"duplicatas apagadas: {feitos}")
+    return tocados
+
+
+def _por_base(nomes):
+    d = defaultdict(list)
+    for n in nomes:
+        d[base(n)].append(n)
+    return d
+
+
+def main():
+    ap = argparse.ArgumentParser()
+    ap.add_argument("--downloads", default=str(Path.home() / "Downloads"))
+    ap.add_argument("--catalogo")
+    # 6 e nao 16: com muitas threads o OpenSSL do macOS estoura na verificacao
+    # de certificado (SIGSEGV em X509_STORE_CTX_get1_issuer, 13/09) -- corrida
+    # dentro do libcrypto, nao do nosso codigo. 6 threads ja dao ~19 GB/h.
+    ap.add_argument("--threads", type=int, default=6)
+    ap.add_argument("--lote", type=int, default=400)
+    ap.add_argument("--max-lotes", type=int, default=0, help="0 = ate esvaziar a fila")
+    ap.add_argument("--limpar-duplicatas", action="store_true")
+    ap.add_argument("--so-manifestos", action="store_true")
+    args = ap.parse_args()
+    if not os.environ.get("AWS_ACCESS_KEY_ID"):
+        sys.exit("credenciais S3 ausentes. Rode:  set -a; . .s3env; set +a")
+
+    con, s3 = db(), cliente(args.threads)
+    cat = carrega_catalogo(args.catalogo)
+    if args.limpar_duplicatas:
+        tocados = limpa_duplicatas(con, s3)
+        if cat and tocados:
+            log("regravando manifest dos itens tocados: %d (falha %d)" %
+                refaz_metadados(con, s3, cat, tocados, args.threads))
+    elif args.so_manifestos:
+        if not cat:
+            sys.exit("--so-manifestos precisa de --catalogo")
+        hs = {r[0] for r in con.execute("SELECT DISTINCT handle FROM enviados WHERE tipo IN (?,?,?)",
+                                        TIPOS_DO_ITEM)}
+        log(f"regravando metadata+manifest de {len(hs)} itens")
+        log("feito: %d itens (falha %d)" % refaz_metadados(con, s3, cat, hs, args.threads))
+    else:
+        log(f"drenando {args.downloads} -> s3://{BUCKET}/ ({args.threads} threads, lotes de {args.lote})")
+        drena(con, s3, cat, Path(args.downloads), args.threads, args.lote, args.max_lotes)
+
+
+if __name__ == "__main__":
+    main()
diff --git a/pipeline/subidor.py b/pipeline/subidor.py
new file mode 100644
index 0000000..1298a7a
--- /dev/null
+++ b/pipeline/subidor.py
@@ -0,0 +1,198 @@
+#!/usr/bin/env python3
+"""
+Trilha B, segunda metade: leva da pasta Downloads para o S3 e apaga.
+
+O baixador-navegador.js despeja os arquivos em Downloads com o handle no
+proprio nome (BRAS__20.500.12156.1_10377__arquivo.jpg). Este script recolhe,
+confere SHA-256, sobe pro bucket e APAGA na hora -- o disco nunca acumula.
+
+Rode em paralelo com o navegador, em modo --vigiar:
+
+    set -a; . .s3env; set +a
+    python3 subidor.py --vigiar --catalogo catalogo.jsonl
+
+Uma passada so, sem vigiar:
+    python3 subidor.py --catalogo catalogo.jsonl
+"""
+import argparse, hashlib, json, os, sqlite3, subprocess, sys, time
+from pathlib import Path
+
+S3_ENDPOINT = os.environ.get("S3_ENDPOINT", "https://hel1.your-objectstorage.com")
+BUCKET = os.environ.get("ARCHIVE_BUCKET", "brasiliana")
+PREFIXO = "BRAS__"
+
+ROOT = Path(__file__).resolve().parent
+DB = ROOT / "subidor.sqlite"
+
+
+def db():
+    con = sqlite3.connect(DB)
+    con.executescript("""
+    CREATE TABLE IF NOT EXISTS enviados (
+      handle TEXT, nome TEXT, bytes INTEGER, sha256 TEXT, quando TEXT,
+      PRIMARY KEY (handle, nome));""")
+    cols = [r[1] for r in con.execute("PRAGMA table_info(enviados)")]
+    if "tipo" not in cols:
+        # tipo entra na migracao, mas a PK antiga (handle,nome) colidiria
+        # entre preservacao/thumbnail com o mesmo nome de arquivo -- refaz
+        # a tabela com PK composta, preservando as linhas ja existentes
+        # (todas eram 'preservacao', de antes do thumbnail existir).
+        con.executescript("""
+        ALTER TABLE enviados RENAME TO enviados_old;
+        CREATE TABLE enviados (
+          handle TEXT, nome TEXT, bytes INTEGER, sha256 TEXT, quando TEXT,
+          tipo TEXT DEFAULT 'preservacao',
+          PRIMARY KEY (handle, tipo, nome));
+        INSERT INTO enviados (handle,nome,bytes,sha256,quando,tipo)
+          SELECT handle,nome,bytes,sha256,quando,'preservacao' FROM enviados_old;
+        DROP TABLE enviados_old;
+        """)
+        con.commit()
+    return con
+
+
+def s3_put(local, key):
+    return subprocess.run(
+        ["aws", "--endpoint-url", S3_ENDPOINT, "s3", "cp", str(local),
+         f"s3://{BUCKET}/{key}", "--only-show-errors"],
+        capture_output=True, text=True).returncode == 0
+
+
+def sha256(p):
+    h = hashlib.sha256()
+    with p.open("rb") as fh:
+        for b in iter(lambda: fh.read(1 << 20), b""):
+            h.update(b)
+    return h.hexdigest()
+
+
+def estavel(p):
+    """Chrome ainda escrevendo? Compara o tamanho com um intervalo curto."""
+    try:
+        a = p.stat().st_size
+        time.sleep(1.5)
+        return a == p.stat().st_size and a > 0
+    except FileNotFoundError:
+        return False
+
+
+def carrega_catalogo(caminho):
+    if not caminho:
+        return {}
+    d = {}
+    for linha in open(caminho, encoding="utf-8"):
+        if linha.strip():
+            r = json.loads(linha)
+            d[r["handle"]] = r
+    return d
+
+
+def escreve_metadados(con, handle, cat):
+    """metadata.json + manifest-sha256.txt do item."""
+    rec = cat.get(handle)
+    if not rec:
+        return
+    pasta = handle.replace("/", "_")
+    # nome com PID: baixador.py roda na mesma pasta e pode escrever no
+    # mesmo .tmp ao mesmo tempo -- nome fixo faz um processo apagar o
+    # arquivo que o outro acabou de criar (achado 2026-09-10, crash real).
+    tmp = ROOT / ".tmp"; tmp.mkdir(exist_ok=True)
+    mj = tmp / f"metadata.{os.getpid()}.json"
+    mj.write_text(json.dumps(rec, ensure_ascii=False, indent=2), encoding="utf-8")
+    s3_put(mj, f"itens/{pasta}/metadata.json")
+    linhas = [f"{sha}  {tipo}/{nome}" for nome, sha, tipo in
+              con.execute("SELECT nome,sha256,tipo FROM enviados WHERE handle=?", (handle,))]
+    linhas.append(f"{sha256(mj)}  metadata.json")
+    mf = tmp / f"manifest-sha256.{os.getpid()}.txt"
+    mf.write_text("\n".join(linhas) + "\n", encoding="utf-8")
+    s3_put(mf, f"itens/{pasta}/manifest-sha256.txt")
+    mj.unlink(missing_ok=True); mf.unlink(missing_ok=True)
+
+
+def uma_passada(con, pasta_downloads, cat, verboso=True):
+    n = 0
+    for p in sorted(pasta_downloads.glob(PREFIXO + "*")):
+        if p.suffix == ".crdownload" or not p.is_file():
+            continue
+        if not estavel(p):
+            continue
+        resto = p.name[len(PREFIXO):]
+        if "__" not in resto:
+            print(f"  ignorado (nome inesperado): {p.name}")
+            continue
+        pasta_handle, nome = resto.split("__", 1)
+        handle = pasta_handle.replace("_", "/", 1) if "/" not in pasta_handle else pasta_handle
+        # 20.500.12156.1_10377 -> 20.500.12156.1/10377
+        if "_" in pasta_handle:
+            base, num = pasta_handle.rsplit("_", 1)
+            handle = f"{base}/{num}"
+
+        # THUMB__ no nome roteia pra subpasta thumbnail/ em vez de preservacao/
+        eh_thumb = nome.startswith("THUMB__")
+        if eh_thumb:
+            nome = nome[len("THUMB__"):]
+        subpasta = "thumbnail" if eh_thumb else "preservacao"
+
+        # valida que e imagem de verdade antes de subir -- achado 2026-09-10:
+        # o palpite de sequencia do achado 2.8 (seq+1 = thumbnail) as vezes
+        # cai no bitstream de LICENCA do DSpace em vez da miniatura (62% dos
+        # thumbs de alguns lotes!). Rejeita qualquer coisa que nao comece com
+        # os magic bytes de JPEG/PNG -- mais barato que confiar no nome.
+        with p.open("rb") as fh:
+            cabecalho = fh.read(8)
+        eh_jpeg = cabecalho[:2] == b"\xff\xd8"
+        eh_png = cabecalho[:8] == b"\x89PNG\r\n\x1a\n"
+        if not (eh_jpeg or eh_png):
+            print(f"  REJEITADO (nao e imagem, primeiros bytes: {cabecalho[:20]!r}): {p.name}", flush=True)
+            p.unlink()
+            continue
+
+        dig, tam = sha256(p), p.stat().st_size
+        if s3_put(p, f"itens/{pasta_handle}/{subpasta}/{nome}"):
+            con.execute("INSERT OR REPLACE INTO enviados VALUES (?,?,?,?,?,?)",
+                        (handle, nome, tam, dig,
+                         time.strftime("%Y-%m-%dT%H:%M:%SZ", time.gmtime()), subpasta))
+            con.commit()
+            escreve_metadados(con, handle, cat)
+            p.unlink()                      # apaga SEMPRE que subiu
+            n += 1
+            if verboso:
+                print(f"  {handle:<24} {tam/1048576:6.1f} MB -> S3, local apagado", flush=True)
+        else:
+            print(f"  FALHA no upload: {p.name} (mantido em disco)", flush=True)
+    return n
+
+
+def main():
+    ap = argparse.ArgumentParser()
+    ap.add_argument("--downloads", default=str(Path.home() / "Downloads"))
+    ap.add_argument("--catalogo")
+    ap.add_argument("--vigiar", action="store_true")
+    ap.add_argument("--intervalo", type=int, default=20)
+    args = ap.parse_args()
+
+    if not os.environ.get("AWS_ACCESS_KEY_ID"):
+        sys.exit("credenciais S3 ausentes. Rode:  set -a; . .s3env; set +a")
+
+    con = db()
+    pasta = Path(args.downloads)
+    cat = carrega_catalogo(args.catalogo)
+    print(f"vigiando {pasta} -> s3://{BUCKET}/   ({len(cat)} itens no catalogo)\n"
+          if args.vigiar else f"passada unica em {pasta}\n")
+
+    total = 0
+    try:
+        while True:
+            total += uma_passada(con, pasta, cat)
+            if not args.vigiar:
+                break
+            time.sleep(args.intervalo)
+    except KeyboardInterrupt:
+        pass
+    enviados, bytes_ = con.execute(
+        "SELECT COUNT(*), COALESCE(SUM(bytes),0) FROM enviados").fetchone()
+    print(f"\nnesta sessao: {total} | acumulado: {enviados} arquivos, {bytes_/1024**3:.2f} GB")
+
+
+if __name__ == "__main__":
+    main()
diff --git a/pipeline/tools/ler-localstorage.js b/pipeline/tools/ler-localstorage.js
new file mode 100644
index 0000000..d3a0fbd
--- /dev/null
+++ b/pipeline/tools/ler-localstorage.js
@@ -0,0 +1,61 @@
+#!/usr/bin/env node
+/*
+ * ler-localstorage.js — lê o localStorage do Chrome direto do disco, sem
+ * depender da extensão Claude-in-Chrome estar conectada.
+ *
+ * Achado 2026-09-11: o progresso de BAIXA/BAIXA_THUMB (arrays de handles em
+ * localStorage.bras_baixados / bras_thumbs_v2) sobrevive em
+ * "~/Library/Application Support/Google/Chrome/Default/Local Storage/leveldb"
+ * mesmo com a extensão desconectada — é só um arquivo leveldb no disco.
+ * Copiamos antes de ler pra não brigar com o LOCK do Chrome (que está com o
+ * diretório aberto o tempo todo).
+ *
+ * Uso: node ler-localstorage.js [chave1] [chave2] ...
+ *   sem argumentos, lê as chaves conhecidas do projeto.
+ */
+const { ClassicLevel } = require('classic-level');
+const { execSync } = require('child_process');
+const os = require('os');
+const path = require('path');
+
+const ORIGIN = 'https://brasilianafotografica.bn.gov.br';
+const SRC = path.join(os.homedir(),
+  'Library/Application Support/Google/Chrome/Default/Local Storage/leveldb');
+const COPY = '/tmp/ls-copy-' + Date.now();
+
+const KEYS_PADRAO = ['bras_baixados', 'bras_thumbs', 'bras_thumbs_v2'];
+
+function mk(name) {
+  return Buffer.concat([
+    Buffer.from('_' + ORIGIN, 'latin1'),
+    Buffer.from([0x00, 0x01]),
+    Buffer.from(name, 'latin1'),
+  ]);
+}
+
+async function main() {
+  const keys = process.argv.slice(2);
+  const alvo = keys.length ? keys : KEYS_PADRAO;
+
+  execSync(`cp -r "${SRC}" "${COPY}"`);
+  const db = new ClassicLevel(COPY, { valueEncoding: 'buffer', keyEncoding: 'buffer' });
+  await db.open({ errorIfExists: false, createIfMissing: false });
+
+  const resultado = {};
+  for (const label of alvo) {
+    try {
+      const v = await db.get(mk(label));
+      const flag = v[0];
+      const str = flag === 0 ? v.slice(1).toString('utf16le') : v.slice(1).toString('utf8');
+      const arr = JSON.parse(str);
+      resultado[label] = Array.isArray(arr) ? arr.length : str.length;
+    } catch (e) {
+      resultado[label] = null; // chave não existe ou não é JSON — ok, só ausente
+    }
+  }
+  await db.close();
+  execSync(`rm -rf "${COPY}"`);
+  console.log(JSON.stringify(resultado, null, 2));
+}
+
+main().catch(e => { console.error('ERRO', e.message); process.exit(1); });
diff --git a/pipeline/tools/package-lock.json b/pipeline/tools/package-lock.json
new file mode 100644
index 0000000..7388a33
--- /dev/null
+++ b/pipeline/tools/package-lock.json
@@ -0,0 +1,189 @@
+{
+  "name": "tools",
+  "lockfileVersion": 3,
+  "requires": true,
+  "packages": {
+    "": {
+      "dependencies": {
+        "classic-level": "^3.0.0"
+      }
+    },
+    "node_modules/abstract-level": {
+      "version": "3.1.1",
+      "resolved": "https://registry.npmjs.org/abstract-level/-/abstract-level-3.1.1.tgz",
+      "integrity": "sha512-CW2gKbJFTuX1feMvOrvsVMmijAOgI9kg2Ie9Dq3gOcMt/dVVoVmqNlLcEUCT13NxHFMEajcUcVBIplbyDroDiw==",
+      "license": "MIT",
+      "dependencies": {
+        "buffer": "^6.0.3",
+        "is-buffer": "^2.0.5",
+        "level-supports": "^6.2.0",
+        "level-transcoder": "^1.0.1",
+        "maybe-combine-errors": "^1.0.0",
+        "module-error": "^1.0.1"
+      },
+      "engines": {
+        "node": ">=18"
+      }
+    },
+    "node_modules/base64-js": {
+      "version": "1.5.1",
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+      "funding": [
+        {
+          "type": "github",
+          "url": "https://github.com/sponsors/feross"
+        },
+        {
+          "type": "patreon",
+          "url": "https://www.patreon.com/feross"
+        },
+        {
+          "type": "consulting",
+          "url": "https://feross.org/support"
+        }
+      ],
+      "license": "MIT"
+    },
+    "node_modules/buffer": {
+      "version": "6.0.3",
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+      "funding": [
+        {
+          "type": "github",
+          "url": "https://github.com/sponsors/feross"
+        },
+        {
+          "type": "patreon",
+          "url": "https://www.patreon.com/feross"
+        },
+        {
+          "type": "consulting",
+          "url": "https://feross.org/support"
+        }
+      ],
+      "license": "MIT",
+      "dependencies": {
+        "base64-js": "^1.3.1",
+        "ieee754": "^1.2.1"
+      }
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+      "hasInstallScript": true,
+      "license": "MIT",
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+        "module-error": "^1.0.1",
+        "napi-macros": "^2.2.2",
+        "node-gyp-build": "^4.3.0"
+      },
+      "engines": {
+        "node": ">=18"
+      }
+    },
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+      "funding": [
+        {
+          "type": "github",
+          "url": "https://github.com/sponsors/feross"
+        },
+        {
+          "type": "patreon",
+          "url": "https://www.patreon.com/feross"
+        },
+        {
+          "type": "consulting",
+          "url": "https://feross.org/support"
+        }
+      ],
+      "license": "BSD-3-Clause"
+    },
+    "node_modules/is-buffer": {
+      "version": "2.0.5",
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+      "funding": [
+        {
+          "type": "github",
+          "url": "https://github.com/sponsors/feross"
+        },
+        {
+          "type": "patreon",
+          "url": "https://www.patreon.com/feross"
+        },
+        {
+          "type": "consulting",
+          "url": "https://feross.org/support"
+        }
+      ],
+      "license": "MIT",
+      "engines": {
+        "node": ">=4"
+      }
+    },
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+      "license": "MIT",
+      "engines": {
+        "node": ">=16"
+      }
+    },
+    "node_modules/level-transcoder": {
+      "version": "1.0.1",
+      "resolved": "https://registry.npmjs.org/level-transcoder/-/level-transcoder-1.0.1.tgz",
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+      "license": "MIT",
+      "dependencies": {
+        "buffer": "^6.0.3",
+        "module-error": "^1.0.1"
+      },
+      "engines": {
+        "node": ">=12"
+      }
+    },
+    "node_modules/maybe-combine-errors": {
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+      "license": "MIT",
+      "engines": {
+        "node": ">=10"
+      }
+    },
+    "node_modules/module-error": {
+      "version": "1.0.2",
+      "resolved": "https://registry.npmjs.org/module-error/-/module-error-1.0.2.tgz",
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+      "license": "MIT",
+      "engines": {
+        "node": ">=10"
+      }
+    },
+    "node_modules/napi-macros": {
+      "version": "2.2.2",
+      "resolved": "https://registry.npmjs.org/napi-macros/-/napi-macros-2.2.2.tgz",
+      "integrity": "sha512-hmEVtAGYzVQpCKdbQea4skABsdXW4RUh5t5mJ2zzqowJS2OyXZTU1KhDVFhx+NlWZ4ap9mqR9TcDO3LTTttd+g==",
+      "license": "MIT"
+    },
+    "node_modules/node-gyp-build": {
+      "version": "4.8.4",
+      "resolved": "https://registry.npmjs.org/node-gyp-build/-/node-gyp-build-4.8.4.tgz",
+      "integrity": "sha512-LA4ZjwlnUblHVgq0oBF3Jl/6h/Nvs5fzBLwdEF4nuxnFdsfajde4WfxtJr3CaiH+F6ewcIB/q4jQ4UzPyid+CQ==",
+      "license": "MIT",
+      "bin": {
+        "node-gyp-build": "bin.js",
+        "node-gyp-build-optional": "optional.js",
+        "node-gyp-build-test": "build-test.js"
+      }
+    }
+  }
+}
diff --git a/pipeline/tools/package.json b/pipeline/tools/package.json
new file mode 100644
index 0000000..9c6a246
--- /dev/null
+++ b/pipeline/tools/package.json
@@ -0,0 +1,8 @@
+{
+  "dependencies": {
+    "classic-level": "^3.0.0"
+  },
+  "allowScripts": {
+    "classic-level@3.0.0": true
+  }
+}
diff --git a/pipeline/vigia-30min.sh b/pipeline/vigia-30min.sh
new file mode 100755
index 0000000..2aeb533
--- /dev/null
+++ b/pipeline/vigia-30min.sh
@@ -0,0 +1,17 @@
+#!/bin/bash
+# A cada 30 min: sobe pro S3 o que o navegador tiver deixado em ~/Downloads e
+# apaga o local do que subiu (o subidor-paralelo.py so apaga depois do HEAD
+# confirmar o objeto no bucket). Passada vazia nao faz nada.
+set -u
+cd "$(dirname "$0")"
+set -a; . ./.s3env; set +a
+exec >> subidor-paralelo.log 2>&1
+echo "===== $(date -u +%FT%TZ) vigia-30min iniciado (pid $$)"
+while true; do
+  n=$(ls ~/Downloads 2>/dev/null | grep -c '^BRAS__' || true)
+  if [ "${n:-0}" -gt 0 ]; then
+    echo "----- $(date -u +%FT%TZ) vigia: $n arquivo(s) na fila"
+    python3 -u subidor-paralelo.py --catalogo catalogo.jsonl --threads 6 --lote 400 || echo "!!! vigia: erro $?"
+  fi
+  sleep 1800
+done
diff --git a/robots.mp4 b/robots.mp4
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diff --git a/tasks/PLANO.md b/tasks/PLANO.md
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+++ b/tasks/PLANO.md
@@ -0,0 +1,397 @@
+# PLANO — Brasiliana Fotográfica → S3
+
+> **Comece por aqui.** Documento de transferência: uma sessão nova consegue
+> retomar o trabalho só com este arquivo. Detalhe técnico completo em
+> `README.md`.
+
+**Objetivo:** os 13.036 itens da Brasiliana Fotográfica — metadados e imagens
+em qualidade de preservação — depositados em `s3://brasiliana`, organizados
+como acervo arquivístico (procedência + checksums).
+
+**Autorização:** a Biblioteca Nacional foi consultada. Confirmou que o material
+é público e que não tem equipe técnica para fornecer um dump; a coleta por
+scraping é o caminho combinado. Ritmo cortês e identificação continuam valendo.
+
+> **Reorganização de pastas em 2026-09-10.** Scripts + estado (catálogo,
+> `.sqlite`, `.log`, `.tmp/`, credenciais) mudaram de raiz para `pipeline/`;
+> visualizações foram para `web/`; `exemplo-item/` virou `examples/exemplo-item/`;
+> `censo.py` virou `archive/censo.py`. Todo comando de terminal abaixo já foi
+> atualizado para o novo caminho. Detalhe completo em `README.md` →
+> "Estrutura do repositório".
+>
+> **Mudança de plano em 2026-09-10 (importante, ver 2.6): o achado 2.4 abaixo
+> não se sustentou.** Cloudflare passou a bloquear bitstream via curl também
+> pra itens sem cache de borda — não só HTML. **Tudo (Fases 2 e 3) roda pelo
+> navegador agora, trilha única**, não mais A/B separadas por tipo de nome.
+> A Fase 4 (legado) segue via curl normalmente — domínio diferente
+> (`objdigital.bn.br`), sem esse bloqueio.
+
+---
+
+## 1. Estado em 2026-09-10
+
+| | |
+|---|---|
+| Fase 1 (metadados) | ✅ **completa** — 13.059 registros, 0 erros. 1 falso-positivo conhecido (`.../1`, é a página raiz da comunidade, não um item — excluir na contagem final) |
+| Catálogo | `pipeline/catalogo.jsonl`, re-exportado depois dos reparos (152 itens com `all_preservation_urls`) |
+| Download principal (1 imagem/item) | 🟡 em andamento no navegador |
+| Thumbnails | 🟡 em andamento no navegador |
+| Extras (itens com múltiplos bitstreams, 115 itens) | ✅ completo |
+| Fase 4 (legado objdigital) | 🟡 em andamento, local (`baixador.py --somente-legado`), 2.707 itens com `legacy_url` |
+| `subidor.py` | rodando em `pipeline/`, `--vigiar`, roteia preservacao/thumbnail/legado certo |
+
+Não existe mais aba do Brave rodando isso — é uma aba de Chrome comum,
+conectada via extensão Claude-in-Chrome. `coletor.js`/`coletor-resume.js`
+grava em IndexedDB a cada item; fechar a aba não perde nada, mas o *loop*
+para e precisa recolar o script certo pra retomar (ver `tasks/TODO.md`
+pros comandos exatos de cada trilha ativa).
+
+---
+
+## 2. Cinco achados que não devem ser redescobertos
+
+Cada um destes custou horas. Nenhum é óbvio, e vários são contraintuitivos.
+
+### 2.1 O sitemap está sete anos desatualizado
+`htmlmap`/`sitemap` são de abril/2019 e listam ~5.300 dos 13.036 itens. Enumerar
+por eles perde **59% do acervo sem erro aparente** — o crawl termina limpo, pela
+metade. Fonte correta: `browse?type=title&rpp=100&offset=N`, percorrido por
+comunidade (o que de quebra etiqueta a instituição de origem).
+
+### 2.2 O arquivo de preservação está no DSpace, não no objdigital
+O `DC.identifier` aponta para `objdigital.bn.br` e parece ser o master. É o
+contrário: o bitstream do DSpace tem 5533×4065 (7,4 MB) contra ~2600×2100
+(147 KB) do objdigital. O maior medido: 8679×6484, 34,7 MB — EXIF mostra
+Hasselblad H3D II-39MS a 7216×5412.
+**Inverter isso arquiva o acervo a um quarto da resolução, e nada avisa.**
+
+O PDF de 71,9 MB do item 14582 no objdigital não é a mesma imagem melhor: é
+outro objeto, um álbum de várias páginas.
+
+### 2.3 O Cloudflare bloqueia automação de navegador — não IP, não geografia
+Medido na mesma máquina, mesmo IP, mesmo instante:
+
+| Cliente | Páginas HTML |
+|---|---|
+| Chrome/Brave do usuário | ✅ 200 |
+| `fetch()` de dentro da página | ✅ 200 (>100 seguidas) |
+| Playwright *headed* | ❌ 200 na 1ª, 403 depois |
+| Playwright *headless* | ❌ 403 |
+| curl / httpx | ❌ 403 |
+| Servidor (Hetzner Helsinki) | ❌ 403 |
+
+**Proxies não ajudam** — o bloqueio dispara na segunda requisição da mesma
+sessão, não por origem. Testado e descartado. Não repita.
+
+### 2.4 Bitstreams passam por curl; páginas HTML não
+`bitstream/...` responde 200 a `curl -L` simples, até com UA de curl. Só o HTML
+é desafiado. É isso que permite baixar os 116 GB fora do navegador, num servidor.
+
+### 2.5 Nome de arquivo com percent-encoding leva 403
+Testado com cinco user-agents (Chrome, Safari, Firefox, Googlebot, curl):
+**todos 403** numa URL com `%28`/`%20`, enquanto `curl/8.7.1` puro dá **200**
+numa URL de nome simples. O gatilho é o caminho, não o cliente — variar
+user-agent não resolve. O navegador busca os dois casos sem problema.
+
+Daí as duas trilhas — **modelo original, superado, ver 2.6**. Itens da BN
+usam `imagem.jpg` (trilha A); os do IMS usam nomes descritivos com espaços
+e acentos (trilha B).
+
+### 2.6 O achado 2.4 não se sustentou — Cloudflare bloqueia bitstream também
+Testado ao vivo em 2026-09-10: item nunca antes acessado, buscado pelo
+navegador (200 OK) e **imediatamente depois** via curl na Finlândia — 403,
+página real do Cloudflare ("Attention Required"). O único item que passava
+por curl (`6066`) só passava porque já tinha sido baixado com sucesso antes
+e ficou em cache de borda (`cf-cache-status: HIT`) — sobra de um caso, não
+regra geral. Pré-aquecer a URL pelo navegador antes de tentar via curl
+**não** transfere o cache pra tornar o curl aceito (testado, falha igual).
+
+**Consequência: não existe mais trilha A via servidor.** Tudo — nome simples
+ou com encoding — precisa passar pelo navegador vivo (`fetch()` de dentro da
+página). `baixador.py` na Finlândia fica só pra Fase 4 (objdigital, domínio
+diferente, sem esse bloqueio — ver 2.11).
+
+### 2.7 Itens com múltiplos bitstreams reais — não é caso raro
+115 itens (de ~13.058) têm **2 a 6 imagens reais** no bundle ORIGINAL, não
+uma. `citation_pdf_url` não é gerado pra esses (o gerador de citação do
+DSpace não sabe qual é "a" imagem quando há mais de uma) — por isso ficam
+sem `preservation_url` na extração simples. Sintoma: `full_table` tem
+`dc.description` mencionando álbum/página (ex.: "Álbum 0259"), igual ao
+caso do PDF de 71,9 MB do achado 2.2 — mesmo fenômeno, mas dentro do
+próprio DSpace, não só no objdigital.
+
+**Como enumerar as imagens reais de um item**, em ordem de confiabilidade:
+1. Contar `.file-wrapper` na página normal do item (não `?show=full`) — bate
+   com o número real de bitstreams.
+2. Tentar sequências `/bitstream/{PREFIX}/{h}/{seq}/qualquer-nome.jpg` pra
+   `seq` de 1 até N — funciona quando as sequências são contíguas a partir
+   de 1 (maioria dos casos).
+3. Quando (2) falha (sequências não contíguas): pegar o nome real do
+   arquivo a partir do `<img src>` de cada `.file-wrapper` (é a miniatura,
+   nome com `.jpg` duplicado no final — ex. `nome.jpg.jpg`), tirar o último
+   `.jpg`, e buscar `/bitstream/handle/{PREFIX}/{h}/{nome-real}` (rota por
+   nome exato, não por sequência).
+
+`preservation_url` = a maior imagem encontrada (compatibilidade com o
+pipeline); `all_preservation_urls`/`all_preservation_sizes` guardam todas,
+ordenadas da maior pra menor.
+
+**Exceção conhecida sem conserto:** handle `20.500.12156.1/7523` — `HTTP
+500` do próprio servidor da BN ao buscar os bitstreams (não é problema de
+nome/padrão). Provável arquivo corrompido do lado deles.
+
+### 2.8b Achado 2.8 falha ~62% das vezes em alguns lotes — bitstream de LICENÇA, não thumbnail
+`seq_master+1` às vezes é o bitstream de **LICENÇA** do DSpace (texto puro,
+"LICENÇA DE VEICULAÇÃO E DISTRIBUIÇÃO..."), não a miniatura — visto em
+Marinha e IMS, **2.655 de 4.278 thumbnails** (62%!) baixados errado num
+lote, **146 já tinham subido pro bucket** antes de descobrir (limpo).
+O filtro de tamanho do v1 (`> 2MB → rejeita`) não pega isso: o texto da
+licença é pequeno o bastante (781 bytes) pra passar. **Fix:** validar
+magic bytes (JPEG `FFD8`/PNG) antes de aceitar, tentar seq+2/+3 se falhar,
+e cair pro método do achado 2.7 (`<img src>` da página) como último
+recurso — `baixador-thumb.js` v2. Também blindado no `subidor.py`: rejeita
+qualquer upload cujo conteúdo não comece com magic bytes de imagem,
+independente do nome do arquivo (defesa em camadas).
+
+**Lição:** tamanho pequeno não é prova de "é a miniatura" — só magic bytes
+provam que é imagem de verdade.
+
+### 2.8 Miniatura gerada pelo DSpace: sequência N+1 (quando contígua)
+Pra item com bitstream original na sequência N, a miniatura que o DSpace
+gera automaticamente costuma ficar na sequência N+1 — confirmado no handle
+`6066`: seq 1 = master (7,7 MB), seq 2 = thumb (56 KB). Mesma rota
+filename-agnostic do achado 2.4 original (o nome na URL não importa, só a
+sequência). Quando as sequências não são contíguas (itens do achado 2.7 via
+método 3), a miniatura de cada imagem é o próprio `<img src>` do
+`.file-wrapper` correspondente — não precisa de request extra.
+
+### 2.9 objdigital às vezes tem PDF (álbum), não só JPG — extração pegava o identificador errado
+Alguns itens têm mais de um `DC.identifier` apontando pro objdigital: um
+`.htm` (página de landing) e um `.pdf` (o álbum de verdade, múltiplas
+páginas — mesmo fenômeno do PDF de 71,9 MB do item 14582, achado 2.2). A
+extração original pegava o **primeiro** identificador que batesse com
+"objdigital", que pra 44 itens (a maioria uma sequência do Museu
+Aeroespacial, `14526-14570`, mais o `584`) era o `.htm`, não o `.pdf` —
+perdendo o conteúdo real. De 235 itens com PDF disponível, 191 já estavam
+certos por acaso (o PDF vinha primeiro na lista); só 44 precisaram de
+correção manual (feita em `catalogo.jsonl` e no IndexedDB, antes do
+`baixador.py --somente-legado` alcançar esses handles — nada foi
+contaminado no bucket). **Vale re-checar outros itens com múltiplos
+`DC.identifier` de objdigital por precaução, não só os que têm `.pdf`.**
+
+Recheque feito (2026-09-10): mapeamos todos os padrões de extensão em
+2.231 itens com 2+ identifiers objdigital. Achados adicionais:
+- **5 itens** (`1081, 1082, 1084, 4077, 4084`) têm **só HTML**, sem
+  `.jpg`/`.pdf` nenhum — são páginas de um visualizador de zoom profundo
+  (OpenSeadragon/DZI, pirâmide de blocos, não um arquivo único). **3 já
+  tinham sido baixados e subidos como se fossem imagem** (arquivos de
+  ~2,4 KB, só a página HTML do visualizador) — limpo do bucket, `legacy_url`
+  zerado pros 5 (não vale a complexidade de espelhar a pirâmide de tiles
+  pra tão poucos itens).
+- **11 itens** têm `.sid` (MrSID, formato comprimido de imagem grande)
+  além do `.jpg` — não capturado, ficou como gap conhecido (baixo volume,
+  não priorizado).
+
+### 2.10 O crawl da Fase 1 não é 100% completo — achado via referência cruzada com o WordPress
+Cruzando os handles citados nos 636 posts do WordPress contra o catálogo,
+2 itens reais (`1799` "Princesa Isabel menina", `4798` "Vista panorâmica de
+Canudos...") existem no site mas não foram enumerados pela Fase 1 — ambos
+sem `citation_pdf_url`, formato de metadado antigo (um é de 2015-04-16,
+uma das primeiras entradas do sistema). Adicionados manualmente ao
+catálogo depois de descobertos.
+
+**Isso só foi achado por acaso** (porque um post do blog citava esses
+handles especificamente) — não existe verificação exaustiva de que a
+enumeração por `browse?type=title` capturou 100% dos itens de cada
+comunidade. Pode haver mais itens faltando que nenhum post referencia.
+Não investigado a fundo: seria preciso comparar a contagem de cada
+comunidade contra alguma fonte independente (a BN não expõe OAI-PMH nem
+count via API, até onde sabemos).
+
+### 2.11 O objdigital só responde em HTTPS — não era bloqueio
+`legacy_url` na fonte vem como `http://objdigital.bn.br/...`. Conexão HTTP
+simples (porta 80) é resetada (`Recv failure: Connection reset by peer`),
+local e da Finlândia. HTTPS funciona liso com curl puro, local (não
+testado da Finlândia — motivo original de "não alcançável" pode ser outro,
+não investigado). Fix: forçar `https://` no `legacy_url` antes de baixar
+(já aplicado em `baixador.py`).
+
+### 2.12 Caractere `#` no nome do arquivo corrompe URL no IndexedDB
+78 itens (mesmo álbum "Album 0035/0259/0260") têm `#` literal no nome real
+do arquivo (ex.: `Alb 0260 199 CT #.jpg`). Algum processo que passou esse
+nome por `new URL(...).pathname` sofreu o efeito clássico: `#` não
+percentado é tratado como início de **fragmento da URL**, e tudo depois
+dele é descartado — a URL salva no IndexedDB virou `.../Alb%20...%20CT%20`
+(sem sequência, sem `#`, sem `.jpg`), 404 garantido. O `catalogo.jsonl`
+local nunca foi tocado por esse bug (tem a URL certa, com `%23`) — fix é
+só reescrever o campo no IndexedDB a partir do catálogo
+(`pipeline/reparo-hash-url.js`).
+
+**Lição:** nunca usar `new URL()`/`.pathname` pra manipular nomes de
+arquivo vindos de fonte externa sem antes confirmar que não têm `#`, `?`
+ou outros caracteres especiais de URL não codificados.
+
+### 2.13 O mesmo `#` quebra de novo — desta vez no redirect do próprio DSpace
+
+Mesmo com a URL do achado 2.12 corrigida no IndexedDB (`%23` correto, forma
+antiga `/bitstream/PREFIX/ID/SEQ/arquivo`), os 78 itens continuavam dando
+404. O DSpace responde a essa forma antiga com um redirect para a forma
+canônica nova (`/bitstream/handle/PREFIX/ID/arquivo`, sem número de
+sequência) — e o `Location` do redirect tem o `#` sem escapar de novo,
+então o `fetch()` do navegador trunca no fragmento ao seguir o redirect
+(`finalUrl` chega faltando `#.jpg`, 404). Fix: pedir direto a forma
+canônica (`/bitstream/handle/...`), pulando o redirect — testado, `200`,
+JPEG válido. `preservation_url` desses 78 itens reescrito no IndexedDB
+para a forma canônica.
+
+**Lição:** com `#` no nome do arquivo, não confiar em nenhum redirect do
+servidor — ele pode ter o mesmo bug do lado de lá. Preferir sempre a URL
+final/canônica quando ela for conhecida.
+
+### 2.14 Dá pra ler o progresso do BAIXA/BAIXA_THUMB sem o Chrome conectado
+
+O progresso das trilhas via navegador (`localStorage.bras_baixados`,
+`bras_thumbs_v2`) sobrevive num arquivo leveldb comum no disco —
+`~/Library/Application Support/Google/Chrome/Default/Local Storage/leveldb`
+— mesmo com a extensão Claude-in-Chrome desconectada (ex.: conflito de conta
+OAuth, sessão anterior perdida). Basta copiar o diretório (evita brigar com
+o `LOCK` que o Chrome mantém aberto) e ler com uma lib leveldb qualquer
+(`classic-level` via npm, sem dependência nativa externa). O valor vem com
+1 byte de prefixo indicando encoding (`0x00`=UTF-16LE, `0x01`=UTF-8/Latin1)
+antes do JSON de verdade. Script pronto: `pipeline/tools/ler-localstorage.js`.
+
+**Lição:** perder a conexão com a extensão do navegador não significa perder
+visibilidade do progresso — boa parte do estado do app mora em arquivos
+comuns no disco do usuário, não só "dentro do navegador".
+
+---
+
+## 3. O acervo
+
+DSpace 4.2, handles `20.500.12156.1/*`. **13.058 itens reais** (13.059
+descobertos no crawl, menos 1 falso-positivo — `.../1` é a página raiz da
+comunidade, não um item). Contagem original por comunidade abaixo era de
+13.036; a diferença é ruído de borda (comunidades ganham/perdem item ao
+longo do tempo), não erro de coleta.
+
+| Instituição | Itens | | Instituição | Itens |
+|---|--:|---|---|--:|
+| Instituto Moreira Salles | 5.133 | | Fiocruz | 548 |
+| Biblioteca Nacional | 2.726 | | Marinha (DPHDM) | 456 |
+| Museu Aeroespacial | 1.143 | | Arquivo Nacional | 383 |
+| Museu da República | 906 | | Arq. Geral da Cidade do RJ | 248 |
+| Museu Histórico Nacional | 649 | | Leibniz-Institut, Leipzig | 216 |
+| IHGB | 206 | | Fund. Joaquim Nabuco | 190 |
+| Museu Goeldi | 95 | | FGV CPDOC | 79 |
+| IBGE | 58 | | | |
+
+**~139,5 GB projetados** (recalculado em 2026-09-10 com médias reais de
+357-474 arquivos já no bucket por categoria, não mais os 6 originais):
+preservação+extras ~136,9 GB (13.152 arquivos, 10,7 MB médio), thumbnails
+~0,9 GB, legado ~1,5 GB (taxa de sucesso ~75%, muito 404 genuíno),
+metadados+WordPress+catálogo <0,2 GB combinados.
+
+---
+
+## 4. Runbook
+
+### Fase 1 — metadados (navegador) ✅ COMPLETA
+Cole `pipeline/coletor-resume.js` (pendentes + erros juntos, numa passada só)
+numa aba em `https://brasilianafotografica.bn.gov.br/brasiliana/`. Acompanhar
+com `await BRAS.status()`. Deixe a aba **ativa na janela dela**: o Chromium
+estrangula `setTimeout` em abas de fundo até 1×/min, e o loop passa a
+rastejar sem erro nenhum. Ao terminar: `await BRAS.exportar()`.
+
+### Fases 2 e 3 — trilha única via navegador (não tem mais trilha A/servidor)
+Ver achado 2.6. Na mesma aba (mesmo IndexedDB `bras`), cole em sequência:
+```js
+// pipeline/baixador-navegador.js -- imagem principal, todos os itens
+BAIXA.quantos(); BAIXA.iniciar();
+// pipeline/baixador-thumb.js -- miniaturas
+BAIXA_THUMB.quantos(); BAIXA_THUMB.iniciar();
+// pipeline/baixador-extras.js -- 2a+ imagem dos itens com multiplos bitstreams
+// (rodar reparo-multibitstream.js antes, se ainda nao rodou)
+BAIXA_EXTRA.quantos(); BAIXA_EXTRA.iniciar();
+```
+Em paralelo, em outro terminal:
+```bash
+cd pipeline
+set -a; . .s3env; set +a
+python3 subidor.py --vigiar --catalogo catalogo.jsonl
+```
+Downloads automáticos do Chrome exigem permissão em
+`chrome://settings/content/automaticDownloads` (adicionar
+`https://brasilianafotografica.bn.gov.br`) — sem isso o download "funciona"
+no JS (sem erro) mas nenhum arquivo chega no disco. Vale pro domínio
+inteiro, uma vez só.
+
+### Fase 4 — cópias legadas (máquina local)
+```bash
+cd pipeline
+set -a; . .s3env; set +a
+python3 baixador.py --catalogo catalogo.jsonl --somente-legado
+```
+Via curl direto, sem navegador (ver achado 2.11). ~2.707 itens têm
+`legacy_url`, ~328 KB em média.
+
+---
+
+## 5. Arquivos e credenciais
+
+Layout do repo (detalhe em `README.md` → "Estrutura do repositório"):
+scripts + estado ao vivo em `pipeline/`, visualizações em `web/`, item de
+referência em `examples/`, código morto em `archive/`.
+
+| Arquivo | O quê |
+|---|---|
+| `tasks/PLANO.md` | Este documento |
+| `README.md` | Referência técnica completa (raiz do projeto) |
+| `pipeline/coletor.js` | Fase 1 — console do navegador, IndexedDB, autoinício |
+| `pipeline/baixador.py` | Fases 2 e 4 — curl → S3, um arquivo por vez |
+| `pipeline/baixador-navegador.js` | Fase 3 — navegador → pasta Downloads |
+| `pipeline/subidor.py` | Fase 3 — Downloads → S3, apaga na hora |
+| `archive/censo.py` | Versão Playwright — **não funciona**, mantida pelo parsing |
+| `pipeline/.s3env.exemplo` | Modelo; chaves reais em `/Users/polux/Projetos/tocador/.env` |
+
+**S3:** `hel1.your-objectstorage.com`, bucket `brasiliana` (Hetzner).
+Credenciais em `/Users/polux/Projetos/tocador/.env`
+(`AWS_ACCESS_KEY_ID`, `AWS_SECRET_ACCESS_KEY`). Cópia local em
+`pipeline/.s3env`. Na Finlândia: `/root/.s3env`.
+
+**Servidor:** `ssh finland` → 89.167.95.136 (Hetzner Helsinki, root, 31 GB livres).
+
+---
+
+## 6. Estrutura no bucket
+
+```
+s3://brasiliana/
+  MANIFEST.md                          o que é, como foi coletado, quando
+  catalogo.jsonl                       uma linha por item
+  itens/20.500.12156.1_6066/
+      metadata.json                    Dublin Core + URL de origem + data UTC
+      preservacao/imagem.jpg           5533×4065, 7,4 MB
+      legado/icon843660.jpg            147 KB, referência de origem
+      manifest-sha256.txt              checksum de cada arquivo
+```
+
+Não negociável: **SHA-256 de tudo** e **URL de origem + data/hora de captura**.
+Sem os dois é pasta de imagens, não arquivo.
+
+---
+
+## 7. Pendências
+
+1. Terminar a Fase 1 e exportar o catálogo.
+2. Medir a fração da trilha B (`BAIXA.quantos()`) — de graça, sem requisição.
+3. Confirmar a projeção de ~116 GB (hoje: 6 arquivos medidos).
+4. Decidir sobre os PDFs de álbum do objdigital — objetos distintos, o de
+   71,9 MB provavelmente não é caso isolado.
+5. Gerar `MANIFEST.md` e `catalogo.jsonl` no bucket ao final.
+
+## 8. Direitos
+
+Majoritariamente domínio público por antiguidade, mas as 15 instituições têm
+políticas distintas. `dc.rights` e a instituição de origem são preservados
+**por item**: a decisão de redistribuir é item a item, não do acervo em bloco.
+Arquivar para si é uma coisa; republicar é outra.
diff --git a/tasks/TODO.md b/tasks/TODO.md
new file mode 100644
index 0000000..62d70a3
--- /dev/null
+++ b/tasks/TODO.md
@@ -0,0 +1,611 @@
+# TODO — Brasiliana → S3
+
+> **Handoff em 2026-09-10 ~15h UTC**: sessão `fix-image-pipeline-extras` perdeu
+> conexão com a extensão Claude-in-Chrome e encerrou a pedido do usuário.
+> Trabalho passado pra sessão `chrome-extension-connection` (tem o navegador
+> conectado). Ver mensagem de handoff enviada via SendMessage pro contexto
+> completo do estado no momento da troca — resumo abaixo já reflete isso.
+>
+> **Atualização ~17h UTC (mesma sessão)**: aba antiga do coletor não é
+> acessível por esta sessão (grupo de abas é por sessão) mas continuou
+> rodando sozinha o tempo todo — confirmado por progresso do
+> `bras_baixados` no localStorage (compartilhado por origem). Por isso o
+> download principal (`BAIXA`) **não foi reiniciado nesta aba** (evitar
+> duplicar ~8 mil downloads pesados em paralelo); só os 78 itens do achado
+> 2.11 foram baixados cirurgicamente aqui. `BAIXA_THUMB` v2 foi iniciado
+> numa aba nova (chave `bras_thumbs_v2`, começa do zero, ~13.059 itens).
+> Durante a sessão houve uma queda de rede/extensão de alguns minutos
+> (mesmo tipo de falha que derrubou a sessão anterior) — gerou ~1.280 erros
+> transitórios no thumb v2 que precisam de uma segunda passada
+> (`BAIXA_THUMB.retomar()`) depois que a primeira terminar.
+
+> Ver `tasks/PLANO.md` pro histórico/achados/runbook. Itens concluídos saem
+> daqui e vão pra `tasks/done/` (ex.: `tasks/done/TODO-2026-09-10.md`).
+> Scripts e estado em `pipeline/` (reorganização de 2026-09-10).
+
+## Em andamento (não mexer, só monitorar)
+
+- [x] **Upload pro S3 — CONCLUÍDO.** A fila de `~/Downloads` está em **0**; tudo
+      que foi baixado está no bucket. Total no ledger: **41.444 objetos**.
+      O `pipeline/vigia-30min.sh` segue de pé: a cada 30 min sobe o que aparecer
+      e apaga do disco só depois do HEAD confirmar no bucket.
+      **Não editar `vigia-30min.sh` nem `rodar-paralelo.sh` enquanto rodam**
+      (o bash lê o script aos poucos) e **não relançar o `subidor.py` antigo**
+      (achado 2.22). Threads: 6, não 16 — ver achado 2.24.
+
+- [ ] **Download principal** (1 imagem de preservação por item) — navegador. **2026-09-11 20:45 UTC**: **12.986/13.059 (99,44%), faltam 73** — medido pela fonte autoritativa (bucket ∪ fila local), não pelo `bras_baixados`. Parado há ~9h (último arquivo em `~/Downloads` às 13:19 local = 11:19 UTC). Lista exata dos 73 em **`pipeline/faltantes-preservacao.jsonl`** (`{handle, url}`). **Script `pipeline/baixar-faltantes-73.js` colado e rodado pelo usuário ~22:52 local (20:52 UTC)** — lista embutida, chave própria `bras_faltantes_73`, imune ao achado 2.16. **Resultado parcial: 2/73** (`10993`, `10995`, 31 MB). Os outros 71 estão falhando — ver achado 2.17. **Recontagem de 12/09: faltam 211, não 73 — ver achado 2.23.**
+
+### Achado 2.17 — os 71 restantes falham, e não é malformação de URL (2026-09-11 21:25 UTC)
+
+`bras_faltantes_73` = 2 e só 2 arquivos de preservação novos apareceram em
+`~/Downloads` (22:52 local). O disco e a chave concordam — aqui o achado 2.16
+não se aplica, o número é real.
+
+Os 71 que falham têm URL estruturalmente idêntica às 2 que passaram
+(mesmo host, mesmo `/brasiliana/bitstream/PREFIX/ID/SEQ/arquivo`, 21 dos 71 com
+`%20` no nome, igual às que funcionaram). Diferenças observadas, nenhuma
+conclusiva: as 2 que passaram são `SEQ=1`; entre as 71 há `SEQ` 1 (58), 4 (11),
+3 (1) e 5 (1).
+
+Hipótese principal: **as 2 que passaram estavam em cache de borda do Cloudflare**
+— exatamente o caso do item 6066 descrito no cabeçalho do
+`baixador-navegador.js` (`cf-cache-status: HIT`), e não a regra geral. Se for
+isso, o `fetch` de aba não basta para estes 71 e o problema é de origem, não de
+script.
+
+**Próximo passo (precisa do console da aba)**: rodar `FALTA.status()` e
+`FALTA.erros()` — o script guarda `{handle, url, erro}` de cada falha, e o
+código HTTP decide o caminho:
+- **404** → bitstream não existe nesse `SEQ`; reparar `preservation_url` no
+  catálogo (mesma família dos achados 2.9/2.11/2.13) e regerar o script.
+- **403** → bloqueio de origem/Cloudflare; nem a aba resolve, precisa de outra saída.
+- **500** → transitório; `FALTA.retomar()` mais tarde deve pegar.
+
+Enquanto isso o script pode ainda estar rodando: cada erro dorme 60 s de backoff,
+então 71 falhas levam ~71 min a partir das 22:52 local (fim previsto ~00:05).
+
+### Achado 2.18 — é recusa da origem, não URL errada; e a v1 do script ajudou a causar (2026-09-12)
+
+`FALTA.status()` do usuário: `atual: "43/73"`, `erros: 101`, `feito: 0`,
+`fase: "baixando"`.
+
+Três leituras, em ordem de importância:
+
+1. **`feito: 0` no item 43** — `10993` e `10995` são os itens 1 e 2 da lista e
+   baixaram com sucesso às 22:52; nesta passada **falharam**. Mesma URL, uma hora
+   depois. Logo **não é URL errada, é a origem recusando**.
+2. **`erros: 101` com `atual: 43/73`** — mais erros que itens tentados só é
+   possível com **dois ou mais loops concorrentes** somando no mesmo `S`. Cada
+   `iniciar()`/`retomar()` sobre um script já rodando cria outro loop. Isso
+   quebrou a pausa de 3 s combinada com a BN e provavelmente disparou rate-limit.
+3. `total: 73` (e não 71) — o `FEITOS` foi lido vazio na largada dessa passada.
+
+**Hipóteses mortas** (não perder tempo com elas de novo):
+- *Sequência errada no `preservation_url`*: os 2 que funcionaram têm exatamente
+  a mesma forma dos 13 "divergentes" (catálogo `seq=1`, thumb em `seq=3`), e 58
+  dos 71 têm `seq` coerente com o thumb e falham igual.
+- *Bloqueio geral do Cloudflare*: **71/71 desses itens têm thumb baixado com
+  sucesso** — o item responde; só o bitstream de preservação não.
+
+**`pipeline/baixar-faltantes-v2.js`** corrige os defeitos da v1 (que eram meus):
+guarda contra `iniciar()` duplo, **aborta depois de 5 erros seguidos** em vez de
+moer os 71 com 60 s cada, pausa de 5 s, backoff de 30 s, e registra o código HTTP
+separado (`FALTA.resumo()` devolve a tabela de códigos). Recarregar a aba antes
+de colar — `parar()` não alcança closures de colagens anteriores.
+- [x] **Thumbnails** — ✅ concluído 100% (13.059/13.059). `retomar()` já foi rodado uma vez (08h local); **não re-rodar**.
+- [x] **Fase 4 (legado objdigital)** — ✅ concluído (2ª passada terminou): 2.137 ok / 565 erro (2.702/2.707 processados; os 565 são 404 permanentes confirmados via curl direto, atrito real da fonte legada, não bug). Confirmado em 2026-09-11 ~20h UTC: `select erro,count(*)` devolve **só `HTTP 404` (565)** — nenhum `HTTP 0` restante, então a 3ª passada não tem o que reprocessar; **não reiniciar de novo**.
+- [x] ~~`subidor.py`~~ **substituído pelo `subidor-paralelo.py` em 2026-09-12 (achado 2.22); o texto a seguir é histórico.** (`pipeline/`, `--vigiar`, PID 97295) — vivo há 1d8h, vigiando `~/Downloads`. **2026-09-11 ~20h UTC**: fila local de **19.897 arquivos `BRAS__` / ~77 GB** (12.511 thumb, 1.660 `__imagem`, 5.726 com nome original). Bucket: 33.388 objetos / 60,3 GB, 8.080 itens com `metadata.json` (61,9% dos 13.059). **2026-09-12 09:45 UTC**: 16.207 enviados, fila de 18.286. Taxa nas horas acordadas ≈ **650–740 arq/h ≈ 2,0–2,4 GB/h**.
+
+⚠️ **O relógio é de horas ACORDADAS, não de horas corridas.** Os envios pararam
+às 22:30 UTC de 11/set e só voltaram às 09:00 UTC de 12/set — **10,5 h de
+silêncio**, que é a máquina dormindo (00:30–11:00 local), não falha do subidor
+(o processo seguiu vivo e voltou sozinho). Por isso:
+- fila de 18.286 ÷ ~700 arq/h = **~26 h de máquina acordada**
+- em dias normais (~14 h acordado), isso vira **~2 dias de calendário**
+- com `caffeinate -is` segurando a máquina acordada, ~26 h corridas
+
+Vale decidir isso conscientemente: é a diferença entre terminar em ~1 dia ou ~2.
+
+### Achado 2.15 — aba do coletor inalcançável, e storage da origem aparece vazio (2026-09-11 ~20h UTC)
+
+Tentativa de retomar a trilha 1 sozinho falhou, mas rendeu dois fatos novos:
+
+1. Sobraram instâncias **headless do Chrome** de uma sessão anterior, uma delas
+   lançada com o **perfil padrão** (`--user-data-dir` default). Mortas (PIDs
+   89329, 89327, 14818); o Chrome real do usuário (PID 57263, aberto desde
+   9/set) foi preservado. **Nunca subir headless sem `--user-data-dir` próprio**
+   — disputa o perfil onde mora todo o estado do coletor.
+2. Numa aba nova em `https://brasilianafotografica.bn.gov.br` (mesmo perfil,
+   mesma origem), `localStorage` devolve **0 chaves** e `indexedDB.databases()`
+   devolve **[]** — enquanto `ler-localstorage.js`, lendo o leveldb do disco do
+   mesmo perfil/origem, devolve `bras_baixados: 12.974`. Ou seja: o contexto vivo
+   e o disco discordam. Não dá pra `BAIXA.retomar()` numa aba nova: sem o
+   IndexedDB `bras`, `alvos()` devolveria `[]`.
+
+**Não colar `baixador-navegador.js` numa aba nesse estado**: se o storage
+estiver mesmo zerado, `FEITOS` começa vazio e a fila vira os ~13 mil itens
+inteiros de novo (centenas de GB, e carga indevida na fonte). O caminho seguro
+é o usuário voltar na **aba original do coletor** (a que já tem `BAIXA` no
+`window`) e rodar `BAIXA.status()` / `BAIXA.retomar()` lá.
+
+### Achado 2.16 — `bras_baixados` anda PRA TRÁS; não usar como medida (2026-09-11 20:45 UTC)
+
+O contador caiu de **12.974 → 12.111** entre 20:14 e 20:43 UTC (três leituras
+seguidas devolvem 12.111; o leveldb foi escrito pelo Chrome às 22:24 local, 19
+min antes da leitura — é gravação real, não cache velho).
+
+Causa provável: `marcar()` reescreve o **array inteiro** a partir do `FEITOS`
+carregado quando o script foi colado. Qualquer aba com snapshot velho que ainda
+marque um item sobrescreve a lista boa por uma mais curta. Com duas abas vivas
+(v1 e v2 conviveram), a lista é sempre a do último escritor, não a união.
+
+**Consequência prática**: `bras_baixados` **não** mede progresso — subestima. A
+medida autoritativa é *bucket ∪ fila local em `~/Downloads`*:
+
+```
+# handles com preservação no bucket (do aws s3 ls --recursive)
+awk '... itens/<handle>/<arquivo!=metadata.json, sem "thumb">' → 8.080
+# handles de preservação ainda na fila local
+ls ~/Downloads | grep '^BRAS__' | grep -v thumb | sed -E 's/^BRAS__(.+)__.*/\1/' → 7.271
+# união → 12.986 de 13.059 (faltam 73, listados em pipeline/faltantes-preservacao.jsonl)
+```
+
+Isso também refaz a conta do achado 2.15: o risco de recolar o script não é
+"85 itens", é **re-baixar ~950+** que o contador esqueceu (ou tudo, se o
+storage estiver mesmo zerado).
+
+## Concluído agora
+
+- [x] **Thumbnails contaminados com bitstream de LICENÇA** (achado 2.8b): 2.653 arquivos locais apagados de `~/Downloads`, 146 já subidos removidos do bucket, `subidor.py` blindado com validação de magic bytes (rejeita e apaga automaticamente qualquer coisa que não comece com JPEG/PNG, mesmo que o nome diga o contrário). `baixador-thumb.js` v2 escrito com validação + fallback — falta só reconectar o navegador pra trocar o script rodando.
+- [x] **WordPress → .md**: 636/637 posts colhidos (1 erro), exportados e convertidos — `wordpress/{id}-{slug}.md` no repo (front-matter YAML: id/url/título/autor/data/categorias/handles referenciados) + `wordpress-posts.jsonl` e a pasta `wordpress/` subindo pro bucket agora.
+- [x] **Bug de corrida em arquivo temporário**: `baixador.py` e `subidor.py` moram na mesma pasta e usavam o mesmo nome fixo (`.tmp/metadata.json`) — rodando ao mesmo tempo, um apagava o arquivo que o outro tinha acabado de criar. Derrubou o `baixador.py` de verdade (crash, não só log de erro). Corrigido: nome agora inclui o PID. 3 itens (`1081,1082,1084`) já tinham subido um HTML de visualizador como se fosse "legado" antes da correção — limpo do bucket, metadata regenerado.
+- [x] **PDFs de álbum perdidos no objdigital**: 44 itens (achado 2.9 do PLANO.md) tinham PDF disponível mas a extração pegava um `.htm` de landing page em vez do PDF de verdade. Corrigido em `catalogo.jsonl` e no IndexedDB antes do `baixador.py --somente-legado` alcançar esses handles (confirmado: nada contaminado no bucket). `baixador.py` reiniciado (PID 37909) com o catálogo corrigido.
+
+## Concluído nesta sessão (chrome-extension-connection, ~17h UTC)
+
+- [x] `pipeline/reparo-hash-url.js` colado e rodado — 78/78 corrigidos no IndexedDB
+- [x] **Achado 2.13 (novo)**: mesmo bug do `#` reaparecia no redirect do DSpace (forma antiga → canônica). Fix: usar `/bitstream/handle/PREFIX/ID/arquivo` direto. `preservation_url` dos 78 reescrito de novo com a forma canônica.
+- [x] Os 78 itens baixados cirurgicamente — **concluído 78/78, 0 erros** (script à parte, não o `BAIXA.retomar()` geral — aba antiga com o loop principal continua rodando sozinha, ver nota de handoff acima)
+- [x] `BAIXA_THUMB` v2 iniciado (aba nova, não foi possível parar a v1 na aba antiga — ver nota acima; sem risco de dado ruim no bucket graças à validação de magic bytes já no `subidor.py`)
+- [x] **Thumbnails v2: CONCLUÍDO 100%** — `BAIXA_THUMB.retomar()` rodado (2026-09-11 ~08h local) recuperou todos os 1.281 erros da queda de rede (13.059/13.059 ok, 0 erro permanente)
+- [x] `baixador.py --somente-legado` reiniciado uma vez (2026-09-11 ~08h local, PID 88387) depois que a passada anterior terminou (2.113 ok, 589 erro de 2.702 processados) — idempotente, só reprocessa não-'ok'
+- [x] Checagem de status a cada 30 min retomada nesta sessão (ver `/loop`)
+
+## Mural (`web/wall.html`) — sessão `fix-mobile-wall-click-layout`, 2026-09-12
+
+No ar em <https://xn--2dk.xyz/brasiliana/>. Commits em `rafapolo/xyz`:
+`d8c3364` e `a6085fa` (empurrados pela sessão paralela `brasiliano-ae`, contêm
+trabalho das duas) e `f645008`. O mural é publicado copiando
+`web/wall.html` → `xyz/brasiliana/index.html` e `web/atlas/atlas-map.json` →
+`xyz/brasiliana/atlas/atlas-map.json`.
+
+### Achado 3.1 — a metade descritiva do catálogo nunca chegou ao mural
+
+Buscar "indigenista" não achava nada, mesmo com 42 peças classificadas
+`dc.subject = Política indigenista`. A busca livre estava certa (varre todo o
+`meta` recursivamente); quem descartava era o **`summarize()` do
+`web/build-atlas.js`**, que projetava 8 campos e jogava fora assunto,
+descrição, lugar, fonte, editor, relação e código de arquivo.
+
+Havia um segundo bug atrás: `pickDC()` devolve só a **primeira** ocorrência do
+campo. Como o catálogo repete `dc.subject` (78.835 linhas para 13.060
+registros, ~6 por item), mesmo incluindo o campo sobreviveria um assunto por
+peça. O `pickAll()` novo coleta todas, deduplicadas, na ordem.
+
+Regras que ficaram (espelhadas em `pipeline/reprojeta-meta-mapa.mjs`):
+
+- entram: `dc.subject`, `dc.description`, `dc.coverage`, `dc.source`,
+  `dc.publisher`, `dc.relation`, `dc.identifier`
+- ficam de fora: `dc.language` (é sempre `"por"` — casaria ~2.000 itens por
+  acidente, já que a busca é por substring) e `dc.format` (`"JPG"`)
+- `dc.identifier` e `dc.relation` entram **sem as URLs**: era 1,1 MB de texto
+  que ninguém busca, escondendo o que presta — os códigos de arquivo
+  (`013RJ012036`) e os nomes de coleção (`Gilberto Ferrez`, `Diários
+  Associados`)
+- `handle` e `source_url` **saíram** do `meta`: o primeiro é a chave sob a qual
+  o item já está arquivado no mapa, o segundo é o mesmo endereço para todos com
+  o handle no meio. O mural remonta a URL numa linha (`sourceUrl()`) e injeta o
+  handle na palha da busca, então buscar `5546` continua achando a peça.
+
+Verificado no navegador: `indigenista` → 42, `Gilberto Ferrez` → 2.120,
+`013RJ012036` → 2, `amazônia` → 156, `5546` → 1. E o ruído sumiu: `show=full`
+e `brasilianafotografica` saíram de 12.552 para 0.
+
+### Achado 3.2 — não vale pré-comprimir o `atlas-map.json`
+
+Medido, não chutado:
+
+- **No fio já vem gzipado.** `curl -sI` em <https://xn--2dk.xyz/brasiliana/atlas/atlas-map.json>
+  responde `content-encoding: gzip`. Pré-comprimir só moveria os mesmos bytes,
+  ao custo de um `DecompressionStream` no carregador e de um arquivo ilegível.
+  (O host não oferece brotli, e `DecompressionStream` não decodifica brotli.)
+- **No repositório também.** O git comprime todo blob com zlib no pack, então
+  um JSON de 8 MB não ocupa 8 MB lá dentro — ocupa aproximadamente o que o
+  `.gz` ocuparia, e ainda dá diff.
+
+Encolher o **conteúdo** foi o que valeu, e só até certo ponto — o gzip come
+quase todo o ganho estrutural:
+
+| variante | cru | gzip |
+|---|---|---|
+| com os campos descritivos | 9,61 MB | 1,11 MB |
+| **sem `source_url` e `meta.handle`** (feito) | **8,00 MB** | **1,05 MB** |
+| + dicionário nos campos de vocabulário pequeno | 6,96 MB | 0,99 MB |
+| + dicionário de assuntos/lugares/descrições | 5,14 MB | 0,93 MB |
+
+As duas últimas linhas quase dobram a economia crua e rendem 30-60 KB no fio
+cada, em troca de uma camada de dicionário no carregador — troca ruim. Onde o
+tamanho cru ainda pesa é o `JSON.parse` no celular, não o download. Referência:
+antes de tudo isso o mapa era 5,52 MB / 0,73 MB.
+
+### Consertos de interação (todos verificados por CDP num Chrome real)
+
+- **Toque numa peça abria e fechava a ficha no mesmo gesto** (metade de cima da
+  tela). Um toque dispara `pointerup` e depois um `click` de compatibilidade,
+  que caía no backdrop recém-aparecido; a guarda de 400 ms usava
+  `stopPropagation()`, que **não alcança listeners do mesmo nó** — e quem fecha
+  a ficha é um listener do próprio `#card-wrap`. Agora é
+  `stopImmediatePropagation()`.
+- **Tela inicial "sem estilo"**: `#title-screen` era irmão flex do `<p>` e,
+  invisível, ainda tomava metade da linha; e a regra `#loading p` pegava também
+  o subtítulo, jogando-o em maiúsculas com tracking. Virou `position:absolute` e
+  `#loading-msg`.
+- **Painel de filtros fugia do dedo** no arrasto da década: o chip do filtro
+  aparecia e inseria uma linha inteira acima do corpo; o badge de contagem
+  crescia o header. Chips agora só com o painel fechado, badge reserva a caixa
+  com `visibility`.
+- **Movimento da parede**: a câmera mirava o *alvo* enquanto estava atrás dele
+  (inclinava a vista a cada arrasto — era isso que fazia a parede "nadar"); o
+  easing era fração por frame (a 120 Hz convergia 2× mais rápido que a 60).
+  Agora constante de tempo, `lookAt` removido, e soltar em movimento joga a
+  parede com desaceleração. Zoom do scroll virou multiplicativo.
+- **Back/forward do navegador** andam pelas peças abertas, com `#handle` na URL
+  (link direto reabre a peça). Mudar um filtro recolhe a ficha com **um** passo
+  de histórico, mesmo com `apply()` rodando a cada frame do slider.
+- **Filtros alcançáveis com a peça aberta**: o painel estava em `z-index: 15`
+  debaixo do `#card-wrap` (20). Agora 25 (scrim 24), e no celular a ficha
+  estaciona acima do peek da sheet para não cobrir ‹ anterior / próxima ›.
+
+## Miniaturas derivadas + reconciliação do ledger — 2026-09-12
+
+Mural no ar com **13.059 peças** (antes 12.552): commits `bba32f6`,
+`6a82a5e`, `1ecded1` e `e930158` em `rafapolo/xyz`. Desta vez o `atlas/` inteiro foi junto, não só o
+`atlas-map.json` — o formato do map mudou (ver achado 3.4).
+
+**Números fechados em 13/09 (medidos contra catálogo × ledger):**
+
+| | |
+|---|--:|
+| itens no catálogo | 13.060 |
+| com imagem de preservação | 12.985 |
+| com thumbnail do DSpace | 13.059 |
+| com miniatura derivada (`derivados/thumb256/`) | 13.059 |
+| **no mural** | **13.059** |
+| fora do mural | **1** — só `7523` |
+
+Os 8 que faltavam (`7802`, `7814`, `7817`, `7848`, `7852`, `7861`, `7875`,
+`8075`) entraram: eles **têm** `thumbnail/thumb_3.jpg` de imagem real no
+bucket (109–250 KB). A afirmação anterior de que o thumbnail deles era texto
+de licença estava errada — o texto era o `thumb_2` do material antigo do
+finland, não o objeto do bucket.
+
+Os 73 faltantes de preservação (achado 2.17/2.18) **não** ficam de fora do
+mural: têm thumbnail do DSpace, que basta para o tile de 128px. Faltar
+preservação e faltar no mural são coisas diferentes.
+
+- [x] **Miniaturas derivadas — 13.051 itens (99,93%)**
+      em `s3://brasiliana/derivados/thumb256/` (256px WebP q80, ~8 KB cada,
+      100 MB no total). Prefixo `derivados/` deliberadamente fora de `itens/`:
+      `itens/` é material de origem, `derivados/` é reconstruível do zero.
+      Misturar os dois apagaria a procedência que o MANIFEST garante.
+      Composição final (medida, igual à do MANIFEST): **12.849 derivadas da
+      imagem de preservação** + **202 derivadas do `thumbnail/` do DSpace**
+      (itens com miniatura mas sem preservação coletada). Caminho até lá:
+      6.338 no finland a partir do bucket, 6.483 locais a partir de
+      `~/Downloads`, 164 do DSpace, e +66 do material do achado 2.21.
+- [x] **MANIFEST.md atualizado e subido** — seção `derivados/`, os achados
+      2.19 e 2.20 abaixo, e a nota de que `thumbnail/` do DSpace não é
+      miniatura (achado 3.3). Re-subido em 12/09 com 13.051 / 99,93%, os 9
+      ausentes nomeados e a divergência 13.058 × 13.060 anotada.
+- [x] **`build-atlas.js` parou de descartar item sem título** — a guarda
+      `if (!o.title) continue` escondia do mural `11749` (Museu Aeroespacial) e
+      `6241` (Instituto Moreira Salles), que têm imagem; o card já cai pra
+      "(sem título)" sozinho. 12.983 → 12.985.
+- [x] **Wordmark "Acervo Brasiliana" ganhou fundo preto** — só tinha
+      `text-shadow`, que some sobre peça clara, e peça clara é metade do
+      acervo. Mesmo preto da dica do rodapé.
+- [x] **Rótulo de contagem deixou de dizer "no acervo"** — dizia
+      "N peças no acervo" como se o mural fosse o acervo inteiro; agora diz
+      "peças com imagem". Foi essa frase que levantou a dúvida de que faltavam
+      miniaturas.
+- [x] **`web/build-atlas.js` ganhou `--thumbs=DIR`** — a fonte antiga
+      (`~/Downloads`) é varrida pelo `subidor.py` conforme sobe, então nunca
+      tem o acervo inteiro ao mesmo tempo. Agora a fonte é reconstruível do
+      bucket.
+- [x] **Ledger `subidor.sqlite` reconciliado com o bucket**: 28.553 linhas =
+      28.553 objetos, zero divergência nos dois sentidos. Backups em
+      `/private/tmp/claude-501/.../scratchpad/subidor.sqlite.bak-*`.
+      - 145 linhas de `thumbnail` sem objeto no bucket — são os bitstreams de
+        LICENÇA do achado 2.8b, removidos do bucket mas deixados no ledger
+        (426–815 bytes, só **5 sha256 distintos** entre os 145). Apagadas.
+      - 3 objetos no bucket sem linha nenhuma — inseridos, sha256 recalculado
+        do próprio objeto.
+      - 2.137 objetos `legado/` que **nenhum** ledger de upload conhecia: o
+        `baixador.py` só anota no `baixador.sqlite`. Importados, para que
+        `subidor.sqlite` seja ledger único.
+      - 13.051 derivados registrados como `tipo='derivado-thumb256'`.
+      - 63 "órfãos" de preservação/thumbnail eram **falso positivo**: gravados
+        durante a própria listagem do bucket. Conferidos no S3, estão lá.
+
+### Achado 2.24 — 16 threads estouram o OpenSSL do macOS (SIGSEGV)
+
+O `subidor-paralelo.py` morreu com **segmentation fault** no arranque da
+passada das 10:56 de 13/09, e por isso **nada subiu durante horas** (o
+`vigia-30min` só tentaria de novo meia hora depois). O relatório do macOS
+aponta a pilha dentro do `libcrypto`:
+
+```
+libcrypto.3.dylib  ossl_x509_store_ctx_get_by_subject
+libcrypto.3.dylib  X509_STORE_CTX_get1_issuer
+libssl.3.dylib     ssl_verify_internal / tls_post_process_server_certificate
+```
+
+É corrida de thread na verificação de certificado TLS quando muitas threads
+fazem handshake ao mesmo tempo — bug do OpenSSL, não do nosso código. Com 4
+threads subiu 50 arquivos a 19 GB/h sem problema. **Default baixado para 6
+threads** no `subidor-paralelo.py`, no `vigia-30min.sh` e no
+`rodar-paralelo.sh`. Não vale voltar a subir: acima de ~8 o ganho é nulo (o
+link satura) e o risco de crash volta.
+
+### Achado 2.25 — 75 itens com HTTP 500 persistente na origem (não é só o 7523)
+
+Passada de 13/09 com a aba conectada: **108 imagens novas baixaram**, e **74
+falharam com erro que não passa** — 45 × HTTP 500, 26 de rede e 3 de blob
+curto, com retry sem recuperar nenhuma. Somando o `7523`, são **75 itens**
+cujos bitstreams de preservação a origem não serve. Lista em
+`pipeline/falhas-500-2026-09-13.txt`.
+
+Isso substitui o achado 2.23 (que falava em 211 faltantes): os outros 136
+baixaram. Nenhum dos 75 fica fora do mural — todos têm thumbnail do DSpace.
+
+Diagnóstico que vale registrar: os 500 são **do item, não do ritmo**. Com 3
+requisições simultâneas, `6545` e `6555` davam 500 enquanto `1014`, `8128`,
+`10039`, `14358` e `6520` davam 200 no mesmo instante, inclusive em série com
+3 s de espaçamento. E os itens ruins são vizinhos de id, então em ordem
+crescente eles davam erros seguidos e disparavam o aborto automático — por
+isso o motor passou a **embaralhar** a lista.
+
+### Achado 2.22 — o gargalo do upload era o `subidor.py`, não o link; troca pelo paralelo
+
+Eu tinha escrito aqui que o gargalo era o link de casa. **Errado.** Medido em
+12/09 (`networkQuality`): **69 Mbps de upload (~31 GB/h)**, contra ~1,3 GB/h
+reais. O `subidor.py` sobe um arquivo por vez, espera 1,5 s de "estabilidade" e
+dispara **três** `aws s3 cp` por arquivo (arquivo, `metadata.json`, manifest),
+cada um pagando a partida do aws-cli: ~5 s por arquivo, seja miniatura de 74 KB
+ou preservação de 40 MB.
+
+Além de lento, ele estava estragando duas coisas:
+- **873 manifests com linha errada**, `derivado-thumb256/<handle>.webp`. É
+  consequência de eu ter registrado os derivados no ledger: ele lista toda
+  linha do handle, e esse caminho não existe em `itens/<handle>/`.
+- **Duplicatas `(N)` voltando ao bucket** depois da limpeza do achado 2.20
+  (ex.: `5304`, `thumb_2.jpg` e `thumb_2 (1).jpg` com o mesmo sha256).
+
+Substituto: `pipeline/subidor-paralelo.py` (boto3, threads, HEAD antes de apagar
+o local, manifest uma vez por item, sem linha de derivado, duplicata e rejeito
+registrados) + `pipeline/rodar-paralelo.sh`. Teste com boto3 contra o bucket:
+PUT de 20 MB a 27 Mbps num único stream.
+
+Testes antes de soltar, com o que cada um mostrou:
+1. Lote de 30: todos eram rebaixa já presente no bucket e foram **apagados do
+   disco sem HEAD e sem registro**. Foi o que motivou a conferência por HEAD e a
+   tabela `descartados`. Para esses 30, a garantia é só o ledger, reconciliado
+   com o bucket às 12:50.
+2. Lote de 150: 150 descartes, 150 conferidos no bucket.
+3. Lote de 800: 319 enviados (319 conferidos, `image/jpeg`) + 481 descartes
+   conferidos; manifests dos 319 sem linha de derivado, sha do metadata batendo.
+4. Primeira execução real (18:4x UTC) **interrompida**: o log mostrava TIFF
+   indo para `rejeitados/` (achado 2.19, correção). Assinaturas corrigidas; os 21
+   da quarentena (19 TIFF + 2 BMP) voltaram para a fila; relançado às 18:59.
+
+Antes do relançamento, **180 arquivos locais (0,25 GB) já presentes no S3** foram
+apagados do disco a pedido, cada um com MD5 local = ETag do objeto e registro em
+`descartados`. Os outros 13.922 não estavam no bucket.
+
+### Achado 2.23 — faltam 211 preservações depois da fila, não 73
+
+Cruzando catálogo × (ledger ∪ fila) em 12/09: **12.849 / 13.060** itens terão
+imagem de preservação quando a fila acabar (thumbnail: 13.059). Os 211:
+- **71** da lista conhecida (`faltantes-preservacao.jsonl`, recusa da origem);
+- **1** sem `preservation_url` no catálogo;
+- **139** fora de qualquer lista. Exemplo: `10039`–`10049`, que no bucket têm só
+  `thumbnail/` e `metadata.json`. Desses: 8 rejeitados no upload antigo, 12 com só
+  `legado/`, ~119 sem rastro (nem bucket, nem fila, nem log).
+
+Hipóteses, nenhuma confirmada: (a) o "12.986/13.059" do achado 2.16 contou
+objetos `legado/` e `manifest` como preservação, porque o `awk` só excluía
+`metadata.json` e thumbnail; (b) parte dos ~119 pode ser TIFF apagado pelo
+`subidor.py` antigo antes do trecho que o `subidor.log` cobre.
+
+### Achado 2.21 — a sessão de 11/09 já tinha as miniaturas no finland, e eu não olhei
+
+`/root/brasiliana-wall/` no finland tinha, desde 11/09 13:17–13:41:
+`downloads-flat/` (20.411 arquivos, todos `THUMB__`, 2,2 GB), `s3-thumbs/`
+(5.168 handles do bucket, 851 MB) e o `web/atlas/` cujos quatro `.webp` batem
+byte a byte com o que estava publicado no `xyz` até 12/09. **O mural de 12.552
+peças foi construído lá**, a partir das miniaturas do DSpace — não de
+`~/Downloads`, como o comentário do `build-atlas.js` leva a crer.
+
+A união desses dois diretórios cobre **13.041 handles**, praticamente todos
+JPEG válido. Eu puxei ~63 GB de imagens de preservação do bucket para derivar
+12.985 miniaturas sem ver que 3 GB de miniatura já estavam no disco da mesma
+máquina, cobrindo mais itens que o meu resultado. Aproveitados depois: +66
+peças (74 no delta, 8 eram licença).
+
+**Lição de runbook**: antes de gerar qualquer coisa no finland, `ls /root` e
+`cat /root/.bash_history`. Sessões anteriores deixam material lá e nada no
+projeto local registra isso.
+
+Limpeza feita em 12/09: `/root/brasiliana-wall` e `/root/thumbs` apagados
+(3,4 GB; disco 27 → 31 GB livres), depois de verificar que os 13.041 handles
+estavam **todos** cobertos pelo bucket (7.038) ou pela fila do Mac (6.785) —
+zero cópias exclusivas. Ficaram de pé, de propósito: `/root/.s3env` (600, de
+08/09, anterior às nossas sessões — pode ser setup permanente da máquina) e
+`/root/brasiliana/` (44 MB, `baixador.py` + catálogo + sqlite com 13 linhas).
+
+### Achado 2.19 — a contaminação de LICENÇA também atinge a preservação, não só a miniatura
+
+O achado 2.8b tratou isso como problema da trilha de thumbnail. Não é: os
+handles **`20.500.12156.1/6656`** e **`20.500.12156.1/7939`** têm, em
+`~/Downloads`, um "imagem.jpg" que é na verdade o bitstream de LICENÇA do
+DSpace — 777 bytes de texto UTF-8 com CRLF e extensão `.jpg`. A validação de
+magic bytes do `subidor.py` barra no upload, então **nada disso chegou ao
+bucket**; o efeito é que esses dois itens não têm imagem coletada e ninguém
+percebeu, porque a fila local os contava como prontos.
+
+Implicação: qualquer contagem de "preservação pronta" que leia `~/Downloads`
+pelo nome do arquivo está 2 itens otimista. A contagem pelo bucket está certa.
+
+**Atualização 12/09**: não são 2, são 10. Ao derivar as miniaturas do material
+do finland (achado 2.21) apareceram mais **oito** com o mesmo defeito, todos
+na trilha de thumbnail: `7802`, `7814`, `7817`, `7848`, `7852`, `7861`,
+`7875`, `8075`. São exatamente os itens que sobram fora do mural. O bloco
+`78xx` sugere que a contaminação vem em lote, por faixa de handle — vale
+varrer essa faixa inteira antes de dar o acervo por fechado.
+
+**Correção 12/09 (noite) — a regra de validação estava errada.** O `subidor.py`
+só aceitava JPEG/PNG e **apagava** o resto como "bitstream de licença". Pelo
+próprio `subidor.log`, dos **40** arquivos que ele apagou assim, **só 1 era
+texto de licença**: 36 eram **TIFF** (`II*\0`, ~8 MB, com extensão `.jpg`),
+2 **BMP** e 1 **ZIP** (`001AAN014011.jpg.zip`, item `2384`). Resultado, item a
+item (lista com URL em `pipeline/apagados-pelo-subidor-antigo.jsonl`):
+- **8 itens ficaram sem nenhuma imagem de preservação**: `14358`, `14359`,
+  `14360`, `14361`, `14362`, `14363`, `14364`, `14368` (TIFF, série "Alb 0261").
+- **18 itens** perderam só bitstreams extras (`extra_seqN`, TIFF), mas têm a
+  imagem principal no bucket ou na fila. `10993`/`10995` (BMP) e `2384` (ZIP)
+  voltaram por rebaixa e estão na fila.
+O `subidor-paralelo.py` aceita TIFF/BMP/GIF/JP2/WebP pela assinatura e manda
+qualquer outra coisa para `pipeline/rejeitados/` com linha na tabela
+`rejeitados` — nunca apaga. Os 8 casos `78xx` de thumbnail com texto de licença
+(acima) foram detectados pelo `vipsthumbnail`, não por essa regra, e continuam
+valendo.
+
+### Achado 2.20 — 3.511 duplicatas `(N)` no bucket, do Chrome rebaixando por cima
+
+Objetos `arquivo (1).jpg` convivendo com `arquivo.jpg` byte a byte idêntico —
+sufixo que o Chrome põe ao rebaixar um arquivo que já existe em `~/Downloads`,
+e que o `subidor.py` subiu como se fosse nome legítimo. Confirmadas idênticas
+por **ETag + tamanho** (não só tamanho) antes de apagar: 3.511 objetos,
+0,39 GB, removidos do bucket e do ledger na mesma passada.
+
+**Não** foram tocados, e precisam de decisão:
+- **30 objetos** cujo gêmeo tem tamanho **diferente** — não são duplicata,
+  são versões distintas do mesmo nome. Precisam de conferência individual.
+- **43 objetos** cujo nome tem `(N)` mas que são o **único** arquivo do item —
+  candidatos a renomear, nunca a apagar.
+
+`aws s3api list-objects-v2` com `--query "Contents[].[Key,Size,ETag]"` resolve
+isso sem baixar nada; o ETag é o MD5 pra upload simples (só os 2.612 objetos
+multipart do bucket não servem pra comparação direta).
+
+### Achado 3.3 — o `thumbnail/` do DSpace não é uma miniatura
+
+Medido em amostra de 300: **721 a 3.709 px no maior lado, média 1.087**; menor
+lado nunca abaixo de 462. São derivados de resolução média, não miniaturas de
+listagem. Duas consequências:
+
+1. Servem tão bem quanto a imagem de preservação pro tile de 128px do mural —
+   por isso deu pra cobrir os 164 itens sem preservação sem perda visível.
+2. A linha "Miniatura | ~13.005 elegíveis" do MANIFEST descreve ~1 MB por
+   arquivo, não ~8 KB. Quem ler esperando miniatura vai baixar 100x mais do
+   que imagina.
+
+### Achado 3.4 — publicar o mural agora exige mandar o `atlas/` junto
+
+O `wall.html` de 12:32 passou a derivar `handle` (chave do map) e `source_url`
+(mesmo prefixo pra todo item) em JS, em vez de lê-los de cada peça. O
+`summarize()` do `build-atlas.js` acompanhou. Resultado: **8,2 MB de map com
+12.983 peças contra 10 MB com 12.552** — menos peso com 431 peças a mais.
+
+Mas isso quebra a nota antiga de que "o `atlas/` já está commitado lá e não
+muda a cada alteração do mural": map e `wall.html` agora são um par acoplado
+por formato. Publicar um sem o outro deixa o mural sem link e sem busca por
+handle.
+
+## Pendente
+
+- [ ] **`dc.rights` ausente em 5.833 itens (44,7%)** — confirmado como característica real da fonte, não bug. Só precisa ficar documentado no MANIFEST final, sem ação de reparo.
+- [ ] **`web/build-atlas.js` não está versionado em lugar nenhum** — `brasiliano/` não é repo git e o `xyz` só recebe o `index.html` e o `atlas/`. A correção do `summarize()`/`pickAll()` (achado 3.1) vive só no disco desta máquina; um `rm` leva junto. Mesma exposição vale para `pipeline/` inteiro.
+- [ ] **Encolher mais o `atlas-map.json` só com dicionário** (achado 3.2): 8,00 → 5,14 MB crus por ~120 KB no fio. Só vale se o `JSON.parse` no celular virar problema medido — não antes.
+- [ ] **30 objetos `(N)` com tamanho diferente do gêmeo** (achado 2.20) — conferência individual, não dá pra automatizar com segurança.
+- [ ] **43 objetos `(N)` que são o único arquivo do item** (achado 2.20) — renomear tirando o sufixo, pra o nome não mentir sobre haver um original ao lado.
+- [ ] **Handles `6656` e `7939` sem imagem de preservação** (achado 2.19) — rebaixar; o que há hoje na fila local é o bitstream de licença.
+- [ ] **Conferir os códigos HTTP que nunca foram tabulados** — o runbook do achado 2.18 manda rodar `FALTA.erros()` no console e rotear por código (404 → reparar URL, 403 → bloqueio de origem, 500 → transitório, retomar). **Esse passo nunca foi executado**: o achado 2.18 concluiu "é recusa da origem" a partir do `status()` agregado, não da tabela de erros por handle. Sem isso não dá pra saber quantos dos 71 são reparáveis.
+- [ ] **Reconferir o handle `7523` (HTTP 500)** — registrado uma vez e tratado como falha permanente da origem desde então, mas 500 costuma ser transitório e nunca houve segunda tentativa. **Não dá pra testar por `curl`, e agora está provado com controle** (12/09): com User-Agent, Accept, Accept-Language e Referer de Chrome, o `7523` devolve `403` de 5.484 bytes (página do Cloudflare) — e o item `10`, que sabidamente funciona e está no bucket, devolve **exatamente o mesmo `403` de 5.484 bytes**. É bloqueio geral a requisição sem sessão real, nada específico do `7523`. Precisa da aba; a extensão Claude-in-Chrome seguia desconectada em duas tentativas no mesmo dia.
+- [ ] **Reconciliar 13.058 vs 13.060** — o MANIFEST fala em 13.058 itens reais, o `catalogo.jsonl` tem 13.060 handles distintos. Diferença de 2 nunca explicada; anotada no MANIFEST como pendência.
+- [ ] **Depois que os 212 faltantes baixarem e subirem** (pedido do usuário, 13/09):
+      1. conferir se **todos** os itens têm miniatura em `derivados/thumb256/` e gerar
+         as que faltarem (as novas preservações não têm derivado ainda);
+      2. **regerar o mural 3D** com o conjunto completo — de preferência derivando
+         no finland direto do bucket (`itens/*/preservacao/*`), que é tráfego
+         intra-Hetzner, em vez de puxar pro Mac;
+      3. republicar `wall.html` + `atlas/` no `rafapolo/xyz` (par acoplado, achado 3.4).
+- [ ] **Quando o `rodar-paralelo.sh` terminar** (log termina em `===== ... FIM`):
+      1. conferir no log as três fases sem `!!!`, a linha `FIM da fila` (enviados,
+         duplicatas, rejeitados, falhas) e os `pendente:` que ficaram no disco;
+      2. `ls pipeline/rejeitados/` + `select * from rejeitados` — só deve ter texto
+         de licença; imagem ali é bug de assinatura;
+      3. reconciliar ledger × bucket (mesmo diff do achado de 12/09: 0 divergências
+         nos dois sentidos) e amostrar manifests (`grep derivado` = 0);
+      4. varrer `~/Downloads`: apagar o que tiver MD5 = ETag no bucket (mesmo
+         método dos 180 de 12/09), manter o resto;
+      5. atualizar a tabela de contagens do MANIFEST com os números fechados.
+- [ ] **Rebaixar o que o `subidor.py` antigo apagou** (achado 2.19, correção): 8 itens sem preservação (`14358`–`14364`, `14368`) + ~20 `extra_seqN` em TIFF — lista com URL em `pipeline/apagados-pelo-subidor-antigo.jsonl`. Precisa da aba do navegador.
+- [x] ~~Recontar os faltantes de preservação (211)~~ — feito em 13/09: 136 baixaram, sobraram **75** com defeito de origem (achado 2.25), listados em `pipeline/falhas-500-2026-09-13.txt`. Script usado: `pipeline/baixar-faltantes-v3.js` (ou o motor `F5` colado direto na aba).
+- [ ] **`subidor.py` antigo: aposentar ou corrigir a regra de assinatura** antes de qualquer uso futuro — do jeito que está, apaga TIFF.
+- [ ] **Rebaixar os 75 do achado 2.25** quando a origem se recuperar — todos têm thumbnail, falta a preservação. Um `FALTA3.retomar()`/`F5.iniciar()` na aba basta; o que já baixou fica marcado no `localStorage` (`bras_faltantes_v3`).
+- [ ] **Handle `8396` sem imagem e sem diagnóstico** — não está em `pipeline/faltantes-preservacao.jsonl` nem nas exceções conhecidas do MANIFEST; apareceu ao cruzar catálogo × miniaturas. Precisa de uma tentativa avulsa pra saber se é recusa da origem (achado 2.18) ou outra coisa.
+- [ ] **`.git` do `rafapolo/xyz` está em 2,5 GB** e cada publicação do atlas soma ~51 MB permanentes (binário não faz delta). Se o mural for republicar atlas com frequência, tirar os `.webp` do git — LFS, ou servir do próprio bucket, que já tem os thumbs em `derivados/thumb256/`.
+- [ ] **Crawl da Fase 1 pode ter mais buracos** (achado 2.10 do PLANO.md): 2 itens reais (`1799`, `4798`) foram achados faltando no catálogo só porque o WordPress os citava — já corrigidos, mas não existe verificação exaustiva de que a enumeração por `browse?type=title` pegou 100% de cada comunidade. Sem ideia barata de auditar isso por completo agora.
+
+## Ao final (não fazer antes do download terminar)
+
+- [x] Gerar `MANIFEST.md` (o que é, como foi coletado, quando) — feito; atualizado em 2026-09-12 com `derivados/` e os achados 2.19/2.20/3.3
+- [ ] Confirmar no bucket que a contagem de itens/checksums bate com os 13.058 itens reais esperados
+
+## Notas técnicas úteis pra retomar
+
+- Downloads automáticos do Chrome exigem permissão manual em `chrome://settings/content/automaticDownloads` (site adicionado: `https://brasilianafotografica.bn.gov.br`) — já concedida, vale pra novos scripts também, não só o original.
+- `BRAS`, `BAIXA`, `BAIXA_THUMB`, `BAIXA_EXTRA` — todos no `window` da mesma aba, mesmo IndexedDB (`bras`). Todos sobrevivem a fechar/reabrir a aba (dado fica salvo), mas o *loop* para e precisa recolar o script certo pra retomar.
+- **Regerar as miniaturas derivadas** (tudo reconstruível, nada precisa ser
+  guardado): no finland, `apt install libvips-tools parallel` + s5cmd; pra cada
+  chave de `itens/*/preservacao/*`, `s5cmd cat` num tmp e
+  `vipsthumbnail "$TMP" --size 256 --output "$OUT[Q=80,strip]"`, com
+  `parallel -j 10`. ~640 thumbs/min, tráfego intra-Hetzner (bucket é `hel1`, o
+  finland também) — não passa pelo link de casa. O que ainda está só em
+  `~/Downloads` sai mais barato derivado localmente com `magick`: mandar os
+  71 GB pro finland custaria os mesmos dias do upload pendente.
+- **Cuidado ao parsear `s5cmd ls`**: nomes de arquivo do acervo têm espaço
+  **duplo** (`48094  Álbum 311 - ...jpg`). `awk '{$1="";$2="";$3=""; print}'
+  recolapsa esses espaços e produz chaves que não existem — 31 downloads
+  falharam assim antes de eu perceber. Use
+  `sed -E 's|^[0-9/]+ +[0-9:]+ +[0-9]+  ||'`, que preserva o resto literal.
+- **`sqlite3` desta máquina tem `.sqliterc` forçando modo box**: qualquer
+  script que leia a saída precisa de `sqlite3 -init /dev/null -noheader
+  -separator $'\t'`, senão vem borda de tabela no lugar dos dados (me custou
+  um diff inteiro de falso positivo).
+- **`until ! pgrep -f X; do sleep; done` nunca termina**: a linha de comando do
+  próprio loop contém `X`, então o `pgrep -f` se acha e a condição nunca vira
+  falsa. Um loop desses ficou girando horas depois do trabalho acabar (12/09,
+  morto à mão). Esperar por PID (`while kill -0 $PID`) ou usar `pgrep -f
+  '[t]humb-local'` para o padrão não casar consigo mesmo.
+- **Parar processo lançado em background: SIGTERM, não SIGINT.** Processo
+  iniciado com `&` num shell não interativo herda o SIGINT ignorado (o
+  `subidor.py` ficou 60 s vivo depois do `kill -INT`). Com SIGTERM, o `aws s3
+  cp` filho termina órfão, o que é inofensivo: sem linha no ledger e sem
+  apagar o local, o próximo uploader sobe de novo a mesma chave.
+- **Upload de casa: 69 Mbps** (`networkQuality -s`, 12/09); download 312 Mbps.
+- **Assinaturas aceitas como imagem** (`subidor-paralelo.py`): JPEG `FFD8`, PNG,
+  TIFF `II*\0`/`MM\0*`, GIF, JP2, BMP `BM`, WebP. Content-Type sai do conteúdo,
+  não da extensão (TIFF chega com nome `.jpg`).
+- Scripts-fonte em `pipeline/`: `coletor.js` / `coletor-resume.js` (metadados), `baixador-navegador.js` (preservação, todos os itens), `baixador-thumb.js` (miniaturas), `baixador-extras.js` (2a+ imagem de itens multi-bitstream), `reparo-multibitstream.js` (enumera bitstreams reais de um item).
diff --git a/tasks/done/PROMPT_TERMINAL.md b/tasks/done/PROMPT_TERMINAL.md
new file mode 100644
index 0000000..9298a50
--- /dev/null
+++ b/tasks/done/PROMPT_TERMINAL.md
@@ -0,0 +1,42 @@
+> **Arquivado em 2026-09-10 — superado.** Prompt de handoff original da Fase
+> 1. Cumpriu seu papel (a Fase 1 terminou, catálogo saiu). Boa parte do
+> conteúdo abaixo (trilha A via servidor, "não mexa na aba do Brave") não
+> vale mais — ver `tasks/PLANO.md` pro estado e runbook atuais. Mantido só
+> como registro histórico.
+
+Retomando o projeto Brasiliana → S3. Leia primeiro `tasks/PLANO.md` (estado, achados, runbook) e depois `README.md` se precisar de mais detalhe técnico.
+
+> Nota (2026-09-10): reorganização de pastas — `baixador.py`, `subidor.py`, `coletor.js`, `baixador-navegador.js`, `catalogo.jsonl` e `.s3env` agora moram em `pipeline/`. Os comandos deste arquivo ainda usam os nomes antigos sem prefixo; rode-os de dentro de `pipeline/` (`cd pipeline` primeiro) ou ajuste os caminhos. `tasks/PLANO.md` já está com os caminhos corrigidos — prefira aquele runbook.
+
+Contexto rápido: a Fase 1 (coletor.js, metadados) está rodando numa aba do Chrome controlada por outra sessão de Claude (Cowork, na nuvem) — não mexa nela, ela é independente. Ela vai exportar `brasiliana-catalogo.jsonl` para `~/Downloads` sozinha quando terminar (ETA ~15-16h a partir de ~10:31 de 2026-09-09, checar se já não terminou antes de você ler isso).
+
+Seu trabalho é tocar as Fases 2-4 assim que o catálogo existir — você tem rede real (SSH, S3), a sessão na nuvem não tem.
+
+1. Verifique se `~/Downloads/brasiliana-catalogo.jsonl` (ou algo com esse padrão de nome) já existe. Se não, esse é o bloqueador: espere ou me avise para eu checar o progresso da fase 1.
+2. Fase 2 (trilha A, servidor Finlândia):
+   ```bash
+   scp baixador.py catalogo.jsonl finland:/root/brasiliana/
+   ssh finland
+   set -a; . /root/.s3env; set +a
+   cd /root/brasiliana
+   python3 baixador.py --catalogo catalogo.jsonl --pular-legado
+   python3 baixador.py --status
+   ```
+   As credenciais reais (AWS_ACCESS_KEY_ID/AWS_SECRET_ACCESS_KEY) para preencher `.s3env` estão em `/Users/polux/Projetos/tocador/.env`. Na Finlândia já deve haver `/root/.s3env` configurado — confirme antes de reescrever.
+3. Fase 3 (trilha B, nomes com encoding — precisa do navegador):
+   - Cole `baixador-navegador.js` no console da MESMA aba do coletor (a aba já tem o catálogo em memória/IndexedDB da fase 1). `BAIXA.quantos()` para saber quantos, `BAIXA.iniciar()` para começar — os arquivos caem em `~/Downloads`.
+   - Em paralelo, no terminal local:
+     ```bash
+     set -a; . .s3env; set +a
+     python3 subidor.py --vigiar --catalogo catalogo.jsonl
+     ```
+4. Fase 4 (cópias legadas do objdigital, só alcançável localmente):
+   ```bash
+   set -a; . .s3env; set +a
+   python3 baixador.py --catalogo catalogo.jsonl --somente-legado
+   ```
+5. Ao final: gere `MANIFEST.md` (o que é, como foi coletado, quando) e confirme no bucket que a contagem de itens/checksums bate com os 13.036 esperados (ou o número real que saiu da fase 1, que pode ser ligeiramente diferente).
+
+Regras não-negociáveis (do PLANO.md): SHA-256 de cada arquivo, e URL de origem + data/hora UTC de captura em cada `metadata.json`. `dc.rights` e a instituição de origem são preservados por item.
+
+Se algo travar (disco cheio — aborta abaixo de 2GB livres na Finlândia —, erro de rede, item corrompido), pare, registre o que aconteceu em `tasks/PLANO.md` e me avise em vez de insistir.
diff --git a/tasks/done/TODO-2026-09-10.md b/tasks/done/TODO-2026-09-10.md
new file mode 100644
index 0000000..6b0bf5b
--- /dev/null
+++ b/tasks/done/TODO-2026-09-10.md
@@ -0,0 +1,15 @@
+# TODO concluído — 2026-09-10
+
+Itens já fechados, tirados do `tasks/TODO.md` ativo pra não poluir. Ver
+`tasks/PLANO.md` pros achados permanentes (Cloudflare bloqueando bitstream,
+multi-bitstream, padrão de sequência de thumbnail etc.) — isso aqui é só o
+histórico de execução.
+
+- [x] **Re-exportar `brasiliana-catalogo.jsonl`** — feito às 10:46, 13.058 itens, 119 com `all_preservation_urls` confirmados no arquivo.
+- [x] Reiniciar `subidor.py` com o catálogo atualizado (PID 3171) — confirmado processando.
+- [x] **Fase 4 (legado objdigital)**: não era bloqueio Cloudflare — o domínio só responde em HTTPS (HTTP puro tem a porta resetada). Corrigido em `baixador.py` (força https no `legacy_url`). Rodando local (PID 14570, sem navegador, curl direto funciona) — 2.707 itens com `legacy_url`.
+- [x] **34 itens que falharam no reparo multi-bitstream**: 33/34 corrigidos com reparo v3 (nome real do arquivo via `<img src>` da miniatura, tira o `.jpg` duplicado, busca por `/bitstream/handle/PREFIX/h/{nome real}` — necessário porque esses itens não tinham `<a href sequence=>` no wrapper e a sequência não era contígua a partir de 1). Extras disparados (`BAIXA_EXTRA`, 63 imagens novas). Catálogo re-exportado (152 itens com `all_preservation_urls` confirmados) e `subidor.py` reiniciado.
+  - **1 exceção sem conserto**: handle `20.500.12156.1/7523` ("Vista Aérea de Cabo Frio") — `HTTP 500` do próprio servidor da BN ao buscar os bitstreams, não é problema de nome/padrão. Provável arquivo corrompido/quebrado do lado deles. Documentado no MANIFEST final como exceção conhecida.
+  - **Total: 152/154 itens sem imagem original corrigidos** (152 + o falso-positivo `.../1` + o `7523` = 154).
+- [x] **Reorganização de pastas** (feita por outra sessão em paralelo): scripts/estado → `pipeline/`, visualizações → `web/`, `exemplo-item/` → `examples/`, `censo.py` → `archive/`. `subidor.py` morreu no meio da troca (não estava com FD aberto que sobrevivesse ao rename como o `baixador.py` teve) — reiniciado do novo caminho (PID 28923), backlog de ~2.963 arquivos em `~/Downloads` escoou normalmente depois.
+- [x] **Atualizar `PLANO.md`** com os achados desta sessão (2.6-2.9): Cloudflare bloqueia bitstream via curl também, estratégia virou "tudo via navegador", multi-bitstream (115 itens), padrão de sequência do thumbnail, objdigital só em HTTPS.
diff --git a/web/atlas/atlas-map.json b/web/atlas/atlas-map.json
new file mode 100644
index 0000000..12dcb28
--- /dev/null
+++ b/web/atlas/atlas-map.json
@@ -0,0 +1 @@
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Ao fundo pavilhão da Sociedade Nacional de Agricultura e morro da Urca. Vê-se homens trabalhando na rua em frente ao pavilhão."],"coverage":["Rio de Janeiro (RJ)","Brasil"],"source":"Coleção Miguel Calmon - MCab6.30"}},"20.500.12156.1/11953":{"atlas":0,"col":50,"row":31,"cr":15326917,"cl":11182733,"ct":9078135,"cb":9209205,"ck":5854538,"meta":{"title":"Fotomontagem","community":"Fiocruz","rights":null,"date":"1927","contributor":"J. Pinto","type":null,"subject":["Pinto, J, 1884-1951"],"description":["Fotografia","P & B","5 x 5,2 cm"],"coverage":["Manguinhos(RJ)"],"source":"Coleção Família Oswaldo Cruz"}},"20.500.12156.1/11954":{"atlas":0,"col":51,"row":31,"cr":12297837,"cl":12561270,"ct":12959671,"cb":14341838,"ck":6050616,"meta":{"title":"[Bonde circulando com visitantes]","community":"Museu Historico Nacional","rights":null,"date":"1908","contributor":"Malta, Augusto","type":null,"subject":["Exposição Nacional de 1908","Exposição Nacional do Rio de Janeiro","Exposição Nacional Comemorativa do 1º Centenário da Abertura dos Portos do Brasil","Augusto Malta","Augusto César Malta de Campos","Bondes","Urca (RJ)"],"description":["p&b","15 x 21,8 cm","Bonde circulando com visitantes em primeiro plano e relógio ao fundo."],"coverage":["Rio de Janeiro (RJ)","Brasil"],"source":"Coleção Miguel Calmon - MCab6.21 (45741)"}},"20.500.12156.1/11955":{"atlas":0,"col":52,"row":31,"cr":14533513,"cl":13941637,"ct":14863518,"cb":14336662,"ck":5852725,"meta":{"title":"[Pavilhão do Distrito Federal]","community":"Museu Historico Nacional","rights":null,"date":"1908","contributor":"Malta, Augusto","type":null,"subject":["Exposição Nacional de 1908","Exposição Nacional do Rio de Janeiro","Exposição Nacional Comemorativa do 1º Centenário da Abertura dos Portos do Brasil","Augusto Malta","Augusto César Malta de Campos","Pavilhão do Distrito Federal","Urca (RJ)"],"description":["p&b","16 x 22 cm","Vê-se muitas pessoas próximas ao pavilhão. Ao fundo pavilhão Egípcio (Música) e morro da Babilônia."],"coverage":["Rio de Janeiro (RJ)","Brasil"],"source":"Coleção Miguel Calmon - MCab6.22"}},"20.500.12156.1/11956":{"atlas":0,"col":53,"row":31,"cr":14008981,"cl":14138506,"ct":12889970,"cb":11180132,"ck":5656117,"meta":{"title":"[Pavilhão do Distrito Federal]","community":"Museu Historico Nacional","rights":null,"date":"1908","contributor":"Malta, Augusto","type":null,"subject":["Exposição Nacional de 1908","Exposição Nacional do Rio de Janeiro","Exposição Nacional Comemorativa do 1º Centenário da Abertura dos Portos do Brasil","Augusto Malta","Augusto César Malta de Campos","Pavilhão do Distrito Federal","Urca (RJ)"],"description":["p&b","27,2 x 20,5 cm","Pavilhão do Distrito Federal com destaque para a entrada do pavilhão com alguns visitantes."],"coverage":["Rio de Janeiro (RJ)","Brasil"],"source":"Coleção Miguel Calmon - MCab6.23"}},"20.500.12156.1/11957":{"atlas":0,"col":54,"row":31,"cr":10915935,"cl":9535317,"ct":14006410,"cb":13876891,"ck":5458226,"meta":{"title":"[Theatro - Teatro João Caetano]","community":"Museu Historico Nacional","rights":null,"date":"1908","contributor":"Malta, Augusto","type":null,"subject":["Exposição Nacional de 1908","Exposição Nacional do Rio de Janeiro","Exposição Nacional Comemorativa do 1º Centenário da Abertura dos Portos do Brasil","Augusto Malta","Augusto César Malta de Campos","Teatro João Caetano","Theatro João Caetano","Urca (RJ)"],"description":["p&b","19,3 x 29 cm","Obs: O teatro da exposição foi denominado de João Caetano, mas o atual teatro João Caetano, da Praça Tiradentes no Rio de Janeiro, só foi assim denominado em 1923."],"coverage":["Rio de Janeiro (RJ)","Brasil"],"source":"Coleção Miguel Calmon - MCab6.24"}},"20.500.12156.1/11958":{"atlas":0,"col":55,"row":31,"cr":12101749,"cl":10983531,"ct":13612678,"cb":13549733,"ck":5919290,"meta":{"title":"[Pavilhão de Minas Gerais e Pavilhão de São Paulo]","community":"Museu Historico Nacional","rights":null,"date":"1908","contributor":"Malta, Augusto","type":null,"subject":["Exposição Nacional de 1908","Exposição Nacional do Rio de Janeiro","Exposição Nacional Comemorativa do 1º Centenário da Abertura dos Portos do Brasil","Augusto Malta","Augusto César Malta de Campos","Pavilhão de Minas Gerais","Pavilhão de São Paulo","Urca (RJ)"],"description":["p&b","23,2 x 29 cm","Vê-se muitos visitantes. Ao fundo, ponte sobre um braço de mar."],"coverage":["Rio de Janeiro (RJ)","Brasil"],"source":"Coleção Miguel Calmon - MCab6.25"}},"20.500.12156.1/11959":{"atlas":0,"col":56,"row":31,"cr":12627579,"cl":9009493,"ct":14532750,"cb":13810834,"ck":5984826,"meta":{"title":"[Visitantes da Exposição Nacional de 1908]","community":"Museu Historico Nacional","rights":null,"date":"1908","contributor":"Malta, Augusto","type":null,"subject":["Exposição Nacional de 1908","Exposição Nacional do Rio de Janeiro","Exposição Nacional Comemorativa do 1º Centenário da Abertura dos Portos do Brasil","Augusto Malta","Augusto César Malta de Campos","Urca (RJ)"],"description":["p&b","22 x 28,5 cm","Pavilhão de Minas Gerais, pavilhão de São Paulo, ao fundo o Palácio das Indústrias e o Pavilhão da Sociedade Nacional de Agricultura e o Pavilhão da Fábrica de Tecidos Bangu."],"coverage":["Rio de Janeiro (RJ)","Brasil"],"source":"Coleção Miguel Calmon - MCab6.26"}},"20.500.12156.1/11960":{"atlas":0,"col":57,"row":31,"cr":10851945,"cl":11443823,"ct":13744268,"cb":13613973,"ck":5458741,"meta":{"title":"[Theatro - Teatro João Caetano]","community":"Museu Historico Nacional","rights":null,"date":"1908","contributor":"Malta, Augusto","type":null,"subject":["Exposição Nacional de 1908","Exposição Nacional do Rio de Janeiro","Exposição Nacional Comemorativa do 1º Centenário da Abertura dos Portos do Brasil","Augusto Malta","Augusto César Malta de Campos","Theatro João Caetano","Teatro João Caetano","Urca (RJ)"],"description":["p&b","22,7 x 28,5 cm","Vê-se público saindo e entrando no teatro. Ao fundo, o morro da Urca."],"coverage":["Rio de Janeiro (RJ)","Brasil"],"source":"Coleção Miguel Calmon - MCab6.27"}},"20.500.12156.1/11961":{"atlas":0,"col":58,"row":31,"cr":8423294,"cl":7238507,"ct":12764601,"cb":5988442,"ck":4737862,"meta":{"title":"Oswaldo Cruz e João Pedroso Barreto de Albuquerque","community":"Fiocruz","rights":null,"date":"S.d.","contributor":null,"type":null,"subject":["Cruz, Oswaldo, 1872-1917","Albuquerque, João Pedroso Barreto de, 1869- 1936"],"description":["Fotografia","P & B","14 x 10 cm"],"source":"Coleção Família Oswaldo Cruz"}},"20.500.12156.1/11962":{"atlas":0,"col":59,"row":31,"cr":4538684,"cl":3618615,"ct":8682086,"cb":6050890,"ck":3354409,"meta":{"title":"Oswaldo Cruz","community":"Fiocruz","rights":null,"date":"S.d.","contributor":null,"type":null,"subject":["Cruz, Oswaldo, 1872-1917"],"description":["Fotografia","P & B","13x 9,3cm"],"source":"Coleção Família Oswaldo Cruz"}},"20.500.12156.1/11963":{"atlas":0,"col":60,"row":31,"cr":11114861,"cl":10654313,"ct":14533521,"cb":13743745,"ck":5524535,"meta":{"title":"[Pavilhão dos Bombeiros]","community":"Museu Historico Nacional","rights":null,"date":"1908","contributor":"Malta, Augusto","type":null,"subject":["Exposição Nacional de 1908","Exposição Nacional do Rio de Janeiro","Exposição Nacional Comemorativa do 1º Centenário da Abertura dos Portos do Brasil","Augusto Malta","Augusto César Malta de Campos","Pavilhão dos Bombeiros","Urca (RJ)"],"description":["p&b","22,5 x 28,7 cm","Corpo de Bombeiros, quiosque da Fábrica de Cerveja Paraense. Ao fundo o morro da Urca. Vê-se criança posando para a fotografia."],"coverage":["Rio de Janeiro (RJ)","Brasil"],"source":"Coleção Miguel Calmon - MCab6.28"}},"20.500.12156.1/11964":{"atlas":0,"col":61,"row":31,"cr":10982757,"cl":12100978,"ct":13679506,"cb":14470318,"ck":5853239,"meta":{"title":"[Praia da Urca]","community":"Museu Historico Nacional","rights":null,"date":"1908","contributor":"Malta, Augusto","type":null,"subject":["Exposição Nacional de 1908","Exposição Nacional do Rio de Janeiro","Exposição Nacional Comemorativa do 1º Centenário da Abertura dos Portos do Brasil","Augusto Malta","Augusto César Malta de Campos","Praias","Barcas","Urca (RJ)"],"description":["p&b","16 x 19,7 cm","Vê-se barca trazendo público, bem como o público caminhando para a entrada da exposição."],"coverage":["Rio de Janeiro (RJ)","Brasil"],"source":"Coleção Miguel Calmon - MCab6.41 (45761)"}},"20.500.12156.1/11965":{"atlas":0,"col":62,"row":31,"cr":10982757,"cl":12100978,"ct":13679506,"cb":14470318,"ck":5853239,"meta":{"title":"[Inauguração da Exposição Nacional de 1908]","community":"Museu Historico Nacional","rights":null,"date":"1908","contributor":"Malta, Augusto","type":null,"subject":["Exposição Nacional de 1908","Exposição Nacional do Rio de Janeiro","Exposição Nacional Comemorativa do 1º Centenário da Abertura dos Portos do Brasil","Augusto Malta","Augusto César Malta de Campos","Urca (RJ)"],"description":["p&b","14 x 20 cm","Vê-se centenas de pessoas, o pavilhão do Distrito Federal, o pavilhão dos Correios e Telégrafos, o Palácio das Indústrias, o pavilhão de Santa Catarina."],"coverage":["Rio de Janeiro (RJ)","Brasil"],"source":"Coleção Miguel Calmon - MCab6.42 (45762)"}},"20.500.12156.1/11966":{"atlas":0,"col":63,"row":31,"cr":13745557,"cl":14203785,"ct":13613434,"cb":12297839,"ck":5853239,"meta":{"title":"[Pavilhão de Minas Gerais]","community":"Museu Historico Nacional","rights":null,"date":"1908","contributor":"Malta, Augusto","type":null,"subject":["Exposição Nacional de 1908","Exposição Nacional do Rio de Janeiro","Exposição Nacional Comemorativa do 1º Centenário da Abertura dos Portos do Brasil","Augusto Malta","Augusto César Malta de Campos","Pavilhão de Minas Gerais","Carroças","Urca (RJ)"],"description":["p&b","27,5 x 21 cm","Vê-se pavilhão de São Paulo, carroça e o morro da Urca."],"coverage":["Rio de Janeiro (RJ)","Brasil"],"source":"Coleção Miguel Calmon - MCab6.32"}},"20.500.12156.1/11967":{"atlas":0,"col":0,"row":32,"cr":12693112,"cl":11640945,"ct":14204297,"cb":14402197,"ck":6313790,"meta":{"title":"[Edifício anexo: Belas Artes - Pavilhão de Portugal]","community":"Museu Historico Nacional","rights":null,"date":"1908","contributor":"Malta, Augusto","type":null,"subject":["Exposição Nacional de 1908","Exposição Nacional do Rio de Janeiro","Exposição Nacional Comemorativa do 1º Centenário da Abertura dos Portos do Brasil","Augusto Malta","Augusto César Malta de Campos","Pavilhão de Portugal (Belas Artes)","Automóveis","Urca (RJ)"],"description":["p&b","16 x 28,7 cm","Vê-se um automóvel com duas pessoas no seu interior; consta um letreiro nesse prédio \"Salve Brazil\""],"coverage":["Rio de Janeiro (RJ)","Brasil"],"source":"Coleção Miguel Calmon - MCab6.33"}},"20.500.12156.1/11968":{"atlas":0,"col":1,"row":32,"cr":12824699,"cl":12232823,"ct":14731162,"cb":13746330,"ck":6116411,"meta":{"title":"[Pavilhão de Minas Gerais e Pavilhão de São Paulo]","community":"Museu Historico Nacional","rights":null,"date":"1908","contributor":"Malta, Augusto","type":null,"subject":["Exposição Nacional de 1908","Exposição Nacional do Rio de Janeiro","Exposição Nacional Comemorativa do 1º Centenário da Abertura dos Portos do Brasil","Augusto Malta","Augusto César Malta de Campos","Pavilhão de Minas Gerais","Pavilhão de São Paulo","Urca (RJ)"],"description":["p&b","21,2 x 28,7 cm","Observa-se um grande balão, sendo inflado no Pavilhão de São Paulo, preso por um cabo, e com uma pessoa segura por cordas; Centenas de pessoas observando o balão."],"coverage":["Rio de Janeiro (RJ)","Brasil"],"source":"Coleção Miguel Calmon - MCab6.34"}},"20.500.12156.1/11969":{"atlas":0,"col":2,"row":32,"cr":12430200,"cl":8614993,"ct":13940097,"cb":13611646,"ck":5590069,"meta":{"title":"[Pavilhões destinados ao cinematógrafo, ao teatro de variedades e à pista de patinação]","community":"Museu Historico Nacional","rights":null,"date":"1908","contributor":"Malta, Augusto","type":null,"subject":["Exposição Nacional de 1908","Exposição Nacional do Rio de Janeiro","Exposição Nacional Comemorativa do 1º Centenário da Abertura dos Portos do Brasil","Augusto Malta","Augusto César Malta de Campos","Urca (RJ)"],"description":["p&b","22,7 x 29 cm","Pão de Açúcar e praia Vermelha ao fundo."],"coverage":["Rio de Janeiro (RJ)","Brasil"],"source":"Coleção Miguel Calmon - MCab6.35"}},"20.500.12156.1/11970":{"atlas":0,"col":3,"row":32,"cr":14469017,"cl":13942676,"ct":13744255,"cb":12364406,"ck":5458998,"meta":{"title":"[Pavilhão da Bahia]","community":"Museu Historico Nacional","rights":null,"date":"1908","contributor":"Malta, Augusto","type":null,"subject":["Exposição Nacional de 1908","Exposição Nacional do Rio de Janeiro","Exposição Nacional Comemorativa do 1º Centenário da Abertura dos Portos do Brasil","Augusto Malta","Augusto César Malta de Campos","Pavilhão da Bahia","Morro da Babilônia (RJ)","Quiosques","Urca (RJ)"],"description":["p&b","24,5 x 20 cm","Ao fundo, morro da Babilônia e na frente do pavilhão tem um pequeno quiosque com motivos orientais."],"coverage":["Rio de Janeiro (RJ)","Brasil"],"source":"Coleção Miguel Calmon - MCab6.36"}},"20.500.12156.1/11971":{"atlas":0,"col":4,"row":32,"cr":10719843,"cl":12035958,"ct":12758671,"cb":14139025,"ck":5787706,"meta":{"title":"[Vista Geral da Exposição Nacional de 1908]","community":"Museu Historico Nacional","rights":null,"date":"1908","contributor":"Malta, Augusto","type":null,"subject":["Exposição Nacional de 1908","Exposição Nacional do Rio de Janeiro","Exposição Nacional Comemorativa do 1º Centenário da Abertura dos Portos do Brasil","Augusto Malta","Augusto César Malta de Campos","Bondes","Urca (RJ)"],"description":["p&b","23,2 x 28,5 cm","Vê-se bondes; no lado direito/parte central da foto, consta uma propaganda das Barcas. Vê-se também o Pavilhão dos Estados, o Pavilhão da Bahia, o Pavilhão do Distrito Federal, o pavilhão de Minas Gerais, o Palácio das Indústrias e o Correio e Telégrafos."],"coverage":["Rio de Janeiro (RJ)","Brasil"],"source":"Coleção Miguel Calmon - MCab6.37"}},"20.500.12156.1/11972":{"atlas":0,"col":5,"row":32,"cr":12232817,"cl":10324832,"ct":14664339,"cb":14270351,"ck":5919032,"meta":{"title":"[Palácio das Indústrias - Chateau D'eau]","community":"Museu Historico Nacional","rights":null,"date":"1908","contributor":"Malta, Augusto","type":null,"subject":["Exposição Nacional de 1908","Exposição Nacional do Rio de Janeiro","Exposição Nacional Comemorativa do 1º Centenário da Abertura dos Portos do Brasil","Augusto Malta","Augusto César Malta de Campos","Pavilhão das Indústrias","Palácio das Indústrias","Fontes e Chafarizes","Urca (RJ)"],"description":["p&b","22,5 x 29 cm","Observa-se uma cascata de água na frente do pavilhão e vários chafarizes. Vê-se o Pão-de-Açúcar."],"coverage":["Rio de Janeiro (RJ)","Brasil"],"source":"Coleção Miguel Calmon - MCab6.38"}},"20.500.12156.1/11973":{"atlas":0,"col":6,"row":32,"cr":11574632,"cl":9404759,"ct":13678476,"cb":13681323,"ck":5458739,"meta":{"title":"[Palácio das Indústrias]","community":"Museu Historico Nacional","rights":null,"date":"1908","contributor":"Malta, Augusto","type":null,"subject":["Exposição Nacional de 1908","Exposição Nacional do Rio de Janeiro","Exposição Nacional Comemorativa do 1º Centenário da Abertura dos Portos do Brasil","Augusto Malta","Augusto César Malta de Campos","Pavilhão das Indústrias","Palácio das Indústrias","Fontes e Chafarizes","Urca (RJ)"],"description":["p&b","23,3 x 29,5 cm","Observa-se várias barracas, tipo camping, na frente do prédio. Vê-se Chateau d’Eau e Pão-de-Açúcar."],"coverage":["Rio de Janeiro (RJ)","Brasil"],"source":"Coleção Miguel Calmon - MCab6.39"}},"20.500.12156.1/11974":{"atlas":0,"col":7,"row":32,"cr":12890230,"cl":9666905,"ct":14204304,"cb":14204304,"ck":5721655,"meta":{"title":"[Pavilhão de Portugal]","community":"Museu Historico Nacional","rights":null,"date":"10/08/1908","contributor":"Malta, Augusto","type":null,"subject":["Exposição Nacional de 1908","Exposição Nacional do Rio de Janeiro","Exposição Nacional Comemorativa do 1º Centenário da Abertura dos Portos do Brasil","Augusto Malta","Augusto César Malta de Campos","Pavilhão de Portugal","Urca (RJ)"],"description":["p&b","23,3 x 29,5 cm","Pavilhão em estilo manuelino. Vê-se o Morro da Urca ao fundo."],"coverage":["Rio de Janeiro (RJ)","Brasil"],"source":"Coleção Miguel Calmon - MCab6.40"}},"20.500.12156.1/11975":{"atlas":0,"col":8,"row":32,"cr":12757876,"cl":11968621,"ct":14602941,"cb":13876893,"ck":5984569,"meta":{"title":"[Visitantes]","community":"Museu Historico Nacional","rights":null,"date":"07/10/1908","contributor":"Malta, Augusto","type":null,"subject":["Exposição Nacional de 1908","Exposição Nacional do Rio de Janeiro","Exposição Nacional Comemorativa do 1º Centenário da Abertura dos Portos do Brasil","Augusto Malta","Augusto César Malta de Campos","Urca (RJ)"],"description":["p&b","14 x 15 cm","Afonso Pena e Miguel Calmon du Pin e Almeida (os dois ao centro com cartola)"],"coverage":["Rio de Janeiro (RJ)","Brasil"],"source":"Coleção Miguel Calmon - MCab6.43"}},"20.500.12156.1/11976":{"atlas":0,"col":9,"row":32,"cr":12757876,"cl":11968621,"ct":14602941,"cb":13876893,"ck":5984569,"meta":{"title":"[Miguel Calmon na carruagem]","community":"Museu Historico Nacional","rights":null,"date":"1908","contributor":"Malta, Augusto","type":null,"subject":["Exposição Nacional de 1908","Exposição Nacional do Rio de Janeiro","Exposição Nacional Comemorativa do 1º Centenário da Abertura dos Portos do Brasil","Augusto Malta","Augusto César Malta de Campos","Carruagens","Urca (RJ)"],"description":["p&b","13 x 20,5 cm","Miguel Calmon na carruagem (seria uma Carruagem Vitória?)"],"coverage":["Rio de Janeiro (RJ)","Brasil"],"source":"Coleção Miguel Calmon - MCab6.44 (45764)"}},"20.500.12156.1/11977":{"atlas":0,"col":10,"row":32,"cr":11311715,"cl":11245416,"ct":11905430,"cb":13680541,"ck":5590324,"meta":{"title":"[Anexo: Bellas Artes - Pavilhão de Portugal]","community":"Museu Historico Nacional","rights":null,"date":"1908","contributor":"Malta, Augusto","type":null,"subject":["Exposição Nacional de 1908","Exposição Nacional do Rio de Janeiro","Exposição Nacional Comemorativa do 1º Centenário da Abertura dos Portos do Brasil","Augusto Malta","Augusto César Malta de Campos","Pavilhão de Portugal (Belas Artes)","Automóveis","Urca (RJ)"],"description":["p&b","12 x 28,5 cm","Um automóvel na frente do pavilhão."],"coverage":["Rio de Janeiro (RJ)","Brasil"],"source":"Coleção Miguel Calmon - MCab6.45 (45765)"}},"20.500.12156.1/11978":{"atlas":0,"col":11,"row":32,"cr":11311715,"cl":11245416,"ct":11905430,"cb":13680541,"ck":5590324,"meta":{"title":"[Militares formados em frente ao Pavilhão de Portugal]","community":"Museu Historico Nacional","rights":null,"date":"1908","contributor":"Malta, Augusto","type":null,"subject":["Exposição Nacional de 1908","Exposição Nacional do Rio de Janeiro","Exposição Nacional Comemorativa do 1º Centenário da Abertura dos Portos do Brasil","Augusto Malta","Augusto César Malta de Campos","Pavilhão de Portugal","Urca (RJ)"],"description":["p&b","14,4 x 21,3 cm"],"coverage":["Rio de Janeiro (RJ)","Brasil"],"source":"Coleção Miguel Calmon - MCab6.45 (45766)"}},"20.500.12156.1/11979":{"atlas":0,"col":12,"row":32,"cr":12232571,"cl":14536873,"ct":10127715,"cb":14339752,"ck":5721916,"meta":{"title":"Os cientistas de Manguinhos","community":"Fiocruz","rights":null,"date":"05/08/1904","contributor":null,"type":null,"subject":["Lima, Henrique da Rocha 1879-1956","Aragão, Henrique, 1879-1956","Dias, Ezequiel Caetano, 1880-1922"],"description":["Fotografia","P & B","18x 24cm"],"coverage":["Manguinhos(RJ)"],"source":"Coleção Família Oswaldo Cruz"}},"20.500.12156.1/11980":{"atlas":0,"col":13,"row":32,"cr":11375709,"cl":10257229,"ct":13944735,"cb":14010523,"ck":5852724,"meta":{"title":"Oswaldo Cruz e cientistas no Instituto Soroterápico Federal","community":"Fiocruz","rights":null,"date":"1904","contributor":null,"type":null,"subject":["Cruz, Oswaldo, 1872-1917","Chagas, Carlos, 1878-1934","Aragão, Henrique, 1879-1956","Dias, Ezequiel Caetano, 1880-1922","Lima, Henrique da Rocha 1879-1956"],"description":["Fotografia","P & B","22 x 18 cm"],"coverage":["Manguinhos(RJ)"],"source":"Coleção Família Oswaldo Cruz"}},"20.500.12156.1/11981":{"atlas":0,"col":14,"row":32,"cr":12100974,"cl":13218685,"ct":13479809,"cb":13681586,"ck":5918776,"meta":{"title":"[Passeio com cães na Exposição de 1908]","community":"Museu Historico Nacional","rights":null,"date":"1908","contributor":"Malta, Augusto","type":null,"subject":["Exposição Nacional de 1908","Exposição Nacional do Rio de Janeiro","Exposição Nacional Comemorativa do 1º Centenário da Abertura dos Portos do Brasil","Augusto Malta","Augusto César Malta de Campos","Cães","Urca (RJ)"],"description":["p&b","14,7 x 23,5 cm","Pessoas e cães."],"coverage":["Rio de Janeiro (RJ)","Brasil"],"source":"Coleção Miguel Calmon - MCab6.47 (45767)"}},"20.500.12156.1/11982":{"atlas":0,"col":15,"row":32,"cr":12100974,"cl":13218685,"ct":13479809,"cb":13681586,"ck":5918776,"meta":{"title":"[Passeio com cães na Exposição de 1908]","community":"Museu Historico Nacional","rights":null,"date":"1908","contributor":"Malta, Augusto","type":null,"subject":["Exposição Nacional de 1908","Exposição Nacional do Rio de Janeiro","Exposição Nacional Comemorativa do 1º Centenário da Abertura dos Portos do Brasil","Augusto Malta","Augusto César Malta de Campos","Cães","Automóveis","Urca (RJ)"],"description":["p&b","10,7 x 13,2 cm","Os cães estão com focinheira e com vestimenta, automóvel ao fundo."],"coverage":["Rio de Janeiro (RJ)","Brasil"],"source":"Coleção Miguel Calmon - MCab6.48 (45768)"}},"20.500.12156.1/11983":{"atlas":0,"col":16,"row":32,"cr":12100974,"cl":13218685,"ct":13479809,"cb":13681586,"ck":5918776,"meta":{"title":"[Visitantes]","community":"Museu Historico Nacional","rights":null,"date":"1908","contributor":"Malta, Augusto","type":null,"subject":["Exposição Nacional de 1908","Exposição Nacional do Rio de Janeiro","Exposição Nacional Comemorativa do 1º Centenário da Abertura dos Portos do Brasil","Augusto Malta","Augusto César Malta de Campos","Urca (RJ)"],"description":["p&b","11,8 x 18,6 cm","Consta anotação do Augusto Malta \"Inaug. da pecuária\" Afonso Pena entre vários homens."],"coverage":["Rio de Janeiro (RJ)","Brasil"],"source":"Coleção Miguel Calmon - 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Em baixo, é possível ver parte do rio e duas grandes pedras, onde há duas pessoas do grupo"],"coverage":["Brasil","Rio de Janeiro","Nova Iguaçu (RJ)"],"source":"Coleção Álbuns Iconográficos - ALico1_28"}},"20.500.12156.1/13855":{"atlas":0,"col":33,"row":61,"cr":3479816,"cl":7160861,"ct":3676940,"cb":4466200,"ck":2035462,"meta":{"title":"Capa do álbum \"Obras de Canalização provisória do Rio S. Pedro, 1889: ao engenheiro Oscar Trompowski Leitão de Almeida, gratidão e reconhecimento da Diretoria das Obras\"","community":"Museu Historico Nacional","rights":null,"date":"1889","contributor":"Marc Ferrez","type":null,"subject":["Marc Ferrez","Oscar Trompowski Leitão de Almeida","Oscar Tromposky","Abastecimento d'Água","Obra canalização do rio São Pedro"],"description":["Álbum com 28 fotografias","sépia"],"coverage":["Brasil","Rio de Janeiro"],"source":"Coleção Álbuns Iconográficos - ALico1"}},"20.500.12156.1/13856":{"atlas":0,"col":34,"row":61,"cr":3688514,"cl":4346188,"ct":3885380,"cb":3820357,"ck":3421742,"meta":{"title":"Captação do Rio Grande – Represa","community":"Museu Historico Nacional","rights":null,"date":null,"contributor":null,"type":null,"subject":["Abastecimento d'água","Represa","Obras rio Grande, RJ"],"description":["P&B","22,7 x 28,5  cm"],"coverage":["Brasil","Rio de Janeiro"],"source":"Coleção Miguel Calmon, MCab4_11"}},"20.500.12156.1/13857":{"atlas":0,"col":35,"row":61,"cr":3951687,"cl":3886409,"ct":4148294,"cb":3952203,"ck":3552812,"meta":{"title":"Captação do Rio Grande – Canal de concreto","community":"Museu Historico Nacional","rights":null,"date":"[1907 a 1909]","contributor":null,"type":null,"subject":["Abastecimento d'água","Obras captação rio Grande"],"description":["P&B","21,5 x 27,4  cm"],"coverage":["Brasil","Rio de Janeiro"],"source":"Coleção Miguel Calmon, MCab4_14"}},"20.500.12156.1/13858":{"atlas":0,"col":36,"row":61,"cr":3951429,"cl":4214602,"ct":4213316,"cb":4411724,"ck":3289642,"meta":{"title":"Captação do Xerém  – Ponte em cimento armado no canal de Registro","community":"Museu Historico Nacional","rights":null,"date":"[1907 a 1909]","contributor":null,"type":null,"subject":["Abastecimento d'água","Ponte","Obras captação rio São Pedro"],"description":["P&B","22,4 x 28,7  cm"],"coverage":["Brasil","Rio de Janeiro","Duque de Caxias, RJ","Baixada Fluminense, RJ"],"source":"Coleção Miguel Calmon, MCab4_18"}},"20.500.12156.1/13859":{"atlas":0,"col":37,"row":61,"cr":8873264,"cl":7360037,"ct":12690279,"cb":11834703,"ck":4798235,"meta":{"title":"Trecho do aqueduto entre as cachoeiras da Pedra Lisa e Nery","community":"Museu Historico Nacional","rights":null,"date":"[1889]","contributor":"Marc Ferrez","type":null,"subject":["Marc Ferrez","Abastecimento d'água","Obras canalização rio São Pedro","Rio São Pedro, Nova Iguaçu (RJ)"],"description":["sépia","39 x 29 cm","Trecho do aqueduto entre as cachoeiras da Pedra Lisa e Nery. A estrutura está rodeada por vegetação e árvores"],"coverage":["Rio de Janeiro","Brasil"],"source":"Coleção Álbuns Avulsos"}},"20.500.12156.1/13860":{"atlas":0,"col":38,"row":61,"cr":12229972,"cl":12689496,"ct":10978889,"cb":9202233,"ck":4666907,"meta":{"title":"Aqueduto Honório","community":"Museu Historico Nacional","rights":null,"date":"[1889]","contributor":"Marc Ferrez","type":null,"subject":["Marc Ferrez","Abastecimento d'água","Obras canalização rio São Pedro","Rio São Pedro, Nova Iguaçu (RJ)"],"description":["sépia","29 x 39,2 cm","Na lateral direita da imagem, vemos a estrutura em madeira do aqueduto em curva, com um homem na margem esquerda, próximo ao aqueduto. A estrutura está próxima a um plano íngreme pela sua margem direita e rodeada por vegetação e árvores"],"coverage":["Brasil","Rio de Janeiro","Nova Iguaçu (RJ)"],"source":"Coleção Álbuns Avulsos"}},"20.500.12156.1/13861":{"atlas":0,"col":39,"row":61,"cr":12229972,"cl":12689496,"ct":10978889,"cb":9202233,"ck":4666907,"meta":{"title":"Aqueduto Honório","community":"Museu Historico Nacional","rights":null,"date":"[1889]","contributor":"Marc Ferrez","type":null,"subject":["Marc Ferrez","Abastecimento d'água","Obras canalização rio São Pedro","Rio São Pedro, Nova Iguaçu (RJ)"],"description":["sépia","29 x 39,2 cm","Em primeiro plano, vemos a estrutura em madeira do aqueduto em curva. Na margem direita, há um homem sentado próximo ao aqueduto. Nas duas margens, há vegetação e árvores"],"coverage":["Brasil","Rio de Janeiro","Nova Iguaçu (RJ)"],"source":"Coleção Álbuns Avulsos"}},"20.500.12156.1/13862":{"atlas":0,"col":40,"row":61,"cr":13011022,"cl":12878922,"ct":12163412,"cb":12557136,"ck":4732442,"meta":{"title":"Acampamento Pedro II","community":"Museu Historico Nacional","rights":null,"date":"[1889]","contributor":"Marc Ferrez","type":null,"subject":["Marc Ferrez","Obras canalização rio São Pedro","Acampamento","Abastecimento d'água"],"description":["sépia","26,4 x 20,5 cm","Em primeiro plano, vemos um terreno plano, onde montaram as barracas de tecido do acampamento. Ao fundo, há vegetação e árvores. Há pessoas entre as barracas."],"coverage":["Brasil","Rio de Janeiro","Nova Iguaçu (RJ)"],"source":"Coleção Álbuns Avulsos"}},"20.500.12156.1/13863":{"atlas":0,"col":41,"row":61,"cr":12426585,"cl":12820571,"ct":12491858,"cb":12163414,"ck":4601116,"meta":{"title":"Aqueduto da grota de Joaquim Adam","community":"Museu Historico Nacional","rights":null,"date":"[1889]","contributor":"Marc Ferrez","type":null,"subject":["Marc Ferrez","Obras canalização rio São Pedro","Abastecimento d'água"],"description":["sépia","26,4 x 20,5 cm","Na parte central, vemos a estrutura em madeira do aqueduto, com uma ponte pelo seu lado direito. Nas duas margens, há vegetação, árvores e pedras."],"coverage":["Brasil","Rio de Janeiro","Nova Iguaçu (RJ)"],"source":"Coleção Álbuns Avulsos"}},"20.500.12156.1/13864":{"atlas":0,"col":42,"row":61,"cr":11901005,"cl":12228429,"ct":8018217,"cb":7294503,"ck":4206615,"meta":{"title":"Aqueduto do Soldado","community":"Museu Historico Nacional","rights":null,"date":"[1889]","contributor":"Marc Ferrez","type":null,"subject":["Marc Ferrez","Abastecimento d'água","Obras canalização rio São Pedro"],"description":["sépia","28,9 x 39,1 cm","Em primeiro plano, vemos a estrutura em madeira do aqueduto em curva. Há duas pessoas na margem esquerda, ao lado da estrutura. Nas duas margens e ao fundo, há vegetação e árvores"],"coverage":["Brasil","Rio de Janeiro","Nova Iguaçu (RJ)"],"source":"Coleção Álbuns Avulsos"}},"20.500.12156.1/13865":{"atlas":0,"col":43,"row":61,"cr":8150060,"cl":9926466,"ct":12888426,"cb":12164954,"ck":4469530,"meta":{"title":"Aqueduto do Soldado","community":"Museu Historico Nacional","rights":null,"date":"[1889]","contributor":"Marc Ferrez","type":null,"subject":["Marc Ferrez","Obras canalização rio São Pedro","Abastecimento d'água"],"description":["sépia","39,1 x 28,9 cm","Em primeiro plano, vemos a estrutura em madeira do aqueduto em curva. Ao fundo, há uma ponte ao lado do aqueduto. Nas duas margens e ao fundo, há vegetação e árvores"],"coverage":["Brasil","Rio de Janeiro","Nova Iguaçu (RJ)"],"source":"Coleção Álbuns Avulsos"}},"20.500.12156.1/13866":{"atlas":0,"col":44,"row":61,"cr":11241029,"cl":11898441,"ct":11503943,"cb":11768913,"ck":4864028,"meta":{"title":"[Aqueduto da grota seca do Soldado]","community":"Museu Historico Nacional","rights":null,"date":"[1889]","contributor":"Marc Ferrez","type":null,"subject":["Marc Ferrez","Abastecimento d'água","Obras canalização rio São Pedro"],"description":["sépia","26,3 x 20,4 cm","Aqueduto feito em madeira passando por entre pedras, vegetação e árvores. Há duas pessoas na margem direita, sobre uma pedra grande"],"coverage":["Brasil","Rio de Janeiro","Nova Iguaçu (RJ)"],"source":"Coleção Álbuns Avulsos"}},"20.500.12156.1/13867":{"atlas":0,"col":45,"row":61,"cr":11766853,"cl":11636045,"ct":11175496,"cb":12620889,"ck":5324577,"meta":{"title":"[Aqueduto da grota seca do Soldado]","community":"Museu Historico Nacional","rights":null,"date":"[1889]","contributor":"Marc Ferrez","type":null,"subject":["Marc Ferrez","Abastecimento d'água","Obras canalização rio São Pedro"],"description":["sépia","26,3 x 20,4 cm","isão da lateral esquerda do aqueduto, feito em madeira e preso, provavelmente, em uma ribanceira, que está parcialmente coberta por vegetação e algumas árvores"],"coverage":["Brasil","Rio de Janeiro","Nova Iguaçu (RJ)"],"source":"Coleção Álbuns Avulsos"}},"20.500.12156.1/13868":{"atlas":0,"col":46,"row":61,"cr":12033374,"cl":12558174,"ct":10716231,"cb":10321477,"ck":4798492,"meta":{"title":"Aqueduto da Limeira","community":"Museu Historico Nacional","rights":null,"date":"[1889]","contributor":"Marc Ferrez","type":null,"subject":["Marc Ferrez","Abastecimento d'água","Obras canalização rio São Pedro"],"description":["sépia","39,4 x 28,9 cm","Em primeiro plano, vemos a lateral do aqueduto, feito em madeira, com seis trabalhadores por perto. Na margem esquerda, há predominantemente pedras. Na margem direita e ao fundo, há vegetação, árvores e pedras"],"coverage":["Brasil","Rio de Janeiro","Nova Iguaçu (RJ)"],"source":"Coleção Álbuns Avulsos"}},"20.500.12156.1/13869":{"atlas":0,"col":47,"row":61,"cr":11967065,"cl":12492121,"ct":9071154,"cb":9268539,"ck":4929821,"meta":{"title":"Represa do Rio de São Pedro da Limeira","community":"Museu Historico Nacional","rights":null,"date":"[1889]","contributor":"Marc Ferrez","type":null,"subject":["Marc Ferrez","Abastecimento d'água","Obras canalização rio São Pedro"],"description":["sépia","39,3 x 29 cm","Em primeiro plano, aqueduto passando por entre vegetação e árvores. Na margem esquerda, há uma pessoa. Ao fundo, vemos uma ponte"],"coverage":["Brasil","Rio de Janeiro","Nova Iguaçu (RJ)"],"source":"Coleção Álbuns Avulsos"}},"20.500.12156.1/13870":{"atlas":0,"col":48,"row":61,"cr":9333813,"cl":8675891,"ct":12228691,"cb":11505994,"ck":4995614,"meta":{"title":"Acampamento militar","community":"Museu Historico Nacional","rights":null,"date":"[1889]","contributor":"Marc Ferrez","type":null,"subject":["Marc Ferrez","Acampamento","Abastecimento d'água","Obras canalização rio São Pedro"],"description":["sépia","39 x 29 cm","Terreno plano cercado por árvores em que foram montadas barracas, tanto de tecido como de palha. Há pessoas entre as barracas"],"coverage":["Brasil","Rio de Janeiro","Nova Iguaçu (RJ)"],"source":"Coleção Álbuns Avulsos"}},"20.500.12156.1/13871":{"atlas":0,"col":49,"row":61,"cr":7492134,"cl":8214829,"ct":12557655,"cb":11374923,"ck":4140310,"meta":{"title":"Aqueduto dos Rochedos K. 7","community":"Museu Historico Nacional","rights":null,"date":"[1889]","contributor":"Marc Ferrez","type":null,"subject":["Marc Ferrez","Abastecimento d'água","Obras canalização rio São Pedro"],"description":["sépia","39 x 28,9 cm","Em primeiro plano, vemos o aqueduto em madeira com uma pessoa em seu interior. A estrutura está presa em um plano íngreme. Nas duas margens, há pedras, vegetação e árvores"],"coverage":["Brasil","Rio de Janeiro","Nova Iguaçu (RJ)"],"source":"Coleção Álbuns Avulsos"}},"20.500.12156.1/13872":{"atlas":0,"col":50,"row":61,"cr":12295257,"cl":11241544,"ct":11570764,"cb":12294223,"ck":5193504,"meta":{"title":"Aqueduto do Arsenal K. 4","community":"Museu Historico Nacional","rights":null,"date":"[1889]","contributor":"Marc Ferrez","type":null,"subject":["Marc Ferrez","Abastecimento d'água","Obras canalização rio São Pedro"],"description":["sépia","26,2 x 20,4 cm","Aqueduto de madeira passando por entre rochas, com árvores ao fundo"],"coverage":["Brasil","Rio de Janeiro","Nova Iguaçu (RJ)"],"source":"Coleção Álbuns Avulsos"}},"20.500.12156.1/13873":{"atlas":0,"col":51,"row":61,"cr":10123837,"cl":12557918,"ct":11503939,"cb":11900246,"ck":4798750,"meta":{"title":"Aqueduto do Arsenal K. 4","community":"Museu Historico Nacional","rights":null,"date":"[1889]","contributor":"Marc Ferrez","type":null,"subject":["Marc Ferrez","Abastecimento d'água","Obras canalização rio São Pedro"],"description":["sépia","20,5 x 26,6 cm","Aqueduto de madeira passando por entre árvores e sobre uma cascata. Há uma pessoa sentada na parte direita da estrutura do aqueduto"],"coverage":["Brasil","Rio de Janeiro","Nova Iguaçu (RJ)"],"source":"Coleção Álbuns Iconográficos"}},"20.500.12156.1/13874":{"atlas":0,"col":52,"row":61,"cr":11374672,"cl":12359252,"ct":11767885,"cb":11570246,"ck":4732701,"meta":{"title":"Aqueduto da Pedreira K. 4","community":"Museu Historico Nacional","rights":null,"date":"[1889]","contributor":"Marc Ferrez","type":null,"subject":["Marc Ferrez","Abastecimento d'água","Obras canalização rio São Pedro"],"description":["sépia","20,5 x 26,6 cm","Em primeiro plano, vemos o aqueduto em madeira, com pedras, vegetação e árvores nas duas margens. Há uma pessoa e dois cavalos na margem esquerda"],"coverage":["Brasil","Rio de Janeiro","Nova Iguaçu (RJ)"],"source":"Coleção Álbuns Iconográficos"}},"20.500.12156.1/13875":{"atlas":0,"col":53,"row":61,"cr":12491345,"cl":12229465,"ct":12754780,"cb":12688219,"ck":5258787,"meta":{"title":"Cachoeira de São Antônio e São Pedro","community":"Museu Historico Nacional","rights":null,"date":"[1889]","contributor":"Marc Ferrez","type":null,"subject":["Marc Ferrez","Cachoeiras de Santo Antônio e São Pedro (RJ)","Abastecimento d'água","Rio  São Pedro, Nova Iguaçu (RJ)"],"description":["sépia","20,5 x 26,5 cm","Cachoeira de Santo Antônio e São Pedro. Há vegetação e árvores no entorno da cachoeira e pessoas na margem direita, tanto em uma ponte improvisada com madeira como no início da queda, na parte superior da imagem.","Canalização do Rio São Pedro (RJ)"],"coverage":["Rio de Janeiro (RJ), Brasil"],"source":"Coleção Álbuns Iconográficos - ALico 1.1"}},"20.500.12156.1/13876":{"atlas":0,"col":54,"row":61,"cr":11966036,"cl":12359761,"ct":11833163,"cb":10979143,"ck":4732445,"meta":{"title":"Queda do São Pedro na grota da Limeira – 550m acima do nível do mar","community":"Museu Historico Nacional","rights":null,"date":"[1889]","contributor":"Marc Ferrez","type":null,"subject":["Marc Ferrez","Rio  São Pedro, Nova Iguaçu (RJ)","Abastecimento d'água","Cachoeira do rio São Pedro (RJ)"],"description":["sépia","20,5 x 26,5 cm","Queda do São Pedro na grota da Limeira, que desemboca em um lago. Há vegetação e árvores no entorno da queda"],"coverage":["Rio de Janeiro (RJ), Brasil"],"source":"Coleção Álbuns Iconográficos - ALico 1.2"}},"20.500.12156.1/13877":{"atlas":0,"col":55,"row":61,"cr":10650182,"cl":12752987,"ct":11767884,"cb":11768402,"ck":5522470,"meta":{"title":"Pedaço da Vala – K. 5","community":"Museu Historico Nacional","rights":null,"date":"[1889]","contributor":"Marc Ferrez","type":null,"subject":["Marc Ferrez","Abastecimento d'água","Obras canalização rio São Pedro"],"description":["sépia","26,3 x 19,5 cm","Em primeiro plano, vemos uma parte da vala e uma pessoa observando-a na margem direita. Na margem esquerda, há uma rocha. Na margem direita, há também uma pedra e uma parte plana. Ao fundo, vemos árvores"],"coverage":["Brasil","Rio de Janeiro","Nova Iguaçu (RJ)"],"source":"Coleção Álbuns Iconográficos - ALico1_19"}},"20.500.12156.1/13878":{"atlas":0,"col":56,"row":61,"cr":4671302,"cl":6446937,"ct":4605252,"cb":4605510,"ck":3223339,"meta":{"title":"Captação do Xerém –  represa de João Pinto","community":"Museu Historico Nacional","rights":null,"date":"[1907 a 1909]","contributor":null,"type":null,"subject":["Abastecimento d'água","Obras canalização do rio Xerém","Rio Xerém, Duque de Caxias, RJ"],"description":["P&B","22,6 x 28,6 cm"],"coverage":["Brasil","Rio de Janeiro","Duque de Caxias, RJ"],"source":"Coleção Miguel Calmon, MCab4_1"}},"20.500.12156.1/13879":{"atlas":0,"col":57,"row":61,"cr":4282452,"cl":4348503,"ct":4479315,"cb":4546393,"ck":3422771,"meta":{"title":"Captação do Xerém – Lançamento do rio Cova no vale do Paraíso","community":"Museu Historico Nacional","rights":null,"date":"[1907 a 1909]","contributor":null,"type":null,"subject":["Abastecimento d'água","Rio Cova, Duque de Caxias, RJ","Obras de captação do rio Xerém"],"description":["P&B","21,5 x 27,5  cm"],"coverage":["Brasil","Rio de Janeiro","Duque de Caxias, RJ"],"source":"Coleção Miguel Calmon, MCab4_4"}},"20.500.12156.1/13880":{"atlas":0,"col":58,"row":61,"cr":3884353,"cl":4213832,"ct":4081733,"cb":4345933,"ck":3617834,"meta":{"title":"Captação do Xerém – Represa do Paraíso","community":"Museu Historico Nacional","rights":null,"date":"[1907 a 1909]","contributor":null,"type":null,"subject":["Abastecimento d'água","Obras canalização do rio Xerém","Represa Paraíso"],"description":["P&B","22,4 x 28,6  cm"],"coverage":["Brasil","Rio de Janeiro","Duque de Caxias, RJ","Baixada Fluminense, RJ"],"source":"Coleção Miguel Calmon, MCab4_5"}},"20.500.12156.1/13881":{"atlas":0,"col":59,"row":61,"cr":3885893,"cl":4083272,"ct":4279620,"cb":4215883,"ck":3947054,"meta":{"title":"Captação do Xerém – Represa do Cova","community":"Museu Historico Nacional","rights":null,"date":"[1907 a 1909]","contributor":null,"type":null,"subject":["Abastecimento d'água","Represa do Cova","Obras de captação do rio Xerém"],"description":["P&B","22,5 x 28,6  cm"],"coverage":["Brasil","Rio de Janeiro","Duque de Caxias, RJ","Baixada Fluminense, RJ"],"source":"Coleção Miguel Calmon, MCab4_6"}},"20.500.12156.1/13882":{"atlas":0,"col":60,"row":61,"cr":3688259,"cl":4214347,"ct":4015939,"cb":4017740,"ck":3684142,"meta":{"title":"Captação do Mantequira – Represa do Meio","community":"Museu Historico Nacional","rights":null,"date":"[1907 a 1909]","contributor":null,"type":null,"subject":["Abastecimento d'água","Rio Mantequira, Duque de Caxias, RJ","Represa do Meio"],"description":["P&B","22,4 x 28,7  cm"],"coverage":["Brasil","Rio de Janeiro","Duque de Caxias, RJ","Baixada Fluminense, RJ"],"source":"Coleção Miguel Calmon, MCab4_7"}},"20.500.12156.1/13883":{"atlas":0,"col":61,"row":61,"cr":4016709,"cl":4083016,"ct":4081988,"cb":4740433,"ck":3553329,"meta":{"title":"Captação do Mantequira – Represa da Ribeira","community":"Museu Historico Nacional","rights":null,"date":"[1907 a 1909]","contributor":null,"type":null,"subject":["Abastecimento d'água","Rio Mantequira, Duque de Caxias, RJ","Represa da Ribeira"],"description":["P&B","22,6 x 28,7  cm"],"coverage":["Brasil","Rio de Janeiro","Duque de Caxias, RJ","Baixada Fluminense, RJ"],"source":"Coleção Miguel Calmon, MCab4_8"}},"20.500.12156.1/13884":{"atlas":0,"col":62,"row":61,"cr":4676436,"cl":3885637,"ct":3754050,"cb":4740687,"ck":2830122,"meta":{"title":"Cascata do Camorim","community":"Museu Historico Nacional","rights":null,"date":"[1907 a 1909]","contributor":null,"type":null,"subject":["Abastecimento d'água","Rio Camorim, Maciço da Pedra Branca, RJ","Cachoeira"],"description":["P&B","27,4 x 20,5  cm"],"coverage":["Brasil","Rio de Janeiro"],"source":"Coleção Miguel Calmon, 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Em segundo plano, casario.","Negativo de vidro","MPEG 022"],"coverage":["Belém, PA"],"source":"Coleção Fotográfica do Museu Paraense Emílio Goeldi"}},"20.500.12156.1/14242":{"atlas":1,"col":32,"row":3,"cr":4869454,"cl":9804447,"ct":11383221,"cb":2566698,"ck":3026993,"meta":{"title":"Parque Zoobotânico","community":"Museu Paraense Emilio Goeldi","rights":null,"date":"[s.d.]","contributor":"[s.n.]","type":null,"subject":["Parque Zoobotânico","Edificações","Casario","Laboratório","Vegetação"],"description":["Vista parcial do Parque Zoobotânico do Museu Goeldi, com destaque para a vegetação. Em segundo plano, o antigo laboratório, atual Pavilhão Emília Snethlage.","Negativo de vidro","MPEG 030"],"coverage":["Belém, PA"],"source":"Coleção Fotográfica do Museu Paraense Emílio Goeldi"}},"20.500.12156.1/14243":{"atlas":1,"col":33,"row":3,"cr":8224889,"cl":6844268,"ct":7172973,"cb":6778216,"ck":3488054,"meta":{"title":"Palmeira Mumbaca, Jupatituba, Belém (PA)","community":"Museu Paraense Emilio Goeldi","rights":null,"date":"Antes de 1900","contributor":"Huber, Jacques (1867-1914)","type":null,"subject":["Jupatituba","Palmeiras","Terra Firme"],"description":["Vista parcial da Mata de Jupatituba, atual bairro da Terra Firme, em Belém, Pará, com destaque para a palmeira Mumbaca (Astrocaryum gynacanthum)."],"coverage":["Belém, PA"],"source":"Estampa 2 do \"Arboretum Amazonicum\" (1900), Coleção Fotográfica do Museu Paraense Emílio Goeldi."}},"20.500.12156.1/14244":{"atlas":1,"col":34,"row":3,"cr":11639694,"cl":13548462,"ct":12298397,"cb":6968397,"ck":5589829,"meta":{"title":"Seringueiras Perto de Belém, Pará","community":"Museu Paraense Emilio Goeldi","rights":null,"date":"[s.d.]","contributor":"Jacques Huber","type":null,"subject":["Vegetação","Árvores"],"description":["Grupo de Seringueiras (Hevea brasiliensis) perto de Belém.","Estampa 04","Arboretum Amazonicum"],"coverage":["Belém, PA"],"source":"Coleção Fotográfica do Museu Paraense Emílio Goeldi"}},"20.500.12156.1/14245":{"atlas":1,"col":35,"row":3,"cr":8881279,"cl":6513248,"ct":11051675,"cb":5857117,"ck":2631977,"meta":{"title":"Árvore de uxi, Museu Goeldi, Belém (PA)","community":"Museu Paraense Emilio Goeldi","rights":null,"date":"Ca. 1898","contributor":"Huber, Jacques (1867-1914)","type":null,"subject":["Parque Zoobotânico","Horto Botânico","Árvores","Vegetação"],"description":["Árvore de uxi (Saccoglottis uchi) no antigo Horto Botânico do Museu Goeldi, atual Parque Zoobotânico, em Belém (PA)."],"coverage":["Belém, PA"],"source":"Estampa 6 do \"Arboretum Amazonicum\" (1900), Coleção Fotográfica do Museu Paraense Emílio Goeldi."}},"20.500.12156.1/14246":{"atlas":1,"col":36,"row":3,"cr":14011329,"cl":12828085,"ct":16049881,"cb":10723483,"ck":4934473,"meta":{"title":"Urucum no Parque Zoobotânico do Museu Goeldi","community":"Museu Paraense Emilio Goeldi","rights":null,"date":"Antes de 1900","contributor":"Huber, Jacques (1867-1914)","type":null,"subject":["Vegetação","Árvores","Parque Zoobotânico"],"description":["Exemplar de urucum (Bixa orellana L.) no antigo horto botânico do Museu Goeldi, atual Parque Zoobotânico. O homem que aparece bem junto ao arbusto, envolto na folhagem, não foi identificado."],"coverage":["Belém, PA"],"source":"Estampa 9 do \"Arboretum Amazonicum\" (1900), Coleção Fotográfica do Museu Paraense Emílio Goeldi."}},"20.500.12156.1/14247":{"atlas":1,"col":37,"row":3,"cr":13547949,"cl":10061693,"ct":15522507,"cb":7362898,"ck":5392708,"meta":{"title":"Árvore de Cumarú na Estrada da Constituição, Belém (PA)","community":"Museu Paraense Emilio Goeldi","rights":null,"date":"Junho de 1896","contributor":"Huber, Jacques (1867-1914)","type":null,"subject":["Vegetação","Árvores","Casario","Pessoas"],"description":["Árvore de Cumarú (Dipteryx odorata) na Estrada da Constituição (atual Avenida Gentil Bittencourt), em Belém (PA)."],"coverage":["Belém, PA"],"source":"Estampa 13 do \"Arboretum Amazonicum\" (1900), Coleção Fotográfica do Museu Paraense Emílio Goeldi."}},"20.500.12156.1/14248":{"atlas":1,"col":38,"row":3,"cr":9800319,"cl":12233626,"ct":15651259,"cb":8946812,"ck":4604477,"meta":{"title":"Árvore Angelim na Tv. Vinte e Dois de Junho, Belém (PA)","community":"Museu Paraense Emilio Goeldi","rights":null,"date":"Abril de 1896","contributor":"Huber, Jacques (1867-1914)","type":null,"subject":["Vegetação","Árvores","Ruas","Carroças","Belém do Pará"],"description":["Vista parcial da Travessa Vinte e Dois de Junho (atual Avenida Alcindo Cacela), com destaque para a árvore uchi-rana ou angelim (Andira retusa)."],"coverage":["Belém, PA"],"source":"Estampa 14 do \"Arboretum Amazonicum\" (1900), Coleção Fotográfica do Museu Paraense Emílio Goeldi."}},"20.500.12156.1/14249":{"atlas":1,"col":39,"row":3,"cr":11907504,"cl":12236212,"ct":12171703,"cb":3621184,"ck":5000781,"meta":{"title":"Árvore de Bacaba","community":"Museu Paraense Emilio Goeldi","rights":null,"date":"[s.d.]","contributor":"Huber, Jacques","type":null,"subject":["Árvores","Palmeiras","Vegetação","Belém do Pará"],"description":["Árvore de Bacaba (Oenocarpus distichus Mart)","Arboretum Amazonicum","Estampa 31"],"coverage":["Belém, PA"],"source":"Coleção Fotográfica do Museu Paraense Emílio Goeldi"}},"20.500.12156.1/14250":{"atlas":1,"col":40,"row":3,"cr":5790811,"cl":10658465,"ct":9738391,"cb":3226169,"ck":2961713,"meta":{"title":"Árvore de Piquiá (Pequiá)","community":"Museu Paraense Emilio Goeldi","rights":null,"date":"[s.d.]","contributor":"Huber, Jacques","type":null,"subject":["Árvores","Vegetação","Belém do Pará"],"description":["Árvore de Piquiá (Pequiá), próxima ao Cemitério de Santa Izabel.","Caryocar villosum (Aubl.) Pers.","Arboretum Amazonicum","Estampa 35"],"coverage":["Belém, PA"],"source":"Coleção Fotográfica do Museu Paraense Emílio Goeldi"}},"20.500.12156.1/14251":{"atlas":1,"col":41,"row":3,"cr":12434876,"cl":13159114,"ct":15527404,"cb":5922397,"ck":5066318,"meta":{"title":"Visgueiro no Largo de São Brás, Belém (PA)","community":"Museu Paraense Emilio Goeldi","rights":null,"date":"18/09/1895","contributor":"Huber, Jacques (1867-1914)","type":null,"subject":["Árvores","Vegetação","Casario","Edificações"],"description":["Visgueiro (Parkia pendula) no Largo de São Brás, em Belém (PA). Em segundo plano, unidades habitacionais."],"coverage":["Belém, PA"],"source":"Estampa 36 do \"Arboretum Amazonicum\" (1906), Coleção Fotográfica do Museu Paraense Emílio Goeldi."}},"20.500.12156.1/14252":{"atlas":1,"col":42,"row":3,"cr":5462104,"cl":4672589,"ct":2961970,"cb":6317413,"ck":3290165,"meta":{"title":"Estrada da Independência, Belém do Pará","community":"Museu Paraense Emilio Goeldi","rights":null,"date":"Ca. 1901","contributor":"Lohse, Ernst (1873-1930)","type":null,"subject":["Ruas","Trem","Trilho","Edificações","Casario","Árvores","Vegetação","Pessoas","Eletrificação"],"description":["Vista parcial da Estrada da Independência, atual Avenida Magalhães Barata, em Belém (PA), com destaque para o bonde de passageiros puxado por locomotiva. Em segundo plano, unidades habitacionais."],"coverage":["Belém, PA"],"source":"Negativo de vidro MPEG646, Coleção Fotográfica do Museu Paraense Emílio Goeldi."}},"20.500.12156.1/14253":{"atlas":1,"col":43,"row":3,"cr":7764864,"cl":8291465,"ct":15068153,"cb":4541260,"ck":4474441,"meta":{"title":"Mata do Utinga, Belém do Pará","community":"Museu Paraense Emilio Goeldi","rights":null,"date":"1900","contributor":"Hagmann, Gottfried (1874-1946)","type":null,"subject":["Vegetação","Árvores","Casario","Edificações","Pessoas"],"description":["Vista parcial da Mata do Utinga, com destaque para a casa das máquinas a vapor da usina de bombeamento de água de Belém, alguns trabalhadores e um funcionário do museu, possivelmente Andreas Goeldi."],"coverage":["Belém, PA"],"source":"Negativo de vidro MPEG648, Coleção Fotográfica do Museu Paraense Emílio Goeldi."}},"20.500.12156.1/14254":{"atlas":1,"col":44,"row":3,"cr":6514792,"cl":4277574,"ct":12107202,"cb":7041135,"ck":2303269,"meta":{"title":"Rua Boaventura da Silva, Belém do Pará","community":"Museu Paraense Emilio Goeldi","rights":null,"date":"[s.d.]","contributor":"[s.n.]","type":null,"subject":["Ruas","Edificações","Casario","Vegetação","Árvores","Pessoas"],"description":["Rua Boaventura da Silva, Belém do Pará","Negativo de vidro","MPEG 659"],"coverage":["Belém, PA"],"source":"Coleção Fotográfica do Museu Paraense Emílio Goeldi"}},"20.500.12156.1/14255":{"atlas":1,"col":45,"row":3,"cr":7567483,"cl":5527899,"ct":14805236,"cb":6909806,"ck":3026993,"meta":{"title":"Estrada Boaventura da Silva, Belém (PA)","community":"Museu Paraense Emilio Goeldi","rights":null,"date":"17/09/1902","contributor":"Huber, Jacques (1867-1914)","type":null,"subject":["Ruas","Edificações","Quintal","Vegetação","Árvores","Pessoas"],"description":["Vista de uma árvore florida em um quintal localizado na Estrada Boaventura da Silva (atual Rua Boaventura da Silva), em Belém (PA)."],"coverage":["Belém, PA"],"source":"Negativo de vidro MPEG660, Coleção Fotográfica do Museu Paraense Emílio Goeldi."}},"20.500.12156.1/14256":{"atlas":1,"col":46,"row":3,"cr":12173253,"cl":7633532,"ct":6449256,"cb":3817279,"ck":3816509,"meta":{"title":"Árvore na beira da Estrada de Ferro, Belém (PA)","community":"Museu Paraense Emilio Goeldi","rights":null,"date":"[s.d.]","contributor":"Huber, Jacques (1867-1914)","type":null,"subject":["Trilho","Árvores","Vegetação","Casario","Belém do Pará"],"description":["Árvore na beira da Estrada de Ferro Belém-Bragança, junto a unidades habitacionais, em Belém (PA)."],"coverage":["Belém, PA"],"source":"Negativo de vidro MPEG724, Coleção Fotográfica do Museu Paraense Emílio Goeldi."}},"20.500.12156.1/14257":{"atlas":1,"col":47,"row":3,"cr":11910079,"cl":6120034,"ct":11712703,"cb":7041135,"ck":4869454,"meta":{"title":"Praia na Ilha do Mosqueiro, Belém (PA)","community":"Museu Paraense Emilio Goeldi","rights":null,"date":"04/08/1901","contributor":"Lohse, Ernst (1873-1930)","type":null,"subject":["Ilha","Praia","Vegetação","Árvores","Pessoas","Rocha","Belém do Pará","Emílio Goeldi","Museu Paraense Emílio Goeldi"],"description":["Vista parcial de uma das praias da Ilha do Mosqueiro, distrito de Belém (PA). Emílio Goeldi (1859-1917), diretor do Museu Paraense Emílio Goeldi, aparece acompanhado de seu filho Walther Eugen Goeldi (1890-1960) e de um homem não identificado."],"coverage":["Belém, PA"],"source":"Negativo de vidro MPEG733, Coleção Fotográfica do Museu Paraense Emílio Goeldi."}},"20.500.12156.1/14258":{"atlas":1,"col":48,"row":3,"cr":5922659,"cl":3290680,"ct":13291994,"cb":3422266,"ck":3882304,"meta":{"title":"Ilha das Onças, Barcarena (PA)","community":"Museu Paraense Emilio Goeldi","rights":null,"date":"1901","contributor":"Hagmann, Gottfried (1874-1946)","type":null,"subject":["Ilha","Rio","Vegetação","Árvores"],"description":["Vista parcial da Ilha das Onças, no município de Barcarena (PA), com destaque para o rio e densa vegetação."],"coverage":["Barcarena, PA"],"source":"Negativo de vidro MPEG767, Coleção Fotográfica do Museu Paraense Emílio Goeldi."}},"20.500.12156.1/14259":{"atlas":1,"col":49,"row":3,"cr":7501945,"cl":7436153,"ct":7238516,"cb":5264984,"ck":3026993,"meta":{"title":"Bacurizeiro no Marco da Légua, Belém (PA)","community":"Museu Paraense Emilio Goeldi","rights":null,"date":"[s.d.]","contributor":"Huber, Jacques (1867-1914)","type":null,"subject":["Árvores","Vegetação","Edificações","Casario"],"description":["Vista parcial do bairro Marco da Légua, com destaque para um bacurizeiro (Platonia insignis). Em segundo plano, as torres e os prédios anexos da Escola de Agronomia do Pará."],"coverage":["Belém, PA"],"source":"Negativo de vidro MPEG829, Coleção Fotográfica do Museu Paraense Emílio Goeldi."}},"20.500.12156.1/14260":{"atlas":1,"col":50,"row":3,"cr":5330262,"cl":2632748,"ct":2566443,"cb":5527641,"ck":1645339,"meta":{"title":"Cerca de madeira com formigueiros e tajás, Museu Goeldi (PA)","community":"Museu Paraense Emilio Goeldi","rights":null,"date":"[s.d.]","contributor":"Huber, Jacques (1867-1914)","type":null,"subject":["Parque Zoobotânico","Museu Paraense Emílio Goeldi","Vegetação","Plantas"],"description":["Cercado de madeira com formigueiros, plantas e gaiola, no atual Parque Zoobotânico do Museu Goeldi."],"coverage":["Belém, PA"],"source":"Negativo de vidro MPEG1348, Coleção Fotográfica do Museu Paraense Emílio Goeldi."}},"20.500.12156.1/14261":{"atlas":1,"col":51,"row":3,"cr":8618883,"cl":9474192,"ct":4079166,"cb":4802889,"ck":4934475,"meta":{"title":"Feira do Ver-o-Peso","community":"Museu Paraense Emilio Goeldi","rights":null,"date":"Antes de 1910","contributor":"Huber, Jacques (1867-1914)","type":null,"subject":["Feira","Mercado","Porto","Ver-o-Peso","Belém","Amazônia"],"description":["Em primeiro plano, à esquerda, vários carros de mão estão posicionados lado a lado, junto a carregadores. À direita, trabalhadores preparam caixas de madeira para serem embarcadas em um navio. Muitas pessoas aparecem ao fundo, assim como um galpão do porto, um pequeno quiosque, mastros, postes de ferro, um cavalo e uma pilha de paneiros. Coleção privada, original em papel. Cópia digital disponível no Fundo Jacques Huber, Arquivo Guilherme de La Penha, Museu Goeldi. Reprodução digital e publicação autorizadas pelos proprietários."],"coverage":["Belém"],"source":"Família Huber/Staatsarchiv des Kantons Basel-Stadt, Suíça"}},"20.500.12156.1/14262":{"atlas":1,"col":52,"row":3,"cr":4408131,"cl":9868950,"ct":11908533,"cb":11184810,"ck":4737096,"meta":{"title":"Praia na Ilha do Mosqueiro","community":"Museu Paraense Emilio Goeldi","rights":null,"date":"04/08/1901","contributor":"Lohse, Ernst (1873-1930)","type":null,"subject":["Praia","Praia fluvial","Mosqueiro","Belém","Amazônia"],"description":["Praia na Ilha do Mosqueiro, distrito do município de Belém (PA), em maré baixa, ainda margeada pela vegetação. Coleção privada, original em papel. Cópia digital disponível no Fundo Jacques Huber, Arquivo Guilherme de La Penha, Museu Goeldi. Reprodução digital e publicação autorizadas pelos proprietários."],"coverage":["Ilha do Mosqueiro, Belém (PA)"],"source":"Família Huber/Staatsarchiv des Kantons Basel-Stadt, Suíça"}},"20.500.12156.1/14263":{"atlas":1,"col":53,"row":3,"cr":10132122,"cl":10987431,"ct":11447982,"cb":10066329,"ck":5263440,"meta":{"title":"Passeio à Ilha do Mosqueiro","community":"Museu Paraense Emilio Goeldi","rights":null,"date":"04/08/1901","contributor":"Lohse, Ernst (1873-1930)","type":null,"subject":["Praia","Praia fluvial","Mosqueiro","Noivado","Belém","Amazônia"],"description":["Grupo em passeio à Ilha do Mosqueiro para a celebração do noivado de Jacques Huber (1867-1914) e Sophie Müller (1875-1959). Emilio Goeldi (1859-1917) aparece mais elevado, em pose majestática, olhando para o horizonte. Logo abaixo estão suas três filhas, Mathilde (1894-1983), Cornélia (1891-1975) e Leonie (1892-1965). Ao lado, o casal Sophie e Jacques, um homem e uma menina não identificados e mais dois filhos de Emilio Goeldi, Oswaldo (1895-1961) e Walther Eugen (1890-1960). Coleção privada, original em papel. Cópia digital disponível no Fundo Jacques Huber, Arquivo Guilherme de La Penha, Museu Goeldi. Reprodução digital e publicação autorizadas pelos proprietários."],"coverage":["Ilha do Mosqueiro, Belém (PA)"],"source":"Família Huber/Staatsarchiv des Kantons Basel-Stadt, Suíça"}},"20.500.12156.1/14264":{"atlas":1,"col":54,"row":3,"cr":5263440,"cl":10658466,"ct":13290186,"cb":7171437,"ck":4408131,"meta":{"title":"Criança e casa no Utinga","community":"Museu Paraense Emilio Goeldi","rights":null,"date":"1900","contributor":"Hagmann, Gottfried (1874-1946)","type":null,"subject":["Criança","Igarapé do Utinga","Belém","Amazônia","Quilombola"],"description":["Criança negra, provavelmente de origem quilombola, com uma cabana de madeira e palha ao fundo, além da floresta na região do igarapé do Utinga, em Belém (PA). Coleção privada, original em papel. Cópia digital disponível no Fundo Jacques Huber, Arquivo Guilherme de La Penha, Museu Goeldi. Reprodução digital e publicação autorizadas pelos proprietários."],"coverage":["Igarapé do Utinga, Belém (PA)"],"source":"Família Huber/Staatsarchiv des Kantons Basel-Stadt, Suíça"}},"20.500.12156.1/14265":{"atlas":1,"col":55,"row":3,"cr":10263708,"cl":10921638,"ct":11645361,"cb":9671571,"ck":5263440,"meta":{"title":"Foz do Igarapé do Una","community":"Museu Paraense Emilio Goeldi","rights":null,"date":"Junho de 1901","contributor":"Huber, Jacques (1867-1914)","type":null,"subject":["Vegetação","Igarapé do Una","Belém","Amazônia"],"description":["Vegetação existente na foz do igarapé do Una, em Belém (PA). Coleção privada, original em papel. Cópia digital disponível no Fundo Jacques Huber, Arquivo Guilherme de La Penha, Museu Goeldi. Reprodução digital e publicação autorizadas pelos proprietários."],"coverage":["Igarapé do Una, Belém (PA)"],"source":"Família Huber/Staatsarchiv des Kantons Basel-Stadt, Suíça"}},"20.500.12156.1/14266":{"atlas":1,"col":56,"row":3,"cr":6645093,"cl":6908265,"ct":6316128,"cb":5789784,"ck":3421236,"meta":{"title":"Vegetação no Igarapé do Una","community":"Museu Paraense Emilio Goeldi","rights":null,"date":"Dezembro de 1902","contributor":"Huber, Jacques (1867-1914)","type":null,"subject":["Vegetação","Igarapé do Una","Belém","Amazônia"],"description":["Vegetação existente no igarapé do Una, em Belém (PA). Coleção privada, original em papel. Cópia digital disponível no Fundo Jacques Huber, Arquivo Guilherme de La Penha, Museu Goeldi. Reprodução digital e publicação autorizadas pelos proprietários."],"coverage":["Igarapé do Una, Belém (PA)"],"source":"Família Huber/Staatsarchiv des Kantons Basel-Stadt, Suíça"}},"20.500.12156.1/14267":{"atlas":1,"col":57,"row":3,"cr":10263708,"cl":9539985,"ct":9803157,"cb":5855577,"ck":3815994,"meta":{"title":"Vegetação no Igarapé do Una","community":"Museu Paraense Emilio Goeldi","rights":null,"date":"Dezembro de 1902","contributor":"Huber, Jacques (1867-1914)","type":null,"subject":["Vegetação","Igarapé do Una","Belém","Amazônia"],"description":["Vegetação existente no igarapé do Una, em Belém (PA). Coleção privada, original em papel. Cópia digital disponível no Fundo Jacques Huber, Arquivo Guilherme de La Penha, Museu Goeldi. Reprodução digital e publicação autorizadas pelos proprietários."],"coverage":["Igarapé do Una, Belém (PA)"],"source":"Família Huber/Staatsarchiv des Kantons Basel-Stadt, Suíça"}},"20.500.12156.1/14268":{"atlas":1,"col":58,"row":3,"cr":4868682,"cl":12961221,"ct":11513775,"cb":11513775,"ck":4868682,"meta":{"title":"Sede da Fazenda de Val-de-Cans","community":"Museu Paraense Emilio Goeldi","rights":null,"date":"Julho de 1901","contributor":"Hagmann, Gottfried (1874-1946)","type":null,"subject":["Fazenda de Val-de-Cans","Baía de Guajará","Belém","Amazônia"],"description":["Fazenda de Val-de-Cans, às margens da Baía de Guajará, em Belém (PA). Coleção privada, original em papel. Cópia digital disponível no Fundo Jacques Huber, Arquivo Guilherme de La Penha, Museu Goeldi. Reprodução digital e publicação autorizadas pelos proprietários."],"coverage":["Fazenda de Val-de-Cans, Belém (PA)"],"source":"Família Huber/Staatsarchiv des Kantons Basel-Stadt, Suíça"}},"20.500.12156.1/14269":{"atlas":1,"col":59,"row":3,"cr":10066329,"cl":6908265,"ct":11645361,"cb":5395026,"ck":4605510,"meta":{"title":"Antigo trapiche na Fazenda de Val-de-Cans","community":"Museu Paraense Emilio Goeldi","rights":null,"date":"Julho de 1901","contributor":"Hagmann, Gottfried (1874-1946)","type":null,"subject":["Trapiche","Porto","Fazenda de Val-de-Cans","Baía de Guajará","Belém","Amazônia"],"description":["Antigo trapiche na Fazenda de Val-de-Cans, às margens da Baía de Guajará, em Belém (PA). Coleção privada, original em papel. Cópia digital disponível no Fundo Jacques Huber, Arquivo Guilherme de La Penha, Museu Goeldi. Reprodução digital e publicação autorizadas pelos proprietários."],"coverage":["Fazenda de Val-de-Cans, Belém (PA)"],"source":"Família Huber/Staatsarchiv des Kantons Basel-Stadt, Suíça"}},"20.500.12156.1/14270":{"atlas":1,"col":60,"row":3,"cr":8158332,"cl":11053224,"ct":14803425,"cb":11974326,"ck":5395026,"meta":{"title":"Vegetação na Fazenda de Val-de-Cans","community":"Museu Paraense Emilio Goeldi","rights":null,"date":"Julho de 1901","contributor":"Hagmann, Gottfried (1874-1946)","type":null,"subject":["Vegetação","Fazenda de Val-de-Cans","Baía de Guajará","Belém","Amazônia"],"description":["Vegetação na Fazenda de Val-de-Cans, às margens da Baía de Guajará, em Belém (PA). Coleção privada, original em papel. Cópia digital disponível no Fundo Jacques Huber, Arquivo Guilherme de La Penha, Museu Goeldi. Reprodução digital e publicação autorizadas pelos proprietários."],"coverage":["Fazenda de Val-de-Cans, Belém (PA)"],"source":"Família Huber/Staatsarchiv des Kantons Basel-Stadt, Suíça"}},"20.500.12156.1/14271":{"atlas":1,"col":61,"row":3,"cr":8289918,"cl":3355443,"ct":8684676,"cb":6118749,"ck":4013373,"meta":{"title":"Grupo de naturalistas na Fazenda de Val-de-Cans","community":"Museu Paraense Emilio Goeldi","rights":null,"date":"Julho de 1901","contributor":"Hagmann, Gottfried (1874-1946)","type":null,"subject":["Gottfried Hagmann","Museu Paraense Emilio Goeldi","Fazenda de Val-de-Cans","Igarapé","Vegetação","Belém","Amazônia"],"description":["Grupo de naturalistas do Museu Goeldi na Fazenda de Val-de-Cans. Gottfried Hagmann aparece junto a outros dois homens, de pé, com roupas brancas, portando uma espingarda. O outro homem carrega um puçá aos ombros e o menino sentado pesca com uma vara no igarapé. Coleção privada, original em papel. Cópia digital disponível no Fundo Jacques Huber, Arquivo Guilherme de La Penha, Museu Goeldi. Reprodução digital e publicação autorizadas pelos proprietários."],"coverage":["Fazenda de Val-de-Cans, Belém (PA)"],"source":"Família Huber/Staatsarchiv des Kantons Basel-Stadt, Suíça"}},"20.500.12156.1/14272":{"atlas":1,"col":62,"row":3,"cr":11447982,"cl":9408399,"ct":11250603,"cb":11119017,"ck":5066061,"meta":{"title":"Várzea na Ilha das Onças","community":"Museu Paraense Emilio Goeldi","rights":null,"date":"1901","contributor":"Hagmann, Gottfried (1874-1946)","type":null,"subject":["Várzea","Ilha das Onças","Barcarena","Belém","Amazônia"],"description":["Várzea da Ilha das Onças, pertencente ao município de Barcarena, localizada defronte a Belém (PA). Coleção privada, original em papel. Cópia digital disponível no Fundo Jacques Huber, Arquivo Guilherme de La Penha, Museu Goeldi. Reprodução digital e publicação autorizadas pelos proprietários."],"coverage":["Ilha das Onças, Barcarena (PA)"],"source":"Família Huber/Staatsarchiv des Kantons Basel-Stadt, Suíça"}},"20.500.12156.1/14273":{"atlas":1,"col":63,"row":3,"cr":6118749,"cl":8355711,"ct":9276813,"cb":5131854,"ck":4013373,"meta":{"title":"Igapó","community":"Museu Paraense Emilio Goeldi","rights":null,"date":"Junho de 1896","contributor":"Huber, Jacques (1867-1914)","type":null,"subject":["Igapó","Travessa Três de Maio, Belém (PA)","Vegetação","Belém","Amazônia"],"description":["Igapó localizado ao sul do Museu Goeldi, onde hoje está o canal da Travessa Três de Maio, em Belém (PA). Em junho de 1896, a área ainda não havia sido ocupada pelos humanos: não havia rua, a mata dominava o cenário e o curso d’água corria livremente até o rio Guamá. Coleção privada, original em papel. Cópia digital disponível no Fundo Jacques Huber, Arquivo Guilherme de La Penha, Museu Goeldi. Reprodução digital e publicação autorizadas pelos proprietários."],"coverage":["Belém (PA)"],"source":"Família Huber/Staatsarchiv des Kantons Basel-Stadt, Suíça"}},"20.500.12156.1/14274":{"atlas":1,"col":0,"row":4,"cr":7631988,"cl":8684676,"ct":11513775,"cb":6250335,"ck":4473924,"meta":{"title":"Igapó (Travessa Quatorze de Março)","community":"Museu Paraense Emilio Goeldi","rights":null,"date":"Junho de 1896","contributor":"Huber, Jacques (1867-1914)","type":null,"subject":["Igapó","Igreja de Nossa Senhora de Nazaré","Travessa Quatorze de Março (Belém, PA)","Belém","Amazônia"],"description":["Igapó localizado ao sul da igreja de Nossa Senhora de Nazaré, onde atualmente corre a Travessa Quatorze de Março, em Belém (PA). Na fotografia, vê-se um grupo de homens, mulheres e crianças, todos aparentemente negros, em meio à vegetação, em uma área que parece estar em declive até um curso d’água. Ao fundo, vê-se uma igreja com torre única, em área mais elevada. Na legenda da foto, anotada no verso por Huber, lê-se: “Kirche von Nazareth, in vordergrund Igapó” (Igreja de Nazaré; em primeiro plano, igapó). Coleção privada, original em papel. Cópia digital disponível no Fundo Jacques Huber, Arquivo Guilherme de La Penha, Museu Goeldi. Reprodução digital e publicação autorizadas pelos proprietários."],"coverage":["Belém (PA)"],"source":"Família Huber/Staatsarchiv des Kantons Basel-Stadt, Suíça"}},"20.500.12156.1/14275":{"atlas":1,"col":1,"row":4,"cr":6316128,"cl":10197915,"ct":13290186,"cb":4144959,"ck":4671303,"meta":{"title":"Igapó","community":"Museu Paraense Emilio Goeldi","rights":null,"date":"15/08/1901","contributor":"Lohse, Ernst (1873-1930)","type":null,"subject":["Igapó","Vegetação","Belém","Amazônia","Ninféias"],"description":["Igapó em localização incerta, Belém (PA). Coleção privada, original em papel. Cópia digital disponível no Fundo Jacques Huber, Arquivo Guilherme de La Penha, Museu Goeldi. Reprodução digital e publicação autorizadas pelos proprietários."],"coverage":["Belém (PA)"],"source":"Família Huber/Staatsarchiv des Kantons Basel-Stadt, Suíça"}},"20.500.12156.1/14277":{"atlas":1,"col":2,"row":4,"cr":7828075,"cl":8354417,"ct":4408383,"cb":7764597,"ck":4276027,"meta":{"title":"Posto da Gávea","community":"Fiocruz","rights":null,"date":"[192-?]","contributor":null,"type":null,"subject":["Serviço de Saneamento e Profilaxia Rural","Penna, Belisário, 1868-1939"],"description":["Fotografia","P & B","17,2 x 12,3 cm"],"coverage":["Gávea(RJ)"],"source":"Fundo Belisário Penna"}},"20.500.12156.1/14278":{"atlas":1,"col":3,"row":4,"cr":7104869,"cl":8552826,"ct":12959670,"cb":9934740,"ck":5131336,"meta":{"title":"Rio Piraquê","community":"Fiocruz","rights":null,"date":"01/02/1923","contributor":null,"type":null,"subject":["Serviço de Saneamento e Profilaxia Rural","Penna, Belisário, 1868-1939"],"description":["Fotografia","P & B","17,3 x 14,9 cm"],"coverage":["Guaratiba(RJ)"],"source":"Fundo Belisário Penna"}},"20.500.12156.1/14279":{"atlas":1,"col":4,"row":4,"cr":8486004,"cl":8420468,"ct":6249302,"cb":4606022,"ck":4604735,"meta":{"title":"Posto de Anchieta","community":"Fiocruz","rights":null,"date":"[192-?]","contributor":null,"type":null,"subject":["Serviço de Saneamento e Profilaxia Rural","Penna, Belisário, 1868-1939"],"description":["Fotografia","P & B","17,7 x 12,6 cm"],"coverage":["Anchieta( RJ)"],"source":"Fundo Belisário Penna"}},"20.500.12156.1/14280":{"atlas":1,"col":5,"row":4,"cr":8815484,"cl":8223862,"ct":11051674,"cb":11052442,"ck":4868421,"meta":{"title":"Posto da Gávea","community":"Fiocruz","rights":null,"date":"[192-?]","contributor":null,"type":null,"subject":["Serviço de Saneamento e Profilaxia Rural","Penna, Belisário, 1868-1939"],"description":["Fotografia","P & B","18,0 x 13,0 cm"],"coverage":["Gávea(RJ)"],"source":"Fundo Belisário Penna"}},"20.500.12156.1/14281":{"atlas":1,"col":6,"row":4,"cr":8749949,"cl":9802637,"ct":3750713,"cb":7631984,"ck":5000008,"meta":{"title":"Rio Pavuna","community":"Fiocruz","rights":null,"date":"13/07/1921","contributor":null,"type":null,"subject":["Serviço de Saneamento e Profilaxia Rural","Penna, Belisário, 1868-1939"],"description":["Fotografia","P & B","16,8 x 12,2 cm"],"coverage":["Rio de Janeiro"],"source":"Fundo Belisário Penna"}},"20.500.12156.1/14282":{"atlas":1,"col":7,"row":4,"cr":8289398,"cl":11512739,"ct":11249310,"cb":12499893,"ck":4868422,"meta":{"title":"Presidente Epitácio Pessoa no Posto de Pilares","community":"Fiocruz","rights":null,"date":"11/11/1919","contributor":null,"type":null,"subject":["Serviço de Saneamento e Profilaxia Rural","Penna, Belisário, 1868-1939"],"description":["Fotografia","P & B","17 x 12 cm"],"coverage":["Pilares(RJ)"],"source":"Fundo Belisário Penna"}},"20.500.12156.1/14283":{"atlas":1,"col":8,"row":4,"cr":7628370,"cl":9206369,"ct":14338734,"cb":16313035,"ck":3813928,"meta":{"title":"Foto aérea do Campo do Fluminense - RJ","community":"Museu Aeroespacial","rights":null,"date":"24-06-1933","contributor":"Escola de Aviação Militar","type":null,"subject":["Foto aérea do Campo do Fluminense - RJ - 24-06-1933"],"description":["Fotografia aérea, Foco 24; Altitude 500m; 10h"],"coverage":["Rio de Janeiro - RJ"],"source":"Álbum 261 116 - Película oblíqua 119"}},"20.500.12156.1/14284":{"atlas":1,"col":9,"row":4,"cr":13020794,"cl":13283971,"ct":14535842,"cb":14668209,"ck":6839623,"meta":{"title":"Foto aérea do bairro da Urca - RJ","community":"Museu Aeroespacial","rights":null,"date":"24-06-1933","contributor":"Escola de Aviação Militar","type":null,"subject":["Foto aérea do bairro da Urca - RJ - 24-06-1933"],"description":["Fotografia aérea, Foco 26; Altitude 500m; 13h"],"coverage":["Rio de Janeiro - RJ"],"source":"Álbum 261 117 - Película oblíqua 120"}},"20.500.12156.1/14285":{"atlas":1,"col":10,"row":4,"cr":14599830,"cl":13941125,"ct":15786946,"cb":15917239,"ck":7299916,"meta":{"title":"Foto aérea da Ilha dos Ferreiros - RJ","community":"Museu Aeroespacial","rights":null,"date":"24-06-1933","contributor":"Escola de Aviação Militar","type":null,"subject":["Foto aérea da Ilha dos Ferreiros - RJ - 24-06-1933"],"description":["Fotografia aérea, Foco 24; Altitude 500m; 14h"],"coverage":["Rio de Janeiro - RJ"],"source":"Álbum 261 121 - Película oblíqua 124"}},"20.500.12156.1/14286":{"atlas":1,"col":11,"row":4,"cr":13283450,"cl":13481347,"ct":16509893,"cb":14930857,"ck":6641726,"meta":{"title":"Foto aérea do Cais do Pharoux - RJ","community":"Museu Aeroespacial","rights":null,"date":"24-06-1933","contributor":"Escola de Aviação Militar","type":null,"subject":["Foto aérea do Cais do Pharoux - RJ - 24-06-1933"],"description":["Fotografia aérea, Foco 24; Altitude 500m; 14h"],"coverage":["Rio de Janeiro - RJ"],"source":"Álbum 261 122 - Película oblíqua 125"}},"20.500.12156.1/14287":{"atlas":1,"col":12,"row":4,"cr":12757368,"cl":11046500,"ct":13810315,"cb":15325624,"ck":6378558,"meta":{"title":"Foto aérea do bairro da Ilha do Governador - RJ","community":"Museu Aeroespacial","rights":null,"date":"24-06-1933","contributor":"Escola de Aviação Militar","type":null,"subject":["Foto aérea do bairro da Ilha do Governador - RJ - 24-06-1933"],"description":["Fotografia aérea, Foco 24; Altitude 500m; 10h"],"coverage":["Rio de Janeiro - RJ"],"source":"Álbum 261 126 - Película oblíqua 129"}},"20.500.12156.1/14288":{"atlas":1,"col":13,"row":4,"cr":13351318,"cl":12560771,"ct":15326401,"cb":10455390,"ck":6313798,"meta":{"title":"Foto aérea do Cristo Redentor - RJ","community":"Museu Aeroespacial","rights":null,"date":"25-06-1933","contributor":"Escola de Aviação Militar","type":null,"subject":["Foto aérea do Cristo Redentor - RJ - 25-06-1933"],"description":["Fotografia aérea, Foco 24; Altitude 500m; 13h"],"coverage":["Rio de Janeiro - RJ"],"source":"Álbum 261 128 - Película oblíqua 131"}},"20.500.12156.1/14289":{"atlas":1,"col":14,"row":4,"cr":13086333,"cl":13086073,"ct":15127209,"cb":15391416,"ck":6971209,"meta":{"title":"Foto aérea do Ministério da Agricultura - RJ","community":"Museu Aeroespacial","rights":null,"date":"14-06-1933","contributor":"Escola de Aviação Militar","type":null,"subject":["Foto aérea do Ministério da Agricultura - RJ - 14-06-1933"],"description":["Fotografia aérea, Foco 26; Altitude 500m; 10h"],"coverage":["Rio de Janeiro - RJ"],"source":"Álbum 261 103 - Película oblíqua 105"}},"20.500.12156.1/14290":{"atlas":1,"col":15,"row":4,"cr":14139538,"cl":11243357,"ct":15785916,"cb":15061932,"ck":7037002,"meta":{"title":"Foto aérea da Praia de Botafogo - RJ","community":"Museu Aeroespacial","rights":null,"date":"25-06-1933","contributor":"Escola de Aviação Militar","type":null,"subject":["Foto aérea da Praia de Botafogo - RJ - 25-06-1933"],"description":["Fotografia aérea, Foco 24; Altitude 500m; 13h"],"coverage":["Rio de Janeiro - RJ"],"source":"Álbum 261 130 - Película oblíqua 133"}},"20.500.12156.1/14291":{"atlas":1,"col":16,"row":4,"cr":14008729,"cl":14601639,"ct":15457725,"cb":15721934,"ck":7366485,"meta":{"title":"Foto aérea da Ilha das Cobras - RJ","community":"Museu Aeroespacial","rights":null,"date":"25-06-1933","contributor":"Escola de Aviação Militar","type":null,"subject":["Foto aérea da Ilha das Cobras - RJ - 25-06-1933"],"description":["Fotografia aérea, Foco 24; Altitude 500m; 13h"],"coverage":["Rio de Janeiro - RJ"],"source":"Álbum 261 131 - Película oblíqua 134"}},"20.500.12156.1/14292":{"atlas":1,"col":17,"row":4,"cr":11507309,"cl":12494199,"ct":13942684,"cb":13878700,"ck":6115644,"meta":{"title":"Foto aérea do bairro de Copacabana - RJ","community":"Museu Aeroespacial","rights":null,"date":"14-06-1933","contributor":"Escola de Aviação Militar","type":null,"subject":["Foto aérea do bairro de Copacabana - RJ - 14-06-1933"],"description":["Fotografia aérea, Foco 26; Altitude 500m; 10h"],"coverage":["Rio de Janeiro - RJ"],"source":"Álbum 261 101 - Foto oblíqua 103"}},"20.500.12156.1/14293":{"atlas":1,"col":18,"row":4,"cr":10520157,"cl":11901808,"ct":13744521,"cb":14602936,"ck":6181437,"meta":{"title":"Foto aérea do bairro de Copacabana - RJ","community":"Museu Aeroespacial","rights":null,"date":"23-06-1933","contributor":"Escola de Aviação Militar","type":null,"subject":["Foto aérea do bairro de Copacabana - RJ - 23-06-1933"],"description":["Fotografia aérea, Foco 26; Altitude 500m; 13h"],"coverage":["Rio de Janeiro - RJ"],"source":"Álbum 261 115 - Foto oblíqua 118"}},"20.500.12156.1/14294":{"atlas":1,"col":19,"row":4,"cr":4273706,"cl":6246204,"ct":15390896,"cb":15983805,"ck":4536875,"meta":{"title":"Foto Aérea do Instituto Osvaldo Cruz - RJ","community":"Museu Aeroespacial","rights":null,"date":"14-06-1933","contributor":"Escola de Aviação Militar","type":null,"subject":["Foto Aérea do Instituto Osvaldo Cruz"],"description":["Fotografia aérea, Foco 24; Altitude 500m; 10h"],"coverage":["Rio de Janeiro - RJ"],"source":"Álbum 261 053"}},"20.500.12156.1/14295":{"atlas":1,"col":20,"row":4,"cr":10651740,"cl":13876110,"ct":16511436,"cb":15324585,"ck":6444351,"meta":{"title":"Foto aérea da Aviação Naval - RJ","community":"Museu Aeroespacial","rights":null,"date":"24-06-1933","contributor":"Escola de Aviação Militar","type":null,"subject":["Foto aérea da Aviação Naval - RJ - 24-06-1933"],"description":["Fotografia aérea, Foco 24; Altitude 500m; 14h"],"coverage":["Rio de Janeiro - RJ"],"source":"Álbum 261 120 - Película oblíqua 123"}},"20.500.12156.1/14296":{"atlas":1,"col":21,"row":4,"cr":9862224,"cl":9862485,"ct":16510410,"cb":16510928,"ck":6312764,"meta":{"title":"Foto aérea do bairro de Realengo - RJ","community":"Museu Aeroespacial","rights":null,"date":"23-06-1933","contributor":"Escola de Aviação Militar","type":null,"subject":["Foto aérea do bairro de Realengo - RJ - 23-06-1933"],"description":["Fotografia aérea, Foco 24; Altitude 500m; 10h"],"coverage":["Rio de Janeiro - RJ"],"source":"Álbum 261 109 - Película oblíqua 112"}},"20.500.12156.1/14297":{"atlas":1,"col":22,"row":4,"cr":5129527,"cl":13155490,"ct":15786949,"cb":15983033,"ck":5261888,"meta":{"title":"Foto aérea do Pão de Açúcar - RJ","community":"Museu Aeroespacial","rights":null,"date":"23-06-1933","contributor":"Escola de Aviação Militar","type":null,"subject":["Foto aérea do Pão de Açúcar - RJ - 23-06-1933"],"description":["Fotografia aérea, Foco 24; Altitude 500m; 15h"],"coverage":["Rio de Janeiro - RJ"],"source":"Álbum 261 113 - Foto oblíqua 116"}},"20.500.12156.1/14298":{"atlas":1,"col":23,"row":4,"cr":11505753,"cl":14073744,"ct":14666399,"cb":14403748,"ck":6773570,"meta":{"title":"Foto aérea do Cais do Porto - RJ","community":"Museu Aeroespacial","rights":null,"date":"23-06-1933","contributor":"Escola de Aviação Militar","type":null,"subject":["Foto aérea do Cais do Porto - RJ - 23-06-1933"],"description":["Fotografia aérea, Foco 26; Altitude 500m; 13h"],"coverage":["Rio de Janeiro - RJ"],"source":"Álbum 261 114 - Foto oblíqua 117"}},"20.500.12156.1/14299":{"atlas":1,"col":24,"row":4,"cr":6053729,"cl":6843758,"ct":6580329,"cb":4738382,"ck":2829614,"meta":{"title":"Prédio dos antigos alojamentos do Museu Goeldi","community":"Museu Paraense Emilio Goeldi","rights":null,"date":"[196?]","contributor":"[s.n.]","type":null,"subject":["Museu Paraense Emílio Goeldi","Parque Zoobotânico","Edificações","Casario","Viveiro","Árvores"],"description":["Prédio dos antigos alojamentos do Museu Goeldi no Parque Zoobotânico. Em primeiro plano, prédio dos alojamentos e parte dos chalés. À direita, vista parcial dos viveiros. Em segundo plano, densa vegetação.","Este prédio foi desativado como alojamento para visitantes com a criação da Pousada Clifford Evans, para pesquisadores visitantes.","Negativo de vidro","MPEG 031"],"coverage":["Belém, PA"],"source":"Coleção Fotográfica do Museu Paraense Emílio Goeldi"}},"20.500.12156.1/143":{"atlas":1,"col":25,"row":4,"cr":13675664,"cl":13609103,"ct":14601911,"cb":13944237,"ck":5721151,"meta":{"title":"E. de F. de Paranagua a Corityba : Província do Paraná : aterro da Volta Grande","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[1880-1884]","contributor":"Ferrez, Marc, 1843-1923","type":"Fotografia","subject":["Estrada de Ferro do Paraná","Ferrovias - Trilhos - Marumbi (PR)","Aterros - Marumbi (PR)","Trens de ferro","Railroads - Rails - Marumbi (Paraná, Brazil)","Embankments - Marumbi (Brazil) - Marumbi (Paraná, Brazil)","Railroads - Trains"],"description":["colódio?, p&b","26,6 x 36"],"source":"Thereza Christina Maria","publisher":"Marumbi, PR"}},"20.500.12156.1/14300":{"atlas":1,"col":26,"row":4,"cr":6381144,"cl":6315609,"ct":11052444,"cb":5328973,"ck":3815733,"meta":{"title":"Saneamento Rural","community":"Fiocruz","rights":null,"date":"08/01/1923","contributor":null,"type":null,"subject":["Serviço de Saneamento e Profilaxia Rural","Penna, Belisário, 1868-1939"],"description":["Fotografia","P & B","17 x 12 cm"],"coverage":["Mesquita(RJ)"],"source":"Fundo Belisário Penna"}},"20.500.12156.1/14301":{"atlas":1,"col":27,"row":4,"cr":9607325,"cl":13752800,"ct":15397372,"cb":12173510,"ck":4803663,"meta":{"title":"Chalé no Parque Zoobotânico do Museu Goeldi","community":"Museu Paraense Emilio Goeldi","rights":null,"date":"[s.d.]","contributor":"[s.n.]","type":null,"subject":["Museu Paraense Emílio Goeldi","Parque Zoobotânico","Edificações","Chalé","Vegetação","Árvores","Casario","Belém do Pará","Amazônia"],"description":["Chalé de moradia dos pesquisadores do Museu Goeldi. Em primeiro plano: chalé. Ao fundo, à esquerda: portão de entrada lateral do Parque Zoobotânico pela 9 de janeiro. 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de Canavieiras - BA - 20-03-1934"],"description":["Fotografia aérea, Foco 24; Altitude 300m; 11:50h"],"coverage":["Bahia - BA"],"source":"Álbum 261 192 - Película oblíqua 195"}},"20.500.12156.1/14371":{"atlas":1,"col":33,"row":5,"cr":14136700,"cl":9992525,"ct":13745302,"cb":14071672,"ck":6114355,"meta":{"title":"Foto aérea da foz do Rio São Francisco - AL","community":"Museu Aeroespacial","rights":null,"date":"22-03-1934","contributor":"Escola de Aviação Militar","type":null,"subject":["Foto aérea da foz do Rio São Francisco - AL - 22-03-1934"],"description":["Fotografia aérea, Foco 24; Altitude 300m; 9:56h"],"coverage":["Alagoas - AL"],"source":"Álbum 261 193 - Película oblíqua 196"}},"20.500.12156.1/14372":{"atlas":1,"col":34,"row":5,"cr":6180151,"cl":9796437,"ct":8874560,"cb":9073748,"ck":4536873,"meta":{"title":"Foto aérea do município de Coruripe - AL","community":"Museu Aeroespacial","rights":null,"date":"22-03-1934","contributor":"Escola de Aviação Militar","type":null,"subject":["Foto aérea do município de Coruripe - AL - 22-03-1934"],"description":["Fotografia aérea, Foco 24; Altitude 300m; 10:04h"],"coverage":["Alagoas - AL"],"source":"Álbum 261 194 - Película oblíqua 197"}},"20.500.12156.1/14373":{"atlas":1,"col":35,"row":5,"cr":8809544,"cl":9994075,"ct":11112293,"cb":16049858,"ck":5523252,"meta":{"title":"Foto aérea do município de Resende - RJ","community":"Museu Aeroespacial","rights":null,"date":"27-11-1933","contributor":"Escola de Aviação Militar","type":null,"subject":["Foto aérea do município de Resende - RJ - 27-11-1933"],"description":["Fotografia aérea, Foco 24; Altitude 500m; 11h"],"coverage":["Rio de Janeiro - RJ"],"source":"Álbum 261 159 - Película oblíqua 162"}},"20.500.12156.1/14374":{"atlas":1,"col":36,"row":5,"cr":10914913,"cl":10717272,"ct":13875325,"cb":15589049,"ck":4602148,"meta":{"title":"Foto aérea do município de Alegrete - RS","community":"Museu Aeroespacial","rights":null,"date":"01-12-1933","contributor":"Escola de Aviação Militar","type":null,"subject":["Foto aérea do município de Alegrete - RS - 01-12-1933"],"description":["Fotografia aérea, Foco 24; Altitude 1200m; 10h"],"coverage":["Rio Grande do Sul - RS"],"source":"Álbum 261 166 - Película oblíqua 169"}},"20.500.12156.1/14375":{"atlas":1,"col":37,"row":5,"cr":10849122,"cl":11243879,"ct":16576712,"cb":12561285,"ck":6181179,"meta":{"title":"Foto aérea do município de Porto Pedras - AL","community":"Museu Aeroespacial","rights":null,"date":"22-03-1934","contributor":"Escola de Aviação Militar","type":null,"subject":["Foto aérea do município de Porto Pedras - AL - 22-03-1934"],"description":["Fotografia aérea, Foco 24; Altitude 200m; 11:05h"],"coverage":["Alagoas - AL"],"source":"Álbum 261 195 - Película oblíqua 198"}},"20.500.12156.1/14376":{"atlas":1,"col":38,"row":5,"cr":8680024,"cl":11441516,"ct":16576972,"cb":8352869,"ck":3945512,"meta":{"title":"Foto aérea do Pão de Açúcar - RJ","community":"Museu Aeroespacial","rights":null,"date":"14-03-1934","contributor":"Escola de Aviação Militar","type":null,"subject":["Foto aérea do Pão de Açúcar - RJ - 14-03-1934"],"description":["Fotografia aérea, Foco 24; Altitude 400m; 10h"],"coverage":["Rio de Janeiro - RJ"],"source":"Álbum 261 170 - Película oblíqua 173"}},"20.500.12156.1/14377":{"atlas":1,"col":39,"row":5,"cr":13217149,"cl":12229740,"ct":10324066,"cb":9402455,"ck":6444093,"meta":{"title":"Foto aérea do avião Bellanca CF em voo - RJ","community":"Museu Aeroespacial","rights":null,"date":"15-03-1934","contributor":"Escola de Aviação Militar","type":null,"subject":["Foto aérea do avião Bellanca CF em voo - RJ - 15-03-1934"],"description":["Fotografia aérea, Foco 24; Altitude 600m; 10h"],"coverage":["Rio de Janeiro - RJ"],"source":"Álbum 261 171 - Película oblíqua 174"}},"20.500.12156.1/14378":{"atlas":1,"col":40,"row":5,"cr":14203521,"cl":10256210,"ct":16444086,"cb":13547135,"ck":6707004,"meta":{"title":"Foto aérea da Ilha de Paquetá - RJ","community":"Museu Aeroespacial","rights":null,"date":"15-03-1934","contributor":"Escola de Aviação Militar","type":null,"subject":["Foto aérea da Ilha de Paquetá - RJ - 15-03-1934"],"description":["Fotografia aérea, Foco 24; Altitude 1000m; 10h"],"coverage":["Rio de Janeiro - RJ"],"source":"Álbum 261 172 - Película oblíqua 175"}},"20.500.12156.1/14379":{"atlas":1,"col":41,"row":5,"cr":8549470,"cl":12167046,"ct":13153423,"cb":10786949,"ck":4866871,"meta":{"title":"Foto aérea do Cristo Redentor - RJ","community":"Museu Aeroespacial","rights":null,"date":"15-03-1934","contributor":"Escola de Aviação Militar","type":null,"subject":["Foto aérea do Cristo Redentor - RJ - 15-03-1934"],"description":["Fotografia aérea, Foco 24; Altitude 900m; 10h"],"coverage":["Rio de Janeiro - RJ"],"source":"Álbum 261 173 - Película oblíqua 176"}},"20.500.12156.1/14380":{"atlas":1,"col":42,"row":5,"cr":4734515,"cl":6510666,"ct":14076854,"cb":4537911,"ck":3879978,"meta":{"title":"Foto aérea do 3º Batalhão de Caçadores no município de Vitória - ES","community":"Museu Aeroespacial","rights":null,"date":"19-03-1934","contributor":"Escola de Aviação Militar","type":null,"subject":["Foto aérea do 3º Batalhão de Caçadores no município de Vitória - ES - 19-03-1934"],"description":["Fotografia aérea, Foco 24; Altitude 200m; 9:35h"],"coverage":["Espírito Santo - ES"],"source":"Álbum 261 183 - Película oblíqua 186"}},"20.500.12156.1/14381":{"atlas":1,"col":43,"row":5,"cr":7826006,"cl":7957336,"ct":15130057,"cb":11114100,"ck":4471857,"meta":{"title":"Foto aérea do município de Vitória - ES","community":"Museu Aeroespacial","rights":null,"date":"19-03-1934","contributor":"Escola de Aviação Militar","type":null,"subject":["Foto aérea do município de Vitória - ES - 19-03-1934"],"description":["Fotografia aérea, Foco 24; Altitude 200m; 9:38h"],"coverage":["Espírito Santo - ES"],"source":"Álbum 261 184 - Película oblíqua 187"}},"20.500.12156.1/14382":{"atlas":1,"col":44,"row":5,"cr":13678988,"cl":10124103,"ct":11637859,"cb":16049610,"ck":6510142,"meta":{"title":"Foto aérea do município de Conceição da Barra - ES","community":"Museu Aeroespacial","rights":null,"date":"20-03-1934","contributor":"Escola de Aviação Militar","type":null,"subject":["Foto aérea do município de Conceição da Barra - ES - 20-03-1934"],"description":["Fotografia aérea, Foco 24; Altitude 600m; 8:44h"],"coverage":["Espírito Santo - ES"],"source":"Álbum 261 186 - Película oblíqua 189"}},"20.500.12156.1/14383":{"atlas":1,"col":45,"row":5,"cr":10520415,"cl":10783329,"ct":15259315,"cb":15984323,"ck":6049851,"meta":{"title":"Foto aérea do município de Caravelas - BA","community":"Museu Aeroespacial","rights":null,"date":"20-03-1934","contributor":"Escola de Aviação Militar","type":null,"subject":["Foto aérea do município de Caravelas - BA - 20-03-1934"],"description":["Fotografia aérea, Foco 24; Altitude 150m; 9:35h"],"coverage":["Bahia - BA"],"source":"Álbum 261 187 - Película oblíqua 190"}},"20.500.12156.1/14384":{"atlas":1,"col":46,"row":5,"cr":6180926,"cl":6048826,"ct":6772293,"cb":16509890,"ck":3156256,"meta":{"title":"Foto aérea do município de Porto Seguro - BA","community":"Museu Aeroespacial","rights":null,"date":"20-03-1934","contributor":"Escola de Aviação Militar","type":null,"subject":["Foto aérea do município de Porto Seguro - BA - 20-03-1934"],"description":["Fotografia aérea, Foco 24; Altitude 700m; 11:20h"],"coverage":["Bahia - BA"],"source":"Álbum 261 189 - Película oblíqua 192"}},"20.500.12156.1/14385":{"atlas":1,"col":47,"row":5,"cr":8679769,"cl":5982776,"ct":16313016,"cb":9863783,"ck":4142633,"meta":{"title":"Foto aérea do município de Santa Cruz Cabralia - BA","community":"Museu Aeroespacial","rights":null,"date":"20-03-1934","contributor":"Escola de Aviação Militar","type":null,"subject":["Foto aérea do município de Santa Cruz Cabralia - BA - 20-03-1934"],"description":["Fotografia aérea, Foco 24; Altitude 600m; 11:25h"],"coverage":["Bahia - BA"],"source":"Álbum 261 190 - Película oblíqua 193"}},"20.500.12156.1/14386":{"atlas":1,"col":48,"row":5,"cr":5528153,"cl":3685436,"ct":7699070,"cb":9344150,"ck":3356214,"meta":{"title":"Funcionários do Museu Goeldi recebendo uma chimpanzé","community":"Museu Paraense Emilio Goeldi","rights":null,"date":"Dezembro de 1908","contributor":"Não identificado","type":null,"subject":["Museu Paraense Emilio Goeldi","Parque Zoobotânico","Zoológico","Chimpanzés","Primatas","Emilia Snethlage","João Batista de Sá"],"description":["A chimpanzé está junto à jaula dos macacos barrigudos. Emilia Snethlage (1868-1929) e o preparador de zoologia João Batista de Sá (?-1909) permitem que a chimpanzé suba em uma tábua, talvez para interagir melhor com os macacos, que parecem se movimentar no interior. Sá está segurando um balde, enquanto Snethlage encosta-se no guarda-corpo, dizendo algo para o fotógrafo."],"coverage":["Belém (PA)"],"source":"Negativo de vidro MPEG371, Coleção Fotográfica do Museu Paraense Emílio Goeldi."}},"20.500.12156.1/14387":{"atlas":1,"col":49,"row":5,"cr":5723991,"cl":4210752,"ct":8026746,"cb":12763842,"ck":3552822,"meta":{"title":"Chegada de uma onça no Museu Goeldi","community":"Museu Paraense Emilio Goeldi","rights":null,"date":"Não identificada","contributor":"Não identificado","type":null,"subject":["Museu Paraense Emilio Goeldi","Parque Zoobotânico","Zoológico","Onça","Felinos","Emilia Snethlage","João Batista de Sá"],"description":["Emília Snethlage (1868-1929) e tratadores de animais no zoológico do Museu Goeldi, junto à jaula de uma onça. Ela aparece amarrada atrás das grades. Dois homens tencionam uma corda, sendo um deles João Batista de Sá (?-1909), mais próximo à jaula. Além da longa corda tencionada e que se enrola pelo chão, um terceiro homem, ao lado de Sá, puxa uma segunda corda, mais fina e menor, que talvez estivesse contendo as patas traseiras da onça; e um quarto homem, ao lado de Snethlage, também segura uma corda, com um laço na ponta, certamente utilizado no pescoço do animal. Os homens parecem estar desamarrando a onça. Coleção privada, negativo de vidro. Cópia digital disponível no Fundo Jacques Huber, Arquivo Guilherme de La Penha, Museu Goeldi. Reprodução digital e publicação autorizadas pelos proprietários."],"coverage":["Belém (PA)"],"source":"Família Huber/Staatsarchiv des Kantons Basel-Stadt, Suíça"}},"20.500.12156.1/14388":{"atlas":1,"col":50,"row":5,"cr":2697513,"cl":3092271,"ct":5329233,"cb":9342606,"ck":2894892,"meta":{"title":"Retrato de Emilia Snethlage com gato-maracajá","community":"Museu Paraense Emilio Goeldi","rights":null,"date":"Ca. 1907","contributor":"Huber, Jacques (1867-1914)","type":null,"subject":["Museu Paraense Emilio Goeldi","Parque Zoobotânico","Gato-maracajá (Leopardus wiedii)","Emilia Snethlage"],"description":["Emilia Snethlage (1868-1929) com seu gato-maracajá de estimação, na porta dos fundos do pavilhão de exposições (Rocinha) do Museu Goeldi. Coleção privada, negativo de vidro. Cópia digital disponível no Fundo Jacques Huber, Arquivo Guilherme de La Penha, Museu Goeldi. Reprodução digital e publicação autorizadas pelos proprietários."],"coverage":["Belém (PA)"],"source":"Família Huber/Staatsarchiv des Kantons Basel-Stadt, Suíça"}},"20.500.12156.1/14389":{"atlas":1,"col":51,"row":5,"cr":3422262,"cl":4014657,"ct":3948351,"cb":6580840,"ck":2105889,"meta":{"title":"Funcionárias do Museu Goeldi em 1907","community":"Museu Paraense Emilio Goeldi","rights":null,"date":"Março de 1907","contributor":"Lohse, Ernst (1873-1930)","type":null,"subject":["Museu","Parque Zoobotânico","Mulheres","Emilia Snethlage","Ornitologia"],"description":["Retrato das três mulheres que trabalhavam no Museu Goeldi em 1907, tirado no Parque Zoobotânico da instituição, em Belém: de pé, a ornitóloga alemã Emília Snethlage (1868-1929), contratada em 1905; sentadas, à esquerda, Anna de Aragão Carreira (1894-?) e, à direita, Abigayl Esther de Mattos (1889-1958), ambas secretárias e contratadas em 1907."],"coverage":["Belém (PA)"],"source":"Negativo de vidro MPEG374, Coleção Fotográfica do Museu Paraense Emílio Goeldi."}},"20.500.12156.1/14390":{"atlas":1,"col":52,"row":5,"cr":5922654,"cl":7699323,"ct":3554107,"cb":9672856,"ck":3356214,"meta":{"title":"Chegada de uma chimpanzé ao Museu Goeldi","community":"Museu Paraense Emilio Goeldi","rights":null,"date":"Dezembro de 1908","contributor":"Não identificado","type":null,"subject":["Museu Paraense Emilio Goeldi","Parque Zoobotânico","Zoológico","Chimpanzés","Primatas","Emilia Snethlage","Jacques Huber","João Batista de Sá"],"description":["Funcionários do Museu Goeldi recebendo uma chimpanzé. O preparador de zoologia João Batista de Sá (?-1909) aparece vergado e segurando um balde (com comida?), com a outra mão segurando a chimpanzé; Emilia Snethlage (1868-1929) está observando a cena logo atrás, com as mãos na cintura; Jacques Huber (1867-1914) está bem no fundo, de paletó branco e chapéu; a criança com roupa branca à esquerda é seu filho."],"coverage":["Belém"],"source":"Negativo de vidro MPEG373, Coleção Fotográfica do Museu Paraense Emílio Goeldi."}},"20.500.12156.1/14391":{"atlas":1,"col":53,"row":5,"cr":8290950,"cl":2632748,"ct":4212035,"cb":12962770,"ck":2829614,"meta":{"title":"Funcionários do Museu Goeldi recebendo uma chimpanzé","community":"Museu Paraense Emilio Goeldi","rights":null,"date":"Dezembro de 1908","contributor":"Não identificado","type":null,"subject":["Museu Paraense Emilio Goeldi","Parque Zoobotânico","Zoológico","Chimpanzés","Primatas","Emilia Snethlage","João Batista de Sá"],"description":["A chimpanzé aparece agarrada às grades da jaula dos pequenos felinos. Uma jaguatirica a observa atentamente à esquerda. Emilia Snethlage (1868-1929) aproxima-se, com João Batista de Sá (?-1909) ao seu lado (cujo corpo é apenas parcialmente visível)."],"coverage":["Belém (PA)"],"source":"Negativo de vidro MPEG369, Coleção Fotográfica do Museu Paraense Emílio Goeldi."}},"20.500.12156.1/14392":{"atlas":1,"col":54,"row":5,"cr":5133138,"cl":12568266,"ct":4672588,"cb":12502218,"ck":3553593,"meta":{"title":"Funcionários do Museu Goeldi recebendo uma chimpanzé","community":"Museu Paraense Emilio Goeldi","rights":null,"date":"Dezembro de 1908","contributor":"Não identificado","type":null,"subject":["Museu Paraense Emilio Goeldi","Parque Zoobotânico","Zoológico","Chimpanzés","Primatas","Emilia Snethlage","João Batista de Sá"],"description":["A chimpanzé está junto à jaula dos macacos barrigudos, identificada por uma plaqueta que pende à direita, em cima. Dois deles permanecem empoleirados, enquanto um terceiro desce para ver de perto a visitante. Nesse momento, Emilia Snethlage (1868-1929) inclina-se e toca as costas da chimpanzé, enquanto o preparador de zoologia João Batista de Sá (?-1909), do outro lado, parece estar de prontidão para conter o animal."],"coverage":["Belém (PA)"],"source":"Negativo de vidro MPEG372, Coleção Fotográfica do Museu Paraense Emílio Goeldi."}},"20.500.12156.1/14393":{"atlas":1,"col":55,"row":5,"cr":8158332,"cl":12105912,"ct":10329501,"cb":5921370,"ck":4276545,"meta":{"title":"Passista de frevo no carnaval de rua em frente à Igreja Matriz do Santíssimo Sacramento de Santo Antônio","community":"Instituto Moreira Salles","rights":null,"date":"1949 circa","contributor":"Marcel Gautherot","type":null,"subject":["Carnaval","Festas populares","Frevo","Externa"],"description":["Gelatina / Prata","P&B","i: 6 x 6 cm","Fotografia / Papel"],"coverage":["Recife - PE - Brasil"],"source":"Acervo Instituto Moreira Salles"}},"20.500.12156.1/14394":{"atlas":1,"col":56,"row":5,"cr":8288873,"cl":8157289,"ct":9999490,"cb":5130815,"ck":4078645,"meta":{"title":"Passista de frevo no carnaval de rua de Recife","community":"Instituto Moreira Salles","rights":null,"date":"1949 circa","contributor":"Marcel Gautherot","type":null,"subject":["Carnaval","Festas populares","Frevo","Externa"],"description":["Gelatina / Prata","Fotografia / Papel","P&B","i: 6 x 6 cm"],"coverage":["Recife - PE - Brasil"],"source":"Acervo Instituto Moreira Salles"}},"20.500.12156.1/14395":{"atlas":1,"col":57,"row":5,"cr":16710134,"cl":16775668,"ct":8220008,"cb":12562074,"ck":5261121,"meta":{"title":"Orminda Ribeiro Bastos","community":"Arquivo Nacional","rights":null,"date":"1929","contributor":"","type":null,"subject":["feminista","feminist","advogada","jornalista","União Universitária Feminina","Bastos, Orminda Ribeiro, 1899-1971","Federação Brasileira pelo Progresso Feminino"],"description":["p&b","21,5 x 13,5cm"],"source":"Correio da Manhã"}},"20.500.12156.1/14396":{"atlas":1,"col":58,"row":5,"cr":6578265,"cl":6578264,"ct":16119288,"cb":15789809,"ck":3486511,"meta":{"title":"Estádio do Maracanã","community":"Instituto Moreira Salles","rights":null,"date":"16/07/1950 (Data de produção)","contributor":null,"type":null,"subject":["Pessoas (Assuntos); 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Av. - PR - 11-03-1935"],"description":["Fotografia aérea, Foco 24; Altitude 300m; 11:20h"],"coverage":["Paraná - PR"],"source":"Álbum 261 274 - Película oblíqua 461"}},"20.500.12156.1/14461":{"atlas":1,"col":60,"row":6,"cr":9341299,"cl":9340784,"ct":8814429,"cb":8354142,"ck":4209711,"meta":{"title":"Cooperativa Alcoólica da Bahia : Caza dos motores para aspiral o mel e depozito de medição","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[193-]","contributor":null,"type":null,"subject":["Álcool - Indústria - Santo Amaro (BA)","Alcohol industry - Santo Amaro (Bahia, Brazil)","Cooperativas - Santo Amaro (BA)","Cooperative societies - Santo Amaro (Bahia, Brazil)","Edifícios industriais - Santo Amaro (BA)","Industrial buildings - Santo Amaro (Bahia, Brazil)","Engenhos - Santo Amaro (BA)","Sugar mills - Santo Amaro (Bahia, Brazil)","Usinas de açúcar - Santo Amaro (BA)","Sugar factories - Santo Amaro (Bahia, Brazil)"],"description":["1 foto : Cópia fotográfica de gelatina e prata, p&b.","16,1 x 22,4 cm em Papel: 17,3 x 23,6 cm em cartão-suporte: 30 x 36 cm."],"coverage":["Santo Amaro, BA"]}},"20.500.12156.1/14462":{"atlas":1,"col":61,"row":6,"cr":9539197,"cl":9604214,"ct":9209453,"cb":8617574,"ck":4078385,"meta":{"title":"Cooperativa Alcoólica da Bahia : Sala de fermentação","community":"Biblioteca Nacional","rights":null,"date":"[193-?]","contributor":null,"type":null,"subject":["Cooperativas - Santo Amaro (BA)","Cooperative societies - Santo Amaro (Bahia, Brazil)","Engenhos - Santo Amaro (BA)","Sugar mills - Santo Amaro (Bahia, Brazil)","Usinas de açúcar - Santo Amaro (BA)","Sugar factories - Santo Amaro (Bahia, Brazil)","Máquinas - Santo Amaro (BA)","Machinery - Santo Amaro (Bahia, Brazil)"],"description":["1 foto : Cópia fotográfica de gelatina e prata, p&b.","15,5 x 21,6 cm em Papel: 17,3 x 23,5 cm em cartão-suporte: 30 x 36 cm."],"coverage":["Santo Amaro, BA"],"source":"Cooperativa Alcoólica da Bahia"}},"20.500.12156.1/14463":{"atlas":1,"col":62,"row":6,"cr":9341819,"cl":9209457,"ct":8222557,"cb":7827543,"ck":3947055,"meta":{"title":"Cooperativa Alcoólica da Bahia : Secção de Machinas","community":"Biblioteca Nacional","rights":null,"date":"[193-?]","contributor":null,"type":null,"subject":["Cooperativas - Santo Amaro (BA)","Cooperative societies - Santo Amaro (Bahia, Brazil)","Engenhos - Santo Amaro (BA)","Sugar mills - Santo Amaro (Bahia, Brazil)","Usinas de açúcar - Santo Amaro (BA)","Sugar factories - Santo Amaro (Bahia, Brazil)","Máquinas - Santo Amaro (BA)","Machinery - Santo Amaro (Bahia, Brazil)"],"description":["1 foto : Cópia fotográfica de gelatina e prata, p&b.","15,2 x 22 cm em Papel: 17,2 x 23,6 cm em cartão-suporte: 30 x 36 cm."],"coverage":["Santo Amaro, BA"],"source":"Cooperativa Alcoólica da Bahia"}},"20.500.12156.1/14464":{"atlas":1,"col":63,"row":6,"cr":9144180,"cl":9209715,"ct":8222554,"cb":7631196,"ck":4012591,"meta":{"title":"Cooperativa Alcoólica da Bahia : Secção de tanoaria","community":"Biblioteca Nacional","rights":null,"date":"[193-?]","contributor":null,"type":null,"subject":["Cooperativas - Santo Amaro (BA)","Cooperative societies - Santo Amaro (Bahia, Brazil)","Barris - Santo Amaro (BA)","Barrels - Santo Amaro (Bahia, Brazil)","Usinas de açúcar - Santo Amaro (BA)","Sugar factories - Santo Amaro (Bahia, Brazil)","Engenhos - Santo Amaro (BA)","Sugar mills - Santo Amaro (Bahia, Brazil)"],"description":["1 foto : Cópia fotográfica de gelatina e prata, p&b.","15,2 x 22 cm em Papel: 17,2 x 23,5 cm em cartão-suporte:30 x 36 cm."],"coverage":["Santo Amaro, BA"],"source":"Cooperativa Alcoólica da Bahia"}},"20.500.12156.1/14465":{"atlas":1,"col":0,"row":7,"cr":9473404,"cl":9209200,"ct":8157017,"cb":7565147,"ck":4275505,"meta":{"title":"Cooperativa Alcoólica da Bahia : Secção dos aparelhos para [fa]bricação de álcool e aguard[ente]","community":"Biblioteca Nacional","rights":null,"date":"[193-?]","contributor":null,"type":null,"subject":["Álcool - Indústria - Santo Amaro (BA)","Alcohol industry - Santo Amaro (Bahia, Brazil)","Cooperativas - Santo Amaro (BA)","Cooperative societies - Santo Amaro (Bahia, Brazil)","Engenhos - Santo Amaro (BA)","Sugar mills - Santo Amaro (Bahia, Brazil)","Usinas de açúcar - Santo Amaro (BA)","Sugar factories - Santo Amaro (Bahia, Brazil)","Máquinas - Santo Amaro (BA)","Machinery - Santo Amaro (Bahia, Brazil)"],"description":["1 foto : Cópia fotográfica de gelatina e prata, p&b.","15,2 x 22 em Papel: 17,2 x 23,5 cm em cartão-suporte: 30 x 36 cm."],"coverage":["Santo Amaro, BA"],"source":"Cooperativa Alcoólica da Bahia"}},"20.500.12156.1/14466":{"atlas":1,"col":1,"row":7,"cr":9276023,"cl":9406836,"ct":8880226,"cb":8156764,"ck":4604468,"meta":{"title":"Cooperativa Alcoólica da Bahia : Uma secção do edificio","community":"Biblioteca Nacional","rights":null,"date":"[193-?]","contributor":null,"type":null,"subject":["Cooperativas - Santo Amaro (BA)","Cooperative societies - Santo Amaro (Bahia, Brazil)","Edifícios industriais - Santo Amaro (BA)","Industrial buildings - Santo Amaro (Bahia, Brazil)","Usinas de açúcar - Santo Amaro (BA)","Sugar factories - Santo Amaro (Bahia, Brazil)","Engenhos - Santo Amaro (BA)","Sugar mills - Santo Amaro (Bahia, Brazil)"],"description":["1 foto : Cópia fotográfica de gelatina e prata, p&b.","13,2 x 22 cm em Papel: 16,5 x 23,7 cm em cartão-suporte: 30 x 36 cm."],"coverage":["Santo Amaro, BA"],"source":"Cooperativa Alcoólica da Bahia"}},"20.500.12156.1/14467":{"atlas":1,"col":2,"row":7,"cr":9341302,"cl":9472629,"ct":8946017,"cb":8420191,"ck":4670518,"meta":{"title":"Cooperativa Alcoólica da Bahia : Vista lateral do depozito de aguardente e alcool","community":"Biblioteca Nacional","rights":null,"date":"[193-?]","contributor":null,"type":null,"subject":["Cooperativas - Santo Amaro (BA)","Cooperative societies - Santo Amaro (Bahia, Brazil)","Edifícios industriais - Santo Amaro (BA)","Industrial buildings - Santo Amaro (Bahia, Brazil)","Engenhos - Santo Amaro (BA)","Sugar mills - Santo Amaro (Bahia, Brazil)","Usinas de açúcar - Santo Amaro (BA)","Sugar factories - Santo Amaro (Bahia, Brazil)"],"description":["1 foto : Cópia fotográfica de gelatina e prata, p&b.","14,5 x 20,9 cm em Papel: 17,2 x 23,5 cm em cartão-suporte: 30 x 36 cm."],"coverage":["Santo Amaro, BA"],"source":"Cooperativa Alcoólica da Bahia"}},"20.500.12156.1/14468":{"atlas":1,"col":3,"row":7,"cr":9341819,"cl":9472632,"ct":8749152,"cb":8025176,"ck":4472884,"meta":{"title":"Cooperativa Alcoólica da Bahia : Cazas de residências dos Chimico e o Secretário da Administração","community":"Biblioteca Nacional","rights":null,"date":"[193-?]","contributor":null,"type":null,"subject":["Cooperativas - Santo Amaro (BA)","Cooperative societies - Santo Amaro (Bahia, Brazil)","Edifícios industriais - Santo Amaro (BA)","Industrial buildings - Santo Amaro (Bahia, Brazil)","Engenhos - Santo Amaro (BA)","Sugar mills - Santo Amaro (Bahia, Brazil)","Usinas de açúcar - Santo Amaro (BA)","Sugar factories - Santo Amaro (Bahia, Brazil)"],"description":["1 foto : Cópia fotográfica de gelatina e prata, p&b.","14,6 x 21,9 cm em Papel: 16,6 x 23,6 cm em cartão-suporte: 30 x 36 cm."],"coverage":["Santo Amaro, BA"],"source":"Cooperativa Alcoólica da Bahia"}},"20.500.12156.1/14469":{"atlas":1,"col":4,"row":7,"cr":9341819,"cl":9472632,"ct":8749152,"cb":8025176,"ck":4472884,"meta":{"title":"Cooperativa Alcoólica da Bahia : Escriptorio","community":"Biblioteca Nacional","rights":null,"date":"[193-?]","contributor":null,"type":null,"subject":["Cooperativas - Santo Amaro (BA)","Cooperative societies - Santo Amaro (Bahia, Brazil)","Edifícios industriais - Santo Amaro (BA)","Industrial buildings - Santo Amaro (Bahia, Brazil)","Engenhos - Santo Amaro (BA)","Sugar mills - Santo Amaro (Bahia, Brazil)","Usinas de açúcar - Santo Amaro (BA)","Sugar factories - Santo Amaro (Bahia, Brazil)"],"description":["1 foto : Cópia fotográfica de gelatina e prata, p&b.","15,2 x 22 cm em Papel: 17 x 23,5 cm em cartão-suporte: 30 x 36 cm."],"coverage":["Santo Amaro, BA"],"source":"Cooperativa Alcoólica da Bahia"}},"20.500.12156.1/14470":{"atlas":1,"col":5,"row":7,"cr":9077868,"cl":9077610,"ct":8222041,"cb":8156506,"ck":4143917,"meta":{"title":"Cooperativa Alcoólica da Bahia : Escriptorio e Administração","community":"Biblioteca Nacional","rights":null,"date":"[193-?]","contributor":null,"type":null,"subject":["Cooperativas - Santo Amaro (BA)","Cooperative societies - Santo Amaro (Bahia, Brazil)","Engenhos - Santo Amaro (BA)","Sugar mills - Santo Amaro (Bahia, Brazil)","Escritórios - Santo Amaro (BA)","Offices - Santo Amaro (Bahia, Brazil)","Usinas de açúcar - Santo Amaro (BA)","Sugar factories - Santo Amaro (Bahia, Brazil)"],"description":["1 foto : Cópia fotográfica de gelatina e prata, p&b.","14,7 x 20,3 cm em Papel: 17,2 x 23,6 cm em cartão-suporte: 30 x 36 cm."],"coverage":["Santo Amaro, BA"],"source":"Cooperativa Alcoólica da Bahia"}},"20.500.12156.1/14471":{"atlas":1,"col":6,"row":7,"cr":9670527,"cl":9735802,"ct":8880741,"cb":8352855,"ck":4209970,"meta":{"title":"Cooperativa Alcoólica da Bahia : Pavimento terreo da caza de distilaria","community":"Biblioteca Nacional","rights":null,"date":"[193-?]","contributor":null,"type":null,"subject":["Álcool - Indústria - Santo Amaro (BA)","Alcohol industry - Santo Amaro (Bahia, Brazil)","Cooperativas - Santo Amaro (BA)","Cooperative societies - Santo Amaro (Bahia, Brazil)","Engenhos - Santo Amaro (BA)","Sugar mills - Santo Amaro (Bahia, Brazil)","Máquinas - Santo Amaro (BA)","Machinery - Santo Amaro (Bahia, Brazil)","Usinas de açúcar - Santo Amaro (BA)","Sugar factories - Santo Amaro (Bahia, Brazil)"],"description":["1 foto : Cópia fotográfica de gelatina e prata, p&b.","15,2 x 22 cm em Papel: 17,2 x 23,5 cm em cartão-suporte: 30 x 36 cm."],"coverage":["Santo Amaro, BA"],"source":"Cooperativa Alcoólica da Bahia"}},"20.500.12156.1/14472":{"atlas":1,"col":7,"row":7,"cr":9012080,"cl":8880237,"ct":10327419,"cb":9077614,"ck":4275765,"meta":{"title":"Posto de observação durante a Revolução Constitucionalista. Coronel Cristóvão Barcelos (segurando binóculo, em segundo, da esquerda para direita), Major Juarez Távora (segurando binóculo, em terceiro, da esquerda para direita) e o Major Ernesto Dornelles (em primeiro, esquerda para direita).","community":"Museu da Republica","rights":null,"date":"1932","contributor":null,"type":null,"subject":["Revolução Constitucionalista, 1932","Barcelos, Cristóvão, 1883-1946","Távora, Juarez, 1898-1975","Dornelles, Ernesto, 1897-1964"],"description":["p&b"],"source":"Coleção Cristóvão Barcelos - Museu da República/IBRAM CB-IC-FT-004 [05(1)]"}},"20.500.12156.1/14473":{"atlas":1,"col":8,"row":7,"cr":12695713,"cl":12695452,"ct":5985866,"cb":11774865,"ck":4604729,"meta":{"title":"Coronel Cristóvão Barcelos (primeiro, da esquerda para a direita).","community":"Museu da Republica","rights":null,"date":"1932","contributor":null,"type":null,"subject":["Revolução Constitucionalista, 1932","Barcelos, Cristóvão, 1883-1946"],"description":["p&b"],"source":"Coleção Cristóvão Barcelos - Museu da República/IBRAM CB-IC-FT-004 [05(2)]"}},"20.500.12156.1/14474":{"atlas":1,"col":9,"row":7,"cr":8154964,"cl":10062960,"ct":9405033,"cb":11378556,"ck":4669748,"meta":{"title":"Coronel Cristóvão Barcelos","community":"Museu da Republica","rights":null,"date":"1932","contributor":null,"type":null,"subject":["Revolução Constitucionalista, 1932","Barcelos, Cristóvão, 1883-1946"],"description":["p&b"],"source":"Coleção Cristóvão Barcelos - Museu da República/IBRAM CB-IC-FT-004 [05(3)]"}},"20.500.12156.1/14475":{"atlas":1,"col":10,"row":7,"cr":12300181,"cl":9996647,"ct":10918266,"cb":10983543,"ck":5064247,"meta":{"title":"Chegada ao Túnel da Mantiqueira em 32. Coronel Cristóvão Barcelos à frente.","community":"Museu da Republica","rights":null,"date":"1932","contributor":null,"type":null,"subject":["Revolução Constitucionalista, 1932","Barcelos, Cristóvão, 1883-1946"],"description":["p&b"],"source":"Coleção Cristóvão Barcelos - Museu da República/IBRAM CB-IC-FT-004 [05(4)]"}},"20.500.12156.1/14476":{"atlas":1,"col":11,"row":7,"cr":8024670,"cl":10787716,"ct":14077105,"cb":12037527,"ck":5196608,"meta":{"title":"Visita do general Góis Monteiro (ao centro), comandante do exército do leste, ao setor do túnel da Mantiqueira sob comando de Cristóvão Barcelos (segundo, da direita para a esquerda). Vê-se também o major Ernesto Dornelles (segundo, da esquerda para direita) e o major Juarez Távora (terceiro, da esquerda para direita).","community":"Museu da Republica","rights":null,"date":"1932","contributor":null,"type":null,"subject":["Revolução Constitucionalista, 1932","Barcelos, Cristóvão, 1883-1946","Monteiro, Góis, 1889-1956","Távora, Juarez, 1898-1975","Dornelles, Ernesto, 1897-1964"],"description":["p&b"],"source":"Coleção Cristóvão Barcelos - Museu da República/IBRAM CB-IC-FT-004 [05(5)]"}},"20.500.12156.1/14477":{"atlas":1,"col":12,"row":7,"cr":7763044,"cl":8749423,"ct":14670016,"cb":7696989,"ck":4605244,"meta":{"title":"Enterro do coronel Fulgêncio da Força Pública Mineira, em Passa Quatro (MG). Vê-se o Coronel Cristóvão Barcelos (à frente, com os braços cruzados) e o então capitão-médico Juscelino Kubitschek (à esquerda de Cristóvão Barcelos).","community":"Museu da Republica","rights":null,"date":"1932","contributor":null,"type":null,"subject":["Revolução Constitucionalista, 1932","Barcelos, Cristóvão, 1883-1946","Kubitschek, Juscelino, 1902-1976"],"description":["p&b"],"source":"Coleção Cristóvão Barcelos - Museu da República/IBRAM CB-IC-FT-004 [05(6)]"}},"20.500.12156.1/14478":{"atlas":1,"col":13,"row":7,"cr":10130557,"cl":10919815,"ct":13024930,"cb":15261893,"ck":5131072,"meta":{"title":"Visita ao hospital da Força Pública Mineira. Vê-se o coronel Cristóvão Barcelos (1ª fila, terceiro, da esquerda para direita) o prefeito de Pará de Minas, Benedito Valadares (1ª fila, quarto, da esquerda para a direita) , Juracy Magalhães (quinto, da esquerda para direita), Manoel Linhares, Washington Pires e o capitão médico de corporação, Juscelino Kubitschek (3ª fila, de cima para baixo, ao centro).","community":"Museu da Republica","rights":null,"date":"1932","contributor":null,"type":null,"subject":["Revolução Constitucionalista, 1932","Barcelos, Cristóvão, 1883-1946","Kubitschek, Juscelino, 1902-1976","Valadares, Benedito, 1894-1973","Magalhães, Juracy, 1905-2001","Pires, Washington, 1892-1970"],"description":["p&b"],"source":"Coleção Cristóvão Barcelos - Museu da República/IBRAM CB-IC-FT-004 [05(7)]"}},"20.500.12156.1/14479":{"atlas":1,"col":14,"row":7,"cr":8155216,"cl":6970426,"ct":10062438,"cb":6444076,"ck":3814436,"meta":{"title":"Recepção do povo de Campinas ao Estado Maior e ao coronel Cristóvão Barcelos por ocasião da ocupação da cidade pelas forças legalistas em 01/10/1932.","community":"Museu da Republica","rights":null,"date":"1932","contributor":null,"type":null,"subject":["Revolução Constitucionalista, 1932"],"description":["p&b"],"coverage":["Campinas (SP)"],"source":"Coleção Cristóvão Barcelos - Museu da República/IBRAM CB-IC-FT-004 [05(8)]"}},"20.500.12156.1/14480":{"atlas":1,"col":15,"row":7,"cr":9143151,"cl":6774091,"ct":6641477,"cb":13024162,"ck":4143665,"meta":{"title":"Visita de oficiais das forças legalistas ao Palácio da Liberdade após sua vitória sobre o movimento constitucionalista. Vê-se o coronel Cristóvão Barcelos (1ª fila, quinto, da esquerda para direita), Benedito Valadares (1ª fila, quarto da esquerda para direita), Gustavo Capanema (1ª fila, terceiro, da esquerda para direita), Juracy Magalhães (sexto, da esquerda para direita) e Juscelino Kubitschek (primeiro à direita); entre outros não identificados","community":"Museu da Republica","rights":null,"date":"1932","contributor":null,"type":null,"subject":["Revolução Constitucionalista, 1932","Barcelos, Cristóvão, 1883-1946","Kubitschek, Juscelino, 1902-1976","Capanema, Gustavo, 1900-1985","Valadares, Benedito, 1894-1973","Magalhães, Juracy, 1905-2001"],"description":["p&b"],"coverage":["Belo Horizonte (MG)"],"source":"Coleção Cristóvão Barcelos - Museu da República/IBRAM CB-IC-FT-004 [05(9)]"}},"20.500.12156.1/14481":{"atlas":1,"col":16,"row":7,"cr":7761760,"cl":9932669,"ct":10722183,"cb":14340278,"ck":4604473,"meta":{"title":"Visita ao presidente de Minas Gerais, Olegário Maciel (sentado em terceiro, da esquerda para direita) no Palácio da Liberdade. Vê-se também Juracy Magalhães (sentado, à direita), Gustavo Capanema (em pé, entre Maciel, Magalhães e Cristóvão Barcelos, em pé, ao centro)","community":"Museu da Republica","rights":null,"date":"1932","contributor":null,"type":null,"subject":["Revolução Constitucionalista, 1932","Barcelos, Cristóvão, 1883-1946","Capanema, Gustavo, 1900-1985","Magalhães, Juracy, 1905-2001","Maciel, Olegário, 1855-1933"],"description":["p&b"],"coverage":["Belo Horizonte (MG)"],"source":"Coleção Cristóvão Barcelos - Museu da República/IBRAM CB-IC-FT-004 [05(10)]"}},"20.500.12156.1/14482":{"atlas":1,"col":17,"row":7,"cr":10264201,"cl":9277822,"ct":14012597,"cb":9866865,"ck":4408893,"meta":{"title":"Sessão solene no IBGE","community":"Instituto Brasileiro de Geografia e Estatistica","rights":null,"date":"1939","contributor":"IBGE","type":null,"subject":["Palestras e conferências"],"description":["Vista parcial da audiência.","A 1ª Conferência de Agentes Municipais de Estatística aconteceu no Estado do Rio de Janeiro do dia 10/04/1939 a 19/04/1939, com atividades nas cidades de Niterói, Petrópolis e Rio de Janeiro. Os agentes municipais de estatística visitaram diferentes instituições, entre elas um hospital, a Comissão Censitária Nacional, o IBGE, duas prefeituras, duas redações de jornal e as oficinas gráficas do IBGE."],"coverage":["[Rio de Janeiro]"],"source":"Acervo dos eventos institucionais"}},"20.500.12156.1/14483":{"atlas":1,"col":18,"row":7,"cr":7240552,"cl":6122071,"ct":12564111,"cb":8948593,"ck":4737598,"meta":{"title":"Visita ao diretor do departamento estadual de administração dos municípios","community":"Instituto Brasileiro de Geografia e Estatistica","rights":null,"date":"1939","contributor":"IBGE","type":null,"subject":["Palestras e conferências","Visitas oficiais"],"description":["A 1ª Conferência de Agentes Municipais de Estatística aconteceu no Estado do Rio de Janeiro do dia 10/04/1939 a 19/04/1939, com atividades nas cidades de Niterói, Petrópolis e Rio de Janeiro. Os agentes municipais de estatística visitaram diferentes instituições, entre elas um hospital, a Comissão Censitária Nacional, o IBGE, duas prefeituras, duas redações de jornal e as oficinas gráficas do IBGE."],"coverage":["Niterói [RJ]"],"source":"Acervo dos eventos institucionais"}},"20.500.12156.1/14484":{"atlas":1,"col":19,"row":7,"cr":6581335,"cl":9606527,"ct":6843736,"cb":6251082,"ck":3882805,"meta":{"title":"Visita ao interventor federal, no Palácio do Ingá","community":"Instituto Brasileiro de Geografia e Estatistica","rights":null,"date":"1939","contributor":"IBGE","type":null,"subject":["Palestras e conferências","Visitas oficiais"],"description":["A 1ª Conferência de Agentes Municipais de Estatística aconteceu no Estado do Rio de Janeiro do dia 10/04/1939 a 19/04/1939, com atividades nas cidades de Niterói, Petrópolis e Rio de Janeiro. Os agentes municipais de estatística visitaram diferentes instituições, entre elas um hospital, a Comissão Censitária Nacional, o IBGE, duas prefeituras, duas redações de jornal e as oficinas gráficas do IBGE."],"coverage":["Niterói [RJ]"],"source":"Acervo dos eventos institucionais"}},"20.500.12156.1/14485":{"atlas":1,"col":20,"row":7,"cr":7174249,"cl":7503212,"ct":13420718,"cb":5594957,"ck":4343358,"meta":{"title":"Visita ao prefeito municipal de Niterói","community":"Instituto Brasileiro de Geografia e Estatistica","rights":null,"date":"1939","contributor":"IBGE","type":null,"subject":["Palestras e conferências","Visitas oficiais"],"description":["A 1ª Conferência de Agentes Municipais de Estatística aconteceu no Estado do Rio de Janeiro do dia 10/04/1939 a 19/04/1939, com atividades nas cidades de Niterói, Petrópolis e Rio de Janeiro. Os agentes municipais de estatística visitaram diferentes instituições, entre elas um hospital, a Comissão Censitária Nacional, o IBGE, duas prefeituras, duas redações de jornal e as oficinas gráficas do IBGE."],"coverage":["Niterói [RJ]"],"source":"Acervo dos eventos institucionais"}},"20.500.12156.1/14486":{"atlas":1,"col":21,"row":7,"cr":4017469,"cl":3557177,"ct":11514009,"cb":2176814,"ck":3619892,"meta":{"title":"Conferência do Alexander de Morais do IBGE na sessão inaugural","community":"Instituto Brasileiro de Geografia e Estatistica","rights":null,"date":"1939","contributor":"IBGE","type":null,"subject":["Palestras e conferências"],"description":["Realizada na Academia de Letras.","A 1ª Conferência de Agentes Municipais de Estatística aconteceu no Estado do Rio de Janeiro do dia 10/04/1939 a 19/04/1939, com atividades nas cidades de Niterói, Petrópolis e Rio de Janeiro. Os agentes municipais de estatística visitaram diferentes instituições, entre elas um hospital, a Comissão Censitária Nacional, o IBGE, duas prefeituras, duas redações de jornal e as oficinas gráficas do IBGE."],"coverage":["Niterói [RJ]"],"source":"Acervo dos eventos institucionais"}},"20.500.12156.1/14487":{"atlas":1,"col":22,"row":7,"cr":13421491,"cl":5003592,"ct":11512720,"cb":11973785,"ck":4343100,"meta":{"title":"Conferência do Dr. Lauro Viveiro de Castro","community":"Instituto Brasileiro de Geografia e Estatistica","rights":null,"date":"1939","contributor":"IBGE","type":null,"subject":["Palestras e conferências","IBGE"],"description":["Dr. Lauro Viveiro de Castro é assistente técnico do ministério do trabalho, Instituto de Educação. A 1ª Conferência de Agentes Municipais de Estatística aconteceu no Estado do Rio de Janeiro do dia 10/04/1939 a 19/04/1939, com atividades nas cidades de Niterói, Petrópolis e Rio de Janeiro. Os agentes municipais de estatística visitaram diferentes instituições, entre elas um hospital, a Comissão Censitária Nacional, o IBGE, duas prefeituras, duas redações de jornal e as oficinas gráficas do IBGE."],"coverage":["Niterói [RJ]"],"source":"Acervo dos eventos institucionais"}},"20.500.12156.1/14488":{"atlas":1,"col":23,"row":7,"cr":10002573,"cl":7635055,"ct":14340524,"cb":10331282,"ck":4409406,"meta":{"title":"[Conferência do Dr. Lauro Viveiro de Castro]","community":"Instituto Brasileiro de Geografia e Estatistica","rights":null,"date":"1939","contributor":"IBGE","type":null,"subject":["Palestras e conferências"],"description":["Aspecto da assistência.","A 1ª Conferência de Agentes Municipais de Estatística aconteceu no Estado do Rio de Janeiro do dia 10/04/1939 a 19/04/1939, com atividades nas cidades de Niterói, Petrópolis e Rio de Janeiro. Os agentes municipais de estatística visitaram diferentes instituições, entre elas um hospital, a Comissão Censitária Nacional, o IBGE, duas prefeituras, duas redações de jornal e as oficinas gráficas do IBGE."],"coverage":["Niterói [RJ]"],"source":"Acervo dos eventos institucionais"}},"20.500.12156.1/14489":{"atlas":1,"col":24,"row":7,"cr":12500386,"cl":9540734,"ct":13748651,"cb":5790276,"ck":4408892,"meta":{"title":"Visita a redação do jornal O Estado","community":"Instituto Brasileiro de Geografia e Estatistica","rights":null,"date":"1939","contributor":"IBGE","type":null,"subject":["Palestras e conferências","Jornais"],"description":["A 1ª Conferência de Agentes Municipais de Estatística aconteceu no Estado do Rio de Janeiro do dia 10/04/1939 a 19/04/1939, com atividades nas cidades de Niterói, Petrópolis e Rio de Janeiro. Os agentes municipais de estatística visitaram diferentes instituições, entre elas um hospital, a Comissão Censitária Nacional, o IBGE, duas prefeituras, duas redações de jornal e as oficinas gráficas do IBGE."],"coverage":["Niterói [RJ]"],"source":"Acervo dos eventos institucionais"}},"20.500.12156.1/14490":{"atlas":1,"col":25,"row":7,"cr":8094576,"cl":12566438,"ct":13749676,"cb":11381135,"ck":4803650,"meta":{"title":"Conferência do Dr. Luiz Braga do IBGE","community":"Instituto Brasileiro de Geografia e Estatistica","rights":null,"date":"1939","contributor":"IBGE","type":null,"subject":["Palestras e conferências"],"description":["Conferência do dr. Luiz Braga do IBGE. Instituto de Educação de Niterói, Rio de Janeiro.","A 1ª Conferência de Agentes Municipais de Estatística aconteceu no Estado do Rio de Janeiro do dia 10/04/1939 a 19/04/1939, com atividades nas cidades de Niterói, Petrópolis e Rio de Janeiro. Os agentes municipais de estatística visitaram diferentes instituições, entre elas um hospital, a Comissão Censitária Nacional, o IBGE, duas prefeituras, duas redações de jornal e as oficinas gráficas do IBGE."],"coverage":["Niterói [RJ]"],"source":"Acervo dos eventos institucionais"}},"20.500.12156.1/14491":{"atlas":1,"col":26,"row":7,"cr":2572600,"cl":12632754,"ct":6253409,"cb":6121047,"ck":2502442,"meta":{"title":"Visita ao prefeito municipal [Alcindo de Azevedo Sodré (prefeito interino)]","community":"Instituto Brasileiro de Geografia e Estatistica","rights":null,"date":"1939","contributor":"IBGE","type":null,"subject":["Palestras e conferências","Visitas oficiais","Sodré, Alcindo de Azevedo"],"description":["A 1ª Conferência de Agentes Municipais de Estatística aconteceu no Estado do Rio de Janeiro do dia 10/04/1939 a 19/04/1939, com atividades nas cidades de Niterói, Petrópolis e Rio de Janeiro. Os agentes municipais de estatística visitaram diferentes instituições, entre elas um hospital, a Comissão Censitária Nacional, o IBGE, duas prefeituras, duas redações de jornal e as oficinas gráficas do IBGE."],"coverage":["Petrópolis [RJ]"],"source":"Acervo dos eventos institucionais"}},"20.500.12156.1/14492":{"atlas":1,"col":27,"row":7,"cr":8292977,"cl":8161910,"ct":9277037,"cb":9147259,"ck":3752246,"meta":{"title":"[Visita ao prefeito municipal]","community":"Instituto Brasileiro de Geografia e Estatistica","rights":null,"date":"1939","contributor":"IBGE","type":null,"subject":["Palestras e conferências","Visitas oficiais"],"description":["Grupo feito na prefeitura municipal após os cumprimentos.","A 1ª Conferência de Agentes Municipais de Estatística aconteceu no Estado do Rio de Janeiro do dia 10/04/1939 a 19/04/1939, com atividades nas cidades de Niterói, Petrópolis e Rio de Janeiro. Os agentes municipais de estatística visitaram diferentes instituições, entre elas um hospital, a Comissão Censitária Nacional, o IBGE, duas prefeituras, duas redações de jornal e as oficinas gráficas do IBGE."],"coverage":["Petrópolis [RJ]"],"source":"Acervo dos eventos institucionais"}},"20.500.12156.1/14493":{"atlas":1,"col":28,"row":7,"cr":10594447,"cl":6319190,"ct":13355432,"cb":8817781,"ck":4475197,"meta":{"title":"[1ª Conferência de Agentes Municipais de Estatística]","community":"Instituto Brasileiro de Geografia e Estatistica","rights":null,"date":"1939","contributor":"IBGE","type":null,"subject":["Palestras e conferências"],"description":["Aspecto do almoço oferecido pela junta regional de estatística.","A 1ª Conferência de Agentes Municipais de Estatística aconteceu no Estado do Rio de Janeiro do dia 10/04/1939 a 19/04/1939, com atividades nas cidades de Niterói, Petrópolis e Rio de Janeiro. Os agentes municipais de estatística visitaram diferentes instituições, entre elas um hospital, a Comissão Censitária Nacional, o IBGE, duas prefeituras, duas redações de jornal e as oficinas gráficas do IBGE."],"coverage":["Petrópolis [RJ]"],"source":"Acervo dos eventos institucionais"}},"20.500.12156.1/14494":{"atlas":1,"col":29,"row":7,"cr":14933956,"cl":9737854,"ct":14272669,"cb":11249806,"ck":5723720,"meta":{"title":"Estágio dos agentes municipais de estatística na Diretoria de Estatística do Ministério da Educação e Saúde Pública","community":"Instituto Brasileiro de Geografia e Estatistica","rights":null,"date":"1939","contributor":"IBGE","type":null,"subject":["Palestras e conferências","Estágios","Castro, Christovam Leite de, 1904-2002"],"description":["Ao fundo da sala, esq./dir. primeira fileira: Christovam Leite de Castro (9º).","A 1ª Conferência de Agentes Municipais de Estatística aconteceu no Estado do Rio de Janeiro do dia 10/04/1939 a 19/04/1939, com atividades nas cidades de Niterói, Petrópolis e Rio de Janeiro. Os agentes municipais de estatística visitaram diferentes instituições, entre elas um hospital, a Comissão Censitária Nacional, o IBGE, duas prefeituras, duas redações de jornal e as oficinas gráficas do IBGE."],"coverage":["[Rio de Janeiro]"],"source":"Acervo dos eventos institucionais"}},"20.500.12156.1/14495":{"atlas":1,"col":30,"row":7,"cr":5267535,"cl":6386016,"ct":12829348,"cb":5003592,"ck":3620662,"meta":{"title":"[Agentes municipais de estatística visitando o IBGE]","community":"Instituto Brasileiro de Geografia e Estatistica","rights":null,"date":"1939","contributor":"IBGE","type":null,"subject":["Palestras e conferências"],"description":["Agentes municipais de estatística, do estado do Rio de Janeiro, visitando o IBGE.","A 1ª Conferência de Agentes Municipais de Estatística aconteceu no Estado do Rio de Janeiro do dia 10/04/1939 a 19/04/1939, com atividades nas cidades de Niterói, Petrópolis e Rio de Janeiro. Os agentes municipais de estatística visitaram diferentes instituições, entre elas um hospital, a Comissão Censitária Nacional, o IBGE, duas prefeituras, duas redações de jornal e as oficinas gráficas do IBGE."],"coverage":["[Rio de Janeiro]"],"source":"Acervo dos eventos institucionais"}},"20.500.12156.1/14496":{"atlas":1,"col":31,"row":7,"cr":7567973,"cl":8488819,"ct":15722954,"cb":9867378,"ck":4474686,"meta":{"title":"[Agentes municipais de estatística visitando o IBGE]","community":"Instituto Brasileiro de Geografia e Estatistica","rights":null,"date":"1939","contributor":"IBGE","type":null,"subject":["Palestras e conferências"],"description":["Agentes municipais de estatística, do estado do Rio de Janeiro, visitando o IBGE.","A 1ª Conferência de Agentes Municipais de Estatística aconteceu no Estado do Rio de Janeiro do dia 10/04/1939 a 19/04/1939, com atividades nas cidades de Niterói, Petrópolis e Rio de Janeiro. Os agentes municipais de estatística visitaram diferentes instituições, entre elas um hospital, a Comissão Censitária Nacional, o IBGE, duas prefeituras, duas redações de jornal e as oficinas gráficas do IBGE."],"coverage":["[Rio de Janeiro]"],"source":"Acervo dos eventos institucionais"}},"20.500.12156.1/14497":{"atlas":1,"col":32,"row":7,"cr":8094059,"cl":9869184,"ct":12892307,"cb":13684149,"ck":4014135,"meta":{"title":"[Agentes municipais de estatística visitando o IBGE]","community":"Instituto Brasileiro de Geografia e Estatistica","rights":null,"date":"1939","contributor":"IBGE","type":null,"subject":["Palestras e conferências"],"description":["Agentes municipais de estatística, do estado do Rio de Janeiro, visitando o IBGE.","A 1ª Conferência de Agentes Municipais de Estatística aconteceu no Estado do Rio de Janeiro do dia 10/04/1939 a 19/04/1939, com atividades nas cidades de Niterói, Petrópolis e Rio de Janeiro. Os agentes municipais de estatística visitaram diferentes instituições, entre elas um hospital, a Comissão Censitária Nacional, o IBGE, duas prefeituras, duas redações de jornal e as oficinas gráficas do IBGE."],"coverage":["[Rio de Janeiro]"],"source":"Acervo dos eventos institucionais"}},"20.500.12156.1/14498":{"atlas":1,"col":33,"row":7,"cr":13684918,"cl":8949368,"ct":12895140,"cb":5331789,"ck":3948855,"meta":{"title":"[Agentes municipais de estatística visitando o IBGE]","community":"Instituto Brasileiro de Geografia e Estatistica","rights":null,"date":"1939","contributor":"IBGE","type":null,"subject":["Palestras e conferências"],"description":["Agentes municipais de estatística, do estado do Rio de Janeiro, visitando o IBGE.","A 1ª Conferência de Agentes Municipais de Estatística aconteceu no Estado do Rio de Janeiro do dia 10/04/1939 a 19/04/1939, com atividades nas cidades de Niterói, Petrópolis e Rio de Janeiro. Os agentes municipais de estatística visitaram diferentes instituições, entre elas um hospital, a Comissão Censitária Nacional, o IBGE, duas prefeituras, duas redações de jornal e as oficinas gráficas do IBGE."],"coverage":["[Rio de Janeiro]"],"source":"Acervo dos eventos institucionais"}},"20.500.12156.1/14499":{"atlas":1,"col":34,"row":7,"cr":10331023,"cl":10002832,"ct":16579819,"cb":4805699,"ck":4869958,"meta":{"title":"Sessão solene no IBGE","community":"Instituto Brasileiro de Geografia e Estatistica","rights":null,"date":"1939","contributor":"IBGE","type":null,"subject":["Felippe, José Carneiro, 1886-1951","Palestras e conferências","Soares, José Carlos de Macedo, 1883-1968","Bracet, Heitor","Xavier, Rafael, 1894-","Silveira, Ricardo Xavier da"],"description":["Vendo-se Rafael da Silva Xavier, Heitor Bracet, Macedo Soares, Carneiro Felippe e Ricardo da Silveira, Prefeito Municipal de Nova Iguaçu.","Sentados da esq./dir.: Rafael da Silva Xavier (1º), Heitor Bracet (2º), José Carlos Macedo Soares (3º) e José Carneiro Felippe (4º) e Ricardo Xavier da Silveira (5º).","A 1ª Conferência de Agentes Municipais de Estatística aconteceu no Estado do Rio de Janeiro do dia 10/04/1939 a 19/04/1939, com atividades nas cidades de Niterói, Petrópolis e Rio de Janeiro. Os agentes municipais de estatística visitaram diferentes instituições, entre elas um hospital, a Comissão Censitária Nacional, o IBGE, duas prefeituras, duas redações de jornal e as oficinas gráficas do IBGE."],"coverage":["[Rio de Janeiro]"],"source":"Acervo dos eventos institucionais"}},"20.500.12156.1/145":{"atlas":1,"col":35,"row":7,"cr":12954499,"cl":13143403,"ct":11243631,"cb":14600364,"ck":5128497,"meta":{"title":"Estrada de Ferro Minas-Rio : the ants nest","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"1881-1884","contributor":"Ferrez, Marc, 1843-1923","type":"Fotografia","subject":["Casas de madeira - Brasil, Sudeste","Jardins - Brasil, Sudeste","Wooden-frame houses - Brazil, Southeastern","Gardens - Brazil, Southeastern"],"description":["Minas and Rio Railway Brazil : olaria, 4 K., f. [3], foto [5] (18,3 x 25,2 cm)","colódio?, p&b","18,3 x 25,2"],"source":"Thereza Christina Maria","publisher":"Brasil"}},"20.500.12156.1/14500":{"atlas":1,"col":36,"row":7,"cr":12492919,"cl":9732455,"ct":9335889,"cb":8611137,"ck":5655098,"meta":{"title":"[Estrada de Ferro de Paulo Afonso] : Piranhas, ponte de 3 vãos, de 6.0m cada um","community":"Biblioteca Nacional","rights":null,"date":"1880","contributor":"Mendo, Ignácio F., fl. 1870","type":null,"subject":["Estrada de Ferro Paulo Afonso","Ferrovias - Brasil","Railroads - Brazil","Ferrovias - Projetos e construção","Raiboads - Design and construction","Pontes ferroviárias - Piranhas (AL)","Railroad bridges - Piranhas (Alagoas, Brazil)","Piranhas (AL)","Piranhas (Alagoas, Brazil)"],"description":["colódio?, pb.","10 x 14,5 cm."],"coverage":["[Piranhas, AL]"],"source":"Thereza Christina Maria"}},"20.500.12156.1/14501":{"atlas":1,"col":37,"row":7,"cr":12690557,"cl":10060648,"ct":12361065,"cb":11768668,"ck":6115647,"meta":{"title":"[Estrada de Ferro de Paulo Afonso] : Piranhas, Rio S. Francisco, kilo. 03","community":"Biblioteca Nacional","rights":null,"date":"1880","contributor":"Mendo, Ignácio F., fl. 1870","type":null,"subject":["Estrada de Ferro Paulo Afonso","Ferrovias - Brasil","Railroads - Brazil","Ferrovias - Projetos e construção","Raiboads - Design and construction","Piranhas (AL)","Piranhas (Alagoas, Brazil)","São Francisco, Rio","São Francisco River (Minas Gerais-Alagoas and Sergipe, Brazil)"],"description":["colódio?, pb.","10 x 14,5 cm."],"coverage":["Piranhas (AL)","Piranhas (Alagoas, Brazil)","São Francisco, Rio","São Francisco River (Minas Gerais-Alagoas and Sergipe, Brazil)"],"source":"Thereza Christina Maria"}},"20.500.12156.1/14502":{"atlas":1,"col":38,"row":7,"cr":11177582,"cl":10389611,"ct":14533522,"cb":14795657,"ck":5720890,"meta":{"title":"[Estrada de Ferro de Paulo Afonso] : Saccão, boeiro em arco, 2.0m de vão, kilo. 1.","community":"Biblioteca Nacional","rights":null,"date":"1880","contributor":"Mendo, Ignácio F., fl. 1870","type":null,"subject":["Estrada de Ferro Paulo Afonso","Ferrovias - Brasil","Railroads - Brazil","Ferrovias - Projetos e construção","Raiboads - Design and construction","Piranhas (AL)","Piranhas (Alagoas, Brazil)"],"description":["colódio?, pb.","10 x 14,5 cm."],"coverage":["Piranhas (AL)","Piranhas (Alagoas, Brazil)"],"source":"Thereza Christina Maria"}},"20.500.12156.1/14503":{"atlas":1,"col":39,"row":7,"cr":7691849,"cl":11772032,"ct":7296052,"cb":9333311,"ck":5392184,"meta":{"title":"[Estrada de Ferro de Paulo Afonso] : Saccão, Rio S. Francisco, kilo. 1.","community":"Biblioteca Nacional","rights":null,"date":"1880","contributor":"Mendo, Ignácio F., fl. 1870","type":null,"subject":["Estrada de Ferro Paulo Afonso","Ferrovias - Brasil","Railroads - Brazil","Ferrovias - Projetos e construção","Raiboads - Design and construction","Piranhas (AL)","Piranhas (Alagoas, Brazil)","São Francisco, Rio","São Francisco River (Minas Gerais-Alagoas and Sergipe, Brazil)"],"description":["colódio?, pb.","10 x 14,5 cm."],"coverage":["Piranhas (AL)","Piranhas (Alagoas, Brazil)","São Francisco, Rio","São Francisco River (Minas Gerais-Alagoas and Sergipe, Brazil)"],"source":"Thereza Christina Maria"}},"20.500.12156.1/14504":{"atlas":1,"col":40,"row":7,"cr":12822913,"cl":10126437,"ct":9532747,"cb":11834469,"ck":6049853,"meta":{"title":"[Estrada de Ferro de Paulo Afonso] : Rio S. Francisco, Canindé, kilo. 3.","community":"Biblioteca Nacional","rights":null,"date":"1880","contributor":"Mendo, Ignácio F., fl. 1870","type":null,"subject":["Estrada de Ferro Paulo Afonso","Ferrovias - Brasil","Railroads - Brazil","Ferrovias - Projetos e construção","Raiboads - Design and construction","São Francisco, Rio","São Francisco River (Minas Gerais-Alagoas and Sergipe, Brazil)","Canindé de São Francisco (SE)","Canindé de São Francisco (Brazil)"],"description":["colódio?, pb.","10 x 14,5 cm."],"coverage":["Canindé de São Francisco (SE)","Canindé de São Francisco (Brazil)","São Francisco, Rio","São Francisco River (Minas Gerais-Alagoas and Sergipe, Brazil)"],"source":"Thereza Christina Maria"}},"20.500.12156.1/14505":{"atlas":1,"col":41,"row":7,"cr":12164988,"cl":9534306,"ct":12363641,"cb":14467980,"ck":5655098,"meta":{"title":"[Estrada de Ferro de Paulo Afonso] : Pontilhão, 3.0m de vão, kilo. 10","community":"Biblioteca Nacional","rights":null,"date":"1880","contributor":"Mendo, Ignácio F., fl. 1870","type":null,"subject":["Estrada de Ferro Paulo Afonso","Ferrovias - Brasil","Railroads - Brazil","Ferrovias - Projetos e construção","Raiboads - Design and construction"],"description":["colódio?, pb.","10 x 14,5 cm."],"source":"Thereza Christina Maria"}},"20.500.12156.1/14506":{"atlas":1,"col":42,"row":7,"cr":11572589,"cl":10653034,"ct":13283193,"cb":14268021,"ck":5786936,"meta":{"title":"[Estrada de Ferro de Paulo Afonso] : Ponte do Lucu, 15.0m de vão, kilo. 20","community":"Biblioteca Nacional","rights":null,"date":"1880","contributor":"Mendo, Ignácio F., fl. 1870","type":null,"subject":["Estrada de Ferro Paulo Afonso","Ferrovias - Brasil","Railroads - Brazil","Ferrovias - Projetos e construção","Raiboads - Design and construction","Pontes ferroviárias - Brasil, Nordeste","Railroad bridges - Brazil, Northeast"],"description":["colódio?, pb.","10 x 14,5 cm."],"source":"Thereza Christina Maria"}},"20.500.12156.1/14507":{"atlas":1,"col":43,"row":7,"cr":11638130,"cl":10258796,"ct":11967596,"cb":12229485,"ck":5062962,"meta":{"title":"[Estrada de Ferro de Paulo Afonso] : Ponte do Riacho da Onça, 10.0 m. de vão, kilo. 39","community":"Biblioteca Nacional","rights":null,"date":"1880","contributor":"Mendo, Ignácio F., fl. 1870","type":null,"subject":["Estrada de Ferro Paulo Afonso","Ferrovias - 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1961)","type":null,"subject":["Arquitetura rural; Igreja; Ruína"],"coverage":["Serinhaém, Pernambuco, Brasil"],"source":"Gileno de Carli - Fundação Joaquim Nabuco"}},"20.500.12156.1/14686":{"atlas":1,"col":31,"row":10,"cr":9142885,"cl":8090973,"ct":15592936,"cb":15724523,"ck":3946797,"meta":{"title":"Represa do Engenho Bastiões","community":"Fundacao Joaquim Nabuco","rights":null,"date":"1938","contributor":"Julien Mandel (1893 - 1961)","type":null,"subject":["Arquitetura rural","Açude","Torreão"],"coverage":["Gameleira, Pernambuco, Brasil"],"source":"Gileno de Carli - Fundação Joaquim Nabuco"}},"20.500.12156.1/14687":{"atlas":1,"col":32,"row":10,"cr":9932401,"cl":6513497,"ct":15658473,"cb":15856111,"ck":4012593,"meta":{"title":"Capela e Casa Grande do Engenho Jurissaca","community":"Fundacao Joaquim Nabuco","rights":null,"date":"1938","contributor":"Julien Mandel (1893 - 1961)","type":null,"subject":["Arquitetura rural","Beiral"],"coverage":["Cabo de Santo Agostinho, Pernambuco, Brasil"],"source":"Gileno de Carli - Fundação Joaquim Nabuco"}},"20.500.12156.1/14688":{"atlas":1,"col":33,"row":10,"cr":15132638,"cl":15855853,"ct":5987151,"cb":8025696,"ck":3618348,"meta":{"title":"Alegoria na Casa Grande do Engenho Massangana","community":"Fundacao Joaquim Nabuco","rights":null,"date":"1938","contributor":"Julien Mandel (1893 - 1961)","type":null,"subject":["Arquitetura rural","Escultura"],"coverage":["Cabo de Santo Agostinho, Pernambuco, Brasil"],"source":"Gileno de Carli - Fundação Joaquim Nabuco"}},"20.500.12156.1/14689":{"atlas":1,"col":34,"row":10,"cr":11444346,"cl":9603437,"ct":14869210,"cb":15856111,"ck":4998968,"meta":{"title":"Capela e Casa Grande do Engenho Matapiruma","community":"Fundacao Joaquim Nabuco","rights":null,"date":"1938","contributor":"Julien Mandel (1893 - 1961)","type":null,"subject":["Arquitetura rural"],"coverage":["Escada, Pernambuco, Brasil"],"source":"Gileno de Carli - Fundação Joaquim Nabuco"}},"20.500.12156.1/14690":{"atlas":1,"col":35,"row":10,"cr":15724523,"cl":15790318,"ct":6973013,"cb":6907221,"ck":4012591,"meta":{"title":"Casa Grande do Engenho Miranda","community":"Fundacao Joaquim Nabuco","rights":null,"date":"1938","contributor":"Julien Mandel (1893 - 1961)","type":null,"subject":["Arquitetura rural","Palmeira imperial"],"coverage":["Goiana, Pernambuco, Brasil"],"source":"Gileno de Carli - Fundação Joaquim Nabuco"}},"20.500.12156.1/14691":{"atlas":1,"col":36,"row":10,"cr":7893857,"cl":9998198,"ct":15724781,"cb":15395299,"ck":4801849,"meta":{"title":"Capela e Casa Grande do Engenho Monjope","community":"Fundacao Joaquim Nabuco","rights":null,"date":"1938","contributor":"Julien Mandel (1893 - 1961)","type":null,"subject":["Arquitetura rural","Arcada"],"coverage":["Igarassu, Pernambuco, Brasil"],"source":"Gileno de Carli - Fundação Joaquim Nabuco"}},"20.500.12156.1/14692":{"atlas":1,"col":37,"row":10,"cr":11904381,"cl":13679757,"ct":15790060,"cb":15330021,"ck":6313794,"meta":{"title":"Usina Muribeca","community":"Fundacao Joaquim Nabuco","rights":null,"date":"1938","contributor":"Julien Mandel (1893 - 1961)","type":null,"subject":["Arquitetura rural","Fábrica","Caixa d’água","Chaminé","Reservatório"],"coverage":["Jaboatão dos Guararapes, Pernambuco, Brasil"],"source":"Gileno de Carli - Fundação Joaquim Nabuco"}},"20.500.12156.1/14693":{"atlas":1,"col":38,"row":10,"cr":15856110,"cl":15658731,"ct":10000004,"cb":8684661,"ck":5328966,"meta":{"title":"Cruzeiro da capela do Engenho Noruega","community":"Fundacao Joaquim Nabuco","rights":null,"date":"1938","contributor":"Julien Mandel (1893 - 1961)","type":null,"subject":["Arquitetura rural","Paisagem rural","Crucifixo"],"coverage":["Escada, Pernambuco, Brasil"],"source":"Gileno de Carli - Fundação Joaquim Nabuco"}},"20.500.12156.1/14694":{"atlas":1,"col":39,"row":10,"cr":9737092,"cl":10986898,"ct":15856111,"cb":15790317,"ck":5131589,"meta":{"title":"Ruínas da Capela e da Casa Grande do Engenho Noruega","community":"Fundacao Joaquim Nabuco","rights":null,"date":"1938","contributor":"Julien Mandel (1893 - 1961)","type":null,"subject":["Arquitetura rural","Palmeira imperial"],"coverage":["Escada, Pernambuco, Brasil"],"source":"Gileno de Carli - Fundação Joaquim Nabuco"}},"20.500.12156.1/14695":{"atlas":1,"col":40,"row":10,"cr":8487025,"cl":6053203,"ct":15856367,"cb":15593450,"ck":4671294,"meta":{"title":"Ruínas da Casa Grande do Engenho Noruega","community":"Fundacao Joaquim Nabuco","rights":null,"date":"1938","contributor":"Julien Mandel (1893 - 1961)","type":null,"subject":["Arquitetura rural"],"coverage":["Escada, Pernambuco, Brasil"],"source":"Gileno de Carli - Fundação Joaquim Nabuco"}},"20.500.12156.1/14696":{"atlas":1,"col":41,"row":10,"cr":10063472,"cl":10589559,"ct":15790572,"cb":15724779,"ck":5196090,"meta":{"title":"Usina Timboassú","community":"Fundacao Joaquim Nabuco","rights":null,"date":"1938","contributor":"Julien Mandel (1893 - 1961)","type":null,"subject":["Arquitetura rural","Cana de açúcar","Canavial","Fábrica","Chaminé"],"coverage":["Escada, Pernambuco, Brasil"],"source":"Gileno de Carli - Fundação Joaquim Nabuco"}},"20.500.12156.1/14697":{"atlas":1,"col":42,"row":10,"cr":8025181,"cl":7762270,"ct":15395042,"cb":15724782,"ck":4078383,"meta":{"title":"Senzala, Capela e Casa Grande do Engenho Trapiche","community":"Fundacao Joaquim Nabuco","rights":null,"date":"1938","contributor":"Julien Mandel (1893 - 1961)","type":null,"subject":["Arquitetura rural","Ruína"],"coverage":["Cabo de Santo Agostinho, Pernambuco, Brasil"],"source":"Gileno de Carli - Fundação Joaquim Nabuco"}},"20.500.12156.1/14698":{"atlas":1,"col":43,"row":10,"cr":6775893,"cl":8485218,"ct":15790573,"cb":15790572,"ck":3815213,"meta":{"title":"Aqueduto","community":"Fundacao Joaquim Nabuco","rights":null,"date":"1938","contributor":"Julien Mandel (1893 - 1961)","type":null,"subject":["Arquitetura rural","Cana de açúcar","Arcada"],"coverage":["Pernambuco, Brasil"],"source":"Gileno de Carli - Fundação Joaquim Nabuco"}},"20.500.12156.1/14699":{"atlas":1,"col":44,"row":10,"cr":9209196,"cl":10524023,"ct":15461606,"cb":15856111,"ck":4933433,"meta":{"title":"Usina Aliança","community":"Fundacao Joaquim Nabuco","rights":null,"date":"1938","contributor":"Julien Mandel (1893 - 1961)","type":null,"subject":["Arquitetura rural","Fábrica","Chaminé"],"coverage":["Aliança, Pernambuco, Brasil"],"source":"Gileno de Carli - Fundação Joaquim Nabuco"}},"20.500.12156.1/147":{"atlas":1,"col":45,"row":10,"cr":14863539,"cl":12626057,"ct":12822915,"cb":13020552,"ck":5457463,"meta":{"title":"Minas and Rio Railway-Brazil : tunnel, 6 K.","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"1881-1884","contributor":"Ferrez, Marc, 1843-1923","type":"Fotografia","subject":["Estrada de Ferro Minas e Rio","Túneis ferroviários - Brasil, Sudeste","Ferrovias - Brasil, Sudeste","Ferrovias - Projetos e construção - Brasil, Sudeste","Ferrovias - Manutenção e reparos - Brasil, Sudeste","Railroad tunnels - Brazil, Southeastern","Railroads - Brazil, Southeastern","Railroads - Design and construction - Brazil, Southeastern","Railroads - Maintenance and repair - Brazil, Southeastern"],"description":["Minas and Rio Railway-Brazil : tunnel, 13 K 300, f. [4], foto [7] (25,4 x 18,2 cm)","colódio?, p&b","25,2 x 18,2"],"source":"Thereza Christina Maria","publisher":"Brasil"}},"20.500.12156.1/14700":{"atlas":1,"col":46,"row":10,"cr":8945765,"cl":10786419,"ct":15856365,"cb":15790316,"ck":4867382,"meta":{"title":"Usina Santa Terezinha","community":"Fundacao Joaquim Nabuco","rights":null,"date":"1938","contributor":"Julien Mandel (1893 - 1961)","type":null,"subject":["Arquitetura rural","Fábrica","Art Déco"],"coverage":["Água Preta, Pernambuco, Brasil"],"source":"Gileno de Carli - Fundação Joaquim Nabuco"}},"20.500.12156.1/14701":{"atlas":1,"col":47,"row":10,"cr":7301458,"cl":8025179,"ct":15724267,"cb":15592936,"ck":3683368,"meta":{"title":"Cana de açúcar","community":"Fundacao Joaquim Nabuco","rights":null,"date":"1938","contributor":"Julien Mandel (1893 - 1961)","type":null,"subject":["Vegetação"],"coverage":["Pernambuco, Brasil"],"source":"Gileno de Carli - Fundação Joaquim Nabuco"}},"20.500.12156.1/14702":{"atlas":1,"col":48,"row":10,"cr":6907480,"cl":10655092,"ct":15856366,"cb":15790574,"ck":4538419,"meta":{"title":"Usina Catende [foto1]","community":"Fundacao Joaquim Nabuco","rights":null,"date":"1938","contributor":"Julien Mandel (1893 - 1961)","type":null,"subject":["Arquitetura","Fábrica","Chaminé","Cana de açúcar","Paisagem"],"coverage":["Catende, Pernambuco, Brasil"],"source":"Gileno de Carli - Fundação Joaquim Nabuco"}},"20.500.12156.1/14703":{"atlas":1,"col":49,"row":10,"cr":9012333,"cl":7630943,"ct":15856365,"cb":15790317,"ck":3815728,"meta":{"title":"Usina Catende [foto2]","community":"Fundacao Joaquim Nabuco","rights":null,"date":"1938","contributor":"Julien Mandel (1893 - 1961)","type":null,"subject":["Arquitetura","Fábrica","Chaminé"],"coverage":["Catende, Pernambuco, Brasil"],"source":"Gileno de Carli - Fundação Joaquim Nabuco"}},"20.500.12156.1/14704":{"atlas":1,"col":50,"row":10,"cr":9999468,"cl":6975058,"ct":11381881,"cb":9735776,"ck":5855294,"meta":{"title":"Arvore monumental do Amazonas... : gameleira do Amazonas","community":"Biblioteca Nacional","rights":null,"date":"[1906]","contributor":"Moura, Miguel de, n. 1883","type":null,"subject":["Árvores - Amazonas","Cópia fotográfica de colódio","Trees - Amazonas","Collodion printing-out paper prints"],"description":["Estúdio: Photographia Artística Miguel de Moura.","Depósito Legal do autor Miguel de Moura Cavalcanti, Phot.","Carimbos (tinta) do fotógrafo no cartão-suporte: \"M. Moura\" (frente), e do estúdio no verso: \"Photographia Artística Miguel de Moura\".","Legenda manuscrita a tinta no verso do cartão-suporte \"Arvore monumental do Amazonas, medindo seguramente uns 4 metros de espessura. Photographia apanhada em 1906 no rio Acre. Defronte da Vila do Xapury fica esta arvore, a margem esquerda do Acre. Gameleira do Amazonas. Miguel de Moura Phot 3$000\".","colódio, p&b.","12,2 x 17 cm em cartão-suporte: 13,5 x 18,5 cm."]}},"20.500.12156.1/14705":{"atlas":1,"col":51,"row":10,"cr":15002805,"cl":14937786,"ct":10066030,"cb":8224093,"ck":6645837,"meta":{"title":"Sítio Pirapora : Propriedade do Cel. José de Moura Cavalcante, sua residência.","community":"Biblioteca Nacional","rights":null,"date":"[190-?]","contributor":"Moura, Miguel de, n. 1883","type":null,"subject":["Cópia fotográfica de colódio","Collodion printing-out paper prints"],"description":["Depósito Legal do autor Miguel de Moura Cavalcante, Phot.","Carimbo (tinta) do fotógrafo no cartão-suporte: \"M. Moura\".","Legenda manuscrita a tinta no verso do cartão-suporte.","Marca do estúdio (carimbo tinta) no verso do cartão-suporte (bastante esmaecido): \"Photographia Artística de Miguel de Moura...\".","Nome do fotógrafo manuscrito a tinta no verso do cartão-suporte: \"Miguel de Moura Cavalcante Pht.\".","Pesquisa: justificativa para a data: 1885: data do início do uso do colódio em processos fotográficos; 1909: data manuscrita no verso do cartão-suporte (registro antigo).","colódio, p&b.","11 x 9 cm em cartão-suporte: 16 x 12,5 cm."],"coverage":["Ceará","Ceara (Brazil : State)"]}},"20.500.12156.1/14706":{"atlas":1,"col":52,"row":10,"cr":12105344,"cl":12500615,"ct":6974804,"cb":10328434,"ck":6513736,"meta":{"title":"Vila de Jaguaribe Mirim, à margem direita do rio Banabuyú.","community":"Biblioteca Nacional","rights":null,"date":"[190-?]","contributor":"Moura, Miguel de, n. 1883","type":null,"subject":["Cidades e vilas - Jaguaribe (CE)","Ceará","Ceara (Brazil : State)","Cópia fotográfica de colódio","Cities and towns - Jaguaribe (Ceará, Brazil)","Brasil","Collodion printing-out paper prints"],"description":["Depósito Legal do Autor Miguel de Moura Cavalcanti.","Carimbo (tinta) do fotógrafo no cartão-suporte: \"M. Moura\", e do estúdio no verso: \"Photographia Artística Miguel de Moura\".","Legenda manuscrita a tinta no verso do cartão-suporte: \"Este branco que se vê ao lado esquerdo da photographia é o rio\".","Pesquisa: justificativa para a data: 1885: data do início do uso do colódio em processos fotográficos; 1909: data manuscrita no verso do cartão-suporte (registro antigo).","colódio, p&b.","12,2 x 17 cm em cartão-suporte: 13,5 x 18,5 cm."],"coverage":["Ceará","Ceara (Brazil : State)"]}},"20.500.12156.1/14707":{"atlas":1,"col":53,"row":10,"cr":12104830,"cl":10853741,"ct":11380855,"cb":11708793,"ck":5986879,"meta":{"title":"Um trecho da rua Major Augustino : photographia apanhada em ocasião da meninada reunida por subir no pau de sebo. DIvertimento muito vulgar no Ceará.","community":"Biblioteca Nacional","rights":null,"date":"[190-?]","contributor":"Moura, Miguel de, n. 1883","type":null,"subject":["Crianças - Maranguape (CE)","Ceará","Ceara (Brazil : State)","Cópia fotográfica de colódio","Childrens - Maranguape (Ceará, Brazil)","Brasil","Collodion printing-out paper prints"],"description":["Depósito Legal do Autor Miguel de Moura Cavalcanti.","Carimbo (tinta) do fotógrafo no cartão-suporte: \"M. Moura\", e do estúdio no verso: \"Photographia Artística Miguel de Moura\".","Legenda manuscrita a tinta no verso do cartão-suporte.","Pesquisa: justificativa para a data: 1885: data do início do uso do colódio em processos fotográficos; 1909: data manuscrita no verso do cartão-suporte (registro antigo).","colódio, p&b.","12,2 x 17 cm em cartão-suporte: 13,5 x 18,5 cm."],"coverage":["Ceará","Ceara (Brazil : State)"]}},"20.500.12156.1/14708":{"atlas":1,"col":54,"row":10,"cr":15724264,"cl":15396070,"ct":11315869,"cb":15000019,"ck":5000262,"meta":{"title":"Engenho Poço Comprido [foto 1]","community":"Fundacao Joaquim Nabuco","rights":null,"date":"[195-?]","contributor":"Julien Mandel (1893 - 1961)","type":null,"subject":["Arquitetura rural","Igreja","Casa Grande"],"coverage":["Vicência, Pernambuco, Brasil"],"source":"Coleção Engenhos e Usinas do Brasil - Fundação Joaquim Nabuco"}},"20.500.12156.1/14709":{"atlas":1,"col":55,"row":10,"cr":15198689,"cl":15922415,"ct":11908008,"cb":15197403,"ck":5329228,"meta":{"title":"Engenho Poço Comprido [foto 2]","community":"Fundacao Joaquim Nabuco","rights":null,"date":"[195-?]","contributor":"Julien Mandel (1893 - 1961)","type":null,"subject":["Arquitetura rural","Moita","Chaminé"],"coverage":["Vicência, Pernambuco, Brasil"],"source":"Coleção Engenhos e Usinas do Brasil - Fundação Joaquim Nabuco"}},"20.500.12156.1/14710":{"atlas":1,"col":56,"row":10,"cr":16442338,"cl":16639720,"ct":7492937,"cb":6507847,"ck":3483683,"meta":{"title":"Maria, filha de Delmiro Gouveia","community":"Fundacao Joaquim Nabuco","rights":null,"date":null,"contributor":"Julien Mandel (1893 - 1961)","type":null,"subject":["Retrato","Mulher","Estúdio"],"coverage":["Paris, França"],"source":"Coleção Delmiro Gouveia - Fundação Joaquim Nabuco"}},"20.500.12156.1/14711":{"atlas":1,"col":57,"row":10,"cr":7109743,"cl":6123359,"ct":14737098,"cb":6056281,"ck":4146494,"meta":{"title":"[Visita dos agentes municipais de estatística às oficinas gráficas do IBGE]","community":"Instituto Brasileiro de Geografia e Estatistica","rights":null,"date":"1939","contributor":null,"type":null,"subject":["Palestras e conferências"],"description":["Visita dos agentes municipais de estatística do Estado do Rio de Janeiro às oficinas gráficas do IBGE.","No centro Renato Americano, 1º chefe das oficinas gráficas do IBGE, Rio de Janeiro em 1939.","Primeira fileira esq./dir.: José Carneiro Felippe (3º)."],"coverage":["Rio de Janeiro"],"source":"Acervo dos eventos institucionais"}},"20.500.12156.1/14712":{"atlas":1,"col":58,"row":10,"cr":7436391,"cl":9868925,"ct":12300170,"cb":12696996,"ck":4606014,"meta":{"title":"Macedo de Soares discursando [na] visita dos agentes municipais de estatística","community":"Instituto Brasileiro de Geografia e Estatistica","rights":null,"date":"1939","contributor":null,"type":null,"subject":["Bracet, Heitor","Soares, José Carlos de Macedo, 1883-1968","Felippe, José Carneiro, 1886-1951","Silveira, Ricardo Xavier da","Palestras e conferências"],"description":["Visita dos agentes municipais de estatística do Estado do Rio de Janeiro, no IBGE.","Esq./dir.: Heitor Bracet (1º), José Carlos Macedo Soares (2º) e José Carneiro Felippe (3º) e Ricardo Xavier da Silveira (4º).","A 1ª Conferência de Agentes Municipais de Estatística aconteceu no Estado do Rio de Janeiro do dia 10/04/1939 a 19/04/1939, com atividades nas cidades de Niterói, Petrópolis e Rio de Janeiro. Os agentes municipais de estatística visitaram diferentes instituições, entre elas um hospital, a Comissão Censitária Nacional, o IBGE, duas prefeituras, duas redações de jornal e as oficinas gráficas do IBGE."],"coverage":["Rio de Janeiro"],"source":"Acervo dos eventos institucionais"}},"20.500.12156.1/14713":{"atlas":1,"col":59,"row":10,"cr":10922388,"cl":10133133,"ct":12893346,"cb":7436385,"ck":5000773,"meta":{"title":"[Discurso de Ricardo da Silveira na] 1ª Conferência de Agentes Municipais de Estatística","community":"Instituto Brasileiro de Geografia e Estatistica","rights":null,"date":"1939","contributor":null,"type":null,"subject":["Silveira, Ricardo Xavier da","Palestras e conferências"],"description":["Discurso de Ricardo da Silveira (Ricardo Xavier da Silveira), prefeito de Nova Iguaçu, no IBGE.","A 1ª Conferência de Agentes Municipais de Estatística aconteceu no Estado do Rio de Janeiro do dia 10/04/1939 a 19/04/1939, com atividades nas cidades de Niterói, Petrópolis e Rio de Janeiro. Os agentes municipais de estatística visitaram diferentes instituições, entre elas um hospital, a Comissão Censitária Nacional, o IBGE, duas prefeituras, duas redações de jornal e as oficinas gráficas do IBGE."],"coverage":["Rio de Janeiro"],"source":"Acervo dos eventos institucionais"}},"20.500.12156.1/14714":{"atlas":1,"col":60,"row":10,"cr":7831137,"cl":10395000,"ct":7961691,"cb":13155478,"ck":4408630,"meta":{"title":"[Discurso de Nelson Rodrigues na] 1ª Conferência de Agentes Municipais de Estatística","community":"Instituto Brasileiro de Geografia e Estatistica","rights":null,"date":"1939","contributor":null,"type":null,"subject":["Palestras e conferências"],"description":["Discurso de Nelson Rodrigues, diretor da estatística fluminense.","A 1ª Conferência de Agentes Municipais de Estatística aconteceu no Estado do Rio de Janeiro do dia 10/04/1939 a 19/04/1939, com atividades nas cidades de Niterói, Petrópolis e Rio de Janeiro. Os agentes municipais de estatística visitaram diferentes instituições, entre elas um hospital, a Comissão Censitária Nacional, o IBGE, duas prefeituras, duas redações de jornal e as oficinas gráficas do IBGE."],"coverage":["Rio de Janeiro"],"source":"Acervo dos eventos institucionais"}},"20.500.12156.1/14715":{"atlas":1,"col":61,"row":10,"cr":8686197,"cl":10724493,"ct":14934212,"cb":9471601,"ck":4540478,"meta":{"title":"Discurso [de Mário Augusto Teixeira Freitas na] 1ª Conferência de Agentes Municipais de Estatística","community":"Instituto Brasileiro de Geografia e Estatistica","rights":null,"date":"1939","contributor":null,"type":null,"subject":["Bracet, Heitor","Felippe, José Carneiro, 1886-1951","Freitas, M. A. Teixeira de (Mário Augusto Teixeira de), 1890-1956","Silveira, Ricardo Xavier da","Soares, José Carlos de Macedo, 1883-1968","Xavier, Rafael, 1894-","Palestras e conferências"],"description":["1ª Conferência de Agentes Municipais de Estatística - discurso do M. A, Teixeira Freitas no IBGE. Vendo-se Rafael da Silva Xavier, Heitor Bracet, Macedo Soares, Carneiro Felippe e Ricardo da Silveira, Prefeito Municipal de Nova Iguaçu. Sentados da esq./dir.: Rafael da Silva Xavier (1º), Heitor Bracet (2º), José Carlos Macedo Soares (3º) e José Carneiro Felippe (4º) e Ricardo Xavier da Silveira (5º).","A 1º Conferência de Agentes Municipais de Estatística aconteceu no Estado do Rio de Janeiro do dia 10/04/1939 a 19/04/1939, com atividades nas cidades de Niterói, Petrópolis e Rio de Janeiro. Os agentes municipais de estatística visitaram diferentes instituições, entre elas um hospital, a Comissão Censitária Nacional, o IBGE, duas prefeituras, duas redações de jornal e as oficinas gráficas do IBGE."],"coverage":["[Rio de Janeiro]"],"source":"Acervo dos eventos institucionais"}},"20.500.12156.1/14716":{"atlas":1,"col":62,"row":10,"cr":8423024,"cl":8291696,"ct":9473389,"cb":10921611,"ck":3948341,"meta":{"title":"Visita à Comissão Censitária Nacional","community":"Instituto Brasileiro de Geografia e Estatistica","rights":null,"date":"1939","contributor":null,"type":null,"subject":["Palestras e conferências","IBGE, Comissão Censitária Nacional","Felippe, José Carneiro, 1886-1951","Mortara, Giorgio, 1885-1967"],"description":["Visita dos agentes municipais de estatística às dependências da Comissão Censitária Nacional do IBGE.","Esq./dir. primeira fileira em pé: José Carneiro Felippe (4º), segunda fileira em pé: Giorgio Mortara (5º).","A 1ª Conferência de Agentes Municipais de Estatística aconteceu no Estado do Rio de Janeiro do dia 10/04/1939 a 19/04/1939, com atividades nas cidades de Niterói, Petrópolis e Rio de Janeiro. Os agentes municipais de estatística visitaram diferentes instituições, entre elas um hospital, a Comissão Censitária Nacional, o IBGE, duas prefeituras, duas redações de jornal e as oficinas gráficas do IBGE."],"coverage":["Rio de Janeiro"],"source":"Acervo dos eventos institucionais"}},"20.500.12156.1/14717":{"atlas":1,"col":63,"row":10,"cr":11579804,"cl":12566958,"ct":12698542,"cb":11380099,"ck":5198152,"meta":{"title":"Visita ao pronto socorro","community":"Instituto Brasileiro de Geografia e Estatistica","rights":null,"date":"1939","contributor":null,"type":null,"subject":["Palestras e conferências","Centros de saúde"],"description":["Agentes municipais visitando o pronto socorro de São Gonçalo.","A 1ª Conferência de Agentes Municipais de Estatística aconteceu no Estado do Rio de Janeiro do dia 10/04/1939 a 19/04/1939, com atividades nas cidades de Niterói, Petrópolis e Rio de Janeiro. Os agentes municipais de estatística visitaram diferentes instituições, entre elas um hospital, a Comissão Censitária Nacional, o IBGE, duas prefeituras, duas redações de jornal e as oficinas gráficas do IBGE."],"coverage":["[São Gonçalo, RJ]"],"source":"Acervo dos eventos institucionais"}},"20.500.12156.1/14718":{"atlas":1,"col":0,"row":11,"cr":9343612,"cl":10659214,"ct":14933440,"cb":6909788,"ck":3948599,"meta":{"title":"Visita à Comissão Censitária Nacional","community":"Instituto Brasileiro de Geografia e Estatistica","rights":null,"date":"1939","contributor":null,"type":null,"subject":["Palestras e conferências","Felippe, José Carneiro, 1886-1951","Bracet, Heitor"],"description":["Visita dos agentes municipais de estatística às dependências da Comissão Censitária Nacional.","Esq./dir. primeira fileira em pé: Heitor Bracet (6º) e José Carneiro Felippe (7º).","A 1ª Conferência de Agentes Municipais de Estatística aconteceu no Estado do Rio de Janeiro do dia 10/04/1939 a 19/04/1939, com atividades nas cidades de Niterói, Petrópolis e Rio de Janeiro. Os agentes municipais de estatística visitaram diferentes instituições, entre elas um hospital, a Comissão Censitária Nacional, o IBGE, duas prefeituras, duas redações de jornal e as oficinas gráficas do IBGE."],"coverage":["Rio de Janeiro"],"source":"Acervo dos eventos institucionais"}},"20.500.12156.1/14719":{"atlas":1,"col":1,"row":11,"cr":11775117,"cl":10328962,"ct":16117199,"cb":15524031,"ck":5592135,"meta":{"title":"Visita ao hospital local","community":"Instituto Brasileiro de Geografia e Estatistica","rights":null,"date":"1939","contributor":null,"type":null,"subject":["Palestras e conferências","Hospitais","Palmier, Luiz, 1893-1955"],"description":["Luiz Palmier saudando os visitantes no hospital local.","A 1ª Conferência de Agentes Municipais de Estatística aconteceu no Estado do Rio de Janeiro do dia 10/04/1939 a 19/04/1939, com atividades nas cidades de Niterói, Petrópolis e Rio de Janeiro. Os agentes municipais de estatística visitaram diferentes instituições, entre elas um hospital, a Comissão Censitária Nacional, o IBGE, duas prefeituras, duas redações de jornal e as oficinas gráficas do IBGE."],"coverage":["[São Gonçalo, RJ]"],"source":"Acervo dos eventos institucionais"}},"20.500.12156.1/14720":{"atlas":1,"col":2,"row":11,"cr":12172197,"cl":10000510,"ct":13747869,"cb":15262663,"ck":5658443,"meta":{"title":"[Visita à Comissão Censitária Nacional]","community":"Instituto Brasileiro de Geografia e Estatistica","rights":null,"date":"1939","contributor":null,"type":null,"subject":["Palestras e conferências","Felippe, José Carneiro, 1886-1951"],"description":["Lanche oferecido aos visitantes, pela comissão censitária.","Esq./dir. primeira fileira em pé: José Carneiro Felippe (11º).","A 1ª Conferência de Agentes Municipais de Estatística aconteceu no Estado do Rio de Janeiro do dia 10/04/1939 a 19/04/1939, com atividades nas cidades de Niterói, Petrópolis e Rio de Janeiro. Os agentes municipais de estatística visitaram diferentes instituições, entre elas um hospital, a Comissão Censitária Nacional, o IBGE, duas prefeituras, duas redações de jornal e as oficinas gráficas do IBGE."],"coverage":["Rio de Janeiro"],"source":"Acervo dos eventos institucionais"}},"20.500.12156.1/14721":{"atlas":1,"col":3,"row":11,"cr":8290925,"cl":8093804,"ct":9999221,"cb":12629653,"ck":3948341,"meta":{"title":"Visita ao hospital local","community":"Instituto Brasileiro de Geografia e Estatistica","rights":null,"date":"1939","contributor":null,"type":null,"subject":["Palestras e conferências","Hospitais"],"description":["A 1ª Conferência de Agentes Municipais de Estatística aconteceu no Estado do Rio de Janeiro do dia 10/04/1939 a 19/04/1939, com atividades nas cidades de Niterói, Petrópolis e Rio de Janeiro. Os agentes municipais de estatística visitaram diferentes instituições, entre elas um hospital, a Comissão Censitária Nacional, o IBGE, duas prefeituras, duas redações de jornal e as oficinas gráficas do IBGE."],"coverage":["[São Gonçalo, RJ]"],"source":"Acervo dos eventos institucionais"}},"20.500.12156.1/14722":{"atlas":1,"col":4,"row":11,"cr":197379,"cl":1118481,"ct":328965,"cb":131586,"ck":592137,"meta":{"title":"Luminária do cine Ipiranga (Título atribuído)","community":"Instituto Moreira Salles","rights":null,"date":"circa 1945","contributor":"Thomaz Farkas","type":null,"subject":["Arquitetura","Cinema","Detalhe"],"description":["Gelatina/ Prata","P&B","Fotografia - Papel","27,8 x 27,0 cm"],"coverage":["Cine Ipiranga","Centro","São Paulo - SP"],"source":"Arquivo Thomaz Farkas/Acervo Instituto Moreira Salles"}},"20.500.12156.1/14723":{"atlas":1,"col":5,"row":11,"cr":2040383,"cl":1382704,"ct":3751257,"cb":2501453,"ck":1711148,"meta":{"title":"Loja Fotoptica e sede do Foto Clube Bandeirante, rua São Bento, 357, atual número 389","community":"Instituto Moreira Salles","rights":"Acervo Instituto Moreira Salles","date":"[circa 1947] (Data de produção)","contributor":"Thomaz Farkas (Autoria)","type":null,"subject":["Espacialidade","Externa (Aspectos formais da imagem); Cena de rua (Assuntos); Pessoa (Assuntos); Comércio (Assuntos)"],"description":["COR","10,16 x 12,7 (imagem)","GELATINA/ Corante","Diapositivo flexível"],"coverage":["Brasil","SP","São Paulo"],"relation":["Thomaz Farkas"]}},"20.500.12156.1/14724":{"atlas":1,"col":6,"row":11,"cr":5588278,"cl":7364172,"ct":4798251,"cb":5916474,"ck":3221538,"meta":{"title":"Melanie Farkas","community":"Instituto Moreira Salles","rights":"Acervo Instituto Moreira Salles","date":"[circa 1947] (Data de produção)","contributor":"Thomaz Farkas (Autoria)","type":null,"subject":["Gênero da Imagem","Retrato (Aspectos formais da imagem); Mulher (Assuntos); Indumentária (Assuntos)"],"description":["COR","10,16 x 12,7 (imagem)","GELATINA/ Corante","Diapositivo flexível"],"coverage":["Brasil","SP","São Paulo"],"relation":["Thomaz Farkas"]}},"20.500.12156.1/14725":{"atlas":1,"col":7,"row":11,"cr":9276813,"cl":11447982,"ct":5131854,"cb":9013641,"ck":4342338,"meta":{"title":"Fila em ponto de ônibus no Anhangabaú","community":"Instituto Moreira Salles","rights":"Acervo Instituto Moreira Salles","date":"1945 (Data de produção)","contributor":"Thomaz Farkas (Autoria)","type":null,"subject":["Pessoa (Assuntos); Aspecto urbano (Assuntos); Espacialidade","Externa (Aspectos formais da imagem); Gênero da Imagem","Retrato (Aspectos formais da imagem); Formato da Imagem","Vertical (Aspectos formais da imagem); Cena de rua (Assuntos); Temporalidade","Diurna (Aspectos formais da imagem)"],"description":["P&B","3,6 x 2,4 (imagem)","GELATINA/ Prata","Negativo flexível"],"coverage":["Brasil","SP","São Paulo","Vale do Anhangabaú"],"relation":["Thomaz Farkas"]}},"20.500.12156.1/14726":{"atlas":1,"col":8,"row":11,"cr":5987163,"cl":4868682,"ct":5789784,"cb":5000268,"ck":2565927,"meta":{"title":"Vista do centro da cidade, com destaque para os edifícios Altino Arantes e Martinelli","community":"Instituto Moreira Salles","rights":"Acervo Instituto Moreira Salles","date":"1940-1949 (Data de produção)","contributor":"Thomaz Farkas (Autoria)","type":null,"subject":["Aspecto urbano (Assuntos); Arquitetura (Assuntos); Espacialidade","Externa (Aspectos formais da imagem); Formato da Imagem","Horizontal (Aspectos formais da imagem); Paisagem (Assuntos); Temporalidade","Diurna (Aspectos formais da imagem)"],"description":["P&B","2,4 x 3,6 (imagem)","GELATINA/ Prata","Negativo flexível"],"coverage":["Brasil","SP","São Paulo","Centro"],"relation":["Thomaz Farkas"]}},"20.500.12156.1/14727":{"atlas":1,"col":9,"row":11,"cr":7829367,"cl":5855577,"ct":5197647,"cb":8618883,"ck":3421236,"meta":{"title":"Gradil do viaduto Santa Ifigênia, série Recortes","community":"Instituto Moreira Salles","rights":"Acervo Instituto Moreira Salles","date":"1945 (Data de produção)","contributor":"Thomaz Farkas (Autoria)","type":null,"subject":["Pessoa (Assuntos); Aspecto urbano (Assuntos); Arquitetura (Assuntos); Estudo artístico (Assuntos); Espacialidade","Externa (Aspectos formais da imagem); Formato da Imagem","Horizontal (Aspectos formais da imagem); Temporalidade","Diurna (Aspectos formais da imagem)"],"description":["P&B","2,4 x 3,6 (imagem)","GELATINA/ Prata","Negativo flexível"],"coverage":["Brasil","SP","São Paulo","Centro"],"relation":["Thomaz Farkas"]}},"20.500.12156.1/14728":{"atlas":1,"col":10,"row":11,"cr":6184542,"cl":11711154,"ct":8816262,"cb":5000268,"ck":3355443,"meta":{"title":"Sombra do fotógrafo José Medeiros","community":"Instituto Moreira Salles","rights":"Acervo Instituto Moreira Salles","date":"1946 (Data de produção)","contributor":"Thomaz Farkas (Autoria)","type":null,"subject":["Pessoa (Assuntos); Estudo artístico (Assuntos); Espacialidade","Externa (Aspectos formais da imagem); Gênero da Imagem","Retrato","Retrato individual (Aspectos formais da imagem); Abstração (Assuntos); Gênero da Imagem","Retrato (Aspectos formais da imagem); Formato da Imagem","Vertical (Aspectos formais da imagem)"],"description":["P&B","3,6 x 2,4 (imagem)","GELATINA/ Prata","Negativo flexível"],"coverage":["Brasil","RJ","Rio de Janeiro"],"relation":["Thomaz Farkas"]}},"20.500.12156.1/14729":{"atlas":1,"col":11,"row":11,"cr":12566463,"cl":13092807,"ct":12500670,"cb":12961221,"ck":6250335,"meta":{"title":"Bailarina na praia","community":"Instituto Moreira Salles","rights":"Acervo Instituto Moreira Salles","date":"1946 (Data de produção)","contributor":"Thomaz Farkas (Autoria)","type":null,"subject":["Lazer / entretenimento (Assuntos); Pessoa (Assuntos); Acidente Geográfico (Assuntos); Arte (Assuntos); Temporalidade","Diurna (Aspectos formais da imagem); Espacialidade","Externa (Aspectos formais da imagem); Gênero da Imagem","Retrato","Retrato individual (Aspectos formais da imagem); Gênero da Imagem","Retrato (Aspectos formais da imagem); Formato da Imagem","Vertical (Aspectos formais da imagem)"],"description":["P&B","3,6 x 2,4 (imagem)","GELATINA/ Prata","Negativo flexível"],"coverage":["Brasil","RJ","Rio de Janeiro"],"relation":["Thomaz Farkas"]}},"20.500.12156.1/14730":{"atlas":1,"col":12,"row":11,"cr":5197647,"cl":7237230,"ct":10329501,"cb":8553090,"ck":3552822,"meta":{"title":"Autorretrato","community":"Instituto Moreira Salles","rights":"Acervo Instituto Moreira Salles","date":"1946 (Data de produção)","contributor":"Thomaz Farkas (Autoria)","type":null,"subject":["Pessoa (Assuntos); Gênero da Imagem","Retrato","Autorretrato (Aspectos formais da imagem); Estudo artístico (Assuntos); Espacialidade","Externa (Aspectos formais da imagem); Formato da Imagem","Horizontal (Aspectos formais da imagem); Gênero da Imagem","Retrato individual (Aspectos formais da imagem); Gênero da Imagem","Retrato (Aspectos formais da imagem)"],"description":["P&B","2,4 x 3,6 (imagem)","GELATINA/ Prata","Negativo flexível"],"coverage":["Brasil","SP","Campos do Jordão"],"relation":["Thomaz Farkas"]}},"20.500.12156.1/14731":{"atlas":1,"col":13,"row":11,"cr":11579568,"cl":11382189,"ct":10921638,"cb":8092539,"ck":4408131,"meta":{"title":"Autorretrato","community":"Instituto Moreira Salles","rights":"Acervo Instituto Moreira Salles","date":"1946 (Data de produção)","contributor":"Thomaz Farkas (Autoria)","type":null,"subject":["Pessoa (Assuntos); Gênero da Imagem","Retrato","Autorretrato (Aspectos formais da imagem); Estudo artístico (Assuntos); Espacialidade","Externa (Aspectos formais da imagem); Formato da Imagem","Horizontal (Aspectos formais da imagem); Gênero da Imagem","Retrato individual (Aspectos formais da imagem); Gênero da Imagem","Retrato (Aspectos formais da imagem)"],"description":["P&B","2,4 x 3,6 (imagem)","GELATINA/ Prata","Negativo flexível"],"coverage":["Brasil","SP","Campos do Jordão"],"relation":["Thomaz Farkas"]}},"20.500.12156.1/14732":{"atlas":1,"col":14,"row":11,"cr":7303023,"cl":6974058,"ct":7895160,"cb":8750469,"ck":3552822,"meta":{"title":"Estádio do Pacaembu","community":"Instituto Moreira Salles","rights":"Acervo Instituto Moreira Salles","date":"1946 (Data de produção)","contributor":"Thomaz Farkas (Autoria)","type":null,"subject":["Futebol (Assuntos); Esporte (Assuntos); Evento / cerimônia (Assuntos); Lazer / entretenimento (Assuntos); Pessoa (Assuntos); Espacialidade","Externa (Aspectos formais da imagem); Formato da Imagem","Horizontal (Aspectos formais da imagem); Gênero da Imagem","Retrato (Aspectos formais da imagem)"],"description":["P&B","2,4 x 3,6 (imagem)","GELATINA/ Prata","Negativo flexível"],"coverage":["Brasil","SP","São Paulo","Pacaembu"],"relation":["Thomaz Farkas"]}},"20.500.12156.1/14733":{"atlas":1,"col":15,"row":11,"cr":4013373,"cl":1447446,"ct":4737096,"cb":1250067,"ck":1710618,"meta":{"title":"Bailarino em coreografia do Balé Russo","community":"Instituto Moreira Salles","rights":"Acervo Instituto Moreira Salles","date":"1946 (Data de produção)","contributor":"Thomaz Farkas (Autoria)","type":null,"subject":["Lazer / entretenimento (Assuntos); Pessoa (Assuntos); Dança (Assuntos); Arte (Assuntos); Gênero da Imagem","Retrato","Retrato individual (Aspectos formais da imagem); Espacialidade","Interna (Aspectos formais da imagem); Gênero da Imagem","Retrato (Aspectos formais da imagem); Formato da Imagem","Vertical (Aspectos formais da imagem)"],"description":["P&B","3,6 x 2,4 (imagem)","GELATINA/ Prata","Negativo flexível"],"coverage":["Brasil","RJ","Rio de Janeiro"],"relation":["Thomaz Farkas"]}},"20.500.12156.1/14734":{"atlas":1,"col":16,"row":11,"cr":4013373,"cl":5329233,"ct":5197647,"cb":3684408,"ck":3026478,"meta":{"title":"Escadaria da galeria Prestes Maia","community":"Instituto Moreira Salles","rights":"Acervo Instituto Moreira Salles","date":"1946 (Data de produção)","contributor":"Thomaz Farkas (Autoria)","type":null,"subject":["Pessoa (Assuntos); Aspecto urbano (Assuntos); Arquitetura (Assuntos); Formato da Imagem","Horizontal (Aspectos formais da imagem); Espacialidade","Interna (Aspectos formais da imagem); Gênero da Imagem","Retrato (Aspectos formais da imagem)"],"description":["P&B","2,4 x 3,6 (imagem)","GELATINA/ Prata","Negativo flexível"],"coverage":["Brasil","SP","São Paulo","Centro"],"relation":["Thomaz Farkas"]}},"20.500.12156.1/14735":{"atlas":1,"col":17,"row":11,"cr":13158600,"cl":12632256,"ct":11842740,"cb":10066329,"ck":4671303,"meta":{"title":"Meninos assistindo a jogo de futebol","community":"Instituto Moreira Salles","rights":"Acervo Instituto Moreira Salles","date":"1941 (Data de produção)","contributor":"Thomaz Farkas (Autoria)","type":null,"subject":["Futebol (Assuntos); Esporte (Assuntos); Flora / vegetação (Assuntos); Lazer / entretenimento (Assuntos); Pessoa (Assuntos); Temporalidade","Diurna (Aspectos formais da imagem); Espacialidade","Externa (Aspectos formais da imagem); Gênero da Imagem","Retrato (Aspectos formais da imagem); Formato da Imagem","Vertical (Aspectos formais da imagem)"],"description":["P&B","3,6 x 2,4 (imagem)","GELATINA/ Prata","Negativo flexível"],"coverage":["Brasil","SP","São Paulo","Estádio do Pacaembu"],"relation":["Thomaz Farkas"]}},"20.500.12156.1/14736":{"atlas":1,"col":18,"row":11,"cr":6776679,"cl":8487297,"ct":9868950,"cb":9408399,"ck":4539717,"meta":{"title":"Roda de samba","community":"Instituto Moreira Salles","rights":"Acervo Instituto Moreira Salles","date":"1946 (Data de produção)","contributor":"Thomaz Farkas (Autoria)","type":null,"subject":["Lazer / entretenimento (Assuntos); Objeto / equipamento (Assuntos); Pessoa (Assuntos); Festa popular (Assuntos); Espacialidade","Externa (Aspectos formais da imagem); Formato da Imagem","Horizontal (Aspectos formais da imagem); Gênero da Imagem","Retrato (Aspectos formais da imagem)"],"description":["P&B","2,4 x 3,6 (imagem)","GELATINA/ Prata","Negativo flexível"],"coverage":["Brasil","RJ","Rio de Janeiro"],"relation":["Thomaz Farkas"]}},"20.500.12156.1/14737":{"atlas":1,"col":19,"row":11,"cr":5658198,"cl":6579300,"ct":14671839,"cb":6645093,"ck":4473924,"meta":{"title":"Roda de samba","community":"Instituto Moreira Salles","rights":"Acervo Instituto Moreira Salles","date":"1946 (Data de produção)","contributor":"Thomaz Farkas (Autoria)","type":null,"subject":["Lazer / entretenimento (Assuntos); Objeto / equipamento (Assuntos); Pessoa (Assuntos); Festa popular (Assuntos); Formato da Imagem","Horizontal (Aspectos formais da imagem); Gênero da Imagem","Retrato (Aspectos formais da imagem)"],"description":["P&B","2,4 x 3,6 (imagem)","GELATINA/ Prata","Negativo flexível"],"coverage":["Brasil","RJ","Rio de Janeiro"],"relation":["Thomaz Farkas"]}},"20.500.12156.1/14738":{"atlas":1,"col":20,"row":11,"cr":3684408,"cl":3487029,"ct":2105376,"cb":592137,"ck":1907997,"meta":{"title":"Vista do morro Dois Irmãos","community":"Instituto Moreira Salles","rights":"Acervo Instituto Moreira Salles","date":"1947 (Data de produção)","contributor":"Thomaz Farkas (Autoria)","type":null,"subject":["Acidente Geográfico (Assuntos); Espacialidade","Externa (Aspectos formais da imagem); Formato da Imagem","Horizontal (Aspectos formais da imagem); Temporalidade","Noturna (Aspectos formais da imagem); Paisagem (Assuntos)"],"description":["P&B","2,4 x 3,6 (imagem)","GELATINA/ Prata","Negativo flexível"],"coverage":["Brasil","RJ","Rio de Janeiro"],"relation":["Thomaz Farkas"]}},"20.500.12156.1/14739":{"atlas":1,"col":21,"row":11,"cr":2302755,"cl":4144959,"ct":1907997,"cb":1907997,"ck":1381653,"meta":{"title":"Cena noturna na avenida São João","community":"Instituto Moreira Salles","rights":"Acervo Instituto Moreira Salles","date":"1940-1949 (Data de produção)","contributor":"Thomaz Farkas (Autoria)","type":null,"subject":["Objeto / equipamento (Assuntos); Pessoa (Assuntos); Aspecto urbano (Assuntos); Espacialidade","Externa (Aspectos formais da imagem); Gênero da Imagem","Retrato","Retrato individual (Aspectos formais da imagem); Temporalidade","Noturna (Aspectos formais da imagem); Gênero da Imagem","Retrato (Aspectos formais da imagem); Formato da Imagem","Vertical (Aspectos formais da imagem)"],"description":["P&B","3,6 x 2,4 (imagem)","GELATINA/ Prata","Negativo flexível"],"coverage":["Brasil","SP","São Paulo","Centro"],"relation":["Thomaz Farkas"]}},"20.500.12156.1/14740":{"atlas":1,"col":22,"row":11,"cr":2500134,"cl":4144959,"ct":5263440,"cb":9079434,"ck":2171169,"meta":{"title":"Boris Kochno, diretor do Balé Russo","community":"Instituto Moreira Salles","rights":"Acervo Instituto Moreira Salles","date":"circa 1946 (Data de produção); 1946 - 1949 (Datas-limite)","contributor":"Thomaz Farkas (Autoria)","type":null,"subject":["Pessoa (Assuntos); Aspecto urbano (Assuntos); Espacialidade","Externa (Aspectos formais da imagem); Formato da Imagem","Horizontal (Aspectos formais da imagem); 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Esporte (Assuntos); Evento / cerimônia (Assuntos); Lazer / entretenimento (Assuntos); Pessoa (Assuntos); Temporalidade","Diurna (Aspectos formais da imagem); Espacialidade","Externa (Aspectos formais da imagem); Formato da Imagem","Horizontal (Aspectos formais da imagem); Gênero da Imagem","Retrato (Aspectos formais da imagem)"],"description":["P&B","2,4 x 3,6 (imagem)","GELATINA/ Prata","Negativo flexível"],"coverage":["Brasil","SP","São Paulo"],"relation":["Thomaz Farkas"]}},"20.500.12156.1/14745":{"atlas":1,"col":27,"row":11,"cr":12105912,"cl":8750469,"ct":10526880,"cb":10263708,"ck":4671303,"meta":{"title":"Arquibancada do estádio do Pacaembu","community":"Instituto Moreira Salles","rights":"Acervo Instituto Moreira Salles","date":"1943 (Data de produção)","contributor":"Thomaz Farkas (Autoria)","type":null,"subject":["Futebol (Assuntos); Esporte (Assuntos); Evento / cerimônia (Assuntos); Lazer / entretenimento (Assuntos); Pessoa (Assuntos); Temporalidade","Diurna (Aspectos formais da imagem); 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Gênero da Imagem","Autorretrato (Aspectos formais da imagem); Formato da Imagem","Vertical (Aspectos formais da imagem)"],"description":["P&B","3,6 x 2,4 (imagem)","GELATINA/ Prata","Negativo flexível"],"coverage":["Brasil","SP","Campos do Jordão"],"relation":["Thomaz Farkas"]}},"20.500.12156.1/148":{"atlas":1,"col":32,"row":11,"cr":11374704,"cl":14863539,"ct":14067590,"cb":12691332,"ck":5588534,"meta":{"title":"Minas and Rio Railway-Brazil : tunnel 13 k 300","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"1881-1884","contributor":"Ferrez, Marc, 1843-1923","type":"Fotografia","subject":["Estrada de Ferro Minas e Rio","Túneis ferroviários - Brasil, Sudeste","Ferrovias - Brasil, Sudeste","Ferrovias - Projetos e construção - Brasil, Sudeste","Ferrovias - Manutenção e reparos - Brasil, Sudeste","Railroad tunnels - Brazil, Southeastern","Railroads - Brazil, Southeastern","Railroads - Design and construction - Brazil, Southeastern","Railroads - Maintenance and repair - Brazil, Southeastern"],"description":["Minas and Rio Railway-Brazil : tunnel, 6 K, f. 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(Brasil)","date":"2016-02-05T12:09:59Z","contributor":"Ferrez, Marc, 1843-1923","type":"Fotografia","subject":["Guanabara, Baía de (RJ) - Madri (Espanha) - Fotografias","Rio de Janeiro (RJ) - Fotografias","Guanabara Bay (Brazil) - Photographs","Rio de Janeiro (Brazil) - Photographs"],"coverage":["Guanabara, Baía de (RJ)","Rio de Janeiro (RJ)"]}},"20.500.12156.1/2796":{"atlas":1,"col":55,"row":28,"cr":8947067,"cl":8881788,"ct":9934215,"cb":11973021,"ck":4276283,"meta":{"title":"Entrée exterieure de Rio","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[ca. 1890]","contributor":"Ferrez, Marc, 1843-1923","type":"Fotografia","subject":["Guanabara, Baía de (RJ)","Pão de Açúcar, Morro do (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Sugar Loaf Mountain (Brazil)","Guanabara Bay (Brazil)","Panoramic views - Rio de Janeiro (Brazil)","Vistas panorâmicas - Rio de Janeiro (RJ)"],"description":["Negativo de segunda geração: n. 12789, triacetato de celulose (DiMic)","Nome e endereço do fotógrafo / editor impressos no cartão-postal: \"Photographie Marc Ferrez, 88, R. S. José\"","Carimbo (tinta) da BN com número e data manuscrita a tinta no cartão-postal: \"Bibliotheca Nacional, Direitos Autoraes, 483, 22 de out. 1903\"","Inscrição sobreposta à imagem devido à migração da tinta ferrogálica de manuscrito no cartão","reprodução fotomecânica,  p&b","14 x 26,5"],"coverage":["Guanabara, Baía de (RJ)","Pão de Açúcar, Morro do (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Sugar Loaf Mountain (Brazil)","Guanabara Bay (Brazil)"],"source":"Ferrez, Marc","publisher":"Photographie Marc Ferrez"}},"20.500.12156.1/2797":{"atlas":1,"col":56,"row":28,"cr":9210239,"cl":9079165,"ct":9934212,"cb":12038814,"ck":4539454,"meta":{"title":"La rade de Rio de Janeiro","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[ca. 1890]","contributor":"Ferrez, Marc, 1843-1923","type":"Fotografia","subject":["Rio de Janeiro (RJ)","Vistas panorâmicas - Rio de Janeiro (RJ)","Panoramic views - Rio de Janeiro (Brazil)","Guanabara, Baía de (RJ)","Guanabara Bay (Brazil)"],"description":["Negativo de segunda geração: n. 12678, triacetato de celulose (DiMic)","Nome e endereço do fotógrafo / editor impressos no cartão-postal: \"Photographie Marc Ferrez, 88, R. S. José\"","Carimbo (tinta) da BN com número e data manuscrita a tinta no cartão-postal: \"Bibliotheca Nacional, Direitos Autoraes, 484, 22 de out. 1903\"","O cartão-postal possui dois furos feitos com furador (lado inferior)","Inscrição sobreposta à imagem devido à migração da tinta ferrogálica de manuscrito no cartão","reprodução fotomecânica, colotipia, p&b","14 x 27,5"],"coverage":["Rio de Janeiro (RJ)","Guanabara, Baía de (RJ)","Guanabara Bay (Brazil)"],"source":"Ferrez, Marc","publisher":"Rio de Janeiro, RJ, Photographie Marc Ferrez"}},"20.500.12156.1/2798":{"atlas":1,"col":57,"row":28,"cr":9539201,"cl":10723473,"ct":10592141,"cb":8157551,"ck":4671039,"meta":{"title":"Baie de Botafogo","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[ca. 1890]","contributor":"Ferrez, Marc, 1843-1923","type":"Fotografia","subject":["Guanabara, Baía de (RJ)","Corcovado, Morro do (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Panoramic views - Rio de Janeiro (Brazil)","Botafogo (Rio de Janeiro (RJ)","Botafogo (Rio de Janeiro, Brazil)","Guanabara Bay (Brazil)","Vistas panorâmicas - Rio de Janeiro (RJ)"],"description":["Negativo de segunda geração: n. 12681, triacetato de celulose (DiMic)","Estado de conservação: regular","Nome e endereço do fotógrafo / editor impressos no cartão-postal: \"Photographie Marc Ferrez, 88, R. S. José\"","Carimbo (tinta) da BN no cartão-postal: \"Bibliotheca Nacional, Direitos Autoraes, 485, 22 de out. 1903\"","Inscrição sobreposta à imagem devido à migração da tinta ferrogálica de manuscrito no cartão","reprodução fotomecânica, colotipia, p&b","14 x 27"],"coverage":["Guanabara, Baía de (RJ)","Corcovado, Morro do (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Botafogo (Rio de Janeiro (RJ)","Botafogo (Rio de Janeiro, Brazil)","Guanabara Bay (Brazil)"],"source":"Ferrez, Marc","publisher":"Rio de Janeiro, RJ, Photographie Marc Ferrez"}},"20.500.12156.1/2799":{"atlas":1,"col":58,"row":28,"cr":7894894,"cl":7565931,"ct":10921107,"cb":12104606,"ck":4144954,"meta":{"title":"Vue topographique de Botafogo","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[ca. 1890]","contributor":"Ferrez, Marc, 1843-1923","type":"Fotografia","subject":["Botafogo (Rio de Janeiro (RJ)","Guanabara, Baía de (RJ)","Pão de Açúcar, Morro do (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Guanabara Bay (Brazil)","Sugar Loaf Mountain (Brazil)","Vistas panorâmicas - Rio de Janeiro (RJ)","Panoramic views - Rio de Janeiro (Brazil)"],"description":["Negativo de segunda geração: n. 12679, triacetato de celulose (DiMic)","Nome e endereço do fotógrafo / editor impressos no cartão-postal: \"Photographie Marc Ferrez, 88, R. S. José\"","Carimbo (tinta) da BN no cartão-postal: \"Bibliotheca Nacional, Direitos Autoraes, 486, 22 de out. 1903\"","O cartão-postal possui dois furos feitos com furador (lado superior)","Inscrição sobreposta à imagem devido à migração da tinta ferrogálica de manuscrito no cartão","reprodução fotomecânica, colotipia, p&b","14 x 28"],"coverage":["Botafogo (Rio de Janeiro (RJ)","Guanabara, Baía de (RJ)","Pão de Açúcar, Morro do (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Guanabara Bay (Brazil)","Sugar Loaf Mountain (Brazil)"],"source":"Ferrez, Marc","publisher":"Rio de Janeiro, RJ, Photographie Marc Ferrez"}},"20.500.12156.1/28":{"atlas":1,"col":59,"row":28,"cr":14669769,"cl":15129802,"ct":1381138,"cb":3354149,"ck":6445131,"meta":{"title":"[Vitória e colônias]","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[1860]","contributor":"Frond, Victor, 1821-1881","type":"Fotografia","subject":["Edifícios - Vitória (ES)","Rios - Espírito Santo (Estado)","Espírito Santo (Estado) - Colônias","Domingos Martins (ES)","Santa Leopoldina (ES)","Buildings - Vitória (Espírito Santo, Brazil)","Rivers - Espírito Santo (Brazil : State)","Espírito Santo (Brazil : State) - Colonies","Domingos Martins (Brazil)","Santa Leopoldina (Brazil)"],"coverage":["Espírito Santo (Estado)","Domingos Martins (ES)","Santa Leopoldina (ES)"],"source":"Thereza Christina Maria"}},"20.500.12156.1/280":{"atlas":1,"col":60,"row":28,"cr":9403484,"cl":8614228,"ct":13876889,"cb":13021575,"ck":4208425,"meta":{"title":"Obras provisorias para canalisação do rio São Pedro : Viaducto da Barra","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"1889","contributor":"Ferrez, Marc, 1843-1923","type":"Fotografia","subject":["Viadutos - Rio de Janeiro (RJ)","Rio de Janeiro (Estado)","Brasil","Viaducts - Brazil - Rio de Janeiro (Brazil : State) - Rio de Janeiro (Brazil)","Rio de Janeiro (Brazil : State) - Administrative and political divisions - Maps, Manuscript","Brazil"],"description":["Com: Obras provisorias para canaliação do rio S. Pedro : Repreza do rio S. Pedro, (foto 26)","colódio?, pb","19 x 24,6"],"coverage":["Rio de Janeiro (Estado)","Brasil","Rio de Janeiro (Brazil : State)"],"source":"Thereza Christina Maria","publisher":"Rio de Janeiro, RJ"}},"20.500.12156.1/2800":{"atlas":1,"col":61,"row":28,"cr":7105122,"cl":8947065,"ct":11381140,"cb":12170397,"ck":4407868,"meta":{"title":"Paquetá","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[ca. 1890]","contributor":"Ferrez, Marc, 1843-1923","type":"Fotografia","subject":["Paquetá, Ilha de (Rio de Janeiro, RJ)","Guanabara, Baía de (RJ)","Rio de Janeiro (RJ)","Vistas panorâmicas - Rio de Janeiro (RJ)","Panoramic views - Rio de Janeiro (Brazil)","Guanabara Bay (Brazil)","Paquetá Island (Brazil)"],"description":["Negativo de segunda geração: n. 12677, triacetato de celulose (DiMic)","Nome e endereço do fotógrafo / editor impressos no cartão-postal: \"Photographie Marc Ferrez, 88, R. S. José\"","Carimbo (tinta) da BN com número e data manuscrita a tinta no cartão-postal: \"Bibliotheca Nacional, Direitos Autoraes, 487, 22 de out. 1903\"","O cartão-postal possui quatro furos feitos com furador (lado superior)","Inscrição sobreposta à imagem devido à migração da tinta ferrogálica de manuscrito no cartão","panorama, reprodução fotomecânica, colotipia, p&b","14 x 27,2"],"coverage":["Paquetá, Ilha de (Rio de Janeiro, RJ)","Guanabara, Baía de (RJ)","Rio de Janeiro (RJ)","Guanabara Bay (Brazil)","Paquetá Island (Brazil)"],"source":"Ferrez, Marc","publisher":"Rio de Janeiro, RJ, Photographie Marc Ferrez"}},"20.500.12156.1/2801":{"atlas":1,"col":62,"row":28,"cr":14473170,"cl":13551038,"ct":65793,"cb":65792,"ck":5196615,"meta":{"title":"Fazenda du Secrétario (Municipe de Vassouras)","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"1859-61","contributor":"Jacottet, Louis-Julien, 1806-1880","type":"Gravura","subject":["Casas de fazenda - Rio de Janeiro (Estado)","Trabalho escravo","Farmhouses - Brazil - Rio de Janeiro (State) - Rio de Janeiro (Brazil : State)","Slave labor"],"source":"Thereza Christina Maria","publisher":"Paris [França], Imp. 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Lemercier"}},"20.500.12156.1/2803":{"atlas":1,"col":0,"row":29,"cr":14670550,"cl":13748674,"ct":65537,"cb":1,"ck":6315096,"meta":{"title":"Fazenda du Governo : Parahyba do Sul","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"1859-61","contributor":"Clerget","type":"Gravura","subject":["Casas de fazenda - Paraíba do Sul (RJ)","Farmhouses - Brazil - Paraíba do Sul (RJ)"],"description":["Casa da fazenda com senhores e damas, escravos trabalhando em frente à mesma"],"source":"Thereza Christina Maria","publisher":"Paris [França], Imp. 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Lemercier"}},"20.500.12156.1/2812":{"atlas":1,"col":10,"row":29,"cr":0,"cl":131072,"ct":13288381,"cb":13947342,"ck":6249561,"meta":{"title":"Transport du bois de la foret","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"1859-61","contributor":"Benoist, Philippe, 1813-1905","type":"Gravura","subject":["Escravos - Brasil - Usos e costumes","Trabalho escravo - Brasil","Slaves - Brazil - Social life and customs","Slave labor - Brazil"],"description":["Publicada com \"Atellage de boeufs\" na mesma prancha"],"source":"Thereza Christina Maria","publisher":"Paris [França], Imp. Lemercier"}},"20.500.12156.1/2813":{"atlas":1,"col":11,"row":29,"cr":65536,"cl":65537,"ct":13288380,"cb":14276050,"ck":6183768,"meta":{"title":"La rape a mandioca","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"1859-61","contributor":"Duruy, A. (Alexandre), fl. 1845-1881","type":"Gravura","subject":["Escravos - Brasil - Usos e costumes","Mandioca - Processamento - Brasil","Slaves - Brazil - Social life and customs","Cassava - Processing - Brazil"],"description":["Publicada com \"Vaches\" na mesma prancha","Mulheres e homens negros trabalhando no preparo da mandioca"],"source":"Thereza Christina Maria","publisher":"Paris [França], Imp. Lemercier"}},"20.500.12156.1/2814":{"atlas":1,"col":12,"row":29,"cr":65536,"cl":65537,"ct":13288380,"cb":14276050,"ck":6183768,"meta":{"title":"Vaches","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"1859-61","contributor":"Duruy, A. (Alexandre), fl. 1845-1881","type":"Gravura","subject":["Escravos - Brasil - Usos e costumes","Ordenha","Slaves - Brazil - Social life and customs","Milking"],"description":["Publicada com \"La rape a mandioca\" na mesma prancha"],"source":"Thereza Christina Maria","publisher":"Paris [França], Imp. 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Paratinga (BA)","Habitações - Paratinga (BA)","Vida ribeirinha - Paratinga (BA)","Paratinga (BA)","Bahia","Brasil","Streets - Paratinga (Bahia, Brazil)","Dwellings - Paratinga (Bahia, Brazil)","Paratinga (Bahia, Brazil)","Bahia (Brazil : State)","Brazil"],"description":["Cópia fotográfica de gelatina e prata, p&b","5,5 x 10 em Papel 7,7 x 11,3 cm cartão-suporte: 15,9 x 22,8"],"coverage":["Paratinga (BA)","Bahia","Brasil","Paratinga (Bahia, Brazil)","Bahia (Brazil : State)","Brazil"],"publisher":"[Paratinga, BA]"}},"20.500.12156.1/2875":{"atlas":1,"col":7,"row":30,"cr":11510406,"cl":11313283,"ct":8550239,"cb":10852725,"ck":5459778,"meta":{"title":"Rio Branco, 71 : [rua]","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[ca. 1927]","contributor":"Gorham, Reginald","type":"Fotografia","subject":["Ruas - Paratinga (BA)","Habitações - Paratinga (BA)","Vida ribeirinha - Paratinga (BA)","Paratinga (BA)","Bahia","Brasil","Streets - Paratinga (Bahia, Brazil)","Dwellings - 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H.","type":"Livro","subject":["Lage, Henrique, 1881-1941","Escola de Artes Visuais do Parque Lage","Habitações - Rio de Janeiro (RJ)","Parque Lage (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Rio de Janeiro (Estado)","Brasil","Fotografia aérea","Dwellings - Rio de Janeiro (Brazil)","Aerial photography","Parque Lage (Rio de Janeiro, Brazil)","Rio de Janeiro (Brazil)","Rio de Janeiro (Brazil : State)","Brazil"],"description":["Cópia fotográfica de gelatina e prata, p&b","Cópia fotográfica de gelatina e prata","15 x 23,7 cm em papel: 15,8 x 24,4 cm"],"coverage":["Parque Lage (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Rio de Janeiro (Estado)","Brasil","Parque Lage (Rio de Janeiro, Brazil)","Rio de Janeiro (Brazil)","Rio de Janeiro (Brazil : State)","Brazil"],"publisher":"Rio de Janeiro, RJ"}},"20.500.12156.1/2891":{"atlas":1,"col":24,"row":30,"cr":10128485,"cl":9602394,"ct":14210499,"cb":11513503,"ck":4866607,"meta":{"title":"Residencia do Dr. José Mariano Filho","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[1930?]","contributor":"Holland, S. 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H.","type":"Livro","subject":["Praias - Rio de Janeiro (RJ)","Leblon (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Rio de Janeiro (Estado)","Brasil","Fotografia aérea","Beaches - Rio de Janeiro (Brazil)","Aerial photography","Leblon (Rio de Janeiro, Brazil)","Rio de Janeiro (Brazil)","Rio de Janeiro (Brazil : State)","Brazil"],"description":["Cópia fotográfica de gelatina e prata, p&b","Cópia fotográfica de gelatina e prata","15 x 23,7 cm em papel: 15,8 x 24,4 cm"],"coverage":["Leblon (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Rio de Janeiro (Estado)","Brasil","Leblon (Rio de Janeiro, Brazil)","Rio de Janeiro (Brazil)","Rio de Janeiro (Brazil : State)","Brazil"],"publisher":"Rio de Janeiro, RJ"}},"20.500.12156.1/2893":{"atlas":1,"col":26,"row":30,"cr":8681043,"cl":8549714,"ct":10723993,"cb":12894898,"ck":4274730,"meta":{"title":"Trecho na Gavea, prox. Lg. Rodr. 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H.","type":"Livro","subject":["Ruas - Rio de Janeiro (RJ)","Gávea (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Rio de Janeiro (Estado)","Brasil","Fotografia aérea","Streets - Rio de Janeiro (Brazil)","Aerial photography","Gávea (Rio de Janeiro, Brazil)","Rio de Janeiro (Brazil)","Rio de Janeiro (Brazil : State)","Brazil"],"description":["Cópia fotográfica de gelatina e prata, p&b","Cópia fotográfica de gelatina e prata","15 x 23,7 cm em papel: 15,7 x 24,4 cm"],"coverage":["Gávea (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Rio de Janeiro (Estado)","Brasil","Gávea (Rio de Janeiro, Brazil)","Rio de Janeiro (Brazil)","Rio de Janeiro (Brazil : State)","Brazil"],"publisher":"Rio de Janeiro, RJ"}},"20.500.12156.1/2894":{"atlas":1,"col":27,"row":30,"cr":9469778,"cl":9206861,"ct":13486526,"cb":11776425,"ck":5064242,"meta":{"title":"Terrenos na Gavea : Barra da Tijuca","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[1930?]","contributor":"Holland, S. H.","type":"Livro","subject":["Praias - Rio de Janeiro (RJ)","Gávea (Rio de Janeiro, RJ)","Barra da Tijuca (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Rio de Janeiro (Estado)","Brasil","Fotografia aérea","Beaches - Rio de Janeiro (Brazil)","Aerial photography","Gávea (Rio de Janeiro, Brazil)","Barra da Tijuca (Rio de Janeiro, Brazil)","Rio de Janeiro (Brazil)","Rio de Janeiro (Brazil : State)","Brazil"],"description":["Cópia fotográfica de gelatina e prata, p&b","Cópia fotográfica de gelatina e prata","15 x 23,6 cm em papel: 15,8 x 24,4 cm"],"coverage":["Gávea (Rio de Janeiro, RJ)","Barra da Tijuca (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Rio de Janeiro (Estado)","Brasil","Gávea (Rio de Janeiro, Brazil)","Barra da Tijuca (Rio de Janeiro, Brazil)","Rio de Janeiro (Brazil)","Rio de Janeiro (Brazil : State)","Brazil"],"publisher":"Rio de Janeiro, RJ"}},"20.500.12156.1/2895":{"atlas":1,"col":28,"row":30,"cr":9404761,"cl":10589806,"ct":14210498,"cb":11513248,"ck":5590845,"meta":{"title":"Barra da Tijuca : terrenos em arruamento","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[1930?]","contributor":"Holland, S. H.","type":"Livro","subject":["Praias - Rio de Janeiro (RJ)","Ruas - Rio de Janeiro (RJ)","Barra da Tijuca (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Rio de Janeiro (Estado)","Brasil","Fotografia aérea","Beaches - Rio de Janeiro (Brazil)","Streets - Rio de Janeiro (Brazil)","Aerial photography","Barra da Tijuca (Rio de Janeiro, Brazil)","Rio de Janeiro (Brazil)","Rio de Janeiro (Brazil : State)","Brazil"],"description":["Cópia fotográfica de gelatina e prata, p&b","Cópia fotográfica de gelatina e prata","17,2 x 22 cm em papel: 17,8 x 22,7 cm"],"coverage":["Barra da Tijuca (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Rio de Janeiro (Estado)","Brasil","Barra da Tijuca (Rio de Janeiro, Brazil)","Rio de Janeiro (Brazil)","Rio de Janeiro (Brazil : State)","Brazil"],"publisher":"Rio de Janeiro, RJ"}},"20.500.12156.1/2896":{"atlas":1,"col":29,"row":30,"cr":8944476,"cl":8681559,"ct":11776162,"cb":10855579,"ck":4209195,"meta":{"title":"Botafogo","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[1930?]","contributor":"Holland, S. H.","type":"Livro","subject":["Baías - Rio de Janeiro (RJ)","Edifícios - Rio de Janeiro (RJ)","Ruas - Rio de Janeiro (RJ)","Rio de Janeiro (Estado)","Rio de Janeiro (RJ)","Botafogo, Praia de (Rio de Janeiro, RJ)","Botafogo, Enseada de (RJ)","Botafogo (Rio de Janeiro, RJ)","Guanabara, Baía de (RJ)","Praias - Rio de Janeiro (RJ)","Brasil","Buildings - Rio de Janeiro (Brazil)","Streets - Rio de Janeiro (Brazil)","Beaches - Rio de Janeiro (Brazil)","Bays - Rio de Janeiro (Brazil)","Botafogo (Rio de Janeiro, Brazil)","Brazil","Guanabara Bay (Brazil)","Botafogo, Praia de (Rio de Janeiro, Brazil)","Botafogo, Enseada de (Rio de Janeiro, Brazil)","Rio de Janeiro (Brazil)","Rio de Janeiro (Brazil : State)"],"description":["Cópia fotográfica de gelatina e prata, p&b","Cópia fotográfica de gelatina e prata","Fotografia aérea","15,1 x 23,7 cm em papel: 15,8 x 24,4 cm"],"coverage":["Rio de Janeiro (Estado)","Rio de Janeiro (RJ)","Botafogo, Praia de (Rio de Janeiro, RJ)","Botafogo, Enseada de (RJ)","Botafogo (Rio de Janeiro, RJ)","Guanabara, Baía de (RJ)","Brasil","Botafogo (Rio de Janeiro, Brazil)","Brazil","Guanabara Bay (Brazil)","Botafogo, Praia de (Rio de Janeiro, Brazil)","Botafogo, Enseada de (Rio de Janeiro, Brazil)","Rio de Janeiro (Brazil)","Rio de Janeiro (Brazil : State)"],"publisher":"Rio de Janeiro, RJ"}},"20.500.12156.1/2897":{"atlas":1,"col":30,"row":30,"cr":9404504,"cl":10655859,"ct":11118749,"cb":13618618,"ck":4932657,"meta":{"title":"Pão d'Assucar e Urca","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[1930?]","contributor":"Holland, S. H.","type":"Livro","subject":["Praias - Rio de Janeiro (RJ)","Ruas - Rio de Janeiro (RJ)","Baías - Rio de Janeiro (RJ)","Montanhas - Rio de Janeiro (RJ)","Guanabara, Baía de (RJ)","Urca (Rio de Janeiro, RJ)","Pão de Açúcar, Morro do (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Rio de Janeiro (Estado)","Brasil","Mountains - Rio de Janeiro (Brazil)","Beaches - Rio de Janeiro (Brazil)","Bays - Rio de Janeiro (Brazil)","Streets - Rio de Janeiro (Brazil)","Brazil","Rio de Janeiro (Brazil : State)","Rio de Janeiro (Brazil)","Pão de Açúcar, Morro do (Rio de Janeiro, Brazil)","Urca (Rio de Janeiro, Brazil)","Guanabara Bay (Brazil)"],"description":["Cópia fotográfica de gelatina e prata, p&b","Cópia fotográfica de gelatina e prata","Fotografia aérea","15,1 x 23,7 cm em papel: 15,8 x 24,4 cm"],"coverage":["Guanabara, Baía de (RJ)","Urca (Rio de Janeiro, RJ)","Pão de Açúcar, Morro do (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Rio de Janeiro (Estado)","Brasil","Brazil","Rio de Janeiro (Brazil : State)","Rio de Janeiro (Brazil)","Pão de Açúcar, Morro do (Rio de Janeiro, Brazil)","Urca (Rio de Janeiro, Brazil)","Guanabara Bay (Brazil)"],"publisher":"Rio de Janeiro, RJ"}},"20.500.12156.1/2898":{"atlas":1,"col":31,"row":30,"cr":9338972,"cl":9339228,"ct":14276034,"cb":14012860,"ck":4603694,"meta":{"title":"Praia Vermelha","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[1930?]","contributor":"Holland, S. H.","type":"Livro","subject":["Praias - Rio de Janeiro (RJ)","Ruas - Rio de Janeiro (RJ)","Edifícios - Rio de Janeiro (RJ)","Montanhas - Rio de Janeiro (RJ)","Vermelha, Praia (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Rio de Janeiro (Estado)","Brasil","Beaches - Rio de Janeiro (Brazil)","Streets - Rio de Janeiro (Brazil)","Buildings - Rio de Janeiro (Brazil)","Mountains - Rio de Janeiro (Brazil)","Rio de Janeiro (Brazil : State)","Brazil","Vermelha, Praia (Rio de Janeiro, Brazil)","Rio de Janeiro (Brazil)"],"description":["Cópia fotográfica de gelatina e prata, p&b","Cópia fotográfica de gelatina e prata","Fotografia aérea","15,1 x 23,7 cm papel: 15,9 x 24,5 cm"],"coverage":["Vermelha, Praia (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Rio de Janeiro (Estado)","Brasil","Rio de Janeiro (Brazil : State)","Brazil","Vermelha, Praia (Rio de Janeiro, Brazil)","Rio de Janeiro (Brazil)"],"publisher":"Rio de Janeiro, RJ"}},"20.500.12156.1/2899":{"atlas":1,"col":32,"row":30,"cr":7430467,"cl":8616026,"ct":9407880,"cb":14078139,"ck":4143402,"meta":{"title":"Praia Vermelha e Botafogo","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[1930?]","contributor":"Holland, S. H.","type":"Livro","subject":["Praias - Rio de Janeiro (RJ)","Ruas - Rio de Janeiro (RJ)","Edifícios - Rio de Janeiro (RJ)","Baías - Rio de Janeiro (RJ)","Montanhas - Rio de Janeiro (RJ)","Guanabara, Baía de (RJ)","Vermelha, Praia (Rio de Janeiro, RJ)","Botafogo (Rio de Janeiro, RJ)","Botafogo, Enseada de (RJ)","Rio de Janeiro (RJ)","Rio de Janeiro (Estado)","Brasil","Mountains - Rio de Janeiro (Brazil)","Bays - Rio de Janeiro (Brazil)","Streets - Rio de Janeiro (Brazil)","Beaches - Rio de Janeiro (Brazil)","Botafogo, Enseada de (Rio de Janeiro, Brazil)","Brazil","Rio de Janeiro (Brazil : State)","Rio de Janeiro (Brazil)","Botafogo (Rio de Janeiro, Brazil)","Vermelha, Praia (Rio de Janeiro, Brazil)","Guanabara Bay (Brazil)"],"description":["Cópia fotográfica de gelatina e prata, p&b","Cópia fotográfica de gelatina e prata","Fotografia aérea","15,1 x 23,8 cm em papel: 15,8 x 24,5 cm"],"coverage":["Guanabara, Baía de (RJ)","Vermelha, Praia (Rio de Janeiro, RJ)","Botafogo (Rio de Janeiro, RJ)","Botafogo, Enseada de (RJ)","Rio de Janeiro (RJ)","Rio de Janeiro (Estado)","Brasil","Botafogo, Enseada de (Rio de Janeiro, Brazil)","Brazil","Rio de Janeiro (Brazil : State)","Rio de Janeiro (Brazil)","Botafogo (Rio de Janeiro, Brazil)","Vermelha, Praia (Rio de Janeiro, Brazil)","Guanabara Bay (Brazil)"],"publisher":"Rio de Janeiro, RJ"}},"20.500.12156.1/29":{"atlas":1,"col":33,"row":30,"cr":14800581,"cl":15260613,"ct":3157024,"cb":3616549,"ck":6708042,"meta":{"title":"[Vitória e colônias]","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[1860]","contributor":"Frond, Victor, 1821-1881","type":"Fotografia","subject":["Edifícios - Vitória (ES)","Rios - Espírito Santo (Estado)","Espírito Santo (Estado) - Colônias","Domingos Martins (ES)","Santa Leopoldina (ES)","Buildings - Vitória (Espírito Santo, Brazil)","Rivers - Espírito Santo (Brazil : State)","Espírito Santo (Brazil : State) - Colonies","Domingos Martins (Brazil)","Santa Leopoldina (Brazil)"],"coverage":["Espírito Santo (Estado)","Domingos Martins (ES)","Santa Leopoldina (ES)"],"source":"Thereza Christina Maria"}},"20.500.12156.1/290":{"atlas":1,"col":34,"row":30,"cr":15591901,"cl":15789025,"ct":4603699,"cb":5197124,"ck":6775639,"meta":{"title":"Congonhas de Sabara","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[1868-1869]","contributor":"Riedel, Augusto, 1836-ca.1877","type":"Fotografia","subject":["Nova Lima (MG)","Nova Lima (Brazil)"],"description":["papel albuminado, p&b","22,8 x 27,7"],"coverage":["Nova Lima (MG)"],"source":"Thereza Christina Maria","publisher":"Nova Lima, MG"}},"20.500.12156.1/2900":{"atlas":1,"col":35,"row":30,"cr":8747870,"cl":9011037,"ct":13882311,"cb":11579302,"ck":4275247,"meta":{"title":"Centro da Cidade : Praça 15 Novembro etc.","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[1930?]","contributor":"Holland, S. H.","type":"Livro","subject":["Igreja de Nossa Senhora da Candelária (Rio de Janeiro, RJ)","Ruas - Rio de Janeiro (RJ)","Edifícios - Rio de Janeiro (RJ)","Igrejas - Rio de Janeiro (RJ)","Embarcações - Rio de Janeiro (RJ)","Baías - Rio de Janeiro (RJ)","Centro (Rio de Janeiro, RJ)","Guanabara, Baía de (RJ)","Avenida Rio Branco (Rio de Janeiro, RJ)","Praça Quinze de Novembro (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Rio de Janeiro (Estado)","Brasil","Bays - Rio de Janeiro (Brazil)","Ships - Rio de Janeiro (Brazil)","Streets - Rio de Janeiro (Brazil)","Buildings - Rio de Janeiro (Brazil)","Churches - Rio de Janeiro (Brazil)","Praça Quinze de Novembro (Rio de Janeiro, Brazil)","Brazil","Rio de Janeiro (Brazil : State)","Rio de Janeiro (Brazil)","Avenida Rio Branco (Rio de Janeiro, Brazil)","Guanabara Bay (Brazil)","Centro (Rio de Janeiro, Brazil)"],"description":["Cópia fotográfica de gelatina e prata, p&b","Cópia fotográfica de gelatina e prata","Fotografia aérea","15 x 23,8 cm em papel: 15,8 x 24,5 cm"],"coverage":["Centro (Rio de Janeiro, RJ)","Guanabara, Baía de (RJ)","Avenida Rio Branco (Rio de Janeiro, RJ)","Praça Quinze de Novembro (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Rio de Janeiro (Estado)","Brasil","Praça Quinze de Novembro (Rio de Janeiro, Brazil)","Brazil","Rio de Janeiro (Brazil : State)","Rio de Janeiro (Brazil)","Avenida Rio Branco (Rio de Janeiro, Brazil)","Guanabara Bay (Brazil)","Centro (Rio de Janeiro, Brazil)"],"publisher":"Rio de Janeiro, RJ"}},"20.500.12156.1/2901":{"atlas":1,"col":36,"row":30,"cr":8615510,"cl":9603434,"ct":11512994,"cb":13355962,"ck":4669746,"meta":{"title":"Ponta do Calabouço","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[1930?]","contributor":"Holland, S. H.","type":"Livro","subject":["Santa Casa de Misericórdia do Rio de Janeiro","Museu Histórico Nacional (Brasil)","Aterros - Rio de Janeiro (RJ)","Edifícios - Rio de Janeiro (RJ)","Embarcações - Rio de Janeiro (RJ)","Baías - Rio de Janeiro (RJ)","Guanabara, Baía de (RJ)","Rio de Janeiro (RJ)","Rio de Janeiro (Estado)","Brasil","Buildings - Rio de Janeiro (Brazil)","Ships - Rio de Janeiro (Brazil)","Bays - Rio de Janeiro (Brazil)","Embankments - Rio de Janeiro (Brazil)","Rio de Janeiro (Brazil : State)","Brazil","Rio de Janeiro (Brazil)","Guanabara Bay (Brazil)"],"description":["Cópia fotográfica de gelatina e prata, p&b","Cópia fotográfica de gelatina e prata","Fotografia aérea","15 x 23,7 cm em papel: 15,8 x 24,4 cm"],"coverage":["Guanabara, Baía de (RJ)","Rio de Janeiro (RJ)","Rio de Janeiro (Estado)","Brasil","Rio de Janeiro (Brazil : State)","Brazil","Rio de Janeiro (Brazil)","Guanabara Bay (Brazil)"],"publisher":"Rio de Janeiro, RJ"}},"20.500.12156.1/2902":{"atlas":1,"col":37,"row":30,"cr":9536870,"cl":10129781,"ct":13816261,"cb":11908264,"ck":5064762,"meta":{"title":"Esplanada do Castello, e Ponta do Calabouço","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[1930?]","contributor":"Holland, S. H.","type":"Livro","subject":["Santa Casa de Misericórdia do Rio de Janeiro","Aterros - Rio de Janeiro (RJ)","Edifícios - Rio de Janeiro (RJ)","Baías - Rio de Janeiro (RJ)","Centro (Rio de Janeiro, RJ)","Avenida Rio Branco (Rio de Janeiro, RJ)","Guanabara, Baía de (RJ)","Rio de Janeiro (RJ)","Rio de Janeiro (Estado)","Brasil","Fotografia aérea","Buildings - Rio de Janeiro (Brazil)","Bays - Rio de Janeiro (Brazil)","Aerial photography","Embankments - Rio de Janeiro (Brazil)","Rio de Janeiro (Brazil)","Brazil","Rio de Janeiro (Brazil : State)","Guanabara Bay (Brazil)","Avenida Rio Branco (Rio de Janeiro, Brazil)","Centro (Rio de Janeiro, Brazil)"],"description":["Cópia fotográfica de gelatina e prata, p&b","Cópia fotográfica de gelatina e prata","Fotografia aérea","15,1 x 23,7 cm em papel: 15,8 x 24,4 cm"],"coverage":["Centro (Rio de Janeiro, RJ)","Avenida Rio Branco (Rio de Janeiro, RJ)","Guanabara, Baía de (RJ)","Rio de Janeiro (RJ)","Rio de Janeiro (Estado)","Brasil","Rio de Janeiro (Brazil)","Brazil","Rio de Janeiro (Brazil : State)","Guanabara Bay (Brazil)","Avenida Rio Branco (Rio de Janeiro, Brazil)","Centro (Rio de Janeiro, Brazil)"],"publisher":"Rio de Janeiro, RJ"}},"20.500.12156.1/2903":{"atlas":1,"col":38,"row":30,"cr":9996382,"cl":10194276,"ct":14409171,"cb":11184805,"ck":5064242,"meta":{"title":"Igreja da Candelaria","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[1930?]","contributor":"Holland, S. H.","type":"Livro","subject":["Igreja de Nossa Senhora da Candelária (Rio de Janeiro, RJ)","Ruas - Rio de Janeiro (RJ)","Edifícios - Rio de Janeiro (RJ)","Igrejas - Rio de Janeiro (RJ)","Rio de Janeiro (RJ)","Rio de Janeiro (Estado)","Brasil","Streets - Rio de Janeiro (Brazil)","Buildings - Rio de Janeiro (Brazil)","Churches - Rio de Janeiro (Brazil)","Brazil","Rio de Janeiro (Brazil)","Rio de Janeiro (Brazil : State)"],"description":["Cópia fotográfica de gelatina e prata, p&b","Cópia fotográfica de gelatina e prata","Fotografia aérea","15,1 x 23,7 cm em papel: 15,4 x 24,4 cm"],"coverage":["Rio de Janeiro (RJ)","Rio de Janeiro (Estado)","Brasil","Brazil","Rio de Janeiro (Brazil)","Rio de Janeiro (Brazil : State)"],"publisher":"Rio de Janeiro, RJ"}},"20.500.12156.1/2904":{"atlas":1,"col":39,"row":30,"cr":9996642,"cl":9799261,"ct":14276814,"cb":14014153,"ck":4932657,"meta":{"title":"Prolongamento do Caes do Porto","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[1930?]","contributor":"Holland, S. H.","type":"Livro","subject":["Ruas - Rio de Janeiro (RJ)","Edifícios - Rio de Janeiro (RJ)","Embarcações - Rio de Janeiro (RJ)","Portos - Rio de Janeiro (RJ)","Baías - Rio de Janeiro (RJ)","Guanabara, Baía de (RJ)","Rio de Janeiro, Porto do (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Rio de Janeiro (Estado)","Brasil","Bays - Rio de Janeiro (Brazil)","Harbors - Rio de Janeiro (Brazil)","Streets - Rio de Janeiro (Brazil)","Buildings - Rio de Janeiro (Brazil)","Ships - Rio de Janeiro (Brazil)","Rio de Janeiro (Brazil)","Brazil","Rio de Janeiro (Brazil : State)","Rio de Janeiro Harbor (Rio de Janeiro, Brazil)","Guanabara Bay (Brazil)"],"description":["Cópia fotográfica de gelatina e prata, p&b","Cópia fotográfica de gelatina e prata","Fotografia aérea","15,1 x 23,7 cm em papel: 15,8 x 24,4 cm"],"coverage":["Guanabara, Baía de (RJ)","Rio de Janeiro, Porto do (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Rio de Janeiro (Estado)","Brasil","Rio de Janeiro (Brazil)","Brazil","Rio de Janeiro (Brazil : State)","Rio de Janeiro Harbor (Rio de Janeiro, Brazil)","Guanabara Bay (Brazil)"],"publisher":"Rio de Janeiro, RJ"}},"20.500.12156.1/2905":{"atlas":1,"col":40,"row":30,"cr":8483149,"cl":10919812,"ct":11974315,"cb":10724252,"ck":4932918,"meta":{"title":"Prolongamento do Caes do Porto : Cajú etc","community":"Biblioteca Nacional","rights":"Bilbioteca Nacional (Brasil)","date":"[1930?]","contributor":"Holland, S. H.","type":"Livro","subject":["Ruas - Rio de Janeiro (RJ)","Edifícios - Rio de Janeiro (RJ)","Embarcações - Rio de Janeiro (RJ)","Portos - Rio de Janeiro (RJ)","Baías - Rio de Janeiro (RJ)","Guanabara, Baía de (RJ)","Rio de Janeiro, Porto do (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Rio de Janeiro (Estado)","Brasil","Streets - Rio de Janeiro (Brazil)","Buildings - Rio de Janeiro (Brazil)","Ships - Rio de Janeiro (Brazil)","Harbors - Rio de Janeiro (Brazil)","Bays - Rio de Janeiro (Brazil)","Rio de Janeiro (Brazil : State)","Brazil","Guanabara Bay (Brazil)","Rio de Janeiro (Brazil)","Rio de Janeiro Harbor (Rio de Janeiro, Brazil)"],"description":["Cópia fotográfica de gelatina e prata, p&b","Cópia fotográfica de gelatina e prata","Fotografia aérea","15 x 23,6 cm em  papel: 15,5 x 24,3 cm"],"coverage":["Guanabara, Baía de (RJ)","Rio de Janeiro, Porto do (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Rio de Janeiro (Estado)","Brasil","Rio de Janeiro (Brazil : State)","Brazil","Guanabara Bay (Brazil)","Rio de Janeiro (Brazil)","Rio de Janeiro Harbor (Rio de Janeiro, Brazil)"],"publisher":"Rio de Janeiro, RJ"}},"20.500.12156.1/2906":{"atlas":1,"col":41,"row":30,"cr":12037511,"cl":10128737,"ct":14342609,"cb":14080463,"ck":5327671,"meta":{"title":"Prolongamento do Caes do Porto","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[1930?]","contributor":"Holland, S. H.","type":"Livro","subject":["Ruas - Rio de Janeiro (RJ)","Edifícios - Rio de Janeiro (RJ)","Embarcações - Rio de Janeiro (RJ)","Portos - Rio de Janeiro (RJ)","Baías - Rio de Janeiro (RJ)","Guanabara, Baía de (RJ)","Rio de Janeiro, Porto do (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Rio de Janeiro (Estado)","Brasil","Bays - Rio de Janeiro (Brazil)","Harbors - Rio de Janeiro (Brazil)","Streets - Rio de Janeiro (Brazil)","Buildings - Rio de Janeiro (Brazil)","Ships - Rio de Janeiro (Brazil)","Rio de Janeiro (Brazil)","Brazil","Rio de Janeiro (Brazil : State)","Rio de Janeiro Harbor (Rio de Janeiro, Brazil)","Guanabara Bay (Brazil)"],"description":["Cópia fotográfica de gelatina e prata, p&b","Cópia fotográfica de gelatina e prata","Fotografia aérea","15,1 x 23,7 cm em papel: 15,8 x 24,4"],"coverage":["Guanabara, Baía de (RJ)","Rio de Janeiro, Porto do (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Rio de Janeiro (Estado)","Brasil","Rio de Janeiro (Brazil)","Brazil","Rio de Janeiro (Brazil : State)","Rio de Janeiro Harbor (Rio de Janeiro, Brazil)","Guanabara Bay (Brazil)"],"publisher":"Rio de Janeiro, RJ"}},"20.500.12156.1/2907":{"atlas":1,"col":42,"row":30,"cr":8220491,"cl":11314309,"ct":10395289,"cb":13354930,"ck":5130294,"meta":{"title":"Obras de Prolongamento do Caes do Porto","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[1930?]","contributor":"Holland, S. H.","type":"Livro","subject":["Embarcações - Rio de Janeiro (RJ)","Portos - Rio de Janeiro (RJ)","Baías - Rio de Janeiro (RJ)","Guanabara, Baía de (RJ)","Rio de Janeiro, Porto do (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Rio de Janeiro (Estado)","Brasil","Ships - Rio de Janeiro (Brazil)","Harbors - Rio de Janeiro (Brazil)","Bays - Rio de Janeiro (Brazil)","Rio de Janeiro (Brazil : State)","Brazil","Rio de Janeiro Harbor (Rio de Janeiro, Brazil)","Rio de Janeiro (Brazil)","Guanabara Bay (Brazil)"],"description":["Cópia fotográfica de gelatina e prata, p&b","Cópia fotográfica de gelatina e prata","Fotografia aérea","15 x 23,7 cm em papel: 15,5 x 24,4 cm"],"coverage":["Guanabara, Baía de (RJ)","Rio de Janeiro, Porto do (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Rio de Janeiro (Estado)","Brasil","Rio de Janeiro (Brazil : State)","Brazil","Rio de Janeiro Harbor (Rio de Janeiro, Brazil)","Rio de Janeiro (Brazil)","Guanabara Bay (Brazil)"],"publisher":"Rio de Janeiro, RJ"}},"20.500.12156.1/2908":{"atlas":1,"col":43,"row":30,"cr":9470296,"cl":10919550,"ct":10527132,"cb":13685445,"ck":5064501,"meta":{"title":"Obras de Prolongamento do Caes do Porto","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[1930?]","contributor":"Holland, S. H.","type":"Livro","subject":["Embarcações - Rio de Janeiro (RJ)","Portos - Rio de Janeiro (RJ)","Baías - Rio de Janeiro (RJ)","Guanabara, Baía de (RJ)","Rio de Janeiro, Porto do (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Rio de Janeiro (Estado)","Brasil","Ships - Rio de Janeiro (Brazil)","Harbors - Rio de Janeiro (Brazil)","Bays - Rio de Janeiro (Brazil)","Rio de Janeiro (Brazil : State)","Brazil","Rio de Janeiro Harbor (Rio de Janeiro, Brazil)","Rio de Janeiro (Brazil)","Guanabara Bay (Brazil)"],"description":["Cópia fotográfica de gelatina e prata, p&b","Cópia fotográfica de gelatina e prata","Fotografia aérea","15 x 23,6 cm em papel: 15,7 x 24,3 cm"],"coverage":["Guanabara, Baía de (RJ)","Rio de Janeiro, Porto do (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Rio de Janeiro (Estado)","Brasil","Rio de Janeiro (Brazil : State)","Brazil","Rio de Janeiro Harbor (Rio de Janeiro, Brazil)","Rio de Janeiro (Brazil)","Guanabara Bay (Brazil)"],"publisher":"Rio de Janeiro, RJ"}},"20.500.12156.1/2909":{"atlas":1,"col":44,"row":30,"cr":9601887,"cl":9865831,"ct":12895419,"cb":13619394,"ck":4867123,"meta":{"title":"P. do Cajú","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[1930?]","contributor":"Holland, S. H.","type":"Livro","subject":["Embarcações - Rio de Janeiro (RJ)","Portos - Rio de Janeiro (RJ)","Baías - Rio de Janeiro (RJ)","Guanabara, Baía de (RJ)","Caju (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Rio de Janeiro (Estado)","Brasil","Ships - Rio de Janeiro (Brazil)","Harbors - Rio de Janeiro (Brazil)","Bays - Rio de Janeiro (Brazil)","Rio de Janeiro (Brazil : State)","Brazil","Caju (Rio de Janeiro, Brazil)","Rio de Janeiro (Brazil)","Guanabara Bay (Brazil)"],"description":["Cópia fotográfica de gelatina e prata, p&b","Cópia fotográfica de gelatina e prata","Fotografia aérea","15,1 x 23,6 cm em papel: 15,9 x 24,3 cm"],"coverage":["Guanabara, Baía de (RJ)","Caju (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Rio de Janeiro (Estado)","Brasil","Rio de Janeiro (Brazil : State)","Brazil","Caju (Rio de Janeiro, Brazil)","Rio de Janeiro (Brazil)","Guanabara Bay (Brazil)"],"publisher":"Rio de Janeiro, RJ"}},"20.500.12156.1/291":{"atlas":1,"col":45,"row":30,"cr":14473153,"cl":14604997,"ct":4340783,"cb":4933695,"ck":6051916,"meta":{"title":"S. John Del Rey Mining Company : Morro Velho","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[1868-1869]","contributor":"Riedel, Augusto, 1836-ca.1877","type":"Fotografia","subject":["Mineração Morro Velho","Ouro - Minas e mineração - Nova Lima (MG)","Companhias de mineração - Nova Lima (MG)","Nova Lima (MG)","Gold mines and mining - Nova Lima (Brazil) - Nova Lima (Minas Gerais, Brazil)","Mining corporation - Nova Lima (Brazil) - Nova Lima (Minas Gerais, Brazil)"],"description":["papel albuminado, p&b","21,7 x 27,2"],"coverage":["Nova Lima (MG)"],"source":"Thereza Christina Maria","publisher":"Nova Lima, MG"}},"20.500.12156.1/2910":{"atlas":1,"col":46,"row":30,"cr":9667680,"cl":8878417,"ct":10461596,"cb":13816518,"ck":4669485,"meta":{"title":"Ponta Cajú","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[1930?]","contributor":"Holland, S. H.","type":"Livro","subject":["Embarcações - Rio de Janeiro (RJ)","Portos - Rio de Janeiro (RJ)","Baías - Rio de Janeiro (RJ)","Guanabara, Baía de (RJ)","Caju (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Rio de Janeiro (Estado)","Brasil","Ships - Rio de Janeiro (Brazil)","Harbors - Rio de Janeiro (Brazil)","Bays - Rio de Janeiro (Brazil)","Rio de Janeiro (Brazil : State)","Brazil","Caju (Rio de Janeiro, Brazil)","Rio de Janeiro (Brazil)","Guanabara Bay (Brazil)"],"description":["Cópia fotográfica de gelatina e prata, p&b","Cópia fotográfica de gelatina e prata","Fotografia aérea","15,1 x 23,7 cm em papel: 15,9 x 24,5 cm"],"coverage":["Guanabara, Baía de (RJ)","Caju (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Rio de Janeiro (Estado)","Brasil","Rio de Janeiro (Brazil : State)","Brazil","Caju (Rio de Janeiro, Brazil)","Rio de Janeiro (Brazil)","Guanabara Bay (Brazil)"],"publisher":"Rio de Janeiro, RJ"}},"20.500.12156.1/2911":{"atlas":1,"col":47,"row":30,"cr":10194795,"cl":9536864,"ct":14211533,"cb":14080200,"ck":4932916,"meta":{"title":"Ponta Cajú e Manguinhos","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[1930?]","contributor":"Holland, S. H.","type":"Livro","subject":["Embarcações - Rio de Janeiro (RJ)","Portos - Rio de Janeiro (RJ)","Baías - Rio de Janeiro (RJ)","Guanabara, Baía de (RJ)","Caju (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Rio de Janeiro (Estado)","Brasil","Ships - Rio de Janeiro (Brazil)","Harbors - Rio de Janeiro (Brazil)","Bays - Rio de Janeiro (Brazil)","Rio de Janeiro (Brazil : State)","Brazil","Caju (Rio de Janeiro, Brazil)","Rio de Janeiro (Brazil)","Guanabara Bay (Brazil)"],"description":["Cópia fotográfica de gelatina e prata, p&b","Cópia fotográfica de gelatina e prata","Fotografia aérea","15 x 23,5 cm em papel: 15,8 x 24,3 cm"],"coverage":["Guanabara, Baía de (RJ)","Caju (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Rio de Janeiro (Estado)","Brasil","Rio de Janeiro (Brazil : State)","Brazil","Caju (Rio de Janeiro, Brazil)","Rio de Janeiro (Brazil)","Guanabara Bay (Brazil)"],"publisher":"Rio de Janeiro, RJ"}},"20.500.12156.1/2912":{"atlas":1,"col":48,"row":30,"cr":10392178,"cl":10458486,"ct":11580075,"cb":13355970,"ck":4933174,"meta":{"title":"Manguinhos","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[1930?]","contributor":"Holland, S. H.","type":"Livro","subject":["Embarcações - Rio de Janeiro (RJ)","Portos - Rio de Janeiro (RJ)","Baías - Rio de Janeiro (RJ)","Guanabara, Baía de (RJ)","Manguinhos (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Rio de Janeiro (Estado)","Brasil","Ships - Rio de Janeiro (Brazil)","Harbors - Rio de Janeiro (Brazil)","Bays - Rio de Janeiro (Brazil)","Rio de Janeiro (Brazil : State)","Brazil","Manguinhos (Rio de Janeiro, Brazil)","Rio de Janeiro (Brazil)","Guanabara Bay (Brazil)"],"description":["Cópia fotográfica de gelatina e prata, p&b","Cópia fotográfica de gelatina e prata","Fotografia aérea","15,1 x 23,6 cm em papel: 15,8 x 24,4 cm"],"coverage":["Guanabara, Baía de (RJ)","Manguinhos (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Rio de Janeiro (Estado)","Brasil","Rio de Janeiro (Brazil : State)","Brazil","Manguinhos (Rio de Janeiro, Brazil)","Rio de Janeiro (Brazil)","Guanabara Bay (Brazil)"],"publisher":"Rio de Janeiro, RJ"}},"20.500.12156.1/2913":{"atlas":1,"col":49,"row":30,"cr":12433318,"cl":13618105,"ct":13027003,"cb":11842474,"ck":6381397,"meta":{"title":"Ilha Mocanguê Grande","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[1930?]","contributor":"Holland, S. H.","type":"Livro","subject":["Embarcações - Rio de Janeiro (RJ)","Baías - Rio de Janeiro (RJ)","Guanabara, Baía de (RJ)","Mocanguê, Ilha de (RJ)","Niterói (RJ)","Rio de Janeiro (Estado)","Brasil","Ships - Rio de Janeiro (Brazil)","Bays - Rio de Janeiro (Brazil)","Brazil","Rio de Janeiro (Brazil : State)","Niterói (Rio de Janeiro, Brazil)","Mocanguê, Ilha de (Rio de Janeiro, Brazil)","Guanabara Bay (Brazil)"],"description":["Cópia fotográfica de gelatina e prata, p&b","Cópia fotográfica de gelatina e prata","Fotografia aérea","17,1 x 21,9 cm em papel: 17,4 x 22,7 cm"],"coverage":["Guanabara, Baía de (RJ)","Mocanguê, Ilha de (RJ)","Niterói (RJ)","Rio de Janeiro (Estado)","Brasil","Brazil","Rio de Janeiro (Brazil : State)","Niterói (Rio de Janeiro, Brazil)","Mocanguê, Ilha de (Rio de Janeiro, Brazil)","Guanabara Bay (Brazil)"],"publisher":"Rio de Janeiro, RJ"}},"20.500.12156.1/2914":{"atlas":1,"col":50,"row":30,"cr":8616026,"cl":10063205,"ct":10789533,"cb":13817031,"ck":4735535,"meta":{"title":"Ilha Pancarahyba","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[1930?]","contributor":"Holland, S. H.","type":"Livro","subject":["Ilhas - Rio de Janeiro (RJ)","Paquetá, Ilha de (Rio de Janeiro, RJ)","Rio de Janeiro (Estado)","Brasil","Islands - Rio de Janeiro (Brazil)","Brazil","Paquetá Island (Brazil)","Rio de Janeiro (Brazil : State)"],"description":["Cópia fotográfica de gelatina e prata, p&b","Cópia fotográfica de gelatina e prata","Fotografia aérea","15,1 x 23,8 cm em papel: 15,9 x 24,5 cm"],"coverage":["Paquetá, Ilha de (Rio de Janeiro, RJ)","Rio de Janeiro (Estado)","Brasil","Brazil","Paquetá Island (Brazil)","Rio de Janeiro (Brazil : State)"],"publisher":"Rio de Janeiro, RJ"}},"20.500.12156.1/2915":{"atlas":1,"col":51,"row":30,"cr":12037774,"cl":11248512,"ct":14277069,"cb":14211016,"ck":5130810,"meta":{"title":"Ilha Redonda","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[1930?]","contributor":"Holland, S. H.","type":"Livro","subject":["Ilhas - Rio de Janeiro (RJ)","Rio de Janeiro (RJ)","Rio de Janeiro (Estado)","Brasil","Islands - Rio de Janeiro (Brazil)","Brazil","Rio de Janeiro (Brazil)","Rio de Janeiro (Brazil : State)"],"description":["Cópia fotográfica de gelatina e prata, p&b","Cópia fotográfica de gelatina e prata","Fotografia aérea","15,1 x 23,7 cm papel: 15,8 x 24,4 cm"],"coverage":["Rio de Janeiro (RJ)","Rio de Janeiro (Estado)","Brasil","Brazil","Rio de Janeiro (Brazil)","Rio de Janeiro (Brazil : State)"],"publisher":"Rio de Janeiro, RJ"}},"20.500.12156.1/2916":{"atlas":1,"col":52,"row":30,"cr":9865049,"cl":10589541,"ct":12631989,"cb":14145737,"ck":5327411,"meta":{"title":"Obras da Empreza [sic] Melhoramentos da Baixada Fluminense","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[1930?]","contributor":"Holland, S. H.","type":"Livro","subject":["Estádio de São Januário","Estádios - Rio de Janeiro (RJ)","Edifícios industriais - Rio de Janeiro (RJ)","São Cristovão (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Rio de Janeiro (Estado)","Brasil","Stadium - Rio de Janeiro (Brazil)","Industrial buildings - Rio de Janeiro (Brazil)","Rio de Janeiro (Brazil : State)","Brazil","Rio de Janeiro (Brazil)","São Cristóvão (Rio de Janeiro, Brazil)"],"description":["Cópia fotográfica de gelatina e prata, p&b","Cópia fotográfica de gelatina e prata","Fotografia aérea","15 x 23,7 cm em papel: 15,8 x 24,4 cm"],"coverage":["São Cristovão (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Rio de Janeiro (Estado)","Brasil","Rio de Janeiro (Brazil : State)","Brazil","Rio de Janeiro (Brazil)","São Cristóvão (Rio de Janeiro, Brazil)"],"publisher":"Rio de Janeiro, RJ"}},"20.500.12156.1/2917":{"atlas":1,"col":53,"row":30,"cr":11971465,"cl":11906444,"ct":14277066,"cb":14408135,"ck":6117448,"meta":{"title":"Ilha Barnabé","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[1930?]","contributor":"Holland, S. H.","type":"Livro","subject":["Montanhas - Rio de Janeiro (RJ)","Portos - Rio de Janeiro (RJ)","Embarcações - Rio de Janeiro (RJ)","Santos, Porto de (Santos, SP)","Santos (SP)","São Paulo (Estado)","Brasil","Harbors - Rio de Janeiro (Brazil)","Ships - Rio de Janeiro (Brazil)","Mountains - Rio de Janeiro (Brazil)","São Paulo (Brazil : State)","Brazil","Santos (São Paulo, Brazil)","Santos, Porto de (Santos, São Paulo, Brazil)"],"description":["Cópia fotográfica de gelatina e prata, p&b","Cópia fotográfica de gelatina e prata","Fotografia aérea","17 x 21,9 cm em papel: 17,4 x 22,7 cm"],"coverage":["Santos, Porto de (Santos, SP)","Santos (SP)","São Paulo (Estado)","Brasil","São Paulo (Brazil : State)","Brazil","Santos (São Paulo, Brazil)","Santos, Porto de (Santos, São Paulo, Brazil)"],"publisher":"Santos, SP"}},"20.500.12156.1/2918":{"atlas":1,"col":54,"row":30,"cr":13879209,"cl":13287068,"ct":14603705,"cb":14537399,"ck":5854538,"meta":{"title":"Rio de Janeiro : a Torre Eiffel : [fachada principal da loja : desenho arquitetônico]","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"ca. 1900]","contributor":"Ateliers D. A. Longuet Imp. Phot.","type":"Fotografia","subject":["Edifícios comerciais - Rio de Janeiro (RJ)","Lojas especializadas - Rio de Janeiro (RJ)","Rio de Janeiro (RJ)","Commercial buildings - Rio de Janeiro (Brazil)","Specialty stores - Rio de Janeiro (Brasil)","Torre Eiffel (Firma)","Rio de Janeiro (Brazil)"],"description":["p&b","Reprodução fotomecânica","43 x 30 cm"],"coverage":["Rio de Janeiro (RJ)"],"publisher":"[Rio de Janeiro]"}},"20.500.12156.1/2919":{"atlas":1,"col":55,"row":30,"cr":14603709,"cl":14669757,"ct":13945775,"cb":13616550,"ck":4736573,"meta":{"title":"Rio de Janeiro : a Torre Eiffel : [interior da loja visto de cima]","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"ca. 1900]","contributor":"Ateliers D. A. Longuet Imp. Phot.","type":"Fotografia","subject":["Torre Eiffel (Firma)","Edifícios comerciais - Rio de Janeiro (RJ)","Lojas especializadas - Rio de Janeiro (RJ)","Rio de Janeiro (RJ)","Commercial buildings - Rio de Janeiro (Brazil)","Specialty stores - Rio de Janeiro (Brasil)","Rio de Janeiro (Brazil)"],"description":["p&b","Reprodução fotomecânica","34 x 41,6 cm"],"coverage":["Rio de Janeiro (RJ)"],"publisher":"[Rio de Janeiro]"}},"20.500.12156.1/292":{"atlas":1,"col":56,"row":30,"cr":14735815,"cl":14735816,"ct":3683112,"cb":5393468,"ck":6182989,"meta":{"title":"Revista no Morro Velho","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[1868-1869]","contributor":"Riedel, Augusto, 1836-ca.1877","type":"Fotografia","subject":["Mineração Morro Velho","Ouro - Minas e mineração - Nova Lima (MG)","Minérios de ouro - Nova Lima (MG)","Escravos","Companhias de mineração - Nova Lima (MG)","Nova Lima (MG)","Gold mines and mining - Nova Lima (Brazil) - Nova Lima (Minas Gerais, Brazil)","Gold ores - Nova Lima (Brazil) - Nova Lima (Minas Gerais, Brazil)","Slaves","Mining corporation - Nova Lima (Brazil) - Nova Lima (Minas Gerais, Brazil)"],"description":["papel albuminado, p&b","22,3 x 28,4"],"coverage":["Nova Lima (MG)"],"source":"Thereza Christina Maria","publisher":"Nova Lima, MG"}},"20.500.12156.1/2920":{"atlas":1,"col":57,"row":30,"cr":14406071,"cl":14669756,"ct":13813417,"cb":13484191,"ck":5262658,"meta":{"title":"Rio de Janeiro : a Torre Eiffel : [interior da loja]","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"ca. 1900]","contributor":"Ateliers D. A. Longuet Imp. Phot.","type":"Fotografia","subject":["Torre Eiffel (Firma)","Edifícios comerciais - Rio de Janeiro (RJ)","Lojas especializadas - Rio de Janeiro (RJ)","Rio de Janeiro (RJ)","Commercial buildings - Rio de Janeiro (Brazil)","Specialty stores - Rio de Janeiro (Brasil)","Rio de Janeiro (Brazil)"],"description":["p&b","Reprodução fotomecânica","34,5 x 42,5 cm"],"coverage":["Rio de Janeiro (RJ)"],"publisher":"[Rio de Janeiro]"}},"20.500.12156.1/2927":{"atlas":1,"col":58,"row":30,"cr":14933185,"cl":12103060,"ct":14604221,"cb":14603956,"ck":7170395,"meta":{"title":"[Isabel, Princesa do Brasil : retrato]","community":"Biblioteca Nacional","rights":null,"date":"[ca.1880]","contributor":null,"type":"Fotografia","subject":["Isabel, Princesa do Brasil, 1846-1921","Famílias reais - Brasil","Royal houses - Brazil"],"description":["Negativo de segunda geração: n. 05975, triacetato de celulose (DiMic)","Papel fotográfico: 9 x 14","busto da Princesa adulta, voltado para a direita. Princesa imperial e regente, filha do Imperador D. Pedro II e de D. Teresa Cristina Maria, nasceu no Rio de Janeiro em 1846 e morreu na França em 1921. Casou-se em 1864 com o Conde d'Eu. Regente de 1871 a 1872, de 1876 a 1877, e de 1887 a 1888. Em 13 de maio de 1888 assinou a Lei Áurea, que aboliu a escravidão negra no País","Estado de conservação: regular","Imagem em moldura ornamentada","Legenda da moldura: \"D. Isabel\"","gelatina","oval 6 x 4"]}},"20.500.12156.1/2928":{"atlas":1,"col":59,"row":30,"cr":10455397,"cl":9732187,"ct":13681049,"cb":12099181,"ck":4866093,"meta":{"title":"[Conde d'Eu, Princesa Isabel, Barão de São Clemente, Lino da Costa e outros reunidos para uma refeição","community":"Biblioteca Nacional","rights":null,"date":"2015-07-20T10:04:34Z","contributor":null,"type":"Fotografia","subject":["Isabel, Princesa do Brasil, 1846-1921","Eu, Luis Filipe Maria Fernando Gastão de Orleans, Conde D', 1842-1922","São Clemente, Antonio Clemente Pinto Filho, Barão de, 1830-1898","Costa, Lino da","Famílias reais - Brasil","Refeições","Royal houses - Brazil","Estereograma","Tables"],"description":["Cartão-suporte: 8,7 x 18,4","Os Príncipes estão com outros convidados à mesa preparada para uma refeição ao ar livre. Relação numerada dos retratados de acordo como aparece manuscrito a tinta no verso do cartão-suporte: 1- \"Gaston\" [Conde d'Eu]; 2- Isabel; 3-\"Barão de S. Clemente\"; 4-\"Ma. Rosa\"; 5-\"Não me lembro do nome\"; 6-\"Dr. Bernardo\"; 7-\"Dr. Moncada\"; 8-\"Dr. Pindaiba\"; 9-\"Joaquinzinho\"; 10-\"Pinheiro\"; 11-\"Brandão\"; 12-\"Lino da Costa\"; 13-\"Diogo Velho\"; 14-\"mulato do Joaquinzinho\"; \"Reyder\"; 16- \"Fernando\"; 17-\"Cosseiro\"; 18- \"La Rue\"; 19-\"Criado\"","Coleção Princesa Isabel: a fotografia do século XIX : a descoberta de um tesouro cultural inéditos..., de Pedro Correa do lago, p. 151","Estado de conservação: regular; cartão-suporte: regular","Carimbo (tinta) da Coleção no verso do cartão-suporte: \"Col. Th. Christina\"","Relação numerada dos 19 retratados manuscrita a tinta no verso do cartão-suporte. Os números correspondentes estão manuscritos a tinta à frente do cartão-suporte para a identificação dos mesmos","papel albuminado, p&b","7,5 x 16,1"],"source":"Thereza Christina Maria"}},"20.500.12156.1/2929":{"atlas":1,"col":60,"row":30,"cr":2695959,"cl":1577998,"ct":8089943,"cb":8548954,"ck":3748905,"meta":{"title":"[Isabel, Princesa do Brasil","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[18--]","contributor":"Courtois, J.","type":"Fotografia","subject":["Isabel, Princesa do Brasil, 1846-1921","Famílias reais - Brasil - Retratos","Retrato fotográfico","Royal houses - Brazil - Portraits"],"description":["papel salinizado, color.","oval 21 x 18"],"source":"Thereza Christina Maria"}},"20.500.12156.1/293":{"atlas":1,"col":61,"row":30,"cr":14933450,"cl":14867658,"ct":4077611,"cb":4275252,"ck":6512209,"meta":{"title":"Morro Velho","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[1868-1869]","contributor":"Riedel, Augusto, 1836-ca.1877","type":"Fotografia","subject":["Mineração Morro Velho","Ouro - Minas e mineração - Nova Lima (MG)","Companhias de mineração - Nova Lima (MG)","Nova Lima (MG)","Gold mines and mining - Nova Lima (Brazil) - Nova Lima (Minas Gerais, Brazil)","Mining corporation - Nova Lima (Brazil) - Nova Lima (Minas Gerais, Brazil)"],"description":["papel albuminado, p&b","22,4 x 27"],"coverage":["Nova Lima (MG)"],"source":"Thereza Christina Maria","publisher":"Nova Lima, MG"}},"20.500.12156.1/2930":{"atlas":1,"col":62,"row":30,"cr":12431496,"cl":12168064,"ct":12891786,"cb":12365444,"ck":6182721,"meta":{"title":"[Isabel, Princesa do Brasil : retrato]","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[18--]","contributor":"Bernieri, J.","type":"Fotografia","subject":["Isabel, Princesa do Brasil, 1846-1921","Famílias reais","Royal houses","Retratos","Portraits"],"description":["Negativo de segunda geração: n. 05944, triacetato de celulose (DiMic)","p&b","oval 27 x 21 cm em cartão-suporte: 50 x 36 cm"],"source":"Thereza Christina Maria"}},"20.500.12156.1/2931":{"atlas":1,"col":63,"row":30,"cr":11902833,"cl":11902577,"ct":12890753,"cb":11770477,"ck":5524021,"meta":{"title":"[Conde d'Eu, Princesa Isabel e outras pessoas : retrato]","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"186-?","contributor":null,"type":"Fotografia","subject":["Eu, Luis Filipe Maria Fernando Gastão de Orleans, Conde D', 1842-1922","Isabel, Princesa do Brasil, 1846-1921","Famílias reais - Brasil","Royal houses - Brazil"],"description":["papel albuminado, p&b","Retrato de grupo","Retrato fotográfico","Cópia fotográfica albuminada","24 x 19 cm em cartão-suporte: 46 x 36 cm"],"source":"Thereza Christina Maria"}},"20.500.12156.1/2932":{"atlas":1,"col":0,"row":31,"cr":13682857,"cl":13616293,"ct":10653543,"cb":6640960,"ck":4274217,"meta":{"title":"[Princesa Isabel : reprodução de pintura]","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[18--]","contributor":null,"type":"Fotografia","subject":["Isabel, Princesa do Brasil, 1846-1921","Famílias reais - Brasil","Brasil","Royal houses - Brazil","Brazil"],"description":["papel salinizado, p&b","Retrato","Cópia fotográfica em papel salinizado","Reprodução de obra-de-arte","28,5 x 20,8 cm em cartão-suporte: 61 x 47,5 cm"],"coverage":["Brasil","Brazil"],"source":"Thereza Christina Maria"}},"20.500.12156.1/2937":{"atlas":1,"col":1,"row":31,"cr":13542250,"cl":13476970,"ct":1182726,"cb":986382,"ck":6442548,"meta":{"title":"[Pedro II, Teresa Cristina Maria e comitiva em visita as ruínas de Pompéia]","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[1888]","contributor":"Sommer, Giorgio, 1834-1914","type":"Fotografia","subject":["Pedro II, Imperador do Brasil, 1825-1891 - Retratos","Teresa Cristina Maria, Imperatriz, consorte de Pedro II, Imperador do Brasil, 1822-1889 - Retratos","Famílias reais - Brasil - Retratos","Pompeia (Cidade extinta) - Fotografias","Royal houses - Brazil - Portraits","Pompeii (Extinct city) - Photographs"],"description":["20,6 x 25,6cm em c. 31,6 x 38cm."],"coverage":["Pompeia (Cidade extinta)"],"source":"Thereza Christina Maria"}},"20.500.12156.1/2938":{"atlas":1,"col":2,"row":31,"cr":13607785,"cl":13345639,"ct":2234380,"cb":3614743,"ck":6245168,"meta":{"title":"[Pedro II, Teresa Cristina Maria e comitiva em visita as ruínas de Pompéia]","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[1888]","contributor":"Sommer, Giorgio, 1834-1914","type":"Fotografia","subject":["Pedro II, Imperador do Brasil, 1825-1891 - Retratos","Teresa Cristina Maria, Imperatriz, consorte de Pedro II, Imperador do Brasil, 1822-1889 - Retratos","Famílias reais - Brasil - Retratos","Pompeia (Cidade extinta) - Fotografias","Royal houses - 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Imp. P. II - n. 90)","retrato post-mortem. Segundo Imperador do Brasil, nasceu no Rio de Janeiro em 1825 e morreu em Paris em 1891. Reinou sob regência de 7 de abril de 1831 a 23 de junho de 1840. Foi coroado Imperador em 18 de dezembro de 1841, aos 15 anos de idade","Dom Pedro II e a fotografia no Brasil, de Pedro Vasquez, p. 32","Estado de conservação: regular; cartão-suporte: regular","Carimbo (impresso) do estúdio no cartão-suporte (frente e verso, formas diferentes de apresentação)","papel albuminado, p&b","oval 10 x 14"]}},"20.500.12156.1/2952":{"atlas":1,"col":17,"row":31,"cr":13547657,"cl":13350537,"ct":13744772,"cb":13480827,"ck":5786934,"meta":{"title":"[Pedro II, Imperador do Brasil] : retrato]","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[18--]","contributor":"Hees, Pedro, 1841-1880","type":"Fotografia","subject":["Pedro II, Imperador do Brasil, 1825-1891","Famílias reais - Brasil","Imperadores - Brasil","Royal houses - Brazil","Emperors - Brazil"],"description":["papel albuminado, p&b","13 x 10"],"source":"Thereza Christina Maria","publisher":"Petrópolis, RJ"}},"20.500.12156.1/2953":{"atlas":1,"col":18,"row":31,"cr":13349765,"cl":13547394,"ct":12627065,"cb":12625521,"ck":5260336,"meta":{"title":"[Pedro II, Imperador do Brasil : retrato]","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[1877]","contributor":"Angerer, Ludwig, 1827-1879","type":"Fotografia","subject":["Pedro II, Imperador do Brasil, 1825-1891","Famílias reais - Brasil","Imperadores - Brasil","Retrato fotográfico","Royal houses - Brazil","Emperors - Brazil"],"description":["Negativo de segunda geração: n. 05928, triacetato de celulose (DiMic)","Cartão-suporte: 17 x 11","Arrolado na \"Tribuna de Petrópolis\", 1. de janeiro de 1957, p. 4 (Ret. Imp. P. II - n. 65)","retrato do Imperador adulto, de corpo inteiro, em pé, voltado para a direita, na viagem para a Europa. Segundo Imperador do Brasil, nasceu no Rio de Janeiro em 1825 e morreu em Paris em 1891. Reinou sob regência de 7 de abril de 1831 a 23 de junho de 1840. Foi coroado Imperador em 18 de dezembro de 1841, aos 15 anos de idade","Estado de conservação: regular; cartão-suporte: regular","Nome do fotógrafo impresso no cartão-suporte","Carimbo (impresso) do fotógrafo no verso do cartão-suporte","papel albuminado, p&b","14 x 11"],"source":"Thereza Christina Maria"}},"20.500.12156.1/2954":{"atlas":1,"col":19,"row":31,"cr":14998446,"cl":14538410,"ct":13548168,"cb":13943182,"ck":6708290,"meta":{"title":"[Pedro II, Imperador do Brasil] : [retrato]","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[1871]","contributor":"Schoefft, O.","type":"Fotografia","subject":["Pedro II, Imperador do Brasil, 1825-1891","Famílias reais - Brasil","Imperadores - Brasil","Royal houses - Brazil","Emperors - Brazil"],"description":["papel albuminado, p&b","10 x 6"],"source":"Thereza Christina Maria"}},"20.500.12156.1/2955":{"atlas":1,"col":20,"row":31,"cr":13612938,"cl":13679244,"ct":13415805,"cb":13150837,"ck":6510397,"meta":{"title":"[Pedro II, Imperador do Brasil : retrato]","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"1890]","contributor":"Mourgeon, C.","type":"Fotografia","subject":["Pedro II, Imperador do Brasil, 1825-1891","Famílias reais - Brasil","Imperadores - Brasil","Royal houses - Brazil","Emperors - Brazil"],"description":["Busto do Imperador idoso, voltado para a esquerda. Segundo Imperador do Brasil, nasceu no Rio de Janeiro em 1825 e morreu em Paris em 1891. Reinou sob regência de 7 de abril de 1831 a 23 de junho de 1840. Foi coroado Imperador em 18 de dezembro de 1841, aos 15 anos de idade","papel albuminado, p&b","Retrato fotográfico","Cópia fotográfica albuminada","14 x 10 cm em cartão-suporte: 22 x 16 cm"],"source":"Thereza Christina Maria","publisher":"Paris [França"}},"20.500.12156.1/2956":{"atlas":1,"col":21,"row":31,"cr":6971468,"cl":7432525,"ct":9077342,"cb":5328709,"ck":3815210,"meta":{"title":"I[greja] S[ão] F[rancisco de P[aula]","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"2017-03-03T14:13:27Z","contributor":"Malta, Augusto, 1864-1957","type":"Fotografia","subject":["Igreja de São Francisco de Paula (Rio de Janeiro, RJ)","Igrejas (Edifícios) - Rio de Janeiro (RJ)","Church buildings - Rio de Janeiro (Brazil)"],"description":["gelatina, p&b ;","23,3 x 17, 4"],"source":"Thereza Christina Maria"}},"20.500.12156.1/2957":{"atlas":1,"col":22,"row":31,"cr":7760719,"cl":7629647,"ct":8288090,"cb":7630427,"ck":4078642,"meta":{"title":"I[greja] S[ão] F[rancisco de P[aula]","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"2017-03-03T14:13:28Z","contributor":"Malta, Augusto, 1864-1957","type":"Fotografia","subject":["Igreja de São Francisco de Paula (Rio de Janeiro, RJ)","Igrejas (Edifícios) - 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Rio de Janeiro (RJ)","Church buildings - Rio de Janeiro (Brazil)"],"description":["gelatina, p&b","22,5 x 17"]}},"20.500.12156.1/3002":{"atlas":1,"col":9,"row":32,"cr":9473141,"cl":7828317,"ct":11446669,"cb":9736316,"ck":4868156,"meta":{"title":"S[anta] Luzia","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"2017-03-03T14:13:46Z","contributor":"Malta, Augusto, 1864-1957","type":"Fotografia","subject":["Igreja de Santa Luzia (Rio de Janeiro, RJ)","Igrejas - Rio de Janeiro (RJ)","Monumentos  - Rio de Janeiro (RJ)","Church buildings - Rio de Janeiro (Brazil)","Monuments - Brazil - Rio de Janeiro (Brazil)"],"description":["gelatina, p&b","22,5 x 17"]}},"20.500.12156.1/3003":{"atlas":1,"col":10,"row":32,"cr":9407348,"cl":8617832,"ct":8025954,"cb":7433563,"ck":3881521,"meta":{"title":"C[apela] M[or] da E. da Gloria","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"1923","contributor":"Malta, Augusto, 1864-1957","type":"Fotografia","subject":["Igreja de Nossa Senhora da Glória do Outeiro (Rio de Janeiro, RJ)","Igrejas - 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Rio de Janeiro (RJ)","Largo do Machado (Rio de Janeiro, RJ)","Church buildings - Rio de Janeiro (Brazil)","Largo do Machado (Rio de janeiro, Brazil)"],"description":["gelatina, p&b","22,6 x 16,9"],"coverage":["Largo do Machado (Rio de Janeiro, RJ)"]}},"20.500.12156.1/3011":{"atlas":1,"col":19,"row":32,"cr":9407348,"cl":9144432,"ct":12236701,"cb":9407350,"ck":4473659,"meta":{"title":"Botafogo","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"2017-03-03T14:13:50Z","contributor":"Malta, Augusto, 1864-1957","type":"Fotografia","subject":["Igreja da Imaculada Conceição do Sagrado Coração de Jesus (Rio de Janeiro, RJ)","Igrejas - Rio de Janeiro (RJ)","Botafogo (Rio de Janeiro, RJ)","Church buildings - Rio de Janeiro (Brazil)","Botafogo (Rio de Janeiro, Brazil)"],"description":["gelatina, p&b","22,6 x 17"],"coverage":["Botafogo (Rio de Janeiro, RJ)"]}},"20.500.12156.1/3012":{"atlas":1,"col":20,"row":32,"cr":9078125,"cl":9144175,"ct":11249287,"cb":9407350,"ck":4670778,"meta":{"title":"Matriz de S[ão] Christovão","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"2017-03-03T14:13:51Z","contributor":"Malta, Augusto, 1864-1957","type":"Fotografia","subject":["Igreja de São Cristovão (Rio de Janeiro, RJ)","Igrejas - Rio de Janeiro (RJ)","São Cristovão (Rio de Janeiro, RJ)","Church buildings - Rio de Janeiro (Brazil)","São Cristovão (Rio de Janeiro, Brazil)"],"description":["gelatina, p&b","23,3 x 17,3"],"coverage":["São Cristovão (Rio de Janeiro, RJ)"]}},"20.500.12156.1/3013":{"atlas":1,"col":21,"row":32,"cr":9472884,"cl":9078123,"ct":12104856,"cb":9275508,"ck":4999744,"meta":{"title":"Matriz de S[ão] Christovam [sic]","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"2017-03-03T14:13:51Z","contributor":"Malta, Augusto, 1864-1957","type":"Fotografia","subject":["Igreja de São Cristovão (Rio de Janeiro, RJ)","Igrejas - Rio de Janeiro (RJ)","São Cristovão (Rio de Janeiro, RJ)","Church buildings - Rio de Janeiro (Brazil)","São Cristovão (Rio de Janeiro, Brazil)"],"description":["gelatina, p&b","23,3 x 17,3"],"coverage":["São Cristovão (Rio de Janeiro, RJ)"]}},"20.500.12156.1/3014":{"atlas":1,"col":22,"row":32,"cr":9799005,"cl":9338452,"ct":11841425,"cb":6511947,"ck":3552555,"meta":{"title":"I[greja] Anglicana, R[ua] E[varisto] da Veiga","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"2017-03-03T14:13:51Z","contributor":"Malta, Augusto, 1864-1957","type":"Fotografia","subject":["Igreja Anglicana (Rio de Janeiro, RJ)","Igrejas - Rio de Janeiro (RJ)","Church buildings - Rio de Janeiro (Brazil)"],"description":["gelatina, p&b","22,8 x 16,8"]}},"20.500.12156.1/3015":{"atlas":1,"col":23,"row":32,"cr":9930590,"cl":9536089,"ct":8682333,"cb":10457193,"ck":3815210,"meta":{"title":"S[anto] Christo","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"2017-03-03T14:13:52Z","contributor":"Malta, Augusto, 1864-1957","type":"Fotografia","subject":["Igreja Santo Cristo dos Milagres (Rio de Janeiro, RJ)","Igrejas - Rio de Janeiro (RJ)","Church buildings - Rio de Janeiro (Brazil)"],"description":["gelatina, p&b","22,2 x 16,5"]}},"20.500.12156.1/3016":{"atlas":1,"col":24,"row":32,"cr":10260069,"cl":9010263,"ct":12169875,"cb":10654829,"ck":4538675,"meta":{"title":"Procissão de N[ossa] S[enhora] da Penha do Morro do Barroso","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"2017-03-03T14:13:52Z","contributor":"Malta, Augusto, 1864-1957","type":"Fotografia","subject":["Igrejas - 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Rio de Janeiro (RJ)","Convents - Brazil - Rio de Janeiro (Brazil)"],"description":["gelatina, p&b","16 x 22"]}},"20.500.12156.1/3159":{"atlas":1,"col":50,"row":33,"cr":9275763,"cl":9012330,"ct":9276021,"cb":9144436,"ck":4275762,"meta":{"title":"Conv[ento] da Ajuda : [interior]","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[s.d.]","contributor":"Malta, Augusto, 1864-1957","type":"Fotografia","subject":["Convento da Ajuda (Rio de Janeiro, RJ)","Conventos  - Rio de Janeiro (RJ)","Convents - Brazil - Rio de Janeiro (Brazil)"],"description":["gelatina, p&b","17,5 x 23,5"]}},"20.500.12156.1/316":{"atlas":1,"col":51,"row":33,"cr":14802119,"cl":14802121,"ct":5063734,"cb":4735547,"ck":6512210,"meta":{"title":"Lavra de diamantes do Sr. Vidigal : levada no rio Jiquetinhonha [i.e. Jequitinhonha] 2","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[1868-1869]","contributor":"Riedel, Augusto, 1836-ca.1877","type":"Fotografia","subject":["Diamante - Minas e mineração - Minas Gerais","Rios - Minas Gerais","Minas Gerais","Jequitinhonha, Rio (MG e BA)","Diamond mines and mining - Minas Gerais (Brazil)","Rivers - Minas Gerais (Brazil)","Jequitinhonha River (Brazil)"],"description":["papel albuminado, p&b","20,9 x 26,9"],"coverage":["Minas Gerais","Jequitinhonha, Rio (MG e BA)"],"source":"Thereza Christina Maria","publisher":"[Minas Gerais]"}},"20.500.12156.1/3160":{"atlas":1,"col":52,"row":33,"cr":9341817,"cl":8157284,"ct":9012849,"cb":9012849,"ck":3947056,"meta":{"title":"Conv[ento] da Ajuda : coro das servas","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"2017-03-03T14:14:00Z","contributor":"Malta, Augusto, 1864-1957","type":"Fotografia","subject":["Convento da Ajuda (Rio de Janeiro, RJ)","Conventos  - Rio de Janeiro (RJ)","Convents - Brazil - Rio de Janeiro (Brazil)"],"description":["gelatina, p&b","16,7 x 22,5"]}},"20.500.12156.1/3161":{"atlas":1,"col":53,"row":33,"cr":9407351,"cl":8486504,"ct":9144435,"cb":9144177,"ck":3881264,"meta":{"title":"Conv[ento] da Ajuda : [Fonte das Saracuras]","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"2017-03-03T14:14:00Z","contributor":"Malta, Augusto, 1864-1957","type":"Fotografia","subject":["Convento da Ajuda (Rio de Janeiro, RJ)","Conventos  - Rio de Janeiro (RJ)","Convents - Brazil - Rio de Janeiro (Brazil)"],"description":["gelatina, p&b","16,5 x 22,5"]}},"20.500.12156.1/3162":{"atlas":1,"col":54,"row":33,"cr":9275504,"cl":8486246,"ct":5394499,"cb":9078900,"ck":3157800,"meta":{"title":"S[ão] Sebastião da Pref[eitura] do D[istrito] F[ederal]","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"2017-03-03T14:14:00Z","contributor":"Malta, Augusto, 1864-1957","type":"Fotografia","subject":["Sebastião, Santo","Escultura - Rio de Janeiro (RJ)","Convents - Brazil - Rio de Janeiro (Brazil)","Sculpture - Brazil - Rio de Janeiro (Brazil)"],"description":["gelatina, p&b","23,5 x 16,5"]}},"20.500.12156.1/3163":{"atlas":1,"col":55,"row":33,"cr":9538417,"cl":9012593,"ct":9341555,"cb":9209969,"ck":4604987,"meta":{"title":"S[ão] Christovam [sic], Caju : portão do Cem[iterio] de São] F[rancisco] Xavier","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"2017-03-03T14:14:01Z","contributor":"Malta, Augusto, 1864-1957","type":"Fotografia","subject":["Cemiterio de São Francisco Xavier (Rio de Janeiro, RJ)","Cemitérios  - Rio de Janeiro (RJ)","Portões  - Rio de Janeiro (RJ)","Automóveis","Cemeteries - Rio de Janeiro (Brazil)","Gates - Rio de Janeiro (Brazil)"],"description":["gelatina, p&b","23,5 x 27,8"]}},"20.500.12156.1/3164":{"atlas":1,"col":56,"row":33,"cr":10654830,"cl":11051654,"ct":9864797,"cb":10128482,"ck":4736313,"meta":{"title":"O[rdem] T[erceira] da Penitencia, Cemiterio, Caju","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"2017-03-03T14:14:01Z","contributor":"Malta, Augusto, 1864-1957","type":"Fotografia","subject":["Cemiterio de São Francisco Xavier (Rio de Janeiro, RJ)","Cemitérios  - Rio de Janeiro (RJ)","Portões  - Rio de Janeiro (RJ)","Cemeteries - Rio de Janeiro (Brazil)","Gates - Rio de Janeiro (Brazil)"],"description":["gelatina, p&b","16,7 x 22,8"]}},"20.500.12156.1/3165":{"atlas":1,"col":57,"row":33,"cr":9275506,"cl":8222819,"ct":9077867,"cb":8880744,"ck":4341557,"meta":{"title":"Santa Casa","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"2017-03-03T14:14:01Z","contributor":"Malta, Augusto, 1864-1957","type":"Fotografia","subject":["Santa Casa da Misericórdia do Rio de Janeiro","Edifícios - Rio de Janeiro (RJ)","Buildings - Rio de Janeiro (Brazil)"],"description":["gelatina, p&b","17 x 23,1"]}},"20.500.12156.1/3166":{"atlas":1,"col":58,"row":33,"cr":10127968,"cl":9667675,"ct":9143913,"cb":10260844,"ck":4275761,"meta":{"title":"[Porta] da Cap[ela] da S[anta] Casa","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"2017-03-03T14:14:02Z","contributor":"Malta, Augusto, 1864-1957","type":"Fotografia","subject":["Capela da Santa Casa da Misericórdia (Rio de Janeiro,RJ)","Capelas - Rio de Janeiro (RJ)","Portas","Chapels  - Brazil - Rio de Janeiro (RJ)","Doors"],"description":["gelatina, p&b","22,6 x 16,7"]}},"20.500.12156.1/3167":{"atlas":1,"col":59,"row":33,"cr":10588521,"cl":10851947,"ct":9798747,"cb":9996125,"ck":4999225,"meta":{"title":"Rua Conde de Baependy : P[raça] José de Alencar : [Igreja Metodista do Catete]","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[s.d.]","contributor":"Malta, Augusto, 1864-1957","type":"Fotografia","subject":["Igrejas - Rio de Janeiro (RJ)","Ruas - Rio de Janeiro (RJ)","Rio de Janeiro (RJ)","Church buildings - Rio de Janeiro (Brazil)","Streets - Rio de Janeiro (Brazil)","Rio de Janeiro (Brazil)","Igrejas metodistas"],"description":["Título incorreto no papel fotográfico: \"I. Anglicana\"","fachada principal da Catedral Metodista do Rio de Janeiro","gelatina, p&b","18 x 21 cm"],"coverage":["Rio de Janeiro (RJ)"]}},"20.500.12156.1/3168":{"atlas":1,"col":60,"row":33,"cr":7105374,"cl":12039591,"ct":14737106,"cb":9143919,"ck":4736831,"meta":{"title":"[Praia de Copacabana vista do pátio do Copacabana Palace Hotel]","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"19--]","contributor":"Malta, Augusto, 1864-1957","type":"Fotografia","subject":["Malta, Augusto, 1864-1957","Copacabana (Rio de Janeiro, RJ)","Copacabana Palace (Rio de Janeiro, RJ)","Edifícios - Rio de Janeiro (RJ)","Praias - Rio de Janeiro (RJ)","Buildings - Rio de Janeiro (Brazil)","Beaches - Rio de Janeiro (Brazil)","Copacabana (Rio de Janeiro, Brazil)"],"description":["gelatina, p&b","Cópia fotográfica de gelatina e prata","15,5 x 21,5 cm"],"coverage":["Copacabana (Rio de Janeiro, RJ)","Copacabana (Rio de Janeiro, Brazil)"],"source":"Brício de Abreu","publisher":"Rio de Janeiro, RJ"}},"20.500.12156.1/3169":{"atlas":1,"col":61,"row":33,"cr":6841952,"cl":4539199,"ct":12038823,"cb":12434609,"ck":2960425,"meta":{"title":"Rio de Janeiro : Enseada de Botafogo","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"1935?]","contributor":"LTM","type":"Fotografia","subject":["Praias - Rio de Janeiro (RJ)","Morros - Rio de Janeiro (RJ)","Fotografia noturna","Brasil","Rio de Janeiro (RJ)","Botafogo (Rio de Janeiro, RJ)","Botafogo, Enseada de (RJ)","Cristo Redentor (Rio de Janeiro, RJ)","Corcovado, Morro do (Rio de Janeiro, RJ)","Beaches - Rio de Janeiro (Brazil)","Mountains - Rio de Janeiro (Brazil)","Night photography","Rio de Janeiro (Brazil)","Botafogo (Rio de Janeiro, Brazil)","Botafogo, Enseada de (Rio de Janeiro, Brazil)","Cristo Redentor (Rio de Janeiro, Brazil)","Corcovado, Morro do (Rio de Janeiro, Brazil)"],"description":["cópia fotográfica de gelatina e prata, p&b","Cópia fotográfica de gelatina e prata","Cartão-postal","8,5 x 12,9 cm em papel: 9 x 13,5 cm"],"coverage":["Brasil","Rio de Janeiro (RJ)","Botafogo (Rio de Janeiro, RJ)","Botafogo, Enseada de (RJ)","Cristo Redentor (Rio de Janeiro, RJ)","Corcovado, Morro do (Rio de Janeiro, RJ)","Rio de Janeiro (Brazil)","Botafogo (Rio de Janeiro, Brazil)","Botafogo, Enseada de (Rio de Janeiro, Brazil)","Cristo Redentor (Rio de Janeiro, Brazil)","Corcovado, Morro do (Rio de Janeiro, Brazil)"],"source":"Lembrança do Rio de Janeiro","publisher":"[Rio de Janeiro, RJ?"}},"20.500.12156.1/317":{"atlas":1,"col":62,"row":33,"cr":14670791,"cl":14539464,"ct":2564637,"cb":6182729,"ck":6051917,"meta":{"title":"Lavra de diamantes do Sr. Vidigal no rio Jiquetinhonha : tiragem de cascalho","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[1868-1869]","contributor":"Riedel, Augusto, 1836-ca.1877","type":"Fotografia","subject":["Diamante - Minas e mineração - Minas Gerais","Minas Gerais","Diamond mines and mining - Minas Gerais (Brazil)"],"description":["papel albuminado, p&b","23,2 x 28,3"],"coverage":["Minas Gerais"],"source":"Thereza Christina Maria","publisher":"[Minas Gerais]"}},"20.500.12156.1/3170":{"atlas":1,"col":63,"row":33,"cr":7434084,"cl":7828845,"ct":11053214,"cb":12434613,"ck":3749939,"meta":{"title":"Rio Janeiro : : Enseada de Botafogo","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"1935?]","contributor":"LTM (Firma)","type":"Fotografia","subject":["Praias - Rio de Janeiro (RJ)","Brasil","Rio de Janeiro (RJ)","Botafogo (Rio de Janeiro, RJ)","Botafogo, Enseada de (RJ)","Beaches - Rio de Janeiro (Brazil)","Rio de Janeiro (Brazil)","Botafogo (Rio de Janeiro, Brazil)","Botafogo, Enseada de (Rio de Janeiro, Brazil)"],"description":["cópia fotográfica de gelatina e prata, p&b","Cópia fotográfica de gelatina e prata","Cartão-postal","8,5x12,9 cm em papel: 9x13,5 cm"],"coverage":["Brasil","Rio de Janeiro (RJ)","Botafogo (Rio de Janeiro, RJ)","Botafogo, Enseada de (RJ)","Rio de Janeiro (Brazil)","Botafogo (Rio de Janeiro, Brazil)","Botafogo, Enseada de (Rio de Janeiro, Brazil)"],"source":"Lembrança do Rio de Janeiro","publisher":"[Rio de Janeiro, RJ?"}},"20.500.12156.1/3171":{"atlas":1,"col":0,"row":34,"cr":12369076,"cl":4934216,"ct":9210489,"cb":4868161,"ck":3486767,"meta":{"title":"Rio de Janeiro : Mon. A. Cristo Redemptor","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"1935?]","contributor":"LTM (Firma)","type":"Fotografia","subject":["Monumentos - Rio de Janeiro (RJ)","Brasil","Rio de Janeiro (RJ)","Cristo Redentor (Rio de Janeiro, RJ)","Monuments - Rio de Janeiro (Brazil)","Rio de Janeiro (Brazil)","Cristo Redentor (Rio de Janeiro, Brazil)"],"description":["cópia fotográfica de gelatina e prata, p&b","Cópia fotográfica de gelatina e prata","Cartão-postal","8,5x12,9 cm em papel: 9x13,5 cm"],"coverage":["Brasil","Rio de Janeiro (RJ)","Cristo Redentor (Rio de Janeiro, RJ)","Rio de Janeiro (Brazil)","Cristo Redentor (Rio de Janeiro, Brazil)"],"source":"Lembrança do Rio de Janeiro","publisher":"[Rio de Janeiro, RJ?"}},"20.500.12156.1/3172":{"atlas":1,"col":1,"row":34,"cr":7894900,"cl":11249822,"ct":7499358,"cb":6182726,"ck":3223079,"meta":{"title":"Rio de Janeiro : : Rua Paissandú","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"1935?]","contributor":"LTM (Firma)","type":"Fotografia","subject":["Ruas - Rio de Janeiro (RJ)","Brasil","Rio de Janeiro (RJ)","Rua Paissandu (Rio de Janeiro, RJ)","Flamengo (Rio de Janeiro, RJ)","Corcovado, Morro do (Rio de Janeiro, RJ)","Cristo Redentor (Rio de Janeiro, RJ)","Streets - Rio de Janeiro (Brazil)","Rio de Janeiro (Brazil)","Rua Paissandu (Rio de Janeiro, Brazil)","Flamengo (Rio de Janeiro, Brazil)","Corcovado, Morro do (Rio de Janeiro, Brazil)","Cristo Redentor (Rio de Janeiro, Brazil)"],"description":["cópia fotográfica de gelatina e prata, p&b","Cópia fotográfica de gelatina e prata","Cartão-postal","8,5 x 12,9 cm em papel: 9 x 13,5 cm"],"coverage":["Brasil","Rio de Janeiro (RJ)","Rua Paissandu (Rio de Janeiro, RJ)","Flamengo (Rio de Janeiro, RJ)","Corcovado, Morro do (Rio de Janeiro, RJ)","Cristo Redentor (Rio de Janeiro, RJ)","Rio de Janeiro (Brazil)","Rua Paissandu (Rio de Janeiro, Brazil)","Flamengo (Rio de Janeiro, Brazil)","Corcovado, Morro do (Rio de Janeiro, Brazil)","Cristo Redentor (Rio de Janeiro, Brazil)"],"source":"Lembrança do Rio de Janeiro","publisher":"[Rio de Janeiro, RJ?"}},"20.500.12156.1/3173":{"atlas":1,"col":2,"row":34,"cr":7039587,"cl":6908259,"ct":12565941,"cb":10328976,"ck":3421232,"meta":{"title":"Vista do Pão de Assucar","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"1935?]","contributor":"LTM (Firma)","type":"Fotografia","subject":["Morros - Rio de Janeiro (RJ)","Praias - Rio de Janeiro (RJ)","Corcovado, Morro do (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Brasil","Mountains - Rio de Janeiro (Brazil)","Beaches - Rio de Janeiro (Brazil)","Corcovado, Morro do (Rio de Janeiro, Brazil)","Rio de Janeiro (Brazil)"],"description":["cópia fotográfica de gelatina e prata,  p&b","Cópia fotográfica de gelatina e prata","Cartão-postal","8,5 x 12,9 cm em papel: 9 x 13,5 cm"],"coverage":["Corcovado, Morro do (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Brasil","Corcovado, Morro do (Rio de Janeiro, Brazil)","Rio de Janeiro (Brazil)"],"source":"Lembrança do Rio de Janeiro","publisher":"[Rio de Janeiro, RJ?"}},"20.500.12156.1/3174":{"atlas":1,"col":3,"row":34,"cr":7960691,"cl":4079161,"ct":5657683,"cb":12303020,"ck":2763304,"meta":{"title":"Rio de Janeiro : : Canto do Rio","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"1935?]","contributor":"LTM (Firma)","type":"Fotografia","subject":["Morros - Rio de Janeiro (RJ)","Praias - 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XIX","Paripe (Salvador, Brazil) - Photographs"],"description":["pb"],"coverage":["Paripe (Salvador, BA)"],"source":"Thereza Christina Maria","publisher":"[Salvador, BA]"}},"20.500.12156.1/3550":{"atlas":1,"col":59,"row":35,"cr":9995867,"cl":9930075,"ct":10062697,"cb":10523507,"ck":4932141,"meta":{"title":"Estrada de Ferro Macahé e Campos : Planta geral do traçado","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"2015-11-26T13:49:11Z","contributor":null,"type":"Fotografia","subject":["Ferrovias - Rio de Janeiro (RJ)","Rio de Janeiro (Estado)","Campos [RJ]","Campos dos Goytacazes (RJ)","Railroads - Rio de Janeiro (Brazil)","Rio de Janeiro (Brazil : State)"],"description":["papel albuminado, p&b","8,3x19,9"],"coverage":["Rio de Janeiro (Estado)","Campos [RJ]","Campos dos Goytacazes (RJ)"]}},"20.500.12156.1/3551":{"atlas":1,"col":60,"row":35,"cr":14867136,"cl":14406578,"ct":13877399,"cb":13152127,"ck":6642244,"meta":{"title":"[Expositor","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"2015-11-26T13:49:14Z","contributor":"Zaccaria, G.","type":"Fotografia","subject":["Office Galileo (Florença, Itália)","Vitrinas","Florença (Itália)","Show windows","Florence (Italy)"],"description":["papel albuminado, p&b","13,5x8,8"],"coverage":["Florença (Itália)"]}},"20.500.12156.1/3552":{"atlas":1,"col":61,"row":35,"cr":14075554,"cl":14008987,"ct":13943441,"cb":13942668,"ck":6379071,"meta":{"title":"[Homem] : retrato]","community":"Biblioteca Nacional","rights":null,"date":"2015-11-26T13:49:15Z","contributor":"Villela, João Ferreira, fl. 1861-1880","type":"Fotografia","subject":["Fotografia - Retratos","Homens","Photography - Portraits","Men"],"description":["Nome e endereço do fotógrafo e brasão do império impressos no verso do cartão-suporte: \"Ferreira Villela Photographo da Casa Imperial premiado nas duas Exposições de 1866. 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O. 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[Marinha], da Ilha das Cobras","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[entre 186-?]","contributor":"Casa Leuzinger","type":"Fotografia","subject":["Igreja de Nossa Senhora do Carmo da Lapa do Desterro","Mosteiro de São Bento (Rio de Janeiro, RJ)","Serviço Geográfico do Exército (Brasil)","Baías - - Brasil - Rio de Janeiro (RJ)","Bases navais - Rio de Janeiro (RJ)","Arsenais - Rio de Janeiro (RJ)","Edifícios - Rio de Janeiro (RJ)","Mosteiros - Rio de Janeiro (RJ)","Guanabara, Baía de (RJ)","Rio de Janeiro (RJ)","Brasil","Vistas panorâmicas - Rio de Janeiro (RJ)","Panoramic views - Rio de Janeiro (Brazil)","Buildings - Rio de Janeiro (Brazil)","Bays - Rio de Janeiro (Brazil)","Navy-yards and naval stations - Rio de Janeiro (Brazil)","Arsenals - Rio de Janeiro (Brazil)","Monasteries - Rio de Janeiro (Brazil)","Guanabara Bay (Brazil)","Brazil"],"description":["Negativo de segunda geração: 05612, triacetato de celulose (DiMic)","papel albuminado, p&b","25,5 x 38,7 cm em cartão-suporte: 45,5 x 65 cm"],"coverage":["Guanabara, Baía de (RJ)","Rio de Janeiro (RJ)","Brasil","Guanabara Bay (Brazil)","Brazil"],"source":"Thereza Christina Maria","publisher":"Rio de Janeiro, RJ, G. 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Leuzinger"}},"20.500.12156.1/3614":{"atlas":1,"col":61,"row":36,"cr":13879728,"cl":13946292,"ct":13156260,"cb":13089951,"ck":6249033,"meta":{"title":"Glória, do Castello","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[186-?]","contributor":"Casa Leuzinger","type":"Fotografia","subject":["Igreja de Nossa Senhora da Glória do Outeiro (Rio de Janeiro, RJ)","Rio de Janeiro City Improvement Company Limited.","Montanhas - Rio de Janeiro (RJ)","Edifícios - Rio de Janeiro (RJ)","Igrejas (Edifícios) - Rio de Janeiro (RJ)","Glória (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Brasil","Guanabara, Baía de (RJ)","Vistas panorâmicas - Rio de Janeiro (RJ)","Panoramic views - Rio de Janeiro (Brazil)","Mountains - Rio de Janeiro (Brazil)","Buildings - Rio de Janeiro (Brazil)","Church buildings - Rio de Janeiro (Brazil)","Guanabara Bay (Brazil)","Brazil"],"description":["Negativo de segunda geração: 05610, triacetato de celulose (DiMic)","papel albuminado, p&b","24,8 x 37,8 cm em cartão-suporte: 43,5 x 55,5 cm"],"coverage":["Glória (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Brasil","Guanabara, Baía de (RJ)","Guanabara Bay (Brazil)","Brazil"],"source":"Thereza Christina Maria","publisher":"Rio de Janeiro, RJ, G. Leuzinger"}},"20.500.12156.1/3615":{"atlas":1,"col":62,"row":36,"cr":14406848,"cl":14538691,"ct":13682866,"cb":13485226,"ck":6446157,"meta":{"title":"Valle de Sant[o] Amaro, Glória e entrada de Sta. Thereza","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[entre 1864 e 1870]","contributor":"Casa Leuzinger","type":"Fotografia","subject":["Igreja de Nossa Senhora da Glória do Outeiro (Rio de Janeiro, RJ)","Igrejas (Edifícios) - Rio de Janeiro (RJ)","Montanhas - Rio de Janeiro (RJ)","Edifícios - Rio de Janeiro (RJ)","Guanabara, Baía de (RJ)","Santa Teresa (Rio de Janeiro, RJ)","Glória (Rio de Janeiro, RJ)","Pão de Açúcar, Morro do (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Brasil","Vistas panorâmicas - Rio de Janeiro (RJ)","Panoramic views - Rio de Janeiro (Brazil)","Mountains - Rio de Janeiro (Brazil)","Church buildings - Rio de Janeiro (Brazil)","Buildings - Rio de Janeiro (Brazil)","Guanabara Bay (Brazil)","Sugar Loaf Mountain (Brazil)","Brazil"],"description":["Negativo de segunda geração: 05492, triacetato de celulose (DiMic)","papel albuminado, p&b","25,7 x 39,5 cm em cartão-suporte: 43,5 x 47,3 cm"],"coverage":["Guanabara, Baía de (RJ)","Santa Teresa (Rio de Janeiro, RJ)","Glória (Rio de Janeiro, RJ)","Pão de Açúcar, Morro do (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Brasil","Guanabara Bay (Brazil)","Sugar Loaf Mountain (Brazil)","Brazil"],"source":"Thereza Christina Maria","publisher":"Rio de Janeiro, RJ, G. Leuzinger"}},"20.500.12156.1/3616":{"atlas":1,"col":63,"row":36,"cr":13879988,"cl":14012088,"ct":13222311,"cb":13222310,"ck":5920069,"meta":{"title":"Valle de S. Amaro, da Glória","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[entre 1864 e 1870]","contributor":"Casa Leuzinger","type":"Fotografia","subject":["Beneficência Portuguesa (Rio de Janeiro, RJ)","Ruas - Rio de Janeiro (RJ)","Montanhas - Rio de Janeiro (RJ)","Edifícios - Rio de Janeiro (RJ)","Rua Santo Amaro (Rio de Janeiro, RJ)","Glória (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Brasil","Vistas panorâmicas - Rio de Janeiro (RJ)","Panoramic views - Rio de Janeiro (Brazil)","Buildings - Rio de Janeiro (Brazil)","Mountains - Rio de Janeiro (Brazil)","Streets - Rio de Janeiro (Brazil)","Brazil"],"description":["Negativo de segunda geração: 05609, triacetato de celulose (DiMic)","papel albuminado, p&b","25,7 x 37,8 cm em cartão-suporte: 42,5 x 55,5 cm"],"coverage":["Rua Santo Amaro (Rio de Janeiro, RJ)","Glória (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Brasil","Brazil"],"source":"Thereza Christina Maria","publisher":"Rio de Janeiro, RJ, G. Leuzinger"}},"20.500.12156.1/3617":{"atlas":1,"col":0,"row":37,"cr":13814193,"cl":14077622,"ct":13156003,"cb":13221795,"ck":6314827,"meta":{"title":"Morro do Russel e entrada da Glória","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[entre 1864 e 1870]","contributor":"Casa Leuzinger","type":"Fotografia","subject":["Montanhas - Rio de Janeiro (RJ)","Glória (Rio de Janeiro, RJ)","Guanabara, Baía de (RJ)","Pão de Açúcar, Morro do (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Brasil","Vistas panorâmicas - Rio de Janeiro (RJ)","Panoramic views - Rio de Janeiro (Brazil)","Mountains - Rio de Janeiro (Brazil)","Sugar Loaf Mountain (Brazil)","Guanabara Bay (Brazil)","Brazil"],"description":["Negativo de segunda geração: 05490, triacetato de celulose (DiMic)","papel albuminado, p&b","24,1 x 38 cm em cartão-suporte: 42,5 x 55,8 cm"],"coverage":["Glória (Rio de Janeiro, RJ)","Guanabara, Baía de (RJ)","Pão de Açúcar, Morro do (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Brasil","Sugar Loaf Mountain (Brazil)","Guanabara Bay (Brazil)","Brazil"],"source":"Thereza Christina Maria","publisher":"Rio de Janeiro, RJ, G. Leuzinger"}},"20.500.12156.1/3618":{"atlas":1,"col":1,"row":37,"cr":13682090,"cl":13879983,"ct":13090210,"cb":13090208,"ck":6248775,"meta":{"title":"Rua Da. Luzia, Glória e entrada [da Baía de Guanabara]","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[entre 186-?]","contributor":"Casa Leuzinger","type":"Fotografia","subject":["Igreja de Nossa Senhora da Glória do Outeiro (Rio de Janeiro, RJ)","Rio de Janeiro City Improvement Company Limited.","Edifícios - Rio de Janeiro (RJ)","Ruas - Rio de Janeiro (RJ)","Glória (Rio de Janeiro, RJ)","Guanabara, Baía de (RJ)","Pão de Açúcar, Morro do (Rio de Janeiro, RJ)","Rua Cândido Mendes (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Brasil","Vistas panorâmicas - Rio de Janeiro (RJ)","Panoramic views - Rio de Janeiro (Brazil)","Buildings - Rio de Janeiro (Brazil)","Streets - Rio de Janeiro (Brazil)","Sugar Loaf Mountain (Brazil)","Brazil","Guanabara Bay (Brazil)"],"description":["Negativo de segunda geração: 05491, triacetato de celulose (DiMic)","papel albuminado, p&b","25 x 37,8 cm em cartão-suporte: 42,5 x 55,8 cm"],"coverage":["Glória (Rio de Janeiro, RJ)","Guanabara, Baía de (RJ)","Pão de Açúcar, Morro do (Rio de Janeiro, RJ)","Rua Cândido Mendes (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Brasil","Sugar Loaf Mountain (Brazil)","Brazil","Guanabara Bay (Brazil)"],"source":"Thereza Christina Maria","publisher":"Rio de Janeiro, RJ, G. Leuzinger"}},"20.500.12156.1/3619":{"atlas":1,"col":2,"row":37,"cr":13879987,"cl":14011829,"ct":13090210,"cb":12892315,"ck":6051399,"meta":{"title":"Rua do Príncipe, Catette","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[entre 1864 e 1870]","contributor":"Casa Leuzinger","type":"Fotografia","subject":["Igreja de Nossa Senhora da Glória do Outeiro (Rio de Janeiro, RJ)","Edifícios - Rio de Janeiro (RJ)","Ruas - Rio de Janeiro (RJ)","Catete (Rio de Janeiro, RJ)","Rua Silveira Martins (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Brasil","Buildings - Rio de Janeiro (Brazil)","Streets - Rio de Janeiro (Brazil)","Catete (Rio de Janeiro, Brazil)","Silveira Martins, Street (Rio de Janeiro, Brazil)","Rio de Janeiro (Brazil)","Brazil"],"description":["papel albuminado, p&b","Cópia fotográfica albuminada","24 x 37,8 cm em cartão-suporte: 43,5 x 55,5"],"coverage":["Catete (Rio de Janeiro, RJ)","Rua Silveira Martins (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Brasil","Catete (Rio de Janeiro, Brazil)","Silveira Martins, Street (Rio de Janeiro, Brazil)","Rio de Janeiro (Brazil)","Brazil"],"source":"Thereza Christina Maria","publisher":"Rio de Janeiro, RJ, G. Leuzinger"}},"20.500.12156.1/362":{"atlas":1,"col":3,"row":37,"cr":14076337,"cl":14207662,"ct":12364680,"cb":13286557,"ck":6248521,"meta":{"title":"Casa do Snr. Richlin, sapateiro, rua do Principe","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[s.d.]","contributor":"Niemeyer, Louis","type":"Fotografia","subject":["Habitações - Joinville (SC)","Joinville (SC) - Fotografias","Dwellings - Brazil - Joinvile","Joinvile (Brazil) - Photographs"],"description":["papel albuminado, pb","11,3 x 16,2"],"coverage":["Joinville (SC)"],"source":"Thereza Christina Maria"}},"20.500.12156.1/3620":{"atlas":1,"col":4,"row":37,"cr":12958623,"cl":13156001,"ct":12891535,"cb":13353382,"ck":5525051,"meta":{"title":"Cosmo [i.e. Cosme] Velho","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[entre 1864 e 1870]","contributor":"Casa Leuzinger","type":"Fotografia","subject":["Edifícios - Rio de Janeiro (RJ)","Montanhas - Rio de Janeiro (RJ)","Cosme Velho (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Brasil","Buildings - Rio de Janeiro (Brazil)","Mountains - Rio de Janeiro (Brazil)","Cosme Velho (Rio de Janeiro, Brazil)","Rio de Janeiro (Brazil)","Brazil"],"description":["papel albuminado, p&b","Cópia fotográfica albuminada","31 x 24,4 cm em cartão-suporte: 44,3 x 34,3 cm"],"coverage":["Cosme Velho (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Brasil","Cosme Velho (Rio de Janeiro, Brazil)","Rio de Janeiro (Brazil)","Brazil"],"source":"Thereza Christina Maria","publisher":"Rio de Janeiro, RJ, G. Leuzinger"}},"20.500.12156.1/3621":{"atlas":1,"col":5,"row":37,"cr":13418655,"cl":13682084,"ct":12892052,"cb":12957585,"ck":6116931,"meta":{"title":"O Cosmo [i.e. Cosme] : uma chácara nas Laranjeiras","community":"Biblioteca Nacional","rights":null,"date":"[entre 1860 e 1870]","contributor":"Casa Leuzinger","type":"Fotografia","subject":["Habitações - Rio de Janeiro (RJ)","Montanhas - Rio de Janeiro (RJ)","Cosme Velho (Rio de Janeiro, RJ)","Laranjeiras (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Brasil","Dwellings - Rio de Janeiro (Brazil)","Mountains - Rio de Janeiro (Brazil)","Cosme Velho (Rio de Janeiro, Brazil)","Laranjeiras (Rio de Janeiro, Brazil)","Rio de Janeiro (Brazil)","Brazil"],"description":["papel albuminado, p&b","Cópia fotográfica albuminada","17 x 22,5 cm em cartão-suporte: 31 x 38,5 cm"],"coverage":["Cosme Velho (Rio de Janeiro, RJ)","Laranjeiras (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Brasil","Cosme Velho (Rio de Janeiro, Brazil)","Laranjeiras (Rio de Janeiro, Brazil)","Rio de Janeiro (Brazil)","Brazil"],"source":"Thereza Christina Maria","publisher":"Rio de Janeiro, RJ, G. Leuzinger"}},"20.500.12156.1/3622":{"atlas":1,"col":6,"row":37,"cr":12561025,"cl":12561798,"ct":12693122,"cb":12692862,"ck":6182210,"meta":{"title":"Resultados ethnographicos e archeologicos da Exploração do Rio Madeira : : empreendida por ordem do Governo Imperial pelos engenheiros José e Francº Keller","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[1869]","contributor":"Keller, Franz, 1835-1890","type":"Desenho","subject":["Ilustração científica - Etnografia","Indígenas","Petróglifos","Índios","Índios Karipuna","Índios da América do Sul - Manaus","Amazonas","Madeira, Rio (RO e AM)","Petroglyphs","Indians","Indians of South America - Manaus","Amazonas (Brazil)","Rio Madeira (Brazil)"],"description":["aquarela, col.","Desenho a aquarela","Desenho técnico","31,9 x 48,4 cm"],"coverage":["Amazonas","Madeira, Rio (RO e AM)","Século XIX - Segundo Império, 1841-1889"],"source":"Thereza Christina Maria"}},"20.500.12156.1/3623":{"atlas":1,"col":7,"row":37,"cr":12300433,"cl":12168586,"ct":11905934,"cb":12563348,"ck":4604214,"meta":{"title":"Hercule aux pieds D'Omphale : [pintura de] G. Gleyre","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[18--]","contributor":"Gleyre, Charles, 1806-1874","type":"Fotografia","subject":["Pintura - Suíça","Painting - Switzerland"],"description":["papel albuminado p&b","23,3x17,4"],"publisher":"[Suiça], Imp. Goupil et Cie"}},"20.500.12156.1/3624":{"atlas":1,"col":8,"row":37,"cr":11380104,"cl":11313276,"ct":10391144,"cb":9535838,"ck":4932401,"meta":{"title":"Natural posing : [retrato]","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[18--]","contributor":"Stacey, C.A","type":"Fotografia","subject":["Mulher","Women"],"description":["Mulher em pé, de frente, com os braços apoiados sobre uma mesa","papel alkbuminado, p&b","17 x 9,7"]}},"20.500.12156.1/3625":{"atlas":1,"col":9,"row":37,"cr":10851696,"cl":10983283,"ct":10325599,"cb":9600853,"ck":5063983,"meta":{"title":"Section artistique : Machine à vapeur et machine a grainer","community":"Biblioteca Nacional","rights":null,"date":"2015-11-26T13:49:56Z","contributor":null,"type":"Fotografia","subject":["Máquinas","Machinery"],"description":["Interior de uma oficina para reprodução de moedas","papel albuminado, p&b","17,5x11,4"],"source":"Thereza Christina Maria"}},"20.500.12156.1/3626":{"atlas":1,"col":10,"row":37,"cr":9733996,"cl":9865585,"ct":7430992,"cb":10590339,"ck":3814442,"meta":{"title":"Photograph of the Moon","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"3 set. 1863","contributor":"Draper, Henry, 1837-1882","type":"Fotografia","subject":["Lua - Fases","Moon - Phases"],"description":["foto tirada por H. Draper com seu \"Silvered Telescope, 15 1/2 inches\" no observatório em Hasting-on-Hudson, Nova Iorque","papel albuminado, p&b","53 x 42 cm em cartão-suporte: 70 x 54 cm"],"source":"Thereza Christina Maria"}},"20.500.12156.1/3627":{"atlas":1,"col":11,"row":37,"cr":11380108,"cl":11378561,"ct":9800045,"cb":10720376,"ck":5261622,"meta":{"title":"Palais de Maffra","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[18--]","contributor":"Ludwig, Johann Fridrich, 1670-1752","type":"Fotografia","subject":["Monumento de Mafra (Portugal)","Edifícios - Mafra (Portugal)","Buildings - Portugal - Mafra","Mafra (Portugal)"],"description":["papel albuminado, p&b","41 x 45 cm em cartão-suporte: 53 x 73 cm"],"coverage":["Mafra (Portugal)"],"source":"Thereza Christina Maria","publisher":"[Mafra, Portugal]"}},"20.500.12156.1/3629":{"atlas":1,"col":12,"row":37,"cr":10524283,"cl":10918782,"ct":10063730,"cb":10063994,"ck":5327933,"meta":{"title":"[Enseada de Botafogo : vista panorâmica]","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[entre 1860 e 1879]","contributor":"Casa Leuzinger","type":"Fotografia","subject":["Baías - Brasil - Rio de Janeiro (RJ)","Montanhas - Rio de Janeiro (RJ)","Edifícios - Rio de Janeiro (RJ)","Praias - Rio de Janeiro (RJ)","Guanabara, Baía de (RJ)","Botafogo (Rio de Janeiro, RJ)","Botafogo, Enseada de (RJ)","Botafogo, Praia de (Rio de Janeiro, RJ)","Corcovado, Morro do (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Bays - Rio de Janeiro (Brazil)","Vistas panorâmicas - Rio de Janeiro (RJ)","Panoramic views - Rio de Janeiro (Brazil)","Panoramas - Rio de Janeiro (RJ)","Panoramas - Rio de Janeiro (Rio de Janeiro, RJ)","Beaches - Rio de Janeiro (Brazil)","Buildings - Rio de Janeiro (Brazil)","Mountains - Rio de Janeiro (Brazil)","Guanabara Bay (Brazil)","Botafogo (Rio de Janeiro, Brazil)","Rio de Janeiro (Brazil)"],"description":["Negativo de segunda geração: 02174 ou 11510, triacetato de celulose (DiMic)","Panorama em 3 partes. 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Wunderwald com seus companheiros","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[s.d.]","contributor":"Niemeyer, Louis","type":"Fotografia","subject":["Wunderwald, Carl August, 1814-1868 - Retratos","Wunderwald, Carl August - Portraits"],"description":["papel albuminado, pb","diam. 13,7"],"source":"Thereza Christina Maria"}},"20.500.12156.1/3630":{"atlas":1,"col":14,"row":37,"cr":11511439,"cl":11248009,"ct":9998200,"cb":11643030,"ck":5788486,"meta":{"title":"Aqueducto, de S. 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Ribeiro : Maison Chic"}},"20.500.12156.1/368":{"atlas":1,"col":2,"row":38,"cr":65538,"cl":65793,"ct":11047267,"cb":9206099,"ck":4734507,"meta":{"title":"[Homens com deformidades nos membros inferiores e posterior recuperação : portrait 4 : retratos]","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[188-]","contributor":"Menezes, J.","type":"Fotografia","subject":["Pernas - Anomalias - Fotografias","Legs - Abnormalities - Photographs"],"description":["papel albuminado, pb","14 x 10"],"source":"Thereza Christina Maria","publisher":"Rio de Janeiro, RJ"}},"20.500.12156.1/3680":{"atlas":1,"col":3,"row":38,"cr":7830391,"cl":8751233,"ct":8223337,"cb":10592394,"ck":3948348,"meta":{"title":"Entrada da barra do Rio de Janeiro, o Pão d'Assucar e o Corcovado","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[1912?]","contributor":"Phototypia A. Ribeiro","type":"Livro","subject":["Montanhas - Rio de Janeiro (RJ)","Brasil","Rio de Janeiro (RJ)","Pão de Açúcar, Morro do (Rio de Janeiro, RJ)","Corcovado, Morro do (Rio de Janeiro, RJ)","Mountains - Rio de Janeiro (Brazil)","Corcovado, Morro do (Rio de Janeiro, Brazil)","Pão de Açúcar, Morro do (Rio de Janeiro, Brazil)","Rio de Janeiro (Brazil : State)","Brazil"],"description":["colotipia, monocromático","Reprodução fotomecânica","Colotipia","Cartão postal","9 x 14 cm"],"coverage":["Brasil","Rio de Janeiro (RJ)","Pão de Açúcar, Morro do (Rio de Janeiro, RJ)","Corcovado, Morro do (Rio de Janeiro, RJ)","Corcovado, Morro do (Rio de Janeiro, Brazil)","Pão de Açúcar, Morro do (Rio de Janeiro, Brazil)","Rio de Janeiro (Brazil : State)","Brazil"],"publisher":"Rio de Janeiro, RJ, Phototypia A. Ribeiro : Maison Chic"}},"20.500.12156.1/3681":{"atlas":1,"col":4,"row":38,"cr":7304044,"cl":8028025,"ct":9275507,"cb":7829613,"ck":4408640,"meta":{"title":"Largo da Carioca","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[1912?]","contributor":"Phototypia A. Ribeiro","type":"Livro","subject":["Ruas - Rio de Janeiro (RJ)","Brasil","Rio de Janeiro (RJ)","Largo da Carioca(Rio de Janeiro, RJ)","Carioca, Rua da (Rio de Janeiro, RJ)","Streets - Rio de Janeiro (Brazil)","Rua da Carioca (Rio de Janeiro, Brazil)","Largo da Carioca (Rio de Janeiro, Brazil)","Rio de Janeiro (Brazil : State)","Brazil"],"description":["colotipia, monocromático","Reprodução fotomecânica","Cartão postal","Colotipia","9 x 14 cm"],"coverage":["Brasil","Rio de Janeiro (RJ)","Largo da Carioca(Rio de Janeiro, RJ)","Carioca, Rua da (Rio de Janeiro, RJ)","Rua da Carioca (Rio de Janeiro, Brazil)","Largo da Carioca (Rio de Janeiro, Brazil)","Rio de Janeiro (Brazil : State)","Brazil"],"publisher":"Rio de Janeiro, RJ, Phototypia A. Ribeiro : Maison Chic"}},"20.500.12156.1/3682":{"atlas":1,"col":5,"row":38,"cr":5989215,"cl":8487802,"ct":5657932,"cb":4870219,"ck":3816505,"meta":{"title":"Enseada de Botafogo","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[1912?]","contributor":"Phototypia A. Ribeiro","type":"Fotografia","subject":["Praias - Rio de Janeiro (RJ)","Montanhas - Rio de Janeiro (RJ)","Edifícios - Rio de Janeiro (RJ)","Jardins - Rio de Janeiro (RJ)","Brasil","Rio de Janeiro (RJ)","Botafogo (Rio de Janeiro, RJ)","Botafogo, Enseada de (Rio de Janeiro, RJ)","Reprodução fotomecânica","Cartões postais","Beaches - Rio de Janeiro (Brazil)","Mountains - Rio de Janeiro (Brazil)","Buildings - Rio de Janeiro (Brazil)","Gardens - Rio de Janeiro (Brazil)","Photomechanical prints","Postcards","Brazil","Rio de Janeiro (Brazil)","Botafogo (Rio de Janeiro, Brazil)"],"description":["colotipia, monocromático","9 x 14"],"coverage":["Brasil","Rio de Janeiro (RJ)","Botafogo (Rio de Janeiro, RJ)","Botafogo, Enseada de (Rio de Janeiro, RJ)","Brazil","Rio de Janeiro (Brazil)","Botafogo (Rio de Janeiro, Brazil)"],"publisher":"Phototypia A. Ribeiro : Maison Chic"}},"20.500.12156.1/3683":{"atlas":1,"col":6,"row":38,"cr":7699057,"cl":7304558,"ct":7104087,"cb":9736573,"ck":4342590,"meta":{"title":"Avenida Central","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[1912?]","contributor":"Phototypia A. Ribeiro","type":"Livro","subject":["Ruas - Rio de Janeiro (RJ)","Edifícios - Rio de Janeiro (RJ)","Brasil","Rio de Janeiro (RJ)","Avenida Central (Rio de Janeiro, RJ)","Streets - Rio de Janeiro (Brazil)","Buildings - Rio de Janeiro (Brazil)","Avenida Central (Rio de Janeiro, Brazil)","Rio de Janeiro (Brazil : State)","Brazil"],"description":["colotipia, monocromático","Reprodução fotomecânica","Cartão postal","Colotipia","9 x 14 cm"],"coverage":["Brasil","Rio de Janeiro (RJ)","Avenida Central (Rio de Janeiro, RJ)","Avenida Central (Rio de Janeiro, Brazil)","Rio de Janeiro (Brazil : State)","Brazil"],"publisher":"Rio de Janeiro, RJ, Phototypia A. Ribeiro : Maison Chic"}},"20.500.12156.1/3684":{"atlas":1,"col":7,"row":38,"cr":7961207,"cl":5000780,"ct":11382440,"cb":8290418,"ck":3289906,"meta":{"title":"Paquetá","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[ca. 1914]","contributor":"Ribeiro, Antônio Caetano da Costa","type":"Livro","subject":["Praias - Rio de Janeiro (RJ)","Paquetá, Ilha de (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Rio de Janeiro (Estado)","Brasil","Beaches - Rio de Janeiro (Brazil)","Paquetá Island (Brazil)","Rio de Janeiro (Brazil)","Rio de Janeiro (Brazil : State)","Brazil"],"description":["Cópia fotográfica de gelatina e prata, p&b","16,9 x 22,6 cm"],"coverage":["Paquetá, Ilha de (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Rio de Janeiro (Estado)","Brasil","Paquetá Island (Brazil)","Rio de Janeiro (Brazil)","Rio de Janeiro (Brazil : State)","Brazil"],"publisher":"Rio de Janeiro, RJ"}},"20.500.12156.1/3685":{"atlas":1,"col":8,"row":38,"cr":5395797,"cl":10593186,"ct":8356222,"cb":4145729,"ck":4342594,"meta":{"title":"Paquetá","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[ca. 1914]","contributor":"Ribeiro, Antônio Caetano da Costa","type":"Livro","subject":["Praias - Rio de Janeiro (RJ)","Paquetá, Ilha de (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Rio de Janeiro (Estado)","Brasil","Beaches - Rio de Janeiro (Brazil)","Paquetá Island (Brazil)","Rio de Janeiro (Brazil)","Rio de Janeiro (Brazil : State)","Brazil"],"description":["Cópia fotográfica de gelatina e prata, p&b","16,9 x 22,7 cm"],"coverage":["Paquetá, Ilha de (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Rio de Janeiro (Estado)","Brasil","Paquetá Island (Brazil)","Rio de Janeiro (Brazil)","Rio de Janeiro (Brazil : State)","Brazil"],"publisher":"Rio de Janeiro, RJ"}},"20.500.12156.1/3686":{"atlas":1,"col":9,"row":38,"cr":4671817,"cl":7895673,"ct":7172206,"cb":5856345,"ck":2960941,"meta":{"title":"Botafogo e Corcovado","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[ca. 1914]","contributor":"Ribeiro, Antônio Caetano da Costa","type":"Livro","subject":["Baías - Rio de Janeiro (RJ)","Montanhas - Rio de Janeiro (RJ)","Guanabara, Baía de (RJ)","Botafogo (Rio de Janeiro, RJ)","Botafogo, Enseada de (RJ)","Corcovado, Morro do (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Rio de Janeiro (Estado)","Brasil","Bays - Rio de Janeiro (Brazil)","Mountains - Rio de Janeiro (Brazil)","Guanabara Bay (Brazil)","Botafogo (Rio de Janeiro, Brazil)","Botafogo, Enseada de (Rio de Janeiro, Brazil)","Corcovado, Morro do (Rio de Janeiro, Brazil)","Rio de Janeiro (Brazil)","Rio de Janeiro (Brazil : State)","Brazil"],"description":["Cópia fotográfica de gelatina e prata, p&b","16,9 x 22,8 cm"],"coverage":["Guanabara, Baía de (RJ)","Botafogo (Rio de Janeiro, RJ)","Botafogo, Enseada de (RJ)","Corcovado, Morro do (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Rio de Janeiro (Estado)","Brasil","Guanabara Bay (Brazil)","Botafogo (Rio de Janeiro, Brazil)","Botafogo, Enseada de (Rio de Janeiro, Brazil)","Corcovado, Morro do (Rio de Janeiro, Brazil)","Rio de Janeiro (Brazil)","Rio de Janeiro (Brazil : State)","Brazil"],"publisher":"Rio de Janeiro, RJ"}},"20.500.12156.1/3687":{"atlas":1,"col":10,"row":38,"cr":6974573,"cl":7171695,"ct":10197913,"cb":6316895,"ck":3487030,"meta":{"title":"Santa Cruz vista do Pão d'Assucar","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[ca. 1914]","contributor":"Ribeiro, Antônio Caetano da Costa","type":"Livro","subject":["Montanhas - Rio de Janeiro (RJ)","Baías - Rio de Janeiro (RJ)","Guanabara, Baía de (RJ)","Pão de Açúcar, Morro do (Rio de Janeiro, RJ)","Niterói (RJ)","Rio de Janeiro (RJ)","Rio de Janeiro (Estado)","Brasil","Mountains - Rio de Janeiro (Brazil)","Bays - Rio de Janeiro (Brazil)","Guanabara Bay (Brazil)","Pão de Açúcar, Morro do (Rio de Janeiro, Brazil)","Niterói (Rio de Janeiro, Brazil)","Rio de Janeiro (Brazil)","Rio de Janeiro (Brazil : State)","Brazil"],"description":["Cópia fotográfica de gelatina e prata, p&b","16,9 x 22,6 cm"],"coverage":["Guanabara, Baía de (RJ)","Pão de Açúcar, Morro do (Rio de Janeiro, RJ)","Niterói (RJ)","Rio de Janeiro (RJ)","Rio de Janeiro (Estado)","Brasil","Guanabara Bay (Brazil)","Pão de Açúcar, Morro do (Rio de Janeiro, Brazil)","Niterói (Rio de Janeiro, Brazil)","Rio de Janeiro (Brazil)","Rio de Janeiro (Brazil : State)","Brazil"],"publisher":"Rio de Janeiro, RJ"}},"20.500.12156.1/3688":{"atlas":1,"col":11,"row":38,"cr":10197650,"cl":10855576,"ct":10724510,"cb":8882561,"ck":4539713,"meta":{"title":"Icarahy, Rio de Janeiro","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"ca. 1914","contributor":"Ribeiro, Antônio Caetano da Costa","type":"Livro","subject":["Praias - Niterói (RJ)","Pedra - Niterói (RJ)","Icaraí, Praia de (Niterói, RJ)","Guanabara, Baía de (RJ)","Niterói (RJ)","Rio de Janeiro (Estado)","Brasil","Beaches - Niterói (Rio de Janeiro, Brazil)","Stone - Niterói (Rio de Janeiro, Brazil)","Icaraí, Praia de (Niterói, Rio de Janeiro, Brazil)","Guanabara Bay (Brazil)","Niterói (Rio de Janeiro, Brazil)","Rio de Janeiro (Brazil : State)","Brazil"],"description":["Cópia fotográfica de gelatina e prata, p&b","16,9 x 22,6 cm"],"coverage":["Icaraí, Praia de (Niterói, RJ)","Guanabara, Baía de (RJ)","Niterói (RJ)","Rio de Janeiro (Estado)","Brasil","Icaraí, Praia de (Niterói, Rio de Janeiro, Brazil)","Guanabara Bay (Brazil)","Niterói (Rio de Janeiro, Brazil)","Rio de Janeiro (Brazil : State)","Brazil"],"publisher":"Niterói, RJ"}},"20.500.12156.1/3689":{"atlas":1,"col":12,"row":38,"cr":7960687,"cl":6447707,"ct":7236967,"cb":5000518,"ck":3750197,"meta":{"title":"Panorama visto do cume do Pão d'Assucar","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[ca. 1914]","contributor":"Ribeiro, Antônio Caetano da Costa","type":"Livro","subject":["Montanhas - Rio de Janeiro (RJ)","Baías - Rio de Janeiro (RJ)","Guanabara, Baía de (RJ)","Pão de Açúcar, Morro do (Rio de Janeiro, RJ)","Botafogo (Rio de Janeiro, RJ)","Botafogo, Enseada de (RJ)","Corcovado, Morro do (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Rio de Janeiro (Estado)","Brasil","Mountains - Rio de Janeiro (Brazil)","Bays - Rio de Janeiro (Brazil)","Guanabara Bay (Brazil)","Pão de Açúcar, Morro do (Rio de Janeiro, Brazil)","Botafogo (Rio de Janeiro, Brazil)","Botafogo, Enseada de (Rio de Janeiro, Brazil)","Corcovado, Morro do (Rio de Janeiro, Brazil)","Rio de Janeiro (Brazil)","Rio de Janeiro (Brazil : State)","Brazil"],"description":["Cópia fotográfica de gelatina e prata, p&b","16,8 x 22,7 cm"],"coverage":["Guanabara, Baía de (RJ)","Pão de Açúcar, Morro do (Rio de Janeiro, RJ)","Botafogo (Rio de Janeiro, RJ)","Botafogo, Enseada de (RJ)","Corcovado, Morro do (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Rio de Janeiro (Estado)","Brasil","Guanabara Bay (Brazil)","Pão de Açúcar, Morro do (Rio de Janeiro, Brazil)","Botafogo (Rio de Janeiro, Brazil)","Botafogo, Enseada de (Rio de Janeiro, Brazil)","Corcovado, Morro do (Rio de Janeiro, Brazil)","Rio de Janeiro (Brazil)","Rio de Janeiro (Brazil : State)","Brazil"],"publisher":"Rio de Janeiro, RJ"}},"20.500.12156.1/369":{"atlas":1,"col":13,"row":38,"cr":262401,"cl":131328,"ct":9929822,"cb":8613966,"ck":4603179,"meta":{"title":"[Homens com deformidades nos membros inferiores e posterior recuperação : portrait 2]","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[188-]","contributor":"Menezes, J.","type":"Fotografia","subject":["Pernas - Anomalias - Fotografias","Legs - Abnormalities - Photographs"],"description":["papel albuminado, pb","14 x 10"],"source":"Thereza Christina Maria","publisher":"Rio de Janeiro, RJ"}},"20.500.12156.1/3690":{"atlas":1,"col":14,"row":38,"cr":3947836,"cl":7566707,"ct":9277068,"cb":4079678,"ck":3092528,"meta":{"title":"Copacabana","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[ca. 1914]","contributor":"Ribeiro, Antônio Caetano da Costa","type":"Livro","subject":["Montanhas - Rio de Janeiro (RJ)","Praias - Rio de Janeiro (RJ)","Copacabana, Praia de (Rio de Janeiro, RJ)","Copacabana (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Rio de Janeiro (Estado)","Brasil","Mountains - Rio de Janeiro (Brazil)","Beaches - Rio de Janeiro (Brazil)","Copacabana, Praia de (Rio de Janeiro, Brazil)","Copacabana (Rio de Janerio, Brazil)","Rio de Janeiro (Brazil)","Rio de Janeiro (Brazil : State)","Brazil"],"description":["Cópia fotográfica de gelatina e prata, p&b","16,9 x 22,8 cm"],"coverage":["Copacabana, Praia de (Rio de Janeiro, RJ)","Copacabana (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Rio de Janeiro (Estado)","Brasil","Copacabana, Praia de (Rio de Janeiro, Brazil)","Copacabana (Rio de Janerio, Brazil)","Rio de Janeiro (Brazil)","Rio de Janeiro (Brazil : State)","Brazil"],"publisher":"Rio de Janeiro, RJ"}},"20.500.12156.1/3691":{"atlas":1,"col":15,"row":38,"cr":7763574,"cl":7961209,"ct":10329499,"cb":4671815,"ck":3815994,"meta":{"title":"Copacabana","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[ca. 1914]","contributor":"Ribeiro, Antônio Caetano da Costa","type":"Livro","subject":["Montanhas - Rio de Janeiro (RJ)","Praias - Rio de Janeiro (RJ)","Habitações - Rio de Janeiro (RJ)","Copacabana, Praia de (Rio de Janeiro, RJ)","Copacabana (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Rio de Janeiro (Estado)","Brasil","Mountains - Rio de Janeiro (Brazil)","Beaches - Rio de Janeiro (Brazil)","Dwellings - Rio de Janeiro (Brazil)","Copacabana, Praia de (Rio de Janeiro, Brazil)","Copacabana (Rio de Janerio, Brazil)","Rio de Janeiro (Brazil)","Rio de Janeiro (Brazil : State)","Brazil"],"description":["Cópia fotográfica de gelatina e prata, p&b","16,8 x 22,7 cm"],"coverage":["Copacabana, Praia de (Rio de Janeiro, RJ)","Copacabana (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Rio de Janeiro (Estado)","Brasil","Copacabana, Praia de (Rio de Janeiro, Brazil)","Copacabana (Rio de Janerio, Brazil)","Rio de Janeiro (Brazil)","Rio de Janeiro (Brazil : State)","Brazil"],"publisher":"Rio de Janeiro, RJ"}},"20.500.12156.1/3692":{"atlas":1,"col":16,"row":38,"cr":7368547,"cl":5657934,"ct":11250850,"cb":8552562,"ck":4013368,"meta":{"title":"Rio de Janeiro","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[ca. 1914]","contributor":"Ribeiro, Antônio Caetano da Costa","type":"Livro","subject":["Amazonas, Francisco Manuel Barroso da Silva, Barão do, 1804-1882","Monumentos - Rio de Janeiro (RJ)","Praças - Rio de Janeiro (RJ)","Praça Paris (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Rio de Janeiro (Estado)","Brasil","Monuments - Rio de Janeiro (Brazil)","Plazas - Rio de Janeiro (Brazil)","Praça Paris (Rio de Janeiro, Brazil)","Rio de Janeiro (Brazil)","Rio de Janeiro (Brazil : State)","Brazil"],"description":["Cópia fotográfica de gelatina e prata, p&b","22,7 x 16,8 cm"],"coverage":["Praça Paris (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Rio de Janeiro (Estado)","Brasil","Praça Paris (Rio de Janeiro, Brazil)","Rio de Janeiro (Brazil)","Rio de Janeiro (Brazil : State)","Brazil"],"publisher":"[RJ]"}},"20.500.12156.1/3693":{"atlas":1,"col":17,"row":38,"cr":8618618,"cl":7237220,"ct":10592923,"cb":7894364,"ck":3750196,"meta":{"title":"Bibliotheca Nacional","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[ca. 1914]","contributor":"Ribeiro, Antônio Caetano da Costa","type":"Livro","subject":["Biblioteca Nacional (Brasil)","Edifícios públicos - Rio de Janeiro (RJ)","Rio de Janeiro (RJ)","Rio de Janeiro (Estado)","Brasil","Public buildings - Rio de Janeiro (Brazil)","Brazil","Rio de Janeiro (Brazil : State)","Rio de Janeiro (Brazil)"],"description":["Cópia fotográfica de gelatina e prata, p&b","16,9 x 22,8 cm"],"coverage":["Rio de Janeiro (RJ)","Rio de Janeiro (Estado)","Brasil","Brazil","Rio de Janeiro (Brazil : State)","Rio de Janeiro (Brazil)"],"publisher":"Rio de Janeiro, RJ"}},"20.500.12156.1/3694":{"atlas":1,"col":18,"row":38,"cr":12363897,"cl":13614991,"ct":12827300,"cb":14339757,"ck":6774600,"meta":{"title":"The Calçada, near Bahia","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[entre 1859 e 1861]","contributor":"Mulock, Benjamin Robert, 1829-1863.","type":"Livro","subject":["Estrada de Ferro Bahia ao São Francisco","Edifícios - Salvador (BA)","Calçada (Salvador, BA)","Salvador (BA)","Bahia","Brasil","Buildings - Salvador (Bahia, Brazil)","Calçada (Salvador, Bahia, Brazil)","Salvador (Bahia, Brazil)","Bahia (Brazil : State)","Brazil"],"description":["Coleção D. Teresa Cristina Maria","Cópia fotográfica albuminada, p&b","Cópia fotográfica albuminada","17,6 x 23,7 cm em cartão suporte: 22,8 x 26,7 cm"],"coverage":["Calçada (Salvador, BA)","Salvador (BA)","Bahia","Brasil","Calçada (Salvador, Bahia, Brazil)","Salvador (Bahia, Brazil)","Bahia (Brazil : State)","Brazil"],"source":"Coleção D. Teresa Cristina Maria","publisher":"[Salvador, BA], Ben R. Mulock, Photo"}},"20.500.12156.1/3695":{"atlas":1,"col":19,"row":38,"cr":14602936,"cl":14340276,"ct":13023641,"cb":13220506,"ck":5919298,"meta":{"title":"The Falls in the River Joannes : Province of Bahia, near where the Railway crosses the River","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[entre 1859 e 1861]","contributor":"Mulock, Benjamin Robert, 1829-1863.","type":"Livro","subject":["Rios - Bahia","Joanes, Rio (BA)","Bahia","Brasil","Rivers - Bahia (Brazil : State)","Joanes, Rio (Bahia, Brazil)","Bahia (Brazil : State)","Brazil"],"description":["Cópia fotográfica albuminada, p&b","Cópia fotográfica albuminada","18,1 x 24,1 cm em cartão suporte: 26,7 x 36,3 cm"],"coverage":["Joanes, Rio (BA)","Bahia","Brasil","Joanes, Rio (Bahia, Brazil)","Bahia (Brazil : State)","Brazil"],"source":"Thereza Christina Maria","publisher":"[Bahia]"}},"20.500.12156.1/3696":{"atlas":1,"col":20,"row":38,"cr":15262416,"cl":15131086,"ct":14143929,"cb":14011054,"ck":5985864,"meta":{"title":"Temporary Bridge at River Joannes : for the Bahia [e] S. Francisco Railway","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"4 [dez.] 1860","contributor":"Mulock, Benjamin Robert, 1829-1863.","type":"Livro","subject":["Estrada de Ferro Bahia ao São Francisco","Ferrovias - Projetos e construção  - Camaçari (BA)","Pontes ferroviárias - Camaçari (BA)","Camaçari (BA)","Bahia","Brasil","Railroads - Design and construction - Camaçari (Bahia, Brazil)","Railroad bridges - Camaçari (Bahia, Brazil)","Camaçari (Bahia, Brazil)","Bahia (Brazil : State)","Brazil"],"description":["Cópia fotográfica albuminada, p&b","Cópia fotográfica albuminada","18,2 x 24,2 cm em cartão suporte: 26,7 x 36,3 cm"],"coverage":["Camaçari (BA)","Bahia","Brasil","Camaçari (Bahia, Brazil)","Bahia (Brazil : State)","Brazil"],"source":"Thereza Christina Maria","publisher":"[Camaçari, BA], Ben R. Mulock, Photo"}},"20.500.12156.1/3697":{"atlas":1,"col":21,"row":38,"cr":15262415,"cl":15065547,"ct":13024159,"cb":12958880,"ck":6314827,"meta":{"title":"Side View of Part of Permanent Bridge over River Joannes : Bahia [e] S. Francisco Rway","community":"Biblioteca Nacional","rights":null,"date":"23 [jul.] 1861","contributor":"Mulock, Benjamin Robert, 1829-1863.","type":"Livro","subject":["Estrada de Ferro Bahia ao São Francisco","Ferrovias - Projetos e construção - Bahia","Pontes ferroviárias - Bahia","Camaçari (BA)","Bahia","Brasil","Railroads - Design and construction - Camaçari (Bahia, Brazil)","Railroad bridges - Bahia (Brazil : State)","Camaçari (Bahia, Brazil)","Bahia (Brazil : State)","Brazil"],"description":["Cópia fotográfica albuminada, p&b","Cópia fotográfica albuminada","18,6 x 24,6 cm em cartão suporte: 26,7 x 36,2 cm"],"coverage":["Camaçari (BA)","Bahia","Brasil","Camaçari (Bahia, Brazil)","Bahia (Brazil : State)","Brazil"],"source":"Thereza Christina Maria","publisher":"[Camaçari, BA], Ben R. Mulock, Photo"}},"20.500.12156.1/3698":{"atlas":1,"col":22,"row":38,"cr":14668990,"cl":14472379,"ct":12958625,"cb":13747880,"ck":5919555,"meta":{"title":"Part of Permanent Bridge over River Joannes : Bahia [e] San Francisco Rway","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brazil)","date":"23 [jul.] 1861","contributor":"Mulock, Benjamin Robert, 1829-1863.","type":"Livro","subject":["Estrada de Ferro Bahia ao São Francisco","Ferrovias - Projetos e construção - Camaçari (BA)","Pontes ferroviárias - Camaçari (BA)","Camaçari (BA)","Bahia","Brasil","Railroads - Design and construction - Camaçari (Bahia, Brazil)","Railroad bridges - Camaçari (Bahia, Brazil)","Camaçari (Bahia, Brazil)","Bahia (Brazil : State)","Brazil"],"description":["Cópia fotográfica albuminada, p&b","Cópia fotográfica albuminada","18,8 x 24,3 cm em cartão suporte: 26,7 x 36,2 cm"],"coverage":["Camaçari (BA)","Bahia","Brasil","Camaçari (Bahia, Brazil)","Bahia (Brazil : State)","Brazil"],"source":"Thereza Christina Maria","publisher":"[Camaçari, BA], Ben R. 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Mulock, Photo"}},"20.500.12156.1/3701":{"atlas":1,"col":27,"row":38,"cr":15262416,"cl":14999756,"ct":13748400,"cb":14208693,"ck":6380364,"meta":{"title":"Entrance de Peripiri Tunnel : Bahia [e] S. Francisco Railway, lenght 90 metres","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[entre 1859 e 1861]","contributor":"Mulock, Benjamin Robert, 1829-1863.","type":"Livro","subject":["Estrada de Ferro Bahia ao São Francisco","Ferrovias - Projetos e construção - Salvador (BA)","Túneis ferroviários - Salvador (BA)","Periperi (Salvador, BA)","Salvador (BA)","Bahia","Brasil","Railroads - Design and construction - Salvador (Bahia, Brazil)","Railroad tunnels - Salvador (Bahia, Brazil)","Periperi (Salvador, Bahia, Brazil)","Salvador (Bahia, Brazil)","Bahia (Brazil : State)","Brazil"],"description":["Cópia fotográfica albuminada, p&b","18,6 x 24,6 cm em cartão suporte: 26,6 x 36,3 cm"],"coverage":["Periperi (Salvador, BA)","Salvador (BA)","Bahia","Brasil","Periperi (Salvador, Bahia, Brazil)","Salvador (Bahia, Brazil)","Bahia (Brazil : State)","Brazil"],"source":"Thereza Christina Maria","publisher":"[Salvador, BA], Ben R. Mulock, Photo"}},"20.500.12156.1/3702":{"atlas":1,"col":28,"row":38,"cr":12097646,"cl":13677184,"ct":14071685,"cb":12425833,"ck":6509371,"meta":{"title":"Passenger Station at Bahia Being Erected : for the Bahia (e) San Francisco Railway","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[entre 1859 e 1861]","contributor":"Mulock, Benjamin Robert, 1829-1863.","type":"Livro","subject":["Estrada de Ferro Bahia ao São Francisco","Ferrovias - Estações - Salvador (BA)","Ferrovias - Projetos e construção  - Salvador (BA)","Calçada (Salvador, BA)","Salvador (BA)","Bahia","Brasil","Railroads - Stations - Salvador (Bahia, Brazil)","Railroads - Design and construction - Salvador (Bahia, Brazil)","Bahia (Brazil : State)","Brazil","Salvador (Bahia, Brazil)","Calçada (Salvador, Bahia, Brazil)"],"description":["Cópia fotográfica albuminada, p&b","Vista panorâmica","Cópia fotográfica albuminada","Panorama","18,2 x 47,5 cm em cartão suporte: 37,9 x 67,3 cm"],"coverage":["Calçada (Salvador, BA)","Salvador (BA)","Bahia","Brasil","Bahia (Brazil : State)","Brazil","Salvador (Bahia, Brazil)","Calçada (Salvador, Bahia, Brazil)"],"source":"Thereza Christina Maria","publisher":"[Bahia], Ben R. Mulock, Photo"}},"20.500.12156.1/3703":{"atlas":1,"col":29,"row":38,"cr":12887678,"cl":12360040,"ct":12556904,"cb":13610367,"ck":6377529,"meta":{"title":"Locomotive Shops Being Erected at Peripiri : for the Bahia (e) S. Francisco Railway","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[entre 1859 e 1861","contributor":"Mulock, Benjamin Robert, 1829-1863.","type":"Livro","subject":["Estrada de Ferro Bahia ao São Francisco","Ferrovias - Estações - Salvador (BA)","Ferrovias - Projetos e construção  - Salvador (BA)","Periperi (Salvador, BA)","Salvador (BA)","Bahia","Brasil","Railroads - Stations - Salvador (Bahia, Brazil)","Railroads - Design and construction - Salvador (Bahia, Brazil)","Bahia (Brazil : State)","Brazil","Salvador (Bahia, Brazil)","Periperi (Salvador, Bahia, Brazil)"],"description":["Cópia fotográfica albuminada, p&b","Vista panorâmica","Cópia fotográfica albuminada","Panorama","17,8 x 48 cm em cartão suporte: 37,1 x 65 cm"],"coverage":["Periperi (Salvador, BA)","Salvador (BA)","Bahia","Brasil","Bahia (Brazil : State)","Brazil","Salvador (Bahia, Brazil)","Periperi (Salvador, Bahia, Brazil)"],"source":"Thereza Christina Maria","publisher":"[Bahia], Ben R. Mulock, Photo"}},"20.500.12156.1/3704":{"atlas":1,"col":30,"row":38,"cr":12819833,"cl":13082228,"ct":13081712,"cb":12950129,"ck":6508346,"meta":{"title":"Viaduct over the River Joannes : Bahia (e) S. Francisco Railway","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[entre 1859 e 1861]","contributor":"Mulock, Benjamin Robert, 1829-1863.","type":"Livro","subject":["Estrada de Ferro Bahia ao São Francisco","Pontes ferroviárias - Bahia","Rios - Bahia","Joanes, Rio (BA)","Bahia","Brasil","Railroad bridges - Bahia (Brazil : State)","Rivers - Bahia (Brazil : State)","Brazil","Joanes, Rio (Bahia, Brazil)","Bahia (Brazil : State)"],"description":["Cópia fotográfica albuminada, p&b","Vista panorâmica","Cópia fotográfica albuminada.","Panorama","18,3 x 48,4 cm em cartão suporte: 37 x 62,5 cm"],"coverage":["Joanes, Rio (BA)","Bahia","Brasil","Brazil","Joanes, Rio (Bahia, Brazil)","Bahia (Brazil : State)"],"source":"Thereza Christina Maria","publisher":"[Bahia], Ben R. Mulock, Photo"}},"20.500.12156.1/3705":{"atlas":1,"col":31,"row":38,"cr":13544575,"cl":13610621,"ct":14268292,"cb":14070401,"ck":6706750,"meta":{"title":"Iron Screw Pile Viaduct over Itapagipe Bay near Bahia : for the Bahia (e) S. Francisco Railway, length 1800 feet","community":"Biblioteca Nacional","rights":null,"date":"[entre 1859 e 1861]","contributor":"Mulock, Benjamin Robert, 1829-1863.","type":"Livro","subject":["Estrada de Ferro Bahia ao São Francisco","Pontes ferroviárias - Salvador (BA)","Salvador (BA)","Bahia","Brasil","Railroad bridges - Salvador (Bahia, Brazil)","Brazil","Bahia (Brazil : State)","Salvador (Bahia, Brazil)"],"description":["Cópia fotográfica albuminada, p&b","Cópia fotográfica albuminada","Vista panorâmica","Panorama","18 x 71 cm em cartão suporte: 36,9 x 89 cm"],"coverage":["Salvador (BA)","Bahia","Brasil","Brazil","Bahia (Brazil : State)","Salvador (Bahia, Brazil)"],"source":"Thereza Christina Maria","publisher":"[Salvador, Bahia], Ben R. Mulock, Photo"}},"20.500.12156.1/3706":{"atlas":1,"col":32,"row":38,"cr":13807492,"cl":13347194,"ct":13741950,"cb":14070663,"ck":6838079,"meta":{"title":"Site of Viaduct over the River Joannes E temporary bridge : on the Bahia (e) S. Francisco Railway, length 400 ft.","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"3 [jan.] 1861","contributor":"Mulock, Benjamin Robert, 1829-1863.","type":"Livro","subject":["Estrada de Ferro Bahia ao São Francisco","Pontes ferroviárias - Bahia","Joanes, Rio (BA)","Bahia","Brasil","Railroad bridges - Bahia (Brazil : State)","Brazil","Bahia (Brazil : State)","Joanes, Rio (Bahia, Brazil)"],"description":["Cópia fotográfica albuminada, p&b","Cópia fotográfica albuminada","Vista panorâmica","Panorama","18,1 x 70,9 cm em cartão suporte: 37,1 x 85,6"],"coverage":["Joanes, Rio (BA)","Bahia","Brasil","Brazil","Bahia (Brazil : State)","Joanes, Rio (Bahia, Brazil)"],"source":"Thereza Christina Maria","publisher":"[Bahia], Ben R. Mulock, Photo"}},"20.500.12156.1/3707":{"atlas":1,"col":33,"row":38,"cr":9274731,"cl":8880749,"ct":12038291,"cb":10852988,"ck":4604984,"meta":{"title":"Joazeiro, 127 : [aguadeiro]","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[ca. 1927]","contributor":"Gorham, Reginald","type":"Fotografia","subject":["Aguadeiros - Juazeiro (BA)","Vida ribeirinha - Juazeiro (BA)","Juazeiro (BA)","Bahia","Brasil","River life - Juazeiro (Bahia, Brazil)","Brazil","Juazeiro (Bahia, Brazil)","Bahia (Brazil : State)"],"description":["Cópia fotográfica de gelatina e prata, p&b","Cópia fotográfica de gelatina e prata","3,9 x 6 cm em cartão-suporte: 15,9 x 22,7 cm"],"coverage":["Juazeiro (BA)","Bahia","Brasil","Brazil","Juazeiro (Bahia, Brazil)","Bahia (Brazil : State)"],"publisher":"[Juazeiro, BA]"}},"20.500.12156.1/3708":{"atlas":1,"col":34,"row":38,"cr":11906190,"cl":12104081,"ct":10131857,"cb":12895160,"ck":5986121,"meta":{"title":"Nictheroy","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"1930]","contributor":"Holland, S. H.","type":"Livro","subject":["Montanhas - Niterói (RJ)","Conceição, Ilha da (Niterói, RJ)","Niterói (RJ)","Rio de Janeiro (Estado)","Brasil","Fotografia aérea","Mountains - Niterói (Rio de Janeiro, Brazil)","Aerial photography","Niterói (Rio de Janeiro, Brazil)","Rio de Janeiro (Brazil : State)","Brazil"],"description":["gelatina, p&b","Cópia fotográfica de gelatina e prata","15,8 x 22cm em papel: 16,7 x 23cm"],"coverage":["Conceição, Ilha da (Niterói, RJ)","Niterói (RJ)","Rio de Janeiro (Estado)","Brasil","Niterói (Rio de Janeiro, Brazil)","Rio de Janeiro (Brazil : State)","Brazil"],"publisher":"[Niterói"}},"20.500.12156.1/3709":{"atlas":1,"col":35,"row":38,"cr":10657680,"cl":14341556,"ct":14144439,"cb":9206362,"ck":5327673,"meta":{"title":"[Morro do Castelo] : desmonte]","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[1923-193-]","contributor":"Instituto de Expansão Comercial","type":"Fotografia","subject":["Castelo, Morro do (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Rio de Janeiro (Estado)","Brasil","Rio de Janeiro (Brazil)","Brazil"],"description":["Cartão suporte: 15,2 x 11,8","Cópia fotográfica de gelatina e prata, p&b","12 x 8,8"],"coverage":["Castelo, Morro do (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Rio de Janeiro (Estado)","Brasil","Rio de Janeiro (Brazil)","Brazil"],"publisher":"Rio de Janeiro, RJ"}},"20.500.12156.1/371":{"atlas":1,"col":36,"row":38,"cr":65792,"cl":65794,"ct":10915421,"cb":10191957,"ck":5129004,"meta":{"title":"[Homens com deformidades nos membros inferiores e posterior recuperação : portrait 11 : retratos]","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[188-]","contributor":"Menezes, J.","type":"Fotografia","subject":["Pernas - Anomalias - Fotografias","Legs - Abnormalities - Photographs"],"description":["papel albuminado, pb","14 x 10"],"source":"Thereza Christina Maria","publisher":"Rio de Janeiro, RJ"}},"20.500.12156.1/3710":{"atlas":1,"col":37,"row":38,"cr":6381397,"cl":8223597,"ct":14803151,"cb":14671050,"ck":2697252,"meta":{"title":"Trecho do parque da Praça da Republica","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[193-]","contributor":"Instituto de Expansão Comercial","type":"Fotografia","subject":["Chafariz  - Rio de Janeiro (RJ)","Lago - Rio de Janeiro (RJ)","Jardins - Rio de Janeiro (RJ)","Praça da República (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Rio de Janeiro (Estado)","Brasil","Lakes - Rio de Janeiro (Brazil)","Gardens - Rio de Janeiro (Brazil)","Rio de Janeiro (Brazil)","Brazil"],"description":["Papel: 17 x 23,1","Cópia fotográfica de gelatina e prata, p&b","16,4 x 22,5"],"coverage":["Praça da República (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Rio de Janeiro (Estado)","Brasil"],"publisher":"Rio de Janeiro, RJ"}},"20.500.12156.1/3711":{"atlas":1,"col":38,"row":38,"cr":9407871,"cl":8815989,"ct":11842214,"cb":12631469,"ck":5000003,"meta":{"title":"Praça da Republica","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"2015-11-26T13:55:58Z","contributor":"Instituto de Expansão Comercial","type":"Fotografia","subject":["Ruas - Rio de Janeiro (RJ)","Ônibus - Rio de Janeiro (RJ)","Monumentos - Rio de Janeiro (RJ)","Edifícios - Rio de Janeiro (RJ)","Praça da República (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Rio de Janeiro (Estado)","Brasil","Streets - Rio de Janeiro (Brazil)","Buses - Rio de Janeiro (Brazil)","Monuments - Rio de Janeiro (Brazil)","Rio de Janeiro (Brazil)","Brazil"],"description":["Papel: 17 x 23","Cópia fotográfica de gelatina e prata, p&b","16,4 x 22,4"],"coverage":["Praça da República (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Rio de Janeiro (Estado)","Brasil","Rio de Janeiro (Brazil)","Brazil"],"source":"[Cidade do Rio de Janeiro"}},"20.500.12156.1/3712":{"atlas":1,"col":39,"row":38,"cr":6118739,"cl":6053202,"ct":13421247,"cb":14013120,"ck":3355180,"meta":{"title":"Vista geral do caes do porto do Rio de Janeiro","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"2015-11-26T13:55:59Z","contributor":"Instituto de Expansão Comercial","type":"Fotografia","subject":["Ruas - Rio de Janeiro (RJ)","Edifícios - Rio de Janeiro (RJ)","Navios - Rio de Janeiro (RJ)","Portos - Rio de Janeiro (RJ)","Baías - Rio de Janeiro (RJ)","Guanabara, Baía de (RJ)","Centro (Rio de Janeiro, RJ)","Praça Mauá (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Rio de Janeiro (Estado)","Brasil","Streets - Rio de Janeiro (Brazil)","Buildings - Rio de Janeiro (Brazil)","Ships - Rio de Janeiro (Brazil)","Guanabara Bay (Brazil)","Praça Mauá (Rio de Janeiro, Brazil)","Rio de Janeiro (Brazil)","Brazil"],"description":["Cópia fotográfica de gelatina e prata, p&b","15,6 x 22,1"],"coverage":["Guanabara, Baía de (RJ)","Centro (Rio de Janeiro, RJ)","Praça Mauá (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Rio de Janeiro (Estado)","Brasil","Guanabara Bay (Brazil)","Praça Mauá (Rio de Janeiro, Brazil)","Rio de Janeiro (Brazil)","Brazil"]}},"20.500.12156.1/3713":{"atlas":1,"col":40,"row":38,"cr":11710883,"cl":12171436,"ct":11315606,"cb":6513755,"ck":4473661,"meta":{"title":"Praça Mauá, edifício da \"À Noite\"","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[193-]","contributor":"Instituto de Expansão Comercial","type":"Fotografia","subject":["Ruas - Rio de Janeiro (RJ)","Edifícios - Rio de Janeiro (RJ)","Ônibus - Rio de Janeiro (RJ)","Veículos - Rio de Janeiro (RJ)","Centro (Rio de Janeiro, RJ)","Praça Mauá (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Rio de Janeiro (Estado)","Brasil","Streets - Rio de Janeiro (Brazil)","Buildings - Rio de Janeiro (Brazil)","Buses - Rio de Janeiro (Brazil)","Vehicles - Rio de Janeiro (Brazil)","Praça Mauá (Rio de Janeiro, Brazil)","Rio de Janeiro (Brazil)","Brazil"],"description":["Papel: 22,8 x 17","Cópia fotográfica de gelatina e prata, p&b","22,2 x 16,4"],"coverage":["Centro (Rio de Janeiro, RJ)","Praça Mauá (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Rio de Janeiro (Estado)","Brasil","Praça Mauá (Rio de Janeiro, Brazil)","Rio de Janeiro (Brazil)","Brazil"],"publisher":"Rio de Janeiro, RJ"}},"20.500.12156.1/3714":{"atlas":1,"col":41,"row":38,"cr":5197381,"cl":7565666,"ct":13685188,"cb":10658203,"ck":3355179,"meta":{"title":"Bairro de Botafogo","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[193-]","contributor":"Instituto de Expansão Comercial","type":"Fotografia","subject":["Ruas - 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Salvador (BA)","Bondes - Salvador (BA)","Salvador (BA)","Bahia","Brasil","Streets - Salvador (Bahia, Brazil)","Electric railroads - Salvador (Bahia, Brazil)","Salvador (Brazil)","Bahia (Brazil : State)","Brazil"],"description":["Cópia fotográfica de gelatina e prata, p&b","Cópia fotográfica de gelatina e prata","16,1 x 22,8 cm em cartão suporte: 29,7 x 35,8 cm"],"coverage":["Salvador (BA)","Bahia","Brasil","Salvador (Brazil)","Bahia (Brazil : State)","Brazil"],"publisher":"Salvador, BA"}},"20.500.12156.1/3762":{"atlas":1,"col":29,"row":39,"cr":11377532,"cl":11312251,"ct":7628885,"cb":9535070,"ck":5393212,"meta":{"title":"Memorial Riachuelo","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[entre 1912 e 1919]","contributor":"Silva, Pedro Gonsalves da","type":"Fotografia","subject":["Monumento Riachuelo (Salvador, BA)","Praças - Salvador (BA)","Monumentos - Salvador (BA)","Praça Riachuelo (Salvador, BA)","Comércio (Salvador, BA)","Salvador (BA)","Bahia","Brasil","Plazas - 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Salvador (BA)","Salvador (BA)","Bahia","Brasil","Medical colleges - Salvador (Bahia, Brazil)","Salvador (Brazil)","Bahia (Brazil : State)","Brazil"],"description":["Cópia fotográfica de gelatina e prata, p&b","Cópia fotográfica de gelatina e prata","16,5 x 22,9 cm em cartão suporte: 29,6 x 35,8 cm"],"coverage":["Salvador (BA)","Bahia","Brasil","Salvador (Brazil)","Bahia (Brazil : State)","Brazil"],"publisher":"Salvador, BA"}},"20.500.12156.1/3764":{"atlas":1,"col":31,"row":39,"cr":11640702,"cl":11378042,"ct":10851956,"cb":10653548,"ck":5656382,"meta":{"title":"[Farol e Forte de Santo Antonio da] Barra","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[entre 1912 e 1919]","contributor":"Silva, Pedro Gonsalves da","type":"Fotografia","subject":["Farol da Barra (Salvador, BA)","Faróis - Salvador (BA)","Fortificações - Salvador (BA)","Praias - Salvador (BA)","Forte de Santo Antônio da Barra (Salvador, BA)","Praia do Porto da Barra (Salvador, BA)","Barra (Salvador, BA)","Salvador (BA)","Bahia","Brasil","Lighthouses - Salvador (Bahia, Brazil)","Fortification - Salvador (Bahia, Brazil)","Beaches - Salvador (Bahia, Brazil)","Forte de Santo Antônio da Barra (Salvador, Bahia, Brazil)","Praia do Porto da Barra (Salvador, Bahia, Brazil)","Barra (Salvador, Bahia, Brazil)","Salvador (Brazil)","Bahia (Brazil : State)","Brazil"],"description":["Cópia fotográfica de gelatina e prata, p&b","Cópia fotográfica de gelatina e prata","16,5 x 23 cm em cartão suporte: 29,6 x 35,8 cm"],"coverage":["Forte de Santo Antônio da Barra (Salvador, BA)","Praia do Porto da Barra (Salvador, BA)","Barra (Salvador, BA)","Salvador (BA)","Bahia","Brasil","Forte de Santo Antônio da Barra (Salvador, Bahia, Brazil)","Praia do Porto da Barra (Salvador, Bahia, Brazil)","Barra (Salvador, Bahia, Brazil)","Salvador (Brazil)","Bahia (Brazil : State)","Brazil"],"publisher":"Salvador, BA"}},"20.500.12156.1/3765":{"atlas":1,"col":32,"row":39,"cr":11838597,"cl":11773574,"ct":8023642,"cb":10259050,"ck":5525054,"meta":{"title":"Canella","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[entre 1912 e 1919]","contributor":"Silva, Pedro Gonsalves da","type":"Fotografia","subject":["Habitações - Salvador (BA)","Ruas - Salvador (BA)","Canela (Salvador, BA)","Salvador (BA)","Bahia","Brasil","Dwellings - Salvador (Bahia, Brazil)","Streets - Salvador (Bahia, Brazil)","Canela (Salvador, Bahia, Brazil)","Salvador (Brazil)","Bahia (Brazil : State)","Brazil"],"description":["Cópia fotográfica de gelatina e prata, p&b","Cópia fotográfica de gelatina e prata","16,3 x 23 cm em cartão suporte: 29,5 x 35,7 cm"],"coverage":["Canela (Salvador, BA)","Salvador (BA)","Bahia","Brasil","Canela (Salvador, Bahia, Brazil)","Salvador (Brazil)","Bahia (Brazil : State)","Brazil"],"publisher":"Salvador, BA"}},"20.500.12156.1/3766":{"atlas":1,"col":33,"row":39,"cr":8355183,"cl":6119252,"ct":7767676,"cb":8157014,"ck":4145207,"meta":{"title":"E. 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Hospe"}},"20.500.12156.1/3771":{"atlas":1,"col":39,"row":39,"cr":7762524,"cl":7696988,"ct":8163196,"cb":8222805,"ck":3947311,"meta":{"title":"E. F. N. O. Brazil : Saloba [sic] - Km. 136 - sobre o rio Miranda (Estado de Matto-Grosso)","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"1910","contributor":"Perez, M.","type":"Fotografia","subject":["Estrada de Ferro Noroeste do Brasil","Ferrovias - Miranda (MS)","Salobra (Miranda, MS)","Miranda (MS)","Mato Grosso do Sul","Brasil","Cartões postais","Railroads - Mato Grosso (Brazil)","Postcards","Mato Grosso do Sul (Brazil)","Brazil"],"description":["Colotipia, col.","8,9 x 13,8"],"coverage":["Salobra (Miranda, MS)","Miranda (MS)","Mato Grosso do Sul","Brasil","Mato Grosso do Sul (Brazil)","Brazil"],"publisher":"Eudozio Lima"}},"20.500.12156.1/3772":{"atlas":1,"col":40,"row":39,"cr":7434591,"cl":7237727,"ct":7046011,"cb":7565397,"ck":3750448,"meta":{"title":"E. F. N. O. 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Corumbá (MS)","Corumbá (MS)","Mato Grosso do Sul","Brasil","Cartões postais","Hotels - Corumbá (Mato Grosso do Sul, Brazil)","Streets - Corumbá (Mato Grosso do Sul, Brazil)","Buildings - Corumbá (Mato Grosso do Sul, Brazil)","Post cards","Corumbá (Mato Grosso do Sul, Brasil)","Mato Grosso do Sul (Brazil)","Brazil"],"description":["Colotipia, col.","8,9 x 13,9"],"coverage":["Corumbá (MS)","Mato Grosso do Sul","Brasil","Corumbá (Mato Grosso do Sul, Brasil)","Mato Grosso do Sul (Brazil)","Brazil"],"publisher":"Corumbá, Eudozio Lima"}},"20.500.12156.1/3774":{"atlas":1,"col":42,"row":39,"cr":8356982,"cl":8947574,"ct":8883833,"cb":8617573,"ck":4145208,"meta":{"title":"Corumbá : Vaporez [sic] em descarga","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"1910","contributor":"Perez, M.","type":"Fotografia","subject":["Portos - Corumbá (MS)","Rios - Corumbá (MS)","Barcos - Corumbá (MS)","Vapores fluviais (Embarcações) - Corumbá (MS)","Paraguai, Rio","Corumbá (MS)","Mato Grosso do Sul","Brasil","Cartão-postal"],"description":["Colotipia, col.","8,7 x 13,9"],"coverage":["Paraguai, Rio","Corumbá (MS)","Mato Grosso do Sul","Brasil"],"publisher":"Corumbá, Eudozio Lima"}},"20.500.12156.1/3775":{"atlas":1,"col":43,"row":39,"cr":12039068,"cl":9933952,"ct":12302241,"cb":8814434,"ck":5130812,"meta":{"title":"[Itajubá]","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[1931]","contributor":null,"type":"Fotografia","subject":["Ruas - 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Pompeu","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"6 set. 1920","contributor":null,"type":"Fotografia","subject":["Estrada de Ferro de Baturité","Ferrovias - Estações - Senador Pompeu (CE)","Locomotivas - Senador Pompeu (CE)","Senador Pompeu (CE)","Ceará","Brasil","Cartões postais","Railroad Stations - Senador Pompeu (Ceará, Brazil)","Locomotives - Senador Pompeu (Ceará, Brazil)","Postcards","Senador Pompeu (Brazil)","Ceará (Brazil : State)","Brazil"],"description":["Cópia fotográfica de gelatina e prata, p&b","13 x 8  cm"],"coverage":["Senador Pompeu (CE)","Ceará","Brasil","Senador Pompeu (Brazil)","Ceará (Brazil : State)","Brazil"],"publisher":"[[Senador Pompeu, CE]"}},"20.500.12156.1/38":{"atlas":1,"col":5,"row":40,"cr":14930612,"cl":15325368,"ct":4142374,"cb":2368031,"ck":6246459,"meta":{"title":"[Vitória e colônias]","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[1860]","contributor":"Frond, Victor, 1821-1881","type":"Fotografia","subject":["Edifícios - Vitória (ES)","Rios - Espírito Santo (Estado)","Espírito Santo (Estado) - Colônias","Domingos Martins (ES)","Santa Leopoldina (ES)","Buildings - Vitória (Espírito Santo, Brazil)","Rivers - Espírito Santo (Brazil : State)","Espírito Santo (Brazil : State) - Colonies","Domingos Martins (Brazil)","Santa Leopoldina (Brazil)"],"coverage":["Espírito Santo (Estado)","Domingos Martins (ES)","Santa Leopoldina (ES)"],"source":"Thereza Christina Maria"}},"20.500.12156.1/380":{"atlas":1,"col":6,"row":40,"cr":1971725,"cl":1051396,"ct":13350800,"cb":13022092,"ck":6050623,"meta":{"title":"[Exposição Antropológica Brasileira : artefatos e aspectos da vida indígena]","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"1882","contributor":"Ferrez, Marc, 1843-1923","type":"Fotografia","subject":["Exposição Antropológica Brasileira (1882 : Rio de Janeiro, RJ)","Exposições - Rio de Janeiro (RJ)","Índios da América do Sul - Usos e costumes","Exhibitions - Brazil - Rio de Janeiro (Brazil)","Indians of South America - Social life and customs"],"description":["papel albuminado, pb","16 x 21cm a 23 x 19"],"source":"Thereza Christina Maria","publisher":"Rio de Janeiro, RJ"}},"20.500.12156.1/3800":{"atlas":1,"col":7,"row":40,"cr":13881529,"cl":13881016,"ct":14473664,"cb":9932920,"ck":4933694,"meta":{"title":"Ponte de 40 metros sobre o Riacho Rozario, no kilometro 493 : trecho Lavras-Aurora","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"7 set. 1920","contributor":null,"type":"Fotografia","subject":["Estrada de Ferro de Baturité","Ferrovias - Construções e estruturas - Ceará","Pontes ferroviárias - Lavras da Mangabeira (CE)","Lavras da Mangabeira (CE)","Ceará","Brasil","Cartões postais","Railroads - Buildings and structures - Ceará (Brazil : State)","Railroad bridges - Lavras da Mangabeira (Ceará, Brazil)","Postcards","Lavras da Mangabeira (Brazil)","Ceará (Brazil : State)","Brazil"],"description":["Cópia fotográfica de gelatina e prata, p&b","13 x 8  cm"],"coverage":["Lavras da Mangabeira (CE)","Ceará","Brasil","Lavras da Mangabeira (Brazil)","Ceará (Brazil : State)","Brazil"],"publisher":"[Lavras da Mangabeira, CE]"}},"20.500.12156.1/3801":{"atlas":1,"col":8,"row":40,"cr":9144696,"cl":10197382,"ct":13092010,"cb":11840384,"ck":4934209,"meta":{"title":"Alojamento de uma das familias dos flagelados : construcção da E. F. F. I.","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"fev. 1920","contributor":null,"type":"Fotografia","subject":["Ferrovias - Umari (CE)","Trabalhadores da construção ferroviária - Umari (CE)","Ceará","Railroads - Umari (Ceará, Brazil)","Railroad construction workers - Umari (Ceará, Brazil)","Ceará (Brazil : State)"],"description":["Cópia fotográfica de gelatina e prata, p&b","11,8 x 17 cm"],"coverage":["Ceará","Ceará (Brazil : State)"],"publisher":"Umari [CE]"}},"20.500.12156.1/3802":{"atlas":1,"col":9,"row":40,"cr":11578518,"cl":11184532,"ct":11842461,"cb":13552550,"ck":6184274,"meta":{"title":"Grupo de creanças e mulheres dos flagelados que trabalham na construcção da E. F. F. I.","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"fev. 1920","contributor":null,"type":"Fotografia","subject":["Ferrovias - Umari (CE)","Trabalhadores da construção ferroviária - Umari (CE)","Umari (CE)","Ceará","Brasil","Railroads - Umari (Ceará, Brazil)","Railroad construction workers - Umari (Ceará, Brazil)","Umari (Brazil)","Ceará (Brazil : State)","Brazil"],"description":["Trabalhadores na construção da estrada de ferro, pertencente a Rede de Viação Cearense, que liga Fortaleza ao antigo ramal de Itapipoca, hoje Ramal de João Filipe (km 57)","Cópia fotográfica de gelatina e prata, p&b","11,8 x 17  cm"],"coverage":["Umari (CE)","Ceará","Brasil","Umari (Brazil)","Ceará (Brazil : State)","Brazil"],"publisher":"Umari [CE]"}},"20.500.12156.1/3803":{"atlas":1,"col":10,"row":40,"cr":11249552,"cl":10197636,"ct":13355184,"cb":12104329,"ck":5394758,"meta":{"title":"Flagelados que trabalham na residencia do kilometro 57, na hora do almoço : construcção da E. F. F. I.","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"fev. 1920","contributor":null,"type":"Fotografia","subject":["Ferrovias - Umari (CE)","Trabalhadores da construção ferroviária - Umari (CE)","Umari (CE)","Ceará","Brasil","Railroads - Umari (Ceará, Brazil)","Railroad construction workers - Umari (Ceará, Brazil)","Umari (Brazil)","Ceará (Brazil : State)","Brazil"],"description":["Trabalhadores na construção da estrada de ferro, pertencente a Rede de Viação Cearense, que liga Fortaleza ao antigo ramal de Itapipoca, hoje Ramal de João Filipe (km 57)","Cópia fotográfica de gelatina e prata, p&b","11,8 x 17  cm"],"coverage":["Umari (CE)","Ceará","Brasil","Umari (Brazil)","Ceará (Brazil : State)","Brazil"],"publisher":"Umari [CE]"}},"20.500.12156.1/3804":{"atlas":1,"col":11,"row":40,"cr":12301220,"cl":11973026,"ct":10720893,"cb":11116166,"ck":5196350,"meta":{"title":"[Grande Fabrica de Massas Alimenticias Progresso] : [interior]","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[entre 1889 e 1903]","contributor":"Lindemann, Rodolpho","type":"Fotografia","subject":["Grande Fábrica de Massas Alimentícias Progresso (Salvador, BA)","Fábricas - Salvador (BA)","Máquinas - Salvador (BA)","Salvador (BA)","Bahia","Brasil","Factories - Salvador (Bahia, Brazil)","Markets - Salvador (Bahia, Brazil)","Salvador (Bahia, Brazil)","Bahia (Brazil : State)","Brazil"],"description":["Cópia fotográfica de gelatina e prata, p&b","Cópia fotográfica de gelatina e prata","17 x 23,4 cm em cartão-suporte: 30 x 36 cm"],"coverage":["Salvador (BA)","Bahia","Brasil","Salvador (Bahia, Brazil)","Bahia (Brazil : State)","Brazil"],"publisher":"[Salvador, BA]"}},"20.500.12156.1/3805":{"atlas":1,"col":12,"row":40,"cr":12300958,"cl":12038556,"ct":10851963,"cb":10918013,"ck":5328194,"meta":{"title":"Fabrica-Progresso de macarrão e massas para sopa de qualquer qualidade","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"entre 1889 e 1903?]","contributor":"Fragoso, Armando","type":"Fotografia","subject":["Grande Fábrica de Massas Alimentícias Progresso (Salvador, BA)","Fábricas - Salvador (BA)","Massas alimentícias - Salvador (BA)","Impressos efêmeros - Salvador (BA)","Etiquetas","Salvador (BA)","Bahia","Brasil","Factories - Salvador (Bahia, Brazil)","Pasta products - Salvador (Bahia, Brazil)","Printed ephemere - Salvador (Bahia, Brazil)","Labels","Salvador (Bahia, Brazil)","Bahia (Brazil : State)","Brazil"],"description":["Litografia, col.","Etiquetas","Litografia","19,1 x 21,1 cm em papel 20,6 x 22,3 cm"],"coverage":["Salvador (BA)","Bahia","Brasil","Salvador (Bahia, Brazil)","Bahia (Brazil : State)","Brazil"],"publisher":"[Salvador?, BA, s.n."}},"20.500.12156.1/3806":{"atlas":1,"col":13,"row":40,"cr":5853503,"cl":6707778,"ct":10129515,"cb":9405542,"ck":4209196,"meta":{"title":"Palacio da Imprensa : Fachada da Imprensa Official","community":"Biblioteca Nacional","rights":null,"date":"2015-11-26T13:57:38Z","contributor":"Conti, José Carlos","type":"Fotografia","subject":["Edifícios - Salvador (BA)","Salvador (BA)","Desenho arquitetônico","Buildings - Salvador (Bahia, Brazil)","Architectural drawing - Salvador (Bahia, Brazil)"],"description":["Negativo de segunda geração: n. 17084, triacetato de celulose (DiMic)","Cópia fotográfica de gelatina e prata, p&b","13,8 x 9,8"],"coverage":["Salvador (BA)"]}},"20.500.12156.1/3807":{"atlas":1,"col":14,"row":40,"cr":5592914,"cl":8685181,"ct":13684932,"cb":7631458,"ck":5921363,"meta":{"title":"Marco de fronteira entre Corumbá e Puerto Suarez : Engenheiros Jansson, C. Fialho e J. C. Ferreira","community":"Biblioteca Nacional","rights":null,"date":"2015-11-26T13:57:39Z","contributor":null,"type":"Fotografia","subject":["Marcos históricos - Brasil","Corumbá (MS)","Puerto Suarez (Bolívia)","Brasil - Fronteiras - Bolívia","Bolívia - Fronteiras - Brasil","Historical markers - Brazil","Brazil - Boundaries - Bolívia","Bolivia - Boundaries - Brazil"],"description":["Papel: 13,2 x 8,3","Negativo de segunda geração: n. 15740, triacetato de celulose (DiMic)","Cópia fotográfica de gelatina e prata, p&b","13,3 x 7,4"],"coverage":["Corumbá (MS)","Puerto Suarez (Bolívia)","Brasil","Bolívia","Brazil","Bolivia"]}},"20.500.12156.1/3808":{"atlas":1,"col":15,"row":40,"cr":10196353,"cl":11512207,"ct":12894897,"cb":12434347,"ck":5131073,"meta":{"title":"[Ponte Roldão de Oliveira (Ponte Velha) sobre o Rio Aquidauana]","community":"Biblioteca Nacional","rights":null,"date":"2016-02-05T12:24:24Z","contributor":null,"type":"Fotografia","subject":["Pontes - Aquidauana - Mato Grosso do Sul","Rios - Aquidauana - Mato Grosso do Sul","Ponte Roldão de Oliveira (Aquidauana, MS)","Rio Aquidauana (MS)","Bridges - Aquidauana (Mato Grosso do Sul, Brazil)","Rivers - Aquidauana (Mato Grosso do Sul, Brazil)"],"description":["Negativo de segunda geração: n. 15782, triacetato de celulose (DiMic)","Papel: 8,9 x 14","Cópia fotográfica de gelatina e prata, p&b","7,5 x 12,2"],"coverage":["Ponte Roldão de Oliveira (Aquidauana, MS)","Rio Aquidauana (MS)"]}},"20.500.12156.1/3809":{"atlas":1,"col":16,"row":40,"cr":10983797,"cl":11180920,"ct":10983531,"cb":10390370,"ck":5392949,"meta":{"title":"Section artistique : Machine à vapeur et machine a grainer","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"18--]","contributor":null,"type":"Fotografia","subject":["Máquinas","Lisboa (Portugal)","Portugal","Machinery","Lisbon (Portugal)"],"description":["papel albuminado, p&b","Cópia fotográfica albuminada","17,5x11,4 cm em cartão-suporte: 24,3x15,5 cm"],"coverage":["Lisboa (Portugal)","Portugal"],"source":"Thereza Christina Maria","publisher":"Lisboa, Portugal"}},"20.500.12156.1/381":{"atlas":1,"col":17,"row":40,"cr":13613711,"cl":13482379,"ct":2169100,"cb":2827286,"ck":6247485,"meta":{"title":"[Exposição Antropológica Brasileira : artefatos e aspectos da vida indígena]","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"1882","contributor":"Ferrez, Marc, 1843-1923","type":"Fotografia","subject":["Exposição Antropológica Brasileira (1882 : Rio de Janeiro, RJ)","Exposições - Rio de Janeiro (RJ)","Índios da América do Sul - Usos e costumes","Exhibitions - Brazil - Rio de Janeiro (Brazil)","Indians of South America - Social life and customs"],"description":["papel albuminado, pb","16 x 21cm a 23 x 19"],"source":"Thereza Christina Maria","publisher":"Rio de Janeiro, RJ"}},"20.500.12156.1/3810":{"atlas":1,"col":18,"row":40,"cr":15193003,"cl":14929828,"ct":14402969,"cb":14402968,"ck":6970951,"meta":{"title":"[Detento da \"Pentonville Prison\" no banho de sol]","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"entre 1871 e 1877]","contributor":"Lewis, John C. A.","type":"Fotografia","subject":["Pentonville Prison (Inglaterra)","Penitenciárias - Inglaterra - Londres","Prisioneiros","Prisons - England - London","Prisoners"],"description":["papel albuminado, p&b","Cópia fotográfica albuminada","13 x 17 cm em cartão-suporte: 23 x 26 cm"],"source":"Thereza Christina Maria","publisher":"[Londres, Inglaterra"}},"20.500.12156.1/3811":{"atlas":1,"col":19,"row":40,"cr":10458492,"cl":9604211,"ct":8877652,"cb":11182466,"ck":4999227,"meta":{"title":"Foundation for Engineer's quarters","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"maio, 1909","contributor":"Merrill, D. B. (Dana B.).","type":"Fotografia","subject":["Estrada de Ferro Madeira-Mamoré","Ferrovias - Construções e estruturas - Amazônia","Trabalhadores da construção ferroviária - Amazônia","Edifícios - Amazônia","Railroad construction workers - Amazon River Region","Buildings - Amazon River Region","Railroads - Buildings and structures - Amazon River Region","Amazônia","Brasil","Amazon River Region","Brazil"],"description":["Com (no verso): Pay day in Porto Velho (foto 1)","Cianotipo, ciano","10,8 x 16,5 cm em Papel: 15,6 x 20,8 cm"],"coverage":["Amazônia","Brasil","Amazon River Region","Brazil"],"publisher":"[Amazônia]"}},"20.500.12156.1/3813":{"atlas":1,"col":20,"row":40,"cr":8818560,"cl":5399656,"ct":11446156,"cb":10523764,"ck":3686461,"meta":{"title":"Pay day in Porto Velho","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[entre 1907 e 1912]","contributor":"Merrill, D. B. (Dana B.).","type":"Fotografia","subject":["Estrada de Ferro Madeira-Mamoré","Ferrovias - Construções e estruturas - Porto Velho (RO)","Trabalhadores da construção ferroviária - Porto Velho (RO)","Edifícios - Porto Velho (RO)","Railroads - Buildings and structures - Porto Velho (Rondônia, Brazil)","Railroad construction workers - Porto Velho (Rondônia, Brazil)","Buildings - Porto Velho (Rondônia, Brazil)","Porto Velho (RO)","Rondônia","Brasil","Brazil","Porto Velho (Rondônia, Brazil)","Rondônia (Brazil)"],"description":["Cianotipo, ciano","Cianotipo","10,9 x 16,6 cm em papel: 15,6 x 20,8 cm"],"coverage":["Porto Velho (RO)","Rondônia","Brasil","Brazil","Porto Velho (Rondônia, Brazil)","Rondônia (Brazil)"],"publisher":"Porto Velho [RO"}},"20.500.12156.1/3814":{"atlas":1,"col":21,"row":40,"cr":9999999,"cl":9277826,"ct":10787192,"cb":8680275,"ck":4540739,"meta":{"title":"[Construção da Estrada de Ferro Madeira-Mamoré]","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[maio] 1909","contributor":"Merrill, D. B. (Dana B.).","type":"Fotografia","subject":["Estrada de Ferro Madeira-Mamoré","Porto Velho (RO)","Rondônia","Brasil","Porto Velho (Rondônia, Brazil)","Rondônia (Brazil)","Brazil"],"description":["Cianotipo, ciano","10,9 x 16,6 cm em Papel: 15,6 x 20,8 cm"],"coverage":["Porto Velho (RO)","Rondônia","Brasil","Porto Velho (Rondônia, Brazil)","Rondônia (Brazil)","Brazil"],"publisher":"Porto Velho, RO"}},"20.500.12156.1/3815":{"atlas":1,"col":22,"row":40,"cr":9998717,"cl":11248265,"ct":10588787,"cb":10852473,"ck":4671553,"meta":{"title":"Unfinished Wharf, and \"Steam Ship Falk\"","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[abr.] 1909","contributor":"Merrill, D. B. (Dana B.).","type":"Fotografia","subject":["Ferrovias - Construções e estruturas - Porto Velho (RO)","Cais - Porto Velho (RO)","Navios - Porto Velho (RO)","Railroads - Buildings and structures - Porto Velho (Rondônia, Brazil)","Wharves - Porto Velho (Rondônia, Brazil)","Ships - Porto Velho (Rondônia, Brazil)","Porto Velho (RO)","Rondônia","Brasil","Brazil","Porto Velho (Rondônia, Brazil)","Rondônia (Brazil)"],"description":["Cianotipo, ciano","10,9 x 16,5 cm em papel: 15,6 x 20,8 cm"],"coverage":["Porto Velho (RO)","Rondônia","Brasil","Brazil","Porto Velho (Rondônia, Brazil)","Rondônia (Brazil)"],"publisher":"[Porto Velho, RO]"}},"20.500.12156.1/3816":{"atlas":1,"col":23,"row":40,"cr":7964804,"cl":9148043,"ct":10456942,"cb":9801074,"ck":3687493,"meta":{"title":"Interior of native ward, Candelaria Hospital","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[entre 1907 e 1912]","contributor":"Merrill, D. B. (Dana B.).","type":"Fotografia","subject":["Estrada de Ferro Madeira-Mamoré","Ferrovias - Construções e estruturas - Porto Velho (RO)","Hospitais - Mobiliário e equipamento - Porto Velho (RO)","Pacientes - Porto Velho (RO)","Railroads - Buildings and structures - Porto Velho (Rondônia, Brazil)","Hospitals - Furniture, equipment, etc - Porto Velho (Rondônia, Brazil)","Patients - Porto Velho (Rondônia, Brazil)","Porto Velho (RO)","Rondônia","Brasil","Porto Velho (Rondônia, Brazil)","Rondônia (Brazil)"],"description":["Cianotipo, ciano","12 x 17,1 cm em Papel: 15,6 x 20,8 cm"],"coverage":["Porto Velho (RO)","Rondônia","Brasil","Porto Velho (Rondônia, Brazil)","Rondônia (Brazil)"],"publisher":"Porto Velho, RO"}},"20.500.12156.1/3817":{"atlas":1,"col":24,"row":40,"cr":8753286,"cl":7833474,"ct":11247744,"cb":10917492,"ck":4212549,"meta":{"title":"Interior of American Ward Candelaria Hospital","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[entre 1907 e 1912]","contributor":"Merrill, D. B. (Dana B.).","type":"Fotografia","subject":["Estrada de Ferro Madeira-Mamoré","Ferrovias - Construções e estruturas - Porto Velho (RO)","Hospitais - Mobiliário e equipamento - Porto Velho (RO)","Railroads - Buildings and structures - Porto Velho (Rondônia, Brazil)","Hospitals - Furniture, equipment, etc - Porto Velho (Rondônia, Brazil)","Porto Velho (RO)","Rondônia","Brasil","Brazil","Rondônia (Brazil)","Porto Velho (Rondônia, Brazil)"],"description":["Cianotipo, ciano","12,2 x 16,9 cm em papel: 16,5 x 21 cm"],"coverage":["Porto Velho (RO)","Rondônia","Brasil","Brazil","Rondônia (Brazil)","Porto Velho (Rondônia, Brazil)"],"publisher":"[Porto Velho, RO]"}},"20.500.12156.1/3818":{"atlas":1,"col":25,"row":40,"cr":8161925,"cl":9607820,"ct":10259303,"cb":10590330,"ck":4935497,"meta":{"title":"Candelaria Hospital","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[entre 1907 e 1912]","contributor":"Merrill, D. B. (Dana B.).","type":"Fotografia","subject":["Estrada de Ferro Madeira-Mamoré","Ferrovias - Construções e estruturas - Porto Velho (RO)","Edifícios - Porto Velho (RO)","Hospitais - Porto Velho (RO)","Railroads - Buildings and structures - Porto Velho (Rondônia, Brazil)","Buildings - Porto Velho (Rondônia, Brazil)","Hospitals - Porto Velho (Rondônia, Brazil)","Porto Velho (RO)","Rondônia","Brasil","Brazil","Porto Velho (Rondônia, Brazil)","Rondônia (Brazil)"],"description":["Cianotipo, ciano","11,9 x 16,6 cm em Papel: 16,5 x 21 cm"],"coverage":["Porto Velho (RO)","Rondônia","Brasil","Brazil","Porto Velho (Rondônia, Brazil)","Rondônia (Brazil)"],"publisher":"[Porto Velho, RO]"}},"20.500.12156.1/3819":{"atlas":1,"col":26,"row":40,"cr":8555655,"cl":7372415,"ct":11577740,"cb":9075805,"ck":3555394,"meta":{"title":"Grave yard : Candelaria","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[entre 1878 e 1910]","contributor":"Merrill, D. B. (Dana B.).","type":"Fotografia","subject":["Estrada de Ferro Madeira-Mamoré","Ferrovias - Construções e estruturas - Porto Velho (RO)","Cemitérios - Porto Velho (RO)","Cemeteries - Porto Velho (Rondônia, Brazil)","Railroads - Buildings and structures - Porto Velho (Rondônia, Brazil)","Rondônia","Brasil","Porto Velho (Rondônia, Brazil)","Rondônia (Brazil)","Brazil"],"description":["Cianotipo, ciano","12,5 x 17,2 cm em Papel: 16,5 x 21 cm"],"coverage":["Rondônia","Brasil","Porto Velho (Rondônia, Brazil)","Rondônia (Brazil)","Brazil"],"publisher":"Porto Velho, RO"}},"20.500.12156.1/382":{"atlas":1,"col":27,"row":40,"cr":13943975,"cl":13943199,"ct":1709064,"cb":1249030,"ck":6313798,"meta":{"title":"[Exposição Antropológica Brasileira : artefatos e aspectos da vida indígena]","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"1882","contributor":"Ferrez, Marc, 1843-1923","type":"Fotografia","subject":["Exposição Antropológica Brasileira (1882 : Rio de Janeiro, RJ)","Exposições - Rio de Janeiro (RJ)","Índios da América do Sul - Usos e costumes","Exhibitions - Brazil - Rio de Janeiro (Brazil)","Indians of South America - Social life and customs"],"description":["papel albuminado, pb","16 x 21cm a 23 x 19"],"source":"Thereza Christina Maria","publisher":"Rio de Janeiro, RJ"}},"20.500.12156.1/3820":{"atlas":1,"col":28,"row":40,"cr":6452856,"cl":4085606,"ct":10260331,"cb":11248263,"ck":2503223,"meta":{"title":"Rail Bridge at Santo Antonio","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[entre 1907 e 1912]","contributor":"Merrill, D. B. (Dana B.).","type":"Fotografia","subject":["Estrada de Ferro Madeira-Mamoré","Ferrovias - Construções e estruturas - Porto Velho (RO)","Pontes ferroviárias - Porto Velho (RO)","Habitações - Porto Velho (RO)","Railroads - Buildings and structures - Porto Velho (Rondônia, Brazil)","Railroad bridges - Porto Velho (Rondônia, Brazil)","Dwellings - Porto Velho (Rondônia, Brazil)","Santo Antônio (Porto Velho, RO)","Porto Velho (RO)","Rondônia","Brasil","Rondônia (Brazil)","Brazil","Santo Antônio (Porto Velho, Brazil)","Porto Velho (Rondônia, Brazil)"],"description":["Cianotipo, ciano","8,2 x 13,6 cm em Papel: 16,5 x 21 cm"],"coverage":["Santo Antônio (Porto Velho, RO)","Porto Velho (RO)","Rondônia","Brasil","Rondônia (Brazil)","Brazil","Santo Antônio (Porto Velho, Brazil)","Porto Velho (Rondônia, Brazil)"],"publisher":"[Porto Velho, RO]"}},"20.500.12156.1/3821":{"atlas":1,"col":29,"row":40,"cr":7765626,"cl":8029311,"ct":11314054,"cb":9931107,"ck":3620156,"meta":{"title":"Headquarter of Collins Expedition : Now used as a Jail","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"1909","contributor":"Merrill, D. B. (Dana B.).","type":"Fotografia","subject":["Estrada de Ferro Madeira-Mamoré","Expedição Collins (1878-1879)","Ferrovias - Construções e estruturas - Porto Velho (RO)","Habitações - Porto Velho (RO)","Railroads - Buildings and structures - Porto Velho (Rondônia, Brazil)","Dwellings - Porto Velho (Rondônia, Brazil)","Santo Antônio (Porto Velho, RO)","Porto Velho (RO)","Rondônia","Brasil","Rondônia (Brazil)","Brazil","Santo Antônio (Porto Velho, Brazil)","Porto Velho (Rondônia, Brazil)"],"description":["Com (no verso): Along the Line of the Madeira-Mamoré Ry. Brazil (foto 11)","Cianotipo, ciano","8,2 x 13,9 cm em Papel: 16,5 x 21 cm"],"coverage":["Santo Antônio (Porto Velho, RO)","Porto Velho (RO)","Rondônia","Brasil","Rondônia (Brazil)","Brazil","Santo Antônio (Porto Velho, Brazil)","Porto Velho (Rondônia, Brazil)"],"publisher":"[Porto Velho, RO]"}},"20.500.12156.1/3822":{"atlas":1,"col":30,"row":40,"cr":8950669,"cl":8096387,"ct":9996133,"cb":9998452,"ck":4541256,"meta":{"title":"Along the Line of the Madeira-Mamoré Ry","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[entre 1907 e 1912]","contributor":"Merrill, D. B. (Dana B.).","type":"Fotografia","subject":["Estrada de Ferro Madeira-Mamoré","Ferrovias - Construções e estruturas - Amazônia","Railroads - Buildings and structures - Amazon River Region","Amazônia","Brasil","Brazil","Amazon River Region"],"description":["Com (no verso): Rail Bridge at Santo Antonio(foto 09)","Com (no verso): Headquarter of Collins Expedition: Now used as a Jail (foto 10)","Cianotipo, ciano","12,5 x 17,3 cm em papel: 16,5 x 20,9 cm"],"coverage":["Amazônia","Brasil","Brazil","Amazon River Region"],"publisher":"[Amazônia]"}},"20.500.12156.1/3823":{"atlas":1,"col":31,"row":40,"cr":10330513,"cl":9607308,"ct":11314310,"cb":8483155,"ck":5592139,"meta":{"title":"[Construção da Estrada de Ferro Madeira-Mamoré] : trilhos","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[entre 1907 e 1912]","contributor":"Merrill, D. B. (Dana B.).","type":"Fotografia","subject":["Estrada de Ferro Madeira-Mamoré","Ferrovias - Construções e estruturas - Amazônia","Ferrovias - Trilhos - Amazônia","Railroads - Rails - Amazon River Region","Railroads - Buildings and structures - Amazon River Region","Amazônia","Brasil","Amazon River Region","Brazil"],"description":["Com (no verso): Santo Antonio Falls at low water(foto 13)","Cianotipo, ciano","11,8 x 17 cm em papel: 16,5 x 18 cm"],"coverage":["Amazônia","Brasil","Amazon River Region","Brazil"],"publisher":"[Amazônia]"}},"20.500.12156.1/3824":{"atlas":1,"col":32,"row":40,"cr":8228748,"cl":6320756,"ct":9733733,"cb":11116680,"ck":3884098,"meta":{"title":"Santo Antonio Falls at low water","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[entre 1907 e 1912]","contributor":"Merrill, D. B. (Dana B.).","type":"Fotografia","subject":["Estrada de Ferro Madeira-Mamoré","Ferrovias - Construções e estruturas - Porto Velho (RO)","Rios - Porto Velho (RO)","Railroads - Buildings and structures - Porto Velho (Rondônia, Brazil)","Rivers - Porto Velho (Rondônia, Brazil)","Santo Antônio (Porto Velho, RO)","Porto Velho (RO)","Rondônia","Brasil","Rondônia (Brazil)","Brazil","Porto Velho (Rondônia, Brazil)","Santo Antônio (Porto Velho, Brazil)"],"description":["Com (no verso): [Construção da Estrada de Ferro Madeira-Mamoré: trilhos] (foto 12)","Cianotipo, ciano","8,3 x 14,1 cm em papel: 18 x 16,5 cm"],"coverage":["Santo Antônio (Porto Velho, RO)","Porto Velho (RO)","Rondônia","Brasil","Rondônia (Brazil)","Brazil","Porto Velho (Rondônia, Brazil)","Santo Antônio (Porto Velho, Brazil)"],"publisher":"[Porto Velho, RO]"}},"20.500.12156.1/3825":{"atlas":1,"col":33,"row":40,"cr":7175546,"cl":3954022,"ct":9865062,"cb":9933178,"ck":2635065,"meta":{"title":"A Boa Constrictor 25' long","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[entre 1878 e 1910]","contributor":"Merrill, D. B. (Dana B.).","type":"Fotografia","subject":["Estrada de Ferro Madeira-Mamoré","Ferrovias - Construções e estruturas - Amazônia","Cobra - Amazônia","Fotografia - Retratos","Portrait photography","Snakes - Amazon River Region","Railroads - Buildings and structures - Amazon River Region","Amazônia","Brasil","Amazon River Region","Brazil"],"description":["Com (no verso): Carapuna [sic] Indians at Tres Irmãos (foto 15)","Cianotipo, ciano","8,2 x 13,8 cm em papel: 10,9 x 16,3 cm"],"coverage":["Amazônia","Brasil","Amazon River Region","Brazil"],"publisher":"[Amazônia]"}},"20.500.12156.1/3826":{"atlas":1,"col":34,"row":40,"cr":5533049,"cl":4875117,"ct":9667941,"cb":10590341,"ck":2700602,"meta":{"title":"Carapuna [sic] Indians at Tres Irmãos","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[entre 1907 e 1912]","contributor":"Merrill, D. B. (Dana B.).","type":"Fotografia","subject":["Estrada de Ferro Madeira-Mamoré","Ferrovias - Construções e estruturas - Porto Velho (RO)","Índios Karipuna","Fotografia - Retratos","Railroads - Buildings and structures - Porto Velho (Rondônia, Brazil)","Karipuna indians","Portrait photography","Porto Velho (RO)","Rondônia","Brasil","Brazil","Porto Velho (Rondônia, Brazil)","Rondônia (Brazil)"],"description":["Com (no verso): A Boa Constrictor 25' long (foto 14)","Cianotipo, ciano","8,3 x 13,8 cm em papel: 10,9 x 16,3 cm"],"coverage":["Porto Velho (RO)","Rondônia","Brasil","Brazil","Porto Velho (Rondônia, Brazil)","Rondônia (Brazil)"],"publisher":"[Porto Velho, RO]"}},"20.500.12156.1/3827":{"atlas":1,"col":35,"row":40,"cr":8491148,"cl":8162698,"ct":9733733,"cb":11379851,"ck":4147014,"meta":{"title":"J. C. Bolton Ch. of Party # 3. M. M. Ry Brazil","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[entre 1907 e 1912]","contributor":"Merrill, D. B. (Dana B.).","type":"Fotografia","subject":["Bolton, J. C.","Estrada de Ferro Madeira-Mamoré","Ferrovias - Construções e estruturas - Amazônia","Trabalhadores da construção ferroviária - Amazônia","Fotografia - Retratos","Railroad construction workers - Amazon River Region","Portrait photography","Railroads - Buildings and structures - Amazon River Region","Amazônia","Brasil","Brazil"],"description":["Com (no verso): Coral at Camp #9. M. M. Ry.(foto 18)","Cianotipo, ciano","8,2 x 14 cm em papel: 20,8 x 16,7 cm"],"coverage":["Amazônia","Brasil","Brazil"],"publisher":"[Amazônia]"}},"20.500.12156.1/3828":{"atlas":1,"col":36,"row":40,"cr":8227972,"cl":8032136,"ct":11117193,"cb":9076059,"ck":4147269,"meta":{"title":"Camp of Party [...] 3 of Mutum Parana","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[entre 1907 e 1912]","contributor":"Merrill, D. B. (Dana B.).","type":"Fotografia","subject":["Estrada de Ferro Madeira-Mamoré","Ferrovias - Construções e estruturas - Porto Velho (RO)","Trabalhadores da construção ferroviária - Porto Velho (RO)","Acampamentos - Porto Velho (RO)","Fotografia - Retratos","Railroads - Buildings and structures - Porto Velho (Rondônia, Brazil)","Railroad construction workers - Porto Velho (Rondônia, Brazil)","Camps - Porto Velho (Rondônia, Brazil)","Portrait photography","Mutum-Paraná (Porto Velho, RO)","Porto Velho (RO)","Rondônia","Brasil","Rondônia (Brazil)","Brazil","Porto Velho (Rondônia, Brazil)","Mutum-Paraná (Porto Velho, Brazil)"],"description":["Com (no verso): Coral at Camp #9 M. M. Ry.(foto 18)","Cianotipo, ciano","8,2 x 13,5 cm em papel: 20,8 x 16,7 cm"],"coverage":["Mutum-Paraná (Porto Velho, RO)","Porto Velho (RO)","Rondônia","Brasil","Rondônia (Brazil)","Brazil","Porto Velho (Rondônia, Brazil)","Mutum-Paraná (Porto Velho, Brazil)"],"publisher":"[Porto Velho, RO]"}},"20.500.12156.1/3829":{"atlas":1,"col":37,"row":40,"cr":4411483,"cl":6386549,"ct":9996390,"cb":9866350,"ck":2897210,"meta":{"title":"Coral at Camp [...] 9 M. M. Ry","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[entre 1878 e 1910]","contributor":"Merrill, D. B. (Dana B.).","type":"Fotografia","subject":["Estrada de Ferro Madeira-Mamoré","Ferrovias - Construções e estruturas - Amazônia","Acampamentos - Amazônia","Árvores - Amazônia","Camps - Amazon River Region","Trees - Amazon River Region","Railroads - Buildings and structures - Amazon River Region","Amazônia","Brasil","Amazon River Region","Brazil"],"description":["Com (no verso): J. C. Bolton Ch. of Party #3 M. M. Ry. (foto 16)","Com (no verso): Camp of Party #3 of Mutum Parana (foto 17)","Cianotipo, ciano","12,5 x 17,4 cm em papel: 16,3 x 20,9 cm"],"coverage":["Amazônia","Brasil","Amazon River Region","Brazil"],"publisher":"[Amazônia]"}},"20.500.12156.1/383":{"atlas":1,"col":38,"row":40,"cr":13285009,"cl":13548957,"ct":3813151,"cb":3879201,"ck":5984576,"meta":{"title":"[Exposição Antropológica Brasileira : artefatos e aspectos da vida indígena]","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"1882","contributor":"Ferrez, Marc, 1843-1923","type":"Fotografia","subject":["Exposição Antropológica Brasileira (1882 : Rio de Janeiro, RJ)","Exposições - Rio de Janeiro (RJ)","Índios da América do Sul - Usos e costumes","Exhibitions - Brazil - Rio de Janeiro (Brazil)","Indians of South America - Social life and customs"],"description":["papel albuminado, pb","16 x 21cm a 23 x 19"],"source":"Thereza Christina Maria","publisher":"Rio de Janeiro, RJ"}},"20.500.12156.1/3830":{"atlas":1,"col":39,"row":40,"cr":4806499,"cl":10000777,"ct":11511433,"cb":8549205,"ck":3883843,"meta":{"title":"Santo Antonio : Side walk made of rail laft by the Collins Espedition in 1878","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[jun. 1909]","contributor":"Merrill, D. B. (Dana B.).","type":"Fotografia","subject":["Estrada de Ferro Madeira-Mamoré","Expedição Collins (1878-1879)","Ferrovias - Construções e estruturas - Porto Velho (RO)","Mulheres - Porto Velho (RO)","Ruas - Porto Velho (RO)","Habitações - Porto Velho (RO)","Railroads - Buildings and structures - Porto Velho (Rondônia, Brazil)","Women - Porto Velho (Rondônia, Brazil)","Streets - Porto Velho (Rondônia, Brazil)","Dwellings - Porto Velho (Rondônia, Brazil)","Santo Antônio (Porto Velho, RO)","Porto Velho (RO)","Rondônia","Brasil","Rondônia (Brazil)","Brazil","Santo Antônio (Porto Velho, Brazil)","Porto Velho (Rondônia, Brazil)"],"description":["Com (no verso): R. H. Kelly and M. M. Buster (foto 20)","Com (no verso): Igarapé behind Eng'rs. quarters at. P. V. in time of High Water (foto 21)","Cianotipo, ciano","11,9 x 16,8 cm em papel: 16,6 x 20,8 cm"],"coverage":["Santo Antônio (Porto Velho, RO)","Porto Velho (RO)","Rondônia","Brasil","Rondônia (Brazil)","Brazil","Santo Antônio (Porto Velho, Brazil)","Porto Velho (Rondônia, Brazil)"],"publisher":"[Porto Velho, RO]"}},"20.500.12156.1/3831":{"atlas":1,"col":40,"row":40,"cr":6585472,"cl":4875118,"ct":9865577,"cb":10854286,"ck":3029822,"meta":{"title":"R. H. Kelly and M. M. Buster","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[entre 1907 e 1912]","contributor":"Merrill, D. B. (Dana B.).","type":"Fotografia","subject":["Kelly, R. H.","Estrada de Ferro Madeira-Mamoré","Ferrovias - Construções e estruturas - Amazônia","Cão - Amazônia","Fotografia - Retratos","Dogs - Amazon River Region","Portrait photography","Railroads - Buildings and structures - Amazon River Region","Amazônia","Brasil","Amazon River Region","Brazil"],"description":["Com (no verso): Santo Antonio: Side walk made of rail laft by the Collins Espedition in 1878 (foto 19)","Cianotipo, ciano","8,2 x 14,1 cm em papel: 20,8 x 16,6 cm"],"coverage":["Amazônia","Brasil","Amazon River Region","Brazil"],"publisher":"[Amazônia]"}},"20.500.12156.1/3832":{"atlas":1,"col":41,"row":40,"cr":5402226,"cl":5468278,"ct":10854798,"cb":8747098,"ck":2767421,"meta":{"title":"Igarapé behind Eng'rs. quarters at. P. V. in time of High Water","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[entre 1907 e 1912]","contributor":"Merrill, D. B. (Dana B.).","type":"Fotografia","subject":["Estrada de Ferro Madeira-Mamoré","Ferrovias - Construções e estruturas - Porto Velho (RO)","Rios - Porto Velho (RO)","Railroads - Buildings and structures - Porto Velho (Rondônia, Brazil)","Rivers - Porto Velho (Rondônia, Brazil)","Porto Velho (RO)","Rondônia","Brasil","Brazil","Porto Velho (Rondônia, Brazil)","Rondônia (Brazil)"],"description":["Com (no verso): Santo Antonio: Side walk made of rail laft by the Collins Espedition in 1878 (foto 19)","Cianotipo, ciano","8,3 x 14,1 cm em papel: 20,8 x 16,6 cm"],"coverage":["Porto Velho (RO)","Rondônia","Brasil","Brazil","Porto Velho (Rondônia, Brazil)","Rondônia (Brazil)"],"publisher":"[Porto Velho, RO]"}},"20.500.12156.1/3833":{"atlas":1,"col":42,"row":40,"cr":11445639,"cl":10854012,"ct":9798241,"cb":11248522,"ck":5393982,"meta":{"title":"One of the remains of the Ill Fated Expedition of 1878","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[entre 1909 e 1910]","contributor":"Merrill, D. B. (Dana B.).","type":"Fotografia","subject":["Estrada de Ferro Madeira-Mamoré","Expedição Collins (1878-1879)","Ferrovias - Construções e estruturas - Amazônia","Trabalhadores da construção ferroviária - Amazônia","Navios - Amazônia","Rios - Amazônia","Fotografia - Retratos","Railroads - Buildings and structures - Amazon River Region","Railroad construction workers - Amazon River Region","Ships - Amazon River Region","Rivers - Amazon River Region","Portrait photography","Amazônia","Brasil"],"description":["Com (no verso): Construction Camp #9: Dumbell camp Foreman (foto 24)","Cópia fotográfica de gelatina e prata, p&b","8,6 x 13,8 cm em papel: 20,9 x 16,5 cm"],"coverage":["Amazônia","Brasil"],"publisher":"[Amazônia]"}},"20.500.12156.1/3834":{"atlas":1,"col":43,"row":40,"cr":7899526,"cl":7307906,"ct":11250326,"cb":7759686,"ck":3555392,"meta":{"title":"R. Suarez and Co. at Santo Antonio, Rio Madeira : the largest Rubber Company in the world","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[entre 1907 e 1912]","contributor":"Merrill, D. B. (Dana B.).","type":"Fotografia","subject":["Estrada de Ferro Madeira-Mamoré","R. Suarez e Cia","Ferrovias - Construções e estruturas - Porto Velho (RO)","Ruas - Porto Velho (RO)","Edifícios - Porto Velho (RO)","Borracha - Indústria","Railroads - Buildings and structures - Porto Velho (Rondônia, Brazil)","Streets - Porto Velho (Rondônia, Brazil)","Buildings - Porto Velho (Rondônia, Brazil)","Rubber industry trade","Santo Antônio (Porto Velho, RO)","Porto Velho (RO)","Rondônia","Brasil"],"description":["Com (no verso): Construction Camp #9: Dumbell camp Foreman (foto 24)","Cianotipo, ciano","8,6 x 13,8 cm em papel: 20,9 x 16,5 cm"],"coverage":["Santo Antônio (Porto Velho, RO)","Porto Velho (RO)","Rondônia","Brasil"],"publisher":"[Porto Velho, RO]"}},"20.500.12156.1/3835":{"atlas":1,"col":44,"row":40,"cr":9803138,"cl":9671809,"ct":10457457,"cb":10063990,"ck":5066051,"meta":{"title":"Construction Camp [...] 9 : Dumbell camp Foreman","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[entre 1878 e 1910]","contributor":"Merrill, D. B. (Dana B.).","type":"Fotografia","subject":["Estrada de Ferro Madeira-Mamoré","Ferrovias - Construções e estruturas - Amazônia","Trabalhadores da construção ferroviária - Amazônia","Acampamentos - Amazônia","Carroças - Amazônia","Árvores - Amazônia","Wagoons - Amazon River Region","Trees - Amazon River Region","Camps - Amazon River Region","Railroad construction workers - Amazon River Region","Railroads - Buildings and structures - Amazon River Region","Amazônia","Brasil","Amazon River Region","Brazil"],"description":["Com (no verso): One of the remains of the Ill Fated Expedition of 1878 (foto 22)","Com (no verso): R. Suarez and Co. at Santo Antonio, Rio Madeira: the largest Rubber Company in the world (foto 23)","Cianotipo, ciano","11,8 x 17,1 cm em papel: 16,5 x 20,9 cm"],"coverage":["Amazônia","Brasil","Amazon River Region","Brazil"],"publisher":"[Amazônia]"}},"20.500.12156.1/3836":{"atlas":1,"col":45,"row":40,"cr":6321017,"cl":5401202,"ct":9470561,"cb":11182473,"ck":3226429,"meta":{"title":"L. T. Gregerson Terminal Eng'r : L. T. MC C.","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[entre 1878 e 1910]","contributor":"Merrill, D. B. (Dana B.).","type":"Fotografia","subject":["Estrada de Ferro Madeira-Mamoré","Ferrovias - Construções e estruturas - Amazônia","Trabalhadores da construção ferroviária - Amazônia","Engenharia - Instrumentos - Amazônia","Fotografia - Retratos","Engineering instruments - Amazon River Region","Portrait photography","Railroad construction workers - Amazon River Region","Railroads - Buildings and structures - Amazon River Region","Amazônia","Brasil","Amazon River Region","Brazil"],"description":["Com (no verso): Trestle Bridge Just south of Santo Antonio on M. M. Ry.: W. K. Runyon 1st. Division Engineer of the M. M. Ry. (foto 27)","Cianotipo, ciano","8,3 x 13,9 cm em papel: 20,9 x 16,5 cm"],"coverage":["Amazônia","Brasil","Amazon River Region","Brazil"],"publisher":"[Amazônia]"}},"20.500.12156.1/3837":{"atlas":1,"col":46,"row":40,"cr":7636868,"cl":6388606,"ct":10262916,"cb":9272924,"ck":4081218,"meta":{"title":"Staking out Round House","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[entre 1907 e 1912]","contributor":"Merrill, D. B. (Dana B.).","type":"Fotografia","subject":["Estrada de Ferro Madeira-Mamoré","Ferrovias - Construções e estruturas - Amazônia","Engenharia - Instrumentos - Amazônia","Engineering instruments - Amazon River Region","Railroads - Buildings and structures - Amazon River Region","Amazônia","Brasil"],"description":["Com (no verso): Trestle Bridge Just south of Santo Antonio on M. M. Ry.: W. K. Runyon 1st. Division Engineer of the M. M. Ry. (foto 27)","Cianotipo, ciano","8,2 x 14 cm em papel: 20,9 x 16,5 cm"],"coverage":["Amazônia","Brasil"],"publisher":"[Amazônia]"}},"20.500.12156.1/3838":{"atlas":1,"col":47,"row":40,"cr":11708559,"cl":9542543,"ct":10391406,"cb":10196087,"ck":5723725,"meta":{"title":"Trestle Bridge Just south of Santo Antonio on M. M. Ry : W. K. Runyon 1st. Division Engineer of the M. M. Ry","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[entre 1907 e 1912]","contributor":"Merrill, D. B. (Dana B.).","type":"Fotografia","subject":["Runyon, W. K.","Estrada de Ferro Madeira-Mamoré","Ferrovias - Construções e estruturas - Porto Velho (RO)","Pontes ferroviárias - Porto Velho (RO)","Fotografia - Retratos","Railroad bridges - Porto Velho (Rondônia, Brazil)","Portrait photography","Railroads - Buildings and structures - Porto Velho (Rondônia, Brazil)","Santo Antônio (Porto Velho, RO)","Porto Velho (RO)","Rondônia","Brasil","Santo Antônio (Porto Velho, Brazil)","Porto Velho (Rondônia, Brazil)","Brazil"],"description":["Com (no verso): L. T. Gregerson Terminal Eng'r: L. T. MC C. (foto 25)","Com (no verso): Staking out Round House (foto 26)","Cianotipo, ciano","11,9 x 17,2 cm em papel: 16,5 x 20,9 cm"],"coverage":["Santo Antônio (Porto Velho, RO)","Porto Velho (RO)","Rondônia","Brasil","Santo Antônio (Porto Velho, Brazil)","Porto Velho (Rondônia, Brazil)","Brazil"],"publisher":"[Porto Velho, RO]"}},"20.500.12156.1/3839":{"atlas":1,"col":48,"row":40,"cr":11250328,"cl":7306880,"ct":10919296,"cb":10391406,"ck":5132620,"meta":{"title":"Cut on Residency nº 1","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[entre 1907 e 1912]","contributor":"Merrill, D. B. (Dana B.).","type":"Fotografia","subject":["Estrada de Ferro Madeira-Mamoré","Ferrovias - Construções e estruturas - Amazônia","Trabalhadores da construção ferroviária - Amazônia","Railroad construction workers - Amazon River Region","Railroads - Buildings and structures - Amazon River Region","Amazônia","Brasil","Amazon River Region","Brazil"],"description":["Com (no verso): [Construção da Estrada de Ferro Madeira-Mamoré: trabalhadores] (foto 29)","Com (no verso): [Construção da Estrada de Ferro Madeira-Mamoré] (foto 30)","Cianotipo, ciano","11,9 x 17 cm em Papel: 16,5 x 20,9 cm"],"coverage":["Amazônia","Brasil","Amazon River Region","Brazil"],"publisher":"[Amazônia]"}},"20.500.12156.1/384":{"atlas":1,"col":49,"row":40,"cr":10848865,"cl":10980453,"ct":525056,"cb":525056,"ck":4997423,"meta":{"title":"Cascata do Campo da Aclamação","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"1880","contributor":"Ferrez, Marc, 1843-1923","type":"Fotografia","subject":["Praças - Rio de Janeiro (RJ)","Fontes e chafarizes - Rio de Janeiro (RJ)","Praça da República (Rio de Janeiro, RJ)","Plazas - Brazil - Rio de Janeiro (Brazil)","Fountains - Brazil - Rio de Janeiro (Brazil)"],"description":["colódio, pb","25 x 53"],"coverage":["Praça da República (Rio de Janeiro, RJ)"],"publisher":"Rio de Janeiro, RJ"}},"20.500.12156.1/3840":{"atlas":1,"col":50,"row":40,"cr":9346202,"cl":7900558,"ct":10062439,"cb":11050890,"ck":4213065,"meta":{"title":"[Construção da Estrada de Ferro Madeira-Mamoré] : trabalhadores","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[entre 1907 e 1912]","contributor":"Merrill, D. B. (Dana B.).","type":"Fotografia","subject":["Estrada de Ferro Madeira-Mamoré","Trabalhadores da construção ferroviária - Amazônia","Ferrovias - Construções e estruturas - Amazônia","Fotografia - Retratos","Portrait photography","Railroads - Buildings and structures - Amazon River Region","Railroad construction workers - Amazon River Region","Amazônia","Brasil","Amazon River Region","Brazil"],"description":["Com (no verso): Cut on Residency nº 1 (foto 28)","Cianotipo, ciano","8,4 x 12,6 cm em Papel: 20,9 x 16,5 cm"],"coverage":["Amazônia","Brasil","Amazon River Region","Brazil"],"publisher":"[Amazônia]"}},"20.500.12156.1/3841":{"atlas":1,"col":51,"row":40,"cr":5993859,"cl":7045770,"ct":10788229,"cb":9470560,"ck":3950152,"meta":{"title":"[Construção da Estrada de Ferro Madeira-Mamoré] : habitação","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[entre 1907 e 1912]","contributor":"Merrill, D. B. (Dana B.).","type":"Fotografia","subject":["Estrada de Ferro Madeira-Mamoré","Ferrovias - Construções e estruturas - Amazônia","Rios - Amazônia","Árvores - Amazônia","Rivers - Amazon River Region","Trees - Amazon River Region","Railroads - Buildings and structures - Amazon River Region","Amazônia","Brasil","Amazon River Region","Brazil"],"description":["Com (no verso): Cut on Residency nº 1 (foto 28)","Cianotipo, ciano","8,4 x 12,6 cm em Papel: 20,9 x 16,5 cm"],"coverage":["Amazônia","Brasil","Amazon River Region","Brazil"],"publisher":"[Amazônia]"}},"20.500.12156.1/3842":{"atlas":1,"col":52,"row":40,"cr":6847617,"cl":7899274,"ct":10260076,"cb":11445385,"ck":3686723,"meta":{"title":"Porto Velho as it was in Nov. 1908","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[entre 1907 e 1912]","contributor":"Merrill, D. B. (Dana B.).","type":"Fotografia","subject":["Estrada de Ferro Madeira-Mamoré","Ferrovias - Construções e estruturas - Porto Velho (RO)","Railroads - Buildings and structures - Porto Velho (Rondônia, Brazil)","Porto Velho (RO)","Rondônia","Brasil","Brazil","Porto Velho (Rondônia, Brazil)","Rondônia (Brazil)"],"description":["Com (no verso): Engineers at work on Residency nº 4 (foto 33)","Cianotipo, ciano","8,2 x 14 cm em papel: 20,9 x 16,5 cm"],"coverage":["Porto Velho (RO)","Rondônia","Brasil","Brazil","Porto Velho (Rondônia, Brazil)","Rondônia (Brazil)"],"publisher":"[Porto Velho, RO]"}},"20.500.12156.1/3843":{"atlas":1,"col":53,"row":40,"cr":8425872,"cl":7374987,"ct":11380363,"cb":9337688,"ck":3753286,"meta":{"title":"[Construção da Estrada de Ferro Madeira-Mamoré] : trabalhadores","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[entre 1907 e 1912]","contributor":"Merrill, D. B. (Dana B.).","type":"Fotografia","subject":["Estrada de Ferro Madeira-Mamoré","Ferrovias - Construções e estruturas - Amazônia","Trabalhadores da construção ferroviária - Amazônia","Engenharia - Instrumentos - Amazônia","Fotografia - Retratos","Engineering instruments - Amazon River Region","Portrait photography","Railroad construction workers - Amazon River Region","Railroads - Buildings and structures - Amazon River Region","Amazônia","Brasil","Amazon River Region","Brazil"],"description":["Com (no verso): Engineers at work on Residency nº 4 (foto 33)","Cianotipo, ciano","8,2 x 14 cm em Papel: 20,9 x 16,5 cm"],"coverage":["Amazônia","Brasil","Amazon River Region","Brazil"],"publisher":"[Amazônia]"}},"20.500.12156.1/3844":{"atlas":1,"col":54,"row":40,"cr":10721921,"cl":6519163,"ct":9930084,"cb":9800558,"ck":5000517,"meta":{"title":"Engineers at work on Residency nº 4","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[entre 1907 e 1912]","contributor":"Merrill, D. B. (Dana B.).","type":"Fotografia","subject":["Estrada de Ferro Madeira-Mamoré","Ferrovias - Construções e estruturas - Amazônia","Ruas - Amazônia","Engenheiros - Amazônia","Trabalhadores da construção ferroviária - Amazônia","Railroad construction workers - Amazon River Region","Engineers - Amazon River Region","Streets - Amazon River Region","Railroads - Buildings and structures - Amazon River Region","Amazônia","Brasil","Amazon River Region","Brazil"],"description":["Com (no verso): Porto Velho as it was in Nov. 1908 (foto 31)","Com (no verso): [Construção da Estrada de Ferro Madeira-Mamoré: engenheiros] (foto 32)","Cianotipo, ciano","11,7 x 16,9 cm em papel: 16,5 x 20,9 cm"],"coverage":["Amazônia","Brasil","Amazon River Region","Brazil"],"publisher":"[Amazônia]"}},"20.500.12156.1/3845":{"atlas":1,"col":55,"row":40,"cr":7833220,"cl":11052175,"ct":11182723,"cb":10457198,"ck":5132619,"meta":{"title":"Through the jungles of Brazil","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[entre 1878 e 1910]","contributor":"Merrill, D. B. (Dana B.).","type":"Fotografia","subject":["Estrada de Ferro Madeira-Mamoré","Ferrovias - Construções e estruturas - Amazônia","Ferrovias - Trilhos - Amazônia","Árvores - Amazônia","Railroads - Rails - Amazon River Region","Trees - Amazon River Region","Railroads - Buildings and structures - Amazon River Region","Amazônia","Brasil","Amazon River Region","Brazil"],"description":["Com (no verso): [Construção da Estrada de Ferro Madeira-Mamoré: trabalhadores] (foto 35)","Com (no verso): [Construção da Estrada de Ferro Madeira-Mamoré: trabalhadores] (foto 36)","Cianotipo, ciano","11,8 x 16,6 cm em papel: 16,5 x 20,9 cm"],"coverage":["Amazônia","Brasil","Amazon River Region","Brazil"],"publisher":"[Amazônia]"}},"20.500.12156.1/3846":{"atlas":1,"col":56,"row":40,"cr":7704984,"cl":6586764,"ct":10062956,"cb":11248784,"ck":4016459,"meta":{"title":"[Construção da Estrada de Ferro Madeira-Mamoré : trabalhadores armados","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[entre 1907 e 1912]","contributor":"Merrill, D. B. (Dana B.).","type":"Fotografia","subject":["Estrada de Ferro Madeira-Mamoré","Ferrovias - Construções e estruturas - Amazônia","Trabalhadores da construção ferroviária - Amazônia","Fotografia - Retratos","Portrait photography","Railroad construction workers - Amazon River Region","Railroads - Buildings and structures - Amazon River Region","Amazônia","Brasil","Amazon River Region","Brazil"],"description":["Com (no verso): Through the jungles of Brazil (foto 34)","Cianotipo, ciano","8,2 x 12,4 cm em Papel: 20,9 x 16,5 cm"],"coverage":["Amazônia","Brasil","Amazon River Region","Brazil"],"publisher":"[Amazônia]"}},"20.500.12156.1/3847":{"atlas":1,"col":57,"row":40,"cr":7900047,"cl":8162701,"ct":11315087,"cb":9207132,"ck":3555909,"meta":{"title":"[Construção da Estrada de Ferro Madeira-Mamoré] : trabalhadores","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[entre 1907 e 1912]","contributor":"Merrill, D. B. (Dana B.).","type":"Fotografia","subject":["Estrada de Ferro Madeira-Mamoré","Ferrovias - Construções e estruturas - Amazônia","Trabalhadores da construção ferroviária - Amazônia","Acampamentos - Amazônia","Fotografia - Retratos","Camps - Amazon River Region","Portrait photography","Railroad construction workers - Amazon River Region","Railroads - Buildings and structures - Amazon River Region","Amazônia","Brasil","Amazon River Region","Brazil"],"description":["Com (no verso): Through the jungles of Brazil (foto 34)","Cianotipo, ciano","8,1 x 12,5 cm em Papel: 20,9 x 16,5 cm"],"coverage":["Amazônia","Brasil","Amazon River Region","Brazil"],"publisher":"[Amazônia]"}},"20.500.12156.1/3848":{"atlas":1,"col":58,"row":40,"cr":7441035,"cl":7441035,"ct":10457711,"cb":11379856,"ck":3556164,"meta":{"title":"L. T. Gregerson (his first Sunday off)","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[entre 1907 e 1912]","contributor":"Merrill, D. B. (Dana B.).","type":"Fotografia","subject":["Estrada de Ferro Madeira-Mamoré","Ferrovias - Construções e estruturas - Amazônia","Trabalhadores da construção ferroviária - Amazônia","Fotografia - Retratos","Railroad construction workers - Amazon River Region","Portrait photography","Railroads - Buildings and structures - Amazon River Region","Amazônia","Brasil","Amazon River Region","Brazil"],"description":["Com (no verso): Dr. Brennan,and a sick hombre (foto 39)","Cianotipo, ciano","8,2 x 14 cm em papel: 20,9 x 16,5 cm"],"coverage":["Amazônia","Brasil","Amazon River Region","Brazil"],"publisher":"[Amazônia]"}},"20.500.12156.1/3849":{"atlas":1,"col":59,"row":40,"cr":11446417,"cl":11314051,"ct":10327937,"cb":10325101,"ck":4146757,"meta":{"title":"[Construção da Estrada de Ferro Madeira-Mamoré] : trabalhador","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[entre 1907 e 1912]","contributor":"Merrill, D. B. (Dana B.).","type":"Fotografia","subject":["Estrada de Ferro Madeira-Mamoré","Ferrovias - Construções e estruturas - Amazônia","Trabalhadores da construção ferroviária - Amazônia","Fotografia - Retratos","Railroad construction workers - Amazon River Region","Portrait photography","Railroads - Buildings and structures - Amazon River Region","Amazônia","Brasil","Amazon River Region","Brazil"],"description":["Com (no verso): Dr. Brennan, and a sick hombre (foto 39)","Cianotipo, ciano","9,4 x 6,2 cm em papel: 20,9 x 16,5 cm"],"coverage":["Amazônia","Brasil","Amazon River Region","Brazil"],"publisher":"[Amazônia]"}},"20.500.12156.1/385":{"atlas":1,"col":60,"row":40,"cr":11116408,"cl":9011297,"ct":257,"cb":65537,"ck":4933430,"meta":{"title":"Playa de Sa. Luzia","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[1869?]","contributor":"Klumb, Revert Henry, ca. 1826-ca. 1886","type":"Fotografia","subject":["Praias - Rio de Janeiro (RJ)","Santa Luzia, Praia de (Rio de Janeiro, RJ)","Santa Luzia, Praia de (Rio de Janeiro, Brazil)","Beaches - Rio de Janeiro (Brazil)"],"description":["papel albuminado, pb","8 x 14"],"coverage":["Santa Luzia, Praia de (Rio de Janeiro, RJ)","Santa Luzia, Praia de (Rio de Janeiro, Brazil)"],"publisher":"Rio de Janeiro, RJ, Off. de Paulo Robin"}},"20.500.12156.1/3850":{"atlas":1,"col":61,"row":40,"cr":9606532,"cl":11116934,"ct":10918007,"cb":10261110,"ck":5131844,"meta":{"title":"Dr. Brennan, and a sick hombre","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[entre 1907 e 1912]","contributor":"Merrill, D. B. (Dana B.).","type":"Fotografia","subject":["Estrada de Ferro Madeira-Mamoré","Ferrovias - Construções e estruturas - Amazônia","Trabalhadores da construção ferroviária - Amazônia","Médicos - Amazônia","Fotografia - Retratos","Portrait photography","Physicians - Amazon River Region","Railroad construction workers - Amazon River Region","Railroads - Buildings and structures - Amazon River Region","Amazônia","Brasil","Amazon River Region","Brazil"],"description":["Com (no verso): L. T. Gregerson (his first Sunday off) (foto 37)","Com (no verso): [Construção da Estrada de Ferro Madeira-Mamoré: trabalhador] (foto 38)","Cianotipo, ciano","11,8 x 16,6 cm em papel: 16,5 x 20,9 cm"],"coverage":["Amazônia","Brasil","Amazon River Region","Brazil"],"publisher":"[Amazônia]"}},"20.500.12156.1/3851":{"atlas":1,"col":62,"row":40,"cr":5729401,"cl":4741737,"ct":11117190,"cb":9535840,"ck":3291968,"meta":{"title":"Sinking Fill, sometimes sinks 1 in a day","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[entre 1907 e 1912]","contributor":"Merrill, D. B. (Dana B.).","type":"Fotografia","subject":["Estrada de Ferro Madeira-Mamoré","Ferrovias - Construções e estruturas - Amazônia","Trabalhadores da construção ferroviária - Amazônia","Railroads - Buildings and structures - Amazon River Region","Railroad construction workers - Amazon River Region","Amazônia","Brasil","Brazil","Amazon River Region"],"description":["Com (no verso): [Construção da Estrada de Ferro Madeira-Mamoré: trabalhadores] (foto 41)","Com (no verso): [Construção da Estrada de Ferro Madeira-Mamoré: trabalhadores] (foto 42)","Cianotipo, ciano","11,9 x 16,8 cm em papel: 16,5 x 20,9 cm"],"coverage":["Amazônia","Brasil","Brazil","Amazon River Region"],"publisher":"[Amazônia]"}},"20.500.12156.1/3852":{"atlas":1,"col":63,"row":40,"cr":6060166,"cl":6060936,"ct":10260075,"cb":11511696,"ck":3227718,"meta":{"title":"[Construção da Estrada de Ferro Madeira-Mamoré : trabalhadores]","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[entre 1907 e 1912]","contributor":"Merrill, D. B. (Dana B.).","type":"Fotografia","subject":["Estrada de Ferro Madeira-Mamoré","Ferrovias - Construções e estruturas - Amazônia","Trabalhadores da construção ferroviária - Amazônia","Fotografia - Retratos","Portrait photography","Railroad construction workers - Amazon River Region","Railroads - Buildings and structures - Amazon River Region","Amazônia","Brasil","Amazon River Region","Brazil"],"description":["Com (no verso): Sinking Fill, sometimes sinks 1 in a day (foto 40)","Cianotipo, ciano","8,4 x 12,7 cm em papel: 20,9 x 16,5 cm"],"coverage":["Amazônia","Brasil","Amazon River Region","Brazil"],"publisher":"[Amazônia]"}},"20.500.12156.1/3853":{"atlas":1,"col":0,"row":41,"cr":7309968,"cl":6915724,"ct":11511953,"cb":9865058,"ck":3885130,"meta":{"title":"[Construção da Estrada de Ferro Madeira-Mamoré : trabalhadores]","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[entre 1907 e 1912]","contributor":"Merrill, D. B. (Dana B.).","type":"Fotografia","subject":["Estrada de Ferro Madeira-Mamoré","Ferrovias - Construções e estruturas - Amazônia","Trabalhadores da construção ferroviária - Amazônia","Fotografia - Retratos","Portrait photography","Railroad construction workers - Amazon River Region","Railroads - Buildings and structures - Amazon River Region","Amazônia","Brasil","Amazon River Region","Brazil"],"description":["Com (no verso): Sinking Fill, sometimes sinks 1 in a day (foto 40)","Cianotipo, ciano","8,5 x 12,7 cm em papel: 20,9 x 16,5 cm"],"coverage":["Amazônia","Brasil","Amazon River Region","Brazil"],"publisher":"[Amazônia]"}},"20.500.12156.1/3854":{"atlas":1,"col":1,"row":41,"cr":9870480,"cl":8095621,"ct":10919037,"cb":10720369,"ck":5263948,"meta":{"title":"[Construção da Estrada de Ferro Madeira-Mamoré : trilhos]","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[entre 1907 e 1912]","contributor":"Merrill, D. B. (Dana B.).","type":"Fotografia","subject":["Estrada de Ferro Madeira-Mamoré","Ferrovias - Construções e estruturas - Amazônia","Ferrovias - Trilhos - Amazônia","Railroads - Rails - Amazon River Region","Railroads - Buildings and structures - Amazon River Region","Amazônia","Brasil","Amazon River Region","Brazil"],"description":["Com (no verso): [Construção da Estrada de Ferro Madeira-Mamoré: trabalhadores] (foto 44)","Com (no verso): [Construção da Estrada de Ferro Madeira-Mamoré: trabalhadores] (foto 45)","Cianotipo, ciano","12,4 x 17 cm em Papel: 16,5 x 20,9 cm"],"coverage":["Amazônia","Brasil","Amazon River Region","Brazil"],"publisher":"[Amazônia]"}},"20.500.12156.1/3855":{"atlas":1,"col":2,"row":41,"cr":7110535,"cl":4481395,"ct":9930854,"cb":11578007,"ck":4015945,"meta":{"title":"[Construção da Estrada de Ferro Madeira-Mamoré : trabalhadores]","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[entre 1907 e 1912]","contributor":"Merrill, D. B. (Dana B.).","type":"Fotografia","subject":["Estrada de Ferro Madeira-Mamoré","Ferrovias - Construções e estruturas - Amazônia","Trabalhadores da construção ferroviária - Amazônia","Fotografia - Retratos","Portrait photography","Railroad construction workers - Amazon River Region","Railroads - Buildings and structures - Amazon River Region","Amazônia","Brasil","Amazon River Region","Brazil"],"description":["Com (no verso): [Construção da Estrada de Ferro Madeira-Mamoré: trilhos] (foto 43)","Cianotipo, ciano","8,5 x 12,7 cm em Papel: 20,9 x 16,5 cm"],"coverage":["Amazônia","Brasil","Amazon River Region","Brazil"],"publisher":"[Amazônia]"}},"20.500.12156.1/3856":{"atlas":1,"col":3,"row":41,"cr":4349297,"cl":4020847,"ct":11578005,"cb":9865059,"ck":2109498,"meta":{"title":"[Construção da Estrada de Ferro Madeira-Mamoré] : trabalhadores","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[entre 1907 e 1912]","contributor":"Merrill, D. B. (Dana B.).","type":"Fotografia","subject":["Estrada de Ferro Madeira-Mamoré","Ferrovias - Construções e estruturas - Amazônia","Trabalhadores da construção ferroviária - Amazônia","Fotografia - Retratos","Portrait photography","Railroad construction workers - Amazon River Region","Railroads - Buildings and structures - Amazon River Region","Amazônia","Brasil","Amazon River Region","Brazil"],"description":["Com (no verso): [Construção da Estrada de Ferro Madeira-Mamoré: trilhos] (foto 43)","Cianotipo, ciano","8,5 x 12,7 cm em papel: 20,9 x 16,5 cm"],"coverage":["Amazônia","Brasil","Amazon River Region","Brazil"]}},"20.500.12156.1/3857":{"atlas":1,"col":4,"row":41,"cr":5071217,"cl":8818312,"ct":11248519,"cb":10984058,"ck":4475207,"meta":{"title":"Some slides along the Line","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[entre 1907 e 1912]","contributor":"Merrill, D. B. (Dana B.).","type":"Fotografia","subject":["Estrada de Ferro Madeira-Mamoré","Ferrovias - Construções e estruturas - Amazônia","Ferrovias - Trilhos - Amazônia","Railroads - Rails - Amazon River Region","Railroads - Buildings and structures - Amazon River Region","Amazônia","Brasil","Amazon River Region","Brazil"],"description":["Com (no verso): [Construção da Estrada de Ferro Madeira-Mamoré: homem] (foto 47)","Cianotipo, ciano","12 x 16,8 cm em papel: 16,5 x 20,9 cm"],"coverage":["Amazônia","Brasil","Amazon River Region","Brazil"],"publisher":"[Amazônia]"}},"20.500.12156.1/3858":{"atlas":1,"col":5,"row":41,"cr":11643025,"cl":11643276,"ct":9152425,"cb":4485000,"ck":3030855,"meta":{"title":"[Construção da Estrada de Ferro Madeira-Mamoré] : homem","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[entre 1907 e 1912]","contributor":"Merrill, D. B. (Dana B.).","type":"Fotografia","subject":["Estrada de Ferro Madeira-Mamoré","Ferrovias - Construções e estruturas - Amazônia","Fotografia - Retratos","Railroads - Buildings and structures - Amazon River Region","Portrait photography","Amazônia","Brasil","Brazil","Amazon River Region"],"description":["Com (no verso): Some slides along the Line (foto 46)","Cianotipo, ciano","12,7 x 8,4 cm em papel: 20,9 x 16,5 cm"],"coverage":["Amazônia","Brasil","Brazil","Amazon River Region"],"publisher":"[Amazônia]"}},"20.500.12156.1/3859":{"atlas":1,"col":6,"row":41,"cr":6846329,"cl":7306872,"ct":11445898,"cb":10326130,"ck":3488829,"meta":{"title":"[...] Batellão","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[entre 1878 e 1910]","contributor":"Merrill, D. B. (Dana B.).","type":"Fotografia","subject":["Estrada de Ferro Madeira-Mamoré","Ferrovias - Construções e estruturas - Amazônia","Trabalhadores da construção ferroviária - Amazônia","Navios - Amazônia","Railroads - Buildings and structures - Amazon River Region","Railroad construction workers - Amazon River Region","Ships - Amazon River Region","Amazônia","Brasil","Brazil","Amazon River Region"],"description":["Com (no verso): [Construção da Estrada de Ferro Madeira-Mamoré: trabalhadores] (foto 49)","Cianotipo, ciano","10,9 x 16,4 em papel: 16,5 x 10,6 cm"],"coverage":["Amazônia","Brasil","Brazil","Amazon River Region"]}},"20.500.12156.1/386":{"atlas":1,"col":7,"row":41,"cr":9866349,"cl":8221529,"ct":65793,"cb":131073,"ck":4604467,"meta":{"title":"L'Eglise da Lapa, et le Couvent de Sª Thereza : vue prise de la terrasse du Jardin Public","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[1860?]","contributor":"Klumb, Revert Henrique, fl. 1855-1880","type":"Fotografia","subject":["Convento de Santa Teresa (Rio de Janeiro, RJ)","Igreja de Nossa Senhora do Carmo da Lapa do Desterro","Conventos - Rio de Janeiro (RJ)","Igrejas católicas (Edifícios) - Rio de Janeiro (RJ)","Convents - Brazil - Rio de Janeiro","Catholic Church buildings - Brazil - Rio de Janeiro"],"description":["papel albuminado, pb","8 x 14"],"publisher":"Rio de Janeiro, RJ, Officina de Paulo Robin"}},"20.500.12156.1/3860":{"atlas":1,"col":8,"row":41,"cr":7439746,"cl":9473142,"ct":10852986,"cb":11446163,"ck":4672324,"meta":{"title":"[Construção da Estrada de Ferro Madeira-Mamoré : trabalhadores a cavalo]","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[entre 1907 e 1912]","contributor":"Merrill, D. B. (Dana B.).","type":"Fotografia","subject":["Estrada de Ferro Madeira-Mamoré","Ferrovias - Construções e estruturas - Amazônia","Trabalhadores da construção ferroviária - Amazônia","Cavalo - Amazônia","Fotografia - Retratos","Horses - Amazon River Region","Portrait photography","Railroad construction workers - Amazon River Region","Railroads - Buildings and structures - Amazon River Region","Amazônia","Brasil","Amazon River Region","Brazil"],"description":["Com (no verso): [...] Batelhão (foto 48)","Cianotipo, ciano","7,9 x 10,2 cm em papel: 16,5 x 10,6 cm"],"coverage":["Amazônia","Brasil","Amazon River Region","Brazil"],"publisher":"[Amazônia]"}},"20.500.12156.1/3861":{"atlas":1,"col":9,"row":41,"cr":8163728,"cl":9739665,"ct":11181691,"cb":11907232,"ck":5132877,"meta":{"title":"[Construção da Estrada de Ferro Madeira-Mamoré : embarcação com pessoas]","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[entre 1907 e 1912]","contributor":"Merrill, D. B. (Dana B.).","type":"Fotografia","subject":["Estrada de Ferro Madeira-Mamoré","Ferrovias - Construções e estruturas - Amazônia","Trabalhadores da construção ferroviária - Amazônia","Indios da América do Sul - Amazônia","Canoas e canoagem - Amazônia","Rios - Amazônia","Fotografia - Retratos","Canoes and canoeing - Amazon River Region","Rivers - Amazon River Region","Portrait photography","Indians of South America - Amazon River Region","Railroad construction workers - Amazon River Region","Railroads - Buildings and structures - Amazon River Region","Amazônia","Brasil","Amazon River Region","Brazil"],"description":["Cianotipo, ciano","8,3 x 13,9 cm em papel: 16,5 x 20,9 cm"],"coverage":["Amazônia","Brasil","Amazon River Region","Brazil"],"publisher":"[Amazônia]"}},"20.500.12156.1/3862":{"atlas":1,"col":10,"row":41,"cr":11444865,"cl":11840659,"ct":11510142,"cb":11906708,"ck":5197637,"meta":{"title":"A. W. Chester, in the days of long ago","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[entre 1907 e 1912]","contributor":"Merrill, D. B. (Dana B.).","type":"Fotografia","subject":["Chester, Arthur W.","Estrada de Ferro Madeira-Mamoré","Ferrovias - Construções e estruturas - Amazônia","Trabalhadores da construção ferroviária - Amazônia","Engenheiros - Amazônia","Fotografia - Retratos","Engineers - Amazon River Region","Portrait photography","Railroad construction workers - Amazon River Region","Railroads - Buildings and structures - Amazon River Region","Amazônia","Brasil","Amazon River Region","Brazil"],"description":["Com (no verso): [...] ho on the Madeira River (foto 52)","Cianotipo, ciano","8,1 x 5,1 cm em papel: 11,6 x 16,5 cm"],"coverage":["Amazônia","Brasil","Amazon River Region","Brazil"],"publisher":"[Amazônia]"}},"20.500.12156.1/3863":{"atlas":1,"col":11,"row":41,"cr":11182210,"cl":5922653,"ct":9738112,"cb":10787718,"ck":3490114,"meta":{"title":"[...] ho on the Madeira River","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[entre 1878 e 1910]","contributor":"Merrill, D. B. (Dana B.).","type":"Fotografia","subject":["Estrada de Ferro Madeira-Mamoré","Ferrovias - Construções e estruturas - Porto Velho (RO)","Trabalhadores da construção ferroviária - Porto Velho (RO)","Railroads - Buildings and structures - Porto Velho (Rondônia, Brazil)","Railroad construction workers - Porto Velho (Rondônia, Brazil)","Madeira, Rio (RO e AM)","Porto Velho (RO)","Rondônia","Brasil","Rondônia (Brazil)","Porto Velho (Rondônia, Brazil)","Madeira River (Brazil and Bolivia)"],"description":["Com (no verso): A. W. Chester, in the days of long ago (foto 51)","Cianotipo, ciano","10,9 x 9,3 cm em papel: 16,5 x 11,6 cm"],"coverage":["Madeira, Rio (RO e AM)","Porto Velho (RO)","Rondônia","Brasil","Rondônia (Brazil)","Porto Velho (Rondônia, Brazil)","Madeira River (Brazil and Bolivia)"],"publisher":"[Porto Velho, RO]"}},"20.500.12156.1/3864":{"atlas":1,"col":12,"row":41,"cr":11512467,"cl":9543060,"ct":11774605,"cb":10983542,"ck":5395275,"meta":{"title":"[Construção da Estrada de Ferro Madeira-Mamoré : trilhos]","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[entre 1907 e 1912]","contributor":"Merrill, D. B. (Dana B.).","type":"Fotografia","subject":["Estrada de Ferro Madeira-Mamoré","Ferrovias - Construções e estruturas - Amazônia","Ferrovias - Trilhos - Amazônia","Railroads - Rails - Amazon River Region","Railroads - Buildings and structures - Amazon River Region","Amazônia","Brasil","Amazon River Region","Brazil"],"description":["Com (no verso): The home of the Monkey (foto 54)","Cianotipo, ciano","10,9 x 16,3 cm em papel: 16,5 x 20,9 cm"],"coverage":["Amazônia","Brasil","Amazon River Region","Brazil"],"publisher":"[Amazônia]"}},"20.500.12156.1/3865":{"atlas":1,"col":13,"row":41,"cr":11445647,"cl":11577743,"ct":6255222,"cb":11512211,"ck":4475204,"meta":{"title":"The home of the Monkey","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[entre 1907 e 1912]","contributor":"Merrill, D. B. (Dana B.).","type":"Fotografia","subject":["Estrada de Ferro Madeira-Mamoré","Ferrovias - Construções e estruturas - Amazônia","Trabalhadores da construção ferroviária - Amazônia","Macaco - Amazônia","Fotografia - Retratos","Monkeys - Amazon River Region","Portrait photography","Railroad construction workers - Amazon River Region","Railroads - Buildings and structures - Amazon River Region","Amazônia","Brasil","Amazon River Region","Brazil"],"description":["Com (no verso): [Construção da Estrada de Ferro Madeira-Mamoré: trilhos] (foto 53)","Cianotipo, ciano","10,3 x 7,8 cm em papel: 16,5 x 20,9 cm"],"coverage":["Amazônia","Brasil","Amazon River Region","Brazil"],"publisher":"[Amazônia]"}},"20.500.12156.1/3866":{"atlas":1,"col":14,"row":41,"cr":9016200,"cl":11248779,"ct":10325611,"cb":10590843,"ck":5329224,"meta":{"title":"[trilhos]","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[entre 1907 e 1912]","contributor":"Merrill, D. B. (Dana B.).","type":"Fotografia","subject":["Estrada de Ferro Madeira-Mamoré","Ferrovias - Construções e estruturas - Amazônia","Ferrovias - Trilhos - Amazônia","Railroads - Buildings and structures - Amazon River Region","Railroads - Rails - Amazon River Region","Amazônia","Brasil","Brazil","Amazon River Region"],"description":["Cianotipo, ciano","11,6 x 16,9 cm em papel: 16,5 x 20,9 cm"],"coverage":["Amazônia","Brasil","Brazil","Amazon River Region"],"publisher":"[Amazônia]"}},"20.500.12156.1/3868":{"atlas":1,"col":15,"row":41,"cr":11315607,"cl":8555908,"ct":9403995,"cb":11248526,"ck":4803654,"meta":{"title":"[Construção da Estrada de Ferro Madeira-Mamoré : margem do rio]","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[entre 1907 e 1912]","contributor":"Merrill, D. B. (Dana B.).","type":"Fotografia","subject":["Estrada de Ferro Madeira-Mamoré","Ferrovias - Construções e estruturas - Amazônia","Rios - Amazônia","Navios - Amazônia","Rivers - Amazon River Region","Ships - Amazon River Region","Railroads - Buildings and structures - Amazon River Region","Amazônia","Brasil","Amazon River Region","Brazil"],"description":["Com (no verso): [Construção da Estrada de Ferro Madeira-Mamoré: trabalhadores nos trilhos] (foto 56)","Cianotipo, ciano","8,3 x 13,8 cm em papel: 20,9 x 16,5 cm"],"coverage":["Amazônia","Brasil","Amazon River Region","Brazil"],"publisher":"[Amazônia]"}},"20.500.12156.1/3869":{"atlas":1,"col":16,"row":41,"cr":11184280,"cl":9607306,"ct":11446156,"cb":10128747,"ck":5592138,"meta":{"title":"[Construção da Estrada de Ferro Madeira-Mamoré : navio a vapor]","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[entre 1909 e 1910]","contributor":"Merrill, D. B. (Dana B.).","type":"Fotografia","subject":["Estrada de Ferro Madeira-Mamoré","Ferrovias - Construções e estruturas - Amazônia","Rios - Amazônia","Navios - Amazônia","Rivers - Amazon River Region","Ships - Amazon River Region","Railroads - Buildings and structures - Amazon River Region","Amazônia","Brasil","Amazon River Region","Brazil"],"description":["Com (no verso): [Construção da Estrada de Ferro Madeira-Mamoré: trabalhadores nos trilhos] (foto 56)","Cianotipo, ciano","8,2 x 14 cm em papel: 20,9 x 16,5 cm"],"coverage":["Amazônia","Brasil","Amazon River Region","Brazil"],"publisher":"[Amazônia]"}},"20.500.12156.1/387":{"atlas":1,"col":17,"row":41,"cr":3749946,"cl":3815739,"ct":131328,"cb":65792,"ck":3683888,"meta":{"title":"[Avenida Central]","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[1905?]","contributor":null,"type":"Fotografia","subject":["Ruas - Rio de Janeiro (RJ) - Rio de Janeiro (Brazil)","Avenida Rio Branco (Rio de Janeiro, RJ)","Streets - Rio de Janeiro (Brazil)"],"description":["Torres (Fotógrafo)","papel albuminado, pb","17 x 22cm e 17 x 23"],"coverage":["Avenida Rio Branco (Rio de Janeiro, RJ)"],"publisher":"Rio de Janeiro, RJ"}},"20.500.12156.1/3870":{"atlas":1,"col":18,"row":41,"cr":10658708,"cl":8621701,"ct":10589298,"cb":11445387,"ck":4672325,"meta":{"title":"[Construção da Estrada de Ferro Madeira-Mamoré : habitação]","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[entre 1907 e 1912]","contributor":"Merrill, D. B. (Dana B.).","type":"Fotografia","subject":["Estrada de Ferro Madeira-Mamoré","Ferrovias - Construções e estruturas - Porto Velho (RO)","Habitações - Porto Velho (RO)","Railroads - Buildings and structures - Porto Velho (Rondônia, Brazil)","Dwellings - Porto Velho (Rondônia, Brazil)","Porto Velho (RO)","Rondônia","Brasil","Brazil","Porto Velho (Rondônia, Brazil)","Rondônia (Brazil)"],"description":["Com (no verso): [Construção da Estrada de Ferro Madeira-Mamoré: habitações] (foto 61)","Cianotipo, ciano","8,1 x 13,9 cm em papel: 21 x 16,5 cm"],"coverage":["Porto Velho (RO)","Rondônia","Brasil","Brazil","Porto Velho (Rondônia, Brazil)","Rondônia (Brazil)"],"publisher":"[Porto Velho, RO]"}},"20.500.12156.1/3871":{"atlas":1,"col":19,"row":41,"cr":6980481,"cl":8556421,"ct":11314569,"cb":9602660,"ck":4081219,"meta":{"title":"[Construção da Estrada de Ferro Madeira-Mamoré : ponte de madeira]","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[entre 1878 e 1910]","contributor":"Merrill, D. B. (Dana B.).","type":"Fotografia","subject":["Estrada de Ferro Madeira-Mamoré","Ferrovias - Construções e estruturas - Amazônia","Pontes ferroviárias - Amazônia","Railroad bridges - Amazon River Region","Railroads - Buildings and structures - Amazon River Region","Amazônia","Brasil","Amazon River Region","Brazil"],"description":["Com (no verso): [Construção da Estrada de Ferro Madeira-Mamoré: habitações] (foto 61)","Cianotipo, ciano","8,2 x 13,9 cm em papel: 21 x 16,5 cm"],"coverage":["Amazônia","Brasil","Amazon River Region","Brazil"],"publisher":"[Amazônia]"}},"20.500.12156.1/3872":{"atlas":1,"col":20,"row":41,"cr":8358278,"cl":9213838,"ct":11444612,"cb":11839888,"ck":4541515,"meta":{"title":"[Construção da Estrada de Ferro Madeira-Mamoré] : habitações","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"entre 1878 e 1910]","contributor":"Merrill, D. B. (Dana B.).","type":"Fotografia","subject":["Estrada de Ferro Madeira-Mamoré","Ferrovias - Construções e estruturas - Amazônia","Habitações - Amazônia","Dwellings - Amazon River Region","Railroads - Buildings and structures - Amazon River Region","Amazônia","Brasil","Amazon River Region","Brazil"],"description":["Cianotipo, ciano","Cianotipo","12,1 x 16,9 cm em papel: 16,5 x 21 cm"],"coverage":["Amazônia","Brasil","Amazon River Region","Brazil"],"publisher":"[Porto Velhor, RO"}},"20.500.12156.1/3873":{"atlas":1,"col":21,"row":41,"cr":6454401,"cl":9803915,"ct":11181434,"cb":11247487,"ck":4147271,"meta":{"title":"[Construção da Estrada de Ferro Madeira-Mamoré] : boticário","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[entre 1907 e 1912]","contributor":"Merrill, D. B. (Dana B.).","type":"Fotografia","subject":["Estrada de Ferro Madeira-Mamoré","Ferrovias - Construções e estruturas - Amazônia","Farmácias, drogarias, etc - Amazônia","Drugstores - Amazon River Region","Railroads - Buildings and structures - Amazon River Region","Amazônia","Brasil","Amazon River Region","Brazil"],"description":["Cianotipo, ciano","Cianotipo","11,9 x 17 cm em papel: 16,5 x 21 cm"],"coverage":["Amazônia","Brasil","Amazon River Region","Brazil"],"publisher":"[Amazônia"}},"20.500.12156.1/3874":{"atlas":1,"col":22,"row":41,"cr":5862524,"cl":11116422,"ct":10786679,"cb":11380112,"ck":3621184,"meta":{"title":"[Construção da Estrada de Ferro Madeira-Mamoré] : trabalhadores","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[entre 1907 e 1912]","contributor":"Merrill, D. B. (Dana B.).","type":"Fotografia","subject":["Estrada de Ferro Madeira-Mamoré","Ferrovias - Construções e estruturas - Amazônia","Trabalhadores da construção ferroviária - Amazônia","Railroad construction workers - Amazon River Region","Railroads - Buildings and structures - Amazon River Region","Amazônia","Brasil","Amazon River Region","Brazil"],"description":["Cianotipo, ciano","Retrato fotográfico","Retrato de grupo","Cianotipo","7,9 x 10,5 cm em papel: 21 x 16,5 cm"],"coverage":["Amazônia","Brasil","Amazon River Region","Brazil"],"publisher":"[Amazônia"}},"20.500.12156.1/3875":{"atlas":1,"col":23,"row":41,"cr":5468279,"cl":10985350,"ct":11511695,"cb":10260848,"ck":3358270,"meta":{"title":"[Construção da Estrada de Ferro Madeira-Mamoré] : trabalhadores","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[entre 1907 e 1912]","contributor":"Merrill, D. B. (Dana B.).","type":"Fotografia","subject":["Estrada de Ferro Madeira-Mamoré","Ferrovias - Construções e estruturas - Amazônia","Trabalhadores da construção ferroviária - Amazônia","Engenharia - Instrumentos - Amazônia","Engineering - Instruments - Amazon River Region","Railroad construction workers - Amazon River Region","Railroads - Buildings and structures - Amazon River Region","Amazônia","Brasil","Amazon River Region","Brazil"],"description":["Cianotipo, ciano","Retrato fotográfico","Retrato de grupo","Cianotipo","7,8 x 10,1 cm em papel: 21 x 16,5 cm"],"coverage":["Amazônia","Brasil","Amazon River Region","Brazil"],"publisher":"[Amazônia"}},"20.500.12156.1/3876":{"atlas":1,"col":24,"row":41,"cr":11576456,"cl":5862521,"ct":10984057,"cb":11840147,"ck":4212548,"meta":{"title":"[Construção da Estrada de Ferro Madeira-Mamoré] : trabalhadores","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[entre 1907 e 1912]","contributor":"Merrill, D. B. (Dana B.).","type":"Fotografia","subject":["Estrada de Ferro Madeira-Mamoré","Ferrovias - Construções e estruturas - Amazônia","Trabalhadores da construção ferroviária - Amazônia","Acampamentos - Amazônia","Camps - Amazon River Region","Railroad construction workers - Amazon River Region","Railroads - Buildings and structures - Amazon River Region","Amazônia","Brasil","Amazon River Region","Brazil"],"description":["Cianotipo, ciano","Cianotipo","Retrato fotográfico","Retrato de grupo","7,8 x 10,3 cm em papel: 21 x 16,5 cm"],"coverage":["Amazônia","Brasil","Amazon River Region","Brazil"],"publisher":"[Amazônia"}},"20.500.12156.1/3877":{"atlas":1,"col":25,"row":41,"cr":11050115,"cl":6980224,"ct":11643537,"cb":10720883,"ck":3029564,"meta":{"title":"[Construção da Estrada de Ferro Madeira-Mamoré] : trabalhadores","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"entre 1878 e 1910]","contributor":"Merrill, D. B. (Dana B.).","type":"Fotografia","subject":["Estrada de Ferro Madeira-Mamoré","Ferrovias - Construções e estruturas - Amazônia","Trabalhadores da construção ferroviária - Amazônia","Acampamentos - Amazônia","Camps - Amazon River Region","Railroad construction workers - Amazon River Region","Railroads - Buildings and structures - Amazon River Region","Amazônia","Brasil","Amazon River Region","Brazil"],"description":["Cianotipo, ciano","Retrato fotográfico","Retrato de grupo","Cianotipo","8 x 10,3 cm em papel: 21 x 16,5 cm"],"coverage":["Amazônia","Brasil","Amazon River Region","Brazil"],"publisher":"[Amazônia"}},"20.500.12156.1/3878":{"atlas":1,"col":26,"row":41,"cr":10984577,"cl":9671035,"ct":11576712,"cb":9932143,"ck":5591364,"meta":{"title":"[Inspection train near camp 4] : trabalhadores","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[entre 1907 e 1912]","contributor":"Merrill, D. B. (Dana B.).","type":"Fotografia","subject":["Estrada de Ferro Madeira-Mamoré","Ferrovias - Construções e estruturas - Amazônia","Ferrovias - Trilhos - Amazônia","Railroads - Rails - Amazon River Region","Railroads - Buildings and structures - Amazon River Region","Amazônia","Brasil","Amazon River Region","Brazil"],"description":["Cianotipo, ciano","Cianotipo","Retrato fotográfico","Retrato de grupo","11,8 x 17 cm em papel: 16,5 X 20,9 cm"],"coverage":["Amazônia","Brasil","Amazon River Region","Brazil"],"publisher":"[Amazônia"}},"20.500.12156.1/3879":{"atlas":1,"col":27,"row":41,"cr":11116934,"cl":10459266,"ct":11446155,"cb":11444866,"ck":5525829,"meta":{"title":"[Construção da Estrada de Ferro Madeira-Mamoré] : gado em mata devastada","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"entre 1878 e 1910]","contributor":"Merrill, D. B. 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1923"}},"20.500.12156.1/3959":{"atlas":1,"col":48,"row":42,"cr":6316127,"cl":7960436,"ct":6184546,"cb":12824454,"ck":4276543,"meta":{"title":"O Arsenal de Marinha e a Ilha das Cobras","community":"Diretoria do Patrimonio Historico e Documentacao da Marinha","rights":null,"date":"1917","contributor":"Kfuri, Jorge, 1893-1965","type":null,"subject":["Arsenal de Marinha do Rio de Janeiro","Arsenal Velho","Ponte Alexandrino de Alencar (Rio de Janeiro, RJ)","Mosteiro de São Bento (Rio de Janeiro, RJ)","Cobras, Ilha das (RJ)","Fotografia aérea"],"description":["cópia fotográfica de gelatina e prata","p&b","11,5 x 17cm"],"coverage":["Rio de Janeiro (RJ)"],"source":"Álbum 102 Flotilha de Aviões de Guerra, 1916 - 1923"}},"20.500.12156.1/396":{"atlas":1,"col":49,"row":42,"cr":921105,"cl":987156,"ct":4077620,"cb":3288879,"ck":2038811,"meta":{"title":"Avenue des Lapuí de la China","community":"Biblioteca Nacional","rights":null,"date":"[1860]","contributor":"Klumb, Revert Henry, ca. 1826-ca. 1886","type":"Fotografia","subject":["Jardim Botânico do Rio de Janeiro","Jardins botânicos - 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H.","type":"Fotografia","subject":["Vistas panorâmicas - Rio de Janeiro (RJ) - 1930","Rio de Janeiro (RJ)","Panoramic views - Rio de Janeiro (Brazil) - 1930","Rio de Janeiro (Brazil)"],"description":["Em: [Cidade do Rio de Janeiro]","gelatina, pb","15,8 x 24,5"],"coverage":["Rio de Janeiro (RJ)"]}},"20.500.12156.1/3977":{"atlas":1,"col":2,"row":43,"cr":8878420,"cl":8154693,"ct":10459015,"cb":11578778,"ck":4143140,"meta":{"title":"[Estação D.Pedro II : Inicial da E. F. Central do Brasil]","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"1930","contributor":"Holland, S. 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Maria (kil. 170k.226m.); foto n.5, Pont du São Gonçalo : em construção; foto n. 6, Pont du São Gonçalo : ouvert : longueur totale du tablier 282m,80. (kil. 50k.345m.); foto n. 7, Pont du Piratiny : longueur totale du tablier 149m,00. (kil. 101k.074m.); foto n. 8, Pont du Jaguarão (kil. 245k.430m.); foto n. 9, Pont de Bagé (kil. 279k.914m.).","papel albuminado, 5 panoramas, pb","18 x 44cm a 20 x 74"],"source":"Thereza Christina Maria","publisher":"[Rio Grande do Sul]"}},"20.500.12156.1/3986":{"atlas":1,"col":12,"row":43,"cr":14668978,"cl":14669493,"ct":7499096,"cb":7039073,"ck":6577998,"meta":{"title":"Tipos humanos e aspectos naturais [10]","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"2016-02-05T12:11:48Z","contributor":"Frisch, Christoph Albert, 1840-1918","type":"Fotografia","subject":["Aldeias indígenas - Índios da América do Sul - Brasil","Indians of South America - Amazon River Region"],"description":["papel albuminado, p&b","19 x 24 cm e 24 x 19 cm"],"source":"Thereza Christina Maria"}},"20.500.12156.1/3987":{"atlas":1,"col":13,"row":43,"cr":5067087,"cl":2896184,"ct":4803661,"cb":4804433,"ck":2566442,"meta":{"title":"Avenida Central, 8 de marco de 1903 - 15 de novembre de 1906","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[1907?]","contributor":"Ferrez, Marc, 1843-1923","type":"Livro","subject":["Ruas - Rio de Janeiro (RJ)","Avenida Rio Branco (Rio de Janeiro, RJ)","Rio de Janeiro (RJ) - Descrições e viagens","Rio de Janeiro (RJ) - Obras ilustradas","Streets - Rio de Janeiro (Brazil)","Avenida Rio Branco (Rio de Janeiro, Brazil)","Rio de Janeiro (Brazil) - Description and travel","Rio de Janeiro (Brazil) - Pictorial works"],"description":["Outros exemplares: 78.5.25 ex. 2; ARM.27 ex. 3; ARM.27 ex. 4","il., plantas, tabelas, diagramas","59cm"],"coverage":["Avenida Rio Branco (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)"],"publisher":"Paris [França], Imprimé par Erhard fres."}},"20.500.12156.1/3988":{"atlas":1,"col":14,"row":43,"cr":6504239,"cl":6304293,"ct":4662563,"cb":3940125,"ck":3151890,"meta":{"title":"Album do Amazonas","community":"Biblioteca Nacional","rights":"Bilioteca Nacional (Brasil)","date":"1901-1902","contributor":"Fidanza, Filipe Augusto, fl. 1861-1920","type":"Livro","subject":["Albuns de Fotografia - Manaus (AM)","Photograph albums - Manaus (Amazonas, Brazil)","Amazonas","Amazonas (Brazil)","Manaus (AM) - Descrições e viagens","Manaus (Brazil) - Description and travel"],"description":["Texto em português, francês, e inglês; colunas paralelas","il., ret., plantas"],"coverage":["Amazonas","Manaus (AM)"],"publisher":"Manaos"}},"20.500.12156.1/3989":{"atlas":1,"col":15,"row":43,"cr":12757631,"cl":13350540,"ct":11836785,"cb":11836013,"ck":6116157,"meta":{"title":"[Quinta da Boa Vista]","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[entre 1878 e 1886]","contributor":"Klumb, Revert Henrique, fl. 1855-1880","type":"Fotografia","subject":["Palácios - Rio de Janeiro (RJ)","Palaces - Rio de Janeiro (Brazil)","Parque da Quinta da Boa Vista (Rio de Janeiro, RJ)","Museu Nacional (Brasil)","Rio de Janeiro (RJ)","Parque da Quinta da Boa Vista (São Cristóvão, Rio de Janeiro, Brazil)","Museu Nacional (Brazil)","Rio de Janeiro (Brazil)"],"description":["Negativo de segunda geração: n. 03439, triacetato de celulose (DiMic)","papel albuminado, p&b","oval 20 x 35 cm. 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Obra do escultor Luís Rochet, projeto de João Mafra","papel albuminado, p&b","25 x 20 cm em cartão-suporte: 62 x 43 cm"],"source":"Thereza Christina Maria","publisher":"Paris [França]"}},"20.500.12156.1/4006":{"atlas":1,"col":36,"row":43,"cr":12098666,"cl":12560249,"ct":11375202,"cb":11441251,"ck":5589040,"meta":{"title":"[Palácio da Presidência da Província]","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[entre 1875-1889]","contributor":"Villela, João Ferreira, fl. 1861-1880","type":"Fotografia","subject":["Palácio das Princesas (Recife, PE)","Praça da República (Recife, PE)","Edifícios públicos - Recife (PE)","Praças - Recife (PE)","Public buildings - Recife (Pernambuco, Brazil)","Plazas - Recife (Pernambuco, Brazil)"],"description":["Negativo de segunda geração: n. 03426, triacetato de celulose (DiMic)","papel albuminado, p&b","22 x 37 cm em cartão-suporte: 43 x 54 cm"],"source":"Thereza Christina Maria","publisher":"[Recife, PE]"}},"20.500.12156.1/4007":{"atlas":1,"col":37,"row":43,"cr":13022867,"cl":13154969,"ct":13813158,"cb":13352091,"ck":6116674,"meta":{"title":"Mausoleo à serenissima Princeza do Brazil e Duqueza de Saxe a Senhora D. 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Papel fotográfico: 19 x 25 cm em cartão-suporte 55 x 37 cm"],"source":"Thereza Christina Maria","publisher":"Rio de Janeiro, RJ"}},"20.500.12156.1/4009":{"atlas":1,"col":39,"row":43,"cr":13482642,"cl":13812638,"ct":12231799,"cb":12429176,"ck":6181950,"meta":{"title":"[Dique, Ilha das Cobras]","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[1861?]","contributor":"Law, Henry, 1824-1900","type":"Fotografia","subject":["Dique Almirante Jardim (Rio de Janeiro, RJ)","Diques (Engenharia) - Rio de Janeiro (RJ)","Cobras, Ilha das (RJ)","Dikes (Engineering) - Rio de Janeiro (Brazil)","Cobras Island (Rio de Janeiro, Brazil)"],"description":["Negativo de segunda geração: n. 04759, triacetato de celulose (DiMic)","papel albuminado, p&b","18 x 24 cm em cartão-suporte: 45 x 54 cm"],"coverage":["Cobras, Ilha das (RJ)","Cobras Island (Rio de Janeiro, Brazil)"],"source":"Thereza Christina Maria","publisher":"Rio de Janeiro, RJ"}},"20.500.12156.1/401":{"atlas":1,"col":40,"row":43,"cr":8548953,"cl":9272674,"ct":196610,"cb":65792,"ck":4208940,"meta":{"title":"[Estrada União e Indústria, Brasil] : Entrée du Valle du Pyabanha (pris du Pont du Retiro) : Entrée du Valle du Pyabanha (pris du Pont du Retiro)","community":"Biblioteca Nacional","rights":null,"date":"[1860]","contributor":"Klumb, Revert Henry, ca. 1826-ca. 1886","type":"Fotografia","subject":["Estradas - Minas Gerais","Estradas - Rio de Janeiro (RJ)","Estrada União e Indústria (RJ e MG)","Roads - Rio de Janeiro (Brazil)","Roads - Minas Gerais"],"description":["papel albuminado, pb","7,2 x 13,7cm em 8 x 17,5"],"coverage":["Estrada União e Indústria (RJ e MG)"],"source":"Thereza Christina Maria"}},"20.500.12156.1/4010":{"atlas":1,"col":41,"row":43,"cr":4010025,"cl":4076072,"ct":9138766,"cb":9993296,"ck":4865064,"meta":{"title":"Modêlos da actual Guarda Civica da capital do Ceará : organizada pelo Presidente Conselheiro Fleury e o Chefe de Polícia Dr. Gonçallo de Faro]","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[entre 1878 e 1879]","contributor":"Fleury, André Augusto de Pádua, 1830-1895","type":"Fotografia","subject":["Uniformes militares","Military uniforms"],"description":["Negativo de segunda geração: n. 04781-4, triacetato de celulose (DiMic)","carte-de-visite, papel albuminado, p&b","10 x 6 cm em cartão-suporte: 48 x 33 cm"],"publisher":"[Fortaleza, CE]"}},"20.500.12156.1/4011":{"atlas":1,"col":42,"row":43,"cr":12297594,"cl":13152903,"ct":11309925,"cb":11572838,"ck":5063214,"meta":{"title":"Cascatinha do Retiro","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[1875]","contributor":"Hees, Pedro, 1841-1880","type":"Fotografia","subject":["Quedas d'água - Petrópolis (RJ)","Retiro, Cascata do (Petrópolis, RJ)","Petrópolis (RJ)","Waterfalls - Petrópolis (Rio de Janeiro, Brazil)","Petrópolis (Rio de Janeiro, Brazil)"],"description":["Negativo de segunda geração: n. 04411, triacetato de celulose (DiMic)","papel albuminado, p&b","22 x 24 cm em cartão-suporte: 35 x 43 cm"],"coverage":["Retiro, Cascata do (Petrópolis, RJ)","Petrópolis (RJ)","Petrópolis (Rio de Janeiro, Brazil)"],"publisher":"Petrópolis, RJ"}},"20.500.12156.1/4012":{"atlas":1,"col":43,"row":43,"cr":10914912,"cl":10782810,"ct":11572841,"cb":11110496,"ck":4733993,"meta":{"title":"Minas and Rio Railway, Brazil : Tunel da Mantiqueira","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"25 jun. 1882","contributor":"Ferrez, Marc, 1843-1923","type":"Fotografia","subject":["Eu, Luis Filipe Maria Fernando Gastão de Orleans, Conde D', 1842-1922","Isabel, Princesa do Brasil, 1846-1921","Pedro II, Imperador do Brasil, 1825-1891","Teresa Cristina Maria, Imperatriz, consorte de Pedro II, Imperador do Brasil, 1822-1889","Viação Férrea Centro-Oeste","Ferrovias - Brasil - São Paulo (Estado)","Ferrovias - Brasil - Minas Gerais","Túneis - Brasil - São Paulo (Estado)","Túneis - Brasil - Minas Gerais","Túnel da Mantiqueira (SP e MG)","Railroads - São Paulo (Brazil : State)","Railroads - Minas Gerais (Brazil)","Tunnels - São Paulo (Brazil : State)","Tunnels - Minas Gerais (Brazil, State)"],"description":["colódio?, p&b","36 x 26 cm. Papel fotográfico: 39 x 29 cm em cartão-suporte 61 x 45 cm"],"coverage":["Túnel da Mantiqueira (SP e MG)"],"source":"Thereza Christina Maria","publisher":"São Paulo, SP"}},"20.500.12156.1/4013":{"atlas":1,"col":44,"row":43,"cr":13418656,"cl":13287326,"ct":14406326,"cb":14076846,"ck":5788485,"meta":{"title":"[Princesa Leopoldina : reprodução de pintura]","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[18--]","contributor":null,"type":"Fotografia","subject":["Leopoldina, Princesa do Brasil, 1847-1871","Famílias reais - Brasil","Brasil","Royal houses - Brazil","Brazil"],"description":["papel salinizado, p&b","Retrato","Cópia fotográfica em papel salinizado","Reprodução de obra-de-arte","28,4 x 20,9 cm em cartão-suporte: 61 x 47,3 cm"],"coverage":["Brasil","Brazil"],"source":"Thereza Christina Maria"}},"20.500.12156.1/4014":{"atlas":1,"col":45,"row":43,"cr":7101499,"cl":7628612,"ct":12301725,"cb":12301724,"ck":3485214,"meta":{"title":"[Cidade de Friburgo : vista aérea]","community":"Biblioteca Nacional","rights":null,"date":"2016-02-05T12:13:21Z","contributor":"Holland, S. H.","type":"Fotografia","subject":["Friburgo (RJ)","Rio de Janeiro (Estado)","Fotografia aérea","Rio de Janeiro (Brazil : State)"],"description":["Negativo de segunda geração: n. 11207 Triacetato de celulose(DiMic)","Vista aérea da cidade de Friburgo","Nome do fotógrafo impresso no verso do papel fotográfico: \"S.H. Holland (aviador) Photographias aéreas, plantas, levantamentos etc","Legendas impressas no versos do papel fotográfico","gelatina, p&b","15x23,6 em papel 15,8x24,3"],"coverage":["Friburgo (RJ)","Rio de Janeiro (Estado)"]}},"20.500.12156.1/4015":{"atlas":1,"col":46,"row":43,"cr":14271381,"cl":14732448,"ct":13744521,"cb":13611905,"ck":6773829,"meta":{"title":"Brazil : [altazimute]","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[entre 1878 e 1881]","contributor":"Ferrez, Marc, 1843-1923","type":"Fotografia","subject":["Telescópios - Rio de Janeiro (RJ)","Reflecting telescopes - Rio de Janeiro (Brazil)"],"description":["Negativo de segunda geração: n. 03407, triacetato de celulose (DiMic)","colódio?, p&b","21 x 47 cm em papel fotográfico: 25 x 50 cm em cartão-suporte 43 x 71cm"],"source":"Thereza Christina Maria","publisher":"Rio de Janeiro, RJ"}},"20.500.12156.1/4016":{"atlas":1,"col":47,"row":43,"cr":14007947,"cl":14863772,"ct":12887146,"cb":12491872,"ck":6773827,"meta":{"title":"Aquidabam, [Baía de Guanabara : encouraçado]","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[1894]","contributor":"Ferrez, Marc, 1843-1923","type":"Fotografia","subject":["Baías - Rio de Janeiro (RJ)","Encouraçados - Rio de Janeiro (RJ)","Brasil - História - - Revolta da Armada, 1893-1895","Guanabara, Baía de (RJ)","Bays - Rio de Janeiro (Brazil)","Brazil - History - Naval revolt, 1893-1895","Battleships - Rio de Janeiro (Brasil)","Guanabara Bay (Brazil)"],"description":["Cópia fotográfica de gelatina e prata","gelatina, p&b","33 x 52 cm em cartão-suporte: 50 x 65 cm"],"coverage":["Guanabara, Baía de (RJ)"],"publisher":"Rio de Janeiro, RJ"}},"20.500.12156.1/4017":{"atlas":1,"col":48,"row":43,"cr":9206366,"cl":9271901,"ct":8877917,"cb":8877142,"ck":4077098,"meta":{"title":"Brazil : [Ponte do Silvestre]","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[ca. 1880","contributor":"Ferrez, Marc, 1843-1923","type":"Fotografia","subject":["Estrada de Ferro do Corcovado","Pontes ferroviárias - Rio de Janeiro (RJ)","Ferrovias - Rio de Janeiro (RJ)","Ponte do Silvestre (Rio de Janeiro, RJ)","Railroad bridges - Rio de Janeiro (Brazil)","Railroads - Rio de Janeiro (Brazil)","Ponte do Silvestre (Rio de Janeiro, Brazil)"],"description":["colódio?, p&b","32 x 52 cm"],"coverage":["Ponte do Silvestre (Rio de Janeiro, RJ)","Ponte do Silvestre (Rio de Janeiro, Brazil)"],"source":"Thereza Christina Maria","publisher":"Rio de Janeiro, RJ"}},"20.500.12156.1/4018":{"atlas":1,"col":49,"row":43,"cr":5394501,"cl":7696215,"ct":6380359,"cb":6709321,"ck":4276280,"meta":{"title":"[Igreja de São Francisco de] Paula","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"2016-02-05T12:14:17Z","contributor":"Malta, Augusto, 1864-1957","type":"Fotografia","subject":["Igreja de São Francisco de Paula (Rio de Janeiro, RJ)","Igrejas - Rio de Janeiro (RJ)","Bondes  - Rio de Janeiro (RJ)","Church buildings - Rio de Janeiro (Brasil)","Electric railroads - Cars  - Rio de Janeiro (Brazil)"],"description":["gelatina, p&b","22,4 x 25,7"]}},"20.500.12156.1/4019":{"atlas":1,"col":50,"row":43,"cr":9472626,"cl":7170392,"ct":11709845,"cb":8881008,"ck":4078644,"meta":{"title":"I[greja] N[ossa] S[enhora] do Parto","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"2017-03-03T14:14:02Z","contributor":"Malta, Augusto, 1864-1957","type":"Fotografia","subject":["Igrejas - Rio de Janeiro (RJ)","Church buildings - Rio de Janeiro (Brazil)"],"description":["gelatina, p&b","23,1 x 16,8"]}},"20.500.12156.1/402":{"atlas":1,"col":51,"row":43,"cr":9601636,"cl":9996653,"ct":196867,"cb":131328,"ck":4472112,"meta":{"title":"[Estrada União e Indústria, Brasil] : Route Union et Industrie Le Valle du Pyabanha pris du haut de la Samambaia","community":"Biblioteca Nacional","rights":null,"date":"[1860]","contributor":"Klumb, Revert Henry, ca. 1826-ca. 1886","type":"Fotografia","subject":["Estradas - Minas Gerais","Estradas - Rio de Janeiro (RJ)","Estrada União e Indústria (RJ e MG)","Roads - Rio de Janeiro (Brazil)","Roads - Minas Gerais"],"description":["papel albuminado, pb","7,3 x 13,8cm em 8 x 17,5"],"coverage":["Estrada União e Indústria (RJ e MG)"],"source":"Thereza Christina Maria"}},"20.500.12156.1/4020":{"atlas":1,"col":52,"row":43,"cr":10194020,"cl":7695700,"ct":9930847,"cb":8878676,"ck":4209710,"meta":{"title":"[Igreja Positivista do Brasil]","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"2017-03-03T14:14:03Z","contributor":"Malta, Augusto, 1864-1957","type":"Fotografia","subject":["Igreja Positivista do Brasil (Rio de Janeiro, RJ)","Igrejas - Rio de Janeiro (RJ)","Church buildings - Rio de Janeiro (Brazil)"],"description":["gelatina, p&b","16,4 x 22,1"]}},"20.500.12156.1/4022":{"atlas":1,"col":53,"row":43,"cr":14141868,"cl":14734266,"ct":12956813,"cb":13549212,"ck":6182209,"meta":{"title":"Provs. do Espirito Santo, Rio Doce : Caza à margem sul onde se refugia o Director","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[1882?]","contributor":"Ayres, Joaquim","type":"Fotografia","subject":["Rios - Espírito Santo (Estado)","Habitações - Espírito Santo (Estado)","Doce, Rio (MG e ES)","Espírito Santo (Brazil)","Rivers - Espírito Santo (Brazil)","Dwellings - Espírito Santo (Brazil)"],"description":["papel albuminado, p&b","22 x 27,2 cm em cartão suporte: 32,7 x 48,7"],"coverage":["Doce, Rio (MG e ES)","Espírito Santo (Brazil)"],"publisher":"Espírito Santo"}},"20.500.12156.1/4023":{"atlas":1,"col":54,"row":43,"cr":13021839,"cl":13746596,"ct":12100478,"cb":12166271,"ck":5852471,"meta":{"title":"Provs. do Espirito Santo, Rio Doce : O interprete refugiando-se para a margem sul","community":"Biblioteca Nacional","rights":null,"date":"[1882?]","contributor":"Ayres, Joaquim","type":"Fotografia","subject":["Rios - Espírito Santo (Estado)","Doce, Rio (MG e ES)","Espírito Santo (Brazil)","Rivers - Espírito Santo (Brazil)"],"description":["papel albuminado, p&b","oval 21,7 x 27,6 cm em cartão suporte: 32,7 x 48,8 cm"],"coverage":["Doce, Rio (MG e ES)","Espírito Santo (Brazil)"],"publisher":"Espírito Santo"}},"20.500.12156.1/4024":{"atlas":1,"col":55,"row":43,"cr":5853490,"cl":5393456,"ct":8417608,"cb":2960672,"ck":2762520,"meta":{"title":"Rio de Janeiro : Vista do Corcovado","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[1905?]","contributor":"A. Ribeiro","type":"Fotografia","subject":["Baías - - Rio de Janeiro (RJ)","Flamengo (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Reprodução fotomecânica","Cartões postais - Rio de Janeiro (RJ)","Bays - Rio de Janeiro (RJ, Brazil)","Flamengo (Rio de Janeiro, Brazil)","Rio de Janeiro (Brazil)","Postcards - Rio de Janeiro (RJ, Brazil)"],"description":["Negativo de segunda geração: nº 14365, triacetato de celulose (DiMic)","impresso","9 x 14 cm"],"coverage":["Flamengo (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)"],"publisher":"Rio de Janeiro, RJ, [s.n.]"}},"20.500.12156.1/4025":{"atlas":1,"col":56,"row":43,"cr":3486259,"cl":4929841,"ct":5252897,"cb":5054492,"ck":2691857,"meta":{"title":"Lembrança de São Paulo","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[1902?]","contributor":"Gaensly, Guilherme, 1843-1928","type":"Álbum","subject":["São Paulo (SP)","São Paulo (Estado)","São Paulo - (São Paulo, Brazil)","São Paulo (Brazil : State)"],"description":["colotipia, 1 panorama, monocromático","Colotipia","Porta-fólio","Reprodução fotomecânica","22 x 28 cm e 28 x 22 cm) ; 29 x 23 cm"],"coverage":["São Paulo (SP)","São Paulo (Estado)"],"publisher":"São Paulo, SP, G. Gaensly"}},"20.500.12156.1/4026":{"atlas":1,"col":57,"row":43,"cr":14009505,"cl":14602678,"ct":13747108,"cb":13483160,"ck":6313537,"meta":{"title":"Provs. do Espirito Santo, Rio Doce : caza do Director e Cruzeiro","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[1882?]","contributor":"Ayres, Joaquim","type":"Fotografia","subject":["Habitações - Espírito Santo (Estado)","Doce, Rio (MG e ES)","Dwellings - Espírito Santo (Brazil : State)","Rivers - Espírito Santo (Brazil : State)","Rios - Espírito Santo (Estado)","Vitória (ES)","Espírito Santo (Estado)","Brasil","Vitória (Espírito Santo, Brazil)","Espírito Santo (Brazil : State)","Brazil"],"description":["papel albuminado, p&b","Cópia fotográfica albuminada","22,6 x 28cm em papel 21,6 x 27,7cm em cartão suporte: 32,7 x 49,2cm"],"coverage":["Doce, Rio (MG e ES)","Vitória (ES)","Espírito Santo (Estado)","Brasil"],"publisher":"Espírito Santo, Vila Velha, ES"}},"20.500.12156.1/4027":{"atlas":1,"col":58,"row":43,"cr":14207404,"cl":14273454,"ct":13417885,"cb":13681314,"ck":6247745,"meta":{"title":"Provs. do Espirito Santo, Rio Doce : Volta da barra do Mutum","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[1882?]","contributor":"Ayres, Joaquim","type":"Fotografia","subject":["Rios - Espírito Santo (Estado)","Doce, Rio (MG e ES)","Rivers - Espírito Santo (Brazil : State)","Espírito Santo (Brazil : State)","Mutum, Rio (ES)","Espírito Santo (Estado)","Brasil","Brazil"],"description":["papel albuminado, p&b","Cópia fotográfica albuminada","21,5 x 26,2cm em cartão suporte: 32,8 x 48,7cm"],"coverage":["Doce, Rio (MG e ES)","Mutum, Rio (ES)","Espírito Santo (Estado)","Brasil"],"publisher":"Espírito Santo, Vila Velha, ES"}},"20.500.12156.1/4028":{"atlas":1,"col":59,"row":43,"cr":14076849,"cl":14538173,"ct":13879469,"cb":13616551,"ck":6182466,"meta":{"title":"Provs. do Espirito Santo, Rio Doce : a barra do Mutum","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[1882?]","contributor":"Ayres, Joaquim","type":"Fotografia","subject":["Rios - Espírito Santo (Estado)","Doce, Rio (MG e ES)","Rivers - Espírito Santo (Brazil : State)","Espírito Santo (Brazil : State)","Mutum, Rio (ES)","Espírito Santo (Estado)","Brasil","Brazil"],"description":["papel albuminado, p&b","Cópia fotográfica albuminada","21,5 x 26,2cm em cartão suporte: 32,6 x 48,8cm"],"coverage":["Doce, Rio (MG e ES)","Mutum, Rio (ES)","Espírito Santo (Estado)","Brasil"],"publisher":"Espírito Santo, Vila Velha, ES"}},"20.500.12156.1/4029":{"atlas":1,"col":60,"row":43,"cr":12955785,"cl":13152907,"ct":12627078,"cb":11770739,"ck":5852726,"meta":{"title":"Provs. do Espirito Santo, Rio Doce : Vista geral do Aldeamento do Mutum","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[1882?]","contributor":"Ayres, Joaquim","type":"Fotografia","subject":["Rios - Espírito Santo (Estado)","Doce, Rio (MG e ES)","Rivers - Espírito Santo (Brazil : State)","Espírito Santo (Brazil : State)","Mutum, Rio (ES)","Espírito Santo (Estado)","Brasil","Brazil"],"description":["papel albuminado, p&b","Cópia fotográfica albuminada","21,4 x 27,4cm em papel 22,6 x 28,3cm em cartão suporte: 32,6 x 49,6cm"],"coverage":["Doce, Rio (MG e ES)","Mutum, Rio (ES)","Espírito Santo (Estado)","Brasil"],"publisher":"Espírito Santo, Vila Velha, ES"}},"20.500.12156.1/403":{"atlas":1,"col":61,"row":43,"cr":9271383,"cl":7495492,"ct":197379,"cb":1117451,"ck":4076838,"meta":{"title":"[Estrada União e Indústria, Brasil] : Rout Union et Industrie Le Font du Retiro","community":"Biblioteca Nacional","rights":null,"date":"[1860]","contributor":"Klumb, Revert Henry, ca. 1826-ca. 1886","type":"Fotografia","subject":["Estradas - Minas Gerais","Pontes - Minas Gerais","Estradas - Rio de Janeiro (RJ)","Pontes - Rio de Janeiro (RJ)","Estrada União e Indústria (RJ e MG)","Roads - Rio de Janeiro (Brazil)","Roads - Minas Gerais","Bridges - Brazil - Rio de Janeiro (Brazil)","Bridges - Brazil - Minas Gerais"],"description":["papel albuminado, pb","7,4 x 13,8 em 8 x 17,5"],"coverage":["Estrada União e Indústria (RJ e MG)"],"source":"Thereza Christina Maria"}},"20.500.12156.1/4030":{"atlas":1,"col":62,"row":43,"cr":14406847,"cl":14736070,"ct":13945778,"cb":13551016,"ck":6643534,"meta":{"title":"Provs. do Espirito Santo, Rio Doce : A ponta da Ilha do Mutum","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[1882?]","contributor":"Ayres, Joaquim","type":"Fotografia","subject":["Rios - Espírito Santo (Estado)","Rivers - Espírito Santo (Brazil : State)","Ilhas - Espírito Santo (Estado)","Doce, Rio (MG e ES)","Mutum, Rio (ES)","Espírito Santo (Estado)","Islands - Espírito Santo (Brazil : State)","Espírito Santo (Brazil : State)"],"description":["papel albuminado, p&b","Cópia fotográfica albuminada","22,3 x 28cm em cartão suporte: 33 x 48,6cm"],"coverage":["Doce, Rio (MG e ES)","Mutum, Rio (ES)","Espírito Santo (Estado)"],"publisher":"Espírito Santo, Vila Velha, ES"}},"20.500.12156.1/4031":{"atlas":1,"col":63,"row":43,"cr":13549724,"cl":13417625,"ct":14536369,"cb":14141353,"ck":5918779,"meta":{"title":"Provs. do Espirito Santo : Porto do Cachoeiro de Santa Leopoldina","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[1882?]","contributor":"Ayres, Joaquim","type":"Fotografia","subject":["Habitações - Espírito Santo (Estado)","Dwellings - Espírito Santo (Brazil : State)","Montanhas - Espírito Santo (Estado)","Santa Leopoldina (ES)","Espírito Santo (Estado)","Mountains - Espírito Santo (Brazil : State)","Santa Leopoldina (Brazil)","Espírito Santo (Brazil : State)"],"description":["papel albuminado, p&b","Cópia fotográfica albuminada","28 x 22cm em cartão suporte: 48,9 x 33,2cm"],"coverage":["Santa Leopoldina (ES)","Espírito Santo (Estado)"],"publisher":"Santa Leopoldina [ES]"}},"20.500.12156.1/4032":{"atlas":1,"col":0,"row":44,"cr":13944746,"cl":13681574,"ct":11640179,"cb":14405817,"ck":5919038,"meta":{"title":"Provs. do Espirito Santo : Cascata no rio Santa Maria","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[1882?]","contributor":"Ayres, Joaquim","type":"Fotografia","subject":["Rios - Espírito Santo (Estado)","Rivers - Espírito Santo (Brazil : State)","Santa Maria, Rio (ES)","Espírito Santo (Estado)","Espírito Santo (Brazil : State)"],"description":["papel albuminado, p&b","Cópia fotográfica albuminada","28,3 x 22,5cm em cartão suporte: 49 x 32,7cm"],"coverage":["Santa Maria, Rio (ES)","Espírito Santo (Estado)"],"publisher":"Espírito Santo, Vila Velha, ES"}},"20.500.12156.1/4033":{"atlas":1,"col":1,"row":44,"cr":7368540,"cl":7566435,"ct":7303517,"cb":7171672,"ck":3749934,"meta":{"title":"Vassouras","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[1905]","contributor":"Passos, Elysio Pereira dos","type":"Fotografia","subject":["Ruas - Vassouras (RJ)","Vassouras (RJ)","Brasil","Igrejas (Edifícios) - Vassouras (RJ)","Asilos - Vassouras (RJ)"],"description":["Carimbo (tinta) do fotógrafo no verso do cartão suporte: \"Elysio Pereira dos Passos, Rio de Janeiro\"","gelatina, p&b","8 x 11,4 cm em Cartão suporte: 16 x 19,8 cm"],"coverage":["Vassouras (RJ)","Brasil"],"publisher":"Vassouras, RJ"}},"20.500.12156.1/4034":{"atlas":1,"col":2,"row":44,"cr":7499089,"cl":6512455,"ct":11381129,"cb":5393461,"ck":3157539,"meta":{"title":"Estátua de Tiradentes","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[192-]","contributor":null,"type":"Fotografia","subject":["Tiradentes, 1746-1792","Monunentos e memoriais - Ouro Preto (MG)","Praças - Ouro Preto (MG)","Brasil","Ouro Preto (MG)","Minas Gerais","Praça Tiradentes - Ouro Preto (MG)","Monuments - Ouro Preto (Minas Gerais, Brazil)","Plazas - Ouro Preto (Minas Gerais, Brazil)","Brazil","Ouro Preto (Minas Gerais, Brazil)","Minas Gerais (Brazil)","Praça tiradentes - Ouro Preto (Minas Gerais, Brazil)"],"description":["Estado de conservação: regular","Anotações manuscritas a lápis no verso do papel fotográfico","Cópia fotografica de gelatina e prata, p&b","16,3 x 11 cm"],"coverage":["Brasil","Ouro Preto (MG)","Minas Gerais","Praça Tiradentes"],"publisher":"Ouro Preto, MG"}},"20.500.12156.1/4035":{"atlas":1,"col":3,"row":44,"cr":6710351,"cl":3157800,"ct":7565919,"cb":3092267,"ck":3223849,"meta":{"title":"Antigo xafaris de 1760","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[192-]","contributor":null,"type":"Fotografia","subject":["Fontes e chafarizes - Ouro Preto (MG)","Brasil","Ouro Preto (MG)","Minas Gerais","Chafariz dos Contos (Ouro Preto, MG)","Fountains - Ouro Preto (Minas Gerais, Brazil)","Brazil","Ouro Preto (Minas Gerais, Brazil)","Minas Gerais (Brazil)","Chafariz dos Contos - Minas Gerais (Brazil)"],"description":["Estado de conservação: regular","gelatina, p&b","16,3 x 11 cm"],"coverage":["Brasil","Ouro Preto (MG)","Minas Gerais","Chafariz dos Contos (Ouro Preto, MG)"],"publisher":"Ouro Preto, MG"}},"20.500.12156.1/4036":{"atlas":1,"col":4,"row":44,"cr":6117701,"cl":4868411,"ct":6710099,"cb":3026211,"ck":3157540,"meta":{"title":"Escola de Minas","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[192-]","contributor":null,"type":"Livro","subject":["Escola de Minas (Ouro Preto, MG)","Edifícios educacionais - Ouro Preto (MG)","Escolas - Ouro Preto (MG)","Brasil","Ouro Preto (MG)","Minas Gerais","Praça Tiradentes (Ouro Preto, MG)","School buildings - Ouro Preto (Minas Gerais, Brazil)","Schools - Ouro Preto (Minas Gerais, Brazil)","Praça tiradentes - Ouro Preto (Minas Gerais, Brazil)","Brazil","Ouro Preto (Minas Gerais, Brazil)","Minas Gerais (Brazil)"],"description":["Estado de conservação: regular","Cópia fotografica de gelatina e prata, p&b","11,7 x 17 cm"],"coverage":["Brasil","Ouro Preto (MG)","Minas Gerais","Praça Tiradentes (Ouro Preto, MG)"],"publisher":"Ouro Preto, MG"}},"20.500.12156.1/4037":{"atlas":1,"col":5,"row":44,"cr":4407086,"cl":4012331,"ct":8749159,"cb":2368283,"ck":1907476,"meta":{"title":"Escola de Minas","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[192-]","contributor":null,"type":"Fotografia","subject":["Escola de Minas (Ouro Preto, MG)","Edifícios educacionais - Ouro Preto (MG)","Escolas - Ouro Preto (MG)","Brasil","Ouro Preto (MG)","Minas Gerais","School buildings - Ouro Preto (Minas Gerais, Brazil)","Schools - Ouro Preto (Minas Gerais, Brazil)","Brazil","Ouro Preto (Minas Gerais, Brazil)","Minas Gerais (Brazil)"],"description":["Estado de conservação: regular","Cópia fotografica de gelatina e prata, p&b","11,5 x 18,2 cm"],"coverage":["Brasil","Ouro Preto (MG)","Minas Gerais"],"publisher":"Ouro Preto, MG"}},"20.500.12156.1/4038":{"atlas":1,"col":6,"row":44,"cr":5460029,"cl":4604721,"ct":5131064,"cb":2565666,"ck":2828574,"meta":{"title":"Igreja de Bom Jesus de Matosinhos","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[192-]","contributor":null,"type":"Fotografia","subject":["Igreja de bom Jesus de Matosinhos (Ouro Preto, MG)","Igrejas - Ouro Preto (MG)","Brasil","Ouro Preto (MG)","Minas Gerais","Church buildings - Ouro Preto (Minas Gerais, Brazil)","Brazil","Ouro Preto (Minas Gerais, Brazil)","Minas Gerais (Brazil)","Biblioteca Nacional (Brasil)"],"description":["Estado de conservação: regular","Cópia fotografica de gelatina e prata, p&b","10 x 16,5 cm"],"coverage":["Brasil","Ouro Preto (MG)","Minas Gerais"],"publisher":"Ouro Preto, MG"}},"20.500.12156.1/4039":{"atlas":1,"col":7,"row":44,"cr":6183235,"cl":5525564,"ct":10328440,"cb":7036734,"ck":2959646,"meta":{"title":"Igreja de S. Francisco de Assis","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[192-]","contributor":null,"type":"Fotografia","subject":["Igreja de São Francisco de Assis (Ouro Preto, MG)","Igrejas - Ouro Preto (MG)","Brasil","Ouro Preto (MG)","Minas Gerais","Church buildings - Ouro Preto (Minas Gerais, Brazil)","Brazil","Ouro Preto (Minas Gerais, Brazil)","Minas Gerais (Brazil)"],"description":["Cópia fotografica de gelatina e prata, p&b","15,9 x 11,1 cm"],"coverage":["Brasil","Ouro Preto (MG)","Minas Gerais"],"publisher":"Ouro Preto, MG"}},"20.500.12156.1/404":{"atlas":1,"col":8,"row":44,"cr":10851441,"cl":10983028,"ct":6903356,"cb":11179373,"ck":4998197,"meta":{"title":"Petrópolis : le Palais Impl., ses dependances et partie de la ville: vue prise de.","community":"Biblioteca Nacional","rights":null,"date":"[1860]","contributor":"Klumb, Revert Henry, ca. 1826-ca. 1886","type":"Fotografia","subject":["Rua D. Pedro I (Petrópolis, RJ)","Museu Imperial (Brasil)","Palácios - Petrópolis (RJ) - Brasil","Ruas - Petrópolis (RJ) - Brasil","Edifícios - Petrópolis (RJ)","Castles and palaces - Brazil - Petrópolis (RJ)","Streets - Petropolis (Brazil)","Buildings - Petropolis (Brazil)"],"description":["papel albuminado, pb","7,2 x 14,5cm em 8,1 x 17,2"],"publisher":"Petrópolis, RJ"}},"20.500.12156.1/4040":{"atlas":1,"col":9,"row":44,"cr":5262139,"cl":5788993,"ct":10262647,"cb":1841943,"ck":3354918,"meta":{"title":"Matris [sic] Padre Faria, a igreja mais antiga de Ouro Preto","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[192-]","contributor":null,"type":"Livro","subject":["Capela do Padre Faria (Ouro Preto, MG)","Igrejas - Ouro Preto (MG)","Brasil","Ouro Preto (MG)","Minas Gerais","Church buildings - Ouro Preto (Minas Gerais, Brazil)","Brazil","Ouro Preto (Minas Gerais, Brazil)","Minas Gerais (Brazil)"],"description":["Cópia fotografica de gelatina e prata, p&b","11,1 x 16,5 cm"],"coverage":["Brasil","Ouro Preto (MG)","Minas Gerais"],"publisher":"Ouro Preto, MG"}},"20.500.12156.1/4041":{"atlas":1,"col":10,"row":44,"cr":4144948,"cl":5657928,"ct":3684402,"cb":6381646,"ck":2500128,"meta":{"title":"Estação E.F.C.B Preto","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[192-]","contributor":null,"type":"Fotografia","subject":["Estrada de Ferro Central do Brasil (Ouro Preto, MG)","Ferrovias - Estação - Ouro Preto (MG)","Brasil","Ouro Preto (MG)","Minas Gerais","Railroad stations - Ouro Preto (Minas Gerais, Brazil)","Brazil","Ouro Preto (Minas Gerais, Brazil)","Minas Gerais (Brazil)"],"description":["Cópia fotografica de gelatina e prata, p&b","9 x 14,1 cm"],"coverage":["Brasil","Ouro Preto (MG)","Minas Gerais"],"publisher":"Ouro Preto, MG"}},"20.500.12156.1/4042":{"atlas":1,"col":11,"row":44,"cr":6249027,"cl":6907211,"ct":8749157,"cb":2828839,"ck":3157539,"meta":{"title":"Igreja de S. Francisco de Paula","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[192-]","contributor":null,"type":"Fotografia","subject":["Igreja de São Francisco de Paula (Ouro Preto, MG)","Igrejas - Ouro Preto (MG)","Brasil","Ouro Preto (MG)","Minas Gerais","Church buildings - Ouro Preto (Minas Gerais, Brazil)","Brazil","Ouro Preto (Minas Gerais, Brazil)","Minas Gerais (Brazil)"],"description":["Cópia fotografica de gelatina e prata, p&b","11,7 x 16,5 cm"],"coverage":["Brasil","Ouro Preto (MG)","Minas Gerais"],"publisher":"Ouro Preto, MG"}},"20.500.12156.1/4043":{"atlas":1,"col":12,"row":44,"cr":8552041,"cl":9143919,"ct":9669225,"cb":6513241,"ck":4736311,"meta":{"title":"[Estado de São Paulo]","community":"Biblioteca Nacional","rights":null,"date":"2016-02-05T12:16:54Z","contributor":"Manuel, F. (Frédéric)","type":"Livro","subject":["Ferrovias - São Paulo (Estado)","Edifícios públicos - São Paulo (Estado)","São Paulo (Estado)","Rio Claro (SP)","Railroads - São Paulo (Brazil : State)","Public buildings - São Paulo (Brazil : State)","São Paulo (Brazil : State)","São Paulo - (São Paulo, Brazil)"],"description":["Fotos ausentes: n. 16, 17, 26, 29 (FOTOS-ARM.9.1.2(19,20,29,32)","Fotos desmembradas (originalmente em álbum)","Cópia fotográfica de gelatina e prata, p&b","17 x 23 cm a 23 x 29"],"coverage":["São Paulo (Estado)","Rio Claro (SP)"]}},"20.500.12156.1/4044":{"atlas":1,"col":13,"row":44,"cr":9144441,"cl":7500389,"ct":10592399,"cb":11447956,"ck":4473660,"meta":{"title":"[Viaduto Santa Efigênia, ao fundo o Mosteiro de São Bento]","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[entre 1912 e 193-?]","contributor":null,"type":"Fotografia","subject":["Mosteiro de São Bento (São Paulo, SP)","Viadutos - São Paulo (SP)","Bondes - São Paulo (SP)","Edifícios - São Paulo (SP)","Viaduto Santa Ifigênia (São Paulo, SP)","São Paulo (SP)","Viaducts - São Paulo (São Paulo, Brazil)","Electric railroads - São Paulo (São Paulo, Brazil)","Buildings - São Paulo (São Paulo, Brazil)","São Paulo - (São Paulo, Brazil)","Viaduto Santa Ifigênia - (São Paulo, São Paulo, Brazil)"],"description":["Negativo de segunda geração: n. 14155, triacetato de celulose (DiMic)","Cópia fotográfica gelatina e prata, p&b","17,2 x 20,8 cm"],"coverage":["Viaduto Santa Ifigênia (São Paulo, SP)","São Paulo (SP)"],"publisher":"São Paulo, SP"}},"20.500.12156.1/4045":{"atlas":1,"col":14,"row":44,"cr":10788220,"cl":11578507,"ct":13224115,"cb":13026985,"ck":5328445,"meta":{"title":"Praça Oswaldo Cruz","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[entre 1912 e 193-?]","contributor":null,"type":"Fotografia","subject":["Praças - São Paulo (SP)","Jardins - São Paulo (SP)","São Paulo (SP)","Plazas - São Paulo (São Paulo, Brazil)","Gardens - São Paulo (São Paulo, Brazil)","São Paulo - (São Paulo, Brazil)"],"description":["Negativo de segunda geração: n. 14054, triacetato de celulose (DiMic)","Cópia fotográfica gelatina e prata, p&b","16,5 x 22,7 cm em papel 17,2 x 23,4 cm"],"coverage":["São Paulo (SP)"],"publisher":"São Paulo, SP"}},"20.500.12156.1/4046":{"atlas":1,"col":15,"row":44,"cr":9078902,"cl":6381651,"ct":8487027,"cb":12960681,"ck":3618350,"meta":{"title":"Jardim Parque Municipal : Avenida Paulista","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[entre 1912 e 193-?]","contributor":null,"type":"Fotografia","subject":["Praças - São Paulo (SP)","Jardins - São Paulo (SP)","Fontes e chafarizes - São Paulo (SP)","Avenida Paulista (São Paulo, SP)","São Paulo (SP)","Plazas - São Paulo (São Paulo, Brazil)","Gardens - São Paulo (São Paulo, Brazil)","São Paulo - (São Paulo, Brazil)","Fountains - São Paulo (São Paulo, Brazil)","Avenida Paulista - (São Paulo, São Paulo, Brazil)"],"description":["Negativo de segunda geração: n. 14031, triacetato de celulose (DiMic)","Cópia fotográfica gelatina e prata, p&b","13,7 x 22,7 cm em papel 14,5 x 23,4 cm"],"coverage":["Avenida Paulista (São Paulo, SP)","São Paulo (SP)"],"publisher":"São Paulo, SP"}},"20.500.12156.1/4047":{"atlas":1,"col":16,"row":44,"cr":10722178,"cl":5985600,"ct":10460040,"cb":12301977,"ck":4143918,"meta":{"title":"Parque Municipal","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[entre 1912 e 193-?]","contributor":null,"type":"Fotografia","subject":["Praças - 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Petrópolis (RJ) - Brasil","Edifícios - Petrópolis (RJ)","Streets - Petropolis (Brazil)","Buildings - Petropolis (Brazil)"],"description":["papel albuminado, pb","7,8 x 13,8cm em 8,2 x 17,5"],"source":"Thereza Christina Maria","publisher":"Petrópolis, RJ"}},"20.500.12156.1/4050":{"atlas":1,"col":20,"row":44,"cr":4869196,"cl":5658710,"ct":10461341,"cb":3224372,"ck":3158320,"meta":{"title":"Jardim Botanico","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"ca. 1914","contributor":"Ribeiro, Antônio Caetano da Costa","type":"Fotografia","subject":["Jardim Botânico do Rio de Janeiro","Jardins botânicos - Rio de Janeiro (RJ)","Palmeira - Rio de Janeiro (RJ)","Palmeira imperial - Rio de Janeiro (RJ)","Fontes e chafarizes - Rio de Janeiro (RJ)","Rio de Janeiro (RJ)","Brasil","Palms - Rio de Janeiro (Brazil)","Imperal palms - Rio de Janeiro (Brazil)","Fountains - Rio de Janeiro (Brazil)","Rio de Janeiro (Brazil)","Brazil"],"description":["Cópia fotográfica de gelatina e prata, p&b","22,9 x 16,8 cm"],"coverage":["Rio de Janeiro (RJ)","Brasil","Rio de Janeiro (Brazil)","Brazil"],"publisher":"Rio de Janeiro, RJ"}},"20.500.12156.1/4051":{"atlas":1,"col":21,"row":44,"cr":7697778,"cl":9013638,"ct":8158330,"cb":5066058,"ck":4013372,"meta":{"title":"Palacio Presidencial","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"ca. 1914","contributor":"Ribeiro, Antônio Caetano da Costa","type":"Fotografia","subject":["Palácio do Catete (Rio de Janeiro, RJ)","Museu da República (Brasil)","Catete (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Brasil","Palácios - Rio de Janeiro (RJ)","Palaces - Rio de Janeiro (Brazil)","Catete (Rio de Janeiro, Brazil)","Rio de Janeiro (Brazil)"],"description":["Cópia fotográfica de gelatina e prata, p&b","16,9 x 22,6 cm"],"coverage":["Catete (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Brasil","Catete (Rio de Janeiro, Brazil)","Rio de Janeiro (Brazil)"],"publisher":"Rio de Janeiro, RJ"}},"20.500.12156.1/4052":{"atlas":1,"col":22,"row":44,"cr":6579556,"cl":7369324,"ct":10592920,"cb":6316383,"ck":3684663,"meta":{"title":"Jardim Botanico","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"ca. 1914","contributor":"Ribeiro, Antônio Caetano da Costa","type":"Fotografia","subject":["Jardim Botânico do Rio de Janeiro","Jardins botânicos - Rio de Janeiro (RJ)","Palmeira - Rio de Janeiro (RJ)","Lagos - Rio de Janeiro (RJ)","Rio de Janeiro (RJ)","Brasil","Lakes - Rio de Janeiro (Brazil)","Palms - Rio de Janeiro (Brazil)","Botanical gardens - Rio de Janeiro (Brazil)","Rio de Janeiro (Brazil)","Brazil"],"description":["Cópia fotográfica de gelatina e prata, p&b","22,7 x 16,9 cm"],"coverage":["Rio de Janeiro (RJ)","Brasil","Rio de Janeiro (Brazil)","Brazil"],"publisher":"Rio de Janeiro, RJ"}},"20.500.12156.1/4053":{"atlas":1,"col":23,"row":44,"cr":7434864,"cl":7434864,"ct":8487551,"cb":4539972,"ck":3816250,"meta":{"title":"Avenida Beira-Mar, Botafogo","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"ca. 1914","contributor":"Ribeiro, Antônio Caetano da Costa","type":"Fotografia","subject":["Baías - Rio de Janeiro (RJ)","Montanhas - Rio de Janeiro (RJ)","Ruas - Rio de Janeiro (RJ)","Guanabara, Baía de (RJ)","Botafogo (Rio de Janeiro, RJ)","Botafogo, Enseada de (RJ)","Rio de Janeiro (RJ)","Brasil","Bays - Rio de Janeiro (Brazil)","Streets - Rio de Janeiro (Brazil)","Guanabara Bay (Brazil)","Botafogo (Rio de Janeiro, Brazil)","Botafogo, Enseada de (Rio de Janeiro, Brazil)","Brazil","Rio de Janeiro (Brazil)"],"description":["Cópia fotográfica de gelatina e prata, p&b","16,9 x 22,7 cm"],"coverage":["Guanabara, Baía de (RJ)","Botafogo (Rio de Janeiro, RJ)","Botafogo, Enseada de (RJ)","Rio de Janeiro (RJ)","Brasil","Guanabara Bay (Brazil)","Botafogo (Rio de Janeiro, Brazil)","Botafogo, Enseada de (Rio de Janeiro, Brazil)","Brazil","Rio de Janeiro (Brazil)"],"publisher":"Rio de Janeiro, RJ"}},"20.500.12156.1/4054":{"atlas":1,"col":24,"row":44,"cr":7237225,"cl":7500396,"ct":7369067,"cb":6250330,"ck":3750198,"meta":{"title":"Avenida Beira-Mar, Botafogo","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"ca. 1914","contributor":"Ribeiro, Antônio Caetano da Costa","type":"Fotografia","subject":["Baías - Rio de Janeiro (RJ)","Jardins - Rio de Janeiro (RJ)","Montanhas - Rio de Janeiro (RJ)","Ruas - Rio de Janeiro (RJ)","Guanabara, Baía de (RJ)","Botafogo (Rio de Janeiro, RJ)","Botafogo, Enseada de (RJ)","Corcovado, Morro do (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Brasil","Streets - Rio de Janeiro (Brazil)","Mountains - Rio de Janeiro (Brazil)","Bays - Rio de Janeiro (Brazil)","Gardens - Rio de Janeiro (Brazil)","Guanabara Bay (Brazil)","Botafogo (Rio de Janeiro, Brazil)","Botafogo, Enseada de (Rio de Janeiro, Brazil)","Rio de Janeiro (Brazil)","Brazil"],"description":["Cópia fotográfica de gelatina e prata, p&b","16,8 x 22,6 cm"],"coverage":["Guanabara, Baía de (RJ)","Botafogo (Rio de Janeiro, RJ)","Botafogo, Enseada de (RJ)","Corcovado, Morro do (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Brasil","Guanabara Bay (Brazil)","Botafogo (Rio de Janeiro, Brazil)","Botafogo, Enseada de (Rio de Janeiro, Brazil)","Rio de Janeiro (Brazil)","Brazil"],"publisher":"Rio de Janeiro, RJ"}},"20.500.12156.1/4055":{"atlas":1,"col":25,"row":44,"cr":6316383,"cl":7106156,"ct":8158330,"cb":4541774,"ck":3553077,"meta":{"title":"Jardim Botanico","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"ca. 1914","contributor":"Ribeiro, Antônio Caetano da Costa","type":"Fotografia","subject":["Jardim Botânico do Rio de Janeiro","Jardins botânicos - Rio de Janeiro (RJ)","Jardins - Rio de Janeiro (RJ)","Rio de Janeiro (RJ)","Brasil","Botanical gardens - Rio de Janeiro (Brazil)","Gardens - Rio de Janeiro (Brazil)","Brazil","Rio de Janeiro (Brazil)"],"description":["Cópia fotográfica de gelatina e prata, p&b","17 x 22,6 cm"],"coverage":["Rio de Janeiro (RJ)","Brasil","Brazil","Rio de Janeiro (Brazil)"],"publisher":"Rio de Janeiro, RJ"}},"20.500.12156.1/4056":{"atlas":1,"col":26,"row":44,"cr":8552825,"cl":7303013,"ct":10592924,"cb":3882559,"ck":3750197,"meta":{"title":"Praia Vermelha","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[ca. 1914]","contributor":"Ribeiro, Antônio Caetano da Costa","type":"Fotografia","subject":["Praias - Rio de Janeiro (RJ)","Pão de Açúcar, Morro do (Rio de Janeiro, RJ)","Urca (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Rio de Janeiro (Estado)","Brasil","Beaches - Rio de Janeiro (Brazil)","Pão de Açúcar, Morro do (Rio de Janeiro, Brazil)","Urca (Rio de Janeiro, Brazil)","Rio de Janeiro (Brazil)","Rio de Janeiro (Brazil : State)","Brazil"],"description":["Cópia fotográfica de gelatina e prata, p&b","Cópia fotográfica de gelatina e prata","16,9 x 22,8 cm"],"coverage":["Pão de Açúcar, Morro do (Rio de Janeiro, RJ)","Urca (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Rio de Janeiro (Estado)","Brasil","Pão de Açúcar, Morro do (Rio de Janeiro, Brazil)","Urca (Rio de Janeiro, Brazil)","Rio de Janeiro (Brazil)","Rio de Janeiro (Brazil : State)","Brazil"],"publisher":"Rio de Janeiro, RJ"}},"20.500.12156.1/4057":{"atlas":1,"col":27,"row":44,"cr":5263691,"cl":5000521,"ct":10263955,"cb":5394762,"ck":3552561,"meta":{"title":"Alto do Corcovado","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[ca. 1914]","contributor":"Ribeiro, Antônio Caetano da Costa","type":"Fotografia","subject":["Estrada de Ferro do Corcovado","Ferrovias - Rio de Janeiro (RJ)","Corcovado, Morro do (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Rio de Janeiro (Estado)","Brasil","Railroads - Rio de Janeiro (Brazil)","Corcovado, Morro do (Rio de Janeiro, Brazil)","Rio de Janeiro (Brazil)","Rio de Janeiro (Brazil : State)","Brazil"],"description":["Cópia fotográfica de gelatina e prata, p&b","Cópia fotográfica de gelatina e prata","22,6 x 16,8 cm"],"coverage":["Corcovado, Morro do (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Rio de Janeiro (Estado)","Brasil","Corcovado, Morro do (Rio de Janeiro, Brazil)","Rio de Janeiro (Brazil)","Rio de Janeiro (Brazil : State)","Brazil"],"publisher":"Rio de Janeiro, RJ"}},"20.500.12156.1/4058":{"atlas":1,"col":28,"row":44,"cr":7434864,"cl":7171949,"ct":8487551,"cb":4146246,"ck":4211007,"meta":{"title":"Enseada de Botafogo","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[ca. 1914]","contributor":"Ribeiro, Antônio Caetano da Costa","type":"Livro","subject":["Baías - Rio de Janeiro (RJ)","Montanhas - Rio de Janeiro (RJ)","Guanabara, Baía de (RJ)","Botafogo (Rio de Janeiro, RJ)","Botafogo, Enseada de (RJ)","Corcovado, Morro do (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Rio de Janeiro (Estado)","Brasil","Bays - Rio de Janeiro (Brazil)","Mountains - Rio de Janeiro (Brazil)","Guanabara Bay (Brazil)","Botafogo (Rio de Janeiro, Brazil)","Botafogo, Enseada de (Rio de Janeiro, Brazil)","Corcovado, Morro do (Rio de Janeiro, Brazil)","Rio de Janeiro (Brazil)","Rio de Janeiro (Brazil : State)","Brazil"],"description":["Cópia fotográfica de gelatina e prata, p&b","Cópia fotográfica de gelatina e prata","16,8 x 22,6 cm"],"coverage":["Guanabara, Baía de (RJ)","Botafogo (Rio de Janeiro, RJ)","Botafogo, Enseada de (RJ)","Corcovado, Morro do (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Rio de Janeiro (Estado)","Brasil","Guanabara Bay (Brazil)","Botafogo (Rio de Janeiro, Brazil)","Botafogo, Enseada de (Rio de Janeiro, Brazil)","Corcovado, Morro do (Rio de Janeiro, Brazil)","Rio de Janeiro (Brazil)","Rio de Janeiro (Brazil : State)","Brazil"],"publisher":"Rio de Janeiro, RJ"}},"20.500.12156.1/4059":{"atlas":1,"col":29,"row":44,"cr":7368812,"cl":7566447,"ct":3684666,"cb":5724498,"ck":4079164,"meta":{"title":"Paquetá","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[ca. 1914]","contributor":"Ribeiro, Antônio Caetano da Costa","type":"Livro","subject":["Praias - Rio de Janeiro (RJ)","Paquetá, Ilha de (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Rio de Janeiro (Estado)","Brasil","Beaches - Rio de Janeiro (Brazil)","Paquetá Island (Brazil)","Rio de Janeiro (Brazil)","Rio de Janeiro (Brazil : State)","Brazil"],"description":["Cópia fotográfica de gelatina e prata, p&b","Cópia fotográfica de gelatina e prata","16,5 x 22,6 cm"],"coverage":["Paquetá, Ilha de (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Rio de Janeiro (Estado)","Brasil","Paquetá Island (Brazil)","Rio de Janeiro (Brazil)","Rio de Janeiro (Brazil : State)","Brazil"],"publisher":"Rio de Janeiro, RJ"}},"20.500.12156.1/406":{"atlas":1,"col":30,"row":44,"cr":10521186,"cl":10455652,"ct":10060902,"cb":10981743,"ck":4800301,"meta":{"title":"Petrópolis : La Rue de Joinville et des Protestants","community":"Biblioteca Nacional","rights":null,"date":"[1860]","contributor":"Klumb, Revert Henry, ca. 1826-ca. 1886","type":"Fotografia","subject":["Ruas - Petrópolis (RJ) - Brasil","Edifícios - Petrópolis (RJ)","Streets - Petropolis (Brazil)","Buildings - Petropolis (Brazil)"],"description":["papel albuminado, pb","7,7 x 13,8cm em 8,2 x 17,3"],"publisher":"Petrópolis, RJ"}},"20.500.12156.1/4060":{"atlas":1,"col":31,"row":44,"cr":9606033,"cl":7829880,"ct":11513771,"cb":5395280,"ck":4408387,"meta":{"title":"Ministerio da Guerra","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[ca. 1914]","contributor":"Ribeiro, Antônio Caetano da Costa","type":"Livro","subject":["Edifícios públicos - Rio de Janeiro (RJ)","Bondes  - Rio de Janeiro (RJ)","Rio de Janeiro (RJ)","Rio de Janeiro (Estado)","Brasil","Public buildings - Rio de Janeiro (Brazil)","Electric railroads - Cars - Rio de Janeiro (Brazil)","Rio de Janeiro (Brazil)","Rio de Janeiro (Brazil : State)","Brazil"],"description":["Cópia fotográfica de gelatina e prata, p&b","Cópia fotográfica de gelatina e prata","16,9 x 22,7 cm"],"coverage":["Rio de Janeiro (RJ)","Rio de Janeiro (Estado)","Brasil","Rio de Janeiro (Brazil)","Rio de Janeiro (Brazil : State)","Brazil"],"publisher":"Rio de Janeiro, RJ"}},"20.500.12156.1/4061":{"atlas":1,"col":32,"row":44,"cr":5263949,"cl":4935241,"ct":8093302,"cb":10987928,"ck":3421233,"meta":{"title":"Jardim da Praça da República","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[ca. 1914]","contributor":"Ribeiro, Antônio Caetano da Costa","type":"Livro","subject":["Jardins - Rio de Janeiro (RJ)","Praças - Rio de Janeiro (RJ)","Praça da República (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Rio de Janeiro (Estado)","Brasil","Gardens - Rio de Janeiro (Brazil)","Plazas - Rio de Janeiro (Brazil)","Praça da República (Rio de Janeiro, Brazil)","Rio de Janeiro (Brazil)","Rio de Janeiro (Brazil : State)","Brazil"],"description":["Cópia fotográfica de gelatina e prata, p&b","Cópia fotográfica de gelatina e prata","16,9 x 22,8 cm"],"coverage":["Praça da República (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Rio de Janeiro (Estado)","Brasil","Praça da República (Rio de Janeiro, Brazil)","Rio de Janeiro (Brazil)","Rio de Janeiro (Brazil : State)","Brazil"],"publisher":"Rio de Janeiro, RJ"}},"20.500.12156.1/4062":{"atlas":1,"col":33,"row":44,"cr":4803403,"cl":8947828,"ct":10921884,"cb":5657157,"ck":4276281,"meta":{"title":"Instituto Oswaldo Cruz, Manguinhos","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[ca. 1914]","contributor":"Ribeiro, Antônio Caetano da Costa","type":"Livro","subject":["Fundação Oswaldo Cruz","Institutos de pesquisa - Rio de Janeiro (RJ)","Manguinhos (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Rio de Janeiro (Estado)","Brasil","Research institutes - Rio de Janeiro (Brazil)","Manguinhos (Rio de Janeiro, Brazil)","Rio de Janeiro (Brazil)","Rio de Janeiro (Brazil : State)","Brazil"],"description":["Cópia fotográfica de gelatina e prata, p&b","Cópia fotográfica de gelatina e prata","22,8 x 16,9 cm"],"coverage":["Manguinhos (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Rio de Janeiro (Estado)","Brasil","Manguinhos (Rio de Janeiro, Brazil)","Rio de Janeiro (Brazil)","Rio de Janeiro (Brazil : State)","Brazil"],"publisher":"Rio de Janeiro, RJ"}},"20.500.12156.1/4063":{"atlas":1,"col":34,"row":44,"cr":9211269,"cl":6711137,"ct":8750722,"cb":7566698,"ck":3815991,"meta":{"title":"Avenida Mangue","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[ca. 1914]","contributor":"Ribeiro, Antônio Caetano da Costa","type":"Livro","subject":["Mangue, Canal do (Rio de Janeiro, RJ)","Avenida Presidente Vargas (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Rio de Janeiro (Estado)","Brasil","Mangue, Canal do (Rio de Janeiro, Brazil)","Avenida Presidente Vargas (Rio de Janeiro, Brazil)","Rio de Janeiro (Brazil)","Rio de Janeiro (Brazil : State)","Brazil"],"description":["Cópia fotográfica de gelatina e prata, p&b","Cópia fotográfica de gelatina e prata","16,8 x 22,5 cm"],"coverage":["Mangue, Canal do (Rio de Janeiro, RJ)","Avenida Presidente Vargas (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Rio de Janeiro (Estado)","Brasil","Mangue, Canal do (Rio de Janeiro, Brazil)","Avenida Presidente Vargas (Rio de Janeiro, Brazil)","Rio de Janeiro (Brazil)","Rio de Janeiro (Brazil : State)","Brazil"],"publisher":"Rio de Janeiro, RJ"}},"20.500.12156.1/4064":{"atlas":1,"col":35,"row":44,"cr":9145481,"cl":6777192,"ct":8816513,"cb":5067343,"ck":4079421,"meta":{"title":"Urca, Pão d'Assucar","community":"Biblioteca Nacional","rights":"Biblioeca Nacional (Brasil)","date":"[ca. 1914]","contributor":"Ribeiro, Antônio Caetano da Costa","type":"Fotografia","subject":["Barcos - Rio de Janeiro (RJ)","Baías - Rio de Janeiro (RJ)","Montanhas - Rio de Janeiro (RJ)","Guanabara, Baía de (RJ)","Botafogo (Rio de Janeiro, RJ)","Botafogo, Enseada de (RJ)","Pão de Açúcar, Morro do (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Rio de Janeiro (Estado)","Brasil","Boats - Rio de Janeiro (Brazil)","Bays - Rio de Janeiro (Brazil)","Mountains - Rio de Janeiro (Brazil)","Guanabara Bay (Brazil)","Botafogo (Rio de Janeiro, Brazil)","Botafogo, Enseada de (Rio de Janeiro, Brazil)","Pão de Açúcar, Morro do (Rio de Janeiro, Brazil)","Rio de Janeiro (Brazil)","Rio de Janeiro (Brazil : State)","Brazil"],"description":["Cópia fotográfica de gelatina e prata, p&b","Cópia fotográfica de gelatina e prata","16,9 x 22,6 cm"],"coverage":["Guanabara, Baía de (RJ)","Botafogo (Rio de Janeiro, RJ)","Botafogo, Enseada de (RJ)","Pão de Açúcar, Morro do (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Rio de Janeiro (Estado)","Brasil","Guanabara Bay (Brazil)","Botafogo (Rio de Janeiro, Brazil)","Botafogo, Enseada de (Rio de Janeiro, Brazil)","Pão de Açúcar, Morro do (Rio de Janeiro, Brazil)","Rio de Janeiro (Brazil)","Rio de Janeiro (Brazil : State)","Brazil"],"publisher":"Rio de Janeiro, RJ"}},"20.500.12156.1/4065":{"atlas":1,"col":36,"row":44,"cr":8421501,"cl":6776933,"ct":11514025,"cb":4146500,"ck":3816249,"meta":{"title":"Panorama visto do Corcovado","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[ca. 1914]","contributor":"Ribeiro, Antônio Caetano da Costa","type":"Fotografia","subject":["Baías - Rio de Janeiro (RJ)","Montanhas - Rio de Janeiro (RJ)","Guanabara, Baía de (RJ)","Botafogo (Rio de Janeiro, RJ)","Corcovado, Morro do (Rio de Janeiro, RJ)","Pão de Açúcar, Morro do (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Rio de Janeiro (Estado)","Brasil","Bays - Rio de Janeiro (Brazil)","Mountains - Rio de Janeiro (Brazil)","Guanabara Bay (Brazil)","Botafogo (Rio de Janeiro, Brazil)","Corcovado, Morro do (Rio de Janeiro, Brazil)","Pão de Açúcar, Morro do (Rio de Janeiro, Brazil)","Rio de Janeiro (Brazil)","Rio de Janeiro (Brazil : State)","Brazil"],"description":["Cópia fotográfica de gelatina e prata, p&b","Cópia fotográfica de gelatina e prata","16,8 x 22,6 cm"],"coverage":["Guanabara, Baía de (RJ)","Botafogo (Rio de Janeiro, RJ)","Corcovado, Morro do (Rio de Janeiro, RJ)","Pão de Açúcar, Morro do (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Rio de Janeiro (Estado)","Brasil","Guanabara Bay (Brazil)","Botafogo (Rio de Janeiro, Brazil)","Corcovado, Morro do (Rio de Janeiro, Brazil)","Pão de Açúcar, Morro do (Rio de Janeiro, Brazil)","Rio de Janeiro (Brazil)","Rio de Janeiro (Brazil : State)","Brazil"],"publisher":"Rio de Janeiro, RJ"}},"20.500.12156.1/4066":{"atlas":1,"col":37,"row":44,"cr":7500137,"cl":9211015,"ct":11579815,"cb":3881785,"ck":4276542,"meta":{"title":"Caminho aereo Pão d'Assucar","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[ca. 1914]","contributor":"Ribeiro, Antônio Caetano da Costa","type":"Fotografia","subject":["Teleféricos - Rio de Janeiro (RJ)","Montanhas - Rio de Janeiro (RJ)","Urca (Rio de Janeiro, RJ)","Pão de Açúcar, Morro do (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Rio de Janeiro (Estado)","Brasil","Railroads, Cable - Rio de Janeiro (Brazil)","Mountains - Rio de Janeiro (Brazil)","Urca (Rio de Janeiro, Brazil)","Pão de Açúcar, Morro do (Rio de Janeiro, Brazil)","Rio de Janeiro (Brazil)","Rio de Janeiro (Brazil : State)","Brazil"],"description":["Cópia fotográfica de gelatina e prata, p&b","16,9 x 22,7 cm"],"coverage":["Urca (Rio de Janeiro, RJ)","Pão de Açúcar, Morro do (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Rio de Janeiro (Estado)","Brasil","Urca (Rio de Janeiro, Brazil)","Pão de Açúcar, Morro do (Rio de Janeiro, Brazil)","Rio de Janeiro (Brazil)","Rio de Janeiro (Brazil : State)","Brazil"],"publisher":"Rio de Janeiro, RJ"}},"20.500.12156.1/4067":{"atlas":1,"col":38,"row":44,"cr":7960951,"cl":7763829,"ct":10198168,"cb":4605766,"ck":4079165,"meta":{"title":"Panorama da Barra, Visto do Pão d'Assucar [sic]","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[ca. 1914]","contributor":"Ribeiro, Antônio Caetano da Costa","type":"Fotografia","subject":["Montanhas - Rio de Janeiro (RJ)","Baías - Rio de Janeiro (RJ)","Guanabara, Baía de (RJ)","Pão de Açúcar, Morro do (Rio de Janeiro, RJ)","Niterói (RJ)","Rio de Janeiro (RJ)","Rio de Janeiro (Estado)","Brasil","Mountains - Rio de Janeiro (Brazil)","Bays - Rio de Janeiro (Brazil)","Guanabara Bay (Brazil)","Pão de Açúcar, Morro do (Rio de Janeiro, Brazil)","Niterói (Rio de Janeiro, Brazil)","Rio de Janeiro (Brazil)","Rio de Janeiro (Brazil : State)","Brazil"],"description":["Cópia fotográfica de gelatina e prata, p&b","16,8 x 22,5 cm"],"coverage":["Guanabara, Baía de (RJ)","Pão de Açúcar, Morro do (Rio de Janeiro, RJ)","Niterói (RJ)","Rio de Janeiro (RJ)","Rio de Janeiro (Estado)","Brasil","Guanabara Bay (Brazil)","Pão de Açúcar, Morro do (Rio de Janeiro, Brazil)","Niterói (Rio de Janeiro, Brazil)","Rio de Janeiro (Brazil)","Rio de Janeiro (Brazil : State)","Brazil"],"publisher":"Rio de Janeiro, RJ"}},"20.500.12156.1/4068":{"atlas":1,"col":39,"row":44,"cr":10066065,"cl":9211268,"ct":9803406,"cb":5197898,"ck":4408128,"meta":{"title":"Caminho aereo Pão d'Assucar","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[ca. 1914]","contributor":"Ribeiro, Antônio Caetano da Costa","type":"Fotografia","subject":["Montanhas - Rio de Janeiro (RJ)","Teleféricos - Rio de Janeiro (RJ)","Pão de Açúcar, Morro do (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Rio de Janeiro (Estado)","Brasil","Mountains - Rio de Janeiro (Brazil)","Railroads, Cable - Rio de Janeiro (Brazil)","Pão de Açúcar, Morro do (Rio de Janeiro, Brazil)","Rio de Janeiro (Brazil)","Rio de Janeiro (Brazil : State)","Brazil"],"description":["Cópia fotográfica de gelatina e prata, p&b","16,9 x 22,7 cm"],"coverage":["Pão de Açúcar, Morro do (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Rio de Janeiro (Estado)","Brasil","Pão de Açúcar, Morro do (Rio de Janeiro, Brazil)","Rio de Janeiro (Brazil)","Rio de Janeiro (Brazil : State)","Brazil"],"publisher":"Rio de Janeiro, RJ"}},"20.500.12156.1/4069":{"atlas":1,"col":40,"row":44,"cr":10790051,"cl":8224638,"ct":12106166,"cb":6513756,"ck":4342594,"meta":{"title":"Caminho aereo Pao d'Assucar","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[ca. 1914]","contributor":"Ribeiro, Antônio Caetano da Costa","type":"Fotografia","subject":["Montanhas - Rio de Janeiro (RJ)","Teleféricos - Rio de Janeiro (RJ)","Pão de Açúcar, Morro do (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Rio de Janeiro (Estado)","Brasil","Mountains - Rio de Janeiro (Brazil)","Railroads, Cable - Rio de Janeiro (Brazil)","Pão de Açúcar, Morro do (Rio de Janeiro, Brazil)","Rio de Janeiro (Brazil)","Rio de Janeiro (Brazil : State)","Brazil"],"description":["Cópia fotográfica de gelatina e prata, p&b","16,9 x 22,7 cm"],"coverage":["Pão de Açúcar, Morro do (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Rio de Janeiro (Estado)","Brasil","Pão de Açúcar, Morro do (Rio de Janeiro, Brazil)","Rio de Janeiro (Brazil)","Rio de Janeiro (Brazil : State)","Brazil"],"publisher":"Rio de Janeiro, RJ"}},"20.500.12156.1/407":{"atlas":1,"col":41,"row":44,"cr":5522476,"cl":6837303,"ct":3616294,"cb":5127985,"ck":3287323,"meta":{"title":"Petrópolis : L’entrée de la Westphalia","community":"Biblioteca Nacional","rights":null,"date":"[1860]","contributor":"Klumb, Revert Henry, ca. 1826-ca. 1886","type":"Fotografia","subject":["Petrópolis (RJ)","Petrópolis (Brazil)"],"description":["papel albuminado, pb","8,1 x 13,8cm em 8,3 x 17,2"],"coverage":["Petrópolis (RJ)"],"source":"Thereza Christina Maria","publisher":"Petrópolis, RJ"}},"20.500.12156.1/4070":{"atlas":1,"col":42,"row":44,"cr":8684669,"cl":6776933,"ct":11645611,"cb":5066053,"ck":4144956,"meta":{"title":"Caminho aereo Pão d'Assucar","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[ca. 1914]","contributor":"Ribeiro, Antônio Caetano da Costa","type":"Fotografia","subject":["Montanhas - Rio de Janeiro (RJ)","Teleféricos - Rio de Janeiro (RJ)","Pão de Açúcar, Morro do (Rio de Janeiro, RJ)","Urca (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Rio de Janeiro (Estado)","Brasil","Mountains - Rio de Janeiro (Brazil)","Railroads, Cable - Rio de Janeiro (Brazil)","Pão de Açúcar, Morro do (Rio de Janeiro, Brazil)","Urca (Rio de Janeiro, Brazil)","Rio de Janeiro (Brazil)","Rio de Janeiro (Brazil : State)","Brazil"],"description":["Cópia fotográfica de gelatina e prata, p&b","16,8 x 22,6 cm"],"coverage":["Pão de Açúcar, Morro do (Rio de Janeiro, RJ)","Urca (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Rio de Janeiro (Estado)","Brasil","Pão de Açúcar, Morro do (Rio de Janeiro, Brazil)","Urca (Rio de Janeiro, Brazil)","Rio de Janeiro (Brazil)","Rio de Janeiro (Brazil : State)","Brazil"],"publisher":"Rio de Janeiro, RJ"}},"20.500.12156.1/4071":{"atlas":1,"col":43,"row":44,"cr":4737610,"cl":5921885,"ct":6975600,"cb":7040359,"ck":3487542,"meta":{"title":"Urca e Pão d'Assucar","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[ca. 1914]","contributor":"Ribeiro, Antônio Caetano da Costa","type":"Livro","subject":["Montanhas - Rio de Janeiro (RJ)","Pão de Açúcar, Morro do (Rio de Janeiro, RJ)","Urca (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Rio de Janeiro (Estado)","Brasil","Mountains - Rio de Janeiro (Brazil)","Pão de Açúcar, Morro do (Rio de Janeiro, Brazil)","Urca (Rio de Janeiro, Brazil)","Rio de Janeiro (Brazil)","Rio de Janeiro (Brazil : State)","Brazil"],"description":["Cópia fotográfica de gelatina e prata, p&b","16,9 x 22,7 cm"],"coverage":["Pão de Açúcar, Morro do (Rio de Janeiro, RJ)","Urca (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Rio de Janeiro (Estado)","Brasil","Pão de Açúcar, Morro do (Rio de Janeiro, Brazil)","Urca (Rio de Janeiro, Brazil)","Rio de Janeiro (Brazil)","Rio de Janeiro (Brazil : State)","Brazil"],"publisher":"Rio de Janeiro, RJ"}},"20.500.12156.1/4072":{"atlas":1,"col":44,"row":44,"cr":7039849,"cl":7040362,"ct":9145213,"cb":3750714,"ck":3421491,"meta":{"title":"Vista tirada do Pão d'Assucar","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[ca. 1914]","contributor":"Ribeiro, Antônio Caetano da Costa","type":"Livro","subject":["Montanhas - Rio de Janeiro (RJ)","Praias - Rio de Janeiro (RJ)","Pão de Açúcar, Morro do (Rio de Janeiro, RJ)","Urca (Rio de Janeiro, RJ)","Corcovado, Morro do (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Rio de Janeiro (Estado)","Brasil","Mountains - Rio de Janeiro (Brazil)","Beaches - Rio de Janeiro (Brazil)","Pão de Açúcar, Morro do (Rio de Janeiro, Brazil)","Urca (Rio de Janeiro, Brazil)","Corcovado, Morro do (Rio de Janeiro, Brazil)","Rio de Janeiro (Brazil)","Rio de Janeiro (Brazil : State)","Brazil"],"description":["Cópia fotográfica de gelatina e prata, p&b","16,8 x 22,6 cm"],"coverage":["Pão de Açúcar, Morro do (Rio de Janeiro, RJ)","Urca (Rio de Janeiro, RJ)","Corcovado, Morro do (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Rio de Janeiro (Estado)","Brasil","Pão de Açúcar, Morro do (Rio de Janeiro, Brazil)","Urca (Rio de Janeiro, Brazil)","Corcovado, Morro do (Rio de Janeiro, Brazil)","Rio de Janeiro (Brazil)","Rio de Janeiro (Brazil : State)","Brazil"],"publisher":"Rio de Janeiro, RJ"}},"20.500.12156.1/4074":{"atlas":1,"col":45,"row":44,"cr":11509639,"cl":11246976,"ct":9142121,"cb":10326131,"ck":5130040,"meta":{"title":"[Palácio Imperial]","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"entre 1878 e 1889]","contributor":"Pacheco, Joaquim Insley, 1830-1912","type":"Livro","subject":["Museu Nacional (Brasil)","Palácios - Rio de Janeiro (RJ)","Jardins - Rio de Janeiro (RJ)","Parque da Quinta da Boa Vista (Rio de Janeiro, RJ)","São Cristovão (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Brasil","Palaces - Rio de Janeiro (Brazil)","Gardens - Rio de Janeiro (Brazil)","Brazil","Rio de Janeiro (Brazil)","São Cristóvão (Rio de Janeiro, Brazil)","Parque da Quinta da Boa Vista (São Cristóvão, Rio de Janeiro, Brazil)"],"description":["Cópia fotográfica de colódio, p&b","12,9 x 20,5 cm; cartão suporte: 24 x 31,7 cm"],"coverage":["Parque da Quinta da Boa Vista (Rio de Janeiro, RJ)","São Cristovão (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Brasil","Brazil","Rio de Janeiro (Brazil)","São Cristóvão (Rio de Janeiro, Brazil)","Parque da Quinta da Boa Vista (São Cristóvão, Rio de Janeiro, Brazil)"],"source":"Thereza Christina Maria","publisher":"Rio de Janeiro, RJ"}},"20.500.12156.1/4075":{"atlas":1,"col":46,"row":44,"cr":11377016,"cl":11180406,"ct":8352603,"cb":10259822,"ck":5129782,"meta":{"title":"[Quinta da Boa Vista]","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"entre 1878 e 1889]","contributor":"Pacheco, Joaquim Insley, 1830-1912","type":"Livro","subject":["Palácios - Rio de Janeiro (RJ)","Jardins - Rio de Janeiro (RJ)","Parque da Quinta da Boa Vista (Rio de Janeiro, RJ)","São Cristovão (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Brasil","Palaces - Rio de Janeiro (Brazil)","Gardens - Rio de Janeiro (Brazil)","Brazil","Rio de Janeiro (Brazil)","São Cristóvão (Rio de Janeiro, Brazil)","Parque da Quinta da Boa Vista (São Cristóvão, Rio de Janeiro, Brazil)"],"description":["Cópia fotográfica de colódio, p&b","12,1 x 20,5 cm; Cartão suporte: 23,9 x 31,8 cm"],"coverage":["Parque da Quinta da Boa Vista (Rio de Janeiro, RJ)","São Cristovão (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Brasil","Brazil","Rio de Janeiro (Brazil)","São Cristóvão (Rio de Janeiro, Brazil)","Parque da Quinta da Boa Vista (São Cristóvão, Rio de Janeiro, Brazil)"],"source":"Thereza Christina Maria","publisher":"Rio de Janeiro, RJ"}},"20.500.12156.1/4076":{"atlas":1,"col":47,"row":44,"cr":11047537,"cl":11048564,"ct":6840396,"cb":9799015,"ck":5195317,"meta":{"title":"[O jardim e o lago]","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"entre 1878 e 1889]","contributor":"Pacheco, Joaquim Insley, 1830-1912","type":"Livro","subject":["Lagos - Rio de Janeiro (RJ)","Jardins - Rio de Janeiro (RJ)","Parque da Quinta da Boa Vista (Rio de Janeiro, RJ)","São Cristovão (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Brasil","Lakes - Rio de Janeiro (Brazil)","Gardens - Rio de Janeiro (Brazil)","Brazil","Rio de Janeiro (Brazil)","São Cristóvão (Rio de Janeiro, Brazil)","Parque da Quinta da Boa Vista (São Cristóvão, Rio de Janeiro, Brazil)"],"description":["Cópia fotográfica de colódio, p&b","12,8 x 20,5 cm; Cartão suporte: 24,2 x 32 cm"],"coverage":["Parque da Quinta da Boa Vista (Rio de Janeiro, RJ)","São Cristovão (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Brasil","Brazil","Rio de Janeiro (Brazil)","São Cristóvão (Rio de Janeiro, Brazil)","Parque da Quinta da Boa Vista (São Cristóvão, Rio de Janeiro, Brazil)"],"source":"Thereza Christina Maria","publisher":"Rio de Janeiro, RJ"}},"20.500.12156.1/4077":{"atlas":1,"col":48,"row":44,"cr":11576205,"cl":11445131,"ct":6971986,"cb":7301207,"ck":4933177,"meta":{"title":"[Vista da Quinta da Boa Vista e seus arredores]","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"entre 1878 e 1889]","contributor":"Pacheco, Joaquim Insley, 1830-1912","type":"Livro","subject":["Museu Nacional (Brasil)","Lagos - Rio de Janeiro (RJ)","Jardins - Rio de Janeiro (RJ)","Palácios - Rio de Janeiro (RJ)","Parque da Quinta da Boa Vista (Rio de Janeiro, RJ)","São Cristovão (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Brasil","Lakes - Rio de Janeiro (Brazil)","Gardens - Rio de Janeiro (Brazil)","Palaces - Rio de Janeiro (Brazil)","Brazil","Rio de Janeiro (Brazil)","São Cristóvão (Rio de Janeiro, Brazil)","Parque da Quinta da Boa Vista (São Cristóvão, Rio de Janeiro, Brazil)"],"description":["Cópia fotográfica de colódio, p&b","12,8 x 20,5 cm; cartão suporte: 24,2 x 32 cm"],"coverage":["Parque da Quinta da Boa Vista (Rio de Janeiro, RJ)","São Cristovão (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Brasil","Brazil","Rio de Janeiro (Brazil)","São Cristóvão (Rio de Janeiro, Brazil)","Parque da Quinta da Boa Vista (São Cristóvão, Rio de Janeiro, Brazil)"],"source":"Thereza Christina Maria","publisher":"Rio de Janeiro, RJ"}},"20.500.12156.1/4078":{"atlas":1,"col":49,"row":44,"cr":11179121,"cl":10982767,"ct":7498323,"cb":7891538,"ck":5261109,"meta":{"title":"[Portão de entrada]","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"entre 1878 e 1889]","contributor":"Pacheco, Joaquim Insley, 1830-1912","type":"Livro","subject":["Portões  - Rio de Janeiro (RJ)","Parque da Quinta da Boa Vista (Rio de Janeiro, RJ)","São Cristovão (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Brasil","Gates - Rio de Janeiro (Brazil)","Brazil","Rio de Janeiro (Brazil)","São Cristóvão (Rio de Janeiro, Brazil)","Parque da Quinta da Boa Vista (São Cristóvão, Rio de Janeiro, Brazil)"],"description":["Cópia fotográfica de colódio, p&b","12,9 x 20,5 cm; Cartão suporte: 23,7 x 31,9 cm"],"coverage":["Parque da Quinta da Boa Vista (Rio de Janeiro, RJ)","São Cristovão (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Brasil","Brazil","Rio de Janeiro (Brazil)","São Cristóvão (Rio de Janeiro, Brazil)","Parque da Quinta da Boa Vista (São Cristóvão, Rio de Janeiro, Brazil)"],"publisher":"Rio de Janeiro, RJ"}},"20.500.12156.1/4079":{"atlas":1,"col":50,"row":44,"cr":11641998,"cl":11445389,"ct":9273448,"cb":8418924,"ck":5064506,"meta":{"title":"[Adjacências da Quinta da Boa Vista]","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"entre 1878 e 1889]","contributor":"Pacheco, Joaquim Insley, 1830-1912","type":"Fotografia","subject":["Portões  - 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Rio de Janeiro (RJ)","Joana, Rio (RJ)","Parque da Quinta da Boa Vista (Rio de Janeiro, RJ)","São Cristovão (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Brasil","Rivers - Rio de Janeiro (Brazil)","Joana River (Rio de Janeiro, Brazil)","Parque da Quinta da Boa Vista (São Cristóvão, Rio de Janeiro, Brazil)","São Cristóvão (Rio de Janeiro, Brazil)","Rio de Janeiro (Brazil)","Brazil"],"description":["Cópia fotográfica de colódio, p&b","13,3 x 20,4 cm em cartão suporte: 23,3 x 30,8 cm"],"coverage":["Joana, Rio (RJ)","Parque da Quinta da Boa Vista (Rio de Janeiro, RJ)","São Cristovão (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Brasil","Joana River (Rio de Janeiro, Brazil)","Parque da Quinta da Boa Vista (São Cristóvão, Rio de Janeiro, Brazil)","São Cristóvão (Rio de Janeiro, Brazil)","Rio de Janeiro (Brazil)","Brazil"],"source":"Thereza Christina Maria"}},"20.500.12156.1/4095":{"atlas":1,"col":4,"row":45,"cr":10588266,"cl":9142115,"ct":11509886,"cb":11838339,"ck":4998454,"meta":{"title":"[Rio Joana]","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"entre 1878 e 1889]","contributor":"Pacheco, Joaquim Insley, 1830-1912","type":"Fotografia","subject":["Rios - Rio de Janeiro (RJ)","Pontes - Rio de Janeiro (RJ)","Joana, Rio (RJ)","Parque da Quinta da Boa Vista (Rio de Janeiro, RJ)","São Cristovão (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Brasil","Rivers - Rio de Janeiro (Brazil)","Bridges - Rio de Janeiro (Brazil)","Joana River (Rio de Janeiro, Brazil)","Parque da Quinta da Boa Vista (São Cristóvão, Rio de Janeiro, Brazil)","São Cristóvão (Rio de Janeiro, Brazil)","Rio de Janeiro (Brazil)","Brazil"],"description":["Cópia fotográfica de colódio, p&b","20,3 x 14,2 cm em cartão suporte: 31,8 x 23,9 cm"],"coverage":["Joana, Rio (RJ)","Parque da Quinta da Boa Vista (Rio de Janeiro, RJ)","São Cristovão (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Brasil","Joana River (Rio de Janeiro, Brazil)","Parque da Quinta da Boa Vista (São Cristóvão, Rio de Janeiro, Brazil)","São Cristóvão (Rio de Janeiro, Brazil)","Rio de Janeiro (Brazil)","Brazil"],"source":"Thereza Christina Maria","publisher":"Rio de Janeiro, RJ"}},"20.500.12156.1/4096":{"atlas":1,"col":5,"row":45,"cr":11377015,"cl":11377527,"ct":10325100,"cb":9798752,"ck":5261110,"meta":{"title":"[Quinta da Boa Vista]","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"entre 1878 e 1889]","contributor":"Pacheco, Joaquim Insley, 1830-1912","type":"Fotografia","subject":["Parque da Quinta da Boa Vista (Rio de Janeiro, RJ)","São Cristovão (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Brasil","Parque da Quinta da Boa Vista (São Cristóvão, Rio de Janeiro, Brazil)","São Cristóvão (Rio de Janeiro, Brazil)","Rio de Janeiro (Brazil)","Brazil"],"description":["Cópia fotográfica de colódio, p&b","12,9 x 20,5  cm em cartão suporte: 24,3 x 32 cm"],"coverage":["Parque da Quinta da Boa Vista (Rio de Janeiro, RJ)","São Cristovão (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Brasil","Parque da Quinta da Boa Vista (São Cristóvão, Rio de Janeiro, Brazil)","São Cristóvão (Rio de Janeiro, Brazil)","Rio de Janeiro (Brazil)","Brazil"],"source":"Thereza Christina Maria","publisher":"Rio de Janeiro, RJ"}},"20.500.12156.1/4097":{"atlas":1,"col":6,"row":45,"cr":14079697,"cl":14079699,"ct":11448226,"cb":12303527,"ck":6446932,"meta":{"title":"Hospital de la Misericorde","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[ca. 1860]","contributor":"Frond, Victor","type":"Fotografia","subject":["Montanhas - Vitória (ES)","Hospitais - Vitória (ES)","Vitória (ES)","Espírito Santo","Brasil","Santa Casa de Misericórdia de Vitória","Mountains - Vitória (Espírito Santo, Brazil)","Hospitals - Vitória (Espírito Santo, Brazil)","Brazil","Vitória (Espírito Santo, Brazil)","Espírito Santo (Brazil : State)"],"description":["Cópia fotográfica albuminada, p&b","15,2 x 22 cm; cartão suporte: 23,8 x 30,3 cm"],"coverage":["Vitória (ES)","Espírito Santo","Brasil","Brazil","Vitória (Espírito Santo, Brazil)","Espírito Santo (Brazil : State)"],"source":"Thereza Christina Maria","publisher":"Vitória [ES]"}},"20.500.12156.1/4098":{"atlas":1,"col":7,"row":45,"cr":13881798,"cl":13684676,"ct":9144960,"cb":12303268,"ck":5393985,"meta":{"title":"Pont du Rio Jucu à Sta. Isabel","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"2016-02-05T12:20:12Z","contributor":"Frond, Victor","type":"Fotografia","subject":["Rios - Espírito Santo (Estado)","Colônias - Espírito Santo (Estado)","Jucu, Rio (ES)","Domingos Martins (ES)","Espírito Santo","Brasil"],"description":["Cópia fotográfica albuminada, p&b","15,3 x 22 cm em cartão suporte: 23,3 x 29,9 cm"],"coverage":["Jucu, Rio (ES)","Domingos Martins (ES)","Espírito Santo","Brasil"],"source":"Thereza Christina Maria"}},"20.500.12156.1/4099":{"atlas":1,"col":8,"row":45,"cr":13947852,"cl":13421246,"ct":9276547,"cb":11710620,"ck":4736317,"meta":{"title":"Ranche Impérial sur le bord du Rio Fumaca [sic] à la colonie de Sta. Leopoldina et dans lequel dina Sa Majesté l'Empereur","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"ca. 1860]","contributor":"Frond, Victor","type":"Livro","subject":["Pedro II, Imperador do Brasil, 1825-1891","Colônias - Espírito Santo (Estado)","Santa Leopoldina (ES)","Espírito Santo","Brasil","Colonies - Espírito Santo (Brazil : State)","Santa Leopoldina (Espírito Santo, Brazil)","Espírito Santo (Brazil : State)","Brazil"],"description":["Ranchos às margens do Rio Fumaça na Colônia Santa Leopoldina, onde o Imperador D. Pedro II jantou, por ocasião de sua visita. Várias pessoas posando para a foto. A Colônia Santa Leopoldina é o atual município de Santa Leopoldina, no Espírito Santo","Cópia fotográfica albuminada, p&b","15,8 x 22,3 cm; cartão suporte: 23,6 x 30,3 cm"],"coverage":["Santa Leopoldina (ES)","Espírito Santo","Brasil","Santa Leopoldina (Espírito Santo, Brazil)","Espírito Santo (Brazil : State)","Brazil"],"source":"Thereza Christina Maria","publisher":"[Santa Leopoldina, ES"}},"20.500.12156.1/41":{"atlas":1,"col":9,"row":45,"cr":13676162,"cl":13742468,"ct":65794,"cb":0,"ck":5851702,"meta":{"title":"[Quinta da Boa Vista, São Cristovão e arredores]","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[1878-1889]","contributor":"Pacheco, Joaquim Insley, 1830-1912","type":"Fotografia","subject":["Jardins - Rio de Janeiro (RJ)","Reservatórios - Rio de Janeiro (RJ)","Parque da Quinta da Boa Vista (Rio de Janeiro, RJ)","Gardens - Brazil - Rio de Janeiro","Reservoirs - Brazil - Rio de Janeiro","Parque da Quinta da Boa Vista (São Cristovão, Rio de Janeiro, Brazil)","São Cristovão (Rio de Janeiro, Brazil)"],"description":["12,7 x 19,3cm em c. 24 x 31,9"],"coverage":["Parque da Quinta da Boa Vista (Rio de Janeiro, RJ)","São Cristovão (Rio de Janeiro, RJ)"],"source":"Thereza Christina Maria"}},"20.500.12156.1/410":{"atlas":1,"col":10,"row":45,"cr":11574129,"cl":10390633,"ct":8351576,"cb":7430729,"ck":5524023,"meta":{"title":"Petrópolis : La Route Union et Industrie et la Rue de l’Empereur","community":"Biblioteca Nacional","rights":null,"date":"[1860]","contributor":"Klumb, Revert Henry, ca. 1826-ca. 1886","type":"Fotografia","subject":["Ruas - Petrópolis (RJ) - Brasil","Rua do Imperador (Petrópolis, RJ)","Streets - Petropolis (Brazil)"],"description":["papel albuminado, pb","13,8 x 7,4cm em 17,4 x 8,9"],"coverage":["Rua do Imperador (Petrópolis, RJ)"],"source":"Thereza Christina Maria","publisher":"Petrópolis, RJ"}},"20.500.12156.1/4100":{"atlas":1,"col":11,"row":45,"cr":14013646,"cl":13882575,"ct":10066321,"cb":9868943,"ck":6315603,"meta":{"title":"O Frade à Rio-Novo","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"ca 1860]","contributor":"Frond, Victor","type":"Livro","subject":["Rios - Espírito Santo (Estado)","Colônias - Espírito Santo (Estado)","Espírito Santo","Brasil","Colonies - Espírito Santo (Brazil : State)","Rivers - Espírito Santo (Brazil : State)","Espírito Santo (Brazil : State)","Brazil"],"description":["Cópia fotográfica albuminada, p&b","14,2 x 21,8 cm; cartão suporte: 23,4 x 30,4 cm"],"coverage":["Espírito Santo","Brasil","Espírito Santo (Brazil : State)","Brazil"],"source":"Thereza Christina Maria","publisher":"[Domingos Martins, ES"}},"20.500.12156.1/4101":{"atlas":1,"col":12,"row":45,"cr":11183768,"cl":10196870,"ct":14604996,"cb":14472894,"ck":5131072,"meta":{"title":"[Morro do Castelo] : [desmonte]","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"18 maio 1923","contributor":null,"type":"Fotografia","subject":["Castelo, Morro do (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Rio de Janeiro (Estado)","Brasil","Montanhas - Rio de Janeiro (RJ)","Mountains - Rio de Janeiro (Brazil)","Rio de Janeiro (Brazil)","Brazil"],"description":["Cartão suporte: 11,9 x 9,4","Cópia fotográfica de gelatina e prata, p&b","8,9 x 6,4"],"coverage":["Castelo, Morro do (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Rio de Janeiro (Estado)","Brasil","Rio de Janeiro (Brazil)","Brazil"],"publisher":"Rio de Janeiro, RJ"}},"20.500.12156.1/4102":{"atlas":1,"col":13,"row":45,"cr":10002836,"cl":8356985,"ct":13420981,"cb":14407613,"ck":4474946,"meta":{"title":"[Morro do Castelo] : [desmonte]","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"20 maio 1923","contributor":null,"type":"Fotografia","subject":["Igrejas (Edifícios) - Rio de Janeiro (RJ)","Montanhas - Rio de Janeiro (RJ)","Castelo, Morro do (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Rio de Janeiro (Estado)","Brasil","Panorama","Vista panorâmica","Buildings - Rio de Janeiro (Brazil)","Mountains - Rio de Janeiro (Brazil)","Rio de Janeiro (Brazil)","Brazil"],"description":["Cartão suporte: 10,3 x 20,1","Estado de conservação: regular; cartão suporte: regular","Cópia fotográfica de gelatina e prata, monocromático","7,2 x 17"],"coverage":["Castelo, Morro do (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Rio de Janeiro (Estado)","Brasil","Rio de Janeiro (Brazil)","Brazil"],"publisher":"Rio de Janeiro, RJ"}},"20.500.12156.1/4103":{"atlas":1,"col":14,"row":45,"cr":11907486,"cl":10526348,"ct":13289139,"cb":12565159,"ck":5591882,"meta":{"title":"[Morro do Castelo] : desmonte]","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[1923-193-]","contributor":null,"type":"Livro","subject":["Montanhas - Rio de Janeiro (RJ)","Castelo, Morro do (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Rio de Janeiro (Estado)","Brasil","Mountains - Rio de Janeiro (Brazil)","Rio de Janeiro (Brazil)","Brazil"],"description":["Cartão suporte: 19,8 x 26,3","Cópia fotográfica de gelatina e prata, p&b","17 x 23"],"coverage":["Castelo, Morro do (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Rio de Janeiro (Estado)","Brasil","Rio de Janeiro (Brazil)","Brazil"],"publisher":"Rio de Janeiro, RJ"}},"20.500.12156.1/4104":{"atlas":1,"col":15,"row":45,"cr":9407096,"cl":8552299,"ct":15065549,"cb":12433834,"ck":4736573,"meta":{"title":"[Morro do Castelo] : desmonte]","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[1923-193-]","contributor":null,"type":"Fotografia","subject":["Montanhas - Rio de Janeiro (RJ)","Castelo, Morro do (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Rio de Janeiro (Estado)","Brasil","Mountains - Rio de Janeiro (Brazil)","Rio de Janeiro (Brazil)","Brazil"],"description":["Papel: 16,9 x 23,1; cartão suporte: 19,8 x 26,2","Cópia fotográfica de gelatina e prata, p&b","15,6 x 22"],"coverage":["Castelo, Morro do (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Rio de Janeiro (Estado)","Brasil","Rio de Janeiro (Brazil)","Brazil"],"publisher":"Rio de Janeiro, RJ"}},"20.500.12156.1/4105":{"atlas":1,"col":16,"row":45,"cr":13024937,"cl":13486261,"ct":12367517,"cb":12629914,"ck":5657415,"meta":{"title":"[Monte Alegre de Minas}","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"1875","contributor":"Calcagno, Luiz Bartolomeu","type":"Fotografia","subject":["Edifícios - Monte Alegre de Minas (MG)","Igrejas (Edifícios) - Monte Alegre de Minas (MG)","Monte Alegre de Minas (MG)","Minas Gerais","Brasil","Church buildings - Monte Alegre de Minas (Minas Gerais, Brazil)","Buildings - Monte Alegre de Minas (Minas Gerais, Brazil)","Minas Gerais (Brazil)"],"description":["papel albuminado, p&b","8 x 15,5 cm e 8, 2 x 16 cm em cartão-suporte: 18 x 24,8 cm"],"coverage":["Monte Alegre de Minas (MG)","Minas Gerais","Brasil"],"publisher":"Monte Alegre de Minas, MG"}},"20.500.12156.1/4106":{"atlas":1,"col":17,"row":45,"cr":7433815,"cl":4868152,"ct":11249541,"cb":4407342,"ck":3223333,"meta":{"title":"Escola de Minas, Grupo Escolar D. Pedro II, Agencia do Correio e Igreja de N.S.das Merces.","community":"Biblioteca Nacional","rights":null,"date":"[19--]","contributor":null,"type":"Fotografia","subject":["Brasil","Ouro Preto (MG)","Minas Gerais","Brazil","Ouro Preto (Minas Gerais, Brazil)","Escolas - Ouro Preto (MG)","Edifícios públicos - Ouro Preto (MG)","Igrejas (Edifícios) - Ouro Preto (MG)","Schools - Ouro Preto (Minas Gerais, Brazil)","Public buildings - Ouro Preto (Minas Gerais, Brazil)","Church buildings - Ouro Preto (Minas Gerais, Brazil)"],"description":["gelatina, p&b","Cópia fotografica de gelatina e prata","11,7 x 17 cm"],"coverage":["Brasil","Ouro Preto (MG)","Minas Gerais"]}},"20.500.12156.1/4107":{"atlas":1,"col":18,"row":45,"cr":7104594,"cl":10788988,"ct":11512716,"cb":2499610,"ck":3683625,"meta":{"title":"Igreja de Sta. Ephigenia","community":"Biblioteca Nacional","rights":null,"date":"[19--]","contributor":null,"type":"Fotografia","subject":["Igrejas (Edifícios) - Ouro Preto (MG)","Brasil","Ouro Preto (MG)","Minas Gerais","Brazil","Ouro Preto (Minas Gerais, Brazil)","Church buildings - Ouro Preto (Minas Gerais, Brazil)","Igreja de de Santa Efigênia (Ouro Preto, MG)"],"description":["gelatina, p&b","Cópia fotografica de gelatina e prata","16,5 x 11,8 cm"],"coverage":["Brasil","Ouro Preto (MG)","Minas Gerais"]}},"20.500.12156.1/4108":{"atlas":1,"col":19,"row":45,"cr":6315081,"cl":7104852,"ct":8288089,"cb":4012847,"ck":3026210,"meta":{"title":"Igreja de N.S. do Carmo","community":"Biblioteca Nacional","rights":null,"date":"[19--]","contributor":null,"type":"Fotografia","subject":["Igreja de Nossa Senhora do Carmo (Ouro Preto, MG)","Igrejas (Edifícios) - Ouro Preto (MG)","Brasil","Ouro Preto (MG)","Minas Gerais","Brazil","Ouro Preto (Minas Gerais, Brazil)","Church buildings - Ouro Preto (Minas Gerais, Brazil)"],"description":["gelatina, p&b","Cópia fotografica de gelatina e prata","11,5 x 15,9 cm"],"coverage":["Brasil","Ouro Preto (MG)","Minas Gerais"]}},"20.500.12156.1/4109":{"atlas":1,"col":20,"row":45,"cr":9734760,"cl":9472108,"ct":5984313,"cb":6511432,"ck":4933431,"meta":{"title":"La pointe de l'arsenal de guerre : Vue prise de l'observatoire","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[ca. 1860]","contributor":"Klumb, Revert Henrique, fl. 1855-1880","type":"Fotografia","subject":["Arsenal da Marinha do Rio de Janeiro","Bases navais - Rio de Janeiro (RJ)","Arsenais - Rio de Janeiro (RJ)","Rio de Janeiro (RJ)","Navy-yards and naval stations - Rio de Janeiro (Brazil)","Arsenals - Rio de Janeiro (Brazil)"],"description":["Estereograma, papel albuminado, p&b","7,3 x 13,7 cm em cartão suporte: 8,3 x 17,6 cm"],"coverage":["Rio de Janeiro (RJ)"],"source":"Thereza Christina Maria","publisher":"Rio de Janeiro, RJ"}},"20.500.12156.1/411":{"atlas":1,"col":21,"row":45,"cr":8680535,"cl":7760209,"ct":6246977,"cb":7102027,"ck":3814183,"meta":{"title":"Petrópolis : Le Vallon Suisse, Pris du Jardim du Palais","community":"Biblioteca Nacional","rights":null,"date":"[1860]","contributor":"Klumb, Revert Henry, ca. 1826-ca. 1886","type":"Fotografia","subject":["Museu Imperial (Brasil)","Palácios - Petrópolis (RJ) - Brasil","Museu Imperial (Brazil)","Castles and palaces - Petrópolis (RJ) - Brazil"],"description":["papel albuminado, pb","14 x 7,6cm em 17,3 x 8,2"],"source":"Thereza Christina Maria","publisher":"Petrópolis, RJ"}},"20.500.12156.1/4110":{"atlas":1,"col":22,"row":45,"cr":3160632,"cl":3358524,"ct":5459779,"cb":5986118,"ck":1711902,"meta":{"title":"Lembrança do Paraguay","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[1868-1870]","contributor":"Cesar, Carlos","type":"Álbum","subject":["Avola, Fidelis, Frei","Barrios, Vicente, 1825-1868","Eu, Luis Filipe Maria Fernando Gastão de Orleans, Conde D', 1842-1922","Giribone, José, 1824-1868","Lynch, Elisa Alicia, 1835-1886","López, Carlos Antonio, 1790-1862","López, Francisco Solano, 1826-1870","Pelotas, José Antonio Correa da Camara, Visconde de, 1824-1893","Rocha, Francisco Vieira de Faria","Triunfo, José Joaquim de Andrade Neves, Barão do, 1807-1869","Estación Central de Ferrocarril Carlos Antonio López (Assunção, Paraguai)","Iglesia de la Santissima Trinidad (Assunção, Paraguai)","Iglesia de San Carlos Borromeo (Humaitá, Paraguai)","Palacio de los López (Assunção, Paraguai)","Panteón Nacional de los Heroes (Assunção, Paraguai)","Plaza Independencia (Assunção, Paraguai)","Paraguai, Guerra do, 1864-1870","Acampamentos militares - Paraguai","Castelos - Assunção (Paraguai)","Canhões","Catedrais - Assunção (Paraguai)","Danos de guerra - Paraguai","Cannons","War damage - Paraguay","Navios - Assunção (Paraguai)","Ferrovias - Paraguai","Ferrovias - Luque (Paraguai)","Fortificações - Paraguai","Frades","Igrejas (Edifícios) - Paraguai","Índios da América do Sul","Militares - Brasil","Portos - Assunção (Paraguai)","Postos telegráficos - Neembucù (Paraguai : Departamento)","Praças - Paraguai","Prisioneiros - Paraguai","Procissões religiosas - Paraguai","Quarteis - Paraguai","Restaurantes - Paraguai","Argentina","Assunção (Paraguai)","Chaco Boreal (Paraguai e Bolívia)","Corrientes (Argentina)","Lambaré (Paraguai)","Luque (Paraguai)","Neembucù (Paraguai : Departamento)","Paraguai","Paraguai, Rio","Military camps - Paraguay","Ships - Asunción (Paraguay)","Families - Paraguay","Railroads - Paraguay","Railroads - Luque (Paraguay)","Forts & fortifications - Paraguay","Friars","Church buildings - Paraguay","Indians of South America","Military - Brazil","Telegraph offices - Neembucú (Paraguay)","Plazas - Paraguay","Prisoners - Paraguay","Processions, Religious - Paraguay","Barracks - Paraguay","Ruins - Paraguay","Restaurants - Paraguay","Chaco Boreal (Paraguay and Bolivia)","Lambaré (Paraguay)","Luque (Paraguay)","Neembucú (Paraguay)","Paraguay","Paraguay River","Asunción (Paraguay)","Caxias, Luis Alves de Lima e Silva, Duque de, 1803-1880","Educação militar - Paraguai","Família - Paraguai","Military education - Paraguay","Family - Paraguay"],"description":["papel albuminado, p&b","Cópia fotográfica albuminada","Retrato de grupo","Panorama","8,7 x 11,8 cm a 22,5 x 30,6 cm) ; 24,5 x 34,5 cm"],"coverage":["Argentina","Assunção (Paraguai)","Chaco Boreal (Paraguai e Bolívia)","Corrientes (Argentina)","Lambaré (Paraguai)","Luque (Paraguai)","Neembucù (Paraguai : Departamento)","Paraguai","Paraguai, Rio"],"source":"Biblioteca Fluminense","publisher":"[Paraguai]"}},"20.500.12156.1/4111":{"atlas":1,"col":23,"row":45,"cr":14406843,"cl":14538429,"ct":10326907,"cb":10328195,"ck":6182985,"meta":{"title":"Igreja de Humaytá : vista do lado do Norte : Bombardeada pela Esquadra Brasileira","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[1868]","contributor":"Cesar, Carlos","type":"Fotografia","subject":["Paraguai, Guerra do, 1864-1870","Paraguai","Paraguay","Paraguayan war, 1865-1870","Igreja de San Carlos Borromeo (Humaitá, Paraguai)","Danos de guerra - Paraguai","Igrejas (Edifícios) - Paraguai","Ruínas - Paraguai","War damage - Paraguay","Church buildings - Paraguay","Ruins - Paraguay"],"description":["Cartão-suporte: 23,6 x 34,5 cm","(no verso): Vista geral de Humaytá - Territorio Paraguay (foto 1)","papel albuminado, p&b","Cópia fotográfica albuminada","11,4 x 16,5 cm"],"coverage":["Paraguai"],"source":"Biblioteca Fluminense","publisher":"[Paraguai]"}},"20.500.12156.1/4112":{"atlas":1,"col":24,"row":45,"cr":14669501,"cl":14867396,"ct":14208947,"cb":13748391,"ck":6511949,"meta":{"title":"Igreja de Humaytá : vista do lado do Sul","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[1868]","contributor":null,"type":"Fotografia","subject":["Igreja de San Carlos Borromeo (Humaitá, Paraguai)","Paraguai, Guerra do, 1864-1870","Danos de guerra - Paraguai","Igrejas (Edifícios) - Paraguai","Ruínas - Paraguai","Paraguai","Paraguay","Paraguayan war, 1865-1870","War damage - Paraguay","Church buildings - Paraguay","Ruins - Paraguay"],"description":["Cartão-suporte: 23,6 x 34,5 cm","(no verso): Interior da Igreja de Humaytá (foto 4)","papel albuminado, p&b","Cópia fotográfica albuminada","10 x 16,2 cm"],"coverage":["Paraguai"],"source":"Biblioteca Fluminense","publisher":"[Paraguai]"}},"20.500.12156.1/4113":{"atlas":1,"col":25,"row":45,"cr":14735809,"cl":14867397,"ct":14406585,"cb":13683112,"ck":6314830,"meta":{"title":"Interior da Igreja de Humaytá","community":"Biblioteca Nacional","rights":null,"date":"[1868]","contributor":null,"type":"Fotografia","subject":["Igreja de San Carlos Borromeo (Humaitá, Paraguai)","Paraguai, Guerra do, 1864-1870","Danos de guerra - Paraguai","Igrejas (Edifícios) - Paraguai","Ruínas - Paraguai","Paraguai","Paraguay","Paraguayan war, 1865-1870","War damage - Paraguay","Church buildings - Paraguay","Ruins - Paraguay"],"description":["Cartão-suporte: 23,6 x 34,5 cm","(no verso): Igreja de Humaytá : vista do lado do Sul (foto 3)","papel albuminado, p&b","Cópia fotográfica albuminada","12,2 x 11 cm"],"coverage":["Paraguai"],"source":"Biblioteca Fluminense","publisher":"[Paraguai]"}},"20.500.12156.1/4114":{"atlas":1,"col":26,"row":45,"cr":14735553,"cl":14736067,"ct":14209204,"cb":14011824,"ck":6577742,"meta":{"title":"Interior da Fortaleza de Humaytá com sua artilharia","community":"Biblioteca Nacional","rights":null,"date":"[1868]","contributor":null,"type":"Fotografia","subject":["Paraguai, Guerra do, 1864-1870","Canhões","Quartéis","Paraguai","Paraguay","Paraguayan war, 1865-1870","Cannons","Barracks","López, Francisco Solano, 1826-1870"],"description":["Cartão-suporte: 23,6 x 34,5 cm","(no verso): Bateria \"Londres\" em Humaytá (foto 6)","papel albuminado, p&b","Cópia fotográfica albuminada","9,6 x 15,2 cm"],"coverage":["Paraguai"],"source":"Biblioteca Fluminense","publisher":"[Paraguai]"}},"20.500.12156.1/4115":{"atlas":1,"col":27,"row":45,"cr":14801604,"cl":14867396,"ct":14472378,"cb":14077617,"ck":6511950,"meta":{"title":"Bateria \"Londres\" em Humaytá","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[1868]","contributor":"Galeria Universal de Carlos Cesar","type":"Fotografia","subject":["Paraguai, Guerra do, 1864-1870","Fortificações - Paraguai","Paraguai","Paraguay","Paraguayan war, 1865-1870","Forts & fortifications - Paraguay","Paraguay River","Paraguai, Rio"],"description":["Cartão-suporte: 23,6 x 34,5 cm","Interior da Fortaleza de Humaytá com sua artilharia (foto n. 5, no verso)","papel albuminado, p&b","Cópia fotográfica albuminada","10,3 x 14,6 cm"],"coverage":["Paraguai","Paraguai, Rio"],"source":"Biblioteca Fluminense","publisher":"[Paraguai]"}},"20.500.12156.1/4116":{"atlas":1,"col":28,"row":45,"cr":14735294,"cl":14867910,"ct":14340277,"cb":13945772,"ck":6380363,"meta":{"title":"Barranca do Humaytá","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[1868]","contributor":null,"type":"Fotografia","subject":["Paraguai, Guerra do, 1864-1870","Paraguai","Paraguai, Rio","Paraguay","Paraguayan war, 1865-1870","Paraguay River"],"description":["Cartão-suporte: 23,6 x 34,5 cm","(no verso): Vista do commercio em Humaytá (foto 8)","papel albuminado, p&b","Cópia fotográfica albuminada","10,5 x 15,2 cm"],"coverage":["Paraguai","Paraguai, Rio"],"source":"Biblioteca Fluminense","publisher":"[Paraguai]"}},"20.500.12156.1/4117":{"atlas":1,"col":29,"row":45,"cr":12495492,"cl":12495746,"ct":14406327,"cb":13879721,"ck":5787710,"meta":{"title":"Vista geral de Assumpção, Republica do Paraguai","community":"Biblioteca Nacional","rights":null,"date":"[1868]","contributor":null,"type":"Fotografia","subject":["Paraguai, Guerra do, 1864-1870","Paraguai","Paraguay","Paraguayan war, 1865-1870","Assunção (Paraguai)","Asunción (Paraguay)"],"description":["Cartão-suporte: 23,6 x 34,5 cm","(no verso): Porto de Assumpção (foto 10)","papel albuminado, p&b","Cópia fotográfica albuminada","Panorama","11,4 x 31 cm"],"coverage":["Paraguai","Assunção (Paraguai)"],"source":"Biblioteca Fluminense","publisher":"[Paraguai]"}},"20.500.12156.1/4118":{"atlas":1,"col":30,"row":45,"cr":14735553,"cl":14801604,"ct":14472635,"cb":14077358,"ck":6446156,"meta":{"title":"Porto de Assumpção","community":"Biblioteca Nacional","rights":null,"date":"[1868]","contributor":null,"type":"Fotografia","subject":["Paraguai, Guerra do, 1864-1870","Paraguai","Assunção (Paraguai)","Paraguay","Paraguayan war, 1865-1870","Asunción (Paraguay)","Portos - 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Pedro I (Petrópolis, RJ)","Museu Imperial (Brasil)","Palácios - Petrópolis (RJ) - Brasil","Ruas - Petrópolis (RJ) - Brasil","Edifícios - Petrópolis (RJ)","Museu Imperial (Brazil)","Streets - Petropolis (Brazil)","Buildings - Petropolis (Brazil)"],"description":["papel albuminado, pb","14,1 x 7,3cm em 17,4 x 8,4"],"source":"Thereza Christina Maria","publisher":"Petrópolis, RJ"}},"20.500.12156.1/4120":{"atlas":1,"col":33,"row":45,"cr":14603450,"cl":14603707,"ct":14472635,"cb":13879721,"ck":6380106,"meta":{"title":"Vista do Commercio em Humaytá","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[1869]","contributor":null,"type":"Fotografia","subject":["Paraguai, Guerra do, 1864-1870","Paraguai","Paraguay","Paraguayan war, 1865-1870"],"description":["Cartão-suporte: 23,6 x 34,5 cm","(no verso): Barranca do Humaytá (foto 7)","papel albuminado, p&b","Cópia fotográfica albuminada","10,5 x 15,9 cm"],"coverage":["Paraguai"],"source":"Biblioteca Fluminense","publisher":"[Paraguai]"}},"20.500.12156.1/4121":{"atlas":1,"col":34,"row":45,"cr":14801345,"cl":14735553,"ct":13748139,"cb":14011824,"ck":6314313,"meta":{"title":"Igreja Cathedral em Assumpção","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[1869]","contributor":null,"type":"Fotografia","subject":["Catedral Metropolitana de Assunção (Paraguai)","Paraguai, Guerra do, 1864-1870","Catedrais - Assunção (Paraguai)","Paraguai","Assunção (Paraguai)","Paraguay","Paraguayan war, 1865-1870","Asunción (Paraguay)","Cathedrals - Asunción (Paraguay)","Plaza Independencia (Assunção, Paraguai)","Praças - Assunção (Paraguai)","Plazas - Asunción (Paraguay)"],"description":["Cartão-suporte: 23,6 x 34,5 cm","(no verso): Palacio novo do Marechal Francisco Solano Lopes (foto 11)","papel albuminado, p&b","Cópia fotográfica albuminada","11,2 x 16,8 cm"],"coverage":["Paraguai","Assunção (Paraguai)"],"source":"Biblioteca Fluminense","publisher":"[Paraguai]"}},"20.500.12156.1/4122":{"atlas":1,"col":35,"row":45,"cr":12232324,"cl":14537910,"ct":14274740,"cb":14077617,"ck":5458229,"meta":{"title":"Estação da Estrada de Ferro em Assumpção - com a locomotiva","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[1869]","contributor":null,"type":"Fotografia","subject":["Estación Central de Ferrocarril Carlos Antonio López (Assunção, Paraguai)","Paraguai, Guerra do, 1864-1870","Ferrovias - Assunção (Paraguai)","Paraguai","Assunção (Paraguai)","Paraguay","Paraguayan war, 1865-1870","Asunción (Paraguay)","Railroads - Asunción (Paraguay)"],"description":["Cartão-suporte: 23,6 x 34,5 cm","(no verso): Estação da Estrada de Ferro (foto 14)","papel albuminado, p&b","Cópia fotográfica albuminada","14 x 21,6 cm"],"coverage":["Paraguai","Assunção (Paraguai)"],"source":"Biblioteca Fluminense","publisher":"[Paraguai]"}},"20.500.12156.1/4123":{"atlas":1,"col":36,"row":45,"cr":14470832,"cl":14735036,"ct":14341048,"cb":14209204,"ck":5984830,"meta":{"title":"Pantheon do Marechal Francisco Solano Lopes - Presidente da Republica","community":"Biblioteca Nacional","rights":null,"date":"[1869]","contributor":null,"type":"Fotografia","subject":["Panteón Nacional de los Heroes (Assunção, Paraguai)","Paraguai, Guerra do, 1864-1870","Paraguai","Assunção (Paraguai)","Paraguay","Paraguayan war, 1865-1870","Asunción (Paraguay)","López, Francisco Solano, 1826-1870"],"description":["Cartão-suporte: 23,6 x 34,5 cm","(no verso): Morada do General Barrios - cunhado de Lopez ; Esta casa servio de Quartel General Brasileiro em Assumpção (foto 16)","papel albuminado, p&b","Cópia fotográfica albuminada","13,5 x 21,1 cm"],"coverage":["Paraguai","Assunção (Paraguai)"],"source":"Biblioteca Fluminense","publisher":"[Paraguai]"}},"20.500.12156.1/4124":{"atlas":1,"col":37,"row":45,"cr":14867139,"cl":14604220,"ct":14274997,"cb":13880239,"ck":6116416,"meta":{"title":"Morada do General Barrios - cunhado de Lopez : esta casa servio de Quartel General Brasileiro em Assumpção","community":"Biblioteca Nacional","rights":null,"date":"[1869]","contributor":null,"type":"Fotografia","subject":["Barrios, Vicente, m.1868","Paraguai, Guerra do, 1864-1870","Paraguai","Assunção (Paraguai)","Paraguay","Paraguayan war, 1865-1870","Asunción (Paraguay)","Quarteis - Assunção (Paraguai)","Barracks - Asunción (Paraguay)"],"description":["Papel: 16,2 x 12,3 cm em cartão-suporte: 23,6 x 34,5 cm","(no verso): Pantheon do Marechal Franscisco Solano Lopes - Presidente da Republica (foto 15)","papel albuminado, p&b","Cópia fotográfica albuminada","oval 11,5 x 8,5 cm"],"coverage":["Paraguai","Assunção (Paraguai)"],"source":"Biblioteca Fluminense","publisher":"[Paraguai]"}},"20.500.12156.1/4125":{"atlas":1,"col":38,"row":45,"cr":14669242,"cl":14735809,"ct":14208947,"cb":14077359,"ck":6314055,"meta":{"title":"Igreja da Trindade onde está enterrado o Pai do Marechal Lopez","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[1868]","contributor":null,"type":"Fotografia","subject":["López, Carlos Antonio, 1790-1862","Paraguai, Guerra do, 1864-1870","Igrejas (edifícios) - Assunção (Paraguai)","Paraguai","Assunção (Paraguai)","Paraguay","Paraguayan war, 1865-1870","Asunción (Paraguay)","Church buildings - Asunción (Paraguay)","Iglesia de la Santisima Trinidad (Assunção, Paraguai)"],"description":["Cartão-suporte: 23,6 x 34,5 cm","(no verso): Igreja de Luque, Territorio Paraguay (foto 18)","papel albuminado, p&b","Cópia fotográfica albuminada","11,4 x 17,4 cm"],"coverage":["Paraguai","Assunção (Paraguai)"],"source":"Biblioteca Fluminense","publisher":"[Paraguai]"}},"20.500.12156.1/4126":{"atlas":1,"col":39,"row":45,"cr":14404777,"cl":12165490,"ct":14406585,"cb":13617061,"ck":5852470,"meta":{"title":"Igreja de Luque, Territorio Paraguay","community":"Biblioteca Nacional","rights":null,"date":"[1868]","contributor":null,"type":"Fotografia","subject":["Paraguai, Guerra do, 1864-1870","Igrejas (edifícios) - Luque (Paraguai)","Paraguai","Luque (Paraguai)","Paraguay","Paraguayan war, 1865-1870","Luque (Paraguay)","Church buildings - Luque (Paraguay)"],"description":["Cartão-suporte: 23,6 x 34,5 cm","(no verso): Igreja da Trindade onde está enterrado o Pai do Marechal Lopez (foto 17)","papel albuminado, p&b","Cópia fotográfica albuminada","17,2 x 23 cm"],"coverage":["Paraguai","Luque (Paraguai)"],"source":"Biblioteca Fluminense","publisher":"[Paraguai]"}},"20.500.12156.1/4127":{"atlas":1,"col":40,"row":45,"cr":11902321,"cl":14801604,"ct":14472378,"cb":14142894,"ck":5984314,"meta":{"title":"Praça de Luque","community":"Biblioteca Nacional","rights":null,"date":"[1868]","contributor":null,"type":"Fotografia","subject":["Paraguai, Guerra do, 1864-1870","Praças - Luque (Paraguay)","Paraguai","Luque (Paraguai)","Paraguay","Paraguayan war, 1865-1870","Luque (Paraguay)","Plazas - Luque (Paraguay)"],"description":["Cartão-suporte: 23,6 x 34,5 cm","(no verso): Casa de pasto de uma Argentina em Luque (foto 20)","papel albuminado, p&b","Cópia fotográfica albuminada","16 x 23,5 cm"],"coverage":["Paraguai","Luque (Paraguai)"],"source":"Biblioteca Fluminense","publisher":"[Paraguai]"}},"20.500.12156.1/4128":{"atlas":1,"col":41,"row":45,"cr":13021056,"cl":12561020,"ct":14275256,"cb":13551274,"ck":5918262,"meta":{"title":"Casa de pasto de uma argentina em Luque","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[1868]","contributor":null,"type":"Fotografia","subject":["Paraguai, Guerra do, 1864-1870","Restaurantes - Luque (Paraguai)","Paraguai","Luque (Paraguai)","Paraguay","Paraguayan war, 1865-1870","Luque (Paraguay)","Restaurants - Luque (Paraguay)"],"description":["Cartão-suporte: 23,6 x 34,5 cm","(no verso): Praça de Luque (foto 19).","papel albuminado, p&b","Cópia fotográfica albuminada","17 x 23,5 cm"],"coverage":["Paraguai","Luque (Paraguai)"],"source":"Biblioteca Fluminense","publisher":"[Paraguai]"}},"20.500.12156.1/4129":{"atlas":1,"col":42,"row":45,"cr":12495494,"cl":13880248,"ct":14406842,"cb":14143409,"ck":5655351,"meta":{"title":"Casa do General Camara em Lambaré","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[1868]","contributor":null,"type":"Fotografia","subject":["Paraguai, Guerra do, 1864-1870","Paraguai","Lambaré (Paraguai)","Paraguay","Paraguayan war, 1865-1870","Lambaré (Paraguay)","Pelotas, José Antonio Correa da Camara, Visconde de, 1824-1893"],"description":["Cartão-suporte: 23,6 x 34,5 cm","(no verso): Acampamento das forças brasileiras em Lambaré (foto 22)","papel albuminado, p&b","Cópia fotográfica albuminada","15,5 x 22,3 cm"],"coverage":["Paraguai","Lambaré (Paraguai)"],"source":"Biblioteca Fluminense","publisher":"[Paraguai]"}},"20.500.12156.1/413":{"atlas":1,"col":43,"row":45,"cr":10850668,"cl":10325614,"ct":9140303,"cb":10718814,"ck":4735025,"meta":{"title":"Petrópolis : Vue génerale prise des Bains de l’Empereur","community":"Biblioteca Nacional","rights":null,"date":"[1860]","contributor":"Klumb, Revert Henry, ca. 1826-ca. 1886","type":"Fotografia","subject":["Rua D. Pedro I (Petrópolis, RJ)","Museu Imperial (Brasil)","Palácios - Petrópolis (RJ) - Brasil","Ruas - Petrópolis (RJ) - Brasil","Edifícios - Petrópolis (RJ)","Museu Imperial (Brazil)","Castles and palaces - Brazil - Petrópolis (RJ)","Streets - Petropolis (Brazil)","Buildings - Petropolis (Brazil)"],"description":["papel albuminado, pb","14 x 7,3cm em 17,3 x 8,3"],"source":"Thereza Christina Maria","publisher":"Petrópolis, RJ"}},"20.500.12156.1/4130":{"atlas":1,"col":44,"row":45,"cr":14405554,"cl":14736065,"ct":14209207,"cb":13945773,"ck":5918782,"meta":{"title":"Acampamento das forças brasileiras em Lambaré","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[1868]","contributor":null,"type":"Fotografia","subject":["Paraguai, Guerra do, 1864-1870","Paraguai","Lambaré (Paraguai)","Paraguay","Paraguayan war, 1865-1870","Lambaré (Paraguay)","Acampamentos militares - Lambaré (Paraguai)","Military camps - Lambaré (Paraguay)"],"description":["Cartão-suporte: 23,6 x 34,5 cm","(no verso): Casa do General Camara em Lambaré (foto 21)","papel albuminado, p&b","Cópia fotográfica albuminada","12,6 x 21,5 cm"],"coverage":["Paraguai","Lambaré (Paraguai)"],"source":"Biblioteca Fluminense","publisher":"[Paraguai]"}},"20.500.12156.1/4131":{"atlas":1,"col":45,"row":45,"cr":12891026,"cl":13418407,"ct":13945775,"cb":14209204,"ck":5787451,"meta":{"title":"Revista de S. A. Real Conde d'Eu - em Lambaré","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[1869]","contributor":null,"type":"Fotografia","subject":["Paraguai, Guerra do, 1864-1870","Paraguai","Lambaré (Paraguai)","Paraguay","Paraguayan war, 1865-1870","Lambaré (Paraguay)","Military education - Lambaré (Paraguay)","Eu, Luis Filipe Maria Fernando Gastão de Orleans, Conde D', 1842-1922","Educação militar - Lambaré (Paraguai)"],"description":["Cartão-suporte: 23,6 x 34,5 cm","(no verso): Vista do Commercio em Lambaré (foto 24)","papel albuminado, p&b","Cópia fotográfica albuminada","13,8 x 22,2 cm"],"coverage":["Paraguai","Lambaré (Paraguai)"],"source":"Biblioteca Fluminense","publisher":"[Paraguai]"}},"20.500.12156.1/4132":{"atlas":1,"col":46,"row":45,"cr":14867141,"cl":14670014,"ct":14274998,"cb":13946289,"ck":5854019,"meta":{"title":"Vista do Commercio em Lambaré","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[1869]","contributor":null,"type":"Fotografia","subject":["Paraguai, Guerra do, 1864-1870","Acampamentos militares - Lambaré (Paraguai)","Paraguai","Lambaré (Paraguai)","Paraguay","Paraguayan war, 1865-1870","Lambaré (Paraguay)","Military camps - Lambaré (Paraguay)"],"description":["Cartão-suporte: 23,6 x 34,5 cm","(no verso): Revista de S. 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Salvador (BA)","Ruas - Salvador (BA)","Nazaré (Salvador, BA)","Salvador (BA)","Bahia","Brasil","Women's hospitals - Salvador (Bahia, Brazil)","Streets - Salvador (Bahia, Brazil)","Nazaré (Salvador, Bahia, Brazil)","Salvador (Brazil)","Bahia (Brazil : State)","Brazil"],"description":["Cópia fotográfica de gelatina e prata, p&b","Cópia fotográfica de gelatina e prata","16,1 x 22,8 cm em cartão suporte: 29,7 x 35,8 cm"],"coverage":["Nazaré (Salvador, BA)","Salvador (BA)","Bahia","Brasil","Nazaré (Salvador, Bahia, Brazil)","Salvador (Brazil)","Bahia (Brazil : State)","Brazil"],"publisher":"Salvador, BA"}},"20.500.12156.1/4173":{"atlas":1,"col":26,"row":46,"cr":11180152,"cl":11246715,"ct":9667429,"cb":9798243,"ck":5393211,"meta":{"title":"Canella","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"entre 1912 e 1919]","contributor":"Silva, Pedro Gonsalves da","type":"Fotografia","subject":["Habitações - Salvador (BA)","Ruas - Salvador (BA)","Canela (Salvador, BA)","Salvador (BA)","Bahia","Brasil","Dwellings - 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Ribeiro"}},"20.500.12156.1/4189":{"atlas":1,"col":43,"row":46,"cr":10855573,"cl":10197641,"ct":12170397,"cb":12893863,"ck":5197639,"meta":{"title":"Entrada da Barra do Rio de Janeiro","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[ca. 1904]","contributor":"Ribeiro, A.","type":"Fotografia","subject":["Montanhas - Rio de Janeiro (RJ)","Baías - Rio de Janeiro (RJ)","Guanabara, Baía de (RJ)","Catete (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Brasil","Panorama","Vistas panorâmicas - Rio de Janeiro (RJ) - 1904","Cartões postais - Rio de Janeiro (RJ)","Mountains - Rio de Janeiro (Brazil)","Bays - Rio de Janeiro (Brazil)","Panoramic views - Rio de Janeiro (Brazil) - 1904","Postcards - Rio de Janeiro (Brazil)","Guanabara Bay (Brazil)","Catete (Rio de Janeiro, Brazil)","Rio de Janeiro (Brazil)","Brazil"],"description":["Reprodução fotomecânica, p&b","11,1 x 28,3  cm"],"coverage":["Guanabara, Baía de (RJ)","Catete (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Brasil","Guanabara Bay (Brazil)","Catete (Rio de Janeiro, Brazil)","Rio de Janeiro (Brazil)","Brazil"],"publisher":"Rio de Janeiro, RJ, A. Ribeiro"}},"20.500.12156.1/419":{"atlas":1,"col":44,"row":46,"cr":12166006,"cl":9732191,"ct":10652776,"cb":10521963,"ck":4800303,"meta":{"title":"Petrópolis : aspect de la galerie du Palais au sortir de S. M. l’Imperatriz","community":"Biblioteca Nacional","rights":null,"date":"[1860]","contributor":"Klumb, Revert Henry, ca. 1826-ca. 1886","type":"Fotografia","subject":["Museu Imperial (Brasil)","Arquitetura de interiores - Petrópolis (RJ)","Palácios - Petrópolis (RJ)","Edifícios - Petrópolis (RJ)","Rua D. Pedro I (Petrópolis, RJ)","Museu Imperial (Brazil)","Interior architecture - Brazil - Petrópolis (RJ)","Castles and palaces - Brazil - Petrópolis (RJ)","Buildings - Petropolis (Brazil)"],"description":["papel albuminado, pb","7,2 x 14,5cm em 8,1 x 17,4cm"],"coverage":["Rua D. Pedro I (Petrópolis, RJ)"],"source":"Thereza Christina Maria","publisher":"Petrópolis, RJ"}},"20.500.12156.1/4190":{"atlas":1,"col":45,"row":46,"cr":10131592,"cl":10197900,"ct":13157294,"cb":12959654,"ck":5000260,"meta":{"title":"Entrada da Barra, Gloria e Cattete","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[ca. 1904]","contributor":"Ribeiro, A.","type":"Fotografia","subject":["Montanhas - Rio de Janeiro (RJ)","Baías - Rio de Janeiro (RJ)","Guanabara, Baía de (RJ)","Catete (Rio de Janeiro, RJ)","Glória (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Brasil","Panorama","Vistas panorâmicas - Rio de Janeiro (RJ) - 1904","Cartões postais - Rio de Janeiro (RJ)","Mountains - Rio de Janeiro (Brazil)","Bays - Rio de Janeiro (Brazil)","Panoramic views - Rio de Janeiro (Brazil) - 1904","Postcards - Rio de Janeiro (Brazil)","Guanabara Bay (Brazil)","Catete (Rio de Janeiro, Brazil)","Glória (Rio de Janeiro, Brazil)","Rio de Janeiro (Brazil)","Brazil"],"description":["Reprodução fotomecânica, p&b","11,2 x 28,3 cm"],"coverage":["Guanabara, Baía de (RJ)","Catete (Rio de Janeiro, RJ)","Glória (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Brasil","Guanabara Bay (Brazil)","Catete (Rio de Janeiro, Brazil)","Glória (Rio de Janeiro, Brazil)","Rio de Janeiro (Brazil)","Brazil"],"publisher":"Rio de Janeiro, RJ, A. Ribeiro"}},"20.500.12156.1/4191":{"atlas":1,"col":46,"row":46,"cr":8817799,"cl":10199193,"ct":11118749,"cb":13420989,"ck":5000779,"meta":{"title":"Botafogo","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[ca. 1904]","contributor":"Ribeiro, A.","type":"Fotografia","subject":["Montanhas - Rio de Janeiro (RJ)","Botafogo (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Brasil","Panorama","Vistas panorâmicas - Rio de Janeiro (RJ) - 1904","Cartões postais - Rio de Janeiro (RJ)","Mountains - Rio de Janeiro (Brazil)","Panoramic views - Rio de Janeiro (Brazil) - 1904","Postcards - Rio de Janeiro (Brazil)","Botafogo (Rio de Janeiro, Brazil)","Rio de Janeiro (Brazil)","Brazil"],"description":["Reprodução fotomecânica, p&b","11,5 x 27,6 cm"],"coverage":["Botafogo (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Brasil","Botafogo (Rio de Janeiro, Brazil)","Rio de Janeiro (Brazil)","Brazil"],"publisher":"Rio de Janeiro, RJ, A. Ribeiro"}},"20.500.12156.1/4192":{"atlas":1,"col":47,"row":46,"cr":7433823,"cl":6250067,"ct":8881011,"cb":5394502,"ck":3683887,"meta":{"title":"[São Paulo Railway Company : Alto da Serra]","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[1906]","contributor":"Manuel, F. (Frédéric)","type":"Fotografia","subject":["São Paulo Railway Company","Ferrovias - São Paulo (SP)","São Paulo (SP)","São Paulo (Estado)","Brasil","Railroads - São Paulo (São Paulo, Brazil)","São Paulo - (São Paulo, Brazil)","São Paulo (Brazil : State)","Brazil"],"description":["gelatina, p&b","16,8 x 22,7 cm"],"coverage":["São Paulo (SP)","São Paulo (Estado)","Brasil"],"publisher":"São Paulo, SP"}},"20.500.12156.1/4193":{"atlas":1,"col":48,"row":46,"cr":4408126,"cl":6842462,"ct":11315599,"cb":4737090,"ck":3026474,"meta":{"title":"[São Paulo Railway Company : Grota Funda (as duas linhas)]","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[1906]","contributor":"Manuel, F. (Frédéric)","type":"Fotografia","subject":["São Paulo Railway Company","Ferrovias - São Paulo (SP)","São Paulo (SP)","São Paulo (Estado)","Brasil","Railroads - São Paulo (Brazil)","São Paulo - (São Paulo, Brazil)","São Paulo (Brazil : State)","Brazil","Pontes ferroviárias - São Paulo (Estado)","Mar, Serra do","Railroad bridges - São Paulo (Brazil : State)","Mar Mountains (Brazil)"],"description":["gelatina, p&b","Cópia fotográfica de gelatina e prata","22,9 x 28,4 cm"],"coverage":["São Paulo (SP)","São Paulo (Estado)","Brasil","Mar, Serra do"],"publisher":"São Paulo, SP"}},"20.500.12156.1/4194":{"atlas":1,"col":49,"row":46,"cr":5592398,"cl":4276799,"ct":5395282,"cb":5197383,"ck":2894888,"meta":{"title":"[São Paulo Railway Company : Serra do Mar]","community":"Biblioteca Nacional","rights":null,"date":"[1906]","contributor":"Manuel, F. (Frédéric)","type":"Fotografia","subject":["São Paulo Railway Company","Ferrovias - São Paulo (Estado)","Túneis ferroviários - São Paulo (Estado)","São Paulo (SP)","São Paulo (Estado)","Brasil","Mar, Serra do","Railroads - São Paulo (Brazil : State)","São Paulo - (São Paulo, Brazil)","São Paulo (Brazil : State)","Brazil","Railroad tunnels - São Paulo (Brazil : State)","Mar Mountains (Brazil)"],"description":["gelatina, p&b","Cópia fotográfica de gelatina e prata","22,7 x 28,4 cm"],"coverage":["São Paulo (SP)","São Paulo (Estado)","Brasil","Mar, Serra do"],"publisher":"São Paulo, SP"}},"20.500.12156.1/4195":{"atlas":1,"col":50,"row":46,"cr":5000002,"cl":7038550,"ct":10918516,"cb":5920849,"ck":3552299,"meta":{"title":"Jardim da Luz","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[1906]","contributor":"Manuel, F. (Frédéric)","type":"Fotografia","subject":["Jardins - São Paulo (SP)","Parques - São Paulo (SP)","São Paulo (SP)","São Paulo (Estado)","Brasil","Gardens - São Paulo (São Paulo, Brazil)","São Paulo - (São Paulo, Brazil)","São Paulo (Brazil : State)","Brazil","Parks - São Paulo (São Paulo, Brazil)"],"description":["gelatina, p&b","Cópia fotográfica de gelatina e prata","23,9 x 30 cm"],"coverage":["São Paulo (SP)","São Paulo (Estado)","Brasil"],"publisher":"São Paulo, SP"}},"20.500.12156.1/4196":{"atlas":1,"col":51,"row":46,"cr":6841428,"cl":9143917,"ct":5460814,"cb":11314045,"ck":3683885,"meta":{"title":"[Várzea do Carmo : Ponte sobre o Rio Tamanduateí]","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[1906]","contributor":"Manuel, F. (Frédéric)","type":"Fotografia","subject":["Pontes - São Paulo (SP)","São Paulo (SP)","São Paulo (Estado)","Brasil","São Paulo - (São Paulo, Brazil)","São Paulo (Brazil : State)","Brazil","Bridges - São Paulo (São Paulo, Brazil)","Rios - São Paulo (SP)","Tamanduateí, Rio, Bacia (SP)","Rivers - São Paulo (São Paulo, Brazil)"],"description":["gelatina, p&b","Cópia fotográfica de gelatina e prata","23,8 x 30 cm"],"coverage":["São Paulo (SP)","São Paulo (Estado)","Brasil","Tamanduateí, Rio, Bacia (SP)"],"publisher":"São Paulo, SP"}},"20.500.12156.1/4197":{"atlas":1,"col":52,"row":46,"cr":7236698,"cl":6710358,"ct":11708544,"cb":4999743,"ck":3815727,"meta":{"title":"[Cantareira]","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[1906]","contributor":"Manuel, F. (Frédéric)","type":"Fotografia","subject":["Reservatórios - São Paulo (SP)","São Paulo (SP)","São Paulo (Estado)","Brasil","São Paulo - (São Paulo, Brazil)","São Paulo (Brazil : State)","Brazil","Reservoirs - São Paulo (Brazil)"],"description":["gelatina, p&b","Cópia fotográfica de gelatina e prata","23,7 x 30 cm"],"coverage":["São Paulo (SP)","São Paulo (Estado)","Brasil"],"publisher":"São Paulo, SP"}},"20.500.12156.1/4198":{"atlas":1,"col":53,"row":46,"cr":9407870,"cl":7829101,"ct":11184273,"cb":9604728,"ck":4276282,"meta":{"title":"[Escola Normal (inaugurada em 1894) e Praça da República]","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[1906]","contributor":"Manuel, F. (Frédéric)","type":"Fotografia","subject":["Praças - São Paulo (SP)","São Paulo (SP)","São Paulo (Estado)","Brasil","São Paulo - (São Paulo, Brazil)","São Paulo (Brazil : State)","Brazil","Plazas - São Paulo (São Paulo, Brazil)","Secretaria da Educação do Estado de São Paulo","Jardins - São Paulo (SP)","Escolas - São Paulo (SP)","Edifícios educacionais - São Paulo (SP)","Praça da República (São Paulo, SP)","Gardens - São Paulo (São Paulo, Brazil)","Schools - São Paulo (São Paulo, Brazil)","School buildings - São Paulo (Brazil)"],"description":["gelatina, p&b","Cópia fotográfica de gelatina e prata","22,9 x 28,4 cm"],"coverage":["São Paulo (SP)","São Paulo (Estado)","Brasil","Praça da República (São Paulo, SP)"],"publisher":"São Paulo, SP"}},"20.500.12156.1/4199":{"atlas":1,"col":54,"row":46,"cr":10063983,"cl":9735278,"ct":6644564,"cb":11576442,"ck":4933431,"meta":{"title":"Largo de São-Francisco : [Faculdade de Direito e Igreja de São Francisco]","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[1906]","contributor":"Manuel, F. (Frédéric)","type":"Fotografia","subject":["Praças - São Paulo (SP)","Igrejas (Edifícios) - São Paulo (SP)","Edifícios educacionais - São Paulo (SP)","São Paulo (SP)","São Paulo (Estado)","Brasil","São Paulo - (São Paulo, Brazil)","São Paulo (Brazil : State)","Brazil","Plazas - São Paulo (São Paulo, Brazil)","Church buildings - São Paulo (São Paulo, Brazil)","School buildings - São Paulo (São Paulo, Brazil)","Universidade de São Paulo. Faculdade de Direito","Igreja São Francisco (São Paulo, SP)","Largo de São Francisco (São Paulo, SP)"],"description":["gelatina, p&b","Cópia fotográfica de gelatina e prata","23,8 x 30 cm"],"coverage":["São Paulo (SP)","São Paulo (Estado)","Brasil","Largo de São Francisco (São Paulo, SP)"],"publisher":"São Paulo, SP"}},"20.500.12156.1/420":{"atlas":1,"col":55,"row":46,"cr":12427888,"cl":12099954,"ct":4404517,"cb":7429700,"ck":5852469,"meta":{"title":"Petrópolis : salle d’attente du Palais et escalier conduisant aux de S.M. l’Imperatrice","community":"Biblioteca Nacional","rights":null,"date":"[1860]","contributor":"Klumb, Revert Henry, ca. 1826-ca. 1886","type":"Fotografia","subject":["Museu Imperial (Brasil)","Arquitetura de interiores - Petrópolis (RJ)","Palácios - Petrópolis (RJ)","Edifícios - Petrópolis (RJ)","Rua D. Pedro I (Petrópolis, RJ)","Interior architecture - Brazil - Petrópolis (RJ)","Castles and palaces - Brazil - Petrópolis (RJ)","Buildings - Petropolis (Brazil)"],"description":["papel albuminado, pb","7,1 x 14,6cm em 8,2 x 17,4"],"coverage":["Rua D. Pedro I (Petrópolis, RJ)"],"source":"Thereza Christina Maria","publisher":"Petrópolis, RJ"}},"20.500.12156.1/4200":{"atlas":1,"col":56,"row":46,"cr":9671041,"cl":7237219,"ct":10986899,"cb":11512979,"ck":4342074,"meta":{"title":"[Palácio do governo]","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[1906]","contributor":"Manuel, F. (Frédéric)","type":"Fotografia","subject":["Edifícios públicos - São Paulo (SP)","Palácios - São Paulo (SP)","São Paulo (SP)","São Paulo (Estado)","Brasil","Pátio do Colégio (São Paulo, SP)","São Paulo - (São Paulo, Brazil)","São Paulo (Brazil : State)","Brazil","Palaces - São Paulo (Brazil)","Public buildings"],"description":["gelatina, p&b","Cópia fotográfica de gelatina e prata","22,5 x 28,1 cm"],"coverage":["São Paulo (SP)","São Paulo (Estado)","Brasil","Pátio do Colégio (São Paulo, SP)"],"publisher":"São Paulo, SP"}},"20.500.12156.1/4201":{"atlas":1,"col":57,"row":46,"cr":8486769,"cl":8947576,"ct":12104856,"cb":4539457,"ck":4408123,"meta":{"title":"[Secretarias da Fazenda e da Agricultura, Reparttição Central da Polícia]","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[1906]","contributor":"Manuel, F. (Frédéric)","type":"Fotografia","subject":["São Paulo (SP)","São Paulo (Estado)","Brasil","São Paulo - (São Paulo, Brazil)","São Paulo (Brazil : State)","Brazil","Public buildings - São Paulo (São Paulo, Brazil)","Edifícios públicos - São Paulo (SP)"],"description":["gelatina, p&b","Cópia fotográfica de gelatina e prata","22,5 x 28 cm"],"coverage":["São Paulo (SP)","São Paulo (Estado)","Brasil"],"publisher":"São Paulo, SP"}},"20.500.12156.1/4202":{"atlas":1,"col":58,"row":46,"cr":6315860,"cl":9144175,"ct":11579033,"cb":5657671,"ck":4078644,"meta":{"title":"[Vista parcial da cidade, vê-se o Viaduto do Chá]","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[1906]","contributor":"Manuel, F. (Frédéric)","type":"Fotografia","subject":["Viadutos - São Paulo (SP)","Edifícios - Santos (SP)","São Paulo (SP)","São Paulo (Estado)","Brasil","São Paulo - (São Paulo, Brazil)","São Paulo (Brazil : State)","Brazil","Viaducts - São Paulo (São Paulo, Brazil)","Buildings - São Paulo (São Paulo, Brazil)","Viaduto do Chá (São Paulo, SP)"],"description":["gelatina, p&b","Cópia fotográfica de gelatina e prata","22,3 x 28,7 cm"],"coverage":["São Paulo (SP)","São Paulo (Estado)","Brasil","Viaduto do Chá (São Paulo, SP)"],"publisher":"São Paulo, SP"}},"20.500.12156.1/4203":{"atlas":1,"col":59,"row":46,"cr":7236702,"cl":6973012,"ct":6841943,"cb":5591881,"ck":3355179,"meta":{"title":"[Interior do Museu do Ipiranga]","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[1906]","contributor":"Manuel, F. (Frédéric)","type":"Fotografia","subject":["Museus - São Paulo (SP)","Edifícios públicos - São Paulo (SP)","São Paulo (SP)","São Paulo (Estado)","Brasil","São Paulo - (São Paulo, Brazil)","São Paulo (Brazil : State)","Brazil","Museums - São Paulo (São Paulo, Brazil)","Interiors - São Paulo (São Paulo, Brazil)","Museu Paulista","Public buildings - São Paulo (São Paulo, Brazil)","Interiores - São Paulo (SP)","Ipiranga (São Paulo, SP)"],"description":["gelatina, p&b","Cópia fotográfica de gelatina e prata","28,8 x 22,4 cm"],"coverage":["São Paulo (SP)","São Paulo (Estado)","Brasil","Ipiranga (São Paulo, SP)"],"publisher":"São Paulo, SP"}},"20.500.12156.1/4204":{"atlas":1,"col":60,"row":46,"cr":9210488,"cl":10460551,"ct":10921358,"cb":7434591,"ck":5131586,"meta":{"title":"[Clube de regatas de São Paulo]","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[1906]","contributor":"Manuel, F. (Frédéric)","type":"Fotografia","subject":["Rios - São Paulo (SP)","Clubes - São Paulo (SP)","São Paulo (SP)","São Paulo (Estado)","Brasil","São Paulo - (São Paulo, Brazil)","São Paulo (Brazil : State)","Brazil","Rivers - São Paulo (São Paulo, Brazil)","Clubs - São Paulo (São Paulo, Brazil)"],"description":["gelatina, p&b","Cópia fotográfica de gelatina e prata","16,8 x 22,8 cm"],"coverage":["São Paulo (SP)","São Paulo (Estado)","Brasil"],"publisher":"São Paulo, SP"}},"20.500.12156.1/4205":{"atlas":1,"col":61,"row":46,"cr":4342076,"cl":7368285,"ct":6645084,"cb":4144954,"ck":3157800,"meta":{"title":"[Fazenda Sta. Gertrudes]","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[1906]","contributor":"Manuel, F. (Frédéric)","type":"Fotografia","subject":["Fazendas - São Paulo (SP)","São Paulo (Estado)","Brasil","São Paulo - (São Paulo, Brazil)","São Paulo (Brazil : State)","Brazil","Farms - São Paulo (São Paulo, Brazil)","Rio Claro (São Paulo, Brazil)","Rio Claro (SP)"],"description":["gelatina, p&b","Cópia fotográfica de gelatina e prata","16,9 x 22,7 cm"],"coverage":["São Paulo (Estado)","Brasil","Rio Claro (SP)"],"publisher":"Rio Claro, SP"}},"20.500.12156.1/4206":{"atlas":1,"col":62,"row":46,"cr":7894631,"cl":6381654,"ct":8551523,"cb":9802362,"ck":3684402,"meta":{"title":"[São Paulo Railway Company : Estação da Luz, vestíbulo]","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[1906]","contributor":"Manuel, F. (Frédéric)","type":"Fotografia","subject":["São Paulo Railway Company","Estação da Luz (São Paulo, SP)","Ferrovias - São Paulo (SP)","São Paulo (SP)","São Paulo (Estado)","Brasil","São Paulo - (São Paulo, Brazil)","São Paulo (Brazil : State)","Brazil","Railroads - São Paulo (São Paulo, Brazil)"],"description":["gelatina, p&b","Cópia fotográfica de gelatina e prata","22,8 x 28,5 cm"],"coverage":["São Paulo (SP)","São Paulo (Estado)","Brasil"],"publisher":"São Paulo, SP"}},"20.500.12156.1/4207":{"atlas":1,"col":63,"row":46,"cr":8617844,"cl":10656397,"ct":8287837,"cb":4932405,"ck":4670525,"meta":{"title":"Panorama da enseada de Botafogo","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[entre 1910 e 1915]","contributor":"Ribeiro, Antônio Caetano da Costa","type":"Fotografia","subject":["Montanhas - Rio de Janeiro (RJ)","Baías - Rio de Janeiro (RJ)","Praias - Rio de Janeiro (RJ)","Queimada - Rio de Janeiro (RJ)","Panorama","Botafogo (Rio de Janeiro, RJ)","Corcovado, Morro do (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Mountains - Rio de Janeiro (Brazil)","Bays - Rio de Janeiro (Brazil)","Beaches - Rio de Janeiro (Brazil)","Burning of land - Rio de Janeiro (Brazil)","Panoramic views - Rio de Janeiro (Brazil) - 1910-1915","Botafogo (Rio de Janeiro, Brazil)","Corcovado, Morro do (Rio de Janeiro, Brazil)","Guanabara Bay (Brazil)","Rio de Janeiro (Brazil)"],"description":["Rio de Janeiro - Fundação Biblioteca Nacional / Rio cidade paisagem / de 12 de junho a 8 de agosto de 2012","29 x 111,5 cm"],"coverage":["Botafogo (Rio de Janeiro, RJ)","Corcovado, Morro do (Rio de Janeiro, RJ)","Rio de Janeiro (RJ)","Botafogo (Rio de Janeiro, Brazil)","Corcovado, Morro do (Rio de Janeiro, Brazil)","Guanabara Bay (Brazil)","Rio de Janeiro (Brazil)"],"publisher":"Rio de Janeiro, RJ"}},"20.500.12156.1/4209":{"atlas":1,"col":0,"row":47,"cr":10064239,"cl":7892564,"ct":6712668,"cb":3225649,"ck":2698277,"meta":{"title":"Cathedral","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[1931?]","contributor":null,"type":"Fotografia","subject":["Catedral Metropolitana de Juiz de Fora (MG)","Igrejas (Edifícios) - Juiz de Fora (MG)","Juiz de Fora (MG)","Minas Gerais","Church buildings - Juiz de Fora (Minas Gerais, Brazil)","Juiz de Fora (Minas Gerais, Brazil)","Minas Gerais (Brazil)"],"description":["colotipia, monocromático","12,9 x 8 cm."],"coverage":["Juiz de Fora (MG)","Minas Gerais","Juiz de Fora (Minas Gerais, Brazil)","Minas Gerais (Brazil)"],"publisher":"Juiz de Fora (MG)"}},"20.500.12156.1/421":{"atlas":1,"col":1,"row":47,"cr":14202507,"cl":14334346,"ct":65793,"cb":65793,"ck":6311993,"meta":{"title":"Palacete onde a Princesa Isabel e o Conde d’Eu, Princesa Leopoldina e o Duque Saxe passaram a lua de mel","community":"Biblioteca Nacional","rights":null,"date":"[1860]","contributor":"Klumb, Revert Henrique, fl. 1855-1880","type":"Fotografia","subject":["Isabel, Princesa do Brasil, 1846-1921","Eu, Luis Filipe Maria Fernando Gastão de Orleans, Conde D', 1842-1922","Leopoldina, Princesa do Brasil, 1847-1871","Saxe-Coburgo-Gota, Luis Augusto Maria Eudes de, Duque de, 1845-1907","Ubá, Joaquim Ribeiro de Avelar, Visconde de, 1821-1888","Palácios - Petrópolis (RJ) - Brasil","Edifícios - Petrópolis (RJ)","Palaces - Brazil - Petrópolis (RJ)","Buildings - Petropolis (Brazil)"],"description":["papel albuminado, pb","9,0 x 5,3cm em 10,5 x 6,2"],"source":"Thereza Christina Maria","publisher":"Petrópolis, RJ"}},"20.500.12156.1/4210":{"atlas":1,"col":2,"row":47,"cr":10459003,"cl":9736057,"ct":9274474,"cb":9998708,"ck":5065278,"meta":{"title":"Ponta Grossa : Paraná","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[1910]","contributor":"Bianchi, Luis, 1876-1940","type":"Fotografia","subject":["Edifícios - Ponta Grossa (PR)","Vistas panorâmicas - Ponta Grossa (PR) - 1910","Panorama","Brasil","Ponta Grossa (PR)","Paraná","Buildings - Ponta Grossa (Paraná, Brazil)","Panoramic views - Ponta Grossa (Paraná, Brazil) - 1910","Brazil","Ponta Grossa (Paraná, Brazil)","Paraná (Brazil : State)"],"description":["Luiz Bianchi","panorama, cópia fotográfica de gelatina e prata, gelatina, p&b","8,5 x 17 cm"],"coverage":["Brasil","Ponta Grossa (PR)","Paraná","Brazil","Ponta Grossa (Paraná, Brazil)","Paraná (Brazil : State)"],"publisher":"Ponta Grossa, PR"}},"20.500.12156.1/4211":{"atlas":1,"col":3,"row":47,"cr":10262143,"cl":7565152,"ct":6774865,"cb":9866608,"ck":4736572,"meta":{"title":"Ponta Grossa : Rua 15 de Novembro","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[1910]","contributor":"Bianchi, Luis, 1876-1940","type":"Fotografia","subject":["Ruas - Ponta Grossa (PR)","Edifícios - Ponta Grossa (PR)","Brasil","Ponta Grossa (PR)","Paraná","Rua Quinze de Novembro (Ponta Grossa, PR)","Streets - Ponta Grossa (Paraná, Brazil)","Buildings - Ponta Grossa (Paraná, Brazil)","Brazil","Ponta Grossa (Paraná, Brazil)","Paraná (Brazil : State)","Rua Quinze de Novembro (Paraná, Brazil)"],"description":["Luiz Bianchi","cópia fotográfica de gelatina e prata, gelatina, p&b","9,2 x 17 cm"],"coverage":["Brasil","Ponta Grossa (PR)","Paraná","Rua Quinze de Novembro (Ponta Grossa, PR)","Brazil","Ponta Grossa (Paraná, Brazil)","Paraná (Brazil : State)","Rua Quinze de Novembro (Paraná, Brazil)"],"publisher":"Ponta Grossa, PR"}},"20.500.12156.1/4212":{"atlas":1,"col":4,"row":47,"cr":11051917,"cl":9078387,"ct":9735537,"cb":9932657,"ck":4999743,"meta":{"title":"Ponta Grossa","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[1910]","contributor":"Bianchi, Luis, 1876-1940","type":"Fotografia","subject":["Habitações - Ponta Grossa (PR)","Brasil","Ponta Grossa (PR)","Paraná","Dwellings - Ponta Grossa (Paraná, Brazil)","Brazil","Ponta Grossa (Paraná, Brazil)","Paraná (Brazil : State)"],"description":["Luiz Bianchi","cópia fotográfica de gelatina e prata, gelatina, p&b","8,5 x 17 cm"],"coverage":["Brasil","Ponta Grossa (PR)","Paraná","Brazil","Ponta Grossa (Paraná, Brazil)","Paraná (Brazil : State)"],"publisher":"Ponta Grossa, PR"}},"20.500.12156.1/4213":{"atlas":1,"col":5,"row":47,"cr":8617581,"cl":9144438,"ct":9735282,"cb":9077349,"ck":4736572,"meta":{"title":"Ponta Grossa : Rua Augusto Ribas","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[1910]","contributor":"Bianchi, Luis, 1876-1940","type":"Fotografia","subject":["Ruas - Ponta Grossa (PR)","Brasil","Ponta Grossa (PR)","Paraná","Rua Augusto Ribas (Ponta Grossa, PR)","Streets - Ponta Grossa (Paraná, Brazil)","Ponta Grossa (Paraná, Brazil)","Brazil","Rua Augusto Ribas (Paraná, Brazil)"],"description":["Luiz Bianchi","cópia fotográfica de gelatina e prata, gelatina, p&b","9,2 x 17 cm"],"coverage":["Brasil","Ponta Grossa (PR)","Paraná","Rua Augusto Ribas (Ponta Grossa, PR)","Ponta Grossa (Paraná, Brazil)","Brazil","Rua Augusto Ribas (Paraná, Brazil)"],"publisher":"Ponta Grossa, PR"}},"20.500.12156.1/4214":{"atlas":1,"col":6,"row":47,"cr":10393729,"cl":10985859,"ct":9998713,"cb":10130553,"ck":4999742,"meta":{"title":"Avd. Fernandes Pinheiro","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[1910]","contributor":"Bianchi, Luis, 1876-1940","type":"Fotografia","subject":["Estação Ferroviária de Ponta Grossa (PR)","Ferrovias - Estações - Ponta Grossa (PR)","Ruas - Ponta Grossa (PR)","Avenida Fernandes Pinheiro (Ponta Grossa, PR)","Brasil","Ponta Grossa (PR)","Paraná","Railroad stations - Ponta Grossa (Paraná, Brazil)","Streets - Ponta Grossa (Paraná, Brazil)","Avenida Fernandes Pinheiro (Paraná, Brazil)","Brazil","Ponta Grossa (Paraná, Brazil)","Paraná (Brazil : State)"],"description":["Avenida Fernandes Pinheiro, ao fundo Estação Roxo de Rodrigues, atual Estação Ferroviária de Ponta Grossa","Luiz Bianchi","cópia fotográfica de gelatina e prata, gelatina, p&b","9,5 x 17  cm"],"coverage":["Avenida Fernandes Pinheiro (Ponta Grossa, PR)","Brasil","Ponta Grossa (PR)","Paraná","Avenida Fernandes Pinheiro (Paraná, Brazil)","Brazil","Ponta Grossa (Paraná, Brazil)","Paraná (Brazil : State)"],"publisher":"Ponta Grossa, PR"}},"20.500.12156.1/4215":{"atlas":1,"col":7,"row":47,"cr":11642241,"cl":11116673,"ct":11247486,"cb":12891787,"ck":5722690,"meta":{"title":"Cidade de Quixadá","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[190-?]","contributor":"Moura, Miguel de, 1883-","type":"Fotografia","subject":["Igrejas (Edifícios) - Quixada (CE)","Quixadá (CE)","Ceará","Brasil","Church buildings - Quixada (Ceará, Brazil)","Quixadá (Ceará, Brazil)","Ceará (Brazil : State)","Brazil"],"description":["Cópia fotográfica de colódio, p&b","12,2 x 17 cm em cartão 13,5 x 18,5"],"coverage":["Quixadá (CE)","Ceará","Brasil","Quixadá (Ceará, Brazil)","Ceará (Brazil : State)","Brazil"],"publisher":"Ceará"}},"20.500.12156.1/4216":{"atlas":1,"col":8,"row":47,"cr":7631200,"cl":8354663,"ct":11709577,"cb":9078117,"ck":4144692,"meta":{"title":"[Crianças, mulheres e os flagelados que trabalharam na construção da E. F. F. I.]","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"fev. 1920","contributor":null,"type":"Fotografia","subject":["Crianças - Umari (CE)","Ferrovias - Umari (CE)","Trabalhadores da construção ferroviária - Umari (CE)","Umari (CE)","Ceará","Brasil","Children - Umari (Ceará, Brazil)","Railroads - Umari (Ceará, Brazil)","Railroad construction workers - Umari (Ceará, Brazil)","Umari (Brazil)","Ceará (Brazil : State)","Brazil"],"description":["Trabalhadores na construção da estrada de ferro, pertencente a Rede de Viação Cearense, que liga Fortaleza ao antigo ramal de Itapipoca, hoje Ramal de João Filipe (km 57)","Cópia fotográfica de gelatina e prata, p&b","11,8 x 17 cm"],"coverage":["Umari (CE)","Ceará","Brasil","Umari (Brazil)","Ceará (Brazil : State)","Brazil"],"publisher":"Umari [CE]"}},"20.500.12156.1/4217":{"atlas":1,"col":9,"row":47,"cr":9999747,"cl":9868420,"ct":11842725,"cb":11182713,"ck":5131589,"meta":{"title":"[Locomotiva e vagão da Estrada de Ferro de Baturité","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[1920?]","contributor":null,"type":"Fotografia","subject":["Estrada de Ferro de Baturité","Ferrovias - Ceará","Locomotivas - Ceará","Ferrovias - Vagões de carga - Ceará","Ceará","Brasil","Railroads - Ceará (Brazil : State)","Locomotives - Ceará (Brazil : State)","Railroads - Freight-cars - Ceará (Brazil : State)","Ceará (Brazil : State)","Brazil"],"description":["Cópia fotográfica de gelatina e prata, p&b","11,8 x 17 cm"],"coverage":["Ceará","Brasil","Ceará (Brazil : State)","Brazil"],"publisher":"Ceará"}},"20.500.12156.1/4218":{"atlas":1,"col":10,"row":47,"cr":8814698,"cl":8485991,"ct":10329488,"cb":13684150,"ck":4275763,"meta":{"title":"[Remodelação da Ladeira do Bomfim para cimento armado : vendo-se ao fundo o Solar Marback]","community":"Biblioteca Nacional","rights":null,"date":"2016-02-05T12:24:23Z","contributor":null,"type":"Fotografia","subject":["Solar Marback (Salvador, BA)","Ladeira do Bonfim (Salvador, BA)","Streets - Salvador (Bahia, Brazil)","Ruas - Salvador (BA)"],"description":["Negativo de segunda geração: n. 17076, triacetato de celulose (DiMic)","Papel: 6,5 x 11,2","Roberto Lorens Marback","Cópia fotográfica de gelatina e prata, p&b","6,2 x 10,2"],"coverage":["Ladeira do Bonfim (Salvador, BA)"]}},"20.500.12156.1/4219":{"atlas":1,"col":11,"row":47,"cr":8353127,"cl":6510410,"ct":4604735,"cb":5194031,"ck":4012081,"meta":{"title":"Ponte do Cachoeiro de Sta. 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B. 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Rio de Janeiro (RJ)","Buildings - Rio de Janeiro (Brazil)","Pavimentação (Rio de Janeiro, RJ)","Pavements - Rio de Janeiro (Brazil)"],"description":["8 x 11 cm"],"coverage":["São Cristóvão (Rio de Janeiro, RJ)"],"source":"Coleção Augusto Malta"}},"20.500.12156.1/4577":{"atlas":1,"col":11,"row":53,"cr":6645093,"cl":8224125,"ct":13750737,"cb":10855845,"ck":4473924,"meta":{"title":"Largo do Estácio","community":"Arquivo Geral da Cidade do Rio de Janeiro","rights":null,"date":"29/01/1940","contributor":"Malta, Uriel, 1910-1994.","type":null,"subject":["Largo do Estácio (Rio de Janeiro, RJ)","Edifícios - Rio de Janeiro (RJ)","Buildings - Rio de Janeiro (Brazil)","Carros - Rio de Janeiro (RJ)","Car - Rio de janeiro (Brazil)","Enchentes - Rio de Janeiro (RJ)","Flood - Rio de Janeiro (Brazil)"],"description":["8 x 11 cm"],"coverage":["Estácio (Rio de janeiro, RJ)"],"source":"Coleção Augusto Malta"}},"20.500.12156.1/4578":{"atlas":1,"col":12,"row":53,"cr":11382189,"cl":11579568,"ct":11776947,"cb":12171705,"ck":6118749,"meta":{"title":"Ilha do Governador","community":"Arquivo Geral da Cidade do Rio de Janeiro","rights":null,"date":"17/12/1941","contributor":"Malta, Uriel, 1910-1994.","type":null,"subject":["Ilha do Governador (Rio de Janeiro, RJ)","Transporte Público - Rio de Janeiro (RJ)","Public Transportation - Rio de Janeiro (Brazil)","Automóveis - Rio de Janeiro (RJ)","Automobile - Rio de Janeiro (Brazil)"],"description":["8 x 11 cm"],"coverage":["Ilha do Governador (Rio de Janeiro, RJ)"],"source":"Coleção Augusto Malta"}},"20.500.12156.1/4579":{"atlas":1,"col":13,"row":53,"cr":12757396,"cl":11771793,"ct":14924697,"cb":13282710,"ck":6247757,"meta":{"title":"Ilha de Paquetá e Ilha de Brocoió","community":"Diretoria do Patrimonio Historico e Documentacao da Marinha","rights":null,"date":"[s.d.]","contributor":"Kfuri, Jorge, 1893-1965","type":null,"subject":["Paquetá, Ilha de (RJ)","Brocoió, Ilha de (RJ)","Guanabara, Baía de (RJ)","Ilhas - Rio de Janeiro (RJ)","Islands - Rio de Janeiro (Brazil)","Fotografia aérea"],"description":["cópia fotográfica de gelatina e prata","p&b","11 x 15cm"],"coverage":["Rio de Janeiro (RJ)"],"source":"Álbum 102 Flotilha de Aviões de Guerra, 1916 - 1923"}},"20.500.12156.1/458":{"atlas":1,"col":14,"row":53,"cr":13022089,"cl":13417106,"ct":986116,"cb":262657,"ck":5722172,"meta":{"title":"Salão de 1912","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"1912","contributor":null,"type":"Fotografia","subject":["Escultores - Brasil","Pintores - Brasil","Kanto, Modestino, 1889-1967","Andrade, Francisco de, 1893-1952","Costa, Mário Navarro da, 1883-1931","Moreira Júnior, Joaquim Rodrigues - 1886-","Capllonch, Miguel","Cordeiro, Luiz","Bicho, Galdino Guttman, 1888-1955","Magalhães, Gaspar Coelho, 1888-1947","Teixeira, Álvaro","Matos, Antonino Pinto de, 1891-1938","Bordon, João Batista, 1882-1917","Sculptors - Brazil","Painters - Brazil"],"description":["gelatina, p&b;","Cópia fotográfica de gelatina e prata","Retrato de grupo","7,2 x 11 cm em folha: 21,5 x 15,5 cm."],"publisher":"[Rio de Janeiro]"}},"20.500.12156.1/4580":{"atlas":1,"col":15,"row":53,"cr":9012870,"cl":7896452,"ct":11578791,"cb":9539730,"ck":4342597,"meta":{"title":"O Bairro da Glória, com a Rua Benjamin Constant em destaque","community":"Diretoria do Patrimonio Historico e Documentacao da Marinha","rights":null,"date":"[s.d.]","contributor":"Kfuri, Jorge, 1893-1965","type":null,"subject":["Glória (Rio de Janeiro, RJ)","Rua Benjamin Constant (Rio de Janeiro, RJ)","Ruas - Rio de Janeiro (RJ)","Streets - Rio de Janeiro (Brazil)","Fotografia aérea"],"description":["cópia fotográfica de gelatina e prata","p&b","11 x 17cm"],"coverage":["Rio de Janeiro (RJ)"],"source":"Álbum 102 Flotilha de Aviões de Guerra, 1916 - 1923"}},"20.500.12156.1/4581":{"atlas":1,"col":16,"row":53,"cr":8947851,"cl":10723227,"ct":11774365,"cb":12825254,"ck":4671304,"meta":{"title":"A Lapa e o Passeio Público","community":"Diretoria do Patrimonio Historico e Documentacao da Marinha","rights":null,"date":"[s.d.]","contributor":"Kfuri, Jorge, 1893-1965","type":null,"subject":["Lapa (Rio de Janeiro, RJ)","Passeio Público (Rio de Janeiro, RJ)","Ruas - Rio de Janeiro (RJ)","Streets - Rio de Janeiro (Brazil)","Fotografia aérea"],"description":["cópia fotográfica de gelatina e prata","p&b","11 x 16,5cm"],"coverage":["Rio de Janeiro (RJ)"],"source":"Álbum 102 Flotilha de Aviões de Guerra, 1916 - 1923"}},"20.500.12156.1/4582":{"atlas":1,"col":17,"row":53,"cr":2565927,"cl":4342338,"ct":6184542,"cb":10987431,"ck":3289650,"meta":{"title":"Ilha do Governador","community":"Arquivo Geral da Cidade do Rio de Janeiro","rights":null,"date":"27/12/1941","contributor":"Malta, Uriel, 1910-1994.","type":null,"subject":["Ilha do Governador (Rio de Janeiro, RJ)","Construção Ferroviária - Rio de Janeiro (RJ)","Railway Construction - Rio de Janeiro (Brazil)","Bonde Elétrico - Rio de janeiro (RJ)","Tram Vector - Rio de Janeiro (Brazil)"],"description":["8 x 11 cm"],"coverage":["Ilha do Governador (Rio de Janeiro, RJ)"],"source":"Coleção Augusto Malta"}},"20.500.12156.1/4583":{"atlas":1,"col":18,"row":53,"cr":8026746,"cl":8289918,"ct":12632256,"cb":3092271,"ck":4342338,"meta":{"title":"Largo das Neves","community":"Arquivo Geral da Cidade do Rio de Janeiro","rights":null,"date":"10/06/1940","contributor":"Malta, Uriel, 1910-1994.","type":null,"subject":["Largo das Neves (Rio de Janeiro, RJ)","Edifícios - Rio de Janeiro (RJ)","Buildings - Rio de Janeiro (Brazil)","Construção Ferroviária - Rio de Janeiro (RJ)","Railway Construction - Rio de Janeiro (Brazil)","Bonde Elétrico (Rio de janeiro, RJ)","Tram Vector - Rio de Janeiro (Brazil)","Pavimentação (Rio de Janeiro, RJ)","Pavimentation - Rio de Janeiro (Brazil)"],"description":["8 x 11 cm"],"coverage":["Santa Teresa (Rio de Janeiro, RJ)"],"source":"Coleção Augusto Malta"}},"20.500.12156.1/4584":{"atlas":1,"col":19,"row":53,"cr":4408131,"cl":4868682,"ct":3421236,"cb":6250335,"ck":2302755,"meta":{"title":"Praça General Tibúrcio","community":"Arquivo Geral da Cidade do Rio de Janeiro","rights":null,"date":"20/05/1940","contributor":"Malta, Uriel, 1910-1994.","type":null,"subject":["Praça General Tibúrcio (Rio de janeiro, RJ)","Edifícios - Rio de Janeiro (RJ)","Buildings - Rio de Janeiro (Brazil)","Pavimentação (Rio de Janeiro, RJ)","Pavements - Rio de Janeiro (Brazil)"],"description":["8 x 11 cm"],"coverage":["Urca (Rio de Janeiro, RJ)"],"source":"Coleção Augusto Malta"}},"20.500.12156.1/4585":{"atlas":1,"col":20,"row":53,"cr":8684676,"cl":7434609,"ct":13290186,"cb":9013641,"ck":3750201,"meta":{"title":"Praça Cardeal Arcoverde (Vista do Alto)","community":"Arquivo Geral da Cidade do Rio de Janeiro","rights":null,"date":"17/01/1940","contributor":"Malta, Uriel, 1910-1994.","type":null,"subject":["Praça Cardeal Arcoverde (Rio de Janeiro, RJ)","Edifícios - Rio de Janeiro (RJ)","Buildings - Rio de Janeiro (Brazil)"],"description":["8 x 11 cm"],"coverage":["Copacabana (Rio de Janeiro, RJ)"],"source":"Coleção Augusto Malta"}},"20.500.12156.1/4586":{"atlas":1,"col":21,"row":53,"cr":6842472,"cl":7105644,"ct":11579568,"cb":9079434,"ck":3355443,"meta":{"title":"Praça Cardeal Arcoverde","community":"Arquivo Geral da Cidade do Rio de Janeiro","rights":null,"date":"29/01/1940","contributor":"Malta, Uriel, 1910-1994.","type":null,"subject":["Praça Cardeal Arcoverde (Rio de Janeiro, RJ)","Edifícios - Rio de Janeiro (RJ)","Buildings - Rio de Janeiro (Brazil)","Enchentes - Rio de Janeiro (RJ)","Flood - Rio de Janeiro (Brazil)"],"description":["8 x 11 cm"],"coverage":["Copacabana (Rio de Janeiro, RJ)"],"source":"Coleção Augusto Malta"}},"20.500.12156.1/4587":{"atlas":1,"col":22,"row":53,"cr":8618883,"cl":9342606,"ct":12763842,"cb":11974070,"ck":4671303,"meta":{"title":"Avenida Central (Avenida Rio Branco)","community":"Arquivo Geral da Cidade do Rio de Janeiro","rights":null,"date":"14/12/1939","contributor":"Malta, Aristógiton, 1904-1954.","type":null,"subject":["Avenida Rio Branco (Rio de Janeiro, RJ)","Edifícios - Rio de Janeiro (RJ)","Buildings - Rio de Janeiro (Brazil)","Carros - Rio de Janeiro (RJ)","Car - Rio de janeiro (Brazil)","Demolição - Rio de Janeiro (RJ)","Demolition - Rio de Janeiro (Brazil)"],"description":["8 x 11 cm"],"coverage":["Centro (Rio de janeiro, RJ)"],"source":"Coleção Augusto Malta"}},"20.500.12156.1/4588":{"atlas":1,"col":23,"row":53,"cr":8417906,"cl":9273212,"ct":13351595,"cb":11967366,"ck":5130052,"meta":{"title":"O Pão de Açúcar","community":"Diretoria do Patrimonio Historico e Documentacao da Marinha","rights":null,"date":"[s.d.]","contributor":"Kfuri, Jorge, 1893-1965","type":null,"subject":["Pão de Açúcar, Morro do (Rio de Janeiro, RJ)","Guanabara, Baía de (RJ)","Fotografia aérea"],"description":["cópia fotográfica de gelatina e prata","p&b","11,5 x 16,6cm"],"coverage":["Rio de Janeiro (RJ)"],"source":"Álbum 102 Flotilha de Aviões de Guerra, 1916 - 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Rio de Janeiro (RJ)","Beaches - Rio de Janeiro (Brazil)","Edifícios - Rio de Janeiro (RJ)","Buildings - Rio de Janeiro (Brazil)","Pavimentação (Rio de Janeiro, RJ)","Pavements - Rio de Janeiro (Brazil)"],"description":["8 x 11 cm"],"coverage":["Botafogo (Rio de Janeiro, RJ)"],"source":"Coleção Augusto Malta"}},"20.500.12156.1/4602":{"atlas":1,"col":40,"row":53,"cr":8355711,"cl":6776679,"ct":9803157,"cb":11184810,"ck":4276545,"meta":{"title":"Largo da Carioca (Vista de cima)","community":"Arquivo Geral da Cidade do Rio de Janeiro","rights":null,"date":"17/02/1941","contributor":"Malta, Uriel, 1910-1994.","type":null,"subject":["Largo da Carioca (Rio de Janeiro, RJ)","Edifícios - Rio de Janeiro (RJ)","Buildings - Rio de Janeiro (Brazil)","Carros - Rio de Janeiro (RJ)","Car - Rio de janeiro (Brazil)","Pavimentação (Rio de Janeiro, RJ)","Pavimentation - Rio de Janeiro (Brazil)"],"description":["8 x 11 cm"],"coverage":["Centro (Rio de janeiro, RJ)"],"source":"Coleção Augusto Malta"}},"20.500.12156.1/4603":{"atlas":1,"col":41,"row":53,"cr":11316396,"cl":7039851,"ct":11053224,"cb":5329233,"ck":4408131,"meta":{"title":"Avenida Presidente Vargas (Vista do Alto)","community":"Arquivo Geral da Cidade do Rio de Janeiro","rights":null,"date":"10/11/1941","contributor":"Malta, Uriel, 1910-1994.","type":null,"subject":["Campo de Santana (Rio de Janeiro, RJ)","Cidade Nova (Rio de Janeiro, RJ)","Edifícios - 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Thomaz, possessão dinamarqueza nas Antilhas : vista interior da parte de Oéste do grande pavilhão central contendo a equatorial do Barão de Teffé","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[1882-1883]","contributor":null,"type":"Fotografia","subject":["Tefé, Antonio Lins von Hoonholtz, Barão de, 1837-1931","Comissão Astronômica Brasileira","Expedições científicas - Ilhas Virgens dos Estados Unidos - Saint Thomas","Observatórios astronômicos - Ilhas Virgens dos Estados Unidos - Saint Thomas","Interiores","Astronomia - Instrumentos","Lunetas","Vênus (Planeta) - Trânsito - 1882","Saint Thomas (Ilhas Virgens)","Scientific expeditions - Virgin Islands of tehe United States - Saint Thomas (V.I.)","Astronomical observatories - Virgin Islands of tehe United States - Saint Thomas (V.I.)","Interiors","Astronomical instruments","Telescopes","Venus (Planet) - Transit - 1882","Saint Thomas (V.I.)"],"coverage":["Vênus (Planeta)","Saint Thomas (Ilhas Virgens)"],"source":"Thereza Christina Maria","publisher":"[Ilhas Virgens dos Estados Unidos]"}},"20.500.12156.1/4878":{"atlas":1,"col":20,"row":58,"cr":13350546,"cl":15852239,"ct":14799550,"cb":13944495,"ck":6510918,"meta":{"title":"Observatorio D. Pedro II, Ilha de S. Thomaz, possessão dinamarqueza nas Antilhas : vista interior do pavilhão de l'Este contendo a equatorial do capitão-tenente Calheiros da Graça","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[1882-1883]","contributor":null,"type":"Fotografia","subject":["Graça, Francisco Calheiros da, 1849-1906","Comissão Astronômica Brasileira","Expedições científicas - Ilhas Virgens dos Estados Unidos - Saint Thomas","Observatórios astronômicos - Ilhas Virgens dos Estados Unidos - Saint Thomas","Interiores","Lunetas","Astronomia - Instrumentos","Vênus (Planeta) - Trânsito - 1882","Saint Thomas (Ilhas Virgens)","Scientific expeditions - Virgin Islands of tehe United States - Saint Thomas (V.I.)","Astronomical observatories - Virgin Islands of tehe United States - Saint Thomas (V.I.)","Interiors","Telescopes","Astronomical instruments","Venus (Planet) - Transit - 1882","Saint Thomas (V.I.)"],"description":["colódio?, p&b","20,5 x 13,2"],"coverage":["Vênus (Planeta)","Saint Thomas (Ilhas Virgens)"],"source":"Thereza Christina Maria","publisher":"[Ilhas Virgens dos Estados Unidos]"}},"20.500.12156.1/4879":{"atlas":1,"col":21,"row":58,"cr":12232312,"cl":14865856,"ct":13813164,"cb":13353384,"ck":6314054,"meta":{"title":"Observatorio D. Pedro II, Ilha de S. Thomaz, possessão dinamarqueza nas Antilhas : vista interior do pavilhão do Oéste contendo a equatorial do 1. tenente Indio do Brazil","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[1882-1883]","contributor":null,"type":"Fotografia","subject":["Silva, Arthur Indio do Brasil e, 1856-1933","Comissão Astronômica Brasileira","Expedições científicas - Ilhas Virgens dos Estados Unidos - Saint Thomas","Observatórios astronômicos - Ilhas Virgens dos Estados Unidos - Saint Thomas","Interiores","Lunetas","Astronomia - Instrumentos","Vênus (Planeta) - Trânsito - 1882","Saint Thomas (Ilhas Virgens)","Scientific expeditions - Virgin Islands of tehe United States - Saint Thomas (V.I.)","Astronomical observatories - Virgin Islands of tehe United States - Saint Thomas (V.I.)","Interiors","Astronomical instruments","Telescopes","Venus (Planet) - Transit - 1882","Saint Thomas (V.I.)"],"description":["colódio?, p&b","20,5 x 11,3"],"coverage":["Vênus (Planeta)","Saint Thomas (Ilhas Virgens)"],"source":"Thereza Christina Maria","publisher":"[Ilhas Virgens dos Estados Unidos]"}},"20.500.12156.1/488":{"atlas":1,"col":22,"row":58,"cr":10589301,"cl":10524537,"ct":196865,"cb":131328,"ck":5393724,"meta":{"title":"[Ponte Santa Isabel] : [construção – Foto 4]","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[1862]","contributor":"Villela, João Ferreira, fl. 1861-1880","type":"Fotografia","subject":["Pontes - Projetos e construção","Pontes - Recife (PE)","Rios - Recife (PE)","Ponte Santa Isabel (Recife, PE)","Beberibe, Rio (PE)","Santa Isabel Bridge (Pernambuco, Brazil)","Bridges - Design and construction","Bridges - Recife (Pernambuco, Brazil)","Rivers - Recife (Pernambuco, Brazil)","Beberibe River (Pernambuco, Brazil)"],"description":["Canteiro de obras nos fundos do Teatro Santa Isabel; estrutura de madeira avançando pelo Rio Beberibe. Primeira ponte de ferro do Recife. Foi projetada pelo arquiteto francês Louis Léger Valthier e construída pelo engenheiro inglês Willian Martineau. Foi inaugurada em 2 de dezembro de 1863. Reconstruída em 1913, durante o governo de Dantas Barreto, foi novamente reestruturada em 1967","Negativo de 2ª geração: 23631","papel albuminado, pb","18,5 x 25,6"],"coverage":["Ponte Santa Isabel (Recife, PE)","Beberibe, Rio (PE)"],"source":"Thereza Christina Maria","publisher":"Recife, PE"}},"20.500.12156.1/4880":{"atlas":1,"col":23,"row":58,"cr":12626564,"cl":14930368,"ct":13877416,"cb":13746346,"ck":6181698,"meta":{"title":"[Comissão Astronômica Brasileira] : passagem de Vênus de 6 de dezembro de 1882 : [retratos]","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[1883]","contributor":"Ferrez, Marc, 1843-1923","type":"Fotografia","subject":["Tefé, Antonio Lins von Hoonholtz, Barão de, 1837-1931","Graça, Francisco Calheiros da, 1849-1906","Silva, Arthur Indio do Brasil e, 1856-1933","Comissão Astronômica Brasileira"],"description":["colódio?, p&b","27,2 x 20,7"],"source":"Thereza Christina Maria","publisher":"Rio de Janeiro, RJ"}},"20.500.12156.1/4881":{"atlas":1,"col":24,"row":58,"cr":14667965,"cl":14141617,"ct":15720399,"cb":12625529,"ck":6313540,"meta":{"title":"Observatório D. Pedro II, Ilha de S. Thomaz, possessão dinamarqueza nas Antilhas : vista geral do observatorio tomada do Nordeste e comprehendendo os três pavilhões e os collinadores da luneta meridiana","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"1882-1883","contributor":null,"type":"Fotografia","subject":["Comissão Astronômica Brasileira","Vênus (Planeta) - Trânsito - 1882","Expedições científicas - Ilhas Virgens dos Estados Unidos - Saint Thomas","Observatórios astronômicos - Ilhas Virgens dos Estados Unidos - Saint Thomas","Edifícios temporários - Ilhas Virgens dos Estados Unidos - Saint Thomas","Saint Thomas (Ilhas Virgens)","Scientific expeditions - Virgin Islands of tehe United States - Saint Thomas (V.I.)","Astronomical observatories - Virgin Islands of tehe United States - Saint Thomas (V.I.)","Temporary buildings - Virgin Islands of tehe United States - Saint Thomas (V.I.)","Venus (Planet) - Transit - 1882","Saint Thomas (V.I.)"],"description":["colódio?, pb","18,1 x 25,2"],"coverage":["Saint Thomas (Ilhas Virgens)"],"source":"Thereza Christina Maria","publisher":"Ilhas Virgens dos Estados Unidos"}},"20.500.12156.1/4882":{"atlas":1,"col":25,"row":58,"cr":9343367,"cl":9014403,"ct":6117967,"cb":4935239,"ck":4605762,"meta":{"title":"Rio de Janeiro, Brazil : Volume III","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[1912?]","contributor":"Phototypia A. Ribeiro","type":"Álbum","subject":["Rio de Janeiro (RJ) - Descrições e viagens","Rio de Janeiro (Brazil) - Description and travel"],"description":["colotipia, monocromático","Reprodução fotomecânica","Cartão-postal","Colotipia","9 x 14 cm"],"coverage":["Rio de Janeiro (RJ)","Rio de Janeiro (Brazil)"],"publisher":"Rio de Janeiro, RJ, Phototypia A. Ribeiro"}},"20.500.12156.1/4883":{"atlas":1,"col":26,"row":58,"cr":9278092,"cl":5924452,"ct":4539965,"cb":4215380,"ck":4014398,"meta":{"title":"Rio de Janeiro, Brazil : Volume II","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[1912?]","contributor":"Phototypia A. Ribeiro","type":"Álbum","subject":["Rio de Janeiro (RJ) - Descrições e viagens","Rio de Janeiro (Brazil) - Description and travel"],"description":["colotipia, monocromático","Reprodução fotomecânica","Cartão-postal","Colotipia","9 x 14 cm"],"coverage":["Rio de Janeiro (RJ)","Rio de Janeiro (Brazil)"],"publisher":"Rio de Janeiro, RJ, Phototypia A. Ribeiro"}},"20.500.12156.1/489":{"atlas":1,"col":27,"row":58,"cr":8418653,"cl":10391918,"ct":920327,"cb":657929,"ck":4143405,"meta":{"title":"[Ponte Santa Isabel] : [construção – Foto 5]","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[1862]","contributor":"Villela, João Ferreira, fl. 1861-1880","type":"Fotografia","subject":["Pontes - Projetos e construção","Pontes - Recife (PE)","Rios - Recife (PE)","Ponte Santa Isabel (Recife, PE)","Beberibe, Rio (PE)","Santa Isabel Bridge (Pernambuco, Brazil)","Bridges - Design and construction","Bridges - Recife (Pernambuco, Brazil)","Rivers - Recife (Pernambuco, Brazil)","Beberibe River (Pernambuco, Brazil)"],"description":["Canteiro de obras nos fundos do Teatro Santa Isabel; estrutura de madeira avançando pelo Rio Beberibe. Primeira ponte de ferro do Recife. Foi projetada pelo arquiteto francês Louis Léger Valthier e construída pelo engenheiro inglês Willian Martineau. Foi inaugurada em 2 de dezembro de 1863. Reconstruída em 1913, durante o governo de Dantas Barreto, foi novamente reestruturada em 1967","Negativo de 2ª geração: 23597","papel albuminado, pb","18,5 x 25,6"],"coverage":["Ponte Santa Isabel (Recife, PE)","Beberibe, Rio (PE)"],"source":"Thereza Christina Maria","publisher":"Recife, PE"}},"20.500.12156.1/4890":{"atlas":1,"col":28,"row":58,"cr":14011567,"cl":11774349,"ct":15393478,"cb":14340016,"ck":6775379,"meta":{"title":"Biblioteca Nacional FPft0023","community":"Museu da Republica","rights":null,"date":"1905","contributor":"Malta, Augusto, 1864-1957","type":null,"subject":["Biblioteca Nacional (Brasil)","Avenida Central (Rio de Janeiro, RJ)","Castelo, Morro do (Rio de Janeiro, RJ)","Igreja de São Sebastião (Morro do Castelo, RJ)","Urbanização - Rio de Janeiro (RJ)","Urbanization - Rio de Janeiro (Brazil)"],"description":["p&b","20,8 X 27,0 cm"],"coverage":["Rio de Janeiro (RJ)"],"source":"Coleção Família Passos"}},"20.500.12156.1/4891":{"atlas":1,"col":29,"row":58,"cr":11445128,"cl":11116681,"ct":16051668,"cb":9405546,"ck":5591108,"meta":{"title":"Biblioteca Nacional FPft0024","community":"Museu da Republica","rights":null,"date":"1905","contributor":"Malta, Augusto, 1864-1957","type":null,"subject":["Biblioteca Nacional (Brasil)","Avenida Central (Rio de Janeiro, RJ)","Castelo, Morro do (Rio de Janeiro, RJ)","Igreja de São Sebastião (Morro do Castelo, RJ)","Urbanização - Rio de Janeiro (RJ)","Urbanization - Rio de Janeiro (Brazil)"],"description":["p&b","20,8 X 27,0"],"coverage":["Rio de Janeiro (RJ)"],"source":"Coleção Família Passos"}},"20.500.12156.1/4892":{"atlas":1,"col":30,"row":58,"cr":13023897,"cl":10458491,"ct":15261378,"cb":12826517,"ck":5985864,"meta":{"title":"Biblioteca Nacional FPft0025","community":"Museu da Republica","rights":null,"date":"1905","contributor":"Malta, Augusto, 1864-1957","type":null,"subject":["Biblioteca Nacional (Brasil)","Avenida Central (Rio de Janeiro, RJ)","Castelo, Morro do (Rio de Janeiro, RJ)","Igreja de São Sebastião (Morro do Castelo, RJ)","Urbanization - Rio de Janeiro (Brazil)"],"description":["p&b","20,8 X 27,0 cm"],"coverage":["Rio de Janeiro (RJ)"],"source":"Coleção Família Passos"}},"20.500.12156.1/4893":{"atlas":1,"col":31,"row":58,"cr":11971725,"cl":10655095,"ct":15063218,"cb":10524024,"ck":5854277,"meta":{"title":"Biblioteca Nacional FPft0025A","community":"Museu da Republica","rights":null,"date":"1905","contributor":"Malta, Augusto, 1864-1957","type":null,"subject":["Biblioteca Nacional (Brasil)","Avenida Central (Rio de Janeiro, RJ)","Castelo, Morro do (Rio de Janeiro, RJ)","Igreja de São Sebastião (Morro do Castelo, RJ)","Urbanização - Rio de Janeiro (RJ)","Urbanization - Rio de Janeiro (Brazil)"],"description":["p&b","20,8 X 27,0 cm"],"coverage":["Rio de Janeiro (RJ)"],"source":"Coleção Família Passos"}},"20.500.12156.1/4894":{"atlas":1,"col":32,"row":58,"cr":15854289,"cl":15789011,"ct":14602667,"cb":15591114,"ck":6578001,"meta":{"title":"Teatro Municipal FPft0043","community":"Museu da Republica","rights":null,"date":"1904","contributor":"Malta, Augusto, 1864-1957","type":null,"subject":["Teatro Municipal (Rio de Janeiro, RJ)","Avenida Central (Rio de Janeiro, RJ)","Urbanização - Rio de Janeiro (RJ)","Urbanization - Rio de Janeiro (Brazil)"],"description":["p&b","7,8 X 11,2 cm"],"coverage":["Rio de Janeiro (RJ)"],"source":"Coleção Família Passos"}},"20.500.12156.1/4895":{"atlas":1,"col":33,"row":58,"cr":3683624,"cl":3618087,"ct":8682069,"cb":5853497,"ck":2499610,"meta":{"title":"Teatro Municipal: maquete da fachada principal FPft0204","community":"Museu da Republica","rights":null,"date":"1905","contributor":"Musso, Luís, [? -1908]","type":null,"subject":["Teatro Municipal (Rio de Janeiro, RJ)","Avenida Central (Rio de Janeiro, RJ)","Urbanização - Rio de Janeiro (RJ)","Urbanization - Rio de Janeiro (Brazil)"],"description":["p&b","30,0 X 41,0 cm"],"coverage":["Rio de Janeiro (RJ)"],"source":"Coleção Família Passos"}},"20.500.12156.1/49":{"atlas":1,"col":34,"row":58,"cr":12562314,"cl":12627849,"ct":13943970,"cb":13088662,"ck":5656382,"meta":{"title":"Café do Braguinha : ornamentado por ocasião dos festejos do final da Guerra do Paraguai","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"1870","contributor":null,"type":"Fotografia","subject":["Pedro II, Imperador do Brasil, 1825-1891","Teresa Cristina Maria, Imperatriz, Consorte de Pedro II, Imperador do Bra, 1822-1889","Café do Braguinha (Rio de Janeiro, RJ)","Celebrações de vitória - Brasil","Praça Tiradentes (Rio de Janeiro, RJ)","Celebrations - Brazil","Praça Tiradentes (Rio de Janeiro, Brazil)"],"description":["20,7 x 14cm em c. 32 x 23,5"],"coverage":["Praça Tiradentes (Rio de Janeiro, RJ)"],"source":"Thereza Christina Maria"}},"20.500.12156.1/490":{"atlas":1,"col":35,"row":58,"cr":8879458,"cl":8879457,"ct":262401,"cb":394757,"ck":4341040,"meta":{"title":"[Ponte Santa Isabel] : [construção – Foto 6]","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[1862]","contributor":"Villela, João Ferreira, fl. 1861-1880","type":"Fotografia","subject":["Pontes - Projetos e construção","Pontes - Recife (PE)","Rios - Recife (PE)","Ponte Santa Isabel (Recife, PE)","Beberibe, Rio (PE)","Santa Isabel Bridge (Pernambuco, Brazil)","Bridges - Design and construction","Bridges - Recife (Pernambuco, Brazil)","Rivers - Recife (Pernambuco, Brazil)","Beberibe River (Pernambuco, Brazil)"],"description":["Canteiro de obras nos fundos do Teatro Santa Isabel; estrutura de madeira avançando pelo Rio Beberibe. Primeira ponte de ferro do Recife. Foi projetada pelo arquiteto francês Louis Léger Valthier e construída pelo engenheiro inglês Willian Martineau. Foi inaugurada em 2 de dezembro de 1863. Reconstruída em 1913, durante o governo de Dantas Barreto, foi novamente reestruturada em 1967","Negativo de 2ª geração: 23601","papel albuminado, pb","18,5 x 25,6"],"coverage":["Ponte Santa Isabel (Recife, PE)","Beberibe, Rio (PE)"],"source":"Thereza Christina Maria","publisher":"Recife, PE"}},"20.500.12156.1/4906":{"atlas":1,"col":36,"row":58,"cr":11183502,"cl":12498588,"ct":15854023,"cb":11576190,"ck":5591622,"meta":{"title":"Teatro Municipal de São Paulo: obras de construção. FPft0044","community":"Museu da Republica","rights":null,"date":"15/03/1905","contributor":null,"type":null,"subject":["Teatro Municipal (São Paulo, SP)","Urbanização - São Paulo (SP)","Urbanization - São Paulo (Brazil)"],"description":["p&b"],"coverage":["São Paulo (SP)"],"source":"Coleção Família Passos"}},"20.500.12156.1/4907":{"atlas":1,"col":37,"row":58,"cr":11840144,"cl":13879724,"ct":15327682,"cb":12958103,"ck":6117707,"meta":{"title":"Teatro Municipal FPft0045","community":"Museu da Republica","rights":null,"date":"19/08/1905","contributor":"Malta, Augusto, 1864-1957","type":null,"subject":["Teatro Municipal (Rio de Janeiro, RJ)","Avenida Central (Rio de Janeiro, RJ)","Urbanização - Rio de Janeiro (RJ)","Urbanization - Rio de Janeiro (Brazil)"],"description":["p&b"],"coverage":["Rio de Janeiro (RJ)"],"source":"Coleção Família Passos"}},"20.500.12156.1/4908":{"atlas":1,"col":38,"row":58,"cr":10063215,"cl":10985091,"ct":12958883,"cb":11247761,"ck":5064763,"meta":{"title":"Teatro Municipal FPft0046","community":"Museu da Republica","rights":null,"date":"19/08/1905","contributor":"Malta, Augusto, 1864-1957","type":null,"subject":["Teatro Municipal (Rio de Janeiro, RJ)","Avenida Central (Rio de Janeiro, RJ)","Urbanização - Rio de Janeiro (RJ)","Urbanization - Rio de Janeiro (Brazil)"],"description":["p&b"],"coverage":["Rio de Janeiro (RJ)"],"source":"Coleção Família Passos"}},"20.500.12156.1/4909":{"atlas":1,"col":39,"row":58,"cr":10656128,"cl":12234900,"ct":15459014,"cb":12562568,"ck":5722950,"meta":{"title":"Teatro Municipal FPft0047","community":"Museu da Republica","rights":null,"date":"19/07/1905","contributor":"Malta, Augusto, 1864-1957","type":null,"subject":["Teatro Municipal (Rio de Janeiro, RJ)","Avenida Central (Rio de Janeiro, RJ)","Urbanização - Rio de Janeiro (RJ)","Urbanization - Rio de Janeiro (Brazil)"],"description":["p&b"],"coverage":["Rio de Janeiro (RJ)"],"source":"Coleção Família Passos"}},"20.500.12156.1/491":{"atlas":1,"col":40,"row":58,"cr":8681306,"cl":9405544,"ct":1380617,"cb":526343,"ck":4340783,"meta":{"title":"[Ponte Santa Isabel] : [construção – Foto 7]","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[1862]","contributor":"Villela, João Ferreira, fl. 1861-1880","type":"Fotografia","subject":["Pontes - Projetos e construção","Pontes - Recife (PE)","Rios - Recife (PE)","Ponte Santa Isabel (Recife, PE)","Beberibe, Rio (PE)","Santa Isabel Bridge (Pernambuco, Brazil)","Bridges - Design and construction","Bridges - Recife (Pernambuco, Brazil)","Rivers - Recife (Pernambuco, Brazil)","Beberibe River (Pernambuco, Brazil)"],"description":["Canteiro de obras nos fundos do Teatro Santa Isabel; estrutura de madeira avançando pelo Rio Beberibe. Primeira ponte de ferro do Recife. Foi projetada pelo arquiteto francês Louis Léger Valthier e construída pelo engenheiro inglês Willian Martineau. Foi inaugurada em 2 de dezembro de 1863. Reconstruída em 1913, durante o governo de Dantas Barreto, foi novamente reestruturada em 1967","Negativo de 2ª geração: 24089","papel albuminado, pb","18,5 x 25,6"],"coverage":["Ponte Santa Isabel (Recife, PE)","Beberibe, Rio (PE)"],"source":"Thereza Christina Maria","publisher":"Recife, PE"}},"20.500.12156.1/4910":{"atlas":1,"col":41,"row":58,"cr":12893088,"cl":11709072,"ct":15063993,"cb":15393733,"ck":6183500,"meta":{"title":"Teatro Municipal FPft0048","community":"Museu da Republica","rights":null,"date":"20/09/1905","contributor":"Malta, Augusto, 1864-1957","type":null,"subject":["Teatro Municipal (Rio de Janeiro, RJ)","Avenida Central (Rio de Janeiro, RJ)","Urbanização - Rio de Janeiro (RJ)","Urbanization - Rio de Janeiro (Brazil)"],"description":["p&b"],"coverage":["Rio de Janeiro (RJ)"],"source":"Coleção Família Passos"}},"20.500.12156.1/4911":{"atlas":1,"col":42,"row":58,"cr":10919300,"cl":10327421,"ct":15327425,"cb":15327941,"ck":5065021,"meta":{"title":"Teatro Municipal FPft0049","community":"Museu da Republica","rights":null,"date":"20/09/1905","contributor":"Malta, Augusto, 1864-1957","type":null,"subject":["Teatro Municipal (Rio de Janeiro, RJ)","Avenida Central (Rio de Janeiro, RJ)","Urbanização - 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Foto tirada, provavelmente, no interior do Palácio de São Cristovão (atual Museu Nacional)","Estado de conservação: regular; cartão-suporte: regular","Nome do fotógrafo no papel fotográfico: \"R. H. Klumb\"","Cópia 2 (FOTOS-FICH.1.6(4))","papel albuminado, estereograma, p&b","8 x 14"],"source":"Thereza Christina Maria"}},"20.500.12156.1/6160":{"atlas":2,"col":19,"row":15,"cr":10195060,"cl":10392954,"ct":13482641,"cb":14537390,"ck":5657155,"meta":{"title":"Tipos bororos","community":"Museu Historico Nacional","rights":null,"date":"1908","contributor":null,"type":null,"subject":["Índios Bororó","Índios da América do Sul - Brasil","Missão Salesiana","Missões religiosas","Catequese","Mato Grosso"],"description":["p&b","10 x 8 cm","Contém 2 fotos"],"coverage":["Mato Grosso"],"source":"Coleção Miguel Calmon"}},"20.500.12156.1/6161":{"atlas":2,"col":20,"row":15,"cr":11445377,"cl":12103310,"ct":13285522,"cb":14207651,"ck":5130554,"meta":{"title":"A primeira colheita de uvas na Colônia do Sagrado Coração","community":"Museu Historico Nacional","rights":null,"date":"1908","contributor":null,"type":null,"subject":["Índios Bororó","Índios da América do Sul - Brasil","Missão Salesiana","Missões religiosas","Catequese","Agricultura","Mato Grosso"],"description":["p&b","11,6 x 16,6 cm"],"coverage":["Mato Grosso"],"source":"Coleção Miguel Calmon"}},"20.500.12156.1/6162":{"atlas":2,"col":21,"row":15,"cr":15130304,"cl":10854013,"ct":14339495,"cb":14536874,"ck":4933690,"meta":{"title":"No momento da Elevação","community":"Museu Historico Nacional","rights":null,"date":"1908","contributor":null,"type":null,"subject":["Índios Bororó","Índios da América do Sul - Brasil","Missão Salesiana","Missões religiosas","Catequese","Mato Grosso"],"description":["p&b","11,8 x 16,6 cm"],"coverage":["Mato Grosso"],"source":"Coleção Miguel Calmon"}},"20.500.12156.1/6163":{"atlas":2,"col":22,"row":15,"cr":11117189,"cl":9405545,"ct":12166524,"cb":14339494,"ck":5459777,"meta":{"title":"Gabriel e Clara, no dia da Primeira Comunhão","community":"Museu Historico Nacional","rights":null,"date":"1908","contributor":null,"type":null,"subject":["Índios Bororó","Índios da América do Sul - Brasil","Missão Salesiana","Missões religiosas","Catequese","Mato Grosso"],"description":["p&b","10.6 x 8 cm","Com: A pequena Izabel depois do batizado"],"coverage":["Mato Grosso"],"source":"Coleção Miguel Calmon"}},"20.500.12156.1/6164":{"atlas":2,"col":23,"row":15,"cr":9998713,"cl":10721144,"ct":14075552,"cb":14735026,"ck":5591619,"meta":{"title":"Tipos bororos","community":"Museu Historico Nacional","rights":null,"date":"1908","contributor":null,"type":null,"subject":["Índios Bororó","Índios da América do Sul - Brasil","Missão Salesiana","Missões religiosas","Catequese","Mato Grosso"],"description":["p&b","11,3 x 8,3 cm","Contém 2 fotos"],"coverage":["Mato Grosso"],"source":"Coleção Miguel Calmon"}},"20.500.12156.1/6165":{"atlas":2,"col":24,"row":15,"cr":9670263,"cl":14801338,"ct":13351827,"cb":14010531,"ck":5526085,"meta":{"title":"A banda de música. No fundo à direita avista-se a estação Meteorológica","community":"Museu Historico Nacional","rights":null,"date":"1908","contributor":null,"type":null,"subject":["Índios Bororó","Índios da América do Sul - Brasil","Missão Salesiana","Missões religiosas","Catequese","Educação","Mato Grosso"],"description":["p&b","11,3 x 16,2 cm"],"coverage":["Mato Grosso"],"source":"Coleção Miguel Calmon"}},"20.500.12156.1/6166":{"atlas":2,"col":25,"row":15,"cr":11116156,"cl":14735545,"ct":12101763,"cb":12693383,"ck":4998968,"meta":{"title":"Grupo tirado no dia 15 de Novembro de 1907","community":"Museu Historico Nacional","rights":null,"date":"1908","contributor":null,"type":null,"subject":["Índios Bororó","Índios da América do Sul - Brasil","Missão Salesiana","Missões religiosas","Catequese","Educação","Mato Grosso"],"description":["p&b","11,4 x 16,6 cm"],"coverage":["Mato Grosso"],"source":"Coleção Miguel Calmon"}},"20.500.12156.1/6167":{"atlas":2,"col":26,"row":15,"cr":13285778,"cl":13615259,"ct":13681825,"cb":11576189,"ck":5459260,"meta":{"title":"O primeiro mamoeiro plantado pelos Bororos","community":"Museu Historico Nacional","rights":null,"date":"1908","contributor":null,"type":null,"subject":["Índios Bororó","Índios da América do Sul - Brasil","Missão Salesiana","Missões religiosas","Catequese","Agricultura"],"description":["p&b","16,8 x 11,6 cm"],"coverage":["Mato Grosso"],"source":"Coleção Miguel Calmon"}},"20.500.12156.1/6168":{"atlas":2,"col":27,"row":15,"cr":13285520,"cl":14603699,"ct":10063215,"cb":10984575,"ck":5656897,"meta":{"title":"Cascata Aracy, nos terrenos das duas colônias","community":"Museu Historico Nacional","rights":null,"date":"1908","contributor":null,"type":null,"subject":["Índios Bororó","Índios da América do Sul - Brasil","Missão Salesiana","Missões religiosas","Catequese","Mato Grosso"],"description":["p&b","8,4 x 10,3 cm","Com: Rio Barreiro"],"coverage":["Mato Grosso"],"source":"Coleção Miguel Calmon"}},"20.500.12156.1/6169":{"atlas":2,"col":28,"row":15,"cr":11047532,"cl":14340269,"ct":14669494,"cb":10062439,"ck":4735797,"meta":{"title":"Altar da Capela da Conceição, na Colônia das Garças","community":"Museu Historico Nacional","rights":null,"date":"1908","contributor":null,"type":null,"subject":["Índios Bororó","Índios da América do Sul - Brasil","Missão Salesiana","Missões religiosas","Catequese","Mato Grosso"],"description":["p&b","16,6 x 11,4 cm"],"coverage":["Mato Grosso"],"source":"Coleção Miguel Calmon"}},"20.500.12156.1/617":{"atlas":2,"col":29,"row":15,"cr":10587491,"cl":10916968,"ct":11311216,"cb":10917230,"ck":4997934,"meta":{"title":"[Princesa Isabel e Conde d'Eu saindo de sua residência","community":"Biblioteca Nacional","rights":null,"date":"","contributor":"Klumb, Revert Henrique, fl. 1855-1880","type":"Fotografia","subject":["Isabel, Princesa do Brasil, 1846-1921","Eu, Luis Filipe Maria Fernando Gastão de Orleans, Conde D', 1842-1922","Palácio da Princesa Isabel (Petrópolis, RJ)","Companhia Imobiliária de Petrópolis","Famílias reais - Brasil","Carruagens","Castelos e palácios - Brasil - Petrópolis (RJ)","Royal houses - Brazil","Carriages and carts","Castles & palaces - Brazil - Petrópolis (RJ)"],"description":["Título extraído da obra \"A Fotografia no Brasil : 1840-1900\", de Gilberto Ferrez","Responsabilidade atribuída através do confronto entre esta foto e a publicada em \"A Fotografia no Brasil : 1840-1900\", de Gilberto Ferrez (p. 28), cuja autoria é de Klumb","Cartão-suporte: 11 x 17","retrato da Princesa e o Conde d'Eu em uma carruagem em frente ao palácio onde aparecem duas mulheres na varanda. Este palácio foi adquirido pelo Conde d'Eu e a Princesa em 21 de abril de 1876. Com a retirada da Família Imperial para a Europa, o prédio permaneceu fechado até 1891, quando vieram ordens para que fosse alugado. Serviu então de sede para diversas delegações e embaixadas estrangeiras, colégios e, em 1853 ali estavam instalados os escritórios da Companhia Imobiliária de Petrópolis","Estado de conservação: ruim; cartão-suporte: regular","colódio?, p&b","10 x 14"],"source":"Thereza Christina Maria"}},"20.500.12156.1/6170":{"atlas":2,"col":30,"row":15,"cr":12626815,"cl":14405804,"ct":12234377,"cb":10655865,"ck":6051912,"meta":{"title":"Os capitães Joaquim e Major e a turma de bororos por eles aldeados nos últimos meses","community":"Museu Historico Nacional","rights":null,"date":"1908","contributor":null,"type":null,"subject":["Índios Bororó","Índios da América do Sul - Brasil","Missão Salesiana","Missões religiosas","Catequese","Mato Grosso"],"description":["p&b","8,4 x 11,3 cm","Contém 2 fotos"],"coverage":["Mato Grosso"],"source":"Coleção Miguel Calmon"}},"20.500.12156.1/6171":{"atlas":2,"col":31,"row":15,"cr":11050105,"cl":14537138,"ct":13286551,"cb":14076325,"ck":5393467,"meta":{"title":"Preparando a mandioca","community":"Museu Historico Nacional","rights":null,"date":"1908","contributor":null,"type":null,"subject":["Índios Bororó","Índios da América do Sul - Brasil","Missão Salesiana","Missões religiosas","Catequese","Agricultura","Mato Grosso"],"description":["p&b","11,7 x 16,6 cm"],"coverage":["Mato Grosso"],"source":"Coleção Miguel Calmon"}},"20.500.12156.1/6172":{"atlas":2,"col":32,"row":15,"cr":11708295,"cl":10721656,"ct":14338980,"cb":14734767,"ck":5920325,"meta":{"title":"Um rancho em construção","community":"Museu Historico Nacional","rights":null,"date":"1908","contributor":null,"type":null,"subject":["Índios Bororó","Índios da América do Sul - Brasil","Missão Salesiana","Missões religiosas","Catequese","Aldeias indígenas","Mato Grosso"],"description":["p&b","8,5 x 11,3 cm","Com: Regressando das safras"],"coverage":["Mato Grosso"],"source":"Coleção Miguel Calmon"}},"20.500.12156.1/6173":{"atlas":2,"col":33,"row":15,"cr":11840133,"cl":14669751,"ct":12495490,"cb":14075293,"ck":5525310,"meta":{"title":"Exames finais de aritmética","community":"Museu Historico Nacional","rights":null,"date":"1908","contributor":null,"type":null,"subject":["Índios Bororó","Índios da América do Sul - Brasil","Missão Salesiana","Missões religiosas","Catequese","Educação","Mato Grosso"],"description":["p&b","11,5 x 16,6 cm"],"coverage":["Mato Grosso"],"source":"Coleção Miguel Calmon"}},"20.500.12156.1/6174":{"atlas":2,"col":34,"row":15,"cr":11117189,"cl":9405545,"ct":12166524,"cb":14339494,"ck":5459777,"meta":{"title":"A pequena Izabel depois do batizado","community":"Museu Historico Nacional","rights":null,"date":"1908","contributor":null,"type":null,"subject":["Índios Bororó","Índios da América do Sul - Brasil","Missão Salesiana","Missões religiosas","Catequese","Mato Grosso"],"description":["p&b","8,3 x 10,7 cm","Com: Gabriel e Clara, no dia da Primeira Comunhão"],"coverage":["Mato Grosso"],"source":"Coleção Miguel Calmon"}},"20.500.12156.1/6175":{"atlas":2,"col":35,"row":15,"cr":13285520,"cl":14603699,"ct":10063215,"cb":10984575,"ck":5656897,"meta":{"title":"Rio Barreiro","community":"Museu Historico Nacional","rights":null,"date":"1908","contributor":null,"type":null,"subject":["Índios Bororó","Índios da América do Sul - Brasil","Missão Salesiana","Missões religiosas","Catequese","Mato Grosso"],"description":["p&b","8,5 x 10,4 cm","Com: Cascata Aracy, nos terrenos das duas colônias"],"coverage":["Mato Grosso"],"source":"Coleção Miguel Calmon"}},"20.500.12156.1/6176":{"atlas":2,"col":36,"row":15,"cr":12301205,"cl":10919295,"ct":13944223,"cb":14603183,"ck":5723205,"meta":{"title":"Missa em um dos aldeamentos na última exploração do Padre Malan","community":"Museu Historico Nacional","rights":null,"date":"1908","contributor":null,"type":null,"subject":["Malan, Antônio, Padre","Índios Bororó","Índios da América do Sul - Brasil","Missão Salesiana","Missões religiosas","Catequese","Mato Grosso"],"description":["p&b","8,4 x 10,9 cm","Contém 2 fotos"],"coverage":["Mato Grosso"],"source":"Coleção Miguel Calmon"}},"20.500.12156.1/6177":{"atlas":2,"col":37,"row":15,"cr":8090971,"cl":11906960,"ct":10391144,"cb":11906184,"ck":3881003,"meta":{"title":"A Diretoria da seção feminina, aos cuidados das Irmãs de Nossa Senhora Auxiliadora","community":"Museu Historico Nacional","rights":null,"date":"1908","contributor":null,"type":null,"subject":["Índios Bororó","Índios da América do Sul - Brasil","Missão Salesiana","Missões religiosas","Catequese","Mato Grosso"],"description":["p&b","11,4 x 16,6 cm"],"coverage":["Mato Grosso"],"source":"Coleção Miguel Calmon"}},"20.500.12156.1/6178":{"atlas":2,"col":38,"row":15,"cr":12366739,"cl":11905153,"ct":13812378,"cb":14471081,"ck":5788483,"meta":{"title":"Em viagem","community":"Museu Historico Nacional","rights":null,"date":"1908","contributor":null,"type":null,"subject":["Índios Bororó","Índios da América do Sul - Brasil","Missão Salesiana","Missões religiosas","Catequese","Mato Grosso"],"description":["p&b","8,3 x 11,3 cm","Contém 2 fotos"],"coverage":["Mato Grosso"],"source":"Coleção Miguel Calmon"}},"20.500.12156.1/6179":{"atlas":2,"col":39,"row":15,"cr":12824195,"cl":14207910,"ct":10655607,"cb":9536618,"ck":5788483,"meta":{"title":"As derrubadas e preparação do terreno para roças","community":"Museu Historico Nacional","rights":null,"date":"1908","contributor":null,"type":null,"subject":["Índios Bororó","Índios da América do Sul - Brasil","Missão Salesiana","Missões religiosas","Catequese","Agricultura","Mato Grosso"],"description":["p&b","8,4 x 11,4 cm","Contém 2 fotos"],"coverage":["Mato Grosso"],"source":"Coleção Miguel Calmon"}},"20.500.12156.1/618":{"atlas":2,"col":40,"row":15,"cr":14800569,"cl":13878693,"ct":13285002,"cb":6837310,"ck":4735025,"meta":{"title":"[Pedro II, Imperador do Brasil : retrato]","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[s.d.]","contributor":"Pacheco, Joaquim Insley, 1830-1912","type":"Fotografia","subject":["Pedro II, Imperador do Brasil, 1825-1891","Famílias reais - Brasil","Imperadores - Brasil","Royal houses - Brazil","Emperors - Brazil"],"description":["Negativo de segunda geração: n. 05921, triacetato de celulose (DiMic)","Cartão-suporte: 17 x 11","Arrolado na \"Tribuna de Petrópolis\", 1. de janeiro de 1957, p. 3 (Ret. Imp. P. II - n. 8)","retrato do Imperador adulto, de corpo inteiro, em pé, de frente. Segundo Imperador do Brasil, nasceu no Rio de Janeiro em 1825 e morreu em Paris em 1891. Reinou sob regência de 7 de abril de 1831 a 23 de junho de 1840. Foi coroado Imperador em 18 de dezembro de 1841, aos 15 anos de idade","Estado de conservação: regular; cartão-suporte: bom","Carimbo (impresso) do fotógrafo no verso do cartão-suporte","Nome do fotógrafo impresso no cartão-suporte","Cópia 2 (FOTOS-FICH.1.6(17))","papel albuminado, p&b","14 x 10"],"source":"Thereza Christina Maria"}},"20.500.12156.1/6180":{"atlas":2,"col":41,"row":15,"cr":12037520,"cl":14077358,"ct":11705460,"cb":13877914,"ck":4933434,"meta":{"title":"Colheita de arroz em terrenos preparados pelos índios","community":"Museu Historico Nacional","rights":null,"date":"1908","contributor":null,"type":null,"subject":["Índios Bororó","Índios da América do Sul - Brasil","Missão Salesiana","Missões religiosas","Catequese","Agricultura","Mato Grosso"],"description":["p&b","11,4 x 16,5 cm"],"coverage":["Mato Grosso"],"source":"Coleção Miguel Calmon"}},"20.500.12156.1/6181":{"atlas":2,"col":42,"row":15,"cr":14075806,"cl":14273703,"ct":12892303,"cb":9208684,"ck":5788483,"meta":{"title":"Roças de mandioca","community":"Museu Historico Nacional","rights":null,"date":"1908","contributor":null,"type":null,"subject":["Índios Bororó","Índios da América do Sul - Brasil","Missão Salesiana","Missões religiosas","Catequese","Agricultura","Mato Grosso"],"description":["p&b","8,5 x 11 cm","Contém 2 fotos"],"coverage":["Mato Grosso"],"source":"Coleção Miguel Calmon"}},"20.500.12156.1/6182":{"atlas":2,"col":43,"row":15,"cr":13152901,"cl":14009758,"ct":12892824,"cb":11641211,"ck":5985860,"meta":{"title":"Índios ferrando o gado","community":"Museu Historico Nacional","rights":null,"date":"1908","contributor":null,"type":null,"subject":["Índios Bororó","Índios da América do Sul - Brasil","Missão Salesiana","Missões religiosas","Catequese","Gado","Mato Grosso"],"description":["p&b","8,6 x 11,5 cm","Com: Gruta e tanque para lavagem de roupa"],"coverage":["Mato Grosso"],"source":"Coleção Miguel Calmon"}},"20.500.12156.1/6183":{"atlas":2,"col":44,"row":15,"cr":10524280,"cl":14603956,"ct":11770997,"cb":13746328,"ck":4867384,"meta":{"title":"Colheitas nas roças","community":"Museu Historico Nacional","rights":null,"date":"1908","contributor":null,"type":null,"subject":["Índios Bororó","Índios da América do Sul - Brasil","Missão Salesiana","Missões religiosas","Catequese","Agricultura","Mato Grosso"],"description":["p&b","11,7 x 16,5 cm"],"coverage":["Mato Grosso"],"source":"Coleção Miguel Calmon"}},"20.500.12156.1/6184":{"atlas":2,"col":45,"row":15,"cr":10656644,"cl":11708811,"ct":13745814,"cb":14207393,"ck":5854792,"meta":{"title":"Diretoria da Colônia do Sagrado Coração","community":"Museu Historico Nacional","rights":null,"date":"1908","contributor":null,"type":null,"subject":["Índios Bororó","Índios da América do Sul - Brasil","Missão Salesiana","Missões religiosas","Catequese","Mato Grosso"],"description":["p&b","10,5 x 8,1 cm","Com: Durante o mês de Maio de 1907"],"coverage":["Mato Grosso"],"source":"Coleção Miguel Calmon"}},"20.500.12156.1/6185":{"atlas":2,"col":46,"row":15,"cr":13152901,"cl":14009758,"ct":12892824,"cb":11641211,"ck":5985860,"meta":{"title":"Gruta e tanque para lavagem de roupa","community":"Museu Historico Nacional","rights":null,"date":"1908","contributor":null,"type":null,"subject":["Índios Bororó","Índios da América do Sul - Brasil","Missão Salesiana","Missões religiosas","Catequese","Mato Grosso"],"description":["p&b","8,6 x 11,2 cm","Com: Índios ferrando o gado"],"coverage":["Mato Grosso"],"source":"Coleção Miguel Calmon"}},"20.500.12156.1/6186":{"atlas":2,"col":47,"row":15,"cr":11774078,"cl":14537390,"ct":9469535,"cb":12825482,"ck":5656638,"meta":{"title":"A turma especial do capitão Lobo, chefe supremo dos Bororos descobertos na última excursão do Padre Antônio Malan, em 1907","community":"Museu Historico Nacional","rights":null,"date":"1908","contributor":null,"type":null,"subject":["Malan, Antônio, Padre","Índios Bororó","Índios da América do Sul - Brasil","Missão Salesiana","Missões religiosas","Catequese","Mato Grosso"],"description":["p&b","11,7 x 16,7 cm"],"coverage":["Mato Grosso"],"source":"Coleção Miguel Calmon"}},"20.500.12156.1/6187":{"atlas":2,"col":48,"row":15,"cr":9801330,"cl":14867387,"ct":12627591,"cb":14208166,"ck":5262654,"meta":{"title":"A missa em ação de graças pelo feliz êxito da exploração","community":"Museu Historico Nacional","rights":null,"date":"1908","contributor":null,"type":null,"subject":["Índios Bororó","Índios da América do Sul - Brasil","Missão Salesiana","Missões religiosas","Catequese","Mato Grosso"],"description":["p&b","11,6 x 16,7 cm"],"coverage":["Mato Grosso"],"source":"Coleção Miguel Calmon"}},"20.500.12156.1/6188":{"atlas":2,"col":49,"row":15,"cr":10130294,"cl":14603701,"ct":10325354,"cb":13548435,"ck":4275506,"meta":{"title":"Escola","community":"Museu Historico Nacional","rights":null,"date":"1908","contributor":null,"type":null,"subject":["Índios Bororó","Índios da América do Sul - Brasil","Missão Salesiana","Missões religiosas","Catequese","Educação","Mato Grosso"],"description":["p&b","11,6 x 16,6 cm"],"coverage":["Mato Grosso"],"source":"Coleção Miguel Calmon"}},"20.500.12156.1/6189":{"atlas":2,"col":50,"row":15,"cr":10656644,"cl":11708811,"ct":13745814,"cb":14207393,"ck":5854792,"meta":{"title":"Durante o mês de Maio de 1907","community":"Museu Historico Nacional","rights":null,"date":"1908","contributor":null,"type":null,"subject":["Índios Bororó","Índios da América do Sul - Brasil","Missão Salesiana","Missões religiosas","Catequese","Mato Grosso"],"description":["p&b","7,6 x 10 cm","Com: Diretoria da Colônia do Sagrado Coração"],"coverage":["Mato Grosso"],"source":"Coleção Miguel Calmon"}},"20.500.12156.1/619":{"atlas":2,"col":51,"row":15,"cr":13483670,"cl":13022089,"ct":13087365,"cb":9666655,"ck":5984573,"meta":{"title":"[Isabel, Princesa do Brasil] : retrato]","community":"Biblioteca Nacional","rights":null,"date":null,"contributor":"Pacheco, Joaquim Insley, 1830-1912","type":"Fotografia","subject":["Isabel, Princesa do Brasil, 1846-1921","Famílias reais - Brasil","Royal houses - Brazil"],"description":["Negativo de segunda geração: n. 05977, triacetato de celulose (DiMic)","Cartão-suporte: 11 x 7","retrato da Princesa jovem, de corpo inteiro, em pé, voltada para a direita, ao lado de um cãozinho que está sobre uma mesa. 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Catete"],"source":"Coleção Gilberto Ferrez","identifier":["0073555cx006a007-05.jpg"]}},"20.500.12156.1/9982":{"atlas":3,"col":55,"row":11,"cr":12236467,"cl":11644329,"ct":16316664,"cb":13354687,"ck":5986390,"meta":{"title":"Edifício da Companhia Docas de Santos","community":"Instituto Moreira Salles","rights":"Instituto Moreira Salles","date":"1906 circa","contributor":"Ferrez, Marc","type":"Negativo/ Vidro","subject":["Avenida Central (Rio de Janeiro)","COLEÇÃO GILBERTO FERREZ","Paisagem urbana","Arquitetura","Horizontal","Diurna","Externa","Paisagem"],"description":["MONOCROMÁTICA","sp: 40,0 x 50,0 cm","Gelatina/ Prata"],"coverage":["Rio de Janeiro","RJ","Brasil","Avenida Central (atual Rio Branco); com rua Teófilo Ottoni"],"source":"Coleção Gilberto Ferrez","identifier":["0074050cx003e004-01.jpg"]}},"20.500.12156.1/9983":{"atlas":3,"col":56,"row":11,"cr":11711655,"cl":5263436,"ct":14277593,"cb":12698299,"ck":5263694,"meta":{"title":"Edifício na avenida Central, atual Rio Branco","community":"Instituto Moreira Salles","rights":"Instituto Moreira Salles","date":"1905 circa","contributor":"Ferrez, Marc","type":"Negativo/ Vidro","subject":["Avenida Central (Rio de Janeiro)","COLEÇÃO GILBERTO FERREZ","Avenida Rio Branco (Rio de Janeiro)","Arquitetura","Edifícios e prédios"],"description":["P&B","i: 40,0 x 50,0 cm","Gelatina/ Prata"],"coverage":["Rio de Janeiro","RJ","Brasil","Avenida Central, atual Rio Branco; Centro"],"source":"Coleção Gilberto Ferrez","identifier":["0074050cx005-03.jpg"]}},"20.500.12156.1/9984":{"atlas":3,"col":57,"row":11,"cr":10724516,"cl":10987688,"ct":10790052,"cb":7829367,"ck":5395026,"meta":{"title":"Caixa de Amortização, atual edifício do Banco Central do Brasil","community":"Instituto Moreira Salles","rights":"Instituto Moreira Salles","date":"1911 circa","contributor":"Ferrez, Marc","type":"Negativo/ Vidro","subject":["Homem","Casa de Amortização (Banco Central)","Avenida Central (Rio de Janeiro)","Chapéu","COLEÇÃO GILBERTO FERREZ","Indumentária","Arquitetura","Diurna","Externa"],"description":["P&B","i: 40,0 x 50,0 cm","Gelatina/ Prata"],"coverage":["Rio de Janeiro","RJ","Brasil","Avenida Central, atual Rio Branco; Centro"],"source":"Coleção Gilberto Ferrez","identifier":["0074050cx006e007-04.jpg"]}},"20.500.12156.1/9985":{"atlas":3,"col":58,"row":11,"cr":9933970,"cl":10328985,"ct":16051950,"cb":5981511,"ck":5065803,"meta":{"title":"Panorama do bairro do Flamengo a partir do Catete","community":"Instituto Moreira Salles","rights":"Instituto Moreira Salles","date":"1890 circa","contributor":"Ferrez, Marc","type":"Negativo/ Vidro","subject":["COLEÇÃO GILBERTO FERREZ","Transportes","Baía de Guanabara","Barco","Morro","Fluvial / Marítimo","Morro da Urca","Casas e habitações","Baía","Navio","Morro do Pão de Açúcar","Panorama","Acidente Geográfico","Edifícios e prédios","Diurna","Flora / Vegetação","Externa","Árvores","Paisagem"],"description":["P&B","i: 40,0 x 50,0 cm","Gelatina/ Prata"],"coverage":["Rio de Janeiro","RJ","Brasil","Rua Princesa Imperial, atual Tavares Bastos; Catete"],"source":"Coleção Gilberto Ferrez","identifier":["0074050cxsn2-01.jpg"]}},"20.500.12156.1/9986":{"atlas":3,"col":59,"row":11,"cr":16711422,"cl":16711678,"ct":15459544,"cb":15525595,"ck":5525578,"meta":{"title":"Largo do Paço (Reprodução)","community":"Instituto Moreira Salles","rights":"Instituto Moreira Salles","date":"1840 (data do original)","contributor":null,"type":"Fotografia/ Papel","subject":["Daguerreótipo","COLEÇÃO GILBERTO FERREZ","Vertical","Arquitetura","Diurna","Externa"],"description":["P&B","i: 8,9 x 7,0 cm;  sp: 9,4 x 7,6 cm;  ss: 15,0 x 10,7 cm","Gelatina/ Prata"],"coverage":["Rio de Janeiro","RJ","Brasil","Largo do Paço"],"source":"Coleção Gilberto Ferrez","identifier":["007A5P3F03-010.JPG"]}},"20.500.12156.1/9987":{"atlas":3,"col":60,"row":11,"cr":14012093,"cl":12565161,"ct":16645886,"cb":16711677,"ck":6249556,"meta":{"title":"Morro da Urca","community":"Instituto Moreira Salles","rights":"Instituto Moreira Salles","date":"1915 circa","contributor":"Malta, Augusto","type":"Reprodução Fotomecânica/ Papel","subject":["Casas e habitações","COLEÇÃO GILBERTO FERREZ","Acidente Geográfico","Horizontal","Diurna","Morro","Externa","Paisagem"],"description":["P&B","i:15,3 cm x 21,4 cm","Meio-Tom/ Pigmento"],"coverage":["Rio de Janeiro","RJ","Brasil","Praia da Saudade, atual avenida Pasteur; Urca"],"source":"Coleção Gilberto Ferrez","identifier":["007A5P3F10-094.jpg"]}},"20.500.12156.1/9988":{"atlas":3,"col":61,"row":11,"cr":11907495,"cl":12303032,"ct":16711422,"cb":16711678,"ck":5986904,"meta":{"title":"Encontro na capital brasileira sobre a Questão da Zona de Palmas, ou das Missões; ao fundo, a estátua de Pedro Álvares Cabral","community":"Instituto Moreira Salles","rights":"Instituto Moreira Salles","date":"1895 circa","contributor":"Ferrez, Marc","type":"Fotografia/ Papel","subject":["Eventos / Cerimônias","Estátuas e Monumentos","COLEÇÃO GILBERTO FERREZ","Largo da Glória","Multidão","Acidente Geográfico","Arquitetura","Horizontal","Diurna","Externa"],"description":["P&B","i: 17,4 cm x 23,3 cm; sp: 20,3 cm x 25,5 cm","Gelatina/ Prata"],"coverage":["Rio de Janeiro","RJ","Brasil","Antiga Praia da Lapa, atual avenida Augusto Severo; Glória"],"source":"Coleção Gilberto Ferrez","identifier":["007A5P4F01-027.jpg"]}},"20.500.12156.1/9989":{"atlas":3,"col":62,"row":11,"cr":11908534,"cl":14013908,"ct":16777215,"cb":16777215,"ck":6579299,"meta":{"title":"Encontro na capital brasileira sobre a \"Questão da Zona de Palmas ou das Missões\"","community":"Instituto Moreira Salles","rights":"Instituto Moreira Salles","date":"1895 circa","contributor":"Ferrez, Marc","type":"Fotografia/ Papel","subject":["Transporte por animal / à tração animal","Eventos / Cerimônias","COLEÇÃO GILBERTO FERREZ","Animais","Largo de São Francisco de Paula (Rio de Janeiro)","Transportes","Arquitetura","Horizontal","Diurna","Externa"],"description":["P&B","i: 17,4 cm x 22,8 cm; sp: 20,3 cm x 25,5 cm","Gelatina/ Prata"],"coverage":["Rio de Janeiro","RJ","Brasil","Antiga Travessa São Francisco, atual rua Ramalho Ortigão; Centro"],"source":"Coleção Gilberto Ferrez","identifier":["007A5P4F01-028.jpg"]}},"20.500.12156.1/999":{"atlas":3,"col":63,"row":11,"cr":4737346,"cl":8026476,"ct":3947832,"cb":3421488,"ck":3026474,"meta":{"title":"Matto virgem (Jequitibas),","community":"Biblioteca Nacional","rights":"Biblioteca Nacional (Brasil)","date":"[1902?]","contributor":"Gaensly, Guilherme, 1843-1928","type":"Fotografia","subject":["Árvores - São Paulo (Estado)","São Paulo (Estado)","Trees - São Paulo (Brazil : State)","São Paulo (Brazil : State)"],"description":["colotipia, monocromático","Colotipia","Porta-fólio","Reprodução fotomecânica","22,2 x 28,2cm"],"coverage":["São Paulo (Estado)"],"publisher":"São Paulo, G. Gaensly"}},"20.500.12156.1/9990":{"atlas":3,"col":0,"row":12,"cr":16249836,"cl":16118249,"ct":13483683,"cb":9536881,"ck":5327423,"meta":{"title":"Chegada do presidente argentino Julio Roca ao Palácio do Catete","community":"Instituto Moreira Salles","rights":"Instituto Moreira Salles","date":"1899/08/09","contributor":"Anônimo","type":"Fotografia/ Papel","subject":["Revista Caras y Caretas","Eventos / Cerimônias","Palácio do Catete","COLEÇÃO MESTRES do SÉCULO XIX","Vertical","Pessoas","Arquitetura","Alejo Julio Argentino Roca Paz (Julio Roca)","Diurna","Externa"],"description":["MONOCROMÁTICA","i: 19,8 x 13,9 cm","Gelatina/ Prata"],"coverage":["Rio de Janeiro","RJ","Brasil","Catete"],"source":"Coleção Mestres do Séc. XIX","identifier":["001CC001027.jpg"]}},"20.500.12156.1/9991":{"atlas":3,"col":1,"row":12,"cr":10658207,"cl":11974067,"ct":16777215,"cb":16711421,"ck":5066059,"meta":{"title":"Encontro na capital brasileira sobre a \"Questão da Zona de Palmas ou das Missões\"","community":"Instituto Moreira Salles","rights":"Instituto Moreira Salles","date":"1895 circa","contributor":"Ferrez, Marc","type":"Fotografia/ Papel","subject":["Eventos / Cerimônias","COLEÇÃO GILBERTO FERREZ","FieldValue uid=\"{45153e1b-5b8d-4ab3-9511-73o de São Francisco de Paula (Rio de Janeiro)","Pessoas","Arquitetura","Horizontal","Diurna","Externa","Árvores"],"description":["P&B","i: 17,0 cm x 23,0 cm; sp: 23,0 cm x 25,5 cm","Gelatina/ Prata"],"coverage":["Rio de Janeiro","RJ","Brasil","Antiga rua Souza Franco, atual rua do Teatro; Centro"],"source":"Coleção Gilberto Ferrez","identifier":["007A5P4F01-029.jpg"]}},"20.500.12156.1/9992":{"atlas":3,"col":2,"row":12,"cr":12368826,"cl":12961221,"ct":16777215,"cb":16777215,"ck":6118748,"meta":{"title":"Encontro na capital brasileira sobre a \"Questão da Zona de Palmas ou das Missões\"","community":"Instituto Moreira Salles","rights":"Instituto Moreira Salles","date":"1895 circa","contributor":"Ferrez, Marc","type":"Fotografia/ Papel","subject":["COLEÇÃO GILBERTO FERREZ","Transportes","Horizontal","Eventos / Cerimônias","Transporte por animal / à tração animal","Largo de São Francisco de Paula (Rio de Janeiro)","Animais","Pessoas","Arquitetura","Diurna","Externa"],"description":["P&B","i: 17,3 cm x 22,3 cm; sp: 20,4 cm x 25,5 cm","Gelatina/ Prata"],"coverage":["Rio de Janeiro","RJ","Brasil","Antiga rua Souza Franco, atual rua do Teatro; Centro"],"source":"Coleção Gilberto Ferrez","identifier":["007A5P4F01-030.jpg"]}}}}
\ No newline at end of file
diff --git a/web/build-atlas.js b/web/build-atlas.js
new file mode 100644
index 0000000..43469ce
--- /dev/null
+++ b/web/build-atlas.js
@@ -0,0 +1,289 @@
+#!/usr/bin/env node
+'use strict';
+
+/*
+ * build-atlas.js — mural 3D de miniaturas do acervo.
+ *
+ * Baseado em ../tocador/script/build-3d-atlas.js (mesma ideia: empacotar
+ * miniaturas num atlas WebP único + um atlas-map.json com metadados por
+ * peça, pra wall.html carregar 2 arquivos em vez de milhares).
+ *
+ * FONTE DAS IMAGENS: o site de origem (brasilianafotografica.bn.gov.br)
+ * bloqueia requisições automatizadas (Cloudflare — ver README.md,
+ * achados 3-5), então este script não busca nada pela rede. Em vez
+ * disso ele lê o que a Trilha B (baixador-navegador.js) já trouxe pra
+ * ~/Downloads — arquivos "BRAS__<handle>__<nome-original>.{jpg,JPG,png}",
+ * usando o THUMB__thumb_2 quando existe (mais leve) e a imagem de
+ * preservação/extra como alternativa. Itens sem nenhum arquivo baixado
+ * ainda ficam de fora do mural — rode de novo depois de baixar mais.
+ *
+ * Uso:
+ *   node web/build-atlas.js [--n=99999] [--out=atlas] [--thumbs=DIR]
+ *   node web/build-atlas.js [--n=99999] [--out=atlas] [--downloads=~/Downloads]
+ */
+
+const fs = require('fs');
+const os = require('os');
+const path = require('path');
+const sharp = require('sharp');
+const readline = require('readline');
+
+const args = Object.fromEntries(
+  process.argv.slice(2).map(a => {
+    const m = a.match(/^--([\w-]+)=(.*)$/);
+    return m ? [m[1], m[2]] : [a.replace(/^--/, ''), true];
+  })
+);
+
+const N_ITEMS   = parseInt(args.n || '99999', 10); // effectively "all we have" unless capped
+const OUT_DIR   = path.resolve(__dirname, args.out || 'atlas'); // web/atlas, sibling of this script
+const DOWNLOADS_DIR = path.resolve(args.downloads || path.join(os.homedir(), 'Downloads'));
+// --thumbs=DIR: pasta de miniaturas ja derivadas, uma por item, nomeadas
+// <handle-com-underscore>.webp (geradas por vips/magick a partir da imagem
+// de preservacao). E a fonte preferida: o subidor apaga de ~/Downloads assim
+// que sobe pro S3, entao Downloads nunca tem o acervo inteiro ao mesmo tempo.
+const THUMBS_DIR = args.thumbs ? path.resolve(args.thumbs) : null;
+const TILE_SIZE  = 128;
+const ATLAS_SIZE = 8192; // dentro do limite de textura de qualquer GPU moderna (max comum 8192-16384)
+const TILES_PER_ROW = ATLAS_SIZE / TILE_SIZE; // 64 -> capacidade 4096 peças por atlas
+const TILES_PER_ATLAS = TILES_PER_ROW * TILES_PER_ROW;
+const CATALOGO = path.resolve(__dirname, '..', 'pipeline', 'catalogo.jsonl');
+
+// ── acha os arquivos já baixados pela Trilha B em ~/Downloads ────────────────
+// nomes: BRAS__20.500.12156.1_<id>__THUMB__thumb_2.jpg  (preferido, leve)
+//     ou BRAS__20.500.12156.1_<id>__<nome-original>.jpg (imagem cheia, alternativa)
+
+function scanThumbs(dir) {
+  const byHandle = new Map();
+  let files;
+  try {
+    files = fs.readdirSync(dir);
+  } catch {
+    return byHandle;
+  }
+  for (const name of files) {
+    const m = name.match(/^(20\.500\.12156\.1_\d+)\.(webp|jpg|png)$/i);
+    if (!m) continue;
+    const handle = m[1].replace('_', '/');
+    byHandle.set(handle, { path: path.join(dir, name), isThumb: true });
+  }
+  return byHandle;
+}
+
+function scanDownloads() {
+  const re = /^BRAS__(20\.500\.12156\.1_\d+)__(.*)$/;
+  const byHandle = new Map(); // handle (com "/") -> { path, isThumb }
+  let files;
+  try {
+    files = fs.readdirSync(DOWNLOADS_DIR);
+  } catch {
+    return byHandle;
+  }
+  for (const name of files) {
+    const m = name.match(re);
+    if (!m) continue;
+    const handle = m[1].replace('_', '/'); // "20.500.12156.1_10518" -> "20.500.12156.1/10518"
+    const isThumb = /__THUMB__/.test(name);
+    const existing = byHandle.get(handle);
+    if (!existing || (isThumb && !existing.isThumb)) {
+      byHandle.set(handle, { path: path.join(DOWNLOADS_DIR, name), isThumb });
+    }
+  }
+  return byHandle;
+}
+
+// ── util: cor média de uma faixa de pixels (mesma lógica do tocador) ──────────
+
+function stripAvg(d, S, x0, y0, x1, y1) {
+  let r = 0, g = 0, b = 0, n = 0;
+  for (let y = y0; y <= y1; y++) {
+    for (let x = x0; x <= x1; x++) {
+      const i = (y * S + x) * 3;
+      r += d[i]; g += d[i + 1]; b += d[i + 2]; n++;
+    }
+  }
+  return (Math.round(r / n) << 16) | (Math.round(g / n) << 8) | Math.round(b / n);
+}
+
+function computeEdgeColors(rgb, S) {
+  const t = 2;
+  const right  = stripAvg(rgb, S, S - t, 0,     S - 1, S - 1);
+  const left   = stripAvg(rgb, S, 0,     0,     t - 1, S - 1);
+  const top    = stripAvg(rgb, S, 0,     0,     S - 1, t - 1);
+  const bottom = stripAvg(rgb, S, 0,     S - t, S - 1, S - 1);
+  const avg    = stripAvg(rgb, S, 0,     0,     S - 1, S - 1);
+  const dk = h => ((((h >> 16) & 0xff) >> 1) << 16) | ((((h >> 8) & 0xff) >> 1) << 8) | ((h & 0xff) >> 1);
+  return [right, left, top, bottom, dk(avg)];
+}
+
+// ── metadados: pega campos úteis do dublin_core pro card ──────────────────────
+
+function pickDC(dublinCore, name) {
+  const hit = (dublinCore || []).find(e => e.name === name);
+  return hit ? hit.value : null;
+}
+
+// A record carries its subjects (and descriptions, and places) as *repeated*
+// dc.subject rows in full_table — six of them on average, 78.835 in all — and
+// pickDC would take only the first. The descriptive half of the catalogue lives
+// here: without it "indigenista" finds nothing even though five items are
+// classified "Política indigenista". Undefined keys vanish from the JSON, so an
+// item only pays for the fields it actually has.
+function pickAll(item, field, { noUrls = false } = {}) {
+  const out = [];
+  for (const row of item.full_table || []) {
+    if (row.field !== field) continue;
+    const v = String(row.value ?? '').trim();
+    if (!v || out.includes(v)) continue;
+    // dc.identifier and dc.relation are mostly bare URLs — a megabyte of text
+    // nobody will ever search for. What is worth keeping is hiding underneath:
+    // the archival codes (013RJ012036) and the collection names (Gilberto Ferrez).
+    if (noUrls && /^https?:\/\//i.test(v)) continue;
+    out.push(v);
+  }
+  return out;
+}
+const some = (item, f, o) => { const v = pickAll(item, f, o); return v.length ? v : undefined; };
+const one = (item, f) => pickAll(item, f)[0] || undefined;
+
+function summarize(item) {
+  const dc = item.dublin_core || [];
+  return {
+    handle: item.handle,
+    title: item.title,
+    community: item.community,
+    rights: item.rights,
+    date: pickDC(dc, 'DC.date'),
+    contributor: pickDC(dc, 'DC.contributor'),
+    type: pickDC(dc, 'DC.type'),
+    // sem source_url: é o mesmo endereço para todos os itens, com o handle no
+    // meio — 1,2 MB de prefixo repetido 12.552 vezes que o mural remonta numa
+    // linha. O handle acima é a chave do mapa e sai de meta lá embaixo.
+    // what free-text search is actually for. dc.language ("por") and dc.format
+    // ("JPG") are left out on purpose: technical, never searched, and "por"
+    // alone would match a couple of thousand items by accident.
+    subject: some(item, 'dc.subject'),
+    description: some(item, 'dc.description'),
+    coverage: some(item, 'dc.coverage'),
+    source: one(item, 'dc.source'),
+    publisher: one(item, 'dc.publisher'),
+    relation: some(item, 'dc.relation', { noUrls: true }),
+    identifier: some(item, 'dc.identifier', { noUrls: true }),
+  };
+}
+
+// ── carrega do catalogo.jsonl só os itens que têm arquivo baixado (streaming) ──
+
+async function loadItems(n, byHandle) {
+  const items = [];
+  const rl = readline.createInterface({ input: fs.createReadStream(CATALOGO), crlfDelay: Infinity });
+  for await (const line of rl) {
+    if (!line.trim()) continue;
+    const o = JSON.parse(line);
+    // um item sem título ainda é uma peça: o card já cai pra "(sem título)"
+    // sozinho, e descartá-lo aqui escondia do mural itens que têm imagem
+    // (11749 do Museu Aeroespacial e 6241 do Instituto Moreira Salles)
+    const file = byHandle.get(o.handle);
+    if (!file) continue; // sem imagem baixada ainda — fora do mural por enquanto
+    items.push({ ...summarize(o), _file: file.path });
+    if (items.length >= n) { rl.close(); break; }
+  }
+  return items;
+}
+
+// ── lê o arquivo real e encaixa no tile ────────────────────────────────────────
+
+async function realTile(filePath) {
+  return sharp(filePath)
+    .resize(TILE_SIZE, TILE_SIZE, { fit: 'cover' })
+    .flatten({ background: '#000' })
+    .raw()
+    .toBuffer();
+}
+
+// ── main ────────────────────────────────────────────────────────────────────
+
+async function main() {
+  fs.mkdirSync(OUT_DIR, { recursive: true });
+
+  let byHandle;
+  if (THUMBS_DIR) {
+    console.log(`Procurando miniaturas em ${THUMBS_DIR}...`);
+    byHandle = scanThumbs(THUMBS_DIR);
+    console.log(`${byHandle.size} peças com miniatura derivada.`);
+    if (byHandle.size === 0) {
+      console.error('Nenhum arquivo "<handle>.webp" encontrado em ' + THUMBS_DIR + '.');
+      process.exit(1);
+    }
+  } else {
+    console.log(`Procurando downloads em ${DOWNLOADS_DIR}...`);
+    byHandle = scanDownloads();
+    console.log(`${byHandle.size} peças com arquivo já baixado (Trilha B).`);
+    if (byHandle.size === 0) {
+      console.error('Nenhum arquivo "BRAS__<handle>__..." encontrado em ' + DOWNLOADS_DIR + '. Rode baixador-navegador.js primeiro.');
+      process.exit(1);
+    }
+  }
+
+  console.log(`Lendo ${CATALOGO}...`);
+  const items = await loadItems(N_ITEMS, byHandle);
+  console.log(`${items.length} itens combinados (catálogo ∩ downloads).`);
+
+  const nAtlases = Math.max(1, Math.ceil(items.length / TILES_PER_ATLAS));
+  console.log(`${nAtlases} atlas(es) de ${ATLAS_SIZE}px (até ${TILES_PER_ATLAS} peças cada, tile=${TILE_SIZE}px).`);
+
+  const map = {};
+  const atlasFiles = [];
+  let failed = 0;
+
+  for (let a = 0; a < nAtlases; a++) {
+    const pageItems = items.slice(a * TILES_PER_ATLAS, (a + 1) * TILES_PER_ATLAS);
+    const buf = Buffer.alloc(ATLAS_SIZE * ATLAS_SIZE * 3, 0);
+
+    for (let i = 0; i < pageItems.length; i++) {
+      const col = i % TILES_PER_ROW;
+      const row = Math.floor(i / TILES_PER_ROW);
+      let rgb;
+      try {
+        rgb = await realTile(pageItems[i]._file);
+      } catch (e) {
+        failed++;
+        continue;
+      }
+      for (let ty = 0; ty < TILE_SIZE; ty++) {
+        const src = ty * TILE_SIZE * 3;
+        const dst = ((row * TILE_SIZE + ty) * ATLAS_SIZE + col * TILE_SIZE) * 3;
+        rgb.copy(buf, dst, src, src + TILE_SIZE * 3);
+      }
+      const [cr, cl, ct, cb, ck] = computeEdgeColors(rgb, TILE_SIZE);
+      // handle vira a chave da entrada; repeti-lo dentro de meta custava 0,4 MB
+      const { _file, handle, ...meta } = pageItems[i];
+      map[handle] = { atlas: a, col, row, cr, cl, ct, cb, ck, meta };
+      const n = a * TILES_PER_ATLAS + i + 1;
+      if (n % 500 === 0) console.log(`  ${n}/${items.length}`);
+    }
+
+    const name = `atlas-${a}.webp`;
+    const atlasPath = path.join(OUT_DIR, name);
+    await sharp(buf, { raw: { width: ATLAS_SIZE, height: ATLAS_SIZE, channels: 3 } })
+      .webp({ quality: 85, effort: 4 })
+      .toFile(atlasPath);
+    const mb = (fs.statSync(atlasPath).size / 1024 / 1024).toFixed(2);
+    console.log(`Salvo ${name} (${mb} MB, ${pageItems.length} peças)`);
+    atlasFiles.push(name);
+  }
+  if (failed) console.log(`${failed} arquivo(s) falharam ao decodificar e ficaram de fora.`);
+
+  const mapData = {
+    tile: TILE_SIZE,
+    size: ATLAS_SIZE,
+    atlases: atlasFiles,
+    placeholder: false, // fotos reais baixadas pela Trilha B, não mais o placeholder repetido
+    map,
+  };
+  const mapPath = path.join(OUT_DIR, 'atlas-map.json');
+  fs.writeFileSync(mapPath, JSON.stringify(mapData));
+  console.log(`Salvo atlas-map.json (${(fs.statSync(mapPath).size / 1024).toFixed(0)} KB)`);
+}
+
+main().catch(e => { console.error(e); process.exit(1); });
diff --git a/web/package-lock.json b/web/package-lock.json
new file mode 100644
index 0000000..d8fa2c7
--- /dev/null
+++ b/web/package-lock.json
@@ -0,0 +1,647 @@
+{
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+  "requires": true,
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+      }
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+      "license": "MIT",
+      "optional": true,
+      "dependencies": {
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+      "engines": {
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+      },
+      "funding": {
+        "url": "https://opencollective.com/libvips"
+      },
+      "optionalDependencies": {
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+      }
+    },
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+        "url": "https://opencollective.com/libvips"
+      },
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+      "license": "Apache-2.0",
+      "optional": true,
+      "os": [
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+      ],
+      "dependencies": {
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+      },
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+      },
+      "funding": {
+        "url": "https://opencollective.com/libvips"
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+      "license": "LGPL-3.0-or-later",
+      "optional": true,
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+      "funding": {
+        "url": "https://opencollective.com/libvips"
+      }
+    },
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+      "resolved": "https://registry.npmjs.org/@img/sharp-libvips-darwin-x64/-/sharp-libvips-darwin-x64-1.3.3.tgz",
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+      "funding": {
+        "url": "https://opencollective.com/libvips"
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+      "funding": {
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+      "optional": true,
+      "os": [
+        "linux"
+      ],
+      "funding": {
+        "url": "https://opencollective.com/libvips"
+      }
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+    "node_modules/@img/sharp-libvips-linux-ppc64": {
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+        "linux"
+      ],
+      "funding": {
+        "url": "https://opencollective.com/libvips"
+      }
+    },
+    "node_modules/@img/sharp-libvips-linux-riscv64": {
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+      "funding": {
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+      }
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+      },
+      "optionalDependencies": {
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+    },
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+}
diff --git a/web/package.json b/web/package.json
new file mode 100644
index 0000000..57a3401
--- /dev/null
+++ b/web/package.json
@@ -0,0 +1,5 @@
+{
+  "dependencies": {
+    "sharp": "^0.35.4"
+  }
+}
diff --git a/web/wall.html b/web/wall.html
new file mode 100644
index 0000000..9ebd9a2
--- /dev/null
+++ b/web/wall.html
@@ -0,0 +1,1782 @@
+<!DOCTYPE html>
+<html lang="pt-BR">
+<head>
+<meta charset="UTF-8">
+<meta name="viewport" content="width=device-width, initial-scale=1.0, maximum-scale=1.0, user-scalable=no, viewport-fit=cover">
+<title>Brasiliana Fotográfica — Mural do Acervo</title>
+<script type="importmap">
+{
+  "imports": {
+    "three": "https://cdn.jsdelivr.net/npm/three@0.165.0/build/three.module.js"
+  }
+}
+</script>
+<style>
+  *, *::before, *::after { box-sizing: border-box; margin: 0; padding: 0; }
+  html, body {
+    width: 100%; height: 100%; height: 100dvh; overflow: hidden; background: #0b0b0c;
+    font-family: Georgia, 'Times New Roman', serif; color: #eee;
+    overscroll-behavior: none; /* no rubber-banding the page behind the wall */
+    -webkit-tap-highlight-color: transparent;
+    -webkit-text-size-adjust: 100%;
+  }
+  #canvas { display: block; width: 100vw; height: 100vh; height: 100dvh; touch-action: none; }
+
+  #loading {
+    position: fixed; inset: 0; background: #0b0b0c;
+    display: flex; align-items: center; justify-content: center; z-index: 100;
+    /* linear, not ease: an eased fade is perceptually over in half its time */
+    transition: opacity .9s linear, background-color 1.4s ease;
+  }
+  #loading.ready { background: rgba(11,11,12,.78); } /* the wall renders live behind the title card */
+  /* scoped to the id, not to every <p> under the cover — the title screen's
+     own subtitle is a <p> too, and it is not an uppercase tracking-out line */
+  #loading-msg { font-size: .8rem; letter-spacing: .15em; text-transform: uppercase; color: #999; }
+
+  /* ── opening title screen (shown once data is ready, before entering) ────
+       It overlays the cover rather than sitting beside the loading line: as a
+       flex sibling it still claimed its share of the row while invisible, which
+       squeezed "carregando mural…" into a narrow column down one side — the
+       first thing anyone saw, and it read as a page with no stylesheet. */
+  #title-screen {
+    position: absolute; inset: 0;
+    display: flex; flex-direction: column; justify-content: center;
+    text-align: center;
+    padding: 0 24px;
+    padding-top: env(safe-area-inset-top); padding-bottom: env(safe-area-inset-bottom);
+    opacity: 0; filter: blur(0px); transform: scale(1);
+    transition: opacity .9s ease;
+  }
+  #title-screen.show { opacity: 1; }
+  /* the words go before the dark does: they blur out and drift open, the way a
+     memory clears — and the veil only lifts once they're gone */
+  #title-screen.dissolve {
+    opacity: 0; filter: blur(8px); transform: scale(1.04);
+    transition: opacity .85s linear, filter .85s ease-in, transform 1.1s ease-out;
+  }
+  #title-screen .eyebrow {
+    font-family: system-ui, sans-serif; font-size: .68rem; letter-spacing: .28em;
+    text-transform: uppercase; color: #d8b04a; margin-bottom: 22px;
+  }
+  #title-screen h1 {
+    font-family: Georgia, 'Times New Roman', serif; font-weight: 400;
+    font-size: clamp(2rem, 6vw, 3.6rem); letter-spacing: .01em; color: #f4f1e8;
+    line-height: 1.15;
+  }
+  #title-screen .sub {
+    margin-top: 16px; font-family: Georgia, serif; font-style: italic;
+    font-size: clamp(.95rem, 2vw, 1.15rem); color: #b9b9b0;
+  }
+  #title-screen .stats {
+    margin-top: 34px; display: flex; gap: 28px; justify-content: center; flex-wrap: wrap;
+    font-family: system-ui, sans-serif;
+  }
+  #title-screen .stat { text-align: center; }
+  #title-screen .stat b {
+    display: block; font-size: 1.3rem; color: #f4f1e8; font-weight: 600;
+    font-variant-numeric: tabular-nums;
+  }
+  #title-screen .stat span {
+    display: block; margin-top: 3px; font-size: .62rem; letter-spacing: .1em;
+    text-transform: uppercase; color: #888;
+  }
+  #title-screen .enter {
+    margin-top: 46px; font-family: system-ui, sans-serif; font-size: .68rem;
+    letter-spacing: .12em; text-transform: uppercase; color: #7fa8c9;
+  }
+  #title-screen .enter.ready { animation: pulse 2.4s ease-in-out infinite; }
+  @keyframes pulse { 0%, 100% { opacity: .55; } 50% { opacity: 1; } }
+  #progress-track {
+    margin: 14px auto 0; width: 180px; height: 2px; background: rgba(255,255,255,.12);
+    border-radius: 2px; overflow: hidden;
+  }
+  #progress-bar { height: 100%; width: 0%; background: #7fa8c9; transition: width .2s ease; }
+
+  [hidden] { display: none !important; }
+
+  /* ── compact filter panel, top-left — dark chrome, so it reads as part of
+       the wall's own darkness instead of a lit slab thrown on top of it.
+       Every colour below comes from these tokens: retheme by editing them. ─── */
+  #filters {
+    --f-surface: rgba(13,13,15,.9);
+    --f-border: rgba(255,255,255,.14);
+    --f-line: rgba(255,255,255,.09);
+    --f-text: #eae7e0;
+    --f-muted: #8e8e87;
+    --f-faint: #6e6e68;
+    --f-field: rgba(255,255,255,.055);
+    --f-field-border: rgba(255,255,255,.16);
+    --f-accent: #7fa8c9;
+    --f-accent-soft: rgba(127,168,201,.15);
+    --f-accent-line: rgba(127,168,201,.34);
+    --f-gold: #d8b04a;
+    --f-danger: #d98a72;
+
+    /* right side on a desktop: the left corner is the wordmark's, and the
+       panel above the open card (z 20) so filtering never needs it closed */
+    position: fixed; top: 14px; right: 14px; z-index: 25;
+    width: 262px; max-width: calc(100vw - 28px);
+    font-family: 'Public Sans', system-ui, sans-serif;
+    background: var(--f-surface); border: 1px solid var(--f-border);
+    border-radius: 8px; color: var(--f-text);
+    box-shadow: 0 16px 40px rgba(0,0,0,.55);
+    backdrop-filter: blur(9px); -webkit-backdrop-filter: blur(9px);
+    color-scheme: dark; /* native select popups, caret and scrollbars follow suit */
+    accent-color: var(--f-accent);
+  }
+  #filters-head {
+    display: flex; align-items: center; justify-content: space-between; gap: 8px;
+    padding: 9px 11px; cursor: pointer; user-select: none; border-radius: 8px;
+  }
+  #filters-head:focus-visible { outline: 2px solid var(--f-accent); outline-offset: -2px; }
+  #filters-head .label {
+    font-size: .68rem; letter-spacing: .06em; text-transform: uppercase;
+    color: var(--f-muted); font-weight: 700;
+  }
+  #filters-head .right { display: flex; align-items: center; gap: 7px; flex-shrink: 0; }
+  #filters-head .chevron { font-size: .82rem; line-height: 1; color: var(--f-gold); transition: transform .2s ease; }
+  #filters.open #filters-head .chevron { transform: rotate(180deg); }
+  /* live count of matching pieces — the panel stays informative while collapsed */
+  #filters-count {
+    font-variant-numeric: tabular-nums; background: var(--f-accent-soft); color: var(--f-accent);
+    border: 1px solid var(--f-accent-line);
+    border-radius: 3px; padding: 0 6px; font-size: .62rem; font-weight: 600;
+  }
+  #filters-count.none {
+    background: rgba(217,138,114,.15); color: var(--f-danger);
+    border-color: rgba(217,138,114,.34);
+  }
+  /* it appears the moment the first filter bites — as `hidden` it did so by
+     growing the header, nudging everything under it down mid-drag. It keeps
+     its box instead, so the panel's geometry never depends on its state. */
+  #filters-count.empty { visibility: hidden; }
+
+  /* ── active-filter chips: the panel's state while it is *closed*, each one
+       removable. Open, they are redundant (every filter is visible in its own
+       control) and actively harmful: a chip appearing on the first drag frame
+       inserted a whole row above the body and slid the slider out from under
+       the finger. An open panel is a fixed layout, top to bottom. ─────────── */
+  #filters-chips { display: flex; flex-wrap: wrap; gap: 5px; padding: 0 11px 9px; }
+  #filters.open #filters-chips { display: none; }
+  .chip {
+    display: inline-flex; align-items: center; gap: 3px; max-width: 100%;
+    font-size: .62rem; line-height: 1.7; background: var(--f-accent-soft); color: var(--f-accent);
+    border: 1px solid var(--f-accent-line); border-radius: 999px; padding: 0 3px 0 8px;
+  }
+  .chip .txt { overflow: hidden; text-overflow: ellipsis; white-space: nowrap; }
+  .chip button {
+    all: unset; cursor: pointer; flex-shrink: 0;
+    width: 14px; height: 14px; border-radius: 50%;
+    text-align: center; line-height: 13px; font-size: .72rem; color: var(--f-accent);
+  }
+  .chip button:hover { background: rgba(127,168,201,.28); color: #dcebf6; }
+
+  #filters-body { display: none; padding: 2px 11px 11px; border-top: 1px solid var(--f-line); }
+  #filters.open #filters-body { display: block; }
+  .f-note {
+    margin-top: 8px; font-size: .6rem; line-height: 1.45; color: var(--f-faint);
+  }
+  .f-row { margin-top: 11px; }
+  .f-row label {
+    display: flex; align-items: baseline; justify-content: space-between; gap: 6px;
+    font-size: .6rem; letter-spacing: .08em; text-transform: uppercase;
+    color: var(--f-muted); margin-bottom: 4px; font-weight: 600;
+  }
+  .f-row label .val {
+    text-transform: none; letter-spacing: 0; font-size: .66rem; font-weight: 600;
+    color: var(--f-text); font-variant-numeric: tabular-nums;
+  }
+  .f-row select, .f-row input[type="text"], .f-row input[type="search"] {
+    width: 100%; -webkit-appearance: none; appearance: none; font-family: 'Public Sans', system-ui, sans-serif; font-size: .76rem;
+    background: var(--f-field); color: var(--f-text); border: 1px solid var(--f-field-border);
+    border-radius: 5px; padding: 5px 7px; outline: none;
+  }
+  /* the popup list is painted by the OS — give it a real ground, not the
+     panel's translucent one, or it inherits the wall behind the field */
+  .f-row option { background: #15151a; color: var(--f-text); }
+  .f-row input::placeholder { color: var(--f-faint); }
+  .f-row input[type="search"]::-webkit-search-decoration,
+  .f-row input[type="search"]::-webkit-search-cancel-button { -webkit-appearance: none; }
+  .f-row select:focus, .f-row input:focus { border-color: var(--f-accent); }
+
+  /* text field with an inline clear button */
+  .f-field { position: relative; }
+  .f-field input { padding-right: 25px; }
+  .f-field .f-x {
+    all: unset; position: absolute; right: 4px; top: 50%; transform: translateY(-50%);
+    width: 17px; height: 17px; border-radius: 50%; cursor: pointer;
+    text-align: center; line-height: 16px; font-size: .8rem; color: var(--f-muted);
+  }
+  .f-field .f-x:hover { background: rgba(255,255,255,.12); color: var(--f-text); }
+
+  /* ── decade histogram: distribution of the *currently* filtered set, so the
+       slider is aimed at something instead of guessed at. Bars are clickable. ─ */
+  .f-hist { display: flex; align-items: flex-end; gap: 1px; height: 28px; margin-bottom: 4px; }
+  .f-hist .bar {
+    flex: 1 1 0; min-width: 0; min-height: 2px; cursor: pointer;
+    background: rgba(255,255,255,.16); border-radius: 1px 1px 0 0;
+    transition: background .15s ease, height .2s ease;
+  }
+  .f-hist .bar.in { background: var(--f-accent); }
+  .f-hist .bar:hover { background: var(--f-gold); }
+
+  /* dual-handle range: two overlaid inputs, only the thumbs take pointer events */
+  .f-range { position: relative; height: 20px; }
+  .f-range-track {
+    position: absolute; left: 7px; right: 7px; top: 50%; transform: translateY(-50%);
+    height: 4px; background: rgba(255,255,255,.13); border-radius: 2px;
+  }
+  .f-range-fill { position: absolute; top: 0; bottom: 0; background: var(--f-accent); border-radius: 2px; }
+  .f-range input[type="range"] {
+    position: absolute; left: 0; top: 0; width: 100%; height: 20px; margin: 0;
+    -webkit-appearance: none; appearance: none; background: transparent;
+    pointer-events: none; outline: none; z-index: 2;
+  }
+  /* when the handles meet, the one with room to move has to be the grabbable one */
+  .f-range input[type="range"].top { z-index: 3; }
+  .f-range input[type="range"]::-webkit-slider-thumb {
+    -webkit-appearance: none; pointer-events: auto; cursor: grab;
+    width: 14px; height: 14px; border-radius: 50%; box-sizing: border-box;
+    background: #dfeaf2; border: 2px solid #38536b; box-shadow: 0 1px 4px rgba(0,0,0,.6);
+  }
+  .f-range input[type="range"]::-webkit-slider-thumb:active { cursor: grabbing; }
+  .f-range input[type="range"]::-moz-range-thumb {
+    pointer-events: auto; cursor: grab;
+    width: 14px; height: 14px; border-radius: 50%; box-sizing: border-box;
+    background: #dfeaf2; border: 2px solid #38536b; box-shadow: 0 1px 4px rgba(0,0,0,.6);
+  }
+  .f-range input[type="range"]::-moz-range-track { background: transparent; border: 0; }
+  .f-range input[type="range"]:focus-visible::-webkit-slider-thumb { border-color: var(--f-gold); }
+  .f-range input[type="range"]:focus-visible::-moz-range-thumb { border-color: var(--f-gold); }
+
+  #f-result {
+    margin-top: 12px; font-size: .66rem; color: var(--f-muted); text-align: center;
+    font-variant-numeric: tabular-nums;
+  }
+  #f-result.none { color: var(--f-danger); }
+  #f-clear {
+    all: unset; display: block; margin-top: 7px; cursor: pointer;
+    font-size: .66rem; letter-spacing: .04em; color: var(--f-danger); text-align: center;
+    padding: 5px; border-radius: 5px; border: 1px dashed var(--f-field-border);
+  }
+  #f-clear:hover { border-color: var(--f-danger); background: rgba(217,138,114,.12); }
+  #f-clear.disabled { opacity: .35; pointer-events: none; }
+  /* ── the wordmark: the one fixed thing on the wall. Same serif the title
+       card opens with, so the page keeps its voice after the cover lifts, and
+       the gold/cream pairing is the one from the eyebrow and the h1. It is
+       chrome, not content: it never takes a click away from the wall. ─────── */
+  #wordmark {
+    position: fixed; z-index: 26; pointer-events: none; user-select: none;
+    top: calc(7px + env(safe-area-inset-top)); left: 9px;
+    font-family: Georgia, 'Times New Roman', serif;
+    font-size: 1.06rem; line-height: 1.2; letter-spacing: .015em; color: #f4f1e8;
+    /* a sombra sozinha sumia sobre peça clara -- e peça clara é metade do
+       acervo (papel, álbum, anotação em nanquim). O fundo é o mesmo preto da
+       dica lá embaixo, e o padding recua a posição no mesmo tanto pra letra
+       continuar caindo onde caía. */
+    background: rgba(4,4,5,.92); border-radius: 4px; padding: 8px 10px 9px;
+    text-shadow: 0 2px 16px rgba(0,0,0,.95), 0 0 4px rgba(0,0,0,.8);
+  }
+  #wordmark .a {
+    display: block; font-family: 'Public Sans', system-ui, sans-serif;
+    font-size: .56rem; letter-spacing: .26em; text-transform: uppercase;
+    color: #d8b04a; margin-bottom: 3px;
+  }
+
+  /* the sheet's backdrop: mobile only, and only while the sheet is up */
+  #filters-scrim {
+    display: none; position: fixed; inset: 0; z-index: 24;
+    background: rgba(0,0,0,.45); opacity: 0; pointer-events: none;
+    transition: opacity .3s ease;
+  }
+
+  #hint {
+    position: fixed; bottom: 16px; left: 50%; transform: translateX(-50%); z-index: 10;
+    font-family: system-ui, sans-serif; font-size: .68rem; letter-spacing: .06em; color: #999;
+    background: rgba(4,4,5,.92); border-radius: 4px; padding: 6px 10px; white-space: nowrap;
+    pointer-events: none; transition: opacity 1s ease;
+  }
+  #hint .touch { display: none; }
+  @media (pointer: coarse) {
+    #hint .desk { display: none; }
+    #hint .touch { display: inline; }
+  }
+
+  /* ── metadata card ────────────────────────────────────────────────── */
+  /* The wall goes soft behind an open piece: the sharp copy is the one in the
+     card, and everything else steps back out of focus. */
+  #card-wrap {
+    position: fixed; inset: 0; z-index: 20;
+    display: flex; align-items: center; justify-content: center;
+    opacity: 0; pointer-events: none;
+    background: rgba(6,6,8,0);
+    backdrop-filter: blur(0px); -webkit-backdrop-filter: blur(0px);
+    transition: opacity .35s ease, background-color .4s ease,
+                backdrop-filter .4s ease, -webkit-backdrop-filter .4s ease;
+  }
+  #card-wrap.open {
+    opacity: 1; pointer-events: auto;
+    background: rgba(6,6,8,.3);
+    backdrop-filter: blur(9px); -webkit-backdrop-filter: blur(9px);
+  }
+
+  #card {
+    position: relative;
+    width: min(420px, 90vw);
+    max-height: 86vh;
+    overflow-y: auto;
+    background: rgba(6,6,8,.86);
+    backdrop-filter: blur(6px);
+    border-radius: 6px;
+    padding: 34px 30px 26px;
+    text-align: center;
+    box-shadow: 0 30px 80px rgba(0,0,0,.6);
+    transform: translateY(10px) scale(.97);
+    transition: transform .35s ease;
+  }
+  #card-wrap.open #card { transform: translateY(0) scale(1); }
+
+  #card-back {
+    position: absolute; left: 14px; top: 14px;
+    width: 30px; height: 30px; border-radius: 50%;
+    background: rgba(255,255,255,.08); border: 1px solid rgba(255,255,255,.18);
+    color: #ddd; font-size: 1rem; line-height: 28px; text-align: center;
+    cursor: pointer; font-family: system-ui, sans-serif;
+  }
+  #card-back:hover { background: rgba(255,255,255,.18); }
+
+  #card-type { font-size: 1.55rem; font-weight: 400; color: #f2f2f2; margin-bottom: 6px; }
+  #card-seealso { font-size: .62rem; letter-spacing: .12em; text-transform: uppercase; color: #7fa8c9; margin-bottom: 18px; }
+  #card-seealso span { color: #cdd8e0; }
+
+  #card-img-wrap { margin: 0 auto 18px; max-width: 260px; }
+  #card-img {
+    display: block; width: 100%; height: auto; border-radius: 2px;
+    box-shadow: 0 12px 40px rgba(0,0,0,.55);
+    image-rendering: auto;
+  }
+
+  #card-title { font-size: 1.02rem; color: #f5f5f0; }
+  #card-date { font-size: .85rem; color: #b9b9b0; margin-top: 2px; }
+  #card-contrib { font-size: .82rem; color: #cdd8e0; margin-top: 10px; }
+  #card-footer {
+    margin-top: 16px; padding-top: 14px; border-top: 1px solid rgba(255,255,255,.12);
+    font-family: system-ui, sans-serif; font-size: .68rem; letter-spacing: .04em; color: #888;
+  }
+  #card-footer a { color: #d8b04a; text-decoration: none; }
+  #card-footer a:hover { text-decoration: underline; }
+  #card-rights { margin-top: 6px; font-size: .68rem; color: #777; }
+
+  /* stepping between pieces without a keyboard */
+  #card-nav { display: flex; gap: 9px; margin-top: 16px; }
+  #card-nav button {
+    all: unset; flex: 1 1 0; box-sizing: border-box; cursor: pointer; text-align: center;
+    font-family: system-ui, sans-serif; font-size: .7rem; letter-spacing: .05em; color: #cdd8e0;
+    background: rgba(255,255,255,.06); border: 1px solid rgba(255,255,255,.14);
+    border-radius: 6px; padding: 9px 6px;
+  }
+  #card-nav button:hover { background: rgba(255,255,255,.13); }
+  #card-nav button:active { background: rgba(255,255,255,.2); }
+
+  /* ── small screens / fingers ─────────────────────────────────────────────
+       Two things change shape here: the filter panel spans the width instead
+       of crowding a corner, and the card becomes a bottom sheet so the piece
+       you just tapped stays visible on the strip of wall above it. Every hit
+       target is grown to something a thumb can actually land on. ─────────── */
+  @media (max-width: 640px) {
+    #title-screen .stats { gap: 18px; }
+    #title-screen .enter { margin-top: 34px; }
+
+    /* The panel becomes what a phone expects at the bottom of the screen: a
+       sheet parked on the edge showing only its handle, its title and whatever
+       filters are active, which rises when you pull it up. It also puts the
+       controls where the thumb already is, instead of at the top of the screen.
+       --sheet-peek (measured in JS: the body's offset inside the panel) is how
+       much of it stays visible while it is down. */
+    #filters {
+      left: 0; right: 0; width: auto; max-width: none;
+      top: auto; bottom: 0;
+      border-radius: 16px 16px 0 0;
+      border-left: 0; border-right: 0; border-bottom: 0;
+      box-shadow: 0 -14px 44px rgba(0,0,0,.6);
+      padding-bottom: env(safe-area-inset-bottom);
+      transform: translateY(var(--sheet-hide, 340px));
+      transition: transform .34s cubic-bezier(.32, .72, 0, 1);
+      touch-action: none; /* dragging the sheet is never a page scroll */
+    }
+    #filters.open { transform: translateY(0); }
+    #filters::before { /* grab handle — the sheet reads as draggable before it is touched */
+      content: ''; display: block; width: 40px; height: 4px; margin: 9px auto 1px;
+      border-radius: 2px; background: rgba(255,255,255,.24);
+    }
+    #filters-scrim { display: block; }
+    #filters-scrim.on { opacity: 1; pointer-events: auto; }
+
+    #filters-head { padding: 11px 14px 12px; }
+    #filters-head .label { font-size: .72rem; }
+    /* the chevron means "this way": up while the sheet is parked, down once
+       it is up. Anchored at the bottom, the desktop sense of it is backwards. */
+    #filters-head .chevron { transform: rotate(180deg); }
+    #filters.open #filters-head .chevron { transform: rotate(0deg); }
+    #filters-count { font-size: .66rem; padding: 2px 7px; }
+    /* the transform does the hiding, so the body is always laid out — that is
+       what makes the peek measurable and the slide animate */
+    #filters-body {
+      display: block; padding-left: 14px; padding-right: 14px;
+      max-height: min(64dvh, 540px); overflow-y: auto; overscroll-behavior: contain;
+      -webkit-overflow-scrolling: touch; padding-bottom: 14px;
+      touch-action: pan-y;
+    }
+    .f-row select, .f-row input { font-size: 16px; padding: 8px 9px; } /* 16px: no iOS focus-zoom */
+    .f-field input { padding-right: 34px; }
+    .f-field .f-x { width: 26px; height: 26px; line-height: 25px; right: 4px; font-size: 1rem; }
+    #filters-chips { gap: 6px; padding-bottom: 11px; }
+    .chip { font-size: .7rem; line-height: 2; padding: 0 4px 0 10px; }
+    .chip button { width: 19px; height: 19px; line-height: 18px; font-size: .82rem; }
+    .f-hist { height: 34px; gap: 2px; }
+    .f-range { height: 32px; }
+    .f-range input[type="range"] { height: 32px; }
+    .f-range input[type="range"]::-webkit-slider-thumb { width: 22px; height: 22px; }
+    .f-range input[type="range"]::-moz-range-thumb { width: 22px; height: 22px; }
+    .f-range-track { left: 11px; right: 11px; }
+    #f-result { font-size: .72rem; }
+    #f-clear { width: 100%; padding: 9px; font-size: .72rem; }
+
+    #hint {
+      left: 8px; right: 8px; transform: none; text-align: center; white-space: normal;
+      bottom: calc(var(--sheet-peek, 56px) + 12px + env(safe-area-inset-bottom));
+      font-size: .66rem; line-height: 1.5;
+    }
+
+    #wordmark { font-size: .96rem; left: 6px; }
+
+    /* both are sheets on the same edge, and the filter sheet now sits above the
+       card: park the card on top of its peek instead of under it, or the peek
+       would cover the card's own ‹ anterior / próxima › */
+    #card-wrap {
+      align-items: flex-end;
+      padding-bottom: calc(var(--sheet-peek, 56px) + env(safe-area-inset-bottom));
+    }
+    #card {
+      /* the sheet is capped short of the screen on purpose: the band of wall it
+         leaves above is where the opened piece goes, and at 86dvh there was no
+         band — the piece rose straight behind the sheet */
+      width: 100%; max-width: none; max-height: min(66dvh, 560px);
+      overscroll-behavior: contain;
+      border-radius: 16px 16px 0 0; background: rgba(6,6,8,.94);
+      padding: 12px 18px calc(16px + env(safe-area-inset-bottom));
+      transform: translateY(26px) scale(1);
+    }
+    #card::before { /* grab handle — says "sheet", and it can be swiped */
+      content: ''; display: block; width: 40px; height: 4px; margin: 0 auto 12px;
+      border-radius: 2px; background: rgba(255,255,255,.24);
+    }
+    #card-back { top: 8px; left: 8px; width: 34px; height: 34px; line-height: 32px; }
+    #card-type { font-size: 1.3rem; }
+    #card-seealso { margin-bottom: 14px; }
+    #card-img-wrap { max-width: min(210px, 48vw); margin-bottom: 14px; }
+    #card-nav button { padding: 12px 6px; font-size: .74rem; }
+  }
+
+  @media (max-width: 380px) {
+    #card { padding-left: 14px; padding-right: 14px; }
+    #card-img-wrap { max-width: 165px; }
+  }
+
+  /* a phone held sideways: a full-height sheet would swallow the screen */
+  @media (max-height: 460px) and (max-width: 900px) {
+    #card-wrap { align-items: center; }
+    #card {
+      width: min(460px, 92vw); max-height: 92dvh; border-radius: 8px;
+      padding: 12px 18px 14px;
+    }
+    #card::before { display: none; }
+    #card-img-wrap { max-width: 150px; margin-bottom: 10px; }
+    #filters-body { max-height: 58dvh; }
+  }
+</style>
+</head>
+<body>
+
+<canvas id="canvas"></canvas>
+
+<div id="loading">
+  <p id="loading-msg">carregando mural…</p>
+  <div id="title-screen">
+    <div class="eyebrow">Biblioteca Nacional · Acervo Digital</div>
+    <h1>Brasiliana Fotográfica</h1>
+    <p class="sub">um mural do acervo fotográfico brasileiro</p>
+    <div class="stats">
+      <div class="stat"><b id="stat-pecas">—</b><span>peças</span></div>
+      <div class="stat"><b id="stat-periodo">—</b><span>período</span></div>
+      <div class="stat"><b id="stat-instituicoes">—</b><span>instituições</span></div>
+    </div>
+    <div class="enter" id="enter-label">carregando imagens… 0%</div>
+    <div id="progress-track"><div id="progress-bar"></div></div>
+  </div>
+</div>
+
+<div id="wordmark"><span class="a">Acervo</span>Brasiliana</div>
+
+<div id="filters-scrim" aria-hidden="true"></div>
+<div id="filters">
+  <div id="filters-head" role="button" tabindex="0" aria-expanded="false" aria-controls="filters-body">
+    <span class="label">filtros</span>
+    <span class="right">
+      <span id="filters-count" class="empty"></span>
+      <span class="chevron" aria-hidden="true">▾</span>
+    </span>
+  </div>
+  <div id="filters-chips" hidden></div>
+  <div id="filters-body">
+    <p class="f-note" id="filters-label">carregando…</p>
+    <div class="f-row">
+      <label for="f-search">Busca livre</label>
+      <div class="f-field">
+        <input type="search" id="f-search" autocomplete="off" placeholder="qualquer palavra dos metadados…">
+        <button type="button" class="f-x" id="f-search-x" aria-label="limpar busca" hidden>×</button>
+      </div>
+    </div>
+    <div class="f-row">
+      <label for="f-institution">Instituição</label>
+      <select id="f-institution"><option value="">todas</option></select>
+    </div>
+    <div class="f-row">
+      <label for="f-year-lo"><span>Década</span><span class="val" id="f-year-readout">—</span></label>
+      <div class="f-hist" id="f-hist"></div>
+      <div class="f-range">
+        <div class="f-range-track"><div class="f-range-fill" id="f-year-fill"></div></div>
+        <input type="range" id="f-year-lo" aria-label="década inicial">
+        <input type="range" id="f-year-hi" aria-label="década final">
+      </div>
+    </div>
+    <div class="f-row">
+      <label for="f-author">Autor / fotógrafo</label>
+      <div class="f-field">
+        <input type="text" id="f-author" list="f-author-list" autocomplete="off" placeholder="buscar ou escolher…">
+        <button type="button" class="f-x" id="f-author-x" aria-label="limpar autor" hidden>×</button>
+      </div>
+      <datalist id="f-author-list"></datalist>
+    </div>
+    <div class="f-row">
+      <label for="f-type">Tipo de suporte</label>
+      <select id="f-type"><option value="">todos</option></select>
+    </div>
+    <div id="f-result">—</div>
+    <button id="f-clear" class="disabled">limpar filtros</button>
+  </div>
+</div>
+<p id="hint">
+  <span class="desk">arraste para deslocar · scroll para aproximar · clique numa peça · setas navegam com a ficha aberta · <b style="font-weight:600;color:#bbb">f</b> filtros · <b style="font-weight:600;color:#bbb">/</b> busca</span>
+  <span class="touch">arraste para deslocar · pinça para aproximar · toque numa peça</span>
+</p>
+
+<div id="card-wrap">
+  <div id="card">
+    <div id="card-back">←</div>
+    <div id="card-type">—</div>
+    <div id="card-seealso"><span id="card-community">—</span> · <span id="card-date-tag">—</span></div>
+    <div id="card-img-wrap"><img id="card-img" alt=""></div>
+    <div id="card-title">—</div>
+    <div id="card-date">—</div>
+    <div id="card-contrib"></div>
+    <div id="card-footer">
+      <div><a id="card-link" href="#" target="_blank" rel="noopener">ver item original ↗</a> · <span id="card-handle"></span></div>
+      <div id="card-rights"></div>
+    </div>
+    <div id="card-nav">
+      <button type="button" id="card-prev" aria-label="peça anterior">‹ anterior</button>
+      <button type="button" id="card-next" aria-label="próxima peça">próxima ›</button>
+    </div>
+  </div>
+</div>
+
+<script type="module">
+import * as THREE from 'three';
+
+const isMobile = window.matchMedia('(max-width: 640px)').matches;
+const isTouch = window.matchMedia('(pointer: coarse)').matches;
+
+// ─── renderer / scene / camera ─────────────────────────────────────────────
+const canvas = document.getElementById('canvas');
+const renderer = new THREE.WebGLRenderer({ canvas, antialias: !isTouch, powerPreference: 'high-performance' });
+renderer.setPixelRatio(Math.min(window.devicePixelRatio, isTouch ? 1.75 : 2));
+renderer.setSize(window.innerWidth, window.innerHeight);
+renderer.outputColorSpace = THREE.SRGBColorSpace;
+
+const scene = new THREE.Scene();
+scene.background = new THREE.Color(0x0b0b0c);
+
+const START_Z = isMobile ? 17 : 26;
+const camera = new THREE.PerspectiveCamera(50, window.innerWidth / window.innerHeight, 0.1, 500);
+camera.position.set(0, 0, START_Z);
+
+function resize() {
+  camera.aspect = window.innerWidth / window.innerHeight;
+  camera.updateProjectionMatrix();
+  renderer.setSize(window.innerWidth, window.innerHeight);
+}
+new ResizeObserver(resize).observe(document.documentElement);
+// iOS collapses/expands its URL bar without resizing the documentElement
+window.visualViewport?.addEventListener('resize', resize);
+window.addEventListener('orientationchange', () => setTimeout(resize, 250));
+
+// ─── pan / zoom over the flat wall (no orbit — it's a wall, not a globe) ───
+// the camera itself never moves on selection — only the tiles do (see selectTile below)
+// one pointer pans, two pinch to zoom; the wheel keeps doing the desktop job.
+// upper bound generous enough to fit the whole wall (thousands of tiles,
+// ~180 units wide) in view at once, well under the camera's far plane (500)
+const MIN_Z = 4, MAX_Z = 400;
+const camTarget = new THREE.Vector3(0, 0, START_Z); // camera eases toward this each frame
+
+// world units per screen pixel at a given distance — panning then tracks the
+// finger exactly at every zoom level instead of racing away when zoomed in
+// (at the default distance this works out to the old fixed 0.03 factor)
+const HALF_FOV_TAN = Math.tan(THREE.MathUtils.degToRad(50 / 2));
+const worldPerPx = (z = camTarget.z) => (2 * z * HALF_FOV_TAN) / window.innerHeight;
+const visibleHeight = (z = camTarget.z) => 2 * z * HALF_FOV_TAN;
+
+renderer.domElement.addEventListener('wheel', e => {
+  e.preventDefault();
+  if (selected) return; // navigation is frozen while a card is open
+  // multiplicative, not additive: a notch of the wheel covers the same *share*
+  // of the distance at every zoom, instead of crawling far out and lurching close
+  camTarget.z = THREE.MathUtils.clamp(camTarget.z * Math.exp(e.deltaY * 0.0011), MIN_Z, MAX_Z);
+}, { passive: false });
+
+const pointers = new Map(); // live pointers on the canvas, by pointerId
+let gesture = null;         // camera + finger state sampled when the set changed
+let multi = false;          // this gesture was ever a pinch → the last lift isn't a tap
+
+function centroid() {
+  let x = 0, y = 0;
+  for (const p of pointers.values()) { x += p.x; y += p.y; }
+  return { x: x / pointers.size, y: y / pointers.size };
+}
+function spread() {
+  const [a, b] = [...pointers.values()];
+  return Math.max(1, Math.hypot(a.x - b.x, a.y - b.y));
+}
+// re-baselined whenever a finger lands or lifts, so the view never jumps
+function rebase() {
+  const c = centroid();
+  gesture = {
+    cx: c.x, cy: c.y,
+    camX: camTarget.x, camY: camTarget.y, camZ: camTarget.z,
+    spread: pointers.size > 1 ? spread() : 0,
+    k: worldPerPx(),
+  };
+}
+
+/* ─── the throw ──────────────────────────────────────────────────────────────
+   A drag that ends while still moving keeps going and slows like something with
+   weight, instead of stopping dead the instant the finger leaves the glass.
+   `vel` is the live speed of the drag, smoothed; `glide` is what it was thrown
+   with, decaying every frame after the release. Both are world units a second,
+   so a throw covers the same amount of wall at any zoom. */
+const glide = new THREE.Vector2();
+const vel = new THREE.Vector2();
+let lastMoveAt = 0;
+const GLIDE_TAU = 0.42; // how long the coast lasts
+const GLIDE_MAX = 90;   // ceiling on a flick, in world units a second
+
+renderer.domElement.addEventListener('pointerdown', e => {
+  if (selected) return; // navigation is frozen while a card is open
+  renderer.domElement.setPointerCapture?.(e.pointerId);
+  pointers.set(e.pointerId, { x: e.clientX, y: e.clientY, ox: e.clientX, oy: e.clientY, moved: false });
+  if (pointers.size > 1) multi = true;
+  glide.set(0, 0); vel.set(0, 0); // a finger on the glass stops the wall dead
+  lastMoveAt = performance.now();
+  rebase();
+});
+
+renderer.domElement.addEventListener('pointermove', e => {
+  const p = pointers.get(e.pointerId);
+  if (!p || !gesture) return;
+  p.x = e.clientX; p.y = e.clientY;
+  // a finger wobbles far more than a mouse does on a click
+  if (Math.hypot(p.x - p.ox, p.y - p.oy) > (e.pointerType === 'mouse' ? 4 : 12)) p.moved = true;
+
+  if (pointers.size > 1) camTarget.z = THREE.MathUtils.clamp(gesture.camZ * (gesture.spread / spread()), MIN_Z, MAX_Z);
+  const c = centroid();
+  const k = pointers.size > 1 ? worldPerPx() : gesture.k; // pinching also drags the midpoint
+  const px = camTarget.x, py = camTarget.y;
+  camTarget.x = gesture.camX - (c.x - gesture.cx) * k;
+  camTarget.y = gesture.camY + (c.y - gesture.cy) * k;
+
+  // speed of the drag itself, smoothed — one jittery sample must not decide
+  // where the wall gets thrown, and a stale one must not survive a pause
+  const t = performance.now();
+  const dt = (t - lastMoveAt) / 1000;
+  lastMoveAt = t;
+  if (dt > 0 && dt < 0.1) {
+    vel.x += ((camTarget.x - px) / dt - vel.x) * 0.35;
+    vel.y += ((camTarget.y - py) / dt - vel.y) * 0.35;
+  } else vel.set(0, 0);
+});
+
+function endPointer(e) {
+  const p = pointers.get(e.pointerId);
+  if (!p) return;
+  pointers.delete(e.pointerId);
+  if (pointers.size) { rebase(); return; } // other fingers still down
+  if (!p.moved && !multi && e.type === 'pointerup') handleTap(e.clientX, e.clientY, e.pointerType !== 'mouse');
+  // a finger that came to rest before lifting is holding the wall, not throwing it
+  else if (e.type === 'pointerup' && performance.now() - lastMoveAt < 90) {
+    glide.copy(vel).clampLength(0, GLIDE_MAX);
+  }
+  vel.set(0, 0);
+  multi = false;
+  gesture = null;
+}
+window.addEventListener('pointerup', endPointer);
+window.addEventListener('pointercancel', endPointer);
+
+// on a phone the open panel covers most of the wall — a tap on the wall means
+// "let me see it", so the first tap puts the panel away rather than selecting
+function handleTap(x, y, touch) {
+  if (isMobile && filtersEl.classList.contains('open')) { toggleFilters(false); return; }
+  doRaycast(x, y, touch);
+}
+
+// ─── grid of tiles ──────────────────────────────────────────────────────────
+// A mesh per piece meant 12.552 draw calls a frame, every one of them a
+// transparent object the renderer had to depth-sort first — which is what made
+// zooming out stutter: the further you pull back, the more of them are on
+// screen. Instead there is one InstancedMesh per atlas page (four in all), and
+// a tile is a plain object holding its own animation state. Draw calls no
+// longer depend on the zoom level.
+const tileMeshes = [];     // Tile[], in grid order — arrow navigation walks this
+const pages = [];          // one per atlas page: { mesh, tiles, dims, dimAttr, dirty }
+const pageMeshes = [];     // the raycast targets, kept as a stable array
+const animating = new Set(); // tiles still easing toward their target
+const tileGroup = new THREE.Group();
+scene.add(tileGroup);
+
+const GUTTER = 1.12; // spacing multiplier so tiles don't touch
+let GRID_COLS = 1; // set by buildGrid, used by arrow-key navigation to move by row/col
+
+// every tile is the same quad — only its instance matrix, atlas offset and
+// dimming differ, so the geometry is built once and shared
+const tileGeo = new THREE.PlaneGeometry(1, 1);
+const placeholderMat = new THREE.MeshBasicMaterial({ color: 0x1a1a1a });
+
+// MeshBasicMaterial knows nothing about per-instance atlas windows or dimming,
+// so both are fed in as instanced attributes and patched into its shader
+function tileMaterial(tex, tpr) {
+  const mat = new THREE.MeshBasicMaterial({ map: tex });
+  mat.onBeforeCompile = shader => {
+    shader.uniforms.uUvScale = { value: 1 / tpr };
+    shader.vertexShader = `
+      attribute vec2 aUv;
+      attribute float aDim;
+      uniform float uUvScale;
+      varying float vDim;
+    ` + shader.vertexShader.replace(
+      '#include <uv_vertex>',
+      'vMapUv = uv * uUvScale + aUv;\n vDim = aDim;'
+    );
+    // the dim factor is a perceptual one (0.07 reads as "nearly gone"), but it
+    // lands in linear space — decode it or a dimmed wall comes out four times
+    // brighter than the old alpha blend did
+    shader.fragmentShader = 'varying float vDim;\n' + shader.fragmentShader.replace(
+      '#include <map_fragment>',
+      '#include <map_fragment>\n diffuseColor.rgb *= pow( vDim, 2.2 );'
+    );
+  };
+  return mat;
+}
+
+function buildGrid(handles, mapEntries, tpr, nPages) {
+  const n = handles.length;
+  const cols = Math.max(1, Math.round(Math.sqrt(n * (window.innerWidth / window.innerHeight) * 1.4)));
+  const rows = Math.ceil(n / cols);
+  GRID_COLS = cols;
+
+  const counts = new Array(nPages).fill(0);
+  handles.forEach(h => counts[mapEntries[h].atlas || 0]++);
+
+  for (let i = 0; i < nPages; i++) {
+    const count = Math.max(1, counts[i]);
+    const geo = tileGeo.clone(); // the quad is shared; the per-instance attributes are not
+    const uvAttr = new THREE.InstancedBufferAttribute(new Float32Array(count * 2), 2);
+    const dims = new Float32Array(count).fill(1);
+    const dimAttr = new THREE.InstancedBufferAttribute(dims, 1);
+    dimAttr.setUsage(THREE.DynamicDrawUsage);
+    geo.setAttribute('aUv', uvAttr);
+    geo.setAttribute('aDim', dimAttr);
+
+    const mesh = new THREE.InstancedMesh(geo, placeholderMat, count);
+    mesh.instanceMatrix.setUsage(THREE.DynamicDrawUsage);
+    mesh.frustumCulled = false; // the wall's bounds shift as tiles animate, and four objects cost nothing
+    mesh.userData.page = i;
+    tileGroup.add(mesh);
+    pages.push({ mesh, tiles: [], dims, dimAttr, dirty: false });
+    pageMeshes.push(mesh);
+  }
+
+  const m4 = new THREE.Matrix4();
+  handles.forEach((handle, i) => {
+    const col = i % cols, row = Math.floor(i / cols);
+    const entry = mapEntries[handle];
+    const page = pages[entry.atlas || 0];
+    const iid = page.tiles.length;
+
+    const pos = new THREE.Vector3(
+      (col - cols / 2) * GUTTER,
+      (rows / 2 - row) * GUTTER,
+      (Math.random() - 0.5) * 0.6 // slight depth jitter, like the reference photo
+    );
+    const tile = {
+      page: entry.atlas || 0, iid,
+      pos: pos.clone(), scl: 1, dim: 1,
+      userData: {
+        handle, meta: entry.meta,
+        basePos: pos.clone(),
+        targetPos: pos.clone(),
+        targetScale: 1,
+        targetOpacity: 1, // dimmed (not hidden) by the filter panel — keeps the grid layout intact
+      },
+    };
+
+    // the tile's window into the atlas, as a uv offset off the shared quad
+    page.mesh.geometry.attributes.aUv.setXY(iid, entry.col / tpr, 1 - (entry.row + 1) / tpr);
+    m4.makeScale(1, 1, 1).setPosition(pos);
+    page.mesh.setMatrixAt(iid, m4);
+
+    page.tiles.push(tile);
+    tileMeshes.push(tile);
+    tileByHandle.set(handle, tile);
+  });
+
+  pages.forEach(p => { p.mesh.instanceMatrix.needsUpdate = true; p.mesh.geometry.attributes.aUv.needsUpdate = true; });
+  return { cols, rows };
+}
+
+// a tile only costs anything on the frames where it is actually moving
+function markAnimating(tile) { animating.add(tile); }
+
+const _m4 = new THREE.Matrix4();
+// the tiles ease on the same clock the camera does: 0.16 a frame *was* the
+// right weight at 60 Hz, and twice that on a 120 Hz phone
+const TAU_TILE = 0.096;
+function updateTileAnimation(dt) {
+  if (!animating.size) return;
+  const k = ease(dt, TAU_TILE);
+  for (const t of animating) {
+    const d = t.userData;
+    let settled = true;
+    if (t.pos.distanceToSquared(d.targetPos) > 1e-6) { t.pos.lerp(d.targetPos, k); settled = false; }
+    else t.pos.copy(d.targetPos);
+    if (Math.abs(t.scl - d.targetScale) > 1e-4) { t.scl += (d.targetScale - t.scl) * k; settled = false; }
+    else t.scl = d.targetScale;
+    if (Math.abs(t.dim - d.targetOpacity) > 1e-4) { t.dim += (d.targetOpacity - t.dim) * k; settled = false; }
+    else t.dim = d.targetOpacity;
+
+    const page = pages[t.page];
+    _m4.makeScale(t.scl, t.scl, 1).setPosition(t.pos);
+    page.mesh.setMatrixAt(t.iid, _m4);
+    page.dims[t.iid] = t.dim;
+    page.dirty = true;
+    if (settled) animating.delete(t);
+  }
+  for (const page of pages) {
+    if (!page.dirty) continue;
+    page.mesh.instanceMatrix.needsUpdate = true;
+    page.dimAttr.needsUpdate = true;
+    page.dirty = false;
+  }
+}
+
+// ─── raycasting ─────────────────────────────────────────────────────────────
+const raycaster = new THREE.Raycaster();
+const pointer = new THREE.Vector2();
+let hovered = null;
+
+// dimmed-out tiles are inert: they can't be hovered, clicked or stepped onto,
+// so an active filter behaves like a real subset and not just a paint job
+function firstLiveHit() {
+  const hits = raycaster.intersectObjects(pageMeshes, false);
+  for (const h of hits) {
+    const tile = pages[h.object.userData.page].tiles[h.instanceId];
+    if (tile && !tile.userData.filteredOut) return tile;
+  }
+  return null;
+}
+
+// the canvas' own box, not the window: on iOS the two drift apart whenever the
+// URL bar slides and the picked point lands a tile or two off the finger
+function pickAt(cx, cy) {
+  const r = renderer.domElement.getBoundingClientRect();
+  pointer.x = ((cx - r.left) / r.width) * 2 - 1;
+  pointer.y = -((cy - r.top) / r.height) * 2 + 1;
+  raycaster.setFromCamera(pointer, camera);
+  return firstLiveHit();
+}
+
+// A fingertip covers far more wall than a tile does at the opening zoom (a tile
+// is ~50 px there), so a tap that looks dead-on often lands in a gutter. On
+// touch, sweep a small ring around the point before calling it a miss.
+const TAP_RING = [[0, 0], [0, -11], [11, 0], [0, 11], [-11, 0], [-8, -8], [8, -8], [8, 8], [-8, 8]];
+function doRaycast(cx, cy, touch) {
+  for (const [ox, oy] of (touch ? TAP_RING : [[0, 0]])) {
+    const m = pickAt(cx + ox, cy + oy);
+    if (m) { openTile(m); return; }
+  }
+}
+
+renderer.domElement.addEventListener('pointermove', e => {
+  if (e.pointerType !== 'mouse' || pointers.size || selected) return; // no hover state on a finger
+  const m = pickAt(e.clientX, e.clientY);
+  if (m !== hovered) {
+    if (hovered) { hovered.userData.targetScale = 1; markAnimating(hovered); }
+    hovered = m;
+    if (hovered) { hovered.userData.targetScale = 1.08; markAnimating(hovered); }
+    renderer.domElement.style.cursor = m ? 'pointer' : '';
+  }
+});
+
+// ─── selection / card ─────────────────────────────────────────────────────
+// the camera never moves here — the *tiles* do: the clicked one grows and
+// moves to screen-center, the rest part radially away from that same point
+// (the "hole" always opens in the middle, wherever you clicked).
+let atlasSources = []; // { source, size } per atlas page — used to crop the tile into the card canvas
+let atlasEntries = null, TPR = 1;
+let selected = null;
+let selectedAt = 0;
+
+// Where the opened piece goes and how big it gets. On a desktop that is simply
+// the middle of the screen; on a phone the card is a bottom sheet, so the piece
+// is centred in whatever band of wall is left above it — measured off the sheet
+// that was just filled in, because its height depends on how much metadata the
+// item carries. Guessed at a fixed fraction, the piece ended up behind the sheet.
+function framing(visH) {
+  if (!isMobile) return { lift: 0, scale: 3.4 };
+  const vh = window.innerHeight;
+  // Where the wall begins depends on where the filter panel is anchored: as a
+  // bar at the top it is the line under its header (open or closed — a tap on
+  // the wall closes the rest of it); as a sheet on the bottom edge it takes
+  // nothing off the top at all, and it sits behind the card either way.
+  const fr = filtersEl.getBoundingClientRect();
+  const top = (fr.bottom < vh - 1 ? fr.top + filtersHead.offsetHeight : 0) + 10;
+  // the card is parked above the filter sheet's peek, so the wall ends where
+  // the card's own laid-out top is — not at the bottom of the screen
+  const pad = parseFloat(getComputedStyle(cardEl.parentElement).paddingBottom) || 0;
+  const bottom = vh - cardEl.offsetHeight - pad - 10;
+  const band = bottom - top;
+  if (band < 70) return { lift: 0, scale: Math.min(3.4, visH * 0.18) }; // no room to speak of
+  return {
+    lift: (vh / 2 - (top + bottom) / 2) / vh * visH,
+    scale: THREE.MathUtils.clamp((band / vh) * visH * 0.82, 1.2, 3.4),
+  };
+}
+
+function selectTile(mesh) {
+  closing = false;
+  selected = mesh;
+  selectedAt = performance.now();
+  hovered = null;
+
+  showCard(mesh.userData); // fill the card first: its height decides the framing
+
+  const centerZ = mesh.userData.basePos.z;
+  const cx = camTarget.x, cy = camTarget.y;
+  const visH = visibleHeight();
+  const { lift, scale } = framing(visH);
+
+  // Beyond the edge of the screen the parting is invisible, and moving every
+  // one of twelve thousand instances for it costs a phone the whole animation.
+  const reach = Math.hypot(visH * camera.aspect, visH) * 0.5 + 8;
+
+  tileMeshes.forEach(m => {
+    if (m === mesh) return;
+    const dx = m.userData.basePos.x - cx;
+    const dy = m.userData.basePos.y - cy;
+    const dist = Math.hypot(dx, dy) || 0.001;
+    if (dist > reach) { rest(m); return; }
+    const ux = dx / dist, uy = dy / dist;
+    const push = THREE.MathUtils.clamp(6.5 - dist * 0.5, 1.5, 6.5); // closer tiles get shoved further
+    aim(m, m.userData.basePos.clone().add(new THREE.Vector3(ux * push, uy * push, -1.5)), 1);
+  });
+
+  aim(mesh, new THREE.Vector3(cx, cy + lift, centerZ + 4), scale);
+}
+
+// a tile only joins the animation set when it has somewhere to go
+function aim(m, pos, scale) {
+  m.userData.targetPos = pos;
+  m.userData.targetScale = scale;
+  if (m.pos.distanceToSquared(pos) > 1e-6 || Math.abs(m.scl - scale) > 1e-4) markAnimating(m);
+}
+function rest(m) { aim(m, m.userData.basePos, 1); }
+
+function deselect() {
+  closing = false;
+  tileMeshes.forEach(rest);
+  document.getElementById('card-wrap').classList.remove('open');
+  selected = null;
+}
+document.getElementById('card-back').addEventListener('click', () => closeCard());
+// A tap is pointerup *then* a compatibility click. The card opens on the
+// pointerup, so that click lands on whatever the card just put under the
+// finger — the backdrop (closing it again) or a button on the sheet. Swallow
+// anything that arrives within a moment of the card opening.
+// stopImmediatePropagation, not stopPropagation: when the click lands on the
+// backdrop itself the closing listener below is on that same element, and
+// plain stopPropagation does not reach listeners on the target node — so every
+// tap that opened a card in the upper half of a phone screen closed it again.
+document.getElementById('card-wrap').addEventListener('click', e => {
+  if (performance.now() - selectedAt < 400) { e.stopImmediatePropagation(); e.preventDefault(); }
+}, true);
+document.getElementById('card-wrap').addEventListener('click', e => {
+  if (e.target.id === 'card-wrap') closeCard();
+});
+// the wall is frozen while a piece is up, so a scroll out there means "give it
+// back" — the card folds away and the wheel that followed does the zooming
+document.getElementById('card-wrap').addEventListener('wheel', e => {
+  if (selected && !e.target.closest('#card')) closeCard(); // the card's own body still scrolls
+}, { passive: true });
+
+/* ─── browser history ────────────────────────────────────────────────────────
+   Opening a piece is an event worth going back from: each one becomes a history
+   entry carrying its handle, so the phone's back gesture (and the browser's own
+   back button) closes the card instead of leaving the wall, and back/forward
+   retrace the pieces you opened — including the ones you stepped to with
+   ‹ anterior / próxima ›. The handle also lands in the URL, so a piece can be
+   linked to and re-opened straight from the address bar.
+   Everything that changes the view goes through openTile/closeCard; selectTile
+   and deselect are the raw moves, used as-is when *history* is the one asking. */
+const tileByHandle = new Map(); // filled in buildGrid
+let historyReady = false;       // no entries before the wall can answer for them
+
+function openTile(tile) {
+  selectTile(tile);
+  if (!historyReady) return;
+  const h = tile.userData.handle;
+  // holding an arrow key walks the wall faster than Safari allows entries to be
+  // pushed (100 per 30s); the wall keeps working, it just stops recording
+  try { history.pushState({ h }, '', `#${encodeURIComponent(h)}`); } catch {}
+}
+
+let closing = false; // a history.back() already asked for; popstate clears it
+
+function closeCard() {
+  if (closing) return; // dragging a filter fires apply() per frame — one back, not twelve
+  // stepping back is what put the card on screen — unwind it the same way, so
+  // forward can bring the piece back instead of a dead entry
+  if (historyReady && history.state && history.state.h) { closing = true; history.back(); return; }
+  deselect();
+}
+
+const handleFromHash = () => {
+  try { return decodeURIComponent(location.hash.slice(1)); } catch { return ''; }
+};
+
+window.addEventListener('popstate', e => {
+  if (!historyReady) return;
+  const h = (e.state && e.state.h) || handleFromHash();
+  const tile = h ? tileByHandle.get(h) : null;
+  if (tile) { if (tile !== selected) selectTile(tile); }
+  else if (selected) deselect();
+});
+const filtersEl = document.getElementById('filters');
+const filtersHead = document.getElementById('filters-head');
+const filtersScrim = document.getElementById('filters-scrim');
+const filtersBodyEl = document.getElementById('filters-body');
+
+function toggleFilters(force) {
+  const open = force !== undefined ? force : !filtersEl.classList.contains('open');
+  filtersEl.classList.toggle('open', open);
+  filtersHead.setAttribute('aria-expanded', String(open));
+  filtersScrim.classList.toggle('on', open && isMobile);
+}
+filtersScrim.addEventListener('click', () => toggleFilters(false));
+
+// ── the mobile sheet ──────────────────────────────────────────────────────
+// Parked on the bottom edge it shows only its handle, title and active chips;
+// everything below that is translated off-screen. Both distances are measured
+// rather than guessed, because the chips change the panel's height as filters
+// come and go.
+let sheetHide = 340; // px of panel hanging below the screen while it is down
+function measureSheet() {
+  const peek = filtersBodyEl.offsetTop;              // handle + head + chips
+  sheetHide = Math.max(0, filtersEl.offsetHeight - peek);
+  const root = document.documentElement.style;
+  root.setProperty('--sheet-peek', `${peek}px`);     // the hint clears this
+  root.setProperty('--sheet-hide', `${sheetHide}px`);
+}
+if (isMobile) {
+  measureSheet();
+  // the chips row appears and disappears with the filters, changing the peek
+  new ResizeObserver(measureSheet).observe(filtersEl);
+  window.addEventListener('orientationchange', () => setTimeout(measureSheet, 260));
+}
+
+// drag the handle to raise or drop it, following the finger the whole way
+let sheetDrag = null;
+filtersEl.addEventListener('touchstart', e => {
+  if (!isMobile || e.touches.length !== 1) return;
+  if (e.target.closest('#filters-body')) return; // that area scrolls and holds controls
+  sheetDrag = {
+    y: e.touches[0].clientY, moved: 0,
+    base: filtersEl.classList.contains('open') ? 0 : sheetHide,
+  };
+  filtersEl.style.transition = 'none';
+}, { passive: true });
+window.addEventListener('touchmove', e => {
+  if (!sheetDrag || !e.touches.length) return;
+  sheetDrag.moved = e.touches[0].clientY - sheetDrag.y;
+  const y = Math.min(sheetHide, Math.max(0, sheetDrag.base + sheetDrag.moved));
+  filtersEl.style.transform = `translateY(${y}px)`;
+}, { passive: true });
+function endSheetDrag() {
+  if (!sheetDrag) return;
+  const { moved } = sheetDrag;
+  sheetDrag = null;
+  filtersEl.style.transition = '';
+  filtersEl.style.transform = ''; // back to whatever the open/closed class says
+  if (Math.abs(moved) > 40) toggleFilters(moved < 0); // up opens, down closes
+}
+window.addEventListener('touchend', endSheetDrag);
+window.addEventListener('touchcancel', endSheetDrag);
+
+window.addEventListener('keydown', e => {
+  const typing = /^(INPUT|SELECT|TEXTAREA)$/.test(e.target.tagName);
+  if (e.key === 'Escape') {
+    if (selected) closeCard();
+    else if (typing) e.target.blur();
+    else toggleFilters(false);
+    return;
+  }
+  if (e.key === 'f' && !typing) { toggleFilters(); return; }
+  if (e.key === '/' && !typing) { // straight into the search box
+    e.preventDefault();
+    toggleFilters(true);
+    document.getElementById('f-search').focus();
+    return;
+  }
+  if (!selected || typing) return; // arrow navigation only makes sense with a card open
+  // move by actual row/col in the grid, not raw array index — Up/Down jump
+  // a full row (GRID_COLS), Left/Right move one column, both wrap at the ends.
+  const step = { ArrowRight: 1, ArrowLeft: -1, ArrowDown: GRID_COLS, ArrowUp: -GRID_COLS }[e.key];
+  if (!step) return;
+  e.preventDefault();
+  stepSelection(step);
+});
+
+// filtered-out tiles are skipped over, so stepping stays inside the subset
+function stepSelection(step) {
+  if (!selected) return;
+  const n = tileMeshes.length;
+  let i = tileMeshes.indexOf(selected);
+  for (let k = 0; k < n; k++) {
+    i = (i + step + n) % n;
+    if (!tileMeshes[i].userData.filteredOut) { openTile(tileMeshes[i]); return; }
+  }
+}
+
+// the same step, reachable without a keyboard
+document.getElementById('card-prev').addEventListener('click', () => stepSelection(-1));
+document.getElementById('card-next').addEventListener('click', () => stepSelection(1));
+
+// ...and by swiping the card sideways. Vertical stays free for scrolling the
+// card's own body, and a downward flick on the sheet closes it.
+const cardEl = document.getElementById('card');
+let swipe = null;
+cardEl.addEventListener('touchstart', e => {
+  swipe = e.touches.length === 1 ? { x: e.touches[0].clientX, y: e.touches[0].clientY, top: cardEl.scrollTop } : null;
+}, { passive: true });
+cardEl.addEventListener('touchend', e => {
+  if (!swipe || !e.changedTouches.length) return;
+  const dx = e.changedTouches[0].clientX - swipe.x;
+  const dy = e.changedTouches[0].clientY - swipe.y;
+  swipe = null;
+  if (Math.abs(dx) > 60 && Math.abs(dx) > Math.abs(dy) * 1.6) stepSelection(dx < 0 ? 1 : -1);
+  else if (dy > 90 && Math.abs(dy) > Math.abs(dx) * 1.6 && cardEl.scrollTop <= 0) closeCard();
+}, { passive: true });
+
+// Every item's page is the same address with its handle in it, so the map used
+// to spend 1,2 MB repeating that prefix 12.552 times — and meta.handle another
+// 0,4 MB repeating the key it was already filed under. Both are derived here.
+const sourceUrl = h => `https://brasilianafotografica.bn.gov.br/brasiliana/handle/${h}?show=full`;
+
+function showCard(data) {
+  const meta = data.meta || {};
+  document.getElementById('card-type').textContent = meta.type || 'Fotografia';
+  document.getElementById('card-community').textContent = meta.community || '—';
+  document.getElementById('card-date-tag').textContent = meta.date || 's.d.';
+  document.getElementById('card-title').textContent = meta.title || '(sem título)';
+  document.getElementById('card-date').textContent = meta.date || '';
+  document.getElementById('card-contrib').textContent = meta.contributor ? meta.contributor : '';
+  document.getElementById('card-handle').textContent = data.handle || '';
+  document.getElementById('card-link').href = data.handle ? sourceUrl(data.handle) : '#';
+  document.getElementById('card-rights').textContent = meta.rights ? `Direitos: ${meta.rights}` : '';
+
+  // crop this tile out of the atlas image for a (still small, but framed) preview
+  const entry = atlasEntries[data.handle];
+  const img = document.getElementById('card-img');
+  const page = atlasSources[entry?.atlas || 0];
+  if (page && entry) {
+    const S = page.size / TPR;
+    const out = Math.min(512, Math.round(S * 4)); // no point upscaling past 4x
+    const c = document.createElement('canvas');
+    c.width = c.height = out;
+    const ctx = c.getContext('2d');
+    ctx.imageSmoothingEnabled = true;
+    ctx.drawImage(page.source, entry.col * S, entry.row * S, S, S, 0, 0, out, out);
+    img.src = c.toDataURL('image/jpeg', 0.92);
+  }
+  document.getElementById('card-wrap').classList.add('open');
+}
+
+// ─── render loop ────────────────────────────────────────────────────────────
+// Easing is a time constant here, never a per-frame fraction: a fixed fraction
+// converges twice as fast at 120 Hz as at 60, so the wall had a different weight
+// on every screen. `tau` is roughly how long it takes to cover most of the gap.
+const ease = (dt, tau) => 1 - Math.exp(-dt / tau);
+const TAU_GRAB = 0.035; // finger down — the wall stays under the finger
+const TAU_FREE = 0.10;  // let go — it settles
+const TAU_ZOOM = 0.12;
+let lastFrame = performance.now();
+
+function tick(now = lastFrame) {
+  requestAnimationFrame(tick);
+  // a backgrounded tab comes back with a gap of seconds: clamp it, or the wall
+  // teleports on the first frame after the user returns
+  const dt = Math.min(0.05, Math.max(0, (now - lastFrame) / 1000));
+  lastFrame = now;
+
+  // the coast, before the camera reads its target
+  if (!pointers.size && !selected && glide.lengthSq() > 0.04) {
+    camTarget.x += glide.x * dt;
+    camTarget.y += glide.y * dt;
+    glide.multiplyScalar(Math.exp(-dt / GLIDE_TAU));
+  } else if (!pointers.size) glide.set(0, 0);
+
+  // pure user pan/zoom — never touched by selection
+  const kxy = ease(dt, pointers.size ? TAU_GRAB : TAU_FREE);
+  camera.position.x += (camTarget.x - camera.position.x) * kxy;
+  camera.position.y += (camTarget.y - camera.position.y) * kxy;
+  camera.position.z += (camTarget.z - camera.position.z) * ease(dt, TAU_ZOOM);
+  // no lookAt: the camera stays square to the wall. Aiming it at the *target*
+  // while it trailed behind tilted the whole view a little on every drag —
+  // which is what made a fast pan swim instead of slide.
+
+  updateTileAnimation(dt);
+  renderer.render(scene, camera);
+}
+
+// ─── filter panel: instituição / década / autor / tipo ─────────────────────
+// tiles that don't match are dimmed (targetOpacity), never removed — the
+// grid layout stays intact so navigation and the atlas UVs never shift.
+filtersHead.addEventListener('click', () => toggleFilters());
+filtersHead.addEventListener('keydown', e => {
+  if (e.key === 'Enter' || e.key === ' ') { e.preventDefault(); toggleFilters(); }
+});
+
+// pt-BR catalogue text is full of accents and nobody types them into a filter
+const deburr = str => str.normalize('NFD').replace(/[\u0300-\u036f]/g, '').toLowerCase();
+
+// everything a record carries, flattened into one string — naming the fields
+// would quietly drop whatever the catalogue gains later
+function flattenMeta(value) {
+  if (value == null) return '';
+  if (Array.isArray(value)) return value.map(flattenMeta).join(' ');
+  if (typeof value === 'object') return Object.values(value).map(flattenMeta).join(' ');
+  return String(value);
+}
+
+function yearOf(meta) {
+  const m = String((meta || {}).date || '').match(/(1[5-9]\d{2}|20\d{2})/);
+  return m ? parseInt(m[1], 10) : null;
+}
+
+function setupFilters(mapData) {
+  const entries = Object.values(mapData.map);
+  const instCounts = new Map(), typeCounts = new Map(), authorCounts = new Map();
+  let minYear = Infinity, maxYear = -Infinity;
+
+  entries.forEach(e => {
+    const meta = e.meta || {};
+    if (meta.community) instCounts.set(meta.community, (instCounts.get(meta.community) || 0) + 1);
+    if (meta.type) typeCounts.set(meta.type, (typeCounts.get(meta.type) || 0) + 1);
+    if (meta.contributor) authorCounts.set(meta.contributor, (authorCounts.get(meta.contributor) || 0) + 1);
+    const y = yearOf(meta);
+    if (y != null) { if (y < minYear) minYear = y; if (y > maxYear) maxYear = y; }
+  });
+  if (minYear > maxYear) { minYear = 1860; maxYear = 1930; } // no dated items — shouldn't happen, but stay safe
+
+  const selInst = document.getElementById('f-institution');
+  [...instCounts.entries()].sort((a, b) => b[1] - a[1]).forEach(([name, n]) => {
+    const opt = document.createElement('option');
+    opt.value = name; opt.textContent = `${name} (${n.toLocaleString('pt-BR')})`;
+    selInst.appendChild(opt);
+  });
+
+  const selType = document.getElementById('f-type');
+  [...typeCounts.entries()].sort((a, b) => b[1] - a[1]).forEach(([name, n]) => {
+    const opt = document.createElement('option');
+    opt.value = name; opt.textContent = `${name.replace('/', ' / ')} (${n.toLocaleString('pt-BR')})`;
+    selType.appendChild(opt);
+  });
+
+  const authorListEl = document.getElementById('f-author-list');
+  [...authorCounts.entries()].sort((a, b) => b[1] - a[1]).slice(0, 300).forEach(([name]) => {
+    const opt = document.createElement('option');
+    opt.value = name;
+    authorListEl.appendChild(opt);
+  });
+
+  const decadeMin = Math.floor(minYear / 10) * 10;
+  const decadeMax = Math.floor(maxYear / 10) * 10;
+  const nDecades = (decadeMax - decadeMin) / 10 + 1;
+  const span = Math.max(1, decadeMax - decadeMin); // guards the single-decade case
+
+  const loSlider = document.getElementById('f-year-lo');
+  const hiSlider = document.getElementById('f-year-hi');
+  loSlider.min = hiSlider.min = decadeMin;
+  loSlider.max = hiSlider.max = decadeMax;
+  loSlider.step = hiSlider.step = 10;
+  loSlider.value = decadeMin;
+  hiSlider.value = decadeMax;
+
+  const yearReadout = document.getElementById('f-year-readout');
+  const yearFill = document.getElementById('f-year-fill');
+  const histEl = document.getElementById('f-hist');
+  const authorInput = document.getElementById('f-author');
+  const authorX = document.getElementById('f-author-x');
+  const searchInput = document.getElementById('f-search');
+  const searchX = document.getElementById('f-search-x');
+  const clearBtn = document.getElementById('f-clear');
+  const countBadge = document.getElementById('filters-count');
+  const chipsEl = document.getElementById('filters-chips');
+  const resultEl = document.getElementById('f-result');
+
+  // parse each tile's year and fold its text once — apply() runs on every
+  // keystroke and drag frame, so it must stay free of string work
+  tileMeshes.forEach(m => {
+    const meta = m.userData.meta || {};
+    m.userData._year = yearOf(meta);
+    m.userData._author = deburr(meta.contributor || '');
+    // one haystack per piece: every metadata field, not a chosen few
+    // the handle is the map's key, not a field of meta — it still has to be
+    // searchable (people paste a handle or its number straight into the box)
+    m.userData._hay = deburr(m.userData.handle + ' ' + flattenMeta(meta));
+  });
+
+  const bars = [];
+  for (let i = 0; i < nDecades; i++) {
+    const bar = document.createElement('div');
+    bar.className = 'bar';
+    const dec = decadeMin + i * 10;
+    // click a bar to isolate that decade; click it again to release the range
+    bar.addEventListener('click', () => {
+      const alone = state.yearTouched && state.yearLo === dec && state.yearHi === dec;
+      if (alone) { resetYear(); } else {
+        loSlider.value = hiSlider.value = dec;
+        state.yearLo = state.yearHi = dec; state.yearTouched = true;
+      }
+      apply();
+    });
+    histEl.appendChild(bar);
+    bars.push(bar);
+  }
+
+  const state = { search: '', institution: '', yearLo: decadeMin, yearHi: decadeMax, yearTouched: false, author: '', type: '' };
+
+  function resetYear() {
+    state.yearTouched = false;
+    state.yearLo = decadeMin; state.yearHi = decadeMax;
+    loSlider.value = decadeMin; hiSlider.value = decadeMax;
+  }
+
+  function apply() {
+    const q = deburr(state.author.trim());
+    // free text is AND across terms, so "rio 1900" narrows instead of widening
+    const terms = deburr(state.search.trim()).split(/\s+/).filter(Boolean);
+    const decCounts = new Array(nDecades).fill(0);
+    let shown = 0;
+
+    tileMeshes.forEach(m => {
+      const d = m.userData, meta = d.meta || {};
+      // everything except the decade — this is what the histogram counts, so the
+      // bars show what each decade *would* give under the other filters
+      const okRest =
+        (!state.institution || meta.community === state.institution) &&
+        (!state.type || meta.type === state.type) &&
+        (!q || d._author.includes(q)) &&
+        terms.every(t => d._hay.includes(t));
+      if (okRest && d._year != null) {
+        const i = Math.floor((d._year - decadeMin) / 10);
+        if (i >= 0 && i < nDecades) decCounts[i]++;
+      }
+      const okYear = !state.yearTouched ||
+        (d._year != null && d._year >= state.yearLo && d._year <= state.yearHi + 9);
+      const ok = okRest && okYear;
+      d.filteredOut = !ok;
+      if (d.targetOpacity !== (ok ? 1 : 0.07)) { d.targetOpacity = ok ? 1 : 0.07; markAnimating(m); }
+      if (ok) shown++;
+    });
+
+    const peak = Math.max(1, ...decCounts);
+    bars.forEach((bar, i) => {
+      const dec = decadeMin + i * 10;
+      // sqrt scale — a linear one flattens every decade next to the 1900s peak
+      bar.style.height = `${2 + 26 * Math.sqrt(decCounts[i] / peak)}px`;
+      bar.classList.toggle('in', !state.yearTouched || (dec >= state.yearLo && dec <= state.yearHi));
+      bar.title = `${dec}s · ${decCounts[i].toLocaleString('pt-BR')} peças`;
+    });
+
+    const lo = state.yearTouched ? state.yearLo : decadeMin;
+    const hi = state.yearTouched ? state.yearHi : decadeMax;
+    yearFill.style.left = `${((lo - decadeMin) / span) * 100}%`;
+    yearFill.style.right = `${((decadeMax - hi) / span) * 100}%`;
+    yearReadout.textContent = yearLabel(lo, hi);
+    loSlider.classList.toggle('top', lo > (decadeMin + decadeMax) / 2);
+
+    const active = activeFilters();
+    renderChips(active);
+    searchX.hidden = !state.search;
+    authorX.hidden = !state.author;
+    clearBtn.classList.toggle('disabled', active.length === 0);
+
+    countBadge.classList.toggle('empty', active.length === 0);
+    countBadge.textContent = shown.toLocaleString('pt-BR');
+    countBadge.classList.toggle('none', shown === 0);
+    resultEl.classList.toggle('none', shown === 0);
+    resultEl.textContent = shown === 0
+      ? 'nenhuma peça corresponde'
+      : active.length === 0
+        ? `${shown.toLocaleString('pt-BR')} peças com imagem`
+        : `${shown.toLocaleString('pt-BR')} de ${tileMeshes.length.toLocaleString('pt-BR')} peças`;
+
+    // the subset just changed under the open piece — fold the card away so the
+    // new wall is the thing being looked at (and so a piece that no longer
+    // matches is not left sitting on top of a wall that excludes it)
+    if (selected) closeCard();
+  }
+
+  // the last decade is usually a stub (the wall ends in 2022, not 2029), so the
+  // range label stops at the newest year actually in the acervo
+  function yearLabel(lo, hi) { return `${lo}–${Math.min(hi + 9, maxYear)}`; }
+
+  function activeFilters() {
+    const out = [];
+    if (state.search.trim()) out.push({ key: 'search', text: `“${state.search.trim()}”` });
+    if (state.institution) out.push({ key: 'institution', text: state.institution });
+    if (state.yearTouched) out.push({ key: 'year', text: yearLabel(state.yearLo, state.yearHi) });
+    if (state.author.trim()) out.push({ key: 'author', text: state.author.trim() });
+    if (state.type) out.push({ key: 'type', text: state.type });
+    return out;
+  }
+
+  function clearOne(key) {
+    if (key === 'search') { state.search = ''; searchInput.value = ''; }
+    if (key === 'institution') { state.institution = ''; selInst.value = ''; }
+    if (key === 'type') { state.type = ''; selType.value = ''; }
+    if (key === 'author') { state.author = ''; authorInput.value = ''; }
+    if (key === 'year') resetYear();
+    apply();
+  }
+
+  function renderChips(active) {
+    chipsEl.hidden = active.length === 0;
+    chipsEl.textContent = '';
+    active.forEach(({ key, text }) => {
+      const chip = document.createElement('span');
+      chip.className = 'chip';
+      const label = document.createElement('span');
+      label.className = 'txt';
+      label.textContent = text;          // catalogue metadata — never as markup
+      chip.title = text;
+      const x = document.createElement('button');
+      x.type = 'button';
+      x.textContent = '×';
+      x.setAttribute('aria-label', `remover filtro ${text}`);
+      x.addEventListener('click', e => { e.stopPropagation(); clearOne(key); });
+      chip.append(label, x);
+      chipsEl.appendChild(chip);
+    });
+  }
+
+  selInst.addEventListener('change', () => { state.institution = selInst.value; apply(); });
+  selType.addEventListener('change', () => { state.type = selType.value; apply(); });
+
+  // typing re-tests every tile, so hold off until the burst settles
+  let searchTimer = null;
+  searchInput.addEventListener('input', () => {
+    searchX.hidden = !searchInput.value;
+    clearTimeout(searchTimer);
+    searchTimer = setTimeout(() => { state.search = searchInput.value; apply(); }, 160);
+  });
+  searchInput.addEventListener('search', () => { // the field's own clear affordance
+    clearTimeout(searchTimer);
+    state.search = searchInput.value; apply();
+  });
+  searchX.addEventListener('click', () => { clearTimeout(searchTimer); clearOne('search'); searchInput.focus(); });
+
+  let authorTimer = null;
+  authorInput.addEventListener('input', () => {
+    authorX.hidden = !authorInput.value;
+    clearTimeout(authorTimer);
+    authorTimer = setTimeout(() => { state.author = authorInput.value; apply(); }, 160);
+  });
+  authorInput.addEventListener('change', () => { // picking from the datalist
+    clearTimeout(authorTimer);
+    state.author = authorInput.value; apply();
+  });
+  authorX.addEventListener('click', () => { clearTimeout(authorTimer); clearOne('author'); authorInput.focus(); });
+
+  function onYear(e) {
+    let lo = parseInt(loSlider.value, 10), hi = parseInt(hiSlider.value, 10);
+    if (lo > hi) {
+      // the handles crossed: push the *other* one along instead of swapping,
+      // so the thumb under the finger stays the one being dragged
+      if (e.target === loSlider) hi = lo; else lo = hi;
+      loSlider.value = lo; hiSlider.value = hi;
+    }
+    state.yearLo = lo; state.yearHi = hi;
+    state.yearTouched = !(lo === decadeMin && hi === decadeMax);
+    apply();
+  }
+  loSlider.addEventListener('input', onYear);
+  hiSlider.addEventListener('input', onYear);
+
+  clearBtn.addEventListener('click', () => {
+    clearTimeout(authorTimer); clearTimeout(searchTimer);
+    state.search = ''; state.institution = ''; state.type = ''; state.author = '';
+    searchInput.value = ''; selInst.value = ''; selType.value = ''; authorInput.value = '';
+    resetYear();
+    apply();
+  });
+
+  apply();
+  toggleFilters(!isMobile); // on a phone the wall matters more than the panel
+}
+
+// ─── load atlas + map, build scene ───────────────────────────────────────────
+// content-length is the *compressed* size when a server gzips, while the
+// reader hands back inflated bytes — so a raw ratio can sail past 100%
+const pctOf = (loaded, total) => (total ? Math.min(100, Math.round((loaded / total) * 100)) : 0);
+const asMB = bytes => `${(bytes / 1048576).toFixed(1)} MB`;
+
+// read a body in chunks so the wait is legible instead of a frozen line
+async function fetchWithProgress(url, onProgress) {
+  const res = await fetch(url);
+  const total = parseInt(res.headers.get('content-length') || '0', 10);
+  const reader = res.body.getReader();
+  const chunks = [];
+  let loaded = 0;
+  for (;;) {
+    const { done, value } = await reader.read();
+    if (done) break;
+    chunks.push(value);
+    loaded += value.length;
+    onProgress(loaded, total);
+  }
+  return { blob: new Blob(chunks), total };
+}
+
+async function main() {
+  // the catalogue is megabytes of its own, and until now nothing said so
+  const loadingMsg = document.getElementById('loading-msg');
+  const catalogue = await fetchWithProgress('atlas/atlas-map.json', (loaded, total) => {
+    // a gzipped response often carries no content-length: count bytes instead
+    loadingMsg.textContent = total
+      ? `carregando catálogo… ${pctOf(loaded, total)}%`
+      : `carregando catálogo… ${asMB(loaded)}`;
+  });
+  const mapData = JSON.parse(await catalogue.blob.text());
+  TPR = mapData.size / mapData.tile;
+  atlasEntries = mapData.map;
+  const handles = Object.keys(mapData.map);
+
+  // the note only earns its space in placeholder mode — the piece count already
+  // lives in the panel's own result line
+  const note = document.getElementById('filters-label');
+  note.hidden = !mapData.placeholder;
+  note.textContent = 'protótipo — as fotos ainda são um placeholder (uma única imagem de teste, tonalizada por item); os metadados são reais, do catalogo.jsonl';
+
+  buildGrid(handles, mapData.map, TPR, mapData.atlases.length);
+
+  // ── stats for the title screen: item count, year span, institution count ──
+  let minYear = Infinity, maxYear = -Infinity;
+  const institutions = new Set();
+  for (const entry of Object.values(mapData.map)) {
+    const meta = entry.meta || {};
+    if (meta.community) institutions.add(meta.community);
+    const m = String(meta.date || '').match(/(1[5-9]\d{2}|20\d{2})/);
+    if (m) {
+      const y = parseInt(m[1], 10);
+      if (y < minYear) minYear = y;
+      if (y > maxYear) maxYear = y;
+    }
+  }
+  document.getElementById('stat-pecas').textContent = handles.length.toLocaleString('pt-BR');
+  document.getElementById('stat-periodo').textContent =
+    minYear <= maxYear ? `${minYear}–${maxYear}` : 's.d.';
+  document.getElementById('stat-instituicoes').textContent = institutions.size || '—';
+
+  // ── show the title screen right away — the heavy atlas images load behind it ──
+  document.getElementById('loading-msg').remove();
+  const titleScreen = document.getElementById('title-screen');
+  titleScreen.classList.add('show');
+  const coverShownAt = performance.now();
+  const enterLabel = document.getElementById('enter-label');
+  const progressBar = document.getElementById('progress-bar');
+
+  // ── fetch each atlas with byte-level progress, build both the GPU texture
+  //    and the plain <img> (for the card crop) from the same downloaded blob ──
+  // Decoding four 8192² pages takes about as long as fetching them does, so the
+  // bar covers both: parked at 100% for the whole decode, it read as stuck.
+  const nAtlases = mapData.atlases.length;
+  const fileBytes = new Array(nAtlases).fill(0);
+  const fileTotals = new Array(nAtlases).fill(0);
+  let pagesReady = 0;
+  let shownPct = 0;   // a progress bar that retreats is worse than a coarse one
+  let painting = false;
+  // the readers hand over thousands of chunks; repainting on each one is a few
+  // thousand pointless style invalidations, so coalesce to one write per frame
+  function reportProgress() {
+    if (painting) return;
+    painting = true;
+    requestAnimationFrame(() => { painting = false; paintProgress(); });
+  }
+  function paintProgress() {
+    const loaded = fileBytes.reduce((a, b) => a + b, 0);
+    const total = fileTotals.reduce((a, b) => a + b, 0);
+    const down = total ? Math.min(1, loaded / total) : 0;
+    // download 70%, decoding 20%, the first render's texture upload the last 10%
+    const pct = shownPct = Math.max(shownPct, Math.round((down * 0.7 + (pagesReady / nAtlases) * 0.2) * 100));
+    enterLabel.textContent = total
+      ? `${down < 1 ? 'carregando' : 'preparando'} imagens… ${pct}%`
+      : `carregando imagens… ${asMB(loaded)}`;
+    progressBar.style.width = `${pct}%`;
+  }
+
+  // every response's headers first, bodies second: reading as they arrived meant
+  // the last file's size landed mid-download and the percentage fell backwards
+  const responses = await Promise.all(mapData.atlases.map(name => fetch(`atlas/${name}`)));
+  responses.forEach((res, idx) => {
+    fileTotals[idx] = parseInt(res.headers.get('content-length') || '0', 10);
+  });
+  reportProgress();
+
+  const blobs = await Promise.all(responses.map(async (res, idx) => {
+    const reader = res.body.getReader();
+    const chunks = [];
+    for (;;) {
+      const { done, value } = await reader.read();
+      if (done) break;
+      chunks.push(value);
+      fileBytes[idx] += value.length;
+      reportProgress();
+    }
+    return new Blob(chunks, { type: 'image/webp' });
+  }));
+
+  // Each page is 8192² — ~268 MB of RGBA once it's a texture, and over
+  // maxTextureSize on plenty of phones (where the upload silently fails, or
+  // the tab is killed for holding four of them). Cap the page at what the
+  // device will actually take; at this zoom a tile is ~50 px on screen either
+  // way. Pages are decoded one at a time and released as we go, so the peak
+  // is one bitmap rather than the whole set.
+  const maxTex = Math.min(renderer.capabilities.maxTextureSize, isTouch ? 4096 : 8192);
+
+  const atlasMats = [];
+  atlasSources = [];
+  for (const blob of blobs) {
+    const url = URL.createObjectURL(blob);
+    const img = new Image();
+    img.src = url;
+    await img.decode().catch(() => {});
+
+    let source = img, size = img.naturalWidth || mapData.size;
+    if (size > maxTex) {
+      const c = document.createElement('canvas');
+      c.width = c.height = maxTex;
+      const ctx = c.getContext('2d');
+      ctx.imageSmoothingEnabled = true;
+      ctx.imageSmoothingQuality = 'high';
+      ctx.drawImage(img, 0, 0, maxTex, maxTex);
+      source = c; size = maxTex;
+      img.src = ''; // drop the full-size bitmap before decoding the next page
+    }
+    URL.revokeObjectURL(url);
+    atlasSources.push({ source, size });
+
+    const tex = new THREE.Texture(source);
+    tex.colorSpace = THREE.SRGBColorSpace;
+    tex.generateMipmaps = false;
+    tex.minFilter = THREE.LinearFilter;
+    tex.needsUpdate = true;
+    atlasMats.push(tileMaterial(tex, TPR));
+
+    // upload this page now rather than letting all four land on the first
+    // render; the cost then falls inside the bar instead of after it
+    renderer.initTexture(tex);
+    pagesReady++;
+    reportProgress();
+    // let the bar actually repaint between pages
+    await new Promise(res => requestAnimationFrame(() => requestAnimationFrame(res)));
+  }
+  // dimming rides on a per-instance attribute, so one material per page is
+  // enough — and an opaque one, which spares the renderer a depth sort of the
+  // whole wall on every frame
+  pages.forEach((p, i) => { p.mesh.material = atlasMats[i]; });
+
+  setupFilters(mapData);
+
+  // The first render hands every atlas to the GPU — on a phone that is seconds
+  // of frozen main thread, and it used to happen with the bar already at 100%,
+  // which is what made the loader look permanently finished. Name the step, and
+  // let the browser actually paint that frame before the freeze begins.
+  enterLabel.textContent = 'montando o mural… 90%';
+  progressBar.style.width = '90%';
+  await new Promise(res => requestAnimationFrame(() => requestAnimationFrame(res)));
+
+  // ── ready — start rendering the wall right away, behind a translucent
+  //    title card, so the wall is already alive when the cover lifts ──
+  tick();
+  progressBar.style.width = '100%';
+  enterLabel.textContent = 'entrando…';
+  enterLabel.classList.add('ready');
+  document.getElementById('progress-track').style.display = 'none';
+  document.getElementById('loading').classList.add('ready');
+
+  // the cover is a title card, not a gate: it lifts on its own. A short floor
+  // keeps it from flashing past on a warm cache before anyone can read it.
+  const MIN_COVER_MS = 1100;
+  await new Promise(res => setTimeout(res, Math.max(0, MIN_COVER_MS - (performance.now() - coverShownAt))));
+
+  const cover = document.getElementById('loading');
+  cover.style.pointerEvents = 'none'; // the wall is usable from here on, not after the fade
+  titleScreen.classList.add('dissolve');
+
+  // the black waits for the words — a slight overlap so the two readings
+  // blend into one gesture instead of reading as two separate steps
+  await new Promise(res => setTimeout(res, 620));
+  cover.style.opacity = '0';
+  setTimeout(() => cover.remove(), 1000); // matches the .9s fade in the stylesheet
+
+  // ── history opens for business only now that every handle can be resolved ──
+  // The entry the wall starts from carries no piece and no hash, so the first
+  // back out of a card always lands on the bare wall and never off the site.
+  const deepLink = handleFromHash();
+  history.replaceState({ h: null }, '', location.pathname + location.search);
+  historyReady = true;
+  // a link straight to a piece: open it *as* a step, so back returns to the wall
+  const linked = deepLink && tileByHandle.get(deepLink);
+  if (linked) openTile(linked);
+
+  // on a phone the hint sits over the wall itself — it retires once read
+  if (isTouch) setTimeout(() => { document.getElementById('hint').style.opacity = '0'; }, 7000);
+}
+
+main().catch(err => {
+  document.getElementById('loading').innerHTML = `<p style="color:#e88">erro: ${err.message}</p>`;
+  console.error(err);
+});
+</script>
+</body>
+</html>
diff --git a/web/wall2.html b/web/wall2.html
new file mode 100644
index 0000000..1c43a4f
--- /dev/null
+++ b/web/wall2.html
@@ -0,0 +1,333 @@
+<!DOCTYPE html>
+<html lang="pt-BR">
+<head>
+<meta charset="UTF-8">
+<meta name="viewport" content="width=device-width, initial-scale=1.0">
+<title>Brasiliana — Linha do Tempo</title>
+<style>
+  *, *::before, *::after { box-sizing: border-box; margin: 0; padding: 0; }
+  html, body { width: 100%; height: 100%; background: #000; color: #e8e8e0; font-family: system-ui, -apple-system, sans-serif; }
+  body { overflow: hidden; }
+
+  #title-bar {
+    position: fixed; top: 0; left: 0; right: 0; height: 40px; z-index: 30;
+    display: flex; align-items: center; justify-content: space-between;
+    padding: 0 16px; background: #000; border-bottom: 1px solid #222;
+    font-size: .82rem; letter-spacing: .04em;
+  }
+  #title-bar .side { color: #888; font-variant-numeric: tabular-nums; }
+  #title-bar .mid { font-weight: 600; letter-spacing: .12em; text-transform: uppercase; color: #ddd; }
+
+  #scroll {
+    position: fixed; top: 40px; left: 0; right: 0; bottom: 0;
+    overflow: auto;
+  }
+
+  #grid { position: relative; }
+
+  .row-label {
+    position: sticky; left: 0; z-index: 5;
+    background: #000;
+    display: flex; align-items: center;
+    padding: 0 10px;
+    font-size: .68rem; letter-spacing: .03em; color: #ddd;
+    white-space: nowrap; overflow: hidden; text-overflow: ellipsis;
+    border-right: 1px solid #1c1c1c;
+  }
+  .row-label.dim { color: #777; font-style: italic; }
+
+  .row-chart { position: relative; border-bottom: 1px solid #141414; }
+  .row-chart:hover { background: rgba(255,255,255,.02); }
+
+  .lifeline { position: absolute; height: 1px; background: #555; top: 50%; }
+  .dot { position: absolute; width: 5px; height: 5px; border-radius: 50%; background: #888; top: 50%; transform: translate(-50%, -50%); }
+
+  .thumb {
+    position: absolute; top: 50%; transform: translateY(-50%);
+    cursor: pointer; border: 1px solid rgba(0,0,0,.6);
+    box-shadow: 0 0 0 1px rgba(255,255,255,.08);
+    transition: transform .12s ease, box-shadow .12s ease, z-index 0s;
+  }
+  .thumb:hover {
+    transform: translateY(-50%) scale(2.4);
+    z-index: 6;
+    box-shadow: 0 4px 18px rgba(0,0,0,.7), 0 0 0 1px rgba(255,255,255,.4);
+  }
+
+  /* axis header */
+  .axis-corner {
+    position: sticky; top: 0; left: 0; z-index: 12;
+    background: #000; border-right: 1px solid #1c1c1c; border-bottom: 1px solid #222;
+    display: flex; align-items: flex-end; padding: 0 10px 6px;
+    font-size: .62rem; letter-spacing: .08em; color: #666; text-transform: uppercase;
+  }
+  .axis-row {
+    position: sticky; top: 0; z-index: 8;
+    background: #000; border-bottom: 1px solid #222;
+    position: relative;
+  }
+  .tick { position: absolute; bottom: 0; width: 1px; background: #333; }
+  .tick.major { background: #555; }
+  .tick-label { position: absolute; bottom: 18px; transform: translateX(-50%); font-size: .62rem; color: #777; font-variant-numeric: tabular-nums; }
+
+  #loading {
+    position: fixed; inset: 0; background: #000; z-index: 100;
+    display: flex; align-items: center; justify-content: center;
+    font-size: .78rem; letter-spacing: .12em; text-transform: uppercase; color: #888;
+    transition: opacity .5s ease;
+  }
+
+  /* ── metadata card (same language as wall.html) ─────────────────────── */
+  #card-wrap {
+    position: fixed; inset: 0; z-index: 50;
+    display: flex; align-items: center; justify-content: center;
+    opacity: 0; pointer-events: none; transition: opacity .3s ease;
+    background: rgba(0,0,0,.55);
+  }
+  #card-wrap.open { opacity: 1; pointer-events: auto; }
+  #card {
+    position: relative; width: min(420px, 90vw); max-height: 86vh; overflow-y: auto;
+    background: rgba(10,10,10,.92); backdrop-filter: blur(6px); border-radius: 6px;
+    padding: 34px 30px 26px; text-align: center; box-shadow: 0 30px 80px rgba(0,0,0,.7);
+    font-family: Georgia, 'Times New Roman', serif;
+    transform: translateY(10px) scale(.97); transition: transform .3s ease;
+  }
+  #card-wrap.open #card { transform: translateY(0) scale(1); }
+  #card-back {
+    position: absolute; left: 14px; top: 14px; width: 30px; height: 30px; border-radius: 50%;
+    background: rgba(255,255,255,.08); border: 1px solid rgba(255,255,255,.18); color: #ddd;
+    font-size: 1rem; line-height: 28px; text-align: center; cursor: pointer; font-family: system-ui, sans-serif;
+  }
+  #card-back:hover { background: rgba(255,255,255,.18); }
+  #card-type { font-size: 1.5rem; font-weight: 400; color: #f2f2f2; margin-bottom: 6px; }
+  #card-seealso { font-size: .62rem; letter-spacing: .12em; text-transform: uppercase; color: #7fa8c9; margin-bottom: 18px; }
+  #card-img-wrap { margin: 0 auto 18px; max-width: 260px; }
+  #card-img { display: block; width: 100%; height: auto; border-radius: 2px; box-shadow: 0 12px 40px rgba(0,0,0,.55); }
+  #card-title { font-size: 1.02rem; color: #f5f5f0; }
+  #card-date { font-size: .85rem; color: #b9b9b0; margin-top: 2px; }
+  #card-contrib { font-size: .82rem; color: #cdd8e0; margin-top: 10px; }
+  #card-footer { margin-top: 16px; padding-top: 14px; border-top: 1px solid rgba(255,255,255,.12); font-family: system-ui, sans-serif; font-size: .68rem; letter-spacing: .04em; color: #888; }
+  #card-footer a { color: #d8b04a; text-decoration: none; }
+  #card-footer a:hover { text-decoration: underline; }
+  #card-rights { margin-top: 6px; font-size: .68rem; color: #777; }
+</style>
+</head>
+<body>
+
+<div id="loading">carregando linha do tempo…</div>
+
+<div id="title-bar">
+  <span class="side" id="year-left">—</span>
+  <span class="mid">Autoria — Brasiliana Fotográfica</span>
+  <span class="side" id="year-right">—</span>
+</div>
+
+<div id="scroll"><div id="grid"></div></div>
+
+<div id="card-wrap">
+  <div id="card">
+    <div id="card-back">←</div>
+    <div id="card-type">—</div>
+    <div id="card-seealso"><span id="card-community">—</span> · <span id="card-date-tag">—</span></div>
+    <div id="card-img-wrap"><img id="card-img" alt=""></div>
+    <div id="card-title">—</div>
+    <div id="card-date">—</div>
+    <div id="card-contrib"></div>
+    <div id="card-footer">
+      <div><a id="card-link" href="#" target="_blank" rel="noopener">ver item original ↗</a> · <span id="card-handle"></span></div>
+      <div id="card-rights"></div>
+    </div>
+  </div>
+</div>
+
+<script>
+/*
+ * wall2.html — "Gestalter"-style timeline, uma linha por autor/fotógrafo.
+ * Baseado num diagrama clássico de história do design gráfico (Gestalter,
+ * 1925-2011): uma linha horizontal por pessoa cobrindo seu período de
+ * atividade conhecido, com miniaturas de cada obra plotadas no ano exato.
+ *
+ * Aqui a "pessoa" é o DC.contributor de cada item (o fotógrafo/autor, ou
+ * a instituição quando é essa a autoria registrada), e a "obra" é a foto.
+ * Sem data de nascimento/morte real: a linha vai do ano mais antigo ao
+ * mais recente entre as fotos DATADAS desse autor no catálogo — é um
+ * proxy honesto do período ativo, não uma biografia.
+ *
+ * Reaproveita o MESMO atlas de wall.html (atlas/atlas-map.json +
+ * atlas-0.webp) — nenhum build novo é necessário.
+ */
+
+const PX_PER_YEAR = 16;
+const ROW_H = 32;
+const THUMB = 20;
+const LABEL_W = 190;
+const AXIS_H = 34;
+
+function yearOf(dateStr) {
+  if (!dateStr) return null;
+  const m = String(dateStr).match(/(1[5-9]\d{2}|20\d{2})/);
+  return m ? parseInt(m[1], 10) : null;
+}
+
+let atlasEntries = null, TPR = 1, atlasImg = null;
+const bgTotal = {}; // computed per-thumb background-size string, cached
+
+function thumbEl(entry, xPx) {
+  const el = document.createElement('div');
+  el.className = 'thumb';
+  el.style.left = `${xPx}px`;
+  el.style.width = `${THUMB}px`;
+  el.style.height = `${THUMB}px`;
+  el.style.backgroundImage = `url(atlas/atlas-0.webp)`;
+  el.style.backgroundSize = `${TPR * THUMB}px ${TPR * THUMB}px`;
+  el.style.backgroundPosition = `-${entry.col * THUMB}px -${entry.row * THUMB}px`;
+  el.addEventListener('click', () => showCard(entry));
+  return el;
+}
+
+function showCard(entry) {
+  const meta = entry.meta;
+  document.getElementById('card-type').textContent = meta.type || 'Fotografia';
+  document.getElementById('card-community').textContent = meta.community || '—';
+  document.getElementById('card-date-tag').textContent = meta.date || 's.d.';
+  document.getElementById('card-title').textContent = meta.title || '(sem título)';
+  document.getElementById('card-date').textContent = meta.date || '';
+  document.getElementById('card-contrib').textContent = meta.contributor || '';
+  document.getElementById('card-handle').textContent = meta.handle || '';
+  document.getElementById('card-link').href = meta.source_url || '#';
+  document.getElementById('card-rights').textContent = meta.rights ? `Direitos: ${meta.rights}` : '';
+
+  const img = document.getElementById('card-img');
+  if (atlasImg) {
+    const S = atlasImg.naturalWidth / TPR;
+    const c = document.createElement('canvas');
+    c.width = c.height = 512;
+    const ctx = c.getContext('2d');
+    ctx.drawImage(atlasImg, entry.col * S, entry.row * S, S, S, 0, 0, 512, 512);
+    img.src = c.toDataURL('image/jpeg', 0.92);
+  }
+  document.getElementById('card-wrap').classList.add('open');
+}
+function closeCard() { document.getElementById('card-wrap').classList.remove('open'); }
+document.getElementById('card-back').addEventListener('click', closeCard);
+document.getElementById('card-wrap').addEventListener('click', e => { if (e.target.id === 'card-wrap') closeCard(); });
+window.addEventListener('keydown', e => { if (e.key === 'Escape') closeCard(); });
+
+async function main() {
+  const mapData = await fetch('atlas/atlas-map.json').then(r => r.json());
+  TPR = mapData.size / mapData.tile;
+  atlasEntries = mapData.map;
+
+  // ── group items by author, keep only ones with a parseable year ──────────
+  const byAuthor = new Map();
+  let globalMin = Infinity, globalMax = -Infinity;
+  for (const [handle, entry] of Object.entries(mapData.map)) {
+    const meta = entry.meta;
+    const y = yearOf(meta.date);
+    const author = meta.contributor;
+    if (!author || y == null) continue;
+    if (!byAuthor.has(author)) byAuthor.set(author, []);
+    byAuthor.get(author).push({ ...entry, year: y });
+    if (y < globalMin) globalMin = y;
+    if (y > globalMax) globalMax = y;
+  }
+  const authors = [...byAuthor.keys()].sort((a, b) => a.localeCompare(b, 'pt-BR'));
+  authors.forEach(a => byAuthor.get(a).sort((x, y) => x.year - y.year));
+
+  const axisMin = Math.floor(globalMin / 5) * 5 - 5;
+  const axisMax = Math.ceil(globalMax / 5) * 5 + 5;
+  const totalWidth = (axisMax - axisMin) * PX_PER_YEAR;
+  const yearToX = y => (y - axisMin) * PX_PER_YEAR;
+
+  document.getElementById('year-left').textContent = globalMin;
+  document.getElementById('year-right').textContent = globalMax;
+
+  // ── build the grid: corner, axis row, then one label+chart row per author ──
+  const grid = document.getElementById('grid');
+  grid.style.display = 'grid';
+  grid.style.gridTemplateColumns = `${LABEL_W}px ${totalWidth}px`;
+  grid.style.gridAutoRows = 'auto';
+
+  const corner = document.createElement('div');
+  corner.className = 'axis-corner';
+  corner.style.height = `${AXIS_H}px`;
+  corner.textContent = `${authors.length} autores`;
+  grid.appendChild(corner);
+
+  const axisRow = document.createElement('div');
+  axisRow.className = 'axis-row';
+  axisRow.style.height = `${AXIS_H}px`;
+  axisRow.style.width = `${totalWidth}px`;
+  for (let y = axisMin; y <= axisMax; y++) {
+    const major = y % 5 === 0;
+    const tick = document.createElement('div');
+    tick.className = 'tick' + (major ? ' major' : '');
+    tick.style.left = `${yearToX(y)}px`;
+    tick.style.height = major ? '10px' : '5px';
+    axisRow.appendChild(tick);
+    if (major) {
+      const lbl = document.createElement('div');
+      lbl.className = 'tick-label';
+      lbl.style.left = `${yearToX(y)}px`;
+      lbl.textContent = y;
+      axisRow.appendChild(lbl);
+    }
+  }
+  grid.appendChild(axisRow);
+
+  for (const author of authors) {
+    const items = byAuthor.get(author);
+    const minY = items[0].year, maxY = items[items.length - 1].year;
+
+    const label = document.createElement('div');
+    label.className = 'row-label' + (/^(Anônimo|Autoria não identificada|s\/autor)$/i.test(author) ? ' dim' : '');
+    label.style.height = `${ROW_H}px`;
+    label.textContent = author;
+    label.title = `${author} · ${items.length} obra(s) · ${minY}–${maxY}`;
+    grid.appendChild(label);
+
+    const chart = document.createElement('div');
+    chart.className = 'row-chart';
+    chart.style.height = `${ROW_H}px`;
+    chart.style.width = `${totalWidth}px`;
+
+    const x0 = yearToX(minY), x1 = yearToX(maxY);
+    const line = document.createElement('div');
+    line.className = 'lifeline';
+    line.style.left = `${x0}px`;
+    line.style.width = `${Math.max(1, x1 - x0)}px`;
+    chart.appendChild(line);
+    [x0, x1].forEach(x => {
+      const d = document.createElement('div');
+      d.className = 'dot';
+      d.style.left = `${x}px`;
+      chart.appendChild(d);
+    });
+
+    // spread out thumbnails that would otherwise overlap at the same year
+    let lastX = -Infinity;
+    for (const it of items) {
+      let x = yearToX(it.year) - THUMB / 2;
+      if (x < lastX + THUMB * 0.9) x = lastX + THUMB * 0.9;
+      lastX = x;
+      chart.appendChild(thumbEl(it, x));
+    }
+
+    grid.appendChild(chart);
+  }
+
+  atlasImg = new Image();
+  atlasImg.src = 'atlas/atlas-0.webp';
+  await atlasImg.decode().catch(() => {});
+
+  document.getElementById('loading').style.opacity = '0';
+  setTimeout(() => document.getElementById('loading').remove(), 500);
+}
+
+main().catch(err => {
+  document.getElementById('loading').textContent = `erro: ${err.message}`;
+  console.error(err);
+});
+</script>
+</body>
+</html>
diff --git a/wordpress/10047-a-pedra-da-gavea.md b/wordpress/10047-a-pedra-da-gavea.md
new file mode 100644
index 0000000..ddacc01
--- /dev/null
+++ b/wordpress/10047-a-pedra-da-gavea.md
@@ -0,0 +1,44 @@
+---
+id: 10047
+url: "https://brasilianafotografica.bn.gov.br/?p=10047"
+titulo: "A Pedra da Gávea"
+autor: "Andrea Wanderley"
+data: "2017-11-08T09:58:40+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/5337", "20.500.12156.1/5342", "20.500.12156.1/7992", "20.500.12156.1/2612", "20.500.12156.1/2028"]
+fetched_at: "2026-09-10T09:53:46.518Z"
+---
+
+# A Pedra da Gávea
+
+Marc Ferrez. Avenida Niemeyer, c. 1920. Rio de Janeiro, RJ / Acervo IMS
+ 
+Um dos cartões-postais mais bonitos do Rio de Janeiro, a Pedra da Gávea fica localizada entre as praias de São Conrado e da Barra da Tijuca. Sua beleza não passou despercebida pelos fotógrafos do século XIX. A Brasiliana Fotográfica destaca os registros da Pedra da Gávea produzidos por Augusto Malta (1864 – 1957), Georges Leuzinger (1813 – 1892), José Baptista Barreira Vianna (1860 – 1925) e Marc Ferrez (1843 – 1923).
+ 
+Marc Ferrez. São Conrado, c. 1920. Rio de Janeiro, RJ / Acervo IMS
+ 
+Acessando o link para as fotografias da Pedra da Gávea disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Marc Ferrez. Pedra da Gávea, c. 1885. Rio de Janeiro, RJ / Acervo IMS
+ 
+De acordo com o portal Serviço Geológico do Brasil, o rochedo tem esse nome porque visto de longe lembra a gávea das caravelas ou galeões antigos. A gávea é uma plataforma no alto de um grande mastro que permitia a um marinheiro observar à distância. Ao contrário do que acontece em quase todas as elevações do Rio de Janeiro, a Pedra da Gávea apresenta um topo plano em lugar das formas de pirâmides, morros arredondados e picos roliços e aguçados do tipo pão-de-açúcar comuns na paisagem do Rio…Tais rochas foram formadas no mínimo há 500 milhões de anos e, posteriormente deformadas por falhas e dobras no interior da crosta terrestre. Depois de um constante e incansável trabalho de erosão na crosta é que esse maciço aflorou na superfície.
+ 
+Augusto Malta. Pedra da Gávea, 1906. Rio de Janeiro, RJ / Acervo IMS
+ 
+A Pedra da Gávea tem 844 metros de altura, integra o Maciço da Tijuca e é formada por dois tipos de rocha: gnaisse e granito.
+ 
+Georges Leuzinger. A Pedra da Gávea. Rio de Janeiro, RJ / Acervo IMS
+ 
+Andrea C. T. Wanderley
+Editora-assistente e pesquisadora do portal Brasiliana Fotográfica
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/5337` — `itens/20.500.12156.1_5337/`
+- `20.500.12156.1/5342` — `itens/20.500.12156.1_5342/`
+- `20.500.12156.1/7992` — `itens/20.500.12156.1_7992/`
+- `20.500.12156.1/2612` — `itens/20.500.12156.1_2612/`
+- `20.500.12156.1/2028` — `itens/20.500.12156.1_2028/`
+
diff --git a/wordpress/10061-a-fundacao-de-niteroi.md b/wordpress/10061-a-fundacao-de-niteroi.md
new file mode 100644
index 0000000..0c02867
--- /dev/null
+++ b/wordpress/10061-a-fundacao-de-niteroi.md
@@ -0,0 +1,46 @@
+---
+id: 10061
+url: "https://brasilianafotografica.bn.gov.br/?p=10061"
+titulo: "A fundação de Niterói"
+autor: "Andrea Wanderley"
+data: "2017-11-22T11:04:13+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/4564", "20.500.12156.1/2141", "20.500.12156.1/3688", "20.500.12156.1/5341", "20.500.12156.1/2155"]
+fetched_at: "2026-09-10T09:53:49.651Z"
+---
+
+# A fundação de Niterói
+
+J. Kfuri. Vista da cidade de Niterói, s/d. Niterói, Rio de Janeiro / Acervo DPHDM
+ 
+A Brasiliana Fotográfica destaca 23 imagens para celebrar o aniversário de Niterói, cidade do estado do Rio de Janeiro, fundada em 22 de novembro de 1573. São registros produzidos pelos fotógrafos Antônio Caetano da Costa Ribeiro (18? – 19?), Augusto Stahl (1828 – 1877), Georges Leuzinger (1813 – 1892), Jorge Kfuri (1893 – 1965), Juan Gutierrez (c. 1860 – 1897), Marc Ferrez (1843 – 1923) e por Sidney Henry Holland (1883 – 1936) Niterói foi a capital do estado do Rio de Janeiro de 1834 até 1975, quando aconteceu a fusão dos estados do Rio e da Guanabara.
+ 
+Marc Ferrez. Ilha de Boa Viagem, c. 1880, Niterói, Rio de Janeiro / Acervo IMS
+ 
+Acessando o link para as fotografias de Niterói disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Antônio Caetano da Costa Ribeiro. Icarahy, c. 1914. Niterói, Rio de Janeiro / Acervo FBN
+ 
+ 
+Marc Ferrez. Pedra de Itapuca, c. 1912. Niterói, Rio de Janeiro / Acervo IMS
+ 
+O pintor Antonio Parreiras (1860 – 1937), que nasceu e faleceu em Niterói, foi tema de uma publicação da Brasiliana Fotográfica, em 17 de outubro de 2015. 
+ 
+Inauguração do busto de Antonio Parreiras em janeiro de 1925, O Fluminense, 25 de janeiro de 1927
+ 
+Augusto Stahl. Vista de Niterói, tomada do Morro de São João Batista, 1865. Niterói, Rio de Janeiro / Acervo IMS
+ 
+ 
+Andrea C. T. Wanderley
+Editora-assistente e pesquisadora do portal Brasiliana Fotográfica
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/4564` — `itens/20.500.12156.1_4564/`
+- `20.500.12156.1/2141` — `itens/20.500.12156.1_2141/`
+- `20.500.12156.1/3688` — `itens/20.500.12156.1_3688/`
+- `20.500.12156.1/5341` — `itens/20.500.12156.1_5341/`
+- `20.500.12156.1/2155` — `itens/20.500.12156.1_2155/`
+
diff --git a/wordpress/10169-o-pintor-rodolfo-amoedo-1857-1941-no-album-de-artistas-doado-a-biblioteca-nacion.md b/wordpress/10169-o-pintor-rodolfo-amoedo-1857-1941-no-album-de-artistas-doado-a-biblioteca-nacion.md
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+---
+id: 10169
+url: "https://brasilianafotografica.bn.gov.br/?p=10169"
+titulo: "O pintor Rodolfo Amoedo (1857 – 1941) no Álbum de artistas, doado à Biblioteca Nacional por M. Nogueira da Silva"
+autor: "Andrea Wanderley"
+data: "2017-12-11T11:16:58+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/450", "20.500.12156.1/758", "20.500.12156.1/481", "20.500.12156.1/447", "20.500.12156.1/3187"]
+fetched_at: "2026-09-10T09:53:53.049Z"
+---
+
+# O pintor Rodolfo Amoedo (1857 – 1941) no Álbum de artistas, doado à Biblioteca Nacional por M. Nogueira da Silva
+
+Anônimo. Rodolpho Amoedo, pint. : (Auto-retrato) : [pintura], 190?. Acervo FBN
+A Brasiliana Fotográfica destaca uma imagem do pintor Rodolfo Amoedo (1857 – 1941), nascido há exatos 160 anos, publicada no Álbum de artistas, do acervo da Fundação Biblioteca Nacional, uma das criadoras do portal. O álbum foi doado à Seção de Estampas da instituição, em 22 de abril de 1932, pelo escritor, jornalista, cronista literário e crítico de arte maranhense Manoel Nogueira da Silva (1880 – 1943), um dos retratados na obra (Gazeta de Notícias, 16 de novembro de 1943, terceira coluna). Nogueira da Silva foi o autor do livro Pequenos Estudos Sobre Arte, Pintura, Escultura (1926) e era considerado um dos melhores comentadores da obra do escritor Gonçalves Dias (Gazeta de Notícias, 28 de janeiro de 1940, terceira coluna). Ocupou a cadeira 23 da Academia Carioca de Letras e trabalhou nos jornais Gazeta de Notícias e A Notícia.
+Estão disponíveis no acervo da Brasiliana Fotográfica imagens de Angelina Agostini (1888 – 1973), Antônio Parreiras (1860 -1937), Pedro Weingartner (1853 – 1929) e Menotti del Picchia (1892 – 1988), dentre outros registros do Álbum de artistas.
+ 
+Na fotografia destacada abaixo, o doador do Álbum de artistas, M. Nogueira da Silva, encontra-se entre os artistas Dakir (1894 – 1967) e Antônio Parreiras (1860 – 1937).
+ 
+Anônimo. A pintura e a crítica : I- Dakir Parreiras II- Nogueira da Silva III- Antonio Parreiras, 1915. Niterói, Rio de Janeiro / Acervo BN
+ 
+ 
+Acessando o link para as fotografias do Álbum de Artistas disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Pequeno perfil de Rodolfo Amoedo
+Rodolfo Amoedo, o poeta da tela (Diário de Notícias, 5 de dezembro de 1888, quinta coluna), nasceu em 11 de dezembro de 1857, na rua do Fogo, atual rua dos Andradas, no Rio de Janeiro, e viveu parte de sua infância na Bahia. Sua obra foi, desde o início, marcada por sua excelência técnica e, segundo o professor Flexa Ribeiro, por seu caráter poético (Illustração Brasileira, maio de 1935). Foi também professor e alguns de seus alunos na Escola Nacional de Belas Artes foram João Baptista da Costa (1865 – 1926), Eliseu Visconti (1866 – 1944) e Cândido Portinari (1903 – 1962). Amoedo criou painéis  para a Biblioteca Nacional, para o Conselho Municipal do Rio de Janeiro, para o Teatro Municipal e para o Supremo Tribunal Federal. Realizou trabalhos de decoração no Palácio Itamaraty e no Supremo Tribunal Militar, no Rio de Janeiro; no Museu do Ipiranga – atual Museu Paulista da Universidade de São Paulo, em São Paulo; e no Teatro José de Alencar, em Fortaleza. Faleceu, pobremente, em 31 de maio de 1941, no Rio de Janeiro (Jornal do Commercio, 1º de junho de 1941, primeira coluna).
+O início
+Viveu dos seis aos 11 anos na Bahia, onde estudou no Colégio Sebrão. Veio para o Rio de Janeiro, em 1868, onde frequentou os colégios Vitório e Pedro II. Estudou, em 1873, no Liceu de Artes e Ofícios, no Rio de Janeiro, onde foi aluno de  Victor Meirelles (1832 – 1903). No ano seguinte, foi para a Academia Imperial de Belas Artes (Aiba). Com o quadro O sacrifício de Abel, Rodolfo, identificado como o filho dos conhecidos artistas Luiz Carlos de Amoedo e D. Leolinda – eram atores -, venceu, em 1878, um concurso da Aiba (Gazeta de Notícias, 1º de novembro de 1878, quinta coluna, e O Monitor Campista, 6 de novembro de 1878, na última coluna). Seus concorrentes foram Henrique Bernardelli (1857 – 1936) e Antônio Firmino Monteiro (1855 -1888). Após o empate com Bernardelli, Amoedo venceu pelo voto de qualidade do diretor da Aiba, Antonio Nicolau Tolentino (1810 – 1888). O relatório da Repartição dos Negócios do Império de 1878 confirmou o prêmio e Amoedo viveu na Europa como pensionista da Aiba, entre 1879 e 1887. Também no relatório foi lamentado o fato do artista Bernardelli não ter também recebido como prêmio a viagem. Por sua vitória, Rodolfo foi capa e recebeu uma crítica muito favorável no periódico O Mequetrefe, de 5 de novembro de 1878.
+ 
+O Mequetrefe, 5 de novembro de 1878
+ 
+Depois de uma passagem por Roma, Amoedo chegou em Paris em maio de 1879. Frequentou o ateliê de Gustave Boulanger (1824 – 1888) e de Charles-Edouard Lefébvre (1843 – 1917). Matriculou-se, em 1880, na Academia de Belas Artes de Paris, onde foi aluno dos pintores Alexandre Cabanel (1823 – 1889) e Pierre Puvis de Chavannes (1824 – 1898) (Gazeta de Notícias, 3 de agosto de 1879, sexta coluna e Gazeta de Notícias, 28 de dezembro de 1879, sexta coluna). Enquanto estava em Paris, foi publicado na revista A Illustração: Revista Universal, de 5 de agosto de 1884, o desenho Mercado das Flores, de autoria de Amoedo. Na mesma revista, em 5 de dezembro de 1884, foi publicada uma reprodução do quadro Indígenas do Amazonas.
+Participação de Rodolfo Amoedo nos Salões de Belas Artes de Paris nos anos que passou na França
+1882 – Exposição na Academia de Belas Artes, no Rio de Janeiro, do quadro Marabá, de Amoedo, que havia participado com sucesso no último Salão Anual de Belas Artes de Paris. A pintura foi inspirada pelos versos do poeta Gonçalves Dias (1823-1864) (Gazeta de Notícias, 28 de outubro de 1882, quarta coluna).
+1883 – Amoedo e Vitor Meirelles participaram do Salão Anual de Belas Artes de Paris com os quadros O último dos tamoios e A Batalha Naval do Riachuelo, respectivamente. A crítica saudou Amoedo como um artista de futuro (Gazeta de Notícias, 8 de junho de 1883, na última coluna).
+1884 – Exposição na Academia de Belas Artes de dois quadros de Amoedo, A Partida de Jacob, que havia participado do Salão Anual de Belas Artes de Paris, e o Estudo de mulher . Recebeu uma crítica favorável de Lulu Sênior, pseudônimo de José Ferreira de Araújo (1848 – 1900), um dos fundadores e proprietários da Gazeta de Notícias (Gazeta de Notícias, 29 de agosto de 1884, na quinta coluna e Gazeta de Notícias, 4 de setembro de 1884, quarta coluna).
+1887 - Amoedo participou do Salão Anual de Belas Artes de Paris com o quadro Narração de Filetas (Gazeta de Notícias, 27 de maio de 1887, terceira coluna).
+De volta ao Brasil
+Amoedo recebeu ajuda financeira do império brasileiro para suas despesas de regresso ao país (Gazeta de Notícias, 2 de junho de 1887, quarta coluna). Chegou ao Rio de Janeiro, vindo da Bahia, no paquete Ville de Pernambuco, em 23 de dezembro de 1887 (Jornal do Commercio, 24 de dezembro de 1887, quinta coluna). Em 27 de janeiro 1888, inaugurou sua primeira exposição individual no Rio de Janeiro, na Academia de Belas Artes, com a presença da princesa Isabel. Expôs Jesus em Cafarnaum e Narração de Filetas, dentre outras pinturas (Diário de Notícias, 29 de janeiro de 1888, primeira coluna, Gazeta de Notícias, 29 de janeiro de 1888, primeira coluna e Gazeta de Notícias, 3 de fevereiro de 1888, penúltima coluna). Houve uma polêmica em torno do tema do quadro Jesus em Cafarnaum (Jornal do Commercio, 5 de fevereiro de 1888, quinta coluna). A mostra foi um sucesso de público e crítica, e terminou em 10 de fevereiro de 1888.
+Ainda em 1888, Amoedo foi agraciado como oficial da Ordem da Rosa (A Época, 9 de fevereiro de 1888, terceira coluna) e tornou-se professor honorário de pintura histórica na Aiba (Cidade do Rio, 1º de março de 1888, terceira coluna, e Diário de Notícias, 2 de março de 1888, quarta coluna). Expôs o retrato que pintou do escritor e crítico de arte Luiz Gonzaga Duque Estrada (1863 – 1911), na casa Moncada (Diário de Notícias, 2 de agosto de 1888, última coluna). Uma curiosidade: nesse mesmo ano, inscreveu-se no Club de Esgrima e Tiro (Diário de Notícias, 23 de abril de 1888, segunda coluna).
+Em 1889, pintou o estandarte da sociedade carnavalesca Tenentes do Diabo (Gazeta de Notícias, 24 de fevereiro de 1889, quinta coluna). Faria parte da comissão da Academia de Belas Artes que foi prestar solidariedade ao imperador Pedro II (1825 – 1891), contra o qual havia sido praticado um atentado, no dia 15 de julho de 1889, no saguão do Teatro Sant´Anna (Diário de Notícias, 18 de julho de 1889, quarta coluna). Amoedo foi nomeado interinamente professor de trabalhos gráficos do curso de ciências físicas e naturais da Escola Politécnica, no lugar de João Maximiano Mafra (1823 – 1908) (Cidade do Rio, 31 de dezembro de 1889, terceira coluna).
+Pediu demissão da Academia, em 1890 (Diário de Notícias, 30 de maio de 1890, quinta coluna e Diário de Notícias, 4 de maio de 1890, segunda coluna). Ele, Rodolfo Bernardelli (1852 – 1931) e Décio Villares (1851 – 1931), dentre vários outros artistas, reuniram-se no Derby Club e assinaram uma petição pelo progresso das belas artes no Brasil que seria entregue ao ministro da Instrução Pública, Benjamin Constant (1836 – 1891) (Diário de Notícias, 22 de junho de 1890, segunda coluna, e Diário de Notícias, 26 de junho de 1890, sexta coluna). Com sua mãe, foi para a Europa, em 1890. Lá, casou-se no consulado brasileiro de Lisboa com a filha do cônsul de Luanda em Portugal. Em 1891, quando ainda estava na Europa, foi nomeado professor de pintura da Escola de Belas Artes – Enba (Diário de Notícias, 28 de setembro de 1890, última coluna, e Diário de Notícias, 22 de janeiro de 1891, sexta coluna). Foi o responsável, com Rodolfo Bernardelli (1852 – 1931) e Ernesto Gomes Moreira Maia (1889-1915), do projeto de reforma do ensino da Escola Nacional de Belas Artes. Elaborou o regimento das exposições gerais da instituição, iniciadas em 1893 (Revista Americana, agosto e setembro de 1917). Participou de inúmeras exposições gerais da Enba entre 1893 e 1930.
+Em 1893, foi nomeado vice-presidente da Escola Nacional de Belas Artes (Diário de Notícias, 12 de fevereiro de 1893, terceira coluna). Participou e foi premiado na Exposição Internacional Colombiana de Chicago, que aconteceu entre 1º de maio e 30 de outubro de 1893 para celebrar os 400 anos da chegada do navegador genovês Cristóvão Colombo (1451 – 1506) ao Novo Mundo, em 1492. Outros artistas brasileiros laureados foram Almeida Junior (1850 – 1899), Eliseu Visconti (1866 – 1944), Henrique Bernardelli,  M. Broesse, Pedro Weingartner e Rodolfo Bernardelli, (A Republica: organ do Partido Republicano, 14 de outubro de 1893, quarta coluna).
+Participou da Segunda Exposição Geral de Belas Artes, em 1895, com o quadro Más Notícias (Cidade do Rio, 2 de setembro de 1895, terceira coluna). Integrava a Comissão da Exposição Retrospectiva Brasileira das comemorações pelos 400 anos do descobrimento do Brasil (Cidade do Rio, 16 de agosto de 1898, segunda coluna).
+O livro Flora de Maio, de Osório Duque Estrada (1870 – 1927), foi ilustrado com uma aquarela de Amoedo (Cidade do Rio, 30 de agosto de 1901, segunda coluna). Também ilustrou o Livro de Emma, de Alberto de Oliveira (1857 – 1937) (Cidade do Rio, 18 de setembro de 1901, terceira coluna).
+Em 1903, em uma reunião de artistas, promovida por Amoedo, na Escola de Belas Artes, foi fundada a Associação de Aquarelistas e o fotógrafo e pintor português Joaquim Insley Pacheco (1830 – 1912) foi eleito para presidi-la. A primeira exposição da associação foi inaugurada em 1º de julho e Insley participou com oito marinhas (A Notícia, 24 e 25 de abril de 1903, na terceira coluna e Jornal do Brasil, 2 de julho de 1903, na oitava coluna).
+A revista Kosmos de janeiro de 1905, publicou uma reportagem, assinada pelo escritor e crítico de arte Luiz Gonzaga Duque Estrada (1863 – 1911), sobre Rodolfo Amoedo com diversas ilustrações de sua obra e uma do próprio pintor.
+ 
+Rodolfo Amoedo / Revista Kosmos, janeiro de 1905
+ 
+Recebeu a medalha de ouro na Exposição Nacional de 1908, realizada entre agosto e novembro de 1908, no Rio de Janeiro, em comemoração ao primeiro centenário da Abertura dos Portos do Brasil. Seu ateliê ficava no segundo andar de um enorme prédio da avenida Sete de Setembro, separado da Catedral apenas por uma travessa, que é a rua do Carmo (Gazeta de Notícias, 5 de janeiro de 1908, primeira coluna). Ganhou a Medalha de Honra no salão da Escola Nacional de Belas Artes de 1917 pelo quadro Eros e a noite (imagem do centro, à direita) (Revista da Semana, 18 de agosto de 1917 e Revista Americana, agosto e setembro de 1917). Em 1918, afastado da Escola desde 1906, foi contratado pela instituição para ocupar a cadeira de pintura por 5 anos. Na ocasião, relatou o processo de criação de sua última pintura, Jesus descendo o monte das oliveiras (Gazeta de Notícias, 29 de janeiro de 1918, sexta coluna e Gazeta de Notícias, 30 de janeiro, primeira coluna).
+ 
+A partida de Jacó, de Rodolfo Amoedo / Illusstração Brasileira, 15 de novembro de 1922
+ 
+Foi, posteriormente, recontratado e tornado interino. Em 1928, foi nomeado professor temporário (O Paiz, 30 de setembro de 1928, sexta coluna, e O Paiz, 29 e 30 de outubro, última coluna) e, um ano depois, passou a ser professor catedrático honoris causa da Escola de Belas Artes. Fez parte do juri que elegeu Olga Bergamini de Sá, representante do Rio de Janeiro, a Miss Brasil de 1929. Os outros membros do juri eram o escritor Coelho Netto (1864 – 1934), o então professor de anatomia Raul Leitão da Cunha (1881 – 1947), o pintor Carlos Chambelland (1884 – 1950), o escultor Cunha e Mello (1879 – 1949) e o jornalista Manuel Paulo Filho (1890 – 1969), presidente da Associação Brasileira de Imprensa (Correio da Manhã, 14 de abril de 1929, oitava coluna, e Correio da Manhã, 17 de abril de 1929).
+ Os últimos anos
+Aposentou-se em 1935 e foi tema de um artigo do professor catedrático da Escola Nacional de Belas Artes, Flexa Ribeiro, intitulado A Bíblia e a mitologia na pintura de Rodolfo Amoedo, publicado na Illustração Brasileira, maio de 1935:
+‘…Com a aposentação que agora lhe foi conferida, não que ele a requeresse, mas atingido pela compulsória, priva-se a Escola Nacional de Belas Artes de um mestre que largamente honrou e dignificou a educação brasileira, e que é decerto o mais completo que aquele instituto já teve: pela paixão viva de sua arte, pela erudição na sua especialidade, pela férrea intransigência na atividade crítica e pelo exercício infatigável na nobre e generosa missão de dar aos outros tudo quanto sabe.’
+Foi o entrevistado da reportagem Como vivem nossos artistas, da Revista da Semana, de 6 de julho de 1940. Na ocasião, vivia nas cercanias do Jardim Botânico do Rio de Janeiro. Poucos meses depois, foi inaugurado, por iniciativa da Sociedade Brasileira de Belas Artes, um busto em sua homenagem, na Praia do Russel (Illustração Brasileira, dezembro de 1940 e A Noite, 17 de novembro de 1940, quinta coluna).
+No Correio da Manhã, de 6 de fevereiro de 1941, foi publicada uma matéria sobre a obra e a vida de Amoedo, intitulada O Crepúsculo de um Gênio. Rodolfo Amoedo faleceu, pobremente, em 31 de maio de 1941, na Fundação Gaffrée Guinle, no Rio de Janeiro (Correio da Manhã, 1º de junho de 1941, primeira coluna ). Poucos dias antes, o presidente da República, para amparar o velho artista, resolveu que o governo compraria seus quadros.  Após sua morte, parte de sua obra foi doada ao Museu Nacional de Belas Artes, no Rio de Janeiro.
+ 
+Fotografia de Rodolfo Amoedo, publicada na revista O Malho, dezembro de 1940
+ 
+Andrea C. T. Wanderley
+Editora-assistente e pesquisadora do portal Brasiliana Fotográfica
+ 
+Leia também:
+Cartas na pintura (13) – por Priscila Sacchetin, publicado no Correio IMS – ensaio sobre a pintura Más notícias, de Rodolfo Amoedo.
+ 
+Más notícias (1895), óleo sobre tela de Rodolfo Amoedo / Acervo do Museu Nacional de Belas Artes, Rio de Janeiro
+ 
+
+Fontes:
+COSTA, Richard Santiago. Marabá e O Ultimo Tamoio na exposição geral de belas artes de 1884: crí- tica e recepção da obra de Rodolfo Amoedo. VIII EHA – Encontro de História da Arte, 2012.
+GOMES, Adryana Diniz. Rodolfo Amoedo e a Exposição de 1888. 19&20, Rio de Janeiro, v. VIII, n. 2, jul/dez. 2013.
+CAVALCANTI, Ana Maria Tavares. O Último Tamoyo e o ultimo romântico. Rio de Janeiro: Revista de História, 07/11/2007.
+Enciclopédia Itaú Cultural
+GOMES, Adryana Diniz. Rodolfo Amoedo e a Exposição de 1888. 19&20, Rio de Janeiro, v. VIII, n. 2, jul/dez. 2013.
+GONZAGA, Duque. A Arte Brasileira / Luiz Gonzaga Duque Estrada; introdução e notas de Tadeu Chiarelli. Campinas: Mercado das Letras, 1995.
+JORGE, Marcelo Gonczarowska. As Pinturas Indianistas de Rodolfo Amoedo. 19&20, Rio de Janeiro, v. V, n° 2, abril 2008.
+Hemeroteca Digital da Biblioteca Nacional
+LEVY, Carlos Roberto Maciel. Exposições Gerais da Academia Imperial e da Escola Nacional de Belas Artes. Rio de Janeiro: Pinakotheke, 1990.
+MIGLIACCIO, Luciano. Rodolfo Amoedo. O mestre deveríamos acrescentar. In: 30 Mestres da pintura no Brasil: 30 anos Credicard. São Paulo: MASP, 2001.
+PONTUAL, Roberto. Dicionário das artes plásticas no Brasil. Texto Mário Barata, Lourival Gomes Machado, Carlos Cavalcanti et al. Rio de Janeiro: Civilização Brasileira, 1969.
+RUBENS, Carlos. Pequena história das artes plásticas no Brasil. São Paulo: Editora Nacional, 1941
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/450` — `itens/20.500.12156.1_450/`
+- `20.500.12156.1/758` — `itens/20.500.12156.1_758/`
+- `20.500.12156.1/481` — `itens/20.500.12156.1_481/`
+- `20.500.12156.1/447` — `itens/20.500.12156.1_447/`
+- `20.500.12156.1/3187` — `itens/20.500.12156.1_3187/`
+
diff --git a/wordpress/10242-serie-hoteis-do-brasil-ii-o-hotel-gloria-antes-e-depois.md b/wordpress/10242-serie-hoteis-do-brasil-ii-o-hotel-gloria-antes-e-depois.md
new file mode 100644
index 0000000..f17538c
--- /dev/null
+++ b/wordpress/10242-serie-hoteis-do-brasil-ii-o-hotel-gloria-antes-e-depois.md
@@ -0,0 +1,47 @@
+---
+id: 10242
+url: "https://brasilianafotografica.bn.gov.br/?p=10242"
+titulo: "Série “Hotéis do Brasil” II – O Hotel Glória – antes e depois"
+autor: "Andrea Wanderley"
+data: "2017-12-21T23:01:41+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/3942", "20.500.12156.1/3955"]
+fetched_at: "2026-09-10T09:53:56.129Z"
+---
+
+# Série “Hotéis do Brasil” II – O Hotel Glória – antes e depois
+
+No segundo artigo da série Hotéis do Brasil, a Brasiliana Fotográfica destaca dois registros dos bairros da Glória e do Flamengo, no Rio de Janeiro, produzidas pelo fotógrafo Jorge Kfuri (1893 – 1965). As imagens são de 1917 e 1922 e mostram a mesma região: na primeira, vemos o terreno em que seria construído o Hotel Glória e, na segunda, já vemos o edifício concluído. O efeito antes e depois é um dos aspectos mais atraentes, interessantes e poderosos da fotografia, capaz de registrar desde as pequenas às grandes transformações da humanidade – por exemplo, suas paisagens, construções e população.
+ 
+Jorge Kfuri. Os bairros da Glória e Flamengo. Local onde seria construído o Hotel Glória. Na parte central da foto os jardins do Palácio do Catete, 1917. Rio de Janeiro, RJ / Acervo DPHDM
+ 
+ 
+Jorge Kfuri. O Hotel Glória, construído para as festas do Centenário da Independência, já concluído, 1922. Rio de Janeiro, RJ / Acervo DPHDM
+ 
+O Hotel Glória, aberto em 15 de agosto de 1922, com uma bênção realizada pelo arcebispo D. Sebastião Leme (O Paiz, 16 de agosto de 1922), foi o primeiro cinco estrelas do Brasil e também o primeiro prédio em concreto armado da América do Sul. Sua construção, motivada pelas festas do primeiro centenário da Independência do Brasil, foi uma iniciativa da firma Rocha Miranda & Filhos.
+ 
+Fon-Fon, 7 de setembro de 1922
+ 
+Em estilo clássico, o Hotel Glória abrigava um cassino, um teatro, diversos salões de festas, além de 150 quartos. Seus arquitetos foram o francês Joseph Gire ( 1872 – 1933) e o alemão Sylvio Riedlinger. Gire foi responsável por outros importantes prédios cariocas como o do Hotel Copacabana Palace, do Edifício Joseph Gire, mais conhecido como A Noite, e do Palácio das Laranjeiras, em parceria com Armando Silva Telles, dentre outros. Era formado pela École Nationale Supérieure des Beaux-Arts de Paris e desembarcou no Rio de Janeiro a convite da abastada e influente família Guinle.
+ 
+Careta, 9 de setembo de 1922
+ 
+Em março de 2008, o Glória foi comprado pelo empresário Eike Batista, que anunciou uma grande reforma que o tornaria um seis estrelas, um marco na história da hotelaria do Rio. Seria reaberto como Gloria Palace para a Copa do Mundo de 2014. Porém, com a crise no Grupo EBX, de Eike, a reforma foi paralisada, em 2013. No início de 2016, o hotel passou às mãos do fundo árabe Mubadala, de Abu Dhabi. O Hotel Glória Luxury Residence é um retrofit do Fundo de Investimento Imobiliário Opportunity que está transformando o Hotel Glória em um residencial (2022).
+ 
+Andrea C. T. Wanderley
+Editora-assistente e pesquisadora do portal Brasiliana Fotográfica
+ 
+Outros artigos publicados na Brasiliana Fotográfica sobre hotéis
+Hotéis do século XIX e do início do século XX no Brasil, publicado em 5 de novembro de 2015 , de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica.
+Copacabana Palace, símbolo do glamour carioca, publicado em 13 de agosto de 2020, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica.
+O Hotel Pharoux por Revert Henrique Klumb, publicado em 15 de junho de 2022, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica.
+Série O Rio de Janeiro desaparecido XXIV – O luxuoso Palace Hotel, na Avenida Rio Branco, uma referência da vanguarda artística no Rio de Janeiro, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 4 de julho de 2023.
+O centenário do Copacabana Palace, quintessência do “glamour” carioca, e seu criador, o arquiteto francês Joseph Gire, publicado em 13 de agosto de 2023, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/3942` — `itens/20.500.12156.1_3942/`
+- `20.500.12156.1/3955` — `itens/20.500.12156.1_3955/`
+
diff --git a/wordpress/10251-a-cidade-de-santos-pelas-lentes-de-militao-augusto-de-azevedo-1837-1905.md b/wordpress/10251-a-cidade-de-santos-pelas-lentes-de-militao-augusto-de-azevedo-1837-1905.md
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@@ -0,0 +1,38 @@
+---
+id: 10251
+url: "https://brasilianafotografica.bn.gov.br/?p=10251"
+titulo: "A cidade de Santos pelas lentes de Militão Augusto de Azevedo (1837 – 1905)"
+autor: "Andrea Wanderley"
+data: "2018-01-26T09:26:25+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/2368"]
+fetched_at: "2026-09-10T09:53:59.245Z"
+---
+
+# A cidade de Santos pelas lentes de Militão Augusto de Azevedo (1837 – 1905)
+
+Com registros produzidos, na década de 1860, por Militão Augusto de Azevedo (1837 – 1905), um dos mais importantes fotógrafos brasileiros do século XIX, a Brasiliana Fotográfica homenageia a cidade de Santos. Fundada em 1546, seu aniversário é comemorado no dia 26 de janeiro, data em que, no ano de 1839, foi elevada de vila à cidade, a partir de uma lei assinada por Venâncio José Lisboa (1810 -1880), na época, presidente da província de São Paulo.
+‘O Dr. Venâncio José Lisboa, presidente da Província de São Paulo. Faço saber a todos os seus habitantes que a Assembleia Legislativa Provincial decretou e eu sancionei, a lei seguinte:
+Artigo único – Fica elevada à categoria de Cidade de Santos, a Villa do mesmo nome, pátria do conselheiro José Bonifácio de Andrada e Silva, revogadas para isso as disposições em contrário. Mando, portanto a todas as autoridades a quem o conhecimento e execução da referida lei pertencer, que a cumpram e façam cumprir tão inteiramente como nela se contém. O Secretário desta Província a faça imprimir, publicar e correr. Dada no Palácio do Governo de São Paulo, aos 26 dias do mês de janeiro de 1.839. Venâncio José Lisboa’.
+ 
+Militão Augusto de Azevedo. Cidade de Santos tirada da Ilha de Barnabé, 1862. Santos, São Paulo / Acervo IMS
+ 
+Acessando o link para as fotografias da cidade de Santos produzidas por Militão Augusto de Azevedo disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Militão Augusto de Azevedo fotografado por A. Liébert. Photographie Americaine.
+A obra de Militão Augusto de Azevedo, além de fotografias de aspectos urbanos e do interior de São Paulo, inclui também um grande número de retratos para a produção de cartes de visite, tanto de anônimos como de pessoas importantes na história do Brasil, como, por exemplo, Joaquim Nabuco, Castro Alves e Rui Barbosa. Foram 12.500 mil pessoas retratadas, entre 1876 e 1886, cerca de um terço da população de São Paulo na época. É o autor do Álbum  comparativo da cidade de São Paulo 1862-1887, sua obra-prima, o primeiro realizado com o objetivo de mostrar as mudanças ocorridas na capital paulista, devido ao progresso. Realizou também os álbuns de vistas de São Paulo(1862), de Santos(1864-65) e da Estrada de Ferro Santos-Jundiaí (1868).
+ 
+ 
+Andrea C. T. Wanderley
+Editora-assistente e pesquisadora do portal Brasiliana Fotográfica
+ 
+ 
+ 
+Leia também Militão Augusto de Azevedo (1837 – 1905) e sua obra-prima, o “Álbum comparativo da cidade de São Paulo 1862-1887″, publicada na Brasiliana Fotográfica em 24 de maio de 2015.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/2368` — `itens/20.500.12156.1_2368/`
+
diff --git a/wordpress/10341-o-frances-hercule-florence-1804-1879-inventor-de-um-dos-primeiros-metodos-de-fot.md b/wordpress/10341-o-frances-hercule-florence-1804-1879-inventor-de-um-dos-primeiros-metodos-de-fot.md
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@@ -0,0 +1,249 @@
+---
+id: 10341
+url: "https://brasilianafotografica.bn.gov.br/?p=10341"
+titulo: "O francês Hercule Florence (1804 – 1879), inventor de um dos primeiros métodos de fotografia do mundo"
+autor: "Andrea Wanderley"
+data: "2018-03-07T10:29:41+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/1777"]
+fetched_at: "2026-09-10T09:54:03.091Z"
+---
+
+# O francês Hercule Florence (1804 – 1879), inventor de um dos primeiros métodos de fotografia do mundo
+
+O fotógrafo, desenhista, tipógrafo e naturalista francês Antoine Hercule Romuald Florence (1804 – 1879) já foi tema da Brasiliana Fotográfica no texto Florence, autor do mais antigo registro fotográfico existente nas Américas, publicado em 17 de junho de 2015. Agora, além de destacar esse fato tão importante na história da fotografia, o portal oferece a seus leitores um perfil e uma cronologia de Florence, desde seu nascimento, em Nice, em 28 de fevereiro de 1804, até sua morte, em Campinas, em 27 de março de 1879. Inventor de um dos primeiros métodos de fotografia do mundo, Florence foi, certamente, um dos mais interessantes e notáveis estrangeiros que se estabeleceu no Brasil, no século XIX. Viveu no país entre 1824 e 1879, quando faleceu. Segundo seu biógrafo Estevão Leão Bourroul (1859 – 1914), a vida de Florence é a narração singela e comovente das peripécias, das descobertas, das viagens, que constituem uma das páginas mais interessantes dos anais contemporâneos. 
+Acessando o link para as imagens de Hercule Florence disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+‘De fato, o companheiro de Langsdorff e de Adriano Taunay, o continuador de Lacerda e Almeida, o êmulo dos bandeirantes paulistas, o inventor da poligrafia, do papel inimitável, da stereopintura, o descobridor, antes de Niépce e de Daguerre, da fotografia, o artista genial da zoofonia, e da nória hidropneumática ou hidrostática, é um desses vultos surpreendentes cuja originalidade, lhanesa e múltipla capacidade prendem e fixam de modo vivíssimo a atenção do historiador, despertando o entusiasmo do filósofo e do patriota, e são destinados , vencendo o mercantilismo da atualidade, a transpor os umbrais da severa e justa posteridade’ (Bourroul, 1900). 
+ 
+Anônimo. Hercule Florence, c. 1875. Campinas, São Paulo / Coleção de Arnaldo Machado Florence.
+ 
+Florence participou de 1825 a 1829 da Expedição Langsdorff e seus desenhos são considerados excelentes. Registrou a natureza e os índios das regiões que atravessou. O diário minucioso que realizou da viagem traz algumas das mais importantes informações da expedição. A Expedição Langsdorff foi uma expedição russa, chefiada e organizada pelo barão Georg Heinrich von Langsdorff (1774 – 1852). Artistas e cientistas, percorreram, entre 1821 e 1829, mais de 17 mil quilômetros pelo interior do Brasil e realizaram um importante inventário do país. Alguns dos principais participantes foram, além do próprio Langsdorff e Florence, o artista francês Aimé-Adrien Taunay (1803 – 1828) e o alemão Johan Moritz Rugendas (1802 – 1858), os zoólogos francês Edouard Ménétriès (1802 – 1861) e o alemão Christian Friedrich Hasse (1771 – 1831), o astrônomo russo Néster Rubtsov (1799-1874) e o botânico alemão Ludwig Riedel (1790 – 1861).
+ 
+Autorretrato de Hercule Florence, 1855. Detalhe de um retrato de sua família, em Campinas
+ 
+O método fotográfico de Florence foi comprovado cientificamente pelo pesquisador brasileiro e emérito historiador da fotografia brasileira Boris Kossoy (1941 – ), entre 1972 e 1976. Em meados de 1976, foi testado, com sucesso, nos laboratórios do Rochester Institute of Technology, nos Estados Unidos, sob a chefia do professor Thomas Hill. Em outubro do mesmo ano, a pesquisa de Kossoy foi apresentada no III Simpósio da História da Fotografia, na George Eastman House, em Rochester. Foi a partir da pesquisa e do teste realizados por Kossoy, aos quais se seguiu a publicação, pelo pesquisador brasileiro, do livro “1833: a Descoberta Isolada da Fotografia no Brasil” (1980), que Hercule Florence tornou-se internacionalmente conhecido.
+Publicado nos Anais do Museu Paulista de dezembro de 2019 o artigo Revelando Hercule Florence, o Amigo das Artes: análises por fluorescência de raios X.  A física Márcia de Almeida Rizzutto, coordenadora do NAP-Faepah, atestou, com a ajuda do método conhecido como fluorescência de raios X por dispersão de energia (ED-XRF) para detectar a presença de elementos químicos que os manuscritos de Florence descrevem fielmente os processos de produção fotográfica por ele testados em 1833. Segundo Kossoy, foi a comprovação física daquilo que já se sabia do ponto de vista químico.
+ 
+Hercule florence. “Epréuve Nº2 (photographie)”. Fotografia: Conjunto de rótulos para frascos farmacêuticos, 1833. Campinas, São Paulo / Acervo IMS
+ 
+A imagem acima, dos rótulos de farmácia, pertencente ao acervo do Instituto Moreira Salles, integra uma pequena série de desenhos impressos fotograficamente produzida por Florence, que são os mais antigos registros fotográficos nas Américas.
+ 
+Cronologia de Antoine Hercule Romuald Florence (1804 – 1879)
+ 
+Hercule Florence, de Oscar Pereira da Silva / Acervo do Museu Paulista da USP
+ 
+1804 - Antoine Hercule Romuald Florence nasceu, em Nice, na França, em 29 de fevereiro, segundo escreveu em seu diário. Na verdade, essa seria a data de seu batismo. Já o autor William Luret achou a certidão de nascimento de Florence que indicaria o dia 9 de março como a data do nascimento. Foi um erro de leitura. Na verdade, o documento oficial de seu nascimento diz: “Do dia 8 Ventoso (Du Huit Ventôse), ano 12 da República Francesa Certidão de nascimento de Romuald Florence, nascido em Nice esta manhã, duas horas depois da meia-noite, filho de Arna[ud] Florence, professor de desenho em escolas secundárias que mora na rue la raison, e Augustine Vignali…” Du Huit Ventôse ao ser convertido para o calendário atual confirma que a data de nascimento de Hercule Florence é dia 28 de fevereiro de 1804.  Seu nome foi uma homenagem a Port Hercule, como se chamava Mônaco na época. Foi o quinto filho de um médico militar nascido em Toulouse, Arnaud Florence (1749 – 1807), que também foi professor de desenho da Academia de Belas Artes de Toulouse, e de Augustine de Vegnalys (1768 – 1857), de Mônaco. Eles se casaram em 2 de março de 1793 e tiveram seis filhos: Claudine-Herculine (1794 – 1796), Jean-Baptiste (1796 – 1799), Antoine Fortuné (1799 – 1865), Emmanuel (1802 – ?), Antoine Hercule (1804 – 1879) e Célestine (1805 – ?). Com exceção de Claudine-Herculine, que nasceu em Mônaco, todos os filhos do casal nasceram em Nice*.
+ 
+ 
+Site do Instituto Hercule Florence
+ 
+ 
+1807 - Com o falecimento de seu pai, mudou-se com a família para Ventimiglia, comuna italiana da região da Ligúria, e depois para Mônaco.
+c. 1818 - Trabalhou como desenhista e calígrafo, recebendo encomendas das autoridades de Mônaco.
+1820 – Dedicou-se ao estudo de Matemática e Física. Nesta época leu o livro Robinson Crusoé (1719), do escritor inglês Daniel Dafoe (1660 – 1731), que despertou seu desejo de viajar pelos oceanos. Com um dinheiro dado por sua mãe, embarcou para Bruxelas e Antuérpia, onde apresentou na Werbronck House uma carta de recomendação, provavelmente, de um banqueiro. Não conseguiu o emprego e retornou para Mônaco andando. Foi preso porque seu documento monegasco não foi aceito em território francês. Em troca de sua liberdade, pintou os retratos de dois policiais franceses.
+1822 - Foi para Nice, onde apresentou-se ao cônsul francês com o intuito de alistar-se na Marinha Real Francesa. Embarcou na galeota francesa La Torche, que seguiu para a cidade de Toulon.
+1823 - A bordo do navio Marie Thérèze, comandado pelo capitão Claude du Camp de Rosamel, trabalhou a bordo como copista de plantas das fortificações espanholas. Integrava a expedição francesa em apoio a Fernando VII (1784 – 1833), da Espanha, e participou da batalha de bloqueio a Barcelona.
+Após a missão, a fragata permaneceu ancorada por aproximadamente quatro meses em Toulon. Durante este período, Florence  realizou exercícios de desenho e alguns retratos.
+Idealizou uma bomba para puxar água, que denominou de nória hidrostática.
+Em 31 de julho, foi expedido seu passaporte pelo Principado de Mônaco.
+1824 - Em fevereiro, zarpou no navio Marie Thérèze, ainda sob o comando do capitão Rosamel, numa viagem pelo mundo e quarenta e cinco dias depois, chegou ao Rio de Janeiro, em abril. O navio partiu do Rio de Janeiro, em 1º de maio de 1824, mas Florence permaneceu na cidade (Império do Brasil – Diário do Governo, 5 de maio de 1824, segunda coluna).
+Começou a trabalhar como caixeiro numa casa comercial especializada em roupas, do francês Pierre Dillon, antigo secretário de  Joachim Le Breton (1760 – 1819), chefe da Missão Artística Francesa .
+1825 - Trabalhou por cerca de quatro meses na livraria e tipografia do francês Pierre Plancher (1764 – 1844), sendo responsável pela execução de diversas litografias. A tipografia ficava na Rua do Cano, atual Rua Sete de Setembro. Pierre René François Plancher de La Noé havia fugido da França por sua convicção bonapartista, já que a Restauração havia levado Luís XVIII ao trono francês. Instalou-se no Rio de Janeiro, em 1824, para onde trouxe todo o equipamento necessário para montar uma tipografia, além de alguns trabalhadores que sabiam manejar prensas e imprimir livros. Foi Plancher que fundou, em 1827, o Jornal do Commercio. Antes já havia lançado um guia de ruas do Rio de Janeiro, um guia para estrangeiros na cidade, um manual de conversação francês-inglês, o Almanack Plancher, o Spectador Brasileiro, a Revista Brasileira “das ciências, artes e indústria” e o Propagador das Ciências Médicas (Spectador Brasileiro, 4 de julho de 1825).
+A partir de um anúncio de jornal, Florence candidatou-se a participar em uma viagem acompanhando um naturalista e, como segundo desenhista, integrou-se à expedição científica de Georg Heinrich von Langsdorff (1774 – 1852). O primeiro desenhista era Adrien Taunay (1803 – 1828) que, durante a expedição, em 1828, morreu afogado quando tentava atravessar a cavalo o rio Guaporé, em Mato Grosso – ele havia substituído Johan Moritz Rugendas (1802 – 1858), que havia participado da expedição entre 1821 e 1824.
+ 
+Diário do Rio de Janeiro, 7 de julho de 1825
+ 
+Em 3 de setembro, Florence partiu a bordo da sumaca Aurora, juntamente com Langsdorff, Adrien Taunay , o astrônomo e oficial da marinha russa Nester Rubtsov (1799 – 1874), o zoólogo Christian Hasse (1771 – 1831) e o botânico Lüdwig Riedel (1791 – 1861), tendo como destino a Vila de Santos. Depois de permanecer por aproximadamente 20 dias na cidade separou-se dos demais membros da expedição e seguiu numa piroga para Cubatão. Durante a viagem executou desenhos do litoral paulista (Império do Brasil: Diário Fluminense, 7 de setembro de 1825, primeira coluna).
+Em Itu, conheceu as obras do frei Jesuíno do Monte Carmelo (1764 – 1819) e também as decorações feitas por José Patrício da Silva Manso (c. 1753 – 1801).
+1826 – Passou cinco meses na casa do médico e político Francisco Álvares Machado e Vasconcellos (1791 – 1846), em Porto Feliz, quando conheceu sua filha, Maria Angélica (1815 – 1850), com quem viria a se casar, em 1830.
+Em 22 de junho, partida da Expedição Langsdorff do porto no Rio Tietê, em Porto Feliz, para o norte do Brasil. Um dos organizadores da viagem foi Francisco Álvares Machado e Vasconcellos, o anfitrião e futuro sogro de Florence. Percorreu os rios Tietê, Paraná, Pardo, Coxim, Taquari, Paraguai, São Lourenço, Cuiabá, Preto, Arinos, Juruena, Tapajós e Amazonas. Retornou de Belém, pela costa brasileira, até chegar ao Rio de Janeiro, em 10 de março de 1829. O diário de bordo feito por Florence, Esboço da Viagem feita pelo Sr. Langsdorff ao interior do Brasil, desde setembro de 1825 até março de 1829, foi  traduzido pelo visconde de Taunay (1843 – 1899) e publicado em 1875, pelo Instituto Histórico e Geográfico do Rio de Janeiro, sendo que, posteriormente, com o título Viagem Fluvial do Tietê ao Amazonas – 1825- 1829, teve várias edições comerciais.
+1827 – A Expedição Langsdorff chegou em Cuiabá em 30 de janeiro, onde ficou até dezembro. No período, Florence desenhou os Bororós, os Guató e outros povos originários.
+1828 – A expedição se separou. Florence seguiu com Langsdorff e Rubtsov nos rios Arinos, Juruena e Tapajós. Langsdorff adoeceu. Chegaram em Belém, em 10 de novembro.
+1829 - De volta ao Rio de Janeiro, em 19 de março, Florence, como parte de suas Memórias, escreveu os manuscritos de seu tratado intitulado Zoophonia. 
+Deu à família de Adrien Taunay (1803 – 1828), o diário que escreveu durante aExpedição Langsdorff.
+‘
+Cachorro do mato, desenho de Hercule Florence, 1829 / Acervo FBN
+ 
+ 
+Bertholletia excelsa, desenho de Hercule Florence, 1829 / Acervo FBN
+ 
+Convidado por seu amigo, o médico e político Francisco Álvares Machado e Vasconcellos (1791 – 1846), fixou residência na Vila de São Carlos, atual Campinas.
+1830 - Passou a dedicar-se aos estudos de impressão com o intuito de publicar seu tratado sobre Zoophonia e cerca de 200 desenhos executados durante a expedição. Nesse processo, descobriu uma nova maneira de obter a impressão, que recebeu o título de Polygraphie – Poligrafia.
+No dia 4 de janeiro de 1830, na Igreja da Sé em São Paulo, casou-se com Maria Angélica Vasconcellos, natural de Itu, filha de Francisco Alvares Machado e Vasconcellos. O casal teve 13 filhos, todos nascidos em Campinas: Amador Bueno (1831 – ?), Celestina (1832-?), Adelaide (1834 – 1834), Francisco (1835 – 1836), Francisco (1837 – 1904), Cândida (1839- 1901), Antônio Hércules (1841 – 1916), Arnaldo (1843 – 1845), Angélica (1844 – ?), Arnaldo (1846 – 1872), Paulo (1847 – ?) e Ataliba (1849 – 1849).
+Hercule Florence com sua primeira esposa, Maria Angélica Vasconcellos
+Florence, identificado como pintor retratista, residia na rua das Flores, 53. Anunciou aulas de pintura em sua casa ou nas casas das alunas. Também anunciou a venda de retratos de alguns deputados e de vistas de Itu e do Salto de Itu por preços cômodos (O Farol Paulistano, 8 de junho de 1830, na segunda coluna).
+Redigiu entre os meses de julho e outubro o manuscrito Etudes de Ciels, À L’usage des jeunes paysagistes.
+1831 – Abriu uma loja de tecidos em Campinas. A tipografia R. Orgier, no Rio de Janeiro, publicou o manuscrito do tratado de Zoophonia, Recherche sur la voix des animaux, ou essai d’un nouveau suject d’ètudes, offert aux amis de la nature.
+ 
+‘Mineralogia é estudo da natureza passiva.
+Zoologia é estudo da natureza ativa.
+Zoofonia é estudo da natureza falante’.
+
+Do Rio de Janeiro, enviou à França, através de Edouard Pontois (Encarregado de Negócios de França), o manuscrito onde detalhava os processos da poligrafia, acompanhado por duas provas poligrafadas.
+
+1832 – De volta à Vila de São Carlos (Campinas), executou trabalhos de pintura, que ele intitulou Tableaux Transparents de Jour. A inovação técnica deste trabalho consistiu na execução de um grande número de furos de minúsculo diâmetro sobre o desenho original nas áreas que representariam luzes ou reflexos na imagem pictórica. Apreciados em um local escuro com a luz solar incidindo através de um foco dirigido, apenas sobre a pintura, resulta numa projeção exata da imagem pictórica original. Foi noticiado: Hercules Florence, inventor de um novo processo Autográfico, participa às pessoas que quiserem ter um certo número de exemplares do seu retratos para repartir entre parentes e amigos, que ele faz o original pelo preço de 3$200 e e imprime os exemplares a 320 rs cada um (O Novo Farol Paulistano, 11 de janeiro de 1832, segunda coluna).
+
+1833 –  Obteve no início do ano, através do uso de uma câmera escura, a primeira fixação de imagem em papel, utilizando o nitrato de prata. Não teria eu iniciado a arte mais do que maravilhosa de desenhar qualquer objeto, sem dar-me ao trabalho de o fazer com a própria mão?, indagou Florence, em 24 de junho de 1833, em seu diário Livre d’annotations et de premiers matériaux, referindo-se a suas pesquisas e experimentos no campo da fotografia, que o haviam levado a inventar, ele também e no Brasil, um processo de criação fotográfica.
+1834 –  Também em seu Livre d´annotations et les premiers matériaux, em 1834, Florence usou pela primeira vez o verbo photographier –  cinco anos antes da palavra ser utilizada na Inglaterra, em 1839, por John Frederick William Herschel (1792-1871). Florence deixou uma descrição do procedimento adotado por ele para obter o registro fotográfico, em 1833.
+1836 – Em viagem ao Rio de Janeiro, Florence adquiriu uma tipografia para conseguir executar o grande número de encomendas impressas que recebia. Começou suas pesquisas em direção à descoberta do papel inimitável (Correio Mercantil, Instrutivo, Político, Universal, 5 de novembro de 1857, terceira coluna).
+1837 -  Executou, a pedido do governo, um mapa itinerário da província de São Paulo, impresso através do sistema de poligrafia.
+Entre esse ano e 1859, redigiu sua biografia, intitulada L’Ami des Arts livre à lui-même ou Recherches et découvertes sur différents sujets nouveaux. O texto trazia informações biográficas, notas e ilustrações de seus inventos. O manuscrito, de 423 páginas, foi redigido quase todo em francês e é um compêndio ilustrado da vida e da obra de Florence. Traz a descrição de suas experiências e os fatos principais de sua vida, incluindo a versão mais completa do relato da viagem fluvial empreendida pela Expedição Langsdorff.
+1838 -  Instalou no Largo da Matriz a primeira tipografia da Vila de São Carlos.
+1839 - Redigiu em março o manuscrito De La Compression du Gaz Hydrogéne, apliquée à la direction des aérostats
+A velocidade com que a notícia do invento do daguerreótipo chegou ao Brasil é curiosa: cerca de 4 meses depois do anúncio da descoberta – em 7 de janeiro de 1839 -, foi publicado no Jornal do Commercio, de 1º de maio de 1839, sob o título “Miscellanea”, na segunda coluna, um artigo sobre o assunto – apenas 10 dias após de ter sido o tema de uma carta do inventor norte-americano Samuel F. B. Morse (1791 – 1872), escrita em Paris em 9 de março de 1839, para o editor do New York Observer, que a publicou em 20 de abril de 1839. Foi lendo o artigo do Jornal do Commercio que Florence tomou conhecimento da descoberta da fotografia realizada pelo francês Louis Jacques Mandé Daguerre (1787 – 1851).
+Florence redigiu, em maio, o manuscrito Sur L’impression des tableaux à huile, ou estampes coloriées. Em junho, redigiu o manuscrito  Fabrication au Métier des Chapeaux du Chili, et toute espèce de chapeaux de paille
+Os periódicos Phoenix , 26 de outubro de 1939, e o Observador Paulistano, publicaram um artigo onde Hercule se posicionou diante da descoberta da fotografia na Europa e reafirmou o caráter inventivo de seus trabalhos referentes à poligrafia e à fotografia.  O Jornal do Comércio, 29 de dezembro de 1839, publicou a transcrição do artigo (Jornal do Commercio, 29 de dezembro de 1839, primeira coluna).
+1840 – Publicação de uma carta escrita por Hercule Florence onde ele comunicou a descoberta da poligrafia e mencionou a possibilidade de ter sido um dos descobridores da fotografia (Jornal do Commercio, 10 de fevereiro de 1840, na terceira coluna).
+ 
+
+                                        Jornal do Commercio, 10 de fevereiro de 1840
+ 
+Foi anunciada a possível publicação de um ensaio sobre a impressão do papel moeda por um processo totalmente inimitável, de autoria de Florence (O Despertador, 29 de fevereiro de 1840, terceira coluna).
+Florence convidou os artistas do Rio de Janeiro e todos os amigos das artes que quisessem se certificar da realidade da descoberta da poligrafia para que fossem examinar uma coleção de 23 impressos poligráficos realizados desde o ano de 1831, em exposição na tipografia do Jornal do Commercio. Florence também descreveu o processo e termina afirmando:
+‘Nisto consiste o segredo da importante descoberta da poligrafia: não se sabe qual deve admirar-se mas, se a simplicidade do meio que se emprega, se a grandeza do resultado que se obtém‘(Jornal do Commercio, 16 de março de 1840, na terceira coluna). 
+1841 - A tipografia Costa Silveira publicou Ensaio sobre a impressão das Notas de Banco por um processo totalmente inimitável.
+1842 - Identificado como italiano, partiu do Rio de Janeiro a bordo do navio Bom Fim, com destino a Santos (Jornal do Commercio, 12 de fevereiro de 1842, na última coluna).
+Fundou, em Sorocaba, juntamente com o padre Diogo Antonio Feijó (1784 – 1843), o jornal revolucionário O Paulista. Teve curta duração, tendo sido publicado em 27 e 31 de maio e em 8 e 16 de junho de 1842.
+1843 – A Academia de Ciências e Artes de Turim declarou, em sessão realizada em 8 de janeiro, que o processo de impressão de notas bancárias inimitáveis merecia a proteção do governo da Sardenha. A Academia Imperial de Belas Artes, no Rio de Janeiro, em sessão realizada em 22 de novembro, através de uma comissão estabelecida pela Congregação de Lentes da instituição, se pronunciou favoravelmente à descoberta do novo processo de impressão de notas inimitáveis. Compunham esta comissão Auguste-Henri-Victor Grandjean Montigny (1776 – 1880), Zepherino Ferrez (1797 – 1851), pai do fotógrafo Marc Ferrez (1843 – 1923); e seu aluno José da Silva Santos.
+1844 – Há informações de que o periódico O Anuário era impresso nas oficinas de Florence.
+Obteve os primeiros ensaios sofríveis do papel inimitável e os remeteu à Academia Brasileira de Belas-Artes, que nomeou uma comissão cujo parecer foi muito animador para Florence (Correio Mercantil, Instrutivo, Político, Universal, 5 de novembro de 1857, terceira coluna).
+1848 - Desenvolveu um processo de simplificação do trabalho de composição tipográfica, intitulado Typos-syllabas, que se constitui a partir da união de cada uma das consoantes com uma vogal, formando sílabas em um único tipo.
+Publicou em sua tipografia um memorial intitulado Emprego dos Typos-syllabas.
+Realizou uma impressão que foi um verdadeiro adiantamento no processo do desenvolvimento do papel inimitável (Correio Mercantil, Instrutivo, Político, Universal, 5 de novembro de 1857, terceira coluna).
+1849 -  O Ministério do Império remeteu a Bernardo José da Gama, o visconde de Goyana (1782 – 1854), inspetor da Caixa de Amortização, 8 exemplares de um papel descoberto ou inventado por Hercules Florence, morador em Campinas, na província de S. Paulo, para que, depois de examinado o dito papel na caixa de amortização, informe se o acha próprio para os usos a que é destinado, mormente para dele se fazerem notas (Correio Mercantil Instrutivo, Político,Universal, 31 de janeiro de 1849, primeira coluna). A Caixa de Amortização, criada pela Lei Imperial de 15 de novembro de 1827, administrava a dívida interna emitindo, amortizando, resgatando e substituindo apólices, além do pagamento de juros da dívida.
+No expediente do Ministério do Império foi avisado que havia sido enviado ao ministro da Fazenda para tomar na consideração que merecer o ofício do presidente da província de S. Paulo, de 13 de janeiro último, não só com 8 exemplares de um papel inimitável que Herculano Florence diz ser sua invenção, e julga ao abrigo de toda falsificação, como também diversos ofícios relativos a este objeto (Correio Mercantil, Instrutivo, Político, Universal, 19 de abril de 1849, segunda coluna).
+Anunciou a venda de sua parte na sesmaria de seu falecido sogro, Francisco Alvares Machado e Vasconcellos. Quem quiser comprar pode dirigir-se aos srs Eduardo e Henrique Laemmert, no Rio de Janeiro, ou escrever ao anunciante (Correio Mercantil Instrutivo, Politico, Universal, 30 de novembro de 1849).
+ 
+Correio Mercantil, Istrutivo, Político, Universal, 30 de novembro de 1849
+ 
+1850 – Falecimento de sua esposa, Maria Angélica.
+1851 – Florence enviou ao à sociedade Auxiliadora da Indústria Nacional algumas amostras de papel e letras inimitáveis tiradas de chapas abertas ao acaso, cujas tintas são pelo autor afiançadas como indeléveis. Elas param em mãos da comissão de ensaio e análise química, e a serem reais os resultados que espera seu autor, é uma descoberta digna da atenção, pela segurança de que seu emprego pode vir ao papel moeda, bilhetes e letras dos bancos, e títulos de segurança empregados nos diversos ramos comerciais (O Auxiliador da Indústria Nacional, 1851).
+Florence era o agente, em Campinas, do medicamento Salsaparrilha Bristol (Gazeta Mercantil, 28 de agosto de 1851).
+1852 - Idealizou uma sexta forma de arquitetura a qual deu o título de Ordem Brasileira ou Palmiana, baseada na utilização das palmeiras brasileiras, cuja aplicação, de acordo com o tipo da palmeira, se daria na constituição de colunas, capitéis, arcadas e abóbodas.
+Era assinante do Almanak Administrativo, Mercantil e Industrial do Rio de Janeiro (Almanak Administrativo, Mercantil e Industrial do Rio de Janeiro, 1852).
+Era, em Campinas, o agente da Fábrica de Produtos Químicos e Farmacêuticos de Matacavallos (Jornal do Commercio, 6 de setembro de 1852).
+1853 – Publicou um folheto poligrafado composto de 16 páginas intitulado Descoberta da Poligrafia, datado de 1º de agosto de 1853.
+Carolina Krug (1828 – 1913)
+1854 – Casou-se, em 4 de janeiro, com a alemã Carolina Krug (1828 – 1913), nascida na cidade de Cassel, em 21 de março de 1828. Seu nome de solteira era Caroline Mary Catherine. Carolina estudou Pedagogia na Suíça, no Instituto de Madame Niederer, esposa de um antigo colaborador e amigo de Johann Heinrich Pestalozzi (1746 – 1827), já considerado, na época, um grande pedagogo moderno. Ela migrou para o Brasil, em 1852, acompanhada de pai, mãe e dos irmãos Francisco Guilherme, Henrique e Anna. Saíram de Hamburgo em um navio à vela e a viagem durou cerca de dois meses. O irmão mais velho de Carolina, o farmacêutico Jorge Krug (? – 1875), amigo de Florence, estava, desde 1846, muito bem estabelecido em Campinas, o que atraiu o restante da família. Jorge Krug foi durante muito tempo Vice-Cônsul da Suíça em toda a Província de São Paulo.
+‘Minha mãe, eu vos escrevi uma vez que eu me casaria novamente, mas que não deveria ser logo. No dia quatro de janeiro do ano corrente eu me casei com MIle. Caroline Krug, irmã de meu amigo Jorge Krug, farmacêutico estabelecido há oito anos em Campinas. Ela chegou de Cassel, com seu pai sua mãe e seus irmãos e irmã, e eu fui absorvido por suas qualidades, seu talento e suas maneiras distintas. Tendo feito sua educação durante três anos em um Instituto de jovens moças em Genebra, ela adquiriu um perfeito conhecimento de Francês. Ela sabe a história, a geografia, os elementos de matemática, a pintura e a música. Todas as ocupações de seu sexo. Ela saiu do instituto e foi ser professora em Altona, na Suíça-Holstein. Seu objetivo era de se ocupar do ensino e soube aproveitar disso em alto grau (Carta de Hércules Florence para sua mãe, residente em Nice, Campinas, 10/6/1854)
+Florence e Caroline tiveram sete filhos, todos nascidos em Campinas: Ataliba (1855 -?), futuro cônsul do Brasil em Dresden; Jorge (1857 – ?), que formou-se em farmácia em Heidelberg na Alemanha; Augusta (1859 – ?), Henrique (1861 -?), que se formou em Engenharia na Alemanha, os gêmeos Guilherme e Paulo Florence (1864 – ?); e Isabel (1867 – ?).
+1855 - Pela primeira vez desde sua chegada à América, Florence retornou à Mônaco para rever a família. Entre esse ano e 1856, adquiriu a Fazenda Soledade, onde foi viver com Carolina Krug. Fundou, em fevereiro de 1856, a colônia Florence. Passou a se dedicar à agricultura (Repartição dos Negócio do Império, 1859).
+1857 – Publicação de um pequeno perfil da Colônia Florence, que funcionava em sistema de parceria (Jornal do Commercio, 30 de janeiro de 1857, terceira coluna).
+Publicação de uma carta de Florence intitulada “Papel Inimitável”, na qual conta a história de sua descoberta do referido papel e explica os quatro sistemas pelo qual poderia ser produzido. Termina a carta afirmando: Limito-me por agora a estas explicações, que não são mais do que alguns dados sobre uma arte que é tão exata c0omo as ciências matemáticas (Correio Mercantil, Instrutivo, Político, Universal, 5 de novembro de 1857, terceira coluna).
+1858 - Estava listado como empresário e possuidor de 18 colonos na província de São Paulo, no Mapa Demonstrativo das Colônias do Existentes do Império, publicada no relatório da Repartição dos Negócio do Império, 1858. A colônia Florence funcionava em sistema de parceria regulada pela casa Vergueiro (Jornal do Commercio, 22 de março de 1858, última coluna).
+A Tipographia Commercial, G. Delius, publicou um pequeno folheto composto por 10 páginas, intitulado Invenção da Polygraphia, por Hercules Florence.
+Conseguiu aprimorar seu invento de impressões inimitáveis através da adição de um sistema que permitia a fusão de cores. As novas impressões inimitáveis foram expostas ao público durante um ano, no Banco Mauá & C., em Campinas.
+Imprimiu em sua litografia o Aurora Campineira, primeiro jornal de Campinas.
+1859 - Desenvolveu a Estereopintura, processo através do qual se pode obter maior fidelidade luminosa da execução de pinturas a óleo ou aquarela.
+No relatório do comissário do governo, Sebastião Machado Nunes, sobre as províncias de São Paulo, publicada na Repartição dos Negócio do Império, 1859, foi feito um comentário a respeito de colonos suíços da fazenda de Florence.
+A colônia Florence tinha 19 colonos, de duas famílias suíças. Cada família cuidava de 5 mil pés de café (Repartição dos Negócio do Império, 1859).
+Os filhos de Florence, os empresários Amador Bueno e Francisco, pretendiam estabelecer uma linha de carros de quatro rodas para o transporte de café de Campinas a Santos (A Actualidade, 31 de dezembro de 1859, terceira coluna).
+1860 - Desenvolveu a Pulvografia, processo que consiste na reprodução de imagens através da ação da poeira, sem a necessidade do emprego de prensa.
+ 
+Découverte de la Pulvographie, 1860 / Acervo FBN
+ 
+Redigiu o manuscrito Cellographie.
+1861 –  Aprimorou a poligrafia criando a possibilidade da sua realização sem a necessidade do emprego de uma prensa.
+1862 - Redigiu o manuscrito Les Intérêtes materiéles. 
+Foi noticiado no terceiro volume do Année Scientifique, de Louis Figuier, a invenção da neografia, mesmo invento descoberto por Florence anos antes, que ele batizou de poligrafia (Diário do Rio de Janeiro, 16 de abril de 1862, terceira coluna).
+ 
+Diário do Rio de Janeiro, 16 de abril de 1862
+ 
+1863 - Em Campinas, fundou, em novembro, juntamente com sua esposa Carolina Krug Florence, o Colégio Florence, situado na Rua José Paulino e dedicado à educação feminina. Hercule executou um desenho retratando o prédio do colégio. Foi professor de desenho da instituição.
+1865 - Conheceu Alfredo D’Escragnole Taunay (1843 – 1899), um dos fundadores da Academia Brasileira de Letras, que o cognominou de Patriarca da Iconografia Paulista. Na época, a caminho da Guerra do Paraguai, Taunay, com apenas 22 anos, impressionou-se com as histórias e conquistas de Florence, já um sexagenário.
+Redigiu o manuscrito Aquarrélographie.
+1866 -Redigiu o manuscrito Probléme Poly-Photographique.
+1867 – O presidente da província de São Paulo, o conselheiro Joaquim Saldanha Marinho (1816 – 1895) visitou o Colégio Florence, dirigido por Carolina Florence (O Ypiranga, 21 de dezembro de 1867, segunda coluna).
+1868 – Foi anunciada a venda de bandeiras brasileiras, na loja dos sr. Pompeu Pacheco C., em Campinas, impressas em ambos os lados pela poligrafia de Hercule Florence, sem prensa, sem pressão alguma, como na fotografia (O Ypiranga, 25 de setembro de 1868, terceira coluna).
+1869 – Redigiu o manuscrito Lavis Capillaire. 
+Florence foi indicado como um dos procuradores de Otto Rodolfo Kupfer, que partia para a Europa. Ele era marido de Anna Kupfer, irmã de Carolina, esposa de Florence (Correio Paulistano, 21 de abril de 1869, primeira coluna).
+Foi anunciada a impressão de papel inimitável na residência de Hercule Florence, na rua das Flores, n. 7, em Campinas (Correio Paulistano, 23 de julho de 1869, primeira coluna).
+Em setembro, escreveu uma carta ao poeta Castro Alves (1847 – 1871):‘
+Moro a metade do tempo na roça, e quisera morar sempre, porque aprecio os matos virgens, o ar livre, o nascer e o por do sol. Descobri em 1829 uma ciência nova que chamei Zoofonia. Fiz algumas publicações em francês a este respeito; mas creio que não deixaram mais vestígios que uma pedra que cai num tanque de água. Com as belezas da natureza, eu lia os vossos versos, onde acho a mesma verdade que na criação.’ 
+1870 – Escreveu um texto sobre seus trabalhos artísticos e científicos, a pedido do advogado de Campinas, Manuel Ferraz de Campos Sales (1841 – 1913), futuro presidente do estado de São Paulo, de 1896 a 1897, e  quarto presidente da República, entre 1898 e 1902.
+ 
+Anúncio do papel inimitável, 1870 / Acervo FBN
+ 
+Papel inimitável [Iconográfico] : impressão simultânea de todas as cores1871 - Florence garantia a superior qualidade do café vendido na loja do srs. Monteiro & Filho. Para isso, cada bote de libra era revestido por uma marca inimitável (Gazeta de Campinas, 2 de março de 1871, primeira coluna).No relatório realizado por João Pedro Carvalho de Moraes para o Ministério da Agricultura, Comércio e Obras Públicas, foi feita uma descrição da Fazenda Soledade, de Florence. Foi destacada a lealdade de Florence a seus colonos (Jornal do Pará, 13 de maio de 1871, segunda coluna).Foi anunciado que Florence havia achado o meio de de tornar o óleo de rícino secativo a ponto de se poder empregar na pintura a óleo, em quadros históricos, retratos e paisagens (Correio Paulistano, 15 de dezembro de 1871, primeira coluna). 1872 – Matéria sobre os Typos-syllabas, afirmando a autoria do invento por Florence, em 1848 (Correio do Brazil, 14 de maio de 1872, segunda coluna).Florence foi listado como lavrador de 1ª classe e deveria contribuir com 30$000 para a construção da matriz nova de Campinas (Gazeta de Campinas, 31 de outubro de 1872, primeira coluna). 1873 –  Em reunião do Conselho Administrativo da Sociedade Auxiliadora da Indústria, um de seus membros, o sr. Pinto Junior, apresentou algumas mostras do papel inimitável produzido por Hercule Florence, a quem se referiu como um homem muito distinto pelo seu reconhecido e provado talento e gênio investigador... (O Auxiliador da Indústria Nacional, 1873).Estava na lista de lavradores do estado de São Paulo (Almanak da Província de São Paulo, 1873).
+
+O sítio de Florence & Filhos estava contratando colhedores de café. Também foi anunciado que no sítio ensinava-se a juntar as folhas com a ajuda de um ancinho (Gazeta de Campinas, 10 de julho de 1873, e Gazeta de Campinas, 31 de julho de 1873, primeira coluna).
+Florence pedia dispensa do pagamento de uma multa por não ter varrido a frente de sua casa do largo da Matriz de Santa Cruz. Alegava que ignorava essa obrigação por residir em um sítio e não na casa (Gazeta de Campinas, 19 de outubro de 1873, primeira coluna).
+1875 – Florence foi listado como lavrador de 2ª classe e deveria contribuir com 80$000 para a construção da matriz nova de Campinas (Constitucional, 13 de fevereiro de 1875, última coluna).
+Alfredo d’Escragnolle Taunay (1843 – 1899) traduziu o diário de Florence, Esboço da Viagem feita pelo Sr. Langsdorff ao interior do Brasil, desde setembro de 1825 até março de 1829, originariamente escrito em francês, publicando-o na Revista do Instituto Histórico e Geográfico do Rio de Janeiro. Taunay encontrou o diário por acaso, entre papeis de sua família. Na verdade, Florence, em 1829, havia dado de presente à família Taunay suas anotações. Adrien Taunay (1803 – 1828), tio de Alfredo Taunay, havia feito parte da expedição Langsdorff como primeiro desenhista e morrido afogado, em 1828 (Diário de São Paulo, 10 de outubro de 1875, quinta coluna).
+Florence deveria pagar imposto predial referente a um imóvel na rua Direita, em Campinas (Constitucional, 15 de dezembro de 1875, segunda coluna).
+1876 – Florence foi visitado, em Campinas, por d. Pedro II (1825 – 1891).
+O aparecimento de notas falsas motivou Florence a reapresentar seu invento de papéis inimitáveis (Diário do Rio de Janeiro, 23 de junho de 1876, primeira coluna).
+1877 - Foi admitido como sócio do Instituto Histórico e Geográfico do Brasil, no Rio de Janeiro, tendo apresentado o trabalho intitulado Esboço da viagem feita pelo Sr. De Langsdorff no interior do Brasil, desde setembro de 1825 até março de 1829.
+1879 – Morreu, às 3 horas da tarde, acometido por uma cruel enfermidade, em 27 de março, em Campinas. Hercule Florence era o tipo completo do homem probo e devotado à religião do trabalho. O féretro saiu da casa em que residia ao largo de Matriz Velha – Praça Bento Quirino, n. 20 – às 5 horas da tarde do dia seguinte. Foi sepultado no Cemitério Municipal de Campinas, Cemitério da Saudade, sepultura 247 da primeira divisão, quadra n. 10. , e seu enterro foi extraordinariamente concorrido (Correio Paulistano, 29 de março de 1879, terceira coluna, e Gazeta de Notícias, 30 de março de 1879, última coluna).
+1900 - Publicação de Hércules Florence: Ensaio Histórico Literário, de autoria do jornalista Estevão Leão Bourroul (1859 – 1914), pela Tipografia Andrade Mello, de São Paulo.
+ 
+
+ 
+1908 – No artigo A litografia no Brasil, publicado na Revista do Instituto Histórico e Geográfico de São Paulo, vol. XIII, de 1908, seu autor, o jornalista Estevão Leão Bourroul (1859 – 1914), atribuiu a Florence a fundação do primeiro estabelecimento litográfico no Brasil, em 1825 (Revista Brasileira, dezembro de 1943). Lembramos aqui que a litografia foi desenvolvida pelo alemão Alois Senefelder (1771 – 1834), por volta de 1796, com o objetivo de encontrar um meio de impressão barato para suas peças teatrais e partituras musicais.
+1928 - O Museu Paulista através da sua revista publica tradução feita por Alfredo D’Escragnole Taunay (1843 – 1899), do diário de Hercule Florence intitulado Esboço da viagem feita pelo Sr. De Langsdorff no interior do Brasil, desde Septembro de 1825 até março de 1829
+1941 - Publicação, pelas Edições Melhoramentos, da 1ª edição da tradução feita por Alfredo D’Escragnole Taunay, do diário de Hercule Florence intitulado Viagem Fluvial do Tietê ao Amazonas de 1825 a 1829
+1963 - Inauguração, em Campinas, de um busto de Hercule Florence, executado pelo escultor Larroca.
+1972 / 1976 –  O método fotográfico de Florence foi comprovado cientificamente pelo pesquisador brasileiro e emérito historiador da fotografia brasileira Boris Kossoy (1941 – ), entre 1972 e 1976. Em meados de 1976, foi testado, com sucesso, nos laboratórios do Rochester Institute of Technology, nos Estados Unidos, sob a chefia do professor Thomas Hill. Em outubro do mesmo ano, a pesquisa de Kossoy foi apresentada no III Simpósio da História da Fotografia, na George Eastman House, em Rochester.
+Ainda em 1976, ano da comemoração dos 150 da realização da Expedição Langsdoff, Francisco Álvares Machado e Vasconcellos Florence traduziram os diários de Florence sob o título de A Célebre Expedição que, em 1826, partiu de Porto Feliz.
+1977 – No Museu de Arte de São Paulo (MASP), realização, em novembro de 1977, de uma exposição da obra de Florence. O MASP também publicou o diário completo de Hercule sobre a expedição sob o título Viagem fluvial do Tietê ao Amazonas: pelas Províncias brasileiras de São Paulo, Mato Grosso e Grão Pará (1825-1829).
+1980 – Publicação do livro “1833: a Descoberta Isolada da Fotografia no Brasil” (1980), de Boris Kossoy, pela Editora Duas Cidades.
+ 
+
+ 
+1988 – Entre 29 de setembro e 1º de outubro de 1988, realização do colóquio Les Multiples Inventions de la Photographie, em Cerizy-la-Salle, pelo Ministério de Cultura e Comunicação da França. Florence foi um dos inventores abordados. No ano seguinte, publicação do livro do seminário com um artigo do professor Boris Kossoy, Florence, o inventor no exílio (Centre Culturel International de Cerisy).
+1993 – Organizado por Jacques Vieillard, a Editora Universitária da Universidade Federal do Mato Grosso, lançou o livro A Zoophonia de Hercule Florence.
+ 
+
+ 
+2006 - Criação do Instituto Hercule Florence – de Estudos da Sociedade e Meio Ambiente do Século XIX Brasileiro. Surgiu do desejo de reunir, preservar e divulgar todo o acervo disponível sobre o artista, viajante e inventor franco-monegasco, que aportou em 1824 no Brasil, onde se estabeleceu, deu origem a uma numerosa família, desenvolveu pesquisas – inclusive as que levaram à descoberta do processo fotográfico – e viveu até a sua morte, em 1879.
+2017 - Em Villa Paloma, no Novo Museu Nacional de Mônaco, entre 17 de março e 24 de setembro, realização da exposição Hercule Florence – Le nouveau Robinson. Na ocasião foi lançado um livro homônimo.
+2019 – Publicado nos Anais do Museu Paulista de dezembro de 2019 o artigo Revelando Hercule Florence, o Amigo das Artes: análises por fluorescência de raios X.  A física Márcia de Almeida Rizzutto, coordenadora do NAP-Faepah, atestou, com a ajuda do método conhecido como fluorescência de raios X por dispersão de energia (ED-XRF) para detectar a presença de elementos químicos que os manuscritos de Florence descrevem fielmente os processos de produção fotográfica por ele testados em 1833. Segundo Kossoy, foi a comprovação física daquilo que já se sabia do ponto de vista químico.
+2023 – Realização, no Instituto Moreira Salles, de São Paulo, nos dias 23 e 24 de maio, do seminário internacional 190 anos dos experimentod fotográficos de Hercule Florence para celebrar o pioneirismo de Florence na descoberta dos processos fotográficos e tem como principal assunto a divulgação dos resultados das análises físico-químicas realizadas em 2022 de três objetos do inventor, por meio de uma parceria inédita entre quatro instituições de três continentes: o IMS e o Instituto Hercule Florence (IHF), de São Paulo, Brasil, o Getty Conservation Institute (GCI), de Los Angeles, EUA, e o Laboratório HERCULES da Universidade de Évora, Portugal. O encontro abordará também outros assuntos relacionados a Florence (Site do IMS).
+Em 17 de novembro, a publicação Viagem fluvial do Tietê à Amazonia pelas províncias de São Paulo, Mato Grosso e Grão-Pará, de Hercule Florence, conquistou o 1° lugar na categoria Projeto Gráfico do 9° prêmio ABEU, concedido pela Associação Brasileira das Editoras Universitárias.
+ 
+
+ 
+Leia também Florence, autor do mais antigo registro fotográfico existente nas Américas, publicado em 17 de junho de 2015, na Brasiliana Fotográfica.
+Este artigo foi atualizado em julho de 2024.
+* Este parágrafo e a data de nascimento de Florence foram alterados em abril de 2024.
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+BELHASSEN, Thierry. Hercule Florence. São Paulo : Editora Overdrive, 1994.
+BOURROUL, Estevam Leão. Hercules Florence (1804-1879): ensaio histórico-literário. São Paulo : Typ. Andrade, Mello, 1900.
+BURGI, Sergio. A descoberta de Florence. Rio de Janeiro: IMS, 2014.
+CAPRA, Emanuelle (Org). Hercule Florence – Le nouveau Robinson. Mônaco, 2017.
+FERREIRA, Dirceu Franco. Narrando viagens e invenções. Hercule Florence: amigo das artes na periferia do capitalismo. São Paulo: Anais do Museu Paulista: História e Cultura Material, vol 2, julho/dezembro de 2014.
+FERREIRA, Dirceu Franco; CANTARINO, Nelson Mendes. Um humanista nos trópicos: a singular trajetória de Hercule Florence no Brasil. In: VIDAL, Laurent; LUCA, Tânia Regina de (org.). Franceses no Brasil: séculos XIX-XX. São Paulo: Ed.Unesp, 2009, p.397-420.
+FLORENCE, Antoine Hercule Romuald. Livre d’annotations et de premiers matériaux, Vila de São Carlos, 1829. Manuscrito.
+FLORENCE, Antoine Hercule Romuald. L’Ami des arts livré a lui même ou Recherches et decouvertes sur différents sujets nouveax, Vila de São Carlos, 1837. Manuscrito
+FLORENCE, Antoine Hercule Romuald. Correspondance et Piéces Scientifiques, Vila de São Carlos, s.d. Manuscrito.
+FLORENCE, Antoine Hercule Romuald, Decouverte de la Polygraphie Vila de São Carlos, 1853. Impresso em poligrafia.
+FLORENCE, Hercule. Viagem Fluvial do Tietê ao Amazonas. São Paulo : Museu de Arte de São Paulo Assis Chateaubriand, 1977.
+FLORENCE, Arnaldo Machado. Hercules Florence – o pioneiro da Fotografia. São Paulo: Foto-cine clube Bandeirante, julho de 1948.
+FLORENCE, Leila (org.). Hercule Florence e o Brasil. O percurso de um artista-inventor. São Paulo: Pinacoteca do Estado de São Paulo, 2009.
+FLORENCE, Leila; COLI, Jorge; ROCHA, Guilherme Masara; VILLELA, Rubens Junqueira (organizadores). Céus / Ciels / Skies – O Teatro Pitoresco-Celeste de Hercule Florence. São Paulo: Editora Florescer, 2010.
+Jorge Coli / Guilherme Masara Rocha / Rubens Junqueira Villela
+Hemeroteca Digital da Biblioteca Nacional
+KOSSOY, Boris. Dicionário histórico-fotográfico brasileiro: fotógrafos e ofício da fotografia no Brasil (1833-1910). São Paulo: Instituto Moreira Salles, 2002. 408 p., il. p&b.
+KOSSOY, Boris. Hercule Florence: 1833, a descoberta isolada da fotografia no Brasil. 2ª edição. São Paulo: Duas Cidades, 1980.
+LAGO, Pedro Correa do Lago. Iconografia Paulistana do século XIX. São paulo: Capivara, 2003.
+MARQUESE, Rafael de Bivar. Exílio escravista: Hercule Florence e as fronteiras do açúcar e do café no Oeste paulista (1830-1879). Anais do Museu Paulista: História e Cultura Material, São Paulo, ago.2016.
+RIBEIRO, Arilda Ines Miranda. A educação das mulheres no século XIX: o colégio de Carolina e Hércules Florence de Campinas (1863-1889) .
+RIZUTTO, Márcia de Almeida; THOMAS, Thierry; LEE, Francis Melvin. Revelando Hercule Florence, o Amigo das Artes: análises por fluorescência de raios X. Anais do Museu Paulista: História e Cultura Material vol.27  São Paulo  2019  Epub Dec 05, 2019
+SCARPELINI, Rosaelena. O nascimento da imprensa em Campinas. Campinas: Revista Sarao, maio de 2004.
+Site da Enciclopédia Itaú Cultural
+Site do Instituto Moreira Salles
+Site Hercule Florence – L´ami des arts
+Site Hércules Florence – o inventor da fotografia no Brasil
+Site Instituto Hercule Florence
+SODRÉ, Nelson Werneck. A história da imprensa no Brasil. Rio de Janeiro: MAUAD Editora, 1998
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/1777` — `itens/20.500.12156.1_1777/`
+
diff --git a/wordpress/10460-a-construcao-da-madeira-mamore-a-ferrovia-da-morte-pelas-lentes-de-dana-b-merril.md b/wordpress/10460-a-construcao-da-madeira-mamore-a-ferrovia-da-morte-pelas-lentes-de-dana-b-merril.md
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+---
+id: 10460
+url: "https://brasilianafotografica.bn.gov.br/?p=10460"
+titulo: "A construção da Madeira-Mamoré, a “Ferrovia da Morte”, pelas lentes de Dana B. Merrill (c. 1887 – 19?)"
+autor: "Andrea Wanderley"
+data: "2018-01-16T14:37:38+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/3855", "20.500.12156.1/3841", "20.500.12156.1/3813", "20.500.12156.1/3826", "20.500.12156.1/3843", "20.500.12156.1/4223"]
+fetched_at: "2026-09-10T09:54:06.577Z"
+---
+
+# A construção da Madeira-Mamoré, a “Ferrovia da Morte”, pelas lentes de Dana B. Merrill (c. 1887 – 19?)
+
+O norte-americano Dana B. Merrill (c. 1887 – 19?) foi o autor da documentação da construção da ferrovia Madeira-Mamoré, na região da floresta Amazônica, no norte do Brasil, entre 1909, quando chegou ao país, até 1910, quando, acredita-se, que partiu. Especula-se que ele tenha produzido aproximadamente 2 mil negativos. Merrill foi contratado pelo engenheiro e empresário norte-americano Percival Farquhar (1864 – 1953) – que comandou a construção da ferrovia, entre Porto Velho e Guajará-Mirim, em Rondônia – para registrar o desenvolvimento da obra. Porém, Merrill foi além disso e, com suas lentes, registrou a vida dos trabalhadores da ferrovia, dos índios e de paisagens da região. Esse legado fotográfico é importante para a compreensão do desenvolvimento industrial e das relações de trabalho no país e do processo de ocupação da região Norte. Seus registros fazem parte do álbum View of reviews or scenes as seen by Engineers, Tropical tourist, Global Trotters, Knights of fortune and Tramps: Madeira-Mamoré Ry. Brazil, South America, que pertence ao acervo da Biblioteca Nacional, uma das fundadoras da Brasiliana Fotográfica.
+ 
+Dana B. Merrill. Construção da Estrada de Ferro Madeira-Mamoré : trabalhadores, c. 1907 – 1912. Amazônia / Acervo FBN
+ 
+Acessando o link para as fotografias de autoria de Dana B. Merrill disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Dana B. Merrill. Construção da Estrada de Ferro Madeira-Mamoré: habitação, 1907 – 1912. Amazônia / Acervo FBN
+ 
+Milhares de trabalhadores morreram vitimados pela disenteria, pela malária e por outras doenças tropicais durante as obras da ferrovia, que tiveram início em agosto de 1907 (The Aldon Express, inverno de 2013). Devido a essas mortes, a Madeira-Mamoré ganhou o título de Ferrovia da Morte. Foi inaugurada em 1º de agosto de 1912 e desativada em  julho de 1972 (Alto Madeira, 11 de julho de 1981). Com 366 quilômetros de extensão, foi seguidamente sucateada até o início da década de 1980, quando, a partir de ações conjuntas do Patrimônio Histórico e Artístico Nacional (Iphan) com a comunidade local, ressurgiu como ícone da força de Rondônia. Apesar de seu fracasso econômico e financeiro, a ferrovia foi fundamental na colonização deste estado. Em 2008, a Madeira-Mamoré foi tombada pelo Iphan.
+ 
+Dana B. Merrill. Pay day in Porto Velho, 1907 -1912. Porto Velho, Rondônia / Acervo FBN
+ 
+Breve perfil de Dana B. Merrill  (c. 1887 – 19?) 
+ 
+Dana B. Merrill. Carapunas Indians at Três Irmãos, 1907 – 1912. Porto Velho, Rondônia / Acervo FBN
+ 
+A documentação de obras de engenharia foi uma prática comum desde o início da história da fotografia. As ferrovias, um dos símbolos do progresso, foram bastante fotografadas. Portanto, a contratação de um fotógrafo pelos construtores da Madeira-Mamoré não foi uma novidade. Porém, nem sempre essas imagens constituíram um conjunto tão expressivo como o produzido por Merrill. Segundo o historiador e fotógrafo Pedro Ribeiro, isso deveu-se ao gênio do fotográfo.
+ 
+Dana B. Merrill. Construção da Estrada de Ferro Madeira-Mamoré: trabalhadores, 1907 – 1912. Amazônia / Acervo FBN
+ 
+Pouco se sabe até hoje sobre a vida de Dana B. Merril. Acredita-se que ele havia trabalhado, antes de vir para o Brasil, para a prefeitura de Nova York e que para lá teria voltado após fotografar a Madeira-Mamoré. Teria nascido em New Hampshire, servido, em torno de 1900, nas forças navais nas Filipinas e, em 1930, residia em Scarsdale, Westchester, no estado de Nova York com sua esposa, Laura, e um funcionário, Elli Peter. Na década de 30, trabalhou para a revista House & Garden. Fotografias produzidas por ele são vendidas pela Conde Nast Collection. Em torno de 1940, fotografou uma aula de figurino no Pratt Institute, em Nova York. Na Divisão de Arte, Impressos e Fotografias Miriam e Ira  D. Wallach: Coleção de Fotografias, da Biblioteca Pública de Nova York, encontra-se a Coleção Vistas da Estrada de Ferro Madeira e Mamoré – Amazonas & Mato Grosso, Brasil, S.A., com fotografias de autoria de Dana Merril.  Segundo a descrição feita da coleção, as fotografias evocam calor, perigo e trabalho pesado embora numa paisagem de mistério e grande beleza.
+Segundo Pedro Ribeiro, Dana B. Merrill foi identificado como autor das fotografias da Madeira-Mamoré devido ao livro The Jungle Route, de Frank Kravigny, o escriturário sobrevivente da construção da ferrovia. Ainda de acordo com Ribeiro:
+‘O equipamento fotográfico usado por Dana Merrill era praticamente o mesmo usado pela maioria dos profissionais de então. O formato 13 x 18 cm, considerado pequeno e leve para sua época, era o que mais se adequava às necessidades de deslocamentos freqüentes, por terrenos de difícil locomoção. Para os negativos, além de placas de vidro, mais comuns, Merrill adotou também o uso dos chassis do tipo film pack, que era uma novidade. Estes eram compostos por placas emulsionadas em bases flexíveis, bem mais leves que o vidro, acondicionadas em pacotes, geralmente de doze unidades. Esta opção permitia ao fotógrafo uma considerável economia de peso no equipamento e mais agilidade na troca das chapas. Contudo, a câmara usada continuava sendo aquela convencional, mais apropriada para a execução das documentações tradicionais, tomadas a média distância, rigorosamente enquadradas e privilegiando a pose, que de certa forma era induzida pelo uso compulsório do tripé‘.
+ 
+Dana B. Merrill é, segundo indicado na fotografia, o que está em pé, à direita, c. 1910. Fotografia publicada no site Bowlers and High Collars
+ 
+Como já citado, as imagens produzidas por Dana B. Merrill presentes no acervo da Brasiliana Fotográfica estão no álbum View of reviews or scenes as seen by Engineers, Tropical tourist, Global Trotters, Knights of fortune and Tramps: Madeira-Mamoré Ry. Brazil, South America , disponível na Fundação Biblioteca Nacional (FBN), uma das fundadoras do portal. Além disso, a Coleção Percival Farquhar é custodiada na Divisões de Manuscrito da FBN e é composta por cerca de 2700 documentos manuscritos, fotografias, plantas e mapas, que cobrem as atividades empresariais e a vida pessoal de Farquhar na primeira metade do século XX.
+Além da Madeira-Mamoré (The Brazilian Review, 18 de julho de 1911), o empresário Percival Farquhar foi responsável pelo arrendamento da ferrovia Sorocabana (Correio Paulistano, 17 de agosto de 1907, quarta coluna), pela criação da Sorocabana Railway Company (The Brazilian Review, 30 de julho de 1907) e pela construção do porto de Belém (Relatório do Ministério da Agricultura, 1907 e The Brazilian Review, 27 de outubro de 1908), e pelo controle da Companhia de Estrada de Ferro São Paulo-Rio Grande (O Século, 28 de fevereiro de 1907, penúltima coluna), entre outros empreendimentos. Foi presidente da Rio de Janeiro Trampway Light Power Company (Almanaque Garnier, 1908) e fez parte da diretoria da Brazil Railways Company (The Brazilian Review, 15 de fevereiro de 1910). Segundo o New York Times, 22 de setembro de 1912, no artigo Two New Yorkers Try to ‘Harrimanize’ South America, o sonho de Farquhar era dominar todo o transporte ferroviário da América Latina. Ele nasceu em York, na Pensilvânia, em 1864, e faleceu em Nova York, em 4 de agosto de 1953. Uma curiosidade: Farquhar morou na cobertura do Edifíco Biarritz, uma das mais belas edificações art decó do Rio de Janeiro, no bairro do Flamengo.
+ 
+Percival Farqhart, New York Times, 22 de setembro de 1912
+ 
+ Um pouco da história da ferrovia Madeira-Mamoré
+ 
+‘Devido ao alto preço da borracha no mercado mundial, a ocupação do Vale do Guaporé pelos portugueses levou a região do alto Madeira a Mamoré a intensificar a produção da colheita do látex. A ligação que ia do Mato Grosso ao Atlântico, através dos rios Guaporé, Mamoré, Madeira e Amazonas, era o percurso realizado no escoamento da produção comercial do Brasil e da Bolívia. A ideia de construir uma ferrovia surgiu em 1861, mas somente em 1877 é assinada Madeira – Mamoré Railway Co., um empreendimento incorporado pelos irmãos americanos Philips e Thomas Collins. Da Filadélfia, no ano de 1878, partiram engenheiros e demais trabalhadores junto com toneladas de máquinas, ferramentas e carvão mineral. Dada a insalubridade do local aliada à falta de alimentação, o único saldo positivo foi a construção de sete quilômetros de trilhos assentados. Vencidos pelas doenças e pela fome, foram poucos os trabalhadores que sobreviveram. A partir de janeiro de 1879, com a falência da empresa Collins decretada, não havia mais o que fazer. Com a assinatura do Tratado de Petrópolis em 17 de novembro de 1903 entre a Bolívia e o Brasil, o Estado do Acre, que à época se fazia uma região pertencente à Bolívia, formalizou-se incorporado ao território brasileiro. Com esse acordo, o Brasil pagou à Bolívia dois milhões de libras esterlinas, cedeu algumas terras do Amazonas e se comprometeu com a construção da Estrada de Ferro Madeira-Mamoré, com o seu trajeto desde o porto de Santo Antônio, no rio Madeira, até Guajará-Mirim, no Mamoré, com um ramal chegando à Vila Bela, Bolívia, o que permitiria o uso de ambos os países com direito às mesmas franquias e tarifas. O Brasil ficava obrigado a construir a estrada de ferro no prazo máximo de quatro anos. Com a concorrência vendida ao americano Percival Farquhar, foi adotado o mesmo nome usado pelos irmãos Collins: Madeira Mamoré Railway Co.. Saíram de Nova York em 1907. A partir do ano de 1909, quando a ferrovia já contava com 74 km construídos, Dana Merrill, fotógrafo nova-iorquino oficial contratado pela Brazil Railway Company, desembarcou em Porto Velho onde começou os seus primeiros registros dos avanços e percalços no campo das obras ferroviárias. Especula-se a produção de 2 mil chapas em sua estada na Amazônia. Em meio a exemplares da fauna e flora, membros de populações indígenas são registrados em contato com os personagens da obra dominante. Seus registros como cronista do caminho do ferro seguem até o ano de 1910, quando se supõe que Merrill retorna para os Estados Unidos. Sem mais informações sobre a sua vida, Merrill foi revisto no reencontro dos sobreviventes da Exposição Mundial de Nova York, em 1939. A Estrada de Ferro Madeira – Mamoré estava inaugurada em 1912. No entanto a Bolívia, nesse ano, já chegava ao Pacífico por duas ferrovias e estava sendo concluída a sua ligação com o Atlântico, pela Argentina. O canal do Panamá estaria concluído dentro de três anos e, com isso, a Madeira – Mamoré só daria lucro nos dois primeiros anos de atividades, pois a produção ordenada dos seringais do Oriente fariam cair o preço da borracha no comércio internacional. Com a falência de Percival Farquar, os investidores ingleses e canadenses foram obrigados a assumir a administração da ferrovias, o que fizeram até o ano de 1931. Em 1937, Aluízio Pinheiro Ferreira, a mando de Getulio Vargas, assume a direção da ferrovia, que permaneceu em atividade até 1966. Depois de 54 anos de atividade, acumulando prejuízos durante esse tempo, Humberto de Alencar Castelo Branco determina a erradicação da Estrada de Ferro Madeira – Mamoré que seria substituída por uma rodovia. Atualmente, o que restou da ferrovia é um trecho recuperado que atinge a vila de Teotônio. Por falta de recursos para manutenção, o trem trafega apenas no primeiro trecho, mesmo assim, precariamente‘ (Site da Fundação Biblioteca Nacional).
+ 
+Dana B. Merrill. Construção da Estrada de Ferro Madeira-Mamoré] : trabalhadores nos trilhos, 1907 – 1912. Amazônia/ Acervo FBN
+ 
+Curiosidades
+ 
+Uma curiosidade: na tentativa de conter o avanço das epidemias de malária entre os operários da Madeira-Mamoré, foram contratados, em 1910, pela Madeira Mamoré Railway Company, responsável pela construção da ferrovia, os médicos sanitaristas Belisário Penna (1868 – 1939), que trabalhava na Diretoria Geral de Saúde Pública e Oswaldo Cruz (1872-1917), do então Instituto Soroterápico Federal. Este último dá nome à Casa de Oswaldo Cruz / Fiocruz, uma das instituições parceiras do portal Brasiliana Fotográfica (Jornal do Commercio, 16 de julho de 1910, última coluna, e Agência Fiocruz de Notícias, 26 de janeiro de 2007).
+ 
+Oswaldo Cruz e Belisário Penna/ Acervo Fiocruz
+ 
+Outra curiosidade: negativos de vidro e acetato de autoria de Merrill sobre a construção da ferrovia foram entregues ao jornalista Manoel Rodrigues Ferreira, em 1956, pelo repórter fotográfico Ari André, que os havia recebido do filho do engenheiro alemão Rodolfo Kesselring, que havia trabalhado na Madeira-Mamoré. Manoel Rodrigues Ferreira publicou 17 reportagens sobre o assunto no jornal A Gazeta. Após consultar os arquivos da Madeira-Mamoré, que seriam incinerados quando a ferrovia foi desativada, lançou, em 1959, pela editora Melhoramentos o livro A Ferrovia da Morte. A identificação da autoria dos negativos só foi possível, em 1962, quando Manoel conheceu o livro escrito por Frank Kravigny, The Jungle Route, de 1940.
+Uma última curiosidade: após uma série de manifestações de entidades culturais contra o abandono da Madeira-Mamoré, o governo decidiu, em 1979, preservar um trecho de 25 quilômetros da ferrovia para uso turístico. O extinto Serviço do Patrimônio Histórico e Artístico Nacional – Sphan –  atual Instituto do Patrimônio Histórico e Artístico Nacional – Iphan – solicitou a Manoel Rodrigues Ferreira o empréstimo dos negativos de autoria de Merrill para reproduzi-los. Os negativos foram, então, duplicados pelo fotógrafo alemão Hans Gunther Flieg (1923-2024) que os entregou ao fotógrafo do Sphan, José Romeu Caccione. Esses 189 negativos pertencem ao acervo do Museu Paulista da USP.  A obra de Flieg, composta por cerca de 35 mil negativos em preto e branco, foi adquirida do próprio fotógrafo pelo IMS em julho de 2006.
+ 
+Andrea C. T. Wanderley
+Editora-assistente e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+Agência Fiocruz de Notícias
+Catálogo da exposição Ferrovia Madeira-Mamoré: Trilhos e Sonhos – Fotografias. O fotógrafo Dana Merrill, de Pedro Ribeiro. BNDES e Museu Paulista da USP, 2002. Cortesia Carlos E. Campanhã.
+Catálogo da exposição Ferrovia Madeira-Mamoré: Trilhos e Sonhos – Fotografias. A Coleção Dana Merrill: Momentos decisivos para sua recuperação, de Silvia Maria do Espírito Santo. BNDES e Museu Paulista da USP, 2002. Cortesia Carlos E. Campanhã.
+Hemeroteca Digital da Biblioteca Nacional
+FERREIRA, Manoel Rodrigues. A ferrovia do diabo: história de uma estrada de ferro na Amazônia. 3ª ed. São Paulo: Melhoramentos, 1982.
+GERODETTI, João Emilio; CORNEJO, Carlos. Railways of Brazil in Postcards and Souvenir Albums. São Paulo: Solaris Edições Culturais, 2015.
+KRAVIGNY, Frank. The Jungle Route. Nova York: O. Tremaine Company, 1940.
+NEELEMAN, Gary; NEELEMAN, Rose; DAVIS, Wade. Tracks in the Amazon. The Day-to-Day Life of the Workers on the Madeira-Mamoré Railroad. Utah: University of Utah Press, 2013.
+Site Bowlers and High Collars
+Site da BBC
+Site da Enciclopédia Itaú Cultural
+Site da Fundação Biblioteca Nacional
+Site do CPDOC
+Site do Iphan
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/3855` — `itens/20.500.12156.1_3855/`
+- `20.500.12156.1/3841` — `itens/20.500.12156.1_3841/`
+- `20.500.12156.1/3813` — `itens/20.500.12156.1_3813/`
+- `20.500.12156.1/3826` — `itens/20.500.12156.1_3826/`
+- `20.500.12156.1/3843` — `itens/20.500.12156.1_3843/`
+- `20.500.12156.1/4223` — `itens/20.500.12156.1_4223/`
+
diff --git a/wordpress/10524-parceiros-e-fundadores-da-brasiliana-fotografica-no-programa-memoria-do-mundo-da.md b/wordpress/10524-parceiros-e-fundadores-da-brasiliana-fotografica-no-programa-memoria-do-mundo-da.md
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+++ b/wordpress/10524-parceiros-e-fundadores-da-brasiliana-fotografica-no-programa-memoria-do-mundo-da.md
@@ -0,0 +1,33 @@
+---
+id: 10524
+url: "https://brasilianafotografica.bn.gov.br/?p=10524"
+titulo: "Parceiros e fundadores da Brasiliana Fotográfica no Programa Memória do Mundo da UNESCO"
+autor: "Andrea Wanderley"
+data: "2017-10-06T16:58:22+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/3073", "20.500.12156.1/3064"]
+fetched_at: "2026-09-10T09:54:09.992Z"
+---
+
+# Parceiros e fundadores da Brasiliana Fotográfica no Programa Memória do Mundo da UNESCO
+
+O Comitê Nacional do Brasil do Programa Memória do Mundo da UNESCO, o MoWBrasil, reunido em sessão plenária com a maioria de seus membros, entre os dias 2 e 3 de outubro de 2017, em Belo Horizonte, escolheu 10 das 22 candidaturas recebidas ao Edital MoWBrasil 2017, para serem inscritas no Registro Nacional do Brasil do Programa Memória do Mundo da UNESCO. Os registros iconográficos da Revolta da Armada (1893 – 1894), cuja inscrição foi proposta pelo Arquivo Geral da Cidade do Rio de Janeiro, parceiro da Brasiliana Fotográfica, pelo Instituto Moreira Salles, um dos fundadores do portal, e pelo Museu Histórico Nacional, foi um dos selecionados. Uma publicação sobre a Revolta da Armada foi feita pela Brasiliana Fotográfica, em 6 de setembro de 2015.
+Acessando o link para as fotografias da Revolta da Armada disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Juan Gutierrez. Revolta da armada – Arsenal de Marinha, c. 1893. Rio de Janeiro, RJ / Acervo IMS
+ 
+Os outros escolhidos para serem inscritos no Registro Nacional do Brasil do Programa Memória do Mundo da UNESCO cujos proponentes são parceiros ou fundadores da Brasiliana Fotográfica foram o Arquivo Lima Barreto, da Fundação Biblioteca Nacional; a Coleção Família Passos, do Museu da República / IBRAM; a Correspondência original dos governadores do Pará com a corte. Cartas e anexos (1764-1807), do Arquivo Nacional; o Formulário médico manuscrito atribuídos aos jesuítas e encontrado em uma arca da igreja de São Francisco de Curitiba, da Fundação Oswaldo Cruz.
+Também foram selecionados: as Atas do Montepio Geral de Economia dos Servidores do Estado – o início da Previdência no Brasil, da Mongeral Aegon Seguros e Previdência; a Coleção Tribunal de Segurança Nacional: a atuação do Supremo Tribunal Militar como instância revisional, 1936-1955, do Superior Tribunal Militar; a Coleção Vladimir Kozák: acervo iconográfico, filmográfico e textual de Povos Indígenas Brasileiros (1948 – 1978), do Museu Paranaense; os Livros de registros da Polícia Militar da Bahia, da Polícia Militar da Bahia; e o Testamento do senhor Martim Afonso de Souza e de sua mulher dona Ana Pimentel, da Universidade Federal de Minas Gerais.
+A cerimônia de entrega dos certificados ocorrerá no dia 7 de dezembro de 2017, no Rio de Janeiro, no Forte de Copacabana.
+ 
+Juan Gutierrez. Revolta da armada – Holofote da Fortaleza de São João. 1893. Rio de Janeiro, RJ / Acervo IMS
+ 
+Para saber mais sobre o Programa Memória do Mundo, acesse o site da Unesco.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/3073` — `itens/20.500.12156.1_3073/`
+- `20.500.12156.1/3064` — `itens/20.500.12156.1_3064/`
+
diff --git a/wordpress/10616-o-fotografo-joaquim-pinto-da-silva-o-j-pinto-1884-1951-e-a-fundacao-oswaldo-cruz.md b/wordpress/10616-o-fotografo-joaquim-pinto-da-silva-o-j-pinto-1884-1951-e-a-fundacao-oswaldo-cruz.md
new file mode 100644
index 0000000..ed479e2
--- /dev/null
+++ b/wordpress/10616-o-fotografo-joaquim-pinto-da-silva-o-j-pinto-1884-1951-e-a-fundacao-oswaldo-cruz.md
@@ -0,0 +1,77 @@
+---
+id: 10616
+url: "https://brasilianafotografica.bn.gov.br/?p=10616"
+titulo: "O fotógrafo Joaquim Pinto da Silva, o J. Pinto (1884-1951) e a Fundação Oswaldo Cruz"
+autor: "Andrea Wanderley"
+data: "2017-11-16T09:59:48+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/5117", "20.500.12156.1/5384", "20.500.12156.1/4", "20.500.12156.1/5381", "20.500.12156.1/5380", "20.500.12156.1/5383", "20.500.12156.1/5139", "20.500.12156.1/5378"]
+fetched_at: "2026-09-10T09:54:13.384Z"
+---
+
+# O fotógrafo Joaquim Pinto da Silva, o J. Pinto (1884-1951) e a Fundação Oswaldo Cruz
+
+Ricardo Augusto dos Santos*
+ 
+J. Pinto. Núcleo arquitetônico original de Manguinhos, 1910. Rio de Janeiro, RJ / Acervo Casa de Oswaldo Cruz
+ 
+A história da fotografia brasileira possui seus atores emblemáticos, como Marc Ferrez (1843 – 1923) e Augusto Malta (1864 – 1957). Mas, também, tem seus heróis quase desconhecidos ou anônimos que, encantados com a possibilidade de registrar em imagens a realidade, nos deixaram documentos relevantes para a memória e a história do país. Um expressivo número de fotografias do acervo da Fundação Oswaldo Cruz foi produzido por Joaquim Pinto da Silva, o J. Pinto (1884 – 1951), como ficou conhecido. Este fotógrafo produziu milhares de imagens, documentando os trabalhos científicos, os primeiros prédios e as transformações urbanas da região onde seria construído o centro de pesquisa, ensino e produção de medicamentos.
+ 
+Acessando o link para as fotografias de autoria de J. Pinto disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Anônimo. J.Pinto jardineiro, 192?. Rio de Janeiro, RJ / Acervo Casa de Oswaldo Cruz
+ 
+ 
+Acessando o link para as fotografias em que J. Pinto ou sua família aparecem disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Inicialmente, J. Pinto ocupou um acanhado e improvisado chalé, onde o laboratório fotográfico dividia espaço com a biblioteca do recém-criado Instituto Oswaldo Cruz (IOC). Em 1911, quase finalizado o Pavilhão Mourisco, J. Pinto seria instalado no belo castelo. Podemos observar, em seu trabalho, um notável domínio das técnicas fotográficas. Autor de inúmeras imagens, negativos em vidro e microfotografias científicas, J. Pinto, em final de 1928, enviou aos amigos um cartão desejando um feliz ano novo, contendo a imagem de seu rosto reproduzida cinco vezes. Este fato remete à original fotografia conhecida como Os trinta Valérios, realizada por Valério Vieira (1862-1941), em torno de 1901. O registro, um marco na história da fotografia, traz 30 imagens de Valério Vieira.
+ 
+J. Pinto. Os cinco J. Pintos, 1928. Rio de Janeiro, RJ / Acervo Casa de Oswaldo Cruz
+ 
+Pouco se sabe da vida deste importante personagem do IOC. Em final dos anos 1980, um grupo de pesquisadores da Casa de Oswaldo Cruz entrevistou um dos filhos de J. Pinto, Wilson Pinto, que forneceu algumas informações sobre seu pai. Infelizmente, idoso, sua saúde precária impossibilitava um depoimento fidedigno, assim como sua irmã Edna, que também quase nada dizia com exatidão sobre a vida de Joaquim Pinto. Porém, naquela tarde, obtivemos registros raros do fotógrafo e de sua família. No próprio acervo da Fiocruz, J. Pinto pouco aparece, a não ser em fotos de uma provável caçada em companhia de Carlos Chagas, ou em seu laboratório fotográfico.
+ 
+Anônimo. Retrato de J. Pinto, 192?. Rio de Janeiro, RJ / Acervo Casa de Oswaldo Cruz
+ 
+Nascido em Alagoinhas, na Bahia, em 1884, J. Pinto teria vindo para o Rio de Janeiro com 14 anos. Seus pais eram José Camerino Pinto da Silva e Maria da Purificação. Casou-se com Izaura Costa da Silva e tiveram cinco filhos: Wilson, Milton, Elza, Zeni e Ilda. Depois de morar no Centro da cidade, comprou um terreno no Méier, na Rua Jacinto, número 67, construindo ali sua casa.
+ 
+J. Pinto. Família J. Pinto, 192?. Rio de Janeiro, RJ / Acervo Casa de Oswaldo Cruz
+ 
+Em 1903, contratado por Oswaldo Cruz na fase inicial das atividades em Manguinhos, ele começou a documentar a construção do que viria a ser um dos principais centros de ciência e saúde do Brasil. Foi fotógrafo da instituição até 1946, quando se aposentou em decorrência de problemas de saúde. Mas as imagens produzidas por ele permaneceram como a memória fotográfica da Fundação Oswaldo Cruz. As fotos de sua autoria também mostram um Rio de Janeiro em processo de urbanização. J. Pinto, que se tornou amigo de Oswaldo Cruz (1872 – 1917) e de Carlos Chagas (1878 -1934), fotografou o aspecto rural de Manguinhos, que foi se transformando. Estão registrados a construção do Castelo, da avenida Brasil, os pesquisadores e instalações físicas. Em seus registros também aparecem construções, como o aquário, demolido, que era ligado à Baía de Guanabara por uma tubulação subterrânea, onde se estudavam organismos aquáticos; a cavalariça e a chaminé da antiga usina de incineração do lixo da cidade, também demolida no início da década de 1940.
+ 
+J. Pinto. Curso de Aplicação do Instituto Oswaldo Cruz, 1931. Rio de Janeiro, RJ / Acervo Casa de Oswaldo Cruz
+ 
+ 
+*Ricardo Augusto dos Santos é Pesquisador Titular da Fundação Oswaldo Cruz
+ 
+ 
+Pequena cronologia de Joaquim Pinto da Silva  (1884-1951) 
+ Andrea C. T. Wanderley**
+Anônimo. Laboratório fotográfico do Instituto Oswaldo Cruz : J. Pinto trabalhando, 191?. Rio de Janeiro, RJ / Acervo Casa de Oswaldo Cruz
+1884 – O fotógrafo Joaquim Pinto da Silva, que ficou conhecido como J. Pinto, nasceu em Alagoinhas, na Bahia, filho de José Camerino Pinto da Silva e Maria da Purificação.
+c. 1898 – Com 14 anos, J. Pinto teria vindo para o Rio de Janeiro.
+1903 – Foi contratado pelo médico e sanitarista Oswaldo Cruz na fase inicial das atividades em Manguinhos e começou a documentar a construção do que viria a ser um dos principais centros de ciência e saúde do Brasil.
+1910 – Segundo o historiador Eduardo Thielen, que escreveu a dissertação Imagens da saúde no Brasil – A fotografia na institucionalização da saúde pública, J. Pinto teria sido possivelmente o autor do primeiro filme científico feito no Brasil, Chagas em Lassance. A obra, com 9 minutos de duração, era sobre a descoberta da doença de Chagas, feita pelo cientista Carlos Chagas, em Lassance, Minas Gerais, em 1909 (Agência Fiocruz, 15 de agosto de 2008).
+1911 – Chagas em Lassance foi exibido por Oswaldo Cruz na Exposição Internacional de Higiene e Demografia de Dresden, na Alemanha (Agência Fiocruz, 15 de agosto de 2008). Também foi exibido o filme sobre as ações de combate à febre amarela no Rio de Janeiro. Esses dois filmes constituem o mais antigo acervo audiovisual científico preservado de que se tem notícia no Brasil. O pavilhão do Brasil, único país das Américas a construir um estande próprio no evento, foi inaugurado em 15 de junho (O Paiz, 16 de junho de 1911, quinta coluna).
+1946 - J. Pinto aposentou-se devido a problemas de saúde.
+1951 – Em outubro, falecimento de Joaquim Pinto da Silva. Sua missa de 30º dia foi realizada na Catedral Metropolitana do Rio de Janeiro (Diário de Notícias, 25 e 26 de novembro de 1951).
+Anúncio da missa de 30º dia de J. Pinto, no Diário de Notícias, 25 e 26 de novembro de 1951
+ 
+2014 – Lançamento do livro Vida, engenho e arte — O acervo histórico da Fundação Oswaldo Cruz, com imagens produzidas por J. Pinto (O Globo, 6 de junho de 2014).
+2016 – Realização da exposição Manguinhos Revelado: um Lugar de Ciência, com cerca de 120 fotografias, a maioria de autoria de J. Pinto (Portal Fiocruz, 8 de novembro de 2016).
+ 
+**Andrea C. T. Wanderley
+Editora-assistente e pesquisadora do portal Brasiliana Fotográfica
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/5117` — `itens/20.500.12156.1_5117/`
+- `20.500.12156.1/5384` — `itens/20.500.12156.1_5384/`
+- `20.500.12156.1/4` — `itens/20.500.12156.1_4/`
+- `20.500.12156.1/5381` — `itens/20.500.12156.1_5381/`
+- `20.500.12156.1/5380` — `itens/20.500.12156.1_5380/`
+- `20.500.12156.1/5383` — `itens/20.500.12156.1_5383/`
+- `20.500.12156.1/5139` — `itens/20.500.12156.1_5139/`
+- `20.500.12156.1/5378` — `itens/20.500.12156.1_5378/`
+
diff --git a/wordpress/10646-a-criacao-de-uma-vacina-para-a-peste-da-manqueira-um-marco-na-historia-da-veteri.md b/wordpress/10646-a-criacao-de-uma-vacina-para-a-peste-da-manqueira-um-marco-na-historia-da-veteri.md
new file mode 100644
index 0000000..a4e23ac
--- /dev/null
+++ b/wordpress/10646-a-criacao-de-uma-vacina-para-a-peste-da-manqueira-um-marco-na-historia-da-veteri.md
@@ -0,0 +1,74 @@
+---
+id: 10646
+url: "https://brasilianafotografica.bn.gov.br/?p=10646"
+titulo: "A criação de uma vacina para a peste da manqueira, um marco na história da veterinária brasileira e mundial"
+autor: "Andrea Wanderley"
+data: "2018-06-21T12:55:33+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/5387", "20.500.12156.1/5388", "20.500.12156.1/5142", "20.500.12156.1/5386"]
+fetched_at: "2026-09-10T09:54:16.848Z"
+---
+
+# A criação de uma vacina para a peste da manqueira, um marco na história da veterinária brasileira e mundial
+
+Cristiane d’Avila, jornalista do Departamento de Arquivo e Documentação da Casa de Oswaldo Cruz, uma das parceiras da Brasiliana Fotográfica, conta a história da criação da vacina para a peste da manqueira. Foi por iniciativa de Oswaldo Cruz que as pesquisas sobre o assunto começaram a ser feitas no Brasil, no início do século XX, quando ele acumulava a função de diretor do Serviço de Profilaxia da Febre Amarela da Diretoria Geral de Saúde Pública e também do Instituto Soroterápico Federal, que viria a ser denominado Instituto Oswaldo Cruz, em 1908, e, posteriormente, Fundação Oswaldo Cruz. Ele convocou seus colegas Ezequiel Dias e Henrique Rocha Lima para investigarem a moléstia, mas, após 1905, o cientista Alcides Godoy tornou-se o responsável pelo projeto. A partir de 1908, o Instituto Oswaldo Cruz passou a produzir e fabricar em escala comercial a primeira vacina veterinária brasileira de combate a doenças infectocontagiosas. Um marco na história da veterinária brasileira e mundial.
+Cristiane d’Avila *
+“Peste da manqueira”, “mal do ano”, “mal do quarto inchado”, “blackleg” (nos países de língua inglesa). Os nomes populares atribuídos a doenças dizem muito sobre os danos à saúde humana e animal ou mesmo sobre os prejuízos financeiros que podem provocar. Em tais situações, somam-se esforços para que se encontrem respostas, antídotos e tratamentos que debelem as causas e minimizem os efeitos provocados por elas. No caso do carbúnculo sintomático, não foi diferente.
+Era início do século XX. Pecuaristas mineiros, atônitos com a moléstia que acometia os bezerros e bovinos jovens, causando imensa mortandade e prejuízos galopantes, buscavam soluções para a situação. A doença, letal, iniciava-se com febre e inchaço da musculatura, especialmente das regiões chamadas “quartos” dos bovinos, atrofiando-as e provocando o andar manco. Não à toa, recebeu denominações que a classificaram popularmente como “peste” e “mal”.
+Durante muito tempo confundido com o antraz, o carbúnculo sintomático não abatia apenas os rebanhos brasileiros. Tratava-se de uma doença de impacto mundial, porém mais ativa em países tropicais, que apresentava como vetor o microrganismo anaeróbico Clostridium chauvei. O germe havia sido cultivado e analisado pela primeira vez, em 1887, pelo bacteriologista francês Émile Roux, do Instituto Pasteur de Paris. Antes disso, foi estudado por Arloing, Cornevin e Thomas, que de 1887 a 1894 investigaram exaustivamente a etiologia, a epizootiologia, a manifestação clínica ea  patologia da doença. Em 1887, o trio publicou o livro Le Charbon symptomatique d uboeuf, porém não obteve sucesso na produção de um imunizante para o mal.
+Em 1903, Oswaldo Cruz, já interessado em pesquisas sobre o carbúnculo sintomático, convidou o então estudante de medicina Alcides Godoy (1880 – 1950) para ingressar, como auxiliar acadêmico, no Serviço de Profilaxia da Febre Amarela da Diretoria Geral de Saúde Pública, a fim de trabalhar na produção de soros e vacinas. Nesse período, Cruz acumulava a função de diretor deste serviço e também do Instituto Soroterápico Federal (que viria a ser denominado Instituto Oswaldo Cruz, em 1908, e, posteriormente, Fundação Oswaldo Cruz).
+ 
+Anônimo. Oswaldo Cruz em Petrópolis, 191?. Petrópolis, Rio de Janeiro / Acervo Casa de Oswaldo Cruz
+ 
+Atento às pesquisas em curso no exterior, Oswaldo Cruz já havia adquirido e consultado a obra de Arloing, Cornevin e Thomas. Incansável na busca por respostas, colocou os colegas do Instituto Ezequiel Dias e Rocha Lima para investigarem a moléstia, mas após 1905 Godoy tornou-se o responsável pelo projeto. Enquanto isso, Henrique da Rocha Lima, pesquisador e “braço direito” de Oswaldo Cruz, usando técnica aprendida durante uma estadia na Alemanha, obteve colônias anaeróbicas do germe, cedendo-as a Godoy para investigação científica.
+ 
+Anônimo. Alcides Godoy, 191? / Acervo Casa de Oswaldo Cruz
+Voltado totalmente à pesquisa, Godoy (na foto ao lado) foi original: empregou um meio de cultura especial para bactérias anaeróbicas, com uso de glicose, a fim de obter uma “raça” diferenciada de bactérias de virulência atenuada, criando uma vacina com o clostridiumchauvoei vivo. Logo que foram confirmadas, em laboratório, as propriedades vacinantes de suas culturas, Godoy viajou, em 1906, para Juiz de Fora, Minas Gerais, em companhia dos pesquisadores do Instituto Rocha Lima e de Carlos Chagas, para executar os testes finais. A primeira demonstração pública da vacina, entretanto, não obteve o resultado esperado e alguns animais faleceram.
+De volta a Manguinhos, Godoy descobriu a causa do insucesso: uma maior virulência do lote da vacina preparada para o teste. Corrigida a falha, novas inoculações foram feitas, desta feita com absoluto sucesso. A descoberta fez o então Instituto Oswaldo Cruz produzir e fabricar em escala comercial, a partir de 1908, a primeira vacina veterinária brasileira de combate a doenças infectocontagiosas. Um marco na história da veterinária brasileira e mundial.
+ 
+J. Pinto. Medicamentos em processo de embalagem, 1930. Rio de Janeiro, RJ / Acervo Casa de Oswaldo Cruz
+ 
+Acima, a foto emblemática do fotógrafo J. Pinto (1884 – 1951) registra o trabalho de embalagem dos frascos e acondicionamento das vacinas em caixas, no IOC. Para o fotógrafo Roberto Jesus Oscar, do Departamento de Arquivo e Documentação da Casa de Oswaldo Cruz, onde a foto original de J. Pinto está depositada, essa imagem, gerada a partir de negativo de vidro, esbanja composição, enquadramento e equilíbrio de contrastes, enchendo a imagem de luz, volume e textura. Aos olhos de hoje a imagem pode causar estranheza, mas trata-se de uma ótima representação da história de Manguinhos, um ícone do acervo da Instituição.
+É importante ressaltar que após a obtenção do registro da patente da vacina, Godoy efetuou uma escritura de cessão que transferia sua descoberta para o IOC, com o propósito de incentivar as atividades de exploração industrial do imunizante. A verba obtida com a venda da vacina auxiliou a instituição a cobrir gastos com o ensino, a pesquisa e a produção, sem submeter-se à burocracia governamental vigente, ao mesmo tempo em que representou um estímulo aos pesquisadores para o desenvolvimento de produtos biológicos a serem patenteados e vendidos (CHAMAS, 2006). Até 1917, ano da morte de Oswaldo Cruz, Godoy recebeu 5% da renda obtida com a venda das vacinas. A partir dessa data, esse percentual passou para 8% do total das vendas da vacina.
+De acordo com um quadro elaborado por Oscar Meira, e apresentando por Benchimol, no período de 1906 a 1918 o Instituto produziu 7.111.698 doses da vacina contra a peste da manqueira. No mesmo período, a vacina foi o produto biológico mais produzido, perdendo apenas, em 1918, para a maleína, uma substância empregada no teste (prova de maleína) para diagnóstico do mormo, uma doença infectocontagiosa que acomete cavalos. (MORAES, 2008)
+ 
+J. Pinto. Da esquerda para direita (de pé): Arthur Neiva (1º), Rocha Lima (2º), Figueiredo de Vasconcelos (3º), Henrique Aragão (4º), Alcides Godoy (5º). Sentados: Carlos Chagas (1º), José Gomes de Faria (2º), Antônio Cardoso Fontes (3º), Gustav Giemsa (4º), Oswaldo Cruz (5º), Stanislas Von Prowazek (6º) e Adolpho Lutz (7º) em frente à Casa de Chá, 191?. Manguinhos, Rio de Janeiro / Acervo Casa de Oswaldo Cruz
+ 
+A princípio, a distribuição da vacina ficava a cargo do Ministério da Agricultura e de alguns órgãos públicos da esfera estadual e municipal. Cioso da importância da tarefa e obcecado com a eficiência deste processo, em 1913, Oswaldo Cruz (de chapéu branco, ao centro) cria a Seção de Propaganda da Vacina contra a Peste da Manqueira, assumindo totalmente a distribuição. Godoy está de pé, na ponta direita da foto. 
+A pesquisadora Alice Ferry de Moraes destaca o depoimento de Delfim Moreira, deputado estadual por Minas Gerais de 1894 a 1902, Secretário do Interior de Minas Gerais de 1914 a 1918 e, mais tarde, presidente do Brasil no período de 1918 a 1919, sobre o impacto da vacina (MORAES, 2008):
+Se nós somos um país exportador de carne devêmo-lo (sic) a Manguinhos. Desse infalível produto, tirou Oswaldo Cruz, na época da pobreza daquele grande Instituto, o necessário para sua biblioteca, para as pesquisas, para o contrato de funcionários técnicos, enfim, todos os meios de progredir e realizar. (MAGALHÃES apud MORAES, 2008)
+As vacinas foram produzidas pelo IOC até 1939. Em razão da promulgação de uma lei que proibia os cientistas lotados em instituições públicas de receberem dinheiro por suas patentes, Godoy fundou a Produtos Veterinários Manguinhos Ltda., juntamente com o pesquisador Astrogildo Machado, com quem criou outra vacina também importante – a vacina contra o Carbúnculo Hemático ou Verdadeiro, conhecido como Antraz, patenteada sob o n.º 9.981, em 1918 (CHAMAS, 2006).
+ 
+Abaixo o texto de Oswaldo Godoy, filho de Alcides Godoy, publicado na Agência Fiocruz de Notícias em 15 de agosto de 2008, ano do centenário da primeira patente registrada pelo IOC:
+ 
+‘A vacina contra a manqueira começou a ser distribuída e vendida já em 1906. Ela imunizava o gado com uma só aplicação. Na exposição de demografia e higiene realizada de Berlim, em junho de 1907, na qual o Instituto obteve a medalha de ouro, a vacina da manqueira foi um dos destaques selecionados, dentre os produtos fabricados para representar as atividades do IOC.
+A premiação em Berlim foi determinante para que o Ministério da Justiça e Negócios Interiores aprovasse um novo regulamento, proposto por Oswaldo Cruz, visando expandir de modo expressivo as atribuições do Instituto, que passaria a gozar de considerável autonomia administrativa e financeira, sendo esta última garantida, principalmente, pela renda advinda da venda da vacina na manqueira. Tais recursos, que permitiam ao Instituto não depender apenas do orçamento governamental, foram fundamentais para contratar novos pesquisadores e, assim, ampliar o quadro de pessoal da instituição.
+O próprio Oswaldo Cruz, em função da repercussão e da originalidade do processo desenvolvido por Godoy, aconselhou-o a patentear em seu nome a invenção. A carta patente nº 5.566 foi obtida em 24 de novembro de 1908. A publicação no Diário Oficial se deu em 6 de dezembro daquele ano. Ainda em 1908, cedeu, por escritura pública, ao Instituto Oswaldo Cruz, representado por seu diretor Oswaldo Cruz, os direitos de exploração comercial do seu privilégio de invenção (a vacina contra a manqueira).
+No mesmo ano de 1908, Godoy publicou, com a colaboração de Gomes de Faria (que havia sido recentemente contratado pelo IOC), um trabalho analisando as variáveis no meio de cultura que poderiam ter causado a maior virulência da vacina responsável pelos problemas em Juiz de Fora, confirmando-se que a concentração da glicose havia sido a responsável pela redução da virulência da vacina (aspecto que havia sido identificado e solucionado por Godoy naquela ocasião, em 1906).
+Além de dedicar-se ao tema da manqueira, como sua atividade principal, Godoy desenvolvia outras atividades – como era de praxe entre todos os pesquisadores de Manguinhos –, como a produção dos soros antidiftérico e antitetânico, e na dosagem do soro antipestoso. Com Astrogildo Machado, desenvolveu, em 1918, outra importante vacina produzida e comercializada pelo IOC, contra o carbúnculo hemático.
+Outra frente importante de trabalho de Godoy em Manguinhos foi a criação de diversos dispositivos e aparelhos para facilitar e aperfeiçoar os procedimentos de produção, como o “frasco Dr. Godoy”, desenvolvido por ele para facilitar a coleta de mosquitos pelos “mata-mosquitos” que atuavam nas campanhas sanitárias.
+Numa época em que as atividades de produção, ensino e pesquisa eram realizadas de modo bastante conjugado pelos pesquisadores, Godoy foi também professor do curso de aplicação do Instituto, criado em 1908 para oferecer treinamento experimental nas áreas de microbiologia e zoologia médica.
+Godoy fez três viagens de estudo à Europa. Em 1912, foi enviado aos Laboratórios de Leipzig, na Alemanha, a fim de acompanhar pesquisas concernentes a questões de físico-química aplicada à ciência médica. Em 1919, permaneceu quatro meses na Europa; foi designado para esta viagem a partir da solicitação, feita a Manguinhos pela representação diplomática inglesa, para que algum médico embarcasse num navio inglês aportado no Rio cujo médico de bordo havia adoecido. Esta foi, conforme relatou certa ocasião, a única vez que exerceu a clínica médica. Finalmente, em 1925, esteve na Itália acompanhando Carlos Chagas no 1º Congresso de Malariologia, realizado em Roma, e para estudar os modernos processos de profilaxia da malária empregados naquele país.
+Integrante do chamado “jardim da infância da ciência”, como Oswaldo Cruz carinhosamente chamava o grupo inicial de pesquisadores de Manguinhos, Godoy sempre gozou da confiança e apreço tanto de Cruz quanto de seu sucessor, Carlos Chagas, substituindo-os, várias vezes, em suas ausências, na direção do instituto.
+Em 1923, Carlos Chagas solicitou ao Ministério da Justiça a renovação da patente da vacina da manqueira por mais 15 anos. Foi o segundo produto que obteve no Brasil a renovação da Patente, fato só obtido anteriormente pela Fornicída Matarazzo. Em 1937, como conseqüência da reforma implementada por Gustavo Capanema no Ministério da Educação e Saúde (criado em 1930, no âmbito da Revolução de 1930), foi vedada ao IOC a fabricação e comercialização desse e outros produtos veterinários.
+Em 26 de junho de 1938, Godoy e Machado pediram o registro da marca genérica para produtos veterinários Manguinhos. Suas famílias fundaram em 25 de janeiro de 1939, uma firma que se chamou Produtos Veterinários Manguinhos Ltda, para fabricar e comercializar a vacina da manqueira, do carbúnculo hemático, e posteriomente a vacina contra a pneumoenterite dos porcos. O primeiro lugar em que estabeleceram o laboratório foi em prédio nos fundos do Hospital Gaffrée Guinle, na Rua Silva Ramos 20. Tiveram por muitos anos escritório na Rua Uruguaiana 33. Na década de 40 construíram um laboratório na Rua Licinio Cardoso 91 (hoje Rua Francisco Manuel), em Benfica.
+Godoy casou-se com Dulce Leite de Castro em 5 setembro de 1923 e tiveram dois filhos: Oswaldo Tarcisio, que veio a se formar em Química Industrial e Engenharia Química e Margarida Maria, que estudou música, tocava piano e estudou na Europa. Faleceu em 30 de janeiro de 1950, aos 70 anos. Na década de 60 a família Godoy saiu da sociedade, que ficou com a família de Machado. A firma, que continua a fabricar a vacina da manqueira, foi vendida recentemente pelos seus descendentes e pertence hoje à empresa Bravet’.
+ 
+* Cristiane d’Avila é jornalista do Departamento de Arquivo e Documentação da Casa de Oswaldo Cruz
+ 
+Fontes:
+BENCHIMOL, Jaime L. Manguinhos do sonho à vida: a ciência na belle époque. Rio de Janeiro: Casa de Oswaldo Cruz; Fiocruz, 1990.
+CHAMAS, Claudia Inês. A Propriedade Intelectual e a Vacina contra a Peste da Manqueira. Revista Brasileira de Inovação, [S.l.], v. 5, n. 1 jan/jun, p. 203-218, junho 2006. ISSN 2178-2822.
+GODOY, Alcides. Primeira vacina veterinária desenvolvida e fabricada no Brasil completa 100 anos. Agência Fiocruz de Notícias.
+MAGALHÃES, Octávio de. Alcides Godoy. Memórias do Instituto Oswaldo Cruz, Rio de Janeiro, t. 49, mar. 1951. p. 1-6.
+MORAES, Alice Ferry de. A inovação e a vacina da peste da manqueira. Inf. &Soc.:Est., João Pessoa, v.18, n.3, p. 97-103, set./dez. 2008. ISSN 1809-4783
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/5387` — `itens/20.500.12156.1_5387/`
+- `20.500.12156.1/5388` — `itens/20.500.12156.1_5388/`
+- `20.500.12156.1/5142` — `itens/20.500.12156.1_5142/`
+- `20.500.12156.1/5386` — `itens/20.500.12156.1_5386/`
+
diff --git a/wordpress/10694-o-cruzador-almirante-tamandare.md b/wordpress/10694-o-cruzador-almirante-tamandare.md
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+---
+id: 10694
+url: "https://brasilianafotografica.bn.gov.br/?p=10694"
+titulo: "O Cruzador Almirante Tamandaré"
+autor: "Andrea Wanderley"
+data: "2017-12-18T08:38:04+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/4773", "20.500.12156.1/4776"]
+fetched_at: "2026-09-10T09:54:20.110Z"
+---
+
+# O Cruzador Almirante Tamandaré
+
+A Brasiliana Fotográfica selecionou registros do Cruzador Almirante Tamandaré que pertencem ao acervo da Diretoria do Patrimônio Histórico e Documentação da Marinha, um dos integrantes do portal. As fotografias foram produzidas por Marc Ferrez (1843-1923), agraciado por d.Pedro II como Fotógrafo da Marinha Imperial. Com um artigo do pesquisador da DPHDM, o Capitão de Corveta (T) Carlos André Lopes da Silva, os leitores poderão conhecer a história do navio e admirar suas imagens no dia de seu lançamento, em 20 de março de 1890 (O Paiz, 21 de março de 1890, primeira coluna).
+ 
+O Cruzador Almirante Tamandaré
+ Carlos André Lopes da Silva*
+Marc Ferrez. Lançamento do cruzador Almirante Tamandaré. O Cruzador na carreira antes do lançamento ao mar, 20 de março de 1890. Rio de Janeiro, RJ / Acervo DPHDM
+ 
+Em 20 de março de 1890, foi lançado ao mar da carreira nº 1 do Arsenal de Marinha do Rio de Janeiro o Cruzador Almirante Tamandaré. Era o segundo navio da Marinha do Brasil que levava o nome do Almirante Joaquim Marques Lisboa, o Marquês de Tamandaré. O primeiro tinha sido um couraçado que lutou por toda a Guerra da Tríplice Aliança (1864-1870), navio também construído no Arsenal, o estabelecimento mantido pela Marinha para a construção e reparo dos seus navios de guerra. Mesmo durante o Império, não era comum que navios da Marinha fossem batizados em deferência a personalidades vivas, ainda mais quando não pertenciam à Família Real. Já no início da República, o Almirante Tamandaré, no alto dos seus 82 anos e poucos meses, depois de deixar o serviço ativo da Marinha, era pela segunda vez homenageado do modo mais significativo para um marinheiro, tendo seu nome na popa de um navio de guerra.
+ 
+Cartão-postal com desenho do rosto do Almirante Tamandaré, Joaquim Marques Lisboa (Rio Grande, RS, 13/12/1807 – Rio de Janeiro, 20/03/1897) / Coleção Jose Ramos Tinhorão/ Acervo IMS
+ 
+ 
+Acessando o link para as fotografias do cruzador disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+O Cruzador Almirante Tamandaré, do mesmo modo que seu antecessor, foi projetado e construído por brasileiros. Seu projetista foi o Engenheiro Naval João Cândido Brasil e sua construção teve início em 1884, já como o maior navio até então construído no Brasil, com mais de 4.500 toneladas de deslocamento e 96 metros de comprimento. Mesmo hoje, continua sendo o maior navio de guerra, considerando seu deslocamento, construído no País. Equipado com dez canhões com calibre de 150 milímetros em sua bateria principal, além de peças de artilharia menores, metralhadoras e torpedos, foi concebido como um navio bastante poderoso.
+Quando o Almirante Tamandaré foi lançado ao mar, em 1890, ainda era um navio misto, isto é, contava com mastros e velas para os cruzeiros transoceânicos, visando à economia de combustível, o carvão, e à preservação de suas duas máquinas a vapor inglesas de 6.500 cavalos-vapor, levando o navio a desenvolver velocidades de até 17 nós (milhas por hora). O casco de estrutura e revestimento de aço foi recoberto, para maior proteção, com placas de 175 milímetros de peroba, um arranjo de blindagem típico da época. A rápida evolução dos projetos de navios de guerra levou ao abandono da mastreação e das velas logo após o seu lançamento ao mar, sendo instalados dois mastros de combate que possibilitavam melhor pontaria das baterias principais. Seguiram-se modificações no armamento e na ventilação forçada para seus compartimentos internos.
+Ainda antes de finalizada a construção, o navio foi tomado pela parcela da Marinha que se revoltou contra o Governo do Marechal Floriano Peixoto no episódio conhecido como Revolta da Armada (1893-1894). Reparados os danos sofridos no embate entre revoltosos e florianistas na Baía de Guanabara, o Almirante Tamandaré só foi incorporado à Esquadra brasileira em 1897, já numa configuração bem diferente daquela idealizada por seu projetista, o então Capitão-Tenente (EN) Brasil mais de uma década atrás.
+Devido às suas grandes dimensões foi utilizado como quartel para os novos marinheiros e, posteriormente, como sede das Escolas Profissionais, a primeira experiência da Marinha do Brasil na reunião de diversos cursos de especialização para oficiais e praças num mesmo local. Em 1906, passaram a funcionar no Cruzador Almirante Tamandaré a Escola de Artilharia, direcionada para oficiais e praças; a Escola de Foguistas e a Escola de Timoneiros, que formava, além destes, sondadores, sinaleiros e telegrafistas.Brasil
+Em 27 de dezembro de 1915, a Administração Naval determinou sua Mostra de Desarmamento e consequente baixa do serviço ativo.
+ 
+*  Carlos André Lopes da Silva é pesquisador da Diretoria do Patrimônio Histórico e Documentação da Marinha
+ 
+Pequena cronologia do Cruzador Almirante Tamandaré
+ Andrea C. T. Wanderley**
+Marc Ferrez. Lançamento do cruzador Almirante Tamandaré, 20 de março de 1890. Rio de Janeiro, RJ / Acervo DPHDM
+1884 – Batimento da quilha do futuro Cruzador Almirante Tamandaré.
+1886 – O cruzador, em construção no Arsenal de Marinha do Rio de Janeiro, segundo os planos do CT (EN) João Cândido Brasil, foi batizado com o nome de Tamandaré (O Paiz, 3 de julho de 1886, sexta coluna). Foi o segundo navio batizado com esse nome na Marinha do Brasil em homenagem ao Almirante Joaquim Marques Lisboa (1807 – 1897), o Marquês de Tamandaré, Patrono da Marinha,
+1890 - O Almirante Tamandaré pediu ao ministro da Marinha, Eduardo Wandenkolk (1838 – 1902), segundo o jornal O Paiz num requinte de modéstia, que o cruzador fosse batizado com o nome de Almirante Cochrane (O Paiz, 13 de março de 1890, segunda coluna).
+O Cruzador Tamandaré foi lançado ao mar em 20 de março com a presença do chefe do governo provisório do Brasil, Deodoro da Fonseca (1827 – 1892), além de ministros e outras autoridades. A construção do cruzador custou 3.700:000$000 e seu primeiro comandante foi o Capitão-de-Mar-e-Guerra Frederico Guilherme Lorena (O Paiz, 21 de março de 1890, primeira coluna).
+1891 – O Capitão-de-Fragata João Francisco Velho Junior foi designado para comandar provisoriamente o Cruzador Almirante Tamandaré (O Paiz, 26 de novembro de 1891, sexta coluna).
+1892 – O ministro da Marinha mandou ativar as obras do cruzador Almirante Tamandaré a fim de que esse vaso de guerra possa estar nos Estados Unidos na abertura da exposição de Chicago (O Paiz, 15 de junho de 1892, sexta coluna).
+1893 - Polêmica em torno da substituição nos mastros do Almirante Tamandaré (O Paiz, 10 de fevereiro de 1893, penúltima coluna, O Paiz, 13 de fevereiro, terceira coluna, O Paiz, 14 de fevereiro, segunda coluna, O Paiz, 19 de fevereiro de 1893, primeira coluna).
+Ficou montada toda a artilharia grossa das baterias cobertas do cruzador Almirante Tamandaré achando-se já, de há muito, montados os seus dois canhões de caça e retirada (O Paiz, 24 de agosto de 1893, quarta coluna).
+O cruzador içou suas duas chaminés, quer isso dizer que já tem máquina para se mover (O Paiz, 17 de novembro de 1893,quinta coluna).
+O Cruzador Almirante Tamandaré foi usado pelos revoltosos da Revolta da Armada (O Paiz, 18 de novembro de 1893, quarta coluna, O Paiz, 23 de novembro de 1893, quinta coluna, O Paiz, 5 de dezembro de 1893, quinta coluna, O Paiz, 6 de dezembro de 1893, terceira coluna).
+1894 – O Almirante Tamandaré foi ocupado pelo governo, que nomeou o Capitão-de-Mar-e- Guerra Theotônio Coelho Cerqueira Carvalho para comandá-lo (O Paiz, 14 de março de 1894, segunda coluna).
+1897 – O cruzador foi reformado, tendo sua armação em Galera, substituída por dois mastros modernos de combate. A ventilação foi mudada, recebendo no castelo novo ventilador metálico. Foram também retirados os canhões em bateria. Permaneceram, porém, muitas deficiências no navio, que passou a vida fundeado no porto do Rio de Janeiro, depois de realizar duas ou três comissões.
+1901 / 1902 – Serviu de quartel de Guardas-Marinha.
+1906/1914 – Serviu de sede das Escolas Profissionais, dentre elas, a Escola de Timoneiros.
+ 1913 - Entre 21 de julho e 14 de agosto, ficou atracado no Dique Guanabara da Ilha das Cobras, para a substituição de 145 folhas de latão do fundo.
+Por determinação do Aviso n.º 2612 de 16 de agosto, serviu provisoriamente de quartel da Escola de Grumetes, antes instalada no Cruzador Andrada. Foram embarcados 115 novos Grumetes provenientes da EAM do Rio de Janeiro. Nessa época o Tamandaré também era chamado de Cruzador-Escola.
+1914 – Continuava servindo como Quartel da Escola de Grumetes, fundeado em frente a Ilha das Enxadas, na Baía da Guanabara. Não desempenhou comissão alguma e necessitava de reparos.
+1915 - Em 27 de dezembro, deu baixa do serviço pelo Aviso nº 4525.
+ 
+**Andrea C. T. Wanderley
+Editora-assistente e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+Diretoria do Patrimônio Histórico e Documentação da Marinha 
+Hemeroteca Digital da Biblioteca Nacional
+Poder Naval
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/4773` — `itens/20.500.12156.1_4773/`
+- `20.500.12156.1/4776` — `itens/20.500.12156.1_4776/`
+
diff --git a/wordpress/10762-o-cientista-oswaldo-cruz-1872-1917-prefeito-de-petropolis.md b/wordpress/10762-o-cientista-oswaldo-cruz-1872-1917-prefeito-de-petropolis.md
new file mode 100644
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@@ -0,0 +1,150 @@
+---
+id: 10762
+url: "https://brasilianafotografica.bn.gov.br/?p=10762"
+titulo: "O cientista Oswaldo Cruz (1872 – 1917), prefeito de Petrópolis"
+autor: "Andrea Wanderley"
+data: "2017-12-28T08:48:42+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/5387", "20.500.12156.1/1869"]
+fetched_at: "2026-09-10T09:54:23.250Z"
+---
+
+# O cientista Oswaldo Cruz (1872 – 1917), prefeito de Petrópolis
+
+Cristiane d’Avila com a colaboração de Ana Luce Girão*
+ 
+Oswaldo Cruz em Petrópolis, 191?. Petrópolis, Rio de Janeiro / Acervo Casa de Oswaldo Cruz
+ 
+Em 2017, por ocasião do centenário de morte de Oswaldo Cruz (1872 – 1917), a Fiocruz instituiu o Ano Oswaldo Cruz, com o objetivo de divulgar para a sociedade a história do cientista e daquele que pode ser considerado seu maior legado: firmar uma instituição científica em um país recém-saído da escravidão, economicamente dependente e com profundas desigualdades sociais e regionais[1]. Para lembrar a data, contamos alguns detalhes sobre os últimos dias de vida de Oswaldo Cruz, que, mesmo gravemente doente, aceitou o desafio de realizar um projeto ambicioso: um extenso plano de urbanização e organização do serviço sanitário na cidade de Petrópolis, considerada refúgio de boa parte da elite do Rio de Janeiro, capital da República, no início do século XX.
+Não era qualquer cidade. Quando o presidente do Estado do Rio de Janeiro, Nilo Peçanha (1867 – 1924), convidou Oswaldo Cruz para assumir a recém-criada prefeitura de Petrópolis, em 1916, dava a ele um cargo à altura do cientista. Residência de todo o corpo diplomático durante o ano e da elite política, financeira e intelectual da capital na estação calmosa, o verão – quando o presidente da República se deslocava do Rio para o pomposo Palácio Rio Negro –, Petrópolis vivia um momento político conturbado.
+Na imprensa carioca e petropolitana os articulistas não se cansavam de denunciar a “politicagem”, atrelada ao maquinismo político-eleitoral, que impedia o progresso da “princesa do Piabanha”, entre as inúmeras alcunhas atribuídas à bela cidade serrana. Acusado de nada fazer pela população além de cobrar-lhe impostos, o grupo majoritário, organizado na Câmara Municipal, não via com bons olhos a decisão unilateral do governo fluminense, que impusera a criação da prefeitura e oferecera o cargo ao ilustre higienista.
+Em contrapartida, Oswaldo Cruz, consagrado nacional e internacionalmente pela campanha empreendida contra a febre amarela, varíola e peste bubônica, iria somar à urbe, célebre pela beleza e salubridade, mais que o reconhecimento como destino privilegiado para o lazer da elite carioca. Escolhera-a como alvo de um novo e ambicioso projeto de trabalho, que incluía ações de saneamento, urbanização e educação pública.
+Bastante debilitado pela nefrite que o acometera ainda jovem, o cientista decidiu acatar a recomendação do médico Salles Guerra e, mesmo contrariado, se afasta da dura rotina no Instituto Soroterápico Federal, nessa época já denominado Instituto Oswaldo Cruz. Nilo Peçanha o havia indicado para assumir a prefeitura de Petrópolis e o filho Bento (1895 – 1941) reforçava o coro, insistindo para que o pai se mudasse para a residência de veraneio da família na cidade, na rua Montecaseros, em busca do tão necessário repouso. Para não arrefecer os ânimos do cientista, ofereciam a ele não apenas o cargo político, mas uma nova frente de trabalho, um novo desafio, tão ao gosto de seu temperamento.
+Imbuído da missão, Oswaldo, com o filho Bento e Salles Guerra, toma um barco a vapor no cais Pharoux, atual Praça XV, e em pouco mais de uma hora chega ao porto localizado no fundo da Baía de Guanabara. De lá embarca nos vagões da Estrada de Ferro Mauá, que conduziam os passageiros até a Raiz da Serra. Daquele ponto em diante, o trem subia a serra pelo moderno sistema de cremalheira até o lugar denominado Alto da Serra, onde atualmente fica a Rua Teresa.
+O percurso completo, que no passado recente levava quatro horas, naquele ano já era percorrido em cerca de duas. Sem perder tempo, no dia 17 de agosto Cruz toma posse e, no dia 18, apresenta seu plano de ação para a prefeitura. Em carta ao colega Cândido Martins, chefe interino do executivo municipal que o convidara para o cargo, pede discrição e nenhuma pompa na ocasião da posse:
+‘Meu ilustrado colega Dr. Candido Martins, 
+Aqui me acho à sua disposição pronto assumir o cargo de Prefeito. Se me fosse permitido esperar de sua gentileza um obsequio eu rogaria a meu simpático e generoso colega o favor especialíssimo de me dar posse da mais absoluta intimidade e sem a menor solenidade. Se for possível, hoje e nesse caso rogo o obsequio de comunicar ao portador deste – meu filho e nosso colega Bento Cruz – a hora em que deverei comparecer a Prefeitura para receber suas ordens. Estou certo que não me negará o solicitado aqui e aguardando ancioso (sic) sua resposta afirmativa peço aceitar os protestos da mais viva simpatia e distinta consideração do colega muito grato. 
+Ass. Gonçalves Cruz’
+O articulista do jornal petropolitano Diário da Manhã, em edição de 6 de agosto de 1916, assim definiu a indicação de Cruz ao posto: “… para restituir a ordem e a moralidade administrativa, que de Petrópolis foram desgraçadamente expulsas… e arrancar a gestão dos negócios da municipalidade à faminta voracidade e à ingenuidade inepta de seus gestores”. Nomeado, Oswaldo Cruz apresenta seu amplo projeto, contendo 26 objetivos, com propostas de intervenção em inúmeras frentes, do embelezamento da cidade ao saneamento financeiro das contas públicas, da urbanização à gestão da saúde e da educação infantil.
+As medidas propostas, no entanto, causaram imenso reboliço em parte da Câmara Municipal, que passou a organizar manifestações em frente à casa do prefeito, cujo estado de saúde se agravava progressivamente. Em janeiro, Oswaldo Cruz afasta-se por tempo indeterminado do trabalho, mas sua licença médica não atenua as manifestações. “Latas de querosene e gritos da ralé, que num ofertório de gentilezas de hienas excitadas vinha trazer ao ex-prefeito o testemunho do seu regozijo pela provável restituição do governo municipal à camarilha que o explorava”, relata o médico e contemporâneo de Cruz, Ezequiel Dias.
+Após intenso processo de sofrimento causado pela moléstia, Oswaldo Cruz entra em coma, vindo a falecer no mesmo dia, em 11 de fevereiro de 1917, aos 44 anos, em sua casa de Petrópolis. Suas “Ideias e Projetos”, como definiu o plano para a gestão da cidade, não chegaram a sair do papel, ao menos exatamente como programou. São eles:
+Ideias e Projetos
+Petrópolis – 18 de agosto de 1916
+- Encampação do Banco Construtor
+- Encampação da Fazenda Imperial e resgate dos foros pelos proprietários
+- Imposto (2$000 por metro) sobre terrenos devolutos
+- Desenhista de jardins
+- Preparo de gás pobre com lixo e produção de energia elétrica para os britadores e oficinas
+- Aquisição e manutenção de condução para o Prefeito e Inspetor de Obras
+- Rede de esgotos
+- Substituição na prefeitura das carroças de tração animal por automóveis
+ – Regulamentação e fiscalização da venda do leite
+- Organização do serviço sanitário
+- Barragem dos rios e revestimento do alvéo com seção ovoide – formação de quedas d´água em degraus
+- Formação dum lago à feição do Bois em Serpentina
+- Construção de um edifício de Diversões
+- Bondes – linha circular Castelânea Alto da Serra
+- Rosário
+- Plantio de flores nas margens dos rios
+- Organização do ensino primário
+- Fiscalização do ensino de Português nas escolas estrangeiras
+- Museu histórico do Império e Jardim Botânico no Palácio Imperial
+- Parque para ginástica das escolas e educação física obrigatória para todos colégios
+- Calçamento de macadame asfaltado e interlinha dos bondes a paralelepípedos
+- Estatística da população e índice de analfabetismo
+- Revisão do imposto predial
+- Repressão da mendicância e criação de asilos para mendigos
+- Matadouro e laboratório
+ 
+Reprodução da carta enviada por Oswaldo Cruz ao sr. Cândido Martins, em 17 de agosto de 1916:
+
+ 
+Saiba mais sobre Oswaldo Cruz acessando a Biblioteca Virtual Oswaldo Cruz.
+ 
+* Cristiane  d’Avila é jornalista e Ana Luce Girão é historiadora do Departamento de Arquivo e Documentação da Casa de Oswaldo Cruz (COC/Fiocruz)
+ 
+Fontes:
+ 
+Casa de Oswaldo Cruz. Carta de Oswaldo Cruz para Cândido Martins. Dossiê BR RJCOC OC-PET-01, Fundo Oswaldo Cruz, 1916.
+___________________. Diário da Manhã, Petrópolis, 6 de agosto de 1916. Dossiê BR RJCOC OC-PET-01, Fundo Oswaldo Cruz, 1916.
+___________________. Ideias e projetos. Dossiê BR RJCOC OC-PET-01, Fundo Oswaldo Cruz, 1916.
+D’AVILA. Cristiane. Fantasia na serra: representações de Petrópolis na mídia impressa. 2005. 120 f. Dissertação (Mestrado em Comunicação Social) – Departamento de Comunicação, Pontifícia Universidade Católica do Rio de Janeiro, PUC-RIO. Rio de Janeiro.
+GUERRA, E. Salles. Oswaldo Cruz. Rio de Janeiro: Casa Editora Vecchi Limitada, 1940.
+ 
+[1] Texto extraído do cartaz digital de divulgação da palestra “Ciência, saúde e projeto nacional: o legado de Oswaldo Cruz”, promovida e realizada em 9 de novembro de 2017 pela Fundação Casa de Rui Barbosa, pelo centenário de morte de Oswaldo Cruz.
+ 
+Pequena cronologia de Oswaldo Cruz desde sua nomeação à prefeitura de Petrópolis até sua morte
+ Andrea C. T. Wanderley**
+Marc Ferrez. Álbum Panoramas do Rio de Janeiro – Vista geral de Petrópolis, c. 1880. Petrópolis, Rio de Janeiro / Acervo IMS
+1916
+julho 
+Oswaldo Cruz foi nomeado prefeito de Petrópolis por Nilo Peçanha. Foi pelo jornal O Paiz  como um homem de ciência em que a cultura brasileira se orgulha, saneador benemérito do Rio de Janeiro, criador de Manguinhos, membro da Academia Brasileira e uma das mais altas, complexas e belas figuras nacionais (O Paiz, 31 de julho de 1916, quinta coluna). No mesmo dia e no mesmo jornal, sua nomeação à prefeitura de Petrópolis foi o tema da coluna “Pall-Mall-Rio”, escrita por José Antônio José, o João do Rio (1881 – 1921) (O Paiz, 31 de julho de 1916, última coluna).
+agosto
+A nomeação de Oswaldo Cruz para a prefeitura de Petrópolis é elogiada e saudada em coluna semanal da revista O Malho como um ato que o povo recebe com um sorriso de satisfação, só por ver a cara com que ficam os inventores de negociatas e os politiqueiros contumazes (O Malho, 5 de agosto de 1916, segunda coluna).
+Oswaldo Cruz esteve no gabinete do ministro da Justiça, Carlos Maximiliano Pereira dos Santos (1873 – 1960) (O Paiz, 2 de agosto, quinta coluna).
+Oswaldo Cruz e o governador do Rio de Janeiro, Nilo Peçanha, estiveram em Petrópolis (O Paiz, 2 de agosto de 1916, última coluna).
+Oswaldo Cruz telegrafou ao senador José Leopoldo de Bulhões Jardim (1856 – 1928) informando que não poderia tomar posse na prefeitura de Petrópolis em 8 de agosto por estar enfermo (O Paiz, 7 de agosto de 1916, última coluna). Foi o senador Bulhões que sucedeu Oswaldo Cruz na prefeitura de Petrópolis, em fevereiro do ano seguinte.
+Devido ao impedimento de Oswaldo Cruz, o sr. Cândido José Ferreira Martins, na época vice-presidente da Câmara Municipal de Petrópolis, assumiu a prefeitura da cidade (O Paiz, 10 de agosto de 1916, terceira coluna).
+Em nome de Venceslau Brás (1868 – 1966), presidente da República, Helio Lobo, secretário da presidência, fez uma visita a Oswaldo Cruz, que continuava doente (O Paiz, 11 de agosto de 1916, segunda coluna). No dia seguinte, Oswaldo Cruz recebeu a visita de Arthur Obino em nome do ministro da Justiça (O Paiz, 12 de agosto de 1916, segunda coluna). Quatro dias depois, Cruz visitou o ministro da Justiça em agradecimento à visita de Obino (O Paiz, 17 de agosto de 1916, primeira coluna).
+Oswaldo Cruz foi eleito vice-presidente da recém criada Academia Brasileira de Ciências, presidida por Henrique Morize (1860 – 1930) (O Paiz, 17 de agosto de 1916, última coluna). O francês naturalizado brasileiro Henri Charles Morize ou Henrique Morize era engenheiro e astrônomo. Além de ter sido o primeiro presidente da Academia Brasileira de Ciências, de 1916 a 1926, foi também diretor do Observatório Nacional entre 1908 e 1929. Em torno de 1897, realizou experiências no campo da imagem com o fotógrafo Marc Ferrez (1843 – 1923) e com Tasso Fragoso (1869 – 1945), na época aluno da Escola Militar e posteriormente general.
+Foi publicada a notícia de que Oswaldo Cruz já estava completamente restabelecido da enfermidade que o acometera (O Paiz, 18 de agosto de 1916, quarta coluna).
+Finalmente, em 18 de agosto, Oswaldo Cruz assumiu a prefeitura de Petrópolis. Cândido José Ferreira Martins expôs a ele a situação financeira do município e os trabalhos que havia executado. Foi então feito um balanço no cofre da tesouraria e um termo foi assinado por Oswaldo Cruz, Cândido Martins, Arthur Barbosa e por mais três funcionários. A posse de Oswaldo Cruz não se revestiu de solenidade como era desejo da maioria dos vereadores por ter o mesmo solicitado a mais absoluta intimidade em carta dirigida ao prefeito interino, Cândido Martins. Acompanhado por ele e por Arthur Barbosa, Cruz visitou todas as seções da administração municipal e depois telegrafou a Nilo Peçanha, informando ter assumido a prefeitura de Petrópolis. Foi apresentado a todo o funcionalismo da cidade pelo coronel José Land. Também recebeu vários telegramas, cartas e visitas pessoais (O Paiz, 20 de agosto de 1916, segunda coluna e Gazeta de Notícias, 20 de agosto de 1916, última coluna).
+Oswaldo Cruz convocou o conselho de vereadores de Petrópolis para uma reunião extraordinária em 1º de setembro. Entre as medidas da convocação, encontram-se a criação do imposto de testada, autorização para contrair um empréstimo e para fazer operações de crédito(O Paiz, 26 de agosto de 1916, última coluna).
+setembro
+Oswaldo Cruz foi visitado pelos vereadores Cândido Martins e Arthur Barbosa ficando combinada a instalação do Conselho na próxima semana (O Paiz, 3 de setembro de 1916, segunda coluna).
+Foi convocado para comparecer à primeira reunião do diretório central da Liga da Defesa Nacional. Ele era um dos 50 membros do diretório (O Paiz, 7 de setembro de 1916, quarta coluna). A Liga da Defesa Nacional foi fundada em 7 de setembro de 1916 por um grupo de intelectuais, dentre eles Rui Barbosa (1849 – 1923), Pedro Lessa (1859 – 1921) e Olavo Bilac I(1865 – 1918), que sintetizava a ação da associação como um apostolado de civismo e patriotismo.
+Foi instalada a Câmara Municipal de Petrópolis convocada por Oswaldo Cruz. O sr. Roldão Barbosa, como secretário da sessão, leu a mensagem do prefeito, datada de 4 de setembro de 1916, abordando a contração de empréstimos, a criação de impostos e a execução de operações de crédito. O vereador Joaquim Moreira ocupou a tribuna e declarou que o Partido Municipal, que presidia, aceitou o ato do governo em criar a prefeitura de Petrópolis porque foi nomeado um homem superior para ocupá-la, Oswaldo Cruz. O vereador Sá Earp declarou-se contrário à criação da prefeitura de Petrópolis, cuja justificativa teria sido a restauração da estrada União e Indústria (O Paiz, 12 de setembro de 1916, primeira coluna).
+Na coluna “Sorrisos e frivolidades”, da Revista da Semana, um veranista de Petrópolis mostrou-se entusiasmado com as propostas de mudanças feitas por Oswaldo Cruz para a cidade (Revista da Semana, 30 de setembro de 2016, primeira coluna).
+outubro
+Oswaldo Cruz foi receber os médicos Carlos Chagas (1879 – 1934) e Figueiredo Rodrigues, delegados do Brasil no Congresso Médico e na Conferência de Microbiologia e Parasitologia realizadas em Buenos Aires, que chegaram ao Rio de Janeiro a bordo do paquete “Voltaire” (O Paiz, 11 de outubro de 1916, segunda coluna).
+Ocupando um lugar de honra, Oswaldo Cruz participou do banquete oferecido pela classe médica a Carlos Chagas  (1879 – 1934), no Salão Assyrius do Teatro Municipal do Rio de Janeiro (O Paiz, 22 de outubro de 1916, primeira coluna).
+novembro
+Foi noticiado que Oswaldo Cruz iria à festa em benefício da Associação da Mulher Brasileira, realizada no Teatro Municipal (O Paiz, 2 de novembro de 1916, segunda coluna).
+Na Câmara Municipal de Petrópolis, Oswaldo Cruz leu uma mensagem sobre a proposta de orçamento para o ano de 1917 acompanhada de ligeira exposição sobre o estado de diversos serviços (Jornal do Commercio, 17 de novembro de 1916, sexta coluna).
+Presidiu o banquete oferecido ao cientista Arthur Neiva (1880 – 1943), no Salão Assyrius do Teatro Municipal do Rio de Janeiro (Gazeta de Notícias, 19 de novembro de 1916, sexta coluna). A revista Fon-Fon, de 2 de dezembro de 1916, publicou uma fotografia do evento.
+Por falta de quórum não houve sessão na Câmara Municipal de Petrópolis, mas as comissões de Fazenda e Justiça se reuniram e discutiram os assuntos abordados na mensagem do prefeito Oswaldo Cruz. Participaram dos debates Sá Earp, Arthur Barbosa, Modesto Guimarães e Domingos Nogueira. Pediram mais informações ao prefeito. Dentre algumas decisões, resolveram negar a criação do imposto de testada (O Paiz, 19 de novembro de 1916, segunda coluna).
+ 
+O Paiz, 19 de novembro de 1916
+ 
+Por proposta do professor Miguel Couto (1865 – 1934), presidente da Academia Nacional de Medicina, foi criada uma comissão para estudar medidas profiláticas no combate de algumas doenças e Oswaldo Cruz foi um dos nomeados para integrar o grupo, Os outros integrantes seriam Afrânio Peixoto (1876 – 1947), Carlos Chagas (1879 – 1934), Carlos Seidl (1867 – 1929) e Miguel Pereira (1871 – 1918) (Jornal do Commercio, 1º de dezembro de 1916, quinta coluna).
+dezembro
+Oswaldo Cruz sancionou e promulgou a Deliberação nº 6 sobre averbação de prédios e transferências de comerciais e industriais em Petrópolis (Jornal do Commercio, 12 de dezembro de 1916, penúltima coluna).
+ 
+Jornal do Commercio, 12 de dezembro de 1916
+ 
+De acordo com o prefeito Oswaldo Cruz, seria levantado um monumento em homenagem ao fundador da cidade de Petrópolis, Julio Frederico Koeler (1804 – 1847), na Praça da Liberdade. Informou, também, que brevemente seria lançada a pedra fundamental do monumento (Gazeta de Notícias, 19 de dezembro de 1916, última coluna).
+ 
+1917 
+janeiro
+Oswaldo Cruz agradeceu ao governo do estado do Rio de Janeiro o material e o serviço do Corpo de Bombeiro com que a administração fluminense acaba de dotar Petrópolis (A Época, 6 de janeiro de 1917, terceira coluna).
+Foi noticiado um boato sobre o estado de saúde e a iminente saída de Oswaldo Cruz da prefeitura de Petrópolis (A Época, 25 de janeiro de 1917, terceira coluna).
+Oswaldo Cruz está doente. Tasso Fragoso (1869 – 1945), chefe da Casa Militar da Presidência foi visitá-lo a mando do presidente da República, Venceslau Brás (O Paiz, 27 de janeiro de 1917, quinta coluna). E João Pedroso de Albuquerque, secretário do Dr. Cruz foi visitar o presidente, no Palácio do Rio Negro, em Petrópolis (A Época, 27 de janeiro de 1917, terceira coluna).
+Em 31 de janeiro, devido a seu estado de saúde, Oswaldo Cruz solicitou uma licença da prefeitura de Petrópolis  ao governo do Rio de Janeiro. Foi deferida. Segundo consta, o Dr, Oswaldo Cruz fará uma viagem, a fim de iniciar um rigoroso tratamento de sua saúde profundamente abalada (O Paiz, 1º de fevereiro de 1917, quarta coluna).
+fevereiro
+O senador Leopoldo de Bulhões (1856 – 1928) assumiu a prefeitura de Petrópolis (O Paiz, 2 de fevereiro de 1917, quarta coluna).
+Foi noticiada uma piora no estado de saúde de Oswaldo Cruz (O Paiz, 7 de fevereiro de 1917, sexta coluna). Outras notícias sobre a doença de Oswaldo Cruz foram publicadas (A Época, 7 de fevereiro de 1917, quinta coluna da primeira página e segunda coluna da página 4).
+Aos 44 anos, Oswaldo Cruz faleceu de nefrite, em Petrópolis. O Brasil não pode aquilatar devidamente o infortúnio que é para a Nação, para a América e para a humanidade inteira a morte do grande sábio Oswaldo Cruz (O Paiz, 12 de fevereiro de 1917). Na edição de A Época, também do dia 12 de fevereiro, ele foi saudado como um facho de farol, que rasga a escuridão da noite. E fulgiu. Iluminou logo.
+ 
+Gazeta de Notícias, 12 de fevereiro de 1917
+ 
+Segundo a Revista da Semana, tanto a guerra, que priva o corpo diplomático de associar-se às festas, como a morte recente do Dr. Oswaldo Cruz, prefeito de Petrópolis, contribuem para que decline a animação do carnaval (Revista da Semana, 17 de fevereiro de 1917).
+ 
+Careta, 26 de julho de 1924
+ 
+O importante músico cearense Alberto Nepomuceno (1864 – 1920) compôs a Ode a Oswaldo Cruz (6:03), sobre poema de Osório Duque Estrada. A obra pode ser escutada no episódio Ode a Alberto Nepomuceno,  do programa “Prelúdios”, de Arthur Dapieve, transmitido pela Rádio Batuta, em 24 de março de 2019. Inácio de Nonno (voz), Coral Brasil Ensemble da UFRJ, regido por Maria José Chevitarese, e Claudia Feitosa (piano). É a quinta obra executada ao longo do programa, na marcação -24:56. Clique aqui.**
+ 
+O músico Alberto Nepomuceno / Rádio Batuta
+ 
+ 
+**Andrea C. T. Wanderley
+Editora-assistente e pesquisadora do portal Brasiliana Fotográfica
+ 
+*** Informação acrescida ao artigo em 28 de abril de 2019.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/5387` — `itens/20.500.12156.1_5387/`
+- `20.500.12156.1/1869` — `itens/20.500.12156.1_1869/`
+
diff --git a/wordpress/10849-serie-carnavais-de-antigamente-ii-o-carnaval-do-cordao-da-bola-preta.md b/wordpress/10849-serie-carnavais-de-antigamente-ii-o-carnaval-do-cordao-da-bola-preta.md
new file mode 100644
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+++ b/wordpress/10849-serie-carnavais-de-antigamente-ii-o-carnaval-do-cordao-da-bola-preta.md
@@ -0,0 +1,56 @@
+---
+id: 10849
+url: "https://brasilianafotografica.bn.gov.br/?p=10849"
+titulo: "Série “Carnavais de antigamente” II – O carnaval do Cordão da Bola Preta"
+autor: "Andrea Wanderley"
+data: "2018-02-09T10:24:22+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/4220"]
+fetched_at: "2026-09-10T09:54:26.207Z"
+---
+
+# Série “Carnavais de antigamente” II – O carnaval do Cordão da Bola Preta
+
+Anônimo. Salve! “Cordão da Bola Preta”, Penha de 1936, 1936. Rio de Janeiro, RJ / Acervo FBN
+ 
+A Brasiliana Fotográfica destaca uma fotografia do Cordão da Bola Preta no ano do centenário do mais antigo bloco carnavalesco do Rio de Janeiro. A imagem, que pertence à Biblioteca Nacional, uma das parceiras do portal, revela a irreverência e a alegria dos componentes da agremiação, cuja criação tem origem em 1917, quando um grupo de ex-integrantes do tradicional Clube dos Democráticos se uniu sob a liderança de Álvaro Gomes de Oliveira, o Caveirinha, para formar o cordão Só Bebe Água, cujo logotipo trazia um barril de chope com 18 torneiras ligadas à boca de seus componentes.
+O Bola Preta foi fundado em 31 de dezembro de 1918, por Caveirinha, Francisco Brício Filho, o Chico Brício, Eugênio Ferreira, João Torres, e pelos três irmãos Oliveira Roxo. Um dos ícones do carnaval carioca, o Bola Preta tornou-se, pelo Decreto n° 27594 de 14 de fevereiro de 2007, da Prefeitura do Rio de Janeiro, patrimônio cultural imaterial da cidade. Em 2014, o Instituto Rio Patrimônio da Humanidade (IRPH), entregou ao bloco mais antigo da cidade a placa que o identifica como um lugar importante para a história e memória do patrimônio cultural carioca (O Globo, 28 de fevereiro de 2014).
+A versão popular da origem do nome do bloco carnavalesco conta que foi um de seus fundadores, o Caveirinha, que, no dia 31 de dezembro de 1918, confraternizando com outros amigos na Galeria Cruzeiro do Hotel Avenida, localizado na avenida Central, avistou uma linda mulher trajada com um vestido branco com bolas pretas. Porém, o pesquisador André Diniz, organizador do livro Vem pro Bola, meu bem: crônicas e histórias do Cordão da Bola Preta revelou que, em depoimento ao Museu da Imagem e do Som,  Caveirinha declarou que a origem do nome havia sido outra: os fundadores do bloco decidiam quem poderia ou não entrar no clube exibindo bolas pretas ou brancas.
+Último representante dos cordões carnavalescos cariocas do início do século XX e um dos mais antigos do Brasil, possui uma marchinha muito conhecida, composta por Nelson Barbosa e Vicente Paiva (1908 – 1964): a Marcha do Cordão da Bola Preta (1935), famosa pelo verso Quem não chora, não mama! Segura, meu bem, a chupeta. É com essa música, considerada o hino da agremiação, que os desfiles do Bola Preta, nos sábados de carnaval, são abertos.
+ 
+ 
+Marcha do Cordão da Bola Preta 
+(gravação de Carmen Costa para o carnaval de 1962)
+Compositores: Nelson Barbosa e Vicente Paiva
+Quem não chora não mama!
+Segura, meu bem, a chupeta.
+Lugar quente é na cama
+Ou então no Bola Preta.
+Vem pro Bola, meu bem,
+Com alegria infernal!
+Todos são de coração!
+Todos são de coração.
+(Foliões do carnaval).
+(Sensacional!)
+ 
+Acesse aqui todos os artigos da Série Carnavais de antigamente.
+Andrea C. T. Wanderley
+Editora-assistente e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes: 
+Diário do Rio.com
+Guia Cultural do Centro Histórico do Rio de Janeiro
+Hemeroteca Digital da Biblioteca Nacional
+O Globo, 19 de janeiro de 2018
+Site do Cordão da Bola Preta
+Site do Dicionário Cravo Albin da Música Popular Brasileira
+ 
+ 
+Acessando o link para as fotografias de Carnaval disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/4220` — `itens/20.500.12156.1_4220/`
+
diff --git a/wordpress/10905-serie-carnavais-de-antigamente-iii-a-batalha-de-flores.md b/wordpress/10905-serie-carnavais-de-antigamente-iii-a-batalha-de-flores.md
new file mode 100644
index 0000000..8302f1d
--- /dev/null
+++ b/wordpress/10905-serie-carnavais-de-antigamente-iii-a-batalha-de-flores.md
@@ -0,0 +1,71 @@
+---
+id: 10905
+url: "https://brasilianafotografica.bn.gov.br/?p=10905"
+titulo: "Série “Carnavais de antigamente” III – A Batalha de Flores"
+autor: "Andrea Wanderley"
+data: "2018-02-19T11:00:56+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/5442", "20.500.12156.1/5438", "20.500.12156.1/4221"]
+fetched_at: "2026-09-10T09:54:29.595Z"
+---
+
+# Série “Carnavais de antigamente” III – A Batalha de Flores
+
+A Brasiliana Fotográfica traz imagens da Batalha de Flores produzidas por Augusto Malta (1864 – 1957) que foi, de 1903 a 1936, o fotógrafo oficial da prefeitura do Rio de Janeiro. A Batalha de Flores é uma tradição do carnaval de Nice, na França, desde 1876. A festa chegou ao Brasil, em Petrópolis, em 1888. As imagens destacadas são da primeira década do século XX: de 1902; do dia 15 de agosto de 1903, quando aconteceu a primeira Batalha de Flores promovida pelo então prefeito do Rio de Janeiro, Francisco Pereira Passos (1836 – 1913), no Campo da Aclamação, atual Campo de Santana (Gazeta de Notícias, 16 de agosto de 1903); do dia 2 de setembro de 1906 (Gazeta de Notícias, 3 de setembro de 1906, terceira coluna, O Paiz, 2 de setembro  e 3 de setembro de 1906) e de 17 de outubro de 1909 (Gazeta de Notícias, 18 de outubro de 1909, penúltima coluna). As fotografias de Malta mostram as carruagens bastante enfeitadas com flores e uma grande quantidade de pessoas participando do evento.
+ 
+Augusto Malta. Batalha das Flores: carro de Salvador Santos, 1903. Rio de Janeiro, RJ / Acervo Museu da República
+ 
+Acessando o link para as fotografias da Batalha de Flores do acervo do Museu da República e da Biblioteca Nacional que estão disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+ O início
+No jornal O Mercantil, foi publicada uma descrição da Batalha de Flores, transcrita do Correio Imperial, jornal redigido pelo príncipe D. Luis Maria de Orléans e Bragança (1878 – 1920), filho da princesa Isabel, e ao final, era sugerido que Petrópolis adotasse a celebração carnavalesca e que se sepultasse  o entrudo com seu cortejo defluxos e selvagerias (O Mercantil, 25 de janeiro de 1888, primeira coluna). A sugestão foi aceita e, no mesmo ano, em 12 de fevereiro de 1888, aconteceu em Petrópolis, sob chuva, a primeira Batalha de Flores de que se tem notícia no Brasil, com a participação da princesa Isabel, promotora da festa, de seu marido, o conde d´Eu  (1842-1922), e de seus filhos. O préstito saiu do Largo de D. Afonso, seguiu pela rua Bourbon, do Imperador, pela ponte da Imperatriz e retornou a seu ponto de partida. A Batalha de Flores substituiu o entrudo, que passou a ser considerado pela população petropolitana  menos digno do seu chic, pouco elegante e perigoso. O ministro da Agricultura, Rodrigo Silva (1833 – 1899), também participou do evento (Gazeta de Notícias, 2 de fevereiro de 1888, primeira coluna e 14 de fevereiro, na penúltima coluna; Cidade do Rio, 15 de fevereiro de 1888).
+ 
+ 
+Gazeta de Notícias, 2 de fevereiro de 1888
+ 
+No mesmo ano, em viagem pela Europa, Dom Pedro II e a imperatriz Teresa Cristina assistiram à Batalha de Flores de Nice, na França (Gazeta de Notícias, 13 de fevereiro de 1888, terceira coluna e 9 de março de 1888, quinta coluna). No Rio de Janeiro, a Batalha de Flores batizou, um ano depois, um baile à fantasia no Club dos Democráticos (Jornal do Commercio,  1º de fevereiro de 1889).
+Nos últimos anos do século XIX e nos primeiros anos do século XX, a Batalha de Flores era realizada na Praça da República fora do período carnavalesco (Gazeta de Notícias, 28 de abril de 1896, quarta coluna, e de 18 de setembro de 1903, quinta coluna).
+ 
+Em 1903, a primeira Batalha de Flores promovida pela prefeitura do Rio de Janeiro 
+Na matéria publicada pela Gazeta de Notícias sobre a Batalha de Flores no Rio de Janeiro de 1903, publicada no dia seguinte à realização do cortejo, foram mencionadas festas semelhantes que aconteciam na avenida das Acácias em Paris, consideradas discretas, as de Nice, que se caracterizavam pela suntuosidade, e a ardente alegria das de Palermo, na Argentina. A festa no Rio de Janeiro foi um sucesso: mais de 20 mil entradas foram registradas e por vezes o movimento era tão grande que o desfile era interrompido. Segundo o jornal, foi uma festa com um cunho todo pessoal de refinada beleza e antes de tudo de uma grande alegria, de uma extraordinária simpatia, em que o bom povo fluminense, ávido de prazer e de festas, aclamava a cada passo, batia palmas, gritava entre as rosas desfolhadas e o riso de todos (Gazeta de Notícias, 16 de agosto de 1903). O Jornal do Brasil de 16 de agosto de 1903, saudou o evento como o início de uma era nova.
+ 
+Ilustração de notícia da realização da primeira Batalha de Flores, no Rio de Janeiro / Gazeta de Notícias, 16 de agosto de 1903
+ 
+Foi publicado o roteiro que as carruagens deveriam seguir durante a Batalha de Flores de agosto de 1903, no Campo da Aclamação, no Rio de Janeiro (Jornal do Brasil, 14 de agosto de 1903).
+ 
+Roteiro para as carruagens no parque / Jornal do Brasil, 14 de agosto de 1903
+ 
+Na avenida Beira-Mar
+ 
+Augusto Malta. Batalha das Flores, 17/10/1909. Rio de Janeiro, RJ / Acervo Museu da República
+ 
+Em 1907, na recém inaugurada avenida Beira-Mar, no Rio de Janeiro, e por sugestão da Gazeta de Notícias, a Batalha de Flores passou a ser uma batalha de confetes e acontecia, também, nas segundas-feiras do carnaval (Gazeta de Notícias, 26 de janeiro,  primeira coluna, 11 de fevereiro e 12 de fevereiro de 1907). No cortejo, que representava o carnaval da elite carioca, os foliões fantasiados desfilavam em carruagens ou carros enfeitados e atiravam flores, confetes ou serpentinas uns nos outros. O desfile, ao compareceram o presidente da República, Afonso Pena (1847 – 1909), e vários ministros, foi incentivado pelo prefeito Pereira Passos (1836 – 1913), que modernizava o Rio ao estilo de Paris. As famílias do presidente assim como a dos ministros presentes no evento participaram do desfile. As filhas de Afonso Pena desfilaram usando o automóvel presidencial, fato considerado marcante e ousado e que contribuiu para a divulgação da nova moda do carnaval brasileiro.
+ 
+Gazeta de Notícias, 12  de fevereiro de 1907
+ 
+Gazeta de Notícias, 23 de fevereiro de 1909
+ 
+Acesse aqui todos os artigos da Série Carnavais de antigamente.
+ 
+Andrea C. T. Wanderley
+Editora-assistente e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+COSTA, Haroldo. 100 anos de carnaval no Rio de Janeiro. Rio de Janeiro: Irmãos Vitale, 2001.
+Hemeroteca Digital da Biblioteca Nacional
+LIRA NETO. Uma história do samba – as origens. São Paulo:Companhia das Letras, 2017.
+O Globo, 28 de fevereiro de 2017.
+Site A Vida Francesa
+Site do Governo do Brasil
+ 
+ 
+Augusto Malta. Batalha das Flores, c. 1902. Rio de Janeiro, RJ / Acervo FBN
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/5442` — `itens/20.500.12156.1_5442/`
+- `20.500.12156.1/5438` — `itens/20.500.12156.1_5438/`
+- `20.500.12156.1/4221` — `itens/20.500.12156.1_4221/`
+
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+---
+id: 10959
+url: "https://brasilianafotografica.bn.gov.br/?p=10959"
+titulo: "O fotógrafo, botânico e naturalista alemão George Huebner (1862 – 1935)"
+autor: "Andrea Wanderley"
+data: "2018-02-02T11:16:01+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/1835", "20.500.12156.1/1838", "20.500.12156.1/1839"]
+fetched_at: "2026-09-10T09:54:33.265Z"
+---
+
+# O fotógrafo, botânico e naturalista alemão George Huebner (1862 – 1935)
+
+O fotógrafo, botânico e naturalista alemão George Huebner (1862 – 1935) foi um dos estrangeiros atraídos a Manaus quando a cidade, com o ciclo da borracha, tornou-se um importante pólo econômico. Estabeleceu-se comercialmente em Belém, onde, em 1897, colaborou com o fotógrafo português Felipe Augusto Fidanza (c. 1847 – 1903). Em novembro do mesmo ano, apresentando-se como membro correspondente da Sociedade Geográfica de Dresden, informava a abertura de um ateliê fotográfico em Manaus, a Photographia Allemã, no antigo Hotel Cassina, junto ao palácio do governo. O ateliê mudou algumas vezes de endereço. Como fotógrafo registrou a chegada da modernidade em Belém e em Manaus, etnias indígenas, retratos de personalidades importantes de sua época, a sociedade que surgiu a partir do apogeu da economia da borracha e paisagens da floresta amazônica.
+“É Huebner que enfrenta as intempéries do tempo e o incômodo das longas e perigosas viagens em busca de imagens, em busca do prazer do registro fotográfico. É também ele que vai desmistificar a função do fotógrafo, transgredindo e ultrapasando a barreira dos estúdios e da fotografia bem comportada de família, para registrar a rua, as rameiras, os indígenas, os vendedores, o povo em seu habitat. Huebner reinaugura em pleno século DXX, com resquícios do século XIX, o amor pela imagem…
+Claudio de La Rocque Leal in Retrato Paraense (1998)
+ 
+Acessando o link para as fotografias de George Huebner disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+Ao longo de vinte anos, entre 1903 e 1924, Huebner manteve um relacionamento de trabalho e de amizade com o etnólogo alemão Theodor Koch-Grünberg (1872 – 1924). Essa parceria refletiu-se na produção profissional – fotográfica e etnográfica – de ambos. Fotografias e traduções de vocabulários indígenas colhidos por Huebner foram usados por Koch-Grünberg  na ilustração e composição de vários de seus artigos.
+Em 1906, Huebner e o professor de Belas-Artes Libânio do Amaral (? – 1920), com quem já estava associado desde 1902, adquiriram, em Belém, o ateliê fotográfico Fidanza, que havia sido o mais tradicional do Pará. Dois anos depois, em 1908, Huebner foi pela primeira vez ao Rio de Janeiro, onde ele e Libânio do Amaral ganharam a medalha de prata e a medalha de ouro pelo Amazonas e o Grande Prêmio pelo Pará, na Exposição Nacional de 1908 (Almanak Laemmert, 1909). Em 1911, foi publicada uma propaganda da Photografia G. Huebner & Amaral informando que seria aberta e estaria à disposição do público para executar qualquer trabalho fotográfico a partir do dia 1º de janeiro de 1911, no Rio de Janeiro. Situava-se no edifício de O Paiz, na esquina da avenida Central com Sete de Setembro (A Notícia, 2 de janeiro de 1911, última coluna).
+ 
+George Huebner. Álbum Vistas de Manaus, c, 1900. Manaus, Amazonas / Acervo IMS
+ 
+Antes, na década de 1880, Huebner veio pela primeira vez para a América do Sul e, em 1888, estabeleceu-se no Peru, onde conheceu o fotógrafo alemão Charles Kroehle (c. 1876 – c. 1902). Durante cerca de três anos e meio, percorreram o território peruano, desde os altiplanos andinos até a costa do Pacífico e a região amazônica. Nessa expedição foram registradas centenas de fotos assinadas pelos dois. Essas imagens são as primeiras de etnias peruanas como os campa, caxibo, cunivo, mayonisha, pito, xipibo, muitas já extintas, de que se tem notícia.
+Retornou a Dresden e, em 1894, voltou à Amazônia e fez duas expedições: a primeira, à nascente do rio Orinoco, já na Venezuela, e a outra por um longo trecho do rio Branco, afluente do rio Negro. Nos oito meses em que permaneceu na floresta amazônica, Huebner também aprofundou seus conhecimentos de botânica amazônica, ao coletar e documentar espécimes da flora, especialmente de orquídeas. Dois anos depois, em 1896, ele e o fotógrafo José Gomes Leite (18? – 19?) seguiram no vapor Tabatinga para o Rio Madeira, comissionados pela casa artística do sr, Antonio Luciani, a serviço de suas profissões (Diário Oficial(AM), 25 de janeiro de 1896, última coluna).
+ 
+George Huebner. Álbum Vistas de Manaus – Igarapé do Espirito Santo, c. 1890. Manaus, Amazonas / Acervo IMS
+ 
+Sobre os registros de indígenas produzidos por Huebner, segundo o site O índio na fotografia brasileira, o fotógrafo tinha uma preocupação em manter preservadas em suas imagens tanto as características que os tornavam indígenas “exóticos” quanto fotografá-los em situações e posições diferentes das habituais. Nos retratos realizados durante suas expedições, o fotógrafo primava pelas expressões de descontração e espontaneidade que extraía de seus retratos, em técnicas e linguagens que evoluíram junto com seu desenvolvimento profissional. Foi dessa forma que, ao fotografar índios Apurinã, Wapixana, Makuxi, Taurepang (ou Menon), Marqueritare e Bindiapá, entre outras, Huebner extraía semblantes que transpareciam as relações de negociação que permeavam os bastidores da captura de imagens de seus modelos.
+Além do Instituto Moreira Salles, também possuem fotografias de George Huener em seus acervos o Museu Histórico Nacional, o Musée d´Ethnographie, o Museum Völkerkunde, o Verein für Erdkunde, a Oliveira Lima Library e Boris Kossoy.
+ 
+Breve cronologia do fotógrafo George Huebner (1862 – 1935)
+ 
+Refeição na casa de Huebner (na cabeceira); à direita, Theodor Koch-Grünberg, 1911-1913. Legado científico de Theodor Koch-Grünberg. Coleção Etnográfica da Universidade Phillips de Marburg, Alemanha. N°  de inventário KG-H-VIII, 35. Notam-se os quadros na parede: à esquerda, um retrato do Imperador Wilhelm II; ao centro, uma fotografia de palmeiras realizada por Huenber. Foto: Reprodução/’A fotografia amazônica de George Huenber’, de Andreas Valentin
+ 
+1862 – Nascimento de Georg Hübner, em Dresden, na época, uma das mais importantes cidades da Alemanha. Posteriormente seu nome foi latinizado para George Huebner.
+1885 – Huebner realizou sua primeira viagem à América do Sul. Já mantinha contato com sociedades científicas, para as quais iria coletar dados e imagens sobre os povos nativos da região.
+1888 - Huebner fez viagens pelo Peru e, estabelecido em Lima, conheceu Charles Kroehle, um fotógrafo alemão. Durante cerca de três anos e meio, percorreram o território peruano, desde os altiplanos andinos até a costa do Pacífico e a região amazônica.
+1892 – Huebner retornou a Dresden, publicou textos ilustrados em revistas de ciência popular e de viagens como Globus e Deutsche Rundschau für Geographie und Statistik. Fez palestras em sociedades científicas e forneceu imagens para artigos científicos. Foi sua primeira incursão no meio científico.
+1894 – Voltou à Amazônia e fez duas expedições: a primeira, à nascente do Orinoco, já na Venezuela, e a outra por um longo trecho do rio Branco, afluente do rio Negro. Nos oito meses em que permaneceu na Floresta Amazônica, Huebner também aprofundou seus conhecimentos de botânica amazônica, ao coletar e documentar espécimes da flora, especialmente de orquídeas.
+1894 /1895 / 1896 – Ao longo desses anos, retornou a Dresden e voltou para o Brasil.
+c. 1895 - Coletou o holótipo do lagarto do verme do rio Inirida, que foi posteriormente batizado em sua homenagem como Mesobaena huebneri .
+1896 - Foi admitido como naturalista, sócio-correspondente do Verein für Erdkunde (Sociedade de Geografia) de Dresden.
+Huebner e o também fotógrafo Gomes Leite seguiram no vapor Tabatinga para o Rio Madeira, comissionados pela casa artística do sr. Antonio Luciani, a serviço de suas profissões (Diário Oficial(AM), 25 de janeiro de 1896, última coluna).
+1897 – Em Belém, colaborou com o fotográfo português Felipe Augusto Fidanza (c. 1847 – 1903).
+Em novembro, George Huebner, apresentando-se como membro correspondente da Sociedade Geográfica de Dresden, informava a abertura de um ateliê fotográfico em Manaus, a Photographia Allemã, no antigo Hotel Cassina, junto ao palácio do governo (Jornal do Rio Negro, 7 de novembro de 1897).
+1898 – Quase todas as imagens do Álbum Descritivo do Pará (1898), de Arthur Caccavoni (18? -19?), são de autoria de Huebner.
+1899 – Huebner anunciou que seguiria para o rio Juruá e que, durante sua ausência, a Photographia Allemã seria gerenciada por José Gomes Leite (Commercio do Amazonas, 4 de fevereiro de 1899, sexta coluna).
+Quase todas as imagens do álbum Amazônia (1899), de Arthur Caccavoni, são de autoria de Huebner.
+1900 – Huebner anunciou seu estabelecimento fotográfico na rua São Vicente, 23, onde fazia retratos de todos os gêneros e em platinotipia e crayon, diversas vezes ao longo de 1900 (Commercio do Amazonas, 25 de abril de 1900).
+ 
+Commercio do Amazonas, 16 de junho de 1900
+ 
+Huebner fotografou a sessão extraordinária do Congresso do Estado do Amazonas (A Federação, orgam do Partido Republicano Federal (AM), 10 de julho de 1900, terceira coluna).
+Foi noticiado uma grande afluência de curiosos ao escritório da redação do Commercio do Amazonas para apreciarem as fotografias do sahimento do dr. Eduardo Ribeiro, trabalho do conceituado “atelier” do sr George Huebner . Sahimento é a procissão de condução do cadáver (Commercio do Amazonas, 23 de outubro de 1900, sexta coluna).
+Em torno desse ano, foram produzidas as fotografias do Álbum de Vistas de Manaus.
+ 
+George Huebner. Álbum Vistas de Manaus, c, 1900. Manaus, Amazonas / Acervo IMS
+ 
+1902 – Associou-se a Libânio do Amaral (? – 1920), professor de Belas Artes. A Photographia Allemã ficava na rua Eduardo Ribeiro (O Palito, 1º de junho de 1902).
+Lindos leques em que se aprecia o primor artístico do exímio desenhista Libânio Amaral da acreditada Photographia Allemã de Huebner & Amaral seriam os mimos para a barraca amazonense (Quo vadis?, 21 de novembro de 1902, última coluna).
+Huebner & Amaral fizeram vistas da festa de Natal de 1902 e realizaram uma estereotipia da festa do Christo, em Manaus (Quo vadis?, 28 de dezembro de 1902, quinta coluna).
+Huebner forneceu 8 retratos para o Ginásio Amazonense (Mensagens do governador do amazonas para a Assembleia, 1902).
+1903 – A delegacia fiscal do Amazonas comprou um retrato do presidente da República, Rodrigues Alves, realizado por Huebner & Amaral (Quo vadis?, 28 de janeiro de 1903, quinta coluna).
+O etnólogo alemão Theodor Koch-Grünberg chegou a Manaus para iniciar sua expedição ao alto Rio Negro, patrocinado pelo Museu de Berlim. Dois anos antes havia se apresentado como voluntário do Museu Etnográfico de Berlim e, em 1902, foi contratado como pesquisador assistente trabalhando sob a tutela do pesquisador Karl von den Steinen. Nesse mesmo ano, obteve seu doutoramento na Universidade de Würzburg.
+Theodor conheceu Huebner, com quem estabeleceu laços de amizade e uma colaboração profissional de quase 22 anos, que só terminaria com sua morte prematura por malária, em 1924, em Vista Alegre, no atual estado de Roraima. Segundo Andreas Valentin, a parceria entre os dois já se transformara em cumplicidade, que transparecia nas suas cartas. É importante, no entanto, lembrar que Huebner não tivera formação superior de qualquer espécie. Era de se esperar que um homem das ciências, para ser reconhecido como tal, fosse treinado e passasse por todos os trajetos e rituais da Academia. Não foi este o caso de Huebner. A confiança que ele conquistou não só de Koch Grünberg como também de outros cientistas e instituições, principalmente após abandonar o negócio fotográfico, se deve aos seus próprios méritos, como profissional dedicado não apenas à sua atividade-fim, mas também como investigador meticuloso, preciso e sempre em busca do desconhecido. Acrescenta-se, ainda, a postura humanista que eles compartilhavam em sua preocupação com a rápida extinção dos índios.
+1904 – O folheto Kautschukgewinnung am Amazonen – Strome, de 15 páginas, sem data, fazia parte da bibliografia do artigo “Chelonios do Brasil”. Foi publicado como texto explicativo de 8 grandes fotografias publicadas pelos srs. G. Huebner & Amaral, de Manaus. Contém uma breve resenha da indústria de borracha no amazonas, com indicações originais sobre as árvores de borracha, os seringais, os processos de extração e preparação e a exportação (Boletim do Museu Paraense de História Natural e Etnografia, 1904 )
+Huebner e Amaral ofereceram  à redação do jornal Quo Vadis? duas lindas coleções de bilhetes postais, com fotografias de Manaus e do interior do Amazonas (Quo vadis?, 11 de fevereiro de 1904, segunda coluna). Ao Jornal do Commercio(AM), ofereceram fotografias do edifício do jornal onde funcionavam seus escritórios e oficinas (Jornal do Commercio (AM), 13 de abril de 1904, segunda coluna).
+Huebner & Amaral realizaram quadros de 110 cm sobre 86, ampliações de fotografias, em moldura de madeira da terra, das diversas fases do cultivo e do beneficiamento da borracha (Jornal do Commercio, 17 de abril de 1904, segunda coluna).
+Huebner chegou em Manaus, vindo de Belém, no vapor Campos Salles (Jornal do Commercio (AM), 14 de junho de 1904, quarta coluna).
+O monsenhor Luis Gonzaga de Oliveira e um grupo de seus ex-discípulos foram fotografados no ateliê de Huebner & Amaral. Durante a reunião, o compositor Caetano Briones executou ao piano a música Rio Negro, de sua autoria (Jornal do Commercio (AM), 19 de junho de 1904, quarta coluna).
+Huebner estava em Dresden, na Alemanha (Jornal do Commercio (AM), 23 de setembro de 1904, terceira coluna). Em 29 de outubro, já estava de volta em Manaus (Jornal do Commercio (AM), 29 de outubro de 1904, segunda coluna).
+O governador do Amazonas, coronel  Constantino Neri (1859 – 1926), foi presenteado com uma fotografia dele produzida por Huebner & Amaral (Jornal do Commercio (AM), 9 de dezembro de 1904, segunda coluna).
+O ateliê de Huebner & Amaral é elogiado como o preferido do público devido às incontestáveis provas de competência (Jornal do Commercio (AM), 15 de dezembro de 1904, quarta coluna).
+1905 - Exposição de retratos produzidos por Huebner & Amaral dos cinco presidentes do Brasil até então: Deodoro da Fonseca (1827 – 1892), Floriano Peixoto (1839 – 1895), Prudente de Morais (1841 – 1902), Campos Salles (1841 – 1913) e Rodrigues Alves (1848 – 1919) (Jornal do Commercio (AM), 11 de fevereiro de 1905, segunda coluna).
+Huebner foi um dos fiscais do carnaval realizado na primeira avenida de Manaus (Jornal do Commercio (AM), 7 de março de 1905, primeira coluna).
+Huebner importou artigos fotográficos da Europa (Jornal do Commercio (AM), 9 de junho de 1905, quarta coluna).
+Durante uma sessão na Academia de Letras, em Manaus, Huebner teve uma discussão com o fotógrafo italiano Panigal. Amobos fotografavam a ocasião (Jornal do Commercio, 6 de agosto de 1905, última coluna).
+1906 – Huebner e Libânio do Amaral adquiriram, em Belém, o ateliê fotográfico Fidanza, que havia sido o mais tradicional do Pará – pertencia ao fotógrafo português Felipe Augusto Fidanza (c. 1847 – 1903), que havia se suicidado três anos antes. O ateliê ficava na rua Conselheiro João Alfredo, 23.
+Huebner encontrava-se em Funchal, cidade portuguesa na Ilha da Madeira (Jornal do Commercio, 5 de junho de 1906, quarta coluna). Seguiu para Hamburgo (Jornal do Commercio (AM), 21 de junho de 1906, quarta coluna).
+Foi editado durante o governo do coronel Constantino Neri (1859 – 1926) no Amazonas, o álbum Vale do Rio Branco – Estado do Amazonas com fotografias produzidas por Huebner. Foi coordenado pelo engenheiro militar Alfredo Ernesto Jacques Ourique (1848 – 1932). Ele e Huebner faziam parte da comitiva da viagem que o governador Neri fez pelo rio Branco, em 1904, a  bordo do Vapor Mararyr. Eles documentaram a vida ribeirinha, as paisagens, as fazendas, as ruínas do Forte São Joaquim, a fronteira do Brasil com a Guiana Inglesa e a população indígena. O álbum Vale do Rio Branco foi editado em Dresden, na Alemanha, ficou pronto, em 1906. Só foi divulgado na Exposição Nacional de 1908, no Rio de Janeiro: todas as gravuras são magníficas, sendo o trabalho do álbum verdadeiramente artístico, feito no estrangeiro (Jornal do Brasil, 24 de junho de 1908, segunda coluna).
+Huebner & Amaral fotografaram os assassinos da família Pacoty (Jornal do Commercio (AM), 22 de setembro de 1906, quarta coluna).
+1907 – Ao longo desse ano, Huebner importou material fotográfico da Europa.
+Na opulenta vitrine da acreditada fotografia de Huebner & Amaral, exposição de retratos do governador Constantino Neri e dos coronéis Antonio Bittencourt e Afonso de Carvalho (Jornal do Commercio (AM), 15 de dezembro de 1907, terceira coluna).
+1908 – Um funcionário da Photographia Allemã foi preso, acusado de roubar dinheiro de Huebner (Jornal do Commercio (AM), 10 de janeiro de 1908, última coluna).
+A Photographia Allemã inaugurou uma exposição de quadros do artista plástico Ernest Vollbehr (1876 – 1960) (Jornal do Commercio (AM), 18 de fevereiro de 1908, última coluna).
+Huebner fotografou o grupo Club Cabocolin, de foliões que se fantasiavam de índios (Jornal do Commercio (AM), 3 de março de 1908, terceira coluna).
+Exposição de um retrato da sra. Zuleide de Barros, executado por Huebner, que seria mostrado na Exposição Nacional de 1908, no Rio de Janeiro (Jornal do Commercio (AM), 5 de março de 1908, quinta coluna).
+Pela primeira vez, Huebner viajou para o Rio de Janeiro, onde ele e Libânio do Amaral ganharam a medalha de prata e a medalha de ouro pelo Amazonas e o Grande Prêmio pelo Pará, na Exposição Nacional de 1908 (Almanak Laemmert, 1909).
+Na gerência do Jornal do Commercio de Manaus, exposição de fotografias de autoria de Huebner realizadas na seção amazonense da Exposição Nacional (Jornal do Commercio (AM), 10 de setembro de 1908, primeira coluna).
+Realização de um trabalho sobre os índios Macuchi e Wapishana, por Huebner e pelo etnologista e explorador alemão Theodor Koch Grumberg (1872 – 1924) sobre aspectos dessas tribos, por exemplo, seus vocabulários (Boletim do Museu Paranaense de História Natural e de Etnografia, 1909).
+1909 – Exposição de uma fotografia produzida pela casa Huebner & Amaral da passeata da Sociedade do Tiro Brasileiro do Amazonas (Jornal do Commercio (AM), 7 de janeiro de 1909, primeira coluna).
+Huebner & Amaral ofereceram ao Jornal do Commercio fotografias da inauguração do Cristo no Tribunal do Juri (Jornal do Commercio (AM), 23 de junho de 1909, segunda coluna)
+Huebner participou da expedição para prestar socorro às vítimas da enchente do rio Amazonas. As fotografias foram expostas mostrando a desolação causada pela enchente (Jornal do Commercio (AM), 4 de julho de 1909, quinta coluna, e 5 de julho, quarta coluna).
+1910 – Huebner e Libânio do Amaral eram credores do estado do Amazonas pela realização de trabalhos fotográficos para a Comissão de Saneamento e para a Polícia, e também pela publicação da obra Vale do Rio Branco (Relatório dos presidentes dos estados brasileiros (AM), 1910, página 525, página 559 e página 580).
+No salão nobre da Photographia Allemã, exposição de um excelente retrato em nítida fotogravura do fundador do Jornal do Commercio de Manaus, o português Joaquim Rocha dos Santos (Jornal do Commercio (AM), 4 de janeiro de 1910, última coluna).
+George Huebner e Libânio Amaral estão na Alemanha (Jornal do Commercio (AM), 15 de agosto de 1910, quinta coluna).
+1911 – Foi publicada uma propaganda da Photografia G. Huebner & Amaral que estaria à disposição do público para executar qualquer trabalho fotográfico a partir do dia 1º de janeiro de 1911, no Rio de Janeiro. Ficava no edifício de O Paiz, com entrada pela rua Sete de Setembro. O prédio ficava na esquina da avenida Central com Sete de Setembro (A Notícia, 2 de janeiro de 1911, última coluna e  Jornal do Commercio (AM), 27 de janeiro de 1911, penúltima coluna).
+Fotografias da extração da borracha e de seu beneficiamento realizadas por Huebner & Amaral ganharam a medalha de ouro na exposição de borracha anexa ao Congresso Comercial, Industrial e Agrícola realizada em Manaus em fevereiro de 1911 (Jornal do Commercio (AM), 18 de março de 1911, terceira coluna e 19 de março de 1911, última coluna).
+A revista Fon Fon publica uma matéria elogiando o ateliê de Huebner & Amaral. A fotografia junta patenteará aos nosso leitores o conforto e a sóbria elegância desse atelier, cujos trabalhos são verdadeiras maravilhas (Fon-Fon, 22 de abril de 1911).
+ 
+Fotografia do ateliê Huebner & Amaral, no Rio de Janeiro, publicada na revista Fon-Fon, 22 de abril de 1911
+ 
+Reputado estabelecimento de arte, a Photographia Allemã passou por várias reformas (Jornal do Commercio (AM), 24 de dezembro de 1911, segunda coluna e 25 de dezembro, primeira coluna).
+1912 – Huebner e Libânio do Amaral ofereceram ao Centro Cívico Sete de Setembro uma fotografia do barão do Rio Branco (A Imprensa, 20 de março de 1912, terceira coluna).
+O endereço do estabelecimento dos fotógrafos passou a ser avenida Rio Branco, 128 – com a morte do barão do Rio Branco, a avenida Central passou a se chamar avenida Rio Branco.
+Huebner chegou ao Maranhão, vindo do Rio de Janeiro (Jornal do Commercio (AM), 20 de abril de 1912, pen~ultima coluna).
+Huebner e Libânio do Amaral e outros proprietários e empregados de estabelecimentos fotográficos requerem que o governo decrete uma lei que determine o fechamento de suas casas comerciais aos domingos (A Imprensa, 13 de abril de 1912, primeira coluna). O pedido foi indeferido (A Imprensa, 8 de junho de 1912, última coluna).
+Notícia de que Huebner e dona Maria Ângela pagaram imposto de transmissão de propriedade. Será ela esposa de Huebner? (Jornal do Commercio (AM), 30 de junho de 1912, segunda coluna).
+Huebner & Amaral cobraram do senhor Carlos Simas, empregado do Banco do Brasil, o pagamento de uma encomenda de fotografias (Jornal do Commercio (AM), 8 de julho de 1912, penúltima coluna).
+Publicação de uma carta enviada do rio Orinoco do etnólogo alemão Theodor Koch-Grünberg (1872 – 1924) a Huebner na qual ele narra seu encontro com indígenas em dezembro de 1911 (Jornal do Commercio (AM), 11 de julho de 1912, quinta coluna).
+Denúncia de tráfico de índios no interior do Amazonas feita Koch-Grünberg, que encaminhou dois indígenas escravizados para a residência de Huebner e Amaral (Jornal do Commercio (AM), 17 de julho de 1912, terceira coluna).
+1917 – A Photographia Huebner & Amaral reabriu em 11 de setembro, na rua da Assembleia, 100, antigo endereço da Photographia Guimarães, do fotógrafo português José Ferreira Guimarães (1841 – 1924) (Jornal do Commercio, 9 de setembro de 1917).
+ 
+Anúncio da reabertura da G. Huebner, Amaral & C. Photpgraphos – Jornal do Commercio, 9 de setembro de 1917
+ 
+A Photographia Huebner & Amaral foi apedrejada por populares em revolta contra a pirataria alemã. Os mostruários do estabelecimento fotográfico foram destruídos (Diário de Pernambuco, 15 de novembro de 1917, quinta coluna).
+ 
+George Huebner. Álbum Vistas de Manaus – Ponte dos Remédios, c. 1890. Manaus, Amazonas / Acervo IMS
+ 
+1918 – O Almanak Laemmert anunciou o estabelecimento fotográfico G. Huebner, Amaral & Cia, na rua da Assembleia, 100, no Rio de Janeiro.
+O estabelecimento fotográfico G. Huebner & Amaral, em Manaus, na avenida Eduardo Ribeiro, foi anunciado pela última vez no Almanak Laemmert.
+1919 – O estabelecimento fotográfico G. Huebner & Amaral, de Belém, na rua Conselheiro João Alfredo, foi anunciado pela última vez no Almanak Laemmert.
+Foi anunciada a dissolução da sociedade entre George Huebner, Libânio do Amaral e Paulo Erbe, sócio-gerente da firma desde 1912, que passou a ser o único dono do estabelecimento fotográfico G. Huebner, Amaral & Cia (Jornal do Commercio, 23 de novembro de 1919, oitava coluna). Erbe se estabeleceu, posteriormente, na rua República do Peru, nº 100.
+ 
+Jornal do Commercio, 23 de novembro de 1919
+ 
+1928 - Foi introduzida no Jardim Botânico do Rio de Janeiro a palmeira Leopoldinia piassaba Wallace, da região do rio Negro, no Amazonas, adquirida de George Huebner, em Manaus (Rodriguésia, junho / setembro de 1936).
+1929 – O estabelecimento fotográfico G. Huebner & Amaral, do Rio de Janeiro, na rua República do Peru, 100, foi anunciado pela última vez no Almanak Laemmert.
+1930 -  Huebner foi identificado como um incansável estudioso, abrigado infelizmente na mais severa, verídica modéstia, quem primeiramente (da sua chácara perdida num obscuro arrabalde de Manaus) revelou aos meios científicos esse bizarro exemplar da família das palmaceas…a sohnregia excelsa… (Eu sei tudo, maio de 1930).
+Foi publicado o artigo As nossas plameiras como elemento de decoração, de autoria de Huebner (O Campo, fevereiro de 1930).
+1935 – George Huebner, que em seus últimos anos de vida, vivia em um sítio nos arredores de Manaus coletando espécies vegetais, sobretudo orquídeas, faleceu.
+1944 – Apesar de ter sido rebatizado com o nome de Fotografia Artística, o estúdio Photographia Allemã foi depredado devido aos acontecimentos relacionados à Segunda Guerra Mundial, destruindo parte do acervo fotográfico de Huebner.
+ 
+Andrea C. T. Wanderley
+Editora-assistente e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+Beolens, Bo; GRAYSON, Michael; WATKINS, Michael. The Eponym Dictionary of Reptil. Baltimore: The John Hopkins University Press, 2011.
+ERMAKOFF , George. Rio de Janeiro 1900 – 1930 – Uma crônica fotográfica. Rio de Janeiro: G. Ermakoff Casa Editorial, 2006.
+Hemeroteca Digital da Biblioteca Nacional
+KOSSOY, Boris. Dicionário histórico-fotográfico brasileiro: fotógrafos e ofício da fotografia no Brasil (1833-1910). São Paulo: Instituto Moreira Salles, 2002.
+LEAL, Cláudio de La Rocque. Retrato Paraense. Belém: Fundação Rômulo Maiorana, 1998.
+SCHOEPF, Daniel. George Huebner 1862-1935: um fotógrafo em Manaus. São Paulo: Metalivros, 2005.
+Site O índio na fotografia brasileira
+TACCA, Fernando de. O índio na fotografia brasileira: incursões sobre a imagem e o meio. História, ciências, saúde – Manguinhos – Vol. 18, nº 1, p.191-223. Rio de Janeiro., 2011.
+VALENTIM, Andreas. A fotografia amazônica de George Huebner. Rio de Janeiro: Nau Editora, 2012.
+VALENTIM, Andreas. George Huebner e Theodor Koch-Grünberg: diálogos na Amazônia, 1905-1924. Trabalho apresentado na 26ª. Reunião Brasileira de Antropologia, realizada entre os dias 1 e 4 de junho de 2008, Porto Seguro, Bahia, Brasil. 
+VALENTIM, Andreas. O índio na fotografia de George Huebner.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/1835` — `itens/20.500.12156.1_1835/`
+- `20.500.12156.1/1838` — `itens/20.500.12156.1_1838/`
+- `20.500.12156.1/1839` — `itens/20.500.12156.1_1839/`
+
diff --git a/wordpress/10998-dia-nacional-do-fotografo.md b/wordpress/10998-dia-nacional-do-fotografo.md
new file mode 100644
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--- /dev/null
+++ b/wordpress/10998-dia-nacional-do-fotografo.md
@@ -0,0 +1,32 @@
+---
+id: 10998
+url: "https://brasilianafotografica.bn.gov.br/?p=10998"
+titulo: "Dia Nacional do Fotógrafo"
+autor: "Andrea Wanderley"
+data: "2018-01-08T10:25:46+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/2560"]
+fetched_at: "2026-09-10T09:54:36.600Z"
+---
+
+# Dia Nacional do Fotógrafo
+
+Marc Ferrez. Retrato de d. Pedro II., c. 1885. Rio de Janeiro, RJ / Acervo IMS
+A Brasiliana Fotográfica faz uma homenagem ao Dia Nacional do Fotógrafo, destacando uma imagem de d. Pedro II, o primeiro brasileiro a possuir um daguerreótipo e, provavelmente, o primeiro fotógrafo nascido no Brasil. Seu interesse foi decisivo para a divulgação e o desenvolvimento da fotografia no país. O registro foi produzido pelo pintor e fotógrafo português Joaquim Insley Pacheco (1830 – 1912), um dos mais  prestigiados e famosos retratistas do Brasil no século XIX.
+Menos de uma no após o anúncio oficial da invençãp, em 19 de agosto de 1839, na França, d. Pedro, aos 14 anos – antes de ser sagrado imperador – adquiriu o equipamento, em março de 1840, cerca de três meses depois que o abade francês Louis Comte (1798 – 1868) apresentou-lhe a novidade, no Rio de Janeiro – como se lê no Jornal do Commercio (Jornal do Commercio, 17 de janeiro de 1840, primeira coluna; e 20 de janeiro de 1840. terceira coluna).
+A realização dos primeiros daguerreótipos no Brasil aconteceu apenas 4 meses depois da produção do primeiro daguerreótipo feito nas Américas, até hoje conhecido. A imagem, de autoria de D.W. Seaver, retratou a igreja de São Paulo, em Nova York, em 16 de setembro de 1839. Foi exibida na drugstore do dr. James Chilton, situada na Broadway, 263. Pouco tempo depois, Samuel Morse (1791 – 1872), o inventor do telégrafo, e John William Draper (1811 – 1882), professor da Universidade de Nova York, produziram daguerreótipos da Igreja Unitária, em diferentes ocasiões, em Nova York. Todas essas imagens produzidas em Nova York estão desaparecidas, o que torna ainda mais importante a existência dos daguerreótipos pioneiros do Brasil.
+ 
+Andrea C. T. Wanderley
+Editora-assistente e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+FERREZ, Gilberto; NAEF, Weston J.. Pioneer Photographers of Brazil, 1840-1920. New York: Center for Inter-American Relations, 1976.
+Hemeroteca Digital da Biblioteca Nacional
+VASQUEZ, Pedro Karp. Dom Pedro II e a fotografia no Brasil. Rio de Janeiro: Fundação Roberto Marinho, 1985.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/2560` — `itens/20.500.12156.1_2560/`
+
diff --git a/wordpress/11041-arquivo-nacional-os-180-anos.md b/wordpress/11041-arquivo-nacional-os-180-anos.md
new file mode 100644
index 0000000..726c526
--- /dev/null
+++ b/wordpress/11041-arquivo-nacional-os-180-anos.md
@@ -0,0 +1,125 @@
+---
+id: 11041
+url: "https://brasilianafotografica.bn.gov.br/?p=11041"
+titulo: "Arquivo Nacional: os 180 anos"
+autor: "Andrea Wanderley"
+data: "2018-01-02T10:25:36+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/5057", "20.500.12156.1/5447", "20.500.12156.1/5446"]
+fetched_at: "2026-09-10T09:54:39.738Z"
+---
+
+# Arquivo Nacional: os 180 anos
+
+O Arquivo Nacional, instituição parceira da Brasiliana Fotográfica, comemora hoje os 180 anos de sua fundação, em 2 de janeiro de 1838. Em meio às poucas imagens conhecidas das sedes ocupadas pelo Arquivo Público do Império tendem a se infiltrar as fotografias do edifício da Casa da Moeda construído em frente ao Campo de Santana, um dos poucos prédios reservados desde sua gênese à função pública na Corte. Com um texto da pesquisadora Claudia Heynemann, o portal homenageia a data e lembra um pouco da história do Arquivo Nacional.
+Arquivo Nacional: os 180 anos
+Claudia Beatriz Heynemann*
+Em meio às poucas imagens conhecidas das sedes ocupadas pelo Arquivo Público do Império tendem a se infiltrar as fotografias do edifício da Casa da Moeda construído em frente ao Campo de Santana, um dos poucos prédios reservados desde sua gênese à função pública na Corte. Bem mais prolífica, a produção de registros sobre aquela instituição inclui estereoscopias, como a impressa por Rodrigues & Co, da década de 1890. De grande sucesso em exposições internacionais, testemunho da popularização do gênero e do processo de urbanização do Rio de Janeiro, o tom do progresso e da dinâmica da cidade é dado aqui pelo contraste entre a solidez da instituição e o bonde que passa apinhado de passageiros na rua ainda vazia da fotografia oitocentista.
+ 
+Editores & propriedade de Rodrigues & Co. Rua do Ouvidor, 57. Casa da Moeda, 1890 – 1900. Rio de Janeiro, RJ / Acervo Arquivo Nacional
+ 
+Em 2004 o conjunto arquitetônico da Casa da Moeda, tombado pelo Iphan e totalmente restaurado, passou a ser a sede definitiva do Arquivo Nacional. Inaugurado em 1866, com a Exposição Nacional, registrada no álbum assinado pelo estúdio Barbosa & Lobo, distante em bem mais de um século de sua ocupação final, era, de todo modo, a face de uma instituição bastante próxima, por seu pressuposto de custódia e confiabilidade. Esse caráter fiduciário do papel moeda, nas palavras de André Rouillé [1] coincidiu em grande medida com o valor de que se imbuiu a fotografia, instâncias revestidas de realidade e verdade. Tais princípios se estenderam ainda às cidades modernas, à prova documental, aos arquivos. Organizações florescentes no século XIX, os arquivos nacionais partilharam a promessa de controle de um mundo complexo com seus planos de organização e arranjo, seu pressuposto de registro e veracidade, no século da História e dos estados nacionais.
+A criação do Arquivo Público deve ser compreendida, assim, a partir de uma matriz e de um campo comum, essencialmente europeu, prevalecendo o do Arquivo Nacional da França. Na experiência brasileira, essa origem vinha distinguida com os matizes de um Estado recém-independente na América o qual, a despeito da citação na Constituição de 1824 e mesmo antes, em decretos de 1823, só viria a ser criado pelo Regulamento nº 2 de 2 de janeiro de 1838, estabelecido em caráter provisório na Secretaria de Estado dos Negócios do Império, com as assinaturas do regente Pedro de Araújo Lima (1793 – 1870), futuro marquês de Olinda, e do ministro da Justiça e interino do Império, Bernardo Pereira de Vasconcelos (1795 – 1850) (Jornal do Commercio, 18 de janeiro de 1838, última coluna). Trinta anos após o desembarque da corte joanina no Rio de Janeiro, quando a criação ou migração de inúmeros órgãos foi vista como ruptura com a condição colonial, vinculava-se à necessidade do Estado de organizar informações sem, contudo, descuidar da “história do Império”. Sua primeira sede situava-se no edifício do Ministério do Império, na rua da Guarda Velha, atual Treze de Maio. A segunda, na rua Direita.
+ 
+Anônimo. Arquivo Público do Império, s/d. Rua Direita, Rio de Janeiro, RJ / Acervo Arquivo Nacional
+ 
+Em seus primórdios, o Arquivo enfrentou muitos obstáculos, na obtenção de uma sede permanente, ou no recolhimento do acervo, premido pela necessidade de reunir documentos existentes nas secretarias dos ministérios e pelo suprimento de “lacunas” constatadas no acervo sobre a história do país, recorrendo essencialmente aos arquivos portugueses. O pressuposto de que haveria uma narrativa histórica a ser constituída por documentos norteou medidas como a previsão do cargo de cronista voltado a escrever “com exatidão e circunstanciado desenvolvimento as efemérides sociais e políticas do Brasil”. A década de 1870 encontra o Arquivo no antigo prédio do Recolhimento do Carmo, em situação mais estável e, sob a direção de Joaquim Machado Portela quando é anunciado um plano de classificação nos moldes franceses, paradigma da metodologia arquivística de então.
+ 
+Anônimo. Arquivo Público do Império, 1870 – 1907. Rua dos Ourives, Rio de Janeiro, RJ / Acervo Arquivo Público
+ 
+Novas inflexões na história da Instituição alcançam o século XX, sendo notória a gestão do historiador José Honório Rodrigues (1958-1963) que buscou dotar o órgão de uma personalidade propriamente arquivística, propondo uma política nacional de arquivos, insistindo no recolhimento da “documentação federal” entre outras providências que recusaram a visão tradicional do arquivo como “velho guardião da memória”. Os anos 1980 foram decisivos para o Arquivo Nacional: a adoção do Projeto de Modernização Institucional Administrativa, a passagem para órgão autônomo da administração direta na estrutura do Ministério da Justiça e a mudança para o edifício anexo à antiga Casa da Moeda em janeiro de 1985 foram acompanhadas do lançamento da revista Acervo, de projetos inéditos na área de pesquisa e difusão, além da continuidade e aprofundamento das políticas de gestão e preservação que, a partir da década de 1970, situaram o Arquivo Nacional no campo da moderna teoria arquivística.
+A Lei Nacional de Arquivos, ou Lei n.º 8.159, de 8 de janeiro de 1991 levou o Arquivo Nacional a atingir parte substantiva de seus objetivos ao estabelecer como dever do Poder Público, “a gestão documental e a proteção especial a documentos de arquivos, como instrumento de apoio à administração, à cultura, ao desenvolvimento científico e como elementos de prova e informação”. Assegura ao Arquivo Nacional “a gestão e o recolhimento dos documentos produzidos e recebidos pelo Poder Executivo Federal, bem como preservar e facultar o acesso aos documentos sob sua guarda, e acompanhar e implementar a política nacional de arquivos”. A criação do Conselho Nacional de Arquivos – Conarq em 1992, a instituição do Sistema de Gestão de Documentos de Arquivo – SIGA, da Administração Pública Federal em 2003, inscrevem-se entre as principais ações voltadas à gestão e proteção aos documentos de arquivo, tendo o Arquivo Nacional como órgão central desses sistemas.
+A instituição participa de diversos organismos internacionais como a ALA (Associação Latino Americana de Arquivos), o CIA (Conselho Internacional de Arquivos), ou a COLUSO (Comissão luso-brasileira para salvaguarda do patrimônio luso-brasileiro), o Programa ADAI e o Comitê Nacional do Brasil do Programa Memória do Mundo da Unesco; integra, ainda, o Projeto InterPARES – International Research on Permanent Authentic Records in Electronic System (Pesquisa Internacional sobre Documentos Arquivísticos Autênticos Permanentes em Sistemas Eletrônicos), além de cooperar e manter convênios com muitas universidades para projetos comuns.
+O Arquivo Nacional exerce sua missão também por meio de atividades de pesquisa, produção de conhecimento e da difusão nas diferentes áreas de sua competência. Publicações, exposições, concursos de monografias, sítios web, bases de dados, seminários, um dos mais importantes laboratórios de preservação da América Latina, a participação em um portal colaborativo como a Brasiliana Fotográfica são iniciativas e perspectivas adotadas por um organismo que, em sua origem, restringia o acesso à burocracia, seguindo uma política de sigilo e que teria portanto encontrado “sérias dificuldades para realizar os objetivos inerentes a esse tipo de instituição: ‘instrumentalizar’ a ação administrativa do Estado nacional emergente e subsidiar a pesquisa histórica” [2].
+Sua sede no Rio de Janeiro divide com a Coordenação Regional de Brasília a guarda de um acervo avaliado em cerca de 55 km de documentos [3]. Esse universo congrega registros datados do século XVI aos dias de hoje, provenientes da administração colonial, do governo metropolitano, de ministérios e órgãos do Império e da República, de indivíduos e instituições privadas, coleções e itens documentais, documentos audiovisuais e cartográficos, uma biblioteca especializada nas áreas afins à missão institucional e uma coleção de livros, folhetos e periódicos raros de cerca de 7 mil títulos. De muitas formas o Arquivo Nacional procura hoje responder aos dilemas característicos da história das instituições arquivísticas; às inegáveis rupturas operadas nas sociedades contemporâneas a partir das redes tecnológicas, com seus novos atores, leituras e reinterpretações de seu patrimônio, e a toda complexidade que os 180 anos comportam.
+ 
+Acessando o link para as fotografias da antiga Casa da Moeda, sede do Arquivo Nacional, disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+*Claudia Beatriz Heynemann – Doutora em História | Pesquisadora do Arquivo Nacional
+ 
+[1] ROUILLÉ, André. A fotografia: entre documento e arte contemporânea. São Paulo: Editora Senac, 2009, p. 51.
+[2] COSTA, Célia. Arquivo Público do Império: o Legado Absolutista na Construção da Nacionalidade. Estudos Históricos, Rio de Janeiro, vol. 14, nº 26, 2000, p. 217-231.
+[3] O Sistema de Informações do Arquivo Nacional – SIAN é a principal base de dados da instituição para consulta ao acervo. Outras bases de dados e sites podem ser acessados no site do Arquivo Nacional.
+ 
+ 
+Retrospectiva das sedes e denominações do Arquivo Nacional  e dos diretores do Arquivo Nacional
+Andrea C. T. Wanderley**
+ 
+1838 – O Arquivo Público do Império situa-se na rua da Guarda Velha, atual Treze de Maio, no edifício do Ministério do Império (Jornal do Commercio, 18 de janeiro de 1838, última coluna).
+1844 – Transfere-se para a Praça do Comércio, por cima da rua Direita, atual Primeiro de Março (Almanak Administrativo, Mercantil e Industrial do Rio de Janeiro, 1845).
+1845 – Volta a sua primeira sede, na rua da Guarda Velha (Almanak Administrativo, Mercantil e Industrial do Rio de Janeiro, 1848).
+1855 – Está sediado no edifício do Convento de Santo Antônio (Almanak Administrativo, Mercantil e Industrial do Rio de Janeiro, 1856).
+1870 - Situa-se no segundo andar do antigo edifício do Recolhimento do Parto dos Terceiros da Ordem do Carmo, na rua dos Ourives, nº 1, atual rua Miguel Couto (Almanak Administrativo, Mercantil e Industrial do Rio de Janeiro, 1871).
+1889 – Com a proclamação da República, passa a chamar-se Arquivo Público Nacional (Jornal do Commercio, 20 de novembro de 1889, última coluna).
+1907 – Ocupa a antiga sede do Museu Nacional, na Praça da República (Almanak Administrativo, Mercantil e Industrial do Rio de Janeiro, 1908).
+1911 – Muda sua denominação para Arquivo Nacional.
+1934 - Publicação de um artigo sobre a Casa da Moeda com uma fotografia do atual prédio do Arquivo Nacional (Revista da Semana, 23 de junho de 1934).
+1985 – Após a transferência da Casa da Moeda do Brasil para instalações maiores, o Arquivo Nacional ocupa um dos prédios da instituição, construído nos anos 70 para a fabricação de papel-moeda (Jornal do Brasil, 3 de janeiro , primeira coluna; e 4 de janeiro, última coluna, de 1985).
+2004 – O conjunto arquitetônico da Casa da Moeda, tombado pelo Iphan e totalmente restaurado, passa a ser a sede definitiva do Arquivo Nacional (Jornal do Commercio, 6 de setembro de 2004; O Estado de São Paulo, 9 de setembro de 2004, página A-7).
+ 
+Retrospectiva dos diretores do Arquivo Nacional
+ 
+Ciro Cândido Martins de Brito (1840 – 1857)
+José Tomás de Oliveira Barbosa (interino) (1857 – 1860)
+Antonio Pereira Pinto (1860 – 1869)
+Joaquim Caetano da Silva (1869 – 1873)
+Joaquim Pires Machado Portela (1873 – 1898)
+Pedro Veloso Rebelo (1899 – 1902)
+Francisco Joaquim Bethencourt da Silva (1902 – 1910)
+
+Alcebíades Estevão Furtado (1910 – 1915)
+
+Frederico Schumann (1915 – 1917)
+
+Luís Gastão d’Escragnolle Dória (1917 – 1922)
+
+João Alcides Bezerra Cavalcanti (1922 – 1938) Eugênio Vilhena de Morais (1938 – 1958)
+
+José Honório Rodrigues (1958 – 1964)
+
+Roberto Dias Groba (1964)
+
+Pedro Moniz de Aragão (1964 – 1969)
+
+Raul do Rego Lima (1969 – 1980)
+
+Celina Vargas do Amaral Peixoto (1980 – 1990)
+
+Tereza Maria Sussekind Rocha (interina) (1990 – 1991)
+
+Maria Alice Barroso (1991 – 1992)
+
+Jaime Antunes da Silva (1992 – 2016)
+
+Maria Isabel de Oliveira (interina) (2016)
+
+José Ricardo Marques (2016)
+
+Ivan Fernandes Neves (interino) (2016)
+
+José Ricardo Marques (2016 – 2017)
+
+Diego Barbosa (2017)
+
+Carolina Chaves de Azevedo ( 2017)
+
+ 
+**Andrea C. T. Wanderley
+Editora-assistente e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+ESTEVÃO, Silvia Ninita de Moura; FONSECA, Vitor Manoel Marques da. A França e o Arquivo Nacional do Brasil. Acervo, Rio de Janeiro, v. 23, no 1, p. 81-108, jan/jun 2010.
+Folha de São Paulo, 18 de novembro de 2002.
+LUCENA, Felipe. História do Arquivo Nacional. Diário do Rio, 2016.
+Portal do Iphan
+VERARDI, Cláudia Albuquerque. Arquivo Nacional: a memória de uma nação. Pesquisa Escolar Online, Fundação Joaquim Nabuco, Recife.
+Site do Arquivo Nacional
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/5057` — `itens/20.500.12156.1_5057/`
+- `20.500.12156.1/5447` — `itens/20.500.12156.1_5447/`
+- `20.500.12156.1/5446` — `itens/20.500.12156.1_5446/`
+
diff --git a/wordpress/11127-os-arcos-da-lapa-e-os-bondes-de-santa-teresa.md b/wordpress/11127-os-arcos-da-lapa-e-os-bondes-de-santa-teresa.md
new file mode 100644
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--- /dev/null
+++ b/wordpress/11127-os-arcos-da-lapa-e-os-bondes-de-santa-teresa.md
@@ -0,0 +1,62 @@
+---
+id: 11127
+url: "https://brasilianafotografica.bn.gov.br/?p=11127"
+titulo: "Os Arcos da Lapa e os bondes de Santa Teresa"
+autor: "Andrea Wanderley"
+data: "2018-06-06T13:01:01+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/4433", "20.500.12156.1/2961", "20.500.12156.1/2135"]
+fetched_at: "2026-09-10T09:54:43.026Z"
+---
+
+# Os Arcos da Lapa e os bondes de Santa Teresa
+
+Importante obra arquitetônica do período colonial do Brasil, os Arcos da Lapa, situados no bairro da Lapa, um dos redutos da boemia carioca, são um dos símbolos mais importantes do Rio de Janeiro Antigo e também um dos mais famosos cartões-postais da cidade. Foram inaugurados em 1750, durante o governo de Antônio Gomes Freire de Andrade (1685 – 1763), futuro primeiro conde de Bobadela*, substituindo um aqueduto que existia desde 1723. Seu projeto é atribuído ao brigadeiro português José Francisco Pinto Alpoim (1700 – 1765). Em estilo romano, têm 270 metros de extensão com 42 arcos duplos de alvenaria, e distribuíam à população carioca as águas da nascente do Rio Carioca a partir de um chafariz em mármore com 16 bicas de bronze aos pés do Convento de Santo Antônio.
+Acessando o link para as fotografias dos Arcos da Lapa e dos bondes de Santa Teresa disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Georges Leuzinger. Arcos, Santa Theresa e Glória, c. 1867. Rio de Janeiro, RJ / Convênio Instituto Moreira Salles – Leibniz-Institut für Länderkunde
+ 
+A partir de 1º de setembro de 1896 (O Paiz, 2 de setembro de 1896), os Arcos da Lapa passaram a ser utilizados como viaduto para os também famosos bondes de ferro da Companhia de Carris Urbanos, meio de acesso do centro do Rio ao charmoso bairro de Santa Teresa, que se tornou um dos pólos artísticos da cidade e também destino de milhares de turistas. Tanto os Arcos da Lapa como os bondes de Santa Teresa foram registrados por importantes fotógrafos, dentre eles  Augusto Malta (1864 – 1957), Georges Leuzinger (1813 – 1892), Marc Ferrez (1843 – 1923) e também por anônimos.
+ 
+Augusto Malta. Convento de Santo Antônio, 4 de maio de 1930. Rio de Janeiro, RJ / Acervo Biblioteca Nacional
+ 
+As imagens dos Arcos da Lapa, assim como as do Pão de Açúcar e as do outeiro da Glória, locais que se tornaram marcos da fotografia de paisagem no Rio de Janeiro, foram popularizadas no livro Brasil Pitoresco (1861), primeiro livro de fotografia realizado na América Latina, com imagens produzidas pelo francês Jean Victor Frond (1821 – 1881), entre 1858 e 1860. Segundo Pedro Vasquez, o livro-álbum de Frond foi o “mais ambicioso trabalho fotográfico realizado no país, durante o século XIX”. Foi um importante marco para o fotografia e para as artes gráficas no Brasil. Nele, as fotografias de Frond se tornaram reproduções litográficas executadas em Paris, na Maison Lemercier, por artistas como Charpentier, Aubrun e Cicéri, dentre outros.  O texto do Brasil Pitoresco foi escrito pelo jornalista e político francês Charles Ribeyrolles (1812-1860).
+ 
+Jean Vitor Frond. Os aquedutos do Rio de Janeiro, 1858/1860. Rio de Janeiro, RJ / Do livro Brasil Pitoresco, pag 16 / Acervo FBN
+ 
+ 
+Marc Ferrez. Aqueduto da Carioca , também conhecido como Arcos da Lapa, 1905. Rio de Janeiro, RJ / Acervo IMS
+ 
+*O primeiro conde de Bobadela governou o Rio de Janeiro entre 1733 e 1763. Recebeu o título em 1758.
+ 
+Andrea C. T. Wanderley
+Editora-assistente e pesquisadora do portal Brasiliana Fotográfica
+ 
+Acesse também o artigo Arcos da Lapa: de aqueduto a viaduto, publicado na Brasiliana Iconográfica, em 24 de outubro de 2019.
+ 
+Fontes:
+Bairros da cidade
+Biografia de Gomes Freire de Andrade
+Brasiliana Fotográfica – Jean Victor Frond (França, 1/11/1821 – França, 16/1/1881)
+Diário do Rio
+Hemeroteca Digital da Biblioteca Nacional
+. Correio da Manhã, 23 de junho de 1963
+. Correio da Manhã, 21 de junho de 1964
+. Jornal do Brasil, 26 de junho de 1963
+. Jornal do Commercio, 16 de setembro de 1896
+. O Paiz, 2 de setembro de 1896
+RODRIGUES, Helio Suevo. A formação das estradas de ferro no Rio de Janeiro – o resgate de sua memória. Rio de Janeiro: Sociedade de Pesquisa para Memória do Trem, 2004.
+Site Arcos da Gente
+Site do IPHAN
+Site Infopatrimônio
+Site Inventário dos Monumentos
+Site Monumentos do Rio
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/4433` — `itens/20.500.12156.1_4433/`
+- `20.500.12156.1/2961` — `itens/20.500.12156.1_2961/`
+- `20.500.12156.1/2135` — `itens/20.500.12156.1_2135/`
+
diff --git a/wordpress/11149-o-fotografo-acoriano-christiano-junior-1832-1902-e-sua-importante-atuacao-no-bra.md b/wordpress/11149-o-fotografo-acoriano-christiano-junior-1832-1902-e-sua-importante-atuacao-no-bra.md
new file mode 100644
index 0000000..5296e0f
--- /dev/null
+++ b/wordpress/11149-o-fotografo-acoriano-christiano-junior-1832-1902-e-sua-importante-atuacao-no-bra.md
@@ -0,0 +1,175 @@
+---
+id: 11149
+url: "https://brasilianafotografica.bn.gov.br/?p=11149"
+titulo: "O fotógrafo açoriano Christiano Junior (1832 – 1902) e sua importante atuação no Brasil e na Argentina"
+autor: "Andrea Wanderley"
+data: "2018-09-21T12:52:02+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/5528", "20.500.12156.1/3933", "20.500.12156.1/4735", "20.500.12156.1/5522"]
+fetched_at: "2026-09-10T09:54:46.818Z"
+---
+
+# O fotógrafo açoriano Christiano Junior (1832 – 1902) e sua importante atuação no Brasil e na Argentina
+
+O fotógrafo açoriano José Christiano de Freitas Henriques Júnior nasceu na Ilha das Flores, em 1832. Foi um dos maiores e mais versáteis fotógrafos dos oitocentos, além de empresário atuante em diversos ramos. Chegou ao Brasil, em 1855, com sua esposa, Maria Jacinta Fraga, e com os dois filhos do casal: os futuros fotógrafos José Virgílio e Frederico Augusto. Na década de 1860, quando a fotografia se popularizou no país e passou a ser comercializada em ateliês, Christiano dedicou-se aos retratos de estúdio e tornou-se famoso por seus registros de tipos negros, tendo realizado imagens exclusivamente de escravizados, vendidas, em geral, no formato de cartes de visite. Eram geralmente vendidas para estrangeiros que voltavam à Europa.
+ 
+Christiano Junior com uma de suas netas / Coleção de Abel Alexander, La Nacion*
+ 
+Christiano Junior trouxe os escravizados para dentro do estúdio e em seus registros há closes e retratos deles em uma situação de simulação de suas atividades profissionais mostrando, sobretudo, carregadores e os chamados negros de ganho, que trabalhavam como vendedores nas ruas da cidade e entregavam o lucro para seus proprietários. Os escravizados eram identificados como tipos negros e eram fotografados normalmente de frente ou de perfil e enquadrados no centro, deixando bem evidentes suas características físicas, suas vestimentas e instrumentos de trabalho. Às vêzes, Christiano os retratava diante de fundos pintados com paisagens europeias.
+Também produziu no Brasil e na Argentina uma significativa produção de retratos de tipos locais. Também foi o autor de uma série de fotografias médicas.
+ 
+Christiano Junior. Escravos, 1864-1865 Rio de Janeiro, RJ / Acervo FBN
+ 
+A primeira notícia que se tem até hoje do início da atuação de Christiano Junior na fotografia no Brasil é de 1862, quando anunciou, em Maceió, Alagoas, seus retratos fotográficos sobre vidro, papel, pano e encerado. No mesmo ano, chegou ao Rio de Janeiro e em anúncio ofereceu seus serviços de fotógrafo.
+Christiano Jr. & Pacheco. Retrato de homem (verso), c. 1870. Rio de Janeiro, RJ / Acervo IMS
+Dois anos depois, era um dos proprietários da Photographia do Commercio, na rua São Pedro, 69 e seu sócio era Fernando Antônio de Miranda. Mudou-se sozinho para a rua da Quitanda, 45, em 1865. A partir do dia 1º de dezembro de 1866, seu amigo Bernardo José Pacheco tornou-se seu sócio em seu estabelecimento fotográfico, que passaria a funcionar com a razão Christiano Junior & Pacheco.
+Em 1867, abriu um ateliê fotográfico, em Mercedes, no Uruguai e, no mesmo ano, em 1º de dezembro, inaugurou em Buenos Aires, um bem sucedido estúdio de fotografia, na rua Florida, nº 159. Na Argentina, celebrizou-se por fotografar tipos locais e paisagens, tendo realizado uma significativa produção de retratos. É considerado um dos mais importantes fotógrafos que atuaram na Argentina durante o século XIX. Em 1878, vendeu seu estúdio em Buenos Aires para Witcomb & Mackern, tendo deixado no arquivo do ateliê um acervo de mais de 170 vistas. Entre 1879 e 1883, viajou pelo interior da Argentina, fotografando várias províncias do país.
+Em 1883, Christiano Junior desvinculou-se de seu último ateliê, em Corrientes. Abandonou temporariamente a fotografia, dedicando-se à produção e comércio de vinhos e licores, os quais vendia ao Brasil, à Argentina e ao Paraguai.
+ 
+Faleceu em 19 de novembro, em Assunção, no Paraguai, e seu necrológio foi publicado na revista argentina Caras Y Caretas de 13 de dezembro de 1902, na página 28.
+ 
+‘Em Assunção do Paraguai, onde vivia retirado há muitos anos pintando fotografias, faleceu na semana passada o velho fotógrafo don Christiano Junior, cuja arte para retratar a antiga família portenha era famosa em seu tempo. Junior foi o antecessor de Witcomb e diante de sua objetiva desfilaram as mais conhecidas damas e cavalheiros daquela época. Morreu pobre, privado quase por completo de sua visão, e deixa uma lembrança agradável em todos os que conheceram.’
+Acessando o link para as fotografias de Christiano Júnior disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+Grande parte da obra de Christiano Junior está sob a guarda da Biblioteca Nacional, do Museu Histórico Nacional, do Arquivo Nacional, do Serviço do Patrimônio Histórico e Artístico Nacional e do Instituto Moreira Salles.
+ 
+  Cronologia de Christiano Júnior (1832 – 1902)
+ 
+Retrato de Christiano Junior, c. 1872/ Site Buenos Aires História
+ 
+1832 – O português José Christiano de Freitas Henriques Junior nasceu na Ilha das Flores, no Arquipélago dos Açores, em 21 de julho de 1832.
+1855 - Chegou ao Brasil com sua esposa, Maria Jacinta Fraga, e com os dois filhos do casal: os futuros fotógrafos José Virgílio (1851 -?) e Frederico Augusto (1853-?).
+1862 – Christiano Junior anunciava, em Maceió, em Alagoas, seus retratos fotográficos sobre vidro, papel, pano e encerado.
+Chegou no Rio de Janeiro e em anúncio ofereceu seus serviços de fotógrafo. Seus trabalhos estariam expostos na casa do sr. Bernasconi e chamados escritos deveriam ser enviados para o Hotel Brysson, na rua d´Ajuda, 57 B. Também aceitava pedidos de quadros e cestas de flores e frutas de cera, imitando perfeitamente o natural (Correio Mercantil, e Instrutivo, Político, Universal, 2 de dezembro de 1862, quinta coluna).
+ 
+Correio Mercantil, e Instrutivo, Político, Universal, 2 de dezembro de 1862
+ 
+1864 - Era um dos proprietários da Photographia do Commercio, na rua São Pedro, 69. Seu sócio era Fernando Antônio de Miranda (Jornal do Commercio, 17 de julho de 1864).
+ 
+Jornal do Commercio, 17 de julho de 1864
+ 
+Almanak Administrativo, Mercantil e Industrial do Rio de Janeiro, 1864
+ 
+1865 - O endereço do estabelecimento fotográfico de Christiano e Miranda mudou para rua da Quitanda, 53 (Almanak Administrativo, Mercantil e Industrial do Rio de Janeiro, 1865).
+Christiano mudou-se sozinho para a rua da Quitanda, 45. Anunciou que em seu estabelecimento, a Photographia e Pintura, fazia cartões de visita, ambrótipos, cenótipos, fotografias coloridas a óleo, aquarela ou pastel, além de retratos para broches e medalhas. Também anunciou a venda de coleções dos costumes dos pretos nessa corte e no interior da província, em cartões para álbuns, coisa muito própria para quem se retira para a Europa  (Jornal do Commercio, 2 de abril de 1865 e Almanak Administrativo, Mercantil e Industrial do Rio de Janeiro, 1866).
+ 
+Jornal do Commercio, 2 de abril de 1865
+ 
+Exposição na Casa Bernasconi de quatro molduras contendo 48 fotografias de autoria de Christiano. Delas 12 costumes de pretos de ganho, vendilhões e outras 12 representam tipos de diferentes nações da raça africana. Essas 24 imagens foram oferecidas a d. Pedro II (1825 – 1891). As outras 24 foram enviadas à eExposição Internacional do Porto e oferecidas a d. Fernando, rei de Portugal (Correio Mercantil, 22 de julho de 1865, penúltima coluna).
+Participou da Exposição Internacional do Porto e suas obras, assim como as do fotógrafo Joaquim Insley Pacheco (1830 – 1912), foram expostas na seção de Belas-Artes (Jornal do Commercio, de 1865, terceira coluna).
+Christiano Jr, identificado como fotógrafo bastante conhecido pelos excelentes trabalhos executados em sua oficina, doou 400 fotografias do falecido cônsul de Portugal, Antonio Emilio Machado Reis, para ajudar à família do diplomata. Houve uma exposição das fotos na sociedade Madrepora, instituída por Machado Reis (Correio Mercantil, 1º de novembro de 1865, terceira coluna).
+1866 - Publicação de anúncio da Galeria Photographica e de Pintura na seção de “Notabilidades” do Almanaque Administrativo, Mercantil e Industrial do Rio de Janeiro. Christiano Junior anunciava que havia reaberto seu estabelecimento fotográfico após uma reforma e oferecia timbres-postes, fotografias em diversas dimensões – até a natural -, podendo ser coloridas por várias técnicas, retratos em cenótipos, fotografias de homens célebres, além de uma variada coleção de costumes e tipos de pretos, coisa muito própria para quem se retira para a Europa.
+ 
+
+ 
+Estabelecido na rua da Quitanda, 45, Christiano fez uma exibição de retratos para cartas, uma nova e interessante aplicação da fotografia, realizada a partir de um instrumento que em 15 segundos dá 12 e 24 retratos, pequenos, mas nem por isso menos parecidos. Os retratos seriam usados para marcar o papel de carta, o que anteriormente era feito com a iniciais do remetente (Diário de São Paulo, 4 de fevereiro de 1866, segunda coluna).
+ 
+Diário de São Paulo, 4 de fevereiro de 1866
+ 
+No verso de uma de suas cartas de visita oferecia retratos em lenço, costumes e tipos de índios, cópias de gravuras de Morgado de Mateus reproduzidas de uma rara edição de Os Lusíadas, retratos em porcelana, e em marfim, retratos em vidro para ver por transparências, vistas para estereoscópios, retratos de homens célebres, monarcas, guerreiros, literatos, etc.
+Participou da II Exposição Nacional e o que apresentou foi saudado como excelentes retratos e perfeitíssimas reproduções de uma dúzia de gravuras. Conquistou a medalha de bronze (Semana Ilustrada, 18 de novembro de 1866, segunda coluna e Diário do Rio de Janeiro, 1º de fevereiro de 1867, última coluna).
+Sobre ele, o pintor Victor Meirelles (1832 – 1903), que assinou em nome do júri do quarto grupo – onde se incluía a fotografia – comentou no Relatório da II Exposição Nacional do Rio de Janeiro:
+‘Os trabalhos deste senhor não são menos dignos de atenção por algumas boas qualidades que contêm. As reproduções das gravuras da obra ilustrada: Os Lusíadas, de Camões, publicada em 1817, por D. José Maria de Souza Botelho – Morgado de Mateus, etc, etc, são bem copiadas, e não podemos deixar de louvar tão feliz lembrança, bem como o serviço que presta aos artistas e amadores das belas artes pela propagação dessas belas composições artísticas devidas ao lápis dos célebre pintores Gerard e  Fragonard.      
+Christiano Junior participou que, a partir do dia 1º de dezembro de 1866, seu amigo Bernardo José Pacheco passaria a ser seu sócio em seu estabelecimento fotográfico, na rua da Quitanda, 45, que passaria a funcionar com a razão Christiano Junior & Pacheco (Jornal do Commercio, 3 de dezembro de 1866, quarta coluna e Almanak Administrativo, Mercantil e Industrial do Rio de Janeiro, 1867).
+ 
+ 
+Jornal do Commercio, 3 de dezembro de 1866
+ 
+Em torno desse ano, realizou uma série de fotografias médicas.
+ 
+Christiano Junior. Elephantiasis : [homem nu com deformidade nos órgãos genitais, pernas e pés: retrato, c. 1866. Rio de Janeiro, RJ / Acervo FBN
+1867 – Christiano Junior estava em Desterro, atual Florianópolis, e abriu um ateliê fotografico na rua Augusta, 26. Anunciou sua pretensão de fazer algumas vistas da cidade e também de vistas para estereoscopos, além de informar que pretendia ficar apenas por um mês na cidade porque estaria de passagem para o rio da Prata (O Despertador, 1º de fevereiro de 1867 e O Mercantil, 28 de fevereiro de 1867).
+ 
+O Despertador, 1º de fevereiro de 1867
+ 
+O Mercantil, 28 de fevereiro de 1867
+ 
+Abriu um ateliê fotográfico, em Mercedes, no Uruguai.
+Christiano Junior começou a tentar expandir suas atividades na Argentina. Em 1º de dezembro, em Buenos Aires, inaugurou um bem sucedido estúdio de fotografia, na rua Florida, nº 159. Iniciou uma significativa produção de retratos e, segundo os pesquisadores argentinos Abel Alexander e Luis Priano, que examinaram os álbuns relativos ao seu trabalho que estão depositados no Archivo General de la Nación, estima-se que foram produzidos por ele mais de 4 mil retratos entre 1873 e 1875.
+No censo de 1869 de Buenos Aires, constavam os nomes de Christiano e de seus dois filhos. O de sua esposa não, o que indica que provavelmente estavam separados ou ele tinha enviuvado.
+1870 - Em um anúncio, Christiano Junior & Pacheco avisavam que à vista dos mesquinhos preços a que alguns de nossos colegas têm reduzido a fotografia, vemo-nos também obrigados a baixar nossos preços. Informava ainda que Christiano Junior havia trazido de sua casa, em Buenos Aires, um novo sistema, a imitação porcelana, por ele introduzida lá e aqui (Jornal da Tarde, 18 de agosto de 1870).
+ 
+Jornal da Tarde, 18 de agosto de 1870
+ 
+Em francês, anúncio da venda de um produto de combate à umidade na Maison Christiano Junior & Cia. O produto teria sido descoberto por um associado de Christiano em Paris, o pintor químico M. Regnault. A propaganda foi publicada outras vezes (Ba-Ta-clan, 27 de agosto de 1870).
+Christiano Junior & Pacheco anunciavam uma novidade fotográfica, a imitação da porcelana – unicamente se fazem na rua da Quitanda, 45 (Jornal do Commercio, 28 de agosto de 1870, terceira coluna).
+Christiano Junior montou um estúdio fotográfico voltado ao público infantil, a Fotografia de la Infancia, na rua de Las Artes, n. 118, em Buenos Aires.
+Em torno desse ano, fotografou o Conde d´Eu(1842 – 1922), marido da princesa Isabel (1846 – 1921).
+ 
+Christiano Junior. Gastão de Orleans, o conde d’Eu, c. 1870. Rio de Janeiro, RJ / Acervo IMS
+ 
+1871 – Recebeu a medalha de ouro na primeira Exposição Nacional da Argentina, na cidade de Córdoba, com a série de fotos Vistas y costumbres de la Republica Argentina. 
+1873 - Publicação de um anúncio da Photographia de Christiano Junior & Pacheco no Almanak Administrativo, Mercantil e Industrial do Rio de Janeiro, 1873 .
+ 
+Almanak Administrativo, Mercantil e Industrial do Rio de Janeiro, 1873
+ 
+1874 – Christiano Junior & Pacheco eram réus em uma ação movida por Olímpio Militão Vieira na Primeira Vara Cível (Diário do Rio de Janeiro, 10 de dezembro de 1874, primeira coluna).
+1875 – O estabelecimento fotográfico de Christiano Junior & Pacheco foi anunciado pela última vez no Almanak Administrativo, Mercantil e Industrial do Rio de Janeiro, 1875, no endereço rua da Quitanda, 39 a 41.
+Seu ateliê fotográfico voltado ao público infantil, a Fotografia de La Infância, era, segundo anúncio publicado no jornal La Prensa de 04 de fevereiro de 1875, possuidor de máquinas instantâneas que permitem tirar retratos de criaturas inquietas e travessas. O ateliê foi destruído por um incêndio em março de 1875, e foi reaberto pouco depois, à rua Victoria 296, agora gerenciado por seu filho José Virgílio, que havia sido seu ajudante.
+Manoel Garcia Vidal, ex-sócio de Christiano Junior & Pacheco, anunciou a abertura de um estabelecimento fotográfico na rua Sete de Setembro, 76, esquina com Gonçalves Dias (Jornal do Commercio, 17 de março de 1875, sexta coluna).
+Um incêndio destruiu o prédio número 41 da rua da Quitanda, de propriedade da Santa Casa de Misericórdia. No segundo andar ficava o estabelecimento Christiano Junior & Pacheco (Jornal de Recife, 29 de março de 1875, segunda coluna). Eles passaram a atender no ateliê do renomado fotógrafo português José Ferreira Guimarães (1841 – 1924), na rua do Ourives, 38 (Jornal do Commercio, 21 de março de 1875).
+A Photographia de Pacheco, Menezes e Irmão era anunciada como sucessora de Christiano Junior & Pacheco, na rua da Quitanda, 39 (Gazeta de Notícias, 10 de agosto de 1875, terceira coluna).
+ 
+Gazeta de Notícias, 10 de agosto de 1875
+ 
+Christiano tornou-se fotógrafo oficial da Sociedade Rural Argentina e realizou sua primeira exposição pela entidade, da qual se desligaria em 1878.
+1876 – Lançou o primeiro volume da coleção intitulada Album de Vistas e Costumes de La Republica Argentina, que trazia 16 imagens de Buenos Aires acompanhadas por textos explicativos em quatro idiomas. Primeiro trabalho com essas características produzido na Argentina, o material foi, em parte, formado pelo aproveitamento de vistas anteriormente colocadas à venda em seu ateliê. Christiano Júnior nesse trabalho mesclou imagens da Argentina colonial e pastoril com as de uma nova nação, representada sobretudo pelas novas construções.
+Para introduzir o álbum afirmou: ‘Meu plano é vasto e quando estiver completo a República Argentina não haverá nem pedra nem árvore histórica, do Atlântico até os Andes, que não tenha sido submetido ao foco vivificador da câmara escura.’
+ 
+
+ 
+Ganhou a medalha de ouro na segunda exposição anual da Sociedade Científica Argentina.
+Participou da Exposição Universal da Filadélfia de 1876.
+1877 - Foi lançado o segundo volume de seu trabalho, contando com doze retratos de tipos populares urbanos e com vistas de construções modernas e históricas.
+Produziu uma série que retratava a nova penitenciária de Buenos Aires, trabalho que foi vendido de forma avulsa e em álbum encadernado.
+No catálogo da primeira exposição do Club Industrial de Buenos Aires, em 1877, na qual participou, Christiano Junior escreveu acerca de suas fotos médicas, realizadas no Brasil, que segundo o parecer dos médicos nacionais e estrangeiros, nenhum fotógrafo, até aquela data [1866] havia tirado do natural um trabalho semelhante.
+1878 - Vendeu seu estúdio em Buenos Aires para Witcomb & Mackern. Deixou no arquivo do ateliê um acervo de mais de 170 vistas.
+Participou da Exposição Universal de Paris de 1878.
+1879 a 1883 – Viajou pelo interior da Argentina, fotografando várias províncias do país, continuando a série de álbuns de Vistas e Costumes da República Argentina. Passou pelas cidades de Rosário, Córdoba, Río Cuarto, Mendoza, San Juan, San Luis, Catamarca, Tucumán, Salta e Jujuy. Antes de chegar às cidades, anuncia nos jornais locais que ali prestará seus serviços. Monta seu estúdio associado a um fotógrafo local e, em alguns casos, acompanhado de seu  filho. Uma vez instalado na localidade, dá início ao trabalho no ateliê e, paralelamente, desenvolve seu projeto maior: os álbuns de vistas.
+1882 – Participou da Exposição Continental de Buenos Aires em 1882.
+1883 – Anúncio do estabelecimento fotográfico de Menezes & Irmão, sucessores de Christiano Junior & Pacheco (Gazeta da Tarde, 5 de junho de 1883, última coluna).
+Christiano Junior desvinculou-se de seu último ateliê, localizado na cidade de Corrientes. Abandonou temporariamente a fotografia, dedicando-se à produção e comércio de vinhos e licores, os quais vendia ao Brasil, à Argentina e ao Paraguai.
+1890 – De Buenos Aires, Christiano Junior importou 382 fardos feno, que chegaram no vapor francês Bearn (Jornal do Commercio, 28 de janeiro de 1890, penúltima coluna).
+De Buenos Aires, Christiano Junior importou quatro sacos de alpiste, 10 de cevada, 10 de linhaça, seis de milho e 40 caixas de passas e nove de vinho que chegaram no vapor francês Bretagne (Jornal do Commercio, 23 de abril de 1890, quarta coluna).
+1892 – Pelo decreto de 21 de dezembro de 1892, foi concedida, por 15 anos, a Christiano Junior, a patente da invenção do processo aperfeiçoado de fabricar vinho de cana (Minas Gerais, Órgão Oficial dos Poderes do Estado, 24 de dezembro de 1992, terceira coluna, Jornal do Brasil, 26 de dezembro de 1892, quarta coluna, e Relatório do Ministério da Agricultura de 1993).
+1901/1902 – Entre esses anos, Christiano Júnior escreveu ainda oito textos autobiográficos publicados no jornal La Provincia: Sueños raros (14/12/1901); Recuerdos de mi tierra, dedicado a seu neto Augusto (1/1/1902), Tempora mutantur (Buenos Aires de 1866 a 1900), dedicado a sua neta Telma (15, 18, 21, 25/1/1902); Un carnaval en mi tierra, dedicado a Pedro Benjamín Serrano ( 8/2/1902); En los Andes, dedicado a Félix M Gómez (1/3/1902); Informalidad y mentira, dedicado a Manuel V. Figuerero (26/3/1902); Brasil de 1855 a 1870, dedicado a Guillermo Rojas ( 5/4/1902), e De Corrientes (17/5/1902) (Recordando Christiano).
+1899 – Publicação do livro de sua autoria, Tratado prático de vinicultura, destilaria e licoreria, com prólogo do escritor argentino Eduardo L. Holmberg (1852 – 1937).
+1902 – Christiano Junior faleceu em 19 de novembro, em Assunção, no Paraguai. Seu necrológio foi publicado, em 13 de dezembro de 1902, na revista argentina Caras Y Caretas, página 28 :
+‘Em Assunção do Paraguai, onde vivia retirado há muitos anos pintando fotografias, faleceu na semana passada o velho fotógrafo don Christiano Junior, cuja arte para retratar a antiga família portenha era famosa em seu tempo. Junior foi o antecessor de Witcomb e diante de sua objetiva desfilaram as mais conhecidas damas e cavalheiros daquela época. Morreu pobre, privado quase por completo de sua visão, e deixa uma lembrança agradável em todos os que conheceram.’
+ 
+ Caras y Caretas, 13 de dezembro de 1902
+ 
+Posteriormente, seus restos mortais foram levados para Buenos Aires e sepultados no cemitério de Olivos.
+ 
+Andrea C. T. Wanderley
+Editora-assistente e pesquisadora do portal Brasiliana Fotográfica
+ 
+*A fotografia de Christiano Junior com uma de suas netas foi inserida no artigo em 23 de outubro de 2020.
+ 
+Fontes:
+ALEXANDER, Abel & PRIAMO, Luis. Recordando a Christiano: un país en transición – fotografías de Buenos Aires, cuyo y el Noroeste. Christiano Júnior 1867 – 1883. Buenos Aires: Ediciones Fundación Antorchas, 2002.
+AZEVEDO, Paulo César de & LISSOVSKY, Maurício. Escravos brasileiros do século XIX na fotografia de Christiano Jr. (1864-1866) [et ali.]. São Paulo: Ex. Libris, 1988.
+BEAUGÉ, Gilbert. A fotografia argentina no século XIX. In: SAMAIN, Etienne (Org.). O fotográfico. São Paulo: HUCITEC, 1998.
+ERMAKOFF , George. Rio de Janeiro 1840 – 1900 – Uma crônica fotográfica. Rio de Janeiro: G. Ermakoff Casa Editorial, 2006.
+FERREZ, Gilberto. A fotografia no Brasil. Rio de Janeiro: Patrimônio Histórico e Artístico Nacional, 1953.
+Hemeroteca Digital da Biblioteca Nacional
+HIRSZMAN, Maria Lafayette Aureliano. Entre o tipo e o sujeito – Os retratos de escravos de Christiano Junior. Dissertação apresentada na Escola de Comunicação e Artes da Universidade de São Paulo, sob a orientação de Domingos Tadeu Chiarelli.
+Jornal Açoriano Oriental, 20 de novembro de 2014
+KOSSOY, Boris. Dicionário histórico-fotográfico brasileiro: fotógrafos e ofício da fotografia no Brasil (1833-1910). São Paulo: Instituto Moreira Salles, 2002.
+KOSSOY, Boris. Origens e expansão da fotografia no Brasil : século XIX. Prefácio Boris Kossoy. Rio de Janeiro: Funarte, 1980. 128 p.
+KOUTSOUKOS, Sandra Sofia Machado. No estúdio do fotógrafo: um estudo da (auto) representação de negros livres e escravos no Brasil da segunda metade do século XIX. Campinas, Instituto de Artes da Unicamp, 2002
+LEITE, Marcelo Eduardo. Os múltiplos olhares de Christiano Junior – Revista Studium,- Unicamp, edição 39.
+Revista La Nacion, 21 de abril de 2002
+Site Buenos Aires Historia
+Site Enciclopédia Itaú Cultural
+SOARES, Carlos Eugênio Libano. Christiano Junior e a face escrava do Brasil. Biblioteca Nacional Digital.
+TELL, Veronica. Autor fotográfico y obrero del progreso: notas sobre el trabajo de Christiano Junior en la Argentina. Critica Cultural, junho 2009.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/5528` — `itens/20.500.12156.1_5528/`
+- `20.500.12156.1/3933` — `itens/20.500.12156.1_3933/`
+- `20.500.12156.1/4735` — `itens/20.500.12156.1_4735/`
+- `20.500.12156.1/5522` — `itens/20.500.12156.1_5522/`
+
diff --git a/wordpress/11212-serie-o-rio-de-janeiro-desaparecido-v-o-quiosque-chopp-berrante-no-passeio-publi.md b/wordpress/11212-serie-o-rio-de-janeiro-desaparecido-v-o-quiosque-chopp-berrante-no-passeio-publi.md
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+---
+id: 11212
+url: "https://brasilianafotografica.bn.gov.br/?p=11212"
+titulo: "Série “O Rio de Janeiro desaparecido” V – O quiosque Chopp Berrante no Passeio Público, Ferrez, Malta e Charles Dunlop"
+autor: "Andrea Wanderley"
+data: "2018-07-20T12:23:10+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/4694", "20.500.12156.1/2425", "20.500.12156.1/2575"]
+fetched_at: "2026-09-10T09:54:50.581Z"
+---
+
+# Série “O Rio de Janeiro desaparecido” V – O quiosque Chopp Berrante no Passeio Público, Ferrez, Malta e Charles Dunlop
+
+‘Antigamente no passeio público a esquerda de quem entrava pelo portão da rua do Passeio, existia um bar ao ar livre, dos apelidados pelo público de “Chopp Berrante”. Nesse bar havia um teatrinho, onde aos domingos acorria a garotada e todas as noites se exibiam cançonetistas acompanhados ao piano. A consumação obrigatória pagava o espetáculo. O bar era arrendado pela prefeitura ao senhor Arnaldo Gomes de Souza’.
+Assim Charles Julius Dunlop (1908–1987), escritor e entusiasta do Rio Antigo, começava seu texto intitulado O Chopp Berrante do Passeio Público, publicado na Revista G.E., em 1956. Dunlop trabalhou entre 1927 e 1976 no departamento jurídico da Light, empresa onde conheceu, em meados da década de 30, o fotógrafo Augusto Malta (1864 – 1957), que trabalhava na Prefeitura do Rio de Janeiro, e havia sido designado para cobrir a inauguração de uma usina de força da empresa. Esse encontro foi decisivo no interesse de Dunlop por fotografias e histórias cariocas. Entre 1952 e 1955, ele publicou a coluna “Rio Antigo”, no jornal Correio da Manhã, muitas vezes ilustrada por fotos de Malta (Correio de Manhã, 30 de maio de 1952).
+ 
+Augusto Malta. Augusto Malta em seu ateliê, c. 1906. Rio de Janeiro, RJ / Acervo IMS
+ 
+Acessando o link para as fotografias de autoria de Augusto Malta disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Um pouco da história do quiosque Chopp Berrante e da parceria entre Arnaldo Gomes e Marc Ferrez – os primórdios do cinema no Brasil
+Localizava-se no Passeio Público, concorrido ponto de encontro da população carioca nos séculos XVIII e XIX e primeiro parque ajardinado do Brasil. Já no século XX, entre 1902 e 1906, na gestão do prefeito Francisco Pereira Passos (1836 – 1913), o Passeio Público recebeu diversos melhoramentos e foi inaugurado o primeiro aquário de água salgada da América do Sul, em 18 de setembro de 1904 (Gazeta de Notícias, 19 de setembro de 1904, na última coluna sob o título “O Aquarium”). Possivelmente, o Chopp Berrante no Passeio Público foi inaugurado em 1900, quando esse tipo de estabelecimento era um dos locais do universo de entretenimento da belle époque. Acredita-se que Catulo da Paixão Cearense (1866 – 1946) tenha sido um dos muitos músicos que se apresentaram no Chopp Berrante no Passeio Público.
+ 
+Augusto Malta. Quiosque “Chopp Berrante” no Passeio Público, década de 1900. Rio de Janeiro, RJ / Acervo IMS
+ 
+O dono do Chopp Berrante no Passeio Público, Arnaldo Gomes de Souza, é o senhor de calça branca retratado na imagem acima. O fotógrafo Marc Ferrez (1843 – 1923) vendia aí seus filmes para que Arnaldo os exibisse em lençóis estendidos entre as árvores, no jardim do parque. No final de 1905, a Casa Marc Ferrez & Filhos passou a ser a fornecedora exclusiva do cinematógrafo ao ar livre Passeio Público, que existiu entre em 28 de outubro de 1905 e 2 de novembro de 1906. Apesar de ter um repertório pouco variado, o cinematógrafo do Passeio Público aumentou a concorrência do quiosque que, segundo Dunlop, passou a ser ponto obrigatório dos primeiros fãs de cinema da cidade.
+Em sociedade com Arnaldo, Ferrez arrendou os prédios de número 145 e 149 da Avenida Central e inaugurou, em 18 de setembro de 1907, o Cinema Pathé, o terceiro da cidade (Gazeta de Notícias, 18 de setembro de 1907, nas sexta e sétima colunas). O primeiro, Chic, foi inaugurado em 1º de agosto de 1907; o segundo, Parisiense, foi aberto em 9 de agosto do mesmo ano.
+A firma de Arnaldo e Ferrez chamava-se Arnaldo & Cia, omitindo a participação de Ferrez porque Charles Pathé (1863 – 1957), um dos proprietários da Pathé Frères, proibia que seus distribuidores e representantes possuíssem cinematógrafos. Em 1908, a sociedade de Ferrez com Arnaldo Gomes de Souza foi denunciada pelo concorrente de Ferrez, Jácomo Rosário Staffa, proprietário do cinema Parisiense. Ainda nesse ano, Ferrez e Arnaldo Gomes de Souza produziram o filme, Nhô Anastácio chegou de viagem, dirigido por Julio Ferrez. É considerada a primeira comédia cinematográfica brasileira e foi estrelada por Antônio Cataldi, José Gonçalves Leonardo e Ismênia Matteo. Em 1911, a sociedade de Marc Ferrez com Arnaldo Gomes de Souza foi desfeita.
+ 
+Marc Ferrez. Marc Ferrez aos 33 anos de idade, c. 1876. Rio de Janeiro, RJ / Acervo IMS
+ 
+Acessando o link para as fotografias de autoria de Mar Ferrez disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+A revista O Cruzeiro publicou ao longo de 1951 uma série de matérias intituladas Fotografias do Rio Antigo sobre a obra de Marc Ferrez na segunda metade do século XIX. As compilações e a legendas das imagens assim como os textos das matérias foram feitos pelo neto do fotógrafo, Gilberto Ferrez (1908 – 2000), o primeiro historiador da fotografia no Brasil. Muitas imagens reproduzidas nessas matérias estão no acervo da Brasiliana Fotográfica.
+Seguem os links para as matérias:
+O Cruzeiro, 9 de junho de 1951 
+O Cruzeiro, 16 de junho de 1951 
+O Cruzeiro, 30 de junho de 1951 
+O Cruzeiro, 14 de julho de 1951 
+O Cruzeiro, 28 de julho de 1951 
+O Cruzeiro, 11 de agosto de 1951 
+O Cruzeiro, 25 de agosto de 1951
+O Cruzeiro, 22 de setembro de 1951 
+O Cruzeiro, 13 de outubro de 1951
+ 
+O título deste artigo foi alterado de O quiosque Chopp Berrante no Passeio Público, Ferrez, Malta e Charles Dunlop para Série “O Rio de Janeiro desaparecido” V - O quiosque Chopp Berrante no Passeio Público, Ferrez, Malta e Charles Dunlop, em 16 de setembro de 2021.
+ 
+Publicações da Brasiliana Fotográfica em torno da obra do fotógrafo Marc Ferrez 
+ 
+Marc Ferrez aos 33 anos, c. 1876. Rio de Janeiro, RJ / Acervo IMS
+O Rio de Janeiro de Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 30 de junho de 2015
+Obras para o abastecimento no Rio de Janeiro por Marc Ferrez , de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 25 de janeiro de 2016
+O brilhante cronista visual Marc Ferrez (7/12/1843 – 12/01/1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 7 de dezembro de 2016
+Do natural ao construído: O Rio de Janeiro na fotografia de Marc Ferrez, de autoria de Sérgio Burgi, um dos curadores da Brasiliana Fotográfica, publicada em 19 de dezembro de 2016
+No primeiro dia da primavera, as cores de Marc Ferrez (1843 – 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 22 de setembro de 2017
+Marc Ferrez , a Comissão Geológica do Império (1875 – 1878) e a Exposição Antropológica Brasileira no Museu Nacional (1882), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica,  publicada em 29 de junho de 2018
+Uma homenagem aos 175 anos de Marc Ferrez (7 de dezembro de 1843 – 12 de janeiro de 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 7 de dezembro de 2018 
+Pereira Passos e Marc Ferrez: engenharia e fotografia para o desenvolvimento das ferrovias, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 5 de abril de 2019
+Fotografia e ciência: eclipse solar, Marc Ferrez e Albert Einstein, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 24 de junho de 2019
+Os 180 anos da invenção do daguerreótipo – Os álbuns da Comissão Geológica do Império com fotografias de Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 19 de agosto de 2019
+Celebrando o fotógrafo Marc Ferrez (1843 – 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 4 de dezembro de 2019
+Uma homenagem da Casa Granado ao imperial sob as lentes de Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 7 de fevereiro de 2020
+Ressaca no Rio de Janeiro invade o porão da casa do fotógrafo Marc Ferrez, em 1913, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado 6 de março de 2020
+Petrópolis, a Cidade Imperial, pelos fotógrafos Marc Ferrez e Revert Henrique Klumb, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 16 de março de 2020
+Bambus, por Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 5 de junho de 2020
+O Baile da Ilha Fiscal: registro raro realizado por Marc Ferrez e retrato de Aurélio de Figueiredo diante de sua obra, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 9 de novembro de 2020
+O Palácio de Cristal fotografado por Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 2 de fevereiro de 2021
+A Estrada de Ferro do Paraná, de Paranaguá a Curitiba, pelos fotógrafos Arthur Wischral (1894 – 1982) e Marc Ferrez (1843 – 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 22 de março de 2021
+Dia dos Pais – Julio e Luciano, os filhos do fotógrafo Marc Ferrez, e outras famílias, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 6 de agosto de 2021
+No Dia da Árvore, mangueiras fotografadas por Ferrez e Leuzinger, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 21 de setembro de 2021
+Retratos de Pauline Caroline Lefebvre, sogra do fotógrafo Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 28 de abril de 2022
+A Serra dos Órgãos: uma foto aérea e imagens realizadas pelos mestres Ferrez, Leuzinger e Klumb, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 30 de junho de 2022
+O centenário da morte do fotógrafo Marc Ferrez (1843 – 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 12 de janeiro de 2023
+O Observatório Nacional pelas lentes de Marc Ferrez, amigo de vários cientistas, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 29 de maio de 2023
+No Dia Mundial do Meio Ambiente, a potente imagem da Cachoeira de Paulo Afonso, por Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 5 de junho de 2023
+A Fonte Adriano Ramos Pinto por Guilherme Santos e Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 18 de julho de 2023
+Os 180 anos de nascimento do fotógrafo Marc Ferrez (1843 – 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 7 de dezembro de 2023
+ 
+Andrea C. T. Wanderley
+Editora-assistente e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+DUNLOP, Charles. Apontamentos históricos – O Chopp Berrante do Passeio Público in Revista G.E., outubro, novembro e dezembro de 1956
+FERLIM, Uliana dias Campos. A polifonia das modinhas: diversidades e tensões musicais no Rio de Janeiro na passagem do século XIX ao XX, 2006. Campinas: Unicamp
+Hemeroteca Digital da Biblioteca Nacional
+SAMPAIO, Lilian Alves. Vaidade e ressentimento dos músicos populares e o universo musical do Rio de Janeiro no início do século XX, 2011. São Paulo: USP
+Site da Editora Rio Antigo
+ 
+Links para os outros artigos da Série O Rio de Janeiro desaparecido
+ 
+Série O Rio de Janeiro desaparecido I - Salas de cinema do Rio de Janeiro do início do século XX, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 26 de fevereiro de 2016.
+Série O Rio de Janeiro desaparecido II – A Exposição Nacional de 1908 na Coleção Família Passos, de autoria de Carla Costa, historiadora do Museu da República, publicado na Brasiliana Fotográfica, em 5 de abril de 2018.
+Série O Rio de Janeiro desaparecido III – O Palácio Monroe, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica, em 9 de novembro de 2016.
+Série O Rio de Janeiro desaparecido IV - A via elevada da Perimetral, de autoria da historiadora Beatriz Kushnir, publicado na Brasiliana Fotográfica em 23 de junho de 2017.
+Série O Rio de Janeiro desaparecido VI – O primeiro Palácio da Prefeitura Municipal do Rio de Janeiro, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 12 de setembro de 2018.
+Série O Rio de Janeiro desaparecido VII – O Morro de Santo Antônio na Casa de Oswaldo Cruz, de autoria de historiador Ricardo Augusto dos Santos da Casa de Oswaldo Cruz, publicado na Brasiliana Fotográfica em 5 de fevereiro de 2019.
+Série O Rio de Janeiro desaparecido VIII – A demolição do Morro do Castelo, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 30 de abril de 2019.
+Série O Rio de Janeiro desaparecido IX – Estrada de Ferro Central do Brasil: estação e trilhos, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 12 de novembro de 2019.
+Série O Rio de Janeiro desaparecido X – No Dia dos Namorados, um pouco da história do Pavilhão Mourisco em Botafogo, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 12 de junho de 2020.
+Série O Rio de Janeiro desaparecido XI – A Estrada de Ferro do Corcovado e o mirante Chapéu de Sol, de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 22 de julho de 2021.
+Série O Rio de Janeiro desaparecido XII – o Teatro Lírico (Theatro Lyrico), de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 15 de setembro de 2021.
+Série O Rio de Janeiro desaparecido XIII – O Convento da Ajuda, de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 12 de outubro de 2021.
+Série O Rio de Janeiro desaparecido XIV – O Conselho Municipal, de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 19 de novembro de 2021.
+Série O Rio de Janeiro desaparecido XV – A Praia de Santa Luzia no primeiro dia do verão, de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 21 de dezembro de 2021.
+Série O Rio de Janeiro desaparecido XVI – O prédio da Academia Imperial de Belas Artes, de autoria de Andrea C.T. Wanderley, publicado na Brasiliana Fotográfica em 13 de janeiro de 2022.
+Série O Rio de Janeiro desaparecido XVII – Igreja São Pedro dos Clérigos, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 18 de março de 2022.
+Série O Rio de Janeiro desaparecido XVIII – A Praça Onze, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 20 de abril de 2022.
+Série O Rio de Janeiro desaparecido XIX – A Igrejinha de Copacabana, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 23 de junho de 2022.
+Série O Rio de Janeiro desaparecido XX – O Pavilhão dos Estados, futuro prédio do Ministério da Agricultura, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 26 de julho de 2022.
+Série O Rio de Janeiro desaparecido XXI – O Chafariz do Largo da Carioca, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 19 de setembro de 2022. 
+Série O Rio de Janeiro desaparecido XXII – A Cadeia Velha que deu lugar ao Palácio Tiradentes, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 11 de abril de 2023
+Série O Rio de Janeiro desaparecido XXIII e Avenidas e ruas do Brasil XVII - A Praia e a Rua do Russel, na Glória, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 15 de maio de 2023
+Série O Rio de Janeiro desaparecido XXIV – O luxuoso Palace Hotel, na Avenida Rio Branco, uma referência da vanguarda artística no Rio de Janeiro, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 4 de julho de 2023
+Série O Rio de Janeiro desaparecido XXV – O Theatro Phenix, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 5 de setembro de 2023
+Série O Rio de Janeiro desaparecido XXVI – Conclusão do arrasamento do Morro do Castelo por Augusto Malta, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 14 de dezembro de 2023
+Série O Rio de Janeiro desaparecido XXVII e Série Os arquitetos do Rio de Janeiro V – O Jockey Club e o Derby Club, na Avenida Rio Branco e o arquiteto Heitor de Mello (1875 – 1920), de autoria de Andrea c. T. Wanderley, editora e pesquisadora do portal, em 15 de janeiro de 2024
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/4694` — `itens/20.500.12156.1_4694/`
+- `20.500.12156.1/2425` — `itens/20.500.12156.1_2425/`
+- `20.500.12156.1/2575` — `itens/20.500.12156.1_2575/`
+
diff --git a/wordpress/11321-100-anos-do-castelo-da-fiocruz-a-ocupacao-da-fazenda-de-manguinhos.md b/wordpress/11321-100-anos-do-castelo-da-fiocruz-a-ocupacao-da-fazenda-de-manguinhos.md
new file mode 100644
index 0000000..a20309f
--- /dev/null
+++ b/wordpress/11321-100-anos-do-castelo-da-fiocruz-a-ocupacao-da-fazenda-de-manguinhos.md
@@ -0,0 +1,90 @@
+---
+id: 11321
+url: "https://brasilianafotografica.bn.gov.br/?p=11321"
+titulo: "100 anos do Castelo da Fiocruz: a ocupação da Fazenda de Manguinhos"
+autor: "Andrea Wanderley"
+data: "2018-02-28T13:22:17+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/5491", "20.500.12156.1/5492", "20.500.12156.1/5153", "20.500.12156.1/5493", "20.500.12156.1/5117", "20.500.12156.1/5144"]
+fetched_at: "2026-09-10T09:54:54.298Z"
+---
+
+# 100 anos do Castelo da Fiocruz: a ocupação da Fazenda de Manguinhos
+
+A Brasiliana Fotográfica abre as comemorações do centenário da conclusão da construção do Castelo da Fiocruz, instituição parceira do portal, com um texto de autoria de Cristiane d’Avila, jornalista do Departamento de Arquivo e Documentação da Casa de Oswaldo Cruz com fotografias de autoria de Huberti (18? – 19?), J. Pinto (1884 – 1951) e de fotógrafos ainda não conhecidos. Posteriormente, serão publicados textos sobre o centenário do prédio dos pesquisadores da Casa de Oswaldo Cruz, Renato da Gama-Rosa, com detalhes sobre sua construção e sobre seu projeto arquitetônico, e de Ricardo Augusto dos Santos, com o foco nos pedreiros que o ergueram. Aos 30 anos e à frente do então Instituto Soroterápico Federal, na distante fazenda de Manguinhos, Oswaldo Cruz (1872 – 1917) não mediu esforços para materializar um sonho aparentemente irrealizável: construir um monumental castelo para abrigar a nova e incipiente ciência brasileira. Por sua extensão e distância do centro do Rio de Janeiro, a fazenda era um espaço adequado à instalação de laboratórios e à produção de soros antipestosos contra o surto de peste bubônica. Projetado pelo arquiteto Luiz Moraes Junior (1872 – 1955), o edifício começou a ser erguido em 1905 e foi concluído em 1918.
+ 
+100 anos do Castelo da Fiocruz: a ocupação da Fazenda de Manguinhos
+Cristiane d’Avila*
+A missão, grandiosa, os obstáculos, gigantescos. Mas, já diria Brás Cubas, como escapar de uma ideia fixa, caro leitor? Contemporâneo de Machado de Assis, Oswaldo Cruz pode não ter inspirado o genial autor, mas a obsessão que avassalou o memorável personagem talvez tenha acometido o jovem e brilhante médico brasileiro. Aos 30 anos e à frente do então Instituto Soroterápico Federal, na distante fazenda de Manguinhos, Oswaldo Cruz não mediu esforços para materializar um sonho aparentemente irrealizável: construir um monumental castelo para abrigar a nova e incipiente ciência brasileira.
+A tarefa não era fácil. A fazenda de Manguinhos, na freguesia (como eram denominados os bairros) de Inhaúma, havia sido ocupada até o final do século 19 por fornos de incineração do lixo da cidade. A partir de 1900, já destinada pelo governo para o funcionamento do Instituto Soroterápico Federal, após um surto de peste bubônica, a fazenda era de fato um terreno longínquo e extenso, em meio a mangues, com algumas edificações precárias, de difícil acesso. No entanto, por sua extensão e distância do centro da cidade, configurava-se como espaço adequado à instalação de laboratórios e à produção de soros antipestosos contra a doença, até então importados pelo governo federal.
+ 
+Acessando o link para as fotografias de aspectos da construção do Castelo da Fiocruz que estão disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Nessa época, a freguesia de Inhaúma contava com três estações da Cia. Leopoldina Railway – Bonsucesso, Ramos e Olaria. O acesso à fazenda de Manguinhos se dava por terra e também pela Baía de Guanabara, onde uma enseada levava ao pequeno cais, construído para o desembarque dos funcionários do Instituto. O acesso por trem foi possível após a abertura da Estação do Amorim, depois rebatizada de Estação Oswaldo Cruz e, posteriormente, de Manguinhos, como está até hoje.´
+ 
+Anônimo. Cais de acesso dos funcionários ao Instituto Soroterápico Federal, s/d. Manguinhos, Rio de Janeiro / Acervo Casa de Oswaldo Cruz
+ 
+Em resumo histórico sobre a fundação do Instituto, o arquivista Albino Taveira escreveu, no ano de 1941:
+“Os trens eram raros. Quem não estivesse na Estação à hora marcada teria que vir a pé pelo leito da via férrea. Durante as marés baixas, surgiam dos esconderijos dos caranguejos grandes quantidades de mosquitos. Na fazenda não havia gás nem eletricidade” (FUNDAÇÃO OSWALDO CRUZ, 1947).
+No mesmo relato, Albino destaca as palavras de Henrique Aragão, em conferência realizada por este em São Paulo, em 1940, com o tema “Oswaldo Cruz e a escola de Manguinhos”:
+“Na vetusta fazenda abandonada há somente duas pequenas casas baixas, meio arruinadas, sobre colinas, as quais foram adaptadas muito rapidamente para os futuros laboratórios, todos bastante acanhados. Ao soar o meio-dia, suspende-se o labor para o almoço, na estreita varanda da casinha da fazenda. A mesa está posta sobre uma meia porta, que se apoia sobre duas barricas vazias e é coberta parcialmente com uma toalha grosseira, havendo dois longos bancos de madeira de cada lado para os convivas sentarem. Todos se apressam porque a comida não é muito abundante: uma clássica galinha ensopada com batatas, arroz, pão e, para terminar, algumas bananas e café ralo. Quem se atrasar só encontra ossos e traços de arroz (…) uns 20 minutos depois já o trabalho recomeça intenso embora os estômagos não estejam muito satisfeitos” (ARAGÃO apud FUNDAÇÃO OSWALDO CRUZ, 1947).
+À frente da direção do Instituto, em 1900, estava o Barão de Pedro Afonso, diretor do Instituto Vacínico Municipal, que contratou os jovens médicos Oswaldo Cruz, Henrique de Figueiredo Vasconcelos e Ismael da Rocha, e o estudante Antônio Cardoso Fontes, para iniciar os trabalhos. Em 1902, Pedro Afonso é exonerado do cargo e Cruz assume o posto, elevando o Instituto a um novo patamar, que incluía não apenas a fabricação de produtos biológicos, mas também a realização de pesquisas biomédicas e o ensino da microbiologia. O modelo seguido pelo cientista, hábil administrador da ciência, era o Instituto Pasteur de Paris, onde havia cursado, por dois anos, sua especialização em microbiologia, soroterapia e imunologia.
+A partir de então, as duas casas já existentes no terreno da fazenda foram reformadas para acolher os laboratórios, e também construídos uma cocheira, um biotério e uma enfermaria para cavalos, além de outra casa para servir como dormitório e depósito de cereais e forragens (FUNDAÇÃO OSWALDO CRUZ, 1990, p. 99). Depois que Oswaldo Cruz assumiu em definitivo o Instituto Soroterápico Federal, e a chefia da Diretoria Geral de Saúde Pública, em 1903, a fazenda se transformou em um imenso canteiro de obras.
+ 
+Anônimo. Trecho do Instituto Soroterápico Federal com um biotério para pequenos animais, 1903. Manguinhos, Rio de Janeiro / Acervo Casa de Oswaldo Cruz
+ 
+J. Pinto. Primeiros prédios em Manguinhos, 1910. Manguinhos, Rio de Janeiro. Acervo Casa de Oswaldo Cruz
+ 
+As escavações para o alicerce do edifício central sonhado por Cruz, o pavilhão mourisco – ou o memorável “castelo” – foram iniciadas em 1905. O projeto definitivo, maior que o original desenhado por seu construtor, o engenheiro português Luiz Moraes Junior, data de 1908, ano que coincide com a finalização das obras da estrutura do prédio. Em 1910, embora as obras continuassem, o castelo já era ocupado pelos pesquisadores, sendo finalmente concluído em 1918, coroando com êxito o ambicioso projeto de seu idealizador.
+Ao todo, o prédio soma 1.517 m2 de área construída, com materiais em grande parte importados da Alemanha, França, Inglaterra e Portugal, e uso de modernas técnicas construtivas. “Com certeza, nenhum outro edifício do Rio de Janeiro – e talvez do país – se igualava a este pavilhão em sofisticação tecnológica”. (Idem, p. 114)
+ 
+O contexto
+ 
+Uma ideia, um projeto, não se realiza de forma isolada. Concorre para o seu desfecho uma série de fatores, que em determinado momento se convergem e associam para concretizar o objetivo inicial de seu idealizador, ou idealizadores. Com o Castelo da Fiocruz, como foi batizado o pavilhão mourisco, não foi diferente.
+No alvorecer de 1900, o Rio de Janeiro era uma cidade em conflito com a contemporaneidade, na acepção das elites. Se, por um lado, convivia-se com práticas sociais consideradas anacrônicas, típicas de um centro ainda colonial, as reformas – urbana (o “bota-abaixo”) e sanitária (campanhas contra a febre amarela, varíola e peste bubônica) empreendidas por Pereira Passos e Oswaldo Cruz, respectivamente, espelhavam um cotidiano tributário da incipiente modernidade. A grande imprensa saudava a nova fase com a sugestiva alcunha de “Regeneração”. Segundo Nicolau Sevcenko, a expressão era por si só esclarecedora do espírito que presidiu esse movimento de destruição da velha cidade, para complementar a dissolução da velha sociedade imperial, e de montagem da nova estrutura urbana. Pereira Passos [prefeito do Rio, grifo meu] atacou algumas tradições cariocas. Proibiu a venda ambulante de alimentos, o ato de cuspir no chão dos bondes e a exposição de carnes na porta dos açougues, assim como uma série de outros costumes “bárbaros” e “incultos” (SEVCENKO, 1983, pp. 31-57).
+No cenário urbano, o combate às epidemias havia reforçado a importância de se estender e aprofundar as pesquisas e o investimento em campanhas sanitárias, alvos prioritários da Diretoria Geral de Saúde Pública (DGSP), sob a direção do cientista (1903-1906). Consagrado internacionalmente pelo sucesso alcançado no Rio, Oswaldo Cruz converteu-se em herói nacional, o que deu impulso à posterior transformação do Instituto Soroterápico Federal em Instituto de Patologia Experimental (1907) e, finalmente, em Instituto Oswaldo Cruz (1908).
+No cenário nacional, Cruz e os médicos de seu grupo (Belisário Penna e Carlos Chagas) iniciaram expedições ao interior do Brasil, incluindo 30 portos marítimos e fluviais de Norte a Sul do país, para estabelecer um código sanitário com regras internacionais, a fim de erradicar doenças que mortificavam milhares de brasileiros, como a malária e a febre amarela. A partir da intensificação das expedições científicas empreendidas, “a saúde pública como base para a construção da nacionalidade permitiu que fosse abandonada a tese da inferioridade racial do brasileiro” (OLIVEIRA, 1990, p. 146).
+Naquele momento, ao contrário do que acontecia no cenário econômico, em que o Brasil vivia uma economia agroexportadora dependente da importação de tecnologia e técnicas europeias para a criação de portos e ferrovias, Cruz fez do IOC um centro de pesquisa autossustentável, complexo, capaz de produzir ciência autonomamente. “A institucionalização da medicina experimental requereu a adaptação do modelo (o Instituto Pasteur) à realidade econômica e social do país e, sobretudo, a superação das barreiras políticas e culturais que bloqueavam um projeto de autossuficiência científica”, explica Jaime Benchimol (BENCHIMOL, 1990, p. 13).
+A autonomia do IOC foi conquistada, segundo o pesquisador, no calor da euforia que marcou a reforma e o saneamento da capital federal. “Seguindo um curso independente, manteve em nível elevado sua produtividade científica, tornou-se celeiro dos quadros que iriam impulsionar as instituições regionais de medicina e saúde e afirmou-se como o baluarte de um novo projeto sanitarista” (Idem, 1990, pp. 71-72). Com os alicerces fincados, portanto, faltava ao IOC edificar uma sede à altura de sua relevância.
+ 
+O construtor
+ 
+Huberti. Luiz Moraes Jr., engenheiro responsável pelo projeto do Núcleo Arquitetônico de Manguinhos, incluindo o Pavilhão Mourisco, s/d. Rio de Janeiro, RJ / Acervo Casa de Oswaldo Cruz
+Quatro anos de diferença e um oceano separavam Oswaldo Cruz, nascido em São Luís do Paraitinga, São Paulo, em 1872, e Luiz Moares Junior, nascido em 1868, em Faro, Portugal, antes do encontro fortuito entre ambos, em 1902, no trem da Leopoldina que levava Cruz ao IOC e Moraes à igreja da Penha. Recém chegado de Portugal, o engenheiro havia sido convidado pelo vigário da igreja para realizar obras de reforma e embelezamento externo no prédio e de construção das duas torres hoje existentes. Depois do encontro, a vida profissional deles tomaria um rumo surpreendente.
+Com argúcia e imenso talento construtor, Luiz Moraes Junior equacionou duas qualidades essenciais para a construção do complexo arquitetônico de Manguinhos – planos arquitetônicos baseados em extensos e minuciosos cálculos matemáticos. Não à toa, Cruz “abriu-lhe as portas da comunidade médica da capital, possibilitando a Luiz Moraes assinar projetos de grande envergadura, como os da sede da Policlínica, na Avenida Central, e da Faculdade de Medicina, na Praia Vermelha” (Idem, 1990, p. 173).
+Durante os sete anos em que Oswaldo Cruz permaneceu à frente da DGSP (1903-1909) e os 15 em que dirigiu o instituto batizado com seu nome (1902-1917), Luiz  Moraes Junior pôde acumular uma experiência notável num campo muito especializado da construção civil: o das edificações laboratoriais, sanitárias e hospitalares (Idem, p. 173).
+A primeira geração de prédios projetados e construídos em Manguinhos por Moraes – pavilhão mourisco, cavalariça, pavilhão da peste, aquário e pombal – foram edificados a partir do permanente intercâmbio entre ele e Cruz. O construtor transformava os esboços e intenções do cientista em plantas finais, que calculava e executava com profissionais de sua confiança. Somam-se a essas edificações o Hospital Oswaldo Cruz (atual Instituto Nacional de Infectologia), o quinino e o pavilhão vacinogênico, construídos após a morte de Cruz, em 1918, na gestão de Carlos Chagas (Idem, 1990, p. 105).
+ 
+J.Pinto. Núcleo arquitetônico original de Manguinhos, 1910. Manguinhos, Rio de Janeiro / Acervo Casa de Oswaldo Cruz
+ 
+O complexo arquitetônico de Manguinhos, realizado por Moraes, foi exibido na Exposição de Higiene realizada em Berlim, em 1907:
+Ao lado dos trabalhos do instituto, dos gráficos e tabelas da Saúde Pública, figuraram na exposição plantas, fotografias e maquetes dos prédios projetados ou já executados por ele, incorporando os mais modernos preceitos arquitetônicos aplicáveis à construção de laboratórios, hospitais e equipamentos sanitários, em consonância com a higiene e a medicina pasteuriana. (Idem, p. 174)
+Luiz Moraes Junior viveu os últimos anos de sua vida em Petrópolis, sendo responsável pelo projeto do prédio do jornal Tribuna de Petrópolis e do Grande Hotel, até hoje existentes. Faleceu aos 87 anos, em 15 de julho de 1955, deixando como maior legado o edifício símbolo da Fundação Oswaldo Cruz, o Castelo de Manguinhos, que, em 2018, completa 100 anos de sua conclusão.
+ 
+ * Cristiane d’Avila é jornalista do Departamento de Arquivo e Documentação da Casa de Oswaldo Cruz
+
+J. Pinto. Terceiro pavimento do Pavilhão Mourisco, 1910. Manguinhos, Rio de Janeiro / Acerco Casa de Oswaldo Cruz
+ 
+Fontes:
+BENCHIMOL, Jaime L. (Coord.) Manguinhos do sonho à vida: a ciência na Belle Époque. Rio de Janeiro. Casa de Oswaldo Cruz, 1990.
+FUNDAÇÃO OSWALDO CRUZ. CASA DE OSWALDO CRUZ. Resumo histórico da fundação do Instituto Soroterápico Federal, hoje Instituto Oswaldo Cruz. Coletânea organizada pelo arquivista Albino Taveira. Rio de Janeiro, COC, 1947.
+OLIVEIRA, Lúcia Lippi. A questão nacional na Primeira República. São Paulo: Brasiliense, 1990, p. 146
+SEVCENKO, Nicolau. Literatura como missão: tensões sociais e criação cultural na Primeira República. São Paulo: Brasiliense, 1983.
+ 
+Link para o artigo Pavilhão Mourisco: desafios para sua preservação, de Carla Maria Teixeira Coelho, Elisabete Edelvita Chaves da Silva e Rosana Soares Zouain, publicado na revista História, Ciência, Saúde- Manguinhos vol 27 nº 2 Abril/Junho 2020**
+Link para o artigo A Casa da Ciência, publicado na Revista Shell, nº 66, de 1954***
+ 
+**Este link foi acrescentado ao artigo em 14 de setembro de 2020.
+***Este link foi acrescentado ao artigo em 5 de fevereiro de 2021.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/5491` — `itens/20.500.12156.1_5491/`
+- `20.500.12156.1/5492` — `itens/20.500.12156.1_5492/`
+- `20.500.12156.1/5153` — `itens/20.500.12156.1_5153/`
+- `20.500.12156.1/5493` — `itens/20.500.12156.1_5493/`
+- `20.500.12156.1/5117` — `itens/20.500.12156.1_5117/`
+- `20.500.12156.1/5144` — `itens/20.500.12156.1_5144/`
+
diff --git a/wordpress/11354-a-praca-xv-na-colecao-familia-passos.md b/wordpress/11354-a-praca-xv-na-colecao-familia-passos.md
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+++ b/wordpress/11354-a-praca-xv-na-colecao-familia-passos.md
@@ -0,0 +1,73 @@
+---
+id: 11354
+url: "https://brasilianafotografica.bn.gov.br/?p=11354"
+titulo: "A Praça XV na coleção Família Passos"
+autor: "Andrea Wanderley"
+data: "2018-03-15T13:05:17+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/4886", "20.500.12156.1/5012", "20.500.12156.1/5015", "20.500.12156.1/5013", "20.500.12156.1/5014", "20.500.12156.1/2719"]
+fetched_at: "2026-09-10T09:54:57.807Z"
+---
+
+# A Praça XV na coleção Família Passos
+
+A Brasiliana Fotográfica destaca, a partir de um texto do pesquisador Paulo Celso Corrêa, do Museu da República, uma das instituições parceiras do portal, uma série de imagens pertencentes à coleção Família Passos/Museu da República retratando a Praça XV de Novembro. São registros de autoria do alagoano Augusto Malta (1864 – 1957), fotógrafo da prefeitura do Rio de Janeiro entre 1903 e 1936. As imagens foram reproduzidas em cartões postais que, no início do século XX, eram um meio popular de circulação e difusão em massa da fotografia.
+A Praça XV na coleção Família Passos
+Paulo Celso Corrêa*
+Esta série de imagens pertencentes à coleção Família Passos/Museu da República retrata a Praça XV de Novembro, no Rio de Janeiro, que acabara de receber alterações urbanísticas promovidas pela administração do prefeito Pereira Passos (1902-1906). De autoria de Augusto Malta(1864 – 1957), as fotos foram reproduzidas em cartões postais, três dos quais foram enviados por Passos a suas netas Maria e Ernestina. No início do século XX, os postais eram um meio popular de circulação e difusão em massa da fotografia, numa época em que jornais e revistas ainda não dispunham de meios técnicos para reprodução de imagens em grande quantidade. Os postais mostravam cenas da paisagem urbana e do cotidiano de seus habitantes, servindo como lembrança de viagens e fonte de informações e entretenimento.
+Acessando o link para as fotografias da Praça Quinze de autoria de Augusto Malta pertencentes  à coleção Família Passos/Museu da República disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+A circulação de imagens do Rio de Janeiro nesse formato servia também como propaganda das grandes obras promovidas na cidade pelo governo do presidente Rodrigues Alves e pela prefeitura do Distrito Federal, a cargo de Pereira Passos. Os postais representavam o Rio de Janeiro como uma capital moderna, urbanizada, integrada cultural e economicamente na ordem internacional capitalista, a despeito de o Brasil continuar a ser economicamente agroexportador, de população ainda majoritariamente rural e analfabeta. O caráter oficioso das imagens é reforçado pelo olhar de Augusto Malta sobre a cidade, como fotógrafo oficial da prefeitura. Nos postais aqui apresentados, Malta retratou uma região tradicional da cidade do Rio de Janeiro, que na administração Pereira Passos recebeu tratamento urbanístico com o plantio de árvores, instalação de postes de iluminação, a inauguração de um coreto e o início da construção da nova estação das barcas Rio-Niterói e de um Mercado Municipal, ambos em 1904.
+A região do centro do Rio de Janeiro conhecida como Praça XV de Novembro surgiu ainda no século XVII, a partir da expansão da ocupação do Morro do Castelo rumo às áreas pantanosas adjacentes. Primeiramente, foi chamada Terreiro do Ó, devido à ermida de Nossa Senhora do Ó, de 1585; depois, Terreiro da Polé, já que ali havia um pelourinho para açoite de escravos. O nome posterior de Largo (ou praça) do Carmo surgiu no século XVII devido à presença do convento e das igrejas da Ordem Terceira do Carmo, incluindo aquela que em 1770 se tornou a primeira Sé do Rio de Janeiro. Mais tarde, a região passou a se chamar Largo do Paço pois ali se encontrava o edifício que foi residência dos Governadores Gerais (1743), dos Vice-Reis (1763), da Corte Real portuguesa (1808) e do Império (1822). O nome atual, Praça XV de Novembro, foi oficializado em 21 de fevereiro de 1890 para homenagear a data da proclamação da República e, do ponto de vista simbólico, reafirmar o novo regime em um espaço que havia sido o centro dos poderes econômico, religioso e administrativo da colônia e do Império.
+Uma dos elementos mais característicos da região é o Chafariz da Pirâmide, de autoria do Mestre Valentim, construído nos anos 1750 para abastecer de água os trabalhadores e as embarcações que ancoravam próximo ao cais, quando o mar ainda chegava até ali. Esse cais, por sua vez, foi o primeiro da cidade do Rio de Janeiro e, por ali, chegavam e partiam navios de todos os tipos, transportando mercadorias, viajantes e escravos. Posteriormente, passou a ser conhecido como Cais do Pharoux por causa do luxuoso Hotel Pharoux, ali instalado na primeira metade do século XIX por um imigrante francês que deu seu sobrenome ao estabelecimento. Na área do cais, de um lado, estava a praia do Peixe, onde existia o Mercado Municipal da Candelária (1841), ao qual se refere o nome da atual Rua do Mercado; e, do outro lado, a praia de Dom Manuel. Já o Arco do Teles, que liga a Praça XV à Rua do Ouvidor, data do século XVIII, quando o juíz português Antônio Telles Barreto de Menezes ali construiu um conjunto de casas destinadas ao aluguel do comércio e da gente de alta sociedade.
+ 
+Descrição das fotos
+1
+Augusto Malta. Praça Quinze de Novembro, 30 de abril de 1904. Rio de Janeiro, RJ / Acervo Museu da República
+ 
+O fotógrafo está posicionado no cais, olhando em direção à Igreja da Candelária, cuja cúpula e torres aparecem ao fundo da foto. Em primeiro plano aparece o chafariz monumental em ferro fundido de Louis Sauvageau, comprado em Viena em 1878 por D. Pedro II, depois transferido para a Praça da Bandeira devido à construção do viaduto da Perimetral e, finalmente, para a praça que antes abrigava o Palácio Monroe na Cinelândia, onde se encontra atualmente. Logo atrás, se vê o chafariz do Mestre Valentim. Alguns transeuntes aparecem na cena, dois deles com um carro de cargas, um outro com um feixe de feno nas costas; provavelmente são trabalhadores nas obras da estação das barcas. Nota-se que várias árvores jovens foram plantadas ao redor da praça. Ao fundo, à esquerda, se vê a entrada do Arco do Teles. Em meio aos telhados, é possível ver a torre da Igreja da Boa Lapa dos Mercadores e a cruz da Igreja de Santa Cruz dos Militares.
+Carimbo no verso com a data 30/04/1904.
+Indicação de fabricação pela Societé Lumiére – Lyon, França, de propriedade da família de mesmo nome, especializada em cinema e fotografia.
+ 
+2
+ 
+Augusto Malta. Praça Quinze de Novembro, 1904. Rio de Janeiro, RJ / Acervo Museu da República
+ 
+Um aspecto do Cais Pharoux remodelado, com árvores ainda jovens e postes de iluminação. Algumas pessoas estão paradas na murada à beira-mar. No fundo, é possível ver a Ilha das Cobras. Data manuscrita no postal: 08/01/1904.
+ 
+3
+ 
+Augusto Malta. Praça Quinze de Novembro, 30 de abril de 1904. Rio de Janeiro, RJ / Acervo Museu da República
+ 
+Foto tirada em direção ao mar, mostrando o estágio inicial de construção da estação Cais do Pharoux das barcas Rio-Niterói, obra que só seria concluída em 1912. No mar, ao fundo, se veem várias embarcações e a Ilha Fiscal.
+Carimbo no verso com a data 30/04/1904.
+Indicação de fabricação pela Societé Lumiére – Lyon.
+ 
+4
+ 
+Augusto Malta. Praça Quinze de Novembro, 1904. Rio de Janeiro, RJ / Acervo Museu da República
+ 
+ 
+Foto tirada a partir da rua Primeiro de Março provavelmente da Igreja de Nossa Senhora do Carmo, primeira Sé do Rio de Janeiro em 1770. Em primeiro plano, aparece a praça onde ao centro está o monumento ao General Osório, de autoria de Rodolfo Bernardelli e inaugurado em 12 de novembro de 1894. Alega-se que este foi o primeiro monumento público inaugurado após a proclamação da República; ironicamente, homenageia um herói militar do Império, no largo que sediava o poder imperial.
+À esquerda, se vê parte do telhado do Hotel de France, na esquina com a rua Primeiro de Março, onde vários carros de aluguel puxados a cavalo aguardam passageiros. Do lado direito desta primeira praça, ao fundo, aparece o Paço Imperial, que nessa época abrigava a Repartição Central dos Correios e Telégrafos. Em segundo plano, há uma praça menor ao redor do chafariz do Mestre Valentim e, ao lado, o coreto inaugurado em 1903. A presença de um coreto era a marca de uma nova idéia de ocupação do espaço público, voltada para hábitos cívicos, culturais e artísticos. Ao lado do coreto, no mesmo plano, se vê o prédio da Secretaria de Indústria, Viação e Obras Públicas.
+Em direção ao mar, se vê o chafariz de Sauvageau e o cais Pharoux, ao fundo. Ainda não é possível ver as torres do Mercado Municipal, que começou a ser construído em 1904 mas só seria concluído em 1907. O postal tem uma legenda com o nome da praça e do fotógrafo Augusto Malta.
+Não há destinatário ou selo no verso deste postal.
+Na coleção do Instituto Moreira Salles no acervo da Brasiliana Fotográfica há uma foto de 12 de novembro de 1907, tirada do mesmo ângulo e lugar que esta, onde é possível observar algumas diferenças, como as árvores que já estão crescidas e as torres do Mercado Municipal que já aparecem ao fundo.
+ 
+Augusto Malta. Praça Quinze de Novembro, 1907. Rio de Janeiro, RJ / Acervo IMS
+ 
+ 
+*Paulo Celso Corrêa é pesquisador do Arquivo Histórico e Institucional do Museu da República/IBRAM
+ 
+Leia aqui o artigo O centro do poder no Rio de Janeiro, de praia de Piaçaba a Praça XV, publicado na Brasiliana Iconográfica, em 28 de março de 2025.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/4886` — `itens/20.500.12156.1_4886/`
+- `20.500.12156.1/5012` — `itens/20.500.12156.1_5012/`
+- `20.500.12156.1/5015` — `itens/20.500.12156.1_5015/`
+- `20.500.12156.1/5013` — `itens/20.500.12156.1_5013/`
+- `20.500.12156.1/5014` — `itens/20.500.12156.1_5014/`
+- `20.500.12156.1/2719` — `itens/20.500.12156.1_2719/`
+
diff --git a/wordpress/11371-o-indigena-no-acervo-da-brasiliana-fotografica.md b/wordpress/11371-o-indigena-no-acervo-da-brasiliana-fotografica.md
new file mode 100644
index 0000000..2aef9b0
--- /dev/null
+++ b/wordpress/11371-o-indigena-no-acervo-da-brasiliana-fotografica.md
@@ -0,0 +1,72 @@
+---
+id: 11371
+url: "https://brasilianafotografica.bn.gov.br/?p=11371"
+titulo: "O indígena no acervo da Brasiliana Fotográfica"
+autor: "Andrea Wanderley"
+data: "2018-04-19T10:48:43+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/4347", "20.500.12156.1/484", "20.500.12156.1/3826", "20.500.12156.1/3622", "20.500.12156.1/4380", "20.500.12156.1/1785", "20.500.12156.1/4750", "20.500.12156.1/2130"]
+fetched_at: "2026-09-10T09:55:01.123Z"
+---
+
+# O indígena no acervo da Brasiliana Fotográfica
+
+Os indígenas brasileiros foram retratados por diversos fotógrafos do século XIX, muitos deles representados no acervo da Brasiliana Fotográfica que hoje, Dia do Índio, destaca esses registros. São imagens produzidas por Albert Frisch (1840 – 1918), Dana B. Merril (1887 – 19?), Felipe Augusto Fidanza (c.1847 – 1903), Franz Keller  (1835-1890), Hercule Florence (1804 – 1879), Marc Ferrez (1843 – 1923), Vincenzo Pastore (1865 – 1918), Walter Garbe (18? – 19?), e também por fotógrafos ainda não identificados.
+Segundo Fernando Tacca, as fotografias dos indígenas brasileiros no século XIX :
+‘…demonstram inicialmente uma presença exótica dos nativos nos trópicos, muito similar a muitas outras produções, a uma necessidade de alimentar o gabinete de curiosidades do mundo europeu sobre povos distantes e “primitivos”. Enjaulados em exposições presenciais, foram domesticados pela fotografia de estúdio, na qual o fotógrafo foi o articulador cênico de uma representação deslocada da cultura nativa’.
+Também no século XIX, foi produzida por viajantes e expedicionários uma iconografia que revelou à sociedade ocidental um mundo de outras raças. Alguns desses viajantes tinham formação em ciências humanas e naturais e se preocupavam em utilizar a imagem fotográfica das etnias tradicionais dentro do âmbito científico, indo além da simples fetichização do exótico. Segundo Tacca, os fotógrafos do século XIX … transitam entre o exótico distante e uma primeira tentativa de presença etnográfica como informação…
+ 
+Acessando o link para as fotografias de indígenas disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+ 
+Anônimo. Índio Mundukuru, c. 1873. Pará / Acervo Convênio Leibniz-Institut fuer Laenderkunde, Leipzig / Instituto Moreira Salles
+ 
+O Dia do Índio foi instituído no Brasil pelo Decreto-lei nº 5.540, de 02 de junho de 1943, durante o governo de Getulio Vargas (1882 – 1954), tendo sido assinada pelo próprio e pelos ministros Apolônio Sales (1904 – 1982), da Agricultura, e Oswaldo Aranha (1894 – 1960), das Relações Exteriores. Desde então a data é comemorada com solenidades, atividades educacionais e divulgação das culturas indígenas. A primeira celebração da data no Brasil teve sua organização orientada pelo general Cândido Rondon (1865 – 1958) – futuro marechal -, na época presidente do Conselho Nacional de Proteção ao Índio (Correio da Manhã, 19 de abril de 1944, última coluna e O Cruzeiro, 26 de maio de 1946).
+ 
+Correio da Manhã, 3 de junho de 1943
+ 
+A data, 19 de abril,  foi escolhida durante o 1º Congresso Indigenista Interamericano, reunido em Patzcuaro, no México, entre 14 e 24 de abril de 1940 (Correio da Manhã, 4 de abril de 1940, quarta coluna). O professor Edgard Roquette-Pinto (1884 – 1954) foi o representante do Brasil (Correio da Manhã, 6 de abril de 1940, terceira coluna, Diário de Notícias, 26 de maio de 1940, quarta coluna e Jornal do Brasil, 25 de maio de 1940, primeira coluna). Na sessão inaugural do evento foi lida uma carta do presidente dos Estados Unidos, Frank Delano Roosevelt (1882 – 1945). Durante o congresso, cujo objetivo foi a discussão de políticas pelos direitos dos povos indígenas na América, foi aprovada uma recomendação proposta por delegados indígenas de quatro países: Chile, Estados Unidos, México e Panamá.
+Essa recomendação, de nº 59, propunha:
+1. o estabelecimento do Dia do Índio pelos governos dos países americanos, que seria dedicado ao estudo do problema do índio atual pelas diversas instituições de ensino;
+2. que seria adotado o dia 19 de abril para comemorar o Dia do Índio, data em que os delegados indígenas se reuniram pela primeira vez em assembléia no Congresso Indigenista. Todos os países da América foram convidados a participar dessa celebração.
+ 
+Albert Frisch. Alto Amazonas ou Solimões (du Brésil); La cuisine de la malocca : qui se trouve toujours à une petite distance de l’habitation, c. 1867. Amazônia / Acervo FBN
+ 
+Dana B. Merrill. Carapuna Indians at Três Irmãos, entre 1907 e 1912. ? Acervo FBN
+ 
+Franz Keller. Resultados ethnographicos e archeologicos da Exploração do Rio Madeira : : empreendida por ordem do Governo Imperial pelos engenheiros José e Francº Keller, 1869. Rio Madeira, Amazonas / Acervo FBN
+ 
+ 
+Felipe Augusto Fidanza. Menina indígena comendo, c. 1873. Pará / Acervo Convênio Leibniz-Institut fuer Laenderkunde, Leipziz / Instituto Moreira Salles
+ 
+ 
+Hercule Florence. Poligrafia. Índio Apiacá, 1841. Acervo IMS
+ 
+Marc Ferrez. Índio em estúdio, c. 1882. Rio de Janeiro, RJ / Acervo IMS
+ 
+Vincenzo Pastore. Retrato de três indígenas com cocar e arcos e flechas, c. 1905. São Paulo, SP / Acervo IMS
+ 
+Andrea C. T. Wanderley
+Editora-assistente e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+Hemeretoteca Digital da Biblioteca Nacional
+KOSSOY, Boris. Dicionário Histórico-Fotográfico Brasileiro: fotógrafos e ofício da fotografia no Brasil (1833-1910). São Paulo: Instituto Moreira Salles, 2002
+MOURA, Carlos Eugênio Marcondes de. Estou aqui. Sempre estive. Sempre estarei. Indígenas do Brasil. Suas imagens (1505-1955). São Paulo: Editora da Universidade de São Paulo, 2012
+Site do Museu do Índio
+Site O índio na fotografia brasileira
+TACCA, Fernando de. O índio na fotografia brasileira: incursões sobre a imagem e o meio. História, ciências, saúde – Manguinhos – Vol. 18, nº 1, p.191-223. Rio de Janeiro., 2011
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/4347` — `itens/20.500.12156.1_4347/`
+- `20.500.12156.1/484` — `itens/20.500.12156.1_484/`
+- `20.500.12156.1/3826` — `itens/20.500.12156.1_3826/`
+- `20.500.12156.1/3622` — `itens/20.500.12156.1_3622/`
+- `20.500.12156.1/4380` — `itens/20.500.12156.1_4380/`
+- `20.500.12156.1/1785` — `itens/20.500.12156.1_1785/`
+- `20.500.12156.1/4750` — `itens/20.500.12156.1_4750/`
+- `20.500.12156.1/2130` — `itens/20.500.12156.1_2130/`
+
diff --git a/wordpress/1138-o-alemao-alberto-henschel-1827-1882-o-empresario-da-fotografia.md b/wordpress/1138-o-alemao-alberto-henschel-1827-1882-o-empresario-da-fotografia.md
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+---
+id: 1138
+url: "https://brasilianafotografica.bn.gov.br/?p=1138"
+titulo: "O alemão Alberto Henschel (1827 – 1882), o empresário da fotografia"
+autor: "Andrea Wanderley"
+data: "2015-06-13T11:39:01+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: []
+fetched_at: "2026-09-10T09:55:04.545Z"
+---
+
+# O alemão Alberto Henschel (1827 – 1882), o empresário da fotografia
+
+Photographia Allemã. Alberto Henschel (à direita) e Constantino Barza,  c. 1877. Recife, Pernambuco. Coleção de retratos Francisco Rodrigues, do acervo da Fundação Joaquim Nabuco – Ministério da Educação
+No mês de junho são celebradas as datas de nascimento e de morte do berlinense Alberto Henschel, um dos mais importantes fotógrafos que atuaram no Brasil na segunda metade do século XIX. Chegou no Recife, em 1866, e, ao longo de 16 anos, teve uma intensa atividade no país. Segundo o historiador Boris Kossoy (1941 – ), Henschel pode ser considerado pioneiro no Brasil como empresário da fotografia, pois chegou a ter quatro estabelecimentos: o primeiro no Recife (1866), o segundo em Salvador (provavelmente em 1868) e os últimos no Rio de Janeiro (1870) e em São Paulo (1882). Dedicou-se com talento aos retratos, às paisagens e às imagens etnográficas, tendo se destacado nos retratos de mulheres africanas e afrodescendentes. Também fotografou vários membros da família real no Brasil.
+Henschel fotografou o Rio e seus arredores, chegando até Nova Friburgo e mesmo ao Itatiaia, que naquele tempo atraía poucas pessoas. Fez paisagens, mas antes de tudo era exímio retratista. Não há quase nenhum álbum de família em que não figurem retratos de avós tirados por Alberto Henschel – afirmou Gilberto Ferrez (1908 – 2000), no livro em A Fotografia no Brasil: 1840-1900, destacando a importância de Henschel no panorama da fotografia brasileira oitocentista.
+No livro Pioneers Phothographers of Brazil, Gilberto Ferrez chamou atenção especial sobre a série de vistas realizadas por Henschel em Itatiaia, em 1870, e, em Nova Friburgo, em 1875.  Considerava a escolha de Itatiaia misteriosa e, sobre as fotos de Nova Friburgo, comentou a capacidade do fotógrafo, já associado com Francisco Benque (1841 – 1921), em retratar os indivíduos e as construções numa confortável, até íntima, relação com a terra, uma relação particularmente evidente na fotografia do vale e da estação de Rio Grande, ou na da cascata do Pinel…. Essas fotos fazem parte do acervo da Biblioteca Nacional, podem ser acessadas nesse portal e estão na Galeria de Alberto Henschel ao final deste texto.
+Acessando o link para as fotografias de autoria de Alberto Henschel disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Além da Biblioteca Nacional e do Instituto Moreira Salles, as outras instituições que possuem importantes acervos de Alberto Henschel são o Arquivo Nacional, a Fundação Joaquim Nabuco e o Instituto Histórico e Geográfico Brasileiro.
+ 
+Cronologia de Alberto Henschel (1827 – 1882)
+
+Identificação de Alberto Henschel / Acervo do IMS
+1827 - Em 13 de junho, Alberto Henschel nasceu em Berlim, na Alemanha.
+1866 – maio –  Chegou no Recife acompanhado de Karl Heinrich (Carlos Henrique) Gutzlaff no patacho hamburguês Catharine Jane (Diário de Pernambuco, edição de 28 de maio de 1866).
+julho – Os dois fotógrafos associaram-se ao maranhense Julio dos Santos Pereira e, com ele, assumiram a direção do estabelecimento Photographia Alberto Henschel & C. , localizado na rua do Imperador, nº 38. No anúncio da abertura do negócio, os proprietários destacaram as photographias coloridas por um novo systema, que reune o brilho da pintura à óleo à pureza da aquarella (Diário de Pernambuco, edição de 7 de julho de 1866). Para atrair clientela, foi realizada no ateliê uma exposição com trabalhos feitos por Henschel na Europa. Foi neste mesmo endereço que entre 1860 e 1865 o fotógrafo A.W. Osborne tinha o estabelecimento fotográfico Galeria Americana (Diário de Pernambuco, de 7 de maio de 1860), comprado por Julio dos Santos Pereira em fevereiro de 1865  (Diário de Pernambuco, 2 de fevereiro de 1865, penúltima coluna), quando Osborne foi para o Rio de Janeiro (Jornal de Recife, 16 de fevereiro de 1865).
+outubro – Henschell e Gutzlaff anunciaram o fim da associação com Julio dos Santos Pereira.
+novembro – Foi anunciada a reabertura do novo ateliê fotográfico de Henschel, mas agora com o nome de Photographia Allemã e localizado no largo da matriz de Santo Antonio, nº 2 (Diário de Pernambuco, edição de 16 de novembro de 1866, primeira coluna). No anúncio, destacaram-se as qualidades do novo estabelecimento, dentre as quais o fato de possuir uma galeria envidraçada com cristais especiais capazes de atenuar os efeitos da luz forte.
+1867 – Em junho, Henschel anunciou uma viagem à Europa, de onde retornou em setembro acompanhado do pintor alemão Karl Ernst (Carlos Ernesto) Papf (1833-1910), no vapor Oneida (Diário de Pernambuco, edições de 2 de junho e de 28 de setembro de 1867 – o sobrenome de Henschel está escrito errado). Já em outubro, foram publicados anúncios participando a volta de Henschel ao Recife e apresentando Papf como membro honorário da Academia Real de Pintura de Dresden (Diário de Pernambuco, edição de 26 de outubro de 1867). Nos anos que se seguiram, Papf trabalhou em todo os ateliês de Henschel, prestando serviços de fotopintura.
+1868 – Henschel fez nova viagem à Europa para atualizar seus conhecimentos em fotografia e comprar novos equipamentos. Provavelmente, nesse ano terminou sua associação com Gutzlaff, que fundou em julho a Photographia Internacional, no Recife, na rua do Imperador, nº 38 (Diário de Pernambuco, 6 de junho de 1868, última coluna; e Diário de Pernambuco, 15 de julho de 1868, segunda coluna). . Henschel anunciou a técnica da marfimographia, a contratação de novos profissionais e a iminente abertura de uma filial da Photographia Allemã em Salvador, na Bahia (Jornal de Recife, edição de 21 de julho de 1868, quarta e quinta colunas, no pé da página). O ateliê da capital baiana ficava na rua da Piedade, nº 16. Posteriomente passou a funcionar no largo do Theatro.
+1870 - Casou-se com Simy (1851 – 1920), filha do rabino inglês Isaac Amzalak, dono de armazéns e armador bem sucedido. Uma curiosidade: segundo o livro Salões e damas do Segundo Reinado, de Wanderley Pinho, o poeta Castro Alves se inspirou na beleza das três filhas do armador Amzalak para criar o poema Hebreia.
+Henschel realizou a série de vistas em Itatiaia.
+Foi anunciada a abertura da Photographia Allemã. Alberto Henschel & C., no Rio de Janeiro, sucedendo os fotógrafos Guilherme Mangeon e Van Nyvel. O novo estabelecimento localizava-se na rua dos Ourives, 40, atual rua Miguel Couto. No anúncio, foi informado que Van Nyvel continuaria a trabalhar no ateliê (Jornal do Commercio, edição de 18 de dezembro de 1870).
+1871 - Nasceu no Rio de Janeiro o único filho de Henschel e Simy, Maurício, que viria a falecer em 1934.
+Anunciada a contratação do  fotógrafo alemão Franz (Francisco) Benque (1841-1921), a quem Henschel foi associado até, provavelmente, 1878 (Diário do Rio de Janeiro de 10 e 11 de abril,  segunda coluna).
+1872 – Henschel & Benque participaram da exposição da Academia Imperial de Belas-Artes e expuseram um retrato do poeta Castro Alves (1847 – 1871) ( Correio do Brazil, edição de 24 de junho de 1872, na coluna Folhetim). Em 23 de setembro, receberam uma visita de Suas Magestades e Altezas Imperiaes na Photographia Allemã ( Correio do Brazil, edição de 25 de setembro de 1872, na quinta coluna).
+1873 – Henschel & Benque participaram da Exposição Universal de Viena. Enviaram dois retratos: de uma baiana quitandeira e da família real brasileira (Diário de Pernambuco, 10 de abril de 1873, quinta coluna).  Ganharam a medalha de mérito (A Reforma, edição de 10 de setembro de 1873).
+1874 – Ao longo do segundo semestre, foram publicados vários anúncios no Jornal da Bahia anunciando a chegada de um pintor no ateliê de Salvador.
+Segundo o artigo Dom Pedro II e a fotografia (2), de Ricardo Martim, pseudônimo de Guilherme Auler (1914-1965), publicado na Tribuna de Petrópolis, de 8 de abril de 1856, a dupla Henschel & Benque foi agraciada com o título de Photographos da Caza Imperial, em 7 de dezembro de 1874.
+1875 – Chegada do austríaco Constantino Barza, a bordo do vapor inglês News, vindo da Europa. Ele viria a ser o gerente da Photographia Allemã de Henschel (Jornal de Recife, 26 de fevereiro de 1875, primeira coluna).
+Ainda associado a Francisco Benque, Henschel fez a série de vistas de Nova Friburgo e do Jardim Botânico e ambos participaram da exposição da Academia Imperial de Belas-Artes ( Epocha, 15 de dezembro de 1875).
+Na coluna “Folhetim da Gazeta de Notícias –  Bellas Artes”, o português Julio Huelva (1840 – 1904), pseudônimo do músico e arquiteto Alfredo Camarate, elogiou a fotografia produzida no Brasil e destacou os trabalhos dos ateliês de José Ferreira Guimarães  (1841 –1924), Joaquim  Insley Pacheco (1830 – 1912) e de Albert Henchel (1827 – 1892) e Franz (Francisco) Benque (1841-1921). O autor cobrou também a presença de fotógrafos do Rio de Janeiro na Exposição Universal da Filadélfia, que se realizaria em 1876 (Gazeta de Notícias, 21 de dezembro de 1875).
+1876 – O pintor acadêmico austríaco Ferdinand Piereck (1844 – 1925) foi contratado pela Photographia Allemã. Ele viria a ser o pai do fotógrafo Louis Piereck (1880 – 1931) (Jornal do Recife, 14 de janeiro de 1876).
+1877 - No estabelecimento A La Glace Elegante, no Rio de Janeiro, exposição de uma tela com os retratos do conde e da condessa d´Eu e do príncipe do Grão Pará, de autoria de  Karl Ernst (Carlos Ernesto) Papf (1833-1910), do estabelecimento de Henschel & Benque. Teria sido uma encomenda da princesa Isabel (Diário do Rio de Janeiro, 6 de novembro de 1877, penúltima coluna).
+Em novembro, a Photographia Allemã, no Recife, passou a funcionar na rua do Barão da Victoria, nº52 , devido à construção de prédios na frente da galeria. Os trabalhos do estabelecimento foram interrompidos por 15 dias (Diário de Pernambuco, edição de 26 de novembro de 1877).
+1879 – Foi publicado um elogio às fotografias de crianças tiradas por Henschel (Gazeta de Notícias, 11 de março, primeira coluna).
+1880 – Constantino Barza, apresentando-se como gerente da Photographia Allemã de Recife, anunciou a chegada do fotógrafo Moritz Lamberg para cuidar da parte técnica e artística do ateliê (Diário de Pernambuco, edição de 30 de janeiro de 1880). Lamberg é apresentado como celebridade europeia e insigne artista, que havia dirigido estabelecimentos em Berlim e Viena e obtido prêmios conquistados em Paris e em Viena nas exposições de 1868 e 1873. Em 1899, Lamberg publicou o livro de fotografias Brazilian.
+1881- Participou da Exposição de História do Brasil promovida pela Biblioteca Nacional do Rio de Janeiro com vistas urbanas, rurais e retratos.
+Foi noticiado um caso envolvendo Henschel e um relojoeiro, de quem, segundo o jornal, ele achava ter sido vítima da esperteza (Gazeta da Tarde, edição de 16 de abril de 1881, terceira coluna)
+O fotógrafo Moritz Lamberg fez uma petição à Associação Comercial da Cidade do Recife para que se ordenasse o registro da escritura da compra que fez do estabelecimento denominado Photographia Allemã (Diário de Pernambuco, 19 de setembro de 1881, na quarta coluna).
+Vistas do Recife produzidas por Henschel foram elogiadas pela imprensa local como as melhores que conhecemos até hoje dos pontos photographados (Diário de Pernambuco, edição de 18 de outubro de 1881).
+Alberto Henschel e Moritz Lamberg convidavam para apreciar os trabalhos de nossa casa, que vão ser exibidos na próxima exposição que terá lugar no Rio de Janeiro (Diário de Pernambuco, 14 de novembro de 1881).
+ 
+Diário de Pernambuco, 14 de novembro de 1881.
+ 
+É possível que neste ano Henschel, ou mesmo antes, tenha vendido a filial baiana de seu ateliê fotográfico para Waldemar Lange, que se anunciava como seu sucessor  no Almanak da Província da Bahia, 1881, pág. 43.
+1882 – Henschel participou da Primeira Exposição Artístico-Industrial promovida pela Imperial Sociedade dos Artistas Mecânicos e Liberais de Pernambuco e conquistou uma medalha de mérito pelas vistas fotográficas que expôs (Diário de Pernambuco, 17 de janeiro de 1882, segunda coluna).
+Foi aberto o ateliê de Henschel em São Paulo, na rua Direita nº 1. A imprensa noticiou que a inauguração desse importante e sumptoso estabelecimento artístico seria mais um signal do crescente desenvolvimento de São Paulo (Correio Paulistano, na edição de 1º de fevereiro de 1882). No anúncio da inauguração, apresentavam-se como fotógrafos da Casa Imperial (Correio Paulistano, edição de 7 de fevereiro de 1882). O gerente da sucursal paulista era o fotógrafo húngaro José Vollsack (1847 – 1927), que, em 1888, tornou-se dono da referida filial. Por já existir na capital paulista uma casa fotográfica com o nome de Photographia Allemã, de propriedade do fotógrafo alemão Carlos Hoenen (18? – ?), a de Henschel ficou conhecida como Photographia Imperial.
+Em abril, foi publicada na Revista Illustrada, número 295, na seção Exposição de bellas-artes, uma crítica desfavorável a dois retratos de Henschel.
+Morte de Albert Henschel em 30 de junho, no Rio de Janeiro ( Rio News, edição de 5 de julho de 1882 e Gazeta de Notícias, edição de 10 de julho de 1882). Faleceu em sua residência, na rua Barão de Itambi, nº 14, em Botafogo.
+1884 – Foi autorizada a venda da filial do Rio de Janeiro por força de alvará judicial (Jornal do Commercio, de 7 de junho de 1884, primeira coluna).
+1885 - O austríaco Constantino Barza reassumiu a gerência da  Photographia Allemã (Diário de Pernambuco, 13 de novembro de 1885). Anteriormente, em 1881, havia se associado ao dinarmarquês Niels Olsen (1843 – 1911), em Fortaleza (O Cearense, 26 de janeiro de 1881, quarta coluna) e, depois, no Pará (O Liberal do Pará, 3 de janeiro de 1882, quarta coluna e Almanak Paraense, 1883). Em Belém, o estabelecimento de Olsen e Barza começou a funcionar em 1º de janeiro de 1882 e ficava na rua da Trindade, n° 24, no antigo ateliê do fotógrafo José Thomaz Sabino, que havia falecido.
+ 
+Diário de Pernambuco, 23 de novembro de 1885
+ 
+1886 - O pintor acadêmico austríaco Ferdinand Piereck (1844 – 1925) voltou a trabalhar na Photographia Allemã, onde já havia trabalhado em 1876 (Jornal do Recife, 3 de março de 1886).
+ 
+Jornal do Recife, 3 de março de 1886
+ 
+1887 – Até esse ano Constantino Barza continuava a anunciar as atividades da Photographia Allemã no Recife. Em 1905, Constantino Barza trabalhava como agente de venda dos charutos Poock & C(A Província, 9 de março de 1905).
+2020 – Em 13 de maio, publicação, na Brasiliana Fotográfica, do artigo A mulher negra de turbante, de Alberto Henschel, de autoria de Aline Montenegro Magalhães e Maria do Carmo Rainho, historiadoras, respectivamente, do Museu Histórico Nacional e do Arquivo Nacional.
+O artista visual brasileiro Vik Muniz (1961-) produziu a obra Sem nome (mulher com turbante), a partir de Alberto Henschel.
+ 
+Vik Muniz. Sem nome (mulher com turbante), a partir de Alberto Henschel, 2020.
+ 
+Para a elaboração da presente cronologia de Alberto Henschel vali-me, especialmente, do Dicionário Histórico-Fotográfico Brasileiro: Fotógrafos e Ofício da Fotografia no Brasil (1833-1910), de autoria de Boris Kossoy, e da Hemeroteca Digital da Biblioteca Nacional.
+ 
+Andrea C. T. Wanderley
+Editora-assistente e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+ERMAKOFF, George. Rio de Janeiro 1840-1900: uma crônica fotográfica, George Ermakoff [Tradução: Carlos Luís Brown Scavarda]. Rio de Janeiro: G. Ermakoff Casa Editorial, 2006
+FERREZ, Gilberto. A Fotografia no Brasil: 1840-1900 / Gilberto Ferrez; [prefácio por Pedro Vasquez] – 2ª ed. – Rio de Janeiro: FUNARTE: Fundação Nacional Pró-Memória, 1985.
+FERREZ, Gilberto; NAEF, Weston J. Pioneer photographers of Brazil: 1840 – 1920. New York: The Center for Inter-American Relations, 1976. 143 p., il. p&b.
+Hemeroteca Digital da Biblioteca Nacional
+KOSSOY, Boris. Dicionário histórico-fotográfico brasileiro: fotógrafos e ofício da fotografia no Brasil (1833-1910). São Paulo: Instituto Moreira Salles, 2002. 408 p., il. p&b.
+LAGO, Bia Corrêa do;LAGO, Pedro Corrêa do. Os Fotógrafos do Império. Rio de Janeiro: Capivara, 2005. 240p.:il
+LAGO, Pedro Corrêa do; JUNIOR, Rubens Fernandes. O século XIX na fotografia brasileira. Rio de Janeiro: Fundação Armando Álvares Penteado: Francisco Alves, 2000.
+VASQUEZ, Pedro Karp. Dom Pedro II e a fotografia no Brasil. Rio de Janeiro: Fundação Roberto Marinho : Cis, [1985]. 243 p., fotos p&b.
+VASQUEZ, Pedro Karp. Fotógrafos Alemães no Brasil do Século XIX: Deutsche Fotografen des 19. Jahrhunderts in Brasilien. São Paulo: Metalivros, 2000. 203 p., il. p&b.
+Site da Enciclopédia Itaú Cultural
diff --git a/wordpress/11397-serie-1922-hoje-ha-100-anos-vii-a-morte-de-gastao-de-orleans-o-conde-d-eu-neuill.md b/wordpress/11397-serie-1922-hoje-ha-100-anos-vii-a-morte-de-gastao-de-orleans-o-conde-d-eu-neuill.md
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+---
+id: 11397
+url: "https://brasilianafotografica.bn.gov.br/?p=11397"
+titulo: "Série “1922 – Hoje, há 100 anos” VII – A morte de Gastão de Orleáns, o conde d´Eu (Neuilly-sur-Seine, 28/04/1842 – Oceano Atlântico 28/08/1922)"
+autor: "Andrea Wanderley"
+data: "2022-08-28T11:09:55+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/5514", "20.500.12156.1/50", "20.500.12156.1/617", "20.500.12156.1/1792", "20.500.12156.1/4154", "20.500.12156.1/1796", "20.500.12156.1/5523"]
+fetched_at: "2026-09-10T09:55:08.073Z"
+---
+
+# Série “1922 – Hoje, há 100 anos” VII – A morte de Gastão de Orleáns, o conde d´Eu (Neuilly-sur-Seine, 28/04/1842 – Oceano Atlântico 28/08/1922)
+
+No sétimo artigo da Série 1922 – Hoje, há 100 anos *, a Brasiliana Fotográfica apresenta uma seleção de registros de Gastão de Orleáns, o conde d´Eu quando se completam 100 anos de sua morte, ocorrida, em 28 de agosto de 1922,  justamente quando ele voltava ao Brasil, após cerca de 33 anos de exílio, para celebrar o centenário da independência do país. São imagens produzidas pelos fotógrafos Alberto Henschel (1827 – 1882), Arsênio da Silva, Christiano Jr. & Pacheco, Joaquim Insley Pacheco (1830 – 1912), Revert Henrique Klumb (c. 1826 – c. 1886) e por fotógrafos ainda não identificados.
+Neto do rei Luís Filipe I de França, Gastão de Orleáns, o conde d´Eu, tornou-se príncipe imperial consorte do Brasil quando casou-se com a princesa Isabel (1846 – 1921), filha de d. Pedro II (1825 – 1891) e dona Teresa Cristina (1822 – 1889). O Conde d’Eu e seu primo, o duque Luís Augusto de Saxe-Coburgo-Gota (1845 – 1907) desembarcaram no Rio de Janeiro em 2 de setembro de 1864 e hospedaram-se no paço da cidade (Diário do Rio de Janeiro, 3 de setembro de 1864, terceira coluna). Foram para o Palácio de São Cristóvão, residência da família imperial brasileira onde conheceram as princesas Isabel e Leopoldina (1847 – 1871). Os casais previamente idealizados seriam formados por d. Gastão e a princesa Leopoldina, e por seu primo e a princesa Isabel. Mas, após alguns dias, devido a afinidades, os casais se rearranjaram.
+ 
+Joaquim Insley Pacheco. Gastão de Orleans, o conde d’Eu, c. 1864. Rio de Janeiro, RJ / Acervo IMS
+ 
+Isabel e Gastão casaram-se em 15 de outubro de 1864, na Capela Imperial, no Rio de Janeiro, em cerimônia celebrada por D. Manoel Joaquim da Silveira, arcebispo da Bahia e primaz do Brasil (Diário do Rio de Janeiro, edição de 16 de outubro de 1864). O escritor Machado de Assis (1839 – 1908) escreveu na coluna Folhetim uma calorosa descrição do evento (Diário do Rio de Janeiro, edição de 17 de outubro de 1864). O casal passou a lua de mel em Petrópolis, de onde retornou no dia 24 de outubro. Devido à união, o conde d´Eu teve que renunciar aos seus direitos à linha da sucessão ao trono francês. Em 15 de dezembro, foi realizado o casamento da princesa Leopoldina com o duque de Saxe (Diário do Rio de Janeiro, de 16 de dezembro de 1864).
+ 
+Arsenio da Silva. Parada no Largo do Paço por ocasião do casamento da Princesa Isabel com o Conde d’Eu, 1864. Rio de Janeiro, RJ / Acervo FBN
+ 
+Acessando o link para as fotografias do conde d´Eu disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar a imagem e verificar todos os dados referentes a ela.
+ 
+Revert Henrique Klumb. Princesa Isabel e Conde d’Eu saindo de sua residência, 1855 – 1880. Petrópolis, Rio de Janeiro / Acervo FBN
+ 
+Juntos, Isabel e Gastão formaram uma coleção de fotografias que se encontra na Europa e representa um importante acervo iconográfico do oitocentos no Brasil. Fazem parte da coleção fotografias de Marc Ferrez (1843 – 1923), Alberto Henschel(1827 – 1882), Augusto Riedel (18? – ?), Augusto Stahl (1828 – 1877), George Leuzinger (1813 – 1892), e Victor Frond (1821 – 1881),  dentre outros, além de imagens das celebrações da abolição da escravatura, em 1888.
+Após cerca de 10 anos de casados, em 28 de julho de 1874, a princesa Isabel deu à luz a uma menina natimorta, Luísa Vitória de Orléans e Bragança (Diário do Rio de Janeiro, edição de 29 de julho de 1874, sob o título “Parte Official”). O casal teve o primeiro filho, Pedro de Orléans e Bragança (1875 – 1940), nascido em 15 de outubro de 1875, em Petrópolis (Diário do Rio de Janeiro, edição de 16 de outubro de 1875, sob o título “Diário do Rio”). O segundo filho, Luis Maria de Orléans e Bragança (1878 – 1920), também nasceu em Petrópolis, em 26 de janeiro de 1878  (Diário do Rio de Janeiro, edição de 27 de janeiro de 1878, na segunda coluna). Faleceu em Cannes, na França, em março de 1920. O último, Antonio Gastão de Orléans e Bragança (1881 – 1918), nasceu em Paris em 9 de agosto de 1881 (Gazeta de Notícias, edição de 10 de agosto de 1881, na primeira coluna) e faleceu em 29 de novembro de 1918, devido a um desastre de avião, em Londres.
+ 
+Alberto Henschel. Princesa Isabel, Conde D’Eu e os filhos D. Pedro de Alcântara, príncipe do Grão-Pará, D. Luís Maria e D. Antônio Gastão, c. 1884 / Acervo IMS
+ 
+O conde d´Eu participou da Guerra do Paraguai (1864 – 1870), tendo assumido o comando em chefe das forças nacionais em campanha, em 1869, substituindo Luis Alves de Lima e Silva, o Duque de Caxias (1803 – 1880). Retornou à corte em 29 de abril de 1870, após ter vencido as batalhas de Pirebebuy e Campo Grande.
+ 
+Anônimo. S. A. Real Conde d’Eu com seu estado maior em Lambaré, 1868. Lambaré, Paraguai / Acervo FBN
+ 
+Em 17 de novembro de 1889, dois dias após a proclamação da República, a família real partiu para o exílio, na Europa (Gazeta de Notícias, edição de 18 de novembro de 1889, sob o título “O Embarque do Imperador”, na segunda coluna). Isabel e Gastão foram morar na França. Em 3 de setembro de 1920, realizou-se no salão de despachos do palácio do Catete a assinatura do decreto que revogava o banimento da família imperial (O Paiz, 4 de setembro de 1920, quarta coluna; A Rua, 4 de setembro de 1920, primeira coluna). Em janeiro de 1921, chegaram no Rio de Janeiro os corpos de dom Pedro II e de dona Teresa Cristina, que estavam no Mosteiro de São Vicente de Fora, em Lisboa. Viajaram no encouraçado São Paulo, que havia transportado do Brasil à Europa os reis da Bélgica. O conde d´Eu (1842 – 1922), seu filho, o príncipe Dom Pedro (1875 – 1940), e o barão de Muritiba (1839 – 1922) acompanharam a viagem dos despojos (O Paiz, de 9 de janeiro de 1921; Careta, 15 de janeiro de 1921). A princesa Isabel não chegou a se beneficiar da revogação do banimento da família real do Brasil porque faleceu em 14 de novembro de 1921.
+ 
+Careta, 15 de janeiro de 1921
+ 
+Como já mencionado, o conde d´Eu faleceu, em 28 de agosto de 1922,  justamente quando voltava ao Brasil para celebrar o centenário da independência do país. Estava a bordo do navio Massilia (O Paiz, 29 de agosto de 1922, penúltima coluna).
+ 
+Careta, 9 de setembro de 1922
+ 
+Na celebração do cinquentenário da Lei Áurea, em 1938, um decreto presidencial autorizou o repatriamento dos restos mortais da Princesa Isabel e do Conde d´Eu (O Jornal, 13 de maio de 1938).
+ 
+O Jornal, 13 de maio de 1938
+ 
+Em 6 de julho de 1953, chegaram no Rio de Janeiro os restos mortais da princesa Isabel e do conde D’Eu (Correio da Manhã, edição de 7 de julho de 1953 e O Cruzeiro, 18 de julho de 1953), que foram transladados, em 1971, da Catedral Metropolitana do Rio de Janeiro para a igreja de Nossa Senhora do Rosário e São Benedito dos Homens Pretos (Correio da Manhã, edição de 11 de maio de 1971) e, finalmente, foram sepultados na Catedral de Petrópolis (Correio da Manhã, edição de 14 de maio de 1971).
+ 
+Joaquim Insley Pacheco. Conde d´Eu em uniforme militar, 1870. Rio de Janeiro, RJ / Acervo IMS
+ 
+Joaquim Insley Pacheco. Gastão de Orleans, o conde d’Eu, c. 1864. Rio de Janeiro, RJ / Acervo IMS
+ 
+*Esse artigo foi publicado em 4 de maio de 2018, teve sua introdução um pouco alterada, e passou a integrar a Série 1922, Hoje, há 100 anos com o título “Hoje, há 100 Anos” – A morte de Gastão de Orleáns, o conde d´Eu (Neuilly-sur-Seine, 28/04/1842 – Oceano Atlântico 28/08/1922).
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes
+BESOUCHET, Lídia. Exílio e morte do Imperador. Rio de Janeiro: Editora Nova Fronteira, 1975
+CARVALHO, José Murilo. Pedro II: ser ou não ser. São Paulo: Companhia das Letras, 2007.
+DEL PRIORI, Mary. O Castelo de papel. Rio de Janeiro: Rocco, 2013.
+DORATIOTO, Francisco Fernando Monteoliva. Maldita Guerra. São Paulo:Companhia das Letras, 2002.
+ECHEVERRIA, Regina. A História da Princesa Isabel – amor, liberdade e exílio. Rio de Janeiro: Versal Editores, 2014.
+Hemeroteca Digital da Biblioteca Nacional
+LIMA, Luiz Octavio de. A Guerra do Paraguai. São Paulo:Planeta do Brasil, 2016.
+SCHWARCZ, Lilia Moritz. As barbas do Imperador: D. Pedro II, um monarca nos trópicos. São Paulo: Companhia das Letras, 1998.
+Site do CPDOC
+ 
+Links para os artigos já publicados da Série 1922 – Hoje, há 100 anos
+Série 1922 – Hoje, há 100 anos I – Os Batutas embarcam para Paris, de autoria de Andrea C.T. Wanderley, publicado em 29 de janeiro de 2022
+Série 1922 – Hoje, há 100 anos II- A Semana de Arte Moderna, de autoria de Andrea C.T. Wanderley, publicado em 13 de fevereiro de 2022, na Brasiliana Fotográfica
+Série 1922 – Hoje, há 100 anos III – A eleição de Artur Bernardes e a derrota de Nilo Peçanha, de autoria de Andrea C.T. Wanderley, publicado em 1º de março de 2022, na Brasiliana Fotográfica
+Série 1922 – Hoje, há 100 anos IV – A primeira travessia aérea do Atlântico Sul, realizada pelos aeronautas portugueses Gago Coutinho e Sacadura Cabral, de autoria de Andrea C. T. Wanderley, publicada em 17 de junho de 2022, na Brasiliana Fotográfica
+Série 1922 – Hoje, há 100 anos V – A Revolta do Forte de Copacabana, de autoria de Andrea C. T. Wanderley, publicada em 5 de julho de 2022, na Brasiliana Fotográfica
+Série 1922 – Hoje, há 100 anos VI e série Feministas, graças a Deus XI – A fundação da Federação Brasileira para o Progresso Feminino, de autoria de Andrea C. T. Wanderley, publicado em 9 de agosto de 2022, na Brasiliana Fotográfica
+Série 1922 – Hoje, há 100 anos VIII – A abertura da Exposição Internacional do Centenário da Independência do Brasil e o centenário da primeira grande transmissão pública de rádio no país, de autoria de Andrea C. T. Wanderley, publicado em 7 de setembro de 2022, na Brasiliana Fotográfica.
+Série 1922 – Hoje, há 100 anos IX – O centenário do Museu Histórico Nacional, de autoria de Maria Isabel Lenzi, historiadora do Musseu Histórico Nacional, publicado em 12 de outubro de 2022, na Brasiliana Fotográfica.
+Série 1922 – Hoje, há 100 anos X –  A morte do escritor Lima Barreto (1881 – 1922), de autoria de Andrea C. T. Wanderley, publicado em 1º denovembro de 2022, na Brasiliana Fotográfica
+Série 1922 – Hoje, há 100 anos XI e série Feministas, graças a Deus XII – 1ª Conferência pelo Progresso Feminino e o “bom” feminismo, de autoria de Maria Elizabeth Brêa Monteiro, antropóloga do Arquivo Nacional, publicado em 19 de dezembro de 2022, na Brasiliana Fotográfica.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/5514` — `itens/20.500.12156.1_5514/`
+- `20.500.12156.1/50` — `itens/20.500.12156.1_50/`
+- `20.500.12156.1/617` — `itens/20.500.12156.1_617/`
+- `20.500.12156.1/1792` — `itens/20.500.12156.1_1792/`
+- `20.500.12156.1/4154` — `itens/20.500.12156.1_4154/`
+- `20.500.12156.1/1796` — `itens/20.500.12156.1_1796/`
+- `20.500.12156.1/5523` — `itens/20.500.12156.1_5523/`
+
diff --git a/wordpress/11486-serie-exposicoes-ii-a-festa-do-progresso-o-brasil-na-exposicao-continental-bueno.md b/wordpress/11486-serie-exposicoes-ii-a-festa-do-progresso-o-brasil-na-exposicao-continental-bueno.md
new file mode 100644
index 0000000..3224c01
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+++ b/wordpress/11486-serie-exposicoes-ii-a-festa-do-progresso-o-brasil-na-exposicao-continental-bueno.md
@@ -0,0 +1,147 @@
+---
+id: 11486
+url: "https://brasilianafotografica.bn.gov.br/?p=11486"
+titulo: "Série “Exposições” II – A festa do progresso: o Brasil na Exposição Continental, Buenos Aires, 1882"
+autor: "Andrea Wanderley"
+data: "2018-03-29T12:20:17+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/5513", "20.500.12156.1/5065", "20.500.12156.1/5507", "20.500.12156.1/5512", "20.500.12156.1/5064", "20.500.12156.1/5509", "20.500.12156.1/5037", "20.500.12156.1/5510", "20.500.12156.1/5508", "20.500.12156.1/5511"]
+fetched_at: "2026-09-10T09:55:11.368Z"
+---
+
+# Série “Exposições” II – A festa do progresso: o Brasil na Exposição Continental, Buenos Aires, 1882
+
+Uma das marcas do período compreendido entre meados do século XIX e o início do século XX é a realização de exposições internacionais. Embora mais modesta do que outras mostras internacionais, no que se referia às dimensões e ao número de países participantes, a realização da Exposição Continental de Buenos Aires inseria-se nessa tendência. A historiadora Maria do Carmo Rainho, do Arquivo Nacional, uma das instituições parceiras da Brasiliana Fotográfica, é a autora do artigo A festa do progresso: o Brasil na Exposição Continental, Buenos Aires, 1882, que o portal publica hoje para seus leitores.
+ 
+A festa do progresso: o Brasil na Exposição Continental, Buenos Aires, 1882
+Maria do Carmo Rainho*
+ 
+ 
+Uma das marcas do período compreendido entre meados do século XIX e o início do século XX é a realização de exposições internacionais, que podem ser sintetizadas como espaços de fruição e exibição das mudanças nas técnicas, na ciência, na cultura, nos modos de produzir e consumir uma ampla gama de artigos, nas artes, na educação, bem como nas relações internacionais. Estas exposições evidenciam ainda, a tentativa de estabelecer uma espécie de ordem visual, cultural e política para o mundo. Inez Turazzi ressalta, também, para a grandiosidade dos números que cercam estes eventos.
+“se incluirmos a primeira Grande Exposição Internacional de Londres de 1851 e a Exposição Universal de Paris de 1900, chegaram a ser realizadas dez grandes exposições internacionais e universais, com um público que atingiu a cifra impressionante de 172 milhões de visitantes, aproximadamente.”[1]
+Estruturada em torno de pavilhões de países e regiões, as exposições exibiam, numa disposição particular, objetos que visavam representar economias e culturas. Nestes espaços criava-se uma atmosfera de progresso contínuo das nações, embora estas estivessem ali submetidas a uma hierarquia: cabiam às mais desenvolvidas os espaços centrais. Para Dussel, as nações eram elas próprias, commodities, prontas para serem consumidas.[2] Cada espaço expositivo – com seus arranjos – criava narrativas nacionais reforçadas pela obtenção de medalhas e menções honrosas; a conquista desses prêmios concedidos aos governos, instituições públicas e empresas privadas, era devidamente capitalizada em matérias e anúncios publicados pela imprensa, nos rótulos e marcas dos produtos, nos versos das carte de visite e carte cabinet.
+Embora mais modesta do que as mostras internacionais, no que se referia às dimensões e ao número de países participantes, a realização da Exposição Continental de Buenos Aires[3] era uma tentativa do governo argentino de difundir ideias como a superação da Guerra da Tríplice Aliança envolvendo Argentina, Brasil e Uruguai contra o Paraguai e finalizada há pouco mais de um decênio; a aposta na paz interna e externa; o desenvolvimento das suas indústrias, para o qual concorria a presença maciça de imigrantes, com destaque para a produção do açúcar e do trigo. A própria instalação do pavilhão, um prédio em estilo art-déco, no lugar de um antigo mercado de frutas na Praça Onze de Setembro, situado no que era, até então, um subúrbio miserável, se insere no projeto de vender a imagem de uma nação moderna, desenvolvida e com uma capital que, desde o início da administração de Torcuato de Alvear (1868 – 1942), em 1880, primava pela intervenção urbana, com a expropriação de lojas, abertura de largas avenidas, e expulsão dos moradores de cortiços das áreas centrais de Buenos Aires.
+Acessando o link para as fotografias da Exposição Continental de Buenos Aires de 1882 que estão disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+Inaugurada em 15 de março de 1882, no Palácio da Exposição,[4] o evento contou com a presença do presidente da República Argentina, Julio Roca (1843 – 1914), de ministros, do presidente da municipalidade da capital e de um grande contingente de visitantes,[5] ensejando um feriado, decoração com bandeiras e galhardetes e uma iluminação especial nas ruas do entorno, além da realização de parada militar. Lojas e estabelecimentos públicos e privados não funcionaram e coube à orquestra do Teatro Colón executar o hino nacional. Até 23 de julho daquele ano, cerca de 50 mil pessoas tiveram acesso a cem mil objetos, exibidos por 2 mil expositores estrangeiros e 1.200 argentinos. Do total de 27,370 m2, 18,240m2 eram ocupados por galerias cobertas e 3,680 m2 por quiosques. Quanto à utilização dos espaços pelos expositores, à cidade de Buenos Aires, por exemplo, cabiam 2.800m2, ao Uruguai, 1.500m2, ao Brasil, 500m2, ao Chile 300 m2, ao Paraguai 300m2, à Venezuela 100m2, e ao México 50 m2.
+Com relação à afluência do público, dados publicados pela Gazeta de Notícias apontam que entre 2.000 e 4.000 pessoas visitaram a exposição nos dias de semana e de 8 a 9 mil aos domingos; quase 50% eram crianças em passeios promovidos pelas escolas.
+A participação brasileira na Exposição ficou a cargo da Associação Industrial, órgão criado em 1880 e que teve como primeiro presidente o médico e empresário do setor têxtil Antônio Felício dos Santos (1843 – 1931). Dentre as primeiras pautas defendidas pela entidade estavam: a defesa de uma política alfandegária protecionista, a atração de mão de obra e capitais estrangeiros, o estímulo à criação de empregos, a necessidade de livrar o Brasil da dependência da economia agrícola e a busca pelo equilíbrio da balança comercial.
+Com vistas a escolher os produtos a serem exibidos em Buenos Aires, a Associação organizou uma exposição preparatória[6], no Rio de Janeiro, em dezembro de 1881, no edifício do Ministério da Agricultura, Comércio e Obras Públicas. Para tanto, concedeu aos interessados das outras províncias o transporte gratuito do material bem como o espaço expositivo. Outra iniciativa do órgão, divulgada continuadamente no jornal O Industrial, era um chamado às “senhoras” para que concorressem com trabalhos que fossem “dignos de ser expostos” tanto na Exposição da Indústria Nacional, quanto na Exposição Continental de Buenos Aires.[7]
+O diretor da Academia de Belas Artes, Antonio Nicolau Tolentino (1810 – 1888), e o diretor da Escola Politécnica,  Inácio da Cunha Galvão (1921 – 1906), também foram convocados a colaborar com os eventos, encaminhando a produção de alunos e professores nas áreas de pintura, estatuária e das ciências. No mesmo sentido, correspondências foram encaminhadas aos dirigentes de instituições como o Museu Nacional, a Imperial Academia de Medicina, o Instituto da Ordem dos Advogados, a Imperial Sociedade Tipográfica Fluminense, dentre outras.
+Em 1º de abril de 1882, foi inaugurada a seção brasileira na Exposição de Buenos Aires. No discurso de abertura, um dos membros da Comissão Nacional, Manoel Diego dos Santos, ressaltou que, diferente da participação em exposições anteriores, pautada pela exibição de suas riquezas naturais, naquela ocasião, o Brasil visava a exibir a sua indústria.[8]
+Nessa direção, os registros do fotógrafo Samuel Boote (1844-1921)[9] sobre a participação brasileira são interessantes porque constituem uma espécie de síntese daquilo que os organizadores brasileiros – industriais – intentavam mostrar na Argentina, os modos como os produtos, máquinas e equipamentos, trabalhos manuais e fotografias foram expostos, mas, sobretudo, a memória que se desejou conformar. Embora não tenham sido localizados documentos acerca da contratação de Boote para a realização do trabalho, entende-se que ele foi comissionado para registrar as seções brasileiras, posto que organizou um álbum com 25 fotografias que foi entregue a autoridades brasileiras e estrangeiras; onze dessas imagens podem ser encontradas no Arquivo Nacional.[10] O primeiro aspecto que chama a atenção é o fato das fotografias terem sido produzidas, em sua maioria, sem os visitantes ou expositores. Do mesmo modo, não são registradas as autoridades brasileiras nem os representantes das empresas e instituições participantes. Uma exceção é a fotografia dos Jardins onde se acha a Coleção de Plantas de Lourenço Hoyer. Nela, homens em grupos ou sozinhos – apenas homens – posam portando a indumentária típica daquela época e dos sujeitos das camadas médias e altas: casaca, cartola, coletes, cores, em sua maioria, escuras, o indefectível relógio de bolso. Barbas e bigodes complementam o parecer masculino tido como elegante.
+ 
+Samuel Boote. Exposição Continental 1882: seção brasileira. Jardins onde se acha a Coleção de Plantas de Lourenço Hoyer, 1882. Buenos Aires, Argentina / Acervo Arquivo Nacional
+ 
+Se a exuberante natureza brasileira parece subsumida nas outras seções, face ao destaque dado à indústria, o jardim postado em frente ao quiosque de distribuição gratuita de café[11]  em estilo mourisco é, ao mesmo tempo, moldura, cenário para a entrada nas salas do evento e também prova de uma natureza domesticada. Não à toa, a organização desse espaço coube a Lourenço Hoyer, experiente horticultor, premiado em 1876, com a medalha de ouro, por suas plantas ornamentais em exposição realizada em Petrópolis no local que daria origem ao Palácio de Cristal.
+ 
+Samuel Boote. Exposição Continental 1882: seção brasileira. Quiosque para a distribuição grátis do café do Brasil, 1882. Buenos Aires, Argentina / Acervo Arquivo Nacional
+ 
+Alguns outros espaços expositivos receberam vasos de plantas como o Troféu de cerâmica, com suas estatuetas, vasos, telhas, tijolos e um volume com o título de Bom Jardim.
+ 
+Samuel Boote. Exposição Continental 1882: seção brasileira. Troféu de cerâmica, 1882. Buenos Aires, Argentina / Acervo Arquivo Nacional
+ 
+A expectativa em torno daquilo que as indústrias brasileiras apresentariam, alimentada pela imprensa local, ganhou fôlego com o fato de o Brasil ter demorado a inaugurar sua participação. Com os itens em expostos, o periódico La Patria Argentina, por exemplo, ressaltava aqueles em ferro, madeira, além dos tecidos e produtos de higiene e farmacêuticos. Sabões, vidros com preparações e medicamentos ganharam destaque na imagem intitulada Vista do primeiro compartimento da esquerda. A qualidade das chamadas “elaborações químicas” brasileiras, como a Flora Brasileira, de Eugenio Marques de Holanda, aliás, mereceu a atenção dos jornalistas.[12]
+ 
+Samuel Boote. Exposição Continental 1882: seção brasileira. Vista do primeiro compartimento da esquerda, 1882. Buenos Aires, Argentina / Acervo Arquivo Nacional
+ 
+Sobre a produção industrial, as imagens registram tanto uma miscelânea de produtos como deixa claro o título de Compartimento geral – Várias indústrias, na qual são vistos de ferros de passar roupa a ferraduras, até os espaços integralmente dedicados aos transportes e a uma empresa específica, como a Companhia de Carris Urbanos,[13] na legenda identificada como Companhia de Carros Urbanos.
+ 
+Samuel Boote. Exposição Continental 1882: seção brasileira. Compartimento geral – Várias indústrias, 1882. Buenos Aires, Argentina / Acervo Arquivo Nacional
+ 
+Samuel Boote. Exposição Continental 1882: seção brasileira. Exposição da Companhia de Carros Urbanos, 1882. Buenos Aires, Argentina / Acervo Arquivo Nacional
+ 
+O espaço concedido ao fumo, ao café e aos tecidos, evidencia alguns dos mais relevantes produtos nacionais. Sobre os tecidos, em especial, é importante lembrar que, naquele ano de 1882, existiam, no Brasil, cerca de 50 fábricas, produzindo 20 milhões de metros anualmente.  Apesar disso, soa quase como uma ironia, que o Brasil dedicasse um lugar especial aos tecidos de lã justamente no país que era o seu principal produtor na América do Sul, embora possuísse apenas uma fábrica de lanifícios, que, aliás, nem integrava o evento.
+ 
+Samuel Boote. Exposição Continental 1882: seção brasileira. Troféu de fumos, 1882. Buenos Aires, Argentina / Acervo Arquivo Nacional
+ 
+Conforme prometido pela direção da Associação Industrial, na Exposição Continental de Buenos Aires, montou-se também uma seção específica para os trabalhos de senhoras, na qual se viam, entre outros, almofadas bordadas, lenços e toalhas com monogramas, arranjos florais expostos em caixas, fotografias emolduradas. Os sentidos do que se entendia por “trabalhos de senhoras” pode ser depreendido no texto publicado no jornal O Industrial sobre a Exposição do Rio de Janeiro: o termo aparece associado a adjetivos como “mimo de delicadeza, perícia e bom gosto, como só os sabem ter as senhoras”; “são a delicadeza dando mão à força, a graça mesclando-se aos artefatos da indústria. Tal o seu direito de presença na nossa Exposição.”[14] O “direito de presença” dos artefatos produzidos e escolhidos pelas senhoras da boa sociedade, ao mesmo tempo em que evidenciava que o trabalho para essas mulheres era sinônimo de lazer, sempre associado às atividades manuais e às habilidades que delas se esperavam, deixava claro o papel desempenhado por esses produtos nas exposições: eram enfeites, uma espécie de respiro face à seriedade dos aparelhos, máquinas, produtos agrícolas e a tudo o que relacionava ao universo masculino. Da mesma forma, deixava invisíveis as mulheres que efetivamente trabalhavam, desde as empregadas nas indústrias de calçados e ateliês de modas até os contingentes maciços nas indústrias têxteis, aquelas que forneciam para as senhoras, os linhos e algodões a serem bordados e expostos.
+ 
+Samuel Boote. Exposição Continental 1882: seção brasileira. Vista dos trabalhos de senhoras, 1882. Buenos Aires, Argentina / Acervo Arquivo Nacional
+ 
+A exposição se encerra com a concessão de 268 prêmios ao Brasil: 28 medalhas de ouro; 76 de prata; 94 de bronze; 70 menções honrosas: das fotografias registradas por Marc Ferrez e Guimarães às casacas da Imperial Alfaiataria Águia de Ouro; do Brasil Industrial, por seus tecidos de algodão ao Arsenal de Marinha da Corte pelos trabalhos de serraria; da cama de ferro da Casa de Correção aos fumos em pacotinhos de José Francisco Correa.
+Como lembra Andermann, “frente às alegorias monumentais montadas nas exposições universais, nas quais Argentina e Brasil eram celebrados como depósitos exóticos de riqueza em um estado de disponibilidade pura e imaculada, as exposições nacionais inventaram uma linguagem material de revelações profanas que permitiam vislumbrar um modo de inserção diferente na emergente economia mundial capitalista.”[15] Nas palavras de Henrique Hargreaves, referindo-se à Exposição Continental de 1882, aquela era a “festa do progresso”, que colocava o Brasil num lugar de destaque na economia do continente e que, ainda segundo ele, valeu mais do que vinte anos de notas diplomáticas.[16]
+ 
+*Maria do Carmo Rainho é Doutora em História (UFF) | Pesquisadora do Arquivo Nacional e do Museu Histórico Nacional
+ 
+[1] TURAZZI, Maria Inez. Poses e trejeitos: a fotografia e as exposições na era do espetáculo (1839-1889). Rio de Janeiro: Funarte/Rocco, 1995, p. 37.
+[2]  DUSSEL, Inés. The spetacle of schooling and the construction of the nation in Argentina´s participation in world exhibitions (1867-1889). In: Modelling the future: exhibitions and the materiality of education, Martin Lawn (ed.). Oxford: Symposium Books, 2009, p. 130.
+[3] Esta exposição foi a segunda realizada na Argentina – antes dela, apenas a de Córdoba, em 1871 – e a quarta da América do Sul, após a mencionada de Córdoba, a de Lima (Peru, 1872) e a de Santiago (Chile, 1875).
+[4] Demolido imediatamente após o término da Exposição, como era comum aos edifícios construídos para os eventos desta natureza.
+[5] Conforme a Gazeta de Notícias, de 15 a 20 mil pessoas teriam participado do evento de abertura da exposição, circundando o Palácio da Exposição para assistir à parada militar. Gazeta de Notícias, 26 de março de 1882. Disponível em: http://memoria.bn.br/DocReader/docreader.aspx?bib=103730_02&pasta=ano%20188&pesq=Exposi%C3%A7%C3%A3o%20Continental Acesso em 14 de março de 2018.
+[6] Jorge Henrique Leuzinger, filho do fotógrafo e editor George Leuzinger, na qualidade de secretário da Associação e organizador da exposição, chegou a trabalhar com recursos próprios para o sucesso da iniciativa. Uma de suas iniciativas foi a manutenção do jornal O Industrial, bancado pela Casa Leuzinger. TURAZZI, Maria Inez, op. cit., p. 149.
+[7] Para a escolha destes itens foi constituída uma Comissão integrada pela condessa da Estrela, a baronesa de Canindé, Maria Amanda Paranaguá Dória, Maria Ambrosina da Mota Resende e Ana Machado Pena O Industrial, órgão da Associação Industrial, ano 1, nº 18, 15 de setembro de 1881. Disponível em http://memoria.bn.br/DocReader/DocReader.aspx?bib=308129&PagFis=33&Pesq=Exposi%C3%A7%C3%A3o%20Continental Acesso em 16 de março de 2018.
+[8] Gazeta de Notícias, 10 de abril de 1882. Disponível em http://memoria.bn.br/DocReader/docreader.aspx?bib=103730_02&pasta=ano%20188&pesq=Exposi%C3%A7%C3%A3o%20Continental Acesso em 12 de março de 2018.
+[9] A escolha de Boote, aliás, merece atenção, pelo que ele viria a significar na história da fotografia na Argentina. Juntamente com seu irmão mais novo, Arturo (1861-1936), Samuel Boote (1844-1921) foi o proprietário do maior estúdio fotográfico de Buenos Aires e fez registros para álbuns e postais no período compreendido entre as últimas décadas do século XIX e o início do século XX. Seu trabalho era especialmente requerido por indústrias inglesas (do ramo das ferrovias) e agências governamentais. Ele foi também um dos maiores editores de álbuns fotográficos daquele país, com registros de paisagens, tipos e costumes, eventos, construção de estradas de ferro e investimentos em infraestrutura. Em 1884 Samuel Boote organizou o álbum fotográfico Vistas de Buenos Aires; entre 1885 e 1888, documentou as linhas férreas nas províncias de Santa Fé e Buenos Aires; posteriormente, em 1888, o Conselho Nacional de Educação contratou-o para registrar as escolas públicas recém-criadas em Buenos Aires com o objetivo de exibir as imagens em Paris, na Exposição Universal de 1889. Além do equipamento fotográfico, o ateliê de Boote possuía uma oficina de impressão onde eram produzidos os álbuns.
+[10] Uma análise mais acurada do álbum deve levar em consideração, além dos elementos formais da produção das imagens, a escolha daquelas que o compõem e a hierarquia a que obedecem, em outras palavras, a ordem em que são apresentadas. Um estudo sobre a circulação mesma dessas imagens também se mostra fundamental. Contudo, as fotografias que se encontram no Arquivo Nacional não estão encadernadas, impossibilitando este tipo de abordagem.
+[11] O Brasil era, então, o maior produtor mundial de café.  A iniciativa de oferecê-lo aos visitantes gratuitamente em um espaço especial teve início na Exposição de Buenos Aires e continuou nas exposições seguintes.
+[12] Na edição de 4 de junho de 1882 a Gazeta de Notícias transcreve matéria de A Patria Argentina sobre  o farmacêutico que aponta quatro aspectos relevantes de sua seção na Exposição: a exibição de matérias primas do Brasil;  sua elaboração como indústria; sua aplicação à medicina e, a importação de um produto novo para aquele país. A empresa acabaria sendo agraciada com a Medalha de Honra pela exibição de seus produtos farmacêuticos no evento. Disponível em http://memoria.bn.br/DocReader/docreader.aspx?bib=103730_02&pasta=ano%20188&pesq=Exposi%C3%A7%C3%A3o%20Continental Acesso em 16 de março de 2018.
+[13] A Companhia ligava a área central do Rio de Janeiro aos terminais de barca e ferrovias, ponto de embarque e desembarque de mercadorias. Atuava mais no serviço de cargas do que no de passageiros. WEID, Elizabeth von der. O bonde como elemento de expansão urbana no Rio de Janeiro.  Rio de Janeiro: Fundação Casa de Rui Barbosa. Disponível em http://www.casaruibarbosa.gov.br/dados/DOC/artigos/o-z/FCRB_ElisabethvonderWeid_Bonde_elemento_expansao_RiodeJaneiro.pdf  Acesso em 19 de março de 2018.
+[14] O Industrial, órgão da Associação Industrial, ano 1, nº 31, 15 de dezembro de 1881. Disponível em http://memoria.bn.br/DocReader/docreader.aspx?bib=308129&pasta=ano%20188&pesq=se%C3%A7%C3%A3o%20de%20trabalhos%20de%20senhoras  Acesso em 14 de março de 2018.
+[15] ANDERMANN, Jens. Contienda de valores: Argentina y Brasil em la edad de las exposiciones. Cadernos de Literatura, Bogotá, nº 13, jul-dez., 2008, (190-224) p. 220.
+[16] Discurso proferido por Hargreaves, membro da Associação Industrial em homenagem a Nicolau Avellaneda, presidente honorário da Exposição Continental de Buenos Aires, em evento realizado na mencionada Associação, no Rio de Janeiro, em 11 de agosto de 1882. Gazeta de Notícias, 12 de agosto de 1882. Disponível em  http://memoria.bn.br/DocReader/docreader.aspx?bib=103730_02&pasta=ano%20188&pesq=Exposi%C3%A7%C3%A3o%20Continental Acesso em 12 de março de 2018.
+ 
+ Pequena cronologia da Exposição Continental de Buenos Aires
+ 
+Samuel Boote. Exposição Continental 1882: seção brasileira. Seção de máquinas – lado esquerdo, 1882. Buenos Aires, Argentina / Acervo Arquivo Nacional
+ 
+1881
+Setembro – Transcrição de uma carta do naturalista e diretor do Museu Nacional do Brasil, Ladislau Neto (1838 – 1894), sobre a realização da Exposição Continental de Buenos Aires (Gazeta de Notícias, 13 de setembro de 1881, primeira coluna).
+Uma comissão de senhoras brasileiras, dentre elas a baronesa de Loreto, Maria Amanda Paranaguá Dória (1849 – 1931), uma das maiores amigas da princesa Isabel (1846 – 1921), envolvem-se na organização da exposição (Gazeta de Notícias, 24 de setembro de 1881, primeira coluna).
+Dezembro – Visando a escolher os produtos a serem exibidos em Buenos Aires, a Associação organizou uma exposição preparatória no edifício do Ministério da Agricultura, Comércio e Obras Públicas. Para tanto, concedeu aos interessados das outras províncias o transporte gratuito do material bem como o espaço expositivo.
+1882
+Março – Notícia da inauguração da Exposição Continental de Buenos Aires, ocorrida em 15 de março. Na ocasião, discursaram o presidente da República, Julio Roca (1843 – 1914), e o presidente do Club Industrial, o ex-presidente da Argentina Nicolau Avellaneda (1837 – 1885). Foi decretado feriado nacional no país. A seção brasileira ainda não estava concluída (Gazeta de Notícias, 16 de março de 1882, quarta coluna, 26 de março de 1882, segunda coluna, 27 de março de 1882, última coluna, 29 de março de 1882 e 6 de abril de 1882, última coluna).
+Abril – A seção brasileira foi inaugurada em 1º de abril. Manoel Diego dos Santos, presidente da comissão brasileira fez o discurso de abertura:
+‘Os industriais do Brasil abrem as portas de sua seção que conservaram até hoje fechada por causas estranhas à sua vontade. Não encontrareis entre nossos produtos galas deslumbrantes, mas sim a expressão exata de nossa produção ordinária. Até agora o Brasil apareceu em todas as exposições ostentando suas riquezas naturais, hoje é a indústria brasileira que aparece com seus modestos produtos a submeter-se ao julgamento de seus irmão da América…’ (Gazeta de Notícias, 10 de abril de 1882, sexta coluna). O hino argentino foi tocado e o presidente da Exposição, sr. Urien, proferiu um discurso declarando aberta a seção brasileira e o hino brasileiro foi executado.
+Houve um princípio de incêndio na seção brasileira (Gazeta de Notícias, 15 de abril de 1882, primeira coluna).
+O presidente da comissão brasileira, Manoel Diego dos Santos, voltou ao Brasil (Gazeta de Notícias, 26 de abril de 1882, quinta coluna).
+Foi noticiado que a indústria brasileira havia ficado em primeiro lugar na Exposição Continental de Buenos Aires (Revista Illustrada, abril de 1882).
+Junho – Destaque na Casa Hollanda, de Eugênio Marques de Holanda, que exibiu matérias-primas do Brasil, sua elaboração industrial e sua aplicação à medicina (Gazeta de Notícias, 4 de junho d 1882, primeira coluna). Ganhou a medalha de honra (Gazeta de Notícias, 19 de julho de 1882, primeira coluna).
+Julho – Notícia sobre os prêmios conquistados por estabelecimentos brasileiros: medalha de prata para a Tipografia Nacional e prêmios de honra para o sr. Braga, pelos seus chapéus; para o Laboratório Pirotécnico, para a Imperial Fábrica de Ipanema, para a Brazil Imperial, por seus tecidos de algodão; para o Arsenal de Marinha no Rio de Janeiro, para Guimarães por suas fotografias esmaltadas; e para a Repartição dos Telégrafos (Gazeta de Notícias, 10 de julho de 1882, segunda coluna). Foram anunciados mais prêmios para estabelecimentos brasileiros (Gazeta de Notícias, 15 de julho de 1882, sexta coluna, 20 de julho de 1882, sexta coluna, 23 de julho de 1882, primeira coluna).
+Além do fotógrafo português José Ferreira Guimarães (1841 – 1924), foram premiados, segundo informações dada em anúncio, o retratista português Joaquim Insley Pacheco (1830 – 1912)  e Marc Ferrez (1843 – 1923). Este último participou com as fotografias apresentadas na Exposição da Indústria Nacional do ano anterior (1881) e foi agraciado com uma medalha de prata e com um prêmio ao mérito.
+A Casa Leuzinger participou do evento.
+Em 23 de julho de 1882, a Exposição Continental foi encerrada. Foi vista por cerca de 50 mil visitantes (Gazeta de Notícias, 24 de julho de 1882, segunda coluna). Ao Brasil foram concedidos 268 prêmios: 28 medalhas de ouro; 76 de prata; 94 de bronze; e 70 menções honrosas.
+Em sinal de gratidão por seu empenho na realização da Exposição Continental, o cônsul do Brasil na capital argentina, João Adrião Chaves (18? – 1890), recebeu da comissão brasileira do evento, cujo presidente era José Pereira Rego Filho, um álbum com 25 fotografias das seções da mostra (Gazeta de Notícias, 13 de outubro de 1882, terceira coluna).
+Henrique Leuzinger (1845 -1908), filho de Georges Leuzinger (1813 – 1892) e secretário da Associação Industrial, enviou à redação da Revista Illustrada, a coleção de fotografias da seção brasileira da exposição continental de Buenos Aires dentro de uma rica pasta (Revista Illustrada, julho de 1882),
+ 
+Obs: Na Biblioteca Nacional, há o livro Exposição Continental de Buenos Aires 1882 – Seção Brasileira, com 24 fotografias de Samuel Boote (1844 – 1921).
+ 
+
+ 
+Andrea C. T. Wanderley
+Editora-assistente e pesquisadora do portal Brasiliana Fotográfica
+ 
+Nota da editora: esse artigo passou a integrar uma série e mudou de título em 1º de dezembro de 2025
+ 
+Fontes:
+ANDERMANN, Jens. The History Show at the Continental Exhibition of 1882 and the National History Museum at Buenos Aires
+El arcon de la historia argentina
+Hemeroteca Digital da Biblioteca Nacional
+TURAZZI, Maria Inez. Poses e trejeitos: a fotografia e as exposições na era do espetáculo: 1839/1889. Prefácio Pedro Karp Vasquez. Rio de Janeiro: Funarte. Rocco, 1995. 309 p., il. p&b. (Coleção Luz & Reflexão, 4). ISBN 85-85781-08-4.
+ 
+Links para os artigos sobre exposições nacionais ou internacionais publicados na Brasiliana Fotográfica
+O pintor Victor Meirelles e a fotografia na II Exposição Nacional de 1866, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 17 de agosto de 2017.
+Série “O Rio de Janeiro desaparecido” II – A Exposição Nacional de 1908 na Coleção Família Passos, de autoria de Carla Costa, Museu da República, publicado em 5 de abril de 2018.
+Marc Ferrez, a Comissão Geológica do Império (1875 – 1878) e a Exposição Antropológica Brasileira no Museu Nacional (1882), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 29 de junho de 2018.
+Paris, 1889: o álbum da exposição universal, de autoria de Claudia B. Heynemann, Arquivo Nacional,publicado em 27 de julho de 2018.
+Café Brasil: o Império na Exposição Internacional de Filadélfia, de autoria de Claudia B. Heynemann, Arquivo Nacional, publicada em 4 de dezembro de 2019.
+Festa das Artes e da Indústria Segunda Exposição Nacional, 1866, de autoria de Claudia Beatriz Heynemann e Maria Elizabeth Brêa Monteiro, Arquivo Nacional, em 5 de abril de 2020.
+A apresentação do Departamento Nacional de Saúde Pública na Exposição Internacional do Centenário da Independência, de Ricardo Augusto dos Santos, Fiocruz, publicado em 13 de abril de 2020.
+A Exposição Internacional de Higiene de Dresden, de Cristiane d´Avila, Fiocruz, publicado em 5 de janeiro de 2022.
+Série 1922 – Hoje, há 100 anos VIII – A abertura da Exposição Internacional do Centenário da Independência do Brasil e o centenário da primeira grande transmissão pública de rádio no país, de autoria de Andrea C. T. Wanderley, publicado em 7 de setembro de 2022, na Brasiliana Fotográfica.
+Três álbuns fotográficos da Exposição Nacional de 1908 no Museu Histórico Nacional: Boscagli, Malta e Musso, de autoria de Maria Isabel Ribeiro Lenzi, historiadora do Museu Histórico Nacional, publicado em 25 de agosto de 2023, na Brasiliana Fotográfica.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/5513` — `itens/20.500.12156.1_5513/`
+- `20.500.12156.1/5065` — `itens/20.500.12156.1_5065/`
+- `20.500.12156.1/5507` — `itens/20.500.12156.1_5507/`
+- `20.500.12156.1/5512` — `itens/20.500.12156.1_5512/`
+- `20.500.12156.1/5064` — `itens/20.500.12156.1_5064/`
+- `20.500.12156.1/5509` — `itens/20.500.12156.1_5509/`
+- `20.500.12156.1/5037` — `itens/20.500.12156.1_5037/`
+- `20.500.12156.1/5510` — `itens/20.500.12156.1_5510/`
+- `20.500.12156.1/5508` — `itens/20.500.12156.1_5508/`
+- `20.500.12156.1/5511` — `itens/20.500.12156.1_5511/`
+
diff --git a/wordpress/11509-febre-amarela-imagens-da-producao-da-vacina-no-inicio-do-seculo-xx.md b/wordpress/11509-febre-amarela-imagens-da-producao-da-vacina-no-inicio-do-seculo-xx.md
new file mode 100644
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+++ b/wordpress/11509-febre-amarela-imagens-da-producao-da-vacina-no-inicio-do-seculo-xx.md
@@ -0,0 +1,60 @@
+---
+id: 11509
+url: "https://brasilianafotografica.bn.gov.br/?p=11509"
+titulo: "Febre amarela: imagens da produção da vacina no início do século XX"
+autor: "Andrea Wanderley"
+data: "2018-03-23T12:02:26+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/5499", "20.500.12156.1/5494", "20.500.12156.1/5496", "20.500.12156.1/5498", "20.500.12156.1/5497", "20.500.12156.1/5495", "20.500.12156.1/5500"]
+fetched_at: "2026-09-10T09:55:14.554Z"
+---
+
+# Febre amarela: imagens da produção da vacina no início do século XX
+
+“Tema pungente nos noticiários, a febre amarela é precedida de uma longa história de estudos e frentes de combate desde o início do século XX”. É essa história, contada por Aline Lopes Lacerda, historiadora e chefe do Departamento de Arquivo e Documentação da COC/Fiocruz, uma das instituições parceiras do portal, que a Brasiliana Fotográfica traz hoje para seus leitores. As fotografias que ilustram esse texto contemplam o arquivo da Fundação Rockefeller e estão sob a guarda da Casa de Oswaldo Cruz. A maioria dessas imagens foram produzidas pelos próprios médicos e cientistas, nas décadas de 1930 e 1940, em diversos estados brasileiros, registrando aspectos variados das atividades voltadas para o estudo e combate da febre amarela e malária, então duas das principais doenças endêmicas no país.
+Segundo o último levantamento sobre a febre amarela divulgado pelo Ministério da Saúde antes da publicação desse artigo pela Brasiliana Fotográfica, entre os dias 1º de julho de 2017 e 20 de março de 2018, foram confirmados no Brasil 1.098 casos da doença, sendo que 340 resultaram em morte.
+ 
+Febre amarela: imagens da produção da vacina no início do século XX
+Aline Lopes de Lacerda*
+Tema pungente nos noticiários, a febre amarela é precedida de uma longa história de estudos e frentes de combate desde o início do século XX, quando as atividades de pesquisa em laboratório seguiam paralelas às empreitadas para controle e combate ao vetor da doença, o mosquito Aedes aegypti. Segundo Benchimol (2001, p. 125), os anos de 1928 a 1932 foram cruciais em termos de transformações ocorridas na forma de abordagem da doença, contribuindo para isso fatores políticos, científicos, sociais, técnicos, epidemiológicos.
+ 
+Silvio Cunha. Inoculando ovos, s/d. Rio de Janeiro, R / Acervo Casa de Oswaldo Cruz
+ 
+A descoberta da modalidade silvestre da doença – supunha-se que era essencialmente urbana – eliminou a possibilidade de se erradicá-la do país, o que causou uma reviravolta nos estudos epidemiológicos, com novo direcionamento de métodos já empregados e incorporação de novas estratégias para o controle da doença. Do ponto de vista dos trabalhos em laboratório, a infecção do macaco rhesus pelo vírus da febre amarela na África, em 1928, deflagrou um surto de novas pesquisas e novas técnicas aplicáveis a esses trabalhos, inaugurando um novo modelo de combate à moléstia.
+Acessando o link para as imagens relativas à fabricação da vacina da febre amarela disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+Para ilustrar em parte essa história, apresentamos algumas imagens fotográficas sobre a produção da vacina antiamarílica que contemplam o arquivo da Fundação Rockefeller, uma coleção com cerca de 15 mil registros visuais sobre os trabalhos desempenhados a partir da colaboração entre aquela instituição e o Serviço Nacional de Febre Amarela no combate à febre amarela, bem como à malária. Este acervo, sob a guarda da Casa de Oswaldo Cruz, é composto majoritariamente por fotografias produzidas pelos próprios médicos e cientistas, nas décadas de 1930 e 1940, em diversos estados brasileiros, registrando aspectos variados das atividades voltadas para o estudo e combate da febre amarela e malária, então duas das principais doenças endêmicas no país.
+Embora presente no país desde 1916, com a vinda das primeiras comissões médicas, para tratar com o governo brasileiro do combate às várias endemias presentes no país, a Missão Rockefeller intensificou e institucionalizou suas atividades no país a partir de 1930, atuando lado a lado com organismos governamentais e mobilizando esforços especialmente no combate à febre amarela, período que coincide com o início da produção de registros visuais sobre os trabalhos e seu arquivamento. Já em 1931 a missão estabeleceu contrato com o governo brasileiro e passou a atuar através do Serviço Cooperativo de Febre Amarela, organizando campanhas em grande parte do país.
+Em 1932, o Serviço de Profilaxia de Febre Amarela foi regulamentado e reorganizado pelo médico americano Fred Lowe Soper (1893 – 1977), funcionário da Fundação Rockefeller, passando a ser subordinado ao Departamento de Saúde Pública. Datam desse período as principais iniciativas em torno da pesquisa e do combate à doença, com a construção de um laboratório para estudo e fabricação da vacina e a sistematização e maior abrangência das campanhas de erradicação do mosquito e do diagnóstico mais preciso da moléstia.
+Em 1940 o Serviço de Profilaxia adquire caráter nacional com a criação do Serviço Nacional de Febre Amarela, sob a responsabilidade exclusiva de sanitaristas brasileiros, passando a ser vinculado ao Departamento Nacional de Saúde do Ministério da Educação e Saúde. A partir dessa época, com laboratório já montado e fabricando a vacina antiamarílica, a Fundação Rockefeller vai aos poucos transferindo o controle dessas atividades, de início para o já estruturado Serviço Nacional de Febre Amarela, em 1946, até que, em 1950, quando se retira formalmente do país, o laboratório de pesquisas e de produção da vacina é incorporado ao Instituto Oswaldo Cruz, provavelmente acompanhado pelo conjunto de imagens produzido e acumulado durante mais de vinte anos de atividades, e que, como tudo indica, permaneceu nas instalações do laboratório mais de trinta anos, até seu recolhimento à Casa de Oswaldo Cruz.
+As fotografias neste acervo se apresentam na forma de cópias-contato (cópia-contato é uma imagem não ampliada de um negativo fotográfico)  coladas no verso de fichas catalográficas, que contêm informações resumidas de cada imagem registrada, como o número de registro da imagem provavelmente dentro do arquivo institucional que a gerou , o assunto, o nome do fotógrafo autor do registro, a data em que a foto foi tirada ou recebida no arquivo nesse caso, por quem teria sido encaminhada , o tamanho do filme fotográfico etc.
+ 
+Suporte rotativo com ovo, s/d. Rio de Janeiro, RJ / Acervo Casa de Oswaldo Cruz
+ 
+ 
+Inoculação de ovo, s/d. Rio de Janeiro, RJ / Acervo Casa de Oswaldo Cruz
+ 
+ 
+Ovo no suporte pronto para ser aberto com a chama, s/d. Rio de Janeiro, RJ / Acervo Casa de Oswaldo Cruz
+ 
+ 
+Ovo  com a tampa pronta para ser levantada depois da aplicação da chama cortante, s/d. Rio de Janeiro, RJ / Acervo Casa de Oswaldo Cruz
+ 
+Operação completa de remoção dos embriões da casca, s/d. Rio de Janeiro,RJ / Acervo Casa de Oswaldo Cruz
+ 
+Silvio Cunha. Retirada de embriões para preparo da vacina, s/d. Rio de Janeiro, RJ / Acervo Casa de Oswaldo Cruz
+ 
+ 
+* Aline Lopes de Lacerda é historiadora e chefe do Departamento de Arquivo e Documentação da COC/Fiocruz
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/5499` — `itens/20.500.12156.1_5499/`
+- `20.500.12156.1/5494` — `itens/20.500.12156.1_5494/`
+- `20.500.12156.1/5496` — `itens/20.500.12156.1_5496/`
+- `20.500.12156.1/5498` — `itens/20.500.12156.1_5498/`
+- `20.500.12156.1/5497` — `itens/20.500.12156.1_5497/`
+- `20.500.12156.1/5495` — `itens/20.500.12156.1_5495/`
+- `20.500.12156.1/5500` — `itens/20.500.12156.1_5500/`
+
diff --git a/wordpress/11558-100-anos-do-castelo-da-fiocruz-os-pedreiros-do-castelo-da-avenida-brasil.md b/wordpress/11558-100-anos-do-castelo-da-fiocruz-os-pedreiros-do-castelo-da-avenida-brasil.md
new file mode 100644
index 0000000..42fe31c
--- /dev/null
+++ b/wordpress/11558-100-anos-do-castelo-da-fiocruz-os-pedreiros-do-castelo-da-avenida-brasil.md
@@ -0,0 +1,52 @@
+---
+id: 11558
+url: "https://brasilianafotografica.bn.gov.br/?p=11558"
+titulo: "100 anos do Castelo da Fiocruz: os pedreiros do Castelo da Avenida Brasil"
+autor: "Andrea Wanderley"
+data: "2018-04-12T13:55:29+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/5505", "20.500.12156.1/5501", "20.500.12156.1/5506", "20.500.12156.1/5504"]
+fetched_at: "2026-09-10T09:55:17.527Z"
+---
+
+# 100 anos do Castelo da Fiocruz: os pedreiros do Castelo da Avenida Brasil
+
+No segundo texto publicado na Brasiliana Fotográfica sobre o centenário do Castelo da Fiocruz, o pesquisador Ricardo Augusto dos Santos, da Fiocruz, uma das instituições parceiras do portal, aborda a construção do castelo mas, dessa vez, o foco são os pedreiros que trabalharam na obra. Inaugurado em 28 de fevereiro de 1918, o Castelo da Fiocruz é o local de trabalho de pesquisadores e técnicos que pesquisam, ensinam ciência e saúde pública; e que também fabricam medicamentos essenciais para a população. Projetado pelo arquiteto Luiz Moraes Junior (1872 – 1955), o edifício começou a ser erguido em 1905 e foi concluído em 1918. O próximo e último texto sobre o centenário do edifício será escrito pelo também pesquisador da Fiocruz, Renato da Gama-Rosa Costa, com detalhes sobre sua construção e sobre seu projeto arquitetônico. O primeiro texto, 100 anos do Castelo da Fiocruz: a ocupação de Manguinhos, é de autoria de Cristiane d´Avila, jornalista do Departamento de Arquivo e Documentação da Casa de Oswaldo Cruz.
+ 
+Os pedreiros do castelo da avenida Brasil
+Ricardo Augusto dos Santos*
+ 
+Quem construiu as pirâmides? Quem carregou as pedras? Quais os nomes dos desconhecidos trabalhadores? Em memorável poema, o dramaturgo Bertold Brecht (1898-1956) indagava: no dia em que ficou pronta a Muralha da China, para onde foram os seus pedreiros? Perto do bairro de Bonsucesso, existe um castelo. Centenas de milhares de pessoas passam na Avenida Brasil, entrando ou saindo do Rio de Janeiro, ou vindo dos subúrbios para o centro da cidade e perguntam: que castelo é esse? O prédio é parte do monumental conjunto que compõe a Fundação Oswaldo Cruz.
+ 
+J. Pinto. Operários na cavalariça, 1910. Manguinhos, Rio de Janeiro / Acervo Casa de Oswaldo Cruz
+ 
+Mas não foi moradia de nobres portugueses? Não. É local de trabalho de pesquisadores e técnicos que pesquisam, ensinam ciência e saúde pública. Também fabricam medicamentos essenciais para a população. No final do século XIX, a fazenda, situada na zona norte do Rio de Janeiro, destinava-se à queima do lixo. Devido às epidemias – febre amarela, varíola e peste – que atacavam a cidade, iniciou-se uma série de ações que visavam a combater estas doenças.
+Acessando o link para as imagens de operários da construção do Castelo da Fiocruz disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+O Castelo da Fiocruz, como é mais conhecido o Pavilhão Mourisco, começou a ser construído em 1905, mas sua completa edificação terminaria somente em 1918. O desenho inicial foi feito pelo próprio Oswaldo Cruz (1872-1917) e, a partir da idéia, o arquiteto português Luís de Moraes (1868-1955) chegou ao projeto final. A construção está localizada no alto da colina principal da antiga fazenda, e sua fachada está voltada para o mar, que na primeira década do século XX, chegava próximo do terreno.
+Desde 1981, o belo conjunto está tombado pelo Patrimônio Histórico e Artístico. O estilo mourisco foi inspirado no Palácio de Alhambra, em Granada, na Espanha. Os equipamentos elétricos funcionavam a partir de um gerador e o elevador, instalado em 1909, é o mais antigo em operação na cidade. Possuía sistemas de telefonia, refrigeração, relógios e termômetros sofisticados para a época. Ele apresenta tom vermelho nos tijolos das paredes externas. As varandas são revestidas de azulejos portugueses, o piso é coberto de mosaicos que lembram tapetes orientais. Os materiais utilizados na obra – tijolos, azulejos, cimento e mármores – foram importados da Europa. Muitos dos seus operários eram portugueses, espanhóis e italianos. Mas, também havia brasileiros.
+ 
+J. Pinto. Pavilhão Mourisco em obras, . Manguinhos, Rio de Janeiro / Acervo Casa de Oswaldo Cruz
+ 
+Nas raras fotografias destes homens aparecem os rostos destes trabalhadores. Não eram nem reis nem rainhas. Ajudaram a formar uma história centenária. Neste castelo, a ciência e a saúde pública formaram uma sólida tradição. Na imagem, estes operários estão em frente ao prédio em obras. Seus nomes? Alguns tiveram seus registros nos cantos da história. Após a conclusão dos trabalhos, foram aproveitados em várias funções na própria instituição. Basilio Aor, austríaco, mestre de obras, homem de confiança de Luís de Moraes, continuou trabalhando como arquiteto em outros trabalhos. Faleceu em 1919. Um dos seus sete filhos, Hamlet William Aor (1910-1986), viria a trabalhar no Instituto Oswaldo Cruz.
+ 
+J. Pinto. Operários no castelo, 1910. Manguinhos, Rio de Janeiro / Acervo Casa de Oswaldo Cruz
+ 
+Para onde foram os pedreiros do Castelo da Fiocruz? Teriam ido morar nas redondezas. Na área conhecida hoje como Parque Amorim, rua Sizenando Nabuco, situada entre o Campus da Fiocruz e a Linha Amarela.
+ 
+Anônimo. Aspecto da Rua Sizenando Nabuco, 1952. Manguinhos, Rio de Janeiro / Acervo Casa de Oswaldo Cruz
+ 
+*Ricardo Augusto dos Santos é Pesquisador Titular da Fundação Oswaldo Cruz
+Acessando o link para as fotografias de aspectos da construção do Castelo da Fiocruz que estão disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Outras publicações sobre o tema na Brasiliana Fotográfica:
+100 anos do Castelo da Fiocruz: a ocupação da Fazenda de Manguinhos
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/5505` — `itens/20.500.12156.1_5505/`
+- `20.500.12156.1/5501` — `itens/20.500.12156.1_5501/`
+- `20.500.12156.1/5506` — `itens/20.500.12156.1_5506/`
+- `20.500.12156.1/5504` — `itens/20.500.12156.1_5504/`
+
diff --git a/wordpress/11605-fotografia-e-namoro.md b/wordpress/11605-fotografia-e-namoro.md
new file mode 100644
index 0000000..1f99e82
--- /dev/null
+++ b/wordpress/11605-fotografia-e-namoro.md
@@ -0,0 +1,63 @@
+---
+id: 11605
+url: "https://brasilianafotografica.bn.gov.br/?p=11605"
+titulo: "Fotografia e namoro"
+autor: "Andrea Wanderley"
+data: "2018-06-12T08:31:31+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/5619", "20.500.12156.1/2118", "20.500.12156.1/5519"]
+fetched_at: "2026-09-10T09:55:20.757Z"
+---
+
+# Fotografia e namoro
+
+Imagens de casais enamorados como nos habituamos a ver ao longo do século XX até nossos dias não são frequentes na história da fotografia do século XIX e do início do novecentos. A Brasiliana Fotográfica convidou Elvia Bezerra, coordenadora de Literatura do Instituto Moreira Salles, para escrever sobre uma imagem de um casal de camponeses produzida pelo fotógrafo gaúcho Luiz do Nascimento Ramos, conhecido como Lunara (1864 – 1937). O registro faz parte do álbum Vistas de Porto Alegre – Photographias artísticas – Editores Krahe & Cia. Porto Alegre, que traz outras 18 fotografias de Lunara de circa 1910. O portal também selecionou mais uma fotografia de um casal de camponeses e outras dos casais reais formados por dom Pedro II (1825 – 1891) e dona Teresa Cristina (1822 – 1889) e pela princesa Isabel (1846 – 1921) e Gastão de Orleáns, o conde d´Eu (1842 – 1922). Todas revelam, em maior ou menor grau, afeto, cumplicidade e companheirismo. Foram produzidas por Alberto Henschel (1827 – 1882), Byrne & Co, Vincenzo Pastore (1865 – 1918) e por fotógrafos ainda não identificados. E assim a Brasiliana Fotográfica celebra o Dia dos Namorados.
+ 
+Nhô João, deixa disso!
+Elvia Bezerra*
+Lunara. Nhô João deixa disso, c. 1910. Porto Alegre, Rio Grande do Sul / Acervo IMS
+ 
+É sabido que Lunara, nome artístico de Luiz do Nascimento Ramos, montava e dirigia cenas para fotos que fez na periferia da capital gaúcha, nas primeiras décadas do século XX. Não se pode, no entanto, saber o que esse método de trabalho foi capaz de desencadear nos coadjuvantes da composição. Como terá o casal, aqui retratado, voltado à intimidade da sua tosca torre de Pisa? Terá a senhora repetido o “nhô João, deixa disso!”, como informa a legenda, quando ficaram a sós? Seu recato terá se mantido dentro de quatro paredes? Terão os dois sido os mesmos? Haverá o clique do fotógrafo amador, nascido em Porto Alegre, em 1864, lhes restituído o gosto antigo do namoro?
+Afinal, não é preciso ser nenhum André Gorz, filósofo austro-francês que só se deu conta da dimensão de seu amor pela mulher, com quem era casado havia décadas, depois que ela passou a sofrer de doenças incuráveis: “Já faz 58 anos que vivemos juntos, e eu amo você mais do que nunca”, escreveu ele em Carta a D., documento de amor em que tornou pública a importância de Dorine na sua vida, confessando, aos 82 anos, que a amava e a desejava como na juventude.
+Mas não é preciso tal situação dramática para acelerar um coração que bate devagar. Um clique precedido de uma arrumação de cena romantizada pode contagiar os personagens e fazê-los namorados de novo, ainda que seja por um dia.
+Certamente não foi apenas a arquitetura dessa casa pobre que chamou a atenção de Lunara na cena registrada em um dos fins de semana em que saía para fotografar– consta que exercia o ofício especialmente aos domingos. A imagem de declínio, realçado pelo teto de telha vã da construção de taipa, se prolonga na do casal maduro, sentado entre a lateral e a frente da casa. A porta, inclinada para a esquerda, segue o movimento do telhado, deixando-se ver ladeada também pela irregularidade das varas de bambu, recheadas de barro. A decadência aqui é questionável.
+A assimetria dos elementos da imagem resulta em harmonia: o telhado, decaído para a esquerda, compõe o fundo em que sobressai o casal de meia-idade, naquela fase da vida em que, como no poema de Manuel Bandeira, “o fogo já era frio”. Contrariamente à ideia de fragilidade que pode passar a milenar técnica construtiva da casa de taipa, ou pau a pique, como também é conhecida, o método está entre os mais resistentes. Na foto de Lunara, a solidez da construção é comprometida por um provável erro no momento da fixação da madeira no solo, talvez a causa do tombamento para o lado esquerdo. Ainda assim, não há dúvida com relação à firmeza que a imagem inspira.
+Faz todo o sentido saber que Lunara fotografava nos fins de semana. Só assim poderia fixar um momento de ternura domingueira, ao ar livre, de um casal cuja labuta diária o impediria de vivenciá-la em outro dia que não fosse este, consagrado ao descanso e à oração.
+Se atendem ao pedido de posar, é o homem quem incorpora o papel do cavalheiro, em atitude de devoção à dama. A figura dele é enternecida, mas sólida: pés paralelos fincados na terra, posta-se de frente para a companheira, que, sem encará-lo, coloca-se de lado e olha na direção oposta. Digno, ele segura as mãos da mulher; ela não as entrega. Recua, numa espécie de rejeição não totalmente desprovida de dengo, quem sabe provocada pelo desconforto da manifestação de carinho a céu aberto.
+A fachada da casa é dignificada pelo chapéu que encima a porta, indicando que, ao deixá-lo à entrada, é com reverência que nhô João entra na sua moradia. A simplicidade do detalhe está longe da ironia presente no conto “Capítulo dos chapéus”, de Machado de Assis, em que o bacharel Conrado Seabra é instado pela mulher, Mariana, a trocar o chapéu por um mais moderno. Machado, impiedoso, começa por dizer que “o princípio metafísico é este: ‒ o chapéu é a integração do homem, um prolongamento da cabeça, um complemento decretado ab æterno; ninguém o pode trocar sem mutilação”. Ao longo da narrativa, entretanto, sem poupar a mulher de humilhação, conclui com esta ironia arrasadora: “Mas você reflita consigo, e verá… Quem sabe? Pode ser até que nem mesmo o chapéu seja complemento do homem, mas o homem do chapéu…”
+A atmosfera pacífica da foto de Lunara opõe-se à tensão do conto de Machado. Na cena franciscanamente endomingada do gaúcho, reina a serenidade; quase se ouve “o silêncio que tem voz”. E o chapéu de palha, no alto, longe de ser objeto de discórdia ou de prestígio social, como acontece no conto, reafirma seu inquestionável caráter de dignidade na frente da casa. De resto, fica aqui a deixa para que, ainda recorrendo ao sombrero, nhô João encante sua mulher com os versos de Federico García Lorca, que, em “Por tu amor me duele el aire”, eleva o adereço ao patamar do ar e do coração, todos passíveis de serem sacrificados por amor:
+“¡Ay, qué trabajo
+ me cuesta quererte como te quiero!
+Por tu amor me duele el aire,
+ el corazón
+y el sombrero”.
+ 
+*Elvia Bezerra é coordenadora de Literatura do Instituto Moreira Salles
+ 
+Mais fotografias e a história do Dia dos Namorados no Brasil
+ 
+A data dedicada aos namorados foi criada, no Brasil, pelo publicitário João Doria (1919 – 2000), e é comemorada no dia 12 de junho, véspera do Dia de Santo Antônio, que por tradição é considerado o santo casamenteiro. Dória trouxe a ideia do exterior e a apresentou aos comerciantes paulistas, iniciando, em junho de 1949, uma campanha com o slogan “não é só com beijos que se prova o amor” (Diário da Noite, 27 de maio de 1949, última coluna, 9 de junho de 1949; e Revista da Semana, 18 de junho de 1949; Il Moscone, 25 de junho de 1949).
+ 
+Vincenzo Pastore. Casal trabalhando em plantação de milho, c. 1910. São Paulo, SP / Acervo IMS
+ 
+Acessando o link para as fotografias de casais disponíveis no acervo da Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+
+ 
+Byrne & Cº. Princesa Isabel e Gastão de Orleans, o conde d’Eu, 1870. Londres, Reino Unido / Acervo IMS
+ 
+ 
+Andrea C. T. Wanderley
+Editora-assistente e pesquisadora do portal Brasiliana Fotográfica
+ 
+Outras publicações da Brasiliana Fotográfica no Dia dos Namorados:
+Série “O Rio de Janeiro desaparecido” X – No Dia dos Namorados, um pouco da história do Pavilhão Mourisco em Botafogo, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 12 de junho de 2020.
+No Dia dos Namorados, o álbum “Vistas de Petrópolis” e o fotógrafo alemão Pedro Hees (1841-1880),  de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 12 de junho de 2023.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/5619` — `itens/20.500.12156.1_5619/`
+- `20.500.12156.1/2118` — `itens/20.500.12156.1_2118/`
+- `20.500.12156.1/5519` — `itens/20.500.12156.1_5519/`
+
diff --git a/wordpress/11621-serie-exposicoes-iii-e-serie-o-rio-de-janeiro-desaparecido-ii-a-exposicao-nacion.md b/wordpress/11621-serie-exposicoes-iii-e-serie-o-rio-de-janeiro-desaparecido-ii-a-exposicao-nacion.md
new file mode 100644
index 0000000..f5e0df0
--- /dev/null
+++ b/wordpress/11621-serie-exposicoes-iii-e-serie-o-rio-de-janeiro-desaparecido-ii-a-exposicao-nacion.md
@@ -0,0 +1,207 @@
+---
+id: 11621
+url: "https://brasilianafotografica.bn.gov.br/?p=11621"
+titulo: "Série “Exposições” III e Série “O Rio de Janeiro desaparecido” II – A Exposição Nacional de 1908 na Coleção Família Passos"
+autor: "Andrea Wanderley"
+data: "2018-04-05T11:13:19+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/5460", "20.500.12156.1/5474", "20.500.12156.1/5456", "20.500.12156.1/5455", "20.500.12156.1/5471", "20.500.12156.1/5476", "20.500.12156.1/5479", "20.500.12156.1/5467", "20.500.12156.1/5466", "20.500.12156.1/5469", "20.500.12156.1/5468", "20.500.12156.1/5475", "20.500.12156.1/5458", "20.500.12156.1/5461", "20.500.12156.1/5462"]
+fetched_at: "2026-09-10T09:55:24.129Z"
+---
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+# Série “Exposições” III e Série “O Rio de Janeiro desaparecido” II – A Exposição Nacional de 1908 na Coleção Família Passos
+
+Há cerca de 110 anos, em 11 de agosto de 1908, era inaugurada a Exposição Nacional de 1908, na região da Urca, no Rio de Janeiro, em comemoração ao centenário da Abertura dos Portos às Nações Amigas, decretada em 28 de janeiro de 1808, pelo então príncipe regente de Portugal, dom João de Bragança, futuro dom João VI (1767 – 1926)(O Paiz, 11 de agosto de 1908). A exposição exibiu um “inventário” do Brasil através de seus produtos industriais, agrícolas, pastoris e artísticos. Promovida pelo governo federal, apresentou a cidade do Rio de Janeiro, recém urbanizada e saneada pelo então prefeito Francisco Pereira Passos (1936 – 1913) e  pelo cientista Oswaldo Cruz (1872 – 1917), respectivamente. O evento foi encerrado em 15 de novembro de 1908 (O Paiz, 16 de novembro de 1908, sexta coluna). A Brasiliana Fotográfica lembra a iniciativa publicando um texto da historiadora Carla Costa, do Museu da República, uma das instituições parceiras do portal, ilustrado com fotografias de Augusto Malta (1864 – 1957), que pertencem à Coleção Família Passos.
+ 
+A Exposição Nacional de 1908 na Coleção Família Passos
+Carla Costa*
+ 
+Na coleção Família Passos do Museu da República destacam-se as imagens realizadas por Augusto Malta (1864 – 1957), fotógrafo oficial da Prefeitura do Rio de Janeiro, entre elas as fotografias sobre a Exposição Nacional de 1908 – Agrícola, Industrial, Pastoril e de Artes Liberais – comemorativa ao Centenário de Abertura dos Portos às Nações Amigas, localizada na Praia Vermelha, na região da Urca.
+Nessa coleção temos as fotografias de construções imponentes da Exposição de 1908, em muitos estilos arquitetônicos, em particular o ecletismo, com destaque para a Porta Monumental, o Palácio da Indústria, o Pavilhão do Distrito Federal, o Pavilhão de São Paulo, o Pavilhão de Minas Gerais, o Anexo das Belas Artes, e o Pavilhão da Fábrica Bangu, além de panoramas e vistas de toda a área da Exposição com os morros e praias da região.
+Acessando o link para as imagens da Exposição Nacional de 1908 pertencentes à Coleção Família Passos disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+A cidade do Rio de Janeiro depois da reforma urbana realizada na gestão do prefeito Francisco Pereira Passos (1936 – 1913), entre 1903 e 1906, passou a ser considerada a capital que encarnava a civilização dentro do Brasil, portanto lugar ideal para sediar uma exposição que mostrasse o progresso, a ciência e a técnica alcançados pela agricultura, pecuária, indústria e artes do país diante dos brasileiros e de outras nações.
+A Exposição Nacional de 1908 foi o grande evento final do programa de reforma urbana e sanitária que transformou o Rio de Janeiro no sentido da modernidade cosmopolita: a construção do novo porto; a construção de avenidas retilíneas e largas – como Francisco Bicalho, Rodrigues Alves, Avenida Central e Beira-Mar; o aterramento de enseadas e praias; o desmonte do morro do Senado e parte do morro do Castelo; a abertura e embelezamento de praças e jardins – Praça Quinze, Tiradentes, Passeio Público e Campo de Santana; a derrubada de milhares de casas e habitações coletivas e a campanha de saneamento.
+A abertura dos portos ao livre comércio (1808) e mais tarde a declaração de independência (1822) romperam o pacto colonial Brasil-Portugal e inseriram o país na rede das economias capitalistas globais contemporâneas.
+ 
+Imagem do original do Decreto de Abertura dos Portos às Nações Amigas
+ 
+Os governos republicanos perceberam que realizar exposições universais em comemoração ao centenário de datas nacionais históricas conquistava corações e mentes para a integração de brasileiros dentro de um ideário de país moderno que começava o novo século XX, livre do atraso da monarquia e da escravidão.
+A Exposição Nacional de 1908 foi uma celebração do comércio e desenvolvimento industrial que exibiu um “inventário” do Brasil através dos produtos industriais, agrícolas, pastoris e artísticos montados no Palácio da Indústria, no Palácio dos Estados, no Pavilhão do Distrito Federal e nos pavilhões de São Paulo, Minas Gerais, Bahia, Santa Catarina. E também mostrou a modernização dos novos serviços públicos municipais e federais entre eles  o Pavilhão do Corpo de Bombeiros, o Pavilhão dos Telégrafos e Correios, o Jardim Botânico, o Pavilhão do Café e Cacau, a Inspetoria de Matas e Jardins. Após o encerramento da Exposição, todos os prédios foram demolidos com exceção do Palácio dos Estados e do Pavilhão das Máquinas.
+O único país estrangeiro participante foi Portugal, que construiu o Palácio Manuelino e um segundo pavilhão menor chamado Anexo Belas Artes.
+ 
+Augusto Malta. Exposição Nacional de 1908, 1908. Rio de Janeiro, RJ / Acervo Museu da República
+ 
+Margareth Silva Pereira (2010) argumentou que durante o século XIX diversos modos de olhar foram se desenvolvendo e educando visualmente as populações das cidades. Entre eles estão os panoramas, os álbuns pitorescos, as exposições universais, as fotografias, os postais e o cinematógrafo.
+Essas exposições universais eram os grandes espaços educativos onde as massas urbanas aprenderam a olhar, comparar e julgar países e culturas baseados em construções efêmeras com estilos neogótico, neomourisco, neo greco-romano – pavilhões e palácios – e também no desenvolvimento técnico dos produtos. Ao flanar pelos espaços, o visitante construía uma hierarquia de avaliação do progresso e civilidade das atividades humanas de diferentes regiões numa perspectiva evolucionista e eurocêntrica.
+Em 1851, em Londres, a indústria privada organizou a primeira Exposição Universal como uma grande feira com pavilhões e milhares de estandes que mostraram atividades manufatureiras, industriais e comerciais de vários países em quatro seções – matéria prima, máquinas, manufaturas e belas artes. O ineditismo da mostra e a monumentalidade do prédio temporário feito de ferro, madeira e vidro, que ficou conhecido como Palácio de Cristal, – espaço e símbolo de um sistema industrial – atraiu milhões de visitantes.
+Em Paris, em 1855, a Exposição Universal teve dimensões novas: foi organizada pelo Estado e, além do Palácio da Indústria e da Galeria das Máquinas, foi construído um pavilhão especializado para abrigar um Salão de Belas Artes com parte das obras vindas do Museu do Louvre.  O Salão influenciou a abertura de várias escolas de desenho com o intuito de desenvolver a capacidade técnica dos artesãos e artistas para ampliar a oferta de objetos artesanais e manufaturados.
+Os visitantes passeavam pelos pavilhões e galerias comparando naturalmente culturas remotas, mundos urbanos e costumes rurais de todos os continentes que eram exibidos lado a lado, conforme a descrição de Margareth Pereira (2010): o rito do chá no Japão, o uso dos narguilés de Istambul, o modo de vida dos marajás, da África aos Bálcãs, de Liverpool a Viena.
+Essa comparação das culturas e povos baseada numa visualidade de objetos e edifícios consolidou novas ações: exibir, admirar e consumir. Os países exibiam produtos manuais, industriais, artísticos e invenções locais e exóticas que atraíam admiradores/consumidores e possibilitavam contatos entre técnicos, artistas e cientistas, consolidando um liberalismo que valorizava o comércio, a racionalidade e a tecnologia.
+ 
+Augusto Malta. Exposição Nacional de 1908, 1908. Rio de Janeiro, RJ / Acervo Museu da República
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+Os países ou estados ou regiões apresentavam na exposição o conjunto de trabalhos manuais, mecânicos e artísticos – a indústria – que eram divididos em classes, gêneros e tipos de atividades com uma organização hierárquica que ao fim e ao cabo privilegiava o progresso versus o atraso; a civilização versus a barbárie.
+Durante todo século XIX, o Brasil participou com pavilhões nacionais das Exposições Universais na Europa e nos Estados Unidos.  Essas exposições universais são estimuladas inicialmente pelo avanço do transporte marítimo, do sistema ferroviário, dos telégrafos e serviços postais e depois pela eletricidade, telefonia e automóvel que desenvolveram redes de intercâmbios econômicos e culturais.
+No Brasil, a Exposição de 1908, que comemorava a abertura dos portos, foi uma celebração das redes internacionais de comércio e do modo de vida capitalista e industrial que se consolidou no século XX.  Ela representou um inventário de todo o país que possibilitou uma reflexão interna sobre os problemas e questões para o estabelecimento de políticas públicas tendo em vista suas potencialidades.
+Na presidência de Afonso Pena (1847 – 1909), o ministro da Indústria, Comércio, Viação e Obras Públicas Miguel Calmon (1879 – 1935), o prefeito Marcelino de Souza Aguiar (1855 – 1935) e uma Comissão Construtora chefiada pelo engenheiro José Sampaio Corrêa (1875 – 1942) escolheram na Urca, na zona sul da cidade, numa região entre a Praia da Saudade (atual Avenida Pasteur) e a Praia Vermelha, um grande terreno entre o morro da Urca e o morro da Babilônia para sediar a Exposição Nacional de 1908. O terreno tinha 182.000 m², sendo que 140.000 m² foram destinados para os palácios e pavilhões temporários entre a Porta Monumental e o Palácio da Indústria; e 42.000 m², entre o Palácio da Indústria e a Praia Vermelha, foram escolhidos para o setor de diversões do evento.
+Entre o mar e a montanha, a área da Exposição de 1908 foi valorizada pelas belas paisagens e pelo plano de urbanização de Sampaio Correa (1875 – 1942), que realizou grandes aterros hidráulicos com valorização dos terrenos da orla da Urca. A fim de facilitar o acesso dos visitantes, a Inspeção de Obras Públicas construiu a Estação Marítima, no cais da Urca, que recebia as barcas da Cantareira, e uma Estação da Companhia Ferro-Carril Jardim Botânico para os bondes elétricos da Light.
+ 
+Augusto Malta. Exposição Nacional de 1908. A exposição vista de fora, 12 de outubro de 1908. Rio de Janeiro, RJ / Acervo Museu da República
+ 
+Na região existiam, na Praia da Saudade, apenas duas instituições construídas em prédios neoclássicos, no século XIX, em pleno funcionamento: o Hospício de Alienados D. Pedro II (atualmente abriga o Fórum de Ciência e Cultura e quatro unidades acadêmicas da UFRJ) e o Instituto Benjamin Constant, que prestava assistência a deficientes visuais.
+Mas existiam dois edifícios federais vazios que podiam ser aproveitados para sediar os dois palácios mais importantes da Exposição de 1908 – o Palácio das Indústrias e o Palácio dos Estados. Um era o prédio da antiga Escola Militar construído em 1864, na Praia Vermelha, e o outro, na Praia da Saudade, era uma construção que fora projetada pelo engenheiro Antônio de Paula Freitas (1843 – 1906) para ser uma universidade, com pedra fundamental lançada na presença de dom Pedro II (1825 – 1891), em 1881, mas cujas obras foram interrompidas por falta de recursos.
+O arquiteto René Barba (18? -19?) projetou o Palácio das Indústrias reconstruindo o prédio da antiga Escola Militar com redução do corpo principal e desenhando jardins no lugar dos corpos demolidos. O projeto deu ao edifício uma aparência exuberante com novas fachadas, cúpula central e uma fonte com chafarizes em forma de castelo de águas. O Palácio das Indústria foi um dos prédios demolidos após o encerramento da Exposição de 1908.
+O engenheiro Sampaio Correa (1875 – 1942) dirigiu as obras do Palácio dos Estados que ocupou o antigo edifício universitário abandonado de 1881 e, com a participação do arquiteto Francisco Isidro Monteiro (18?-19?), redesenhou as plantas de Paula Freitas (1843 – 1906). O novo prédio adquiriu um corpo central com três pavimentos, corpos recuados com dois andares e uma escadaria de granito na fachada principal com degraus ladeados por pedestais com dois leões no lado externo e duas águias em cimento na parte interna.
+O Palácio dos Estados tinha uma dupla função e caráter: espaços monumentais de exposição com estandes com produtos de todos os estados da Federação exibidos nos dois pavimentos e espaços de luxo nos salões de festas e recepções da elite política brasileira. Com estilo neoclássico e ornamentos e composição de características greco-romanas, foi mantido após o encerramento da Exposição de 1908 e atualmente abriga a CPRM – Comissão de Pesquisa de Recursos Minerais, empresa vinculada ao Ministério das Minas e Energia.
+A Porta Monumental era um arco do triunfo simbólico, que tinha o caráter da suntuosidade e a função de entrada com roletas separadas do público e de autoridades, localizando-se próxima ao muro do Instituto Benjamin Constant e ao início do cais da Urca.  Ela fazia o fechamento da principal avenida da exposição, a Avenida dos Estados (atual Avenida Pasteur) que se estendia por 560 m até o Palácio da Indústria, com os pavilhões e palácios às suas margens e com pequenas ruas e avenidas transversais, que foram nomeadas com datas históricas republicanas.
+O Distrito Federal e os estados de São Paulo, Minas Gerais, Bahia e Santa Catarina edificaram pavilhões individuais; a indústria têxtil estava representada pela  fábrica Bangu e, as atividades agrícolas, pela Sociedade Nacional de Agricultura.
+As imagens produzidas pelo fotógrafo da prefeitura do Rio de Janeiro, Augusto Malta, exibem construções majestosas de diferentes estilos arquitetônicos erguidas em madeira, estuque ou concreto, idealizadas pelos arquitetos e engenheiros Raphael Rebecchi (1844-1922), René Barba (18? – 19?) e Francisco Oliveira Passos (1878 – 1958), que participaram da construção dos prédios da Avenida Central (atual Avenida Rio Branco) ou concorreram no concurso de fachadas.
+Para realizar seu trabalho, Malta utilizava câmaras que usavam grande formato de negativo (24×30 cm, 18x24cm ou 13x18cm), em chapas de vidro à base de gelatina, onde escrevia com nanquim o local, a data e o número e, eventualmente, legendas-comentários sobre o tema da foto, além de sua assinatura.
+O conjunto dos pavilhões e palácios da Exposição formou um cenário de encantamento que atraiu um grande público fascinado pelo exotismo e extravagância da arquitetura e pela queima de fogos de artifício; festas e bailes; batalhas de flores; espetáculos de teatro e música realçados pela novidade da iluminação feérica dos espaços. Durante os três meses de duração, a exposição foi visitada por um público de cerca de um milhão de pessoas seduzidas pelos espaços de lazer e entretenimento: cinematógrafo, teatros, ringue de patinação, restaurantes, quiosques e coretos.
+Para Gustavo Rocha-Peixoto (2000), marcadas pela arquitetura do Ecletismo, as edificações efêmeras da Exposição associaram estilos de diferentes origens e tempos históricos, possibilitando que os visitantes realizassem uma viagem romântica sonhadora e fantasista.
+O belo ensaio de Renato Gomes (2008) sobre o Rio de Janeiro nos leva a refletir sobre como as fotos de Augusto Malta legitimaram e difundiram simbolicamente o sonho da cidade moderna, cosmopolita, higiênica, feérica feito pelos donos do poder representando os tempos modernos e encenando a oposição civilização/barbárie que se desdobra em progresso/atraso, novo/velho, sublime/grotesco, alto/baixo.
+No centro da cena, ficou a cidade ideal da Exposição de 1908 e sua cenografia que era um modelo da elegância, civilização, um novo modo de vida e uma nova sociabilidade urbana: prédios com estilos arquitetônicos ecléticos; postes de iluminação que facilitavam o divertimento noturno; restaurantes elegantes, jardins, coretos e quiosques, e uma avenida pavimentada e larga para o footing.
+ 
+Porta Monumental 
+ 
+Augusto Malta. Exposição Nacional de 1908. Porta Monumental da Exposição Nacional de 1908; à esquerda passarela do ancoradouro, ao fundo, Morro da Urca e à direita, Pavilhão de Minas Gerais, na Urca, 1908. Rio de Janeiro,RJ / Acervo Museu da República
+ 
+Ruth Levy (2008) analisou em profundidade a arquitetura dos palácios e pavilhões da Exposição de 1908 afirmando que o arquiteto René Barba construiu a Porta Monumental da Exposição de 1908 em madeira, com inspiração na Porta da Exposição de Paris, de 1889. Na chegada, os visitantes eram impactados pela imponência e suntuosidade da composição – um arco central de 16 m de altura com apoio em dois pilares de cada lado e, nas extremidades, outros dois grandes pilares que eram encimados por dois torreões com flechas alongadas. Em cima do arco, as armas da República eram valorizadas por um grupo de lâmpadas elétricas que compunham, à noite, a iluminação feérica da Porta.
+A Avenida dos Estados (atual parte da Avenida Pasteur), com 30 m de largura e 560 m de extensão, partia da Porta Monumental e conduzia os visitantes aos diversos pavilhões dos estados e à praça em frente ao castelo de águas do Palácio da Indústria. 
+ 
+Palácio da Indústria
+ 
+Augusto Malta. Exposição Nacional de 1908. Palácio da Indústria com fonte com castelo de águas à frente do prédio, 1908. Rio de Janeiro, RJ / Acervo Museu da República
+ 
+O arquiteto René Barba criou novas fachadas e conservou o pavimento térreo como base para o novo Palácio da Indústria. Na cúpula principal, havia a alegoria da Fama e, no centro da fachada principal, via-se um elemento emblemático das exposições universais: uma fonte luminosa com chafarizes formando um castelo de águas sinuoso, com seis bacias em planos sucessivos com repuxos. Antes de 1908, esse edifício foi uma fortaleza do século XVIII e mais tarde, em 1864, o prédio abrigou as instalações da Escola Militar. No momento da Exposição de 1908, ele estava disponível e foi reconstruído para sediar o Palácio da Indústria quando sofreu uma redução do corpo principal – área de 200 m de comprimento e 12 m de largura – que possuía dois lados, uma face voltada para a Praia da Saudade (atual Avenida Pasteur) e outra voltada para a Praia Vermelha. Quatro esculturas de sereias ornamentavam as bacias e, nas laterais, duas escadarias que conduziam à entrada mostravam esculturas de alegorias do Trabalho e do Progresso, com assinatura da artista Nicolina de Assis (1874 – 1941). Esse Palácio foi decorado com ornamentos típicos do ecletismo e não tinha vínculos com avanços da indústria brasileira no ramo da construção, ao contrário dos similares estrangeiros edificados em exposições universais de Londres e Paris.
+ 
+Pavilhão do Distrito Federal 
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+Augusto Malta. Exposição Nacional de 1908. Pavilhão do Distrito Federal, 1908. Rio de Janeiro, RJ / Acervo Museu da República
+ 
+O Pavilhão do Distrito Federal foi construído na praça que ficava no centro do terreno da Exposição de 1908, com área de 1.100 m², pelo engenheiro Francisco Oliveira Passos, também responsável pelo projeto do Teatro Municipal do Rio de Janeiro. O edifício possuía ampla rotunda com uma cúpula em vidro transparente com uma flecha encimada pela bandeira do Distrito Federal; sua decoração era sóbria e os ornamentos eram as armas municipais e a alegoria da República, representada por uma cabeça feminina.
+Os dois pavimentos do edifício possuíam salas de exposição que exibiam as realizações dos gestores municipais nos setores da saúde, educação primária e profissional e obras urbanas, além de um salão central, salas do Prefeito e do Comissário do Distrito Federal e outras destinadas às autoridades.
+ 
+Pavilhão de Minas Gerais e Pavilhão de São Paulo
+ 
+Augusto Malta. Exposição Nacional de 1908. Multidão em visita, à esquerda, ao Pavilhão de Minas Gerais e, à direita, ao Pavilhão de São Paulo, 1908. Rio de Janeiro, RJ / Acervo Museu da República
+ 
+O edifício do Pavilhão de Minas Gerais foi considerado sem estilo definido, mas com uma ornamentação marcada pela riqueza e elegância, composta de escadaria, torre, estatuária e fontes. Com área de 650 m², foi projetado pelo arquiteto Raphael Rebecchi com um torreão de 62 metros encimado por um intenso foco luminoso. A construção possuía um corpo central e dois laterais com fontes debaixo dos arcos das galerias internas que ligavam os salões; e dois pavimentos: o primeiro foi destinado à exposição de produtos e, no segundo, ficavam os salões de recepção e festa.  Nos corpos laterais destacavam-se duas figuras femininas que dominavam cavalos no espaço.
+O Pavilhão de São Paulo foi premiado no Concurso de Pavilhões promovido pelo Jornal do Comércio junto ao público. Era o maior e mais luxuoso pavilhão com 1.500 m² de área e foi projetado por Ramos de Azevedo e Ricardo Severo e executado pelo arquiteto Domiziano Rossi. Maior que o Pavilhão do Distrito Federal, ele possuía uma base octogonal com duas entradas principais e, no centro, existia uma grande cúpula de 35 m de altura encimada por um holofote que iluminava os vidros opalinos da construção. Exibia uma decoração opulenta com esculturas, relevos e doze cúpulas. Apresentava salas destinadas às festas, conferências, recepção às autoridades e exposições de produtos e também uma sala que exibia outro modo de olhar: um grande panorama da cidade de São Paulo feito pelo fotógrafo Valério Vieira (1862 – 1941), com onze metros de extensão.
+Os produtos de São Paulo eram tão amplos e diversificados que foram usadas alas em dois andares do Palácio dos Estados, com estandes e quiosques que exibiram, além da produção agrícola, tecidos, maquinário, couro, cerâmica e desenhos arquitetônicos.
+ 
+Teatro João Caetano
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+Augusto Malta. Exposição Nacional de 1908. Teatro João Caetano com escultura da alegoria da Dança na fachada superior, 1908. Rio de Janeiro, RJ / Acervo Museu da República
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+Com projeto de Francisco Isidro Monteiro, o Teatro João Caetano foi construído em madeira revestida de estuque ocupando uma área de 870 m² com capacidade para 800 espectadores. Vários espetáculos do dramaturgo Arthur Azevedo (1855 – 1908) foram montados num espaço confortável organizado em platéia, galeria e camarotes. A decoração interna em tons de verde e com capitéis dourados foi realizada por Raul Pederneiras (1874 – 1953) e equipe.
+ 
+Pavilhão da Fábrica Bangu
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+Augusto Malta. Exposição Nacional de 1908. Pavilhão da Fábrica Bangu, 1908. Rio de Janeiro, RJ / Acervo Museu da República
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+O Pavilhão da Fábrica Bangu foi construído pelos operários e mestres da fábrica de tecidos como uma pequena mesquita mourisca com quatro cúpulas. O diretor técnico da empresa José Villas Boas idealizou o projeto e Martinho Dumiense – formado pela Escola de Belas Artes – encarregou-se da decoração do prédio. Os produtos foram exibidos em vitrines confeccionadas pelos artesão da fábrica dentro de um salão com paredes e teto de revestidos de tecido.
+ 
+Pavilhões das Máquinas
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+Augusto Malta. Exposição Nacional de 1908. Pavilhão das Máquinas, 1908. Rio de Janeiro, RJ / Acervo Museu da República
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+O Pavilhão das Máquinas estava localizado atrás do Palácio dos Estados e o edifício possuía uma planta retangular que formava um grande salão medindo 30m x 50 m.  O conjunto dos maquinismos era formado por máquinas americanas e máquinas de beneficiamento de arroz e café.  Ao contrário dos pavilhões das máquinas de exposições internacionais que demonstravam pujança industrial e prédios de arquitetura arrojada e grandiosa, o pavilhão da Exposição de 1908 é muito modesto e convencional.  O prédio foi mantido e embora esteja muito descaracterizado, atualmente ele abriga a Escola de Teatro da Universidade Federal do Estado do Rio de Janeiro (Unirio).
+ 
+Anexo Belas Artes
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+Augusto Malta. Exposição Nacional de 1908. Anexo Belas Artes, 1908. Rio de Janeiro, RJ / Acervo Museu da República
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+O Pavilhão de Portugal chamado Palácio Manuelino abrigou os produtos da indústria portuguesa mas foi considerado insuficiente para mostrar também as obras de arte que foram alocadas num novo pavilhão menor: o Anexo Belas Artes. Os quadros e esculturas compuseram a decoração rica e magnificente do anexo, assinada por Jorge Colaço.
+ 
+Panoramas e vistas 
+ 
+Grande apreciador da linguagem dos panoramas − paisagens em grande perspectiva vistas à distância − Augusto Malta registrou com uma câmara especial de lenta velocidade a Porta Monumental, o Palácio dos Estados, o Palácio da Indústria, o Pavilhão do Distrito Federal, o Pavilhão de São Paulo, o Pavilhão de Minas Gerais, o Pavilhão da Bahia, o Anexo Belas Artes, o Pavilhão da Fábrica Bangu e a exposição do Jardim Botânico. Além de panoramas e vistas que mostram o morro da Urca, o morro da Babilônia, o morro do Pão de Açúcar, a Baía de Guanabara, a praia Vermelha e a praia da Saudade (atual Avenida Pasteur). Ao longo do tempo, essas imagens dotadas de forte aura foram sendo divulgadas em postais e livros sobre a história do Rio de Janeiro.
+ 
+À esquerda Palácio dos Estados, depois Pavilhão da Bahia, ao centro Pavilhão de Minas Gerais e à direita Pavilhão de São Paulo. Em primeiro plano, à direita pequeno Posto de Assistência Municipal e parte do Pavilhão do Distrito Federal. Fotografia de Augusto Malta. 1908. Acervo Museu da República
+ 
+Augusto Malta. Exposição Nacional de 1908. Em primeiro plano à esquerda Exposição do Jardim Botânico com estufa; Pavilhão da Inspetoria de Jardim, Caça e Pesca; à direita Posto da Assistência Municipal, Pavilhão do Distrito Federal e Pavilhão dos Telégrafos e Correios. Ao centro Praça Brasil com um coreto. Em segundo plano, da esquerda para a direita, Pavilhão de Minas Gerais, Pavilhão de São Paulo, depois Pavilhão da Fábrica Bangu, e ao centro Pavilhão de Santa Catarina, Bar, Cinema e Pavilhão da Sociedade Nacional de Agricultura. Ao fundo, à esquerda, Pavilhão do Corpo de Bombeiros, Teatro João Caetano e Anexo Belas Artes, 1908. Rio de Janeiro, RJ / Acervo Museu da República
+ 
+ 
+Augusto Malta. Exposição Nacional de 1908. Ao fundo morro da Urca e morro do Pão de Açúcar. À esquerda, ancoradouro da Urca e à direita Palácio das Indústrias diante da Praia Vermelha. Pavilhão de Minas Gerais, Pavilhão de São Paulo, depois Pavilhão da Fábrica Bangu. Pavilhão do Distrito Federal não visível, 1908. Rio de Janeiro, RJ / Acervo Museu da República
+ 
+ 
+Augusto Malta. Exposição Nacional de 1908. Multidão na Praia da Saudade caminhando em direção à Porta Monumental. Ao fundo morro da Urca e Estação marítima no ancoradouro da Urca; da esquerda para a direita, Pavilhão de Minas Gerais e parte do Palácio dos Estados e Porta Monumental, 1908. Rio de Janeiro, RJ /Acervo Museu da República
+ 
+*Carla Costa é historiadora do Museu da República
+ 
+Fontes: 
+GOMES, Renato Cordeiro.  Todas as cidades, a cidade: literatura e experiência urbana. Rio de Janeiro: Rocco, 2008.
+LEVY, Ruth.  Entre palácios e pavilhões: a arquitetura efêmera da Exposição Nacional de 1908.  Rio de Janeiro: EBA/UFRJ, 2008.
+PEREIRA, Margareth da Silva. A exposição de 1908 ou o Brasil visto por dentro. In: ARQTEXTO 16. 2010. Acesso em 14/03/2018.
+ROCHA-PEIXOTO, Gustavo. O ecletismo e seus contemporâneos na arquitetura do Rio de Janeiro. In: CZAJKOWSKI, Jorge (org.). Guia da arquitetura eclética no Rio de Janeiro. Rio de Janeiro: Centro de Arquitetura e Urbanismo, 2000.
+ 
+Acesse pela Hemeroteca Digital da Biblioteca Nacional O Álbum de Exposição 1908.
+ 
+
+ 
+O título desse artigo foi alterado de A Exposição Nacional de 1908 na Coleção Família Passos para Série O Rio de Janeiro desaparecido II – A Exposição Nacional de 1908 na Coleção Família Passos, em 16 de setembro de 2021.
+Esse artigo passou a integrar a série “Exposições” e mudou de título em 1º de dezembro de 2025.
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Links para os outros artigos da Série O Rio de Janeiro desaparecido
+ 
+Série O Rio de Janeiro desaparecido I - Salas de cinema do Rio de Janeiro do início do século XX, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 26 de fevereiro de 2016.
+Série O Rio de Janeiro desaparecido III – O Palácio Monroe, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica, em 9 de novembro de 2016.
+Série O Rio de Janeiro desaparecido IV - A via elevada da Perimetral, de autoria da historiadora Beatriz Kushnir, publicado na Brasiliana Fotográfica em 23 de junho de 2017.
+Série O Rio de Janeiro desaparecido V – O quiosque Chopp Berrante no Passeio Público, Ferrez, Malta e Charles Dunlop, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 20 de julho de 2018.
+Série O Rio de Janeiro desaparecido VI – O primeiro Palácio da Prefeitura Municipal do Rio de Janeiro, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 12 de setembro de 2018.
+Série O Rio de Janeiro desaparecido VII – O Morro de Santo Antônio na Casa de Oswaldo Cruz, de autoria de historiador Ricardo Augusto dos Santos da Casa de Oswaldo Cruz, publicado na Brasiliana Fotográfica em 5 de fevereiro de 2019.
+Série O Rio de Janeiro desaparecido VIII – A demolição do Morro do Castelo, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 30 de abril de 2019.
+Série O Rio de Janeiro desaparecido IX – Estrada de Ferro Central do Brasil: estação e trilhos, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 12 de novembro de 2019.
+Série O Rio de Janeiro desaparecido X – No Dia dos Namorados, um pouco da história do Pavilhão Mourisco em Botafogo, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 12 de junho de 2020.
+Série O Rio de Janeiro desaparecido XI – A Estrada de Ferro do Corcovado e o mirante Chapéu de Sol, de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 22 de julho de 2021.
+Série O Rio de Janeiro desaparecido XII – o Teatro Lírico (Theatro Lyrico), de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 15 de setembro de 2021.
+Série O Rio de Janeiro desaparecido XIII – O Convento da Ajuda, de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 12 de outubro de 2021.
+Série O Rio de Janeiro desaparecido XIV – O Conselho Municipal, de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 19 de novembro de 2021.
+Série O Rio de Janeiro desaparecido XV – A Praia de Santa Luzia no primeiro dia do verão, de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 21 de dezembro de 2021.
+Série O Rio de Janeiro desaparecido XVI – O prédio da Academia Imperial de Belas Artes, de autoria de Andrea C.T. Wanderley, publicado na Brasiliana Fotográfica em 13 de janeiro de 2022.
+Série O Rio de Janeiro desaparecido XVII – Igreja São Pedro dos Clérigos, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 18 de março de 2022.
+Série O Rio de Janeiro desaparecido XVIII – A Praça Onze, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 20 de abril de 2022.
+Série O Rio de Janeiro desaparecido XIX – A Igrejinha de Copacabana, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 23 de junho de 2022.
+Série O Rio de Janeiro desaparecido XX – O Pavilhão dos Estados, futuro prédio do Ministério da Agricultura, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 26 de julho de 2022.
+Série O Rio de Janeiro desaparecido XXI – O Chafariz do Largo da Carioca, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 19 de setembro de 2022. 
+Série O Rio de Janeiro desaparecido XXII – A Cadeia Velha que deu lugar ao Palácio Tiradentes, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 11 de abril de 2023
+Série O Rio de Janeiro desaparecido XXIII e Avenidas e ruas do Brasil XVII - A Praia e a Rua do Russel, na Glória, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 15 de maio de 2023
+Série O Rio de Janeiro desaparecido XXIV – O luxuoso Palace Hotel, na Avenida Rio Branco, uma referência da vanguarda artística no Rio de Janeiro, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 4 de julho de 2023
+Série O Rio de Janeiro desaparecido XXV – O Theatro Phenix, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 5 de setembro de 2023
+Série O Rio de Janeiro desaparecido XXVI – Conclusão do arrasamento do Morro do Castelo por Augusto Malta, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 14 de dezembro de 2023
+Série O Rio de Janeiro desaparecido XXVII e Série Os arquitetos do Rio de Janeiro V – O Jockey Club e o Derby Club, na Avenida Rio Branco e o arquiteto Heitor de Mello (1875 – 1920), de autoria de Andrea c. T. Wanderley, editora e pesquisadora do portal, em 15 de janeiro de 2024
+ 
+Links para os artigos sobre exposições nacionais ou internacionais publicados na Brasiliana Fotográfica
+O pintor Victor Meirelles e a fotografia na II Exposição Nacional de 1866, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 17 de agosto de 2017.
+A festa do progresso: o Brasil na Exposição Continental, Buenos Aires, 1882, de autoria de Maria do Carmo Rainho, Arquivo Nacional, publicado em 29 de março de 2018.
+Marc Ferrez, a Comissão Geológica do Império (1875 – 1878) e a Exposição Antropológica Brasileira no Museu Nacional (1882), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 29 de junho de 2018.
+Paris, 1889: o álbum da exposição universal, de autoria de Claudia B. Heynemann, Arquivo Nacional,publicado em 27 de julho de 2018.
+Café Brasil: o Império na Exposição Internacional de Filadélfia, de autoria de Claudia B. Heynemann, Arquivo Nacional, publicada em 4 de dezembro de 2019.
+Festa das Artes e da Indústria Segunda Exposição Nacional, 1866, de autoria de Claudia Beatriz Heynemann e Maria Elizabeth Brêa Monteiro, Arquivo Nacional, em 5 de abril de 2020.
+A apresentação do Departamento Nacional de Saúde Pública na Exposição Internacional do Centenário da Independência, de Ricardo Augusto dos Santos, Fiocruz, publicado em 13 de abril de 2020.
+A Exposição Internacional de Higiene de Dresden, de Cristiane d´Avila, Fiocruz, publicado em 5 de janeiro de 2022.
+Série 1922 – Hoje, há 100 anos VIII – A abertura da Exposição Internacional do Centenário da Independência do Brasil e o centenário da primeira grande transmissão pública de rádio no país, de autoria de Andrea C. T. Wanderley, publicado em 7 de setembro de 2022, na Brasiliana Fotográfica.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/5460` — `itens/20.500.12156.1_5460/`
+- `20.500.12156.1/5474` — `itens/20.500.12156.1_5474/`
+- `20.500.12156.1/5456` — `itens/20.500.12156.1_5456/`
+- `20.500.12156.1/5455` — `itens/20.500.12156.1_5455/`
+- `20.500.12156.1/5471` — `itens/20.500.12156.1_5471/`
+- `20.500.12156.1/5476` — `itens/20.500.12156.1_5476/`
+- `20.500.12156.1/5479` — `itens/20.500.12156.1_5479/`
+- `20.500.12156.1/5467` — `itens/20.500.12156.1_5467/`
+- `20.500.12156.1/5466` — `itens/20.500.12156.1_5466/`
+- `20.500.12156.1/5469` — `itens/20.500.12156.1_5469/`
+- `20.500.12156.1/5468` — `itens/20.500.12156.1_5468/`
+- `20.500.12156.1/5475` — `itens/20.500.12156.1_5475/`
+- `20.500.12156.1/5458` — `itens/20.500.12156.1_5458/`
+- `20.500.12156.1/5461` — `itens/20.500.12156.1_5461/`
+- `20.500.12156.1/5462` — `itens/20.500.12156.1_5462/`
+
diff --git a/wordpress/11644-bares-e-restaurantes-das-primeiras-decadas-do-seculo-xx.md b/wordpress/11644-bares-e-restaurantes-das-primeiras-decadas-do-seculo-xx.md
new file mode 100644
index 0000000..0580a1b
--- /dev/null
+++ b/wordpress/11644-bares-e-restaurantes-das-primeiras-decadas-do-seculo-xx.md
@@ -0,0 +1,42 @@
+---
+id: 11644
+url: "https://brasilianafotografica.bn.gov.br/?p=11644"
+titulo: "Bares e restaurantes das primeiras décadas do século XX"
+autor: "Andrea Wanderley"
+data: "2018-08-24T11:30:26+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/5232", "20.500.12156.1/5449", "20.500.12156.1/961", "20.500.12156.1/5714", "20.500.12156.1/5448"]
+fetched_at: "2026-09-10T09:55:27.381Z"
+---
+
+# Bares e restaurantes das primeiras décadas do século XX
+
+Chichico Alkmim. Bar na rua direita, s/d. Diamantina, Minas Gerais / Acervo IMS
+ 
+A Brasiliana Fotográfica traz para seus leitores uma seleção de imagens de bares e restaurantes produzidas, em sua maioria, nas primeiras décadas do século XX, no Brasil.  A única exceção é o registro de Samuel Boote (1844-1921), Quiosque para a distribuição grátis do café do Brasil, feito durante a Exposição Continental de 1882, em Buenos Aires. Os autores das outras imagens foram Augusto Malta (1864 – 1957), Chichico Alkmim (1886 – 1978), Guilherme Gaensly (1843 – 1928), e fotógrafos ainda não identificados. Eles fotografaram estabelecimentos do Rio de Janeiro, de Minas Gerais e de São Paulo.
+ 
+Anônimo. Bar Sympathia, s/d. Rio de Janeiro, RJ / Acervo AGCRJ
+ 
+Acessando o link para as fotografias de bares e restaurantes disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Guilherme Gaensly. S. P. R. Estação da Luz : Restaurante, c. 1902. São Paulo, SP / Acervo FBN
+ 
+Comp. Lith. Hartmann-Reichenbach. Exposição Nacional de 1908 – Restaurante Rústico, 1908. Rio de Janeiro, RJ / Acervo IMS
+ 
+ 
+Anônimo. Bar Nacional, s/d. Rio de Janeiro, RJ / Acervo AGCRJ
+ 
+ 
+Andrea C. T. Wanderley
+Editora-assistente e pesquisadora do portal Brasiliana Fotográfica
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/5232` — `itens/20.500.12156.1_5232/`
+- `20.500.12156.1/5449` — `itens/20.500.12156.1_5449/`
+- `20.500.12156.1/961` — `itens/20.500.12156.1_961/`
+- `20.500.12156.1/5714` — `itens/20.500.12156.1_5714/`
+- `20.500.12156.1/5448` — `itens/20.500.12156.1_5448/`
+
diff --git a/wordpress/11758-100-anos-do-castelo-da-fiocruz-criador-e-criatura.md b/wordpress/11758-100-anos-do-castelo-da-fiocruz-criador-e-criatura.md
new file mode 100644
index 0000000..15c5dac
--- /dev/null
+++ b/wordpress/11758-100-anos-do-castelo-da-fiocruz-criador-e-criatura.md
@@ -0,0 +1,98 @@
+---
+id: 11758
+url: "https://brasilianafotografica.bn.gov.br/?p=11758"
+titulo: "100 anos do Castelo da Fiocruz: criador e criatura"
+autor: "Andrea Wanderley"
+data: "2018-05-15T12:52:50+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/5579", "20.500.12156.1/5578", "20.500.12156.1/5580", "20.500.12156.1/5581", "20.500.12156.1/5582", "20.500.12156.1/5584", "20.500.12156.1/5585", "20.500.12156.1/5586", "20.500.12156.1/5587", "20.500.12156.1/5588"]
+fetched_at: "2026-09-10T09:55:30.576Z"
+---
+
+# 100 anos do Castelo da Fiocruz: criador e criatura
+
+No terceiro e último texto publicado na Brasiliana Fotográfica sobre o centenário do Castelo da Fiocruz, o pesquisador Renato da Gama-Rosa, da Fiocruz, uma das instituições parceiras do portal, aborda detalhes sobre a construção do edifício e sobre seu projeto arquitetônico. O Castelo da Fiocruz é o local de trabalho de pesquisadores e técnicos que pesquisam, ensinam ciência e saúde pública; e que também fabricam medicamentos essenciais para a população. Projetado pelo arquiteto Luiz Moraes Junior (1872 – 1955), o edifício começou a ser erguido em 1905 e foi concluído em 1918. Os textos anteriores sobre o tema, publicados pela Brasiliana Fotográfica, foram 100 anos do Castelo da Fiocruz: a ocupação da Fazenda de Manguinhos, da jornalista Cristiane d´Avila, e Os pedreiros do Castelo da avenida Brasil, do pesquisador Ricardo Augusto dos Santos.
+ 
+Os 100 anos do Castelo da Fiocruz: criador e criatura
+Renato da Gama-Rosa Costa*
+Em novembro de 1918 eram concluídos os últimos trabalhos no edifício-sede do então Instituto Oswaldo Cruz, atual Fundação Oswaldo Cruz. Celebra-se em 2018, portanto, os 100 anos de conclusão do que viria ser um dos mais simbólicos e emblemáticos edifícios da paisagem carioca. Seu projeto e sua construção, entretanto, se iniciaram bem antes. Este texto, apoiado por fotografias e desenhos de época, pretende contar o desenrolar dessa história.
+ 
+Vista do Castelo da Fiocruz antes da abertura da Avenida Brasil, s/d. Rio de Janeiro, RJ / Acervo Casa de Oswaldo Cruz
+ 
+ 
+O que é hoje a Fundação Oswaldo Cruz se constituiu a partir do ofício nº 490, de 25 de maio de 1900. Segundo Alberto Taveira (1941), arquivista do Instituto Oswaldo Cruz, em fins do ano anterior, o barão de Pedro Affonso (1845 – 1920), diretor do Instituto Vacínico Municipal, que funcionava na região do Catete, havia proposto ao então prefeito do Rio de Janeiro, Cesário Alvim (1939 – 1903), a instalação de um laboratório soroterápico na Fazenda Municipal de Manguinhos, com o objetivo de preparar soro antipestoso em grande escala. Em dezembro daquele mesmo ano, o barão seguia para Europa para adquirir o material necessário à empreitada. O barão retornou de sua viagem em fevereiro de 1900. Com tal ofício, ficavam autorizadas as obras de conclusão do instituto e também a transferência das instalações, então adaptadas pelo barão na Fazenda de Manguinhos, da alçada municipal para a responsabilidade federal. Nascia, assim, o Instituto Soroterápico Federal. Este tornou-se, em 12 de dezembro de 1907, o Instituto de Patologia Experimental; posteriormente, em 19 de março de 1909, em Instituto Oswaldo Cruz. Sessenta anos depois, tornou-se a Fundação Recursos Humanos para a Saúde e, logo em seguida, pelo decreto 66.624, de 22 de maio de 1970, transformou-se na Fundação Instituto Oswaldo Cruz – Fiocruz -, ou, simplesmente, Fundação Oswaldo Cruz, nome que ostenta até os dias de hoje. É uma das maiores instituições de saúde pública do mundo.
+Acessando o link para as fotografias do Castelo da Fiocruz e da Fazenda de Manguinhos apresentadas nesse post e disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas. 
+O Instituto de Manguinhos, como também é conhecido, aproveitou as antigas instalações da fazenda de mesmo nome para abrigar os primeiros laboratórios. Esses foram oficialmente inaugurados em 23 de julho de 1900, utilizando salas adaptadas das antigas casas da fazenda, ou seja, espaços acanhados e de funcionalidade limitada. Recém-chegado de Paris, onde havia aprimorado sua formação no Instituto Pasteur, o médico Oswaldo Cruz (1872 – 1917) seria um dos primeiros a trabalhar no instituto comandado pelo barão. Com a exoneração a pedidos do próprio Pedro Affonso, em dezembro de 1902, Oswaldo Cruz assumiria a direção do instituto com a missão de prosseguir com a fabricação de soros e vacinas e atacar as epidemias de peste, febre amarela e varíola que ameaçavam a então Capital Federal. Com sua nomeação, em 23 de março de 1903, para Diretor Geral de Saúde Pública – função equivalente à época ao de ministro da saúde de hoje -, cargo em que ficou até fins de 1909, Oswaldo Cruz conseguiria as verbas necessárias para erguer melhores instalações para seus laboratórios em Manguinhos.
+ 
+Vista em primeiro plano, das antigas instalações da Fazenda de Manguinhos. Ao fundo, em construção, o edifício que abrigaria a Cavalariça e o Pavilhão do Relógio ou Pavilhão da Peste, s/d. Rio de Janeiro, RJ / Acervo Casa de Oswaldo Cruz
+ 
+Castelo de Manguinhos já em construção, convivendo com as antigas instalações da Fazenda, s/d. Rio de Janeiro, RJ / Acervo Casa de Oswaldo Cruz
+ 
+Admirador de uma boa arquitetura, Oswaldo Cruz veria no engenheiro português Luiz Moraes Junior (1872 – 1955), o construtor ideal de seu instituto. Moraes trabalhava nas obras de reforma da Igreja da Penha por convite feito pelo vigário-geral daquela paróquia, o Padre Ricardo, tendo chegado ao Brasil, vindo da cidade de Faro, sul de Portugal, no ano de 1899. As obras duraram de 1900 a 1902, justamente nos primeiros anos de funcionamento das instalações adaptadas das primitivas casas da Fazenda de Manguinhos. Oswaldo Cruz certamente acompanhou com admiração o serviço elaborado por Moraes na Igreja da Penha, durante a convivência de ambos no trajeto do trem no ramal da Leopoldina, que pegavam para se deslocarem para seus respectivos trabalhos. O cientista teria feito o convite para que Luiz Moraes projetasse os novos laboratórios, talvez por estar descontente com os recursos que eram oferecidos pelo barão de Pedro Affonso. Oswaldo Cruz, com a saída do barão, pôde, finalmente, convidar oficialmente Moraes para projetar as novas instalações dos laboratórios, com o desejo de os tornar os mais avançados à época. O que de fato foi feito.
+Moraes trabalhou ao longo de 1903 no desenho das novas e modernas instalações do instituto comandado agora por Oswaldo Cruz. O projeto previa a construção do edifício principal; de biotérios para grandes e pequenos animais; de estrebarias; de um pavilhão para estudo da peste e um pavilhão para desinfecção, incineração e garagem, outro para mictórios, e casas de guarda. Desses, apenas os últimos não foram edificados.No lugar de alguns dos pavilhões não construídos seria erguido o pavilhão dos Medicamentos Oficiais, conhecido como Quinino, anos depois.
+As verbas chegariam em finais de 1903, permitindo a construção dos pavilhões da estrebaria – a Cavalariça e o da peste – ou Pavilhão do Relógio. Em 1905, começaram as obras de escavação das bases do que seria o edifício principal do instituto, o Castelo de Manguinhos, o Pavilhão Mourisco. Muitos se perguntam até hoje do porquê da escolha dessa linguagem para a sede principal do instituto de Manguinhos.
+A linguagem árabe usada por Moraes em Manguinhos seguiu o fenômeno que atingiu a Europa, a partir da década de 1840, principalmente a Espanha e a Inglaterra, como reação ao classicismo vigente, na tentativa de recuperar a memória artística de épocas de um notável esplendor construtivo (Domingo, 1998: 115).  A burguesia europeia do século XIX adotaria, portanto, a linguagem neoárabe com “(…) conotações de evasão, evocação e singularidade social muito importantes, adotando os palácios de Alhambra como principal modelo referencial que suscitara – sempre por meio da decoração – um amplo repertório emocional” (ibidem).
+ 
+Gravura de Alhambra, c. 1890. Granada, Espanha. Publicada no site DepositPhotos
+ 
+Imaginando como seria a sede de seu novo instituto, Oswaldo Cruz fez um croqui para Moraes, onde teria desenhado, segundo Henrique Aragão, em estilo bizantino. Depois, segundo ainda Aragão, “ao tratar do assunto com Luiz Moraes, suas preferências encaminharam-se para o estilo mourisco, mais grandioso e mais fortemente evocador de mistérios como convinha à sede de uma instituição destinada a simbolizar a grandeza da ciência e a perscrutar os segredos da vida” (Aragão, 1950: 34).
+O livro sobre Alhambra, editado em 1906, por Albert F. Calvert (1872 – 1946), traz desenhos certamente adotados por Moraes em Manguinhos. Esse transcreve os estudos do arquiteto galês Owen Jones (1809 – 1874) sobre as experiências decorativas mouras de Granada, primeiramente publicadas em 1837, em Londres, sobre o título Plans, elevations, sections and details ofthe Alhambra, de Jules Gpoury e Owen Jones, oriundo da biblioteca particular de Oswaldo Cruz e hoje pertencente ao acervo da Biblioteca de Obras Raras da Fiocruz. Além de Alhambra, acreditamos que houve outras duas grandes influências na construção do Castelo da Fiocruz: o Palácio de Montsouris e a sinagoga de Berlim (COSTA, 2014). Acompanhar a evolução dos projetos realizados para o Castelo de Manguinhos pode revelar a influência que Montsouris, Alhambra e Berlim tiveram na configuração do palácio das ciências.
+ 
+Albert F. Calvert. Segunda capa da edição de 1906, de Albert F. Calvert / Acervo Biblioteca de Obras Raras A. Overmeer / Acervo Casa de Oswaldo Cruz
+ 
+Segundo o museólogo Luiz Fernando Ribeiro, na justificativa de tombamento do “conjunto arquitetural de Manguinhos” o primeiro esboço, feito pelo próprio cientista imaginou uma “construção de corpo horizontal, com dois bastiões laterais, um central, dezessete janelas e uma grande porta com escada de acesso ao segundo andar”. “Apresentada a ideia ao arquiteto”, prossegue Luiz Fernando, “este executa um trabalho semelhante ao de Oswaldo Cruz, sem as torres laterais, mas já em estilo mourisco. Segue-se a esse projeto um outro, no qual foram inseridas as duas torres” (RIBEIRO, 1980: B), muito semelhante a Montsouris. Erguido como representante da Tunísia na Exposição Universal de 1867, em Paris, o observatório parisiense teria sido visitado algumas vezes por Oswaldo Cruz, durante sua estada no Instituto Pasteur. A configuração final do projeto, de 1908, com cinco pavimentos, teria sido apresentada após, acreditamos, viagens do cientista e do arquiteto à Alemanha. Oswaldo Cruz esteve por duas vezes nesse país na companhia de Moraes para participar das Exposições Internacionais de Higiene: em 1907, em Berlim, ocasião em que o instituto receberia a Medalha de Ouro; e em 1911, em Dresden. “Na maquete exibida na Exposição de Higiene de Berlim, em 1907, o edifício já se apresentava com as duas torres. Mas só em 1908, com a construção em estágio bem adiantado, Moraes confeccionou o projeto definitivo em cinco pavimentos” (Benchimol, 1990: 110).  Certamente na primeira viagem, ambos teriam tido contato com a Sinagoga de Berlim e se inspirado a concluir o projeto do edifício principal.
+ 
+Primeiro projeto de Luiz Moraes para a sede do Instituto Oswaldo Cruz, atual Fiocruz. Rio de Janeiro, RJ / Acervo Casa de Oswaldo Cruz
+ 
+Postal do Observatório de Montsouris (antigo Palácio de Bardo) / Acervo particular
+ 
+Projeto final do Castelo da Fiocruz por Luiz Moraes, 1908. Rio de Janeiro, RJ / Acervo Casa de Oswaldo Cruz
+ 
+ 
+Sinagoga de Berlim, c. 1870. Publicado no site Pinterest
+ 
+Em novembro de 1909, o então ministro do Interior, o médico J.J. Seabra (1855 – 1942), autorizou a liberação de recursos para a finalização das obras para Manguinhos. Essas permitiram que o edifício abrisse seus primeiros laboratórios no ano seguinte. Um desses laboratórios, o situado no segundo pavimento, e onde hoje se encontra uma sala expositiva em memória a Oswaldo Cruz, foi ocupado pelo cientista até sua ida, em 1916, para Petrópolis, para tratar sua insuficiência renal, e onde viria a falecer, em 11 de fevereiro de 1917. Entre agosto de 1916 e fevereiro de 1917, Oswaldo Cruz foi prefeito de Petrópolis.
+Entre os anos de 1911 e 1913, outro montante de recursos foi liberado para o prosseguimento das obras, segundo Jaime Benchimol. Entretanto, depois de 1914 e até o ano de 1918, a verba para a finalização das obras do Castelo seria custeada com renda própria do Instituto, proveniente da vacina contra a peste da Manqueira (1990: 107). Prossegue Benchimol: “Em 1918 contratavam-se os últimos serviços para o acabamento do edifício” (IDEM: 119), como os vitrais da biblioteca, instalados em novembro. Portanto, podemos concluir que não existe uma data de inauguração do Castelo. Ele foi sendo finalizado conforme as verbas iam chegando. O próprio Oswaldo Cruz usufruiu de uma sala no edifício sem que ele estivesse totalmente concluído. Uma inscrição calcada na pedra em uma das laterais do Castelo indica o nome de seu autor (Luiz Moraes Jr.) e a data de 1908, ocasião em que eram lançadas as bases do projeto final.
+ 
+Castelo da Fiocruz. Hall do terceiro pavimento, s/d. Rio de Janeiro. RJ / Acervo Casa de Oswaldo Cruz
+ 
+Castelo da Fiocruz. Salão do último pavimento. Aos fundos a porta de acesso ao quarto de Oswaldo Cruz, s/d / Acervo Casa de Oswaldo Cruz
+ 
+Castelo da Fiocruz. Interior do quarto de Oswaldo Cruz. Esta sala, atualmente, abriga a sala da Presidente da instituição, s/d. Rio de Janeiro, RJ / Acervo Casa de Oswaldo Cruz
+ 
+ 
+Castelo da Fiocruz. Detalhe construtivo do friso externo do terraço do último pavimento, s/d. Rio de Janeiro, RJ / Acervo Casa de Oswaldo Cruz
+ 
+A Fundação Oswaldo Cruz, ao longo de 2018, prepara uma série de homenagens para marcar o centenário de finalização do seu edifício-sede.  Os textos apresentados aqui na Brasiliana Fotográfica sobre a efeméride são parte importante desta celebração.
+ 
+
+*Renato da Gama-Rosa Costa é pesquisador e professor da Casa de Oswaldo Cruz
+ 
+Fontes
+ARAGÃO, Henrique. Notícia histórica sobre a fundação do Instituto Oswaldo Cruz. Serviço Gráfico do Instituto Brasileiro de Geografia e Estatística. Rio de Janeiro, 1950.
+BENCHIMOL, Jaime (org.) Manguinhos do Sonho à Vida: a Ciência na Belle Époque. Casa de Oswaldo Cruz. Rio de Janeiro, 1990.
+COSTA, Renato da Gama-Rosa (org.) Caminhos da Arquitetura em Manguinhos. Rio de Janeiro: Casa de Oswaldo Cruz, 2003.
+COSTA, Renato Gama-Rosa. Monumentos à Ciência: arquitetura neomourisca, eclética e modernista. In: Iglesias, Fabio; Santos, Paulo Roberto Elian; Martins, Ruth B. (Org.). Vida, Engenho e Arte. 1ed. Rio de Janeiro: Casa de Oswaldo Cruz, 2014.
+DOMINGO, José Manuel Rodriguez. La Alhambra de Oriente: larestauraciondel patrimônio monumental hispanomusulmán y el medievalismo islámico. Coloquio Internacional de Historiadel Arte. Universidad Nacional Autónoma de México. México, 1998.
+RIBEIRO, Luiz Fernando Fernandes. “Conjunto Arquitetural de Manguinhos”. IN BRASIL. Proc. Nº 1.037-T-80. Pedido de tombamento: Instituto Oswaldo Cruz (Manguinhos). Rio de Janeiro. RJ. 1980.
+TAVEIRA, Alberto. Resumo histórico da fundação do Instituto Soroterápico Federal, hoje Instituto Oswaldo Cruz. Manguinhos, 1941.
+ 
+Outros textos sobre o assunto publicados na Brasiliana Fotográfica
+100 anos do Castelo da Fiocruz: a ocupação da fazenda de Manguinhos por Cristiane d´Avila
+100 anos do Castelo da Fiocruz: os pedreiros do Castelo da Avenida Brasil por Ricardo Augusto dos Santos
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/5579` — `itens/20.500.12156.1_5579/`
+- `20.500.12156.1/5578` — `itens/20.500.12156.1_5578/`
+- `20.500.12156.1/5580` — `itens/20.500.12156.1_5580/`
+- `20.500.12156.1/5581` — `itens/20.500.12156.1_5581/`
+- `20.500.12156.1/5582` — `itens/20.500.12156.1_5582/`
+- `20.500.12156.1/5584` — `itens/20.500.12156.1_5584/`
+- `20.500.12156.1/5585` — `itens/20.500.12156.1_5585/`
+- `20.500.12156.1/5586` — `itens/20.500.12156.1_5586/`
+- `20.500.12156.1/5587` — `itens/20.500.12156.1_5587/`
+- `20.500.12156.1/5588` — `itens/20.500.12156.1_5588/`
+
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+---
+id: 11797
+url: "https://brasilianafotografica.bn.gov.br/?p=11797"
+titulo: "A cientista Marie Curie (1867 – 1934) no Museu Nacional, Rio de Janeiro, 1926"
+autor: "Andrea Wanderley"
+data: "2018-07-05T13:16:18+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/5026"]
+fetched_at: "2026-09-10T09:55:34.233Z"
+---
+
+# A cientista Marie Curie (1867 – 1934) no Museu Nacional, Rio de Janeiro, 1926
+
+As cientistas Marie Curie (1867 – 1934) e sua filha, Irène Joliot-Curie (1897 – 1956), estiveram no Brasil entre 15 de julho e 28 de agosto de 1926. A Brasiliana Fotográfica destaca uma imagem que pertence ao acervo do Arquivo Nacional, instituição parceira do portal, produzida no dia 29 de julho de 1926, quando as cientistas fizeram uma visita, organizada pela Federação Brasileira pelo Progresso Feminino, ao Museu Nacional, no Rio de Janeiro. Foram ciceroneadas por Hermilio Bourguy Macedo de Mendonça (18? – 1941), diretor interino do museu; pelo naturalista Edward May; pela feminista e bióloga Bertha Lutz (1894 – 1976), pelo naturalista Alipio de Miranda Ribeiro (1874 – 1939), pelo geólogo Alberto Betim Paes Leme (1883 – 1938) e pela antropóloga e futura diretora da instituição, Heloisa Alberto Torres (1895 – 1977) (O Paiz, 30 de julho de 1926, primeira coluna).
+ 
+O Paiz, 30 de julho de 1926
+ 
+Na fotografia, Marie Curie está sentada e sua filha está, em pé, de chapéu. Heloisa Alberto Torres está à esquerda de Marie Curie e Bertha Lutz é a figura mais à direita do registro. No grupo masculino, da esquerda para a direita, estão o naturalista Alipio de Miranda Ribeiro, Hermilio Bourguy Macedo de Mendonça, possivelmente Alberto May e o geólogo Alberto Betim Paes Leme.
+ 
+Anônimo. Visita de Marie Sklodowska Curie ao Museu Nacional, 29 de julho de 1926. Rio de Janeiro, RJ. Marie Curie está sentada. Da esquerda para a direita: Alipio de Miranda Ribeiro, provavelmente Edward May, Hermilio Bourguy de Mendonça, Heloisa Alberto Torres, Alberto Betim Paes Leme, Irène Joliot-Curie; e Bertha Lutz / Acervo Arquivo Nacional
+ 
+Numa época em que as ciências eram amplamente dominada pelos homens, Marie Curie tornou-se a primeira mulher a ganhar um Prêmio Nobel, quando, em 1903, com os físicos franceses, Pierre Curie (1859 – 1906), seu marido desde 1895, e Antoine Henri Becquerel (1852 – 1908), recebeu o Prêmio Nobel de Física “em reconhecimento aos extraordinários serviços por eles prestados em suas pesquisas conjuntas sobre o fenômeno da radiação, descoberto pelo Professor Henri Becquerel”. Marie Curie voltou a receber um Nobel, desta vez de Química, em 1911, “em reconhecimento aos serviços que prestou para o avanço da química quando descobriu os elementos rádio e polônio, pelo isolamento do rádio e pelo estudo da natureza e composição desse notável elemento”. Marie Curie tornou-se, então, a primeira pessoa a ser laureada duas vezes com o Prêmio Nobel.
+ 
+Selo impresso em comemoração aos 50 anos do Prêmio Nobel conferido ao casal Curie e ao cientista Henri Becquerel, c. 1963
+ 
+Sua filha, Irène, recebeu com o físico francês Frédéric Joliot-Curie (1900 – 1958), com quem havia se casado em 9 de outubro de 1926, o Prêmio Nobel de Química em 1935 “em reconhecimento da síntese que fizeram de novos elementos radioativos”.
+ 
+Irène Joliot-Curie / Site do Prêmio Nobel
+ 
+A viagem das cientistas ao Brasil, em 1926
+ 
+Mãe e filha ficaram hospedadas no Hotel dos Estrangeiros, na Praça José de Alencar, no Flamengo. A chegada de Marie Curie foi saudada com o belo artigo A mulher e a ciência, de Saul Navarro, publicado na Revista da Semana de 10 de julho de 1926. Na mesma edição foi referida como A embaixatriz da Ciência. A Revista O Malho, de 24 de julho de 1926, também saudou a presença de madame Curie no Brasil com o artigo O verdadeiro feminismo. As cientistas faziam parte de uma comissão de sábios franceses em visita à América do Sul, dentre eles o historiador francês Paul Hazard (1878 – 1944), professor de literatura do Colégio da França (O Paiz, 13 de maio de 1926).
+O convite para a viagem partiu da Embaixada do Brasil na França e o governo francês foi o patrocinador do evento (O Paiz, 25 de junho de 1926, terceira coluna). Marie Curie, na época professora da Sorbonne, e o professor Hazard foram designados pela Universidade de Paris para ministrar os cursos do Instituto Franco Brasileiro de Alta Cultura, anexo à Universidade do Rio de Janeiro (O Paiz, 18 de junho de 1926, última coluna). As conferências de madame Curie foram realizadas na Escola Politécnica, dirigida Tobias Moscoso (? – 1928). Na época, o reitor da Universidade do Rio de Janeiro era o conde de Afonso Celso (1860 – 1938) (O Paiz, 17 de julho de 1926, sexta coluna). As conferências, que foram transmitidas pela Rádio Sociedade, aconteceram nos dias 20, 23, 27 e 30 de julho; e em 3, 6, 10, 12, 20, 24 e 27 de agosto de 1926.
+A Federação Brasileira pelo Progresso Feminino, que representava a intelectualidade brasileira feminina, organizou uma comissão para acompanhar Marie e Irène Curie durante a viagem ao Brasil. Dela faziam parte, dentre outras, a bióloga Bertha Lutz (1894 – 1976), a mecenas Laurinda Santos Lobo (1878 – 1946), Maria Bandeira (1902 – 1992), primeira botânica do Jardim Botânico do Rio de Janeiro; e a médica Carlota Pereira de Queiroz (1892 – 1982), que viria a ser a  única mulher eleita deputada à Assembléia Nacional Constituinte, na legenda da Chapa Única por São Paulo, em 1933.
+ 
+Correio da Manhã, 13 de julho de 1926
+ 
+O dia a dia das visitantes de 15 de julho a 28 de agosto de 1926
+ 
+Julho
+ 
+15/07  – Marie Curie e sua filha Irène Joliot-Curie chegaram ao Rio de Janeiro a bordo do navio Pincio (O Paiz, 16 de julho de 1926), e Marie foi anunciada como uma das mais ilustres individualidades do mundo científico internacional.
+17/07 - Mãe e filha visitaram a Escola Politécnica, onde fariam conferências e experimentos, em companhia de seu diretor, Tobias Moscoso (? – 1928), e dos professores Dulcídio Pereira e Mario de Brito (Correio da Manhã, 18 de julho de 1926, quarta coluna).
+18/07 -  Com o secretário da Embaixada da França, o barão de Maricourt, madame Curie foi recebida, no Palácio do Catete, por Artur Bernardes (1875 – 1955), presidente da República (O Paiz, 19 e 20 de julho, quarta coluna).
+20/07 - Madame Curie proferiu a conferência inaugural de seu curso sobre o elemento rádio na Escola Politécnica (Correio da Manhã, 21 de julho de 1926, quinta coluna e Correio da Manhã, 22 de julho de 1926, segunda coluna).
+23/07 – Realização da segunda conferência de madame Curie na Escola Politécnica (Correio da Manhã, 23 de julho de 1926, sexta coluna, e 24 de julho de 1926, segunda coluna).
+27/07 – Terceira conferência do curso que madame Curie na Escola Politécnica com a participação de sua filha, Irène (Correio da Manhã, 28 de julho de 1926, última coluna).
+À tarde, as Curie visitaram o Pão de Açúcar com a comissão organizada pela Federação Brasileira para o Progresso Feminino. O grupo foi recebido pelos diretores da Companhia Caminho Aéreo Pão de Açúcar, os senhores Miranda Jordão e Augusto Ramos. De lá assistiram ao por do sol e o acender das luzes da cidade (O Paiz, 28 de julho de 1926, quarta coluna).
+ 
+Revista da Semana, 21 de agosto de 1926
+ 
+Foi noticiado que Marie e Irène Curie já haviam visitado o Corcovado, a convite do deputado Lamartine (1874 – 1956), e a Jacarepaguá e à Tijuca, a convite de Adolpho Lutz (1855 – 1940) (Correio da Manhã, 27 de julho de 1926, quinta coluna).
+29/07 – As Curie visitaram o Senado Federal, que ficava no Palácio Monroe, onde foram recebidas por funcionários da casa. Os trabalhos do senado foram suspensos e os senadores foram encontrá-las no Salão Nobre, onde foram saudadas pelo vice-presidente da República, Estácio Coimbra (1872 – 1937), e pelo presidente do Senado Federal, Antônio Francisco de Azeredo (1861 – 1936). Mais uma vez, as cientistas estavam acompanhadas por membros da comissão organizada pela Federação Brasileira pelo Progresso Feminino (Correio da Manhã, 30 de julho de 1926, sétima coluna).
+Visitaram também o Museu Nacional, quando foi produzida a imagem destacada pela Brasiliana Fotográfica. Foram ciceroneadas por Hermilio Bourguy Macedo de Mendonça, diretor interino do museu; pelo naturalista do setor de Zoologia Edward May, pela feminista e bióloga Bertha Lutz (1894 – 1976), pelo naturalista Alipio de Miranda Ribeiro (1874 – 1939), pelo geólogo Alberto Betim Paes Leme (1883 – 1938) e pela antropóloga e futura diretora da instituição, Heloisa Alberto Torres (1895 – 1977) (O Paiz, 30 de julho, primeira coluna).
+Madame Curie esteve no gabinete do prefeito do Rio de Janeiro, Alaor Prata (1882 – 1964) (Correio da Manhã, 30 de julho de 1926, segunda coluna).
+30/07 – Realização da quarta conferência de Marie Curie na Escola Politécnica (Correio da Manhã, 31 de julho de 1926, primeira coluna).
+31/07 – O embaixador da França, Alexandre Conty, ofereceu uma recepção na embaixada para as Curie (O Paiz, 1º de agosto de 1926, segunda coluna).
+ 
+Agosto
+ 
+02/08 - As Curie foram ao Serviço Geológico e Mineralógico, onde foram recebidas pelo diretor da instituição, Euzébio de Oliveira que, ao final da visita, ofereceu à Marie Curie um estojo com 24 pedras preciosas, 4 exemplares de minerais radioativos e um cartão de ouro com uma dedicatória a ela (Correio da Manhã, 2 de agosto de 1926, sétima coluna e O Paiz, 5 de agosto de 1926, segunda coluna).
+No período em que esteve no Rio de Janeiro, madame Curie frequentou eventos sociais como a recepção oferecida pela Baronesa de Bonfim (1862-1953) e pela líder feminista Jerônima Mesquita (1880 – 1972). Entre os presentes, os ministros Félix Pacheco (1879 – 1935), Miguel Calmon (1879 – 1935) e Edmundo da Veiga (1869 – 1946), o prefeito do Rio de Janeiro, Alaor Prata (1882 – 1964), além de embaixadores, diplomatas, acadêmicos, enfim personalidades importantes de diversos setores da sociedade ( O Paiz, 7 de agosto de 1926, quarta coluna e Revista da Semana, 7 de agosto de 1927)
+03/08 – Realização da quinta conferência de Marie Curie na Escola Politécnica, com a participação de Irène Curie (Correio da Manhã, 4 de agosto de 1926, segunda coluna).
+05/08- A convite da Sociedade Interamericana de Mulheres, Marie e Irène foram a Petrópolis acompanhadas por Bertha Lutz, pela embaixatriz da França, pela sra. Paul Hazard e pelo arquiteto português Luiz Moraes Junior (1868 – 1955), dentre outros. Os carros foram fornecidos pelo Automóvel Clube do Brasil. Foram recebidas pelo prefeito da cidade, Francisco de Avelar Figueira de Melo (1883 – 1938), e o senador Joaquim Moreira (1853 – 1929) ofereceu um almoço ao grupo (O Paiz, 6 de agosto de 1926, quarta coluna).
+06/08 – Realização da sexta conferência de Marie Curie na Escola Politécnica, com a participação de Irène Curie (Correio da Manhã, 7 de agosto de 1926, quarta coluna).
+10/08 - Realização da sétima conferência de Marie Curie na Escola Politécnica, com a participação de Irène Curie (Correio da Manhã, 11 de agosto de 1926, terceira coluna).
+11/08 - Foi noticiado que madame Curie havia feito uma interessante excursão pela Estrada de Ferro Central do Brasil, tendo visitado as cidades de Vassouras, Barra do Piraí e Rodeio. Também foi noticiado que ela havia comparecido a uma reunião das senhoras da comissão de recepção organizada pela Federação Brasileira pelo Progresso Feminino, na casa da tesoureira da instituição, Stella de Carvalho Guerra Duval (1879 – 1971)(O Paiz, 11 de agosto de 1926, quarta coluna).
+Madame Curie foi ao Jardim Botânico e foi recebida por Antônio Pacheco Leão (1872 – 1931), diretor da instituição, e por Maria Bandeira (1902 – 1992), da seção de briófitos (O Paiz, 12 de agosto de 1926, terceira coluna).
+12/08 – Realização da oitava conferência de Marie Curie na Escola Politécnica (Correio da Manhã, 13 de agosto de 1926, segunda coluna).
+Marie Curie foi à Câmara dos Deputados, onde foi recebida por seu presidente, Arnolfo Azevedo (1868 – 1942)(O Paiz, 13 de agosto , quarta coluna).
+13/08  a 18/08 – A convite dos governos de São Paulo e Minas Gerais, feitos respectivamente pelo dr. Pedro Dias da Silva, diretor da Faculdade de Medicina de São Paulo, e pelo dr. Borges da Costa, diretor do Instituto de Rádio de Belo Horizonte, Madame Curie e sua filha visitaram os dois estados. Foram também convidadas Bertha Lutz e Carlota Pereira de Queiroz (O Paiz, 14 de agosto de 1926, última coluna, O Paiz, de 18 agosto de 1926, sexta coluna, e Correio da Manhã, 19 de agosto de 1926, terceira coluna).
+19/08 – Na Academia Nacional de Medicina, Marie Curie recebeu as insignias de membro da instituição pelas mãos de seu presidente, o médico Miguel Couto (1865 – 1934) (O Paiz, 20 de agosto de 1926, segunda coluna).
+ 
+Revista da Semana, 28 de agosto de 1926
+20/08 – Realização da nona conferência de Marie Curie na Escola Politécnica, com a participação de sua filha, Irène (Correio da Manhã, 21 de agosto de 1926, última coluna).
+24/08  – Realização da décima conferência de Marie Curie na Escola Politécnica, com a participação de sua filha, Irène (Correio da Manhã, 25 de agosto de 1926, penúltima coluna).
+Foi oferecida pelo encarregado de negócios do governo da Polônia, um almoço em homenagem a madame Curie, no palacete da legação no Rio de Janeiro (O Paiz, 25 de agosto de 1926, terceira coluna).
+Madame Curie foi homenageada numa sessão solene da Academia Brasileira de Ciências. Na ocasião foi aclamada membro correspondente da instituição (Correio da Manhã, 24 de agosto de 1926, sétima coluna, e O Paiz, de 29 de agosto de 1926, última coluna).
+25/08 – No Teatro Casino do Passeio Público a Federação Brasileira para o Progresso Feminino (FBPF) promoveu uma homenagem às Curie. Foram saudadas com um discurso proferido por uma de suas fundadoras e presidente, Bertha Lutz, que foi respondido por Marie Curie com palavras de agradecimento. Ela recebeu, então, o primeiro diploma de honra conferido pela FBPF: todo iluminado em ouro e tons de bronze, em pergaminho, pela ilustre pintora patrícia Silvie Meyer (1899 – 1955). No programa, poesia e teatro (O Paiz, 26 de agosto de 1926, quarta coluna).
+ 
+Revista da Semana, 4 de setembro de 1926
+ 
+26/08 – Marie e Irène foram ao Palácio do Catete para se despedirem do presidente da República, Artur Bernardes (O Paiz, 27 de agosto de 1926, quarta coluna).
+27/08 – Realização da décima-primeira e última conferência de Marie Curie na Escola Politécnica. Na ocasião, o reitor da Universidade do Rio de Janeiro, o conde de Afonso Celso, cumprimentou Marie e Irène Curie pelo brilhante curso realizado (Correio da Manhã, 28 de agosto de 1926, última coluna).
+28/08 –  Mãe e filha regressaram à França, no paquete Lutecia. Ao embarque da sra Curie, que esteve muito concorrido, compareceram as figuras mais representativas dos nossos círculos universitários, homens de ciências e de letras,  representantes da imprensa e elementos dos mais distintos de nossa alta sociedade. Do navio, Marie Curie enviou a Bertha Lutz uma mensagem de agradecimento para ser distribuída à imprensa (Jornal do Commercio, 29 de agosto de 1926, primeira coluna e O Paiz, de 29 de agosto de 1926, última coluna).
+ 
+
+ 
+Andrea C. T. Wanderley
+Editora-assistente e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+Canal Ciência – IBICT
+Hemeroteca Digital da Biblioteca Nacional
+Museu Nacional
+Revista Superinteressante
+SCHUMAHER, Schuma; BRAZIL, Erico Vital (organizadores). Dicionário mulheres do Brasil: de 1500 até a atualidade biográfico e ilustrado. Rio de Janeiro : Jorge Zahar Ed., 2000.
+Site da Unicamp
+Site do Prêmio Nobel
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/5026` — `itens/20.500.12156.1_5026/`
+
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+---
+id: 11896
+url: "https://brasilianafotografica.bn.gov.br/?p=11896"
+titulo: "Série “Exposições” IV – Marc Ferrez, a Comissão Geológica do Império (1875 – 1878) e a Exposição Antropológica Brasileira no Museu Nacional (1882)"
+autor: "Andrea Wanderley"
+data: "2018-06-29T12:45:17+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/1", "20.500.12156.1/379", "20.500.12156.1/383", "20.500.12156.1/378", "20.500.12156.1/2575"]
+fetched_at: "2026-09-10T09:55:37.758Z"
+---
+
+# Série “Exposições” IV – Marc Ferrez, a Comissão Geológica do Império (1875 – 1878) e a Exposição Antropológica Brasileira no Museu Nacional (1882)
+
+O fotógrafo Marc Ferrez (1843 – 1923), brilhante cronista visual das paisagens e dos costumes cariocas da segunda metade do século XIX e do início do século XX, produziu uma série de registros de objetos e aspectos da vida indígena durante a Exposição Antropológica Brasileira, inaugurada em 29 de julho de 1882, no Museu Nacional, no Rio de Janeiro. Além disso, algumas fotografias de sua autoria, realizadas quando ele integrou a Comissão Geológica do Império (1875 – 1878)*, chefiada pelo geólogo canadense Charles Frederick Hartt (1840 – 1878), foram expostas. A mostra durou três meses e teve muito sucesso, com um público de mais de mil visitantes. O diretor e o vice-diretor da Terceira Seção do Museu Nacional, dedicada às ciências físicas e mineralogia, geologia e paleontologia geral, eram o geólogo e geógrafo norte-americano Orville Adalbert Derby (1851 – 1915) e o engenheiro Francisco José de Freitas, respectivamente. Eles haviam sido companheiros de Ferrez na Comissão Geológica do Império.
+Acessando o link para as fotografias de objetos e aspectos da vida indígena de Marc Ferrez na Exposição Antropológica Brasileira de 1882 disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas. 
+ 
+A Exposição Antropológica Brasileira de 1882
+Marc Ferrez. Exposição Antropológica Brasileira : artefatos e aspectos da vida indígena, 1882. Rio de Janeiro, RJ / Acervo FBN
+ 
+A Exposição Antropológica Brasileira no Museu Nacional, um dos eventos científicos mais importantes do Brasil no século XIX, foi inaugurada em 29 de julho de 1882, dia em que a princesa Isabel (1846 – 1921) estava completando 36 anos. Feriado nacional, a data era comemorada em todo o império. No Rio de Janeiro, fogos de artifício e música de bandas militares festejavam o evento. Os mais proeminentes representantes da sociedade carioca estavam presentes à inauguração da mostra. Um pequeno grupo de índios Botocudos do Espírito Santo e de índios Xerente de Minas Gerais também estavam na grande abertura – eles haviam sido trazidos para o Rio de Janeiro e permaneceriam no museu durante o período da exibição. O imperador d. Pedro II (1825 – 1891) visitou a exposição no dia 31 de julho (Gazeta de Notícias, 30 de julho de 1882, última coluna e Gazeta de Notícias, 1º de agosto de 1882, quinta coluna). Foi encerrada em 29 de outubro de 1882 (Gazeta de Notícias, 28 de outubro de 1882, sétima coluna).
+Seu grande idealizador foi o botânico alagoano Ladislau de Souza e Mello Netto (1838 – 1894),  responsável pela reforma do Museu Nacional, proposta por ele em 1872 e efetivada em 1876. Algumas de suas iniciativas foram a criação de uma Seção de Geologia, de uma Seção de Antropologia, e do Laboratório de Fisiologia Experimental do museu. Dirigiu a instituição entre 1874 e 1893. Foi ele o orador do discurso de abertura da Exposição Antropológica:
+‘Este é o certame mais nacional que as ciências e as letras poderiam congratuladas imaginar e realizar no fito de soerguer o Império do Brasil ao nível de intelectualidade universal, na máxima altura a que pôde ela atingir além do Atlântico e nas extremas luminosas do continente americano. E coube ao Museu Nacional a imensa glória de havê-lo empreendido e efetuá-lo como esplendente e pujante fecho de seu último decênio de ininterruptos ainda que às vezes amargurados laboros…’ (Gazeta de Notícias, 30 de julho de 1882, primeira coluna).
+A exposição contava com 8 salas especialmente redecoradas para o evento. Seus nomes homenageavam personalidades importantes da história do Brasil: o cronista português Pedro Vaz de Caminha (1450 – 1500), o naturalista Alexandre Rodrigues Ferreira (1756 – 1815), também português; os missionários dos séculos XVI e XVII – o padre jesuíta espanhol José de Anchieta (1534 – 1597) e o pastor francês Jean de Léry (153? – 161?) – , o português Gabriel Soares (1540 – 1590), autor do “Tratado descritivo do Brasil” (1587); além dos cientistas contemporâneos – o alemão Carl Friedrich Philipp von Martius (1794 – 1868), o canadense Charles Frederick Hartt (1840 – 1878) e o dinamarquês Peter Wilhelm Lund (1801 – 1880).
+1 – A sala Vaz de Caminha, etnográfica, expunha arcos, flechas, lanças, remos, sararacas e ralos de diversas tribos indígenas do Brasil.
+2 – A sala Rodrigues Ferreira, etnográfica, expunha coleções compostas de instrumentos de guerra, de caça, de pesca e de música, constituídas não só por artefatos pertencentes ao Museu Nacional, mas também por muitos de propriedade particular, sendo a mais bela, e a maior parte deles do gabinete de S. M. o Imperador. Uma das fotografias de Ferrez disponível na Brasiliana Fotográfica foi produzida nessa sala.
+ 
+Marc Ferrez. Exposição Antropológica Brasileira: artefatos e aspectos da vida indígena, 1882. Rio de Janeiro, RJ / Acervo FBN
+ 
+3 – Sala Lery, arqueológica, continha boa parte de fragmentos de louça antiga do Amazonas exumadas por Ladislau Netto, Orville Adalbert Derby, Ferreira Penna e Rhome, e dos sambaquis do sul retirados pelo professor Hartt, engenheiro Freitas e dr. Galvão e outros exploradores.
+4 – Sala Hartt, arqueológica, foi ocupada por produtos cerâmicos antigos e encerrava as coleções organizadas por Ladislau Netto, Orville Adalbert Derby, engenheiro Gonçalves Tocantins e especialmente pelo correspondente do Museu Nacional Domingos Soares Ferreira Penna, além de alguns vasos exumados pelo dr. José Lustosa da Cunha Paranaguá, e de outros expostos pelos Museus Paraense e Paranaense e pelo Instituto Arqueológico Alagoano.
+5 – Sala Lund, antropológica, continha esqueletos e crânios de indígenas  Tembés e Turiuaras exumados por Ladislau Netto das margens do rio Capim, provincia do Pará ; três esqueletos expostos pelo dr. Duarte Paranhos Schutel ; grande número de crânios de diversas tribos de Botocudos; muitos ossos retirados dos sambaquis da província de Santa Catarina ; e fotografias de Botocudos tiradas pela Comissão Geológica* dirigida pelo professor Charles Frederick Hartt (1840 – 1878). As referidas fotografias estão no ítem 113 da listagem de objetos expostos nesta sala.
+6 – Sala Martius, antropológica e arqueológica, expunha esteiras, jamachis ou uaturá¡s, pacarás, panacarys, urupembas e alguns produtos cerâmicos modernos do Amazonas, do Rio Francisco (Alagoas) e do Paraná, e as coleções cerâmicas do Peru e da Guiana Holandesa, de propriedade estas de S.M. , o Imperador Pedro II.
+7 – Sala Gabriel Soares, antropológica e arqueológica, expunha produtos da arte plumária brasileira, adornos, tecidos e vestes de muitas tribos do Brasil, além das coleções arqueolíticas do Museu Nacional, de Amália Machado Cavalcanti de Albuquerque e dos senhores  Joaquim Monteiro Caminhoá (1836 – 1896), João Barbosa Rodrigues (1842 – 1909) e Tommaso G. Bezzi (1844 – 1915).
+8 – Sala Anchieta, etnográfica, expunha obras relativas à língua tupi ou guarani, quase todas pertencentes à Biblioteca Nacional, livros sobre etnografia americana; quadros a óleo representando tipos de diversas tribos brasileiras, fotografias, gravuras, cromolitografias, litografias, aquarelas pertencentes a S.M., o Imperador, ao Museu Nacional e à Biblioteca Nacional.
+Cerca de um ano após a realização da exposição, foi publicada a Revista da Exposição Antropológica de 1882, prefaciada por Ladislau Netto. Trazia notas biográficas de Ladislau Neto, de João Batista de Lacerda (1846 – 1915), de Charles Frederick Hartt (1840 – 1878) e diversos artigos e ilustrações sobre os indígenas brasileiros.
+Link para o Guia da Exposição Antropológica Brasileira realizada pelo Museu Nacional do Rio de Janeiro, produzido pela Tipografia de George Leuzinger & Filhos
+ 
+Marc Ferrez. Exposição Antropológica Brasileira : artefatos e aspectos da vida indígena, 1882. Rio de Janeiro, RJ / Acervo IMS
+ 
+Um pouco da história da Comissão Geológica do Império (1875 – 1878), de seu chefe, Charles Frederick Hartt (1840 – 1878) e da participação de Marc Ferrez (1843 – 1923) como fotógrafo da expedição
+Revista Illustrada, 30 de março de 1878
+ 
+Em 1874, Charles Frederick Hartt (1840 – 1878), realizou uma expedição científica ao Brasil, durante a qual convenceu as autoridades brasileiras da importância da elaboração de um mapa geológico do Império. Antes, Hartt havia vindo ao Brasil quatro vezes. Pela primeira vez, como membro da Expedição Thayer, entre 1865 e 1866, financiada pelo empresário e filantropo norte-americano Nathaniel Thayer, Jr. (1808-1883) e chefiada por seu ex-professor no Museu de Zoologia Comparada, em Harvard, o suíço Louis Agassiz (1807 – 1873), quando ocupou-se sobretudo em fazer um mapeamento geológico da área do Rio de Janeiro até o norte da Bahia. Em 1867, já estabelecido como conferencista no Instituto Cooper, em Nova York, voltou ao Brasil, de maneira independente, e durante três meses examinou a costa entre Pernambuco e Rio, explorando mais particularmente as vizinhanças da Bahia e as ilhas e recifes do coral dos Abrolhos. Em 1868, tornou-se professor de História Natural no Vassar College e também da Universidade de Cornell.  Em 1870 e em 1871, chefiou as Expedições Morgan ao Amazonas, financiadas pelo político norte-americano Edwin D. Morgan (1811- 1883) .
+Além de ter obtido sucesso em seu pleito junto ao Governo Imperial, Hartt conseguiu criar a Comissão Geológica do Império, pelo Aviso de 30 de abril de 1875. Como a comissão estaria ligada ao Ministério da Agricultura, o desenvolvimento das atividades agrícolas e mineradoras a partir do conhecimento que a geologia propiciaria foi um argumento decisivo para sua criação. Foi convidado para chefiá-la e foram nomeados como seus assistentes os geólogos Orville Adalbert Derby (1851 – 1915) e Richard Rathbun (1852-1918) – ambos da Universidade de Cornell -, que chegaram ao Brasil em fins de 1875; John Casper Branner (1850-1922), do Departamento de Botânica e Geologia da Universidade de Indiana; e os brasileiros Elias Fausto Pacheco Jordão (1849 – 1901), que havia se doutorado em 1874 em engenharia civil na Universidade de Cornell, e Francisco José de Freitas, assistente geral e tradutor. Integraram, também, o corpo técnico da comissão os geólogos Luther Wagoner, substituto de Pacheco Jordão, em 1876, que foi posteriormente substituído por Frank Carpenter; o naturalista Herbert Huntington Smith (1851-1919), e o fotógrafo Marc Ferrez (1843-1923). Segundo Gilberto Ferrez, foi durante as viagens que fez com a Comissão Geológica que Marc Ferrez contraiu uma doença no fígado, da qual nunca se curou.
+Segundo Sérgio Burgi, coordenador de Fotografia do Instituto Moreira Salles, já com pleno domínio de sua virtuosidade técnica, Ferrez realizou para a comissão um primoroso trabalho documental e paisagístico:
+‘…Seu domínio da luz, sua precisão na escolha do ponto de vista, sempre buscam ressaltar os aspectos mais formais e abstratos da cena sendo registrada. É igualmente importante ressaltar que em diversas imagens realizadas por Ferrez, sempre o elemento humano participa de maneira discreta porém marcante, conferindo escala aos cenários naturais e urbanos, e principalmente nos convidando a percorrer a imagem em todas as suas dimensões…Os trabalhos realizados em Paulo Affonso, Pernambuco, Recôncavo Baiano, Abrolhos e sul da Bahia representam um grande esforço documental e registram, além dos aspectos mais claramente geológicos, paisagens naturais e vistas urbanas de grandes cidades e pequenas povoações daquelas regiões, além de elementos antropológicos e etnográficos, como a série dos índios botocudo… Essas imagens também foram utilizadas para ilustrar  a conferência do professor Charles Frederick Hartt durante a IV Exposição Nacional, no Rio de Janeiro… Da mesma maneira, diversas imagens fizeram parte da Exposição Universal da Filadélfia, EUA, em 1876, que contou com a presença de D. Pedro II…’
+A Comissão, criada em abril de 1875, iniciou seus trabalhos ativos em 10 de junho de 1875 e percorreu os atuais estados de Alagoas, Bahia, Fernando de Noronha, Paraná, Pernambuco, Rio Grande do Norte, São Paulo, Santa Catarina, Sergipe, e parte da região amazônica nessa importante missão científica realizada no Brasil sob os auspícios do governo imperial, que gerou a primeira grande representação fotográfica de diversas regiões do território brasileiro (Illustração Brasileira, 1º de agosto de 1876). O governo decretou o fim da Comissão em 1º de julho de 1877 (Diário do Rio de Janeiro, 7 de julho de 1877, quarta coluna). Segundo Rathbun, o fato aconteceu devido a motivos econômicos e a discordâncias em torno do volume e do valor do trabalho realizado até ali pela comissão. Porém Hartt conseguiu seis meses de prorrogação nos trabalhos. No início de janeiro de 1878, com a formação do novo gabinete liberal, sob o comando do primeiro-ministro João Lins Vieira de Cansanção, o visconde de Sininbu (1810 – 1906), que também era ministro da Agricultura, sua extinção foi efetivada. Segundo Hartt, em junho de 1877,  as coleções zoológicas, geológicas e etnográficas feitas pela Comissão Geológica possuíam cerca de 500 mil espécimes.
+Hartt foi contratado como naturalista-viajante do Museu Nacional do Rio de Janeiro, por volta de 1874. Em 1876, assumiu a Seção de Geologia, criada pela reforma do botânico Lasdilau de Souza Mello Netto (1838 – 1894), e reorganizou as coleções e preparou a mostra mineralógica brasileira apresentada na Exposição Universal de Filadélfia de 1876. Faleceu em 18 de março de 1878, um domingo, no Rio de Janeiro, de febre amarela, em sua casa no número 44 da rua da Princesa, atual Correia Dutra, no Flamengo (O Vulgarizador, 15 de maio de 1878) . Os professores e demais funcionários do Museu Nacional deliberaram tomar luto por oito dias (Gazeta de Notícias, 19 de março de 1878, segunda e penúltima coluna, Jornal do Commercio, 19 de março de 1878, quarta coluna; Revista Illustrada, 30 de março de 1878; e O Vulgarizador, 15 de maio de 1878). Morreu sem sua família porque  sua mulher, Lucy Lynde Hartt, com quem havia se casado em 1869, havia voltado com os dois filhos do casal, Mary and Rollin, para Buffalo, nos Estados Unidos, em dezembro de 1876  – não suportou os períodos de solidão, os mosquitos, as doenças e os desconfortos do Rio de Janeiro. Quando partiu do Brasil, as doenças e os desconfortos do Rio de Janeiro. Quando partiu do Brasil, ela estava grávida de gêmeos mas a gravidez não se completou. Hartt foi enterrado no cemitério de São Francisco Xavier mas, a pedido de sua esposa, seu corpo foi transladado para os Estados Unidos, em 1883.
+Suas coleções foram colocadas sob a guarda do Museu Nacional do Rio de Janeiro, única instituição da época capaz de receber intelectual e fisicamente todo o trabalho da Comissão Geológica.
+ 
+Charles Frederick Hartt (1840 – 1878) / Wikipedia Commons
+ 
+Pequena cronologia da participação de Marc Ferrez nos trabalhos da Comissão Geológica do Império
+1875 – Ferrez começou a trabalhar como fotógrafo da Comissão Geológica do Império, chefiada pelo norte-americano Charles Frederick Hartt (1840 – 1878), que se tornaria diretor da Seção de Geologia do Museu Nacional em 1876. Percorreu os atuais estados de Alagoas, Bahia, Pernambuco e parte da região amazônica numa importante missão científica realizada no Brasil sob os auspícios do governo imperial, que gerou a primeira grande representação fotográfica de diversas regiões do território brasileiro.
+Marc Ferrez e outros membros da Comissão Geológica do Império embarcaram no paquete Parácom destino a Pernambuco (Jornal do Commercio, 10 de julho de 1875, na segunda coluna). Ele, Elias Fausto Pacheco Jordão, Francisco José de Freitas e Charles Frederick Hartt, todos membros da Comissão, agradeceram, publicamente, ao “digno comissário” J. Feliciano Gomes, que os recebeu no navio (Jornal do Recife, 26 de julho de 1875, na quarta coluna).
+Acessando o link para as fotografias de Marc Ferrez disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+Foi publicado o relatório preliminar dos trabalhos da Comissão Geológica na província de Pernambuco, de autoria de Hartt. Ferrez foi mencionado (Diário de Pernambuco, 25 de novembro de 1875, na primeira coluna).
+Na residência do inspetor do arsenal de Marinha, em Recife, o chefe da Comissão Geológica do Império, Charles Frederick Hartt, fez uma conferência sobre os arrecifes e outros aspectos de Pernambuco como o cabo de Santo Agostinho, praias, o rio São Francisco e a cachoeira de Paulo Afonso, ilustrados com fotografias de Marc Ferrez (Diário do Rio de Janeiro, 2 de dezembro de 1875, nas quinta e sexta coluna, sob o título “Norte do Império”).
+Ferrez  apresentou na Exposição de Obras Públicas, evento paralelo à IV Exposição Nacional, dois álbuns com imagens dos recifes de Pernambuco, do baixo São Francisco e da cachoeira de Paulo Afonso, além de registros de corais e madrepérolas. As imagens produzidas durante a viagem da Comissão Geológica foram projetadas por Ferrez durante uma conferência do professor Hartt (O Globo, 4 de janeiro de 1876, na penúltima coluna).
+1876 -  Apresentou na Exposição Universal da Filadélfia, aberta em 10 de maio, panoramas do Rio de Janeiro e fotografias realizadas para a Comissão Geográfica do Império, que foram premiadas. O New York Commercial Advertiser, de 29 de maio de 1876, publicou um artigo que informava que “riquíssimas fotografias da exploração geológica a cargo do professor Hartt” haviam sido apresentadas pelo Brasil na exposição. Uma curiosidade: a comissão de organização da Exposição da Filadéfia modificou as regras da premiação: os ganhadores receberiam um diploma, uma medalha de bronze e uma cópia certificada do parecer do júri, rompendo com o padrão de premiação hierárquica.
+Foi publicada uma fotografia de autoria de Ferrez da cachoeira de Paulo Afonso na Revista Ilustração Brasileira, 1ºde agosto de 1876, acompanhada por um texto de Charles Frederick Hartt (1840 – 1878), chefe da Comissão Geológica do Império. Na mesma edição, publicação de matéria sobre a Comissão Geológica do Império.
+Ferrez havia chegado do sul da Bahia com o geólogo Richard Rathbum, também ajudante da Comissão Geológica, com diversas fotografias dos índios botocudo, dentre outras(Revista Ilustração Brasileira, 1º de novembro de 1876, na última coluna). Botocudo foi um termo genérico utilizado pelos colonizadores portugueses para denominar diversos grupos indígenas integrantes do tronco macro-jê (grupo não tupi), caracterizados pelo uso de botoques labiais e auriculares, habitantes originais do sul da Bahia e região do vale do rio Doce, incluindo o norte do Espírito Santo e Minas Gerais. A série de fotografias de indígenas tirada por Marc Ferrez na Bahia, durante uma segunda etapa de viagens realizadas por ele para a Comissão Geológica do Império do Brasil, no final de 1876, compõe um conjunto de  registros fotográficos pioneiros e raros dessas tribos, que se mantiveram isoladas e resistentes ao contato com os brancos, sendo violentamente perseguidas e praticamente  dizimadas nas primeiras décadas do século xx.
+1878 – No Almanak Laemmert de 1878, Ferrez foi identificado como fotógrafo da Marinha Imperial e da Comissão Geológica. Seu estabelecimento ficava na rua São José, 88 com depósito na rua do Ouvidor, 55.
+Foi noticiada a morte de Charles Frederick Hartt, que havia sido o chefe da Comissão Geológica do Império. Ferrez foi mencionado (A Boa Nova, 24 de abril de 1878, na terceira coluna).
+1879 -  Em inglês, foram publicados anúncios das fotografias de Ferrez no jornal Rio News de 5 de agosto, de 15 de setembro, 15 de outubro, 5 de novembro, mencionando que ele havia recebido uma medalha na Exposição da Filadélfia e que havia sido fotógrafo da Comissão Geológica do Império. Os anúncios seguiram sendo publicados em 1880 e 1881.
+ 
+Marc Ferrez. Marc Ferrez aos 33 anos, c. 1876. Rio de Janeiro, RJ / Acervo IMS
+ 
+ 
+Publicações da Brasiliana Fotográfica em torno da obra do fotógrafo Marc Ferrez 
+ 
+Marc Ferrez aos 33 anos, c. 1876. Rio de Janeiro, RJ / Acervo IMS
+O Rio de Janeiro de Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 30 de junho de 2015
+Obras para o abastecimento no Rio de Janeiro por Marc Ferrez , de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 25 de janeiro de 2016
+O brilhante cronista visual Marc Ferrez (7/12/1843 – 12/01/1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 7 de dezembro de 2016
+Do natural ao construído: O Rio de Janeiro na fotografia de Marc Ferrez, de autoria de Sérgio Burgi, um dos curadores da Brasiliana Fotográfica, publicada em 19 de dezembro de 2016
+No primeiro dia da primavera, as cores de Marc Ferrez (1843 – 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 22 de setembro de 2017
+Série “O Rio de Janeiro desaparecido” V – O quiosque Chopp Berrante no Passeio Público, Ferrez, Malta e Charles Dunlop, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 20 de julho de 2018
+Uma homenagem aos 175 anos de Marc Ferrez (7 de dezembro de 1843 – 12 de janeiro de 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 7 de dezembro de 2018 
+Pereira Passos e Marc Ferrez: engenharia e fotografia para o desenvolvimento das ferrovias, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 5 de abril de 2019
+Fotografia e ciência: eclipse solar, Marc Ferrez e Albert Einstein, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 24 de junho de 2019
+Os 180 anos da invenção do daguerreótipo – Os álbuns da Comissão Geológica do Império com fotografias de Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 19 de agosto de 2019
+Celebrando o fotógrafo Marc Ferrez (1843 – 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 4 de dezembro de 2019
+Uma homenagem da Casa Granado ao imperial sob as lentes de Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 7 de fevereiro de 2020
+Ressaca no Rio de Janeiro invade o porão da casa do fotógrafo Marc Ferrez, em 1913, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado 6 de março de 2020
+Petrópolis, a Cidade Imperial, pelos fotógrafos Marc Ferrez e Revert Henrique Klumb, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 16 de março de 2020
+Bambus, por Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 5 de junho de 2020
+O Baile da Ilha Fiscal: registro raro realizado por Marc Ferrez e retrato de Aurélio de Figueiredo diante de sua obra, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 9 de novembro de 2020
+O Palácio de Cristal fotografado por Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 2 de fevereiro de 2021
+A Estrada de Ferro do Paraná, de Paranaguá a Curitiba, pelos fotógrafos Arthur Wischral (1894 – 1982) e Marc Ferrez (1843 – 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 22 de março de 2021
+Dia dos Pais – Julio e Luciano, os filhos do fotógrafo Marc Ferrez, e outras famílias, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 6 de agosto de 2021
+No Dia da Árvore, mangueiras fotografadas por Ferrez e Leuzinger, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 21 de setembro de 2021
+Retratos de Pauline Caroline Lefebvre, sogra do fotógrafo Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 28 de abril de 2022
+A Serra dos Órgãos: uma foto aérea e imagens realizadas pelos mestres Ferrez, Leuzinger e Klumb, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 30 de junho de 2022
+O centenário da morte do fotógrafo Marc Ferrez (1843 – 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 12 de janeiro de 2023
+O Observatório Nacional pelas lentes de Marc Ferrez, amigo de vários cientistas, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 29 de maio de 2023
+No Dia Mundial do Meio Ambiente, a potente imagem da Cachoeira de Paulo Afonso, por Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 5 de junho de 2023
+A Fonte Adriano Ramos Pinto por Guilherme Santos e Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 18 de julho de 2023
+Os 180 anos de nascimento do fotógrafo Marc Ferrez (1843 – 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 7 de dezembro de 2023
+ 
+ 
+Andrea C. T. Wanderley
+Editora-assistente e pesquisadora do portal Brasiliana Fotográfica
+ 
+Nota da editora: esse artigo passou a integrar uma série e mudou de título em 1º de dezembro de 2025.
+ 
+Fontes:
+ANDERMANN, Jens. Espetáculos da diferença: a Exposição Antropológica Brasileira de 1882. Topoi. Revista de História Volume 5, Número 9 | Julho – Dezembro 2004.
+Charles F. Hartt e a Comissão Geológica do Império (Youtube)
+Dicionário Histórico-Biográfico das Ciências da Saúde no Brasil (1832-1930) Casa de Oswaldo Cruz/Fiocruz
+Dictionary of Canadian Biography
+FREITAS, Marcus Vinícius. Hartt: expedições pelo Brasil Imperial 1870 – 1878, 2001. São Paulo: Metalivros
+Guia da Exposição Antropológica Brasileira realizada pelo Museu Nacional do Rio de Janeiro, produzido pela Tipografia de George Leuzinger & Filhos
+Hemeroteca Digital da Biblioteca Nacional
+SANJAD, Nelson. Charles Frederick Hartt e a institucionalização das ciências naturais no Brasil, maio/agosto de 2004. Rio de Janeiro: História, Ciências, Saúde-Manguinhos, volume 11, nº2
+Site da BBC
+Site do Museu Nacional
+ 
+Links para os artigos sobre exposições nacionais ou internacionais publicados na Brasiliana Fotográfica
+O pintor Victor Meirelles e a fotografia na II Exposição Nacional de 1866, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 17 de agosto de 2017.
+A festa do progresso: o Brasil na Exposição Continental, Buenos Aires, 1882, de autoria de Maria do Carmo Rainho, Arquivo Nacional, publicado em 29 de março de 2018.
+Série “O Rio de Janeiro desaparecido” II – A Exposição Nacional de 1908 na Coleção Família Passos, de autoria de Carla Costa, Museu da República, publicado em 5 de abril de 2018.
+Paris, 1889: o álbum da exposição universal, de autoria de Claudia B. Heynemann, Arquivo Nacional,publicado em 27 de julho de 2018.
+Café Brasil: o Império na Exposição Internacional de Filadélfia, de autoria de Claudia B. Heynemann, Arquivo Nacional, publicada em 4 de dezembro de 2019.
+Festa das Artes e da Indústria Segunda Exposição Nacional, 1866, de autoria de Claudia Beatriz Heynemann e Maria Elizabeth Brêa Monteiro, Arquivo Nacional, em 5 de abril de 2020.
+A apresentação do Departamento Nacional de Saúde Pública na Exposição Internacional do Centenário da Independência, de Ricardo Augusto dos Santos, Fiocruz, publicado em 13 de abril de 2020.
+A Exposição Internacional de Higiene de Dresden, de Cristiane d´Avila, Fiocruz, publicado em 5 de janeiro de 2022.
+Série 1922 – Hoje, há 100 anos VIII – A abertura da Exposição Internacional do Centenário da Independência do Brasil e o centenário da primeira grande transmissão pública de rádio no país, de autoria de Andrea C. T. Wanderley, publicado em 7 de setembro de 2022, na Brasiliana Fotográfica.
+Três álbuns fotográficos da Exposição Nacional de 1908 no Museu Histórico Nacional: Boscagli, Malta e Musso, de autoria de Maria Isabel Ribeiro Lenzi, historiadora do Museu Histórico Nacional, publicado em 25 de agosto de 2023, na Brasiliana Fotográfica.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/1` — `itens/20.500.12156.1_1/`
+- `20.500.12156.1/379` — `itens/20.500.12156.1_379/`
+- `20.500.12156.1/383` — `itens/20.500.12156.1_383/`
+- `20.500.12156.1/378` — `itens/20.500.12156.1_378/`
+- `20.500.12156.1/2575` — `itens/20.500.12156.1_2575/`
+
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@@ -0,0 +1,115 @@
+---
+id: 11970
+url: "https://brasilianafotografica.bn.gov.br/?p=11970"
+titulo: "O uso da fotografia na defesa do Serviço de Proteção aos Índios no início da década de 30"
+autor: "Andrea Wanderley"
+data: "2018-04-26T12:01:31+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/5566", "20.500.12156.1/4884", "20.500.12156.1/5547", "20.500.12156.1/5537", "20.500.12156.1/5539", "20.500.12156.1/5570", "20.500.12156.1/5563", "20.500.12156.1/5551", "20.500.12156.1/496"]
+fetched_at: "2026-09-10T09:55:41.390Z"
+---
+
+# O uso da fotografia na defesa do Serviço de Proteção aos Índios no início da década de 30
+
+No artigo O Serviço de Proteção aos Índios e o Tribunal Especial na Amazônia, a antropóloga Maria Elizabeth Brêa Monteiro, pesquisadora do Arquivo Nacional, uma das instituições parceiras da Brasiliana Fotográfica, analisa a história do uso da fotografia como documento de comprovação das atividades e dos atos administrativos do Serviço de Proteção aos Índios – SPI. A autora aborda, especialmente, o momento em que foi instituída uma comissão de inquérito, criada no âmbito de atuação do Tribunal Especial, em 1931, no Amazonas, cujo um dos objetivos foi obstar a atuação do SPI, criado em 1910, por Cândido Mariano da Silva Rondon, afastado por Getulio Vargas de sua direção por não ter participado da Revolução de 30.
+ 
+O Serviço de Proteção aos Índios e o Tribunal Especial na Amazônia
+Maria Elizabeth Brêa Monteiro*
+ 
+A criação do Serviço de Proteção aos Índios – SPI,[1] pelo Decreto nº 8.072 de 20 de junho de 1910, pode ser entendida como uma vitória dos setores republicanos de inspiração positivista, liderada por Cândido Mariano da Silva Rondon (1865 – 1958), os quais queriam ver reconhecida a participação dos povos indígenas na formação da nação brasileira, bem como trabalhar para que esses povos fossem respeitados por méritos próprios.[2]
+As bases administrativas do SPI foram estabelecidas por seu primeiro diretor, Rondon, e outros militares engajados no trabalho junto aos índios como Antonio Martins Estigarribia (? – 19?) e Alípio Bandeira (1873 – 1939). Rondon ficou à frente do órgão indigenista até 1930, quando foi afastado pela Revolução Liberal comandada por Getulio Vargas (1882 – 1954). A partir daí, o SPI sofreu um lento processo de descaracterização burocrática, sendo sucessivamente transferido aos ministérios do Trabalho e da Guerra[3], enfrentando dificuldades financeiras e pressões políticas. Darcy Ribeiro (1922 – 1997), em seu livro A Política Indigenista Brasileira, traça o impacto da Revolução de 1930 no Serviço de Proteção aos Índios:
+“A sobrevivência do SPI e o seu poder dependeram sempre do prestígio pessoal do Marechal Rondon. Assim, em 1930, não tendo Rondon participado da revolução que convulsionou o país, movido pelas convicções positivistas que o impediam de deixar-se aliciar em intentonas – o SPI caiu em desgraça e quase foi levado à extinção. Entretanto, naquele ano, havia alcançado o ponto mais alto de sua história. Havia pacificado dezenas de tribos, abrindo vastos sertões à ocupação pacífica; instalara e mantinha em funcionamento 97 postos de amparo ao índio, distribuídos por todo o país e que eram em regiões inteiras, os únicos núcleos de civilização onde qualquer sertanejo poderia encontrar amparo e ajuda.”[4]
+ 
+Anônimo. Posto no rio Aripuanã, chefes guerreiros da tribo Itogapuk, 1922. Amazônia / Acervo Arquivo Nacional
+ 
+No Amazonas, a crise do SPI foi assentada por uma Comissão de Inquérito instituída em 21 de janeiro de 1931 pelo interventor federal daquele Estado, Álvaro Maia (1893 – 1969), no âmbito de atuação do Tribunal Especial [5], primeiro órgão de justiça instaurado pela revolução com a finalidade de apurar e julgar fatos políticos e administrativos “que comprometessem a obra de reconstrução revolucionária”. Além de obstar a atuação do SPI na região, a comissão, composta por Manoel Dias Barros (presidente), Cesario C. da Silva, Demétrio Hermes Araujo e José Frota de Menezes Costa, tinha como alvo os servidores do órgão indigenista e, em especial, o inspetor Bento Martins Pereira de Lemos, chefe da Inspetoria do Amazonas e Acre (1ª Inspetoria Regional/I.R. 1) no período de 1916 a 1932.[6]
+Acessando o link para as fotografias do Tribunal Especial na Amazônia que pertencem ao Arquivo Nacional e estão disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+A defesa dos índios diante da servidão a que eram submetidos nos barracões do alto Solimões, da invasão das terras reservadas, do uso como mão de obra nos campos de criação de gado, da escravização por seringalistas e comerciantes colombianos no alto rio Negro rendeu a Bento Pereira de Lemos perseguições e ameaças de morte, favorecidas em grande medida pela omissão de políticos e autoridades policiais. Ações criminosas – apresamento de mulheres e filhas, espancamentos, estupros e agressões, esbulho de posses indígenas, tráfico de crianças etc. – aconteciam, principalmente, em regiões inacessíveis e desprovidas de postos indígenas e de agentes do SPI que atuavam para libertar índios do poder de comerciantes locais -seringalistas, balateiros, castanheiros.
+Segundo Darcy Ribeiro (1962: 36), “o SPI se revelara muito mais incômodo do que se imaginara, quando de sua criação. Pusera realmente em prática o seu programa opondo-se deste modo a centenas de potentados locais, cujos negócios se baseavam na exploração da mão-de-obra indígena, e cujos projetos de riqueza se assentavam em perspectivas de usurpação de terras de índios.”
+Cabe registrar que as terras a serem demarcadas como indígenas eram consideradas devolutas e, desde a Constituição de 1891, pertenciam aos Estados, não ao governo federal. Para esse período, vale mencionar a Lei nº 941 de 16.10.1917 concedendo posse imemorial às terras ocupadas por “índios selvagens ou semi-civilizados”, mais tarde revogada pela Lei nº 1.144 de 20.04.1922. Ainda na década de 1920, o governador do Estado do Amazonas, César do Rego Monteiro (1863 – 1933), diante da crise econômica e financeira da região, iniciou um processo de concessão de terras a imigrantes e empresários estrangeiros. A presença do SPI como representante do governo federal na expansão do controle governamental sobre territórios e populações indígenas começou a incomodar a elite de seringalistas e comerciantes acostumados a deter o mandonismo local sobre a população regional. As condições políticas para demarcação de terras para os índios, como se verifica, eram extremamente adversas não só porque os governadores não queriam abrir mão de terras negociáveis para doar aos índios, mas as populações locais também não o queriam. À medida que o preço da castanha se elevava, por exemplo, prepostos de políticos e altos funcionários estaduais avançavam sobre os castanhais nativos, cujas terras eram requeridas ou invadidas, gerando ameaças, conflitos, expulsões e maus tratos de índios. Acresce-se ainda que com a Revolução de 1930 e o afastamento de Rondon da direção do SPI, as demarcações de terras indígenas sofriam grande interferência das forças políticas locais.
+“A mediação da inspetoria junto à justiça e aos poderes estaduais nem sempre salvaguardou os índios, pois havia omissão, conivência e jogos de interesse voltados para as terras e o trabalho indígena.”[7]
+Desde a instalação no Acre e no Amazonas da 1ª Inspetoria Regional, IR1, o SPI conseguiu criar um número variável de unidades de assistência aos índios, chamados postos indígenas. Em 1913 eram 6, em 1914 eram 10 e em 1915 eram 7, sem qualquer garantia de posse de terras indígenas. Quando Bento Pereira de Lemos assumiu interinamente a IR1 em 1916, eram apenas 3 – P.I. Jauaperi, PI Abacaxis e Fazenda São Marcos.[8] Durante sua gestão, realizou recenseamentos, delineou medidas para a obtenção de terras para os índios, empreendeu esforços para a fundação de novos postos indígenas e organizou equipes de atração/pacificação.[9] Cada posto era provido de uma infraestrutura básica, um sistema de produção econômica com equipamentos e ferramentas e, quando possível, uma escola de alfabetização.
+ 
+Anônimo. Índios Uaimiri, no estado em que foram encontrados no rio Jauaperi, 1912. Amazônia / Acervo Arquivo Nacional
+ 
+O processo destinado a investigar denúncias contra as atividades desenvolvidas pela I.R. 1 e “pesquisar o que de normal ou de anormal se passava naquela Repartição” – [10], é composto por cinco volumes que versam sobre exame do estudo da escrituração da inspetoria, questionando os dados contidos no registro geral de índios, faturas de itens adquiridos, dotações orçamentárias, contratos de cessão de terras e outras denúncias visando a responsabilizar o inspetor Bento Pereira de Lemos por irregularidades administrativas e por fomentar conflitos. Para fundamentar a acusação que rendeu ao inspetor um breve afastamento do SPI, a comissão elaborou um questionário com 11 quesitos a serem respondidos por repartições públicas das esferas federal, estadual e municipal, particulares e casas comerciais. O ponto central das perguntas residia na concessão de terras e na existência ou não de “índios verdadeiros” na região.
+“O que a esta Comissão e a quem ler, patenteia o exame da correspondência de alguns Delegados e encarregados de Postos e Aldeamentos, as denúncias, queixas, reclamações e inquéritos presentes à mesma, observados com toda atenção em suas minúcias é que nessas dependências da Inspetoria de Índios, não existem silvícolas, unicamente em alguns lugares, encontram-se poucos descendentes de velhos e extintos aborígenes, que apesar dessa condição, repudiam a classificação que lhes atribui aquele Departamento da administração Federal neste Estado.”[11]
+Uma série de depoimentos e denúncias foi arrolada pela Comissão a exemplo do ofício do prefeito de Borba, Sergio R. Pessoa Filho, reclamando da atuação da Inspetoria de Índios do Amazonas de “desrespeito à propriedade particular, sem a menor atenção às leis do Estado e ao princípio constitucional que lhe assegura o domínio das terras devolutas”[12], ou do abaixo-assinado de moradores do distrito de Abacaxis, município de Borba contra o encarregado do SPI, Raimundo da Costa Leite [13], ou da denúncia de Edgard Penha, comerciante de castanha, contestando a presença de índios na região do Jauaperi e exigindo o afastamento de Bento Pereira de Lemos.
+“Causa admiração ver-se que os rios Canumã, Abacaxis e Marimari, que nos áureos tempos da borracha eram prósperas zonas, concorrendo com grande coeficiente de rendas para o estado, se vejam hoje reduzidos à simples condição de malocas de índios.”[14]
+Como sua argumentação, o inspetor elaborou as razões de defesa apresentadas à Junta de Sanções Federal sob o título “Alegações de defesa apresentadas por Bento Pereira de Lemos”. Trata-se de um documento datado de 3 de junho de 1931, contendo 131 documentos anexos. Acompanha as alegações de defesa um volume com 294 fotografias do período de 1913 a 1930.[15] Essas fotografias foram selecionadas de relatórios anuais durante sua gestão e de inspetores que o precederam expondo as iniciativas de assistência, atividades econômicas, paisagens. Algumas dessas imagens aqui apresentadas são de autoria do auxiliar de fotógrafo do SPI, Anástacio Queiroz que percorreu, de 1928 a 1930, diversas áreas indígenas sob a jurisdição da I.R.1.[16]
+ 
+Anastacio Queiroz. Posto no rio Seruiní – Tuxaua Soares, da tribo Apurinã e sua família, 1929. Amazônia / Acervo Arquivo Nacional
+ 
+Os organismos voltados à ação junto aos índios, desde a Comissão Rondon com o oficial engenheiro Luiz Thomaz Reis (1878 – 1940), passando pelo período inicial do Serviço de Proteção aos Índios até os anos 1930 e, mais tarde, durante a fase da Seção de Estudos do SPI, criada na década de 1940 pelos fotógrafos Harald Schultz (1909 – 1966) e Heinz Forthmann (1915 – 1978), promoveram um sistemático registro fotográfico. Esse significativo acervo de imagens se caracteriza, principalmente, por retratar diferentes situações: paisagens e vistas do posto, índios e suas famílias em frente às suas habitações, atividades produtivas tradicionais – como fabricação de farinha e tecelagem -, construções e benfeitorias – sede do posto, escola, curral, casa de farinha -, crianças na escola, cerimônias festivas e atividades administrativas como recenseamento e registro civil.
+ 
+Anônimo. Posto indígena Marienê, no rio Seruiní – aspecto parcial da seção de farinha, vendo-se em destaque, acionada por uma junta de bois, a bolandeira construída no posto, a qual fornece energia às máquinas. No interior um grupo de índias Ipurinã descascando mandioca, 1922. Amazônia / Acervo Arquivo Nacional
+ 
+Bento Pereira de Lemos, como outros indigenistas no lastro da Comissão Rondon, tinha consciência do peso da linguagem fotográfica como uma construção, sendo a fotografia instrumento de divulgação de um ideário e de realizações. A apresentação de um volume de fotografias, anexo às suas alegações de defesa, explicita a finalidade do uso dessas imagens: um elemento de comprovação das atividades e dos atos administrativos de sua inspetoria face às acusações engendradas ao longo do inquérito:
+“As inúmeras fotografias, que adiante ofereço – estereotipia flagrante, que reproduz a materialidade dos fatos, expressa na sua nudez e exata nos aspectos que reflete – testificam, de seu lado, os serviços materiais realizados pela Inspetoria, em favor dos índios, desde a sua instalação até os nossos dias.
+A palavra pode falsear a verdade. Mas a fotografia só reproduz o que diante da objetiva se lhe apresenta.”[17]
+A ênfase na produção de imagens/documentos explica-se pela presunção da objetividade e neutralidade da câmara fotográfica e pelo caráter de prova da fotografia, princípios tão caros ao pensamento positivista. Defensores dessa técnica em todas as suas manifestações e aplicações propunham para a “imagem mecânica um estatuto de fidelidade e exatidão na reprodução da realidade capaz de criar um registro objetivo e comprobatório das suas realizações”.[18] – A objetividade da fotografia confere-lhe um poder de credibilidade tornando-o presente no tempo e no espaço. A fotografia funcionava, pois, como um documento de comprovação, a servir de atestado à execução e ao término dos trabalhos e apresentação dos relatórios finais, como um atesto das atividades em campo e dos atos burocráticos inerentes à administração pública.
+ 
+Anastacio Queiroz. Rio Cunhuá, o auxiliar José Santana Barros, fazendo o recenseamento da crianças da tribo Mamori, 1930. Amazônia / Acervo Arquivo Nacional
+ 
+Cabe ainda mencionar um certo alinhamento dos registros fotográficos entre as imagens realizadas durante a Comissão Rondon – [19] – e aquelas efetuadas por fotógrafos do SPI, alguns deles oriundos da experiência de instalação de linhas telegráficas. Exemplo de uma prática já utilizada pela Comissão Rondon e também por diferentes inspetores consiste no registro do uso da música e do gramofone como forma de aproximação.[20]
+ 
+Anônimo. Posto Antonio Paulo, crianças Parintintin ouvindo gramofone, 1926. Amazônia / Acervo Arquivo Nacional
+ 
+O ato de fazer a fotografia já revela, em si, que aquele momento merece um registro; a utilização de elementos simbólicos, como a bandeira brasileira, representando a pátria e a República, vem acentuar esse caráter solene do momento gravado na fotografia. Cabe lembrar que a pátria desempenha um papel importante na ideologia positivista, de mediação, necessário para o desenvolvimento do “instinto social”. Para o “convencimento” dessa “missão” impunha-se o uso de símbolos na qual a imagem do índio fronteiriço ao lado da bandeira nacional marca a existência de um índio brasileiro, e não somente índio.[21]
+ 
+Anastacio Queiroz. Posto do Capivara, no rio Autaz-assu – hasteamento da bandeira no dia 15 de novembro, 1930. Amazônia / Acervo Arquivo Nacional
+ 
+Nas palavras de Carlos Augusto da Rocha Freire, o relatório final da Comissão de Inquérito “é um dos raros documentos históricos em que é manifestada pelos depoentes, de forma sistemática, oposição à política indigenista implementada na Amazônia pelo SPI”.[22]
+É, pois, através de uma continuada política hostil aos povos indígenas de negação de sua existência e direitos, de opressão e de apropriação de suas terras, que deve ser entendida a instauração da Comissão de Inquérito na I.R.1. Esse cenário, apesar de distante no tempo, ainda atinge muitos indígenas deste país. Na década de 1960, Darcy Ribeiro observava:
+“… cada movimento revolucionário ocorrido no Brasil, desde a criação do SPI, pareceu a seus funcionários, nas zonas onde ele mais atua, realizado contra os índios, tais as violências que desencadeava, levadas a efeito pelo novo bando que ascendia ao poder. Nestas ocasiões, os governos locais dependentes do central passam a vender caro o seu apoio e entre suas exigências estava quase sempre a de uma nova política indigenista, que deixasse mãos livres para o esbulho do que restava aos índios.”[23]
+ 
+*Maria Elizabeth Brêa Monteiro é Mestre em História (UERJ) | Pesquisadora do Arquivo Nacional
+ 
+[1]Em 1910, o SPI foi criado como Serviço de Proteção aos Índios e Localização de Trabalhadores Nacionais. Sete anos mais tarde, o setor dedicado à “localização de trabalhadores nacionais” é transferido para o Serviço de Povoamento do Solo, subordinado igualmente ao Ministério da Agricultura, Indústria e Comércio.
+[2]Gomes, Mercio P.. Por que sou rondoniano. Estudos Avançados, São Paulo, v. 23, n. 65, 2009.
+[3]Diversas repartições públicas, entre elas o SPI, foram incorporadas ao novo Ministério dos Negócios do Trabalho, Indústria e Comércio criado pelo governo provisório em 26 de novembro de 1930. Em 12 de julho de 1934, por força do Decreto nº 24.700, o SPI foi transferido para o Ministério da Guerra, na condição de uma simples seção, sob o argumento de que era necessário proteger as fronteiras e resguardar a nacionalidade e, por isso, o indígena era indispensável, pelas suas qualidades físicas e morais e pela sua adaptação ao clima. Gagliardi, José Mauro. O indígena e a República. SP: Ed. Hucitec/EDUSP/Secretaria de Estado de Cultura de São Paulo, 1989.
+[4] Ribeiro, Darcy. A política indigenista brasileira. RJ: Ministério da Agricultura, 1962. p. 31-32
+[5] O Tribunal Especial foi criado em 11 de novembro de 1930 pelo Decreto nº 19.398, que instituiu o Governo Provisório. Seu principal objetivo era apurar e identificar os responsáveis pela prática de atos contrários à vida constitucional do país e pelas irregularidades administrativas e financeiras ocorridas durante o governo de Washington Luís. Foi substituído pela Junta de Sanções, em 6 de março de 1931. Disponível em http://www.fgv.br/cpdoc/acervo/dicionarios/verbete-tematico/tribunal-especial. Acesso em 13 de abril de 2018.
+[6]BR_RJANRIO_CD Tribunal Especial. Processo nº 640, 1930-1932.
+[7] Idem.
+[8]Freire, Carlos Augusto da Rocha. O SPI na Amazônia: política indigenista e conflitos regionais 1910-1932. 2.ed. Rio de Janeiro: Museu do Índio, 2009 e Melo, Joaquim Rodrigues de. A política indigenista no Amazonas e o Serviço de Proteção aos Índios: 1910 a 1932. Dissertação de mestrado em Sociedade e Cultura na Amazônia. UFAM, Manaus, 2007.
+[9] Atrair e pacificar configurava uma prática preconizada por Rondon desde os trabalhos na Comissão de Linhas Telegráficas e Estratégicas do Mato Grosso ao Amazonas que consistia, sumariamente, em estabelecer contato com os “grupos arredios” de forma pacífica, sem uso da força, ratificando o princípio “morrer se preciso for; matar, nunca”.
+[10] Relatório dos trabalhos da comissão apresentados ao interventor federal Alvaro Maia em 08.04.1931. Processo nº 640, v. 1, fl. 4.
+[11] Idem. fl.16
+[12]Processo nº 640, v. 2, fl. 300.
+[13]Processo nº 640, v. 1, fl. 185-186.
+[14] Relatório dos trabalhos da comissão apresentados ao interventor federal Alvaro Maia em 08.04.1931. Processo nº 640, v. 1.fl.11.
+[15]Processo nº 640, v. 3 e 4.
+[16] Freire. op.cit. p. 58-59.
+[17] Alegações de defesa apresentadas por Bento Pereira de Lemos. BR_RJANRIO_CD Tribunal Especial. Processo nº 640, 1930-1932 v. 3, fl. 546.
+[18] Maciel, Laura Antunes. A nação por um fio: caminhos, práticas e imagens da Comissão Rondon. Tese de doutorado em História, PUC, São Paulo, 1997. p. 144
+[19] Sobre a análise das imagens produzidas pela Comissão Rondon ver Tacca, Fernando de. O feitiço abstrato: do etnográfico a imagética da Comissão Rondon. Tese de doutorado em Antropologia Social, USP, 1999.
+[20] Antonio Estigarribia, chefe da Inspetoria do Espírito Santo, em seu relatório de atividades no ano de 1920 registra: “Todos estes índios gostam muito de música e o gramofone fez entre eles um verdadeiro sucesso. A ideia primeira que manifestavam era que estava um português escondido dentro ! Este instrumento tem sido meu companheiro inseparável nas visitas aos índios e adquiri dois, para deixar um em cada um dos postos que vão sendo organizados.” Monteiro, Maria Elizabeth Brêa. O círculo de ferro da colonização, o Serviço de Proteção aos Índios e os Botocudos no Espírito Santo. Dissertação de mestrado em História Política, UERJ, 2004. p: 85-86
+[21] Tacca, Fernando de. O índio na fotografia brasileira: incursões sobre a imagem e o meio. História, Ciências, Saúde – Manguinhos, Rio de Janeiro, v.18, n.1, jan.-mar. 2011.
+[22] Freire. Op.cit. p. 11.
+[23]Ribeiro. Op.cit. 36-37.
+ 
+A Brasiliana Fotográfica publicou, em 12 de julho de 2015, o artigo, “Marco no fotojornalimo brasileiro: a seca no Ceará é documentada com fotografias” que também destaca o caráter de comprobatório da fotografia quando forampublicadas fotos de vítimas da maior seca nordestina do século XIX. Segundo o trabalho “Imagens da Seca de 1877-78 – Uma contribuição para o conhecimento do fotojornalismo na imprensa brasileira”, dos pesquisadores Joaquim Marçal Ferreira de Andrade e Rosângela Logatto, a publicação desses registros foi uma das iniciativas pioneiras da imprensa brasileira na utilização de fotografias como documentos de comprovação de um fato. 
+Para denunciar a tragédia, o chargista português Rafael Bordalo Pinheiro (1846 – 1905) publicou, em 20 de julho de 1878, em uma ilustração da revista “O Besouro”, duas fotos – enviadas por José do Patrocínio (1854 – 1905) – que fazem parte de um conjunto de 14 registros fotográficos de vítimas da seca ocorrida entre 1877 e 1878. Porém, não foi dado crédito para o autor das fotos, Joaquim Antonio Corrêa, cujo ateliê ficava em Fortaleza, no Ceará. Patrocínio havia ido ao Ceará fazer a cobertura da seca para o jornal “Gazeta de Notícias”.
+Link para O Besouro de 20 de julho de 1878, ano I, n.16
+Acessando o link para as fotografias de Joaquim Antonio Corrêa sobre a seca nordestina de 1877/1878 disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+J.A. Correia. Secca de 1877-78, 1877-1878. Ceará / Acervo FBN
+ 
+Andrea C. T. Wanderley
+Editora-assistente e pesquisadora do portal Brasiliana Fotográfica
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/5566` — `itens/20.500.12156.1_5566/`
+- `20.500.12156.1/4884` — `itens/20.500.12156.1_4884/`
+- `20.500.12156.1/5547` — `itens/20.500.12156.1_5547/`
+- `20.500.12156.1/5537` — `itens/20.500.12156.1_5537/`
+- `20.500.12156.1/5539` — `itens/20.500.12156.1_5539/`
+- `20.500.12156.1/5570` — `itens/20.500.12156.1_5570/`
+- `20.500.12156.1/5563` — `itens/20.500.12156.1_5563/`
+- `20.500.12156.1/5551` — `itens/20.500.12156.1_5551/`
+- `20.500.12156.1/496` — `itens/20.500.12156.1_496/`
+
diff --git a/wordpress/12075-a-primeira-passagem-do-graf-zeppelin-pelo-rio-de-janeiro-em-1930-e-registros-de-.md b/wordpress/12075-a-primeira-passagem-do-graf-zeppelin-pelo-rio-de-janeiro-em-1930-e-registros-de-.md
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@@ -0,0 +1,103 @@
+---
+id: 12075
+url: "https://brasilianafotografica.bn.gov.br/?p=12075"
+titulo: "A primeira passagem do Graf Zeppelin pelo Rio de Janeiro, em 1930, e registros de outras viagens"
+autor: "Andrea Wanderley"
+data: "2018-05-25T12:29:04+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/5373", "20.500.12156.1/5603", "20.500.12156.1/5368", "20.500.12156.1/5367", "20.500.12156.1/5602"]
+fetched_at: "2026-09-10T09:55:44.830Z"
+---
+
+# A primeira passagem do Graf Zeppelin pelo Rio de Janeiro, em 1930, e registros de outras viagens
+
+A chegada do Graf Zeppelin ao Rio de Janeiro foi um grande acontecimento. Sua passagem silenciosa pelo céu da cidade parecia uma visão de sonho e deslumbrou a população causando uma verdadeira comoção. O fotógrafo Jorge Kfuri (1893 – 1965) registrou o evento e a Brasiliana Fotográfica relembra o fato destacando imagens que pertencem à Diretoria do Patrimônio Histórico e Documentação da Marinha, uma das parceiras do portal. São 10 fotografias aéreas do dirigível alemão sobrevoando diversos bairros e locais da Cidade Maravilhosa, dentre eles o Bairro Peixoto, Botafogo, Copacabana, Humaitá, a Lagoa Rodrigo de Freitas, o Pão de Açúcar e o Campo dos Afonsos, onde aterrissou. Kfuri produziu as imagens a bordo do avião Consul Dayte nº 332, da Marinha de Guerra, pilotado pelo capitão-tenente Antônio Dias Costa (? – 1930), que faleceu dois dias depois em um acidente de avião (Diário da Noite, 26 de maio, quarta coluna e 28 de maio de 1930).
+A Brasiliana Fotográfica reuniu também registros de outras passagens tanto do Graf Zeppelin como do dirigível Hindenburg pelo Rio de Janeiro, que pertencem ao acervo do Instituto Moreira Salles – são de autoria do fotógrafo amador Guilherme Santos (1871 – 1966) e de fotógrafos ainda não identificados. Há também uma fotografia, de autoria do fotógrafo húngaro Alfredo Krausz (1902 – 1953), de uma passagem do Graf Zeppelin por São Paulo tendo ao fundo o Edifício Martinelli. A Brasiliana Fotográfica também resgatou a crônica O morro em polvorosa, de Manuel Bandeira (1886 – 1968), sobre o impacto da presença do zepelim nos céus do Rio de Janeiro, publicada no Diário Nacional de 31 de maio de 1930.
+Sérgio Burgi, coordenador de Fotografia do Instituto Moreira Salles e um dos curadores do portal, fez uma apreciação das fotografias selecionadas para essa publicação*.
+ 
+Diário da Noite, 26 de maio de 1930
+ 
+Várias fotografias creditadas ao tenente J. Kfuri, do Serviço Fotográfico da Aviação Naval, foram publicadas na revista O Cruzeiro, de 7 de junho de 1930. Acima delas, os títulos eram exuberantes e líricos: “Na escuridão da noite como um meteoro…“, “Como um pássaro maravilhoso a aeronave parece voar entre as nuvens e as neblinas matinares” e “O refulgente pássaro aéreo voa sobre os bairros da cidade“, entre outros.
+ 
+Antônio Dias Costa e Jorge Kfuri, O Cruzeiro, 7 de junho de 1930
+ 
+Na mesma edição, como as admiráveis fotografias do tenente Kfuri pediam um texto de excepcional significação, foi publicado o artigo Palavras do Ar, do engenheiro e professor Vicente Licínio Cardoso (1889 – 1931), único passageiro brasileiro do Graf Zeppelin. Estava na Europa como delegado da Federação Nacional das Sociedades da Educação, quando foi convidado pela Companhia Zeppelin para representar o país no primeiro voo da aeronave para o Brasil.
+ 
+Vicente Licínio Cardoso, único passageiro brasileiro no voo inaugural do “Graf” Zeppelin para o Brasil, O Cruzeiro, 7 de junho de 1930
+ 
+Acessando o link para as fotografias do Graf Zeppelin no Rio de Janeiro pertencentes ao acervo da Diretoria do Patrimônio Histórico e Documentação da Marinha que estão disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Jorge Kfuri. O Graf Zeppelin sobrevoa Copacabana. O grande terreno no centro é o bairro Peixoto, 25 de maio de 1930. Rio de Janeiro, RJ / Acervo DPHDM
+ 
+Acessando o link para as fotografias de passagens de zepelins pelo Brasil pertencentes ao acervo do Instituto Moreira Salles que estão disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Guilherme Santos. Passagem do Zepelim pelo país, c. 1935. Avenida Rio Branco, Rio de Janeiro / Acervo IMS
+ 
+ 
+ O primeiro voo do Graf Zeppelin ao Brasil
+Ferdinand von Zeppelin
+Batizado pela filha do pioneiro dos dirigíveis, o conde Ferdinand Graf von Zeppelin (1838 – 1917), em 8 de julho de 1928, data em que ele completaria 90 anos, o Graf Zeppelin D – LZ127  – graf significa conde – realizou seu primeiro voo em 18 de setembro do mesmo ano. O primeiro voo comercial aconteceu em 11 de outubro, também em 1928. Tinha aproximadamente 236 metros de comprimento e cerca de trinta metros de altura. Seu luxo, tamanho e velocidade encantaram seus passageiros e as populações por onde passava. Sua presença nos céus cariocas foi referido em uma crônica de Manuel Bandeira (1886 – 1968) como um acontecimento empolgante e inédito…um espetáculo…perturbantemente inédito (Diário Nacional, 31 de maio de 1930).
+O Graf Zeppelin tinha 10 cabines duplas, dois lavabos, banheiros masculino e feminino, restaurante, cozinha, sala de rádio, sala de navegação e sala de controle. Foi o primeiro balão dirigível a vir ao Brasil, o primeiro a transpor a linha equatorial atravessando o oceano Atlântico no hemisfério sul. Veio em voo experimental e seu destino era o Rio de Janeiro. Prateado, partiu da base de Friedrichshafen, na Alemanha, em 18 de maio de 1930, e fez na manhã do dia seguinte uma parada em Sevilha, na Espanha. Sobrevoou os céus do Recife, primeira parada em terras brasileiras, após um voo de 59 horas conduzido pelo comandante Hugo Eckener (1868 – 1954).  Aterrissou no Aeroporto do Jiquiá, na capital pernambucana, em 22 de maio de 1930, onde era esperado por uma multidão estimada em 15 mil pessoas – a data havia sido decretada feriado pelo prefeito do Recife, Francisco da Costa Maia. A chegada da aeronave foi saudada pelo sociólogo Gilberto Freyre (1900 – 1987), então oficial de gabinete do governador Estácio Coimbra (1872 – 1937) (Diário de Pernambuco, 22 e 23 de maio de 1930). Houve tumulto entre a multidão e a polícia e o cônsul da Inglaterra e sua esposa foram atropelados pela cavalaria (Correio da Manhã, 25 de maio de 1930, terceira coluna). Fotografias sobre a passagem do dirigível por Recife foram publicadas em O Cruzeiro de 7 de junho de 1930.
+ 
+Lista dos passageiros:
+ 
+Diário de Pernambuco, 23 de maio de 1930
+ 
+O Graf Zeppelin foi reabastecido com gás e seguiu para o Rio de Janeiro à meia-noite de 23 de maio (Diário de Pernambuco, 24 de maio de 1930).  Finalmente, a aeronave atingiu a cidade às 23:30 do dia 24 e durante toda a madrugada bordejou fora da barra com seus motores parados para não incomodar com barulho os habitantes do Rio. Seu sobrevoo à cidade, na manhã do dia 25 de maio, descrito como empolgante, como um dos mais imponentes espetáculos que poderia ser proporcionado pela aviação moderna, foi assistido por quase toda a população carioca. A espera pelo evento foi como a espera por um convidado de honra, um convidado para quem se reservam todas as atenções, todas as fidalguias, as fidalguias a que se dispensam aos grandes personagens que propositadamente se fazem aguardar com curiosidade…O prefeito Antônio da Silva Prado Junior (1880 – 1955) e outras autoridades, dentre elas o embaixador Morgan, dos Estados Unidos, foram receber o comandante Eckener ainda a bordo do zeppelin (Correio da Manhã, 26 de maio de 1930).
+ 
+Desenho do comandante Eckener feito pelo pintor e ilustrador pernambucano Manoel Bandeira (1900 – 1964), o M. Bandeira, para A Província, 18 de maio de 1930
+ 
+O conde Pereira Carneiro (1877 – 1954) e sua esposa, além do comandante Trompovsky e do capitão Fontenelle, representando o Ministro da Viação, embarcaram no dirigível (Correio da Manhã, 26 de maio de 1930, primeira coluna), que, cerca de uma hora depois da aterrissagem, voltou ao Recife, onde chegou no dia 26 (Correio da Manhã, 27 de maio de 1930). Dois dias depois, iniciou seu retorno à Alemanha. Ao sobrevoar Natal, a tripulação jogou uma coroa de flores sobre a estátua de um dos pioneiros da aviação, Augusto Severo (1864 – 1902), com a mensagem “A Alemanha ao Brasil na pessoa de seu grande filho Augusto Severo” (Correio da Manhã, 29 de maio de 1930). No fim do dia, cruzou a linha do Equador. A passagem por Havana, previamente programada, foi suspensa (Correio da Manhã, 31 de maio de 1930), e o Zeppelin chegou ao Aeroporto de Lakehurst, nos Estados Unidos, em 31 de maio (Correio da Manhã, 1º de junho de 1930). No dia 2 de junho partiu para Sevilha (Correio da Manhã, 3 de junho de 1930), onde chegou no dia 5 (Correio da Manhã, 6 de junho de 1930). Alcançou seu destino final, Friedrichshafen, em 6 de junho de 1930, após 19 dias desde o início de sua viagem tricontinental (Correio da Manhã, 7 de junho de 1930).
+ 
+Jorge Kfuri. O Graf Zeppelin sobrevoa Botafogo e Humaitá, vendo-se a Lagoa Rodrigo de Freitas ao fundo, 25 de maio de 1930. Rio de Janeiro, RJ / Acervo DPHDM
+ 
+A história dos zeppelins foi interrompida pela explosão do dirigível Hindenburg, ocorrida, 77 horas depois da decolagem em Frankfurt, no final de uma tarde chuvosa, em Lakehurst, em Nova Jeresey, nos Estados Unidos, em 6 de maio de 1937, matando 36 pessoas – 13 passageiros, 22 tripulantes e um membro da equipe de terra (O Jornal, 7 de maio de 1937 e Revista da Semana, 15 de maio de 1937). Realizou 63 voos desde seu primeiro, em 4 de março de 1936. Segundo Claudio Lucchesi, autor do livro Loucos e heróis: fatos curiosidades da história da aviação, o Hindenburg fez 6 voos para o Brasil.
+Após cerca de uma década, nenhum acidente foi registrado envolvendo o Graf  Zeppelin. Porém, após a tragédia com o Hindenburg, ainda em 1937, foi retirado de operação e ficou exposto em um hangar de Frankfurt (O Jornal, 19 de junho de 1937, quarta coluna). Foi desmanchado em março de 1940 por ordem de Hermann Goering (1893 – 1946), comandante-chefe da Luftwaffe, a força aérea alemã. Em nove anos de operação, o Graf Zeppelin realizou 590 voos transportando milhares de passageiros e centenas de quilos de carregamentos e correspondência.
+ 
+Jorge Kfuri. O Graf Zeppelin sobre o morro da Urca e a Praia Vermelha, 25 de maio de 1930. Rio de Janeiro, RJ / Acervo DPHDM
+ 
+A chegada do Graf Zeppelin ao Rio de Janeiro foi uma notícia de destaque em vários jornais da época:
+A semana Zeppelin – Fon-Fon, 24 de maio de 1930
+O Conde Zeppelin no Rio de Janeiro – Correio da Manhã, 26 de maio de 1930
+O rápido pouso do Zeppelin – Como A Noite soube que o dirigível não aterraria no Campo dos Afonsos – A Noite, 26 de maio de 1930
+O Rio de Janeiro viveu momentos de intensa emoção e entusiasmo com a visita do “Graf Zeppelin” – O Jornal, 26 de maio de 1930
+Sob aclamação delirante, o povo carioca consagra a jornada audaz do comandante Eckner – O raid triunfante do “Graf Zeppelin’ – Gazeta de Notícias, 26 de maio de 1930
+O entusiasmo que despertou o empolgante espetáculo da chegada do “Conde Zeppelin” – Jornal do Brasil, 27 de maio de 1930
+O “Graf” Zeppelin em visita ao Brasil – Continuando a sua rota magnífica, após ter sido aclamado pela população carioca, chegou ontem, pela manhã, a Recife, o grande dirigível alemão – O Paiz, 27 e 28 de maio de 1930
+O “Graf” Zeppelin no Brasil – O Cruzeiro, 31 de maio de 1930
+O morro em polvorosa, por Manuel Bandeira – Diário Nacional, 31 de maio de 1930
+A viagem do Zeppelin – O Malho, 31 de maio de 1930
+De Ícaro a Zeppelin, por Escragnole Dória – Revista da Semana, 31 de maio de 1930
+A viagem do “Graf” Zeppelin ao Brasil – O Cruzeiro, 7 de junho de 1930
+ 
+Andrea C. T. Wanderley
+Editora-assistente e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+Airships.net
+Hemeroteca Digital da Biblioteca Nacional
+LAUX Paulo F. A memorável passagem do Zeppelin pelo Brasil, 2012. Aeromagazine, 3 de outubro de 2012.
+LINS, Fernando Chaves. Por céus nunca d´antes navegados, 2006. Recife: Universidade Federal de Pernambuco
+LUCCHESI, Claudio. Loucos e heróis: fatos curiosidades da história da aviação, 1996.
+O Estado de São Paulo, 9 de junho de 2015
+O Globo, 2 de julho de 2013
+ 
+Guilherme Santos. Passagem do Zeppelin pelo país, c. 1935. Rio de Janeiro, RJ / Acervo IMS
+ 
+ 
+De Sérgio Burgi, coordenador de Fotografia do Instituto Moreira Salles e curador da Brasiliana Fotográfica:
+Vejam as imagens, verdadeiramente oníricas, dos primeiros vôos dos dirigíveis nos céus do Brasil, fotografados do ar por Jorge Kfury e do solo, em estereoscopias, por Guilherme Santos, entre outros registros preciosos sobre o tema, que integram a Brasiliana Fotográfica. 
+Somam-se nestas imagens muitos pioneirismos que marcaram o início do século XX: a aviação, vivendo ainda a convivência entre as duas grandes modalidades das quais Santos Dumont foi pioneiro, os balões dirigíveis e aviões a motor; a fotografia aérea, que concretizou e expandiu as ambições, desde as imagens pioneiras em balão de Nadar, de se realizar registros fotográficos a “olho de pássaro” de todo o território. É neste momento também que a fotografia estereoscópica se une à fotografia aérea para o início dos levantamentos aerofotogramétricos que revolucionariam toda a cartografia mundial.
+E no solo, a fotografia estereoscópica era também redescoberta por uma legião de fotógrafos, amadores e profissionais, que, como o carioca Guilherme Santos, dedicaram-se a produzir verdadeiras crônicas visuais de seu tempo. Imagens de uma fotografia documental e direta, em chapas de vidro, porém já fortemente marcadas pelas inovações da época, que levariam a fotografia a novos horizontes de linguagem e representação ao longo do século XX.
+*A apreciação de Sérgio Burgi foi integrada à publicação em 26 de maio de 2018.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/5373` — `itens/20.500.12156.1_5373/`
+- `20.500.12156.1/5603` — `itens/20.500.12156.1_5603/`
+- `20.500.12156.1/5368` — `itens/20.500.12156.1_5368/`
+- `20.500.12156.1/5367` — `itens/20.500.12156.1_5367/`
+- `20.500.12156.1/5602` — `itens/20.500.12156.1_5602/`
+
diff --git a/wordpress/12179-a-brasiliana-fotografica-o-dia-da-abolicao-da-escravatura-e-machado-de-assis-na-.md b/wordpress/12179-a-brasiliana-fotografica-o-dia-da-abolicao-da-escravatura-e-machado-de-assis-na-.md
new file mode 100644
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--- /dev/null
+++ b/wordpress/12179-a-brasiliana-fotografica-o-dia-da-abolicao-da-escravatura-e-machado-de-assis-na-.md
@@ -0,0 +1,58 @@
+---
+id: 12179
+url: "https://brasilianafotografica.bn.gov.br/?p=12179"
+titulo: "A Brasiliana Fotográfica, o Dia da Abolição da Escravatura e Machado de Assis na Missa Campal"
+autor: "Andrea Wanderley"
+data: "2018-05-11T13:05:46+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/1795", "20.500.12156.1/2137", "20.500.12156.1/5451", "20.500.12156.1/1770", "20.500.12156.1/4953", "20.500.12156.1/2311"]
+fetched_at: "2026-09-10T09:55:48.246Z"
+---
+
+# A Brasiliana Fotográfica, o Dia da Abolição da Escravatura e Machado de Assis na Missa Campal
+
+Para lembrar os 130 anos da Abolição da Escravatura com a assinatura da Lei Áurea, em 13 de maio de 1888 – acontecimento histórico mais importante do Brasil após a Proclamação da Independência, em 1822 – , a Brasiliana Fotográfica sugere a leitura de todos os textos já publicados no portal que de alguma forma contemplaram o evento. Um deles trouxe a descoberta, realizada pela pesquisadora Andrea Wanderley, editora-assistente do portal, da presença do escritor Machado de Assis (1839 – 1908) na missa campal realizada no Rio de Janeiro em 17 de maio de 1888. Sobre o dia da abolição, Machado escreveu, anos depois, em 14 de maio de 1893, na coluna “A Semana”, no jornal carioca Gazeta de Notícias: Verdadeiramente, foi o único dia de delírio público que me lembra ter visto.
+ 
+Missa campal celebrada em ação de graças pela abolição da escravatura no Brasil. Campo de São Cristóvão, Rio de Janeiro, 17/5/1888. Antonio Luiz Ferreira/ Coleção Dom João de Orleans e Bragança sob guarda do IMS
+ 
+A escravidão no Brasil foi documentada pelos fotógrafos do século XIX. Contribuíram para isto o fato de ter a fotografia chegado cedo ao país, em 1840, sendo o imperador Pedro II um grande entusiasta, além do país ter sido o último das Américas a abolir a escravatura. Por cerca de 350 anos, o Brasil – destino de cerca de 4,5 milhões de escravos africanos – foi o maior território escravagista do Ocidente, mantendo este sistema tanto no campo como na cidade – o lugar de trabalho era o lugar do escravo.
+ 
+Marc Ferrez. Escravos na colheita do café, c. 1882. Vale do Paraíba, Rio de Janeiro / Acervo IMS
+ 
+Os escravizados foram retratados por diversos fotógrafos que atuaram no Brasil dos oitocentos que estão representados no acervo da Brasiliana Fotográfica, dentre eles Arsênio da Silva (1833 – 1883), Alberto Henschel (1827 – 1882), Antonio Lopes Cardoso (18? – ?),  Augusto Riedel (1836 – ?), Augusto Stahl (1828 – 1877), Jean Victor Frond (1821 – 1881), José Christiano Junior (1832 – 1902), George Leuzinger (1813 – 1892), João Goston (18? – ?), Marc Ferrez (1843 – 1923), Revert Henrique Klumb (c. 1826 – c. 1886) e por fotógrafos ainda não identificados.
+ 
+Seguem os links dos artigos:
+Dia da Abolição da Escravatura
+Missa Campal de 17 de maio de 1888
+Machado de Assis vai à missa, de autoria de José Murilo de Carvalho
+Missa Campal de 17 de maio de 1888 – Novas identificações
+Princesa Isabel (RJ, 29 de julho de 1846 – Eu, 14 de novembro de 1921)
+Missa Campal de 17 de maio de 1888 – Mais identificações
+ 
+Marc Ferrez. Partida para a colheita do café, c. 1885. Vale do Paraíba, Rio de Janeiro / Acervo IMS
+ 
+ 
+Acessando o link para as fotografias de escravizados disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar a imagem e verificar todos os dados referentes a ela.
+ 
+ 
+João Goston. Escravo posando es estúdio, c. 1870. Salvador, BA / Acervo IMS
+ 
+ 
+Antônio Lopes Cardoso. Antônio da Costa Pinto com a sua ama de leite, 1868. Salvador, BA / Acervo IMS
+ 
+George Leuzinger. Fazenda de Quititi, c. 1865. Jacarepaguá, Rio de Janeiro / Acervo IMS
+ 
+Andrea C. T. Wanderley
+Editora-assistente e pesquisadora do portal Brasiliana Fotográfica
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/1795` — `itens/20.500.12156.1_1795/`
+- `20.500.12156.1/2137` — `itens/20.500.12156.1_2137/`
+- `20.500.12156.1/5451` — `itens/20.500.12156.1_5451/`
+- `20.500.12156.1/1770` — `itens/20.500.12156.1_1770/`
+- `20.500.12156.1/4953` — `itens/20.500.12156.1_4953/`
+- `20.500.12156.1/2311` — `itens/20.500.12156.1_2311/`
+
diff --git a/wordpress/12264-lunara-1864-1937-um-fotografo-amador-e-fotoclubista-de-porto-alegre.md b/wordpress/12264-lunara-1864-1937-um-fotografo-amador-e-fotoclubista-de-porto-alegre.md
new file mode 100644
index 0000000..711b028
--- /dev/null
+++ b/wordpress/12264-lunara-1864-1937-um-fotografo-amador-e-fotoclubista-de-porto-alegre.md
@@ -0,0 +1,170 @@
+---
+id: 12264
+url: "https://brasilianafotografica.bn.gov.br/?p=12264"
+titulo: "Lunara (1864 – 1937), um fotógrafo amador e fotoclubista de Porto Alegre"
+autor: "Andrea Wanderley"
+data: "2018-09-05T12:02:19+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/5635", "20.500.12156.1/5619", "20.500.12156.1/5620", "20.500.12156.1/5630", "20.500.12156.1/5625", "20.500.12156.1/5627", "20.500.12156.1/5634", "20.500.12156.1/5626"]
+fetched_at: "2026-09-10T09:55:51.649Z"
+---
+
+# Lunara (1864 – 1937), um fotógrafo amador e fotoclubista de Porto Alegre
+
+A Brasiliana Fotográfica apresenta o álbum Vistas de Porto Alegre – Fotografias Artísticas, com 20 imagens assinadas pelo fotógrafo amador gaúcho Lunara (1864 – 1937), e produzido pelos Editores Krahe & Cia. As fotografias nos revelam uma Porto Alegre bucólica de fins do século XIX, início do século XX.  Lunara era um dos pseudônimos do comerciante Luiz do Nascimento Ramos (1864 – 1937). Pseudônimo composto a partir das primeiras sílabas de seus três nomes e que ele usava para expor suas fotos e também para participar de concursos fotográficos. Mas Lunara não foi seu único pseudônimo: quando escrevia crônicas para O Athleta (1883 – 1889), semanário do Clube Caixeiral Porto Alegrense, assinava com os pseudônimos Bitu ou Sancho.  Em torno de 1899, como fotógrafo amador passou a integrar a associação Sploro Photo-Club, em Porto Alegre, um dos fotoclubes pioneiros do Brasil.
+ 
+Lunara. Vistas de Porto Alegre, c. 1900. Porto Alegre, Rio Grande do Sul / Acervo IMS
+ 
+Segundo Denise Burges Stumvoll, mestre em Artes Visuais pela Universidade Federal do Rio Grande do Sul e autora da dissertação Fotografia e aproximações com a arte no início do século xx : um olhar para as narrativas visuais de Lunara, o álbum Vistas de Porto Alegre “…propõe um percurso realizado pelo fotógrafo, em que somos conduzidos pelas bordas e margens da cidade, bem como aos lugares e às pessoas que ali viveram, como se interessasse, ao autor das imagens, produzir uma metáfora da marginalidade, social e cultural, revelando o que geralmente ficava à sombra da memória visual sobre a modernidade na paisagem urbana.”
+Participante ativo da vida cultural e econômica da cidade, adotou a fotografia como um hobby. Aos domingos, Lunara costumava sair com sua máquina fotográfica, um tripé e várias chapas de vidro 13 x 18cm. Uma de suas companhias mais constantes nesses passeios por Porto Alegre era seu amigo, o pintor Pedro Weingartner (1853 – 1929), um dos mais importantes artistas do sul do Brasil. Seus destinos favoritos eram as margens do rio Guaíba ou dos arroios Cascatinha e Dilúvio. A convivência entre Weingartner e Lunara é um exemplo de uma relação estreita entre fotógrafos e pintores, o que ajudou a sedimentar “o papel de vanguarda dos estúdios fotográficos na disseminação da arte moderna” (1).  Ainda sobre a a proximidade dos dois: “Suas pinceladas minuciosas e cheias de detalhes assemelham-se , em seu estilo, à precisão realista das imagens de Lunara, que reitera as qualidades miméticas da linguagem fotográfica para constituir um registro histórico de grande relevância para sua cidade”. Outros exemplos da interação entre fotógrafos e pintores são o apoio do fotógrafo francês Félix Nadar (1820 – 1910) à exposição dos pintores impressionistas em 1874, em Paris; e o trabalho do fotógrafo norte-americano Alfred Stieglitz (1864 – 1946) na realização das mostras de artistas como o espanhol Pablo Picasso (1881 – 1973) e o francês Georges Braque (1882 – 1966), em Nova York
+Alguns dos temas mais abordados nas fotografias de Lunara foram os ex-escravizados, cenas de família, os carreteiros, as aguadeiras e os viajantes. Seus registros eram influenciados pelo movimento pictorialista internacional, movimento que se desenvolveu a partir do surgimento dos fotoclubes e que caracterizava-se pelo resultado da fotografia, que se aproximava da pintura. Em suas imagens, Lunara, com um olhar artístico que acentuava aspectos bucólicos, mostrava seu universo familiar com sensibilidade e humor. Suas fotografias revelavam também a incipiente modernização da capital gaúcha.
+ 
+Revista da Semana, 5 maio de 1901
+ 
+Na Gazeta do Comércio de Porto Alegre, de 25 de março de 1903, o jornalista Artur Pinto da Rocha (1864 – 1930) escreveu sobre o fotógrafo:
+‘Lunara é outro incorrigível amador da fotografia, que trata simultaneamente de açúcar e de tudo quanto passa… na Praça. Laureado nos concursos a que tem comparecido, é um artista que faz honra ao nosso meio. Tem sobre todos os seus brilhantes colegas a qualidade superior de descobrir na natureza os melhores assuntos e de saber vê-los através da objetiva com uma perfeição inexcedível de arte. E, vistos os motivos e interpretadas as cenas e observada a perspectiva e encantadoramente preparado o conjunto com uma empolgante sobriedade de elementos, Lunara tem ainda o soberbo dom de aplicar a seus trabalhos o título preciso e flagrante, com verve, com verdade e com justeza de conceito‘.
+Nas fotografias selecionadas pela Brasiliana Fotográfica, alguns desses títulos inspirados, que ajudam a exprimir a visão e o objetivo do fotógrafo, podem ser apreciados, dentre eles Nhô João deixa disso, As cantigas do vovô e Mourejando.
+Acessando o link para as fotografias de Lunara disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas. 
+ 
+Lunara. Dois filósofos, c. 1910. Porto Alegre, Rio Grande do Sul / Acervo IMS
+ 
+Outro amigo de Lunara, Geraldino Silveira, publicou no O Athleta , em 1886, um pequeno perfil de Lunara, no qual fica evidente seu bom temperamento e gosto pelas mulheres. Revela também que ele tinha um problema de vista:
+‘Luiz Ramos. Acanho-me em tratar deste bom amigo. Eu quisera dizer aqui tudo que sei a seu respeito; descobrir-lhe os segredos que povoam-lhe o coração. Um coração afeito a todas as doçuras do amor, moldado para a conquista dos sorrisos castos. Mas para quê?; prefirom guardar comigo a história de nossas confidências, a história de suas aventuras, como ele guarda consigo a ventura de seus afetos, o juramento de suas belas. É o fraco do Luiz; morre por um olhar de mulher, que é para ele o supremo ideal da vida. Se depois de um jejum de oito dias pusessem diante do Ramos um bife ensanguentado e uma mulher formosa, ele jamais olharia para o bife enquanto a deusa olhasse para ele.
+Alimenta-se do belo; arrebatasse ante a plástica de uns contornos lânguidos e abundantes de carne. Jesus foi sacrificado sobre o Calvário; o Luiz também há de ter um dia o seu Calvário sobre a montanha azul de um amor imenso. Seria esse o ponto mais saliente da vida do Ramos, se ela não gostasse de literatura; se ele também já não tivesse produzido belas páginas de prosa; uma prosa temperada de verve e de elegância. Quem não tgerá aí lido o Bitu ou o Sancho?
+Tem talento; mas um talento abandonado à fantasia dos diálogos romanescos dos salões de baile. Pouco estuda; um incômodo de olhos privou-o dos livros e o vidro azul dos óculos que traz sobre o nariz, enche-lhe a imaginação de volúpia e a alma de ternura. Tem facilidade admirável para o estudo das línguas; poderia vir a ser um filólogo se não estivesse diariamente debruçado sobre a escrivaninha de um escritório comercial. Gosta de preferência de falar o italiano; pudera, se o italiano é a língua dos amores, da música e das paixões enormes.
+Nunca vi o Ramos incomodado; é um todo de bondade e de indulgênica. Se alguma vez o spleen o assoberba, embriaga-se à fumaça de um caporal e pouco fala. Nesse estado finge sorrir, mas nem mesmo ri. O céu do coração também tem suas tormentas…
+É este o Luiz de que vos falo, e que agora desfruta a primavera de seus vinte e dois anos. No mais, um bom amigo, sincero, delicado e simpático.’
+ 
+Lunara. Carga miuda – Jacuhy, c. 1900. Porto Alegre, Rio Grande do Sul / Acervo IMS
+ 
+Cronologia do fotógrafo Luiz do Nascimento Ramos, conhecido como Lunara (1864 – 1937)
+1864 - Luiz do Nascimento Ramos nasceu, em Porto Alegre, no Rio Grande do Sul.
+1883 - Passou a integrar a comissão editorial do jornal O Athleta (1883-1889), vinculado ao Club Caixeiral Porto Alegrense. No período de existência do jornal, escrevia e publicava crônicas bem-humoradas sob os pseudônimos Bitu ou Sancho. O Club Caixeiral Porto Alegrense foi fundado, em 1882, por imigrantes alemães vinculados ao comércio.
+1886 – Era um dos integrantes do Club Caixeral que seria homenageado com um espetáculo de gala em honra da simpática e brisosa classe caixeiral, no Theatro São Pedro (A Federação, Orgam do partido Republicano, 17 de maio de 1886).
+1888 – De novo os comerciários foram homenageados com um espetáculo de ópera no Theatro São Pedro e os integrantes do Club Caixeral, dentre eles Lunara, representaram a classe (A Federação, Orgam do partido Republicano, 10 de março de 1888).
+Década de 1890 – Em fins dessa década, sua fotografia intitulada Aguadeira foi publicada na revista francesa Photo-Gazette .
+ 
+Lunara. Aguadeira, c. 1900. Porto Alegre, Rio Grande do Sul / Acervo IMS
+ 
+1891 – Trabalhava na firma Caetano Pinto & Franco (A Federação, Orgam do partido Republicano, 17 de fevereiro de 1891).
+1894 - Contratou casamento com Maria Isabel Borges Ramos (A Federação, Orgam do partido Republicano, 10 de maio de 1894, segunda coluna).
+1896 - Associou-se a Adwaldo Franco e abriu a firma de importações Franco, Ramos & Cia. Também trabalhava como contador contábil em outras empresas.
+c. 1899- Registrava a periferia da cidade aos domingos e utilizava o pseudônimo Lunara para expor suas imagens.
+Como fotógrafo amador passou a integrar a associação Sploro Photo-Club, em Porto Alegre, um dos fotoclubes pioneiros do Brasil. Funcionava na Drogaria Ingleza , que pertencia a Sépia, também fotógrafo amador.
+ 
+Acervo de Imprensa da Museu de Comunicação Hipólito José da Costa, 1901
+ 
+1899 –  Ele fotografou as festas da inauguração do velódromo da União Velocipédica e algumas ficaram expostas nas vitrines da Drogaria Ingleza, em Porto Alegre. Seu amigo, o fotógrafo Virgílio Callegari (1868 – 1937) faria as ampliações (A Federação, Orgam do partido Republicano, 23 de novembro de 1899, segunda coluna).
+Lunara participou de um evento promovido pela associação Sploto Photo-Club, na Drogaria Ingleza. O júri do evento era formado por Augusto Daisson, Miguel Weingartner e Virgilio Callegari.
+Década de 1900 - Foi editado e publicado o álbum Vistas de Porto Alegre – Fotografias Artísticas, com 20 imagens assinadas pelo fotógrafo amador gaúcho Lunara (1864 – 1937), e produzido pelos Editores Krahe & Cia, cuja loja e livraria ficavam na rua dos Andradas, em Porto Alegre.
+ 
+Acervo de Imprensa da Museu de Comunicação Hipólito José da Costa, 1901
+ 
+1900 - Endereçou à Repartição Central da Secretaria de Estado de Negócios do interior e exterior em Porto Alegre uma carta sugerindo a adoção de um novo método marcas e sinais para gado (A Federação, Orgam do partido Republicano, 27 de agosto de 1900).
+Nascimento de seu filho, Áureo.
+1901 – Lunara já era um próspero comerciante e membro da diretoria da Associação Comercial de Porto Alegre.
+Recebeu a medalha de bronze no segundo concurso para amadores da fotografia realizado nos salões da fotografia Leterre, na rua da Carioca, com um registro do busto de perfil da filha de um amigo. Fazia parte do júri o fotógrafo Joaquim Insley Pacheco (1830 – 1912), além do escultor Rodolfo Bernardelli (1852 – 1931) e do pintor Hilarião Teixeira (1860 – 1952). Nos dois primeiros lugares ficaram o carioca Narciso Braga e o gaúcho Luiz Manuel de Souza Filho (Jornal do Brasil, de 2 de março de 1901, sexta coluna e A Federação, Orgam do partido Republicano, 9 de março de 1901, segunda coluna).
+Realização da Exposição Estadual no Campo da Redenção, quando foi exibido o desenvolvimento da indústria e do comércio do Rio Grande do Sul. Luiz do Nascimento Ramos foi membro do júri do concurso de fotografias que integrava o evento. Os outros membros do júri foram Balduíno Rohrig e Luiz Manuel de Souza Filho (A Federação, Orgam do partido Republicano, 10 de março de 1901, quinta coluna). Na ocasião, fotografou todos os pavilhões da exposição. Forneceu as fotografias publicadas na  Revista da Semana, 5 de maio de 1901, uma edição especial comemorativa da Exposição Estadual Riograndense.
+1902 – Publicação do artigo intitulado “Artigo Infamante – Aos Amadores de Fotografia no Brasil – Aos profissionais e a meus clientes e amigos “, de autoria de A. Laterre  em resposta a uma publicação de 5 de abril d e 1902 na Gazeta do Commercio, em Porto Alegre, que relatava que durante uma reunião do Sploro Photo-Club, da qual Lunara participou, haviam sido feitos protestos contra um artigo publicado pela revista parisiense Photographie Française, de janeiro de 1902, e também protestos contra o fotógrafo sr. A. Leterre, acusado de prejudicar os fotógrafos amadores do Rio Grande nos concursos que promovia. Nele o fotógrafo Joaquim Insley Pacheco, um dos juízes dos concursos, era mencionado (Jornal do Brasil, 20 de abril de 1902).
+Publicação da fotografia “Sono Pesado”, de sua autoria, na Revista da Semana de 16 de novembro de 1902.
+1903 - Conquistou medalha de ouro na Mostra Grupal de Artes Plásticas, promovida pelo jornal Gazeta do Comércio. Concorreu com diversas fotografias, dentre elas Águas correntes, Dois Filósofos e Nhô João, deixa disso…, que fazem parte do álbum Vistas de Porto Alegre.
+ 
+Lunara. Águas correntes, c. 1900. Porto Alegre, Rio Grande do Sul / Acervo IMS
+ 
+Nascimento de sua filha, Zaida (A Federação, Orgam do partido Republicano, 28 de julho de 1901, terceira coluna).
+1904 – Foi eleito para integrar o conselho fiscal da companhia de seguros marítimos e terrestre Phenix de Porto Alegre (A Federação, Orgam do partido Republicano, 11 de março de 1904, terceira coluna).
+Foi eleito em 9 de outubro, conselheiro fiscal do Club Caixeiral Porto Alegrense (Almanak Laemert, 1905).
+Recebeu 1 voto na eleição municipal para intendente e conselheiro (A Federação, Orgam do partido Republicano, 11 de outubro de 1904, terceira coluna).
+1904 /1905 – Foram publicados cartões-postais colorizados de Lunara. A maioria pelos Editores Krahe &  Cia.
+1905 – Foi eleito diretor da Praça do Comércio de Porto Alegre (A Federação, Orgam do partido Republicano, 1 de janeiro de 1905, quinta coluna).
+1908 – Foi noticiada a chegada do negociante Luiz Nascimento Ramos ao Rio de Janeiro (O Século, 19 de setembro de 1908, quarta coluna).
+Década de 10 – Publicava regularmente seu trabalho na revista Máscara.
+1910 – Fotografou uma excursão automobilística (A Federação, Orgam do partido Republicano, 14 de novembro de 1910, primeira coluna).
+1913 – Lunara foi o testamenteiro do pintor Pedro Weingartner (1853 – 1929).
+1922 -Recebeu o prêmio da publicação La Revue de Photographie, de Paris, pela fotografia O Lago (Illustração Brasileira, 24 de junho de 1922).
+Publicação da fotografia Sono pesado, de autoria de Lunara (Illustração Brasileira, 15 de agosto de 1922).
+1937 – Faleceu em Porto Alegre e, durante décadas, sua obra permaneceu guardada por familiares.
+1976 – A jornalista e fotógrafa gaúcha Eneida Serrano (1952 – ) entrou em contato com o filho de Lunara, Áureo, de 76 anos, que mostrou a ela o acervo de seu pai: uma máquina fotográfica, recortes de jornais, 15 chapas de vidro, 13 x 18cm, e dois álbuns com 60 fotografias de sua autoria.
+1979 – Eneida Serrano realizou a exposição Lunara – Amador 1900, no Museu de Comunicação Hypólito José da Costa, em Porto Alegre.
+2001 – Em homenagem ao fotógrafo, foi inaugurado no centro cultural Usina do Gasômetro, na capital gaúcha, a Galeria Lunara, espaço especializado em fotografias.
+Suas fotos foram reunidas no livro Lunara Amador 1900, de Eneida Serrano.
+2018 – Exposição, no Museu de Arte do Rio Grande do Sul, de 20 fotografias de autoria de Lunara na 11ª Bienal de Artes Visuais do Mercosul, realizada em Porto Alegre e Pelotas. As imagens fazem parte do álbum Vistas de Porto Alegre – Photographias Artísticas, do acervo fotográfico do Museu da Comunicação Hipólito José da Costa.
+ Duas crônicas de Lunara com os pseudônimos Bitu e Sancho 
+(transcritas do livro Lunara Amador 1900, de Eneida Serrano)
+É moda 
+Tudo é moda, até dizer-se o que não se sente e sentir-se o que não se diz.
+Não sei quem disse isto; mas quem disse tinha razão.
+Uma moça conversando com um rapaz bem desempenado, de fácil verbiagem, dizia-lhe com o ar todo afetado:
+- Sr. F… pelo o que o sr. acaba de dizer-me, detesta a maneira exagerada de usarem as modas hoje em dia?…
+- Na verdade, minha senhora: e mil vezes bem digo a sorte por ter nascido homem, quando vejo passar-me pela frente essas moças, todas cheia de barbatanas, polvilhos, tintas, algodões e de tantas outras composições, que as francesas têm inventado para fazer do feio belo, do gordo magro, do pardo branco…
+- Pois pensa inteiramente como eu… são coisas estas, que não só aborreço como também detesto.
+- Pois então somos dois a pensar da mesma forma?!…
+- Oh! naturalmente…
+-Pois creia minha senhora…
+Nisto entra o moleque da casa com um embrulho, e depositando-o sobre uma cadeira, diz todo vitorioso: “nhnhãsinha, o seu Juca deu a anquinha por um patacão, e mandou dizer prá nhanhãsinha que recebeu daqueles pós que nhanhãsinha…
+- Minha senhora, sente-se incomodada? está vermelha…o que tem…
+- Não é nada, costumo… sim… a enxaqueca…
+- Queira receber as minhas despedidas e permita-me vir amanhã, saber de sua apreciável saúde…
+- Pois não…quero dizer, queira não incomodar-se…
+Saiu o homem… atravessou a rua… quis fazer um cumprimento ainda à moça da anquinha e teve a decepção de ver a sua cabeleira descolar-se do seu caco nu e descrever um semicírculo na sua frente…
+Oh! malditas anquinhas!…
+Impagabilíssimos chinós!…
+Publicado no O Athleta de 14 de julho de 1886 e assinado Sancho (um dos pseudônimos de Luiz Nascimento Santos)
+No baile do recreio
+ Vi-a pela primeira vez, ainda me lembro bem, foi numa quinta-feira. Ela negociava uma caixinha de pós de arroz, com o Gama, na loja do Felizardo. Pisquei-lhe um olho, ela compreendeu.
+A negrita que acompanhava a família estava à porta. Dei-lhe um níquel e fiquei logo ciente que Iaiá ia ao baile do Recreio.
+Chegara o sábado. O Cosmopolita estava repleto das mais esplêndidas flores do nosso jardim.
+Magnífica soirée.
+Dançava-se com frenesi.
+Fazia as honras da sala o simpático diretor, o roliço Guilherme.
+Iaiá lá estava. Cumprimentei-a e tirei-a para uma valsa.
+Ressoaram no salão as notas brilhantes de uma composição de Strauss. Cingindo aquela cinturinha breve, quis falar-lhe do meu amor. Pela primeira vez achei-me acanhado e senti que a amava deveras.
+Guardaria-me para a quinta quadrilha. Armaria-me de coragem e estabeleceríamos as bases do nosso casamento.
+Passeávamos na sala acalentando eu essa ideia, que me viera tirar de uma crítica posição.
+Chega-se a nós, choramingas a morder um esquecido, uma encantadora criancinha. Agarra-se ao vestido da Iaiá, e com a mão esquerda a coçar-lhe o canto da vista repete-lhe três vezes:
+– Eu quero ir pra casa, eu tô cum sono.
+– Que belo irmãozinho
+– Não tenho irmãos. Este é o meu filhinho mais velho.
+Fiquei enfiado e viria para casa sem chapéu se o marido de Iaiá não me dissesse a chacotear.
+– O Sr, vai sem cabeça?!…
+Publicado no O Athleta de 24 de outubro de 1886 e assinado Bitu (um dos pseudônimos de Luiz Nascimento Santos)
+A fotografia abaixo, Nhô João, deixa disso!,  inspirou o texto homônimo de Elvia Bezerra, coordenadora de Literatura do IMS, que foi publicado na Brasiliana Fotográfica, no Dia dos Namorados, 12 de junho de 2018.
+ 
+Lunara. Nhô João, deixa disso, c. 1900. Porto Alegre, Rio Grande do Sul / Acervo IMS
+ 
+Links para artigos já publicados na Brasiliana Fotográfica sobre fotógrafos amadores:
+Ipanema, que completa 122 anos, pelas lentes de José Baptista Barreira Vianna (1860 – 1925), publicado em 26 de abril de 2016
+O fotógrafo amador Guilherme Santos (1871 – 1966), publicado em 28 de julho de 2016
+ 
+(1)  PEREGRINO, Nadja Fonseca; MAGALHÃES, Ângela. Fotoclubismo no Brasil: o legado da Sociedade Fluminense de Fotografia, pág. 119.
+ 
+Andrea C. T. Wanderley
+Editora-assistente e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+Hemeretoteca Digital da Biblioteca Nacional
+KOSSOY, Boris. Dicionário Histórico-Fotográfico Brasileiro: fotógrafos e ofício da fotografia no Brasil (1833-1910). São Paulo: Instituto Moreira Salles, 2002.
+PEREGRINO, Nadja Fonseca; MAGALHÃES, Ângela. Fotoclubismo no Brasil: o legado da Sociedade Fluminense de Fotografia. Rio de Janeiro: Senac Nacional, 2012, 336 p.II.
+SANTOS, Alexandre. O gabinete do Dr. Cellegari: considerações sobre um bem-sucedido fabricante de imagens. In: ACHUTTI, Luiz (org). Ensaios sobre o fotográfico. Porto Alegre: Unidade Editorial, 1998.
+SERRANO, Eneida. Lunara amador 1900. Porto Alegre: E.S..,2002.
+Site Enciclopédia Itaú Cultural
+Site GaúchaZH Artes
+Site Metropolitan Museum of New York
+Site UFRGS Ciência
+STUMVOLL, Denise Bujes. Fotografia e aproximações com a arte no início do século xx : um olhar para as narrativas visuais de Lunara. Dissertação de mestrado, 2014. Universidade Federal do Rio Grande do Sul. Instituto de Artes. Programa de Pós-Graduação em Artes Visuais.
+ 
+Virgilio Calegari. Retrato de Luis do Nascimento Santos, c. 1900. Porto Alegre, Rio Grande do Sul / Fototeca Sioma Breitman / Museu Joaquim Felizardo
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/5635` — `itens/20.500.12156.1_5635/`
+- `20.500.12156.1/5619` — `itens/20.500.12156.1_5619/`
+- `20.500.12156.1/5620` — `itens/20.500.12156.1_5620/`
+- `20.500.12156.1/5630` — `itens/20.500.12156.1_5630/`
+- `20.500.12156.1/5625` — `itens/20.500.12156.1_5625/`
+- `20.500.12156.1/5627` — `itens/20.500.12156.1_5627/`
+- `20.500.12156.1/5634` — `itens/20.500.12156.1_5634/`
+- `20.500.12156.1/5626` — `itens/20.500.12156.1_5626/`
+
diff --git a/wordpress/12306-serie-os-diarios-associados-na-brasiliana-fotografica-i.md b/wordpress/12306-serie-os-diarios-associados-na-brasiliana-fotografica-i.md
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+---
+id: 12306
+url: "https://brasilianafotografica.bn.gov.br/?p=12306"
+titulo: "Série “Os Diários Associados na Brasiliana Fotográfica” I"
+autor: "Andrea Wanderley"
+data: "2018-05-30T12:25:18+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/5617"]
+fetched_at: "2026-09-10T09:55:54.850Z"
+---
+
+# Série “Os Diários Associados na Brasiliana Fotográfica” I
+
+Pela primeira vez o portal publica uma imagem do acervo fotográfico dos Diários Associados – Rio de Janeiro. O conjunto de fotos foi incorporado, em 2016, por um dos fundadores da Brasiliana Fotográfica, o Instituto Moreira Salles (IMS). Nessa estreia, foi destacada uma fotografia do hangar para abrigar os zepelins, em construção no Campo de Santa Cruz, e uma do Graf Zeppelin, publicadas em O Jornal, do dia 7 de abril de 1935. O conjunto adquirido pelo IMS dos Diários Associados, que já foram o maior conglomerado de mídia do Brasil, possui cerca de 700 mil fotografias e 300 mil negativos com imagens produzidas para O Jornal, primeiro órgão dos Diários, adquirido por Assis Chateaubriand (1892 – 1968) em 1924; para o Diário da Noite, fundado por ele em 1929; e para o Jornal do Commercio, fundado em 1827 e adquirido pelo grupo em 1959. Os registros cobrem um período representativo do século XX – de 1915 a 2005. Esse texto da Brasiliana complementa o recém publicado, em 25 de maio de 2018,  A primeira passagem do Graf Zeppelin pelo Rio de Janeiro, em 1930, e registros de outras viagens.
+A Hemeroteca Digital da Biblioteca Nacional, a maior coleção de periódicos do Brasil, é uma das mais potentes plataformas de informações para diversos tipos de pesquisa e a Brasiliana Fotográfica faz, desde seu início, uma extensa e profícua utilização desse precioso arquivo. Lembramos que a Fundação Biblioteca Nacional é também uma das fundadoras do portal. No caso específico de estabelecer-se uma relação entre uma imagem de um acervo fotográfico de imprensa com a forma e o contexto com que essa imagem foi originalmente publicada – como realizado nessa publicação do portal – faz com que a Hemeroteca Digital da BN ganhe especial protagonismo. E, como lembra Sérgio Burgi, coordenador de Fotografia do IMS, a preservação de um arquivo fotográfico de imprensa, mesmo que seus conteúdos estejam conservados em plataformas como a Hemeroteca Digital, é muito importante: as imagens podem, a partir de recursos tecnológicos como a digitalização e o zoom, terem outra visibilidade e serem acessadas em sua qualidade plena.
+Abaixo, a imagem do Hangar dos Zeppelins, no Campo de Santa Cruz, e do Graf Zeppelin, do acervo fotográfico dos Diários Associados Rio de Janeiro, incorporado ao IMS. Acessando o link para a fotografia, disponível na Brasiliana Fotográfica, o leitor poderá magnificar a imagem e verificar todos os dados referentes a ela.
+ 
+Ao alto, o Graf Zeppelin por ocasião de viagem ao Rio de Janeiro. Abaixo, o hangar, publicado em O Jornal, 7 de abril de 1935. Rio de Janeiro, RJ / Diários Associados (RJ) – Acervo IMS
+ 
+Abaixo, a fotografia e o texto publicados em O Jornal de 7 de abril de 1935:
+ 
+O Jornal, 7 de abril de 1935
+ 
+‘Sob o “controle da Comissão fiscal de Obras de Aeroportos, do Ministério da Viação, ativam-se os trabalhos de construção do aeroporto de Santa Cruz, construído numa área de milhão de metros quadrados, na fazenda S. José, de propriedade do governo da União.
+A construção do ramal da Central do Brasil para aquele campo permitiu o rápido transporte do material e o desenvolvimento consequente dos trabalhos.
+Esse aeroporto se constrói de acordo com o contrato do governo com a Luftschiffbau Zeppelin para o estabelecimento de uma linha regular de dirigíveis entre a Europa e o Brasil, serviço que estará em perfeito funcionamento dentre em pouco, logo se concluam as obras do aeroporto.
+Ainda neste início de mês o “Zeppelin” reiniciará suas viagens para o Brasil, transportando passageiros, correspondência e encomendas, quinzenalmente, partindo de Friedrichshafen aos sábados, à noite, e chegando a Recife às terças-feiras imediatas.’
+O “Zeppelin” atracará no aeroporto de Santa Cruz e regressará imediatamente à Europa. Há uma modificação de rota: a aeronave fará escalas por Sevilha na ida e na volta.’
+ 
+Um pouco da história do Hangar dos Zepelins
+Para a construção de um aeroporto para abrigar os zepelins, o governo brasileiro liberou um crédito milionário para o financiamento da obra em troca de um programa mínimo de 20 viagens anuais pelo período de 30 anos, contratado com a Luftschiffbau Zeppelin, fabricante e operador da linha aérea (Correio da Manhã, 10 de maio de 1934, quarta coluna). Sua estrutura de aço foi trazida da Alemanha e o hangar dos dirigíveis zepelins começou a ser construído em 1934, no Aeroporto de Santa Cruz, no Rio de Janeiro, mais tarde rebatizado Aeroporto Bartolomeu de Gusmão, e inaugurado em 26 de dezembro de 1936 pelo presidente da República, Getulio Vargas (1882 – 1954), com a presença de várias outras autoridades, dentre elas o embaixador da Alemanha e o prefeito do Rio de Janeiro, Olímpio de Melo (1886 – 1977) (O Jornal, 27 de dezembro de 1936, quarta coluna). Foi então ativada uma linha regular de transportes aéreos entre a Alemanha e o Brasil. Mais de 5 mil homens participaram da construção do hangar. Na época, existia um trem que saía da Central do Brasil, no Rio de Janeiro, cujo ponto final era o aeroporto.
+O hangar foi pouco utilizado pelos zepelins porque a partir da explosão de um deles, o Hindenburg, em 6 de maio de 1937 (O Jornal, 7 de maio de 1937), os voos dos grandes dirigíveis para passageiros foram interrompidos. Segundo reportagem do Jornal do Brasil de 5 de abril de 1981 e outras fontes o Hindenburg pousou no hangar quatro vezes e o Graf Zeppelin, cinco. Em 1943, o aeroporto tornou-se a Base Aérea de Santa Cruz. O hangar serviu como base para o 1º Grupo de Aviação de Caça da Força Aérea Brasileira, que atuou na Segunda Guerra Mundial (Diário de Notícias, 17 de janeiro de 1943, sexta coluna).
+Tombado em março de 1998 pelo Instituto do Patrimônio Histórico e Artístico Nacional (Iphan), o prédio do hangar tem 274 metros de comprimento, 58 metros tanto de altura como de largura. Seu portão principal, o sul, possui duas folhas, cada uma pesando 80 toneladas – a abertura pode ser feita manualmente ou com motores. O portão norte, com 28 metros de largura e 26 metros de altura, era utilizado para ventilação e saída da torre de atracação. No topo do hangar, a 61 metros de altura, fica a torre de comando. É o último hangar gigante para dirigíveis no mundo (Jornal do Brasil, 28 de março de 1993).
+ 
+Contribuíram para essa publicação a socióloga Roberta Zanatta (IMS), o historiador Rodrigo Bozzetti (IMS), o bibliotecário Alexandre Delarue (IMS), além de Franco Salvoni e Guilherme Gomes, do Núcleo de Digitalização do IMS.
+ 
+Andrea C. T. Wanderley
+Editora-assistente e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+Hemeroteca Digital da Biblioteca Nacional
+“Por dentro dos acervos” – Associados ao IMS, por Mànya Millen, 20 de outubro de 1916.
+RODRIGUES, Helio Suevo. A formação das estradas de ferro no Rio de Janeiro – o resgate de sua memória. Rio de Janeiro: Sociedade de Pesquisa para Memória do Trem, 2004.
+Site Defesa.net
+Site Iphan
+Site Ministério da Defesa – Força Aérea Brasileira
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/5617` — `itens/20.500.12156.1_5617/`
+
diff --git a/wordpress/1243-florence-autor-do-mais-antigo-registro-fotografico-existente-nas-americas.md b/wordpress/1243-florence-autor-do-mais-antigo-registro-fotografico-existente-nas-americas.md
new file mode 100644
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@@ -0,0 +1,39 @@
+---
+id: 1243
+url: "https://brasilianafotografica.bn.gov.br/?p=1243"
+titulo: "Florence, autor do mais antigo registro fotográfico existente nas Américas"
+autor: "Andrea Wanderley"
+data: "2015-06-17T13:04:16+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/1777"]
+fetched_at: "2026-09-10T09:55:58.207Z"
+---
+
+# Florence, autor do mais antigo registro fotográfico existente nas Américas
+
+Hercule Florence. “Epréuve Nº2 (photographie)”. Fotografia: Conjunto de rótulos para frascos farmacêuticos, 1833. Vila de São Carlos, Campinas, SP Acervo IMS
+“Não teria eu iniciado a arte mais do que maravilhosa de desenhar qualquer objeto, sem dar-me ao trabalho de o fazer com a própria mão?”
+A indagação é do fotógrafo, desenhista, tipógrafo e naturalista francês Antoine Hercule Romuald Florence (1804-1879) e foi feita, em 24 de junho de 1833, em seu diário Livre d’annotations et de premiers matériaux.  Ele se referia a suas pesquisas e experimentos no campo da fotografia, que o haviam levado a inventar, ele também e no Brasil, um processo de criação fotográfica.
+A Brasiliana Fotográfica destaca um dos mais antigos registros fotográficos existentes no continente americano – feito na vila de São Carlos, atual Campinas, no Estado de São Paulo. Trata-se de um conjunto de rótulos para frascos farmacêuticos produzidos por Hercule Florence, a partir das informações recebidas do boticário Joaquim Corrêa de Mello (1816-1877) sobre as propriedades do nitrato de prata.
+A imagem foi feita em um papel sensibilizado fotograficamente com cloreto de prata em contato com um desenho produzido com ponta metálica sobre um vidro previamente enegrecido com fuligem, que foi exposto à luz do sol. Na mesma época da descoberta de Florence no Brasil, os franceses Joseph Nicéphore Niépce (1765-1833), Hipollyte Bayard (1801-1887) e Louis Jacques Mandé Daguerre (1787-1851) e o inglês William Henry Fox Talbot (1800-1877) faziam experimentos e investigações no campo da fotografia.
+Também em seu Livre d´annotations et les premiers matériaux, em 1834, Florence usa pela primeira vez o verbo photographier –  cinco anos antes da palavra ser utilizada na Europa. Florence deixou uma descrição do procedimento adotado por ele para obter o registro fotográfico, em 1833. O método foi comprovado cientificamente por Boris Kossoy entre 1972 e 1976. Em meados de 1976, foi testado, com sucesso, nos laboratórios do Rochester Institute of Technology, nos Estados Unidos, sob a chefia do professor Thomas Hill. Em outubro do mesmo ano, a pesquisa de Kossoy foi apresentada no III Simpósio da História da Fotografia, na George Eastman House, em Rochester.
+Acessando o link para as imagens de Hercule Florence disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+Foi a partir da pesquisa e do teste realizados por Kossoy, aos quais se seguiu a publicação, pelo pesquisador brasileiro, do livro “1833: a Descoberta Isolada da Fotografia no Brasil” (1980), que Hercule Florence tornou-se internacionalmente conhecido. Inventor de um dos primeiros métodos de fotografia do mundo, Florence nasceu em Nice, em 28 de fevereiro de 1804**, chegou ao Brasil em 1824 e aqui viveu até sua morte, em 27 de março de 1879, em Campinas. Sua vida será tema desse portal em outra ocasião.
+A imagem acima, dos rótulos de farmácia, pertencente ao acervo do Instituto Moreira Salles, integra uma pequena  série de desenhos impressos fotograficamente produzida por Florence, que são os mais antigos registros fotográficos nas Américas. Para saber mais sobre a descoberta de Florence, leia o ensaio de Sergio Burgi, um dos curadores do portal Brasiliana Fotográfica e coordenador de Fotografia do Instituto Moreira Salles. Foi escrito para o catálogo da exposição “Brasil Imperial e seus fotógrafos”, ocorrida entre 14 de junho e 4 de setembro de 2005, no Museu D´Orsay, em Paris.
+Foi publicado nos Anais do Museu Paulista de dezembro de 2019 o artigo Revelando Hercule Florence, o Amigo das Artes: análises por fluorescência de raios X.  A física Márcia de Almeida Rizzutto, coordenadora do NAP-Faepah, atestou, com a ajuda do método conhecido como fluorescência de raios X por dispersão de energia (ED-XRF) para detectar a presença de elementos químicos que os manuscritos de Florence descrevem fielmente os processos de produção fotográfica por ele testados em 1833. Segundo Boris Kossoy, “é a comprovação física daquilo que já se sabia do ponto de vista químico”.*
+ 
+Leia também O francês Hercule Florence (1804 – 1877), inventor de um dos primeiros métodos de fotografia do mundo, publicado em 7 de março de 2018, na Brasiliana Fotográfica.
+ 
+*Esse parágrafo foi acrescentado em 2020.
+ **Devido a novas descobertas, a data de nascimento de Florence foi alterada em abril de 2024.
+
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/1777` — `itens/20.500.12156.1_1777/`
+
diff --git a/wordpress/12569-a-praca-da-bandeira-pelas-lentes-de-augusto-malta-1864-1957.md b/wordpress/12569-a-praca-da-bandeira-pelas-lentes-de-augusto-malta-1864-1957.md
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@@ -0,0 +1,72 @@
+---
+id: 12569
+url: "https://brasilianafotografica.bn.gov.br/?p=12569"
+titulo: "A Praça da Bandeira pelas lentes de Augusto Malta (1864 – 1957)"
+autor: "Andrea Wanderley"
+data: "2018-07-13T11:07:06+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/4243", "20.500.12156.1/5713", "20.500.12156.1/4270"]
+fetched_at: "2026-09-10T09:56:01.207Z"
+---
+
+# A Praça da Bandeira pelas lentes de Augusto Malta (1864 – 1957)
+
+A Brasiliana Fotográfica traz a história da Praça da Bandeira desde sua criação, em 1911. Anteriormente era denominada Largo do Matadouro por ter abrigado de 1853 até o final do século XIX o Matadouro Público do Rio de Janeiro. A nova nomenclatura foi brindada com a realização de uma Festa da Bandeira oficial na renovada praça. Luiza Ferreira, gerente de pesquisa do Arquivo Geral da Cidade do Rio de Janeiro, uma das instituições parceiras do portal, é a autora da publicação. As imagens são do alagoano Augusto Malta (1864 – 1957), que foi o fotógrafo da prefeitura da cidade entre 1903 e 1936, e de seu filho, Uriel Malta (1910 – 1994).
+De Largo do Matadouro à Praça da Bandeira
+Luiza Ferreira*
+Augusto Malta. Praça da Bandeira, 14 de outubro de 1922. Rio de Janeiro, RJ / Acervo AGCRJ
+ 
+Em 19 de novembro de 1911, o jornal Correio da Manhã anunciou a assinatura pelo prefeito Bento Ribeiro (1910-1914) do Decreto nº 842, que alterou a denominação do antigo Largo do Matadouro para Praça da Bandeira. A nova nomenclatura homenageava a bandeira brasileira, cuja celebração havia sido instituída em 1889, pelo Decreto Federal nº 4, logo depois de instaurada a República. A legislação, promulgada no dia anterior, afirmava:
+“Considerando não haver motivo algum que justifique a conservação do atual nome de largo do Matadouro à parte alargada da rua Mariz e Barros ao encontrar-se com a rua de S. Cristóvão;
+Considerando que o culto ao símbolo representativo da nossa nacionalidade é a maior demonstração que se pode dar de intenso patriotismo;
+Usando da atribuição que a lei lhe confere, decreta:
+O atual largo do Matadouro, no distrito do Engenho Velho, passa a ter a denominação de praça da Bandeira”.
+A praça foi reformulada em 1910, na gestão do prefeito Serzedelo Correia (1909-1910) e do presidente Nilo Peçanha (1909-1910). Para a sua composição, cortou-se a Rua S. Cristóvão e a Rua Mariz e Barros, onde em seu trecho final, próximo à Ponte dos Marinheiros (hoje Viaduto dos Marinheiros), passou a chamar-se Rua Elpídio da Boamorte.
+Acessando o link para as fotografias da Praça da Bandeira disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+A região era conhecida como Largo do Matadouro por ter abrigado desde 1853 até o final do século XIX o Matadouro Público, este que anteriormente funcionava ao final da Rua Santa Luzia, no centro da cidade. O edifício projetado pelo engenheiro Paulo Barbosa da Silva foi erguido no terreno da antiga Chácara do Curtume. O pórtico, atribuído a José Maria Jacinto Rabelo, é o único vestígio do antigo prédio. Em 1881, o Matadouro foi transferido para Santa Cruz, deixando o logradouro órfão da função que lhe havia sido conferida por quase 30 anos.
+ A nova nomenclatura foi brindada pela realização de uma Festa da Bandeira oficial na renovada praça, esta que já acontecia anualmente no Paço Municipal, no Ministério da Guerra, na Marinha, dentre outros. De caráter altamente patriótico, afastando-se do seu significado atual, a data passou a ser festejada e bastante estimada não apenas entre os círculos militares e políticos, como também pela população. De acordo com o jornal Correio da Manhã, o novo nome era um desejo dos próprios moradores do local:
+“Este ano, as festas organizadas vão ter um desusado brilho pelo motivo de haver o prefeito do Distrito Federal atendido à representação que lhe fora dirigida no sentido de ser dada a denominação de praça da Bandeira àquele antigo largo, sendo as novas placas hoje inauguradas com toda a cerimônia, assistindo ao ato os representantes daquela alta autoridade”.
+No ano anterior, em razão das festividades, o jornal O País anunciara os representantes da comissão encarregada da mudança de nomenclatura do logradouro. Segundo o periódico, a alteração seria uma decisão pautada na memória local:
+“No largo do Matadouro a festa da bandeira foi feita sob a direção de uma comissão composta dos seguintes moradores do local: Henrique A. da Silveira, Zozimo Peçanha, João Gomes Braga e Adolpho de Almeida (…) É pensamento da comissão acima nomeada e por delegação dos moradores, requerer ao Sr. prefeito a mudança do nome de largo do Matadouro para o de praça da Bandeira, por ter sido esse o local em que pela primeira vez, em 1908, fizeram-se festas verdadeiramente populares em comemoração do estandarte pátrio”.
+No dia seguinte ao evento realizado em 1911, quando a Praça teve o seu novo nome finalmente reconhecido, o Jornal do Brasil reiterou a vocação festiva do logradouro:
+“As comemorações cívicas que de algum tempo a esta parte o vêm realizando no velho largo do Matadouro, têm com razão despertado curiosidade da população, que as tem admirado como um belo resultado de esforços de um grupo dos que ali residem. E tanto essas festas têm sido realmente brilhantes e de animação pouco comum, que muitos dos habitantes do centro da cidade e de diversas localidades suburbanas a ela têm concorrido admirando-lhe o bom gosto, a par do mais vivo entusiasmo. (…) O velho largo do Matadouro estava deslumbrante, com a ornamentação que lhe fizeram, ostentando uma profusão de bandeiras, folhagens e arbustos dispostos artisticamente”.
+De acordo com o periódico, a programação no local incluiu a banda do 4º Regimento de Infantaria da Brigada Policial que se apresentou no Coreto. Realizou-se ainda o culto à bandeira, a solenidade de hasteamento desta e, após, a inauguração das placas com o novo nome de Praça da Bandeira. Após a batalha de confete, e já sinalizando o final dos festejos, às 20 horas se deu a queima de fogos.
+ 
+Uriel Malta. Praça da Bandeira, 29 de janeiro de 1940. Rio de Janeiro, RJ / Acervo AGCRJ
+ 
+Apesar da nova imagem, a região continuou a ser assolada por grandes enchentes, consequência de sua localização geográfica em terreno pantanoso. Em 8 de dezembro de 1911, poucos dias após as festividades da bandeira, a Praça voltava às colunas do Jornal do Brasil por motivo pouco nobre:
+“O último temporal que desabou sobre a cidade veio provar que há necessidade de cuidar seriamente do meio das águas terem pronto escoamento, evitando as enchentes que tantos prejuízos causam à população.
+Entre outros pontos inundados são dignos de nota a praça da Bandeira e ruas Mariz e Barros e Matoso”.
+Considerando o temporal ocorrido, o jornal A Noite publicou uma seção intitulada “A praça da Bandeira continua a ser o largo do Matadouro”, onde se lia:
+“O largo do Matadouro é considerado um lugar maldito, alguma coisa parecida com a antessala do inferno. As inundações são ali tradicionais – e que inundações! A água cobre às vezes um homem e têm feito muitas vítimas.”
+Apesar desta limitação, a partir de 1918 a praça passou a receber grandes feiras livres, que resultavam de um movimento diretamente relacionado à carestia gerada pela 1ª Guerra Mundial. As feiras se instalaram no local em razão de sua localização próxima a bairros centrais e devido à abundância de transportes na região.
+ De aparência renovada, nas décadas seguintes a Praça da Bandeira solidificou o seu caráter comercial, recebendo diversos serviços como confeitarias, restaurantes, ourivesarias, circos, salas de teatros e cinema, além de abrigar prédios públicos das diferentes esferas de governo.
+A área foi afetada por grandes obras levadas a cabo na gestão do governador Carlos Lacerda (1960-1965), como a Avenida Radial Oeste e o Trevo das Forças Armadas. Datam também das décadas de 1960-70 a construção das Estações Praça da Bandeira, substituindo a antiga Estação Lauro Muller, e da nova Estação de Metrô – São Cristóvão.
+ 
+Augusto Malta. Praça da Bandeira, s/d. Rio de Janeiro, RJ / Acervo AGCRJ
+ 
+Nos últimos anos, a tradicional praça passou por obras de infraestrutura na tentativa de minimizar os efeitos causados pelas chuvas na região. Nesse sentido, foram construídos reservatórios subterrâneos para o armazenamento do excesso de água.
+Menos “badalada” que no início do século XX, a região ainda hoje é o território limítrofe entre as regiões central e norte da cidade.
+ 
+*Luiza Ferreira é Gerente de Pesquisa do Arquivo Geral da Cidade do Rio de Janeiro
+ 
+Fontes:
+Hemeroteca Digital da Biblioteca Nacional:
+A Noite, 6 de dezembro de 1911
+Correio da Manhã, 19 de novembro de 1911
+Jornal do Brasil, 20 de novembro de 1911
+Jornal do Brasil, 8 de dezembro de 1911
+O Paiz, 20 de novembro de 1910
+Biblioteca Oswaldo Porto Rocha, AGCRJ:
+DISTRITO FEDERAL. Boletim da Prefeitura do Distrito Federal, 1911.
+GERSON, Brasil. História das Ruas do Rio. Rio de Janeiro: Bem-Te-Vi, 2013.
+Site de Monumentos do Rio
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/4243` — `itens/20.500.12156.1_4243/`
+- `20.500.12156.1/5713` — `itens/20.500.12156.1_5713/`
+- `20.500.12156.1/4270` — `itens/20.500.12156.1_4270/`
+
diff --git a/wordpress/12604-serie-exposicoes-v-paris-1889-o-album-do-brasil-na-exposicao-universal.md b/wordpress/12604-serie-exposicoes-v-paris-1889-o-album-do-brasil-na-exposicao-universal.md
new file mode 100644
index 0000000..191707b
--- /dev/null
+++ b/wordpress/12604-serie-exposicoes-v-paris-1889-o-album-do-brasil-na-exposicao-universal.md
@@ -0,0 +1,114 @@
+---
+id: 12604
+url: "https://brasilianafotografica.bn.gov.br/?p=12604"
+titulo: "Série “Exposições” V – Paris, 1889: o álbum do Brasil na exposição universal"
+autor: "Andrea Wanderley"
+data: "2018-07-27T11:57:59+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/5047", "20.500.12156.1/5701", "20.500.12156.1/5654", "20.500.12156.1/5692", "20.500.12156.1/5651", "20.500.12156.1/5639", "20.500.12156.1/5670", "20.500.12156.1/4941", "20.500.12156.1/5687", "20.500.12156.1/5695", "20.500.12156.1/5697", "20.500.12156.1/5664", "20.500.12156.1/5638"]
+fetched_at: "2026-09-10T09:56:04.730Z"
+---
+
+# Série “Exposições” V – Paris, 1889: o álbum do Brasil na exposição universal
+
+Segundo a historiadora e pesquisadora Claudia Beatriz Heynemann, o álbum “Exposição Universal de Paris 1889 – Exposição Brasileira “, conservado pelo Arquivo Nacional, uma das instituições parceiras da Brasiliana Fotográfica, “é um acontecimento em si, o da difusão da linguagem fotográfica, instaurando a visualidade de uma época, não apenas pelo que escolhe mostrar, mas lançando sobre esses cenários a aura de modernidadede que se revestiam aquelas sociedades”. Composto de sessenta e uma fotografias, o álbum é dedicado à participação do Brasil no evento, que celebrou o centenário da Revolução Francesa e da República e atraiu 32 milhões de visitantes. As exposições universais disseminavam os avanços da indústria, do comércio e o cosmopolitismo.
+ 
+Paris, 1889: o álbum da exposição universal
+Claudia Beatriz Heynemann*
+A vista obtida entre os diferentes pilares da Torre Eiffel, em vários ângulos, com a estrutura nem sempre visível, pontua boa parte do álbum da participação brasileira na exposição universal de Paris em 1889. Referência até de tomadas internas do pavilhão nacional segundo as legendas, a Torre era o que havia de moderno na engenharia, na arquitetura do ferro, enfrentando críticas de alguns e a admiração de muitos. Distribuídos sobre uma superfície de 96 hectares envolvendo o Campo de Marte, e as regiões do Trocadero e da Esplanada dos Inválidos – 35 países participaram da festa que reuniu 61.722 expositores, atraindo 32 milhões de visitantes. [1]
+ 
+Exposição Universal de Paris: exposição brasileira – Vista obtida debaixo do pilar oeste da Torre Eiffel, 1889. Paris, França / Acervo Arquivo Nacional
+ 
+Entre 6 de maio e 31 de outubro, a quarta exposição universal organizada pela França celebrou o centenário da Revolução Francesa e da República, e era também demonstrativa do lugar conquistado pela França e seu império colonial naquele fim de século. A expressão corresponde ao intervalo entre 1870 e 1914: marcado por agitações políticas compreende outras balizas tradicionais, como a conclusão dos processos de unificação alemã e italiana até a 1ª Guerra Mundial. A belle époque, outra delimitação aplicada à virada do século XIX ao XX, ficaria assim conhecida dados os signos de progresso de que se imbui o século XIX, uma perspectiva otimista como adverte Francisco Falcon e que contrasta com a “face sombria e trágica” da época. Uma nova compreensão desses anos leva a que se fixe o princípio da época contemporânea a partir dos 1900, uma fronteira deslocada do marco da Revolução Francesa. De todo modo, lembra o autor, “a passagem de um século a outro é importante por tudo que ela antecipa de ameaçador no século que se inicia, em contraste com certa imagem literária de paz, prazer de viver, domesticação dos conflitos e dos sentidos”.[2]
+Poucas décadas antes, o poeta Charles Baudelaire (1821-1867) relacionaria a modernidade com o transitório, a moda, a decoração, a representação do presente, e o espetáculo das multidões que aspiravam a poeira das fábricas. E também com a fotografia que logo assumirá uma escala industrial, linguagem moderna, presente, por excelência. Assim, o moderno será relacionado, no Oitocentos, à mecanização e à indústria, ao progresso da ciência, ao progresso enfim, antes que se impusesse o discurso da modernidade na economia, substituindo-o pelo termo do desenvolvimento. O século XIX se constitui sob esse aspecto por inovações até ali impensáveis, que se dão de modo cada vez mais acelerado, ritmo que se imprime à própria percepção do tempo histórico.
+Acessando o link para as fotografias da exposição brasileira na Exposição Universal de Paris de 1889 disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas. 
+As exposições universais ultrapassaram o objetivo primeiro de disseminar os avanços da indústria, do comércio entre as nações, de um padrão de comportamento, e de impor uma pedagogia do progresso às massas para se tornarem “manifestações de todo um pensamento” sendo preciso, assinala Helena Barbuy, que se entenda as exposições universais como algo muito maior do que meras feiras comerciais, a despeito de seu caráter industrial. Eram antes salões de arte que privilegiavam as manifestações intelectuais, mais do que o comércio ou as atividades produtivas, o que se poderia constatar na própria premiação por meio de medalhas e honras, e não por valores em dinheiro. [3] Para Nelson Sanjad, no entanto o que prevalece afinal é um sistema ditado pela classificação dos objetos. Ao avaliar a historiografia das exposições o autor destaca a importância de se reconhecer essa lógica de organização, que se voltará não para uma apreciação intelectual que considerasse a matéria prima e as técnicas utilizadas, mas para a valorização de objetos, da produção, de atividades industriais. Apesar das críticas, o principal esquema aplicado guiava-se pela utilidade dos itens expostos, obedecendo a um princípio pragmático. [4] A adoção desse método conduz a outras escolhas como edificações, circuito obedecido, arquitetura dos pavilhões, no âmbito de “uma cultura das exposições” a que se refere o autor.
+ 
+A exposição brasileira
+ 
+Exposição Universal de Paris: exposição brasileira [capa do álbum], 1889. Paris, França / Acervo Arquivo Nacional
+Composto de sessenta e uma fotografias, [5]o exemplar do álbum “Exposição Universal de Paris 1889 – Exposição Brasileira” conservado pelo Arquivo Nacional [6] é dedicado à participação do país no evento, o que inclui as tomadas externas em que vemos parte da circulação do público, quiosques e a Torre Eiffel, algumas fachadas de outros pavilhões latino-americanos como México e Argentina, os três pavimentos da edificação e as áreas internas formadas pelo jardim, lago, estufa e as galerias de ligação.
+ 
+Exposição Universal de Paris: exposição brasileira. Galeria de ligação entre o pavilhão à estufa, 1889. Paris, França / Acervo Arquivo Nacional
+ 
+O público e o staff envolvidos na organização da exposição brasileira aparecem sempre ao ar livre, enquanto as salas reservadas aos produtos permanecem vazias, possibilitando uma melhor apreciação. A série chama a atenção pela própria intenção do registro, como o “estudo do arco”, dedicado à claraboia e à decoração acima do arco, explorando o efeito de luz da iluminação natural no ambiente. Outros exemplos são a “vista longitudinal” e um “estudo de perspectiva” sobre a sala do Conselho.
+ 
+Exposição Universal de Paris: exposição brasileira. Estudo do arco, 1889. Paris, França / Acervo Arquivo Nacional
+ 
+Além da tarefa de documentar a montagem da exposição brasileira pelos pavimentos, posaram para o fotógrafo não identificado, grupos de zeladores, jardineiros, empregados no quiosque de degustação de café[7], membros da Comissão Brasileira de Estudos, além dos integrantes do Comitê Franco-Brasileiro que organizou o evento. Formado por jornalistas e escritores, com o apoio do governo imperial, foi responsável pela participação de uma das poucas monarquias presentes ao evento comemorativo de uma república, o império do Brasil. A demora em confirmar a participação do país, iniciada somente em junho, a exemplo de outros governos latino-americanos, fez com que as respectivas representações ocupassem o terreno antes reservado a jardins e restaurantes, aos pés da Torre Eiffel, na “aleia do sol”, conforme Helena Barbuy. [8]
+ 
+Exposição Universal de Paris: exposição brasileira. Pavilhão do Brasil. Vista à esquerda da fonte e embaixo da Torre Eiffel, 1889. Paris, França / Acervo Arquivo Nacional
+ 
+Reunidos na sala da rua Lafayette, cinco membros do Comitê se debruçam atarefados sobre a mesa enquanto uma criada permanece à porta. Roupas e decoração, armários e vitrines constituem mais um motivo de interesse para os que se dedicarem a essas imagens, signos de uma civilização que então se celebrava e a qual a classe dirigente brasileira pretendia se integrar. Nesse sentido, uma das principais abordagens sobre a participação de nações como o Brasil nas exposições universais refere-se ao descompasso com o centro evidenciado nas vitrines dos exportadores de matérias-primas.
+ 
+Exposição Universal de Paris: exposição brasileira. Sala do Comitê, rua Lafayette, 1889. Paris, França / Acervo Arquivo Nacional
+ 
+Exposição Universal de Paris: exposição brasileira. Térreo. Vista da vitrine “Mate”, 1889. Paris, França / Acervo Arquivo Nacional
+ 
+Entendidas de modo geral como espetáculos da ordem burguesa no âmbito de uma cartografia estabelecida pela expansão do capitalismo e do imperialismo, essas exposições contaram em sua maioria com expositores brasileiros e se estruturaram a partir de 1876, em Filadélfia, com pavilhões edificados, quando se adotou esse modelo para as exposições internacionais. Em torno da exibição nos Estados Unidos construiu-se uma interpretação do lugar do Brasil nesse cenário, na qual se admite a predominância de produtos agrícolas, minerais, da flora e da fauna brasileiras, além da exploração de um “exotismo” das populações indígenas, o que, no entanto, não é paradoxal. Isso porque o Império e suas vitrines eram parte de uma mesma lógica: “não se tratava, portanto, de um antagonismo entre invenções/tecnologia versus recursos naturais, mas pensá-los dentro de um mesmo plano de análise ligado a diferentes projetos de modernidade que cabiam a cada uma das nações no capitalismo internacional naquele momento”.[9]
+Ainda sob esse aspecto, jornalistas e outros observadores teriam percorrido o pavilhão brasileiro com a atenção voltada para os produtos primários que lideravam a pauta de exportações do Império. Tendo entre os membros da Comissão, o célebre paisagista Auguste Glaziou (1828 – 1906), responsável, entre muitas obras, pela reforma do Passeio Público e do Campo de Santana no Rio de Janeiro, o Pavilhão brasileiro incluía um jardim com plantas exóticas, o lago da Vitoria Régia e uma estufa, o que teria dado a alguns críticos franceses contemporâneos a impressão do Brasil como “uma grande plantação”. [10]
+ 
+Exposição Universal de Paris: exposição brasileira – Vitória-régia, 1889. Paris, França / Acervo Arquivo Nacional
+ 
+Esse veredito contrariava em muito a provável expectativados expositores, pois considerando a valorização de jardins e florestas pelo Império, pode-se enxergar nessa composição o discurso científico contraposto à ideia de barbárie e destruição da natureza, além do consagrado papel distintivo que as riquezas naturais tiveram entre os letrados brasileiros do século XIX.
+Das inúmeras narrativas que o álbum oferece impõe-se aquela que organiza a trama da derrocada do Império e da Proclamação da República, ocorrida quinze dias após o final da exposição. É então que se olha para as tomadas do primeiro e segundo andar do pavilhão de onde se vê a bandeira imperial. Na parede da sala do Conselho o retrato do Imperador encimando a entrada soa já como anacrônico naquele momento, diante do desfecho político iminente. Tampouco se pode esquecer a abolição do trabalho escravo, ocorrida menos de um ano antes e que tem como um de seus indícios na exposição brasileira, o incentivo à imigração europeia, alardeada não apenas como um substituto da mão de obra, mas como um meio para o “branqueamento” da população. Não deixa de ser interessante do ponto de vista da historiografia sobre a inserção brasileira em suas potenciais contradições que nesse caso já se vivesse um momento pós-abolição. Não era mais a “monarquia escravista”, mesmo que permaneça válido o quadro embaraçoso de uma população miserável, desprovida de educação, assolada por epidemias que desestabilizava o outro quadro, o da sociedade moderna, das aquisições tecnológicas, da alta cultura, como escreve Nelson Sanjad.
+ 
+Exposição Universal de Paris: exposição brasileira. 2º andar. Lateral da escada, 1889. Paris, França / Acervo Arquivo Nacional
+ 
+Outro sintoma desse desajuste estaria na exposição de artefatos indígenas, como os instrumentos de pesca e cestaria, além de outros itens extraídos da cultura material desses grupos, lembrando que um pavilhão amazônico foi construído e figura em algumas fotografias. Ainda para Sanjad, “havia constrangimento, tanto no sentido de condensação, redução quanto no de embaraço provocado por situação moralmente desconfortável, em apresentar a diversidade social e cultural desses países em um contexto imperialista, colonialista, racista e eurocêntrico, o que levava à idealização das populações locais em chave positiva ou negativa, mas sempre representadas de maneira a-histórica, homogeneizadas, desterritorializadas, às vezes propositalmente invisibilizadas”. [11]
+ 
+Exposição Universal de Paris: exposição brasileira. Interior do Pavilhão Amazonas, 1889. Paris, França / Acervo Arquivo Nacional
+ 
+O álbum é um acontecimento em si, o da difusão da linguagem fotográfica, instaurando a visualidade de uma época, não apenas pelo que escolhe mostrar, mas lançando sobre esses cenários a aura de modernidadede que se revestiam aquelas sociedades. As belas imagens do Pavilhão das máquinas, [12] dos armários e bancadas repletos de panos de algodão, mate, café, perfumes e quadros documentam a Exposição de Paris também por sua definição como imagem técnica: imbuídas de um pressuposto de confiabilidade, registro do real, objetos de exibição nas exposições universais, experimentadas como suvenir, arquivo, memória.
+ 
+Exposição Universal de Paris: exposição brasileira. Vista (frente) da Exposição do Sr. Alfredo Michel. Galeria das máquinas, 1889. Paris, França / Acervo Arquivo Nacional
+ 
+[1]L’ExpositionUniverselle de Paris 1889 | Un Jour de plus à Paris. Disponível em <http://www.unjourdeplusaparis.com/paris-reportage/exposition-universelle-1889> Acesso em 8 de maio de 2018
+[2]Cf. FALCON, Francisco José Calazans. De um século a outro: uma nova época ou um novo mundo? Acervo, [S.l.], v. 22, n. 1 jan-Jun, p. 7-18, nov. 2011. ISSN 22378723. Disponível em: <http://revista.arquivonacional.gov.br/index.php/revistaacervo/article/view/97>. Acesso em: 03 Jul. 2018.
+[3]BARBUY, Heloisa. O Brasil vai a Paris em 1889: um lugar na Exposição Universal. Anais do Museu Paulista. São Paulo. N. Sér. v.4 p.211-61 jan./dez. 1996. Disponível em <http://www.revistas.usp.br/anaismp/article/viewFile/5342/6872> Acesso em 20 de junho de 2018
+[4]SANJAD, Nelson. Exposições internacionais: uma abordagem historiográfica a partir da América Latina. Hist. cienc. saude-Manguinhos, Rio de Janeiro, v. 24, n. 3, p. 785-826, set. 2017. Disponível em <http://www.scielo.br/scielo.php?script=sci_arttext&pid=S0104-59702017000300785&lng=pt&nrm=iso> Acessos em 03 jul. 2018, p. 790.
+[5]A edição em francês permitia atingir autoridades e empresários na França e demais nações
+[6]Agradecemos a Mauro Domingues que tratou e formatou esse álbum, além de muitos outros registros da coleção Arquivo Nacional inseridos na Brasiliana Fotográfica, permitindo assim a sua difusão.
+[7] A degustação de café já fora promovida na Exposição Continental de Buenos Aires. Conferir “A festa do progresso: o Brasil na Exposição Continental, Buenos Aires, 1882”, de Maria do Carmo Rainho. Disponível em https://brasilianafotografica.bn.gov.br/?p=11486
+[8] Cf. BARBUY, H. Op. cit.
+[9] MACHADO, Marina Monteiro; MARTINS, Monica de Souza Nunes. A modernidade nas teias da floresta: o Brasil na exposição Universal da Filadélfia de 1876. Geosul, Florianópolis, v. 32, n. 65, p. 68-86, nov. 2017. ISSN 2177-5230. Disponível em: <https://periodicos.ufsc.br/index.php/geosul/article/view/2177-5230.2017v32n65p68>. Acesso em: 04 jul. 2018. Para essas autoras deve-se igualmente atentar para a transformação que se opera ao longo do tempo nas exposições, sua dimensão do ponto de vista da cultura de massas e a entrada em cena de artigos consumidos pelas classes trabalhadoras, indicando uma popularização desses eventos.
+[10] Cf. BARBUY, H. Op. cit.
+[11]SANJAD, N. Op. cit
+[12] O Brasil foi representado nesse espaço, em que ficavam agrupados equipamentos e eram efetuadas as demonstrações, pelas máquinas de Alfredo Michel, dentre elas “um novo systema de alambique para a destillação no vácuo”. Cf. DANTAS, Regina Maria M. Costa. A participação do Museu Nacional na Exposição Universal Internacional de 1889. Tese (Doutorado em História das Ciências e das Técnicas e Epistemologia) – Programa de Pós-graduação em História das Ciências e das Técnicas e Epistemologia/Universidade Federal do Rio de Janeiroem Paris. Disponível em http://www.museunacional.ufrj.br/semear/docs/Teses_dissertacoes_tcc/Tese_DANTASREGINA.pdf Acesso em 5 de julho de 2018.
+*Claudia Beatriz Heynemann é Doutora em História e Pesquisadora do Arquivo Nacional
+ 
+Exposição Universal de Paris: exposição brasileira. Térreo. Lado esquerdo em relação à escada, 1889. Paris, França / Acervo Arquivo Nacional
+ 
+Exposição Universal de Paris: exposição brasileira. Membros da Comissão Brasileira de Estudos na Exposição Universal de 1889, 1889. Paris, França / Acervo Arquivo Nacional
+Nota da editora: esse artigo passou a integrar uma série e mudou de título em 1º de dezembro de 2025.
+ 
+Links para os artigos sobre exposições nacionais ou internacionais publicados na Brasiliana Fotográfica
+O pintor Victor Meirelles e a fotografia na II Exposição Nacional de 1866, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 17 de agosto de 2017.
+A festa do progresso: o Brasil na Exposição Continental, Buenos Aires, 1882, de autoria de Maria do Carmo Rainho, Arquivo Nacional, publicado em 29 de março de 2018.
+Série “O Rio de Janeiro desaparecido” II – A Exposição Nacional de 1908 na Coleção Família Passos, de autoria de Carla Costa, Museu da República, publicado em 5 de abril de 2018.
+Marc Ferrez, a Comissão Geológica do Império (1875 – 1878) e a Exposição Antropológica Brasileira no Museu Nacional (1882), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 29 de junho de 2018.
+Café Brasil: o Império na Exposição Internacional de Filadélfia, de autoria de Claudia B. Heynemann, Arquivo Nacional, publicada em 4 de dezembro de 2019.
+Festa das Artes e da Indústria Segunda Exposição Nacional, 1866, de autoria de Claudia Beatriz Heynemann e Maria Elizabeth Brêa Monteiro, Arquivo Nacional, em 5 de abril de 2020.
+A apresentação do Departamento Nacional de Saúde Pública na Exposição Internacional do Centenário da Independência, de Ricardo Augusto dos Santos, Fiocruz, publicado em 13 de abril de 2020.
+A Exposição Internacional de Higiene de Dresden, de Cristiane d´Avila, Fiocruz, publicado em 5 de janeiro de 2022.
+Série 1922 – Hoje, há 100 anos VIII – A abertura da Exposição Internacional do Centenário da Independência do Brasil e o centenário da primeira grande transmissão pública de rádio no país, de autoria de Andrea C. T. Wanderley, publicado em 7 de setembro de 2022, na Brasiliana Fotográfica.
+Três álbuns fotográficos da Exposição Nacional de 1908 no Museu Histórico Nacional: Boscagli, Malta e Musso, de autoria de Maria Isabel Ribeiro Lenzi, historiadora do Museu Histórico Nacional, publicado em 25 de agosto de 2023, na Brasiliana Fotográfica.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/5047` — `itens/20.500.12156.1_5047/`
+- `20.500.12156.1/5701` — `itens/20.500.12156.1_5701/`
+- `20.500.12156.1/5654` — `itens/20.500.12156.1_5654/`
+- `20.500.12156.1/5692` — `itens/20.500.12156.1_5692/`
+- `20.500.12156.1/5651` — `itens/20.500.12156.1_5651/`
+- `20.500.12156.1/5639` — `itens/20.500.12156.1_5639/`
+- `20.500.12156.1/5670` — `itens/20.500.12156.1_5670/`
+- `20.500.12156.1/4941` — `itens/20.500.12156.1_4941/`
+- `20.500.12156.1/5687` — `itens/20.500.12156.1_5687/`
+- `20.500.12156.1/5695` — `itens/20.500.12156.1_5695/`
+- `20.500.12156.1/5697` — `itens/20.500.12156.1_5697/`
+- `20.500.12156.1/5664` — `itens/20.500.12156.1_5664/`
+- `20.500.12156.1/5638` — `itens/20.500.12156.1_5638/`
+
diff --git a/wordpress/12632-serie-o-rio-de-janeiro-desaparecido-vi-o-primeiro-palacio-da-prefeitura-municipa.md b/wordpress/12632-serie-o-rio-de-janeiro-desaparecido-vi-o-primeiro-palacio-da-prefeitura-municipa.md
new file mode 100644
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+++ b/wordpress/12632-serie-o-rio-de-janeiro-desaparecido-vi-o-primeiro-palacio-da-prefeitura-municipa.md
@@ -0,0 +1,66 @@
+---
+id: 12632
+url: "https://brasilianafotografica.bn.gov.br/?p=12632"
+titulo: "Série “O Rio de Janeiro desaparecido” VI – O primeiro Palácio da Prefeitura Municipal do Rio de Janeiro"
+autor: "Andrea Wanderley"
+data: "2018-09-12T10:30:30+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/5717", "20.500.12156.1/6283"]
+fetched_at: "2026-09-10T09:56:08.211Z"
+---
+
+# Série “O Rio de Janeiro desaparecido” VI – O primeiro Palácio da Prefeitura Municipal do Rio de Janeiro
+
+De 1892 até hoje a Prefeitura do Rio de Janeiro já ocupou sete sedes. A Brasiliana Fotográfica destaca duas imagens da primeira delas, produzidas por Marc Ferrez (1843 – 1923) e por Juan Gutierrez (c. 1860 – 1897)*, ambas na década de 1890. O presidente da República Floriano Peixoto (1839 – 1895) assinou a Lei Orgânica do Distrito Federal, em 20 de setembro de 1892, estabelecendo a Prefeitura do Rio de Janeiro e sua sede foi instalada em um palacete situado no Campo de Santana, onde permaneceu por 50 anos. Esse prédio foi demolido nos anos 1940 devido às obras de construção da avenida Presidente Vargas.
+ 
+Marc Ferrez. Palácio da Prefeitura Municipal, c. 1890. Campo de Santana, Rio de Janeiro, RJ / Acervo IMS
+ 
+Juan Gutierrez. Prédio da Prefeitura Municipalidade do Rio de Janeiro, c. 189?. Rio de Janeiro, RJ / Acervo Museu Histórico Nacional
+ 
+*A fotografia de autoria de Juan Gutierrez foi integrada ao artigo em 20 de fevereiro de 2019.
+O título deste artigo foi alterado de O primeiro Palácio da Prefeitura Municipal do Rio de Janeiro para Série O Rio de Janeiro desaparecido VI – O primeiro Palácio da Prefeitura Municipal do Rio de Janeiro, em 16 de setembro de 2021.
+ 
+Andrea C. T. Wanderley
+Editora-assistente e pesquisadora do portal Brasiliana Fotográfica
+ 
+ Fontes:
+ABREU, Alzira Alvares (coordenação geral). Dicionário histórico-biográfico da Primeira República (1889-1930) (recurso eletrônico): 1889 – 1930. Rio de Janeiro: Editora FGV, 2015.
+O Globo, 2 de janeiro de 2017
+Site da Câmara Federal
+ 
+Links para os outros artigos da Série O Rio de Janeiro desaparecido
+ 
+Série O Rio de Janeiro desaparecido I - Salas de cinema do Rio de Janeiro do início do século XX, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 26 de fevereiro de 2016.
+Série O Rio de Janeiro desaparecido II – A Exposição Nacional de 1908 na Coleção Família Passos, de autoria de Carla Costa, historiadora do Museu da República, publicado na Brasiliana Fotográfica, em 5 de abril de 2018.
+Série O Rio de Janeiro desaparecido III – O Palácio Monroe, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica, em 9 de novembro de 2016.
+Série O Rio de Janeiro desaparecido IV - A via elevada da Perimetral, de autoria da historiadora Beatriz Kushnir, publicado na Brasiliana Fotográfica em 23 de junho de 2017.
+Série O Rio de Janeiro desaparecido V – O quiosque Chopp Berrante no Passeio Público, Ferrez, Malta e Charles Dunlop, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 20 de julho de 2018.
+Série O Rio de Janeiro desaparecido VII – O Morro de Santo Antônio na Casa de Oswaldo Cruz, de autoria de historiador Ricardo Augusto dos Santos da Casa de Oswaldo Cruz, publicado na Brasiliana Fotográfica em 5 de fevereiro de 2019.
+Série O Rio de Janeiro desaparecido VIII – A demolição do Morro do Castelo, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 30 de abril de 2019.
+Série O Rio de Janeiro desaparecido IX – Estrada de Ferro Central do Brasil: estação e trilhos, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 12 de novembro de 2019.
+Série O Rio de Janeiro desaparecido X – No Dia dos Namorados, um pouco da história do Pavilhão Mourisco em Botafogo, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 12 de junho de 2020.
+Série O Rio de Janeiro desaparecido XI – A Estrada de Ferro do Corcovado e o mirante Chapéu de Sol, de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 22 de julho de 2021.
+Série O Rio de Janeiro desaparecido XII – o Teatro Lírico (Theatro Lyrico), de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 15 de setembro de 2021.
+Série O Rio de Janeiro desaparecido XIII – O Convento da Ajuda, de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 12 de outubro de 2021.
+Série O Rio de Janeiro desaparecido XIV – O Conselho Municipal, de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 19 de novembro de 2021.
+Série O Rio de Janeiro desaparecido XV – A Praia de Santa Luzia no primeiro dia do verão, de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 21 de dezembro de 2021.
+Série O Rio de Janeiro desaparecido XVI – O prédio da Academia Imperial de Belas Artes, de autoria de Andrea C.T. Wanderley, publicado na Brasiliana Fotográfica em 13 de janeiro de 2022.
+Série O Rio de Janeiro desaparecido XVII – Igreja São Pedro dos Clérigos, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 18 de março de 2022.
+Série O Rio de Janeiro desaparecido XVIII – A Praça Onze, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 20 de abril de 2022.
+Série O Rio de Janeiro desaparecido XIX – A Igrejinha de Copacabana, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 23 de junho de 2022.
+Série O Rio de Janeiro desaparecido XX – O Pavilhão dos Estados, futuro prédio do Ministério da Agricultura, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 26 de julho de 2022.
+Série O Rio de Janeiro desaparecido XXI – O Chafariz do Largo da Carioca, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 19 de setembro de 2022. 
+Série O Rio de Janeiro desaparecido XXII – A Cadeia Velha que deu lugar ao Palácio Tiradentes, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 11 de abril de 2023
+Série O Rio de Janeiro desaparecido XXIII e Avenidas e ruas do Brasil XVII - A Praia e a Rua do Russel, na Glória, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 15 de maio de 2023
+Série O Rio de Janeiro desaparecido XXIV – O luxuoso Palace Hotel, na Avenida Rio Branco, uma referência da vanguarda artística no Rio de Janeiro, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 4 de julho de 2023
+Série O Rio de Janeiro desaparecido XXV – O Theatro Phenix, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 5 de setembro de 2023
+Série O Rio de Janeiro desaparecido XXVI – Conclusão do arrasamento do Morro do Castelo por Augusto Malta, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 14 de dezembro de 2023
+Série O Rio de Janeiro desaparecido XXVII e Série Os arquitetos do Rio de Janeiro V – O Jockey Club e o Derby Club, na Avenida Rio Branco e o arquiteto Heitor de Mello (1875 – 1920), de autoria de Andrea c. T. Wanderley, editora e pesquisadora do portal, em 15 de janeiro de 2024
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/5717` — `itens/20.500.12156.1_5717/`
+- `20.500.12156.1/6283` — `itens/20.500.12156.1_6283/`
+
diff --git a/wordpress/12654-a-igreja-de-nossa-senhora-da-gloria-do-outeiro-por-cassio-loredano.md b/wordpress/12654-a-igreja-de-nossa-senhora-da-gloria-do-outeiro-por-cassio-loredano.md
new file mode 100644
index 0000000..3277bd5
--- /dev/null
+++ b/wordpress/12654-a-igreja-de-nossa-senhora-da-gloria-do-outeiro-por-cassio-loredano.md
@@ -0,0 +1,121 @@
+---
+id: 12654
+url: "https://brasilianafotografica.bn.gov.br/?p=12654"
+titulo: "A Igreja de Nossa Senhora da Glória do Outeiro por Cássio Loredano"
+autor: "Andrea Wanderley"
+data: "2018-08-10T11:27:13+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/2154", "20.500.12156.1/3010", "20.500.12156.1/4428", "20.500.12156.1/4290", "20.500.12156.1/3304"]
+fetched_at: "2026-09-10T09:56:12.003Z"
+---
+
+# A Igreja de Nossa Senhora da Glória do Outeiro por Cássio Loredano
+
+A Igreja de Nossa Senhora da Glória do Outeiro é uma das obras-primas da arquitetura portuguesa do período do Brasil colonial. Sabendo que a edificação é a preferida do caricaturista Cássio Loredano no Rio de Janeiro, inclusive tendo sido desenhada por ele para o livro “Rio, papel e lápis” (2015), a Brasiliana Fotográfica selecionou duas fotos do prédio, uma de Augusto Stahl (1828 – 1877) e outra de Georges Leuzinger (1813 – 1892), ambas produzidas em torno de 1865, e as mostrou para ele que, inspirado pelas imagens e por sua predileção, escreveu o texto que o portal publica no mês da festa de Nossa Senhora da Glória, que se comemora no dia 15 de agosto.
+ 
+A Igreja de Nossa Senhora da Glória do Outeiro por Cássio Loredano
+Cássio Loredano*
+Augusto Stahl. Nossa Senhora da Glória do Outeiro, c. 1865. Rio de Janeiro, RJ / Acervo IMS
+ 
+Antes de mais nada, uma pergunta em dois tempos. E um registro de protesto provindo de altíssima esfera. A pergunta: que necessidade terão tido os católicos cariocas de erigir, a poucas centenas de metros um do outro, dois templos em louvor da mesma virgem, Nossa Senhora da Glória? Por que a igreja do Largo do Machado se, desde pelo menos 1739, já pairava maravilhosa a outra, no alto do Outeiro, pequenina jóia incrustada no cenário prodigioso da baía?
+ 
+Augusto Malta. Igreja do Largo do Machado, s/d. Rio de Janeiro, RJ / Acervo Biblioteca Nacional
+ 
+Talvez outra irmandade devota da mesma virgem, talvez a necessidade de mais espaço e para fiéis que não desejassem sofrer subidas… E o protesto, de ninguém menos do que de Joaquim Maria Machado de Assis. O ‘bruxo’ simplesmente arrenegava daquele “templo grego imitado da Madeleine, com uma torre no meio imitada de coisa nenhuma” e desviava daquilo os olhos e o pensamento toda vez que passava pelo Largo, escreveu, para evitar o pecado de mandar templo e torre aos diabos. E tinha que fazê-lo pelo menos duas vezes ao dia, no bonde que o trazia do Cosme Velho à repartição e no que o levava de volta a casa. Mas chega. Não percamos mais tempo com a fealdade da Glória da praça, desviemos por nossa vez o pensamento e dirijamos o olhar para o Outeiro.
+Acessando o link para as fotografias da Igreja de Nossa Senhora da Glória do Outeiro disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas. 
+
+Ótimo ponto de vista é a esquina da rua da Glória com Cândido Mendes, pelo vão que a folhagem dos plátanos abre ali. É agosto, é meio-dia e é domingo, suponhamos, dia da feira da Augusto Severo, a mais simpática da cidade. Os sinos se esganiçam e puxam-nos o olhar para o alto. Céu de inverno, nuvem nenhuma, o azul profundo que um jato estraga com uma risca de giz. Como é agosto, a igrejinha está toda engalanada para a festa do dia 15. A dez de seus dezoito coruchéus foram fixados os mastros das bandeiras, duas de cada, do Brasil, de Portugal, a branca e a amarela do Vaticano e as do Rio, estado e cidade. Aí, nesse domingo ideal, vinha uma brisa empurrar de leve os panos coloridos, só para sublinhar a sempre repetida leveza da construção. Banhada de sol, a cal da fachada brilha que ofusca contra aquele fundo de cobalto.
+
+Não foram justos com a Glória os pintores viajantes que a retrataram dezenas de vezes nas vistas que fizeram da baía de Guanabara. Ou porque de muito longe não lhe vissem com clareza os detalhes ou pelo que fosse, nunca acertaram com sua forma, com sua elegância, com sua sobriedade, com sua graça. Menos o grande Thomas Ender, aquarelista que a princesa Leopoldina trouxe consigo e que voltou para Viena com o tesouro do Rio e um pouco do Brasil da segunda década do Oitocentos em seus desenhos e aquarelas. Ender e depois, é claro, a fotografia.
+
+ 
+Thomas Ender. Igreja Nossa Senhora da Glória do Outeiro, 18-?. Rio de Janeiro / Acervo BN
+
+Fotografias antigas mostram então como foi se enchendo de ruído a placidez em que a Glória está nos óleos e aquarelas. Entre o sopé do outeiro e o monumento a Cabral e Pero Vaz, foi-se aglomerando um casario desordenado, houve depois um mercado e até uma chaminé. Manuel Bandeira levou a vida se lamentando de tudo o que vinha estorvar aquele silêncio antigo, coroando com a competição desonesta que a mole do Hotel Glória veio fazer à igreja na paisagem. (Agora, temos a mole – e depenada pelo infeliz que soltaram e cuja dívida fica para ser paga no Hades.) Ao menos nos vimos livres daquele certo mafuá que tinha se formado no entorno imediato do outeiro. E veio Lúcio Costa com seu tino certeiro para assuntos de patrimônio e construiu aquelas belas rampas de acesso ao adro da igreja com as pedras retiradas do cais do Flamengo com a construção do Aterro.
+
+ 
+Georges Leuzinger. A Glória vista do Passeio Público, c. 1865. Rio de Janeiro, RJ / Acervo IMS
+
+As rampas e seus patamares, quando o portão verde está aberto, são a subida mais bonita. Pelo lado da rua do Russel, existe para constar um plano inclinado que nunca está funcionando. Então, é subir pela Ladeira da Glória, que arranca do início da rua do Catete. A partir da praça de Nossa Senhora da Glória, lá em cima, a rua muda de nome e desce mais comprida, portanto menos íngreme, como Ladeira de Nossa Senhora, para desaguar no exosqueleto do Hotel Glória. É outra opção de subida.
+
+Chegados à praça, damos, no centro do muro de arrimo do adro, com uma imagem sem interesse da virgem dentro de uma vitrine. De cada lado da vitrine estão os portões das escadas que convergem para a entrada do adro. Aberto está sempre só o da esquerda. O adro da Glória do Outeiro, um retângulo com os ângulos chanfrados, não é imenso mas é amplo em relação ao diminuto templo. É um dos espaços arquitetônico-urbanísticos mais generosos e felizes da cidade e a sensação de ali estar é das mais agradáveis possíveis, sensação de plenitude, de comunhão com a maravilhosa vista que dali se tem. (Neste espaço, José de Alencar imaginou a primeira cena de Lucíola, num entardecer de 15 de agosto, a festa da Glória. Em meio ao povaréu que está no adro, duas personagens masculinas põem-se a falar de linda dama desacompanhada que observam e que só um deles conhece. E mais não digo, para não bancar o spoiler.)
+
+Augusto Malta. Praia do Russell, s/d. Rio de Janeiro, RJ / Acervo AGCRJ
+
+Eis a igreja, em suas delicadas proporções. A torre única, central, de base quadrada, se eleva a partir de um pórtico em cantaria de pedra com uma abertura frontal e duas laterais, todas em arcos plenos. A partir da altura do coro, a torre sobe em pilastras de pedra e alvenaria caiada até a cimalha e daí sai a sineira de alvenaria entre cunhais de pedra, tudo arrematado por quatro coruchéus e um bulbo de base octogonal com seu galo e sua cruz. Este bulbo foi a principal pedra no sapato daqueles pintores viajantes. Mas não acertaram mesmo. Só o austríaco.
+
+A portada principal, a do pórtico, e as duas laterais de acesso à nave da igreja só se abrem em dias de serviço, casamentos, batismos, encomenda de almas. Em dias normais, a entrada é por trás, por uma das portas da sacristia. É preciso contornar a igreja. E mesmo que assim não fosse, a generosidade do adro nos convida, quase que nos obriga a essa volta em torno da construção. O espaço e a própria forma da igreja. Sua planta a partir do quadrado do pórtico/torre são dois octógonos irregulares, oblongos, um maior, o da nave, e outro menor, o da sacristia, interligados por uma cintura entre eles. O da nave é mais alto, contém o térreo e o nível do coro e das galerias que levam às tribunas, enquanto o da sacristia só tem térreo. Esses catorze ângulos externos dão ao corpo da igreja um dinamismo único e de cada um sobe uma pilastra de cantaria até a cimalha e seus catorze coruchéus ou pináculos.
+
+Mas entremos pela sacristia. Mosaico xadrez preto e branco no chão; o grande aparador de madeira castanha escura com seus gavetões; os paramentos; a alfaia rebrilhando. A toda a volta, nas paredes, uma barra de azulejos de onze quadrados de altura – na nave, a altura da barra sobe para dezesseis azulejos -, que o BNDES fez restaurar há alguns anos. Mandou vir a equipe que fizera a restauração da azulejaria de São Francisco da Penitência da Bahia. Para os níveis mais baixos dos painéis, o pessoal tinha que trabalhar deitado no chão. “Não foram baianos”, alguém brincou. Quando na verdade a posição era extremamente desconfortável e dolorosa para braços e pescoços.
+Dois corredores, que saem da sacristia um para cada lado e envolvem por fora a capela-mor lá dentro, conduzem às passagens que dão ingresso à nave. Muito do que aqui se fez até agora foi repetir as lições magistrais da professora Sandra Alvim em seus três volumes da Arquitetura religiosa colonial no Rio de Janeiro (Editora da UFRJ/IPHAN/Prefeitura do Rio/Faperj,1997/1999/2014). Uma vez dentro da igreja, é melhor darmos-lhe diretamente a palavra para que nos guie o olhar e nos ensine a ver a beleza daquela austeridade inaugural, na contramão da tendência do século ao luxo da talha e do ouro, dos forros coloridos, do ornamento em suma.
+
+“A Igreja da Glória é uma das poucas do Rio de Janeiro na qual o espaço interno é definido pela construção propriamente dita. Não é a talha que organiza o espaço, e sim as superfícies das paredes estruturais e os elementos arquitetônicos de cantaria. O aspecto de obra acabada do seu interior foi tão forte e excepcional que não necessitou do preenchimento posterior com ornamentação em talha. Esta se restringiu aos altares e elementos complementares como os púlpitos, o coro e as sanefas. Até mesmo os nichos para os retábulos laterais foram definidos por arcos de cantaria, posteriormente encobertos pela talha dos altares. Outra importante característica da Igreja da Glória é a sua abundante iluminação natural, fato inédito entre as igrejas locais. Esse fato define uma mudança radical em relação às igrejas escuras da primeira fase [da arquitetura religiosa no Brasil] e revela também o apuro técnico de sua construção. Isso porque as grandes janelas laterais da nave foram abertas nas altas paredes que sustentam o empuxo exercido pela abóbada, sem comprometer suas funções estáticas.”
+
+Tal domínio técnico e a qualidade formal da construção tornaram desnecessário o “uso de talha contínua para esconder as incorreções construtivas e a deficiência compositiva, como ocorria nas igrejas que então se realizavam”. À madeira, ao ouro, às cores, preferiu-se e se decidiu por deixar nuas a pureza de linhas e a perfeição estrutural do projeto atribuído ao tenente-coronel engenheiro José Cardoso Ramalho.
+
+ 
+Augusto Malta. Igreja do Outeiro da Glória, s/d. Rio de Janeiro, RJ / Acervo BN
+
+ 
+
+Um pouco de história e uma fofoca. Imagine-se a esquadra que trazia a família real em 1808 entrando na barra, entre a fortaleza de Santa Cruz e o Pão de Açúcar. O outeiro e a pequenina Glória são a primeira coisa da velha cidade que dali se avista, na época ainda diretamente debruçados sobre a baía, sem nenhum dos vários aterros que agora os mantêm tão apartados da água. Só pouco depois aparecem as igrejas do Castelo: São Sebastião e o Colégio dos Jesuitas.
+
+Pedro, filho do regente d. João, que também vem embarcado, tem nove para dez anos. Vai se casar dali a nove anos com Leopoldina, a princesa austríaca que trará consigo aquele nosso Thomas Ender. O novel casal, certamente encantado com a mimosa igrejinha, elegerá a Glória para batizar todas as primeiras crianças brasileiras das casas de Bragança e Habsburgo, esta a linhagem dos ‘Áustrias’.
+
+Parêntese, para tentar acabar com essa história de nossas matas, nosso ouro. Quem desenhou a bandeira do Brasil independente, depois de 1822, foi Debret, um daqueles artistas napoleônicos que ficaram desempregados depois de Waterloo e vieram bater às portas de palácios brasileiros, – e para quem arranjaram o eufemismo de “missão” francesa. Inspirado talvez nos estandartes dos regimentos napoleônicos, Debret botou um losango na bandeira, losango amarelo, cor dos Habsburgo, dentro do campo verde da casa de Bragança, sendo ainda o losango em heráldica a forma em que tradicionalmente se inscrevem os brasões das damas. Diz João Guilherme C. Ribeiro, em Bandeiras que contam histórias (ed. Zit, 2003), que “provavelmente a brasileira foi a primeira bandeira nacional a honrar uma mulher”.
+
+Mas voltando. Na Glória foi batizado por exemplo o menino Pedro, futuro segundo imperador, mas antes dele a primogênita de Pedro e Leopoldina, Maria da Glória. Esta brasileirinha terá grande importância na história de Portugal. Quando d. João VI morreu em Lisboa em 1826, d. Pedro, que tinha sobre a cabeça a coroa brasileira, abdicou do trono português em favor de Maria da Glória, que tinha só sete anos. Propôs o casamento da garota com seu tio Miguel, irmão mais novo dele, Pedro, e determinou que o consorte fosse o regente da futura esposa até a maioridade desta. Mas Miguel se auto-coroou rei ele mesmo e Pedro ficou fulo do lado de cá do Atlântico. Abdicou de novo, dessa vez do trono brasileiro e partiu para guerrear o irmão. Ganhou – e o nosso Pedro I é o Pedro IV de lá. Oficialmente, foi uma guerra civil portuguesa de três anos entre absolutistas, os miguelistas, e liberais, os partidários de Pedro. Mas Evaldo Cabral de Melo bota pimenta no assunto. Diz que Miguel era só meio-irmão de Pedro. E não era por parte de pai, mas sim só da espanhola. Ora, não sendo filho do rei morto… Vá saber.
+
+O fato é que Maria da Glória foi d. Maria II de Portugal. (Maria I foi sua bisavó, a louca, que morreu no Brasil.) D. Pedro IV é o nome oficial do Rossio, praça-umbigo de Lisboa. Está ele no centro da praça, de pé sobre altíssima coluna, olhando para a fachada do Teatro D. Maria II, o ‘municipal’ lá deles.
+
+Irmão mais novo da brasileira rainha de Portugal, nosso Pedro II também batizou a filharada toda no Outeiro, inclusive a Redentora. E concedeu à irmandade dona da igreja o direito de usar ‘imperial': Imperial Irmandade de Nossa Senhora da Glória do Outeiro, oficialmente. O brasão da família imperial está entalhado em madeira com detalhes em dourado no alto do arco-cruzeiro da igreja.
+
+*Cássio Loredano é caricaturista.
+
+ 
+Pequena cronologia da Igreja de Nossa Senhora da Glória do Outeiro
+
+Cássio Loredano. A Igreja de Nossa Senhora da Glória do Outeiro, 2015. Do livro “Rio, papel e lápis”(2015)
+ 
+1608 – Segundo o site oficial da Imperial Irmandade de Nossa Senhora da Glória do Outeiro, “alguns anos após a fundação da cidade, quando no ano de 1608, um certo Ayres colocou uma pequena imagem da Virgem numa gruta natural existente no morro”. Assim começava no Rio de Janeiro a devoção à Nossa Senhora da Glória.
+1671 - Ainda segundo o site oficial,  as origens históricas remontam a a esse ano quando o “ermitão Antonio Caminha, natural do Aveiro, esculpiu a imagem da Virgem em madeira e ergueu uma pequena ermida no “Morro do Leripe”, onde já existia a gruta, formando-se em torno um círculo de devotos”.
+1699 – Em 20 de junho, as terras com o nome de Chácara do Oriente, que compreendiam o outeiro, e que pertenciam a Cláudio Gurgel do Amaral, irmão da Ordem 3ª da Penitência e da Santa Casa de Misericórida, foram doadas à confraria de Nossa Senhora em escritura pública com a condição de que se fosse construída uma capela permanente e que nela fossem sepultados o doador e seus descendentes.
+1701 – O padre João Caminha, filho de Antônio, foi designado em documento de 1º de abril capelão do coro da ermida.
+1714 –  Segundo o Santuário Mariano, a Irmandade para cultuar Nossa Senhora da Glória possuía, nesse ano, quando foi iniciada a construção da Igreja da Glória, “quantidade de dinheiro para dar princípio a uma nova e grande igreja de pedra e cal, porque a primeira que se fez foi de madeira e barro.”
+1739 – Conclusão da contrução da Igreja da Glória. Seu projeto é atribuído ao tenente-coronel José Cardoso Ramalho.
+Instituição canônica da Irmandade de Nossa Senhora da Glória, em 10 de outubro, por ato do bispo do Rio de Janeiro, Frei Antonio de Guadalupe.
+1808 – Chegada da família real portuguesa ao Rio de Janeiro, em 8 de maio. A predileção da Corte Portuguesa pela Igreja da Glória deu a ela muito prestígio.
+ 1819 – A neta de D. João VI (1767 – 1826), filha de d. Pedro I (1798 – 1934), a princesa Maria da Glória (1819 – 1853), foi consagrada à Virgem da Glória e a partir de então os membros da família Bragança, nascidos no Brasil, são consagrados a ela.
+1849 –  D. Pedro II outorgou o título de “Imperial” à Irmandade Nossa Senhora da Glória, em 27 de dezembro. Após esta data todos seus descendentes nascidos no Brasil são membros da mesma.
+1937 – A Igreja de Nossa Senhora da Glória do Outeiro foi, durante o governo de Getulio Vargas (1882 – 1954), declarada Monumento Nacional.
+1938 – O tombamento definitivo da Igreja de Nossa Senhora da Glória do Outeiro está inscrito no Livro Tombo do Ministério de Educação, de 4 de maio de 1938, assinado por Rodrigo de Franco de Andrade (1898 – 1969), então presidente do Serviço do Patrimônio Histórico e Artístico Nacional (SPHAN, atual IPHAN).
+1939 - Comemoração dos 200 anos da Irmandade de Nossa Senhora da Glória (Jornal do Brasil, 4 de outubro de 1939, segunda coluna, e Jornal do Brasil, 11 de outubro de 1939, quinta coluna).
+1950 – Em 1° de novembro de 1950, o Papa Pio XII (1876 – 1958) proclamou o Dogma da Assunção da Virgem Maria e conferiu à Igreja da Glória o título de Basílica Nacional da Assunção (Correio da Manhã, 2 de novembro de 1950).
+Foi publicada, na revista O Cruzeiro, 2 de setembro de 1950, uma fotografia de autoria de Luciano Carneiro da iluminação da Igreja de Nossa Senhora da Glória do Outeiro.
+1965 - Dentro da programação de celebração do 4º Centenário da Fundação do Rio de Janeiro, foi construída pela administração estadual uma nova rampa de acesso à Igreja da Glória intercalada por terraços, um projeto do arquiteto Lúcio Costa (1902 – 1998), defensor da obra desde a década de 40.
+Uma curiosidade: na revista O Cruzeiro de 27 de maio de 1961, foi publicada a matéria Um aquarelista inglês no Rio Imperial, sobre o pintor Emerica Essex Vidal (1791 – 1861), ilustrada com o trabalho Igreja da Glória em 1937.
+ 
+Igreja da Glória em 1837, por Emerica Essex Vidal, O Cruzeiro, 27 de maio de 1961
+ 
+Andrea C. T. Wanderley
+Editora-assistente e pesquisadora do portal Brasiliana Fotográfica
+Fontes:
+Hemeroteca Digital da Biblioteca Nacional
+Outeiro da Glória: marco na história da cidade do Rio de Janeiro…[et al]: organizado por [Roberto Padilla]: fotografias de [Zeca Pinheiro Guimarães…et al]. – João Pessoa: Artepadilla, 2015.
+Portal do IPHAN
+Site Infopatrimônio
+Site oficial da Imperial Irmandade Imperial de Nossa Senhora da Glória do Outeiro
+SUZUKI, Marcelo. As rampas do Outeiro da Glória. Artigo da revista ArqTexto, da Universidade Federal do Rio Grande do Sul.
+TELLES, Augusto C. da Silva. Nossa Senhora da Glória do Outeiro. Rio de Janeiro: Livraria Agir Editora, 1969.
+Desenho A festa da Glória, publicado na capa do Jornal do Brasil de 15 de agosto de 1903
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/2154` — `itens/20.500.12156.1_2154/`
+- `20.500.12156.1/3010` — `itens/20.500.12156.1_3010/`
+- `20.500.12156.1/4428` — `itens/20.500.12156.1_4428/`
+- `20.500.12156.1/4290` — `itens/20.500.12156.1_4290/`
+- `20.500.12156.1/3304` — `itens/20.500.12156.1_3304/`
+
diff --git a/wordpress/12743-vacinacao-no-brasil-uma-historia-centenaria.md b/wordpress/12743-vacinacao-no-brasil-uma-historia-centenaria.md
new file mode 100644
index 0000000..0c3f924
--- /dev/null
+++ b/wordpress/12743-vacinacao-no-brasil-uma-historia-centenaria.md
@@ -0,0 +1,62 @@
+---
+id: 12743
+url: "https://brasilianafotografica.bn.gov.br/?p=12743"
+titulo: "Vacinação no Brasil, uma história centenária"
+autor: "Andrea Wanderley"
+data: "2018-08-17T11:21:27+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/5741", "20.500.12156.1/5742", "20.500.12156.1/5745", "20.500.12156.1/5746", "20.500.12156.1/5747", "20.500.12156.1/5749"]
+fetched_at: "2026-09-10T09:56:15.287Z"
+---
+
+# Vacinação no Brasil, uma história centenária
+
+A história da virologia e da luta dos cientistas para a erradicação de moléstias no Brasil tem uma longa trajetória. No livro A virologia no Estado do Rio de Janeiro: uma visão global – relançado em 2012 e disponibilizado em junho último para download gratuito, os autores Hermann G. Schatzmayr (Fiocruz) e Mauroli C. Cabral (Universidade Federal do Rio de Janeiro – UFRJ) reuniram textos próprios e de outros cientistas. A obra descreve os primeiros fatos historicamente registrados e a luta dos virologistas contra as moléstias que até hoje nos afligem. Com fotografias produzidas entre 1904 e 1905 e trechos selecionados do livro, a jornalista Cristiane d´Avila, do Departamento de Arquivo e Documentação da Casa de Oswaldo Cruz, conta, na Brasiliana Fotográfica, um pouco dessa história, principalmente sobre o combate à febre amarela empreendido por Oswaldo Cruz, no início do século XX.
+ 
+Vacinação no Brasil, uma história centenária
+Cristiane d’Avila*
+A Campanha Nacional de Vacinação, lançada em 6 de agosto último pelo Ministério da Saúde, pretende imunizar milhões de pessoas contra o sarampo e a poliomielite, entre crianças e adultos. Um dos programas mais bem-sucedidos do Sistema Único de Saúde (SUS) brasileiro, este ano a campanha será fomentada por um fato novo, porém preocupante: o retorno de doenças consideradas, há muito, extintas.
+Especialistas e a sociedade como um todo reconhecem o sucesso do Programa Nacional de Imunização brasileiro que de tão exitoso colocou o país no rol das nações que extinguiram as doenças agora combatidas. Contraditoriamente, o êxito fez com que gerações que não vivenciaram os surtos e efeitos dessas doenças passassem a considerar a vacinação desnecessária. Somou-se a esse fator o movimento antivacinal, com adeptos não só no Brasil, e o resultado mostra-se agora alarmante, com recentes casos de febre amarela, sarampo e poliomielite.
+Acessando o link para as fotografias da vacinação no Rio de Janeiro entre 1904 e 1905 disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+A história da virologia e da luta dos cientistas para a erradicação de moléstias no Brasil tem uma longa trajetória. No livro A virologia no Estado do Rio de Janeiro: uma visão global – relançado em 2012 e disponibilizado em junho último para download gratuito, os autores Hermann G. Schatzmayr (Fiocruz) e Mauroli C. Cabral (Universidade Federal do Rio de Janeiro – UFRJ) reavaliam e ampliam a primeira edição, reunindo textos próprios e de outros cientistas.
+A obra apresenta uma visão global da virologia no Rio ao longo de mais de um século, descrevendo os primeiros fatos historicamente registrados e a luta dos virologistas contra as moléstias que até hoje nos afligem. Selecionamos trechos do livro e fotos do acervo do Departamento de Arquivo e Documentação da Casa de Oswaldo Cruz para contar um pouco essa história, principalmente sobre o combate à febre amarela empreendido por Oswaldo Cruz, no início do século XX.
+Oswaldo Cruz, que havia acompanhado com entusiasmo as notícias então recentes da eliminação da febre amarela em Cuba no início do século XX, com base nas propostas de Juan Carlos Finley, estava seguro da transmissão da doença pelo Aedes aegypti e lançou-se ao trabalho com invulgar determinação, propondo alcançar os mesmos resultados de Cuba em três anos.
+O plano para o combate à febre amarela começou em 1903 e incluía, entre outras medidas, a entrada nas casas para eliminar os focos de mosquito. Mesmo com uma decisão do Supremo Tribunal garantindo a inviolabilidade do lar, a metodologia utilizada nas residências para a eliminação de focos de mosquitos e o isolamento dos doentes sob telas de proteção para que não transmitissem a infecção atingiram plenamente os objetivos propostos. A redução do número de óbitos ao longo dos anos seguintes foi por demais convincente para superar as resistências ainda existentes.
+ 
+Anônimo. Serviço de Profilaxia da febre amarela: partida de uma turma para isolamento de um doente, 1904. Rio de Janeiro, RJ / Acerco Casa de Oswaldo Cruz
+ 
+Anônimo. Profilaxia da Febre Amarela: turma de expurgo., 1905. Rio de Janeiro, RJ / Acervo Casa de Oswaldo Cruz
+ 
+Oswaldo Cruz assim descreveu o seu método de exterminação de mosquitos nas habitações: “A casa a expurgar é completamente fechada. A todas as frestas e orifícios são colladas tiras ou pedaços de papel (…). “As communicações com os forros são abertas depois de ser todo o telhado coberto com toldos de lona, fixados por meio de sarrafos às paredes externas do prédio. Após cubagem de todo o imóvel, é o enxofre queimado na proporção de 10 a 20 grammas por metro cúbico (…). O ar aquecido pela combustão e deslocado pelos vapores sulfurosos escapa-se através das malhas do toldo, passando-se por entre as telhas; os mosquitos, porém, não podem acompanhar a sahida do ar ainda não saturado de gaz sulfuroso, por que ficam retidos pela cobertura do telhado. A casa a expurgar permanece fechada durante duas horas no mínimo” (Oswaldo Cruz 1909).
+ 
+Anônimo. Isolamento de residência infectada pelo mosquito da febre amarela, 1905. Rio de Janeiro, RJ / Acerco Casa de Oswaldo Cruz
+ 
+No primeiro semestre de 1904 foram feitas cerca de 110 mil visitas domiciliares e interditados 626 edifícios e casas. Os pacientes de febre amarela eram internados em hospitais e isolados para impedir que fossem picados pelos artrópodos vetores. As estatísticas de casos de febre amarela, as quais registraram cerca de mil mortes em 1902, baixaram para apenas 48 já em 1904.
+ 
+Anônimo. Quartos em tela metálica para isolamento de doentes atacados de Febre Amarela, 1905. Rio de Janeiro, RJ / Acervo Casa de Oswaldo Cruz
+ 
+Em 1909 não foi registrada na cidade do Rio de Janeiro mais nenhuma vítima da doença, fato extraordinário e impensável alguns anos antes. Em relação à varíola, em 1904 3.566 pessoas haviam morrido vítimas da doença, caindo o número para nove casos dois anos depois, pela ação da campanha de vacinação introduzida por Oswaldo Cruz. Em 1908, uma nova epidemia elevou os óbitos para cerca de 6.550, como resultado do baixo número de vacinações alcançado.
+ 
+Anônimo. Brigada contra mosquito do Serviço de Profilaxia da febre amarela, 1905. Rio de Janeiro, RJ / Acerco Casa de Oswaldo Cruz
+ 
+Anônimo. Aparelhos Clayton para os serviços de Profilaxia terrestre, 1905. Rio de Janeiro, RJ / Acervo Casa de Oswaldo Cruz
+ 
+Uma análise crítica das campanhas contra a varíola e principalmente contra a febre amarela nos mostra uma associação perfeita entre conhecimentos científicos e os trabalhos de campo neles baseados. Em 1908, como reconhecimento pelo seu trabalho, o Presidente Afonso Pena renomeou o Instituto de Manguinhos como Instituto Oswaldo Cruz. (SCHATZMAYR; CABRAL, 2012).
+ 
+*Cristiane d’Avila é  jornalista do Departamento de Arquivo e Documentação da Casa de Oswaldo Cruz
+ 
+Fontes:
+A virologia no Estado do Rio de Janeiro: uma visão global
+Publicação retrata impactos da gripe espanhola no Rio de Janeiro
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/5741` — `itens/20.500.12156.1_5741/`
+- `20.500.12156.1/5742` — `itens/20.500.12156.1_5742/`
+- `20.500.12156.1/5745` — `itens/20.500.12156.1_5745/`
+- `20.500.12156.1/5746` — `itens/20.500.12156.1_5746/`
+- `20.500.12156.1/5747` — `itens/20.500.12156.1_5747/`
+- `20.500.12156.1/5749` — `itens/20.500.12156.1_5749/`
+
diff --git a/wordpress/12752-de-453-anos-de-documentos-a-125-anos-de-trajetoria-as-origens-do-arquivo-geral-d.md b/wordpress/12752-de-453-anos-de-documentos-a-125-anos-de-trajetoria-as-origens-do-arquivo-geral-d.md
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@@ -0,0 +1,85 @@
+---
+id: 12752
+url: "https://brasilianafotografica.bn.gov.br/?p=12752"
+titulo: "De 453 anos de documentos a 125 anos de trajetória: as origens do Arquivo Geral da Cidade do Rio de Janeiro"
+autor: "Andrea Wanderley"
+data: "2018-08-03T12:13:29+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/5750", "20.500.12156.1/5731", "20.500.12156.1/5733", "20.500.12156.1/5734", "20.500.12156.1/5737", "20.500.12156.1/5751", "20.500.12156.1/5730"]
+fetched_at: "2026-09-10T09:56:18.749Z"
+---
+
+# De 453 anos de documentos a 125 anos de trajetória: as origens do Arquivo Geral da Cidade do Rio de Janeiro
+
+A Brasiliana Fotográfica festeja os 125 anos do Arquivo Geral da Cidade do Rio de Janeiro – AGCRJ – com a publicação de um artigo de Beatriz Kushnir, diretora da instituição. Criado em 5 de agosto de 1893, o ACGRJ é um dos parceiros do portal. É o gestor da documentação produzida pelo poder público no decorrer do exercício de suas funções administrativas, custodiando os documentos necessários para subsidiar a Prefeitura. Além disso detém informações imprescindíveis para o cidadão e para o pesquisador respectivamente na busca de comprovação de direitos e na reconstrução do passado.
+De 453 anos de documentos a 125 anos de trajetória: as origens do Arquivo Geral da Cidade do Rio de Janeiro
+Beatriz Kushnir*
+A tradição lusa nos Arquivos brasileiros marca a pujança dos acervos que chegaram até nós. Aprendemos com os portugueses os trâmites burocráticos e a circularidade dos documentos, permitindo que recuperemos informações que possam ter se perdido aqui ou ali. Isto explica o porquê do Arquivo Geral da Cidade do Rio de Janeiro (AGCRJ) ser uma das instituições de arquivo que concentra uma das mais antigas coleções documentais do país, cuja origem é a da fundação da muy leal e heroica cidade de São Sebastião do Rio de Janeiro, estabelecida em 1º de março de 1565, quando o governador e capitão-mor Estácio de Sá lançou o marco à entrada da baía de Guanabara, entre os morros Cara de Cão e Pão de Açúcar, no atual bairro da Urca.
+Seguindo as determinações da legislação em vigor na Coroa, Estácio de Sá instituiu o Regimento e o Foral da municipalidade, que regulamentaram os deveres, privilégios e direitos dos que aqui morariam. Ao estabelecer o governo local, produziu os primeiros documentos da cidade que, ao receber esse título, aferiu ao Rio uma autonomia administrativa e judiciária que uma simples vila não teria. Durante o período colonial, a ordenação jurídica portuguesa determinou que a Câmara Municipal exercesse as funções administrativas, políticas, legislativas, judiciais, fazendárias e policiais, já que não houve uma separação de poderes e atribuições. Segundo Boris Fausto, nos dois séculos iniciais da colonização, a Câmara Municipal tornou-se, na prática, a principal autoridade da Capitania, superpondo-se aos capitães-governadores e, em certos casos, exigindo da Coroa a sua substituição. Neste sentido, Fernanda Bicalho defende que o Conselho Municipal “gozou, durante todo o século XVII, de uma autonomia impensável para quem se detém no estudo de suas funções na centúria seguinte”[1].
+ 
+Augusto Malta. Arquivo Geral da Cidade do Rio de Janeiro, s/d. Paço Municipal, Rio de Janeiro, RJ / Acervo AGCRJ
+ 
+Em conformidade com as Ordenações portuguesas, “(…) o primeiro escrivão da Câmara Municipal, Diogo de Oliveira, foi incumbido de registrar em livros próprios e de guardar em uma ‘arca grande e boa’ as cartas de doação de sesmarias concedidas por Estácio de Sá aos jesuítas, à municipalidade e aos primeiros povoadores; as cartas forais; os termos de provimento dos camaristas municipais; as provisões cíveis dos porteiros, pregoeiros, alcaides, carcereiros, tabeliães, escrivães, ouvidores, provedores da Fazenda e dos demais oficiais da municipalidade”. Esta arca grande e boa é a origem do Arquivo da Câmara Municipal, cujo acervo foi transferido a recém-instituída Prefeitura do Distrito Federal quando do decreto nº 44, de 05 de agosto de 1893, assinado pelo Prefeito Henrique Valadares (1893-1895). A instituição, denominada Archivo do Distrito Federal, passou por diversas configurações e status, completando este ano, 125 anos como um órgão da Prefeitura.
+Da efeméride que se comemora, mapearam-se os seus diversos momentos. Desta forma, é significativo conhecer e reconhecer as vitórias e desafios desta empreitada. Desde 1882, quando foi construído o Paço Municipal, nas proximidades do Campo da Aclamação (atual Praça da República), o antigo Arquivo da Câmara funcionou em seu pavimento superior. Com o estabelecimento da República, o prédio passou a abrigar a nova administração e, oficialmente, a partir da promulgação da Lei Orgânica Municipal de 1892, a Prefeitura do Distrito Federal.
+ 
+Augusto Malta. Paço Municipal. Rio de Janeiro, RJ / Acervo AGCRJ
+ 
+As suas atividades não passavam despercebidas e no jornal carioca A Notícia de 24 de julho de 1912, registrava-se que em 1910 o Archivo do Distrito Federal foi transferido para o andar térreo. De acordo com o informativo, na sala de expediente, localizada ao lado da portaria, realizava-se a coordenação, classificação e catalogação dos documentos. O espaço foi descrito como ornamentado com 14 plantas da cidade, além de móveis de época, que abrigam flâmulas de diferentes fases políticas do país, demarcando a mescla entre municipal e federal que a cidade e suas instituições tinham. Em sala anexa, funcionava o Archivo do Distrito Federal, com sua farta documentação administrativa e histórica, concernente a diferentes assuntos sobre a cidade. A nova instalação contava com três pavimentos divididos por estantes metálicas. 
+“No primeiro pavimento – que é o térreo – há seis estantes, seccionadas por 12 corpos, contendo prateleiras sobre as quais assentam 1334 caixas portáteis. Cada caixa tem uma etiqueta indicando número de ordem e designação do departamento municipal ao qual se referem os documentos arquivados. Dois lances de escadas, ladeados por gradil de ferro com corrimões de metal dourado, dão acesso aos pavimentos superiores. (…) O segundo pavimento tem as mesmas estantes e corpos que o primeiro, mas suas prateleiras diferem das do andar térreo. Assentam ou encaixam as extremidades em dentes e podem ser graduadas conforme as dimensões dos livros (…). Todo pavimento que se assemelha a um passadiço dos novos transatlânticos é circundado por gradil de ferro encimado por uma balaustrada de metal dourado. O 3º e último é em tudo semelhante ao segundo. É o mais resguardado e o menos ventilado. Nos dois pavimentos superiores há lugar para serem arrumados cerca de 10.000 livros.(…).” 
+No panorama de alterações da burocracia administrativa, o Archivo do Distrito Federal passou por diversos nomes, subordinações e endereços desde 1893, continuando a funcionar no prédio do Paço Municipal até a sua demolição para a abertura da Avenida Presidente Vargas, nos anos 1940. A partir de 1º de junho de 1944, foi transferido para o antigo Palácio das Festas, onde anteriormente era sediado o Departamento de Rendas Diversas, da Secretaria de Fazenda da Prefeitura, na Rua Santa Luzia, nº 11. No período que se seguiu, o Archivo do Distrito Federal passou por dificuldades expostas nos relatórios de vários de seus dirigentes. Mas vale pontuar, como as imagens demonstram, a preocupação com as instalações de áreas de tratamento documental e serviços executados no acervo, bem como as reuniões da Comissão de Logradouros, já em 1949, e que retornou ao AGCRJ em 2006, como uma câmara de assessoramento na indicação de nomes para as ruas da cidade.
+ 
+Anônimo. Arquivo Geral da Cidade do Rio de Janeiro, s/d. Rua Santa Luzia, Rio de Janeiro, RJ / Acervo AGCRJ 
+ 
+Anônimo. Arquivo Geral da Cidade do Rio de Janeiro, microfilme, s/d. Rua Santa Luzia, Rio de Janeiro, RJ / Acervo AGCRJ
+ 
+Em 1960, com a transferência da Capital Federal para Brasília, o Rio tornou-se Estado da Guanabara. Da Rua Santa Luzia, em 1963 o Archivo do Distrito Federal foi transferido mais uma vez, ocupando o Palácio da Marquesa de Santos, na Avenida Pedro II, em São Cristóvão. Dali, o acervo foi novamente deslocado para o número 400 do mesmo logradouro, ocupando o segundo andar da oficina de conserto de móveis escolares, da Secretaria de Educação e Cultura.
+A professora Terezinha Saraiva, Secretária de Educação e Cultura do Estado da Guanabara, no governo Carlos Lacerda (1960-5), e a primeira Secretária Municipal de Educação e Cultura da Cidade do Rio de Janeiro, após a fusão, no governo Marcos Tamoyo (1975-9), lembrou em depoimento a mim e a Sandra Horta que lutou pelo Arquivo da Cidade, porque tinha uma dívida que não conseguiu cumprir como secretária de Carlos Lacerda. O governador, na área da cultura a incumbiu de três tarefas: recuperar o Teatro João Caetano, que estava abandonado; criar um Museu do Primeiro Reinado, na Casa da Marquesa de Santos, então abandonada; e acomodar o Arquivo da Cidade do Rio de Janeiro.
+“Quando cheguei à Secretaria de Educação e Cultura do Município do Rio tinha uma preocupação que não consegui resolver: o Arquivo”. Então, “em 1975, assumo a Secretaria e digo assim: ‘Onde está o Arquivo da Cidade?’. Estava no mesmo lugar. Fui lá, na mesma hora. (…) [E dali], fui direto falar com o Tamoyo, que estava no Palácio da Cidade. Falei: ‘Tamoyo, nós temos que assumir hoje um compromisso com a cidade do Rio de Janeiro’. Contei essa história toda de 1965 e ele falou: ‘Vamos cumprir isso!’. Então, a primeira coisa a se fazer é arranjar um terreno, que seja um lugar acessível” (KUSHNIR e HORTA, 2011).
+O AGCRJ formalmente instalado, mesmo com o prédio não finalizado, à Rua Amoroso Lima, nº 15, foi inaugurado no último dia da gestão de Tamoyo, em 14 de março de 1979. O edifício, de instalações adequadas ao seu uso, foi então o primeiro prédio construído para abrigar um arquivo na América Latina. A então Diretora, Lia Malcher, lembrou que a importância da instituição “está em você resguardar esta documentação histórica, preservar a documentação e a colocá-la disponível para o pesquisador de caráter científico e cultural ou para o cidadão que aqui vem procurar a comprovação de seus direitos” (KUSHNIR e HORTA, 2011).
+ 
+Anônimo. Arquivo Geral da Cidade do Rio de Janeiro, s/d. Cidade Nova, Rio de Janeiro / Acervo AGCRJ
+ 
+Em momentos como esse, onde a partir da efeméride dos 125 anos, repensamos a instituição, vale sublinhar que importantes nomes da Arquivologia e da pesquisa Histórica trabalharam no e pelo AGCRJ, como seus diretores-gerais ou dirigentes de áreas específicas, como: Pires de Almeida, Noronha Santos, Restier Gonçalves, Helena Corrêa Machado, Werneck da Silva, Afonso Carlos Marques dos Santos, Paulo Elian, José Maria Jardim, e tantos outros.
+Acessando o link para as fotografias de sedes e do interior do Arquivo Geral da Cidade do Rio de Janeiro disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+Marcos de um arrojo administrativo, a Prefeitura do Rio em 2003 regulamentou por decreto a Lei 3.404, de 2002, e desponta como uma das primeiras cidades a adequar a Lei de Arquivos, de 1991, a sua realidade. Passados quase 40 anos do AGCRJ instalado em sua sede-própria e com as demandas resolvidas quanto a este lugar, o AGCRJ tornou-se um órgão da Secretaria Municipal da Casa Civil desde 2013. Seguiu, assim, uma tendência das instituições brasileiras que neste patamar da administração pública reforçam a missão das instituições de arquivo como, primeiramente, para atender à Governança por meio da Gestão de Documentos. E findo o trâmite e o processo administrativo, para embasar a produção de conhecimento, atendendo, portanto, ao campo do Legado, ofício dos Arquivos Públicos no mundo contemporâneo.
+[1] HORTA, Sandra apud BICALHO, Maria Fernanda. As Câmaras Municipais no Império Português: O Exemplo do Rio de Janeiro. Rev. bras. Hist. vol. 18 n. 36 São Paulo, 1998.
+ 
+ 
+* Beatriz Kushnir é a Diretora-Geral do Arquivo Geral da Cidade do Rio de Janeiro.
+ 
+Acessando o link para as fotografias do acervo do Arquivo Geral da Cidade do Rio de Janeiro disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Fontes: 
+Arquivo Geral da Cidade do Rio de Janeiro:
+AGCRJ. Administração pública municipal: a estrutura e os titulares: da Comissão de Intendência à Prefeitura do Rio (1889-2012).Rio de Janeiro: Prefeitura do Rio/Casa Civil/ Arquivo Geral da Cidade do Rio de Janeiro, 2014.
+FERNANDES, Maria Celia. Arquivo da Cidade do Rio de Janeiro: a travessia da “arca grande e boa” na história carioca. Rio de Janeiro: Secretaria Municipal de Cultura: Arquivo Geral da Cidade do Rio de Janeiro, 2011.
+HORTA, Sandra. “A tradição das Câmaras Municipais no império português: o exemplo da atuação na vida pública da cidade do Rio de Janeiro”. In: História do Rio de Janeiro – pelos 450 Anos de Fundação da Cidade, IHGB, 2015.
+KUSHNIR, Beatriz e HORTA, Sandra (org.). Memórias do Rio: o Arquivo Geral da Cidade do Rio de Janeiro em sua trajetória republicana – Faperj. Rio de Janeiro: Imago, 2011.
+Hemeroteca Digital:
+A Notícia, 24 de julho de 1912
+Correio da Manhã, 20 de maio de 1967
+Diário de Pernambuco, 29 de maio de 1971
+Jornal dos Sports, 8 de março de 1981
+O Fluminense, 11 de março de 1976
+______________________________________________________________________________________________________________________________________
+ 
+Outras publicações do Arquivo Geral da Cidade do Rio de Janeiro na Brasiliana Fotográfica
+Augusto Malta. Arquivo Geral da Cidade do Rio de Janeiro, 27 de setembro de 1911. Paço Municipal, Rio de Janeiro, RJ / Acervo AGCRJ
+De Largo do Matadouro à Praça da Bandeira – Luiza Ferreira, 13 /07 2018.
+A via elevada da Perimetral – Beatriz Kushnir, 23/06/2017.
+Novos acervos: Arquivo Geral da Cidade do Rio de Janeiro – Esforços de resgate: a recuperação da informação de parte das fotografias furtadas do arquivo Malta – Beatriz Kushnir, 11/04/2016.
+ 
+Augusto Malta. Arquivo Geral da Cidade do Rio de Janeiro, 30 de julho de 1914. Paço Municipal, Rio de Janeiro, RJ / Acervo ACGRJ
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/5750` — `itens/20.500.12156.1_5750/`
+- `20.500.12156.1/5731` — `itens/20.500.12156.1_5731/`
+- `20.500.12156.1/5733` — `itens/20.500.12156.1_5733/`
+- `20.500.12156.1/5734` — `itens/20.500.12156.1_5734/`
+- `20.500.12156.1/5737` — `itens/20.500.12156.1_5737/`
+- `20.500.12156.1/5751` — `itens/20.500.12156.1_5751/`
+- `20.500.12156.1/5730` — `itens/20.500.12156.1_5730/`
+
diff --git a/wordpress/12777-o-sanitarista-belisario-penna-1868-1939-um-dos-protagonistas-da-historia-da-saud.md b/wordpress/12777-o-sanitarista-belisario-penna-1868-1939-um-dos-protagonistas-da-historia-da-saud.md
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@@ -0,0 +1,51 @@
+---
+id: 12777
+url: "https://brasilianafotografica.bn.gov.br/?p=12777"
+titulo: "O sanitarista Belisário Penna (1868-1939), um dos protagonistas da história da saúde pública no Brasil"
+autor: "Andrea Wanderley"
+data: "2018-09-28T08:20:18+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/5727", "20.500.12156.1/5094", "20.500.12156.1/5718", "20.500.12156.1/5710"]
+fetched_at: "2026-09-10T09:56:21.961Z"
+---
+
+# O sanitarista Belisário Penna (1868-1939), um dos protagonistas da história da saúde pública no Brasil
+
+O sanitarista mineiro Belisário Penna (1868 – 1939) foi um dos protagonistas da história da saúde pública no Brasil. Após atuar como médico e ter se dedicado ao comércio, Belisário foi selecionado, em 1904, para atuar como inspetor sanitário da Diretoria Geral de Saúde Pública do Rio de Janeiro, gerida pelo cientista Oswaldo Cruz (1872 – 1917). No ano seguinte, foi transferido para o Serviço de Profilaxia da Febre Amarela. Combateu as epidemias de varíola e de febre amarela, no Rio de Janeiro, e o impaludismo, em Minas Gerais, onde permaneceu por três anos, tendo participado da principal descoberta médica do período: a descrição da etiologia da moléstia ainda desconhecida, a tripanossomíase americana. Participou de diversas expedições científicas por diversas regiões do país, uma delas a Porto Velho, onde estava sendo construída a ferrovia Madeira-Mamoré. Na ocasião, com Oswaldo Cruz, estudou as condições sanitárias e propôs um plano de combate à malária. Assumiu interinamente o Ministério da Educação e Saúde Pública, em 1931 e em 1932. É a trajetória de Belisário Penna que Ricardo Augusto dos Santos, pesquisador da Fiocruz, traz para os leitores da Brasiliana Fotográfica. A Fiocruz é uma das instituições parceiras do portal.
+O sanitarista Belisário Penna (1868-1939)
+Ricardo Augusto dos Santos* 
+Dezenas de pesquisadores escreveram trabalhos sobre Belisário Penna e sua importância para as políticas públicas de saúde e educação. Após inúmeros textos sobre o sanitarista, haverá alguma revelação? Certamente. Além das descobertas propiciadas por documentos desconhecidos, sempre existirá a possibilidade de interpretações e correção de equívocos, quase sempre, devido a citações baseadas apenas em leituras bibliográficas, sem pesquisa empírica. Seria cansativo enumerar as passagens em artigos referindo-se à “Belisário Penna, cientista do IOC”. Ele nunca pertenceu aos quadros do Instituto Oswaldo Cruz e, tampouco, podemos afirmar que ele era cientista. Sua trajetória é um campo privilegiado para investigar os intelectuais daquele período. Um conjunto deles era representante das famílias abastadas, algumas em decadência econômica desde meados do período monárquico. Muitos eram filhos de proprietários de terras, mas sem capital financeiro e articulação com outras frações de classes em expansão graças à criação de indústrias. Devido aos conhecimentos adquiridos nos cursos superiores (Medicina, Direito e Engenharia) e relações pessoais, gradativamente, passaram a ocupar postos relevantes na administração pública. A capacidade de manejar capitais simbólicos, acumulados pelos diplomas, em associação com as relações pessoais (amizades, casamentos), permitiam operar com desenvoltura entre os cargos de poder.
+José Teixeira. Belisário Penna, 1912. Goiás / Acervo Casa de Oswaldo Cruz
+Belisário Augusto de Oliveira Penna nasceu em 29 de novembro de 1868, em Barbacena, Minas Gerais. Filho homônimo do Visconde de Carandaí e de Lina Leopoldina Lage Duque. Ambos descendentes de grandes proprietários de terras. O casal teve oito filhos, criados em ambiente nobre, no qual não faltavam criados falando francês. Fez os cursos primário e ginasial em sua cidade natal no tradicional Colégio Abílio. Matriculou-se, em 1886, na Faculdade de Medicina do Rio de Janeiro, concluindo o curso na Faculdade de Medicina da Bahia, no último ano. Terminando o curso, se casou com Ernestina Rodrigues Chaves, filha de João Rodrigues Chaves, fundador e diretor da faculdade de Direito (Salvador). Voltando a Barbacena, trabalhou como médico numa região tomada de agricultores de origem italiana. Também tentou a clínica em localidades próximas, acabando por fixar-se em Juiz de Fora, em 1896, onde assumiu as funções de médico da Hospedaria dos Imigrantes, demitindo-se ao final de um ano. Sua primeira esposa morreu de febre amarela. Dos quatro filhos que ela lhe deu sobreviveram dois: Maria e Celina. No ano seguinte, 1898, retornou à Bahia e, ao visitar os sogros, reafirmou os laços de parentesco: casou-se com a irmã de sua primeira esposa, Maria Augusta Chaves, com quem teve nove filhos. Retornando a Juiz de Fora, o trabalho não lhe dando o suficiente para a manutenção da família, dedicou-se ao comércio, abrindo uma firma de produtos alimentícios. A Belisário Penna & Cia. não prosperou. Mesmo elegendo-se vereador na cidade, o médico viveu com precariedade de recursos, recorrendo ao auxílio da família.
+Acessando o link para as fotografias de Belisário Penna disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+Após a entrada de Oswaldo Cruz na DGSP (Diretoria Geral de Saúde Pública), realizaram-se concursos para as campanhas sanitárias de combate às doenças que assolavam o Rio de Janeiro (peste bubônica, febre amarela e varíola). Aprovado na seleção, Belisário tomou posse como inspetor sanitário. Em maio de 1904, iniciava suas atividades no centro da cidade, nas ruas Marquês de Sapucaí, Santana, General Pedra, Senador Eusébio, Visconde de Itaúna, São Leopoldo, Alcântara e Marquês de Pombal. Área de pequeno comércio e inúmeros cortiços, região habitada pelos descendentes dos negros escravizados e imigrantes (italianos, judeus, portugueses). A capital federal vivia, naquele momento, intensa epidemia de varíola que, no distrito a seu cargo, Belisário conseguiu dominar, recorrendo à vacinação de todos os moradores. Ocupando-se da vigilância médica e vacinação, inicialmente encontrou relutância da população, que logo foi superada, “graças ao seu jeito especial de lidar com o povo”. Sua maneira especial constituía em ameaçar recolher aos hospitais aqueles que não se vacinassem. Devido ao receio de ser conduzido a um lugar identificado com a morte, os habitantes daquela localidade pobre da cidade aceitavam a vacinação. No ano seguinte, foi transferido para o Serviço de Profilaxia da Febre Amarela, trabalhando nos bairros da Saúde e Gamboa.
+Em 1906, partiu para combater o impaludismo entre os operários que construíram uma ferrovia, no norte de Minas Gerais. Permaneceu por três anos, participando da principal descoberta médica do período: a descrição da etiologia da moléstia ainda desconhecida, a tripanossomíase americana. Caso raro na história da medicina, Carlos Chagas descreveu todo o ciclo evolutivo da doença: o micro-organismo causador da enfermidade, os hospedeiros, o inseto vetor (barbeiro) e as manifestações clínicas no homem. Nos anos seguintes, no entanto, alguns médicos contestaram as afirmações de Chagas, o que gerou controvérsias sobre a descoberta. O alemão Rudolf Krauss questionou a abrangência da doença e suas relações com o bócio e o cretinismo, e um grupo da Academia Nacional de Medicina levantou dúvidas sobre a autoria da descoberta. Belisário recordaria os fatos acontecidos em 1909, manifestando solidariedade com Chagas. Contudo, declarava as diferenças que possuía com Chagas. Segundo os relatos, ele teria abandonado a direção do Departamento de Saneamento e Profilaxia Rural, órgão ligado ao DNSP (Departamento Nacional de Saúde Pública), criado em 1920 e tendo Chagas como diretor geral, por não concordar com a “interferência política” em seu trabalho.
+No arquivo pessoal de Belisário Penna, encontramos documentos pessoais, fotografias, relatórios, textos e cartas. Em todos os itens, reconhecemos a presença do discurso apoteótico da campanha sanitarista. No entanto, nos recortes de jornais, constatamos a crítica às nomeações políticas que ele também fazia uso. É muito presente nas produções intelectuais do sanitarista a crença na racionalidade científica organizando a administração pública, independentemente dos conflitos políticos. Entretanto, sabemos que, muitas vezes, isso também é uma retórica política. Se Carlos Chagas realizou nomeações tendo em vista indicações políticas, Belisário Penna também não esteve imune a esta “epidemia” nacional.
+Em 1910, vamos encontrá-lo, acompanhando Oswaldo Cruz na consultoria sobre a profilaxia da malária, que matava, segundo dizia-se, um operário para cada dormente assentado na construção da ferrovia Madeira-Mamoré. Durante o mês em que permaneceram em Porto Velho, Cruz e Belisário estudaram as condições sanitárias da região e propuseram um plano de combate à malária que prescrevia o uso diário, compulsório, de quinina pelos trabalhadores, sob pena de não receberam os salários caso não tomassem suas doses. O plano foi posto em prática pela empresa norte-americana ainda com a presença dos dois médicos. Após várias tentativas frustradas de construção da ferrovia, ela foi abandonada. Retornando ao Rio de Janeiro, na passagem por Belém, Cruz foi contratado pelo governo do Pará para combater a febre amarela na cidade. Implantou a Comissão de Profilaxia da Febre Amarela na capital paraense, no mesmo ano. Convocou vários médicos para a empreitada, entre as quais o próprio Belisário.
+Ele percorreu, junto com Arthur Neiva, do Instituto Oswaldo Cruz, em 1912, o norte da Bahia, sudeste de Pernambuco, sul do Piauí e nordeste de Goiás, com o fim de estudar as condições sanitárias e os problemas de saúde existentes na região. Viajaram durante sete meses, registrando não apenas as doenças encontradas, mas também aspectos sociais, econômicos e culturais das populações locais. Este momento é exposto como ponto de inflexão da carreira do sanitarista. Em 1913, visitaria os estados do Paraná, Santa Catarina e Rio Grande do Sul. Depois reassumiu o cargo de inspetor sanitário no Rio de Janeiro, passando a trabalhar nos subúrbios da Leopoldina. Em março de 1916, foi instalado em Vigário Geral (RJ), aquele que foi considerado o primeiro posto de profilaxia rural do Brasil. A partir deste momento, o chamado movimento sanitarista ganhou força. A fundação da Liga Pró-Saneamento do Brasil, que congregou vários intelectuais e políticos, foi resultado da repercussão alcançada pelo livro Saneamento do Brasil de Belisário Penna. Constituído pelos artigos de jornal, publicados em 1916 no jornal O Correio da Manhã, marcaram o percurso de Belisário como incansável militante da causa sanitarista no Brasil. Como decorrência da campanha do movimento sanitarista, o presidente Wenceslau Brás, em maio de 1918, teria ficado impressionado e criado o Serviço de Profilaxia Rural, nomeando o sanitarista para dirigi-lo.
+ 
+José Teixeira. Expedição do Instituto Oswaldo Cruz ao Nordeste e Centro Oeste : acampamento dos membros da expedição, entre eles Belisário Penna e Arthur Neiva (2° e 3° à esquerda), 1912. Piaui / Acervo Casa de Oswaldo Cruz
+ 
+Em 1924, em carta aberta aos filhos, apoiou a revolta tenentista de 5 de julho daquele ano, em São Paulo. Preso, foi enviado à capital paulista e, em seguida transferido para o Rio de Janeiro, onde ficou detido por seis meses. Foi suspenso de suas funções como delegado de saúde, sendo reintegrado apenas em 1927. Posto em disponibilidade, ele prosseguiu na campanha pelo saneamento pela imprensa. Mas, foi como empregado do Laboratório Daudt, Oliveira & Cia., que percorreu novamente o país, realizando conferências e anunciando os produtos desta empresa farmacêutica. Belisário retornaria em 1927 à administração pública, como inspetor de Propaganda e Educação Sanitária. Percorreu então os estados de Minas Gerais, Alagoas, Pernambuco, Paraíba e Rio Grande do Norte, até ser requisitado pelo presidente do estado do Rio Grande do Sul, Getulio Vargas, para organizar o serviço estadual de higiene. No Sul, iniciou um período de trabalho intenso, proferindo conferências e formulando o seu Plano de Educação Higiênica, indicando providências relativas a problemas de saúde. Merece destaque seu engajamento na Revolução de 1930. Após a vitória do movimento, foi nomeado diretor do Departamento Nacional de Saúde Pública.
+ 
+Anônimo. Belisário Penna no Posto Sanitário, 1920. Pilares, Rio de Janeiro / Acervo Casa de Oswaldo Cruz
+ 
+Em 1o de setembro de 1931, assumiu interinamente o Ministério da Educação e Saúde Pública, recém-criado pelo governo federal, substituindo Francisco Campos por três meses. O ‘caixeiro-viajante da higiene’ alcançava, após décadas de atuação, o cargo máximo na área da saúde pública. Belisário ainda voltou a exercer interinamente a chefia do ministério, em dezembro de 1932. No início do ano seguinte, solicitou aposentadoria. Em uma das suas últimas manifestações públicas, compareceu, com uniforme integralista, cercado pelos companheiros camisas-verdes, a um encontro com o Getulio Vargas. Foram comunicar ao presidente da República, o resultado da escolha de Plínio Salgado como candidato a uma provável eleição presidencial. O sanitarista era filiado a Ação Integralista Brasileira (AIB). Membro da Câmara dos 40, órgão político do movimento. Em 1938, após a tentativa de golpe desfechada pelos integralistas, o movimento foi reprimido e ele retirou-se da política para viver em sua fazenda, no interior do estado do Rio de Janeiro. Faleceu em 4 de novembro de 1939.
+ 
+Anônimo. Posse no Ministério da Educação e Saúde Pública, 1º de setembro de 1931. Rio de Janeiro, RJ / Acervo Casa de Oswaldo Cruz
+ 
+ 
+*Ricardo Augusto dos Santos é Pesquisador Titular da Fundação Oswaldo Cruz
+ 
+Fontes:
+DOS SANTOS, Ricardo Augusto. O Plano de Educação Higiênica de Belisário Penna: 1900-1930. Dynamis, v. 32, p. 45-68, 2012.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/5727` — `itens/20.500.12156.1_5727/`
+- `20.500.12156.1/5094` — `itens/20.500.12156.1_5094/`
+- `20.500.12156.1/5718` — `itens/20.500.12156.1_5718/`
+- `20.500.12156.1/5710` — `itens/20.500.12156.1_5710/`
+
diff --git a/wordpress/12889-o-museu-nacional.md b/wordpress/12889-o-museu-nacional.md
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+---
+id: 12889
+url: "https://brasilianafotografica.bn.gov.br/?p=12889"
+titulo: "O Museu Nacional"
+autor: "Andrea Wanderley"
+data: "2018-09-03T07:46:42+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/2452"]
+fetched_at: "2026-09-10T09:56:25.127Z"
+---
+
+# O Museu Nacional
+
+Nesse momento trágico do Museu Nacional da Universidade Federal do Rio de Janeiro, a mais antiga instituição científica do Brasil, fundada por dom João VI, em 6 de junho de 1818, e da própria cultura do país, a Brasiliana Fotográfica destaca três artigos que já foram publicados no portal relacionados ao museu que, em 2 de setembro de 2018, foi atingido por um incêndio de grandes proporções, que consumiu cerca de 85% de 20 milhões de itens, incluindo múmias, fósseis de dinossauros e muitos objetos que contribuíam para a história do Brasil e de outros países.
+Estes artigos reafirmam a importância do Museu Nacional e do Paço de São Cristóvão como patrimônios nacionais essenciais para a nossa história, cultura e  cidadania. Inicialmente sediado no Campo de Santana, o então denominado Museu Nacional do Brasil mudou-se para a Quinta da Boa Vista, em 1892 (O Paiz, 13 de março de 1892, na terceira coluna).
+ 
+Representação da fachada do Museu Imperial em uma matriz litográfica, 1870 / Site do Museu Nacional da UFRJ
+ 
+Acessando o link para as fotografias do  Museu Nacional /Paço Imperial de São Cristóvão disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+De acordo com o site do museu: “De seu acervo de mais de 20 milhões de itens, destacam-se, em exposição: a coleção egípcia, que começou a ser adquirida pelo imperador Dom Pedro I; a coleção de arte e artefatos greco-romanos da Imperatriz Teresa Cristina; as coleções de Paleontologia que incluem o Maxakalisaurus topai, dinossauro proveniente de Minas Gerais; o mais antigo fóssil humano já encontrado no país, batizada de “Luzia”, pode ser apreciado na coleção de Antropologia Biológica; nas coleções de Etnologia temos expostos objetos que mostram a riqueza da cultura indígena, cultura afro-brasileira, culturas do Pacífico e na Zoologia destaca-se a coleção Conchas, Corais, Borboletas, que compreende o campo de invertebrados em geral e, em especial, dos insetos”.
+ 
+Links para os artigos da Brasiliana Fotográfica que têm relação com o Museu Nacional:
+O Palácio Real de São Cristóvão – 03/10/2016
+Marc Ferrez e a Exposição Antropológica Brasileira no Museu Nacional em 1882 – 29/06/2018
+A cientista Marie Curie (186 – 1934) no Museu Nacional, Rio de janeiro, 1926 – 05/07/2018
+ 
+Augusto Malta. Museu Nacional, c. 1930. Rio de Janeiro / Acervo IMS
+ 
+A declaração de Sérgio Burgi, coordenador da área de Fotografia do Instituto Moreira Salles e um dos curadores da Brasiliana Fotográfica, expressa a tristeza e a indignação do portal com a destruição do Museu Nacional:
+“O que se perdeu hoje foi o maior acervo de nosso país e o trabalho de milhares de pesquisadores e cientistas que dedicaram suas vidas ao estudo do país. Não são duzentos anos de história, são milhares de anos de história, são milhares de anos de história das populações indígenas que nos precederam, de acervos geológicos importantíssimos, de um vasto conhecimento e documentação, enfim, que só foi possível reunir pela ação continuada de pesquisadores desde a criação do Museu Nacional. Uma grande tragédia, uma incalculável perda“.
+ 
+Andrea C. T. Wanderley
+Editora-assistente e pesquisadora do portal Brasiliana Fotográfica
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/2452` — `itens/20.500.12156.1_2452/`
+
diff --git a/wordpress/12917-o-parque-lage-no-rio-de-janeiro.md b/wordpress/12917-o-parque-lage-no-rio-de-janeiro.md
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+---
+id: 12917
+url: "https://brasilianafotografica.bn.gov.br/?p=12917"
+titulo: "O Parque Lage no Rio de Janeiro"
+autor: "Andrea Wanderley"
+data: "2018-10-11T09:42:55+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/2890"]
+fetched_at: "2026-09-10T09:56:28.552Z"
+---
+
+# O Parque Lage no Rio de Janeiro
+
+S. H. Holland. Residência do Sr. Henrique Lage, c. 1930. Jardim Botânico, Rio de Janeiro / Acervo Fundação Biblioteca Nacional
+ 
+A Brasiliana Fotográfica destaca uma imagem aérea do Parque Lage, um importante parque público do Rio de Janeiro, produzida pelo aviador e fotógrafo britânico Sidney Henry Holland (1882 – 1936), por volta de 1930, período em que atuou no Brasil. As informações sobre Holland ainda são esparsas e a Brasiliana Fotográfica pretende, em breve, publicar um artigo sobre ele, que era constantemente visto nos céus do Rio de Janeiro, pilotando seu avião e fazendo propaganda de peças teatrais, de lojas, de filmes cinematográficos e de candidaturas políticas. Além disso, comercializava imagens aéreas que produzia de paisagens e de aspectos da cidade, principalmente, no formato de cartões-postais. O Parque Lage localiza-se no bairro do Jardim Botânico, aos pés do Morro do Corcovado, e ocupa uma área de cerca de 523 mil metros quadrados. É formado por jardins, florestas, grutas, um torreão, o calabouço dos escravos, lagos, represas, por ruínas de um mirante e por um casarão. Originalmente era o Engenho Del Rey, um engenho de açúcar, que pertencia, no século XVI, ao português Antonio Salema (? – 1586), governador do Rio de Janeiro entre 1575 e 1578.
+ 
+Henrique Lage e Gabriella Besanzoni / O Globo, 19/11/2017
+Em meados do século XIX, a família Rodrigo de Freitas, então dona das terras, contratou o inglês John Tyndale para modernizar os jardins da propriedade. O paisagista transformou o que era uma floresta em jardins românticos no estilo europeu. Em 1859, parte da fazenda foi adquirida por Antonio Martins Lage (1825 – 1900) pela quantia de oito mil réis e passou a chamar-se Chácara dos Lages. Antônio a transferiu para seus três filhos, Alfredo, Roberto e Antônio Filho, em 21 de novembro de 1900. Em 1913, a chácara foi comprada por César de Sá Rabello, mas, em 1920, o armador e amante das artes Henrique Lage (1881 – 1941), neto de Antonio, tomou posse da propriedade. Ainda na década de 20, contratou o arquiteto italiano Mário Vodrel para projetar o casarão, de estilo eclético. Foram utilizados em seu interior muitos materiais importados da Itália e as pinturas decorativas de seus salões foram realizadas pelo paulista Salvador Paylos Sabaté (1898 – 1965). Os jardins foram restaurados, em 1926, pelo engenheiro agrônomo mineiro Leonam de Azevedo Penna (1903 – 1979). Henrique Lage casou-se com a cantora lírica italiana Gabriela Besanzoni (1888 -1962), em 1925 (Revista da Semana, 14 de fevereiro de 1925, primeira coluna), e o casal passou a viver no casarão, onde promoviam concorridos saraus e festas, que tornaram a mansão o epicentro da vida social do Rio de Janeiro. Em várias dessas ocasiões, a anfitriã tocava piano e cantava para os convidados. Henrique e Gabriella não tiveram filhos, ele faleceu em 1941 (Jornal do Commercio, 3 de julho de 1941, segunda coluna) e, como estrangeira, Gabriella não pode herdar grande parte dos bens de seu marido (O Cruzeiro, 29 de novembro de 1952, pág. 9). Poucos anos depois, retornou à Itália e passou a lecionar canto. Ela faleceu em 1962 (Tribuna da Imprensa, 20 de julho de 1962, quarta coluna).
+O Parque Lage foi alvo de especulação imobiliária em 1956, quando os herdeiros de Henrique cogitaram lotear a mais bela propriedade particular do Rio. A ideia de sua preservação partiu do Conselho Florestal que apelou ao Patrimônio Histórico e Artístico Nacional (Diário de Notícias, 4 de janeiro de 1956, primeira coluna, e O Semanário, 27 de setembro a 4 de outubro de 1956). Cerca de um ano depois, em 14 de junho de 1957, a propriedade foi tombada pelo IPHAN como patrimônio paisagístico, ambiental e cultural. No casarão do século XIX, funciona desde 1975 a Escola de Artes Visuais do Parque Lage (EAV), uma importante referência para as artes no Brasil. A EAV substituiu o Instituto de Belas Artes, criado em 1950, que funcionava na mansão do Parque Lage desde 1966 (Diário de Notícias, 18 de fevereiro de 1966, primeira coluna, sob “Matrículas” e Jornal do Brasil, 5 de dezembro de 1975). Em 1976, o parque passou ao domínio da União que, cerca de um ano depois, cedeu-o ao IBDF, atual IBAMA, através do Decreto Presidencial 80494. É uma das principais áreas de lazer do Rio de Janeiro.
+ 
+ 
+Andrea C. T. Wanderley
+Editora-assistente e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+Hemeroteca Digital da Biblioteca Nacional
+Memória Lage
+Parque Lage em 1944 – por Roberta Mociaro Zanatta com pesquisa de Joanna Balabran – Por dentro do acervo – Blog do IMS
+O início dos negócios da família Lage – Revista Navio e Portos – A História da Marinha Mercante Brasileira
+Site da Escola de Artes Visuais do Parque Lage
+Site do IPHAN
+Site Rio & Cultura
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/2890` — `itens/20.500.12156.1_2890/`
+
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+---
+id: 12930
+url: "https://brasilianafotografica.bn.gov.br/?p=12930"
+titulo: "A prisão do fotógrafo e aviador britânico S.H. Holland (1883 – 1936) no Rio de Janeiro, em 1930"
+autor: "Andrea Wanderley"
+data: "2018-10-19T12:16:52+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/2897", "20.500.12156.1/3184", "20.500.12156.1/2915", "20.500.12156.1/2855"]
+fetched_at: "2026-09-10T09:56:31.998Z"
+---
+
+# A prisão do fotógrafo e aviador britânico S.H. Holland (1883 – 1936) no Rio de Janeiro, em 1930
+
+Até o momento, as informações sobre o fotógrafo e piloto britânico Sidney Henry Holland (1883 – 1936) são esparsas. Conforme anunciado, a Brasiliana Fotográfica, a partir de uma pesquisa realizada, principalmente, na Hemeroteca Digital da Biblioteca Nacional, importante ferramente de difusão de conhecimento, conta um pouco da trajetória de Holland no período em que atuou no Brasil, entre 1928 e 1932. Pilotando seu avião, era constantemente visto nos céus do Rio de Janeiro fazendo propaganda de peças teatrais, de lojas, de filmes cinematográficos e de candidaturas políticas. Além disso, comercializava imagens aéreas que produzia de paisagens e de aspectos da cidade, principalmente, no formato de cartões-postais, e também lecionava aviação. Combateu como piloto na Primeira Guerra Mundial e esteve na Argentina antes de chegar ao Brasil, em 1928, como chefe da seção de aviação da Aircraft Operating Co, contratada para fazer o levantamento da planta cadastral do Rio de Janeiro. No período em que morou no Brasil, produziu fotos aéreas de ilhas, de diversos bairros cariocas, dentre eles Botafogo, Copacabana, Ipanema, Leblon, Leme, Urca. Também fotografou outras cidades como Petrópolis e Friburgo.
+ 
+S.H.Holland. Pão d´Assucar e Urca, c. 1930. Rio de Janeiro, RJ / Acervo FBN
+ 
+Acessando o link para as fotografias de autoria do fotógrafo britânico S.H. Holland disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+Em 1930, Holland tinha uma empresa de reclames comerciais no Edifício Portella, na rua Rio Branco, 111, sala 511, e tinha dois representantes comerciais, os irmãos James Cecil Cotton e Cecil Howard Cotton. Seu ateliê fotográfico ficava na rua Capitão Salomão, anexo à Empresa Brasileira de Aviação Limitada. A partir de uma denúncia de que S.H. Holland havia produzido fotografias de pontos estratégicos da cidade e por requisição dos ministros da Guerra e da Marinha, a 4ª Delegacia Auxiliar do Rio de Janeiro prendeu Holland e os Cotton em seu escritório. Foram apreendidos seus arquivos de escrituração e fotografias e, em seu ateliê na rua Capitão Salomão, 30, anexo à Empresa Brasileira de Aviação Limitada, de sua propriedade, foi apreendido cerca de 40 contos de material fotográfico. A prisão e as apreensões foram baseadas nas determinações do Decreto 16983, de 22 de julho de 1925, que proibia fotografar pontos estratégicos da cidade, fortalezas e quartéis. A ação integrava a forte ação de repressão que a polícia estava realizando contra a fotografia aérea. Além disso, o avião de Holland não estava registrado na Aeronáutica. Holland e seus funcionários foram soltos pouco depois (Diário Carioca, 20 de abril de 1930, primeira coluna; Correio da Manhã, 20 de abril de 1930, penúltima coluna; Diário da Noite, 22 de abril de 1930, quinta coluna; O Jornal, 22 de abril de 1930 e Jornal do Brasil, 23 de abril de 1930, quinta coluna).
+ 
+Transcrição da declaração de S.H. Holland em matéria de capa de O Jornal, 26 de abril de 1930, onde identificado foi como antigo capitão-aviador do Exército Britânico:
+ 
+“_ Fui preso por quatro agentes de polícia às 14h e meia do sábado passado – disse-nos o aviador quando jogava uma partida de “golf” no Gávea Golf Club. Levado para a 4ª delegacia auxiliar, fui recolhido incomunicável ao xadrez, onde hora depois entretanto, foram também recolhidos os srs. Cotton, meus agentes comerciais. À meia-noite daquele dia, chamado à presença do dr. Pedro de Oliveira Sobrinho, 4º delegado auxiliar, fui cientificado das razões de nossas prisões. Disse-me o delegado que, por denúncia recebida, sabia que eu, possuindo dois aviões, empregava-os para obter fotografias dos pontos estratégicos e por consequência incorria em grande crime. A propósito dos aviões, provei-lhe que só possuía um da marca “De Havilland Moth”, guardado no hangar existente em Manguinhos, onde também está depositado um outro do mesmo tipo e que vendi logo depois de minha chegada ao Rio há um ano ao dr. Raphael d´Chysosthomo de Oliveira, conhecido usineiro de Campos. Com relação às fotografias, prosseguiu o capitão – afirmei que a denúncia também não era verdadeira. Sempre empreguei o meu avião com finalidades comerciais, não só para anúncios como também para fotografar aspectos da cidade. É certo que em um panorama parcial do Rio, aparece, a um canto, a Fortaleza de Santa Cruz, mas ainda tão ao longe e tão reduzida que não passa de mero acidente da paisagem, sem relevo de mínima importância.
+AS APREENSÕES
+_ E perguntamos, as apreensões que a polícia efetuou em sua residência e aqui no escritório?
+_ Foram as de papéis que nos guia e do arquivo de “negativos” que tinha em parte aqui  e em parte no meu laboratório, à rua Capitão Salomão, nº 30, onde, aliás, resido. Foi por ele examinando-o rigorosamente que a polícia verificou não haver eu dado motivos para a denúncia recebida. O número de “negativos” que possuo é superior a três mil e disso tiro a renda de que vivo. As diligências da polícia, apreendendo esse arquivo e levando-o para a 4ª delegacia, dão-me um prejuízo superior a cinquenta contos devido às “chapas” inutilizadas e à paralisação dos meus trabalhos. Felizmente estou de novo em liberdade, após cinco dias e duas hors de prisão juntamente com os meus companheiros srs. Cotton e assim poderemos recomeçar os trabalhos”.
+ 
+ 
+S.H. Holland. Cristo Redentor em construção, 1931. Rio de Janeiro, RJ / Acervo IMS
+ 
+Em uma matéria publicada sobre sua morte, no Correio da Manhã, 16 de dezembro de 1936, foi mencionado que S.H. Holland havia deixado o Brasil logo depois da Revolução de 1932, na qual teria se envolvido. Teria também se envolvido na Revolução de 30. O piloto faleceu quando combatia na Guerra Civil Espanhola em um avião vermelho de bombardeio ao lado das tropas governamentais da Espanha. Na primeira patrulha contra os americanos, Holland foi abatido dentro das linhas do general Franco. Integrava a primeira esquadrilha yankee, formada por 4 aviadores norte-americanos e por diversos pilotos voluntários ingleses, cuja base ficava perto da cidade espanhola de Bilbao (O Jornal, 20 de dezembro de 1936, sexta coluna).
+ 
+A Noite, 15 de dezembro de 1936
+ 
+Breve cronologia do fotógrafo e aviador britânico S.H. Holland (1883 – 1936)
+ 
+O Jornal, 26 de abril de 1930
+ 
+1883 – Em Petworth, na Inglaterra, em 17 de março de 1883, nascimento de Sydney Henry Holland, filho de Arthur Charles Holland (1850 – 1936) e Amy Louisa Katherine Stratton (1857 – 1936).
+1914 – 1918 – Combateu como piloto na Primeira Guerra Mundial.
+1920 - Na Argentina, Holland sofreu um desastre de avião e ficou gravemente ferido. Ele estava pilotando um avião Avro, pertencente ao Aeroclube de Buenos Aires. Estava com o presidente da entidade, Nicanor Posse, e com o instrutor Gregorio Sandoval (O Paiz, 15 de abril de 1920, na penúltima coluna).
+Holland sofreu outro acidente de avião, também na Argentina, e fraturou a perna (O Paiz, 26 de maio de 1920, penúltima coluna).
+1923 - Ficou em terceiro lugar na Copa Wilbur Wright organizada pelo Aeroclube Argentino, em 5 de agosto de 1923, no circuito San Isidor, San Fernando e el Palomar com a participação de quinze pilotos.
+ 
+Classificação na Copa Wilbur Wright, na Argentina, em 5 de agosto de 1923
+ 
+ 
+Também na Argentina, em 9 de dezembro, Holland ficou em 2º lugar na Copa 19 de Novembro, competição de regularidade conhecida como Carrera Aérea de la Plata. Vinte e quatro pilotos participaram da prova.
+ 
+Classificação dos pilotos na Copa 19 de Novembro, realizada em 9 de dezembro de 1923
+ 
+1928 – Chegada de S. H. Holland ao Rio de Janeiro vindo da Europa no paquete Arandora. Veio com os engenheiros contratados pela prefeitura do Rio de Janeiro para fazer o levantamento da planta cadastral da cidade. Holland era o chefe da seção de aviação da comissão e o chefe da delegação da Aircraft Operating era o coronel do corpo de engenharia do exército inglês, T.T. Behrens Foi noticiado que Holland já conhecia o Rio de Janeiro de passagem e que dessa vez teria que ficar na cidade por pelo menos 3 anos para concluir o trabalho para o qual havia sido contatado (A Noite, 21 de junho de 1928, segunda coluna; O Paiz, 22 de junho de 1928, segunda coluna e Correio da Manhã, 22 de junho de 1928, sétima coluna).
+Foi aprovado no exame para motorista (Correio da Manhã, 7 de julho de 1928, primeira coluna).
+O ministro da Viação, Vítor Konder (1886 – 1941), autorizou a revalidação da carta de piloto de Holland (Correio Paulistano, 18 de julho de 1928, na sexta coluna).
+1929 – Na Exposição Ferroviária, os pilotos Charles Astor e S.H. Holland fizeram uma exibição de acrobacia aérea (Jornal do Brasil, 17 de agosto de 1929, terceira coluna).
+1930 – Foi noticiado que as famosas artistas Margarida Max (c. 1890 – c.1960), estrela do teatro de revista, e Josephine Baker (1906 – 1975) já haviam voado com o capitão Holland.
+A partir de uma denúncia de que S.H. Holland havia produzido fotografias de pontos estratégicos da cidade e por requisição dos ministros da Guerra e da Marinha, a 4ª Delegacia Auxiliar do Rio de Janeiro o prendeu em seu escritório no Edifício Portella, na avenida Rio Branco, nº 111., onde localizava-se sua empresa de reclames aéreos. Seus representante comerciais James Cecil Cotton e Cecil Howard Cotton também foram presos. No escritório, foram apreendidos seus arquivos de escrituração e fotografias. Em seu ateliê na rua Capitão Salomão, 30, anexo à Empresa Brasileira de Aviação Limitada, foi apreendido cerca de 40 contas de material fotográfico. A prisão e as apreensões foram baseadas nas determinações do Decreto 16983, de 22 de julho de 1925, que proibia fotografar pontos estratégicos da cidade, fortalezas e quartéis. A ação integrava a forte ação de repressão que a polícia estava realizando contra a fotografia aérea. Além disso, o avião de Holland não estava registrado na Aeronáutica (Diário Carioca, 20 de abril de 1930, primeira coluna; Diário da Noite, 22 de abril de 1930, quinta coluna; O Jornal, 22 de abril de 1930). e Jornal do Brasil, 23 de abril de 1930, quinta coluna). Pouco depois, foi apreendido na Alfândega uma aeroplano procedente do exterior para Holland (Correio da Manhã, 24 de abril de 1930, última coluna). Holland foi solto e seus funcionários foram soltos em 24 de abril (Correio da Manhã, 25 de abril de 1930).
+Publicação de uma fotografia aérea de Petrópolis, a linda cidade de verão, de autoria de Holland e produzida especialmente para a revista O Cruzeiro (O Cruzeiro, 26 de abril de 1930).
+Publicação de fotografias aéreas produzidas por Holland de diversos bairros do Rio de Janeiro, dentre eles Leme, Copacabana, Ipanema e Leblon, todos dentro da zona da recém instalada estação de telefonia automática “7”, localizada na rua Visconde de Pirajá, 44, em Ipanema (Sino Azul, junho de 1930).
+O capitão Holland envolveu-se na Revolução de 30.
+1931 – Na Feira Internacional de Amostras, o paraquedista Genaro Maddalun pulou de paraquedas de um avião cedido por Holland (A Esquerda, 14 de agosto de 1931, segunda coluna, Diário de Notícias, 14 de agosto de 1931, última coluna, e Jornal do Commercio, 23 de agosto de 1931, quarta coluna).
+Na página central da edição de O Cruzeiro, de 10 de outubro de 1931, publicação de uma fotografia aérea do Cristo Redentor, pouco antes de sua inauguração oficial, em 12 de outubro, produzida por Holland especialmente para a revista.
+1932-  Holland envolveu-se na Revolução de 1932 e pouco depois deixou o Brasil.
+1936 – Holland faleceu, em dezembro, quando combatia na Guerra Civil Espanhola em um avião vermelho de bombardeio ao lado das tropas governamentais da Espanha. Na primeira patrulha contra os americanos, Holland foi abatido dentro das linhas do general Franco. Também morreram os dois outros tripulantes do avião: um russo que o pilotava e um observador espanhol. Com Holland foram encontradas duas cartas, um cheque de 15 libras e duas notas de 100 pesetas. Em uma das cartas, escrita na véspera de sua morte, o aviador comentou que pilotava um aparelho não muito bom, e reclamou da desorganização vermelha, do atraso de seu pagamento, que havia sido acertado com o embaixador da Espanha em Londres na ocasião de seu alistamento; e também da falta de aquecimento no campo de aviação em que servia. Os documentos do piloto foram remetidos para a sua esposa em Londres inclusive as promessas dos vermelhos espanhóis de pagar aos seus herdeiros a importância de 1.500 libras, no caso em que ele morresse. Holland integrava a primeira esquadrilha yankee, formada por 4 aviadores norte-americanos e por diversos pilotos voluntários ingleses, cuja base ficava perto da cidade espanhola de Bilbao (Correio da Manhã, 16 de dezembro de 1936, terceira coluna; e O Jornal, 20 de dezembro de 1936 )
+‘O chefe de três ataques simultâneos estava no setor de Bondilla, noroeste de Madri. Mouros e recém chegados alemães atacaram com tanques e aviões. Os legalistas venceram após 5 horas, matando 200 e ferindo vários. Sydney Henry Holland, que recentemente havia ido para a Espanha com outros aviadores britânicos, foi morto no front Vittoria quando os rebeldes revidaram um ataque no aeródromo contra 11 máquinas legalistas. O avião de Holland, pilotado por um russo, com um observador espanhol, foi derrubado por rajadas de metralhadoras. Os ocupantes morreram queimados. O correspondente do Daily Mail de Salamanca revelou que os documentos encontrados com Holland mostravam que o governo o havia empregado em 27 de novembro de 1936 com um salário de 220 libras por mês, subsídios de 24 libras, passagem de primeira-classe, um prêmio de 300 libras por cada máquina rebelde abatida, compensação por incapacitação por ferimentos, e 1500 libras para seu parente mais próximo em caso de morte… (Trove Advocate, 18 de dezembro de 1936).
+ 
+ 
+S.H. Holland. Ilha Redonda, c. 1930. Rio de Janeiro, RJ / Acervo FBN
+ 
+S.H. Holland. Esplanada do Castello, Mercado Municipal, etc.,c. 1930. Rio de Janeiro, RJ / Acervo FBN
+ 
+ 
+Andrea C. T. Wanderley
+Editora-assistente e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+Dicionário Cravo Albim
+ERMAKOFF , George. Rio de Janeiro 1900 – 1930 – Uma crônica fotográfica. Rio de Janeiro: G. Ermakoff Casa Editorial, 2006.
+Ernst Udet y sus aviones en Argentina
+Hemeroteca Digital da Biblioteca Nacional
+Site Air History
+Site The Kings Candlesticks – families trees
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/2897` — `itens/20.500.12156.1_2897/`
+- `20.500.12156.1/3184` — `itens/20.500.12156.1_3184/`
+- `20.500.12156.1/2915` — `itens/20.500.12156.1_2915/`
+- `20.500.12156.1/2855` — `itens/20.500.12156.1_2855/`
+
diff --git a/wordpress/13027-a-galeria-dos-condenados-por-lilia-schwarcz.md b/wordpress/13027-a-galeria-dos-condenados-por-lilia-schwarcz.md
new file mode 100644
index 0000000..92b08fe
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+---
+id: 13027
+url: "https://brasilianafotografica.bn.gov.br/?p=13027"
+titulo: "A Galeria dos condenados por Lilia Schwarcz"
+autor: "Andrea Wanderley"
+data: "2019-02-15T10:41:49+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/6026", "20.500.12156.1/6265", "20.500.12156.1/5963"]
+fetched_at: "2026-09-10T09:56:35.449Z"
+---
+
+# A Galeria dos condenados por Lilia Schwarcz
+
+Com um artigo da historiadora e antropóloga Lilia Moritz Schwarcz, a Brasiliana Fotográfica destaca A Galeria dos condenados, que pertence à Coleção Dona Thereza Christina Maria e está guardada na Divisão de Manuscritos da Biblioteca Nacional do Rio de Janeiro, uma das fundadoras do portal. A partir da década de 1870, por iniciativa de Luiz Vianna de Almeida Valle (1827 – 1877), médico e diretor da Casa de Correção da Corte, primeira penitenciária construída no Brasil, os presos da referida instituição passaram a ser fotografados. A partir dessa iniciativa começou a ser formada a Galeria dos condenados,  composta por dois álbuns. Existem dois volumes de cada álbum, um com capa sem decoração e outro com capa decorada com o brasão do Império no centro e com arabescos dourados nas bordas. Cada página traz uma fotografia acompanhada de informações sobre o condenado retratado: seu nome, seu número na Casa de Correção, os delitos dos quais foi acusado, penas e multas, além da data de entrada.  A fotografia era então uma técnica primordial e estratégica para a criminologia e em especial para a antropologia criminal italiana, que pretendia entender o crime a partir de “elementos externos”; os famosos estigmas raciais. 
+ 
+A Galeria dos condenados
+ Lilia Moritz Schwarcz*
+ 
+Galeria dos condenados: Damião Crioulo: Livro de registros contendo histórico de condenados e suas penas,vol.2, c. 1870 . Rio de Janeiro, RJ / Acervo FBN
+ 
+Faz parte do acervo da coleção Dona Thereza Christina, que hoje se encontra alocada na Divisão de Manuscritos da Biblioteca Nacional do Rio de Janeiro, um documento de título no mínimo inusitado: Galeria dos condenados. Medindo cerca de 27 x 20 centímetros, ele inclui dois álbuns, cada qual com dois volumes, ligeiramente diversos: um com uma capa menos vistosa e o outro ricamente adornado por arabescos dourados nas suas bordas e um imponente brasão do Império bem ao centro, o qual confere ao material um ar de oficialidade.
+Há também outras especificidades que denotam o cuidado com que a fonte foi produzida. Nos dois volumes mais simples, estão as fotos tiradas em “plano americano” (com os modelos retratados do quadril ou da cintura para cima), bem como imagens que não foram aprovadas por conta de “problemas técnicos”, como o aspecto tremido do modelo, a falta de luz, ou manchas que comprometem o produto final. Essas fotos devem ter passado por algum tipo de censura prévia, uma vez que foram eliminadas daqueles volumes com capas mais caprichadas.
+Mas a grande originalidade dessa fonte se encontra no interior da obra. São 320 fotos de presos (sendo 318 homens para apenas duas mulheres) da Casa de Correção da Corte, que foram matriculados na instituição entre os anos de 1859 e 1875. A Galeria é composta por 324 fotos, mas 5 delas aparecem repetidas, uma vez que o condenado retornou duas vezes à Casa de Correção, mas foi utilizado o mesmo registro visual. Todas as fotos encontram-se recortadas em molduras ovais, devidamente coladas nas páginas e adornadas por arabescos feitos à mão. As várias páginas que compõem o álbum, também apresentam arabescos desenhados nas laterais, trazem uma única foto e um texto manuscrito com informações breves, como a data de entrada na instituição, o nome do condenado, seu número registro dentro da Casa, o crime cometido, bem como as penas e multas que lhes foram imputadas. Em alguns casos aparecem, igualmente, comutações de penas, indultos, a data de soltura ou até mesmo referências à morte do condenado.
+Por mais que possamos descrever o conteúdo presente neste documento, toda a história que o circunda resta ainda bastante desconhecida. É sabido que d. Pedro II, quando de sua partida para o exílio, em 1889, dividiu toda a sua coleção entre instituições como o Museu Imperial , o Instituto Histórico e Geográfico Brasileiro, e, justamente, a Biblioteca Nacional. Mas o motivo e o critério que fizeram com que o monarca entregasse esses álbuns para essa última instituição continua em aberto.
+ 
+Acessando o link para as fotografias da Galeria de Condenados disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas. 
+ 
+Vale lembrar que a Casa de Correção da Corte foi a primeira prisão brasileira idealizada com esse fim, e, ao que tudo indica, também a primeira a adquirir uma máquina e construir um laboratório para a produção de fotografias de identificação dos presos. O modelo vinha das penitenciárias europeias, que já usavam a técnica desde os tempos do daguerreótipo, como forma de obter registros mais precisos e objetivos, ademais quando comparadas àqueles obtidos pelos retratos-falados.
+A fotografia já tinha se tornado, nesse contexto, uma técnica primordial e estratégica para a criminologia, e em especial para a antropologia criminal italiana, que pretendia entender o crime a partir de “elementos externos”; os famosos estigmas raciais. Até então só se anotavam “signaes” mais superficiais do apenado, o que levava, com grande frequência, a problemas de reconhecimento, tanto em casos de fuga, na prisão de “suspeitos” ou na recondução de convictos.
+E talvez d. Pedro II se orgulhasse da nova técnica da fotografia que cada vez mais simbolizava a modernidade. Afinal, ele mesmo era um fotógrafo amador e um adepto da nova técnica. Sendo assim, um álbum como esse poderia representar uma prova cabal da “civilização do Império” e do alto grau de cientificidade que seu soberano imprimia ao “comportamento desviante” em sua jovem nação.
+Mas existem outros mistérios em torno da Galeria dos condenados: durante muito tempo não se tinha ideia de quem seria o profissional da Casa responsável por esses serviços. Foi só a partir da descoberta de um relatório do diretor da instituição, datado de maio de 1872, que ficou claro como o técnico era, ele mesmo, um prisioneiro na divisão criminal. Portanto, não apenas um preso foi indicado para fotografar os demais, como seu próprio retrato deve também constar da Galeria. E é preciso concordar que não foi pequeno o empenho que ele teve para se familiarizar não só com uma grande quantidade de substâncias químicas sensíveis, como dominar uma técnica complexa. Excesso ou falta de luz podiam atrapalhar o resultado; o tempo de arranjo da pose, da luz e para a fixação ainda demoravam alguns minutos; sem esquecer a desconfiança que uma máquina como essa deveria causar, ainda mais se os “colegas” tivessem que se submeter a um aparelho, bastante utilizado naquela época, que atava o modelo a uma cadeira e imobilizava o seu pescoço para assim garantir o bom resultado do retrato.
+No álbum não aparecem ilustrações acerca do cotidiano da Casa, muito menos das suas instalações. Já “os condenados” estão retratados a partir de alguns ângulos: por vezes surgem contrastados diante de um fundo escuro, por vezes o rosto é tomado de frente, por vezes o modelo vira o rosto para a esquerda, por vezes para a direita. Mas chama atenção a existência de um grande número de negros nesses álbuns, o que é de se esperar num país nesse contexto ainda dominado por uma maioria de escravizados que, não raro, se revoltava contra o sistema. Interessante pensar, pois, como, a despeito do plano americano impor uma espécie de padrão, não raro os modelos apresentam pequenas reações que correspondem a grandes agências diante das lentes. Há aqueles que viram de perfil para destacar suas escarificações e marcas de nação; há aqueles que se enrolam em panos da costa, com seus desenhos geométricos e geralmente bem coloridos, deixando escapar, pelos detalhes, a sua identidade. Alguns retratados também desafiam a “norma” e o aspecto policial que o documento carrega, como no caso de Benedicto Crioulo, condenado à pena de galé, que simplesmente cruza os braços e encara o fotógrafo.
+ 
+Galeria dos condenados: Benedicto (Crioulo) : Livro de registros contendo histórico de condenados e suas penas, c. 1870. Rio de Janeiro, RJ / Acervo FBN
+ 
+A técnica com certeza seria nova para a maioria deles, senão para todos, mas o profissional devia despertar um sentimento de familiaridade. De toda maneira, tudo colabora para que essas fotos resultem paradoxais. Se o registro pedia seriedade, não é difícil vislumbrar aqueles que cuidam da aparência, e se não sorriem, acabam se impondo pela altivez que apresentam. Esse é o caso de Isabel Jacintha, uma das duas mulheres fotografadas, que lá está para cumprir “pena perpétua”. O que terá feito Jacintha? Matado seu senhor, a exemplo de centenas de escravizadas que com sua rebeldia diziam “não” a um regime de sevícias e humilhações na alcova escravista? Teria envenenado o feitor, como fizeram outras mulheres que conheciam os segredos das ervas e sabiam “amansar” seus capatazes? Não há como responder essas questões, e a frustração do historiador reside no fato do documento se calar e não dizer mais. Entretanto, é possível anotar seu porte elegante, o olhar digno e desafiador, a expressão altiva. Aí estão pequenos sinais, grandes detalhes, daqueles que viveram em regimes de privação e desafiaram o próprio sistema penitenciário feito para que ficassem invisíveis e perdidos no seu silêncio.
+ 
+Galeria dos condenados: Isabel Jacintha] : Livro de registros contendo histórico de condenados e suas penas,vol.2, c. 1870 . Rio de Janeiro, RJ / Acervo FBN 
+ 
+A Galeria dos condenados traz em seu nome o arbítrio e o mal-estar que carrega. Mal-estar diante da escravidão, esse sistema que supõe a posse de uma pessoa por outra, e cuja liberdade por vezes, e por mais estranho que pareça, se consegue a partir de um ato, um pequeno movimento ou um gesto no intervalo imprevisto entre a pose exigida e o clique da fotografia.
+PS: O historiador Manolo Florentino generosamente disponibilizou um CD com as fotos constantes do álbum. Sandra Sofia Machado Koutsoukos realizou uma pesquisa alentada sobre o material. Destaco seu livro Negros no estúdio do fotógrafo. Campinas, Unicamp, 2010.
+ 
+*Lilia Moritz Schwarcz é antropóloga e historiadora. É autora, entre outros livros, de O espetáculo das raças (1993), As barbas do imperador (1998), O sol do Brasil (2008), Brasil: Uma biografia (com Heloisa Murgel Starling, 2015 ), Lima Barreto: Triste visionário (2017) e organizadora de Dicionário da Escravidão e Liberdade (com Flavio dos Santos Gomes, 2018).
+ 
+O médico Luiz Vianna de Almeida Valle (1827 – 1877), diretor da Casa de Correção da Corte de 1868 a 1877 e introdutor da prática de fotografar os presos 
+Andrea C.T. Wanderley**
+
+Consta nos Relatórios Ministeriais, de março de 1871 (Biblioteca Nacional), referentes ao ano de 1870, que Luiz Vianna de Almeida Valle enviou ao Ministro da Justiça um relatório no qual valorizava sua iniciativa de compra da máquina fotográfica:
+” Photographia. Estabeleci na Casa uma machina de photographar, que acha-se já funcionando. V. Ex. compreende perfeitamente as vantagens desta instituição n’uma Penitenciaria qualquer, e que devem ser maiores na da Côrte, onde não existem unicamente condemnados á prisão cellular, mas também a galés e prisão simples”. 
+ 
+Notas sobre Luiz Vianna de Almeida Valle na imprensa
+ 
+Luiz Vianna de Almeida Valle foi acusado de, como subdelegado de polícia, coagir votantes (Diário do Rio de Janeiro, 20 de dezembro de 1860, última coluna).
+Pediu como remuneração de seus serviços durante a epidemia de cólera a comenda da Ordem de Cristo ou o oficialato da Ordem da Rosa (Ministério do Império, julho de 1861).
+Almeida Valle e o advogado Antônio Ferreira Vianna ofereceram seus serviços aos pobres da Freguesia de Sant´Anna (Arquivo Municipal, 11 de julho de 1861).
+Em 1862, era o subdelegado de polícia do 1º distrito da freguesia de Sant´Anna (A Formiga, 19 de julho de 1862, terceira coluna), cargo do qual foi exonerado no ano seguinte (A Actualidade, 22 de junho de 1863, primeira coluna).
+Foi nomeado tenente cirurgião do primeiro batalhão de reserva da Guarda Nacional do município da corte (O Constitucional, 26 de março de 1864, terceira coluna).
+Tornou-se o diretor da Casa de Correção da Corte substituindo o major Daniel José Thompson (Correio Paulistano, 18 de junho de 1868, segunda coluna). A Casa de Correção do Rio de Janeiro, também chamada Casa de Correção da Corte, teve seu primeiro regulamento aprovado em 6 de julho de 1850 pelo decreto n. 678. Tinha o objetivo de ser uma prisão modelo do Império, onde se executaria a pena de prisão com trabalho, sendo considerada uma das “obras mais úteis e necessárias ao País pela influência do sistema penitenciário sobre os hábitos e a moral dos presos”.
+Almeida Valle  foi recebido por d. Pedro II (Correio Mercantil, 13 de julho de 1868, quarta coluna).
+Era o secretário de uma comissão presidida pelo Conde da Estrella que tinha a finalidade de celebrar o fim da Guerra do Paraguai e a chegada do Conde d´Eu (1842 – 1922) à corte (Diário do Rio de Janeiro, 7 de abril de 1870).
+Era um dos conselheiros da Sociedade Propagadora das Belas-Artes (Diário do Rio de Janeiro, 3 de fevereiro de 1871, quinta coluna).
+Em 28 de janeiro de 1871, Almeida Valle foi promovido a oficial da Ordem da Rosa (Diário de São Paulo, 8 de fevereiro de 1871, primeira coluna).
+Era um dos fundadores da Associação de Socorros à Invalidez (Diário do Rio de Janeiro, 1º de fevereiro de 1875, última coluna).
+Almeida Valle escreveu uma carta ao Diário do Rio de Janeiro explicando as razões da fuga de dois presidiários e elogiando a atuação dos ministros (Diário do Rio de Janeiro, 17 de janeiro de 1876, segunda coluna).
+Em 1876, Almeida Valle integrava com José Vieira Couto de Magalhães (1837 -1898) e o brigadeiro Francisco Antônio Raposo (1817 – 1880) uma comissão para a organização de penitenciárias agrícolas, presídios militares e núcleos coloniais (Diário de São Paulo, 28 de setembro de 1876, última coluna).
+Foi condecorado com a comenda da Ordem de Nossa Senhora da Conceição (Diário do Rio de Janeiro, 11 de dezembro de 1876, quinta coluna).
+No relatório da Comissão das Prisões, Almeida Valle foi elogiado pelo tratamento que dava aos infelizes confiados à sua direção (Diário do Rio de Janeiro, 27 de janeiro de 1877, segunda coluna).
+Por estar doente foi afastado da direção do presídio e Bellarmino Braziliense o substituiu. Almeida Valle faleceu em março de 1877 (Diário do Rio de Janeiro, 1º de fevereiro de 1877, sexta coluna e Jornal do Commercio, 16 de abril de 1877, última coluna).
+ 
+**Andrea C. T. Wanderley
+Editora-assistente e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+BELARMINO, Gonçalo. A Galeria dos condenados e a institucionalização da memória na Casa de Correção da Corte (1859-1876) – Dissertação apresentada ao Programa de PósGraduação em Memória Social como requisito Parcial para Obtenção do grau de Mestre em Memória Social do Centro de Ciências Humanas da UNIRIO.
+Hemeroteca Digital da Biblioteca Nacional
+KOUTSOUKOS, Sandra. No estúdio do fotógrafo.’Representação e auto-representação de negros livres, forros e escravos no Brasil da segunda metade do século XIX. Volume I  – Tese de Doutorado apresentada na pós-graduação em Multimeios, do Instituto de Artes da Universidade Estadual de Campinas, para a obtenção do título de Doutor em Multimeios
+Site da Câmara dos Deputados
+Site do Arquivo Geral da Cidade do Rio de Janeiro
+Site do Arquivo Nacional
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/6026` — `itens/20.500.12156.1_6026/`
+- `20.500.12156.1/6265` — `itens/20.500.12156.1_6265/`
+- `20.500.12156.1/5963` — `itens/20.500.12156.1_5963/`
+
diff --git a/wordpress/13038-os-aeronautas-portugueses-gago-coutinho-e-sacadura-cabral-no-brasil-em-1922.md b/wordpress/13038-os-aeronautas-portugueses-gago-coutinho-e-sacadura-cabral-no-brasil-em-1922.md
new file mode 100644
index 0000000..ccc5308
--- /dev/null
+++ b/wordpress/13038-os-aeronautas-portugueses-gago-coutinho-e-sacadura-cabral-no-brasil-em-1922.md
@@ -0,0 +1,72 @@
+---
+id: 13038
+url: "https://brasilianafotografica.bn.gov.br/?p=13038"
+titulo: "Os aeronautas portugueses Gago Coutinho e Sacadura Cabral no Brasil, em 1922"
+autor: "Andrea Wanderley"
+data: "2019-01-25T08:52:17+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/6092", "20.500.12156.1/6061", "20.500.12156.1/6060", "20.500.12156.1/6064", "20.500.12156.1/6059"]
+fetched_at: "2026-09-10T09:56:38.859Z"
+---
+
+# Os aeronautas portugueses Gago Coutinho e Sacadura Cabral no Brasil, em 1922
+
+Mais uma vez a Brasiliana Fotográfica pede ajuda a seus leitores. Agora para a identificação da única mulher presente ao almoço oferecido pela Marinha do Brasil, no Rio de Janeiro, aos aeronautas portugueses Carlos Viegas Gago Coutinho (1869 -1959) e Artur de Sacadura Freire Cabral (1881 – 1924), que realizaram a primeira travessia aérea do Atlântico Sul, em 1922, ano em que se comemorava o centenário da independência do Brasil. Iniciaram a viagem no dia 30 de março de 1922, partindo de Lisboa, a bordo do hidroavião Lusitânia, com destino ao Rio de Janeiro (O Paiz, 31 de março de 1922). Após alguns contratempos e acidentes e escalas na Europa e em algumas cidades do Brasil, chegaram ao destino final, em 17 de junho de 1922, completando a travessia. A população da cidade fez a apoteose magnífica do heroismo, aclamando Gago Coutinho e Sacadura Cabral na mais espontânea, na mais eloquente, na mais grandiosa manifestação popular em que há memória no Brasil (O Paiz, 18 de junho de 1922). Foram recepcionados com vários eventos, um deles a visita à Escola de Aviação Naval, na Ilha das Enxadas, em 26 de junho de 1922. São fotografias dessa homenagem e uma imagem produzida por Augusto Malta (1864 – 1957), alguns dias depois, que a Brasiliana Fotográfica traz hoje para seus leitores. Os registros pertencem à Diretoria do Patrimônio Histórico e Documentação da Marinha, uma das parceiras do portal.
+ 
+Augusto Malta. Gago Coutinho e Sacadura Cabral, 30 de junho de 1922. Rio de Janeiro, RJ / Acervo DPHDM
+ 
+Acessando o link para as fotografias de Gago Coutinho e Sacadura Cabral disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas. 
+ 
+Jorge Kfuri. Gago Coutinho e o Tenente Mario da Cunha Godinho, ao fundo, um hidroavião, na Escola de Aviação Naval, 26 de junho de 1922. Rio de Janeiro, RJ / Acervo DPHDM
+ 
+Jorge Kfuri. Grupo de Oficiais junto ao aviador Gago Coutinho à frente de um hidroavião na Escola de Aviação Naval , 26 de junho de 1922. Rio de Janeiro, RJ / Acervo DPHDM
+ 
+Nas duas fotografias abaixo há a presença de uma única mulher no almoço na Escola de Aviação Naval. Seria a aviadora Thereza de Marzo (1903 – 1986), pioneira da aviação no Brasil que participou das homenagens aos pilotos? (Jornal do Brasil, 21 de junho de 1922, quinta coluna; Jornal do Brasil, 22 de junho de 1922, quinta coluna; Jornal do Brasil, 23 de junho de 1922). A aviadora francesa Adrienne Bolland (1895 – 1975), primeira mulher que sobrevoou a Cordilheira dos Andes, que estava, na época, no Rio de Janeiro, tendo participado de eventos com os aviadores (O Paiz, 25 de junho de 1922, terceira coluna; Jornal do Brasil, 23 de junho de 1922)? Ou será a mulher de algum dos oficiais? Infelizmente nos registros do almoço na Escola de Aviação Naval não é mencionada nenhuma presença feminina (Jornal do Brasil, 27 de junho de 1922).
+ 
+Jorge Kfuri. Visita de Gago Coutinho e Sacadura Cabral à Escola de Aviação Naval,26 de junho de 1922. Rio de Janeiro, RJ / Acervo DPHDM
+
+Detalhe da foto
+
+Jorge Kfuri. Almoço na Escola de Aviação Naval em homenagem a Gago Coutinho e Sacadura Cabral, 26 de junho de 1922. Rio de Janeiro, RJ / Acervo DPHDM
+ 
+Etapas e resumo da Travessia
+Etapas da travessia
+ 
+
+ 
+ 
+Uma curiosidade: O repórter e fotógrafo de O Cruzeiro, Luciano Carneiro (1926 – 1959), cujo acervo fotográfico está sob a guarda do Instituto Moreira Salles, uma das instituições fundadoras da Brasiliana Fotográfica, foi premiado, em 1948, na Segunda Convenção dos Aviadores Civis, em Poços de Caldas, do qual também participou o aviador Gago Coutinho (1869 – 1959). O acontecimento foi documentado na reportagem O encontro das gerações, com texto de Ibiapaba de Oliveira Martins e fotos de Norberto Esteves (O Cruzeiro, 12 de junho de 1948).
+ 
+ 
+Careta, 24 de junho de 1922
+ 
+
+ 
+ 
+
+ 
+ 
+
+ 
+Cerca de dois anos depois, em novembro de 1924, Sacadura Cabral faleceu quando pilotava um Fokker 4146, de Amsterdã para Lisboa. Santos Dumont (1873 – 1932) enviou uma pequena carta a Gago Coutinho (O Jornal, 18 de junho de 1969).
+ 
+Carta escrita por Santos Dumont para Gago Coutinho na ocasião da morte de Sacadura Cabral / O Jornal, 18 de junho de 1969.
+ 
+A Brasiliana Fotográfica faz um agradecimento especial à bibliotecária Marcia Prestes Taft, Encarregada da Divisão de Documentos Especiais da Diretoria do Patrimônio Histórico e Documentação da Marinha, e ao arquiteto Bruno Buccalon, da equipe do IMS.
+Andrea C. T. Wanderley
+Editora-assistente e pesquisadora do portal Brasiliana Fotográfica
+Fontes:
+A primeira travessia aérea do Atlântico Sul – Texto apresentado pela delegação brasileira que compareceu ao XI Congresso Ibero-Americano de História Aeronáutica e Espacial realizado em Lisboa em outubro de 2008
+Hemeroteca Digital da Biblioteca Nacional
+Travessia aérea do Atlântico Sul – Filme da Ensina RTP
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/6092` — `itens/20.500.12156.1_6092/`
+- `20.500.12156.1/6061` — `itens/20.500.12156.1_6061/`
+- `20.500.12156.1/6060` — `itens/20.500.12156.1_6060/`
+- `20.500.12156.1/6064` — `itens/20.500.12156.1_6064/`
+- `20.500.12156.1/6059` — `itens/20.500.12156.1_6059/`
+
diff --git a/wordpress/13070-uma-homenagem-aos-175-anos-de-marc-ferrez-7-de-dezembro-de-1843-12-de-janeiro-de.md b/wordpress/13070-uma-homenagem-aos-175-anos-de-marc-ferrez-7-de-dezembro-de-1843-12-de-janeiro-de.md
new file mode 100644
index 0000000..d72d0e1
--- /dev/null
+++ b/wordpress/13070-uma-homenagem-aos-175-anos-de-marc-ferrez-7-de-dezembro-de-1843-12-de-janeiro-de.md
@@ -0,0 +1,73 @@
+---
+id: 13070
+url: "https://brasilianafotografica.bn.gov.br/?p=13070"
+titulo: "Uma homenagem aos 175 anos de Marc Ferrez (7 de dezembro de 1843 – 12 de janeiro de 1923)"
+autor: "Andrea Wanderley"
+data: "2018-12-07T15:48:06+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/2575", "20.500.12156.1/6734", "20.500.12156.1/2280"]
+fetched_at: "2026-09-10T09:56:42.045Z"
+---
+
+# Uma homenagem aos 175 anos de Marc Ferrez (7 de dezembro de 1843 – 12 de janeiro de 1923)
+
+A Brasiliana Fotográfica homenageia os 175 anos de nascimento do brilhante cronista visual Marc Ferrez (1843 – 1923), destacando as publicações do portal relativas ao fotógrafo e disponibilizando um artigo sobre ele de autoria de Sérgio Burgi, Coordenador de Fotografia do Instituto Moreira Salles, uma das instituições fundadoras do portal. A vasta e abrangente obra iconográfica de Ferrez se equipara a dos maiores nomes da fotografia do mundo. Foi o principal fotógrafo das paisagens e dos costumes cariocas da segunda metade do século XIX e do início do século XX.  Outro segmento de sua obra iconográfica registrou as várias regiões do Brasil – ele foi o único fotógrafo do século XIX que percorreu todas as regiões do país, tendo sido, no referido século, o principal responsável pela divulgação da imagem do país no exterior. Em meados dos anos 1870, integrou a Comissão Geológica do Império. Era Fotógrafo da Marinha Imperial. Faleceu em 12 de janeiro de 1923.
+ 
+Marc Ferrez. Marc Ferrez aos 33 anos de idade, c. 1876. Rio de Janeiro, RJ / Acervo IMS
+ 
+Acessando o link para as fotografias de Marc Ferrez disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Marc Ferrez. Marc Ferrez de guarda-chuva, c. 1885. Floresta da Tijuca, Rio de Janeiro / Acervo IMS
+ 
+ 
+MARC FERREZ 
+Sergio Burgi*
+ 
+Marc Ferrez. Ponte do Silvestre, c. 1895. Rio de Janeiro, RJ / Acervo IMS
+ 
+Mais conhecido por suas imagens icônicas da cidade do Rio de Janeiro e de seu exuberante entorno, Marc Ferrez foi também o primeiro fotógrafo a percorrer extensivamente o território brasileiro, primeiramente como fotógrafo da Comissão Geológica do Império do Brasil (1875-1878), e posteriormente, como fotógrafo da construção e modernização das principais ferrovias, registrando localidades e paisagens em diversos estados e regiões do país. Permanentemente associado ao campo das artes, da engenharia, da técnica e da ciência e em constante interação com os principais nomes de seu tempo nestas áreas, Marc Ferrez documentou grandes projetos de engenharia, de arquitetura e de urbanismo no Império e na República. Estes diversos trabalhos comissionados realizados ao longo de sua carreira o colocaram em associação direta com as principais inovações tecnológicas e científicas de seu tempo, tendo por conseguinte buscado também expandir as fronteiras de sua própria produção de imagem em fotografia, através, por exemplo, do desenvolvimento de câmeras especiais e do estudo e domínio de novos processos fotográficos.
+A partir da sociedade formada com seus filhos, em 1907, Marc Ferrez investiu na expansão de suas atividades nas áreas de comercialização de equipamentos e produtos fotográficos e cinematográficos, na produção e comercialização de impressões fotomecânicas, na distribuição de novos produtos para o mercado amador, como os autocromos e estereoscopias, e, especialmente, na distribuição e exibição de filmes cinematográficos, sendo estes os principais campos que viriam a consolidar, a partir do início do século XX, a era da comunicação visual de massa baseada na circulação intensiva da imagem fotográfica e cinematográfica, profissional e amadora. Este processo foi somente possível pelos avanços tecnológicos originados na interseção da ciência com a técnica e pela intensa atividade de comercialização de processos e produtos, que no Brasil teve em Marc Ferrez seu principal ator e agente. A carreira fotográfica de Marc Ferrez percorre, assim, mais de cinco décadas de profundas transformações no campo da imagem, e, nesse sentido, sua trajetória e seu legado constituem, sem dúvida, uma plataforma única para a compreensão do país e de sua representação ao longo do século XIX e primeiras décadas do século XX.
+Por esses motivos, que evidenciam a importância do legado de Marc Ferrez, o Instituto Moreira Salles, que tem sob sua guarda o acervo do fotógrafo, realizará ao longo dos próximos cinco anos um trabalho sistemático de documentação e pesquisa da obra completa de Marc Ferrez, buscando referenciar de maneira abrangente e exaustiva seu trabalho, reunido tanto no IMS como em outras instituições no país e no exterior.
+ 
+*Sergio Burgi é Coordenador de Fotografia do Instituto Moreira Salles
+ 
+Publicações da Brasiliana Fotográfica em torno da obra do fotógrafo Marc Ferrez 
+ 
+Marc Ferrez aos 33 anos, c. 1876. Rio de Janeiro, RJ / Acervo IMS
+O Rio de Janeiro de Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 30 de junho de 2015
+Obras para o abastecimento no Rio de Janeiro por Marc Ferrez , de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 25 de janeiro de 2016
+O brilhante cronista visual Marc Ferrez (7/12/1843 – 12/01/1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 7 de dezembro de 2016
+Do natural ao construído: O Rio de Janeiro na fotografia de Marc Ferrez, de autoria de Sérgio Burgi, um dos curadores da Brasiliana Fotográfica, publicada em 19 de dezembro de 2016
+No primeiro dia da primavera, as cores de Marc Ferrez (1843 – 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 22 de setembro de 2017
+Marc Ferrez , a Comissão Geológica do Império (1875 – 1878) e a Exposição Antropológica Brasileira no Museu Nacional (1882), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica,  publicada em 29 de junho de 2018
+Série “O Rio de Janeiro desaparecido” V – O quiosque Chopp Berrante no Passeio Público, Ferrez, Malta e Charles Dunlop, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 20 de julho de 2018
+Uma homenagem aos 175 anos de Marc Ferrez (7 de dezembro de 1843 – 12 de janeiro de 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 7 de dezembro de 2018 
+Pereira Passos e Marc Ferrez: engenharia e fotografia para o desenvolvimento das ferrovias, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 5 de abril de 2019
+Fotografia e ciência: eclipse solar, Marc Ferrez e Albert Einstein, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 24 de junho de 2019
+Os 180 anos da invenção do daguerreótipo – Os álbuns da Comissão Geológica do Império com fotografias de Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 19 de agosto de 2019
+Celebrando o fotógrafo Marc Ferrez (1843 – 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 4 de dezembro de 2019
+Uma homenagem da Casa Granado ao imperial sob as lentes de Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 7 de fevereiro de 2020
+Ressaca no Rio de Janeiro invade o porão da casa do fotógrafo Marc Ferrez, em 1913, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado 6 de março de 2020
+Petrópolis, a Cidade Imperial, pelos fotógrafos Marc Ferrez e Revert Henrique Klumb, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 16 de março de 2020
+Bambus, por Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 5 de junho de 2020
+O Baile da Ilha Fiscal: registro raro realizado por Marc Ferrez e retrato de Aurélio de Figueiredo diante de sua obra, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 9 de novembro de 2020
+O Palácio de Cristal fotografado por Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 2 de fevereiro de 2021
+A Estrada de Ferro do Paraná, de Paranaguá a Curitiba, pelos fotógrafos Arthur Wischral (1894 – 1982) e Marc Ferrez (1843 – 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 22 de março de 2021
+Dia dos Pais – Julio e Luciano, os filhos do fotógrafo Marc Ferrez, e outras famílias, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 6 de agosto de 2021
+No Dia da Árvore, mangueiras fotografadas por Ferrez e Leuzinger, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 21 de setembro de 2021
+Retratos de Pauline Caroline Lefebvre, sogra do fotógrafo Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 28 de abril de 2022
+A Serra dos Órgãos: uma foto aérea e imagens realizadas pelos mestres Ferrez, Leuzinger e Klumb, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 30 de junho de 2022
+O centenário da morte do fotógrafo Marc Ferrez (1843 – 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 12 de janeiro de 2023
+O Observatório Nacional pelas lentes de Marc Ferrez, amigo de vários cientistas, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 29 de maio de 2023
+No Dia Mundial do Meio Ambiente, a potente imagem da Cachoeira de Paulo Afonso, por Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 5 de junho de 2023
+A Fonte Adriano Ramos Pinto por Guilherme Santos e Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 18 de julho de 2023
+Os 180 anos de nascimento do fotógrafo Marc Ferrez (1843 – 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 7 de dezembro de 2023
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/2575` — `itens/20.500.12156.1_2575/`
+- `20.500.12156.1/6734` — `itens/20.500.12156.1_6734/`
+- `20.500.12156.1/2280` — `itens/20.500.12156.1_2280/`
+
diff --git a/wordpress/13091-carlos-bippus-e-as-paisagens-cariocas.md b/wordpress/13091-carlos-bippus-e-as-paisagens-cariocas.md
new file mode 100644
index 0000000..ac0d065
--- /dev/null
+++ b/wordpress/13091-carlos-bippus-e-as-paisagens-cariocas.md
@@ -0,0 +1,97 @@
+---
+id: 13091
+url: "https://brasilianafotografica.bn.gov.br/?p=13091"
+titulo: "Carlos Bippus e as paisagens cariocas"
+autor: "Andrea Wanderley"
+data: "2019-01-18T11:45:07+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/2232", "20.500.12156.1/2231", "20.500.12156.1/7774", "20.500.12156.1/2233"]
+fetched_at: "2026-09-10T09:56:45.098Z"
+---
+
+# Carlos Bippus e as paisagens cariocas
+
+Carlos Bippus. Praia de Botafogo, c. 1922 . Rio de Janeiro, RJ / Acervo IMS
+ 
+A Brasiliana Fotográfica homenageia o Rio de Janeiro destacando as imagens produzidas pelo fotógrafo Carlos Bippus (18? – 19?), que atuou na cidade nas primeiras décadas do século XX. Bippus fez diversos registros do Rio de Janeiro e muitos deles tornaram-se cartões-postais e ilustraram álbuns de fotografia que eram vendidos, sobretudo, a turistas que visitavam a cidade.  Até o momento, pouco se sabe sobre a vida deste fotógrafo. Ele teve um ateliê fotográfico, o Photographia Bippus, na rua Vista Alegre, nº 20, e posteriormente foi sócio de Hurt Brand na Photo Brasil, na avenida Rio Branco, nº 144. A sociedade foi desfeita em 1923 e Bippus passou a ser o único proprietário do estabelecimento, tendo permanecido no mesmo endereço. Em uma notícia publicada em O Jornal, em 23 de novembro de 1923, sua arte fotográfica foi elogiada como proficiente e caprichosa. Além de suas qualidades como fotógrafo paisagista, foi também destacada sua habilidade como retratista. Houve na Photographia Brasil, um incêndio em 1929 (Gazeta de Notícias, 17 de novembro de 1929, sexta coluna).
+ 
+Carlos Bippus. Canal do Mangue, conjunção do planeta Vênus com a Lua, c. 1925. Rio de Janeiro, RJ / Acervo IMS
+ 
+Acessando o link para as fotografias de Carlos Bippus disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas. 
+ 
+ Breve cronologia do fotógrafo Carlos Bippus
+ 
+1915 – Carlos Bippus  estava hospedado no Hotel Globo, no Rio de Janeiro (O Paiz, 31 de dezembro de 1915, terceira coluna).
+1916 – Voltou a hospedar-se no Hotel Globo (O Paiz, 22 de junho de 1916, quarta coluna).
+1917 – Carlos Bippus chegou no Rio de Janeiro, no paquete Itaituba, vindo de Porto Alegre e escalas (O Imparcial, Diário Illustrado do Rio de Janeiro, 19 de junho de 1917, penúltima coluna).
+1918 – Bippus, de quem o remetente de um anúncio não sabia a direção, estava sendo procurado para receber proposta de negócio. No anúncio estava disponível o número de uma Caixa Postal de São Paulo (Correio da Manhã, 13 de agosto de 1918, primeira coluna).
+Foi noticiado que C. Bippus, provavelmente Carlos Bippus, havia perdido um caderno azul com documentos e quem o encontrasse seria recompensado. O endereço fornecido para contato era rua do Catete, 98, 2º andar (A Noite, 28 de setembro de 1918, terceira coluna).
+1921 – O ateliê Photographia Bippus ficava na rua Vista Alegre, nº 20 (Almanak Lammert, 1922).
+O estabelecimento fotográfico Photo Lopes anunciou que acabava de substituir com vantagem a Photo Bippus que até então se dizia único no fabrico de vistas de noite (Jornal do Brasil, 5 de março de 1921, quinta coluna).
+1922 – Os aviadores portugueses Sacadura Cabral (1881 – 1924) e Gago Coutinho (1869 – 1959) visitaram o ateliê Foto Brasil, de Bippus e Brand. Na ocasião, os aviadores, que haviam realizado a primeira travessia aérea do Atlântico Sul, entre Lisboa e Rio de Janeiro, posaram para diferentes clichês (O Jornal, 24 de junho de 1922, terceira coluna).
+Fotografou a Exposição Internacional do Centenário da Independência do Brasil, realizada entre 7 de setembro de 1922 e o dia 24 de julho de 1923 no Rio de Janeiro. A foto abaixo foi publicada na revista A Exposição de 1922: Órgão da Comissão Organizadora, de setembro de 1922.
+ 
+Photo Bippus Rio. Exposição Internacional do Centenário da Independência, 1922. Rio de Janeiro, RJ / Acervo IMS
+ 
+A Exposição de 1922: Órgão da Comissão Organizadora, de setembro de 1922
+ 
+1923 – A Photo Brasil e uma tipografia, dos sócios Carlos Bippus e Hurt Brand, ficavam na na avenida Rio Branco, nº 144. A Photo Bippus continuava funcionando na rua Vista Alegre, nº 20 (Almanak Laemmert, 1924).
+Fotografias do ateliê de Bippus, de belíssimas vistas e panoramas do Rio de Janeiro, Petrópolis, Teresópolis, etc, eram anunciadas como verdadeiros trabalhos artísticos e de uma perfeição absoluta (A União, 21 de outubro de 1923 e O Beija-Flor, segunda quinzena de outubro de 1923).
+ 
+O Beija-Flor, segunda quinzena de outubro de 1923
+ 
+Foi desfeita a sociedade de Bippus com Hurt Brand na Foto Brasil. Bippus ficou com o ativo e o passivo do estabelecimento (Jornal do Commercio, 27 de outubro de 1923, sexta coluna; e Correio da Manhã, 3 de novembro de 1923, na antepenúltima coluna).
+Na notícia, abaixo, publicada em O Jornal, em 23 de novembro de 1923, a arte fotográfica de Bippus foi elogiada como proficiente e caprichosa. Além de suas qualidades como fotógrafo paisagista, foi também destacada sua habilidade como retratista.
+ 
+O Jornal, 3 de novembro de 1923
+ 
+1924 - Foi noticiada a perda de uma cadela nas proximidades do Cinema Odeon e pedido para quem a encontrasse entrasse em contato com Carlos Bippus (Correio da Manhã, 7 de fevereiro, terceira coluna).
+As fotografias de Bippus continuavam sendo anunciadas como verdadeiros trabalhos artísticos e de uma perfeição absoluta (O Beija-Flor, 2ª quinzena de março de de 1924).
+1925 – Foi publicada uma fotografia de Margot Felix, que se casaria com Bippus (Revista da Semana, 10 de janeiro de 1925).
+ 
+Revista da Semana, 10 de janeiro de 1925
+ 
+1926 – O diretor da Recebedoria do Distrito Federal respondeu a uma consulta de Carlos Bippus relativa à interpretação do decreto nº 16041 sobre vendas de trabalhos fotográficos (Jornal do Commercio, 15 de junho de 1926, quarta coluna e O Globo, 15 de junho de 1926).
+Carlos Bippus era credor e foi nomeado um dos comissários da concordata preventiva requerida por Alzira dos Santos Affonso (O Paiz, 6 de agosto de 1926, última coluna). Foi anunciado que os comissários estariam entre 16 e 17h no estabelecimento da concordatária na avenida Rio Branco, nº 90 (O Paiz, 7 de agosto de 1926, última coluna).
+Com Flexa Ribeiro e A. Perrin, Bippus foi um dos jurados da 3º Exposição Anual de Fotografia do Photo Club Brasileiro, inaugurada em 26 de agosto de 1926, no saguão do edifício do Liceu de Artes e Ofícios. O concurso foi encerrado em 8 de setembro e contou com 284 provas de 16 concorrentes, todos eles sócios do Photo Club (O Paiz, 29 de agosto de 1926, última coluna). Os vencedores das três categorias – Retratos, Cenas de Gênero e Paisagens – foram, Guerra Duval, Del Vecchio e Hermínia de Mello Nogueira, Santos Leitão, respectivamente (O Paiz, 5 de setembro de 1926).
+ 
+O Paiz, 5 de setembro de 1926
+ 
+Bippus adquiriu dois lotes no Jardim Guanabara, bairro em construção na Ilha do Governador (Jornal do Brasil, 29 de setembro de 1926, penúltima coluna).
+1929 – Bippus fez uma requerimento de certidão comercial para a prefeitura do Rio de Janeiro (Jornal do Brasil, 6 de fevereiro de 1929, primeira coluna e  24 de março de 1929, primeira coluna).
+Houve na Photo Brasil, um incêndio em 1929, causado pela distração do assistente de Bippus.  Ele trabalhava com uma lâmpada de reproduções e colocou o cigarro que fumava perto de uma lata de magnésio, causando uma explosão. O acidente não teve graves consequências (Gazeta de Notícias, 17 de novembro de 1929, sexta coluna; e O Globo, 16 de novembro de 1929).
+Foi aceito o pedido de despejo feito por Antônio Fernandes e Cia contra Carlos Bippus (Jornal do Commercio, 15 de abril de 1931, na penúltima coluna).
+1931 – Foi aceito o pedido de despejo feito por Antônio Fernandes e Cia contra Carlos Bippus (Jornal do Commercio, 15 de abril de 1931, na penúltima coluna).
+A Photo Brasil foi anunciada pela última vez no Almanak Laemmert, 1931.
+Tramitava na Sexta Vara Cível um processo de Carlos Bippus (A esquerda, 8 de julho de 1931, terceira coluna).
+1932 – Na Quinta Vara Cível, ação de despejo contra Bippus requerida por José Maria Parames Domingos (Correio da Manhã, 29 de setembro de 1932, terceira coluna).
+1933 –  Na Sexta Vara Cível, em assunto relativo a falência, Bippus foi intimado a satisfazer o parecer do Curador de massas (A Batalha, 11 de agosto de 1933, última coluna)
+1937 – Tramitava na 3ª Pretoria uma ação sumária feita por Leopoldo Neuss contra Carlos Bippus (Jornal do Commercio, 30 de janeiro de 1937).
+1987 - O álbum A Exposição do Centenário da Independência, de 1922, com fotos de Bippus, Thiele Kollien e Lopes, foi apresentado ao Conselho Deliberativo do Museu de Arte Moderna do Rio de Janeiro, durante uma homenagem ao presidente da White Martins, Félix de Bulhões, que havia feito uma doação à instituição (Jornal do Brasil, 23 de outubro de 1987, última coluna).
+1988 - Fotografias de Bippus foram a leilão, em Copacabana, no Rio de Janeiro (Jornal do Commercio, 21 de agosto de 1988, última coluna).
+2002 - Publicação de propaganda sobre leilão de fotografias, manuscritos e livros, dentre outros itens, na Livraria Universal, no Rio de Janeiro. Fotografias de Bippus, Marc Ferrez (1843 – 1923) e Augusto Malta (1864 – 1957) fizeram parte do leilão (Jornal do Commercio, 20 de outubro de 2002).
+2003 – Fotos noturnas produzidas por Bippus foram leiloadas na livraria e antiquário Sebo fino, em Petrópolis (O Globo, 2 de outubro de 2003)
+Carlos Bippus foi um dos fotógrafos homenageados no livro Rio de Janeiro 1900 – 1930 – Uma crônica fotográfica, de George Ermakoff.
+2008 – Lançamento do livro Só existe um Rio com imagens produzidas por Carlos Bippus e outros fotógrafos:
+‘O Rio de Janeiro renovado das décadas de 1910 e 1920 foi imortalizado por um grupo de fotógrafos que produzia álbuns fotográficos para a venda a visitantes e colecionadores. Lopes, Braz, Tiele, W. Kollien e Carlos Bippus nos deixaram um legado de imagens de grande sensibilidade e técnica primorosa, com viragem em verde à base de sais de ferro e urânio que permitiu uma excelente preservação ao longo do tempo.’
+2015 - Fotografias de Bippus fizeram parte das exposições Rio: primeiras poses – Visões da cidade a partir da chegada da fotografia (1840-1930),  no Instituto Moreira Salles; e Uma história do futuro, na Biblioteca Nacional (O Globo, 12 de agosto de 2015).
+ 
+Andrea C. T. Wanderley
+Editora-assistente e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+ERMAKOFF , George. Rio de Janeiro 1900 – 1930 – Uma crônica fotográfica. Rio de Janeiro: G. Ermakoff Casa Editorial, 2003.
+JAGUARIBE, Beatriz;MELLO, Marcia; L.Mauricio. Só existe um Rio. Rio de Janeiro: Editora Andrea Jakobson, 2008.
+Hemeroteca Digital da Biblioteca Nacional
+ 
+Carlos Bippus. Ressaca, 1913. Rio de Janeiro, RJ / Acervo IMS
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/2232` — `itens/20.500.12156.1_2232/`
+- `20.500.12156.1/2231` — `itens/20.500.12156.1_2231/`
+- `20.500.12156.1/7774` — `itens/20.500.12156.1_7774/`
+- `20.500.12156.1/2233` — `itens/20.500.12156.1_2233/`
+
diff --git a/wordpress/13148-as-versoes-diurna-e-noturna-na-fotografia-de-revert-henrique-klumb.md b/wordpress/13148-as-versoes-diurna-e-noturna-na-fotografia-de-revert-henrique-klumb.md
new file mode 100644
index 0000000..8ce09b7
--- /dev/null
+++ b/wordpress/13148-as-versoes-diurna-e-noturna-na-fotografia-de-revert-henrique-klumb.md
@@ -0,0 +1,53 @@
+---
+id: 13148
+url: "https://brasilianafotografica.bn.gov.br/?p=13148"
+titulo: "As versões diurna e noturna na fotografia de Revert Henrique Klumb"
+autor: "Andrea Wanderley"
+data: "2018-12-28T10:52:46+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/2394", "20.500.12156.1/6062", "20.500.12156.1/2437", "20.500.12156.1/2438"]
+fetched_at: "2026-09-10T09:56:48.346Z"
+---
+
+# As versões diurna e noturna na fotografia de Revert Henrique Klumb
+
+O fotógrafo francês Revert Henrique Klumb (c. 1826 – c. 1886) mudou-se definitivamente para Petrópolis, em 1866. Deste ano até 1874, produziu uma documentação extensa da cidade e fotografou a paisagem urbana de Petrópolis, acrescentando efeitos noturnos às imagens, uma importante inovação. Essa série é considerada extremamente significativa do ponto de vista estético e dos limites da linguagem na época. A Brasiliana Fotográfica destaca a fotografia “Quitandinha, Córrego Seco”, em suas versões diurna e noturna, para demonstrar essa manipulação deliberada do fotógrafo. Além disso, o portal convida o leitor a ouvir o comentário Os efeitos de Klumb, feito por Sérgio Burgi, um de seus curadores e Coordenador de Fotografia do Instituto Moreira Salles. Ele ressalta a importância da inovação e explica como Klumb conseguia esse efeito – trabalhando com um controle muito apurado da exposição e acrescentando, a partir de intervenção manual, efeitos de iluminação artificial: a iluminação dos lampiões nas ruas, a luz de velas nos interiores das casa e a própria lua.
+ 
+Revert Henrique Klumb. Rio Quitandinha, Córrego Seco, c. 1870. Petrópolis, Rio de Janeiro / Acervo IMS
+ 
+Revert Henrique Klumb. Rio Quitandinha, Córrego Seco, c. 1870. Rua do Imperador, Petrópolis, RJ / Acervo IMS
+ 
+ 
+Klumb expôs a série de Petrópolis em 1875 ( O Globo, de 10 de janeiro de 1875 , na segunda coluna, O Mercantil, de 6 e 9 janeiro de 1875  e de 6 de fevereiro de 1875). Dom Pedro II (1825 – 1891) e a imperatriz Tereza Cristina (1822 – 1889) visitaram a exposição ( O Mercantil, de 10 de janeiro de 1875, na terceira coluna).
+ 
+ 
+Crítica da exposição das fotografias de Klumb, O Mercantil, 9 de janeiro de 1875
+ 
+Acessando o link para as fotografias de Revert Henrique Klumb disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Revert Henrique Klumb. Armazém de víveres, c. 1870. Petrópolis, Rio de Janeiro / Acervo IMS
+ 
+Revert Henrique Klumb. Armazém de víveres, c. 1870. Petrópolis, Rio de Janeiro / Acervo IMS
+ 
+ 
+Para saber mais sobre Klumb, acesse o artigo Revert Henrique Klumb, o fotógrafo da família imperial do Brasil, publicado na Brasiliana Fotográfica, em 31 de agosto de 2016.
+ 
+Andrea C. T. Wanderley
+Editora-assistente e pesquisadora do portal Brasiliana Fotográfica
+ 
+Outros artigos publicados na Brasiliana Fotográfica em torno da obra de Revert Henrique Klumb:
+Revert Henrique Klumb, o fotógrafo da família real do Brasil, publicado em 31 de agosto de 2016
+Petrópolis, a Cidade Imperial, pelos fotógrafos Marc Ferrez e Revert Henrique Klumb, 16 de março de 2020
+“Doze horas em diligência”, o primeiro guia turístico do Brasil, por Revert Henrique Klumb (c. 1826 – c. 1886), 8 de maio de 2020
+Série “Avenidas e ruas do Brasil” II – A rua do Imperador em Petrópolis por Klumb, Leuzinger e Stahl, 16 de junho de 2020.
+O Hotel Pharoux por Revert Henrique Klumb, em 15 de junho de 2022
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/2394` — `itens/20.500.12156.1_2394/`
+- `20.500.12156.1/6062` — `itens/20.500.12156.1_6062/`
+- `20.500.12156.1/2437` — `itens/20.500.12156.1_2437/`
+- `20.500.12156.1/2438` — `itens/20.500.12156.1_2438/`
+
diff --git a/wordpress/13194-a-escola-de-aprendizes-marinheiros-do-ceara.md b/wordpress/13194-a-escola-de-aprendizes-marinheiros-do-ceara.md
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@@ -0,0 +1,49 @@
+---
+id: 13194
+url: "https://brasilianafotografica.bn.gov.br/?p=13194"
+titulo: "A Escola de Aprendizes-Marinheiros do Ceará"
+autor: "Andrea Wanderley"
+data: "2018-10-05T10:57:41+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/4286", "20.500.12156.1/4294", "20.500.12156.1/4336", "20.500.12156.1/4335", "20.500.12156.1/4306"]
+fetched_at: "2026-09-10T09:56:51.406Z"
+---
+
+# A Escola de Aprendizes-Marinheiros do Ceará
+
+No ano de 1864, o Decreto Imperial nº 3.347, de 26 de novembro, criou a Companhia de Aprendizes-Marinheiros do Ceará. Estas companhias surgiram como parte do projeto de reformulação da Marinha Imperial em meados do século XIX e, no decorrer da segunda metade daquele século, foram estabelecidas 17 unidades pelo litoral do Império e uma na província do Mato Grosso.  O objetivo da instituição era recrutar crianças e jovens a fim de formá-los para ingresso no serviço da Armada Imperial, empregando-os no Corpo de Imperiais Marinheiros. É essa história que Wagner Luiz Bueno dos Santos, pesquisador na Diretoria do Patrimônio Histórico e Documentação da Marinha – DPHDM -, uma das parceiras da Brasiliana Fotográfica, traz hoje para os leitores do portal com o artigo A Escola de Aprendizes-Marinheiros do Ceará na consolidação da educação e formação profissional de marinheiros. As 19 imagens da Escola de Aprendizes-Marinheiros que estão no acervo da Brasiliana Fotográfica podem ser acessadas e magnificadas.
+A Escola de Aprendizes-Marinheiros do Ceará na consolidação da educação e formação profissional de marinheiros 
+Wagner Luiz Bueno dos Santos*
+Anônimo. Fachada principal da Escola de Aprendizes-Marinheiros do Ceará, 1917. Fortaleza, Ceará / Acervo DPHDM
+ 
+No ano de 1864, o Decreto Imperial nº 3.347, de 26 de novembro, criou a Companhia de Aprendizes-Marinheiros do Ceará. Estas companhias surgiram como parte do projeto de reformulação da Marinha Imperial em meados do século XIX e, no decorrer da segunda metade daquele século, foram estabelecidas 17 unidades pelo litoral do Império e uma na província do Mato Grosso. O objetivo da instituição era recrutar crianças e jovens a fim de formá-los para ingresso no serviço da Armada Imperial, empregando-os no Corpo de Imperiais Marinheiros. A combinação entre aprendizado nas primeiras letras e instrução militar formava a estrutura de ensino nas Companhias de Aprendizes-Marinheiros. Para complementar a formação do aprendiz-marinheiro, o ensino teórico era acompanhado por treinamento prático nos navios de guerra da Armada Imperial, considerado como um estágio importante pela Administração Naval, pois era o momento em que os aprendizes-marinheiros recebiam treinamento prático durante as rotinas dos navios.
+Durante a segunda metade do século XIX, os meninos ingressavam na instituição de diversas formas. Alguns eram levados pelos pais e parentes próximos, e outros por tutores ou responsáveis financeiros dos meninos. Porém, boa parte chegava pelas mãos das autoridades locais – delegados de polícia, juízes de paz, presidentes das províncias e inspetores dos arsenais. Em uma perspectiva mais ampla, guardadas suas especificidades, as Companhais de Aprendizes-Marinheiros compuseram os mecanismos de recrutamento da época, surgindo e se consolidando em um período em que a maioria dos marinheiros ingressava na Marinha Imperial por meio do recrutamento forçado. Na tentativa de abandonar esta prática, e solucionar seus problemas inerentes, as companhias deveriam funcionar como espaço de formação de um novo marinheiro. Por isso seu alvo foi a infância e a adolescência o recrutamento era feito nas cidades, nas vilas e nos lugarejos do extenso litoral do Império.
+ 
+Anônimo. Salão Riachuelo – Aula na Escola de Aprendizes Marinheiros do Ceará, 1917. Fortaleza, Ceará / Acervo DPHDM
+ 
+Acessando o link para as fotografias da Escola de Aprendizes-Marinheiro do Ceará disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Anônimo. Esgrima de baioneta na Escola de Aprendizes Marinheiros do Ceará, 1917. Fortaleza, Ceará / Acervo DPHDM
+ 
+Desde sua criação, as Companhias passaram por reformulações e alterações em seu regulamento, mas foi no ano de 1885 que a instituição sofreu sua maior mudança. As companhias passaram a ter a denominação de Escolas de Aprendizes-Marinheiros e uma das mais significativas mudanças foi a redução do número de unidades. Naquele ano, das 18 unidades existentes, 12 continuaram em funcionamento.
+Anônimo. O catavento da Escola de Aprendizes-Marinheiros do Ceará, 1917. Fortaleza, Ceará / Acervo DPHDM
+Alterações no regulamento das escolas também foram feitas no início do século XX. Um período marcado por constantes reduções e aumento do número de unidades, seja por junção ou extinção, de modo que a quantidade de escolas oscilou à medida que eram traçadas metas para o recrutamento de marinheiros. Ao mesmo tempo que se percebia a incapacidade de completar as vagas que a Marinha necessitava, identificou-se as deficiências na aprendizagem em algumas unidades. Apesar de todas essas alterações e mudanças sofridas pela instituição, onde algumas deixaram de existir, a Escola de Aprendizes do Ceará permaneceu em atividade.
+No final de 1917, segundo o relatório do Ministro da Marinha publicado em 1918, das cem vagas disponíveis na escola do Ceará, havia somente 33 meninos matriculados. Naquela época, a instituição já havia deixado sua antiga sede na região do antigo porto da cidade de Fortaleza e se encontrava instalada em Jacareacanga. Para o ingresso nas Escolas, de acordo com o regulamento em vigor, estabelecido pelo Decreto nº 11.479, de 10 de fevereiro de 1915, era necessário ter entre 14 e 16 anos de idade, apresentar documentos que confirmassem a nacionalidade brasileira e passar por avaliações médicas para comprovação de aptidões físicas com laudo sanitário proferido pelo médico da escola. O Regulamento orientava ainda que os candidatos a uma vaga em uma das 20 unidades das Escola de Aprendizes-Marinheiros, dispostas no território brasileiro na época, poderiam ser entregues por seus pais ou tutores. No caso de órfãos, estes deveriam ser apresentados por seus tutores ou juiz competente e, no caso de órfãos asilados, deveriam ser apresentados pela direção dos asilos. Após a matrícula, o menino ficaria em observação por oito dias e só após esse período seria alistado como aprendiz-marinheiro.
+O ensino nas Escolas de Aprendizes-Marinheiros compreendia um período de dois anos, dividido cada ano em duas séries. Os aprendizes-marinheiros passariam por um processo de aprendizagem estabelecido em três segmentos: elementar, profissional e acessório. O ensino elementar nas escolas incluía noções de língua portuguesa; ensino de matemática com noções de operações fundamentais, geometria e sistema métrico decimal; geografia e história do Brasil; educação física; educação musical e desenho. O ensino profissional, que era o início da preparação do aprendiz-marinheiro para o exercício das funções a bordo, constituía-se por disciplinas que abordavam noções elementares dos aparelhos dos navios modernos, classificação de navios modernos, sua categoria, noções de navegação, regimento de bandeiras e sinais semafóricos. O objetivo dessas disciplinas, ditas modernas, era acompanhar a evolução da construção naval da época. O ensino acessório tratava-se de um conjunto de atividades para o desenvolvimento físico do aprendiz-marinheiro e sua formação militar, incluindo exercícios de ginástica, de escaleres a remos e a vela, de esgrima, de natação, jogos escolares ao ar livre, execícios de infantaria e de baioneta.
+A Escola de Aprendizes-Marinheiros do Ceará teve suas atividades encerradas em 1931 e foi reaberta, em 1940, com instalações novas e ampliadas para proporcionar melhores condições de alojamento e aprendizagem aos alunos. Na ocasião, os jornais da cidade deram destaque para a chegada do futuro comandante da Escola de Aprendizes, o então Capitão-Tenente Clóvis de Oliveira, que visitou as novas instalações para traçar um plano de abertura da antiga escola. Atualmente, a Escola de Aprendizes-Marinheiros do Ceará tem capacidade para formar 500 marinheiros por ano e a forma de ingresso é feita por concurso público para brasileiros entre 18 e 22 anos, que não tenham contraído matrimônio ou outra forma de união.
+ 
+*Wagner Luiz Bueno dos Santos é historiador e pesquisador na Diretoria do Patrimônio Histórico e Documentação da Marinha – DPHDM.
+ 
+ 
+Anônimo. Educação Phisica – Exercícios Diversos na Escola de Aprendizes-Marinheiros do Ceará, 1917. Fortaleza, Ceará / Acervo DPHDM
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/4286` — `itens/20.500.12156.1_4286/`
+- `20.500.12156.1/4294` — `itens/20.500.12156.1_4294/`
+- `20.500.12156.1/4336` — `itens/20.500.12156.1_4336/`
+- `20.500.12156.1/4335` — `itens/20.500.12156.1_4335/`
+- `20.500.12156.1/4306` — `itens/20.500.12156.1_4306/`
+
diff --git a/wordpress/1322-o-alagoano-augusto-malta-fotografo-oficial-do-rio-de-janeiro-entre-1903-e-1936.md b/wordpress/1322-o-alagoano-augusto-malta-fotografo-oficial-do-rio-de-janeiro-entre-1903-e-1936.md
new file mode 100644
index 0000000..d9d4fd8
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+++ b/wordpress/1322-o-alagoano-augusto-malta-fotografo-oficial-do-rio-de-janeiro-entre-1903-e-1936.md
@@ -0,0 +1,128 @@
+---
+id: 1322
+url: "https://brasilianafotografica.bn.gov.br/?p=1322"
+titulo: "O alagoano Augusto Malta, fotógrafo oficial do Rio de Janeiro entre 1903 e 1936"
+autor: "Andrea Wanderley"
+data: "2015-07-10T12:23:46+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/6658"]
+fetched_at: "2026-09-10T09:56:54.692Z"
+---
+
+# O alagoano Augusto Malta, fotógrafo oficial do Rio de Janeiro entre 1903 e 1936
+
+Anônimo. Augusto Malta, s/d. Rio de Janeiro / Acervo Arquivo Geral da Cidade do Rio de Janeiro
+Já em 1900, o alagoano Augusto Malta, que viria a ser o mais  importante cronista fotográfico do Rio de Janeiro das primeiras décadas do século XX, cujo trabalho é fundamental para a preservação da memória da cidade, passeava e trabalhava, pedalando pelas ruas da cidade, tendo sido, inclusive, secretário do Grupo de Velocemen, criado para organizar passeios e outros divertimentos ciclistas. 
+Essa sua relação com a cidade e sua paisagem, construída, inicialmente, por seus deslocamentos com sua bicicleta, se expandiria para a formação de seu significativo legado iconográfico.
+Foi, exatamente, a partir da troca de uma bicicleta por uma máquina fotográfica que o Rio de Janeiro ganhou um de seus mais atuantes fotógrafos. Em 1900, Malta comercializava tecidos finos no Centro do Rio e, para fazer entregas de encomendas, usava como transporte a bicicleta. Um de seus fregueses, um aspirante da Marinha, propôs a troca e, a partir desse trato, Augusto Malta começou a se interessar por fotografia.
+Em 1903, foi contratado pela Prefeitura do Rio de Janeiro como fotógrafo oficial, cargo criado para ele. Passou a documentar a radical mudança urbanística promovida pelo então prefeito da cidade, Francisco Pereira Passos (1836-1913) – de quem se tornou muito amigo -, período que ficou conhecido como o “bota-abaixo”. Augusto Malta trabalhou na Prefeitura até 1936, quando se aposentou. Incansável, elegante e bem-humorado, com seus olhos irrequietamente falantes definiu a fisionomia do Rio de Janeiro a partir de sua extensa e importante produção de imagens.
+ 
+Augusto Malta (1864 – 1957), s/d. Rio de Janeiro, RJ / Acervo AGCRJ
+ 
+Acessando o link para as fotografias de autoria de Augusto Malta e de seus filhos Aristógiton e Uriel disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+Sobre sua aparência, Raymundo de Athayde escreveu na Revista da Semana, de 16 de dezembro de 1944:
+“É um nortista tipo perfeito da classificação conhecida: braquicéfalo, altura mediana, maxilares salientes, olhos amendoados como o de um mongol. Na verdade, visto de perfil, parece-se com um soldado de Chiang-Kai-Chek, que tivesse abandonado a farda…Há cinquenta anos usa uma gravata borboleta, dessas preferidas pelos pintores e poetas do século passado.” Também foi um dos primeiros a usar óculos de aro de tartaruga.
+ 
+Augusto Malta com o chapéu e a gravata que tornaram-se suas marcas registradas / Revista da Semana, 16 de dezembro de 1944
+ 
+Sobre o início de sua carreira, Malta, na mesma entrevista para Raymundo Athayde, comentou:
+“Eu, no entanto, continuei a vender fazendas a pé. Quanto à máquina, tomei gosto pela fotografia e, aos domingos, em companhia de um amigo, também amador da arte, tirava vistas da cidade, grupos de amigos etc. Confesso que sentia grande sensação quando via surgirem no papel as belas e surpreendentes imagens que o sal de prata revelava e o hipossulfito fixava a meus olhos, na câmara escura improvisada em minha casa. E vivia assim nesse ingênuo amadorismo, quando um fornecedor da Prefeitura, meu amigo, levou-me para tirar fotografias das obras que então o grande Pereira Passos realizara em 1903. Na época, o Rio começava a mudar a indumentária e remoçar. Por acaso o insuperável Prefeito viu as fotografias que eu tirava por esporte e gostou. Propôs-me um emprego na Prefeitura e eu, sem relutâncias, aceitei”.
+Além de ter documentado as transformações urbanas e os grandes eventos da cidade como a Exposição Nacional de 1908, a construção do Teatro Municipal, em 1909; a Revolta da Chibata, em 1910; e a inauguração do Cristo Redentor, em 1931; paisagens, monumentos, lojas, o casario decadente e as ressacas. Registrou também aspectos da vida carioca como, por exemplo, o carnaval de rua, o movimento dos quiosques, os eventos sociais, os moradores de cortiços, os vendedores ambulantes, as prostitutas, os marinheiros e cenas de praia. Também fotografou políticos, intelectuais e artistas, tornando-se próximo de vários deles como Afonso Pena (1847 – 1909), Carlos Sampaio (1861 – 1930), Joaquim Nabuco (1849 – 1910), Lauro Muller (1863 – 1926), Noronha Santos (1876-1954), Oswaldo Cruz  (1872–1917), Paulo de Frontin (1860 – 1933), Rodrigues Alves (1848 – 1919) e Ruy Barbosa (1849 – 1923).
+Suas fotos foram divulgadas em guias turísticos, cartões-postais, revistas e publicações oficiais, tendo ajudado a formar a identidade visual da Belle Époque no Rio de Janeiro e contribuído, decisivamente, para a preservação da memória da cidade. Foi, sem dúvida, um importante incentivador do fotojornalismo no Brasil, tendo fornecido imagens de acontecimentos, pessoas, aspectos urbanos e paisagens para diversas revistas e jornais, mesmo após sua aposentadoria.
+Como escreveu Carlos Drummond de Andrade (1902 – 1987) , O Malta viu tudo (Jornal do Brasil, 1º de março de 1979).
+ 
+
+ 
+
+ 
+Segundo o artigo de Regina da Luz Moreira, Augusto Malta, dono da memória fotográfica do Rio, publicado no Portal Augusto Malta do Acervo Geral da Cidade do Rio de Janeiro, em termos técnicos, Malta manteve-se sempre fiel ao seu equipamento, só admitindo mudanças a partir do momento em que o filho Aristógiton passou a trabalhar com ele. Foram então introduzidas câmaras americanas e alemãs, as mais modernas então existentes. Mesmo assim, até praticamente os 90 anos continuou a fotografar com chapas de vidro, optando, no entanto, pelas de tamanho mais reduzido, como as de 13 cm por 18 cm.
+ 
+Fotógrafo Malta
+Charles Julius Dunlop
+ 
+Malta, de óculos, com os irmãos Rodolfo (sentado) e Henrique (em pé) Bernardelli, escultor e pintor, respectivamente
+ 
+“O Major da Guarda Nacional, Augusto Cesar Malta de Campos, ou melhor, o fotógrafo Malta, como é mais conhecido, é o profissional mais antigo do Rio de Janeiro. Possui ele um arquivo completo dos acontecimentos mais importantes desta cidade, nos últimos 50 anos, com toda a história da sua transformação, todas as realizações da Prefeitura, documentada em mais de 30 mil chapas.
+O carinho que tem por essa história e por essas fotografias é quase uma religião para ele. Malta esquece tudo para ir buscar uma fotografia antiga e com ela tirar uma dúvida sobre uma data ou um episódio qualquer da história do Rio de Janeiro.
+
+Funcionário municipal aposentado, contando 93 anos de idade, goza de uma saúde de ferro. “Não acredito em outros mundos, diz ele. Morrer é descuido. Eu pretendo chegar aos 120 anos!”
+
+Augusto Malta reside em Niterói, na praia das Flechas, onde toma diariamente o seu banho de mar, mas vem sempre ao Rio rever os amigos e matar saudades. Traz consigo, invariavelmente, uma volumosa pasta, mais parecendo uma mala portátil, atulhada de fotografias do mais vivo interesse para a história carioca.
+
+Malta não começou a vida como fotógrafo. Em fins de 1888, vindo de Alagoas, onde nasceu na cidade de Paulo Afonso, empregou-se no comércio, como auxiliar de escrita. No ano seguinte, já era guarda-livros da firma Leandro Martins. Nesse ano, presenciou fatos memoráveis: viu quando Deodoro da Fonseca foi ao encontro da tropa, na antiga praça da Aclamação, no dia 15 de novembro, e ouviu quando Sampaio Ferraz deu vivas à República que nascia.
+
+Como republicano ardoroso que era, assinou, no Paço Municipal, a ata da Proclamação, cujo original está guardado no Museu da Cidade, e seguiu à frente da massa popular como porta-estandarte do “Centro Republicano Lopes Trovão”, que foi a bandeira dos nossos primeiros dias da República.
+
+Depois, estabeleceu-se por conta própria, com uma casa de molhados, na rua do Ouvidor, canto de Uruguaiana, mas o negócio não foi avante. “Dei com os burros n’água”, diz ele.
+
+Mudando de profissão, passou a vender fazendas por amostras, tornando-se o precursor dos vendedores a prestação. Montado na sua bicicleta, visitava diariamente a freguesia, que era das mais seletas. A Sra. Campos Sales, a Viscondessa de Guai (Sra. Joaquim Elísio Pereira Marinho) e outras damas da alta sociedade, embora não comprando a prestação, davam preferência ao amável vendedor que lhes levava a mercadoria em casa.
+
+Foi nessa época que um amigo despertou em Augusto Malta a idéia de tornar-se fotógrafo profissional, quando lhe propôs a troca de sua bicicleta por uma máquina fotográfica. O negócio foi aceito, e nessa sua nova função tomou contacto com o prefeito Francisco Pereira Passos que, apreciando a sua atividade e gostando dos seus trabalhos, criou para ele, em julho de 1903, o lugar de fotógrafo municipal. Daí o acervo extraordinário de fotografias que possui sobre a evolução da cidade, a qual acompanhou dia a dia, com alma de verdadeiro artista.
+
+Na fotografia, por ele próprio tirada em 1913, vemo-lo de terno escuro com os irmão Bernardelli, Rodolfo (escultor) e Henrique (pintor). “
+
+ Rio Antigo, vol. II, 1956
+
+O lançamento do Portal Augusto Malta, em 2008, foi uma importante iniciativa do Arquivo Geral da Cidade do Rio de Janeiro (AGCRJ). No portal, estão reunidos o acervo do fotógrafo na referida instituição e no Museu Histórico da Cidade, além de fotografias de seus filhos, Aristógiton e Uriel Malta. O ex-curador da Brasiliana Fotográfica, Joaquim Marçal, foi consultor do projeto.
+O Museu da Imagem e do Som do Rio de Janeiro, o Arquivo Fotográfico da Light, o Instituto Histórico e Geográfico Brasileiro, o Instituto Moreira Salles, a Biblioteca Nacional e o Museu Histórico Nacional são outros importantes acervos da obra do fotógrafo.
+
+Brevíssimo perfil de Augusto Malta
+
+Augusto Malta com os filhos de seu primeiro casamento, c. 1907. Passeio Público, Rio de Janeiro, RJ / Site Family Search – Da esquerda para direita, acima: Arethusa, Malta e Luthgarde; e abaixo, Aristocléa, Aristógiton e Callishene
+
+Augusto Cesar Malta de Campos nasceu em 14 de maio de 1864, em Mata Grande, Alagoas, que entre 1902 e 1929 se chamou Paulo Afonso. Filho do escrivão Claudino Dias de Campos e Blandina Vieira Malta de Campos, conhecida como Dona Iaiá, foi batizado em 5 de junho, na matriz de Nossa Senhora de Mata Grande, por Francisco Felix Dias e Sebastiana Bezerra Sidrino. Em 1886, deixou de morar com o padre Antonio Marques de Castilho (18? – 1886), com quem havia ido residir por decisão de seu pai, que queria que ele seguisse a carreira religiosa. Alistou-se no Exército, no Recife. Pretendia seguir a carreira militar, mas, posteriormente, quando cumpriu o prazo de tempo de serviço, foi dispensado.
+Em 1888, após participar de manifestações a favor da abolição da escravatura, foi para o Rio de Janeiro e , segundo o próprio, seu primeiro emprego na cidade foi no comércio, como auxiliar de escrita. No ano seguinte, já era guarda-livros da firma Leandro Martins. Participou dos acontecimentos de 15 de novembro de 1889, quando foi proclamada a República no Brasil, quando participou de uma manifestação coletiva dos empregados do comércio. No dia seguinte, foi um dos signatários do termo de juramento lido na Câmara Municipal do Rio de Janeiro, dando posse ao governo provisório republicano.
+Em torno de 1890, visitou a Alagoas, e casou-se com sua prima distante, a alagoana Laura Oliveira Campos (1874 – 1905). O casal teve cinco filhos: Luthgardes (05/01/1896 – 05/02/1928), Arethusa (1898 – 31/03/1913), Callisthene (26/07/1900 – 20/02/1919), Aristocléa (21/06/1903 – 03/1934), afilhada do prefeito Pereira Passos; e Aristógiton (25/08/1904 – 15/08/1954). Todas as filhas do casal morreram de tuberculose.
+Como já mencionado, foi fotógrafo da Prefeitura do Rio de Janeiro, entre 1903 e 1936. E também prestava serviços para empresas como a Light e a Sul-América, para pequenas empresas e para particulares.
+Em 1904, Malta foi um dos fundadores da Sociedade Cartophila Emanuel Hermann, uma associação incentivadora da divulgação de cartões-postais. Ele editava postais de turismo. Hermann (1839 – 1902) foi um professor de Economia que sugeriu aos Correios do Império Austro-Húngaro a emissão dos primeiros cartões-postais.
+Com o falecimento de Laura, em 1905, em torno de 1906, Malta passou a viver maritalmente com Celina Augusta Verscheuren (16/03/1884 – 1969), que trabalhava desde os 15 anos como babá dos filhos de Malta e Laura. Com Celina, Malta teve mais quatro filhos: Dirce (1907 – 10/1971), Eglé (20/09/1909 – 11/1941) e Uriel (28/09/1910 – 05/08/1994) e Amalthea (12/12/1912 – 12/03/2007).
+Foi criada em 28 de outubro de 1913, a Associação dos Photographos de Imprensa, provavelmente a primeira do gênero, no Brasil. Entre seus fundadores estavam Augusto Malta e Jorge Kfuri (1893 – 1965), autor das primeiras fotografias aéreas do Rio de Janeiro, produzidas em 1916.
+Em 1936, aposentou-se da Prefeitura do Rio de Janeiro e foi substituído por seu filho, Aristógiton. No ano seguinte, seu outro filho, Uriel, passou a trabalhar com o irmão. Em 1940, foi morar em Niterói. Até o fim de sua vida, forneceu imagens para particulares e para a imprensa.
+Ao longo de sua carreira teve diversos estúdios cedidos pela Prefeitura que, às vezes, também residia com sua família: na Rua do Lavradio, 96 (depois 112), que sofreu um incêndio em 1905; na Rua do Riachuelo, 22, perto dos Arcos da Lapa; na Rua Frei Caneca, no Passeio Público, na Rua Camerino, 57, na Rau Senador Furtado, 85, no Maracanã; na Rua General Câmara, 260 e na Rua Sergipe, no Maracanã. Também teve ateliês fotográficos particulares como os da Avenida Central, 92; da Avenida Rio Branco, 90; e da Praça Tiradentes, 35.
+Em 30 de junho de 1957, Augusto Malta faleceu devido a problemas cardíacos, no Hospital da Ordem Terceira da Penitência. Foi sepultado no dia seguinte, no Cemitério do Caju. Residia na Rua Pereira Nunes, em Niterói, bem próximo à Praia das Flechas. Quando faleceu, só tinha três filhos vivos: o fotógrafo Uriel, Amalthea e Dirce.
+ 
+
+O GLOBO, 1º de julho de 1957
+ 
+
+ Acesse aqui a Cronologia de Augusto Malta (1864 – 1957)
+ 
+*Este artigo foi atualizado em 29 de abril de 2026.
+ 
+Andrea C. T. Wanderley
+Editora-assistente e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+Achados e Perdidos (livro eletrônico): Imagens inéditas do Rio de Janeiro (1937-1945)/Eliseu Santiago de Souza…(Et.Al.) — 1ª edição. Rio de Janeiro: Aprazível Edições e Arte e UQ Editions, 2025 PDF. Outros autores: Pedro Marreca, Rafael Martins, Leonel Kaz.
+ALMEIDA, Adjovanes Thadeu Silva de; SANTANA, José Luis. Augusto Malta: o fotógrafo de uma cidade que se transformou. Revista Eletrônica do Instituto de Humanidades, 2013
+Anais do Museu Histórico Nacional: volume XXXII – 2000, pág 131.
+BENCHIMOL, Jaime Larry. Pereira Passos: um Haussmann tropical – a renovação urbana da cidade do Rio de Janeiro no início do século XX. Rio de Janeiro : Biblioteca Carioca v11 – AGCRJ, 1992.
+BULHÕES, Antonio & REBELO, Marques. O Rio de Janeiro do bota-abaixo. Rio de Janeiro: Salamandra, 1997
+CAMPOS, Fernando Ferreira. Um fotógrafo, uma cidade: Augusto Malta, Rio de Janeiro: Maison Graphique, 1987.
+Catálogo da Exposição comemorativa da doação do Acervo Brascan ao IMS – Guilherme Gaenly e Augusto Malta: dois mestres da fotografia brasileira no Acervo Brascan. Rio de Janeiro: Instituto Moreira Salles, 2002
+Dunlop, Charles Julius. Rio Antigo, volume II. Rio de Janeiro: Editora Rio Antigo, 1956.
+ERMAKOFF, George. Augusto Malta e o Rio de Janeiro: 1903-1936 / George Ermakoff; tradução para o inglês Carlos Luís Brown Scavarda. Rio de Janeiro: G. Ermakoff Casa Editorial, 2009. 288p. : il.; 28cm
+FROSSARD, Heloisa (org.) Augusto Malta – Catálogo da série Negativo em vidro Aristógiton Malta. Arquivo Geral da Cidade do Rio de Janeiro – Coleção Biblioteca Carioca, 1994.
+HEEREN, Alice. Affective Rhetorics of Contagion – Augusto Malta in Belle Époque Rio de Janeiro, 2020.
+Hemeroteca Digital da Biblioteca Nacional
+KOSSOY, Boris. A fotografia como fonte histórica: introdução à pesquisa e interpretação das imagens do passado. São Paulo: Secretaria da Ind., Com., Ciência e Tecnologia, 1980. (Coleção Museu &Técnicas; 4).
+LAGO, Bia Corrêa do;LAGO, Pedro Corrêa do. Coleção Princesa Isabel: fotografia do século XIX. Rio de Janeiro: Capivara, 2008.432p.:il., retrs.
+Nosso Século. São Paulo; Abril Cultural, 1980. vol 1 (1900-1910)
+O GLOBO
+MOREIRA, Regina Luz. Augusto Malta, dono da memória fotográfica do Rio in Portal Augusto Malta, 18 de agosto de 2008
+OLIVEIRA JUNIOR, Antônio Ribeiro de. Do reflexo à mediação : um estudo da expressão fotográfica e da obra de Augusto Malta. Dissertação (mestrado) – Universidade Estadual de Campinas, Instituto de Artes, 1994.
+OLIVEIRA JUNIOR, Antonio Ribeiro de. O visível e o invisível: um fotógrafo e o Rio de Janeiro no início do século XX. In: SAMAIN, Etienne (org.). O Fotográfico. São Paulo: Hucitec, 1998.
+Portal Augusto Malta do Arquivo Geral da Cidade do Rio de Janeiro
+Site Enciclopédia Itau Cultural
+Site Centro Cultural da Light
+Site Family Search
+Site Instituto Moreira Salles
+Site Museu da Imagem e do Som
+SOUZA, Fernando Gralha. Augusto Malta e o olhar oficial – Fotografia, cotidiano e memória do Rio de Janeiro – 1903/1936. Tese de Mestrado. UFJF/PPGHIS. 2006.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/6658` — `itens/20.500.12156.1_6658/`
+
diff --git a/wordpress/13276-instituto-nacional-de-infectologia-evandro-chagas-100-anos-de-pesquisa-clinica.md b/wordpress/13276-instituto-nacional-de-infectologia-evandro-chagas-100-anos-de-pesquisa-clinica.md
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+---
+id: 13276
+url: "https://brasilianafotografica.bn.gov.br/?p=13276"
+titulo: "Instituto Nacional de Infectologia Evandro Chagas: 100 anos de pesquisa clínica"
+autor: "Andrea Wanderley"
+data: "2018-10-26T15:03:02+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/6090", "20.500.12156.1/6091"]
+fetched_at: "2026-09-10T09:56:57.747Z"
+---
+
+# Instituto Nacional de Infectologia Evandro Chagas: 100 anos de pesquisa clínica
+
+A Brasiliana Fotográfica abre as comemorações do centenário do Instituto Nacional de Infectologia Evandro Chagas, com um texto de autoria de Cristiane d’Avila, jornalista do Departamento de Arquivo e Documentação da Casa de Oswaldo Cruz / Fiocruz, instituição parceira do portal. É o primeiro artigo de uma trilogia sobre o assunto que o portal publicará até dezembro de 2018. Há 100 anos, aliar pesquisa científica e assistência aos doentes acometidos por moléstias infecciosas, no Rio de Janeiro, era a preocupação dos médicos de Manguinhos. Liderados por Oswaldo Cruz aqueles profissionais lidavam com o desafio de combater surtos de peste bubônica, febre amarela e varíola, na capital do país e em diversas regiões do Brasil. O hospital recebeu o nome de seu idealizador, Oswaldo Cruz, e ficou pronto em 1918 no governo do presidente Hermes da Fonseca tornando-se o primeiro hospital de Pesquisa Clínica do Brasil, lócus de construção da pesquisa clínica e epidemiológica sobre doenças tropicais no Brasil. Em 1942 foi nomeado Hospital Evandro Chagas.
+Instituto Nacional de Infectologia Evandro Chagas: 100 anos de pesquisa clínica
+Cristiane d’Avila*
+“Do mesmo modo que uma catedral não basta para que haja uma religião (…), e do mesmo modo que uma escola não é simplesmente o edifício que a aloja, o Hospital de Manguinhos, a que mais tarde foi dado o nome de Hospital Evandro Chagas, tem uma história que não é apenas a da casa que por tanto tempo o abrigou (…)”. A citação de Olympio da Fonseca Filho, pesquisador da Fiocruz, no livro A Escola da Manguinhos (1974), é reveladora da motivação que impulsionou a construção do Instituto Nacional de Infectologia Evandro Chagas (INI), cujo centenário é celebrado em 2018 com uma série de eventos programados para o mês de novembro.
+Há 100 anos, aliar pesquisa científica e assistência aos doentes acometidos por moléstias infecciosas, no Rio de Janeiro, era a preocupação dos médicos de Manguinhos. Liderados por Oswaldo Cruz, nomeado Diretor do Instituto Soroterápico Federal (atual Fiocruz), em 1902, e Diretor da Saúde Pública, em 1903, acumulando as duas funções, aqueles profissionais lidavam com o desafio de combater surtos de peste bubônica, febre amarela e varíola, na capital do país e em diversas regiões do Brasil. Trabalho de campo, observação de doentes, identificação de insetos vetores e pesquisas laboratoriais demandavam um ambiente que facilitasse a observação clínica. Sem hospital próprio em Manguinhos, os médicos acorriam às dependências do Hospital São Sebastião e da Santa Casa de Misericórdia, no Rio, para o isolamento e cuidado dos pacientes. Oswaldo Cruz ainda requereu dois prédios no Engenho de Dentro e outro em Niterói – o antigo Hospital Marítimo de Santa Isabel, para atender os infectados, durante a epidemia de varíola em 1908.
+Acessando o link para as fotografias da construção do Instituto de Pesquisa Clínica Evandro Chagas disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+O segredo das causas, sintomas e tratamento das principais doenças endêmicas e epidêmicas estava tanto no estudo da interação do homem com o ambiente em que vivia, quanto no estudo sistemático dos indivíduos, isoladamente. Mas a necessidade de um ambiente que facilitasse a observação clínica para o melhor entendimento da história natural das inúmeras doenças endêmicas e epidêmicas, e para seu tratamento foi, certamente, o fator que deflagraria a construção de um hospital vinculado ao Instituto Soroterápico. O hospital foi projetado antes mesmo do castelo-sede de Manguinhos…” (COTRIM, 2009, p.7)
+ 
+Anônimo. Construção do Instituto de Pesquisa Clínica Evandro Chagas (IPEC), 1912/1918. Manguinhos, Rio de Janeiro / Acervo Casa de Oswaldo Cruz
+ 
+Luiz Moraes Júnior, o arquiteto português responsável pelos projetos do núcleo arquitetônico histórico de Manguinhos (pavilhões da Peste, Cavalariça e Mourisco; Pombal, Quinino, Aquário de Água Salgada e Hospital Oswaldo Cruz)(1) elaborou as primeiras plantas de um hospital de isolamento para o Instituto, em 1904, um ano antes do início das obras do Pavilhão Mourisco (Castelo). Esse pavilhão fazia parte de um complexo hospitalar projetado inicialmente para funcionar com seis unidades, mas apenas uma foi construída, em função da falta de verbas. O hospital ficou pronto em 1918 no governo do presidente Hermes da Fonseca. Em decorrência da morte de Oswaldo Cruz, em 1917, recebeu o nome do seu idealizador. Somente em 1942, após a morte de Evandro Chagas em um acidente aéreo, em 1940, viria a ser nomeado Hospital Evandro Chagas, tornando-se o primeiro hospital de Pesquisa Clínica do Brasil, lócus de construção da pesquisa clínica e epidemiológica sobre doenças tropicais no país.
+ 
+Anônimo. Fachada do Instituto de Pesquisa Clínica Evandro Chagas, 1918. Rio de Janeiro, RJ / Acervo Casa de Oswaldo Cruz
+ 
+ 
+Evandro Chagas (1905 – 1940)
+Filho mais velho de Íris Lobo e Carlos Chagas, nasceu em 10 de agosto de 1905. Formado na Faculdade de Medicina do Rio de Janeiro em 1926, assumiu no mesmo ano a chefia do Serviço de Radiologia e Eletrocardiografia – para o estabelecimento das alterações características da forma cardíaca da Doença de Chagas – e de uma enfermaria do Hospital Oswaldo Cruz. Realizou importantes trabalhos sobre a leishmaniose visceral americana e descobriu os primeiros casos humanos da doença. Organizou no Hospital Oswaldo Cruz o Serviço de Estudo das Grandes Endemias (SEGE), a fim de promover investigação médico-sanitária em diversos estados brasileiros. Em 1940, aos 35 anos, dos quais 14 dedicados ao Hospital Oswaldo Cruz – desde seu ingresso ainda como aluno de medicina – Evandro Chagas faleceu em um acidente em um hidroavião, na Marina da Glória. Em 1942, o hospital foi rebatizado com seu nome.
+ 
+*Cristiane d’Avila é jornalista do Departamento de Arquivo e Documentação DAD/Casa de Oswaldo Cruz
+ 
+Fontes:
+GUIMARÃES, Maria Regina Cotrim. Hospital de Manguinhos: 90 anos de pesquisa clínica. Rio de Janeiro: Fiocruz; IPEC, 2009.
+IGLESIAS, Fabio; SANTOS, Paulo Roberto Elian; MARTINS, Ruth B. (Org.). Vida, Engenho e Arte. 1ed. Rio de Janeiro: Casa de Oswaldo Cruz, 2014.
+ 
+(1) Para saber mais sobre o complexo arquitetônico de Manguinhos, acesse os artigos publicando anteriormente pela Brasiliana Fotográfica:
+100 anos do Castelo da Fiocruz: a ocupação da Fazenda de Manguinhos, por Cristiane d’Avila, 28 de fevereiro de 2018
+100 anos do Castelo da Fiocruz: os pedreiros do Castelo da avenida Brasil, por Ricardo Augusto dos Santos, 12 de abril de 2018
+100 anos do Castelo da Fiocruz: criador e criatura, por Ricardo Gama-Rosa Costa , 15 de maio de 2018
+ 
+Notícias da inauguração do Hospital Oswaldo Cruz, atual Instituto Nacional de Infectologia Evandro Chagas
+1918
+Foi publicado sobre o Hospital Oswaldo Cruz: “destinado ao estudo das doenças tropicais do Brasil, o novo hospital comportará de 30 a 40 doentes. A sua instalação é a mais moderna possível” (A Noite, 15 de agosto de 1918, quarta coluna).
+Publicação de uma matéria sobre a importância da criação do Hospital Oswaldo Cruz (O Imparcial, 17 de agosto de 1918, primeira coluna).
+Anúncio da inauguração do Hospital Oswaldo Cruz, na mesma época da realização do VII Congresso Brasileiro de Medicina e da II Conferência Sul-Americana de Higiene, Microbiologia e Patologia. Na matéria, anúncio de conferências dos médicos do Instituto Oswaldo Cruz, Carlos Chagas (1878 – 1934) e Adolfo Lutz (1855 – 1940) (Jornal do Brasil, 5 de outubro de 1918, sexta coluna).
+O prefeito do Rio de Janeiro, Amaro Cavalcanti (1849 – 1922), e o presidente da República, Hermes da Fonseca (1855 – 1923), foram convidados pelos médicos Carlos Chagas e Miguel Couto (1865 – 1934) para a inauguração do Hospital Oswaldo Cruz (Jornal do Brasil, 9 de outubro de 1918, última coluna, e O Paiz, 9 de outubro de 1918, terceira coluna).
+ 1919
+O recém empossado prefeito do Rio de Janeiro, Paulo de Frontin (1860 – 1933), visitou o Hospital de Manguinhos (Gazeta de Notícias, 28 de março de 1919).
+ 
+
+ 
+Andrea C. T. Wanderley
+Editora-assistente e pesquisadora do portal Brasiliana Fotográfica
+ 
+Outros textos sobre o centenário do Instituto Nacional de Infectologia Evandro Chagas publicados na Brasiliana Fotográfica:
+Instituto Nacional de Infectologia Evandro Chagas 100 anos: Carlos e Evandro Chagas em retratos de família, por Aline Lopes de Lacerda, em 27 de novembro de 2018
+Instituto Nacional de Infectologia Evandro Chagas: centenário da construção da pesquisa clínica em Manguinho, por Dilene Raimundo do Nascimento, em 21/12/2018
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/6090` — `itens/20.500.12156.1_6090/`
+- `20.500.12156.1/6091` — `itens/20.500.12156.1_6091/`
+
diff --git a/wordpress/13297-serie-conflitos-v-registros-raros-da-participacao-militar-brasileira-na-i-guerra.md b/wordpress/13297-serie-conflitos-v-registros-raros-da-participacao-militar-brasileira-na-i-guerra.md
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+++ b/wordpress/13297-serie-conflitos-v-registros-raros-da-participacao-militar-brasileira-na-i-guerra.md
@@ -0,0 +1,103 @@
+---
+id: 13297
+url: "https://brasilianafotografica.bn.gov.br/?p=13297"
+titulo: "Série “Conflitos” V – Registros raros da participação militar brasileira na I Guerra Mundial"
+autor: "Andrea Wanderley"
+data: "2018-11-13T13:43:15+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/6079", "20.500.12156.1/6080", "20.500.12156.1/6081"]
+fetched_at: "2026-09-10T09:57:01.437Z"
+---
+
+# Série “Conflitos” V – Registros raros da participação militar brasileira na I Guerra Mundial
+
+Registros raros da participação militar brasileira na I Guerra Mundial
+ 
+“Na Coleção Cristóvão Barcellos, do Arquivo Histórico e Institucional do Museu da República, é possível encontrar alguns raros registros fotográficos da participação militar brasileira na I Guerra Mundial. Cristóvão de Castro Barcellos (1883-1946) foi um militar do Exército brasileiro nascido em Campos, norte do estado do Rio de Janeiro. Quando 1º tenente, ele foi chamado a integrar a Comissão Brasileira de Estudos, Operação de Guerra e Compra de Material, criada em dezembro de 1917 e enviada à França em janeiro de 1918″. O cientista político Paulo Celso Corrêa, do Museu da República, uma das instituições parceiras do portal, é o autor do artigo que hoje a Brasiliana Fotográfica publica sobre “A participação militar brasileira na I Guerra Mundial – Comissão Brasileira de Estudos, Operação de Guerra e Compra de Material (1918)”.
+ 
+A participação militar brasileira na I Guerra Mundial – Comissão Brasileira de Estudos, Operação de Guerra e Compra de Material (1918)
+Paulo Celso Corrêa*
+ 
+No dia 11 de novembro de 2018 se comemora o centenário da assinatura do armistício que deu fim à Primeira Guerra Mundial (1914-1918), com a rendição da Alemanha. Esse foi o primeiro conflito militar em escala global da história da humanidade, envolvendo países de todos os continentes.  Representou o desfecho dramático de um longo período de disputas por territórios, mercados e áreas de influência geopolítica, que dividia as principais potências capitalistas da época (Inglaterra, França, Alemanha e Estados Unidos) desde meados do século XIX. Os avanços tecnológicos da ciência e da indústria dos últimos séculos, que muitos acreditavam levar a humanidade ao progresso e à paz, foram aplicados em armamentos que elevaram a destruição material e as taxas de mortalidade civil e militar a níveis inéditos. Ao todo, estima-se que a guerra matou cerca de 20 milhões de pessoas, entre militares e civis.
+Na Coleção Cristóvão Barcellos, do Arquivo Histórico e Institucional do Museu da República, é possível encontrar alguns raros registros fotográficos da participação militar brasileira na I Guerra Mundial. Cristóvão de Castro Barcellos (1883-1946) foi um militar do Exército brasileiro nascido em Campos, norte do estado do Rio de Janeiro. Quando 1º tenente, ele foi chamado a integrar a Comissão Brasileira de Estudos, Operação de Guerra e Compra de Material, criada em dezembro de 1917 e enviada à França em janeiro de 1918.
+ 
+Oficiais da Missão Militar Brasileira na França – I Guerra Mundial (1914-1918), c. 1918. França / Acervo Museu da República. Os integrantes da Missão Aché na França, na presença de Olinto Magalhães (em trajes civis) e um oficial francês (de uniforme militar mais claro). Cristóvão Barcellos é o segundo da direita para a esquerda, na primeira fila de baixo para cima. O general Aché está entre o ministro Olinto e o oficial francês.
+ 
+O compromisso de criá-la surgiu na reunião da Comissão Interaliada acontecida em Paris, entre 30 de novembro e 3 de dezembro de 1917, na qual o Brasil foi representado pelo seu ministro plenipotenciário (embaixador) na França, Olinto Magalhães. Desde 26 de outubro daquele ano, o Brasil estava em guerra contra a Alemanha, integrando assim o bloco dos países Aliados liderado pela França, Inglaterra e Estados Unidos. Além da Comissão de Estudos e Compras, na mesma reunião interaliada se decidiu que o Brasil enviaria uma missão médica militar para a França, um grupo de aviadores navais para treinamento na Europa e nos EUA  e uma divisão naval para o patrulhamento da costa atlântica da África.
+ 
+Acessando o link para as fotografias relativas à participação do Brasil na I Guerra Mundial disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+A comissão de estudos e compras, conhecida como “Missão Aché” por causa de seu comandante, o general Napoleão Felipe Aché, tinha o objetivo de estudar a doutrina militar francesa e conhecer armamentos franceses que pudessem ser comprados para uso pelo exército brasileiro. Além de visitarem instalações militares, os 24 oficiais brasileiros que a compunham foram arregimentados na primeira linha do Exército francês, que lutava na frente ocidental da guerra (França e Bélgica). Cristóvão Barcellos, por exemplo, comandou um pelotão do 17º regimento de Dragões (infantaria a cavalo) do exército francês, participando da perseguição a tropas alemãs que se retiravam da Bélgica. Ele continuou na França após o fim da guerra, onde cursou a Escola Militar de Saint-Cyr até 1919, ano em que retornou ao Brasil.
+ 
+O tenente Cristóvão Barcellos a cavalo, no centro da foto, de boné, no comando de um pelotão de dragões franceses, em perseguição às forças alemãs em território belga, c. 1918. Bélgica / Acervo Museu da República
+ 
+A Missão Aché continuou suas atividades na França após o armistício. Outra função por ela desempenhada foi a de familiarizar os oficiais brasileiros com o exército francês, de modo que eles pudessem trabalhar com a Missão Francesa de treinamento contratada pelo governo brasileiro em 1919. Ficou definido pelo contrato que os franceses comandariam por quatro anos as escolas brasileiras de Estado-Maior, Aperfeiçoamento de Oficiais, Intendência e Veterinária e, em troca, o Brasil daria preferência à compra de armas e equipamentos bélicos franceses. Chefiados pelo marechal Maurice Gamelin, os primeiros oficiais instrutores franceses chegaram ao Brasil em 1919. O contrato da missão foi renovado sucessivas vezes até a extinção da missão militar em 1940, após a capitulação da França na Segunda Guerra Mundial.
+ 
+O coronel Cristóvão Barcellos (o quinto, da direita para a esquerda), comandante da Escola de Estado Maior do Exército, durante exercícios militares com a participação de instrutores franceses em Belo Horizonte, 4 de agosto de 1931. Belo Horizonte, MG / Acervo Museu da República
+ 
+ 
+*Paulo Celso Corrêa é cientista político do Arquivo Histórico e Institucional do Museu da República
+ 
+Fontes:
+ARAUJO, Rodrigo Nabuco de. Missão militar francesa; FAGUNDES, Luciana. Participação brasileira na Primeira Guerra Mundial; LEMOS, Renato. Cristóvão Barcellos. In: ABREU, Alzira Alves de (org.). Dicionário histórico-biográfico da Primeira República (1889-1930). Rio de Janeiro, Editora FGV, 2015.
+DARÓZ, Carlos. O Brasil na Primeira Guerra Mundial: a longa travessia. São Paulo, Editora Contexto, 2017.
+ 
+Notícias sobre a Missão Aché na década de 1910
+Andrea C. T. Wanderley**
+ 
+Anúncio da criação de uma missão militar brasileira na Europa chefiada pelo general Napoleão Felipe Aché com o objetivo de colher “in loco” as lições novas que a presente guerra proporciona (O Jornal (MA), 23 de novembro de 1917, quarta coluna).
+No anfiteatro da Sorbonne, realização de grande manifestação em honra do Brasil com a presença do general Aché e de membros da missão militar brasileira (O Paiz, 16 de março de 1918, terceira coluna).
+O ministro do Brasil em Paris, Olinto de Magalhães (1866 – 1948), apresentou o general Aché a Stephen Pichon (1857 – 1933), ministro das Relações Exteriores da França (O Paiz, 9 de abril de 1918, quarta coluna).
+Visita da Missão Aché a Verdun e encontro de Olinto Magalhães e do general Aché com Georges Clemenceau (1841 – 1929), presidente do Conselho da França (A Rua, 1º de maio de 1918, última coluna e O Paiz, 2 de maio de 1918, primeira coluna).
+Olinto Magalhães apresentou o general Aché e o chefe da missão naval brasileira, o almirante Francisco de Mattos, ao presidente da França, Raymond Poincaré (1860 – 1934)(O Paiz, 21 de junho de 1918, segunda coluna).
+Em 28 de julho, a missão brasileira foi recebida no front de guerra belga pelo general Gillain, chefe do Estado Maior (Fon Fon, 5 de outubro de 1918).
+O ministro da Guerra do Brasil, o marechal Caetano de Faria (1855 – 1936) fez um elogio ao general Aché (A Noite, 26 de agosto de 1918, última coluna),
+Incorporação de oficiais da Missão Aché a regimentos franceses e condecoração do general Aché com a medalha militar francesa (Correio da Manhã, 3 de setembro de 1918, primeira coluna; O Paiz, 3 de setembro, quarta coluna;  Jornal do Brasil, 5 de setembro de 1918, última coluna; e O Malho, 7 de setembro de 1918, última coluna).
+Matéria sobre a participação do Brasil na guerra (O Paiz, 3 de setembro de 1918, última coluna).
+Inserção na ata da Câmara de Deputados de uma nota de contentamento relativa à incorporação de oficiais da Missão Aché a regimentos franceses (Gazeta de Notícias, 5 de setembro de 1918, primeira coluna).
+Falecimento de um membro da Missão Aché, o tenente Andrade Neves, vítima da gripe espanhola (Gazeta de Notícias, 11 de outubro de 1918, penúltima coluna,  A República, 21 de outubro de 1918, quarta coluna; e O Malho, 9 de novembro de 1918).
+Em entrevista, o ministro da Guerra do Brasil, o marechal Caetano de Faria (1855 – 1936), mencionou as missões militares do Brasil na Europa (O Paiz, 11 de outubro de 1918, penúltima coluna).
+Pronunciamento do deputado do Pará, Abel Chermont, na Câmara de Deputados, quando afirmou que oficiais brasileiros da Missão Aché estavam chefiando soldados e até mesmo oficias franceses (O Paiz, 13 de outubro de 1918, quarta coluna).
+Participação da Missão Aché no front da guerra (A Noite, 15 de outubro de 1918, segunda coluna).
+Entrevista com o general Aché (A Época, 30 de outubro de 1918).
+Condecoração do 1º tenente José Pessoa Cavalcanti de Albuquerque, integrante da Missão Aché (Gazeta de Notícias, 5 de novembro de 1918, quarta coluna e O Paiz, 13 de novembro de 1918, penúltima coluna).
+Citação de dois oficiais da Missão Aché, dentre eles Castro Barcellos, na ordem do dia (Gazeta de Notícias, 25 de novembro de 1918, quarta coluna).
+Volta do aviador brasileiro Bento Ribeiro do front da guerra. Ele revelou que os oficias brasileiros da Missão Aché gozam de muitas simpatias na França (Jornal do Commercio (AM), 20 de dezembro de 1918, sexta coluna).
+O general Aché visitou o hospital brasileiro em Paris (O Paiz, 27 de dezembro de 1918, segunda coluna).
+Condecoração pelo governo francês do coronel Leite de Castro , membro da Missão Aché (A Época, 5 de janeiro de 1919, sétima coluna).
+Nomeação do 1º tenente Ildebrando Escobar como membro da Missão Aché (Gazeta de Notícias, 14 de fevereiro de 1919, terceira coluna).
+Sobre a participação do tenente Onofre Moniz Gomes de Almeida, professor da Escola de Aperfeiçoamento do Exército, na Missão Aché (O Imparcial, 22 de fevereiro de 1919, primeira coluna).
+O ministro da Fazenda, João Ribeiro de Oliveira Souza (1863 – 1933), confirmou a isenção da cobrança de impostos sobre os vencimento dos membros da missão militar na Europa sob o comando do general Aché (O Paiz, 5 e 6 de março de 1919, última coluna).
+O capitão Regueira, ex-membro da Missão Aché, foi destacado para acompanhar a visita do general francês Maurice Gamelin (1872 – 1958) ao Brasil (A Razão, 27 de março de 1919, segunda coluna).
+Volta de Castro Barcellos ao Brasil, a bordo do paquete Gelria, do Lloyd Royal Hollandez (Pequeno Jornal, 2 de abril de 1919, última coluna).
+Notícia do nascimento de um filho do 1° tenente Ildebrando Escobar, membro da Missão Aché (O Paiz, 25 de abril de 1919, quinta coluna).
+Sobre a autorização para a participação do major João Clomenes de Siqueira, da Missão Aché, no Congresso da Cruz Vermelha,em Berna, na Suíça (A Noite, 28 de abril de 1919, última coluna).
+Polêmica em torno de uma suposta compra de material de artilharia francesa envolvendo membros da Missão Aché( A Noite, 5 de maio de 1919, quarta coluna; A Época, 6 de maio de 1919, sexta coluna; Gazeta de Notícias, 6 de maio de 1919, terceira coluna; Correio da Manhã, 6 de maio de 1919, quarta coluna, Correio Paulistano, 6 de maio de 1919, quarta coluna; A Época, 6 de maio de 1919, penúltima coluna; e Jornal do Commercio, 6 de maio de 1919, segunda coluna)
+O presidente do Tiro da Imprensa, Miguel Calmon, estava na Missão Aché, assim como seu instrutor, o Segundo Tenente Ildefonso Escobar (O Imparcial, 13 de maio de 1919, última coluna).
+Apresentação dos membros da Missão Aché ao novo ministro do Brasil junto ao governo da França (Jornal do Commercio, 11 de junho de 1919, quarta coluna).
+O general Aché foi condecorado comendador da Legião de Honra da França (O Paiz, 15 de junho de 1919, penúltima coluna).
+Artigo sobre a Missão Aché (Jornal do Commercio, 5 de julho de 1919, terceira coluna).
+Sobre o raid entre Rio e Lisboa projetado pelo tenente Alziro Lima, que havia sido membro da Missão Aché (A República, 9 de julho de 1919, primeira coluna; A Noite, 8 de julho de 1919, última coluna; A Razão, 9 de julho de 1919, segunda coluna).
+Sobre a Missão Médica e a Missão Aché (Correio Paulistano, 7 de setembro de 1919, última coluna).
+O general Aché comunicou ao ministro da Guerra do Brasil, Alfredo Pinto Vieira de Melo (1863 – 1923), que o governo francês havia autorizado o envio de uma missão militar para a instrução do Exército brasileiro sob a chefia do general Gamelin (A Época, 11 de setembro de 1919, penúltima coluna).
+Sobre a comissão que substituiria a Missão Aché na Europa (Gazeta de Notícias, 3 de outubro de 1919, primeira coluna).
+Sobre o fornecimento de material bélico do governo francês ao Exército brasileiro (A Época, 11 de outubro de 1919, quarta coluna).
+“O general Gamelin conferencia, em Paris, com o general Napoleão Aché” (O Paiz, 8 de novembro de 1919).
+Dissolução da Missão Aché (O Pharol, 23 de novembro de 1919, última coluna).
+Regresso ao Brasil e ida para outros países dos oficiais da Missão Aché (A Noite, 19 de dezembro de 1919, primeira coluna; e A Razão, 19 de janeiro de 1920, terceira coluna).
+ 
+**Andrea C. T. Wanderley
+Editora-assistente e pesquisadora da Brasiliana Fotográfica
+Esse artigo passou a integrar a série Conflitos, em 20 de março de 2026.
+ 
+Fonte:
+Hemeroteca Digital da Biblioteca Nacional
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/6079` — `itens/20.500.12156.1_6079/`
+- `20.500.12156.1/6080` — `itens/20.500.12156.1_6080/`
+- `20.500.12156.1/6081` — `itens/20.500.12156.1_6081/`
+
diff --git a/wordpress/13350-photo-finished-a-preservacao-ou-nao-de-fotografias-digitais.md b/wordpress/13350-photo-finished-a-preservacao-ou-nao-de-fotografias-digitais.md
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+---
+id: 13350
+url: "https://brasilianafotografica.bn.gov.br/?p=13350"
+titulo: "PHOTO FINISHED – A preservação, ou não, de fotografias digitais"
+autor: "Andrea Wanderley"
+data: "2018-11-01T11:50:01+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Preservação digital", "Convidados", "Sem categoria"]
+handles_referenciados: []
+fetched_at: "2026-09-10T09:57:04.609Z"
+---
+
+# PHOTO FINISHED – A preservação, ou não, de fotografias digitais
+
+A abordagem do tema preservação digital da fotografia na Brasiliana Fotográfica tem como objetivo fomentar a discussão e a conscientização sobre o ‘estado da arte’ quanto ao assunto. O professor Millard Schisler vem acompanhando este campo desde os seus primórdios, há cerca de duas décadas, e cumprindo destacado papel no ensino de estratégias e melhores práticas. O portal publica hoje o artigo PHOTO FINISHED – A preservação, ou não, de fotografias digitais, de sua autoria. “Um dos problemas de pensar a fotografia nativo digital, que nasce digitalmente, é que ela se materializa nas nossas telas, e em outros dispositivos, mas em sua essência é composta de informação ou dados digitais, zeros e uns, interpretados por códigos de softwares e armazenados em hardware/dispositivos digitais – são dados digitais, informações digitais e podem existir da mesma forma em muitos lugares distintos e ao mesmo tempo. A fotografia antes disto, que sempre foi somente fotografia e agora ganhou o adjetivo de analógica, reside nos objetos que lhe deram origem como negativos ou cópias em papel fotográfico – a imagem pode ser vista sem a necessidade de mediação de software, conectores e hardware. E por mais que tenhamos que cuidar das fotografias analógicas, as digitais é que correm mais perigo de sumir devido à essa fragilidade dos sistemas que a compõem. Elas estão por toda parte, e ao mesmo tempo, em nenhuma parte”.
+PHOTO FINISHED – A preservação, ou não, de fotografias digitais
+Millard Schisler
+Anúncio da RadioShack no jornal Democrat and Chronicle,Rochester, New York, maio de 2003, reprodução de Millard Schisler
+ 
+Em 2003 eu vi este anúncio que faz um trocadilho em inglês de acabamento da foto, photo finishing, com photo finished, ou seja, acabou a foto. Neste anúncio vemos rolos e caixas de filme jogadas dentro de um cesto de lixo, e um texto em cima deste “lixo” todo dizendo “Porque confiar em uma tecnologia velha de 140 anos para as suas fotos?”. Certamente os arquivos nativos digitais realizados naquele ano não devem mais existir, restando somente os “velhos” filmes feitos neste mesmo ano. 
+Mas, de alguma forma a fotografia acabou. Grant Romer, um dos historiadores e conservadores de fotografia mais respeitados, afirma em três artigos que escreveu para o Getty Conservation Institute (1) que “…o espichamento e embaçamento da definição de “fotografia” é um resultado direto da evolução da imagem eletrônica…”, e “…os que advogam pelo “Progresso” apontam que a tecnologia fotográfica sempre se transformou desde sua introdução comercial em 1839. Um processo sucumbiu a outro, um após o outro. O que estamos passando agora, dizem, é somente o “fechamento de um outro capítulo na história da fotografia”. Mas, é importante considerar que este pode ser o último capítulo no livro.” Em 2013, Stuart Jeffries escreve um artigo The death of photography: are camera phones destroying an art form? (2). Nele ele conversa com Antonio Olmos, um renomado fotógrafo mexicano que diz “…é muito estranho. A fotografia nunca esteve tão popular, mas está sendo destruída. Nunca houve tanta fotografia sendo feita, mas a fotografia está morrendo…” Stephen Mayes comenta no artigo The Next Revolution in Photography is Coming (3) de 2015, que “É hora de parar de falar de fotografia. Não é que a fotografia está morta, como muitos dizem, é que ela se foi”. Em entrevista para a France Press em 2016, Sebastião Salgado diz “A fotografia não é imagem. Estamos em um processo de eliminação da fotografia. Hoje temos imagens, mas não fotografias” (4). Continua, “A fotografia precisa se materializar, precisa ser impressa, vista, tocada...”. Um ano depois, afirma que a fotografia …agora mais do que nunca, tem um longo futuro pela frente (5). Sem saudosismos, estas duas frases citadas do Salgado demonstram o nível de confusão deste período de transformação sobre como vemos a fotografia e para onde ela está indo.
+Em francês, a fotografia digital é la photographie numérique, que designa a fotografia binária, com números. Em inglês, muitas vezes nos referimos à ideia de um picture, um retrato, foto ou imagem. Podemos também usar fotografia digital, imagem digital, imagem eletrônica, ou info-imagem. Falamos também em fotografia computacional, processando os dados de sensores em combinações algorítmicas, criando novos tipos de imagens. Creio que podemos concordar que algo mudou, se transformou, mas o que não mudou é que continuamos a produzir um monte, cada vez mais, disto que temos dificuldade de definir. 
+Um dos problemas de pensar a fotografia nativo digital, que nasce digitalmente, é que ela se materializa nas nossas telas, e em outros dispositivos, mas em sua essência é composta de informação ou dados digitais, zeros e uns, interpretados por códigos de softwares e armazenados em hardware/dispositivos digitais – são dados digitais, informações digitais e podem existir da mesma forma em muitos lugares distintos e ao mesmo tempo. A fotografia antes disto, que sempre foi somente fotografia e agora ganhou o adjetivo de analógica, reside nos objetos que lhe deram origem como negativos ou cópias em papel fotográfico – a imagem pode ser vista sem a necessidade de mediação de software, conectores e hardware. E por mais que tenhamos que cuidar das fotografias analógicas, as digitais é que correm mais perigo de sumir devido à essa fragilidade dos sistemas que a compõem. Elas estão por toda parte, e ao mesmo tempo, em nenhuma parte.
+ 
+Fotografia de Millard Schisler, guarda de objetos versus guarda de informação
+ 
+A produção cada vez maior e incessante desta informação digital é gerada principalmente por meio de câmeras de celulares, que representam, de acordo com estudo da InfoTrends, pelo menos 85% das imagens feitas em 2017 . Os números são estratosféricos – mais de um trilhão de fotografias produzidas em 2017. As estimativas são de que desde o início comercial da fotografia em 1839 até o ano 2000 chegamos a cerca de 100 bilhões de fotografias produzidas. Hoje produzimos facilmente mais do que 10 vezes desta quantidade por ano, com tendências crescentes. Estes números estão além da nossa capacidade de digestão visual. Estima-se que a nossa cultura produziu em torno de 5 trilhões de imagens até 2017, com um acréscimo anual agora de mais de 1 trilhão. 
+Eu já fiz estas contas e você pode fazê-las também, mas se você tivesse a tarefa de visualizar estas imagens, uma por segundo, descansando 10 minutos por hora, e fazendo isto 7 horas por dia, 20 dias por mês, durante 11 meses do ano – pelo menos um mês de férias para descansar a vista – você veria 4.62 milhões de imagens neste primeiro ano. Após um milhão de anos neste processo você terá visto quase a totalidade da produção de imagens até 2017, de 4,9 trilhões. Será fundamental deixar um bilhete avisando onde você parou antes de morrer. Mas o problema é que em 2018  serão despejadas mais de um trilhão de novas imagens nesta conta. 
+ 
+Uso de smartphones, produção de 1.2 trilhões de fotografias/imagens em 2017.
+1 trilhão de fotografias/imagens em 2015 e 4.9 trilhões em 2017.
+Creio que todos podemos concordar que a quase totalidade destas imagens não deva ser preservada e pode se perder sem prejuízos para a nossa cultura. Em matéria da CNN (6) de 2015, estima-se que há em torno de 6,5 bilhões de fotografias de gatos na internet. Existe um efeito efêmero nesta produção – eu comparo isto ao ditado conhecido mas com viés para o olhar: “O que entra por um olho, sai pelo outro”. Mal conseguimos lembrar de imagens que vimos dias atrás – já estão soterradas, há muito tempo. Me lembra uma imagem de autoria desconhecida, produzida em torno de 1950, de um dos primeiros ambientalistas, Howard Cleaves, no aterro sanitário Fresh Kills, em Staten Island, do lado de Nova Iorque. Todo dia despejamos toneladas de imagens neste grande lixão visual, que, como um lixão, também contém sua cota de preciosidades – a produção de hoje soterra a produção de ontem. E assim por diante. Mas então o que preservar? Como devemos direcionar os nossos esforços? O que deve sobreviver, vir à tona, ser resgatado, selecionado?
+Anônimo. Howard Cleaves no aterro sanitário Fresh Kill c. 1950. Staten Island, Estados Unidos
+ 
+Este não é um problema novo. Em uma conversa com Grant Romer alguns anos atrás, discutíamos estas questões da preservação das fotografias digitais. Grant foi para sua biblioteca e trouxe o primeiro dicionário de fotografia de E. J. Wall. Ele tinha a primeira edição de 1902. Ao folhear o dicionário, procurando a palavra Fading, esmaecimento, ele leu: 
+Esmaecimento: O pior de todos os males para o qual negativos e cópias boas e interessantes estão sujeitos; mas em outros casos, um benefício para a humanidade.
+ 
+Reprodução de Millard Schisler, 10ª edição de 1920
+ 
+Este texto surge na época Kodak do boom de produção de imagens da câmara Brownie e filme de rolo – “Você aperta o botão, a gente faz o resto”. Sistemas simples que qualquer um poderia usar, até crianças e mulheres, como vemos nas propagandas de época. Curioso que praticamente cem anos depois também vivemos um outro tipo de boom de produção de imagens, a partir de celulares – mas agora você aperta o botão e é você que faz o resto. 
+Uma outra visão pode vir da entrevista feita pelo Cassiano Viana em 2016 (7) com a mexicana Mayra Mendoza, então subdiretora da Fototeca Nacional do Instituto Nacional de Antropologia e História (INAH) do México. A Mayra nos dá uma luz:
+“Em primeiro lugar, eu faria uma distinção entre imagem e fotografia. Hoje em dia, todos somos fazedores de imagens, já que uma grande quantidade da população mundial tem acesso a uma câmera, em um dispositivo móvel, em smartphones. Mas isso não quer dizer que todos somos fotógrafos. A fotografia, para além da câmera, implica um ofício e, sobretudo, uma intenção. A função social da imagem se cumpre ao poder compartilhá-la com um público cada vez mais amplo e que produz milhões de imagens diariamente publicadas nas redes sociais. No entanto, em termos de fotografia, apenas algumas transcendem a proposta visual de quem gera essa imagem.” 
+Será que neste contexto, podemos pensar em salvar as fotografias e deixar as imagens sucumbirem à efemeridade ou à vida nas redes sociais, preservadas ou não pelos sistemas proprietários onde residem? As que queremos salvar vamos ter que preservar ativamente para garantir o seu acesso para esta e para próximas gerações. Este universo de imagens está além de nosso alcance e não poderemos visualizá-lo em sua totalidade para fazermos nossas triagens e decisões daquilo que consideramos importante. Estas imagens fazem parte do Big Data e só podem ser processadas e vasculhadas em sua complexidade por sistemas e programas. Um caminho pode ser a criação de algoritmos baseados em critérios estabelecidos para realizar o trabalho de seleção e preservação. 
+Vivemos em um período de extraordinárias mudanças. A fotografia sempre foi uma ferramenta da classe dominante – com acesso à tecnologia e educação para utilizá-la e com recursos para financiar sua realização. Agora podemos ter registros cotidianos sendo feito pelos próprios personagens que os vivenciam – não mais necessitamos de fotógrafos de fora. Grupos, culturas, regiões, povos, famílias, todos, fazendo sua própria documentação. Esta produção imagética é importante preservar, pois ela conta uma história por uma narrativa do agente e ela é feita praticamente na sua integridade, de forma digital. Tenho que citar três artigos (8) de muita importância escritos por duas repórteres de O Globo em, 2012, Maiá Menezes e Tatiana Farah. Neles estas questões são abordadas de forma muito interessante com três casos distintos e parecidos ao mesmo tempo, apontando a tanto a relevância desta produção como a sua fragilidade.
+Resta entender como faremos este trabalho de peneirar este universo imagético na busca da guarda do que faz sentido preservar. Deixaremos para cada grupo ou indivíduo a responsabilidade de cuidar de sua própria produção? Cuidar de dados digitais não só exige um grau de conhecimento como também um constante cuidado com recursos humanos e financeiros, mão de obra especializada e compra contínua de equipamentos para realizar esta guarda. A produção pode ter se democratizada, mas o armazenamento a longo prazo não. A única opção para a grande maioria que não se enquadra em uma preservação digital intencional é considerar o YouTube, o Facebook, o Instagram, entre outros, como sendo os repositórios digitais para preservar a sua produção. Por outro lado, muitas imagens digitais acabam em Dark Data – material coletado, processado, armazenado e preservado mas não distribuído, postado ou utilizado para outras finalidades, ou seja, material em estado latente, e com grande risco de não sobreviver. Podemos pensar até em uma analogia com rolos de filmes fotografados, com uma imagem latente gerado pela exposição, mas nunca revelados.
+Quando pensamos em preservação a longo prazo, pensamos em 100 anos, ou duas gerações de trabalho ativo. Isto significa que a minha geração irá cuidar e educar/criar uma outra geração que fará o mesmo, assim garantindo pelo menos uns 100 anos de preservação. A próxima geração fará o mesmo e assim por diante. Teremos as redes sociais de hoje daqui 50 anos? 
+Mas, para um programa intencional de preservação de fotografias digitais, teremos que fazer escolhas, seleção, e ter um papel ativo no que deva ser preservado. Isto certamente passa por um crivo editorial ou institucional, voltado para a missão de quem está fazendo este processo de seleção e guarda. David Rosenthal comenta no post em seu blog de maio de 2012, intitulado Lets Just Keep Everything Forever in the Cloud (9), que não temos como guardar tudo:
+“Então vamos ter que jogar coisas fora. Mesmo se acreditarmos que guardar coisas é muito barato, ainda é muito caro. A má notícia é que decidir o que guardar e o que jogar fora não é de graça. Ignorar o problema acarreta no custo de manter os dados; lidar com o problema acarreta no custo de decidir o que jogar fora. Podemos estar em uma situação ruim de não poder arcar com os custos de manter ou jogar fora os dados que geramos. Talvez seja necessário pensar com mais cuidado, antes de mais nada, sobre a geração dos dados. É claro, que pensamentos assim também não são sem custo.” 
+É interessante que o David menciona sempre a questão do custo. Um outro David, o David Giaretta, cita em uma de suas publicações de 2008, Advanced Digital Preservation (10), que a preservação digital é algo muito fácil de se fazer, desde que você possa ter muito dinheiro para sempre. 
+A publicação Dilema Digital, de 2007 (11), já aponta para a questão do custo, demonstrando que a guarda de produções cinematográficas em película, filmes em rolo, é em torno de 10 vezes mais barato do que a guarda de uma mesma produção realizada inteiramente de forma digital. Guardar objetos é muito mais simples e barato do que guardar informação! Infelizmente, muitas instituições no Brasil e no mundo ainda batalham para obter recursos para conseguir cuidar de forma adequada de suas coleções de objetos. Enquanto isso, o empilhamento de dados digitais continua ano a ano. 
+O Instituto Americano de Conservação (AIC), publicou um livro (12) em 2011 sobre fotografia digital e documentação em conservação, e em um dos capítulos fala sobre cinco etapas fundamentais para a preservação de fotografias digitais.
+
+ Usar formatos de arquivos sustentáveis
+ Organizar os dados digitais, inserir metadados para descrevê-los
+ Fazer os backups e migração dos dados
+ Processos contínuos de verificação da integridade dos arquivos
+ Imprimir material selecionado/editado em processos mais permanentes 
+
+Estes cinco itens representam uma versão simplificada e resumida do processo e entendemos hoje que a preservação digital não é garantida somente com backups, e guardar não resolve se não há acesso. Temos que pensar na difusão. Fotografias digitais catalogadas devem ser disponibilizadas em sistemas de banco de imagens para consulta e pesquisa. Este uso é o que dará sentido e vida às coleções e inserção no cotidiano das pessoas. Será o combustível para a própria manutenção e ampliação destes acervos digitais. Se não for disponibilizado e usado de forma eficiente, um arquivo vira um arquivo morto. Será complicado procurar formas de financiamento para a manutenção de um arquivo morto. 
+É muito interessante ver o quinto item sobre impressão como forma de preservação de fotografias digitais. Da mesma forma que encontramos cópias em coleções e na maioria dos casos não temos os negativos que os geraram, também aumentam as chances de preservação dos arquivos digitais quando materiais editados são impressos em suportes estáveis que possam ser armazenados em acervos climatizados. Publicar livros também é uma forma de consolidar um trabalho de milhares de imagens. A impressão não substitui a preservação das fotografias digitais, é um complemento a esta preservação. 
+Acho que o nosso desafio atual pode se resumir no conceito e analogia criado na Memory Waka Research Group (13) da Massey University da Nova Zelândia. Waka é uma canoa Maori. Waka também possui outros significados, como um receptáculo dos tesouros de um chefe, o waka huia, contendo seus pertences valiosos incluindo penas premiadas. Waka também se refere a um grupo de pessoas de um mesmo parentesco. Metaforicamente, o Memory Waka é um recipiente da humanidade, de ideias e cultura. É também, literalmente, uma forma de viagem para pessoas aliadas a uma causa comum, remando na mesma direção. Assim, o nosso Waka da memória é que deve carregar nossas imagens preciosas para serem preservadas, vistas e valorizadas pelas gerações atuais e futuras.
+ 
+
+ 
+ 
+*Millard Schisler é fotógrafo e educador com MFA­‐Mestrado em artes visuais no Visual Studies Workshop, Rochester New York. Lecionou no School of Photographic Arts and Sciences e School of Print Media no Rochester Institute of Technology de 1995 a 2006. Também em Rochester, cursou e depois lecionou no curso de preservação fotográfica do George Eastman House de 1996 a 1998. Trabalha com a preservação de acervos analógicos e digitais, digitalização, tratamento e impressão de imagens e produção de livros, e processos históricos fotográficos. Defende a importância dos fotógrafos conhecerem todas as etapas e ferramentas de produção de livros para poder produzir os seus próprios livros como também ter uma maior interlocução com outros membros de equipe em projetos maiores.
+      
+       Referências
+
+The Getty Conservation Institute, Module 3, Technical notes, textos de Grant Romer, What is a Photograph; What was Photography; Why Conserve Photographs.
+
+The death of photography: are camera phones destroying an art form?
+
+The Next Revolution of Photography is Coming
+
+Sebastião Salgado prevê fim da fotografia ‘em 20 ou 30 anos’, 2016 
+
+ Sebastião Salgado afirma: “a fotografia não está acabando”, 2017 
+
+ Matéria da CNN 
+
+ Entrevista com Mayra Mendoza 
+
+ Maiá Menezes e Tatiana Farah, O Globo, 04/11/2012     
+
+Barateamento de celulares e câmeras revoluciona forma como classe C, D e E registram dia a dia
+Proliferação de imagens esbarra no caos e em problemas de HD
+Com celulares à mão, índios, agricultores e cabeleireiras retratam pela 1ª vez suas famílias
+
+DSHR’s Blog, do David Rosenthal
+
+Advanced Digital Preservation, David Giaretta
+
+ The Digital Dilemma
+
+ The AIC Guide to Digital Photography and Conservation Documentation, 2011
+
+ The Memory Waka, Memory Connection Journal
diff --git a/wordpress/13402-instituto-nacional-de-infectologia-evandro-chagas-100-anos-carlos-e-evandro-chag.md b/wordpress/13402-instituto-nacional-de-infectologia-evandro-chagas-100-anos-carlos-e-evandro-chag.md
new file mode 100644
index 0000000..3ccbe61
--- /dev/null
+++ b/wordpress/13402-instituto-nacional-de-infectologia-evandro-chagas-100-anos-carlos-e-evandro-chag.md
@@ -0,0 +1,39 @@
+---
+id: 13402
+url: "https://brasilianafotografica.bn.gov.br/?p=13402"
+titulo: "Instituto Nacional de Infectologia Evandro Chagas 100 anos: Carlos e Evandro Chagas em retratos de família"
+autor: "Andrea Wanderley"
+data: "2018-11-27T14:58:12+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/6100", "20.500.12156.1/6097"]
+fetched_at: "2026-09-10T09:57:07.492Z"
+---
+
+# Instituto Nacional de Infectologia Evandro Chagas 100 anos: Carlos e Evandro Chagas em retratos de família
+
+A Brasiliana Fotográfica publica o segundo artigo de uma trilogia em comemoração ao centenário do Instituto Nacional de Infectologia Evandro Chagas, com um texto de autoria de Aline Lopes de Lacerda, chefe do Departamento de Arquivo e Documentação Casa de Oswaldo Cruz/Fiocruz, instituição parceira do portal. No artigo, Aline conta a história do arquivo de Carlos Chagas, doado no início dos anos 90 à Casa de Oswaldo Cruz. A classificação atribuída a esse arquivo separou os documentos textuais por séries temáticas e as fotografias foram dispostas em dossiês temáticos num arranjo cronológico e transferidas para a Seção Iconográfica. As imagens que retratam Chagas no ambiente mais pessoal e familiar, quando posa com seus filhos e neta aparentemente no jardim de sua residência e que foram reunidas e classificadas junto à documentação textual no grupo intitulado ‘Vida Pessoal’ estão agora disponíveis no acervo fotográfico do portal.
+INI 100 anos: Carlos e Evandro Chagas em retratos de família
+Aline Lopes de Lacerda*
+O centenário do Instituto Nacional de Infectologia Evandro Chagas (INI), festejado em 2018, antecipa em um ano outra celebração e conjuga, simbolicamente, o brilhantismo de um pai e seu filho. O primeiro, Carlos Chagas, desvendou o ciclo completo da tripanossomíase americana, doença que levaria o seu nome (cuja descoberta completa 200 anos em 2019). Evandro Chagas, anos depois, pelo protagonismo em articular pesquisa clínica, entomológica, laboratorial e saúde pública, nomearia o Hospital Oswaldo Cruz, fundado em 1918. Uma longa história, acima de tudo afetiva, que se revela em documentos, como as fotografias depositadas no arquivo pessoal de Carlos Chagas.
+Sob custódia da Casa de Oswaldo Cruz (COC/Fiocruz), o arquivo de Carlos Chagas (1878-1934), pela importância histórica que lhe é devida, merece algumas considerações, principalmente no que concerne à produção e acumulação desse arquivo. De início, para que sejam conhecidos os caminhos que a documentação trilhou até o momento de organização e subsequente abertura pública à consulta, vale destacar que durante dois anos uma equipe do Departamento de Arquivo e Documentação da COC reuniu-se em torno dessa documentação para discutir seus contornos, identificar as temáticas nela representadas, entender seus contextos de produção e procurar identificar as conexões entre os distintos documentos e as funções exercidas pelo cientista ao longo de sua vida. Esse esforço culminou na elaboração do inventário do arquivo, instrumento de pesquisa que possibilita o acesso aos usuários em geral.
+Acessando o link para as fotografias de família de Carlos e Evandro Chagas disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+O arquivo foi doado à COC, no início dos anos 90, por Carlos Chagas Filho (1910-2000), filho caçula do cientista que, desde a morte do pai e do irmão, Evandro Chagas (1905-1940), tornou-se o guardião da memória familiar, mantendo a documentação reunida e utilizando-se dela em projetos específicos. O conjunto, que continha documentos de Carlos Chagas e também de Evandro Chagas, foi objeto de uma primeira organização como arquivo familiar, por se entender, à época, que assim seriam conferidas a ênfase e a visibilidade que mereciam os documentos daqueles que, além de importantes personagens da história da ciência e da saúde pública, eram membros de uma mesma família.
+J. Pinto. Evandro Chagas com o pai Carlos Chagas e o irmão mais novo, Carlos Chagas Filho, no Pavilhão Mourisco, 1910. Manguinhos, Rio de Janeiro / Acervo Casa de Oswaldo Cruz
+A classificação atribuída então ao arquivo de Carlos Chagas separou os documentos textuais por séries temáticas. As fotografias foram dispostas em dossiês temáticos num arranjo cronológico e transferidas para a Seção Iconográfica, procedimento de organização amplamente utilizado por instituições que mantêm arquivos. Uma característica desse material diz respeito à esparsa presença de registros de caráter ‘pessoal’ da vida do cientista.
+As imagens que representam essa temática perfazem um total de 41 documentos, sendo 13 retratos (portraits) de Chagas, de seus pais, filhos e esposa; 11 fotografias relativas a diversas caçadas com amigos, atividade que mantinha como hobby; e seis de encontros com a turma de formatura da Faculdade de Medicina, por ocasião de aniversários comemorativos à data. Algumas retratam Chagas no ambiente mais pessoal e familiar, quando posa com seus filhos e neta aparentemente no jardim de sua residência. Elas foram reunidas e classificadas junto à documentação textual, no grupo intitulado ‘Vida Pessoal’. Em homenagem aos 100 anos do INI publicamos estas fotografias na Brasiliana Fotográfica.
+ 
+*Aline Lopes de Lacerda  é Chefe do Departamento de Arquivo e Documentação Casa de Oswaldo Cruz/Fiocruz
+ 
+J. Pinto. Iris Lobo Chagas com os filhos Evandro Chagas e Carlos Chagas Filho, 1914 / Acervo Casa de Oswaldo Cruz
+ 
+Outros textos sobre o centenário do Instituto Nacional de Infectologia Evandro Chagas publicados na Brasiliana Fotográfica:
+Instituto Nacional de Infectologia Evandro Chagas: 100 anos de pesquisa clínica, por Cristiane d´Avila, em 26/10/2018
+Instituto Nacional de Infectologia Evandro Chagas: centenário da construção da pesquisa clínica em Manguinho, por Dilene Raimundo do Nascimento, em 21/12/2018
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/6100` — `itens/20.500.12156.1_6100/`
+- `20.500.12156.1/6097` — `itens/20.500.12156.1_6097/`
+
diff --git a/wordpress/13446-joao-pedro-ou-joao-pedroso.md b/wordpress/13446-joao-pedro-ou-joao-pedroso.md
new file mode 100644
index 0000000..8bdb866
--- /dev/null
+++ b/wordpress/13446-joao-pedro-ou-joao-pedroso.md
@@ -0,0 +1,52 @@
+---
+id: 13446
+url: "https://brasilianafotografica.bn.gov.br/?p=13446"
+titulo: "João Pedro ou João Pedroso?"
+autor: "Andrea Wanderley"
+data: "2019-01-11T09:41:23+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/6058", "20.500.12156.1/6073", "20.500.12156.1/6074", "20.500.12156.1/6057"]
+fetched_at: "2026-09-10T09:57:10.843Z"
+---
+
+# João Pedro ou João Pedroso?
+
+A Brasiliana Fotográfica publica o artigo “João Pedro ou João Pedroso?”, dos pesquisadores Ricardo Augusto dos Santos e Francisco dos Santos Lourenço, ambos da Fiocruz, instituição parceira do portal. O artigo evidencia a importância das pesquisas realizadas a partir de fotografias. É sobre a identificação correta de dois cientistas, João Pedroso Barreto de Albuquerque (1869 – 1936) e João Pedro de Albuquerque (1874 – 1934), possível a partir da observação de um erro em legendas fotográficas feita pelo pesquisador Francisco Lourenço durante a montagem da exposição permanente de fotografias no 6° andar do prédio que o Departamento de Arquivo e Documentação da Casa de Oswaldo Cruz ocupa. A investigação feita pelos dois autores desse artigo descobriu que esses dois importantes personagens da história da saúde pública brasileira foram constantemente objeto de confusão. “Mesmo na época em que eles viveram, seus nomes e biografias eram substituídos e trocados. Até em documentos oficiais. Inúmeros textos acadêmicos produzidos durante décadas citaram um deles, quando na verdade, era o outro que havia atuado. Ou também aconteceu um amálgama”.
+João Pedro ou João Pedroso?
+Ricardo Augusto dos Santos & Francisco dos Santos Lourenço*
+Durante a montagem da exposição permanente de fotografias no 6° andar do prédio que o Departamento de Arquivo e Documentação da Casa de Oswaldo Cruz ocupa, o pesquisador Francisco Lourenço observou que havia um equívoco nas legendas. Notou que o nome de um dos médicos que acompanharam Carlos Chagas na expedição científica a serviço da Superintendência da Defesa da Borracha, entre 1912 e 1913, estava errado. Daí em diante, resolvemos investigar. Surpreendidos, descobrimos que dois importantes personagens da história da saúde pública brasileira foram constantemente objeto de confusão. Mesmo na época em que eles viveram, seus nomes e biografias eram substituídos e trocados. Até em documentos oficiais. Inúmeros textos acadêmicos produzidos durante décadas citaram um deles, quando na verdade, era o outro que havia atuado. Ou também aconteceu um amálgama. Nomes e fatos eram combinados numa única trajetória!
+ 
+Trecho retirado do livro “A Escola de Manguinhos” de Olympio da Fonseca Filho, 1974.
+ 
+Quem eram esses homens? João Pedroso Barreto de Albuquerque e João Pedro de Albuquerque. Fortes, altos, usando fartos bigodes, esses médicos tiveram suas vidas ligadas ao projeto de saneamento do Rio de Janeiro e do Brasil. Portanto, possuindo nomes semelhantes, não é inusitado o erro contínuo. Vamos detalhar estas trajetórias.
+Acessando o link para as fotografias de João Pedroso Barreto de Albuquerque e João Pedro de Albuquerque disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+Filho de João Pedroso Barreto de Albuquerque e de Anna Maciel Pedroso de Albuquerque, João Pedroso Barreto de Albuquerque nasceu a 11 de maio de 1869, no Rio de Janeiro, falecendo em 20 de janeiro de 1936. Formado pela Faculdade de Medicina do Rio de Janeiro, apresentou como trabalho final a tese “Resecção do maxilar superior – indicações e processos operatórios”, em 1892. Foi secretário da Diretoria Geral de Saúde Pública (DGSP), sendo escolhido pelo cientista e amigo Oswaldo Cruz em 1903, após Oswaldo não ter aceitado a nomeação de Afrânio Peixoto para o posto. Por opção de Carlos Chagas, exerceria o mesmo cargo a partir de 1920, quando da criação do Departamento Nacional de Saúde Pública (DNSP), do qual Chagas foi seu primeiro diretor. Entre os momentos mais importantes da sua trajetória, Pedroso participou da viagem aos portos nacionais com Oswaldo Cruz (1905), da expedição científica com Carlos Chagas ao Amazonas e Acre (1912), e chefiou a Comissão de Profilaxia da Febre Amarela em Belém (1910).
+Por sua vez, cinco anos mais novo, João Pedro de Albuquerque nasceu em 1874, falecendo em 7 de junho de 1934, no Rio de Janeiro. Também se formou pela Faculdade de Medicina do Rio de Janeiro, quando defendeu a tese “Da paralisia geral dos alienados: seu histórico e suas causa” em 1896. Participou do Serviço de Profilaxia Específica da Febre Amarela no Rio de Janeiro (1905), da expedição científica aos estados do Ceará e Piauí (1912) e da Comissão de Profilaxia da Febre Amarela em Belém (1910). Ainda exerceu a direção do Serviço Marítimo e Fluvial nas décadas de 1920 e 1930.
+ 
+Anônimo. Comissão de Profilaxia da Febre Amarela, 1910. De pé, da esquerda para a direita: Angelo da Costa Lima, Tavares de Lacerda, João Pedro de Albuquerque (3º), Caetano Cerqueira e Emygdio de Matos. Sentados: Serafim da Silva, Leocádio Chaves, João Pedroso Barreto de Albuquerque (3º), Maurício de Abreu e Belisário Penna. Belém (Pará), 1910/ Acervo Casa de Oswaldo Cruz
+ 
+A trajetória de ambos esteve estritamente relacionada aos feitos de Oswaldo Cruz no campo da saúde pública nacional. Desde que assumira a direção da DGSP, este, por exemplo, tinha conhecimento das péssimas condições sanitárias dos portos do Brasil. Assim, em 27 de setembro de 1905, Oswaldo e João Pedroso embarcaram no navio República, equipado com um pequeno laboratório, em direção aos portos do Norte. Oswaldo e Pedroso realizaram esta viagem de inspeção passando por Espírito Santo, Bahia, Sergipe, Alagoas, Pernambuco, Paraíba, Rio Grande do Norte, Ceará, Maranhão e Pará. Visitaram os portos de Vitória, Caravelas, Santa Cruz, Porto Seguro, Salvador, Penedo, Aracajú; Maceió, Tamandaré, Recife, Cabedelo, João Pessoa, Natal, Areia Branca, Macau, Fortaleza, Camorim, Amarração, Belém, Óbidos e Santarém. Em janeiro de 1906 iniciaram uma missão, agora pelos portos do Sul: Santos (São Paulo), Paranaguá (Paraná), São Francisco (Santa Catarina) e Rio Grande (Rio Grande do Sul).
+Em 1910, vamos encontrar Oswaldo Cruz, Pedroso e Pedro juntos. Nesta ocasião, Oswaldo estava novamente em viagem, para trabalhar numa consultoria sobre a profilaxia da malária, que matava, segundo dizia-se, um operário para cada dormente assentado na construção da ferrovia Madeira-Mamoré. Durante o mês em que permaneceram em Porto Velho, Oswaldo Cruz e outro personagem importante, Belisário Penna, estudaram as condições sanitárias da região e propuseram um plano de combate à malária que prescrevia o uso diário, compulsório, de quinina pelos trabalhadores, sob pena de não receberem os salários caso não tomassem suas doses. O plano foi posto em prática pela empresa norte-americana ainda com a presença de Cruz e Penna. Após várias tentativas frustradas de construção da ferrovia, ela foi abandonada.
+ 
+ Anônimo. Expedição do Instituto Oswaldo Cruz ao Amazonas e Acre, 1912. João Pedroso (2º) e Antônio Pacheco Leão (3º). nov, 1912. Rio Juruá, Amazonas / Acervo Casa de Oswaldo Cruz
+ 
+Antes de retornar ao Rio de Janeiro, na passagem por Belém, Oswaldo Cruz foi contratado pelo governo do Pará para combater a febre amarela na cidade. Implantou a Comissão de Combate à Febre Amarela na capital paraense, no mesmo ano. Convocou vários médicos para a empreitada, entre as quais o próprio Penna. Apesar da crise do ciclo da borracha, que se iniciava, a comissão teve apoio orçamentário do governo do Pará, e ainda em 1910 foi registrado o último caso de febre amarela na capital. Cruz convocou vários médicos para a empreitada, tanto do Rio de Janeiro quanto da própria localidade. Entre eles estavam João Pedroso, João Pedro, Francisco Ottoni Maurício de Abreu, Belisário Penna, Augusto Serafim de Souza, Leocádio Rodrigues Chaves, Caetano da Rocha Cerqueira, Abel Tavares de Lacerda, Ângelo Moreira da Costa Lima e Emygdio José de Mattos. Retornando ao Rio de Janeiro, Cruz indica Pedroso para coordenar os trabalhos.
+ 
+Anônimo. Expedição ao Ceará e ao norte, 1912. João Pedro (3º) e José Gomes de Faria (5º). Piauí / Acervo Casa de Oswaldo Cruz
+ 
+Pedro e Pedroso também participaram das Expedições Científicas do Instituto Oswaldo Cruz, entre 1911 e 1913, pelo Instituto Oswaldo Cruz. As cinco viagens científicas realizadas pelo instituto percorreram grandes áreas do país. Essas missões produziram, através de diários, relatórios e fotografias um sólido inventário das condições e modos de vida das regiões visitadas. Em duas dessas missões, nossos personagens estiveram presentes. É neste momento que surgem as principais dúvidas sobre os médicos.
+Constantemente, veremos João Pedro de Albuquerque aparecer como participante da viagem de estudos a região amazônica. Na verdade, João Pedro, de março a julho de 1912, em companhia de José Gomes de Faria, atravessou os estados do Ceará e Piauí. Esta expedição percorreu um longo trajeto, que incluiu mais de 20 localidades. E o Pedroso? Entre outubro de 1912 e março de 1913, juntamente com Carlos Chagas e Antônio Pacheco Leão, João Pedroso Barreto de Albuquerque percorreu as bacias hidrográficas do Amazonas e Acre.
+Em pelo menos mais uma oportunidade, Pedro e Pedroso estiveram juntos. Na Liga Pró-Saneamento do Brasil, criada por Belisário Penna em 1918, o primeiro foi o 2° vice-presidente e o segundo exerceu o cargo de 3° vice-presidente.
+*Ricardo Augusto dos Santos é pesquisador titular da Fundação Oswaldo Cruz e Francisco dos Santos Lourenço é pesquisador do Departamento de Arquivo e Documentação da Casa de Oswaldo Cruz/Fiocruz.
+ 
+Anônimo. Serviço de Profilaxia Específica da Febre Amarela, 1905 / Acervo Casa de Oswaldo Cruz
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/6058` — `itens/20.500.12156.1_6058/`
+- `20.500.12156.1/6073` — `itens/20.500.12156.1_6073/`
+- `20.500.12156.1/6074` — `itens/20.500.12156.1_6074/`
+- `20.500.12156.1/6057` — `itens/20.500.12156.1_6057/`
+
diff --git a/wordpress/13474-novos-acervos-museu-historico-nacional.md b/wordpress/13474-novos-acervos-museu-historico-nacional.md
new file mode 100644
index 0000000..7684a41
--- /dev/null
+++ b/wordpress/13474-novos-acervos-museu-historico-nacional.md
@@ -0,0 +1,87 @@
+---
+id: 13474
+url: "https://brasilianafotografica.bn.gov.br/?p=13474"
+titulo: "Novos acervos: Museu Histórico Nacional"
+autor: "Andrea Wanderley"
+data: "2018-12-14T09:09:38+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/6166", "20.500.12156.1/6153", "20.500.12156.1/6165"]
+fetched_at: "2026-09-10T09:57:14.306Z"
+---
+
+# Novos acervos: Museu Histórico Nacional
+
+A Brasiliana Fotográfica apresenta a seus leitores seu nono parceiro, o Museu Histórico Nacional (MHN), com o artigo “Os salesianos, os Bororos e a banda de crianças indígenas que mudou a história”, da historiadora da instituição, Maria Isabel Ribeiro Lenzi, e com a disponibilização das imagens do álbum “Missão em Mato Grosso”que pertence à Coleção Miguel Calmon, ministro da Viação e Obras Públicas no governo do presidente Afonso Pena. Com a adesão desse importante museu, o portal segue cumprindo um de seus objetivos, o de abordar todos os usos e funções da fotografia brasileira. Seus outros parceiros são o Arquivo Geral da Cidade do Rio de Janeiro, o Arquivo Nacional, a Casa de Oswaldo Cruz / Fiocruz, a Diretoria do Patrimônio Histórico e Documentação da Marinha, o Leibniz-Institut fuer Laenderkunde e o Museu da República, além do Instituto Moreira Salles e da Fundação Biblioteca Nacional, criadores da Brasiliana Fotográfica.
+Os salesianos, os Bororos e a banda de crianças indígenas que mudou a história
+Maria Isabel Ribeiro Lenzi*
+Anônimo. Grupo tirado no dia 15 de novembro de 1907, 1907. Mato Grosso / Acervo Museu Histórico Nacional
+ 
+O álbum “Missão em Mato Grosso”, de 1908, retrata os trabalhos dos salesianos e das irmãs de Nossa Senhora Auxiliadora com os índios Bororos. São 69 fotografias do início do século XX que documentam o trabalho de educação desenvolvido pelos missionários pelo qual ensinavam música, português, matemática, prática agrícola e ciências, além de promoverem a evangelização. Infelizmente, a autoria das fotografias é desconhecida.
+Em missão de paz, os irmãos salesianos chegaram à terra dos Bororos, em Mato Grosso, em 1895. Anteriormente, já havia sido tentado contato com os índios, mas o conflito pela terra provocou muitas mortes, resultando na fuga dos índios, que não aceitavam se submeter, nem abandonar seus costumes. O bispo dom Luiz Lasagna foi o responsável pela implantação dos projetos salesianos em Mato Grosso, porém, com o seu falecimento, coube ao padre Antônio Malan dar continuidade às propostas de dom Luiz Lasagna. Padre Malan foi, então, o primeiro Inspetor da Missão Salesiana em Mato Grosso, tendo fundado colégios em Cuiabá e Corumbá, além das missões do Sagrado Coração do Rio Barreiro, da Imaculada no Rio das Garças e de São José no Sangradouro.
+Anônimo. Padre Antônio Malan: inspetor da Missão Salesiana e o bororo Miguel, filho do capitão Major, 1908. Mato Grosso / Acervo MHN
+O método salesiano se distinguia das outras abordagens de contato por evitar uma postura de repressão, preferindo se basear na razão, na religião e na bondade. Foram criadas a Colônia Sagrado Coração, num local conhecido como Tachos, e a Colônia Imaculada Conceição, próxima ao Rio das Garças. O padre Antônio Malan, percebendo os aspectos de confluência da religiosidade bororo com o cristianismo, não menosprezou o papel que a cultura daqueles índios poderia exercer no processo de evangelização. A aptidão que demonstravam para a música foi canalizada para a formação de uma banda com os meninos bororos, que acabou tendo importância estratégica para a sobrevivência das sociedades indígenas no Brasil(1).
+Acessando o link para as fotografias do álbum “Missão em Mato Grosso” do acervo do Museu Histórico Nacional disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+Naquele momento, em 1908, cedendo à pressão social, o presidente Afonso Pena estava prestes a assinar um decreto que avalizava o extermínio dos povos indígenas (2). O padre Antônio Malan encontrou uma maneira inédita de mudar a opinião brasileira a respeito dos índios, valendo-se da vocação musical dos Bororos. Ele levou vinte e um Bororos integrantes da banda de música para tocar no Rio de Janeiro, no Pavilhão de São Paulo no âmbito da Exposição Nacional de 1908, que comemorava o centenário da Abertura dos Portos. A banda tocou ainda no Teatro João Caetano (3), na Câmara dos Deputados, no Senado e, diante do presidente Afonso Pena, no Palácio do Catete, então sede da Presidência da República. Na ocasião, eles interpretaram com primor temas clássicos, inclusive o Hino Nacional. Os jornais de então exaltaram o talento artístico dos Bororos e também abriram suas páginas para o discurso do padre Malan, pedindo a restituição aos índios “de uma pátria que lhes foi roubada em nome de uma falsa civilização conquistadora, liberticida. Pátria, senhores, de que são eles os verdadeiros donos, e que saberão amar, defender e ilustrar, se isso os ensinarmos com nosso esforço e nosso exemplo” (4).
+ 
+Anônimo. A banda de música. No fundo à direita avista-se a estação Meteorológica, 1908. Mato Grosso / Acervo MHN
+ 
+O presente álbum pertence à Coleção Miguel Calmon, que foi ministro da Viação e Obras Públicas no governo Afonso Pena. De acordo com o jornal O Paiz, o padre Malan projetou fotografias (provavelmente deste álbum) em palestra que proferiu no Museu Comercial (5).
+Ainda segundo O Paiz, no dia 10 de outubro de 1908, o padre Malan foi despedir-se do Ministro da Viação (6). Acreditamos que o álbum tenha sido oferecido a Miguel Calmon nesta ocasião, para demonstrar às autoridades os trabalhos que estavam sendo desenvolvidos entre os Bororos, e, sobretudo, comprovar a humanidade dos mesmos. Segundo Nelson Gil Tolentino, “a ação corajosa do padre Malan no Rio de Janeiro foi determinante para a sobrevivência dos índios. Depois disso, o debate sobre o extermínio dos índios, em nível nacional e internacional, foi perdendo a força, e seu respectivo decreto nunca foi promulgado”(7).
+ 
+(1 )TOLENTINO, Nelson Gil.
+(2)Idem
+(3) O Teatro João Caetano ao qual esse texto se refere é o teatro que existiu na Exposição Nacionalde 1908. O atual Teatro João Caetano, que se localiza na Praça Tiradentes no Rio de Janeiro, só foi assim denominado em 1923. Anteriormente, se chamava Teatro São Pedro de Alcântara**.
+(4) NOVAES, Sylvia Caiuby. Jogos de Espelhos. São Paulo: Edusp, 1993. p.171
+(5 ) Museu Comercial era uma entidade ligada à propaganda dos produtos, incentivando o comércio entrepaíses. No Brasil, foi criado em 1905 e encampado pelo Departamento Nacional de Comércio em 1931.
+(6) O PAIZ. Rio de Janeiro, p. 02, 10/10/1908. Disponível em http://memoria.bn.br/DocReader/docreader.aspx?bib=178691_03&pasta=ano%20190&pesq=padre%20m
+alan. Acesso em 28/09/2017
+(7 ) TOLENTINO, Nelson Gil.
+ 
+*Maria Isabel Ribeiro Lenzi é Doutora em História pela UFF e historiadora do Arquivo Histórico do Museu Histórico Nacional (IBRAM/MinC)
+**Esta nota foi acrescentada em 10 de abril de 2023.
+ 
+BIBLIOGRAFIA:
+CAVALHEIRO, Elisangela. Exposição conta a história dos Salesianos de Dom Bosco em estados do Centro-Oeste. In Redação A12.
+NOVAES, Sylvia Caiuby. Jogos de Espelhos. São Paulo: Edusp, 1993, p. 171
+TOLENTINO, Nelson Gil. Ética Bororo: a sobrevivência de um povo. In: Interações, vol. 10, no 2. Campo Grande, jul/dez. 2009.
+ 
+Notícias sobre a participação da banda dos bororos na Exposição Nacional de 1908
+ em comemoração ao centenário da Abertura dos Portos às Nações Amigas 
+Andrea C. T. Wanderley**
+ 
+Desenho da banda dos índios bororos na capa Revista da Semana, 31 de maio de 1908
+Em 11 de agosto de 1908, foi inaugurada a Exposição Nacional de 1908, na região da Urca, no Rio de Janeiro, em comemoração ao centenário da Abertura dos Portos às Nações Amigas, decretada em 28 de janeiro de 1808, pelo então príncipe regente de Portugal, dom João de Bragança, futuro dom João VI (1767 – 1926)(O Paiz, 11 de agosto de 1908). A exposição exibiu um “inventário” do Brasil através de seus produtos industriais, agrícolas, pastoris e artísticos. Promovida pelo governo federal, apresentou a cidade do Rio de Janeiro, recém urbanizada e saneada pelo então prefeito Francisco Pereira Passos (1936 – 1913) e  pelo cientista Oswaldo Cruz (1872 – 1917), respectivamente. O evento foi encerrado em 15 de novembro de 1908 (O Paiz, 16 de novembro de 1908, sexta coluna).
+Iminente embarque do padre Toledo, inspetor das missões salesianas em Mato Grosso, com a banda dos bororos para o Rio de Janeiro, onde a banda tocaria no Pavilhão de São Paulo da Exposição Nacional do Rio de Janeiro. O religioso pretendia apresentar o grupo ao presidente Afonso Pena (1847 – 1909). A banda havia estado em Corumbá, Assunção, Buenos Aires, cidades do sul do Brasil, Santos, São Paulo e Lorena, dentre outras (O Paiz, 24 de setembro de 1908, quarta coluna).
+Chegada da banda dos bororos ao Rio de Janeiro (O Paiz, 27 de setembro de 1908, quinta coluna).
+Apresentação da banda dos bororos no Palácio do Catete, onde foram recebidos pelo presidente da República, Afonso Pena (Gazeta de Notícias, 23, quarta coluna, 28 de setembro de 1908, quarta coluna e Matto-Grosso – Revista Mensal de Sciencias, Lettras, Artes e Variedades, outubro de 1908).
+Com o padre Toledo, os índios bororos assistiram à inauguração do Pavilhão de São Paulo na Exposição Nacional (Diário de Notícias, 29 de setembro de 1908, segunda coluna). Também fizeram uma visita ao ministro da Viação, Miguel Calmon (O Paiz, 29 de setembro de 1908, última coluna).
+A banda dos bororos se apresentou no Colégio São Vicente, em Petrópolis (O Paiz, 1º de outubro de 1908, última coluna).
+Publicação do programa que a banda apresentaria na Exposição de 1908 (O Paiz, 3 de outubro de 1908, segunda coluna).
+Publicação do programa da apresentação dos bororos no Teatro João Caetano (Jornal do Brasil, 4 de outubro de 1908, terceira coluna).
+Anúncio da conferência sobre os bororos que o padre Malan faria no dia seguinte no salão da Sociedade de Geografia do Rio de Janeiro. Antes e depois da conferência, haveria apresentação da banda. A conferência seria ilustrada com projeções luminosas (O Paiz, 5 de outubro de 1908, segunda coluna).
+Apresentação da banda dos bororos na Exposição de 1908 com a presença do ministro da Indústria, Miguel Calmon (O Paiz, 5 de outubro de 1908, quinta coluna).
+O Paiz, 5 de outubro de 1908
+ 
+Realização de uma festa em benefício dos bororos, no Teatro João Caetano. Foram identificados como recém nascidos na vida civilizada (O Paiz, 8 de outubro de 1908, penúltima coluna).
+Notícia da realização da conferência sobre os bororos realizada pelo padre Malan no salão da Sociedade de Geografia do Rio de Janeiro (O Paiz, 8 de outubro de 1908, quinta coluna e Jornal do Brasil, 11 de outubro de 1908, segunda coluna).
+Os bororos visitaram a Câmara dos Deputados e o Senado e a frente dos edifícios das duas instituições executou o Hino Nacional (O Paiz, 9 de outubro de 1908, segunda coluna).
+Acompanhado por um bororo, o padre Malan foi despedir-se do ministro da Viação, Miguel Calmon. Acredita-se que nessa ocasião o padre teria presenteado o ministro com o álbum “Missão em Mato Grosso” (O Paiz, 10 de outubro de 1908, segunda coluna).
+Publicação de uma fotografia da banda dos bororos no Colégio dos Salesianos de Niterói (Fon-Fon, 10 de outubro de 1908).
+
+ 
+Publicação de diversas notícias relativas à temporada dos bororos no Rio de Janeiro (Matto-Grosso – Revista Mensal de Sciencias, Lettras, Artes e Variedades, dezembro de 1908).
+ 
+**Andrea C.T. Wanderley
+Editora-assistente e pesquisadora da Brasiliana Fotográfica
+ 
+Fonte:
+Hemeroteca Digital da Biblioteca Nacional
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/6166` — `itens/20.500.12156.1_6166/`
+- `20.500.12156.1/6153` — `itens/20.500.12156.1_6153/`
+- `20.500.12156.1/6165` — `itens/20.500.12156.1_6165/`
+
diff --git a/wordpress/13570-o-brilhante-cronista-visual-marc-ferrez-rj-07-12-1843-rj-12-01-1923.md b/wordpress/13570-o-brilhante-cronista-visual-marc-ferrez-rj-07-12-1843-rj-12-01-1923.md
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+++ b/wordpress/13570-o-brilhante-cronista-visual-marc-ferrez-rj-07-12-1843-rj-12-01-1923.md
@@ -0,0 +1,533 @@
+---
+id: 13570
+url: "https://brasilianafotografica.bn.gov.br/?p=13570"
+titulo: "O brilhante cronista visual Marc Ferrez (RJ, 07/12/1843 – RJ, 12/01/1923)"
+autor: "Andrea Wanderley"
+data: "2016-12-07T13:11:44+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/4405", "20.500.12156.1/221", "20.500.12156.1/2549", "20.500.12156.1/2417", "20.500.12156.1/2575", "20.500.12156.1/4740", "20.500.12156.1/2489", "20.500.12156.1/383", "20.500.12156.1/2593", "20.500.12156.1/4880", "20.500.12156.1/4770", "20.500.12156.1/953", "20.500.12156.1/2578", "20.500.12156.1/348", "20.500.12156.1/3037", "20.500.12156.1/4771", "20.500.12156.1/2589", "20.500.12156.1/11739", "20.500.12156.1/2515"]
+fetched_at: "2026-09-10T09:57:17.844Z"
+---
+
+# O brilhante cronista visual Marc Ferrez (RJ, 07/12/1843 – RJ, 12/01/1923)
+
+O brilhante cronista visual Marc Ferrez ( RJ, 07/12/1843 – RJ, 12/01/1923)*
+ 
+Marc Ferrez. Cachoeira de Paulo Afonso, c. 1875. Rio São Francisco, Bahia / Convênio Instituto Moreira Salles – Leibniz-Institut für Länderkunde 
+ 
+Marc Ferrez (1843 – 1923) foi um brilhante cronista visual das paisagens e dos costumes cariocas da segunda metade do século XIX e do início do século XX. Sua vasta e abrangente obra iconográfica se equipara a dos maiores nomes da fotografia do mundo. Estabeleceu-se como fotógrafo com a firma Marc Ferrez & Cia, em 1867, na rua São José, nº 96, e logo se tornou o mais importante profissional da área no Rio de Janeiro. Cerca de metade da produção fotográfica de Ferrez foi realizada na cidade e em seus arredores, onde registrou, além do patrimônio construído, a exuberância das paisagens naturais.
+“E é nesse entorno que Ferrez fez muitas das imagens que melhor representam o seu trabalho de um ponto de vista mais pessoal e autoral…”. ¹
+ 
+Acessando o link para as fotografias de Marc Ferrez disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Outro segmento de sua obra iconográfica registrou as várias regiões do Brasil – ele foi o único fotógrafo do século XIX que percorreu todas as regiões do país, tendo sido, no referido século, o principal responsável pela divulgação da imagem do país no exterior. Em meados dos anos 1870, integrou a Comissão Geológica do Império. Tornou-se nos anos 1870 Fotógrafo da Marinha Imperial.
+De 1877 até o final da década de 1880, foi o responsável pela produção da documentação fotográfica das obras destinadas a melhorar o abastecimento de água no Rio de Janeiro (Gazeta de Notícias, de 28 de junho de 1889, na segunda coluna, sob o título “Águas do rio S. Pedro”). Este trabalho comissionado de Marc Ferrez resultou em oito álbuns com os registros fotográficos das obras de abastecimento de água. Três deles foram presenteados a dom Pedro II, em 1889, último ano do regime imperial no Brasil. Outros três foram dados ao engenheiro Francisco de Paula Bicalho (1847-1919), diretor das Águas da Corte. Entre 1880 e 1890,  fotografou as construções ferroviárias no Brasil, quando produziu um grande panorama da paisagem brasileira de sua época.
+ 
+Marc Ferrez. Obras do abastecimento d’água do Rio de Janeiro : encanamento geral : Ponte de Guimbú, 1877 – 1882. Rio de Janeiro, RJ / Acervo FBN
+ 
+Sua trajetória profissional foi marcada por uma ligação permanente com atividades culturais e científicas e também por um contato permanente com os principais desenvolvimentos tecnológicos de sua época. A importância da obra de Ferrez vai além de sua quantidade e qualidade. Ela foi também um compêndio dos formatos e processos experimentados pela fotografia entre fins da década de 1860 até a morte do fotógrafo, em 1923.
+Marc Ferrez aumentou suas possibilidades de fotografar paisagens ao adquirir, em 1878, uma câmera Brandon, equipamento de fotografia panorâmica de varredura. Foi o único fotógrafo da década de 1880 a fazer esse tipo de registro em grande formato no Brasil, fato que o levou, mais tarde, a produzir suas magistrais fotografias de arquitetura durante a construção da avenida Central, no Rio de Janeiro, e também a seu envolvimento com a introdução do cinema e da fotografia estereoscópica em cores no Brasil, no início do século XX.
+ 
+Marc Ferrez. Avenida Central, atual avenida Rio Branco, na altura da rua do Ouvidor com rua Miguel Couto, 1906. Rio de Janeiro, RJ / Acervo IMS
+ 
+Marc Ferrez nasceu no Rio de Janeiro, em 7 de dezembro de 1843, filho de Zépherin (Zeferino) Ferrez (1797 – 1851) e Alexandrine Caroline Chevalier (18? – 1851). Seu pai, um escultor e gravador francês, havia chegado com o irmão Marc (Marcos), no Rio de Janeiro, em 1817. Os dois passaram a integrar a Missão Francesa, que havia se instalado na cidade no ano anterior. Zeferino tornou-se um dos primeiros autores de medalhas comemorativas cunhadas no Brasil e foi também um dos pioneiros nas indústria de fabricação de botões, de canos de ferro e de papel. Seu irmão, o escultor Marcos (1788 – 1850), homônimo do fotógrafo, tornou-se catedrático de escultura da Academia Imperial de Belas Artes.
+A maior parte das fontes indica que, depois do falecimento de seus pais em 1851, Marc foi viver em Paris com o gravador de medalhas Joseph Eugène Dubois. De volta ao Brasil, atuou sempre como fotógrafo e faleceu em 12 de janeiro de 1923 na capital que o acolheu e ele eternizou com sua arte ( O Paiz, 14 de janeiro de 1923, última notícia da sexta coluna e Gazeta de Notícias, 16 de janeiro de 1923, na última coluna).
+“Há nas suas paisagens…uma nota artística sempre: a escolha do ponto de vista denotava no fotógrafo a existência daquela divina centelha de arte que dá o toque de poesia às frias imagens que a objetiva mecanicamente registra”.
+Para Todos, 20 de janeiro de 1923
+1 – Rio /Marc Ferrez – São Paulo: IMS; Göttingen: Steidl, 2015, pág. 9.
+ 
+Marc Ferrez. Álbum Viagem pelo navio Lancaster – Cascatinha da Tijuca, c. 1885. Rio de Janeiro, RJ / Acervo IMS
+ 
+Link para o artigo “Caderno de receitas: Marc Ferrez, de Elvia Bezerra, publicado em 9 de setembro de 2020, no site do Instituto Moreira Salles **
+ 
+Cronologia de Marc Ferrez (1843 – 1923)
+ 
+Marc Ferrez. Marc Ferrez aos 33 anos de idade, c. 1876. Rio de Janeiro, RJ / Acervo IMS
+ 
+1843 – O fotógrafo Marc Ferrez nasceu no Rio de Janeiro, em 7 de dezembro, sexto e último filho de Zépherin (Zeferino) Ferrez (31/07/1797 – 22/07/1851) e Alexandrine Caroline Chevalier (18? – 1851), que se casaram em 16 de junho de 1821, na igreja do Santíssimo Sacramento e passaram a residir na rua do Hospício, 62. Seu pai, o escultor e gravador francês Zeferino, e seu tio Marc (Marcos) Ferrez (14/09/1788 – 31/03/1850), também escultor, chegaram ao Rio de Janeiro, via Nova York, conforme informado nos livros da polícia de Registros Estrangeiros guardados no Arquivo Nacional. Eram formados pela Escola de Belas Artes de Paris e passaram a integrar a Missão Francesa, um dos marcos do desenvolvimento das artes no Brasil, que havia se instalado na cidade em 1816, chefiada por Joachim Le Breton (1760 – 1819) (O Despertador, 7 de março de 1840, na quarta coluna). Os irmãos de Marc Ferrez eram Fanny (1822 – 1902), Isabelle (18? – ?), Augustine Emile (1826 – 1904), afilhada do casal Grandjean de Montigny; Sophie (1831 – 1877) e Maurice (1835 – 1886). Marc não foi registrado na Legação Francesa.
+1850 - Falecimento de seu tio, o escultor e seu homônimo, Marc (Marcos) Ferrez, em 31 de março, de febre amarela.
+1851 - Em 20 de maio, Zeferino obteve a autorização da Secretaria de Polícia para embarcar para a França em “companhia de um filho menor”, Maurice ou Marc Ferrez (Diário do Rio de Janeiro, 21 de maio de 1851, na terceira coluna). Há uma possibilidade dele não ter embarcado porque, segundo especialistas, devido à duração da travessia entre o Brasil e a Europa não haveria tempo hábil para ele estar de volta em meados de julho, quando faleceu no Rio de Janeiro.
+Em julho, os pais de Marc Ferrez faleceram devido a uma doença misteriosa ou a um envenenamento. Eles moravam na rua do Hospício, 62 (Diário do Rio de Janeiro, 29 de julho de 1851, na terceira coluna;  Correio da Tarde, 23 de julho de 1851; Mercantil, 24 de julho de 1951, na última coluna e Jornal do Commercio, 25 de julho de 1851, na primeira coluna). Foram sepultados no Cemitério da Ordem Terceira de São Francisco de Paula. Essas mortes foram antecedidas e sucedidas pelas mortes de escravos e também de animais que viviam na propriedade de Zeferino. O cônsul francês pediu um exame médico-legal e o diagnóstico de disenteria foi confirmado. Em uma matéria publicada na revista Palcos e Telas, de 8 de abril de 1920 sobre Marc Ferrez, o envenenamento por um escravo foi apontado como a causa da morte.
+Segundo Gilberto Ferrez, seu neto, Marc Ferrez teria ido viver em Paris com o gravador de medalhas Joseph Eugène Dubois (1795 – 1863) e sua esposa Uranie Virginie Béthune. Porém, segundo a revista Palcos e Telas, de 8 de abril de 1920, Marc Ferrez já estaria em Paris quando ficou órfão. Segundo a mesma matéria, Marc Ferrez teria ficado na França até completar 21 anos. Gilberto Ferrez, afirmava que o avô teria retornado ao Brasil com 16 anos. Há muitas informações controversas a respeito da vida de Marc Ferrez no período em que morou em Paris.
+Em 11 de agosto de 1951, foi realizado o inventário de Zeferino. Nele constava que o fotógrafo suíço Georges Leuzinger (1813 – 1892) era o tutor do irmão de Marc Ferrez, Maurice. Apesar de ser suíço, Leuzinger mantinha muitas relações com a colônia francesa do Rio de Janeiro por ter se casado com a francesa Anne Antoinette du Authier (1822 – 1898), conhecida como Eleonore. Também informava que uma das filhas de Zeferino, Isabelle, era casada com Guillaume Keller, sub-rogado no documento como tutor de Marc. Ainda não se sabe se Guillaume era parente de Franz Keller, casado com Sabine, uma das filhas de Georges Leuzinger. Em outro documento, Amedée Poindrelle, marido de sua irmã Fanny, era apontado como o tutor de Marc.
+O irmão de Marc, Maurice, chegou no Rio de Janeiro, em 22 de outubro, vindo do Havre, na galera Imperatriz do Brasil (Correio Mercantil, 23 de outubro de 1851, na última coluna). Retornou à Europa em 4 de dezembro, na galera Galathea (Correio Mercantil, 5 de dezembro de 1851, na última coluna).
+c. 1863 –  Marc Ferrez retornou ao Brasil. Segundo seu neto, o historiador Gilberto Ferrez (1908 – 2000), Marc teria aprendido a arte da fotografia com o engenheiro e botânico alemão Franz Keller (1835 – 1890), que trabalharia como fotógrafo no ateliê de Georges Leuzinger, aberto em 1865. Uma carta enviada em 17 de janeiro de 1923 por um amigo de Ferrez, Luiz Carlos Franco, a seus filhos Julio e Luciano após a a morte do fotógrafo, confirma que Ferrez havia trabalhado para Leuzinger. Porém, a participação de Franz Keller no ateliê fotográfico de Leuzinger é questionável. Na verdade, até hoje não foi comprovada, e na década de 1860, Keller fez diversas viagens pelo Brasil com seu pai, Joseph, explorando rios do país, sob contrato do governo imperial.
+Foi também por volta dessa data que Ferrez requereu um registro de nascimento e batizado junto à Legação Francesa no Rio de Janeiro, que foi assinada pelo chanceler Théodore Taunay (1797-1881) e pelo próprio Ferrez, emitida em 12 de agosto de 1863.
+c. 1864 – Por volta desse ano, Marc Ferrez foi retratado pelo fotógrafo Augusto Stahl (1828 – 1877).
+1865 / 1875 – Durante esse período,  provavelmente Revert Henrique Klumb (c. 1826 – c. 1886) e Ferrez mantiveram uma parceria. A suposição existe devido a exames comparativos dos negativos originais dos fotógrafos que revelam semelhanças de procedimentos e de técnica.
+1867 – Em 12 de março, Marc Ferrez enviou requerimento à Câmara Municipal do Rio de Janeiro para obter licença para que seu estabelecimento fotográfico funcionasse na rua São José, 96, sob a razão comercial Marc Ferrez & Cia. Nesse ano, o fotógrafo Oscar Delaporte e o artista gráfico Paul Théodore Robin (? – 1897) anunciavam seus estabelecimentos nesse mesmo endereço. Este último era dirigido pelo fotógrafo Revert Henrique Klumb (Almanak Laemmert, 1867). Durante o século XIX, era comum fotógrafos utilizarem os mesmos espaços anteriormente usados por outros fotógrafos para aproveitar a infraestrutura e o laboratório fotográfico já existente. Segundo Gilberto Ferrez, Marc já teria sua loja desde 1865.
+1868 - Marc Ferrez anunciou a venda de “uma grande coleção de vistas do Rio de Janeiro e navios de guerra de todas as nações” na Photographia Brazileira (Jornal do Commercio, 6 de dezembro de 1868, na primeira coluna).
+Pela primeira vez, o Almanak Laemmert se referiu a Marc Ferrez na seção “Fotógrafos”. O endereço de seu ateliê era rua São José, 96.
+1869 – Publicação de um anúncio, em inglês, do estabelecimento de Ferrez, que ainda usava o nome de Photographia Brazileira, anunciando vistas do Rio de Janeiro e de seus arredores em todas as dimensões (Jornal do Commercio, 6 de junho de 1869, na segunda coluna).
+1870 - Em 10 de julho, Ferrez fotografou o “Monumento à Deusa da Vitória” e o “Templo da Vitória”, localizados no Campo da Aclamação, durante as comemorações ocorridas no Rio de Janeiro pelo fim da Guerra do Paraguai – foi a primeira festa cívica do império. Uma das imagens das comemorações foi doada a dom Pedro II (Jornal do Commercio, 11 de julho de 1870, na quarta coluna).
+Nos versos de seus cartões de montagem e fotografias estava inscrito “Marc Ferrez. Fotógrafo da Marinha Imperial e das construções navais do Rio de Janeiro”. Provavelmente a nomeação de Ferrez como fotógrafo oficial da Marinha relacionava-se com o lançamento do Plano para a Organização da Força Naval do Império que previa a renovação da frota com embarcações de diversos tipos, o que aconteceu nas décadas de 1870 e 1880. Ferrez registrou fotograficamente esses novos navios.
+1871 – O ótico José Maria dos Reis, integrante do conselho da Sociedade Auxiliadora da Indústria Nacional (O Auxiliador da Indústria Nacional, 1871), teve seus instrumentos científicos fotografados por Ferrez para a Exposição Científica de Córdoba, na Argentina, inaugurada em 15 de março (A Regeneração, 19 de fevereiro de 1871, na última coluna).
+1872 – Ferrez divulgou no Almanak Laemmert sua “especialidade de vistas do Brasil”, indicando que seu estabelecimento ficava na rua São José, 96.
+No mês de março, fotografou a comemoração pela chegada do casal imperial ao Brasil, após viagem pela Europa. Foi a primeira viagem ao exterior que dom Pedro II realizou em companhia da imperatriz Teresa Cristina (Diário do Rio de Janeiro, 1º de abril de 1872).
+1873 – A comissão de organização da III Exposição Nacional, aberta em 1º de janeiro, encomendou de Ferrez fotografias do edifício da Escola Central da Corte, onde o evento se realizou. Suas fotografias do palácio da exposição e da cascata construída em seu pátio foram enviadas para a Exposição Universal de Viena realizada no mesmo ano sob o tema “Cultura e Educação”.
+Ferrez casou-se com a francesa Marie Lefebvre (c. 1849 – 1914) em 16 de agosto. Cerca de um mês antes, em 13 de julho, foram lidas as proclamas do casamento na capela imperial (A República, 20 de julho de 1873, na quarta coluna).
+Em 18 de novembro, um incêndio destruiu seu ateliê. Todas a chapas de seus primeiros anos como fotógrafo assim como seu equipamento fotográfico foram queimados (Jornal do Commercio, 19 de novembro de 1873, na segunda coluna).
+1874 – Viajou para a França, graças à ajuda de seu amigo Júlio Claudio Chaigneau (? – 1894), negociante de artigos fotográficos. Em Paris, adquiriu material para recomeçar sua vida profissional de fotógrafo. Encontrou-se com seu amigo Alfée Dubois (1831 – 1905), de quem o Institut de France havia encomendado a cunhagem de moedas comemorativas de eventos astronômicos. Posteriormente, o Instituto enviou por Marc Ferrez três medalhas para dom Pedro II, em reconhecimento à colaboração do monarca brasileiro à ciência. Foram ofertadas por Jean-Baptiste Dumas (1800-1884), Secretário Perpétuo do Institut de France.  As medalhas são relativas à descoberta do centésimo planeta pequeno, à descoberta do processo de observação das protuberâncias do sol e a terceira era uma homenagem ao químico francês Michel Eugène Chevreul (1786 – 1889). Provavelmente as medalhas foram entregues pessoalmente por Ferrez a Pedro II em uma visita que realizou ao Paço Imperial (Diário do Rio de Janeiro, 18 de maio de 1874, na primeira coluna).
+1875 -  Marc ingressou, em fevereiro, na Irmandade do Santíssimo Sacramento da Candelária, como irmão remido.
+Ferrez começou a trabalhar como fotógrafo da Comissão Geológica do Império, chefiada pelo norte-americano Charles Frederick Hartt (1840 – 1878), que se tornaria diretor da Seção de Geologia do Museu Nacional em 1876. Percorreu os atuais estados de Alagoas, Bahia, Pernambuco e parte da região amazônica numa importante missão científica realizada no Brasil sob os auspícios do governo imperial, que gerou a primeira grande representação fotográfica de diversas regiões do território brasileiro. Segundo Gilberto Ferrez, foi durante essa viagem que Ferrez contraiu uma doença no fígado, da qual nunca se curou.
+ 
+Carimbo de Marc Ferrez. Rio de Janeiro, c. 1875 / Acervo IMS
+ 
+Marc Ferrez e outros membros da Comissão Geológica do Império embarcaram no paquete Pará com destino a Pernambuco (Jornal do Commercio, 10 de julho de 1875, na segunda coluna). Ele, Elias Fausto Pacheco Jordão, Francisco José de Freitas e Charles Frederick Hartt, todos membros da Comissão, agradeceram, publicamente, ao “digno comissário” J. Feliciano Gomes, que os recebeu no navio (Jornal do Recife, 26 de julho de 1875, na quarta coluna).
+Foi publicado o relatório preliminar dos trabalhos da Comissão Geológica na província de Pernambuco, de autoria de Hartt. Ferrez foi mencionado (Diário de Pernambuco, 25 de novembro de 1875, na primeira coluna).
+Na residência do inspetor do arsenal de Marinha, em Recife, o chefe da Comissão Geológica do Império, Charles Frederick Hartt, fez uma conferência sobre os arrecifes e outros aspectos de Pernambuco como o cabo de Santo Agostinho, praias, o rio São Francisco e a cachoeira de Paulo Afonso, ilustrados com fotografias de Marc Ferrez (Diário do Rio de Janeiro, 2 de dezembro de 1875, nas quinta e sexta coluna. sob o título “Norte do Império”).
+Ferrez  apresentou na Exposição de Obras Públicas, evento paralelo à IV Exposição Nacional, dois álbuns com imagens dos recifes de Pernambuco, do baixo São Francisco e da cachoeira de Paulo Afonso, além de registros de corais e madrepérolas. As imagens produzidas durante a viagem da Comissão Geológica foram projetadas por Ferrez durante uma conferência do professor Hartt (O Globo, 4 de janeiro de 1876, na penúltima coluna).
+A mulher de Ferrez, Marie Lefebvre foi retratada pelo renomado fotógrafo português José Ferreira Guimarães (1841 – 1924), radicado no Rio de Janeiro.
+1876 -  O New York Commercial Advertiser, de 29 de maio de 1876, publicou um artigo que informava que “riquíssimas fotografias da exploração geológica a cargo do professor Hartt” haviam sido apresentadas pelo Brasil na Exposição Universal da Filadélfia aberta em 10 de maio. Fotografias de Ferrez realizadas para a Comissão Geológica do Império foram premiadas com  medalha (The Rio News, 5 de agosto de 1879).  Uma curiosidade: a comissão de organização da Exposição da Filadéfia modificou as regras da premiação: os ganhadores receberiam um diploma, uma medalha de bronze e uma cópia certificada do parecer do júri, rompendo com o padrão de premiação hierárquica.
+Foi publicada uma fotografia de autoria de Ferrez da cachoeira de Paulo Afonso na revista Illustração Brasileira, 1ºde agosto de 1876, acompanhada por um texto de Charles Frederick Hartt (1840 – 1878), chefe da Comissão Geológica do Império. Na mesma edição, publicação de matéria sobre a Comissão Geológica do Império.
+Foi noticiado que Ferrez havia chegado ao sul da Bahia com o geólogo Richard Rathbum, também integrante da Comissão Geológica, com diversas fotografias de índios botocudos, dentre outras (Illustração Brasileira, 1º de novembro de 1876, na última coluna). Essas teriam sido as primeiras imagens desses índios produzidas no Brasil (Palcos e Telas, 8 de abril de 1920).
+ 
+Marc Ferrez. Índio botocudo, 1876. Bahia / Acervo IMS
+ 
+1877 – Publicação da fotografia do farol da Barra da Bahia, de autoria de Marc Ferrez, na capa da revista Illustração Brasileira, 15 de janeiro de 1877.
+ 
+Revista Illustração Brasileira, 15 de janeiro de 1877
+ 
+Marc Ferrez. Forte e Farol de Santo Antônio da Barra, c. 1877. Salvador, Bahia / Acervo IMS
+ 
+O livro A Descrição do novo edifício para a Tipografia Nacional, publicado pelo engenheiro Antonio de Paula Freitas (1845 – 1906), foi ilustrado por gravuras baseadas em fotografias de Marc Ferrez.
+Foi publicada uma gravura do morro da Glória, Pão de Açúcar e entrada na baía do Rio de Janeiro na capa da revista Illustração Brasileira, 15 de março de 1877.
+De 1877 até o final da década de 1880, Ferrez foi o responsável pela produção da documentação fotográfica das obras destinadas a melhorar o abastecimento de água no Rio de Janeiro (Gazeta de Notícias, de 28 de junho de 1889, na segunda coluna, sob o título “Águas do rio S. Pedro”).
+O governo decretou o fim da Comissão em 1º de julho de 1877 e em janeiro do ano seguinte sua extinção foi efetivada.
+Foi anunciada a exposição de quatro fotografias de autoria de Marc Ferrez, na galeria da A la Glacê Elegante, situada na rua do Ouvidor, 138. Eram imagens do “importante estabelecimento hidroterápico e  casa de saúde do sr. dr. Fernando Eiras (Jornal do Commercio, 11 de setembro de 1877, na quarta coluna). Na A la Glacê Elegante, outra exposição de fotografias de Ferrez, desta vez do engenho central Quissamã (Gazeta de Notícias. 12 de outubro de 1877, na quarta coluna). Ferrez voltaria a expor várias vezes na A la Glacê Elegante, loja de molduras, que assim como outros estabelecimentos como o Espelho Fiel e a Casa de Wilde, em meio a seus produtos, abriam espaço para exposições de obras de arte ou novidades do mundo artístico-industrial. Por exemplo, em 1878, o artista italiano Nicolau Facchinetti (1824 – 1900) expôs suas pinturas na A la Glacê Elegante.
+Publicação de uma matéria sobre o trabalhos da Comissão Geológica do Império e sobre o local onde estavam guardados e onde os membros da comissão cuidavam de sua classificação, estudo e do desenvolvimento, na rua da Constituição, nº 41, visitado pelo imperador Pedro II, no dia 27 de outubro. Foi mencionada a existência de um laboratório fotográfico, “grande e espaçoso…nele estão guardados algumas centenas de clichês , feitos no campo pelos Srs. Ferrez e Brenner e mno laboratório pelo Sr. Ratbunn, que hoje toma conta dessa parte do serviço da comissão“(O Vulgarizador, 3 de novembro de 1877).
+1878 – No Almanak Laemmert de 1878, Ferrez foi identificado como fotógrafo da Marinha Imperial e da Comissão Geológica. Seu estabelecimento ficava na rua São José, 88 com depósito na rua do Ouvidor, 55.
+Viajou para a França na época da Exposição Universal de Paris, quando apresentou o mesmo panorama do Rio de Janeiro que havia exposto na Exposição Universal da Filadélfia, em 1876. Participou de reuniões da da Sociedade Francesa de Fotografia apresentando imagens de paisagens brasileiras de sua autoria e retratos produzidos pelo fotógrafo Insley Pacheco (1830 – 1912).  Ferrez comprou o aparelho panorâmico de varredura, fabricado por David Hunter Brandon (1821 – 1893) sob sua encomenda. Com esse equipamento, que pesava mais de 100 quilos, era possível produzir grandes imagens panorâmicas de até 1 metro e 10 centímetros sem as distorções muitas vezes provocadas pela justaposição de várias fotografias para a formação de uma única imagem.
+Marc Ferrez estava na folha de pagamento do Ministério da Fazenda (Jornal do Commercio, 16 de março de 1878, na segunda coluna).
+Foi publicada uma imagem do prédio da Tipografia Nacional, baseada em fotografia de Ferrez, na revista Illustração Brasileira, de abril de 1878.
+Foi noticiada a morte de Charles Frederick Hartt, que havia sido o chefe da Comissão Geológica do Império. Ferrez foi mencionado (A Boa Nova, 24 de abril de 1878, na terceira coluna).
+1879 – Matéria bem humorada sobre o ofício da fotografia. Segundo o autor, “as crianças é que são o pesadelo, a ave agoureira” dos fotógrafos. Devido a elas Ferrez e outros fotógrafos estariam “avelhantados e cheio de cans” (Jornal do Commercio, 20 de janeiro, sob o título “Photographos”).
+Na galeria da A la Glacê Elegante, exposição de uma fotografia do correio, de autoria de Marc Ferrez, “tirada diretamente de uma dimensão nunca feita nesta capital até agora” (Jornal do Commercio, 28 de janeiro de 1879, na quarta coluna).
+Na seção de “Fotografia”, Ferrez participou pela primeira vez da Exposição da Academia Imperial de Belas Artes e recebeu a medalha de ouro. Apresentou “Vistas diversas”, “Vistas transparentes pelo processo inalterável au charbon” e “Fotografias da Secretaria de Agricultura” e foi premiado com a segunda medalha de ouro (Jornal do Recife, 11 de agosto de 1879, na sexta coluna e Revista Musical e de Belas Artes, 9 de agosto de 1879). As fotografias foram elogiadas, sobretudo “as feitas com tintas azuladas e rosadas” (Jornal do Commercio, 17 de abril de 1879, na última coluna).
+Em inglês, foram publicados anúncios das fotografias de Ferrez no jornal Rio News de 5 de agosto, de 15 de setembro, 15 de outubro, 5 de novembro, mencionando que ele havia recebido uma medalha na Exposição da Filadélfia e que havia sido fotógrafo da Comissão Geológica do Império. Os anúncios seguiram sendo publicados em 1880 e 1881.
+Na galeria da A la Glacê Elegante, exposição de fotografias de Marc Ferrez representando o engenho agrícola no Porto-Real, “de uma dimensão nunca feita até hoje”(Jornal do Commercio, 10 de outubro de 1879, na sexta coluna).
+Ferrez registrou a visita do Imperadordom Pedro II às obras para o abastecimento de água do Rio de Janeiro (Jornal do Commercio, 27 de novembro de 1879, primeira coluna).
+Ferrez fotografou a Exposição Portuguesa no Rio de Janeiro e colocou as fotografias à venda (Revista da Exposição Portuguesa no Rio de Janeiro, 1879).
+Anos 1880 – Começou a desenvolver a atividade de comerciante e representante de produtos e artigos para fotografia, de onde conseguia boa parte de sua renda. Entre 1880 e 1910, desenvolveu vários projetos em parceria com editores e fotógrafos, dentre eles Henri Gustave Lombaerts (1845-1897), Joaquim Insley Pacheco (1830 – 1912) e Gomes Junior.
+1880 – No mês de junho, Ferrez fotografou o evento comemorativo do tricentenário de morte do poeta português Luis de Camões (c. 1524 – 1589 ou 1580), a Exposição Camoniana, inaugurada em 10 de junho na Biblioteca Nacional, então denominada Biblioteca Pública. Um desses registros foi oferecido à instituição por dom Pedro II.
+Na casa do litógrafo Jules Martin, foi realizada uma exposição de fotografias de Ferrez produzidas no interior de São Paulo e na cidade de Santos, onde havia estado pela primeira vez (Jornal da Tarde, 29 de setembro de 1880, na terceira coluna).
+1881 - Nascimento do primeiro filho do casal Ferrez, Julio Marc (1881 – 1946), em 14 de abril.
+Na Exposição da Indústria Nacional, organizada por Jorge Henrique Leuzinger (1845 -1908), secretário da Associação Industrial e filho do fotógrafo Georges Leuzinger (1813 – 1892), Ferrez apresentou fotografias realizadas com a câmara panorâmica Brandon e ganhou o grande prêmio da mostra (O Binóculo, 23 de dezembro de 1881).
+Publicou o folheto Exposição de paisagens fotográficas produtos do artista brasileiro Marc Ferrez Fotógrafo da Marinha Imperial e da Comissão Geológica, onde em 10 páginas divulgava seu trabalho. Nesse folheto declarava que seu estabelecimento, “dedicado especialmente a fazer vistas do Brasil”, havia sido fundado em 1860. Segundo Maria Inez Turazzi, a data coincide com a inauguração da oficina de fotografia e ambrótipo do litógrafo Paul Théodore Robin (? – 1897), com quem Ferrez pode ter trabalhado.
+A Coroa imperial comprou, por 200 mil réis, quatro fotografias produzidas por Ferrez do Campo da Aclamação. No local havia sido instaladas as novas lâmpadas de filamento inventadas pelo industrial norte-americano Thomas Edison (1847 – 1931).
+1882 – Participou da Exposição Continental de Buenos Aires, inaugurada em 15 de março (a seção brasileira foi inaugurada no dia 1º de abril, ocupando uma área de 600m2), com as fotografias apresentadas na Exposição da Indústria Nacional do ano anterior e foi premiado com uma medalha de prata e um prêmio ao mérito.
+Fotografou na Exposição Antropológica Brasileira, inaugurada em 29 de julho de 1882, no Museu Nacional, no Rio de Janeiro, uma série de registros de objetos e aspectos da vida indígena. Algumas fotografias de sua autoria também foram expostas. A mostra durou três meses e teve muito sucesso, com um público de mais de mil visitantes.
+ 
+Marc Ferrez. Exposição Antropológica Brasileira : artefatos e aspectos da vida indígena, 1882 / Acervo FBN
+ 
+Fotografou as obras da ferrovia Dom Pedro II, em São Paulo e em Minas Gerais, tendo registrado a presença do imperador Pedro II e de sua comitiva na entrada do túnel da Serra da Mantiqueira (Gazeta de Notícias, 27 de junho de 1882, na quarta coluna).
+ 
+Marc Ferrez. Inauguração de túnel com a presença do Imperador e comitiva, 1882. Estrada de Ferro Rio-Minas / Acervo IMS
+ 
+Marc Ferrez. [Comissão Astronômica Brasileira] : passagem de Vênus de 6 de dezembro de 1882 : [retratos], 1882 -1883 / Acervo FBN
+1882 / 1883 – A fotomontagem feita por Ferrez de imagens de Antônio Luiz von Hoonholtz Tezpur, o Barão de Teffé (1837 – 1931), do capitão-tenente Francisco Calheiros da Graça (1849 – 1906) e do tenente Arthur Índio do Brasil e Silva (1856 – 1936) , os três homens encarregados pelo Observatório Imperial do Brasil para observar o trânsito de Vênus sobre o Sol, na ilha de São Tomás nas Antilhas, fez parte da publicação Comissão Astronômica Brasileira – Passagem de Vênus de 6 de dezembro de 1882, álbum comemorativo da participação brasileira no esforço internacional para acompanhar o citado evento astronômico. Com esse objetivo havia sido criado um observatório pelo Observatório Imperial, em homenagem a dom Pedro II (1825 – 1891), na ilha de São Tomás nas Índias Ocidentais Dinamarquesas (atualmente Ilhas Virgens Americanas). Esse trânsitos ofereciam a oportunidade de determinação da distância entre a Terra e o Sol e houve grande interesse científico e público nos trânsitos de 1874 e 1882.
+1883 – O Club de Engenharia ofereceu uma recepção ao engenheiro hidráulico holandês J. Dirks, o grande especialista da época em portos e canais, que estava de passagem pelo Rio de Janeiro e seguiria para Valparaíso, no Chile. Na ocasião, foi realizada uma exposição de fotografias das estradas de ferro, de autoria de Marc Ferrez (Revista de Engenharia, 14 de abril de 1883).
+Participou da Exposição Internacional de Amsterdam, realizada entre maio e outubro de 1883, com 24 grandes fotografias do Rio de Janeiro, de Santos, de Petrópolis e de outros lugares do interior do Brasil, tendo sido premiado com a medalha de bronze (Jornal do Commercio, 9 de outubro de 1883, na sétima coluna).
+Ferrez fotografou a Kermesse organizada pela Sociedade Francesa de Beneficência, na Guarda Velha, localizada no antigo Campo de Santo Antônio, atual largo da Carioca (Gazeta da Tarde, 25 de outubro de 1883, na segunda coluna).
+c. 1884 – Fotografou as obras da ferrovia do Paraná (Paranaguá – Curitiba). O gerente da firma Société Anonyme des Travaux Dyle et Bacalan, empreiteira belga encarregada pelas obras, o futuro prefeito do Rio de Janeiro, o engenheiro Francisco Pereira Passos (1836 – 1913), presenteou dom Pedro II com 14 fotografias e um álbum de autoria de Ferrez com registros da ferrovia e da província do Paraná.
+1884 - Nascimento do segundo filho do casal Ferrez, Luciano José André (1884 – 1955), em 9 de fevereiro.
+Participou, em maio, da Exposição Internacional de Horticultura de São Petesburgo, com diversos trabalhos, dentre eles vistas do Brasil.  José Maria da Silva Paranhos Júnior (1845 – 1912), o Barão do Rio Branco, foi o comissário do pavilhão brasileiro, que teve como destaque a promoção do café nacional produzido em fazendas dos estados do Rio de Janeiro, Minas Gerais e São Paulo (Jornal do Commercio, 7 de agosto de 1884, sexta coluna).
+Exposição, na Notre Dame de Paris, de um retrato do astrônomo belga Louis Ferdinand Cruls (1848 – 1908), diretor do Imperial Observatório do Rio de Janeiro, “trabalho artístico obtido pelo novo sistema de gelatino-bromureto, especialidade do sr. Marc Ferrez, clichê do sr. Insley Pacheco”(Jornal do Commercio, 4 de julho de 1884, na última coluna).
+ 
+Marc Ferrez. Luis Cruls, c. 1890. Rio de Janeiro, RJ / Acervo IMS
+ 
+Fotografias de Ferrez ilustravam a matéria escrita por Arthur Barreiros sobre o astrônomo belga Louis Ferdinand Cruls (1848 – 1908), diretor do Imperial Observatório do Rio de Janeiro, publicada na segunda edição da revista Galeria Contemporânea do Brasil (O Cearense, 29 de agosto de 1884, na terceira coluna).
+Na primeira edição da revista Galeria Contemporânea do Brasil, publicação de uma fotografia de Machado de Assis, identificada como uma fotografia inalterável de Marc Ferrez e clichê de Insley Pacheco (Revista Ilustrada, 31 de agosto de 1884, na seção “Livros a ler”). Já na época, a Revista Ilustrada comentou o que parecia ser uma imprecisão na identificação da autoria da fotografia de Machado e documentos recentemente localizados na Biblioteca Nacional indicam Insley Pacheco como possível autor desse retrato.
+ 
+Joaquim Insley Pacheco; Marc Ferrez;Livraria Lombaerts & C. Galeria contemporanea do Brazil : Machado de Assis : [retrato], 1884. Rio de Janeiro, RJ / Acervo FBN
+Foi apresentada a revista Galeria Contemporânea do Brasil, cujas fotografias ficariam a cargo de Marc Ferrez, “introdutor entre nós do sistema de platinotipia, que se recomenda pela inalterabilidade e beleza de detalhes” (A Província do Espírito Santo, 14 de setembro de 1884, na última coluna).
+Na “Seção de Fotografia” na Exposição Geral de Belas Artes, exibiu as fotografias Gaúcho do Rio Grande, Fragata Pallas, Fragata inglesa Amethyst, Cruzador brasileiro Almirante Barroso, Passeio pela baía e Amazona e cavaleiro, feitas em gelatino-brometo de prata. Sob o título Vegetação, apresentou fotografias produzidas pelo processo de platina.
+Exposição de fotografias da estrada de ferro Teresa Cristina, na A la Glacê Elegante (Gazeta da Tarde, 11 de novembro de 1884, na quinta coluna).
+Ferrez e suas irmãs Francisca e Augustine libertaram dois escravos. Um trabalhava na Casa Leuzinger e o outro era padeiro (Gazeta da Tarde, 13 de dezembro de 1884, na segunda coluna, sob o título “Chronica do bem”).
+1885 – Por volta deste ano, Ferrez produziu uma fotografia de uma vista panorâmica do Rio de Janeiro a partir de Santa Tereza, na qual ele brincava com o ilusionismo proporcionado pela dupla exposição: ele e um amigo apareciam duas vezes na foto.
+ 
+Panorama parcial do Rio de Janeiro, c. 1885. Rio de janeiro, RJ / Acervo IMS
+ 
+Ferrez participou da inauguração da ferrovia do Paraná, a Paranaguá – Curitiba (Dezenove de Dezembro, 4 de fevereiro de 1885, na terceira coluna).
+Marc Ferrez foi recebido por dom Pedro II (Jornal do Commercio, 19 de março de 1885, na terceira coluna).
+O imperador Pedro II agraciou Ferrez com o grau de Cavaleiro da Ordem da Rosa, em 7 de março (Publicador Maranhense, 26 de março de 1885, na quarta coluna). Outros que receberam a condecoração na mesma ocasião foram os pintores Antonio Firmino Monteiro (1855 – 1888), Augusto Rodrigues Duarte (1848 – 1888), Francisco Aurélio de Figueiredo e Mello (1856 – 1916), José Ferraz de Almeida Junior (1850 – 1899) , além do músico Vicente Cernicchiaro (1858 – 1928).
+Na Exposição Internacional de Beauvais, inaugurada em maio, 30 grandes fotografias de cidades brasileiras, dentre elas, Rio de Janeiro e Petrópolis, de autoria de Ferrez foram expostas. A seção brasileira foi organizada pelo sr. Rodrigues de Oliveira (Jornal do Commercio, 29 de maio de 1885, na sexta coluna).
+Ferrez partiu, em outubro, para Paris no vapor Orenoque onde buscaria as últimas novidades sobre técnicas e equipamentos de fotografia (Jornal do Commercio, 21 de outubro de 1885, na sexta coluna, sob o título “Despedida”). Aprimorou, na época, a técnica do ferro prussiano, método utilizado para reprodução rápida de plantas de engenharia e outros desenhos, um dos serviços que oferecia em seu estabelecimento (Revista de Engenharia, 14 de abril de 1886). Para a mesma finalidade, Ferrez também usava a heliografia.
+Apresentou na Sociedade Francesa de Fotografia, em Paris, entre 1885 e 1886, uma câmera desenvolvida para a realização de fotografias marinhas e ofereceu à associação provas panorâmicas produzidas no Brasil.
+Participou da Exposição Universal da Antuérpia ou Exposição Universal de Anvers, na Bélgica, com Grande coleções de vistas do Rio de Janeiro: 31 fotografias e ganhou a medalha de prata, na classe VII, de “Provas e aparelhos fotográficos”(O Auxiliador da Indústria Nacional, de 1885), informação corroborada no livro Anvers à l´Exposition Universelle 1885, de René Cornelli e Pierre Mussely, publicado no ano seguinte à mostra. Em 14 de outubro, os reis da Bélgica visitaram a exposição e a rainha apreciou muito as fotografias de Ferrez (Jornal do Recife, de 20 de novembro de 1885, na sexta coluna).
+Ferrez fotografou o escritório particular de dom Pedro II, no Palácio de São Cristóvão (Anais da Biblioteca Nacional, 1991).
+O livro Bilder aus Brasilen (Imagens do Brasil), do teuto-brasileiro Carlos von Koseritz (1830 – 1890), publicado em Leipzig por  A. W. Sellin foi ilustrado com onze gravuras produzidas a partir de fotografias de Ferrez. Foi traduzido para português, na década de 40, por Afonso Arinos de Melo Franco (1905 – 1990).
+1885/1887 - Com a reprodução de 12 imagens de Ferrez, a editora milanesa Fratelli Tensi publicou o álbum de fotogravuras Lembrança do Rio de Janeiro.
+1886 – O Boletim da Sociedade Francesa de Fotografia registrou a apresentação do equipamento criado por Ferrez para produzir fotografias marinhas.
+O engenheiro belga Aimé Durieux (1827 – 1901), representante da Sociedade Anonyma de Trabalhos Dyle & Bacalan, doou à Sociedade de Geografia de Paris, da qual era integrante, um álbum com 26 fotografias de autoria de Ferrez sobre a ferrovia do Paraná.  A empresa atuava na construção de veículos ferroviários, navios e aeronaves, bem como em obras públicas.
+O militar italiano Carlo de Amezaga (1835 -1899) publicou em Roma os quatro volumes de Viaggio di circumnavigazione della corvetta Caracciolo. No terceiro volume, há duas estampas do Rio de Janeiro baseadas em fotografias de Ferrez.
+O engenheiro britânico Hastings Charles Dent (1855 – 1909) publicou A year in Brazil: with notes on the abolition of slavery, the finances of the empire, religion, metereology, natural history, etc com 10 páginas de ilustrações e mapas baseados em registros de Ferrez.
+Ferrez retornou ao Brasil em março.
+O ateliê de Marc Ferrez era o depositário das chapas secas Clayton, “reconhecidas as melhores“ (Jornal do Commercio, 14 de março de 1886, na primeira coluna).
+Estava em exposição na A la Glacê Elegante diversos aumentos de retratos pelo sistema inalterável de gelatino-bromure, de autoria de Ferrez, dentre eles uma fotografia do navio Almirante Barroso considerada rara por suas “enormes dimensões”. O sistema era uma especialidade da Casa Marc Ferrez (Jornal do Commercio, 29 de março de 1886, na terceira coluna e 30 de março de 1886, na quarta coluna). Sobre a mesma exposição, Ferrez foi referido como “habilíssimo fotógrafo” que havia chegado da Europa para onde havia ido se aperfeiçoar “nas mais recentes ficelles de l´art, e fez no estabelecimento A la Glacê Elegante  uma exposição de positivos ampliados de clichês, e de uma prova de fotografia instantânea representando o cruzador Almirante Barroso. Esta prova é de grandes dimensões, calculamos ser de 1m20 x 0.80m. É escusado dizer que os trabalhos expostos traduzem a costumada e reconhecida perícia do expositor”. Informava também que uma das especialidades do ateliê de Ferrez era a reprodução rápida de plantas e de outros desenhos de engenharia através do processo “ferro prussiato“” (Revista de Engenharia, 14 de abril de 1886, na segunda coluna). Para a mesma finalidade, Ferrez também usava a heliografia.
+Propaganda do estabelecimento de Marc Ferrez na rua São José 88 onde era anunciado como Photographia da Marinha Imperial e oferecia material completo para fotógrafos e amadores, chapas instantâneas Clayton, aumento de retratos, reprodução indelével de plantas e vistas de todas as partes do Brasil (O Programa Avisador, 8 de julho de 1886, na última coluna). O anúncio foi publicado diversas vezes ao longo de 1886.
+ 
+Propaganda do estabelecimento fotográfico de Marc Ferrez, 1886.
+ 
+Na A la Glacê Elegante, exposição de fotografias produzidas “instantaneamente” por Marc Ferrez com um aparelho de sua invenção construído em Paris sob sua imediata inspeção (Jornal do Commercio, 26 de julho de 1886, na quarta coluna).
+Em uma reunião da Sociedade Central de Immigração, da qual faziam parte, entre outros, o astrônomo belga Louis Ferdinand Cruls (1848 – 1908), o pintor italiano Nicolau Facchinetti (1824 – 1900), e o político Alfredo d´Escragnolle Taunay (1843 – 1899), foram apresentadas por esse último, presidente da associação, fotografias da ferrovia do Paraná, de autoria de Ferrez (A Immigração, agosto de 1886).
+A estampa que acompanhava o artigo sobre o túnel de ferro corrugado publicado na Revista de Engenharia de 18 de outubro de 1886, foi impressa “por um econômico processo heliográfico, de cujos detalhes o bem conhecido fotógrafo Marc Ferrez adquiriu o conhecimento em sua recente viagem à Europa, e que é eminentemente adaptado pelo seu moderado custo à reprodução de desenhos, quando se precisa apenas de algumas dezenas de exemplares”.
+O Club de Engenharia aprovou a proposta de Marc Ferrez e de E. de Mascheuk para a execução de “diversos trabalhos concernentes à exposição dos caminhos de ferro” (Revista de Engenharia, 14 de dezembro de 1886, na primeira coluna).
+Ferrez fotografou a ferrovia Dom Pedro II, em Juiz de Fora.
+Não usava mais a referência da Comissão Geológica em seu currículo profissional. Apresentava-se como “Fotógrafo da Marinha Imperial”.
+1887 - Ferrez comunicou a chegada de novas chapas gelatino Brumure Clayton, reconhecidas como as melhores e mais rápidas, de todos os tamanhos, das quais ele era o único depositário (Jornal do Commercio, 27 de fevereiro de 1887).
+O antigo gerente do estabelecimento de Ferrez, Albert Breton, tornou-se funcionário da Casa Saturno, “grande atelier de retratos”, localizado na rua 1º de março, 23 (O Programa Avisador, 3 de março de 1887).
+O Ministério da Agricultura encomendou a Ferrez dez grandes fotografias da hospedaria da Ilha das Flores, local de passagem obrigatória dos imigrantes estrangeiros que aportavam no Rio de Janeiro (Gazeta da Tarde, 7 de abril de 1887).
+Entre 2 de julho e 2 de agosto, nos salões do Liceu de Artes e Ofícios, por uma iniciativa do Club de Engenharia, realizou-se a Exposição dos Caminhos de Ferro Brasileiros, com a exibição de fotografias de Ferrez (Revista de Engenharia, 14 de agosto de 1887). Estiveram presentes no encerramento da exposição, no dia 2 de agosto, a princesa Isabel(1845 – 1921) e o conde d´Eu (1842 – 1922), além de outras autoridades. O conselheiro Sinimbu (1810 – 1906) leu o relatório do juri da exposição, do qual também fazia parte o visconde de Mauá (1813 – 1889), Pedro Betim Paes Leme (1846 – 1918), Christiano Benedicto Ottoni (1811 – 1896), Carlos Peixoto de Mello (1871 – 1917), Álvaro Joaquim de Oliveira (1840 – 1922) e Manoel José Alves Barbosa (1845 – 1907). Ferrez foi contemplado com uma menção honrosa pelas “magníficas fotografias de importantes trechos de nossas vias férreas, com que concorreu não só para abrilhantar a Exposição como até para suprir algumas lacunas sensíveis de estradas que se não fizeram representar” (Jornal do Commercio, 3 de agosto de 1887, na terceira coluna e Revista de Estradas de Ferro, 31 de agosto de 1887, na primeira coluna).
+Ferrez era o secretário-adjunto da Diretoria da Associação Industrial, que enviou ao conselheiro Rodrigo Augusto da Silva (1833 – 1889), ministro e secretário de Estado para os Negócios da Agricultura, Comércio e Obras Públicas, um plano para a realização de uma exposição preparatória para a Exposição Universal de Paris, em 1889 (Revista de Engenharia, 28 de agosto de 1887).
+Anúncio da Photographia Marc Ferrez, apresentando-se como depositária das chapas secas de Attout-Taillfer & Clayton, além de oferecer cartões e câmaras de viagem (Jornal do Commercio, 4 de setembro de 1887, quarta e quinta colunas). Propagandas da Casa Marc Ferrez foram veiculadas várias vezes no mesmo jornal ao longo de 1887 e 1888.
+1888 – Marc Ferrez estava fotografando pessoas e grupos para perpetuar as memórias dos festejos pela abolição da escravatura (O Paiz, 16 de maio de 1888, primeira coluna).
+No Arsenal de Marinha, foi concluído o faceamento do meteorito de Bendegó com as presenças da princesa Isabel e do conde d´Eu. Ferrez fotografou o meteorito e o grupo com “Suas Altezas, o presidente da Sociedade de Geografia do Rio de Janeiro, Marquez de Paranaguá, iniciador da ideia de remoção desse meteorito, o diretor do Museu Nacional, os membros da comissão, e o sr. ministro dos estrangeiros”(Correio Paulistano, 17 de julho de 1888, na quinta coluna, sob o título “Meteorito de Bedengó”). Também no Arsenal de Marinha, cerca de um mês depois, com as presenças de Suas Altezas, da baronesa de Loreto Maria Amanda Paranaguá Dória (1849 – 1931), do barão de Corumbá João Mendes Salgado (1832 – 1894), do marquês de Paranaguá João Lustosa da Cunha Paranaguá (1821 – 1912), e do diretor do Imperial Observatório do Rio de Janeiro, Louis Ferdinand Cruls (1848 – 1908), dentre outros, o meteorito de Bedengó foi coberto com ácido nítrico. Na matéria, foi mencionado que Ferrez fotografaria o meteorito (Gazeta de Notícias, 17 de agosto de 1888, na segunda coluna sob o título “Corte do Bendegó”).
+Ferrez fotografou a fachada da tradicional farmácia carioca Casa Granado, tradicional farmácia carioca, enfeitada para as festividades de boas vindas a dom Pedro II  e à Imperatriz D. Teresa Cristina, que retornavamde sua viagem à Europa. No passepartout da fotografia, que foi distribuída como brinde pelo estabelecimento e trazia a assinatura de Marc Ferrez, lê-se: “Homenagem da Drogaria Granado ao feliz regresso de SS. MM. Imperiaes. Rio, 22 de agosto de 1888”.
+ 
+Marc Ferrez. Pharmacia Drogaria Granado and Ca, 1888. Rio de Janeiro, RJ / Acervo FBN
+ 
+Em torno deste ano, produziu fotografias dentro de minas de ouro – as primeiras conhecidas até hoje. Foram fotografadas as minas da Passagem e de Pari, em Minas Gerais. Ferrez utilizou o flash de magnésio. Na ocasião também realizou registros de Ouro Preto e de Itacolomy*.
+Ferrez  fotografou a cerimônia em que a Princesa Isabel (1846 – 1921) foi condecorada com a Rosa de Ouro, honraria do Vaticano, outorgada pelo papa Leão XIII (1810 – 1903) por ter assinado a Lei Áurea. A solenidade, celebrada em 28 de setembro, na Capela Imperial, foi, provavelmente, a primeira grande ocasião em que Ferrez usou os novos flashes de magnésio que havia recebido recentemente da Europa. A data escolhida para a entrega da Rosa de Ouro marcava o aniversário da Lei do Ventre Livre, assinada no dia 28 de setembro de 1871 (Gazeta da Tarde, 28 de setembro de 1888, primeira coluna; Gazeta de Notícias, 29 de setembro de 1888). Ferrez e Pedro da Silveira foram designados para fotografar o evento. O engenheiro Morin seria o encarregado pela luz elétrica (O Espírito – Santense, 6 de outubro de 1888, na segunda coluna).
+ 
+Marc Ferrez. A Princesa Isabel recebe a Rosa de Ouro, outorgada pelo papa Leão XIII, 28 de setembro de 1888. Rio de Janeiro, RJ / Coleção Princesa Isabel
+ 
+Gazeta da Tarde, 28 de setembro de 1888
+ 
+Em 25 de novembro, foi inaugurado o tráfego entre as estações de Alcântara e Rio do Ouro da estrada de ferro de Maricá. Marc Ferrez fotografou “instantaneamente ” um grupo de convidados da diretoria das estradas na estação Santa Izabel (Revista de Engenharia, 28 de dezembro de 1888, na primeira coluna).
+Participou com fotografias de paisagens de Ouro Preto e de outras regiões do Brasil da Exposição Brasileira Preparatória da Exposição Universal de Paris, realizada entre 11 e 31 de dezembro de 1888 (O Auxiliador da Indústria Nacional, na segunda coluna, janeiro de 1889). Por essas fotografias, no ano seguinte, Ferrez recebeu o diploma de honra da Exposição Preparatória (O Auxiliador da Indústria Nacional, outubro de 1889, na segunda coluna).
+Transcrição, na Gazeta de Notícias, de um artigo escrito pelo jornalista francês Charles (Carlos) Morel, redator chefe do jornal Étoile du Sud, sobre a participação brasileira na Exposição Universal de Paris de 1889. O desenvolvimento da fotografia no Brasil e a exposição de fotografias de Ferrez foram abordados (Gazeta de Notícias, 16 de dezembro de 1888, na sexta coluna).
+1889 – Ferrez retornou de uma viagem a Uruguaiana e informou estar de volta “à testa de seu estabelecimento”(Jornal do Commercio, 3 de março de 1889, na quinta coluna).
+Em propaganda da Casa Ferrez, era anunciada a chegada de várias novidades, dentre elas lanternas para aumento (Jornal do Commercio, 24 de março de 1889).
+Ferrez fotografou a capela imperial, que estava em obras (Gazeta de Notícias, 11 de abril de 1889, na segunda coluna).
+O Jornal do Commercio noticiou que havia recebido a já mencionada fotografia da Casa Granado, de autoria de Ferrez, por ocasião da volta de dom Pedro II da Europa, ocorrida em 1888 (Jornal do Commercio, 10 de agosto de 1889, na sexta coluna).
+Ferrez viajou com seus filhos e mulher para Paris. Apresentou fotografias de vistas do Rio de Janeiro, de vistas marinhas e paisagens na Exposição Universal em Paris, realizada entre 6 maio e 31 de outubro de 1889. De acordo com Maria Inez Turazzi, recebeu a medalha de bronze. Segundo o Auxiliador da Indústria Nacional, ele teria recebido a medalha de prata (O Auxiliador da Indústria Nacional, 1889). Foi nessa exposição que a Torre Eiffel, na época a mais alta estrutura do mundo, foi inaugurada.
+O barão do Rio Branco (1845 – 1912), com o apoio de dom Pedro II, publicou para a exposição de Paris o Álbum de vistas do Brasil com imagens produzidas por vários fotógrafos, dentre eles Joaquim Insley Pacheco (1830 – 1912), Augusto Riedel (1836 – ?) e Marc Ferrez, que teve o maior número de fotografias publicadas no álbum.
+A Casa Imperial comprou um lote de 50 vistas por 150 mil réis, na Casa Marc Ferrez.
+A documentação fotográfica produzida por Ferrez das obras destinadas a melhorar o abastecimento de água no Rio de Janeiro (Gazeta de Notícias, de 28 de junho de 1889, na segunda coluna, sob o título “Águas do rio S. Pedro”), entre 1877 e o final da década de 1880, resultou em oito álbuns: três deles foram presenteados a dom Pedro II, nesse ano, último do regime imperial no Brasil. Outros três foram dados ao engenheiro Francisco de Paula Bicalho (1847 – 1919), diretor das Águas da Corte.
+Na reportagem “La Révolution au Brésil”, sobre a queda do Império, foi publicado um desenho cuja base foi a fotografia da estátua eqüestre de Dom Pedro I, realizada por Marc Ferrez nos anos 1870 (Le Monde illustrée, 30 de novembro de 1889).
+
+1890 – Ferrez fotografou o lançamento do cruzador Almirante Tamandaré, em 20 de março (Revista Marítima Brasileira, junho de 1890).
+Em maio, Ferrez anunciou a câmara detetive de Steinheil. Comunicou, no mês seguinte, também, que seu estabelecimento possuía um catálogo, que, se solicitado, poderia ser remetido aos clientes. Esta foi, provavelmente, a primeira referência à existência de um catálogo de produtos de sua loja (Jornal do Commercio, 18 de maio de 1890, sétima coluna, e O Paiz, 29 de junho de 1890, última coluna).
+Ferrez oferecia em propaganda e desta vez indicando amadores também como potenciais clientes. É uma aposta e uma evidência de que essa nova categoria representava na época uma expansão no mercado de equipamentos e material de fotografia. “Grande especialidade de todas as pertenças para profissionais e amadores photographos. Câmaras objectivas garantidas de Dallmeyer e outros afamados fabricantes, banheiras, lanternas, obturadores, cartões de todos os tamanhos e qualidades etc. Acaba de receber a última novidade: a câmara detetive de Steinheil” (Jornal do Commercio, 1º de junho de 1890, segunda coluna).
+ 
+Jornal do Commercio, 1º de junho de 1890
+ 
+Outro anúncio é veiculado informando que o estabelecimento de Ferrez é a única agência da Casa Dallmeyer, de Londres e,  oferece o Revelador Iconogène , uma novidade (Jornal do Commercio, 3 de agosto de 1890 e O Paiz, 3 de agosto de 1890, sétima coluna).
+Anúncio da série completa de objectivas desse célebre autor (Ferrez), além de chapas de “todos os tamanhos e diversos autores”.
+Em setembro, Ferrez integrou a comitiva convidada para a  inauguração das obras da ferrovia Benevente-Minas, de Carangola a Benevente, atual Anchieta, no Espírito Santo (Diário de Notícias, 28 de setembro de 1890, quinta coluna).
+Propaganda da Photographia Marc Ferrez oferecia seus serviços ao engenheiros (O Cruzeiro, 5 de novembro de 1890)
+ 
+O Cruzeiro, 5 de novembro de 1890
+ 
+Na Revista de Engenharia, 28 de dezembro de 1890, foi publicado um anúncio: “Marc Ferrez – Fotógrafo da Marinha Nacional. Especialista de vistas de estradas de ferro e em geral das grandes obras públicas. Reprodução de plantas com traços pretos sobre fundo branco. Rua São José 8″. O mesmo anúncio voltou a ser veiculado na edição de 14 de agosto de 1891.
+1891 – Anúncio de venda de produtos fotográficos importados e exclusivos, como “as objetivas Dallmayer, de Londres, e das chapas Wratten-Wamweight”, em seu estabelecimento, situado na rua São José, 88 (Jornal do Commercio, 15 de janeiro e 18 de outubro de 1891).
+A Casa Lombaerts & C incorporou-se à Casa Marc Ferrez, sob a firma Lombaerts, Marc Ferrez & C (Diário da Manhã, 9 de março de 1891, na terceira coluna). A firma Lombaerts, Marc Ferrez & C foi a editora e proprietária do jornal quinzenal de moda A Estação (A Estação, 15 de julho de 1891). A sede do jornal ficava na rua dos Ourives, 7 (Almanak Laemmert, última edição de 1892). A firma também publicou postais e, por encomenda da Inspetoria Geral da Instrução Primária e Secundária da Capital, publicou o álbum Quadros de história Pátria, com 21 fototipias, e o ensaio do engenheiro e astrônomo Henrique Morize (1860 – 1930), intitulado Esboço de una climatologia do Brasil. A sociedade de Lombaerts e  Ferrez foi dissolvida (Diário de Notícias, 15 de dezembro de 1891, quarta coluna).
+1892 – O estabelecimento de Marc Ferrez era um dos locais de venda de ingressos para a Festa do 14 de Julho – Festa Nacional da França (Gazeta de Notícias, 11 de julho de 1892).
+Foi determinado que nas estradas de ferro subvencionadas pelo governo federal fossem liberados passes de ida e volta para Marc Ferrez e um ajudante para que pudessem “levantar fotografias em diversas localidades para o serviço da Exposição Universal Colombiana de Chicago”, que aconteceu entre 1º de maio e 30 de outubro de 1893 para celebrar os 400 anos da chegada do navegador genovês Cristóvão Colombo (1451 – 1506) ao Novo Mundo, em 1492 (Jornal do Brasil, 21 de agosto de 1892, na quinta coluna).
+Ferrez recebeu o pagamento de e 2:284$ pelo material fornecido para a exposição de Chicago e 6:454$ pelos “ trabalhos photographicos para a referida Exposição”, de acordo com a solicitação do Ministério da Justiça em 5 de janeiro, e com o pedido de transferência para o Tesouro Nacional do dia 8 de junho,  publicados no Diário Oficial em janeiro e julho de 1893[1]
+[1] Diário Official, 08 de janeiro de 1893, p. 132 e 23 de Julho de 1893, p. 5, seção 1, publicado digitalmente em  https://www.jusbrasil.com.br/diarios/1598158/pg-4-secao-1-diario-oficial-da-uniao-dou-de-08-01-1893/pdfView e https://www.jusbrasil.com.br/diarios/1663079/pg-5-secao-1-diario-oficial-da-uniao-dou-de-23-07-1893, consultados em 06 de fevereiro de 2018 às 15:50
+1893 – O governo autorizou uma encomenda a Marc Ferrez de “fotografias de diversas estradas e ainda os indispensáveis à organização da carta plastográfica” que seria enviada para a Exposição de Chicago. O valor do trabalho foi 6:454$000 (Relatório do Ministério da Agricultura, 1893).
+[1] Diário Official, 08 de janeiro de 1893, p. 132 e 23 de Julho de 1893, p. 5, seção 1, publicado digitalmente em  https://www.jusbrasil.com.br/diarios/1598158/pg-4-secao-1-diario-oficial-da-uniao-dou-de-08-01-1893/pdfView e https://www.jusbrasil.com.br/diarios/1663079/pg-5-secao-1-diario-oficial-da-uniao-dou-de-23-07-1893, consultados em 06 de fevereiro de 2018 às 15:50
+Ferrez registrou as consequências da Revolta da Armada nos navios e instalações da Marinha brasileira.
+1894 – Foi para Minas Gerais, onde produziu fotografias para a Comissão Construtora da Nova Capital do Estado.
+No Rio de Janeiro, registrou os engenheiros que trabalharam, em 1893, na elaboração da Carta Cadastral do Distrito Federal, encomendada pelo prefeito Cândido Barata Ribeiro (1843 – 1910).
+Após quatro décadas de carreira, Marc Ferrez é um fotógrafo consagrado e um comerciante de sucesso. Embora discreto e pacato, goza  também  de certa notoriedade para além do círculo de seus clientes e amigos. Sua popularidade é bem exemplificada no conto Dor, de Escrangolle Doria, publicado na revista A Semana e vencedor do segundo prêmio de prosa literária do próprio periódico. Seu nome aparece nos parágrafos finais do capítulo derradeiro, quando os dois personagens principais olhando para uma parede, fitam um retrato au crayon,  de autoria de Marc Ferrez
+O nome de Ferrez apareceu ao final do último capítulo do conto Dor, de Escrangolle Doria, vencedor do segundo prêmio de prosa literária da revista A Semana. Ele é citado quando os dois personagens principais olhavam um retrato au crayon, de autoria de Marc Ferrez (A Semana, 31 de março de 1894, terceira coluna).
+Forneceu o material para o laboratório de fotografia da Comissão Construtora da Nova Capital (CCNC), encarregada do plano urbanístico e da construção dos edifícios públicos de Belo Horizonte, nova capital de Minas Gerais.
+Exposição na redação do jornal A República de duas fotografias do couraçado Vinte e Quatro de Maio, ex-Aquidaban, ambas de autoria de Marc Ferrez. O navio havia sido atingido, em 16 de abril de 1894, em Santa Catarina, pela torpedeira Gustavo Sampaio, durante a Revolta da Armada (A República, 29 de agosto de 1894, na última coluna).
+ 
+Marc Ferrez. Effeito de um torpedo na proa do “Aquidaban”, 1894. Rio de Janeiro, RJ / Acervo FBN
+ 
+Em novembro, fotografou os festejos pela proclamação da República: a inauguração da estátua do general Osório, na Praça XV, em 12 de novembro, e a posse do novo presidente, Prudente de Morais (1841 – 1902), no dia 15 do mesmo mês. Um álbum do qual faziam parte essas imagens foi presenteado ao marechal Floriano Peixoto (1839 – 1895) pela comissão militar encarregada pelas comemorações oficiais do evento. Ferrez divulgava seu trabalho informando que “tendo por ordem do governo tirado fotografias das festas nacionais, tem conseguido magnífico resultado de todas elas” e que “recebia encomendas para coleção completa” (Jornal do Commercio, 18 de novembro de 1894).
+1895 – Propaganda da Casa Marc Ferrez anunciavam que o estabelecimento agenciava com exclusividade as objetivas Dallmeyer, Français e Zeiss, além das chapas Wratten e Wanwrigth no Brasil (Jornal do Commercio, 20 de janeiro de 1895).
+Publicação da fotografia do funeral do marechal Floriano de Peixoto (1839 – 1895), com crédito para Marc Ferrez (Le Monde Illustré, 3 de agosto de 1895).
+ 
+Le Monde Illustré, 3 de agosto de 1885
+ 
+Na igreja São Francisco de Paula, Ferrez produziu fotos do templo, ao final da cerimônia das solenes exéquias do almirante Saldanha da Gama (1846 – 1895), um dos líderes da Revolta da Armada (Jornal do Commercio, 4 de julho de 1895, quinta coluna).
+Em novembro, Ferrez fotografou, em Búzios, os convidados e a comissão responsável pela construção da Estrada de Ferro Rio de Janeiro-Minas, que uniria o povoado de Búzios a Paquequer, no estado de Minas Gerais (A Notícia, 11 de novembro de 1895, segunda coluna).
+1896 –  O explorador naturalizado francês Charles Wiener (1851 – 1913) e também cônsul geral encarregado de negócios franceses no Brasil, adquiriu uma coleção de 329 fotografias do Brasil, sendo 92 de autoria de Ferrez. Os três dos quatro álbuns dessas fotografias estão no Ministério das Relações Exteriores da França.
+Entusiasta da imigração de europeus para o Brasil, o fotógrafo Maurício Lamberg publicou o livro O Brazil, sobre o qual o historiador Sacramento Blake (1827 – 1903) comentou:  “[…] trata da natureza do Brazil e das diversas raças que contém; de sua lavoura, do solo, da imigração e colonização; de suas florestas…”. Para escrever o livro, Lamberg viajou durante anos pelo norte e por parte do sul do país. Escrita originariamente em alemão, a obra, que abrange assuntos como história, geografia, fontes de renda e costumes, foi vertida para o português pelo jornalista e crítico musical Luiz de Castro (1863 – 1920), editado pela Casa Lombaerts e impresso na Tipografia Nunes, com 381 páginas distribuídos em 15 capítulos, com fotos de Lamberg e de outros autores, dentre eles Ferrez.
+1897 – Marc Ferrez fotografou os convidados de uma festa realizada no Club de Paquetá para oficiais da Marinha chilena (Cidade do Rio, 12 de maio de 1897, na terceira coluna).
+Em torno desse ano, Ferrez realizava experiências no campo da imagem com Henrique Morize (1860 – 1930) e com Tasso Fragoso (1869 – 1945), na época aluno da Escola Militar e posteriormente general. O francês naturalizado brasileiro Henri Charles Morize ou Henrique Morize era engenheiro e astrônomo. Foi diretor do Observatório Nacional entre 1908 e 1929 e o primeiro presidente da Academia Brasileira de Ciências, de 1916 a 1926.
+1898 – Ferrez  cedeu dois retratos de família pintados por August Muller (1815 – 1883) para a Exposição Retrospectiva do Centro Artístico, associação de jornalistas e literatos, criada em 1897, que tinha como objetivo a promoção da arte brasileira. A mostra, realizada durante o mês de julho, na Escola Nacional de Belas Artes, foi o primeiro evento organizado pelo Centro Artístico. Reuniu um grande número de objetos de arte cedidos por proprietários e colecionadores (Gazeta da Tarde, 13 de agosto de 1898, na última coluna e Diário de Notícias, 28 de julho de 1898, na penúltima coluna).
+Três fotografias de Ferrez ilustraram a matéria O Palácio Presidencial (Revista Moderna, 25 de novembro de 1898).
+1899 – Por volta desse ano, Ferrez realizou, possivelmente em parceria com Gomes Junior, uma série de fotografias de ambulantes, como a de “Jornaleiros” e “Comprador de garrafas”.
+Anúncio da venda de produtos químicos do médico e cientista francês Charles Berthaud, na Casa Marc Ferrez (A Imprensa, 9 de abril de 1899, na quarta coluna).
+No consultório dos doutores Camilo Fonseca e Henrique Morize, foram realizadas experiências radiográficas nas gêmeas siamesas Rosalina e Maria Pinheiro, nascidas em 1893, no Espírito Santo, que chegaram ao Rio de Janeiro em junho (A Imprensa, 23 de junho de 1899, na terceira coluna). Elas foram fotografadas por Marc Ferrez em várias posições (O Cachoeirano, 2 de julho de 1899, na última coluna). A cirurgia para separá-las, realizada em 30 de maio de 1900, na Casa de Saúde São Sebastião, no Rio de Janeiro, pelo médico Eduardo Chapot Prevost (1864 – 1907), foi a primeira do gênero que foi bem sucedida em todo o mundo. Maria morreu cinco dias após a cirurgia devido a uma grave infecção e Rosalina viveu até pelo menos 75 anos, tendo casado e tido filhos (A Imprensa, 11 de agosto de 1900, na primeira coluna).
+ 
+Marc Ferrez. Irmãs siamesas, 1899. Rio de Janeiro, RJ / Acervo IMS
+ 
+Marc Ferrez e os fotógrafos portugueses Joaquim Insley Pacheco (1830 – 1912) e José Ferreira Guimarães (1841 – 1924) foram nomeados para formar a comissão de propaganda da classe de fotografia da Exposição do Quarto Centenário do Brasil, em 1900, promovida pela Sociedade Propagadora das Belas Artes (Cidade do Rio, 31 de outubro de 1899, na quinta coluna).
+1900 – Com seu amigo, o engenheiro Humberto Antunes, participou, a bordo do vapor “Vigilante”, que abrigava membros da Sociedade de Benefcência Portuguesa, da procissão de navios que acompanham a chegada da comitiva portuguesa, vinda para as comemorações do quarto centenário do descobrimento do Brasil (Jornal do Commercio, 30 de abril de 1900, terceira coluna).
+Ferrez fotografou alguns eventos dos festejos dos 400 anos da descoberta do Brasil: a missa campal celebrada pelo frei Amor Divino Costa (1830 – 1909), a inauguração do monumento a Pedro Álvares Cabral, de autoria de Rodolfo Bernardelli (1852 – 1931), o desfile das tropas e o arco manuelino na praça da Glória (Gazeta de Notícias, 4 de maio de 1900).
+Era um dos integrantes da comissão Exposição Artístico-Industrial Fluminense Comemorativa do IV Centenário do Descobrimento, promovida pela Sociedade Propagadora das Belas-Artes, realizada no Liceu de Artes e Ofícios, na rua da Guarda Velha, atual avenida 13 de Maio (O Paiz, 7 de maio de 1900, na sétima coluna). Ferrez participou com trabalhos fotográficos em transparentes de cristal.
+A Casa Marc Ferrez lançou bilhetes-postais com imagens produzidas pelo fotógrafo impressas em fototipia.
+Foram lançados os livros O Rio de Janeiro em 1900: vistas e excursões, do militar e jornalista Francisco Ferreira da Rosa (1864 – 1952) e Estados Unidos do Brasil, do geógrafo e anarquista francês Élisée Reclus (1830 – 1905). O primeiro trazia fotografias produzidas por Ferrez e, o segundo, estampas de T. Taylor e A. Slom baseadas em fotos de Ferrez.
+Marc Ferrez e sua família foram à exposição da tela histórica de Aurélio Figueiredo (1856 – 1916), O descobrimento do Brasil, no salão da Casa Postal, na rua do Ouvidor (O Paiz, 31 de maio de 1900, na quarta coluna).
+A Revista da Semana de 21 de outubro de 1900, publicou uma litogravura da Estação Central da Estrada de Ferro da Central do Brasil baseada em uma fotografia de autoria de Marc Ferrez. A Revista da Semana havia sido lançada em 20 de maio por Álvaro de Tefé.
+ 
+Marc Ferrez. Estação da estrada de ferro Central do Brasil, c. 1899. Rio de Janeiro, RJ / Acervo IMS
+ 
+Perto do fim do ano, teria embarcado para a Europa, onde até o dia 12 de novembro realizou-se a Exposição Universal de Paris. Uma curiosidade: pela primeira vez numa feira internacional foi feita, para efeito de premiação, uma diferença entre fotografia profissional e amadora.
+1901 – Em março, Ferrez anunciou seu retorno da temporada europeia e a retomada de suas atividades.
+No encerramento da Exposição Artístico-Industrial Fluminense Comemorativa do IV Centenário do Descobrimento, Ferrez recebeu o diploma de honra. A mostra foi promovida pela Sociedade Propagadora das Belas Artes (Jornal do Brasil, 14 de maio de 1901, na sétima coluna).
+Ferrez prometeu fazer uma doação para a Associação Nossa Senhora Auxiliadora para “o patrimônio do recolhimento de meninas e moças pobres, órfãs ou abandonadas”. O dinheiro seria parte da quantia devolvida pela Sociedade Propagadora de Belas Artes aos contribuintes das festas de distribuição dos prêmios da Exposição Artístico-Industrial Fluminense (A Notícia, 24 de maio de 1901, na última coluna).
+Foi publicada uma fotografia produzida por Marc Ferrez de um grupo presente na garden party oferecida pelo cônsul alemão à oficialidade e a alguns marinheiros do cruzador Vinela, no Sylvestre (Revista da Semana, 4 de agosto de 1901). Na edição seguinte, de 11 de agosto, foi publicada uma fotografia do Vinela, também de autoria de Ferrez.
+Fotografias de Marc Ferrez foram publicadas para ilustrar uma matéria sobre “A festa na ilha do Vianna – Experiência oficial de máquinas do cruzador República e da caça-torpedeiro Gustavo Sampaio” (Revista da Semana, 10 de novembro de 1901). Na edição seguinte, foi publicada uma fotografia da baía do Rio de Janeiro por ocasião da revista de tropas de 15 de novembro (Revista da Semana, 24 de novembro de 1901).
+1902 – Fotografia de autoria de Marc Ferrez do sr. Armando Darlot (? – 1902), no caixão. Ele havia sido um dos fundadores da empresa de seguros Sul-América (Revista da Semana, 13 de abril de 1902).
+O então capitão Tasso Fragoso (1869 – 1945), realizou sua segunda conferência sobre artilharia de campanha de tiro rápido. Foram apresentadas fotografias de projéteis e canhões, expostas em uma lanterna de projeção manejada por Henrique Morize e Marc Ferrez  (Jornal do Brasil, 26 de abril de 1902, na nona coluna).
+Ferrez registrou a inauguração da estátua do visconde do Rio Branco, na Glória, no dia 13 de maio. A obra, de autoria do escultor Félix Maurice Charpentier (1858 – 1924), fazia parte dos festejos pela comemoração da Abolição da Escravatura (Gazeta de Notícias, 14 de maio de 1902, na quinta coluna, na quarta coluna).
+Na Revista da Semana, publicação de diversas fotografias de autoria de Ferrez: Porto da cidade de Belém, Vista geral de Ouro Preto, Mercado de Porto Alegre e Uma vista de Paranaguá (Revista da Semana, 25 de maio de 1902); imagens dos portos de Recife e do Rio Grande (Revista da Semana, 15 de junho de 1902); e dos navios da esquadra chilena em visita ao Rio de Janeiro (Revista da Semana, 17 de agosto de 1902).
+A irmã de Ferrez, Francisca Poindrelle, a Fanny, faleceu (A Notícia, 25 de novembro de 1902, na última coluna).
+1903 – Fotografias de Ferrez foram publicadas na Revista da Semana: dos navios que haviam partido para o norte do Brasil sob o comando do contra-almirante Alexandrino de Alencar (1848 – 1926) (Revista da Semana, 8 de fevereiro de 1903) e Os Dois irmãos no Sylvestre, Laranjeiras, Entrada da barra do Rio de Janeiro vista por fora e Ilha das Cobras (Revista da Semana, 1º de março de 1903).
+Ao longo desse ano e de 1904, foram publicadas, no Correio da Manhã, diversas propagandas dos serviços prestados por Ferrez e ele era identificado como “Fotógrafo da Marinha Nacional” (Correio da Manhã, 3 de outubro de 1903, na terceira coluna).
+Marc Ferrez fotografou a cerimônia de Primeira Comunhão do Colégio Diocesano de São José (Jornal do Brasil, 3 de outubro de 1903, na segunda coluna).
+Em reunião da Associação Promotora de Instrução, foi autorizada a quantia de 250$ para Marc Ferrez produzir fotografias das escolas da associação, que seriam expostas na Exposição Universal de Saint Louis, em 1904 (Correio da Manhã, 30 de novembro de 1903, na quarta coluna, sob o título “Pelas associações“).
+Em 4 de dezembro, Marc Ferrez assinou o termo de aceitação da proposta de indenização do imóvel que pertencia a ele na rua São José e que seria demolido para a construção da avenida Central. Recebeu 25 contos de réis pela propriedade.
+1904 – No segundo número da revista Kosmos, fundada pelo jornalista e engenheiro agrônomo Mario Bhering (1876-1933) e lançada em janeiro, publicação das fotografias Paineiras, Aqueduto; Copacabana e Passeio Público (Kosmos, fevereiro de 1904).
+Exposição de fotografias da estrada de ferro Central do Brasil de autoria de Ferrez, no Club de Engenharia (O Commentario, março de 1904).
+Marc Ferrez importava cartões-postais de Paris (Jornal do Brasil, 23 de abril de 1904, na terceira coluna).
+Ele e o fotógrafo Joaquim Insley Pacheco receberam a medalha de ouro na Exposição Universal de Saint Louis, nos Estados Unidos, realizada entre de 30 de abril e 1 de dezembro de 1904 (Almanak Laemmert, 1905). O prédio que sediou o Pavilhão Brasileiro da exposição foi, em 1906, remontado no Rio de Janeiro, e foi batizado de Palácio Monroe.
+Anúncio da missa de 7º dia da irmã de Ferrez, Augustine Emile Catinot (Gazeta de Notícias, 30 de dezembro de 1904, na última coluna).
+Foi editada, provavelmente nesse ano, pela Inspeção Geral das Obras Públicas da Capital Federal, a obra Abastecimento d´água do Rio de Janeiro, com o trabalho feito por Ferrez sobre as obras na cidade.
+No final do ano, falecimento da irmã de Ferrez, Augustine Emile Cantinot.
+1905 – O Guia da cidade do Rio de Janeiro, organizado pelo engenheiro civil Vicente Alves de Paula Pessoa (c. 1857 – 19?), por incumbência da comissão diretora do Terceiro Congresso Científico Latino Americano, publicado pela Editora Beviláqua, foi ilustrado por imagens produzidas por Ferrez. A escolha das ilustrações e outros aspectos da publicação foram elogiados (Jornal do Brasil, na primeira coluna e  O Paiz, na quinta coluna, ambos de 18 de agosto de 1905).
+Ferrez iniciou a produção do Álbum da Avenida Central,  importante registro da reforma da principal via da então capital federal, onde ele contrapôs reproduções das plantas às fotografias das fachadas de cada edifício documentado. As pranchas de desenho foram impressas em zincografia e os prédios foram fotografados em colotipia. Esse álbum foi fundamental para a construção e para a difusão de uma nova imagem do Rio de Janeiro, uma imagem associada aos ideais de civilização e progresso.
+Com seu filho Julio obteve a representação da firma francesa Pathé Frères no Brasil. A firma era a maior e melhor fábrica de aparelhos e filmes cinematográficos da Europa.
+No final do ano, a Casa Marc Ferrez & Filhos passou a ser a fornecedora exclusiva do cinematógrafo ao ar livre Passeio Público, que existiu entre em 28 de outubro de 1905 e 2 de novembro de 1906, e pertencia ao português Arnaldo Gomes de Souza e ao italiano Vittorio di Maio (1852 – 1926). Passou também a distribuir filmes para outros cinematógrafos ambulantes do Rio de Janeiro.
+1906 – No periódico O Commentario, março de 1906, foi publicada a fotografia de um edifício, produzida por Marc Ferrez, 8 minutos após seu desabamento. O prédio estava sendo construído, na avenida Central, por ordem do Club de Engenharia.
+Foi publicado um anúncio da Photographia Cinematographica, de Marc Ferrez, anunciando “um imenso sortimento de material para profissionais e amadores a “preços vantajosos”. Também anunciava a “remessa de catálogos” (Jornal do Recife, 29 de março de 1906, na última coluna).
+A Alfândega indeferiu o requerimento de Marc Ferrez que pedia relevação para uma multa que lhe havia sido imposta (Correio da Manhã, 1º de novembro de 1906, na quinta coluna, sob o título “Alfândega”).
+Em dezembro de 1906 e ao longo de 1907, foram publicadas várias vezes propagandas de “Anúncios luminosos”, na avenida Central. “Grande lanterna mágica com várias vistas atraentes. Informações à rua S. José, 88, com Emilio Brondi, casa Marc Ferrez” (Rio Nu, 12 de dezembro de 1906, na última coluna).
+1907 – Em 30 de janeiro, Ferrez assinou um contrato com a  Comissão Construtora da avenida Central para a impressão do Álbum da Avenida Central.
+Seu filho, Julio, casou-se com Claire Poncy Ferrez (1888 – 1980).
+Marc Ferrez e Abílio Fontes representaram o comércio em uma comissão arbitral que julgaria o recurso interposto por Eduardo Trindade contra uma decisão da comissão de tarifas. Pela fazenda nacional, compunham a comissão arbitral Mendonça de Carvalho e Miranda Reis (Correio da Manhã, 7 de maio de 1907, na terceira coluna, sob o título “Alfândega”).
+Arrendou, em sociedade com Arnaldo Gomes de Souza, os prédios de número 145 e 149 da Avenida Central e inaugurou, em 18 de setembro, o Cinema Pathé, o terceiro da cidade (Gazeta de Notícias, 18 de setembro de 1907, nas sexta e sétima colunas) – o primeiro, Chic, foi inaugurado em 1º de agosto de 1907; o segundo, o Grande Cinematographo Pariziense, foi aberto em 9 de agosto do mesmo ano. A firma de Arnaldo e Ferrez chamava-se Arnaldo & Cia, omitindo a participação de Ferrez,  porque Charles Pathé (1863 – 1957), um dos proprietários da Pathé Frères, proibia que seus distribuidores e representantes possuíssem cinematógrafos.
+Em primeiro de outubro, foi criada a firma Marc Ferrez & Filhos. Ferrez era dono de 60% das ações, cabendo a Luciano e a Julio 20% do negócio. A empresa Marc Ferrez & C não deixou de existir. Em seu nome eram feitas as importações de material fotográfico enquanto a nova empresa era responsável pelas importações de material para cinema.
+A empresa de fotografia de Ferrez passa a ser administrada por Emilio Brondi.
+Publicação de uma propaganda de cinematógrafos de Marc Ferrez, identificado como representante da Casa Pathé Frères (Jornal do Commercio, 25 de outubro de 1907).
+1908 - Ferrez embarcou para a Europa no navio Chili. Estavam também a bordo os artistas premiados da Academia de Belas Artes Timotheo da Costa (1882 – 1922) e Carlos Chambelland (1884 – 1950) (Jornal do Brasil, 9 de janeiro de 1908, segunda coluna). Retornou em 30 de março a bordo do paquete francês Cordillere (Jornal do Brasil, 31 de março de 1908, na sexta coluna).
+ 
+Carlos Chambelland (1884 – 1950)
+ 
+J. Timotheo, pint., 1912. Rio de Janeiro, RJ / Acervo FBN
+ 
+A sociedade de Ferrez com Arnaldo Gomes de Souza foi denunciada pelo concorrente de Ferrez, Jácomo Rosário Staffa (c. 1867 – 1927), proprietário do Grande Cinematographo Pariziense.
+A família Ferrez morava na rua Pedro Américo, 121.
+Ferrez e Arnaldo Gomes de Souza produziram o filme, Nhô Anastácio chegou de viagem, dirigido por Julio Ferrez. É considerada a primeira comédia cinematográfica brasileira e foi estrelada por Antônio Cataldi, José Gonçalves Leonardo e Ismênia Matteo. Ferrez produziu o curta-metragem A mala sinistra, também dirigido por seu filho Julio. Além disso, a Casa Marc Ferrez produziu filmes sobre obras em estradas de ferro do Brasil.
+Fotografias de Ferrez e também de outros fotógrafos, dentre eles Augusto Malta (1864 – 1957), foram publicadas na obra organizada pelo engenheiro Luiz Raphael Vieira Souto (1849 – 1922), Notícia sobre o desenvolvimento da indústria fabril no Distrito Federal e sua situação atual.
+Fotografias de Ferrez integravam a segunda edição do The new Brazil; its resources and attractions: historical, descriptive and industrial, de Marie Robinson Wright (1866 – 1914), publicada pela editora George Barrie & Son, da Filadélfia.
+Ao longo de 1908, foi publicado várias vezes um anúncio da venda de cinematógrafos na sucursal da firma Marc Ferrez & Filhos em São Paulo, o Bijou-Theatre, do empresário espanhol Francisco Serrador (1872-1941) (O Commercio de São Paulo, 15 de fevereiro de 1908, na primeira coluna).
+Em um anúncio veiculado pela Associação Geral de Auxílios Mútuos da Estrada de Ferro Central do Brasil, era noticiado um espetáculo de “Música com a expressão das fitas”. Informava também que as “fitas da Estrada são de exclusiva propriedade da Associação, conforme contrato assinado com a Casa Marc Ferrez (Correio da Manhã, 3 de abril de 1908, na quinta coluna).
+Fotografou a Exposição Nacional, realizada na Praia Vermelha no Rio de Janeiro, entre 11 de agosto e 15 de novembro, para celebrar o centenário da Abertura dos Portos ao Livre Comércio e, posteriormente, lançou uma série de postais sobre o evento.
+Em 5 de maio, nasceu Gilberto Ferrez (1908 – 2000), filho de Julio e neto de Marc. Ele foi pioneiro no estudo da fotografia no Brasil com a publicação, em 1946, do ensaio “A Fotografia no Brasil e um de Seus Mais Dedicados Servidores: Marc Ferrez (1843-1923)“, na Revista do Patrimônio Histórico e Artístico Nacional. 
+A Flávio Luz & Comp era a sucursal da Casa Marc Ferrez no Paraná para a venda de aparelhos e acessórios cinematográficos (A República, 1º de junho de 1908, na penúltima coluna).
+Marc Ferrez enviou telegrama de pêsames ao empresário e um dos pioneiros do cinema no Brasil, Paschoal Segreto (1868 – 1920), pelo falecimento de seu irmão, o jornalista Gaetano Segreto (A Imprensa, 29 de junho de 1908, na terceira coluna).
+O primeiro aniversário do Cinema Pathé foi comemorado com uma reforma, uma programação “divertida” e uma ceia (Fon-Fon, 26 de setembro de 1908).
+Ferrez fez uma doação de 10$000 para ajudar os sobreviventes de um terremoto ocorrido na Itália, nas regiões da Calábria e da Sicília, em 28 de dezembro de 1908. A iniciativa foi de David Romagnoli e as doações seriam entregues a uma comissão organizada pela Associação de Imprensa (A Imprensa, 13 de janeiro de 1909 na sexta coluna e 15 de janeiro na penúltima coluna).
+1909 - Foi anunciada a exibição do filme “Festival Hermes da Fonseca, fita nova para esta capital, mais completa e perfeita que se apresentou no Rio e foi tirada pela importante Casa Marc Ferrez” (A República, 27 de janeiro de 1909, sob o título “Diversões”).
+Um aprendiz de fotografia que trabalhava na Casa Marc Ferrez, o italiano Roviso Pietro, de 19 anos, após ter sido repreendido por seu patrão, tentou se suicidar (O Paiz, 12 de fevereiro de 1909, na quarta coluna).
+Foi anunciada pela Casa Marc Ferrez & Filhos a venda de “conjuntos electrogenios para produzir luz elétrica a domicílio por meio do querosene: pequeno consumo e grande força”(Revista da Semana, 11 de abril de 1909).
+Marc Ferrez e sua mulher, Marie, compareceram à missa pela morte do dr. João Vieira da Cunha (A Imprensa, 15 de agosto de 1909, na última coluna).
+Ferrez e sua esposa estiveram presentes na missa de 7º dia da viscondessa de Geslin, realizada na igreja de São Francisco de Paula (O Século, 2 de outubro de 1909, na quarta coluna).
+Na Exposição Nacional de 1908, em comemoração ao centenário do Decreto de Abertura dos Portos às Nações Amigas, realizada entre 11 de agosto e 15 de novembro de 1908 , no Rio de Janeiro (Gazeta de Notícias, 12 de agosto de 1908), Marc Ferrez participou no grupo de Fotografia e ganhou uma medalha de ouro (Almanak Laemmert, 1909).
+1910 – Marc Ferrez estava na lista de “Capitalistas, banqueiros, proprietários e pessoas ricas” do Almanak Laemmert de 1910, com o endereço Christóvão Colombo, 23 (futura rua Dois de Dezembro).
+O Cinema Royal, em Recife, anunciou um “Majestoso programa remetido do Rio de Janeiro no paquete Alagoas pelo srs. Marc Ferrez & Filhos, agentes em todo o Brasil da Casa Pathé Frères (Jornal do Recife, 14 de janeiro de 1910, na sexta coluna).
+A fábrica Pathé Frères de Paris por intermédio de seus representantes exclusivos no Brasil, a Casa Marc Ferrez , negou a autoria  da fita cinematográfica “O Guarany”, conforme havia sido noticiado por “má fé” por um cinema de São Paulo (Correio Paulistano, 16 de janeiro de 1910, na quarta coluna).
+Marc Ferrez foi um dos subscritores da lista organizada pelos presidentes das sociedades francesas sob os auspícios do cônsul da França para ajudar as vítimas de inundações ocorridas em Paris no mês de janeiro (O Paiz, 11 de fevereiro de 1910, na penúltima coluna).
+Às terças-feiras, “dia da moda” nos cinematógrafos, o Cinema Pathé era frequentado pelas senhoras da sociedade carioca (Gazeta de Notícias, 19 de fevereiro de 1910).
+Foi publicada a lista dos estabelecimentos comerciais com os quais a Empresa Paschoal Segreto havia feito negócios em 1909 e a Casa Marc Ferrez havia sido uma delas (O Paiz, 17 de março de 1910).
+José Ignácio Guedes Pereira Filho comunicou que havia firmado um contrato com a firma Marc Ferrez & Filhos para fornecer a ele durante um ano fitas cinematográficas da Pathé Frères (A Província, 27 de março de 1910, na primeira coluna).
+O ministro da Fazenda, José Leopoldo de Bulhões Jardim (1856 – 1928), negou “provimento ao recurso de Marc Ferrez e filhos interposto contra a decisão da Alfândega dessa capital, que lhes impôs a multa de 3:756$, tripulo do valor arbitrado para mercadoria submetida a despacho” (A Imprensa, 30 de abril de 1910, na terceira coluna).
+A firma Marc Ferrez & Filhos negou que a empresa do Iris Cinema recebia diretamente da Pathé Frères de Paris material cinematográfico para venda, já que os Ferrez eram seus representantes exclusivos e que em São Paulo sua sucursal era o Bijou-Theatre, do empresário Francisco Serrador (Correio Paulistano, 2 de maio de 1910, na segunda coluna, sob o título “Secção Livre”).
+Marc Ferrez embarcou no paquete francês Atlantique rumo a Bordeaux e escalas (Gazeta de Notícias, 12 de maio de 1910).
+Marc Ferrez enviou ao escultor e diretor da Escola Nacional de Belas Artes, Rodolfo Bernardelli (1852 – 1931), um telegrama felicitando-o por seu aniversário (Gazeta de Notícias, 20 de dezembro de 1910, na quinta coluna).
+No Anuário do Jornal do Brasil, foi veiculada uma propaganda dos Cinematógrafos Pathé Frères cujo representante para todo o Brasil era a firma Marc Ferrez & Filhos.
+1911 – Anúncio da missa de 7º dia da sogra de Ferrez, Pauline Caroline Lefebvre (Gazeta de Notícias, 26 de abril de 1911, na última coluna).
+A firma Marc Ferrez & Filhos iria filmar, na Enseada de Botafogo, a flotilha de embarcações do Club de Regatas do Boqueirão do Passeio, formada por 36 unidades (Gazeta de Notícias, 3 de junho de 1911, na segunda coluna).
+Marc e Marie Ferrez embarcaram para a Europa no navio Chili (O Paiz, 8 de junho de 1911, na última coluna).
+Foi grande o sucesso do filme “Notre-Dame de Paris”, exibido no Cinema Pathé (Fon-Fon, 4 de novembro de 1911). Ao longo de todo o ano de 1911, vários filmes exibidos pela Casa Marc Ferrez & Filhos foram anunciados na revista.
+No Cinema Pathé, reunião dos proprietários de cinematógrafos para discutir os impostos para o setor (O Século,  na primeira coluna e Correio da Manhã, na sexta coluna, 15 de novembro de 1911).
+Fim da sociedade de Marc Ferrez com Arnaldo Gomes de Souza.
+1912 – Ferrez introduziu no Brasil os autocromos, processo fotográfico colorido desenvolvido pelos irmãos Lumière.
+A Casa Marc Ferrez & Filhos passou a funcionar na rua São José 112 e o Cinema Pathé transferiu-se para o número 116 da avenida Central.
+ 
+Marc Ferrez. Cinema Pathé, c. 1919. Rio de Janeiro, RJ / Acervo IMS
+ 
+Marc e Marie Ferrez viajaram para a Europa. Na notícia, ele foi identificado como um “conhecido comerciante desta praça” (O Paiz, 18 de janeiro de 1912, na segunda coluna sob o título “Viajantes”).
+No Parque Fluminense, foi fundado um clube de futebol em patins cujo presidente era Julio Marc Ferrez (Diário de Notícias, 8 de agosto de 1912, na quinta coluna).
+O ministro da Fazenda, Francisco Antônio de Salles (1863 – 1933), negou provimento ao recurso interposto por Marc Ferrez “do ato da Inspetoria da Alfândega do Rio de Janeiro, mandando classificar como cinematógrafo, para pagamento de 60$ cada um, a mercadoria para a qual os recorrentes pediram classificação prévia” (A Imprensa, 13 de agosto de 1912, na terceira coluna).
+Marc Ferrez e sua mulher chegaram da Europa a bordo do paquete francês Amazone (A Imprensa, 11 de setembro de 1912, na quarta coluna).
+Marc Ferrez era um dos integrantes da comitiva do presidente do Brasil, Marechal Hermes da Fonseca (1855 – 1923), que havia ido para Passa Quatro observar o eclipse. Também participaram do evento o então diretor do Observatório Nacional, Henrique Morize (1860 – 1930), o diretor do Jardim Botânico, Graciano dos Santos Neves (1868 – 1922), e astrônomos ingleses, dentre outros (Gazeta de Notícias, 11 de outubro de 1912, na quinta coluna sob o título “Marechal Hermes e o eclipse“).
+O sr. Emilio Brondi, sócio da firma Marc Ferrez, ofereceu ao Arquivo Municipal do Rio de Janeiro 28 fotografias de aspectos da cidade (A Noite, 14 de outubro de 1912, na quarta coluna). No ano seguinte, ele fez uma segunda doação, desta vez de 176 fotografias, ao Arquivo Municipal do Rio de Janeiro. Em homenagem ao doador, o Arquivo iria organizar as fotografias em álbuns denominados Coleção Emilio Brondi (O Paiz, 30 de março de 1913, na terceira coluna).
+1913 – Em março, uma grande ressaca ocorrida no Rio de Janeiro inundou o porão da casa da família Ferrez, na Dois de Dezembro – antiga rua Christóvão Colombo, 23 – destruindo os exemplares do Álbum da Avenida Central ali guardados (O Paiz, 9 de março de 1913).
+Na seção “Crônica Social”, foi anunciado que Marc Ferrez estava em São Paulo, hospedado na Rotisserie Sportsman (Correio Paulistano, 10 de abril de 1913, na sexta coluna).
+Marc e Marie Ferrez embarcaram no paquete holandês Zeelandia rumo a Amsterdam e escalas (O Paiz, 17 de abril de 1913, na quarta coluna).
+Foi publicado Twentieth century impressions of Brazil: its history, people, commerce, industries and resources, uma obra de divulgação do Brasil, com fotografias de Marc Ferrez (Anais da Biblioteca Nacional de 1914).
+1914 – O casal Ferrez retornou ao Rio de Janeiro e alugou uma casa na Rua Voluntários da Pátria 50, em Botafogo.
+Falecimento “súbito da idolatrada” esposa de Marc, Marie Lefebvre Ferrez, em 27 de junho (O Paiz, 28 de junho de 1914, na quarta coluna e Diário de Notícias, 28 de junho de 1914, na última coluna). A missa de 30º dia foi realizada na igreja de São Francisco de Paula (O Imparcial, 29 de julho de 1914, na terceira coluna). Ferrez ficou muito abatido.
+1915 – No Almanak Laemmert, o estabelecimento Emilio Brondi & C.. Casa Marc Ferrez localizava-se na rua Rodrigo Silva, 28.
+Em abril, Ferrez viajou para França no navio Frizia em companhia de seu filho Julio – que retornou ao Brasil em agosto. Em junho, Marc foi para Vichy para tratar de dores nas pernas. Ficou hospedado no Hotel Europe. Nos cinco anos que ficou na Europa, Ferrez passou temporadas em Paris e na Suíça. Aderiu às fotografias coloridas.
+Para a comemoração do tricentenário de Cabo Frio, promovido pelo Instituto Histórico e Geográfico Fluminense, a Casa Marc Ferrez forneceria o operador e a máquina para a exibição de filmes ao ar livre (Jornal do Brasil, 9 de novembro de 1915, na terceira coluna e O Paiz, 11 de novembro de 1915, na última coluna).
+Em um dos diálogos de “Photo-Mania”, um sainete (peça alegre do teatro espanhol) de autoria de Eustorgio Wanderley (1882 – 1962), a loja de Marc Ferrez foi citada (Revista O Tico-Tico, 1º de dezembro de 1915).
+Foi publicado um anúncio informando que a agência geral para os estados do norte da Agência Cinematográfica Marc Ferrez & Filhos situava-se, provisoriamente, na rua Duque de Caxias, 39, em Recife. Eles continuavam como representantes da Casa Pathé Frères (Jornal do Recife, 18 de dezembro de 1915).
+1916 – Anúncio da “Casa Marc Ferrez & Filhos – Emilio Brondi & C., importadores de máquinas cinematográficas”, além de outros produtos (A Noite, 13 de janeiro de 1916, na penúltima coluna). O estabelecimento localizava-se na rua da Quitanda, 67 (Almanak Laemmert , 1916).
+Em uma reportagem sobre a falência dos cinemas no Rio de Janeiro, o Cinema Pathé, de Marc Ferrez, foi mencionado como deficitário “(A Notícia, 29 de fevereiro de 1916, sob o título “A falência dos cinemas”). A Casa Marc Ferrez & Filhos negou a crise dos cinemas (A Província, 27 de março de 1916).
+Anúncio da venda de um lote de 300 poltronas estrangeiras e quase novas pela Casa Marc Ferrez (Correio da Manhã, 21 de março de 1916, na sexta coluna).
+A Casa Marc Ferrez & Filhos anunciou “estar aparelhada para atender aos mais exigentes pedidos em toda a América Latina”. O endereço da agência Pathé em Recife era Duque de Caxias, 51 (A Província, 30 de abril de 1916).
+Os filhos de Marc Ferrez obtiveram terrenos em Guaratiba (Gazeta de Notícias, 6 de agosto de 1916, na última coluna).
+1917 - Seus filhos, Julio e Luciano, fundaram a Companhia Cinematográfica Brasileira, mais tarde denominada Casa Marc Ferrez Cinemas e Eletricidade Ltda.
+1919 - Diversos representantes e importadores de filmes, dentre eles Marc Ferrez & Filhos, publicaram um anúncio aos exibidores, comprometendo-se a não recusarem a nenhum deles o fornecimento de filmes nos moldes em que explicitaram na mensagem (Correio da Manhã, 18 de junho de 1919). Dois dias depois, a Fox Film Corporation e a Marc Ferrez & Filhos afirmaram, em outro anúncio, que nunca tiveram prevenção contra a Aliança dos Cinematografistas do Brasil (Correio da Manhã, 20 de junho de 1919).
+A polícia proibiu a exibição do filme O Caso Caillaux e Bolo Pachá, no Cinema Pathé. Tratava de um crime de alta traição julgado no Conselho de Guerra de Paris (Correio da Manhã, 31 de julho de 1919).
+Julio Ferrez foi um dos fundadores da União dos Importadores Cinematográficos no Brasil (O Imparcial, 8 de dezembro de 1919, na segunda coluna). Foi o primeiro tesoureiro da associação, cujo primeiro presidente foi o empresário Francisco Serrador.
+Em 15 de dezembro, Marc Ferrez participou da cerimônia de recepção na recém criada categoria Aplicação das ciências à indústria da Academia Francesa de Ciências a seu amigo Louis Lumière (1864 – 1948) que, com o irmão Auguste Lumière (1862 – 1954), havia inventado o cinematógrafo (Academia Francesa de Ciências e Palcos e Telas, 8 de abril de 1920).
+Os escritórios da empresa Marc Ferrez & Filhos, mudaram-se para a Rua São José 64.
+1920 - Marc Ferrez & Filhos localizava-se na rua São José, 64 (Correio da Manhã, 24 de março de 1920).
+Em 10 de fevereiro, no Palais d´Orsay, Ferrez foi um dos cerca de 500 convidados de um banquete em homenagem aos 25 anos da invenção do cinema e também a seu criador, Louis Lumière, que ingressou na Academia Francesa de Ciências. O evento foi organizado por associações e câmaras sindicais de fotógrafos e cinematografistas franceses.
+Foi noticiada a volta de Marc e Luciano Ferrez ao Brasil, a bordo do paquete inglês Orcona (Vida doméstica, abril de 1920). No  O Paiz de 22 de março de 1920, foi noticiada a chegada do Orcona ao Rio de Janeiro, mas na lista de passageiros publicada pelo jornal não constavam os nomes de Marc e Luciano Ferrez.
+Na edição de 8 de abril de 1920 da revista Palcos e Telas Marc, Julio e Luciano Ferrez foram biografados na seção “Grandes figuras da cinematografia”.  Nessa matéria, o envenenamento por um escravo foi apontado como a causa de morte dos pais de Marc Ferrez.
+A Casa Marc Ferrez Söndahl Comp. Limited localizava-se na Rua Sachet, 8 – antiga Travessa do Ouvidor – e anunciava-se como a única que dispunha de um técnico para instruir os amadores (Vida doméstica, junho de 1920).
+1921 – João Antônio Bruno, diretor das Empresas Cinematográficas Reunidas, defendeu-se da acusação de haver um “trust paulista”. Segundo ele, havia sim uma combinação da Companhia Cinematográfica Brasileira com as firmas Derrico & Bruno e Lopes & Figueiredo”. Afirmou que Marc Ferrez o apoiava (Palcos e Telas, 10 de março de 1921).
+Marc Ferrez & Filhos compraram terrenos onde anteriormente localizava-se o Convento d´Ajuda (Revista da Semana, 26 de março de 1921).
+Em maio, Ferrez voltou à França e chegou em Bordeaux, em 5 de junho. Em Paris, instalou-se no Hotel Brebant.
+Em correspondência a Malia Frucht Ferrez (1890 – 1953), sua nora, Ferrez contou que fez belas fotografias de rosas, em sua visita ao roseiral do Parque de La Bagatelle, no Bois de Boulogne, local que freqüentava enquanto Luciano e Malia estavam com ele em Paris.
+Foram publicados dados estatísticos da indústria cinematográfica no Brasil no primeiro semestre de 1921. Em número de filmes, a firma Marc Ferrez  & Filhos representava 3,9% (Para Todos, 13 de agosto de 1921). Na mesma revista, em 8 de julho de 1922, foram publicados os dados estatísticos do primeiro semestre de 1922.
+Devido ao inverno rigoroso de Paris, em dezembro, Marc viajou para Hyères, na Cote d´Azur.
+1922 – Em março, de volta à capital francesa, Marc recebeu a visita de seu amigo, o cientista Henrique Morize, em viagem para Europa em missão oficial do Observatório Nacional.
+Em matéria publicada em O Malho, 27 de maio de 1922 sobre a indústria cinematográfica, Marc Ferrez & Filhos foram citados como uma firma que fez fortuna atuando no setor.
+A Casa Marc Ferrez firmou contratos com importantes empresas cinematográficas dos Estados Unidos (O Jornal, 17 de junho de 1922, na quarta coluna).
+Marc Ferrez embarcou no navio Lutetia, em Bordeaux, de volta ao Brasil, em 31 de julho, e chegou ao Rio de Janeiro, em 14 de agosto. O navio fez escala em Boulogne-sur-mer, Vigo e Lisboa. Também viajaram no Lutecia o inventor Alberto Santos Dumont (1873 – 1932), o presidente do Jockey Clube, Linneu de Paula Machado (1880 – 1942); Arnaldo Guinle (1884 – 1963), presidente do Fluminense S.C.; o médico Paulo de Figueiredo Parreiras Horta (1884 – 1961) e os Oito Batutas, grupo musical formado, entre outros, por Pixinguinha (1897 – 1973) e Donga (1890 – 1974) (O Paiz, 15 de agosto de 1922, página 3 e página 4).
+Marc realizou fotografias estereoscópicas e autocromos dos diversos pavilhões nacionais e internacionais da Exposição do Centenário da Independência, inaugurado em 7 de setembro, no Rio de Janeiro (O Paiz, 8 e 9 de setembro de 1922).
+No Almanak Laemmert, anúncio de Marc Ferrez & Filhos, na rua da Quitanda, 67.
+1923 – Marc Ferrez faleceu em 12 de janeiro de 1923, na casa de seu filho Luciano e sua nora Malia Frucht Ferrez (1890 – 1953), no Rio de Janeiro, cidade que ele eternizou com sua arte. Residia na rua Joaquim Murtinho, 177, e foi enterrado no cemitério São João Batista (A Rua, 13 de janeiro de 1923, O Paiz, 14 de janeiro de 1923, última notícia da sexta coluna, Gazeta de Notícias, 16 de janeiro de 1923, na última coluna e Fon-Fon, 20 de janeiro de 1923).
+Sua missa de sétimo dia foi celebrada na Igreja São Francisco de Paula, em 19 de janeiro, foi muito concorrida e contou com a presença dos engenheiros André Gustavo Paulo de Frontin (1860 – 1933) e Alfredo de Paula Freitas (1855 – 1931); dos cientistas Henrique Morize (1860 – 1930), dos médicos Camillo Fonseca e Rodolpho e José Chapot-Prevost; artistas, como o escultores Benevenuto Berna (1865 – 1940) e Rodolpho Bernardelli (1852 – 1931), além de jornalistas, exibidores e donos das empresas cinematográficas (O Paiz, 20 de janeiro de 1923, na última coluna).
+ 
+Anúncio da missa de sétimo dia de Marc Ferrez no O Paiz, 18 de janeiro de 1923.
+ 
+No periódico A Scena Muda, 25 de janeiro de 1923, foi publicado um perfil de Ferrez, no qual sua morte foi atribuída a uma enfermidade que ele havia contraído devido ao uso do colódio. Na mesma matéria, foram mencionadas as experiências que fazia com seu amigo, o engenheiro e astrônomo Dr. Henrique Morize, em sua casa na rua São José, 88, com “luz oxi-etherica, luz oxydrica, de gás incandescente de petróleo com mechas concentradas fazendo também na ocasião as primeiras experiências com cinematógrafo com um aparelho Lumière e fitas de 10 e 20 metros…”. Na matéria da Para Todos de janeiro de 1923, o caráter de Ferrez foi exaltado: “A perfeita correção do velho comerciante, sua intransigente  honradez, a lisura dos seus processos o tornaram sempre uma figura de destaque nos meios cinematográficos”.
+1946 – Falecimento de Julio Marc Ferrez, em 11 de janeiro (O Jornal, 12 de janeiro de 1946, sexta coluna).
+1951 – Na edição de O Cruzeiro, de 25 de agosto de 1951, foi publicada a reportagem Fotografias do Rio Antigo, com texto de Gilberto Ferrez e fotografias produzidas por Marc Ferrez.
+ 
+O Cruzeiro, 25 de agosto de 1951
+ 
+1953 - Em 1º de junho, falecimento de Malia Frucht Ferrez (1890 – 1953), esposa de Luciano Ferrez (1884 – 1955), segundo filho de Marc Ferrez. Ele e José Fruscht, filho de criação do casal, agradeciam às manifestações de pesar (Correio da Manhã, 7 de junho de 1953).
+1955 – Falecimento de Luciano Ferrez (1884 – 1955), em 8 de agosto (Correio da Manhã, 14 de agosto de 1955).
+1980 - Falecimento de Claire Poncy Ferrez  (1888 – 1980), viúva de Julio Marc (1881 – 1946), primogênito de Marc Ferrez, e mãe de Gilberto, Eduardo e João Luciano Ferrez (O Globo, 15 de novembro de 1980).
+2000 – Em maio, falecimento de Gilberto Ferrez (1908 – 2000) (O Globo, 25 de maio de 2000).
+ 
+O Globo, 25 de maio de 2000
+ 
+2007 – Na edição de novembro de 2007 do Boletim Informativo da ABI, cujo tema foi o trabalho dos repórteres fotográficos, Marc Ferrez foi homenageado como o precursor do fotojornalismo no Brasil (ABI Boletim Informativo, novembro de 2007).
+ 
+Para a elaboração dessa cronologia, a Brasiliana Fotográfica pesquisou principalmente em diversos periódicos da Hemeroteca Digital da Biblioteca Nacional e valeu-se da cronologia de autoria de Maria Inez Turazzi publicada no livro O Brasil de Marc Ferrez, lançado pelo Instituto Moreira Salles em 2005.
+ 
+
+Andrea C.T. Wanderley
+
+Editora e pesquisadora da Brasiliana Fotográfica
+ 
+Para a elaboração dessa cronologia, a Brasiliana Fotográfica pesquisou principalmente em diversos periódicos da Hemeroteca Digital da Biblioteca Nacional e valeu-se da cronologia de autoria de Maria Inez Turazzi publicada no livro O Brasil de Marc Ferrez, lançado pelo Instituto Moreira Salles em 2005.
+ 
+* O artigo foi atualizado em 6 de fevereiro de 2019.
+ ** Este link foi colocado em 9 de setembro de 2020.
+*** A data e a ocasião desta fotografia foram alteradas em 3 de junho de 2026. Anteriormente, foi identificada como o registro da cerimônia de Te Deum pela aclamação da Princesa Isabel como regente, realizada em 1887.
+Andrea C. T. Wanderley
+Editora-assistente e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+AZEVEDO, Jussara França de. A proposta política da Associação Industria RJ – O estatuto. Artigo apresentado no VII Encontro de Pós-Graduação em História Econômica e V Conferência Internacional de História Econômica. Universidade Federal Fluminense, Niterói, setembro de 2014.
+BARROS, Mariana Gonçalves Monteiro de. Marc Ferrez e o Rio de Janeiro do seu tempo. Tese de doutorado apresentada ao Programa de Pós-graduação em História Social da Cultura do Departamento de História da PUC-Rio, Rio de Janeiro, setembro de 2006.
+BARTOLOMEU, Anna Karina Castanheira. Da Fotografia em Belo Horizonte. O Gabinete Fotográfico da Comissão Construtora da Nova Capital (1894-1897). In Revista Varia História. Belo Horizonte: UFMG, 2003
+BRUAND, Yves. Fondation de l’enseignement académique et néo-classicisme au Brésil : Marc et Zéphirin Ferrez, sculpteurs français fixés à Rio de Janeiro. Cahier du monde hispanique et luso-brésilien. Ano 1974  Volume 23 Número 1 pp. 101-120
+BERGER, Paulo. O Rio de ontem no cartão-postal: 1900 – 1930. Rio de Janeiro: Rio Arte, 1983.
+BRAGA, Felipe Fernandes. O tempo dos pioneiros: Cinematografia no século XIX . Tese de doutorado: PUC-RJ. Rio de Janeiro, maio de 2008 .
+O Brasil de Marc Ferrez – São Paulo : Instituto Moreira Salles, 2005.
+Cadernos de Marc Ferrez [Procedimentos e fórmulas] Fundo Família Ferrez / Acervo do Arquivo Nacional
+Cadernos do Centro de História e Documentação Diplomática da Fundação Alexandre de Gusmão
+CORNELI, René; MUSSELY, Pierre. Anvers à l´Exposition Universelle. Bruxelles: Typographie et Lithographie Ad Mertens, 1886, pág. 346.
+DEBRET, Jean-Baptiste. Viagem pitoresca e histórica ao Brasil. São Paulo: Imesp – Imprensa Oficial, 2016.
+FREITAS, Marcus Vinicius. Hartt: Expedições pelo Brasil Imperial. Rio de Janeiro: Metalivros, 2001.
+Hemeroteca Digital da Biblioteca Nacional
+LAGO, Bia Corrêa do;LAGO, Pedro Corrêa do. Coleção Princesa Isabel: fotografia do século XIX. Rio de Janeiro: Capivara, 2008.432p.:il., retrs.
+ELIAS, Rodrigo; SCARRONE, Marcello. “Quando o Império morreu de sede”. Revista de História. Rio de Janeiro, 3 de fevereiro de 2015.
+ERMAKOFF, George. Rio de Janeiro 1840 – 1900 Uma crônica fotográfica. Rio de Janeiro: G. Ermakoff Casa Editorial, 2006.
+FÁBIO, Flávia de Almeida. Insley Pacheco – propagador das artes. Texto integrante dos Anais do XVIII Encontro Regional de História – O historiador e seu tempo. ANPUH/SP – UNESP/Assis, 24 a 28 de julho de 2006. Cd-rom.
+FERREZ, Gilberto. A fotografia no Brasil: 1840 – 1900. Rio de Janeiro: Fundação Nacional Pró-Memória/Funarte, 1975.
+FERREZ, Gilberto. O Rio Antigo do fotógrafo Marc Ferrez: paisagens e tipos humanos do Rio de Janeiro, 1865-1918. Rio de Janeiro: João Fortes Engenharia/Editora Ex-Libris, 1984.
+FERREZ, Gilberto. Os irmãos Ferrez da Missão Artística Francesa. Rio de Janeiro: Instituto Histórico e Geográfico Brasileiro, 1968.
+KOSSOY, Boris. Dicionário histórico-fotográfico brasileiro: fotógrafos e ofício da fotografia no Brasil (1833-1910). São Paulo: Instituto Moreira Salles, 2002. 408 p., il. p&b.
+A Marinha por Marc Ferrez – Coordenação e edição iconográfica de Ronaldo Graça Couto. Rio de Janeiro: Editora Index, 1986
+Revista Veja, edição especial de setembro de 1989
+Rio / Marc Ferrez – São Paulo : IMS; Göttingen: Steidl, 2015
+SILVA, Maria Antonia do Couto da. A Repercussão das Exposições Individuais de Pintura no Brasil da Década de 1880. 
+SILVA, R. J. A crítica de arte de Ângelo Agostini e a cultura figurativa do final do Segundo Reinado. Campinas: Dissertação de Mestrado, IFCH/Unicamp, 2005.
+SCHWARCZ, Lilia Moritz. O Sol do Brasil. São Paulo: Companhia das Letras, 2008.
+SILVA, George Batista da. Telas que se foram. Os antigos cinemas do Rio de Janeiro. Rio de Janeiro, 2007.
+Site da Academia Francesa de Ciências
+Site da Enciclopédia Itaú Cultural
+Site do Arquivo Geral da Cidade do Rio de Janeiro
+Site do Instituto Martius-Staden
+Site do Instituto Moreira Salles
+Site do Ministério da Cultura
+Site do Observatório Nacional
+TURAZZI, Maria Inez. A “Criatura” e o “Espelho”: o retrato de Machado de Assis por Marc Ferrez. Aletria: Revista de Estudos de Literatura, 26 de dezembro de 2014.
+TURAZZI, Maria Inez. Cronologia. In O Brasil de Marc Ferrez – São Paulo : Instituto Moreira Salles, 2005.
+TURAZZI, Maria Inez. Literatura fotográfica e estudos biográficos: algumas reflexões em torno da obra do fotógrafo Marc Ferrez. In: Boletim do Centro de Pesquisa de Arte e Fotografia da Escola de Comunicação e Artes da USP. São Paulo, n°2, 2007.
+
+Publicações da Brasiliana Fotográfica em torno da obra do fotógrafo Marc Ferrez 
+ 
+Marc Ferrez aos 33 anos, c. 1876. Rio de Janeiro, RJ / Acervo IMS
+O Rio de Janeiro de Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 30 de junho de 2015
+Obras para o abastecimento no Rio de Janeiro por Marc Ferrez , de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 25 de janeiro de 2016
+Do natural ao construído: O Rio de Janeiro na fotografia de Marc Ferrez, de autoria de Sérgio Burgi, um dos curadores da Brasiliana Fotográfica, publicada em 19 de dezembro de 2016
+No primeiro dia da primavera, as cores de Marc Ferrez (1843 – 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 22 de setembro de 2017
+Marc Ferrez , a Comissão Geológica do Império (1875 – 1878) e a Exposição Antropológica Brasileira no Museu Nacional (1882), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica,  publicada em 29 de junho de 2018
+Série “O Rio de Janeiro desaparecido” V – O quiosque Chopp Berrante no Passeio Público, Ferrez, Malta e Charles Dunlop, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 20 de julho de 2018
+Uma homenagem aos 175 anos de Marc Ferrez (7 de dezembro de 1843 – 12 de janeiro de 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 7 de dezembro de 2018 
+Pereira Passos e Marc Ferrez: engenharia e fotografia para o desenvolvimento das ferrovias, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 5 de abril de 2019
+Fotografia e ciência: eclipse solar, Marc Ferrez e Albert Einstein, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 24 de junho de 2019
+Os 180 anos da invenção do daguerreótipo – Os álbuns da Comissão Geológica do Império com fotografias de Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 19 de agosto de 2019
+Celebrando o fotógrafo Marc Ferrez (1843 – 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 4 de dezembro de 2019
+Uma homenagem da Casa Granado ao imperial sob as lentes de Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 7 de fevereiro de 2020
+Ressaca no Rio de Janeiro invade o porão da casa do fotógrafo Marc Ferrez, em 1913, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado 6 de março de 2020
+Petrópolis, a Cidade Imperial, pelos fotógrafos Marc Ferrez e Revert Henrique Klumb, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 16 de março de 2020
+Bambus, por Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 5 de junho de 2020
+O Baile da Ilha Fiscal: registro raro realizado por Marc Ferrez e retrato de Aurélio de Figueiredo diante de sua obra, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 9 de novembro de 2020
+O Palácio de Cristal fotografado por Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 2 de fevereiro de 2021
+A Estrada de Ferro do Paraná, de Paranaguá a Curitiba, pelos fotógrafos Arthur Wischral (1894 – 1982) e Marc Ferrez (1843 – 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 22 de março de 2021
+Dia dos Pais – Julio e Luciano, os filhos do fotógrafo Marc Ferrez, e outras famílias, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 6 de agosto de 2021
+No Dia da Árvore, mangueiras fotografadas por Ferrez e Leuzinger, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 21 de setembro de 2021
+Retratos de Pauline Caroline Lefebvre, sogra do fotógrafo Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 28 de abril de 2022
+A Serra dos Órgãos: uma foto aérea e imagens realizadas pelos mestres Ferrez, Leuzinger e Klumb, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 30 de junho de 2022
+O centenário da morte do fotógrafo Marc Ferrez (1843 – 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 12 de janeiro de 2023
+O Observatório Nacional pelas lentes de Marc Ferrez, amigo de vários cientistas, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 29 de maio de 2023
+No Dia Mundial do Meio Ambiente, a potente imagem da Cachoeira de Paulo Afonso, por Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 5 de junho de 2023
+A Fonte Adriano Ramos Pinto por Guilherme Santos e Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 18 de julho de 2023
+Os 180 anos de nascimento do fotógrafo Marc Ferrez (1843 – 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 7 de dezembro de 2023
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/4405` — `itens/20.500.12156.1_4405/`
+- `20.500.12156.1/221` — `itens/20.500.12156.1_221/`
+- `20.500.12156.1/2549` — `itens/20.500.12156.1_2549/`
+- `20.500.12156.1/2417` — `itens/20.500.12156.1_2417/`
+- `20.500.12156.1/2575` — `itens/20.500.12156.1_2575/`
+- `20.500.12156.1/4740` — `itens/20.500.12156.1_4740/`
+- `20.500.12156.1/2489` — `itens/20.500.12156.1_2489/`
+- `20.500.12156.1/383` — `itens/20.500.12156.1_383/`
+- `20.500.12156.1/2593` — `itens/20.500.12156.1_2593/`
+- `20.500.12156.1/4880` — `itens/20.500.12156.1_4880/`
+- `20.500.12156.1/4770` — `itens/20.500.12156.1_4770/`
+- `20.500.12156.1/953` — `itens/20.500.12156.1_953/`
+- `20.500.12156.1/2578` — `itens/20.500.12156.1_2578/`
+- `20.500.12156.1/348` — `itens/20.500.12156.1_348/`
+- `20.500.12156.1/3037` — `itens/20.500.12156.1_3037/`
+- `20.500.12156.1/4771` — `itens/20.500.12156.1_4771/`
+- `20.500.12156.1/2589` — `itens/20.500.12156.1_2589/`
+- `20.500.12156.1/11739` — `itens/20.500.12156.1_11739/`
+- `20.500.12156.1/2515` — `itens/20.500.12156.1_2515/`
+
diff --git a/wordpress/136-para-uma-historia-social-da-reproducao-fotomecanica.md b/wordpress/136-para-uma-historia-social-da-reproducao-fotomecanica.md
new file mode 100644
index 0000000..3b21edf
--- /dev/null
+++ b/wordpress/136-para-uma-historia-social-da-reproducao-fotomecanica.md
@@ -0,0 +1,26 @@
+---
+id: 136
+url: "https://brasilianafotografica.bn.gov.br/?p=136"
+titulo: "Para uma história social da reprodução fotomecânica"
+autor: "Vinicius Martins"
+data: "2015-04-16T13:58:44+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: []
+fetched_at: "2026-09-10T09:57:20.889Z"
+---
+
+# Para uma história social da reprodução fotomecânica
+
+A. Ribeiro. Urca e Pão d’Assucar. c. 1905. Rio de Janeiro / Acervo FBN
+No início do século 19, antes mesmo do anúncio das primeiras variantes do processo fotográfico – que empregaram a camera obscura para a obtenção das imagens – diversos de seus pioneiros estiveram envolvidos em esforços para multiplicar ‘fotograficamente’ as estampas (ou gravuras) que ofereciam, até então, a melhor possibilidade de disseminação/circulação de imagens, reproduzidas a partir de matrizes cuja confecção demandava muito trabalho, habilidades específicas e uma série de cuidados.
+Mas apenas ao final do século 19, quando aperfeiçoou-se a ‘reprodução fotomecânica’, é que foram viabilizados os primeiros processos de impressão gráfica que possibilitaram a reprodução em massa, com fidelidade e qualidade — através das páginas das revistas, dos livros e depois dos cartões postais — das imagens originalmente obtidas através de processos fotográficos. A fotografia deixa de ser um objeto, um artefato, para tornar-se apenas uma superfície, uma imagem impressa. Foi esta a grande revolução que tornou a imagem fotográfica onipresente — o que foi ainda mais intensificado em tempos recentes, através da revolução digital.
+No Brasil, até aqui, avançamos pouco no estudo deste universo específico, tão crucial para que a fotografia viesse a cumprir integralmente o seu papel, em nossa sociedade. Quase nada sabemos sobre os desafios enfrentados pelos empresários e gráficos de então, ao optar por tais processos, seja em seus aspectos tecnológicos, econômicos e de recursos humanos. E tampouco acerca da recepção dos mesmos que, em boa parte, acabaram esquecidos.
+Aqui, pretendemos lançar luz sobre um processo que se fez presente no Brasil, com relevo, na virada do século 19 para o 20: a ‘colotipia’ ou ‘fototipia’, um processo de impressão fotomecânica planográfica – na verdade, uma variante da fotolitografia – também baseado na descoberta feita por Poitevin, em 1855, da propriedade que a gelatina bicromatada tem, quando úmida, de absorver mais ou menos tinta de impressão, segundo os graus diversos de endurecimento que adquire, proporcionalmente à quantidade de luz recebida através de um negativo fotográfico. Foi experimentada na pedra, no cobre e consolidou-se quando a matriz de impressão passou a ser produzida sobre uma espessa chapa de vidro.
+A colotipia ou fototitpia também foi denominada colografia, gelatinografia ou heliotipia. Ocorrem, ainda, variantes deste processo denominadas por albertipia ou albertotipia, artotipia, aquatone, helioplastia, entre outras.
+Importantes empresários e fotógrafos do período (como Henrique Lombaerts, Marc Ferrez e A. Ribeiro) editaram publicações ilustradas, imagens publicitárias e séries de cartões postais fotográficos em colotipia. Este processo proporciona uma impressão de qualidade, com bom contraste, boa gradação tonal e que aparenta tratar-se mesmo de uma imagem fotográfica de tom contínuo, cujo padrão de retícula só pode ser visualizado sob o exame de uma lupa.
+Segundo Frederico Porta, em seu indispensável Dicionário de Artes Gráficas, “apesar da perfeição das cópias fototípicas, o processo ficou circunscrito a uns poucos trabalhos especializados, como a impressão de postais, por dois poderosos motivos: tiragem demorada, não ultrapassando da média de umas cinqüenta provas à hora, e precariedade da matriz, que dificilmente suporta mais de mil impressões.”
+Nesta galeria, selecionamos alguns exemplos de imagens impressas por este processo, desde o mais antigo exemplo conhecido na imprensa periódica, no Brasil: um fac-símile de manuscrito do escritor Machado de Assis, aparecido em publicação editada por Lombaerts. De Manaus, destaque para o arrojado panorama de George Huebner. De São Paulo, há imagens de Otto Quaas e de Guilherme Gaensly — estas, fazem parte de uma série estupenda, realizada pelo talentoso fotógrafo. Mas a maioria das imagens escolhidas refere-se, mesmo, à cidade do Rio de Janeiro – porque desejamos homenageá-la, nesta passagem dos seus 450 anos. A exuberante arquitetura da loja A Torre Eiffel, cartões postais das séries editadas por A. Ribeiro e alguns dos colótipos produzidos por Marc Ferrez – tudo para nos deixar saudosos de um Rio que passou.
+ 
+Seleção de reproduções fotomecânicas na Brasiliana Fotográfica
+………………………………………………………………………………………………………………………………………..
+Curadoria de Joaquim Marçal Ferreira de Andrade/FBN
diff --git a/wordpress/13651-dia-nacional-do-imigrante-italiano.md b/wordpress/13651-dia-nacional-do-imigrante-italiano.md
new file mode 100644
index 0000000..590923a
--- /dev/null
+++ b/wordpress/13651-dia-nacional-do-imigrante-italiano.md
@@ -0,0 +1,45 @@
+---
+id: 13651
+url: "https://brasilianafotografica.bn.gov.br/?p=13651"
+titulo: "Dia Nacional do Imigrante Italiano"
+autor: "Andrea Wanderley"
+data: "2019-02-21T11:04:55+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/2464", "20.500.12156.1/2103", "20.500.12156.1/2092"]
+fetched_at: "2026-09-10T09:57:23.814Z"
+---
+
+# Dia Nacional do Imigrante Italiano
+
+Para celebrar o Dia Nacional do Imigrante Italiano, a Brasiliana Fotográfica homenageia essa comunidade e seus descendentes destacando a obra de dois talentosos fotógrafos de origem italiana que atuaram no Brasil no século XIX e nas primeiras décadas do século XX: Camillo Vedani (18? – c. 1888) e Vincenzo Pastore (1865 – 1918) – eles já foram temas de publicações do portal. Pela importância que a comunidade italiana tem na história do Brasil, a lei nº 11.687, de 2 de junho de 2008 instituiu oficialmente o Dia Nacional do Imigrante Italiano no calendário de todo o território nacional. O dia 21 de fevereiro foi escolhido devido à expedição que Pietro Tabacchi fez ao Espírito Santo, em 1874, marco do início do processo da migração em massa dos italianos para o Brasil. Estima-se que atualmente aproximadamente 30 milhões de descendentes de italianos vivam em terras brasileiras.
+Camillo Vedani foi o desenhista da comissão encarregada do estudo do traçado da ferrovia Madeira-Mamoré, em 1883. Identificava-se como “Photographo Paizagista” e era também professor de desenho e da língua italiana, tendo se estabelecido no Rio de Janeiro em torno de 1853. Produziu excelentes registros da cidade e também da Bahia, onde residiu entre 1860 e 1865. Na ocasião, trabalhou para a Bahia and São Francisco Railway.  Voltou para o Rio de Janeiro e morou durante um período em Campos.
+ 
+Camillo Vedani, Largo do Paço, 1865. Rio de Janeiro, RJ / Acervo IMS
+ 
+Acessando o link para as fotografias de Camillo Vedani disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+A obra do bem sucedido imigrante italiano, o fotógrafo italiano Vincenzo Pastore, importante cronista visual de São Paulo da segunda metade do século XIX e do início do século XX, ficou, durante décadas, em uma caixa de charutos, sem negativos. O segredo de família chegou ao fim quando as fotografias foram herdadas por seu neto, o pianista e professor Flávio Varani, que as doou – 137 imagens – para o Instituto Moreira Salles, em 1997. Com sua câmara, Pastore capturava tipos e costumes de um cotidiano ainda pacato de São Paulo e com seu olhar sensível flagrava trabalhadores de rua. Ao retratar pessoas simples do povo, Pastore realizou, na época, um trabalho inédito na história da fotografia paulistana.
+ 
+Vincenzo Pastore. Comércio de frutas no mercado dos caipiras, c. 1910. São Paulo, SP / Acervo IMS
+ 
+Acessando o link para as fotografias de Vincenzo Pastore disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Vincenzo Pastore. Homem sentado, comendo, próximo a gaiolas com galinhas , c. 1910. São Paulo, SP / Acervo IMS
+ 
+ 
+Para mais informações sobre Camillo Vedani e Vincenzo Pastore acessar as publicações:
+O fotógrafo paisagista Camillo Vedani (18?, Itália – c. 1888, Brasil)
+Vincenzo Pastore (Casamassima, Itália 5 de agosto de 1865 – São Paulo, Brasil 15 de janeiro de 1918)
+ 
+ 
+Andrea C. T. Wanderley
+Editora-assistente e pesquisadora do portal Brasiliana Fotográfica
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/2464` — `itens/20.500.12156.1_2464/`
+- `20.500.12156.1/2103` — `itens/20.500.12156.1_2103/`
+- `20.500.12156.1/2092` — `itens/20.500.12156.1_2092/`
+
diff --git a/wordpress/13670-o-bairro-de-sao-cristovao.md b/wordpress/13670-o-bairro-de-sao-cristovao.md
new file mode 100644
index 0000000..47e1ea8
--- /dev/null
+++ b/wordpress/13670-o-bairro-de-sao-cristovao.md
@@ -0,0 +1,56 @@
+---
+id: 13670
+url: "https://brasilianafotografica.bn.gov.br/?p=13670"
+titulo: "O bairro de São Cristóvão"
+autor: "Andrea Wanderley"
+data: "2019-04-15T10:43:42+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/3013", "20.500.12156.1/4266", "20.500.12156.1/5354", "20.500.12156.1/15", "20.500.12156.1/2452", "20.500.12156.1/1007"]
+fetched_at: "2026-09-10T09:57:26.900Z"
+---
+
+# O bairro de São Cristóvão
+
+Em 11 de dezembro de 2018, a professora de Sociologia do Colégio Pedro II, Janecleide de Aguiar, e um grupo de suas alunas fizeram uma visita ao Instituto Moreira Salles motivadas pelo interesse na Brasiliana Fotográfica, em especial na fotografia da Missa Campal de 17 de maio de 1888, na possível presença de representantes do colégio no evento e na descoberta da presença de Machado de Assis na imagem. Foram recebidas por mim, Andrea Wanderley, por Gabriella Moyle, organizadora do encontro, e pelo arquiteto Bruno Buccalon. Na ocasião, a professora Janecleide revelou que pautava muitas aulas a partir de publicações e fotografias do portal e as alunas se mostraram entusiasmadas com as pesquisas que realizavam na Brasiliana Fotográfica. Justamente um dos objetivos do portal é motivar pesquisas e descobertas! As alunas disseram também que estavam envolvidas em um trabalho sobre o bairro de São Cristóvão, no Rio de Janeiro, onde se localiza a primeira unidade do Colégio Pedro II, onde estudavam. Na ocasião, prometi reunir e publicar um número significativo de imagens do bairro. Promessa cumprida! Acompanham essa publicação registros produzidos por Antonio Luiz Ferreira (18? – ?), Augusto Malta (1864 – 1957), Camillo Vedani (18? – c. 1888), Franz Keller  (1835-1890), Georges Leuzinger (1813 – 1892), Joaquim Insley Pacheco (1830 – 1912), Jorge Kfuri (1893- 1965), Marc Ferrez (1843 – 1923), Revert Henrique Klumb (c. 1826 – c. 1886), Uriel Malta (1910 – 1994), de fotógrafos ainda não identificados e da Phototypia A. Ribeiro.
+ 
+O bairro de São Cristóvão
+Augusto Malta. Matriz de São Cristóvão, 3 de março de 1917. São Cristóvão, Rio de Janeiro / Acervo FBN
+ 
+Acessando o link para as fotografias do bairro de São Cristóvão disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Jorge Kfuri. O bairro de São Cristóvão com o Campo de São Cristóvão ao centro, s/d. São Cristóvão, Rio de Janeiro / Acervo DPHDM
+ 
+ 
+Marc Ferrez. Quinta de São Cristóvão, c. 1912. São Cristóvão, Rio de Janeiro / Acervo IMS
+ 
+ 
+Franz Keller. St. Christovão, 1862. São Cristóvão, Rio de Janeiro / Acervo FBN
+ 
+Em 10 de setembro de 1954, na coluna “Rio Antigo”, de Charles Julius Dunlop (1908 – 1987), no Correio da Manhã, foi publicado um artigo sobre o Campo de São Cristóvão com uma fotografia de autoria de Augusto Malta.
+ 
+Inauguração do Campo de São Cristóvão, em 11 de novembro de 1906, por Augusto Malta / Correio da Manhã, 10 de setembro de 1954
+ 
+Publicações da Brasiliana Fotográfica que se relacionam com o bairro de São Cristóvão
+
+Museu Nacional
+ 
+Augusto Malta. Museu Nacional, c. 1930. São Cristóvão, Rio de Janeiro / Acervo IMS
+ 
+O Palácio Real de São Cristóvão
+Revert Henrique Klumb. St. Christovão : Vue générale du Palais Impérial, 1860. São Cristóvão, Rio de Janeiro / Acervo FBN
+ 
+ 
+Andrea C. T. Wanderley
+Editora-assistente e pesquisadora do portal Brasiliana Fotográfica
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/3013` — `itens/20.500.12156.1_3013/`
+- `20.500.12156.1/4266` — `itens/20.500.12156.1_4266/`
+- `20.500.12156.1/5354` — `itens/20.500.12156.1_5354/`
+- `20.500.12156.1/15` — `itens/20.500.12156.1_15/`
+- `20.500.12156.1/2452` — `itens/20.500.12156.1_2452/`
+- `20.500.12156.1/1007` — `itens/20.500.12156.1_1007/`
+
diff --git a/wordpress/13693-instituto-nacional-de-infectologia-evandro-chagas-centenario-da-construcao-da-pe.md b/wordpress/13693-instituto-nacional-de-infectologia-evandro-chagas-centenario-da-construcao-da-pe.md
new file mode 100644
index 0000000..8eabd39
--- /dev/null
+++ b/wordpress/13693-instituto-nacional-de-infectologia-evandro-chagas-centenario-da-construcao-da-pe.md
@@ -0,0 +1,87 @@
+---
+id: 13693
+url: "https://brasilianafotografica.bn.gov.br/?p=13693"
+titulo: "Instituto Nacional de Infectologia Evandro Chagas: centenário da construção da pesquisa clínica em Manguinhos"
+autor: "Andrea Wanderley"
+data: "2018-12-21T11:29:39+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/6218", "20.500.12156.1/6217", "20.500.12156.1/6216", "20.500.12156.1/6088", "20.500.12156.1/6091", "20.500.12156.1/6212", "20.500.12156.1/6101", "20.500.12156.1/6213", "20.500.12156.1/6215"]
+fetched_at: "2026-09-10T09:57:30.298Z"
+---
+
+# Instituto Nacional de Infectologia Evandro Chagas: centenário da construção da pesquisa clínica em Manguinhos
+
+A Brasiliana Fotográfica publica o terceiro e último artigo da trilogia em comemoração ao centenário do Instituto Nacional de Infectologia Evandro Chagas, com um texto de autoria de Dilene Raimundo do Nascimento, pesquisadora do Departamento de Pesquisa da Casa de Oswaldo Cruz/Fiocruz, instituição parceira do portal. Da construção de um centro de ciência na Fazenda de Manguinhos – o Castelo Mourisco – surgiu a ideia de um hospital dedicado aos experimentos, resultantes das expedições científicas realizadas pelos cientistas do Instituto Soroterápico Federal, denominado de Instituto Oswaldo Cruz, em 1908. O novo hospital estaria de acordo com os princípios da moderna higiene, com inspiração no Hospital Pasteur de Paris e a assistência ambulatorial, as internações e os cuidados médicos estariam atrelados a finalidades científicas. O projeto inicial foi assinado pelo arquiteto Luiz de Moraes Júnior, também responsável pela construção do Pavilhão Mourisco. O processo de construção foi registrado pelo fotógrafo J. Pinto. Ao longo de sua história, o Hospital de Manguinhos foi denominado Hospital de Doenças Tropicais, Hospital Oswaldo Cruz, Hospital Evandro Chagas, Centro de Pesquisa Clínica Hospital Evandro Chagas, Instituto de Pesquisa Clínica Evandro Chagas (IPEC) e, desde 2010, Instituto Nacional de Infectologia Evandro Chagas.
+Instituto Nacional de Infectologia Evandro Chagas: centenário da construção da pesquisa clínica em Manguinhos
+Dilene Raimundo do Nascimento*
+ 
+A ideologia do progresso e da civilização, vigente no início do século XX, no Brasil (Benchimol,1990), fez de Oswaldo Cruz, como diretor geral da Saúde Pública, nomeado em 1903, o responsável por erradicar as epidemias que ocorriam na cidade do Rio de Janeiro – febre amarela, varíola e peste – sobre as quais Rodrigues Alves, eleito presidente da República em 1902, disse no Manifesto à Nação: “Aos interesses da imigração, dos quais depende em máxima parte o nosso desenvolvimento econômico, prende-se a necessidade do saneamento desta capital (…)” (1) .
+A campanha de saneamento da capital do país empreendida por Oswaldo Cruz foi exitosa e ele pode capitalizar seu prestígio para o Instituto Soroterápico Federal, do qual era também diretor. Da construção de um centro de ciência na Fazenda de Manguinhos – o Castelo Mourisco – surgiu a ideia de um hospital dedicado aos experimentos, resultantes das expedições científicas realizadas pelos cientistas do Instituto Soroterápico Federal, denominado de Instituto Oswaldo Cruz, em 1908.
+Acessando o link para as fotografias relativas ao centenário da construção da pesquisa clínica em Manguinhos disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+Essas expedições adentravam o país para colaborar com empreendimentos ferroviários e hidrelétricos, além de obras de infraestrutura, que compunham o cenário de progresso e civilização, realizados tanto por empresas privadas quanto públicas, no sentido de debelar as doenças que acometiam os trabalhadores desses empreendimentos (Benchimol, 1990).
+Os cientistas de Manguinhos se deparavam com uma diversidade de doenças, algumas já identificadas e outras totalmente desconhecidas. Foi em uma dessas expedições, realizada em Minas Gerais com o objetivo de combater a malária para facilitar a construção da Estrada de Ferro Central do Brasil até Pirapora/MG, que Carlos Chagas (1878 – 1934) descobriu, em Lassance, a nova tripanossomíase, que ficou conhecida como doença de Chagas.
+ 
+Carlos Chagas atendendo a menina Rita. Ao fundo, vagão que servia de alojamento e laboratório na Estrada de Ferro Central do Brasil, 1908. Lassance, MG / Acervo Casa de Oswaldo Cruz
+ 
+Idosa e criança em frente uma casa de pau-a-pique, 1908. Lassance, Minas Gerais / Acervo Casa de Oswaldo Cruz
+ 
+Os anseios de Oswaldo Cruz de ter um hospital moderno e equipado para estudos clínicos e epidemiológicos dos doentes tomou mais corpo com o desenrolar das pesquisas da doença de Chagas. Sua repercussão possibilitou a obtenção de recursos, em 1912, para equipar um pequeno hospital em Lassance, para continuidade das pesquisas in loco, e para construir um hospital em Manguinhos (Decreto 9.346, de 24 de janeiro de 1912).
+ 
+Decreto de Hermes da Fonseca concede verba para construção de hospital destinado ao tratamento de doentes acometidos pela Doença de Chagas
+ 
+O plano de prover a cidade de um novo hospital de acordo com os princípios da moderna higiene, com inspiração no Hospital Pasteur de Paris, possibilitaria o isolamento individual dos doentes. A assistência ambulatorial, as internações e os cuidados médicos estariam atrelados a finalidades científicas, diferindo, dessa maneira, do modelo de hospitais voltados para a assistência em geral às populações urbanas. Ambicioso, o projeto inicial foi assinado pelo arquiteto Luiz de Moraes Júnior, também responsável pela construção do Pavilhão Mourisco, e previa a construção de seis pavilhões, dos quais só um se concretizou 3 (Cotrim, 2004). As obras foram iniciadas tão logo a verba foi liberada e concluídas em 1918, ano de sua inauguração. Oswaldo Cruz, falecido em 1917, não chegou a ver o hospital concluído. O processo de construção foi registrado pelo fotógrafo J. Pinto, desde a organização do canteiro de obras até a montagem da estrutura primária do edifício, de ferro forjado e em forma de gaiola.
+ 
+J. Pinto. Construção do Hospital de Manguinhos, 1912-1918. Manguinhos, Rio de Janeiro / Acervo Casa de Oswaldo Cruz
+ 
+ 
+Fachada do Hospital de Manguinhos, 1918. Manguinhos, Rio de Janeiro / Acervo Casa de Oswaldo Cruz
+ 
+Carlos Chagas, que se tornou diretor do Instituto Oswaldo Cruz, com a morte deste, tinha total envolvimento com o Hospital de Manguinhos, porque ali ele acompanhava os seus casos de Doença de Chagas, doentes trazidos do interior.
+ 
+Anônimo. Carlos Chagas, pacientes e a Comissão designada pela Academia Nacional de Medicina para avaliar os estudos sobre a Doença de Chagas, 1924?. Manguinhos, Rio de Janeiro / Acervo Casa de Oswaldo Cruz
+ 
+Ainda estudante, seu filho Evandro Chagas foi trabalhar no hospital, juntamente com outros pesquisadores como Eurico Vilela, primeiro diretor do hospital de Manguinhos, Lobato Paraense, Nery Guimarães, Emanuel Dias, dentre outros. Evandro Chagas desempenhou toda a sua prática profissional no Hospital de Manguinhos, desenvolvendo a partir dele suas incursões ao interior do Brasil para pesquisar, principalmente, casos de leishmaniose visceral americana. Nessas expedições, deparou-se com as várias endemias existentes no país, que o motivaram a criar o Serviço de
+Estudos de Grandes Endemias (SEGE), no âmbito do Instituto Oswaldo Cruz, em 1937.
+Anônimo. Evandro Chagas, s/d. Manguinhos, Rio de Janeiro / Acervo Casa de Oswaldo Cruz
+Sua ideia de expandir institucionalmente os estudos realizados no Hospital de Manguinhos já o havia levado a negociar com o governador do estado do Pará a criar no ano anterior o Instituto de Patologia Experimental do Norte (IPEN). O governador criou o instituto com a condição de ele se dedicar não somente ao calazar, mas também a outras doenças tropicais importantes daquela região, como a malária, a leishmaniose tegumentar, a amebíase, as parasitoses intestinais etc. Mas era natural que o calazar tivesse sido a primeira doença estudada pelo instituto. E foi com o calazar que o Evandro Chagas começou a trabalhar com a sua equipe, da qual faziam parte os irmãos Deane. A primeira viagem foi feita em dezembro de 1936. Leônidas Deane relata, em entrevista concedida à revista História, Ciência e Saúde – Manguinhos:
+ “foi nosso primeiro contato com a selva (…), nós que nunca tínhamos saído de Belém, sempre citadinos. E tivemos uma experiência bem especial, porque todos os ruídos — ruídos dos sapos, dos grilos etc. — para nós eram como se fossem feras (…).”
+“[Evandro] era um sujeito muito corajoso. Realmente ele dava o exemplo para tudo, porque era um homem muito arrojado, audacioso, inclusive. Fazia questão de mostrar que não tinha medo de coisa nenhuma. Como eu disse, ele ia para essas viagens de bermudas, botas e o chapéu colonial. E naturalmente os outros apetrechos, como a máquina fotográfica e o microscópio de campo, que ele usava a tiracolo também”(2).
+Foi em Piratuba que encontraram os primeiros casos de calazar, vivos, da região amazônica. Examinavam as pessoas, pesquisando baço grande; se encontrasse faziam punção para procurar leishmânia. Evandro Chagas voltou a essa cidade várias vezes para dar continuidade à sua pesquisa de leishmânia e discutir e orientar a sua equipe do Pará.
+ 
+Anônimo. Evandro Chagas em seu rústico laboratório em Piratuba, Região Amazônica, s/d / Acervo Casa de Oswaldo Cruz
+ 
+A morte precoce e repentina de Evandro Chagas, em um acidente aéreo na Baía de Guanabara, aos trinta e cinco anos de idade, em 08 de novembro de 1940, interrompeu suas pesquisas em andamento e deixou sua equipe impactada. Para interromper um clima de instabilidade que se estabeleceu após a morte de Evandro Chagas, o então ministro da Educação e Saúde, Gustavo Capanema, nomeou Carlos Chagas Filho diretor do hospital e chefe do Serviço de Estudos de Grandes Endemias, que aí permaneceu por três anos. Apesar das dificuldades decorrentes da morte repentina de Evandro Chagas, o hospital permaneceu pelas mãos e esforços de seus pesquisadores, médicos e funcionários empenhados em realizar pesquisas clínicas a respeito de doenças infecciosas e parasitárias, em que se destacam a doença de Chagas, a leishmaniose, a malária, a toxoplasmose e a esquistossomose. Em 1942, em homenagem póstuma, o hospital foi nomeado Evandro Chagas, nome que carrega até hoje.
+ 
+J. Pinto. Hospital Oswaldo Cruz é rebatizado como Hospital Evandro Chagas após a morte do cientista, em 1940, 1942. Manguinhos, Rio de Janeiro / Acervo Casa de Oswaldo Cruz
+ 
+Ao longo de sua história, o Hospital de Manguinhos foi denominado Hospital de Doenças Tropicais, Hospital Oswaldo Cruz, Hospital Evandro Chagas, Centro de Pesquisa Clínica Hospital Evandro Chagas, Instituto de Pesquisa Clínica Evandro Chagas (IPEC) e, desde 2010, Instituto Nacional de Infectologia Evandro Chagas.
+Em sua história constam fases de decadência, principalmente, no período da Ditadura Militar, instaurada com o golpe de 1964 e que perdurou por vinte e um anos, e fase de ascensão, com o processo de redemocratização no país.
+Nessa ocasião, surgiram os primeiros casos de aids no Brasil, doença infecciosa grave e, na época, fatal, com uma tendência de crescimento. A questão central na defesa da permanência do Hospital Evandro Chagas na Fiocruz foi exatamente a sua vocação no âmbito das doenças infecciosas. O contexto epidêmico da aids contribuiu para impulsionar a reestruturação do
+hospital.
+Esta teve entre seus princípios a pesquisa clínica ampliada, que não se restringe aos médicos infectologistas, mas se expande a outras especialidades para alargar e aprofundar o conhecimento sobre o doente e sobre a doença, como a enfermagem, serviço social, nutrição, farmácia e psicologia. De acordo com essa concepção, era importante compreender as relações de adoecimento do paciente e o contexto que ele traz para o hospital. A empreitada foi liderada pela Dra. Keyla Marzochi, uma das principais entusiastas da pesquisa clínica ampliada, que elaborou o projeto de reestruturação apresentado e aceito pela presidência da Fiocruz.
+Denominado Instituto Nacional de Infectologia Evandro Chagas (INI) desde o VI Congresso Interno da Fiocruz, realizado em 2010, o INI hoje se caracteriza pela excelência na pesquisa clínica, na assistência, no ensino e na gestão voltados tanto para a saúde humana como para a saúde animal, a partir dos estudos de zoonoses, além de ser referência no campo das doenças infecciosas. A pesquisa clínica desenvolvida no INI, desde sua reestruturação, como diz sua atual diretora, Valdiléa Veloso, é uma construção coletiva que congrega vários saberes dos diferentes profissionais que trabalham na unidade, com inclusão dos usuários, visando à melhoria da saúde da população.
+Ao completar os seus 100 anos, no ano de 2018, a luta pela saúde pública implica para o INI a prática da pesquisa clínica ampliada, a assistência − em especial aos grupos vulneráveis −, o ensino para formar e capacitar novos profissionais na área, uma gestão participativa e parcerias com movimentos sociais e instituições nacionais e internacionais nessas áreas de atividade, e, a partir disso, dá sua inestimável contribuição para o desenvolvimento do SUS – Sistema Único de Saúde.
+ 
+(1) Manifesto Inaugural de Francisco de Paula Rodrigues Alves, presidente eleito para o quadriênio de1902 a 1906. 15 de novembro de 1902. Rio de Janeiro, 1902, p. 11.
+(2) História, Ciência e Saúde – Manguinhos. Vol.1, nº1, jul/out., 1994. Seção Depoimento.
+ 
+*Dilene Raimundo do Nascimento é pesquisadora do Departamento de Pesquisa da Casa de Oswaldo Cruz
+ 
+Outros textos sobre o centenário do Instituto Nacional de Infectologia Evandro Chagas publicados na Brasiliana Fotográfica:
+Instituto Nacional de Infectologia Evandro Chagas: 100 anos de pesquisa clínica, por Cristiane d´Avila, em 26/10/2018
+Instituto Nacional de Infectologia Evandro Chagas 100 anos: Carlos e Evandro Chagas em retratos de família, por Aline Lopes de Lacerda, em 27/11/2018
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/6218` — `itens/20.500.12156.1_6218/`
+- `20.500.12156.1/6217` — `itens/20.500.12156.1_6217/`
+- `20.500.12156.1/6216` — `itens/20.500.12156.1_6216/`
+- `20.500.12156.1/6088` — `itens/20.500.12156.1_6088/`
+- `20.500.12156.1/6091` — `itens/20.500.12156.1_6091/`
+- `20.500.12156.1/6212` — `itens/20.500.12156.1_6212/`
+- `20.500.12156.1/6101` — `itens/20.500.12156.1_6101/`
+- `20.500.12156.1/6213` — `itens/20.500.12156.1_6213/`
+- `20.500.12156.1/6215` — `itens/20.500.12156.1_6215/`
+
diff --git a/wordpress/13719-serie-o-rio-de-janeiro-desaparecido-vii-o-morro-de-santo-antonio-na-casa-de-oswa.md b/wordpress/13719-serie-o-rio-de-janeiro-desaparecido-vii-o-morro-de-santo-antonio-na-casa-de-oswa.md
new file mode 100644
index 0000000..91333ef
--- /dev/null
+++ b/wordpress/13719-serie-o-rio-de-janeiro-desaparecido-vii-o-morro-de-santo-antonio-na-casa-de-oswa.md
@@ -0,0 +1,80 @@
+---
+id: 13719
+url: "https://brasilianafotografica.bn.gov.br/?p=13719"
+titulo: "Série “O Rio de Janeiro desaparecido” VII – O Morro de Santo Antônio na Casa de Oswaldo Cruz"
+autor: "Andrea Wanderley"
+data: "2019-02-05T09:40:34+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/6045", "20.500.12156.1/6052", "20.500.12156.1/6050", "20.500.12156.1/6048"]
+fetched_at: "2026-09-10T09:57:33.469Z"
+---
+
+# Série “O Rio de Janeiro desaparecido” VII – O Morro de Santo Antônio na Casa de Oswaldo Cruz
+
+O pesquisador Ricardo Augusto dos Santos, da Fiocruz, uma das instituições parceiras da Brasiliana Fotográfica, é o autor do artigo sobre um álbum antigo com 19 fotografias do Morro de Santo Antônio, no Rio de Janeiro, identificadas recentemente no Departamento de Arquivo e Documentação da Casa de Oswaldo Cruz. Elas exibem o cotidiano do Morro de Santo Antônio, retratando os habitantes, as ruas e casas. Localizado no centro da cidade, assim como outra colina também destruída, o Morro do Castelo, Santo Antônio estava situado em planície cercado de outras elevações que nos primeiros tempos do Rio colonial marcavam os limites do núcleo urbano. Sua completa demolição ocorreu a partir da década de 1950, fechando um ciclo de grandes obras no Rio de Janeiro com base no desmonte de morros, aterros de lagoas e arrasamento das ruas. Representou um importante capítulo na consolidação da cidade. Seus limites correspondem as ruas da Carioca, do Lavradio, Evaristo da Veiga e o Largo da Carioca. Após sua destruição, foram abertas largas avenidas.
+ 
+Morro de Santo Antônio
+Ricardo Augusto dos Santos*
+ 
+
+ 
+Recentemente, no Departamento de Arquivo e Documentação da Casa de Oswaldo Cruz, identificamos um antigo álbum fotográfico contendo 19 fotografias. Após um rápido reconhecimento, constatamos que as imagens documentam cenas de um morro existente no centro do Rio de Janeiro. As fotos encontradas no acervo iconográfico da COC exibem o cotidiano do Morro de Santo Antônio, retratando os habitantes, as ruas e casas. Mas que morro era esse? Localizado no centro da cidade, assim como outra colina também destruída (Morro do Castelo), Santo Antônio estava situado em planície cercado de outras elevações que nos primeiros tempos do Rio colonial marcavam os limites do núcleo urbano. Sua completa demolição ocorreu a partir da década de 1950, fechando um ciclo de grandes obras no Rio de Janeiro com base no desmonte de morros, aterros de lagoas e arrasamento das ruas. Representou um importante capítulo na consolidação da cidade. Seus limites correspondem as ruas da Carioca, do Lavradio, Evaristo da Veiga e o Largo da Carioca. Após sua destruição, foram abertas largas avenidas.
+ 
+Uma estalagem na Rua Caminho Pequeno no Morro de Santo Antônio, 1916. Rio de Janeiro, RJ / Acervo Casa de Oswaldo Cruz
+ 
+Acessando o link para as fotografias do Morro de Santo Antônio do acervo da Casa de Oswaldo Cruz disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Mas as imagens? Quando foram feitas? O que revelam? Podemos seguir pistas para obter respostas. Na capa do álbum está escrito: Fotografias de vários trechos do Morro de Santo Antônio, antes e depois da ação da Saúde Pública. As fotografias possuem legendas e uma delas traz a seguinte frase: Rua Caminho Pequeno na Manhã do Incêndio. E na imagem seguinte, o mesmo local fotografado após a remoção dos escombros. Então, ocorreu um incêndio! Tudo indica que incêndios suspeitos aconteciam com incrível regularidade ameaçando os moradores e suas habitações.
+ 
+Morro de Santo Antônio: Foto realizada no alto do Morro do Castelo, 1916. Rio de Janeiro, RJ / Acervo Casa de Oswaldo Cruz
+ 
+Estes vestígios do tempo mostram que o Morro do Castelo ainda estava de pé. Portanto, as fotos foram produzidas antes de 1922, data da demolição do Morro do Castelo. As anotações à margem das imagens revelam que as fotos foram feitas a partir de uma intervenção das autoridades de saúde pública. As notícias nos jornais de época indicam que inspetores sanitários vigiavam o pequeno comércio que abastecia os trabalhadores da área. Além da questão higiênica, havia o interesse econômico. Desde o surgimento das primeiras construções no local, interesses imobiliários conflitantes sobre uso do solo, articulados com a preocupação das condições de vida e sanitárias das comidas e bebidas vendidas no morro, determinavam as ações das autoridades públicas e proprietários. Lembrando que, em caso de destruição do morro, os terrenos planos (e valorizados!) seriam de posse do proprietário do morro. Em várias ocasiões, a prefeitura tentou, por ordem judicial, remover os moradores, mas os habitantes conseguiam adiamento da remoção. Porém, em 1916 houve um grande incêndio, obrigando um grande número de habitantes a buscar refúgio no Morro do Telégrafo, perto da Quinta da Boa Vista. Em meados da década de 1960, o morro seria totalmente destruído, surgindo uma grande esplanada, hoje dominada por imensos prédios públicos (BNDES, Petrobrás).
+ 
+Casa de Cômodos no Morro de Santo Antônio, 1916. Rio de Janeiro, RJ / Acervo Casa de Oswaldo Cruz
+ 
+Início da Rua Rio de Janeiro no Morro de Santo Antônio. 1916. Rio de Janeiro, RJ / Acervo Casa de Oswaldo Cruz
+ 
+*Ricardo Augusto dos Santos é Pesquisador Titular da Fundação Oswaldo Cruz
+ 
+O título deste artigo foi alterado de O Morro de Santo Antônio na Casa de Oswaldo Cruz para Série O Rio de Janeiro desaparecido VII – O Morro de Santo Antônio na Casa de Oswaldo Cruz, em 16 de setembro de 2021.
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Links para os outros artigos da Série O Rio de Janeiro desaparecido
+ 
+Série O Rio de Janeiro desaparecido I - Salas de cinema do Rio de Janeiro do início do século XX, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 26 de fevereiro de 2016.
+Série O Rio de Janeiro desaparecido II – A Exposição Nacional de 1908 na Coleção Família Passos, de autoria de Carla Costa, historiadora do Museu da República, publicado na Brasiliana Fotográfica, em 5 de abril de 2018.
+Série O Rio de Janeiro desaparecido III – O Palácio Monroe, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica, em 9 de novembro de 2016.
+Série O Rio de Janeiro desaparecido IV - A via elevada da Perimetral, de autoria da historiadora Beatriz Kushnir, publicado na Brasiliana Fotográfica em 23 de junho de 2017.
+Série O Rio de Janeiro desaparecido V – O quiosque Chopp Berrante no Passeio Público, Ferrez, Malta e Charles Dunlop, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 20 de julho de 2018.
+Série O Rio de Janeiro desaparecido VI – O primeiro Palácio da Prefeitura Municipal do Rio de Janeiro, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 12 de setembro de 2018.
+Série O Rio de Janeiro desaparecido VIII – A demolição do Morro do Castelo, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 30 de abril de 2019.
+Série O Rio de Janeiro desaparecido IX – Estrada de Ferro Central do Brasil: estação e trilhos, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 12 de novembro de 2019.
+Série O Rio de Janeiro desaparecido X – No Dia dos Namorados, um pouco da história do Pavilhão Mourisco em Botafogo, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 12 de junho de 2020.
+Série O Rio de Janeiro desaparecido XI – A Estrada de Ferro do Corcovado e o mirante Chapéu de Sol, de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 22 de julho de 2021.
+Série O Rio de Janeiro desaparecido XII – o Teatro Lírico (Theatro Lyrico), de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 15 de setembro de 2021.
+Série O Rio de Janeiro desaparecido XIII – O Convento da Ajuda, de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 12 de outubro de 2021.
+Série O Rio de Janeiro desaparecido XIV – O Conselho Municipal, de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 19 de novembro de 2021.
+Série O Rio de Janeiro desaparecido XV – A Praia de Santa Luzia no primeiro dia do verão, de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 21 de dezembro de 2021.
+Série O Rio de Janeiro desaparecido XVI – O prédio da Academia Imperial de Belas Artes, de autoria de Andrea C.T. Wanderley, publicado na Brasiliana Fotográfica em 13 de janeiro de 2022.
+Série O Rio de Janeiro desaparecido XVII – Igreja São Pedro dos Clérigos, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 18 de março de 2022.
+Série O Rio de Janeiro desaparecido XVIII – A Praça Onze, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 20 de abril de 2022.
+Série O Rio de Janeiro desaparecido XIX – A Igrejinha de Copacabana, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 23 de junho de 2022.
+Série O Rio de Janeiro desaparecido XX – O Pavilhão dos Estados, futuro prédio do Ministério da Agricultura, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 26 de julho de 2022.
+Série O Rio de Janeiro desaparecido XXI – O Chafariz do Largo da Carioca, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 19 de setembro de 2022. 
+Série O Rio de Janeiro desaparecido XXII – A Cadeia Velha que deu lugar ao Palácio Tiradentes, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 11 de abril de 2023
+Série O Rio de Janeiro desaparecido XXIII e Avenidas e ruas do Brasil XVII - A Praia e a Rua do Russel, na Glória, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 15 de maio de 2023
+Série O Rio de Janeiro desaparecido XXIV – O luxuoso Palace Hotel, na Avenida Rio Branco, uma referência da vanguarda artística no Rio de Janeiro, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 4 de julho de 2023
+Série O Rio de Janeiro desaparecido XXV – O Theatro Phenix, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 5 de setembro de 2023
+Série O Rio de Janeiro desaparecido XXVI – Conclusão do arrasamento do Morro do Castelo por Augusto Malta, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 14 de dezembro de 2023
+Série O Rio de Janeiro desaparecido XXVII e Série Os arquitetos do Rio de Janeiro V – O Jockey Club e o Derby Club, na Avenida Rio Branco e o arquiteto Heitor de Mello (1875 – 1920), de autoria de Andrea c. T. Wanderley, editora e pesquisadora do portal, em 15 de janeiro de 2024
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/6045` — `itens/20.500.12156.1_6045/`
+- `20.500.12156.1/6052` — `itens/20.500.12156.1_6052/`
+- `20.500.12156.1/6050` — `itens/20.500.12156.1_6050/`
+- `20.500.12156.1/6048` — `itens/20.500.12156.1_6048/`
+
diff --git a/wordpress/13747-o-que-fica-de-fora-por-joao-moreira-salles.md b/wordpress/13747-o-que-fica-de-fora-por-joao-moreira-salles.md
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+++ b/wordpress/13747-o-que-fica-de-fora-por-joao-moreira-salles.md
@@ -0,0 +1,80 @@
+---
+id: 13747
+url: "https://brasilianafotografica.bn.gov.br/?p=13747"
+titulo: "O que fica de fora, por João Moreira Salles"
+autor: "Andrea Wanderley"
+data: "2019-01-04T11:46:01+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/2122", "20.500.12156.1/2119"]
+fetched_at: "2026-09-10T09:57:36.584Z"
+---
+
+# O que fica de fora, por João Moreira Salles
+
+Em sua primeira publicação de 2019, a Brasiliana Fotográfica traz para seus leitores uma reflexão do documentarista João Moreira Salles acerca da fotografia Elvira Leopardi Pastore e sua filha Maria Lúcia, produzida pelo italiano radicado no Brasil Vincenzo Pastore (1865 – 1918), em torno de 1908, na rua da Assembleia, na capital paulista. É um registro da mulher e da filha do fotógrafo. João analisa o que deixa-se de fora do campo visual: “O que organiza a cena não está representado na imagem. De certa forma, o elemento mais importante do flagrante não foi flagrado. O que estarão olhando as duas personagens da foto, mulher e filha do fotógrafo? Pastore elidiu a informação – e, nessa elisão, entramos nós”.
+Com sua câmara Pastore capturava tipos e costumes de um cotidiano ainda pacato de São Paulo, uma cidade que logo, com o desenvolvimento econômico, mudaria de perfil. Captava as transformações urbanas e humanas da cidade, que passava a ser a metrópole do café. Com seu olhar sensível, o bem sucedido imigrante italiano flagrava trabalhadores de rua como, por exemplo, feirantes, engraxates, vassoureiros e jornaleiros, além de conversas entre mulheres, brincadeiras de crianças e registros de sua família. Pastore, ao retratar pessoas simples do povo, realizou, na época, um trabalho inédito na história da fotografia paulistana.
+ 
+O que fica de fora
+João Moreira Salles*
+Para ir direto ao assunto: gosto do que é incompleto. Por exemplo, tomem este conto famoso do guatemalteco Augusto Monterroso:
+                            Quando acordou o dinossauro ainda estava lá.
+Acabou. É só isso. Quem acordou? Lá onde? O dinossauro atacará?
+Ou este de Hemingway:
+                            Vende-se: sapatinhos de bebê, sem uso.
+Uma tragédia contida em menos de 40 caracteres. Soa tão pungente porque quase nada foi dito. O que faltou dizer é por nossa conta. Em ambos os casos a imaginação é forçada a trabalhar, como um reservista convocado para a ação.
+No mundo das imagens, essa economia narrativa pode ser materializada pelo que se decide deixar fora do campo visual. Um exemplo notável desse modo de contar histórias é a fotografia Elvira Leopardi Pastore e sua filha Maria Lúcia, do italiano radicado no Brasil Vincenzo Pastore. O que organiza a cena não está representado na imagem. De certa forma, o elemento mais importante do flagrante não foi flagrado. O que estarão olhando as duas personagens da foto, mulher e filha do fotógrafo? Pastore elidiu a informação – e, nessa elisão, entramos nós.
+ 
+Vincenzo Pastore. Elvira Leopardi e sua filha Maria Lúcia, c. 1908. São Paulo, SP / Acervo IMS
+ 
+A nota biográfica que acompanha o acervo digital da Coleção Vincenzo Pastore nos informa que ele perambulava pela São Paulo do início do século XX com uma câmera de pequeno formato na mão. Graças a emulsões fotográficas de maior sensibilidade à luz, havia se libertado do estúdio e do tripé. Podia agora registrar a vida vivida nas ruas, ou, como diria o cineasta soviético Dziga Vertov uns anos depois, a respeito do cinema revolucionário que ele próprio inventaria, a vida pega de surpresa, “não ensaiada”.
+Acessando o link para as fotografias de Vincenzo Pastore disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+Parte considerável da obra de Pastore se compõe de instantâneos urbanos que deslumbrariam Vertov. Para mim, nenhum deles é mais bonito do que este, mãe e filha no jardim de casa. Uma ação foi interrompida e jamais saberemos a razão. A menina está colhendo verduras (ou flores?) com a mãe. Quer continuar, mas alguma coisa acabou de acontecer lá no alto – na casa? No telhado, na árvore, no quintal vizinho? A mãe fixa sua atenção. O sol forte a faz proteger os olhos. Isso sabemos. O resto, não.
+Desconfiamos também que Elvira e Maria Lúcia não se dão conta de que estão sendo fotografadas. Pastore as flagra num momento de inconsciência em relação à câmera, adotando um regime de representação que no futuro se tornaria tema de debates intermináveis sobre a existência ou não de uma realidade espontânea, não contaminada pela presença do observador. Em 1908, data provável da foto, esse modo de flagrar o instante é novo e radical. Alguns dos maiores fotógrafos do século XX, de Walker Evans a Cartier-Bresson, tomariam esse partido.
+ 
+A Virgem Anunciada, de Antonello da Messina, 1475-1476 / Galleria Regionale della Sicilia, Palermo.
+Há uns anos escrevi sobre a Virgem Anunciada de Antonello da Messina. Poucas imagens do Quattrocento italiano são tão belas. Vemos apenas a Virgem, e ela nos vê. Diante dela, o Anjo somos nós. Significa que fomos nós que lhe demos a notícia –  e a notícia é terrível. Com a mão direita Maria repele o Anjo, nos repele. Ela agora sabe e não quer companhia. Maria está irremediavelmente só, numa dor que não se compartilha. Com a mão esquerda, fecha o manto, esconde o corpo e nos exclui. Seu filho, ela sabe, um dia morrerá diante dela. Sua tristeza a leva para longe de nós. Talvez seja a personagem mais triste da história da pintura.
+Lembrei-me dela ao ver a fotografia de Pastore. Não há tristeza aqui e a imagem tampouco nos implica, ao contrário do que faz a de Antonello. As duas são cenas silenciosas – como se existissem numa suspensão do tempo –, mas também não é isso o que as une na minha imaginação. É o extracampo, a lacuna. O que ficou de fora.
+ 
+O escritor Amós Oz gosta de citar estes versos do poeta Yehuda Amichai:
+ 
+                Ali onde estamos perfeitamente certos
+               não crescerão nunca
+               flores na primavera.
+ 
+Não ter acesso a tudo diminui esse risco. Sob certo ponto de vista, a flor (ou a verdura?) na cesta de Maria Lúcia dependem dessa limitação.
+ 
+*João Moreira Salles é documentarista e editor da revista piauí.
+ 
+Cronologia do fotógrafo Vincenzo Pastore (1865 – 1918)
+Vincenzo Pastore. Autorretrato de Vincenzo Pastore, c. 1910. São Paulo, SP / Acervo IMS
+ 
+5 de agosto de 1865 – Nascimento de Vincenzo Pastore, em Casamassima, na região de Puglia, na Itália, filho de Francesco Pastore e Costanza Massara.
+1890 – Pastore chegou ao Brasil, em São Paulo, provavelmente no início dessa década, quando houve um grande fluxo de imigração de italianos para a cidade, em busca de novas oportunidades de trabalho. Entre sua chegada ao Brasil e sua morte, em 1918, volta algumas vezes à Itália.
+1894 – Iniciou suas atividades de fotógrafo em São Paulo.
+1898 – Pastore tem um estabelecimento fotográfico na Itália, em Potenza, na região de Basilicata. Casou-se com Elvira Leopardi Pastore (1876-1972) com quem teve 10 filhos: Costanza (1899-?), Beatriz (1902-?), Maria Lucia (1903-1988), Francisco (1905-1985), Pion Donato (1906-?), Eleonora ( 1908-1992), Olga (1909-?), Carmelita (1910 -?), Dante (1912-?) e Redento (1915-1918).
+1899 -  Voltou para São Paulo.
+Recebeu uma carta protocolada do município de Potenza, transcrevendo carta do prefeito agradecendo pelo retrato do rei, que seria colocado na sala do Conselho Provincial.
+1900 – Possuia um estabelecimento fotográfico na Rua da Assembleia, nº 12 (depois rua Rodrigo Silva), onde também residia. Em nota no Estado de São Paulo, edições de 22 e 23 de outubro de 1900, anunciava: “Dá de presente aos seus clientes seis photographias / novo formato Elena, em elegantíssimos cartõezinhos ornados, só 4$500 e por poucos dias”.
+Sua esposa, Elvira, trabalhava no estúdio e era a responsável pelos serviços de fotopintura e acabamento. Era ela, também, que registrava em um caderno de anotações, intitulado “A arte de fotografar e revelar”, o trabalho realizado no laboratório e as técnicas de fotopintura.
+1905 – Recebeu uma carta do Consulado Geral da Itália em São Paulo, transmitindo os agradecimentos do Ministro da Casa Real pelo envio de fotos de índios bororos.
+1906 - Recebeu uma carta de Giacomo della Chiesa (1854 – 1922), futuro papa Bento XV, agradecendo o envio de fotografias de índios bororós para o papa Pio X.
+1907 – Inauguração de um novo estúdio, na Rua Direita nº 24-A. Em notas sobre a abertura do novo estabelecimento, foi anunciada a distribuição de Retratos Mimosos, pequenas fotos com moldura especial de flores e arabescos, a cada visitante. Posteriormente, Pastore abriu um novo estúdio na Praça da República, nº 95.
+1908 – Participou da Exposição Nacional, realizada no Rio de Janeiro, em comemoração ao centenário da abertura dos portos no Brasil, com um conjunto de fotopinturas e trabalhos de grandes dimensões.
+Realizou também um concurso de beleza infantil, do dia 10 de maio a 10 de julho, em seu ateliê fotográfico de São Paulo (O Paiz, edição de 8 de maio de 1908, última nota da primeira coluna).
+1911 – Ganhou a medalha de bronze na Espozione Internazionale delle industrie e dell lavoro, em Turim, na Itália.
+1914 – Viajou com a família para a Europa (Correio Paulistano, edição de 10 de fevereiro de 1914, na terceira coluna, sob o título “Hóspedes e Viajantes” ). Em novembro, inaugurou o estabelecimento Fotografia Italo-Americana – ai Due Mondi, na Via Sparano, nº 117, em Bari, na Itália. O nome do estúdio italiano indicava sua condição de imigrante bem sucedido, que pertencia a dois mundos. Realizou uma grande exposição de fotografias.
+1915 – Devido à Primeira Guerra Mundial, encerrou as atividades na Itália e voltou a São Paulo.
+1916 - Sob os títulos “Bellezas Paulistanas”, “Melancholia”, “Quem é a moça dos óculos pretos? e “Oração”, foram publicadas fotografias de autoria de Pastore, na revista Cigarra, nas edições  de 31 de março,  30 de abril  , 17 de agosto, 14 de setembro e 26 de outubro.
+No dia 17 de junho, foi publicada no O Estado de São Paulo, a seguinte nota: “O Sr. Vincenzo Pastore, proprietario da Photographia Pastore, a rua Direita, recebeu communicação official, do sr. Giannetto Cavasola, ministro da Agricultura da Italia, e do prefeito da provincia de Bari, de que, a 4 de maio passado, foi nomeado pelo duque de Genova, principe regente, cavalheiro da Ordem da Corôa da Italia. O sr. Pastore é muito conhecido nesta capital, onde conta com muitas amizades. Em 1914, o sr. Pastore fez, em Bari, uma grande exposição italo-brasileira de photographias, que mereceu francos elogios da imprensa. Os seus esforços acabam de ser merecidamente recompensados”. Em 18 de dezembro, o prêmio foi concedido.
+1918 – Em 15 de janeiro, Pastore faleceu, em São Paulo, devido a complicações após uma cirurgia de hérnia. Era alérgico e foi anestesiado com clorofórmio (Correio Paulistano, 19 de janeiro de 1918, na terceira coluna).
+ 
+Andrea C. T. Wanderley
+Editora-assistente e pesquisadora do portal Brasiliana Fotográfica
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/2122` — `itens/20.500.12156.1_2122/`
+- `20.500.12156.1/2119` — `itens/20.500.12156.1_2119/`
+
diff --git a/wordpress/1379-vincenzo-pastore-um-fotografo-entre-dois-mundos-casamassima-italia-5-de-agosto-d.md b/wordpress/1379-vincenzo-pastore-um-fotografo-entre-dois-mundos-casamassima-italia-5-de-agosto-d.md
new file mode 100644
index 0000000..6e7846d
--- /dev/null
+++ b/wordpress/1379-vincenzo-pastore-um-fotografo-entre-dois-mundos-casamassima-italia-5-de-agosto-d.md
@@ -0,0 +1,73 @@
+---
+id: 1379
+url: "https://brasilianafotografica.bn.gov.br/?p=1379"
+titulo: "Vincenzo Pastore, um fotógrafo entre dois mundos (Casamassima, Itália 5 de agosto de 1865 – São Paulo, Brasil 15 de janeiro de 1918)"
+autor: "Andrea Wanderley"
+data: "2015-08-05T11:15:48+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/2119", "20.500.12156.1/2134", "20.500.12156.1/2093"]
+fetched_at: "2026-09-10T09:57:39.750Z"
+---
+
+# Vincenzo Pastore, um fotógrafo entre dois mundos (Casamassima, Itália 5 de agosto de 1865 – São Paulo, Brasil 15 de janeiro de 1918)
+
+Vincenzo Pastore. Autorretrato de Vincenzo Pastore, c. 1910. São Paulo / Acervo IMS
+A obra do italiano Vincenzo Pastore, um fotógrafo entre dois mundos, um importante cronista visual de São Paulo da segunda metade do século XIX e do início do século XX, ficou, durante décadas, em uma caixa de charutos, sem negativos. As ampliações foram produzidas pela própria mulher do fotógrafo, Elvira, que o ajudava no estúdio. Mas o segredo de família chegou ao fim quando as fotografias foram herdadas por seu neto, o pianista e professor Flávio Varani, que as doou – 137 imagens – para o Instituto Moreira Salles, em 1996.
+Com sua câmara Pastore capturava tipos e costumes de um cotidiano ainda pacato de São Paulo, uma cidade que logo, com o desenvolvimento econômico, mudaria de perfil. Captava as transformações urbanas e humanas da cidade, que passava a ser a metrópole do café. Com seu olhar sensível, o bem sucedido imigrante italiano flagrava trabalhadores de rua como, por exemplo, feirantes, engraxates, vassoureiros e jornaleiros, além de conversas entre mulheres e brincadeiras de crianças. Pastore, ao retratar pessoas simples do povo, realizou, na época, um trabalho inédito na história da fotografia paulistana.
+Registrou cenas de ruas de São Paulo com uma câmara de pequeno formato, produzindo imagens diferentes das realizadas, durante o século XIX, com câmeras de grande formato sobre tripés, tendo sido um dos pioneiros da nova linguagem da fotografia do século XX:
+… a linguagem do instantâneo produzida pelas emulsões fotográficas de maior sensibilidade à luz, que libertaram as câmeras fotográficas dos tripés e permitiram também a simultânea diminuição no tamanho dos aparelhos fotográficos, possível em função dos papéis fotográficos mais sensíveis que possibilitavam a ampliação dos negativos de menor formato em laboratório por meio do emprego de fontes de luz artificial (“Sobre Vincenzo Pastore”, IMS).
+É o autor de uma panorama de São Paulo a partir do Largo de São Bento e também fotografou eventos e prédios da capital paulista. Em seu estúdio, dedicava-se, com sucesso, ao retrato. Produzia retratos mimosos, que tinham como padrão o recorte losangular, mas os tamanhos e os tipos de cartões variavam. Oferecia serviços variados como imagens em esmaltes para broches, autocromos, platinotipias e fotominiaturas. Fazia montagens com desenhos e retratos de múltipla exposição, revelando um traço de humor. Também contemplou temas bucólicos e produziu ensaios com temas religiosos, muitas vezes com o uso de composições alegóricas. 
+Acessando o link para as fotografias de Vincenzo Pastore disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+Texto escrito por Pastore intitulado Fotografia e arte:
+Entre o estúdio e a rua: a trajetória de Vincenzo Pastore, fotógrafo do cotidiano, de Fabiana Marcelli S. Beltramin, página 165.
+ 
+Breve Cronologia de Vincenzo Pastore (1865 – 1918)
+ 
+Vincenzo Pastore. Retrato de Ferreiro, c. 1910. São Paulo / Acervo IMS
+1865 – Em 5 de agosto, nascimento de Vincenzo Pastore, em Casamassima, na região de Puglia, na Itália, filho de Francesco Pastore e Costanza Massara.
+1890 – Pastore chegou ao Brasil, em São Paulo, provavelmente no início dessa década, quando houve um grande fluxo de imigração de italianos para a cidade, em busca de novas oportunidades de trabalho. Entre sua chegada ao Brasil e sua morte, em 1918, volta algumas vezes à Itália.
+1894 – Iniciou suas atividades de fotógrafo em São Paulo.
+1898 – Pastore tem um estabelecimento fotográfico na Itália, em Potenza, na região de Basilicata. Casou-se com Elvira Leopardi Pastore (1876-1972) com quem teve 10 filhos: Costanza (1899-?), Beatriz (1902-?), Maria Lucia (1903-1988), Francisco (1905-1985), Pion Donato (1906-?), Eleonora ( 1908-1992), Olga (1909-?), Carmelita (1910 -?), Dante (1912-?) e Redento (1915-1918).
+1899 -  Voltou para São Paulo.
+Recebeu uma carta protocolada do município de Potenza, transcrevendo carta do prefeito agradecendo pelo retrato do rei, que seria colocado na sala do Conselho Provincial.
+1900 – Possuia um estabelecimento fotográfico na Rua da Assembleia, nº 12 (depois rua Rodrigo Silva), onde também residia. Em nota no Estado de São Paulo, edições de 22 e 23 de outubro de 1900, anunciava: “Dá de presente aos seus clientes seis photographias / novo formato Elena, em elegantíssimos cartõezinhos ornados, só 4$500 e por poucos dias”.
+Sua esposa, Elvira, trabalhava no estúdio e era a responsável pelos serviços de fotopintura e acabamento. Era ela, também, que registrava em um caderno de anotações, intitulado “A arte de fotografar e revelar”, o trabalho realizado no laboratório e as técnicas de fotopintura.
+1905 – Recebeu uma carta do Consulado Geral da Itália em São Paulo, transmitindo os agradecimentos do Ministro da Casa Real pelo envio de fotos de índios bororos.
+1906 - Recebeu uma carta de Giacomo della Chiesa (1854 – 1922), futuro papa Bento XV, agradecendo o envio de fotografias de índios bororós para o papa Pio X.
+1907 – Inauguração de um novo estúdio, na Rua Direita nº 24-A. Em notas sobre a abertura do novo estabelecimento, foi anunciada a distribuição de Retratos Mimosos, pequenas fotos com moldura especial de flores e arabescos, a cada visitante. Posteriormente, Pastore abriu um novo estúdio na Praça da República, nº 95.
+1908 – Participou da Exposição Nacional, realizada no Rio de Janeiro, em comemoração ao centenário da abertura dos portos no Brasil, com um conjunto de fotopinturas e trabalhos de grandes dimensões.
+Realizou também um concurso de beleza infantil, do dia 10 de maio a 10 de julho, em seu ateliê fotográfico de São Paulo (O Paiz, edição de 8 de maio de 1908, última nota da primeira coluna).
+1911 – Ganhou a medalha de bronze na Espozione Internazionale delle industrie e dell lavoro, em Turim, na Itália.
+1914 – Viajou com a família para a Europa (Correio Paulistano, edição de 10 de fevereiro de 1914, na terceira coluna, sob o título “Hóspedes e Viajantes” ).
+Em novembro, inaugurou o estabelecimento Fotografia Italo-Americana – ai Due Mondi, na Via Sparano, nº 117, em Bari, na Itália. O nome do estúdio italiano indicava sua condição de imigrante bem sucedido, que pertencia a dois mundos.
+Realizou uma grande exposição de fotografias.
+1915 – Devido à Primeira Guerra Mundial, encerrou as atividades na Itália e voltou a São Paulo.
+1916 - Sob os títulos Bellezas Paulistanas, Melancholia, Quem é a moça dos óculos pretos? e Oração, foram publicadas fotografias de autoria de Pastore, na revista Cigarra, nas edições  de 31 de março,  30 de abril  , 17 de agosto, 14 de setembro e 26 de outubro.
+No dia 17 de junho, foi publicada no O Estado de São Paulo, a seguinte nota: “O Sr. Vincenzo Pastore, proprietario da Photographia Pastore, a rua Direita, recebeu communicação official, do sr. Giannetto Cavasola, ministro da Agricultura da Italia, e do prefeito da provincia de Bari, de que, a 4 de maio passado, foi nomeado pelo duque de Genova, principe regente, cavalheiro da Ordem da Corôa da Italia. O sr. Pastore é muito conhecido nesta capital, onde conta com muitas amizades. Em 1914, o sr. Pastore fez, em Bari, uma grande exposição italo-brasileira de photographias, que mereceu francos elogios da imprensa. Os seus esforços acabam de ser merecidamente recompensados”. Em 18 de dezembro, o prêmio foi concedido.
+1918 – Em 15 de janeiro, Pastore faleceu, em São Paulo, devido a complicações após uma cirurgia de hérnia. Era alérgico e foi anestesiado com clorofórmio (Correio Paulistano, 19 de janeiro de 1918, na terceira coluna).
+ 
+Vincenzo Pastore. Homens conversando em banco de praça, c. 1910. São Paulo, SP / Acervo IMS
+ 
+ 
+ 
+Andrea C. T. Wanderley
+Editora-assistente e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+BELTRAMIN, Fabiana Marcelli S. Entre o estúdio e a rua: a trajetória de Vincenzo Pastore, fotógrafo do cotidiano. Tese de dotoutado em História Social apresentada ao Programa de História Social da Faculdade de Filosfia, Letras e Ciências Humanas da Universidade de São Paulo para a obtenção do título de Doutor em História Social. São Paulo, 2015.
+Cadernos de Fotografia Brasileira. Número 2: São Paulo, 450 Anos (jan.04; 2.ed., ago 04). IMS, 2004.
+Catálogo São Paulo de Vincenzo Pastore – IMS, 1997.
+Depoimentos de familiares feitos ao pesquisador Ricardo Mendes, na década de 90.
+Dois países sob o olhar do fotógrafo-cronista Vincenzo Pastore, estudo de Atilio Avancini, publicado em 2005, na revista PJ:BR.
+Hemeroteca Digital da Biblioteca Nacional
+KOSSOY, Boris. Dicionário histórico-fotográfico brasileiro: fotógrafos e ofício da fotografia no Brasil (1833-1910). São Paulo: Instituto Moreira Salles, 2002. 408 p., il. p&b.
+Site do Instituto Moreira Salles
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/2119` — `itens/20.500.12156.1_2119/`
+- `20.500.12156.1/2134` — `itens/20.500.12156.1_2134/`
+- `20.500.12156.1/2093` — `itens/20.500.12156.1_2093/`
+
diff --git a/wordpress/13880-as-expedicoes-do-instituto-oswaldo-cruz-entre-1911-e-1913.md b/wordpress/13880-as-expedicoes-do-instituto-oswaldo-cruz-entre-1911-e-1913.md
new file mode 100644
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@@ -0,0 +1,66 @@
+---
+id: 13880
+url: "https://brasilianafotografica.bn.gov.br/?p=13880"
+titulo: "As expedições do Instituto Oswaldo Cruz entre 1911 e 1913"
+autor: "Andrea Wanderley"
+data: "2019-03-14T11:58:05+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/6251", "20.500.12156.1/6247", "20.500.12156.1/6252"]
+fetched_at: "2026-09-10T09:57:43.175Z"
+---
+
+# As expedições do Instituto Oswaldo Cruz entre 1911 e 1913
+
+Com o objetivo de acompanhar obras de construção de ferrovias e a inspeção sanitária de portos, médicos do Instituto Oswaldo Cruz realizaram, entre 1911 e 1913, três expedições ao Nordeste e Centro-Oeste do Brasil: Arthur Neiva (1880 – 1943) e Belisário Penna (1868 – 1939) percorreram o norte da Bahia, o sudeste de Pernambuco, o sul do Piauí e Goiás de norte a sul. João Pedro de Albuquerque  (1874 – 1934) e José Gomes de Faria (1887 – 1962) dirigiram-se para o Ceará e o norte do Piauí. Por sua vez, Adolpho Lutz (1855 – 1940) e Astrogildo Machado (1885-1945) desceram o rio São Francisco, de Pirapora a Juazeiro, cruzando também alguns de seus afluentes, entre março e outubro de 1912. O objetivo era realizar amplo levantamento das condições epidemiológicas e socioeconômicas das regiões percorridas pelo rio São Francisco e de outras áreas do Nordeste e Centro-Oeste brasileiros. A serviço da Superintendência da Defesa da Borracha, Carlos Chagas (1878 – 1934), Pacheco Leão (1872 – 1931) e João Pedro de Albuquerque inspecionaram boa parte da bacia do rio Amazonas, entre outubro de 1912 e março de 1913. A partir dessas expedições científicas, “a saúde pública como base para a construção da nacionalidade permitiu que fosse abandonada a tese da inferioridade racial do brasileiro”. A jornalista Cristiane d´Avila, do Departamento de Arquivo e Documentação da Casa de Oswaldo Cruz, uma das parceiras do portal, conta um pouco dessa história.
+ 
+As expedições do Instituto Oswaldo Cruz entre 1911 e 1913
+Cristiane d’Avila*
+ 
+ 
+Angelus Novus, por Paul Klee, 1920 / Museu de Israel, Jerusalém
+Em O mapa fantasma, o norte-americano Steven Johnson (1968 -) sabiamente elege como abre-alas de seu thriller científico sobre a epopeia inglesa para debelar o cólera, na Londres vitoriana do século 19, o pintor e poeta alemão nascido na Suíça, Paul Klee (1879 – 1940), e o filósofo alemão Walter Benjamin (1892 – 1940). Destaca Johnson que Benjamin, ao interpretar o quadro de Klee, Angelus Novus, deduz, em insight genial, que o anjo novo (redenominado O Anjo da História), sabedor da força do progresso que irremediavelmente o tragaria, mira o passado, voltando as costas ao futuro.
+A resistência do anjo de Klee à força do sopro da “tempestade” do progresso, sugere o futuro como ruptura inexorável com o passado. Não muito longe do universo de Klee e Benjamin, que vivenciaram os horrores da Primeira Guerra Mundial e anteviam as ameaças que acarretariam o conflito bélico subsequente, no Brasil travava-se um outro tipo de guerra, dessa feita contra micróbios e bactérias que aniquilavam as chances de o país superar seu malfadado “atraso”.
+ 
+Acessando o link para as fotografias das expedições do Instituto Oswaldo Cruz  selecionadas para esse artigo e disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas. 
+ 
+Naquele início de século, a construção nacional nos moldes europeus mirava ideais civilizadores em todas as esferas da vida social. Em processo de urbanização e industrialização, principalmente no Sudeste, o país voltava-se inquieto e intrigado para seu imenso interior, buscando na pesquisa científica a chave para compreender os obstáculos colocados ao progresso por um território até então invisível.
+ 
+A comissão no vapor Rio Jamary, Amazonas, 1913. Amazônia / Acervo Casa de Oswaldo Cruz
+ 
+Embora conceitualmente divergentes, as perspectivas sobre a realidade nacional cruzavam-se em um ponto de interseção: era preciso superar o “atraso”, considerado fruto de determinações socioeconômicas, históricas, políticas, climáticas, raciais e geográficas, por meio de estratégias que permitissem integrar o Brasil ao mundo moderno. Todas, ainda que se apoiassem em discursos antagônicos, não deixavam de buscar soluções para o desconforto, o sentimento de inadequação que a nossa realidade provocava nas elites nacionais. Como afirma Roberto Schwarz, essa experiência “pode ser e foi interpretada de muitas maneiras, por românticos, naturalistas, modernistas, esquerda, direita, cosmopolitas, nacionalistas etc., o que faz supor que corresponda a um problema durável e de fundo” (2005, p.109).
+Campanhas de saúde foram realizadas por sanitaristas no interior do país a fim de erradicar doenças que mortificavam milhares de brasileiros, como a malária e a febre amarela. A partir das expedições científicas empreendidas por médicos do Instituto Oswaldo Cruz, “a saúde pública como base para a construção da nacionalidade permitiu que fosse abandonada a tese da inferioridade racial do brasileiro” (OLIVEIRA, 1990, P.145).
+Com o objetivo de acompanhar obras de construção de ferrovias e a inspeção sanitária de portos, esses médicos protagonizaram, entre 1911 e 1913, três expedições ao Nordeste e Centro-Oeste do Brasil: Arthur Neiva e Belisário Penna percorreram o norte da Bahia, o sudeste de Pernambuco, o sul do Piauí e Goiás de norte a sul. João Pedro de Albuquerque e José Gomes de Faria dirigiram-se para o Ceará e o norte do Piauí.
+Vista do acampamento em Caldeirão, 1912. Pernambuco / Acervo Casa de Oswaldo Cruz
+Por sua vez, Adolpho Lutz e Astrogildo Machado desceram o rio São Francisco, de Pirapora a Juazeiro, cruzando também alguns de seus afluentes, entre março e outubro de 1912. O objetivo era realizar amplo levantamento das condições epidemiológicas e socioeconômicas das regiões percorridas pelo rio São Francisco e de outras áreas do Nordeste e Centro-Oeste brasileiros. A serviço da Superintendência da Defesa da Borracha, Carlos Chagas, Pacheco Leão e João Pedro de Albuquerque inspecionaram boa parte da bacia do rio Amazonas, entre outubro de 1912 e março de 1913.
+“As expedições desse triênio foram demoradas e percorreram extensas áreas onde as investigações científicas predominaram sobre as preocupações médico-sanitárias de curto prazo. Estas expedições produziram, através dos relatórios de viagem e de intenso uso da fotografia, um minucioso registro das condições de vida da população interiorana, seus hábitos, suas técnicas, sua mentalidade, associando às questões sanitárias os aspectos socioeconômicos, culturais e ambientais das regiões percorridas”, escreveram os organizadores do livro A ciência a caminho da roça (1992, p.7). Algumas fotografias dessas expedições podem ser aqui observadas.
+Linha do tempo das expedições realizadas entre 1910 e 1913 (Fonte: www.fiocruz.br/ioc), com o objetivo de conhecer e mapear o quadro nosológico de regiões brasileiras para aumentar seu potencial produtivo, visando a sua modernização:
+1910: Oswaldo Cruz e Belisário Penna seguem para a Amazônia, em ação de controle da malária para a Madeira-Mamoré Railway Company.
+ 1912 (abril a outubro): Arthur Neiva e Belisário Penna percorrem Piauí, Pernambuco, Bahia e Goiás, para o reconhecimento topográfico e o levantamento sanitário das regiões secas, por requisição da Inspetoria de Obras Contra as Secas, órgão do Ministério dos Negócios da Indústria, Viação e Obras Públicas. Estão incluídos estudos da fauna, flora, geografia, condições de vida e história das localidades.
+1912-1913: Carlos Chagas, Pacheco Leão e João Pedro de Albuquerque partem em expedição para avaliar as condições sanitárias e de vida dos principais centros de produção da borracha através dos rios Solimões, Juruá, Purus, Acre, Iaco, Negro e o baixo rio Branco, em expedição requisitada pela Superintendência da Defesa da Borracha.
+ 
+Grupo da comissão a bordo do Rio de Janeiro: Carlos Chagas, Pacheco Leão, João Pedroso, posando ao lado da tripulação do navio, 1912. Amazônia / Acervo Casa de Oswaldo Cruz
+ 
+ 
+*Cristiane d’Avila  é jornalista do Departamento de Arquivo e Documentação Casa de Oswaldo Cruz/Fiocruz
+ 
+Fontes:
+ 
+FUNDAÇÃO OSWALDO CRUZ. CASA DE OSWALDO CRUZ. A ciência a caminho da roça: imagens das expedições científicas do Instituto Oswaldo Cruz ao interior do Brasil entre 1911 d 1913. Rio de Janeiro: Fiocruz/Casa de Oswaldo Cruz, 1992.
+JOHNSON, Steven. O mapa fantasma: como a luta de dois homens contra o cólera mudou o destino de nossas metrópoles. Rio de Janeiro: Zahar, 2008.
+LIMA, Nísia Trindade. “Missões civilizatórias da República e interpretação do Brasil” Hist. cienc. saude-Manguinhos, Rio de Janeiro, v. 5, supl. p. 163-193, Julho 1998. Disponível em <http://www.scielo.br/scielo.php?script=sci_arttext&pid=S0104-59701998000400010&lng=en&nrm=iso>. Acessado em 08 Jan. 2019.
+OLIVEIRA, Lúcia Lippi. A questão nacional na Primeira República. São Paulo: Brasiliense, 1990.
+SCHWARZ, Roberto. “Nacional por subtração”. In: Cultura e política. São Paulo: Paz e Terra, 2005.
+ 
+Para saber mais sobre as expedições do Instituto Oswaldo Cruz, acesse o artigos publicados na Brasiliana Fotográfica:
+ 
+Manguinhos e os sertões, publicado em 9 de outubro de 2017
+Nos passos de Oswaldo: imagens das expedições do IOC aos portos do Brasil entre 1911 e 1913, publicado em 25 de maio de 2020
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/6251` — `itens/20.500.12156.1_6251/`
+- `20.500.12156.1/6247` — `itens/20.500.12156.1_6247/`
+- `20.500.12156.1/6252` — `itens/20.500.12156.1_6252/`
+
diff --git a/wordpress/13911-rio-de-janeiro-capital-mundial-da-arquitetura.md b/wordpress/13911-rio-de-janeiro-capital-mundial-da-arquitetura.md
new file mode 100644
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+++ b/wordpress/13911-rio-de-janeiro-capital-mundial-da-arquitetura.md
@@ -0,0 +1,53 @@
+---
+id: 13911
+url: "https://brasilianafotografica.bn.gov.br/?p=13911"
+titulo: "Rio de Janeiro, Capital Mundial da Arquitetura"
+autor: "Andrea Wanderley"
+data: "2020-07-19T13:14:52+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/2559", "20.500.12156.1/7762"]
+fetched_at: "2026-09-10T09:57:46.524Z"
+---
+
+# Rio de Janeiro, Capital Mundial da Arquitetura
+
+Marc Ferrez. Vista do Pão de Açúcar, c. 1890. Rio de Janeiro, RJ / Acervo IMS
+ 
+A Unesco anunciou, em 18 de janeiro de 2019, o Rio de Janeiro como a primeira cidade a se tornar capital mundial da arquitetura, título que teria até a realização do Congresso Mundial de Arquitetura, que ocorreria na cidade entre 19 e 23 de julho de 2020, evento adiado, segundo a União Internacional dos Arquitetos, para acontecer entre 18 e 22 de julho de 2021, devido à pandemia do coronavírus. A escolha do Rio de Janeiro deveu-se, naturalmente, à sua arquitetura, a suas belezas naturais, à herança cultural e à sua importância histórica. A Brasiliana Fotográfica já publicou vários artigos sobre monumentos, prédios e aspectos da natureza carioca como os Arcos da Lapa, a Avenida Central, o Castelo da Fiocruz, Copacabana, o Corcovado, o Cristo Redentor, o Hotel Glória, a Igreja da Glória, Ipanema e outros bairros, o Jardim Botânico, o Paço, o Palácio Real de São Cristóvão, o Pão de Açúcar, a Praça XV, o Real Gabinete Português de Leitura e o Theatro Municipal. Em tempos de isolamento social, convidamos nossos leitores a revisitarem essas publicações, fazendo um passeio virtual pelas belezas do Rio de Janeiro. Não se esqueçam de usar o zoom! Bom domingo!
+ 
+José dos Santos Affonso. Teatro Municipal, c. 1920. Rio de Janeiro, RJ / Acervo IMS
+ 
+ 
+100 anos do Castelo da Fiocruz: a ocupação da Fazenda de Manguinhos
+A criação do Jardim Botânico do Rio de Janeiro
+A fundação de Copacabana
+A fundação do Rio de Janeiro
+A Igreja de Nossa Senhora da Glória do Outeiro por Cássio Loredano
+A inauguração do Theatro Municipal do Rio de Janeiro
+A Praça XV na coleção Pereira Passos
+Avenida Central, atual Rio Branco
+Bairros do Rio
+Becos cariocas
+Carlos Bippus e as paisagens cariocas
+Inauguração do Cristo Redentor, 12/10/1931
+Ipanema pelas lentes de José Baptista Barreira Vianna (1860 – 1925)
+Manguinhos e a cidade do Rio de Janeiro
+O Hotel Glória: antes e depois
+O Paço, a praça e o morro
+O Palácio Real de São Cristóvão
+O Passeio Público do Rio de Janeiro
+O Rio de Janeiro de Marc Ferrez
+Os Arcos da Lapa e os bondes de Santa Teresa
+Real Gabinete Português de Leitura
+Uma homenagem aos 452 anos do Rio de Janeiro: o Corcovado e o Pão de Açúcar
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/2559` — `itens/20.500.12156.1_2559/`
+- `20.500.12156.1/7762` — `itens/20.500.12156.1_7762/`
+
diff --git a/wordpress/13932-a-bela-ilha-de-paqueta.md b/wordpress/13932-a-bela-ilha-de-paqueta.md
new file mode 100644
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+++ b/wordpress/13932-a-bela-ilha-de-paqueta.md
@@ -0,0 +1,53 @@
+---
+id: 13932
+url: "https://brasilianafotografica.bn.gov.br/?p=13932"
+titulo: "A bela Ilha de Paquetá"
+autor: "Andrea Wanderley"
+data: "2019-03-28T11:51:53+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/6233", "20.500.12156.1/3685", "20.500.12156.1/3537", "20.500.12156.1/6369"]
+fetched_at: "2026-09-10T09:57:49.818Z"
+---
+
+# A bela Ilha de Paquetá
+
+Por sua beleza e, provavelmente, por sua proximidade com o Rio de Janeiro, a Ilha de Paquetá, bairro localizado na Baía de Guanabara, foi eternizada por vários fotógrafos nos séculos XIX e XX. A Brasiliana Fotográfica traz para seus leitores uma seleção de imagens de Paquetá produzidas por Antônio Caetano da Costa Ribeiro (18? – 19?), Augusto Malta(1864 – 1957), Frederico Carlos Con, Jorge Kfuri (1893 – 1965), Juan Gutierrez (c. 1860 – 1897), Marc Ferrez (1843 – 1923), S.H. Holland (1883 – 1936) e Uriel Malta (1910 – 1994). Em 1555, o registro da descoberta de Paquetá foi feito por André Thevet (1502 – 1590), cosmógrafo da expedição comandada por Villegaignon (1510 – 1571), que tinha como objetivo fundar a França Antártica no Brasil. Na época, a ilha era habitada por índios tamoios. Em 10 de setembro de 1565, Paquetá foi doada pelo português Estácio de Sá (1520 – 1567), fundador e primeiro governador-geral do Rio de Janeiro, sob a forma de duas sesmarias, a dois de seus companheiros de luta contra os invasores franceses: a parte norte para Inácio de Bulhões e a parte sul para Fernão Valdez.  O significado do nome Paquetá, de origem tupi, é polêmica:  para alguns especialistas quer dizer “muitas pacas” e, para outros, “muitas conchas”.
+ 
+Marc Ferrez. Paquetá, c. 1885. Paquetá, RJ / Acervo IMS
+ 
+Acessando o link para as fotografias da Ilha de Paquetá disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas. 
+ 
+Antônio Caetano da Costa Ribeiro. Paquetá, c. 1914. Paquetá, RJ / Acervo FBN
+ 
+O príncipe regente do Brasil, D. João (1767 – 1826), que desde a chegada da Família Real ao Brasil, em 1808, frequentava a ilha, criou com um alvará especial a Freguesia do Senhor Bom Jesus do Monte, desvinculando Paquetá da Freguesia de Magé. Em 1903, os distritos de Paquetá e Governador foram unidos no Distrito das Ilhas e, em 1961, o governador do estado da Guanabara, Carlos Lacerda (1914 – 1977), criou o Distrito Administrativo de Paquetá. Em 1975, com a fusão da Guanabara e do Rio de Janeiro, a Ilha de Paquetá passou a pertencer à cidade do Rio de Janeiro. Tornou-se, em 1999, uma Área de Preservação do Ambiente Cultural – APAC. Seu padroeiro é São Roque.
+Paquetá teria sido a inspiração ou o cenário do romance A Moreninha (1844), marco da literatura romântica brasileira e obra-prima de seu autor, o médico e jornalista Joaquim Manuel de Macedo (1820 – 1882), sócio-fundador do Instituto Histórico e Geográfico Brasileiro.
+ 
+Marc Ferrez. Praia dos Coqueiros, c. 1884. Paquetá, RJ / Acervo IMS
+ 
+“É um espetáculo agradável o passeio em noite de luar.  As árvores açoutadas pelo Nordeste, o céu puro de nuvens, e o caminho branqueado de areia, fazem com que ao caminhar lentamente mais se alegre o nosso espírito!  Mas quando se presta atenção, e se houve o sussurro das árvores, quando se lança os olhares para a baía do lado sueste, e o mar plácido e prateado pelo clarão da Lua, se assemelha a um claro espelho, o coração se encanta, e o homem recorda-se de um Deus criador, e lembra-se necessariamente do Paraíso, onde foram  colocados nosso primeiros pais.  Mas, se derdes alguns passos, atravessando a ilha em direção leste, vereis tudo quanto tenho descrito, o mar agitado pela brisa, vem quebrar seus grossos vendavais nas lindas praias que o limitam.”
+Citação sobre Paquetá atribuída ao padre Joaquim da Rocha Cristallina, em 1869
+ 
+Juan Gutierrez. Vista de uma praia em Paquetá, c. 189?. Rio de Janeiro, RJ / Acervo Museu Histórico Nacional
+ 
+ 
+Andrea C. T. Wanderley
+Editora-assistente e pesquisadora do portal Brasiliana Fotográfica
+ 
+ 
+
+Fontes:
+CABRAL, Jacqueline Ribeiro. Paquetá, memórias da ilha. Rio de Janeiro : Prefeitura da Cidade do Rio de Janeiro, 1999.
+COARACY, Vivaldo. Paquetá. Rio de Janeiro : José Olympio, 1964.
+Ilha de Paquetá
+Portal Paquetá
+Rio 450 anos – Bairros do Rio – Paquetá
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/6233` — `itens/20.500.12156.1_6233/`
+- `20.500.12156.1/3685` — `itens/20.500.12156.1_3685/`
+- `20.500.12156.1/3537` — `itens/20.500.12156.1_3537/`
+- `20.500.12156.1/6369` — `itens/20.500.12156.1_6369/`
+
diff --git a/wordpress/14030-serie-o-rio-de-janeiro-desaparecido-viii-a-demolicao-do-morro-do-castelo.md b/wordpress/14030-serie-o-rio-de-janeiro-desaparecido-viii-a-demolicao-do-morro-do-castelo.md
new file mode 100644
index 0000000..c165dee
--- /dev/null
+++ b/wordpress/14030-serie-o-rio-de-janeiro-desaparecido-viii-a-demolicao-do-morro-do-castelo.md
@@ -0,0 +1,106 @@
+---
+id: 14030
+url: "https://brasilianafotografica.bn.gov.br/?p=14030"
+titulo: "Série “O Rio de Janeiro desaparecido” VIII – A demolição do Morro do Castelo"
+autor: "Andrea Wanderley"
+data: "2019-04-30T13:23:16+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/4668", "20.500.12156.1/4664", "20.500.12156.1/2735", "20.500.12156.1/4653"]
+fetched_at: "2026-09-10T09:57:52.890Z"
+---
+
+# Série “O Rio de Janeiro desaparecido” VIII – A demolição do Morro do Castelo
+
+O Morro do Castelo, um dos marcos da fundação da cidade de São Sebastião do Rio de Janeiro, foi registrado pelo alagoano Augusto Malta (1864 – 1957), fotógrafo oficial da prefeitura da cidade entre 1903 e 1936 e o principal fotógrafo da transformação urbana carioca nas primeiras décadas do século XX, período de grandes mudanças na cidade, dentre elas uma importante intervenção na paisagem natural carioca: a demolição do Morro do Castelo. O início do romance Esaú e Jacó, de Machado de Assis (1839 – 1908), lançado em 1904, parece ter sido uma profecia…
+“Era a primeira vez que as duas iam ao Morro do Castelo. Começaram de subir pelo lado da Rua do Carmo. Muita gente há no Rio de Janeiro que nunca lá foi, muita haverá morrido, muita mais nascerá e morrerá sem lá pôr os pés. Nem todos podem dizer que conhecem uma cidade inteira”.
+A demolição foi determinada pelo prefeito Carlos Sampaio (1861 – 1930), em 1921, decisão baseada, segundo o governo, na necessidade de higienização e modernização da cidade. São essas imagens, além de registros realizados por Torres (18? – 19?) e por fotógrafos ainda não identificados, que a Brasiliana Fotográfica traz hoje para seus leitores. O Morro do Castelo tinha 63 metros de altura, ocupava uma área de cento e oitenta e quatro mil metros quadrados e seus limites eram as atuais avenida Rio Branco (antiga avenida Central), as ruas Santa Luzia, Misericórdia e São José.
+ 
+Acessando o link para as fotografias da demolição do Morro do Castelo disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas. 
+ 
+ 
+Augusto Malta. Demolição do Morro do Castelo, 9 de outubro de 1922. Rio de Janeiro, RJ / Acervo IMS
+ 
+Em 1904, durante a gestão do prefeito Pereira Passos (1836 – 1913),  para a abertura da Avenida Central, a ladeira do Seminário e parte do Morro do Castelo foram destruídas, mas foi entre 1920 e 1922, na administração do engenheiro e prefeito Carlos Sampaio (1861 – 1930), que o morro, considerado um símbolo degradado do passado colonial português, foi demolido, por deliberação do decreto de 17 de agosto de 1920 (Jornal do Brasil, 18 de agosto de 1920, quinta coluna).
+ 
+Torres. Demolição do Morro do Castelo para a construção da Avenida Central, 1904. Rio de Janeiro, RJ / Acervo IMS
+ 
+Jornal do Brasil, 18 de agosto de 1920
+A decisão, baseada em um discurso de higienização e modernização da cidade, causou muita polêmica, tendo sido criticada por vários intelectuais como Monteiro Lobato (1882 – 1948) em seu texto Luvas!, de 1920:
+“…Ouve sempre cochichos suspeitos nos quais um estribilho soa insistente: precisamos arrasar o Morro do Castelo! Sente-se condenado como a árvore secular que caiu nas unhas de um vendedor de lenha, preocupadíssimo com o cálculo das carradas prováveis. Percebe que virou negócio, que o verdadeiro tesouro oculto em suas entranhas não é a imagem de ouro maciço de Santo Inácio, e sim o panamá do arrasamento. Os homens de hoje são negocistas sem alma. Querem dinheiro. Para obtê-lo venderão tudo, venderiam até a alma se a tivessem. Como pode ele, pois, resistir a maré, se suas credenciais – velhice, beleza, pitoresco, historicidade – não são valores de cotação na bolsa?”
+Outro crítico do arrasamento do Morro do Castelo foi o escritor Lima Barreto (1881 – 1922) e, na edição de 28 de agosto de 1920, da revista Careta, foi publicado seu artigo, Megalomania.
+ 
+Careta, 28 de agosto de 1920
+ 
+Porém a iniciativa foi saudada por personalidades importantes como o sanitarista Belisário Pena (1868 – 1939) (Jornal do Brasil, 21 de agosto de 1920, terceira coluna), que parabenizou o prefeito. Os cerca de 4 mil moradores do Morro do Castelo eram trabalhadores e pobres e seriam instalados, inicialmente, em barracos na Praça da Bandeira. Máquinas e empréstimos no valor de US$ 12 milhões foram contratados para o arrasamento do morro. Outras obras significativas de Sampaio foram o saneamento e aterro da área em torno da Lagoa Rodrigo de Freitas, a atual avenida Epitácio Pessoa; e a construção da avenida Maracanã.
+ 
+Augusto Malta. Demolição do Morro do Castelo, no alto do morro, as ruínas da Igreja de São Sebastião, 14 de outubro de 1922. Rio de Janeiro, RJ / Acervo IMS
+ 
+Um pouco da história
+A cidade de São Sebastião do Rio de Janeiro foi fundada no Morro Cara de Cão em 1º de março de 1565 e, após a expulsão dos invasores franceses, dois anos depois, foi, por escolha do governador-geral do Brasil, Mem de Sá (1500 – 1572), reinstalada no Morro de São Januário, posteriormente denominado Descanso, Alto da Sé, Alto de São Sebastião e, finalmente, Morro do Castelo. A escolha do ponto, da onde se via a Baía de Guanabara, sua porta de entrada, foi estratégico para a defesa da cidade em caso de possíveis futuros ataques. Murado e fortificado, o Rio de Janeiro no Morro do Castelo passou a abrigar a Casa do Governador, a Casa da Câmara, a Cadeia, o Colégio dos Jesuítas, armazéns e igrejas. Foi lá fundada a primeira Sé Catedral, para onde foi levada o marco de pedra de fundação da cidade, anteriormente no sopé do Morro Cara de Cão, e também os restos mortais do militar português Estácio de Sá (1520 – 1567), fundador do Rio de Janeiro.
+ 
+Parte de Panorama de Emilio Bausch / História do Morro do Castelo
+ 
+Moradores do Morro do Castelo / Careta, 19 de julho de 1924
+ 
+Morro do Castelo – O que ainda resta / Careta, 26 de julho de 1924
+ 
+O título deste artigo foi alterado de A demolição do Morro do Castelo para Série O Rio de Janeiro desaparecido VIII – A demolição do Morro do Castelo, em 16 de setembro de 2021.
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Andrea C. T. Wanderley
+Editora-assistente e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+BARROS, Paulo Cezar de. Onde nasceu a cidade do Rio de Janeiro? ( um pouco da história do Morro do Castelo). Revista geo-paisagem (online ) Vol. 1, número 2, julho/dezembro de 2002
+Blog do Jornal do Brasil, 9 de março de 2011
+Hemeroteca Digital da Biblioteca Nacional
+LOBATO, Monteiro. Onda Verde. São Paulo: Monteiro Lobato e C., 1921.
+MENEZ, Alexssandro. Civilização versus barbárie: a destruição do Morro do Castelo no Rio de Janeiro (1905-1922). Revista Historiador Número 06. Ano 06. Janeiro de 2014.
+MOTTA, Marly Silva da. A nação faz cem anos: a questão nacional no centenário da independência. Rio de Janeiro: Editora FGV: CPDOC, 1992.
+NONATO, José Antônio Era uma vez o Morro do Castelo. Rio de Janeiro: Casa da Palavra, 2000.
+PAIXÃO, Cláudia Míriam Quelhas. O Rio de Janeiro e o morro do Castelo: populares, estratégias de vida e hierarquias sociais (1904-1922). Dissertação de mestrado. Niterói: UFF, 2008.
+Site do Diário do Rio
+Site do CPDOC
+ 
+Augusto Malta. Demolição do Morro do Castelo, 31 de agosto de 1922. Rio de Janeiro, RJ / Acervo IMS
+ 
+ 
+Links para os outros artigos da Série O Rio de Janeiro desaparecido
+ 
+Série O Rio de Janeiro desaparecido I - Salas de cinema do Rio de Janeiro do início do século XX, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 26 de fevereiro de 2016.
+Série O Rio de Janeiro desaparecido II – A Exposição Nacional de 1908 na Coleção Família Passos, de autoria de Carla Costa, historiadora do Museu da República, publicado na Brasiliana Fotográfica, em 5 de abril de 2018.
+Série O Rio de Janeiro desaparecido III – O Palácio Monroe, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica, em 9 de novembro de 2016.
+Série O Rio de Janeiro desaparecido IV - A via elevada da Perimetral, de autoria da historiadora Beatriz Kushnir, publicado na Brasiliana Fotográfica em 23 de junho de 2017.
+Série O Rio de Janeiro desaparecido V – O quiosque Chopp Berrante no Passeio Público, Ferrez, Malta e Charles Dunlop, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 20 de julho de 2018.
+Série O Rio de Janeiro desaparecido VI – O primeiro Palácio da Prefeitura Municipal do Rio de Janeiro, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 12 de setembro de 2018.
+Série O Rio de Janeiro desaparecido VII – O Morro de Santo Antônio na Casa de Oswaldo Cruz, de autoria de historiador Ricardo Augusto dos Santos da Casa de Oswaldo Cruz, publicado na Brasiliana Fotográfica em 5 de fevereiro de 2019.
+Série O Rio de Janeiro desaparecido IX – Estrada de Ferro Central do Brasil: estação e trilhos, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 12 de novembro de 2019.
+Série O Rio de Janeiro desaparecido X – No Dia dos Namorados, um pouco da história do Pavilhão Mourisco em Botafogo, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 12 de junho de 2020.
+Série O Rio de Janeiro desaparecido XI – A Estrada de Ferro do Corcovado e o mirante Chapéu de Sol, de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 22 de julho de 2021.
+Série O Rio de Janeiro desaparecido XII – o Teatro Lírico (Theatro Lyrico), de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 15 de setembro de 2021.
+Série O Rio de Janeiro desaparecido XIII – O Convento da Ajuda, de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 12 de outubro de 2021.
+Série O Rio de Janeiro desaparecido XIV – O Conselho Municipal, de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 19 de novembro de 2021.
+Série O Rio de Janeiro desaparecido XV – A Praia de Santa Luzia no primeiro dia do verão, de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 21 de dezembro de 2021.
+Série O Rio de Janeiro desaparecido XVI – O prédio da Academia Imperial de Belas Artes, de autoria de Andrea C.T. Wanderley, publicado na Brasiliana Fotográfica em 13 de janeiro de 2022.
+Série O Rio de Janeiro desaparecido XVII – Igreja São Pedro dos Clérigos, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 18 de março de 2022.
+Série O Rio de Janeiro desaparecido XVIII – A Praça Onze, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 20 de abril de 2022.
+Série O Rio de Janeiro desaparecido XIX – A Igrejinha de Copacabana, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 23 de junho de 2022.
+Série O Rio de Janeiro desaparecido XX – O Pavilhão dos Estados, futuro prédio do Ministério da Agricultura, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 26 de julho de 2022.
+Série O Rio de Janeiro desaparecido XXI – O Chafariz do Largo da Carioca, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 19 de setembro de 2022. 
+Série O Rio de Janeiro desaparecido XXII – A Cadeia Velha que deu lugar ao Palácio Tiradentes, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 11 de abril de 2023
+Série O Rio de Janeiro desaparecido XXIII e Avenidas e ruas do Brasil XVII - A Praia e a Rua do Russel, na Glória, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 15 de maio de 2023
+Série O Rio de Janeiro desaparecido XXIV – O luxuoso Palace Hotel, na Avenida Rio Branco, uma referência da vanguarda artística no Rio de Janeiro, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 4 de julho de 2023
+Série O Rio de Janeiro desaparecido XXV – O Theatro Phenix, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 5 de setembro de 2023
+Série O Rio de Janeiro desaparecido XXVI – Conclusão do arrasamento do Morro do Castelo por Augusto Malta, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 14 de dezembro de 2023
+Série O Rio de Janeiro desaparecido XXVII e Série Os arquitetos do Rio de Janeiro V – O Jockey Club e o Derby Club, na Avenida Rio Branco e o arquiteto Heitor de Mello (1875 – 1920), de autoria de Andrea c. T. Wanderley, editora e pesquisadora do portal, em 15 de janeiro de 2024
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/4668` — `itens/20.500.12156.1_4668/`
+- `20.500.12156.1/4664` — `itens/20.500.12156.1_4664/`
+- `20.500.12156.1/2735` — `itens/20.500.12156.1_2735/`
+- `20.500.12156.1/4653` — `itens/20.500.12156.1_4653/`
+
diff --git a/wordpress/14095-o-rio-de-janeiro-de-juan-gutierrez.md b/wordpress/14095-o-rio-de-janeiro-de-juan-gutierrez.md
new file mode 100644
index 0000000..ec347b5
--- /dev/null
+++ b/wordpress/14095-o-rio-de-janeiro-de-juan-gutierrez.md
@@ -0,0 +1,142 @@
+---
+id: 14095
+url: "https://brasilianafotografica.bn.gov.br/?p=14095"
+titulo: "O Rio de Janeiro de Juan Gutierrez"
+autor: "Andrea Wanderley"
+data: "2019-03-01T09:13:32+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/6263", "20.500.12156.1/6256", "20.500.12156.1/6255", "20.500.12156.1/6274", "20.500.12156.1/6314", "20.500.12156.1/6298", "20.500.12156.1/6318", "20.500.12156.1/6310", "20.500.12156.1/6283", "20.500.12156.1/6284", "20.500.12156.1/6261", "20.500.12156.1/6330", "20.500.12156.1/6354"]
+fetched_at: "2026-09-10T09:57:56.181Z"
+---
+
+# O Rio de Janeiro de Juan Gutierrez
+
+Em homenagem à fundação do Rio de Janeiro, que completa hoje 454 anos, o portal publica o artigo O Rio de Janeiro de Juan Gutierrez (c. 1860 – 1897), da historiadora Maria Isabel Ribeiro Lenzi, do Museu Histórico Nacional, uma das instituições parceiras da Brasiliana Fotográfica. O texto nos convida a fazer, a partir das fotografias do espanhol Juan Gutierrez de Padilla, um passeio pela cidade na última década do século XIX. Provavelmente nascido nas Antilhas, Gutierrez foi um dos mais importantes fotógrafos paisagistas do século XIX e um dos maiores cronistas visuais do Rio de Janeiro, tendo registrado a transição da cidade imperial para a cidade republicana. Entre 1892 e 1896, produziu a maior parte de suas fotografias de paisagens cariocas, que eram vendidas para estrangeiros que visitavam a cidade. Partiu para Canudos em 1897, onde, em 28 de junho, foi mortalmente ferido (Jornal do Commercio, 13 de julho de 1897, na terceira coluna sob o título “Expedição de Canudos” e O Paiz, 7 de setembro de 1897, na primeira coluna).
+ 
+O Rio de Janeiro de Juan Gutierrez
+Maria Isabel Ribeiro Lenzi*
+ 
+Juan Gutierrez. Panorama tomado do Silvestre, 189?. Rio de Janeiro, RJ / Acervo Museu Histórico Nacional
+ 
+Pouco se sabe sobre o cidadão espanhol Juan Gutierrez de Padilla. Especula-se que tenha nascido nas Antilhas, talvez na ilha de Cuba. O certo é que nas décadas de 1880 e 1890 ele era um fotógrafo conhecido no Rio de Janeiro, onde havia se estabelecido. Não sabemos exatamente quando chegou por aqui, mas nos anos 1880 era proprietário da Cia. Photographica Brazileira e da Juan Gutierrez e Cia. União, ambas no Rio de Janeiro à Rua Gonçalves Dias, 40, e Rua da Carioca, 114. Ele recebeu de D. Pedro II o título de fotógrafo da Casa Imperial bem no ocaso do Império, em agosto de 1889.
+Com a República, Gutierrez se naturalizou brasileiro e, em 1893,  foi contratado pelo exército para documentar as tropas na Revolta da Armada. Essas fotos são célebres, tendo inclusive recebido a chancela de Memória do Mundo, pela Unesco. Menos conhecido, entretanto, é o conjunto de imagens primorosas do Rio de Janeiro do final do século XIX fixadas pela câmera de Gutierrez.
+Acessando o link para as fotografias do Rio de Janeiro de autoria de Juan Gutierrez do acervo fotográfico do Museu Histórico Nacional e disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas. 
+Por meio delas o fotógrafo nos convida para um passeio pela cidade e seus arredores. Começamos pelo cais da Praça 15, antigo Largo do Paço. Vemos o mercado e uma grande construção redonda, a grande rotunda que, naqueles anos de 1890, Victor Meireles havia montado na praça para expor seus panoramas. Ali o pintor exibiu ao público carioca, em 1890, o panorama da Baía do Rio de Janeiro que um ano antes havia apresentado em Paris. Depois, provavelmente em 1896, Victor Meireles produziu o panorama Entrada da Esquadra Legal na Revolta da Armada: Ruínas da Fortaleza de Villegaignon, que viria a ser exposto no mesmo espaço. É, pois, esta rotunda – um must na vida cultural carioca de então – que Gutierrez nos mostra na praça.
+ 
+Juan Gutierrez. Cais Pharoux e Mercado da Praia do Peixe, 189?. Rio de Janeiro, RJ / Acervo Museu Histórico Nacional
+ 
+Todavia também podemos ver o comércio popular, o lado africano da cidade. É possível quase sentir o cheiro e ouvir o burburinho do mercado de peixe com os barcos ancorados depois de trazer mercadorias do fundo da Baía da Guanabara. Os balaios, os panos usados pelas negras, os quais tomamos como turbantes, mas que serviam para acomodar a cesta de mercadoria sobre a cabeça. Os quiosques, que viriam a ser retirados da paisagem carioca nas reformas de Pereira Passos, aqui ainda se revelam um componente importante na vida quotidiana do trabalhador.
+ 
+Juan Gutierrez. Mercado da Praia do Peixe, 189?. Rio de Janeiro, RJ / Acervo Museu Histórico Nacional
+ 
+A cidade também é fotografada inteira, a partir dos seus diversos mirantes: da ilha das Cobras, Gutierrez aponta para o litoral até a ponta do Calabouço, para a cidade em frente em frente à ilha e, no outro lado, para o litoral da Prainha, Saúde e Gamboa. Aí é possível ver um Rio de Janeiro, ainda cidade portuguesa, com as torres de suas igrejas que dominavam o cenário. Os morros do Castelo, da Glória, de Santo Antônio, do Senado, as Docas de André Rebouças, as ilhas das Cobras e Fiscal também têm papel relevante no ensaio fotográfico que produziu do Rio de Janeiro.
+ 
+Juan Gutierrez. Cais dos Mineiros, c. 189?. Rio de Janeiro, RJ / Acervo Museu Histórico Nacional 
+ 
+A qualidade das fotografias em albumina de Gutierrez é tamanha que, ampliadas, revelam em detalhe os diversos trapiches do porto, bem como os trapiches e casas de banho da praia de Santa Luzia.
+ 
+Juan Gutierrez. Praia de Santa Luzia, c.189?. Rio de Janeiro, RJ / Acervo Museu Histórico Nacional
+ 
+A Ilha Fiscal mereceu duas fotos só pra ela… Deviam estar na memória do povo as luzes elétricas que iluminaram a ilha no dia 9 de novembro de 1889. O último e mais luxuoso baile que o Império do Brasil promoveu foi naquela pequena ilha em frente ao litoral da Praça 15 e provavelmente, ainda era assunto nas conversas e no imaginário carioca. Não poderia, portanto, faltar nas lentes de nosso fotógrafo.
+ 
+Juan Gutierrez. Ilha Fiscal, c. 189?. Rio de Janeiro, RJ / Acervo Museu Histórico Nacional
+ 
+Os telhados e ruas da cidade são retratados do alto de muitos morros, três dos quais não existem mais: Senado, Castelo e Santo Antônio. Mas, naquela altura, eles eram integrados à cidade, abrigando chácaras, igrejas e, no caso do Castelo, a cidadela que deu origem ao Rio. No Castelo moravam muitas lavadeiras que a câmera de Gutierrez nos deixa ver suas roupas a serem alvejadas nos quaradouros de bambu…
+ 
+Juan Gutierrez. Panorama da Lapa, c. 189?. Rio de Janeiro, RJ / Acervo Museu Histórico Nacional
+ 
+ 
+Juan Gutierrez. Morro do Castelo, c.189?. Rio de Janeiro, RJ / Acervo Museu Histórico Nacional
+ 
+Ele também fotografou as ruas. Assim vemos o antigo prédio da municipalidade que foi derrubado para a abertura da Avenida Presidente Vargas. Se ampliarmos a imagem, são reveladas as senhoras com suas sombrinhas para se proteger do sol. Era moda. Podemos também, se fizermos um zoom, contemplar na, Rua Primeiro de Março, à altura do Restaurante Carceller, os engraxates com suas caixas para trabalhar e os pormenores dos diversos transportes – charretes, vitórias, coupés, bondes – puxados a burro.
+ 
+Juan Gutierrez. Prédio da Prefeitura do Rio de Janeiro, 189?. Rio de Janeiro, RJ / Acervo Museu Histórico Nacional
+ 
+Podemos conhecer também o edifício da Imprensa Nacional, à Rua 13 de maio, projeto da Antônio Paula Freitas, inaugurado em 1877 e demolido em 1941. Ampliando a imagem, observamos um vendedor de pequenas mercadorias que hoje chamamos de camelô, bem como podemos notar, atrás do prédio da Imprensa Nacional, os primeiros barracos a serem construídos no Morro Santo Antônio, que abrigou uma grande favela no centro do Rio de Janeiro e que no final de década de 1950 foi arrasado.
+ 
+Juan Gutierrez. Prédio da Imprensa Nacional, 189?. Rio de Janeiro, RJ / Acervo Museu Histórico Nacional
+ 
+Gutierrez também nos revela a existência de um plano inclinado entre as ruas Matacavalos (atual Riachuelo) e o Largo dos Guimarães, em Santa Teresa. O equipamento movido a vapor foi inaugurado em 1877 e permaneceu em funcionamento até por volta de 1894. A fotografia nos apresenta a entrada do grande viaduto de ferro do plano inclinado com o pequeno bondinho, no interior do qual podemos distinguir o condutor.
+ 
+Juan Gutierrez. Morro do Senado e adjacências, c. 189?. Rio de Janeiro, RJ / Acervo Museu Histórico Nacional
+ 
+Outra imagem surpreendente é a da Praia da Saudade, pois muita gente não imagina que ali, onde hoje está o Iate Clube, havia uma linda praia emoldurada pelo Morro de Urca e o Morro do Pasmado. Ao fundo, o Pão de Açúcar que vez por outra virava ilha, quando a faixa de areia que o ligava ao continente era inundada pela maré cheia!
+ 
+Juan Gutierrez. Praia da Saudade, c. 189?. Rio de Janeiro, RJ / Acervo Museu Histórico Nacional
+Finalmente, para terminar, Gutierrez registrou alguns lugares então afastados da cidade, mas muito frequentados por aqueles que buscavam ar fresco e uma maior proximidade com a natureza: a Floresta da Tijuca, Copacabana, a ilha de Paquetá, o Silvestre e o Jardim Botânico. E ainda hoje, esses locais são procurados pela população quando deseja usufruir um momento de lazer e de paz.
+ 
+Juan Gutierrez. Mirante Chapéu do Sol, c. 189?. Rio de Janeiro, RJ / Acervo Museu Histórico Nacional
+ 
+Gutierrez, em 1897, se dirigiu ao sertão baiano com a perspectiva de documentar a guerra de Canudos. Infelizmente, veio a falecer no conflito e, se sua câmera registrou imagens, até a atualidade não são conhecidas.
+ 
+Desenho retratando Juan Gutierrez publicado no jornal O Paiz, 14 de julho de 1897
+ 
+*Maria Isabel Ribeiro Lenzi é Doutora em História pela UFF e historiadora do Arquivo Histórico do Museu Histórico Nacional (IBRAM/MinC)
+ 
+ 
+ 
+Cronologia de Juan Gutierrez de Padilla
+Andrea C.T. Wanderley **
+Verso do cartão-suporte do ateliê fotográfico J. Gutierrez, sucessor da Companhia Photographica do Brazil
+ 
+c. 1860 – o espanhol Juan Gutierrez de Padilla nasceu, provavelmente, nas Antilhas, na época, uma colônia espanhola. Porém, outras fontes afirmam que ele teria nascido em Cuba ou na África.
+1885 / 1887 - Período provável de sua chegada ao Brasil, vindo da cidade do Porto, Portugal.
+1889 – Trabalhava na Photographia União, localizada na rua da Carioca, nº 114. Em 3 de agosto, recebeu o título de “Fotógrafo da Casa Imperial”.  Participou do movimento pela Proclamação da República como tenente da Guarda Nacional. Gutierrez naturalizou-se brasileiro, aproveitando o decreto de Deodoro da Fonseca (1827 – 1892), o primeiro presidente do Brasil, que concedeu aos estrangeiros que residiam no país na data de 15 de novembro, quando a República foi proclamada, a nacionalidade brasileira.
+1890 – Foi concedida licença para que Gutierrez usasse as armas da República no seu estabelecimento, a Photographia União (Diário de Notícias, 18 de julho de 1890, na quinta coluna, sob o título “Armas da República”).
+Em 29 de setembro, foi constituída uma sociedade anônima denominada Companhia Photographica Brazileira, com 31 acionistas. Gutierrez foi eleito diretor técnico do negócio. De um total de cinco mil ações, era proprietário de 100 ações do empreendimento (Jornal do Commercio, 30 de setembro de 1890, na primeira coluna). Agregou às atividades do estabelecimento, o comércio de produtos e equipamentos fotográficos. Foi anunciada a incorporação da Companhia Photographica Brazileira pelo Banco Constructor (Diário do Commercio, 25 de setembro de 1890). Foi publicada a ata da instalação da Companhia Photographica Brazileira (Gazeta da Tarde, 24 de outubro de 1894, na primeira coluna).
+1891 – Gutierrez anunciou a venda da Photographia União (Jornal do Commercio, 17 de dezembro de 1891, na quarta coluna, sob o título “Photographia à venda“)
+1892 – Em 1º de janeiro, foi inaugurado o edifício da Companhia Photographica Brazileira, na rua Gonçalves Dias, 40, sob a direção técnica de Juan Gutierrez (Jornal do Commercio, 2 de janeiro de 1892, na sétima coluna sob o título “Companhia Photographica” ). Foi noticiada a inauguração das oficinas de fototipia da Companhia Photographica Brazileira. De acordo com a notícia, pela primeira vez fotografias perfeitas eram produzidas no Rio de Janeiro e isso se devia ao talento e ao trabalho de Gutierrez (O Combate, 27 de fevereiro de 1892, na quinta coluna).
+Em 17 de junho, a sociedade da Companhia Photographica Brazileira foi dissolvida e o maior credor da empresa, o conselheiro Francisco de Paula Mayrink recebeu os imóveis sociais e demais ativos do empreendimento.
+Em 29 de setembro, Gutierrez solicitou à Junta Comercial do Rio de Janeiro permissão para a abertura de uma nova firma, chamada J. Gutierrez, no mesmo endereço da anterior.
+1893 – Foi fundado o semanário O Álbum e Gutierrez tornou-se responsável pelos trabalhos fotográficos. Artur Azevedo (1855 – 1908) era o diretor literário da publicação. Na edição de maio, Castro Soromenho dedicou-lhe o poema “Desegaño”, no qual confessava seu amor pelo fotógrafo. Imediatamente o poeta foi impedido de frequentar a redação de O Álbum e, em 12 de junho, foi definitivamente afastado do periódico.
+Em 6 de setembro, início da Revolta da Armada, comandada pelo almirante Custódio de Mello (1840 – 1902), amplamente fotografada por Gutierrez.
+1894 – Em 13 de março, fim da Revolta da Armada.
+Foi noticiada a exposição, no ateliê de Gutierrez, de um quadro fotográfico retratando o marechal Eneas Galvão (1832 – 1895) rodeado por seus ajudantes de ordem. O quadro seria ofertado ao marechal, que foi ministro da Guerra durante o governo de Floriano Peixoto (1839 – 1895) (O Paiz, 23 de maio de 1894, na segunda coluna).
+O primeiro número da publicação quinzenal Illustração Sul-Americana trazia diversos retratos de autoria de Gutierrez: do marechal Floriano Peixoto (1839 – 1895), de Affonso Pena (1847 – 1909), do presidente da República Prudente de Moraes (1841 – 1902), do capitão-tenente José Carlos de Carvalho e do jornalista Artur Azevedo (1855 – 1908) (O Paiz, de 21 de julho de 1894, nas sexta e sétima colunas).
+Em 17 de setembro, foi inaugurada a Confeitaria Colombo, ao lado do ateliê de Gutierrez, onde ele, além de trabalhar, residia. Logo a confeitaria tornou-se um dos pontos mais concorridos da cidade, contribuindo para o aumento do movimento em torno da casa fotográfica de Gutierrez.
+Em novembro, Gutierrez foi o fotógrafo do álbum Recordação das festas nacionais, em homenagem aos cinco anos da proclamação da República brasileira. Registrou grandes manifestações populares em vários pontos da cidade: banquetes, desfiles militares , além de cerimônias cívicas e inaugurações de monumentos. Esse trabalho pode ser considerado um exemplo precursor da linguagem da fotografia jornalística.
+Foi publicada uma propaganda dos cigarros Bouquet: “em cada carteira contem o retrato de uma das notabilidades brazileiras ou estrangeiras, perfeição, creditadas pela casa J. Gutierrez & C., sucessora da Companhia Photographica. A colecção completa comprehenderá 200 RETRATOS” (O Paiz, 14 de novembro de 1894).
+1895 – O periódico A Cigarra, de 29 de agosto de 1895 elogiou a arte do fotógrafo: “Que homem este Gutierrez! Tenacidade, talento, amor e trabalho!”
+1896 – Foi publicado um elogio às fotografias produzidas por Gutierrez  pela técnica da platinotipia: “…nada há mais perfeito do que o trabalho de Gutierrez…” (O Paiz, 3 de junho de 1896, na última coluna, sob o título “Commercio, Industria e Arte).
+Eclodiu o conflito em Canudos e, após a derrota da expedição comandada pelo coronel Moreira César (1850 – 1897), Gutierrez decidiu incorporar-se como ajudante de ordens do general João da Silva Barbosa.
+1897 – Antes de partir para Canudos, Gutierrez lavrou seu testamento e nomeou como testamenteiros e inventariantes Manoel Rodrigues Monteiro de Azevedo, Francisco de Paula Mayrink, José Carlos de Carvalho e José do Patrocínio (1853 – 1905). Suas beneficiárias foram sua mãe, Francisca Vicente Vandrel e a amiga viúva, Orlandina Aurora Rosani.
+Juan Gutierrez foi promovido de tenente a capitão da Guarda Nacional (O Paiz, 19 de fevereiro de 1897, na sexta coluna).
+Desembarcou em Salvador, em 2 de abril, e seguiu para  Canudos.
+Sua ida para Canudos foi um dos assuntos da coluna “Semanaes”, de Anselmo Ribas (A Notícia, 10 e 11 de julho de 1897).
+Em 28 de junho, foi mortalmente ferido (Jornal do Commercio, 13 de julho de 1897, na terceira coluna sob o título “Expedição de Canudos” e O Paiz, 7 de setembro de 1897, na primeira coluna).
+Sua morte foi também noticiada no O Paiz, de 14 de julho de 1897, na primeira página, com um artigo de Luiz Murat (1861 – 1929) em sua homenagem.  No livro Os Sertões, Euclides da Cunha (1866 – 1909) referiu-se a ele como um “Oficial honorário, um artista que fora até lá atraído pela estética sombria das batalhas”.
+Foi publicado o que um dos amigos mais próximos de Gutierrez, o tenente Frederico Luiz da Costa, escreveu a respeito dele (O Paiz, de 23 de julho de 1897, na primeira coluna).
+Foram realizadas na Igreja de São Francisco de Paula, as missas em sufrágio da alma de Juan Gutierrez. Foi celebrada pelo monsenhor Amorim, ajudado pelo cônego Polinca e pelos padres Teixeira, Colaço, Próspero, Guimarães e Pitta. Uma multidão lotou a igreja, onde a marcha fúnebre foi executada por uma banda militar. No dia anterior, na mesma igreja, havia sido celebrada uma missa na intenção de Gutierrez por Antônio Costa e Orlandina Aurora Rosani, que recebeu um terço dos bens do fotógrafo (O Paiz, 19 de agosto de 1897, na quarta coluna e 20 de agosto de 1897, na sexta coluna).
+Fim da Guerra de Canudos, em 5 de outubro de 1897.
+1898 – O ateliê fotográfico de Juan Gutierrez encontrava-se em processo de liquidação (O Paiz, 3 de janeiro de 1898, na última coluna). Havia uma disputa em torno do estabelecimento envolvendo Frederico Luiz da Costa, Alfredo Franco e Luiz Musso ( O Paiz, 12 de fevereiro de 1898, na quarta coluna).
+A Associação dos Empregados do Comércio do Rio de Janeiro comprou o prédio da Gonçalves Dias, nº 40, onde havia funcionado o ateliê fotográfico de Gutierrez (O Paiz, 15 de junho de 1898, na quinta coluna).
+ 
+**Andrea C. T. Wanderley
+Editora-assistente e pesquisadora do portal Brasiliana Fotográfica
+ 
+Link para o artigo O fotógrafo Juan Gutierrez de Padilla (c. 1860 – 28/6/1897), publicado na Brasiliana Fotográfica em 28 de junho de 2016.
+ 
+Outros artigos publicados na Brasiliana Fotográfica em comemoração ao aniversário do Rio de Janeiro
+A fundação do Rio de Janeiro, publicado em 1º de março de 2016, de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal Brasiliana Fotográfica
+Uma homenagem aos 452 anos do Rio de Janeiro: o Corcovado e o Pão de Açúcar, publicado em 1º de março de 2017, de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal Brasiliana Fotográfica
+A Praça Paris no aniversário do Rio de Janeiro, publicado em 1º de março de 2023, de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal Brasiliana Fotográfica
+O Rio de Janeiro nos cartões-postais da Papelaria e Typographia Botelho, publicado em 1° de março de 2024, de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal Brasiliana Fotográfica
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/6263` — `itens/20.500.12156.1_6263/`
+- `20.500.12156.1/6256` — `itens/20.500.12156.1_6256/`
+- `20.500.12156.1/6255` — `itens/20.500.12156.1_6255/`
+- `20.500.12156.1/6274` — `itens/20.500.12156.1_6274/`
+- `20.500.12156.1/6314` — `itens/20.500.12156.1_6314/`
+- `20.500.12156.1/6298` — `itens/20.500.12156.1_6298/`
+- `20.500.12156.1/6318` — `itens/20.500.12156.1_6318/`
+- `20.500.12156.1/6310` — `itens/20.500.12156.1_6310/`
+- `20.500.12156.1/6283` — `itens/20.500.12156.1_6283/`
+- `20.500.12156.1/6284` — `itens/20.500.12156.1_6284/`
+- `20.500.12156.1/6261` — `itens/20.500.12156.1_6261/`
+- `20.500.12156.1/6330` — `itens/20.500.12156.1_6330/`
+- `20.500.12156.1/6354` — `itens/20.500.12156.1_6354/`
+
diff --git a/wordpress/14156-a-cidade-como-arquivo-o-arquivo-da-cidade.md b/wordpress/14156-a-cidade-como-arquivo-o-arquivo-da-cidade.md
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+++ b/wordpress/14156-a-cidade-como-arquivo-o-arquivo-da-cidade.md
@@ -0,0 +1,60 @@
+---
+id: 14156
+url: "https://brasilianafotografica.bn.gov.br/?p=14156"
+titulo: "A cidade como Arquivo, o Arquivo da Cidade"
+autor: "Andrea Wanderley"
+data: "2019-03-01T11:46:11+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/6381", "20.500.12156.1/6383", "20.500.12156.1/4274", "20.500.12156.1/6377"]
+fetched_at: "2026-09-10T09:57:59.175Z"
+---
+
+# A cidade como Arquivo, o Arquivo da Cidade
+
+Seguindo a diretriz das Ordenações Manuelinas (1512-1603), manifestação da vontade do rei de Portugal, dom Manuel I (1469-1521) de homogeneizar e controlar a administração do crescente Império Português, firmou-se no Rio de Janeiro  uma “arca grande e boa” para a guarda dos documentos públicos, que deram origem ao acervo em depósito no Arquivo Geral da Cidade do Rio de Janeiro (AGCRJ), uma das instituições parceiras da Brasiliana Fotográfica. É essa história, escrita pela diretora da AGCRJ, Beatriz Kushnir, que o portal publica hoje em homenagem aos 454 anos da fundação do Rio de Janeiro, instituída por Estácio de Sá (1520 – 1567) em um terreno plano entre os morros Cara de Cão e Pão de Açúcar.
+ 
+A cidade como Arquivo, o Arquivo da Cidade
+Beatriz Kushnir*
+ 
+Somos uma cidade que nasceu lusa. A República se esforçou para apagar os traços de nossa tradição ibérica e teve algum êxito. Mas a forma como nos relacionamos com a burocracia, esta é portuguesa. Aprendemos com eles a circularidade das informações, com cópias, autenticações, três vias, etc.
+No processo de expansão ultramarino, a implementação da imprensa permitiu que das manuscritas Ordenações Afonsinas, a lei tipograficamente formatada alcançasse os quatro cantos do Reino na compilação conhecida como Ordenações Manuelinas (1512-1603). Incluso no modus vivendi desta revisão legislativa, há a vontade do rei D. Manuel I (1469-1521), que assumiu a Coroa aos 26 anos, de homogeneizar e controlar a administração do crescente Império Português.
+Acessando o link para as fotografias relacionadas a essa publicação e disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+Certamente, a letra impressa permitiu a divulgação e assegurou o conhecimento da legislação. E pela compilação das normas no regulamento, a tentativa de unificação do território. D. Manuel I, o nosso 1º governante, instituiu esse corpo legislativo, que aqui conheceu efetiva vigência no primeiro século das Terras de Santa Cruz. Embora as Ordenações Manuelinas tenham sido revogadas pelas Filipinas, em 1603, acabaram perdurando no tempo. Grande parte de seu conteúdo estava incluso na legislação subsequente e inúmeras de suas disposições continuaram em vigor. Tais normas atravessaram a Independência do Brasil, o 2º Império e a República. Mais de três séculos depois é que o Código Civil de 1917 foi promulgado.
+Refletir sobre as Ordenações é mapear o processo de estabelecimento do direito português, monárquico e centralizador, onde a Corte era tida como a “última instância de recurso” no Reino e o Rei, a “última instância de justiça”. O primeiro livro das Ordenações Manuelinas, editado em dezembro de 1512, abarcava os regimentos, os cargos e as atribuições da administração judiciária. É nele que se arrolam as categorias de chanceleres-mor, desembargadores, corregedores, ouvidores, meirinhos, porteiros, carcereiros, entre outros. Há igualmente, as cláusulas quanto a administração e as pontuações quanto aos deveres dos vereadores, almotacés, alcaides, tabeliães. De tal modo, se define e alicerça a máquina administrativa e burocrática do Estado.
+No Título 46, “Dos Vereadores das Cidades, Villas, e cousas que a seus Officios pertencem”, se lê no item II que os vereadores farão guardar em uma arca grande e boa, todos os Forais, Tombos, Privilégios e quaisquer outra Escritura que pertençam ao Conselho. Esta área terá duas fechaduras, das quais uma chave terá o Escrivão da Câmara e outra, um dos vereadores. Assim, D. Manuel designou que em todo e qualquer espaço de povoamento do Império Ultramarino fosse instituído um lugar de guarda dos documentos públicos, um arquivo. Não esqueceu igualmente, de regrar pela segurança das informações ali contidas e sabia que sem estas, direitos e deveres não seriam resguardados em uma sociedade escravocrata e pouco letrada.
+Quando Estácio de Sá, sobrinho do Governador Geral do Brasil (1557-72), Mem de Sá, desembarcou em Salvador, Bahia, em 1563, tinha como missão fundar uma cidade nas terras da Guanabara e expulsar os franceses que aqui estavam. A família Sá era de fidalgos do Rei. Mem de Sá licenciou-se em Direito e serviu à Coroa por 39 anos. Foi o 1º jurista nomeado para um governo no além-mar e o garantidor dos interesses do Estado português no Brasil. Tendo em mãos as Ordenações Manuelinas, o apoio da Companhia de Jesus e o poder da guerra, investiu na unidade politico-administrativa, no povoamento e na produção de riqueza.
+ 
+Augusto Malta. Abertura do túmulo de Estácio de Sá, 15 de janeiro de 1922. Rio de Janeiro, RJ / Acervo AGCRJ
+ 
+Em 1º de março de 1565, a Muy leal e heroica cidade de São Sebastião do Rio de Janeiro foi instituída por Estácio de Sá em um terreno plano entre os morros Cara de Cão e Pão de Açúcar. Neste acampamento militar estavam as bases para a luta que expulsaria os franceses dois anos depois, em 20 de janeiro de 1567. Num desenho tipicamente fantástico, Estácio de Sá foi flechado e morreu, tal e qual o santo que nomeia a cidade e que tem naquela data o seu dia.
+ 
+Augusto Malta. Fortaleza de São João, 25 de novembro de 1931. Rio de Janeiro, RJ / Acervo AGCRJ
+ 
+O Governador Geral, ao desfazer o cenário da guerra, deslocou os assentamentos que demarcavam a fundação da cidade para o morro do Castelo, no interior da baía da Guanabara. E ali ergueu uma sólida fortaleza. O Rio de Janeiro, por seu lugar estratégico no âmbito geográfico e político, desde o inicio foi instituído como uma urbe.
+ 
+Augusto Malta. Morro do Castelo, 25 de maio de 1922. Rio de Janeiro, RJ / Acervo AGCRJ
+ 
+Seguindo a diretriz Manuelinas, aqui também se firmou uma “arca grande e boa” para a guarda dos documentos públicos. Origem do acervo em deposito atualmente no Arquivo Geral da Cidade do RJ (AGCRJ), há no conjunto documental da Câmara Municipal e posteriormente, do Senado da Câmara, o Códice “Legislativo Municipal – Correição dos Ouvidores”.
+Inscrito na nota de abertura do livro, toma-se ciência que este tomo é uma “cópia do Livro das Provisões e Correição do ano de 1624 até 1747”. Tal duplicidade foi autorizada pela Vereança em janeiro de 1807. Isto porque, o original achava-se bastante danificado. O manuscrito tem às folhas 23, a inscrição:
+“Mil seiscentos e trinta e oito = Correição feita pelo Ouvidor Geral Diogo de Sá da Rocha = Ano do Nascimento de Nosso Senhor Jesus Cristo de mil oitocentos e trinta e oito anos, aos três dias do mês de Março nesta Cidade de São Sebastião do Rio de Janeiro, veio a esta Câmara o Ouvidor Geral Diogo de Sá da Rocha em Correição segundo o costume de que fiz este termo, Diogo Lopes Ramos, Escrivão da Correição, e Ouvidoria Geral desta República, digo, desta Repartição do Sul, que o escrevi”.
+No verso da folha, compreende-se que o Ouvidor Geral Diogo de Sá da Rocha vem se certificar da inclusão dos Livros de Registros e das Cartas no Arquivo da Câmara. Da mesma forma, cuidou para que quando se entregassem as chaves do Arquivo e cofres da Câmara, as mesmas se fizesse com a segurança de um registro a quem se entrega. Isto porque,
+“para se saber as pessoas que as tem as ditas Chaves; não fiarão os Oficiais um dos outros isto, com pena de cinquenta cruzados aplicados para as obras do Concelho, em que os há por condenados todas as vezes que o contrário fizerem, e o Escrivão será obrigado a notificar aos Oficiais presentes, e ao que ao diante forem este Capítulo”.
+Abaixo a reprodução das folhas 23 e 24  do Códice “Legislativo Municipal – Correição dos Ouvidores”, “cópia do Livro das Provisões e Correição do ano de 1624 até 1747” **
+
+ 
+No ano de 1638, mesmo sob a regência das Ordenações Filipinas, o controle apontado por D. Manuel garantiu que estes subsídios e muitos outros, chegassem até nós e sublinhassem a instituição desta cidade, neste 1º de março, registrada nos detalhes da segurança aos dados públicos.
+ 
+Augusto Malta. Arquivo Geral da Cidade do Rio de Janeiro, 30 de julho de 1914. Rio de Janeiro, RJ / Acervo AGCRJ
+ 
+*Beatriz Kushnir é  a Diretora-Geral do Arquivo Geral da Cidade do Rio de Janeiro.
+**Acervo AGCRJ, fundo Câmara Municipal, Série: Legislativo Municipal. Códice: BR RJAGCRJ.CM.LGM.16.4.10, Folha 23V.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/6381` — `itens/20.500.12156.1_6381/`
+- `20.500.12156.1/6383` — `itens/20.500.12156.1_6383/`
+- `20.500.12156.1/4274` — `itens/20.500.12156.1_4274/`
+- `20.500.12156.1/6377` — `itens/20.500.12156.1_6377/`
+
diff --git a/wordpress/14254-o-cafe-sob-a-lente-de-varios-fotografos.md b/wordpress/14254-o-cafe-sob-a-lente-de-varios-fotografos.md
new file mode 100644
index 0000000..bc08f65
--- /dev/null
+++ b/wordpress/14254-o-cafe-sob-a-lente-de-varios-fotografos.md
@@ -0,0 +1,67 @@
+---
+id: 14254
+url: "https://brasilianafotografica.bn.gov.br/?p=14254"
+titulo: "O café sob a lente de vários fotógrafos"
+autor: "Andrea Wanderley"
+data: "2019-05-24T11:33:54+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/6225", "20.500.12156.1/4936", "20.500.12156.1/4355", "20.500.12156.1/3722", "20.500.12156.1/4751"]
+fetched_at: "2026-09-10T09:58:02.658Z"
+---
+
+# O café sob a lente de vários fotógrafos
+
+Marc Ferrez. Colheita de café, c. 1882. Vale do Paraíba / Acervo IMS
+
+Com uma seleção de imagens a Brasiliana Fotográfica lembra o Dia Nacional do Café, data incorporada em 2005 ao Calendário Brasileiro de Eventos. O produto chegou ao Brasil no século XVIII e desde então é um importante gerador de riquezas, muito significativo na história da economia e da cultura do país. Por sua relevância, vários aspectos de seu cultivo, colheita e comercialização foram registrados por importantes fotógrafos, dentre eles Georges Leuzinger (1813 – 1892), Guilherme Gaensly (1843 – 1928) e Marc Ferrez (1843 – 1923). O café foi também tema de fotógrafos ainda desconhecidos, do Instituto de Expansão Comercial e da Centennial Photographic Co. Convidamos nossos leitores a utilizarem a ferramenta zoom para uma melhor apreciação das fotografias.
+
+Centennial Photographic Co. Pavilhões do Brasil na Exposição Internacional de Filadélfia – Pavilhão Café do Brasil, 1876. Filadéfia, Estados Unidos / Acervo Arquivo Nacional
+
+ 
+ 
+Acessando o link para as fotografias relacionadas ao café disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+ 
+Georges Leuzinger. Café, c. 1866. Rio de Janeiro / Convênio Instituto Moreira Salles – Leibniz-Institut für Länderkunde
+ 
+O café chegou ao Brasil, por Belém no Pará, em 1727, trazido pelo sargento-mor Francisco de Melo Palheta (1670 -1750) que, sob as ordens do governador do Maranhão e Grão Pará, o português João da Maia Gama, foi à Guiana Francesa para resolver problemas de fronteira. Lá conseguiu sementes de café que, na época, já tinham grande valor comercial. Seu cultivo espalhou-se da região Norte para outros estados e em meados do século XIX estabeleceu-se fortemente no Vale do Rio Paraíba, nos estados de São Paulo e do Rio de Janeiro, gerando um novo ciclo econômico no país. Tornou-se o principal produto das exportações nacionais. Foi também muito cultivado em Minas Gerais e no Espírito Santo.
+ 
+Instituto de Expansão Comercial. Uma fazenda de café, 194?. São Paulo / Acervo FBN
+ 
+Sua produção e comercialização fomentaram o desenvolvimento e a criação de cidades, a construção de ferrovias para seu escoamento e São Paulo tornou-se a metrópole do café enquanto o Porto de Santos tornava-se seu principal ponto de saída. Após a abolição da escravatura, em 1888, aconteceu uma grande onda de imigração, principalmente de italianos, que vinham para o Brasil e se empregavam nos cafezais de São Paulo. A riqueza produzida nas lavouras de café gerou o crescimento do comércio, da oferta de serviços e da indústria nacional. O Brasil ainda é o maior exportador da bebida e o segundo maior país consumidor, atrás apenas dos Estados Unidos.
+ 
+Marc Ferrez. Embarque de café para a Europa, c. 1895. Santos, São Paulo / Acervo IMS
+ 
+“As plantações de café no Brasil, entre meados do Século XIX até o final do século XX, além das divisas econômicas, gerou também um rico patrimônio cultural, envolvendo as edificações, os costumes regionais e a paisagem marcante, especialmente nos estados de São Paulo, Minas Gerais, Rio de Janeiro e Espírito Santo. Para resgatar, preservar e valorizar toda essa riqueza, o Instituto do Patrimônio Histórico e Artístico Nacional (Iphan) criou o Grupo Interinstitucional sobre o Patrimônio Cultural do Café da região sudeste do Brasil que, entre outras iniciativas, deverá estreitar a parceria entre órgãos de proteção do patrimônio cultural, universidades, sociedade civil organizada e iniciativa privada, buscando desenvolver a melhor estratégia para a preservação e a valorização do patrimônio cultural referente ao café no Brasil” (Iphan, 2011).
+ 
+“Nas fazendas de café eram comuns as jornadas de trabalho de quinze a dezoito horas diárias, iniciadas, ainda de madrugada, ao som do sino que despertava os escravos para que eles se apresentassem ao feitor, para receber as tarefas. Se as atividades fossem próximas à sede da fazenda, iam a pé; se mais distantes, um carro de boi os transportava.
+
+No eito, distribuíam-se em grupos e trabalhavam horas sob as vistas do feitor e embalados pela música que cantavam. Num português misturado com suas línguas maternas, essas canções falavam do trabalho, de suas origens, dos patrões e de si mesmos, num ritmo monótono e constante, repetindo dezenas, centenas de vezes a mesma melodia. 
+
+O almoço era servido lá pelas dez horas da manhã. O cardápio constava de feijão, angu de milho, abóbora, farinha de mandioca, eventualmente toucinho ou partes desprezadas do porco, rabo, orelha, pé etc. e frutas da estação como bananas, laranjas e goiabas. Embora houvesse interesse em se manter o negro saudável e apto para o trabalho, não havia a preocupação com sua longevidade. Em fazendas mais pobres, a comida com frequência se resumia ao feijão com gordura e um pouco de farinha de mandioca, o que acabava provocando seu definhamento precoce. Qualquer que fosse a comida, era preparada em enormes panelas e servida em cuias nas quais os escravos usavam as mãos ou, mais raramente, colheres de pau. A refeição deveria ser feita rapidamente, para não se perder tempo, e de cócoras; os negros tinham que engolir tudo porque logo em seguida a faina continuava. Por volta de uma hora da tarde, um café com rapadura era servido substituído nos dias frios por cachaça, e às quatro horas jantava-se. Aí, comia-se o mesmo que no almoço, descansava-se alguns minutos e retomava-se o batente até escurecer.
+
+Cumpria-se, então, o ritual da manhã, todos se apresentando ao administrador ou dono, conforme o caso da fazenda. Era quando, após uma breve oração, iniciava-se o serão que constava, geralmente, da produção ou beneciamento de bens deconsumo. Os escravos debulhavam e moíam o milho, preparavam a farinha de mandioca e o fubá, pilavam e torravam o café. Com frequência, cortavam lenha e selecionavam o café apanhado no período de colheita. Só lá pelas nove ou dez horas da noite é que o escravo podia se recolher. Isso para alguém que, no verão, levantava por volta das quatro horas da madrugada. Antes de se deitar, fazia uma refeição rápida e, extenuado, descansava até a jornada do dia seguinte”.
+
+Jaime Pinsky, em A Escravidão no Brasil
+ 
+Fontes:
+Embrapa
+Iphan
+PINSKY, Jaime. A Escravidão no Brasil. São Paulo : Contexto, 2000.
+Ministério da Agricultura, Pecuária e Abastecimento
+Observatório Eco -Direito Ambiental
+Revista Cafeicultura
+ 
+Andrea C. T. Wanderley
+Editora-assistente e pesquisadora do portal Brasiliana Fotográfica
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/6225` — `itens/20.500.12156.1_6225/`
+- `20.500.12156.1/4936` — `itens/20.500.12156.1_4936/`
+- `20.500.12156.1/4355` — `itens/20.500.12156.1_4355/`
+- `20.500.12156.1/3722` — `itens/20.500.12156.1_3722/`
+- `20.500.12156.1/4751` — `itens/20.500.12156.1_4751/`
+
diff --git a/wordpress/14288-o-mosteiro-de-sao-bento-do-rio-de-janeiro.md b/wordpress/14288-o-mosteiro-de-sao-bento-do-rio-de-janeiro.md
new file mode 100644
index 0000000..9d7918d
--- /dev/null
+++ b/wordpress/14288-o-mosteiro-de-sao-bento-do-rio-de-janeiro.md
@@ -0,0 +1,49 @@
+---
+id: 14288
+url: "https://brasilianafotografica.bn.gov.br/?p=14288"
+titulo: "O Mosteiro de São Bento do Rio de Janeiro"
+autor: "Andrea Wanderley"
+data: "2019-06-28T12:39:33+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/2974", "20.500.12156.1/6294", "20.500.12156.1/6104"]
+fetched_at: "2026-09-10T09:58:05.948Z"
+---
+
+# O Mosteiro de São Bento do Rio de Janeiro
+
+Augusto Malta. São Bento. Rio de Janeiro, RJ / Acervo FBN
+ 
+Há séculos parte da paisagem carioca, o Mosteiro de São Bento do Rio de Janeiro, encravado em um morro costeiro à Baía de Guanabara –  o Morro de São Bento – e de frente para a Ilha das Cobras, foi registrado por diversos fotógrafos dentre eles A. Ribeiro (18? – 19?), Augusto Malta (1864 – 1957), Juan Gutierrez (c. 1860 – 1897) e Revert Henrique Klumb (c.1826 – c. 1886), cujas imagens estão disponíveis no acervo da Brasiliana Fotográfica. Foi fundado em 1590 pelos monges vindos do Mosteiro da Bahia, Frei Pedro Ferraz e Frei João Porcalho, marcando o início da vida beneditina carioca. A Ordem Beneditina foi a segunda ordem religiosa a estabelecer casa no Rio de Janeiro, antecedida apenas pelos jesuítas. O Mosteiro de São Bento tem como padroeira Nossa Senhora do Monserrate e integra a Congregação Beneditina do Brasil, que compreende hoje sete mosteiros masculinos e dezesseis femininos.
+Acessando o link para as fotografias do Mosteiro de São Bento do Rio de Janeiro selecionadas para esse artigo e disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Juan Gutierrez. Arsenal de Marinha e Guerra e Mosteiro de São Bento, Rio de Janeiro, RJ / Acervo Museu Histórico Nacional
+ 
+O terreno onde foi construído o Mosteiro de São Bento, entre 1652 e 1742, foi doado pelo português Manoel de Brito, capitão de infantaria que havia se transferido para o Brasil em 1562.  Acompanhava Estácio de Sá (1520 – 1567), em 1º de março de 1565, tornando-se um dos fundadores do Rio de Janeiro. A doação do terreno foi confirmada, por declaração, em 25 de março de 1590, e por escritura pública, em 31 de janeiro de 1620, por seu filho, Diogo de Brito de Lacerda (c. 1555 -1629), que está sepultado na nave central da igreja. Em 1633, os monges beneditinos iniciaram a construção da igreja em substituição a uma modesta ermida que utilizavam paras as cerimônias religiosas. Para tal, foram lhes concedidas pela Câmara, por aforamento, vinte braças de pedreira do hoje denominado Morro da Viúva.
+ 
+A. Ribeiro. Arsenal da Marinha e Mosteiro de São Bento, 1904. Rio de Janeiro, RJ / Acervo DPHDM
+ 
+
+A Igreja Abacial é considerada por muitos a mais bonita do Rio de Janeiro, além de ser um dos mais importantes monumentos do estilo barroco luso-brasileiro. Na época do início de sua construção, concluída em 1798, o abade da Ordem era dom Frei Miguel do Desterro. A simplicidade de sua fachada contrasta com a riqueza de seu interior, cujo trabalho da talha da madeira dourada foi realizada entre 1694 e 1734. Tanto a igreja como o prédio do mosteiro são, segundo o site oficial do Mosteiro de São Bento, obras de quatro monges do século XVII: o arquitetos portugueses Frei Leandro de São Bento e Frei Bernardo de São Bento Corrêa de Souza, o escultor português Frei Domingos da Conceição da Silva e o pintor alemão Frei Ricardo do Pilar (1635 – 1700). O grande entalhador e escultor da capela-mor na segunda metade do século XVIII foi Mestre Inácio Ferreira Pinto (c. 1765 – 1828), contemporâneo do Mestre Valentim (1745 – 1813), responsável pelos lampadários de prata da igreja. Em 1858, foi fundado o Colégio de São Bento.
+
+ 
+Andrea C. T. Wanderley
+Editora-assistente e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+ARAUJO, José de Souza Azevedo Pizarro. Memórias históricas do Rio de Janeiro e das províncias anexas à jurisdição do vice-rei do estado do Brasil. Rio de Janeiro: Tipografia de Silva Porto, 1822.
+COARACY, Vivaldo. Coleção Rio 4 séculos, volume 6. Rio de Janeiro: Livraria José Olympio Editora, 1965.
+ERMAKOFF, George; FRAGOSO, dom Mauro. Mosteiro de São Bento do Rio de Janeiro, 425 anos. 1590-2015. Rio de Janeiro : Casa Editorial, 2016.
+O Mosteiro de São Bento do Rio de Janeiro. Fotografias de Stefan Rosenbauer e Hugo Rodrigo Otávio. Rio de Janeiro: Livraria Agir, 1955.
+O Globo, 12 de dezembro de 2016
+Revista da Semana, 8 de novembro de 1924
+SILVA-NIGRI, dom Clemente Maria. Construtores e artistas do Mosteiro de São Bento do Rio de Janeiro. Bahia: Tipografia Beneditina Ltda, 1950.
+Site do Mosteiro de São Bento
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/2974` — `itens/20.500.12156.1_2974/`
+- `20.500.12156.1/6294` — `itens/20.500.12156.1_6294/`
+- `20.500.12156.1/6104` — `itens/20.500.12156.1_6104/`
+
diff --git a/wordpress/14299-nudez-na-galeria-ducasble-causa-polemica-no-recife-do-seculo-xix.md b/wordpress/14299-nudez-na-galeria-ducasble-causa-polemica-no-recife-do-seculo-xix.md
new file mode 100644
index 0000000..3634bf6
--- /dev/null
+++ b/wordpress/14299-nudez-na-galeria-ducasble-causa-polemica-no-recife-do-seculo-xix.md
@@ -0,0 +1,238 @@
+---
+id: 14299
+url: "https://brasilianafotografica.bn.gov.br/?p=14299"
+titulo: "Nudez na Galeria Ducasble causa polêmica no Recife do século XIX"
+autor: "Andrea Wanderley"
+data: "2019-05-07T13:25:23+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/6471", "20.500.12156.1/3913", "20.500.12156.1/6470", "20.500.12156.1/3912", "20.500.12156.1/3909"]
+fetched_at: "2026-09-10T09:58:09.304Z"
+---
+
+# Nudez na Galeria Ducasble causa polêmica no Recife do século XIX
+
+Antíope dormindo, 1524/1527, de Correggio / Acervo Museu do Louvre
+A exposição de uma cópia do quadro Sono de antíope (ao lado), do pintor italiano renascentista Correggio (c. 1439 – 1534), na Galeria Ducasble, causou polêmica no Recife, em 1885. Por ser considerado por parte do público um registro imoral, muitos deixaram de frequentar o estabelecimento. O advogado e ex-presidente das províncias do Piauí, do Ceará e de Pernambuco, Diogo Cavalcanti de Albuquerque (1829 – 1889), publicou, no Diário de Pernambuco de 27 de junho de 1885, uma crítica a esse comportamento, segundo ele, inspirado por uma nudofobia. No mesmo artigo, criticou o pouco incentivo do governo às artes e elogiou a galeria do fotógrafo e antiquário francês Alfred Ducasble (18-? – 19?). Diogo Cavalcanti de Albuquerque foi o Comissário Geral do Império à Exposição Universal de Paris, em 1889, na qual Ducasble participou como delegado oficial da província de Pernambuco e também como autor de fotografias e expositor de quadros, móveis, jóias e antiguidades.
+O ateliê de fotografia e galeria de belas artes de Ducasble situava-se à Rua Barão da Vitória, 65 e era conhecido como A. Ducasble & C., Galeria Ducasble e Fotografia Parisiense. Pintores como Aurélio de Figueiredo (1856 – 1916) e José Jerônimo Telles Júnior (1851 – 1914)  expuseram seus trabalhos na galeria.
+‘A uma habilidade não comum, que ele tem vantajosamente empregado no aperfeiçoamento dos processos fotográficos junta, como entusiasta e verdadeiro cultor das belas artes, ardente vocação, apurado gosto e inexcedível dedicação a esse gênero de cultura humana; ainda mais: vota particular interesse, liga a maior importância às produções e progresso da arte nacional’ (Diogo Cavalcanti de Albuquerque sobre Ducasble, em 1885).
+ 
+Alfredo Ducasble. Francisco Peixoto de Lacerda Werneck (verso)Fotografia Parisienne, 1885. Recife, Pernambuco / Acervo Arquivo Nacional
+ 
+Por ter fotografado grande parte da sociedade pernambucana, Ducasble ficou mais conhecido como retratista embora tenha sido também considerado um excelente paisagista. Foi casado com a alagoana e modista Urraca (1837 – 1893), com quem teve filhos: Maria Vitória (1864 – 1902), nascida em Alagoas, e o futuro caixeiro-viajante Alfredo Ducasble Filho (18? – 19?), nascido em Pernambuco.
+ 
+Alfredo Ducasble. Retrato de mulher com duas crianças, c. 1885. Recife, Pernambuco / Acervo IMS
+ 
+ 
+Acessando o link para as fotografias de Alfredo Duscable disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Francisco Peixoto de Lacerda Werneck, 1885. Recife, Pernambuco / Acervo Arquivo Nacional
+ 
+Pouco se sabe sobre a vinda de Ducasble para o Brasil: teria chegado a Pernambuco em 1873 e atuou na cidade nas décadas de 1870 a 1890. Além de fotógrafo, era colecionador e antiquário. Foi professor de desenho e caligrafia no Liceu de Artes e Ofícios e na Escola Propagadora do Recife e é de sua autoria o livro Curso Prático de Caligrafia. Na década de 1880, participou de exposições no Brasil e no exterior, tendo obtido medalha de prata na Exposição Internacional de Antuérpia, em 1885. Foi possivelmente a primeira pessoa a divulgar internacionalmente o mobiliário colonial brasileiro ao enviar, além de pinturas e jóias, móveis e outras antiguidades de seu acervo para a Exposição Universal de Paris em 1889, da qual foi delegado oficial da província de Pernambuco. Na ocasião, recebeu a medalha de prata por seu panorama de Pernambuco e por retratos expostos. Algumas vistas do Recife de sua autoria foram incluídas no Album de vues du Brésil, que organizado pelo Barão do Rio Branco (1945 – 1912) e lançado em Paris na ocasião da Exposição Universal, fazia parte da segunda edição de Le Brésil, extrato da Grande Enciclopédia, trabalho dirigido pelo geógrafo Émile Levasseur  (1828-1911), para o qual o barão havia colaborado. Nesse mesmo ano, 1889, Ducasble teria ido viver em Paris.
+ 
+ 
+Desenhos publicados no Album de vues du Brésil baseados em fotografias de Ducasble
+(Páginas 53 a 56 do PDF)
+ 
+
+ 
+Em 1893, ano do falecimento de sua mulher, a Galeria Ducasble do Recife foi vendida para o fotógrafo Ludgero Jardim da Costa (18? – 19?). Em 1900, foi anunciada a existência de uma sucursal da Galeria Ducasble, na Avenue de la Grande Armée, em Paris.
+ 
+Cronologia de Alfredo Ducasble (18? – 19?)
+Galeria Ducasble, c. 1885. Recife, Pernambuco / Acervo IMS
+ 
+1873 – J. A. Ducasble teria chegado em Pernambuco vindo da Europa no vapor Rio Grande (Diário de Pernambuco, 11 de março de 1873, terceira coluna).
+1874 – No Recife, A. Ducasble, sua mulher e três filhos embarcaram rumo ao sul do país, no vapor inglês Illimani (A Província – Órgão do Partido Liberal, 27 de janeiro de 1874, primeira coluna).
+No Rio de Janeiro, João Alfredo Ducasble, sua senhora e um filho embarcaram no vapor Pará rumo a Pernambuco (Jornal do Commercio, 20 de junho de 1874).
+Foi anunciado que Ducasble era consertador de máquinas de costura e que a modista Madame Ducasble havia chegado da corte e convidava as senhoras que desejassem vestir-se elegantemente para a visitarem na rua da Imperatriz, nº 8, mesmo local onde Ducasble atendia (Jornal de Recife, 9 de julho e 13 de julho de 1874).
+ 
+ 
+Jornal de Recife, 9 de julho de 1874
+ 
+Foi publicado um anúncio de Ducasble oferecendo aulas de caligrafia e de francês no primeiro andar da rua da Imperatriz, nº 1, onde sua esposa tinha um estabelecimento de moda (Jornal de Recife, 6 de agosto e 11 de agosto de 1874).
+ 
+Jornal de Recife, 6 de agosto de 1874
+ 
+1875 – João Alfredo Ducasble trabalhava como desenhista na Repartição das Obras de Conservação dos Portos da Província (Almanak Administrativo, Mercantil, Industrial e Agrícola (PE), 1875).
+Sua esposa, a modista Urraca Ducasble (18? – 1893), participava a mudança de seu estabelecimento de moda para a rua Barão da Vitória, 52, no 1º andar, a partir do dia 12 de julho de 1875 (A Província – Órgão do Partido Liberal, 11 de julho de 1875). Dois anos depois, mudou-se para o número 65 da mesma rua.
+1876 - Vindo no navio Rio Grande, o francês Alfred Ducasble, chegou ao Rio de Janeiro (Diário do Rio de Janeiro, 13 de fevereiro de 1876, quinta coluna).
+1877 - Foi publicado um anúncio onde Ducasble oferecia-se para fazer qualquer levantamento em plantas de engenho, nivelamentos, projetos de casas de campo, chalés e qualquer desenho de arquitetura, mecânico e topográfico (Jornal de Recife, 18 de abril de 1877, quinta coluna). Continuava lecionando caligrafia e desenho em colégios, em casas particulares e em sua casa (Jornal de Recife, 23 de abril de 1877, terceira coluna). Mudou-se para a Rua Barão da Vitória (ex- rua Nova), nº 65, 1º andar (Jornal de Recife, 16 de outubro de 1877, quarta coluna).
+Ducasble participou de uma celebração na Escola Filotécnica (Jornal de Recife, 16 de novembro de 1877, quarta coluna).
+Imprimiu o Curso Prático de Caligrafia, de sua autoria, aprovado pelo Conselho Superior de Instrução Pública de Pernambuco (Jornal de Recife, 28 de novembro de 1877, última coluna).
+1878 - Durante uma reunião do Conselho de Instrução Pública da província da Bahia, foi lido um ofício mandando informar o requerimento de Alfred Ducasble, que se propõe a ensinar em 30 lições a caligrafia nas escolas, nos dois externatos e aos professores públicos, e oferece à venda por 1$500 réis cada exemplar da coleção de seus traslados. A venda não foi realizada (O Monitor, 28 de abril de 1878, terceira coluna e O Monitor, 18 de junho de 1878, sexta coluna).
+Em Salvador, Alfredo Ducasble embarcou no vapor francês Niger rumo ao Recife (O Monitor, 20 de junho de 1878, quarta coluna e A Província – Órgão do Partido Liberal, de 1878, 20 de junho de 1878, segunda coluna).
+Anunciou seus serviços como professor de caligrafia e de desenho, estabelecendo curtos prazos para ensinar as matérias (Jornal de Recife, 5 de julho de 1878, quinta coluna).
+ 
+Jornal de Recife, 5 de julho de 1878
+No fim dessa década, provavelmente, o alemão Rodolpho Frederico Francisco Lindemann (1852 – 19?)  trabalhava como fotógrafo junto a Alfredo Ducasble.
+1880 – Anunciou a realização de Retratos Inalteráveis na Photographia Parisiense pelo processo de cromotipia, na rua Barão da Vitória, 65.
+ 
+Jornal de Recife, 28 de fevereiro de 1880
+ 
+Em 1º de março, anunciou-se que na Photographia Parisiense, de Alfredo Ducasble & C., fazia-se retratos de pessoas falecidas, de grupos, retratos em domicílio e de paisagens e por todos os sistemas mais modernos. A dúzia de retratos custava 5 $ (Jornal de Recife, 1º de março de 1880).
+1881 - Teria pretendido estender sua atuação para a Paraíba onde seria seu representante ou sócio Manoel Bezerra de Mello.
+No Liceu de Artes e Ofícios do Recife, Ducasble era professor de caligrafia e de desenho linear. Doou para a biblioteca da instituição 10 exemplares de seu livro Curso de Caligrafia (Diário de Pernambuco, 18 de fevereiro de 1881, segunda coluna e Diário de Pernambuco, 22 de março de 1881, segunda coluna).
+Exposição, no estabelecimento fotográfico de M. Alfred Ducasble , que de dia em dia vem caminhando num progresso rápido a ponto de já ser o primeiro da província, de dois quadros do pintor paraibano Aurélio de Figueiredo (1856 – 1916), Saudade e Melancolia (Diário de Pernambuco, 19 de abril de 1881, primeira coluna). Meses depois, por motivos de saúde, o pintor foi para a Paraíba e deixou como contato no Recife a Galeria Ducasble (Diário de Pernambuco, 8 de setembro de 1881, quarta coluna).
+Participou da Exposição da Indústria Nacional e da Exposição Provincial de Pernambuco provavelmente com fotografias. Na última conquistou a medalha de mérito.
+1882 – Participou da Primeira Exposição Artístico-Industrial promovida pela Imperial Sociedade dos Artistas Mecânicos e Liberais de Pernambuco e conquistou uma medalha de mérito pelos retratos de seu estabelecimento fotográfico. Alberto Henschel (1827 – 1882) também recebeu uma medalha de mérito pelas vistas fotográficas que expôs (Diário de Pernambuco, 17 de janeiro de 1882, segunda coluna e Jornal de Recife, 22 de janeiro de 1882, última coluna).
+Uma menina de cor preta com aproximadamente 10 anos chamada Josefa foi abandonada na casa do casal Ducasble (Diário de Pernambuco, 14 de março de 1882, quinta coluna).
+Ducasble foi laureado com o primeiro prêmio na Exposição Artístico-Industrial do Rio de Janeiro (Jornal de Recife, 14 de maio de 1884, última coluna).
+Ducasble doou livros para a Biblioteca do Liceu de Artes e Ofícios de Pernambuco, inaugurada em 11 de dezembro de 1881 e aberta em 10 de abril de 1882 (Jornal de Recife, 4 de maio de 1882, penúltima coluna).
+Fazia parte da comissão do Club Abolicionista encarregada de angariar donativos no bairro de Santo Antônio, no Recife (Jornal do Recife, 13 de junho de 1882, penúltima coluna).
+Integrava o comitê nomeado pelo Consulado da França para organizar a Festa Nacional de 14 de julho (Jornal de Recife, 28 de junho de 1882, quinta coluna). Foi elogiado pelo trabalho verdadeiramente artístico - uma miniatura que foi ofertada aos participantes da festa (Jornal de Recife, de 16 de julho de 1882, penúltima coluna).
+Na comemoração dos 41 anos da Imperial Sociedade dos Artistas Mecânicos e Liberais de Pernambuco, foi realizada uma exposição com quatro salas. A primeira sala, que era a principal, denominada Galeria Ducasble apresentava um quadro de fotografias produzidas por Ducasble, quadros a óleo do paraibano Aurélio de Figueiredo (1856 – 1916), do francês radicado em Pernambuco  Eugène Lassailly (18? – 19?) e do pernambucano José Jerônimo Telles Júnior (1851 – 1914), além de trabalhos a crayon de Benevenuto Cabral e estudos, também a crayon, de Maria Tasso (Jornal do Recife, 19 de dezembro de 1882, quinta coluna).
+1883 – Fotografias porcelana produzidas por Ducasble eram um dos prêmios oferecidos em um sorteio da Livraria e Papelaria de G. Laporte & C. (Jornal de Recife, 4 de fevereiro de 1883, quinta coluna).
+Ducasble partiu para a Europa a bordo do vapor inglês La Plata (Diário de Pernambuco, 16 de fevereiro de 1883, segunda coluna).
+Na Galeria Ducasble, exposição de um quadro pintado por Leopoldino de Faria (1836 – 1911), retratando o diretor do Arsenal de Marinha (Jornal de Recife, 8 de junho de 1882, penúltima coluna).
+Ducasble chegou da Europa a bordo do vapor francês Gironde (Jornal de Recife, 5 de agosto de 1883, última coluna). Publicou que retomava a direção de seu estabelecimento e que estava recuperado de seus incômodos. Informava que havia visitado os melhores estabelecimentos das principais cidades europeias, onde havia praticado com grandes mestres de fotografia e pintura. Anunciou ter trazido modernos equipamentos e que havia se dedicado ao estudo dos processos instantâneos podendo tirar facilmente o retrato de toda e qualquer criança com expressão e semelhança (Jornal de Recife, 10 de agosto de 1883, quinta coluna).
+ 
+Alfredo Ducasble. Retrato de criança, c. 1883. Recife, Pernambuco / Acervo IMS
+ 
+O pintor francês Lassaily havia chegado da França e anunciava que quem precisasse de seus serviços poderia procurá-lo na Photographia Parisienne (Jornal de Recife, 13 de novembro de 1883, última coluna).
+Ducasble anunciou que o quadro dos bachareis do 5º ano encontrava-se em sua galeria e que até o fim do mês receberia o pagamento da segunda prestação (Jornal de Recife, 17 de novembro de 1883, terceira coluna).
+1884 - Anúncio da Galeria Ducasble informava que a partir de qualquer fotografia produzia retratos a óleo, crayon e nanquim (Jornal de Recife, 9 de maio de 1884).
+Ele, Menna da Costa e Hermina Costa formavam a comissão da Imperial Sociedade dos Artistas Mecânicos e Liberais para arrecadação dos impostos devidos por fotógrafos e retratistas (Jornal de Recife, 11 de julho de 1884, última coluna).
+Ducasble fez a importação de espelhos, que chegaram no vapor francês Ville de Pernambuco (Jornal de Recife, 11 de julho de 1884, segunda coluna). Ao longo do ano foram noticiadas outras importações.
+Na Galeria Ducasble, exposição de um belo retrato a óleo feito na Europa de Laurentino José de Miranda, que iria ornar a sala de sessões da Companhia de Ferrovia de Olinda (Diário de Pernambuco, 16 de maio de 1884). Exposição também de um bonito retrato a óleo do conselheiro Theodoro Machado Freire Pereira da Silva, que seria levado para o salão de honra da Câmara Municipal do Recife (Jornal de Recife, 14 de setembro de 1884, quarta coluna).
+ 
+Jornal de Recife, 6 de dezembro de 1884
+ 
+1885 – Estavam expostos na Galeria Ducasble os retratos a óleo dos advogados José Mariano Carneiro da Cunha (1850 – 1912) e Félix de Valois Correia (18? – 19?), encomendados pela Imperial Sociedade de Artistas Mecânicos e Liberais em homenagem aos serviços prestados por eles. Seriam colocados no salão de honra da referida instituição no dia do aniversário da mesma, em 18 de janeiro (Jornal de Recife, 14 de janeiro de 1885, quarta coluna).
+Publicou um anúncio intitulado Antiguidades, onde anunciava interesse na compra de objetos antigos como sejam: pratos, cadeiras de sofá, vasos e candelabros de bronze, pinturas antigas e modernas e qualquer objeto artístico (Jornal de Recife, 25 de fevereiro de 1885, sexta coluna e Diário de Pernambuco, 6 de março de 1885). Esse anúncio foi publicado várias vezes ao longo do ano.
+ 
+Diário de Pernambuco, 6 de março de 1885
+ 
+Participou da Exposição Internacional de Antuérpia, realizada entre 2 de maio e 2 de novembro de 1885, e ganhou o diploma de medalha de prata na Classe 7 – Fotografias e seus aparelhos (Diário de Pernambuco, 29 de outubro de 1885, terceira coluna e Jornal de Recife, 7 de abril de 1887, quinta coluna).
+‘A carta geral do Brasil assim como outra da província de São Paulo não deixam nada a desejar como gravura topográfica. Saíram das oficinas dos senhores Paul Robin & O, do Rio de Janeiro que obtiveram por seus trabalhos uma medalha de prata; a mesma recompensa foi atribuída aos senhores Marc Ferrez e Ducasbles por suas belas fotografias’ (Anvers à l´Exposition Universelle, 1886).
+A exposição de uma reprodução do quadro Sono de antíope, do pintor renascentista Correggio (c. 1439 – 1534), na Galeria Ducasble, causou polêmica por ser considerado imoral por parte do público e por essa causa deixou de frequentar o estabelecimento. O advogado e ex-presidente das províncias do Piauí, do Ceará e de Pernambuco Diogo Cavalcanti de Albuquerque (1829 – 1889) publicou uma crítica a esse comportamento, segundo ele, inspirado por uma nudofobia. No mesmo artigo critica o pouco incentivo do governo às artes e elogia o estabelecimento de Ducasble (Diário de Pernambuco, 27 de junho de 1885).
+ 
+Antíope dormindo, 1524/1527,  de Correggio / Acervo Museu do Louvre
+ 
+ 
+Diário de Pernambuco, 27 de junho de 1885
+ 
+Continuava trabalhando como professor do Liceu de Artes e Ofícios (Diário de Pernambuco, 14 de outubro de 1885 e Diário de Pernambuco, 3 de julho de 1886).
+Executou o retrato do sr. Epaminondas Gouvêia, que seria colocado na Igreja do Carmo. Foi encomendado pela Irmandade de Nossa Senhora da Luz (Jornal de Recife, 25 de outubro de 1885, quinta coluna).
+Participou, na Seção de Fotografia, da 5ª Exposição Artístico-Industrial, promovida pela Imperial Sociedade dos Artistas Mecânicos e Liberais, quando obteve o diploma de Progresso (Jornal de Recife, 31 de dezembro de 1885, quinta coluna).
+O larápio José Braz da Silva célebre autor do roubo que sofreu a atriz Helena Balsemão foi retratado por Ducasble (Diário de Pernambuco, 3 de julho de 1885, quarta coluna).
+Ducasble vendeu à Irmandade de Nossa Senhora da Conceição cadeiras de carvalho revestidas de acentuados desenhos de talha (Jornal de Recife, 9 de dezembro de 1926, primeira coluna).
+Participou da quinta Exposição Artístico-Industrial do Liceu de Artes e Ofícios promovida pela Imperial Sociedade dos Artistas Mecânicos e Liberais e ganhou o Diploma de Progresso. Na ocasião a fotografa pernambucana Hermina Menna da Costa (18? – 19?) recebeu o Diploma de Mérito (Diário de Pernambuco, 20 de dezembro de 1885).
+
+Diário de Pernambuco, 31 de dezembro de 1885
+
+1886 – Na exposição fotográfica no Palácio de Cristal, na cidade do Porto, em Portugal, Ducasble foi contemplado com uma menção honrosa (Gazeta de Notícias, 27 de junho de 1886, terceira coluna).
+Produziu um retrato da atriz portuguesa Lucinda Furtado Coelho (1850 – 1928) que constava de um jornal dedicado a ela (Jornal de Recife, 1º de julho de 1886, penúltima coluna).
+Na Galeria Ducasble, exposição de um retrato a óleo de Diogo Cavalcanti de Albuquerque executado em Paris por um brasileiro. Também na galeria, exposição de trabalhos do pintor cearense Irineu de Souza (1850 – 1924) e de uma fotografia do Teatro de Santa Isabel na ocasião da sessão fúnebre promovida União Federal Abolicionista em honra a José Bonifácio (Diário de Pernambuco, 9 de abril de 1886, primeira coluna; Jornal de Recife, 18 de setembro, quinta coluna e Jornal de Recife, 3 de dezembro de 1886, segunda coluna).
+Participou da Exposição Sul-Americana de Berlim e conquistou o primeiro prêmio e a medalha de ouro (Diário de Pernambuco, 21 de agosto de 1886, penúltima coluna; Jornal do Commercio, 31 de março de 1887, última coluna e Jornal de Recife, 16 de março de 1888)
+1887 – Publicação de artigos de Ducasble na quarta, na sexta e na oitava edição da Revista do Norte
+Publicação de uma carta do pintor Telles Júnior ao mestre Alfredo Ducasble sobre o artigo escrito sobre os quadros de Barreto Sampaio na Revista do Norte, 10 de fevereiro de 1887. Telles Junior sentiu-se ofendido pela crítica de Ducasble (Jornal de Recife, 14 de março, quinta coluna).
+Na Galeria Ducasble, exposição de retratos pintado a óleo por Bannel de Paris (Jornal de Recife, 13 de abril de 1887, quinta coluna).
+Ducasble ofertou ao Instituto Arqueológico Geográfico de Pernambuco uma fotografia da inscrição da Igreja de Nossa Senhora dos Prazeres, no Monte Guararapes (Jornal de Recife, 20 de abril de 1887, primeira coluna).
+Chegada no vapor Ville de Bahia de uma encomenda de quadros feita por Ducasble (Jornal de Recife, 7 de junho de 1887, quarta coluna).
+Em uma carta publicada por Feliciano de Azevedo Gomes para a família de Emílio Soares, alfaiate e genro de Ducasble, casado com sua filha Maria Vitória, foi revelado que Ducasble sofria dos nervos. Feliciano acusou Ducasble de calúnia no episódio envolvendo um surto de loucura de Soares e o desafiou para um duelo. Ducasble declarou jamais ter caluniado Feliciano, a quem continuava a considerar um cavalheiro muito distinto e honrado (Jornal de Recife, 14 de junho, última coluna;  15 de junho, penúltima coluna; e 18 de junho, terceira coluna).
+O escritor português Ramalho Ortigão (1936 – 1915) em sua vista ao Recife foi à Galeria Ducasble onde foi fotografado. Estava com Joaquim Nabuco (Jornal de Recife, 20 de novembro de 1887, segunda coluna).
+Na Galeria Ducasble, exposição de um retrato de Adolfo Manta, encomendado por seus ex-escravos, recém libertos por ele (Diário de Pernambuco, 7 de dezembro de 1887, última coluna).
+1888 – Publicação de uma propaganda da Galeira Ducasble com lista de prêmios (Jornal de Recife, 16 de março de 1888). Foi publicada diversas vezes ao longo do ano no Jornal de Recife e no Diário de Pernambuco.
+ 
+Jornal de Recife, 16 de março de 1888
+ 
+Na Galerie Artistique de Ducasble, exposição de dois bustos a óleo dos abolicionistas pernambucanos Joaquim Nabuco (1849 – 1910) e de José Mariano Carneiro da Cunha (1850 – 1912), realizados por Ducasble (Jornal de Recife, 30 de maio de 1888, quinta coluna).
+ 
+Joaquim Nabuco e José Mariano Carneiro da Cunha fotografados por Ducasble / Acervo Fundação Joaquim Nabuco
+ 
+ 
+O artista, pintor e decorador francês Eugène Lassailly  publicou uma propaganda de seus serviços e um dos lugares onde poderia ser contactado era a Galeria Ducasble (Jornal de Recife, 19 de junho de 1888, quarta coluna).
+Ducasble foi um dos contribuintes da subscrição agenciada no Recife por Luiz Cintra a fim de serem ofertadas aos médicos que cuidaram da saúde de dom Pedro II (Diário de Pernambuco, 28 de agosto de 1888, quinta coluna).
+Participou da Comissão Pernambucana para a representação da província na Exposição Universal de Paris (Diário de Pernambuco, 23 de setembro de 1888, última coluna e Jornal de Recife, 11 de janeiro de 1889, primeira coluna).
+Ducasble  lecionava caligrafia na Escola Normal da Sociedade Propagadora de Instrução Pública (Diário de Pernambuco, 23 de novembro de 1888, última coluna).
+Em anúncio, Ducasble atestava ter feito com sucesso uso do Elixir Cabeça de Negro sedativo contra o reumatismo, fórmula do dr. Santa Rosa (Jornal do Commercio, 12 de dezembro de 1888).
+1889 – Abertura da exposição prévia dos produtos que deveriam ir para a Exposição Universal de Paris, dentre eles objetos artísticos de Ducasble, que recebeu o diploma de 1ª classe (Jornal do Povo, 14 de janeiro de 1889, terceira coluna, Diário de Pernambuco, 15 de janeiro de 1889, quarta coluna; e Diário de Pernambuco, 5 de fevereiro de 1889, segunda coluna).
+Foi eleito conselheiro da diretoria da Imperial Sociedade de Artistas Mecânicos e Liberais (Jornal de Recife, 26 de janeiro de 1889, terceira coluna).
+Foi de sua autoria a fotografia do projeto do monumento em homenagem à abolição da escravidão que seria erigido em Olinda (Jornal de Recife, 10 de fevereiro de 1889, primeira coluna).
+Ducasble foi escolhido delegado da Comissão Pernambucana para a representação da província na Exposição Universal de Paris (Diário de Pernambuco, 3 de maio de 1889, penúltima coluna).
+Ducasble produziu uma fotografia do pessoal da Companhia de Bombeiros (Jornal do Povo, 17 de maio de 1889, segunda coluna).
+Na Exposição Universal de Paris, realizada entre 6 de maio e 31 de outubro de 1889, ganhou medalha de prata por seu panorama de Pernambuco e por retratos expostos e também por lenços bordados e rendas. Além disso, expôs 5 quadros, móveis, jóias e antiguidades (Diário de Pernambuco, 23 de outubro, quarta coluna, e Jornal de Recife, 24 de outubro de 1889, penúltima coluna). Segunda a Revista do Patrimônio Artístico e Histórico Nacional de 1946, Ducasble talvez tenha sido o primeiro a enviar peças antigas brasileiras ou luso-brasileiras para serem mostradas fora do país. Nessa mesma exposição, o fotógrafo Marc Ferrez (1843 – 1923) participou com vistas do Rio de Janeiro, vistas marinhas e paisagens e, de acordo com Maria Inez Turazzi, recebeu a medalha de bronze. Segundo o Auxiliador da Indústria Nacional, ele teria recebido a medalha de prata (O Auxiliador da Indústria Nacional, 1889). O fotógrafo Felipe Augusto Fidanza (c. 1847 – 1903) recebeu uma medalha de bronze. Outros fotógrafos que participaram foram Albert Richard Dietze (1838 – 1906), Rodolpho Lindemann (c. 1852 – 19?), Nicholson & Ferreira, Joaquim Insley Pacheco  (1830 – 1912) e José Ferreira Guimarães (1841 – 1924). Foi também nessa exposição que a Torre Eiffel, na época a mais alta estrutura do mundo, foi inaugurada.
+Ducasble estava presente no banquete realizado em 3 de outubro, no restaurante Voisin para a despedida de Visconde de Cavalcanti (1829 – 1899), presidente do Comissariado Geral do Brasil junto à Exposição Universal de Paris, que retornaria ao Rio de Janeiro (Jornal do Commercio, 24 de outubro de 1889, sexta coluna).
+Foi um dos fotógrafos incluídos no livro Album de vues du Brésil. O barão do Rio Branco (1845-1912) foi o responsável pelo livro, considerado a última peça para a promoção do Brasil imperial, representando um resumo iconográfico do país e de suas riquezas. Foi um dos livros que inaugurou a ilustração fotográfica do Brasil e é considerado por muitos uma espécie de balanço final do período imperial. Nas palavras do barão, o álbum pretendia “mostrar a fisionomia atual das principais cidades do Brasil e seus arredores. Sob esse aspecto, a presente coleção é a mais completa publicada até hoje”. Trazia também fotografias produzidas por Augusto Riedel (1836 -?), Joaquim Insley Pacheco (c. 1830 – 1912), Marc Ferrez (1843 – 1923) e Rodolpho Lindemann (c. 1852 – 19?), dentre outros. Foi lançado em Paris na ocasião da Exposição Universal de 1889, e fazia parte da segunda edição de Le Brésil, extrato da Grande Enciclopédia, trabalho dirigido pelo geógrafo Émile Levasseur  (1828-1911), para o qual o barão havia colaborado. O Album de vues du Brésil foi o primeiro do gênero publicado depois do Brasil Pitoresco (1861), primeiro livro de fotografia realizado na América Latina, com imagens de Jean Victor Frond (1821 – 1881) e texto do jornalista e político francês Charles Ribeyrolles (1812-1860), reeditado em 1941.
+Sua proposta para a confecção do quadro de retratos da turma do 5º ano da Faculdade de Direito foi vencida pela a de Constantino Barza, sucessor do fotógrafo berlinense Alberto Henschel (1827 – 1882) (Jornal de Recife, 19 de julho de 1889, quinta coluna). Em anúncio, Ducasble convidada os quintanistas que quisessem fazer parte do grupo da Torre Eiffel para irem a sua galeria (Jornal de Recife, 20 de agosto de 1889, terceira coluna).
+Na Galeria Ducasble, exposição de estudos cenográficos de um ex-aluno da Imperial Academia de Belas Artes do Rio de Janeiro (Diário de Pernambuco, 16 de julho de 1889, última coluna).
+Ducasble compareceu em Paris à missa celebrada pelo abade , na Igreja de Saint Augustin, em 25 de julho, a mando do Barão de Penedo, em desagravo ao atentado sofrido por d. Pedro II (Gazeta do Norte, 8 de setembro de 1889, terceira coluna).
+Escreveu uma carta informando sobre o sucesso dos produtos pernambucanos exibidos na Exposição Universal de Paris (Diário de Pernambuco, 8 de setembro de 1889, quarta coluna).
+Estava à venda na Galeria Ducasble fotografias da armação funerária da Igreja da Penha para as exéquias pela morte de dom Luiz I de Portugal (1838 – 1889) celebradas pela colônia portuguesa do Recife (Diário de Pernambuco, 20 de dezembro de 1889, segunda coluna).
+Duscable foi viver em Paris e abriu a farmácia Ducasbline, onde vendia remédios que produziu a partir de seus estudos sobre a flora brasileira e conseguindo a custa a custa de pacientes investigações e meticulosas experiências o conhecimento perfeito das propriedades medicinais de muitas plantas, submeteu-as a processos científicos manipulando assim os medicamentos vendidos em seu estabelecimento parisiense. Segundo carta enviada por Ducasble à redação do jornal A Província – Órgão do Partido Liberal, em dezembro de 1900, seus medicamentos eram aconselhados pelo Instituto Médico de Paris e e estavam obtendo resultado maravilhosos em casos de anemia, bronquite e outras doenças (A Província – Órgão do Partido Liberal, 20 de dezembro de 1900, terceira coluna).
+1890 – Foi publicada uma cobrança de impostos relativa ao imóvel que seu estabelecimento fotográfico ocupava na Rua Barão da Vitória, 65 (A Província – Órgão do Partido Liberal, 9 de abril de 1890, sexta coluna).
+Na Galeria, Ducasble, exposição de pinturas de paisagens de Frederico Desidério de Barros, cenógrafo da Companhia Heller (Jornal de Recife, 6 de julho de 1890, última coluna). Cerca de 2 meses depois, exposição de pinturas de paisagens do hábil amador e acadêmico José de Castro Paes Barreto (Jornal de Recife, 16 de setembro de 1890, quarta coluna).
+Madame Ducasble anunciou sua volta ao Brasil após uma temporada em Paris e a reabertura de seu ateliê de moda no Recife. Havia condescendência nos preços (Diário de Pernambuco, 21 de outubro de 1890, segunda coluna).
+No ateliê da Photografia Ducasble, exposição de retratos a óleo dos barões de Itapessuna e de Caiará, realizados por Frederico Ramos a partir de pequenas fotografias (A Província – Órgão do Partido Liberal, 14 de novembro de 1890, segunda coluna).
+Foi anunciada a existência de uma sucursal da Galeria Ducasble na avenida de La Grande Armée, em Paris, na França. Também anunciava a venda de antiguidades e de objetos que por afluência de artigos tinham deixado de ir para a Exposição Universal de Paris, no ano anterior (Jornal de Recife, 16 de novembro de 1890, terceira coluna).
+1891 – Para exportação 30 litros de licor foram embarcados por Madame Ducasble no vapor francês Equateur, que iria para Paris (Diário de Pernambuco, 5 de maio de 1891, terceira coluna).
+Publicação de uma denúncia de Ducasble, que estava em Paris, sobre problemas de pagamento com a Comissão de Pernambuco na Exposição Universal em Paris em 1889, do qual havia sido representante diante da Comissão Central de Paris (Jornal de Recife, 7 de maio de 1891, terceira coluna). Dois dias depois, a comissão publicou sua versão dos fatos (Jornal de Recife, 9 de maio de 1891, primeira coluna).
+ 
+Jornal de Recife, 14 de novembro de 1891
+ 
+1892 – Ducasble presenteou o Diário de Pernambuco com uma fotografia do cadafalso ereto na matriz de Boa Vista por ocasião das exéquias em memória de dom Pedro de Alcântara (Diário de Pernambuco, 5 de fevereiro de 1892, primeira coluna).
+Foi no ateliê de Ducasble, que o fotógrafo português naturalizado brasileiro Francisco du Bocage (1860 – 1919), recém chegado no Recife a bordo do vapor nacional Olinda, vindo do sul do Brasil (Diário de Pernambuco, 17 de fevereiro de 1892, na segunda coluna) expôs chapéus e capotas (Diário de Pernambuco, 24 de fevereiro de 1892, quarta coluna e Jornal do Recife, 24 de fevereiro de 1892, terceira coluna).
+ 
+Diário de Pernambuco, 24 de fevereiro de 1892
+ 
+Publicação de uma propaganda da Galeria Ducasble onde foram destacados os prêmios conferidos a ela e o fato de ter sempre à escolha de seus numerosíssimo fregueses fotografias artísticas onde o belo resplandece ante os efeitos de luz bem combinada e verdadeiros modelos que a crítica mais exigente jamais poderá ferir (Jornal de Recife, 30 de agosto de 1892, quarta coluna).
+A Photographia Ducasble registrou no Teatro de Santa Isabel, o pano de anúncios pintado por Libânio do Amaral (? – 1920) para o referido teatro (Jornal de Recife, 28 de outubro de 1892, segunda coluna).
+1893 – Falecimento de Urraca, esposa de Ducasble, de meningite. Foi enterrada no Cemitério Público de Santo Amaro e a missa de sétimo dia foi celebrada na matriz da Graça, no Recife (Diário de Pernambuco, 20 de junho de 1893, primeira coluna, Jornal de Recife, 21 de junho de 1893, sexta coluna; e Diário de Pernambuco, 22 de junho de 1893, penúltima coluna).
+A antiga Photographia Ducasble passou a ser dirigida por um fotógrafo de grande prática dispondo para a execução de seus trabalhos de um pessoal técnico competentemente habilitado (Diário de Pernambuco, 3 de outubro de 1893, quinta coluna e Jornal de Recife, 4 de outubro de 1893). O fotógrafo em questão era Ludgero Jardim da Costa (18? – 19?) (Jornal de Recife, 8 de agosto de 1894, sexta coluna).
+ 
+Jornal de Recife, 4 de outubro de 1893
+ 
+ 
+Jornal de Recife, 17 de setembro de 1896
+ 
+1894 – Representada pelos parentes presentes e ausentes, foi celebrada uma missa pelo primeiro ano da morte de Urraca Ducasble (Diário de Pernambuco, 17 de junho de 1894, terceira coluna).
+1895 – Casamento civil de Alfredo Ducasble Filho com Maria Hermelinda Magalhães (Jornal de Recife, 18 de setembro de 1895, última coluna).
+1898 –  Alfredo Ducasble foi aprovado como benfeitor da Sociedade Propagadora Instrução Pública (Diário de Pernambuco, 25 de janeiro de 1898, segunda coluna).
+1900 - Alfredo Ducasble Filho era representante da fábrica O Moinho de Ouro, produtora de chocolates, no Rio de Janeiro (A Província – Órgão do Partido Liberal, 20 de abril de 1900, terceira coluna). Posteriomente, passou a ser representante de um laboratório farmacêutico francês e viajante geral do Almanack Laemmert (A Província – Órgão do Partido Liberal, 5 de março de 1901, penúltima coluna; e A Província – Órgão do Partido Liberal, 25 de agosto de 1910, penúltima coluna).
+Realização de um leilão na antiga Photographia Ducasble (A Província – Órgão do Partido Liberal, 12 de dezembro de 1900, primeira coluna).
+ 
+A Província – Órgão do Partido Liberal, 12 de dezembro de 1900
+Alfredo Ducasble Filho era o representante no Brasil do grupo Pollaion-Ducasble, de produtos farmacêuticos, sediado em Paris (A Província – Órgão do Partido Liberal, 14 de março de 1901, penúltima coluna).
+1902 – A leitura do livro de Ducasble, Curso de caligrafia prática, foi indicado aos alunos pela Instrução Pública de Pernambuco (Diário de Pernambuco, 17 de maio de 1902, quinta coluna). Em 1904 e em 1906 foi adotado pelas escolas municipais do Recife.
+Faleceu de nefrite a alagoana Maria Vitoria Soares, filha de Ducasble e viúva de Emilio Soares. No anúncio de morte, foi mencionado que seu pai residia em Paris (A Província – Órgão do Partido Liberal, 2 de setembro de 1902, primeira coluna e Diário de Pernambuco, 12 de setembro de 1902, sexta coluna).
+1904 - No Rio de Janeiro, com pouco menos de 5 anos, falecimento de Adalgisa Ducasble, filha de Ducasble Filho e neta de Alfredo Ducasble (Jornal do Commercio, 9 de abril de 1904, última coluna).
+Alfredo Ducasble Filho e sua família viviam no bairro do Encantado, no Rio de Janeiro. Acolheram uma criança que havia sido maltratada por sua mãe adotiva, mas apesar dos cuidados, ela faleceu (Gazeta de Notícias, 18 de maio de 1905, primeira coluna).
+1910 – Na primeira página do jornal A Província – Órgão do Partido Liberal, foi publicada uma fotografia de melhoramentos no Porto de Recife com crédito para Ducasble Filho (A Província – Órgão do Partido Liberal, 30 de agosto de 1910)
+1917 – Na Sociedade da Cruz Vermelha, no Rio de Janeiro, Maria Magalhães Ducasble, filha de Ducasble Filho, recebeu o diploma de enfermeira (A Época, 4 de maio de 1917).
+1923 – Foi doado ao Instituto Arqueológico de Pernambuco uma coleção de cédulas e moedas que o governo do estado havia comprado de Alfredo Ducasble (Diário de Pernambuco, 6 de abril de 1923, segunda coluna).
+1928 – Desquite de Ducasble Filho e Maria (O Paiz, 17 de novembro de 1928, segunda coluna).
+1931 – Foi ofertada ao Instituto Arqueológico de Pernambuco uma fotografia produzida por Ducasble, em 1888, de Joaquim Nabuco.  A foto havia pertencido a Antônio Machado Gomes da Silva e seu neto, Adolfo da Silva Neto, a doou para a instituição(Diário de Pernambuco, 17 de dezembro de 1931, primeira coluna).
+1933 – Em um artigo sobre o pintor alagoano Rosalvo Ribeiro (1865 – 1915), Ducasble foi citado como seu admirador, que teria batizado uma das obras de Rosalvo de L´innocence (O Dia (PR), 8 de outubro de 1933, terceira coluna).
+1946 – Em uma matéria sobre a vida do pintor pernambucano José Jerônimo Telles Júnior (1851 – 1914), a Galeria Ducasble foi citada como um dos lugares mais frequentados por ele  (Diário de Pernambuco, 26 de maio de 1946, gunda coluna).
+1951 – Nas memórias de Telles Júnior, na ocasião do centenário de seu nascimento, Ducasble foi citado (Diário de Pernambuco, 2 de agosto de 1951, penúltima coluna)
+1956 – Fotografias produzidas por Ducasble foram publicadas no livro, Álbum de Pernambuco e seus arrabaldes, organizado por Gilberto Ferrez (Jornal do Brasil, 4 de novembro de 1956).
+1977 – Em Washington, capital dos Estados Unidos, fotografias de Ducasble, Insley Pacheco e Alberto Henschel encontradas na coleção Oliveira Lima foram expostas no Instituto Cultural Brasileiro Americano. Essas fotografias foram redescobertas por acaso pelo diretor da citada instituição, José Neinstein, quando ele foi pesquisar um livro raro sobre o Brasil na Biblioteca da Universidade Católica de Washington, em fins de abril de 1977 (Jornal do Brasil, 29 de junho de 1977, última coluna).
+1978 – Publicação, no Diário de Pernambuco, de uma fotografia de Joaquim Nabuco, produzida por Ducasble, em 1887 (Diário de Pernambuco, 17 de setembro de 1978).
+ 
+Joaquim Nabuco fotografado por Ducasble em 1887 / Diário de Pernambuco, 17 de setembro de 1978
+ 
+Andrea C. T. Wanderley
+Editora-assistente e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+BECHARA FILHO, Gabriel. Primórdios da fotografia na Paraíba. Correio das Artes – suplemento literário do jornal A União, João Pessoa, 27 de novembro de 1983.
+CORNELI, René; MUSSELY, Pierre. Anvers à l´Exposition Universelle. Bruxelles: Typographie et Lithographie Ad Mertens, 1886, pág. 346.
+Enciclopédia Itaú Cultural
+Guia Geográfico Salvador Antiga
+Hemeroteca Digital da Biblioteca Nacional
+KOSSOY, Boris. Dicionário histórico-fotográfico brasileiro: fotógrafos e ofício da fotografia no Brasil (1833-1910). São Paulo: Instituto Moreira Salles, 2002.
+KOSSOY, Boris. Realidades e ficções na trama fotográfica. Cotia(SP) : Ateliê Editorial, 1999.
+Revista do IPHAN, nº 26 – 1997
+Site do Arquivo Nacional
+TURAZZI, Maria Inez. Poses e trejeitos: a fotografia e as exposições na era do espetáculo: 1839/1889. Prefácio Pedro Karp Vasquez. Rio de Janeiro: Funarte. Rocco, 1995. 309 p., il. p&b. (Coleção Luz & Reflexão, 4). ISBN 85-85781-08-4.
+VASQUEZ, Pedro Karp. A fotografia no Império. Rio de Janeiro: Jorge Zahar Editor, 2002.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/6471` — `itens/20.500.12156.1_6471/`
+- `20.500.12156.1/3913` — `itens/20.500.12156.1_3913/`
+- `20.500.12156.1/6470` — `itens/20.500.12156.1_6470/`
+- `20.500.12156.1/3912` — `itens/20.500.12156.1_3912/`
+- `20.500.12156.1/3909` — `itens/20.500.12156.1_3909/`
+
diff --git a/wordpress/14387-pereira-passos-e-marc-ferrez-engenharia-e-fotografia-para-o-desenvolvimento-das-.md b/wordpress/14387-pereira-passos-e-marc-ferrez-engenharia-e-fotografia-para-o-desenvolvimento-das-.md
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+---
+id: 14387
+url: "https://brasilianafotografica.bn.gov.br/?p=14387"
+titulo: "Pereira Passos e Marc Ferrez: engenharia e fotografia para o desenvolvimento das ferrovias"
+autor: "Andrea Wanderley"
+data: "2019-04-05T15:06:42+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/4996", "20.500.12156.1/4886", "20.500.12156.1/6456", "20.500.12156.1/6448", "20.500.12156.1/5132", "20.500.12156.1/6447", "20.500.12156.1/6443", "20.500.12156.1/5345", "20.500.12156.1/2593", "20.500.12156.1/2589", "20.500.12156.1/2575"]
+fetched_at: "2026-09-10T09:58:12.422Z"
+---
+
+# Pereira Passos e Marc Ferrez: engenharia e fotografia para o desenvolvimento das ferrovias
+
+Francisco Pereira Passos (1836-1913), que foi prefeito do Rio de Janeiro entre 1902 e 1906, quando liderou uma série de obras de reurbanização da cidade, teve uma atuação profissional importante como engenheiro, principalmente no que se refere ao trabalho de construção de ferrovias, no final do século XIX. Na ocasião, a fotografia passou a ser amplamente utilizada pelos engenheiros como recurso para estudos de projetos e execuções das obras ferroviárias e Marc Ferrez (1843 – 1923) foi um dos principais fotógrafos contratados para o registro das construções de ferrovias. A Brasiliana Fotográfica traz para seus leitores um artigo sobre o assunto, de autoria da historiadora Maria de Fátima Morado, do Museu da República, uma das instituições parceiras do portal,  com a publicação de imagens produzidas por Ferrez, uma colagem de fotos do alemão Alberto Henschel (1827 – 1882), e registros de fotógrafos ainda não conhecidos.
+ 
+A aliança entre engenharia e fotografia para o desenvolvimento das ferrovias
+Maria de Fátima Morado*
+ 
+Francisco Pereira Passos (1836–1913) é, usualmente, identificado como o prefeito do “bota-abaixo”, pois sob sua polêmica gestão (1902-1906) a cidade do Rio de Janeiro passou por obras de modernização que implicaram na remoção dos habitantes pertencentes às camadas populares da região central para áreas mais afastadas e sem recursos. A sua atuação profissional, enquanto engenheiro, apesar de pouco conhecida não é menos relevante, principalmente no que se refere ao trabalho de construção de ferrovias, no final do século XIX.
+ 
+Augusto Malta. Família Pereira Passos: Pereira Passos, Maria Rita Passos, Maria Paula Passos de Castro, Francisco de Oliveira Passos, Olímpia Passos e Maria Ernestina T. de Castro, 14 de novembro de 1910. Rio de janeiro, RJ / Acervo Museu da República
+ 
+Pereira Passos formou-se engenheiro pela Escola Militar da Corte, em 1856, “e, no ano seguinte, foi nomeado adido à legação brasileira em Paris, ocasião em que teve a oportunidade de frequentar os cursos da École de Ponts et Chaussées e de se dedicar a estudos sobre hidráulica, construção de portos, canais e estradas de ferro”. (MOTTA, 2015). De volta ao Brasil, atuou num dos ramos mais promissores da engenharia, a construção de estradas de ferro, demanda requerida pelo auge da produção cafeeira e seu necessário escoamento, que deveria ser feito de forma mais eficiente.
+Acessando o link para as fotografias de ferrovias do acervo do Museu da República disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+Em 1881, com a fundação do Clube de Engenharia, que teve Pereira Passos como um dos membros mais influentes, os engenheiros passaram a exercer um poder estratégico em relação às obras públicas de infraestrutura e conforme o artigo 1º de seu Estatuto ficou definido que “a sociedade – Club de Engenharia – tem por objecto promover e estreitar relações entre as classes de engenharia e as dos vários ramos industriais, no que diz respeito aos interesses recíprocos das suas profissões” (Decreto nº 8253 de 10/09/1881). Em 1882, o Clube patrocinou o I Congresso de Estradas de Ferro e, em 1887, realizou a I Exposição das Estradas de Ferro no Brasil.
+ 
+Marc Ferrez. Estrada de Ferro Sapucai, s/d. Ponte sobre o rio Paraíba / Acervo Museu da República
+ 
+A fotografia passou a ser amplamente utilizada pelos engenheiros como recurso para estudos de projetos e execuções das obras, não excluindo a função social para a difusão e propaganda dessas modernizações, por exemplo, através da confecção de cartões-postais. Marc Ferrez (1843 – 1923) foi um dos principais fotógrafos contratados para o registro das construções de ferrovias. “A engenharia ferroviária demandava imagens detalhadas da evolução das obras de engenharia (edifícios de passageiros, túneis, pontes, aterros, cortes)” (OLIVEIRA, 2018). A fotografia também servia como recurso no incentivo entre os acionistas para investimentos no empreendimento ferroviário. Para a divulgação desse processo modernizador foram comercializados álbuns fotográficos e realizadas exposições de fotos de engenharia em salões nacionais e internacionais.
+A Coleção Família Passos, do Arquivo Histórico e Institucional do Museu da República, além de extensa documentação textual, dispõe de uma série de fotos sobre a construção de ferrovias, bem como estações e locomotivas. Além das fotografias produzidas por Marc Ferrez, existe uma colagem de fotos de Alberto Henschel (1827 – 1982), importante fotógrafo alemão que atuou no Brasil, nesse mesmo período.
+ 
+Alberto Henschel. Estrada de Ferro D.Pedro II: vista do ramal, do túnel e da estação marítima na Gamboa, s/d. Rio de Janeiro, RJ / Acervo Museu da República
+ 
+ 
+Cronologia da carreira de Pereira Passos no setor ferroviário
+ 
+Augusto Malta. Pereira Passos durante cerimônia de inauguração da pedra fundamental de monumento em sua homenagem, 15 de junho de 1906. Rio de Janeiro, RJ / Acervo Museu da República
+1862 - Atuou em comissões de estudos de prolongamento e acompanhamento de obras da Estrada de Ferro Dom Pedro II.
+1864 – 1867 - Foi  engenheiro-fiscal da construção da linha que ligou Santos a Jundiaí. Na condição de funcionário do governo imperial, fiscalizou a obra da Estrada de Ferro Santos-Jundiaí, inaugurada em 1867 como São Paulo Railway.
+1868 – 1869 - Substituiu J. Whitaker na comissão encarregada dos estudos e exploração do traçado de prolongamento da Estrada de Ferro D. Pedro II até o Rio São Francisco.
+1870 a 1873 – Foi consultor técnico do Ministério da Agricultura e Obras Públicas, em Londres. Publicou um livro intitulado Caderneta de Campo, trabalho utilizado pelos engenheiros brasileiros dedicados à construção de ferrovias.
+1876 – 1880 – Atuou como engenheiro-presidente na Estrada de Ferro Dom Pedro II. Conduziu a ampliação da estação da Corte e as construções do ramal ferroviário e da estação marítima, na Gamboa. Este complexo foi inaugurado em junho de 1880.
+1881 – 1884 – Elaborou o projeto de engenharia da Estrada de Ferro Curitiba-Paranaguá; o prolongamento da Estrada de Ferro Petrópolis, no trecho da Raiz da Serra do Mar até Petrópolis; e a Estrada de Ferro Corcovado. Para as duas últimas introduziu o uso do sistema com trilho central dotado de encaixes, nos quais uma roda dentada se apoia para impulsionar o trem, conhecido como cremalheira. A Estrada de Ferro do Corcovado foi construída em conjunto com Marcelino Roma e Lopes Ribeiro e é a primeira via de turismo criada na Corte.
+ 
+Marc Ferrez. Estrada de Ferro Paranaguá-Curitiba: ponte sobre o Rio São João, onde aparece uma composição com passageiros, s/d. Paraná/ Acervo Museu da República
+ 
+ 
+Anônimo. Vagão tombado em uma estrada de ferro, s/d / Acervo Museu da República
+ 
+*Maria de Fátima Morado é Historiadora do Arquivo Histórico e Institucional do Museu da República
+ 
+Fontes:
+LAMARÃO, Sérgio; URBINATI, Inoã Carvalho. Clube de Engenharia. In: Dicionário histórico-biográfico da Primeira República – 1889-1930. Coordenação: Alzira Alves de Abreu. FGV, 2015.
+MOTTA, Marly. Pereira Passos. In: Dicionário histórico-biográfico da Primeira República – 1889-1930. Coordenação: Alzira Alves de Abreu. FGV, 2015.
+OLIVEIRA, Eduardo Romero. Vistas fotográficas das ferrovias: a produção de registros de obra pública no Brasil do século XIX. História, Ciências, Saúde – Manguinhos, Rio de Janeiro, v.25, n.3, jul-set 2018, p.695-723.
+PINHEIRO, Manoel Carlos; FIALHO JR, Renato. Pereira Passos: vida e obra. Instituto Pereira Passos-Prefeitura da Cidade do Rio de Janeiro, ago 2006.
+RODRIGUES, Antônio Edmilson Martins; AZEVEDO, André Nunes de. Pereira Passos por ele mesmo. Revista Rio de Janeiro, n. 10 , maio-ago 2003.
+TURAZZI, Maria Inez. Paisagem construída fotografia e memória dos melhoramentos urbanos na cidade do Rio de Janeiro. Varia História, Belo Horizonte, vol. 22, nº 35: p. 64-78, jan-jun 2006.
+ 
+Pequena cronologia da carreira de Marc Ferrez como fotógrafo no setor ferroviário
+Andrea C.T. Wanderley**
+Família Ferrez. c. 1912. Marc Ferrez está em pé atrás de sua esposa, Marie, ladeados pelo filho do casal, Julio, e sua mulher, Claire. As crianças são Gilberto e Eduardo, netos de Marc. Rio de Janeiro, RJ / Acervo IMS
+ 
+1880 – Entre 1880 e 1890,  fotografou as construções ferroviárias no Brasil, quando produziu um grande panorama da paisagem brasileira de sua época.
+1882 – Fotografou as obras da ferrovia Dom Pedro II, em São Paulo e em Minas Gerais, tendo registrado a presença do imperador Pedro II e de sua comitiva na entrada do túnel da Serra da Mantiqueira (Gazeta de Notícias, 27 de junho de 1882, na quarta coluna).
+ 
+Marc Ferrez. Inauguração de túnel com a presença do imperador e comitiva, 1882 / Acervo IMS
+1883 – O Club de Engenharia ofereceu uma recepção ao engenheiro hidráulico holandês J. Dirks, o grande especialista da época em portos e canais, que estava de passagem pelo Rio de Janeiro e seguiria para Valparaíso, no Chile. Na ocasião, foi realizada uma exposição de fotografias das estradas de ferro, de autoria de Marc Ferrez (Revista de Engenharia, 14 de abril de 1883).
+c. 1884 – Fotografou as obras da ferrovia do Paraná (Paranaguá – Curitiba. O gerente da firma Société Anonyme des Travaux Dyle et Bacalan, empreiteira belga encarregada pelas obras, o futuro prefeito do Rio de Janeiro, o engenheiro Francisco Pereira Passos (1836 – 1913), presenteou dom Pedro II com 14 fotografias e um álbum de autoria de Ferrez com registros da ferrovia e da província do Paraná.
+Exposição de fotografias da estrada de ferro Teresa Cristina, na A la Glacê Elegante (Gazeta da Tarde, 11 de novembro de 1884, na quinta coluna).
+1885 – Ferrez participou da inauguração da ferrovia do Paraná, a estrada de ferro Paranaguá – Curitiba (Dezenove de Dezembro, 4 de fevereiro de 1885, na terceira coluna).
+1886 – Em uma reunião da Sociedade Central de Immigração, da qual faziam parte, entre outros, o astrônomo belga Louis Ferdinand Cruls (1848 – 1908), o pintor italiano Nicolau Facchinetti (1824 – 1900) e o político Alfredo d´Escragnolle Taunay (1843 – 1899), foram apresentadas por esse último, presidente da associação, fotografias da ferrovia do Paraná, de autoria de Ferrez (A Immigração, agosto de 1886).
+O Club de Engenharia aprovou a proposta de Marc Ferrez e de E. de Mascheuk para a execução de “diversos trabalhos concernentes à exposição dos caminhos de ferro” (Revista de Engenharia, 14 de dezembro de 1886, na primeira coluna).
+Ferrez fotografou a ferrovia Dom Pedro II, em Juiz de Fora.
+1887 - Entre 2 de julho e 2 de agosto, nos salões do Liceu de Artes e Ofícios, por uma iniciativa do Club de Engenharia, realizou-se a Exposição dos Caminhos de Ferro Brasileiros, com a exibição de fotografias de Ferrez (Revista de Engenharia, 14 de agosto de 1887). Estiveram presentes no encerramento da exposição, no dia 2 de agosto, a princesa Isabel(1845 – 1921) e o conde d´Eu (1842 – 1922), além de outras autoridades. O conselheiro Sinimbu (1810 – 1906) leu o relatório do juri da exposição, do qual também fazia parte o visconde de Mauá (1813 – 1889), Pedro Betim Paes Leme (1846 – 1918), Christiano Benedicto Ottoni (1811 – 1896), Carlos Peixoto de Mello (1871 – 1917), Álvaro Joaquim de Oliveira (1840 – 1922) e Manoel José Alves Barbosa (1845 – 1907). Ferrez foi contemplado com uma menção honrosa pelas “magníficas fotografias de importantes trechos de nossas vias férreas, com que concorreu não só para abrilhantar a Exposição como até para suprir algumas lacunas sensíveis de estradas que se não fizeram representar” (Jornal do Commercio, 3 de agosto de 1887, na terceira coluna e Revista de Estradas de Ferro, 31 de agosto de 1887, na primeira coluna).
+1888 – Em 25 de novembro, foi inaugurado o tráfego entre as estações de Alcântara e Rio do Ouro da estrada de ferro de Maricá. Marc Ferrez fotografou “instantaneamente ” um grupo de convidados da diretoria das estradas na estação Santa Izabel (Revista de Engenharia, 28 de dezembro de 1888, na primeira coluna).
+1890 – Em setembro, Ferrez integrou a comitiva convidada para a  inauguração das obras da ferrovia Benevente-Minas, de Carangola a Benevente, atual Anchieta, no Espírito Santo (Diário de Notícias, 28 de setembro de 1890, quinta coluna).
+1891 – Na Revista de Engenharia, 28 de dezembro de 1890, foi publicado um anúncio: “Marc Ferrez – Fotógrafo da Marinha Nacional. Especialista de vistas de estradas de ferro e em geral das grandes obras públicas. Reprodução de plantas com traços pretos sobre fundo branco. Rua São José 8″. O mesmo anúncio voltou a ser veiculado na edição de 14 de agosto de 1891.
+1892 – Foi determinado que nas estradas de ferro subvencionadas pelo governo federal fossem liberados passes de ida e volta para Marc Ferrez e um ajudante para que pudessem “levantar fotografias em diversas localidades para o serviço da Exposição Universal Colombiana de Chicago”, que aconteceu entre 1º de maio e 30 de outubro de 1893 para celebrar os 400 anos da chegada do navegador genovês Cristóvão Colombo (1451 – 1506) ao Novo Mundo, em 1492 (Jornal do Brasil, 21 de agosto de 1892, na quinta coluna).
+1895 – Em novembro, Ferrez fotografou, em Búzios, os convidados e a comissão responsável pela construção da Estrada de Ferro Rio de Janeiro-Minas, que uniria o povoado de Búzios a Paquequer, no estado de Minas Gerais (A Notícia, 11 de novembro de 1895, segunda coluna).
+1900 – A Revista da Semana de 21 de outubro de 1900, publicou uma litogravura da Estação Central da Estrada de Ferro da Central do Brasil baseada em uma fotografia de autoria de Marc Ferrez. A Revista da Semana havia sido lançada em 20 de maio por Álvaro de Tefé (1898-?).
+ 
+Marc Ferrez. Estação da estrada de ferro Central do Brasil, c. 1899. Rio de Janeiro, RJ / Acervo IMS
+ 
+1904 - Exposição de fotografias da estrada de ferro Central do Brasil de autoria de Ferrez, no Club de Engenharia (O Commentario, março de 1904).
+1908 – A Casa Marc Ferrez produziu filmes sobre obras em estradas de ferro do Brasil.
+ 
+**Andrea C. T. Wanderley
+Editora-assistente e pesquisadora do portal Brasiliana Fotográfica
+ 
+Publicações da Brasiliana Fotográfica em torno da obra do fotógrafo Marc Ferrez 
+ 
+Marc Ferrez aos 33 anos, c. 1876. Rio de Janeiro, RJ / Acervo IMS
+O Rio de Janeiro de Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 30 de junho de 2015
+Obras para o abastecimento no Rio de Janeiro por Marc Ferrez , de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 25 de janeiro de 2016
+O brilhante cronista visual Marc Ferrez (7/12/1843 – 12/01/1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 7 de dezembro de 2016
+Do natural ao construído: O Rio de Janeiro na fotografia de Marc Ferrez, de autoria de Sérgio Burgi, um dos curadores da Brasiliana Fotográfica, publicada em 19 de dezembro de 2016
+No primeiro dia da primavera, as cores de Marc Ferrez (1843 – 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 22 de setembro de 2017
+Marc Ferrez , a Comissão Geológica do Império (1875 – 1878) e a Exposição Antropológica Brasileira no Museu Nacional (1882), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica,  publicada em 29 de junho de 2018
+Série “O Rio de Janeiro desaparecido” V – O quiosque Chopp Berrante no Passeio Público, Ferrez, Malta e Charles Dunlop, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 20 de julho de 2018
+Uma homenagem aos 175 anos de Marc Ferrez (7 de dezembro de 1843 – 12 de janeiro de 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 7 de dezembro de 2018 
+Fotografia e ciência: eclipse solar, Marc Ferrez e Albert Einstein, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 24 de junho de 2019
+Os 180 anos da invenção do daguerreótipo – Os álbuns da Comissão Geológica do Império com fotografias de Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 19 de agosto de 2019
+Celebrando o fotógrafo Marc Ferrez (1843 – 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 4 de dezembro de 2019
+Uma homenagem da Casa Granado ao imperial sob as lentes de Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 7 de fevereiro de 2020
+Ressaca no Rio de Janeiro invade o porão da casa do fotógrafo Marc Ferrez, em 1913, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado 6 de março de 2020
+Petrópolis, a Cidade Imperial, pelos fotógrafos Marc Ferrez e Revert Henrique Klumb, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 16 de março de 2020
+Bambus, por Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 5 de junho de 2020
+O Baile da Ilha Fiscal: registro raro realizado por Marc Ferrez e retrato de Aurélio de Figueiredo diante de sua obra, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 9 de novembro de 2020
+O Palácio de Cristal fotografado por Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 2 de fevereiro de 2021
+A Estrada de Ferro do Paraná, de Paranaguá a Curitiba, pelos fotógrafos Arthur Wischral (1894 – 1982) e Marc Ferrez (1843 – 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 22 de março de 2021
+Dia dos Pais – Julio e Luciano, os filhos do fotógrafo Marc Ferrez, e outras famílias, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 6 de agosto de 2021
+No Dia da Árvore, mangueiras fotografadas por Ferrez e Leuzinger, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 21 de setembro de 2021
+Retratos de Pauline Caroline Lefebvre, sogra do fotógrafo Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 28 de abril de 2022
+A Serra dos Órgãos: uma foto aérea e imagens realizadas pelos mestres Ferrez, Leuzinger e Klumb, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 30 de junho de 2022
+O centenário da morte do fotógrafo Marc Ferrez (1843 – 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 12 de janeiro de 2023
+O Observatório Nacional pelas lentes de Marc Ferrez, amigo de vários cientistas, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 29 de maio de 2023
+No Dia Mundial do Meio Ambiente, a potente imagem da Cachoeira de Paulo Afonso, por Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 5 de junho de 2023
+A Fonte Adriano Ramos Pinto por Guilherme Santos e Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 18 de julho de 2023
+Os 180 anos de nascimento do fotógrafo Marc Ferrez (1843 – 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 7 de dezembro de 2023
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/4996` — `itens/20.500.12156.1_4996/`
+- `20.500.12156.1/4886` — `itens/20.500.12156.1_4886/`
+- `20.500.12156.1/6456` — `itens/20.500.12156.1_6456/`
+- `20.500.12156.1/6448` — `itens/20.500.12156.1_6448/`
+- `20.500.12156.1/5132` — `itens/20.500.12156.1_5132/`
+- `20.500.12156.1/6447` — `itens/20.500.12156.1_6447/`
+- `20.500.12156.1/6443` — `itens/20.500.12156.1_6443/`
+- `20.500.12156.1/5345` — `itens/20.500.12156.1_5345/`
+- `20.500.12156.1/2593` — `itens/20.500.12156.1_2593/`
+- `20.500.12156.1/2589` — `itens/20.500.12156.1_2589/`
+- `20.500.12156.1/2575` — `itens/20.500.12156.1_2575/`
+
diff --git a/wordpress/1443-o-rio-de-janeiro-de-marc-ferrez.md b/wordpress/1443-o-rio-de-janeiro-de-marc-ferrez.md
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+---
+id: 1443
+url: "https://brasilianafotografica.bn.gov.br/?p=1443"
+titulo: "O Rio de Janeiro de Marc Ferrez"
+autor: "Andrea Wanderley"
+data: "2015-06-30T10:00:39+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/2575"]
+fetched_at: "2026-09-10T09:58:15.437Z"
+---
+
+# O Rio de Janeiro de Marc Ferrez
+
+Marc Ferrez. Marc Ferrez aos 33 anos, c. 1877. Rio de Janeiro. Acervo IMS.
+No ano em que o Rio de Janeiro completa 450 anos de fundação, a Brasiliana Fotográfica faz uma homenagem à cidade com uma seleção de fotografias de Marc Ferrez (1843-1923), o brilhante cronista visual das paisagens e dos costumes cariocas da segunda metade do século XIX e do início do século XX. Sua vasta e abrangente obra se equipara a dos maiores nomes da fotografia do mundo.
+Estabeleceu-se como fotógrafo, com a firma Marc Ferrez & Cia, em 1867, na rua São José, nº 96, e logo se tornou o mais importante fotógrafo do Rio de Janeiro. Cerca de metade da produção fotográfica de Ferrez foi realizada na cidade e em seus arredores, onde fotografou, além do patrimônio construído, a exuberância das paisagens naturais.
+“E é nesse entorno que Ferrez fez muitas das imagens que melhor representam o seu trabalho de um ponto de vista mais pessoal e autoral…”. (1)
+Outro segmento de sua obra iconográfica registrou as várias regiões do Brasil – ele foi o único fotógrafo do século XIX que percorreu todas as regiões do país, tendo sido, no referido século, o principal responsável pela divulgação da imagem do país no exterior.
+Marc Ferrez nasceu no Rio de Janeiro, em 7 de dezembro de 1843, filho de Zépherin e Alexandrine Ferrez. Seu pai, um escultor e gravador francês, havia chegado no Rio de Janeiro em 1817, passando a integrar a Missão Francesa, que havia se instalado na cidade no ano anterior. Depois do falecimento de seus pais em 1851, ele foi viver em Paris com o gravador de medalhas Joseph Eugène Dubois. De volta ao Brasil, atuou sempre como fotógrafo e faleceu em 12 de janeiro de 1923 ( O Paiz, 14 de janeiro de 1923, sexta coluna e Gazeta de Notícias, 16 de janeiro de 1923,  última coluna), na capital que o acolheu e ele eternizou com sua arte.
+(1) – Rio /Marc Ferrez – São Paulo: IMS; Göttingen: Steidl, 2015, pág. 9.
+Acessando o link para as fotografias de Marc Ferrez disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas. 
+ 
+Carimbo de Marc Ferrez, c. 1875, Rio de Janeiro. Acervo IMS.
+ 
+Convidamos os leitores para visitar a exposição Rio: primeiras poses – Visões da cidade a partir da chegada da fotografia (1840-1930), em cartaz no Instituto Moreira Salles, no Rio de Janeiro, até 31 de dezembro de 2015.
+Andrea C. T. Wanderley
+Editora-assistente e pesquisadora do portal Brasiliana Fotográfica
+ 
+ 
+Publicações da Brasiliana Fotográfica em torno da obra do fotógrafo Marc Ferrez 
+ 
+Marc Ferrez aos 33 anos, c. 1876. Rio de Janeiro, RJ / Acervo IMS
+ 
+Obras para o abastecimento no Rio de Janeiro por Marc Ferrez , de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 25 de janeiro de 2016
+O brilhante cronista visual Marc Ferrez (7/12/1843 – 12/01/1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 7 de dezembro de 2016
+Do natural ao construído: O Rio de Janeiro na fotografia de Marc Ferrez, de autoria de Sérgio Burgi, um dos curadores da Brasiliana Fotográfica, publicada em 19 de dezembro de 2016
+No primeiro dia da primavera, as cores de Marc Ferrez (1843 – 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 22 de setembro de 2017
+Marc Ferrez , a Comissão Geológica do Império (1875 – 1878) e a Exposição Antropológica Brasileira no Museu Nacional (1882), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica,  publicada em 29 de junho de 2018
+Série “O Rio de Janeiro desaparecido” V – O quiosque Chopp Berrante no Passeio Público, Ferrez, Malta e Charles Dunlop, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 20 de julho de 2018
+Uma homenagem aos 175 anos de Marc Ferrez (7 de dezembro de 1843 – 12 de janeiro de 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 7 de dezembro de 2018 
+Pereira Passos e Marc Ferrez: engenharia e fotografia para o desenvolvimento das ferrovias, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 5 de abril de 2019
+Fotografia e ciência: eclipse solar, Marc Ferrez e Albert Einstein, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 24 de junho de 2019
+Os 180 anos da invenção do daguerreótipo – Os álbuns da Comissão Geológica do Império com fotografias de Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 19 de agosto de 2019
+Celebrando o fotógrafo Marc Ferrez (1843 – 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 4 de dezembro de 2019
+Uma homenagem da Casa Granado ao imperial sob as lentes de Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 7 de fevereiro de 2020
+Ressaca no Rio de Janeiro invade o porão da casa do fotógrafo Marc Ferrez, em 1913, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado 6 de março de 2020
+Petrópolis, a Cidade Imperial, pelos fotógrafos Marc Ferrez e Revert Henrique Klumb, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 16 de março de 2020
+Bambus, por Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 5 de junho de 2020
+O Baile da Ilha Fiscal: registro raro realizado por Marc Ferrez e retrato de Aurélio de Figueiredo diante de sua obra, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 9 de novembro de 2020
+O Palácio de Cristal fotografado por Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 2 de fevereiro de 2021
+A Estrada de Ferro do Paraná, de Paranaguá a Curitiba, pelos fotógrafos Arthur Wischral (1894 – 1982) e Marc Ferrez (1843 – 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 22 de março de 2021
+Dia dos Pais – Julio e Luciano, os filhos do fotógrafo Marc Ferrez, e outras famílias, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 6 de agosto de 2021
+No Dia da Árvore, mangueiras fotografadas por Ferrez e Leuzinger, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 21 de setembro de 2021
+Retratos de Pauline Caroline Lefebvre, sogra do fotógrafo Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 28 de abril de 2022
+A Serra dos Órgãos: uma foto aérea e imagens realizadas pelos mestres Ferrez, Leuzinger e Klumb, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 30 de junho de 2022
+O centenário da morte do fotógrafo Marc Ferrez (1843 – 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 12 de janeiro de 2023
+O Observatório Nacional pelas lentes de Marc Ferrez, amigo de vários cientistas, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 29 de maio de 2023
+No Dia Mundial do Meio Ambiente, a potente imagem da Cachoeira de Paulo Afonso, por Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 5 de junho de 2023
+A Fonte Adriano Ramos Pinto por Guilherme Santos e Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 18 de julho de 2023
+Os 180 anos de nascimento do fotógrafo Marc Ferrez (1843 – 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 7 de dezembro de 2023
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/2575` — `itens/20.500.12156.1_2575/`
+
diff --git a/wordpress/145-cenas-de-rua-da-paisagem-arquitetonica-a-paisagem-social-e-humana.md b/wordpress/145-cenas-de-rua-da-paisagem-arquitetonica-a-paisagem-social-e-humana.md
new file mode 100644
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+++ b/wordpress/145-cenas-de-rua-da-paisagem-arquitetonica-a-paisagem-social-e-humana.md
@@ -0,0 +1,24 @@
+---
+id: 145
+url: "https://brasilianafotografica.bn.gov.br/?p=145"
+titulo: "Cenas de rua: da paisagem arquitetônica à paisagem social e humana"
+autor: "Vinicius Martins"
+data: "2015-04-16T14:18:13+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: []
+fetched_at: "2026-09-10T09:58:18.553Z"
+---
+
+# Cenas de rua: da paisagem arquitetônica à paisagem social e humana
+
+Marc Ferrez. Centro do Rio de Janeiro. c. 1890 / Acervo IMS
+No século XIX, fotógrafos como Marc Ferrez registram a paisagem urbana em grandes panoramas. Ferrez documentou sistematicamente o Rio de Janeiro, cidade onde viveu e produziu a maior parte de seu trabalho fotográfico, fortemente influenciado em seu processo criativo pela deslumbrante paisagem da cidade e de seu entorno. Suas imagens da arquitetura da cidade e das grandes vistas urbanas, feitas em negativos de vidro de grande formato, permitem hoje o exame de detalhes das imagens que incluem os elementos registrados no nível das ruas, nas calçadas, revelando importantes informações de um tempo onde ainda a fotografia de caráter mais jornalístico não era comumente praticada, em função de restrições técnicas do processo fotográfico.
+Com o aumento da sensibilidade à luz dos materiais fotográficos, tanto o fotojornalismo, como a fotografia amadora, expandem-se significativamente na virada do século XIX para o XX. A imagem fotográfica passa a frequentar o cotidiano das pessoas através das revistas ilustradas e das fotografias realizadas no âmbito das próprias famílias, aumentando o repertório imagético e a intensidade da comunicação visual na sociedade.
+A fotografia instantânea, capturando cenas em frações de segundo, como mostra o trabalho de Eadweard Muybridge sobre o movimento de homens e animais, foi precursora do registro cinematográfico. O cinema, tal como o conhecemos hoje, é resultado destes desenvolvimentos tecnológicos no campo da fotografia, ocorridos nas três últimas décadas do século XIX. A introdução das emulsões de gelatina e brometo de prata, com alta sensibilidade à luz, e a introdução de bases flexíveis que permitiram a produção de filmes em rolo para filmagem e projeção, revolucionaram também o campo da própria fotografia.
+No Rio de Janeiro, fotógrafos como Augusto Malta, Lopes, Thiele Kholien, Bippus e outros produziram uma intensa e variada documentação fotográfica da cidade. Incluem-se aqui as primeiras fotografias aéreas, registrando suas transformações e seus grandes eventos, com a as exposições de 1908 e 1922, a remoção do Morro do Castelo, as obras da Avenida Beira-mar e da área portuária, entre outras. Guilherme Santos (1871-1966) produziu uma vasta documentação em estereoscopia da cidade e do país, que disponibilizou na forma de coleções temáticas com forte viés documental e jornalístico. Fotógrafo amador dedicado à fotografia de efeito tridimensional, registrou os hábitos e cotidiano dos cariocas, os eventos sociais e políticos e a paisagem da cidade. A empresa Rodrigues & Co. produziu igualmente coleções significativas sobre o Rio de Janeiro e Marc Ferrez, juntamente com seus filhos Júlio e Luciano, deixou também um legado muito rico em imagens estereoscópicas preto e branco e coloridas.
+Em outras regiões do país, fotógrafos como Militão Augusto de Azevedo em São Paulo, Francisco du Bocage em Recife, e também registros anônimos em Belém, compõem um amplo registro da vida nas cidades, que evolui dos primeiros registros em longos tempos de exposição, onde as pessoas aparecem muitas vezes sem definição por estarem se deslocando durante a realização da fotografia, até os registros instantâneos, em frações de segundo, realizados já a partir dos anos 1910 e 1920.
+É, portanto, muito significativa para os estudos da paisagem humana e social do Brasil do século XIX e início do século XX a possibilidade hoje de exame destas imagens em uma plataforma como esta Brasiliana Fotográfica, que dispõe de recursos de magnificação que permitem uma navegação sobre detalhes das imagens que revelam conteúdos e informações relevantes para a pesquisa da vida do país. As imagens aqui selecionadas e reunidas na galeria de vistas urbanas de diversas cidades brasileiras permitem um olhar sobre a vida nas ruas e nas calçadas, que informam sobre muitos aspectos da dinâmica social daquele período.
+………………………………………………………………………………………………………………………………………..
+Curadoria de Sergio Burgi/IMS
+ 
+[foogallery id=”245″]
diff --git a/wordpress/14520-serie-os-diarios-associados-na-brasiliana-fotografica-ii-a-casa-dos-artistas-nos.md b/wordpress/14520-serie-os-diarios-associados-na-brasiliana-fotografica-ii-a-casa-dos-artistas-nos.md
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+---
+id: 14520
+url: "https://brasilianafotografica.bn.gov.br/?p=14520"
+titulo: "Série “Os Diários Associados na Brasiliana Fotográfica” II – A Casa dos Artistas nos Diários Associados"
+autor: "Andrea Wanderley"
+data: "2019-08-26T12:35:40+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/6574", "20.500.12156.1/6573", "20.500.12156.1/6575"]
+fetched_at: "2026-09-10T09:58:21.900Z"
+---
+
+# Série “Os Diários Associados na Brasiliana Fotográfica” II – A Casa dos Artistas nos Diários Associados
+
+Pela segunda vez a Brasiliana Fotográfica publica uma imagem do acervo fotográfico dos Diários Associados – Rio de Janeiro. O conjunto de fotos foi incorporado, em 2016, por um dos fundadores da Brasiliana Fotográfica, o Instituto Moreira Salles (IMS). O conjunto adquirido pelo IMS dos Diários Associados, que já foram o maior conglomerado de mídia do Brasil, possui cerca de 700 mil fotografias e 300 mil negativos com imagens produzidas para O Jornal, primeiro órgão dos Diários, adquirido por Assis Chateaubriand (1892 – 1968) em 1924; para o Diário da Noite, fundado por ele em 1929; e para o Jornal do Commercio, fundado em 1827 e adquirido pelo grupo em 1959. Os registros cobrem um período representativo do século XX – de 1915 a 2005.
+Mais uma vez destacamos a relevância da preservação de um arquivo fotográfico de imprensa mesmo que as imagens estejam disponíveis em plataformas como a Hemeroteca Digital da Biblioteca Nacional, uma das mais importantes fontes de pesquisa do portal. Com a preservação, as fotografias podem, a partir de recursos tecnológicos como a digitalização e o zoom, terem outra visibilidade e serem acessadas em sua qualidade plena. Abaixo, publicamos a fotografia do Retiro dos Artistas, tema de nosso artigo de hoje, capturada do jornal e, a mesma, digitalizada.
+ 
+Publicada no Diário da Noite, 20 de outubro de 1931
+ 
+Casa dos artistas, também conhecida como Retiro dos Artistas, 1931. Jacarepaguá, Rio de Janeiro / Diários Associados (RJ) – Acervo IMS
+ 
+Acessando o link para as fotografias do Retiro dos Artistas do acervo fotográfico dos Diários Associados RJ disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Um pouco da história da Casa dos Artistas
+ 
+Casa dos artistas, também conhecida como Retiro dos Artistas, 1931. Jacarepaguá, Rio de Janeiro / Diários Associados (RJ) – Acervo IMS
+ 
+Inspirado na Maison de Répos de Artistes Dramatiques Français, fundada em 1840 pelo barão Isidore Taylor (1789 – 1879), nos arredores de Paris, o ator Leopoldo Fróes (1882 – 1932) criou  no Rio de Janeiro, então a capital administrativa e cultural do Brasil, a Casa dos Artistas, destinada a profissionais idosos que viveram da música, do teatro, do cinema, da televisão, do rádio ou do circo, tanto como estrelas como atuando nos bastidores. Para a realização de seu empreendimento, Fróes promoveu diversas iniciativas como a organização de um festival popular na Quinta da Boa Vista, em setembro de 1915, cuja renda seria revertida para a Casa dos Artistas e para os flagelados da seca no nordeste do Brasil; a instituição de um ingresso artístico de contribuição ao projeto, inicialmente no Teatro Pathé, onde tinha sua companhia teatral e, posteriormente, adotado em outros teatros. Irineu Marinho (1876 – 1925), dono do jornal A Noite, participou da campanha para a criação da instituição.
+A Casa dos Artistas foi oficialmente fundada em 13 de agosto de 1918, no Teatro Trianon, por 68 profissionais. Seus primeiros presidente e vice-presidente foram os atores Leopoldo Fróes e Eduardo Leite (1868 – 1920), eleitos poucos dias depois. Na ocasião, também foi eleita uma comissão feminina de beneficência da qual faziam parte as atrizes Abigail Maia (1887 – 1981) e Amália Capitani (18? – 19?), entre outras. Como homenagem ao ator João Caetano (1808 – 1863), que havia falecido em 24 de agosto de 1863, a data oficial da fundação da Casa dos Artistas passou a ser dia 24 de agosto, e nessa data é comemorado o Dia do Artista. A sede social da Casa dos Artistas ficava na rua Espírito Santo, 53.
+O terreno do Retiro dos Artistas, localizado em Jacarepaguá, foi doado pelo jornalista e empresário tcheco Frederico Figner (1866 – 1947), fundador da Casa Edison, pioneiro na comercialização de fonógrafos no Brasil e também o primeiro produtor fonográfico no país. Havia nascido na Boêmia, então parte do Império Austro-Húngaro e, aos 15 anos, imigrou para os Estados Unidos. Na época Thomas Edison (1847 – 1931) havia lançado o fonógrafo e Figner se encantou com a invenção. O nome da futura Casa Edison foi uma homenagem ao inventor. Figner foi para Belém do Pará, em 1891, e, um ano depois, após passar por várias capitais do Brasil mostrando o fonógrafo adquirido nos Estados Unidos, chegou ao Rio de Janeiro, onde, em 1900, inaugurou a Casa Edison, na rua Uruguaiana. No mesmo ano instalou uma sala de gravação anexa à Casa Edison, na Rua do Ouvidor nº 105.  O primeiro disco brasileiro, o lundu Isto é bom, de Xisto Bahia (1841 – 1894), foi gravado, em 1902, justamente na Casa Edison, pelo cantor Manuel Pedro dos Santos, conhecido como Baiano (1870 – 1944). Em 1913, Fred inaugurou uma indústria fonográfica de grande porte em Vila Isabel, que deu origem ao selo Odeon.
+ 
+Frederico (Fred) Figner / Site Rio & Cultura 
+ 
+Voltando ao Retiro dos Artistas. Sua primeira sede  foi inaugurada em 25 de abril de 1919 (A Noite, 26 de abril de 1919, primeira coluna). A pedra fundamental da atual sede, no mesmo terreno da primeira, foi lançada em 20 de novembro de 1922, e a inauguração aconteceu em 20 de janeiro de 1925 (O Jornal, 24 de novembro de 1922, quarta coluna e O Jornal, 21 de janeiro de 1925, terceira coluna).
+Em 1931, a Casa dos Artistas recebeu sua Carta Sindical, do recém-criado Ministério do Trabalho, tornando-se oficialmente representante dos artistas. Em 19 de outubro do mesmo ano, o então presidente do governo provisório, Getulio Vargas (1882 – 1954), e Pedro Ernesto (1884 – 1942), interventor no Distrito Federal, visitaram o Retiro dos Artistas (Diário da Noite, 20 de outubro de 1931 e O Jornal, 20 de outubro de 1931, primeira coluna). Alguns anos depois, em 24 de setembro de 1938, foi inaugurado um busto de Vargas dentro do Retiro. 
+Até 1964, a Casa dos Artistas dividiu-se no atendimento assistencial e sindical e, a partir da fundação do Sindicato dos Artistas e Técnicos em Espetáculos de Diversões do Estado do Rio de Janeiro(SATED-RJ),  assumiu sua ação exclusivamente assistencial. Segundo o site da Casa dos Artistas, que depende de trabalho voluntário e de doações, com o passar do tempo e devido a alguns acontecimentos, a Casa dos Artistas se resumiu ao trabalho assistencial do Retiro.
+ 
+Casa dos artistas, também conhecida como Retiro dos Artistas, 1931. Jacarepaguá, Rio de Janeiro / Diários Associados (RJ) – Acervo IMS
+ 
+ 
+O ator Leopoldo Fróes, fundador e primeiro presidente da Casa dos Artistas / Comoedia, julho de 1946
+ 
+O ator Eduardo Leite, primeiro vice-presidente da Casa dos Artistas / Revista da Semana, 13 de janeiro de 1940
+ 
+Em 12 de maio de 2022, o Retiro dos Artistas tornou-se um bem tombado pelo estado do Rio de Janeiro. A determinação foi publicada pelo Instituto Estadual do Patrimônio Cultura (Inepac) no Diário Oficial. Segundo a diretora do Inepac, Ana Cristina Carvalho, o ato do tombamento é de vital importância para a preservação e manutenção da memória fluminense.
+“O Retiro dos Artistas é um dos elementos que constituem a identidade e história da classe proletária artística no Rio de Janeiro. Nossa equipe tem trabalhado com o objetivo de reafirmar os papéis de proteção e de fiscalização conferidos legalmente ao Instituto”*
+ 
+*Esses dois últimos parágrafos foram acrescentados em 29 de maio de 2022.
+ 
+Andrea C. T. Wanderley
+Editora-assistente e pesquisadora do portal Brasiliana Fotográfica
+
+Fontes:
+Diário do Rio
+Dicionário Cravo Albim da Música Popular Brasileira
+Hemeroteca Digital da Biblioteca Nacional
+Retiro dos Artistas
+Revista do Brasil
+Site Cultura e Economia Criativa do Rio de Janeiro
+Site Rio & Cultura
+Site Sindicato dos Artistas e Técnicos em Espetáculos de Diversões do Estado do Rio de Janeiro- Sated-RJ
+VERAS, Flávia Ribeiro. Tese de doutorado: “Fábricas da Alegria” O mercado de diversões e a organização do trabalho artístico no Rio de Janeiro e Buenos Aires 1918 – 1945. Fundação Getulio Vargas, 2017
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/6574` — `itens/20.500.12156.1_6574/`
+- `20.500.12156.1/6573` — `itens/20.500.12156.1_6573/`
+- `20.500.12156.1/6575` — `itens/20.500.12156.1_6575/`
+
diff --git a/wordpress/14617-retratos-de-escravizados-pelo-fotografo-christiano-junior-1832-1902.md b/wordpress/14617-retratos-de-escravizados-pelo-fotografo-christiano-junior-1832-1902.md
new file mode 100644
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@@ -0,0 +1,187 @@
+---
+id: 14617
+url: "https://brasilianafotografica.bn.gov.br/?p=14617"
+titulo: "Retratos de escravizados pelo fotógrafo Christiano Junior (1832 – 1902)"
+autor: "Andrea Wanderley"
+data: "2019-05-13T12:43:29+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/6490", "20.500.12156.1/6495", "20.500.12156.1/6500", "20.500.12156.1/6497", "20.500.12156.1/6493", "20.500.12156.1/6505", "20.500.12156.1/6489", "20.500.12156.1/4735", "20.500.12156.1/5522"]
+fetched_at: "2026-09-10T09:58:25.303Z"
+---
+
+# Retratos de escravizados pelo fotógrafo Christiano Junior (1832 – 1902)
+
+No Dia da Abolição da Escravatura no Brasil, a Brasiliana Fotográfica publica o artigo As fotografias de escravizados de Christiano Junior conservadas no Museu Histórico Nacional, da historiadora Maria Isabel Ribeiro Lenzi. No século XIX, imagens de escravizados eram produzidas por artistas e fotógrafos e vendidas para os estrangeiros de passagem pelo Rio de Janeiro.  O fotógrafo açoriano Christiano Junior (1832 – 1902), aproveitando o filão, produziu “variada coleção de costumes e tipos de pretos, coisa muito própria para quem se retira para a Europa”. O álbum “Photographias de costumes brazileiros”, com 24 imagens, foi apresentada na Exposição Internacional do Porto de 1865. Pertenceu ao rei D. Fernando, de Portugal, e, em 1933,  foi doada por Jorge Olinto ao Museu Histórico Nacional, uma das instituições parceiras do portal.
+ 
+As fotografias de escravizados de Christiano Junior conservadas no Museu Histórico Nacional
+Maria Isabel Ribeiro Lenzi *
+Christiano Junior. Escrava de ganho vendedora, 1864-1865. Rio de Janeiro, RJ / Acervo Museu Histórico Nacional
+ 
+O Brasil durante mais de 300 anos teve a escravidão na base da produção da economia. Escravizaram-se índios nos primeiros anos da colonização portuguesa e, posteriormente, verificou-se que o comércio negreiro era tão ou mais lucrativo do que a transação com o açúcar que era produzido nos engenhos, cuja mão de obra negra marcava a participação africana na política mercantilista.
+No Império do Brasil, a escravidão continua sendo a principal fonte de renda, como nos é lembrado quando vemos fotografias de colheitas de café ou da mineração, onde os escravizados são protagonistas. O tráfico negreiro, até 1850, é um grande negócio para o capitalista brasileiro. A escravidão estava em toda parte e mesmo uma pessoa de pequenas posses possuía um escravo de ganho que lhe trazia diariamente o sustento. Deste modo, na capital do Império, circulavam pelas ruas diversos tipos de trabalhadores, a maioria absoluta, negra. Eram carregadores, aguadeiros, vendedores de frutas, cesteiros, barbeiros ambulantes, quituteiras, etc.
+Acessando o link para as fotografias de escravizados de Christiano Junior conservadas no MHN disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Christiano Junior. Escravo de ganho carregando cadeiras, 1864-1865. Rio de Janeiro, RJ / Acervo Museu Histórico Nacional
+ 
+O que é muitas vezes esquecido é que da escravidão também advinham recursos indiretos: o comprador de escravizados pagava imposto ao município referente àquela compra; o senhor que gastou dinheiro para adquirir escravizados possuía uma apólice de seguro que garantia o investimento de seu capital; finalmente, devemos lembrar as imagens que eram produzidas por artistas e fotógrafos e vendidas para os estrangeiros de passagem pelo Rio de Janeiro. Provavelmente a pessoa retratada não recebia por direito de imagem, mas seu retrato, vendido como souvenir dos trópicos, respondia à demanda do consumo do exótico e enriquecia algumas pessoas.
+ 
+Christiano Junior. Escrava-Crioula, 1864-1865. Rio de Janeiro, RJ / Acervo Museu Histórico Nacional
+ 
+O fotógrafo português Christiano Jr. aproveitou esse filão e produziu “variada coleção de costumes e tipos de pretos, coisa muito própria para quem se retira para a Europa”(1) . A coleção era composta de cerca de 77 fotografias tamanho cartes de visites com retratos de trabalhadores de corpo inteiro e retratos de rostos de pessoas de diferentes sociedades africanas – a função e o tipo de escravizados. Eram vendidas no estabelecimento de Christiano Jr. à Rua da Quitanda e também na Casa Leuzinger. As fotografias tomadas no estúdio de Christiano Jr., feitas para os estrangeiros, não mostram a paisagem, nem a cidade, nem as estradas. Exibem os escravizados. Provavelmente, essas pessoas, ao posarem com seus instrumentos de trabalho, ganharam algum trocado do fotógrafo. Com certeza eram escravizados, pois aqueles que aparecem de corpo inteiro estão, todos, descalços, o que marcava a condição escrava do trabalhador.
+ 
+Christiano Junior. Escravo de ganho com caixa em cima da cabeça, 1864-1865. Rio de Janeiro, RJ / Acervo Museu Histórico Nacional
+ 
+Em 1865, Christiano Jr. apresenta “Photographias de costumes brazileiros” na Exposição Internacional do Porto. São duas molduras, cada uma com 12 fotografias de escravizados das ruas do Rio de Janeiro. Essas 24 imagens foram, depois de expostas, oferecidas a D. Fernando, rei de Portugal pelo fotógrafo e podemos ler nas molduras a dedicatória: “a. s. m. El Rei D. Fernando, Christiano Junior, rua da Quitanda, 45, 2º andar”.
+ 
+Molduras para as imagens do álbum Photografias de costumes brazileiros, de 1865
+ 
+Das 24 fotografias escolhidas para a exposição, 12 são retratos de rostos africanos e as outras 12 são de trabalhadores de ganho. São cenas de trabalho recriadas no ateliê do fotógrafo, cujo objetivo é mostrar a atividade, não representar o indivíduo. Deste modo, encontramos cesteiros, quitandeiras, barbeiros, carregadores, vendedores de frutas, vendedores de cadeira. Quanto aos tipos, do mesmo modo não buscavam representar a pessoa em si, mas sua origem: Christiano Junior escreveu em baixo de cada rosto, a nação ou o porto africano que os embarcou: Mina Nagô, Cabinda, Angola, Moçambique, Monjolo, Congo.
+ 
+Christiano Junior. Escravo de ganho barbeiro, 1864-1865. Rio de Janeiro, RJ / Acervo Museu Histórico Nacional
+ 
+ 
+Christiano Junior. Escravo – Moçambique, 1864-1865. Rio de Janeiro, RJ / Acervo Museu Histórico Nacional
+Esta coleção que pertenceu ao rei D. Fernando foi doada ao Museu Histórico Nacional – MHN – em 1933, por Jorge Olinto, estando, desde então, sob a guarda do museu. Passou pelos cuidados do Centro de Conservação e Preservação da Funarte – CCPF, no final da década de 1980, quando, para melhor conservá-las, as fotografias foram retiradas das molduras (foram higienizadas, estabilizadas, acondicionadas e reproduzidas em negativo). Todavia, foram as molduras preservadas, pois além de guardarem a dedicatória do fotógrafo a D. Fernando revelando por onde essas fotografias passaram antes de vir para o museu, elas trazem consigo a estética de uma época em que as exposições internacionais eram o must no mundo ocidental, ávido para conhecer o exótico e o pitoresco sem precisar viajar para tão longe, o que era possibilitado pela fotografia.
+ 
+(1) Almanaque Laemmert. Apud Gorender, Jacob, A face escrava da corte imperial brasileira. In Azevedo, Paulo César;Lissovsky, Maurício. Escravos Brasileiros do século XIX na fotografia de Christiano Jr. São Paulo: Ex Libres, 1988.
+ 
+ 
+*Maria Isabel Ribeiro Lenzi é Doutora em História pela UFF e historiadora do Arquivo Histórico do Museu Histórico Nacional (IBRAM/MinC)
+ 
+Fontes:
+CUNHA, Manoela Carneiro da. Olhar Escravo, Ser Olhado. In: Lissovisky, Maurício; Azevedo, Paulo Cesar. Escravos Brasileiros do século XIX na fotografia de Christiano Jr., São Paulo: Ex-Libris, 1988
+GORENDER, Jacob. A Face Escrava na Corte Imperial Brasileira. In: Lissovisky, Maurício; Azevedo, Paulo Cesar. Escravos Brasileiros do século XIX na fotografia de Christiano Jr., São Paulo: Ex-Libris, 1988
+LEITE, Marcelo Eduardo. Typos de pretos: escravos na fotografia de Christiano Jr. Visualidade, Goiânia, V.9, jan-jun, 2011.
+LISSOVISKY, Maurício; AZEVEDO, Paulo Cesar. Escravos Brasileiros do século XIX na fotografia de Christiano Jr., São Paulo: Ex-Libris, 1988
+MAGALHÃES, Manuel. Christiano Junior, um açoriano, fotógrafo, na América do Sul. Revelar, Revista de Estudo de Fotografia e Imagem, Porto: Universidade do Porto, V. 1, out. 2016.
+SODRÉ, Muniz. À Sombra do Retrato. In: Lissovisky, Maurício; Azevedo, Paulo Cesar. Escravos Brasileiros do século XIX na fotografia de Christiano Jr., São Paulo: ExLibris, 1988
+TURAZZI, Maria Inez. A fotografia e as exposições na era do espetáculo (1839 – 1889). Rio de Janeiro: Funarte/Rocco, 1995.
+ 
+Christiano Junior. Escravos de ganho, 1864-1865. Rio de Janeiro, RJ / Acervo Museu Histórico Nacional
+ 
+ 
+Cronologia de Christiano Júnior 
+Andrea C.T. Wanderley**
+Retrato de Christiano Junior, c. 1872/ Site Buenos Aires História
+ 
+1832 – O português José Christiano de Freitas Henriques Junior nasceu na Ilha das Flores, no Arquipélago dos Açores, em 21 de julho de 1832.
+1855 – Chegou ao Brasil com sua esposa, Maria Jacinta Fraga, e com os dois filhos do casal: os futuros fotógrafos José Virgílio (1851 -?) e Frederico Augusto (1853-?).
+1862 – Christiano Junior anunciava, em Maceió, em Alagoas, seus retratos fotográficos sobre vidro, papel, pano e encerado.
+Chegou no Rio de Janeiro e em anúncio ofereceu seus serviços de fotógrafo. Seus trabalhos estariam expostos na casa do sr. Bernasconi e chamados escritos deveriam ser enviados para o Hotel Brysson, na rua d´Ajuda, 57 B. Também aceitava pedidos de quadros e cestas de flores e frutas de cera, imitando perfeitamente o natural (Correio Mercantil, e Instrutivo, Político, Universal, 2 de dezembro de 1862, quinta coluna).
+Correio Mercantil, e Instrutivo, Político, Universal, 2 de dezembro de 1862
+1864 - Era um dos proprietários da Photographia do Commercio, na rua São Pedro, 69. Seu sócio era Fernando Antônio de Miranda (Jornal do Commercio, 17 de julho de 1864).
+Jornal do Commercio, 17 de julho de 1864
+ 
+Almanak Administrativo, Mercantil e Industrial do Rio de Janeiro, 1864
+1865 - O endereço do estabelecimento fotográfico de Christiano e Miranda mudou para rua da Quitanda, 53 (Almanak Administrativo, Mercantil e Industrial do Rio de Janeiro, 1865).
+Christiano mudou-se sozinho para a rua da Quitanda, 45. Anunciou que em seu estabelecimento, a Photographia e Pintura, fazia cartões de visita, ambrótipos, cenótipos, fotografias coloridas a óleo, aquarela ou pastel, além de retratos para broches e medalhas. Também anunciou a venda de coleções dos costumes dos pretos nessa corte e no interior da província, em cartões para álbuns, coisa muito própria para quem se retira para a Europa  (Jornal do Commercio, 2 de abril de 1865 e Almanak Administrativo, Mercantil e Industrial do Rio de Janeiro, 1866).
+Jornal do Commercio, 2 de abril de 1865
+Exposição na Casa Bernasconi de quatro molduras contendo 48 fotografias de autoria de Christiano. Delas 12 costumes de pretos de ganho, vendilhões e outras 12 representam tipos de diferentes nações da raça africana. Essas 24 imagens foram oferecidas a d. Pedro II (1825 – 1891). As outras 24 foram enviadas à eExposição Internacional do Porto e oferecidas a d. Fernando, rei de Portugal (Correio Mercantil, 22 de julho de 1865, penúltima coluna).
+Participou da Exposição Internacional do Porto e suas obras, assim como as do fotógrafo Joaquim Insley Pacheco (1830 – 1912), foram expostas na seção de Belas-Artes (Jornal do Commercio, de 1865, terceira coluna).
+Christiano Jr, identificado como fotógrafo bastante conhecido pelos excelentes trabalhos executados em sua oficina, doou 400 fotografias do falecido cônsul de Portugal, Antonio Emilio Machado Reis, para ajudar à família do diplomata. Houve uma exposição das fotos na sociedade Madrepora, instituída por Machado Reis (Correio Mercantil, 1º de novembro de 1865, terceira coluna).
+1866 - Publicação de anúncio da Galeria Photographica e de Pintura na seção de “Notabilidades” do Almanaque Administrativo, Mercantil e Industrial do Rio de Janeiro. Christiano Junior anunciava que havia reaberto seu estabelecimento fotográfico após uma reforma e oferecia timbres-postes, fotografias em diversas dimensões – até a natural -, podendo ser coloridas por várias técnicas, retratos em cenótipos, fotografias de homens célebres, além de uma variada coleção de costumes e tipos de pretos, coisa muito própria para quem se retira para a Europa.
+
+Estabelecido na rua da Quitanda, 45, Christiano fez uma exibição de retratos para cartas, uma nova e interessante aplicação da fotografia, realizada a partir de um instrumento que em 15 segundos dá 12 e 24 retratos, pequenos, mas nem por isso menos parecidos. Os retratos seriam usados para marcar o papel de carta, o que anteriormente era feito com a iniciais do remetente (Diário de São Paulo, 4 de fevereiro de 1866, segunda coluna).
+Diário de São Paulo, 4 de fevereiro de 1866
+ 
+No verso de uma de suas cartas de visita oferecia retratos em lenço, costumes e tipos de índios, cópias de gravuras de Morgado de Mateus reproduzidas de uma rara edição de Os Lusíadas, retratos em porcelana, e em marfim, retratos em vidro para ver por transparências, vistas para estereoscópios, retratos de homens célebres, monarcas, guerreiros, literatos, etc.
+Participou da II Exposição Nacional e o que apresentou foi saudado como excelentes retratos e perfeitíssimas reproduções de uma dúzia de gravuras. Conquistou a medalha de bronze (Semana Ilustrada, 18 de novembro de 1866, segunda coluna e Diário do Rio de Janeiro, 1º de fevereiro de 1867, última coluna).
+Sobre ele, o pintor Victor Meirelles (1832 – 1903), que assinou em nome do júri do quarto grupo – onde se incluía a fotografia – comentou no Relatório da II Exposição Nacional do Rio de Janeiro:
+‘Os trabalhos deste senhor não são menos dignos de atenção por algumas boas qualidades que contêm. As reproduções das gravuras da obra ilustrada: Os Lusíadas, de Camões, publicada em 1817, por D. José Maria de Souza Botelho – Morgado de Mateus, etc, etc, são bem copiadas, e não podemos deixar de louvar tão feliz lembrança, bem como o serviço que presta aos artistas e amadores das belas artes pela propagação dessas belas composições artísticas devidas ao lápis dos célebre pintores Gerard e  Fragonard.       
+Christiano Junior participou que, a partir do dia 1º de dezembro de 1866, seu amigo Bernardo José Pacheco passaria a ser seu sócio em seu estabelecimento fotográfico, na rua da Quitanda, 45, que passaria a funcionar com a razão Christiano Junior & Pacheco (Jornal do Commercio, 3 de dezembro de 1866, quarta coluna e Almanak Administrativo, Mercantil e Industrial do Rio de Janeiro, 1867).
+ 
+Jornal do Commercio, 3 de dezembro de 1866
+ 
+Em torno desse ano, realizou uma série de fotografias médicas.
+ 
+Christiano Junior. Elephantiasis : [homem nu com deformidade nos órgãos genitais, pernas e pés: retrato, c. 1866. Rio de Janeiro, RJ / Acervo FBN
+1867 – Christiano Junior estava em Desterro, atual Florianópolis, e abriu um ateliê fotografico na rua Augusta, 26. Anunciou sua pretensão de fazer algumas vistas da cidade e também de vistas para estereoscopos, além de informar que pretendia ficar apenas por um mês na cidade porque estaria de passagem para o rio da Prata (O Despertador, 1º de fevereiro de 1867 e O Mercantil, 28 de fevereiro de 1867).
+ 
+O Despertador, 1º de fevereiro de 1867
+ 
+O Mercantil, 28 de fevereiro de 1867
+ 
+ 
+Abriu um ateliê fotográfico, em Mercedes, no Uruguai.
+Christiano Junior começou a tentar expandir suas atividades na Argentina. Em 1º de dezembro, em Buenos Aires, inaugurou um bem sucedido estúdio de fotografia, na rua Florida, nº 159. Iniciou uma significativa produção de retratos e, segundo os pesquisadores argentinos Abel Alexander e Luis Priano, que examinaram os álbuns relativos ao seu trabalho que estão depositados no Archivo General de la Nación, estima-se que foram produzidos por ele mais de 4 mil retratos entre 1873 e 1875.
+No censo de 1869 de Buenos Aires, constavam os nomes de Christiano e de seus dois filhos. O de sua esposa não, o que indica que provavelmente estavam separados ou ele tinha enviuvado.
+1870 - Em um anúncio, Christiano Junior & Pacheco avisavam que à vista dos mesquinhos preços a que alguns de nossos colegas têm reduzido a fotografia, vemo-nos também obrigados a baixar nossos preços. Informava ainda que Christiano Junior havia trazido de sua casa, em Buenos Aires, um novo sistema, a imitação porcelana, por ele introduzida lá e aqui (Jornal da Tarde, 18 de agosto de 1870).
+ 
+Jornal da Tarde, 18 de agosto de 1870
+ 
+Em francês, anúncio da venda de um produto de combate à umidade na Maison Christiano Junior & Cia. O produto teria sido descoberto por um associado de Christiano em Paris, o pintor químico M. Regnault. A propaganda foi publicada outras vezes (Ba-Ta-clan, 27 de agosto de 1870).
+Christiano Junior & Pacheco anunciavam uma novidade fotográfica, a imitação da porcelana – unicamente se fazem na rua da Quitanda, 45 (Jornal do Commercio, 28 de agosto de 1870, terceira coluna).
+Christiano Junior montou um estúdio fotográfico voltado ao público infantil, a Fotografia de la Infancia, na rua de Las Artes, n. 118, em Buenos Aires.
+Em torno desse ano, fotografou o Conde d´Eu(1842 – 1922), marido da princesa Isabel (1846 – 1921).
+ 
+Christiano Junior. Gastão de Orleans, o conde d’Eu, c. 1870. Rio de Janeiro, RJ / Acervo IMS
+ 
+1871 – Recebeu a medalha de ouro na primeira Exposição Nacional da Argentina, na cidade de Córdoba, com a série de fotos Vistas y costumbres de la Republica Argentina. 
+1873 - Publicação de um anúncio da Photographia de Christiano Junior & Pacheco no Almanak Administrativo, Mercantil e Industrial do Rio de Janeiro, 1873 .
+ 
+Almanak Administrativo, Mercantil e Industrial do Rio de Janeiro, 1873
+ 
+1874 – Christiano Junior & Pacheco eram réus em uma ação movida por Olímpio Militão Vieira na Primeira Vara Cível (Diário do Rio de Janeiro, 10 de dezembro de 1874, primeira coluna).
+1875 – O estabelecimento fotográfico de Christiano Junior & Pacheco foi anunciado pela última vez no Almanak Administrativo, Mercantil e Industrial do Rio de Janeiro, 1875, no endereço rua da Quitanda, 39 a 41.
+Seu ateliê fotográfico voltado ao público infantil, a Fotografia de La Infância, era, segundo anúncio publicado no jornal La Prensa de 04 de fevereiro de 1875, possuidor de máquinas instantâneas que permitem tirar retratos de criaturas inquietas e travessas. O ateliê foi destruído por um incêndio em março de 1875, e foi reaberto pouco depois, à rua Victoria 296, agora gerenciado por seu filho José Virgílio, que havia sido seu ajudante.
+Manoel Garcia Vidal, ex-sócio de Christiano Junior & Pacheco, anunciou a abertura de um estabelecimento fotográfico na rua Sete de Setembro, 76, esquina com Gonçalves Dias (Jornal do Commercio, 17 de março de 1875, sexta coluna).
+Um incêndio destruiu o prédio número 41 da rua da Quitanda, de propriedade da Santa Casa de Misericórdia. No segundo andar ficava o estabelecimento Christiano Junior & Pacheco (Jornal de Recife, 29 de março de 1875, segunda coluna). Eles passaram a atender no ateliê do renomado fotógrafo português José Ferreira Guimarães (1841 – 1924), na rua do Ourives, 38 (Jornal do Commercio, 21 de março de 1875).
+A Photographia de Pacheco, Menezes e Irmão era anunciada como sucessora de Christiano Junior & Pacheco, na rua da Quitanda, 39 (Gazeta de Notícias, 10 de agosto de 1875, terceira coluna).
+ 
+Gazeta de Notícias, 10 de agosto de 1875
+ 
+Christiano tornou-se fotógrafo oficial da Sociedade Rural Argentina e realizou sua primeira exposição pela entidade, da qual se desligaria em 1878.
+1876 – Lançou o primeiro volume da coleção intitulada Album de Vistas e Costumes de La Republica Argentina, que trazia 16 imagens de Buenos Aires acompanhadas por textos explicativos em quatro idiomas. Primeiro trabalho com essas características produzido na Argentina, o material foi, em parte, formado pelo aproveitamento de vistas anteriormente colocadas à venda em seu ateliê. Christiano Júnior nesse trabalho mesclou imagens da Argentina colonial e pastoril com as de uma nova nação, representada sobretudo pelas novas construções.
+Para introduzir o álbum afirmou: ‘Meu plano é vasto e quando estiver completo a República Argentina não haverá nem pedra nem árvore histórica, do Atlântico até os Andes, que não tenha sido submetido ao foco vivificador da câmara escura.’
+ 
+
+ 
+Ganhou a medalha de ouro na segunda exposição anual da Sociedade Científica Argentina.
+Participou da Exposição Universal da Filadélfia de 1876.
+1877 - Foi lançado o segundo volume de seu trabalho, contando com doze retratos de tipos populares urbanos e com vistas de construções modernas e históricas.
+Produziu uma série que retratava a nova penitenciária de Buenos Aires, trabalho que foi vendido de forma avulsa e em álbum encadernado.
+No catálogo da primeira exposição do Club Industrial de Buenos Aires, em 1877, na qual participou, Christiano Junior escreveu acerca de suas fotos médicas, realizadas no Brasil, que segundo o parecer dos médicos nacionais e estrangeiros, nenhum fotógrafo, até aquela data [1866] havia tirado do natural um trabalho semelhante.
+1878 - Vendeu seu estúdio em Buenos Aires para Witcomb & Mackern. Deixou no arquivo do ateliê um acervo de mais de 170 vistas.
+Participou da Exposição Universal de Paris de 1878.
+1879 a 1883 – Viajou pelo interior da Argentina, fotografando várias províncias do país, continuando a série de álbuns de Vistas e Costumes da República Argentina. Passou pelas cidades de Rosário, Córdoba, Río Cuarto, Mendoza, San Juan, San Luis, Catamarca, Tucumán, Salta e Jujuy. Antes de chegar às cidades, anuncia nos jornais locais que ali prestará seus serviços. Monta seu estúdio associado a um fotógrafo local e, em alguns casos, acompanhado de seu  filho. Uma vez instalado na localidade, dá início ao trabalho no ateliê e, paralelamente, desenvolve seu projeto maior: os álbuns de vistas.
+1882 – Participou da Exposição Continental de Buenos Aires em 1882.
+1883 – Anúncio do estabelecimento fotográfico de Menezes & Irmão, sucessores de Christiano Junior & Pacheco (Gazeta da Tarde, 5 de junho de 1883, última coluna).
+Christiano Junior desvinculou-se de seu último ateliê, localizado na cidade de Corrientes. Abandonou temporariamente a fotografia, dedicando-se à produção e comércio de vinhos e licores, os quais vendia ao Brasil, à Argentina e ao Paraguai.
+1890 – De Buenos Aires, Christiano Junior importou 382 fardos feno, que chegaram no vapor francês Bearn (Jornal do Commercio, 28 de janeiro de 1890, penúltima coluna).
+De Buenos Aires, Christiano Junior importou quatro sacos de alpiste, 10 de cevada, 10 de linhaça, seis de milho e 40 caixas de passas e nove de vinho que chegaram no vapor francês Bretagne (Jornal do Commercio, 23 de abril de 1890, quarta coluna).
+1892 – Pelo decreto de 21 de dezembro de 1892, foi concedida, por 15 anos, a Christiano Junior, a patente da invenção do processo aperfeiçoado de fabricar vinho de cana (Minas Gerais, Órgão Oficial dos Poderes do Estado, 24 de dezembro de 1992, terceira coluna, Jornal do Brasil, 26 de dezembro de 1892, quarta coluna, e Relatório do Ministério da Agricultura de 1993).
+1899 – Publicação do livro de sua autoria,  Tratado prático de vinicultura, destilaria e licoreria, com prólogo do escritor argentino Eduardo L. Holmberg (1852 – 1937).
+1901/1902 – Entre esses anos, Christiano Júnior escreveu ainda oito textos autobiográficos publicados no jornal La Provincia: Sueños raros (14/12/1901); Recuerdos de mi tierra, dedicado a seu neto Augusto (1/1/1902), Tempora mutantur (Buenos Aires de 1866 a 1900), dedicado a sua neta Telma (15, 18, 21, 25/1/1902); Un carnaval en mi tierra, dedicado a Pedro Benjamín Serrano ( 8/2/1902); En los Andes, dedicado a Félix M Gómez (1/3/1902); Informalidad y mentira, dedicado a Manuel V. Figuerero (26/3/1902); Brasil de 1855 a 1870, dedicado a Guillermo Rojas ( 5/4/1902), e De Corrientes (17/5/1902) (Recordando Christiano).
+1902 – Christiano Junior faleceu em 19 de novembro, em Assunção, no Paraguai. Seu necrológio foi publicado, em 13 de dezembro de 1902, na revista argentina Caras Y Caretas, página 28 :
+‘Em Assunção do Paraguai, onde vivia retirado há muitos anos pintando fotografias, faleceu na semana passada o velho fotógrafo don Christiano Junior, cuja arte para retratar a antiga família portenha era famosa em seu tempo. Junior foi o antecessor de Witcomb e diante de sua objetiva desfilaram as mais conhecidas damas e cavalheiros daquela época. Morreu pobre, privado quase por completo de sua visão, e deixa uma lembrança agradável em todos os que conheceram.’
+ 
+ Caras y Caretas, 13 de dezembro de 1902
+ 
+Posteriormente, seus restos mortais foram levados para Buenos Aires e sepultados no cemitério de Olivos.
+ 
+**Andrea C. T. Wanderley
+Editora-assistente e pesquisadora do portal Brasiliana Fotográfica
+ 
+Seguem os links dos artigos já publicados na Brasiliana Fotográfica sobre a Abolição da Escravatura:
+Dia da Abolição da Escravatura
+Missa Campal de 17 de maio de 1888
+Machado de Assis vai à missa, de autoria de José Murilo de Carvalho
+Missa Campal de 17 de maio de 1888 – Novas identificações
+Princesa Isabel (RJ, 29 de julho de 1846 – Eu, 14 de novembro de 1921)
+Missa Campal de 17 de maio de 1888 – Mais identificações
+A Brasiliana Fotográfica, o Dia da Abolição da Escravatura e Machado de Assis na Missa Campal
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/6490` — `itens/20.500.12156.1_6490/`
+- `20.500.12156.1/6495` — `itens/20.500.12156.1_6495/`
+- `20.500.12156.1/6500` — `itens/20.500.12156.1_6500/`
+- `20.500.12156.1/6497` — `itens/20.500.12156.1_6497/`
+- `20.500.12156.1/6493` — `itens/20.500.12156.1_6493/`
+- `20.500.12156.1/6505` — `itens/20.500.12156.1_6505/`
+- `20.500.12156.1/6489` — `itens/20.500.12156.1_6489/`
+- `20.500.12156.1/4735` — `itens/20.500.12156.1_4735/`
+- `20.500.12156.1/5522` — `itens/20.500.12156.1_5522/`
+
diff --git a/wordpress/147-retratos.md b/wordpress/147-retratos.md
new file mode 100644
index 0000000..26f471a
--- /dev/null
+++ b/wordpress/147-retratos.md
@@ -0,0 +1,26 @@
+---
+id: 147
+url: "https://brasilianafotografica.bn.gov.br/?p=147"
+titulo: "Retratos"
+autor: "Vinicius Martins"
+data: "2015-04-16T14:20:05+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: []
+fetched_at: "2026-09-10T09:58:28.487Z"
+---
+
+# Retratos
+
+Marc Ferrez. Menino Índio, c. 1880 Mato Grosso / Acervo IMS
+O retrato (ou portrait) é o mais popular dentre todos os gêneros de fotografia, desde os primórdios desta invenção – a tal ponto que a expressão “tirar um retrato” é, ainda hoje, confundida com a expressão “tirar uma fotografia”, de designação bem mais genérica.
+Explorado por seus inventores e experimentado em todos os processos e formatos, foi o retrato que celebrizou alguns dos mais importantes nomes da história da fotografia, que dele se valeram para documentar, encenar, idealizar, conhecer e dar a conhecer, provocar e refletir, através das mais diversas estratégias.
+Das cartes de visite e dos álbuns de família do século 19 até aos atuais álbuns virtuais da internet, passando pelas suas inúmeras apropriações (nas artes, nas ciências médicas e sociais, no sistema judiciário etc.), há um longo e complexo trajeto a ser passado em revista.
+A propensão da câmera fotográfica de combinar verossimilhança com metáfora sempre favoreceu o uso da fotografia no jogo de aparências que define o universo do retrato.
+Como indica Gisele Freund em seu livro Fotografia e Sociedade, (Lisboa, Dom Quixote, 1986), se por um lado o advento da fotografia permitiu a democratização do retrato, em função de seus custos reduzidos em relação aos tradicionais retratos de pintura a óleo, muitas camadas da sociedade buscaram também no retrato fotográfico a emulação de um estamento social privilegiado ao qual não pertenciam, através dos trajes, cenários e aparatos de estúdio que constroem a linguagem do retrato naquele período.
+Pode-se contra-argumentar, entretanto, que nos retratos fotográficos de estúdio do século XIX, o olhar e a pose do retratado também apresentam, constroem e defendem sua identidade perante o fotógrafo. Ainda não havia ocorrido naquele momento a larga difusão dos processos fotomecânicos que ganharia força na virada do século XIX para o século XX, trazendo a avassaladora presença das revistas ilustradas como principal veículo de comunicação visual de massa, na sociedade do espetáculo que se estruturaria ao longo do século XX. Naquele contexto, a “pose”, – tomada no sentido contemporâneo do processo de construção de uma persona artificial que despista e dissimula a identidade do retratado –, ainda não é a regra nos retratos do século XIX e início do século XX, o que, portanto, permite uma leitura mais direta do olhar e da expressão dos retratados.
+Entremeiam-se, assim, poses solenes com olhares espontâneos e diretos. Esses retratos podem, portanto, ser entendidos como registros que lidam simultaneamente com as aparências relacionadas à liturgia dos códigos do retrato de estúdio da época e também com o olhar, expressão e pose que estabelecem a identidade dos indivíduos diante do fotógrafo e do mundo.
+Fotógrafos com Joaquim Insley Pacheco, Alberto Henschel, Justiniano José de Barros, entre outros, constituiram o grande grupo de fotógrafos de estúdio na capital do Império que realizaram o registro das primeiras poses dos moradores da cidade. Na passagem do século XIX para o XX, o retrato começaria a ser modificado pela fotografia amadora e seus registros espontâneos de indivíduos e grupos.
+Assim, o que propomos aqui é um breve passeio pela nossa “Galeria Virtual de Retratos”, que mescla alguns dos mais apreciados retratos fotográficos de nossa história com outros, nem tão conhecidos mas igualmente significativos para historiar os usos deste gênero, em nosso país.
+………………………………………………………………………………………………………………………………………..
+Curadoria de Sergio Burgi/IMS e Joaquim Marçal Ferreira de Andrade/FBN
+[foogallery id=”244″]
diff --git a/wordpress/14719-a-estereoscopia-e-o-olhar-da-modernidade.md b/wordpress/14719-a-estereoscopia-e-o-olhar-da-modernidade.md
new file mode 100644
index 0000000..4d91a9e
--- /dev/null
+++ b/wordpress/14719-a-estereoscopia-e-o-olhar-da-modernidade.md
@@ -0,0 +1,179 @@
+---
+id: 14719
+url: "https://brasilianafotografica.bn.gov.br/?p=14719"
+titulo: "A estereoscopia e o olhar da modernidade"
+autor: "Andrea Wanderley"
+data: "2019-05-29T12:26:54+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/3951", "20.500.12156.1/612", "20.500.12156.1/4720", "20.500.12156.1/5615"]
+fetched_at: "2026-09-10T09:58:31.975Z"
+---
+
+# A estereoscopia e o olhar da modernidade
+
+A Brasiliana Fotográfica publica o artigo A estereoscopia e o olhar da modernidade, da historiadora Maria Isabela Mendonça dos Santos. Ela conta um pouco da história da estereoscopia desde sua invenção e também de sua chegada ao Brasil e do uso da técnica, ainda no século XIX, por fotógrafos renomados como Revert Henry Klumb (c.1826 – c. 1886) e Georges Leuzinger (1813 – 1892), ambos europeus e radicados no país. No século XX, destacou o estereoscopista amador  carioca Guilherme Antônio dos Santos (1871-1966). Fotógrafo e colecionador, Santos produziu mais de 20 mil vistas estereoscópicas entre os anos de 1906 e 1957. Utilizando-se exclusivamente do sistema Verascope, produziu imagens de diversas cidades brasileiras, especialmente do Rio de Janeiro.
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+A estereoscopia e o olhar da modernidade
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+Maria Isabela Mendonça dos Santos*
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+Guilherme Santos. Desfile de corsos durante o Carnaval, c. 1927. Rio de Janeiro, RJ / Acervo IMS
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+Durante o século XIX a estereoscopia foi, por décadas, o mais importante modo de lidar com imagens produzidas fotograficamente. Mas apesar do casamento bem sucedido entre as duas técnicas, a estrutura conceitual do estereoscópio e sua invenção são absolutamente independentes da fotografia. Objetivamente, a estereoscopia consiste em pares de imagens de uma mesma cena que, vistas simultaneamente num visor binocular – o estereoscópio-, produzem a ilusão de tridimensionalidade. As vistas estereoscópicas, também conhecidas como estereografias ou estereogramas, podem ser produzidas a partir de diferentes tipos de imagens como desenhos, gravuras ou fotografias, sendo esta última a forma que ganhou maior popularidade.
+O surgimento da estereoscopia se dá no âmbito das pesquisas acerca da binocularidade visual, sendo o estereoscópio parte da mesma reorganização e das mesmas relações de conhecimento e de poder que outros aparelhos ópticos, como o panorama e a lanterna mágica, representavam. As origens do estereoscópio estão ligadas, desse modo, às pesquisas sobre a visão subjetiva das décadas de 1820 e 1830 e, de maneira mais geral, ao campo da fisiologia do século XIX. O estereoscópio também é inseparável dos debates que ocorreram no início daquele século sobre a percepção do espaço.
+O inglês Charles Wheatstone (1802 – 1875) e o escocês David Brewster (1781 – 1868) dividem os méritos da invenção do aparelho. O primeiro teria sido o responsável por desenvolver, em 1833, um aparelho estereoscópico simples. Já o escocês ganhou reconhecimento por aperfeiçoar o estereoscópio de Wheatstone, criando o estereoscópio lenticular e introduzindo ao incrível aparelho imagens produzidas fotograficamente, como o daguerreótipo e o calótipo, recém descobertos.
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+Sir Charles Wheatstone
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+Sir David Brewster
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+O aparelho estereoscópico lenticular foi, portanto, o “pulo do gato” dos estudos de Brewster em relação aos de Wheatstone. Porém, mesmo utilizando-se da fotografia, a observação da estereoscopia pressupõe uma série de especificidades que a fotografia não reivindica. Ela é resultado de uma disciplinarização dos corpos, pois, assim como outros aparelhos ópticos, exige mobilidade corporal – especialmente a mobilidade do globo ocular para uma vesguice forçada – e imobilidade do observador. No mesmo sentido, possuiu também um universo temático e estético característico, não necessariamente oposto ao fotográfico, mas tipicamente estereoscópico.
+Em 1851, Brewster apresenta seu invento à Rainha Vitória na Exposição Universal de Londres. Ao cair nas graças da rainha, a estereoscopia passa a ser amplamente difundida e torna-se uma verdadeira febre, especialmente na Inglaterra e na França. A primeira grande iniciativa comercial com fortes ambições mercadológicas teve início com George Swam Nottage (1823 – 1885) que criou, em 1854, a London Stereocopy Society. Com o slogan: “No home without a stereoscope” (nenhum lar sem estereoscópio), em pouco tempo o catálogo internacional da Sociedade já oferecia mais de 10.000 vistas diferentes e, em apenas dois anos, havia vendido mais de 500.000 visores estereoscópicos.
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+Estereoscópico lenticular de Brewster
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+A crença na objetividade da fotografia estereoscópica deu grande impulso às expedições fotográficas e aos trabalhos de documentação. O enorme consumo de vistas alimentava os desejos dos observadores por paisagens longínquas, cenas urbanas e construções famosas. Além dessas temáticas, a pornografia foi um dos grandes temas da estereoscopia. A sala de visitas da família burguesa será o lugar por excelência do consumo desta volumosa produção, enquanto as vistas pornográficas ficarão restritas à intimidade do homem burguês. “Colecionadas em grupos e séries jaziam, ao lado do álbum de família, disponíveis como objetos de uso nos rituais das trocas sociais apropriadas a este aposento.”
+Na última década do século XIX, o uso industrial da gelatina com brometo de prata permitiu a comercialização de filmes mais sensíveis e práticos a baixo custo. Essa transição marca a emergência das corporações norte-americanas. Nos Estados Unidos, a estereoscopia teve um desenvolvimento industrial e comercial impressionante e quantitativamente muito maior que na Europa. Encontrando uma economia próspera e um desenvolvimento industrial sedento de novidades, teve uma grande aceitação, especialmente entre colecionadores e associações.
+No Brasil do século XIX, a produção estereoscópica era majoritariamente realizada por fotógrafos profissionais de origem estrangeira. Estes profissionais, não se dedicavam exclusivamente à técnica, utilizando-a como mais uma dentre as várias possibilidades fotográficas existentes no período. Nesse sentido, fotógrafos reconhecidos atuarão na produção de estereoscopias destacando-se, entre eles, Revert Henrique Klumb (c.1826 – c. 1886) e Georges Leuzinger (1813 – 1892), ambos europeus radicados no Brasil, premiados em exposições internacionais e bem quistos pelo imperador dom Pedro II (1825 – 1891). Estes fotógrafos tinham em comum ainda a produção de fotografias de paisagens do Brasil em amplos panoramas. Desse modo, a produção de ambos estava conformada pela visão do fotógrafo-paisagista que corroborava, por sua vez, com a imagem delineada pelos paisagistas e desenhistas que acompanhavam as expedições naturalistas do século XIX e, assim, figuravam um Brasil, ao mesmo tempo em que ensinavam a figurá-lo.
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+Acessando o link para as estereoscopias de Revert Henry Klumb disponíveis na Brasiliana Fotográfica, o leitor poderá visualizar e magnificar as imagens.
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+Revert Henrique Klumb. Pedro II, Imperador do Brasil : retrato], 18? / Acervo Fundação Biblioteca Nacional
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+Se a produção local de vistas esterescópicas foi tímida no século XIX, havia, por outro lado, um consumo significativo deste tipo de imagem na Corte, em sua maioria importadas da Europa e dos Estados Unidos. Oferecidos, em geral, em estabelecimentos especializados em produtos científicos e em casas fotográficas, os estereoscópios e os estereogramas podiam ser também encontrados em lojas que se dedicavam a um universo mais genérico de produtos, o que atesta que a capilarização da estereoscopia espalhou-se para além de um público especializado. Por sua vez, estes estabelecimentos localizavam-se, em sua maioria, na área comercial mais nobre da cidade, nas proximidades da rua do Ouvidor, satisfazendo os desejos de consumo de uma burguesia urbana ávida por novidades.
+Este quadro se inverte com o advento do século XX que apresenta, pela primeira vez, uma produção comercial produzida no Brasil mas, sobretudo, um crescimento do amadorismo com a chegada ao mercado do sistema Verascope. Produzido na França a partir de 1893 pela Maison Richard, tratava-se de um sistema integrado de câmera e visor que rapidamente se tornou febre em todo o ocidente. O sistema impôs-se no mercado fotográfico como um padrão por sua praticidade, propiciando uma nova era da fotografia estereoscópica.
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+Verascope. c. 1894 / ignomini.com
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+Ainda que em alguns sentidos guarde semelhanças à prática amadora da fotografia plana, o amadorismo estereoscópico tem também suas especificidades, sobretudo no que diz respeito à sua capilarização. Estendendo-se pouco, ou quase nada, para além das elites, podemos perceber um perfil padrão dos fotógrafos amadores: profissionais liberais herdeiros de abastadas famílias brasileiras, homens de posses e/ou ocupantes de altos cargos da administração pública e sediado nos grandes centros urbanos.
+Dentre os estereoscopistas amadores brasileiros destaca-se o comerciante carioca Guilherme Antônio dos Santos (1871-1966). Fotógrafo e colecionador, Santos produziu mais de 20 mil vistas estereoscópicas entre os anos de 1906 e 1957. Utilizando-se exclusivamente do sistema Verascope, produziu imagens de diversas cidades brasileiras, especialmente do Rio de Janeiro.
+Com uma produção tão extensa, é evidente que a obra de Guilherme Santos é extremamente variada, sendo possível identificar em seu trabalho múltiplas formas de fotografar. Dedicando-se ora à fotografia artística, típica dos fotógrafos pictorialistas, e ora à fotografia documental, utilizada como prova do real, Santos não se furtou de elaborar uma linguagem visual própria e tipicamente estereoscópica. Pintura e escultura acadêmica, fotografia pictorialista, revistas ilustradas, fotografia documental, fotografia estereoscópica: todos esses elementos vão contribuir na formação de sua identidade visual. Em sua obra, arte e ciência integravam um único espaço entrelaçado de saberes e práticas. O que pode ser percebido, porém, em toda a extensão de sua obra de maneira mais intensa é a busca incessante pela sinestesia da estereoscopia, ou seja, a capacidade de instigar no observador os mais diversos sentidos, para além da visão.
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+Guilherme Santos. Palácio Monroe iluminado para a chegada dos reis da Bélgica, 1920. Rio de Janeiro, RJ / Acervo IMS
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+Acessando o link para as estereoscopias de Guilherme Santos disponíveis na Brasiliana Fotográfica, o leitor poderá visualizar e magnificar as imagens.
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+Os elementos que evidenciam tal busca pode ser observado principalmente na composição das imagens – colocando, geralmente, algum elemento no primeiro plano, à margem da fotografia, para destacar o efeito de profundidade -; na escolha das temáticas e na organização/identificação das séries, através do uso da ordem cronológica e das legendas inseridas no espaço em branco entre as duas fotografias.
+Podemos dizer que Guilherme Santos foi um observador típico da modernidade, ao mesmo tempo sua causa e consequência. Sofreu um processo de modernização do olhar ajustando-se a uma constelação de novos acontecimentos, forças e instituições. Vivenciou uma verdadeira revolução visual, mas sobretudo técnica, que se define no Brasil especialmente a partir de fins da década de 1880. Assistiu à ampliação da rede ferroviária no país, ao uso da iluminação elétrica nos teatros, à adoção da tração elétrica nos bondes, ao aparecimentos dos primeiros balões, zepelins e aeroplanos, ao crescimento do número de automóveis nas ruas. Acompanhou a difusão da telefonia, do fonógrafo e a introdução de novas técnicas de registro sonoro, bem como de novas técnicas de impressão e reprodução de textos, mas também de desenhos e fotografias, cada vez mais presentes nos periódicos e nos reclames publicitários. Junto à difusão da fotografia, assistiu também à difusão das imagens em movimento nos cinematógrafos, cada vez mais numerosos na capital federal. Vai presenciar também a popularização da fotografia entre não-profissionais e o surgimento do primeiro clube de fotógrafos amadores, o Photo Clube do Rio de Janeiro, que dará origem ao Photo Clube Brasileiro, ao qual se filiará em 1925.
+Desse modo, a partir de toda essa vivência, Guilherme Santos elaborou uma identidade visual própria, moderna e, sobretudo, estereoscópica.
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+Guilherme Santos. Passagem do zepelin pelo país, c. 1935. Rio de Janeiro, RJ / Acervo IMS
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+*Maria Isabela Mendonça dos Santos é  Doutora em História pela Universidade Federal Fluminense.
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+Fontes:
+ADAMS, Gavin. A mirada estereoscópica e a sua expressão no Brasil. Tese (Doutorado em Comunicação e Estética do Audiovisual) Escola de Comunicações e Artes da Universidade de São Paulo: São Paulo, 2004.
+ANDRADE, Joaquim Marçal Ferreira de. História da Fotorreportagem. A fotografia na Imprensa do Rio de Janeiro de 1839 a 1900. Rio de Janeiro: Eselvier, 2004.
+BREWSTER, David. The stereoscope; it´s History, Theory and Construction. John Murray, Londres, 1856.
+CRARY, Jonathan. Técnicas do observador: Visão e modernidade no século XIX. Rio de Janeiro: Contraponto, 2012.
+DARRAH, W.C. The world of Stereographs. Nashiville, Tennesse: Land Yatch Press, 1997.
+MAUAD, Ana Maria. Imagem e auto imagem do Segundo Reinado. IN: ALENCASTRO, Luís Felipe de.
+NOVAIS, Fernando A. História da vida privada no Brasil – Império: a corte e a modernidade nacional. São Paulo: Companhia das Letras, 1997, volume 2, p. 181-231.
+MELLO, Maria Teresa Bandeira de. Arte e fotografia: o movimento pictorialista no Brasil. Rio de Janeiro: Funarte, 1998.
+SANTOS. Maria Isabela M. dos. Cenas Cariocas. O Rio de Janeiro através das estereoscopias de Guilherme Santos (1910-1957). Dissertação (mestrado) – Universidade Federal Fluminense, Programa de Pós-Graduação em História: Niterói, 2014.
+_________. A prática estereoscópica de Guilherme Santos e o Rio de Janeiro em perspectiva tridimensional na primeira metade do século XX. IN: MAUAD, Ana Maria (Org). Fotograficamente Rio: A Cidade e seus temas. Niterói, RJ: PPGHistória – LABHOIUFF/FAPERJ, 2016.
+_________. A mirada estereoscópica de Guilherme Santos: Cultura Visual no Rio de Janeiro (Séculos XIX e XX). Tese (doutorado) – Universidade Federal Fluminense, Programa de Pós-Graduação em História: Niterói, 2019.
+SILVA, Maria Cristina Miranda da. A presença dos aparelhos e dispositivos ópticos no Rio de Janeiro do século XIX. Tese (Doutorado em Comunicação) – Pontifícia Universidade Católica de São Paulo, São Paulo, 2006.
+SUSSEKIND, Flora. Cinematógrafo de Letras. Literatura, técnica e modernização no Brasil. São Paulo: Cia das Letras, 1987.
+TURAZZI, Maria Inez. Poses e Trejeitos: a fotografia e as exposições na era do espetáculo. Rio de Janeiro: Funarte/Rocco, 1995.
+WHEATSTONE. Contributions to the physiology of vision. IN: WADE, Nicholas. Brewster and Wheatstone on vision. Experimental Psychology Society by Academic Press: Michigan, 1983.
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+ Cronologia de Guilherme Antônio dos Santos
+Andrea C.T. Wanderley**
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+Retrato do fotógrafo amador Guilherme Santos, publicado em O Malho de setembro de 1951.
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+1871 – No Rio de Janeiro, em 12 de fevereiro, nasceu Guilherme Antonio dos Santos, cuja família residia na Rua do Rezende. Seu pai era o joalheiro José Antonio dos Santos (? – 1905).
+1883 - No encerramento das aulas do Colégio Aquino, onde fez seus estudos, Guilherme Santos e Escragnolle Doria (1869 – 1948) receberam do imperador Pedro II medalhas por terem respondido “com prontidão e segurança a todas as suas perguntas sobre História do Brasil” (Correio da Manhã, 31 de maio de 1952).
+1896 – Guilherme casou-se com Maria Mendonça dos Santos, conhecida como dona Mariquinhas. Tiveram quatro filhos: Guilherme dos Santos Júnior (? – 1980), médico que foi diretor do Souza Aguiar e do Hospital Paulino Werneck; Amália Santos Pinto da Silva (? – 1986), Manoel Antônio dos Santos , que sempre trabalhou com o pai na representação dos cofres belgas Fichet; e Francisca Mendonça dos Santos (1901 – ?) . Os filhos estudaram no Colégio São Vicente de Paulo e as filhas no Colégio Santa Isabel, em Petrópolis.
+dezembro de 1898 – A joalheria e galeria de arte Luiz de Rezende & Cia, cujo um dos sócios era o pai de Guilherme Santos, José Antonio dos Santos, foi roubada. Ficava na rua do Ouvidor 88 e 89 e na rua Ourives 69 ( Gazeta de Notícias, 6 de dezembro de 1898, na última coluna e  Jornal do Brasil, 19 de dezembro de 1903, na sétima coluna, sob o título “O buraco do Rezende”). Anteriormente, a joalheria chamava-se Santos Moutinho e Cia. Na época do roubo, que teve grande repercussão, Guilherme Santos morava no último andar da loja.
+1901 – Guilherme Santos foi empossado no conselho da Sociedade Animadora da Corporação dos Ourives (Jornal do Brasil, 31 de julho de 1901, na última coluna). Nasceu sua filha caçula, Francisca, (Jornal do Brasil, de 16 de dezembro de 1901, na quarta coluna). Nos Almanak Laemert de 1901, 1902, 1903, 1904, 1905, 1906 e 1907, Guilherme e seu irmão, Francisco Antonio, aparecem como dois dos sócios da joalheria Luiz de Rezende & Cia. Luiz de Rezende ( – 1927) era português e foi com o pai de Guilherme Santos, José Antônio, que ele aprendeu a ourivesaria.
+1905 / 1906 – No Almanak Laemert de 1905, Guilherme Santos aparece como o 2º secretário da Sociedade Animadora da Corporação dos Ourives. Viajou para Paris com a família para, a conselho de seu pai, se tratar de um estado de nervosismo permanente ocasionado pelo roubo à joalheira em 1898. Cuidou-se com um tratamento de auto-sugestão cujo lema era “Hoje sob todos os pontos de vista vou cada vez melhor”. Interessou-se pela técnica da estereoscopia e adquiriu um equipamento Verascope, da Maison Richard, após visitar uma exposição de fotografias estereocópicas no Grand Palais. Lá constatou que havia pouquíssimos registros do Brasil, todos de mulheres negras vendendo abacaxis. Santos começou a praticar a fotografia amadora e foi em Portugal que produziu seu primeiro registro, no pinhal de Caldas da Rainha. Seu pai, José Antonio dos Santos, faleceu (Correio da Manhã, 20 de maio de 1952).
+1907 – Provavelmente, foi um dos proprietários do Cinema Pavilhão Progresso, na rua Hadock Lobo, 16. O cinema foi inaugurado em 31 de outubro de 1907 (Jornal do do Brasil, 30 de outubro de 1907, na primeira coluna).
+1920 – Guilherme Santos morava na rua Conde de Bonfim, 86, na Tijuca.
+1922 – Santos cedeu ao então ministro do Exterior, José Manuel de Azevedo Marques (1865 – 1943), milhares de reproduções estereográficas de quadros da natureza brasileira que foram distribuídas aos estrangeiros que vieram representar seus países nas comemorações do centenário da independência do Brasil. Deixou de trabalhar na Casa Luiz de Rezende ( Correio da Manhã, 20 de maio de 1952).
+1923 – Foi criado o Photo Club Brasileiro, uma associação de fotógrafos, no Rio de Janeiro, pelos associados do Photo Club do Rio de Janeiro, fundado em 1910, que se juntaram a fotógrafos de arte para debater as relações entre fotografia e arte. O Photo Club Brasileiro promovia cursos, concursos, exposições e excursões. Publicou as revistas Photo Revista do Brasil (1925 – 1926) e Photogramma (1926 – 1931). Também organizava salões anuais, o primeiro deles inaugurado em 4 de julho de 1924, no Liceu de Artes e Ofícios (artigo de Fernando Guerra Duval, na Gazeta de Notícias, 9 de julho de 1924), além de divulgar novas técnicas e estéticas, mantendo correspondência com sociedades internacionais de fotografia. Até o fim da década de 1940, foi uma instituição fundamental na difusão da ideia da fotografia como arte. Uma matéria da revista Para Todos, de 17 de setembro de 1927, sobre a quarta exposição anual do Photo Club ilustrava essa função primordial da associação. Alguns de seus membros de destaque foram Alberto Friedmann, Barroso Neto, Fernando Guerra Duval, Herminia Borges, João Nogueira Borges, Oscar de Teffé e Silvio Bevilacqua.
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+Aspecto da quarta exposição anual promovida pelo Photo Club Brasileiro – Revista da Semana de 1º de outubro de 1927
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+maio de 1925 –  Guilherme Santos tornou-se membro do Photo Club Brasileiro. Publicou na edição de lançamento da Photo Revista do Brasil, órgão oficial da associação, o artigo “Photographia Estereoscópica”. No expediente da revista, aparece como um de seus principais colaboradores. E, nas páginas dedicadas às notícias do Photo Club, que acabava de se instalar em uma nova sede, na rua 13 de maio, 35, aparece como um dos membros recentes da associação. O presidente e o vice-presidente do Photo Club Brasileiro eram Alberto Friedmann e Fernando Guerra Duval, respectivamente.
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+“Photographia Estereoscópica”
+Por Guilherme A Santos
+Confeccionar uma photographia é quasi sempre reconstruir uma recordação!
+Nenhuma outra photographia trabalhada pelos processos conhecidos, pôde dar-nos tamanha satisfação, produzir-nos impressão tão viva  e tão nitida daquilo que quizermos recordar como a photographia estereoscopica! Seja o retracto de um ente querido, seja uma paysagem, ou ainda uma reunião de família, cujo objecto exprima um momento feliz da nossa existencia!
+A sensação do relevo e da perspectiva que nos dá um positivo sobre vidro, copia de um cliche estereoscopico, introduzido no instrumento apropriado, é inegualavel! inconfundivel! incomparavel!
+Ao olhar, apresentam-se as imagens das creaturas, da Natureza ou dos objectos, com a expressão a mais perfeita e verdadeira , mostrando-nos em destaque todos os planos que as objectivas colheram na extensão do angulo focal!
+Como passa tempo, o que é possível de encontrar que seja mais agradável, mais divertido do que os positivos sobre vidro da photoestereoscopia!?
+Reunidos em família e acompanhados de bons amigos sentados em redor de uma mesa, passa-se de mão em mão o apparelho estereoscópicos exibindo as differentes séries de positivos! Algumas, despertando recordações aos que, num afogar de saudades revêem os bons momentos que passaram, contemplando imagens de creaturas que talvez nunca mais encontrem no caminho da vida e que fizeram a delícia daqueles momentos, em uma estação de águas, em uma excursão, em cidades de verão, a bordo de um transatlântico, na convivência íntima de uma longa viagem, etc.
+Outras séries apresentando o esplendor da Natureza em grandes quadros compostos com senso esthético, com observação artística que estasiam, que empolgam e que nunca cançaríamos de contemplar são photografias que provam como é impossível negar o extraordinário poder que tem a natureza, de impressionar e fazer vibrar a alma das creaturas com suas majestosas creações!
+Nesse particular a nossa terra recebeu do CREADOR um dote precioso, o qual infelizmente em vez de ser transportado para as chapas da photographia por meio das objectivas dos differentes apparelhos, tem o homem esbanjado e destruido quasi inconscientemente sem considerar o grande mal que causa ao bem commum e sem reflectir no crime que pratica!
+Disse PAULO MANTEGAZZA, capitulo IV no “O LIVRO DAS MELANCHOLIAS” de uma forma encantadora e com a alma amargurada: que se conhecesse DEUS, dir-khe-hia que na sua infinita misericordia, perdoasse todos os peccados dos homens e reservasse toda a sua ira, toda as suas vinganças, tododos seus raios, para o homem que destróe uma “FLORESTA”!!…
+Faço minhas as palavras do primoroso escriptor, mas accrescento que o homem que dedicar-se á photographia, de preferenciaa estereoscopica, no contacto intimo e constante que ele tiver com a NATUREZA, quando a tiver estudado bem, irá lentamente habituando-se a apreciar devidamente a sua obra grandiosa, sentirá despertar em sua alma, sentimentos delicadosque até então desconhecia e difficilmente será capaz de derrubar uma arvore ou consentir que alguem o faça em sua presença!
+A falta de amor e o abandono ás nossa bellezas naturaes é patente! Cito um exemplo mui recente:
+Por uma destas lindas manhãs de ABRIL (era dia feriado) percorremos uma parte da estrada que liga o ALTO DA BOA VISTA ao SUMARÉ.
+É uma das maravilhas da TIJUCA! A vegetação é abundante e variada e conta-se ás dezenas, arvores gigantescas cujas ramadas projectam sombras extensas sobre o caminho!
+O sol imprimia uma luz de oiro sobre o verde esmeralda do arvoredo e fazia pensar que foi a NATUREZA quem inspirou os nossos antepassados sobre a escolha das cores para a nossa bandeira!
+Caminhamos cerca de 6 kilometros ida e volta e gastamos cerca de 5 horas. Pois bem, nesse demorado percurso, cruzamos com 3 outros grupos de excursionistas, todos elles, compunham-se de estrangeiros!
+Nem um brasileiro! nem um amador da photographia! Digo, encontramos um brasileiro, que empunhando uma vara que tinha um sacco de gaze preso a uma das extremidades, caçava as lindas borboletas azues de grandes azas que faziam o encanto daquellas paragens! aquelle rapaz de 20 annos presumives, de bella estaturaphysica, fazia-o como meio de vida! Contamos estendidas sobre um jornal, 20 daquellas borboletas, apanhadas em menos de uma hora! Pobrezinhas! a  NATUREZA limitou-lhes curtíssima existência, nem mesmo a essas deixam viver!
+Creio ser o momento de ser transformada essa situação. A Photo-Revista vem preencher uma lacuna e acreditamos que uma campanha sustentada com perseverança por todos os seus collaboradores, daria bom resultado, no sentido de desenvolver o gosto dos brasileiros pela arte photographica: talvez conseguíssemos convence-los de trocar uma ou outra vez (às horas de ócio) os encantos do lar doméstico, pelos encantos naturaes, lembrando-lhes que em companhia de nossa família e em contacto com a floresta, também construímos lares provisorios sob a benção da mãe de tudo e de todos que é a NATUREZA!
+(Photo Revista do Brasil, vol 1, maio de 1925, pg 14)
+Além disso, a fotografia da capa era de sua autoria (O Brasil, 31 de maio de 1925, na sexta coluna, sob o título “Publicações”). E, na mesma edição da revista, foi publicada uma propaganda das fotografias estereoscópicas de Guilherme. O endereço, rua Buenos Aires, 93, é o mesmo do escritório dos cofres belgas Fichet, empresa que ele representava no Brasil. Posteriormente, o escritório foi transferido para a rua do Rosário, 146.
+1937 – Resumo do assalto ocorrido na Casa Luiz de Rezende, em 1898, com retratos dos sócios Luiz de Rezende e José Antonio dos Santos, pai de Guilherme (Noite Illustrada, 25 de maio de 1937).
+1942 – Publicação da matéria “Rio desaparecido”, de Escragnolle Doria, sobre a importância dos arquivos fotográficos de Augusto Malta e Guilherme Santos (Revista da Semana, 30 de maio de 1942).
+1945 – Publicação no Boletim de Belas Artes de outubro de um artigo sobre o desmonte do Morro do Castelo com entrevista de Guilherme Santos (Correio da Manhã, 8 de maio de 1952).
+1950 – Publicação de matéria elogiando a coleção de fotografias de Guilherme Santos (Jornal do Brasil, 24 de março de 1950, na última coluna sob o título “Belas Artes). Publicação de uma reportagem de Walter Sampaio sobre o “Arquivo Guilherme dos Santos”. Na matéria, Santos revelou ter vontade de “expor em um museu o seu valioso arquivo histórico e estereoscópico nacional”. (A Noite Ilustrada, 1º de agosto de 1950).
+ 
+Guilherme Santos, aos 85 anos, retratado com um aparelho estereoscópico na Noite Ilustrada de 1º de agosto de 1950
+ 
+ 
+1951 – O Departamento de História e Documentação do Rio de Janeiro examinou a coleção fotográfica de Guilherme Santos (O Malho, setembro de 1951).
+1952 – Faleceu sua esposa, Maria Mendonça dos Santos, em 26 de maio ( Correio da Manhã, 30 de maio de 1952, na primeira coluna). Na coluna “Pequenas Reportagens”, é lembrado um artigo do Boletim de Belas Artes de outubro de 1945, onde Guilherme Santos comentava seus registros fotográficos do desmonte do Morro do Castelo (Correio da Manhã, 8 de maio de 1952). Na mesma coluna, foi publicada uma matéria sobre Guilherme Santos ( Correio da Manhã, 20 de maio de 1952). Finalmente na coluna de 31 de maio de 1952, o assunto foi a coleção de fotografias de Santos.
+ 
+Propaganda dos cofres Fichet, representados por Guilherme Santos, publicado no Almanak do Correio da Manhã, de 1953
+ 
+ 
+1954 –  Às vésperas do Natal, a sede da G.A. Santos & CIA, localizada na Rua do Rosário, 146, sofreu um incêndio. A única coisa resgatada foi o acervo de fotografias de Guilherme que estava dentro de um cofre à prova de fogo. Foi devido a esse fato que Santos decidiu vender sua coleção de fotografias (Correio da Manhã, 24 de dezembro de 1954).
+1956 – Na primeira página do Jornal do Brasil, foi publicada a matéria “O Rio de Janeiro através da estereoscopia”, assinada por Augusto Maurício, sobre a coleção de fotografias de Guilherme Santos ( Jornal do Brasil, 27 de maio de 1956).
+1964 – A Coleção Guilherme Santos foi adquirida pelo Banco do Estado da Guanabara, em 28 de abril de 1964, para iniciar, juntamente com a coleção de fotografias de Augusto Malta (1864 – 1957), o acervo do Museu da Imagem e do Som do Rio de Janeiro. O contrato de compra e venda foi assinado pelo filho e procurador de Guilherme, Manoel Antônio dos Santos.
+1965 – Inauguração do Museu da Imagem e do Som do Rio de Janeiro, em 3 de setembro de 1965 (Diário de Notícias, 2 de setembro de 1965). A maior parte da obra de Santos, que inclui 17.812 mil negativos e 9.310 mil positivos (em vidro), além de 1.302 ampliações em papel feitas a partir dos negativos, está sob a guarda da instituição.
+janeiro de 1966 – Guilherme Santos faleceu em 26 de janeiro, na casa de sua filha Francisca, na Ilha do Governador. Na época, ele morava na rua Cesário Alvim, 39. Anúncio da missa de sétimo dia de Guilherme Santos (Diário de Notícias, 30 de janeiro de 1966).
+1984 – Fotografias do Rio Antigo de autoria de Guilherme Santos fizeram parte da exposição “19 anos do Museu da Imagem e do Som” (Última Hora, 27 de dezembro de 1984, na última coluna).
+ 
+**Andrea C. T. Wanderley
+Editora-assistente e pesquisadora do portal Brasiliana Fotográfica
+Fontes:
+A hora e o lugar – organizadores Sergio Burgi e Samuel Titan Jr. IMS – Rio de Janeiro, 2015.
+Antologia Brasil: 1890-1930 – Pensamento crítico em Fotografia. Organização Ricardo Mendes – FUNARTE – Rio de Janeiro, 2013.
+Cenas cariocas: o Rio de Janeiro através das estereoscopias de Guilherme dos Santos, de Maria Isabela Mendonça dos Santos – UFF – Niterói, 2014.
+Depoimento oral de Lilia Maria Maya Monteiro na série Projetos Especiais – Projeto Guilherme Santos, Museu da Imagem e do Som do Rio de Janeiro, em 22 de janeiro de 1988.
+PARENTE, José Inacio. A Estereoscopia no Brasil. Sextante – Rio de Janeiro, 1999.
+Site do Instituto Moreira Salles
+Site do Museu da Imagem e do Som
+MELLO, Maria Teresa Bandeira de. Arte e fotografia: o movimento pictorialista no Brasil. Edição Frederico Gomes; apresentação Angela Magalhães. Rio de Janeiro: Funarte, 1998. (Luz & reflexão, 7)., p. 68.
+PESSANHA, Maria Edith de Araújo. A Estereoscopia: o Mundo em Terceira Dimensão. Rio de Janeiro, 1991.
+SANTOS, Maria Isabela Mendonça dos. Cenas cariocas: o Rio de Janeiro através das estereoscopias de Guilherme Santos (1910 – 1957). Niterói: Universidade Federal Fluminense. Programa de Pós-Graduação em História, 2014.
+TURAZZI, Maria Inez. Poses e Trejeitos: a fotografia na era do espetáculo (1839 – 1889). Rio de Janeiro: Funarte/Rocco, 1995.
+VASQUEZ, Pedro Karp. A Fotografia no Império. Rio de Janeiro: Jorge Zahar Editor. 2002.
+A Brasiliana Fotográfica também pesquisou em diversos periódicos na Hemeroteca Digital da Biblioteca Nacional.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/3951` — `itens/20.500.12156.1_3951/`
+- `20.500.12156.1/612` — `itens/20.500.12156.1_612/`
+- `20.500.12156.1/4720` — `itens/20.500.12156.1_4720/`
+- `20.500.12156.1/5615` — `itens/20.500.12156.1_5615/`
+
diff --git a/wordpress/14794-fotografia-e-ciencia-eclipse-solar-marc-ferrez-e-albert-einstein.md b/wordpress/14794-fotografia-e-ciencia-eclipse-solar-marc-ferrez-e-albert-einstein.md
new file mode 100644
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+++ b/wordpress/14794-fotografia-e-ciencia-eclipse-solar-marc-ferrez-e-albert-einstein.md
@@ -0,0 +1,197 @@
+---
+id: 14794
+url: "https://brasilianafotografica.bn.gov.br/?p=14794"
+titulo: "Fotografia e ciência: eclipse solar, Marc Ferrez e Albert Einstein"
+autor: "Andrea Wanderley"
+data: "2019-06-24T10:45:39+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/2575", "20.500.12156.1/4770", "20.500.12156.1/6517", "20.500.12156.1/6530", "20.500.12156.1/6526", "20.500.12156.1/6527", "20.500.12156.1/5126"]
+fetched_at: "2026-09-10T09:58:35.812Z"
+---
+
+# Fotografia e ciência: eclipse solar, Marc Ferrez e Albert Einstein
+
+Inspirada pela realização da exposição Marc Ferrez: Território e imagem, inaugurada em 26 de março de 2019, no Instituto Moreira Salles de São Paulo, e pela comemoração do centenário do eclipse solar observado na cidade de Sobral, no Ceará, em 29 de maio de 1919, a Brasiliana Fotográfica publica hoje o artigo Fotografia e ciência: eclipse solar, Marc Ferrez e Albert Einstein. Ferrez (1843 – 1923) se relacionou com diversos cientistas e pesquisadores no Brasil do século XIX e do início do século XX, dentre eles o geólogo norte-americano Charles Frederick Hartt (1840 – 1878), que chefiou a Comissão Geológica do Império (1875 – 1878), da qual fez parte; o médico Camillo Fonseca (18? – 1923), em cujo consultório foram realizadas experiências radiográficas nas gêmeas siamesas Rosalina e Maria Pinheiro, nascidas em 1893, no Espírito Santo; e os diretores do Observatório Nacional no Rio de Janeiro, o astrônomo belga Louis Ferdinand Cruls (1848 – 1908), que ocupou o cargo entre 1891 e 1908; e o engenheiro e astrônomo francês naturalizado brasileiro Henrique Morize (1860 – 1930), que sucedeu Cruls e permaneceu na direção da instituição até 1930.
+ 
+Marc Ferrez. Marc Ferrez aos 33 anos, c. 1877. Rio de Janeiro. Acervo IMS.
+Marc Ferrez. Luis Cruls, c. 1890. Rio de Janeiro, RJ / Acervo IMS
+Henrique Morize / Acervo Arquivo Nacional
+ 
+ 
+O eclipse solar observado em Passa Quatro, Minas Gerais, em 1912
+ 
+A. Soucasaux. Grupo de astrônomos brasileiros e estrangeiros durante a expedição para a observação do eclipse solar, outubro de 1912. Passa Quatro, Minas Gerais / Coleção Gilberto Ferrez – Acervo IMS
+ 
+Com seu amigo e então diretor do Observatório Nacional, Henrique Morize (1860 – 1930), Ferrez esteve em Passa Quatro, em Minas Gerais, em 1912, como um dos integrantes da comitiva do presidente do Brasil, o marechal Hermes da Fonseca (1855 – 1923), que havia ido para a cidade mineira observar o eclipse solar ocorrido em 10 de outubro daquele ano. Também estiveram presentes ao evento o diretor do Jardim Botânico, Graciano dos Santos Neves (1868 – 1922), delegações estrangeiras de astrônomos do Observatório de Greenwich (Inglaterra), do Bureau de Longitudes (França), do Observatório Nacional do Chile, do Observatório Nacional de Córdoba (Argentina), do Observatório de La Plata (Argentina) e do então recém-criado Observatório Astronômico e Meteorológico de São Paulo. Compareceram também ao evento representantes da imprensa e outras autoridades (Gazeta de Notícias, 11 de outubro de 1912, na quinta coluna sob o título “Marechal Hermes e o eclipse“). O chefe da comissão inglesa era Arthur Stanley Eddington (1882 – 1944); o da francesa, Milan Stefanick (1880 – 1919); do Observatório de Córdoba, Carlos Dillon Perrine (1867 – 1951); da comissão chilena, Friedrich Wilhelm Ristenpart (1868-1913); do Observatório de La Plata, William Joseph Hussey (1862-1926); e, finalmente, do Observatório de São Paulo, José Nunes Belfort Mattos (1862- 1926). Um dos objetivos da expedição era confirmar a Teoria da Relatividade, do cientista alemão Albert Einstein (1879 – 1955).
+A comissão brasileira foi chefiada por Henrique Morize e contava com os astrônomos Mario Rodrigues de Souza (1889-1973), Domingos Fernandes Costa (1882-1956), Alix Corrêa de Lemos (1877 – 1957) e Gualter Macedo Soares (1891 – 19?), com o voluntário Antônio Alves Ferreira da Silva (18? – 19?), com o fotógrafo Augusto Soucasaux (1871-1962) e com o médico Camillo Fonseca (18? – 1923)(1).
+Não se sabe se Ferrez teve alguma função específica na comitiva do governo já que a fotografia do fenômeno ficou a cargo de profissionais do Observatório Nacional. Ele produziu fotografias estereoscópicas dos acampamentos na cidade, que estão sob a guarda do Instituto Moreira Salles e disponíveis no acervo da Brasiliana Fotográfica.
+ 
+Marc Ferrez. Acampamento para a observação do eclipse solar, 1912. Passa Quatro, Minas Gerais / Acervo IMS
+ 
+ 
+Acessando o link para as fotografias relativas ao eclipse solar observado em Passa Quatro (MG), em 10 de outubro de 1912, disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+‘O Dr. Morize dirige os trabalhos gerais e encarrega-se especialmente da grande Equatorial Fotográfica de Heyde e do fotoheliógrafo de Wilstein. São seus assistentes o Dr. Mario de Souza, do Observatório, que tem ao seu cargo o grande Colostato de Malhat e o Dr. Domingos Costa, também do Observatório, que já fez as determinações da hora exata e da latitude do lugar; o Dr. Costa trabalhará o fotoheliógrafo de Steinhel’.
+Correio da Manhã, 10 de outubro de 1912, segunda coluna
+ 
+Abaixo, duas fotografias, com a presença de Marc Ferrez, em Passa Quatro, publicadas no jornal A Época, 12 de outubro de 1912, sob o título “Ecos do eclipse”
+ 
+A Época, 12 de outubro de 1912
+ 
+A Época, 12 de outubro de 1912, sob o título “Ecos do eclipse”
+ 
+Devido a chuvas fortes, o eclipse, ocorrido em 10 de outubro, não pode ser visualizado, causando frustração entre os cientistas e entre o público em geral: O eclipse…eclipsou-se (O Paiz, 11 de outubro de 1912 e Fon-Fon!, 19 de outubro de 1912).
+ 
+Fon-Fon!, 2 de novembro de 1912
+ 
+ 
+O eclipse solar observado de Sobral, no Ceará, em 1919
+ 
+“O mundo moderno começou em 29 de maio de 1919, quando fotografias de um eclipse solar, tiradas na Ilha do Príncipe, na África Ocidental, e em Sobral, no Brasil, confirmaram a verdade da nova teoria do universo.”
+Paul Johnson (1928 – ), historiador inglês, e autor do livro Modern Times: The World from the Twenties to the Nineties
+ 
+Acessando o link para as fotografias relativas ao eclipse solar observado de Sobral (1919), no Ceará, disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas. 
+ 
+Equipamentos montados na Praça do Patrocínio com a Igreja Nossa Senhora do Patrocínio ao fundo na ocasião do eclipse, maio de 1919. Sobral, Ceará / Coleção Gilberto Ferrez – Acervo IMS
+ 
+Em 1919, Marc Ferrez morava na França e supõe-se que ele teria, por seu interesse no assunto e por sua proximidade com Henrique Morize (2), acompanhado à distância os trabalhos dos registros fotográficos do eclipse total do Sol, ocorrido em 29 de maio de 1919, realizados por astrônomos brasileiros do Observatório Nacional e também por cientistas de outros países, em Sobral, no Ceará. A equipe brasileira, liderada por Morize, era formada pelos astrônomos Domingos Fernandes da Costa (1882 – 1956), Allyrio Hugueney de Mattos (1889 – 1975) e Lélio Itapuambyra Gama (1892 – 1981), além do químico Theophilo Henry Lee (1873 – ?), do meteorologista Luís Rodrigues, do mecânico Arthur de Castro Almeida e do carpinteiro Primo Flores. Partiram do Rio de Janeiro no dia 25 de abril de 1919, a bordo do vapor João Alfredo (Jornal do Commercio, 23 de abril de 1919, última coluna).
+A comitiva dos Estados Unidos, formada pelos pesquisadores Daniel Maynard Wise (1888 – ?) e Andrew Thomson (1893 – 1974), ambos integrantes do Departamento de Magnetismo Terrestre da Carnegie Institution, de Washington, interessados em estudar os efeitos do eclipse solar sobre o magnetismo terrestre, partiram de Nova York, em 25 de março de 1919, no vapor Hollandia, e aportaram no Recife, em 15 de abril. Chegaram a Fortaleza, a bordo do paquete Pará, em 20 de abril. Eles e a comissão completa do Observatório Nacional do Brasil chegaram em Camocim, no Ceará, em 7 de maio, a bordo do vapor Prudente de Morais. Seguiram para Sobral dois dias depois em um trem especial da Viação Cearense, tendo chegado à cidade às três horas da tarde do mesmo dia (Mensagem do Governador do Ceará à Assembleia (CE), 1919, e Pequeno Jornal , 23 de abril de 1919, segunda coluna).
+ 
+Daniel Maynard Wise / Cortesia do The Merchant Mariner (Boston), 19/10/1918
+ 
+Andrew Thomson / Arquivos do CMOS
+ 
+Viabilizadas pelo astrônomo real sir Frank Watson Dyson (1868 – 1939), duas expedições britânicas foram organizadas para observar o eclipse. Arthur Stanley Eddington (1882 – 1944), que havia estado no Brasil durante o eclipse de 1912, seu assistente Edwin Cottingham (1869 – 1940), Andrew Crommelin (1865 – 1939) e Charles Davidson (1875 – 1970)(4), da Royal Astronomical Society, partiram da Inglaterra em 8 de março de 1919, e se separaram em Lisboa. Os dois primeiros seguiram para a Ilha de Príncipe, na África, da onde observariam o fenômeno. Crommelin e Davidson vieram para o Brasil e chegaram à Sobral, após uma passagem pela Amazônia (Jornal do Commercio (AM), 4 de abril de 1919, quarta coluna, e Jornal do Litoral, 1º de maio de 1919, quarta coluna), em 30 de abril, ficando hospedados, assim como os norte-americanos, na casa do deputado e coronel Vicente Saboya. Estavam com os britânicos algumas das placas fotográficas que testariam a Teoria da Relatividade do cientista alemão Albert Einstein (1879 – 1955).
+ 
+O astrônomo Frank Watson Dyson / Divisão de Gravuras e Fotografias da Biblioteca do Congresso dos Estados Unidos
+ 
+ 
+O astrônomo Sir Arthur Stanley Eddington / Acervo da Biblioteca do Congresso dos Estados Unidos
+ 
+O astrônomo Andrew Crommelin, c. 1915 / Fotografia de Elliot & Fry
+ 
+O astrônomo Charles Davidson, 1932 / Walter Stoneman, National Portrait Gallery
+ 
+O eclipse solar começou às 7h46min2s do dia 29 de maio de 1919, sua totalidade foi iniciada às 8h58min28s e finalizada 5 minutos e 13 segundos depois.
+‘Tenho a honra de comunicar à Vossa Excelência que o eclipse foi observado em regulares condições por todas as comissões. Antes da hora prevista, o céu estava quase totalmente encoberto, chegando a chuviscar, mas abriu. Houve algumas nuvens transparentes sobrepostas ao disco. Entretanto, espero fotografias sairão boas, mas podrão ser reveladas somente amanhã, de madrugada, a fim de obter condições de temperatura mais favoráveis. Atenciosas saudações‘.
+Telegrama de Henrique Morize ao ministro da Agricultura, Antônio de Pádua Sales (1860 – 1957)
+(O Paiz, 31 de maio de 1919, penúltima coluna)
+ 
+Equipamentos montados na Praça do Patrocínio com a Igreja Nossa Senhora do Patrocínio ao fundo na ocasião do eclipse, maio de 1919. Sobral, Ceará / Coleção Gilberto Ferrez – Acervo IMS
+
+Morize regressou ao Rio de Janeiro, em 11 de julho de 1919, e deu uma entrevista para a Gazeta de Notícias, comentando as atividades das comissões brasileira, britânica e norte-americana (Gazeta de Notícias, 12 de julho de 1919).
+Foram os resultados obtidos a partir das bem sucedidas fotografias feitas pelos astrônomos ingleses, em 29 de maio de 1919, que permitiram a comprovação da teoria de Einstein, inaugurando um novo momento na história da ciência.
+Sobre a experiência:
+‘Um século depois, pouquíssimos duvidam da relatividade geral. Mas, naquela época, o modelo einsteiniano do Universo ainda dava seus primeiro passos, encarado com bastante descrença pela comunidade científica por ainda não ter sido verificado. Publicada em 1916, a teoria havia levado oito anos para ficar pronta: foi o tempo que Einstein levou para generalizar os postulados da relatividade especial, de 1905, e incluir a gravidade na jogada.
+De acordo com a teoria, o espaço e o tempo formam um único tecido, um contínuo maleável que é distorcido por corpos de muita massa como um buraco negro, um aglomerado de galáxias ou o Sol. Nem mesmo a luz escapa dessa distorção: quando os fótons atravessam regiões distorcidas do Universo, suas trajetórias também sofrem um desvio.
+Os eclipses solares totais forneciam as condições perfeitas para testar se essa previsão de Einstein fazia, ou não, algum sentido. Com a Lua bloqueando temporariamente o brilho ofuscante do Sol, tornava-se possível enxergar (e fotografar) as estrelas posicionadas bem próximas a ele no céu. Por estarem praticamente encobertas pelo Sol quando vistas da Terra, isso significava que os raios dessas estrelas distantes necessariamente atravessaram o espaço-tempo distorcido pelo campo gravitacional solar. Esse desvio podia ser verificado.
+O segredo era fotografar essas estrelas durante o eclipse e, um tempo depois, fotografá-las novamente quando estivessem na mesma região do céu, só que sem a interferência do Sol. Foi justamente o que a delegação britânica fez em Sobral. “Eles estavam procurando por variações comparáveis aos mais finos fios de cabelos humanos”, explica Dunn (5). Precisavam de estabilidade e rigor extremos nos instrumentos para produzir resultados confiáveis.
+O segundo conjunto de fotos foi tirado em julho do mesmo ano, para serem comparadas aos registros de maio. Segundo a teoria de Einstein, a comparação deveria revelar uma diferença de 1,75 segundo de arco, enquanto a de Newton previa um número bem menor, de 0,86. Um segundo de arco equivale ao tamanho de uma estrela a olho nu. “Passaram os meses seguintes analisando aquelas placas e conseguiram centenas de páginas de cálculos baseados nas fotos”, diz Dunn. Então, em novembro, os olhos do mundo se voltaram para Londres, onde os cientistas anunciaram que Einstein estava certo.‘
+Revista Galileu, 25 de outubro de 2018
+Placas de vidro produzidas pelos brasileiros durante o eclipse de 1919 e disponíveis na internet
+Diversas placas de vidro, que medem 24 centímetros (cm) por 18, e 9 cm por 12, foram produzidas pelos brasileiros a partir de câmaras acopladas aos telescópios. São cobertas por uma emulsão com sais de prata sensíveis à luz e, em 2015, foram encontradas por pesquisadores em caixas na biblioteca do Observatório Nacional. Foram restauradas, digitalizadas e estão disponíveis na internet. 
+Placa do eclipse solar de 1919 / Observatório Nacional
+ 
+“Foi o luminoso céu do Brasil que se incumbiu de resolver o problema concebido pelo meu cérebro”
+
+ 
+Frase dita pelo cientista alemão  Albert Einstein (1879 – 1955) e publicada no O Jornal, de propriedade de Assis Chateaubriand (1892 – 1968) e também na revista Fon-Fon quando, em passagem para a Argentina, visitou o Rio de Janeiro, em março de 1925.
+ 
+Fon-Fon, 28 de março de 1925
+ 
+Fon-Fon, 28 de março de 1925
+ 
+ 
+O Jornal, 22 de março de 1925
+ 
+O Jornal, 22 de março de 1925
+ 
+ 
+J. Pinto; Visita de Albert Einstein ao Instituto Oswaldo Cruz, 8 de maio de 1925. Rio de Janeiro, RJ / Acervo Fiocruz
+ 
+ 
+(1) Em 1899, no consultório dos doutores Camillo Fonseca e Henrique Morize, foram realizadas experiências radiográficas nas gêmeas siamesas Rosalina e Maria Pinheiro, nascidas em 1893, no Espírito Santo.
+(2) Em março de 1922, Morize, que havia viajado para a Europa em missão oficial do Observatório Nacional, fez uma visita a Ferrez, em Paris.
+(3) Antônio Lima foi intérprete da comissão norte-americana e colocou os equipamentos para as investigações da eletricidade atmosférica na pista do Jockey Club próximo às instalações britânicas.
+(4) Sobre a presença dos dois cientistas britânicos em Sobral, no O Jornal (MA), 25 de julho de 1919, foi publicado um curioso artigo copiado de um jornal cearense não identificado.
+(5) O britânico Richard Dunn é pesquisador da Universidade de Leicester e curador das exposições de história da ciência do Observatório de Greenwich.
+
+ 
+Link para o documentário  100 anos do eclipse de Sobral e a comprovação da Teoria da Relatividade Geral 
+ 
+Link para o debate sobre Marc Ferrez e o eclipse de Sobral com a participação de Christina Helena Barboza, Rodrigo Nemmen e Rogério Rosenfeld, com mediação de Sérgio Burgi e Nathan Berkovits, realizado no IMS Paulista, em 25 de maio de 2019
+
+ 
+Publicações da Brasiliana Fotográfica em torno da obra do fotógrafo Marc Ferrez 
+ 
+Marc Ferrez aos 33 anos, c. 1876. Rio de Janeiro, RJ / Acervo IMS
+O Rio de Janeiro de Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 30 de junho de 2015
+Obras para o abastecimento no Rio de Janeiro por Marc Ferrez , de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 25 de janeiro de 2016
+O brilhante cronista visual Marc Ferrez (7/12/1843 – 12/01/1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 7 de dezembro de 2016
+Do natural ao construído: O Rio de Janeiro na fotografia de Marc Ferrez, de autoria de Sérgio Burgi, um dos curadores da Brasiliana Fotográfica, publicada em 19 de dezembro de 2016
+No primeiro dia da primavera, as cores de Marc Ferrez (1843 – 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 22 de setembro de 2017
+Marc Ferrez , a Comissão Geológica do Império (1875 – 1878) e a Exposição Antropológica Brasileira no Museu Nacional (1882), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica,  publicada em 29 de junho de 2018
+Série “O Rio de Janeiro desaparecido” V – O quiosque Chopp Berrante no Passeio Público, Ferrez, Malta e Charles Dunlop, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 20 de julho de 2018
+Uma homenagem aos 175 anos de Marc Ferrez (7 de dezembro de 1843 – 12 de janeiro de 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 7 de dezembro de 2018 
+Pereira Passos e Marc Ferrez: engenharia e fotografia para o desenvolvimento das ferrovias, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 5 de abril de 2019
+Os 180 anos da invenção do daguerreótipo – Os álbuns da Comissão Geológica do Império com fotografias de Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 19 de agosto de 2019
+Celebrando o fotógrafo Marc Ferrez (1843 – 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 4 de dezembro de 2019
+Uma homenagem da Casa Granado ao imperial sob as lentes de Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 7 de fevereiro de 2020
+Ressaca no Rio de Janeiro invade o porão da casa do fotógrafo Marc Ferrez, em 1913, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado 6 de março de 2020
+Petrópolis, a Cidade Imperial, pelos fotógrafos Marc Ferrez e Revert Henrique Klumb, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 16 de março de 2020
+Bambus, por Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 5 de junho de 2020
+O Baile da Ilha Fiscal: registro raro realizado por Marc Ferrez e retrato de Aurélio de Figueiredo diante de sua obra, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 9 de novembro de 2020
+O Palácio de Cristal fotografado por Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 2 de fevereiro de 2021
+A Estrada de Ferro do Paraná, de Paranaguá a Curitiba, pelos fotógrafos Arthur Wischral (1894 – 1982) e Marc Ferrez (1843 – 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 22 de março de 2021
+Dia dos Pais – Julio e Luciano, os filhos do fotógrafo Marc Ferrez, e outras famílias, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 6 de agosto de 2021
+No Dia da Árvore, mangueiras fotografadas por Ferrez e Leuzinger, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 21 de setembro de 2021
+Retratos de Pauline Caroline Lefebvre, sogra do fotógrafo Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 28 de abril de 2022
+A Serra dos Órgãos: uma foto aérea e imagens realizadas pelos mestres Ferrez, Leuzinger e Klumb, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 30 de junho de 2022
+O centenário da morte do fotógrafo Marc Ferrez (1843 – 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 12 de janeiro de 2023
+O Observatório Nacional pelas lentes de Marc Ferrez, amigo de vários cientistas, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 29 de maio de 2023
+No Dia Mundial do Meio Ambiente, a potente imagem da Cachoeira de Paulo Afonso, por Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 5 de junho de 2023
+A Fonte Adriano Ramos Pinto por Guilherme Santos e Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 18 de julho de 2023
+Os 180 anos de nascimento do fotógrafo Marc Ferrez (1843 – 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 7 de dezembro de 2023
+ 
+
+Andrea C. T. Wanderley
+Editora-assistente e pesquisadora do portal Brasiliana Fotográfica
+ 
+
+Fontes:
+ARRUDA, Rogério Pereira de. Um álbum ilustrado para Minas Gerais no alvorecer da República. São Paulo : Anais do Museu Paulista. vol. 26 , 9 de agosto de 2018.
+Blog do Instituto Moreira Salles
+COLES, Peter. Einstein, Eddington and the 1919 Eclipse. In: Proceedings of International School on “The Historical Development of Modern Cosmology“, 2001.
+CRISPINO, Luiz Carlos Bassalo; LIMA, Marcelo Costa de. Expedição norte-americana e iconografia inédita de Sobral em 1919. São Paulo : Revista Brasileira de Ensino de Física, vol 40, n° 1, edição 1601, 2018
+CRISPINO, Luiz Carlos Bassalo; LIMA, Marcelo Costa de. A teoria da relatividade de Einstein apresentada para a Amazônia. São Paulo : Revista Brasileira de Ensino de Física, vol. 38, nº 4, 2016.
+ELLIS, Richard; FERREIRA, Pedro G; MASSEY, Richard; WESZKALNYS,Gisa. 90 years on – the 1919 eclipse expedition at Prince. In: Astronomy & Geophysics, Vol 50, edição 4, agosto de 2009 https://www.fisica.net/relatividade/o-eclipse-de-1919.php
+Fisicanet
+
+G1
+Hemeroteca Digital da Biblioteca Nacional
+Instituto do Ceará, 1919
+NASCIMENTO, Márcio Luis Ferreira. Rondon, a Carta de Einstein e o Prêmio Nobel da Paz. Ciência e Sociedade, CBPF, v. 4, n. 1, 2016.
+New York Times, 31 de julho de 2017 
+Observatório Nacional
+O Estado de São Paulo, 25 de maio de 2019
+OLIVEIRA, Raquel dos Santos. O eclipse de 1912 e a correspondência entre os astrônomos Morize e Perrine. Anpuh, 2010.
+Revista Galileu
+Revista Pesquisa – FAPESP, abril de 2019 – Quando a luz se curvou e À sombra dos britânicos
+RODRIGUES, Teresinha. O Observatório Nacional no eclipse solar de 1919. In: ComCiência – Revista Eletrônica de Jornalismo Científico, 6 de maio de 2019.
+Royal Society Publishing
+The Guardian, 13 de maio de 2019
+The Royal Astronomical Society of Canada
+The Royal Observatory Greenwich
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/2575` — `itens/20.500.12156.1_2575/`
+- `20.500.12156.1/4770` — `itens/20.500.12156.1_4770/`
+- `20.500.12156.1/6517` — `itens/20.500.12156.1_6517/`
+- `20.500.12156.1/6530` — `itens/20.500.12156.1_6530/`
+- `20.500.12156.1/6526` — `itens/20.500.12156.1_6526/`
+- `20.500.12156.1/6527` — `itens/20.500.12156.1_6527/`
+- `20.500.12156.1/5126` — `itens/20.500.12156.1_5126/`
+
diff --git a/wordpress/14863-joao-ferreira-villela-um-dos-primeiros-fotografos-pernambucanos.md b/wordpress/14863-joao-ferreira-villela-um-dos-primeiros-fotografos-pernambucanos.md
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+---
+id: 14863
+url: "https://brasilianafotografica.bn.gov.br/?p=14863"
+titulo: "João Ferreira Villela, um dos primeiros fotógrafos pernambucanos"
+autor: "Andrea Wanderley"
+data: "2019-07-05T11:16:04+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/6533", "20.500.12156.1/3552", "20.500.12156.1/6537", "20.500.12156.1/4007", "20.500.12156.1/491", "20.500.12156.1/4006"]
+fetched_at: "2026-09-10T09:58:39.680Z"
+---
+
+# João Ferreira Villela, um dos primeiros fotógrafos pernambucanos
+
+João Ferreira Villela, um dos primeiros fotógrafos pernambucanos* 
+ 
+Contemporâneo no Recife dos estrangeiros Augusto Stahl (1828 – 1877) e Alberto Henschel (1827 – 1882), João Ferreira Villela (18? – ?) é considerado, até hoje, um dos primeiros fotógrafos pernambucanos, tendo sido antecedido por Cincinato Mavignier (1826 – 1868), pensionista de S.M. o Imperador, que anunciou, em 9 de junho de 1854, uma Galeria de retratos a óleo e daguerreótipo, no Aterro da Boa Vista, nº 82, primeiro e segundo andares, em 1854, um ano antes de Villela (1).
+A biografia de Villela é ainda bastante desconhecida. Iniciou sua vida profissional como taquígrafo mas foi como retratista e paisagista que se notabilizou. Seu primeiro ateliê, aonde permaneceu de 1855 a 1858, ficava no Aterro da Boa Vista nº 4, mesmo endereço onde anteriormente trabalharam os fotógrafos norte-americanos Charles DeForest Fredricks (1823 – 1894), em 1851 e, em 1854, Augustin Lettarte (18? – ?) e o português Joaquim Insley Pacheco (1830 – 1912). Desse último, Villela afirmava ser o único discípulo. Sempre demonstrou interesse em ter máquinas modernas para a realização dos trabalhos de seu estabelecimento e prometia, como resultado, a perfeição.
+ 
+João Ferreira Villela. Bairro do Recife, c.1865. Recife, Pernambuco / Acervo IMS
+ 
+Em fins de 1858, transferiu-se para a rua Nova, nº 18, primeiro andar.  No ano seguinte, quando dom Pedro II(1825 – 1891) visitou Recife, Villela ofereceu a ele seis molduras douradas com imagens obtidas sobre chapas metálicas. Na ocasião, o monarca encomendou a Villela vistas de locais no interior de Pernambuco que havia conhecido durante sua viagem pelo nordeste. Em 18 de setembro de 1860, Villela tornou-se o único pernambucano a ser agraciado por dom Pedro II com o título de Fotógrafo Imperial. No fim de 1860, o casal real foi padrinho de uma de suas filhas. Na cerimônia, realizada na Igreja Paroquial de Santo Antônio, fizeram-se representar pelo Presidente da Província de Pernambuco, Ambrósio Leitão da Cunha, o Barão de Mamoré (1825 – 1898), e sua esposa.
+ 
+Acessando o link para as fotografias de João Ferreira Villela disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+João Ferreira Villela. Homem, c. 1866. Recife, Pernambuco / Acervo FBN
+ 
+Inaugurou seu novo ateliê na rua do Cabugá, nº 18, em 1861. Oferecia retratos por ambrótipos e por melainótipos sobre panos encerados próprios para remeter dentro de cartas ou sobre malacacheta ou talco especiais para alfinetes ou cassoletas, além de retratos transparentes, oferecendo o mesmo retrato em duas vistas, uma colorida e outra em preto e branco, além de retratos dos principais personagens da Europa, vistas estereoscópicas, vidros para ambrótipos e químicas fotográficas. Nesse mesmo ano, assinou alguns artigos da coluna “Palestra sobre o Theatro”, do jornal pernambucano O Constitucional: jornal político, religioso, científico e literário.
+Em 7 de abril de 1870, após 10 meses de obras, o estabelecimento de Villela na rua do Cabugá, agora denominado Photographia Imperial, foi reinaugurado. A reforma teve como modelo o ateliê do fotógrafo Insley Pacheco, na rua do Ouvidor, 102, no Rio de Janeiro, que Villela havia visitado em 1868. A partir de 1870, o pintor alemão Jorge Augusto Roth (c. 1840 – 1893), passou a colaborar no ateliê de Ferreira Villela como encarregado de colorir as cópias fotográficas. A última notícia sobre seu estabelecimento fotográfica é de 1873. Acredita-se que depois dessa data ele tenha se dedicado exclusivamente à produção de tintas de escrever indeléveis e produtos farmacêuticos.
+ 
+João Ferreira Villela. A Rua Nova, c. 1855. Recife, Pernambuco / Acervo IMS
+ 
+Ferreira Villela participou de diversas exposições, dentre elas as Exposições Provinciais de Pernambuco de 1861, 1866 e 1872; da II Exposição Nacional do Rio de Janeiro de 1866, quando recebeu com Leon Chapelin a 3ª menção honrosa; da III Exposição Nacional no Rio de Janeiro de 1873, expondo produtos farmacêuticos e tintas de escrever, tendo sido premiado com as medalhas de prata e de bronze; e da IV Exposição Nacional no Rio de Janeiro de novo com tintas de escrever, quando ganhou uma medalha de mérito. No exterior, participou da Exposição Universal de Viena de 1873 com produtos farmacêuticos, tendo sido premiado com a medalha de mérito e com uma menção honrosa; dois anos depois, da Exposição Internacional de Santiago do Chile, com tintas de escrever, tendo conquistado o segundo prêmio; e, finalmente da Exposição Universal da Filadélfia, ocorrida entre 10 de maio e 10 de novembro de 1876, também com tintas de escrever, quando conquistou a medalha de honra. Dessas duas últimas constou como expositor do Rio de Janeiro. Teria ido viver na corte?
+ 
+João  Ferreira Villela. Mausoleo à Sereníssima Princeza do Brazil e Duqueza de Saxe a Senhora D. Leopoldina de Coburgo e Gotha, c. 1871. Recife, Pernambuco / Acervo FBN
+ 
+Cronologia de João Ferreira Villela (18? – ?)
+1840 – O aluno João Ferreira Villela, do Colégio Pernambucano, foi aprovado na prova geral de primeiras letras e gramática nacional (Diário de Pernambuco, 23 de dezembro de 1840, última coluna).
+1841 – João Ferreira Villela foi aprovado na prova de História, seção de História Sagrada, do Colégio Pernambucano (Diário de Pernambuco, 18 de dezembro de 1841, segunda coluna).
+1849 – João Ferreira Villela requereu à Assembleia Provincial de Pernambuco uma gratificação para que ele pudesse concluir o curso de taquigrafia. Ele e outro aluno, Joaquim Izidoro Simões, receberam uma gratificação de  400 mil réis cada um, e o professor de arte recebeu 800 (Diário de Pernambuco, 30 de maio de 1849, primeira coluna; e Diário de Pernambuco, 23 de junho de 1849, primeira coluna).
+1850 – Fez outro requerimento à Assembleia Provincial de Pernambuco em relação a financiamento para seu curso de taquigrafia e passou a ser adido da secretaria da assembleia (Diário de Pernambuco, 25 de maio de 1850, primeira coluna, e Diário de Pernambuco, 2 de julho de 1850, primeira coluna).
+1851 – João Ferreira Villela e Joaquim Izidoro Simões solicitaram a criação de lugares de taquígrafos na Assembleia Provincial de Pernambuco (Diário de Pernambuco, 13 de março de 1851, terceira coluna).
+1852 – Foi concedida uma licença de um mês e 24 dias para João Ferreira Villela, praticante de taquigrafia, ir à Paraíba (Diário de Pernambuco, 11 de maio de 1852, quinta coluna).
+No dia 13 de novembro, a bordo do vapor brasileiro Mucury, Villela chegou ao Rio de Janeiro (O Globo, 20 de novembro de 1852, primeira coluna).
+1853 – O então taquígrafo João Ferreira Villela voltou para Pernambuco, em 12 de novembro, no vapor Guanabara e informou que não devia nada nesta praça (Diário do Rio de Janeiro, 9 de novembro de 1853, primeira coluna; e Diário do Rio de Janeiro, 13 de novembro de 1853, última coluna).
+1855 – Inicialmente, segundo Boris Kossoy, sem anunciar seu nome, João Ferreira Villela possuía um ateliê de fotografia no Aterro da Boa Vista, nº4, mesmo endereço onde anteriormente trabalharam os fotógrafos norte-americanos Charles DeForest Fredricks (1823 – 1894), em 1851 (Diário de Pernambuco, 23 de julho de 1851, última coluna), e, em 1854, Augustin Lettarte (18? – ?) (Diário de Pernambuco, 6 de fevereiro de 1854, segunda coluna) e o português Joaquim Insley Pacheco (1830 – 1912) (Diário de Pernambuco, 29 de março de 1854, na terceira coluna). O ateliê de Villela oferecia retratos de pessoas idosas, de crianças e anunciava que iria a qualquer lugar para tirar retratos de pessoas mortas. Anunciava também tirar retratos em stereoscopo, isto é de maneira a apresentar a pessoa em relevo e ao natural e incumbiam-se de tirar cópias em daguerreótipo (Diário de Pernambuco, 10 de dezembro de 1855, penúltima coluna).
+Diário de Pernambuco, 10 de dezembro de 1855
+1856 – Vendia-se no estabelecimento de Villela um grande sortimento de objetos para a colocação de retratos que lá se tiravam com a maior perfeição tanto pelo sistema francês como pelo norte-americano (Diário de Pernambuco, 3 de outubro de 1856, primeira coluna).
+Diário de Pernambuco, 3 de outubro de 1856
+ 
+1857 – Publicação de propaganda da Grande Oficina de Galeria de Daguerreótipo informando a chegada de produtos de Nova York e também informando os preços dos retratos (Diário de Pernambuco, 13 de junho de 1857, terceira coluna).
+1858 –  Recém chegado à cidade, no vapor Oyapock, o retratista J. Villela abriu seu novo estabelecimento de daguerreotipia à rua Nova, nº 18, primeiro andar. Anunciava possuir o mais completo sortimento de caixinhas, molduras pretas, douradas e jóias para a colocação dos retratos. Anunciava também que iria a qualquer parte tirar retrato de família ou de pessoa morta (Diário de Pernambuco, 15 de dezembro de 1858, segunda coluna).
+1859 –  Em uma propaganda de seu estabelecimento, Villela divulgou sua habilidade como restaurador de daguerreótipos (Diário de Pernambuco, 7 de setembro de 1859).
+Quando dom Pedro II visitou Recife, em outubro, Villela ofereceu a ele seis molduras douradas com imagens obtidas sobre chapas metálicas: do Pavilhão construído a mando da Câmara Municipal para a recepção do imperador, do porto de desembarque do imperador com quiosque, dois barracões, chafariz e cais do Colégio; da continuação da citada vista com o mastro norte do pavilhão da Câmara e mosqueiro com todas as embarcações ali fundeadas; de uma marinha, do Templo dos Ingleses, na rua da Aurora; e do fim da rua da Cruz com o princípio do arsenal de Marinha. S. Majestade, com a bondade que todos conhecem, dignou-se receber o mimo, declarar que conhecia todas as vistas e achava bom o trabalho. O monarca encomendou a Villela vistas de locais no interior de Pernambuco que havia conhecido. Ficou combinado que seriam remetidas para o Rio de Janeiro. É mais uma prova do quanto nosso adorado monarca aprecia e anima as artes assim como do valor e importância que dá ao que é nosso (Diário de Pernambuco, 26 de dezembro de 1859, quarta coluna; e Correio Mercantil (RJ), 7 de janeiro de 1860, quarta coluna).
+1860 – Sobre a foto abaixo, produzida por Villela em torno de 1860, Luis Felipe de Alencastro comentou no livro História da vida privada no Brasil Império: a corte e a modernidade nacional, publicado pela Companhia das Letras, em 1998:
+ 
+João Ferreira Villela. Augusto Gomes Leal com a Ama-de-Leite Mônica, c. 1860. Recife. Pernambuco / Acervo da Fundação Joaquim Nabuco
+ 
+‘A fotografia feita no Recife por volta de 1860. Na época era preciso esperar no mínimo um minuto e meio para se fazer uma foto. Assim, preferia-se fotografar as crianças de manhã cedo, quando elas estavam meio sonolentas, menos agitadas. O menino veio com a sua mucama, enfeitada com a roupa chique, o colar e o broche emprestado pelos pais dele. Do outro lado, além do fotógrafo Villela, podiam estar a mãe, o pai e outros parentes do menino. Talvez por sugestão do fotógrafo, talvez porque tivesse ficado cansado na expectativa da foto, o menino inclinou-se e apoiou-se na ama. Segurou-a com as duas mãozinhas. Conhecia bem o cheiro dela, sua pele, seu calor. Fora no vulto da ama, ao lado do berço ou colado a ele nas horas diurnas e noturnas da amamentação, que os seus olhos de bebê haviam se fixado e começado a enxergar o mundo. Por isso ele invadiu o espaço dela: ela era coisa sua, por amor e por direito de propriedade. O olhar do menino voa no devaneio da inocência e das coisas postas em seu devido lugar. Ela, ao contrário, não se moveu. Presa à imagem que os senhores queriam fixar, aos gestos codificados de seu estatuto. Sua mão direita, ao lado do menino, está fechada no centro da foto, na altura do ventre, de onde nascera outra criança, da idade daquela. Manteve o corpo ereto, e do lado esquerdo, onde não se fazia sentir o peso do menino, seu colo, seu pescoço, seu braço escaparam da roupa que não era dela, impuseram à composição da foto a presença incontida de seu corpo, de sua nudez, de seu ser sozinho, da sua liberdade. O mistério dessa foto feita há 130 anos chega até nós. A imagem de uma união paradoxal mas admitida. Uma união fundada no amor presente e na violência pregressa. A violência que fendeu a alma da escrava, abrindo o espaço afetivo que está sendo invadido pelo filho do senhor. Quase todo o Brasil cabe nessa foto‘.
+Em propaganda de sua oficina e galeria da rua Nova, 18, anúncio de que Ferreira Villela já havia tirado mais de cinco mil retratos em quatro anos (Diário de Pernambuco, 22 de maio de 1860, terceira coluna).
+ 
+Diário de Pernambuco, 22 de maio de 1860
+ 
+Lado a lado, propagandas dos estabelecimentos fotográficos de Villela e de Augusto Stahl (1828 – 1877) (Diário de Pernambuco, 3 de fevereiro de 1860).
+ 
+Diário de Pernambuco, 3 de fevereiro de 1860
+ 
+Embarcou no vapor Oyapock rumo aos portos do sul (Diário de Pernambuco, 6 de agosto de 1860, quarta coluna).
+Embarcou, no Rio de Janeiro, no paquete Cruzeiro do Sul, rumo a Pernambuco (Correio Mercantil(RJ), 13 de setembro de 1860, penúltima coluna). Anunciou seu retorno, a iminência da inauguração de seu novo estabelecimento fotográfico, na rua do Cabugá, nº 18, e identificou-se como único discípulo de Insley Pacheco. Oferecia retratos por ambrótipo, daguerreótipo e ambrocromótipo. Este último sistema, invenção do distinto professor Insley Pacheco, de quem o anunciante é o único discípulo (Diário de Pernambuco, 4 de outubro de 1860).
+ 
+Diário de Pernambuco, 4 de outubro de 1860
+ 
+De acordo com Guilherme Auler (6/1/1914 – 27/12/1965), sob o pseudônimo de Ricardo Martim, em dois artigos publicados na Tribuna de Petrópolis, em 1º e 8 de abril de 1956, segundo o livro O Brasil na fotografia oitocentista, de Pedro Vasquez, João Ferreira Villela, teve seu título de Fotógrafo Imperial concedido por dom Pedro II(1825 – 1891), em 18 de setembro de 1860. Foi o primeiro e único pernambucano agraciado. Antes dele, os fotógrafos Buvelot & Prat e Joaquim Insley Pacheco, ambos da província do Rio de Janeiro, haviam recebido o título em 8 de março de 1851 e em 22 de dezembro de 1855, respectivamente.
+Os padrinhos de uma de suas filhas foram dom Pedro II e dona Teresa Cristina (1822 – 1889), que se fizeram representar pelo Presidente da Província de Pernambuco, Ambrósio Leitão da Cunha (1825 – 1898) e sua esposa. Muitas autoridades estavam presentes à cerimônia, na Igreja Paroquial de Santo Antônio, e também à festa na casa de Ferreira Villela (Diário de Pernambuco, 18 de dezembro de 1860, penúltima coluna; e Diário do Rio de Janeiro, 29 de dezembro de 1860, penúltima coluna).
+1861 –  No Almanak Administrativo, Mercantil e Industrial da Província de Pernambuco de 1861 , Villela foi listado como taquígrafo e, com Augusto Stahl, como fotógrafo.
+ 
+
+ 
+ 
+ 
+Apresentou-se como Retratista da Augusta Casa Imperial em anúncio de seu estabelecimento fotográfico na rua do Cabugá, nº 18 (Diário de Pernambuco, 13 de abril de 1861).
+ 
+Diário de Pernambuco, 13 de abril de 1861
+ 
+Oferecia retratos por ambrótipos e por melainótipos sobre panos encerados próprios para remeterem-se dentro de cartas ou sobre malacacheta ou talco especiais para alfinetes ou cassoletas, além de retratos transparentes, oferecendo o mesmo retrato em duas vistas, uma colorida e outra em preto e branco (Diário de Pernambuco, 22 de junho de 1861).
+Durante 1861, assinou alguns artigos da coluna “Palestra sobre o Theatro”, do jornal pernambucano O Constitucional: jornal político, religioso, científico e literário: em 31 de julho, 7 de agosto, 14 de agosto, 21 de agosto, 4 de setembro, 18 de setembro, e 25 de setembro.
+Abaixo, uma reclamação do bilheteiro do Teatro de Santa Isabel sobre Ferreira Villela que identificou como hábil em daguerreotipar os defeitos alheios. Há também uma resposta do diretor e regente da orquestra, Francisco Libânio Colás ( 1827 – 1885) a crítica feita a ele no O Constitucional de 7 de agosto de 1861 (Diário de Pernambuco, 8 de agosto de 1861, segunda coluna).
+ 
+Diário de Pernambuco, 8 de agosto de 1861
+ 
+Villela deu um esclarecimento sobre a reclamação do bilheteiro do Teatro de Santa Isabel, o Cunha  (Diário de Pernambuco, 9 de agosto de 1861, primeira coluna).
+Em seu estabelecimento eram oferecidos retratos dos principais personagens da Europa, vistas estereoscópicas, vidros para ambrótipos e químicas fotográficas (Diário de Pernambuco, 26 de outubro de 1861, terceira coluna).
+Participou com uma coleção de retratos pelo sistema ambrótipo da Exposição Provincial de Pernambuco, inaugurada em 16 de novembro de 1861, no Palácio do Governo (Diário de Pernambuco, 18 de novembro de 1861, última coluna e Jornal do Recife, 19 de novembro de 1861). Sua esposa, Idalina Teixeira Leal Ferreira Villela, participou expondo uma caixa envidraçada contendo um grupo de frutas de cera (Jornal do Recife, 23 de novembro de 1861, primeira coluna).
+ 
+Jornal do Recife, 19 de novembro de 1861
+ 
+1862 – Villela ofereceu retratos a dom Pedro II, que haviam sido exibidos na Exposição Nacional (Boletim do Expediente do Governo: Ministério do Império, janeiro de 1862).
+Foi qualificado como juiz de fato (Diário de Pernambuco, 7 de fevereiro de 1862, terceira coluna).
+Anunciou a decoração de seu estabelecimento fotográfico com retratos dos imperadores, das princesas imperiais e de pessoas importantes do Recife. Afirmava que os preços dos retratos eram os mais razoáveis da cidade (Diário de Pernambuco, 17 de julho de 1862, última coluna).
+Nessa mesma época, atuava no Recife o retratista norte-americano Augusto W. Osborn, na rua do Imperador (Diário de Pernambuco, 5 de agosto de 1862).
+ 
+João Ferreira Villela. Ponte Santa Isabel: construção, 1862. Recife , Pernambuco / Acervo FBN
+ 
+1864 – Candidatou-se a vereador (Diário de Pernambuco, 26 de agosto de 1864, penúltima coluna).
+ 
+Diário de Pernambuco, 26 de agosto de 1864
+ 
+1866 – Participou com uma coleção de retratos da Exposição Provincial de Pernambuco e ganhou a medalha de cobre. Era na época o único fotógrafo brasileiro no Recife. Os outros eram estrangeiros (Diário de Pernambuco, 5 de dezembro de 1866, primeira coluna).
+ 
+Diário de Pernambuco, 5 de dezembro de 1866
+ 
+Participou da II Exposição Nacional do Rio de Janeiro quando recebeu com Leon Chapelin a 3ª menção honrosa (Diário do Rio de Janeiro, 1º de fevereiro de 1867, última coluna).
+Sobre eles, o pintor Victor Meirelles (1832 – 1903), que assinou em nome do júri do quarto grupo – onde se incluía a fotografia – comentou no Relatório da II Exposição Nacional do Rio de Janeiro:
+‘Os trabalhos fotográficos que esses senhores apresentaram não são absolutamente sem defeitos e, salvo algumas provas mais felizes, pecam em geral pela aparência que têm de dureza, e pouca transparência nas sombras, tendo alguns retratos os fundos pouco convenientes, e de modo que prejudicam antes o relevo das figuras, por não lhes dar maior destaque.
+O efeito do contraste bem calculado é uma das qualidades essenciais, de que nem todos sabem tirar bom partido, e que requer mesmo muito estudo’.
+Seu ateliê fotográfico continuava funcionando na rua do Cabugá, 18 (Diário de Pernambuco, 21 de dezembro de 1866).
+ 
+Diário de Pernambuco, 21 de dezembro de 1866
+ 
+1867 – Villela informou que havia comprado o material fotográfico do estabelecimento fotográfico de Eugênio & Maurício que ficava na rua Nova, 25 (Diário de Pernambuco, 1º de março de 1867).
+Na coluna “Revista Diária”, muitos elogios foram feitos ao trabalho de Villela (Diário de Pernambuco, 12 de agosto de 1867, penúltima coluna).
+Publicação de anúncios dos estabelecimentos fotográficos de Ferreira Villela e do berlinense Alberto Henschel (1827 – 1882) (Diário de Pernambuco, 25 de outubro de 1867).
+ 
+Diário de Pernambuco, 25 de outubro de 1867
+ 
+1868 – Ferreira Villela publicou um convite para a missa de sétimo dia de sua mãe (Diário de Pernambuco, 15 de fevereiro de 1868, última coluna).
+Em propaganda anunciava seus cartões de visita sem o menor retoque de lápis ou de nanquim e chamava a atenção do público para os retratos expostos no salão de cortar cabelos do sr. José Ricardo Coelho e na livraria do sr. Nogueira de Souza (Diário de Pernambuco, 27 de fevereiro de 1868, última coluna).
+Anunciou uma liquidação de vistas estereoscópicas de países da Europa e também de estereoscopos (Diário de Pernambuco, 21 de março de 1868, última coluna).
+Anunciou a venda de retratos do bispo dom Francisco Cardoso Ayres (1821 – 1870). Anunciou também a utilização sem economia de uma lavagem sobre os retratos para extrair todo o hipossulfito de soda, causa da alteração das provas (Diário de Pernambuco, 4 de junho de 1868, última coluna).
+Após uma temporada no Rio de Janeiro, para onde havia ido a fim de conhecer e examinar os melhores estabelecimentos fotográficos da corte, tendo passado um mês estudando e aproveitando as lições do fotógrafo Insley Pacheco, retornou ao Recife no dia 7 de dezembro e retomou a direção de seu ateliê (Diário de Pernambuco, 23 de dezembro de 1868, terceira coluna).
+1869 – No Almanak Administrativo, Mercantil, Industrial e Agrícola de Pernambuco de 1869 , Villela foi listado como taquígrafo e, com Alberto Henschel (1827 – 1882), como fotógrafo.
+ 
+
+ 
+Anunciou que estava sempre em dia com os melhoramentos e progressos que na América do Norte, na Europa ou no Rio de Janeiro se consegue na arte fotográfica e para alcançarmos tal fim nunca poupamos despesas nem sacrifícios de sorte que nossos numerosos fregueses podem ter a certeza de que sempre encontrarão em nosso estabelecimento tudo quanto a arte e a moda oferecer de bom no novo e velho mundo aos amantes da fotografia (Diário de Pernambuco, 22 de janeiro de 1869).
+ 
+Diário de Pernambuco, 22 de janeiro de 1869
+ 
+Após 10 meses de reforma em seu estabelecimento, anunciou o fim das obras para a primeira quinzena do mês de dezembro de 1869. A reforma teve como modelo o ateliê fotográfico de Insley Pacheco, na rua do Ouvidor, 102, no Rio de Janeiro, que Villela visitou em 1868. Em 16 de dezembro, informou um novo prazo para a conclusão das obras: 7 de janeiro de 1870 (Diário de Pernambuco, 24 de novembro de 1869, terceira coluna; Diário de Pernambuco, 16 de dezembro de 1869, terceira coluna; e O Liberal, 2 de setembro de 1870, última coluna).
+ 
+Diário de Pernambuco, 24 de novembro de 1869
+ 
+1870 – Em 7 de abril, após uma grande reforma, abertura da Photographia Imperial e Galeria de Pintura de João Ferreira Villela, no mesmo endereço, rua do Cabugá, 18 (Diário de Pernambuco, 7 de abril de 1870, terceira coluna; Diário de Pernambuco, 23 de junho de 1870, terceira coluna; e O Liberal, 2 de setembro de 1870, última coluna).
+ 
+O Liberal, 2 de setembro de 1870
+ 
+A partir desse ano, o pintor alemão Jorge Augusto Roth (18? – ?), no Brasil desde 1868, quando desembarcou do vapor francês Extremadure (Diário de Pernambuco, 13 de junho de 1868, penúltima coluna) passou a colaborar no ateliê de Ferreira Villela, como encarregado de colorir as cópias fotográficas (Diário de Pernambuco, 3 de junho de 1870, segunda coluna; Diário de Pernambuco, 22 de agosto de 1870).
+Na livraria francesa dos srs. Lalhacar & C., na rua do Crespo, exposição de quatro retratos produzidos no estabelecimento de Ferreira Villela (Diário de Pernambuco, 27 de julho, quarta coluna).
+A Photographia Imperial anunciava os Retratos Timbre-posts, excelentes para circulares, convites, ou simplesmente para cartas a amigos (Diário de Pernambuco, 14 de novembro de 1871, terceira coluna).
+A Photographia Imperial anunciava retratos de grupos de cinco a 100 pessoas (Diário de Pernambuco, 25 de novembro de 1871, última coluna).
+1872 – A Photographia Imperial anunciava a grande novidade dos cartões de visita e afirmava ser o único estabelecimento que possuía as máquinas e os aparelhos precisos para preparar esses cartões (Diário de Pernambuco, 16 de fevereiro de 1872, segunda coluna).
+Villela participou da Exposição Provincial de Pernambuco, inaugurada em 20 de outubro (Diário de Pernambuco, 21 de outubro de 1872, primeira coluna), com um quadro a óleo (fotopintura?), dois quadros com fotografias no formato carte de visite e 3 quadros de retratos a óleo (fotopinturas?). O fotógrafo alemão Alberto Henschel (1827 – 1882) também participou com 2 quadros de fotografias. Ambos ganharam medalhas de prata. Villela expôs também uma variada coleção de produtos químicos de seu fabrico que revelam uma capacidade artística congênita e de uma força de vontade digna de toda animação (Diário de Pernambuco, 20 de fevereiro de 1873, segunda coluna; e Diário de Pernambuco, 21 de fevereiro de 1873, última coluna).
+Como relator da Comissão da Sociedade dos Artistas Mecânicos e Liberais de Pernambuco, fez o discurso na sessão fúnebre que o Club Popular do Recife celebrou em homenagem à memória de Antônio Rangel de Torres Bandeira (Diário de Pernambuco, 27 de dezembro de 1872, primeira coluna).
+1873 – Ele e o fotógrafo Leon Chapelin eram integrantes avulsos da loja Capitular União e Beneficência da maçonaria de Pernambuco (Diário de Pernambuco, 9 de janeiro de 1873, segunda coluna).
+Participou da III Exposição Nacional no Rio de Janeiro com produtos farmacêuticos e tintas de escrever, tendo sido premiado com as medalhas de prata e de bronze.
+Participou da Exposição Universal de Viena com produtos farmacêuticos, tendo sido premiado com a medalha de mérito e com uma menção honrosa.
+A Photographia Imperial anunciou ter cartões de visitas coloridos ao natural (Diário de Pernambuco, 18 de junho de 1873, última coluna).
+A Photographia Imperial anunciou possuir retratos do papa Pio IX (1792 – 1878), de outros religiosos e da infeliz Maria da Conceição, assassinada pelo desembargador Pontes Visgueiro (Diário de Pernambuco, 12 de novembro de 1873, primeira coluna).
+1874 – Estava na lista de devedores de um imposto de 4% cobrados a alguns estabelecimentos comerciais (Diário de Pernambuco, 7 de abril de 1874, quarta coluna).
+Em 8 de abril de 1874, foi veiculado uma propaganda do estabelecimento de Lopes & C, na rua do Barão da Vitória, 14, denominado Photographia Imperial, mesmo nome do estabelecimento de Villela. Note-se que a última propaganda da Photographia Imperial de Villela foi veiculada em novembro de 1873 (Diário de Pernambuco, 8 de abril de 1874 e Diário de Pernambuco, 9 de abril, segunda coluna).
+Participou de uma reunião do Instituto Arqueológico e Geográfico e na ocasião ofertou à entidade duas fotografias: da fortaleza do Brum e do porto de Pernambuco (Diário de Pernambuco, 21 de agosto de 1874, segunda coluna; e Jornal do Recife, 21 de agosto de 1874, penúltima coluna).
+Chegou ao Rio de Janeiro a bordo do paquete a vapor Pará (O Globo, 2 de setembro de 1874, última coluna).
+1875 - Participou da IV Exposição Nacional no Rio de Janeiro com tintas de escrever e ganhou uma medalha de mérito (O Globo, 4 de fevereiro de 1876, segunda coluna; e Diário de Pernambuco, 14 de fevereiro de 1876, terceira coluna).
+Participou da Exposição Internacional de Santiago do Chile, ocorrida entre 16 de setembro de 1875 e 16 de janeiro de 1876, com tintas de escrever, tendo conquistado o segundo prêmio (O Globo, 4 de maio de 1876, primeira coluna). Na listagem dos premiados, apareceu como expositor do Rio de Janeiro. Teria se mudado para a corte?
+1876 – Participou da Exposição Universal da Filadélfia, ocorrida entre 10 de maio e 10 de novembro de 1876, com tintas de escrever, e conquistou a medalha de honra (O Novo Mundo, setembro de 1876, quarta coluna; e O Novo Mundo, janeiro de 1877, quarta coluna). Da mesma forma como na listagem dos premiados na Exposição Internacional de Santiago do Chile, apareceu como expositor do Rio de Janeiro. Teria ido viver na corte?
+ 
+Palácio da Presidência da Província, c. 1870. Recife, Pernambuco / Acervo FBN
+ 
+(1) Em 1845, há o registro da atuação de um daguerreotipista no Recife, que se anunciava como Mr. Roberto, provavelmente estrangeiro (Diário de Pernambuco, 20 de setembro de 1845, terceira coluna). Os outros, de quem se têm notícia até  hoje e que também atuaram na cidade na década de 1840, eram com certeza estrangeiros: os norte-americanos Joseph Evans (? -18?) e Charles DeForest Fredricks (1823 – 1894). Na década de 1850, quando Villela começou a trabalhar como fotógrafo, foi o segundo pernambucano na profissão. O primeiro foi Cincinato Mevignier que, em junho de 1854, identificava-se-se como retratista e pensionista de S.M. o Imperador e possuía uma Galeria de retratos a óleo e daguerreótipo, no Aterro da Boa Vista, nº 82, primeiro e segundo andares. Anunciava ter encomendado da Europa uma máquina extraordinária daguerreótipo…será sem dúvida maior que tem de se apresentar-se nessa capital e mesmo em todas as outras províncias do império…Também, na mesma propaganda, afirmou ser pernambucano o que o torna o primeiro daguerreotipista nascido no referido estado conhecido até os dias de hoje: “Pernambucanos! a nossa província tão bela e tendo em si os melhores golpes de vista pra os astistas que sabem apreciar a natureza…” (Diário de Pernambuco, 9 de junho de 1854, segunda coluna). O primeiro registro de Villela como daguerreotipista é de 1855.
+ 
+*Esse artigo foi atualizado em 25 de julho de 2019.
+ 
+Andrea C. T. Wanderley
+Editora-assistente e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+ALENCASTRO, Luis Felipe de. História da vida privada no Brasil Império: a corte e a modernidade nacional. São Paulo: Companhia das Letras, 1998.
+Enciclopédia Itaú Cultural
+FERREZ, Gilberto. Velhas fotografias pernambucanas: 1851-1890. Rio de Janeiro: Campo Visual, 1988.
+Hemeroteca Digital da Biblioteca Nacional
+KOSSOY, Boris. Dicionário histórico-fotográfico brasileiro: fotógrafos e ofício da fotografia no Brasil (1833-1910). São Paulo: Instituto Moreira Salles, 2002.
+KOSSOY, Boris. Origens e expansão da fotografia no Brasil : século XIX. Prefácio Boris Kossoy. Rio de Janeiro: Funarte, 1980.
+TURAZZI, Maria Inez. Poses e trejeitos: A fotografia e as exposições na era do espetáculo (1839 – 1889). Rio de Janeiro: Funarte/Rocco, 1995.
+VASQUEZ, Pedro Karp. Dom Pedro II e a fotografia no Brasil. Rio de Janeiro: Fundação Roberto Marinho: Companhia Internacional de Seguros: Ed. Index, 1985.
+VASQUEZ, Pedro Karp. Mestres da fotografia no Brasil: Coleção Gilberto Ferrez. Tradução Bill Gallagher. Rio de Janeiro: Centro Cultural Banco do Brasil, 1995.
+VASQUEZ, Pedro Karp. O Brasil na fotografia oitocentista. São Paulo: Metalivros, 2003.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/6533` — `itens/20.500.12156.1_6533/`
+- `20.500.12156.1/3552` — `itens/20.500.12156.1_3552/`
+- `20.500.12156.1/6537` — `itens/20.500.12156.1_6537/`
+- `20.500.12156.1/4007` — `itens/20.500.12156.1_4007/`
+- `20.500.12156.1/491` — `itens/20.500.12156.1_491/`
+- `20.500.12156.1/4006` — `itens/20.500.12156.1_4006/`
+
diff --git a/wordpress/1499-marco-no-fotojornalimo-brasileiro-a-seca-no-ceara-e-documentada-com-fotografias.md b/wordpress/1499-marco-no-fotojornalimo-brasileiro-a-seca-no-ceara-e-documentada-com-fotografias.md
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@@ -0,0 +1,92 @@
+---
+id: 1499
+url: "https://brasilianafotografica.bn.gov.br/?p=1499"
+titulo: "Marco no fotojornalimo brasileiro: a seca no Ceará é documentada com fotografias"
+autor: "Andrea Wanderley"
+data: "2015-07-12T16:30:44+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/496"]
+fetched_at: "2026-09-10T09:58:43.181Z"
+---
+
+# Marco no fotojornalimo brasileiro: a seca no Ceará é documentada com fotografias
+
+J.A. Correia. Secca de 1877-78, 1877-1878. Ceará / Acervo FBN
+Segundo o trabalho “Imagens da Seca de 1877-78 – Uma contribuição para o conhecimento do fotojornalismo na imprensa brasileira”, dos pesquisadores Joaquim Marçal Ferreira de Andrade e Rosângela Logatto, a publicação de fotos de vítimas da maior seca nordestina do século XIX foi uma das iniciativas pioneiras da imprensa brasileira na utilização de fotografias como documentos comprobatórios de um fato (Anais da Biblioteca Nacional, vol 114, de 1994, p.71-83).
+Para denunciar a tragédia, o chargista português Rafael Bordalo Pinheiro (1846 – 1905) publicou, em 20 de julho de 1878, em uma ilustração da revista O Besouro, duas fotos que fazem parte de um conjunto de 14 registros fotográficos de vítimas da seca ocorrida entre 1877 e 1878. Porém, não foi dado crédito para o autor das fotos, Joaquim Antônio Correia, cujo ateliê ficava em Fortaleza, no Ceará.
+Link para O Besouro de 20 de julho de 1878, ano I, n.16
+Esse conjunto de fotografias pertence, atualmente, ao acervo da Biblioteca Nacional.  São imagens chocantes, em formato de cartes de visite, e retratam crianças, homens e mulheres desnutridos e maltrapilhos, de aparência doentia, e, muitas vezes, as fotos, feitas em estúdio, trazem textos rimados que se referem à miséria.
+Acessando o link para as fotografias de Joaquim Antônio Correia sobre a seca nordestina de 1877/1878 disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+A publicação da ilustração litográfica das duas fotos sendo seguradas por um esqueleto vestindo paletó, sob o título “Páginas tristes – Scenas e aspectos do Ceará (para S. Majestade, o Sr. Governo e os Senhores Fornecedores verem)”, tinha o objetivo de reforçar denúncias feitas pelo escritor e jornalista José do Patrocínio (1853 – 1905) em artigos publicados no periódico de texto Gazeta de Notícias. Patrocínio fazia, na época, a cobertura jornalística da seca com o principal objetivo de acompanhar a aplicação dos recursos governamentais em seu combate. Partiu em 10 de maio de 1878 e retornou ao Rio de Janeiro, em 12 de agosto do mesmo ano. As matérias foram publicadas, na coluna Folhetim, na primeira página da Gazeta de Notícias, sob o título “Viagem ao Norte” (1).
+Mas só o texto não era suficiente. Então, Patrocínio enviou as fotos para a redação da revista O Besouro, para a qual já havia mandado, antes da viagem, o artigo “Sermão de Lágrimas” (O Besouro, edição de 4 de maio de 1878 ), em que tratava, com preocupação, a seca e a situação dos retirantes.
+A publicação da ilustração com as fotos de Joaquim Antônio Correia, na revista O Besouro, foi um verdadeiro “anticartão de visita, veemente panfleto que denuncia uma realidade que muitos membros da corte se negavam a enxergar”(“Imagens da Seca de 1877-78 – Uma contribuição para o conhecimento do fotojornalismo na imprensa brasileira”).
+Abaixo, está reproduzido o texto publicado no O Besouro, na página seguinte à ilustração com as fotografias:
+“O Ceará
+O nosso amigo José do Patrocínio, em viagem por aquela provincia, enviou-nos as duas photographias por que foram feitos os desenhos da nossa primeira página.
+São dois verdadeiros quadros de fome e miséria. E´ n´aquelle estado que os retirantes chegam á capital, aonde quasi sempre morrem, apezar dos apregoados soccorros, que segundo informações exactas são distribuídos de maneira improficua.
+A nossa estampa da primeira pagina é uma prova cabal áquelles que accusavam de exageração, a pintura que se fazia do estado da infeliz província.
+Repare o governo e repare o povo, na nossa estampa, que é a cópia fiel da desgraça da população cearense.
+Continuaremos a reproduzir o que o nosso distincto collega nos enviar a tal respeito.”
+Uma curiosidade: também dessa viagem ao norte do país originou-se o romance de José do Patrocinio, Os Retirantes, publicado na Gazeta de Notícias, em estilo de folhetim, entre 29 de junho e 10 de dezembro de 1879.
+ 
+(1) – Links para os artigos escritos por José do Patrocínio sob o título “Viagem ao Norte”.
+Coluna Folhetim, “Viagem ao Norte”, Gazeta de Notícias, edição de 1º de junho de 1878.
+Coluna Folhetim, “Viagem ao Norte”, Gazeta de Notícias, edição de 6 de junho de 1878.
+Coluna Folhetim, “Viagem ao Norte”, Gazeta de Notícias, edição de 20 de julho de 1878.
+Coluna Folhetim, “Viagem ao Norte”, Gazeta de Notícias, edição de 23 de julho de 1878.
+Coluna Folhetim, “Viagem ao Norte”, Gazeta de Notícias, edição de 3 de agosto de 1878.
+Coluna Folhetim, “Viagem ao Norte”, Gazeta de Notícias, edição de 15 de agosto de 1878.
+Coluna Folhetim, “Viagem ao Norte”, Gazeta de Notícias, edição de 22 de agosto de 1878.
+Coluna Folhetim, “Viagem ao Norte”, Gazeta de Notícias, edição de 30 de agosto de 1878.
+Coluna Folhetim, “Viagem ao Norte”, Gazeta de Notícias, edição de 7 de setembro de 1878.
+Coluna Folhetim, “Viagem ao Norte”, Gazeta de Notícias, edição de 12 de setembro de 1878.
+ 
+Breve cronologia de Joaquim Antônio Correia (18? – ?)
+ 
+
+ 
+1874 – Até este ano, o nome de Joaquim Antônio Correia apareceia no cadastro de contribuintes como dono de uma casa comercial especializada em produtos manufaturados fora da província,que ficava na rua da Palma , nº 17.
+1877 - Estabeleceu como fotógrafo na rua Formosa, n° 31. Atuou como retratista por não menos de dez anos e foi contemporâneo de Agio Pio, do prussiano Carlos Frederico Johann Reeckell, do dinamarquês Niels Olsen (1843 – 1911) associado ao austríaco Constantino Barza, do francês Baubrier e de Francisco Brandão, dentre outros.
+ 
+O Cearense, 28 de janeiro de 1877
+ 
+ 
+1878 – Defendeu-se da acusação de comercializar indevidamente retratos que produzia de moças de família e ameaçou pendurar de cabeça para baixo os retratos de seus devedores (O Cearense, 12 de maio de 1878).
+Em maio, conheceu o escritor José do Patrocínio (1853 – 1905), que havia ido para o Ceará para conhecer mais de perto a tragédia da seca. Voltando para o Rio de Janeiro, publicou duas fotos da seca no Ceará de autoria de Correia, na revista O Besouro, de 20 de julho de 1878, do chargista português Rafael Bordallo Pinheiro (1846 – 1905). Foi uma das iniciativas pioneiras da imprensa brasileira na utilização de fotografias como documentos comprobatórios de um fato. Foi um marco na história do fotojornalismo brasileiro.
+A publicação da ilustração litográfica das duas fotos sendo seguradas por um esqueleto vestindo paletó, sob o título “Páginas tristes – Scenas e aspectos do Ceará (para S. Majestade, o Sr. Governo e os Senhores Fornecedores verem)”, tinha o objetivo de reforçar denúncias feitas por do Patrocínio em artigos publicados no periódico de texto Gazeta de Notícias. Patrocínio fazia, na época, a cobertura jornalística da seca com o principal objetivo de acompanhar a aplicação dos recursos governamentais em seu combate. Partiu em 10 de maio de 1878 e retornou ao Rio de Janeiro, em 12 de agosto do mesmo ano. As matérias foram publicadas, na coluna Folhetim, na primeira página da Gazeta de Notícias, sob o título “Viagem ao Norte”. Mas só o texto não era suficiente. Então, Patrocínio enviou as fotos para a redação da revista O Besouro, para a qual já havia mandado, antes da viagem, o artigo “Sermão de Lágrimas” (O Besouro, edição de 4 de maio de 1878 ), em que tratava, com preocupação, a seca e a situação dos retirantes.
+1881 – Seu estúdio fotográfico dispunha de um grande sortimento de quadros de gosto…máquinas de 4 objetivas…e tudo por preço tão diminuto que admira.
+ 
+O Cearense, 15 de março de 1881
+ 
+1883 / 1884 – Antes da assinatura da Lei Áurea, em 13 de maio de 1888, Fortaleza, em 24 de maio de 1883, tornou-se a primeira capital brasileira a libertar todos os escravizados. No ano seguinte, em 25 de março de 1884, o Ceará passou a ser o primeiro estado brasileiro a extinguir a escravidão. Correia documentou os líderes da luta escravagista em fotos chamadas de Retratos Libertadores e, em 1883, as comercializava.
+ 
+O Libertador,  9 de maio de 1883 / História da fotografia no Ceará do século XIX
+ 
+1885 – Correia anunciou que havia adquirido, em Paris, uma nova máquina para retratos instantâneos (O Cearense, de 28 de julho de 1885, última coluna).
+1886 – Anunciava que em seu estabelecimento fotográfico tirava-se retratos pelos processos mais aperfeiçoados (O Libertador, 8 de junho de 1886, última coluna).
+1892 – Provavelmente continuou trabalhando como fotógrafo até este ano.
+Em 29 de dezembro, inaugurou a primeira fábrica de louças do Ceará, no Boulevard da Conceição (A República, 28 de dezembro de 1892, quarta coluna).
+1893 – Anunciou a venda de seu estúdio fotográfico:
+“Joaquim Antonio Correia vende a sua fotografia constando de boas lentes, drogas, punsas, etc. A tratar: Rua Formosa, nº 31″ (A República, 30 de maio de 1893). Residia na rua Floriano Peixoto, nº 95.
+ 
+Fontes:
+ANDRADE, Joaquim Marçal Ferreira de; LOGATTO, Rosângela. Imagens da Seca de 1877-78 – Uma contribuição para o conhecimento do fotojornalismo na imprensa brasileira.  Anais da Biblioteca Nacional, vol 114, de 1994, p. 71-83.
+BEZERRA, Ari Leite. História da fotografia no Ceará do século XIX. Edição do autor, 2019.
+Fundação Palmares
+Hemeroteca Digital da Biblioteca Nacional
+KOSSOY, Boris. Dicionário histórico-fotográfico brasileiro: fotógrafos e ofício da fotografia no Brasil (1833-1910). São Paulo: Instituto Moreira Salles, 2002. 408 p., il. p&b.
+Link para o artigo 500 mil mortos: a tragédia esquecida que dizimou brasileiros durante 3 anos no século 19, de Camilla Veras Mota, Camila Costa e Cecilia Tombesi publicada no site da BBC, em 18 de junho de 2021, com as fotografias de Joaquim Antonio Corrêa.*
+ 
+Andrea C. T. Wanderley
+Editora-assistente e pesquisadora do portal Brasiliana Fotográfica
+ 
+*Esse link foi acrescentado no artigo em 19 de junho de 2021.
+**Essa breve cronologia foi inserida em 19 de abril de 2022.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/496` — `itens/20.500.12156.1_496/`
+
diff --git a/wordpress/15070-a-floresta-da-tijuca-no-dia-mundial-do-meio-ambiente.md b/wordpress/15070-a-floresta-da-tijuca-no-dia-mundial-do-meio-ambiente.md
new file mode 100644
index 0000000..fa7ed2a
--- /dev/null
+++ b/wordpress/15070-a-floresta-da-tijuca-no-dia-mundial-do-meio-ambiente.md
@@ -0,0 +1,74 @@
+---
+id: 15070
+url: "https://brasilianafotografica.bn.gov.br/?p=15070"
+titulo: "A Floresta da Tijuca no Dia Mundial do Meio Ambiente"
+autor: "Andrea Wanderley"
+data: "2019-06-05T00:07:50+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/623", "20.500.12156.1/6414", "20.500.12156.1/6430", "20.500.12156.1/4762", "20.500.12156.1/2022", "20.500.12156.1/6401"]
+fetched_at: "2026-09-10T09:58:46.387Z"
+---
+
+# A Floresta da Tijuca no Dia Mundial do Meio Ambiente
+
+No Dia Mundial do Meio Ambiente, a Brasiliana Fotográfica destaca imagens da Floresta da Tijuca, no Rio de Janeiro, a maior floresta urbana replantada pelo homem, com uma extensão de 3.953 hectares. Sua beleza e exuberância não passaram despercebidas por diversos fotógrafos dos séculos XIX e XX. O portal disponibiliza registros produzidos por Augusto Malta (1864 – 1957), Georges Leuzinger (1813 – 1892), Marc Ferrez (1843 – 1923) e Revert Henrique Klumb (c. 1826 – c. 1886).
+ 
+Revert Henrique Klumb. Cascata da Cruz, Floresta da Tijuca, entre 1863 e 1864. Rio de Janeiro, RJ / Acervo FBN
+ 
+Para a produção de carvão, extração de madeira e plantação de café, a floresta foi quase totalmente destruída, o que ocasionou problemas nas fontes que abasteciam a cidade com água. O desmatamento, somado ao aumento da população, ao clima seco em alguns anos e à falta de infraestrutura no Rio, acabou, por vezes, deixando a capital imperial sem abastecimento de água, o que gerou o surgimento de um mercado paralelo de venda de água e também a disseminação de doenças. Em 1861, durante o reinado de dom Pedro II (1825 – 1891) o major Manuel Gomes Archer (1821 – 1907) foi nomeado administrador da Floresta da Tijuca, cargo que exerceu até 1874 (Boletim do Expediente do Governo, novembro de 1861). Foi iniciado, então, o primeiro grande projeto de reflorestamento no mundo com o replantio de mais de 100 mil árvores. Posteriormente, sob a administração do barão Gastão d´Escragnolle (1821 – 1888), entre 1874 e 1888, além da continuação do replantio, foi realizado um trabalho de embelezamento com a colaboração do célebre paisagista e botânico francês Auguste Glaziou (1828 – 1906), que tornou a floresta um parque para uso público com fontes, lagos, mirante, pontes e jardins de estilo francês (Gazeta de Notícias, 19 de junho de 1888, sexta coluna).
+ 
+Marc Ferrez. Cascata, Foresta da Tijuca, c. 1875. Rio de Janeiro, RJ / Acervo IMS
+ 
+Acessando o link para as fotografias da Floresta da Tijuca disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Marc Ferrez. Cascatinha da Tijuca, c. 1885. Rio de Janeiro, RJ / Acervo IMS
+ 
+Depois de um longo período de abandono, em 1944, sob a coordenação do industrial Raymundo de Castro Maia (1894 – 1968), convidado pelo então prefeito Henrique Dodworth (1895 – 1975), e com a cooperação do paisagista Roberto Burle Marx (1909 – 1994), foram reiniciadas a recuperação e a manutenção da vegetação da floresta. Alguns dos atrativos da Floresta da Tijuca são o Pico da Tijuca – seu ponto mais alto -, o Pico do Papagaio e a Cascatinha Taunay. Fica dentro do Parque Nacional da Tijuca, criado em 1961, o mais visitado do Brasil.
+ 
+Augusto Malta. Vista Chinesa, 1906. Rio de Janeiro, RJ / Acervo IMS
+ 
+Os responsáveis pelo replantio, entre 1861 e 1874, da Floresta da Tijuca foram os escravizados  Eleutério, Constantino, Manoel, Mateus, Leopoldo, Maria, Sabino, Macário, Clemente, Antônio e Francisco. Em 25 de março de 2025, foram inscritos no Livro dos Heróis e Heroínas do Estado do Rio de Janeiro, a partir da aprovação pela Assembleia Legislativa do Estado do Rio do Projeto de Lei 605/23, uma iniciativa da deputada Dani Monteiro (1991-), filiada ao Partido Socialismo e Liberdade (PSOL)*.
+ 
+O Dia Mundial do Meio Ambiente
+Em dezembro de 1972, a Assembleia Geral da ONU designou o dia 5 de junho como Dia Mundial do Meio Ambiente, que foi  comemorado pela primeira vez em 1973, com o mote “Uma Só Terra”. A data foi escolhida em razão da primeira Conferência das Nações Unidas sobre o Meio Ambiente, realizada em Estocolmo, na Suécia, entre 5 e 16 de junho de 1972. Seu secretário-geral foi o canadense Maurice Strong (1929 – 2015). Considerada a iniciativa mais importante tomada até então no campo da conservação do meio ambiente e da luta contra a poluição, reuniu 1.200 delegados de 114 países e cerca de três mil observadores. Entre os acordos mais importantes selados durante a reunião estão a condenação das experiências nucleares, a proibição da pesca da baleia por dez anos e a redução da produção de materiais sintéticos aumentando paralelamente a manufatura de substitutivos degradáveis não poluentes (Site World Environment Day).
+ 
+Georges Leuzinger. Floresta da Tijuca. Rio de Janeiro, RJ / Acervo IMS
+ 
+Na próxima imagem, vemos o fotógrafo Marc Ferrez em um momento de lazer com sua esposa, a francesa Marie Lefebvre (c. 1849 – 1914), e os dois filhos do casal, Julio Marc (1881 – 1946) e Luciano José André (1884 – 1955), passeando na Floresta da Tijuca.
+ 
+Marc Ferrez. Marc Ferrez e sua família na floresta da Tijuca, c. 1889. Rio de Janeiro, RJ / Acervo IMS
+ 
+ *Este parágrafo foi acrescentado em 31 de março de 2025.
+ 
+Andrea C. T. Wanderley
+Editora-assistente e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+Agenda de Efemérides da TV Globo
+Hemeroteca Digital da Biblioteca Nacional
+HEYNNEMAN, Claudia. Floresta da Tijuca: natureza e civilização. Rio de Janeiro : Biblioteca Carioca, 1995.
+MAIA, Raymundo de Castro. A Floresta da Tijuca. Rio de Janeiro: Edições Bloch, 1967
+MENEZES, Pedro de Castro da Cunha e. Parque Nacional da Tijuca – uma floresta na metrópole. Rio de Janeiro: Andrea Jakobsson Estúdio, 2010.
+MENEZES, Pedro de Castro da Cunha e; CORRÊA, Marcos Sá; AZOURY, Ricardo. Parque Nacional Da Tijuca : 140 Anos da Reconstrução de uma floresta. Rio de Janeiro: Ouro Sobre Azul, 2001.
+Site do Instituto Chico Mendes
+Site do Iphan
+Site do Parque Nacional da Tijuca 
+Site Rio de Janeiro aqui
+ 
+Artigos publicados na Brasiliana Fotográfica no Dia Mundial do Meio Ambiente
+ 
+Bambus, por Marc Ferrez, publicado em 5 de junho de 2020
+No Dia Mundial do Meio Ambiente, velas abertas na Baía da Guanabara, publicado em 5 de junho de 2022
+No Dia Mundial do Meio Ambiente, a potente imagem da Cachoeira de Paulo Afonso, por Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 5 de junho de 2023
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/623` — `itens/20.500.12156.1_623/`
+- `20.500.12156.1/6414` — `itens/20.500.12156.1_6414/`
+- `20.500.12156.1/6430` — `itens/20.500.12156.1_6430/`
+- `20.500.12156.1/4762` — `itens/20.500.12156.1_4762/`
+- `20.500.12156.1/2022` — `itens/20.500.12156.1_2022/`
+- `20.500.12156.1/6401` — `itens/20.500.12156.1_6401/`
+
diff --git a/wordpress/15090-a-descoberta-da-doenca-de-chagas.md b/wordpress/15090-a-descoberta-da-doenca-de-chagas.md
new file mode 100644
index 0000000..fe95ff3
--- /dev/null
+++ b/wordpress/15090-a-descoberta-da-doenca-de-chagas.md
@@ -0,0 +1,249 @@
+---
+id: 15090
+url: "https://brasilianafotografica.bn.gov.br/?p=15090"
+titulo: "A descoberta da doença de Chagas"
+autor: "Andrea Wanderley"
+data: "2019-06-14T09:53:49+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/6545", "20.500.12156.1/6549", "20.500.12156.1/6547", "20.500.12156.1/6544", "20.500.12156.1/6548", "20.500.12156.1/6099", "20.500.12156.1/6097", "20.500.12156.1/5740", "20.500.12156.1/6218", "20.500.12156.1/5096", "20.500.12156.1/6551", "20.500.12156.1/5126", "20.500.12156.1/6258", "20.500.12156.1/6552", "20.500.12156.1/6553"]
+fetched_at: "2026-09-10T09:58:50.104Z"
+---
+
+# A descoberta da doença de Chagas
+
+No último mês de maio, a Organização Mundial da Saúde instituiu o dia 14 de abril como Dia Internacional da Doença de Chagas. É a história de sua descoberta pelo médico e jovem pesquisador do Instituto Oswaldo Cruz, Carlos Chagas, contada por Simone Petraglia Kropf, historiadora e pesquisadora da Casa de Oswaldo Cruz/Fiocruz, uma das instituições parceiras da Brasiliana Fotográfica, que o portal publica hoje. Segundo Simone: Carlos Chagas expressou de modo exemplar um projeto de ciência e de nação cujos princípios balizam até hoje a Fundação Oswaldo Cruz: a aliança entre excelência acadêmica e compromisso social.
+ 
+A descoberta da doença de Chagas 
+Simone Petraglia Kropf *
+ 
+Residência de Carlos Chagas em Lassance, 1908-1919. Lassance, Minas Gerais / Acervo Casa de Oswaldo Cruz
+ 
+Em abril de 1909, os jornais da recém-reformada capital federal anunciavam com orgulho um “grande feito” da ciência brasileira: a descrição, por um mesmo pesquisador, de uma nova doença tropical, do parasito que a causava e do inseto que a transmitia. Na jovem república brasileira, a descoberta foi celebrada como emblema das contribuições inovadoras que o país era capaz de proporcionar à chamada “época de ouro” da medicina tropical européia, marcada por estudos que vinham mudando substancialmente a compreensão das doenças parasitárias transmitidas por vetores.
+O autor da “tripla descoberta” era um médico e jovem pesquisador do Instituto Oswaldo Cruz (IOC), criado em 1900 como Instituto Soroterápico Federal para produzir soros e vacinas contra uma epidemia de peste bubônica que ameaçava atingir a cidade do Rio de Janeiro. Sob a liderança de Oswaldo Cruz (que havia se notabilizado por comandar as campanhas de saneamento da capital federal no governo de Rodrigues Alves), o também chamado Instituto de Manguinhos vinha ampliando suas atividades de modo a se tornar um centro de excelência na pesquisa e no ensino em microbiologia e medicina tropical.
+Acessando o link para as fotografias relativas a Carlos Chagas e à doença de Chagas disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+Carlos Chagas, formado pela Faculdade de Medicina do Rio de Janeiro em 1903, era um especialista em malária, tema de sua tese de doutoramento (para a conclusão do curso médico) que desenvolveu sob a orientação de Oswaldo Cruz em Manguinhos. O caminho que o levou à descoberta da doença que leva seu nome está diretamente ligado à sua trajetória como pesquisador no campo da medicina tropical. Em junho de 1907, ele foi designado por Oswaldo Cruz, diretor da saúde pública federal, para combater uma epidemia de malária que paralisava as obras de prolongamento da Estrada de Ferro Central do Brasil em Minas Gerais, na região do rio das Velhas, entre Corinto e Pirapora. Aquela era uma obra emblemática do projeto de modernização republicana. Enquanto coordenava a campanha de profilaxia na pequena cidade de Lassance, onde se construía uma estação da ferrovia, Chagas costumava coletar espécies da fauna brasileira, motivado por seu crescente interesse pela entomologia e pela protozoologia. Por intermédio do chefe da comissão de engenheiros, Cornélio Homem Cantarino Mota, tomou conhecimento de um percevejo hematófago muito comum na região, conhecido vulgarmente como barbeiro pelo hábito de picar o rosto de suas vítimas enquanto dormiam. Esses triatomíneos eram abundantes nas casas de pau-a-pique da região típicas da população pobre das áreas rurais.
+ 
+Hospital regional de Lassance, 1908-1920. Lassance, Minas Gerais / Acervo Casa de Oswaldo Cruz
+ 
+Sabendo da importância dos insetos sugadores de sangue como transmissores de doenças parasitárias, Chagas examinou alguns barbeiros e encontrou neles um protozoário. Por não dispor em Lassance de condições experimentais para avançar neste estudo, enviou alguns insetos a Oswaldo Cruz, em Manguinhos. Depois de experiências com saguis criados em laboratório, Chagas concluiu que se tratava de uma nova espécie de tripanossoma, que batizou então de Trypanosoma cruzi, em homenagem ao mestre. As doenças causadas por tripanossomas (como a tripanossomíase africana ou doença do sono) eram temas de grande interesse na medicina tropical européia, impulsionada pelo empreendimento colonialista.
+De volta a Lassance, Chagas realizou exames de sangue nos moradores e, no dia 14 de abril de 1909, encontrou o Trypanosoma cruzi no sangue de uma criança febril, chamada Berenice. Em nota enviada ao Brasil Médico, uma das principais revistas médicas do país, anunciou a descoberta, que seria também comunicada mediante publicações em revistas estrangeiras. A imprensa daria destaque ao episódio e o próprio Oswaldo Cruz apresentaria a descoberta na Academia Nacional de Medicina.
+ 
+Pessoas infectadas com a doença de Chagas com destaque para a cafua, habitação típica com paredes de barro e cobertura de capim ou palha. Lassance, Minas Gerais / Casa de Oswaldo Cruz
+ 
+Os estudos sobre a nova doença ganharam centralidade na pauta de pesquisa do Instituto Oswaldo Cruz e mobilizaram vários cientistas, sob a condução de Chagas, que passou a assumir posições importantes na instituição, da qual viria a tornar-se diretor em 1917 por ocasião do falecimento de Oswaldo Cruz. Chagas se tornaria igualmente reconhecido pela comunidade científica internacional, recebendo inúmeros prêmios e sendo indicado ao Nobel de medicina em 1913 e 1921.
+Além de sua importância para a agenda científica, a doença de Chagas tornou-se, desde o início, um tema de destaque nos debates políticos sobre os problemas e rumos da nação brasileira. Carlos Chagas afirmava que aquela era uma descoberta que descortinava não apenas uma nova enfermidade e um novo problema de saúde pública, mas um Brasil até então desconhecido e abandonado: o Brasil dos sertões. Segundo ele, o tão propalado “atraso” do país era consequência não do clima tropical ou da composição racial de sua população, como muitos defendiam, mas das doenças endêmicas que assolavam as populações rurais. Nesse sentido, a “nova doença” se fazia um emblema da capacidade da ciência de, ao identificar e estudar tais problemas, indicar os caminhos concretos para superá-los e promover o tão ansiado ingresso do país no “rol das nações civilizadas”.
+Chagas se tornou uma liderança do movimento em prol do saneamento rural do Brasil, que, a partir de meados da década de 1910, reuniria médicos, cientistas, intelectuais e políticos em torno da reivindicação de que o Estado ampliasse sua capacidade de implementar políticas e serviços de saúde pública, tendo em vista sobretudo atender as populações das áreas rurais. Tal bandeira seria empunhada por Chagas tanto como diretor do Departamento Nacional de Saúde Pública quanto em sua atuação com professor da cadeira de medicina tropical, no âmbito da qual defendia com veemência a importância do estudo e do enfrentamento das endemias ruais, que chamava de as “doenças do Brasil”.
+ 
+Aula no Pavilhão de Doenças Tropicais da Faculdade de Medicina da Universidade do Rio de Janeiro, 1930. Rio de Janeiro, RJ / Acervo Casa de Oswaldo Cruz
+ 
+Como cientista, gestor e professor, Carlos Chagas expressou de modo exemplar um projeto de ciência e de nação cujos princípios balizam até hoje a Fundação Oswaldo Cruz: a aliança entre excelência acadêmica e compromisso social.
+Em maio de 2019, a Organização Mundial da Saúde instituiu o dia 14 de abril como Dia Internacional da Doença de Chagas. Ao dar visibilidade e chamar a atenção para a importância das chamadas doenças negligenciadas (e, sobretudo, das pessoas por elas afetadas), esta é uma homenagem que nos leva a refletir sobre a atualização do legado deste cientista, expresso na própria Constituição Federal de 1988: “saúde como direito de todos e dever do Estado”. Ao celebrarmos os 110 anos da descoberta da doença de Chagas, a defesa veemente da ciência, da saúde pública, da educação e da democracia é o que deve nos unir em nome da memória e das lutas dos que construíram esta história.
+ 
+Para saber mais:
+ 
+BENCHIMOL, Jaime L. Manguinhos do sonho à vida: a ciência na Belle Époque. Rio de Janeiro: Casa de Oswaldo Cruz, 1990.
+KROPF, Simone P. Carlos Chagas e as doenças do Brasil. In: HOCHMAN, Gilberto; LIMA, Nísia Trindade. Médicos intérpretes do Brasil. São Paulo: Hucitec, 2015, p. 194-222.
+KROPF, Simone P. Doença de Chagas, doença do Brasil: ciência, saúde e nação (1909-1962). Rio de Janeiro: Editora Fiocruz, 2009.
+KROPF, Simone P.; LACERDA, Aline. Carlos Chagas, um cientista do Brasil. Rio de Janeiro: Editora Fiocruz, 2009 (edição bilíngue).
+KROPF, Simone P. SÁ, Magali R. The discovery of Trypanosoma cruzi and Chagas disease (1908-1909): tropical medicine in Brazil. História, Ciências, Saúde-Manguinhos, v.16, suplemento, p.13 -34, 2009.
+KROPF, Simone P. Carlos Chagas e os debates e controvérsias sobre a doença do Brasil (1909-1923). História, Ciências, Saúde-Manguinhos, v.16, suplemento 1, p.205-227, 2009.
+ 
+*Simone Petraglia Kropf é historiadora e pesquisadora da Casa de Oswaldo Cruz e professora do Programa de Pós-graduação em História das Ciências e da Saúde da COC.
+ 
+Breve cronologia de Carlos Chagas (1878 – 1934)
+Andrea C. T. Wanderley
+ 
+J. Pinto. Carlos Chagas em seu laboratório no Instituto Oswaldo Cruz. Manguinhos, Rio de Janeiro / Acervo Casa de Oswaldo Cruz
+ 
+1878 - Nascimento de Carlos Justiniano Ribeiro Chagas, em 9 de julho, na Fazenda do Bom Retiro, a cerca de 20 quilômetros de Oliveira, cidade mineira. Era filho de José Justiniano Chagas e Mariana Candida Ribeiro de Castro.
+ 
+José Justiniano Chagas e Mariana Cândida Ribeiro de Castro Chagas, pais de Carlos Chagas, avós de Evandro Chagas. Rio de Janeiro, RJ / Acervo Casa de Oswaldo Cruz
+ 
+1883 - Ficou órfão de pai.
+1887 – Foi matriculado no Colégio São Luís, um dos mais importantes estabelecimentos de ensino do Brasil no século XIX, dirigido por jesuítas em Itu, interior de São Paulo.
+1888 – Em maio, informado que escravos recém-libertados estariam depredando fazendas, Carlos Chagas fugiu do colégio e foi ao encontro de sua mãe. A indisciplina causou sua expulsão do São Luís. Foi então transferido para o Ginásio São Francisco, em São João del-Rei, Minas Gerais.
+1895 / 1897 - Sua mãe decidiu que ele deveria estudar Engenharia e Chagas ingressou no curso preparatório da Escola de Minas de Ouro Preto. Foi reprovado e voltou para Oliveira. Com a ajuda de seu tio médico, o tio Calito, conseguiu convencer sua mãe, e mudou-se para o Rio de Janeiro para estudar Medicina.
+1897 – Em 13 de abril, ingressou na Faculdade de Medicina do Rio de Janeiro. Dois professores foram muito importantes durante sua formação acadêmica: Miguel Couto (1865-1934), de quem se tornou amigo pessoal; e Francisco Fajardo (1864-1906), pioneiro da microbiologia no Brasil, em cujo laboratório, na Santa Casa de Misericórdia, Chagas iniciou-se nas pesquisas sobre a malária.
+1901 – Íris Lobo (1882 – 1950), futura esposa de Carlos Chagas, foi uma das portadoras de listas para arrecadação de fundos para a celebração de uma missa – iniciativa dos alunos da Faculdade de Medicina do Rio de Janeiro –  em memória das vítimas de um episódio de violência policial na cidade durante manifestação popular contra o aumento de preço de passagens de bondes (Jornal do Brasil, 20 de junho de 1901, quinta coluna; e Jornal do Brasil, 21 de junho de 1901, primeira coluna).
+Chagas foi um dos estudantes de Medicina que se envolveu na campanha de obtenção de recursos para a construção de uma estátua em homenagem ao recém-falecido médico baiano Francisco de Castro (1857 – 1901) (O Paiz, 22 de outubro, quarta coluna).
+1902 – Para elaborar sua tese de doutoramento, indispensável para a conclusão do curso médico, passou a frequentar a Instituto Soroterápico Federal – também conhecido como Instituto de Manguinhos -, sob a orientação de seu diretor, o médico Oswaldo Cruz (1872 – 1917).
+Como presidente do Grêmio dos Internos dos Hospitais do Rio de Janeiro fez a apresentação da primeira revista da associação (Brazil-Medico, 1º de agosto de 1902 e O Paiz, 12 de setembro de 1902, penúltima coluna).
+Com frases entusiásticas, Carlos Chagas fez uma apologia aos méritos do professor e médico alemão Rudolf Virchow (1821 -1902), recém-falecido, durante uma sessão solene promovida pelo Grêmio dos Internos dos Hospitais do Rio de Janeiro, na biblioteca do Hospital de Misericórdia (Brazil-Medico, 1º de setembro de 1902).
+Era um dos doutorandos de 1902 da Faculdade de Medicina do Rio de Janeiro. Uma curiosidade: havia apenas uma mulher entre os doutorandos, Evarista de Sá Peixoto (O Malho, 10 de janeiro de 1903).
+ 
+O Malho, 10 de janeiro de 1903
+ 
+1903 - Defendeu, em 12 de maio, a tese Estudos hematológicos no impaludismo. Foi aprovado e, dois dias depois, colou grau de doutor em Medicina na Faculdade do Rio de Janeiro.
+Oswaldo Cruz o convidou para trabalhar em Manguinhos, mas por sentir-se atraído pela prática da clínica médica, Chagas recusou o convite.
+1904 - Em crítica publicada sobre a tese Estudos hematológicos no impaludismo, considerada brilhante, Chagas foi referido como um cientista a que o futuro não negará as glórias a que vem fazendo direito (Brazil-Medico, 1º de janeiro de 1904).
+Em março, foi nomeado médico da Diretoria Geral de Saúde Pública e foi trabalhar no Hospital de Jurujuba, em Niterói (RJ), onde pacientes com suspeita de peste bubônica que chegavam em navios eram colocados em quarentena e sob cuidados médicos (Almanak Laemmert, 1905).
+Trabalhava no Instituto Soroterápico Federal com Antônio Cardoso Fontes (1879 – 1943), Ezequiel Dias (1880 – 1922), Henrique de Figueiredo Vasconcellos (1873 – 1948) e Henrique da Rocha Lima (1879 – 1956) (Almanak Laemmert, 1905).
+Seu nome constava na lista de médicos do Hospital São Sebastião, dirigido por Carlos Pinto Seidl e localizado na Praia do Retiro Saudoso, nº 27, Ponta do Caju (Almanak Lammert de 1905).
+Instalação de seu consultório particular na rua da Assembléia, no centro do Rio de Janeiro.
+Casou-se com Íris Lobo (1882 – 1950 ), filha do senador mineiro e presidente do Banco de Crédito Real de Minas, Fernando Lobo Leite Pereira (1851-1918), que conheceu por intermédio de seu antigo professor e amigo Miguel Couto que, assim como seu grande amigo, o médico Luiz Almada Horta, foi seu padrinho de casamento (O Pharol, 23 de julho de 1904, quarta coluna).
+ 
+Iris Lobo Chagas com os filhos Evandro Chagas e Carlos Chagas Filho, 1914 / Acervo Casa de Oswaldo Cruz
+ 
+1905 - Em 10 de agosto, nascimento do primeiro filho de Chagas e Íris, o futuro cientista e médico Evandro Chagas (1905 – 1940). Na edição de 7 de outubro da revista O Malho, foi publicado o poema Mãe que Violeta Carneiro de Melo dedicou a Íris.
+A Companhia Docas de Santos solicitou a Oswaldo Cruz, diretor geral de Saúde Pública, providências para combater uma epidemia de malária entre os trabalhadores que construíam uma hidrelétrica em Itatinga, São Paulo. Carlos Chagas foi comissionado para coordenar a campanha.
+1906 - Viajou para Juiz de Fora, em Minas Gerais, com o médico Alcides Godoy (1880 – 1950) e com outros para executar os testes finais da vacina da manqueira.
+1907 - Ele e o sanitarista e médico baiano Arthur Neiva (1880 – 1943) foram enviados por Oswaldo Cruz a Xerém, na Baixada Fluminense, para combater uma epidemia de malária (O Paiz, 14 de maio de 1907, terceira coluna; O Paiz, 1º de julho de 1908).
+O primeiro busto oficial de Pasteur, há bem pouco chegado ao Brasil, é hoje propriedade do dr. Carlos Chagas, ilustrado e esperançoso bacteriologista da diretoria de saúde, por delicada e significativa oferta eminente e operosíssimo dr Sampaio Correia, atual inspetor geral de Obras Públicas…gratidão que traduz pelos inestimáveis serviços prestados por Carlos Chagas (O Paiz, 17 de junho de 1907. segunda coluna).
+Carlos Chagas estava presente à inauguração do Instituto Soroterápico de Belo Horizonte, filial de Manguinhos, sob a direção de Ezequiel Dias (1880 – 1922), seu colega de turma na Faculdade de Medicina (1880 – 1922) (O Paiz, 4 de agosto de 1907, segunda coluna).
+1907/1908 – Em 6 de junho de 1907, Chagas partiu para o norte de Minas Gerais, em uma terceira campanha contra a malária com o médico Belisário Penna (1868-1939), também da Diretoria Geral de Saúde Pública, para combater uma epidemia de malária que paralisava as obras de prolongamento da Estrada de Ferro Central do Brasil em Minas Gerais, na região do rio das Velhas, entre Corinto e Pirapora (O Paiz, 7 de junho de 1907, quinta coluna).
+ 
+Carlos Chagas e Belisário Penna em Lassance, 1908. Lassance, Minas Gerais / Acervo Casa de Oswaldo Cruz
+ 
+Aquela era uma obra emblemática do projeto de modernização republicana. Chagas costumava coletar espécies da fauna brasileira e, pelo chefe da comissão de engenheiros, Cornélio Homem Cantarino Mota, tomou conhecimento de um percevejo hematófago muito comum na região, conhecido como barbeiro pelo hábito de picar o rosto de suas vítimas enquanto dormiam. Esses percevejos eram muito comuns nas casas de pau-a-pique da região – habitações típicas da população pobre das áreas rurais. Chagas examinou alguns barbeiros e encontrou neles um protozoário. Por não dispor em Lassance de condições experimentais para avançar neste estudo, enviou alguns insetos a Oswaldo Cruz, em Manguinhos. Depois de experiências com saguis criados em laboratório, Chagas concluiu que se tratava de uma nova espécie de tripanossoma, que batizou então de Trypanosoma cruzi, em homenagem ao mestre.
+ 
+Carlos Chagas atendendo a menina Rita. Ao fundo, vagão que servia de alojamento e laboratório na Estrada de Ferro Central do Brasil, 1908. Lassance, Minas Gerais / Acervo Casa de Oswaldo Cruz
+ 
+1908 - Nomeação de Carlos Chagas como pesquisador assistente do Instituto Oswaldo Cruz, em 20 de março. Eram também assistentes Alcides Godoy  (1880 – 1950), Antônio Cardoso Fontes (1879 – 1943), Arthur Neiva (1880 – 1943), Ezequiel Dias (1880 – 1922) e Henrique Aragão (1879 – 1956). Os chefes de serviço eram Henrique de Figueiredo Vasconcellos (1873 – 1948) e Henrique da Rocha Lima (1879 – 1956) (Almanak Laemmert, 1909).
+Em 17 de dezembro, redigiu a nota-prévia anunciando a descoberta do Trypanosoma cruzi, publicada na revista alemã Archiv für Schiffs-und Tropen-Hygiene, em 1909.
+1909 – De volta a Lassance, Chagas realizou exames de sangue nos moradores e, no dia 14 de abril de 1909, encontrou o Trypanosoma cruzi no sangue de uma criança febril, chamada Berenice. Anunciou a descoberta em nota publicada em uma das principais revistas médicas do Brasil, o Brazil-Medico, de 22 de abril de 1909 (O Paiz, 22 de maio de 1909, segunda coluna).
+ 
+Biblioteca Virtual Carlos Chagas
+ 
+Em 22 de abril, Oswaldo Cruz anunciou formalmente à Academia Nacional de Medicina a descoberta por Carlos Chagas da doença de Chagas. Estavam presentes à sessão, concorridísima, o marechal Hermes da Fonseca (1855 – 1923), futuro presidente do Brasil; e os generais Luiz Mendes de Morais (1850 – 1914) e Antônio Geraldo de Souza Aguiar (? – 1915) (O Paiz, 23 de abril de 1908, quarta coluna; e O Paiz, 3 de maio de 1909).
+Na Revista Syniatica, publicação de um artigo de Carlos Chagas sobre sua descoberta do Trypanosoma cruzi (O Paiz, 26 de maio de 1909, última coluna).
+Tornou-se membro da Sociedade de Medicina da Bahia e da Sociedade de Medicina e Cirurgia do Rio de Janeiro.
+1910 - Em 1º de junho, foi nomeado chefe de serviço do Instituto Oswaldo Cruz.
+Em 12 de setembro, nascimento do segundo filho de Chagas e Íris, o futuro médico, cientista e membro da Academia Brasileira de Letras, Carlos Chagas Filho (1910 – 2000).
+Foi nomeado membro titular da Academia Brasileira de Medicina (ABM), em 26 de outubro, quando fez uma conferência sobre o Trypanosoma cruzi. Como não havia vagas na época, sua admissão foi aceita em caráter de excepcionalidade (O Paiz, 27 de outubro de 1910, terceira coluna; e O Paiz, 31 de outubro de 1910, quarta coluna). É o patrono da cadeira nº 86 e foi saudado por Miguel da Silva Perreira (1897 – 1918), na ocasião, presidente da ABM.
+ 
+Biblioteca Virtual Carlos Chagas
+ 
+1911 – A Doença de Chagas despertou grande interesse durante a Exposição Internacional de Higiene e Demografia, em Dresden, na Alemanha. O filme Chagas em Lassance, de 9 minutos, foi exibido por Oswaldo Cruz durante o evento. O pavilhão do Brasil, único país das Américas a construir um estande próprio no evento, foi inaugurado em 15 de junho (O Paiz, 16 de junho de 1911, quinta coluna). Segundo o historiador Eduardo Thielen, que escreveu a dissertação Imagens da saúde no Brasil – A fotografia na institucionalização da saúde pública, o fotógrafo Joaquim Pinto da Silva, conhecido como J. Pinto (1884 – 1951) teria sido possivelmente o autor do primeiro filme científico feito no Brasil, justamente Chagas em Lassance (Agência Fiocruz, 15 de agosto de 2008). J. Pinto produziu um expressivo número de fotografias do acervo da Fundação Oswaldo Cruz : milhares de imagens, documentando os trabalhos científicos, os primeiros prédios e as transformações urbanas da região onde seria construído o centro de pesquisa, ensino e produção de medicamentos.
+Na Academia Brasileira de Medicina, realização de uma palestra de Chagas sobre a doença de Chagas (O Século, 5 de agosto de 1911, segunda coluna; e O Malho, 12 de agosto de 1911).
+ 
+O Malho, 12 de agosto de 1911
+ 
+Na mesma edição de O Malho em que foi publicada a foto acima, a revista fez uma sátira aos políticos usando a descoberta de Chagas (O Malho, 12 de agosto de 1911).
+ 
+O Malho, 12 de agosto de 1911
+ 
+Publicação de um retrato do cientista Carlos Chagas (1878 – 1934), produzido na Photographia Guimarães, do fotógrafo português José Ferreira Guimarães (1841 – 1924) (A Noite, 8 de agosto de 1911).
+1912 – Recebeu o Prêmio Schaudinn, pelo Instituto de Doenças Marítimas e Tropicais de Hamburgo, na Alemanha (O Século, 29 de junho de 1912, quarta coluna).
+1912 / 1913 -  Carlos Chagas, Pacheco Leão (1872 – 1931) e João Pedro de Albuquerque (1874 – 1934) realizaram uma expedição para avaliar as condições sanitárias e de vida dos principais centros de produção da borracha através dos rios Solimões, Juruá, Purus, Acre, Iaco, Negro e o baixo rio Branco, em expedição requisitada pela Superintendência da Defesa da Borracha. Em relatório ao Ministério da Agricultura, Indústria e Comércio, foi ressaltada a situação de abandono médico e social em que viviam as populações amazônicas e enfatizada a necessidade de medidas sanitárias para a viabilização do desenvolvimento econômico da região (O Paiz, 5 de maio de 1913, última coluna).
+ 
+ Expedição do Instituto Oswaldo Cruz ao Amazonas e Acre: Carlos Chagas e Pacheco Leão na Amazônia, 1913. São Gabriel da Cachoeira, Rio Negro,  Amazonas / Acervo Casa de Oswaldo Cruz
+ 
+1913 - Carlos Chagas foi, pela primeira vez, indicado ao Nobel de Medicina. O vencedor foi o francês Charles Robert Richet (1850 – 1935), que descreveu a anafilaxia. A indicação foi feita pelo médico baiano Manuel Augusto Pirajá da Silva (1873 – 1961), professor de parasitologia na Faculdade de Medicina da Universidade da Bahia e responsável por ter identificado, em 1908, o verme adulto do Schistosoma mansoni.
+No Palácio Monroe, durante a Exposição Nacional da Borracha, Carlos Chagas fez uma conferência sobre as condições médico-sanitárias na Amazônia (O Paiz, 13 de outubro de 1913 e O Paiz, 25 de outubro de 1913).
+O governador de Minas Gerais, Júlio Bueno Brandão (1858 – 1931), e sua comitiva visitaram o Hospital de Lassance para conhecer os estudos do mal de Chagas e foram recebido por Carlos Chagas e seus auxiliares (O Paiz, 10 de novembro de 1913, segunda coluna).
+1915 – Publicação no periódico La Prensa Médica Argentina de um trabalho do microbiologista austríaco e diretor do Instituto Bacteriológico de Buenos Aires, Rudolf Kraus (1868-1932), de Carlos F. Maggio e de Francisco Rosenbusch (1887 – 1969) questionando os enunciados de Chagas sobre a correlação entre o bócio e a doença de Chagas.
+1916 – Carlos Chagas participou do  Primeiro Congresso Médico Argentino, realizado em Buenos Aires, inaugurado em 17 de  setembro e encerrado em 24 de setembro (A Época, 11 de setembro de 1916, terceira coluna; A Época, 18 de setembro de 1916, quinta coluna; e O Paiz, 25 de setembro de 1916, segunda coluna). Poucos dias antes da abertura do congresso, esteve no Instituto Bacteriológico de Buenos Aires, onde foi recebido por Rudolf Kraus (O Paiz, 13 de setembro de 1916, última coluna). Esteve presente também à inauguração da Sociedade de Higiene, Microbiologia e Patologia, no Instituto Bacteriológico de Buenos Aires (O Paiz, 20 de setembro de 1916, última coluna). Na Universidade de Medicina de Buenos Aires, Chagas fez uma conferência sobre a doença de Chagas (O Paiz, 21 de setembro de 1916, quarta coluna).
+Tornou-se membro da Sociedade Brasileira de Ciências, posteriormente denominada Academia Brasileira de Ciências.
+1917 - Com o falecimento de Oswaldo Cruz (O Paiz, 13 de fevereiro de 1917), Chagas foi nomeado diretor de Manguinhos, em 14 de fevereiro (O Paiz, 15 de fevereiro de 1917, quinta coluna). No campo da pesquisa, sua administração privilegiou a investigação das causas e dos aspectos epidemiológicos e clínicos das endemias rurais. Foi responsável também pela criação de seções científicas, definidas por áreas de conhecimento, com as quais pretendia estabelecer uma divisão de trabalho mais nítida no Instituto. Na área de ensino, ampliou o programa dos Cursos de Aplicação do Instituto. Quanto à área de produção, Chagas diversificou a pauta de medicamentos e produtos biológicos fabricados em Manguinhos – alguns desenvolvidos pelos próprios pesquisadores – e estimulou a sua comercialização, fortalecendo a renda da instituição. A partir de 1920, o Instituto assumiu também a responsabilidade pelo controle da qualidade dos produtos utilizados na medicina humana no país, nacionais ou importados.
+1918 – Em Manguinhos, organizou o Serviço de Medicamentos Oficiais, criado por decreto federal com o objetivo de produzir e fornecer, gratuitamente ou a preços subsidiados, a quinina (profilático e terapêutico para a malária) e outros medicamentos.
+Inaugurou, em outubro, o Hospital Oswaldo Cruz, nas dependências do Instituto Oswaldo Cruz,  destinado à internação de portadores de doenças infecciosas e também à pesquisa clínica sobre tais enfermidades (A Noite, 15 de agosto de 1918, quarta coluna; Jornal do Brasil, 9 de outubro de 1918, última coluna; e Gazeta de Notícias, 28 de março de 1919). Em 1942, passaria a ser chamado de Hospital Evandro Chagas (Diário de Notícias, 13 de novembro de 1942, quinta coluna).
+Foi o responsável pela coordenação dos serviços de atendimento hospitalar e de socorro domiciliar durante a epidemia de gripe espanhola no Rio de Janeiro. Ele e o médico Fernando de Magalhães (1878 – 1944) recusaram qualquer tipo de remuneração pelo trabalho realizado (O Paiz, 20 de outubro de 1918, quinta coluna, O Paiz, 22 de outubro de 1918, última coluna; O Paiz, 23 de outubro; O Paiz, 15 de novembro de 1918, primeira coluna; O Paiz, 17 de novembro de 1918, terceira coluna).
+1919 – Em 4 de outubro, tomou posse, tendo sido nomeado pelo presidente Epitácio Pessoa (1865 – 1942), na Diretoria Geral de Saúde Pública, que passou a chamar-se, em janeiro do ano seguinte, Departamento Nacional de Saúde Pública. Durante sua gestão, até 1926, o novo órgão foi responsável, mediante convênio com os estados, pela ampliação e criação de serviços de saúde no interior do país, com especial foco na profilaxia e no combate às endemias rurais. Implementou também medidas relativas à higiene pública criando um extenso Código Sanitário, responsável pela organização e modernização da legislação sanitária no Brasil (O Paiz, 5 de outubro de 1919, primeira coluna).
+Alguns médicos brasileiros questionaram a definição clínica da doença de Chagas e, sobretudo, a importância social da tripanossomíase americana.
+Carlos Chagas tornou-se membro da Sociedade Americana de Medicina Tropical.
+1920 - Tornou-se Membro do Conselho Médico da Liga das Sociedades da Cruz Vermelha e Cavaleiro da Ordem da Coroa da Itália.
+Carlos Chagas e seus assistentes receberam os reis da Bélgica, Alberto I (1875 – 1934) e Elizabeth (1876 – 1965), e o presidente Epitácio Pessoa (1865 – 1942), no Instituto Oswaldo Cruz (O Paiz, 26 de setembro de 1920).
+ 
+Carlos Chagas recepciona a rainha Elizabeth da Bélgica, 1920. Manguinhos, Rio de Janeiro / Acervo Casa de Oswaldo Cruz
+ 
+1921 - Na Biblioteca Nacional, Chagas proferiu a conferência sobre A nova orientação dos serviços sanitários no Brasil (Jornal do Commercio, 5 de fevereiro de 1921, sexta coluna).
+Em 23 de junho, tornou-se o primeiro brasileiro nomeado Doutor Honoris Causa, da Universidade de Harvard, nos Estados Unidos.
+Nesse ano não houve vencedor na categoria Medicina do Prêmio Nobel. Chagas havia sido indicado à láurea por Hilário de Gouvêia (1843-1923), professor de oftalmologia e otorrinolaringologia na Faculdade de Medicina da Universidade do Brasil, atual Universidade Federal do Rio de Janeiro.
+1922 – Tornou-se Doutor Honoris Causa da Universidade Nacional de Buenos Aires.
+Teve início, na Academia Nacional de Medicina uma acirrada polêmica em torno da definição clínica da doença de Chagas e, sobretudo, da importância social da tripanossomíase americana Os críticos de Chagas, liderados por Julio Afrânio Peixoto (1876-1947), catedrático de higiene da Faculdade de Medicina da Universidade do Rio de Janeiro, afirmavam que a doença não seria um flagelo nacional já que, segundo eles, sua ocorrência era restrita à região de Lassance. Também questionaram a patogenicidade do Trypanosoma cruzi e a autoria de sua descoberta, que, segundo alguns, caberia não a Chagas mas a Oswaldo Cruz (O Paiz, 21 de dezembro de 1922, primeira coluna).
+1923 – Tornou-se presidente da Sociedade Brasileira de Higiene, fundada no ano anterior (O Jornal, 29 de setembro de 1921, quinta coluna; O Jornal, 22 de dezembro de 1922, quarta coluna; e O Jornal, 11 de janeiro de 1923, segunda coluna).
+Na Europa participou da sessão de abertura dos trabalhos do Comitê de Saúde das Nações Unidas, do qual era membro. Na ocasião, foi convidado para integrar a equipe encarregada pela elaboração das bases da Organização Permanente de Higiene Internacional.  Posteriormente, participou como chefe da comissão brasileira na Conferência Comemorativa sobre o Centenário de Louis Pasteur, realizado em Paris e em Estrasburgo. Ganhou o Prêmio Hors-Concours (O Jornal, 31 de maio de 1923, segunda coluna; e Correio da Manhã, 21 de agosto de 1923).
+Foi agraciado com os títulos de Comendador da Coroa da Bélgica e de Cavaleiro da Ordem Nacional da Legião de Honra da França.
+Promoveu a criação do Instituto Franco-Brasileiro de Alta Cultura e a fundação da Sociedade de Biologia do Rio de Janeiro, filiada à Sociedade de Biologia de Paris.
+Carlos Chagas solicitou ao Ministério da Justiça a renovação da Patente da vacina da manqueira por mais 15 anos. Foi o segundo produto que obteve no Brasil a renovação da Patente, fato só ocorrido anteriormente pela Fornicída Matarazzo.
+Com discursos dos médicos Clementino Fraga (1880 – 1971) e Parreiras Horta (1884 – 1961), realização de uma sessão em torno da Moléstia de Chagas (O Paiz, 23 de novembro de 1923, quarta coluna). O parecer oficial da Academia Nacional de Medicina em relação à polêmica envolvendo a Doença de Chagas reiterou os méritos de Carlos Chagas porém não se posicionou quanto à questão da definição clínica e da extensão geográfica da enfermidade. Em 6 de dezembro, Chagas proferiu uma conferência na Academia, quando defendeu suas convicções e rebateu o falso nacionalismo que pretendia encobrir o mal e impedir seu estudo. Foi ovacionado (O Paiz, 1º de dezembro de 1923, quinta coluna; O Jornal, 7 de dezembro de 1923; O Paiz, 7 de dezembro de 1923, sexta coluna).
+ 
+Revista da Semana, 15 de dezembro de 1923
+ 
+Pelo Decreto nº 16.300 de 31 de dezembro de 1923 e por iniciativa de Carlos Chagas, foi criada a Escola de Enfermagem Anna Nery, desdobramento do Serviço de Enfermagem Sanitária, que ele havia criado com o apoio da Fundação Rockefeller. Assim foi introduzido o ensino profissionalizante de enfermagem no Brasil.
+1924 - Participou do 2º Congresso Brasileiro de Higiene, em Belo Horizonte (O Jornal, 27 de novembro de 1924, quinta coluna).
+Tornou-se membro da Societas ad Artes Medicas in India Orientali Neerlandica e membro correspondente da Academia Médica de Roma.
+1925 – Tornou-se membro correspondente da Real Academia Nacional de Medicina da Espanha e também Comendador da Ordem Civil de Alfonso XII, rei de Espanha.
+Recebeu o Prêmio Kümmel, conferido pela Faculdade de Medicina da Universidade de Hamburgo.
+Foi nomeado professor da Faculdade de Medicina do Rio de Janeiro, para a então criada cátedra de Medicina Tropical, estabelecendo as bases para o estudo desta área no Brasil (O Jornal, 26 de abril de 1925, última coluna).
+Recebeu o cientista alemão Albert Einstein (1879 – 1955) durante sua visita ao Rio de Janeiro (O Paiz, 9 de maio de 1925, primeira coluna).
+ 
+J. Pinto. Visita de Albert Einstein ao Instituto Oswaldo Cruz, 8 de maio de 1925. Manguinhos, Rio de Janeiro / Acervo Casa de Oswaldo Cruz
+ 
+Sua contribuição para os estudos e a profilaxia da malária foi reconhecida no I Congresso Internacional de Paludismo, realizado em Roma (Jornal do Brasil, 9 de setembro de 1925, quarta coluna). Passou alguns dias em Paris onde foi homenageado pelo diretor do Instituto Pasteur, Albert Calmette (1863 – 1933), e pelo embaixador do Brasil, Luiz Martins de Souza Dantas (1876 – 1954) (Jornal do Brasil, 3 de novembro, sexta coluna).
+1926 - Organizou o Curso Especial de Higiene e Saúde Pública, ministrado por pesquisadores do Instituto Oswaldo Cruz como especialização na Faculdade de Medicina do Rio de Janeiro (Jornal do Commercio, 3 de maio de 1926, quarta coluna).
+Proferiu a aula inaugural da cadeira de Medicina Tropical na Faculdade de Medicina da Universidade do Rio de Janeiro, em 14 de setembro, na qual destacou a importância do estudo das doenças tropicais na formação médica, tendo em vista o enfrentamento dos problemas da saúde pública brasileira, sobretudo as endemias rurais.
+Recebeu o título de Doutor Honoris Causa da Universidade de Paris (O Paiz, 7 de novembro, quarta coluna).
+Deixou a direção do Departamento Nacional de Saúde Pública, em novembro, quando terminou o mandato do presidente Arthur Bernardes (1875-1955). Seu sucessor no cargo foi Clementino Fraga (1880-1971) (O Paiz, 20 de novembro de 1926, segunda coluna).
+Foi agraciado com o título de Comendador da Ordem de Isabel, a Católica, Espanha
+Tornou-se membro da Academia Imperial Alemã de Pesquisas Naturais de Halle e membro honorário da Academia de Medicina de Nova York.
+1928 – Em 30 de maio, foi eleito membro titular da Sociedade Real de Medicina Tropical e Higiene de Londres.
+Abaixo, na cabeceira da esquerda, Carlos Chagas presidindo uma ssessão da Sociedade de Biologia do Rio de Janeiro.
+ 
+Sessão da Sociedade de Biologia do Rio de Janeiro, na biblioteca do Instituto Oswaldo Cruz, 1929. Rio de Janeiro, RJ / Acervo Casa de Oswaldo Cruz
+ 
+A mesma foto, com mais identificações / Na direção de Manguinhos, por Aline Lopes de Lacerda e Simone Kropf, pág 20
+ 
+1929 – Tornou-se Doutor Honoris Causa da Faculdade de Medicina de Lima e Cavaleiro da Ordem da Coroa da Romênia.
+Presidiu a IV Conferência Pan-americana de Higiene, Microbiologia e Patologia, realizada no Rio de Janeiro entre 30 de junho e 30 de julho.
+Chagas recepcionou em Manguinhos um grupo de cirurgiões norte-americanos.
+ 
+Carlos Chagas em recepção a grupo de cirurgiões americanos em Manguinhos, 1929. Manguinhos, Rio de Janeiro / Acervo Casa de Oswaldo Cruz
+ 
+ 
+1930 - Tornou-se membro da Sociedade de Biologia de Buenos Aires
+1931 – Tornou-se membro correspondente da Academia de Medicina de Paris.
+1934 – Tornou-se Doutor Honoris Causa da Universidade Livre de Bruxelas.
+Inauguração do Centro Internacional de Leprologia, com sede no Instituto de Manguinhos, idealizado e dirigido por ele (Correio da Manhã, 4 de fevereiro de 1934 e O Jornal, 14 de junho de 1934, terceira coluna).
+Carlos Chagas faleceu em 8 de novembro, no Rio de Janeiro, de infarto (Jornal do Brasil, 9 de novembro de 1934). Na direção de Manguinhos, foi sucedido por Antonio Cardoso Fontes (1879-1943), que havia sido seu colega na Faculdade de Medicina do Rio de Janeiro (O Jornal, 6 de janeiro de 1935, terceira coluna).
+ 
+Enterro de Carlos Chagas no Cemitério São João Batista,1934. Rio de Janeiro, RJ / Acervo Casa de Oswaldo Cruz
+ 
+Realização na Academia de Medicina de uma sessão em sua homenagem (O Jornal, 15 de dezembro de 1934).
+ 
+Assista aqui: Carlos Chagas – Ciência em gotas, realizado pela Casa de Oswaldo Cruz / Fiocruz, com a consultoria de Simone Kropf
+ 
+A elaboração dessa cronologia foi baseada principalmente na Biblioteca Virtual Carlos Chagas, da Fundação Oswaldo Cruz, e na Hemeroteca Digital da Biblioteca Nacional. Contou com a colaboração da historiadora e pesquisadora Simone Petraglia Kropf e da jornalista Cristiane d´Avila, ambas da Casa de Oswaldo Cruz.
+ 
+Andrea C. T. Wanderley
+Editora-assistente e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+CAVALCANTI, Juliana Manzoni. A Trajetória Científica de Rudolf Kraus (1894-1932) entre Europa e América do Sul: Elaboração, produção e circulação de produtos biológicos. Tese (Doutorado em História das Ciências e da Saúde) – Casa de Oswaldo Cruz / Fiocruz, Rio de Janeiro, 2013. 284 f.
+CHAGAS, Carlos, Filho. Meu pai. Rio de Janeiro: Casa de Oswaldo Cruz, Fundação Oswaldo Cruz, 1993
+Fundação Oswaldo Cruz – Biblioteca Virtual Carlos Chagas
+Hemeroteca Digital da Biblioteca Nacional
+KROPF, Simone P. Carlos Chagas e as doenças do Brasil. In: HOCHMAN, Gilberto; LIMA, Nísia Trindade. Médicos intérpretes do Brasil. São Paulo: Hucitec, 2015, p. 194-222.
+KROPF, Simone P. Doença de Chagas, doença do Brasil: ciência, saúde e nação (1909-1962). Rio de Janeiro: Editora Fiocruz, 2009.
+KROPF, Simone P.; LACERDA, Aline. Carlos Chagas, um cientista do Brasil. Rio de Janeiro: Editora Fiocruz, 2009 (edição bilíngue).
+KROPF, Simone P. SÁ, Magali R. The discovery of Trypanosoma cruzi and Chagas disease (1908-1909): tropical medicine in Brazil. História, Ciências, Saúde-Manguinhos, v.16, suplemento, p.13 -34, 2009.
+KROPF, Simone P. Carlos Chagas e os debates e controvérsias sobre a doença do Brasil (1909-1923). História, Ciências, Saúde-Manguinhos, v.16, suplemento 1, p.205-227, 2009.
+LEWINSOHN, Rachel. Carlos Chagas (1879-1934): a descoberta do tripanossoma cruzi e da tripanossomíase americana (notas da história da doença de Chagas). Transactions of The Royal Society of Tropical Medicine and Hygiene, Volume 73, Edição 5, págs 513-523, 1979.
+PITELLA, José Eymard Homem. O processo de avaliação em ciência e a indicação de Carlos Chagas ao prêmio Nobel de Fisiologia ou Medicina. Revista da Sociedade Brasileira de Medicina Tropical, vol 42. nº 1, Uberaba, fevereiro de 2009.
+SCLIAR, Moacyr . Oswaldo Cruz & Carlos Chagas: o nascimento de ciência no Brasil. São Paulo: Odysseus, 2002
+Site da Academia Brasileira de Ciências
+Site da Academia Nacional de Medicina
+Site da Escola de Enfermagem Ana Nery
+Site da Fiocruz Paraná – Instituto Carlos Chagas
+Site do CPDOC
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/6545` — `itens/20.500.12156.1_6545/`
+- `20.500.12156.1/6549` — `itens/20.500.12156.1_6549/`
+- `20.500.12156.1/6547` — `itens/20.500.12156.1_6547/`
+- `20.500.12156.1/6544` — `itens/20.500.12156.1_6544/`
+- `20.500.12156.1/6548` — `itens/20.500.12156.1_6548/`
+- `20.500.12156.1/6099` — `itens/20.500.12156.1_6099/`
+- `20.500.12156.1/6097` — `itens/20.500.12156.1_6097/`
+- `20.500.12156.1/5740` — `itens/20.500.12156.1_5740/`
+- `20.500.12156.1/6218` — `itens/20.500.12156.1_6218/`
+- `20.500.12156.1/5096` — `itens/20.500.12156.1_5096/`
+- `20.500.12156.1/6551` — `itens/20.500.12156.1_6551/`
+- `20.500.12156.1/5126` — `itens/20.500.12156.1_5126/`
+- `20.500.12156.1/6258` — `itens/20.500.12156.1_6258/`
+- `20.500.12156.1/6552` — `itens/20.500.12156.1_6552/`
+- `20.500.12156.1/6553` — `itens/20.500.12156.1_6553/`
+
diff --git a/wordpress/15223-o-arpoador-um-dos-cartoes-postais-do-rio-de-janeiro-por-jorge-kfuri-e-baptista-v.md b/wordpress/15223-o-arpoador-um-dos-cartoes-postais-do-rio-de-janeiro-por-jorge-kfuri-e-baptista-v.md
new file mode 100644
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+++ b/wordpress/15223-o-arpoador-um-dos-cartoes-postais-do-rio-de-janeiro-por-jorge-kfuri-e-baptista-v.md
@@ -0,0 +1,34 @@
+---
+id: 15223
+url: "https://brasilianafotografica.bn.gov.br/?p=15223"
+titulo: "O Arpoador, um dos cartões postais do Rio de Janeiro, por Jorge Kfuri e Baptista Vianna"
+autor: "Andrea Wanderley"
+data: "2019-07-22T12:09:25+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/4626", "20.500.12156.1/6114", "20.500.12156.1/4643"]
+fetched_at: "2026-09-10T09:58:53.304Z"
+---
+
+# O Arpoador, um dos cartões postais do Rio de Janeiro, por Jorge Kfuri e Baptista Vianna
+
+Hoje a Brasiliana Fotográfica destaca três imagens do Arpoador. Localizado entre os bairros de Copacabana e Ipanema, na zona sul do Rio de Janeiro, com uma praia de 800m de extensão, é um dos cartões postais da cidade. Uma das imagens é uma fotografia aérea produzida por Jorge Kfuri (1893 – 1966), tendo o Forte de Copacabana em primeiro plano e pertence à Diretoria do Patrimônio Histórico e Documentação da Marinha, uma das instituições parceiras do portal. Kfuri, autor das primeiras fotografias aéreas do Rio de Janeiro, em 1916, foi contratado como encarregado técnico do serviço de fotografia aérea da Aviação Naval, em 1921, e aposentou-se como chefe do Serviço Fotográfico da Aeronáutica em 1959. Os outros dois registros são de autoria do fotógrafo amador, o comerciante português José Baptista Barreira Vianna (1860-1925), que chegou ao Rio de Janeiro, em 1875.  Até os anos 40, o Arpoador era um areal deserto, frequentado principalmente por pescadores. Foi durante os anos 60 e 70 que tornou-se uma das principais praias cariocas para a prática de surf e é, até os dias de hoje, uma das prediletas tanto dos moradores do Rio como dos turistas.
+ 
+ José Baptista Barreira Vianna. Pedra do Arpoador e trilho de bonde, tomados das cercanias da residência da família Barreira Vianna, em Ipanema na esquina da avenida Vieira Souto e rua Francisco Otaviano, 1902. Rio de Janeiro, RJ / Acervo IMS 
+ 
+ 
+Jorge Kfuri. Arpoador, final de Copacabana e início de Ipanema. Em primeiro plano o Forte de Copacabana. Rio de Janeiro, RJ / Acervo DPHDM
+ 
+
+José Baptista Barreira Vianna. Bonde nas proximidades da pedra do Arpoador, c. 1900. Rio de Janeiro, RJ / Acervo IMS
+ 
+Andrea C. T. Wanderley
+Editora-assistente e pesquisadora do portal Brasiliana Fotográfica
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/4626` — `itens/20.500.12156.1_4626/`
+- `20.500.12156.1/6114` — `itens/20.500.12156.1_6114/`
+- `20.500.12156.1/4643` — `itens/20.500.12156.1_4643/`
+
diff --git a/wordpress/15261-a-importancia-da-digitalizacao-para-a-pesquisa-de-acervos-fotograficos.md b/wordpress/15261-a-importancia-da-digitalizacao-para-a-pesquisa-de-acervos-fotograficos.md
new file mode 100644
index 0000000..de2d5d9
--- /dev/null
+++ b/wordpress/15261-a-importancia-da-digitalizacao-para-a-pesquisa-de-acervos-fotograficos.md
@@ -0,0 +1,61 @@
+---
+id: 15261
+url: "https://brasilianafotografica.bn.gov.br/?p=15261"
+titulo: "A importância da digitalização para a pesquisa de acervos fotográficos"
+autor: "Andrea Wanderley"
+data: "2019-07-15T12:04:51+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Preservação digital", "Convidados", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/6443", "20.500.12156.1/2418"]
+fetched_at: "2026-09-10T09:58:57.005Z"
+---
+
+# A importância da digitalização para a pesquisa de acervos fotográficos
+
+Inicialmente a fotografia Vagão ferroviário tombado chamou atenção por seu tema pouco usual em registros do século XIX e do início do século XX no Brasil: um acidente ferroviário. Mas uma observação mais atenta tornou a imagem uma excelente evidência da importância da digitalização para a pesquisa e também para a difusão e consequentemente para a própria preservação de acervos fotográficos. Na fotografia destacada, que integra a Coleção Pereira Passos, do Museu da República, uma das instituições parceiras do portal, seu autor foi identificado a partir da utilização da ferramenta de zoom, que deu à cena fotografada outra visibilidade, abrindo as possibilidades de situá-la historicamente. O leitor ou o pesquisador pode com esse recurso tecnológico magnificar a imagem e verificar “de perto” seus detalhes. Um desses detalhes, nesse caso, foi uma assinatura: A. Bastos. Há, embaixo dela, alguns números legíveis, 3 – 19, e outros ilegíveis. Possivelmente os números legíveis indicam a data de março de algum ano começando por 19.
+ 
+A. Bastos. Vagão tombado em uma estrada de ferro, 19?. / Acervo Museu da República
+ 
+O autor seria Antônio José Teixeira Bastos (18? – 1917)? Tudo indica que sim porque ele é o único fotógrafo – conhecido até hoje – com a inicial A e o sobrenome Bastos, de fins do século XIX. Caso seja ele mesmo o autor, a fotografia se situa no período entre 1900 e 1915,  já que Bastos atuou no Rio de Janeiro entre os anos 1880 e 1915 e os números legíveis indicam algum ano começando com 19. Infelizmente esses dados não foram suficientes para a localização do acidente.
+Bastos começou sua carreira trabalhando para o ateliê de Carneiro & Tavares – que existiu entre 1883 e 1888 – e, em 1889, transferiu-se para o estabelecimento de Moreira & Roltgen (Jornal do Commercio, 6 de janeiro de 1889).
+ 
+Jornal do Commercio, 6 de janeiro de 1889
+ 
+Cerca de dois anos depois, Bastos comprou de Manoel Garcia o ateliê fotográfico Casa Garcia, que passou a dirigir com o nome de a Photographia do Commercio, na rua Sete de Setembro, 74 (O Brazil, 5 de setembro de 1891).
+ 
+O Brazil, 5 de setembro de 1891
+ 
+Entre 1891 e 1893, foi associado a José Gonçalves Vasquez que, em 1893, foi trabalhar em Curitiba, onde inaugurou a Photographia Moderna (Jornal do Commercio, 6 de junho de 1893, sexta coluna). Em 1900, Vasquez foi para Santos e abriu a Fotografia Modelo, na rua Amador Bueno, 91.
+ 
+Jornal do Commercio, 6 de junho de 1893
+ 
+Em 1916, quando foi anunciada pela última vez, a Photographia do Commercio, funcionava na rua da Assembleia, 98 (Correio da Manhã, 25 de dezembro de 2013, quarta coluna; Gazeta de Notícias, 8 de outubro de 1915, terceira coluna; Almanak Laemmert, 1916).
+ 
+Gazeta de Notícias, 8 de outubro de 1915
+ 
+O conhecido fotógrafo Antônio José Teixeira Bastos, que morava na rua do Senado, 14, faleceu em 28 de julho de 1917 e foi enterrado no Cemitério da Ordem Terceira do Carmo. A missa de sétimo dia foi celebrada na Igreja de São Francisco de Paula (O Paiz, 29 de julho de 1917, quinta coluna; Jornal do Brasil, 29 de julho de 1917, primeira coluna; e Jornal do Brasil, 3 de agosto, segunda coluna). Eram seus filhos Júlio e João Durão Teixeira Bastos (Jornal do Commercio, 23 de novembro de 1917, quarta coluna).
+ 
+Photographia do Commercio / Acervo IMS
+ 
+ 
+Coleção Família Pereira Passos
+A Coleção Família Pereira Passos, à qual pertence a fotografia destacada nesse artigo, é uma das mais importantes sob guarda do Arquivo Histórico e Institucional do Museu da República e é formada por cerca de 5.592 documentos textuais e 1.147 fotografias, produzidos entre 1806 e 1960. A coleção faz parte do acervo do Museu da República desde 1965, quando a primeira e maior leva de documentos foi doada pela família de Pereira Passos. Posteriormente foi acrescida: em 1966, através de novas doações de sua neta, Maria Passos de Castro (1888 – 1971), e, em 1980, pela transferência de fotos até então pertencentes ao Museu Histórico Nacional.
+ 
+Augusto Malta. Francisco Pereira Passos e José Maria da Silva Paranhos Júnior, barão do Rio Branco, 14 de junho de 1911. Rio de Janeiro, RJ / Acervo IMS
+ 
+ 
+Andrea C. T. Wanderley
+Editora-assistente e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+Hemeroteca Digital da Biblioteca Nacional
+KOSSOY, Boris. Dicionário histórico-fotográfico brasileiro: fotógrafos e ofício da fotografia no Brasil (1833-1910). São Paulo: Instituto Moreira Salles, 2002.
+Jornal Eletrônico Novo Milênio
+Site do Museu da República
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/6443` — `itens/20.500.12156.1_6443/`
+- `20.500.12156.1/2418` — `itens/20.500.12156.1_2418/`
+
diff --git a/wordpress/15723-no-primeiro-dia-da-primavera-o-mercado-das-flores-por-augusto-malta.md b/wordpress/15723-no-primeiro-dia-da-primavera-o-mercado-das-flores-por-augusto-malta.md
new file mode 100644
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--- /dev/null
+++ b/wordpress/15723-no-primeiro-dia-da-primavera-o-mercado-das-flores-por-augusto-malta.md
@@ -0,0 +1,35 @@
+---
+id: 15723
+url: "https://brasilianafotografica.bn.gov.br/?p=15723"
+titulo: "No primeiro dia da primavera, o Mercado das Flores por Augusto Malta"
+autor: "Andrea Wanderley"
+data: "2019-09-23T11:56:45+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/2773"]
+fetched_at: "2026-09-10T09:59:00.447Z"
+---
+
+# No primeiro dia da primavera, o Mercado das Flores por Augusto Malta
+
+Marcando, mais uma vez, o início da primavera, a Brasiliana Fotográfica destaca a imagem Mercado das Flores, produzida por Augusto Malta (1864 – 1957), por volta de 1920. O alagoano Malta foi o fotógrafo oficial da cidade do Rio de Janeiro entre 1903 e 1936, quando se aposentou. Foi contratado pelo prefeito Pereira Passos (1836 – 1913) para documentar a radical mudança urbanística promovida por ele, período que ficou conhecido como o “bota-abaixo” e  que contribuiu fortemente para o surgimento do Rio de Janeiro da Belle Époque.
+Em janeiro de 1910, já era possível ver, através do tapume o cavername de ferro do elegante pavilhão que a Prefeitura está construindo para abrigar o mercado das flores (Jornal do Brasil, 10 de janeiro de 1910, quinta coluna). Foi inaugurado, em 17 de abril do mesmo ano, na então Travessa de São Francisco, atualmente Rua Ramalho Ortigão, com a presença do prefeito da cidade, Serzedelo Correia (1858 – 1932) e de Julio Furtado (1851 -1934), diretor das Matas e Jardins. Agora já pode o estrangeiro ir a um mercado de flores decente e digno de uma capital como a nossa (Correio da Manhã, 18 de abril de 1910, última coluna). Porém a construção não agradou a todos (Gazeta de Notícias, 18 de abril de 1910, segunda coluna). Foi o caso da escritora Julia Lopes de Almeida (1862 – 1934), que publicou uma crítica no jornal O Paiz, de 10 de maio de 1910.
+ 
+Revista da Semana, 24 de abril de 1910
+ 
+ 
+O Mercado das Flores foi transferido, com a presença do presidente da República, Epitácio Pessoa (1865 – 1942), e do prefeito do Rio de Janeiro, Carlos Sampaio (1861 – 1930), em 6 de setembro de 1922, para a Praça Olavo Bilac, na Rua Buenos Aires, no centro do Rio de Janeiro. Além de ser um polo de referência no comércio de flores, foi um ponto turístico da cidade, devido à exuberância de seus arranjos florais.
+ 
+Augusto Malta. Mercado das Flores, c. 1922. Rio de Janeiro / RJ / Acervo IMS
+ 
+Outro artigo da Brasiliana Fotográfica publicado no primeiro dia da primavera: 
+No primeiro dia da primavera, as cores de Marc Ferrez (1843 – 1923), publicado em 22 de setembro de 2017
+ 
+Andrea C. T. Wanderley
+Editora-assistente e pesquisadora da Brasiliana Fotográfica
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/2773` — `itens/20.500.12156.1_2773/`
+
diff --git a/wordpress/15741-registros-em-lagoa-santa-minas-gerais-relacionados-ao-naturalista-peter-wilhelm-.md b/wordpress/15741-registros-em-lagoa-santa-minas-gerais-relacionados-ao-naturalista-peter-wilhelm-.md
new file mode 100644
index 0000000..b814f5b
--- /dev/null
+++ b/wordpress/15741-registros-em-lagoa-santa-minas-gerais-relacionados-ao-naturalista-peter-wilhelm-.md
@@ -0,0 +1,80 @@
+---
+id: 15741
+url: "https://brasilianafotografica.bn.gov.br/?p=15741"
+titulo: "Registros em Lagoa Santa, Minas Gerais, relacionados ao naturalista Peter Wilhelm Lund (1801 – 1880)"
+autor: "Andrea Wanderley"
+data: "2019-11-21T11:48:35+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/801", "20.500.12156.1/800", "20.500.12156.1/305", "20.500.12156.1/287", "20.500.12156.1/306"]
+fetched_at: "2026-09-10T09:59:03.792Z"
+---
+
+# Registros em Lagoa Santa, Minas Gerais, relacionados ao naturalista Peter Wilhelm Lund (1801 – 1880)
+
+A Brasiliana Fotográfica destaca as imagens disponíveis em seu acervo relacionadas ao notável naturalista dinamarquês Peter Wilhelm Lund (1801 – 1880), importante cientista no desenvolvimento da paleontologia, da espeleologia e da arqueologia no Brasil. Os registros pertencem à Fundação Biblioteca Nacional, uma das fundadoras do portal, e são de um crânio fóssil, da casa de Lund e do do jazigo de Peter Andreas Brandt (1792 – 1862), norueguês responsável pelos desenhos e pinturas que ilustram a obra do naturalista.
+ 
+Crânio fóssil : encontrado em Lagoa Santa, Minas Gerais, 1876-1882. Lagoa Santa, Minas Gerais / Acervo FBN
+ 
+Acessando o link para as fotografias relacionadas a Peter Wilhelm Lund disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Crânio fóssil : encontrado em Lagoa Santa, Minas Gerais, 1876-1882. Lagoa Santa, Minas Gerais / Acervo FBN
+ 
+Peter Wilhelm Lund, nascido em 14 de junho de 1801, em Copenhagem, após a morte de um de seus irmãos, vítima de tuberculose, decidiu vir para um país de clima mais ameno, aonde se dedicaria ao estudo de História Natural. Desembarcou em 8 de dezembro de 1825, no Rio de Janeiro, na época festivamente iluminado em homenagem ao recente nascimento de Pedro II, ocorrido seis dias antes. Lund ficou no Brasil até  abril de 1829, quando retornou a Copenhagem. Entre esse ano e 1833, quando estabeleceu-se definitivamente no Brasil, viajou para diversos países da Europa. Entre 1835 e 1884, escavou milhares de fósseis nas cavernas de Lagoa Santa, cidade de Minas Gerais, onde viveu até sua morte, em 25 de maio de 1880. Descreveu dezenas de espécies extintas do período Pleistoceno – época geológica compreendida entre 2,588 milhões e 11,7 mil anos atrás. Durante este trabalho, Lund descobriu os esqueletos fossilizados de cerca de 30 seres humanos. Assim como outros cientistas, por exemplo o berlinense Alexander von Humboldt (1769 – 1859) e o britânico Charles Darwin (1809 – 1892), Lund interessou-se pela extinta fauna americana. Combinou o trabalho prático das escavações com o trabalho quanto à sistemática e à taxonomia dos gigantes extintos.
+Os registros da casa de Lund e do jazigo de Brandt em Lagoa Santa são de autoria do alemão Augusto Riedel (1836 – ?)*. Seria ele filho de Ludwig Riedel (1790 – 1861), médico e botânico berlinense que havia integrado a Expedição Langsdorff**? Lund e Ludwig Riedel se conheceram na casa do Conde Reventlow (1792-1851), cônsul-geral da Dinamarca, onde Lund se hospedou, entre janeiro e maio de 1833, quando retornou definitivamente ao Brasil. Juntos realizaram várias excursões botânicas nos arredores do Rio de Janeiro e, em 12 de outubro do mesmo ano, iniciaram uma longa viagem pelo interior dos estados de São Paulo, Rio de Janeiro, Goiás e Minas Gerais. Separaram-se em fevereiro de 1835, quando, após seis semanas acamado, Ludwig Riedel retornou ao Rio de Janeiro, onde viria a ocupar os cargos de Diretor do Jardim Botânico do Passeio Público (1839-1858), de primeiro Diretor de Jardins (1848-1861) e de primeiro diretor da seção de Botânica, Agricultura e Artes Mecânicas do Museu Nacional, a partir de 1842 – já havia fundado o herbário da instituição, em 1831. Os amigos nunca mais se viram porém mantiveram uma assídua correspondência até o falecimento de Ludwig, em 1861.
+ 
+Augusto Riedel. Morada do Dr. Lund em Lagoa Santa, 1868. Lagoa Santa, Minas Gerais / Acervo FBN
+ 
+Voltando à história da fotografia da casa e do jazigo: foram produzidas muitos anos depois, como já mencionado, por Augusto Riedel. Fazem parte do álbum Viagem de S.S.A.A. Reaes Duque de Saxe e seu Augusto Irmão D. Luis Philippe ao Interior do Brasil no Anno 1868 – um dos trabalhos clássicos da documentação fotográfica do século XIX no Brasil. O duque de Saxe, dom Luis Augusto de Saxe Coburgo e Gotha (1845 – 1907), era genro do imperador Pedro II (1825 – 1891), marido da princesa Leopoldina de Bragança e Bourbon (1847 – 1871). Augusto Riedel teria feito parte da comitiva da viagem***. A presença de seu nome na capa do álbum indica que ele já devia ser bastante conhecido e que provavelmente devam existir outras fotos de sua autoria ainda hoje não reconhecidas. A viagem durou meses e foram percorridos os estados de Minas Gerais, onde foram retratadas as cidades de Ouro Preto, Mariana, Sabará, Diamantina (e suas minas de diamantes), Lagoa Santa e o primeiro vapor do rio das Velhas, além das minas de Morro Velho; vistas do rio São Francisco, que levaram os viajantes até Penedo, em Alagoas; Sergipe e, finalmente, Bahia, último estado visitado pela expedição. São possivelmente os mais antigos registros fotográficos dessas regiões do Brasil.  O itinerário percorrido sugere um grande interesse do grupo em geologia e em assuntos relativos à mineração.
+ 
+Augusto Riedel. Viagem de S.S.A.A. Reaes Duque de Saxe e seu augusto irmão D. Luís Philippe ao interior do Brazil no anno 1868 : [saída da comitiva], 1868 / Acervo FBN
+ 
+Peter Wilhelm Lund (1801 – 1880) / Museu Nacional 
+ 
+ 
+Ludwig Riedel (1790 – 1861) por Rugendas, em 1846
+ 
+* Pouco se sabe da biografia de Augusto Riedel e a grande maioria dos livros e sites consultados pela Brasiliana Fotográfica afirmam ou levam em conta a possibilidade de ele ser filho do botânico Ludwig Riedel (1790-1861). Em O olhar distante – a paisagem brasileira vista pelos grandes artistas estrangeiros 1637-1998, de Pedro Corrêa do Lago, e no livro Fotógrafos alemães no Brasil do século XIX, de Pedro Vasquez, a dúvida em relação a essa filiação foi levantada. Uma notícia do jornal O Globo, de 10 de novembro de 1874, na quarta coluna da página 4, encontrada pela pesquisa da Brasiliana Fotográfica, prova que havia, de fato, dois Augustos Riedel. O filho de Ludwig trabalhava na casa Leuzinger & Filhos:
+ 
+O Globo, 10 de novembro de 1874
+ 
+**A Expedição Langsdorff foi uma expedição russa, chefiada e organizada pelo barão Georg Heinrich von Langsdorff (1774 – 1852). Artistas e cientistas, percorreram, entre 1821 e 1829, mais de 17 mil quilômetros pelo interior do Brasil e realizaram um importante inventário do país. Alguns dos principais participantes foram, além do próprio Langsdorff, o francês Antoine Hercule Romuald Florence (1904 – 1879), que se tornaria o autor do mais antigo registro fotográfico existente nas Américas; o artista francês Aimé-Adrien Taunay (1803 – 1828) e o alemão Johann Moritz Rugendas (1802 – 1858), os zoólogos francês Edouard Ménétriès (1802 – 1861) e o alemão Christian Friedrich Hasse (1771 – 1831), o astrônomo russo Néster Rubtsov (1799-1874) e o já citado botânico alemão Ludwig Riedel (1790 – 1861).
+*** A grande maioria das fontes consultadas pela Brasiliana Fotográfica afirmam que Riedel fazia parte da comitiva da viagem, porém no livro O naturalista dr. Lund (Peter Wilhelm) - sua vida e seus trabalhos, publicado em 1883 (Gazeta de Notícias, 21 de julho de 1883, segunda coluna), o autor, o médico dinamarquês Theodoro Langgaard (1813 – 1883), que morou no Brasil, afirmou que um fotógrafo, sem mencionar a identidade, havia sido enviado pelo Duque de Saxe, após a realização da viagem, para fazer os registros dos lugares que ele havia julgado mais interessantes.
+ 
+Trecho do livro O naturalista dr. Lund (Peter Wilhelm) – sua vida e seus trabalhos, de Theodoro Langgaard, página 35
+ 
+Um trecho do testamento de Lund, escrito em 21 de junho de 1871, confirma que Augusto Riedel esteve em Lagoa Santa, em 1869, e teria procurado a caverna de Maquiné:
+“A pedido do Sr. Augusto Riedel delarco, ser com o meu consentimento que o mesmo senhor, na sua passagem por aqui no mês de maio de 1869, procedeu à procura da caverna chamada Lapa Nova de Maquiné, por mim explorada e descrita no ano 1834. Delcaro outrossim, que, se a mim couber direito, privilégio, prêmio ou emolumento qualquer como primeiro descobridor, cedo todos estes direitos e emolumentos ao dito Sr. Augusto Riedel”
+(Trecho transcrito do livro Peter Wilhelm Lund, o naturalista que revelou ao mundo a pré-história brasileira, de Ana Paula Almeida Marchesotti, página 93)
+Duas imagens que ilustram o livro de Theodoro Langgaard são do álbum Viagem de S.S.A.A. Reaes Duque de Saxe e seu Augusto Irmão D. Luis Philippe ao Interior do Brasil no Anno 1868 : Morada do dr. Lund em Lagoa Santa e Jazigo de Brandt em Lagoa Santa. Brandt trabalhou com Lund de 1835 até sua morte, em 1862. Posteriormente, o próprio Lund, Wilhelm Behrens, que havia sido seu secretário, e seu amigo suíço, Johann Rudolph Müller, foram enterrados no mesmo jazigo. A terceira imagem é a reprodução de um retrato de Lund. As três estão presentes nesse artigo.
+ 
+Augusto Riedel. Jazigo de Brandt em Lagoa Santa, 1868-1869. Lagoa Santa, Minas Gerais / Acervo FBN
+ 
+Quando o retrato de Lund foi inaugurado na Escola de Minas de Ouro Preto, seu fundador e primeiro diretor, o francês Claude-Henri Gorceix (1842 — 1919), leu o trabalho de memórias Lund e suas obras no Brasil, segundo o professor Reinhardt, autor de um manuscrito sobre a vida de Lund cuja tradução foi confiada a Gorceix por dom Pedro II (1825 – 1891). O trabalho foi publicado nas edições do Correio Paulistano de 13 de dezembro, 14 de dezembro e 16 de dezembro, 17 de dezembro e 18 de dezembro de 1884; e também nos Anais da Escola de Minas de Ouro Preto, 1884, produzida na tipografia de G. Leuzinger & filhos, na rua do Ouvidor, 31. O retrato foi ofertado à escola por Pedro II e havia sido executado em Lomoges pelo método de desenho sobre porcelana (Revista de Engenharia, 1883).
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+Annaes da Escola de Minas de Ouro Preto, nº 3, 1884
+Hemeroteca Digital da Biblioteca Nacional
+KOSSOY, Boris. Dicionário histórico-fotográfico brasileiro: fotógrafos e ofício da fotografia no Brasil (1833-1910). São Paulo: Instituto Moreira Salles, 2002. 408 p., il. p&b.
+LAGO, Pedro Corrêa do. O olhar distante – a paisagem brasileira vista pelos grandes artistas estrangeiros 1637-1998. In: Mostra do redescobrimento: o olhar distante – The distant view. Nelson Aguilar, organizador. Fundação Bienal de São Paulo. São Paulo: Associação Brasil 500 Anos Artes Visuais, 2000.
+LANGGAARD, Theodoro. O naturalista dr. Lund (Peter Wilhelm) – sua vida e seus trabalhos. Rio de Janeiro : Typographia Universal de H. Laemmert & C, 1883.
+LUNA FILHO, Pedro Ernesto de. Peter Wilhelm Lund: o auge de suas investigações científicas e a razão para o término das pesquisas. Tese apresentada ao Programa de Pós-Graduação em História da Faculdade de Filosofia, Letras e Ciências Humanas da Universidade de São Paulo, 2007.
+MARCHESOTTI, Ana Paula Almeida: Peter Wilhelm Lund, o naturalista que revelou ao mundo a pré-história brasileira. Rio de Janeiro : E-Papers, 2011.
+SANTOS, Nerêu Cecílio dos. O Naturalista – Biographia do Dr. Pedro Guilherme Lund. 1.ed., Bello Horizonte: Imprensa Official do Estado de Minas Gerais, 1923.
+Site da Biblioteca Nacional
+Site do Museu Nacional
+Site Vitruvius
+VASQUEZ, Pedro Karp. Fotógrafos Alemães no Brasil do Século XIX: Deutsche Fotografen des 19. Jahrhunderts in Brasilien. Apresentação Winston Fritsch; prefácio Joaquim Marçal; projeto editorial Pedro Karp Vasquez, Ronaldo Graça Couto; projeto gráfico Victor Burton. São Paulo: Metalivros, 2000. 203 p., il. p&b. ISBN 85-85371-28-5.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/801` — `itens/20.500.12156.1_801/`
+- `20.500.12156.1/800` — `itens/20.500.12156.1_800/`
+- `20.500.12156.1/305` — `itens/20.500.12156.1_305/`
+- `20.500.12156.1/287` — `itens/20.500.12156.1_287/`
+- `20.500.12156.1/306` — `itens/20.500.12156.1_306/`
+
diff --git a/wordpress/15822-pernambuco-e-a-fotografia-no-seculo-xix.md b/wordpress/15822-pernambuco-e-a-fotografia-no-seculo-xix.md
new file mode 100644
index 0000000..4f17ce7
--- /dev/null
+++ b/wordpress/15822-pernambuco-e-a-fotografia-no-seculo-xix.md
@@ -0,0 +1,140 @@
+---
+id: 15822
+url: "https://brasilianafotografica.bn.gov.br/?p=15822"
+titulo: "Pernambuco e a fotografia no século XIX"
+autor: "Andrea Wanderley"
+data: "2019-11-27T11:33:02+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/2655", "20.500.12156.1/2551", "20.500.12156.1/2494", "20.500.12156.1/4409", "20.500.12156.1/2367", "20.500.12156.1/54", "20.500.12156.1/6533", "20.500.12156.1/3909", "20.500.12156.1/2047", "20.500.12156.1/2669", "20.500.12156.1/2322", "20.500.12156.1/4499", "20.500.12156.1/3936", "20.500.12156.1/6929"]
+fetched_at: "2026-09-10T09:59:07.165Z"
+---
+
+# Pernambuco e a fotografia no século XIX
+
+A partir do século XIX, vários fotógrafos estrangeiros e brasileiros estabeleceram ateliês fotográficos no Recife, tornando a cidade uma referência importante na história da fotografia no Brasil. Alguns dos mais importantes e que estão representados no acervo da Brasiliana Fotográfica foram o alemão Alberto Henschel (1827 – 1882), o francês Alfred Ducasble (18-? – 19?), o francês nascido na Itália Augusto Stahl (1828-1877), o austríaco Constantino Barza (18? -?), o português Francisco du Bocage (1860-1919), os pernambucanos João Ferreira Villela (18?-1901) e Manoel Tondella (1861 – 1921), o português Joaquim Insley Pacheco (1830 – 1912) e o europeu Moritz Lamberg (18?-?).
+Outros importantes fotógrafos estrangeiros e brasileiros produziram imagens do Recife e de Pernambuco. Tudo indica que o primeiro teria sido o, provavelmente, norte-americano Joseph Evans, vindo do Rio de Janeiro, que instalou seu estabelecimento na rua Nova nº 14 (Diário de Pernambuco, 21 de fevereiro de 1843, segunda coluna).
+ 
+Diário de Pernambuco,21 de fevereiro de 1843
+ 
+Outros fotógrafos que retrataram Pernambuco foram o suíço Guilherme Gaensly (1843-1928) e o carioca Marc Ferrez (1843-1923), também representados no acervo do portal, que traz para seus leitores uma seleção de imagens de ruas, pontes, teatros, bairros e igrejas recifenses, de retratos de pessoas e de registros de paisagens de Pernambuco realizadas por esses profissionais e também por fotógrafos até hoje não identificados. Esses registros fazem parte da memória visual do Brasil. Com a participação da Fundação Joaquim Nabuco, que desde outubro de 2019 é parceira da Brasiliana Fotográfica, o universo de fotografias de Pernambuco no portal ficará ainda mais diversificado e numeroso.
+ 
+Moritz Lamberg. Rua Nova (Antiga rua Barão da Vitória e João Pessoa), c. 1880. Recife, Pernambuco / Acervo IMS
+ 
+ 
+Acessando o link para as fotografias do Recife, de Olinda, de paisagens pernambucanas e de retratos produzidos no estado disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Registros realizados em Pernambuco por Marc Ferrez, Guilherme Gaensly e também por fotógrafos ainda não identificados
+ 
+Em julho de 1875, o chefe da Comissão Geológica do Império**, importante missão científica que entre 1875 e 1878 percorreu diversos estados do Brasil, Charles Frederick Hartt, Marc Ferrez e outros membros da Comissão Elias Fausto Pacheco Jordão e Francisco José de Freitas embarcaram no paquete Pará com destino a Pernambuco (Jornal do Commercio, 10 de julho de 1875, na segunda coluna). Poucos meses depois, na residência do inspetor do arsenal de Marinha, no Recife, Hartt, fez uma conferência sobre os arrecifes e outros aspectos de Pernambuco como o cabo de Santo Agostinho, praias, o rio São Francisco e a cachoeira de Paulo Afonso, ilustrados com fotografias de Marc Ferrez (Diário do Rio de Janeiro, 2 de dezembro de 1875, nas quinta e sexta coluna. sob o título “Norte do Império”).
+ 
+ 
+Marc Ferrez. Charles F. Hartt, com a cidade do Recife ao fundo, durante levantamento da Comissão Geológica do Império, c, 1875. Recife, Pernambuco /Acervo IMS
+ 
+ 
+O suíço Guilherme Gaensly, que possuiu estabelecimentos fotográficos em Salvador e em São Paulo, além de ter trabalhado para Henschel, e seu sócio Rodolpho Frederico Francisco Lindemann (c. 1852 – 19?) produziram entre fins da década de 1880 e a década de 1890 fotografias do Recife.
+ 
+ 
+Guilherme Gaensly. Rua do Bom Jesus, c. 1890. Recife, Pernambuco / Acervo IMS
+ 
+ 
+A seguir, algumas fotografias produzidas em Pernambuco por fotógrafos ainda não identificados:
+ 
+ 
+Entrada do Porto, c. 1875. Recife, Pernambuco / Convênio Instituto Moreira Salles – Leibniz-Instituto für Länderkunde
+ 
+ 
+Basílica de Nossa Senhora da Penha, c. 1859. Recife, Pernambuco / Acervo IMS
+ 
+ 
+[Estrada de Ferro do Recife ao São Francisco] : [construção], 1858-1860. Pernambuco / Acervo FBN
+ 
+Links para artigos publicados na Brasiliana Fotográfica sobre fotógrafos que tiveram ateliês fotográficos no Recife
+
+João Ferreira Villela, o primeiro fotógrafo pernambucano, publicada em 5 de julho de 2019
+
+ 
+João Ferreira Villela. Bairro do Recife, c. 1865. Recife, Pernambuco / Acervo IMS
+ 
+ 
+Nudez na Galeria Ducasble causa polêmica no Recife do século XIX, publicada em 7 de maio de 2019
+
+ 
+Alfredo Ducasble. Retrato de criança, c. 1885. Recife, Pernambuco / Acervo IMS
+ 
+ 
+
+O fotógrafo português Francisco du Bocage (14/04/1860 – 22/10/1919), publicada em 30 de outubro de 2017
+
+ 
+Francisco du Bocage. Recife Antigo. Recife, Pernambuco / Acervo IMS
+ 
+ 
+
+“Sete de Setembro: uma ponte entre dois maurícios”, por Pedro Vasquez, publicada em 29 de junho de 2017
+ 
+ 
+Moritz Lamberg. Ponte Princesa Isabel, c. 1880. Recife, Pernambuco / Acervo IMS
+ 
+ 
+ O fotógrafo Augusto Stahl (Itália 23/05/1828 – França, 30/10/1877), publicada em 30 de outubro de 2016
+
+ 
+Augusto Stahl. Os arrecifes, 1875. Recife, Pernambuco / Acervo IMS
+ 
+ 
+
+ 
+O alemão Alberto Henschel (1827 – 1882), o empresário da fotografia, publicada em 13 de junho de 2015
+
+ 
+Alberto Henschel. Retrato – Negra de Pernambuco, c. 1869 . Recife, Pernambuco / Convênio Instituto Moreira Salles – Leibniz-Institut für Länderkunde
+ 
+ 
+
+Photographia Allemã; Barza, Constantino. Retrato de menina na primeira comunhão (verso), c. 1880. Recife, Pernambuco / Acervo IMS
+ 
+ 
+Novos Acervos: Fundação Joaquim Nabuco, publicado em 10 de outubro de 2019
+ 
+Manoel Tondella. Ciclistas, 1905. Recife, Pernambuco / Acervo Fundação Joaquim Nabuco
+ 
+ 
+
+Outros fotógrafos que atuaram no estado no século XIX foram Agio Rio Pedro da Fonseca, A. Lettarte, Antônio Lopes Cardoso, A.W. Osborne, Borges de Mello, Charles Fredericks, Cincinato Mavignier, Daniel Bérard, Eduardo Gadaut, Eugênio, Firmino, Flosculo de Magalhães, Francisco Labadie, Frederico Ramos, Hermina de Carvalho Menna da Costa, considerada a primeira fotógrafa pernambucana; João José de Oliveira, João Firpo, J. B. Thoma, Joaquim Canelas de Castro, Jorge Augusto Roth (c. 1840 – 1893), Lins, Louis Piereck, Ludgero Jardim da Costa, Manoel Inocêncio Menna da Costa, Manoel Ribeiro Filho, Mauricio, Monteiro e Roberto.
+ 
+Andrea C. T. Wanderley
+
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+FERREZ, Gilberto. Velhas fotografias pernambucanas: 1851-1890. Rio de Janeiro: Campo Visual, 1988.
+Hemeroteca Digital da Biblioteca Nacional
+KOSSOY, Boris. Dicionário histórico-fotográfico brasileiro: fotógrafos e ofício da fotografia no Brasil (1833-1910). São Paulo: Instituto Moreira Salles, 2002.
+KOSSOY, Boris. Origens e expansão da fotografia no Brasil : século XIX. Prefácio Boris Kossoy. Rio de Janeiro: Funarte, 1980.
+MENDES, Luciana Cavalcanti. O campo fotográfico em Pernambuco: um resumo do final do XIX até 1930. XXIX Simpósio Nacional de História – Anpuh, 2017.
+PARAÍSO, Rostand. A velha Rua Nova e outras histórias. Recife: Bagaço, 2011.
+Site da Fundação Joaquim Nabuco
+TURAZZI, Maria Inez. Poses e trejeitos: A fotografia e as exposições na era do espetáculo (1839 – 1889). Rio de Janeiro: Funarte/Rocco, 1995.
+VASQUEZ, Pedro Karp. Dom Pedro II e a fotografia no Brasil. Rio de Janeiro: Fundação Roberto Marinho: Companhia Internacional de Seguros: Ed. Index, 1985.
+VASQUEZ, Pedro Karp. Mestres da fotografia no Brasil: Coleção Gilberto Ferrez. Tradução Bill Gallagher. Rio de Janeiro: Centro Cultural Banco do Brasil, 1995.
+VASQUEZ, Pedro Karp. O Brasil na fotografia oitocentista. São Paulo: Metalivros, 2003.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/2655` — `itens/20.500.12156.1_2655/`
+- `20.500.12156.1/2551` — `itens/20.500.12156.1_2551/`
+- `20.500.12156.1/2494` — `itens/20.500.12156.1_2494/`
+- `20.500.12156.1/4409` — `itens/20.500.12156.1_4409/`
+- `20.500.12156.1/2367` — `itens/20.500.12156.1_2367/`
+- `20.500.12156.1/54` — `itens/20.500.12156.1_54/`
+- `20.500.12156.1/6533` — `itens/20.500.12156.1_6533/`
+- `20.500.12156.1/3909` — `itens/20.500.12156.1_3909/`
+- `20.500.12156.1/2047` — `itens/20.500.12156.1_2047/`
+- `20.500.12156.1/2669` — `itens/20.500.12156.1_2669/`
+- `20.500.12156.1/2322` — `itens/20.500.12156.1_2322/`
+- `20.500.12156.1/4499` — `itens/20.500.12156.1_4499/`
+- `20.500.12156.1/3936` — `itens/20.500.12156.1_3936/`
+- `20.500.12156.1/6929` — `itens/20.500.12156.1_6929/`
+
diff --git a/wordpress/15970-os-augustos-stahl-e-riedel-e-a-imagem-da-cachoeira-de-paulo-afonso.md b/wordpress/15970-os-augustos-stahl-e-riedel-e-a-imagem-da-cachoeira-de-paulo-afonso.md
new file mode 100644
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--- /dev/null
+++ b/wordpress/15970-os-augustos-stahl-e-riedel-e-a-imagem-da-cachoeira-de-paulo-afonso.md
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+---
+id: 15970
+url: "https://brasilianafotografica.bn.gov.br/?p=15970"
+titulo: "Os Augustos, Stahl e Riedel, e a imagem da cachoeira de Paulo Afonso"
+autor: "Andrea Wanderley"
+data: "2019-12-13T10:41:56+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/58", "20.500.12156.1/327"]
+fetched_at: "2026-09-10T09:59:10.302Z"
+---
+
+# Os Augustos, Stahl e Riedel, e a imagem da cachoeira de Paulo Afonso
+
+A Brasiliana Fotográfica destaca uma curiosidade acerca de uma imagem envolvendo os fotógrafos Augusto Riedel (1836 – ?) e Augusto Stahl (1828 – 1877). Muito provavelmente Riedel conhecia o fotógrafo Stahl ou pelo menos o trabalho realizado por ele porque uma das mais famosas e importantes fotografias de Stahl, da cachoeira de Paulo Afonso, na Bahia, produzida em 1860 a pedido de dom Pedro II (1825 – 1891), que ficou entusiasmado com a monumentalidade da paisagem formada pelas quedas d´água que conheceu, em 1859, durante uma viagem que realizou às províncias do norte, acompanhado por uma comitiva e também pela imperatriz dona Teresa Cristina (1822 – 1889).
+A imagem realizada por Stahl, considerada uma das mais importantes da história da fotografia no Brasil, causa grande impacto tanto por sua qualidade técnica como por sua beleza. Foi usada por Riedel no álbum Viagem de S.S.A.A. Reaes Duque de Saxe e seu Augusto Irmão D. Luis Philippe ao Interior do Brasil no Anno 1868  com uma alteração: foi acrescida da presença de um suposto membro da comitiva da viagem substituindo um jovem presente no registro realizado por Stahl. Segundo Bia Corrêa do Lago, “Riedel colou a nova imagem, retocou a colagem e a emenda, e refotografou o original alterado, diminuindo-lhe o tamanho pela metade“. Ficam várias questões: se Riedel esteve no local, por que usou a fotografia de Stahl? Por falta de tempo? Por falta de recursos técnicos? Terá Stahl cedido a fotografia a Riedel? O fato é que Riedel assinou a foto sem fazer nenhuma menção à autoria de Stahl.
+ 
+Stahl & Ca. Cachoeira de Paulo Afonso, Rio São Francisco, Bahia, 186? / Acervo FBN
+ 
+ 
+Augusto Riedel. Cachoeira de Paulo Affonso : rio S. Francisco : vazante, 1868-1869, Bahia / Acervo FBN
+ 
+O alemão de Hamburgo, Germano Wahnschaffe (18? – ?), que trabalhava com Stahl, pintou, entre 1860 e 1861, um quadro a óleo, copiado da fotografia da cachoeira de Paulo Afonso. O quadro pertence à Coleção Brasiliana Itaú, uma das parceiras da Brasiliana Iconográfica. Foi exposto e considerado o quadro mais imponente da Exposição dos Produtos Naturais, Agrícolas e Industriais das províncias de Pernambuco, Alagoas, Paraíba, Rio Grande do Norte e Ceará, aberta no Recife em 16 de novembro de 1861 (Jornal do Recife, 23 de novembro de 1861, segunda coluna).
+ 
+Germano Wahnschaffe. Cachoeira de Paulo Afonso, c. 1863 / Acervo Coleção Brasiliana Itaú
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+Hemeroteca Digital da Biblioteca Nacional
+KOSSOY, Boris. Dicionário histórico-fotográfico brasileiro: fotógrafos e ofício da fotografia no Brasil (1833-1910). São Paulo: Instituto Moreira Salles, 2002. 408 p., il. p&b.
+LAGO, Bia Correia do. Augusto Stahl : obra completa em Pernambuco e Rio de Janeiro. Rio de Janeiro: Editora Capivara, 2001.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/58` — `itens/20.500.12156.1_58/`
+- `20.500.12156.1/327` — `itens/20.500.12156.1_327/`
+
diff --git a/wordpress/16006-a-princesa-isabel-rj-29-de-julho-de-1846-eu-14-de-novembro-de-1921-pelas-lentes-.md b/wordpress/16006-a-princesa-isabel-rj-29-de-julho-de-1846-eu-14-de-novembro-de-1921-pelas-lentes-.md
new file mode 100644
index 0000000..781f653
--- /dev/null
+++ b/wordpress/16006-a-princesa-isabel-rj-29-de-julho-de-1846-eu-14-de-novembro-de-1921-pelas-lentes-.md
@@ -0,0 +1,54 @@
+---
+id: 16006
+url: "https://brasilianafotografica.bn.gov.br/?p=16006"
+titulo: "A princesa Isabel (RJ, 29 de julho de 1846 – Eu, 14 de novembro de 1921) pelas lentes de importantes fotógrafos do século XIX"
+autor: "Andrea Wanderley"
+data: "2019-07-29T11:30:15+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/506", "20.500.12156.1/1795", "20.500.12156.1/52", "20.500.12156.1/1792", "20.500.12156.1/1794", "20.500.12156.1/5515", "20.500.12156.1/2929"]
+fetched_at: "2026-09-10T09:59:13.487Z"
+---
+
+# A princesa Isabel (RJ, 29 de julho de 1846 – Eu, 14 de novembro de 1921) pelas lentes de importantes fotógrafos do século XIX
+
+Henschel & Benque. Isabel, princesa do Brasil: retrato, c. 1875. Rio de Janeiro, RJ / Acervo FBN
+Ao longo de sua vida, a princesa Isabel, aniversariante de hoje, foi retratada por diversos e destacados fotógrafos do século XIX. A Brasiliana Fotográfica reuniu alguns desses registros, produzidos pelo alemão Alberto Henschel(1827 – 1882) & Benque, pelo pernambucano Arsênio da Silva (1833 – 1883), por J. Bernieri, por J. Cortois, pelo português Joaquim Insley Pacheco (1830 – 1912), pelo carioca Marc Ferrez (1843 – 1923), pelo francês Revert Henrique Klumb (c. 1826 – c. 1886) e por fotógrafos ainda não identificados.
+São registros dela sozinha com diferentes idades, em família – com seus pais, com seus filhos e com seu marido – , com suas amigas, as baronesas de Muritiba (1851 – 1932) e de Loreto (1849 – 1931); além de imagens de seu palácio, da parada no Largo do Paço por ocasião de seu casamento e da Missa Campal realizada em 17 de maio de 1888 para celebrar a abolição dos escravizados, ocorrida 4 dias antes, em 13 de maio. Nessa fotografia foi identificado, em 2015, pela pesquisadora da Brasiliana Fotográfica, Andrea Wanderley, a presença do escritor Machado de Assis (1839 – 1908).
+ 
+ 
+ 
+ 
+Antonio Luiz Ferreira. Missa campal celebrada em ação de graças pela Abolição da escravatura no Brasil, 17 de maio de 1888. Rio de Janeiro, RJ / Acervo IMS
+ 
+Acessando o link para as fotografias da princesa Isabel disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Marc Ferrez. Princesa Isabel, Baronesa de Muritiba e Baronesa de Loreto na varanda da residência da princesa, c. 1866. Petrópolis, Rio de Janeiro / Acervo FBN
+ 
+Alberto Henschel. Princesa Isabel, Conde D’Eu e os filhos D. Pedro de Alcântara, príncipe do Grão-Pará, D. Luís Maria e D. Antônio Gastão, c. 1884. Rio de Janerio, RJ / Acervo IMS
+ 
+Alberto Henschel. A Família Imperial reunida. Da esquerda para a direita: d. Antônio, em pé, princesa Isabel, sentada, tendo à sua frente d. Luís, sentado, d. Pedro de Alcântara, príncipe do Grão-Pará, e d. Augusto Leopoldo, ambos em pé; d. Pedro II, sentado, segurando um guarda-chuva, conde d’Eu, em pé, d. Teresa Cristina e d. Pedro Augusto, ambos sentados, 1887. Rio de Janeiro, RJ / Acervo IMS
+ 
+ 
+Princesa Isabel e Gastão de Orleans, o conde d’Eu, no Exílio, 1919. França / Acervo IMS
+ 
+Por ter assinado a Lei Áurea, em 13 de maio de 1888, que aboliu oficialmente a escravatura no Brasil, a princesa Isabel ficou conhecida como A Redentora. Filha do imperador Pedro II (1825 – 1891), um entusiasta da fotografia, e da imperatriz Teresa Cristina Maria (1822 – 1889), formou com seu marido, Gastão d´Orleans (1842 – 1922), o conde D´Eu, uma coleção de fotografias, que se encontra na Europa e representa um importante acervo iconográfico do oitocentos no Brasil. Fazem parte da coleção fotografias de Marc Ferrez (1843 – 1923), Alberto Henschel (1827 – 1882), Augusto Riedel (1836 – ?), Augusto Stahl (1828 – 1877), George Leuzinger (1813 – 1892), e Victor Frond (1821 – 1881).
+ 
+J. Courtois. Isabel, Princesa do Brasil, 18? Acervo FBN 
+ 
+ 
+Andrea C. T. Wanderley
+Editora-assistente e pesquisadora do portal Brasiliana Fotográfica
+Leia também o artigo Princesa Isabel (RJ, 29 de julho de 1846 – Eu, 14 de novembro de 1921), publicado em 21 de julho de 2015, na Brasiliana Fotográfica.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/506` — `itens/20.500.12156.1_506/`
+- `20.500.12156.1/1795` — `itens/20.500.12156.1_1795/`
+- `20.500.12156.1/52` — `itens/20.500.12156.1_52/`
+- `20.500.12156.1/1792` — `itens/20.500.12156.1_1792/`
+- `20.500.12156.1/1794` — `itens/20.500.12156.1_1794/`
+- `20.500.12156.1/5515` — `itens/20.500.12156.1_5515/`
+- `20.500.12156.1/2929` — `itens/20.500.12156.1_2929/`
+
diff --git a/wordpress/16066-o-funeral-de-teixeira-mendes-pela-lente-de-augusto-malta.md b/wordpress/16066-o-funeral-de-teixeira-mendes-pela-lente-de-augusto-malta.md
new file mode 100644
index 0000000..46395de
--- /dev/null
+++ b/wordpress/16066-o-funeral-de-teixeira-mendes-pela-lente-de-augusto-malta.md
@@ -0,0 +1,46 @@
+---
+id: 16066
+url: "https://brasilianafotografica.bn.gov.br/?p=16066"
+titulo: "O funeral de Teixeira Mendes pela lente de Augusto Malta"
+autor: "Andrea Wanderley"
+data: "2019-08-02T14:19:17+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/6602", "20.500.12156.1/6603", "20.500.12156.1/6601"]
+fetched_at: "2026-09-10T09:59:17.103Z"
+---
+
+# O funeral de Teixeira Mendes pela lente de Augusto Malta
+
+O pesquisador Ricardo Augusto dos Santos, da Fiocruz, uma das instituições parceiras da Brasiliana Fotográfica, e Marcus Vinícius Rubim Gomes, estagiário na Casa de Oswaldo Cruz, são os autores do artigo sobre os registros produzidos pelo alagoano Augusto Malta (1864 – 1957) do funeral do maranhense Raimundo Teixeira Mendes (1855 – 1927). Malta, em 1903,  foi contratado como fotógrafo oficial, cargo criado para ele, da prefeitura Rio de Janeiro. Passou a documentar a radical mudança urbanística promovida pelo então prefeito da cidade, Francisco Pereira Passos (1836-1913), período que ficou conhecido como o “bota-abaixo”.  Trabalhou na Prefeitura até 1936, quando se aposentou. Teixeira Mendes, o apóstolo do positivismo no Brasil, foi, além de filósofo, matemático e autor da bandeira nacional republicana. Seu cortejo fúnebre, que saiu da residência de sua família, na rua Benjamin Constant, 120, para o Templo da Humanidade, na Glória, e de lá para o Cemitério São João Batista, parou a cidade do Rio de Janeiro (O Paiz, 30 de junho de 1927, primeira coluna).
+
+Acessando o link para as fotografias do funeral de Teixeira Mendes disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+O funeral de Teixeira Mendes pela lente de Augusto Malta
+Ricardo Augusto dos Santos & Marcus Vinícius Rubim Gomes*
+Augusto Malta. Sepultamento de Raimundo Teixeira Mendes, 29 de junho de 1927. Cemitério São João Batista, Rio de Janeiro / Acervo Casa de Oswaldo Cruz
+ 
+Augusto Malta, cuja obra está estimada em mais de 30 mil fotografias, registrou as transformações físicas, sociais e políticas do Rio de Janeiro e seu papel para a construção da memória visual do Brasil é incontestável. Seu legado de imagens foi, é e certamente ainda será fartamente utilizado em livros, teses e artigos. Localizadas em meio às mais de 2.500 fotografias do arquivo pessoal Paulo Carneiro (1901-1982), um importante intelectual positivista, encontramos três imagens do enterro de Raimundo Teixeira Mendes (1855-1927), assinadas por Augusto Malta, o que nos leva a refletir sobre a relação do fotógrafo com a cidade e, principalmente, a possibilidade de um vínculo entre ele e Teixeira Mendes. Segundo informações disponíveis em jornais e livros, a cerimônia fúnebre de Mendes “parou o Rio”. Será? Olhando as fotos, parece que sim. Duas destas imagens foram publicadas, sob o título A morte de um apóstolo, na revista O Malho – era  comum a presença de fotos de autoria de Malta na imprensa (O Malho, 16 de julho de 1927).
+ 
+O Malho, 16 de julho de 1927
+ 
+O fato das fotografias terem sido produzidas por Malta corrobora a informação de que o sepultamento do positivista tenha sido um acontecimento relevante. Será que Malta fez os registros apenas pela obrigação de sua profissão? Ou será que as fez também por compartilhar ideais com Teixeira Mendes, já que foi um entusiasta das ideias abolicionistas e republicanas no final do século XIX?
+ 
+Augusto Malta. Enterro de Raimundo Teixeira Mendes, 29 de junho de 1927. Cemitério São João Batista, Rio de Janeiro / Acervo Casa de Oswaldo Cruz
+ 
+Teixeira Mendes nasceu em 5 de janeiro de 1855, em Caxias, cidade do interior do Maranhão. Quando órfão de pai, mudou-se para o Rio de Janeiro e começou a demonstrar interesse em duas áreas: matemática e filosofia. Aluno do Colégio Pedro II, aprofundou seus estudos sobre o positivismo quando ingressou na Escola Politécnica, porém interrompeu o curso por divergências com o diretor, o visconde de Rio Branco, sendo expulso. Foi durante este período, no velho prédio do Largo de São Francisco, centro da cidade, que Teixeira Mendes se aproximou de  Miguel Lemos (1854-1917), companheiro na divulgação do positivismo no Brasil. Juntos viajaram para Paris, em 1877, em busca de conhecimentos sobre a doutrina fundada por Auguste Comte (1798-1857). A religião positivista foi trazida para o Brasil por eles, que trabalharam ativamente na divulgação da “Religião da Humanidade”. Em 1881, Miguel Lemos fundou oficialmente a Igreja Positivista do Brasil, no Rio de Janeiro. Mendes assumiu a liderança da referida igreja em 1905 e a ocupou até sua morte, em 28 de junho de 1927. Na ocasião, recebeu diversas homenagens (O Jornal, 29 de junho de 1927 e O Paiz, 29 de junho de 1927). Uma foto de Miguel Lemos com Teixeira Mendes foi publicada na revista O Malho 13 de agosto de 1927.
+ 
+Augusto Malta. Funeral de Raimundo Teixeira Mendes, 29 de junho de 1927. Cemitério São João Batista, Rio de Janeiro / Acervo Casa de Oswaldo Cruz
+ 
+ 
+Esboço da Bandeira Nacional feito em papel quadriculado, datado novembro de 1889, autoria do engenheiro Raimundo Teixeira Mendes. Material descoberto na Igreja Positivista do Brasil, no Rio de Janeiro.
+ 
+*Ricardo Augusto dos Santos é Pesquisador Titular da Fundação Oswaldo Cruz e Marcus Vinícius Rubim Gomes é estagiário na Casa de Oswaldo Cruz
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/6602` — `itens/20.500.12156.1_6602/`
+- `20.500.12156.1/6603` — `itens/20.500.12156.1_6603/`
+- `20.500.12156.1/6601` — `itens/20.500.12156.1_6601/`
+
diff --git a/wordpress/16093-serie-o-rio-de-janeiro-desaparecido-ix-estrada-de-ferro-central-do-brasil-estaca.md b/wordpress/16093-serie-o-rio-de-janeiro-desaparecido-ix-estrada-de-ferro-central-do-brasil-estaca.md
new file mode 100644
index 0000000..fe17190
--- /dev/null
+++ b/wordpress/16093-serie-o-rio-de-janeiro-desaparecido-ix-estrada-de-ferro-central-do-brasil-estaca.md
@@ -0,0 +1,102 @@
+---
+id: 16093
+url: "https://brasilianafotografica.bn.gov.br/?p=16093"
+titulo: "Série “O Rio de Janeiro desaparecido” IX – Estrada de Ferro Central do Brasil: estação e trilhos"
+autor: "Andrea Wanderley"
+data: "2019-11-12T11:43:14+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/4091", "20.500.12156.1/6426", "20.500.12156.1/5056", "20.500.12156.1/4416", "20.500.12156.1/3977", "20.500.12156.1/4567"]
+fetched_at: "2026-09-10T09:59:20.493Z"
+---
+
+# Série “O Rio de Janeiro desaparecido” IX – Estrada de Ferro Central do Brasil: estação e trilhos
+
+A Brasiliana Fotográfica apresenta imagens da Estação da Estrada de Ferro Central do Brasil produzidas nos séculos XIX e XX: uma fotografia de Marc Ferrez (1843 – 1923), uma estereoscopia realizada pela firma Rodrigues & Co. e registros aéreos realizados pelo fotógrafo Jorge Kfuri (1893 – 1965), autor das primeiras fotografias aéreas do Rio de Janeiro, realizadas em 1916; e pelo piloto britânico S. H. Holland (1883- 1936), que atuou no Brasil, entre 1928 e 1932, tendo sido, inclusive, acusado por espionagem. Além disso, há imagens dos trilhos da ferrovia produzidas por Joaquim Insley Pacheco (1830 – 1912) e do Túnel Ottoni, de autoria de Ferrez.
+ 
+Joaquim Insley Pacheco. Quinta da Boa vista: trilhos da Estrada de Ferro Central do Brasil, 1878 – 1889. Rio de Janeiro, RJ / Acervo FBN
+ 
+Acessando o link para as fotografias de trilhos e da Estação da Estrada de Ferro Central do Brasil disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Marc Ferrez. Túnel Ottoni., c. 1885. Minas Gerais / Acervo IMS
+ 
+
+Pelo decreto 1.598, de 9 de maio de 1855, foram aprovados os estatutos da Companhia de Estrada de Ferro d. Pedro II e foi determinada sua organização no Rio de Janeiro com um capital de 38 mil contos, cumprindo o decreto 641, assinado em Londres, em 26 de junho de 1852 (Jornal do Commercio, 15 de maio de 1855, primeira coluna). Pouco tempo depois, em 29 de julho de 1855, quando a princesa Isabel completava 9 anos, foi realizada na quinta de dona Januária a cerimônia de lançamento da pedra fundamental da Estrada de Ferro Pedro II com a presença do imperador  (Diário do Rio de Janeiro, 30 de julho de 1855, primeira coluna).  Foi a terceira ferrovia brasileira – as anteriores foram a Estrada de Ferro Mauá (1854) e a Estrada de Ferro do Recife ao Cabo (1858) – e sua construção está ligada às famílias Teixeira Leite e Ottoni, grandes produtoras de café da região de Vassouras, no estado do Rio.
+A Igreja de Nossa Senhora de Santana foi demolida para a construção da Estação do Campo de Santana, mas a imagem da santa, em madeira, vinda de Portugal, encontra-se até hoje numa capela na gare da Central (Jornal do Commercio, 15 de maio de 1855, quarta coluna; Diário do Rio de Janeiro, 19 de julho de 1857, quarta coluna; Revista da Semana, 20 de setembro de 1941). Foi de lá, na ocasião a principal estação ferroviária do novo meio de transporte que ligaria o Rio de Janeiro ao cafeeiro Vale do Paraíba, que saíram as três locomotivas que inauguraram a primeira sessão da Estrada de Ferro Pedro II, em 29 de março de 1858, pela manhã, quando a locomotiva Imperador levou dom Pedro II (1825 – 1891), sua corte e ministério até Pouso dos Queimados. As outras  chamavam-se Brazil e Imperatriz (Correio Mercantil, 24 de março de 1858, terceira coluna; Correio Mercantil, 30 de março de 1858, segunda coluna; e Diário do Rio de Janeiro, 30 de março de 1858, segunda coluna). Antes das partidas das locomotivas, houve as bênçãos do bispo, a saudação de Christiano Benedicto Ottoni (1811 – 1896), diretor da Companhia da Estrada de Ferro Dom Pedro II, e a resposta do imperador:
+ 
+Diário do Rio de Janeiro, 30 de março de 1858
+
+ 
+Trem inaugural da Estrada de Ferro dom Pedro II, 29 de março de 1858. Rio de Janeiro, RJ / Brasil Ilustrado, abril de 1943
+ 
+Em pouco tempo passou a ser conhecida como Estação da Corte e mais tarde foi denominada Estação Dom Pedro II. Com a República, a ferrovia foi rebatizada como Estrada de Ferro Central do Brasil  e com isso a estação foi imediatamente chamada de Estação Central do Brasil. Foi reformada anos mais tarde e finalmente demolida nos anos 30 para a construção da avenida Presidente Vargas (Revista da Semana, 4 de abril de 1936 e 31 de julho de 1937).  A comemoração dos 85 anos da Estrada de Ferro Central do Brasil, em 1943, foi realizado no hall do atual edifício da estação, em estilo art déco, com um almoço com diversas autoridades e com a abertura de uma exposição, além das inaugurações do trecho eletrificado entre Nova Iguaçu e Morro Agudo e do relógio da torre da Central, que se tornou um ponto de referência dos cariocas (Jornal do Brasil, 30 de março de 1943; Careta, 10 de abril de 1943; e Revista da Semana, 10 de abril de 1943). O relógio fica entre o 21º e o 26º andares da estação ferroviária e é um dos maiores relógios de quatro faces do mundo – cada uma é um quadrado com dez metros de altura por dez metros de largura. Está montado a 110 metros de altura e pode ser visto de diversos pontos da cidade.
+ 
+Rodrigues & Co. Estação Estrada de Ferro Central do Brasil, c. 1890/1900. Rio de Janeiro, RJ / Acervo Arquivo Nacional
+ 
+ 
+Marc Ferrez. Estação da estrada de ferro Central do Brasil, c. 1890. Rio de Janeiro, RJ / Convênio Instituto Moreira Salles – Leibniz-Institut für Länderkunde
+ 
+ 
+S.H. Holland. Estação D.Pedro II : Inicial da E. F. Central do Brasil, 1930. Rio de Janeiro, RJ / Acervo FBN
+ 
+ 
+Jorge Kfuri. A Central do Brasil e o Campo de Santana, s/d. Rio de Janeiro, RJ / Acervo DPHDM
+ 
+ 
+A Estação Central do Brasil em três tempos / Revista da Semana, 4 de abril de 1936
+ 
+O título deste artigo foi alterado de Estrada de Ferro Central do Brasil: estação e trilhos para Série O Rio de Janeiro desaparecido IX – Estrada de Ferro Central do Brasil: estação e trilhos, em 16 de setembro de 2021.
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+BEM, Sueli Ferreira de. Contribuição para estudos das estações ferroviárias paulistas. Dissertação de Mestrado apresentada à Faculdade de Arquitetura e Urbanismo da Universidade de São Paulo, 1998
+COARACY, Vivaldo. Coleção Rio 4 séculos, volume 3. Rio de Janeiro: Livraria José Olympio Editora, 1965.
+DUNLOP, Charles. Rio Antigo, vol 2. Rio de Janeiro : Cia. Editora e Comercial F. Lemos, 1956.
+GUIMARÃES, Ino Venerotti. Campo de Santana: de charco a palco privilegiado de manifestações populares e oficiais. Revista do Arquivo Geral da Cidade do Rio de Janeiro, 2011.
+Hemeroteca Digital da Biblioteca Nacional
+MATOS, Odilon Nogueira de. Café e ferrovias: a evolução ferroviária de São Paulo e o desenvolvimento da cultura cafeeira. São Paulo : Editora Alfa-Ômega, 1974.
+O Globo
+PESSOA, Vicente Alves de Paula. Guia da Estrada de Ferro Central do Brasil. Rio de Janeiro : Imprensa Nacional, 1902.
+Site da Supervia
+TELLES, Pedro Carlos da Silva. História da Engenharia no Brasil. Rio de Janeiro : Editora Livros Técnicos e Científicos, 1984.
+ 
+Links para os outros artigos da Série O Rio de Janeiro Desaparecido
+ 
+Série O Rio de Janeiro desaparecido I - Salas de cinema do Rio de Janeiro do início do século XX, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 26 de fevereiro de 2016.
+Série O Rio de Janeiro desaparecido II – A Exposição Nacional de 1908 na Coleção Família Passos, de autoria de Carla Costa, historiadora do Museu da República, publicado na Brasiliana Fotográfica, em 5 de abril de 2018.
+Série O Rio de Janeiro desaparecido III – O Palácio Monroe, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica, em 9 de novembro de 2016.
+Série O Rio de Janeiro desaparecido IV - A via elevada da Perimetral, de autoria da historiadora Beatriz Kushnir, publicado na Brasiliana Fotográfica em 23 de junho de 2017.
+Série O Rio de Janeiro desaparecido V – O quiosque Chopp Berrante no Passeio Público, Ferrez, Malta e Charles Dunlop, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 20 de julho de 2018.
+Série O Rio de Janeiro desaparecido VI – O primeiro Palácio da Prefeitura Municipal do Rio de Janeiro, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 12 de setembro de 2018.
+Série O Rio de Janeiro desaparecido VII – O Morro de Santo Antônio na Casa de Oswaldo Cruz, de autoria de historiador Ricardo Augusto dos Santos da Casa de Oswaldo Cruz, publicado na Brasiliana Fotográfica em 5 de fevereiro de 2019.
+Série O Rio de Janeiro desaparecido VIII – A demolição do Morro do Castelo, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 30 de abril de 2019.
+Série O Rio de Janeiro desaparecido X – No Dia dos Namorados, um pouco da história do Pavilhão Mourisco em Botafogo, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 12 de junho de 2020.
+Série O Rio de Janeiro desaparecido XI – A Estrada de Ferro do Corcovado e o mirante Chapéu de Sol, de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 22 de julho de 2021.
+Série O Rio de Janeiro desaparecido XII – o Teatro Lírico (Theatro Lyrico), de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 15 de setembro de 2021.
+Série O Rio de Janeiro desaparecido XIII – O Convento da Ajuda, de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 12 de outubro de 2021.
+Série O Rio de Janeiro desaparecido XIV – O Conselho Municipal, de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 19 de novembro de 2021.
+Série O Rio de Janeiro desaparecido XV – A Praia de Santa Luzia no primeiro dia do verão, de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 21 de dezembro de 2021.
+Série O Rio de Janeiro desaparecido XVI – O prédio da Academia Imperial de Belas Artes, de autoria de Andrea C.T. Wanderley, publicado na Brasiliana Fotográfica em 13 de janeiro de 2022.
+Série O Rio de Janeiro desaparecido XVII – Igreja São Pedro dos Clérigos, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 18 de março de 2022.
+Série O Rio de Janeiro desaparecido XVIII – A Praça Onze, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 20 de abril de 2022.
+Série O Rio de Janeiro desaparecido XIX – A Igrejinha de Copacabana, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 23 de junho de 2022.
+Série O Rio de Janeiro desaparecido XX – O Pavilhão dos Estados, futuro prédio do Ministério da Agricultura, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 26 de julho de 2022.
+Série O Rio de Janeiro desaparecido XXI – O Chafariz do Largo da Carioca, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 19 de setembro de 2022. 
+Série O Rio de Janeiro desaparecido XXII – A Cadeia Velha que deu lugar ao Palácio Tiradentes, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 11 de abril de 2023
+Série O Rio de Janeiro desaparecido XXIII e Avenidas e ruas do Brasil XVII - A Praia e a Rua do Russel, na Glória, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 15 de maio de 2023
+Série O Rio de Janeiro desaparecido XXIV – O luxuoso Palace Hotel, na Avenida Rio Branco, uma referência da vanguarda artística no Rio de Janeiro, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 4 de julho de 2023
+Série O Rio de Janeiro desaparecido XXV – O Theatro Phenix, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 5 de setembro de 2023
+Série O Rio de Janeiro desaparecido XXVI – Conclusão do arrasamento do Morro do Castelo por Augusto Malta, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 14 de dezembro de 2023
+Série O Rio de Janeiro desaparecido XXVII e Série Os arquitetos do Rio de Janeiro V – O Jockey Club e o Derby Club, na Avenida Rio Branco e o arquiteto Heitor de Mello (1875 – 1920), de autoria de Andrea c. T. Wanderley, editora e pesquisadora do portal, em 15 de janeiro de 2024
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/4091` — `itens/20.500.12156.1_4091/`
+- `20.500.12156.1/6426` — `itens/20.500.12156.1_6426/`
+- `20.500.12156.1/5056` — `itens/20.500.12156.1_5056/`
+- `20.500.12156.1/4416` — `itens/20.500.12156.1_4416/`
+- `20.500.12156.1/3977` — `itens/20.500.12156.1_3977/`
+- `20.500.12156.1/4567` — `itens/20.500.12156.1_4567/`
+
diff --git a/wordpress/16103-jorge-kfuri-1893-1965-autor-das-primeiras-fotografias-aereas-do-rio-de-janeiro.md b/wordpress/16103-jorge-kfuri-1893-1965-autor-das-primeiras-fotografias-aereas-do-rio-de-janeiro.md
new file mode 100644
index 0000000..97009da
--- /dev/null
+++ b/wordpress/16103-jorge-kfuri-1893-1965-autor-das-primeiras-fotografias-aereas-do-rio-de-janeiro.md
@@ -0,0 +1,151 @@
+---
+id: 16103
+url: "https://brasilianafotografica.bn.gov.br/?p=16103"
+titulo: "Jorge Kfuri (1893 – 1965), autor das primeiras fotografias aéreas do Rio de Janeiro"
+autor: "Andrea Wanderley"
+data: "2019-12-26T12:01:41+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/5368", "20.500.12156.1/4345", "20.500.12156.1/6597", "20.500.12156.1/4245", "20.500.12156.1/3549"]
+fetched_at: "2026-09-10T09:59:23.733Z"
+---
+
+# Jorge Kfuri (1893 – 1965), autor das primeiras fotografias aéreas do Rio de Janeiro
+
+Jorge Kfuri / Careta, 1º de dezembro de 1928
+A Brasiliana Fotográfica publica seu último artigo de 2019*. É sobre o fotógrafo aviador Jorge Kfuri que nasceu em 3 de setembro de 1893, no Líbano ou na Síria**. Sabe-se que já estava no Brasil, na década de 1910, tendo se naturalizado brasileiro, em 19 de março de 1921 (O Paiz, 5 de maio de 1921, na terceira coluna, Relatório da Marinha de 1922 e Relatório do Ministério da Justiça de 1922). Foi o autor das primeiras fotografias aéreas do Brasil, segundo noticiado pelo jornal A Noite, de 30 de outubro de 1916, imagens do acampamento dos Afonsos. Também no Rio de Janeiro, ainda em 1916, produziu outras fotos aéreas quando voou com o piloto naval Virginius de Lamare, futuro major-brigadeiro, no C-1, uma das três aeronaves Curtiss Flying Boats encomendadas pelo então ministro da Marinha, o almirante Alexandrino de Alencar (1848 – 1926), que chegaram ao Brasil em 9 de julho de 1916 (A Noite, 24 de outubro de 1953, na quarta coluna). O acervo da Brasiliana Fotográfica possui 294 fotografias produzidas por Kfuri, procedentes da Diretoria do Patrimônio Histórico e Documentação da Marinha, uma das instituições parceiras do portal, e do Instituto Moreira Salles, um de seus fundadores.***
+Acessando o link para as fotografias de autoria de Jorge Kfuri disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Jorge Kfuri. O Graf Zeppelin sobrevoa Botafogo e Humaitá, vendo-se a Lagoa Rodrigo de Freitas ao fundo, 25 de maio de 1930. Rio de Janeiro, RJ / Acervo DPHDM
+ 
+Há registros de diversos bairros do Rio de Janeiro, como Botafogo, Centro, Lapa, Leblon e São Cristóvão; de prédios famosos como o Hotel Glória e a Central do Brasil; de ícones da paisagem carioca como o Corcovado, o Pão de Açúcar e a Lagoa Rodrigo de Freitas; do Zeppelin voando sobre a cidade; das ilhas Fiscal, Paquetá e Brocoiós; de navios iluminados na ocasião do Centenário da Independência do Brasil e da visita dos aviadores Sacadura Cabral e Gago Coutinho, ambos em 1922; e também de outras cidades como Florianópolis, Niterói, Petrópolis, São Paulo, São Vicente e Santos, dentre várias outras fotografias.
+ 
+Breve cronologia do piloto e fotógrafo Jorge Kfuri (1893 – 1965)
+ 
+1893 – Nascimento de Jorge Kfuri, no Líbano ou na Síria, em 3 de setembro, filho de Amelia (18? -1931) e Calile Kfuri (18?- ?).
+1913 - Esteve na festa em comemoração ao primeiro ano do jornal O Imparcial (O Imparcial, 18 de agosto de 1913, última coluna).
+Foi um dos fundadores da Associação dos Photographos de Imprensa, provavelmente a primeira do gênero, no Brasil, criada em 28 de outubro de 1913.
+ 
+Fon-Fon, 1º de novembro de 1913
+ 
+1914 - Havia trabalhado para o jornal O Século e ia para a Europa. Foi substituído por Joaquim Alberto Vieira (Correio da Noite, 11 de maio de 1914, última coluna; O Século, 23 de junho de 1914, segunda coluna).
+1916 –  Kfuri já trabalhava como fotógrafo do jornal A Noite, quando passou mal, com sintomas de intoxicação, após tomar um chocolate em um café do Largo da Carioca. Foi noticiado que esses casos de envenenamento aconteciam porque os donos dos estabelecimentos usavam vasilhames de cobre, o que era proibido pela Saúde Pública e, para isso, contavam com a desonestidade dos fiscais (A Noite, 2 de abril de 1916, na última coluna).
+Um falso advogado foi preso e no caminho para a delegacia tentou agredir Kfuri (A Razão, 12 de junho de 1917, na terceira coluna).
+O jornal A Noite noticiou que as primeiras fotografias aéreas produzidas no Brasil haviam sido de autoria de Kfuri. Eram imagens do acampamento dos Afonsos tiradas de um biplano, da Escola de Aviação, pilotado por Darioli (A Noite, 30 de outubro de 1916).
+ 
+A Noite, 30 de outubro de 1916
+ 
+Produziu fotografias aéreas do Rio de Janeiro, em novembro de 1916, quando voou com o piloto naval Virginius de Lamare, futuro major-brigadeiro, no C-1, uma das três aeronaves Curtiss Flying Boats. Foram encomendadas pelo então ministro da Marinha, almirante Alexandrino de Alencar (1848 – 1926), e chegaram ao Brasil em 9 de julho de 1916 (A Noite, 29 de novembro de 1916; A Noite, 24 de outubro de 1953, na quarta coluna).
+ 
+Jorge Kfuri. Hidroavião Curtiss F na Baía de Guanabara junto à Praça Mauá, 1916. Rio de Janeiro, RJ / Acervo DPHDM
+ 
+A Noite, 29 de novembro de 1916
+ 
+1918 – Kfuri presenteou a Associação Brasileira de Imprensa com uma fotografia produzida por ele do sr.presidente da República em companhia dos ministros do Estado num dos maiores momentos históricos da vida nacional – assinando a declaração de guerra do Brasil à Alemanha (O Imparcial, 8 de outubro de 1918, na última coluna). O presidente era Wenceslau Braz (1868 – 1966) e a assinatura aconteceu em 26 de outubro de 1917.
+1919 –  Fez parte do time de futebol de fotógrafos que jogou na festa do Audax Club (O Paiz, 16 de janeiro de 1919, na primeira coluna) e, ainda trabalhando no jornal A Noite, foi arrolado como testemunha de irregularidades praticadas em uma casa de saúde ( Jornal, 7 de outubro de 1919, na penúltima coluna). Participou da cobertura jornalística da prisão de um criminoso envolvido no tráfico de cocaína (A Noite, 23 de outubro de 1919, na terceira coluna).
+1920 – Trabalhando como fotógrafo do jornal A Noite, Kfuri sofreu queimaduras de primeiro grau no dorso da mão direita pela explosão de magnésio quando se preparava para tirar uma chapa no edifício do Senado Federal. Na época, ele residia na rua Senador Dantas, nº 14, e foi identificado como sírio com a idade de 27 anos (O Jornal, 4 de maio de 1920, na última coluna).
+Kfuri foi aceito como associado na Associação Brasileira de Imprensa (Jornal do Brasil, 23 de junho de 1920, na penúltima coluna).
+1921 – Kfuri, referido como sírio, naturalizou-se brasileiro, em 19 de março (O Paiz, 5 de maio de 1921, na terceira coluna e Relatórios do Ministério da Justiça de 1922).
+Kfuri foi contratado como encarregado técnico do serviço de fotografia aérea da Aviação Naval (O Paiz, 21 de dezembro de 1921, na primeira coluna, e O Relatório do Ministério da Marinha de 1922).
+ 
+O Paiz, 21 de dezembro de 1921
+ 
+Sofreu um pequeno acidente aéreo com o piloto Epaminondas Santos, no aeromarino 40 (O Paiz, 28 de dezembro de 1921, na quarta coluna).
+1922 – Publicação de fotos de autoria de Kfuri da Ilha das Cobras e do Cemitério do Caju (Fon-Fon, 4 de fevereiro de 1922).
+Kfuri estava no avião Avro nº 2, pilotado pelo tenente Luiz Leal Netto dos Reis, que sobrevoou a casa de Santos Dumont (1873 – 1932), em Petrópolis, onde deixaram cair um para-quedas com uma mensagem de saudações a ele, que a recolheu (O Paiz, 16 de março de 1922, na terceira coluna).
+Fotografou a visita dos aviadores Sacadura Cabral (1881 – 1924) e Gago Coutinho(1869 – 1959) ao Brasil e navios iluminados na ocasião do Centenário da Independência do Brasil.
+ 
+Jorge Kfuri. Exposição do centenário da Independência, 1922. Rio de Janeiro, RJ / Acervo DPHDM
+ 
+Foto de Kfuri publicada na revista Illustração Brasileira de 15 de novembro de 1922
+ 
+1923 –  Para servir como encarregado técnico do serviço de fotografia aérea da Aviação Naval, o Ministério da Marinha contratou o sr. Jorge Kfuri, servindo também como operador cinematográfico em qualquer dos departamentos da Marinha para que seja requisitado (Jornal do Commercio, 14 de maio de 1923, na segunda coluna).
+O ministro da enviou ao presidente do Tribunal de Contas uma cópia do contrato celebrado com Jorge Kfuri para servir como fotógrafo da Marinha (Última Hora, 15 de junho de 1923, na terceira coluna e O Paiz, 16 de junho de 1923, na última coluna).
+Kfuri integrou como segundo tenente honorário da Marinha a esquadrilha de quatro hidroaviões que foi para a Bahia, sob o comando do capitão de mar e guerra e futuro ministro da Marinha Protógenes Pereira Guimarães (1876 – 1938) (Gazeta de Notícias, 26 de junho de 1923, na quinta coluna e A Rua, 2 de julho de 1923, na penúltima coluna). A esquadrilha voltou para o Rio de Janeiro e foi muito homenageada (O Paiz, 9 de agosto de 1923). Kfuri foi um dos convidados para o banquete oferecido no Palace Hotel pelo Aero Club Brasileiro a Protógenes e a seus comandados no raid de aviação entre Rio e Aracaju (O Imparcial, 30 de agosto de 1923, na segunda coluna).
+Foi um dos tripulantes dos três hidroaviões que regressaram de Santos para o Rio de Janeiro (Jornal do Commercio, 12 de setembro de 1923, na quarta coluna).
+1926 – Fez parte da tripulação de um dos aviões que recepcionou a chegada, no Rio de Janeiro, do avião Plus Ultra, que havia partido da Europa, pilotado por Ramon Franco (1896 – 1938), um dos pioneiros da aviação espanhola (A Manhã, 3 de fevereiro de 1926 e Jornal do Brasil, 10 de fevereiro de 1926, na terceira coluna).
+Participou do segundo voo do avião 322 no serviço postal (O Paiz, 4 de abril de 1926, na sexta coluna).
+Houve uma tentativa de assalto na casa de Kfuri na rua Taylor, nº 80 (Gazeta de Notícias, 21 de abril de 1926, na quarta coluna).
+Kfuri fez parte da tripulação dos aviões que receberam o hidroavião Buenos Aires, pilotado pelos aviadores argentinos Duggan e Olivero (O Paiz, 19 e 20 de julho de 1926).
+Integrava a equipe da esquadrilha da Marinha de Guerra, de três aviões, que partiu para pela primeira vez voar entre o Rio de Janeiro e Belo Horizonte. Estava no avião, pilotado pelo capitão-tenente Luiz Leal Netto dos Reis, que sofreu uma pane e caiu nos arredores de Petrópolis (O Brasil, 4 de agosto de 1926, O Paiz, 4 de agosto de 1926, na sexta coluna e O Jornal, 4 de agosto de 1926).
+ 
+O piloto Netto Reis, de uniforme escuro, e Jorge Kfuri / O Jornal, 4 de agosto de 1926
+ 
+1927 –  Sua participação na documentação fotográfica das pesquisas sobre os explosivos super-rupturita foi elogiada em um ofício encaminhado pelo diretor da comissão dos estudos desse tipo de explosivo ao diretor-geral da Aeronáutica (O Brasil, 11 de novembro de 1927, na última coluna).
+1928 – Jorge Kfuri foi elogiado por seu trabalho à disposição do comando da esquadra no segundo período dos exercícios gerais, em dezembro de 1927, e que satisfazendo os desejos do referido comando, conseguiu organizar para o Diretório da Aeronáutica da Armada, valioso documento cinematográfico demonstrativo das fainas e exercícios naquela ocasião (O Paiz, 10 de agosto de 1928, na quinta coluna).
+Kfuri foi um dos oficiais escalados para velar o corpo do aviador italiano Carlo del Prete (1897 – 1928), na Embaixada da Itália, no Rio de Janeiro. O italiano havia sofrido um acidente na Ponta do Galeão (Jornal do Commercio, 17 de agosto de 1928, na segunda coluna).
+Na Escola de Grumetes de Angra dos Reis, Kfuri foi um dos três oficiais feridos com a explosão de uma bomba que deveria ser utilizada pelos aviadores navais durante os exercícios da Armada. Dois oficiais morreram (A Noite, 27 de novembro de 1928, O Estado, 28 de novembro de 1928 e Careta, 1º de dezembro de 1928).
+ 
+Jorge Kfuri. O Chapéu do Sol no morro do Corcovado, s/d. Rio de Janeiro, RJ / Acervo DPHDM
+ 
+1929 - Foi ferido em um acidente no avião MF 4, pilotado por Raul Bandeira (Diário Nacional, 12 de junho de 1929, na última coluna, Jornal do Brasil, 12 de junho de 1929 e O Paiz, 13 de junho de 1929, na segunda coluna).
+No Almanak Laemmert de 1929 e de 1931, Jorge Kfuri foi listado como o encarregado do serviço fotográfico da Escola de Aviação Naval.
+1931 – Falecimento da mãe de Kfuri, dona Amélia Kfuri, no Rio de Janeiro (Diário da Noite, 16 de março de 1931, na primeira coluna).
+A família de Kfuri mandou rezar uma missa em Ação de Graças por seu restabelecimento após o acidente de 1929 (Diáro da Noite, 11 de junho de 1931, na segunda coluna).
+1932 – O ministro da Marinha, Protógenes Pereira Guimarães (1876 – 1938), elogiou a conduta de Kfuri no navio Belmonte, como auxiliar do aviador João Correia Dias Costa (Correio da Manhã, 21 de fevereiro de 1932, na terceira coluna).
+Por decreto do Ministério da Marinha, Kfuri foi efetivado no lugar de encarregado técnico dos serviços fotográficos dos Centros e Escola de Aviação Naval com as honras e vantagens do posto de 1° tenente da Armada (Correio da Manhã, 14 de maio de 1932, na sétima coluna).
+1933 – A reportagem Aspectos de Belém foi ilustrada com fotografias produzidas por Jorge Kfuri (A Noite Ilustrada, 19 de julho de 1933)
+Kfuri foi um dos oficiais integrantes da 4ª Divisão de Esclarecimento e Bombardeio Aéreo que atuou no Alto Solimões na vigilância da neutralidade do Brasil no conflito entre a Colômbia e o Peru. A divisão foi comandada pelo capitão de corveta aviador Álvaro de Araújo (Jornal da Noite, 28 de junho de 1933, na terceira coluna, e Correio da Manhã, 21 de junho de 1933, na terceira coluna).
+Entrevista com Kfuri sobre suas impressões da região do Alto Solimões nos 45 dias que passou lá (Jornal da Noite, 3 de julho de 1933).
+Kfuri produziu a primeira fotografia aérea de Belo Horizonte, durante uma viagem do ministro da Marinha, Protógenes Pereira Guimarães (1876 – 1938), a Minas Gerais. Kfuri voou em um avião Fairey pilotado pelo capitão de corveta Álvaro de Araújo (Diário da Noite, 19 de julho de 1933, na quinta coluna).
+ 
+O Fairey comandado pelo capitão de corveta Álvaro de Araújo pousado em Ponta Nova durante a viagem a Minas Gerais. Kfuri é o primeiro a esquerda e o capitão Araújo está com o uniforme todo escuro / Jornal da Noite, 3 de outubro de 1933
+ 
+Kfuri ficou ferido em um acidente aéreo perto de Petrópolis, quando voava em um avião da Marinha em exercício no território fluminense, pilotado pelo capitão de corveta Álvaro Araújo. O terceiro tripulante era o aviador civil Raphael Chrisóstomo de Oliveira. Esses dois últimos sofreram pequenas escoriações. A aeronave, Fairey 55, ficou inutilizada. Kfuri foi referido comoum dos nossos aviadores navais mais arrojados…Fotógrafo, talvez, o mais hábil da nossa aviação naval… (Pequeno Jornal, 3 de outubro de 1933, na quarta coluna, Jornal da Noite, 3 de outubro de 1933, e Jornal do Brasil, 4 de outubro de 1933). Segundo a matéria do Jornal da Noite, foi a sétima vez que Kfuri estava em uma avião que caiu (Jornal da Noite, 3 de outubro de 1933, na penúltima coluna).
+1934 – Foi um dos filhos de libaneses homenageados pela Missão Libanesa Maronita do Rio de Janeiro (Jornal do Brasil, 30 de janeiro de 1934).
+Kfuri iria integrar como responsável pelo serviço aerofotográfico o grupo da Marinha que faria o levantamento aerotopográfico do litoral nortista (Jornal da Noite, 27 de abril de 1934, na sétima coluna).
+1935 – O ministro da Marinha, Protógenes Pereira Guimarães (1876 – 1938), solicitou ao consultor geral da República a extensão do abono salarial a três oficiais honorários da Armada brasileira e Kfuri era um deles (Jornal do Brasil, 2 de outubro de 1935, na segunda coluna).
+1936 – Terrenos da aviação naval no campo de São Bento, na Ilha do Governador, estavam ameaçados de despejo pela Companhia Indústria e Comércio. Kfuri era um dos oficiais da Armada que possuía um dos lotes (O Imparcial, 27 de junho de 1936 e 28 de junho de 1936, na última coluna).
+1939 – Participou de um cruzeiro aéreo entre o Rio de Janeiro e São Paulo (Correio Paulistano, 18 de julho de 1939, na última coluna).
+1941 – Kfuri estava presente na posse do coronel Dias Costa como presidente do Aeroclube do Brasil (Jornal do Brasil, 1º de agosto de 1941, na quinta coluna).
+1942 – O ministro da Aeronáutica, Joaquim Pedro Salgado Filho (1888 – 1950), tornou sem efeito a transferência e nomeação de Jorge Kfuri para monitor de fotografia aérea da Escola de Especialistas da Aeronáutica (Diário de Notícias, 23 de maio de 1942, na segunda coluna, e A Manhã, 7 de julho de 1942, na quarta coluna).
+1954 – Kfuri servia no gabinete do ministro da Aeronáutica (Correio da Manhã, 1º de setembro de 1954, na sétima coluna).
+1956 – Em uma coluna sobre reportagens antigas do jornal A Noite,  o jornalista Bento Malafaia relatou que o fotógrafo Kfuri havia participado de uma reportagem onde ele se fez passar como secretário de um suposto faquir, na verdade, o redator Eustachio Alves. O “consultório” fez muito sucesso na cidade. Depois de revelada a verdade, foram tomadas medidas contra a exploração de faquires e cartomantes abrandando a crendice popular (A Noite, 24 de julho de 1956, na penúltima coluna).
+ 
+Jorge Kfuri. Pão de Açúcar, Rio de Janeiro, 1919. Rio de Janeiro, RJ / Acervo FBN
+ 
+1957 – Em cerimônia realizada na praça Salgado Filho, com a presença do presidente da República, Juscelino Kubitschek (1902 – 1976), e de Thomas White, Chefe do Estado Maior da Força Aérea dos Estados Unidos, Kfuri foi condecorado com o grau de Cavaleiro da Ordem do Mérito Aeronáutico. Foi publicada uma fotografia de Kfuri sendo condecorado (Correio da Manhã, 24 de outubro de 1957 e Jornal do Brasil, 24 de outubro de 1957, na primeira coluna).
+1959 – O presidente da República, Juscelino Kubitschek (1902 – 1976), assinou um decreto suprimindo o cargo de chefe do Serviço Fotográfico da Aeronáutica, vago em virtude da aposentadoria de Jorge Kfuri (Jornal do Dia, 15 de setembro de 1959, na quarta coluna).
+1965 – Falecimento de Jorge Kfuri, em 21 de janeiro, no Hospital Central da Aeronáutica. Sua esposa, Hilda Carelli Kfuri, publicou um anúncio do enterro, realizado no cemitério São João Batista. Na sua certidão de óbito, consta que ele teria nascido no Líbano (Correio da Manhã, 22 de janeiro de 1965, na primeira coluna).
+ 
+Correio da Manhã, 22 de janeiro de 1965
+ 
+No seu atestado de óbito consta que ele havia nascido no Líbano.
+ 
+Atestado de óbito de Jorge Kfuri / Site Family Search
+ 
+1999 – No Espaço Cultural da Marinha, no Rio de Janeiro, foi realizada, entre dezembro de 1999 e abril de 2000, a exposição Imagens da Aviação Naval com fotografias pertencentes ao acervo do Serviço de Documentação da Marinha, que fazem parte de um álbum de 555 imagens produzidas por Kfuri com registros da aviação naval desde seu início, de vistas aéreas do Rio de Janeiro e de acontecimentos importantes na cidade.
+ 
+Jorge Kfuri / Jornal da Noite, 3 de outubro de 1933
+ 
+ 
+Colaborou para esta pesquisa a bibliotecária Marcia Prestes Taft, Encarregada da Divisão de Documentos Especiais da Diretoria do Patrimônio Histórico e Documentação da Marinha.
+*Esse parágrafo foi alterado em 1º de agosto de 2025
+**Em matérias de jornal, ele é referido ora como sírio ora como libanês. A pesquisa da Brasiliana Fotográfica acredita que ele tenha nascido no Líbano por dois fatos: em 1934, ele foi um dos filhos de libaneses homenageados pela Missão Libanesa Maronita do Rio de Janeiro; e o local de seu nascimento como o Líbano é o que consta em seu atestado de óbito.
+***Este número foi modificado em 16 de junho de 2025.
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+ANDRADE, Joaquim Marçal Ferreira. Milan Alram. Rio de Janeiro: Bazar do Tempo, 2015.
+Arquivo Nacional
+Diretoria do Patrimônio Histórico e Documentação da Marinha
+Hemeroteca da Biblioteca Nacional
+Site da Biblioteca da Presidência da República
+Site da Câmara dos Deputados
+Site da Secretaria de Estado de Cultura do Distrito Federal
+Site da Presidência da República – Casa Civil
+Site do CPDOC
+Site do Senado Federal
+Site do Superior Tribunal Militar
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/5368` — `itens/20.500.12156.1_5368/`
+- `20.500.12156.1/4345` — `itens/20.500.12156.1_4345/`
+- `20.500.12156.1/6597` — `itens/20.500.12156.1_6597/`
+- `20.500.12156.1/4245` — `itens/20.500.12156.1_4245/`
+- `20.500.12156.1/3549` — `itens/20.500.12156.1_3549/`
+
diff --git a/wordpress/16160-o-descobrimento-do-forte-do-principe-da-beira-a-expedicao-de-1913-do-almirante-j.md b/wordpress/16160-o-descobrimento-do-forte-do-principe-da-beira-a-expedicao-de-1913-do-almirante-j.md
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@@ -0,0 +1,149 @@
+---
+id: 16160
+url: "https://brasilianafotografica.bn.gov.br/?p=16160"
+titulo: "O “descobrimento” do Forte do Príncipe da Beira: a expedição de 1913 do almirante José Carlos de Carvalho"
+autor: "Andrea Wanderley"
+data: "2019-08-09T11:57:04+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/6559", "20.500.12156.1/6563", "20.500.12156.1/6565", "20.500.12156.1/6561", "20.500.12156.1/6562"]
+fetched_at: "2026-09-10T09:59:27.293Z"
+---
+
+# O “descobrimento” do Forte do Príncipe da Beira: a expedição de 1913 do almirante José Carlos de Carvalho
+
+O Real Forte do Príncipe da Beira é considerado a maior edificação militar portuguesa construída fora da Europa, no Brasil Colonial. É sua história que Carlos André Lopes da Silva, pesquisador da Diretoria do Patrimônio Histórico e Documentação da Marinha, uma das instituições parceiras da Brasiliana Fotográfica, traz para os leitores do portal. Inaugurado em 20 de agosto de 1783, na margem direita do rio Guaporé, perto do atual município de Costa Marques, em Rondônia, o forte foi batizado em homenagem a dom José de Bragança, o Príncipe da Beira, filho da Rainha D. Maria I. Majestosa relíquia da arquitetura militar luso-brasileira, é uma das mais importantes construções do Brasil Colônia. As fotografias reproduzidas nesse artigo são de autoria do fotógrafo Augusto Clímaco de Carvalho (18? – 19?) que participou de uma expedição ao local liderada pelo almirante José Carlos de Carvalho (1847 – 1934) realizada em 1913.
+Empreendimento de imenso custo, a construção do Forte do Príncipe da Beira em plena floresta amazônica, representava uma iniciativa da coroa portuguesa e da política do Marquês de Pombal, poderoso e influente ministro do governo de dom José I, rei de Portugal, para proteger as fronteiras do centro-oeste do Brasil nas disputas com a Espanha. Com a proclamação da República, em 1889, ficou durante muito tempo abandonado. Foi tombado em 1950 pelo então Serviço do Patrimônio Histórico e Artístico Nacional e faz parte do Conjunto de Fortificações candidato a Patrimônio Mundial da UNESCO em 2019. Atualmente, fica sob a guarda do 1° Pelotão Especial de Fonteira (1° PEF), subordinado ao Comando de Fronteira Rondônia/ 6° Batalhão de Infantaria de Selva (C Fron RO/6° BIS), da 17ª Brigada de Infantaria de Selva (17ª Bda Inf Sl)*.
+Acessando o link para as fotografias do Forte Príncipe da Beira disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+Pouco se sabe sobre o fotógrafo Alfredo Clímaco de Carvalho. Provavelmente nasceu na segunda metade do século XIX. Em 1910, foi eleito suplente da diretoria da Associação dos Empregados no Comércio do Amazonas , dois anos depois, fotografou Rodolfo Aranz, Delegado Nacional no Território de Colônias na Bolívia, e seus companheiros em visita ao Amazonas. Foi referido como inteligente amador. Em 1913, diversas guardas da coletoria foram extintas e Alfredo Clímaco de Carvalho (18? – 19?), que seria o responsável por uma delas, foi dispensado. No mesmo ano, em julho, integrou a expedição ao Forte do Príncipe da Beira, liderada pelo contra-almirante honorário José Carlos de Carvalho (1847 – 1934), e produziu diversas imagens da construção e dos integrantes da viagem. Várias dessas fotos foram publicadas na imprensa. Ainda em 1913, em novembro, foi nomeado subdelegado de Porto Velho. Foi empossado, em 24 de janeiro de 1915, um dos suplentes do primeiro Conselho Municipal de Porto Velho. Em 1918 e em 1919, foi listado no Almanak Laemmert como fotógrafo no estado do Amazonas. Há registros de que um homônimo ou ele próprio teria ido para o Rio Grande do Norte.
+ 
+Planta e desenho aproximado do Forte do Príncipe da Beira feita por algum membro da expedição de 1913, provavelmente pelo próprio José Carlos de Carvalho que era engenheiro / Acervo DPHDM
+ 
+O “descobrimento” do Forte do Príncipe da Beira: a expedição de 1913 do contra-almirante José Carlos de Carvalho
+Carlos André Lopes da Silva*
+ 
+Alfredo Clímaco de Carvalho. O Almirante José Carlos de Carvalho, o Dr. Octavio Costa Marques e grupo em visita ao Forte do Príncipe da Beira, 6/07/1913. Costa Marques, Rondônia / Acervo DPHDM
+ 
+Em 6 de julho de 1913, num ponto altaneiro da margem direita do rio Guaporé, que demarca a divisa entre o Brasil e a República da Bolívia, oito membros destacados do então estado do Mato Grosso se reuniram com um oficial-general da Marinha e um fotógrafo para assinar um documento que alertava para o esquecimento e abandono do que os mesmos identificaram como “monumento histórico”: o Real Forte do Príncipe da Beira. 
+No interior das sólidas muralhas de 10 metros de altura, inspecionaram aquele amplo forte setecentista: o intendente da Vila de Santo Antônio do Madeira, a sede municipal mais próxima, dr. Joaquim Augusto Tanajura, médico que atuou como chefe do serviço de saúde da Comissão Rondon; Octávio Costa Marques, delegado fiscal de Mato Grosso; Francisco Paes, um agente fiscal estadual; J. da Silva Campos, um engenheiro da Inspetoria Federal das Estradas; A. W. Wohott, também médico e sub-diretor do Hospital da Candelária de Porto Velho; R. A. Gesteira, um coronel do Exército venezuelano; Rudolph O. Kesselring, engenheiro alemão, representante da Estrada de Ferro Madeira-Mamoré, que apenas no ano anterior tinha iniciado sua operação comercial, e diretor da recém instalada Guaporé Rubber, companhia de capital dos Estados Unidos que explorava os seringais e inaugurou a navegação comercial no Guaporé; coronel Paulo Saldanha, gerente da mesma empresa; José Carlos de Carvalho (1847 – 1934), contra-almirante honorário, veterano da Guerra do Paraguai, político, explorador e a maior autoridade federal presente; e Alfredo Clímaco de Carvalho (18? – 19?), o fotógrafo que acompanhava aquela expedição. 
+ 
+Alfredo Clímaco de Carvalho. O Almirante José Carlos de Carvalho e grupo em frente ao frontão principal do Forte do Príncipe da Beira, 6/07/1913. Costa Marques, Rondônia / Acervo DPHDM
+ 
+O documento em forma de ata, na ocasião redigido e assinado por esses homens, foi entregue ao então presidente da República, também um militar como Carvalho, Saldanha e Gesteira, o marechal Hermes da Fonseca (1855 – 1923), destacando os objetivos da expedição: a entrega do Forte à guarda do governo estadual enquanto o federal estudava formas de ocupá-lo e a remoção de vestígios de um passado imponente para salvaguarda do Museu Nacional. A fortaleza, longe de ser um Eldorado perdido por séculos na floresta tropical, se manteve ocupado por guarnição militar desde sua prontificação, em 1783, até início do período republicano.
+Sua construção, iniciada em 1776, se deu dentro da política do ministro do rei dom José I de Portugal, Sebastião José de Carvalho e Melo (1699 – 1782), o marquês de Pombal, de garantir a posse e defesa da fronteira Oeste dos domínios portugueses, questionada pelos espanhóis nas deliberações dos diversos tratados firmados ao longo da segunda metade daquele século. A edificação seguia os preceitos mais altos da engenharia de fortificações do período, com formato quadrangular e quatro baluartes no sistema consagrado por Sébastien Le Prestre de Vauban (1633 – 1707), o grande arquiteto militar do reinado de Luís XIV (1638 – 1715). Com 970 metros de perímetro, os baluartes, com quatorze canhoneiras cada, permitiam o cruzamento de fogos para atacar os assediadores das muralhas, uma obra em pedra extraordinária para aquela fronteira inóspita. Iniciada pelo engenheiro militar italiano a serviço do Exército português Domingos Sambucetti (? – 1780) e terminada pelo sargento mór do Real Corpo de Engenheiros Ricardo Franco de Almeida Serra (1748 – 1809), a edificação da fortaleza engajou cerca de 200 trabalhadores especializados e mais de mil em regime de escravidão – negros e indígenas. Muitos desses, como o próprio Sambucetti, pereceram de doenças tropicais, sobretudo a malária, que ainda, em 1913, gerava crises sanitárias na região e a pobre Vila de Santo Antônio do Madeira era de seus epicentros. 
+Contudo, o início da operação prática do Real Forte Príncipe da Beira coincidiu com o relaxamento das tensões sobre as fronteiras americanas entre Portugal e Espanha que sobreveio ao Tratado de Santo Ildefonso de 1777. Com a independência dos estados sul-americanos nas primeiras décadas do século XIX, o permanente guarnecimento pelo Exército brasileiro de fronteira não contestada com a Bolívia tornou-se custoso para um aparato militar franzino que se ocupava de conter revoltas regionais e atuar na conflituosa fronteira do rio Prata. As guarnições do Forte da Beira foram minguando até seu completo abandono em 1895. 
+Em pouco menos de duas décadas, até a expedição de 1913, muito do material aproveitável foi retirado pela pobre e esparsa população do entorno. Telhas, tijolos, blocos menores de pedra, portas e janelas, madeirame do telhado e até os poucos e valiosos canhões de bronze, se espalharam para ambos os lados da fronteira. A ata encabeçada por José Carlos de Carvalho relatava que as muralhas e muros de pedra do casario interno ainda estavam bem conservados, mas tomados pela vegetação; antigos canhões de ferro fundido, sem valor comercial, tombados nos baluartes e a inscrição de 1776 em placa de pedra ainda encontrava-se fixada no frontão. Cumprindo o objetivo de recolher vestígios daquela marca de ocupação territorial para o Museu Nacional, trabalhadores da Guaporé Rubber transportaram um canhão calibre 24 de provável procedência inglesa, pelas alegadas inscrições “GR” (George Rex) encimada por coroa, encosta abaixo até um dos vapores daquela companhia. Também foram levadas partes da única porta de madeira maciça encontrada no baluarte Sul.
+ 
+Alfredo Clímaco de Carvalho. Transporte de uma peça de ferro, calibre 24, retirada do Forte do Príncipe da Beira com destino ao Museu Nacional, no Rio de Janeiro, 6/07/1913. Costa Marques, Rondônia / Acervo DPHDM
+ 
+José Carlos de Carvalho, utilizando sua influência como deputado federal em três legislaturas, solicitou aos dirigentes daquela companhia a derrubada da vegetação que tinha tomado o interior da praça da fortaleza e impingiu ao mais graduado representante do estado do Mato Grosso presente, o delegado fiscal Octávio Costa Marques, a guarda da edificação. Este prometeu transferir para ali o posto fiscal de Lamego, outro povoamento criado no período pombalino para a defesa da calha do Guaporé, o que manteria aquele sítio pelo menos ocupado.
+Mas pouco do dito e lavrado em ata, em 1913, foi realizado. Em 1930, o militar e sertanista Cândido Rondon (1865 – 1958) “redescobriu” o Forte tão abandonado como Carvalho o tinha encontrado. Muito por iniciativa do próprio Rondon, que dedicou a maior e melhor parte de sua carreira na exploração, mapeamento e extensão das linhas telegráficas pelos sertões do Mato Grosso e Amazonas, o sítio que se encontra o Forte Príncipe da Beira foi reocupado pelo Estado em 1937 com o estabelecimento do 7º Pelotão de Fronteira em quartel contíguo às muralhas. Em 1950, o Instituto do Patrimônio Histórico e Artístico Nacional tombou a edificação, oficializando sua descoberta como “monumento histórico” requerida por José Carlos de Carvalho quando da expedição de 1913.
+ 
+José Carlos de Carvalho, acompanhado por Gastão de Orléans e pela Princesa Isabel, em visita a usina dedicada à fabricação de armamentos militares, 1886 / Site do Exército
+ 
+ 
+Fontes:
+BARCELOS, Giovani da Silva. Forte Príncipe da Beira: conhecimento, valoração e preservação, 2018. 206 fls. Dissertação (Mestrado em Preservação do Patrimônio Cultural) – IPHAN, Rio de Janeiro, 2018. 
+BARROSO, Lourismar da Silva. Real Forte Príncipe da Beira: ocupação oeste da Capitania do Mato Grosso e seu processo construtivo (1775-1783), 2015. 102 fls. Dissertação (Mestrado em História) – Faculdade de Filosofia e Ciências Humanas da Pontifícia Universidade Católica do Rio Grande do Sul, 2015.
+NASCIMENTO. Sílvio Melo do. Real Forte Príncipe da Beira: história e estórias do imaginário popular do Vale do Guaporé. Revista Labirinto, ano XIII, n. 18, jun. 2013, p. 113-124. 
+TEIXEIRA. Paulo R. Rodrigues. Forte Príncipe da Beira. Da Cultura, ano III, n. 4, p. 45-52.
+Forte “Príncipe da Beira”. A Illustração Brazileira, n. 110, 16 de dezembro de 1913, p. 420,421.
+Necrologia – Vice-Almirante José Carlos de Carvalho. Revista Marítima Brasileira, 1934, p. 1253-1257.
+Noticiário – Presidência da República. Diário Official, 11 de setembro de 1913, p. 13305, 13306.
+ 
+*Carlos André Lopes da Silva é pesquisador da Diretoria do Patrimônio Histórico e Documentação da Marinha.
+ 
+ Breve cronologia do Real Forte Príncipe da Beira
+Andrea C. T. Wanderley**
+ 
+Alfredo Clímaco de Carvalho. Ruínas existentes no interior do Forte do Príncipe da Beira, 6/07/1913. Costa Marques, Rondônia / Acervo DPHDM
+ 
+1743 – Desde esse ano espanhóis estavam implantando alguns povoados na margem direita do rio Guaporé.
+1748 – O português Antônio Rolim de Moura Tavares (1709 – 1782) foi nomeado governador de Mato Grosso e recebeu instruções da metrópole para manter a todo o custo a posse da referida área. Ao longo de seu governo destruiu povoados fundados pelos espanhóis.
+1750 – Assinatura, em 13 de janeiro de 1750, do Tratado de Madri, firmado entre os reis João V de Portugal (1689 – 1750) e Fernando VI da Espanha (1713 – 1759) para definir os limites entre as respectivas colônias sul-americanas. Seu objetivo foi substituir o Tratado Tordesilhas, que na prática não era respeitado. As duas partes reconheceram ter violado o antigo tratado e utilizaram rios e montanhas para a demarcação dos novos limites, que se sobreporiam aos anteriores. As negociação foram baseadas no Mapa das Cortes.
+c. 1760 - Foi erguido o Fortim Nossa Senhora da Conceição na margem direita do rio Guaporé.
+1761 – O Tratado de El Pardo, de 12 de fevereiro de 1781, anulou todas as disposições e feitos decorrentes do Tratado de Madri, de 1750, que havia falhado em promover a paz nas colônias espanhola e portuguesa “de sorte que todas as coisas pertencentes aos limites da América e Ásia se restituem aos termos dos tratados, pactos e convenções que haviam sido celebrados entre as duas Corôas contratantes, antes do referido ano de 1750, ficam daqui em diante em sua fôrça e vigor..”
+1767 /1769 – O então já denominado Forte Nossa Senhora da Conceição, que havia sido arruinado, teve sua estrutura reconstruída a partir de 26 de setembro de 1767 e foi rebatizado, em 1769, pelo então governador do Mato Grosso, o português Luís Pinto de Sousa Coutinho (1735 – 1804) como Forte de Bragança.
+1772 – Em 13 de dezembro de 1772, tomou posse como governador da capitania do Mato Grosso, Luís de Albuquerque de Melo Pereira e Cáceres (1739 – 1797), que futuramente tomaria a iniciativa de construir o Forte do Príncipe a Beira. Ocupou o cargo até novembro de 1789 (O Comércio (MT), 28 de junho de 1911, penúltima coluna).
+c. 1775 - O Forte de Bragança estava em ruínas devido às enchentes regulares na região e foi iniciada a elaboração do Plano do Forte Príncipe da Beira, que o substituiria, no estilo do francês Sébastien Le Prestre de Vauban (1633 – 1707), o grande arquiteto militar do reinado de Luís XIV (1638 – 1715). As obras foram iniciadas em novembro de 1775.
+ 
+Plano do Forte Príncipe da Beira, Mato Grosso”, c. 1775. Cartografia do Arquivo Histórico Ultramarino, Lisboa
+ 
+1776 – Em 20 de junho, foi colocada a pedra fundamental do Forte Príncipe da Beira (Anais da Biblioteca Nacional, 1881). Luís de Albuquerque de Melo Pereira e Cáceres (1739 – 1797), como já mencionado,  era o governador e capitão-geral da capitania de Mato Grosso, cargo que ocupou entre 1772 e 1788. Foi dele a iniciativa da construção do forte, erguido a cerca de dois quilômetros a montante, do Forte de Bragança, na mesma margem do rio:
+“A soberania e o respeito de Portugal impõem que neste lugar se erga um forte, e isso é obra a serviço dos homens de El-Rei, nosso senhor e, como tal, por mais duro, por mais difícil e por mais trabalho que isso dê… é serviço de Portugal. E tem que se cumprir.”
+1780 – O engenheiro militar genovês a serviço de Portugal Domingos Sambuceti (? – 1780), que havia iniciado a obra, contraiu malária e faleceu. Assumiu, então, o capitão José Pinheiro de Lacerda, substituído, alguns meses depois, pelo sargento-mor do Real Corpo de Engenheiros do Exército, Ricardo Franco de Almeida e Serra (1748 – 1809), que seria nos últimos anos do século XVIII responsável pela nova fortificação de Coimbra, na margem direita do rio Paraguai, perto da cidade de Corumbá.
+1783 – Em 20 de agosto, inauguração do Forte Príncipe da Beira. Seu primeiro comandante foi o Capitão de Dragões, José de Melo de Souza Castro e Vilhena.
+O astrônomo paulista Francisco José de Lacerda (1753 – 1798) relatou observações astronômicas que havia realizado do Forte Príncipe da Beira (Anais da Biblioteca Nacional, 1881).
+1789 – O Forte Príncipe da Beira foi visitado, em 9 de junho, em missão científica oficial denominada Viagem Filosófica, pelo baiano Alexandre Rodrigues Ferreira (1756 – 1815), considerado um dos primeiros grandes naturalistas brasileiros.
+1830 – Aportava a primeira artilharia que lhe era destinada, constante de quatro bocas de fogo de calibre 24, enviadas do Pará. Mais tarde ali foram ter mais 14 canhões de ferro, de calibre 12.
+1836 – O Forte do Príncipe da Beira passou a receber sentenciados para ali cumprirem suas penas.
+1869 – O cronista Joaquim Ferreira Moutinho (1833 – 1914) lançou um um livro sobre a província de Mato Grosso seguido de um roteiro de viagem de sua capital a São Paulo. Visitou o forte que, segundo ele, já apresentava sinais de abandono (Jornal do Commercio, 16 de julho de 1869, última coluna).
+1876 -  O major de Engenharia Guilherme de Lassance,  o 1º Tenente da Marinha Frederico de Oliveira e o médico João Severiano da Fonseca (1836 – 1897), autor da Viagem ao Redor do Brasil, que compunham a Comissão Demarcadora dos Limites do Brasil com a Bolívia visitaram o Forte do Príncipe da Beira, que encontraram guarnecido com 14 praças e um sargento.
+1887 – O benemérito João Severiano da Fonseca (1836 – 1897) declarou sobre o forte: “a pena e o pesar verdadeiros de existir tal monumento em lugar onde apenas um ou outro degredado, um ou outro selvagem e o raríssimo viajante tem ocasião de contemplá-lo“(O Paiz, 30 de março de 1911).
+1889 – Após a Proclamação da República, o Forte deixou de receber assistência do Governo e a partir daí, passou a ser saqueado tanto por brasileiros quanto por bolivianos. Seu último comandante foi o sargento Queiroz.
+1895 – Canhões e um grande sino de bronze foram levados da fortaleza.
+1904 a 1908 - O Forte do Príncipe da Beira era guarnecido por um destacamento militar do 19º Batalhão de Infantaria (Almanak Laemmert, 1905, 1906, 1907 e 1909).
+1906 – O engenheiro mato-grossense Manoel Esperidião da Costa Marques (c. 1859 – 1906), que dá nome ao município que abriga o Forte, em expedição ao Vale do Guaporé, visitou a edificação e registrou seu estado de abandono. Costa Marques contraiu malária durante essa expedição e faleceu, em 18 de abril de 1906.
+Manoel Espiridião da Costa Marques (c. 1859 – 1906)/ Illustração Brazileira, 1º de abrilo de 1911
+Costa Marques, em 1906 / O Paiz, 30 de março de 1911
+Em entrevista, o coronel Serzedelo Correia (1858 – 1932) mencionou o abandono do Forte do Príncipe da Beira e também revelou que havia sido enviado para lá, em julho de 1905, um oficial e seis praças, mas que até março, quando havia deixado Corumbá, não havia tido notícias da expedição (Correio da Manhã, 8 de abril de 1906, penúltima coluna; e Correio do Norte, 10 de maio de 1906, terceira coluna).
+A comissão construtora da linha telegráfica do Mato Grosso indicou procedimentos para a ligação com o Forte do Príncipe da Beira (Relatórios do Ministério da Guerra, 1906).
+1909 – Foi noticiado que os bolivianos da fronteira com o rio Guaporé haviam saqueado o forte e denunciada a existência de problemas nas fronteiras de Mato Grosso (Correio da Manhã, 22 de julho de 1909, quinta coluna; e O Paiz, 2 de agosto de 1909, segunda coluna).
+1910 – Alfredo Clímaco de Carvalho (18? – 19?), fotógrafo das imagens que seriam produzidas do Forte Príncipe da Beira, em 1913, foi eleito suplente da diretoria da Associação dos Empregados no Comércio do Amazonas (A Província, 2 de abril de 1910, sétima coluna).
+João da Costa Garcia, fiscal do governo de Mato Grosso junto a Societe Industrielle e Agricole du Brésil, concessionária de seringais na região do baixo Guaporé, esteve no Forte do Príncipe da Beira e um relatório realizado por ele de sua viagem seria entregue ao governador do estado (O Comércio (MT), 29 de outubro de 1910, penúltima coluna, 24 de novembro de 1910, última coluna; e
+1911 –  Em artigo para a revista Illutração Brazileira, Pires de Almeida relatou que existiam informações de que um dos canhões do Forte fora comprado por um cruzador inglês, no porto chileno de Antofagasta e remetido ao Museu Histórico de Londres, e denunciou o abandono do local, além da invasão de bolivianos e brasileiros nos seringais da área (A Illustração Brazileira, de 1º de abril de 1911).
+1912 - Rodolfo Aranz, Delegado Nacional no Território de Colônias na Bolívia, em visita ao Amazonas, foi fotografado com com seus companheiros de viagem pelo inteligente amador Alfredo Clímaco de Carvalho (Jornal do Commercio(AM), 20 de fevereiro de 1912, última coluna).
+1913 – Diversas guardas da coletoria foram extintas e Alfredo Clímaco de Carvalho (18? – 19?), que era o responsável por uma delas, foi dispensado (Jornal do Commercio (AM), de 18 de janeiro de 1913, terceira coluna).
+Em 6 de julho, num ponto da margem direita do rio Guaporé, que demarca a divisa entre o Brasil e a Bolívia, oito membros destacados do então estado do Mato Grosso se reuniram com um oficial-general da Marinha e um fotógrafo para assinar um documento que alertava para o esquecimento e abandono do que os mesmos identificaram como “monumento histórico”: o Real Forte Príncipe da Beira. A comissão era formada pelo o intendente da Vila de Santo Antônio do Madeira, a sede municipal mais próxima, dr. Joaquim Augusto Tanajura, médico que atuou como chefe do serviço de saúde da Comissão Rondon; Octávio Costa Marques, delegado fiscal de Mato Grosso; Francisco Paes, um agente fiscal estadual; J. da Silva Campos, um engenheiro da Inspetoria Federal das Estradas; A. W. Wohott, também médico e sub-diretor do Hospital da Candelária de Porto Velho; R. A. Gesteira, um coronel do Exército venezuelano; Rudolph O. Kesselring, engenheiro alemão, representante da Estrada de Ferro Madeira-Mamoré, que apenas no ano anterior tinha iniciado sua operação comercial, e diretor da recém instalada Guaporé Rubber, companhia de capital dos Estados Unidos que explorava os seringais e inaugurou a navegação comercial no Guaporé; coronel Paulo Saldanha, gerente da mesma empresa; José Carlos de Carvalho (1847 – 1934), contra-almirante honorário, veterano da Guerra do Paraguai, político, explorador e a maior autoridade federal presente; e Alfredo Clímaco de Carvalho (18? – 19?), o fotógrafo que acompanhava aquela expedição (Jornal do Commercio, 16 de junho de 1913, terceira coluna e Jornal do Commercio, 19 de julho de 1913, terceira coluna) Algumas das fotografias por ele produzidas foram publicadas no Jornal do Commercio(AM), 27 de julho de 1913; e na  A Illustração Brazileira, 16 de dezembro de 1913). 
+ 
+Jornal do Commercio (AM), 27 de julho de 1913
+ 
+A Illustração Brazileira, 16 de dezembro de 1913
+´
+No Palácio Monroe, o contra-almirante José Carlos de Carvalho (1847 – 1934) proferiu uma palestra sobre sua viagem ao norte do Brasil e algumas das fotografias produzidas durante a visita ao Forte Príncipe da Beira foram utilizadas durante a apresentação (O Paiz, 23 de outubro de 1913, penúltima coluna). Dias depois, informou ao governo sobre a chegada de dois canhões trazidos da fortaleza (O Paiz, 28 de outubro de 1913, penúltima coluna).
+Alfredo Clímaco de Carvalho (18? – 19?), autor das imagens do forte realizadas em 1913,  foi nomeado subdelegado de Porto Velho (Jornal do Commercio (AM), 4 de novembro de 1913, quarta coluna).
+1914 – Segundo o site do Exército, nesse ano, uma expedição do futuro marechal Cândido Rondon (1865 – 1958) chegou ao Forte Príncipe da Beira.
+Major Cândido Mariano da Silva Rondon e sua comitiva / Site do Exército
+ 
+1915 – Alfredo Clímaco de Carvalho  (18? – 19?) era um dos suplentes do primeiro Conselho Municipal de Porto Velho, constituído pelos vereadores José Jorge Braga Vieira, Luzitano Barreto, Antônio Sampaio, Manuel Félix de Campos e José Z. Camargo. Os outros suplentes eram José de Pontes, Achiles Reis, Horácio Bilhar e Alderico Castilho. O município de Porto Velho havia sido criado em 2 de outubro de 1914 mas só foi instalado em 24 de janeiro de 1915, data em que os vereadores e suplentes foram empossados (Alto Madeira, 24 de janeiro de 1976).
+1918 – Alfredo Clímaco de Carvalho  (18? – 19?) foi listado como fotógrafo no estado do Amazonas no Almanak Laemmert de 1918
+1919 – Publicação de um artigo sobre o Forte Príncipe da Beira com a reprodução de algumas das fotografias produzidas por Alfredo Clímaco de Carvalho, em 1913 (Eu sei tudo, fevereiro de 1919). Ele foi listado como fotógrafo no estado do Amazonas no Almanak Laemmert de 1919.
+1930 – Rondon (1865 – 1958) retornou ao Forte e alertou às autoridades sobre suas más condições e também ressaltou sua importância histórica. Sugeriu a ocupação do local por uma unidade do Exército Brasileiro (O Jornal, 13 de abril de 1930).
+1932 – Foi anunciado a iminente exibição no cinema Pathé Palácio, no Rio de Janeiro, do filme Ao redor do Brasil, cujo um dos temas seria o Forte do Príncipe da Beira (O Jornal, 12 de maio de 1932, quinta coluna).
+Foi noticiado que seria enviado ao Forte do Príncipe da Beira um contingente formado por um 2º sargento, dois cabos e 15 soldados (O Jornal, 25 de setembro de 1932, terceira coluna).
+1934 – Foi iniciado junto ao Forte a construção de novas instalações, em madeira, onde durante vários anos ficou sediado o 7° Pelotão de fronteira subordinado à 6° Companhia de Fronteira em Guajará-Mirim.
+Publicação de um artigo sobre o Forte Príncipe da Beira, escrita por Lima Figueiredo (1902 – 1956) (Revista da Semana, 22 de setembo de 1934).
+1943 - O magnata das comunicações Assis Chateaubriand (1892 – 1968) integrou a caravana dos Diários Associados em viagem ao norte do Brasil, que visitou o Forte Príncipe da Beira, a convite da Rubber Development Corporation (O Jornal, 27 de maio de 1943).
+1950 – O Forte foi tombado pelo antigo SPHAN, informado pelo então Diretor do Patrimônio Histórico e Artístico Nacional, Rodrigo Melo Franco de Andrade, à Diretoria de Patrimônio da União. A Notificação n°643 de 06 de julho de 1950 comunicava que o Forte do Príncipe da Beira seria inscrito no Livro Tombo das Belas Artes. A inscrição realizada, conforme o Arquivo Noronha Santos, foi a de número 281 em 7 de agosto de 1950, porém no Livro Tombo Histórico e não no de Belas Artes.
+Publicação da reportagem Três bandeiras no forte da beira, sobre a visita de personalidades importantes ao Forte Príncipe da Beira, com texto de Flávio Tambellini e fotos de Peter Scheier e Roberto Malta. Dentre os visitantes, o jornalista espanhol Duque de Parcent, o todo-poderoso dos Diários Associados, Assis Chateaubriand (1892 – 1968); o general Nelson de Mello, o empresário Antônio Seabra e o Barão Sten Ramel,(O Cruzeiro, 2 de setembro de 1950).
+2007 – A partir desse ano, o Iphan e o Exército passaram a desenvolver atividades de restauração do Forte e escavações arqueológicas na área. O Exército mantém instalações militares vizinhas ao Forte.
+Alfredo Climaco de Carvalho. O Almirante José Carlos de Carvalho, o Dr. Octavio Costa Marques e grupo junto às prisões do Forte do Príncipe da Beira, 6/07/1913. Costa Marques, Rondônia / Acervo DPHDM
+ 
+**Andrea C. T. Wanderley
+Editora-assistente e pesquisadora do portal Brasiliana Fotográfica
+*Essa informação foi colocada em 29 de julho de 2021.
+Fontes:
+BARCELOS, Giovani da Silva. Forte Príncipe da Beira: conhecimento, valoração e preservação, 2018. 206 fls. Dissertação (Mestrado em Preservação do Patrimônio Cultural) – IPHAN, Rio de Janeiro, 2018.
+BARROSO, Lourismar da Silva. Real Forte Príncipe da Beira: ocupação oeste da Capitania do Mato Grosso e seu processo construtivo (1775-1783), 2015. 102 fls. Dissertação (Mestrado em História) – Faculdade de Filosofia e Ciências Humanas da Pontifícia Universidade Católica do Rio Grande do Sul, 2015.
+BORZACOV, Yêdda Maria Pinheiro. Forte Príncipe da Beira. apud: Governo de Rondônia/Secretaria de Educação e Cultura. Calendário Cultural 1981/85. São Paulo: Imprensa Oficial do Estado, 1981. p. 65-72.
+COSTA, Maria de Fátima. Alexandre Rodrigues Ferreira e a capitania de Mato Grosso: imagens do interior. História, Ciências, Saúde-Manguinhos, vol.8 , Rio de Janeiro  2001.
+Guia Geográfico de Rondônia
+Hemeroteca Digital da Biblioteca Nacional
+NASCIMENTO. Sílvio Melo do. Real Forte Príncipe da Beira: história e estórias do imaginário popular do Vale do Guaporé. Revista Labirinto, ano XIII, n. 18, jun. 2013, p. 113-124.    
+NUNES, José M. de S.; ADONIAS, Isa. Real Forte Príncipe da Beira. Fundação Odebrecht, 1985
+Site da Prefeitura de Porto Velho
+Site do Exército do Brasil
+Site do IPHAN
+Site Expressão Rondônia
+Site Fortalezas.org
+TEIXEIRA, Paulo Roberto Rodrigues. Forte Príncipe da Beira. Rio de Janeiro: Revista DaCultura, ano III, nº 4, maio de 2003, p. 46-52.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/6559` — `itens/20.500.12156.1_6559/`
+- `20.500.12156.1/6563` — `itens/20.500.12156.1_6563/`
+- `20.500.12156.1/6565` — `itens/20.500.12156.1_6565/`
+- `20.500.12156.1/6561` — `itens/20.500.12156.1_6561/`
+- `20.500.12156.1/6562` — `itens/20.500.12156.1_6562/`
+
diff --git a/wordpress/16234-imagens-de-blumenau-por-bernardo-scheidemantel-e-em-um-album-do-inicio-do-seculo.md b/wordpress/16234-imagens-de-blumenau-por-bernardo-scheidemantel-e-em-um-album-do-inicio-do-seculo.md
new file mode 100644
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--- /dev/null
+++ b/wordpress/16234-imagens-de-blumenau-por-bernardo-scheidemantel-e-em-um-album-do-inicio-do-seculo.md
@@ -0,0 +1,92 @@
+---
+id: 16234
+url: "https://brasilianafotografica.bn.gov.br/?p=16234"
+titulo: "Imagens de Blumenau: por Bernardo Scheidemantel e em um álbum do início do século XX"
+autor: "Andrea Wanderley"
+data: "2019-09-02T09:34:55+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/938", "20.500.12156.1/936", "20.500.12156.1/940", "20.500.12156.1/2620", "20.500.12156.1/2625", "20.500.12156.1/2633", "20.500.12156.1/2632", "20.500.12156.1/2623"]
+fetched_at: "2026-09-10T09:59:30.613Z"
+---
+
+# Imagens de Blumenau: por Bernardo Scheidemantel e em um álbum do início do século XX
+
+Bandeira de Blumenau
+Hoje Blumenau completa 169 anos. A Brasiliana Fotográfica selecionou dois grupos de imagens da cidade: o primeiro pertence à Coleção Thereza Christina Maria, da Fundação Biblioteca Nacional (FBN), e são da autoria do fotógrafo e litógrafo alemão Bernardo Scheidemantel (1834 – 1908); e o segundo é o Álbum de Blumenau, editado por Eugen Currlin (18? – 19?), proprietário de uma livraria, tipografia e comércio de importações, no início do século XX, na cidade catarinense (Gazeta de Itajahy, 12 de outubro de 1892). Esse álbum, com 14 fotos de autor ainda desconhecido, foi adquirido pelo Instituto Moreira Salles (IMS), em fevereiro de 2002. Os registros dos dois conjuntos são das últimas décadas do século XIX e da primeira década do século XX. São fotos de aspectos da cidade, de suas ruas,  de igrejas – a Igreja Evangélica aparece nos dois conjuntos -, escolas, hospital, vegetação, porto, casas, ponte, estação de trem e hotel. As duas instituições – IMS e FBN – são fundadoras do portal.
+O fundador de Blumenau,  a “cidade da cerveja”, em Santa Catarina, foi o farmacêutico e químico alemão Hermann Bruno Otto Blumenau (1819 – 1899), que desembarcou na cidade em 2 de setembro de 1850, com mais dezessete colonos, também alemães. Terceira maior população de Santa Catarina, é o centro econômico do vale do Itajaí onde se destacam as indústrias têxtil e informática. Além disso, é na cidade que acontece durante 17 dias do mês de outubro a Oktoberfest, segunda maior festa de cerveja do mundo, só superada pela de Munique; e a Festitália, realizada pelo núcleo italiano da população.
+ 
+Acessando o link para as fotografias de Blumenau produzidas por Bernardo Scheidemantel disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Bernardo Scheidemantel. Escola do sexo masculino, 1880 (?). Blumenau, Santa Catarina / Acervo FBN
+ 
+Bernardo Scheidemantel. Igreja evangelica : Evangelische kirche, 1880 (?). Blumenau, Santa Catarina / Acervo FBN
+ 
+Bernardo Scheidemantel. Hospital, 1880 (?). Blumenau, Santa Catarina / Acervo FBN
+ 
+ 
+Acessando o link para as fotografias do Álbum de Blumenau disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+ 
+Álbum de Blumenau, c. 1900. Blumenau, Santa Catarina / Acervo IMS
+ 
+Álbum de Blumenau, c. 1900. Igreja Evangélica, Santa Catarina / Acervo IMS
+ 
+Álbum de Blumenau. Estação de Trem, c. 1900. Blumenau, Santa Catarina
+ 
+ 
+Álbum de Blumenau, c. 1900. Igreja da Matriz, Santa Catarina / Acervo IMS
+ 
+ 
+Álbum de Blumenau, c. 1900. Rua XV de Novembro, Santa Catarina / Acervo IMS
+ 
+ 
+Breve perfil de Carl Bernard Scheidemantel (1834 – 1908)
+ 
+Litogravura de Bernardo Scheidemantel, 1876 / Fundação Cultural de Blumenau
+ 
+Precursor da fotografia no vale do Itajaí, o alemão da Saxônia Carl Bernard Scheidemantel era considerado inteligente, crítico e possuidor de um humor peculiar. Nasceu em 3 de dezembro de 1834, em Braunsdorf. Chegou ao Brasil em 1859 e estabeleceu-se na Colônia Blumenau com seus pais, Gottfried Scheidemantel e Johanna Rosine, e com o irmão Ernst. Trabalhou como lavrador e, em 16 de fevereiro de 1862, casou-se com Agnes Müller. Era desenhista e tipógrafo e criou seu próprio portfólio, reunindo grande parte do seu acervo de rótulos e desenhos desenvolvidos para os mais diversos segmentos, a partir de 1860. Foi em torno de 1864 que começou a atuar como fotógrafo. Mas só a partir da década de 1870 passou a se dedicar exclusivamente à fotografia e à litografia, abandonando sua atividade rural.
+Nos Anais da Biblioteca Nacional de 1881 estão registrados que duas obras foram produzidas em sua oficina litográfica na Colônia de Blumenau: uma planta da barra do rio Itajaí levantadas pelos guardas marinhas Alfredo José de Abreu e Arthur Índio do Brasil e Silva sob a direção do capitão tenente Carlos Balthazar da Silveira; e um mapa geral levantado pelo engenheiro Emílio Odebrecht, em 1872 ( Anais da Biblioteca Nacional, pág 296 e pág 298).
+ 
+Anais da Biblioteca Nacional, 1881
+ 
+Anais da Biblioteca Nacional, 1881
+ 
+Em 1883, publicou uma propaganda de seu ateliê fotográfico em Blumenau (Immigrant Wochenblatt, 4 de abril de 1883). Em 1891, anunciou seu trabalho como fotógrafo e gravurista no Immigrant, de 15 de março de 1891. Nos dois anunciava seus serviços em fotografia, impressão de livros e litografia. Produzia fotos de paisagens, fotos de grupos, retratos, ampliações até a metade do tamanho natural, reproduções de desenhos, gravuras em metal, pinturas, ilustrações, planos, mapas, desenho à mão, diplomas, miniaturas de objetos e desenhos trazidos ao ateliê em fotos e gravura. Também anunciava a  preparação de impressos de obras inteiras, relatórios, estatutos para sociedades, catálogos, cartazes, livros escolares, revistas, formulários de todo tipo, letras de câmbio, papel de carta, faturas, notas (em Português!), recibos, memorandos, listas de preços, livros de contabilidade, convites, cartões de visita, noivado e endereço, ilustrados ou não, rótulos para cervejas, vinhos, cigarros, manteiga e (?), em todas as formas e apresentações – impressos em bronze e a cores. A execução era de bom gosto a preços baixos.
+ 
+
+Imigrante Wochenblatt , 4 de abril de 1883
+ 
+ 
+Immigrant, 15 de março de 1891
+ 
+Em 29 de fevereiro de 1884, naturalizou-se brasileiro (A Regeneração, 23 de fevereiro de 1884, primeira coluna e 5 de março de 1884, última coluna).
+
+Em Blumenau, era o responsável pelas assinaturas da publicação Reform, que representaria os interesses da Colônia Dona Francisca. No Rio, as assinaturas poderiam ser feitas na Laemmert & Co; em Santos, com Eduard Menn; e, em Berlim, com Rudolf Mosse (Rio-Post, 2 de junho de 1887).
+ 
+Rio-Post, 2 de junho de 1887
+ 
+Em 1885, foi listado como fotógrafo da província de Santa Catarina (Almanak Administrativo, Mercantil e Industrial do Rio de Janeiro, 1885). Faleceu em 1908. Seu filho, Franz, também seguiu a profissão de fotógrafo.
+ 
+Andrea C. T. Wanderley
+Editora-assistente e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+Hemeroteca Digital da Biblioteca Nacional
+KOSSOY, Boris. Dicionário histórico-fotográfico brasileiro: fotógrafos e ofício da fotografia no Brasil (1833-1910). São Paulo: Instituto Moreira Salles, 2002.
+SILVA, Carla Fernanda da. A representação fotográfica do progresso na Revista Blumenau em Cadernos. Revista de História Regional 14(1): 168-190, Verão, 2009.
+Site do Governo de Santa Catarina
+RODRIGUES, Geislon Tiago. Bernardo Scheidemantel: a obra de um propagandista alemão na colônia de Blumenau. Blumenau: Editora 3 de maio, 2018.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/938` — `itens/20.500.12156.1_938/`
+- `20.500.12156.1/936` — `itens/20.500.12156.1_936/`
+- `20.500.12156.1/940` — `itens/20.500.12156.1_940/`
+- `20.500.12156.1/2620` — `itens/20.500.12156.1_2620/`
+- `20.500.12156.1/2625` — `itens/20.500.12156.1_2625/`
+- `20.500.12156.1/2633` — `itens/20.500.12156.1_2633/`
+- `20.500.12156.1/2632` — `itens/20.500.12156.1_2632/`
+- `20.500.12156.1/2623` — `itens/20.500.12156.1_2623/`
+
diff --git a/wordpress/16283-a-colonia-dona-francisca-joinville-por-louis-niemeyer.md b/wordpress/16283-a-colonia-dona-francisca-joinville-por-louis-niemeyer.md
new file mode 100644
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--- /dev/null
+++ b/wordpress/16283-a-colonia-dona-francisca-joinville-por-louis-niemeyer.md
@@ -0,0 +1,57 @@
+---
+id: 16283
+url: "https://brasilianafotografica.bn.gov.br/?p=16283"
+titulo: "A Colônia Dona Francisca, Joinville, por Louis Niemeyer"
+autor: "Andrea Wanderley"
+data: "2019-11-06T12:26:58+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/363", "20.500.12156.1/365", "20.500.12156.1/6655", "20.500.12156.1/6656", "20.500.12156.1/360"]
+fetched_at: "2026-09-10T09:59:33.973Z"
+---
+
+# A Colônia Dona Francisca, Joinville, por Louis Niemeyer
+
+Louis Niemeyer. O Engenheiro A. Wunderwald com seus companheiros, 1866. Joinville, Santa Catarina / Acervo FBN
+ 
+A Brasiliana Fotográfica destaca o álbum Vistas fotográficas da Colônia Dona Francisca, importante conjunto iconográfico da colonização alemã no sul do Brasil, dedicado ao imperador dom Pedro II. As imagens foram produzidas, em 1866, por Johann Otto Louis Niemeyer, fotógrafo, provavelmente, de origem alemã*. Colônia Dona Francisca era o nome, na época, de Joinville, cidade em Santa Catarina. O álbum pertence à Coleção Dona Thereza Cristina Maria, da Fundação Biblioteca Nacional, uma das fundadoras do portal. São fotografias de casas, de engenho de açúcar, de ruas, de igreja e também de imigrantes identificados em suas profissões como engenheiro, negociante, administrador e engenheiros. Apenas na foto publicada acima a figura humana é o tema central e ela expressa justamente o espírito desbravador e aventureiro dos imigrantes. Segundo o historiador Pedro Vasquez, os registros de Niemeyer para esse álbum seriam uma espécie de brado de “nós conseguimos”, proferido em uníssono pelos imigrantes da Colônia Dona Francisca.
+ 
+
+ 
+Esses registros foram apresentados na Exposição de História do Brasil, inaugurada em 2 de dezembro de 1881, na Biblioteca Nacional, organizada pelo seu então diretor Benjamin Franklin de Ramiz Galvão (1846 – 1938). Originalmente eram 18 imagens, porém oito foram furtadas em 2005. Uma foi recuperada em 2012.
+Acessando o link para as fotografias de Joinville produzida por Louis Niemeyer disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Louis Niemeyer. Igreja Catholica da rua da Telheira, 1866. Joinville, Santa Catarina / Acervo FBN
+ 
+O autor das fotografias, Louis Niemeyer, era desde 1860 diretor da Colônia Dona Francisca, assim batizada em homenagem à princesa D. Francisca de Bragança (1824 – 1898), quarta filha do imperador dom Pedro I (1798 – 1834) e de dona Leopoldina (1797 – 1826) e irmã de dom Pedro II (1825 – 1892), que se casou, em 1843, com Francisco Fernando de Orléans (1818 – 1900), Príncipe de Joinville, terceiro filho do rei francês Luís Filipe I (1773 – 1850) (O Correio Oficial (SC), 20 de março de 1861, terceira coluna; Correio Mercantil, e , 31 de outubro de 1866, segunda coluna; e Diário do Rio de Janeiro, 15 de janeiro de 1867, segunda coluna). Em 1871, Niemeyer enviou ao governo um ofício tratando do desenvolvimento da agricultura na província de Santa Catarina com um mapa da colônia de Dona Francisca. Pedia auxílio para a abertura de um negócio (O Auxiliador da Indústria, 1871). Em 1873, teria deixado a diretoria da Colônia.
+ 
+Francisca, Princesa de Joinville e seu filho Pedro de Orleans, 1845? / Acervo FBN
+ 
+ 
+Mathew B. Brady. Prince du Joinville, 1861/1862. Nova York, EUA / Acervo FBN 
+ 
+ 
+Louis Niemeyer. Casa do Snr. O. Dörffel, caxeiro da direção e consul de Hamburgo, 1866. Joinvilee, Santa Catarina / Acervo FBN
+ 
+* De acordo com um artigo publicado no O Atibaiense sobre uma comemoração da família Niemeyer, Louis Niemeyer seria do ramo da família de Hannover, na Alemanha. Em torno de 1790, um general membro da família que fazia parte da Casa Real de Hannover se casou e teve 10 filhos. Um deles teria emigrado para Portugal, onde se casou e teve por filho Conrado Jacob Niemeyer, que teria vindo com a esquadra de d. João VI ao Brasil. Aí teria começado o ramo do Brasil da família Niemeyer, da qual Louis faria parte (O Atibaiense, 13 de outubro de 2010).
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+Blumenau em cadernos, março de 1982
+Hemeroteca Digital da Biblioteca Nacional
+KOSSOY, Boris. Dicionário histórico-fotográfico brasileiro: fotógrafos e ofício da fotografia no Brasil (1833-1910). São Paulo: Instituto Moreira Salles, 2002. 408 p., il. p&b.FERREZ, Gilberto;
+FERREZ, Gilberto;NAEF, Weston J. Pioneer photographers of Brazil : 1840 – 1920. New York: The Center for Inter-American Relations, 1976. 143 p.
+FERREZ, Gilberto. A fotografia no Brasil: 1840- 1900. Prefácio Pedro Karp Vasquez. 2. ed. Rio de Janeiro: Funarte, 1985. 248 p. (História da fotografia no Brasil, 1).
+VASQUEZ, Pedro Karp. Dom Pedro II e a fotografia no Brasil. Rio de Janeiro: Fundação Roberto Marinho: Companhia Internacional de Seguros: Ed. Index, 1985. 243 p.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/363` — `itens/20.500.12156.1_363/`
+- `20.500.12156.1/365` — `itens/20.500.12156.1_365/`
+- `20.500.12156.1/6655` — `itens/20.500.12156.1_6655/`
+- `20.500.12156.1/6656` — `itens/20.500.12156.1_6656/`
+- `20.500.12156.1/360` — `itens/20.500.12156.1_360/`
+
diff --git a/wordpress/16353-novos-acervos-fundacao-joaquim-nabuco.md b/wordpress/16353-novos-acervos-fundacao-joaquim-nabuco.md
new file mode 100644
index 0000000..7fc3f72
--- /dev/null
+++ b/wordpress/16353-novos-acervos-fundacao-joaquim-nabuco.md
@@ -0,0 +1,172 @@
+---
+id: 16353
+url: "https://brasilianafotografica.bn.gov.br/?p=16353"
+titulo: "Novos acervos: Fundação Joaquim Nabuco"
+autor: "Andrea Wanderley"
+data: "2019-10-10T11:27:46+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/6910", "20.500.12156.1/6922", "20.500.12156.1/6935", "20.500.12156.1/6937", "20.500.12156.1/6923", "20.500.12156.1/6941", "20.500.12156.1/6929", "20.500.12156.1/6921", "20.500.12156.1/6932"]
+fetched_at: "2026-09-10T09:59:37.523Z"
+---
+
+# Novos acervos: Fundação Joaquim Nabuco
+
+A Brasiliana Fotográfica traz para seus leitores seu décimo parceiro, a Fundação Joaquim Nabuco (Fundaj). Quem faz a apresentação é  Albertina Malta,  historiadora da instituição e responsável pela Coordenação de Documentação e Pesquisa, vinculada ao Centro de Documentação e de Estudos da História Brasileira Rodrigo Mello Franco de Andrade – Cehibra. Nesse primeiro momento, estão sendo disponibilizadas imagens de autoria do fotógrafo Manoel Tondella (1861 – 1921) com a publicação do artigo O fotógrafo pernambucano Manoel Tondella: breve perfil e cronologia, escrito por Andrea Wanderley, editora e pesquisadora do portal. Com mais essa importante adesão, a Brasiliana Fotográfica segue cumprindo um de seus objetivos, o de abordar todos os usos e funções da fotografia brasileira, expandindo seu acervo e possibilitando a seus leitores o acesso a um número cada vez maior de imagens.  Seus outros parceiros são o Arquivo Geral da Cidade do Rio de Janeiro, o Arquivo Nacional, a Casa de Oswaldo Cruz / Fiocruz, a Diretoria do Patrimônio Histórico e Documentação da Marinha, o Leibniz-Institut fuer Laenderkunde, o Museu Histórico Nacional e o Museu da República, além do Instituto Moreira Salles e da Fundação Biblioteca Nacional, criadores da Brasiliana Fotográfica.
+ 
+Photographia Popular Oliveira & Tondella. Assembléia Legislativa de Pernambuco, 1900. Recife, Pernambuco / Acervo Fundação Joaquim Nabuco
+ 
+Novos acervos: Fundação Joaquim Nabuco
+Albertina Malta*
+A Fundação Joaquim Nabuco passa a integrar, com alegria, o projeto Brasiliana Fotográfica desenvolvido pelo Instituto Moreira Sales e pela Fundação Biblioteca Nacional. Essa parceria possibilita a ampliação dos canais de divulgação de acervos fotográficos brasileiros que contém informações preciosas para a recuperação visual do passado, além de revelarem a produção de artistas muitas vezes desconhecidos.
+A Fundação Joaquim Nabuco apresenta, inicialmente, um conjunto de imagens originais de reconhecido valor documental, em bom estado de conservação, de autoria do fotógrafo Manoel Tondella. Trata-se de vistas do Recife produzidas entre 1890 e 1905, em papel fotográfico num tom violeta. Oferecido à Fundação, o conjunto foi adquirido em 1985. Segundo o historiador Fernando Ponce de Leon, então coordenador da Fototeca e responsável pelo processo de aquisição das imagens de Tondella, as vistas “são valiosas por representar intensamente e com boa qualidade os bairros centrais do Recife (o do Recife, o de Santo Antônio, o de São José, o da Boa Vista), além dos arrabaldes e subúrbios quase rurais da cidade… as imagens registram o Recife intacto, antes das demolições e obras de reurbanizações”.
+Foi também neste momento da aquisição que dois renomados especialistas – Gilberto Ferrez e Boriz Kossoy – consultados por Ponce de Leon, avaliaram a pertinência da Fundação em adquirir a coleção de Manoel Tondella, especialmente por se tratar de conjunto documental original. E, por serem vistas antigas da cidade, tornavam-se ainda mais raras, paisagens com riscos de se perderem para sempre.
+ 
+Manoel Tondella. Mercado Público de São José, 1905. Recife, Pernambuco / Acervo Fundação Joaquim Nabuco
+ 
+Acessando o link para as fotografias de autoria de Manoel Tondella disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Manoel Tondella. Casas de taipa, 1905. Recife, Pernambuco / Acervo Fundação Joaquim Nabuco
+ 
+*Albertina Malta é historiadora e responsável pela Coordenação de Documentação e Pesquisa, vinculada ao Centro de Documentação e de Estudos da História Brasileira Rodrigo Mello Franco de Andrade – Cehibra.
+ 
+O fotógrafo pernambucano Manoel Tondella: breve perfil e cronologia
+Andrea C. T. Wanderley**
+ 
+Manoel Tondella. Igreja e ruínas do Convento do Carmo, 1905. Olinda, Pernambuco / Acervo Fundação Joaquim Nabuco
+ 
+Breve perfil
+ 
+Manoel Tondella é um dos mais importantes fotógrafos de Pernambuco da segunda metade dos século XIX, período a partir do qual Recife tornou-se referência histórica para a fotografia no Brasil. Nascido em 3 de outubro de 1861, de ascendência portuguesa, Tondella dedicou-se à fotografia da paisagem urbana, documentando em imagens as transformações da cidade, entre os anos 1890 e as duas primeiras décadas do século XX. Foi contemporâneo dos fotógrafos Alfredo Ducasble (18? – 19?), Francisco du Bocage (1860 – 1919), Hermina de Carvalho Menna da Costa (18? – 19?) , considerada a primeira mulher fotógrafa do Recife, Louis Piereck (18? – 1931) e Ludgero Jardim da Costa (18? – 19?) , dentre outros.
+Tondella registrou, predominantemente no Recife e em Olinda, as ruas, a estação de trem, os prédios, o Mercado Público de São José, os casebres, as pontes, as igrejas, os ancoradouros, o teatro de Santa Isabel, as praças, a Assembleia Legislativa, o Ginásio Pernambucano, as praias, cemitérios, locomotivas, engenhos, quiosques, feiras, estradas, os bairros centrais e também os subúrbios, com suas casas de taipa, além de vendedores, de pessoas se banhando no rio Beberibe e até um grupo de ciclistas à beira de um açude. São imagens muito ricas em detalhes que se destacam pela beleza, pela qualidade técnica e nos ajudam a entender a vida em Pernambuco no início do século XX. Alguns registros foram inspirados nas antigas litografias que desenhavam o perfil do litoral do Recife, da tradição holandesa ou portuguesa. Muitas imagens foram editadas em cartões-postais.
+ 
+Manoel Tondella. Arrecifes, ancoradouro, 1905. Recife, Pernambuco / Acervo Fundação Joaquim Nabuco
+ 
+Não se sabe, até o momento, quando exatamente Tondella começou a trabalhar como fotógrafo, mas tudo indica não ter sido antes da década de 1890. Em 1895, presenteou o Jornal do Recife com duas fotografias de sua autoria e, nessa época, seu estabelecimento fotográfico ficava na rua da Concórdia, nº 13. Em 1897, já era associado a João José de Oliveira (18? – 19?) no ateliê fotográfico Photographia Popular Oliveira & Tondella, e, em 1889, o estabelecimento ficava, na rua da Imperatriz, 79. Ficaram juntos até 1904 quando a sociedade foi desfeita e Tondella abriu um ateliê na então rua Velha, posteriormente, rua Antônio Carneiro. Oliveira continuou no mesmo endereço. Tondella seguiu trabalhando como fotógrafo até, pelo menos, 1919, tendo falecido em 1921.
+ 
+Manoel Tondella. Vendedor de urupema, 1905. Recife, Pernambuco / Acervo Fundação Joaquim Nabuco
+ 
+Filho de Manoel Pereira de Figueiredo Tondella, provavelmente português, e de Marcionilla Francisca Soares, o fotógrafo Tondella teve três irmãos: Francisco (18? – 1913), Antônio (18? – 1898) e Maria  (c. 1860 – 1905). Francisco foi proprietário da tipografia Acadêmica e do periódico mensal O Filatelista. Na ocasião do falecimento de uma tia dos Tondella, em 1902, a família foi adjetivada como ilustre e Francisco e Manoel Tondella referidos como seus dignos sobrinhos. Manoel Tondella casou-se com Anna Amelia Celestina Ramos (18? – 19?), em 1892, e não tiveram filhos.
+ 
+Manoel Tondella. Ciclistas, 1905. Recife, Pernambuco / Acervo Fundação Joaquim Nabuco
+ 
+ Cronologia
+ 
+Manoel Tondella. Sobrados e igrejas, 1905. Recife, Pernambuco / Acervo Fundação Joaquim Nabuco
+1854 – O pai do do fotógrafo Tondella, Manoel Pereira de Figueiredo Tondella, provavelmente português, e José Barros Veiga dissolveram amigavelmente a sociedade comercial que possuíam denominada Veiga & Tondella (Diário de Pernambuco, 26 de setembro de 1854, última coluna).
+1855 – O Gabinete Português de Leitura decidiu promover uma subscrição em favor da construção de um hospital para atender os portugueses indigentes que não pudessem receber tratamento adequado contra a epidemia que se alastrava por algumas províncias do Brasil e que eles acreditavam que chegaria no Recife. No Bairro do Recife, Manoel Pereira de Figueiredo Tondella era o encarregado pelas subscrições (Diário de Pernambuco, 25 de agosto de 1855, primeira coluna). Fez parte da comissão responsável pela instalação do Hospital Português em Pernambuco para o qual contribuiu com 50 mil reis (Diário de Pernambuco,  7 de setembro de 1855, segunda coluna; e Diário de Pernambuco, 15 de novembro de 1855, penúltima coluna).
+1861 / 1862 – O fotógrafo Manoel Tondella, nasceu em 3 de outubro de 1861, filho de Manoel Pereira de Figueiredo Tondella e Marcionilla Francisca Soares, e foi batizado em 1º de janeiro do ano seguinte, na freguesia de Boa Vista, no Recife. A família morava no bairro Capunga, no Recife (Diário de Pernambuco, 3 de outubro de 1862, segunda coluna; Diário de Pernambuco, 17 de abril de 1862, segunda coluna; e Diário de Pernambuco, 22 de julho de 1899, segunda coluna).
+1863 – José Carneiro de Faria Lins informava ter feitos as pazes com Manoel Pereira de Figueiredo Tondella, a quem teria ofendido em momentos de delírio (Diário de Pernambuco, 22 de abril de 1863, última coluna).
+1881 – O irmão de Manoel, Francisco Tondella (18? – 1913), era proprietário da tipografia Acadêmica (Diário de Pernambuco, 12 de abril de 1881, penúltima coluna).
+1884 – Casamento de seu irmão Francisco com Francisca Olympia Rodrigues (? – 1891) (Jornal do Recife, 22 de setembro de 1884, última coluna).
+1885 - Francisco era sócio da Biblioteca do Club Dramático Familiar (Jornal do Recife, 19 de março de 1885, quinta coluna).
+Anúncio do casamento do irmão de Manoel, Antônio Pereira de Figueiredo Tondella com Francelina Maria de França Caldas (Diário de Pernambuco, 5 de novembro de 1895, última coluna).
+1886 - Falecimento de uma das avós de Manoel Tondella, Maria Monteiro da Silva, cuja missa de sétimo dia foi celebrada na matriz de Santo Antônio do dia 8 de novembro de 1886 (Jornal do Recife, 5 de novembro de 1886, última coluna). Manoel era irmão de Francisco (18? – 1913), Antônio (18? – 1898) e Maria Tondella (c. 1860 – 1905), que também convidavam para a missa, além da mulher de Francisco, Francisca Olympia Rodrigues (? – 1891) e da tia dos Tondellas, Antônia Monteiro da Silva (1826 – 1902), filha da falecida.
+1890 - Era um dos subscritores para os festejos do aniversário de Deodoro da Fonseca contribuindo com 5 mil réis (Jornal do Recife, 7 de agosto de 1890, quarta coluna).
+Publicação do primeiro número do periódico mensal O Filatelista, de propriedade de Francisco Tondella, seu irmão, direcionado para os colecionadores de selos  (Jornal do Recife, 17 de outubro de 1890, penúltima coluna)
+1891 - Falecimento de sua cunhada, Francisca Olympia Rodrigues Tondella, casada com seu irmão Francisco (Jornal do Recife, 10 de abril de 1891, última coluna).
+1892 - Anúncio de seu casamento com Anna Amelia Celestina Ramos (18? – 19?) (Jornal do Recife, 9 de fevereiro de 1892, última coluna).
+Anna Amelia Tondella foi eleita juíza da Sociedade Beneficente Nossa Senhora do Carmo no período de 1892 a 1893 (Jornal do Recife, 20 de julho de 1892, primeira coluna).
+1894 – Anunciou com sua mulher e outros parentes a missa pelo 1º ano de falecimento de Lesbina Celestina Ramos (? – 1893), mulher de seu compadre Caetano Ferreira Ramos (? – 1919) e irmã de sua esposa, Anna Amelia (Diário de Pernambuco, 6 de julho de 1894, segunda coluna).
+1895 – Presenteou o Jornal do Recife com duas fotografias de sua autoria: uma da estação da Estrada de Ferro Central de Pernambuco e outra da rua Larga do Rosário por ocasião da procissão das Chagas. “Um correto trabalho que muito recomenda o seu autor” (Jornal do Recife, 28 de maio de 1895, quinta coluna). Nessa época, provavelmente seu estabelecimento fotográfico ficava na rua da Concórdia, nº 13.
+Seu irmão Antônio casou-se com Francelina Maria de França Caldas (Diário de Pernambuco, 5 de novembro de 1895, última coluna).
+1897 - Manoel Tondella enviou ao Diário de Pernambuco 2 exemplares de lindíssimas fotografias em ponto pequeno. É no gênero um trabalho de grande perfeição e cuja apreciação recomendamos ao público (Diário de Pernambuco, 13 de janeiro de 1897, quarta coluna).
+Presenteou o Jornal do Recife com três fotografias de quadros de pintores célebres (Jornal do Recife, 14 de janeiro de 1897, sexta coluna).
+Estava à venda na Livraria Francesa fotografias de autoria de Tondella do préstito que havia acompanhado o general Artur Oscar no dia 15 de novembro (Jornal do Recife, 23 de novembro de 1897, sexta coluna).
+Já existia a sociedade Oliveira & Tondella, entre Manoel e João José de Oliveira (18? – 19?). Tornaram-se devedores de impostos do período entre 1897 e 1898 (Diário de Pernambuco, 3 de junho de 1899, terceira coluna).
+1898 - Ele e o sócio importaram uma caixa com objetos de fotografia (Diário de Pernambuco, 20 de fevereiro de 1898, segunda coluna).
+Chegou uma caixa de mercadorias para Oliveira & Tondella , do vapor inglês Ile, que vinha de potos da Europa (Diário de Pernambuco, 18 de março de 1898, terceira coluna).
+Falecimento do irmão de Manoel Tondella, Antônio (? – 1898). Ele, seu irmão Francisco (? – 1913) e filhos, sua irmã Maria (1860 – 1905), sua tia Antônia Maria Monteiro da Silva  (1826 – 1902) e sua esposa Anna Amelia convidaram para a missa de Sétimo Dia, na matriz de Santo Antônio. Pelo anúncio, Maria não era casada e Manoel e Anna Amélia não tinham filhos. Na missa de trigésimo dia, quem convida é a mulher de Antônio, Francelina França Caldas (Diário de Pernambuco, 27 de agosto de 1898, terceira coluna; Diário de Pernambuco, 21 de setembro de 1898, penúltima coluna; e Jornal do Recife, 23 de fevereiro de 1899, quarta coluna).
+Anna Amelia era uma das paraninfas da bênção solene da imagem do Santíssimo Coração de Jesus, na Matriz de São José. A solenidade contou com a presença do governador de Pernambuco (Jornal do Recife, 4 de novembro de 1898, segunda coluna).
+Oliveira & Tondella importaram álbuns e papel albuminado (Diário de Pernambuco, 30 de novembro de 1898, segunda coluna).
+1899 – O estabelecimento dos fotógrafos ficava na rua da Imperatriz, nº 79 (Almanach de Pernambuco, 1900).
+Oliveira & Tondella importaram artigos para fotografia (Diário de Pernambuco, 8 de março de 1899, segunda coluna).
+Como era assinante da America Illustrada, Revista Nacional de Letras e Artes, a firma Oliveira & Tondella ganhou de brinde um Livro de Ouro do Brasil  na Exposição de 1900 em Paris (Jornal do Recife, 23 de julho de 1899, penúltima coluna).
+1900 – Ao longo do ano, Oliveira & Tondella importaram diversas vezes materiais fotográficos, envelopes e cartões.
+Tondella foi o fotógrafo responsável pela realização de uma imagem que a Celestial Confraria da Santíssima Trindade ofereceria à Sociedade Musical Charanga do Recife (A Província (PE), 17 de julho de 1900, penúltima coluna).
+Encontrava-se exposto no ateliê  Photographia Popular Oliveira & Tondella, na rua da Imperatriz, nº 79, um quadro dos bacharéis da Faculdade de Direito do Recife de 1900 (Jornal do Recife, 22 de novembro de 1900, última coluna)
+A firma Oliveira & Tondella realizou um retrato em busto do professor Gaspar Regueira Costa na ocasião de seu aniversário, com o qual o magistério municipal o presentearia (Jornal Pequeno, 20 de dezembro de 1900).
+1901 – Ao longo do ano, Oliveira & Tondella importaram diversas vezes materiais fotográficos, cartões, papel para desenho.
+ 
+Almanach de Pernambuco, 1901
+ 
+Encontrava-se exposto no ateliê  Photographia Popular Oliveira & Tondella, na rua da Imperatriz, nº 79, um quadro dos bacharéis da Faculdade de Direito do Recife de 1901 (Jornal do Recife, 26 de novembro de 1901, última coluna).
+ 
+Jornal do Recife, 26 de novembro de 1901
+ 
+1902 – Ao longo do ano, Oliveira & Tondella importaram diversas vezes materiais fotográficos.
+Na Travessa da Concórdia, nº 13, falecimento da tia de Tondella, Antônia Maria Monteiro da Silva (1826 – 1902). A família foi adjetivada como ilustre e Francisco e Manoel Tondella foram referidos como seus dignos sobrinhos (Jornal do Recife, 18 de junho de 1902, segunda coluna; A Província, 24 de junho, quinta coluna; e Diário de Pernambuco, 18 de junho de 1902, quarta coluna).
+Oliveira & Tondella realizaram um retrato em tamanho natural do tenente-coronel Miranda Curio, delegado de saúde do Exército junto ao comando do 2º Distrito Militar, que lhe seria dado como presente de aniversário pelos farmacêuticos do corpo de saúde de Pernambuco (A Província (PE), 22 de agosto de 1902, quarta coluna).
+Jornalistas do Diário de Pernambuco fizeram uma visita ao ateliê fotográfico de Oliveira & Tondella e elogiaram os retratos e as vistas expostas e também a amabilidade dos dignos artistas. “Mostraram-nos os mesmos srs. os estereoscópios que acabam de receber, novidade que expõem à venda…” (Diário de Pernambuco, 22 de outubro de 1902, quinta coluna).
+ 
+Diário de Pernambuco, 22 de outubro de 1902
+ 
+A firma Oliveira & Tondella ofereceu uma fotografia de presente ao Jornal do Recife: uma imagem do general Marinho da Silva passando em revista as tropas federais na Campina do Bode (Jornal do Recife, 28 de novembro de 1902, quarta coluna).
+Oliveira & Tondella enviaram ao Jornal do Recife um cartão de boas festas com uma imagem de um trecho do rio Capibaribe próximo aos arrecifes. Além disso, enviaram a fotografia de uma paisagem (Jornal do Recife, 23 de dezembro de 1902, sétima coluna). Enviaram para o periódico A Província uma fotografia do farol de Olinda e uma de uma lancha (A Província (PE), 23 de dezembro de 1902, quarta coluna). E enviaram para o Jornal Pequeno uma fotografia dos bairros do Recife e de Santo Antônio como votos de boas festas (Jornal Pequeno, 23 de dezembro de 1902, primeira coluna).
+1903 – Ao longo do ano, Oliveira & Tondella importaram diversas vezes materiais fotográficos.
+Um retrato a óleo feito no ateliê de Oliveira & Tondella foi oferecido ao alferes Virgílio Antônio Borba (Diário de Pernambuco, 8 de janeiro de 1903, sexta coluna).
+Foi noticiado o novo endereço do ateliê fotográfico de Oliveira & Tondella, devido à mudança do nome da rua da Imperatriz para rua Rosa e Silva. O número, 79, continuou o mesmo. Eles haviam produzido um retrato do conselheiro Rosa e Silva durante um banqueteExpuseram as vistas do salão do banquete, que deveriam ser apreciadas com um estereoscópio (Diário de Pernambuco, 12 de fevereiro de 1903, sexta coluna; e 13 de fevereiro de 1903, última coluna). Expuseram as vistas do salão do banquete, que deveriam ser apreciadas com um estereoscópio (Diário de Pernambuco, 20 de fevereiro de 1903, última coluna).
+Os hábeis artistas Oliveira & Tondella produziram uma fotografia da Igreja de Santa Cruz na ocasião da festa do Bom Jesus da Via Sacra, realizada em 3 de maio, e a enviaram de presente para o Jornal do Recife, para o Jornal Pequeno e para o periódico A Província (Jornal Pequeno, 16 de maio de 1903, segunda coluna; Jornal do Recife, 17 de maio de 1903, terceira coluna; e A Província (PE), 17 de maio de 1903, última coluna).
+Casamento de Amália de Oliveira, filha de José Joaquim Oliveira, com Tacito Altino Correia de Araújo (Diário de Pernambuco, 5 de setembro de 1903, sexta coluna).
+Leonilla Lusetta de Oliveira, esposa de Joaquim José de Oliveira, sócio de Tondella, faleceu (Jornal Pequeno, 31 de outubro de 1903, terceira coluna).
+Oliveira & Tondella presentearam o Jornal Pequeno com fotografias em miniatura da primeira página edição de 28 de junho de 1902 do periódico (Jornal Pequeno, 4 de dezembro de 1903, terceira coluna).
+Oliveira & Tondella presentearam o Diário de Pernambuco com fotografias do edifício do referido jornal na rua Duque de Caxias esquina com a Praça da Independência (Diário de Pernambuco, 25 de dezembro de 1903, quarta coluna)
+1904 – Oliveira & Tondella enviaram votos de um feliz ano novo para o Jornal do Recife (Jornal do Recife, 1º de janeiro de 1904, quinta coluna).
+Chegada, da Inglaterra, de papel fotográfico, de câmaras escuras, de cartões cortados e obras impressas para Oliveira & Tondella (Província (PE), 16 de janeiro de 1904, segunda coluna; 21 de maio de 1904, terceira coluna, 15 de junho, segunda coluna; 29 de julho de 1904, terceira coluna; e 31 de agosto de 1904, terceira coluna).
+Oliveira & Tondella foram citados pela Diretoria de Contabilidades e Rendas Municipais do Recife. O endereço era av. Rosa e Silva, 79 (Diário de Pernambuco, 4 de fevereiro de 1904, sexta coluna).
+A firma Oliveira & Tondella produziu uma fotografia da Companhia dos Bombeiros (Diário de Pernambuco, 6 de março de 1904, sexta coluna).
+Tondella abriu, sem sócios, um estabelecimento fotográfico na rua da Velha, 137, no primeiro andar, onde também residia. Anos depois essa rua passou a chamar-se Antônio Carneiro. Na época, oferecia cartões postais da procissão Encontro, que havia saído da Igreja de Santa Cruz, no Recife (Jornal do Recife, 22 de abril de 1904, penúltima coluna; A Província, 13 de setembro de 1904, penúltima coluna). A recente abertura do ateliê do hábil e conhecido fotógrafo foi anunciada. Provisoriamente a entrada seria feita a partir da rua da Alegria (Jornal do Recife, 13 de setembro de 1904, última coluna; e A Província,(PE), 13 de setembro de 1904, penúltima coluna).
+ 
+A Província, 23 de setembro de 1904
+ 
+Tondella produziu de uma janela da Igreja de Santa Cruz uma fotografia da Charanga do Recife (A Província, 20 de setembro de 1904, última coluna).
+1905 – Com cerca de 45 anos, falecimento de Maria Tondella, irmã de Manoel (A Província, 26 de abril de 1905, primeira coluna; Jornal do Recife, 6 de maio de 1905, sexta coluna).
+Publicação de uma propaganda da Photographia Tondella anunciando o desligamento de Tondella da firma Oliveira & Tondella, realizado no ano anterior (A Província, 16 de julho de 1905, primeira coluna). No mesmo ano, publicação de uma propaganda da Photographia Popular apenas com o nome de Joaquim José de Oliveira no mesmo endereço, na rua da Imperatriz, 79 (Almanach de Pernambuco, 1905).
+ 
+A Província (PE), 16 de julho de 1905
+ 
+Ofertou ao Jornal do Recife a fotografia da canhoneira Pátria e seu trabalho foi considerado perfeitíssimo. Uma fotografia ampliada da mesma canhoneira estava exposta na Livraria Francesa, na rua Primeiro de Março, nº 9 (Jornal do Recife, 21 de setembro de 1905, oitava coluna).
+O Jornal Pequeno homenageou Anna Amélia no dia de seu aniversário, 5 de dezembro (Jornal Pequeno, 5 de dezembro de 1905, primeira coluna).
+1910 - O nome da rua de seu estabelecimento mudou de rua da Velha para rua Antônio Carneiro (Diário de Pernambuco, 11 de agosto de 1910, quarta coluna).
+1913 - Falecimento de sue irmão Francisco, que havia sido livreiro no Recife, proprietário da antiga casa Bolitreau, a Livraria Tondella, Cockles & Co, desde 1897, na rua do Imperador, 46 (Diário de Pernambuco, 13 de fevereiro de 1898, penúltima coluna; e Diário de Pernambuco, 19 de março de 1898, terceira coluna) e que ultimamente trabalhava como contador na Papelaria Brasil. Era pai de Marcionila e de Francisco Tondella Junior (Diário de Pernambuco, 21 de setembro de 1897, penúltima coluna; e Jornal Pequeno, 19 de novembro de 1913, última coluna)
+1917 -Morte de sua sobrinha, Marcionila Tondella, filha de seu irmão e comerciante Francisco (já falecido), que também era pai do poeta Tondella Junior (Diário de Pernambuco, 20 de maio de 1917, segunda coluna).
+1919 - Falecimento do compadre e cunhado de Tondella, Caetano Ferreira Ramos (? – 1919) (Jornal do Recife, 20 de abril de 1919, última coluna).
+Morte de seu sobrinho, o poeta Francisco Tondella Junior, aos 28 anos, filho de seu irmão já falecido, Francisco (Diário de Pernambuco, 15 de junho de 1919, segunda coluna).
+Foi publicado um anúncio do estabelecimento fotográfico de Tondella, na rua Antônio Carneiro, 403 (antiga Velha) no qual eram oferecidos retratos Mignon, Visita, Elisabeth, Gabinete, Boudoir, Salão, cartões postais, e fotos de edifícios, de grupos ao ar livre em papel platina ou brilhante, retratos em tamanho natural em preto ou em cor pelo novo sistema americano. Oferecia também uma grande coleção de vistas de Pernambuco. Além disso, consertava máquinas e obturadores e fazia revelação, impressão e retoque em chapas de amador. O mesmo anúncio foi publicado diversas vezes ao longo de 1919 e 1920.
+ 
+Pequeno Jornal, 13 de outubro de 1919
+ 
+Foi anunciado que o artista e fotógrafo Manoel Tondella estava diariamente, na rua Velha, 103, à disposição dos assinantes e dos anunciantes de La Revue de revues de l´Amerique du Sud, de Daniel Valenford & C sobre Recife (A Província (PE), 8 de fevereiro de 1920, segunda coluna; e Jornal do Recife, 17 de outubro de 1919, penúltima coluna).
+1921 - Foi realizada uma missa fúnebre pela alma de Manoel Tondella, na Igreja de Santa Cruz (A Província (PE), 22 de fevereiro de 1921, primeira coluna).
+1922 -Pela última vez foi anunciado o estabelecimento fotográfico de Tondella, na rua Antônio Carneiro, nº 137 (Almanak Laemmert, 1922).
+ 
+Manoel Tondella. Rio Beberibe, 1905. Recife, Pernambuco / Acervo Fundaj
+ 
+ 
+**Andrea C. T. Wanderley é editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+FERREZ, Gilberto. Velhas fotografias pernambucanas: 1851-1890. Rio de Janeiro: Campo Visual, 1988.
+GASPAR, Lúcia. As ruas do Recife. Site da Fundaj, 2009
+GASPAR, Lúcia; BARBOSA, Virginia. O Recife: uma bibliografia. Recife: Fundação Joaquim Nabuco, Editora Massangana, 2008. 360 p.
+Hemeroteca Digital da Biblioteca Nacional
+KOSSOY, Boris. Dicionário histórico-fotográfico brasileiro: fotógrafos e ofício da fotografia no Brasil (1833-1910). São Paulo: Instituto Moreira Salles, 2002.
+MALTA, Albertina – Memória em sais de prata: fotografias do Recife em instituições memoriais. Dissertação para Universidade Federal de Pernambuco, fevereiro de 2013.
+MEDEIROS, R. M. H. (Orgs.). Arquivos e coleções fotográficas da Fundação Joaquim Nabuco. Recife: Massangana, 1995.
+MENDES, Luciana Cavalcanti. O campo fotográfico em Pernambuco: um resumo do final do XIX até 1930. XXIX Simpósio Nacional de História – Anpuh, 2017.
+SILVA, Fabiana Bruce. Entre fotógrafos, modernidade e fotografia no Recife do século XX, uma pesquisa. Apresentado durante XI Encontro Regional Sudeste de História Oral, realizado na Universidade Federal Fluminense, em Niteroi, em julho de 2015
+Site da Fundação Joaquim Nabuco
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/6910` — `itens/20.500.12156.1_6910/`
+- `20.500.12156.1/6922` — `itens/20.500.12156.1_6922/`
+- `20.500.12156.1/6935` — `itens/20.500.12156.1_6935/`
+- `20.500.12156.1/6937` — `itens/20.500.12156.1_6937/`
+- `20.500.12156.1/6923` — `itens/20.500.12156.1_6923/`
+- `20.500.12156.1/6941` — `itens/20.500.12156.1_6941/`
+- `20.500.12156.1/6929` — `itens/20.500.12156.1_6929/`
+- `20.500.12156.1/6921` — `itens/20.500.12156.1_6921/`
+- `20.500.12156.1/6932` — `itens/20.500.12156.1_6932/`
+
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+---
+id: 16435
+url: "https://brasilianafotografica.bn.gov.br/?p=16435"
+titulo: "Os 180 anos da invenção do daguerreótipo – Os álbuns da Comissão Geológica do Império com fotografias de Marc Ferrez"
+autor: "Andrea Wanderley"
+data: "2019-08-19T11:22:14+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/2551", "20.500.12156.1/4749", "20.500.12156.1/6407", "20.500.12156.1/4740", "20.500.12156.1/2489", "20.500.12156.1/4405", "20.500.12156.1/2575"]
+fetched_at: "2026-09-10T09:59:41.226Z"
+---
+
+# Os 180 anos da invenção do daguerreótipo – Os álbuns da Comissão Geológica do Império com fotografias de Marc Ferrez
+
+Para comemorar os 180 anos do daguerreótipo, invento que revolucionou em pouco tempo e para sempre a forma do registro do mundo e de seus habitantes, inundando nosso planeta de imagens fotográficas, a Brasiliana Fotográfica apresenta a seus leitores dois artigos*. Nesse segundo, o portal traz para seus leitores os dois álbuns da Comissão Geológica do Império, que pertencem ao J. Paul Getty Museum, localizado em Los Angeles, nos Estados Unidos. Foram disponibilizados em alta resolução através do Programa de Conteúdo Aberto do Getty e as fotografias foram produzidas por Marc Ferrez (1843 – 1923), que integrou a expedição, chefiada por Charles Frederick Hartt (1840 – 1878).
+Segundo Sérgio Burgi, coordenador de Fotografia do Instituto Moreira Salles, já com pleno domínio de sua virtuosidade técnica, Ferrez realizou para a comissão um primoroso trabalho documental e paisagístico:
+‘…Seu domínio da luz, sua precisão na escolha do ponto de vista, sempre buscam ressaltar os aspectos mais formais e abstratos da cena sendo registrada. É igualmente importante ressaltar que em diversas imagens realizadas por Ferrez, sempre o elemento humano participa de maneira discreta porém marcante, conferindo escala aos cenários naturais e urbanos, e principalmente nos convidando a percorrer a imagem em todas as suas dimensões…Os trabalhos realizados em Paulo Affonso, Pernambuco, Recôncavo Baiano, Abrolhos e sul da Bahia representam um grande esforço documental e registram, além dos aspectos mais claramente geológicos, paisagens naturais e vistas urbanas de grandes cidades e pequenas povoações daquelas regiões, além de elementos antropológicos e etnográficos, como a série dos índios botocudo… Essas imagens também foram utilizadas para ilustrar  a conferência do professor Charles Frederick Hartt durante a IV Exposição Nacional, no Rio de Janeiro… Da mesma maneira, diversas imagens fizeram parte da Exposição Universal da Filadélfia, EUA, em 1876, que contou com a presença de D. Pedro II…’
+ 
+Links para os álbuns da Comissão Geológica do Império, que pertencem ao J. Getty Museum e estão no site da instituição: Primeiro álbum e Segundo álbum
+Links para os pdfs dos álbuns da Comissão Geológica do Império, que pertencem ao J. Getty Museum:  Primeiro álbum e Segundo álbum
+ 
+Marc Ferrez. Charles F. Hartt, com a cidade do Recife ao fundo, durante levantamento da Comissão Geológica do Império, c. 1875. Recife, Pernambuco / Acervo IMS
+ 
+Um pouco da história da Comissão Geológica do Império (1875 – 1878), de seu chefe, Charles Frederick Hartt (1840 – 1878), e da participação de Marc Ferrez (1843 – 1923) como fotógrafo da expedição
+ 
+Revista Illustrada, 30 de março de 1878
+ 
+Em 1874, Charles Frederick Hartt (1840 – 1878), realizou uma expedição científica ao Brasil, durante a qual convenceu as autoridades brasileiras da importância da elaboração de um mapa geológico do Império. Antes, Hartt havia vindo ao Brasil quatro vezes. Pela primeira vez, como membro da Expedição Thayer, entre 1865 e 1866, financiada pelo empresário e filantropo norte-americano Nathaniel Thayer, Jr. (1808-1883) e chefiada por seu ex-professor no Museu de Zoologia Comparada, em Harvard, o suíço Louis Agassiz (1807 – 1873), quando ocupou-se sobretudo em fazer um mapeamento geológico da área do Rio de Janeiro até o norte da Bahia. Em 1867, já estabelecido como conferencista no Instituto Cooper, em Nova York, voltou ao Brasil, de maneira independente, e durante três meses examinou a costa entre Pernambuco e Rio, explorando mais particularmente as vizinhanças da Bahia e as ilhas e recifes do coral dos Abrolhos. EEm 1868, tornou-se professor de História Natural no Vassar College e também da Universidade de Cornell.  Em 1870 e em 1871, chefiou as Expedições Morgan ao Amazonas, financiadas pelo político norte-americano Edwin D. Morgan (1811- 1883) .
+Além de ter obtido sucesso em seu pleito junto ao Governo Imperial, Hartt conseguiu criar a Comissão Geológica do Império, pelo Aviso de 30 de abril de 1875. Como a comissão estaria ligada ao Ministério da Agricultura, o desenvolvimento das atividades agrícolas e mineradoras a partir do conhecimento que a geologia propiciaria foi um argumento decisivo para sua criação. Foi convidado para chefiá-la e foram nomeados como seus assistentes os geólogos Orville Adalbert Derby (1851 – 1915) e Richard Rathbun (1852-1918) – ambos da Universidade de Cornell -, que chegaram ao Brasil em fins de 1875; John Casper Branner (1850-1922), do Departamento de Botânica e Geologia da Universidade de Indiana; e os brasileiros Elias Fausto Pacheco Jordão (1849 – 1901), que havia se doutorado em 1874 em engenharia civil na Universidade de Cornell, e Francisco José de Freitas, assistente geral e tradutor. Integraram, também, o corpo técnico da comissão os geólogos Luther Wagoner, substituto de Pacheco Jordão, em 1876, que foi posteriormente substituído por Frank Carpenter; o naturalista Herbert Huntington Smith (1851-1919), e o fotógrafo Marc Ferrez (1843-1923). Segundo Gilberto Ferrez, foi durante as viagens que fez com a Comissão Geológica que Marc Ferrez contraiu uma doença no fígado, da qual nunca se curou.
+A Comissão, criada em abril de 1875, iniciou seus trabalhos ativos em 10 de junho de 1875 e percorreu os atuais estados de Alagoas, Bahia, Fernando de Noronha, Paraná, Pernambuco, Rio Grande do Norte, São Paulo, Santa Catarina, Sergipe, e parte da região amazônica nessa importante missão científica realizada no Brasil sob os auspícios do governo imperial, que gerou a primeira grande representação fotográfica de diversas regiões do território brasileiro (Illustração Brasileira, 1º de agosto de 1876). O governo decretou o fim da Comissão em 1º de julho de 1877 (Diário do Rio de Janeiro, 7 de julho de 1877, quarta coluna). Segundo Rathbun, o fato aconteceu devido a motivos econômicos e a discordâncias em torno do volume e do valor do trabalho realizado até ali pela comissão. Porém Hartt conseguiu seis meses de prorrogação nos trabalhos. No início de janeiro de 1878, com a formação do novo gabinete liberal, sob o comando do primeiro-ministro João Lins Vieira de Cansanção, o visconde de Sininbu (1810 – 1906), que também era ministro da Agricultura, sua extinção foi efetivada. Segundo Hartt, em junho de 1877,  as coleções zoológicas, geológicas e etnográficas feitas pela Comissão Geológica possuíam cerca de 500 mil espécimes.
+Hartt foi contratado como naturalista-viajante do Museu Nacional do Rio de Janeiro, por volta de 1874. Em 1876, assumiu a Seção de Geologia, criada pela reforma do botânico Lasdilau de Souza Mello Netto (1838 – 1894), e reorganizou as coleções e preparou a mostra mineralógica brasileira apresentada na Exposição Universal de Filadélfia de 1876. Faleceu em 18 de março de 1878, um domingo, no Rio de Janeiro, de febre amarela, em sua casa no número 44 da rua da Princesa, atual Correia Dutra, no Flamengo (O Vulgarizador, 15 de maio de 1878) . Os professores e demais funcionários do Museu Nacional deliberaram tomar luto por oito dias (Gazeta de Notícias, 19 de março de 1878, segunda e penúltima coluna, Jornal do Commercio, 19 de março de 1878, quarta coluna; Revista Illustrada, 30 de março de 1878; e O Vulgarizador, 15 de maio de 1878). Morreu sem sua família porque  sua mulher, Lucy Lynde Hartt, com quem havia se casado em 1869, havia voltado com os dois filhos do casal, Mary and Rollin, para Buffalo, nos Estados Unidos, em dezembro de 1876  – não suportou os períodos de solidão, os mosquitos, as doenças e os desconfortos do Rio de Janeiro. Quando partiu do Brasil, ela estava grávida de gêmeos mas a gravidez não se completou, o que trouxe grande tristeza para o casal. Hartt foi enterrado no cemitério de São Francisco Xavier mas, a pedido de sua esposa, seu corpo foi transladado para os Estados Unidos, em 1883.
+Suas coleções foram colocadas sob a guarda do Museu Nacional do Rio de Janeiro, única instituição da época capaz de receber intelectual e fisicamente todo o trabalho da Comissão Geológica.
+Acessando o link para as fotografias de Marc Ferrez realizadas para a Comissão Geológica do Império disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Breve cronologia da participação de Marc Ferrez nos trabalhos da Comissão Geológica do Império
+ 
+Marc Ferrez. Rua dos Coqueiros, c. 1875. Paraíba / Acervo IMS
+ 
+1875 – Ferrez começou a trabalhar como fotógrafo da Comissão Geológica do Império, chefiada pelo norte-americano Charles Frederick Hartt (1840 – 1878), que se tornaria diretor da Seção de Geologia do Museu Nacional em 1876. Percorreu os atuais estados de Alagoas, Bahia, Pernambuco e parte da região amazônica numa importante missão científica realizada no Brasil sob os auspícios do governo imperial, que gerou a primeira grande representação fotográfica de diversas regiões do território brasileiro.
+Marc Ferrez e outros membros da Comissão Geológica do Império embarcaram no paquete Parácom destino a Pernambuco (Jornal do Commercio, 10 de julho de 1875, na segunda coluna). Ele, Elias Fausto Pacheco Jordão, Francisco José de Freitas e Charles Frederick Hartt, todos membros da Comissão, agradeceram, publicamente, ao “digno comissário” J. Feliciano Gomes, que os recebeu no navio (Jornal do Recife, 26 de julho de 1875, na quarta coluna).
+Foi publicado o relatório preliminar dos trabalhos da Comissão Geológica na província de Pernambuco, de autoria de Hartt. Ferrez foi mencionado (Diário de Pernambuco, 25 de novembro de 1875, na primeira coluna).
+As fotografias produzidas por Marc Ferrez para a Comissão Geológica, mostradas durante uma visita do governador, do chefe da Polícia e do Diretor de Obras de Pernambuco na residência de Hartt no Recife, foram muito elogiadas: “Rara vez um fotógrafo é tão feliz na reprodução dos quadros naturais como o Sr. Ferrez o foi neste trabalho, do qual com justiça se deve se regozijar” (Diário do Rio de Janeiro, 30 de novembro de 1875, segunda coluna).
+ 
+Diário do Rio de Janeiro, 30 de novembro de 1875
+ 
+Na residência do inspetor do arsenal de Marinha, em Recife, o chefe da Comissão Geológica do Império, Charles Frederick Hartt, fez uma conferência sobre os arrecifes e outros aspectos de Pernambuco como o cabo de Santo Agostinho, praias, o rio São Francisco e a cachoeira de Paulo Afonso, ilustrados com fotografias de Marc Ferrez (Diário do Rio de Janeiro, 2 de dezembro de 1875, nas quinta e sexta coluna, sob o título “Norte do Império”).
+Ferrez  apresentou na seção de Obras Públicas da IV Exposição Nacional, dois álbuns com imagens dos recifes de Pernambuco, do baixo São Francisco e da cachoeira de Paulo Afonso, além de registros de corais e madrepérolas. As imagens produzidas durante a viagem da Comissão Geológica foram projetadas por Ferrez durante uma conferência do professor Hartt (Diário do Rio de Janeiro, 27 e 28 dezembro de 1875, primeira coluna; O Globo, 4 de janeiro de 1876, na penúltima coluna, e Diário do Rio de Janeiro, 3 de fevereiro de 1876, quarta coluna).
+1876 -  Apresentou na Exposição Universal da Filadélfia, aberta em 10 de maio, panoramas do Rio de Janeiro e fotografias realizadas para a Comissão Geográfica do Império, que foram premiadas. O New York Commercial Advertiser, de 29 de maio de 1876, publicou um artigo que informava que “riquíssimas fotografias da exploração geológica a cargo do professor Hartt” haviam sido apresentadas pelo Brasil na exposição. Uma curiosidade: a comissão de organização da Exposição da Filadéfia modificou as regras da premiação: os ganhadores receberiam um diploma, uma medalha de bronze e uma cópia certificada do parecer do júri, rompendo com o padrão de premiação hierárquica.
+Foi publicada uma fotografia de autoria de Ferrez da cachoeira de Paulo Afonso na Revista Ilustração Brasileira, 1º de agosto de 1876, acompanhada por um texto de Charles Frederick Hartt (1840 – 1878), chefe da Comissão Geológica do Império. Na mesma edição, publicação de matéria sobre a Comissão Geológica do Império.
+Ferrez havia chegado do sul da Bahia com o geólogo Richard Rathbum, também ajudante da Comissão Geológica, com diversas fotografias dos índios botocudo, dentre outras (Revista Ilustração Brasileira, 1º de novembro de 1876, na última coluna). Essas teriam sido as primeiras imagens desses índios produzidas no Brasil (Palcos e Telas, 8 de abril de 1920). Botocudo foi um termo genérico utilizado pelos colonizadores portugueses para denominar diversos grupos indígenas integrantes do tronco macro-jê (grupo não tupi), caracterizados pelo uso de botoques labiais e auriculares, habitantes originais do sul da Bahia e região do vale do rio Doce, incluindo o norte do Espírito Santo e Minas Gerais. A série de fotografias de indígenas tirada por Marc Ferrez na Bahia, durante uma segunda etapa de viagens realizadas por ele para a Comissão Geológica do Império do Brasil, no final de 1876, compõe um conjunto de  registros fotográficos pioneiros e raros dessas tribos, que se mantiveram isoladas e resistentes ao contato com os brancos, sendo violentamente perseguidas e praticamente  dizimadas nas primeiras décadas do século XX.
+ 
+Marc Ferrez. Índia botocudo com criança, 1876. Bahia / Acervo IMS
+ 
+ 
+Marc Ferrez. Índio botocudo, 1876. Bahia / Acervo IMS
+ 
+1877 – Publicação da fotografia do farol da Barra da Bahia, de autoria de Marc Ferrez, na capa da Revista Ilustração Brasileira, 15 de janeiro de 1877.
+ 
+Revista Illustração Brasileira, 15 de janeiro de 1877
+ 
+Marc Ferrez. Forte e Farol de Santo Antônio da Barra, 1884. Salvador, Bahia / Acervo IMS
+ 
+O governo decretou o fim da Comissão em 1º de julho de 1877 e em janeiro do ano seguinte sua extinção foi efetivada.
+Publicação de uma matéria sobre o trabalhos da Comissão Geológica do Império e sobre o local onde estavam guardados e onde os membros da comissão cuidavam de sua classificação, estudo e do desenvolvimento, na rua da Constituição, nº 41, visitado pelo imperador Pedro II, no dia 27 de outubro. Foi mencionada a existência de um laboratório fotográfico, “grande e espaçoso…nele estão guardados algumas centenas de clichês , feitos no campo pelos Srs. Ferrez e Branner e no laboratório pelo Sr. Ratbunn (Rathbun), que hoje toma conta dessa parte do serviço da comissão” (O Vulgarizador, 3 de novembro de 1877). O imperador já havia visitado o local dos trabalhos da Comissão, em 30 de julho de 1877 (Diário do Rio de Janeiro, 31 de julho de 1877, segunda coluna).
+1878 – No Almanak Laemmert de 1878, Ferrez foi identificado como fotógrafo da Marinha Imperial e da Comissão Geológica. Seu estabelecimento ficava na rua São José, 88 com depósito na rua do Ouvidor, 55.
+Foi noticiada a morte de Charles Frederick Hartt, que havia sido o chefe da Comissão Geológica do Império. Ferrez foi mencionado (A Boa Nova, 24 de abril de 1878, na terceira coluna).
+1879 -  Em inglês, foram publicados anúncios das fotografias de Ferrez no jornal Rio News de 5 de agosto, de 15 de setembro, 15 de outubro, 5 de novembro, mencionando que ele havia recebido uma medalha na Exposição da Filadélfia e que havia sido fotógrafo da Comissão Geológica do Império. Os anúncios seguiram sendo publicados em 1880 e 1881.
+ 
+Marc Ferrez. Cachoeira de Paulo Afonso, c. 1875. Bahia / Convênio Leibniz-Institut fuer Laenderkunde, Leipzig/ Instituto Moreira Salles
+ 
+Publicações da Brasiliana Fotográfica em torno da obra do fotógrafo Marc Ferrez 
+ 
+Marc Ferrez aos 33 anos, c. 1876. Rio de Janeiro, RJ / Acervo IMS
+O Rio de Janeiro de Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 30 de junho de 2015
+Obras para o abastecimento no Rio de Janeiro por Marc Ferrez , de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 25 de janeiro de 2016
+O brilhante cronista visual Marc Ferrez (7/12/1843 – 12/01/1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 7 de dezembro de 2016
+Do natural ao construído: O Rio de Janeiro na fotografia de Marc Ferrez, de autoria de Sérgio Burgi, um dos curadores da Brasiliana Fotográfica, publicada em 19 de dezembro de 2016
+No primeiro dia da primavera, as cores de Marc Ferrez (1843 – 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 22 de setembro de 2017
+Marc Ferrez , a Comissão Geológica do Império (1875 – 1878) e a Exposição Antropológica Brasileira no Museu Nacional (1882), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica,  publicada em 29 de junho de 2018
+Série “O Rio de Janeiro desaparecido” V – O quiosque Chopp Berrante no Passeio Público, Ferrez, Malta e Charles Dunlop, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 20 de julho de 2018
+Uma homenagem aos 175 anos de Marc Ferrez (7 de dezembro de 1843 – 12 de janeiro de 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 7 de dezembro de 2018 
+Pereira Passos e Marc Ferrez: engenharia e fotografia para o desenvolvimento das ferrovias, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 5 de abril de 2019
+Fotografia e ciência: eclipse solar, Marc Ferrez e Albert Einstein, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 24 de junho de 2019
+Celebrando o fotógrafo Marc Ferrez (1843 – 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 4 de dezembro de 2019
+Uma homenagem da Casa Granado ao imperial sob as lentes de Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 7 de fevereiro de 2020
+Ressaca no Rio de Janeiro invade o porão da casa do fotógrafo Marc Ferrez, em 1913, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado 6 de março de 2020
+Petrópolis, a Cidade Imperial, pelos fotógrafos Marc Ferrez e Revert Henrique Klumb, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 16 de março de 2020
+Bambus, por Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 5 de junho de 2020
+O Baile da Ilha Fiscal: registro raro realizado por Marc Ferrez e retrato de Aurélio de Figueiredo diante de sua obra, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 9 de novembro de 2020
+O Palácio de Cristal fotografado por Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 2 de fevereiro de 2021
+A Estrada de Ferro do Paraná, de Paranaguá a Curitiba, pelos fotógrafos Arthur Wischral (1894 – 1982) e Marc Ferrez (1843 – 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 22 de março de 2021
+Dia dos Pais – Julio e Luciano, os filhos do fotógrafo Marc Ferrez, e outras famílias, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 6 de agosto de 2021
+No Dia da Árvore, mangueiras fotografadas por Ferrez e Leuzinger, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 21 de setembro de 2021
+Retratos de Pauline Caroline Lefebvre, sogra do fotógrafo Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 28 de abril de 2022
+A Serra dos Órgãos: uma foto aérea e imagens realizadas pelos mestres Ferrez, Leuzinger e Klumb, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 30 de junho de 2022
+O centenário da morte do fotógrafo Marc Ferrez (1843 – 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 12 de janeiro de 2023
+O Observatório Nacional pelas lentes de Marc Ferrez, amigo de vários cientistas, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 29 de maio de 2023
+No Dia Mundial do Meio Ambiente, a potente imagem da Cachoeira de Paulo Afonso, por Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 5 de junho de 2023
+A Fonte Adriano Ramos Pinto por Guilherme Santos e Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 18 de julho de 2023
+Os 180 anos de nascimento do fotógrafo Marc Ferrez (1843 – 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 7 de dezembro de 2023
+ 
+Leia aqui os artigos já publicados na Brasiliana Fotográfica sobre o Dia Internacional da Fotografia:
+ 
+Dia Internacional da Fotografia – 19 de agosto, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 19 de agosto de 2015
+Os 180 anos da invenção do daguerreótipo – Pequeno histórico e sua chegada no Brasil, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 19 de agosto de 2019
+Autorretratos de fotógrafos – Uma homenagem no Dia Internacional da Fotografia, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 19 de agosto de 2021
+No Dia Internacional da Fotografia, fotógrafas pioneiras no Brasil, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 19 de agosto de 2022
+Dia Internacional da Fotografia, uma retrospectiva de artigos,  de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 19 de agosto de 2023
+ 
+ 
+Andrea C. T. Wanderley
+
+Editora-assistente e pesquisadora do portal Brasiliana Fotográfica
+*Acesse aqui o artigo Os 180 anos do invento do daguerreótipo – Pequeno histórico e sua chegada no Brasil, também publicado hoje, dia 19 de agosto de 2019.
+Fontes:
+ 
+CASTRO, Danielle Ribeiro. Photographos da Casa Imperial: a Nobreza da Fotografia no Brasil do Século XIX, 2013
+Charles F. Hartt e a Comissão Geológica do Império (Youtube)
+FREITAS, Marcus Vinícius. Hartt: expedições pelo Brasil Imperial 1870 – 1878, 2001. São Paulo : Metalivros
+
+Hemeroteca Digital da Biblioteca Nacional
+KOSSOY, Boris. Dicionário histórico-fotográfico brasileiro: fotógrafos e ofício da fotografia no Brasil (1833-1910). São Paulo: Instituto Moreira Salles, 2002.
+SANJAD, Nelson. Charles Frederick Hartt e a institucionalização das ciências naturais no Brasil, maio/agosto de 2004. Rio de Janeiro: História, Ciências, Saúde-Manguinhos, volume 11, nº2
+SCHWARCZ, Lilia Moritz. As barbas do Imperador: D. Pedro II, um monarca nos trópicos. São Paulo: Companhia das Letras, 1998.
+Serviços Geológicos nos trópicos: a experiência brasileira
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/2551` — `itens/20.500.12156.1_2551/`
+- `20.500.12156.1/4749` — `itens/20.500.12156.1_4749/`
+- `20.500.12156.1/6407` — `itens/20.500.12156.1_6407/`
+- `20.500.12156.1/4740` — `itens/20.500.12156.1_4740/`
+- `20.500.12156.1/2489` — `itens/20.500.12156.1_2489/`
+- `20.500.12156.1/4405` — `itens/20.500.12156.1_4405/`
+- `20.500.12156.1/2575` — `itens/20.500.12156.1_2575/`
+
diff --git a/wordpress/16443-os-180-anos-do-invento-do-daguerreotipo-pequeno-historico-e-sua-chegada-no-brasi.md b/wordpress/16443-os-180-anos-do-invento-do-daguerreotipo-pequeno-historico-e-sua-chegada-no-brasi.md
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@@ -0,0 +1,117 @@
+---
+id: 16443
+url: "https://brasilianafotografica.bn.gov.br/?p=16443"
+titulo: "Os 180 anos do invento do daguerreótipo – Pequeno histórico e sua chegada no Brasil"
+autor: "Andrea Wanderley"
+data: "2019-08-19T11:18:22+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/508", "20.500.12156.1/4779"]
+fetched_at: "2026-09-10T09:59:44.664Z"
+---
+
+# Os 180 anos do invento do daguerreótipo – Pequeno histórico e sua chegada no Brasil
+
+Para comemorar os 180 anos do daguerreótipo, invento que revolucionou em pouco tempo e para sempre a forma do registro do mundo e de seus habitantes, inundando nosso planeta de imagens fotográficas, a Brasiliana Fotográfica apresenta a seus leitores dois artigos*. Nesse primeiro, o portal conta a história do Dia Internacional da Fotografia e também da chegada ao Brasil, em 1840, do daguerreótipo, processo fotográfico desenvolvido por Joseph Nicèphore Niépce (1765-1833) e Louis Jacques Mandé Daguerre (1787-1851). O anúncio da invenção foi feito por François Arago (1786 – 1853), secretário da Academia de Ciências da França, em 19 de agosto de 1839.  Em 1864, em uma crônica reproduzida nesse artigo, o escritor Machado de Assis (1839 – 1908) perguntou “Até onde chegará o aperfeiçoamento do invento de Daguerre?”
+ 
+Joaquim Insley Pacheco. Pedro II, Imperador do Brasil (retrato), 1883 / Acervo FBN
+ 
+  Sobre o Dia Internacional da Fotografia, a invenção do daguerreótipo e sua chegada no Brasil
+ 
+Câmara de daguerreótipo Succe Frères, de 1939 / Westlicht Photography Museum, em Viena, na Áustria
+ 
+A data escolhida para a comemoração do Dia Internacional da Fotografia tem sua origem no ano de 1839, quando, em 7 de janeiro, na Academia de Ciências da França, foi anunciada a descoberta da daguerreotipia, um processo fotográfico desenvolvido por Joseph Nicèphore Niépce (1765-1833) e Louis Jacques Mandé Daguerre (1787-1851). Cerca de sete meses depois, em 19 de agosto, durante um encontro realizado no Instituto da França, em Paris, com a presença de membros da Academia de Ciências e da Academia de Belas-Artes, o cientista François Arago, secretário da Academia de Ciências, explicou o processo e comunicou que o governo francês havia adquirido o invento, colocando-o em domínio público e, dessa forma, fazendo com que o “mundo inteiro” tivesse acesso à invenção. Em troca, Louis Daguerre e o filho de Joseph Niépce, Isidore, passaram a receber uma pensão anual vitalícia do governo da França, de seis mil e quatro mil francos, respectivamente. Um daguerreótipo consiste em uma imagem única e positiva, formada diretamente sobre placa de cobre, revestida com prata e, em seguida, polida e sensibilizada por vapores de iodo. Depois de exposta na câmera escura, a imagem é revelada por vapores de mercúrio e fixada por uma solução salina.
+ 
+“A descoberta que comunico ao público está entre as poucas que, por seus princípios, seus resultados e a promissora influência que deverá exercer sobre as artes, se situam naturalmente entre as mais úteis e extraordinárias invenções…“.
+Louis Daguerre, 1838
+Louis Jacques Mandé Daguerre (1787-1851). Litografia / Acervo da Biblioteca do Congresso dos Estados Unidos
+ 
+A velocidade com que a notícia do invento do daguerreótipo chegou ao Brasil é curiosa: cerca de quatro meses depois do anúncio da descoberta, foi publicado no Jornal do Commercio, de 1º de maio de 1839, sob o título “Miscellanea”, na segunda coluna, um artigo sobre o assunto – apenas 10 dias após de ter sido o tema de uma carta do inventor norte-americano Samuel F. B. Morse (1791 – 1872), escrita em Paris em 9 de março de 1839, para o editor do New York Observer, que a publicou em 20 de abril de 1839.
+A introdução da daguerreotipia no Brasil se deu com a chegada do navio L’Oriental-Hydrographe, navio-escola da Marinha Mercante da França, em fins de 1839, sob o comando  do  capitão Augustin  Lucas (1804-1854?), que havia estado no ateliê de Daguerre em 1839. A viagem de circunavegação pensada como uma escola flutuante começou a ser planejada em 1838, quando seu projeto, pedagógico e mercantil, foi apresentado ao ministro da Marinha francesa, Claude Rosamel (1774 – 1848).
+Segundo a historiadora Maria Inez Turazzi, a presença do daguerreótipo a bordo assim como a de outros instrumentos inovadores, não foi casual ou improvisada, porém fruto de uma complexa rede de interesses diplomáticos, transações comerciais e intercâmbios científicos. É possível afirmar que a viagem de circunavegação do Oriental-Hydrographe teve início com a expectativa de consagrá-la como a primeira do gênero a utilizar a fotografia como meio de registro da experiência. 
+O Estatuto de admissão ao navio Hydrographe que fará a volta ao mundo sob o comando do capitão Lucas informa que os alunos a bordo seriam divididos em quatro seções, de acordo com o grau de instrução que tivessem recebido a partir de um exame realizado por professores de diferentes disciplinas antes do embarque. Esses professores pertenceriam aos quadros da universidade e estariam associados à expedição. Os alunos fariam estudos iguais aos dos colégio reais e aprenderiam línguas estrangeiras e conhecimentos específicos de marinha e comércio durante a viagem.
+O L’Oriental, um navio de três mastros, partiu do porto de Paimboeuf, nas proximidades da cidade francesa de Nantes, em 25 de setembro de 1839, com cerca de 80 pessoas a bordo, entre tripulação e passageiros. A previsão de duração da viagem era de dois anos e meio. Durante o mês de outubro, atracou em Lisboa, no dia 7, e na Ilha da Madeira, no dia 23. Posteriormente, fez escalas em Tenerife e na Ilha da Goreia (Senegal), de onde veio para o Brasil. Chegou no Recife, em 30 de novembro (Diário de Pernambuco, 2 de dezembro de 1839, última coluna), tendo zarpado no dia 4 de dezembro rumo a Salvador, onde chegou no dia 7 (Correio Mercantil (BA), 10 de dezembro de 1839, segunda coluna), permanecendo até 17 de dezembro (Correio Mercantil (BA), 18 de dezembro de 1839, última coluna) – entre essas duas cidades brasileiras ocorreu a única morte registrada da viagem, a de um estudante belga.
+O navio chegou no Rio de Janeiro, em 23 de dezembro de 1839, quando foi identificado como um colégio boiante, um navio-escola que promovia uma expedição didática- científica (Jornal do Commercio, 25 de dezembro de 1839, terceira coluna e Jornal do Commercio, 28 de dezembro de 1839, terceira coluna). No navio havia marinheiros capazes e professores hábeis, reunidos pelo capitão para iniciar os alunos a bordo nas primeiras noções da marinha e do comércio.  Dentre eles estava Francisco Sauvage, inventor do phisionotypo, um novo modo de suprir a escultura,  (Correio Mercantil (BA), 13 de dezembro de 1839, terceira coluna) e o abade francês Louis Comte (1798 – 1868), que viria a  ser o responsável pelas primeiras demonstrações da daguerreotipia no Brasil (Jornal do Commercio, de 17 de janeiro de 1840, primeira coluna). O médico em chefe da expedição deu consultas para moléstias de olhos no Hotel Europa, que ficava na rua do Carmo, esquina com a rua Ouvidor (Jornal do Commercio, 28 de dezembro de 1839, terceira coluna). Em 26 de janeiro, o L´Oriental partiu para Montevidéu, no Uruguai (Jornal do Commercio, 27 de janeiro de 1840, última coluna) e de lá seguiu para Valparaíso, no Chile, onde naufragou quando deixava a cidade, em 23 de junho de 1840. Tudo foi recuperado e não houve vítimas (Jornal do Commercio, 14 de agosto de 1840, primeira coluna). O abade Comte permaneceu em Montevidéu ensinando daguerreotipia até 1847. Posteriormente, alugando armazéns na área portuária, acumulou uma fortuna e voltou para a França, onde faleceu, em 22 de setembro de 1868. Está enterrado no cemitério de Sampans, na França.
+ 
+Jornal do Commercio, 14 de agosto de 1840
+ 
+No Jornal do Commercio, de 17 de janeiro de 1840, era anunciada a chegada do daguerreótipo no Rio de Janeiro
+ 
+O abade Comte, encarregado pela assistência intelectual e espiritual e pelo ensino de religião, música e canto durante a viagem, produziu alguns daguerreótipos, em 16 de janeiro de 1840, e, alguns dias depois, apresentou o invento a dom Pedro II (Jornal do Commercio,  20 de janeiro de 1840, terceira coluna). Foi com o próprio Daguerre que o abade havia aprendido a daguerreotipia. Em março do mesmo ano, d. Pedro II adquiriu um daguerreótipo, provavelmente o primeiro da América do Sul.
+ 
+Jornal do Commercio, 17 de janeiro de 1840
+ 
+Louis Compte. Daguerreótipo do Chafariz do Largo do Paço 16/1/1840, Rio de Janeiro, RJ /Arquivo Grão Pará, Petrópolis, RJ
+ 
+Jornal do Commercio, 20 de janeiro de 1840
+
+Por sediar o Império, o Rio de Janeiro foi a capital da fotografia no Brasil. O imperador, grande entusiasta da nova invenção, foi retratado por diversos fotógrafos, dentre eles Marc Ferrez (1843-1923) e Joaquim Insley Pacheco (1830 – 1912), tendo conhecido praticamente o trabalho de todos eles. A fotografia passou a ser o instrumento de divulgação da imagem de dom Pedro II, moderna como queria que fosse o reino, segundo comenta Lilia Moritz Schwarcz no livro As barbas do Imperador: D. Pedro II, um monarca nos trópicos, e tornou-se também mais um símbolo de civilização e status. Foi um dos primeiros monarcas a oferecer seu real patrocínio a um fotógrafo, juntamente com a rainha Victoria da Inglaterra (1819 – 1901), quando, em 1851, permitiu que Buvelot & Prat, que haviam realizado uma série de daguerreótipos de Petrópolis – todos desaparecidos – usassem as armas imperiais na fachada de seu estabelecimento fotográfico.
+ 
+Lista dos Fotógrafos Imperiais, na ordem cronológica em que foram agraciados com este título, segundo Guilherme Auler (1914-1965), sob o pseudônimo de Ricardo Martim, em dois artigos publicados na Tribuna de Petrópolis, em 1º e 8 de abril de 1956, segundo o livro O Brasil na fotografia oitocentista, de Pedro Vasquez. Pedro Hees e Pedro Satyro da Silveira foram incluídos na lista de agraciados e a inclusão foi baseada no trabalho Photographos da Casa Imperial: A Nobreza da Fotografia no Brasil do Século XIX, de Danielle Ribeiro de Castro
+ 
+Buvelot & Prat, título concedido em 8 de março de 1851 (província do Rio de Janeiro)
+Joaquim Insley Pacheco, título concedido em 22 de dezembro de 1855 (província do Rio de Janeiro)
+João Ferreira Villela, título concedido em 18 de setembro de 1860 (província de Pernambuco)
+Revert Henrique Klumb, título concedido em 24 de agosto de 1861 (província do Rio de Janeiro)
+Stahl & Wahnschaffe, título concedido em 21 de abril de 1862 (província do Rio de Janeiro)
+Diogo Luiz Cipriano, título concedido em 20 de setembro de 1864 (província do Rio de Janeiro)
+Antonio da Silva Lopes Cardoso, título concedido em 30 de novembro de 1864 (província da Bahia)
+Thomas King, título concedido em 18 de maio de 1866 (província do Rio Grande do Sul)
+José Ferreira Guimarães, título concedido em 13 de setembro de 1866 (província do Rio de Janeiro)
+Fernando Skarke, título concedido em 14 de dezembro de 1866 (província de São Paulo)
+Pedro Satyro da Silveira, título concedido na década de 1870  (província do Rio de Janeiro)
+José Tomás Sabino, título concedido em 13 de agosto de 1873 (província do Pará)
+Henschel & Benque, título concedido em 7 de dezembro de 1874 (província do Rio de Janeiro)
+Pedro Hees , título concedido em 1876 (província do Rio de Janeiro)
+Antonio Henrique da Silva Heitor, título concedido em 2 de março de 1885 (província do Rio de Janeiro)
+Juan Gutierrez de Padilla, título concedido em 3 de agosto de 1889 (província do Rio de Janeiro)
+Ignácio Mendo, título concedido em 6 de agosto de 1889 (província da Bahia)
+ 
+Buvelot & Prat. Daguerreótipo de dona Teresa Cristina, 1852. Rio de Janeiro, RJ / Acervo IMS
+ 
+ 
+ 
+“Até onde chegará o aperfeiçoamento do invento de Daguerre?
+ 
+Uma curiosidade: o escritor Machado de Assis (1839 – 1908) nasceu no mesmo ano em que nasceu a fotografia: 1839. Aos 24 anos dele e do invento, escreveu sobre o assunto em sua coluna do Diário do Rio de Janeiro de 7 de agosto de 1864. Comentou sobre suas visitas à casa do Pacheco (o fotógrafo português Joaquim Insley Pacheco), que ficava na rua do Ouvidor, nº 102, exaltando poder ver no mesmo álbum fotográfico os rostos mais belos do Rio de Janeiro, falo dos rostos femininos. Contou também a história da chegada do daguerreótipo na cidade e, em seguida, elogiou o trabalho realizado pelo artista  J.T. da Costa Guimarães, uma miniatura de Diane de Poitiers, exposto no estabelecimento de Insley Pacheco. Finalmente, revelou que havia chegado há pouco tempo no referido ateliê um aparelho fotográfico destinado a reproduzir em ponto grande as fotografias de cartão. Termina seu passeio perguntando-se “Até onde chegará o aperfeiçoamento do invento de Daguerre?
+ 
+Diário do Rio de Janeiro, 7 de agosto de 1864
+ 
+ **Acesse aqui o artigo Os 180 anos do invento do daguerreótipo – Os álbuns da Comissão Geológica do Império com fotografias de Marc Ferrez, também publicado hoje, dia 19 de agosto de 2019.
+
+ 
+Andrea C. T. Wanderley
+
+Editora-assistente e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+CARRÉ, Adrien. La singulière histoire de l’Oriental-Hydrographe. Bulletin du Comité Nantais de Documentation Historique de la Marine, Nantes, p. 17-35, 1970. 2.
+CASTRO, Danielle Ribeiro. Photographos da Casa Imperial: a Nobreza da Fotografia no Brasil do Século XIX, 2013
+Dictionary of Canadian Biography
+Estatuto de admissão ao navio Hydrographe que fará a volta ao mundo sob o comando do capitão Lucas. Registro autenticado – Bertinot e Roquebert – Rua Richelieu n. 28, Paris. Em 2 de abril de 1839. Arquivo Nacional da França, Paris. Transcrição e revisão de Maria Inez Turazzi; digitação de Márcia Trigueiro; tradução de Maria Elizabeth Brêa Monteiro. Publicado em TURAZZI, Maria Inez. A viagem do Oriental-Hydrographe (1839 – 1840) e a introdução da daguerreotipia no Brasil. Acervo; Revista do Arquivo Nacional, Rio de Janeiro, v.23, nº 1, p.45-62, jan-jun 20
+GURAN, Milton (organizador), TURAZZI, Maria Inez; VASQUEZ, Pedro Karp. Os daguerreótipos de Louis Comte no Rio de Janeiro – As primeiras fotografias feitas na América do Sul. Rio de Janeiro: Luz Tropical, 2016.
+
+Hemeroteca Digital da Biblioteca Nacional
+KOSSOY, Boris. Dicionário histórico-fotográfico brasileiro: fotógrafos e ofício da fotografia no Brasil (1833-1910). São Paulo: Instituto Moreira Salles, 2002.
+KOSSOY, Boris. O mistério dos daguerreótipos do Largo do Paço in Revista da USP, n. 120, janeiro-março, 2019, pp.127-152.
+PALMQUIST,Peter E; KAILBOURN,Thomas R. Pioneer Photographers of the Far West: A Biographical Dictionary, 1840-1865. Stanford: Universidade de Stanford, 2000.
+SCHWARCZ, Lilia Moritz. As barbas do Imperador: D. Pedro II, um monarca nos trópicos. São Paulo: Companhia das Letras, 1998.
+TURAZZI, Maria Inez. A viagem do Oriental-Hydrographe (1839 – 1840) e a introdução da daguerreotipia no Brasil. Acervo; Revista do Arquivo Nacional, Rio de Janeiro, v.23, nº 1, p.45-62, jan-jun 2010.
+TURAZZI, Maria Inez. Máquina viajante. Fotografia, uma viagem sem volta, janeiro de 2010.
+VASQUEZ, Pedro Karp. Dom Pedro II e a fotografia no Brasil. Rio de Janeiro: Fundação Roberto Marinho, 1985.
+WOOD, Rupert Derek. A viagem do Capitão Lucas e do daguerreótipo a Sidney.  NZ Journal of Photography, 3-7, agosto 1994.
+ 
+Leia aqui os artigos já publicados na Brasiliana Fotográfica sobre o Dia Internacional da Fotografia:
+ 
+Dia Internacional da Fotografia – 19 de agosto, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 19 de agosto de 2015
+Os 180 anos da invenção do daguerreótipo – Os álbuns da Comissão Geológica do Império com fotografias de Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 19 de agosto de 2019
+Autorretratos de fotógrafos – Uma homenagem no Dia Internacional da Fotografia, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 19 de agosto de 2021
+No Dia Internacional da Fotografia, fotógrafas pioneiras no Brasil, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 19 de agosto de 2022
+Dia Internacional da Fotografia, uma retrospectiva de artigos,  de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 19 de agosto de 2023
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/508` — `itens/20.500.12156.1_508/`
+- `20.500.12156.1/4779` — `itens/20.500.12156.1_4779/`
+
diff --git a/wordpress/16496-o-objeto-de-trabalho-augusto-malta-e-sua-camera-fotografica.md b/wordpress/16496-o-objeto-de-trabalho-augusto-malta-e-sua-camera-fotografica.md
new file mode 100644
index 0000000..3b79a85
--- /dev/null
+++ b/wordpress/16496-o-objeto-de-trabalho-augusto-malta-e-sua-camera-fotografica.md
@@ -0,0 +1,103 @@
+---
+id: 16496
+url: "https://brasilianafotografica.bn.gov.br/?p=16496"
+titulo: "O objeto de trabalho: Augusto Malta e sua câmera fotográfica"
+autor: "Andrea Wanderley"
+data: "2019-09-13T11:15:47+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/6658", "20.500.12156.1/4694"]
+fetched_at: "2026-09-10T09:59:48.293Z"
+---
+
+# O objeto de trabalho: Augusto Malta e sua câmera fotográfica
+
+O objeto de trabalho: Augusto Malta e sua câmera fotográfica
+Beatriz Kushnir e Carolina Ferro*
+ 
+Augusto Malta (1864 – 1957). Rio de Janeiro, RJ / Acervo AGCRJ
+A facilidade com a qual produzimos uma fotografia nos dias atuais faz com que nos esqueçamos das dificuldades enfrentadas no passado para registrar um determinado momento, monumento ou evento. Da vinda do daguerreótipo para o Brasil, na década de 1840, até as primeiras décadas do século XX, os objetos destinados às fotografias eram muito maiores e mais complexos. As imagens eram, em sua grande maioria, em preto e branco, tendo em vista que a versão colorida era uma novidade que seria popularizada aos poucos, pós 1907. Também aos poucos os fotógrafos se profissionalizavam e se preocupavam com seus instrumentos de trabalho, acompanhando os avanços técnicos que se aceleravam. Nesse período, mais especificamente no início do século XX, Augusto Malta, fotógrafo oficial do município do Rio de Janeiro, foi um dos nomes mais célebres da fotografia no Brasil.
+Malta percorreu a cidade do Rio de Janeiro com diversas câmeras, uma boa parte operada com chapas de vidro à base de gelatina. Segundo Amanda Danelli Costa (2019), essas chapas eram bastante sensíveis à luz, o que permitiam “diafragmas bem fechados e velocidades de obturador entre um segundo e um quarto de segundo”, o que é um avanço se compararmos com os vários minutos que a fotografia demorava a ficar pronta nos seus primórdios. Segundo a autora (COSTA, 2019), os objetos de trabalho de Malta carregavam grandes formatos de negativos (24X30 cm, 18X24 cm e 13X18 cm) e essas informações nos ajudam a afirmar que as técnicas e as câmeras utilizadas por ele são essenciais para a compreensão da qualidade das fotografias que esse profissional nos proporcionou durante mais de 30 anos de trabalho. Ele se deslocava pela cidade sempre com uma câmera pesada, um tripé de madeira, um flash de magnésio e uma maleta com as chapas (BUENO, 2014). Uma dessas câmeras se encontra, hoje, no Arquivo Geral da Cidade do Rio de Janeiro.
+ 
+Máquina fotográfica de Augusto Malta
+ 
+ Não cabe aqui retomar toda a vida de Augusto Malta, tão amplamente divulgada por inúmeros estudiosos. Mas cabe salientar que detalhes importantes de sua vida profissional estão em documentos encontrados no AGCRJ. Do decreto de nomeação à aposentadoria, o viés público de Malta nos faz refletir sobre a prática de produção de uma memória política e histórica pelo poder público e sobre a importância da fotografia como documento.
+O alagoano Augusto Malta tornou-se fotógrafo através do decreto n° 445, de 27 de junho de 1903, publicado pelo prefeito Pereira Passos, um dos grandes responsáveis pela remodelação da cidade do Rio de Janeiro. Dentre suas atribuições, estavam “tirar provas photographicas, no número que for necessário, dos edifícios, monumentos, obras da municipalidade e pontos do Districto Federal que lhe forem determinados e bem assim, quando o diretor geral o julgar conveniente, auxiliar o expediente da Directoria”, que era a de Obras e Viação. Para cumprir com uma missão tão grandiosa, Malta precisou de auxiliares, sendo os seus filhos, Aristógiton e Uriel, os mais conhecidos.
+Acessando o link para as fotografias de autoria de Augusto Malta e de seus filhos Aristógiton e Uriel disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+Em 1909, o cargo de fotógrafo oficial da prefeitura foi extinto, mas em 1913 ele foi recriado e Malta foi o escolhido para ocupar esse lugar devido ao seu profissionalismo e à qualidade de suas fotografias. Ele começou seu trabalho de forma amadora, mas era um grande estudioso e autodidata, o que fez com que aprimorasse sua técnica e a qualidade de suas obras. Ficou na prefeitura até 25 de agosto de 1936, quando se aposentou, tendo passado por 19 prefeitos, comprovando que as disputas políticas pelas quais o Brasil enfrentou, inclusive no período dos movimentos da década de 1930, deixaram intocáveis seu serviço público muito bem prestado. Quem o substituiu foi seu filho Aristógiton, sendo nomeado alguns dias depois, em 9 de setembro do mesmo ano.
+No percurso da carreira de Malta, há um momento que, para os historiadores e pesquisadores do Rio de Janeiro em geral, é precioso. Em 1931, o cargo de fotógrafo oficial da prefeitura passa da Diretoria Geral de Viação e Obras para a Diretoria Geral de Engenharia e, no ano seguinte, através do decreto n° 3.759, de 30 de janeiro, novas atribuições somam-se às já relatadas. Agora, é necessário “§2 – Organizar o Archivo photographico e histórico dos serviços executados” e “§3º – Fornecer ao Archivo geral as fotografias históricas relativas ao desenvolvimento da cidade ou de cerimonias realisadas e que tiverem sido photographadas”. Isto significa que Malta passa a ser obrigado por lei a entregar o material produzido na execução de seu trabalho ao Arquivo do Distrito Federal, atual AGCRJ. Graças a essa decisão é que temos mais de 30 mil negativos de Malta em nosso acervo, uma vasta coleção que carrega a história das fotografias e suas técnicas, bem como a história de nossa cidade.último decreto nos faz supor que, ao se aposentar, Malta também teria entregado uma de suas câmeras (talvez a mais utilizada para os serviços da prefeitura), tendo em vista que era um patrimônio da municipalidade, mas, infelizmente é só uma suposição. Malta continuou trabalhando como fotógrafo até sua morte, por enfarto, aos 93 anos.
+ 
+Augusto Malta. Augusto Malta em seu ateliê, c. 1906. Rio de Janeiro, RJ / Acervo IMS
+ 
+A Câmera que se encontra no AGCRJ, provavelmente, é uma Speed Graphic, da empresa Graflex. Lançada pela primeira vez em 1912, ela tinha como propósito ser um instrumento de fotografia de paisagens, voltadas para profissionais que necessitavam de uma câmera mais leve, eficaz e preparada especificamente para esta função. Possivelmente, esse objeto foi adquirido bem depois de seu lançamento, tendo em vista que, à época, as novidades tecnológicas não chegavam com a mesma rapidez que nos dias atuais e, muitas vezes, era necessário importa-las. Sua qualidade é tão notável que, ainda hoje, existem fotógrafos que usam essa câmera para ter a mesma experiência do passado.
+ 
+Máquina fotográfica de Augusto Malta
+ 
+Ao pesquisar sobre a câmera utilizada por Augusto Malta, inúmeras questões são levantadas. Como e quando ela chegou ao AGCRJ? Em que momentos Malta utilizou esse instrumento? Será que ela foi uma das câmeras mais utilizadas pelo fotógrafo? Por que decidiram doar esta e não as outras câmeras? Qual era a circulação e como era a utilização desse tipo de câmera no Rio de Janeiro e no Brasil? Onde esse objeto teria sido comprado?
+Infelizmente não temos muitas informações sobre a câmera de Augusto Malta, tendo em vista que os funcionários do Arquivo do Distrito Federal da época não registraram sua entrada, nem suas especificidades. Por isso, convidamos especialistas em câmeras fotográficas e em história da fotografia a visitarem o AGCRJ e nos ajudarem a resgatar um pouco mais da memória desse que foi um personagem icônico de nossa cidade e que nos forneceu inúmeros caminhos de pesquisa.
+ 
+Máquina fotográfica de Augusto Malta
+ 
+ 
+*Esse artigo teve uma preciosa ajuda na pesquisa e revisão de Rafael Martins de Araújo, estagiário da Gerência de Pesquisa do AGCRJ.
+Beatriz Kushnir é diretora do Arquivo Geral da Cidade do Rio de Janeiro (AGCRJ). Tem estágio pós-doutoral pela Universidade Estadual de Campinas (UNICAMP) e é doutora em História pela mesma instituição.
+Carolina Ferro é gerente de pesquisa do AGCRJ, professora do Centro Universitário Carioca (UniCarioca) e doutora em História pela Universidade Federal Fluminense (UFF).
+ 
+Fontes:
+Fontes secundárias:
+Livros e artigos:
+BUENO, Débora Gauziski de Figueiredo. Documentando a experiência urbana carioca: o Rio de Janeiro pelas fotografias de Augusto Malta e do Rio 365. 2014. Dissertação (Mestrado em Comunicação) – Universidade Federal do Estado do Rio de Janeiro, Rio de Janeiro, 2014.
+COSTA, Amanda Danelli. Augusto Malta e a fotografia da alma dos quiosques cariocas. Acervo, Rio de Janeiro, v. 32, n. 2, p. 117-132, maio/agosto 2019.
+______. Impressões imagéticas: história, memória e a fotografia carioca de Augusto Malta. 2007. Dissertação (Mestrado em História Social da Cultura) – Pontifícia Universidade Católica do Rio de Janeiro, Rio de Janeiro, 2008.
+TURAZZI, Maria Inez. Câmara fotográfica de Marc Ferrez. In: KNAUSS, Paulo; LENZI, Isabel; MALTA, Marize (Orgs.). História do Rio de Janeiro em 45 objetos. Rio de Janeiro: FGV Editora / Jauá editora / FAPERJ, 2019.
+KOSSOY, Boris. O daguerreotipo nos trópicos. Jornal da USP. Publicado em: 29 mar. 2019. Disponível em: https://jornal.usp.br/?p=233593. Acesso em: 30 jul. 2019.
+LOUREIRO, Elizabeth Cristina Marques de (Coord.). Augusto Malta: catálogo da série negativo em vidro / Arquivo Geral da Cidade do Rio de Janeiro. Rio de Janeiro: Secretaria Municipal de Cultura, Departamento Geral de Documentação e Informação Cultural, Divisão de Editoração, 1994.
+MOREIRA, Regina da Luz. Augusto Malta, dono da memória fotográfica do Rio. Portal Augusto Malta. Publicado em: 18 ago. 2008. Disponível em: http://portalaugustomalta.rio.rj.gov.br/blog-post/augusto-malta-dono-da-memoria-fotografica-do-rio. Acesso em: 30 jul. 2019.
+Sites:
+Informações sobre as máquinas Graflex. Disponível em: https://graflex.org/speed-graphic/which-model.html. Acesso em: 15 ago. 2019.
+Informações sobre as máquinas Graflex. Disponível em: https://graflex.org/speed-graphic/graphic-models.html. Acesso em: 15 ago. 2019.
+Informações sobre as máquinas Graflex. Disponível em: https://graflex.org/graflex-products-list.html. Acesso em: 15 ago. 2019.
+Informações sobre as máquinas Graflex. Disponível em: https://graflex.org/speed-graphic/. Acesso em: 16 ago. 2019.
+CLEAVE, Joe Van. A 75 year Old Camera Review. Youtube. Publicado em: 28 mar. 2017. Disponível em: https://www.youtube.com/watch?v=IQEXobv3OC4. Acesso em: 15 ago. 2019.
+LENG, Bopp. Graflex Pacemaker Speed Graphic. Youtube. Publicado em: 19 jan. 2019. Disponível em: https://www.youtube.com/results?search_query=Graflex+speed+graphic++1920. Acesso em: 15 ago. 2019.
+Fontes primárias:
+PREFEITURA DO DISTRICTO FEDERAL. Decreto nº 445, de 27/06/1903.
+PREFEITURA DO DISTRICTO FEDERAL. Decreto nº 1365, de 22/07/1919.
+PREFEITURA DO DISTRICTO FEDERAL. Decreto nº 3484, de 13/04/1931.
+PREFEITURA DO DISTRICTO FEDERAL. Decreto nº 3759, de janeiro de 1932.
+PREFEITURA DO DISTRICTO FEDERAL. Boletim da PDF. Jul./set. 1936, p. 316.
+ 
+ 
+Acesse aqui a Cronologia de Augusto Malta por Andrea Wanderley
+Para a elaboração da presente cronologia de Augusto Malta, além da pesquisa em dezenas de periódicos e revistas, valemo-nos, especialmente, do livro Augusto Malta e o Rio de Janeiro: 1903-1936, de George Ermakoff, e do artigo de Regina da Luz Moreira, “Augusto Malta, dono da memória fotográfica do Rio”, publicado no Portal Augusto Malta.
+O lançamento do Portal Augusto Malta, em 2008, foi uma importante iniciativa do Arquivo Geral da Cidade do Rio de Janeiro (AGCRJ). No portal, estão reunidos o acervo do fotógrafo na referida instituição e no Museu Histórico da Cidade, além de fotografias de seus filhos, Aristógiton e Uriel Malta. Um dos curadores da Brasiliana Fotográfica, Joaquim Marçal, foi consultor do projeto.
+O Museu da Imagem e do Som do Rio de Janeiro, o Arquivo Fotográfico da Light, o Instituto Histórico e Geográfico Brasileiro, o Instituto Moreira Salles, a Biblioteca Nacional e o Museu Histórico Nacional são outros importantes acervos da obra do fotógrafo.
+Link para publicações sobre a obra de Augusto Malta no site do Instituto Moreira Salles
+Link para a matéria Banho de mar – 1915, escrita por Raymundo Athayde e ilustrada com fotografias de Augusto Malta, publicada na revista O Cruzeiro, 22 de abril de 1950).
+Link para a matéria Do Convento da Ajuda às luzes da Cinelândia, escrita por Raymundo Athayde com fotos de Augusto Malta e Luciano Carneiro, publicada na revista O Cruzeiro, 9 de setembro de 1950. 
+ 
+Andrea C. T. Wanderley
+Editora-assistente e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+Anais do Museu Histórico Nacional: volume XXXII – 2000, pág 131.
+BULHÕES, Antonio & REBELO, Marques. O Rio de Janeiro do bota-abaixo. Rio de Janeiro: Salamandra, 1997
+CAMPOS, Fernando Ferreira. Um fotógrafo, uma cidade: Augusto Malta, Rio de Janeiro: Maison Graphique, 1987.
+Catálogo da Exposição comemorativa da doação do Acervo Brascan ao IMS – Guilherme Gaenly e Augusto Malta: dois mestres da fotografia brasileira no Acervo Brascan. Rio de Janeiro: Instituto Moreira Salles, 2002
+ERMAKOFF, George. Augusto Malta e o Rio de Janeiro: 1903-1936 / George Ermakoff; tradução para o inglês Carlos Luís Brown Scavarda. Rio de Janeiro: G. Ermakoff Casa Editorial, 2009. 288p. : il.; 28cm
+KOSSOY, Boris. A fotografia como fonte histórica: introdução à pesquisa e interpretação das imagens do passado. São Paulo: Secretaria da Ind., Com., Ciência e Tecnologia, 1980. (Coleção Museu &Técnicas; 4).
+LAGO, Bia Corrêa do;LAGO, Pedro Corrêa do. Coleção Princesa Isabel: fotografia do século XIX. Rio de Janeiro: Capivara, 2008.432p.:il., retrs.
+LOUREIRO, Elizabeth Cristina Marques de (coord.). Augusto Malta, Aristógiton Malta: catálogo da série negativo em vidro. Rio de Janeiro: Secretaria Municipal de Cultura, 1994. (Biblioteca carioca, 29. Instrumentos de pesquisa)
+Nosso Século. São Paulo; Abril Cultural, 1980. vol 1 (1900-1910)
+Portal Augusto Malta do Arquivo Geral da Cidade do Rio de Janeiro
+Site da Enciclopédia Itau Cultural
+Site do Centro Cultural da Light
+Site do Instituto Moreira Salles
+Site do Museu da Imagem e do Som
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/6658` — `itens/20.500.12156.1_6658/`
+- `20.500.12156.1/4694` — `itens/20.500.12156.1_4694/`
+
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+---
+id: 16516
+url: "https://brasilianafotografica.bn.gov.br/?p=16516"
+titulo: "“Doze horas em diligência”, o primeiro guia turístico do Brasil, por Revert Henrique Klumb (c. 1826 – c. 1886)"
+autor: "Andrea Wanderley"
+data: "2020-05-08T11:22:33+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/4225"]
+fetched_at: "2026-09-10T09:59:51.867Z"
+---
+
+# “Doze horas em diligência”, o primeiro guia turístico do Brasil, por Revert Henrique Klumb (c. 1826 – c. 1886)
+
+Hoje a Brasiliana Fotográfica homenageia o Dia Nacional do Turismo, atividade muitíssimo atingida pela pandemia do coronavírus publicando um artigo sobre o Primeiro guia turístico do Brasil. Esse era o título da matéria que o criador e primeiro diretor do Museu Histórico Nacional, Gustavo Barroso (1888 – 1959), publicou na revista O Cruzeiro, de 1º de novembro de 1952, sobre o livro Doze horas em diligência. Guia do viajante de Petrópolis a Juiz de Fora, do fotógrafo francês Revert Henrique Klumb (c. 1826 – c. 1886), lançado em 1872. Além do artigo, publicamos um interessante comentário da historiadora Maria Isabel Ribeiro Lenzi sobre o original manuscrito do livro de Klumb que integra, desde 1924, as coleções do Museu Histórico Nacional.
+ 
+O Jornal, 26 de outubro de 1952
+ 
+A obra, escrita em português e em francês, descrevia o trajeto entre Petrópolis e Juiz de Fora, realizado entre seis horas da manhã e seis horas da tarde – duração padrão do percurso nas diligências da Companhia União e Indústria – e foi ilustrada com 31 estampas sendo: 1 retrato, 29 vistas em litografia e uma planta perfil e longitudinal da Estrada União Indústria.
+O livro foi a única obra do Brasil do século XIX a ser idealizada, fotografada, escrita e publicada por uma só pessoa, Klumb, e também foi o primeiro livro de fotografia inteiramente produzido, litografado e produzido no país. Segundo o próprio autor, a ideia de realizar um trabalho sobre a estrada União Indústria foi concebida em 1861, e, de 1863 a 1866, ele trabalhou no projeto. Entre 1867 e 1868, terminou de produzir as vistas e, em 1870, tratou da publicação que, finalmente, aconteceu dois anos depois.
+ 
+
+ 
+O fotógrafo dedicou o livro a sua protetora, a imperatriz Teresa Cristina (1822 – 1889):
+“Quando concebi o projeto de escrever esse pequeno livro, meu primeiro pensamento foi que só a Vossa Majestade me era permitido dedicar este simples ensaio descritivo de uma das mais belas estradas do Império. Sou talvez muito presunçoso ousando oferecer a Vossa Majestade a dedicatória deste opusculo; no entanto ouso esperar que Vossa Majestade me fará a graça insigne de aceital-o, ainda que não fosse mais senão para servir ao sentimento que me inspirou“.
+No prefácio, Klumb comentou:
+“…Num trabalho feito a galope, não se pode esperar encontrar estilo elegante e florido, mas sim uma ligeira descrição dos lugares notáveis, atravessados por uma estrada magnífica. Essa obra não tem o merecimento senão o de ser: o primeiro guia do viajante, feito no país, guia ilustrado de desenhos copiados da fotografia …“
+ 
+Último parágrafo do prefácio escrito por Klumb para o livro Doze Horas em diligência
+ 
+Klumb, um dos primeiros fotógrafos estrangeiros a se estabelecer no Brasil e conhecido como o preferido da família imperial brasileira, foi um dos pioneiros na produção comercial de imagens sobre papel fotográfico e uso de negativo de vidro em colódio no Brasil, tendo inaugurado seu estabelecimento fotográfico em 1855, na rua dos Ourives, 64 – atual rua Miguel Couto, no centro do Rio de Janeiro (Correio Mercantil , de 4 de novembro de 1855, na última coluna).
+ 
+Correio Mercantil, 4 de novembro de 1955
+ 
+Em 1872, ano da publicação de Doze horas em diligência, foi anunciada a abertura da Photographia Franceza, de Klumb e de outros fotógrafos, na residência do sr. Figueira de Melo, na rua do Ouvidor, nº 49 ( Jornal do Commercio, 22 de maio de 1872, na última coluna ).
+ 
+Jornal do Commercio, 22 de maio de 1872
+ 
+Foi professor de fotografia da princesa Isabel e, provavelmente, o introdutor da técnica estereoscópica no Brasil, com a qual entre os anos de 1855 e 1862 produziu ampla documentação sobre o Rio de Janeiro. Em 1874, foi publicado o livro Petrópolis e seus arrabaldes, com fotografias produzidas por Klumb. Um ano depois houve uma exposição de suas fotografias em Petrópolis e o casal imperial visitou a mostra (O Mercantil, de 10 de janeiro de 1875, na terceira coluna). Entre 1875 e 1886, não há, até hoje, notícias sobre o fotógrafo. O que se sabe, até o momento, é que em 1886 ele estava em Paris e de lá escreveu para a imperatriz Teresa Cristina pedindo que ela financiasse a volta dele e de sua família para o Brasil. O pedido foi deferido, e ele e sua família deveriam embarcar para o Brasil em outubro de 1886. Porém, não se sabe se ele chegou a vir para o Brasil.
+ 
+Acessando o link para as fotografias de Revert Henrique Klumb disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a ela. 
+ 
+Autorretrato de Revert Henrique Klumb., 186?, Rio de Janeiro, RJ / Acervo FBN
+ 
+Sobre o Dia Nacional do Turismo 
+Oficialmente, o Dia Nacional do Turismo passou a ser comemorado em 8 de maio pela Lei nº 12.625, de 9 de maio de 2012. A escolha desta data para celebrar a efeméride é uma homenagem ao pedido que o estado do Paraná fez em 8 de maio de 1916 para que as terras próximas às Cataratas do Iguaçu fossem desapropriadas, com o intuito de transformar a área numa zona pública para turismo.
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+BRITTO PEREIRA, Cecilia Duprat. Revert Henrique Klumb – Fotógrafo da Família Imperial Brasileira. Rio de Janeiro: Anais da Biblioteca Nacional, 1982.
+ERMAKOFF , George. Rio de Janeiro 1840 – 1900 – Uma crônica fotográfica. Rio de Janeiro: G. Ermakoff Casa Editorial, 2006.
+FERREZ, Gilberto; NAEF, Weston J.. Pioneer Photographers of Brazil, 1840-1920. New York: Center for Inter-American Relations, 1976.
+GUIMARÃES, Elione Silva Guimarães. Múltiplos viveres de afrodescendentes na escravidão e no pós-emancipação: Família, trabalho, terra de conflito.São Paulo ; Annablume Editora, 2006.
+Hemeroteca Digital da Biblioteca Nacional
+KOSSOY, Boris. Dicionário Histórico-Fotográfico Brasileiro: fotógrafos e ofício da fotografia no Brasil(1833-1910). São Paulo: Instituto Moreira Salles, 2002. ISBN 85-86707-07-4
+LAGO, Bia Corrêa do;LAGO, Pedro Corrêa do. Coleção Princesa Isabel: fotografia do século XIX. Rio de Janeiro: Capivara, 2008.432p.:il., retrs.
+LAGO, Bia Corrêa do;LAGO, Pedro Corrêa do. Os Fotógrafos do Império. Rio de Janeiro: Capivara, 2005. 240p.:il
+MORAES FILHO, Alexandre de Mello. Artistas do meu tempo. Rio de Janeiro: Garnier, 1905.
+SCARRONE, Marcelo. Doze horas numa diligência. Rio de Janeiro: Revista de História, 14/06/2008.
+Site da Enciclopédia Itaú Cultural
+Site do Instituto Moreira Salles
+Site do Ministério do Turismo
+TURAZZI, Maria Inez. Poses e trejeitos: a fotografia e as exposições na era do espetáculo: 1839/1889. Prefácio Pedro Karp Vasquez. Rio de Janeiro: Funarte. Rocco, 1995. 309 p., il. p&b. (Coleção Luz & Reflexão, 4). ISBN 85-85781-08-4.
+VASQUEZ, Pedro Karp. Revert Henrique Klumb: um alemão na Corte Imperial brasileira. Apresentação Joaquim Marçal, Demosthenes Madureira de Pinho Filho; coordenação de coleção Pedro Corrêa do Lago; coordenação editorial Pedro Corrêa do Lago, Luiz Eduardo Meira de Vasconcellos; design Victor Burton; fotografia César Barreot, Miguel Pacheco e Chaves; pesquisa Pedro Karp Vasquez; tradução Carlos Luís Brown Scavarda. Rio de Janeiro: Capivara, 2001 229p., il. p&b. (Visões do Brasil, 4). ISBN 85-86011-49-5.
+ 
+ 
+O original manuscrito do primeiro guia de viagem impresso no Brasil (1)
+Maria Isabel Ribeiro Lenzi*
+ 
+Capa do original do livro Doze Horas em diligência, sob a guarda do Museu Histórico Nacional
+ 
+O Museu Histórico Nacional preserva em seu Arquivo Histórico um documento que é uma jóia rara. A encadernação com a capa de couro com decoração dourada mostra o brasão e a coroa do Império do Brasil além da guardar o original do que viria a ser, dois anos depois, o primeiro guia de viagem impresso no Brasil, o famoso Doze horas em diligência – Guia de viajante de Petrópolis a Juiz de Fora, publicação com fotografias litografadas, editado pelo fotógrafo franco-alemão Revert Henry Klumb.
+O documento é todo manuscrito. Foi dedicado e presenteado à Imperatriz Tereza Cristina em 1870. O texto é em português e francês e as imagens são 20 fotografias em albumina coladas.
+O guia, que foi impresso dois anos depois, é muito parecido com esse, porém traz algumas modificações: das fotografias que estão no original, dezessete foram litografadas para a edição de 1872, a qual apresenta 29 litografias. Nas paisagens litografadas nessa segunda versão, Klumb inseriu personagens desenhados – sugerindo figuras de possíveis turistas – que não aparecem nas fotografias originais. Nesta edição impressa, encontra-se referência ao Hotel Inglês e ao Palácio Imperial em Petrópolis, bem como são apresentados aos viajantes o Bosque da Imperatriz e a Colônia Pedro II, em Juiz de Fora.
+Este precioso documento que pertenceu a Dona Teresa Cristina passou a integrar as coleções do Museu Histórico Nacional em 1924, vindo do Paço da Quinta de São Cristóvão.
+ 
+*Maria Isabel Ribeiro Lenzi é Doutora em História pela UFF e historiadora do Arquivo Histórico do Museu Histórico Nacional (IBRAM/Secretaria de Cultura/Ministério do Turismo)
+ 
+Acesse nos seguintes documentos na Biblioteca Virtual do Museu Histórico Nacional:
+ 
+Primeiro guia turístico do Brasil, de Gustavo Barroso, publicado na revista O Cruzeiro, de 1º de novembro de 1952
+O original manuscrito de Doze horas em Diligência, de Revert Henrique Klumb
+ 
+(1) O comentário O original manuscrito do primeiro guia de viagem impresso no Brasil, de autoria da historiadora Maria Isabel Ribeiro Lenzi foi acrescido ao texto original em 14 de maio de 2020.
+ 
+Outros artigos publicados na Brasiliana Fotográfica em torno da obra de Revert Henrique Klumb:
+Revert Henrique Klumb, o fotógrafo da família real do Brasil, publicado em 31 de agosto de 2016
+As versões diurna e noturna na fotografia de Revert Henrique Klumb, 28 de dezembro de 2018
+Petrópolis, a Cidade Imperial, pelos fotógrafos Marc Ferrez e Revert Henrique Klumb, 16 de março de 2020
+Série “Avenidas e ruas do Brasil” II – A rua do Imperador em Petrópolis por Klumb, Leuzinger e Stahl, 16 de junho de 2020.
+O Hotel Pharoux por Revert Henrique Klumb, em 15 de junho de 2022
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/4225` — `itens/20.500.12156.1_4225/`
+
diff --git a/wordpress/16540-a-igreja-da-candelaria-um-dos-predios-iconicos-do-rio-de-janeiro.md b/wordpress/16540-a-igreja-da-candelaria-um-dos-predios-iconicos-do-rio-de-janeiro.md
new file mode 100644
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+++ b/wordpress/16540-a-igreja-da-candelaria-um-dos-predios-iconicos-do-rio-de-janeiro.md
@@ -0,0 +1,95 @@
+---
+id: 16540
+url: "https://brasilianafotografica.bn.gov.br/?p=16540"
+titulo: "A Igreja da Candelária, um dos prédios icônicos do Rio de Janeiro"
+autor: "Andrea Wanderley"
+data: "2020-01-21T11:54:23+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/6274", "20.500.12156.1/5053", "20.500.12156.1/3000", "20.500.12156.1/2900", "20.500.12156.1/2903", "20.500.12156.1/1868"]
+fetched_at: "2026-09-10T09:59:55.162Z"
+---
+
+# A Igreja da Candelária, um dos prédios icônicos do Rio de Janeiro
+
+A Igreja de Nossa Senhora da Candelária
+ 
+A Igreja de Nossa Senhora da Candelária com sua fachada voltada para a Baía de Guanabara é uma referência no universo do patrimônio construído da cidade do Rio de Janeiro. A Brasiliana Fotográfica destaca registros produzidos pelos fotógrafos Augusto Malta, Jorge Kfuri, Juan Gutierrez, Marc Ferrez, S.H. Holland, Uriel Malta e também pela Casa Leuzinger e pela Editores & propriedade de Rodrigues & Co. Ao longos dos anos, a Candelária tornou-se um lugar símbolo da luta pelos direitos humanos. Em seus arredores já foram realizados diversos eventos religiosos e manifestações populares e políticas como, por exemplo, a sagração de dom Helder Câmara como Príncipe da Igreja, em 1952, uma prece pública por Getulio Vargas, em 1954, a missa de sétimo dia de Edson Luís de Lima Souto, considerado o primeiro estudante assassinado pela ditadura, em 1968; o comício pelas eleições Diretas Já, em 1984, com a presença de cerca de 1 milhão de pessoas; e de eventos mundanos como o casamento do jogador de futebol Ademir, o Queixada, em 1948.  Também foi em seu entorno que aconteceu o crime que ficou conhecido como a Chacina da Candelária, em 1993. Além das missas e das celebrações religiosas, a igreja é palco de diversas apresentações culturais.
+ 
+Juan Gutierrez. Cais dos Mineiros, 189?. Rio de Janeiro, RJ / Acervo MHN
+ 
+Acessando o link para as fotografias da Igreja da Candelária no Rio de Janeiro disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas. 
+ 
+Editores & propriedade de Rodrigues & Co. Panorama do Rio de Janeiro a partir da Ilha das Cobras, 1890-1900. Rio de Janeiro, RJ / Acervo Arquivo Nacional
+ 
+
+A construção da capela que deu origem à Igreja de Nossa Senhora da Candelária no Rio de Janeiro deveu-se, provavelmente, a uma promessa feita pelo casal de espanhóis Antônio Martins da Palma e Leonor Gonçalves em ação de graças por terem se salvado quando estavam em um barco e foram surpreendidos por uma tempestade. Eles teriam prometido erguer uma capela, que ficou conhecida como Igreja da Várzea, em louvor de Nossa Senhora da Candelária no primeiro porto que atingissem e assim o fizeram.
+ 
+Igreja da Várzea / Site da Igreja Nossa Senhora da Candelária
+ 
+Isso teria acontecido nas primeiras décadas do século XVII. Esses episódios estão ilustrados em diversas pinturas dentro do templo, mas não existem documentos oficiais que confirmem essa história (O Paiz, 25 de junho de 1898, quinta coluna).
+
+ 
+Os fundadores da Igreja Nossa Senhora da Candelária na tempestade / Site da Igreja Nossa Senhora da Candelária
+
+ 
+ 
+      Primeiro registro da localização da Igreja da Várzea                  
+         
+Mapa do Rio de Janeiro em 1624, como aparece no Reys-boeck vau het rijcke BrasUien (…), ou Livro de Viagem pelo rico Brasil (…), impresso em Amsterdam, no mesmo ano. A legenda identifica pela letra G o pequeno santuário, dizendo que “é a igrejinha de Sta. Cathalina”, expressão que Dom Clemente da Silva Nigra interpretou como corruptela de Candelária. Gilberto Ferrez também reconheceu, na gravura, a primitiva Igreja da Candelária. (Coleção Biblioteca Nacional, S. L. R. 34-0-1.) Fonte: Machado, Arnaldo. Candelária: aspectos históricos, arquitetônicos e artísticos, Rio de Janeiro, Irmandade do Santíssimo Sacramento da Candelária, 2017 (Site da Igreja de Nossa Senhora da Candelária).
+
+Com o crescimento da cidade, surgiu a ideia de dividir a paróquia de São Sebastião, a primeira do Rio de Janeiro, em duas freguesias. Em 1634, foi criada na Várzea a paróquia da Candelária, conservando-se a de São Sebastião, no morro do Castelo. Os fundadores da Igreja, Antônio Martins da Palma e sua esposa, Leonor Gonçalves, opuseram-se à divisão da freguesia de São Sebastião e por isso doaram a Igreja da Várzea à Santa Casa da Misericórdia no ano de 1639. Após anos de disputas judiciais a Igreja foi devolvida à Irmandade do Santíssimo Sacramento Candelária, em 1834.(1)
+A data da instituição da Irmandade do Santíssimo Sacramento Candelária é desconhecida em razão da falta de documentos que comprovem o período de sua fundação, mas alguns historiadores consideram a data de criação 1699, de acordo com os registros do Primeiro Compromisso.
+ 
+
+Livro do Compromisso da Irmandade, 1756-1757
+ 
+Em 1710, foi inaugurado um novo templo sobre os mesmos chãos em que Martins da Palma e sua mulher Leonor Gonçalves tinham levantado o seu monumento (O Paiz, 25 de junho de 1898, quinta coluna). Ainda no mesmo século XVIII, no dia 03 de junho de 1775, a Provedoria da Irmandade do Santíssimo Sacramento Candelária autorizou a construção da atual Igreja de Nossa Senhora da Candelária, no lugar da capela já bastante arruinada pela ação do tempo. No dia 06 de junho de 1775, a primeira pedra da igreja a ser construída foi sagrada por dom José Joaquim, provedor da Irmandade.  A data foi escolhida por ser aniversário de dom José I, de Portugal. O encarregado pelo projeto foi o engenheiro militar sargento-mor Francisco João do Roscio, que propôs o estilo barroco. O mestre-de-obras foi o português Marcelino Rodrigues de Araújo.
+Abaixo, está reproduzido o auto extraído do Livro III dos Termos, com a notícia da sagração da primeira pedra (O Paiz, 26 de julho de 1898, quarta coluna).
+ 
+
+                                                                                        O Paiz, 26 de julho de 1898
+ 
+As obras prosseguiram até 1811, quando a Mesa Administrativa da Irmandade resolveu inaugurar a parte finalizada da Igreja, que chegava quase até aos arcos das capelas-fundas. A inauguração parcial ocorreu no dia 08 de setembro de 1811 e a primeira missa da nova igreja foi celebrada no altar-mor e essa cerimônia contou com a participação do Príncipe Regente Dom João e de membros da Família Real. Havia apenas uma nave e altares esculpidos por Mestre Valentim (1845 – 1813), importante artista do Brasil Colônia – infelizmente suas obras foram posteriormente substituídas.
+Devido à falta de recursos financeiros, as obras prosseguiram, porém em ritmo lento. Enfim, após 123 anos de construção, em 10 de julho de 1898, foi realizada a inauguração solene da igreja com a sagração do bispo do Rio de Janeiro, dom Joaquim Arcoverde (1850 – 1930). Na ocasião, o maestro e compositor Alberto Nepomuceno (1864 – 1920) regeu a Missa em Si bemol, do padre José Maurício Nunes Garcia (1767 – 1830) (O Paiz, 10 de julho de 1898, quinta coluna; e O Paiz, 11 de julho de 1898, quarta coluna).
+ 
+Augusto Malta. Igreja da Candelária. Rio de Janeiro, RJ / Acervo FBN
+ 
+A cúpula feita de pedra de lioz portuguesa, concluída em 1877 pelo engenheiro Evaristo Xavier da Veiga, foi durante muito tempo a mais alta construção da cidade. Seu projeto foi do arquiteto Francisco Joaquim Bethencourt da Silva. Foi instalada acompanhando as oito estátuas esculpidas pelo português José Cesário de Salles. As paredes e colunas foram revestidas de mármore policromado. Os seis painéis no teto da nave, que contam a história da igreja, assim como os painéis da parte de cima da cúpula da Igreja representando personagens do Antigo Testamento, a Virgem Maria e as Sete Virtudes, são do carioca João Zeferino da Costa (1840 – 1915), professor da Academia Imperial de Belas Artes e discípulo de Victor Meirelles (1832 – 1903). Ele teve ajuda dos alunos Giambattista Castagneto (1851 – 1900), Henrique Bernardelli (1857 – 1936) e Oscar Pereira da Silva (1867 – 1939).
+Os púlpitos em estilo art nouveau são de autoria do escultor português Rodolfo Pinto do Couto (1888 – 1945). Em 1901, foram instaladas as portas de bronze na entrada da igreja, obra do português Antônio Teixeira Lopes (1866 – 1942), que as produziu na cidade do Porto. Ainda no início do século XX recebeu vitrais alemães. A fachada é em estilo pombalino e o desenho da igreja foi inspirado em obras do barroco português como a Igreja do Convento de Mafra e a Basílica da Estrela, em Lisboa. Sua planta baixa tem o formato de uma cruz latina, que pode ser bem observada na foto abaixo, produzida por S. H. Holland, por volta de 1930. O responsável pela remodelação do altar-mor, entre 1927 e 1928, foi o arquiteto cearense Archimedes Memoria (1893 – 1960).
+ 
+S.H. Holand. Centro da Cidade, c. 1930. Rio de Janeiro, RJ / Acervo FBN
+ 
+No centenário da Igreja de Nossa Senhora da Candelária, o cardeal arcebispo Dom Eugênio Salles celebrou uma missa em ação de graças e a Orquestra Sinfônica Brasileira, a Associação de Canto Coral e solistas executaram a Missa em Si Bemol, do padre José Maurício Nunes Garcia (1767 – 1830), mesma composição que foi, como já mencionado, executada na inauguração da igreja, em 1898.  Na ocasião, foi lançada uma medalha comemorativa (Jornal do Brasil, 20 de julho de 1989, primeira coluna).
+ 
+S.H. Holand. Igreja da Candelária, c. 1930. Rio de Janeiro, RJ / Acervo FBN
+ 
+Em duas edições da revista O Cruzeiro de 1952 foram publicadas fotografias da Igreja da Candelária, de autoria de Marc Ferrez (1843 – 1923) (O Cruzeiro, 25 de agosto de 1951; e O Cruzeiro, 22 de setembro de 1951).
+ 
+Marc Ferrez. Álbum Panoramas do Rio de Janeiro – Rio de Janeiro visto do Morro do Castelo, c. 1880. Rio de Janeiro, RJ / Acervo IMS
+ 
+(1)  Site Igreja de Nossa Senhora da Candelária
+ 
+Acesse aqui o artigo Candelária: um marco arquitetônico, religioso e social, publicado na Brasiliana Iconográfica, em 29 de julho de 2021.
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+COARACY, Vivaldo. Coleção Rio 4 séculos, volume 3. Rio de Janeiro: Livraria José Olympio Editora, 1965.
+Hemeroteca Digital da Biblioteca Nacional
+Machado, Arnaldo. Candelária: aspectos históricos, arquitetônicos e artísticos. Rio de Janeiro: Irmandade do Santíssimo Sacramento da Candelária, 2017
+Site Igreja de Nossa Senhora da Candelária
+Site Riotur
+Site Universidade Estadual Paulista
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/6274` — `itens/20.500.12156.1_6274/`
+- `20.500.12156.1/5053` — `itens/20.500.12156.1_5053/`
+- `20.500.12156.1/3000` — `itens/20.500.12156.1_3000/`
+- `20.500.12156.1/2900` — `itens/20.500.12156.1_2900/`
+- `20.500.12156.1/2903` — `itens/20.500.12156.1_2903/`
+- `20.500.12156.1/1868` — `itens/20.500.12156.1_1868/`
+
diff --git a/wordpress/16551-ilha-da-trindade-sintese-historica.md b/wordpress/16551-ilha-da-trindade-sintese-historica.md
new file mode 100644
index 0000000..b36ffef
--- /dev/null
+++ b/wordpress/16551-ilha-da-trindade-sintese-historica.md
@@ -0,0 +1,163 @@
+---
+id: 16551
+url: "https://brasilianafotografica.bn.gov.br/?p=16551"
+titulo: "Ilha da Trindade: síntese histórica"
+autor: "Andrea Wanderley"
+data: "2019-10-04T11:01:05+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/6623", "20.500.12156.1/6611", "20.500.12156.1/6618", "20.500.12156.1/6622", "20.500.12156.1/6619", "20.500.12156.1/6609", "20.500.12156.1/6616"]
+fetched_at: "2026-09-10T09:59:58.900Z"
+---
+
+# Ilha da Trindade: síntese histórica
+
+A Ilha de Trindade, localizada na costa do estado do Espírito Santo, foi diversas vezes, entre os séculos XVI e XIX, alvo de disputas entre Portugal e Inglaterra. Devido à Primeira Guerra Mundial, foi criada uma guarnição mista de terra e mar, sob administração do Ministério da Marinha, na Ilha da Trindade, onde, em 24 de maio de 1916, chegou o cruzador Barroso com militares e uma comissão científica, com o material necessário à instalação de uma estação radiotelegráfica. Foi a partir desta comissão científica, capitaneada pelo Museu Nacional que, de maio a outubro de 1916, pesquisadores colheram materiais, produziram registros fotográficos e classificaram espécies até então inéditas. São dessa época as fotografias que pertencem ao acervo do Departamento do Patrimônio Histórico da Marinha do Brasil – uma das instituições parceiras da Brasiliana Fotográfica – que ilustram o artigo Ilha da Trindade: síntese histórica, escrito pelo capitão de corveta Daniel Martins Gusmão. 
+José Domingues dos Santos Filho (1866 – 19?), que fazia parte da equipe do museu, e o então capitão-tenente Moraes Rego (1882 – 1941), encarregado pela instalação de uma estação radiotelegráfica na ilha, foram os responsáveis pelas fotografias. Posteriormente, Santos Filho foi trabalhar no Museu Paulista, onde confeccionava fotografias, copiava mapas, fazia desenhos científicos e foi responsável por pelo menos uma série composta por 12 desenhos aquarelados, a maioria deles baseada nas obras de Hercule Florence (1804-1877). Já Moraes Rego tornou-se patrono das Comunicações Navais no Brasil.
+ 
+Ilha da Trindade: síntese histórica
+Daniel Martins Gusmão*
+ 
+Aspecto da Ilha da Trindade vista de nordeste, deixando ver o Monumento e a Crista do Gallo, 1916. Ilha da Trindade, Vitória, Espírito Santo / Acervo DPHDM
+ 
+Em 1501, de passagem a caminho da Índia, o explorador galego João da Nova (c. 1460 – 1509), a serviço de Portugal, avistou a Ilha da Trindade. No entanto, sua posse só foi confirmada pela Coroa portuguesa, em 1503, quando Afonso de Albuquerque (1453 – 1515) navegava pela mesma rota. Ainda no século XVI, foi transformada em capitania e transferida por carta de doação de d. João III (1502 – 1557) ao fidalgo Belchior Camacho, em 1538, que nunca a ocupou. O documento é a primeira manifestação da soberania portuguesa sobre a ilha. Porém, no decorrer dos séculos XVII a XIX, a ilha foi ocupada, por breves períodos, para fins científicos ou militares, por ingleses e portugueses, tendo sido também alvo de disputa por estes reinos devido à sua posição estratégica privilegiada. Em 1825, no tratado que confirmou a Independência do Brasil, Trindade foi incorporada definitivamente ao território brasileiro. No final do século XIX, voltou a ser alvo de disputa e cobiça pelos britânicos.
+Em 15 de abril de 1700, o capitão inglês Edmond Halley (1656 – 1742) visitou a Ilha da Trindade para estudos astronômicos e dela tomou formalmente posse em nome do rei Guilherme III (1650 – 1702) e da rainha Ana II (1662 – 1694), da Grã-Bretanha. Como prática usual entre os navegadores da época, foram soltos diversos animais na ilha, entre cabras e porcos, para servir de alimento a possíveis náufragos ou futuros ocupantes. Mais tarde, tal ato desencadearia drásticas alterações na flora da ilha, com consequências extremas na perda do solo e na descaracterização geral da cobertura vegetal. Em 22 de fevereiro de 1724, uma carta régia de d. João V ordenou providências no sentido de impedir que a Companhia Inglesa de Guiné se servisse da Ilha da Trindade para o comércio de escravos. Foi, sem dúvida alguma, um protesto solene contra o ato de 1700 praticado pelo Capitão Halley.
+ 
+Acessando o link para as fotografias da Ilha da Trindade disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Em 28 de maio de 1775, o navegador inglês James Cook (1728 – 1779) também visitou Trindade sem muitas pretensões, deixando-nos impressionante descrição da agressiva natureza da ilha. Os primeiros passos para o início de uma colonização inglesa foi efetivada em 1781, quando desembarcaram no Porto do Príncipe e ergueram um forte, deixando na ilha uma guarnição armada. Os ingleses tinham como objetivo transformar a Ilha da Trindade em ponto de apoio para as suas rotas oceânicas, com o intuito de hostilizar o comércio espanhol com as colônias do Prata devido à guerra travada pela Grã-Bretanha com este país. Ao tomar conhecimento dessa invasão, Portugal formalizou protestos em Londres e, em 1783, deslocou um contingente de militares e civis para ocupar a ilha que, no momento da chegada dos portugueses, já havia sido abandonada pelos ingleses. No ano seguinte contava com 200 habitantes, e, em 1789, este contingente decresceu até 88 militares, quando finalmente, em 1795, a ilha, muito provavelmente pelas condições inóspitas e agressivas já destacadas pelo inglês James Cook, foi completamente desguarnecida.
+Seguiu-se um longo período em que a ilha foi visitada por sucessivos navegantes entre ingleses, franceses e americanos que, porém, nela não se fixaram. Por ocasião da Independência do Brasil, o projeto de Constituição elaborado em 1823 incluía, no seu art. 2º, a Ilha da Trindade como compreendida no âmbito do território brasileiro.
+Em 1825, visitaram-na uma comissão do Governo brasileiro com a corveta Itaparica. No período da Regência, em 1831, foi expedido um aviso mandando proceder a estudos e exames para a utilização da ilha, entretanto ela continuou relegada ao esquecimento. Em 1839, o notável explorador do continente antártico, James Clark Ross (1800 – 1862), empenhado em fixar a posição do polo sul magnético, esteve na ilha com os naturalistas Joseph Dalton Hoocker (1817 – 1911) e Robert Mac Cormick (1800 – 1890).
+Em 1846, a corveta brasileira Sete de Abril esteve na ilha e, em 1856, a corveta Dona Isabel também a visitou durante uma viagem de instrução. A Marinha preocupou-se constantemente para que suas embarcações realizassem visitas periódicas à ilha. Como forma de demonstrar a ocupação do território, o Governo Imperial, por meio do Decreto nº 9.334, de 29 de novembro de 1884, concedeu permissão ao cidadão João Alves Guerra para “explorar minerais e extrair produtos naturais, assim como estabelecer salinas na Ilha da Trindade, podendo explorar-lhe os minérios pelo prazo de 10 anos e as salinas pelo de 30”, fato que não se concretizou. Entre o final do século XIX até 1916 nada menos de 12 expedições aportaram na ilha à procura de tesouros escondidos por hipotéticos piratas.
+ 
+O Malho, 9 de abril de 1910
+ 
+O Malho, 10 de junho de 1911
+ 
+Preocupados ainda com a questão da não ocupação efetiva da ilha, o Governo Imperial enviou uma comissão no vapor Penedo a fim de estudar a possibilidade de sua utilização como local para exílio de presos políticos, bem como para fixação de um posto de ocupação, o que não aconteceu. Nova ocupação só ocorreria em 1895, quando a Inglaterra tomou posse da ilha mais uma vez, sob o pretexto de instalar uma estação de cabo submarino, que se estenderia até a Argentina, com o argumento de “se tratar de território abandonado e nela não haver vestígio algum de posse de qualquer outra nação”. Desta forma, o comandante do HMS Baraconta, de passagem pela ilha, nela arvorou o pavilhão britânico. Mobilizada a diplomacia brasileira, houve troca de notas. O ministro das Relações Exteriores de Portugal ofereceu-se como mediador, prevalecendo a tese de que a ilha, embora não ocupada, pertencia de direito ao Brasil. A 14 de janeiro de 1897, o cruzador Benjamin Constant transportou para a ilha um marco padrão de granito que não pôde desembarcar. No entanto, no local do Forte da Rainha, um sinal de posse foi hasteado, afirmando a definitiva soberania do Brasil.
+ 
+Marco da Ilha da Trindade
+ 
+Em 1910, um novo marco em granito, transportado pelos Cruzadores República e Andrada, foi erguido como forma de confirmar a posse da Ilha da Trindade. O local do marco, que até hoje encontra-se lá instalado, está situado na Praia do Andrada, junto ao Morro das Tartarugas. Em 1915, o governo britânico indagou sobre a ocupação da ilha com o intuito de comprá-la.  O então ministro da Marinha, o almirante Alexandrino de Alencar, respondeu: “quanto à ocupação ou não da Ilha da Trindade, não interessa a estrangeiros: e quanto à venda, o Brasil, apesar de muito grande, não negociava com seus territórios”.
+ 
+Grazinas – Gygis alba, Sparm, exemplares jovens, 1916. Ilha da Trindade, Vitória, Espírito Santo / Acervo DPHDM
+ 
+Com a eclosão da Primeira Guerra Mundial, foi criada pelo Decreto nº 11.181, de 30 de setembro de 1914, uma guarnição mista de terra e mar, sob administração do Ministério da Marinha, nas ilhas de Fernando de Noronha e da Trindade. Para a Ilha da Trindade, chegou, em 24 de maio de 1916, o cruzador Barroso com uma guarnição militar e uma comissão científica, com o material necessário à instalação de uma Estação Radiotelegráfica. Terminada a guerra, a guarnição foi evacuada em 2 de setembro de 1919.
+ 
+Rochedo da Praia da Cachoeira onde foi feito o primeiro desembarque, 1916. Ilha da Trindade, Vitória, Espírito Santo / Acervo DPHMB
+ 
+Foi a partir desta comissão científica, capitaneada pelo Museu Nacional, que, de maio a outubro de 1916, pesquisadores colheram materiais, fizeram observações, registros fotográficos e classificaram espécies até então inéditas. A fauna brasileira ficou acrescida e a ciência ganhou novas espécies, principalmente entre aves e peixes, conforme levantamento fotográfico demonstrado pela comissão.
+ 
+Acampamento da primeira guarnição militar. A primeira barraca serviu de alojamento aos preparadores do Museu, Pedro Peixoto Velho e José Domingues dos Santos, 1916. Ilha da Trindade, Vitória, Espírito Santo / Acervo DPHMB
+ 
+De 1924 a 1926, a Ilha da Trindade serviu de presídio político. Com o intuito de consolar um dos presos políticos, a filha do coronel Waldomiro de Lima, Lourdes de Lima, levou para a ilha a imagem de Nossa Senhora de Lourdes, que se encontra numa gruta que leva o seu nome. Evacuados os presos políticos, a partir de 1927, novamente a Ilha da Trindade ficou despovoada.
+A Ilha voltou a ser guarnecida em 1941 para impedir que os submarinos do Eixo fossem apoiados durante a Segunda Guerra Mundial, além de garantir o domínio efetivo deste longínquo território pelo Brasil. Tal situação perdurou até junho de 1945, com a retirada da guarnição militar.
+Em 1950, uma expedição visitou a ilha com a finalidade de avaliar a sua ocupação permanente e a construção de uma base aeronaval. Em 29 de maio de 1957, por meio do Aviso n° 1.420 do Ministro da Marinha, foi criado o Posto Oceanográfico da Ilha da Trindade (POIT), como parte do programa de participação da Marinha no Ano Geofísico Internacional, possibilitando desta forma, a ocupação permanente da ilha pela Marinha do Brasil, que inicialmente era uma organização militar subordinada à Diretoria de Hidrografia e Navegação. As atividades científicas na ilha foram retomadas e, desde então, são desenvolvidas ações de observações meteorológicas, apoio às pesquisas científicas, atividades de preservação do meio ambiente, além do controle do tráfego marítimo na área. Esta continuidade somente tem sido viável em virtude do apoio da Marinha às pesquisas, sendo a instituição responsável por garantir a presença do Estado brasileiro naquela longínqua porção da Amazônia Azul.
+ 
+Aspecto da Ilha da Trindade vista do leste, 1916. Ilha da Trindade, Vitória, Espírito Santo / Acervo DPHMB
+ 
+Por sua localização, em latitude próxima das principais bacias petrolíferas e da região de maior desenvolvimento econômico e concentração populacional do País, a Ilha da Trindade constitui um posto avançado, permanentemente ocupado por um destacamento militar, sendo importante para a Defesa Nacional no que concerne ao emprego do Poder Naval.
+As pesquisas científicas permitem identificar o potencial sustentável de exploração e utilização sustentável do patrimônio. Além disso, novas descobertas podem contribuir para preservação do meio ambiente. No caso particular da Ilha da Trindade, o caminho da ciência tem sido uma das prioridades da atuação conjunta da MB, das instituições de pesquisa e universidades.
+A partir de 1986, a Organização Militar foi transformada em um setor do Comando do Primeiro Distrito Naval, sendo desde então administrada logística e operacionalmente por este comando. Conforme dispõe o inciso IV, do Art. 20, da Constituição da República, a Ilha da Trindade é um bem da União, entregue pela Secretaria do Patrimônio da União (SPU) ao encargo da Marinha do Brasil (MB), por meio do Termo de Entrega nº SCC-001/84, de 24 de abril de 1984. A Convenção das Nações Unidas sobre o Direito do Mar dá ao Brasil o direito de estabelecer, ao redor da Ilha da Trindade, Mar Territorial, Zona Contígua, Zona Econômica Exclusiva e Plataforma Continental, o que foi concretizado pela Lei nº 8.617/1993.
+Nos últimos anos a Marinha tem recebido uma quantidade crescente de solicitações para a realização de pesquisas na Ilha da Trindade. Tais solicitações recomendaram a criação de um programa específico, sob a égide da Comissão Interministerial para os Recursos do Mar (CIRM), coordenado pela MB, aproveitando o apoio logístico regular por ela prestado às instalações que mantém na ilha. Este programa, criado em abril de 2007 e denominado PROTRINDADE (Programa de Pesquisas Científicas na Ilha da Trindade), destina-se a gerenciar o desenvolvimento de pesquisas científicas na Ilha da Trindade, Arquipélago de Martin Vaz e na área marítima adjacente, possibilitando, dessa forma, a obtenção, a sistematização e a divulgação de conhecimentos científicos sobre a região.
+ 
+Geografia
+ 
+A Ilha da Trindade é o cume de elevada montanha submarina que se eleva de uma profundidade de 5.000 metros do assoalho oceânico, sobre uma base de 50 km de diâmetro. Está situada na latitude de 20º 30’S e longitude 29º 49’W e encontra-se no limite da bacia do Brasil, profunda depressão que atinge os 7.000 metros. O seu ponto culminante é o Pico do Desejado, com 600 m de altitude. Está situada a 1.140 km da costa, no pararelo que passa 70 km ao sul de Vitória (ES), tendo o comprimento de 5 km de N.W a S.E e a largura de 2,5 Km, é circundada por uma plataforma que atinge 3 km de largura, com a profundidade de 200 m.
+Os rochedos de Martin Vaz, situados 48 km a leste, fazem parte do arquipélago vulcânico. Suas rochas são análogas às da Ilha da Trindade. Grande parte do litoral, especialmente as enseadas e menores reentrâncias, possui um banco de coral que protege a orla do mar. A formação coralígena forma um barranco na zona de arrebentação (afastada da terra 50 m ou mais), com a altura de 5 a 10 m.
+A abundância de material piroclástico presente na Ilha da Trindade propiciou a existência de diversas fontes de água. O solo é pouco espesso e escasso, havendo predominância de gramíneas e ciperáceas, enquanto que nas regiões sombrias e úmidas existem grandes florestas de samambaias gigantes. A ilha é cercada por costões abruptos, o que torna difícil e perigosa a sua abordagem, sendo a topografia bastante acidentada nessas áreas.
+Nos planaltos originados pelos derrames e depósitos quase horizontais de material piroclástico, a topografia já é mais suave. As rochas que preenchiam antigas chaminés vulcânicas são frequentemente responsáveis pelas formas acidentadas do relevo, como o chamado Monumento, composto de fonólito. As raras e estreitas praias existentes na ilha constituem-se principalmente de fragmentos calcários derivados de recifes de algas calcárias e restos de carapaças de moluscos, formando-se em menos de 10% de fragmentos de rochas vulcânicas.
+ 
+Túnel do Morro do Furado, 1916. Ilha da Trindade, Vitória, Espírito Santo / Acervo DPHDM
+ 
+ Naufrágios históricos da Ilha da Trindade
+ 
+Atualmente, ao longo de área habitável do POIT é possível encontrar diversos vestígios arqueológicos, tais como âncoras e restos de navios. Tais conjuntos de artefatos fazem parte da cultura material que compõe o contexto de ocupação da ilha ao longo do tempo. No museu do POIT e ao lado da Casa da Chefia estão expostos remanescentes do navio Oceanográfico Beberibe, que naufragou em 1966; do pesqueiro chinês HWA Shing, encalhado deliberadamente em 1989 (ambos na Praia dos Portugueses); e do veleiro Le Roi des Harengs, lançado sobre as pedras em 1994, na Ponta do Valado (Enseada dos Portugueses). Estes sítios arqueológicos representam um pouco da história da ilha.
+Cabe destacar também que o Projeto Atlas dos Naufrágios de Interesse Histórico da Costa do Brasil, desenvolvido pela Marinha, possui registros de quatro embarcações naufragadas ao largo da Ilha da Trindade. Tais vestígios, se localizados, representam sítios arqueológicos submersos, consideravelmente formados por restos de embarcações naufragadas. O primeiro desses registros é o do cúter inglês HMS Rattlesnake, que naufragou por mau tempo em 21 de outubro de 1781, quando realizava levantamento hidrográfico no entorno da ilha. Em 1805, uma baleeira americana pegou fogo e os sete sobreviventes foram resgatados pelo navio inglês Agamenon. Em 1817, o bergantim francês La Jeune Sophie naufragou ao se aproximar da ilha. Por último, no ínicio da Grande Guerra, em setembro de 1914, a Ilha da Trindade foi palco de um confronto naval entre o cruzador alemão Cap Trafalgar e o cruzador inglês RMS Carmania, tendo sido o primeiro bombardeado e vindo a naufragar nas proximidades da ilha. Tal evento ficou conhecido na história como a Batalha de Trindade e foi retratado por Charles Dixon (1872 – 1934), em aquarela de papel, tendo como pano de fundo a Ilha da Trindade e o Cap Trafalgar afundando.
+ 
+Charles Dixon. Carmania sinking Cap Trafalgar off Trinidad, September 14, 1914, 1923 / Acervo do Museu Marítimo Nacional em Londres
+ 
+*Daniel Martins Gusmão é Capitão de Corveta (T) e Ajudante da Divisão de Arqueologia Subaquática da Marinha do Brasil.
+ 
+O Pão de Assucar, situado entre a Praia das Tartarugas e do Príncipe, sudoeste da Trindade, com 360 metros de altura, 1916. Ilha da Trindade, Vitória, Espírito Santo / Acervo DPHDM
+ 
+ 
+FONTES:
+ALVES, Ruy José Válka. Ilha da Trindade & Arquipélago Martin Vaz: um ensaio geobotânico. Rio de Janeiro: Serviço de Documentação da Marinha, 1998.
+ARRAES, Virgílio Caixeta. A presença britânica na Ilha da Trindade: a reação do Parlamento brasileiro. Brasília: Revista de Informação Legislativa, n. 153, 2002.
+CAMINHA, Herick Marques. Organização e Administração do Ministério da Marinha na República. Ministério da Marinha, Brasília˗Rio de Janeiro: Serviço de Documentação Geral da Marinha, 1986.
+De Tordesilhas ao Mercosul – uma exposição da história da diplomacia brasileira: Catálogo da exposição. Rio de Janeiro: Ministério das Relações Exteriores, s/d.
+PETTIGREW, Willian A. A Dívida da Liberdade: A Companhia Real Africana e a Política do Comércio de Escravos do Atlântico, 1672–1752. Chapel Hill, Carolina do Norte: University of North Carolina Press, 2014.
+SECRETARIA DA COMISSÃO INTERMINISTERIAL PARA OS RECURSOS DO MAR. PROTRINDADE: programa de pesquisas científicas na Ilha da Trindade – 10 anos de pesquisas. Brasília: SECIRM, 2017.
+TONELLI, Nicélio. A dimensão da ocupação britânica da ilha brasileira de Trindade (1895-1896). Brasília: Revista Brasileira de Política
+ 
+ 
+Um pouco da história e cronologia da comissão científica na Ilha de Trindade em 1916 e 
+sobre José Domingues dos Santos Filho (1866 – 19?) e o comandante Tácito Reis de Moraes Rego
+Andrea Wanderley**
+ 
+Professor Bruno Lobo, diretor do Museu Nacional
+O professor e médico Bruno Lobo (1884 – 1945), diretor do Museu Nacional entre 1915 e 1923, aproveitando a ida do cruzador Barroso para a Ilha da Trindade, em 1916, promovida pelo almirante e ministro da Marinha Alexandrino de Alencar (1848 – 1926), foi para lá acompanhado por quatro auxiliares: Arnaldo Blake de Santa Anna (18? – 19?), Armando dos Santos Belleza (18? – 19?), Pedro Pinto Peixoto Velho (18? – 19?) e José Domingues dos Santos Filho (1866 – 19?). Estes dois últimos ficaram cerca de 6 meses na ilha. Santos Filho foi responsável pela maioria das fotografias produzidas. No período, colheram o seguinte material: mamíferos, aves, répteis, crustáceos, insetos, moluscos, vermes, equinodermes e esponjas, além de espécimes vegetais. O professor Lobo distribuiu o material entre os naturalistas Carlos Moreira (1869 – 1946) – crustáceos e insetos -, Hermann von Ihering (1850 – 1930) – moluscos – Alípio de Miranda Ribeiro (1874 – 1939) – vertebrados – e h (1882 – 1959) – botânica. Também integrava a comissão científica, o assistente de Oswaldo Cruz, o médico e zoólogo Lauro Travassos (1890 – 1970), de Manguinhos, que colheu vermes endoparasitas e colecionou peixes para o Museu Nacional.  As
+ 
+ Breve cronologia
+ 
+1916 – Foi noticiado que o diretor da Museu Nacional, Bruno Lobo, seguiria para a Ilha da Trindade, a bordo do cruzador Barroso (Gazeta de Notícias, 19 de maio de 1916, sexta coluna).
+O cruzador Barroso zarpou do Rio de Janeiro, em 20 de maio, sob o comando do capitão de Mar e Guerra José Libânio Lamenha Lins, levando Bruno Lobo e sua equipe: Pedro Pinto Peixoto Velho, José Domingues dos Santos Filho, Arnaldo Blake de Santa Anna e Armando dos Santos Belleza. A comissão do museu conduzia todos os aparelhos e objetos necessários para os minuciosos estudos que vai empreender na ilha no que possa interessar a esse referido estabelecimento (Gazeta de Notícias, 21 de maio de 1916; e Revista Marítima Brasileira, 1916).
+Em 24 de maio, chegada do cruzador à Ilha da Trindade (Gazeta de Notícias, 26 de maio de 1916, última coluna).
+Em 6 de junho, o Barroso partiu de Trindade e chegou no Rio de Janeiro, em 9 de junho. Bruno Lobo, que retornou, foi muito elogiado. O preparador de taxidermia Pedro Pinto Peixoto Velho e o auxiliar petrógrafo José Domingues dos Santos Filho, da equipe do Museu Nacional, ficaram lá (Gazeta de Notícias, 8 de junho de 1916, penúltima coluna e Gazeta de Notícias, 10 de junho de 1916, terceira coluna). De maio a outubro de 1916, eles colheram materiais, produziram registros fotográficos e classificaram espécies até então inéditas. A fauna brasileira ficou acrescida e a ciência ganhou novas espécies, principalmente entre aves e peixes, conforme levantamento fotográfico realizado por José Domingues dos Santos Filho (Revista da Sociedade Brasileira de Ciências, 1919).
+ 
+Gazeta de Notícias, 10 de junho de 1916
+ 
+O vapor Carlos Gomes partiu do Rio de Janeiro, em 24 de setembro, para a Ilha da Trindade onde permaneceu por cerca de 15 dias. Chegou de volta ao Rio de Janeiro, em 13 de outubro, trazendo os preparadores do Museu Nacional, Pedro Pinto Peixoto Velho e José Domingues dos Santos Filho (Gazeta de Notícias, 23 de setembro de 1916, sexta coluna;  Gazeta de Notícias, 15 de outubro de 1916, segunda coluna; e Revista Marítima Brasileira, 1916).
+Foi noticiado que haviam sido feitas importantes descobertas pela equipe do Museu Nacional que havia regressado da Ilha da Trindade (Gazeta de Notícias, 22 de outubro de 1916, última coluna).
+1918 – Em 3 de agosto, o professor Bruno Lobo fez uma conferência sobre a Ilha da Trindade, na Biblioteca Nacional. Na plateia, o professor Ramiz Galvão (1846 – 1938), o ministro da Marinha Alexandrino de Alencar e o senador Epitácio Pessoa (1865 – 1942), entre outros (Gazeta de Notícias, 5 de agosto de 1918, segunda coluna).
+ 
+Planta da Ilha da Trindade, 1918
+ 
+1919 - O volume de 1919 dos Arquivos do Museu Nacional, dedicado à comemoração do centenário do museu, trouxe três artigos relativos às descobertas realizadas na expedição de 1916 à Ilha da Trindade: de Bruno Lobo, de Lauro Travassos e de Alípio de Miranda Ribeiro (Arquivos do Museu Nacional do Rio de Janeiro, 1919).
+ 
+José Domingues dos Santos Filho (1866 – 19?) e almirante Moraes Rego (1882 – 1941)***
+ 
+As fotografias publicadas nesse artigo, que pertencem ao acervo do Departamento do Patrimônio Histórico da Marinha do Brasil, foram utilizadas durante a conferência proferida pelo então diretor do Museu Nacional, Bruno Lobo, em 3 de agosto de 1918, na Biblioteca Nacional. Ao final, ele comentou sobre as fotografias:
+‘As fotografias que documentam o presente trabalho foram executadas em sua maioria pelo praticante do Museu Nacional José Domingues dos Santos, devendo contudo algumas à gentileza do comandante Moraes Rego‘.
+Tanto Moraes Rego como Santos Filho haviam ido para Trindade a bordo do cruzador Barroso, que chegou à ilha em maio de 1916. Porém Moraes Rego retornou ao Rio de Janeiro no mesmo navio, em junho, enquanto que Santos Filho permaneceu na Ilha da Trindade até outubro de 1916, quando voltou para o Rio de Janeiro a bordo do vapor Carlos Gomes.
+ 
+José Domingues dos Santos Filho (1866 – 19?)
+ 
+Nascido em 22 de fevereiro de 1866, em Rezende, José Domingues dos Santos Filho, da equipe do Museu Nacional, na viagem de 1916 para a Ilha da Trindade,  foi, como já mencionado, o responsável pela maioria das fotos produzidas na ocasião. Em maio de 1917, poucos meses depois de assumir a diretoria do Museu Paulista, Affonso d´Escragnolle Taunay (1876-1958) contratou José Domingues dos Santos Filho, nascido em Rezende, em 22 de fevereiro de 1886, como desenhista-fotógrafo e auxiliar do botânico Frederico Carlos Hoehne (1882-1959). Ambos vinham do Rio de Janeiro, onde haviam colaborado em instituições científicas como, por exemplo, o Museu Nacional. Hoehne e ele também atuavam nos Institutos Soroterápico (futuro Butantan) e Bacteriológico.
+José Domingues dos Santos Filho seria responsável no Museu Paulista pela confecção de fotografias, de cópias de diversos mapas, pelos desenhos científicos e ao menos de uma série composta por 12 desenhos aquarelados, a maioria deles baseada nas obras de Hercule Florence (1804-1877). Essas aquarelas integraram a sala “Consagrada ao passado da cidade de São Paulo”, que foi inaugurada em outubro de 1918. Também faziam parte da sala telas como as de José Wasth Rodrigues (1891-1957)  representando os largos do Palácio e da Sé, o grande panorama Inundação da Várzea do Carmo (1892), de Benedito Calixto (1853-1927), documentos históricos emprestados pelo Arquivo Municipal de São Paulo, referidos como uma série de alto valor evocativo absolutamente insubstituível, além de plantas da cidade de São Paulo, como a produzida pelo engenheiro alemão (1804 – 1856), em 1841, copiada por José Domingues dos Santos Filho (Correio Paulistano, 11 de outubro de 1918, quarta coluna).
+Em 1920, apesar de estar doente, Santos Filho encaminhou uma série de mapas a Taunay mas informou não ter mais condições de realizar serviços muito extensos. Provavelmente referia-se ao Ensaio geral das Bandeiras paulistas, carta cartográfica onde seu nome aparece com destaque. No mesmo ano foi exonerado, a pedido, do Instituto Soroterápico (Butantan), onde era fotógrafo-micrografista  (Correio Paulistano, 11 de novembro de 1920, quarta coluna). Em 1921, continuava a prestar serviços fotográficos para o Museu Paulista. Seria ele, entre 1928 e 1929, o fotomicrógrafo do Laboratório Central da Diretoria do Serviço de Inspeção e Fomento Agrícola do Ministério da Agricultura? (Almanak Laemmert, 1929 e 1930, )
+ 
+Tácito Reis de Moraes Rego (1882 – 1941)
+ 
+Almirante Moraes Rego / Acervo Marinha do Brasil
+ 
+O então capitão-tenente Tácito Reis de Moraes Rego foi para Trindade como o encarregado pela montagem da estação radiotelegráfica da ilha (Gazeta de Notícias, 20 de maio de 1916). Ele, Bruno Lobo e o pessoal do escaler que os levou do navio à ilha foram os primeiros a desembarcar em Trindade (Correio de Notícias, 1º de junho de 1916, quinta coluna). Retornou ao Rio de Janeiro, a bordo do cruzador Barroso, em 9 de junho de 1916, e, no dia seguinte, apresentou-se ao então ministro da Marinha, Alexandrino de Alencar, e explicou ser impossível a instalação de uma estação radiotelegráfica na ilha (Correio de Notícias, 11 de junho de 1916, quinta coluna).
+Nascido no Rio de Janeiro, em 8 de março e 1882, Moraes Rego ingressou na Escola Naval em 1898, serviu nos navios Minas Gerais e Rio Grande do Sul como radiotelegrafista. Em 1928, quando era adido naval, cursou a Escola de Guerra Naval. Comandou os cruzadores Barroso e o Rio Grande do Sul. Em 1930, comandou a Divisão Naval do Norte e a Divisão de Cruzados. Em julho de 1932, foi designado capitão do Portos de São Paulo, sediado em Santos. Foi também comandante da 2ª Divisão Naval, diretor geral da Fazenda da Marinha, diretor do Serviço de Rádio e diretor geral de Navegação. Quando faleceu, em 14 de dezembro e 1941, era diretor geral do Ensino Naval e presidente do Conselho do Almirantado (Correio da Manhã, 16 de dezembro de 1941, quarta coluna).
+É o patrono das Comunicações Navais no Brasil por ter sido o primeiro encarregado da Estação Radiotelegráfica da Ilha das Cobras – Estação Central e por sua atuação nos primórdios das comunicações na Marinha do Brasil.
+ 
+**Andrea Wanderley é editora-assistente e pesquisadora da Brasiliana Fotográfica
+*** O pequeno perfil aqui publicado sobre José Domingues dos Santos Filho foi baseado principalmente no trabalho Desenhos como intermediários no projeto de exposição de Taunay para o Museu Paulista: as aquarelas de José Domingues dos Santos Filho, publicado em 2019, de autoria de Ana Paula Nascimento, doutora em História da Arquitetura e do Urbanismo.
+ 
+Fontes:
+Dicionário Histórico-Biográfico das Ciências da Saúde no Brasil (1832 – 1930) – Casa de Oswaldo Cruz / Fiocruz
+DUARTE, Regina Horta. Barth e a Ilha da Trindade in Histórias, Ciências, Saúde –  Manguinhos, 2012
+Hemeroteca Digital da Biblioteca Nacional
+LOBO, Bruno. Conferência sobre a Ilha da Trindade in Arquivos do Museu Nacional do Rio de Janeiro. Rio de Janeiro: Imprensa Nacional, 1919.
+NASCIMENTO, Ana Paula. Desenhos como intermediários no projeto de exposição de Taunay para o Museu Paulista: as aquarelas de José Domingues dos Santos Filho, 2019
+RIBEIRO, A. de Miranda. A fauna vertebrada da Ilha da Trindade in Arquivos do Museu Nacional do Rio de Janeiro. Rio de Janeiro: Imprensa Nacional, 1919.
+RIBEIRO, Paulo de Miranda. O professor Carlos Moreira. Rio de Janeiro: Imprensa Nacional, 1947.
+Site do Instituto Oswaldo Cruz
+Site do Ministério da Defesa
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/6623` — `itens/20.500.12156.1_6623/`
+- `20.500.12156.1/6611` — `itens/20.500.12156.1_6611/`
+- `20.500.12156.1/6618` — `itens/20.500.12156.1_6618/`
+- `20.500.12156.1/6622` — `itens/20.500.12156.1_6622/`
+- `20.500.12156.1/6619` — `itens/20.500.12156.1_6619/`
+- `20.500.12156.1/6609` — `itens/20.500.12156.1_6609/`
+- `20.500.12156.1/6616` — `itens/20.500.12156.1_6616/`
+
diff --git a/wordpress/16641-as-ruinas-de-bras-de-pina.md b/wordpress/16641-as-ruinas-de-bras-de-pina.md
new file mode 100644
index 0000000..fc17ddf
--- /dev/null
+++ b/wordpress/16641-as-ruinas-de-bras-de-pina.md
@@ -0,0 +1,52 @@
+---
+id: 16641
+url: "https://brasilianafotografica.bn.gov.br/?p=16641"
+titulo: "As ruínas de Brás de Pina"
+autor: "Andrea Wanderley"
+data: "2019-09-30T12:17:32+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/6650", "20.500.12156.1/6274", "20.500.12156.1/6653", "20.500.12156.1/6654"]
+fetched_at: "2026-09-10T10:00:02.095Z"
+---
+
+# As ruínas de Brás de Pina
+
+Brás de Pina, bairro carioca na Zona da Leopoldina, fazia parte do império econômico do visconde de Brás de Pina, um dos grandes empreendedores da capitania do Rio de Janeiro do século XVIII. Importante negociante, produzia açúcar e cachaça e também possuía uma permissão para manufaturar os produtos oriundos da pesca da baleia. Foi também proprietário do Cais de Brás de Pina, posteriormente chamado de Cais dos Mineiros. O historiador Ricardo Augusto dos Santos, da Fundação Oswaldo Cruz, uma das instituições parceiras da Brasiliana Fotográfica, conta um pouco desta história e disponibiliza fotografias das antigas edificações do engenho do visconde. No negativo de vidro, está escrito que seriam escombros de um Convento dos Jesuítas, porém, segundo Brasil Gérson, no livro Ruas do Rio, inexistem fontes que corroborem a versão sobre a existência de um convento na área. Talvez esta confusão se deva ao fato de que havia sim, entre os prédios construídos pelo visconde em sua fazenda, uma capela.
+ 
+As Ruínas de Brás de Pina
+Ricardo Augusto dos Santos*
+Ruínas em Brás de Pina, s/d. Brás de Pina, Rio de Janeiro, RJ / Acervo Casa de Oswaldo Cruz
+Após as obras que remodelaram a região portuária do Rio de Janeiro, um pequeno muro da época colonial ganhou destaque. Trata-se de um vestígio do antigo Cais dos Mineiros. Em certa época, também foi chamado de Cais de Brás de Pina. Terá alguma relação com o bairro? Sim.
+Brás de Pina fica na Zona da Leopoldina e suas fronteiras estão situadas entre a Penha, Cordovil e Irajá. Antes dos sucessivos aterros, suas terras alcançavam a Baía de Guanabara. Curiosamente, a história deste bairro carioca possui um ponto de contato com a cidade de Armação dos Búzios, no litoral fluminense. Os locais foram partes do império econômico do visconde de Brás de Pina, um importante negociante no século XVIII. Entre seus negócios, além da produção de açúcar e cachaça, ele possuía uma permissão para manufaturar os produtos oriundos da pesca da baleia.
+ 
+Acessando o link para as fotografias das ruínas em Brás de Pina do acervo da Fiocruz e disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Este lucrativo empreendimento era monopólio da Coroa Portuguesa que arrendava o serviço a contratadores que ficavam com o direito exclusivo sobre a atividade desde a construção das estruturas necessárias, um conjunto que recebia o nome de Armação. Assim, Brás de Pina controlava a pesca, a produção e o armazenamento dos produtos. Das baleias, se aproveitava a carne, o óleo que acendia os candeeiros e as barbatanas para roupas femininas. Também era matéria-prima para a manufatura de velas. A indústria teve declínio nos inícios do século XIX, mas antes disso, gerou grandes fortunas. Por exemplo, Brás de Pina foi proprietário de duas armações, no Cais dos Mineiros (Rio de Janeiro) e na Armação dos Búzios.
+Próspero comerciante, o visconde foi um dos primeiros a obter concessão para manufaturar os produtos utilizados na iluminação das ruas, construções das residências e fabricação de velas. Todos estes artigos eram processados nas armações que o visconde mantinha em Búzios e Rio de Janeiro, onde construiu um porto para embarcar as mercadorias. Este Cais de Brás de Pina era feito de pedra e importante para o transporte de açúcar, aguardente e derivados das baleias. Provavelmente, devido a sua estrutura, foi se transformando num ponto crucial do comércio com os produtos de Minas Gerais, talvez sendo o motivo pelo qual passou a ser chamado de Cais dos Mineiros.
+ 
+Juan Gutierrez. Cais dos mineiros, 189?. Rio de Janeiro, RJ / Acervo MHN
+ 
+Acessando o link para as fotografias do Cais dos Mineiros disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Entretanto, nosso comerciante também possuía um engenho. As terras hoje ocupadas pelo bairro carioca eram de propriedade do Brás de Pina, onde eram produzidos açúcar e aguardente. A atual região da Leopoldina começou a tomar forma com a inauguração, em final do século XIX, da estrada de ferro ligando a área central da cidade do Rio de Janeiro aos distantes sertões. Entretanto, a sua urbanização data de meados do século passado. A Companhia Imobiliária Kosmos – propriedade de Guilherme Guinle – adquiriu terras e promoveu o loteamento da região. O novo bairro receberia o nome de Brás de Pina, uma homenagem ao antigo dono.
+São fotos das antigas edificações deste engenho que encontramos no acervo fotográfico da Casa de Oswaldo Cruz. As informações disponíveis afirmam que as ruínas estavam visíveis no final da década de 1950. Uma das lendas em torno destas fotos diz respeito da origem dos prédios destroçados pelo tempo. No negativo de vidro, está escrito que seriam escombros de um Convento dos Jesuítas. Talvez esta confusão se deva ao fato de que havia sim, entre os prédios construídos pelo visconde em sua fazenda, uma capela. Segundo Brasil Gérson, no livro Ruas do Rio, inexistem fontes que corroborem a versão sobre o suposto convento. Segundo Gérson, existiriam, além das casas, uma capela dedicada à Nossa Senhora da Conceição, citada em fontes como sendo uma das mais belas da área. A fazenda ficava próxima onde hoje, provavelmente, seja a rua Guaporé. Tudo indica que as ruínas foram postas totalmente abaixo pelas obras de um conjunto residencial inaugurado por Carlos Lacerda, governador da Guanabara.
+ 
+Engenho do visconde de Brás de Pina, s/d. Brás de Pina, Rio de Janeiro RJ / Acervo da Casa de Oswaldo Cruz
+ 
+Encontramos um registro jornalístico comentando sobre as filmagens de uma produção cinematográfica em 1917. As ruínas de Brás de Pina foram locações de filme policial produzido por uma pequena empresa de propriedade de Irineu Marinho. Nome do filme? A Quadrilha do Esqueleto, segundo o jornal A Noite, de 17 de fevereiro de 1940. Uma das lendas sobre as estruturas destruídas narra que embaixo das paredes das construções coloniais estariam túneis subterrâneos com tesouros ocultos pelos jesuítas. Contudo, Brasil Gérson afirma a ausência de qualquer menção sobre a existência do convento e que, possivelmente, as cavernas foram construídas para a conservação das bebidas e dos alimentos dos moradores do engenho.
+ 
+Ruínas do engenho do século XVIII que em 1917 foi locação do filme policial A Quadrilha do Esqueleoto / A Noite, 17 de fevereiro de 1940
+ 
+Restos de um engenho de açúcar, s/d. Brás de Pina, Rio de Janeiro, RJ / Acervo Casa de Oswaldo Cruz
+ 
+*Ricardo Augusto dos Santos é Pesquisador Titular da Fundação Oswaldo Cruz
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/6650` — `itens/20.500.12156.1_6650/`
+- `20.500.12156.1/6274` — `itens/20.500.12156.1_6274/`
+- `20.500.12156.1/6653` — `itens/20.500.12156.1_6653/`
+- `20.500.12156.1/6654` — `itens/20.500.12156.1_6654/`
+
diff --git a/wordpress/16710-trilhos-sobre-a-floresta-imagens-da-construcao-da-e-f-madeira-mamore.md b/wordpress/16710-trilhos-sobre-a-floresta-imagens-da-construcao-da-e-f-madeira-mamore.md
new file mode 100644
index 0000000..18f8319
--- /dev/null
+++ b/wordpress/16710-trilhos-sobre-a-floresta-imagens-da-construcao-da-e-f-madeira-mamore.md
@@ -0,0 +1,78 @@
+---
+id: 16710
+url: "https://brasilianafotografica.bn.gov.br/?p=16710"
+titulo: "Trilhos sobre a floresta: imagens da construção da E.F. Madeira-Mamoré"
+autor: "Andrea Wanderley"
+data: "2019-10-14T11:24:44+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/6667", "20.500.12156.1/6666", "20.500.12156.1/6665", "20.500.12156.1/6669", "20.500.12156.1/3819", "20.500.12156.1/6662", "20.500.12156.1/3873"]
+fetched_at: "2026-09-10T10:00:05.652Z"
+---
+
+# Trilhos sobre a floresta: imagens da construção da E.F. Madeira-Mamoré
+
+Fotografias do dossiê “Madeira-Mamoré” do arquivo do sanitarista Belisário Penna (1868 – 1939), sob a guarda da Casa de Oswaldo Cruz, uma das instituições parceiras da Brasiliana Fotográfica, são o tema do artigo da jornalista Cristiane d’Avila. As fotos registram a obra de construção da estrada de ferro, iniciada em 1907 para ligar Porto Velho à Guajará-Mirim, do hospital e do cemitério da Candelária. O conjunto fotográfico aponta uma questão que inquieta arquivistas e pesquisadores: a autoria de fotos históricas. A partir do álbum fotográfico de Dana B. Merril, View of reviews or scenes as seen by Engineers, Tropical tourist, Global Trotters, Knights of fortune and Tramps: Madeira-Mamoré Ry. Brazil, South America, pertencente à Biblioteca Nacional, e da publicação aqui no portal do artigo A construção da Madeira-Mamoré, a “Ferrovia da Morte”, pelas lentes de Dana B. Merrill (c. 1887 – 19?), de autoria de Andrea Wanderley, é possível indagar: seria Dana Merril o autor das fotografias em papel do arquivo de Belisário Penna?
+ 
+Trilhos sobre a floresta: imagens da construção da E.F. Madeira-Mamoré
+Cristiane d’Avila*
+ 
+O arquivo de Belisário Augusto de Oliveira Penna (1868-1939), sob a guarda do Departamento de Arquivo e Documentação da Casa de Oswaldo Cruz, reúne cartas, relatórios, artigos e mapas, entre outros documentos referentes à vida pessoal e à trajetória profissional do sanitarista. O material inclui itens de tipologias distintas sobre as campanhas de saneamento rural empreendidas por ele e suas investigações científicas sobre eugenia. Dentre esses itens, dois em especial ganham destaque no arquivo: a série “Fotografias” e o dossiê “Madeira-Mamoré”, com 70 imagens sobre a construção da Estrada de Ferro Madeira-Mamoré, no início do século XX (séries, subséries e dossiês compõem a nomenclatura da Arquivologia para a organização de arquivos históricos).
+A relevância do material se justifica. As fotos registram a monumental obra de construção da estrada de ferro, iniciada em 1907 para ligar Porto Velho à Guajará-Mirim, cortando a floresta amazônica no estado de Rondônia. Para além da qualidade estética das imagens e dos modos de ocupação da floresta ali revelados, o conjunto fotográfico aponta uma questão que inquieta arquivistas e pesquisadores: a autoria de fotos históricas.
+ 
+Comitiva em Santo Antônio por ocasião da inauguração do primeiro trecho da Estrada de Ferro Madeira-Mamoré, 1910. Santo Antônio, Rondônia / Acervo Casa de Oswaldo Cruz
+ 
+Acessando o link para as fotografias do dossiê Madeira-Mamoré do acervo da Fiocruz disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+As imagens do arquivo de Penna sobre a Ferrovia do Diabo – como ficou conhecida a estrada, em razão dos milhares de mortos por malária, beribéri e outras doenças tropicais durante a sua construção -, estão nesse rol de fotografias históricas de autoria não-identificada. Contudo, um arquivo sob a guarda da Biblioteca Nacional pode elucidar o mistério.
+No artigo A construção da Madeira-Mamoré, a “Ferrovia da Morte”, pelas lentes de Dana B. Merrill (c. 1887 – 19?) (1), a editora e pesquisadora da Brasiliana Fotográfica, Andrea Wanderley, destaca o álbum fotográfico de Merril, View of reviews or scenes as seen by Engineers, Tropical tourist, Global Trotters, Knights of fortune and Tramps: Madeira-Mamoré Ry. Brazil, South America(2). A obra, totalmente digitalizada, revela cenas impressionantes da ocupação da floresta e da construção da Madeira-Mamoré. Segundo Wanderley, especula-se que ele produziu, aproximadamente, dois mil negativos de vidro sobre a ferrovia. A partir dessa informação, é possível indagar: seria Dana Merril o autor das fotografias em papel do arquivo de Belisário Penna?
+ 
+Obras de construção da Via Férrea – Estrada de Ferro Madeira-Mamoré, 1910. Santo Antônio, Rondônia / Acervo Casa de Oswaldo Cruz
+ 
+Para o pesquisador do Departamento de Arquivo e Documentação da COC, Ricardo Augusto dos Santos, especialista em Belisário Penna (3), provavelmente sim. “Não podemos afirmar categoricamente, mas que outro fotógrafo iria estar naquele momento, naquela região?”. Faz sentido. Afinal, Merril havia sido contratado pelo empresário (também norte-americano) Percival Farquhar (1964-1953), para registrar a construção da ferrovia desde o início dos trabalhos, em 1907.
+Acessando o link para as fotografias de autoria de Dana B. Merrill disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+Aqui vale destacar a trajetória de Farquhar no Brasil, em fase de intensa presença do capital norte-americano e europeu no país. Segundo o Centro de Pesquisa e Documentação da Fundação Getulio Vargas (CPDOC), Farquhar iniciou suas atividades empresariais no Brasil em 1904, fundando a Rio de Janeiro Light & Power, companhia que assumiu concessões de serviços públicos de bondes, iluminação a gás e energia hidrelétrica.
+Em 1905, começou a investir na Amazônia. Fundou a Brazil Railway Company (1906), a fim de construir um sistema ferroviário interligando a América do Sul. Em 1907, obteve a concessão para construir a Madeira-Mamoré. Para melhorar a navegação no rio Amazonas e, assim, aumentar a lucratividade do porto de Belém, administrado pela Port of Pará, da qual era proprietário, constituiu a Companhia de Navegação da Amazônia. Seu império no Brasil incluiu, além de ferrovias e portos, exploração de madeira, criação de gado e mineração, nos estados do Sul, Minas Gerais, São Paulo e região Norte (4).
+ 
+Aspecto da construção da Estrada de Ferro Madeira-Mamoré, 1910. Santo Antônio, Rondônia / Acervo Casa de Oswaldo Cruz
+ 
+Voltando ao arquivo fotográfico, Penna e Oswaldo Cruz prestaram consultoria a Farquhar para combater a malária na Madeira-Mamoré. Durante um mês, no ano de 1910, permaneceram em Porto Velho estudando as condições sanitárias na região e propuseram um plano para o combate à doença, que prescrevia o uso diário e compulsório de quinina, plano este plenamente aplicado por Farquhar. Inaugurada em 1912 com 364 quilômetros de extensão, a Ferrovia do Diabo ceifou a vida de um operário a cada dormente assentado, conforme se propagou na época, e foi sucateada até sua final desativação, em 1972.
+Cruz e Belisário não testemunharam o fracasso do empreendimento majestoso, mas as 14 imagens selecionadas e disponibilizadas na Brasiliana Fotográfica registram o que provavelmente os olhos dos sanitaristas observaram: o avanço da engenharia humana sobre a opulenta floresta e os danos devastadores causados pelas doenças, como também as conquistas da ciência e das pesquisas biomédicas no processo de modernização do Brasil na Primeira República (1889-1930).
+ 
+Mais sobre a ferrovia:
+Com 364 quilômetros de extensão entre Porto Velho e Guarajá-Mirim, a Madeira-Mamoré foi inaugurada em 30 de abril de 1912. Sua rentabilidade logo seria abalada pela crise do principal produto de exportação da Amazônia, a borracha. Os seringais de Ceilão, Malásia, Sumatra, Java e Bornéus, organizados de maneira mais produtiva e racional pelos ingleses e holandeses, logo alcançaram o patamar brasileiro de produção. A ferrovia foi inaugurada no último ano em que a exportação brasileira de borracha superou a do Oriente. No mesmo ano a Madeira Mamoré Railway apresentou ao governo os custos finais da construção da ferrovia, em dinheiro e vidas. Dos 21.817 trabalhadores contratados, 1.552 morreram no Hospital da Candelária, excluindo-se dessa cifra os que tombaram ao longo da linha, os não contratados (tarefeiros) e aqueles que faleceram nos hospitais de Belém, Manaus ou mesmo em seus países de origem. Ferreira (2005, p.301, 302) estimou o total de mortos em 6.208 pessoas (5).
+ 
+Notas:
+1 – WANDERLEY, Andrea. A construção da Madeira-Mamoré, a “Ferrovia da Morte”, pelas lentes de Dana B. Merrill (c. 1887 – 19?), publicado na Brasiliana Fotográfica em 16 de janeiro de 2018 - https://brasilianafotografica.bn.gov.br/?p=10460
+2 – View of reviews or scenes as seen by Engineers, Tropical tourist, Global Trotters, Knights of fortune and Tramps: Madeira-Mamoré Ry. Brazil, South America – http://objdigital.bn.br/objdigital2/acervo_digital/div_iconografia/icon596245/icon596245.pdf – Acervo da Biblioteca Nacional, uma das fundadoras da Brasiliana Fotográfica
+3 – SANTOS, Ricardo Augusto dos. O sanitarista Belisário Penna (1868-1939), um dos protagonistas da história da saúde pública no Brasil, publicado na Brasiliana Fotográfica em 28 de setembro de 2018 – https://brasilianafotografica.bn.gov.br/?p=12777. Sobre Penna, ver também SANTOS,Ricardo Augusto dos. O Plano de Educação Higiênica de Belisário Santos – 1900 -1930. Dynamis, 2012, vol. 32, nº 1 – pag 45-68. http://scielo.isciii.es/scielo.php?script=sci_arttext&amp;pid=S0211-95362012000100003
+4 – https://cpdoc.fgv.br/sites/default/files/verbetes/primeira-republica/FARQUHAR,%20Percival.pdf
+5 – BENCHIMOL, Jaime Larry; SILVA. André Filipe Cândido da. Ferrovias, doenças e medicina tropical no Brasil da Primeira República. História, Ciências, Saúde – Manguinhos,  vol.15,  no.3, pág 719 – 762, julho/setembro de 2008 – http://www.scielo.br/scielo.php?script=sci_arttext&pid=S0104-59702008000300009
+ 
+*Cristiane d’Avila  é jornalista do Departamento de Arquivo e Documentação Casa de Oswaldo Cruz/Fiocruz
+ 
+Fotografias idênticas no álbum de Dana Merril, do acervo da Biblioteca Nacional, e no arquivo de Belisário Penna, 
+do acervo da Casa de Oswaldo Cruz, disponíveis na Brasiliana Fotográfica
+Andrea C. T. Wanderley**
+ 
+Cemitério da Candelária
+Cemitério localizado atrás do Hospital Candelária, 1910. Porto Velho, Rondônia / Acervo Casa de Oswaldo Cruz
+ 
+Dana B. Merrill. Grave Yard Candelária, 1878/1910. Porto Velho, Rondônia / Acervo FBN
+ 
+Farmácia
+Farmácia do Hospital da Candelária, 1910. Porto Velho, Rondônia / Acervo Casa de Oswaldo Cruz
+Dana B. Merrill. [Construção da Estrada de Ferro Madeira-Mamoré] : boticário, 1907/1912. Amazônia / Acervo Fundação Biblioteca Nacional
+**Andrea C. T. Wanderley
+Editora-assistente e pesquisadora da Brasiliana Fotográfica
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/6667` — `itens/20.500.12156.1_6667/`
+- `20.500.12156.1/6666` — `itens/20.500.12156.1_6666/`
+- `20.500.12156.1/6665` — `itens/20.500.12156.1_6665/`
+- `20.500.12156.1/6669` — `itens/20.500.12156.1_6669/`
+- `20.500.12156.1/3819` — `itens/20.500.12156.1_3819/`
+- `20.500.12156.1/6662` — `itens/20.500.12156.1_6662/`
+- `20.500.12156.1/3873` — `itens/20.500.12156.1_3873/`
+
diff --git a/wordpress/16746-serie-feministas-gracas-a-deus-vi-julia-augusta-de-medeiros-1896-1972-fotografad.md b/wordpress/16746-serie-feministas-gracas-a-deus-vi-julia-augusta-de-medeiros-1896-1972-fotografad.md
new file mode 100644
index 0000000..d1dfc1c
--- /dev/null
+++ b/wordpress/16746-serie-feministas-gracas-a-deus-vi-julia-augusta-de-medeiros-1896-1972-fotografad.md
@@ -0,0 +1,134 @@
+---
+id: 16746
+url: "https://brasilianafotografica.bn.gov.br/?p=16746"
+titulo: "Série “Feministas, graças a Deus!” VI – Júlia Augusta de Medeiros (1896 – 1972) fotografada por Louis Piereck (1880 – 1931)"
+autor: "Andrea Wanderley"
+data: "2020-12-09T10:06:41+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/6569", "20.500.12156.1/5061"]
+fetched_at: "2026-09-10T10:00:09.082Z"
+---
+
+# Série “Feministas, graças a Deus!” VI – Júlia Augusta de Medeiros (1896 – 1972) fotografada por Louis Piereck (1880 – 1931)
+
+Série “Feministas, graças a Deus!” VI – Júlia Augusta de Medeiros (1896 – 1972) fotografada por Louis Piereck (1880 – 1931)
+ 
+A Brasiliana Fotográfica publica o sexto artigo da Série “Feministas, graças a Deus”, desta vez sobre Júlia Augusta de Medeiros (1896 – 1972), uma das pioneiras no jornalismo, na educação e no feminismo no Rio Grande do Norte, destacando um retrato produzido pelo fotógrafo Louis Piereck (1880 – 1931), que será o tema do próximo artigo do portal.
+Na imagem de Júlia Augusta de Medeiros, um expoente da cultura no Seridó, há uma dedicatória à líder feminista e bióloga Bertha Lutz (1894 – 1976): Dona Bertha, uma forma de minha admiração – Julia Medeiros, Caicó, 2 de maio de 1929. Bertha já foi o assunto do terceiro artigo da série “Feministas, graças a Deus“, de autoria da historiadora Maria do Carmo Rainho, do Arquivo Nacional, publicado na Brasiliana Fotográfica, em 29 de setembro de 2020. Bertha Lutz fez uma visita ao Caicó, cidade natal de Júlia, em 1928. Tornaram-se amigas e iniciaram uma frequente troca de cartas. Além disto, Júlia acompanhava as atividades de Bertha pelos jornais. Em dezembro de 1929, Júlia, visitou, no Rio de Janeiro, a sede da Federação Brasileira para o Progresso Feminino, presidido por Bertha.
+ 
+Louis Piereck. Julia Augusta de Medeiros, 1929. Pernambuco / Arquivo Nacional
+ 
+Ao lado de mulheres como Dolores Cavalcante (1885 – 1968), Maria Carolina Wanderley Caldas (1876 – 1954), a Sinhazinha Wanderley; e a poeta e jornalista Palmyra Wanderley (1894 – 1978), desempenhou um papel fundamental para a conquista do direito à educação das mulheres do Rio Grande do Norte. Também lutou pelo voto feminino. Era uma idealista e sua atuação contribuiu para a construção da educação e do direito da cidadania da mulher.
+Não era, apesar de suas posições a favor de mudanças e conquistas para as mulheres, uma ativista feminista exaltada. Para Júlia, a vitória do feminismo viria com a preparação da mulher a partir da educação, cultivando seu caráter forte e tornando-a amante da família e do lar. Essa noção denota seu comprometimento com os paradigmas do patriarcado nordestino e também com os princípios de sua formação católica. Lutava pela emancipação feminina, por uma maior participação da mulher no mundo moderno, sempre a partir do incremento de sua formação intelectual. Porém, de acordo com suas ideias, isto não poderia prejudicar o papel da mulher na família.
+Não pretendia igualar-se aos homens: “a missão da mulher poderá se estender além do lar, cujo programa será sempre a dedicação, não procurando vencer senão pela virtude, a nossa força e o nosso prestígio representam a modéstia e a delicadeza inerentes ao próprio sexo”. Neste mesmo texto, intitulado A missão da mulher e publicado na edição de setembro/outubro de 1925 da Revista Pedagogium levantou seu “brado de revolta contra os antigos preconceitos que nos escravizavam ao mais baixo nível da civilização”.
+Anos depois, no Jornal das Moças, de 19 de abril de 1928, publicou:
+“O feminismo educado e moralizado será a dinâmica das gerações novas. Hoje, vemos na pátria de Washington as mulheres exercendo funções públicas, jumas legislam na Câmara, outras são advogadas e uma chegou a governar um dos Estados daqueles singulares Estados Unidos. Vendo e percrustando a marcha do feminismo, não podemos deixar de encorajar as sertanejas, que aliam suas virtudes cívicas ao seu devotamento extremo e nobreza de sentimentos. Que a vitória seja o prêmio dos vossos esforços”.
+Júlia Augusta de Medeiros nasceu, na Fazenda Umari, em Caicó, em 28 de agosto de 1896, filha de Antônio Cesino (18? – 1926) e Ana Célia Amélia Medeiros. Segundo Guerra Filho, foi “quem sabe a mulher do século de Caicó“. Ana Célia Amélia era a segunda esposa de Antônio Cesino. Júlia, segunda de uma prole de seis irmãs e um irmão, foi batizada, por seu tio, Ambrósio Florentino de Medeiros, e sua avó paterna, Ana Vieira Mimosa, em 10 de outubro do ano de seu nascimento.
+Sua família pertencia à elite rural, tinha origem na ilha de São Miguel, nos Açores, Portugal, e teria vindo para o sertão nordestino no século XVIII. Seu pai, conhecido como “Tonho do Umari”, era um proeminente produtor de algodão, proprietário de terras, com destaque para a Fazenda Umari, uma das maiores do Seridó. A cotonicultura era uma atividade econômica importante no Rio Grande do Norte. Era também dono dos sítios Curral Queimados e Currulim, em Caicó, e do sítio Carrapateira, em São José do Sabugi. Herdou suas terras de seu pai, Francisco Antônio de Medeitos, o “Chico do Umari”. Foi eleito intendente de Caicó, cargo que exerceu entre 1914 e 1916 (Relatórios dos Presidentes dos Estados Brasileiros – RN – 1890-1930).
+Júlia foi alfabetizada em casa por Misael de Barros, um professor particular, denominado mestre-escola, um privilégio da elite rural. Diferentemente da maioria dos homens de sua época, o pai de Júlia não fazia distinção de sexo no tocante à educação. Todas as suas filhas tiveram acesso à educação em uma época em que, na maioria das famílias, só os filhos homens recebiam instrução. A primeira instituição de ensino para mulheres em Caicó foi inaugurada em 15 de janeiro de 1926 e chamava-se Colégio Santa Terezinha, da Congregação Filhas do Amor Divino. Lá as moças da elite aprendiam prendas domésticas, francês, canto, dança e piano.
+Para tornar-se professora, ainda adolescente e já órfã de mãe, Júlia foi estudar no Colégio Nossa Senhora da Conceição, em Natal, onde morou com o professor de português Joca Vicente, amigo de sua família. Em 1921, aos 25 anos, foi estudar na Escola Normal, também na capital. O curso compreendia as seguintes matérias:
+ 
+
+ 
+Já em 1925, ano em que se formou, escrevia para a revista Pedagogium (1921 – 1925), da Associação dos Professores do Rio Grande do Norte. Sua formatura aconteceu em 30 de janeiro de 1926, no Teatro Carlos Gomes, na Ribeira.
+ 
+Lembrança da colação de grau de Júlia Medeiros / Acervo particular de Maria Julieta Dantas
+ 
+Nos anos em que morou em Natal, além de estudar, Júlia participava das atividades culturais e sociais da cidade. Era amiga da poetisa Palmyra Wanderley (1894 – 1978), do deputado, senador e governador do Rio Grande do Norte entre 1924 e 1927, José Augusto Bezerra de Medeiros (1884 – 1971), nascido como Júlia em Caicó e que durante sua gestão priorizou a educação no estado; de Juvenal Lamartine (1874 – 1956), governador do estado entre 1928 e 1930 e patrono do voto feminino no Brasil; e do professor e jornalista Amphilóquio Câmara (1899 – 1957), dentre outros.
+Júlia retornou ao Caicó, em 1926, e, apesar da desvalorização do magistério pelo abandono dos homens desta profissão, tornando-se professora Júlia pode atuar na vida pública da cidade. De personalidade forte e considerada muito inteligente, culta e elegante, seu comportamento em Caicó era revolucionário: ela vestia roupas que mostravam costas e pernas e usava a cor preta fora do luto. Os cabelos, curtos. A moda era um indício de sua busca pela emancipação feminina.
+ 
+Júlia Medeiros / Acervo particular da família
+ 
+Frequentava o Café Comercial, considerado um espaço masculino, e fazia discursos em público. Também dirigia automóvel, um Ford 1929, o que reforçava seu caráter de independência; ia ao Cine-Teatro Avenida, inaugurado em 1925, e, mais tarde, ao Cine Pax, aberto em 1936, e era assídua nos bailes e nas Festas de Sant´Anna, padroeira de Caicó, estando sempre presente na cena cultural e boêmia de sua cidade
+Já em 1926, passou a dar aulas particulares na casa de sua irmã, Julieta Medeiros. Neste mesmo ano, assumiu, como interina, a cadeira Infanto-Misto Suplementar, do Grupo Escolar Senador Guerra, sob a direção do Professor Joaquim Coutinho. O Grupo Escolar havia sido criado por decreto em 16 de fevereiro de 1909 e seu nome foi uma homenagem ao padre Francisco de Brito Guerra (1777 – 1845), fundador da Escola de Latim, em 1832, em Caicó, na época Vila do Príncipe. Cerca de um ano depois da inauguração da sede própria do Grupo Escolar, ocorrida em 22 de setembro de 1925, com a presença do governardor José Augusto Bezerra de Medeiros (1884 – 1971), Júlia iniciou suas atividades na escola em 1º de julho de 1926, tendo sido efetivada em 30 de setembro do mesmo ano. Começava ali uma história de dedicação ao magistério, onde ela se destacou por suas práticas pedagógicas em busca de uma sociedade mais igualitária.
+ 
+Grupo Escolar Senador Guerra / Folha Regional, 19 de junho de 2017
+ 
+Segundo relatos de ex-alunos, as aulas de Júlia eram divertidas e ela era disciplinadora, afetuosa, dinâmica e enérgica. Usava a Nova Cartilha Analítico-Sintética e a Cartilha Ensino-Rápida de Leitura, ambas do educador paulista Mariano de Oliveira (1869 -19?). Em outubro de 1926, tornou-se 2ª secretária da Associação Educadora Caicoense (O Paiz, 13 de outubro de 1926, quarta coluna).
+Sobre Júlia Medeiros:
+“Conheço bem de perto a distinta perfilada que, hoje, não escapa à curiosidade de meu lápis. É uma das ilustres filhas desta boa terra, que à vista de seus esforços acaba de conquistar um título com o que muito há de lucrar o magistério do nosso estado. Possuidora de um excelente coração traz sempre um sorriso nos lábios, deixando-nos a impressão de que “A vida é um lago azul. Ela é bastante decidida em suas resoluções, gosta muito de trocar ideias e os seus verdes olhos nos dizem que tem o espírito dado a fantasias”.
+                                                                                                                                              Jornal das Moças, 11 de abril de 1926
+ 
+“Risonha e boa, de uma inteligência clara, com um coração que diz bem dos seus invulgares predicados. É uma das criaturas mais simpáticas da nossa elite que a estima na conta de um dos seus mais finos elemento de destaque. Hoje, dedica-se ao magistério e ao Jornal das Moças”. 
+                                                                                                                                            Jornal das Moças, 29 de agosto de 1926
+ 
+Erudita e excelente oradora, representava as professoras nas festividades do colégio e estava sempre presente nos eventos em torno de visitas de pessoas importantes à cidade como em agosto de 1926, na ocasião da visita do presidente eleito Washington Luis, à cidade, especificamente ao Educandário Santa Terezinha, organizada por uma de suas irmãs, Otávia Benigna (Diário de Pernambuco, 8 de agosto de 1926, segunda coluna); da feminista e bióloga Bertha Lutz (1894 – 1976), em campanha pelo voto feminino, em agosto de 1928 (O Paiz, 2 de setembro de 1928, última coluna), mesma época em que discursou na inauguração, no Sítio do Arroz, da primeira pista de pouso da cidade, quando aterrissou em Caicó um avião trazendo a bordo o governador do Rio Grande do Norte, Juvenal Lamartine (1874 – 1956); e do presidente Getulio Vargas (1882 – 1954), em 1933 (Diário de Pernambuco, 13 de setembro de 1933, segunda coluna). Em outra passagem pela cidade, o governador Lamartine foi de novo saudado por Júlia (Gazeta de Notícias, 29 de setembro de 1929, terceira coluna).
+Foi colaboradora, redatora e gerente do Jornal das Moças, que existiu em Caicó de 1926 a 1932. Fundado, em 7 de fevereiro de 1926, por Georgina Pires e inicialmente gerenciado por Dolores Diniz, o jornal pretendia trazer um espírito de modernidade à cidade. Segundo Júlia:
+ 
+“Não me surpreendeu o gesto de minhas dignas conterrâneas, lançando um jornal à apreciação de nosso público, no momento atual, em que o problema do feminismo vem preocupando as camadas sociais. O Jornal das Moças será, portanto, o porta-voz de uma plêiade de jovens que, tratando de desenvolver o seu espírito tão rico de inteligência, ocupe-se, de modo particular, pelo progresso e desenvolvimento de nossa terra”.
+Jornal das Moças, 28 de fevereiro de 1926
+O Jornal das Moças, responsável pela inserção da mulher no jornalismo em Caicó, também promovia festivais culturais, além de concursos de graciosidade e simpatia. Outros de seus redatores foram Santinha Araújo, Maria Leonor Cavalcante, Julinda Gurgel, Renato Dantas, Janúncio Bezerra da Nóbrega e José Gurgel de Araújo, sob o pseudônimo Flor de Lis.
+Começou a publicar artigos de sua autoria no ano de fundação do periódico, 1926. Júlia advogava e representava a conquista do direito à educação para as mulheres e o acesso às letras. Os assuntos mais abordados em seus artigos para o jornal eram sobre modernidade e a mulher na sociedade, religiosidade e fé, e sentimentos como o amor e a solidão. Também reivindicava a participação feminina no jornalismo.
+ 
+“O jornalismo feito por nós viverá, porque para tal lhe foi emprestado o brilho, a tenacidade e a força de vontade desse punhado de conterrâneas, que certamente lhe vão bordar as colunas dos mais agradáveis artiguetes. Agradáveis sim, porque a mulher tem o espírito talhado para fantasias, para o amor e para as coisas de pureza de ideal. De pureza digo bem, porque elas primam por manter de pé essa rara elegância de espírito, essa rara elegância mental, ela, só elas, sabem mais do que todos e sustenta alto, bem alto, esses princípios que lhe dão encanto e formosura na sociedade”.
+                                                                                                                                               Jornal das Moças, 8 de julho de 1926
+ 
+Júlia foi a primeira mulher de Caicó a se alistar (O Paiz, 9 de dezembro de 1927, penúltima coluna) e a votar, o que ocorreu nas eleições de 5 de abril de 1928. O sufrágio feminino era uma de suas lutas. Júlia recebeu um telegrama de Bertha Lutz (1894 – 1976), datado de 4 de março de 1928, felicitando-a pelo alistamento e a convidando para tornar-se sócia da Federação Brasileira pelo Progresso Feminino, presidido por ela.
+ 
+Júlia Medeiros votando em 5 de abril de 1928 / Arquivo da Universidade de Brasília – UnB / Essa foto foi publicada no jornal O Paiz, de 4 de novembro de 1928
+ 
+“Apesar de, do ponto de vista eleitoral, o estado do Rio Grande do Norte ter reconhecido esta igualdade, faltava, porém, a concretização do “voto de saias”, o que ocorreu nas eleições municipais realizadas no dia 05 de abril de 1928. Em Natal votaram Antônia Fontoura, Carolina Wanderley, Júlia Barbosa e Lourdes Lamartine. Em Mossoró, além de Celina Guimarães, votaram Beatriz Leite e Eliza da Rocha Gurgel. Em Apodi as primeiras eleitoras foram Maria Salomé Diógenes e Hilda Lopes de Oliveira. Em Pau dos Ferros, Carolina Fernandes Negreiros, Clotilde Ramalho, Francisca Dantas e Joana Cacilda Bessa. Ainda em Caicó e Acari, respectivamente, Júlia Medeiros e Martha Medeiros. Além de votar, algumas mulheres, a exemplo de Júlia Alves Barbosa em Natal e Joana Cacilda de Bessa em Pau dos Ferros,  foram também eleitas para o cargo de intendente municipal, equivalente a vereador atualmente.“
+Centro de Memória do Tribunal Regional Eleitoral do Rio Grande do Norte
+ 
+O Rio Grande do Norte foi também o primeiro estado no Brasil a eleger uma prefeita mulher: Alzira Teixeira Soriano (1897 – 1963), na cidade de Lages, em setembro de 1928, venceu com 60% dos votos (O Paiz, 1º e 2 de outubro de 1928, penúltima coluna; Jornal Pequeno, 13 de outubro de 1928, segunda coluna).
+Em torno de 1940, Júlia passou a administrar o Hospital do Seridó – inaugurado pelo presidente Washington Luís em 7 de agosto de 1926 -, tendo sido a primeira mulher a atuar  na administração pública de uma instituição de Caicó. Ficou no cargo por volta de quatro anos. Aos 55 anos, afastou-se do Grupo Escolar Senador Guerra e candidatou-se a vereadora nas eleições de 1951. Foi eleita e reeleita para o mandato de 1954-1958. Encerrou sua carreira política e, na época, por estar cansada e doente – com lapsos de memória e indícios de insanidade mental – afastou-se de todas as suas atividades, ficando reclusa em sua casa, na rua de Seridó, 157.
+ 
+Júlia de Medeiros
+ 
+Em 1960, sua família a transferiu para Natal, onde foi morar na rua da Misericórdia, no bairro da Cidade Alta. Ganhou o apelido de “Rocas-Quintas“.
+“Natal, década de 60, em algum lugar entre os bairros das Rocas e Quintas. Garotos se divertem provocando uma senhora trôpega, suja e maltrapilha. Os meninos fazem coro: “Rocas-Quintas”! E ela, com o dedo em riste, revida: “Me respeitem, que eu tive vida importante”! A zombaria continua, e a mulher, que se tornou folclórica por fazer todo santo-dia, a pé, o mesmo itinerário da linha de ônibus Rocas-Quintas (daí o apelido), retoma as passadas ligeiras e nervosas, parando sempre para catar lixo e restos de coisas podres” (Jornal Folha Regional, 19 de junho de 2017)
+Faleceu, em 29 de agosto de 1977, no Hospital das Clínicas, de Natal. Em sua certidão de óbito a causa de morte é envenenamento, seguido da interrogação: suicídio? Assim terminava a vida de Júlia de Medeiros, uma vida entre a visibilidade e o anonimato.
+ 
+Certidão de óbito de Júlia Medeiros / 4º Ofício de Notas de Natal (RN)
+ 
+Foi homenageada postumamente dando nome à Escola Profissionalizante Professora Júlia Medeiros, inaugurada em 16 de abril de 1975, na rua Coronel Bem Bem, nº 145, no bairro Paraíba; e também a rua Professora Júlia Medeiros, no centro de Caicó.
+ 
+Primeiras eleitoras do Brasil na cidade de Natal, 1928. Natal, Rio Grande do Norte / Acervo Arquivo Nacional. Júlia Medeiros é a segunda da esquerda para a direita (sentada).
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+Centro de Memória do Tribunal Regional Eleitoral do Rio Grande do Norte
+Hemeroteca Digital da Biblioteca Nacional
+Jornal Folha Regional
+LOBO, Yolanda. Bertha Lutz. Pernambuco : Fundação Joaquim Nabuco, Editora Massangana, 2010.
+MELO, Elisângela de Araújo Nogueira; MORAIS, Maria Arisnette Câmara. Contribuição feminina à história da educação no Rio Grande do Norte: Maria Dolores Bezerra Cavalcanti. Departamento de Educação, Universidade Federal do Rio Grande do Norte, 2003
+OLIVEIRA, Larissa Constantino Martins de; ARAGÃO, Isabella Ribeiro. Apontamentos históricos sobre material de divulgação e cartelas dos filmes do Ciclo do Recife: A filha do advogado e Aitaré da praia. Anais do 9º Congresso Internacional de Design da Informação | CIDI 2019.
+Portal da História do Ceará
+Portal Instituto Federal Rio Grande do Norte
+ROCHA NETO, Manoel Pereira. A educação da mulher norte-rio-grandense segundo Júlia Medeiros (1920 – 1930). Centro de Ciências Sociais Aplicadas / Programa de Pós-Graduação em Educação : Universidade Federal do Rio Grande Norte, 2005.
+ROCHA NETO, Manoel Pereira. Júlia Medeiros – Uma trajetória entre a Educação e a Imprensa no Rio Grande do Norte. Rio Grande do Norte : Infinita Imagem, 2013.
+Site CPDOC
+Site Curiozzzo.com
+Site Mulher 500 anos atrás dos panos
+Site Tok de História
+SOLANO, Loriany; FAGUNDES, Flaviane; ALVES, Jussara; LOPES, Leyliane; LIMA, Caroline; ROCHA NETO, Manoel Pereira. Júlia Medeiros: uma mulher a frente do seu tempo. Universidade Potiguar, Rio Grande do Norte. Intercom – Sociedade Brasileira de Estudos Interdisciplinares da Comunicação X Congresso de Ciências da Comunicação na Região Nordeste – São Luis, MA – 12 a 14 de junho de 2008.
+ 
+Acesse aqui os outros artigos da Série “Feministas, graças a Deus!“
+
+Série “Feministas, graças a Deus!” I – Elvira Komel, a feminista mineira que passou como um meteoro, publicado em 25 de julho de 2020, de autoria da historiadora Maria Silvia Pereira Lavieri Gomes, do Instituto Moreira Salles, em parceria com Andrea C. T. Wanderley, editora e pesquisadora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” II  – Natércia da Cunha Silveira (1905 – 1993), o jequitibá da floresta, publicado em 20 de agosto de 2020, de autoria de Andrea C.T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” III  – Bertha Lutz e a campanha pelo voto feminino: Rio Grande do Norte, 1928, publicado em 29 de setembro de 2020, de autoria de Maria do Carmo Rainha, doutora em História e pesquisadora do Arquivo Nacional
+Série “Feministas, graças a Deus!” IV  – Uma sufragista na metrópole: Maria Prestia (? – 1988), publicado em 29 de outubro de 2020, de autoria de Claudia Heynemann, doutora em História e pesquisadora do Arquivo Nacional
+Série “Feministas, graças a Deus!” V – Feminista do Amazonas: Maria de Miranda Leão (1887 – 1976), publicado em 26 de novembro de 2020, de autoria de Maria Elizabeth Brêa Monteiro, mestre em História e pesquisadora do Arquivo Nacional
+Série “Feministas, graças a Deus!” VII – Almerinda Farias Gama (1899 – 1999), uma das pioneiras do feminismo no Brasil, publicado em 26 de fevereiro de 2021, de autoria de Andrea C.T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” VIII – A engenheira e urbanista Carmen Portinho (1903 – 2001), publicado em 6 de abril de 2021, de autoria de Andrea C. T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” IX – Mariana Coelho (1857 – 1954), a “Beauvoir tupiniquim”, publicado em 15 de junho de 2021, de autoria de Andrea C. T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” X – Maria Luiza Dória Bittencourt (1910 – 2001), a eloquente primeira deputada da Bahia, publicado em 25 de março de 2022, de autoria de Andrea C. T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” XI e série “1922 – Hoje, há 100 anos” VI – A fundação da Federação Brasileira pelo Progresso Feminino, publicado em 9 de agosto de 2022, de autoria de Andrea C. T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” XII e série “1922 – Hoje, há 100 anos” XI – A 1ª Conferência para o Progresso Feminino, publicado em 19 de dezembro de 2022, de autoria de Maria Elizabeth Brêa Monteiro, historiadora do Arquivo Nacional
+Série “Feministas, graças a Deus!” XIII – E as mulheres conquistam o direito do voto no Brasil!, publicado em 24 de fevereiro de 2023, de autoria de Andrea C T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” XIV – No Dia Internacional da Mulher, Alzira Soriano, a primeira prefeita do Brasil e da América Latina, publicado em 8 de março de 2023, de autoria de Andrea C T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” XV – No Dia dos Povos Índígenas, Leolinda Daltro,”a precursora do feminismo indígena” e a “nossa Pankhurst, publicado em 19 de abril de 2023, de autoria de Andrea C T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” XVI – O I Salão Feminino de Arte, em 1931, no Rio de Janeiro, de autoria de Andrea C. T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica, publicado em 30 de junho de 2023
+Série “Feministas, graças a Deus!” XVII – Anna Amélia Carneiro de Mendonça e o Zeppelin, equipe de Documentação da Escola de Ciências Sociais FGV CPDOC, em parceira com Andrea C.T. Wanderley, publicado em 5 de janeiro de 2024
+Série “Feministas, graças a Deus!” XVIII – Júlia Lopes de Almeida (1862 – 1934), a “escritora da Belle Époque tropical”, de autoria de Andrea C. T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica, publicado em 5 de junho de 2024
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/6569` — `itens/20.500.12156.1_6569/`
+- `20.500.12156.1/5061` — `itens/20.500.12156.1_5061/`
+
diff --git a/wordpress/16763-antonio-luiz-ferreira-18-19-fotografo-das-celebracoes-pela-abolicao-da-escravatu.md b/wordpress/16763-antonio-luiz-ferreira-18-19-fotografo-das-celebracoes-pela-abolicao-da-escravatu.md
new file mode 100644
index 0000000..ff2e20c
--- /dev/null
+++ b/wordpress/16763-antonio-luiz-ferreira-18-19-fotografo-das-celebracoes-pela-abolicao-da-escravatu.md
@@ -0,0 +1,104 @@
+---
+id: 16763
+url: "https://brasilianafotografica.bn.gov.br/?p=16763"
+titulo: "Antonio Luiz Ferreira (18? – 19?), fotógrafo das celebrações pela abolição da escravatura em 1888"
+autor: "Andrea Wanderley"
+data: "2021-02-17T12:35:08+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/953", "20.500.12156.1/1795", "20.500.12156.1/3310", "20.500.12156.1/6963", "20.500.12156.1/6780", "20.500.12156.1/6709", "20.500.12156.1/3287"]
+fetched_at: "2026-09-10T10:00:12.286Z"
+---
+
+# Antonio Luiz Ferreira (18? – 19?), fotógrafo das celebrações pela abolição da escravatura em 1888
+
+Pouco se sabe, até o momento, da vida pessoal de Antonio Luiz Ferreira (18? – 19?). Provavelmente iniciou suas atividades como fotógrafo na década de 1880 e o último registro da existência de seu ateliê fotográfico verificado pela pesquisa da Brasiliana Fotográfica é de 1904.  Atuou no Rio de Janeiro e teve como contemporâneos Alberto Henschel (1827 – 1882), Juan Gutierrez (c. 1860 – 1887) e Marc Ferrez (1843 – 1923), dentre outros.
+ 
+Almanak Laemmert, 1894
+ 
+Apesar de sua carreira discreta, por ter documentado cenas ligadas às celebrações pela abolição da escravatura em 1888, Ferreira é considerado um importante fotógrafo do século XIX. As imagens captadas por ele nessas ocasiões tão marcantes da história do país caracterizaram-se pela expressividade dos rostos retratados, decorrência, provavelmente, da relevância do acontecimento histórico e também da atração exercida pela própria presença da câmara fotográfica.
+ 
+Acessando o link para as fotografias de Antonio Luiz Ferreira disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+É o autor da imagem da Missa Campal em São Cristóvão, no Rio de Janeiro, em 17 de maio de 1888, uma celebração de Ação de Graças pela libertação dos escravizados no Brasil, decretada quatro dias antes, com a assinatura da Lei Áurea. A festividade contou com a presença da princesa Isabel (1846 – 1921), regente imperial do Brasil, e de seu marido, o conde D´Eu (1842 – 1922), príncipe consorte, que, na foto, está ao lado da princesa, além de autoridades, políticos, jornalistas e escritores, dentre eles o escritor Machado de Assis (1834 – 1908). A presença de Machado na fotografia de Ferreira, descoberta realizada por mim, Andrea Wanderley, pesquisadora e editora da Brasiliana Fotográfica, foi revelada no artigo  Missa Campal de 17 de maio de 1888, publicado no portal em 17 de maio de 2015. O professor José Murilo de Carvalho (1939 – ) escreveu sobre o assunto no artigo Machado de Assis vai à missa, publicado no portal , em 29 de de maio de 2015.
+ 
+Joaquim Insley Pacheco; Marc Ferrez. Galeria contemporanea do Brazil : Machado de Assis : [retrato]; Livraria Lombaerts & C., 1884 / Acervo FBN
+ 
+Sobre o dia da abolição, Machado escreveu, anos depois, em 14 de maio de 1893, na coluna “A Semana”, no jornal carioca Gazeta de Notícias: Verdadeiramente, foi o único dia de delírio público que me lembra ter visto.
+Antonio Luiz Ferreira presenteou a princesa Isabel com 13 fotos de acontecimentos em torno da Abolição (Diário de Notícias, 9 de junho de 1888, na segunda coluna). A maior parte dessas fotos faz parte da Coleção Princesa Isabel que se encontra em Portugal, conservada por seus descendentes.
+ 
+Diário de Notícias, 9 de junho de 1888
+ 
+A fotografia da Missa campal celebrada em ação de graças pela Abolição da escravatura no Brasil, que está aqui destacada, faz parte da Coleção Dom João de Orleans e Bragança e pertence ao acervo do Instituto Moreira Salles, uma das instituições fundadoras da Brasiliana Fotográfica.
+ 
+Antônio Luiz Ferreira. Missa campal celebrada em ação de graças pela Abolição da Escravatura no Brasil, 1888. São Cristóvão, Rio de Janeiro. / Acervo IMS
+ 
+Outros três registros foram feitos por Ferreira no dia 22 de agosto de 1888 e documentaram o retorno do imperador Pedro II (1825 – 1891) ao Brasil. Pertencem à Coleção Princesa Isabel.
+Há ainda um registro da missa campal, também realizada em 17 de maio de 1888, pela Sociedade dos Homens de Cor da Irmandade de São Benedito. Pertence à família de Ferreira e segue inédita.
+Então são 18 fotografias de autoria de Ferreira em torno da abolição.
+Ele foi também o responsável pelo Álbum de vistas da Biblioteca Nacional, em 1902, com imagens da fachada, da escadaria e da galeria central, da sala principal de leituras, da sala de trabalho da seção de impressos, da sala principal da seção de manuscritos, da seção de estampas, do gabinete de numismática e da oficina de encadernação da instituição.
+ 
+Antonio Luiz Ferreira. Biblioteca Nacional na Rua do Passeio : sala de trabalho da Seccção de Impressos, 1902. Rio de Janeiro, RJ / Acervo FBN
+ 
+ 
+Cronologia de Antonio Luiz Ferreira (18? – 19?)
+ 
+1885 – Pela primeira vez a Photographia Antonio Luiz Ferreira foi anunciada no Almanak Administrativo, Mercantil e Industrial do Rio de Janeiro. O estabelecimento ficava na rua da Conceição, nº 87.
+1888 – Em 13 de maio, fotografou a multidão em torno do Paço Imperial quando a Lei Áurea foi assinada pela princesa Isabel.
+ 
+Antonio Luiz Ferreira. Assinatura da Lei Áurea no Paço Imperial, 13 de maio de 1888. Rio de Janeiro, RJ / Acervo IMS
+ 
+Em 17 de maio, fotografou a missa campal realizada no Campo de São Cristóvão, uma celebração de Ação de Graças pela libertação dos escravos no Brasil, decretada quatro dias antes, com a assinatura da Lei Áurea. A festividade contou com a presença da princesa Isabel (1846 – 1921), regente imperial do Brasil, e de seu marido, o conde D´Eu (1842 – 1922), príncipe consorte, que, na foto, está ao lado da princesa, além de autoridades e políticos, dentre eles o escritor Machado de Assis (1834 – 1908).
+ 
+Antônio Luiz Ferreira. Missa campal celebrada em ação de graças pela Abolição da Escravatura no Brasil, 1888. São Cristóvão, Rio de Janeiro. / Acervo IMS
+ 
+ 
+Ferreira, referido como conhecido fotógrafo, levou à redação do Diário de Notícias e também na de O Paiz a fotografia da Missa Campal, que fazia honra ao artista porque é de uma fidelidade pasmosa. Media 52 x 32 cm e era emoldurada em pelúcia auriverde e suas margens tinha iluminuras realizadas pelo calígrafo R. Santos. Seria ofertada à princesa Isabel (Diário de Notícias, 3 de junho de 1888, sétima coluna; e O Paiz, 3 de junho de 1888, sétima coluna).
+A prova da fotografia da missa campal, que ficou em exposição na papelaria Guimarães & Ferdinando, foi entregue à princesa em junho de 1888 juntamente com as outras 12 que Ferreira havia produzido em torno dos festejos pela abolição da escravatura (Diário de Notícias, 9 de junho de 1888, na segunda coluna).
+Fotografou o Paço do Rio de Janeiro e exercícios militares de celebração pela volta de dom Pedro II e da imperatriz Tereza Christina da Europa, ocorrida em 22 de agosto de 1888.
+1891 – Falecimento de Mário, filho de Ferrreira e de Elisa ou Luisa Christini, devido em um incêndio em sua casa na rua de Guaratiba, nº 53.  Mário e outro filho ou filha do fotógrafo estavam brincando com uma caixa de fósforos, causa do acidente. A mãe ficou com as mãos bastante queimadas por ter tentado salvar as crianças (Jornal do Brasil, 11 de novembro de 1891, quinta coluna; e Jornal do Brasil, 12 de novembro de 1891, segunda coluna).
+1893 –  Seu ateliê fotográfico, a Photographia Central, ficava na rua da Guarda Velha, atual avenida 13 de maio, nº 1, no Largo da Carioca (Almanak Laemmert, 1894, 1896, 1898, 1899).
+ 
+Detalhe da foto de Marc Ferrez Largo da Carioca, c, 1890. Rio de Janeiro, RJ / Acervo IMS
+ 
+Almanak Laemmert, 1894
+ 
+ Detalhe da fotografia de Marc Ferrez. Largo da Carioca com chafariz com 35 bicas, c. 1895. Rio de Janeiro, RJ / Acervo IMS
+ 
+1894 – Fotografou, no Arpoador, a comitiva que participou de um piquenique em Vila Ipanema, promovido pelo incorporador da Sociedade Anônima Copacabana Sport, Gonçalves Junior (Jornal do Commercio, 29 de maio de 1894, penúltima coluna; 6 de junho de 1894, quarta coluna).
+1895 – No mesmo endereço da Photographia Central, rua da Guarda, nº 1, ficava o gabinete cirúrgico-dentário do dr. J. Pontes Lopes & Gonçalves (Jornal do Brasil, de 1895, 8 de julho de 1895, terceira coluna).
+1897 – Um retrato do coronel Moreira César, (1850 – 1897), morto em 4 de março de 1897 na Guerra de Canudos, encontrava-se na Photographia Central, de Ferreira, ou na Casa Nalté, na rua do Ouvidor (Jornal do Commercio, 10 de março de 1897, penúltima coluna).
+1898 – Na Photographia Central, venda de folhinhas, anunciadas como bons presentes de festas, com fotografias do cruzador Adamastor e de seus marinheiros (Cidade do Rio, 27 de dezembro de 1898, penúltima coluna).
+1899 – Anúncio de venda de uma máquina detectiva 9 x 12 com 12 chassis, o que há de mais aperfeiçoado, quase nova, na Photographia Central. Eram câmeras fotográficas sem tripé (Jornal do Commercio, 22 de abril de 1899, primeira coluna).
+Por ocasião da visita do presidente da Argentina, Julio Argentino Roca (1843 – 1914) ao Rio de Janeiro, Ferreira foi um dos integrantes da comissão de ornamentação e iluminação das ruas, no caso do Largo da Carioca, onde ficava seu ateliê (Jornal do Commercio, 9 de agosto de 1899, sétima coluna).
+1901 - Seu ateliê continuava a se localizar na rua da Guarda Velha, nº 1, e foi anunciado pela última vez no Almanak Laemmert de 1903 (Almanak Laemmert, 1901, 1902, 1903).
+1902 - Publicação de dois álbuns realizados por Antonio Luiz Ferreira, que havia sido contratado para documentar o edifício sede da Biblioteca Nacional, na rua do Passeio, onde a instituição permaneceu até 1910. Um, com as cópias em papel albuminado e outro, com as cópias produzidas em platina, que apresentam melhores atributos de estabilidade e permanência.
+ 
+Antonio Luiz Ferreira. Álbum de vistas da Bibliotheca Nacional, 1902 / Acervo FBN
+ 
+1903 - Nascimento de Antônio, filho de Ferreira e de Luiza ou Elisa Christini (Jornal do Brasil, 10 de abril de 1903, terceira coluna).
+Houve um incêndio no prédio onde ficava na Photographia Central, causado por um restaurante que também ficava no edifício (Jornal do Brasil, 13 de agosto de 1903, penúltima coluna; e Almanak Gazeta de Notícias, 1904).
+1904 – Estavam sendo vendidas máquinas fotográficas quase novas na Photographia Central (Jornal do Brasil, 13 de dezembro de 1904, terceira coluna).
+1905 - Ferreira pediu licença para retirar materiais que lhe pertenciam do prédio onde ficava seu ateliê fotográfico, na rua Treze de Maio, n° 1, antiga rua da Guarda (Gazeta de Notícias, 5 de maio de 1905, primeira coluna).
+ 
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+Hemeroteca Digital da Biblioteca Nacional
+FERREZ, Gilberto;NAEF, Weston J. Pioneer photographers of Brazil : 1840 – 1920. New York: The Center for Inter-American Relations, 1976. 143 p.
+KOSSOY, Boris. Dicionário histórico-fotográfico brasileiro: fotógrafos e ofício da fotografia no Brasil (1833-1910). São Paulo: Instituto Moreira Salles, 2002.
+LAGO, Bia Corrêa do;LAGO, Pedro Corrêa do. Coleção Princesa Isabel: fotografia do século XIX. Rio de Janeiro: Capivara, 2008.432p.:il., retrs.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/953` — `itens/20.500.12156.1_953/`
+- `20.500.12156.1/1795` — `itens/20.500.12156.1_1795/`
+- `20.500.12156.1/3310` — `itens/20.500.12156.1_3310/`
+- `20.500.12156.1/6963` — `itens/20.500.12156.1_6963/`
+- `20.500.12156.1/6780` — `itens/20.500.12156.1_6780/`
+- `20.500.12156.1/6709` — `itens/20.500.12156.1_6709/`
+- `20.500.12156.1/3287` — `itens/20.500.12156.1_3287/`
+
diff --git a/wordpress/16862-paqueta-na-colecao-antonio-manoel-de-mattos-vieira.md b/wordpress/16862-paqueta-na-colecao-antonio-manoel-de-mattos-vieira.md
new file mode 100644
index 0000000..59b1229
--- /dev/null
+++ b/wordpress/16862-paqueta-na-colecao-antonio-manoel-de-mattos-vieira.md
@@ -0,0 +1,96 @@
+---
+id: 16862
+url: "https://brasilianafotografica.bn.gov.br/?p=16862"
+titulo: "Paquetá na Coleção Antônio Manoel de Mattos Vieira"
+autor: "Andrea Wanderley"
+data: "2020-02-14T11:27:45+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/6879", "20.500.12156.1/6904", "20.500.12156.1/6900", "20.500.12156.1/6868", "20.500.12156.1/6871", "20.500.12156.1/2505", "20.500.12156.1/3537", "20.500.12156.1/6908", "20.500.12156.1/6859", "20.500.12156.1/7630"]
+fetched_at: "2026-09-10T10:00:15.369Z"
+---
+
+# Paquetá na Coleção Antônio Manoel de Mattos Vieira
+
+A família Mattos Vieira Guerra doou para o Instituto Moreira Salles (IMS), uma das instituições fundadoras da Brasiliana Fotográfica, em 3 de maio de 2018, um conjunto de 61 fotografias de Paquetá produzidas em 1925 possivelmente por João de Lacaille e, a partir delas, podemos fazer um passeio pela Ilha. Muitos leitores do portal têm curiosidade em saber a trajetória das coleções até chegarem às instituições. Por isso, hoje a Brasiliana Fotográfica publica a história da chegada dessas fotografias ao IMS, contada pela socióloga Roberta Mociaro Zanatta no artigo A história da chegada da Coleção Antônio Manoel Mattos Vieira ao Instituto Moreira Salles, parte de sua tese de doutorado O legado histórico nacional – memória, difusão e acesso: o caso da Brasiliana Fotográfica (2019). Paquetá já foi, provavelmente por sua beleza e proximidade do Rio de Janeiro, registrada por diversos fotógrafos, dentre eles Antônio Caetano da Costa Ribeiro (18? – 19?), Augusto Malta (1864 – 1957), Frederico Carlos Con, Jorge Kfuri (1893 – 1965), Juan Gutierrez (c. 1860 – 1897), Marc Ferrez (1843 – 1923), S.H. Holland (1883 – 1936) e Uriel Malta (1910 – 1994). Foi também o tema de um artigo do portal, A bela ilha de Paquetá, publicado em 28 de março de 2019.
+ 
+Curva do morro das Pedreiras que liga a praia Comprida à praia da Guarda, atual praia José Bonifácio, 1925. Paquetá, Rio de Janeiro / Acervo IMS
+ 
+Acessando o link para as fotografias da Coleção Antônio Manoel de Mattos Vieira disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Veleiro na entrada da Baía de Guanabara, 1925. Paquetá, Rio de Janeiro / Acervo IMS
+ 
+ 
+ A história da chegada da Coleção Antônio Manoel de Mattos Vieira ao Instituto Moreira Salles
+Roberta Mociaro Zannata*
+ 
+Cada coleção possui uma trajetória particular e chega ao IMS por meio de algum tipo de negociação específica, seja diretamente com o dono da coleção ou com seus familiares e representantes. Em 2018 pude acompanhar a doação de um acervo com o perfil característico da Brasiliana Fotográfica, com data de produção das imagens até a década de 1930 e com conteúdo relevante para o entendimento social e cultural da época. É a Coleção Antônio Manoel de Mattos Vieira, que após receber os procedimentos de higienização, conservação, arranjo, codificação, digitalização, acondicionamento e catalogação em banco de dados teve parte de seu conteúdo selecionado para integrar a Brasiliana Fotográfica. Trago aqui um breve relato sobre seu processo de doação, como forma de ilustrar como se formam as coleções, mesmo lembrando que cada uma tem uma história própria.
+Em 04 de janeiro de 2018, Márcio Miranda Ferreira, fotógrafo, morador da Ilha de Paquetá, entrou em contato por e-mail com o IMS com a seguinte mensagem:
+ 
+“Sou morador de Paquetá e uma amiga tem guardada uma série de negativos grandes, em vidro, documentando a ilha no início do século passado. Gostaria de saber se podemos estabelecer algum tipo de colaboração com vocês visando a preservação de tais documentos.
+ Se houver algum interesse, por favor, nos informe que tipo de informações adicionais precisariam receber para dar alguma orientação.
+                                                                                                                                                                                                                                      Atenciosamente,
+                                                                                                                                                                                                                                      Marcio Ferreira”
+ 
+Respondi seu e-mail e começamos uma troca intensa de informações, tais como: tamanho dos negativos, tipo de material, estado de conservação, se sabiam quem era o fotógrafo, qual o conteúdo das imagens. Ana Emília de Mattos Vieira Guerra, que aqui chamaremos de Anina Guerra, neta de Manoel de Mattos Vieira, herdeira responsável pela doação passou a ser incluída nos e-mails e, por fim, no dia 03 de maio de 2018 foi realizada a retirada, em Paquetá, na casa que pertenceu a seu avô, de 63 negativos de vidro, 13x18cm, retratando parte do cotidiano de sua família e da Ilha de Paquetá, no início dos anos de 1920.
+ 
+Como os negativos estavam acondicionados no momento da retirada
+ 
+Caixa do fabricante das placas de vidro
+ 
+Esquina das ruas Pinheiro Freire e dos Colégios, atual Doutor Lacerda, 1925. Paquetá, Rio de Janeiro / Acervo IMS
+ 
+Vista da praia do Coqueiros e da praia Pintor Castagneto, 1925. Paquetá, Rio de Janeiro / Acervo IMS
+ 
+Capela de São Roque, 1925. Paquetá, Rio de Janeiro / Acervo do IMS
+ 
+Logo que Márcio enviou parte das imagens ficou evidente para o curador da Área de Fotografia do IMS, Sergio Burgi, a importância do conjunto e seu valor como registro histórico, prontamente a doação foi aceita. Vale destacar que outro importante fotógrafo que retratou Paquetá no século XIX foi Marc Ferrez, algumas dessas imagens se encontram no acervo do IMS e da Brasiliana Fotográfica:
+ 
+Marc Ferrez. Paquetá, c. 1890. Coleção Gilberto Ferrez/Acervo Instituto Moreira Salles
+ 
+Marc Ferrez. Praia dos Coqueiros, c. 1884. Paquetá, Rio de Janeiro / Acervo IMS
+ 
+Se passaram 5 meses entre o primeiro e-mail de Márcio e a doação efetiva de Anina Guerra. Nesse processo estabelecemos certa proximidade e logo soube que Anina Guerra e Márcio fazem parte de um grupo de amigos que defendem a preservação do patrimônio memorial de Paquetá. No dia da retirada do acervo, 03 de maio de 2018, eu e Rodrigo Bozzetti, responsável na época por parte do processamento técnico dos acervos do IMS, fomos a Paquetá formalizar a doação. Para nossa surpresa, Anina Guerra organizou um almoço e reuniu o presidente da Casa de Artes de Paquetá, Márcio e sua esposa, além de outros amigos. A assinatura do contrato de doação e a retirada do acervo foram comemorados e a contrapartida da doação foi o compromisso de restauro, preservação e difusão das imagens dos negativos, que levam o nome de seu avô como titular da coleção.
+ 
+Casa da família Mattos Vieira, 1925. Paquetá, Rio de Janeiro / Acervo IMS
+ 
+Casa de Anina Guerra que pertenceu a seu avô Manoel de Mattos Vieira
+ 
+Anina Guerra e Márcio Miranda Ferreira
+ 
+O historiador Rodrigo Bozzeti
+ 
+Cerca de um mês após a doação, Anina Guerra foi com seus filhos Maria Helena Guerra Gomes Pereira, psicóloga clínica, residente em Paris, e Pedro Affonso Guerra Gomes Pereira, advogado, que vive em Lenzburg, na Suíça, com sua esposa Carmen, ao IMS para conhecer o trabalho realizado com os acervos. Nessa ocasião pedi a ela que escrevesse um relato sobre a trajetória de seu avô, do qual transcrevo alguns trechos abaixo:
+“Meu avô, Antônio Manoel de Mattos Vieira, nasceu em 1º de julho de 1883, na Casa da Pedreira, Freguesia de Verim, Póvoa de Lanhoso, Distrito de Braga, em Portugal. Filho de Manuel Antônio Vieira e de Maria Joaquina de Mattos, viúva, com três filhos do seu primeiro casamento. 
+ Antônio era o sétimo de nove irmãos, do segundo casamento de sua mãe. O filho mais velho, Álvaro, herdou a Quinta da Pedreira, como o costume da época, mas morreu muito jovem, deixando herdeiros, que até hoje cuidam da propriedade. O segundo filho, Francisco Manuel, era Padre; o terceiro, Manuel Inácio, farmacêutico; o quarto, Cândido Adelino, médico; as três irmãs, Lucinda, Adelaide e Aurora, se dedicaram a obras de caridade e o filho caçula, Joaquim Augusto, que também veio viver no Brasil, em Pernambuco, dedicou toda sua vida ao cinema, tornando-se, em 1953, o decano dos cinematografistas do Recife. 
+A vinda de meu avô para o Brasil não foi uma fuga planejada, na verdade, foi um arroubo de juventude. Ao saber que seria castigado por ter sido reprovado no Liceu, decidiu, aos quinze anos, fugir para o Rio de Janeiro. Conseguiu comprar um bilhete de navio, na terceira classe, e empreendeu a viagem, não atendendo aos apelos de seu pai. 
+ Logo nos primeiros dias de viagem notou que o passadio do navio e as acomodações nos camarotes de terceira classe não correspondiam aos seus sonhos. Decidiu então trocar a única moeda de ouro que trazia, por um bilhete na primeira classe. Sentiu-se cômodo com seus novos companheiros de viagem e, apesar de sua pouca idade, conquistou a simpatia dos mais velhos, por sua afabilidade e elegância de trato à mesa. Foi justamente, nas intermináveis conversas dos jantares no transatlântico, que conheceu os irmãos do Visconde de Vilela, um mecenas português, que doou as portas esculpidas em bronze para a Igreja da Candelária, no Rio de Janeiro. Nessas longas conversas a bordo, meu avô descobriu, com surpresa, que o primeiro marido de sua mãe era também membro da família Vilela. 
+ Em três de maio de 1898, o Senhor Mattos (como passou a ser conhecido) desembarcou na cidade do Rio de Janeiro, e começou a trabalhar na casa Sotto Maior & Cia, por indicação da família Vilela. Foi lá que iniciou seu aprendizado em artes gráficas, além de viajar pelo Brasil, representando os produtos comercializados pela Firma.
+ (…)
+ Em julho de 1903, o Senhor Mattos decide casar-se e, seguindo as regras da Casa, deixa a firma Sotto Maior. Começa então a trabalhar na gráfica Correa Jorge, adquirindo assim uma certa independência. Em três de setembro de 1904, casa-se com Anna Homem de Moraes e Azevedo, cidadã portuguesa, nascida nos Açores e recém chegada ao Brasil, com sua família. Por ser menor de idade (16 anos), não tinha adquirido ainda o sobrenome paterno, como o costume da época. Ao casar, adota o nome de Anna d’Azevedo Vieira e posteriormente passa a usar o nome Anna de Mattos Vieira.
+ Foi em 15 de maio de 1909, que finalmente o Senhor Mattos conseguiu alugar, na Rua do Hospício, 148, as máquinas de litografia e tipografia, para ter seu próprio negócio, dando início à Firma A. Steele & Mattos, em sociedade com o Sr. Armando Steele. Em 1916, a gráfica foi transferida para a Rua Buenos Aires 256 e 258, com sede própria, tendo seu nome mudado para Cia Gráfica Steele & Mattos. Nesse ano foi incorporado também um novo sócio, o Senhor Carlos Moraya.
+ A partir de 1916, por indicação médica, a família Mattos Vieira passa a frequentar regularmente a Ilha de Paquetá. Inicialmente alugam a casa do Diplomata Joaquim Nabuco, na Praia da Covanca e posteriormente, com a recusa do Diplomata em vender a casa, decidem construir sua própria casa na Praia dos Estaleiros, atualmente Praia dos Tamoios, cujo terreno já havia sido comprado em 1912.
+ A casa foi o grande orgulho de minha avó Ana. São dela os desenhos iniciais, feitos em aquarela, da faixada da casa e do jardim de inverno, que mais tarde, foram refeitos pelo desenhista francês Senhor Raizon, que trabalhava para a Gráfica de meu avô. A faixada da casa foge completamente à arquitetura brasileira da época, indicando a forte influência da arquitetura colonial inglesa, na África, e as saudosas lembranças dos Açores. A grande varanda frontal em arco, de frente para o mar, e o jardim de inverno, nos fundos, como um solarium, fechado por uma luminosa claraboia, são traços característicos dos sonhos de minha avó. Também foi dela a ideia de dividir o ambiente social em duas salas, separadas por uma grande porta branca, em cristal bisotado, que se abre em par.
+ Em 1922, com a família aumentada (dois filhos homens e três mulheres), e os negócios prosperando, a casa na Ilha de Paquetá foi finalmente inaugurada, com mais um acréscimo de terras, que compuseram o jardim lateral e a passagem para a entrada do barco. (…)”
+Ana Emília também nos contou que seu avô, sócio da tipografia Firma A. Steele & Mattos, amante das artes impressas, cultivava forte apreço pela fotografia e que no início da década de 1920 contratou um fotógrafo, possivelmente João de Lacaille, para fazer um ensaio tendo a Ilha de Paquetá como cenário e sua família como protagonista. Desse ensaio fotográfico resultaram os negativos de vidro doados ao IMS.
+A partir destes relatos podemos traçar parte do perfil de um homem que se interessava pela fotografia a ponto de contratar um fotógrafo profissional, nos anos de 1920, para ir a uma ilha e lá produzir um conjunto significativo de fotografias, quando essa ainda não era uma prática popular e financeiramente acessível à grande parcela da população do Brasil. A fotografia era uma arte restrita a certas camadas da sociedade e para reduzir seus custos de produção os fotógrafos muitas vezes reutilizavam as placas de vidro na realização de novas fotografias, o que faz com que os negativos em vidro que sobreviveram sejam valorizados como raros.
+ 
+Início da rua Vira-Canto, atual Furquim Werneck, em frente da Estação das Barcas, 1925. Paquetá, Rio de Janeiro / Acervo IMS
+ 
+ 
+*Roberta Mociaro Zanatta é Doutora em Ciências Sociais, coordenadora do Núcleo de Catalogação e Indexação do IMS e uma das responsáveis pela gestão e atualização de conteúdos do portal Brasiliana Fotográfica.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/6879` — `itens/20.500.12156.1_6879/`
+- `20.500.12156.1/6904` — `itens/20.500.12156.1_6904/`
+- `20.500.12156.1/6900` — `itens/20.500.12156.1_6900/`
+- `20.500.12156.1/6868` — `itens/20.500.12156.1_6868/`
+- `20.500.12156.1/6871` — `itens/20.500.12156.1_6871/`
+- `20.500.12156.1/2505` — `itens/20.500.12156.1_2505/`
+- `20.500.12156.1/3537` — `itens/20.500.12156.1_3537/`
+- `20.500.12156.1/6908` — `itens/20.500.12156.1_6908/`
+- `20.500.12156.1/6859` — `itens/20.500.12156.1_6859/`
+- `20.500.12156.1/7630` — `itens/20.500.12156.1_7630/`
+
diff --git a/wordpress/16899-oliveira-reis-o-engenheiro-historiador-do-rio-de-janeiro-e-seu-acervo-iconografi.md b/wordpress/16899-oliveira-reis-o-engenheiro-historiador-do-rio-de-janeiro-e-seu-acervo-iconografi.md
new file mode 100644
index 0000000..f3a2fb0
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@@ -0,0 +1,70 @@
+---
+id: 16899
+url: "https://brasilianafotografica.bn.gov.br/?p=16899"
+titulo: "Oliveira Reis: o engenheiro-historiador do Rio de Janeiro e seu acervo iconográfico"
+autor: "Andrea Wanderley"
+data: "2019-10-30T10:56:04+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/6128", "20.500.12156.1/6146", "20.500.12156.1/6113", "20.500.12156.1/6112", "20.500.12156.1/6117", "20.500.12156.1/6119"]
+fetched_at: "2026-09-10T10:00:18.726Z"
+---
+
+# Oliveira Reis: o engenheiro-historiador do Rio de Janeiro e seu acervo iconográfico
+
+O engenheiro paulista José de Oliveira Reis (1925 – 1994) trabalhou na Prefeitura do Rio de Janeiro, de 1933 a 1966, e se apaixonou pela cidade. Durante esse período acumulou vários tipos de documentos públicos produzidos pela prefeitura sobre a urbe, especialmente fotografias, tornando-se um dos inúmeros profissionais que trabalharam na administração pública do Rio de Janeiro e auxiliaram na formação dos acervos, sua preservação e memória, ainda que não fossem historiadores de formação.  Uma pequena parcela do acervo que forma a Coleção Particular José de Oliveira Reis, doada por seu titular ao Arquivo Geral da Cidade do Rio de Janeiro (AGCRJ), uma das instituições parceiras da Brasiliana Fotográfica, encontra-se no acervo do portal. Sobre o assunto, os pesquisadores do AGCRJ Carolina Ferro e Rafael Martins de Araujo escreveram o artigo “Oliveira Reis: o engenheiro-historiador do Rio de Janeiro e seu acervo iconográfico”.
+ 
+Oliveira Reis: o engenheiro-historiador do Rio de Janeiro e seu acervo iconográfico
+Carolina Ferro e Rafael Martins de Araujo*
+ 
+Cristo Redentor (1931?). Rio de Janeiro, RJ / Acervo AGCRJ
+ 
+Inúmeros foram os profissionais que trabalharam na administração pública do Rio de Janeiro e auxiliaram na formação dos acervos, sua preservação e memória, ainda que não fossem historiadores de formação. Este é o caso de José de Oliveira Reis (1925 – 1994), importante engenheiro da cidade que, paulista, se apaixonou pela antiga capital do Brasil, acumulando, já na década de 1930, vários tipos de documentos públicos produzidos pela então Prefeitura do Distrito Federal sobre a urbe, especialmente fotografias. Uma pequena parcela do acervo que forma a Coleção Particular José de Oliveira Reis, doada por seu titular ao Arquivo Geral da Cidade do Rio de Janeiro (AGCRJ), encontra-se no site da Brasiliana Fotográfica.
+Acessando o link para as fotografias Coleção Particular José de Oliveira Reis disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+José de Oliveira Reis nasceu em 25 de setembro de 1903, em Ribeirão Preto, São Paulo. Formou-se em Engenharia Civil na Escola Politécnica do Rio de Janeiro, em 1925, e foi transferido em definitivo para a cidade três anos depois, quando trabalhava em uma empresa privada. Em 1933, foi o terceiro colocado no primeiro concurso público para o cargo de engenheiro da Prefeitura do Distrito Federal.
+Naquele período, o debate acerca dos impactos nas transformações urbanas para a administração pública era crescente e exposto tanto na criação de um processo seletivo para engenheiros municipais quanto na instituição do Plano Agache. O projeto de remodelação urbana elaborado por Alfred Agache  não chegou a ser implantado (1928-1930) e era parte da reestruturação organizacional que permitiria à prefeitura obter o protagonismo sobre o processo de urbanização da cidade. Doutor Reis (como era conhecido na Prefeitura do Rio) foi um dos engenheiros mais destacados desse cenário. Apenas cinco anos após sua aprovação no concurso, foi nomeado Chefe da Comissão do Plano da Cidade, sendo enviado aos Estados Unidos, em 1939, para estudar o processo de desenvolvimento de diversas regiões. Ao retornar, participou da elaboração do Plano Diretor da Cidade e de projetos de grande importância histórica para o Rio de Janeiro, como a abertura da avenida Presidente Vargas e a urbanização da Esplanada do Castelo. Em 1945, a Comissão do Plano da Cidade foi transformada em Departamento de Urbanismo (DUR), com Oliveira Reis sendo nomeado seu primeiro diretor, cargo que ocupou até 1948. Nos anos seguintes, ele voltaria a ocupar a diretoria do DUR: em 1954; entre 1956 e 1960 (quando foi um dos nomes na urbanização da esplanada do Morro de Santo Antônio); e em 1962.
+ 
+Copacabana, 193?. Rio de Janeiro, RJ / Acervo AGCRJ
+ 
+Em 1965, apenas um ano antes de se aposentar, Oliveira Reis publicou As Administrações Municipais e o Desenvolvimento Urbano: O Rio e seus Prefeitos (1862 a 1960). Sua aposentadoria não significou o seu desligamento do serviço público, pois, até as vésperas de seu falecimento, permanecia como colaborador, estando à frente da Revista Municipal de Engenharia. Segundo seu biógrafo, Rodrigo Santos de Faria (2007) – que inclusive usa boa parte da documentação do AGCRJ para construir o argumento de sua tese – o biênio 1965/1966, marca o início da atuação do engenheiro como “historiógrafo da administração pública” do Rio de Janeiro. Após a primeira publicação, viriam diversos livros, artigos e palestras abordando o tema, como Os Prefeitos do Rio de Janeiro como Capital da República de 1889 a 1960, apresentado em conferência em 1971; O Rio de Janeiro e seus Prefeitos (1977, quatro volumes); A Guanabara e seus Governadores (1979); História da Legislação sobre o Uso do Solo (1983); As inundações do Rio de Janeiro e o Sesquicentenário do nascimento de Pereira Passos, publicados na famosa Revista Municipal de Engenharia (RME), que existiu entre 1932 e 1999, e cujas edições estão disponíveis para consulta online numa parceria DocPro, BN Digital e AGCRJ.
+Dr. Reis foi editor-chefe da RME entre 1978 e 1992. Uma edição especial da publicação, de agosto de 1997, três anos depois de seu falecimento, prestou homenagem ao engenheiro, com depoimentos de colegas, recortes de jornais que noticiavam feitos de Oliveira Reis, e uma edição de História Urbanística do Rio de Janeiro, publicado originalmente em 1986. Nos depoimentos, Dr. Reis é descrito como alguém tranquilo, fascinado por seu trabalho e pelo Rio de Janeiro. Exímio conhecedor da história das ruas mais importantes de cor, fazia de sua sala na RME um “ponto de encontro de arquitetos, historiadores, geógrafos [e] pesquisadores do Rio de Janeiro”. Sua paixão pela História também fica evidente em entrevista concedida ao AGCRJ, em 1986. Nela, o engenheiro não apenas responde cada pergunta, como também faz questão de comentar detalhes sobre antigas obras e expor as minúcias das mudanças na administração pública da prefeitura.
+Bons exemplos são suas respostas sobre a construção da avenida Presidente Vargas. Depois de esclarecer que a obra se tratava de um projeto antigo, pretendido “desde o século XIX como uma extensão do canal do Mangue”, Reis, ao ser perguntado sobre o auxílio do governo federal para a construção da via, conta um detalhe curioso sobre a aprovação do projeto. Henrique Dodsworth não tinha muita convicção da execução da avenida porque o vulto da obra era muito grande. Mas o presidente da República se interessou pela obra a partir de uma visita à Feira de Amostras onde havia um estande da Secretaria de Viação e Obras com todo o projeto da avenida Presidente Vargas, inclusive uma perspectiva muito bonita feita pelo arquiteto Nelson Muniz Nevares, com o nome da via. O presidente olhou para a perspectiva, olhou para o prefeito e disse: “Dr. Henrique, vamos fazer essa avenida.” Aí o Henrique Dodsworth tomou a palavra do presidente e, naturalmente, tratou de executar a obra. (FREIRE; OLIVEIRA, 2008).
+ 
+Lapa, s/d. Rio de Janeiro, RJ / Acervo AGCRJ
+ 
+Como entusiasta da História e grande divulgador da memória da cidade, Oliveira Reis preservou e organizou uma vasta documentação acerca do processo de urbanização do Rio. Grande parte deste material foi doada ao AGCRJ, em 1992, e a outra se encontra no Arquivo Municipal de Ribeirão Preto, em São Paulo. Na instituição carioca há um manancial de documentos diversificados que vai desde proposições de Harland Bartholomew (1889-1989) – um importante urbanista norte-americano – para o descongestionamento do tráfego urbano, até imagens panorâmicas da cidade em que trabalhou durante toda sua vida. Tudo isso com tipologias diferenciadas, como documentos manuscritos, datilografados, periódicos, teses, decretos, palestras, certificados, memorandos, planejamentos urbanos, ilustrações etc. Alguns deles eram organizados em grupo, com o objetivo de construir uma memória de um determinado local. Este foi o caso da Avenida Perimetral, cujo conjunto inclui recortes de jornais sobre o projeto urbanístico, plantas de lotes da Avenida Presidente Vargas para permutas com terrenos desapropriados da localidade da nova construção e um histórico da avenida feito pelo próprio Oliveira Reis. Além dos documentos doados pelo personagem, à coleção particular foram acrescidas mais algumas fotografias e a entrevista citada que foi realizada pela historiadora Sandra Horta, que ocupou o cargo de Diretora de Pesquisa da instituição por algumas décadas e cuja transcrição está disponível na obra de Lúcia Lippi Oliveira e Américo Freire (2008).
+ 
+Canal do Mangue, s/d. Rio de Janeiro, RJ / Acervo AGCRJ
+ 
+A pequena parcela do acervo na Brasiliana Fotográfica refere-se a algumas das fotografias panorâmicas da Coleção Particular de Oliveira Reis, no AGCRJ. Infelizmente não há dados sobre autoria, muito menos datas exatas. Isto porque era um acervo de trabalho e auxiliava as reflexões nos cargos que ocupou. Sobre as imagens em questão, que formam um grupo de 99 fotos, sabe-se, apenas, que elas são da década de 1930, mesma época em que Reis se tornou engenheiro da Prefeitura do Distrito Federal. Através delas, é possível sobrevoar a história urbana da cidade, passando por bairros como Glória, Centro, Botafogo, Copacabana, Vila Isabel, Rio Comprido e muito mais. Exemplos interessantes são as que retratam a construção do Cristo Redentor, um ícone turístico e cartão postal do Rio de Janeiro, com a zona sul, o Pão de Açúcar, a enseada de Botafogo e a cidade de Niterói ao fundo; e uma das fotografias de Copacabana, sem a famosa calçada, mas já com o majestoso Copacabana Palace que foi inaugurado na década anterior. O objetivo do Dr. Reis ao acumular e guardar essas imagens era, além de compreender as mudanças da urbe carioca, preservar sua memória e construir uma história que fosse capaz de dar conta das intensas transformações perpetradas pelos governos municipais.
+A Coleção Particular de Oliveira Reis está totalmente disponível para consulta no AGCRJ. Só de fotografias são acerca de 800, que abordam das décadas de 1930 a 1990. Essas imagens nos permitem apreciar e analisara cidade de outrora, pensar sobre os deslocamentos humanos e sociais, e refletir sobre as transformações de nossa urbe, cada vez mais cimentada e verticalizada.
+No Arquivo Virtual, o banco de dados da instituição, há mais detalhes e o conteúdo dos documentos. Este pode ser acessado facilmente no link: rio.rj.gov.br/web/arquivogeral.
+ 
+Vila Isabel, s/d. Rio de Janeiro, RJ / Acervo AGCRJ
+ 
+*Carolina Ferro é gerente de pesquisa do AGCRJ, professora do Centro Universitário UniCarioca e Doutora em História pela UFF.
+Rafael Martins de Araujo é estagiário da gerência de pesquisa do AGCRJ e bacharel em História pela Universidade Federal do Rio de Janeiro (UFRJ).
+ 
+Penha, s/d. Rio de Janeiro, RJ / Acervo AGCRJ
+ 
+ 
+Fontes:
+FARIA, Rodrigo Santos de. José de Oliveira Reis, urbanista em construção: uma trajetória profissional no processo de institucionalização do urbanismo no Brasil (1926-1965/1966). 2007. Tese (Doutorado em História) – Instituto de Filosofia e Ciências Humanas, Universidade Estadual de Campinas, Campinas-SP, 2007. Disponível em: http://www.repositorio.unicamp.br/handle/REPOSIP/280241. Acesso em: 23 set. 2019.
+______. Da Comissão do Plano da Cidade (1937) ao Departamento de Urbanismo no Rio de Janeiro (1945): uma interpretação relacional pelo acervo documental do engenheiro José de Oliveira Reis. Oculum Ensaios, n. 09-10, Campinas-SP, p. 26-41, Jan./Dez. 2009.
+FREIRE, Américo; OLIVEIRA, Lúcia Lippi (Org.). Novas memórias do urbanismo carioca. Rio de Janeiro: Editora da FGV, 2008.
+JOSÉ DE Oliveira Reis (Lista de documentos). Rio de Janeiro: AGCRJ, [s./d.].
+KUSHNIR, Beatriz (Dir.). Coleção Particular Oliveira Reis. Rio de Janeiro: AGCRJ, 2015.
+MOREIRA, Fernando Diniz. Urbanismo e modernidade: reflexões em torno do Plano Agache para o Rio de Janeiro. Revista Brasileira de Estudos Urbanos e Regionais, v. 9, n. 2, nov. 2007.
+REVISTA Municipal de Engenharia: 65 anos, Edição Especial. Homenagem ao Engenheiro Oliveira Reis. Rio de Janeiro, Edição especial, ago. 1997.
+SILVA, Pedro Sousa da. Reforma Urbana no Estado Novo: a gestão de Henrique Dodsworth na cidade do Rio de Janeiro (1937-1945). Mosaico, v. 8, n° 13, 2017.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/6128` — `itens/20.500.12156.1_6128/`
+- `20.500.12156.1/6146` — `itens/20.500.12156.1_6146/`
+- `20.500.12156.1/6113` — `itens/20.500.12156.1_6113/`
+- `20.500.12156.1/6112` — `itens/20.500.12156.1_6112/`
+- `20.500.12156.1/6117` — `itens/20.500.12156.1_6117/`
+- `20.500.12156.1/6119` — `itens/20.500.12156.1_6119/`
+
diff --git a/wordpress/17283-serie-exposicoes-vi-cafe-brasil-o-imperio-na-exposicao-internacional-de-filadelf.md b/wordpress/17283-serie-exposicoes-vi-cafe-brasil-o-imperio-na-exposicao-internacional-de-filadelf.md
new file mode 100644
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@@ -0,0 +1,108 @@
+---
+id: 17283
+url: "https://brasilianafotografica.bn.gov.br/?p=17283"
+titulo: "Série “Exposições” VI – Café Brasil: o Império na Exposição Internacional de Filadélfia"
+autor: "Andrea Wanderley"
+data: "2019-12-04T15:10:41+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/6677", "20.500.12156.1/6675", "20.500.12156.1/7077", "20.500.12156.1/4936", "20.500.12156.1/6680", "20.500.12156.1/6679"]
+fetched_at: "2026-09-10T10:00:22.175Z"
+---
+
+# Série “Exposições” VI – Café Brasil: o Império na Exposição Internacional de Filadélfia
+
+“Os portões se abriram em 10 de maio de 1876, tendo à frente o presidente americano Ulysses S. Grant (1822 – 1885) e o imperador do Brasil; a música era do alemão Richard Wagner (1813 – 1883), composta especialmente para a exposição“. Assim foi inaugurada a Exposição Internacional da Filadélfia. É um pouco dessa história, com a disponibilização de fotografias do evento, que a historiadora Claudia B. Heynemann, do Arquivo Nacional, uma das instituições parceiras da Brasiliana Fotográfica, traz para os leitores do portal no artigo “Café Brasil: o Império na Exposição Internacional de Filadélfia”. Nas exposições universais ou internacionais, das quais o Brasil participou de 5 durante o século XIX – Londres (1862), Paris (1867 e 1889), Viena (1873) e Filadélfia (1876) -, eram expostos os símbolos do progresso das sociedades industrializadas. Eram “espetáculos da modernidade” onde eram divulgadas as novidades da arte, da cultura, da ciência e da técnica. Foi na Exposição Internacional da Filadélfia que foram apresentados panoramas do Rio de Janeiro e fotografias realizadas para a Comissão Geológica do Império, de autoria do fotógrafo Marc Ferrez (1843 – 1923).
+ 
+ 
+Café Brasil: o Império na Exposição Internacional de Filadélfia
+Claudia B. Heynemann*
+ 
+Centennial Photographic Co.; William Notman. Pavilhões do Brasil na Exposição Internacional de Filadélfia, 1876. Filadélfia, Estados Unidos / Acervo Arquivo Nacional
+ 
+A partir de 1862, em Londres, o Brasil participou oficialmente de cinco exposições internacionais ou universais no século XIX. As exposições, intituladas internacionais para um cenário de países unidos, mas competitivos ou universais, na perspectiva francesa da fraternidade, consagraram-se como eventos característicos nos quais eram expostos os trunfos das sociedades industrializadas e seu progresso.
+Acessando o link para as fotografias da exposição brasileira na Exposição Internacional de Filadélfia de 1876 disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas. 
+Na cartografia que se estabelecia, predominava entre as prateleiras das economias dos países recém-independentes a exibição de seus recursos naturais e de produtos que formavam a pauta primária da exportação. Por vezes tratado como o espelho de seu descompasso, opondo mundo civilizado ao primitivo, sociedades urbanas versus a selva e a floresta, o Brasil de d. Pedro II estava atento às exposições e, embora trouxesse maquinário de ferrovias, peças relacionadas ao telégrafo e artefatos bélicos, entre outros itens saídos de suas fábricas, continuava a ser lembrado por sua agricultura, sua fauna e flora (1). Nesse espetáculo se reencenava o domínio da técnica, os ideais da “civilização”, o imperialismo e a submissão dos povos “exóticos” e ainda mais se impunha uma visualidade e uma apreensão do mundo calcadas em uma rede de aproximações, contrastes, circuitos, fluxos; nos enunciados e na taxionomia que preside o sistema das exposições (2).
+A delegação brasileira em Filadélfia se sobressai na série de exposições internacionais nas quais o Império se fez representar. Finda há poucos anos a Guerra do Paraguai, que havia exposto a fraqueza do Estado, o governo responde prontamente ao convite para a primeira exposição internacional na América, que assinalava o centenário da Independência do país sede. Os americanos também tinham na memória recente a guerra civil, cujas feridas se agravavam com a depressão industrial de 1873 e a feira podia, no mínimo, desviar as atenções das denúncias de corrupção que vinham da capital, das falências e da insatisfação dos trabalhadores com o sistema industrial:
+Contudo, mais do que apenas fornecer um escape das incertezas políticas e econômicas dos anos de Reconstrução, a feira foi uma resposta calculada a essas condições. Seus organizadores procuraram desafiar dúvidas e restabelecer a confiança na vitalidade do sistema de governo da America assim como na estrutura econômica e social do país. No momento em que os portões se abriram a feira funcionou como “uma escola para a nação”, um modelo da “Meca americana”(3)
+ 
+Os portões se abriram em 10 de maio de 1876, tendo à frente o presidente americano Grant e o imperador do Brasil; a música era de Wagner, composta especialmente para a exposição. Enormes pavilhões em madeira, ferro e vidro tomavam aquele espaço que acabou por se mostrar excepcionalmente bom, mais uma expectativa negativa que seria revertida na época. Logo no primeiro dia passaram pelos pavilhões 186.672 visitantes aos quais se somariam outros até chegar à cifra de quase 10 milhões de pessoas do público total, equivalente a quase 1/5 da população americana, superando o número de expectadores de todas as exposições anteriores. O ápice da solenidade de inauguração foi a demonstração da máquina Corliss, um gerador de energia que provia as exibições no “Machinery Hall”, o salão de máquinas. Acionado pelo imperador brasileiro e pelo presidente americano conseguiu deixar em suspenso o poeta Walt Whitman que, sensível aos efeitos do progresso, permaneceu em silêncio por longos minutos diante daquela que era a maior máquina já vista(4).
+América, Américas
+A América do Norte era parte do Novo Mundo, mas se colocava ao lado das grandes potências europeias no desenvolvimento industrial, no domínio da técnica, impondo-se
+simultaneamente como celeiro da humanidade. Em resposta à tese da inferioridade da América, do continente imaturo, na senda aberta por Buffon e trilhada por outros naturalistas, a disputa do Novo Mundo iria se modificar ao longo do século XIX. Por um lado, as ciências naturais começavam a se emancipar da rigidez das ideias climáticas, por outro, o desenvolvimento social e político dos Estados Unidos e a vitalidade dos países hispano-americanos contradiziam as habituais caracterizações da América, especialmente dos Estados Unidos, mesmo que a aversão europeia permanecesse e migrasse das considerações sobre a natureza física para as sociedades (5). Contudo, enquanto o romantismo norte-americano emprestaria um caráter original à sua natureza e literatura, era recente o massacre dos indígenas e a escravidão praticada nos estados do sul. Indígenas e negros seriam exibidos como elementos exóticos e à parte da sociedade em Filadélfia, de onde igualmente se propagaria a voz dos homens de negócios, dos líderes políticos, das corporações, num elogio do progresso tecnológico e da nacionalidade. Eram realidades percebidas como indissociáveis, segundo a fórmula de que “escravizar os negros e dominar os índios, arrebatando-lhes a terra, não era apenas um direito, mas um dever dos brancos, civilizados e superiores, de instaurarem uma ordem social mais ‘avançada’” (6).
+No campo das relações internacionais, sobretudo da política norte-americana para seus vizinhos ao sul, a partir da formulação da Doutrina Monroe de 1823 e ao longo do século XIX, não houve grandes variações. Pautaram-se de modo contínuo “por três principais preocupações: a segurança nacional, os interesses financeiros e a política doméstica”( 7).  Marcadas pela distância e pela barreira da língua, os contatos entre os dois países foram rotineiros, com um volume modesto de transações, não obstante o Brasil figurar como o maior parceiro comercial dos americanos na região. E se o Império tinha pouca importância estratégica para os Estados Unidos, por sua vez o Brasil relacionava-se prioritariamente com a Europa, situação que começaria a se transformar a partir de 1875 com a melhora nas comunicações e o reconhecimento da relevância que a economia americana poderia ter para os interesses brasileiros:
+ 
+A tendência a uma maior aproximação também é corroborada pela visita do imperador Dom Pedro II aos Estados Unidos em 1876, em virtude das comemorações do centenário da independência estadunidense. Embora faltasse uma motivação política real para a visita, assuntos como a expansão do comércio entre os países foram tratados(8).
+ 
+Para os americanos, a organização de uma exposição internacional comemorativa do centenário da independência reafirmava seu lugar junto às economias centrais, enquanto a disposição dos pavilhões do Brasil e do México, instalados à frente do país anfitrião podia ser interpretada como um passo em direção aos vizinhos. Do lado brasileiro o país contava, para sua visibilidade, com três locais para ostentação de seus produtos e atividades, a começar pelo estande interno ao edifício principal do parque. Em diversas imagens dessa série constatamos que o país ocupava uma construção mourisca, vinculando-nos a uma origem sem dúvida, alheia, no entanto, aos elementos normalmente associados à ex-colônia. Imponente, portando os nomes das províncias nas divisões internas e por toda fachada externa, deixando entrever vitrines e produtos, foi criado pelo arquiteto americano Frank Furness que se valeu do estilo em voga: “empregou seus temas islâmicos favoritos no pavilhão brasileiro: o arco em ferradura e o arco ogival, ameias, superposição de colunas com seção quadrada sobre outras de seção circular para criar altura […] pastilhas de vidro coloridas e ornamentos florais” (9)
+ 
+William Notman; Centennial Photographic Co. Pavilhões do Brasil na Exposição Internacional de Filadélfia – interior do pavilhão, 1876. Filadélfia, Estados Unidos / Acervo Arquivo Nacional
+ 
+Outro edifício, de autoria de Hermann J. Schwarzmann, arquiteto-chefe da exposição ficava em meio ao parque; registrado em um ângulo lateral, tendo ao fundo árvores nuas e à frente o brasão do Império, erguia-se em dois andares, completamente americano, “com bow-windows, estrutura em madeira, colunas esbeltas na varanda elevada e perfis em relevo marcando “almofadas” na parede”. Como escreve Niuxa D. Drago, o ecletismo permitia a todos os países adotar a sua “identidade arquitetônica”, o que não foi seguido pelo Brasil, que mostrou opulência, e não o que se poderia chamar de uma arquitetura nacional (10).
+ 
+Centennial Photographic Co.; William Notman. Pavilhões do Brasil na Exposição Internacional de Filadélfia, 1876. Filadélfia, Estados Unidos / Acervo Arquivo Nacional
+ 
+O registro dessas construções do Brasil e de todo o evento é de autoria da empresa Centennial Photographic Company, presidida por W. Notman, fotógrafo canadense já bastante conhecido nos Estados Unidos. Ele se tornou ainda mais popular ao se juntar ao empresário da fotografia Edward Wilson na firma contratada com exclusividade pelo estado da Pensilvânia. William Notman e seus associados tinham assim o direito de anunciar e vender o catálogo de vistas da exposição, além de deter os direitos sobre todo o trabalho fotográfico feito em Fairmont Park ( 11).
+Café Brasil
+Na série de onze fotografias, duas especialmente dialogam entre si e são as únicas a incluir pessoas. A mais famosa foi tirada do pavilhão “Caffé do Brazil” e é, por sua vez, uma das duas ao ar livre. Exibindo frequentadores bem trajados, distribuídos em mesinhas à porta, simulam esse hábito cotidiano em ascensão, incorporado à vida social e urbana dos grandes centros da Europa e dos Estados Unidos. Enquanto em primeiro plano somos atraídos para a louça, chapéus, bengalas e poses, ao fundo, próximos à máquina de café, se distinguem um homem de cavanhaque e uma mulher. Trata-se do capitão da Guarda Nacional Luiz Ribeiro de Souza Rezende (1827-1891), filho do marquês de Valença, militar condecorado na Guerra do Paraguai com as comendas da Ordem da Rosa e da Ordem de Cristo, acompanhado por sua esposa Maria Ambrosina da Motta Teixeira. Segundo matéria publicada quase um século depois no jornal Correio da Manhã, Rezende recebeu três contos de réis de ajuda da Comissão Brasileira para servir o “genuíno café” (além de mate e chá) no Fairmount Park. Era um modo de promover os 71 expositores de café que vinham do Rio de Janeiro, São Paulo, Bahia, Pernambuco e Ceará e, portanto, embora fossem inevitáveis os prejuízos face os custos de manutenção e ao fornecimento gratuito, isso, segundo o Correio, não preocupava o brasileiro, “que na propaganda era auxiliado por sua mulher, d. Maria Ambrosina da Mota Teixeira de Rezende e os dois filhos, Carlos e Amélia” (12).
+ 
+William Notman. Pavilhões do Brasil na Exposição Internacional de Filadélfia – Pavilhão Café do Brasil, 1876. Filadélfia, Estados Unidos / Acervo Arquivo Nacional
+ 
+O sucesso do principal produto de exportação da economia brasileira, responsável pelos superávits alcançados até em períodos de grande oscilação dos preços, devia-se em parte à oferta do café já empacotado e torrado, pronto para o consumo a partir de 1865. Em seu curso ininterrupto e devastador das matas, ao longo do século o café garantiu a obtenção de empréstimos no exterior. Outros produtos como o açúcar, o algodão e o fumo estavam no topo do quadro de exportações, sendo que, na década de 1871 a 1880, o café correspondia a 56,6% do valor, seguido de longe pelo açúcar, com 11,8%, e pelo algodão, que participava com 4,2% (13). Esse último decorou em profusão a seção brasileira no pavilhão agrícola . Em meio às muitas ramagens de algodão um quadro de produtos de exportação do Império fornece os valores em moeda estrangeira. Inclui couro, tabaco, borracha, erva-mate, diamantes e outros, em seguida aos três principais itens. Além dos produtos agrícolas, minérios, itens manufaturados como mobiliário, vestuário, material bélico (munição) dividiam espaço com quadros, gravuras, mapas e fotografias.
+ 
+Centennial Photographic Co.; William Notman. Pavilhões do Brasil na Exposição Internacional de Filadélfia, 1876. Filadélfia, Estados Unidos / Acervo Arquivo Nacional 
+ 
+Entre as províncias mais empenhadas na preparação que antecedeu Filadélfia, estavam o Rio de Janeiro, São Paulo e Rio Grande do Sul coerentemente com os principais polos econômicos e com a situação política do Brasil dos anos 1870. De modo geral foi grande o entusiasmo dos políticos e da classe senhorial com a presença brasileira no evento, quando se procurou mostrar todo o potencial do país, mesmo que as riquezas naturais ficassem em primeiro plano e que, a despeito de Brasil e Estados Unidos serem as maiores nações da América do Sul e do Norte, a discrepância entre ambas fosse inegável: “para a tropical monarquia dos Bragança, a Exposição foi muito além da expectativa dos povos europeus. Enfim, a modernidade atravessava o oceano e comprovava-se ser possível a aventura do progresso em terras americanas. Os Estados Unidos, que também haviam sido colônias d’-mar, eram o exemplo vivo de que era possível acompanhar o trem da história”(14). Ainda para Sandra Pesavento a estrela da exposição foi Pedro II que se notabilizou pela admiração demonstrada ante o invento de Alexander Graham Bell, conquistando a simpatia de muitos, mas não de todos, como os chargistas da Harper´s Bazaar, que não pouparam o séquito de brasileiros que cercavam o imperador, desenhando-os com cabeças de burros. Finalmente, acrescenta a autora, não houve apenas entusiasmo. A Comissão Brasileira admitia em relatório que o sucesso eventualmente obtido se atribuía às riquezas naturais e não aos produtos da indústria, o que não deixava de ser uma depreciação do uso da mão de obra de escravizados no país (15).
+A imagem que constrói uma narrativa com o “Caffé do Brazil” tem ao centro o tear no qual Maria Ambrozina, natural de Sabará, Minas Gerais, ensina a tecer a seda. Casada com Luís Ribeiro S. Rezende, ela participou das demonstrações que envolviam os dois negócios de interesse da família. Membro da Sociedade Auxiliadora da Indústria Nacional – SAIN à época da escolha dos membros da Comissão das Exposições (16) , o capitão era o proprietário da Imperial Companhia Seropédica Fluminense, em Itaguaí, salva da falência por sucessivas doações de loterias concedidas pela assembleiafluminense. A compra da companhia explica o estande e a tabuleta “Estabelecimento Seropédico Bananal de Itaguaí”. Bem próxima a ela está o quadro anunciando o “Café Luís Ribeiro de Souza Rezende”, tradução da simbiose entre o café e os estabelecimentos manufatureiros que começam a prosperar ao final do século. Esse talvez seja, afinal, o registro mais importante da participação brasileira em Filadélfia, no qual, a despeito da postura ensaiada, diversos entre os presentes deixaram apenas um rastro, o vulto tremido, comum na fotografia oitocentista e alusiva ao modo de inserção do Império na grande feira.
+ 
+Centennial Photographic Co.; William Notman. Pavilhões do Brasil na Exposição Internacional de Filadélfia, , 1876. Filadélfia, Estados Unidos / Acervo Arquivo Nacional
+ 
+(1) MACHADO, Marina Monteiro; MARTINS, Monica de Souza Nunes. A modernidade nas teias da floresta: o Brasil na exposição Universal da Filadélfia de 1876. Geosul, Florianópolis, v. 32, n. 65, p. 68-86, nov. 2017. ISSN 2177-5230. Disponível em: &lt;https://periodicos.ufsc.br/index.php/geosul/article/view/2177-5230.2017v32n65p68&gt;. Acesso em: 4 jul. 2018.
+(2) SANJAD, Nelson. Exposições internacionais: uma abordagem historiográfica a partir da América Latina. Hist. cienc. saúde-Manguinhos, Rio de Janeiro, v. 24, n. 3, p. 785-826, set. 2017. Disponível em &lt;http://www.scielo.br/scielo.php?script=sci_arttext&amp;pid=S0104-59702017000300785&amp;lng=pt&amp;nrm=iso&gt; Acessos em 3 jul.2018
+(3) RYDELL, Robert W. The Centennial Exhibition, Philadelphia, 1876: the exposition as a “moral influence”;. In: All the world&#39;s a fair: visions of empire at american international expositions, 1876-1916.Chicago: The University os Chicago Press, 1984, p. 11.
+(4) Idem, p. 9.
+(5) Cf. GERBI, Antonello. La disputa del Nuevo Mundo, 1750-1900. México, Fondo de Cultura Económica, 1960.
+(6) PESAVENTO, Sandra Jatahy. Imagens da nação, do progresso e da tecnologia: a Exposição Universal de Filadélfia de 1876. Anais do Museu Paulista. São Paulo. N. Ser. v.2 p.151-167 jan./dez. 1994, p. 158.
+(7) BIANCHET Jr., Antonio Battisti. As relações EUA-América Latina na segunda metade do século XIX. Um estudo através dos casos de Argentina e Brasil. Anais do V Congresso Internacional de História. UEL. Set, 2011, p. 551 Disponível em http://www.cih.uem.br/anais/2011/trabalhos/246.pdf. Acesso em 17/10/2019
+(8) Idem, p. 556
+(9) DRAGO, Niuxa Dias. Arquitetura e cenografia na representação do Brasil: pavilhões brasileiros de Londres a Milão. O Percevejo Online. Rio de Janeiro, v. 8, n. 1, jan. / jun. 2016, p. 37. Disponível em http://www.seer.unirio.br/index.php/opercevejoonline/article/view/5758. Acesso em 16/10/2019
+(10) Idem, p. 38
+(11) HALL, R., DODDS, G., TRIGGS, S. The world of William Notman: the nineteenth century through a master lens. Boston : D.R. Godine, 1993, p. 44.
+(12) Café e seda do Brasil em 1876 fizeram propaganda em Filadélfia. Rio de Janeiro, 30 de outubro de 1960. Correio da Manhã. Disponível em http://memoria.bn.br/DocReader/docreader.aspx?bib=089842_07&amp;pasta=ano%20196&amp;pesq=Caf%C3%A 9%20e%20seda. Acesso em 20 de outubro de 2019.
+(13) FARIA, Sheila de Castro. Exportações. In: VAINFAS, Ronaldo (Dir.). Dicionário do Brasil Imperial. Rio de Janeiro: Objetiva, 2002, p. 248
+(14) PESAVENTO, Sandra Jatahy. Op. cit., p. 162
+(15) Idem.
+(16) O Auxiliador da Indústria Nacional: ou coleção de memorias e notícias interessantes (RJ) – 1833 a 1896 Sessão da Assemblea Geral em 31 de dezembro de 1875. Disponível em http://memoria.bn.br/DocReader/Hotpage/HotpageBN.aspx?bib=302295&amp;pagfis=24711&amp;url=http://memoria.bn.br/docreader#. Acesso em 20 de outubro de 2019
+ 
+Claudia B. Heynemann  é Doutora em História e Pesquisadora do Arquivo Nacional
+ 
+Fotógrafos que representaram o Brasil na Exposição Internacional da Filadélfia de 1876 
+As fotografias produzidas por Marc Ferrez (1843 – 1923) para a Comissão Geológica do Império e Joaquim Insley Pacheco (1830 – 1912) foram premiados na Exposição de 1876. Uma curiosidade: a comissão de organização da Exposição da Filadéfia modificou as regras da premiação: os ganhadores receberam um diploma, uma medalha de bronze e uma cópia certificada do parecer do júri, rompendo com o padrão de premiação hierárquica.
+Além deles, representaram o Brasil Felipe Augusto Fidanza (c. 1847 -1903), um dos mais importantes fotógrafos que atuaram no norte do Brasil no século XIX e no início do século XX; José Tomás Sabino (18? – ?), cujo ateliê ficava em Belém; Luís Terragno (c. 1831 – 1891), um dos fotógrafos pioneiros do Rio Grande do Sul; e Pedro Satyro de Souza da Silveira (18? – ?), que atuou no Rio de Janeiro nas décadas de 1870 e 1880. Expuseram no Photographic Exhibition Building, prédio projetado pelo arquiteto H.J. Schwarzmann (1846 – 1891), especialmente construído para a mostra dos fotógrafos da Exposição Internacional da Filadélfia que aconteceu entre 10 de maio e 10 de novembro de 1876, tendo sido a mais popular das exposições internacionais realizadas até então, com 9.789.392 visitantes. O Brasil foi uma das onze nações que construíram edifícios para o evento. Os outros foram Canadá, França, Alemanha, Grã-Bretanha, Japão, Portugal, Espanha, Suécia, Tunísia e Turquia. Participaram também da Exposição a Argentina, Austrália, Áustria, Bélgica, Bolívia, Chile, China, Colômbia, Dinamarca, Egito, Equador, Estado Livre de Orange, Grécia, Guatemala, Holanda, Honduras, Ilhas Sanduíche, Itália, Libéria, México, Nicarágua, Noruega, Peru, Rússia, Suíça e Venezuela.
+ 
+Links para os artigos sobre exposições nacionais ou internacionais publicados na Brasiliana Fotográfica
+O pintor Victor Meirelles e a fotografia na II Exposição Nacional de 1866, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 17 de agosto de 2017.
+A festa do progresso: o Brasil na Exposição Continental, Buenos Aires, 1882, de autoria de Maria do Carmo Rainho, Arquivo Nacional, publicado em 29 de março de 2018.
+Série “O Rio de Janeiro desaparecido” II – A Exposição Nacional de 1908 na Coleção Família Passos, de autoria de Carla Costa, Museu da República, publicado em 5 de abril de 2018.
+Marc Ferrez, a Comissão Geológica do Império (1875 – 1878) e a Exposição Antropológica Brasileira no Museu Nacional (1882), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 29 de junho de 2018.
+Paris, 1889: o álbum da exposição universal, de autoria de Claudia B. Heynemann, Arquivo Nacional,publicado em 27 de julho de 2018.
+Festa das Artes e da Indústria Segunda Exposição Nacional, 1866, de autoria de Claudia Beatriz Heynemann e Maria Elizabeth Brêa Monteiro, Arquivo Nacional, em 5 de abril de 2020.
+A apresentação do Departamento Nacional de Saúde Pública na Exposição Internacional do Centenário da Independência, de Ricardo Augusto dos Santos, Fiocruz, publicado em 13 de abril de 2020.
+A Exposição Internacional de Higiene de Dresden, de Cristiane d´Avila, Fiocruz, publicado em 5 de janeiro de 2022.
+Série 1922 – Hoje, há 100 anos VIII – A abertura da Exposição Internacional do Centenário da Independência do Brasil e o centenário da primeira grande transmissão pública de rádio no país, de autoria de Andrea C. T. Wanderley, publicado em 7 de setembro de 2022, na Brasiliana Fotográfica.
+Três álbuns fotográficos da Exposição Nacional de 1908 no Museu Histórico Nacional: Boscagli, Malta e Musso, de autoria de Maria Isabel Ribeiro Lenzi, historiadora do Museu Histórico Nacional, publicado em 25 de agosto de 2023, na Brasiliana Fotográfica.
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+Nota da editora: esse artigo passou a integrar uma série e mudou de título em 1º de dezembro de 2025
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/6677` — `itens/20.500.12156.1_6677/`
+- `20.500.12156.1/6675` — `itens/20.500.12156.1_6675/`
+- `20.500.12156.1/7077` — `itens/20.500.12156.1_7077/`
+- `20.500.12156.1/4936` — `itens/20.500.12156.1_4936/`
+- `20.500.12156.1/6680` — `itens/20.500.12156.1_6680/`
+- `20.500.12156.1/6679` — `itens/20.500.12156.1_6679/`
+
diff --git a/wordpress/17370-zumbi-dos-palmares-alagoas-1655-alagoas-20-de-novembro-de-1695.md b/wordpress/17370-zumbi-dos-palmares-alagoas-1655-alagoas-20-de-novembro-de-1695.md
new file mode 100644
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--- /dev/null
+++ b/wordpress/17370-zumbi-dos-palmares-alagoas-1655-alagoas-20-de-novembro-de-1695.md
@@ -0,0 +1,51 @@
+---
+id: 17370
+url: "https://brasilianafotografica.bn.gov.br/?p=17370"
+titulo: "Zumbi dos Palmares (Alagoas,1655 – Alagoas, 20 de novembro de 1695)"
+autor: "Andrea Wanderley"
+data: "2019-11-20T13:23:54+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: []
+fetched_at: "2026-09-10T10:00:28.424Z"
+---
+
+# Zumbi dos Palmares (Alagoas,1655 – Alagoas, 20 de novembro de 1695)
+
+Zumbi (1927), pintura de Antonio Parreiras (1860 – 1937) / Acervo do Museu Antonio Parreiras, Niterói
+A Brasiliana Fotográfica homenageia Zumbi dos Palmares (1655-1695), considerado um dos símbolos da luta contra a escravidão no Brasil, com a publicação de uma galeria de tipos negros fotografados, em torno de 1869, na Bahia e em Pernambuco, por Alberto Henschel (1827-1882). Esses registros fotográficos integram o acervo do Leibniz-Institut für Laenderkul (1), primeira instituição internacional a se tornar parceira da Brasiliana Fotográfica.
+O quadro retratando Zumbi (ao lado) é de Antonio Parreiras (1860-1937). Tanto o fotógrafo Alberto Henschel como o pintor já foram temas da Brasiliana Fotográfica.
+O dia da morte de Zumbi, 20 de novembro, é comemorado em todo o Brasil como o Dia Nacional de Zumbi e da Consciência Negra. A data foi criada, em 2003, e instituída oficialmente em âmbito nacional com a lei nº 12.519, de 10 de novembro de 2011.
+O presidente Luiz Inácio Lula da Silva sancionou, em 21 de dezembro de 2023, o Projeto de Lei nº 3268/2021, que declara o Dia Nacional de Zumbi e da Consciência Negra feriado em todo o país. O texto do PL foi publicado no Diário Oficial da União do dia seguinte.*
+Zumbi nasceu, em 1655, em uma das aldeias do Quilombo dos Palmares, uma comunidade formada por escravizados fugitivos. O quilombo, o maior do período colonial brasileiro, localizava-se na região da Serra da Barriga, na Capitania de Pernambuco, atual região de União dos Palmares, em Alagoas. Foi capturado, no quilombo, ainda criança, pelos soldados da expedição comandada por Brás da Rocha Cardoso, e entregue ao padre português Antônio Melo, do distrito de Porto Calvo, Alagoas. Foi batizado, aprendeu português e latim, e recebeu o nome de Francisco.
+Aos 15 anos, fugiu e voltou para o Quilombo dos Palmares. Posteriormente, tornou-se o líder da comunidade, substituindo seu tio, Ganga Zumba (c. 1630 – 1678). A capital de Palmares foi destruída, em 1694, e Zumbi foi ferido. Traído por um dos seus principais comandantes, Antônio Soares, foi morto em 20 de novembro de 1695, na serra de Dois Irmãos, local de seu esconderijo. Foi esquartejado e sua cabeça foi cortada e exposta na praça do Carmo, em Recife.
+Há uma grande bibliografia sobre Zumbi e o Quilombo dos Palmares. Nem sempre os estudos apontam para a mesma direção.
+ 
+Galeria de tipos negros fotografados por Alberto Henschel
+ 
+Acessando o link para as fotografias de tipos negros fotografados por Alberto Henschel disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+(1) O conjunto de 460 imagens do Brasil produzidas até 1900 pertencentes ao acervo do Leibniz-Institut für Länderkunde foi, mediante convênio, incorporado ao acervo do Instituto Moreira Salles por meio da digitalização das fotos em alta resolução. A instituição, sediada na cidade de Leipzig,  reúne o mais importante acervo de fotografia brasileira do século XIX  na Alemanha, em especial pelas imagens reunidas na coleção Stübel.
+O geólogo alemão Moritz Alphons Stübel (1835 – 1904) viajou, entre 1868 e 1877, pela América do Sul com o também geólogo Wilhelm Reiss (1838 – 1908), que retornou um ano antes para a Alemanha. Stübel formou uma importante coleção de fotografias, composta originalmente por quase duas mil imagens. A “Collection Alphons Stübel”, a maior coleção de fotografias sul-americanas do século XIX, até agora conhecida, da Alemanha – e provavelmente da Europa – está preservada no Leibniz-Institut für Länderkunde.
+Colaboraram para esta pesquisa a designer Mariana Newlands e a socióloga Roberta Zanatta, da equipe do IMS
+*Este parágrafo foi acrescentado em 22 de dezembro de 2023.
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+CARNEIRO, Edison. O Quilombo dos Palmares, Rio de Janeiro: Editora Civilização Brasileira, 3a ed., 1966
+CARVALHO, José Murilo de. Cidadania no Brasil. O longo Caminho. 3ª ed. Rio de Janeiro: Civilização Brasileira, 2002
+FONSECA JR, Eduardo. Zumbi dos Palmares, A História do Brasil que não foi contada. Rio de Janeiro: Soc. Yorubana Teológica de Cultura Afro-Brasileira, 1988)
+FREITAS, Décio. Palmares, a guerra dos escravos. Porto Alegre: Movimento, 1973
+GOMES, Flavio dos Santos. De olho em Zumbi dos Palmares: História, símbolos e memória social. São Paulo: Claro Enigma, 2011
+MOURA, Clovis. Dicionário da Escravidão Negra no Brasil / Clovis Moura; assessora de pesquisa Soraya Silva Moura – São Paulo: Editora da Universidade de São Paulo, 2004
+VASQUEZ, Pedro Karp. Fotógrafos alemães no Brasil do século XIX, São Paulo: Metalivros, 2000
+Outras fontes:
+Artigo de  Frank Stephan Kohl: “Collection Alphons Stübel”: um tesouro escondido
+Artigo de Fernando Correia da Silva: Zumbi dos Palmares: libertador dos escravos: 1655-1695.
+Entrevista Zumbi, um herói cercado de mistério, na Revista História, de novembro de 2009
+Portal Brasil
+Site Calendarr
+Site da Fundação Joaquim Nabuco
+Site do Instituto Moreira Salles
+Site do Leibniz-Institut für Laenderkunder
diff --git a/wordpress/17426-o-campo-de-santana.md b/wordpress/17426-o-campo-de-santana.md
new file mode 100644
index 0000000..f714998
--- /dev/null
+++ b/wordpress/17426-o-campo-de-santana.md
@@ -0,0 +1,56 @@
+---
+id: 17426
+url: "https://brasilianafotografica.bn.gov.br/?p=17426"
+titulo: "O Campo de Santana"
+autor: "Andrea Wanderley"
+data: "2020-01-28T11:45:44+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/6772", "20.500.12156.1/6767", "20.500.12156.1/4574", "20.500.12156.1/6771", "20.500.12156.1/6111"]
+fetched_at: "2026-09-10T10:00:31.865Z"
+---
+
+# O Campo de Santana
+
+No centro do Rio de Janeiro, a praça que hoje é tema da Brasiliana Fotográfica já teve diversos nomes ao longo de sua história: Campo de Santana, Campo da Honra, Praça do Curro, Campo da Aclamação e Praça da República – este último, até hoje, sua denominação oficial. Mas ficou mesmo conhecida como Campo de Santana, palco de celebrações e de importantes acontecimentos da história do Brasil como a aclamação de dom João VI como como rei de Portugal, Brasil e Algarves (1818), a aclamação de Pedro I como imperador do Brasil (1822), as comemorações populares de coroação de D. Pedro II (1841), festas do Império do Divino Espírito Santo promovidas pela Irmandade de Santana, festejos pelo fim da Guerra do Paraguai (1870), um baile em celebração da Abolição da Escravatura (1888) e a Proclamação da República (1889).
+Também na região foram construídos prédios como a Estação de Ferro Central do Brasil, o primeiro Palácio da Prefeitura Municipal do Rio de Janeiro, a primeira sede do Museu Nacional e a Casa da Moeda – atual sede do Arquivo Nacional. O portal traz imagens do Campo de Santana e de algumas dessas construções produzidas por Augusto Malta(1864 – 1957), Jorge Kfuri (1893 – 1965), Juan Gutierrez (c. 1860 – 1897), Marc Ferrez (1843 – 1923)z, Uriel Malta (1910 – 1994) e também por fotógrafos ainda não identificados. Várias fotografias do Campo de Santana de autoria de Augusto Malta foram publicadas na matéria O Jardim do Campo de Sant´Anna, publicada na Revista da Semana, 15 de janeiro de 1938.
+ 
+Marc Ferrez. Campo de Santana – Grutas, c. 1880. Rio de Janeiro, RJ / Acervo IMS
+ 
+Acessando o link para as fotografias do Campo de Santana e de alguns prédios em seu entorno disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+ Marc Ferrez. Campo de Santana, c. 1880. Rio de Janeiro, RJ / Acervo IMS
+ 
+Uriel Malta. Campo de Santana (Vista do Alto, 7 de maio de 1941. Rio de Janeiro, RJ / Acervo AGCRJ
+ 
+Até meados do século XVIII, o Campo de Santana era deserto e abandonado, tendo sido escolhido para o despejo de detritos, fato que perdurou até a gestão do vice-rei Conde Resende (1790 a 1801), que ordenou o aterro e o saneamento do campo. A partir daí, surgiu a praça, edificações e novas delineações urbanas. Foi o botânico e arquiteto paisagista francês Auguste Glaziou (1828 – 1906), que tinha vindo para o Brasil – segundo a maioria das fontes, a convite de dom Pedro II -, o responsável pelo embelezamento da praça, iniciado nos primeiros anos da década de 1870 (Jornal do Commercio, 2 de maio de 1872, terceira coluna; e Diário do Rio de Janeiro, 24 de dezembro de 1873, primeira coluna) com a a construção de jardins românticos, cascatas, pontes e grutas. A inauguração da obra aconteceu em 7 de setembro de 1880 com a presença do imperador. Na ocasião, Glaziou foi condecorado com a Ordem de Cristo (Gazeta de Notícias, 7 de setembro de 1880, primeira coluna; e Gazeta de Notícias, 8 de setembro, primeira coluna).
+ 
+Marc Ferrez. Campo de Santana – Cascata, c. 1880. Rio de Janeiro, RJ / Acervo IMS
+ 
+Auguste Glaziou / Wikipedia
+Glaziou nasceu na cidade de Lannion, na Bretanha, em 30 de agosto de 1828 ou 1833. Formado em Engenharia, estudou Botânica no Museu de História Natural de Paris e participou da reforma do Jardim Público da cidade de Bordeaux. Chegou ao Rio de Janeiro em 1858, onde permaneceu até 1897, quando se aposentou e voltou para a França, onde faleceu em 30 de março de 1906. Durante sua estadia no Brasil, foi Diretor dos Parques e Jardins da Casa Imperial e Inspetor dos Jardins Municipais, além de ter integrado a Associação Brasileira de Aclimação, tendo trabalhado em obras de melhoramentos no Jardim Botânico, na Quinta da Boa Vista, na Floresta da Tijuca e no Passeio Público. Também realizou obras nos jardins da residência das princesas imperiais, da família do Barão de Nova Friburgo, do Barão de Mauá, no Rio de Janeiro, e de Tavares Guerra, em Petrópolis, dentre outros.
+ 
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+COARACY, Vivaldo. Coleção Rio 4 séculos, volume 3. Rio de Janeiro: Livraria José Olympio Editora, 1965.
+GERSON, Brasil. História das Ruas do Rio. Rio de Janeiro: Bem-Te-Vi, 2013.
+Hemeroteca Digital da Biblioteca Nacional
+Site da Casa de Rui Barbosa
+Site da MultiRio
+Site do Museu Nacional 
+ 
+ 
+Campo de Santana – Praça da República, s/d. Rio de Janeiro, RJ / Acervo AGCRJ
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/6772` — `itens/20.500.12156.1_6772/`
+- `20.500.12156.1/6767` — `itens/20.500.12156.1_6767/`
+- `20.500.12156.1/4574` — `itens/20.500.12156.1_4574/`
+- `20.500.12156.1/6771` — `itens/20.500.12156.1_6771/`
+- `20.500.12156.1/6111` — `itens/20.500.12156.1_6111/`
+
diff --git a/wordpress/17459-novos-acervos-museu-aeroespacial.md b/wordpress/17459-novos-acervos-museu-aeroespacial.md
new file mode 100644
index 0000000..877c254
--- /dev/null
+++ b/wordpress/17459-novos-acervos-museu-aeroespacial.md
@@ -0,0 +1,68 @@
+---
+id: 17459
+url: "https://brasilianafotografica.bn.gov.br/?p=17459"
+titulo: "Novos acervos: Museu Aeroespacial"
+autor: "Andrea Wanderley"
+data: "2020-01-07T10:55:43+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/7449", "20.500.12156.1/7072", "20.500.12156.1/7296", "20.500.12156.1/7329", "20.500.12156.1/7293", "20.500.12156.1/7320", "20.500.12156.1/7316", "20.500.12156.1/7317", "20.500.12156.1/7518", "20.500.12156.1/7534"]
+fetched_at: "2026-09-10T10:00:35.679Z"
+---
+
+# Novos acervos: Museu Aeroespacial
+
+A Brasiliana Fotográfica abre o ano de 2020, quando completará cinco anos, trazendo para seus leitores seu décimo-primeiro parceiro, o Museu Aeroespacial (Musal), uma organização do Comando da Aeronáutica. Quem faz a apresentação da instituição é o historiador Jefferson Eduardo dos Santos Machado com o artigo “Correio Aéreo Militar e os registros de um “Brasil Distante”. Com mais essa importante adesão, a Brasiliana Fotográfica segue cumprindo um de seus objetivos, o de abordar todos os usos e funções da fotografia brasileira, expandindo seu acervo e possibilitando a seus leitores o acesso a um número cada vez maior de imagens. Seus outros parceiros são o Arquivo Geral da Cidade do Rio de Janeiro, o Arquivo Nacional, a Casa de Oswaldo Cruz / Fiocruz, a Diretoria do Patrimônio Histórico e Documentação da Marinha, a Fundação Joaquim Nabuco, o Leibniz-Institut fuer Laenderkunde, o Museu Histórico Nacional e o Museu da República, além do Instituto Moreira Salles e da Fundação Biblioteca Nacional, fundadores da Brasiliana Fotográfica.
+ 
+Aeronave em voo, 18 de dezembro de 1940 / Acervo Musal
+ 
+Acessando o link para as fotografias do acervo do Museu Aerospacial disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Correio Aéreo Militar e os registros de um “Brasil Distante”
+ Jefferson Eduardo dos Santos Machado*
+ 
+No acervo do Arquivo Histórico do Museu Aeroespacial (Musal) encontramos vários álbuns que possuem imagens aéreas das décadas de 1920, 1930 e 1940. Estas fotografias estão ligadas, inicialmente, ao curso de Pilotos e Observadores, que eram ministrados na Escola de Aviação Militar e depois Escola de Aeronáutica. Em relação a seu uso na Aeronáutica, a fotografia aérea possibilitava obter subsídios seguros sobre campos e sobre rotas em geral, ajudando a determinar onde seriam instaladas novas bases de unidades aéreas e a observar eventuais atividades de forças oponentes. Sendo assim, tornavam-se importantes, pois propiciavam o conhecimento, tanto para defesa quanto para o ataque, das bases, de instalações orgânicas e energéticas vitais e de equipamentos aéreos importantes para o poderio inimigo.
+Inicialmente, a Escola de Aviação Militar treinava seus profissionais em uma área pré-determinada pelos instrutores da Missão Francesa de Aviação, chamada cilindro. Esta extensão possuía cerca de 10 quilômetros de diâmetro em torno do Campo dos Afonsos. Apesar de já ter havido alguns reides aéreos, esta norma só foi extinta em 12 de junho de 1931. Este fato deu-se devido à inadequação de tal prática à realidade brasileira, por ser um país com uma grande extensão. Com o intuito de terminar com esta limitação, criou-se o Grupo Misto de Aviação que, de certa forma, foi a primeira unidade de combate aéreo do Brasil. Dentro da estrutura deste grupo foi inserida a Esquadrilha de Treinamento, para onde eram alocados os pilotos recém-saídos da Escola de Aviação Militar. Nesse grupamento estavam as aeronaves que possuíam maior autonomia de voo.
+No mesmo dia 12 de junho de 1931, os tenentes Casimiro Montenegro Filho (1904 – 2000) e Nelson Freire Lavenère-Wanderley (1909 – 1985) realizaram o primeiro voo do Correio Aéreo Militar. Saíram do Rio de Janeiro com destino a São Paulo, em uma viagem que durou cinco horas e vinte cinco minutos, a bordo de uma aeronave Curtiss Fledgling, matrícula K 263. Esta empreitada fez toda a diferença para a Arma da Aviação, criada em 1927. Com o objetivo de criar novas rotas de correio, a fim de integrar o país e construir novas pistas de voo e unidades da Aviação Militar, os pilotos passaram a voar por todo o Brasil em missões que eram verdadeiras aventuras.
+Após sua primeira viagem, o Correio Aéreo Militar, entre os anos de 1931 e 1939, criou rotas que passavam por várias cidades brasileiras tais como Abaeté, Alegrete, Baião, Barra, Belém, Belo Horizonte, Campanário, Carinhanha, Chique-Chique, Conceição do Araguaia, Corinto, Cruz Alta, Curitiba, Curvelo, Fortaleza, Foz do Iguaçu, Goiás, Guaíra, Guarapuava, Iguatu, Ilhéus, Januarinha, Londrina, Mossoró, Natal, Oiapoque, Petrolina, Pirapora, Porto Alegre, Recife, Remanso, Rio Branco, Santa Maria, Santiago do Boqueirão, Santo Ângelo, São Luiz, São Matheus, São Paulo, São Salvador, Teófilo Otoni, Terezina e Uruguaiana. Posteriormente, duas rotas chegaram a países vizinhos, uma que para Concepción, no Paraguai; e outra que chegava a Caiena, na Guiana Francesa. Estes nomes de cidades demonstram quão importante foi a iniciativa da criação do Correio Aéreo para um encurtamento das distâncias que dificultavam o desenvolvimento de várias regiões brasileiras. Com a criação do  Ministério da Aeronáutica, em 20 de janeiro de 1941, o Correio Aéreo Militar juntou-se ao Correio Aéreo Naval, criado pela Marinha, em 1934, formando um novo órgão que passou a ser chamado de Correio Aéreo Nacional.
+Uma das grandes rotas foi a Rio de Janeiro – Fortaleza, que seguia pelo Vale do São Francisco. Ela teve início em 1934 e enveredou pelo interior do nordeste criando várias pistas de pouso e possibilitando uma maior comunicação com as cidades mais importantes do país. Esta rota era formada pelas cidades de Belo Horizonte, Curvelo, Corinto, Pirapora, Januarinha, Carinhanha, Rio Branco, Barra, Chique-Chique, Remanso, Petrolina, Juazeiro e Iguatu. Em nosso Arquivo temos imagens de várias destas rotas do CAM. Porém, uma das  mais bem documentadas é esta que ia da Cidade Maravilhosa até a Terra de Iracema.
+Acessando o link para as fotografias da rota Rio de Janeiro – Fortaleza do Correio Aéreo Nacional disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Vista aérea de Fortaleza, 29 de março de 1934. Fortaleza, Ceará / Acervo Musal
+ 
+Vista aérea da construção do hangar no campo de aviação de Fortaleza, 24 de abril de 1937. Fortaleza, Ceará / Acervo Musal
+ 
+Vista Aérea Campo de Rio Branco, 10 de maio de 1937. Rio Branco, Acre / Acervo Musal
+ 
+Vista aérea do Campo de Remanso, 10 de maio de 1937. Remanso, Bahia / Acervo Musal
+ 
+Vista aérea do Campo de Quixadá, 10 de maio de 1937. Quixadá, Ceará / Acervo Musal
+ 
+Vista aérea de Belo Horizonte, 11 de maio de 1937. Belo Horizonte, Minas Gerais / Acervo Musal
+ 
+Vista Aérea de Petrolina, 10 de maio de 1937. Petrolina, Pernambuco / Acervo Musal
+ 
+Vista aérea de Iguatu, 10 de maio de 1937. Iguatu, Ceará / Acervo Musal 
+ 
+*Jefferson Eduardo dos Santos Machado é historiador do Musal
+ 
+Fontes:
+ARAGÃO, Isabel L.. O Correio Aéreo Militar (CAM): uma história de pioneirismo. Rev. UNIFA, Rio de Janeiro, v. 25, n. 31, p. , dez. 2012.
+DIAS, Fabiana Costa; MACHADO, Jefferson Eduardo dos Santos. As Transformações Arquitetônicas no Campo dos Afonsos no Período De 1930-1940: A Fotogrametria Como Fonte Para A História Da Arquitetura… In: Anais do 5º Seminário Ibero-americano Arquitetura e Documentação. Anais…Belo Horizonte(MG) UFMG, 2018. Disponível em: <https//www.even3.com.br/anais/arqdoc/71129-AS-TRANSFORMACOES-ARQUITETONICAS-NO-CAMPO-DOS-AFONSOS-NO-PERIODO-DE-1930-1940–A-FOTOGRAMETRIA-COMO-FONTE-PARA-A-H>. Acesso em: 14/11/2019 16:18
+INCAER. História Geral da Aeronáutica Brasileira. Rio de Janeiro/Belo Horizonte: INCAER/Itatiaia, 1988, vol.1 e 1990, vol.2
+WANDERLEY, Nelson Freire Lavenére. História da Força Aérea Brasileira. MAER, 1975.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/7449` — `itens/20.500.12156.1_7449/`
+- `20.500.12156.1/7072` — `itens/20.500.12156.1_7072/`
+- `20.500.12156.1/7296` — `itens/20.500.12156.1_7296/`
+- `20.500.12156.1/7329` — `itens/20.500.12156.1_7329/`
+- `20.500.12156.1/7293` — `itens/20.500.12156.1_7293/`
+- `20.500.12156.1/7320` — `itens/20.500.12156.1_7320/`
+- `20.500.12156.1/7316` — `itens/20.500.12156.1_7316/`
+- `20.500.12156.1/7317` — `itens/20.500.12156.1_7317/`
+- `20.500.12156.1/7518` — `itens/20.500.12156.1_7518/`
+- `20.500.12156.1/7534` — `itens/20.500.12156.1_7534/`
+
diff --git a/wordpress/17506-pelas-fronteiras-do-brasil.md b/wordpress/17506-pelas-fronteiras-do-brasil.md
new file mode 100644
index 0000000..676cc90
--- /dev/null
+++ b/wordpress/17506-pelas-fronteiras-do-brasil.md
@@ -0,0 +1,113 @@
+---
+id: 17506
+url: "https://brasilianafotografica.bn.gov.br/?p=17506"
+titulo: "Pelas fronteiras do Brasil"
+autor: "Andrea Wanderley"
+data: "2019-12-20T12:36:03+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/7434", "20.500.12156.1/7389", "20.500.12156.1/7380", "20.500.12156.1/7435", "20.500.12156.1/7404", "20.500.12156.1/7397", "20.500.12156.1/7390", "20.500.12156.1/7427", "20.500.12156.1/7441", "20.500.12156.1/7394", "20.500.12156.1/7381"]
+fetched_at: "2026-09-10T10:00:38.921Z"
+---
+
+# Pelas fronteiras do Brasil
+
+Durante o governo do presidente do Brasil Washington Luís foi criado o Serviço de Inspeção de Fronteiras para vigiar e nacionalizar as fronteiras. Para chefiá-lo foi nomeado o general Cândido Mariano da Silva Rondon. Foram visitadas as fronteiras do Oiapoque, girando para oeste e para o sul através das fronteiras da Guiana Francesa, Guiana, Suriname, Venezuela, Colômbia, Peru, Bolívia, Paraguai e Argentina e Uruguai. É sobre essa história o artigo que Maria Elizabeth Brêa Monteiro, pesquisadora do Arquivo Nacional, uma das instituições parceiras do portal, escreveu para a Brasiliana Fotográfica. Além do texto, foram disponibilizadas fotografias de um álbum produzido durante a Campanha de 1929-1930 da Inspeção de Fronteiras. São de autoria de Benjamin Rondon, engenheiro-topógrafo e filho de Rondon, e do fotógrafo e cinegrafista José Louro.
+ 
+Comissão de Inspeção de Fronteiras. Campanha 1929-1930 / Acervo Arquivo Nacional
+ 
+ 
+Pelas fronteiras do Brasil
+Maria Elizabeth Brêa Monteiro*
+ 
+“Nenhum córrego ou morro à tua vista escapa,
+Nem salto ou corredeira, ou charco ou terrapleno.
+E o Brasil que Rio Branco ampliou sobre o mapa,
+Vais, milha a milha, demarcando no terreno.”
+(Ode em louvor de Rondon, de Bastos Tigre)
+ 
+Desde o final do século XIX a soberania e a preservação do espaço nacional ensejavam preocupação dos dirigentes da recém-instalada República. Ao mesmo tempo que as vastas dimensões territoriais do país constituíam um valor positivo, a necessidade de integração de regiões afastadas situadas em faixas de fronteira deram origem a projetos de controle e reconhecimento territorial.
+Os trabalhos da Comissão de Linhas Telegráficas e Estratégicas de Mato Grosso ao Amazonas, iniciados nos anos de 1890, já contemplavam objetivos de estabelecer comunicação entre o sertão e os centros urbanos e introduzir à dinâmica espacial do país áreas a noroeste e domínio sobre zonas de fronteira. A Comissão revestia-se de um caráter estratégico “não só como fator de desenvolvimento, mas também como motor para a ocupação da região, incentivando a migração, e para a garantia da defesa das fronteiras brasileiras, ‘nacionalizando’ os povos indígenas.” (Moreira Neto, 2005: 83)
+Acessando o link para as fotografias do álbum referente à Campanha de 1929-1930 da Inspeção de Fronteiras disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+Nesse contexto, foi criado em 1927, diretamente subordinado ao Estado Maior do Exército, o Serviço de Inspeção de Fronteiras, que tinha a atribuição de proceder à vigilância e à nacionalização das fronteiras. Para essa missão de inspecionar mais de 10 mil quilômetros de limites, desde a Guiana Francesa ao Uruguai, o ministro da Guerra, atendendo determinação do presidente Washington Luís para que fossem realizadas as inspeções das fronteiras do Brasil até o final de seu governo, com o objetivo de estudar as condições de seu povoamento e segurança, nomeou o general Cândido Mariano da Silva Rondon, que mobilizou antigos companheiros de jornadas pelo “hinterland” como Boanerges Lopes de Sousa, Amílcar Botelho de Magalhães, João Barbosa de Faria e Luiz Thomaz Reis.
+O objetivo de sua criação foi, então, proceder ao exame das fronteiras brasileiras do ponto de vista geográfico, econômico e militar. Foram visitadas as fronteiras do Oiapoque, girando para oeste e para o sul através das fronteiras da Guiana Francesa, Guiana, Suriname, Venezuela, Colômbia, Peru, Bolívia, Paraguai e Argentina e Uruguai.
+ 
+Benjamin Rondon. Comissão de Inspeção de Fronteiras. Tabatinga, placa de inspeção de fronteiras, 26 de fevereiro de 1930. Tabatinga, entre Amazonas e Colômbia / Acervo Arquivo Nacional
+ 
+Rondon, em discurso proferido no Pará em setembro de 1928, salienta sua visão quanto ao papel da Comissão de Inspeção de Fronteiras:
+“(…) tornar conhecidas as nossas terras, firmando a geografia territorial; e as possibilidades econômicas e de colonização, ao mesmo tempo que fornece ao estado-maior do exercito os elementos de que carece para a defesa nacional.” (O Paiz, 5.09.1928.)
+A Comissão de Inspeção de Fronteiras era organizada com um Estado-Maior, um ajudante de ordem, serviço cinematográfico, serviço radiotelegráfico, serviço sanitário, serviço telefotográfico, serviço de trabalhos censitários dos povos indígenas, serviço de geologia e serviço de botânica, que envolviam professores e pesquisadores do Museu Nacional para onde foram encaminhadas peças arqueológicas e de cultura material indígena, itens da flora e fauna e outros artigos. Distribuída em várias turmas, procederam ao levantamento dos rios, dos marcos de fronteiras, das fortificações, das linhas fronteiriças, recensearam as populações encontradas, contataram diversos povos indígenas, visitaram empreendimentos econômicos e produziram vasta documentação.
+Em 1927, durante a primeira campanha de inspeção das fronteiras com a Venezuela, Colômbia e Guianas Francesa e Inglesa, Rondon fez uso de todos os meios de transporte numa viagem ininterrupta de 257 dias, na primeira fase dos trabalhos que percorreu 10.702 km por via marítima e fluvial; 1.801 km a cavalo, 2.917 km em automóvel; 1.896 km em estrada de ferro, totalizando 18.316 km.
+A segunda campanha chefiada, primeiramente, por Boanerges Lopes de Sousa, que se estendeu de julho de 1928 a fevereiro de 1929, cobriu os estados do Amazonas e Pará, na divisa com Venezuela, Colômbia e Suriname. Percorreu os rios Negro, Içana, Urupês, Javari, Juruá, Breu, Purus, Acre, Abunã, Japurá, Trombetas e Cuminá, alcançando a fronteira com o Suriname.
+Em setembro de 1929, teve início a terceira campanha que, saindo do Rio de Janeiro, seguiu até Cuiabá passando pela ilha do Bananal, em direção a Belém e Manaus. Nessa última expedição, Rondon vai ao Acre, Rondônia e Mato Grosso, verifica as fronteiras com o Paraguai no rio Apa, desce o rio Paraná, visita o salto de Sete Quedas e Foz do Iguaçu, chegando à fronteira da Argentina pela ponte internacional sobre o rio Peperiguaçu. (Lasmar, 2008) De acordo com reportagem do Jornal do Brasil de 9 de agosto de 1938, nesta última etapa, seu esforço foi insuperável, pois tendo partido de automóvel com destino a Registo do Araguaia, alcançava Marcelino Ramos, na fronteira de Santa Catarina com o Rio Grande, a 3 de outubro de 1930.
+ 
+Benjamin Rondon. Comissão de Inspeção de Fronteiras. Vila Epitácio, no pontal do Acre com o Igarapé da Bahia, março de 1930. Rio Acre, fronteira com a Bolívia / Acervo Arquivo Nacional
+ 
+Ao longo dessa última expedição pela Inspeção de Fronteiras, visitou diferentes áreas indígenas, destacamentos e quartéis militares e empreendimentos econômicos, como as instalações da Fundação Ford, da Guaporé Rubber Company e da Companhia Mate Laranjeira. Refez marcos de limites e reavivou outros, passou por ruínas de antigas fortificações como os fortes Príncipe da Beira e Coimbra, na fronteira entre Bolívia e o estado do Mato Grosso, e de velhas igrejas como a de Santo Antonio dos Militares ou a da povoação de Casalvasco, na região do Guaporé, Mato Grosso.
+ 
+O tema O “descobrimento” do Forte do Príncipe da Beira apresenta uma imagem desse forte, datada de 1913, na qual os retratados se apresentam, 17 anos depois, praticamente com a mesma disposição da imagem deste álbum. Benjamin Rondon. Comissão de Inspeção de Fronteiras. Entrada principal do Forte Príncipe da Beira, 24 de abril de 1930. Rio Guaporé, fronteira de Mato Grosso com Bolívia / Acervo Arquivo Nacional
+ 
+As atividades da Comissão de Inspeção de Fronteiras foram interrompidas com a Revolução de 1930 e a detenção de Rondon no Rio Grande do Sul. Na ocasião, o general Juarez Távora, comandante do movimento revolucionário e responsável pelo Ministério da Viação e Obras Públicas do governo provisório, fez declarações detratoras sobre os trabalhos realizados por Rondon, em contraste, por exemplo, com o ex-presidente dos Estados Unidos, Theodore Roosevelt, que, ao longo de uma célebre expedição científica pela Amazônia empreendida nos anos 1913-1914, reconhecia seu pioneirismo e afinco na instalação de linhas de comunicação pelo interior mais interno do Brasil. As declarações do general Távora levaram Rondon a pedir sua reforma do Exército. Em seu diário escreve:
+“Enxovalhado na minha honra de soldado e homem público por um dos chefes da Revolução, com mais de anos de contínuos trabalhos no interior do paiz, 49 de serviço militar, já no fim de minha carreira pública, peço minha reforma de acordo com a Lei.”
+Por solicitação do chefe do Estado Maior do Exército e do ministro, reconsiderou seu pedido de reforma. Sobre a declaração de Juarez Távora, Getulio Vargas teria dito: “É a opinião de um homem, mas não é da Nação”.
+Alguns autores mencionam a atenção que Rondon sempre devotou à divulgação dos trabalhos sobre seu comando e das conquistas por ele alcançadas. Com frequência concedia entrevistas a jornais, fazia conferências e participava de encontros em institutos de estudos. Importantes jornais com O Paiz, Jornal do Commercio, Jornal do Brasil, por exemplo, divulgavam os trabalhos do “eminente desbravador dos nossos sertões”, como se refere Loureiro Sobrinho em entrevista publicada em 2 de junho de 1927 em O Paiz. Mas essa atenção se fez mais concreta na produção e arranjo de copiosa documentação que Rondon e seus colaboradores empreenderam. De acordo com Fernando Tacca, “os álbuns, os artigos publicados nos principais jornais do país e principalmente as apresentações dos filmes seguidas de conferências, funcionavam como uma espécie de marketing pessoal e uma forma de persuasão para a continuidade das atividades da comissão.” (2011: 206)
+ 
+Benjamin Rondon. Comissão de Inspeção de Fronteiras. Cândido Rondon no marco de madeira dos Quatro Irmãos, 21 de junho de 1930. Fronteira de Mato Grosso com a Bolívia / Acervo Arquivo Nacional
+ 
+Desde a Comissão de Linhas Estratégicas havia um cuidado com a organização e preservação dos registros das atividades levadas a efeito. A publicação de relatórios, álbuns fotográficos, entre outros elementos, revela a importância e a intenção em preservar a memória dessas iniciativas e também dar visibilidade às ações por vezes revestidas de uma tenacidade, característica atribuída, com frequência, a Rondon.
+Em seu livro A Nação por um fio, Laura Antunes Maciel menciona, a respeito das imagens produzidas durante as expedições lideradas por Rondon, a dificuldade de dissociá-las das atividades às quais Rondon esteve vinculado desde a Comissão de Linhas Telegráficas, o Serviço de Proteção aos Índios-SPI, até a Comissão de Inspeção de Fronteiras, no período de 1890 a 1930. Fotógrafos, cinegrafistas, companheiros do exército com frequência integravam-se às diferentes missões ele consagradas. Esse amálgama entre a Comissão Rondon e a Comissão de Inspeção de Fronteiras, por exemplo, se fez sentir até mesmo nas instalações físicas. Alojada numa sala do Instituto Benjamin Constant, no Rio de Janeiro, onde funcionou o escritório central da Comissão Rondon, a Inspetoria de Fronteiras herdou o arquivo e toda a infraestrutura dessa Comissão, utilizando-se, assim, dos serviços cartográficos e topográficos que tornaram possível a organização das cartas das regiões de fronteiras.
+ 
+Benjamin Rondon. Comissão de Inspeção de Fronteiras. Cidade de Mato Grosso. Ruínas do quartel, da fundição de ouro e do palácio dos Capitães Generais, 31 de maio de 1930. Rio Guaporé, fronteira do Mato Grosso com a Bolívia / Acervo Arquivo Nacional
+ 
+Os álbuns seguem um padrão temático, privilegiando imagens dos grupos de trabalho, dos grupos étnicos, aspectos das vilas e cidades percorridas, prédios públicos, dos meios de transporte, de marcos de demarcação de limites e antigas construções. Apresentam também uma grande quantidade de imagens privilegiando a paisagem e aspectos geográficos que confirmam a intenção de se avaliar a natureza da região que deve servir para o reconhecimento das fronteiras brasileiras, assim como as áreas que devem receber intervenção do Estado. (Rodrigues, 2017)
+ 
+Benjamin Rondon. Comissão de Inspeção de Fronteiras. Inspeção do local da baliza inicial da picada Tabatinga-Apaporis, 1929/1930. Rio Solimões, fronteira do Amazonas com a Colômbia / Acervo Arquivo Nacional
+ 
+Benjamin Rondon. Comissão de Inspeção de Fronteiras. Cidade do Rio Branco, panorama abrangendo ambas as margens do rio, 1929/1930. Acre / Acervo Arquivo Nacional
+ 
+José Louro. Comissão de Inspeção de Fronteiras. Panorama do Salto de Santa Maria no rio Iguaçu, antiga fundação dos jesuítas, 1929/1930. Rio Iguaçu, fronteira do Paraná com a Argentina / Acervo Arquivo Nacional
+ 
+É importante frisar que as fotografias não tinham a função de ilustrar ou divulgar paisagens pitorescas e exóticas. Constituíam parcela significativa do processo de construção de um ideal de nação, de expansão de valores e visões.
+Logo cedo Rondon percebeu o alcance político que continham os registros fotográficos e cinematográficos. As viagens empreendidas pela Inspetoria de Fronteiras geraram álbuns, filmes e publicações. A terceira campanha, objeto do álbum ora apresentado, está editada, em sua maior parte, no filme “Ao Redor do Brasil – Aspectos do Interior e das Fronteiras Brasileiras”, de 1932, e nas películas “Posto Alves de Barros” (1930), “Mato Grosso e Paraná” (1931). As imagens realizadas nessa expedição também estão publicadas no livro Índios do Brasil, volumes 1 e 3. (Lasmar, 2008)
+Este álbum referente à Campanha de 1929-1930 da Inspeção de Fronteiras parece ter sido elaborado a pedido do inspetor Cândido Rondon para o então chefe do Governo Provisório, Getulio Vargas. Ainda que, ao longo das expedições realizadas por Rondon como inspetor de fronteiras, sejam numerosos os registros de povos indígenas, neste volume as imagens se concentram nas ações de reconhecimento do território e de fixação de limites, visando formar “uma consciência geográfica da nação, criando os instrumentos para ordenação e controle e para a defesa da soberania brasileira face aos países limítrofes”. (Maciel, 1998:189)
+As imagens selecionadas mostram o sertão como uma região promissora que abriga empreendimentos econômicos e obras de engenharia e também revisitam áreas históricas de relevância para a constituição territorial do país. As fotografias de Vila Bela, primeira sede da capitania de Mato Grosso, as ruínas do Forte Príncipe da Beira, construído no século XVIII para assegurar o domínio português sobre as minas do Guaporé, os registros do Palácio dos Capitães Generais, residência dos governadores dessa capitania, sugerem uma refundação dos limites do Brasil por essa Comissão. Cabe registrar ainda as menções a Ricardo Franco de Almeida Serra, importante engenheiro militar no levantamento das fronteiras do Brasil e fundador do Forte Coimbra, do também militar Hermenegildo Porto Carrero (barão do Forte de Coimbra) e do pintor e desenhista Amado Adriano Taunay, que esteve na região do Mato Grosso como integrante da expedição Langsdorff documentando os mais variados aspectos de sua natureza e sociedade, constituindo um relevante inventário do Brasil.
+ 
+Benjamin Rondon. Comissão de Inspeção de Fronteiras. Cidade de Mato Grosso, antiga Vila Bela. Rua do Fogo e praça da Sé, 31 de maio de 1930, Rio Guaporé, fronteira do Mato Grosso com a Bolívia/ Acervo Arquivo Nacional
+ 
+ 
+José Louro. Comissão de Inspeção de Fronteiras. Forte Coimbra, 1929/1930. Rio Paraguai, Mato Grosso, fronteira de Bolívia e Paraguai / Acervo Arquivo Nacional
+ 
+Assinam as fotografias Benjamin Rondon, engenheiro-topógrafo e filho de Rondon, e José Louro, fotógrafo e cinegrafista experiente, que, a serviço do SPI, documentou contatos com os grupos indígenas da região do Amazonas, além de ter participado das campanhas da Inspeção de Fronteiras juntamente com o major Thomaz Reis.
+As 92 imagens das atividades de Inspeção de Fronteiras estão reproduzidas em 80 pranchas em papel fotográfico, compondo este volume de esmerada encadernação em couro e revestimento em papel kraft marmorizado com guardas e espelhos em tecido tafetá, elaborada pela empresa Drux & Filho, especializada em marroquinaria, instalada à rua Uruguaiana, no centro do Rio de Janeiro.
+ 
+* Maria Elizabeth Brêa Monteiro é Mestre em História (UERJ) | Pesquisadora do Arquivo Nacional
+ 
+Fontes:
+BIGGIO, Elias dos Santos. Cândido Rondon: a integração nacional. Rio de Janeiro: Contraponto, Petrobras, 2000.
+LASMAR, Denise Portugal. O acervo imagético da Comissão Rondon no Museu do Índio 1890-1938. Rio de Janeiro: Museu do Índio, 2008.
+LOUREIRO SOBRINHO. As fronteiras do Brasil. O Paiz, 02.05.1927. Disponível em: <https://bndigital.bn.gov.br/hemeroteca-digital/>. Acesso em: 04 jul. 2019.
+MACIEL, Laura Antunes. A nação por um fio: caminhos, práticas e imagens da “Comissão Rondon”. São Paulo: EDUC, 1998.
+MAGALHÃES, Amilcar A. Botelho de. Pelos sertões do Brasil. 2.ed.Rio de Janeiro: Companhia Editora Nacional, 1941.
+MOREIRA NETO, Carlos de Araujo. Índios e fronteiras. Revista de Estudos e Pesquisas, FUNAI, Brasília, v.2, n.2, p. 79-87, dez. 2005.
+O Paiz, 5.09.1928. Disponível em: <https://bndigital.bn.gov.br/hemeroteca-digital/>. Acesso em: 4 jul. 2019.
+PAIVA, Mário Garcia de (org.). A grande aventura de Rondon. Rio de Janeiro: INL, 1971.
+RODRIGUES, F. da S. Marechal Rondon e a trajetória de um militar sertanista na Primeira República brasileira. Atores e Trajetórias do campo indigenista nas Américas. Estudos ibero-americanos, Porto Alegre, v. 43, n. 1, p. 122-134, jan./abr. 2017.
+RODRIGUES, Fernando da Silva e Arias Neto, José Miguel. Fotografia, história e poder: investigando os alguns da Comissão de Inspeção de Fronteiras (1927-1930). In: Rodrigues, Fernando da
+SILVA E ARIAS NETO, José Miguel (org.). História militar: entre o debate local e o nacional. Série Estudos Reunidos, v. 51, Paco Editorial, 2019. Acesso em 30 maio 2019.
+TACCA, Fernando de. O índio na fotografia brasileira: incursões sobre a imagem e o meio. História, Ciências, Saúde – Manguinhos, Rio de Janeiro, v.18, n.1, jan.-mar. 2011, p.191-223.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/7434` — `itens/20.500.12156.1_7434/`
+- `20.500.12156.1/7389` — `itens/20.500.12156.1_7389/`
+- `20.500.12156.1/7380` — `itens/20.500.12156.1_7380/`
+- `20.500.12156.1/7435` — `itens/20.500.12156.1_7435/`
+- `20.500.12156.1/7404` — `itens/20.500.12156.1_7404/`
+- `20.500.12156.1/7397` — `itens/20.500.12156.1_7397/`
+- `20.500.12156.1/7390` — `itens/20.500.12156.1_7390/`
+- `20.500.12156.1/7427` — `itens/20.500.12156.1_7427/`
+- `20.500.12156.1/7441` — `itens/20.500.12156.1_7441/`
+- `20.500.12156.1/7394` — `itens/20.500.12156.1_7394/`
+- `20.500.12156.1/7381` — `itens/20.500.12156.1_7381/`
+
diff --git a/wordpress/17539-celebrando-o-fotografo-marc-ferrez-1843-1923.md b/wordpress/17539-celebrando-o-fotografo-marc-ferrez-1843-1923.md
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--- /dev/null
+++ b/wordpress/17539-celebrando-o-fotografo-marc-ferrez-1843-1923.md
@@ -0,0 +1,148 @@
+---
+id: 17539
+url: "https://brasilianafotografica.bn.gov.br/?p=17539"
+titulo: "Celebrando o fotógrafo Marc Ferrez (1843 – 1923)"
+autor: "Andrea Wanderley"
+data: "2019-12-04T15:11:45+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/2551", "20.500.12156.1/7035", "20.500.12156.1/4749", "20.500.12156.1/4405", "20.500.12156.1/6407", "20.500.12156.1/4740", "20.500.12156.1/2489", "20.500.12156.1/2575"]
+fetched_at: "2026-09-10T10:00:42.315Z"
+---
+
+# Celebrando o fotógrafo Marc Ferrez (1843 – 1923)
+
+Celebrando o aniversário de Marc Ferrez (7 de dezembro de 1843 – 12 de janeiro de 1923), a Brasiliana Fotográfica traz para seus leitores todos os artigos já publicados no portal sobre o fotógrafo e o Instituto Moreira Salles, uma de suas instituições fundadoras, inaugura a exposição “Marc Ferrez: território e imagem”, em sua sede carioca, no próximo dia 7. Lembramos que estão disponibilizados no nosso acervo os dois álbuns da Comissão Geológica do Império, com fotografias de autoria de Ferrez, que integrou a expedição, chefiada por Charles Frederick Hartt, entre 1875 e 1877. Os álbuns pertencem ao J. Paul Getty Museum, localizado em Los Angeles, nos Estados Unidos e estão em alta resolução devido ao Programa de Conteúdo Aberto do Getty. As fotografias dos álbuns foram expostas na seção de Obras Públicas da 4ª Exposição Nacional de 1875 e na Exposição Internacional da Filadélfia em 1876.
+Segundo Sérgio Burgi, coordenador de Fotografia do Instituto Moreira Salles, já com pleno domínio de sua virtuosidade técnica, Ferrez realizou para a comissão um primoroso trabalho documental e paisagístico:
+‘…Seu domínio da luz, sua precisão na escolha do ponto de vista, sempre buscam ressaltar os aspectos mais formais e abstratos da cena sendo registrada. É igualmente importante ressaltar que em diversas imagens realizadas por Ferrez, sempre o elemento humano participa de maneira discreta porém marcante, conferindo escala aos cenários naturais e urbanos, e principalmente nos convidando a percorrer a imagem em todas as suas dimensões…Os trabalhos realizados em Paulo Affonso, Pernambuco, Recôncavo Baiano, Abrolhos e sul da Bahia representam um grande esforço documental e registram, além dos aspectos mais claramente geológicos, paisagens naturais e vistas urbanas de grandes cidades e pequenas povoações daquelas regiões, além de elementos antropológicos e etnográficos, como a série dos índios botocudo… Essas imagens também foram utilizadas para ilustrar  a conferência do professor Charles Frederick Hartt durante a IV Exposição Nacional, no Rio de Janeiro… Da mesma maneira, diversas imagens fizeram parte da Exposição Universal da Filadélfia, EUA, em 1876, que contou com a presença de D. Pedro II…’
+ 
+Links para os álbuns da Comissão Geológica do Império, que pertencem ao J. Getty Museum e estão no site da instituição: Primeiro álbum e Segundo álbum
+Links para os pdfs dos álbuns da Comissão Geológica do Império, que pertencem ao J. Getty Museum:  Primeiro álbum e Segundo álbum
+ 
+Marc Ferrez. Charles F. Hartt, com a cidade do Recife ao fundo, durante levantamento da Comissão Geológica do Império, c. 1875. Recife, Pernambuco / Acervo IMS
+ 
+Um pouco da história da Comissão Geológica do Império (1875 – 1878), de seu chefe, Charles Frederick Hartt (1840 – 1878), e da participação de Marc Ferrez (1843 – 1923) como fotógrafo da expedição
+ 
+Revista Illustrada, 30 de março de 1878
+ 
+Em 1874, Charles Frederick Hartt (1840 – 1878), realizou uma expedição científica ao Brasil, durante a qual convenceu as autoridades brasileiras da importância da elaboração de um mapa geológico do Império. Antes, Hartt havia vindo ao Brasil quatro vezes. Pela primeira vez, como membro da Expedição Thayer, entre 1865 e 1866, financiada pelo empresário e filantropo norte-americano Nathaniel Thayer, Jr. (1808-1883) e chefiada por seu ex-professor no Museu de Zoologia Comparada, em Harvard, o suíço Louis Agassiz (1807 – 1873), quando ocupou-se sobretudo em fazer um mapeamento geológico da área do Rio de Janeiro até o norte da Bahia. Em 1867, já estabelecido como conferencista no Instituto Cooper, em Nova York, voltou ao Brasil, de maneira independente, e durante três meses examinou a costa entre Pernambuco e Rio, explorando mais particularmente as vizinhanças da Bahia e as ilhas e recifes do coral dos Abrolhos. Em 1868, tornou-se professor de História Natural no Vassar College e também da Universidade de Cornell. Em 1870 e em 1871, chefiou as Expedições Morgan ao Amazonas, financiadas pelo político norte-americano Edwin D. Morgan (1811- 1883) .
+Além de ter obtido sucesso em seu pleito junto ao Governo Imperial, Hartt conseguiu criar a Comissão Geológica do Império, pelo Aviso de 30 de abril de 1875. Como a comissão estaria ligada ao Ministério da Agricultura, o desenvolvimento das atividades agrícolas e mineradoras a partir do conhecimento que a geologia propiciaria foi um argumento decisivo para sua criação. Foi convidado para chefiá-la e foram nomeados como seus assistentes os geólogos Orville Adalbert Derby (1851 – 1915) e Richard Rathbun (1852-1918) – ambos da Universidade de Cornell -, que chegaram ao Brasil em fins de 1875; John Casper Branner (1850-1922), do Departamento de Botânica e Geologia da Universidade de Indiana; e os brasileiros Elias Fausto Pacheco Jordão (1849 – 1901), que havia se doutorado em 1874 em engenharia civil na Universidade de Cornell, e Francisco José de Freitas, assistente geral e tradutor. Integraram, também, o corpo técnico da comissão os geólogos Luther Wagoner, substituto de Pacheco Jordão, em 1876, que foi posteriormente substituído por Frank Carpenter; o naturalista Herbert Huntington Smith (1851-1919), e o fotógrafo Marc Ferrez (1843-1923). Segundo Gilberto Ferrez, foi durante as viagens que fez com a Comissão Geológica que Marc Ferrez contraiu uma doença no fígado, da qual nunca se curou.
+ 
+Marc Ferrez. Jangadas, c. 1875. Nordeste do Brasil / Acervo IMS
+ 
+A Comissão, criada em abril de 1875, iniciou seus trabalhos ativos em 10 de junho de 1875 e percorreu os atuais estados de Alagoas, Bahia, Fernando de Noronha, Paraná, Pernambuco, Rio Grande do Norte, São Paulo, Santa Catarina, Sergipe, e parte da região amazônica nessa importante missão científica realizada no Brasil sob os auspícios do governo imperial, que gerou a primeira grande representação fotográfica de diversas regiões do território brasileiro (Illustração Brasileira, 1º de agosto de 1876). O governo decretou o fim da Comissão em 1º de julho de 1877 (Diário do Rio de Janeiro, 7 de julho de 1877, quarta coluna). Segundo Rathbun, o fato aconteceu devido a motivos econômicos e a discordâncias em torno do volume e do valor do trabalho realizado até ali pela comissão. Porém Hartt conseguiu seis meses de prorrogação nos trabalhos. No início de janeiro de 1878, com a formação do novo gabinete liberal, sob o comando do primeiro-ministro João Lins Vieira de Cansanção, o visconde de Sininbu (1810 – 1906), que também era ministro da Agricultura, sua extinção foi efetivada. Segundo Hartt, em junho de 1877,  as coleções zoológicas, geológicas e etnográficas feitas pela Comissão Geológica possuíam cerca de 500 mil espécimes.
+Hartt foi contratado como naturalista-viajante do Museu Nacional do Rio de Janeiro, por volta de 1874. Em 1876, assumiu a Seção de Geologia, criada pela reforma do botânico Lasdilau de Souza Mello Netto (1838 – 1894), e reorganizou as coleções e preparou a mostra mineralógica brasileira apresentada na Exposição Universal de Filadélfia de 1876. Faleceu em 18 de março de 1878, um domingo, no Rio de Janeiro, de febre amarela, em sua casa no número 44 da rua da Princesa, atual Correia Dutra, no Flamengo (O Vulgarizador, 15 de maio de 1878) . Os professores e demais funcionários do Museu Nacional deliberaram tomar luto por oito dias (Gazeta de Notícias, 19 de março de 1878, segunda e penúltima coluna, Jornal do Commercio, 19 de março de 1878, quarta coluna; Revista Illustrada, 30 de março de 1878; e O Vulgarizador, 15 de maio de 1878). Morreu sem sua família porque  sua mulher, Lucy Lynde Hartt, com quem havia se casado em 1869, havia voltado com os dois filhos do casal, Mary and Rollin, para Buffalo, nos Estados Unidos, em dezembro de 1876  – não suportou os períodos de solidão, os mosquitos, as doenças e os desconfortos do Rio de Janeiro. Quando partiu do Brasil, ela estava grávida de gêmeos mas a gravidez não se completou, o que trouxe grande tristeza para o casal. Hartt foi enterrado no cemitério de São Francisco Xavier mas, a pedido de sua esposa, seu corpo foi transladado para os Estados Unidos, em 1883.
+Suas coleções foram colocadas sob a guarda do Museu Nacional do Rio de Janeiro, única instituição da época capaz de receber intelectual e fisicamente todo o trabalho da Comissão Geológica.
+Acessando o link para as fotografias de Marc Ferrez realizadas para a Comissão Geológica do Império disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Breve cronologia da participação de Marc Ferrez nos trabalhos da Comissão Geológica do Império
+ 
+Marc Ferrez. Rua dos Coqueiros, c. 1875. Paraíba / Acervo IMS
+ 
+1875 – Ferrez começou a trabalhar como fotógrafo da Comissão Geológica do Império, chefiada pelo norte-americano Charles Frederick Hartt (1840 – 1878), que se tornaria diretor da Seção de Geologia do Museu Nacional em 1876. Percorreu os atuais estados de Alagoas, Bahia, Pernambuco e parte da região amazônica numa importante missão científica realizada no Brasil sob os auspícios do governo imperial, que gerou a primeira grande representação fotográfica de diversas regiões do território brasileiro.
+Marc Ferrez e outros membros da Comissão Geológica do Império embarcaram no paquete Parácom destino a Pernambuco (Jornal do Commercio, 10 de julho de 1875, na segunda coluna). Ele, Elias Fausto Pacheco Jordão, Francisco José de Freitas e Charles Frederick Hartt, todos membros da Comissão, agradeceram, publicamente, ao “digno comissário” J. Feliciano Gomes, que os recebeu no navio (Jornal do Recife, 26 de julho de 1875, na quarta coluna).
+Foi publicado o relatório preliminar dos trabalhos da Comissão Geológica na província de Pernambuco, de autoria de Hartt. Ferrez foi mencionado (Diário de Pernambuco, 25 de novembro de 1875, na primeira coluna).
+As fotografias produzidas por Marc Ferrez para a Comissão Geológica, mostradas durante uma visita do governador, do chefe da Polícia e do Diretor de Obras de Pernambuco na residência de Hartt no Recife, foram muito elogiadas: “Rara vez um fotógrafo é tão feliz na reprodução dos quadros naturais como o Sr. Ferrez o foi neste trabalho, do qual com justiça se deve se regozijar” (Diário do Rio de Janeiro, 30 de novembro de 1875, segunda coluna).
+ 
+Diário do Rio de Janeiro, 30 de novembro de 1875
+ 
+Na residência do inspetor do arsenal de Marinha, em Recife, o chefe da Comissão Geológica do Império, Charles Frederick Hartt, fez uma conferência sobre os arrecifes e outros aspectos de Pernambuco como o cabo de Santo Agostinho, praias, o rio São Francisco e a cachoeira de Paulo Afonso, ilustrados com fotografias de Marc Ferrez (Diário do Rio de Janeiro, 2 de dezembro de 1875, nas quinta e sexta coluna, sob o título “Norte do Império”).
+Ferrez  apresentou na seção de Obras Públicas da IV Exposição Nacional, dois álbuns com imagens dos recifes de Pernambuco, do baixo São Francisco e da cachoeira de Paulo Afonso, além de registros de corais e madrepérolas. As imagens produzidas durante a viagem da Comissão Geológica foram projetadas por Ferrez durante uma conferência do professor Hartt (Diário do Rio de Janeiro, 27 e 28 dezembro de 1875, primeira coluna; O Globo, 4 de janeiro de 1876, na penúltima coluna, e Diário do Rio de Janeiro, 3 de fevereiro de 1876, quarta coluna).
+1876 -  Apresentou na Exposição Universal da Filadélfia, aberta em 10 de maio, panoramas do Rio de Janeiro e fotografias realizadas para a Comissão Geográfica do Império, que foram premiadas. Foram expostas no Photographic Exhibition Building, prédio projetado pelo arquiteto H.J. Schwarzmann (1846 – 1891) onde foram exibidas as fotografias do evento.
+ 
+Capa da segunda parte do Catálogo Oficial da Exposição Internacional da Filadélfia de 1876
+ 
+Na página 144 do catálogo, nomes dos fotógrafos do Brasil
+ 
+Photographic Exhibition Building, 1876 / Free Library of Philadelphia
+ 
+O New York Commercial Advertiser, de 29 de maio de 1876, publicou um artigo que informava que “riquíssimas fotografias da exploração geológica a cargo do professor Hartt” haviam sido apresentadas pelo Brasil na exposição. Uma curiosidade: a comissão de organização da Exposição da Filadéfia modificou as regras da premiação: os ganhadores receberiam um diploma, uma medalha de bronze e uma cópia certificada do parecer do júri, rompendo com o padrão de premiação hierárquica (Free Library of Philadelphia).
+ 
+
+ 
+Foi publicada uma fotografia de autoria de Ferrez da cachoeira de Paulo Afonso na Revista Ilustração Brasileira, 1º de agosto de 1876, acompanhada por um texto de Charles Frederick Hartt (1840 – 1878), chefe da Comissão Geológica do Império. Na mesma edição, publicação de matéria sobre a Comissão Geológica do Império.
+ 
+Revista Ilustração Brasileira, 1º de agosto de 1876
+ 
+Marc Ferrez. Cachoeira de Paulo Afonso, c. 1875. Bahia / Convênio Leibniz-Institut fuer Laenderkunde, Leipzig/ Instituto Moreira Salles
+ 
+Ferrez havia chegado do sul da Bahia com o geólogo Richard Rathbum, também ajudante da Comissão Geológica, com diversas fotografias dos índios botocudo, dentre outras (Revista Ilustração Brasileira, 1º de novembro de 1876, na última coluna). Essas teriam sido as primeiras imagens desses índios produzidas no Brasil (Palcos e Telas, 8 de abril de 1920). Botocudo foi um termo genérico utilizado pelos colonizadores portugueses para denominar diversos grupos indígenas integrantes do tronco macro-jê (grupo não tupi), caracterizados pelo uso de botoques labiais e auriculares, habitantes originais do sul da Bahia e região do vale do rio Doce, incluindo o norte do Espírito Santo e Minas Gerais. A série de fotografias de indígenas tirada por Marc Ferrez na Bahia, durante uma segunda etapa de viagens realizadas por ele para a Comissão Geológica do Império do Brasil, no final de 1876, compõe um conjunto de  registros fotográficos pioneiros e raros dessas tribos, que se mantiveram isoladas e resistentes ao contato com os brancos, sendo violentamente perseguidas e praticamente  dizimadas nas primeiras décadas do século XX.
+ 
+Marc Ferrez. Índia botocudo com criança, 1876. Bahia / Acervo IMS
+ 
+ 
+Marc Ferrez. Índio botocudo, 1876. Bahia / Acervo IMS
+ 
+1877 – Publicação da fotografia do farol da Barra da Bahia, de autoria de Marc Ferrez, na capa da Revista Ilustração Brasileira, 15 de janeiro de 1877.
+ 
+Revista Illustração Brasileira, 15 de janeiro de 1877
+ 
+Marc Ferrez. Forte e Farol de Santo Antônio da Barra, 1884. Salvador, Bahia / Acervo IMS
+ 
+O governo decretou o fim da Comissão em 1º de julho de 1877 e em janeiro do ano seguinte sua extinção foi efetivada.
+Publicação de uma matéria sobre o trabalhos da Comissão Geológica do Império e sobre o local onde estavam guardados e onde os membros da comissão cuidavam de sua classificação, estudo e do desenvolvimento, na rua da Constituição, nº 41, visitado pelo imperador Pedro II, no dia 27 de outubro. Foi mencionada a existência de um laboratório fotográfico, “grande e espaçoso…nele estão guardados algumas centenas de clichês , feitos no campo pelos Srs. Ferrez e Branner e no laboratório pelo Sr. Ratbunn (Rathbun), que hoje toma conta dessa parte do serviço da comissão” (O Vulgarizador, 3 de novembro de 1877). O imperador já havia visitado o local dos trabalhos da Comissão, em 30 de julho de 1877 (Diário do Rio de Janeiro, 31 de julho de 1877, segunda coluna).
+1878 – No Almanak Laemmert de 1878, Ferrez foi identificado como fotógrafo da Marinha Imperial e da Comissão Geológica. Seu estabelecimento ficava na rua São José, 88 com depósito na rua do Ouvidor, 55.
+Foi noticiada a morte de Charles Frederick Hartt, que havia sido o chefe da Comissão Geológica do Império. Ferrez foi mencionado (A Boa Nova, 24 de abril de 1878, na terceira coluna).
+1879 -  Em inglês, foram publicados anúncios das fotografias de Ferrez no jornal Rio News de 5 de agosto, de 15 de setembro, 15 de outubro, 5 de novembro, mencionando que ele havia recebido uma medalha na Exposição da Filadélfia e que havia sido fotógrafo da Comissão Geológica do Império. Os anúncios seguiram sendo publicados em 1880 e 1881.
+ 
+Publicações da Brasiliana Fotográfica em torno da obra do fotógrafo Marc Ferrez 
+ 
+Marc Ferrez aos 33 anos, c. 1876. Rio de Janeiro, RJ / Acervo IMS
+O Rio de Janeiro de Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 30 de junho de 2015
+Obras para o abastecimento no Rio de Janeiro por Marc Ferrez , de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 25 de janeiro de 2016
+O brilhante cronista visual Marc Ferrez (7/12/1843 – 12/01/1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 7 de dezembro de 2016
+Do natural ao construído: O Rio de Janeiro na fotografia de Marc Ferrez, de autoria de Sérgio Burgi, um dos curadores da Brasiliana Fotográfica, publicada em 19 de dezembro de 2016
+No primeiro dia da primavera, as cores de Marc Ferrez (1843 – 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 22 de setembro de 2017
+Marc Ferrez , a Comissão Geológica do Império (1875 – 1878) e a Exposição Antropológica Brasileira no Museu Nacional (1882), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica,  publicada em 29 de junho de 2018
+Série “O Rio de Janeiro desaparecido” V – O quiosque Chopp Berrante no Passeio Público, Ferrez, Malta e Charles Dunlop, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 20 de julho de 2018
+Uma homenagem aos 175 anos de Marc Ferrez (7 de dezembro de 1843 – 12 de janeiro de 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 7 de dezembro de 2018 
+Pereira Passos e Marc Ferrez: engenharia e fotografia para o desenvolvimento das ferrovias, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 5 de abril de 2019
+Fotografia e ciência: eclipse solar, Marc Ferrez e Albert Einstein, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 24 de junho de 2019
+Os 180 anos da invenção do daguerreótipo – Os álbuns da Comissão Geológica do Império com fotografias de Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 19 de agosto de 2019
+Uma homenagem da Casa Granado ao imperial sob as lentes de Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 7 de fevereiro de 2020
+Ressaca no Rio de Janeiro invade o porão da casa do fotógrafo Marc Ferrez, em 1913, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado 6 de março de 2020
+Petrópolis, a Cidade Imperial, pelos fotógrafos Marc Ferrez e Revert Henrique Klumb, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 16 de março de 2020
+Bambus, por Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 5 de junho de 2020
+O Baile da Ilha Fiscal: registro raro realizado por Marc Ferrez e retrato de Aurélio de Figueiredo diante de sua obra, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 9 de novembro de 2020
+O Palácio de Cristal fotografado por Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 2 de fevereiro de 2021
+A Estrada de Ferro do Paraná, de Paranaguá a Curitiba, pelos fotógrafos Arthur Wischral (1894 – 1982) e Marc Ferrez (1843 – 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 22 de março de 2021
+Dia dos Pais – Julio e Luciano, os filhos do fotógrafo Marc Ferrez, e outras famílias, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 6 de agosto de 2021
+No Dia da Árvore, mangueiras fotografadas por Ferrez e Leuzinger, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 21 de setembro de 2021
+Retratos de Pauline Caroline Lefebvre, sogra do fotógrafo Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 28 de abril de 2022
+A Serra dos Órgãos: uma foto aérea e imagens realizadas pelos mestres Ferrez, Leuzinger e Klumb, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 30 de junho de 2022
+O centenário da morte do fotógrafo Marc Ferrez (1843 – 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 12 de janeiro de 2023
+O Observatório Nacional pelas lentes de Marc Ferrez, amigo de vários cientistas, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 29 de maio de 2023
+No Dia Mundial do Meio Ambiente, a potente imagem da Cachoeira de Paulo Afonso, por Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 5 de junho de 2023
+A Fonte Adriano Ramos Pinto por Guilherme Santos e Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 18 de julho de 2023
+Os 180 anos de nascimento do fotógrafo Marc Ferrez (1843 – 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 7 de dezembro de 2023
+ 
+ 
+Andrea C. T. Wanderley
+
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+CASTRO, Danielle Ribeiro. Photographos da Casa Imperial: a Nobreza da Fotografia no Brasil do Século XIX, 2013
+CERON, Ileana Pradilla Ceron. Marc Ferrez – uma cronologia da vida e da obra. São Paulo : Instituto Moreira Salles, 2018.
+Charles F. Hartt e a Comissão Geológica do Império (Youtube)
+FREITAS, Marcus Vinícius. Hartt: expedições pelo Brasil Imperial 1870 – 1878, 2001. São Paulo : Metalivros
+
+Hemeroteca Digital da Biblioteca Nacional
+KOSSOY, Boris. Dicionário histórico-fotográfico brasileiro: fotógrafos e ofício da fotografia no Brasil (1833-1910). São Paulo: Instituto Moreira Salles, 2002.
+SANJAD, Nelson. Charles Frederick Hartt e a institucionalização das ciências naturais no Brasil, maio/agosto de 2004. Rio de Janeiro: História, Ciências, Saúde-Manguinhos, volume 11, nº2
+SCHWARCZ, Lilia Moritz. As barbas do Imperador: D. Pedro II, um monarca nos trópicos. São Paulo: Companhia das Letras, 1998.
+Serviços Geológicos nos trópicos: a experiência brasileira
+Site Free Library of Philadelphia
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/2551` — `itens/20.500.12156.1_2551/`
+- `20.500.12156.1/7035` — `itens/20.500.12156.1_7035/`
+- `20.500.12156.1/4749` — `itens/20.500.12156.1_4749/`
+- `20.500.12156.1/4405` — `itens/20.500.12156.1_4405/`
+- `20.500.12156.1/6407` — `itens/20.500.12156.1_6407/`
+- `20.500.12156.1/4740` — `itens/20.500.12156.1_4740/`
+- `20.500.12156.1/2489` — `itens/20.500.12156.1_2489/`
+- `20.500.12156.1/2575` — `itens/20.500.12156.1_2575/`
+
diff --git a/wordpress/17653-serie-carnavais-de-antigamente-iv-as-camelias-japonesas-no-carnaval-de-alagoas-p.md b/wordpress/17653-serie-carnavais-de-antigamente-iv-as-camelias-japonesas-no-carnaval-de-alagoas-p.md
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@@ -0,0 +1,313 @@
+---
+id: 17653
+url: "https://brasilianafotografica.bn.gov.br/?p=17653"
+titulo: "Série “Carnavais de antigamente” IV – As Camélias Japonesas no carnaval de Alagoas pelas lentes do fotógrafo amador Luiz Lavenère Wanderley (1868 – 1966)"
+autor: "Andrea Wanderley"
+data: "2020-02-21T10:45:27+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/5044", "20.500.12156.1/7947", "20.500.12156.1/7949", "20.500.12156.1/7948", "20.500.12156.1/5045"]
+fetched_at: "2026-09-10T10:00:45.866Z"
+---
+
+# Série “Carnavais de antigamente” IV – As Camélias Japonesas no carnaval de Alagoas pelas lentes do fotógrafo amador Luiz Lavenère Wanderley (1868 – 1966)
+
+A Brasiliana Fotográfica homenageia o carnaval brasileiro, que é o maior e mais conhecido do mundo e também a festa mais popular do país, destacando uma cena da folia momesca em Maceió, em 1906. É uma fotografia do bloco carnavalesco Camélias Japonezas, agremiação que nasceu na rua General Hermes, na Cambona, antigo bairro da capital alagoana. O registro foi realizado por Luiz Lavenère Wanderley (1868 – 1966), um dos pioneiros fotógrafos amadores de Alagoas, e mostra uma situação de carnaval de rua com pessoas – fantasiadas ou não – acompanhando o desfile, cuja figura central empunha o estandarte do bloco, onde, além do nome da agremiação, há a figura de uma gueisha. Vê-se também alguns membros da banda com instrumentos nas mãos. A fotografia pertence ao acervo do Arquivo Nacional, uma das instituições parceiras da Brasiliana Fotográfica.
+ 
+L. Lavenère. Lembrança de Maceió /[Um clube carnavalesco], 1906. Maceió, Alagoas /Acervo Arquivo Nacional
+Foi justamente nas primeiras décadas do século XX que Lavenère, estimulado pelos fotógrafos amadores Joaquim da Silva Costa e F. Porto, se dedicou mais consistentemente à fotografia, tendo sido listado como fotógrafo no Almanak Laemmert de 1906 e 1907.  Foi, muito provavelmente, o primeiro repórter fotográfico de Alagoas. Imagens de sua autoria foram publicadas em revistas como Mundo Elegante de Paris, O Malho e Tico-Tico. Um álbum com imagens de Maceió de sua autoria, impresso e encadernado pela Livraria Fonseca, foi ofertado, em maio de 1906, em nome do jornal Evolucionista, do qual era diretor, ao político Afonso Pena (1847 – 1909), meses antes dele se tornar presidente da República, em novembro do mesmo ano. Foi premiado com uma medalha de ouro na Exposição Internacional de Turim, na Itália, em 1911, quando exibiu fotografias sobre madeira, sobre porcelana e quadros de gênero. Nesse mesmo ano foram editados 24 cartões-postais de Maceió, de sua autoria. Em um artigo elogioso em torno da obra literária de Lavenère, publicado em 1926,  foi mencionado que ele teria sido um fotógrafo emérito e responsável por um processo prático, original, rápido e barato de preparo de “clichês” (Diário de Pernambuco, 2 de dezembro de 1926, quarta coluna).
+Personagem bastante atuante na vida social alagoana, Lavenère foi também jornalista, escritor, professor, político e musicólogo, além de ter sido um dos precursores do estudo do folclore de Alagoas. Participou da campanha abolicionista, trabalhou na Repartição Geral dos Telégrafos e durante a Primeira Guerra Mundial exerceu a função de Agente Consular da França. Foi também proprietário da Livraria Americana e de A Conquista, primeiro periódico ilustrado com a técnica da fotogravura, preparado totalmente em Maceió. Ocupou a cadeira número 36 da Academia Alagoana de Letras e é o patrono da cadeira 41 do Instituto Geográfico e Histórico de Alagoas, do qual foi secretário entre 1934 e 1943. Publicou diversos livros, dentre eles Zéfinha: scenas da vida alagoana (1921) e Padre Cornélio: scenas da vida alagoana (1921), duas partes de uma mesma novela; Compêndio de Teoria Musical (1927) e Ad Memoriam (1948). Foi agente das revistas Fon-Fon e Selecta em Alagoas e representante da Casa dos Artistas em Maceió.
+Nasceu em Maceió, Alagoas, em 17 de fevereiro de 1868, filho do jornalista e funcionário da Fazenda federal Stanislau Wanderley (1830 – 1899), provavemente o primeiro fotógrafo amador de Maceió; e de Amélia Lavenère Wanderley (1835  – 1905). O casal teve mais dois filhos: Rachel (1869 – 1952) e o futuro general Alberto Lavenère Wanderley (1870 – 1930), pai de Nelson Lavenère Wanderley (1909 – 1985), que foi ministro da Aeronáutica no governo Castelo Branco, em 1964, e chefe do Estado-Maior das Forças Armadas, entre 1966 e 1968. Luiz Lavenère foi casado com Maria Capitulina (18? – 1890) , com quem teve uma filha, Albertina (1889 – 1914). Depois casou-se com Túlia dos Reis (1877 – 1940) e o casal teve cinco filhos: Jessie (1894 – 19?), Edith (1896 – 1916), Olga (? – 19?), os gêmeos Carmen (1906 – 1910) e Túlio (1906 – 1932), e Yvonne (1915 – 1998) . Faleceu em Maceió, em 29 de outubro de 1966.
+Foi lançado, em dezembro de 2018, o livro Olhares de Maceió por Luiz Lavenère, com 220 fotografias de Maceió, a maioria inédita e rara, organizado por Gian Carlos de Melo Silva e Wilma Maria Nóbrega Lima e editado pela Imprensa Oficial Graciliano Ramos em parceria com o Arquivo Público Alagoano. As fotografias foram separadas em grupos: Águas, Construções, Cotidiano e  e Lavenère. São registros de diversos aspectos de Maceió. Também está reproduzido no livro o artigo A fotografia em Maceió: 1858- 1918, de Luiz Lavenère e Moacir Medeiros de Sant’Ana, publicado na primeira revista do Arquivo Público de Alagoas, 1962.
+ 
+Cronologia de Luiz Lavenère Wanderley (1868 – 1966)
+ 
+Fon-Fon, 24 de abril de 1920
+ 
+Acessando o link para as fotografias de Luiz Lavenère disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+L. Lavenère. Fotografias lembrança de Maceió. Pau de sebo, 1905. Maceió, Alagoas / Acervo Arquivo Nacional
+ 
+ 
+1868 – Em Maceió, Alagoas, em 17 de fevereiro, nascimento de Luiz Lavenère Wanderley, filho do jornalista e funcionário da Fazenda federal Stanislau Wanderley (7 de maio de 1830 – 18 de março de 1899) e de Amélia Lavenère Wanderley (1835  – 1905). O casal teve mais dois filhos: Rachel (1869 – 1952) e o futuro general Alberto Lavenère Wanderley (1870 – 1930).
+1876 – 1878 – Quando tinha entre 8 e 10 anos de idade, encontrou a câmara fotográfica e o material de laboratório pertencentes ao seu pai.
+1881 – Em prol do movimento abolicionista, instalação da Sociedade Libertadora Alagoana, em 28 de setembro, no antigo Teatro Maceioense. Dela fizeram parte, entre outros:  Luiz Lavenère,  e seu pai, Stanislau Wanderley. Seu primeiro presidente foi Antônio de Almeida Monteiro.
+1883 – Começou a lecionar (Gutenberg, 13 de julho de 1899, última coluna).
+Foi o representante da Sociedade Recreio Scientífico na cerimônia fúnebre pelo 30 º dia do falecimento de Dias Cabral, no Instituto Arqueológico Alagoano (Gutemberg, 21 de agosto de 1883, primeira coluna).
+Luiz Lavenère era o primeiro secretário do jornal literário Castro Alves (Castro Alves, 11 de novembro de 1883, última coluna).
+1884 – Foi aprovado no Colégio Bom Jesus – Boletim de 10 de dezembro de 1884 (O Orbe, 16 de janeiro de 1885).
+Contribuiu com o movimento abolicionista escrevendo no jornal Lincoln, dirigido pela Sociedade Libertadora Alagoana, cujos redatores eram, além dele, Francisco Domingues da Silva e Euzébio de Andrade.
+1885 – Era um dos redatores do periódico quinzenal José de Alencar, lançado em 15 de maio de 1885 e propriedade do clube literário homônimo (José de Alencar, 15 de maio de 1885, segunda coluna).
+1886 - Foi aprovado como sócio correspondente do Instituto dos Professores Primários de Alagoas (O Orbe, 19 de setembro de 1886, quarta coluna).
+1887 - Embarcou para Pernambuco no vapor Pará (Gutemberg, 11 de maio de 1887, última coluna).
+Ensinava francês, inglês e matemáticas elementares em sua casa, na rua da Boa Vista, nº 110, ou na casa dos alunos (Gutenberg, 12 de agosto de 1887, terceira coluna).
+ 
+Gutenberg, 12 de agosto de 1887
+ 
+Foi publicado um artigo de Lavenère na revista pedagógica, científica, literária e noticiosa O Magistério, de 30 de outubro de 1887. Começava assim: O Brasil não progride: é arrastado pela avalanche universal da civilização.
+Foi um dos oradores da sessão magna de aniversário da instalação do Instituto Arqueológico e Geográfico Alagoano (Gutenberg, 3 de dezembro de 1887, primeira coluna).
+Anunciou que no ano seguinte abriria um Curso Primário Misto ministrado por sua esposa, Maria Capitulina (18? – 1890) e avisou que continuaria dando aulas particulares (Gutenberg, 24 de dezembro de 1887).
+ 
+Maria Capitulina Lavenère Wanderley / Site Geni
+ 
+1888 – Doou livros para a formação da biblioteca do Instituto dos Professores Primários de Alagoas (O Magistério, 15 de fevereiro de 1888, última coluna).
+1889 - Nascimento da única filha do casal, Albertina, em 27 de julho (1889 – 1914).
+1890 - Falecimento de sua esposa, Maria Capitulina.
+Foi um dos representantes do Clube Federal Republicano em um encontro realizado na sede do Club Centro Popular Republicano. Em pauta a eleição do presidente do Partido Republicano de Maceió e a escolha dos candidatos do partido à Constituinte (Diário do Povo, 24 de fevereiro de 1890, segunda coluna).
+Fora publicados os contos O mais infeliz dos três, O philosopho apaixonado e Secção de moral, de sua autoria (O Republicano (SE), 21 de novembro de 1890, 24 de novembro de 1890 e 19 de dezembro de 1890).
+1891 – O conto Um typo de mulher, de autoria de Lavenère que foi publicado nos jornais Monitor Fidelense (RJ) e no Publicador Goyano (O Republicano (SE), 21 de janeiro de 1891, primeira coluna; e 12 de março de 1891, primeira coluna).
+Publicação da fantasia A ermida dos mortos, também de sua autoria (O Republicano (SE), 9 de abril de 1891).
+Foi trabalhar como telegrafista da estação do Recife (Jornal do Commercio, 4 de novembro de 1891, quarta coluna). Provavelmente foi nessa época professor no Colégio Spencer e do Instituto Ayres Gama.
+1892 – Foi promovido a 3º telegrafista da estação do Recife (Cruzeiro do Norte, 14 de fevereiro de 1892, terceira coluna).
+ 
+L. Lavenère. Fotografias lembrança de Maceió. Músicos de feira de Alagoas, 1905-1906. Maceió, Alagoas / Acervo Arquivo Nacional
+ 
+1894 – Foi noticiado no Almanak do Estados das Alagoas de 1894, que Lavenère era o encarregado da estação telegráfica de Piassabussu.
+Em 23 de dezembro, nascimento da primeira filha de Lavenère com Túlia dos Reis (1877 – 1940), Jessie (1894 – 19?) (Gutenberg, 23 de dezembro de 1896, quinta coluna). O casal teve mais quatros filhos: Edith (1896 – 1916), Olga (? – 19?), os gêmeos Carmen (1906 – 1910) e Túlio (1906 – 1932), e Yvonne (1915 – 1998) .
+1896 – Durante a realização de um jantar a bordo do navio alemão Helas, Lavenère, representando o jornal Gutenberg, fez um brinde em inglês (Gutenberg, 17 de janeiro de 1896, última coluna).
+Lançou a revista quinzenal literária Paulo Affonso, em 6 de abril, com Goulart de Andrade e Hugo Jobim. A gazeta, impressa na Tipografia de Tertuliano de Menezes, só teve dois números publicados, provavelmente, por falta de recursos (Gutenberg, 8 de abril de 1896, última coluna; Jornal de Recife, 21 de abril de 1896, quarta coluna e O Trabalho, 27 de junho de 1896, primeira coluna).
+Foi o tradutor dos contos Qui pro quo, de William Rogers;  A Vingança, de Miss Lambie (Gutemberg, 8 de outubro de 1896, e 11 de outubro de 1896).
+Participou da festa de aniversário e da homenagem prestada ao engenheiro chefe do distrito telegráfico em que trabalhava (Gutenberg, 29 de outubro de 1896, quinta coluna).
+Escreveu o artigo Sete anos saudando a proclamação da República em 1889 (Gutenberg, 15 de novembro de 1896).
+Foi eleito suplente do 2º secretário do Instituto Arqueológico e Geográfico de Alagoas, Manuel Laurindo Martins Junior. Também fazia parte da comissão de redatores e revisores da revista da instituições e da comissão realizadora de trabalhos históricos, geográficos, arqueológicos e estatísticos (Gutenberg, 28 de novembro de 1896, primeira coluna).
+Era um dos fiscais de raia das corridas realizadas pelo Club Veloz (Gutenberg, 13 de dezembro de 1896, quarta coluna).
+Foi eleito segundo secretário do Club Atlético Alagoano, do qual foi um dos fundadores (Gutenberg, 24 de dezembro de 1896, quarta coluna).
+1897 – Fundação em 18 de janeiro do Club Atlético Alagoas “com a finalidade de promover o desenvolvimento muscular de seus associados, empregando para isso qualquer tipo de força e agilidade”. Sua sede era em Jaraguá, seu presidente era Carlos Leopoldo Ferreira; seu vice, Napoleão Goulart; seu 1o secretário, Luiz Lavenère Wanderley e 2o secretário, José A. Leão.
+1899 – Falecimento de seu pai, Stanislau Wanderley (1830 – 1899), republicano, abolicionista e um dos fundadores da Associação Libertadora Alagoana (Gutenberg, 19 de março de 1899, primeira coluna).
+Ensinava inglês e francês pelo método indutivo e anunciou também ensinar para crianças.
+ 
+Gutenberg, 9 de abril de 1899
+Gutenberg, 24 de maio de 1899
+ 
+Escrevia para a seção Questões gramaticais (Gutenberg, 17 de junho de 1899, primeira coluna; 1º de julho de 1899, quarta coluna; 16 de julho de 1899, quarta coluna; 18 de julho de 1899, primeira coluna; 19 de julho de 1899, terceira coluna; 10 de agosto de 1899, segunda coluna; 22 de agosto de 1899, terceira coluna).
+Mudou-se para a rua do Commercio, nº 19 (Gutenberg, 18 de junho de 1899, quinta coluna).
+1901 – Lavenère foi promovido a telegrafista de 2ª classe na Repartição Geral dos Telégrafos (Jornal do Brasil, 1º de maio de 1901, sétima coluna).
+1902 - Era um dos jurados do concurso de tradução para o português do soneto Ave Dea, de Victor Hugo, promovido pelo jornal Gutenberg (Diário do Maranhão, 26 de junho de 1902, primeira coluna).
+Lançamento do jornal Evolucionista, em 1º de setembro de 1902, sob a direção de Lavenère. No início era semanal e publicado às segundas-feiras.
+Uma série de artigos intitulados Contra o socialismo, foram publicados  por Lavanère, no Evolucionista ( no ano seguinte foram vendidos como um libreto). Causaram grande polêmica com o socialista João Ferro (1872 – 1902) que respondeu a eles com a publicação de 7 artigos intitulados O “Evolucionista” e o Socialismo, publicados no periódico O Trocista, entre setembro e outubro do mesmo ano.
+Já vendia material fotográfico e foi o primeiro em Alagoas a fcomercializar regularmente esses produtos.
+Era o diretor da Empresa do Almanak Alagoano das Senhoras, anuário editado por Manoel Gomes da Fonseca, proprietário das Oficinas Tipográficas da Livraria Fonseca ou Oficinas Fonseca; e diretor do jornal  Evolucionista, que passou a ser diário (Almanak Laemmert, 1903).
+1904 – Foi publicado no Almanak de Mato Grosso de 1904 uma tabela de fases da Lua para Cuiabá calculada por Lavenère.
+1905 – Entre esse ano e 1906, fotografou o folguedo Festa da Chegança.
+ 
+L. Lavenère. Fotografias lembrança de Maceió. Festa da Chegança, 1905 – 1906. Maceió, Alagoas / Acervo Arquivo Nacional
+ 
+Era redator- chefe do jornal Evolucionista. O outro redator era Arroxelas Galvão, e os colaboradores eram Paulino Santiago, Sebastião de Abreu, Aurélio Jatubá e de P. Julio de Albuquerque.
+Foi convidado por Joaquim Goulart de Andrade para ser um dos fundadores de uma associação para promover a construção de um monumento em homenagem ao marechal Floriano Peixoto (Gutenberg, 28 de janeiro de 1905).
+Era deputado em Alagoas e foi convidado para ser o 2º secretário da Câmara (Gutenberg, 14 de abril de 1905, segunda coluna; e 27 de abril de 1905, primeira coluna). Foi deputado até 1908.
+Falecimento de Amélia, mãe de Lavenère (Evolucionista, 19 de abril de 1905, última coluna).
+Foi eleito para integrar a comissão de Finanças do Instituto Arqueológico e Geográfico de Alagoas (Gutenberg, 19 de abril de 1905, quarta coluna).
+Polêmica entre Lavanère e José Correia da Silva, revisor do jornal Gutenberg (Gutenberg, 17 de junho de 1905, última coluna; Gutenberg, 18 de junho de 1905, segunda coluna).
+Polêmica entre os jornais Gutenberg e o Evolucionista (Gutenberg, 6 de julho de 1905, quarta coluna; Gutenberg, 7 de julho de 1905, primeira coluna).
+Lavenère foi eleito sócio efetivo e secretário da Associação Comercial (Evolucionista, 20 de julho de 1905, quinta coluna; Gutenberg, 21 de julho de 1905, segunda coluna; e 23 de julho de 1905, quinta coluna).
+No Teatro Polytheama, participou do espetáculo em benefício de A. Sierra (Gutenberg, 28 de julho de 1905, segunda coluna).
+Segundo noticiado no jornal Gutenberg, o jornal Correio de Alagoas dirigiu-se a Lavenère com o calão baixo e afrontoso (Gutenberg, 15 de setembro de 1905, primeira coluna; e Evolucionista, 20 de setembro de 1906, quinta coluna).
+Lavenère ficou doente durante o mês de setembro e não pode dar aulas de inglês no Liceu de Artes e Ofícios, onde era professor (Gutenberg, 19 de outubro de 1905, última coluna).
+Foi aceito unanimemente para ser sócio efetivo da Sociedade de Agricultura Alagoana (Evolucionista, 5 de outubro de 1905, primeira coluna).
+Participou de uma almoço no paquete Castro Alves, a convite de seu comandante e do fiscal da Empresa Freitas de Navegação. Fotografou o grupo (Evolucionista, 10 de novembro de 1905, última coluna).
+Fotografou uma mulher que havia sido assassinada (Jornal Pequeno (PE), 14 de novembro de 1905, terceira coluna).
+Foi noticiado que um retrato do poeta Aristheu de Andrade (1878 – 1905) e duas fotografias de Maceió, de autoria de Lavenère haviam sido publicadas na revista Mundo Elegante de Paris (Evolucionista, 18 de dezembro de 1905, terceira coluna).
+1906 – Foi listado como fotógrafo no Almanak Laemmert de 1906 e seu endereço era rua do Commercio, 40. Em 1907, continuava no mesmo endereço (Almanak Laemmert, 1907).
+ 
+
+ 
+Foi referido como diretor do Evolucionista (Evolucionista, 1º de janeiro de 1906).
+Em fevereiro, nascimento dos gêmeos Túlio e Carmem, filhos de Lavenère e Túlia (Evolucionista, 28 de fevereiro de 1906, quinta coluna).
+Foi distribuída a herança de sua mãe entre ele e seus dois irmãos, Rachel (1869 – 1952) e Alberto (1870 – 1930), que residia em São Paulo (Evolucionista, 7 de março de 1906, terceira coluna).
+Em Paris,  falecimento de seu cunhado, o comerciante Gustavo Augusto dos Santos, casado com sua irmã Rachel (1869 – 1952) – tinham 7 filhos (Gutenberg, 27 de maio de 1906, quarta coluna).
+Recepcionou na Câmara dos Deputados o político Afonso Pena (1847 – 1909), que se tornaria presidente da República em novembro de 1906. Em nome da Associação Comercial visitou Afonso Pena e em nome do jornal Evolucionista lhe ofertou um álbum de fotografias de Maceió de sua autoria, impresso e encadernado pela Livraria Fonseca (Evolucionista,  30 de maio de 1906, quarta coluna; e 31 de maio de 1906, primeira coluna). Lavenère fotografou a recepção a Afonso Pena no Palácio dos Martírios, em 28 de maio.
+ 
+Evolucionista, 31 de maio de 1906
+ 
+Denunciou que um canalha qualquer havia assinado um soneto em seu nome na revista O Malho (O Malho, 7 de julho de 1906, primeira coluna; e Evolucionista, 18 de julho de 1906, terceira coluna).
+Na edição de 17 de julho de 1906 do Evolucionista, seu nome constava no expediente com a atribuição de redator do jornal com Raymundo de Miranda. O jornal deixou de ser publicado em dezembro.
+ 
+Evolucionista, 10 de outubro de 1906
+ 
+Foi um dos 30 candidatos a deputado de Alagoas pelo Partido Republicano e foi eleito (Gutenberg, 23 de outubro de 1906, última coluna; 27 de abril de 1907, primeira coluna).
+1907 - A casa editora da Livraria Fonseca publicou pela primeira vez imagens de autoria de Lavenère como cartões-postais.
+Foi constituída uma empresa, da qual Lavenère fazia parte, para fazer reaparecer o Diário das Alagoas (Jornal de Recife, 15 de janeiro de 1907, sexta coluna).
+Participou do desfile carnavalesco do Club dos Antigos, organizado por profissionais da imprensa (Gutenberg, 10 de fevereiro de 1907, última coluna).
+Aposentou como telegrafista de 2ª classe (Gutenberg, 7 de abril de 1907, última coluna).
+Foi publicada na revista Tico-Tico uma fotografia de Edith (1896-1916). Será de autoria de seu pai, Luiz Lavenère? (Tico-Tico, 5 de junho de 1907).
+ 
+Tico-Tico, 5 de junho de 1907
+ 
+Era redator do Diário de Alagoas (Gutenberg, 6 de junho de 1907, primeira coluna).
+Mudou-se para rua Macena nº 42 (Gutenberg, 12 de setembro de 1907, terceira coluna).
+Realização do casamento de sua filha Albertina (1889-1914) com Manoel Gomes Machado (Gutenberg, 27 de outubro de 1907, primeira coluna).
+1908 –  Uma fotografia de autoria de Lavenère de sua filha Edith (1896-1916) foi descrita no jornal Gutenberg de 30 de outubro de 1908. Na notícia, foi mencionado que ele havia sido elogiado pelo diretor da revista parisiense Photo Magazine, Charles Mendel. A foto foi publicada no ano seguinte na revista Tico-Tico. Outras fotografias de sua autoria foram expostas no jornal Gutenberg durante o ano.
+ 
+Tico-Tico, 18 de agosto de 1909
+ 
+Gutenberg, 30 de outubro de 1908
+ 
+Gutenberg, 28 de novembro de 1908
+ 
+Enviou um cartão de Boas Festas e um de Ano Novo usando fotografias de sua autoria. No de Boas Festas retratou sua filha, que aparecia no meio dos quatros jornais de Alagoas. No de Ano Novo, disfarçou-se e fotografou-se para representar o Ano Velho.
+ 
+Gutenberg, 11 de dezembro de 1908
+ 
+Gutenberg, 22 de dezembro de 1908
+ 
+1909 - Foi listado no Almanak Laemmert de 1909 como professor particular e também como intérprete juramentado.
+Recebeu 100 votos no concurso do oficial ou praça mais garboso do Tiro Alagoano (Guternberg, 4 de março de 1909).
+ 
+Gutenberg, 23 de maio de 1909
+ 
+Gutenberg, 2 de junho de 1909
+ 
+Gutenberg, 15 de junho de 1909
+ 
+Gutenberg, 18 de novembro de 1909
+ 
+Foi publicada uma fotografia de Aurora Silva, primeira farmacêutica alagoana, de autoria de Lavenère (O Malho, 4 de dezembro de 1909).
+ 
+O Malho, 4 de dezembro de 1909
+ 
+1910 – Ainda era diretor do jornal Evolucionista (Almanak Laemmert, 1910).
+Publicação de uma carta de sua autoria onde ele explicava o significado do termo boycottage (Gutenberg, 15 de janeiro de 1910, sexta coluna).
+Passou a dar aulas de inglês no Instituto de Humanidades, dirigido por Anisio Jobim (Gutenberg, 20 de janeiro de 1910, quarta coluna).
+Estava em exposição na loja Lauria, em Maceió, um quadro retratando Lavenère de autoria do pintor baiano Olavo Baptista (1879-1953) (Gutenberg, 5 de fevereiro de 1910, quinta coluna).
+Foi publicada na revista O Malho uma fotografia de autoria de Laverène suas filhas Edith e Jessie com uma amiga. Elas desfilaram no Club das Japonezas fantasiadas de gueishas (O Malho, 30 de abril de 1910).
+ 
+O Malho, 30 de abril de 1910
+ 
+Participou do primeiro concerto que o Círculo Musical de Alagoas, associação de musicistas de Maceió, apresentou no Teatro Maceioense. O Círculo Musical, do qual se tornou associado, foi fundado em 14 de julho de 1910 sob a presidência do músico e juiz Manoel Lopes Ferreira Pinto (Gutenberg, 6 de setembro de 1910, última coluna).
+1911 - Foi identificado como guarda-livros e tradutor juramentado em Alagoas (Almanak Laemmert, 1911).
+Foi editada uma série de 24 cartões-postais de autoria de Lavenère.
+ 
+Série de cartões-postais Phot. L. Lavenère. Jami Abib, Elysio de Oliveira Belchior, Instituto Histórico e Geográfico de Alagoas e Josebias Bandeira de Oliveira.
+ 
+Foi premiado na Exposição Universal de 1911 em Turim, na Itália, na qual expôs trabalhos fotográficos executados em porcelana, madeira e papelão. Os diplomas de suas medalhas estão no Instituto Histórico de Alagoas (Leituras para todos, janeiro de 1912).
+ 
+Leituras para todos, janeiro de 1912
+ 
+1912 – No mesmo ano em que o fotógrafo Marc Ferrez (1843 – 1923) começou a fazer suas experiências com fotografias em cores utilizando as placas autocromos Lumière, Lavenère  introduziu a fotografia em cores em Alagoas com a imagem de um trecho da rua Barão de Anadia. Segundo o Jornal de Alagoas a respeito da chapa autocromo: “A fotografia das cores naturais, onde sobressai o efeito da luz do sol sobre o solo e o mar, com esse brilho misterioso que o pincel dos mais afamados pintores não pode ainda levar à tela, foi conseguido pelo hábil amador (L. Lavenère) em placas diretamente importadas da Europa. É um deslumbramento” (Jornal de Alagoas, 10 de setembro de 1912).
+1913 – Continuava dirigindo o Almanach Alagoano das Senhoras e foi de novo identificado como guarda-livros e tradutor juramentado em Alagoas (Almack Laemmert, 1913).
+1914 – Foi de novo identificado como guarda-livros e tradutor juramentado em Alagoas (Almack Laemmert, 1914).
+ 
+Fon-Fon, 29 de agosto de 1914
+ 
+Em 25 de setembro, falecimento de sua filha Albertina, 25 anos (Diário de Pernambuco, 26 de setembro de 1914, quinta coluna).
+1915 – Foi de novo identificado como guarda-livros e tradutor juramentado em Alagoas (Almanak Laemmert, 1915).
+Publicação do livro O bonde elétrico, de sua autoria.
+1916 - Foi de novo identificado como guarda-livros e tradutor juramentado em Alagoas (Almanak Laemmert, 1916).
+Em 19 de maio, falecimento de sua filha Edith, com 20 anos (Diário de Pernambuco, 20 de maio de 1916, segunda coluna).
+Era o proprietário da Livraria Americana, em Jaraguá, bairro de Maceió (Diário do Povo(AL), 19 de setembro de 1916).
+ 
+Diário do Povo (AL), 19 de setembro de 1916
+ 
+Era o agente das revistas Fon-Fon e Selecta em Alagoas (Diário do Povo (AL), 19 de novembro de 1916, terceira coluna).
+1917 - Foi de novo identificado como guarda-livros e tradutor juramentado em Alagoas (Almack Laemmert, 1917).
+Importou da Europa papel para impressão (Diário do Povo (AL), 31 de janeiro de 1917, segunda coluna; 1º de fevereiro, quarta coluna).
+Foi nomeado encarregado da Agência Consular da França em Alagoas (Diário do Povo (AL), 18 de março de 1917, primeira coluna).
+Era árbitro da Alfândega de Maceió por parte do comércio e da indústria (Diário do Povo (AL), 25 de março de 1917, terceira coluna).
+1918 – Foi de novo identificado como guarda-livros e tradutor juramentado em Alagoas, mas desta vez também como proprietário da Livraria Americana e como litógrafo, zincógrafo e tipógrafo (Almanak Laemmert, 1918).
+ 
+Almanak Laemmert, 1918
+ 
+Pediu exoneração do cargo de gerente da Agência Consular da França em Alagoas (Diário de Pernambuco, 10 de dezembro de 1918, segunda coluna).
+1919 - Foi identificado como guarda-livros e proprietário da Livraria Americana (Almanak Laemmert, 1919).
+Foi um dos fundadores, em 1º de novembro, da Academia Alagoana de Letras.
+1920 – Editada pela Livraria Machado uma série de cartões-postais de autoria de Lavenère.
+Lançamento em 14 de março , de A Conquista, o primeiro periódico ilustrado com a técnica da fotogravura, preparado totalmente em Maceió.  Lavenère era seu proprietário.
+“Semanário publicado em Maceió de 14 de março a 25 de dezembro de 1920. O primeiro, em Alagoas, a ter clichê de zinco. Confeccionado pelo dono do periódico – L. L. Lavenère -, o clichê intitulado “O Paurílio”, reproduz a figura de Hipólito Paurílio, tendo sido publicado no segundo número, a 21/3/1920. Em 14/7/1920 publicou um número dedicado à França, inclusive com a música da Marselhesa. Lavenère nele usava o pseudônimo de Marie Pambrun” (ABC das Alagoas).
+Ao longo dos anos 20 continuou a atuar como guarda-livros, intérprete juramentado e dono da Livraria Americana.
+Denunciou que um homem chamado Guedes Alcoforado estava recebendo criminosamente dinheiro por conta da Livraria Machado (Diário de Pernambuco, 17 de fevereiro de 1920, segunda coluna).
+Instalação, em 17 de julho, da Academia Alagoana de Letras, no salão nobre do Teatro Deodoro. Lavenère foi o primeiro ocupante da cadeira número 36.
+1921 – Foi anunciado o lançamento de um novo livro de Lavenère, identificado como jornalista e fotógrafo premiado (Diário de Pernambuco, 12 de maio de 1921, primeira coluna).
+ 
+Diário de Pernambuco, 12 de maio de 1921
+ 
+O livro se chamava Zefinha (Diário de Pernambuco, 10 de agosto de 1921, primeira coluna). Os srs. Monteiro Lobato e C. propuseram a edição da continuação da obra, que se chamaria O Padre Cornélio (Diário de Pernambuco, 24 de setembro de 1921, terceira coluna).
+ 
+
+ 
+1922 - Publicou o livro Mostruário de gravuras de zinco.
+1924 – Lançamento do livro Novo método de escrituração, de autoria de Lavenère, identificado como verdadeira competência em assuntos comerciais, editado pela Livraria Machado (Diário de Pernambuco, 11 de setembro de 1924, penúltima coluna).
+1926 – Foi pela última vez listado como dono de uma livraria na rua da Alfândega, 115, no Almanak Laemmert de 1926.
+Em um artigo elogioso em torno da obra literária de Lavenère foi mencionado que ele teria sido um fotógrafo emérito e responsável por um processo prático, original, rápido e barato de preparo de “clichês” (Diário de Pernambuco, 2 de dezembro de 1926, quarta coluna).
+ 
+
+ 
+Foi eleito um dois membros da comissão da revista do Instituto Arqueológico e Geográfico Alagoano (Jornal do Commercio, 23 de dezembro de 1926, quarta coluna).
+1927 - Lançamento de um Compêndio de Teoria Musical de autoria de Lavenère e publicado pela Livraria Machado de Alagoas (Diário de Pernambuco, 30 de julho de 1927, terceira coluna; e Diário de Pernambuco, 20 de agosto de 1927, penúltima coluna).
+Lavenère escreveu vários artigos contra o aumento dos impostos (Gazeta de Notícias, 27 de dezembro de 1927, sexta coluna).
+1929 – Lançou Musicologia, continuação do Compêndio de Teoria Musical (Diário de Pernambuco, 10 de julho de 1929, terceira coluna).
+1930 – Continuou a ser identificado no Almanak Laemmert  de 1930 e de 1931 como guarda-livros e tradutor juramentado.
+O livro Compêndio de Teoria Musical de autoria de Lavenère foi adotado no ensino primário de Alagoas por recomendação do Conselho de Ensino do estado (Revista de Ensino, 1930).
+Falecimento de seu irmão Alberto, na época general de brigada, em 4 de outubro de 1930. Ele era desde 1929 comandante da 7ª Região Militar, em Recife. Com o assassinato de João Pessoa em fins de julho de 1930  o comando da 7ª RM foi transferido para o 22º Batalhão de Caçadores, na capital paraibana. Em 4 de outubro, revoltosos militares e civis que apoiavam a Revolução de 30 atacaram p 22º BC e controlaram, apo´s alguns combates, a situação. Houve troca de tiros e o general Alberto foi atingido. Foi operado mas faleceu à noite. Foi promovido post mortem a general de divisão no dia 15 de outubro de 1930. Alberto Lavenère Wanderley era pai de Nélson Lavenère Wanderley (1909 – 1985), que foi ministro da Aeronáutica em 1964 e chefe do Estado-Maior das Forças Armadas de 1966 a 1968.
+1931 - Era 2º vice-presidente do Instituto Arqueológico e Geográfico Alagoano (Almanak Laemmert, 1931).
+Era um dos colaboradores de Novidade Semanário Illustrado, lançado em 11 abril de 1931. Publicou um artigo na seção de Música na oitava edição da revista (Novidade, 30 de maio de 1931).
+Foi eleito membro da Academia Alagoana de Letras (Novidade, 18 de julho de 1931, primeira coluna).
+1933 - No Teatro Deodoro, instalação em 6 de abril, da Liga Alagoana Pró-Pensamento Livre, sob a presidência de Lavenère (Jornal de Recife, 18 de abril de 1933, segunda coluna). Fundada em
+1934 - Em 24 de fevereiro de 1934, a Liga Alagoana Pró-Pensamento Livre realizou um ato em comemoração ao aniversário da promulgação da constituição de 1891, sob a presidência de  Lavenère com a participação dos oradores Levy Pereira, Barbosa Júnior, Sebastião da Hora, Esdras Gueiros e Américo Mello, “que expressaram seus veementes protestos contra a intromissão da igreja católica na política nacional, tendente a coarctar a liberdade de pensamento no que concerne ao ensino religioso nas escolas”.
+Foi entre esse ano e 1943 secretário do Instituto Geográfico e Histórico de Alagoas (Diário de Pernambuco, 5 de agosto de 1934, quinta coluna).
+Passou a lecionar Escrituração Mercantil na sede da Federação Alagoana para o Progresso Feminino (Diário de Pernambuco, 20 de fevereiro de 1934, terceira coluna).
+Seu livro Compêndio de Teoria Musical foi adotado pelo Instituto Português de Música de Lisboa (Diário de Pernambuco, 6 de julho de 1934, terceira coluna).
+ 
+L. Lavenère. Lembrança de Maceió/[Paço episcopal], 1905-1906. Maceió, Alagoas / Acervo Arquivo Nacional
+1935 - Publicou o livro Nigumba, conto africano.
+1936 – Foi o vereador mais votado de Maceió (Diário de Pernambuco, 29 de janeiro de 1936, terceira coluna).
+Apresentou um projeto de lei criando um serviço de Assistência à Infância Desvalida (Diário de Notícias, 21 de agosto de 1936, terceira coluna).
+1937 - Como vereador por Maceió aderiu à candidatura de Armando Salles (1887 – 1945) à presidência da República e foi eleito membro da União Democrática Brasileira (O Jornal, 16 de setembro de 1937, segunda coluna).
+1938 - Foi nomeado representante da Casa dos Artistas em Maceió (Diário de Notícias, 24 de abril de 1938, terceira coluna).
+Contribuiu financeiramente para a confecção do busto do presidente Getulio Vargas na Casa dos Artistas (O Imparcial, 25 de junho de 1938, primeira coluna).
+1939 - Mantinha uma seção diária na Gazeta de Alagoas (A Noite, 12 de junho de 1939, quinta coluna).
+Publicação de uma poesia de Lavenère (Correio de Manhã, 15 de junho de 1939).
+ 
+Correio da Manhã, 15 de junho de 1939
+ 
+1941 - Na inauguração do Sindicato dos Jornalistas Profissionais em Maceió, foi eleito um dos membros da comissão fiscal (Diário de Notícias, 3 de janeiro de 1941, terceira coluna).
+Foi o orador do encerramento da Semana da Siderurgia no Teatro Deodoro, em Maceió (Jornal do Brasil, 25 de maio de 1941, terceira coluna).
+1942 – Escreveu contra as indecências de cantigas carnavalescas (A Ordem (RN), 13 de fevereiro de 1942, terceira coluna).
+1944 - Instalação em 8 de março do Centro de Estudos Econômicos e Sociais de Alagoas, no auditório da Faculdade de Direito, por iniciativa do Rotary Clube de Maceió. Sua primeira diretoria: presidente, Diegues Júnior; vice-presidentes, Sebastião da Hora e Barreto Falcão; secretários, Ruy de Almeida, Aurélio Viana e Luiz Lavenère; tesoureiros, Ismael Brandão e Luiz Calheiros; diretor da Biblioteca, Afrânio Melo; e diretor de Publicidade, Carvalho Veras. Tinha por finalidade discutir a realidade alagoana e os problemas regionais, dentro de uma visão interdisciplinar: econômica, social, histórica, sociológica, antropológica, sem exclusão da visão política ou ideológica.
+1945 – Foi candidato ao senado por Alagoas concorrendo pelo Partido Republicano Progressista mas foi o candidato menos votado: só obteve 194 votos (O Jornal, 20 de dezembro de 1945, última coluna).
+1946 – Foi eleito para integrar a Comissão de História do Instituto Histórico de Alagoas (A Noite, 28 de abril de 1946, quinta coluna).
+Publicou o livro Meu Waterloo na imprensa de Maceió.
+1948 – Publicou o livro Ad memoriam.
+1949 – Publicou, pela Livraria Machado, Conversas com o reverendo.
+1950 – Era o diretor do Teatro Deodoro, em Maceió (Diário de Pernambuco, 26 de março de 1950, quinta coluna).
+Foi eleito tesoureiro da Academia Alagoana de Letras (A Noite, 15 de dezembro de 1950, sexta coluna).
+1962 – O Arquivo Público de Alagoas, criado em dezembro de 1961, adquiriu para sua Fototeca a coleção de negativos fotográficos de vidro de Luiz Lavenère, composta de cerca de 350 chapas, em vidro, na sua maioria de trechos desaparecidos da cidade de Maceió e seus arrabaldes no princípio do século XX. Na época era dirigido por Moacir Medeiros de Santana.
+Publicação, na primeira revista do Arquivo Público de Alagoas, do artigo pioneiro sobre a história da fotografia na capital alagoana desde seus primórdios intitulado A fotografia em Maceió: 1858- 1918, de Luiz Lavenère e Moacir Medeiros de Sant’Ana.
+1966 – Falecimento de Luiz Lavenère Wanderley, em 29 de outubro de 1966, em Maceió.
+ 
+
+ 
+1985 - Foi escolhido para ser o patrono da cadeira número 41 do Instituto Histórico e Geográfico de Alagoas.
+2012 - Início dos trabalhos de conservação e reprodução da coleção de imagens de Lavenère adquiridas pelo Arquivo Público de Alagoas em 1961.
+2018 -  Foi lançado, em dezembro de 2018, o livro Olhares de Maceió por Luiz Lavenère, com 220 fotografias de Maceió, a maioria inédita e rara, organizado por Gian Carlos de Melo Silva e Wilma Maria Nóbrega Lima e editado pela Imprensa Oficial Graciliano Ramos em parceria com o Arquivo Público Alagoano. As fotografias foram separadas em grupos: Águas, Construções, Cotidiano e Lavenère. São registros, dentre outros, do antigo farol, de atletas, avenidas, bairros, barcos, do carnaval de rua, de casas, cenas de teatro, engraxates, escolas, estação de trem, fábricas, festas, do folguedo Barca da Chegança, de hospital, hotéis, igrejas, inundações, da Livraria Fonseca ao lado do jornal Evolucionista, de lojas, do mercado público, de paisagens, pescadores, pessoas, praças, do prado, de praias, prédios governamentais, do primeiro avião em Maceió, de procissão, quartel, da recepção ao presidente da República Afonso Pena no Palácio dos Martírios, de ruas, do Teatro Deodoro e do Teatro Polytheama, além de imagens do próprio Lavenère. Também está reproduzido no livro o artigo A fotografia em Maceió: 1858- 1918, de Luiz Lavenère e Moacir Medeiros de Sant’Ana, publicado na primeira revista do Arquivo Público de Alagoas, 1962 (Agenda “a” (AL) , 28 de dezembro de 2020).
+ 
+
+ 
+Acesse aqui todos os artigos da Série Carnavais de antigamente.
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes: 
+Agência Alagoas
+BARROS, Francisco Reinaldo Amorim de. ABC das Alagoas: dicionário biobibliográfico, histórico e geográfico de Alagoas. Brasília : Senado Federal, Secretaria Especial de Editoração e Publicação, 2005.
+CAMPELLO, Maria de Fátima de Melo Barreto. A cidade de papel e a cidade de vidro: Maceió na Coleção de fotografias de Luiz Lavenère. In: ENANPARQ – arquitetura, cidade e projeto: uma construção coletiva. III, 2014, São Paulo, SP. Anais eletrônicos. São Paulo: Universidade Presbiteriana Mackenzie; Campinas: Pontifícia Universidade Católica de Campinas, 2014.
+CAMPELLO, Maria de Fátima de Melo Barreto; CABRAL, Renata Campello; DUARTE, Jaianne Fernandes; SILVA. Thaysa de Oliveira. Cartões-postais: entre as práticas visuais e a conservação do patrimônio urbano. Postcards: betweeen visual practices and the conservation of urban heritage. Urbana: Rev. Eletrônica Cent. Interdiscip. Estud. Cid. Campinas, SP v.9, n.3 [17] p.659-676 set./dez. 2017
+DUARTE, Jaianne Fernandes. Quando se olha para o escuro: A Maceió de Luiz Lavenère Wanderley através de seus negativos de vidro. 2019. 196f. Dissertação (Mestrado em Arquitetura: Dinâmica do Espaço Habitado). Faculdade de Arquitetura, Programa de Pós-Graduação em Arquitetura e Urbanismo, Universidade Federal de Alagoas, 2018.
+Hemeroteca Digital da Biblioteca Nacional
+Instituto Geográfico e Histórico de Alagoas
+LAVENÈRE, Luiz; SANT’ANA, Moacir Medeiros de (1962). A fotografia em Maceió (1858-1918). Revista do Arquivo Público de Alagoas, nº 1.
+LIMA, Mariana. Luís Wanderley Lavenère. Universidade Federal de Alagoas, fevereiro de 2019.
+MACIEL, Osvaldo Batista Acioly. Filhos do trabalho, apóstolos do socialismo: os tipógrafos e a construção de uma identidade de classe em Maceió (1895 – 1905). Dissertação apresentada ao programa de Pós-Graduação em História da Universidade Federal de Pernambuco, 2004.
+SANTOS, José Fabino Cassiano dos. HISTÓRIA E CONSTRUÇÃO LITERÁRIA NAS NOVELAS ZÉFINHA (1921) E PADRE CORNÉLIO (1921) DE LUIS LAVENÈRE .  Trabalho apresentado na 70ª Reunião Anual da SBPC – 22 a 28 de julho de 2018 – UFAL – Maceió.
+SILVA, Gian Carlos de Melo; LIMA, Wilma Maria Nóbrega (organizadores). Olhares de Maceió por Luiz Lavenère. Maceió : Imprensa Oficial Ramos, 2018.
+Site Geni
+Site O ABC das Alagoas
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/5044` — `itens/20.500.12156.1_5044/`
+- `20.500.12156.1/7947` — `itens/20.500.12156.1_7947/`
+- `20.500.12156.1/7949` — `itens/20.500.12156.1_7949/`
+- `20.500.12156.1/7948` — `itens/20.500.12156.1_7948/`
+- `20.500.12156.1/5045` — `itens/20.500.12156.1_5045/`
+
diff --git a/wordpress/17693-a-chegada-do-daguerreotipo-no-brasil-os-primeiros-registros-no-rio-de-janeiro.md b/wordpress/17693-a-chegada-do-daguerreotipo-no-brasil-os-primeiros-registros-no-rio-de-janeiro.md
new file mode 100644
index 0000000..9f10839
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+++ b/wordpress/17693-a-chegada-do-daguerreotipo-no-brasil-os-primeiros-registros-no-rio-de-janeiro.md
@@ -0,0 +1,111 @@
+---
+id: 17693
+url: "https://brasilianafotografica.bn.gov.br/?p=17693"
+titulo: "A chegada do daguerreótipo no Brasil – os primeiros registros no Rio de Janeiro"
+autor: "Andrea Wanderley"
+data: "2020-01-16T09:04:46+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/4779"]
+fetched_at: "2026-09-10T10:00:49.114Z"
+---
+
+# A chegada do daguerreótipo no Brasil – os primeiros registros no Rio de Janeiro
+
+Hoje são comemorados os 180 anos da produção, pelo abade francês Louis Comte (1798 – 1868), das primeiras daguerreotipias no Rio de Janeiro, em 16 de janeiro de 1840. O daguerreótipo, processo fotográfico desenvolvido por Joseph Nicèphore Niépce (1765-1833) e Louis Jacques Mandé Daguerre (1787-1851) e anunciado em Paris em 19 de agosto de 1839 por François Arago (1786 – 1853), secretário da Academia de Ciências da França, chegou ao Brasil no L’Oriental-Hydrographe, navio-escola da Marinha Mercante da França que, sob o comando  do  capitão Augustin  Lucas (1804-1854?), partiu do porto de Paimboeuf, nas proximidades da cidade francesa de Nantes, em 25 de setembro de 1839, com cerca de 80 pessoas a bordo, entre tripulação e passageiros.
+Antes de chegar ao Rio de Janeiro, o navio havia atracado em algumas cidades de Portugal, em Tenerife e na Ilha da Goreia (Senegal) e, já no Brasil, no Recife e em Salvador. Essa viagem é o tema do novo livro da historiadora Maria Inez Turazzi, O Oriental-Hydrographe e a fotografia; a primeira expedição ao redor do mundo com uma ‘arte ao alcance de todos’ (1839-1840). Segundo ela, a presença do daguerreótipo a bordo assim como a de outros instrumentos inovadores, não foi casual ou improvisada, porém fruto de uma complexa rede de interesses diplomáticos, transações comerciais e intercâmbios científicos. É possível afirmar que a viagem de circunavegação do Oriental-Hydrographe teve início com a expectativa de consagrá-la como a primeira do gênero a utilizar a fotografia como meio de registro da experiência. O daguerreótipo revolucionou em pouco tempo e para sempre a forma do registro do mundo e de seus habitantes, inundando nosso planeta de imagens fotográficas. Em 1864, em uma crônica reproduzida nesse artigo, o escritor Machado de Assis (1839 – 1908), que nasceu no mesmo ano do anúncio do daguerreótipo perguntou “Até onde chegará o aperfeiçoamento do invento de Daguerre?”. 
+ 
+  A invenção do daguerreótipo e sua chegada no Brasil
+ 
+Câmara de daguerreótipo Succe Frères, de 1839 / Westlicht Photography Museum, em Viena, na Áustria
+ 
+Em 7 de janeiro de 1839, na Academia de Ciências da França, foi anunciada a descoberta da daguerreotipia, um processo fotográfico desenvolvido por Joseph Nicèphore Niépce (1765-1833) e Louis Jacques Mandé Daguerre (1787-1851). Cerca de sete meses depois, em 19 de agosto, durante um encontro realizado no Instituto da França, em Paris, com a presença de membros da Academia de Ciências e da Academia de Belas-Artes, o cientista François Arago (1786 – 1853), secretário da Academia de Ciências, explicou o processo e comunicou que o governo francês havia adquirido o invento, colocando-o em domínio público e, dessa forma, fazendo com que o “mundo inteiro” tivesse acesso à invenção. Em troca, Louis Daguerre e o filho de Joseph Niépce, Isidore, passaram a receber uma pensão anual vitalícia do governo da França, de seis mil e quatro mil francos, respectivamente. Um daguerreótipo consiste em uma imagem única e positiva, formada diretamente sobre placa de cobre, revestida com prata e, em seguida, polida e sensibilizada por vapores de iodo. Depois de exposta na câmera escura, a imagem é revelada por vapores de mercúrio e fixada por uma solução salina.
+ 
+“A descoberta que comunico ao público está entre as poucas que, por seus princípios, seus resultados e a promissora influência que deverá exercer sobre as artes, se situam naturalmente entre as mais úteis e extraordinárias invenções…“.
+Louis Daguerre, 1838
+Louis Jacques Mandé Daguerre (1787-1851). Litografia / Acervo da Biblioteca do Congresso dos Estados Unidos
+ 
+A velocidade com que a notícia do invento do daguerreótipo chegou ao Brasil é curiosa: cerca de quatro meses depois do anúncio da descoberta, foi publicado no Jornal do Commercio, de 1º de maio de 1839, sob o título “Miscellanea”, na segunda coluna, um artigo sobre o assunto – apenas 10 dias após de ter sido o tema de uma carta do inventor norte-americano Samuel F. B. Morse (1791 – 1872), escrita em Paris em 9 de março de 1839, para o editor do New York Observer, que a publicou em 20 de abril de 1839.
+A introdução da daguerreotipia no Brasil se deu com a chegada do navio L’Oriental-Hydrographe, navio-escola da Marinha Mercante da França, em fins de 1839, sob o comando  do  capitão Augustin  Lucas (1804-1854?), que havia estado no ateliê de Daguerre em 1839. A viagem de circunavegação pensada como uma escola flutuante começou a ser planejada em 1838, quando seu projeto, pedagógico e mercantil, foi apresentado ao ministro da Marinha francesa, Claude Rosamel (1774 – 1848).
+Segundo a historiadora Maria Inez Turazzi, a presença do daguerreótipo a bordo assim como a de outros instrumentos inovadores, não foi casual ou improvisada, porém fruto de uma complexa rede de interesses diplomáticos, transações comerciais e intercâmbios científicos. É possível afirmar que a viagem de circunavegação do Oriental-Hydrographe teve início com a expectativa de consagrá-la como a primeira do gênero a utilizar a fotografia como meio de registro da experiência. 
+O Estatuto de admissão ao navio Hydrographe que fará a volta ao mundo sob o comando do capitão Lucas informava que os alunos a bordo seriam divididos em quatro seções, de acordo com o grau de instrução que tivessem recebido a partir de um exame realizado por professores de diferentes disciplinas antes do embarque. Esses professores pertenceriam aos quadros da universidade e estariam associados à expedição. Os alunos fariam estudos iguais aos dos colégio reais e aprenderiam línguas estrangeiras e conhecimentos específicos de marinha e comércio durante a viagem.
+O L’Oriental, um navio de três mastros, partiu do porto de Paimboeuf, nas proximidades da cidade francesa de Nantes, em 25 de setembro de 1839, com cerca de 80 pessoas a bordo, entre tripulação e passageiros. A previsão de duração da viagem era de dois anos e meio. Durante o mês de outubro, atracou em Lisboa, no dia 7, e na Ilha da Madeira, no dia 23. Posteriormente, fez escalas em Tenerife e na Ilha da Goreia (Senegal), de onde veio para o Brasil. Chegou no Recife, em 30 de novembro (Diário de Pernambuco, 2 de dezembro de 1839, última coluna), tendo zarpado no dia 4 de dezembro rumo a Salvador, onde chegou no dia 7 (Correio Mercantil (BA), 10 de dezembro de 1839, segunda coluna), permanecendo até 17 de dezembro (Correio Mercantil (BA), 18 de dezembro de 1839, última coluna) – entre essas duas cidades brasileiras ocorreu a única morte registrada da viagem, a de um estudante belga.
+O navio chegou no Rio de Janeiro, em 23 de dezembro de 1839, quando foi identificado como um colégio boiante, um navio-escola que promovia uma expedição didática- científica (Jornal do Commercio, 25 de dezembro de 1839, terceira coluna e Jornal do Commercio, 28 de dezembro de 1839, terceira coluna). No navio havia marinheiros capazes e professores hábeis, reunidos pelo capitão para iniciar os alunos a bordo nas primeiras noções da marinha e do comércio.  Dentre eles estava Francisco Sauvage, inventor do phisionotypo, um novo modo de suprir a escultura,  (Correio Mercantil (BA), 13 de dezembro de 1839, terceira coluna) e o abade francês Louis Comte (1798 – 1868), que viria a  ser o responsável pelas primeiras demonstrações da daguerreotipia no Brasil (Jornal do Commercio, de 17 de janeiro de 1840, primeira coluna). O médico em chefe da expedição deu consultas para moléstias de olhos no Hotel Europa, que ficava na rua do Carmo, esquina com a rua Ouvidor (Jornal do Commercio, 28 de dezembro de 1839, terceira coluna). Em 26 de janeiro, o L´Oriental partiu para Montevidéu, no Uruguai (Jornal do Commercio, 27 de janeiro de 1840, última coluna) e de lá seguiu para Valparaíso, no Chile, onde naufragou quando deixava a cidade, em 23 de junho de 1840.Tudo foi recuperado e não houve vítimas (Jornal do Commercio, 14 de agosto de 1840, primeira coluna). O abade Comte permaneceu em Montevidéu ensinando daguerreotipia até 1847. Posteriormente, alugando armazéns na área portuária, acumulou uma fortuna e voltou para a França, onde faleceu, em 22 de setembro de 1868. Está enterrado no cemitério de Sampans, na França.
+ 
+Jornal do Commercio, 14 de agosto de 1840
+ 
+No Jornal do Commercio, de 17 de janeiro de 1840, era anunciada a chegada do daguerreótipo no Rio de Janeiro
+ 
+O abade Comte, encarregado pela assistência intelectual e espiritual e pelo ensino de religião, música e canto durante a viagem, produziu alguns daguerreótipos, em 16 de janeiro de 1840, e, alguns dias depois, apresentou o invento a dom Pedro II (Jornal do Commercio,  20 de janeiro de 1840, terceira coluna). Foi com o próprio Daguerre que o abade havia aprendido a daguerreotipia. Em março do mesmo ano, d. Pedro II adquiriu um daguerreótipo, provavelmente o primeiro da América do Sul.
+ 
+Jornal do Commercio, 17 de janeiro de 1840
+ 
+Louis Compte. Chafariz do Largo do Paço, Rio de Janeiro, 16/1/1840, daguerreótipo, 9 [8,3] x 7 cm [1/6 placa]. Arquivo Grão Pará, Petrópolis, RJ
+ 
+Louis Comte. Vista parcial do Mercado da Praia do Peixe, Rio de Janeiro, 16/1/1840, daguerreótipo, 7 x 9 [8,3] cm [1/6 placa]. Arquivo Grão Pará, Petrópolis, RJ – Reprodução
+ 
+Sobre esse daguerreótipo há uma discussão de autoria e data: teria sido produzido por Comte em janeiro de 1840 ou por Morand entre 1842 e 1843? Daguerreótipo, 7 x 9 [8,3] cm [1/6 placa]. Acervo Grão Pará, Petrópolis, RJ – Reprodução
+ 
+Jornal do Commercio, 20 de janeiro de 1840
+
+Por sediar o Império, o Rio de Janeiro foi a capital da fotografia no Brasil. O imperador, grande entusiasta da nova invenção, foi retratado por diversos fotógrafos, dentre eles Marc Ferrez (1843-1923) e Joaquim Insley Pacheco (1830 – 1912), tendo conhecido praticamente o trabalho de todos eles. A fotografia passou a ser o instrumento de divulgação da imagem de dom Pedro II, moderna como queria que fosse o reino, segundo comenta Lilia Moritz Schwarcz no livro As barbas do Imperador: D. Pedro II, um monarca nos trópicos, e tornou-se também mais um símbolo de civilização e status. Foi um dos primeiros monarcas a oferecer seu real patrocínio a um fotógrafo, juntamente com a rainha Victoria da Inglaterra (1819 – 1901), quando, em 1851, permitiu que Buvelot & Prat, que haviam realizado uma série de daguerreótipos de Petrópolis – todos desaparecidos – usassem as armas imperiais na fachada de seu estabelecimento fotográfico.
+ 
+Lista dos Fotógrafos Imperiais, na ordem cronológica em que foram agraciados com este título, segundo Guilherme Auler (1914-1965), sob o pseudônimo de Ricardo Martim, em dois artigos publicados na Tribuna de Petrópolis, em 1º e 8 de abril de 1956, segundo o livro O Brasil na fotografia oitocentista, de Pedro Vasquez. Pedro Hees e Pedro Satyro da Silveira foram incluídos na lista de agraciados e a inclusão foi baseada no trabalho Photographos da Casa Imperial: A Nobreza da Fotografia no Brasil do Século XIX, de Danielle Ribeiro de Castro
+ 
+Buvelot & Prat, título concedido em 8 de março de 1851 (província do Rio de Janeiro)
+Joaquim Insley Pacheco, título concedido em 22 de dezembro de 1855 (província do Rio de Janeiro)
+João Ferreira Villela, título concedido em 18 de setembro de 1860 (província de Pernambuco)
+Revert Henrique Klumb, título concedido em 24 de agosto de 1861 (província do Rio de Janeiro)
+Stahl & Wahnschaffe, título concedido em 21 de abril de 1862 (província do Rio de Janeiro)
+Diogo Luiz Cipriano, título concedido em 20 de setembro de 1864 (província do Rio de Janeiro)
+Antonio da Silva Lopes Cardoso, título concedido em 30 de novembro de 1864 (província da Bahia)
+Thomas King, título concedido em 18 de maio de 1866 (província do Rio Grande do Sul)
+José Ferreira Guimarães, título concedido em 13 de setembro de 1866 (província do Rio de Janeiro)
+Fernando Skarke, título concedido em 14 de dezembro de 1866 (província de São Paulo)
+Pedro Satyro da Silveira, título concedido na década de 1870  (província do Rio de Janeiro)
+José Tomás Sabino, título concedido em 13 de agosto de 1873 (província do Pará)
+Henschel & Benque, título concedido em 7 de dezembro de 1874 (província do Rio de Janeiro)
+Pedro Hees , título concedido em 1876 (província do Rio de Janeiro)
+Antonio Henrique da Silva Heitor, título concedido em 2 de março de 1885 (província do Rio de Janeiro)
+Juan Gutierrez de Padilla, título concedido em 3 de agosto de 1889 (província do Rio de Janeiro)
+Ignácio Mendo, título concedido em 6 de agosto de 1889 (província da Bahia)
+ 
+Buvelot & Prat. Daguerreótipo de dona Teresa Cristina, 1852. Rio de Janeiro, RJ / Acervo IMS
+ 
+ 
+“Até onde chegará o aperfeiçoamento do invento de Daguerre?
+ 
+Uma curiosidade: o escritor Machado de Assis (1839 – 1908) nasceu no mesmo ano em que nasceu a fotografia: 1839. Aos 24 anos dele e do invento, escreveu sobre o assunto em sua coluna do Diário do Rio de Janeiro de 7 de agosto de 1864. Comentou sobre suas visitas à casa do Pacheco (o fotógrafo português Joaquim Insley Pacheco), que ficava na rua do Ouvidor, nº 102, exaltando poder ver no mesmo álbum fotográfico os rostos mais belos do Rio de Janeiro, falo dos rostos femininos. Contou também a história da chegada do daguerreótipo na cidade e, em seguida, elogiou o trabalho realizado pelo artista  J.T. da Costa Guimarães, uma miniatura de Diane de Poitiers, exposto no estabelecimento de Insley Pacheco. Finalmente, revelou que havia chegado há pouco tempo no referido ateliê um aparelho fotográfico destinado a reproduzir em ponto grande as fotografias de cartão. Termina seu passeio perguntando-se “Até onde chegará o aperfeiçoamento do invento de Daguerre?
+ 
+Diário do Rio de Janeiro, 7 de agosto de 1864
+ 
+Leia também o artigo A grande viagem da fotografia, de Nani Rubin, publicado no site do Instituto Moreira Salles, em 13 de janeiro de 2020.
+
+ 
+Andrea C. T. Wanderley
+
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+CARRÉ, Adrien. La singulière histoire de l’Oriental-Hydrographe. Bulletin du Comité Nantais de Documentation Historique de la Marine, Nantes, p. 17-35, 1970. 2.
+CASTRO, Danielle Ribeiro. Photographos da Casa Imperial: a Nobreza da Fotografia no Brasil do Século XIX, 2013
+Dictionary of Canadian Biography
+Estatuto de admissão ao navio Hydrographe que fará a volta ao mundo sob o comando do capitão Lucas. Registro autenticado – Bertinot e Roquebert – Rua Richelieu n. 28, Paris. Em 2 de abril de 1839. Arquivo Nacional da França, Paris. Transcrição e revisão de Maria Inez Turazzi; digitação de Márcia Trigueiro; tradução de Maria Elizabeth Brêa Monteiro. Publicado em TURAZZI, Maria Inez. A viagem do Oriental-Hydrographe (1839 – 1840) e a introdução da daguerreotipia no Brasil. Acervo; Revista do Arquivo Nacional, Rio de Janeiro, v.23, nº 1, p.45-62, jan-jun 20
+GURAN, Milton (organizador), TURAZZI, Maria Inez; VASQUEZ, Pedro Karp. Os daguerreótipos de Louis Comte no Rio de Janeiro – As primeiras fotografias feitas na América do Sul. Rio de Janeiro: Luz Tropical, 2016.
+
+Hemeroteca Digital da Biblioteca Nacional
+KOSSOY, Boris. Dicionário histórico-fotográfico brasileiro: fotógrafos e ofício da fotografia no Brasil (1833-1910). São Paulo: Instituto Moreira Salles, 2002.
+KOSSOY, Boris. O mistério dos daguerreótipos do Largo do Paço in Revista da USP, n. 120, janeiro-março, 2019, pp.127-152.
+PALMQUIST,Peter E; KAILBOURN,Thomas R. Pioneer Photographers of the Far West: A Biographical Dictionary, 1840-1865. Stanford: Universidade de Stanford, 2000.
+SCHWARCZ, Lilia Moritz. As barbas do Imperador: D. Pedro II, um monarca nos trópicos. São Paulo: Companhia das Letras, 1998.
+TURAZZI, Maria Inez. A viagem do Oriental-Hydrographe (1839 – 1840) e a introdução da daguerreotipia no Brasil. Acervo; Revista do Arquivo Nacional, Rio de Janeiro, v.23, nº 1, p.45-62, jan-jun 2010.
+TURAZZI, Maria Inez. Máquina viajante. Fotografia, uma viagem sem volta, janeiro de 2010.
+TURAZZI, Maria Inez. O Oriental-Hydrographe e a fotografia; a primeira expedição ao redor do mundo com uma ‘arte ao alcance de todos’ (1839-1840). Montevidéu: Centro de Fotografía de Montevideo, 2019. 380 p. il.
+
+VASQUEZ, Pedro Karp. Dom Pedro II e a fotografia no Brasil. Rio de Janeiro: Fundação Roberto Marinho, 1985.WOOD, Rupert Derek. A viagem do Capitão Lucas e do daguerreótipo a Sidney.  NZ Journal of Photography, 3-7, agosto 1994.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/4779` — `itens/20.500.12156.1_4779/`
+
diff --git a/wordpress/17816-a-ilha-fiscal-na-baia-de-guanabara.md b/wordpress/17816-a-ilha-fiscal-na-baia-de-guanabara.md
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--- /dev/null
+++ b/wordpress/17816-a-ilha-fiscal-na-baia-de-guanabara.md
@@ -0,0 +1,95 @@
+---
+id: 17816
+url: "https://brasilianafotografica.bn.gov.br/?p=17816"
+titulo: "A Ilha Fiscal na Baía de Guanabara"
+autor: "Andrea Wanderley"
+data: "2020-04-27T01:30:35+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/4244", "20.500.12156.1/6297", "20.500.12156.1/6298", "20.500.12156.1/6697"]
+fetched_at: "2026-09-10T10:00:52.487Z"
+---
+
+# A Ilha Fiscal na Baía de Guanabara
+
+A Brasiliana Fotográfica destaca seis imagens da Ilha Fiscal, uma das principais atrações turísticas do Rio de Janeiro, localizada na Baía de Guanabara. Foram produzidas pelos fotógrafos Jorge Kfuri (1893 – 1965), Juan Gutierrez ( c. 1860 – 1897) e Marc Ferrez (1843 – 1923). O registro de Kfuri é de 1916 e os de Ferrez e de Gutierrez das últimas duas décadas do século XIX.  O edifício da ilha, projeto do engenheiro Adolpho José Del Vecchio (1848 – 1927), foi inaugurado em 27 de abril de 1889.
+Acessando o link para as fotografias da Ilha Fiscal disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+Espécie de elo entre o passado e o presente, a Ilha Fiscal, que ocupa uma área de 7000 m2 e se distancia do continente por pouco mais de um quilômetro, notabilizou-se por ter sido o cenário do último baile do império, realizado em 9 de novembro de 1889, dias antes da Proclamação da República no Brasil, ocorrida em 15 de novembro de 1889. Na década de 1910, o domínio da Ilha Fiscal foi transferido do Ministério da Fazenda para a Marinha. Integra o Complexo Cultural da Diretoria do Patrimônio Histórico e Documentação da Marinha, uma das instituições parceiras da Brasiliana Fotográfica. A Ilha Fiscal foi tombada, em 1990, pelo Instituto Estadual do Patrimônio Cultural, e aberta à visitação pública em 1999.
+ 
+Jorge Kfuri. Ilha Fiscal, 1916. Rio de Janeiro, RJ / Acervo DPHDM
+ 
+A construção de um posto alfandegário para o controle de mercadorias comercializadas no porto do Rio de Janeiro foi solicitada pelo conselheiro João Antônio Saraiva (1823 – 1895), do Ministério da Fazenda, no século XIX, e a localização da, na época conhecida como Ilha dos Ratos, era ideal devido à proximidade aos pontos de fundeio dos navios mercantes estrangeiros que aportavam à Baía de Guanabara, na altura da atual Praça XV. Foi o imperador Pedro II que decidiu construir o prédio e que optou pelo estilo arquitetônico gótico-provençal, típico dos castelos franceses do século XIV e inspirado pelo trabalho do arquiteto francês Viollet-le-Duc (1814 – 1879). Durante a construção, fez frequentes visitas à ilha p.ara verificar o progresso dos trabalhos.
+ 
+Juan Gutierrez. Ilha Fiscal, 189?. Rio de Janeiro, RJ / Acervo Museu Histórico Nacional
+ 
+O projeto da edificação foi de Adolpho José Del Vecchio ( 1848 – 1927), então Engenheiro-Diretor de Obras do Ministério da Fazenda, e ganhou a Medalha de Ouro na Exposição da Academia Imperial de Belas Artes de 1890, tendo sido apresentado com a seguinte argumentação:
+“A construção planejada, tendo de ser levantada isoladamente em uma ilha, projetando-se sobre um fundo formado pela caprichosa Serra dos Órgãos, encimada por vasto horizonte, e de frente para a entrada da baía, devia causar impressão agradável aos que penetrassem no porto, suficientemente elevada para que pudesse facilmente ser vista de qualquer ponto entre a mastreação dos navios, e prestar-se ao mesmo tempo à fiscalização do ancoradouro.”
+Del Vecchio foi diretor de diversas outras obras de vulto como a das Docas Pedro II e da Praça do Comércio. Exerceu cargos importantes e recebeu diversas condecorações e prêmios nacionais e internacionais ao longo de sua carreira (O Paiz, 6 e 7 de junho de 1927, terceira coluna; Revista Brasileira de Engenharia, junho de 1927).
+ 
+Adolpho del Vecchio
+ 
+ 
+Catálogo da Exposição de Belas Artes de 1890
+ 
+ 
+Juan Gutierrez. Ilha Fiscal, 189?. Rio de Janeiro, RJ / Acervo Museu Histórico Nacional
+ 
+Em 6 de novembro de 1881, foi assentada a primeira pedra do edifício (Gazeta de Notícias, 7 de novembro de 1881, última coluna). No ano seguinte, del Vecchio foi condecorado como Oficial da Ordem da Rosa (Gazeta de Notícias, 26 de março de 1882, terceira coluna). O prédio da Ilha Fiscal foi inaugurado em 27 de abril de 1889 com a presença de Pedro II, do Conde d´Eu e de uma grande comitiva de ministros e autoridades. A elegante construção ocupa cerca de um terço da ilha medindo 68 metros de frente e 28 de fundos. Seu torreão tem 53 metros de altura ( Jornal do Commercio, 28 de abril de 1889, sexta coluna).
+ 
+“A ilha é um delicado estojo, digno de uma brilhante joia”
+Dom Pedro II
+ 
+A Ilha Fiscal era abastecida de água e em sua torre havia um holofote cuja movimentação e potência permitiam uma melhor fiscalização de qualquer ponto do porto. Todas as salas eram iluminadas com lâmpadas elétricas e a ilha estava ligada à alfândega por uma linha telefônica, para a qual havia sido instalado um cabo submarino. Os trabalhos de cantaria foram realizados pelo comendador Antonio Rodrigues Teixeira, a construção e a montagem da agulha de ferro do corpo central por Manoel Joaquim Moreira & C., o mosaico da sala de honra por Moreira & Carvalho, a montagem do relógio pela firma Krussman & C, a colocação dos aparelhos elétricos pelo sr. Léon Rodde e os trabalhos de pintura pelo alemão Frederico Steckel (1834 – 1921). Os vitrais coloridos a fogo foram confeccionados com cristal inglês e mostravam o imperador Pedro II entre os brasões da Casa Imperial Brasileira e da Casa de Saxônia; e a princesa Isabel  entre os brasões da Casa Imperial Brasileira e a Casa de Orléans.
+ 
+Marc Ferrez. Ilha Fiscal, c. 1885. Rio de Janeiro, RJ / Acervo IMS
+ 
+ 
+“Essa importante construção esteve sob a direção do engenheiro Adolpho José del Vecchio, diretor das obras do ministério da Faqzenda, que deu provas da maior atividade e zelo, muito concorrendo para dotar esta cidade com tão bem acabado e importante edifício”
+(Revista de Engenharia, 14 de maio de 1889).
+ 
+ Revista de Engenharia, 14 de maio de 1889
+ 
+ 
+Capa do cardápio do Baile da Ilha Fiscal / Acervo Arquivo Nacional
+Poucos meses depois, em 9 de novembro de 1889, foi realizado o evento pelo qual a Ilha Fiscal ficou mais conhecida: o último baile do Império do Brasil. Inicialmente marcado para o dia 19 de outubro, foi adiado devido à morte do rei Luís I de Portugal (1861 – 1889), sobrinho do imperador Pedro II (Gazeta de Notícias, 20 de outubro de 1889). A festa foi uma homenagem aos oficiais do cruzador chileno Almirante Cochrane, ancorado na Baía de Guanabara desde 11 de outubro de 1889, sob o comando de Constantino Bannen (1847 – 1899) (Gazeta de Notícias, 12 de outubro de 1889). Com o baile, que contou com as presenças de dom Pedro II, de dona Teresa Cristina, da princesa Isabel e do Conde d´Eu , e para o qual foram distribuídos cerca de três mil convites, pretendia-se realizar uma celebração inesquecível para fortalecer a monarquia diante da ameaça republicana. Não funcionou: seis dias depois foi proclamada a República no Brasil (Gazeta de Notícias, 9 de novembro de 1889; O Paiz, 10 de novembro de 1889; Gazeta de Notícias, 11 de novembro de 1889; Novidades, 11 de novembro de 1889, primeira coluna; Revista Illustrada, 16 de novembro de 1889; e O Paiz, 16 de novembro de 1889, primeira coluna).
+Em 1893,  a Ilha Fiscal sofreu avarias durante a Revolta da Armada, quando parte da esquadra brasileira rebelou-se contra o governo do Marechal Floriano Peixoto. Durante mais de seis meses, a ilha ficou no meio da artilharia travada entre as fortalezas da costa e os navios que se encontravam na Baía de Guanabara. Seus vitrais foram quebrados e suas paredes ficaram crivadas de balas de canhão.
+Em 1913, foi autorizada pelo ministro da Fazenda, Rivadávia da Cunha Correia (1866 – 1920), a transferência do domínio da Ilha Fiscal do referido ministério para a Marinha em troca do vapor Andrada, proposta feita pelo almirante Alexandrino Faria de Alencar (1848 – 1926), então ministro da Marinha,  (O Paiz, 9 de setembro de 1913, quinta coluna; 7 de de outubro de 1913, quinta coluna; Correio da Manhã, 24 de janeiro de 1914, última coluna).
+ 
+O Paiz, 9 de setembro de 1913
+ 
+Finalmente, em janeiro de 1914, foi assinado o termo  que oficializou a troca entre a Ilha Fiscal e o vapor Andrada, que passaria a servir de alojamento aos guardas da Alfândega (Correio da Manhã, 27 de janeiro de 1914, terceira coluna).
+ 
+Revista Marítima, abril de 1914
+ 
+A partir de 1914 (até 1983), a Ilha Fiscal abrigou a Repartição Hidrográfica da Marinha do Brasil, então denominada Superintendência de Navegação (O Século, 9 de janeiro de 1914, primeira coluna; Correio da Manhã, 30 de janeiro de 1914, última coluna; e O Paiz, 30 de janeiro de 1914, terceira coluna). Nos primeiros anos de ocupação, a Marinha refez a decoração interna e externa do prédio da Ilha Fiscal, restaurando sua beleza arquitetônica. Os vitrais com motivos monárquicos foram restaurados pela mesma firma inglesa que os tinha instalado originariamente.
+Logo no início dos anos 1930, a Ilha Fiscal foi ligada à Ilha das Cobras através de um estreito molhe de pedra.
+ 
+Andrea C. T. Wanderley
+
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+CALDEIRA, Jorge. Viagem pela História do Brasil. São Paulo: Companhia das Letras, 1997. p. 222.
+CARDOSO, Rafael. Uma introdução à história do design. São Paulo : Blucher, 2008.
+CARVALHO, José Murilo. Pedro II: ser ou não ser. São Paulo: Companhia das Letras, 2007.
+Dicionátio de Verbetes do Arquivo Geral da Cidade do Rio de Janeiro
+DUNLOP, Charles. Rio Antigo, vol 3. Rio de Janeiro : Editora Rio Antigo, 1960.
+GOMES, Laurentino. 1889. São Paulo : Globo Livros.
+Hemeroteca Digital da Biblioteca Nacional
+SCHWARCZ, Lilia Moritz. As barbas do Imperador: D. Pedro II, um monarca nos trópicos. São Paulo: Companhia das Letras, 1998.
+SILVA, Hélio. Nasce a República. São Paulo: Três, 1975.
+Site Diretoria de Hidrografia e Navegação da Marinha
+Site Diretoria do Patrimônio Histórico e Documentação da Marinha
+Site Inepac
+Site O Rio de Janeiro
+Site Receita Federal
+Site Riotur
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/4244` — `itens/20.500.12156.1_4244/`
+- `20.500.12156.1/6297` — `itens/20.500.12156.1_6297/`
+- `20.500.12156.1/6298` — `itens/20.500.12156.1_6298/`
+- `20.500.12156.1/6697` — `itens/20.500.12156.1_6697/`
+
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@@ -0,0 +1,145 @@
+---
+id: 17856
+url: "https://brasilianafotografica.bn.gov.br/?p=17856"
+titulo: "O Baile da Ilha Fiscal: registro raro realizado por Marc Ferrez e retrato de Aurélio de Figueiredo diante de sua obra"
+autor: "Andrea Wanderley"
+data: "2020-11-09T09:01:06+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/7940", "20.500.12156.1/758", "20.500.12156.1/481", "20.500.12156.1/447", "20.500.12156.1/7939", "20.500.12156.1/2575"]
+fetched_at: "2026-09-10T10:00:55.975Z"
+---
+
+# O Baile da Ilha Fiscal: registro raro realizado por Marc Ferrez e retrato de Aurélio de Figueiredo diante de sua obra
+
+A Brasiliana Fotográfica destaca uma rara fotografia do interior de um dos salões do Baile da Ilha Fiscal, realizada por Marc Ferrez (1843 – 1923), provavemente no dia da festa, em 9 de novembro de 1889; e um registro do pintor paraibano Francisco Aurélio de Figueiredo (1856 – 1916) diante do quadro que ficou conhecido como o O baile da Ilha Fiscal. As duas imagens pertencem à Fundação Biblioteca Nacional, uma das fundadoras do portal. O quadro está no acervo do Museu Histórico Nacional (MHN) desde 1933, ano em que a instituição, uma das parceiras do portal, incorporou o patrimônio do antigo Museu Naval, extinto por decreto de Getulio Vargas (1882 – 1954) de 14 de janeiro de 1932. A Ilha Fiscal integra o Complexo Cultural da Diretoria do Patrimônio Histórico e Documentação da Marinha, também uma instituição parceira da Brasiliana Fotográfica.
+ 
+Sobre o registro de Ferrez
+ 
+A notícia da descoberta da fotografia da sala do Baile da Ilha Fiscal, realizada por Marc Ferrez em 1889, por pesquisadores da Divisão de Manuscritos na Coleção Livraria José Olympio Editora, incorporada ao acervo da Biblioteca Nacional, em 2006, está documentada nos Anais da Biblioteca Nacional, vol 128, de 2008, na seção “Preciosidades do Acervo”. O artigo, intitulado O Baile da Ilha Fiscal, por Marc Ferrez (página 251), foi escrito pelos historiadores Frederico de Oliveira Ragazzi e Priscilla Helena Pereira Duarte, e pela cientista social Monique Matias Ramos de Oliveira. Supõe-se que o registro poderia vir a integrar livros de história do Brasil publicados pela editora, como alguns de autoria de Octávio Tarquínio de Sousa e Pedro Calmon. A fotografia encontrava-se na pasta “Dom Pedro II – solenidades – coroação – Inauguração E. (Estrada) de Ferro Pedro II – baile da Ilha Fiscal – etc – soberano visitando doentes”. Seu título foi extraído do papel originalmente colado no verso do cartão-suporte com informações datilografadas atribuídas a funcionários da Editora José Olympio.
+ 
+Anais da Biblioteca Nacional, vol 128, 2008
+ 
+A cópia a óleo de um retrato do almirante Cochrane, pendurado em uma das paredes do salão da festa, que aparece no registro de Ferrez, foi trabalho do artista Novack (O Paiz, 26 de outubro de 1889, sétima coluna).
+ 
+Marc Ferrez. Sala de baile da Ilha Fiscal preparada para a festa de 9 de novembro de 1889, em honra da Marinha chilena, 9 de novembro de 1889. Rio de Janeiro, RJ / Acervo FBN
+ 
+Acessando o link para as fotografias da Ilha Fiscal disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Desenho do lado direito do buffest do Baile da Ilha Fiscal / Gazeta de Notícias, 9 de novembro de 1889
+ 
+Um dos grandes salões do Baile da Ilha Fiscal / Gazeta de Notícias, 9 de novembro de 1889
+O acervo da Livraria José Olympio Editora e  sua chegada na Fundação Biblioteca Nacional
+ 
+“Em outubro de 2006, a Fundação Biblioteca Nacional recebeu o acervo da Livraria José Olympio Editora, doado pelos familiares do empresário Henrique Sérgio Gregori – fundador da filial brasileira da empresa Xérox -, que em 1984 adquiriu o controle acionário da empresa, então sob a tutela do Banco Nacional de Desenvolvimento Econômico e Social (BNDES). Fundada em 1931, a editora e livraria teve um papel destacado no cenário cultural brasileiro ao divulgar a obra de alguns dos mais notáveis escritores brasileiros, como José Lins do Rego, Jorge Amado, Graciliano Ramos, Rachel de Queiroz, Gilberto Freyre, Guimarães Rosa, entre tantos outros que contribuíram para solidificar o panorama literário brasileiro no século XX. Esse feito deve-se, em especial, à figura do seu fundador, José Olympio (1902- 1990), cuja identidade, não por acaso, sempre esteve diretamente associada à da instituição. 
+O acervo, abrangendo os oitenta anos de atividades da editora, é constituído principalmente pela correspondência trocada entre escritores e o editor José Olympio, documentos administrativos (com informações preciosas para a compreensão do funcionamento de uma editora na época), fotografias e recortes de jornais e revistas (com notícias sobre os acontecimentos na área editorial), projetos gráficos para cartazes e capas de livros, ilustrações criadas por renomados artistas brasileiros, como Santa Rosa, Poty, Eugênio Hirsch, Gian Calvi etc. 
+Não obstante ser composto por documentos, em sua grande maioria, do último século, há também no acervo alguns documentos do século XIX. A fotografia de Ferrez do salão de bailes no palacete da Ilha Fiscal – feita provavelmente pouco antes do início da festa — é, sem dúvida, uma peça notável, pois são raras as representações do baile que se tornou, para contragosto de seus organizadores, um irônico símbolo do declínio final da Monarquia“…
+Anais da Biblioteca Nacional, vol 128, 2008 – O Salão de de Baile da Ilha Fiscal, por Marc Ferrez, pág. 251
+ 
+Sobre Aurélio de Figueiredo, sobre sua fotografia no Álbum dos artistas e sobre o quadro O Baile da Ilha Fiscal
+ 
+A fotografia do pintor Aurélio de Figueiredo (1856 – 1916) diante do quadro O Baile da Ilha Fiscal faz parte do Álbum de artistas, do acervo da Fundação Biblioteca Nacional. O álbum foi doado à Seção de Estampas da instituição, em 22 de abril de 1932, pelo escritor, jornalista, cronista literário e crítico de arte maranhense Manoel Nogueira da Silva (1880 – 1943) (Gazeta de Notícias, 16 de novembro de 1943, terceira coluna). Dentre diversas personalidades, encontram-se retratadas no álbum, além do mencionado doador, Angelina Agostini (1888 – 1973), Antônio Parreiras (1860 -1937), Pedro Weingartner (1853 – 1929) e Menotti del Picchia (1892 – 1988). Nogueira da Silva foi o autor do livro Pequenos Estudos Sobre Arte, Pintura, Escultura (1926) e era considerado um dos melhores comentadores da obra do escritor Gonçalves Dias (1823 – 1864)(Gazeta de Notícias, 28 de janeiro de 1940, terceira coluna). Ocupou a cadeira 23 da Academia Carioca de Letras e trabalhou nos jornais Gazeta de Notícias e A Notícia.
+ 
+ Aurélio Figueiredo, pintando o seu quadro – O baile da ilha Fiscal, 1907. Rio de Janeiro, REJ / Acervo FBN
+ 
+O republicano e abolicionista Aurélio de Figueiredo nasceu em Areia, cidade paraibana, em 3 de agosto de 1854. Além de pintor foi caricaturista, desenhista, escritor e escultor. Sob a orientação de seu irmão, o pintor Pedro Américo (1843 – 1905) – autor de quadros importantes como A Fala do Trono (1873),  Batalha do Avaí (1877)  e Independência ou Morte! (1888)  – e de Jules Le Chevrel (c. 1810 – 1872), frequentou durante a adolescência, a Academia Imperial de Belas Artes, no Rio de Janeiro. Publicou suas caricaturas em revistas como A Comédia Social e a Semana Ilustrada. Em 1875, viajou para a Europa (Jornal do Commercio, 29 de agosto de 1875, sexta coluna) e, entre 1876 e 1878, morou em Florença, na Itália, onde trabalhou no ateliê do irmão e teve aulas com Antonio Ciseri (1821 – 1891), Nicolò Barabino (1832 – 1891) e Stefano Ussi (1822 – 1901). Retornou ao Brasil em outubro de 1878 (Jornal do Recife, 10 de outubro de 1878, terceira coluna) e estabeleceu-se no Recif,e onde oferecia-se para a realização de pinturas históricas e retratos a óleo (Jornal do Recife, 5 de abril de 1879, quinta coluna).
+ 
+Jornal do Recife, 5 de abril de 1879
+ 
+Dirigiu um curso noturno de desenho (Jornal do Recife, 16 de fevereiro de 1880, quinta coluna). Trabalhou executando retratos a óleo copiados de fotografias ou de originais (Jornal do Recife, 14 de maio de 1880, terceira coluna). Foi professor de desenho e pintura do Colégio de Nossa Senhora das Graças (Jornal do Recife, 29 de dezembro de 1880, segunda coluna). Ainda nos anos 1880, visitou outros países europeus e participou de várias edições da Exposição Geral de Belas Artes. Expôs, no estabelecimento fotográfico de M. Alfred Ducasble, no Recife, dois quadros: Saudade e Melancolia (Diário de Pernambuco, 19 de abril de 1881, primeira coluna). Meses depois, por motivos de saúde, o pintor foi para a Paraíba e deixou como contato no Recife a Galeria Ducasble (Diário de Pernambuco, 8 de setembro de 1881, quarta coluna). Em 1882, expôs no Liceu de Artes e Ofícios (Jornal do Recife, 20 de outubro de 1882, penúltima coluna) e, na comemoração dos 41 anos da Imperial Sociedade dos Artistas Mecânicos e Liberais de Pernambuco, foi realizada uma exposição com quatro salas e quadros a óleo de sua autoria integraram a mostra (Jornal do Recife, 19 de dezembro de 1882, quinta coluna). Participou de outras exposições dessa sociedade. Em 1884, voltou a expor na Galeria Ducasble (Jornal do Recife, 6 de dezembro de 1884, quinta coluna). Em 1885, fixou residência em Montevidéu, no Uruguai, onde trabalhou na revista Illustracion Uruguaya (Jornal do Recife, 23 de dezembro de 1885, penúltima coluna). Foi noticiado que ele havia decidido pintar um quadro de grandes dimensões sobre a abolição da escravatura (Jornal do Recife, 24 de maio de 1888, quinta coluna). O pintor foi um dos autores do Projeto de reforma no ensino das artes plásticas, apresentada ao ministro do Interior (Jornal do Recife, 16 de fevereiro de 1890, quarta coluna). Por volta de 1889 foi viver no Rio de Janeiro e seu ateliê ficava na rua do Barão de Capanema. Realizou uma exposição na Academia de Belas Artes, em 1891 (Revista Illustrada, outubro de 1891,  primeira coluna; e Jornal do Recife, 23 de abril de 1892, segunda coluna). Foi publicada uma carta dele redigida após uma reunião de artistas realizada em seu ateliê no dia 29 de janeiro de 1893, quando ficou decidida a organização de exposições gerais anuais de Belas Artes e a fundação de uma Galeria Livre (Revista Illustrada, março de 1893).
+Sua produção foi apresentada em duas exposições individuais: a primeira em 1912, no Liceu de Artes e Ofícios de São Paulo (O Paiz, 23 de janeiro de 1912, sexta coluna), e a segunda, póstuma, em 1956, no Museu Nacional de Belas Artes (O Paiz, 5 de setembro de 1956, segunda coluna). Faleceu no Rio de Janeiro em 9 de abril de 1916. Sua mulher, Paulina de Figueiredo, faleceu dias depois (O Paiz, 10 de abril de 1916, segunda coluna; e O Paiz, de abril de 1916, segunda coluna).
+Apesar de ter ficado conhecida como O baile da Ilha Fiscal, o autor havia dado à tela o título de A ilusão do Terceiro Reinado. Pintada em 1905, ela só seria apresentada ao público em 9 de janeiro de 1907, na Escola Nacional de Belas Artes, sob um terceiro título: O advento da república (Jornal do Brasil, 1o de janeiro de 1907, sétima coluna). Foi exibida na exposição de 1922, comemorativa do centenário de Independência, e na exposição de 1939, que celebrou o 50º aniversário da República. No artigo O último baile e seus personagens: protagonistas e figurantes na tela de Aurélio de Figueiredo, a historiadora Maria Isabel Ribeiro Lenzi, do Museu Histórico Nacinal, identifica várias figuras representadas na pintura, dentre elas Machado de Assis (1839 – 1908) e Carolina Novaes (1835 – 1904); o poeta e jornalista João Cardoso de Menezes e Souza, barão de Paranapiacaba (1827 – 1915); o prefeito Francisco Pereira Passos (1836 – 1913); a família do próprio pintor; e a família imperial. Outros quadros importantes do pintor foram Francesca da Rimini (1873), Moça na janela (1891) e Compromisso Constitucional (1896).
+ 
+ 
+Sobre o Baile da Ilha Fiscal
+ 
+O Baile da Ilha Fiscal, de Aurélio de Figueiredo / Acervo Museu Histórico Nacional
+ 
+Em 1889, as relações de amizade entre o Brasil e o Chile foram festejadas com demonstrações recíprocas de apreço e estima. Em Santiago e em Valparaíso, o governo e o povo chileno homenagearam a oficialidade do cruzador Almirante Barroso (O Paiz, 4 de julho de 1889, sexta coluna), em viagem de circunavegação iniciada em 27 de outubro de 1888 (O Paiz, 28 de outubro de 1888, segunda coluna). O Brasil fez o mesmo quando, retornando da Europa, a esquadra chilena, liderada pelo encouraçado Almirante Cochrane, sob o comando do capitão-de-mar-e-guerra Constantino Bannen (1847 – 1899), aportou no Rio de Janeiro, em 11 de outubro de 1889 (Gazeta de Notícias, 12 de outubro de 1889). Uma série de eventos, entre piqueniques, espetáculos de gala, banquetes e excursões, foram realizados mobilizando a elite carioca. O Império enfrentava problemas econômicos e a abolição da escravatura contribuia para a falta de sustentação política do regime. Nesse quadro de instabilidade, o gabinete ministerial se empenhou em organizar as festividades em torno dos chilenos para demonstrar o prestígio da monarquia.
+O Baile da Ilha Fiscal, em 9 de novembro, oferecido pelo presidente do Conselho de Ministros do Império do Brasil, Visconde de Ouro Preto (1836 – 1912), foi o ápice das Festas Chilenas e um golpe de publicidade na tentativa de promover o terceiro reinado. Foi o primeiro (e último) baile oficialmente promovido pelo Império. Pretendia-se realizar uma celebração inesquecível para fortalecer a monarquia diante da ameaça republicana. Para a festa, o último grande evento do Império Brasileiro, inicialmente marcada para o dia 19 de outubro e adiada devido à morte do rei Luís I de Portugal (1861 – 1889), sobrinho do imperador Pedro II (Gazeta de Notícias, 20 de outubro de 1889; e O Paiz, 21 de outubro de 1889, sétima coluna), foram distribuidos cerca de 3 mil convites. Os preparativos e a realização da festa foram bastante noticiados e seu luxo foi muito criticado pela imprensa.
+ 
+
+ 
+Contou com as presenças de dom Pedro II (1825 – 1891), de dona Teresa Cristina (1822 – 1889), da princesa Isabel (1846 – 1921), do Conde d´Eu (1842 – 1922) e das mais importantes figuras da sociedade e da política do país. A Família Imperial, sua comitiva, diplomatas estrangeiros e alguns convidados ficaram em um salão especialmente preparado para eles.
+ 
+Capa do cardápio do Baile da Ilha Fiscal
+ 
+Clique aqui para ver o cardápio completo
+ 
+O edifício da Ilha Fiscal, projeto do engenheiro Adolpho José Del Vecchio (1848 – 1927), havia sido inaugurado em 27 de abril de 1889, poucos meses antes da realização do baile. No dia da festa foi iluminada com luz elétrica, tecnologia rara na época, e refletores de grandes navios iluminavam o Paço, a Capela Imperial e a Igreja da Ordem Terceira do Carmo, propiciando uma bela visão do Rio de Janeiro aos convidados da festividade. Por volta das 23h, começaram as danças com seis bandas tocando diversos tipos de música como valsas, mazurcas quadrilhas, lanceiros e polcas. Em frente à ilha, no Largo do Paço, uma banda da polícia tocava lundus e fandangos alegrando uma pequena multidão que não havia sido convidada para a festividade.
+O casal imperial, o conde d´Eu e a princesa Isabel foram embora à uma da madrugada, mas a festa só terminou por volta das 5 da manhã. Foram descritos com detalhes 74 trajes das damas presentes e publicada também uma descrição detalhada da ceia, anunciada em um menu de 12 páginas. O banquete ficou a cargo da Casa Paschoal (O Paiz, 10 de novembro de 1889; Gazeta de Notícias, 11 de outubro de 1889; Revista Illustrada, 16 de novembro de 1889).
+“Durante a festa foram servidos cerca de 10 mil litros de cerveja e 304 caixas de bebidas, das quais 258 eram de vinhos e champanhes, o que significa terem sido abertas mais de três mil garrafas. Segundo Carlos Cabral, essas bebidas custariam hoje 250 mil dólares, uma vez que foram servidos um raríssimo Porto de 1834, além dos até hoje famosos vinhos Tokay, Chateau D’Yquem, Chateau Lafite e um Falerno em homenagem à Imperatriz… Ao final, a conta apresentada pela Casa Paschoal incluía, além das bebidas acima mencionadas, os outros serviços, onde constava um bufê com 11 tipos de pratos quentes, 15 de pratos frios, 12 tipos de sobremesa, no qual foram utilizados 18 pavões, 25 cabeças de porco, 64 faisões, 300 peças de presunto, 500 perus, 800 quilos de camarão, 800 latas de trufas, 1.200 latas de aspargos, 1.300 galinhas, além de 50 tipos de saladas com maionese, 2.900 pratos de doces variados, 12.000 taças de sorvete, 18 mil frutas e 20 mil sanduíches“.(1)
+A festa foi definida por Machado de Assis (1839 – 1908) em seu romance Esaú e Jacó como um sonho veneziano; toda aquela sociedade viveu algumas horas suntuosas; novas para alguns, saudosas para outros.
+Durante o baile, muitos militares estavam reunidos na Escola Militar da Praia Vermelha, articulando a derrubada do poder imperial.
+Reza a lenda que o monarca, durante a festividade, tropeçou e então teria dito a Ouro Preto: a monarquia balança, mas não cai ou O monarca tropeçou, mas a monarquia não caiu. Ironia do destino? Caso tenha de fato dito isso, seu vaticínio não se cumpriu: dias depois, em 15 de novembro de 1889, foi proclamada a República e a monarquia caiu (O Paiz, 16 de novembro de 1889, primeira coluna). Dom Pedro II faleceu no exílio, em Paris, em 5 de dezembro de 1891.
+ 
+
+                                                       Revista Illustrada, 16 de novembro de 1889
+ 
+ 
+(1) SUAUDEAU, Laurent; DITADI, Carlos Augusto Silva. O Império à mesa, por Luarent Suaudeau e Carlos Augusto Silva Ditadi  In: MALERBA, Jurandir; HEYNEMANN, Cláudia; RAINHO, Maria do Carmo Teixeira. Festas chilenas, sociabilidades e política no Rio de Janeiro no ocaso do império. Porto Alegre: EdiPUCRS, 2014.
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Link para o artigo A Ilha Fiscal na Baía de Guanabara, publicado na Brasiliana Fotográfica em 27 de abril de 2020.
+ 
+Fontes:
+Anais da Biblioteca Nacional, vol 128, de 2008
+CARVALHO, José Murilo. Pedro II: ser ou não ser. São Paulo: Companhia das Letras, 2007.
+DUNLOP, Charles. Os impressionantes números do último baile da Ilha Fiscal. Rio de Janeiro:Editora Rio Antigo
+Folha de São Paulo, 12 de novembro de 2019
+GOMES, Laurentino. 1889: Como um imperador cansado, um marechal vaidoso e um professor injustiçado contribuíram para o fim da Monarquia e a Proclamação da República no Brasil. São Paulo:Globo, 2013.
+Hemeroteca Digital da Biblioteca Nacional
+LENZI, Maria Isabel Ribeiro. O último baile e seus personagens: protagonistas e figurantes na tela de Aurélio de Figueiredo. Anais do Museu Histórico Nacional, Rio de Janeiro, vol 51, 191-216, 2019.
+MALERBA, Jurandir; Heynemann, Claudia; RAINHO, Maria do Carmo Teixeira. Festas Chilenas, sociabilidade e política no Rio de Janeiro no ocaso do império. Rio Grande do Sul:EDICPUCRS, 2014.
+PRIORI, Mary del. Entre “doidos” e “bestializados”: o baile da Ilha Fiscal. REVISTA USP, São Paulo, n.58, p. 30-47, junho/agosto 2003.
+SANDRONI, Carlos. “Quem animou o baile?” In: MALERBA, Jurandir; HEYNEMANN, Cláudia; RAINHO, Maria do Carmo Teixeira. Festas chilenas, sociabilidades e política no Rio de Janeiro no ocaso do império. Porto Alegre: EdiPUCRS, 2014.
+SCHWARCZ, Lilia Moritz. As barbas do Imperador: D. Pedro II, um monarca nos trópicos. São Paulo: Companhia das Letras, 1998.
+SCHWARCZ, Lilia Moritz; STARLING, Heloisa Murgel. Brasil: Uma Biografia. São Paulo: Companhia das Letras, 2015.
+Site Aventuras na História
+Site Enciclopédia Itaú Cultural
+SUAUDEAU, Laurent; DITADI, Carlos Augusto Silva. O Império à mesa, por Luarent Suaudeau e Carlos Augusto Silva Ditadi  In: MALERBA, Jurandir; HEYNEMANN, Cláudia; RAINHO, Maria do Carmo Teixeira. Festas chilenas, sociabilidades e política no Rio de Janeiro no ocaso do império. Porto Alegre: EdiPUCRS, 2014.
+Veja, 22 de maio de 2010
+ 
+Publicações da Brasiliana Fotográfica em torno da obra do fotógrafo Marc Ferrez 
+ 
+Marc Ferrez aos 33 anos, c. 1876. Rio de Janeiro, RJ / Acervo IMS
+O Rio de Janeiro de Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 30 de junho de 2015
+Obras para o abastecimento no Rio de Janeiro por Marc Ferrez , de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 25 de janeiro de 2016
+O brilhante cronista visual Marc Ferrez (7/12/1843 – 12/01/1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 7 de dezembro de 2016
+Do natural ao construído: O Rio de Janeiro na fotografia de Marc Ferrez, de autoria de Sérgio Burgi, um dos curadores da Brasiliana Fotográfica, publicada em 19 de dezembro de 2016
+No primeiro dia da primavera, as cores de Marc Ferrez (1843 – 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 22 de setembro de 2017
+Marc Ferrez , a Comissão Geológica do Império (1875 – 1878) e a Exposição Antropológica Brasileira no Museu Nacional (1882), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica,  publicada em 29 de junho de 2018
+Série “O Rio de Janeiro desaparecido” V – O quiosque Chopp Berrante no Passeio Público, Ferrez, Malta e Charles Dunlop, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 20 de julho de 2018
+Uma homenagem aos 175 anos de Marc Ferrez (7 de dezembro de 1843 – 12 de janeiro de 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 7 de dezembro de 2018 
+Pereira Passos e Marc Ferrez: engenharia e fotografia para o desenvolvimento das ferrovias, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 5 de abril de 2019
+Fotografia e ciência: eclipse solar, Marc Ferrez e Albert Einstein, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 24 de junho de 2019
+Os 180 anos da invenção do daguerreótipo – Os álbuns da Comissão Geológica do Império com fotografias de Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 19 de agosto de 2019
+Celebrando o fotógrafo Marc Ferrez (1843 – 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 4 de dezembro de 2019
+Uma homenagem da Casa Granado ao imperial sob as lentes de Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 7 de fevereiro de 2020
+Ressaca no Rio de Janeiro invade o porão da casa do fotógrafo Marc Ferrez, em 1913, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado 6 de março de 2020
+Petrópolis, a Cidade Imperial, pelos fotógrafos Marc Ferrez e Revert Henrique Klumb, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 16 de março de 2020
+Bambus, por Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 5 de junho de 2020
+O Palácio de Cristal fotografado por Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 2 de fevereiro de 2021
+A Estrada de Ferro do Paraná, de Paranaguá a Curitiba, pelos fotógrafos Arthur Wischral (1894 – 1982) e Marc Ferrez (1843 – 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 22 de março de 2021
+Dia dos Pais – Julio e Luciano, os filhos do fotógrafo Marc Ferrez, e outras famílias, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 6 de agosto de 2021
+No Dia da Árvore, mangueiras fotografadas por Ferrez e Leuzinger, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 21 de setembro de 2021
+Retratos de Pauline Caroline Lefebvre, sogra do fotógrafo Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 28 de abril de 2022
+A Serra dos Órgãos: uma foto aérea e imagens realizadas pelos mestres Ferrez, Leuzinger e Klumb, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 30 de junho de 2022
+O centenário da morte do fotógrafo Marc Ferrez (1843 – 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 12 de janeiro de 2023
+O Observatório Nacional pelas lentes de Marc Ferrez, amigo de vários cientistas, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 29 de maio de 2023
+No Dia Mundial do Meio Ambiente, a potente imagem da Cachoeira de Paulo Afonso, por Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 5 de junho de 2023
+A Fonte Adriano Ramos Pinto por Guilherme Santos e Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 18 de julho de 2023
+Os 180 anos de nascimento do fotógrafo Marc Ferrez (1843 – 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 7 de dezembro de 2023
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/7940` — `itens/20.500.12156.1_7940/`
+- `20.500.12156.1/758` — `itens/20.500.12156.1_758/`
+- `20.500.12156.1/481` — `itens/20.500.12156.1_481/`
+- `20.500.12156.1/447` — `itens/20.500.12156.1_447/`
+- `20.500.12156.1/7939` — `itens/20.500.12156.1_7939/`
+- `20.500.12156.1/2575` — `itens/20.500.12156.1_2575/`
+
diff --git a/wordpress/17884-uma-homenagem-da-casa-granado-ao-casal-imperial-sob-as-lentes-de-marc-ferrez.md b/wordpress/17884-uma-homenagem-da-casa-granado-ao-casal-imperial-sob-as-lentes-de-marc-ferrez.md
new file mode 100644
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--- /dev/null
+++ b/wordpress/17884-uma-homenagem-da-casa-granado-ao-casal-imperial-sob-as-lentes-de-marc-ferrez.md
@@ -0,0 +1,82 @@
+---
+id: 17884
+url: "https://brasilianafotografica.bn.gov.br/?p=17884"
+titulo: "Uma homenagem da Casa Granado ao casal imperial sob as lentes de Marc Ferrez"
+autor: "Andrea Wanderley"
+data: "2020-02-07T10:53:06+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/348", "20.500.12156.1/2575"]
+fetched_at: "2026-09-10T10:00:58.893Z"
+---
+
+# Uma homenagem da Casa Granado ao casal imperial sob as lentes de Marc Ferrez
+
+Marc Ferrez. Pharmacia Drogaria Granado and Ca, 1888. Rio de Janeiro, RJ / Acervo FBN
+A Brasiliana Fotográfica destaca um registro da fachada da Farmácia Granado produzido por Marc Ferrez (1843 – 1921). No topo da imagem há um quadro a óleo retratando dom Pedro II (1825 – 1891) e a imperatriz Teresa Cristina (1822 – 1889), com o neto primogênito, Pedro Augusto de Saxe-Coburgo e Bragança (1866 – 1934). Foi encomendado pela farmácia ao artista alemão Frederico Steckel (c. 1834 -1921), em homenagem ao “feliz regresso” do casal ao Brasil, em 22 de agosto de 1888 (Gazeta de Notícias, 23 de agosto de 1888, primeira coluna). Em 1880, dom Pedro II havia concedido à drogaria o título de Farmácia Oficial da Família Imperial Brasileira. A Granado, uma das únicas marcas brasileiras que existe desde o reinado de dom Pedro II, completa 150 anos e é o tema da exposição “A história da botica mais tradicional do Brasil”, aberta em 15 de janeiro último, no Museu Histórico Nacional, uma das instituições parceiras do portal. Ficará em cartaz até 3 de maio de 2020.
+ 
+“A farmácia dos senhores Granado, conhecido estabelecimento da rua Primeiro de Março, número 12, encomendou ao artista Frederico Antônio Steckel uma decoração especial. A pintura a óleo, reprodução de uma fotografia tirada depois do restabelecimento de D. Pedro, exibia em tamanho natural os avós e o neto: “o favorito”. No alto da grossa moldura, as armas imperiais. Em seda carmesim, tremulavam sobre o quadro os dizeres em letras douradas: “Feliz Regresso de Suas Majestades  Imperiais”. A novidade era a iluminação a gás que fazia brilhar as estrelas do Cruzeiro e as colunas do quadro. Embasbacados, os passantes se amontoavam na vitrine.”(1)
+ 
+Gazeta de Notícias, 23 de agosto de 1888
+ 
+Acessando o link para a fotografia Pharmacia Drogaria Granado and Ca, produzida em 1888 por Marc Ferrez disponível na Brasiliana Fotográfica, o leitor poderá magnificar a imagem e verificar todos os dados referentes a ela.
+ 
+Frederico Steckel, autor da decoração da fachada fotografada por Ferrrez /Acervo de Fernando Argeu Murta
+ 
+Marc Ferrez, o autor da fotografia da fachada, aos 33 anos de idade, c. 1876 / Acervo IMS
+ 
+O casal imperial havia viajado em 30 de junho de 1887 para a Europa. Estiveram inicialmente em Portugal e, de lá, seguiram para Paris. Aconselhado por médicos, dom Pedro II foi para Baden-Baden, e retornou a Paris, onde visitou intelectuais, entre eles, Louis Pasteur. Fez um cruzeiro pela Riviera italiana e foi para a estação de cura de Aix-les-Bains, na França. Também visitou, atendendo a um desejo de sua esposa, as ruínas de Pompeia (Gazeta de Notícias, 17 de junho de 1888, quarta coluna).
+A Casa Granado foi fundada por José de Barros Franco e pelo português José Antônio Coxito Granado com o nome “Botica de Barros Franco” e ficava na então denominada rua Direita, uma das mais movimentadas do centro do Rio de Janeiro, atual rua Primeiro de Março, onde permanece até hoje. Em 1876, Barros Franco retirou-se da sociedade e Pedro Gonçalves Bastos tornou-se sócio até 1878 (A Reforma, 16 de setembro de 1876, primeira coluna; Gazeta de Notícias, 19 de maio de 1878, penúltima coluna). A loja tornou-se ponto de encontro de personalidades ilustres como o prefeito Pereira Passos (1836 – 1913) e Rui Barbosa (1849 – 1923). Em 1903, João Bernardo Granado, irmão de Coxito, criou um dos produtos mais populares da botica: o polvilho antisséptico, cuja fórmula teve registro aprovado pelo cientista Oswaldo Cruz. Em 1915, lançamento de outro produto pioneiro: o sabonete de glicerina.
+ 
+(1) PRIORI, Mary del. O Príncipe Maldito. Rio de Janeiro: Objetiva, 2017.
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Publicações da Brasiliana Fotográfica em torno da obra do fotógrafo Marc Ferrez 
+ 
+Marc Ferrez aos 33 anos, c. 1876. Rio de Janeiro, RJ / Acervo IMS
+O Rio de Janeiro de Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 30 de junho de 2015
+Obras para o abastecimento no Rio de Janeiro por Marc Ferrez , de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 25 de janeiro de 2016
+O brilhante cronista visual Marc Ferrez (7/12/1843 – 12/01/1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 7 de dezembro de 2016
+Do natural ao construído: O Rio de Janeiro na fotografia de Marc Ferrez, de autoria de Sérgio Burgi, um dos curadores da Brasiliana Fotográfica, publicada em 19 de dezembro de 2016
+No primeiro dia da primavera, as cores de Marc Ferrez (1843 – 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 22 de setembro de 2017
+Marc Ferrez , a Comissão Geológica do Império (1875 – 1878) e a Exposição Antropológica Brasileira no Museu Nacional (1882), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica,  publicada em 29 de junho de 2018
+Série “O Rio de Janeiro desaparecido” V – O quiosque Chopp Berrante no Passeio Público, Ferrez, Malta e Charles Dunlop, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 20 de julho de 2018
+Uma homenagem aos 175 anos de Marc Ferrez (7 de dezembro de 1843 – 12 de janeiro de 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 7 de dezembro de 2018 
+Pereira Passos e Marc Ferrez: engenharia e fotografia para o desenvolvimento das ferrovias, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 5 de abril de 2019
+Fotografia e ciência: eclipse solar, Marc Ferrez e Albert Einstein, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 24 de junho de 2019
+Os 180 anos da invenção do daguerreótipo – Os álbuns da Comissão Geológica do Império com fotografias de Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 19 de agosto de 2019
+Celebrando o fotógrafo Marc Ferrez (1843 – 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 4 de dezembro de 2019
+Ressaca no Rio de Janeiro invade o porão da casa do fotógrafo Marc Ferrez, em 1913, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado 6 de março de 2020
+Petrópolis, a Cidade Imperial, pelos fotógrafos Marc Ferrez e Revert Henrique Klumb, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 16 de março de 2020
+Bambus, por Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 5 de junho de 2020
+O Baile da Ilha Fiscal: registro raro realizado por Marc Ferrez e retrato de Aurélio de Figueiredo diante de sua obra, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 9 de novembro de 2020
+O Palácio de Cristal fotografado por Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 2 de fevereiro de 2021
+A Estrada de Ferro do Paraná, de Paranaguá a Curitiba, pelos fotógrafos Arthur Wischral (1894 – 1982) e Marc Ferrez (1843 – 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 22 de março de 2021
+Dia dos Pais – Julio e Luciano, os filhos do fotógrafo Marc Ferrez, e outras famílias, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 6 de agosto de 2021
+No Dia da Árvore, mangueiras fotografadas por Ferrez e Leuzinger, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 21 de setembro de 2021
+Retratos de Pauline Caroline Lefebvre, sogra do fotógrafo Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 28 de abril de 2022
+A Serra dos Órgãos: uma foto aérea e imagens realizadas pelos mestres Ferrez, Leuzinger e Klumb, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 30 de junho de 2022
+O centenário da morte do fotógrafo Marc Ferrez (1843 – 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 12 de janeiro de 2023
+O Observatório Nacional pelas lentes de Marc Ferrez, amigo de vários cientistas, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 29 de maio de 2023
+No Dia Mundial do Meio Ambiente, a potente imagem da Cachoeira de Paulo Afonso, por Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 5 de junho de 2023
+A Fonte Adriano Ramos Pinto por Guilherme Santos e Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 18 de julho de 2023
+Os 180 anos de nascimento do fotógrafo Marc Ferrez (1843 – 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 7 de dezembro de 2023
+ 
+ 
+ 
+Fontes:
+CARVALHO, José Murilo. Pedro II: ser ou não ser. São Paulo: Companhia das Letras, 2007.
+GIANETTI, Ricardo. Frederico Steckel: pintor-decorador do Império e da República. IV Colóquio Internacional. A Casa Senhorial: Anatomia dos Interiores, Universidade de Pelotas no Rio Grande do Sul, 2017
+Hemeroteca Digital da Biblioteca Nacional
+PRIORI, Mary del. O Príncipe Maldito. Rio de Janeiro: Objetiva, 2017.
+SCHWARCZ, Lilia Moritz. As barbas do Imperador: D. Pedro II, um monarca nos trópicos. São Paulo: Companhia das Letras, 1998.
+Site da Granado
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/348` — `itens/20.500.12156.1_348/`
+- `20.500.12156.1/2575` — `itens/20.500.12156.1_2575/`
+
diff --git a/wordpress/17940-serie-exposicoes-x-e-serie-1922-hoje-ha-100-anos-viii-a-abertura-da-exposicao-in.md b/wordpress/17940-serie-exposicoes-x-e-serie-1922-hoje-ha-100-anos-viii-a-abertura-da-exposicao-in.md
new file mode 100644
index 0000000..d650190
--- /dev/null
+++ b/wordpress/17940-serie-exposicoes-x-e-serie-1922-hoje-ha-100-anos-viii-a-abertura-da-exposicao-in.md
@@ -0,0 +1,430 @@
+---
+id: 17940
+url: "https://brasilianafotografica.bn.gov.br/?p=17940"
+titulo: "Série “Exposições” X e Série “1922 – Hoje, há 100 anos” VIII – A abertura da Exposição Internacional do Centenário da Independência do Brasil e o centenário da primeira grande transmissão pública de rádio no país"
+autor: "Andrea Wanderley"
+data: "2022-09-07T00:14:18+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/7680", "20.500.12156.1/9690", "20.500.12156.1/7766", "20.500.12156.1/7769", "20.500.12156.1/9741", "20.500.12156.1/3957", "20.500.12156.1/6597", "20.500.12156.1/9426", "20.500.12156.1/9463", "20.500.12156.1/7942", "20.500.12156.1/10677", "20.500.12156.1/7768", "20.500.12156.1/11061", "20.500.12156.1/9691", "20.500.12156.1/7759", "20.500.12156.1/9693", "20.500.12156.1/9734", "20.500.12156.1/7955", "20.500.12156.1/5071", "20.500.12156.1/4777", "20.500.12156.1/7919"]
+fetched_at: "2026-09-10T10:01:02.885Z"
+---
+
+# Série “Exposições” X e Série “1922 – Hoje, há 100 anos” VIII – A abertura da Exposição Internacional do Centenário da Independência do Brasil e o centenário da primeira grande transmissão pública de rádio no país
+
+“Uma exposição universal era um inventário das regiões do mundo e do conhecimento humano, contemplava o ‘novo’ e também o ‘exótico’. Participar da exposição era como existir sobre a face da Terra; percorrê-la era como dar uma volta ao mundo”.
+Portal da Biblioteca Nacional
+ 
+A Exposição Internacional do Centenário da Independência, um dos maiores eventos internacionais já realizados no Brasil, é o assunto do oitavo artigo da Série 1922 – Hoje, há 100 anos. Foi uma espécie de vitrine do progresso nacional e mundial. Essa era a tradição característica das exposições universais, cuja primeira foi realizada, em 1851, em Londres: eram espetáculos da civilização industrial e do trabalho, feiras de negócios e de estímulo à cultura, que colocavam os centros urbanos como os pólos da modernidade.
+ 
+Thiele & Kollien [?]; Photo Bippus Rio [?]. Exposição Internacional do Centenário da Independência, 1922. Rio de Janeiro, RJ / Acervo IMS
+A Exposição de 1922 foi a primeira exposição universal realizada após a Primeira Guerra Mundial e o mundo estava mobilizado por uma vontade de renovação. Mobilização evidenciada pelo envolvimento da população em geral e também da intelectualidade brasileira com o evento. Avaliações sobre os cem anos do Brasil como país independente eram feitas e havia a percepção de que o país ainda não havia se constituído como nação. Formava-se então a geração intelectual dos anos 20 cujo compromisso era criar a nação, forjar a identidade nacional e construir o Brasil moderno (APUD MOTTA, 1992:18).
+ 
+“O Centenário de nossa Independência veio  encontrar-nos com a máscara do século em nosso rosto”
+Careta, 9 de setembro de 1922
+ 
+Foi a primeira exposição universal sediada no Brasil, cuja primeira participação nessas exposições aconteceu em 1862, em Londres, com o apoio e subsídio de dom Pedro II (1825 – 1891) como forma de colocar o país, a partir da exibição de avanços científicos e de sua estabilidade política, no patamar dos países civilizados.
+ 
+Augusto Malta. Exposição Internacional de 1922 – Torre, 1922. Rio de Janeiro, RJ / Acervo IMS
+ 
+A Exposição de 1922 foi inaugurada no Rio de Janeiro em 7 de setembro de 1922, há exatos 100 anos, e terminou em 24 de julho do ano seguinte (O Paiz, 25 de julho de 1923). Seu fim estava previsto para 31 de março de 1923, mas foi prorrogada até julho. Segundo o último número da revista A Exposição de 1922, órgão de divulgação do evento, entre 7 de setembro de 1922 e 2 de julho de 1923, foi visitada por 3.626.402 pessoas, uma média de 12.723 visitantes por dia (A Exposição de 1922, edições 17 e 18) Na edição do Jornal do Commercio, de 2 e 3 de julho de 1923, foi publicado um artigo intitulado As lições da exposição.
+Por tudo o que aconteceu no Rio de Janeiro durante a Exposição Internacional do Centenário da Independência do Brasil, ela é considerada um marco do encontro do Brasil com a modernidade.
+Também em 2 de julho de 1923, comemorou-se o centenário da independência da Bahia (Jornal do Commercio, 2 e 3 de julho de 1923, penúltima coluna).
+ 
+Pois não não é que a Bahia, depois de cem anos, ficou mais moça e mais bonita! Oh! terra boa!… / O Malho,  7 de julho de 1923
+ 
+Com fotografias realizadas ao longo do evento foi produzido o Álbum Internacional do Centenário da Independência  de autoria de Carlos Bippus, Thiele & Kollien e Lopes. 
+ 
+Thiele & Kollien. Exposição Internacional do Centenário da Independência – Entrada, 1922. Rio de Janeiro, RJ / Acervo IMS
+ 
+Muitos anos depois, em 1987, um dos exemplares deste álbum foi apresentado ao Conselho Deliberativo do Museu de Arte Moderna do Rio de Janeiro, durante uma homenagem ao presidente da White Martins, Félix de Bulhões, que havia feito uma doação de 200 mil dólares à instituição para a compra de, além do álbum citado, mais três – um sobre Salvador, de 1933; um sobre a Estrada de Ferro Sorocabana, com fotos do suíço Guilherme Gaensly (1843 – 1928), de 1908; e um com fotos do Rio de Janeiro, produzidas por Marc Ferrez (1843 – 1923), no início do século XX -, 11 quadros, uma escultura e uma sequência de fotos que forma o Panorama 360º da cidade de Petrópolis, de autoria do alemão Jorge Henrique Papf (1863 – 1920), de 1898 (Jornal do Brasil, 23 de outubro de 1987, última coluna).
+ 
+
+ 
+Acessando o link para as fotografias do Álbum Internacional do Centenário da Independência disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Em algumas fotografias do Álbum Internacional do Centenário da Independência pode-se admirar a iluminação feérica do evento, organizada pelo engenheiro inglês W. D´Arcy Ryan (1870 – 1934), que havia sido o responsável pela iluminação da Exposição de São Francisco, na Califórnia, em 1916. Esteve no Rio de Janeiro, em dezembro de 1921, quando expôs seu plano de iluminação para a Exposição de 1922 (Correio da Manhã, 14 de dezembro de 1921, quarta coluna). A execução da instalação foi realizada pela General Electric, com a supervisão de um engenheiro da empresa, J. W. Shaffer. O Engenheiro Chefe Eletricista da Comissão Organizadora, Roberto Marinho de Azevedo, e seu auxiliar, o engenheiro Eugênio Hime, também participaram da instalação. “Essa iluminação é reputada igual senão superior a tudo que se tem feito de mais grandioso até hoje” (Revista da Exposição de 1922, outubro de 1922).
+ 
+Photo Bippus Rio. Exposição Internacional do Centenário da Independência, 1922. Rio de Janerio, RJ / Acervo IMS
+ 
+Destacamos também imagens realizadas por Augusto Malta (1864 – 1957), fotógrafo oficial da prefeitura do Rio de Janeiro, pelo amador Guilherme Santos (1871 – 1966), por Jorge Kfuri (1893 – 1965), autor das primeiras fotos aéreas do Rio de Janeiro; por Marc Ferrez (1843 – 1923), com registros coloridos e em preto e branco; e por fotógrafos ainda não identificados.
+ 
+Marc Ferrez. Exposição de 1922 – Bar da cervejaria Antártica, 1922. Rio de Janeiro, RJ / Acervo IMS
+ 
+São imagens dos pavilhões dos Estados e dos países, do Chalé Moça, da Nestlé; do Pavilhão Matarazzo, do Parque de Diversões, do Palácio das Festas, do Palácio do Calabouço, do Bar da Cervejaria Antártica, do restaurante, de marinheiros do navio de guerra norte-americano Nevada, de aspectos da demolição do Morro do Castelo, e do Hotel Glória, primeiro hotel cinco estrelas do Brasil e também o primeiro prédio em concreto armado da América do Sul, projetado pelos arquitetos francês Joseph Gire (1872 – 1933) e alemão Sylvio Riedlinger e construído pela família Rocha Miranda especialmente para a ocasião.
+ 
+Anúncio do Hotel Glória / A Exposição de 1922, julho de 1922
+ 
+Dois outros hotéis de grande porte foram construídos devido à realização da exposição: o Hotel Sete de Setembro ou Hotel do Centenário, na Avenida do Contorno do Morro da Viúva, atual Avenida Rui Barbosa e inaugurado em 15 de julho de 1922; e o Hotel Copacabana Palace, cuja inauguração, em 13 de agosto de 1923, aconteceu após o término da exposição. Foi projetado pelo arquiteto francês Joseph Gire (1872 – 1933) e construído por Otávio Guinle. Um hotel de menor porte, também construído na época, foi o Hotel Regina, inaugurado em 3 de setembro de 1922, na rua Ferreira Vianna, nº 29, onde funciona até os dias atuais.
+ 
+ 
+ 
+Jorge Kfuri. O Morro da Viúva e a Avenida do Contorno, hoje Avenida Rui Barbosa, vendo-se, à esquerda, o Hotel Sete de Setembro, 1922. Rio de Janeiro, RJ / Acervo DPHDM
+ 
+Jorge Kfuri. Exposição do centenário da Independência, 1922. Rio de Janeiro, RJ / Acervo DPHDM
+ 
+Acessando o link para as fotografias da Exposição do Centenário da Independência produzidas por Augusto Malta, Guilherme Santos, Jorge Kfuri, Marc Ferrez e por fotógrafos ainda não identificados disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Augusto Malta. Exposição Internacional de 1922 – Chalé Moça – Pavilhão da Nestlé, 1922. Rio de Janeiro, RJ / Acervo IMS
+ 
+Guilherme Santos. Exposição Internacional de 1922; exposição de automóveis no pavilhão português, c. 1922. Rio de Janeiro, RJ / Acervo IMS
+ 
+Fotos do mesmo pavilhão realizadas por diferentes fotógrafos:
+ 
+Palácio das Festas por Carlos Bippus, Guilherme Santos e Marc Ferrez
+Parque de Diversões por Augusto Malta, Marc Ferrez e Thiele & Kollien
+Pavilhão da Inglaterra por Guilherme Santos, Marc Ferrez e Thiele & Kollien
+Pavilhão da Itália por Augusto Malta, Marc Ferrez e Thiele & Kollien
+Pavilhão da Tchecoslováquia por Augusto Malta, Marc Ferrez e Thiele & Kollien
+Pavilhão de Caça e Pesca e Pavilhão de Estatística por Augusto Malta e Marc Ferrez
+Pavilhão de Portugal por Guilherme Santos e Photo Lopes
+Pavilhão do Japão por Guilherme Santos e Thiele & Kollien
+Pavilhão do México por Augusto Malta, Marc Ferrez e Thiele & Kollien
+Pavilhão ou Palácio dos Estados por Augusto Malta, Carlos Bippus e Marc Ferrez 
+Pavilhão Matarazzo por Marc Ferrez e Thiele & Kollien
+ 
+Breve perfil da Exposição Internacional do Centenário da Independência
+ 
+O Paiz, 7 de setembro de 1922
+ 
+“Qualquer coisa de grande nos levanta o peito ao arfar das esperanças novas e muita coisa de ingênuo, de cândido, de infantil nos toca as fibras mais íntimas adoçando-nos a alma no seguir com os olhos o caminho do passado”.
+O Paiz, 7 de setembro de 1922
+ 
+Careta, 9 de setembro de 1922
+ 
+Já no primeiro número da Revista do Brasil, em janeiro de 1916, chamava-se atenção para a necessidade de se comemorar o centenário da independência, classificado como o primeiro marco glorioso da existência nacional. Na edição de setembro de 1917 do periódico Eu sei tudo foi publicado o artigo Noventa e cinco anos de independência, de Mario Bhering, onde o autor afirmava que com “a aproximação do Centenário da nossa Independência parece que se afervora o culto cívico, o ardor patriótico pelo 7 de setembro, ganhando de intensidade ano para ano”.
+ 
+Dom Pedro I quebrando os grilhões que prendiam o Brasil à metrópole, quadro do italiano Granni / Eu sei tudo, setembro de 1917
+ 
+“…que momento poderia ser mais adequado do que este em que festejamos o centenário da nossa independência política? Precisamos demarcar as fronteiras do espírito nacional como já se fixaram as do território”.
+Francisco Pontes de Miranda (1892 – 1979), jurista e intelectual brasileiro
+ 
+Thiele & Kollien. Exposição Internacional do Centenário da Independência, 1922. Rio de Janeiro, RJ / Acervo IMS
+ 
+A grandiosa Exposição Internacional do Centenário da Independência foi imaginada bem antes de sua realização. Em maio de 1920,  o representante de um grupo de capitalistas estrangeiros no Brasil, Ralph Cobham, sugeriu ao Ministério da Agricultura, Indústria e Comércio que se realizasse no país em terrenos de Copacabana uma exposição internacional de comércio e indústria para a comemoração do Centenário da Independência. Em outubro, ele foi nomeado cônsul em Durban, na África do Sul (Correio Paulistano, 30 de maio de 1920, quarta coluna; O Paiz, 18 de outubro de 1920, terceira coluna). O deputado Paulo de Frontin (1860 – 1933) propôs, em julho do mesmo ano, que o governo liberasse uma verba de 100 mil contos de réis para o evento (Jornal do Brasil, 16 de julho de 1920, penúltima coluna; Revista da Semana, 1º de janeiro de 1921).
+O Decreto nº 4.175, de 11 de novembro de 1920, determinou a realização de uma Exposição Nacional na Capital da República integrando o programa de comemorações do Centenário da Independência.
+ 
+
+Decreto nº 4.175, de 11 de novembro de 1920
+ 
+Autoriza o Poder Executivo a promover, conforme melhor convier aos interesses nacionaes, a commemoração do Centenario da Independencia Politica do Brasil
+
+O Presidente da Republica dos Estados Unidos do Brasil:
+ Faço saber que o Congresso Nacional decretou e eu sancciono a resolução seguinte:
+Art. 1º Fica o Poder Executivo autorizado a promover desde já e conforme melhor convier aos interesses nacionaes, a commemoração do Centenario da Independencia Politica do Brasil, acceitando a cooperação ou concurso de todas classes sociaes, observadas as seguintes condições: 1ª Constituição de uma commissão idonea, que ficará directamente subordinada ao Presidente da Republica, para organizar o programma que resultar do exame e coordenação dos projectos que forem formulados pelos membros e commissões do Congresso, Ministros, Prefeitura do Districto Federal, Estados, municipalidades ou particulares; 2ª Observação do criterio de preferencia para a realização de uma Exposição Nacional na Capital da Republica.
+Art. 2º O Governo organizará o programma da commemoração, submettendo-o ao conhecimento do Congresso, com o pedido de credito necessario para a execução da presente lei.
+Art. 3º Revogam-se as disposições em contrario.
+Rio de Janeiro, 11 de novembro de 1920, 99º da Independencia e 32º da Republica.
+EPITACIO PESSÔA.
+ Alfredo Pinto Vieira de Mello.
+ 
+A regulamentação oficial das atividades comemorativas foi determinada pelo Decreto nº 15.066, de 24 de outubro de 1921. O Ministério da Agricultura, Indústria e Comércio, sob a chefia do engenheiro José Pires do Rio (1880 – 1950), foi o responsável pela organização da exposição, que, segundo o programa para a comemoração do 1º Centenário da Independência Política do Brasil, deveria compreender as principais modalidades do trabalho no Brasil, atinentes à lavoura, à pecuária, à pesca, à indústria extrativa e fabril, ao transporte marítimo, fluvial, terrestre e aéreo, aos serviços de comunicação telegráficos e postais ao comércio, às ciências e às belas artes (apud MOTTA, 1992: 67).
+ 
+Decreto nº 15.066, de 24 de outubro de 1921
+ 
+Dá execução ao Decreto Legislativo n. 4.175, de 11 de novembro de 1920.
+
+O Presidente da Republica dos Estados Unidos do Brasil, tendo em vista o que dispõe o Decreto Legislativo n. 4.175, de 11 de novembro de 1920,
+DECRETA:
+Art. 1º A Commissão, de que trata o n. 1 do art. 1º do citado decreto, ficará constituida do Ministro da Justiça e Negocios Interiores, do Ministro da Agricultura, Industria e Commercio e do Prefeito do Districto Federal.
+Art. 2º A Commissão providenciará para a execução do programma da Commemoração do Centenario da Independencia Politica do Brasil, já organizado, com as modificações que se tornarem necessarias.
+Art. 3º As attribuições dos membros da Commissão e a discriminação dos serviços a cargo de cada um delles, serão reguladas pelo Regimento Interno que, para esse fim, deverá ser organizado pela mesma Commisão.
+Art. 4º Revogam-se as disposições em contrario.
+Rio de Janeiro, 24 de outubro de 1921, 100º da Independencia e 33º da Republica.
+EPITACIO PESSÔA.
+ Joaquim Ferreira Chaves.
+
+ 
+José Pires do Rio / Wikipedia
+ 
+A realização de uma “Exposição Universal” no Rio de Janeiro, então capital federal, destacou-se como a mais ambiciosa das atividades comemorativas então programadas. Desde a primeira exposição internacional em Londres (1851), cujo símbolo foi o Palácio de Cristal, as chamadas “vitrines do progresso” sempre apresentaram alguns aspectos em comum, entre os quais se destacavam, entre outros, as motivações comerciais, o afluxo de divisas e turistas, o impacto sobre a infraestrutura urbana, e a difusão de valores e de padrões de conduta. O mais importante, e ainda hoje é assim, era a afirmação do prestígio nacional, representado pelos pavilhões de cada país que constituíam a ossatura das exposições.
+Atlas Histórico do Brasil – FGV – CPDOC
+ 
+O Malho, 7 de setembro de 1922
+ 
+ 
+Selo comemorativo do Centenário 1822 – 1922
+ 
+Em julho de 1922, foi lançada pelo Órgão da Comissão Organizadora da Exposição do Centenário a revista A Exposição de 1922, dirigida por Antônio Assis de Pádua Rezende. Foram publicados 18 edições (Revista da Exposição de 1922, julho de 1922).  A comissão Organizadora era presidida pelo ministro interino da Agricultura Indústria e Comércio e também ministro da Viação e Obras Públicas, José Pires do Rio (1880 – 1950), sendo Antônio Olintho dos Santos Pires (1860 – 1925) o primeiro vice-presidente e Antônio Assis de Pádua Rezende o segundo vice-presidente. Delfim Carlos da Silva era o secretário-geral e Mário Barbosa Carneiro, tesoureiro.
+ 
+Primeira edição da revista mensal Exposição de 1922, julho de 1922
+ 
+No dia 7 de setembro de 1922, as comemorações do centenário foram abertas. O presidente da República, Epitácio Pessoa (1865 – 1942), assistiu na Praça Deodoro o desfile das tropas, vendo-se em primeiro lugar os contingentes estrangeiros em fraternal solidariedade com as forças nacionais. Depois o presidente assistiu ao Juramento da Bandeira, realizado pelos alunos das escolas públicas municipais, na Prefeitura.
+Às 14 horas, no Palácio do Catete, Epitácio Pessoa recebeu os cumprimentos das Embaixadas Estrangeiras, do Corpo Diplomático, de Comissários Gerais, de membros do Congresso Nacional, de oficiais de terra e mar, e do alto funcionalismo público.
+Finalmente, às 16h, no Palácio das Festas, Epitácio inaugurou solenemente a exposição. O evento ocupou uma grande área – do Passeio Público à Ponta do Calabouço e, de lá, se estendia pelo espaço aberto com a demolição do Morro do Castelo (Revista da Semana, 29 de julho de 1922; O Paiz, 8 e 9 de setembro de 1922).
+ 
+“Nenhuma linhagem falará melhor do que o certame que hoje inauguramos. Ele não se realiza como pretexto para festins, mas como demonstração de esforços extraordinários de inteligência consumidos num século de atividade, em quase todos os ramos de trabalho. Haverá aí mostras desse passado. Umas servirão para acentuar como os povos devem guardar certos patrimônios legados por seus maiores; outras servirão para  abrir os olhos aos que se aferram à rotina, e hão de constituir, pela comparação com os produtos aperfeiçoados aqui expostos, benéfico estímulo para melhorar e progredir”.
+Trecho do discurso proferido por Joaquim Ferreira Chaves (1852 – 1937),ministro da Justiça,
+na inauguração oficial da Exposição de 1922
+ 
+Convite para a cerimônia de inauguração da Exposição Internacional do Centenário da Independência do Brasil / Levy Leiloeiro
+ 
+ 
+À noite, o presidente recebeu convidados, dentre eles todos os membros das representações oficiais no Theatro Municipal, onde foi apresentada a ópera O Guarany, de autoria de Carlos Gomes (1836 – 1896).
+ 
+Programa da Grande Récita de Gala do Theatro Municipal, em 7 de setembro de 1922 / EBC
+ 
+ 
+  
+ O Paiz, 8 de setembro de 1922
+ 
+“Dentre as comemorações civis do Centenário teve um destaque sem par a inauguração da Exposição.
+Do que é, ou melhor, do que vae ser esse certamen internacional póde-se ter uma idéia pelo qual já está prompto. Num esforço colossal, cuja gloria cabe ao governador da cidade, conquistou-se á Guanabara o alargamento da Avenida Wilson e derrubou-se boa parte do innominavel bairro da Misericórdia, para se fazer surgir em todo esse terreno um conjunto suprehendente de palácios e pavilhões , que, uma vez concluídos com todos os seus detalhes fará a maior honra á nossa engenharia civil. E não se trata de construções ligeiras. A maioria do que está ali existe é para ficar: é para fazer parte do novo bairro – que o arrasamento do Morro do Castelo ampliará até o coração da cidade.
+
+Sem falar nos pavilhões estrangeiros, quasi todos muito notáveis, temos o Palácio das Festas que é verdadeiramente grandioso, e o Palácio das Industrias, que é um assombro de transformação e aproveitamento do velho Arsenal de Guerra – obra que, sem favor, se pode chamar genial. Todo aquelle antigo aspecto sinistro da penitenciaria e convento, parece-nos agora numa feição architetonica severa, mas risonha, relembrando a origem colonial, mas com requintes de arte, que se torna encantadora. E a Torre das Jóias corôa essa obra de maneira deslumbrante. Dentro de algumas semanas, quando tudo estiver concluído e nos seus logares, veremos confirmado o juízo que alguém já externou de ser a Exposição do Centenário e mais bella desses últimos tempos. E será também o attestado mais evidente do nosso arrojo e da nossa capacidade de trabalho, subordinada aos dictames da arte.”
+ 
+O Malho, 16 de setembro de 1922, trecho da coluna “Notas da Semana”
+ 
+O objetivo da Exposição de 1922 era exibir um país moderno, atualizado em termos de ciência, avanços industriais e tendência das artes e da moda. Para tal, o Congresso liberou uma verba considerada exorbitante. Mais de 20 chefes de Estado e, acredita-se, em torno de 3,5 milhões de pessoas a visitaram ao longo de seus quase 11 meses de celebrações. Cerca de cinco mil pessoas trabalharam no evento. Foram realizadas as primeiras exibições de cinema durante uma exposição com filmes elaborados para a ocasião. O de maior sucesso foi No país das Amazonas (1922), do português Silvino Santos (1886 – 1970), que louvava as belezas da região e recebeu a medalha de ouro do júri da Exposição.
+Segundo a historiadora Marly Motta, “Se as reluzentes máquinas eram o orgulho maior dos expositores do século XIX, no século XX, quem dava as cartas era a ciência, expressa na confiabilidade dos dados estatísticos, nas maravilhas da química e nas luzes da eletricidade”. Esse seria era o traço que diferenciava as exposições universais do século XIX das do século XX, incluindo a de 1922, no Rio de Janeiro. Se nas exposições do século XIX o objetivo principal era a venda de produtos e a conquista de novos mercados, no século XX o objetivo principal desses eventos passou a ser a difusão e venda de idéias que, além de expostas, eram debatidas a partir da realização de conferências e congressos sobre diversos temas e a exibição de filmes.
+ 
+Guilherme Santos. Exposição Internacional do Centenário da Independência de 1922 – Palácio do Calabouço, 1922. Rio de Janeiro, RJ / Acervo IMS
+ 
+Sua inauguração, com o comparecimento de cerca de 200 mil pessoas, contou com a realização de paradas militares e discursos do presidente da República e das maiores autoridades do país. A área da exposição estava, como já mencionado, feericamente iluminada por luz elétrica.
+A área da exposição possuia 2.500 metros de extensão e seu percurso tinha duas partes. A percorrida a partir do portão na Praça Floriano Peixoto e que correspondia à Avenida das Nações e “que abrigava os pavilhões de honra de treze nações estrangeiras (Portugal tinha ali também seu Pavilhão Industrial) 3 , o parque de diversões, o cinema, bares de cervejarias, lanchonetes, restaurante oficial, pavilhões de indústrias independentes, além de vários pequenos quiosques de produtos alimentícios. A segunda parte era a área da Praça do Mercado, onde os onze pavilhões nacionais foram localizados. O acesso a esta área se dava pelo portão neocolonial, sendo também neocoloniais os pavilhões da Fiação, da Caça e Pesca, das Pequenas Indústrias e o das Grandes Indústrias, onde seria inaugurado, ainda durante a exposição, o Museu Histórico Nacional” (Reconstituição Histórico Temporal da Exposição Internacional do Centenário da Independência).
+“A Exposição Nacional exibiu 25 seções relacionadas a educação e ensino; letras, ciências e artes; mecânica; eletricidade; engenharia civil e transporte; agricultura; horticultura e arboricultura; florestas e colheitas; indústria alimentar; indústrias extrativas e metalurgia; decoração e mobiliário; fios, tecidos e vestuários; indústria química; indústrias diversas; economia social; higiene e assistência; ensino prático, instituições econômicas e trabalho manual da mulher; comércio; economia geral; estatística; forças de terra e esportes. Em paralelo, foram oferecidas atividades como exibição de filmes e conferências” (Fiocruz – Brasiliana – a divulgação científica no Brasil).
+A Porta Monumental do evento ficava ao lado do Palácio Monroe, no final da avenida Rio Branco. As reações em relação à abertura da exposição variaram: foi considerada um sucesso por alguns períódicos e, já outros, criticaram o acontecimento. Na verdade, na ocasião, poucos pavilhões estavam abertos ao público. A revista  Careta chamou atenção para o fato antes e depois da inauguração.
+ 
+Careta, 26 de agosto de 1922
+ 
+Careta, 2 de setembro de 1922
+ 
+Careta, 9 de setembro de 1922
+ 
+ 
+Careta, 7 de outubro de 1922
+ 
+Além do Brasil, os seguintes países montaram pavilhões – Argentina, Bélgica, Dinamarca, Estados Unidos, França, Inglaterra, Itália, Japão, México, Noruega, Portugal, Suécia e Tchecoslováquia. Ficavam na avenida das Nações. Uma curiosidade: Portugal possuía dois pavilhões e o maior foi transferido e reconstruído em Lisboa.
+ 
+Thiele & Kollien. Exposição Internacional do Centenário da Independência – Pavilhões Brasil, 1922. Rio de Janeiro, RJ / Acervo IMS
+ 
+Foram construídos especialmente para a ocasião e instalados em uma extensa área proveniente de aterros e outras intervenções, dentre as quais o desmonte do Morro do Castelo, iniciativa saudada por personalidades importantes como o sanitarista Belisário Pena e criticada por outras, dentre elas, os escritores Monteiro Lobato (1882 – 1948) e Lima Barreto (1881 – 1922). 
+ 
+Autoria não identificada. Demolição do morro do Castelo; ao fundo, alguns pavilhões da Exposição Internacional de 1922, c. 1922. Rio de Janeiro, RJ / Acervo IMS
+ 
+O desmonte integrava a reforma urbana implementada, entre 1920 e 1922, pelo prefeito Carlos Sampaio (1861 – 1930).
+ 
+O prefeito Carlos Sampaio / Álbum da Cidade do Rio de Janeiro comemorativo do Centenário da Independência do Brasil
+ 
+Surgia então a nova Esplanada do Castelo, onde foram edificados os pavilhões da Exposição. No fim do evento, a área tornou-se muito valorizada e foi loteada. Mas antes, algumas revistas ironizaram a escolha do local para a realização da Exposição de 1922 devido ao perigo de ressacas e alagamentos.
+ 
+Careta, 4 de junho de 1921
+ 
+Sobre o estilo dos prédios, a arquiteta e museóloga Nina Levy escreveu:
+“Entre as principais construções nacionais na Exposição que seguem a linguagem do ecletismo teríamos a Porta Principal (Mario Fertin e Edgar Viana), o Pavilhão do Distrito Federal (Sylvio Rebecchi), o Pavilhão da Estatística (Gastão Bahiana) o Palácio dos Estados (H . Pujol Junior), o Palácio das Festas (Archimedes Memória e Francisque Cuchet), o Pavilhão da Música e a Fachada do Pavilhão das Indústrias Particulares (Nestor de Fi gueiredo) e a Fachada do Parque de Diversões (Morales de Los Rios).
+Já dentro do espírito neocolonial estariam a Porta Norte (Raphael Galvão), o Palácio da Fiação (Morales de Los Rios Filho), o Pavilhão de Caça e Pesca (Armando de Oliveira), o Pavilhão das Pequenas Indústrias (Nestor de Figueiredo e C. S. San Juan) e a curiosa obra de restauração e adaptação do antigo Arsenal de Guerra, da Casa do Trem e do Forte do Calabouço para compor o Palácio das Grandes Indústrias (Archimedes Memória e Francisque Cuchet)”.
+ 
+Augusto Malta. Sentados, da esquerda para a direita: Nestor de Figueiredo, Adolpho Morales de los Rios (pai) e Francisque Cuchet. Em pé, na mesma ordem: Archimedes Memória, Adolpho Morales de los Rios (filho), Celestino Severo de Juan e Edgar Viana, 7 de setembro de 1922. Rio de Janeiro, RJ / Rio Antigo, por Charles Dunlop.
+ 
+Planta geral da Exposição de 1922 / Exposição de 1922, julho de 1922
+ 
+Somente seis prédios da Exposição de 1922 ainda existem: no Rio de Janeiro, o Pavilhão da Administração e do Distrito Federal, atual Museu da Imagem e do Som; o Palácio da França, uma réplica do Petit Trianon, residência de campo de Maria Antonieta em Versalhes, atual Academia Brasileira de Letras; o Palácio das Indústrias, atual Museu Histórico Nacional; o Pavilhão de Estatística, órgão do Ministério da Saúde; o do Pavilhão das Indústrias Particulares, o restaurante Albamar – que já existia antes da exposição e abrigava o Mercado Municipal; e o do Pavilhão das Indústrias de Portugal, que foi transferido para Lisboa.
+ 
+Augusto Malta. Exposição Internacional de 1922 – Pavilhão da Administração e Distrito Federal, 1922. Rio de Janeiro, RJ / Acervo IMS
+ 
+Thiele & Kollien. Exposição Internacional do Centenário da Independência – Pavilhão França, 1922. Rio de Janeiro, RJ / Acervo IMS
+ 
+ Augusto Malta. Exposição Internacional de 1922 – Pavilhão das Indústrias, 7 de setembro de 1922. Rio de Janeiro, RJ / Acervo IMS 
+ 
+Marc Ferrez. Exposição de 1922 – Pavilhão da Estatística, c. 1922. Rio de Janeiro, RJ / Acervo IMS
+ 
+Mapa geral da Exposição, destacando edificações e elementos temporários. Fonte: MARTINS, 1998, p.122 / A Exposição Internacional do Centenário da Independência de 1922: processo de modernização e legado para a cidade do Rio de Janeiro, pág 110
+ 
+“Foram mais de seis mil expositores, entre nacionais e estrangeiros, que disputavam em muitas categorias a preferência da comissão encarregada de julgar os produtos e atribuir as cobiçadas medalhas e diplomas de Grande Prêmio, Medalha de Ouro e Prata, que valorizariam seus artigos, seus nomes e as marcas de suas firmas. Durante o evento, também foram realizadas várias conferências e palestras sobre temáticas afins e, no curso do ano de 1922, foram ainda lançados diversos tipos de publicações, periódicos, programas, revistas, edições comemorativas de jornais, o Livro de Ouro, o Guia da Exposição (catálogo), cronogramas de atividades, publicações de outros estados e outras que não versavam sobre a exposição em si, mas que foram preparadas para a ocasião de celebrar a Independência do Brasil, como a Carta Geográfica do Brasil ao Milionésimo, elaborada pelo Clube de Engenharia para integrar a Carta Internacional do Mundo ao Milionésimo”.
+O Rio do morro ao mar – A Exposição de 1922: Memória e Civilização
+ 
+Ficha de identificação dos produtos da Seção Brasileira da Exposição de 1922. No alto, à esquerda, o brasão imperial; e, à direita, o brasão da República
+ 
+
+A Exposição Nacional exibiu 25 seções relacionadas a educação e ensino; letras, ciências e artes; mecânica; eletricidade; engenharia civil e transporte; agricultura; horticultura e arboricultura; florestas e colheitas; indústria alimentar; indústrias extrativas e metalurgia; decoração e mobiliário; fios, tecidos e vestuários; indústria química; indústrias diversas; economia social; higiene e assistência; ensino prático, instituições econômicas e trabalho manual da mulher; comércio; economia geral; estatística; forças de terra e esportes. Em paralelo, foram oferecidas atividades como exibição de filmes e conferências.
+
+Fiocruz
+ 
+Foi oferecido aos visitantes da exposição um serviço de passeios aéreos sobre a Baía de Guanabara em hidroplanos de dois passageiros, partindo da Ponta do Calabouço, perto do restaurante da exposição, onde foi construída uma ponte flutuante para embarque e desembarque.
+ 
+Filme 1922 – A Exposição da Independência 
+ 
+Também na Baía de Guanabara fundearam diversos navios estrangeiros: o Moreno, da Argentina; o Maryland e o Nevada, dos Estados Unidos; o Hood e o Repulse, da Inglaterra; o Azuma, o Isuno e o Iwate, do Japão; o República e o Carvalho Araújo, de Portugal; e o Uruguai, do país homônimo.
+No estande do Exército foi exposta a Carta Topográfica do Distrito Federal, hoje Município do Rio de Janeiro, na escala de 1:50.000, impressa em sete cores e contendo curvas de nível, cujo levantamento foi o primeiro trabalho do Serviço Geográfico Militar.
+ 
+
+ 
+Outro destaque da Exposição de 1922 foi a mostra de Saúde Pública do Departamento Nacional de Saúde Pública, que já foi tema de um artigo da Brasiliana Fotográfica.
+ 
+Aspectos da Mostra de Saúde Pública do DNSP na Exposição do Centenário em 1922. Rio de Janeiro, RJ / Acervo Casa de Oswaldo Cruz
+ 
+Foi durante a realização da exposição que, por iniciativa da Câmara de Comércio Norte-Americana no Brasil, foram angariados cerca de 40 mil dólares para a confecção de um monumento que simbolizasse a amizade entre o Brasil e os Estados Unidos. Foi presenteada ao Brasil uma escultura de bronze de uma mulher, em pé, sustentando na mão esquerda os pavilhões norte-americano e brasileiro ornados com folhas de louro e, na direita, uma palma de louros, inaugurada em 4 de julho de 1931.
+ 
+Augusto Malta. Inauguração da Estátua da Amizade em frente a Igreja de Santa Luzia, 4 de julho de 1931. Rio de Janaerio, RJ / Acervo IMS
+ 
+Uma série de outros eventos aconteceram durante a exposição, dentre eles uma missa campal, diversos congressos, dentre eles o Congresso Internacional de História da América, promovido pelo Instituto Histórico e Geográfico Brasileiro; e o primeiro Congresso Feminista no país, que será tema de um artigo aqui na Brasiliana Fotográfica, em dezembro; uma sessão solene no Congresso Nacional, um desfile de cerca de 4.600 alunos na avenida Rio Branco, a inauguração do monumento de Cuauhtemoc, oferecido pelo México; além de inúmeros bailes, banquetes, conferências, corridas de cavalo, excursões, recepções e até uma festa veneziana na Enseada de Botafogo (Gazeta de Notícias, 14 de setembro de 1922; O Paiz, 16 de setembro de 1922, terceira coluna; Fon-Fon, 23 de setembro de 1922).
+ 
+Augusto Malta. Inauguração da estátua oferecida pelo México ao Brasil – Monumento a Cuauhtémoc, 16 de setembro de 1922. Rio de Janeiro, RJ / Acervo IMS
+ 
+Em setembro de 1923, foi publicado o Livro de Ouro da Exposição do Centenário, editado pela casa editorial Almanak Laemmert, criada em 1844, pelos irmãos Eduard e Heinrich Laemmert (Correio da Manhã, 25 de novembro de 1923, primeira coluna).
+ 
+O Paiz, 24 de dezembro de 1922
+ 
+Livro de Ouro da Exposição do Centenário / Escritório de Artes Miguel Salles
+ 
+A primeira grande transmissão pública de rádio do Brasil
+ 
+Instalada pela Western Electric no pavilhão da antiga Repartição Geral dos Telégrafos, na Praia Vermelha, esta emissora, junto com a estação Westinghouse, do Corcovado, inaugurou no Brasil o serviço de Radiodifusão, durante a Exposição de 1922. Ao centro, o engenheiro José Neves, o telegrafista Manoel Antonio de souza, à direita; e o servente da estação, Joaquim Pereira, à esquerda / Acervo O GLOBO
+ 
+Na abertura da Exposição Internacional do Centenário da Independência, foi realizada a primeira grande transmissão pública de rádio do Brasil. Outras transmissões radiofônicas já haviam sido realizadas no país – pelo padre gaúcho Roberto Landell de Moura (1861 – 1928), em 16 de julho de 1899, em São Paulo (Commercio de São Paulo, 17 de julho de 1899, terceira coluna); e pela Rádio Clube de Pernambuco, fundada em 6 de abril de 1919 (Jornal do Recife, 25 de abril de 1919, última coluna).
+ 
+Commercio de São Paulo, 17 de julho de 1899
+ 
+Jornal do Recife, 25 de abril de 1919
+ 
+Mas esta, realizada em 7 de setembro de 1922, é considerada a primeira transmissão radiofônica oficial brasileira.
+Em maio de 1922, a Delegação dos Estados Unidos para a Exposição de 1922 já anunciava as demonstrações que seriam realizadas por empresas norte-americanas (A Noite, 20 de maio de 1922, terceira coluna). Uma estação de 500 watts, montada no alto do Corcovado pela Westinghouse Eletric International em combinação com a Companhia Telefônica Brasileira, irradiou o discurso do presidente Epitácio Pessoa  (1865 – 1942), surpreendendo os visitantes da Exposição Internacional do Rio de Janeiro, através de 80 receptores vindos dos Estados Unidos, instalados em pontos centrais da cidade. A transmissão também foi realizada para Niterói, Petrópolis e São Paulo. Pelo mesmo sistema, à noite, a ópera O Guarany, de Carlos Gomes, encenada no Teatro Municipal, também foi irradiada (Correio da Manhã, 8 de setembro de 1922, quinta coluna; A União (RJ), 14 de setembro de 1922, quarta coluna).
+ 
+O Jornal, 8 de setembro de 1922
+ 
+A Western Electric Company em colaboração com a Companhia Telefônica também esteve presente à exposição onde fez demonstrações do telefone Alto-Falante que funcionando em comum com a radiofonia possibilitava ouvir-se trechos de música e de óperas executados a considerável distância (Jornal do Brasil, 16 de setembro de 1922, sexta coluna).
+ 
+Jornal do Brasil, 16 de setembro de 1922
+ 
+Pixinguinha (1897 – 1973), em entrevista, disse que havia tocado também durante as primeiras transmissões radiofônicas oficiais no Brasil. “Toquei num estudiozinho que havia lá e a Zaíra de Oliveira cantou”. O estúdio foi montado no pavilhão dos Estados Unidos.
+Segundo Edgar Roquette-Pinto (1884 – 1954), considerado o pai da radiofusão no Brasil, durante a Exposição de 1922:
+“… muito pouca gente se interessou pelas demonstrações experimentais de radiotelefonia então realizadas pelas companhias norte-americanas Westinghouse, na estação do Corcovado, e Western Electric, na Praia Vermelha. […]. Creio que a causa desse desinteresse foram os alto-falantes instalados na exposição. Ouvindo discurso e música reproduzidos no meio de um barulho infernal, tudo distorcido, arranhando os ouvidos, era uma curiosidade sem maiores consequências”. (BBC, 1988).
+ 
+D. Quixote, 13 de setembro de 1922
+ 
+O fato é que no ano seguinte foi fundada, em 20 de abril de 1923, aquela que é considerada a primeira emissora radiofônica do Brasil, a Rádio Sociedade do Rio de Janeiro, por inúmeros associados influenciados pelo engenheiro e astrônomo Henrique Morize (1860 -1930), com quem o fotógrafo Marc Ferrez (1843 – 1923) havia no final do século XIX realizado experiências cinematográficas e radiográficas; e por seu principal idealizador, justamente Edgar Roquette-Pinto. Seu o slogan era “Trabalhar pela cultura dos que vivem em nossa terra e pelo progresso do Brasil”. Em caráter experimental, a primeira transmissão da Rádio Sociedade aconteceu em 1º de maio de 1923, Dia do Trabalho, utilizando o prefixo PR1– A e, após, PRA-A e PRA-2. Em 1936, foi doada ao governo por Roquette-Pinto e, em 1953, virou Rádio Ministério da Educação, com a criação da pasta.
+ 
+Uma curiosidade: neste mesmo dia, 7 de setembro de 1922, nascia, no Rio de Janeiro, o ator Paulo Autran (1922 – 2007), que se tornaria um dos ícones da cultura brasileira.
+ 
+Links para publicações sobre a Exposição de 1922
+Links para as edições da Revista da Semana dedicadas à comemoração do Centenário da Independência:  9 de setembro; 16 de setembro; 23 de setembro; 30 de setembro; 7 de outubro; 14 de outubro; 21 de outubro; e 28 de outubro de 1922.
+ 
+Revista da Semana, 16 de setembro de 1922
+ 
+Revista da Semana, 16 de setembro de 1922
+ 
+Link para o Álbum da Cidade do Rio de Janeiro comemorativo do  1ºCentenário da Independência do Brasil, cuja iniciativa da publicação foi do engenheiro Luiz Raphael Vieira Souto (1849 – 1922)
+ 
+
+ 
+Link para o Guia Official Exposição Internacional do Rio de Janeiro 1922
+ 
+Guia Official Exposição Internacional do Rio de Janeiro 1922
+ 
+Link para o número do centenário da revista Fon-Fon, 7 de setembro de 1922
+ 
+Fon-Fon, 7 de setembro de 1922
+ 
+Link para o filme 1922 – A Exposição da Independência (1970), filme com imagens resgatadas do documentário realizado por Silvino Santos (1893 – 1970), em 1922,  dirigido por Roberto Kahane e Domingos Demasi.
+ 
+Cena do filme 1922 – A Exposição da Independência
+ 
+Link para 60 fotos de aspectos da Exposição de 1922 que fazem parte do álbum Exposição Internacional do Centenário da Independência – Rio de Janeiro – Brasil – 1922/1923, do acervo iconográfico do Acervo Público Mineiro.
+ 
+Moinho Holandez, da Bols, fundada em 1575 e a mais antiga marca de bebidas do mundo / Acervo Público Mineiro
+ 
+Link para o artigo A apresentação do Departamento Nacional de Saúde Pública na Exposição Internacional do Centenário da Independência, de autoria de Ricardo Augusto dos Santos, publicada na Brasiliana Fotográfica, em 13 de abril de 2020.
+ 
+Aspectos da Mostra de Saúde Pública do DNSP na Exposição do Centenário em 1922. Rio de Janeiro, RJ / Acervo Casa de Oswaldo Cruz
+ 
+ 
+Link para o artigo A independência do Brasil pelos olhos de Debret, publicado no portal Brasiliana Iconográfica, em 31 de agosto de 2022.
+ 
+Cérémonie de sacre de D. Pedro 1,,er Empereur du Brésil, à Rio de Janeiro, le 1,,er Decembre 1822, 1839 / Pinacoteca do Estado de São Paulo – Brasiliana Iconográfica
+ 
+Link para o programa Os 100 (ou mais) anos do rádio no Brasil, com roteiro e apresentação da jornalista Helena Aragão, publicado em 2 de setembro de 2020, na Rádio Batuta.
+ 
+
+ 
+ 
+Link para o artigo BRAVA GENTE: NA VOZ DE VICENTE CELESTINO, UM ‘HIT’ BICENTENÁRIO DE D. PEDRO I E EVARISTO DA VEIGA, de Pedro Paulo Malta. Discografia Brasileira / Instituto Moreira Salles.
+ 
+
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Nota da editora: esse artigo passou a integrar a série “Exposições” e mudou de título em 1º de dezembro de 2025.
+ 
+Fontes:
+ALMEIDA, Hamilton. Padre Landell: o brasileiro que inventou o wireless. Santa Catarina: Editora Insular, 2022.
+Atlas Histórico do Brasil – FGV – CPDOC
+Biblioteca Nacional. A Exposição Universal de Londres de 1851 e o Palácio de Cristal, 1º de maio de 2020.
+BRITISH BROADCASTING CORPORATION. O rádio no Brasil. Londres: Serviço Brasileiro da BBC, 1988. Série de programas de rádio.
+CÂMARA, Renato Phaelante da. Fragmentos da história do Rádio Clube de Pernambuco. 2.ed. Recife: Cepe, 1998.
+Correio do Cidadão, 1º de junho de 2022.
+COSTA, Júlia Fúria. O “Culto da Saudade” nas Comemorações do Centenário da Independência do Brasil: A Criação do Museu Histórico Nacional, 1922. Em Tempo de Histórias – Publicação do Programa de Pós-Graduação em História da Universidade de Brasília PPG-HIS, nº. 18, Brasília, jan/jul. 2011. ISSN 1517-1108.
+DRAGO, Niuxa; VILAS BOAS, Naylor; GUEDES, Sebastião. Reconstituição Histórico Temporal da Exposição Internacional do Centenário da Independência. VI Encontro da Associação Nacional de Pesquisa e Pós-Graduação em Arquitetura e Urbanismo, 2020.
+DUNLOP, Charles. Rio Antigo, volume III. Rio de Janeiro : Editra Rio Antigo Ltda, 1960.
+FERRARETTO, Luiz Artur. De 1919 a 1923, os primeiros momentos do rádio no Brasil. Revista Brasileira de História da Mídia (RBHM) – v.3, n.1, jan.2014-jun/2014.
+FERREIRA ROSA. O Centenário.
+Fiocruz – Brasiliana – a divulgação científica no Brasil
+Hemeroteca Digital da Biblioteca Nacional
+HEYNEMANN, Claudia B. Café Brasil: o Império na Exposição Internacional de Filadélfia in Brasiliana Fotográfica, 4 de dezembro de 2019.
+JUNQUEIRA, Julia Ribeiro. As comemorações do Sete de Setembro em 1922: uma re(leitura) da História do Brasil.  Versão modificada de um dos capítulos apresentados na dissertação Jornal do Commercio: cronista da História do Brasil em 1922, defendida, em maio de 2010, no Programa de Pós-Graduação em História Política da Universidade do Estado do Rio de Janeiro.
+LEVY, Ruth. A exposição do centenário e o meio arquitetônico carioca no início dos anos 1920. Rio de Janeiro : EBA/UFRJ, 2010.
+MARTINS, Angela Maria Moreira. A Exposição Internacional de 1922 no Rio de Janeiro: um espaço urbano turístico na jovem república brasileira. In: DEL RIO, Vicente (Org.). Arquitetura: pesquisa e projeto. Rio de Janeiro: UFRJ, FAU; São Paulo: ProEditores, 1998. (Coleção PROARQ). p.121-146.
+MOTTA, Marly Silva da. A nação faz cem anos: a questão nacional no centenário da independência. Rio de Janeiro: Editora FGV: CPDOC, 1992.
+MOTTA, Marly Silva da. Ante-sala do paraíso”, “vale de luzes”, “bazar de maravilhas” – a Exposição Internacional do Centenário da Independência (Rio de Janeiro – 1922). Rio de Janeiro: CPDOC, 1992. 22f. Trabalho apresentado no Seminário “Cenários de 1922″, promovido pelo CPDOC, Rio de Janeiro, 19-20 nov. 1992.
+MOURÃO, Alda; GOMES, Ângela de Castro. A experiência da Primeira República no Brasil e em Portugal. Rio de Janeiro : Editora FGV, 2011.
+RIBEIRO, Fernanda de Azevedo. A Exposição Internacional do Centenário da Independência de 1922: processo de modernização e legado para a cidade do Rio de Janeiro. Dissertação apresentada ao Programa de Pós-Graduação em Arquitetura e Urbanismo da Escola de Arquitetura e Urbanismo da Universidade Federal Fluminense, como requisito parcial para obtenção do grau de Mestre em Arquitetura e Urbanismo, 2014.
+RIBEIRO, Fernanda de Azevedo. Representações da Exposição Internacional do Centenário da Independência do Brasil de 1922 e da cidade do Rio de Janeiro nas mídias. 19&20, Rio de Janeiro, v. XV, n. 2, jul.-dez. 2020.
+ROBICHON, François. Les panoramas en France au XIXe siecle. Paris/Nanterre, 1982. Tese de Doutorado – Universidade de Paris X-Nanterre.
+SANTOS, Araci Alves do. Terra encantada – A Ciência na Exposiçao do Centenário da Independência do Brasil. Dissertação de Mestrado apresentada ao corpo docente do Programa de Pós-Graduação de História da Ciência, das Técnicas e Epistemologia da Universidade Federal do Rio de Janeiro, 2010.
+SILVA, Eliane Alves da. 90 Anos da Missão Cartográfica Imperial Militar Austríaca no Exército Brasileiro – Relato Histórico da Fotogrametria (1920-2010). 1º Simpósio Brasileiro de Cartografia Histórica. Parati, 10 a 13 de maio de 2012.
+Site Empresa Brasileira de Comunicação
+Site Exposições Virtuais – Arquivo Nacional – O RIO DO MORRO AO MAR A Exposição de 1922: Memória e Civilização
+Site Histórias e Monumentos
+Site IHGB
+VAZ FILHO, Pedro Serico. A centenária Rádio Clube de Pernambuco Registros em meios impressos documentam a origem da emissora pernambucana em 06 de abril de 1919. XII Encontro Nacional de História da Mídia, Rio Grande do Norte, junho de 2019.
+ 
+ 
+Links para os artigos publicados da Série 1922 – Hoje, há 100 anos
+Série 1922 – Hoje, há 100 anos I – Os Batutas embarcam para Paris, de autoria de Andrea C.T. Wanderley, publicado em 29 de janeiro de 2022
+Série 1922 – Hoje, há 100 anos II- A Semana de Arte Moderna, de autoria de Andrea C.T. Wanderley, publicado em 13 de fevereiro de 2022, na Brasiliana Fotográfica
+Série 1922 – Hoje, há 100 anos III – A eleição de Artur Bernardes e a derrota de Nilo Peçanha, de autoria de Andrea C.T. Wanderley, publicado em 1º de março de 2022, na Brasiliana Fotográfica
+Série 1922 – Hoje, há 100 anos IV – A primeira travessia aérea do Atlântico Sul, realizada pelos aeronautas portugueses Gago Coutinho e Sacadura Cabral, de autoria de Andrea C. T. Wanderley, publicada em 17 de junho de 2022, na Brasiliana Fotográfica
+Série 1922 – Hoje, há 100 anos V – A Revolta do Forte de Copacabana, de autoria de Andrea C. T. Wanderley, publicada em 5 de julho de 2022, na Brasiliana Fotográfica
+Série 1922 – Hoje, há 100 anos VI e série Feministas, graças a Deus XI – A fundação da Federação Brasileira para o Progresso Feminino, de autoria de Andrea C. T. Wanderley, publicado em 9 de agosto de 2022, na Brasiliana Fotográfica
+Série 1922 – Hoje, há 100 anos VII – A morte de Gastão de Orleáns, o conde d´Eu (Neuilly-sur-Seine, 28/04/1842 – Oceano Atlântico 28/08/1922), de autoria de Andrea C. T. Wanderley, publicado em 28 de agosto de 2022, na Brasiliana Fotográfica.
+Série 1922 – Hoje, há 100 anos IX – O centenário do Museu Histórico Nacional, de autoria de Maria Isabel Lenzi, historiadora do Musseu Histórico Nacional, publicado em 12 de outubro de 2022, na Brasiliana Fotográfica.
+Série 1922 – Hoje, há 100 anos X –  A morte do escritor Lima Barreto (1881 – 1922), de autoria de Andrea C. T. Wanderley, publicado em 1º denovembro de 2022, na Brasiliana Fotográfica.
+Série 1922 – Hoje, há 100 anos XI e série Feministas, graças a Deus XII – 1ª Conferência pelo Progresso Feminino e o “bom” feminismo, de autoria de Maria Elizabeth Brêa Monteiro, antropóloga do Arquivo Nacional, publicado em 19 de dezembro de 2022, na Brasiliana Fotográfica.
+ 
+Links para os artigos sobre exposições nacionais ou internacionais publicados na Brasiliana Fotográfica
+O pintor Victor Meirelles e a fotografia na II Exposição Nacional de 1866, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 17 de agosto de 2017.Motr
+A festa do progresso: o Brasil na Exposição Continental, Buenos Aires, 1882, de autoria de Maria do Carmo Rainho, Arquivo Nacional, publicado em 29 de março de 2018.
+Série “O Rio de Janeiro desaparecido” II – A Exposição Nacional de 1908 na Coleção Família Passos, de autoria de Carla Costa, Museu da República, publicado em 5 de abril de 2018.
+Marc Ferrez, a Comissão Geológica do Império (1875 – 1878) e a Exposição Antropológica Brasileira no Museu Nacional (1882), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 29 de junho de 2018.
+Paris, 1889: o álbum da exposição universal, de autoria de Claudia B. Heynemann, Arquivo Nacional,publicado em 27 de julho de 2018.
+Café Brasil: o Império na Exposição Internacional de Filadélfia, de autoria de Claudia B. Heynemann, Arquivo Nacional, publicada em 4 de dezembro de 2019.
+Festa das Artes e da Indústria Segunda Exposição Nacional, 1866, de autoria de Claudia Beatriz Heynemann e Maria Elizabeth Brêa Monteiro, Arquivo Nacional, em 5 de abril de 2020.
+A apresentação do Departamento Nacional de Saúde Pública na Exposição Internacional do Centenário da Independência, de Ricardo Augusto dos Santos, Fiocruz, publicado em 13 de abril de 2020.
+A Exposição Internacional de Higiene de Dresden, de Cristiane d´Avila, Fiocruz, publicado em 5 de janeiro de 2022.
+Três álbuns fotográficos da Exposição Nacional de 1908 no Museu Histórico Nacional: Boscagli, Malta e Musso, de autoria de Maria Isabel Ribeiro Lenzi, historiadora do Museu Histórico Nacional, publicado em 25 de agosto de 2023, na Brasiliana Fotográfica.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/7680` — `itens/20.500.12156.1_7680/`
+- `20.500.12156.1/9690` — `itens/20.500.12156.1_9690/`
+- `20.500.12156.1/7766` — `itens/20.500.12156.1_7766/`
+- `20.500.12156.1/7769` — `itens/20.500.12156.1_7769/`
+- `20.500.12156.1/9741` — `itens/20.500.12156.1_9741/`
+- `20.500.12156.1/3957` — `itens/20.500.12156.1_3957/`
+- `20.500.12156.1/6597` — `itens/20.500.12156.1_6597/`
+- `20.500.12156.1/9426` — `itens/20.500.12156.1_9426/`
+- `20.500.12156.1/9463` — `itens/20.500.12156.1_9463/`
+- `20.500.12156.1/7942` — `itens/20.500.12156.1_7942/`
+- `20.500.12156.1/10677` — `itens/20.500.12156.1_10677/`
+- `20.500.12156.1/7768` — `itens/20.500.12156.1_7768/`
+- `20.500.12156.1/11061` — `itens/20.500.12156.1_11061/`
+- `20.500.12156.1/9691` — `itens/20.500.12156.1_9691/`
+- `20.500.12156.1/7759` — `itens/20.500.12156.1_7759/`
+- `20.500.12156.1/9693` — `itens/20.500.12156.1_9693/`
+- `20.500.12156.1/9734` — `itens/20.500.12156.1_9734/`
+- `20.500.12156.1/7955` — `itens/20.500.12156.1_7955/`
+- `20.500.12156.1/5071` — `itens/20.500.12156.1_5071/`
+- `20.500.12156.1/4777` — `itens/20.500.12156.1_4777/`
+- `20.500.12156.1/7919` — `itens/20.500.12156.1_7919/`
+
diff --git a/wordpress/17948-a-confeitaria-colombo-um-elo-entre-o-rio-de-janeiro-antigo-e-o-atual.md b/wordpress/17948-a-confeitaria-colombo-um-elo-entre-o-rio-de-janeiro-antigo-e-o-atual.md
new file mode 100644
index 0000000..295b76d
--- /dev/null
+++ b/wordpress/17948-a-confeitaria-colombo-um-elo-entre-o-rio-de-janeiro-antigo-e-o-atual.md
@@ -0,0 +1,64 @@
+---
+id: 17948
+url: "https://brasilianafotografica.bn.gov.br/?p=17948"
+titulo: "A Confeitaria Colombo, um elo entre o Rio de Janeiro antigo e o atual"
+autor: "Andrea Wanderley"
+data: "2020-09-17T11:54:55+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/7824", "20.500.12156.1/7825", "20.500.12156.1/7830"]
+fetched_at: "2026-09-10T10:01:06.051Z"
+---
+
+# A Confeitaria Colombo, um elo entre o Rio de Janeiro antigo e o atual
+
+Confeitaria Colombo, 1925. Rua Gonçalves Dias, Rio de Janeiro/ Acervo AGCRJ
+A Confeitaria Colombo, que hoje destacamos com a publicação de fotografias do Acervo Geral da Cidade do Rio de Janeiro, uma das instituições parceiras da Brasiliana Fotográfica, é uma espécie de elo entre o Rio de Janeiro de antigamente e o atual, além de ser também um marco na história da gastronomia e da vida social carioca. Fundada pelos portugueses Manoel Lebrão e Joaquim Borges de Meirelles, em 17 de setembro de 1894, na movimentada rua Gonçalves Dias, no centro da cidade (Diário de Notícias, 18 de setembro de 1894, sexta coluna), onde permanece até hoje, é um símbolo da Belle Epoque carioca. Considerada uma casa verdadeiramente parisiense, a Colombo era vizinha dos ateliês dos fotógrafos Juan Gutierrez e José Ferreira Guimarães e de vários outros importantes estabelecimentos comerciais (Revista Illustrada, janeiro de 1895).
+Acessando o link para as fotografias da Confeitaria Colombo disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+Em pouco tempo a confeitaria tornou-se um dos pontos mais concorridos da cidade, tendo sido frequentada por escritores como Olavo Bilac (1865 – 1918) e Machado de Assis (1839 – 1908), por jornalistas como Emilio de Menezes (1866 – 1918), por artistas como Villa-Lobos (1887 – 1959) e Chiquinha Gonzaga  (1847-1935), e por políticos como os presidentes Washington Luís (1869 – 1957) e Juscelino Kubitschek (1902 – 1976). Algumas mesas trazem os nomes de alguns de seus clientes, como a em homenagem ao empresário e político Assis Chateubriand (1892 – 1968), fundador dos Diários Associados. Em estilo art nouveau, a confeitaria tem em sua decoração vitrais franceses, espelhos importados da Bélgica, cadeiras feitas de palhinha e jacarandá por Antonio Borsoi (1880 – 1953), mesas em opalina azul com os pés de ferro, posteriormente substituídas por tampos de mármore, continua sendo um reduto de elegância e sinônimo de tradição no Rio de Janeiro. Em 1922, foram inaugurados o salão de chá em estilo Luís XVI, no segundo andar, uma clarabóia vinda da França e um dos primeiros elevadores instalados na cidade.
+ 
+Confeitaria Colombo, s/d. Rua Gonçalves Dias, Rio de Janeiro / Acervo AGCRJ
+ 
+“Estabelecimento perfeito no gênero, o primeiro da América do Sul, e quiçá da Europa” (Illustração Brasileira, 7 de julho de 1922).
+ 
+Careta, 9 de setembro de 1922
+ 
+Foi tombada, em 9 de fevereiro de 1983, como patrimônio material, pelo Instituto Estadual do Patrimônio Cultural; e, em 31 de outubro de 2017, como patrimônio imaterial, pelo Instituto Rio Patrimônio da Humanidade. Ao longo de sua história foi um lugar de convergência, de comunhão entre os vários Rios.
+ 
+Confeitaria Colombo, s/d. Rua Gonçalves Dias, Rio de Janeiro / AGCRJ
+ 
+ 
+Revue Franco-Bresilienne, 14 de julho de 1898
+ 
+ 
+Illustração Brasileira, 1922
+ 
+Na matriz da Colombo, na Gonçalves Dias, há o Espaço Memória, onde são mostradas imagens do Rio Antigo, além de fotografias da memorabilia que fez parte da história da confeitaria como projetos, louças, cristais originais e embalagens antigas. Atualmente, a confeitaria tem filiais no Forte de Copacabana, no Aeroporto Internacional do Rio de Janeiro e no Centro Cultural Banco do Brasil.
+.
+Jornal do Commercio, 25 de dezembo de 1929
+ 
+Ouça aqui a marchicha de carnaval “Sassaricando” (1951), interpertada por Virginia Lane, que menciona a Confeitaria Colombo.
+ 
+Requerimento feito por Manoel Lebrão à Prefeitura do Rio de Janeiro para reconstruir o prédio da Colombo datado de 10 de janeiro de 1912 / Acervo AGCRJ
+ 
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+Acervo Digital de O Globo
+BIANCHI, Silvia Soler. Entre o café e a prosa : memórias da Confeitaria Colombo no início do século XX. Rio de Janeiro : Terceira Margem, 2008.
+DUNLOP, Charles. Rio Antigo, vol 2. Rio de Janeiro : Cia. Editora e Comercial F. Lemos, 1956.
+FREIRE, Renato; RODRIGUES, Antônio Edmilson Martins. Confeitaria Colombo: Sabores de uma cidade. Rio de Janeiro : Edições de Janeiro, 2014.
+Hemeroteca Digital da Biblioteca Nacional
+LAZINHA, Luiz Carlos. A “Colombo” na vida do Rio. Rio de Janeiro : Gráfica Olímpica Editora, 1970.
+Site Confeitaria Colombo
+Site Inepac
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/7824` — `itens/20.500.12156.1_7824/`
+- `20.500.12156.1/7825` — `itens/20.500.12156.1_7825/`
+- `20.500.12156.1/7830` — `itens/20.500.12156.1_7830/`
+
diff --git a/wordpress/1797-princesa-isabel-rj-29-de-julho-de-1846-eu-14-de-novembro-de-1921.md b/wordpress/1797-princesa-isabel-rj-29-de-julho-de-1846-eu-14-de-novembro-de-1921.md
new file mode 100644
index 0000000..2841b73
--- /dev/null
+++ b/wordpress/1797-princesa-isabel-rj-29-de-julho-de-1846-eu-14-de-novembro-de-1921.md
@@ -0,0 +1,88 @@
+---
+id: 1797
+url: "https://brasilianafotografica.bn.gov.br/?p=1797"
+titulo: "Princesa Isabel (RJ, 29 de julho de 1846 – Eu,14 de novembro de 1921)"
+autor: "Andrea Wanderley"
+data: "2015-07-21T16:20:22+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/1799", "20.500.12156.1/3908", "20.500.12156.1/1792", "20.500.12156.1/6409", "20.500.12156.1/5516"]
+fetched_at: "2026-09-10T10:01:09.583Z"
+---
+
+# Princesa Isabel (RJ, 29 de julho de 1846 – Eu,14 de novembro de 1921)
+
+Joaquim Insley Pacheco. Princesa Isabel menina, c. 1863. Rio de Janeiro / Acervo IMS
+Ao longo de sua vida, a princesa Isabel foi retratada por diversos e destacados fotógrafos do século XIX. A Brasiliana Fotográfica reuniu alguns desses registros, feitos por Revert Henrique Klumb (c. 1826 – c. 1886), Joaquim Insley Pacheco (1830 – 1912), Marc Ferrez (1843 – 1923), Alberto Henschel(1827 – 1882) & Benque e por anônimos, criando para seus leitores a Galeria de Fotos da Princesa Isabel.
+Acessando o link para as fotografias da princesa Isabel disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+Por ter assinado a Lei Áurea, que aboliu oficialmente a escravatura no Brasil, ela ficou conhecida como A Redentora. Filha do imperador Pedro II (1825 – 1891), um entusiasta da fotografia, e da imperatriz Teresa Christina Maria (1822 – 1889), formou com seu marido, Gastão d´Orleans (1842 – 1922), o conde D´Eu, uma coleção de fotografias, que se encontra na Europa e representa um importante acervo iconográfico do oitocentos no Brasil. Fazem parte da coleção fotografias de Marc Ferrez (1843 – 1923), Alberto Henschel(1827 – 1882), Augusto Riedel (18? – ?), Augusto Stahl (1828 – 1877), George Leuzinger (1813 – 1892), e Victor Frond (1821 – 1881),  dentre outros, além da imagem da Missa Campal realizada em 17 de maio de 1888, 4 dias após a abolição dos escravizados.
+Breve cronologia da vida da Princesa Isabel
+ 
+Alberto Henschel. Princesa Isabel, Conde D’Eu e os filhos D. Pedro de Alcântara, príncipe do Grão-Pará; D. Luís Maria e D. Antônio Gastão, c. 1884. Rio de Janeiro / Acervo IMS
+ 
+1846 – Em 29 de julho, nascimento da princesa Isabel no Paço Imperial, em São Cristóvão, no Rio de Janeiro, filha do imperador Pedro II (1825 – 1891) e da imperatriz Teresa Cristina Maria (1822 – 1889) (Diário do Rio de Janeiro, edição de 30 de julho de 1846, sob o título “Parte official”).
+Em 15 de novembro, realização do batizado da princesa Isabel, que recebeu o nome de Isabel Christina Leopoldina Augusta Michaella Gabriella Raphaela Gonzaga. Seus padrinhos foram Dom Fernando II, rei de Portugal, representado por Manuel Inácio de Andrade Souto Maior Pinto Coelho, o marquês de Itanhaém; e a Sra. Maria Isabel, rainha viúva das Duas Sicílias, representada por Guilhermina Adelaide Carneiro Leão, a marquesa de Maceió (Diário do Rio de Janeiro, edição de 16 de novembro de 1846, na coluna O Diário)
+1850 – Em 10 de agosto, no Paço do Senado, foi proclamada Herdeira do Trono, pela Assembleia Geral (Correio da Tarde, edição de 9 de agosto de 1850, na primeira coluna, sob o título “Lê-se no Correio Mercantil”).
+1860 – Em 29 de julho, quando completou 14 anos, a princesa Isabel prestou juramento de “manter a religião católica, observar a constituição política do País e ser obediente às Leis e ao Imperador” (Diário do Rio de Janeiro, edição de 30 de julho de 1860).
+1864 – Em 15 de outubro, casamento da princesa Isabel com Gastão d´Orleans (1842 – 1922), o conde D´Eu, na Capela Imperial, no Rio de Janeiro, celebrado por D. Manoel Joaquim da Silveira, arcebispo da Bahia e primaz do Brasil (Diário do Rio de Janeiro, edição de 16 de outubro de 1864). O escritor Machado de Assis escreve na coluna Folhetim uma calorosa descrição do casamento (Diário do Rio de Janeiro, edição de 17 de outubro de 1864). O casal passou a lua de mel em Petrópolis, de onde retornou no dia 24 de outubro.
+1871 – De maio desse ano a março de 1872, a princesa Isabel exerceu pela primeira vez a regência do Brasil.
+Em 29 de julho, ao completar 25 anos, tornou-se a primeira senadora do Brasil, conforme estabelecido na Constituição Brasileira de 1824: “Art 46. Os Príncipes da Casa Imperial são Senadores por Direito, e terão assento no Senado, logo que chegarem à idade de vinte e cinco anos”.
+Em 28 de setembro, promulgou a Lei do Ventre Livre, que concedeu liberdade a todos os filhos de mulheres escravas que nascessem a partir da data de assinatura da lei (Diário do Rio de Janeiro, edição de 30 de setembro de 1871).
+ 
+Ilustração sobre o projeto da Lei do Ventre Livre  Revista Semana Ilustrada, 21 de maio de 1871
+ 
+1874 – Em 28 de julho, a princesa Isabel deu à luz a uma menina natimorta, Luísa Vitória de Orléans e Bragança (Diário do Rio de Janeiro, edição de 29 de julho de 1874, sob o título “Parte Official”).
+1875 – Em 15 de outubro, em Petrópolis, nascimento de seu primeiro filho, Pedro de Orléans e Bragança (Diário do Rio de Janeiro, edição de 16 de outubro de 1875, sob o título “Diário do Rio”). Ele faleceu em 29 de janeiro de 1940, na mesma cidade em que nasceu.
+1876 – De março desse ano a setembro de 1877, a princesa Isabel exerceu, pela segunda vez, a regência do Brasil. 
+1878 – Em 26 de janeiro, nascimento de seu segundo filho, Luis Maria de Orléans e Bragança, em Petrópolis (Diário do Rio de Janeiro, edição de 27 de janeiro de 1878, na segunda coluna). Ele faleceu em Cannes, na França, em março de 1920.
+1881 – Em 9 de agosto, nascimento, em Paris, de seu terceiro e último filho, Antonio Gastão de Orléans e Bragança (Gazeta de Notícias, edição de 10 de agosto de 1881, na primeira coluna). Ele faleceu em 29 de novembro de 1918, devido a um desastre de avião, em Londres.
+ 
+Marc Ferrez. Princesa Isabel, 1885. Rio de Janeiro / Acervo IMS
+ 
+1887 – De junho desse ano a agosto de 1888, a princesa Isabel exerceu, pela terceira e última vez, a regência do Brasil.
+1888 - No chuvoso domingo de Páscoa de 1888, em 1º de abril, o Palácio de Cristal foi todo enfeitado e em seu exterior via-se uma grande cruz também de ramagens e flores com o dístico “Viva a liberdade”. Na ocasião, a princesa Isabel e o conde d´Eu junto a seus filhos, os príncipes Pedro de Alcântara (1875 – 1940) e dom Luis Maria (1878 – 1920), entregaram 127 cartas de alforria a escravizados da cidade Imperial (Jornal do Commercio, 2 de abril de 1888, primeira coluna; Diário de Notícias, 2 e 3 de abril de 1888, sétima coluna). A maioria dos senhores desses escravizados foram indenizados a partir de uma grande campanha desenvolvida na cidade pela comissão agenciadora das libertações. Compareceram à cerimônia representantes do gabinete ministerial de João Alfredo, os abolicionistas André Rebouças (1838 – 1898) e José do Patrocínio (1853 – 1905), além dos embaixadores da Argentina, da Bélgica, do Chile, da Espanha, dos Estados Unidos e da Itália, e diplomatas das legações de outros países, dentre outros.
+Em 13 de maio, assinou a Lei Áurea, que deu fim oficialmente à escravidão no Brasil (Gazeta de Notícias, edição de 14 de maio de 1888).
+Foi noticiada a criação da associação que, com o título de Guarda Negra da Redentora, se dedicasse em corpo e alma e em todos os terrenos à defesa do reinado da excelsa senhora que os fez cidadãos (Cidade do Rio, 10 de julho de 1888, segunda coluna).
+Marc Ferrez (1843 – 1923) fotografou a cerimônia em que a Princesa Isabel foi condecorada com a Rosa de Ouro, honraria do Vaticano, outorgada pelo papa Leão XIII (1810 – 1903), por ter assinado a Lei Áurea. A solenidade, celebrada em 28 de setembro, na Capela Imperial, foi, provavelmente, a primeira grande ocasião em que Ferrez usou os novos flashes de magnésio que havia recebido recentemente da Europa. A data escolhida para a entrega da Rosa de Ouro marcava o aniversário da Lei do Ventre-livre, assinada no dia 28 de setembro de 1871  (Gazeta da Tarde, 28 de setembro de 1888, primeira coluna; Gazeta de Notícias, edição de 29 de setembro de 1888)*.
+ 
+Marc Ferrez. A Princesa Isabel recebe a Rosa de Ouro, outorgada pelo papa Leão XIII, 28 de setembro de 1888. Rio de Janeiro, RJ / Coleção Princesa Isabel
+ 
+Gazeta da Tarde, 28 de setembro de 1888
+ 
+ 
+1889 - Em 17 de novembro, dois dias após a proclamação da República, a família real partiu para o exílio, na Europa (Gazeta de Notícias, edição de 18 de novembro de 1889, sob o título “O Embarque do Imperador”, na segunda coluna).
+1890 - A princesa Isabel, seu marido e filhos foram viver na França.
+1901 – Durante uma competição em Paris em 13 de julho de 1901, o suprimento de petróleo do balão que Santos Dumont (1873 – 1922) dirigia acabou antes que ele alcançasse a linha de chegada. O balão voou por Paris até cair em uma propriedade da família de banqueiros Rothschild. Segundo o livro Asas da Loucura, de Paulo Hoffman, uma biografia de Dumont, quando soube do acidente, a princesa Isabel, que morava perto do local da queda, pediu que seus criados levassem almoço para o aviador. Além disso, o convidou a visitá-la. Tempos depois, a princesa teria enviado a Dumont uma medalha de ouro, com o seguinte bilhete: “Envio-lhe uma medalha de São Benedito, que protege contra acidentes. Aceite-a e use-a na corrente do relógio, na carteira ou no pescoço. Ofereço-lhe pensando na sua boa mãe e pedindo a Deus que o socorra sempre e o ajude a trabalhar para a glória de nossa pátria”. Ele a portou até o fim da vida.
+1918 – Falecimento de seu terceiro e último filho, Antonio Gastão de Orléans e Bragança (1881 – 1918), em 29 de novembro de 1918, devido a um desastre de avião, em Londres.
+1920 - Em março, falecimento, em Cannes, de seu segundo filho, Luis Maria de Orléans e Bragança (1878 – 1920).
+O projeto do deputado mineiro Francisco Valadares (18? – 1933) requerendo a revogação do banimento da família imperial do Brasil, que havia sido apresentado em dezembro de 1919 e arquivado, recebeu em 1920 um parecer favorável da Comissão de Constituição e Justiça e foi rapidamente aprovado no Congresso. Em 3 de setembro de 1920, no Palácio do Catete, o presidente Epitácio Pessoa (1865 – 1942) assinou, com uma caneta de ouro adquirida a partir da arrecadação de dinheiro mediante subscrição pública promovida pelo jornal A Rua, o decreto que revogava o banimento da família imperial. A cerimônia foi realizada com a presença de comissões de instituições importantes como o Instituto Histórico Geográfico Brasileiro, a Academia Brasileira de Letras e a Associação Brasileira de Imprensa. O decreto também autorizava o Poder Executivo, mediante concordância da família do ex-imperador e do governo de Portugal, a trasladar para o Brasil os despojos mortais de dom Pedro II e de dona Teresa Christina (A Rua, 4 de setembro de 1920, primeira coluna).
+1921 - A princesa Isabel não chegou a se beneficiar da revogação do banimento da família real do Brasil, tendo falecido em 14 de novembro de 1921 (Gazeta de Notícias, 15 de novembro de 1921).
+1922 – O conde d´Eu faleceu, em 28 de agosto de 1922,  justamente quando voltava ao Brasil para celebrar o centenário da independência do país. Estava a bordo do navio Massilia (O Paiz, 29 de agosto de 1922, penúltima coluna).
+1938 – Na celebração do cinquentenário da Lei Áurea, um decreto presidencial autorizou o repatriamento dos restos mortais da Princesa Isabel e do Conde d´Eu (O Jornal, 13 de maio de 1938).
+ 
+O Jornal, 13 de maio de 1938
+ 
+1940 – Em 29 de janeiro, em Petrópolis, falecimento de seu primeiro filho, Pedro de Orléans e Bragança (1875 – 1940).
+1953 – Em 6 de julho, chegada no Rio de Janeiro dos restos mortais da princesa Isabel e os de seu marido, o conde D’Eu (Correio da Manhã, edição de 7 de julho de 1953 e O Cruzeiro, 18 de julho de 1953).
+1971 – Os restos mortais da princesa Isabel e os de seu marido, o conde D’Eu, foram trasladados da Catedral Metropolitana do Rio de Janeiro para a igreja de Nossa Senhora do Rosário e São Benedito dos Homens Pretos (Correio da Manhã, edição de 11 de maio de 1971). Finalmente, foram sepultados na Catedral de Petrópolis (Correio da Manhã, edição de 14 de maio de 1971).
+ 
+Gastão de Orleans, o conde d’Eu, e princesa Isabel, c. 1910. França / Acervo IMS
+ 
+* A data e a ocasião desta fotografia foram alteradas em 3 de junho de 2026. Anteriormente, foi identificada como o registro da cerimônia de Te Deum pela aclamação da Princesa Isabel como regente, realizada em 1887.
+ 
+Fontes:
+Além da pesquisa em diversos periódicos na Hemeroteca Digital da Biblioteca Nacional, para a elaboração dessa cronologia, a Brasiliana Fotográfica consultou os livros A História da Princesa Isabel, amor, liberdade e exílio, de Regina Echeverria; As Barbas do Imperador – D. Pedro II, um monarca nos trópicos, de Lilia Moritz Schwarcz; O Castelo de Papel, de Mary del Priori; Coleção Princesa Isabel. Fotografia do Século XIX, de Bia e Pedro Corrêa do Lago; e Dom Pedro II, de José Murilo de Carvalho.
+ 
+Andrea C. T. Wanderley
+Editora-assistente e pesquisadora do portal Brasiliana Fotográfica
+Leia também o artigo A princesa Isabel (RJ, 29 de julho de 1846 – Eu, 14 de novembro de 1921) pelas lentes de importantes fotógrafos do século XIX, publicado em 29 de julho de 2019, na Brasiliana Fotográfica.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/1799` — `itens/20.500.12156.1_1799/`
+- `20.500.12156.1/3908` — `itens/20.500.12156.1_3908/`
+- `20.500.12156.1/1792` — `itens/20.500.12156.1_1792/`
+- `20.500.12156.1/6409` — `itens/20.500.12156.1_6409/`
+- `20.500.12156.1/5516` — `itens/20.500.12156.1_5516/`
+
diff --git a/wordpress/17977-ultimo-dia-do-verao.md b/wordpress/17977-ultimo-dia-do-verao.md
new file mode 100644
index 0000000..ec54c75
--- /dev/null
+++ b/wordpress/17977-ultimo-dia-do-verao.md
@@ -0,0 +1,47 @@
+---
+id: 17977
+url: "https://brasilianafotografica.bn.gov.br/?p=17977"
+titulo: "Último dia do verão"
+autor: "Andrea Wanderley"
+data: "2020-03-20T01:21:31+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/7741", "20.500.12156.1/2229"]
+fetched_at: "2026-09-10T10:01:12.646Z"
+---
+
+# Último dia do verão
+
+Para celebrar o último dia do verão no hemisfério sul, a Brasiliana Fotográfica selecionou duas belas imagens de crepúsculos, segundo o poeta Paulo Mendes Campos (1922 – 1991) o “momento coagulado entre dia e noite”. Ambas foram produzidas em torno de 1920. Uma em Niterói, realizada pelo fotógrafo Braz e a outra, na avenida Niemeyer, com a Pedra da Gávea ao fundo, no Rio de Janeiro, pela Photo Lopes, do fotógrafo e paisagista free-lancer Lopes. Pouco se sabe sobre Braz e Lopes, mas ambos tinham boa parte de sua produção fotográfica distribuída pela Papelaria Rio Branco, propriedade do também fotógrafo José dos Santos Affonso (18? – 1921), negócio que a partir de 1921 foi administrado pela viúva de Affonso.
+Lopes também distribuia suas imagens pela casa Belas Artes. Em 1921, a Photo Lopes anunciou que era fabricante exclusiva da Casa Affonso e que acabava de substituir com vantagem a Photo Bippus que até então se dizia único no fabrico de vistas de noite (Jornal do Brasil, 5 de março de 1921, quinta coluna).
+ 
+Jornal do Brasil, 5 de março de 1921
+ 
+A Photo Lopes, em 1922, localizava-se na rua Itapiru, 173, casa 4, no bairro do Rio Comprido (Jornal do Brasil, 16 de junho de 1922, última coluna). Em 1928, foi publicada uma fotografia do Convento dos Capuchinhos, assinada pela Photo Lopes (Revista da Semana, 21 de janeiro de 1928).
+ 
+Photo Lopes Rio. Crepúsculo na Avenida Niemeyer, c. 1920. Rio de Janeiro, RJ / Acervo IMS
+ 
+O estilo do fotógrafo e paisagista Braz era muito semelhante aos de Carlos Bippus (18? – 19?) e Lopes, mas sua produção foi, pelo que se conhece até o momento, bem menos numerosa.
+ 
+Braz. Crepúsculo, c. 1920. Niteró, RJ / Acervo IMS
+ 
+De acordo com o Observatório Nacional, o verão 2019/2020 começou na madrugada do dia 22 dezembro, à 1h19 (Horário de Brasília), quando ocorreu o solstício de verão no hemisfério sul. Terminou hoje, dia 20 de março de 2020, à 0h49 (Hora de Brasília), quando teve início o outono.
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+ERMAKOFF, George. Rio de Janeiro 1900 – 1930 – Uma crônica fotográfica. Rio de Janeiro: G. Ermakoff Casa Editorial, 2003.
+Hemeroteca Digital da Biblioteca Nacional
+Observatório Nacional
+ 
+Leia aqui Crepúsculo: “a hora esquerda e torta”, de Elvia Bezerra, publicado em 4 de junho de 2020 no site do Instituto Moreira Salles. Segundo a autora, “O tema do crepúsculo na obra de Paulo Mendes Campos merece estudo abrangente, dadas as fartas menções ao fenômeno, não só em versos, como na prosa autobiográfica desse cronista de superior refinamento“.*
+ 
+* Foi incluído em 6 de junho de 2020.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/7741` — `itens/20.500.12156.1_7741/`
+- `20.500.12156.1/2229` — `itens/20.500.12156.1_2229/`
+
diff --git a/wordpress/18036-serie-hoteis-do-brasil-iii-copacabana-palace-simbolo-do-glamour-carioca.md b/wordpress/18036-serie-hoteis-do-brasil-iii-copacabana-palace-simbolo-do-glamour-carioca.md
new file mode 100644
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+++ b/wordpress/18036-serie-hoteis-do-brasil-iii-copacabana-palace-simbolo-do-glamour-carioca.md
@@ -0,0 +1,72 @@
+---
+id: 18036
+url: "https://brasilianafotografica.bn.gov.br/?p=18036"
+titulo: "Série “Hotéis do Brasil” III – Copacabana Palace, símbolo do “glamour” carioca"
+autor: "Andrea Wanderley"
+data: "2020-08-13T10:13:01+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/8285", "20.500.12156.1/6144", "20.500.12156.1/3168"]
+fetched_at: "2026-09-10T10:01:15.951Z"
+---
+
+# Série “Hotéis do Brasil” III – Copacabana Palace, símbolo do “glamour” carioca
+
+O Copacabana Palace, símbolo do glamour carioca e considerado um ícone da arquitetura do Rio de Janeiro, é o tema do terceiro artigo da série Hotéis do Brasil. Na época de sua inauguração, era o maior hotel da América Latina e representava a modernidade da cidade. A Brasiliana Fotográfica destaca registros do hotel produzidos por Augusto Malta (1864 – 1957) que, entre 1903 e 1936, foi o fotógrafo oficial da Prefeitura do então Distrito Federal, e imagens aéreas realizadas por um fotógrafo ainda não identificado. Estas últimas pertencem à Coleção Particular Oliveira Reis, do Arquivo Geral da Cidade do Rio de Janeiro, uma das instituições parceiras do portal.
+ 
+Augusto Malta. Fachado do Hotel Copacabana Palace, 5 de julho de 1925. Rio de Janeiro, RJ / Acervo IMS
+ 
+A construção de um hotel de luxo na avenida Atlântica, recém duplicada e iluminada pelo prefeito Paulo de Frontin (1860 – 1933), em Copacabana, bairro que concentrava a aristocracia moderna do Rio de Janeiro, fazia parte dos preparativos  para a celebração do centenário da independência do Brasil, em 1922. O presidente Epitácio Pessoa (1865 – 1942) submeteu o projeto ao empresário Octávio Guinle (1886 – 1968), membro de uma das mais ricas e tradicionais famílias do Brasil e dono do Palace Hotel, no Rio de Janeiro, e do Hotel Esplanada, em São Paulo. Ele aceitou o desafio, porém o Copacabana Palace só ficou pronto em 1923 quando a Exposição Internacional do Centenário da Independência, aberta em 7 de setembro de 1922, já havia sido encerrada, em 24 de julho de 1923.
+Ao longo de sua existência o hotel foi visitado ou hospedou reis, artistas, intelectuais e políticos como Ava Gardner (1922 – 1990), Janis Joplin (1943 – 1970), Hebe Camargo (1929 – 2012), Lady Di (1961 – 1997) e Príncipe Charles (1948 – ), Mick Jagger (1943 – ), Orson Welles (1915 – 1985), Paul McCartney (1942 – ), Santos Dumont (1873 – 1932), Washington Luís (1869 – 1957) e os futuros reis Edward VIII (1894 – 1972) e George VI (1895 – 1952).
+ 
+Copacabana Palace, c. 1930. Rio de Janeiro, RJ / Acervo AGCRJ
+ 
+Acessando o link para as fotografias do Hotel Copacabana Palace disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+O Copa, apelido pelo qual ficou conhecido, teve seu batismo oficial realizado em 13 de agosto de 1923 com a visita do presidente da República, Artur Bernardes (1875 – 1955), em companhia de outras autoridades, dentre elas o prefeito do Rio de Janeiro, Alaor Prata (1882 – 1964). Foram recebidos por Octávio Guinle. No dia seguinte o hotel começou a receber hóspedes, distintos turistas e brasileiros da melhor sociedade (Gazeta de Notícias, 8 de agosto de 1923; O Paiz, 14 de agosto de 1923, segunda coluna; e Beira-Mar, 19 de agosto de 1923).
+ 
+O Paiz, 12 de agosto de 1923
+ 
+Inspirado nos hotéis Negresco, em Nice, e no Carlton, em Cannes – ambos na França – e situado na avenida Atlântica 1.702, o Copacabana Palace é um marco na ocupação e na paisagem de Copacabana e contribuiu para a projeção internacional do Rio de Janeiro. Seu arquiteto foi o francês Joseph Gire (1872 – 1933), responsável por outras obras como a do Hotel Glória e a do Edifício Joseph Gire, que ficou conhecido como Edifício A Noite. Gire, formado pela École Nationale Supérieure des Beaux-Arts de Paris, desembarcou no Rio de Janeiro em 1916. O engenheiro responsável pela obra do Copa foi Cesar de Mello e Cunha (1898 – 1991). O hotel  foi construído com cimento alemão, mármore de Carrara, e adornado com vidros e lustres da Tchecoslováquia, móveis franceses, tapetes ingleses e cristais da Boêmia. Suas porcelanas eram Limoges.
+ 
+O Paiz, 25 de agosto de 1923
+ 
+A principal atração de seu baile de inauguração, que contou com figuras importantes da República, era a dançarina francesa Mistinguett (1875 – 1956), mas o show foi cancelado na véspera por seus empresários. Mesmo assim o evento foi um sucesso (Gazeta de Notícias, 1º de setembro de 1923, quarta coluna; e O Paiz, 31 de agosto de 1923, primeira coluna; O Paiz, 1º de setembro de 1923, primeira coluna).
+ 
+Revista da Semana, 1º de setembro de 1923
+ 
+Foi ambientado no Copa o filme Voando para o Rio (1933), estrelado por Fred Astaire (1899 – 1987) e Ginger Rogers (1911 – 1995) – que pela primeira vez apareceram dançando juntos em um filme -, Dolores del Rio (1904 – 1983)e Gene Raymond (1908 – 1998).
+ 
+Cartaz do filme Voando para o Rio
+ 
+De 1924 a 1946, o Copa abrigou o Cassino Copacabana – nesse período ficou um tempo fechado e foi reaberto em maio de 1933 (Fon-Fon, 26 de janeiro de 1924; Beira-Mar, 13 de maio de 1933, primeira coluna). Diversos artistas nacionais e internacionais apresentaram-se em seu lendário Golden Room, inaugurado em 26 de dezembro de 1940 (Diário Carioca, 28 de dezembro de 1940), dentre eles Carmen Miranda (1909 – 1955), Charles Aznavour (1924 – 2018), Edith Piaf(1915 – 1963), Ella Fitzgerald (1917 – 1996), Josephine Baker (1906 – 1975), Marlene Dietrich (1901 – 1992), Maurice Chevalier (1888 – 1972), Nat King Cole (1919 – 1965), Ray Charles (1930 – 2004) e Yves Montand (1921 – 1991).
+ 
+Correio da Manhã, 22 de dezembro de 1940
+ 
+Em 1989, a família Guinle vendeu o Copacabana Palace para o grupo Orient-Express, posteriormente, Belmond, que foi vendido para o grupo francês LVMH, em dezembro de 2018. O hotel é tombado em nível federal, estadual e municipal.
+Devido à pandemia do coronavírus, pela primeira vez desde sua inauguração o hotel foi fechado, em 10 de abril de 2020. Andrea Natal, diretora geral do Grupo Belmond do Brasil, que administra o estabelecimento, e o cantor e compositor Jorge Ben Jor (1945 -), que vive lá desde 2018, foram os únicos que continuaram no hotel. Foi anunciado que seria reaberto no dia 20 de agosto de 2020.
+ 
+Augusto Malta. Praia de Copacabana vista do pátio do Copacabana Palace Hotel, 19?. Rio de Janeiro, RJ / Acervo FBN
+ 
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+BOECHAT, Ricardo. Copacabana Palace: um hotel e sua história. São Paulo: DBA, 1998.
+Folha de São Paulo, 16 de setembro de 2015
+Hemeroteca Digital da Biblioteca Nacional
+IstoÉ, 17 de dezembro de 2018
+O’DONNELL, Julia. A invenção de Copacabana: culturas urbanas e estilos de vida no Rio de Janeiro. Rio de Janeiro: Zahar, 2013.
+O Globo, 13 de agosto de 2008
+Site I-Patrimônio
+UOL Notícias, 30 de outubro de 2008
+Uol Notícias, 2 de julho de 2020
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/8285` — `itens/20.500.12156.1_8285/`
+- `20.500.12156.1/6144` — `itens/20.500.12156.1_6144/`
+- `20.500.12156.1/3168` — `itens/20.500.12156.1_3168/`
+
diff --git a/wordpress/18110-petropolis-a-cidade-imperial-pelos-fotografos-marc-ferrez-e-revert-henrique-klum.md b/wordpress/18110-petropolis-a-cidade-imperial-pelos-fotografos-marc-ferrez-e-revert-henrique-klum.md
new file mode 100644
index 0000000..33399f9
--- /dev/null
+++ b/wordpress/18110-petropolis-a-cidade-imperial-pelos-fotografos-marc-ferrez-e-revert-henrique-klum.md
@@ -0,0 +1,163 @@
+---
+id: 18110
+url: "https://brasilianafotografica.bn.gov.br/?p=18110"
+titulo: "Petrópolis, a Cidade Imperial, pelos fotógrafos Marc Ferrez e Revert Henrique Klumb"
+autor: "Andrea Wanderley"
+data: "2020-03-16T11:15:57+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/2434", "20.500.12156.1/414", "20.500.12156.1/2386", "20.500.12156.1/2441", "20.500.12156.1/16", "20.500.12156.1/2246", "20.500.12156.1/2393", "20.500.12156.1/7733", "20.500.12156.1/7707", "20.500.12156.1/7710", "20.500.12156.1/7724", "20.500.12156.1/7709", "20.500.12156.1/7715", "20.500.12156.1/7705", "20.500.12156.1/2431", "20.500.12156.1/7719", "20.500.12156.1/2397", "20.500.12156.1/2575"]
+fetched_at: "2026-09-10T10:01:19.440Z"
+---
+
+# Petrópolis, a Cidade Imperial, pelos fotógrafos Marc Ferrez e Revert Henrique Klumb
+
+A Brasiliana Fotográfica celebra a fundação de Petrópolis, ocorrida em 16 de março de 1843, trazendo para seus leitores uma seleção de imagens da cidade produzidas pelo francês Revert Henrique Klumb (c. 1826 – c. 1886) e por Marc Ferrez (1843 – 1923), no século XIX. Klumb era o fotógrafo preferido da família real brasileira, tendo sido agraciado com o título de “Fotógrafo da Casa Imperial”, em 1861. Seus registros aqui destacados são de ruas petropolitanas como a do Imperador, a Tereza e a Joinville; do interior e do exterior do Palácio Imperial, dos hotéis Beresford, Brangança e Inglês, do Retiro da Cascatinha, do rio Quitandinha, de palacetes e casas, da princesa Isabel (1846 – 1921) e do conde D´Eu (1842 – 1922), além de vistas gerais. Apresentamos também o Álbum Vistas de Petrópolis e Rio de Janeiro, realizado por Ferrez, em torno de 1885, com 30 imagens de Petrópolis que recebeu, em 1981, do governo federal, o título de Cidade Imperial.
+ 
+Revert Henrique Klumb e Petrópolis
+ 
+Revert Henrique Klumb. Serra dos Órgãos, c. 1870. Petrópolis, Rio de Janeiro / Acervo IMS
+ 
+Revert Henrique Klumb; Paul Théodore Robin. Petrópolis : La Rue de Joinville, 1860. Petrópolis, RJ / Acervo FBN 
+ 
+Revert Henrique Klumb chegou ao Rio de Janeiro, entre 1852 e 1853, com Affonso Rouel, trazendo uma máquina fotográfica. Eles eram, segundo consta no livro Artistas de meu tempo, de Mello Morais Filho, fugitivos do exército francês. No ano seguinte, já era anunciada a Photographia de François Rene Moreaux, Klumb e Cia, na rua do Rosário, 134. Entre 1865 e 1866, Klumb mudou-se para Petrópolis e seu endereço era rua dos Artistas, nº 10, em frente à praça Coblenz. Fez uma extensa documentação da paisagem urbana da cidade, inclusive com efeitos noturnos – uma grande inovação na época.
+Foi o autor do livro Doze horas em diligência. Guia do viajante de Petrópolis a Juiz de Fora, publicado em 1872. Foi a única obra do Brasil do século XIX a ser idealizada, fotografada, escrita e publicada por uma só pessoa. Também foi o primeiro livro de fotografia inteiramente litografado e produzido no país. Em 1874, foi publicado o livro Petrópolis e seus arrabaldes, com fotografias produzidas por Klumb. Um ano depois, realizou uma exposição de fotografias de Petrópolis que fez muito sucesso, tendo sido visitada por dom Pedro II (1825 – 1891) e pela imperatriz Tereza Cristina (1822 – 1889) ( O Globo, de 10 de janeiro de 1875 , na segunda coluna; O Mercantil, de 6 e 9 janeiro de 1875, de 10 de janeiro e de 6 de fevereiro de 1875; ). Ainda, em 1875, Klumb anunciou seus serviços de fotógrafo na cidade, na rua dona Januária, aos domingos, segundas, terças e dias santos.
+Em 1886, Klumb estava em Paris e de lá escreveu à imperatriz Teresa Cristina pedindo que ela financiasse a volta dele e de sua família para o Brasil – era casado com a baiana Hermelinda Barreto, com quem tinha duas filhas. O pedido foi deferido e ele e sua família deveriam embarcar para o Brasil em outubro de 1886. Porém, não se sabe se ele chegou a vir. Essa é a última notícia que se tem, até o momento, sobre o fotógrafo.
+ 
+Revert Henrique Klumb. Rua Princesa Dona Januária, c. 1865. Petrópolis, RJ / Acervo IMS
+ 
+Revert Henrique Klumb. Retiro da Cascatinha, 1865. Petrópolis, Rj / Acervo IMS 
+ 
+Revert Henrique Klumb. Palacete do Barão de Ubá, 1864?. Petrópolis, Rio de Janeiro / Acervo FBN
+ 
+Revert Henrique Klumb. Palácio Imperial, c. 1860. Petrópolis, Rio de Janeiro / Acervo IMS
+ 
+Revert Henrique Klumb. Membros do corpo diplomático e familiares em frente ao Palácio Imperial, c. 1875. Petrópolis, Rio de Janeiro / Acervo IMS
+ 
+Acessando o link para as fotografias de Petrópolis realizadas por Revert Henrique Klumb disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas. 
+ 
+Álbum Vistas de Petrópolis e Rio de Janeiro, por Marc Ferrez
+ 
+O Álbum Vistas de Petrópolis e Rio de Janeiro, de autoria de Marc Ferrez , possui 42 fotografias, sendo 30 de aspectos de Petrópolis: seus canais, casarões, escolas, estação de trem, fábricas, jardins, paisagens, palacetes e ruas, além de imagens do Palácio de Cristal, do Palácio do Grão-Pará, da avenida Koeller e da construção de uma ferrovia. A vasta e abrangente obra iconográfica de Ferrez se equipara a dos maiores nomes da fotografia do mundo.  Cerca de metade de sua produção fotográfica foi realizada no Rio de Janeiro e em seus arredores, onde registrou, além do patrimônio construído, a exuberância das paisagens naturais. Outro segmento de sua obra iconográfica registrou as várias regiões do Brasil – ele foi o único fotógrafo do século XIX que percorreu todas as regiões do país.
+ 
+Marc Ferrez. Álbum Vistas de Petrópolis e Rio de Janeiro, c. 1885. Petrópolis, Rio de Janeiro / Acervo IMS
+ 
+Marc Ferrez. Menino em jardim de Petrópolis, c. 1885. Petrópolis, Rio de Janeiro / Acervo IMS
+ 
+Marc Ferrez. Canal em Petrópolis, c. 1885. Petrópolis, Rio de Janeiro / Acervo IMS
+ 
+Marc Ferrez. Casarão rodeado por árvores e arbustos, c. 1885. Petrópolis, Rio de Janeiro / Acervo IMS
+ 
+Marc Ferrez. Estação de Petrópolis, c. 1885. Petrópolis, Rio de Janeiro / Acervo IMS
+ 
+Marc Ferrez. Cascatinha, c. 1885. Petrópolis, Rio de Janeiro / Acervo IMS
+ 
+Marc Ferrez. Vista da avenida Koeler. Petrópolis, Rio de Janeiro / Acervo IMS
+ 
+ 
+Acessando o link para as fotografias do Álbum Vistas de Petrópolis e Rio de Janeiro por Marc Ferrez disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Um pouco da história de Petrópolis
+ 
+Brasão de Petrópolis
+ 
+Dom Pedro I (1798 – 1834) se encantou com a região serrana, em 1822, quando viajava para Minas Gerais na busca de apoio à independência do Brasil. Ficou hospedado na fazenda do Padre Correia (1759 – 1824), cuja sede ficava na confluência dos rios Morto e Piabanha. A fazenda oferecia hospedagem e alimentação aos tropeiros. O padre Correia recusou uma oferta feita pelo imperador para a compra de sua propriedade.
+ 
+Fazenda do Padre Correia – imagem atribuída a Friederich Sellow.
+ 
+Então, em 1830, dom Pedro I comprou a fazenda do Córrego Seco, localizada no topo da Serra da Estrela, por considerá-la situada em uma região de salubridade e beleza ideais, o que beneficiaria sua filha, a princesa dona Paula (1823 – 1833), que tinha sérios problemas de saúde. D. Pedro I queria construir ali um palácio para o verão, o Palácio da Concórdia. Porém, sua abdicação, em 1831, e sua morte, em 1834, o impediram de realizar seu desejo. Seus credores entraram nas justiças europeia e brasileira e a fazenda foi destinada para cobrir suas dívidas. Em 1839, o governo do Brasil foi autorizado a comprar a propriedade ( Diário do Rio de Janeiro, 21 de setembro de 1839, na primeira coluna ) e, em 1840, ela passou a pertencer a dom Pedro II (1825 – 1891) e a seus sucessores ( Diário do Rio de Janeiro, 15 de outubro de 1840, na terceira coluna). O mordomo da Casa Imperial, Paulo Barbosa da Silva (1790 – 1868), teve a iniciativa de retomar os planos de dom Pedro I de construir um palácio na região. Então no dia 16 de março de 1843, o imperador, com dezoito anos e recém-casado com dona Teresa Cristina (1822 – 1889), assinou o Decreto Imperial nº 155, que arrendava as terras da fazenda do Córrego Seco ao major alemão Júlio Frederico Koeler (1804 – 1847) para a fundação da “Povoação-Palácio de Petrópolis”. Koeler teria que edificar um palácio para dom Pedro II, uma igreja e um cemitério, além de povoar a região. Surgia assim a cidade de Petrópolis.
+Decreto Imperial nº 155
+“Tendo approvado o plano que me apresentou Paulo Barbosa da Silva, do Meu Conselho, Official Mór, e Mordomo de Minha Imperial Casa, de arrendar a Minha Fazenda denominada “Corrego Seco” ao Major de Engenheiros Koeler; pela quantia de um conto de réis annual, reservando um terreno sufficiente para nelle se edificar um Palacio para Mim, com suas dependencias e jardins, outro para uma povoação, que deverá ser afórado a particulares, e assim como cem braças dum e outro lado da estrada geral, que corta aquella Fazenda, o qual deverá tambem ser afórado a particulares, em datas ou prazos de cinco braças indivisiveis, pelo preço porque se convencionarem, nunca menos de mil réis por braça : Hei por bem authorisar o sobredito Mordomo a dar execução ao dito plano sob estas condições. E outrosim o Authorizo a fazer demarcar um terreno para nelle se edificar uma Igreja com a invocação de S. Pedro de Alcantara, a qual terá uma superficie equivalente a quarenta braças quadradas, no logar que mais convier aos visinhos e foreiros, do qual terreno lhes faço doação para este fim e para o cemiterio da futura povoação. Ordeno portanto ao sobredito Mordomo que proceda aos ajustes e escripturas necessarias, n’esta conformidade, com as devidas cautelas e circumstancias de localidades, e outrosim que forneça a minhas espenças os vazos sagrados, e ornamentos para a sobredicta Igreja, logo que esteja em termos de n’ella se poder celebrar. Paço da Boa Vista deseseis de Março de 1843, vigesimo segundo da Independencia e do Imperio. Dom Pedro II. Paulo Barbosa da Silva. Conforme, Augusto Candido Xavier de Brito.”(Instituto Histórico de Petrópolis)
+ 
+Revert Henrique Klumb. Palácio Imperial, 1878. Petrópolis, RJ / Acervo IMS
+ 
+Ao longo de sua história, Petrópolis foi fortemente influenciada pela presença de imigrantes alemães, italianos, sírio-libaneses e portugueses. Foi intitulada Cidade Imperial pelo decreto federal 85.849, de 27 de março de 1981. Fica a 809 metros de altitude e é o maior município da Região Serrana do estado do Rio de Janeiro. Sua arquitetura, história, clima e gastronomia contribuem para que a cidade seja um dos principais destinos turísticos do Brasil.
+ 
+Marc Ferrez. Casarões, c. 1885. Petrópolis, Rio de Janeiro / Acervo IMS
+ 
+ 
+Revert Henrique Klumb. Residências, c. 1865. Petrópolis, RJ / Acervo IMS
+ 
+Publicações da Brasiliana Fotográfica em torno da obra do fotógrafo Marc Ferrez 
+ 
+Marc Ferrez aos 33 anos, c. 1876. Rio de Janeiro, RJ / Acervo IMS
+O Rio de Janeiro de Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 30 de junho de 2015
+Obras para o abastecimento no Rio de Janeiro por Marc Ferrez , de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 25 de janeiro de 2016
+O brilhante cronista visual Marc Ferrez (7/12/1843 – 12/01/1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 7 de dezembro de 2016
+Do natural ao construído: O Rio de Janeiro na fotografia de Marc Ferrez, de autoria de Sérgio Burgi, um dos curadores da Brasiliana Fotográfica, publicada em 19 de dezembro de 2016
+No primeiro dia da primavera, as cores de Marc Ferrez (1843 – 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 22 de setembro de 2017
+Marc Ferrez , a Comissão Geológica do Império (1875 – 1878) e a Exposição Antropológica Brasileira no Museu Nacional (1882), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica,  publicada em 29 de junho de 2018
+Série “O Rio de Janeiro desaparecido” V – O quiosque Chopp Berrante no Passeio Público, Ferrez, Malta e Charles Dunlop, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 20 de julho de 2018
+Uma homenagem aos 175 anos de Marc Ferrez (7 de dezembro de 1843 – 12 de janeiro de 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 7 de dezembro de 2018 
+Pereira Passos e Marc Ferrez: engenharia e fotografia para o desenvolvimento das ferrovias, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 5 de abril de 2019
+Fotografia e ciência: eclipse solar, Marc Ferrez e Albert Einstein, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 24 de junho de 2019
+Os 180 anos da invenção do daguerreótipo – Os álbuns da Comissão Geológica do Império com fotografias de Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 19 de agosto de 2019
+Celebrando o fotógrafo Marc Ferrez (1843 – 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 4 de dezembro de 2019
+Uma homenagem da Casa Granado ao imperial sob as lentes de Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 7 de fevereiro de 2020
+Ressaca no Rio de Janeiro invade o porão da casa do fotógrafo Marc Ferrez, em 1913, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado 6 de março de 2020
+Bambus, por Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 5 de junho de 2020
+O Baile da Ilha Fiscal: registro raro realizado por Marc Ferrez e retrato de Aurélio de Figueiredo diante de sua obra, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 9 de novembro de 2020
+O Palácio de Cristal fotografado por Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 2 de fevereiro de 2021
+A Estrada de Ferro do Paraná, de Paranaguá a Curitiba, pelos fotógrafos Arthur Wischral (1894 – 1982) e Marc Ferrez (1843 – 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 22 de março de 2021
+Dia dos Pais – Julio e Luciano, os filhos do fotógrafo Marc Ferrez, e outras famílias, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 6 de agosto de 2021
+No Dia da Árvore, mangueiras fotografadas por Ferrez e Leuzinger, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 21 de setembro de 2021
+Retratos de Pauline Caroline Lefebvre, sogra do fotógrafo Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 28 de abril de 2022
+A Serra dos Órgãos: uma foto aérea e imagens realizadas pelos mestres Ferrez, Leuzinger e Klumb, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 30 de junho de 2022
+O centenário da morte do fotógrafo Marc Ferrez (1843 – 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 12 de janeiro de 2023
+O Observatório Nacional pelas lentes de Marc Ferrez, amigo de vários cientistas, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 29 de maio de 2023
+No Dia Mundial do Meio Ambiente, a potente imagem da Cachoeira de Paulo Afonso, por Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 5 de junho de 2023
+A Fonte Adriano Ramos Pinto por Guilherme Santos e Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 18 de julho de 2023
+Os 180 anos de nascimento do fotógrafo Marc Ferrez (1843 – 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 7 de dezembro de 2023
+ 
+ 
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Outros artigos publicados na Brasiliana Fotográfica em torno da obra de Revert Henrique Klumb:
+Revert Henrique Klumb, o fotógrafo da família real do Brasil, publicado em 31 de agosto de 2016
+As versões diurna e noturna na fotografia de Revert Henrique Klumb, 28 de dezembro de 2018
+“Doze horas em diligência”, o primeiro guia turístico do Brasil, por Revert Henrique Klumb (c. 1826 – c. 1886), 8 de maio de 2020
+Série “Avenidas e ruas do Brasil” II – A rua do Imperador em Petrópolis por Klumb, Leuzinger e Stahl, 16 de junho de 2020.
+O Hotel Pharoux por Revert Henrique Klumb, em 15 de junho de 2022
+Fontes:
+ALQUÉRES, José Luiz. Petrópolis. Petrópolis: Viana & Mosley, 2002.
+BADE e DURIEZ. Conhecendo Petrópolis. Petrópolis: Ed. Gráfica Serrana, 1993.
+BRITTO PEREIRA, Cecilia Duprat. Revert Henrique Klumb – Fotógrafo da Família Imperial Brasileira. Rio de Janeiro: Anais da Biblioteca Nacional, 1982.
+CARVALHO, José Murilo. Pedro II: ser ou não ser. São Paulo: Companhia das Letras, 2007.
+CERON, Ileana Pradilla Ceron. Marc Ferrez – uma cronologia da vida e da obra. São Paulo : Instituto Moreira Salles, 2018.
+FERREZ, Gilberto; NAEF, Weston J.. Pioneer Photographers of Brazil, 1840-1920. New York: Center for Inter-American Relations, 1976.
+Hemeroteca Digital da Biblioteca Nacional
+KOSSOY, Boris. Dicionário Histórico-Fotográfico Brasileiro: fotógrafos e ofício da fotografia no Brasil(1833-1910). São Paulo: Instituto Moreira Salles, 2002. ISBN 85-86707-07-4
+LAGO, Bia Corrêa do;LAGO, Pedro Corrêa do. Os Fotógrafos do Império. Rio de Janeiro: Capivara, 2005. 240p.:il
+MARTIM, Ricardo (pseudônimo de Guilherme Auler). Dom Pedro II e a fotografia. Tribuna de Petrópolis. Petrópolis, 1 de abril de 1956.
+RABAÇO, Henrique José. História de Petrópolis. Petrópolis : Universidade Católica de Petrópolis, 1985.
+SCHWARCZ, Lilia Moritz. As barbas do Imperador: D. Pedro II, um monarca nos trópicos. São Paulo: Companhia das Letras, 1998.
+Site História de Petrópolis
+Site Instituto Histórico de Petrópolis
+Site Instituto Municipal de Cultura e Esportes
+Site Museu Imperial de Petrópolis
+VASQUEZ, Pedro Karp. Revert Henrique Klumb: um alemão na Corte Imperial brasileira. Apresentação Joaquim Marçal, Demosthenes Madureira de Pinho Filho; coordenação de coleção Pedro Corrêa do Lago; coordenação editorial Pedro Corrêa do Lago, Luiz Eduardo Meira de Vasconcellos; design Victor Burton; fotografia César Barreot, Miguel Pacheco e Chaves; pesquisa Pedro Karp Vasquez; tradução Carlos Luís Brown Scavarda. Rio de Janeiro: Capivara, 2001 229p., il. p&b. (Visões do Brasil, 4). ISBN 85-86011-49-5.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/2434` — `itens/20.500.12156.1_2434/`
+- `20.500.12156.1/414` — `itens/20.500.12156.1_414/`
+- `20.500.12156.1/2386` — `itens/20.500.12156.1_2386/`
+- `20.500.12156.1/2441` — `itens/20.500.12156.1_2441/`
+- `20.500.12156.1/16` — `itens/20.500.12156.1_16/`
+- `20.500.12156.1/2246` — `itens/20.500.12156.1_2246/`
+- `20.500.12156.1/2393` — `itens/20.500.12156.1_2393/`
+- `20.500.12156.1/7733` — `itens/20.500.12156.1_7733/`
+- `20.500.12156.1/7707` — `itens/20.500.12156.1_7707/`
+- `20.500.12156.1/7710` — `itens/20.500.12156.1_7710/`
+- `20.500.12156.1/7724` — `itens/20.500.12156.1_7724/`
+- `20.500.12156.1/7709` — `itens/20.500.12156.1_7709/`
+- `20.500.12156.1/7715` — `itens/20.500.12156.1_7715/`
+- `20.500.12156.1/7705` — `itens/20.500.12156.1_7705/`
+- `20.500.12156.1/2431` — `itens/20.500.12156.1_2431/`
+- `20.500.12156.1/7719` — `itens/20.500.12156.1_7719/`
+- `20.500.12156.1/2397` — `itens/20.500.12156.1_2397/`
+- `20.500.12156.1/2575` — `itens/20.500.12156.1_2575/`
+
diff --git a/wordpress/18113-serie-avenidas-e-ruas-do-brasil-ii-a-rua-do-imperador-em-petropolis-por-klumb-le.md b/wordpress/18113-serie-avenidas-e-ruas-do-brasil-ii-a-rua-do-imperador-em-petropolis-por-klumb-le.md
new file mode 100644
index 0000000..6c5c64f
--- /dev/null
+++ b/wordpress/18113-serie-avenidas-e-ruas-do-brasil-ii-a-rua-do-imperador-em-petropolis-por-klumb-le.md
@@ -0,0 +1,73 @@
+---
+id: 18113
+url: "https://brasilianafotografica.bn.gov.br/?p=18113"
+titulo: "Série “Avenidas e ruas do Brasil” II – A Rua do Imperador em Petrópolis por Klumb, Leuzinger e Stahl"
+autor: "Andrea Wanderley"
+data: "2020-06-26T10:21:40+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/410", "20.500.12156.1/2436", "20.500.12156.1/2160", "20.500.12156.1/2289"]
+fetched_at: "2026-09-10T10:01:22.669Z"
+---
+
+# Série “Avenidas e ruas do Brasil” II – A Rua do Imperador em Petrópolis por Klumb, Leuzinger e Stahl
+
+Série “Avenidas e ruas do Brasil” II – A Rua do Imperador em Petrópolis por Klumb, Leuzinger e Stahl
+A Brasiliana Fotográfica inaugura a série “Avenidas e ruas do Brasil” com um artigo sobre a Rua do Imperador, em Petrópolis, registrada por três importantes fotógrafos estrangeiros que vieram para o Brasil no século XIX: o italiano filho de franceses Augusto Stahl (1828 – 1877), o suíço Georges Leuzinger (1813 – 1892) e o francês Revert Henrique Klumb (c. 1896 – c. 1886). Lembramos que antes do lançamento da série, já havia um artigo no portal sobre uma importante rua do Rio de Janeiro: Avenida Central,  atual Rio Branco, publicado em 7 de setembro de 2016. Portanto, apesar do lançamento formal ser hoje, vamos considerar o mencionado artigo como o primeiro da série.
+ 
+Revert Henrique Klumb; Paul Théodore Robin. Petrópolis : La Route Union et Industrie et la Rue de l’Empereur, 1860. Petrópolis, RJ / Acervo FBN
+ 
+A Rua do Imperador é o centro comercial da cidade desde sua fundação. A partir dos anos 1850, houve um aumento na construção de casas e de sobrados com lojas comerciais no térreo, cujos proprietários eram, em sua maioria, portugueses. Nas ruas próximas, a elite política e financeira do Império construía suas casas. Na rua do Imperador ficava o Hotel Bragança, os Quartéis da Colônia e a Estação da Estrada de Ferro Príncipe do Grão-Pará. Em 1905, já se chamava Avenida XV de Novembro, mas voltou a ser denominada Rua do Imperador, em 1979.
+ 
+Revert Henrique Klumb. Obras na rua do Imperador, c. 1874. Petrópolis, RJ / Acervo IMS
+ 
+Acessando o link para as fotografias da Rua do Imperador em Petrópolis disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas. 
+ 
+Augusto Stahl. A rua do Imperador, 1863. Petrópolis, RJ / Acervo IMS
+ 
+ 
+Georges Leuzinger. Rua do Imperador, c. 1870. Petrópolis, RJ / Acervo IMS
+ 
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+KOSSOY, Boris. Dicionário histórico-fotográfico brasileiro: fotógrafos e ofício da fotografia no Brasil. São Paulo: Instituto Moreira Salles, 2002.
+Site A História de Petrópolis
+ 
+Links para as outras publicações da série “Avenidas e ruas do Brasil”
+ Série “Avenidas e ruas do Brasil” I – Avenida Central, atual Rio Branco, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 7 de setembro de 2016
+Série “Avenidas e ruas do Brasil” III – A Rua do Bom Jesus, no Recife, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 6 de agosto de 2020
+Série “Avenidas e ruas do Brasil” IV – A Rua 25 de Março, em São Paulo, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 1º de setembro de 2020
+Série “Avenidas e ruas do Brasil” V – A Rua Direita, a Rua das Mercês e a Rua Macau do Meio, em Diamantina, Minas Gerais, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 22 de outubro de 2020
+Série “Avenidas e ruas do Brasil” VI  – Rua Augusto Ribas e outras, em Ponta Grossa, no Paraná, pelo fotógrafo Luiz Bianchi, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 16 de novembro de 2020
+Série “Avenidas e ruas do Brasil” VII – A Avenida Atlântica, em Copacabana, no Rio de Janeiro, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 23 de dezembro de 2020
+Série “Avenidas e ruas do Brasil VIII – A Rua da Carioca por Cássio Loredano, de autoria de Cássio Loredano, publicada em 20 de janeiro de 2021
+Série “Avenidas e ruas do Brasil” IX – Ruas e panoramas do bairro do Catete, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 14 de julho de 2021
+Série “Avenidas e ruas do Brasil” X – A Rua da Ajuda, no Rio de Janeiro, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 9 de novembro de 2021
+Série “Avenidas e ruas do Brasil” XI – A Rua da Esperança, em São Paulo, por Vincenzo Pastore, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 14 de dezembro de 2021
+Série “Avenidas e ruas do Brasil” XII – A Avenida Paulista, o coração pulsante da metrópole, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 21 de janeiro de 2022
+Série “Avenidas e ruas do Brasil” XIII – A Rua Buenos Aires no Centro do Rio de Janeiro, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 19 de julho de 2022
+Série “Avenidas e ruas do Brasil” XIV – A Avenida Presidente Vargas,, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 31 de agosto de 2022
+Série “Avenidas e ruas do Brasil” XV – Misericórdia: rua, largo e ladeira, no Rio de Janeiro, por Cássio Loredano, de autoria de Cássio Loredano, publicada em 8 de dezembro de 2022
+Série “Avenidas e ruas do Brasil” XVI – “Alguma coisa acontece no meu coração”, a Avenida São João nos 469 anos de São Paulo, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 25 de janeiro de 2023
+Série “Avenidas e ruas do Brasil” XVII  e série “O Rio de Janeiro desaparecido” XXIII – A Praia e a Rua do Russel, na Glória, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 15 de maio de 2023
+Série “Avenidas e ruas do Brasil” XVIII – Avenida Beira-Mar, de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal, publicada em 22 de janeiro de 2024
+ 
+ 
+Outros artigos publicados na Brasiliana Fotográfica em torno da obra de Revert Henrique Klumb:
+Revert Henrique Klumb, o fotógrafo da família real do Brasil, publicado em 31 de agosto de 2016
+As versões diurna e noturna na fotografia de Revert Henrique Klumb, 28 de dezembro de 2018
+Petrópolis, a Cidade Imperial, pelos fotógrafos Marc Ferrez e Revert Henrique Klumb, 16 de março de 2020
+“Doze horas em diligência”, o primeiro guia turístico do Brasil, por Revert Henrique Klumb (c. 1826 – c. 1886), 8 de maio de 2020
+O Hotel Pharoux por Revert Henrique Klumb, em 15 de junho de 2022
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/410` — `itens/20.500.12156.1_410/`
+- `20.500.12156.1/2436` — `itens/20.500.12156.1_2436/`
+- `20.500.12156.1/2160` — `itens/20.500.12156.1_2160/`
+- `20.500.12156.1/2289` — `itens/20.500.12156.1_2289/`
+
diff --git a/wordpress/18198-ressaca-no-rio-de-janeiro-invade-o-porao-da-casa-do-fotografo-marc-ferrez-em-191.md b/wordpress/18198-ressaca-no-rio-de-janeiro-invade-o-porao-da-casa-do-fotografo-marc-ferrez-em-191.md
new file mode 100644
index 0000000..439f900
--- /dev/null
+++ b/wordpress/18198-ressaca-no-rio-de-janeiro-invade-o-porao-da-casa-do-fotografo-marc-ferrez-em-191.md
@@ -0,0 +1,84 @@
+---
+id: 18198
+url: "https://brasilianafotografica.bn.gov.br/?p=18198"
+titulo: "Ressaca no Rio de Janeiro invade o porão da casa do fotógrafo Marc Ferrez, em 1913"
+autor: "Andrea Wanderley"
+data: "2020-03-06T11:51:53+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/2446", "20.500.12156.1/2233", "20.500.12156.1/2575"]
+fetched_at: "2026-09-10T10:01:25.655Z"
+---
+
+# Ressaca no Rio de Janeiro invade o porão da casa do fotógrafo Marc Ferrez, em 1913
+
+Há muito tempo as águas de março castigam o Rio de Janeiro. Nas primeiras décadas do século XX, ocorreram várias ressacas na cidade e a Brasiliana Fotográfica destaca duas fotografias produzidas por Augusto Malta (1864 – 1957) e Carlos Bippus (18? – 19?), em 1913, quando, em março, aconteceu uma delas. Um dos bairros mais afetados foi o Flamengo e o porão da casa onde a família de Marc Ferrez (1843 – 1921) morava, na rua Dois de Dezembro – antiga rua Christovão Colombo -, foi inundado destruindo boa parte da tiragem do Álbum da Avenida Central*, um dos mais ambiciosos projetos da carreira do fotógrafo, monumental como a obra de engenharia que representava (O Paiz, 9 de março de 1913; Correio da Manhã, 9 de março de 1913). Cerca de um mês depois da enchente, Ferrez e sua mulher, a francesa Marie Lefebvre (c. 1849 – 1914), embarcaram para a Europa no paquete holandês Zeelandia (O Paiz, 17 de abril de 1913, na quarta coluna) e, no primeiro semestre de 1914, quando retornaram ao Rio de Janeiro, alugaram uma casa na rua Voluntários da Pátria 50, em Botafogo. Terá sido para fugir de possíveis novas ressacas?
+ 
+Augusto Malta. Ressaca, 1913. Avenida Beira Mar, Rio de Janeiro / Acervo IMS
+ 
+Acessando o link para as fotografias de ressacas ocorridas no Rio de Janeiro no início do século XX disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+O Paiz, 9 de março de 1913
+ 
+Aspecto da esquina da rua do Catete com a rua Dois de Dezembro onde morava Marc Ferrez / O Malho, 15 de março de 1913
+ 
+Carlos Bippus. Ressaca, 1913. Avenida Beira Mar, Rio de Janeiro / Acervo IMS 
+ 
+ *O Álbum da Avenida Central
+ 
+
+ 
+Ferrez iniciou pouco antes da inauguração da avenida Central, em 15 de novembro de 1905 (Jornal do Brasil, 16 de novembro de 1905, última coluna), a produção do Álbum da Avenida Central,  importante registro da reforma da principal via da então capital federal, onde ele contrapôs reproduções das plantas às fotografias das fachadas de cada edifício documentado. Esse tipo de fotografia foi fundamental para a construção e para a difusão de uma nova imagem do Rio de Janeiro, uma imagem associada aos ideais de civilização e progresso. Ele havia sido contratado pela Comissão Construtora da Avenida Central, que era coordenada por Paulo de Frontin (1860 – 1933), presidente do Clube de Engenharia. O álbum original foi lançado em 1907. As fotos foram realizadas em negativos de grande formato. As dos projetos arquitetônicos foram impressas em zincografia e, as das fachadas de todos os edifícios, em colotipia.
+Na época de sua inauguração, a avenida Central tinha 1.800 metros de extensão e 33 metros de largura. Cerca de 300 casas coloniais foram demolidas para a construção dos novos edifícios, cujas fachadas foram escolhidas por concurso. Alguns dos jurados foram o prefeito Pereira Passos (1836 – 1913), responsável pela significativa reforma urbana carioca – o “bota-abaixo” -, que contribuiu para o surgimento do Rio de Janeiro da Belle Époque; o engenheiro Paulo de Frontin (1860 – 1933), Lauro Muller (1863 – 1926), ministro da Viação e Obras Públicas; e Oswaldo Cruz (1872 – 1917), diretor-geral da Saúde Pública. Além de edifícios do governo, ergueram-se, na avenida, jornais, clubes, hotéis e sedes de empresas. O calçamento, em mosaico português, foi feito por artesãos vindos de Portugal. Passear pela avenida Central era passear pela espinha dorsal do mundo das compras e do lazer dos elegantes, dos negócios e da cultura. Alguns remanescentes da primeira geração de prédios da avenida são o Teatro Municipal, o Clube Naval, a Biblioteca Nacional, o Museu Nacional de Belas Artes e o Centro Cultural da Justiça Federal.
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+BARROS, Mariana Gonçalves Monteiro de. Marc Ferrez e o Rio de Janeiro do seu tempo. Tese de doutorado apresentada ao Programa de Pós-graduação em História Social da Cultura do Departamento de História da PUC-Rio, Rio de Janeiro, setembro de 2006.
+CERON, Ileana Pradilla Ceron. Marc Ferrez – uma cronologia da vida e da obra. São Paulo : Instituto Moreira Salles, 2018.
+Hemeroteca Digital da Biblioteca Nacional
+ERMAKOFF, George. Rio de Janeiro 1840 – 1900 Uma crônica fotográfica. Rio de Janeiro: G. Ermakoff Casa Editorial, 2006.
+FERREZ, Gilberto. O Rio Antigo do fotógrafo Marc Ferrez: paisagens e tipos humanos do Rio de Janeiro, 1865-1918. Rio de Janeiro: João Fortes Engenharia/Editora Ex-Libris, 1984.
+KOSSOY, Boris. Dicionário histórico-fotográfico brasileiro: fotógrafos e ofício da fotografia no Brasil (1833-1910). São Paulo: Instituto Moreira Salles, 2002. 408 p., il. p&b.
+Rio / Marc Ferrez – São Paulo : IMS; Göttingen: Steidl, 2015
+TURAZZI, Maria Inez. Cronologia. In O Brasil de Marc Ferrez – São Paulo : Instituto Moreira Salles, 2005.
+ 
+Publicações da Brasiliana Fotográfica em torno da obra do fotógrafo Marc Ferrez 
+ 
+Marc Ferrez aos 33 anos, c. 1876. Rio de Janeiro, RJ / Acervo IMS
+O Rio de Janeiro de Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 30 de junho de 2015
+Obras para o abastecimento no Rio de Janeiro por Marc Ferrez , de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 25 de janeiro de 2016
+O brilhante cronista visual Marc Ferrez (7/12/1843 – 12/01/1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 7 de dezembro de 2016
+Do natural ao construído: O Rio de Janeiro na fotografia de Marc Ferrez, de autoria de Sérgio Burgi, um dos curadores da Brasiliana Fotográfica, publicada em 19 de dezembro de 2016
+No primeiro dia da primavera, as cores de Marc Ferrez (1843 – 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 22 de setembro de 2017
+Marc Ferrez , a Comissão Geológica do Império (1875 – 1878) e a Exposição Antropológica Brasileira no Museu Nacional (1882), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica,  publicada em 29 de junho de 2018
+Série “O Rio de Janeiro desaparecido” V – O quiosque Chopp Berrante no Passeio Público, Ferrez, Malta e Charles Dunlop, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 20 de julho de 2018
+Uma homenagem aos 175 anos de Marc Ferrez (7 de dezembro de 1843 – 12 de janeiro de 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 7 de dezembro de 2018 
+Pereira Passos e Marc Ferrez: engenharia e fotografia para o desenvolvimento das ferrovias, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 5 de abril de 2019
+Fotografia e ciência: eclipse solar, Marc Ferrez e Albert Einstein, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 24 de junho de 2019
+Os 180 anos da invenção do daguerreótipo – Os álbuns da Comissão Geológica do Império com fotografias de Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 19 de agosto de 2019
+Celebrando o fotógrafo Marc Ferrez (1843 – 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 4 de dezembro de 2019
+Uma homenagem da Casa Granado ao imperial sob as lentes de Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 7 de fevereiro de 2020
+Petrópolis, a Cidade Imperial, pelos fotógrafos Marc Ferrez e Revert Henrique Klumb, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 16 de março de 2020
+Bambus, por Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 5 de junho de 2020
+O Baile da Ilha Fiscal: registro raro realizado por Marc Ferrez e retrato de Aurélio de Figueiredo diante de sua obra, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 9 de novembro de 2020
+O Palácio de Cristal fotografado por Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 2 de fevereiro de 2021
+A Estrada de Ferro do Paraná, de Paranaguá a Curitiba, pelos fotógrafos Arthur Wischral (1894 – 1982) e Marc Ferrez (1843 – 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 22 de março de 2021
+Dia dos Pais – Julio e Luciano, os filhos do fotógrafo Marc Ferrez, e outras famílias, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 6 de agosto de 2021
+No Dia da Árvore, mangueiras fotografadas por Ferrez e Leuzinger, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 21 de setembro de 2021
+Retratos de Pauline Caroline Lefebvre, sogra do fotógrafo Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 28 de abril de 2022
+A Serra dos Órgãos: uma foto aérea e imagens realizadas pelos mestres Ferrez, Leuzinger e Klumb, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 30 de junho de 2022
+O centenário da morte do fotógrafo Marc Ferrez (1843 – 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 12 de janeiro de 2023
+O Observatório Nacional pelas lentes de Marc Ferrez, amigo de vários cientistas, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 29 de maio de 2023
+No Dia Mundial do Meio Ambiente, a potente imagem da Cachoeira de Paulo Afonso, por Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 5 de junho de 2023
+A Fonte Adriano Ramos Pinto por Guilherme Santos e Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 18 de julho de 2023
+Os 180 anos de nascimento do fotógrafo Marc Ferrez (1843 – 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 7 de dezembro de 2023
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/2446` — `itens/20.500.12156.1_2446/`
+- `20.500.12156.1/2233` — `itens/20.500.12156.1_2233/`
+- `20.500.12156.1/2575` — `itens/20.500.12156.1_2575/`
+
diff --git a/wordpress/18254-serie-carnavais-de-antigamente-v-cenas-da-folia-em-manaus-em-1913.md b/wordpress/18254-serie-carnavais-de-antigamente-v-cenas-da-folia-em-manaus-em-1913.md
new file mode 100644
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--- /dev/null
+++ b/wordpress/18254-serie-carnavais-de-antigamente-v-cenas-da-folia-em-manaus-em-1913.md
@@ -0,0 +1,50 @@
+---
+id: 18254
+url: "https://brasilianafotografica.bn.gov.br/?p=18254"
+titulo: "Série “Carnavais de antigamente” V – Cenas da folia em Manaus em 1913"
+autor: "Andrea Wanderley"
+data: "2020-02-28T14:54:38+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/6206", "20.500.12156.1/7799", "20.500.12156.1/7788"]
+fetched_at: "2026-09-10T10:01:28.847Z"
+---
+
+# Série “Carnavais de antigamente” V – Cenas da folia em Manaus em 1913
+
+Com o artigo Cenas da folia em Manaus em 1913, da jornalista Cristiane d´Avila, da Casa de Osvaldo Cruz, uma das instituições parceiras da Brasiliana Fotográfica, o portal destaca fotografias do carnaval na capital do Amazonas no início do século XX. Além da documentação fotográfica das expedições que o Instituto Oswaldo Cruz realizou entre 1910 e 1913 ao Norte, Nordeste e Centro Oeste do Brasil, os fotógrafos que acompanhavam os  cientistas também registraram muitas imagens em cidades e lugarejos por onde passavam, a exemplo das imagens sobre o Carnaval em Manaus, em fevereiro de 1913, realizadas dias antes da partida dos médicos Carlos Chagas (1879 – 1934), Antônio Pacheco Leão (1872 – 1931) e João Pedro de Albuquerque (1874 – 1934) para sua a última viagem ao rio Negro e seu afluente, o Branco, até a fronteira com a Venezuela.
+ 
+Cenas da folia em Manaus em 1913
+ Cristiane d’Avila*
+ 
+Carnaval, 1913. Manaus, Amazonas / Acervo Casa de Oswaldo Cruz
+ 
+Era um domingo de Carnaval, 2 de fevereiro de 1913. Dali a quatro dias, 6 de fevereiro, os médicos Carlos Chagas, do Instituto Oswaldo Cruz (IOC), Antônio Pacheco Leão, da Escola de Medicina do Rio de Janeiro, e João Pedro de Albuquerque, da Diretoria Geral de Saúde Pública (DGSP), partiriam para sua a última viagem ao rio Negro e seu afluente, o Branco, até a fronteira com a Venezuela. A rota encerrava a expedição organizada a partir de contrato firmado entre a Superintendência da Defesa da Borracha e Oswaldo Cruz, então diretor do IOC, para avaliar as condições sanitárias dos seringais às margens dos rios Solimões, Tarauacá, Iaco, Negro, Branco, Purus e afluentes.
+ 
+Acessando o link para as fotografias do carnaval em Manaus em 1913 disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Para o governo federal, as endemias que assolavam as populações na Amazônia, em especial a malária, eram o principal obstáculo ao desenvolvimento da economia da borracha. O enfrentamento dessas condições sanitárias seria capaz de fazer frente à concorrência asiática no Ceilão e na Malásia, iniciada após o contrabando de sementes de Hevea brasiliensis realizado, com sucesso, em 1876, sob a liderança do botânico Henry Wickham com patrocínio da Grã-Bretanha. Por essa razão, o Instituto Oswaldo Cruz foi designado para coordenar a comissão, que gerou o Relatório sobre as condições médico-sanitárias do vale do Amazonas, cuja versão final foi assinada por Oswaldo Cruz.
+Iniciada em outubro de 1912, a missão científica levou os sanitaristas a percorrerem a geografia fluvial a bordo de um pequeno vapor, equipado com instrumentos e material necessários a seus estudos. Os sanitaristas enviados pelo governo atracavam nos seringais e povoados recolhendo amostras para exames, realizados no precário laboratório a bordo da embarcação. No trajeto, observavam casos clínicos de doenças comuns e até então completamente desconhecidas, anotavam práticas medicinais e modos de habitar das populações daquelas regiões, coletavam insetos suspeitos de transmitir doenças, recolhiam plantas de valor medicinal, entre outras ações de investigação científica. O objetivo era propor medidas de saneamento.
+A missão partia sempre de Manaus, então um centro urbano pujante e moderno, enriquecido com a extração e comércio da borracha, exportada em grande escala para fábricas da Europa. A descoberta de processos de impermeabilização e vulcanização (1844) para a transformação industrial da matéria-prima dos seringais numa grande variedade de produtos, e a invenção do pneumático (1890), elevaram a cotação da borracha brasileira no mercado internacional.
+Desde a segunda metade do século XIX até a década de 1910, a produção brasileira de borracha representava 61% da produção mundial (dado de 1892) e 50% em 1910. “Estas duas décadas demarcam a época áurea do ciclo da borracha, das grandes fortunas acumuladas por seringalistas, pelos negociantes que controlavam o comércio e a navegação do Amazonas e por toda espécie de aventureiro que pôde tirar proveito da opulência que se instalou em Manaus e em Belém”.
+ 
+Interior de um bar em Manaus, 2 de fevereiro de 1913(?). Manaus, Amazonas / Acervo Casa de Oswaldo Cruz
+ 
+As fotografias aqui apresentadas foram registradas pelos fotógrafos que acompanhavam os cientistas. Incumbidos de registrar as expedições do IOC de 1910 a 1913 ao Norte, Nordeste e Centro-Oeste do país, esses profissionais não se atinham ao registro das condições de vida da população interiorana. A serviço da ciência, também produziram muitas imagens sobre as cidades e lugarejos por onde passavam, a exemplo dos registros sobre o Carnaval em Manaus. Os corsos – carros de luxo ornamentados, de onde os foliões jogavam confetes e flores nos passantes e em outros corsos – denotam a elitização da folia na cidade.
+ 
+Aspectos do Carnaval em Manaus, 2 de fevereiro de 1913. Manaus, Amazonas / Acervo Casa de Oswaldo Cruz
+ 
+* Cristiane d’Avila é jornalista do Departamento de Arquivo e Documentação Casa de Oswaldo Cruz/Fiocruz
+Acesse aqui todos os artigos da Série Carnavais de antigamente.
+
+Fontes:
+FUNDAÇÃO OSWALDO CRUZ. CASA DE OSWALDO CRUZ. A ciência a caminho da roça: imagens das expedições científicas do Instituto Oswaldo Cruz ao interior do Brasil entre 1911 e 1913. Rio de Janeiro: Editora Fiocruz, 1992.
+VITAL, André Vasques. Carlos Chagas na “guerra dos rios”: a passagem da comissão do Instituto Oswaldo Cruz pelo rio Iaco (Alto Purus, território federal do Acre, 1913). História, Ciências, Saúde-Manguinhos, vol. 25, núm. 1, 20
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/6206` — `itens/20.500.12156.1_6206/`
+- `20.500.12156.1/7799` — `itens/20.500.12156.1_7799/`
+- `20.500.12156.1/7788` — `itens/20.500.12156.1_7788/`
+
diff --git a/wordpress/18274-a-cidade-de-sao-paulo-e-tebas-1721-1811-reconhecido-como-arquiteto-em-2018-mais-.md b/wordpress/18274-a-cidade-de-sao-paulo-e-tebas-1721-1811-reconhecido-como-arquiteto-em-2018-mais-.md
new file mode 100644
index 0000000..5afc7f6
--- /dev/null
+++ b/wordpress/18274-a-cidade-de-sao-paulo-e-tebas-1721-1811-reconhecido-como-arquiteto-em-2018-mais-.md
@@ -0,0 +1,152 @@
+---
+id: 18274
+url: "https://brasilianafotografica.bn.gov.br/?p=18274"
+titulo: "A cidade de São Paulo e Tebas (1721 – 1811), reconhecido como arquiteto, em 2018, mais de 100 anos após sua morte"
+autor: "Andrea Wanderley"
+data: "2021-01-25T10:54:03+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/1945", "20.500.12156.1/7798", "20.500.12156.1/1905", "20.500.12156.1/6847"]
+fetched_at: "2026-09-10T10:01:32.148Z"
+---
+
+# A cidade de São Paulo e Tebas (1721 – 1811), reconhecido como arquiteto, em 2018, mais de 100 anos após sua morte
+
+Hoje, no dia em que São Paulo completa 467 anos, a Brasiliana Fotográfica publica um artigo sobre um homem escravizado conhecido em seu tempo como o mestre pedreiro Tebas (1721 – 1811), que se destacou na cidade, no século XVIII, por criar projetos de edifícios, principalmente religiosos, tornando-se por sua atuação um ícone da arquitetura colonial no Brasil. Essencial para a renovação do estilo arquitetônico da cidade de São Paulo no século XVIII, foi o mais afamado oficial de cantaria de pedra, técnica de talhar pedras em formas geométricas, e era também mestre nas técnicas de alvenaria e hidráulica. Apesar da importância de seu legado, só foi reconhecido como arquiteto, em 2018, quando foi inserido no quadro associativo do Sindicato dos Arquitetos no Estado de São Paulo. Era dado, então, mais um passo para acabar com a invisibilidade da trajetória desse importante personagem da história de São Paulo e do Brasil.
+ 
+Brasão da cidade de São Paulo
+ 
+Nascido em 1721, em Santos, seu nome era Joaquim Pinto de Oliveira. Aprendeu seu ofício com o português Bento de Oliveira Lima (? – 1769), seu proprietário e renomado mestre de obras da cidade. Passaram a ser chamados para trabalhar na cidade de São Paulo, onde atuaram em diversas obras. Foram responsáveis pela restauração da antiga Catedral da Sé, demolida em 1911. Tebas já havia construido a torre da igreja em 1750. Lima morreu, em 1769, antes da conclusão da reforma da Sé, deixando sua viúva, Antônia Maria Pinta, endividada. No inventário de Lima, Tebas valia 400 mil réis enquanto seus outros três artífices escravizados valiam 100mil. Segundo o pesquisador do IPHAN, Carlos Gutierrez Cerqueira, a alforria de Tebas aconteceu entre 1777 e 1778, em ação judicial movida por Tebas contra a viúva de Bento, sob orientação de Matheus Lourenço de Carvalho, arcebispo da Sé.
+ 
+Militão Augusto de Azevedo; Photographia Americana. Álbum comparativo da cidade de São Paulo 1862-1887 – Igreja e Largo da Sé, c. 1862. São Paulo, SP / Acervo IMS
+ 
+ 
+
+Marc Ferrez. Largo da Sé e as igrejas da Matriz e de São Pedro, c. 1880. São Paulo, SP / Acervo IMS
+
+ 
+Entre os trabalhos de Tebas estão a pedra fundamental da fachada da antiga igreja do Mosteiro de São Bento, um cubo de 22 centímetros “com relíquias e um Agnus Dei na base do cunhal”, pela qual teria recebido, em 1766, seis tostões. Além disso, segundo o arquiteto Carlos Lemos, “lavrou também a portaria de pedra da igreja, encimada por um frontão em forma de concha. Por todo o trabalho de cantaria lavrada – portada principal, três janelas do coro e cruz romana de remate da fachada – recebeu ele do mosteiro, no mesmo ano de 1766, a quantia de 286$040 réis.”
+ 
+Pedra fundamental da fachada da antiga igreja de São Bento, em São Paulo / Fonte: Tebas, um negro arquiteto na São Paulo escravocrata
+ 
+Também construiu o Chafariz da Misericórdia (1792), primeiro chafariz público da capital paulista, erguido onde hoje encontra-se a rua Direita. Na época era ponto de trabalho e de encontro do povo, especialmente da população negra da cidade. Na época, por permitir o acesso à água, os chafarizes eram fundamentais para a dinâmica de funcionamento das cidades.
+Segundo o livro A mão afro-brasileira: significado da contribuição artística e histórica (1988), organizado pelo artista plástico baiano, que a partir de 2004 passaria a ser diretor curador do Museu Afro Brasil, Emanoel Araújo (1940 – ), o chafariz foi “transferido para o distante Largo de Santa Cecília, talvez para servir de bebedouro de cavalos. Ficou por ali até os anos da I Grande Guerra. Depois, foi desmontado e largado num dos depósitos da prefeitura e, segundo informações que tivemos, até há uns quinze ou vinte anos atrás, ainda permanecia semi-enterrado entre os escombros e velhos postes de iluminação pública abandonados.” A transferência ocorreu em 1886.
+ 
+O desenho do Chafariz da Misericórdia, executado pelo artista plástico José Wasth Rodrigues (1891 – 1957)
+ 
+Igreja do antigo Mosteiro de São Bento, em São Paulo / Illustração Brasileira, 1922
+ 
+Outras obras realizadas com a participação de Tebas foram as partes frontais da igreja da Ordem Terceira do Carmo (1775 – 1776) e da igreja da Ordem Terceira do Seráfico São Francisco (1783).
+ 
+Militão Augusto de Azevedo; Photographia Americana. Álbum comparativo da cidade de São Paulo 1862-1887 – Vista do Convento de S.Francisco. c. 1862. São Paulo, SP / Acervo IMS
+ 
+Construiu a torre do Recolhimento de Santa Teresa e foi também o responsável pelo Cruzeiro Franciscano da cidade de Itu (1795), que integra o Centro Histórico de Itu, e foi tombado em 2004 pelo Conselho de Defesa do Patrimônio Histórico, Arqueológico, Artístico e Turístico de São Paulo. Considerado um monumento raro, só é comparável aos cruzeiros da Igreja de São Francisco, em João Pessoa; e o do Convento de Nossa Senhora das Neves, em Olinda.
+ 
+Cruzeiro Franciscano de Itu / Revista Foco Social, 1º de fevereiro de 2019
+ 
+Ainda trabalhava em obras quando faleceu, em 11 de janeiro de 1811, de gangrena. Foi velado e sepultado na Igreja de São Gonçalo, na Praça João Mendes, em São Paulo.
+O primeiro registro escrito sobre Tebas de que se tem notícia é de 1899 em uma cronologia da história paulistana, Chronologia paulista ou relação histórica dos factos mais importantes ocorridos em S. Paulo, desde a chegada de Martim Affonso de Souza a S. Vicente até 1898, elaborada pelo cronista maranhense José Jacinto Ribeiro (1846 – 1910), filiado ao Instituto Histórico e Geográfico Brasileiro. Em 1935, Nuto Sant’Anna, chefe da Seção de Documentação Histórica do Departamento Municipal de Cultura de São Paulo, publicou o artigo Thebas: subsídios inéditos para a reconstituição da personalidade do célebre arquiteto paulistano do século XVIII, na Revista do Arquivo Municipal de São Paulo. Dois anos depois, escreveu o romance Tebas, o escravo, publicado em 1939.
+Nas páginas iniciais do livro de Sant´Anna, há explicações preliminares:
+ 
+PERSONAGENS 
+LENDÁRIO 
+Tebas, escravo pedreiro. 
+FICÇÃO 
+José Vaz, Mestre de Campo e D. Cotinha, sua mulher; Padre Justino, cônego; Gregório dos Anjos, feitor; Luiza, mulher do administrador do Quebra Lombo; Maria das Dores, Carolina, Tião, Juvêncio, Quitéria, Joana, Tibúrcio e Barnabé, escravos. 
+(…) 
+ENTRECHO 
+Dizem historiadores e cronistas que as tôrres das igrejas do Convento de Santa Teresa e da Sé foram construidas por Thebas. Thebas (Joaquim Pinto de Oliveira Thebas) trabalhou efetivamente nas obras do chafariz do largo da Misericórdia. O sítio do Tapanhoim existiu nas baixadas do ribeirão do Lavapés. A chácara do Quebra Lombo é também história. Os nomes das ruas e os aspectos ligeiramente delineados são reais. 
+O mestre de campo José Vaz é o dono do sítio do Tapanhoim e de tudo o que há nele, incluindo Tebas, protagonista da estória, e as demais pessoas ali escravizadas. O antagonista é o feitor Gregório dos Anjos, impedido por Tebas, a golpes de capoeira, de estuprar Maria das Dores, “mulatinha esguia, de saliências naturais bem feitas. Uns bonitos dentes. E uma certa vivacidade encantadora” nunca vista “nas outras crioulas” (p. 31).
+Nesse tempo, a construção das pontes, a edifi cação de prédios altos, a erecção da tôrre das igrejas, constituiam verdadeiros problemas. Obras Tebas e o Tempo 15 difíceis e custosas. Os artífi ces da terra sentiam-se quasi incapazes de as realizar. O Convento de Santa Teresa, que, da beira do morro abrupto, espiava para a várzea, tinha já a sua igrejinha – mas sem tôrre; a da Sé também não a possuia; e a da igreja do Colégio, era pequenina e baixa. (p. 69)
+Interessado nas habilidades de Tebas como pedreiro, padre Justino, cônego da Sé, o adquire junto ao mestre de campo José Vaz, sob a condição de libertá-lo assim que a obra estivesse concluída. Justino morre antes do início das obras, mas ainda tem tempo de ordenar o cumprimento da promessa e de determinar os ganhos (uma pataca e meia) do mestre pedreiro escravizado. Terminada a torre, o agora livre e respeitado Tebas juntara dinheiro para propor ao seu ex-senhor a compra de Maria das Dores. Mas é surpreendido por José Vaz, que lhe oferece de presente o amor de sua vida. Joaquim Pinto de Oliveira e Maria das Dores se casam um mês depois.
+FIM 
+São Paulo, de 20 a 30 de junho de 1937
+ (transcrito do livro Tebas, um negro arquiteto na São Paulo escravocrata, páginas 14 e 15)
+ 
+O compositor paulistano Geraldo Filme (1927 – 1995) cantou a história do arquiteto no samba de 1974, da extinta escola de samba Paulistano da Glória, que, com o enredo, conquistou o vice-campeonato do Grupo de Acesso. Ouça aqui.
+ 
+Praça da Sé, Sua Lenda, Seu Passado, Seu Presente
+Geraldo Filme
+
+Tébas negro escravo
+Profissão alvenaria
+Construiu a velha sé
+Em troca da carta de alforria
+Trinta mil ducados que lhe deu padre Justino
+Tornou seu sonho realidade
+Daí surgiu a velha Sé
+Que hoje é o marco zero da cidade
+Exalto no cantar de minha gente
+A sua lenda, seu passado, seu presente
+Praça que nasceu do ideal
+E braço escravo, é praça do povo
+Velho relógio, encontro dos namorados
+Me lembro ainda do bondinho de tostão
+Engraxate batendo na lata de graxa
+E o camelô fazendo pregão
+O tira-teima dos sambistas do passado
+Bixiga, Barra Funda e Lavapés
+O jogo da tiririca era formado
+O ruim caía, o bom ficava de pé
+No meu São Paulo, olê olê, era moda
+Vamos na sé que hoje tem samba de roda
+No meu São Paulo, olê olê, era moda
+Vamos na sé que hoje tem samba de roda
+
+ 
+Sobre o apelido e a vida de Tebas, segue um depoimento de Geraldo Filme:
+ 
+Depoimento de Geraldo Filme sobre Tebas / Youtube
+ 
+Em 1988, no já mencionado livro A mão afro-brasileira: significado da contribuição artística e histórica,  foi publicado o artigo Thebas, do arquiteto Carlos Lemos, professor da Faculdade de Arquitetura e Urbanismo (FAU) da USP. Em 2011, Carlos Gutierrez Cerqueira, pesquisador do IPHAN, colocou no ar o blog Resgate – história e arte, a fim de divulgar suas pesquisas sobre Tebas, no artigo Tebas: vida e atuação na S. Paulo colonial; e também o resultado das suas mais de três décadas de trabalho no IPHAN. Em 2018, foi lançado o livro Tebas: Um Negro Arquiteto na São Paulo Escravocrata, organizado pelo jornalista Abilio Ferreira e fundamental para a elaboração desse artigo.
+Foi inaugurado, em 20 de novembro de 2020, Dia da Consciência Negra, um monumento em homenagem a Tebas. A estátua, de autoria do artista plástico Lumumba Afroindígena e da arquiteta Francine Moura, está exposta na praça Clóvis Bevilaqua, entre as igrejas da Sé e do Carmo, em São Paulo.
+ 
+Escultura em homenagem a Tebas, de autoria de Lumumba Afroindígena e de Francine Moura / ArchDaily, 27 de novembro de 2020
+ 
+“A natureza coletiva do seu legado o libertou do esquecimento”.
+ 
+ArchDaily, 27 de novembro de 2020
+ 
+Como não existe nenhuma pintura ou desenho de Tebas, o quadro Cabeça de negro (1934), de Cândido Portinari (1903 – 1962), é muitas vezes associado à imagem do arquiteto. Fenômeno semelhante foi abordado no artigo A mulher negra de turbante, de Alberto Henschel, das historiadoras Aline Montenegro Magalhães e Maria do Carmo Rainho, publicado aqui no portal em 13 de maio de 2020. Nele é mencionado a frequência com que a imagem de Luiza Mahin, mãe do poeta, advogado e abolicionista Luís Gama (1830 – 1882), e liderança da Revolta dos Malês, um dos maiores levantes de escravizados promovidos no Brasil, em Salvador, em 1835, é associada à fotografia Mulher de turbante, produzida em torno de 1870, no Rio de Janeiro, pelo fotógrafo alemão Alberto Henschel (1827 – 1882).
+ 
+Cabeça de negro, 1934, de Cândido Portinari. Muitas vezes essa imagem é associada a Tebas / Google Arts and Culture
+ 
+Uma curiosidade: Tebas era uma gíria usada pela populaçao paulista, no século XIX, para designar algo que era bom ou o melhor. Segundo o livro A capital da solidão: uma história de São Paulo das origens a 1900 (2003), do jornalista Roberto Pompeu de Toledo: “Foi tal a fama de Tebas, considerado, além de pedreiro exímio, corajoso e desenvolto, que até a primeira metade do século XX seu nome, em São Paulo, era sinônimo tanto de valentão, quanto de habilidoso. “Fulano é um Tebas”, dizia-se, e a palavra, com tais acepções, até hoje está nos dicionários. Alguns afirmam que o adjetivo “tebas” não vem do Tebas, e sim do idioma quimbundo – mas o simples fato de outros o atribuírem ao artesão paulista já é indicativo de sua reputação”.
+A história de Tebas foi lembrada no documentário AmarElo – É tudo pra ontem (2020) em torno de um show do rapper Emicida (1985 – ), realizado no Theatro Municipal de São Paulo, em 27 de novembro de 2019. No filme, é resgatada parte da história da cultura e dos movimentos dos negros no Brasil. Sobre Tebas: foi decisivo na renovação estilística pela qual São Paulo passou no século XVIII.
+ 
+O livro  Tebas, um negro arquiteto na São Paulo escravocrata, organizado por Abilio Ferreira e lançado em 2018, foi fundamental para a elaboração desse artigo.
+ 
+Andrea C. T. Wanderley
+
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+
+Fontes:
+ARAUJO, Emanoel (Org.). A mão afrobrasileira: significado da contribuição artística e histórica. 2. ed. rev. e ampl. São Paulo: Imprensa Oficial do Estado de São Paulo/ Museu Afro Brasil, 2010.
+Arch Daily, 27 de novembro de 2020
+Aventuras na História, 27 de outubro de 2020
+Documentário AmarElo – É tudo pra ontem
+FERREIRA, Abilio (org.); CERQUEIRA, Carlos Gutierrez; YOUNG, Emma; JACINO, Ramatis; CHIARETTI, Maurilio. Tebas, um negro arquiteto na São Paulo escravocrata. São Paulo ; Idea, 2018.
+Google Arts and Culture
+Hemeroteca Digital da Biblioteca Nacional 
+O Estado de São Paulo
+Outras palavras, 5 de abril de 2019
+Projeto Tebas
+Revista Galileu, 30 de junho de 2020
+Revista Projeto, 14 de setembro de 2020
+Site Cidade On
+Site Prefeitura da Instância Turística de Itu
+Site Cidade de São Paulo Cultura
+Site IHGB
+Site Secretaria de Cultura da Cidade de São Paulo
+Site X Special Design
+Veja São Paulo
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/1945` — `itens/20.500.12156.1_1945/`
+- `20.500.12156.1/7798` — `itens/20.500.12156.1_7798/`
+- `20.500.12156.1/1905` — `itens/20.500.12156.1_1905/`
+- `20.500.12156.1/6847` — `itens/20.500.12156.1_6847/`
+
diff --git a/wordpress/18379-escola-de-aprendizes-e-artifices-de-alagoas-registros-de-1910.md b/wordpress/18379-escola-de-aprendizes-e-artifices-de-alagoas-registros-de-1910.md
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+---
+id: 18379
+url: "https://brasilianafotografica.bn.gov.br/?p=18379"
+titulo: "Escola de Aprendizes e Artífices de Alagoas, registros de 1910"
+autor: "Andrea Wanderley"
+data: "2020-03-26T11:31:51+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/7902", "20.500.12156.1/7934", "20.500.12156.1/7905", "20.500.12156.1/7907", "20.500.12156.1/7908", "20.500.12156.1/7909", "20.500.12156.1/7910", "20.500.12156.1/7916", "20.500.12156.1/7911", "20.500.12156.1/7914", "20.500.12156.1/7913", "20.500.12156.1/7915"]
+fetched_at: "2026-09-10T10:01:35.578Z"
+---
+
+# Escola de Aprendizes e Artífices de Alagoas, registros de 1910
+
+A Brasiliana Fotográfica traz hoje para seus leitores o artigo “Escola de Aprendizes e Artífices de Alagoas, 1910″, do historiador Paulo Celso Corrêa, do Museu da República, uma das instituições parceiras do portal. As Escolas de Aprendizes e Artífices foram criadas durante o governo do presidente Nilo Peçanha, em 1909. Sob a responsabilidade do recém-criado Ministério da Agricultura, Indústria e Comércio, elas ofereciam ensino primário e profissional para menores de idade pobres, com a finalidade de formá-los em operários e contramestres para a indústria. Com o texto, estão disponibilizadas as 14 fotos de um álbum da Coleção Nilo Peçanha referentes ao tema. São cenas dos cinco primeiros meses de funcionamento da escola, com as crianças tendo aulas e participando de oficinas de marcenaria, funilaria, sapataria, entre outras. Em 1937, as Escolas de Aprendizes e Artífices foram transformadas em Liceus de Artes e Ofícios. Estas instituições de ensino técnico e profissionalizante deram origem às posteriores Escolas Técnicas, Centros Federais de Educação Tecnológica e Institutos Federais de Educação, Ciência e Tecnologia.
+ 
+Escola de Aprendizes e Artífices de Alagoas, 1910
+Paulo Celso Corrêa*
+ 
+As Escolas de Aprendizes e Artífices foram criadas durante o governo do presidente Nilo Peçanha, pelo decreto nº. 7.566 de 23 de setembro de 1909. Funcionando sob responsabilidade do recém-criado Ministério da Agricultura, Indústria e Comércio, elas ofereciam ensino primário e profissional para menores de idade pobres, com a finalidade de formá-los em operários e contramestres para a indústria. As escolas deveriam ser instaladas na capital de cada estado, a não ser que já houvesse ali instituição de ensino com o mesmo propósito. Em Maceió, capital de Alagoas, a Escola de Aprendizes e Artífices foi inaugurada em 21 de janeiro de 1910. O conjunto de fotos abaixo retrata cenas cotidianas dos cinco primeiros meses de funcionamento da instituição, reunidas em um álbum oferecido a Nilo Peçanha e que atualmente faz parte do acervo do ex-presidente no Arquivo Histórico e Institucional do Museu da República.
+ 
+ Foto da tampa de caixa de madeira que serve de proteção ao álbum fotográfico da “Escola de Aprendizes e Artífices do Estado de Alagoas”, 1910. Maceió, Alagoas / Museu da República
+ 
+Atribuí-se a Nilo Peçanha a frase “O Brasil futuro sairá das escolas profissionais”. O empenho de seu curto governo pela criação das Escolas de Aprendizes e Artífices representou uma ação direta do estado republicano no sentido de formar mão-de-obra qualificada e disciplinar, pelo trabalho, os filhos da camadas mais pobres da população urbana. É o que afirma a justificativa oficial para o decreto de 1909: “o aumento constante da população das cidades exige que se facilite às classes proletárias os meios de vencer as dificuldades sempre crescentes da luta pela existência; que para isso se torna necessário, não só habilitar os filhos dos desfavorecidos da fortuna com o indispensável preparo técnico e intelectual, como fazê-los adquirir hábitos de trabalho profícuo, que os afastará da ociosidade, escola do vício e do crime; que é um dos primeiros deveres do Governo da República formar cidadãos úteis à Nação”.
+ 
+Capa do álbum fotográfico da Escola de Aprendizes Artífices do Estado de Alagoas, 1910. Maceió, Alagoas / Acervo Museu da República
+ 
+Não foi, porém, a primeira iniciativa do tipo, visto que instituições públicas ou privadas de ensino profissional já existiam desde o século anterior, como as Escolas de Aprendizes dos Arsenais de Guerra e Marinha e o Asilo de Meninos Desvalidos, no Rio de Janeiro. Destas predecessoras, as novas escolas herdaram algumas formas de organização e o caráter profissionalizante e correcional. Após a Revolução de Outubro de 1930, as Escolas de Aprendizes e Artífices passaram a integrar o novo Ministério da Educação e Saúde Pública e, em 1937, foram transformadas em Liceus de Artes e Ofícios. Estas instituições de ensino técnico e profissionalizante deram origem às posteriores Escolas Técnicas, Centros Federais de Educação Tecnológica e Institutos Federais de Educação, Ciência e Tecnologia.
+ 
+Acessando o link para as fotografias da Escolas de Aprendizes e Artífices de Alagoas disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+A Escola de Aprendizes e Artífices de Alagoas funcionou na Rua Boa Vista, no centro de Maceió e seu primeiro diretor foi o engenheiro Miguel Guedes Nogueira. Na primeira página do álbum há uma descrição datilografada das atividades realizadas e da freqüência dos alunos, naqueles cinco primeiros meses de funcionamento. Havia 81 alunos matriculados, sendo a frequência média diária de 69 alunos. Registrava-se também a cor da pele dos alunos. Eram 21 negros, 36 “trigueiros” (mestiços) e 24 brancos. Além dos cursos primário e de desenho, funcionavam as oficinas de marcenaria, carpintaria, serralheria, sapataria e funilaria. A descrição ainda assegurava que a escola “está situada no centro mais populoso da capital e conta com os principais elementos de higiene e asseio”. O regime era de externato, isto é, os alunos não residiam na escola.
+ 
+Fachadas principais dos edifícios onde funciona a Escola. Em dia de festa nacional, 1910. Maceió, Alagoas / Acervo Museu da República
+ 
+Para se candidatarem às vagas, os menores deveriam ser preferencialmente pobres (“desfavorecidos da fortuna”), terem entre 10 e 13 anos de idade (o limite foi posteriormente elevado a 16 anos) e não possuírem doença infecto-contagiosa nem “defeitos” (físicos, mentais) que impedissem o aprendizado do ofício. Os cuidados com a saúde e higiene dos futuros operários continuariam dentro da escola, com aulas de ginástica sueca, para corrigir a postura e evitar doenças, e ginástica militar, com uniformes e réplicas de armas, para acostumar os meninos à vida de soldado que, na ideologia republicana oficial, era a outra forma de os cidadãos pobres serem “úteis” à Nação. O ensino também visava à formação moral dos alunos, que receberiam noções de bons costumes e conversação e orientação contra os vícios do álcool e do fumo.
+ 
+Em recreio. Um grupo de aprendizes após 10 minutos de ginástica sueca, 1910. Maceió, Alagoas / Acervo Museu da República
+ 
+Em recreio. Um grupo de aprendizes na primeira lição de ginástica militar, 1910. Maceió, Alagoas / Acervo Museu da República
+ 
+Para a formação básica dos alunos, a instituição oferecia um curso primário, dividido em elementar (para os analfabetos) e complementar, cada um com dois anos de duração; e um curso de desenho, com duração de quatro anos. As disciplinas do curso primário incluíam leitura, escrita, educação moral e cívica, ciências físicas e naturais, caligrafia e aritmética. Já o curso de desenho consistia no ensino de geometria prática, agrimensura e arquitetura. Segundo o relatório de 1910 do diretor da escola alagoana, a maioria dos alunos matriculados naquele ano necessitaram do curso elementar.
+ 
+Salão de aula primária. Uma lição de coisas. O relógio e a balança – descrição intuitiva destes objetos e exercício para conhecer as horas e pesar em balanças comuns, 1910. Maceió, Alagoas / Acervo Museu da República
+ 
+Salão de desenho. Primeiras noções de desenho linear e esboços ao natural, 1910. Maceió, Alagoas / Acervo Museu da República 
+ 
+No início de seu funcionamento, a escola de Alagoas ofereceu cursos de marcenaria, carpintaria, funilaria, serralheria e sapataria, considerados os mais adequados às necessidades da indústria local. No entanto, o próprio diretor reconheceu o caráter experimental do funcionamento das oficinas em seu primeiro ano, seja pela sua pouca familiaridade com os assuntos, seja pelas necessidades práticas de organização da escola. De modo a permitir que os alunos aprendessem com segurança e tomassem gosto pela arte, foram improvisadas matérias-primas baratas como ferros velhos, latas vazias, restos de madeira de obras e caixões.
+A renda obtida pela venda dos artefatos produzidos nas oficinas custearia as despesas da escola. O saldo remanescente da atividade de cada oficina deveria ser aplicado na Caixa Econômica ou Coletoria Federal para que fosse repartida em 15 quotas iguais, sendo uma para o diretor, quatro para o mestre e 10 para os aprendizes – estas últimas distribuídas em prêmios que variavam de acordo com a aptidão e nível de cada um. Os alunos também receberiam prêmios de acordo com o desempenho de suas oficinas em exposição anual, cuja avaliação caberia ao júri formado pelo diretor, pelo mestre e pelo inspetor agrícola do distrito.
+ 
+Salão de exposições. Um trecho do salão destinado à exposição de artefatos confeccionados nas oficinas da Escola, 1910. Maceió, Alagoas / Acervo Museu da República
+ 
+Uma lição de funilaria. A tesoura, a bigorna e o martello – seu aproveitamento e aplicação prática no trabalho manual de artefatos de folhas de ferro, 1910. Maceió, Alagoas / Acervo Museu da República
+ 
+Uma lição de sapataria. A máquina manual para rejuntado – exercício de pesponto. Preparo manual da sola para o solado ordinário, 1910. Maceió, Alagoas / Acervo Museu da República
+ 
+Uma lição de marcenaria. A plaina e a garlopa – sua aplicação e utilidade prática no aparelhamento manual de madeiras para trabalhos de esquadria, 1910. Maceió, Alagoas / Acervo Museu da República 
+ 
+Uma lição de carpintaria. A serra e o serrote – sua aplicação prática no desdobramento manual de madeiras para trabalhos de esquadria, 1910. Maceió, Alagoas / Acervo Museu da República
+ 
+A julgar pelo relatório do seu primeiro diretor, a Escola de Aprendizes e Artífices de Alagoas padeceu, em sua fase inicial de funcionamento, dos mesmos problemas de organização enfrentados por suas congêneres das outras capitais. Os imóveis e instalações eram precários, faltava preparo aos diretores, professores e mestres para o ensino profissional, não havia planejamento curricular. Outro problema comum era a evasão escolar que, na opinião do diretor alagoano, era culpa da ignorância dos pais e de sua inconsciência da responsabilidade moral sobre a educação dos filhos, que ficavam largados a sua “vontade infantil”. Por outro lado, o que os alunos ganhavam na escola como fruto de seu trabalho não era suficiente para contribuir na luta diária pela sobrevivência de suas famílias, razão pela qual muitas crianças abandonavam os estudos profissionais cedo, ou tão logo dominassem conhecimentos práticos que os permitissem trabalhar noutros lugares.
+ 
+* Paulo Celso Liberato Corrêa é cientista político do Arquivo Histórico e Institucional do Museu da República.
+ 
+Fontes:
+Presidência da República do Brasil. Decreto nº 7566, de 23 de setembro de 1909.
+CARVALHO, Marcelo Augusto Monteiro de. Nilo Peçanha e a criação das Escolas de Aprendizes e Artífices no contexto da Primeira República (EAAs): 1910-1914. In: Anais da 7ª Conferência Internacional de História de Empresas e IX Encontro de Pós Graduação em História Econômica. Ribeirão Preto: USP/ABPHE, 2019.
+LIMA, Marcondes dos Santos. Entre os rastros e pistas da memória da Escola de Aprendizes e Artífices de Alagoas (1910-1913). In Novas epistemes e narrativas contemporâneas – Anais do V Congresso Internacional de História [suporte digital] / Antonio Ricardo Calori de Lion; Robson Pereira da Silva, Sandra Nara da Silva Novais. Jataí: Gráfica UFG, 2016. http://www.congresso2016.congressohistoriajatai.org/conteudo/view?ID_CONTEUDO=319
+NOGUEIRA. Miguel Guedes. Relatório apresentado ao Ex. Sr. Dr. Pedro de Toledo, ministro da Agricultura, Indústria e Comércio pelo Diretor da Escola de Aprendizes e Artífices do Estado de Alagoas. Maceió: Livraria Fonseca, 1910.
+SOARES, Manoel de Jesus A. As Escolas de Aprendizes e Artífices – estrutura e evolução. In Revista Fórum Educacional v. 6, n. 2. Rio de Janeiro, 1982. pp 58-92.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/7902` — `itens/20.500.12156.1_7902/`
+- `20.500.12156.1/7934` — `itens/20.500.12156.1_7934/`
+- `20.500.12156.1/7905` — `itens/20.500.12156.1_7905/`
+- `20.500.12156.1/7907` — `itens/20.500.12156.1_7907/`
+- `20.500.12156.1/7908` — `itens/20.500.12156.1_7908/`
+- `20.500.12156.1/7909` — `itens/20.500.12156.1_7909/`
+- `20.500.12156.1/7910` — `itens/20.500.12156.1_7910/`
+- `20.500.12156.1/7916` — `itens/20.500.12156.1_7916/`
+- `20.500.12156.1/7911` — `itens/20.500.12156.1_7911/`
+- `20.500.12156.1/7914` — `itens/20.500.12156.1_7914/`
+- `20.500.12156.1/7913` — `itens/20.500.12156.1_7913/`
+- `20.500.12156.1/7915` — `itens/20.500.12156.1_7915/`
+
diff --git a/wordpress/18420-bambus-por-marc-ferrez.md b/wordpress/18420-bambus-por-marc-ferrez.md
new file mode 100644
index 0000000..01cccd5
--- /dev/null
+++ b/wordpress/18420-bambus-por-marc-ferrez.md
@@ -0,0 +1,71 @@
+---
+id: 18420
+url: "https://brasilianafotografica.bn.gov.br/?p=18420"
+titulo: "Bambus, por Marc Ferrez"
+autor: "Andrea Wanderley"
+data: "2020-06-05T09:24:09+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/6406", "20.500.12156.1/6715", "20.500.12156.1/2575"]
+fetched_at: "2026-09-10T10:01:38.878Z"
+---
+
+# Bambus, por Marc Ferrez
+
+Para celebrar o Dia Mundial do Meio Ambiente, a Brasiliana Fotográfica selecionou uma fotografia de Marc Ferrez (1843 – 1923) produzida em torno de 1890. Nela estão retratados os bambus do Jardim Botânico do Rio de Janeiro. Convidamos os leitores a clicar em cima da imagem e, a partir da ferramenta de zoom, explorar o registro mais de perto. A utilização desse recurso tecnológico nos leva, a partir da magnificação e consequente detalhamento da imagem, a , por exemplo, um passeio entre os bambus e a uma proximidade com o homem que descansa solitário observando a natureza. Além do prazer que essa aproximação proporciona, destacamos também a importância da digitalização dos acervos fotográficos para a pesquisa, difusão e preservação dos mesmos.
+ 
+Marc Ferrez. Bambus, c. 1890. Jardim Botânico, Rio de Janeiro / Acervo IMS
+ 
+Em dezembro de 1972, a Assembleia Geral da ONU designou o dia 5 de junho como Dia Mundial do Meio Ambiente, que foi  comemorado pela primeira vez em 1973, com o mote “Uma Só Terra”. A data foi escolhida em razão da primeira Conferência das Nações Unidas sobre o Meio Ambiente, realizada em Estocolmo, na Suécia, entre 5 e 16 de junho de 1972. Seu secretário-geral foi o canadense Maurice Strong (1929 – 2015). Considerada a iniciativa mais importante tomada até então no campo da conservação do meio ambiente e da luta contra a poluição, reuniu 1.200 delegados de 114 países e cerca de três mil observadores. Entre os acordos mais importantes selados durante a reunião estão a condenação das experiências nucleares, a proibição da pesca da baleia por dez anos e a redução da produção de materiais sintéticos aumentando paralelamente a manufatura de substitutivos degradáveis não poluentes (Site World Environment Day).
+ 
+Acessando o link para as fotografias de bambus produzidas por Marc Ferrez disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Publicações da Brasiliana Fotográfica em torno da obra do fotógrafo Marc Ferrez 
+ 
+Marc Ferrez aos 33 anos, c. 1876. Rio de Janeiro, RJ / Acervo IMS
+O Rio de Janeiro de Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 30 de junho de 2015
+Obras para o abastecimento no Rio de Janeiro por Marc Ferrez , de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 25 de janeiro de 2016
+O brilhante cronista visual Marc Ferrez (7/12/1843 – 12/01/1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 7 de dezembro de 2016
+Do natural ao construído: O Rio de Janeiro na fotografia de Marc Ferrez, de autoria de Sérgio Burgi, um dos curadores da Brasiliana Fotográfica, publicada em 19 de dezembro de 2016
+No primeiro dia da primavera, as cores de Marc Ferrez (1843 – 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 22 de setembro de 2017
+Marc Ferrez , a Comissão Geológica do Império (1875 – 1878) e a Exposição Antropológica Brasileira no Museu Nacional (1882), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica,  publicada em 29 de junho de 2018
+Série “O Rio de Janeiro desaparecido” V – O quiosque Chopp Berrante no Passeio Público, Ferrez, Malta e Charles Dunlop, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 20 de julho de 2018
+Uma homenagem aos 175 anos de Marc Ferrez (7 de dezembro de 1843 – 12 de janeiro de 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 7 de dezembro de 2018 
+Pereira Passos e Marc Ferrez: engenharia e fotografia para o desenvolvimento das ferrovias, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 5 de abril de 2019
+Fotografia e ciência: eclipse solar, Marc Ferrez e Albert Einstein, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 24 de junho de 2019
+Os 180 anos da invenção do daguerreótipo – Os álbuns da Comissão Geológica do Império com fotografias de Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 19 de agosto de 2019
+Celebrando o fotógrafo Marc Ferrez (1843 – 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 4 de dezembro de 2019
+Uma homenagem da Casa Granado ao imperial sob as lentes de Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 7 de fevereiro de 2020
+Ressaca no Rio de Janeiro invade o porão da casa do fotógrafo Marc Ferrez, em 1913, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado 6 de março de 2020
+Petrópolis, a Cidade Imperial, pelos fotógrafos Marc Ferrez e Revert Henrique Klumb, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 16 de março de 2020
+O Baile da Ilha Fiscal: registro raro realizado por Marc Ferrez e retrato de Aurélio de Figueiredo diante de sua obra, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 9 de novembro de 2020
+O Palácio de Cristal fotografado por Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 2 de fevereiro de 2021
+A Estrada de Ferro do Paraná, de Paranaguá a Curitiba, pelos fotógrafos Arthur Wischral (1894 – 1982) e Marc Ferrez (1843 – 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 22 de março de 2021
+Dia dos Pais – Julio e Luciano, os filhos do fotógrafo Marc Ferrez, e outras famílias, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 6 de agosto de 2021
+No Dia da Árvore, mangueiras fotografadas por Ferrez e Leuzinger, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 21 de setembro de 2021
+Retratos de Pauline Caroline Lefebvre, sogra do fotógrafo Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 28 de abril de 2022
+A Serra dos Órgãos: uma foto aérea e imagens realizadas pelos mestres Ferrez, Leuzinger e Klumb, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 30 de junho de 2022
+O centenário da morte do fotógrafo Marc Ferrez (1843 – 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 12 de janeiro de 2023
+O Observatório Nacional pelas lentes de Marc Ferrez, amigo de vários cientistas, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 29 de maio de 2023
+No Dia Mundial do Meio Ambiente, a potente imagem da Cachoeira de Paulo Afonso, por Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 5 de junho de 2023
+A Fonte Adriano Ramos Pinto por Guilherme Santos e Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 18 de julho de 2023
+Os 180 anos de nascimento do fotógrafo Marc Ferrez (1843 – 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 7 de dezembro de 2023
+ 
+ 
+ 
+Artigos publicados na Brasiliana Fotográfica no Dia Mundial do Meio Ambiente
+ 
+A Floresta da Tijuca no Dia Mundial do Meio Ambiente, publicado em 5 de junho de 2019
+No Dia Mundial do Meio Ambiente, velas abertas na Baía da Guanabara, publicado em 5 de junho de 2022
+No Dia Mundial do Meio Ambiente, a potente imagem da Cachoeira de Paulo Afonso, por Marc Ferrez, publicado em 5 de junho de 2023
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/6406` — `itens/20.500.12156.1_6406/`
+- `20.500.12156.1/6715` — `itens/20.500.12156.1_6715/`
+- `20.500.12156.1/2575` — `itens/20.500.12156.1_2575/`
+
diff --git a/wordpress/18503-o-centenario-da-universidade-federal-do-rio-de-janeiro.md b/wordpress/18503-o-centenario-da-universidade-federal-do-rio-de-janeiro.md
new file mode 100644
index 0000000..867f767
--- /dev/null
+++ b/wordpress/18503-o-centenario-da-universidade-federal-do-rio-de-janeiro.md
@@ -0,0 +1,68 @@
+---
+id: 18503
+url: "https://brasilianafotografica.bn.gov.br/?p=18503"
+titulo: "O centenário da Universidade Federal do Rio de Janeiro"
+autor: "Andrea Wanderley"
+data: "2020-09-07T10:30:17+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/2564", "20.500.12156.1/865"]
+fetched_at: "2026-09-10T10:01:42.238Z"
+---
+
+# O centenário da Universidade Federal do Rio de Janeiro
+
+Com registros de Marc Ferrez (1843 – 1923) e de Revert Henrique Klumb (c. 1826 – c. 1886), a Brasiliana Fotográfica celebra o centenário da Universidade Federal do Rio de Janeiro (UFRJ), a maior universidde federal do Brasil. Por coincidência, a comemoração de seus 100 anos acontece, como na época de sua criação, sob os impactos de uma pandemia. Em 1920, era a gripe espanhola, cujo auge aconteceu em 1918, e, atualmente, o coronavírus. É reconhecida como um dos maiores centros de produção acadêmica e científica do Brasil.
+A imagem de Ferrez é do atual Palácio Universitário, antigo Hospital dos Alienados ou Hospício Pedro II, inaugurado em 18 de julho de 1841. O prédio, tombado pelo Instituto do Patrimônio Histórico e Artístico Nacional, em 1971, localiza-se na Urca e foi doado à universidade na década de 40 (Correio da Manhã, 9 de dezembro de de 1944, primeira coluna; e Correio da Manhã, 14 de novembro de 1944). É ocupado  pelo Fórum de Ciência e Cultura, pela Escola de Comunicação, pela Faculdade de Educação, pelo Centro de Ciências Jurídicas e Econômicas, pela Faculdade de Administração e Ciências Contábeis e pelo Instituto de Economia e Sistema de Bibliotecas e Informação da UFRJ.
+ 
+Marc Ferrez. Urca, vendo-se o Hospício Nacional de Alienados (atualmente Universidade Federal do Rio de Janeiro), c. 1890. Rio de Janeiro RJ / Acervo IMS
+ 
+As outras imagens, de autoria de Klumb, são da Escola Militar, desde 1969 local onde funciona o Instituto de Filosofia e Ciências Sociais (IFCS), no Largo de São Francisco no Centro da cidade. O prédio foi construído originalmente para ser a Sé do Rio de Janeiro. A partir de 1812 abrigou a Academia Real Militar, futura Escola Militar que, em 1858, foi denominada Escola Central. Em 1874, passou a chamar-se Escola Politécnica. Em 1937, teve seu nome mais uma vez mudado, dessa vez para  Escola Nacional de Engenharia e, em meados da década de 60, já na Cidade Universitária, passou a se chamar Escola de Engenharia. Voltou a se intitular Escola Politécnica, em 2003, por ter sido esse o nome em que ela atingiu o apogeu de sua fama e prestígio, em que se tornou reconhecida no âmbito nacional e internacional. O edifício no Largo de São Francisco é a sede do Instituto de Filosofia e Ciências Sociais desde 1969.
+ 
+Revert Henrique Klumb. L’Ecole Militaire, vue prise du haut de la tour de l’Eglise se St. Fr. de Paula, entre 1855 e 1856. Rio de Janeiro, RJ / Acervo FBN
+ 
+A UFRJ  foi a primeira universidade federal do Brasil e seu primeiro reitor foi Ramiz Galvão (1846 – 1938). A atual reitora é a biofísica Denise Pires de Carvalho, primeira mulher a assumir esse cargo, em 2 de julho de 2019. A UFRJ é um centro de excelência tanto em ensino como em pesquisa no país e na América Latina e, nos últimos anos, tornou-se mais diversa, democrática e inclusiva: a entrada de estudantes negrou dobrou na última década e em 2016 passaram a ser mais da metade dos ingressantes. Além disto, o ingresso de estudantes originários da rede pública aumentou 64%.
+A UFRJ tem 176 cursos de graduação e 232 de pós-graduação, cerca de 65 mil estudantes e quatro mil docentes, três mil servidores em hospitais e cinco mil técnicos administrativos, nove hospitais e 1.456 laboratóriso, 13 museus, 14 prédios tombados e 45 bibliotecas, 1.863 projetos de extensão e um parque tecnológico de 350 mil metros quadrados.
+ 
+Ramiz Galvão, primeiro reitor da Universidade do Rio de Janeiro
+ 
+Acessando o link para as fotografias de prédios integrantes da Universidade Federal do Rio de Janeiro disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Foi criada no governo do presidente Epitácio Pessoa (1865 – 1942), com a denominação de Universidade do Rio de Janeiro, em 7 de setembro de 1920 pelo Decreto 14 343, que reuniu a Escola Politécnica do Rio de Janeiro, originária da Real Academia de Artilharia, Fortificação e Desenho, fundada em 1792; da Faculdade de Medicina do Rio de Janeiro criada por dom João VI, em 2 de abril de 1808 como Academia de Medicina e Cirurgia; e a Faculdade de Direito do Rio de Janeiro, fusão da Faculdade de Ciências Jurídicas e Sociais com a Faculdade Livre de Direito, ambas reconhecidas pelo Decreto 639, de 31 de outubro de 1891 (O Paiz, 7 de setembro de 1920, terceira coluna). Uma curiosidade: pouco depois da fundação da Universidade do Rio de Janeiro, a congregação da Faculdade de Direito do Rio de Janeiro decidiu dar o título de doutor honoris causa para o rei Alberto da Bélgica, em visita ao Brasil (O Paiz, 2 de outubro de 1920).
+ 
+
+O ministro da Educação, Gustavo Capanema (1900 – 1985), promoveu, em 1937, durante o governo de Getulio Vargas (1882 – 1954), uma grande reestruturação na Universidade do Rio de Janeiro que passou a ser chamada de Universidade do Brasil, cujo primeiro reitor foi Raul Leitão da Cunha (1881 – 1947) (O Jornal, 26 de janeiro de 1937, sexta coluna; O Jornal, 6 de julho de 1937). Em 1946, incorporou o Museu Nacional (Decreto-lei de 16 de janeiro de 1946) e teve seu estatuto aprovado pelo Decreto nº 21.321, de 18 de junho de 1946. Era então contituída pelas Faculdade Nacional de Medicina, Faculdade Nacional de Direito, Faculdade Nacional de Odontologia, Faculdade Nacional de Filosofia, Faculdade Nacional de Arquitetura, Faculdade Nacional de Ciências Econômicas, Faculdade Nacional de Farmácia, Escola Nacional de Engenharia, Escola Nacional de Belas Artes, Escola Nacional de Músicas, Escola Nacional de Minas e Metalurgia, Escola Nacional de Educação Física e Desportos e pela Escola Ana Néri, além do já mencionado Museu Nacional.
+Sob o governo do general Humberto de Alencar Castelo Branco (1897 – 1967), com a sanção da Lei nº 4831, de 5 de novembro de 1965, a universidade ganhou seu nome atual, Universidade Federal do Rio de Janeiro. A Ilha do Fundão havia sido escolhida para sediar a Cidade Universitária, onde se concentra uma boa parte de seus cursos, departamentos e unidades (Revista Shell, abril/maio/junho de 1954). Foi oficialmente inaugurada em 7 de setembro de 1972.
+Atualmente, a Universidade Federal do Rio de Janeiro possui quatro campi: a Cidade Universitária, na Ilha do Fundão; Praia Vermelha, na Urca; Macaé, o mais novo campus, na cidade de Macaé; e o Complexo Avançado de Xerém, em Duque Caxias. Existem faculdades, institutos e unidades da UFRJ fora dos campi mencionados, dentre eles o Instituto de Filosofia e Ciências Sociais, o Instituto de História, a Faculdade Nacional de Direito e a Escola de Música, localizados no centro do Rio de Janeiro; o Museu Nacional e o Observatório do Valongo, situados no bairro de São Cristóvão; e o Colégio de Aplicação da UFRJ, na Lagoa Rodrigo de Freitas.
+ 
+Link para a galeria de reitores da UFRJ
+Link para edificações que fazem parte da UFRJ e foram tombadas
+ 
+ 
+Andrea C. T. Wanderley
+
+Editora e pesquisadora do portal Brasiliana Fotográfica
+
+ 
+Fontes:
+Agência Brasil
+CUNHA, Luiz Antônio. A Universidade Temporã: o ensino superior da Colônia à Era Vargas. São Paulo: UNESP, 2007.
+Dicionários de verbetes AGCRJ
+Documentário Centenária: a universidade do Brasil entre duas pandemias
+FÁVERO, Maria de Lourdes. Universidade do Brasil: das origens à construção. Rio de Janeiro: UFRJ, 2010.
+Folha de São Paulo, 6 de setembro de 2020
+Hemeroteca Digital da Biblioteca Nacional
+Portal da Câmara dos Deputados
+Site 100 anos UFRJ
+Site Escola Politécnica
+Site IFCS
+Site Museu Nacional
+Site SiBI – Memória Institucional da UFRJ
+Site UFRJ
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/2564` — `itens/20.500.12156.1_2564/`
+- `20.500.12156.1/865` — `itens/20.500.12156.1_865/`
+
diff --git a/wordpress/18530-serie-exposicoes-vii-festa-das-artes-e-da-industria-segunda-exposicao-nacional-1.md b/wordpress/18530-serie-exposicoes-vii-festa-das-artes-e-da-industria-segunda-exposicao-nacional-1.md
new file mode 100644
index 0000000..f08246e
--- /dev/null
+++ b/wordpress/18530-serie-exposicoes-vii-festa-das-artes-e-da-industria-segunda-exposicao-nacional-1.md
@@ -0,0 +1,101 @@
+---
+id: 18530
+url: "https://brasilianafotografica.bn.gov.br/?p=18530"
+titulo: "Série “Exposições” VII – Festa das Artes e da Indústria – Segunda Exposição Nacional, 1866"
+autor: "Andrea Wanderley"
+data: "2020-04-03T12:27:08+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/7901", "20.500.12156.1/7903", "20.500.12156.1/7924", "20.500.12156.1/7921", "20.500.12156.1/7917"]
+fetched_at: "2026-09-10T10:01:45.935Z"
+---
+
+# Série “Exposições” VII – Festa das Artes e da Indústria – Segunda Exposição Nacional, 1866
+
+As historiadoras Claudia Beatriz Heynemann e Maria Elizabeth Brêa Monteiro, do Arquivo Nacional, uma das instituições parceiras da Brasiliana Fotográfica, são as autoras do artigo Festa das Artes e da Indústria – Segunda Exposição Nacional, 1866. “As exposições nacionais constituíam espaços organizados de exibição de objetos técnicos que começavam a fazer parte do cotidiano, com forte presença de produtos agrícolas, matérias-primas, minerais, madeiras entre outros recursos naturais. Eram vistas como oportunidades para servir à “causa do progresso”, fazer negócios e divulgar produtos e serviços, incentivar o consumo, expandir redes mercantis, atrair trabalhadores, tecnologia e capitais estrangeiros e promover a exploração econômica do território”. Nessa edição da exposição o já renomado pintor Victor Meirelles presidiu o júri da seção de fotografia e em seu relatório apresentou uma história da fotografia e a descoberta dos vários processos técnicos que contribuíram para dar maior nitidez e perfeição às imagens.
+ 
+Festa das Artes e da Indústria
+Segunda Exposição Nacional, 1866
+Claudia Beatriz Heynemann e Maria Elizabeth Brêa Monteiro*
+ 
+Antônio Araújo de SouzaLobo; Antônio Barbosa Oliveira. Recordações da Exposição Nacional de 1866, 1866. Casa da Moeda do Brasil, Rio de Janeiro / Acervo Arquivo Nacional
+ 
+“Parecerá talvez á alguém não ser a época actual a mais apropriada para o Brazil, que se acha em luta com um paiz estrangeiro, patentear ao mundo civilizado o vasto repositório de seus produtos, quer naturaes, quer resultados da inteligência e do trabalho de seus filhos. Nós porém pensamos de modo diverso, e sem querermos negar a influencia da paz no desenvolvimento das nações, acreditamos todavia que o brilho das armas não marea nem offusca o explendor das letras, das sciencias e da indústria …” (O Auxiliador da Indústria Nacional, 1866. p. 202). Com essa citação o médico e presidente da Comissão de Agricultura Nicolau Joaquim Moreira refere-se à realização da Segunda Exposição Nacional, em 1866, quando o Brasil estava envolvido com a Guerra do Paraguai, imerso em grandes dificuldades financeiras e enfrentando uma importante redução da força de trabalho em função do fim do tráfico de escravos. Associações como a Sociedade Auxiliadora da Indústria Nacional, criada em 1827, e o Instituto Fluminense de Agricultura, por exemplo, constituíam-se em entidades de defesa para a realização no país de exposições industriais e incentivadoras da presença do Brasil em eventos no exterior. Cabe, contudo, lembrar que a participação do Estado em momento algum foi dispensada. Pelo contrário, o “apadrinhamento do Estado era não somente bem-vindo, mas também firmemente solicitado”. (Araújo, 1998)
+As exposições nacionais constituíam espaços organizados de exibição de objetos técnicos que começavam a fazer parte do cotidiano, com forte presença de produtos agrícolas, matérias-primas, minerais, madeiras entre outros recursos naturais. Eram vistas como oportunidades para servir à “causa do progresso”, fazer negócios e divulgar produtos e serviços, incentivar o consumo, expandir redes mercantis, atrair trabalhadores, tecnologia e capitais estrangeiros e promover a exploração econômica do território. (Sanjad, 2017) Nas palavras de Antonio José de Souza Rego, 1º secretário da Comissão Diretora da Exposição Nacional de 1866, as exposições nacionais “desenvolvem a indústria, aperfeiçoam as artes e engrandecem os países, sendo ao mesmo tempo o padrão pelo qual se pode aferir o estado de civilização e adiantamento de um povo”. (Rego, 1869: 3)
+ 
+Acessando o link para as fotografias do álbum Recordações da Exposição Nacional de 1866 disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Na maior parte dos casos foram organizadas exibições nacionais, precedidas, por vezes, de exposições provinciais, que realizavam inventários bastante detalhados das potencialidades locais e regionais. Os estudos históricos sobre as exposições brasileiras já analisaram como estes eventos conseguiram articular um discurso globalizante sobre o progresso sem questionar de fato o tradicionalismo político, nem as formas arcaicas de produção existentes no país. (Araujo, 1998)
+A Segunda Exposição Nacional teve lugar no “soberbo prédio” da Casa da Moeda ao “lado ocidental do Campo da Aclamação”, onde, desde 2002, se encontra o Arquivo Nacional. Foi inaugurada em 19 de outubro de 1866 em ato solene, com execução do hino nacional e salva de artilharia, pelo imperador Pedro II que em seu discurso destacou a importância das riquezas naturais das províncias brasileiras para a prosperidade do Império e da iniciativa para a “causa da civilização”. A exposição ficou em exibição até 16 de dezembro do mesmo ano e recebeu a visitação de 52.824 pessoas. Foram expostos 20.128 objetos distribuídos em 35 classes divididas em cinco grupos, representando 2.374 expositores das províncias do Amazonas, Pará, Maranhão, Piauí, Rio Grande do Norte, Paraíba, Sergipe, Bahia, corte e província do Rio de Janeiro, São Paulo, Santa Catarina, Paraná e Rio Grande de São Pedro do Sul. As províncias de Mato Grosso, Goiás, Minas Gerais, Espírito Santo e Alagoas não concorreram a esta exposição. Apesar do curto espaço de tempo, verifica-se um incremento importante desta edição em relação à Primeira Exposição Nacional, realizada em 1861 na Escola Central de Engenharia Militar, no Largo de São Francisco, quando foram expostos 9.962 objetos trazidos por 1.136 expositores. (Araújo, 1998)
+ 
+Antônio Araújo de Souza Lobo; Antônio Barbosa Oliveira. Recordações da Exposição Nacional de 1866, 1866. Casa da Moeda do Brasil, Rio de Janeiro / Acervo Arquivo Nacional
+ 
+Em artigo na revista Semana Ilustrada, de 1º de abril de 1866, fica clara a expectativa para a segunda exposição em relação à primeira, considerada um ensaio:
+ “Desta vez, a exposição vai ser uma festa nacional, uma prova de pujança e desenvolvimento da inteligência de um povo culto, que se põe em pé de igualdade com os do velho mundo, inaugurando por este modo nova época na historia do Brasil.”
+De acordo com o regulamento, os prêmios eram conferidos aos expositores que se sobressaíssem pela perfeição de seus produtos e por “esforços inteligentes empregados para o melhoramento dos métodos seguidos na produção e fabricação dos artigos das diversas indústrias”, evidenciando um propósito não só de venda dos produtos, mas também de cenário para novas ideias. Nesta segunda exposição os produtos químicos e farmacêuticos foram considerados os mais bem representados. Os artigos que mais se destacaram foram, no ano seguinte, mostrados na Exposição Universal de Paris.
+Observa-se que os produtos premiados faziam propaganda em jornais de grande circulação, como o Jornal do Commercio, mencionando a distinção recebida, a exemplo da Imperial Fábrica de Cigarros e Rapé S. João de Nitherohy agraciada com medalha de prata; a fábrica de Manoel do Rego Viveiros que fornecia tintas de escrever roxa e preta; a Casa do Anjo, situada à rua do Ouvidor 109, que oferecia novas máquinas para fazer sorvetes em cinco minutos e diversos sistemas de talhas com filtradores; a Casa Blanchard, sucessora de L Denille, premiada com medalha de ouro, que oferecia “rico sortimento de instrumentos de cirurgia das mais modernas invenções, de instrumentos de dentistas, de cutelaria fina, franceza e inglesa, de mamadeiras, algalias, fundas, suspensórios etc.”; a fábrica de algodão Santo Aleixo premiada com medalha de ouro.
+Esta exposição, diferentemente da anterior, dispunha de uma área externa ao prédio principal, organizada pelo comendador Joaquim Antonio de Azevedo, para exibição de plantas, fibras vegetais, madeiras e animais vivos (cavalos, bois e carneiros). Representada principalmente pelas províncias do extremo norte, essa exibição foi considerada um testemunho da “fertilidade de nosso sólo, a magnificência de nossos vegetaes, a beleza de nossas flores e a abundancia de nossos fructos.”. (Castro, 1866) Nesse pavilhão externo também foram colocadas amostras de batatas, legumes, milho e outros cereais.
+ 
+Antônio Araújo de Souza Lobo; Antônio Barbosa Oliveira. Recordações da Exposição Nacional de 1866, 1866. Casa da Moeda do Brasil, Rio de Janeiro / Acervo Arquivo Nacional
+ 
+Todavia, de acordo como historiador Nelson Sanjad (2017), eram os artefatos e instrumentos científicos e tecnológicos, em especial aqueles com emprego na medicina e higiene, que tinham amplo espaço nas exposições, representando o desenvolvimento, o controle sobre doenças e fenômenos naturais e a capacidade de inovação industrial, constituindo as exposições espaços de compartilhamento e debate entre médicos, cientistas, inventores. Em geral, os instrumentos científicos eram vistos com interesse pelo público e pelos juízes das exposições, pois sinalizavam para o futuro, a legitimar o que era considerado novo, moderno e útil, não obstante a economia agroexportadora dominante no país, apoiada na mão de obra escrava, que fragilizava o projeto modernizador imaginado pelas elites e pelo próprio Estado. Despolpadores para café dividiam a sala de exposição com uma coleção de outras máquinas próprias para preparar os diversos produtos agrícolas, a exemplo da prensa para mandioca ou para a cana movida a vapor e das máquinas agrícolas das Casas Ransomes, Sims e Head.
+No campo dessas inovações associadas às ciências, a fotografia cumpre papel de destaque nas exposições. Na edição de 1866, a fotografia, alocada em uma sala ao lado do espaço dedicado à pintura, estava representada por 15 expositores nacionais e estrangeiros “que rivalizam pouco mais ou menos em perfeição”, com exceção do suíço Georges Leuzinger, que se destacou apresentando vistas do Rio de Janeiro e arredores. Foram concedidas seis medalhas de prata, 3 de bronze e 4 menções honrosas. Destacam-se Auguste Stahl (medalha de prata), Carneiro & Gaspar (medalha de prata.), George Leuzinger (medalha de prata), Insley Pacheco (medalha de prata), João Ferreira Villela (menção honrosa), José Christiano Júnior (menção honrosa), José Ferreira Guimarães (medalha de prata), Louis Auguste Moreaux. A classe da fotografia, considerada um ramo industrial-artístico, de acordo com artigo da revista Semana Illustrada, estava dividida em panoramas, panoramas diversos para álbuns, estereoscópios, álbuns e retratos. O júri foi presidido pelo pintor Victor Meirelles que em seu relatório apresenta a história da fotografia e a descoberta dos vários processos técnicos que contribuíram para dar maior nitidez e perfeição às imagens. Em seu texto, Meirelles fez uso de parâmetros e valores estéticos tradicionalmente empregados para apreciar os trabalhos de pintura, contribuindo para um diálogo entre a fotografia e a tradição da pintura de paisagem, ou evidenciando que ainda há nesse momento uma indistinção ou incompreensão da linguagem fotográfica em sua relação com as artes plásticas.
+Cabe registrar que para a exposição de 1866 adotaram-se novos critérios de premiação, ficando a medalha de ouro com o caráter de “prêmio excepcional para os definidos casos de invenção e introdução de indústria nova e aperfeiçoamento dos processos de produção de artigos de reconhecia utilização e vantagem”. Como escreve Maria Inez Turazzi, essas novas normas aplicadas a todas as classes de produtos representavam certa dificuldade para que os fotógrafos obtivessem a medalha de ouro pela apresentação de seus trabalhos, apesar do caráter técnico e inovador que a fotografia podia conter. (1995:125)
+Na sala de pintura, encontram-se os trabalhos das alunas do professor F. Fachinetti que desenvolveu um método próprio para pintar vastos panoramas da cidade do Rio de Janeiro e de seus arredores. Nas imagens do álbum organizado por Barbosa e Lobo observa-se também uma coleção de quadros representando flores e beija-flores, executados por uma artista brasileira, que se destaca pela fineza e paciência.
+ 
+Antônio Araújo de Souza Lobo; Antônio Barbosa Oliveira. Recordações da Exposição Nacional de 1866, 1866. Casa da Moeda do Brasil, Rio de Janeiro / Acervo Arquivo Nacional
+ 
+Em seu relatório, o 1º secretário conclui que o evento foi um sucesso, “fecundo e grandioso incentivo para a agricultura, a indústria e as artes, solida base de engrandecimento das nações cultas”. (Rego, 1869: 21)
+O álbum Recordação da Exposição Nacional de 1866 consiste na compilação de imagens, de autoria de Antônio Barbosa Oliveira e Antônio Araújo de Souza Lobo, dando destaque aos salões alusivos às pinturas e manufaturados como calçados, chapéus, velas, têxteis, couros. Poucas são as imagens de produtos agrícolas e o salão dedicado à fotografia também não está registrado nesse álbum.
+Não deixou de receber atenção, no entanto, a própria construção, sede da Casa da Moeda, com tomadas da fachada e detalhes do pátio interno. Em três fotografias especialmente, Barbosa e Lobo se dedicaram a mostrar os espaços ao ar livre que integravam a construção, com recantos ajardinados, fonte, bancos de praça e homens, em sua grande maioria de fraque e cartola posando junto à fachada, a um quiosque e reunidos sob um arco forrado por vegetação. O uso dessa roupa denotava certa formalidade, mesmo que diurna, em frequentar esses espaços, uma combinação que de qualquer forma se afirma no século XIX como a roupa masculina por excelência da aristocracia, da alta burguesia e já na virada do século seguinte, dos bacharéis, doutores. Uma trinca formada pela casaca, as calças e a predominância do preto definiu a silhueta masculina do Império. (Monteleone, 2017) Podemos acrescentar a cartola, ou o “chapéu alto”, complementando um estilo que viria a ser ridicularizado em charges de época, para criticar políticos e magnatas. Na década de 1860 evidenciava a adoção disseminada de uma roupa moderna, que exibia “homens exilados numa existência sombria” em contraste com as exuberantes roupas femininas, como escreveu Maria do Carmo Rainho. Esses homens encontravam ainda um alívio nessa contenção, dedicando-se aos cortes de cabelo e barbas, além de chapéus, “– com uma grande variedade de formas e feitios –, as bengalas, os charutos e as jóias, entre elas a correntinha do relógio e os anéis”.
+O grupo sob o caramanchão reúne, talvez, alguns tipos mais característicos da população carioca, como o único que posa diretamente para a câmera, de aparência cuidada, envergando a cartola e o fraque, além de cultivar barba, bigode e costeletas aparadas. Permanecem na sombra, de forma imprecisa em suas roupas ou origem social, os que o acompanham no retrato.
+ 
+Antônio Araújo de Souza Lobo; Antônio Barbosa Oliveira. Recordações da Exposição Nacional de 1866, 1866. Casa da Moeda do Brasil, Rio de Janeiro / Acervo Arquivo Nacional
+ 
+A presença desses homens nas cenas que compõem o álbum informa sobre a frequência à exposição nacional e ainda mais sobre a concepção de cidade, e de capital do Império que os equipamentos e o ambiente sugerem. O início da década de 1860 é rico em eventos relacionados como o remodelamento pelo paisagista Auguste Glaziou do Passeio Público, de onde vieram plantas que compuseram a área destinada à horticultura da exposição de 1866. Glaziou, no início da década seguinte, se encarregaria da obra de transformação do Campo da Aclamação, atual Praça da República, e que guarda uma contiguidade com o conjunto da Casa da Moeda. Em dezembro de 1861 a criação da administração das florestas da Tijuca e das Paineiras, voltada ao reflorestamento de áreas devastadas, instaura um projeto urbano e civilizacional para o Rio e o Império que descende do ideário ilustrado luso-brasileiro e da visão romântica de nação e natureza de matriz brasileira.
+É também de 1861 a criação do Ministério da Agricultura, Comércio e Obras Públicas, uma das poucas alterações na estrutura ministerial do período e que atendeu, para alguns autores, ao crescimento da indústria cafeeira e à estrutura escravista, sendo de fato peculiar que, com sua economia ancorada na agricultura, só então o Império criasse a pasta. As inovações propaladas, seguindo padrões veiculados nas academias europeias que condenavam a derrubada das matas e técnicas de cultivo modernas, pareciam ser de difícil introdução, com a manutenção do trabalho escravo (mesmo com a lei de 1850), o recurso às queimadas e o cultivo extensivo e exaustão do solo. Essas últimas práticas foram condenadas no relatório do ministério de 1865, no qual se descreve o processo pelo qual o homem “em presença de matas virgens e de solo ubérrimo” opta inicialmente pela destruição com a foice, o machado e a enxada. Diante da terra exaurida, prossegue o ministro, o agricultor resolve o passo seguinte, que no Brasil como nos Estados Unidos havia sido a invasão do sertão e a conquista das florestas. (Correio Paulistano, 20 de junho de 1866)
+Com esses temas centrais para a cidade e o Império organiza-se a exposição de 1866 e o álbum da forma como Barbosa & Lobo a registraram. Sem que se saiba se foram efetivamente sócios comerciais, Antônio Araújo de Souza Lobo e Antônio Barbosa de Oliveira assinaram essa série comercializada como Coleção de Fotografias da Exposição Nacional de 1866 e expostas também na Exposição de História do Brasil realizada pela Biblioteca Nacional em 1881. (Rainho e Heynemann, 2005: 52) Barbosa atuou na rua do Ouvidor 134, via conhecida como área de comércio sofisticado da cidade. O negócio da fotografia de estúdio que prosperou, sobretudo, a partir daquela década com a multiplicação de retratos em carte de visite fazia parte dos índices de modernidade que tanto quanto as exposições traduziam os aspectos mais contraditórios do país. A Semana Illustrada, de 1867, anuncia com destaque a publicação do álbum e a venda dessa coleção no seu estabelecimento comercial, no centro do Rio de Janeiro.
+“Os Srs. Barbosa & Lobo, fotógrafos estabelecidos á rua d’Ouvidor 134, acabam de publicar um álbum de fotografias, sobre a ultima exposição nacional, contendo as vistas do palacio da exposição e uma grande parte das dos objetos mais notaveis, que figurarão naquela explendida festa da indústria nacional.”
+As exposições e em particular a de 1866 constituem, sem dúvida, espaços de inovação tecnológica. Mas a análise desses eventos também revela processos e disputas político-sociais que se manifestam na própria seleção dos produtos e ofícios a serem expostos, resultando muito mais de um arranjo conjuntural de forças políticas do que de um projeto consensual de país”.
+ 
+*Claudia Beatriz Heynemann é Doutora em História | Pesquisadora do Arquivo Nacional
+Maria Elizabeth Brêa Monteiro é Mestre em História | Pesquisadora do Arquivo Nacional
+ 
+Nota da editora: esse artigo passou a integrar uma série e mudou de título em 1º de dezembro de 2025.
+ 
+Fontes:
+ARAÚJO, Hermetes Reis de. Técnica, trabalho e natureza na sociedade escravista. Revista Brasileira de História, v.18, n.35, São Paulo, 1998. Acesso em 21 jan. 2020.
+O Auxiliador da Industria Nacional. Periódico da Sociedade Auxiliadora da Industria Nacional sob a direção e redação de F.L.Cesar Burlamaqui. RJ: Typ. Indústria Nacional de Cotrim e Campos, 1866. Acesso em 15 jan. 2020
+BEDIAGA, Begonha. Revista Agrícola (1869-1891): sensibilizar o lavrador e plantar ciências agrícolas. Varia Historia, v.29, n. 49, Belo Horizonte, jan./abr. 2013. Acesso em 21 jan. 2020.
+CASTRO, Agostinho Victor de Borja. Relatório do 2º grupo. In: REGO, Antônio José de Souza. Relatório da 2ª Exposição Nacional de 1866. Rio de Janeiro: Typ. Nacional, 1869 (2ª parte). Acesso em 22 jan. 2020.
+Correio Paulistano. São Paulo, 20 de junho de 1866, edição 03023, p.2. Acesso em 11 fev. 2020
+MONTELEONE, Joana Moraes. D. Pedro II e o império de casaca: os sentidos de poder nos trajes masculinos no Segundo Império. Almanack, Guarulhos , n. 15, p. 318-345, Abr. 2017. Acesso em 10 fev. 2020.
+RAINHO, Maria do Carmo, HEYNEMANN, Claudia Beatriz. Retratos Modernos. Rio de Janeiro: Arquivo Nacional, 2005. Acesso em 10 fev. 2020
+REGO, Antônio José de Souza. Relatório da 2ª Exposição Nacional de 1866. Rio de Janeiro: Typ. Nacional, 1869.
+REZENDE, Livia Lazzaro. The Raw and the manufactured: Brazilian modernity and national identity as projected in international exhibitions (1862-1922). Tese de doutorado em História do Design. Royal College of Art, London, out. 2010.
+SANJAD, Nelson. Exposições internacionais: uma abordagem historiográfica a partir da América Latina. História, Ciências, Saúde – Manguinhos, Rio de Janeiro, v. 24, n.3, jul./set. 2017. p. 785-826.
+Semana Ilustrada, edição 277, 1866. Acesso em 21 jan. 2020.
+SILVA, Maria Antonia Couto. As relações entre pintura e fotografia no Brasil do século XIX: considerações acerca do álbum Brasil Pitoresco de Charles Ribeyrolles e Victor Frond. Fênix Rev. de História e Estudos Culturais, v.4/4, n.2, abril-jun. 2007.
+TURAZZI, Maria Inez. Poses e trejeitos: a fotografia e as exposições na era do espetáculo (1839-1889). Rio de Janeiro, Rocco, 1995.
+ 
+Links para os artigos sobre exposições nacionais ou internacionais publicados na Brasiliana Fotográfica
+O pintor Victor Meirelles e a fotografia na II Exposição Nacional de 1866, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 17 de agosto de 2017.
+A festa do progresso: o Brasil na Exposição Continental, Buenos Aires, 1882, de autoria de Maria do Carmo Rainho, Arquivo Nacional, publicado em 29 de março de 2018.
+Série “O Rio de Janeiro desaparecido” II – A Exposição Nacional de 1908 na Coleção Família Passos, de autoria de Carla Costa, Museu da República, publicado em 5 de abril de 2018.
+Marc Ferrez, a Comissão Geológica do Império (1875 – 1878) e a Exposição Antropológica Brasileira no Museu Nacional (1882), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 29 de junho de 2018.
+Paris, 1889: o álbum da exposição universal, de autoria de Claudia B. Heynemann, Arquivo Nacional,publicado em 27 de julho de 2018.
+Café Brasil: o Império na Exposição Internacional de Filadélfia, de autoria de Claudia B. Heynemann, Arquivo Nacional, publicada em 4 de dezembro de 2019.
+A apresentação do Departamento Nacional de Saúde Pública na Exposição Internacional do Centenário da Independência, de Ricardo Augusto dos Santos, Fiocruz, publicado em 13 de abril de 2020.
+A Exposição Internacional de Higiene de Dresden, de Cristiane d´Avila, Fiocruz, publicado em 5 de janeiro de 2022.
+Série 1922 – Hoje, há 100 anos VIII – A abertura da Exposição Internacional do Centenário da Independência do Brasil e o centenário da primeira grande transmissão pública de rádio no país, de autoria de Andrea C. T. Wanderley, publicado em 7 de setembro de 2022, na Brasiliana Fotográfica.
+Três álbuns fotográficos da Exposição Nacional de 1908 no Museu Histórico Nacional: Boscagli, Malta e Musso, de autoria de Maria Isabel Ribeiro Lenzi, historiadora do Museu Histórico Nacional, publicado em 25 de agosto de 2023, na Brasiliana Fotográfica.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/7901` — `itens/20.500.12156.1_7901/`
+- `20.500.12156.1/7903` — `itens/20.500.12156.1_7903/`
+- `20.500.12156.1/7924` — `itens/20.500.12156.1_7924/`
+- `20.500.12156.1/7921` — `itens/20.500.12156.1_7921/`
+- `20.500.12156.1/7917` — `itens/20.500.12156.1_7917/`
+
diff --git a/wordpress/18725-fotografia-de-leuzinger-e-capa-da-revista-fon-fon-em-1922.md b/wordpress/18725-fotografia-de-leuzinger-e-capa-da-revista-fon-fon-em-1922.md
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@@ -0,0 +1,63 @@
+---
+id: 18725
+url: "https://brasilianafotografica.bn.gov.br/?p=18725"
+titulo: "Fotografia de Leuzinger é capa da revista “Fon-Fon” em 1922"
+autor: "Andrea Wanderley"
+data: "2020-08-27T09:20:06+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/8084", "20.500.12156.1/1775", "20.500.12156.1/7941", "20.500.12156.1/8519", "20.500.12156.1/9346"]
+fetched_at: "2026-09-10T10:01:49.270Z"
+---
+
+# Fotografia de Leuzinger é capa da revista “Fon-Fon” em 1922
+
+Imagens produzidas no século XIX pelo fotógrafo e editor suíço Georges Leuzinger (1813 – 1892) foram usadas na matéria O Rio Desapparecido, publicada na revista Fon-Fon de 29 de abril de 1922. Uma delas, do Largo de São Francisco, no centro do Rio de Janeiro, está na capa acompanhando um pequeno texto onde se lê: “O velho Rio morreu”. A edição, acessada a partir da Hemeroteca Digital da Biblioteca Nacional, era comemorativa do aniversário da revista, que circulou entre abril de 1907 e agosto de 1958. A Brasiliana Fotográfica vai reproduzir nessa publicação todas as páginas do artigo, destacando as fotografias de autoria de Leuzinger que pertencem ao acervo do Instituto Moreira Salles, um das instituições fundadoras do portal. Com a preservação digital, os registros fotográficos podem, a partir de recursos tecnológicos como a digitalização e o zoom, terem uma melhor visibilidade e serem acessadas em sua qualidade plena.
+Na foto da capa da edição da Fon-Fon de 29 de abril de 1922 é comentado que em mais ou menos meio século, no Largo de São Francisco, só a Igreja de São Francisco, assim mesmo sem os gradis desse tempo permaneceu intocada. Foi também comentado que a Litografia Comercial havia se tornado o majestoso prédio do Parc Royal, que pardieiros eram agora belas casas de negócios e que ao invés de diligências com quatro mulas viam-se então circulando bondes elétricos.
+ 
+Capa da revista Fon-Fon de 29 de abril de 1922
+ 
+Georges Leuzinger. Largo de São Francisco de Paula, 1860. Rio de Janeiro, RJ / Acervo IMS
+ 
+As duas primeiras fotos que ilustram a matéria, uma intitulada Igreja da Ordem Terceira do Carmo na Rua Direita, atual rua Primeiro de Março e outra Largo de São Francisco em destaque a Real Academia Militar pertencem ao álbum Rio de Janeiro e ses environs, produzido por Leuzinger em torno de 1868. A última, do Convento da Ajuda,  não faz parte do álbum.
+ 
+Acessando o link para as fotografias de Leuzinger que ilustram a matéria O Rio desapparecido disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Início da matéria O Rio desapparecido, Fon-Fon, 29 de abril de 1922
+ 
+Georges Leuzinger. Igreja da Ordem Terceira do Carmo, na rua Direita, atual Primeiro de Março, c. 1870. Rio de Janeiro, RJ / Acervo IMS
+ 
+ 
+Segunda página do artigo O Rio Desapparecido, Fon-Fon, 29 de abril de 1922
+ 
+Georges Leuzinger. Largo de São Francisco em destaque a real Academia Militar, c. 1865. Rio de Janeiro, RJ / Acervo IMS
+ 
+Última página da matéria O Rio Desapparecido, Fon-Fon, 29 de abril de 1922
+ 
+Augusto Malta. Convento da Ajuda, 1905. Rio de Janeiro, RJ / Acervo IMS
+ 
+A matéria menciona as diversas mudanças ocorridas na cidade desde 1872 como o desaparecimento do Morro do Senado, a destruição do Morro do Castelo, e as transformações nas construções em torno da Boulevard Carceller – como era conhecida um trecho da rua Direita, atual Primeiro de Março – e do Largo de São Francisco. Mas seu tom não é melancólico tanto que em seu último parágrafo lê-se:
+ 
+
+ 
+No texto da reportagem é lamentada a morte do escritor José Vieira Fazenda (1874-1917), identificado como um homem-arquivo do Rio de Janeiro. A partir de 1896, publicou, principalmente, no jornal A Notícia e nas revistas Kosmos e Renascença uma série de artigos sobre diversos aspectos do Rio de Janeiro, de assuntos históricos a suas tradições e costumes. Os artigo foram reunidos, a partir de 1919, com o título Antiqualhas e Memórias do Rio de Janeiro e ocupam cinco volumes da Revista do Instituto Histórico e Geográfico do Rio de Janeiro.
+ 
+José Vieira Fazendo / Acervo Instituto Histórico e Geográfico Brasileiro
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+Hemeroteca Digital da Biblioteca Nacional
+Site CPDOC
+Site Reficio
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/8084` — `itens/20.500.12156.1_8084/`
+- `20.500.12156.1/1775` — `itens/20.500.12156.1_1775/`
+- `20.500.12156.1/7941` — `itens/20.500.12156.1_7941/`
+- `20.500.12156.1/8519` — `itens/20.500.12156.1_8519/`
+- `20.500.12156.1/9346` — `itens/20.500.12156.1_9346/`
+
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+---
+id: 18767
+url: "https://brasilianafotografica.bn.gov.br/?p=18767"
+titulo: "Série “O Rio de Janeiro desaparecido” X – No Dia dos Namorados, um pouco da história do Pavilhão Mourisco em Botafogo"
+autor: "Andrea Wanderley"
+data: "2020-06-12T12:44:23+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/8085"]
+fetched_at: "2026-09-10T10:01:53.058Z"
+---
+
+# Série “O Rio de Janeiro desaparecido” X – No Dia dos Namorados, um pouco da história do Pavilhão Mourisco em Botafogo
+
+Pavilhão Mourisco, c. 1910. Botafogo, Rio de Janeiro / Acervo IMS
+ 
+Projetado inicialmente para ser um music-hall, nos moldes do Horloge ou do Ambassateurs, ambos situados na avenida dos Campos Elíseos, em Paris, o Pavilhão Mourisco nunca chegou a ser uma casa de espetáculos, mas teve sucesso como bar e restaurante, montado com um luxo realmente asiático, durante os primeiros anos de sua existência. Foi encomendado durante a gestão do prefeito do Rio de Janeiro, Francisco Pereira Passos (1836 – 1913), mas foi inaugurado no início de 1907, quando a prefeitura já estava sob o comando de Francisco Marcelino de Souza Aguiar (1855 – 1935) (Gazeta de Notícias, 10 de fevereiro de 1907, penúltima coluna).
+ 
+Fon-Fon, 11 de maio de 1907
+ 
+Localizado na Praia de Botafogo na recém inaugurada, em 1906, Avenida Beira-Mar (Gazeta de Notícias, 13 de novembro de 1906), em frente à Rua Voluntários da Pátria, seu projeto foi do arquiteto e engenheiro francês naturalizado brasileiro Alfredo Burnier (18? – 1929) (Correio da Manhã, 21 de agosto de 1929, quarta coluna), da Diretoria de Obras e Viação da Prefeitura do Rio de Janeiro (Jornal do Brasil, 23 de janeiro 1903, sexta coluna). Seu estilo era, de acordo com o também arquiteto e engenheiro, o espanhol Adolfo Morales de Los Rios Filho (1887 – 1973), neo-persa, nada tendo de mourisco, como vulgar e erradamente, foi denominado.
+Segundo Charles Julius Dunlop (1908 – 1997), autor da coluna “Rio Antigo”, no jornal Correio da Manhã:
+” À noite, o Pavilhão era todo iluminado. No terraço, em tôrno, havia mesas, onde se bebia cerveja e refrescos. Na parte interna ficavam o salão de chá e o restaurante, para os jantares e as ceatas alegres nos discretos gabinetes reservados. A fotografia mostra o Pavilhão Mourisco em 1907. O edifício era coberto por um grupo de cinco cúpulas douradas. Duas escadas de mármore davam acesso às varandas no primeiro pavimento, calçadas a ladrilho espanhol. Nas colunas ao lado das entradas e no teto decorado liam-se numerosas inscrições árabes. No porão alto ficavam as cozinhas, a despensa e a adega. A pequena construção que se vê à esquerda era o “guignol”, que fazia a delícia da petizada . Nas tardes de espetáculo, o teatrinho de marionetes era cercado pelas crianças. A hora de subir o pano, tomavam lugares nos bancos enfileirados diante do palco, o arrecadador de níqueis procedia à sua frutuosa diligência e o divertimento principiava, sob risadas gostosas da criançada. Nos fundos do teatrinho havia um carrossel e um rinque de patinação”. 
+Abaixo, a reprodução de uma matéria da revista Fon-Fon, de 10 de agosto de 1907, sobre o Teatro Guignol de Botafogo.
+ 
+
+ 
+
+ 
+Já no ano de sua inauguração abrigou os convidados da prefeitura do Rio de Janeiro durante a Festa Veneziana, realizada em 11 de março de 1907, com a presença do ex-presidente da Argentina, o general Julio Roca (1843 – 1914) (Gazeta de Notícias, 12 de março de 1907, quinta coluna) e foi o local de um banquete em comemoração ao jubileu artístico do maestro e compositor Arthur Napoleão (1843 – 1925) (Revista da Semana, 1º de setembro de 1907).
+Em 1908, foi noticiado que o número de patinadores amadores aumentava no rinque de patinação do Pavilhão (Fon-Fon, 9 de maio de 1908) e os eventos sociais elegantes eram frequentes. Diversos ocorreram, organizados pelo governo, durante a Exposição Nacional de 1908, na região da Urca, vizinha ao bairro de Botafogo, em comemoração ao centenário da Abertura dos Portos às Nações Amigas (Fon-Fon, 22 de agosto de 1908). Porém algumas notícias insinuavam que sua gestão era incompetente, pois no início da noite já faltavam vários ítens como sorvete, cerveja e gelo (Fon-Fon, 22 de fevereiro de 1908).
+Seu carrossel e a democrática aproximação de classes que ele produzia foi assunto, em tom sarcástico, da coluna “Notas Mundanas” da revista Fon-Fon de 4 de abril de 1908.
+ 
+Fon-Fon, 4 de abril de 1908
+ 
+Em 1910, o chefe de polícia Leoni Ramos (1857 – 1931) foi homenageado com um banquete (Revista da Semana, 26 de junho de 1910) e outros aconteceram no local ao longo desse ano e de 1911, mas já nessa época a imprensa noticiava o pouco movimento no Pavilhão Mourisco e arriscava até profecias comparando sua solidão com a do Palácio Monroe. O fato é que os dois prédios foram demolidos: o primeiro em 1950 e, o segundo, em 1976 (Fon-Fon , 1º de janeiro de 1910, Careta, 23 de setembro de 1911, e Fon-Fon, 25 de março de 1911).
+ 
+Fon-Fon, 1° de janeiro de 1910
+ 
+Foi publicada uma fotografia dos patinadores do rinque do Pavilhão Monroe, na Revista Fon-Fon, de 14 de janeiro de 1911.
+ 
+Fon-Fon, 14 de janeiro de 1911
+ 
+Em 1912, procurava por todos os meios e modos  tornar-se o ponto atraente por excelência da jeneusse dorée que ama as noitadas alegres e ruidosas (Revista da Semana, 9 de março de 1912).
+Os aniversários da revista Fon-Fon, em 1912 e em 1913, foram comemorados no Mourisco assim como um grupo de amigos ofereceu, no local, um banquete ao deputado Flores da Cunha (1880 – 1959) (Fon-Fon, 20 de abril e 8 de junho de 1912, e de 19 de abril de 1913). Na fotografia abaixo, está destacada a presença do caricaturista Raul Pederneiras (1874 – 1953), um dos representantes da Revista da Semana na comemoração do aniversário da Fon-Fon, em 1912.
+ 
+Festa do aniversário da Fon-Fon / Revista da Semana, 20 de abril de 1912
+ 
+Em 1913, os escritores Manoel Ugarte (1875 – 1951) e Coelho Neto (1864 – 1934) também foram homenageados com banquetes no Pavilhão. Em 1914, foi realizada uma festa de caridade com a presença dos caricaturistas Raul Pederneiras e J. Carlos (1854 – 1950) (Fon-Fon, 4 de julho de 1914 e Revista da Semana, 4 de julho de 1914).
+ 
+Festa de caridade com a presença dos caricaturistas Raul e J. Carlos / Fon-Fon, 4 de julho de 1914
+ 
+Em 1915, o prefeito Rivadávia Corrêa (1866 – 1920 ) cedeu o Pavilhão Mourisco, já mal conservado, para sediar chás e concertos dançantes, eventos beneficentes das Senhoras do Patronato de Menores. Em um deles, houve uma apresentação do músico Catulo da Paixão Cearense (1863 – 1946). Para esses eventos foram feitas algumas restaurações e construções (Revista da Semana, 16 de outubro de 1915, Fon-Fon, 20 de novembro de 1915, Revista da Semana, 23 de outubro de 1915 e Revista da Semana, 20 de novembro de 1915).
+ 
+Revista da Semana, 20 de novembro de 1915
+ 
+Em 1917, o Pavilhão Mourisco estava fechado e no ano seguinte foi publicada uma matéria na Revista da Semana de 9 de março de 1918 informando que mais uma vez desvanecia-se a esperança de ver o Pavilhão Mourisco reintegrado na função que lhe destinara o grande Passos, de um pequeno Armenonville no extremo das avenidas e jardins da Beira-Mar. O concessionário explica sua desistência pela vizinhança infectada “City Improvements”, que a certas horas do dia e da noite espalha pela enseada de Botafogo os seus miasmas pestilentos, o que, aliás, igualmnete sucede no jardim da Glória e na praia do Russell. Continuava apontando também a abertura da avenida Atlântica e a edificação de bairros como Copacabana, Leme e Ipanema como outros motivos do abandono do Mourisco.
+ 
+Revista da Semana, 9 de março de 1918
+ 
+Em 1919, foi construída a nova sede social do Club de Regatas do Botafogo, onde ficava o rinque de patinação do Mourisco (O Jornal, 1º de julho de 1919, quarta coluna). Os preparativos para a participação do Brasil nos Jogos Olímpicos da Antuérpia de 1920, que seria a primeira do país em olimpíadas, foram realizados no Pavilhão Mourisco, que sediava provisoriamente a Confederação Brasileira de Desportos (Correio da Manhã, 7 de fevereiro de 1920, quarta coluna).
+A primeira feira livre de diversos gêneros no Rio de Janeiro foi instalada, em 17 de abril de 1921, junto ao  Pavilhão Mourisco, e funcionava de 7 às 11 horas da manhã.
+O prédio foi cedido pela prefeitura para ser a sede da União dos Escoteiros do Brasil, em 1926, mesmo ano em que foi inaugurada a primeira linha de ônibus lançada pela Light, que ligava o Mourisco à avenida Almirante Barroso (Fon-Fon, 19 de junho de 1926, última coluna). O Mourisco tornava-se, assim, uma topomínia.
+ 
+Fon-Fon, 19 de junho de 1926
+ 
+Em 1932, aconteceu no Pavilhão Mourisco um festival de arte em benefício da Caixa da Associação dos Funcionários do Lloyd Brasileiro, uma noite de verdadeiro encanto…Nela tomaram parte elementos de relevo nos meio artísticos e mundanos desta capital (Fon- Fon, 16 de julho de 1932).
+Sediou, sob a direção da poeta Cecília Meireles (1901 – 1964), a Biblioteca Infantil do Distrito Federal, de 1934 a 1937 (Jornal do Brasil, 28 de abril de 1934, terceira coluna; e 29 de maio de 1934, segunda coluna), quando foi fechada, pelo Estado Novo, tornando-se um departamento coletor de impostos (Correio da Manhã, 21 de outubro de 1937, quinta coluna; e 20 de julho de 1938, oitava coluna). Em dezembro de 1949, a última inquilina do antigo Pavilhão Mourisco, a Casa Maternal Recreio Pindorama para Crianças foi transferida de lá para uma casa também em Botafogo. Finalmente, na década de 1950, o Pavilhão Mourisco foi demolido para a construção do Túnel do Pasmado (Correio da Manhã, 4 de março de 1950, terceira coluna; O Jornal, 13 de abril de 1950, quinta coluna; O Jornal, 1 de fevereiro de 1953, quinta coluna; Tribuna da Imprensa, 31 de janeiro de 1951, primeira coluna; A Manhã, 5 de maio de 1953; Gazeta de Notícias, 29 de junho de 1950, última coluna; Revista Municipal de Engenharia, abril/junho de 1950).
+ 
+Correio da Manhã, 4 de março de 1950
+ 
+Em 1952, foi demolido durante a administração João Carlos Vital (1900 – 1984) para dar espaço para o Túnel do Pasmado.
+ 
+O Pavilhão Mourisco, 1907 / Rio Antigo, de Charles Julius Dunlop
+ 
+Atualmente, no local está o Centro Empresarial Mourisco (Site Centro Empresarial Mourisco)
+ 
+Achados e Perdidos: imagens inéditas do Rio de Janeiro (1937-1945), página 202 -Acervo AGCRJ
+ 
+Dia dos Namorados no Brasil
+A data dedicada aos namorados foi criada, no Brasil, pelo publicitário João Doria (1919 – 2000), e é comemorada no dia 12 de junho, véspera do Dia de Santo Antônio, que por tradição é considerado o santo casamenteiro. Dória trouxe a ideia do exterior e a apresentou aos comerciantes paulistas, iniciando, em junho de 1949, uma campanha com o slogan “não é só com beijos que se prova o amor” (Diário da Noite, 27 de maio de 1949, última coluna, 9 de junho de 1949; e Revista da Semana, 18 de junho de 1949; Il Moscone, 25 de junho de 1949).
+ 
+O título deste artigo foi alterado de No Dia dos Namorados, um pouco da história do Pavilhão Mourisco em Botafogo para Série O Rio de Janeiro desaparecido X – No Dia dos Namorados, um pouco da história do Pavilhão Mourisco em Botafogo, em 16 de setembro de 2021.
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+Dunlop, Charles Julius. Rio Antigo. Rio de Janeiro: Editora Rio Antigo, 1963.
+FERNANDES, Neusa; COELHO,Olino Gomes P. Efemérides Cariocas. Rio de Janeiro, 2016.
+Hemeroteca Digital da Biblioteca Nacional
+MOTA, Isabela; PAMPLONA, Patricia. Vestígios da paisagem carioca: 50 lugares desaparecidos do Rio de Janeiro. Rio de Janeiro ; Mauad X, 2019.
+Site Centro Cultural do Movimento Escoteiro
+Site Diário do Rio
+Site Centro Empresarial Mourisco
+Site Enciclopédia Itaú Cultural
+ 
+Outras publicações da Brasiliana Fotográfica no Dia dos Namorados:
+Fotografia e namoro, de autoria de Elvia Bezerra, publicado, em 12 de junho de 2018 .
+No Dia dos Namorados, o álbum “Vistas de Petrópolis” e o fotógrafo alemão Pedro Hees (1841-1880),  de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 12 de junho de 2023.
+ 
+Links para os outros artigos da Série O Rio de Janeiro desaparecido
+ 
+Série O Rio de Janeiro desaparecido I - Salas de cinema do Rio de Janeiro do início do século XX, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 26 de fevereiro de 2016.
+Série O Rio de Janeiro desaparecido II – A Exposição Nacional de 1908 na Coleção Família Passos, de autoria de Carla Costa, historiadora do Museu da República, publicado na Brasiliana Fotográfica, em 5 de abril de 2018.
+Série O Rio de Janeiro desaparecido III – O Palácio Monroe, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica, em 9 de novembro de 2016.
+Série O Rio de Janeiro desaparecido IV - A via elevada da Perimetral, de autoria da historiadora Beatriz Kushnir, publicado na Brasiliana Fotográfica em 23 de junho de 2017.
+Série O Rio de Janeiro desaparecido V – O quiosque Chopp Berrante no Passeio Público, Ferrez, Malta e Charles Dunlop, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 20 de julho de 2018.
+Série O Rio de Janeiro desaparecido VI – O primeiro Palácio da Prefeitura Municipal do Rio de Janeiro, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 12 de setembro de 2018.
+Série O Rio de Janeiro desaparecido VII – O Morro de Santo Antônio na Casa de Oswaldo Cruz, de autoria de historiador Ricardo Augusto dos Santos da Casa de Oswaldo Cruz, publicado na Brasiliana Fotográfica em 5 de fevereiro de 2019.
+Série O Rio de Janeiro desaparecido VIII – A demolição do Morro do Castelo, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 30 de abril de 2019.
+Série O Rio de Janeiro desaparecido IX – Estrada de Ferro Central do Brasil: estação e trilhos, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 12 de novembro de 2019.
+Série O Rio de Janeiro desaparecido XI – A Estrada de Ferro do Corcovado e o mirante Chapéu de Sol, de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 22 de julho de 2021.
+Série O Rio de Janeiro desaparecido XII – o Teatro Lírico (Theatro Lyrico), de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 15 de setembro de 2021.
+Série O Rio de Janeiro desaparecido XIII – O Convento da Ajuda, de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 12 de outubro de 2021.
+Série O Rio de Janeiro desaparecido XIV – O Conselho Municipal, de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 19 de novembro de 2021.
+Série O Rio de Janeiro desaparecido XV – A Praia de Santa Luzia no primeiro dia do verão, de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 21 de dezembro de 2021.
+Série O Rio de Janeiro desaparecido XVI – O prédio da Academia Imperial de Belas Artes, de autoria de Andrea C.T. Wanderley, publicado na Brasiliana Fotográfica em 13 de janeiro de 2022.
+Série O Rio de Janeiro desaparecido XVII – Igreja São Pedro dos Clérigos, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 18 de março de 2022.
+Série O Rio de Janeiro desaparecido XVIII – A Praça Onze, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 20 de abril de 2022.
+Série O Rio de Janeiro desaparecido XIX – A Igrejinha de Copacabana, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 23 de junho de 2022.
+Série O Rio de Janeiro desaparecido XX – O Pavilhão dos Estados, futuro prédio do Ministério da Agricultura, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 26 de julho de 2022.
+Série O Rio de Janeiro desaparecido XXI – O Chafariz do Largo da Carioca, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 19 de setembro de 2022. 
+Série O Rio de Janeiro desaparecido XXII – A Cadeia Velha que deu lugar ao Palácio Tiradentes, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 11 de abril de 2023
+Série O Rio de Janeiro desaparecido XXIII e Avenidas e ruas do Brasil XVII - A Praia e a Rua do Russel, na Glória, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 15 de maio de 2023
+Série O Rio de Janeiro desaparecido XXIV – O luxuoso Palace Hotel, na Avenida Rio Branco, uma referência da vanguarda artística no Rio de Janeiro, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 4 de julho de 2023
+Série O Rio de Janeiro desaparecido XXV – O Theatro Phenix, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 5 de setembro de 2023
+Série O Rio de Janeiro desaparecido XXVI – Conclusão do arrasamento do Morro do Castelo por Augusto Malta, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 14 de dezembro de 2023
+Série O Rio de Janeiro desaparecido XXVII e Série Os arquitetos do Rio de Janeiro V – O Jockey Club e o Derby Club, na Avenida Rio Branco e o arquiteto Heitor de Mello (1875 – 1920), de autoria de Andrea c. T. Wanderley, editora e pesquisadora do portal, em 15 de janeiro de 2024
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/8085` — `itens/20.500.12156.1_8085/`
+
diff --git a/wordpress/18805-serie-exposicoes-viii-a-apresentacao-do-departamento-nacional-de-saude-publica-n.md b/wordpress/18805-serie-exposicoes-viii-a-apresentacao-do-departamento-nacional-de-saude-publica-n.md
new file mode 100644
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@@ -0,0 +1,102 @@
+---
+id: 18805
+url: "https://brasilianafotografica.bn.gov.br/?p=18805"
+titulo: "Série “Exposições” VIII – A apresentação do Departamento Nacional de Saúde Pública na Exposição Internacional do Centenário da Independência"
+autor: "Andrea Wanderley"
+data: "2020-04-13T10:57:12+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/7955", "20.500.12156.1/7919", "20.500.12156.1/7953", "20.500.12156.1/7935"]
+fetched_at: "2026-09-10T10:01:56.833Z"
+---
+
+# Série “Exposições” VIII – A apresentação do Departamento Nacional de Saúde Pública na Exposição Internacional do Centenário da Independência
+
+Uma das apresentações realizada durante a Exposição Internacional do Centenário da Independência em 1922 foi montada pelo então recém-criado Departamento Nacional de Saúde Pública (DNSP). Esse órgão administrativo da saúde pública era uma antiga reivindicação dos intelectuais sanitaristas, que acreditavam que somente uma organização estatal e nacional resolveria os graves problemas de saúde no Brasil. A instalação dessa exposição obteve grande repercussão, sendo saudada pela imprensa como obra vital para a salvação do país. É essa história que o pesquisador Ricardo Augusto dos Santos, da Fiocruz, instituição parceira da Brasiliana Fotográfica desde agosto de 2017, traz para os leitores do portal com a publicação do artigo A apresentação do Departamento Nacional de Saúde Pública na Exposição Internacional do Centenário da Independência e de 14 fotografias do evento.
+Nesse momento dramático da história do Brasil e do mundo, publicamos, no final desse artigo, a lista dos 24 artigos, além deste, produzidos por profissionais da Casa de Oswaldo Cruz para o portal. A Fiocruz contribui significativamente no combate ao coronavírus, seja na pesquisa de medicamentos, na elaboração de um plano de contingência diante da pandemia ou na disseminação de informações importantes para a população.
+A Organização Mundial da Saúde oficializou no dia 8 de abril de 2020 a indicação do Laboratório de Vírus Respiratórios e do Sarampo da Fiocruz (Instituto Oswaldo Cruz) como laboratório de referência para o combate ao novo coronavírus nas Américas. O laboratório, que já era referência junto à OMS para vírus do tipo Influenza, poderá receber amostras de COVID- 19 de outros países do continente para a realização de sequenciamento genético, localização de mutações, aprofundamento de estudos que possam levar ao desenvolvimento de uma vacina e ao aperfeiçoamento de diagnósticos, além de testes de medicamentos.
+ 
+A apresentação do Departamento Nacional de Saúde Pública na
+ Exposição Internacional do Centenário da Independência 
+ Ricardo Augusto dos Santos*
+ 
+Aspectos da Mostra de Saúde Pública do DNSP na Exposição do Centenário em 1922. Rio de Janeiro, RJ / Acervo Casa de Oswaldo Cruz
+ 
+Realizada no Rio de Janeiro em 1922, a Exposição Internacional do Centenário da Independência do Brasil ficou marcada pela derrubada do Morro do Castelo, arrasado durante a administração do prefeito Carlos Sampaio (1861-1930). Com a utilização de mangueiras hidráulicas e auxiliado por vagões que levavam o entulho, o monte foi demolido. Desta maneira, a Esplanada do Castelo foi cenário para a construção dos pavilhões da Exposição, projeto dos arquitetos Adolfo Morales de Los Rios (1858 – 1928) e Archimedes Memória (1893-1960). Após a festa, a área valorizada foi ocupada atendendo a necessidades, não somente de ordem higienista, motivo declarado à época, mas, sobretudo, da reprodução do capital imobiliário. A Exposição Internacional de 1922 foi um grande evento, onde não faltaram os principais países. Em seus monumentais prédios estavam presentes, estilos arquitetônicos, aspectos culturais e produtos que a transformaram numa vitrine das nações. Da imensa mostra restaram poucas construções, hoje ocupadas pelo Museu da Imagem e do Som, Academia Brasileira de Letras e Centro Cultural da Saúde.
+ 
+Acessando o link para as fotografias dos Aspectos da Mostra de Saúde Pública do DNSP na Exposição do Centenário em 1922 disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Os preparativos para o centenário começaram assim que o aterro foi surgindo na praia de Santa Luzia. Ocupando o terreno obtido com a destruição do morro, a exposição foi montada numa reta, chamada de Avenida das Nações, onde ficavam os edifícios. A publicação oficial da comissão organizadora informa como foi conduzido o trabalho. O objetivo era apresentar a vitória do homem sobre a natureza. Enquanto os países estrangeiros apresentavam aparelhos inovadores, os projetos brasileiros procuravam apagar as marcas do país doente, pobre e analfabeto. No pavilhão da indústria nacional, destacava-se a máquina que produzia energia a partir da queda d’água. A beleza tropical estava sendo dominada e a ciência transformaria o meio selvagem, abandonando a perene condição inferior da nação. Pedagogicamente, se alardeava a possibilidade de transformação da floresta em riqueza econômica, através da exploração dos recursos naturais. Com a ciência, o país alcançaria a civilização.
+Uma das apresentações foi montada pelo então recém-criado Departamento Nacional de Saúde Pública (DNSP). Esse órgão administrativo da saúde pública era uma antiga reivindicação dos intelectuais sanitaristas, que acreditavam que somente uma organização estatal e nacional resolveria os graves problemas de saúde no Brasil. A instalação dessa exposição realizada pelo DNSP obteve grande repercussão, sendo saudada pela imprensa como obra vital para a salvação do país, como podemos averiguar através da entrevista concedida pelo médico Renato Kehl (1889 – 1974) que, como funcionário do DNSP, trabalhou na produção.
+ 
+A Noite, 9 de fevereiro de  1922
+ 
+Ao jornal A Noite, o eugenista faz relevantes declarações sobre a função da educação higiênica:
+“Jornal A Noite – Há justo motivo para se acreditar, diz o Dr. Renato Kehl, que estamos em plena fase de higienização nacional, completando a memorável obra de reabilitação sanitária iniciada no nosso país pelo grande patrício Oswaldo Cruz. Dia a dia multiplicam-se as providências de ataque às epidemias e endemias que assolam o território pátrio e são freqüentes as manifestações de aplausos a essa auspiciosa campanha de saneamento que se vai disseminando por quase todos os estados da União. O magno problema está, pois, em foco. Congressos médicos, mensagens, plataformas, discursos e conferências, tratam das medidas profiláticas em execução ou em projeto, mantendo-se unânime a opinião pública de que a política sanitária é a verdadeira política de salvação nacional. O povo, apercebido dos benefícios que estão surgindo com as medidas de saneamento e dos que advirão futuramente, compreende, enfim, que o nosso grande mal não está ligado ao clima nem à gente que habita esta face da terra, mas sim às endemias e epidemias que infelicitam grande parte dos nossos patrícios, principalmente dos que habitam a zonas rurais.
+Kehl – A exposição, que vai fazer o Departamento Nacional de Saúde Pública, nas alas laterais do Pavilhão das Festas, vale por uma demonstração do que se tem feito e do que se tem a fazer em matéria de propaganda. Presta-se ainda, para demonstrar ao público, de um modo simples e evidente, a importância da execução dos preceitos ditados pela higiene.
+Jornal A Noite – Tem esperanças nessa propaganda com o analfabetismo reinante?
+Kehl – Naturalmente. Ao lado da campanha escrita, faz-se a falada, que será compreendida pelos “iletrados”. Ninguém ignora que a propaganda é o elemento mais importante para a vitória de uma campanha, seja ela comercial, política ou sanitária. Antes de tudo, é preciso convencer o público, para depois se lhe pedir ou exigir a colaboração”.[1]
+ 
+Aspectos da Mostra de Saúde Pública do DNSP na Exposição do Centenário em 1922. Rio de Janeiro, RJ / Acervo Casa de Oswaldo Cruz
+ 
+Em seu arquivo pessoal, Renato Kehl guardou algumas imagens fotográficas desta apresentação. Podemos averiguar que o objetivo era colaborar para a educação higiênica das populações rurais e urbanas. Os objetos e fotografias, reunidas no trabalho, realçavam o valor dos ensinamentos da higiene. As imagens são um fragmento da campanha educativa e sanitária que deveria ser instalada no Brasil. São imagens das habitações típicas das áreas rurais, infestadas de insetos transmissores de doenças. Também eram apresentados os modelos corretos de casas rurais que os camponeses deveriam construir.
+ 
+Aspectos da Mostra de Saúde Pública do DNSP na Exposição do Centenário em 1922. Rio de Janeiro, RJ / Acervo Casa de Oswaldo Cruz
+ 
+ 
+Aspectos da Mostra de Saúde Pública do DNSP na Exposição do Centenário em 1922. Rio de Janeiro, RJ / Acervo Casa de Oswaldo Cruz
+ 
+[1] Entrevista com Renato Kehl. Jornal A Noite, 30/10/1922.
+ 
+*Ricardo Augusto dos Santos é Pesquisador Titular da Fundação Oswaldo Cruz
+ 
+Nota da editora: esse artigo passou a integrar uma série e mudou de título em 1º de dezembro de 2025.
+ 
+Lista dos 24 artigos, além deste, produzidos pela Casa de Oswaldo Cruz para publicação na Brasiliana Fotográfica
+(agosto de 2017 a fevereiro de 2020)
+
+Cenas da folia em Manaus em 1913 – 28/02/2020 – Cristiane d´Avila, Casa de Oswaldo Cruz
+Trilhos sobre a floresta: imagens da construção da E.F. Madeira-Mamoré – 14/10/2019 – Cristiane d´Avila, Casa de Oswaldo Cruz/Fiocruz
+As ruínas de Brás de Pina – 30/09/2019 – Ricardo Augusto dos Santos, Pesquisador Titular da Fundação Oswaldo Cruz / Fiocruz
+O funeral de Teixeira Mendes pela lente de Augusto Malta – 02/08/2019 – Ricardo Augusto dos Santos, Pesquisador Titular da Fundação Oswaldo Cruz, e Marcus Vinícius Rubim Gomes é estagiário na Casa de Oswaldo Cruz / Fiocruz
+A descoberta da doença de Chagas – 14/06/2019 – Simone Petraglia Kropf, historiadora da Casa de Oswaldo Cruz / Fiocruz
+O cotidiano da Manguinhos – 24/04/2019 – Equipe da Fiocruz 
+As expedições do Instituto Oswaldo Cruz entre 1911 e 1913 – 14/03/2019 – Cristiane d´Avila, Casa de Oswaldo Cruz, Fiocruz
+Morro de Santo Antônio – 05/02/2019 – Ricardo Augusto dos Santos, Casa de Oswaldo Cruz, Fiocruz
+João Pedro ou João Pedroso? – 11/01/2019 – Ricardo Augusto dos Santos e Francisco dos Santos Lourenço, Casa de Oswaldo Cruz, Fiocruz
+Instituto Nacional de Infectologia Evandro Chagas: centenário da construção da pesquisa clínica em Manguinho – 21/12/2018 – Dilene Raimundo do Nascimento, Casa de Oswaldo Cruz, Fiocruz
+Instituto Nacional de Infectologia Evandro Chagas 100 anos: Carlos e Evandro Chagas em retratos de família,  – 27/11/2018 – Aline Lopes de Lacerda, Casa de Oswaldo Cruz, Fiocruz
+Instituto Nacional de Infectologia Evandro Chagas: 100 anos de pesquisa clínica – 26/10/2018 – Cristiane d´Avila, Casa de Oswaldo Cruz, Fiocruz
+O sanitarista Belisário Penna (1868 – 1939, um dos protagonistas da história da saúde pública no Brasil – 28/09/2018 – Ricardo Augusto dos Santos, Casa de Oswaldo Cruz, Fiocruz
+Vacinação no Brasil, uma história centenária – 17/08/2018 – Cristiane d´Avila, Casa de Oswaldo Cruz, Fiocruz
+A criação de uma vacina para a peste da manqueira, um marco na história da veterinária brasileira e mundial – 21/06/2018 – Cristiane d´Avila, Casa de Oswaldo Cruz, Fiocruz
+100 anos do Castelo da Fiocruz: criador e criatura – Renato da Gama-Rosa Costa – 15 /05/ 2018, Casa de Oswaldo Cruz, Fiocruz
+100 anos do Castelo da Fiocruz: os pedreiros do castelo da avenida Brasil – Ricardo Augusto dos Santos – 12/04/2018, Casa de Oswaldo Cruz, Fiocruz
+Febre amarela: imagens da produção da vacina no início do século XX – Aline Lopes de Lacerda – 23/03/2018, Casa de Oswaldo Cruz, Fiocruz
+100 anos do Castelo da Fiocruz: a ocupação da Fazenda de Manguinhos – Cristiane d´Avila – 28/02/2018, Casa de Oswaldo Cruz, Fiocruz
+Manguinhos e a cidade do Rio de Janeiro – Equipe da Fiocruz – 19/01/2018, Casa de Oswaldo Cruz, Fiocruz
+O cientista Oswaldo Cruz (1872 – 1917), prefeito de Petrópolis – Cristiane d’Avila com a colaboração de Ana Luce Girão, 28/12/2017, Casa de Oswaldo Cruz, Fiocruz
+O fotógrafo Joaquim Pinto da Silva, o J. Pinto (1884-1951) e a Fundação Oswaldo Cruz – Ricardo Augusto dos Santos, 16/11/2017, Casa de Oswaldo Cruz, Fiocruz
+Manguinhos e os sertões – Equipe da Fiocruz, 09/10/2017 , Casa de Oswaldo Cruz, Fiocruz
+Novos acervos: Casa de Oswaldo Cruz / Fiocruz – Fotografia, Ciência e Saúde Pública – Equipe da Fiocruz, 30/08/2017, Casa de Oswaldo Cruz, Fiocruz
+ 
+Links para os artigos sobre exposições nacionais ou internacionais publicados na Brasiliana Fotográfica
+O pintor Victor Meirelles e a fotografia na II Exposição Nacional de 1866, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 17 de agosto de 2017.
+A festa do progresso: o Brasil na Exposição Continental, Buenos Aires, 1882, de autoria de Maria do Carmo Rainho, Arquivo Nacional, publicado em 29 de março de 2018.
+Série “O Rio de Janeiro desaparecido” II – A Exposição Nacional de 1908 na Coleção Família Passos, de autoria de Carla Costa, Museu da República, publicado em 5 de abril de 2018.
+Marc Ferrez, a Comissão Geológica do Império (1875 – 1878) e a Exposição Antropológica Brasileira no Museu Nacional (1882), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 29 de junho de 2018.
+Paris, 1889: o álbum da exposição universal, de autoria de Claudia B. Heynemann, Arquivo Nacional,publicado em 27 de julho de 2018.
+Café Brasil: o Império na Exposição Internacional de Filadélfia, de autoria de Claudia B. Heynemann, Arquivo Nacional, publicada em 4 de dezembro de 2019.
+Festa das Artes e da Indústria Segunda Exposição Nacional, 1866, de autoria de Claudia Beatriz Heynemann e Maria Elizabeth Brêa Monteiro, Arquivo Nacional, em 5 de abril de 2020.
+A Exposição Internacional de Higiene de Dresden, de Cristiane d´Avila, Fiocruz, publicado em 5 de janeiro de 2022.
+Série 1922 – Hoje, há 100 anos VIII – A abertura da Exposição Internacional do Centenário da Independência do Brasil e o centenário da primeira grande transmissão pública de rádio no país, de autoria de Andrea C. T. Wanderley, publicado em 7 de setembro de 2022, na Brasiliana Fotográfica.
+Três álbuns fotográficos da Exposição Nacional de 1908 no Museu Histórico Nacional: Boscagli, Malta e Musso, de autoria de Maria Isabel Ribeiro Lenzi, historiadora do Museu Histórico Nacional, publicado em 25 de agosto de 2023, na Brasiliana Fotográfica.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/7955` — `itens/20.500.12156.1_7955/`
+- `20.500.12156.1/7919` — `itens/20.500.12156.1_7919/`
+- `20.500.12156.1/7953` — `itens/20.500.12156.1_7953/`
+- `20.500.12156.1/7935` — `itens/20.500.12156.1_7935/`
+
diff --git a/wordpress/18866-e-o-ex-e-futuro-presidente-do-brasil-morreu-de-gripe-a-gripe-espanhola-de-1918.md b/wordpress/18866-e-o-ex-e-futuro-presidente-do-brasil-morreu-de-gripe-a-gripe-espanhola-de-1918.md
new file mode 100644
index 0000000..d19fe1e
--- /dev/null
+++ b/wordpress/18866-e-o-ex-e-futuro-presidente-do-brasil-morreu-de-gripe-a-gripe-espanhola-de-1918.md
@@ -0,0 +1,206 @@
+---
+id: 18866
+url: "https://brasilianafotografica.bn.gov.br/?p=18866"
+titulo: "E o ex e futuro presidente do Brasil morreu de gripe…a Gripe Espanhola de 1918"
+autor: "Andrea Wanderley"
+data: "2020-03-23T11:11:39+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/5134", "20.500.12156.1/2744", "20.500.12156.1/6548"]
+fetched_at: "2026-09-10T10:02:00.133Z"
+---
+
+# E o ex e futuro presidente do Brasil morreu de gripe…a Gripe Espanhola de 1918
+
+Augusto Malta. Pereira Passos e Rodrigues Alves entre grupo de pessoas, 1905. Rio de Janeiro, RJ / Acervo Museu da República. Rodrigues Alves (3) está na primeira fila, entre a senhora e Pereira Passos (1)
+ 
+E o ex e futuro presidente do Brasil, Francisco de Paula Rodrigues Alves (1848 – 1919), faleceu de Gripe Espanhola! Logo ele que em seu mandato como o quinto presidente da República do Brasil, exercido entre 1902 e 1906 (Gazeta de Notícias, 16 de novembro de 1902, sexta coluna; Gazeta de Notícias, 16 de novembro de 1906, segunda coluna), designou o médico e sanitarista Oswaldo Cruz (1872 – 1917) para a chefia do Departamento Nacional de Saúde Pública, justamente para melhorar as condições sanitárias do Rio de Janeiro deflagrando a reforma sanitária da capital, combatendo primordialmente a febre amarela, a peste bubônica e a varíola.
+Além de Oswaldo Cruz, os engenheiros Francisco Pereira Passos (1836 – 1913), nomeado por Alves prefeito do Rio de Janeiro, em dezembro de 1902 (Gazeta de Notícias, 31 de dezembro de 1902, na sexta coluna), e Paulo de Frontin  (1860 – 1933) foram fundamentais durante o governo de Rodrigues Alves: Passos foi o prefeito do “bota-abaixo” e Frontin, presidente do Clube de Engenharia, o engenheiro-chefe da construção da Avenida Central.
+ 
+Acessando o link para as fotografias de Rodrigues Alves disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Augusto Malta. Doutor Rodrigues Alves no Campo de Santana, 1908. Rio de Janeiro, RJ / Acervo IMS
+Detalhe da fotografia anterior com destaque para Rodrigues Alves
+ 
+Rodrigues Alves foi eleito presidente do Brasil, pela segunda vez, em 1º de março de 1918. Acometido pela doença, não pode tomar posse no dia 15 de novembro de 1918, tendo seu vice, Delfim Moreira (1868 – 1920), assumido o cargo em seu lugar. Rodrigues Alves faleceu meses depois, em janeiro de 1919, confinado em sua casa na rua Senador Vergueiro, no Flamengo, bairro do Rio de Janeiro (Gazeta de Notícias, 16 de janeiro de 1919, Gazeta de Notícias, 17 de janeiro de 1919; O Malho , 25 de janeiro de 1919). Foi enterrado em Guaratinguetá, cidade paulista onde nasceu (O Paiz, 18 de janeiro de 1919).
+ 
+“Depois da morte do Barão do Rio Branco, nenhuma outra poderia, sob o ponto de vista nacional, representar prejuízo maior para o Brasil do que a do conselheiro Rodrigues Alves”.
+ 
+Primeira página da Gazeta de Notícias de 17 de janeiro de 1919
+ 
+Ele foi a mais notória vítima brasileira da Gripe Espanhola, que matou cerca de 300 mil pessoas no país. Novas eleições foram convocadas para 13 de abril de 1919 e o paraibano Epitácio Pessoa (1865 – 1942) foi eleito.
+ 
+O Paiz, 16 de janeiro de 1919
+ 
+Mas depois da tragédia veio a esbórnia! O que seguiu no Rio de Janeiro, em março, foi um carnaval animadíssimo, como uma vingança contra a terrível doença que havia atingido intensamente a cidade. Foi publicado no Correio da Manhã de 20 de janeiro de 1919:
+ 
+Correio da Manhã, 20 de janeiro de 1919
+ 
+Capa de O Malho, 1º de março de 1919
+ 
+No 12º capítulo das “Memórias de Nelson Rodrigues” foi publicado, em 10 de março de 1967, no Correio da Manhã: 
+“Estou aqui reunindo as minhas lembranças. Aquele Carnaval foi, também, e sobretudo, uma vingança dos mortos mal vestidos, mal chorados e, por fim, mal enterrados. Ora, um defunto que não teve o seu bom terno, a sua boa camisa, a sua boa gravata é mais cruel e mais ressentido do que um Nero ultrajado. E o Zé de S. Januário está me dizendo que enterrou sujeitos em ceroulas, e outros nus como santos. A morte vingou-se, repito, no Carnaval… E tudo explodiu no sábado de Carnaval. Vejam bem: até sexta-feira, isto aqui era o Rio de Machado de Assis; e, na manhã seguinte, virou o Rio de Benjamim Costallat […] Desde as primeiras horas de sábado, houve uma obscenidade súbita, nunca vista, e que contaminou toda a cidade. Eram os mortos da espanhola e tão humilhados e tão ofendidos que cavalgavam os telhados, os muros, as famílias… Nada mais arcaico do que o pudor da véspera. Mocinhas, rapazes, senhoras, velhos cantavam uma modinha tremenda. Eis alguns versos: ‘Na minha casa não se racha lenha,/ Na minha racha, na minha racha./ Na minha casa não há falta d’água,/ Na minha abunda, na minha abunda’”.
+ 
+Fon-Fon, 8 de março de 1919 / O carro da direita faz uma crítica à Hespanhola
+ 
+Anos depois, Carlos Heitor Cony (1926 – 2018) escreveu, na Folha de São Paulo de 19 de fevereiro de 1996, um artigo sobre a Gripe Espanhola e o carnaval de 1919:
+“No Rio, o sujeito ia atravessar a rua, botava o pé no meio-fio com plena saúde e chegava morto ao meio-fio do outro lado. Era fulminante a gripe, os parentes deixavam os mortos nos bondes, pagavam a passagem deles, como se passageiros fossem. Não havia tempo nem lugar para o enterro. Natural que, depois da fase mortuária, viesse a fase libertária, ou libertina, basta dizer que as delegacias da cidade registraram a queixa de 4.315 defloramentos e outros tantos casos de abandono do lar, adultério e até incesto.”
+ 
+Careta, 8 de março de 1919. Carro alegórico com alusão ao suposto chá da meia-noite relativo a um boato da época em que um chá envenenado era servido aos doentes na Santa Casa da Misericórida
+ 
+Um pouco sobre a Gripe Espanhola, a primeira e mais letal pandemia do século XX 
+ 
+Revista da Semana, 19 de outubro de 1918
+ 
+A Gripe Espanhola aconteceu, entre 1918 e 1920, em três ondas . Aparentemente, a primeira ocorreu entre março e abril de 1918 ainda durante a Primeira Guerra Mundial. Sua origem é até hoje uma dúvida: teria surgido na Ásia ou em campos militares no interior dos Estados Unidos? O nome Gripe Espanhola é atribuído ao fato de que a Espanha, neutra durante a Primeira Guerra Mundial, ter reconhecido a gripe como problema e ter permitido a divulgação de informações epidemiológicas sobre a doença.
+O fato é que a gripe rapidamente se espalhou pela Europa Ocidental e, em julho, já havia chegado à Polônia. Durante o verão do mesmo ano, durante o mês de agosto, em sua segunda onda, uma forma mais letal da doença surgiu – causava pneumonia e, usualmente, dois dias depois do primeiro sintoma, o paciente falecia. A terceira onda ocorreu no inverno de 1919. A pandemia acometeu cerca de 50 % da população mundial e a Organização Mundial de Saúde estima que tenha causando entre 20 e 40 milhões de mortes.
+Inicialmente, a repercussão no Brasil da disseminação da doença na Europa foi de despreocupação por parte das autoridades de saúde do país. Imaginaram que a distância entre os continentes, com um oceano os separando, não permitiria a chegada da epidemia em nosso país. Uma nota sem destaque no jornal O Paiz, de 1º de agosto de 1918, referia-se a doença como intensa porém sem gravidade. Em outra nota, também publicada em O País, cinco dias depois, noticiava-se, de novo sem nenhum destaque, a relação entre a gripe infecciosa e o preço do limões.
+ 
+O Paiz, 1º de agosto de 1918
+ 
+Supõe-se que a Gripe Espanhola tenha chegado no Brasil em 9 de setembro de 1918, no navio inglês SS Demerara, que partiu de Liverpool, na Inglaterra e fez escalas em Lisboa, no Recife, em Salvador e no Rio de Janeiro (Jornal do Recife, 10 de setembro de 1918, primeira coluna; Gazeta de Notícias, 16 de setembro de 1918).
+ 
+Gazeta de Notícias, 16 de setembro de 1918
+ 
+“A seu bordo, durante a travessia, grassou com caráter epidêmico a tal “hespanhola” ou “dançarina”, influenza há pouco aparecida na Espanha e que tem grassado em uutras cidades da Europa”
+Nesse mesmo mês foi noticiado que marinheiros brasileiros que prestavam serviço militar em Dakar, no Senegal, e oficiais da missão médica militar que havia partido no navio Plata tinham contraido a Gripe Espanhola (Jornal do Brasil, 22 de setembro de 1918, A Noite, 23 de setebmro de 1918, Jornal do Brasil, 24 de setembro de 1918, Revista da Semana, 28 de setembro de 1918; Gazeta de Notícias, 5 de outubro de 1918, segunda coluna; e Folha de São Paulo, 1º de abril de 2012).
+ 
+Careta, 5 de outubro de 1918
+ 
+Entre os meses de setembro e novembro de 1918, a epidemia assolou o Brasil.  Em outubro, foram diagnosticados casos em Niterói e as primeiras mortes no Estado do Rio foram reportadas em 14 de outubro, quando o número de pacientes chegava já a 20 mil.
+ 
+Careta, 19 de outubro de 1918
+ 
+ Careta, 26 de outubro de 1918. Doentes na Praça Quinze, no Rio de Janeiro
+ 
+O quinino, a canja de galinha, preparados a base de limão, cachaça e outros eram usados contra a doença. A Bayer oferecia a aspirina Fenacetina (O Paiz, 30 de outubro de 1918, quarta coluna) e um laboratório produziu o remédio homeopático Grippina, fórmula do médico Alberto Seabra (A Noite, 10 de outubro de 1918). Balas peitoraes também e gargarejos com Diogexen eram oferecidos como cura para a doença (Careta, 26 de outubro de 1918; e Fon-Fon, 2 de novembro de 1918).
+ 
+O Combate, 28 de outubro de 1918
+ 
+A essa altura o pânico já tomava conta do Rio de Janeiro, na época capital do Brasil. São Paulo começava também a registrar seus primeiros casos (Correio Paulistano, 17 de outubro de 1918). Outras cidades do Brasil foram atingidas mas nenhuma como o Rio.
+ 
+Gazeta de Notícias, 15 de outubro de 1918
+ 
+Fon-Fon, 26 de outubro de 1918 / Uma das salas da Cruz Vermelha Brasileira
+Fon-Fon,26 de outubro de 1918 / Enfermos na Polícia
+ 
+O então Diretor Geral de Saúde Pública, Carlos Seidl (1867 – 1929), renunciou.
+ 
+Gazeta de Notícias, 29 de setembro de 1918
+ 
+Foi substituído por Theóphilo Torres (1863 – 1928) (Gazeta de Notícia, 19 de outubro de 1918, penúltima coluna), que convidou o pesquisador Carlos Chagas (1879 – 1934), que havia assumido a direção do Instituto Oswaldo Cruz em 1917, para atuar no controle da epidemia. Chagas liderou a campanha de combate à doença, implementando cinco hospitais emergenciais e 27 postos de atendimento à população em diferentes pontos do Rio de Janeiro (Gazeta de Notícias, 22 de outubro de 1918). Chagas e sua família adoeceram, mas todos sobreviveram.
+ 
+J. Pinto. Carlos Chagas em seu laboratório no Instituto Oswaldo Cruz, s/d. Rio de Janeiro, RJ / Acervo Casa de Oswaldo Cruz
+ 
+Mas mesmo no auge da tragédia, o humor esteve presente na imprensa carioca.
+ 
+Careta, 26 de outubro de 1918
+ 
+Houve um aumento no preço dos alimentos, alguns escassearam e muitos estabelecimentos, dentre eles fábricas, teatros, escolas, restaurantes e bares fecharam suas portas. Atividades básicas foram praticamente suspensas e saques começaram a ocorrer pela cidade. A polícia passou então a garantir que em cada bairro houvesse uma farmácia e uma padaria aberta.
+ 
+Fon-Fon, 26 de outubro de 1918 / Aspectos do Rio de Janeiro durante a Gripe Espanhola
+ 
+Em 19 de outubro foi decretado um feriado de três dias e o governo tomou providências como a abertura de novos postos de assistência e de pavilhões com leitos para receber doentes, a divisão da cidade em zonas com médicos autorizados a ordenar tudo quanto o doente precisar. Também determinou a publicação de “conselhos ao povo” e um apelo foi feito para que médicos, farmacêuticos e estudantes colaborassem com a Saúde Pública (Jornal do Brasil, 20 de outubro de 1918 e O Paiz, 20 de outubro de 1918).
+ 
+O Paiz, 22 de outubro de 1918
+ 
+Da cartilha Previna-se contra a gripe, distribuída pelas campanhas do Serviço Nacional de Educação Sanitária:
+ 
+
+“Perdigotos – Que perigo!
+Se estás resfriado amigo,
+Não chegues perto de mim.
+Sou fraco, digo o que penso.
+Quando tossir use o lenço
+E, também se der atchim.
+Corrimãos, trincos, dinheiro
+São de germes um viveiro
+E o da gripe mais freqüente.
+Não pegá-los, impossível.
+Mas há remédio infalível,
+Lave as mãos constantemente.
+Se da gripe quer livrar-se
+Arranje um jeito e disfarce,
+Evite o aperto de mão.
+Mas se vexado consente,
+Lave as mãos freqüentemente.
+Com bastante água e sabão.
+Da gripe já está curado?
+Bem, mas não queira, apressado,
+Voltar à vida normal.
+Consolide bem a cura,
+Senão você, criatura,
+Recai e propaga o mal”.
+
+ 
+“O número de casos declinou drasticamente no final de outubro, retornando a cidade pouco a pouco às suas rotinas diárias, ficando no ar por muitos meses a pergunta se haveria uma volta da epidemia, o que afinal não ocorreu.” (1)
+ 
+Gazeta de Notícias, 30 de outubro de 1918 / Enfermos em estado grave sendo levados para o posto-hospital instalado na escola Nilo Peçanha
+ 
+Estima-se que cerca de 65% da população brasileira tenha sido infectada pela Gripe Espanhola e por volta de 35.240 pessoas tenham morrido em São Paulo e no Rio de Janeiro e 300 mil em todo o Brasil. Esses números variam e diversas fontes os consideram abaixo das estatísticas reais.
+ 
+Fon-Fon, 23 de novembro de 1918 / Aspectos de São Paulo durante a Gripe Espanhola
+ 
+“Famílias inteiras foram dizimadas, principalmente as que viviam em condições mais vulneráveis. Os corpos acabavam sendo deixados na rua, onde permaneciam alguns dias até serem recolhidos, ampliando o cenário de devastação. Houve falta de serviço de transporte, alta dos preços e escassez de alimentos. Por volta de 19 de outubro, a doença já havia atingido metade da população do Rio, estimada em 700 mil pessoas, deixando a cidade vazia e silenciosa … este cenário crítico perdurou até o final do mês, quando houve um declínio drástico no número de casos e a cidade começou a retornar às suas rotinas diárias. Estima-se a epidemia tenha causado a morte de cerca de 15 mil pessoas no Rio.“(2)
+Além de Rodrigues Alves, outros brasileiros famosos foram vítimas da gripe, dentre eles a educadora Anália Franco (1853 – 1919), provavelmente, o poeta de literatura de cordel Leandro Gomes de Barros (1865 – 1918).
+O empresário e jornalista tcheco Frederico (Fred) Figner (1866 – 1947), dono da Casa Edison e primeiro produtor fonográfico do Brasil, contraiu e sobreviveu à gripe espanhola e utilizou sua casa, hoje conhecida como Mansão Figner, na rua Marquês de Abrantes, no Flamengo, no Rio de Janeiro, para acolher doentes.
+Personalidades internacionais como os pintores austríacos Egon Schiele (1890 – 1918) e Gustav Klimt (1862 – 1918), os escritores franceses Edmond Rostand (1868 – 1918) e Guillaume Appolinaire (1880 – 1918), as crianças portuguesas Francisco (1908 – 1919) e Jacinta (1910 – 1920) do famoso Milagre de Fátima, os irmãos John (1864 – 1920) e Horace Dodge (1868 – 1920), empresários da indústria automobilística; o pianista Henry Hagas (1891 – 1919), da Original  Dixieland Jazz Band, o sociólogo alemão Max Weber (1864 – 1920) e Sophie (1893- 1920),  filha de Sigmund Freud, também foram vitimados pela doença.
+Outros que foram infectados mas sobreviveram à gripe foram o pintor Edvard Munch (1863 – 1944), o então futuro presidente dos Estados Unidos, Franklin Delano Roosevelt (1882 – 1945);  o escritor Franz Kafka (1883 – 1924), a pintora Georgia O’Keeffe (1887 – 1986),  a escritora Katherine Anne Porter (1890 – 1980), as estrelas do cinema mudo Mary Pickford (1892 – 1979) e Lillian Gish (1893 – 1993); o cineasta Walt Disney (1901 – 1966), e além do então presidente dos Estados Unidos, Woodrow Wilson (1856 – 1924).
+Link para fotografias de aspectos da Gripe Espanhola no site Getty Images
+A escritora inglesa Virginia Woolf (1882 – 1941), testemunha do impacto da Gripe Espanhola, registrou em seu diário em outubro de 1918: “Estamos … no meio de uma praga só comparável à Peste Negra“. Em seu ensaio “Doença: uma mina inexplorada“, de 1926, escreveu:
+“Se considerarmos o quão comum é a doença, quão terrível é a mudança espiritual que ela acarreta, quão medonhos, quando as luzes da saúde se apagam, são os países virgens que se descerram, as ruínas e desertos d’alma que um leve ataque da influenza traz à tona, os precipícios e relvas regadas de resplandecentes flores que um pequeno aumento de temperatura revela, os carvalhos antigos e obdurados que se nos desenraizam no ato da doença, como adentro o abismo da morte descemos e sentimos as águas da aniquilação bem acima de nossas cabeças e despertamos jurando nos encontrar na presença de anjos e querubins quando temos um dente extraído e, voltando à superfície da cadeira do dentista, confundimos o seu “Abra a boca – abra a boca” com as boas-vindas da Divindade a se inclinar do chão do Céu para nos acolher – quando pensamos nisto e numa infinidade mais, como tão frequentemente somos forçados a pensá-lo, parece deveras estranho que a doença não tenha, junto com o amor, a batalha, a inveja, tomado seu posto entre os temas primordiais da literatura. Romances, pensar-se-ia, teriam sido dedicados à Influenza; poemas épicos à Tifóide; odes à Pneumonia, Apendicites e Câncer; cânticos à Dor de Dente. Mas não: com algumas poucas exceções – de Quincey arriscou algo do tipo em Confissões de um comedor de ópio; deve haver um volume ou dois sobre doença espalhados pelas páginas de Proust – a literatura se esforça ao máximo para sustentar que sua preocupação é com o espírito; que o corpo é uma camada de vidro límpido através da qual a alma enxerga clara e distintamente e que, salvo uma ou duas paixões tais como o desejo e a cobiça, ele é nulo, insignificante e inexistente“.
+Aqui no Brasil, o futuro escritor e médico Pedro Nava (1903 – 1984), então com 15 anos, testemunha da Gripe Espanhola no Rio de Janeiro, escreveu muitas décadas depois:
+“Era apavorante a rapidez com que ela ia da invasão ao apogeu, em poucas horas, levando a vítima às sufocações, às diarréias, às dores lancinantes, ao letargo, ao coma, à uremia, à síncope e à morte em algumas horas ou poucos dias. Aterravam a velocidade do contágio e o número de pessoas que estavam sendo acometidas. Nenhuma de nossas calamidades chegara aos pés da moléstia reinante: o terrível não era o número de casualidades mas não haver quem fabricasse caixões, quem os levasse ao cemitério, quem abrisse covas e enterrasse os mortos. O espantoso já não era a quantidade de doentes, mas o fato de estarem quase todos doentes, a impossibilidade de ajudar, tratar, transportar comida, vender gêneros, aviar receitas, exercer, em suma, os misteres indispensáveis à vida coletiva…”.
+Última curiosidade envolvendo literatura e doença: o escritor e poeta florentino Giovanni Boccaccio (1313 – 1375) foi pessoalmente afetado pela pandemia que ficou conhecida como peste negra, que atingiu Florença em 1348. Seu pai e madrasta morreram e ele fugiu da cidade indo para a zona rural da Toscana. Foi durante esse período que escreveu  O Decamerão, 100 contos narrados por personagens que fugiam justamente da peste negra. Já no início do século XVII, em Londres, surtos de peste bubônica ocasionavam muitas mortes e quarentenas eram ordenadas pelas autoridades. O grande poeta e dramaturgo William Shakespeare (1564 – 1616) escreveu nesse período, entre 1605 e 1606, Rei Lear, Macbeth e Antônio e Cleópatra. Segundo James Shapiro, professor da Universidade Columbia e autor de O ano de Lear: Shakespeare em 1606, depois de 1603, Shakespeare não produziu mais comédias românticas e, sim, peças mais sombrias, que expressavam o desespero que tomava a população naqueles dias.
+Voltando ao século XX: o mundo ainda sofreu com mais duas pandemias, a Gripe Asiática, em 1957; e a Gripe de Hong Kong, em 1968. No século XXI, foi identificado um novo vírus da influenza do tipo A pandêmico que desencadeou a Emergência de Saúde Pública de Importância Internacional, decretada pela Organização Mundial da Saúde(OMS), em 2009. Cerca de 11 anos depois, em 11 de abril de 2020, a OMS declarou uma pandemia do novo coronavírus, chamado de Sars-Cov-2, causador da Covid-19, surgido na cidade de Wuhan, na China, em fins de 2019.
+ 
+(1) A virologia no Estado do Rio de Janeiro: uma visão global.
+(2) Pandemias de influenza e a estrutura sanitária brasileira: breve histórico e caracterização dos cenários. 
+ 
+ 
+Foto oficial de Rodrigues Alves, presidente do Brasil entre 1902 e 1906.
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+Atlas Histórico do Brasil
+BRITO, Nara Azevedo de. La dansarina: a gripe espanhola e o cotidiano na cidade do Rio de Janeiro. Hist. cienc. saude-Manguinhos [online]. 1997, vol.4, n.1, pp.11-30.
+CABRAL, Maulori C.; SCHATZMAYR, Hermann G. A virologia no Estado do Rio de Janeiro: uma visão global. Rio de Janeiro : Fiocruz, 2012
+CASTRO, Ruy. Metrópole à beira-mar: o Rio moderno dos anos 20. São Paulo : Companhia das Letras, 2019.
+CONY, Carlos Heitor. O Canaval da peste. Folha de São Paulo, 19 de fevereiro de 1996.
+COSTA, Ligia Maria Cantarino da;MERCHAN-HAMANN, Edgar. Pandemias de influenza e a estrutura sanitária brasileira: breve histórico e caracterização dos cenários. Rev Pan-Amaz Saude v.7 n.1 Ananindeua, mar. 2016.
+Folha de São Paulo
+GOULART, Adriana da Costa. Revisitando a espanhola: a gripe pandêmica de 1918 no Rio de Janeiro. Hist. cienc. saude-Manguinhos v.12 n.1 Rio de Janeiro jan./abr. 2005
+Hemeroteca Digital da Biblioteca Nacional
+Incrível História
+KOLATA, Gina. Gripe: a história da pandemia de 1918. Rio de Janeiro : Record, 2002.
+NAVA, Pedro. Chão de ferro. Memórias/3. Rio de Janeiro: J. Olympio, 1976.
+O Estado de São Paulo
+O Globo
+OUTKA, Elizabeth. Viral Modernism: The Influenza Pandemic and Interwar Literature. New York : Columbia University Press, 2020.
+Rádio Senado
+RODRIGUES, Nelson. A menina sem estrela. São Paulo : Companhia das Letras, 1993.
+SANTANA, Rosemeire Siqueira de. Tecendo os fios da memória: um breve ensaio biográfico sobre as educadoras Anália Franco, Neide Mesquita e Laura Amazonas.
+SANTOS, Ricardo Augusto dos. O Carnaval, a peste e a espanhola. Hist. cienc. saude-Manguinhos vol.13 no.1 Rio de Janeiro Jan./Mar. 2006
+SECCHIN, Antonio Carlos. Melancólico em livro de Bandeira, Carnaval em 1919 foi pura libertinagem. Folha de São Paulo, 22 de junho de 2019.
+Site Casa de Rui Barbosa
+Site CPDOC
+Site Enciclopédia Britânica
+Site Fiocruz
+Site Gripenet
+Site Hipercultura
+Site Pixinguinha
+Site Standford University
+Site WelcomeCollection
+Smithsonion Magazine
+Suplemento Ofical do Diário Oficial do Estado de Pernambuco
+WOOLF, Virginia. Illness: an unexploited mine. In: Forum, abril de 1926, pp.582-590.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/5134` — `itens/20.500.12156.1_5134/`
+- `20.500.12156.1/2744` — `itens/20.500.12156.1_2744/`
+- `20.500.12156.1/6548` — `itens/20.500.12156.1_6548/`
+
diff --git a/wordpress/18950-praias-do-rio-na-memoria-na-historia-e-na-fotografia.md b/wordpress/18950-praias-do-rio-na-memoria-na-historia-e-na-fotografia.md
new file mode 100644
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+++ b/wordpress/18950-praias-do-rio-na-memoria-na-historia-e-na-fotografia.md
@@ -0,0 +1,68 @@
+---
+id: 18950
+url: "https://brasilianafotografica.bn.gov.br/?p=18950"
+titulo: "Praias do Rio na memória, na história e na fotografia"
+autor: "Andrea Wanderley"
+data: "2020-05-19T10:55:28+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/4643", "20.500.12156.1/4628", "20.500.12156.1/5365", "20.500.12156.1/4252"]
+fetched_at: "2026-09-10T10:02:03.311Z"
+---
+
+# Praias do Rio na memória, na história e na fotografia
+
+E é sobre as praias cariocas, das quais, devido ao atual contexto da pandemia de coronavírus temos que nos manter afastados, o artigo “Praias do Rio na memória, na história e na fotografia”, escrito pela historiadora Ana Maria Mauad. Segundo a autora, nas últimas décadas do século XX, a renovação historiográfica deslocou a praia do foco da história urbana para os espaços das práticas e representações de uma história cultural”. Sobre o portal, comentou: “Temos de saudar e incentivar iniciativas como a da Brasiliana Fotográfica, pois ao disponibilizar de forma organizada e de fácil acesso arquivos fotográficos de grande valor, contribui para incrementar as pesquisas com e sobre a prática fotográfica como experiência histórica incontornável ao sujeito moderno”.
+ 
+Praias do Rio na memória, na história e na fotografia
+Ana Maria Mauad*
+ 
+As idas à praia de Ipanema povoam as minhas lembranças de infância. Até hoje sinto na pele o calor de deitar na areia quente, depois de um mergulho no mar geladinho do verão carioca; os grãos finíssimos escorrendo pelos dedos depois de amassar um torrão de areia, daqueles que ficavam na faixa mais seca no caminho do mar, ou ainda, do ‘jacaré” com prancha de isopor encapada de tecido para não irritar a barriga. Poderia desfiar aqui o fio da memória em cenas que teriam a praia como o cenário de prazer e alegria. Não sem motivo, em 2015, a coletânea Fotograficamente Rio: a cidade e seus temas, que organizei como resultado do edital FAPERJ Rio 450 anos, apresentava o mar como um dos seus fios condutores e as praias da cidade como tema de vários artigos (http://www.labhoi.uff.br/fotograficamente-rio).
+A renovação historiográfica, dos anos 1980 e 1990, deslocou a praia do foco da história urbana e da geografia histórica para os espaços de sociabilidade, das práticas e representações de uma história cultural que se consolidava em sintonia com os debates sobre novas fontes, novos objetos e novas abordagens. Esse ambiente abrigou um movimento quase arqueológico de escavação em arquivos, em busca de documentos que iluminassem experiências cotidianas e vivências sociais, por meio de diferentes formas de as representar. Nesse movimento, as imagens invadem os domínios da história, alçando a visualidade como princípio para estudar as sociedades passadas.
+ 
+Acessando o link para as fotografias das praias brasileiras disponíveis na Brasiliana Fotográfica e que foram selecionadas e enviadas a Ana Maria Mauad, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas. 
+ 
+Do mundo das imagens, as fotografias ganharam a minha atenção desde os anos 1980, na minha pesquisa de doutorado. Fotografias do álbum de família ganhavam ressonância nas páginas das revistas ilustradas descortinando um mundo de consumo, aparências e desigualdades. As praias ocupavam um lugar central nas narrativas visuais, tanto privadas quanto públicas. Em uma charge de 1904, publicada no Jornal do Brasil, edição de 11 de setembro, logo na primeira página, observa-se uma cena de praia, em que todos os banhistas portam câmeras fotográficas. Identificamos entre os usuários,  a Kodak Pocket, câmera lançada pela Eastman Kodak, em 1895, ou a mais recente Brownie, comercializada pela mesma fábrica a partir de 1900, ambas espalharam a febre da democratização da imagem no início do século XX. Essa ilustração apresenta uma dupla qualidade: primeiro por apontar a presença da prática fotográfica no cotidiano dos ‘batedores de chapa’ com expansão do mercado de cameras e produtos fotográficos; mas também por evidenciar a praia como espaço de sociabilidade de um grupo variado de personagens.
+ 
+Jornal do Brasil, 11 de setembro de 1904
+ 
+No Rio de Janeiro, os banhos de mar já foram recomendados como tratamento de saúde para governantes, logo no início do século XIX, e continuariam a ser prescritos por médicos sanitaristas até o início do século XX. As praias eram consideradas lugares de ares frescos que pouco a pouco se tornariam espaço para vilegiatura dos mais abastados, sobretudo, nas praias oceânicas. Uma nova geografia cultural se desenhava pela frequência social e urbana das praias. Ir à Praia das Virtudes para o morador da Lapa, não era o mesmo que um morador de Botafogo frequentar o Balneário da Urca. Para os primeiros, o importante era a farra; para os outros, o que valia era ver o ser visto. Na crônica Da praia do Flamengo ao Balneário da Urca, assinada por Leão Padilha, essa distinção fica clara:
+“PRAIA DO FLAMENGO: Domingo de manhã, os banhistas do Flamengo chegam mais tarde do que os da Lapa e saem mais cedo do que os de Copacabana. Às 10 horas, aquele pedacinho de areia fica que nem formigueiro, cheio, muito cheio (…) uma pequena faz maravilhas acrobáticas nos braços de um sportsman! Bóiam pares abraçados dentro de pneumáticos de automóveis … Na calçada vendem água doce para tirar o sal, o guarda-civil passeia para lá e para cá medindo a moralidade das roupas. PRAIA DE BOTAFOGO: Pouca gente. Criadas e funcionários das quitandas de bairro aficionados do sport. O pessoal chic vai mostrar suas toilletes no Balneário da Urca, e deixa a Enseada tranqüila para a criadagem que não teve tempo para tirar o pó do Flô do Abacate. BALNEÁRIO DA URCA: Supra sumo do chic. Fora ficam os carros esquentando ao sol. Lá dentro aqueles 50 palmos de areia regurgitam… Em cima, dança, flirt e cocktail (…) uma ‘jazz-band’ comunica tremura coreográficas aos corpos quentes (…) Lá embaixo há cubículos para trocar de roupa e outros misteres mais íntimos (…) a empresa não fiscaliza nem tampouco a polícia. Na areia senhoras respeitáveis, a julgar pela pintura e pelo volume, conversam coisas graves e fumando cigarros turcos. Rapazes ensinam ginástica a seco e dentro d’água. Mais tarde, o balneário perde esse aspecto familiar da manhã, o jazz-band ataca músicas mais frenéticas, os cocktails ganham ingredientes mais fortes e o ‘flirt’ é mais íntimo. Dentro da água ensina-se a nadar com menos inocência (…) fala-se alto (…) onde os rr franceses arrastam na gíria da moda, as exclamações das revistas alegres do Carlos Gomes e do Recreio (…) Não se ouve falar em cocaína, morfina ou ópio (…) PRAIA DAS VIRTUDES: No lencinho de areia perdido no mar (…) a promiscuidade é estonteante. A salada tem gosto de tudo – laranja de turco, cebola de português, macarrão de italiano, banana de brasileiro. Freqüentam essa praia moradores da Lapa, Sta. Luzia e todas as pensões do Centro. E por fim. A praia do Caju: todos vão à praia e tomam o seu banho de areia, de sol e de água suja…” (Rio Ilustrado, Ano I, out-dez, 1928)
+ 
+Acessando o link para todas as fotografias das praias brasileiras disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.  
+ 
+As crônicas escritas ao sabor de quem andava pela cidade e a observava, guardavam a marca da visualidade de época, em estreito diálogo com as caricaturas, as ilustrações e, sobretudo, com as fotografias. Imagens que redefinem a experiência histórica com o mundo visível instituindo novas formas de olhar.
+É interessante acompanhar as mudanças no enquadramento da paisagem praiana que a Brasliana Fotográfica nos apresenta. É possível, pelas lentes de José Baptista Barreira Vianna, visualizar uma Copacabana que, de um grande areal vai aos poucos sendo povoada, com as primeiras linhas de bonde ainda a tração animal.
+ 
+José Baptista Barreira Vianna. Bonde nas proximidades da pedra do Arpoador, c. 1900. Rio de Janeiro, RJ / Acervo IMS 
+ 
+Em uma delas, parece que nos debruçamos no muro da residência dos Barreira Vianna, para olhar como se vivia então. Dos fundos da casa, se vislumbra a varanda de frente para o mar de Ipanema.
+ 
+José Baptista Barreira Vianna. Residência da família Barreira Vianna, em Ipanema na esquina da avenida Vieira Souto e rua Francisco Otaviano. Ilhas Cagarras ao fundo, 1903. Rio de Janeiro, RJ / Acervo IMS
+ 
+Já as vistas aéreas de Jorge Kfuri nos lança em uma nova experiência visual: o Zepelim  que nos visitou causando sensação, sobrevoando as praias da zona sul; o forte de Copacabana na ponta que une Arpoador ao Posto Seis e a belíssima vista da Praia de Copacabana com sua primeira geração de casas, arruamento definido, pista de rolamento de mão dupla com carros de último tipo circulando, calçada com as tradicionais pedras portuguesas em ondas, dá até para ver uma parte do calçadão destruída por uma das famosas ressacas. Esse tipo de escrutínio, vale lembrar, só se tornou possível ao público que hoje tem o privilégio, de forma remota, conhecer essas verdadeiras preciosidades que o acesso irrestrito às imagens nos oferece.
+ 
+Jorge Kfuri. O Graf Zeppelin sobrevoa Copacabana e a Avenida Atlântica, 25 de maio de 1930. Rio de Janeiro, RJ / Acervo DPHDM
+ 
+Temos de saudar e incentivar iniciativas como a da Brasiliana Fotográfica, pois ao disponibilizar de forma organizada e de fácil acesso arquivos fotográficos de grande valor, contribui para incrementar as pesquisas com e sobre a prática fotográfica como experiência histórica incontornável ao sujeito moderno.
+ 
+Jorge Kfuri. A Praia de Copacabana, s/d. Rio de Janeiro, RJ / Acervo DPHDM
+ 
+*Ana Maria Mauad é Doutora em História e professora titular do Departamento de História, pesquisadora do Laboratório de História Oral e Imagem da UFF
+ 
+Acesse outros artigos sobre praias do Rio de Janeiro e do Brasil publicados na Brasiliana Fotográfica:
+ 
+Início do verão – as praias do Brasil, publicado em 22 de dezembro de 2015
+Ipanema, que completa 122 anos, pelas lentes de José Baptista Barreira Vianna (1860 – 1925, publicado em 26 de abril de 2016
+A fundação de Copacabana, publicado em 6 de julho de 2016
+
+O Arpoador, um dos cartões postais do Rio de Janeiro, por Jorge Kfuri e Baptista Vianna, publicado em 22 de julho de 2019
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/4643` — `itens/20.500.12156.1_4643/`
+- `20.500.12156.1/4628` — `itens/20.500.12156.1_4628/`
+- `20.500.12156.1/5365` — `itens/20.500.12156.1_5365/`
+- `20.500.12156.1/4252` — `itens/20.500.12156.1_4252/`
+
diff --git a/wordpress/18997-os-cinco-anos-da-brasiliana-fotografica.md b/wordpress/18997-os-cinco-anos-da-brasiliana-fotografica.md
new file mode 100644
index 0000000..c4ab1df
--- /dev/null
+++ b/wordpress/18997-os-cinco-anos-da-brasiliana-fotografica.md
@@ -0,0 +1,128 @@
+---
+id: 18997
+url: "https://brasilianafotografica.bn.gov.br/?p=18997"
+titulo: "Os cinco anos da Brasiliana Fotográfica"
+autor: "Andrea Wanderley"
+data: "2020-04-16T19:34:40+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Preservação digital", "Convidados", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/5746", "20.500.12156.1/2744", "20.500.12156.1/1892", "20.500.12156.1/5044", "20.500.12156.1/5345", "20.500.12156.1/1795", "20.500.12156.1/570", "20.500.12156.1/633", "20.500.12156.1/1794", "20.500.12156.1/2504", "20.500.12156.1/4342"]
+fetched_at: "2026-09-10T10:02:06.722Z"
+---
+
+# Os cinco anos da Brasiliana Fotográfica
+
+A Brasiliana Fotográfica, fundada pela Biblioteca Nacional e pelo Instituto Moreira Salles, em 17 de abril de 2015, completa cinco anos de existência buscando contribuir para uma escrita da história do Brasil onde as fotografias deixam de ser mera ilustração. A data seria comemorada com a realização do Seminário Brasiliana Fotográfica 5 anos – A imagem e a escrita da história, no auditório da Biblioteca Nacional que, devido à situação pela qual atravessa o Brasil e o mundo, foi adiado.
+Decidimos então promover no contexto atual da pandemia de coronavírus um debate relacionando urbanismo, saúde pública e a história da cidade do Rio de Janeiro e das grandes metrópoles brasileiras, temas frequentes dos artigos semanais publicados no portal, dando visibilidade aos arquivos de imagem das instituições parceiras, ora disponibilizados na Brasiliana Fotográfica e também às pesquisas existentes sobre estes temas – elementos de reflexão sobre o momento presente. O encontro virtual será disponibilizado on-line ao vivo para o público, gratuitamente, no canal de facebook do Instituto Moreira Salles -  https://www.facebook.com/pg/institutomoreirasalles, no dia 17 de abril de 2020, às 17h30m.
+ 
+ Quartos em tela metálica para isolamento de doentes atacados de Febre Amarela, 1905. Rio de Janeiro, RJ / Acervo Fiocruz
+ 
+Convidamos para este encontro e debate o historiador Jaime Benchimol, a pneumologista Margareth Dalcolmo – ambos pesquisadores da Fundação Oswaldo Cruz, instituição integrante do portal Brasiliana Fotográfica – e o arquiteto e urbanista Guilherme Wisnik, professor da Faculdade de Arquitetura e Urbanismo da USP. O debate será mediado pelos dois curadores da Brasiliana Fotográfica – Sérgio Burgi, Coordenador de Fotografia do Instituto Moreira Salles, e Joaquim Marçal, Coordenador da BN Digital -, e pela historiadora Aline Lopes de Lacerda, pesquisadora do Departamento de Arquivo da Casa de Oswaldo Cruz/Fiocruz.
+ 
+
+ 
+Queremos também celebrar o aniversário do portal agracedendo a você, nosso leitor, que percorre nosso acervo fotográfico que, até o momento, possui 6.709 imagens de 11 instituições, e também lê nossas publicações semanais: já são 249! Ao longo desses cinco anos já tivemos 38.437.165 acessos!
+Com uma rigorosa seleção e indexação das imagens que integram nosso acervo fotográfico, com o uso de uma linguagem simples e com a realização de uma pesquisa minuciosa, um dos objetivos da Brasiliana Fotográfica é atrair o interesse do maior número de leitores possível, de todas as faixas etárias e níveis de formação acadêmica, para assuntos relativos à história da fotografia, do Brasil e do mundo. Os artigos, semanais, são escritos por profissionais ligados às instituições integrantes do portal,  por curadores convidados como Cassio Loredano, Elvia Bezerra, Eucanaã Ferraz, Lilia Moritz Schwarcz, Maria Isabela Mendonça dos Santos, Millard Schisler, Pedro Karp Vasquez e Rubens Ribeiro Gonçalves da Silva e também pelos curadores do portal Sérgio Burgi (IMS) e Joaquim Marçal (FBN).
+ 
+Acessando o link para as 6.709 fotografias publicadas ao longo desses cinco anos na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+A escolha dos temas é variado: pode ser baseada tanto em uma efeméride como em uma reflexão mais teórica, na beleza ou na importância histórica de uma imagem ou de um grupo delas ou pode, também, se relacionar com algum fato da atualidade como foi, por exemplo, a publicação do artigo E o ex e futuro presidente do Brasil morreu de gripe…a Gripe Espanhola de 1918, em 20 de março de 2020, quando o mundo e o Brasil enfrentavam (ainda enfrentam) a pandemia do coronavírus. O presidente em questão foi Rodrigues Alves (1848 – 1919), uma das milhões de vítimas da gripe espanhola.
+ 
+Augusto Malta. Doutor Rodrigues Alves no Campo de Santana, 1908. Rio de Janeiro, RJ / Acervo IMS – Detalhe da foto
+ 
+A elaboração de perfis de fotógrafos acompanhados por galerias de suas fotografias disponíveis no acervo do portal e por cronologias é uma das marcas da Brasiliana Fotográfica. E uma das estrelas das pesquisas realizadas para esses artigos é, além da bibliografia disponível sobre os temas, a Hemeroteca Digital da Biblioteca Nacional, com os links para as notícias da época em que os fatos ocorreram. De abril de 2015 a março de 2020, foram publicados 44 perfis, o primeiro, Militão Augusto de Azevedo (1837 – 1905) e sua obra-prima, o “Álbum comparativo da cidade de São Paulo 1862-1887″, em 24 de maio de 2015; e o último, As Camélias Japonesas no carnaval de Alagoas pelas lentes do fotógrafo amador Luiz Lavenère Wanderley (1868 – 1966), em 21 de fevereiro de 2020.
+ 
+Militão Augusto de Azevedo. Álbum comparativo da cidade de São Paulo 1862-1887, 1887 / Acervo IMS
+ 
+Lista de todos os perfis de fotógrafos publicados na Brasiliana Fotográfica de abril de 2015 a março de 2020 
+2015
+ 1 – Militão Augusto de Azevedo (1837 – 1905) e sua obra-prima, o “Álbum comparativo da cidade de São Paulo 1862-1887″
+2 – O alemão Alberto Henschel (1827 – 1882), o empresário da fotografia
+3 – O alagoano Augusto Malta, fotógrafo oficial do Rio de Janeiro entre 1903 e 1936
+4 – Vincenzo Pastore (Casamassima, Itália 5 de agosto de 1865 – São Paulo, Brasil 15 de janeiro de 1918)
+5 - Alagoas, Bahia, Minas Gerais e Sergipe por Augusto Riedel (1836 -?)
+6 – Guerra de Canudos pelo fotógrafo Flavio de Barros
+7 – O editor e fotógrafo suíço Georges Leuzinger (1813 – 1892)
+8 – Imagens do Espírito Santo por Albert Richard Dietze (Alemanha, 1838 – Brasil, 1906)
+2016
+9 – O fotógrafo francês Jean Victor Frond (1821 – 1881) e o “Brasil Pitoresco”
+10 – O suicídio do fotógrafo Felipe Augusto Fidanza (c. 1847 – 1903)
+11 – Ipanema, que completa 122 anos, pelas lentes de José Baptista Barreira Vianna (1860 – 1925)
+12 - Notícia da viagem do fotógrafo Albert Frisch (31/05/1840 – 30/05/1918) à Amazônia
+13 - O fotógrafo Juan Gutierrez de Padilla (c.1860 – 28/6/1897)
+14 – O fotógrafo paisagista Camillo Vedani (18?, Itália – c. 1888, Brasil)
+15 - O fotógrafo amador Guilherme Santos (1871 – 1966)
+16 – Revert Henrique Klumb, o fotógrafo da família real do Brasil
+17 – O retratista português Joaquim Insley Pacheco (1830 – 14 de outubro de 1912)
+18 – O fotógrafo Augusto Stahl (Itália 23/05/1828 – França, 30/10/1877)
+19 – O brilhante cronista visual Marc Ferrez (RJ, 07/12/1843 – RJ, 12/01/1923)
+2017
+20- São Paulo sob as lentes do fotógrafo Guilherme Gaensly (1843 – 1928)
+21 – Os trinta Valérios, uma fotografia bem-humorada de Valério Vieira (1862 – 1941) 
+22- Os índios sob as lentes de Walter Garbe, em 1909 
+23 - Abram-Louis Buvelot (Suíça, 03/03/1814 – Austrália, 30/05/1888) 
+24 – Um fotógrafo inglês na Bahia: Benjamin Robert Mulock (18/06/1829 – 17/06/1863) 
+25 - “Sete de Setembro: uma ponte entre dois maurícios”, por Pedro Vasquez
+26 – Lampião e outros cangaceiros sob as lentes de Benjamin Abrahão 
+27 – O cronista visual de Diamantina: Chichico Alkmim, fotógrafo (1886 – 1978)
+28 - O fotógrafo austríaco Otto Rudolf Quaas e o construtor Ramos de Azevedo
+29 –  O fotógrafo português Francisco du Bocage (14/04/1860 – 22/10/1919)
+30- O fotógrafo Joaquim Pinto da Silva, o J. Pinto (1884-1951) e a Fundação Oswaldo Cruz
+31 – O fotógrafo português José Ferreira Guimarães (1841 – 30/01/1924)
+ 2018
+ 32 – A construção Madeira-Mamoré, a ferrovia da Morte”, pelas lentes de Dana B. Merrill (c. 1887 – 19?)
+33- O fotógrafo, botânico e naturalista alemão George Huebner (1862 – 1935)
+34 - O francês Hercule Florence (1804 – 1877), inventor de um dos primeiros métodos de fotografia do mundo
+35 - Lunara (1864 – 1937), um fotógrafo amador e fotoclubista de Porto Alegre
+36 - O fotógrafo açoriano Christiano Junior (1832 – 1902) e sua importante atuação no Brasil e na Argentina
+37 - A prisão do fotógrafo e aviador britânico S.H. Holland (1883 – 1936) no Rio de Janeiro, em 1930
+2019
+38 - Carlos Bippus e as paisagens cariocas
+39 - Nudez na Galeria Ducasble causa polêmica no Recife do século XIX
+40 - João Ferreira Villela, um dos primeiros fotógrafos pernambucanos
+41 - Imagens de Blumenau: por Bernardo Scheidemantel e em álbum do início do século XX
+42 - A Colônia Dona Francisca, Joinville, por Louis Niemeyer
+43 – Jorge Kfuri (1893 – 1965), autor das primeiras fotografias aéreas do Rio de Janeiro
+2020
+44 - As Camélias Japonesas no carnaval de Alagoas pelas lentes do fotógrafo amador Luiz Lavenère Wanderley (1868 – 1966)
+ 
+L. Lavenère. Lembrança de Maceió /[Um clube carnavalesco], 1906. Maceió, Alagoas /Acervo Arquivo Nacional
+ 
+Dentre esses perfis está o do fotógrafo Marc Ferrez, O brilhante cronista visual Marc Ferrez (7/12/1843 – 12/01/1923), publicada em 7 de dezembro de 2016.
+ 
+Marc Ferrez. Família Ferrez, c. 1912. Rio de Janeiro, RJ / Acervo IMS
+ 
+Sobre a obra de Ferrez, que é por muitos considerado o mais importante fotógrafo que atuou no Brasil no século XIX, foram escritos mais 13 artigos na Brasiliana Fotográfica: O Rio de Janeiro de Marc Ferrez, Obras para o abastecimento no Rio de Janeiro por Marc Ferrez , Do natural ao construído: O Rio de Janeiro na fotografia de Marc Ferrez, de Sérgio Burgi; No primeiro dia da primavera, as cores de Marc Ferrez (1843 – 1923), Marc Ferrez , a Comissão Geológica do Império (1875 – 1878) e a Exposição Antropológica Brasileira no Museu Nacional (1882), O quiosque Chopp Berrante no Passeio Público, Ferrez, Malta e Charles Dunlop, Uma homenagem aos 175 anos de Marc Ferrez (7 de dezembro de 1843 – 12 de janeiro de 1923), Pereira Passos e Marc Ferrez: engenharia e fotografia para o desenvolvimento das ferrovias, Fotografia e ciência: eclipse solar, Marc Ferrez e Albert Einstein, Uma homenagem da Casa Granado ao imperial sob as lentes de Marc Ferrez, Ressaca no Rio de Janeiro invade o porão da casa do fotógrafo Marc Ferrez, em 1913 e Petrópolis, a Cidade Imperial, pelos fotógrafos Marc Ferrez e Revert Henrique Klumb.
+Outro objetivo do portal é divulgar mais questões ligadas à preservação digital, um assunto que toca não apenas às instituições de memória, mas a todos aqueles que produzem imagens digitais em seu dia a dia sem, no entanto, cuidar de sua preservação. Nesse sentido, já publicamos alguns artigos mas ainda temos muito a percorrer. Também desejamos ampliar a abrangência do portal com a adesão de instituições de todos os estados do Brasil.
+Ainda em seu primeiro ano, no blog do portal, tivemos uma publicação de relevância histórica: a presença de Machado de Assis (1839 – 1908) na fotografia da Missa Campal pela comemoração da abolição da escravatura (de autoria de Antonio Luiz Ferreira), realizada em 17 de maio de 1888, no Campo de São Cristóvão, com a presença da princesa Isabel. A descoberta, realizada pela editora e pesquisadora da Brasiliana Fotográfica, Andrea Wanderley, foi saudada em outra publicação do blog pelo historiador José Murilo de Carvalho.
+ 
+Antônio Luiz Ferreira. Missa campal celebrada em ação de graças pela Abolição da Escravatura no Brasil, 1888. São Cristóvão, Rio de Janeiro. / Acervo IMS / Detalhe da foto
+ 
+Os registros mais acessados pelos leitores nesses cinco anos foram as fotografias Missa campal celebrada em ação de graças pela Abolição da escravatura no Brasil, de Antonio Luiz Ferreira; Índios Botocudos, de Walter Garbe; Escola pública em Curytiba, de Marcos A. de Mello; A Família Imperial reunida, de Alberto Henschel; e Índios da Tribo Carajás, de autoria desconhecida.
+ 
+Essa fotografia de índios da tribo Carajás, de 1888, é um dos cinco itens mais acessados nos cinco anos da Brasiliana Fotográfica / Acervo IMS
+ 
+Além das instituições fundadoras do portal, FBN e IMS, integram a Brasiliana Fotográfica o Arquivo Geral da Cidade do Rio de Janeiro, o Arquivo Nacional, a Diretoria do Patrimônio Histórico e Documentação da Marinha, a Fiocruz, a Fundação Joaquim Nabuco, o Leibniz-Institut fuer Laenderkunde, o Museu Aeroespacial, o Museu da República e o Museu Histórico Nacional. A gestão do portal é realizada por Roberta Zanatta (IMS) e por Vinicius Martins (FBN).
+ 
+Mais uma vez, muito obrigada e vamos em frente!
+ 
+Alberto Henschel. A Família Imperial reunida. Da esquerda para a direita: d. Antônio, em pé, princesa Isabel, sentada, tendo à sua frente d. Luís, sentado, d. Pedro de Alcântara, príncipe do Grão-Pará, e d. Augusto Leopoldo, ambos em pé; d. Pedro II, sentado, segurando um guarda-chuva, conde d’Eu, em pé, d. Teresa Cristina e d. Pedro Augusto, ambos sentados, 1887. Alto da Boa Vista, Rio de Janeiro / Acervo IMS
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/5746` — `itens/20.500.12156.1_5746/`
+- `20.500.12156.1/2744` — `itens/20.500.12156.1_2744/`
+- `20.500.12156.1/1892` — `itens/20.500.12156.1_1892/`
+- `20.500.12156.1/5044` — `itens/20.500.12156.1_5044/`
+- `20.500.12156.1/5345` — `itens/20.500.12156.1_5345/`
+- `20.500.12156.1/1795` — `itens/20.500.12156.1_1795/`
+- `20.500.12156.1/570` — `itens/20.500.12156.1_570/`
+- `20.500.12156.1/633` — `itens/20.500.12156.1_633/`
+- `20.500.12156.1/1794` — `itens/20.500.12156.1_1794/`
+- `20.500.12156.1/2504` — `itens/20.500.12156.1_2504/`
+- `20.500.12156.1/4342` — `itens/20.500.12156.1_4342/`
+
diff --git a/wordpress/19006-a-historia-da-fotografia-aerea-e-a-escola-de-aviacao-militar.md b/wordpress/19006-a-historia-da-fotografia-aerea-e-a-escola-de-aviacao-militar.md
new file mode 100644
index 0000000..7c7559e
--- /dev/null
+++ b/wordpress/19006-a-historia-da-fotografia-aerea-e-a-escola-de-aviacao-militar.md
@@ -0,0 +1,48 @@
+---
+id: 19006
+url: "https://brasilianafotografica.bn.gov.br/?p=19006"
+titulo: "A história da fotografia aérea e a Escola de Aviação Militar"
+autor: "Andrea Wanderley"
+data: "2020-06-19T10:33:09+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/7338"]
+fetched_at: "2026-09-10T10:02:10.096Z"
+---
+
+# A história da fotografia aérea e a Escola de Aviação Militar
+
+A partir de uma vista área da antiga Escola de Aviação Militar com algumas instalações do Parque Central de Aviação, realizada em 18 de março de 1937, que faz parte de um conjunto de vinte álbuns produzidos entre os anos de 1928 e 1951, totalizando cerca de 3592 imagens, os historiadores Fabiana Costa Dias e Jefferson Eduardo dos Santos Machado escreveram o artigo “A Escola de Aviação Militar”.  Eles contam um pouco da história da produção e da utilização da fotografia aérea pelos militares. O setor responsável pela atividade de fotografar era a Seção Foto e estava vinculada às escolas de aviação que formavam pilotos e observadores aéreos, além de funcionar como uma “escola técnica de aviação” que formava também militares especializados em fotografia e em toda a técnica envolvida.
+ 
+A Escola de Aviação Militar
+Fabiana Costa Dias e Jefferson Eduardo dos Santos Machado*
+ 
+Vista Aérea da Escola de Aviação Militar, 18 de março de 1937. Campos dos Afonso, Rio de Janeiro / Acervo Museu Aeroespacial
+ 
+A imagem selecionada é uma vista área da antiga Escola de Aviação Militar com algumas instalações do Parque Central de Aviação (PCAv), possui a identificação de número 90, classificação de foto oblíqua, foi fotografada pela Escola de Aviação Militar, às 10 horas, do dia 18 de março de 1937, o foco da câmera marcava 24 e a aeronave encontrava-se a 200 metros do solo no momento da foto. Como sabemos de tudo isso? Se observarmos, essas informações estão localizadas na parte inferior da fotografia. Outra pertinente pergunta seria como descobrimos o significado dessa legenda? Para isso tivemos que pesquisar nas antigas publicações utilizadas nas Escolas de Aviação. Dizemos Escolas de Aviação no plural porque realmente tivemos seis escolas situadas na mesma área registrada na fotografia que estamos apresentando hoje, foram elas: Aeroclube Brasileiro (1911 – 1914), Escola Brasileira de Aviação (1914), Escola de Aviação Militar (1919 – 1938), Escola de Aeronáutica Militar (1938 – 1940), Escola de Aeronáutica do Exército (1940 – 1941) e Escola de Aeronáutica (1941-1973).
+As publicações eram oferecidas aos alunos das escolas de aviação na disciplina Fotografia Aérea, segundo a publicação Noções de Fotografia Aérea (1939). O início da utilização da fotografia aérea pelos militares ocorreu em 1858, a bordo de um balão. A dirigibilidade de balões era instável e os aviões permitiram sua estabilidade e avanço. Acompanhado do aperfeiçoamento das primeiras aeronaves, também foram desenvolvidas câmeras especiais para o registro aéreo. Elas surgiram a partir de 1915 e até aquele momento as usadas eram as mesmas utilizadas pela imprensa. A fotografia minimizava um possível erro de impressão sobre o que era fotografado, disponibilizando uma informação fiel e uma ideia atualizada do campo de operações. Dessa maneira, ela servia para tirar possíveis dúvidas das cartas aeronáuticas, cobrir suas deficiências e oferecer conhecimento tanto para a defesa quanto para o ataque.
+A fotografia aqui apresentada faz parte de um conjunto de vinte álbuns produzidos entre os anos de 1928 e 1951 pelas escolas de aviação citadas acima, totalizando cerca de 3592 imagens. O setor responsável pela atividade de fotografar era a Seção Foto e estava vinculada às escolas de aviação que formavam pilotos e observadores aéreos, além de funcionar como uma “escola técnica de aviação” que formava também militares especializados em fotografia e em toda a técnica envolvida. De acordo com a publicação Noções de Fotografia Aérea (1939), a “Seção Foto é o órgão incumbido de guardar e conservar o material fotográfico, de sua preparação para o voo, da realização dos trabalhos de laboratório, da identificação, inscrição e arquivo, e, muitas vezes execução das missões”. (1)
+A atividade de inscrição compreende a elaboração da legenda, por meio dela, sabemos a identificação de todas as imagens desse conjunto. A legenda é composta pelos seguintes campos: número e classificação da fotografia, unidade a que pertence a Seção Foto, foco do aparelho, região fotografada, altura do voo, hora, data e flecha indicando o Norte”.(2)  As variações da classificação era a informação sobre o tipo de suporte utilizado no momento da foto, negativo rígido, de vidro, ou flexível, de nitrato. As classificações poderiam ser as seguintes: PV, para placa de vidro vertical; PO, para placa de vidro obliqua; FV, para filme vertical e; FO, para filme obliquo. As fotos verticais eram as em que o eixo ótico forma um ângulo de aproximadamente 90° com o terreno e as oblíquas, o eixo está inclinado em relação ao terreno e a linha do horizonte não aparece na fotografia. Além disso o registro fotográfico poderia ser aéreos, terrestres, de acidentes, de reprodução e identificação pessoal. O formato ou era 13 x 18 ou 18 x 24. Todos esses tipos de registros encontram-se nesse conjunto de vinte álbuns, sendo quatorze de imagens aéreas, cinco de acidentes com aeronaves e um de imagens terrestres.
+A Missão Militar Francesa de Aviação (MMFAv) foi a responsável pela montagem da primeira Seção Foto da Aviação Militar com seus equipamentos e material necessário para a realização das fotografias, assim como, a revelação e tudo que envolvia a técnica da fotografia militar. A MMFAv fazia parte da Missão Militar Francesa que durou até 1940, quando a França foi ocupada pela Alemanha e os oficiais franceses tiveram que renunciar à missão e partir para a guerra. O objetivo da Missão Militar Francesa era auxiliar na instrução e modernização do Exército. A Escola de Aviação Militar do Exército foi gerida, em sua parte técnica pela Missão Militar Francesa de Aviação (MMFAv) que funcionou de forma efetiva até 1931.
+Após essa breve e rápida apresentação de como as imagens eram realizadas pelas escolas de aviação, gostaríamos de contextualizá-la historicamente no Campo dos Afonsos. Usaremos como recorte temporal o uso do terreno para a atividade de aviação, 1911, até a data da realização da fotografia exposta, 1937. A imagem registra parte do que é hoje conhecido como Guarnição dos Afonsos (3), situada no bairro de Sulacap, região oeste do Estado do Rio de Janeiro.
+O que está ocupado por tantas organizações militares, um dia pertenceu ao Engenho de Afonsos e posteriormente foi cedido à Polícia do Distrito Federal (1912) pelo Ministério da Justiça e Negócios Interiores. Este Ministério comprou uma parte do terreno e cedeu ao primeiro aeroclube do Brasil, o Aeroclube Brasileiro, fundado em 14 de outubro de 1911. Nesse mesmo terreno, anos depois, também funcionou a Escola Brasileira de Aviação. Por dificuldades financeiras, no mesmo ano que esta escola foi inaugurada, 1914, ela também fechou as portas. Com a criação da Escola de Aviação Militar do Exército (1918), o Aeroclube Brasileiro mudou de endereço e instalou-se em Manguinhos, onde agora está localizada a Vila do João e parte da Avenida Brasil.
+Nos anos da década de 1920 o Campo dos Afonsos foi conhecendo um crescimento progressivo. A quantidade de aviadores oficiais e praças cresceram. Criam-se a Esquadrilha de Aperfeiçoamento e depois o 1° Regimento de Aviação, para onde foram alocados os pilotos já formados para utilizarem as aeronaves após a formação.
+Em 1927 foi criada a Arma da Aviação no Exército Brasileiro. Com o crescimento do número de aeronaves e o surgimento de novos Regimentos de Aviação por todo o país, houve a necessidade de se criar uma Unidade para realizar a manutenção do Material Aeronáutico. Em 1933, foi inaugurado o Parque Central de Aviação (PCAv), já depois da saída da Missão Francesa de Aviação.
+(1) MINISTÉRIO DA GUERRA, 1939, p.43.
+(2) Ibid., p.46.
+(3) Trata-se de um complexo de organizações militares que estão sediadas na área do chamado Campo dos Afonsos.
+ 
+* Fabiana Costa Dias é doutoranda pelo PPGCI/UFF e Jefferson Machado é Doutor em História Comparada pelo PPGCH/UFRJ
+ 
+Fontes:
+DIAS, F. C. Museu Aeroespacial: um museu de heróis. In: XVIII Simpósio Nacional de História, 2015, Florianópolis. Lugares dos historiadores: velhos e novos desafios. 2015. v.1. (link:
+DIAS, F. C.; MACHADO, J. E. S. As transformações arquitetônicas no Campo dos Afonsos no período de 1930-1940: a fotogrametria como fonte para a história e arquitetura. In: 5º Seminário Ibero-americano Arquitetura e Documentação, 2017, Belo Horizonte.
+MINISTÉRIO DA GUERRA. Noções de Fotografia Aérea (compilação de dados colhidos em diversas obras). Rio de Janeiro: Imprensa Técnica do S.T.Ae, 1939.
+______. Noções de Fotografia Aérea. Rio de Janeiro: Imprensa Técnica do S.T.Ae, 1939.
+UNIVERSIDADE DA FORÇA AÉREA. Campo dos Afonsos: 100 anos de história da aviação brasileira. Rio de Janeiro: Universidade da Força Aérea, 2012.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/7338` — `itens/20.500.12156.1_7338/`
+
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+---
+id: 19095
+url: "https://brasilianafotografica.bn.gov.br/?p=19095"
+titulo: "As doenças do Rio de Janeiro no início do século XX e a Revolta da Vacina em 1904"
+autor: "Andrea Wanderley"
+data: "2020-04-05T21:47:14+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/2418", "20.500.12156.1/5387", "20.500.12156.1/5747", "20.500.12156.1/6057", "20.500.12156.1/5749"]
+fetched_at: "2026-09-10T10:02:13.303Z"
+---
+
+# As doenças do Rio de Janeiro no início do século XX e a Revolta da Vacina em 1904
+
+No início do século XX, no Rio de Janeiro, providências em torno do combate de diversas doenças já provocavam grandes polêmicas. A campanha de combate à varíola resultou, em novembro de 1904, em uma revolta popular e militar, a Revolta da Vacina ou Quebra-Lampiões – um protesto contra a lei que tornava obrigatória a vacinação em massa contra a doença, instituída pelo prefeito Pereira Passos e colocada em prática pelo então Diretor Geral de Saúde Pública, Oswaldo Cruz, contratado para o cargo para combater a varíola, assim como a peste bubônica e a febre amarela, que grassavam na cidade. Vamos contar um pouco dessa história.
+ 
+O Malho, 1º de outubro de 1904
+ 
+Em 30 de dezembro de 1902, por decreto, Francisco Pereira Passos (1836 – 1913) foi nomeado prefeito do então Distrito Federal, o Rio de Janeiro, pelo presidente Rodrigues Alves (1848 – 1919), que prometia marcar seu governo pela modernização e pelo saneamento. Assumiu no mesmo dia (Gazeta de Notícias, 31 de dezembro de 1902, na sexta coluna), sucedendo Carlos Leite Ribeiro (1858 – 1945). Ocupou o cargo até 16 de novembro de 1906, quando foi sucedido por Francisco Marcelino de Sousa Aguiar (1855 – 1935) (O Paiz, 17 de novembro de 1906, na sexta coluna). Durante seu mandato, o prefeito Pereira Passos realizou uma significativa reforma urbana na cidade.
+Para saneá-la e modernizá-la realizou diversas demolições, conhecidas popularmente como a política do “bota-abaixo”, que contribuiu fortemente para o surgimento do Rio de Janeiro da Belle Époque, sendo a abertura da Avenida Central dos seus maiores símbolos, festejada em uma crônica de Olavo Bilac (1865 – 1918) (Kosmos, março de 1904) . Essas transformações foram definidas por Alberto Figueiredo Pimentel (1869-1914), autor da seção “Binóculo”, da Gazeta de Notícias, com a máxima “O Rio civiliza-se”, que se tornou o slogan da reforma urbana carioca. Foi também Pereira Passos que contratou, em 1903, o primeiro fotógrafo oficial da prefeitura, Augusto Malta (1864 – 1957), justamente para documentar todas essas inúmeras e radicais mudanças na cidade.
+ 
+Augusto Malta. Francisco Pereira Passos e José Maria da Silva Paranhos Júnior, barão do Rio Branco, 14 de junho de 1911. Rio de Janeiro, RJ / Acervo IMS
+ 
+Mas as reformas urbanas não eram o bastante para mudar o perfil do Rio de Janeiro, na época uma cidade bastante insalubre, assolada por doenças e sem saneamento básico, certamente obstáculos para o estabelecimento de uma sociedade moderna e cosmopolita nos moldes das capitais europeias. Lembramos do caso do cruzador italiano Lombardia que aportou na cidade, em novembro de 1895, e teve grande parte de sua tripulação infectada pela febre amarela. O capitão-de-fragata e comandante do navio, Olivari, e outros tripulantes, faleceram da doença (O Paiz, 28 de novembro de 1895, quinta coluna; O Paiz, 15 de fevereiro de 1896, quarta coluna; O Paiz, 17 de fevereiro de 1896, quinta coluna; O Paiz, 25 de fevereiro, sexta coluna; O Paiz, 29 de fevereiro de 1896, sexta coluna; O Paiz, 1º de março de 1896, penúltima coluna; O Paiz, 9 de março de 1896, quarta coluna; O Paiz, 10 de abril de 1896, penúltima coluna).
+O Rio de Janeiro era inclusive conhecido internacionalmente como “túmulo dos estrangeiros”, possivelmente devido a versos sobre o verão carioca atribuídos ao escritor suíço Ludwig Ferdinand Schmid (1823-1888), que havia sido cônsul no Rio de Janeiro na década de 1860:
+“Oh! sombra, sobre a imagem encantada / Cores escuras pousam sobre os campos e florestas / O mal da natureza paira, poderoso / Sobre a florida superfície tropical /O poder supremo/ Deste Império não é de nenhum Herodes / No entanto é a terra da morte diária / Túmulo insaciável do estrangeiro”.
+Pereira Passos assumiu a prefeitura de uma cidade que no fim do Império tinha uma população de cerca de 500 mil habitantes e que atingira cerca de 700 mil pessoas em 1904. Ele aliou a reforma urbanística e arquitetônica da cidade – que incluiria a construção de um novo porto, de novas avenidas, o aterramento de praias, o desmonte de morros, a derrubada de casas e cortiços e o embelezamento de praças e jardins, que não deixou de ter seu lado excludente e criticado, deslocando parte da população do centro para o subúrbio e também contribuindo para o surgimento das favelas – a uma nova política higienista. Para implementar medidas sanitárias arrojadas foi nomeado pelo presidente Rodrigues Alves para a direção geral de Saúde Pública o jovem médico Oswaldo Cruz (1872 – 1917), que tomou posse em 23 de março de 1903. Ficou no cargo até 1909.
+. 
+O Paiz, 25 de março de 1903
+ 
+Oswaldo Cruz havia estudado microbiologia, soroterapia e imunologia no Instituto Pasteur, e medicina legal no Instituto de Toxicologia, na França, entre 1897 e 1898. Quando voltou ao Brasil, tomou posse, em 24 de agosto de 1899, na Academia Nacional de Medicina, e, em 1900, assumiu a direção técnica do Instituto Soroterápico Federal, o qual passou a dirigir em 1902.
+ 
+Oswaldo Cruz em Petrópolis, 19?. Petrópolis, Rio de Janeiro / Acervo Casa de Oswaldo Cruz
+ 
+Os principais problemas que Oswaldo Cruz teve que enfrentar como Diretor Geral de Saúde Pública foram a febre amarela, a peste bubônica e a varíola. Um de seus colaboradores foi o sanitarista Belisário Penna (1868 – 1939).
+ 
+Charge de Raul Pederneiras / Tagarela, 25 de agosto de 1904
+ 
+A febre amarela
+ 
+Brigada contra mosquito do Serviço de Profilaxia da febre amarela, 1905. Rio de Janeiro, RJ / Acervo Casa de Oswaldo Cruz
+ 
+Em 1902, a febre amarela havia sido responsável pela morte de cerca de mil pessoas no Rio de Janeiro. Oswaldo Cruz era adepto da teoria do médico cubano Carlos Finlay (1833 – 1915) sobre a transmissão da febre amarela pelos mosquitos Stegomyia fasciata. Para exterminá-los, em abril de 1903, iniciou a campanha de combate à doença. Em 15 de abril, foi criado o Serviço de Profilaxia Específica da Febre Amarela (O Paiz, 18 de abril de 1903, sexta coluna; 22 de abril de 1903, quarta coluna; 25 de abril, quinta coluna; e 29 de abril, quarta coluna).
+ 
+O Malho, 4 de abril de 1903
+ 
+Tagarela, 21 de abril de 1904
+ 
+A execução dessa profilaxia foi regulamentada pelas “Instruções para o Serviço de Profilaxia Específica de Febre-Amarela” nos primeiros dias de maio de 1903, do ministro da Justiça e Negócios Interiores, J.J. Seabra (1855 – 1942) (O Paiz, 7 de maio de 1903, penúltima coluna).
+ 
+O Paiz, 7 de maio de 1903
+ 
+Foram criadas as brigadas sanitárias, que “eram constituídas por 1 inspetor do serviço, responsável por toda a execução das atividades e nomeado por decreto; 10 médicos que o auxiliam, destacados dentre os inspetores sanitários pelo diretor geral de saúde pública, mediante indicação do inspetor do serviço; 70 auxiliares acadêmicos e 9 chefes de turma, nomeados pelo diretor geral de saúde pública; 1 administrador do serviço, 1 almoxarife e 1 escrituario-arquivista, nomeados por portaria do Ministro; 200 capatazes, 18 guardas de saúde de primeira classe e 18 de segunda classe, 18 carpinteiros e pedreiros, bombeiros, cocheiros, nomeados pelo inspetor do serviço; e quantos mais trabalhadores fossem necessários” (BRASIL, 1905).
+ 
+Serviço de Profilaxia Específica da Febre Amarela, 1905 / Acervo Casa de Oswaldo Cruz
+ 
+Guardas “mata-mosquitos” visitavam casas nas diversas regiões da cidade, muitas vezes acompanhados por soldados da polícia. A cidade foi dividida em distritos sanitários, sob jurisdição das delegacias de Saúde, que recebiam notificações dos enfermos, aplicavam multas e intimavam os donos de imóveis considerados insalubres a reformá-los ou até mesmo a demoli-los. Providenciava-se a remoção de pessoas infectadas para hospitais, o isolamento domiciliar dos enfermos assim como a desinfecção dos ambientes. Ao mesmo tempo, Oswaldo Cruz fazia circular na imprensa os folhetos Conselhos ao Povo, de divulgação das medidas adotadas.
+ 
+Correio da Manhã, 28 de abril de 1903
+ 
+A doença foi perdendo a força e, em 1907, Oswaldo Cruz escreveu ao presidente Afonso Pena (1847 – 1909): “graças à firmeza e vontade do governo, a febre amarela já não mais devasta sob a forma epidêmica a capital da República”. Nesse mesmo ano, a delegação brasileira de cientistas de Maguinhos, liderada por Oswaldo Cruz, recebeu a medalha de ouro no XIV Congresso Internacional de Higiene e Demografia de Berlim.
+ 
+Aparelhos Clayton para os serviços de Profilaxia terrestre. 1905. Rio de Janeiro, RJ / Acervo Casa de Oswaldo Cruz
+ 
+Acessando o link para as fotografias relativas à febre amarela disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Charge de J. Carlos. ” O mais extraordinário caçador de … mosquitos” / Tagarela, 12 de agosto de 1904
+ 
+Aline Lopes de Lacerda, historiadora e chefe do Departamento de Arquivo e Documentação da COC/Fiocruz,  escreveu o artigo Febre amarela: imagens da produção da vacina no início do século XX, publicado na Brasiliana Fotográfica, em 25 de março de 2018. Cristiane d’Avila, jornalista do Departamento de Arquivo e Documentação da Casa de Oswaldo Cruz, escreveu Vacinação no Brasil, uma história centenária, publicado em 17 de agosto de 2018. Ricardo Augusto dos Santos, pesquisador titular da Fundação Oswaldo Cruz, escreveu o artigo O sanitarista Belisário Penna (1868-1939), um dos protagonistas da história da saúde pública no Brasil, também publicado no portal, em 28 de setembro de 2018. A Fiocruz é uma das instituições parceiras da Brasiliana Fotográfica.
+ 
+A peste bubônica
+ 
+Jornal do Brasil, 11 de agosto de 1904
+ 
+A peste bubônica, doença transmitida pela picada de pulgas infectadas por ratos contaminados pela bactéria Yersinia pestis, o bacilo descoberto pelo suíço Alexandre Yersin (1863 – 1943) e pelo japonês Shibasaburo Sato (1852 – 1931), em 1894, chegou ao Brasil, pelo porto de Santos, em 1900. Foi combatida por Oswaldo Cruz e as medidas contra a peste bubônica não encontraram resistência da população. Foi intensificada a limpeza urbana e a notificação dos doentes era compulsória, o que ajudava no isolamento e no tratamento dos mesmos com o soro fabricado no Instituto Soroterápico Federal. Foi também promovida a vacinação de pessoas residentes nas áreas mais atingidas e uma abrangente campanha de desratização foi realizada: os funcionários destacados para a função tinham que recolher 150 ratos por mês, pelos quais recebiam 60 mil-réis.
+A Diretoria Geral de Saúde Pública (DGSP) passou a comprar ratos: para cada animal morto apresentado, pagava-se a quantia de duzentos réis, o que ocasionou o surgimento da profissão de “ratoeiro” – compravam ratos a baixo preço ou até mesmo os criavam em casa e os revendiam para a DGSP. A “guerra aos ratos” virou motivo de piada, de críticas (Revista da Semana, 21 de agosto de 1904 e Kosmos, outubro 1904) e até uma música sobre o tema, a polca Rato, rato, composta por Casemiro da Rocha (1880 – 1912), integrante da banda do Corpo de Bombeiros do Rio de Janeiro, com letra de Claudino Costa, foi um grande sucesso no carnaval de 1904. Foi gravada na Casa Edison.
+ 
+O comprador de ratos / Revista da Semana, 7 de agosto de 1904
+ 
+O fato é que as mortes por peste bubônica que, em 1903, atingiram o índice de 48,74 mortes para cada 100 mil habitantes, caíram vertiginosamente e quando Oswaldo Cruz deixou a Diretoria Geral de Saúde Pública, em 1909, esse índice chegou ao seu mais baixo patamar: 1,73.
+ 
+A varíola e a Guerra da Vacina
+ 
+Charge de Leônidas / O Malho, 29 de outubro de 1904
+ 
+Até meados de 1904, as internações causadas pela varíola já chegavam a 1800 no Hospital São Sebastião. Oswaldo Cruz pretendeu controlar a doença com a vacinação em massa da população. Pediu que fosse enviado ao Congresso Nacional um projeto de lei para resgatar a obrigatoriedade da vacinação e revacinação antivariólica. A vacinação já estava contemplada em uma lei em vigor desde 1837, mas que nunca havia sido cumprida.
+ 
+O Malho, 20 de maio de 1905
+ 
+Charge de Klisto / O Malho, 19 de março de 1904
+ 
+A medida enfrentou a oposição liderada pelo senador paraense Lauro Sodré (1858 – 1944), líder do Partido Republicano Federal, e pelos deputados pernambucano Barbosa Lima (1862 – 1931) e gaúcho Alfredo Varela (1864 – 1943), todos contra o governo do presidente Rodrigues Alves, do Partido Conservador. O Apostolado Positivista do Brasil, liderado por Raimundo Teixeira Mendes (1855 – 1927), também se opôs à lei.
+ 
+O Malho, 9 de julho de 1904
+ 
+O Malho, 9 de julho de 1904
+ 
+O Malho, 23 de julho de 1904
+ 
+Jornais e políticos lançaram uma campanha contra a medida, incitando a desobediência à lei, que eles classificavam como despótica e ameaçadora, já que estranhos tocariam nas pessoas no caso da vacinação, além de entrarem nas casas para desinfecção. Além disso, a vacina, que consistia no líquido de pústulas de vacas doentes, era rejeitada pelas camadas populares – havia um boato de que os vacinados adquiriam feições bovinas…
+ 
+Charge de Raul Pederneiras / Tagarela, 15 de setembro de 1904
+ 
+Charge de Bambino / Revista da Semana, 2 de outubro de 1904
+ 
+Finalmente, foi promulgada, em 31 de outubro de 1904, uma lei que tornou a vacinação e a revacinação contra a varíola obrigatória.
+ 
+Lei n° 1.261, de 31 de outubro de 1904
+ 
+
+Torna obrigatorias, em toda a Republica, a vaccinação e a revaccinação contra a variola.
+
+O Presidente da Republica dos Estados Unidos do Brazil:
+Faço saber que o Congresso Nacional decretou e eu sancciono a lei seguinte:
+
+     Art. 1º A vaccinação e revaccinação contra a variola são obrigatorias em toda a Republica.
+     Art. 2º Fica o Governo autorizado a regulamental-a sob as seguintes bases:
+
+     a) A vaccinação será praticada até o sexto mez de idade, excepto nos casos provados de molestia, em que poderá ser feita mais tarde;
+     b) A revaccinação terá logar sete annos após a vaccinação e será repetida por septennios;
+     c) As pessoas que tiverem mais de seis mezes de idade serão vaccinadas, excepto si provarem de modo cabal terem soffrido esta operação com proveito dentro dos ultimos seis annos;
+     d) Todos os officiaes e soldados das classes armadas da Republica deverão ser vaccinados e revaccinados, ficando os commandantes responsaveis pelo cumprimento desta;
+     e) O Governo lançara mão, afim de que sejam fielmente cumpridas as disposições desta lei, da medida estabelecida na primeira parte da lettra f do § 3º do art. 1º do decreto n. 1151, de 5 de janeiro de 1904;
+     f) Todos os serviços que se relacionem com a presente lei serão postos em pratica no Districto Federal e fiscalizados pelo Ministerio da Justiça e Negocios Interiores, por intermedio da Directoria Geral de Saude Publica.
+
+     Art. 3º Revogam-se as disposições em contrario.
+
+Rio de Janeiro, 31 de outubro de 1904, 16º da Republica.
+FRANCISCO DE PAULA RODRIGUES ALVES.
+J. J. Seabra.
+
+ 
+Revista A Avenida, 10 de outubro de 1904/ Portal da Fiocruz
+ 
+Gazeta de Notícias, 12 de novembro de 1904
+ 
+Gazeta de Notícias, 13 de novembro de 1904
+ 
+Em um encontro presidido pelo senador Lauro Sodré, no Centro das Classes Operárias, em 5 de novembro de 1904, foi fundada a Liga Contra a Vacina Obrigatória (O Paiz, 6 de novembro de 1904, penúltima coluna). O descontentamento popular se agravou quando, no dia 9 de novembro de 1904, o governo divulgou seu plano de regulamentação da aplicação da vacina obrigatória contra a varíola (Gazeta de Notícias, 10 de novembro de 1904, quinta coluna). Nos dias 10 e 11, no Largo de São Francisco, estudantes contrários à lei se reuniram e, no dia 13 de novembro, acirrou-se a rebelião popular, que ficou conhecida como Revolta da Vacina, marcada por diversos distúrbios urbanos em várias regiões da cidade, embates com a polícia e prisões. Mais de 20 bondes da Companhia Carris Urbanos e muitos lampiões da iluminação pública foram destruídos, daí o apelido Quebra Lampiões atribuído ao movimento (Gazeta de Notícias, 14 de novembro de 1904; e Jornal do Brasil, 14 de novembro de 1904).
+ 
+Gazeta de Notícias, 14 de novembro de 1904
+ 
+Marianno da Silva. Aspecto da Praça da República no dia 14 de novembro de 1904 / Acervo Fiocruz
+ 
+Paralelamente à revolta popular, aconteceu um movimento militar orquestrado pelos generais Silvestre Travassos (1848 – 1904) e Olímpio da Silveira (1887 – 1935), Lauro Sodré, Barbosa Lima, o major Gomes de Castro e o capitão Augusto Mendes de Moraes, que se reuniram no dia 14 de novembro de 1904, no Clube Militar. Tinham por objetivo derrubar o governo de Rodrigues Alves, que foi aconselhado a ir para um navio de guerra, onde teria mais segurança – ele recusou.
+Houve no mesmo dia uma tentativa fracassada de levante na Escola de Tática do Realengo, sufocada pelo então diretor da instituição, general Hermes da Fonseca (1855 – 1923), futuro presidente do Brasil. O comandante da Escola Militar de Realengo, o general Alípio Costallat (c. 1853 – 1933), foi deposto pelo general Travassos que liderou, durante a noite, a marcha dos alunos em direção ao Palácio do Catete. Os revoltosos trocaram tiros com uma brigada de ataque enviada pelo governo, na rua da Passagem, em Botafogo. O tiroteio, de cerca de meia hora, matou um aluno da Escola Militar, Silvestre Cavalcanti, e um sargento da tropa legalista, chamado Camargo. O general Travassos ficou gravemente ferido e faleceu oito dias depois, em 22 de novembro. A Escola Militar, bombardeada durante a noite por navios de guerra posicionados na baía de Guanabara, foi ocupada pelo ministro da Guerra, o marechal Francisco de Paula Argollo (1847 – 1930) e pelo ministro da Indústria, Viação e Obras Públicas, Lauro Müller (1863 – 1926). Seus alunos foram presos, expulsos da Escola e levados para portos na região Sul do país. Obviamente, o desfile comemorativo dos 15 anos da Proclamação da República foi cancelado (Gazeta de Notícias, 15 de novembro de 1904, Jornal do Brasil, 15 de novembro de 1904; Gazeta de Notícias, 16 de novembro de 1904; Jornal do Brasil, 16 de novembro de 1904).
+No dia 16 de novembro, foi decretado o estado de sítio e revogada a obrigatoriedade da vacinação. Com isso, o movimento popular arrefeceu, os serviços voltaram a funcionar e a cidade se apazigou. Saldo do movimento: 945 prisões, 461 deportações, 110 feridos e 30 mortos (Gazeta de Notícias, 17 de novembro de 1904 e 18 de novembro de 1904).
+ 
+O Paiz, 17 de novembro de 1904
+ 
+Segundo o historiador Jaime Larry Benchimol: Todos saíram perdendo. Os revoltosos foram castigados pelo governo e pela varíola. A vacinação vinha crescendo e despencou, depois da tentativa de torná-la obrigatória. A ação do governo foi desastrada e desastrosa, porque interrompeu um movimento ascendente de adesão à vacina”.
+Apenas nove pessoas morreram por varíola em 1906 no Rio de Janeiro. Porém, dois anos depois, em 1908, uma violenta epidemia da doença ocorreu na cidade, causando mais de 6.500 casos.
+ 
+Revista da Semana, 2 de fevereiro de 1908 / Charge de Bambino
+ 
+Link para músicas sobre Oswaldo Cruz e também sobre as campanhas de combate à febre amarela, à peste bubônica e à vacinação obrigatória contra a varíola, publicadas na Biblioteca Virtual Oswaldo Cruz
+ 
+Retrospectiva das pandemias do século XX e XXI
+ 
+O mundo, ao longo dos séculos XX e XXI, enfrentou cinco pandemias: a Gripe Espanhola, em 1918, tema de uma recente publicação da Brasiliana Fotográfica, E o ex e futuro presidente do Brasil morreu de gripe…a Gripe Espanhola de 1918; a Gripe Asiática, em 1957; a Gripe de Hong Kong, em 1968, a identificação de um novo vírus da influenza do tipo A pandêmico que desencadeou a Emergência de Saúde Pública de Importância Internacional, decretada pela Organização Mundial da Saúde (OMS), em 2009; e cerca de 11 anos depois, em 11 de abril de 2020, a OMS declarou uma pandemia do novo coronavírus, chamado de Sars-Cov-2, causador da Covid-19, surgido na cidade de Wuhan, na China, em fins de 2019.
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+ 
+BENCHIMOL, Jaime Larry. Pereira Passos: um Haussmann Tropical. A renovação urbana na cidade do Rio de Janeiro no início do século XX. Rio de Janeiro: Secretaria Municipal de Cultura, Departamento Geral de Documentação e Informação Cultural, 1992.
+BENCHIMOL, Jaime Larry. Reforma urbana e Revolta da Vacina na cidade do Rio de Janeiro. In: Jorge Ferreira e Lucilia de Almeida Neves Delgado (org.) O Brasil Republicano. O tempo do liberalismo excludente. Da proclamação da República à Revolução de 1930. 3. ed. Rio de Janeiro: Civilização Brasileira, 2008.
+BIBEL, David J.; CHEN, T.H. Diagnosis of Plague: an Analysis of the Yersin-Kitasato Controversy. American Society for Microbiology, 1976.
+Biblioteca Virtual Oswaldo Cruz
+BRASIL. Ministério da Justiça. Relatório 1904 – 1905. Imprensa Nacional, Rio de Janeiro, 1905.
+CARVALHO, José Murilo de: Os Bestializados – O Rio de Janeiro e a República que não foi. São Paulo : Companhia das Letras, 1987.
+COSTA, Zouraide; ELKHOURY, Ana; FLANNERY, Brendan; ROMANO, Alessandro. Evolução histórica da vigilância epidemiológica e do controle da febre amarela no Brasil, 2011.
+CURY, Bruno da Silva Mussa. Combatendo ratos, mosquitos e pessoas: Oswaldo Cruz e a saúde pública na reforma da capital do Brasil (1902-1904). / Bruno da Silva Mussa Curry. – 2012. 160 f. Dissertação (Mestrado em História) – Universidade Federal do Estado do Rio de Janeiro, Programa de Pós-graduação em História, Rio de Janeiro, 2012.
+Dicionário Cravo Alvim
+Hemeroteca Digital da Biblioteca Nacional
+Ministério da Saúde
+MOURELLE, Thiago. A revolta da vacina. Arquivo Nacional: Que República é essa?, 21 de janeiro de 2020.
+Nosso Século. São Paulo : Abril Cultural, 1980.
+Portal Fiocruz – A trajetória do médico dedicado à ciência
+Portal Fiocruz  – A Revolta da Vacina
+Projeto Memória – Fundação Banco do Brasil
+ROCHA, Oswaldo; CARVALHO, Lia de Aquino. A era das demolições Habitações Populares. Rio de Janeiro : Biblioteca Carioca, 1986
+SEVCENKO, Nicolau. A Revolta da Vacina: mentes insanas em corpos rebeldes. São Paulo: Cosac Naify, 2010.
+Site CPDOC
+Site Multirio
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/2418` — `itens/20.500.12156.1_2418/`
+- `20.500.12156.1/5387` — `itens/20.500.12156.1_5387/`
+- `20.500.12156.1/5747` — `itens/20.500.12156.1_5747/`
+- `20.500.12156.1/6057` — `itens/20.500.12156.1_6057/`
+- `20.500.12156.1/5749` — `itens/20.500.12156.1_5749/`
+
diff --git a/wordpress/19314-debate-pelos-cinco-anos-da-brasiliana-fotografica-link-de-acesso-e-para-fotograf.md b/wordpress/19314-debate-pelos-cinco-anos-da-brasiliana-fotografica-link-de-acesso-e-para-fotograf.md
new file mode 100644
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+++ b/wordpress/19314-debate-pelos-cinco-anos-da-brasiliana-fotografica-link-de-acesso-e-para-fotograf.md
@@ -0,0 +1,56 @@
+---
+id: 19314
+url: "https://brasilianafotografica.bn.gov.br/?p=19314"
+titulo: "Debate pelos cinco anos da Brasiliana Fotográfica – link de acesso e para fotografias mostradas durante o encontro"
+autor: "Andrea Wanderley"
+data: "2020-04-18T00:13:50+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/4990", "20.500.12156.1/2726"]
+fetched_at: "2026-09-10T10:02:16.260Z"
+---
+
+# Debate pelos cinco anos da Brasiliana Fotográfica – link de acesso e para fotografias mostradas durante o encontro
+
+O debate que a Brasiliana Fotográfica promoveu para celebrar o seu aniversário de cinco anos, dentro do contexto da atual pandemia do coronavírus, foi muito bem sucedido, tendo sido assistido por centenas de pessoas numa live transmitida no dia 17 de abril de 2020, às 17h30m. Pode ser acessado no link https://www.facebook.com/institutomoreirasalles/videos/547559385897022/ . Os debatedores foram o historiador Jaime Benchimol, a pneumologista Margareth Dalcolmo e o urbanista e arquiteto Guilherme Wisnik.
+O portal mais uma vez agradece a seus leitores pela audiência e entusiasmo! Também destacamos nessa publicação todas as fotografias mostradas durante o encontro, além de outras que se relacionam com os temas abordados.
+ 
+Augusto Malta. Avenida Central: vista panorâmica durante os trabalhos de pavimentação, setembro de 1905. Rio de \janeiro, RJ / Acdervo Museu da República
+ 
+Grupos de imagens: 
+ 
+1 - Avenida Central
+2 – Gripe Espanhola, links do arquivo do dr. Moncorvo Filho, do arquivo da Fiocruz
+Doutor Maurity Santos examinando paciente com pneumonia durate a epidemia de gripe espanhola de 1918
+Dr. Maurity e enfermeiras atendendo enfermo no Morro do Salgueiro
+Doutores Moncorvo Filho e Orlando de Goes atendendo pacientes no surto de gripe espanhola de 1918
+Moncorvo Filho consultando criança durante a epidemia de gripe espanhola de 1918
+Moncorvo Filho consultando um bebê
+Moncorvo Filho e auxiliares no Posto de Assistência à Infância durante o surto de gripe espanhola
+Prédio que serviu para socorrer vítimas da gripe espanhola em 1918
+Socorro a um homem enfermo no Morro da Mangueira
+ 
+
+3 – Morro de Santo Antônio
+
+ 
+4 – Morro do Castelo
+
+ 
+5 - Pereira Passos
+ 
+6 – Saúde pública
+
+ 
+Augusto Malta. Carnaval na avenida Central, atual avenida Rio Branco, c. 1906. Rio de Janeiro, RJ / Acervo IMS
+
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/4990` — `itens/20.500.12156.1_4990/`
+- `20.500.12156.1/2726` — `itens/20.500.12156.1_2726/`
+
diff --git a/wordpress/19480-a-mulher-negra-de-turbante-de-alberto-henschel.md b/wordpress/19480-a-mulher-negra-de-turbante-de-alberto-henschel.md
new file mode 100644
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--- /dev/null
+++ b/wordpress/19480-a-mulher-negra-de-turbante-de-alberto-henschel.md
@@ -0,0 +1,75 @@
+---
+id: 19480
+url: "https://brasilianafotografica.bn.gov.br/?p=19480"
+titulo: "A mulher negra de turbante, de Alberto Henschel"
+autor: "Andrea Wanderley"
+data: "2020-05-13T08:54:20+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/6847"]
+fetched_at: "2026-09-10T10:02:19.379Z"
+---
+
+# A mulher negra de turbante, de Alberto Henschel
+
+A Brasiliana Fotográfica publica hoje, Dia da Abolição da Escravatura, o artigo “A mulher negra de turbante, de Alberto Henschel”. Nele, as autoras, Aline Montenegro Magalhães e Maria do Carmo Rainho, historiadoras, respectivamente, do Museu Histórico Nacional e do Arquivo Nacional, duas instituições parceiras do portal, fazem a análise morfológica do retrato e levantam diversas questões como a representação imagética da mulher negra e a associação frequente da fotografia em questão com Luisa Mahin, mãe do poeta, advogado e abolicionista Luís Gama, e liderança da Revolta dos Malês, um dos maiores levantes de escravizados promovidos no Brasil, em Salvador, em 1835.
+ 
+A mulher negra de turbante, de Alberto Henschel
+Aline Montenegro Magalhães e Maria do Carmo Rainho*
+ 
+Dentre tantas imagens produzidas pelo fotógrafo Alberto Henschel[1], na segunda metade do século XIX, nota-se nos últimos anos o fascínio pela fotografia de uma mulher negra portando um turbante estampado. Nos limites deste artigo e, na trilha do historiador Ulpiano Bezerra de Meneses, chamamos a atenção para as qualidades estéticas dessa imagem, sua potência enquanto artefato, sua agência, a capacidade de produzir sentidos, de convocar diferentes apropriações e usos, e, finalmente, seu potencial de iconização.[2] Cabem, assim, algumas perguntas: o que explica a ampla circulação do registro, onipresente em variados meios e produtos? Por que a associação entre esta fotografia e Luiza Mahin? Qual a relação entre o seu uso maciço e a invisibilidade ou a subalternidade imposta a negros e negras em produtos culturais – em especial, em algumas exposições?
+ 
+Alberto Henschel. Mulher de turbante, c. 1870. Rio de Janeiro, RJ / Acervo IMS
+ 
+Conforme Joana Flores,[3] em sua análise sobre as exposições de longa duração em museus da cidade de Salvador, pode-se afirmar que, ainda hoje, as mulheres negras são reduzidas a coadjuvantes; suas imagens são apresentadas, em locais como o Museu Henriqueta Catharino, sem referências, legendas ou textos explicativos. Para a autora, não basta estas mulheres estarem presentes em suportes materiais: sem identidade, sem história, sem memória, a presença se traduz em ausência.
+Em exposições organizadas em fazendas históricas do Vale do Paraíba, para além da subalternidade – com fotografias de homens e mulheres negros relegados a espaços secundários, uma espécie de porão/senzala, contrapondo-se às casas grandes, lugar exclusivo dos barões e das baronesas – verifica-se uma despreocupação em identificar corretamente os sujeitos. Em uma das fazendas, a São Luiz da Boa Sorte, em Vassouras, Rio de Janeiro, por exemplo, vemos o registro da mulher de turbante, de Henschel, ladeada de outros dois, de homens negros. Em nenhum deles há legendas com o crédito do fotógrafo, a data e o local de produção da imagem e a instituição detentora, como se as fotografias pudessem falar por si, dando margem à imaginação de guias e visitantes. Ali, como em muitas outras instituições de memória e, também em produtos culturais, a mulher é apresentada como Luísa Mahin, mãe do poeta, advogado e abolicionista Luís Gama, e liderança da Revolta dos Malês, um dos maiores levantes de escravizados promovidos no Brasil, em Salvador, em 1835.
+Na análise morfológica do retrato em questão, vemos um fundo neutro que apresenta uma mulher em meio busto, com vestido escuro “decotado”, ombros à mostra, brincos e turbante estampado. Nada além disso. Nenhum mobiliário, apoio, utensílio ou instrumento de trabalho ou mesmo qualquer acessório em sua indumentária além dos mencionados. Ela não apresenta marcas. Assim como a maior parte das negras retratadas por Henschel, a mulher de turbante não sorri; ela exibe um olhar firme, quase desafiador.
+O fato de existirem poucos elementos na composição da foto; a presença do turbante remetendo aos africanos de origem muçulmana que se rebelaram na Bahia em 1835; o olhar da retratada, são algumas pistas que podem ajudar a entender a associação entre a imagem e Luísa Mahin. Mas, chama a atenção que aquela continue a ser utilizada sem que se atente para a questão de que não há registros fotográficos da Revolta dos Malês nem dos seus participantes, posto que, apenas em 1849, foi anunciada a descoberta da daguerreotipia, processo fotográfico desenvolvido por Joseph Nicéphore Niépce (1765-1833) e Louis Jacques Mandé Daguerre (1787-1851). Em segundo lugar, conforme informação do Instituto Moreira Salles[4] a fotografia teria sido produzida por volta de 1870, ou seja, trinta e cinco anos após o evento. Levando-se em conta a visível juventude da retratada, não há possibilidade de ser Luísa Mahin, cuja história tornou-se mais conhecida por meio do livro Um defeito de cor de Ana Maria Gonçalves.[5]
+A atribuição anacrônica vai sendo difundida graças à ampla circulação da imagem, em especial nos meios eletrônicos, e ao seu uso reiterativo. Uma busca na Internet com as palavras “Luísa Mahin”, “negra de turbante”, “escrava de turbante” e, sobretudo, associando-se estas expressões a Henschel ou Alberto Henschel, nos leva a uma grande quantidade de registros e diferentes usos da fotografia na divulgação de eventos, ilustração de artigos, capas de livros, intervenções urbanas, instalações artísticas e obras de arte, como “As filhas  de Eva” de Rosana Paulino, rótulos de cerveja e até em tatuagens, dentre muitos outros.[6]
+Indo além da discussão em torno de um desconhecimento sobre a história da fotografia e sobre a história da Revolta dos Malês e de Luiza Mahin, podemos entender a apropriação dessa imagem como um desejo de dar voz e corpo a uma mulher. Se a própria existência de Luísa Mahin é questionada pela historiografia e sua participação no levante deve ser problematizada, como observa João José Reis,[7] na mesma medida, verifica-se, nas últimas décadas, um processo de mitificação que visa à sua manutenção no imaginário afro-brasileiro. Essa estratégia se deve, em especial, ao feminismo negro que, no intuito de superar a violência simbólica exercida sobre as mulheres negras, “buscou positivar a imagem das afro-brasileiras, recorrendo à reelaboração e valorização das histórias das suas sucessoras.”[8]
+A mulher fotografada por Henschel é identificada como Luísa Mahin até mesmo em eventos acadêmicos, como observado em uma apresentação no I Congresso Nacional do PROFHISTÓRIA (Mestrado Profissional em Ensino de História), realizado em Salvador, em 2019. Uma historiadora que trabalha com educação patrimonial nas fazendas do Vale do Paraíba, tendo exibido a fotografia associando-a a mãe de Luís Gama, foi questionada quanto ao seu uso. A resposta foi enfática: uma escolha. Desejo de atribuir um rosto a uma personagem guerreira. É o olhar altivo com que a modelo encara a câmera sintetizando qualidades como força, resistência e coragem que corresponde à imagem desejada para essa mulher.
+Nesse sentido e, no nosso entendimento, a mulher negra de turbante acaba contrariando a tese de Manuela Carneiro da Cunha sobre escravizados retratados, quando afirma que “Num retrato pode-se ser visto e pode-se dar a ver […]. Quem encomenda uma fotografia mostra-se, dá-se a conhecer […] como gostaria de ser visto […] É o sujeito do retrato. Aqui o escravo é visto, não se dá a ver.”[9] Certamente não é o caso da modelo fotografada por Henschel. Ela subverte a condição de escravizada e, por isso, objetificada, dando-se a ver como protagonista. E nesse aspecto, as autoras Maria Lafayette Aureliano Hirszman e Sandra Sofia Machado Koutsokos concordariam conosco, segundo a perspectiva de seus estudos sobre os retratos de autoria de Christiano Jr.[10]
+Assim, a “negra de turbante” é retirada do sistema de classificação humana, usado para deleite, curiosidade, e principalmente para estudos sobre o “outro”. Estes, baseados em teorias cientificistas, de fundo racista, amplamente difundidas ao longo do século XIX, para as quais os registros fotográficos contribuíram como forma de comprovação de teses, como a de que os negros eram seres inferiores.[11] Deixa de ser vista da forma generalizante com que foi categorizada, um “tipo de negro”[12], exemplar de uma coletividade exótica e pitoresca, muito cara ao romantismo dos estudos de folclore. Entra para a história ao ganhar a singularidade de uma identidade – mesmo que atribuída muitos anos depois de sua própria morte – que a torna protagonista e ícone na construção da memória afro-diaspórica no Brasil.
+ 
+[1] Sobre Henschel, ver, entre outros, HEYNEMANN, Cláudia. “De Berlim às capitais do Império: a experiência fotográfica em Alberto Henschel”. In: BAREL, Ana Beatriz Demarchi e COSTA, Wilma Peres (Orgs.). Cultura e poder entre o Império e a República: Estudos sobre os imaginários brasileiros (1822-1930), São Paulo, Alameda, 2018. HEYNEMANN, Cláudia e RAINHO, Maria do Carmo Teixeira. Retratos Modernos. Rio de Janeiro: Arquivo Nacional, 2005.KOSSOY, Boris. Dicionário histórico-fotográfico brasileiro: fotógrafos e ofício da fotografia no Brasil. São Paulo: Instituto Moreira Salles, 2002. VASQUEZ, Pedro. Karp. Fotógrafos alemães no Brasil do século XIX. São Paulo: Metalivros, 2000. WANDERLEY, Andrea C. T. O alemão Alberto Henschel (1827 – 1882), o empresário da fotografia, Brasiliana Fotográfica. Disponível em: https://brasilianafotografica.bn.gov.br/?p=1138. Acesso em 2 de março de 2020.
+[2] MENESES, Ulpiano T. Bezerra de. A fotografia como documento – Robert Capa e o miliciano abatido na Espanha: sugestões para um estudo histórico. Tempo, Rio de Janeiro,n. 14, 2002, p. 131-151.
+[3] FLORES, Joana . Mulheres negras e museus de Salvador. Diálogo em branco e preto. Salvador: edição da autora , 2017.
+[4] A imagem também pode ser encontrada também no EthnologischesMuseum, de Berlim e na Fundação Joaquim Nabuco.
+[5] GONÇALVES, Ana Maria. Um defeito de cor. Rio de Janeiro: Record, 2018.
+[6] Ver, entre outros: o material de divulgação da palestra “Autografias Luíza Mahin: um mito libertário no Feminismo Negro”, promovida pelo SESC, em São Paulo, em 2015, disponível em: https://centrodepesquisaeformacao.sescsp.org.br/atividade/luiza-mahin-um-mito-libertario-no-feminismo-negro , acesso em 10 de julho de 2019; do Colóquio Internacional Subjectividades Escravas nos Mundos Ibéricos (Séculos XV-XX), realizado em 2018, promovido pelo Instituto de Ciências Sociais da Universidade de Lisboa, Portugal, disponível em: https://www.ics.ulisboa.pt/sites/ics.ulisboa.pt/files/events/cartaz/diptico_subjective_hd1.pdf, acesso em 20 de agosto de 2019; as capas dos livros O genocídio do negro brasileiro: processo de um racismo mascarado, de Abdias do Nascimento, disponível em: https://www.editoraufv.com.br/produto/o-genocidio-do-negro-brasileiro–processo-de-um-racismo-mascarado-3-edicao/1784951, acesso em 29 de fevereiro de 2020; Ocupação Luiza Mahin, disponível em: http://www.sindipetroba.org.br/2017/noticia/8337/lancamento-do-livro-%E2%80%9Cocupac%C3%A3o-luisa-mahin%E2%80%9D-tem-feijoada-e-m%C3%BAsica, acesso em 20 de agosto de 2019; Luiza Mahin, romance de Armando Avena, disponível em: http://atarde.uol.com.br/coluna/armandoavena/2112050-heroina-negra-luiza-mahin-e-tema-de-livro-de-armando-avena-premium, acesso em 12 de dezembro de 2019; o cartaz do evento “Sarau das Pretas – Luiza Mahin vive!”; disponível em: https://www.londrinatur.com.br/agenda/sarau-das-pretas-luiza-mahin-vive/, acesso em 20 de agosto de 2019; o site do MAR com a divulgação da exposição “Rosana Paulino: a costura da memória”, disponível em: http://museudeartedorio.org.br/programacao/a-costura-da-memoria-2/, acesso em 29 de fevereiro de 2020; a tatuagem apresentada como “Portrait de Luiza Mahin uma das figuras africanas mais importantes da história”, disponível em: http://picdeer.org/thiago.maga.tattoo, acesso em 20 de agosto de 2019; o rótulo da cerveja Mahin, disponível em https://www.facebook.com/1984215361805614/photos/a.1985548531672297/1985548365005647/?type=3&theater, acesso em 20 de agosto de 2019.
+[7] “Nenhuma Luíza, aliás, foi incluída em quaisquer listas de presos por envolvimento no levante. A única mulher com esse nome que encontrei em 1835 foi uma liberta, presa provavelmente em novembro para ser deportada por crime não especificado, mas de forma alguma por insurreição. […] O personagem Luíza Mahin, então, resulta de um misto de realidade possível, ficção abusiva e mito libertário. A rigor, o que dela se conhece tem pouca fundamentação histórica. O que mais se aproxima dela é o pouco que sobre ela escreveu o filho Luiz Gama. Do que este revelou, o envolvimento da mãe em 1835 é até possível, embora os documentos sobre a revolta não o confirmem e indiquem como altamente improvável seu papel de liderança.” REIS, João José. Rebelião escrava no Brasil: a história do levante dos malês em 1835. São Paulo: Companhia das Letras, 2003, p. 301-303.
+[8] LIMA, Dulcilei da Conceição. Desvendando Luiza Mahin: um mito libertário no cerne do feminismo negro. Dissertação. Mestrado em Educação, Arte e História da Cultura, São Paulo, Universidade Presbiteriana Mackenzie, 2011, p.8.
+[9] CUNHA, Manuela Carneiro da. “Olhar escravo, ser olhado”. In: AZEVEDO, Paulo Cesar de e LISSOVSKY, Mauricio [e outros] Escravos brasileiros do século XIX na fotografia de Christiano Jr. São Paulo: Ed. Ex Libris Ltda., 1988, p. 23. Apud. KOUTSOUKOS, Sandra Sofia Machado. No estúdio do fotógrafo. Representação e auto-representação de negros livres, forros e escravos no Brasil da segunda metade do século XIX. Tese. Doutorado em Multimeios, Campinas, UNICAMP, 2006, p. 107.
+[10] HIRSZMAN, Maria Lafayette Aureliano. Entre o tipo e o sujeito: os retratos de escravos Christiano Jr. Dissertação. Mestrado em Artes, São Paulo, USP. 2011. KOUTSOUKOS, Sandra Sofia Machado. No estúdio do fotógrafo, op. cit.
+[11] KOUTSOUKOS, Sandra Sofia Machado. ‘Typos de pretos no estúdio do photographo’: Brasil segunda metade do século XIX. Anais do Museu Histórico Nacional, Rio de Janeiro, v. 39, 2008, p. 455-482.
+[12] O “tipo” é uma denominação classificatória das diferenças humanas físicas e culturais, caras aos estudos de história natural dos séculos XVIII e XIX, segundo os quais, a humanidade é parte da natureza e deve ser estudada segundo os mesmos critérios taxonômicos. “Assim, foi-se criando e se afirmando cada vez mais […] um padrão imagético taxonômico cuja expressão mais evidente pode-se chamar de documentação de espécimes – sejam botânicos, animais, ou tipos humanos inseridos em universos sociais”. Cf. SELA, Eneida Maria Mercadante. Modos de ser em modos de ver: ciência e estética em registros de africanos por viajantes europeus (Rio de Janeiro, ca. 1808-1850). Tese. Doutorado em História. Campinas, Unicamp, 2006. p.65. Em outras palavras, a classificação humana como “tipo” era uma forma não apenas de estudar o “outro”, mas também de inferiorizá-lo e dominá-lo, sob a perspectiva de lidar com uma “essência abstrata da variação humana” que é como o “tipo” é definido por Elizabeth Edwards Apud. HIRSZMAN, Maria Lafayette Aureliano. Entre o tipo e o sujeito…, op. cit. p. 48.
+ 
+*Aline Montenegro Magalhães é Doutora em História | Pesquisadora do Museu Histórico Nacional
+Maria do Carmo Rainho é Doutora em História | Pesquisadora do Arquivo Nacional
+ 
+O artigo Produção, usos e apropriações de uma imagem: o processo de iconização da fotografia da mulher de turbante, de Alberto Henschel, das mesmas autoras e também sobre esse tema foi publicado da Revista de História da UEG (Universidade Estadual de Goiás), em 14 de julho de 2020. **
+Link para o artigo As reencarnações de uma mulher negra: pessoa-coisa-pessoa, de Alexandre Araujo Bispo, publicado em 17 de novembro de 2020, na Revista de Fotografia Zum.***
+ 
+**Esta informação foi acrescentada ao texto em 16 de julho de 2020.
+*** Esta informação foi acrescentada ao texto em 17 de março de 2021.
+ 
+ Links para artigos da Brasiliana Fotográfica sobre Alberto Henschel e sobre a escravidão no Brasil
+ 
+Photographia Allemã, de Alberto Henschel / Acervo IMS
+ 
+Dia da Abolição da Escravatura, publicado em 13 de maio de 2015
+ 
+
+Missa campal de 17 de maio de 1888, publicado em 17 de maio de 2015
+ 
+
+O alemão Alberto Henschel (1827 – 1882), o empresário da fotografia, publicado em 13 de junho de 2015
+ 
+
+Retratos de escravizados pelo fotógrafo Christiano Junior (1832 – 1902), de Maria Isabel Ribeiro Lenzi, publicado em 13 de maio de 2019
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/6847` — `itens/20.500.12156.1_6847/`
+
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+---
+id: 19524
+url: "https://brasilianafotografica.bn.gov.br/?p=19524"
+titulo: "Nos passos de Oswaldo: imagens das expedições do IOC aos portos do Brasil entre 1911 e 1913"
+autor: "Andrea Wanderley"
+data: "2020-05-25T10:50:37+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/8116", "20.500.12156.1/8119", "20.500.12156.1/8103", "20.500.12156.1/8123", "20.500.12156.1/8112"]
+fetched_at: "2026-09-10T10:02:22.931Z"
+---
+
+# Nos passos de Oswaldo: imagens das expedições do IOC aos portos do Brasil entre 1911 e 1913
+
+Hoje a Fundação Oswaldo Cruz completa 120 anos e a Brasiliana Fotográfica homenageia a instituição com a publicação de um artigo e de imagens das expedições realizadas por pesquisadores do Instituto Oswaldo Cruz aos portos do Brasil, entre os anos de 1911 e 1913. As fotos estão sob a guarda do Departamento de Arquivo e Documentação da Casa de Oswaldo Cruz, unidade da Fiocruz parceira do portal e responsável pela preservação do patrimônio histórico da Fundação. Hoje, se os aeroportos são as principais vias de entrada de vírus como o Sars-Cov-2, no passado o controle para evitar epidemias começava nos portos marítimos e fluviais. Quem nos conta essa história é Cristiane d’Avila, jornalista do DAD/COC. No final do artigo, estão listados, com links, todos os 25 artigos produzidos pelo Departamento de Arquivo e Documentação da Casa de Oswaldo Cruz para a Brasiliana Fotográfica.
+ 
+Nos passos de Oswaldo: imagens das expedições do IOC aos portos do Brasil em entre 1911 e 1913
+   Cristiane d’Avila*
+ 
+Plano inclinado do Porto de Manaus, 10/1912 a 02/1913. Manaus, AM / Acervo Casa de Oswaldo Cruz
+ 
+“Os meios de defesa dos portos da extensa costa brasileira são totalmente ineficientes contra a penetração de moléstias contagiosas vindas do estrangeiro. O serviço sanitário dos portos é verdadeiramente vergonhoso. É imprescindível instalar estações de desinfecção nos portos principais, bem como hospitais de isolamento com laboratórios, indispensáveis para o diagnóstico das moléstias”[1].
+As rigorosas medidas sanitárias citadas acima foram pinçadas de uma carta de Oswaldo Cruz escrita em 1905, quando o cientista chefiava a Diretoria Geral de Saúde Pública (DGSP). Em inédita e pioneira expedição científica a portos marítimos e fluviais de Norte a Sul do Brasil, Cruz escreveu, diariamente, dezenas de cartas à esposa Emília da Fonseca Cruz e telegramas a autoridades da época. Em suas missivas, o cientista relatava o que via nos “sertões”[2] e localidades até então quase inabitadas do país.
+ 
+Acessando o link para as 21 fotografias selecionadas sobre as expedições do IOC aos portos do Brasil em entre 1911 e 1913 para esse artigo disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Nessa expedição, que durou mais de 100 dias entre os meses de setembro de 1905 a fevereiro de 1906, Oswaldo Cruz constatou o risco a que estava sujeita a população nas “portas de entrada” do país, os portos marítimos e fluviais. Seu objetivo era combater, principalmente, doenças como malária, peste bubônica e febre amarela, entre outras enfermidades. Era preciso sanear aquelas localidades e também responder positivamente a tratados internacionais. Signatário da 11ª Conferência Sanitária Internacional, assinada em Paris, em 1903, e da Convenção Sanitária entre as Repúblicas Platinas, assinada no Rio de Janeiro, em 1904, o país tinha o compromisso de promover a reforma da organização sanitária das zonas portuárias brasileiras.
+A bordo do navio República, Oswaldo Cruz fez o seguinte percurso de inspeção aos portos, partindo do porto do Rio de Janeiro: Cabo Frio (RJ), Vitória (ES); Caravelas, Porto Seguro, Santa Cruz e Salvador (BA); Aracaju (SE); Penedo e Maceió (AL); Tamandaré e Recife (PE), Cabedelo e João Pessoa (PB); Natal, Mossoró e Assu (RN); Camocim e Fortaleza (CE); Amarração (PI), São Luís (MA); Belém, Santarém e Óbidos (PA); e Parintins e Manaus (AM). O propósito foi estabelecer nessas localidades estações de desinfecção e hospitais de isolamento, para debelar moléstias que mortificavam o povo empobrecido do interior.
+ 
+Gaiola ancorada – Rio Branco, Rio Acre, 21/12/1912 – 31/12/1912. Rio Branco, AC / Acervo Casa de Oswaldo Cruz
+ 
+“A série não está completa. A última carta disponível foi enviada de São Luís do Maranhão, mas sabemos que Oswaldo Cruz prosseguiu viagem até Manaus e, depois, aos portos do Sul”, explica a pesquisadora do Departamento de Arquivo e Documentação da Casa de Oswaldo Cruz (DAD/COC) Ana Luce Girão, no artigo “A bordo do República: diário pessoal da expedição de Oswaldo Cruz aos portos marítimos e fluviais do Brasil”.
+Em segunda etapa da viagem iniciada em janeiro de 1906, o cientista rumou para o Sul a bordo do paquete Santos. Foi quando visitou os portos de Santos, Paranaguá, São Francisco e Rio Grande. Estendeu o itinerário até as capitais do Uruguai, da Argentina e do Paraguai e, em seguida, a Corumbá (MT). Em 28 de fevereiro, depois de passar novamente por Buenos Aires e Assunção, retornou ao Rio de Janeiro[3].
+ 
+Porto de Januária, 1911-1912. Januária, MG / Acervo Casa de Oswaldo Cruz
+ 
+Infelizmente, não há registro fotográfico sobre essa expedição aos portos marítimos e fluviais do Brasil pela DGSP [4], mas o DAD/COC guarda 29 documentos textuais de Oswaldo sobre a experiência. Além de representarem um minucioso e praticamente único relato da viagem, neles o cientista registra impressões sobre as condições de saúde, arquitetura e topografia das cidades visitadas. Tal qual um etnógrafo, tece observações sobre hábitos e costumes, comportamentos e modos de vestir e falar das elites locais e da população em geral[5].
+Esse conjunto documental faz parte da série Correspondência do Fundo Oswaldo Cruz, a qual possui cerca de dois mil itens documentais de tipo textual, iconográfico e cartográfico, com datas-limite situadas entre 1885 e 1953. Para Ana Luce Girão, aí está registrada, com considerável detalhe, a trajetória profissional, intelectual e administrativa do titular.
+ 
+Porto de Recife, 11 de maio de 1913. Recife, PE / Acervo Casa de Oswaldo Cruz
+ 
+As 21 fotos selecionadas para ilustrar este artigo abrangem as expedições científicas de pesquisadores do Instituto Oswaldo Cruz (IOC) realizadas entre 1911 e 1913. Seguindo os passos do mentor Oswaldo Cruz, Arthur Neiva e Belisário Penna percorreram o norte da Bahia, o sudeste de Pernambuco, o sul do Piauí e Goiás de norte a sul. João Pedro de Albuquerque e José Gomes de Faria dirigiram-se para o Ceará e o norte do Piauí. Adolpho Lutz e Astrogildo Machado desceram o rio São Francisco, de Pirapora a Juazeiro, cruzando também alguns de seus afluentes. Carlos Chagas, Pacheco Leão e  João Pedro Albuquerque inspecionaram boa parte da bacia do rio Amazonas através dos rios Solimões, Juruá, Purus, Acre, Iaco, Negro e o baixo rio Branco.
+“Os temas de maior ocorrência no conjunto fotográfico de 1913 são as paisagens rurais e fluviais e os transportes. Rios, barrancos e vegetações emolduram vultos de vapores, gaiolas e embarcações menores, denotando a vastidão do território, a dificuldade de percorrê-lo e a escassa presença humana”[6].
+ 
+Porto de Providência, Rio Negro, fevereiro de 1913. Acre / Acervo Casa de Oswaldo Cruz
+ 
+A partir de documentos da viagem de Oswaldo Cruz em 1905 e das expedições do IOC de 1911 a 1913, pesquisadores da COC produziram os documentários Chagas na Amazônia (1991)[7], Chagas nos rios Negro e Branco (1994)[8], Chagas no Acre e Purus (1997)[9] e Oswaldo Cruz na Amazônia (2002)[10], refazendo as mencionadas viagens e reexaminando questões relativas às condições sanitárias da região amazônica.
+ 
+[1] Trecho extraído de carta de Oswaldo Cruz reproduzida em áudio no documentário Oswaldo Cruz na Amazônia, de Stella Oswaldo Cruz Penido e Eduardo Thielen, produzido pela VideoSaúde Distribuidora da Fiocruz.
+[2] Para compreender melhor a expressão ver LIMA, 1998.
+[3] Para saber mais, acesse www.oswaldocruz.fiocruz.br
+[4] PENIDO, 2007.
+[5] Ver em http://basearch.coc.fiocruz.br/index.php/expedicao-aos-portos-maritimos-e-fluviais-do-brasil-pela-dgsp
+[6] SANTOS, THIELEN, 1996.
+[7] Ver em https://youtu.be/LzYdhNO2EQw
+[8] Ver em https://youtu.be/-ungTgViUBw
+[9] Ver em https://youtu.be/OCB-wuyX194
+[10] Ver em https://portal.fiocruz.br/video-oswaldo-cruz-na-amazonia-revolta-da-vacina
+ 
+*Cristiane d’Avila é jornalista do Departamento de Arquivo e Documentação Casa de Oswaldo Cruz/Fiocruz
+ 
+Fontes:
+LIMA, Ana Luce Girão Soares de. “A bordo do República: diário pessoal da expedição de Oswaldo Cruz aos portos marítimos a fluviais do Brasil”. Hist. cienc. saúde-Manguinhos,  Rio de Janeiro ,  v. 4, n. 1, p. 158-167,  June  1997 .   Disponível em https://bit.ly/3d3ZSt8.
+LIMA, Nísia Trindade. Missões civilizatórias da República e interpretação do Brasil. Hist. cienc. saude-Manguinhos,  Rio de Janeiro ,  v. 5, supl. p. 163-193,  jul.  1998 .   Disponível em https://bit.ly/2WosQNK.
+PENIDO, Stella Oswaldo Cruz. “Carta do editor”. Hist. cienc. saúde-Manguinhos,  Rio de Janeiro ,  v. 14, supl. p. 7-9,  dez.  2007 .   Disponível em https://bit.ly/2yeuzNC.
+REBELO, Fernanda. “Entre o Carlo R. e o Orleannais: a saúde pública e a profilaxia marítima no relato de dois casos de navios de imigrantes no porto do Rio de Janeiro, 1893-1907”. Hist. ciênc. saúde – Manguinhos, Rio de Janeiro, v.20, n.3, jul.-set. 2013, p.765-796.
+SANTOS, Fernando Dumas dos; THIELEN, Eduardo. “Revisitando a Amazônia de Carlos Chagas”. Hist. cienc. saúde-Manguinhos,  Rio de Janeiro ,  v. 3, n. 3, p. 523-534,  Nov.  1996 .   Disponível em  https://bit.ly/2YrZd0R.
+ 
+ 
+
+ 
+
+ 
+Lista dos 25 artigos produzidos pela Casa de Oswaldo Cruz para publicação na Brasiliana Fotográfica 
+(agosto de 2017 a maio de 2020)
+A apresentação do Departamento Nacional de Saúde Pública na Exposição Internacional do Centenário da Independência – 13/04/2020 – Ricardo Augusto dos Santos, Casa de Oswaldo Cruz, Fiocruz
+ 
+Cenas da folia em Manaus em 1913 – 28/02/2020 – Cristiane d´Avila, Casa de Oswaldo Cruz, Fiocruz
+ 
+Trilhos sobre a floresta: imagens da construção da E.F. Madeira-Mamoré – 14/10/2019 – Cristiane d´Avila, Casa de Oswaldo Cruz/Fiocruz
+ 
+As ruínas de Brás de Pina – 30/09/2019 – Ricardo Augusto dos Santos, Pesquisador Titular da Fundação Oswaldo Cruz, Fiocruz
+ 
+O funeral de Teixeira Mendes pela lente de Augusto Malta – 02/08/2019 – Ricardo Augusto dos Santos, Pesquisador Titular da Fundação Oswaldo Cruz, e Marcus Vinícius Rubim Gomes é estagiário na Casa de Oswaldo Cruz, Fiocruz
+ 
+A descoberta da doença de Chagas – 14/06/2019 – Simone Petraglia Kropf, historiadora da Casa de Oswaldo Cruz, Fiocruz
+ 
+O cotidiano da Manguinhos – 24/04/2019 – Equipe da Fiocruz 
+ 
+As expedições do Instituto Oswaldo Cruz entre 1911 e 1913 – 14/03/2019 – Cristiane d´Avila, Casa de Oswaldo Cruz, Fiocruz
+ 
+Morro de Santo Antônio – 05/02/2019 – Ricardo Augusto dos Santos, Casa de Oswaldo Cruz, Fiocruz
+ 
+João Pedro ou João Pedroso? – 11/01/2019 – Ricardo Augusto dos Santos e Francisco dos Santos Lourenço, Casa de Oswaldo Cruz, Fiocruz
+ 
+Instituto Nacional de Infectologia Evandro Chagas: centenário da construção da pesquisa clínica em Manguinho – 21/12/2018 – Dilene Raimundo do Nascimento, Casa de Oswaldo Cruz, Fiocruz
+ 
+Instituto Nacional de Infectologia Evandro Chagas 100 anos: Carlos e Evandro Chagas em retratos de família,  – 27/11/2018 – Aline Lopes de Lacerda, Casa de Oswaldo Cruz, Fiocruz
+ 
+Instituto Nacional de Infectologia Evandro Chagas: 100 anos de pesquisa clínica – 26/10/2018 – Cristiane d´Avila, Casa de Oswaldo Cruz, Fiocruz
+ 
+O sanitarista Belisário Penna (1868 – 1939, um dos protagonistas da história da saúde pública no Brasil – 28/09/2018 – Ricardo Augusto dos Santos, Casa de Oswaldo Cruz, Fiocruz
+ 
+Vacinação no Brasil, uma história centenária – 17/08/2018 – Cristiane d´Avila, Casa de Oswaldo Cruz, Fiocruz
+ 
+A criação de uma vacina para a peste da manqueira, um marco na história da veterinária brasileira e mundial – 21/06/2018 – Cristiane d´Avila, Casa de Oswaldo Cruz, Fiocruz
+ 
+100 anos do Castelo da Fiocruz: criador e criatura – Renato da Gama-Rosa Costa – 15 /05/ 2018, Casa de Oswaldo Cruz, Fiocruz
+ 
+100 anos do Castelo da Fiocruz: os pedreiros do castelo da avenida Brasil – Ricardo Augusto dos Santos – 12/04/2018, Casa de Oswaldo Cruz, Fiocruz
+ 
+Febre amarela: imagens da produção da vacina no início do século XX – Aline Lopes de Lacerda – 23/03/2018, Casa de Oswaldo Cruz, Fiocruz
+ 
+100 anos do Castelo da Fiocruz: a ocupação da Fazenda de Manguinhos – Cristiane d´Avila – 28/02/2018, Casa de Oswaldo Cruz, Fiocruz
+ 
+Manguinhos e a cidade do Rio de Janeiro – Equipe da Fiocruz – 19/01/2018, Casa de Oswaldo Cruz, Fiocruz
+ 
+O cientista Oswaldo Cruz (1872 – 1917), prefeito de Petrópolis – Cristiane d’Avila com a colaboração de Ana Luce Girão, 28/12/2017, Casa de Oswaldo Cruz, Fiocruz
+ 
+O fotógrafo Joaquim Pinto da Silva, o J. Pinto (1884-1951) e a Fundação Oswaldo Cruz – Ricardo Augusto dos Santos, 16/11/2017, Casa de Oswaldo Cruz, Fiocruz
+ 
+Manguinhos e os sertões – Equipe da Fiocruz, 09/10/2017 , Casa de Oswaldo Cruz, Fiocruz
+ 
+Novos acervos: Casa de Oswaldo Cruz / Fiocruz – Fotografia, Ciência e Saúde Pública – Equipe da Fiocruz, 30/08/2017, Casa de Oswaldo Cruz, Fiocruz
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/8116` — `itens/20.500.12156.1_8116/`
+- `20.500.12156.1/8119` — `itens/20.500.12156.1_8119/`
+- `20.500.12156.1/8103` — `itens/20.500.12156.1_8103/`
+- `20.500.12156.1/8123` — `itens/20.500.12156.1_8123/`
+- `20.500.12156.1/8112` — `itens/20.500.12156.1_8112/`
+
diff --git a/wordpress/19636-de-genova-italia-a-maruim-sergipe-joao-firpo-um-artifice-de-imagens.md b/wordpress/19636-de-genova-italia-a-maruim-sergipe-joao-firpo-um-artifice-de-imagens.md
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+---
+id: 19636
+url: "https://brasilianafotografica.bn.gov.br/?p=19636"
+titulo: "De Gênova, Itália, a Maruim, Sergipe: João Firpo, um artífice de imagens"
+autor: "Andrea Wanderley"
+data: "2020-07-08T10:40:50+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/3938", "20.500.12156.1/3939"]
+fetched_at: "2026-09-10T10:02:26.553Z"
+---
+
+# De Gênova, Itália, a Maruim, Sergipe: João Firpo, um artífice de imagens
+
+Para comemorar a independência do estado de Sergipe, ocorrida há 200 anos, seguida pela nomeação como seu primeiro governador de Carlos Cesar Burlamaqui (1775 – 1844) (Gazeta do Rio de Janeiro, 26 de julho de 1820, segunda coluna), a Brasiliana Fotográfica publica o artigo “De Gênova, Itália, a Maruim, Sergipe: João Firpo, um artífice de imagens”, da historiadora e museóloga sergipana Sayonara Viana, leitora e entusiasta do portal. O italiano Giovanni Firpo chegou no Recife, em 1866, e três anos depois naturalizou-se brasileiro e adotou o nome João. Como fotógrafo itinerante percorreu diversas províncias do Nordeste brasileiro: Alagoas, Paraíba, Pernambuco, Rio Grande do Norte e Sergipe, estado que foi sua última residência. Sua obra fotográfica registrou cidades e paisagens e documentou a construção de ferrovias. Além disso, teve uma grande produção de retratos.
+ 
+Acessando o link para as fotografias de Sergipe disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Bandeira e brasão de Sergipe
+ 
+Carta Régia que desanexou da Capitania da Bahia o território de Sergipe, emancipando-o politicamente
+“Isenta a Capitania de Sergipe da sujeição ao Governo da Bahia, declarando-a independente totalmente.
+Convido muito ao bom regimen deste Reino do Brasil, e a prosperidade a que me proponho elevá-lo, que a Capitania de Sergipe de El Rei tenha um Governo independente do da Capitania da Bahia.
+Hei por bem isentala absolutamente da sugeição em que até agora tem estado do Governo da Bahia, declarando-a independente totalmente para que o Governador della a governe na forma praticada nas mais Capitanias independentes, communicando-se directamente com as Secretarias de Estado competentes, e podendo conceder sesmarias na forma das Minhas Reaes Ordens.
+Thomas Antonio de Villanova Portugal, Ministro e Secretario de Estado dos Negócios do Reino, o tenha assim entendido, e faça executar com as participações convenientes às diversas estações. Palácio do Rio de Janeiro e 8 de julho de 1820. (Com a rubrica de S.M.)”
+ 
+De Gênova, Itália, a Maruim, Sergipe: João Firpo, um artífice de imagens
+                                                                                        Sayonara Viana*
+ 
+João Firpo. Retrato de criança, c. 1880. João Pessoa, Paraíba / Acervo IMS
+ 
+O movimento das imagens evidencia seus diferentes contornos, revelando sentidos e significados produzidos pela arte fotográfica de João Firpo, que deixou vestígios documentais para a história da fotografia no Brasil ao registrar e elucidar traços peculiares de algumas cidades do país. Giovanni Firpo nasceu em Nervi, Gênova, na Itália, em 20 de fevereiro de 1839, filho de Domenico Firpo e Catterina Corsi. O registro encontra-se no Livro de Registro n°. 93, linha 422, do ano de 1839, na Lista Di Leva da cidade de Gênova. Até o momento são poucos os dados que conseguimos obter sobre esse fotógrafo. Existem muitas lacunas entre o seu nascimento e o ano em que imigrou para a América. O que se sabe é que Firpo foi proprietário de um laboratório fotográfico na cidade de Gênova.
+ 
+Cópia do livro de registro de nascimento em 1839 / Acervo Aroldo A. Firpo
+ 
+Fotógrafo profissional e itinerante, viajou de Gênova com destino ao Brasil em 13 de agosto de 1866 e aportou no Recife, em Pernambuco, em 18 ou 19 de outubro desse mesmo ano. As informações contidas em seu passaporte permitem-nos construir a imagem de um jovem de 27 anos com “cabelo negro, sobrancelha escura, olhos castanhos, barba curta e cicatriz na testa“. Veio acompanhado da esposa Maria Lydia Firpo e dos seus três filhos menores: Domenico, de cinco anos; Giulio, de três anos; e Antônio, com oito meses. Viajaram na polaca italiana Linda (Diário de Pernambuco, 20 de outubro de 1866, quinta coluna).
+ 
+Cópia do passaporte utilizado na viagem para o Brasil em 1866 / Acervo Aroldo A. Firpo.
+ 
+No Brasil, Giovanni Firpo adotou o nome de João Firpo, aprovado em sessão do Parlamento Brasileiro no Rio de Janeiro, em 25 de agosto de 1870, quando naturalizou-se brasileiro. Em 1867, fixou residência na cidade do Recife comprando o estabelecimento comercial de fotografia do Sr. Leon Chapelin, à Rua da Imperatriz, n° 14, conforme anúncio publicado no Diário de Pernambuco de 23 de abril de 1867.
+ 
+Diário de Pernambuco, 23 de abril de 1867
+ 
+Posteriormente, inaugurou um ateliê fotográfico, à Rua Nova n° 29, na cidade da Parahyba, onde estaria de passagem (O Publicador,  16 de dezembro de 1867).
+ 
+O Publicador, 16 de dezembro de 1867
+ 
+Nesse período, os fotógrafos itinerantes anunciavam seus serviços nos periódicos locais informando que estavam vendendo material fotográfico e fotografando nas residências e fazendas das vilas e cidades. Sobre a itinerância fotográfica no Brasil, Segala (1998) descreve:
+ 
+“Placas de vidro, frascos e drogas amarrados nas caixas, nos balaios das mulas. Os panos negros, os alaranjados, feitios da tenda fotográfica, cobrem das poeiras e dos ciscos a câmera escura. A viagem começa cedo, protegendo as águas e as químicas do sol alto”.                                                                                                                                                                                                                                                                                                                                (SEGALA, 1998, p.62).
+ 
+João Firpo, como fotógrafo itinerante, viajou pelas Províncias do Norte do Brasil – Alagoas, Paraíba, Pernambuco, Rio Grande do Norte e Sergipe -, documentando famílias, personagens ilustres e paisagens urbanas, preservadas por instituições de memória desses estados.
+ 
+Mapa das províncias por onde João Firpo itinerou
+ 
+Destacou-se pela densidade e intensidade de capturar “as vistas” da cidade da Parahyba ao fotografar prédios públicos, vistas, ruas e as mudanças na paisagem urbana. Residiu em vários locais da cidade procurando sempre se instalar próximo a uma potencial clientela e sempre buscando fixar as imagens em outro suporte para atingir a um público maior. Como informa  Lira (1997):
+” No ano de 1876, já atuava na rua da Viração 17, o fotógrafo João Firpo com sua “Photographia Italiana”, oferecendo ao público, através de anúncio no Jornal da Paraíba de 09 de junho, seus “cartões sobre sistema de porcelana e photographia simples”. No ano seguinte, Firpo encontra-se instalado na rua Barão da Passagem (atual Rua da Areia), n° 92″.
+Provavelmente por ter grande aceitação junto ao público, continuou atuando na cidade, acompanhando as mudanças na sua paisagem e Há indícios da sua atuação na Rua Direita n° 62 e, em 1885, na rua Duque de Caxias, n° 62, indicando a sua atividade na cidade entre 1877 e 1885 (BECHARA FILHO, 1983).
+Sobre esses registros históricos, Azevedo (2017), assinala que:
+“Em 1878, quando, provavelmente, o fotógrafo João Firpo tomou as primeiras imagens do Largo do Colégio, ele iniciou o registro uma série de informações sobre o ambiente construído que chegaram até os nossos dias em uma espécie de testemunho da conformação física de como já foi a paisagem urbana da cidade da Parahyba. De modo particular, essas fotografias nos contam o percurso histórico de como o Largo do Colégio e o seu entorno foram sendo construídos e, também, desconstruídos, ao longo de sete décadas, entre 1870 e 1930′. 
+(AZEVEDO, 2011, p. 2027).
+ 
+Outra atuação que marcou a sua trajetória fotográfica foi o trabalho sistemático de documentação fotográfica da expansão ferroviária da Parahyba, muito comum no final do século XIX e utilizada pela administração pública para compor os relatórios das obras e as reportagens dos periódicos. João Firpo foi contratado  para acompanhar o progresso da ferrovia da Companhia Inglesa Conde D’Eu Railway Company Limited, responsável pela construção da primeira etapa do trecho entre Natal e Recife.
+João Firpo deixou importante legado iconográfico pelas cidades e vilas por onde andou. Entretanto, várias imagens atribuídas a ele estão sem identicação porque durante um período da sua atuação nem sempre as fotografias eram carimbadas. No que diz respeito aos retratos, principalmente o modelo ‘carte de visite’,  ao longo da sua produção ele utilizou diversas vinhetas.
+Uma curiosidade: na primeira figura abaixo, que é o verso da fotografia “Retrato de criança”, destacada nessa publicação, estão impressos à esquerda, o brasão do Segundo Império, e, à direita, o do Reino da Itália.
+ 
+João Firpo. Retrato de criança (verso), c. 1880. João Pessoa, Paraíba / Acervo IMS
+ 
+Verso de fotografia de João Firpo / Acervo Fundação Joaquim Nabuco
+ 
+Verso de fotografia de João Firpo / Acervo Fundação Joaquim Nabuco
+ 
+Em 1893, provavelmente atraído pela prosperidade econômica da Província de Sergipe, cuja região da Cotinguiba era o centro da produção açucareira, escolheu a Villa de Maruim para residência de sua família e instalação do seu laboratório fotográfico e continuou a viajar pelo Norte anunciando nos periódicos locais o seu ofício.
+João Firpo faleceu em Maruim, em 1899, aos 61 anos. Está sepultado no cemitério Cruzeiro do Novo Século. Deixou nove filhos: três nascidos na Itália, três nascidos no Rio Grande do Norte e três nascidos na cidade da Parahyba.
+
+Domenico Firpo (Gênova – 1861 -?).
+Giulio Firpo (Gênova – 1863 – ?)).
+Antônio Firpo (Gênova – 1865- ?).
+João Firpo Júnior (RN – 1869 -?).
+Eládio Firpo (RN – 1874- ?).
+Arthur Firpo (RN – 1876 -?).
+Maria Augusta Firpo (Parahyba – 1877 – ?).
+Leopoldina Firpo (Parahyba – 1878 – ?).
+José Firpo (Parahyba – 1883 -?).
+
+O seu falecimento está registrado no Livro de Óbitos de 1893 a 1948, da Paróquia do Senhor Bom Jesus dos Passos. De acordo com as palavras escritas pelo vigário Antônio Leonardo da Silveira Dantas:
+“No dia 10 de outubro de 1899, encomendei o cadáver de João Firpo, natural de Gênova, de 61 anos de idade, filho legítimo de Domenico Firpo e Catharina Corse (sic), casado com D. Maria Lydia Firpo, fallecido de ontem de moléstia cardíaca. Vigário Antônio Leonardo da Silveira Dantas”. 
+ 
+Livro de Óbitos de 1893 a 1948. / Acervo Paróquia de Senhor Bom Jesus dos Passos. Maruim/SE
+ 
+Seus filhos Arthur e Antônio Firpo deram continuidade ao ofício do pai, documentando indivíduos e grupos familiares através dos retratos: suas fisionomias, seus eventos mais representativos e suas celebrações, que foram registrados em suportes fotográficos por esses “artífices de imagens” e estão presentes nos acervos do Instituto Histórico e Geográfico de Sergipe e na Biblioteca Pública Epifânio Dória/SE  “como vestígios documentais de múltiplas existências: deles próprios enquanto retratistas e dos seus retratados”.
+As dimensões poéticas do passado materializadas na obra fotográfica de João Firpo produzem as rimas, as harmonias e as sintonias necessárias para que os versos e a consonâncias das imagens/palavras possam consolidar a impressão de quem as observam e interpretam, buscando nos aproximar dos caminhos percorridos e das realidades registradas e eternizadas que se perderiam ao longo de tempo.
+ 
+*A historiadora e museóloga Sayonara Viana é pesquisadora do campo das Artes Visuais, no Patrimônio Cultural e História da Fotografia em Sergipe.
+ 
+Cronologia de João Firpo (1839 – 1899)
+Andrea C. T. Wanderley**
+ 
+1839 - Meses antes do anúncio da invenção do daguerreótipo, feito por François Arago (1786 – 1853), secretário da Academia de Ciências da França, em 19 de agosto de 1839 , nascimento de Giovanni (João) Firpo em Nervi, Gênova, na Itália, em 20 de fevereiro de 1839, filho de Domenico Firpo e Catterina Corsi.
+1861 – Em Gênova, nascimento de seu primeiro filho, Domenico.
+1863 - Em Gênova, nascimento de seu segundo filho, Giulio
+1865 - Em Gênova, nascimento de seu terceiro filho, Antônio.
+1866 – Firpo viajou para o Brasil 13 de agosto de 1866, na polaca Linda, em companhia de sua mulher, Maria Lydia Firpo, e de seus três filhos genoveses. Aportaram no Recife, em Pernambuco, em meados de outubro desse mesmo ano. Segundo informações de seu passaporte, era um jovem de 27 anos com “cabelo negro, sobrancelha escura, olhos castanhos, barba curta e cicatriz na testa“(Diário de Pernambuco, 20 de outubro de 1866, quinta coluna).
+ 
+Diário de Pernambuco, 20 de outubro de 1866
+ 
+1867 – Fixou residência na cidade do Recife comprando o estabelecimento comercial de fotografia do Sr. Leon Chapelin, à Rua da Imperatriz, n° 14. Chapelin havia sido o sucessor do estabelecimento do fotógrafo Augusto Stahl (1828 – 1877 ) no endereço mencionado (Diário de Pernambuco de 23 de abril de 1867; e Diário de Pernambuco, 26 de abril de 1867, quarta coluna).
+Em 28 de abril, Firpo inaugurou, no Recife, a Photographia Italiana (Diário de Pernambuco, 27 de abril de 1867).
+ 
+Diário de Pernambuco, 27 de abril de 1867
+ 
+Anunciou que todas as chapas de Augusto Stahl e Leon Chapellin estavam com ele e que reproduções das mesmas poderiam ser encomendadas. Oferecia também vistas de Pernambucos e seus arrebaldes (Diário de Pernambuco, de 23 de julho de 1867, primeira coluna).
+ 
+Diário de Pernambuco, 23 de julho de 1867
+ 
+Houve uma confusão entre João Firpo, uma senhora e o delegado Martins Pereira(O Conservador, 2 de novembro e 9 de novembro de 1867).
+Nesse mesmo ano, inaugurou um ateliê fotográfico, à Rua Nova n° 29, na cidade da Parahyba, onde estaria de passagem (O Publicador,  16 de dezembro de 1867).
+1868 – Firpo e sua mulher embarcaram em João Pessoa no vapor Ipojuca com destino a Natal (O Publicador, 26 de junho de 1868, primeira coluna).
+Foi noticiado que em um dos armazéns da Alfândega de Pernambuco havia para João Firpo, dentre outros produtos, 70 libras de massas alimentícias. A mercadoria havia chegado em 10 de janeiro de 1868, no vapor Bourgogne, de Marseille, na França (Jornal do Recife, 21 de julho de 1868, quinta coluna). Fica a questão: teria ele pensado em ser importador de massas italianas para o Brasil?
+1869 - No Rio Grande do Norte, nascimento de seu primeiro filho brasileiro, João Firpo Júnior.
+1870 –  Giovanni Firpo adotou o nome de João Firpo, aprovado em sessão do Parlamento Brasileiro no Rio de Janeiro, em 25 de agosto de 1870, quando naturalizou-se brasileiro. Na época, ele residia no Rio Grande do Norte (Annaes do Parlamento Brasileiro, Tomo 4, 1870).
+1874 - No Rio Grande do Norte, nascimento de seu segundo filho brasileiro, Eládio.
+1876 - No Rio Grande do Norte, nascimento de seu terceiro filho brasileiro, Arthur.
+Nesse ano, possuia um ateliê fotográfico, a Photographia Italiana, na rua da Viração, nº 17, em João Pessoa (Diário da Prahyba, 9 de junho de 1876).
+1877 - Nascimento de sua primeira filha, Maria Augusta, na Paraíba.
+Transferiu seu ateliê fotográfico para a rua Barão da Passagem, 92, em João Pessoa. Anunciou que iria “a qualquer parte mediante prévia convenção” e que também dava lições de fotografia. Na época,já comercializa retratos de homens públicos (A Opinião, 12 de julho de 1877 e 28 de outubro de 1877).
+1878 - Nascimento de sua segunda filha, Leopoldina, na Paraíba.
+Esteve No Recife (Diário de Pernambuco, 6 de abril de 1878, quarta coluna).
+1883 - Nascimento de seu filho caçula, José, na Paraíba.
+1885 – Anunciou a Grande Fotografia, na rua Duque de Caxias, 52, em João Pessoa (Diário da Parahyba, 24 de maio de 1885).
+ 
+Diário da Parahyba, 24 de maio de 1885
+ 
+Diário da Parahyba, 12 de junho de 1885
+ 
+Foi um dos compatriotas que se solidarizou com o comerciante italiano F. de Angelo, preso, acusado de tramar uma fuga e de se esconder de credores (Diário da Parahyba, 16 de junho de 1885, primeira coluna).
+Anunciou a venda de retratos de Joaquim Nabuco e de Victor Hugo no seu estabelecimento (Diário da Parahyba, 27 de outubro de 1885).
+ 
+Diário da Parahyba, 27 de outubro de 1885
+ 
+1886 – João Firpo estava em Taquaretinga, vindo da Paraíba. Segundo o jornal, havia armado sua tenda para aumentar sua galeria (Diário de Pernambuco, 9 de junho de 1886, segunda coluna).
+Partiu do Recife rumo aos portos do Norte no vapor Pirapama (Jornal de Recife, 21 de outubro de 1886, quarta coluna).
+1889 –  Partiu do Recife rumo aos portos do Norte no vapor Espírito Santo (Jornal de Recife, 30 de maio de 1889, quarta coluna).
+1893 – Mudou-se com sua família para a Villa de Maruim, em Sergipe, e lá instalou seu ateliê fotográfico.
+1896 - Esteve no Rio de Janeiro e  uma nota no jornal O Paiz se referiu a ele como um cavalheiro geralmente estimado e conceituado na cidade de Maruim, onde é comerciante e conselheiro municipal (O Paiz, 23 de agosto de 1896, segunda coluna).
+1897 – Esteve de novo no Rio de Janeiro, de onde embarcou para Aracaju no vapor Penedo (Jornal do Commercio, 23 de outubro de 1897, última coluna).
+1899 – João Firpo faleceu em Maruim, em 9 de outubro de 1899, aos 61 anos.
+2018 – Em 18 de agosto, familiares de João Firpo reuniram-se em Maruim para a comemoração dos 152 nos da migração do patriarca da Itália para o Brasil. Foi reinaugurado o mausoléu de João Firpo e depois foi celebrada uma missa em ação de graças na Igreja Matriz Senhor dos Passos (Facebook).
+ 
+
+**Andrea C. T. Wanderley é pesquisadora e editora do portal Brasiliana Fotográfica
+ 
+Link para o artigo  Aracaju – 160 anos de fundação, publicado em 25 de setembro de 2015 na Brasiliana Fotográfica
+ 
+Fontes: 
+AZEVEDO, Maria Helena. De Largo do Colégio a Praça João Pessoa: a transformação de uma paisagem urbana vista em fotografias. Disponível em: http://www.uel.br/eventos/eneimagem/anais2011/trabalhos/pdf/Maria%20Helena%20Azevedo.pdf. Acesso em 31.05.2020.
+BECHARA FILHO, Gabriel. Os Primórdios da Fotografia na Paraíba. Correio das Artes. Jornal A União,  João Pessoa. 27. Nov. 1983
+FIRPO, Aroldo Andrade.  Folder Comemorativo aos 152 anos da migração da Família João Firpo de Gênova para o Nordeste do Brasil. Agosto/2018.
+GONÇALVES, Eveline Filgueiras. A fotoautobiografia como espaço de recordação: fragmentos em álbuns de memórias sobre a Universidade Federal da Paraíba no arquivo Afonso Pereira.  Disponível em: https://repositorio.ufpb.br/jspui/handle/tede/8846?locale=pt_BR. Acesso em 31.05.2020.
+Hemeroteca Digital da Biblioteca Nacional
+KOSSOY, Boris. Dicionário histórico-fotográfico brasileiro: fotógrafos e ofício da fotografia no Brasil (1833-1910). São Paulo: Instituto Moreira Salles, 2002.
+LIRA, Bertrand de Souza. Fotografia na Paraíba: um inventário dos fotógrafos através do retrato (1850 a 1950). João Pessoa: Editora Universitária, 1997.
+SEGALA, Lygia. Itinerância fotográfica e Brasil pitoresco. Revista do Serviço do Patrimônio Histórico e Artístico Nacional. Rio de Janeiro, 1998, v. 27, p. 62-87.
+Site Biblioteca Clodomir Silva
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/3938` — `itens/20.500.12156.1_3938/`
+- `20.500.12156.1/3939` — `itens/20.500.12156.1_3939/`
+
diff --git a/wordpress/19690-o-fotografo-amador-guilherme-santos-e-sua-colecao-de-estereoscopias-eroticas.md b/wordpress/19690-o-fotografo-amador-guilherme-santos-e-sua-colecao-de-estereoscopias-eroticas.md
new file mode 100644
index 0000000..0aa92ff
--- /dev/null
+++ b/wordpress/19690-o-fotografo-amador-guilherme-santos-e-sua-colecao-de-estereoscopias-eroticas.md
@@ -0,0 +1,144 @@
+---
+id: 19690
+url: "https://brasilianafotografica.bn.gov.br/?p=19690"
+titulo: "O fotógrafo amador Guilherme Santos e sua coleção de estereoscopias eróticas"
+autor: "Andrea Wanderley"
+data: "2020-07-03T11:16:09+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/3949", "20.500.12156.1/4720", "20.500.12156.1/8393", "20.500.12156.1/8391", "20.500.12156.1/8379", "20.500.12156.1/8386", "20.500.12156.1/8376", "20.500.12156.1/8395"]
+fetched_at: "2026-09-10T10:02:29.843Z"
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+# O fotógrafo amador Guilherme Santos e sua coleção de estereoscopias eróticas
+
+A historiadora Maria Isabela Mendonça dos Santos escreveu para o portal o artigo O erotismo na fotografia e a coleção de estereoscopias eróticas de Guilherme Santos, onde conta um pouco da história desse tipo de imagem, focando na série de fotografias estereoscópicas de nus femininos produzidas pela Richard/Verascope encontrada na coleção Guilherme Santos do acervo fotográfico do Instituto Moreira Salles. Faz parte de um conjunto de cerca de 3000 imagens relacionadas ao fotógrafo adquiridas pelo Instituto Moreira Salles, em 2013.
+ 
+Guilherme Santos, aos 85 anos, retratado com um aparelho estereoscópico na Noite Ilustrada de 1º de agosto de 1950
+ 
+Acessando o link para as fotografias de Guilherme Santos disponíveis na Brasiliana Fotográfica, o leitor poderá visualizar e magnificar as imagens.
+ 
+Guilherme Santos. Carnaval, 1932. Rio de Janeiro, RJ / Acervo IMS
+ 
+Guilherme Antônio dos Santos (1871 – 1966) era um entusiasta da fotografia estereoscópica, tendo sido um dos pioneiros dessa técnica no Brasil, ao adquirir, em 1905, na França, o Verascope, um sistema de integração entre câmera e visor, que permitia ver imagens em 3D, produzidas a partir de duas fotos quase iguais, porém tiradas de ângulos um pouco diferentes. Eram impressas em uma placa de vidro e reproduziam a sensação de profundidade de maneira bem próxima da visão real. Antes dele, entre os anos de 1855 e 1862, o “Photographo da Casa Imperial”, Revert Henrique Klumb (1826 – c. 1886), favorito da imperatriz Teresa Christina e professor de fotografia da princesa Isabel, havia produzido vários registros utilizando a técnica da estereoscopia. A Casa Leuzinger também produziu fotografias estereoscópicas. Guilherme Santos se interessou pela técnica, em 1905, quando viajou em férias para Paris e adquiriu um Verascope, após visitar uma exposição de fotografias estereoscópicas e constatar que havia pouquíssimos registros do Brasil. A fotografia passou a ser seu hobby. A maior parte da obra de Santos, que inclui 17.812 mil negativos e 9.310 mil positivos (em vidro), além de 1.302 ampliações em papel feitas a partir dos negativos, está guardada no MIS-RJ.
+ 
+Guilherme Santos. Palácio Monroe iluminado para a chegada dos reis da Bélgica, 1920. Rio de Janerio, RJ / Acervo IMS
+ 
+O erotismo na fotografia e a coleção de estereoscopias eróticas de Guilherme Santos
+ 
+Maria Isabela Mendonça dos Santos*
+ 
+Maison Richard, Coleção Guilherme Santos, década de 20. França / Acervo IMS
+ 
+O sucesso mercadológico das estereoscopias eróticas entre as décadas finais do século XIX e as primeiras décadas do século XX é amplamente conhecido e consta em toda bibliografia que trata de fotografia estereoscópica. “Como meio de representação, o estereoscópio era inerentemente obsceno (…) Ele destruía a relação cênica entre espectador e objeto (…) Não é coincidência que, cada vez mais, o estereoscópio tenha se tornado sinônimo de imaginário erótico e pornográfico ao longo do século XIX.”[i]
+A Maison Richard, fábrica responsável pela produção das câmeras e vistas estereoscópicas Verascope, foi uma das grandes incentivadoras da estereoscopia erótica, graças aos interesses pessoais do proprietário da marca. Jules Richard foi um amante do erotismo tendo produzido, ele próprio, uma infinidade de fotografias de mulheres nuas e, até mesmo se casando com uma de suas modelos.
+ 
+Acessando o link para as fotografias eróticas da Coleção Guilherme Santos, sob a guarda do Instituto Moreira Salles, disponíveis na Brasiliana Fotográfica, o leitor poderá visualizar e magnificar as imagens.
+ 
+Segundo Jorge Leite Jr. a fotografia “pornográfica” nasceu junto aos primeiros daguerreótipos, provavelmente na década de 1840, em Paris. A primeira foto erótica de que se tem registro data de 1850 e foi tirada por Féliz-Jacques-Antoine Moulin, que chegou a ser condenado a um mês de prisão pela produção de imagens do tipo. Reinhard Seufert em seu estudo sobre porno-fotografia, no entanto, afirma que o primeiro nu frontal feminino é de 1860. Até então as mulheres apareciam sempre de costas, com as nádegas expostas. Ainda segundo Leite Jr, no início, as fotografias pornográficas tinham prostitutas como modelos, que as usavam como cartão de visitas para clientes. Outro uso frequente das fotos eróticas era como cartão postal.
+O surgimento da cultura de massa na segunda metade do século XIX, contribui significativamente para a publicação de revistas eróticas. Na França, a revista La Vie Parisienne, fundada em 1863, vai se tornar muito popular quando em 1905, seu novo proprietário decide transformá-la em uma publicação erótica. Em termos estéticos, a revista refletiu a estilização da ilustração Art Nouveau e Art Déco, com belos desenhos animados em cores de vários artistas da época. A estética Art Nouveau das ilustrações de La Vie Parisienne vai influenciar, sem dúvidas, as fotografias eróticas do período. A fotografia “pornoerótica” vai acompanhar, desse modo, as tradições dos nus artísticos da pintura, mostrando as mulheres nuas nas posições iguais as dos quadros clássicos.
+ 
+Coleção Guilherme Santos, década de 20. França / Acervo IMS
+ 
+Leite Jr. destaca o lesbianismo encontrado nas produções da virada do século, como um exemplo da visão masculina, presente em imagens e textos desde o século XIX. “As mulheres que entregam-se a esse prazer, mostram-se nesses trabalhos sempre disponíveis também para o homem. A prática homossexual entre elas é mostrada mais como um passatempo que uma paixão, pois o prazer verdadeiro é sempre alcançado graças à virilidade masculina.”[ii]
+De fato, a série de fotografias estereoscópicas de nus femininos encontradas na coleção Guilherme Santos do acervo fotográfico do Instituto Moreira Salles, comprovam as afirmações de Leite Jr.. Produzidas pela Richard/Verascope, as vistas apresentam mulheres de maneira muito semelhante aos postais de mesmo gênero do período. Muitas são as imagens de mulheres em dupla, ou em grupo, insinuando um lesbianismo descompromissado. Em quartos de decoração romântica, ou em jardins floridos, os estilos Art Nouveau e o Art Déco dominam os cenários em que as fotos eram tiradas. Geralmente as mulheres eram retratadas com acessórios como colares, tiaras ou até mesmo tecidos que cobriam parte do corpo.
+ 
+ Coleção Guilherme Santos, década de 20. França / Acervo IMS
+ 
+As imagens eróticas da Richard são geralmente reconhecíveis pela localização. Jules Richard costumava produzir seus nus femininos em três locais distintos: numa propriedade que possuía no interior da França, num cabaré frequentado pela classe média francesa, o Tabarin, e num estúdio construído em frente à sua residência parisiense com o propósito de receber e fotografar mulheres jovens, conhecido como L’Atrium.[iii] A arquitetura do local tinha inspiração na Grécia Antiga o que, de acordo com Tomas Weynants, foi uma estratégia utilizada para dar às imagens pornográficas um ar de aceitabilidade artística, uma vez que o nudismo total não era tolerado à época.[iv]
+Dificilmente os órgãos genitais aparecem nas imagens, e em nenhuma delas encontramos insinuações do ato sexual propriamente dito. Por conta disso, podemos dizer que as estereovistas da série enquadravam-se mais no estilo  “erótico” do que “pornográfico”, apesar de os limites entre os dois termos ser fluido e, na maioria das vezes, de alta complexidade de definição.[v] Além disso, estamos nos referindo apenas às vistas da Richard. Ou seja, fotografias estereoscópicas de teor mais explícito tiveram uma circulação significativa no período em questão, porém ficaram restritas a um mercado clandestino especial, sujeito a prisões e confisco de coleções.[vi]
+ 
+Coleção Guilherme Santos. Estereoscopia erótica, década de 20. França / Acervo IMS
+ 
+Se o lugar por excelência da fotografia estereoscópica é a sala da família burguesa, a volumosa produção de estereoscopias pornográficas vai assombrar essa mesma família. “Banido da sala de visitas e da mirada familiar, a imagem estereoscópica pornográfica encontra caminho de entrada no domínio masculino exclusivo do drawing room.”[vii] Este “quarto de vestir” constitui aquilo que  identifica como o “lugar de tolerância” das sociedades burguesas da virada do século.[viii] No quarto de vestir, longe das vistas da esposa e dos filhos, o homem burguês podia desfrutar de momentos de prazer, ainda que virtualmente, através da observação de vistas estereoscópicas de temática erótica.
+O fotógrafo Guilherme Santos encontrava-se inserido na lógica da família conjugal monogâmica e da pureza moral do corpo social e evidentemente cumpria as normas comportamentais que lhe eram socialmente apresentadas. Estas normas, no entanto, concediam-lhe o direito de frequentar “lugares de tolerância” e colecionar estereoscopias eróticas. Desfrutar destas concessões morais, configuravam não somente uma expressão de masculinidade e virilidade, mas sobretudo, a maneira pela qual o fotógrafo se conduzia moralmente dentro de sua fidelidade conjugal. A presença de uma coleção robusta de estereoscopias eróticas da Richard no acervo de Guilherme Santos, nos revela desde já, aspectos de sua subjetividade e de sua inserção na sociedade burguesa da virada do século. Mas este é assunto para outro artigo.[ix]
+ 
+Coleção Guilherme Santos. Estereoscopia erótica, década de 20. França / Acervo IMS
+ 
+*Maria Isabela Mendonça dos Santos é  Doutora em História pela Universidade Federal Fluminense.
+ 
+[i] CRARY, Jonathan. Técnicas do observador: Visão e modernidade no século XIX. Rio de Janeiro: Contraponto, 2012. P. 125.
+[ii] LEITE JR., Jorge. Das maravilhas e prodígios sexuais: a pornografia bizarra como entretenimento. Annablume: São Paulo, 2006. P.69.
+[iii] Informação extraída de: http://www.ignomini.com/photographica/stereophotovintage/richardnudes/richardnudes.html. Último acesso em 23/01/2019 às 21:00 h.
+[iv] Disponível em: http://users.telenet.be/thomasweynants/jules-richard.html: Último acesso em 24/01/2019 às 14:00 h.
+[v] Ver: CARDOSO, Erika Natasha. Carlos Zéfiro e os discursos morais no Brasil (1950 – 1970). Dissertação. (Mestrado em História) Universidade Federal Fluminense: Niterói, 2014.
+[vi] PARENTE, José Inácio. A estereoscopia no Brasil. Rio de Janeiro: Sextante, 1999. P. 14.
+[vii] ADAMS, Gavin. A mirada estereoscópica e a sua expressão no Brasil. Tese (Doutorado em Comunicação e Estética do Audiovisual) Escola de Comunicações e Artes da Universidade de São Paulo, São Paulo, 2004. p. 7.
+[viii] FOUCAULT, Michel. História da sexualidade I: A vontade de saber. São Paulo: Paz e Terra, 2014.
+[ix] Para mais informações sobre a vida e a obra de Guilherme Santos ver : SANTOS, Ma. Isabela M. dos. A mirada estereoscópica de Guilherme Santos: Cultura Visual na cidade do Rio de Janeiro Séculos XIX e XX. 2019. Tese (Doutorado em História) – Instituto de História da Universidade Federal Fluminense, Niterói (RJ).
+ 
+Maison Richard, Coleção Guilherme Santos, década de 20. França / Acervo IMS
+ 
+ Cronologia de Guilherme Antônio dos Santos
+Andrea C. T. Wanderley**
+Retrato do fotógrafo amador Guilherme Santos, publicado em O Malho de setembro de 1951
+1871 – No Rio de Janeiro, em 12 de fevereiro, nasceu Guilherme Antonio dos Santos, cuja família residia na Rua do Rezende. Seu pai era o joalheiro José Antonio dos Santos (? – 1905).
+1883 - No encerramento das aulas do Colégio Aquino, onde fez seus estudos, Guilherme Santos e Escragnolle Doria (1869 – 1948) receberam do imperador Pedro II medalhas por terem respondido “com prontidão e segurança a todas as suas perguntas sobre História do Brasil” (Correio da Manhã, 31 de maio de 1952).
+1896 – Guilherme casou-se com Maria Mendonça dos Santos, conhecida como dona Mariquinhas. Tiveram quatro filhos: Guilherme dos Santos Júnior (? – 1980), médico que foi diretor do Souza Aguiar e do Hospital Paulino Werneck; Amália Santos Pinto da Silva (? – 1986), Manoel Antônio dos Santos , que sempre trabalhou com o pai na representação dos cofres belgas Fichet; e Francisca Mendonça dos Santos (1901 – ?) . Os filhos estudaram no Colégio São Vicente de Paulo e as filhas no Colégio Santa Isabel, em Petrópolis.
+dezembro de 1898 – A joalheria e galeria de arte Luiz de Rezende & Cia, cujo um dos sócios era o pai de Guilherme Santos, José Antonio dos Santos, foi roubada. Ficava na rua do Ouvidor 88 e 89 e na rua Ourives 69 ( Gazeta de Notícias, 6 de dezembro de 1898, na última coluna e  Jornal do Brasil, 19 de dezembro de 1903, na sétima coluna, sob o título “O buraco do Rezende”). Anteriormente, a joalheria chamava-se Santos Moutinho e Cia. Na época do roubo, que teve grande repercussão, Guilherme Santos morava no último andar da loja.
+1901 – Guilherme Santos foi empossado no conselho da Sociedade Animadora da Corporação dos Ourives (Jornal do Brasil, 31 de julho de 1901, na última coluna). Nasceu sua filha caçula, Francisca, (Jornal do Brasil, de 16 de dezembro de 1901, na quarta coluna). Nos Almanak Laemert de 1901, 1902, 1903, 1904, 1905, 1906 e 1907, Guilherme e seu irmão, Francisco Antonio, aparecem como dois dos sócios da joalheria Luiz de Rezende & Cia. Luiz de Rezende ( – 1927) era português e foi com o pai de Guilherme Santos, José Antônio, que ele aprendeu a ourivesaria.
+1905 / 1906 – No Almanak Laemert de 1905, Guilherme Santos aparece como o 2º secretário da Sociedade Animadora da Corporação dos Ourives. Viajou para Paris com a família para, a conselho de seu pai, se tratar de um estado de nervosismo permanente ocasionado pelo roubo à joalheira em 1898. Cuidou-se com um tratamento de auto-sugestão cujo lema era “Hoje sob todos os pontos de vista vou cada vez melhor”. Interessou-se pela técnica da estereoscopia e adquiriu um equipamento Verascope, da Maison Richard, após visitar uma exposição de fotografias estereocópicas no Grand Palais. Lá constatou que havia pouquíssimos registros do Brasil, todos de mulheres negras vendendo abacaxis. Santos começou a praticar a fotografia amadora e foi em Portugal que produziu seu primeiro registro, no pinhal de Caldas da Rainha. Seu pai, José Antonio dos Santos, faleceu (Correio da Manhã, 20 de maio de 1952).
+1907 – Provavelmente, foi um dos proprietários do Cinema Pavilhão Progresso, na rua Hadock Lobo, 16. O cinema foi inaugurado em 31 de outubro de 1907 (Jornal do do Brasil, 30 de outubro de 1907, na primeira coluna).
+1920 – Guilherme Santos morava na rua Conde de Bonfim, 86, na Tijuca.
+1922 – Santos cedeu ao então ministro do Exterior, José Manuel de Azevedo Marques (1865 – 1943), milhares de reproduções estereográficas de quadros da natureza brasileira que foram distribuídas aos estrangeiros que vieram representar seus países nas comemorações do centenário da independência do Brasil. Deixou de trabalhar na Casa Luiz de Rezende ( Correio da Manhã, 20 de maio de 1952).
+1923 – Foi criado o Photo Club Brasileiro, uma associação de fotógrafos, no Rio de Janeiro, pelos associados do Photo Club do Rio de Janeiro, fundado em 1910, que se juntaram a fotógrafos de arte para debater as relações entre fotografia e arte. O Photo Club Brasileiro promovia cursos, concursos, exposições e excursões. Publicou as revistas Photo Revista do Brasil (1925 – 1926) e Photogramma (1926 – 1931). Também organizava salões anuais, o primeiro deles inaugurado em 4 de julho de 1924, no Liceu de Artes e Ofícios (artigo de Fernando Guerra Duval, na Gazeta de Notícias, 9 de julho de 1924), além de divulgar novas técnicas e estéticas, mantendo correspondência com sociedades internacionais de fotografia. Até o fim da década de 1940, foi uma instituição fundamental na difusão da ideia da fotografia como arte. Uma matéria da revista Para Todos, de 17 de setembro de 1927, sobre a quarta exposição anual do Photo Club ilustrava essa função primordial da associação. Alguns de seus membros de destaque foram Alberto Friedmann, Barroso Neto, Fernando Guerra Duval, Herminia Borges, João Nogueira Borges, Oscar de Teffé e Silvio Bevilacqua.
+maio de 1925 –  Guilherme Santos tornou-se membro do Photo Club Brasileiro. Publicou na edição de lançamento da Photo Revista do Brasil, órgão oficial da associação, o artigo “Photographia Estereoscópica”. No expediente da revista, aparece como um de seus principais colaboradores. E, nas páginas dedicadas às notícias do Photo Club, que acabava de se instalar em uma nova sede, na rua 13 de maio, 35, aparece como um dos membros recentes da associação. O presidente e o vice-presidente do Photo Club Brasileiro eram Alberto Friedmann e Fernando Guerra Duval, respectivamente.
+ 
+“Photographia Estereoscópica”
+Por Guilherme A Santos
+Confeccionar uma photographia é quasi sempre reconstruir uma recordação!
+Nenhuma outra photographia trabalhada pelos processos conhecidos, pôde dar-nos tamanha satisfação, produzir-nos impressão tão viva  e tão nitida daquilo que quizermos recordar como a photographia estereoscopica! Seja o retracto de um ente querido, seja uma paysagem, ou ainda uma reunião de família, cujo objecto exprima um momento feliz da nossa existencia!
+A sensação do relevo e da perspectiva que nos dá um positivo sobre vidro, copia de um cliche estereoscopico, introduzido no instrumento apropriado, é inegualavel! inconfundivel! incomparavel!
+Ao olhar, apresentam-se as imagens das creaturas, da Natureza ou dos objectos, com a expressão a mais perfeita e verdadeira , mostrando-nos em destaque todos os planos que as objectivas colheram na extensão do angulo focal!
+Como passa tempo, o que é possível de encontrar que seja mais agradável, mais divertido do que os positivos sobre vidro da photoestereoscopia!?
+Reunidos em família e acompanhados de bons amigos sentados em redor de uma mesa, passa-se de mão em mão o apparelho estereoscópicos exibindo as differentes séries de positivos! Algumas, despertando recordações aos que, num afogar de saudades revêem os bons momentos que passaram, contemplando imagens de creaturas que talvez nunca mais encontrem no caminho da vida e que fizeram a delícia daqueles momentos, em uma estação de águas, em uma excursão, em cidades de verão, a bordo de um transatlântico, na convivência íntima de uma longa viagem, etc.
+Outras séries apresentando o esplendor da Natureza em grandes quadros compostos com senso esthético, com observação artística que estasiam, que empolgam e que nunca cançaríamos de contemplar são photografias que provam como é impossível negar o extraordinário poder que tem a natureza, de impressionar e fazer vibrar a alma das creaturas com suas majestosas creações!
+Nesse particular a nossa terra recebeu do CREADOR um dote precioso, o qual infelizmente em vez de ser transportado para as chapas da photographia por meio das objectivas dos differentes apparelhos, tem o homem esbanjado e destruido quasi inconscientemente sem considerar o grande mal que causa ao bem commum e sem reflectir no crime que pratica!
+Disse PAULO MANTEGAZZA, capitulo IV no “O LIVRO DAS MELANCHOLIAS” de uma forma encantadora e com a alma amargurada: que se conhecesse DEUS, dir-khe-hia que na sua infinita misericordia, perdoasse todos os peccados dos homens e reservasse toda a sua ira, toda as suas vinganças, tododos seus raios, para o homem que destróe uma “FLORESTA”!!…
+Faço minhas as palavras do primoroso escriptor, mas accrescento que o homem que dedicar-se á photographia, de preferenciaa estereoscopica, no contacto intimo e constante que ele tiver com a NATUREZA, quando a tiver estudado bem, irá lentamente habituando-se a apreciar devidamente a sua obra grandiosa, sentirá despertar em sua alma, sentimentos delicadosque até então desconhecia e difficilmente será capaz de derrubar uma arvore ou consentir que alguem o faça em sua presença!
+A falta de amor e o abandono ás nossa bellezas naturaes é patente! Cito um exemplo mui recente:
+Por uma destas lindas manhãs de ABRIL (era dia feriado) percorremos uma parte da estrada que liga o ALTO DA BOA VISTA ao SUMARÉ.
+É uma das maravilhas da TIJUCA! A vegetação é abundante e variada e conta-se ás dezenas, arvores gigantescas cujas ramadas projectam sombras extensas sobre o caminho!
+O sol imprimia uma luz de oiro sobre o verde esmeralda do arvoredo e fazia pensar que foi a NATUREZA quem inspirou os nossos antepassados sobre a escolha das cores para a nossa bandeira!
+Caminhamos cerca de 6 kilometros ida e volta e gastamos cerca de 5 horas. Pois bem, nesse demorado percurso, cruzamos com 3 outros grupos de excursionistas, todos elles, compunham-se de estrangeiros!
+Nem um brasileiro! nem um amador da photographia! Digo, encontramos um brasileiro, que empunhando uma vara que tinha um sacco de gaze preso a uma das extremidades, caçava as lindas borboletas azues de grandes azas que faziam o encanto daquellas paragens! aquelle rapaz de 20 annos presumives, de bella estaturaphysica, fazia-o como meio de vida! Contamos estendidas sobre um jornal, 20 daquellas borboletas, apanhadas em menos de uma hora! Pobrezinhas! a  NATUREZA limitou-lhes curtíssima existência, nem mesmo a essas deixam viver!
+Creio ser o momento de ser transformada essa situação. A Photo-Revista vem preencher uma lacuna e acreditamos que uma campanha sustentada com perseverança por todos os seus collaboradores, daria bom resultado, no sentido de desenvolver o gosto dos brasileiros pela arte photographica: talvez conseguíssemos convence-los de trocar uma ou outra vez (às horas de ócio) os encantos do lar doméstico, pelos encantos naturaes, lembrando-lhes que em companhia de nossa família e em contacto com a floresta, também construímos lares provisorios sob a benção da mãe de tudo e de todos que é a NATUREZA!
+(Photo Revista do Brasil, vol 1, maio de 1925, pg 14)
+Além disso, a fotografia da capa era de sua autoria (O Brasil, 31 de maio de 1925, na sexta coluna, sob o título “Publicações”). E, na mesma edição da revista, foi publicada uma propaganda das fotografias estereoscópicas de Guilherme. O endereço, rua Buenos Aires, 93, é o mesmo do escritório dos cofres belgas Fichet, empresa que ele representava no Brasil. Posteriormente, o escritório foi transferido para a rua do Rosário, 146.
+1937 – Resumo do assalto ocorrido na Casa Luiz de Rezende, em 1898, com retratos dos sócios Luiz de Rezende e José Antonio dos Santos, pai de Guilherme (Noite Illustrada, 25 de maio de 1937).
+1942 – Publicação da matéria “Rio desaparecido”, de Escragnolle Doria, sobre a importância dos arquivos fotográficos de Augusto Malta e Guilherme Santos (Revista da Semana, 30 de maio de 1942).
+1945 – Publicação no Boletim de Belas Artes de outubro de um artigo sobre o desmonte do Morro do Castelo com entrevista de Guilherme Santos (Correio da Manhã, 8 de maio de 1952).
+1950 – Publicação de matéria elogiando a coleção de fotografias de Guilherme Santos (Jornal do Brasil, 24 de março de 1950, na última coluna sob o título “Belas Artes). Publicação de uma reportagem de Walter Sampaio sobre o “Arquivo Guilherme dos Santos”. Na matéria, Santos revelou ter vontade de “expor em um museu o seu valioso arquivo histórico e estereoscópico nacional”. (A Noite Ilustrada, 1º de agosto de 1950).
+1951 – O Departamento de História e Documentação do Rio de Janeiro examinou a coleção fotográfica de Guilherme Santos (O Malho, setembro de 1951).
+1952 – Faleceu sua esposa, Maria Mendonça dos Santos, em 26 de maio ( Correio da Manhã, 30 de maio de 1952, na primeira coluna). Na coluna “Pequenas Reportagens”, é lembrado um artigo do Boletim de Belas Artes de outubro de 1945, onde Guilherme Santos comentava seus registros fotográficos do desmonte do Morro do Castelo (Correio da Manhã, 8 de maio de 1952). Na mesma coluna, foi publicada uma matéria sobre Guilherme Santos ( Correio da Manhã, 20 de maio de 1952). Finalmente na coluna de 31 de maio de 1952, o assunto foi a coleção de fotografias de Santos.
+ 
+Propaganda dos cofres Fichet, representados por Guilherme Santos, publicado no Almanak do Correio da Manhã, de 1953
+ 
+1954 –  Às vésperas do Natal, a sede da G.A. Santos & CIA, localizada na Rua do Rosário, 146, sofreu um incêndio. A única coisa resgatada foi o acervo de fotografias de Guilherme que estava dentro de um cofre à prova de fogo. Foi devido a esse fato que Santos decidiu vender sua coleção de fotografias (Correio da Manhã, 24 de dezembro de 1954).
+1956 – Na primeira página do Jornal do Brasil, foi publicada a matéria “O Rio de Janeiro através da estereoscopia”, assinada por Augusto Maurício, sobre a coleção de fotografias de Guilherme Santos ( Jornal do Brasil, 27 de maio de 1956).
+1964 – A Coleção Guilherme Santos foi adquirida pelo Banco do Estado da Guanabara, em 28 de abril de 1964, para iniciar, juntamente com a coleção de fotografias de Augusto Malta (1864 – 1957), o acervo do Museu da Imagem e do Som do Rio de Janeiro. O contrato de compra e venda foi assinado pelo filho e procurador de Guilherme, Manoel Antônio dos Santos.
+1965 – Inauguração do Museu da Imagem e do Som do Rio de Janeiro, em 3 de setembro de 1965 (Diário de Notícias, 2 de setembro de 1965). A maior parte da obra de Santos, que inclui 17.812 mil negativos e 9.310 mil positivos (em vidro), além de 1.302 ampliações em papel feitas a partir dos negativos, está sob a guarda da instituição.
+janeiro de 1966 – Guilherme Santos faleceu em 26 de janeiro, na casa de sua filha Francisca, na Ilha do Governador. Na época, ele morava na rua Cesário Alvim, 39. Anúncio da missa de sétimo dia de Guilherme Santos (Diário de Notícias, 30 de janeiro de 1966).
+1984 – Fotografias do Rio Antigo de autoria de Guilherme Santos fizeram parte da exposição “19 anos do Museu da Imagem e do Som” (Última Hora, 27 de dezembro de 1984, na última coluna).
+2013 – Um conjunto de cerca de 3000 imagens produzidas pelo fotógrafo foi adquirida pelo Instituto Moreira Salles, em 2013.
+ 
+Links para artigos publicados na Brasiliana Fotográfica sobre o fotógrafo Guilherme Santos e sobre estereoscopia
+ 
+O fotógrafo Guilherme Santos (1871 – 1966), publicada em de julho de 2016
+A viagem dos reis da Bélgica ao Brasil sob as lentes de Guilherme Santos, publicada em 26 de setembro de 2016
+A estereoscopia e o olhar da modernidade, de Maria Isabela Mendonça dos Santos, publicada em 29 de maio de 2019
+ 
+**Andrea C. T. Wanderley é editora e pesquisadora do portal Brasiliana Fotográfica.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/3949` — `itens/20.500.12156.1_3949/`
+- `20.500.12156.1/4720` — `itens/20.500.12156.1_4720/`
+- `20.500.12156.1/8393` — `itens/20.500.12156.1_8393/`
+- `20.500.12156.1/8391` — `itens/20.500.12156.1_8391/`
+- `20.500.12156.1/8379` — `itens/20.500.12156.1_8379/`
+- `20.500.12156.1/8386` — `itens/20.500.12156.1_8386/`
+- `20.500.12156.1/8376` — `itens/20.500.12156.1_8376/`
+- `20.500.12156.1/8395` — `itens/20.500.12156.1_8395/`
+
diff --git a/wordpress/19727-nova-secao-do-portal-como-pesquisar-na-brasiliana-fotografica.md b/wordpress/19727-nova-secao-do-portal-como-pesquisar-na-brasiliana-fotografica.md
new file mode 100644
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--- /dev/null
+++ b/wordpress/19727-nova-secao-do-portal-como-pesquisar-na-brasiliana-fotografica.md
@@ -0,0 +1,25 @@
+---
+id: 19727
+url: "https://brasilianafotografica.bn.gov.br/?p=19727"
+titulo: "Nova seção do portal – Como pesquisar na Brasiliana Fotográfica"
+autor: "Andrea Wanderley"
+data: "2020-06-09T16:52:48+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: []
+fetched_at: "2026-09-10T10:02:32.847Z"
+---
+
+# Nova seção do portal – Como pesquisar na Brasiliana Fotográfica
+
+Nesse ano em que a Brasiliana Fotográfica completa cinco anos, a editora e pesquisadora do portal, a jornalista Andrea Wanderley; e seus gestores, a cientista social Roberta Mocciaro Zanatta, da equipe do Instituto Moreira Salles (IMS); e o historiador Vinícius Martins, da equipe da Biblioteca Nacional (FBN), gravaram um vídeo, há muito demandado por diversos de nossos leitores, mostrando a melhor forma de pesquisar e navegar no portal. Está, a partir de hoje, disponível na aba O Portal, localizada na página de abertura da Brasiliana Fotográfica, no item Como pesquisar na Brasiliana Fotográfica.
+ 
+Andrea Wanderley, pesquisadora e editora da Brasiliana Fotográfica, Roberta Zanatta e Vinícius Martins, gestores do portal
+ 
+A Brasiliana Fotográfica foi inaugurada em 17 de abril de 2015, fundada pela Biblioteca Nacional e pelo Instituto Moreira Sales, e seus curadores são Joaquim Marçal (FBN) e Sérgio Burgi (IMS). Ao longo de sua existência, mais nove importantes instituições culturais passaram a integrar seu acervo fotográfico: o Arquivo Geral da Cidade do Rio de Janeiro, o Arquivo Nacional, a Diretoria do Patrimônio Histórico e Documentação da Marinha, a Casa de Oswaldo Cruz / Fiocruz, a Fundação Joaquim Nabuco, o Leibniz-Institut fuer Laenderkunde, o Museu Aeroespacial, o Museu da República e o Museu Histórico Nacional. Assim, o usuário do portal pode ter acesso a fotografias dos acervos de todas essas instituições numa mesma plataforma.
+Semanalmente é publicado um artigo sobre temas variados – perfil de fotógrafos, história de cidades, monumentos, efemérides, eventos históricos, beleza ou importância de uma fotografia – sempre contemplados em imagens do acervo fotográfico do portal. Até maio de 2020, a Brasiliana Fotográfica teve 40.255.169 milhões de visualizações, publicou 253 artigos e possuia em seu cervo fotográfico 6.892 imagens!
+Boa navegação e boas pesquisas!
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+ERRATA: no vídeo, o Museu da República não foi, lamentavelmente, mencionado como instituição parceira do portal Brasiliana Fotográfica.
diff --git a/wordpress/19794-a-santa-casa-da-misericordia-do-rio-de-janeiro.md b/wordpress/19794-a-santa-casa-da-misericordia-do-rio-de-janeiro.md
new file mode 100644
index 0000000..c8aab4a
--- /dev/null
+++ b/wordpress/19794-a-santa-casa-da-misericordia-do-rio-de-janeiro.md
@@ -0,0 +1,104 @@
+---
+id: 19794
+url: "https://brasilianafotografica.bn.gov.br/?p=19794"
+titulo: "A Santa Casa da Misericórdia do Rio de Janeiro"
+autor: "Andrea Wanderley"
+data: "2021-12-07T09:28:54+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/2553", "20.500.12156.1/6309", "20.500.12156.1/607", "20.500.12156.1/3165", "20.500.12156.1/2901"]
+fetched_at: "2026-09-10T10:02:36.009Z"
+---
+
+# A Santa Casa da Misericórdia do Rio de Janeiro
+
+A Brasiliana Fotográfica destaca fotografias da Santa Casa da Misericórdia do Rio de Janeiro produzidas por Augusto Malta (1864 – 1957), Juan Gutierrez (c.1860 – 1897), Marc Ferrez (1843 – 1923), Revert Henrique Klumb (c.1826 – c. 1886) e S.H. Holland (1883 – 1936).
+ 
+Marc Ferrez. Santa Casa de Misericórdia, c. 1895. Rio de Janeiro, RJ / Acervo IMS
+ 
+Acessando o link para as fotografias da Santa Casa da Misericórdia do Rio de Janeiro disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Apesar de haver discordâncias em torno do ano de sua fundação, os historiadores concordam que a Santa Casa de Misericórdia do Rio de Janeiro foi criada em meados do século XVI e teve forte influência do padre José de Anchieta (1534 – 1597), que a teria fundado ou  ampliado. Em 1967, a data de fundação foi oficialmente fixada em 24 de março de 1582.
+ 
+Juan Gutierrez. Morro do Castelo, c. 189?. Rio de Janeiro, RJ / Acervo Museu Histórico Nacional
+ 
+Permanece no mesmo endereço: rua de Santa Luzia, inicialmente nº 2 e, atualmente, nº 206. Era regida pela Santa Casa de Lisboa, criada, em fins do século XV, pelo frei espanhol Miguel de Contreiras (1431 – 1505) com o apoio da rainha Dona Leonor (1458 – 1525), esposa do rei João II de Portugal (1455 – 1495). Tinha como objetivos acolher os presos, alimentar os pobres, curar os doentes, asilar os órfãos, sustentar as viúvas, enfim, ser a casa a serviço dos mais carentes, desassistidos e abandonados.
+ 
+Revert Henrique Klumb; Paulo Robin. La Miséricorde et l’Ile de Villegagnon, s/d. Rio de Janeiro, RJ / Acervo FBN
+ 
+Foi durante a gestão de José Clemente Pereira (1787 – 1854) como provedor da Santa Casa, entre 1838 a 1854, que foi construído o complexo atual – hospital e capela – que está na rua Santa Luzia, 206. Com a presença de dom Pedro II (1825 – 1891), a pedra fundamental foi lançada, em 2 de julho de 1840, e a construção foi iniciada no ano seguinte (Diário do Rio de Janeiro, 2 de julho de 1840, última coluna).
+ 
+Retrato de José Clemente Pereira por Oscar Pereira da Silva / Museu Paulista da USP
+ 
+
+Diário do Rio de Janeiro, 3 de julho de 1840
+ 
+O hospital foi inaugurado em  julho de 1852 e sua planta original, de autoria do engenheiro Domingos Monteiro (1765 – 1857), foi alterada por José Maria Jacinto Rebelo (1821 – 1871), discípulo do arquiteto Grandjean de Montigny (1776 – 1850). O frontão da Santa Casa da Misericórdia, talvez o mais grandioso do Rio de Janeiro, foi executado, em 1868, pelo artista Luigi Guidice (1826 – 1892).
+ 
+Augusto Malta. Santa Casa. s/d. Rio de Janeiro. RJ / Acervo FBN
+ 
+Sobre a data de fundação:
+“A Santa Casa da Misericórdia do Rio de Janeiro foi fundada em meados do século XVI, em data incerta, na praia de Santa Luzia no 2, atual rua de Santa Luzia no 206, onde permanece até hoje. A sua criação costuma ser atribuída por vários estudiosos ao padre José Anchieta, da Companhia de Jesus, que chegara ao Brasil na esquadra do segundo governador-geral, Duarte da Costa, em 1553. Em março de 1582, Anchieta teria acudido a esquadra espanhola comandada pelo almirante Diogo Flores Valdez com destino ao Estreito de Magalhães, que aportara no Rio de Janeiro devido a enfermidades que acometeram sua tripulação. Providenciando agasalhos e remédios, o jesuíta, para abrigar os enfermos, mandara construir um barracão de palma coberto de sapé na orla marítima do morro do Castelo, que teria dado origem à Santa Casa da Misericórdia do Rio de Janeiro e, possivelmente, ao primeiro hospital da cidade.
+Houve outros estudos, contudo, que consideraram a data de fundação da Santa Casa anterior a 1582. Segundo o historiador Félix Ferreira (1899), a instituição teria sido criada em 1545 ou 1547, antes da fundação da cidade do Rio de Janeiro (1565), coincidindo com os primeiros núcleos de povoamento das margens da Baía de Guanabara. No período da União Ibérica (1580-1640), em alvará datado de 6 de outubro de 1605, o rei Dom Felipe II de Espanha e I de Portugal concedia à entidade os mesmos benefícios desfrutados pela Santa Casa da Misericórdia de Lisboa, em vista do que alegavam seu provedor e irmãos de que já havia sessenta anos que “existia casa com hospital para enfermos, sacristia, parlatório e é uma das boas da costa, e a algumas faz vantagem notável com sempre ter sua irmandade guardado o Compromisso, fazendo muitas esmolas, casando órfãs e dando ordinárias todos os sábados, conforme a possibilidade da terra”.
+Já para Gabriel Soares de Sousa no “Tratado descritivo do Brasil”, em 1587, o hospital junto ao morro do Castelo teria sido iniciativa do terceiro governador-geral, Mem de Sá, com o apoio do padre da Companhia de Jesus, Manuel da Nóbrega. Em 1567, Mem de Sá em curta visita e permanência no Rio de Janeiro, depois da expulsão dos franceses, tratou não só do povoamento da cidade instalada por seu sobrinho, Estácio de Sá, em 1565, como promoveu importantes melhoramentos, entre os quais a construção de algumas igrejas com a sua Santa Casa da Misericórdia e hospital.
+Ainda sobre a data de criação da Santa Casa da Misericórdia do Rio de Janeiro, José Vieira Fazenda (1902) procurou conciliar as opiniões divergentes, admitindo que os primeiros povoadores tenham sido os fundadores da Misericórdia e que os irmãos desta, animados e auxiliados pelo jesuíta José de Anchieta, tenham edificado o hospital em 1582, com o propósito de nele abrigar os doentes da armada espanhola. De uma forma ou de outra, todos os que discorreram sobre o tema, concordaram que a Santa Casa surgiu ou foi ampliada nesta data, por influência de José de Anchieta.”
+Site da Santa Casa de Misericórdia do Rio de Janeiro
+ 
+S.H. Holland. Ponta do Calabouço, c. 1930. Rio de Janeiro, RJ / Acervo FBN
+ 
+Sobre arquitetura e tombamento:
+O Hospital da Santa Casa de Misericórdia foi construído no séc. XVI no Morro do Castelo.
+IPHAN – Instituto do Patrimônio Histórico e Artístico Nacional
+Nome atribuído: Hospital da Santa Casa de Misericórdia: prédio
+Localização: R. Santa Luzia, nº 206, Centro – Rio de Janeiro – RJ
+Número do Processo: 10-T-1938
+Livro do Tombo Belas Artes: Inscr. nº 174, de 15/07/1938
+Descrição: A cidade do Rio de Janeiro foi fundada em 1565 entre os Morros Cara de Cão e Pão de Açúcar e transferida para o antigo Morro do Castelo no ano de 1567. A Santa Casa de Misericórdia foi construída no século XVI na parte baixa, próxima ao mar e junto a uma das ladeiras que subiam para o seu cume, no mesmo local onde hoje ainda se encontra, como último vestígio do morro do Castelo. Não se sabe ao certo a data da sua construção, mas em 1582 os doentes da esquadra do Diogo Valdez foram nela acolhidos. No ano de 1734, um terceiro pavimento foi acrescentado.
+Após a transferência do cemitério que existia junto à Santa Casa para o Caju, um novo prédio foi erguido para servir de hospital. A construção foi iniciada em 1840 e no ano de 1852 já estava funcionando. Seu projeto inicial, atribuído ao Tenente Coronel de Engenharia Domingos Monteiro, é, no entanto, discutido em função das alterações realizadas na fachada durante a construção pelo Arquiteto José Maria Jacinto Rabelo.
+A fachada é caracterizada por linhas classicizantes. O pórtico central é composto, segundo o Arquiteto Augusto Silva Telles, por “um corpo com dupla colunata de cantaria, encimado por frontão, ornamentado com baixo relevos feitos por Luís Giudice.” No frontão do prédio, destacam-se o símbolo da Misericórdia ao centro, ladeado à esquerda pelos símbolos da Cristandade, e à direita, pelo da Medicina. A construção se divide em três alas paralelas, separadas por pátios e ligados entre si por um corpo transversal. Nas alas paralelas localizam-se as enfermarias.
+No hospital, além das extensas barras de azulejos holandeses, encontrados nos corredores de circulação e nas escadas, é notável a imensa galeria de retratos dos benfeitores, na qual se destacam grande número de telas setecentistas das mais antigas do acervo carioca. O seu interior abriga uma capela, cujo projeto é atribuído ao Arquiteto Joaquim Cândido Guilhobel e decorada com trabalhos de talha de Antônio de Pádua e Castro.
+Observações: O tombamento compreende as antigas enfermarias. No hospital foi instalado o Museu da Farmácia.
+Fonte: Iphan.
+INEPAC – Instituto Estadual do Patrimônio Cultural
+Nome atribuído: Hospital Geral da Santa Casa da Misericórdia
+Localização: R. Santa Luzia, nº 206, Centro – Rio de Janeiro – RJ
+Número do Processo: E-18/001/549/2015
+Tombamento Provisório: 25/05/2015
+Inventário Inepac
+Descrição: O Complexo Hospitalar da Santa Casa da Misericórdia situa-se no Centro da Cidade do Rio de Janeiro, nas proximidades de outros bens tombados pelo Estado do Rio de Janeiro: Ladeira da Misericórdia, Museu da Imagem e do Som e Prédio do Tribunal Regional do Trabalho. Originalmente, a Misericórdia se situava ao sopé do antigo Morro do Descanso, depois denominado Morro do Castelo, no local onde hoje se encontram as antigas enfermarias e a Igreja de Nossa Senhora de Bonsucesso, na Ladeira da Misericórdia. O prédio principal do Hospital Geral se destaca na paisagem por sua imponência de gosto neoclássico, com frontão triangular, onde está inserido o brasão da Ordem da Irmandade da Misericórdia. Voltado para a Rua Santa Luzia, este complexo, que ocupa quase a totalidade da quadra, se estende até a Rua Marechal Aguinaldo Caiado de Castro. Ladeando o prédio da Santa Casa, ainda se encontra um casario baixo que preserva sua imponência.
+Fonte: Inepac.
+ Site I Patrimônio
+ 
+Uma curiosidade: em seu romance, A Viuvinha, de 1857, José de Alencar (1829 – 1877), comenta sobre o grande numero de suicídios ocorridos durante a construção da Santa Casa da Misericórdia:
+“O Rio de Janeiro ainda se lembra da triste celebridade que, há dez anos, tinha adquirido o lugar onde está hoje construído o Hospital da Santa Casa. Houve um período em que quase todas as manhãs os operários encontravam em algum barranco, ou entre os cômoros de pedra e de areia, o cadáver de um homem que acabara de pôr termo à sua existência. 
+Amantes infelizes, negociantes desgraçados, pais de família carregados de dívidas, homens ricos caídos na miséria, quase todos aí vinham, trazidos por um ímã irresistível, por uma fascinação diabólica. 
+As Obras da Misericórdia, como chamavam então esse lugar, tinham a mesma reputação que o Arco das Águas Livres, de Lisboa, e a Ponte Nova, de Paris. 
+Era o templo do suicídio, onde a fragilidade humana sacrificava em holocausto a esse ídolo sanguinário tantas vítimas arrancadas às suas famílias e aos seus amigos.
+Essa epidemia moral, que se agravava todos os dias, começava já a inquietar alguns espíritos refletidos, alguns homens pensadores, que viam com tristeza os progressos do mal”. 
+ 
+ 
+Link para o artigo O Hospital Geral da Misericórdia, de Escragnolle Dória, publicado na Revista da Semana, de 26 de novembro de 1938.
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+ 
+CAMPOS, Ernesto de Souza. Santa Casa de Misericórdia de Santos: primeiro hospital fundado no Brasil; sua origem e evolução 1543-1943. São Paulo: Elvino Pocai, 1943
+Dicionário Histórico-Biográfico das Ciências da Saúde no Brasil (1832 – 1930) Casa de Oswaldo Cruz / Fiocruz
+Hemeroteca Digital da Biblioteca Nacional
+I Patrimônio
+Site Alma Carioca
+Site Missão das Misericórdias
+Site O Rio que o rio não vê
+Site Santa Casa de Misericórdia do Rio de Janeiro
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/2553` — `itens/20.500.12156.1_2553/`
+- `20.500.12156.1/6309` — `itens/20.500.12156.1_6309/`
+- `20.500.12156.1/607` — `itens/20.500.12156.1_607/`
+- `20.500.12156.1/3165` — `itens/20.500.12156.1_3165/`
+- `20.500.12156.1/2901` — `itens/20.500.12156.1_2901/`
+
diff --git a/wordpress/19845-apos-encantar-se-com-moliere-e-giulietta-dionesi-o-imperador-pedro-ii-sofre-um-a.md b/wordpress/19845-apos-encantar-se-com-moliere-e-giulietta-dionesi-o-imperador-pedro-ii-sofre-um-a.md
new file mode 100644
index 0000000..71c1e22
--- /dev/null
+++ b/wordpress/19845-apos-encantar-se-com-moliere-e-giulietta-dionesi-o-imperador-pedro-ii-sofre-um-a.md
@@ -0,0 +1,124 @@
+---
+id: 19845
+url: "https://brasilianafotografica.bn.gov.br/?p=19845"
+titulo: "Após encantar-se com Molière e Giulietta Dionesi, o imperador Pedro II sofre um atentado"
+autor: "Andrea Wanderley"
+data: "2020-07-15T11:39:13+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/2952", "20.500.12156.1/618", "20.500.12156.1/2951"]
+fetched_at: "2026-09-10T10:02:39.513Z"
+---
+
+# Após encantar-se com Molière e Giulietta Dionesi, o imperador Pedro II sofre um atentado
+
+Dom Pedro II (1825 – 1891) foi alvo de um atentado quando saía do Theatro Sant´Anna, no Rio de Janeiro, com alguns membros de sua família, em 15 de julho de 1889. Foi o primeiro governante do Brasil a sofrer um atentado!
+ 
+Pedro Hees, Photographia Popular. Pedro II, Imperador, 18?. / Acervo FBN
+ 
+“Pela primeira vez, após um reinado de mais de meio século, fora quebrado o respeito que sempre cercou a pessoa do imperador”. 
+                                                                                                                                            O Paiz, 17 de julho de 1889
+ 
+Na verdade, Pedro II, um Habsburgo perdido nos trópicos, cuja figura de 1,90m, louro e de olhos azuis contrastava com a aparência da maioria da população do Brasil, governou por quase 50 anos e não por mais de meio século – foram 49 anos, três meses e 22 dias.  Pedro II governou o Brasil, país pelo qual era apaixonado, de 23 de julho de 1840 a 15 de novembro de 1889 e, segundo José Murilo de Carvalho, o fez “com os valores de um republicano, com a minúcia de um burocrata e com a paixão de um patriota. Foi respeitado por quase todos, não foi amado por quase ninguém”. Lembramos aqui o fato de dom Pedro II ter sido um grande entusiasta da fotografia, tendo sido o primeiro brasileiro a possuir um daguerreótipo,e  provavelmente, o primeiro fotógrafo do Brasil. Devido ao seu interesse no assunto, implantou e ajudou decisivamente o desenvolvimento da fotografia no país.
+ 
+Joaquim Insley Pacheco. Pedro II, imperador do Brasil: retrato, s/d / Acervo FBN
+ 
+Na noite de 15 de julho de 1889, houve a apresentação de uma jovem violinista italiana e a encenação de uma peça,  no Theatro Sant´Anna. O imperador Pedro II (1825 – 1891), acompanhado da imperatriz Teresa Cristina (1822 – 1889), de sua filha, a princesa Isabel (1846 – 1921), e do príncipe Pedro Augusto (1866 – 1934), seu neto mais velho, estiveram presentes.
+ 
+Gazeta de Notícias, 15 de julho de 1889
+ 
+Acessando o link para as fotografias de dom Pedro II disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas. 
+ 
+O Theatro Sant´Anna localizava-se onde anteriormente ficava o Theatro Casino Franco-Brésilien. Foi reinaugurado em 29 de outubro de 1880, com a opereta do alemão Jacques Offenbach (1819 – 1880), La fille du tambour major, executada pela Companhia Lírica Francesa. Era, desde então, um dos palcos mais importantes do Rio de Janeiro. Ficava na Praça da Constituição, atual Praça Tiradentes (Revista Musical e de Bellas Artes, 30 de outubro de 1880, segunda coluna). Em 26 de janeiro de 1905, já propriedade do empresário Paschoal Segreto (1868 – 1920), foi reinaugurado com o nome de Theatro Carlos Gomes com a encenação da peça Papa Lebonnard, de Jean Aicard (1848 – 1921), com a Companhia Christiano de Souza e Lucinda Simões (O Malho, 21 de janeiro de 1905).
+Voltando à noite de 15 de julho de 1889. O Sant’Anna achava-se repleto: platéia e camarotes ocupados por pessoas da melhor sociedade; as galerias cheias da gente que de ordinário a freqüenta (Novidades, 16 de julho de 1889, quinta coluna). Foi apresentada a comédia Escola de Maridos (1661), do célebre dramaturgo francês Molière (1622 – 1673), traduzida pelo jornalista e dramaturgo maranhense Arthur de Azevedo (1855 – 1908), que em um dos intervalos foi chamado ao camarote do imperador, que felicitou seu trabalho e manifestou o desejo de possuir uma cópia de sua excelente tradução (Gazeta de Notícias, 16 de julho de 1889, quarta coluna). Arthur de Azevedo foi, anos depois, um dos fundadores da Academia Brasileira de Letras e algumas de suas peças de maior sucesso foram A Capital Federal e O Mambembe.
+ 
+Arthur Azevedo no seu leito de morte, gravura de Modesto Brocos, 1910
+ 
+Nos intervalos da peça, a violinista Giulietta Dionesi (c. 1877 – 1911), com a apenas 11 anos e já considerada uma virtuose do instrumento, executou a Grande Marcha Militar, do belga Hubert Leonard (1819 – 1890); e o Andante e Polonesa de Concerto, do francês Charles Dancla (1817 – 1907). Foi acompanhada por seu irmão, 10 anos mais velho do que ela, o maestro e pianista Romeu Dionesi (c. 1867 – ?). A apresentação foi um sucesso (Gazeta de Notícias, 14 de julho de 1889, quarta coluna; e 17 de julho de 1889, penúltima coluna).
+ 
+A violinista italiana Giulietta Dionesi, aos 11 anos, em gravura da revista Pantheon
+ 
+Os Dionesi haviam chegado em junho no Rio de Janeiro, após uma bem sucedida excursão pela Itália, Espanha e Portugal. No dia 6 de julho, Giulieta foi cumprimentar o imperador que, segundo noticiado, a recebeu com benéfico acolhimento e pediu que ela deixasse com ele o álbum com os artigos que a imprensa havia publicado sobre ela. Os irmãos ficaram órfãos de mãe e fugiram da Itália devido à exploração que o pai fazia do talento dos dois (Gazeta de Notícias, 29 de junho de 1889, quinta coluna; e 7 de julho de 1889, quinta coluna).
+Enfim, a noite no Teatro Sant´Anna havia sido um sucesso absoluto! O espetáculo correu na melhor ordem. A atitude do povo era de todo o ponto pacífica e cortês. Porém, quando dom Pedro II e seus familiares, ao fim do espetáculo, chegaram ao saguão do teatro, houve uma manifestação contra a família imperial. Alguém gritou “Viva o Partido Republicano!”, abafado imediatamente esses gritos sediciosos aos aplausos de Viva o imperador! Viva a família imperial! Viva a monarquia! ((Novidades, 16 de julho de 1889, quinta coluna; e Novidades, 17 de julho de 1889, quinta coluna).
+“Causou a mais viva impressão a notícia da deplorável ocorrência de ontem à noite, às portas do teatro Sant’Anna e suas circunvizinhanças. Um grupo, quando o Imperador saía do teatro em companhia de sua augusta família, levantou vivas à república, o que produziu a maior confusão no povo, que em desafronta de Sua Magestade levantou vivas ao imperador. Sua Magestade embarcou em seguida no seu coche, que partiu a trote largo, e afirmam várias pessoas que, no momento de passar aquele por defronte da Maison Moderne, ou Stat-Coblentz, ouviu-se a detonação de um tiro” (Cidade do Rio, 16 de julho de 1889).
+ 
+Capa da Revista Illustrada de 20 de julho de 1889
+ 
+Foi na frente do restaurante Maison Moderne, localizado na própria Praça da Constituição, entre a rua Espírito Santo e a Travessa da Barreira, que foram disparados tiros na direção da carruagem imperial, que seguiu pela rua da Carioca em direção ao Paço Imperial.
+ 
+Cidade do Rio, 16 de julho de 1889
+ 
+Ainda na madrugada do dia 16 de julho, o 1º delegado de polícia, Bernardino Ferreira da Silva, começou as investigações. O primeiro detido, logo liberado, foi Germano Hasslocher. Depois compareceu à delegacia Eduardo José de Freitas informando que um funcionário da Maison Moderne, Antônio José Nogueira, conhecia o autor dos disparos, Adriano Augusto do Valle. Assim, o delegado Bernardino prendeu o acusado em um bonde da Companhia de Botafogo, na rua de Gonçalves Dias. Ele tinha 20 ou 21 anos, era natural de Coimbra, filho de Adriano Francisco Augusto do Valle e trabalhava desde maio como primeiro caixeiro do estabelecimento de pedras açorianas e máquinas para lavoura dos Srs. Ferreira & C., na rua Teófilo Otoni, nº 119, mesma rua onde residia, no nº 128. Na edição de O Paiz de 17 de julho de 1889, foram publicados alguns antecedentes do acusado que, segundo o periódico, há algum tempo discutia assuntos políticos , mostrando-se extremado em suas opiniões. Noticiou também o boato de que Adriano já havia dado um tiro em um retrato do conde d´Eu (1842 – 1922), marido da princesa Isabel, dizendo que sentia não poder fazer o mesmo, por enquanto, na pessoa desse príncipe (O Paiz, de 17 de julho de 1889; e Diário do Commércio, 17 de julho de 1889, terceira coluna).
+ 
+O Paiz, 18 de julho de 1889
+ 
+Segundo alguns relatos, pouco antes do atentado, junto com outros rapazes, em bebedeira, Adriano do Valle teria afirmado ter coragem de dar “Vivas a República” diante do imperador. Foi incentivado pelos colegas, atirou e fugiu. Tentou se esconder em diversos hotéis, mas todos estavam cheios. No Hotel Provenceaux, pediu que o caixeiro Antônio Gonçalves guardasse os dois revólveres que possuía. Durante o interrogatório, confessou seu crime e declarou:
+ 
+Novidades, 16 de julho de 1889, penúltima coluna
+ 
+Houve um clima de consternação geral. O atentado causou polêmica em torno da imigração estrangeira, em crescimento durante a década de 1880, já que o criminoso era português, pertencendo à maior colônia de imigrantes da Corte e também à comunidade mais rica da cidade do Rio de Janeiro; e do movimento republicano.
+Os republicanos imediatamente declararam-se contra o atentado, dissociando-se da ação criminosa. Quintino Bocaiuva (1836 – 1912 ), chefe do Partido Republicano e redator-chefe do jornal O Paiz, publicou o editorial “Os dois fatos“(O Paiz, 17 de julho de 1889, terceira coluna).
+ 
+O Paiz, 17 de julho de 1889
+ 
+Outros jornais também se pronunciaram nesse sentido:
+“Infelizmente, houve ontem um atentado que não podemos atribuir senão à inconsciência de quem o praticou: ou loucura ou embriaguez, pois, por honra do partido republicano, não acreditamos que tal ato dele partisse. Esse triste acontecimento é ainda uma das consequências da profunda anarquia que lavra nos espíritos do Brasil, onde todas as noções de direito, dever e liberdade acham-se completamente obliteradas”. Tal ato contrariaria a “brandura do coração brasileiro e dos nossos costumes” (Gazeta da Tarde, 16 de julho de 1889, segunda coluna). 
+“Revolucionários, sim, assassinos, nunca!”
+“O Partido Republicano não tem a menor responsabilidade pelo desacato cometido contra S.S.M.M… O desacato que sofreu o chefe do estado, alquebrado pelos anos e pela moléstia, junto à santa senhora que o acompanhava só pode ser levado à conta da loucura daqueles que a todo transe procuram indispor e vilipendiar o nosso partido. Apelamos para o próprio imperador, e ele, que com cosciência nos diga, se julga que haja nesta terra um “verdadeiro republicano” que seja capaz de atentar contra a sua vida! Revolucionários, sim, assassinos, nunca!” (República Brazileira, 17 de julho de 1889, primeira coluna).
+O próprio dom Pedro II, que no dia seguinte ao atentado foi com a imperatriz para o Palacete Itamaraty, no Alto da Boa Vista, procurou minimizar publicamente a importância do ocorrido, descartando a possibilidade de Adriano fazer parte de uma trama para sua deposição: “Não foi nada, foi um tiro de louco!” teria exclamado, na tentativa de encerrar o caso. Na ocasião, recebeu diversas visitas em desagravo ao ocorrido (O Paiz, 17 de julho de 1889, última coluna).
+ 
+O Paiz, 17 de julho de 1889, última coluna
+ 
+Devido à nacionalidade do acusado, o conselheiro Nogueira Soares, ministro de Portugal no Brasil, convocou seus compatriotas a uma reunião para a discussão sobre o atentado contra o imperador (Gazeta de Notícias, 21 de julho de 1889, sexta coluna). Associados das caixas beneficentes e associações portuguesas lançaram uma nota de repúdio ao crime e a diretoria do Liceu Literário Português anunciou seu total desacordo com o ato cometido contra o imperador: “Este ato manou de um louco, e os loucos não têm pátria” (Gazeta de Notícias, 18 de julho de 1889, terceira coluna).
+Na reunião do ministério de Portugal, realizada no Gabinete Português de Leitura, no dia 24 de julho, o ministro Nogueira Soares leu um retrospecto dos acontecimentos acerca do atentado e fundamentou a seguinte proposta:
+ 
+O Paiz, 25 de julho de 1889
+ 
+A Gazeta de Notícias publicou um editorial contra a posição aprovada por parte da colônia portuguesa durante a reunião (Gazeta de Notícias, 26 de julho de 1889, primeira coluna). O jornal O Paiz, cujo dono era o português João José dos Reis Junior, também se pronunciou afirmando que “A nacionalidade portuguesa não pode de modo algum ser lastimada pelo acidente da origem do jovem presumido criminoso” e desaprovando o ato de Nogueira Soares classificando- o de”azáfama de zumbaias à monarquia” e de “ostenstação de desprezo e de abandono para com o desventurado moço português (O Paiz, 28 de julho de 1889, quarta coluna).
+Enquanto isso, o imperador seguiu recebendo, entre os meses de julho e agosto, vários telegramas o felicitando por ter sobrevivido ao atentado. Pelo mesmo motivo, também foram oferecidas diversas missas em Ação de Graças. Mas o fato é que a monarquia estava mesmo em seus estertores no Brasil. Em 9 de novembro, foi realizado o baile da Ilha Fiscal (Gazeta de Notícias, de 11 de novembro de 1889), que passou à história como o último baile do regime monárquico no país. Dias depois, em 15 de novembro, foi proclamada a República (Gazeta de Notícias, 16 de novembro de 1889).  Em 17 de novembro, a família real partiu para o exílio, na Europa, a bordo do Alagoas (Gazeta de Notícias, edição de 18 de novembro de 1889, sob o título “O Embarque do Imperador”, na segunda coluna).
+Cerca de uma semana depois, no dia 23 de novembro de 1889, aconteceu o julgamento de Adriano do Valle perante o júri. Foi presidida pelo juiz Hollanda Cavalcanti. O reú compareceu acompanhado por seu curador, Julio Ottoni, e por seu defensor Ferreira Lima. O promotor do caso foi Lima Drummond. A defesa alegou que o grito de “Viva o Partido Republicano” tornara-se irrelevante devido à mudança de regime de governo ocorrido no Brasil; que Adriano não havia atirado contra a carruagem imperial já que nem os cocheiros nem os membros do piquete haviam ouvido disparos; e que não havia marca de tiros na carruagem. Argumentaram também que Adriano do Valle havia ingerido absinto, um dos motivos de ter tomado uma atitude irracional. O juiz Hollanda Cavalcanti fez 10 perguntas para os jurados, sendo a primeira “O acusado atirou no carro do imperador?” As demais estavam associadas a ela. Por 10 votos a 0, os jurados responderam “não” à primeira questão. As seguintes perderam o sentido e Adriano do Valle foi então, poucos dias após a proclamação da República, absolvido e posto em liberdade (Gazeta de Notícias, 24 de novembro, penúltima coluna).
+
+Pedro II faleceu, no exílio, em Paris, em 5 de dezembro de 1891, no Hotel Bedford, na rua Arcade, no oitavo arrondissement da cidade. Foi retratado pelo renomado fotógrafo Nadar e seu atestado de óbito foi assinado por Jean Marie Charcot (1825 – 1893), Charles Jacques Bouchard (1837 – 1915) e por seu médico e amigo pessoal, Cláudio Velho da Motta Maia (1843 – 1897). A causa da morte foi pneumonia aguda no pulmão esquerdo.
+ 
+Registro de morte de dom Pedro II
+Tradução do registro de morte do imperador:
+“Nós, abaixo assinados, Professores da Faculdade de Medicina e doutores em medicina, certificamos que Dom Pedro II d’Alcantara morreu em 5 de Dezembro de 1891 à meia noite e 35 (da manhã) no hotel Bedford, 17 rue de l’Arcade, em Paris, em conseqüência de uma pneumonia aguda do pulmão esquerdo.
+Paris, 5 de dezembro de 1891
+J.M Charcot
+C. de Motta Maia
+Bouchard”
+Link para o registro da morte de Pedro II.
+ 
+ 
+ 
+Nadar; Pacheco & Filho. Pedro II, Imperador do Brasil : retrato, 1891. Paris, França / Acervo FBN
+ 
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+Academia Brasileira de Letras
+CPDOC
+BESOUCHET, Lídia. Exílio e morte do Imperador. Rio de Janeiro: Editora Nova Fronteira, 1975
+CARVALHO, José Murilo de. Os bestializados, o Rio de Janeiro e a República que não foi. São Paulo: Cia. das Letras, 1987.
+CARVALHO, José Murilo. Pedro II: ser ou não ser. São Paulo: Companhia das Letras, 2007.
+Enciclopédia Britannica
+HARING, Bertita. O Trono do Amazonas – a história dos Braganças no Brasil – José Olympio, RJ, 1944.
+Hemeroteca Digital da Biblioteca Nacional
+Jornal da Manhã de Uberaba, 20 de setembro de 1918
+MEDEIROS, Karla Armani. Giulietta Dionesi, a jovem violinista. O Diário de Barretos, 8 de janeiro de 2019.
+OLIVEIRA, Olga Maria Frange de. O atentado e o resgate de um gênio. Jornal da Manhã (Uberaba), 20 de setembro de 2018.
+SCHWARCZ, Lilia Moritz. As barbas do Imperador: D. Pedro II, um monarca nos trópicos. São Paulo: Companhia das Letras, 1998.
+Site Naxos
+Site Theatros do Centro Histórico do Rio de Janeiro
+Site ViolinMan.com
+VIDIPÓ, George. Um processo criminal nos jornais do século XIX: o atentado contra dom Pedro II. Anais do Encontro Internacional XVII Encontro de História da Anpuh-Rio: História e Parcerias, 2018.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/2952` — `itens/20.500.12156.1_2952/`
+- `20.500.12156.1/618` — `itens/20.500.12156.1_618/`
+- `20.500.12156.1/2951` — `itens/20.500.12156.1_2951/`
+
diff --git a/wordpress/19898-serie-o-rio-de-janeiro-desaparecido-xi-a-estrada-de-ferro-do-corcovado-e-o-miran.md b/wordpress/19898-serie-o-rio-de-janeiro-desaparecido-xi-a-estrada-de-ferro-do-corcovado-e-o-miran.md
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@@ -0,0 +1,126 @@
+---
+id: 19898
+url: "https://brasilianafotografica.bn.gov.br/?p=19898"
+titulo: "Série “O Rio de Janeiro desaparecido” XI – A Estrada de Ferro do Corcovado e o mirante Chapéu de Sol"
+autor: "Andrea Wanderley"
+data: "2021-07-22T11:03:27+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/6354", "20.500.12156.1/6352", "20.500.12156.1/6337", "20.500.12156.1/4996", "20.500.12156.1/4245", "20.500.12156.1/6329", "20.500.12156.1/2278", "20.500.12156.1/5058", "20.500.12156.1/9153", "20.500.12156.1/3184"]
+fetched_at: "2026-09-10T10:02:43.160Z"
+---
+
+# Série “O Rio de Janeiro desaparecido” XI – A Estrada de Ferro do Corcovado e o mirante Chapéu de Sol
+
+Juan Gutierrez. Mirante Chapéu do Sol, c, 1897. Rio de Janeiro, RJ / Acervo Museu Histórico Nacional
+ 
+Antes da construção do Cristo Redentor, inaugurado em 12 de outubro de 1931, havia no Corcovado um mirante que, devido a seu formato, ficou conhecido como Chapéu de Sol. Foi encomendado a uma fundição belga e construído, em 1885, por decisão de dom Pedro II (1825 – 1891), substituindo um precário pagode de madeira.
+ 
+Juan Gutierrez. Mirante Chapéu do Sol, 189?. Rio de Janeiro, RJ / Acervo Museu Histórico Nacional
+ 
+Acessando o link para as fotografias do Chapéu de Sol no Morro do Corcovado disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas. 
+ 
+Cerca de um ano antes, em 9 de outubro de 1884, foi concluída a linha férrea que ligava o Cosme Velho às Paineiras, cuja concessão para a construção foi dada aos engenheiros Francisco Pereira Passos (1836 – 1913), futuro prefeito do Rio de Janeiro, e a João Teixeira Soares (1848 – 1927), um dos realizadores da Estrada de Ferro do Paraná, de Curitiba a Paranaguá, inaugurada também em 1884 (Revista de Engenharia, 1882, primeira coluna; Gazeta de Notícias, 8 de janeiro de 1882, segunda coluna).
+Pereira Passos havia sido responsável, em 1874, pela elaboração de um plano urbano para o Rio de Janeiro inspirado nas obras realizadas em Paris pelo Barão de Haussmann (1809 – 1891). A Estrada de Ferro do Corcovado já estava prevista em relatórios de 1875 e 1876 entregues à Coroa pela comissão chefiada por ele.
+O renomado engenheiro Marcelino Ramos da Silva (1844 – 1910), um dos fundadores do Club de Engenharia, que havia estudado nas escolas de Hannover e Hamburgo, na Alemanha, dirigiu as obras. Estavam presentes à inauguração deste primeiro trecho dom Pedro II (1825 – 1891), dona Teresa Cristina (1822 – 1889), a princesa Isabel (1846- 1921), o conde D ´Eu (1842 – 1922) , além dos ministros da Agricultura, Antônio Carneiro da Rocha (1842 – 1925), da Guerra, João José de Oliveira Junqueira Júnior (1832 – 1887), de outras autoridades e dos diretores da estrada (Gazeta de Notícias, 10 de outubro de 1884, primeira coluna).
+ 
+Juan Gutierrez. Estação das Paineiras, na Estrada de Ferro do Corcovado, 189?. Rio de Janeiro, RJ / Acervo Museu Histórico Nacional
+ 
+Augusto Malta.Família Passos: Pereira Passos, Maria Rita Passos, Maria Paula Passos de Castro, Francisco de Oliveira Passos, Olímpia Passos e Maria Ernestina T. de Castro, 14 de novembro de 1910. Rio de Janeiro, RJ / Acervo Museu da República
+ 
+João Teixeira Soares / Site Geni
+ 
+Jornal do Commercio, 9 de outubro de 1884
+ 
+Jorge Kfuri. O Chapéu de Sol no morro do Corcovado, s/d. Rio de Janeiro, RJ / DPHDM
+ 
+Em 1º de julho de 1885, o tráfego foi aberto até o alto do Corcovado (Jornal do Commercio, 2 de julho de 1885, quinta coluna; Revista de Engenharia, 1885, primeira coluna). O ramal ferroviário entre o Cosme Velho e o Corcovado foi construído sob o sistema Riggenbach, com cremalheira denteada sobre um trilho central para dar maior segurança à composição (Revista de Engenharia, 14 de abril de 1884, primeira coluna).
+ 
+Jornal do Commercio, 2 de julho de 1885
+ 
+Acessando o link para as fotografias da Estrada de Ferro do Corcovado disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas. 
+ 
+Juan Gutierrez. Ponto de chegada da Estrada de Ferro do Corcovado, 189?. Rio de Janeiro, RJ / Acervo Museu Histórico Nacional
+ 
+A ferrovia, com aproximadamente 3.800 km de extensão, era percorrida por uma locomotiva a carvão. Foi a primeira linha férrea turística das Américas. O passeio de trem até o mirante, inicialmente de tração à vapor e, a partir de fevereiro de 1910, de tração elétrica, passou a ser uma das atrações prediletas dos cariocas, que do topo do morro admiravam a beleza do Rio de Janeiro em todo o seu esplendor (O Paiz, 26 de fevereiro de 1910, quinta coluna; O Jornal, 5 de abril de 1945, última coluna).
+ 
+Marc Ferrez. Ponte do Silvestre, c. 1895. Rio de Janeiro, RJ / Acervo IMS
+ 
+Editores & propriedade de Rodrigues & Co. Corcovado (Chapéu de Sol), 1890-1900. Rio de Janeiro, RJ / Acervo Arquivo Nacional
+ 
+Uma curiosidade: durante as celebrações do centenário da independência do Brasil, em 7 de setembro de 1922, houve a primeira transmissão radiofônica no Brasil, marcada por um discurso do presidente Epitácio Pessoa (1865 – 1942) transmitido pelas antenas – que aparecem na fotografia aérea abaixo -, instaladas no morro do Corcovado, ao lado do Chapéu de Sol, que alcançou receptores em Niterói, Petrópolis e São Paulo.
+ 
+Jorge Kfuri. Vista aérea do Morro do Corcovado com o Mirante Chapéu do Sol, c. 1921. Rio de Janeiro, RJ / Acervo IMS
+ 
+O mirante Chapéu de Sol foi totalmente removido na década de 40 pelo então prefeito Henrique Dodsworth (1895 – 1975), dentro de um programa de melhoramentos no alto do Corcovado (O Jornal, 28 de maio de 1941, sexta coluna; Gazeta de Notícias, 24 de junho de 1942, quarta coluna; Correio da Manhã, 2 de abril de 1944, quarta coluna; Revista da Semana, 17 de junho de 1944).
+ 
+S.H. Holland. Cristo Redentor em construção, c. 1931. Rio de Janeiro, RJ / Acervo IMS
+ 
+Uma curiosidade: O primeiro nome do Morro do Corcovado foi Pináculo das Tentações, possivelmente atribuído pelo navegador italiano Américo Vespúcio (1451 – 1512), que no início do século XVI, passou pela Baía do Rio de Janeiro. Mas por sua forma, no século XVII, passou a ser comumente chamado Corcovado. Sua ocupação definitiva aconteceu com a chegada da família imperial ao Brasil, em 1808. Dom Pedro I (17 98- 1834) conduziu, com o objetivo de estabelecer pontos de observação para a defesa da costa, a primeira expedição oficial ao Monte Corcovado, em 22 de fevereiro de 1824, registrada nas telas do francês Jean-Baptiste Debret (1868 – 1948).
+ 
+
+ 
+Segundo o Portal do Iphan:
+“A iniciativa da abertura de um caminho terrestre para o Corcovado foi de D. Pedro I. Assessorado por engenheiros militares, D. Pedro I percorreu as montanhas que circundavam a cidade e dirigiu pessoalmente, os trabalhos para abrir uma picada para um cavaleiro, no Corcovado. No cimo do morro, mandou instalar um telégrafo (semáforo, que sinalizava a subida com bandeiras, em conexão com outras estações Palácio de S. Cristóvão, fortaleza de Santa Cruz e Forte de Copacabana). Neste mesmo ano, instalou-se o primeiro belvedere para descortinio da paisagem e um acampamento rústico para uso da família imperial, quando de suas excursões ao local. As caminhadas e passeios à região, tornaram-se um hábito junto à população, e em especial junto aos visitantes e cronistas estrangeiros que registram textual e iconograficamente estes passeios”. 
+ 
+O título deste artigo foi alterado de A Estrada de Ferro do Corcovado e o mirante Chapéu de Sol para Série O Rio de Janeiro desaparecido XI – A Estrada de Ferro do Corcovado e o mirante Chapéu de Sol, em 16 de setembro de 2021.
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+BARBOSA, Verônica Mendes Borges; BONILHA, Caroline Leal. Paisagem brasileira: do retrtao pictórico ao retrato fotográfico. Universidade Federal de Pelotas, RS.
+Dunlop, Charles Julius. Rio Antigo. Rio de Janeiro: Editora Rio Antigo, 1963.
+Hemeroteca Digital da Biblioteca Nacional
+MOTA, Isabela; PAMPLONA, Patricia. Vestígios da paisagem carioca: 50 lugares desaparecidos do Rio de Janeiro. Rio de Janeiro ; Mauad X, 2019.
+Portal Iphan
+SEMENOVITCH, Jorge Scévola. Corcovado: a conquista da montanha de Deus. Rio de Janeiro : Editora Lutecia, 2010
+Site Arquidiocese de São Sebaastião do Rio de Janeiro
+Site Câmara dos Deputados
+Site Diário do Rio
+Site História de Marcelino Ramos
+ 
+ 
+Links para os outros artigos da Série O Rio de Janeiro desaparecido
+ 
+Série O Rio de Janeiro desaparecido I - Salas de cinema do Rio de Janeiro do início do século XX, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 26 de fevereiro de 2016.
+Série O Rio de Janeiro desaparecido II – A Exposição Nacional de 1908 na Coleção Família Passos, de autoria de Carla Costa, historiadora do Museu da República, publicado na Brasiliana Fotográfica, em 5 de abril de 2018.
+Série O Rio de Janeiro desaparecido III – O Palácio Monroe, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica, em 9 de novembro de 2016.
+Série O Rio de Janeiro desaparecido IV - A via elevada da Perimetral, de autoria da historiadora Beatriz Kushnir, publicado na Brasiliana Fotográfica em 23 de junho de 2017.
+Série O Rio de Janeiro desaparecido V – O quiosque Chopp Berrante no Passeio Público, Ferrez, Malta e Charles Dunlop, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 20 de julho de 2018.
+Série O Rio de Janeiro desaparecido VI – O primeiro Palácio da Prefeitura Municipal do Rio de Janeiro, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 12 de setembro de 2018.
+Série O Rio de Janeiro desaparecido VII – O Morro de Santo Antônio na Casa de Oswaldo Cruz, de autoria de historiador Ricardo Augusto dos Santos da Casa de Oswaldo Cruz, publicado na Brasiliana Fotográfica em 5 de fevereiro de 2019.
+Série O Rio de Janeiro desaparecido VIII – A demolição do Morro do Castelo, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 30 de abril de 2019.
+Série O Rio de Janeiro desaparecido X – No Dia dos Namorados, um pouco da história do Pavilhão Mourisco em Botafogo, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 12 de junho de 2020.
+Série O Rio de Janeiro desaparecido XI – A Estrada de Ferro do Corcovado e o mirante Chapéu de Sol, de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 22 de julho de 2021.
+Série O Rio de Janeiro desaparecido XII – o Teatro Lírico (Theatro Lyrico), de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 15 de setembro de 2021.
+Série O Rio de Janeiro desaparecido XIII – O Convento da Ajuda, de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 12 de outubro de 2021.
+Série O Rio de Janeiro desaparecido XIV – O Conselho Municipal, de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 19 de novembro de 2021.
+Série O Rio de Janeiro desaparecido XV – A Praia de Santa Luzia no primeiro dia do verão, de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 21 de dezembro de 2021.
+Série O Rio de Janeiro desaparecido XVI – O prédio da Academia Imperial de Belas Artes, de autoria de Andrea C.T. Wanderley, publicado na Brasiliana Fotográfica em 13 de janeiro de 2022.
+Série O Rio de Janeiro desaparecido XVII – Igreja São Pedro dos Clérigos, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 18 de março de 2022.
+Série O Rio de Janeiro desaparecido XVIII – A Praça Onze, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 20 de abril de 2022.
+Série O Rio de Janeiro desaparecido XIX – A Igrejinha de Copacabana, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 23 de junho de 2022.
+Série O Rio de Janeiro desaparecido XX – O Pavilhão dos Estados, futuro prédio do Ministério da Agricultura, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 26 de julho de 2022.
+Série O Rio de Janeiro desaparecido XXI – O Chafariz do Largo da Carioca, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 19 de setembro de 2022. 
+Série O Rio de Janeiro desaparecido XXII – A Cadeia Velha que deu lugar ao Palácio Tiradentes, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 11 de abril de 2023
+Série O Rio de Janeiro desaparecido XXIII e Avenidas e ruas do Brasil XVII - A Praia e a Rua do Russel, na Glória, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 15 de maio de 2023
+Série O Rio de Janeiro desaparecido XXIV – O luxuoso Palace Hotel, na Avenida Rio Branco, uma referência da vanguarda artística no Rio de Janeiro, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 4 de julho de 2023
+Série O Rio de Janeiro desaparecido XXV – O Theatro Phenix, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 5 de setembro de 2023
+Série O Rio de Janeiro desaparecido XXVI – Conclusão do arrasamento do Morro do Castelo por Augusto Malta, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 14 de dezembro de 2023
+Série O Rio de Janeiro desaparecido XXVII e Série Os arquitetos do Rio de Janeiro V – O Jockey Club e o Derby Club, na Avenida Rio Branco e o arquiteto Heitor de Mello (1875 – 1920), de autoria de Andrea c. T. Wanderley, editora e pesquisadora do portal, em 15 de janeiro de 2024
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/6354` — `itens/20.500.12156.1_6354/`
+- `20.500.12156.1/6352` — `itens/20.500.12156.1_6352/`
+- `20.500.12156.1/6337` — `itens/20.500.12156.1_6337/`
+- `20.500.12156.1/4996` — `itens/20.500.12156.1_4996/`
+- `20.500.12156.1/4245` — `itens/20.500.12156.1_4245/`
+- `20.500.12156.1/6329` — `itens/20.500.12156.1_6329/`
+- `20.500.12156.1/2278` — `itens/20.500.12156.1_2278/`
+- `20.500.12156.1/5058` — `itens/20.500.12156.1_5058/`
+- `20.500.12156.1/9153` — `itens/20.500.12156.1_9153/`
+- `20.500.12156.1/3184` — `itens/20.500.12156.1_3184/`
+
diff --git a/wordpress/19943-serie-feministas-gracas-a-deus-i-elvira-komel-1906-1932-a-feminista-mineira-que-.md b/wordpress/19943-serie-feministas-gracas-a-deus-i-elvira-komel-1906-1932-a-feminista-mineira-que-.md
new file mode 100644
index 0000000..6264b17
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+++ b/wordpress/19943-serie-feministas-gracas-a-deus-i-elvira-komel-1906-1932-a-feminista-mineira-que-.md
@@ -0,0 +1,290 @@
+---
+id: 19943
+url: "https://brasilianafotografica.bn.gov.br/?p=19943"
+titulo: "Série “Feministas, graças a Deus!” I – Elvira Komel (1906 – 1932), a feminista mineira que passou como um meteoro"
+autor: "Andrea Wanderley"
+data: "2020-07-25T10:03:02+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/6473", "20.500.12156.1/5028"]
+fetched_at: "2026-09-10T10:02:46.933Z"
+---
+
+# Série “Feministas, graças a Deus!” I – Elvira Komel (1906 – 1932), a feminista mineira que passou como um meteoro
+
+Série “Feministas, graças a Deus!” I – Elvira Komel
+ 
+A Brasiliana Fotográfica inaugura hoje a série “Feministas, graças a Deus!” com a publicação de um artigo sobre a advogada e sufragista mineira Elvira Komel (1906 – 1932), líder do movimento feminista em Minas Gerais, na década de 1920 e no início da de 1930, e , com seu espírito ativo e inteligência brilhante, uma das mais destacadas militantes do feminismo no Brasil e um dos expoentes da intelectualidade mineira de sua época. A ideia da série surgiu a partir da proposta da pesquisadora Maria Silvia Pereira Lavieri Gomes, do Instituto Moreira Salles, de escrever sobre Elvira. Seu artigo, seguido de uma cronobiografia elaborada pela editora do portal, Andrea C. T. Wanderley, abre a série.
+A proposta de Maria Silvia surgiu quando ela assistiu à última mesa do seminário online “Do ponto de vista do antropólogo”, “Arquivos de Mulheres e memória visual”, apresentada por Carolina Alves e Adelina Novaes e Cruz, ambas pesquisadoras do CPDOC, da Fundação Getulio Vargas, em 29 de junho de 2020. A série “Feministas, graças a Deus!” pretende dar visibilidade à trajetória de mulheres que trabalharam vigorosamente pelas conquistas femininas e pelo desenvolvimento do Brasil. Muitas vezes, a história não lhes faz jus.
+A fotografia em destaque pertence ao fundo Federação Brasileira pelo Progresso Feminino – FBPF -, do Arquivo Nacional, uma das instituições parceiras da Brasiliana Fotográfica. O fundo possui quase 500 fotografias e evidencia, segundo as historiadoras Claudia Beatriz Heynemann e Maria do Carmo Rainho, a rede formada por mulheres em várias partes do mundo – dos Estados Unidos à Turquia, da Argentina à República Tcheca – na luta por seus direitos, por trabalho, educação, mas, sobretudo, por representatividade política através do voto. Elas são as autoras do artigo Memória das lutas feministas, embrião desta série, publicado na Brasiliana Fotográfica, em 8 de agosto de 2017.
+ 
+Elvira Komel (1906 – 1932), a feminista mineira que passou como um meteoro
+ Maria Silvia Pereira Lavieri Gomes *
+ 
+Primeira advogada mulher no Fórum de Belo Horizonte, sufragista e segunda eleitora mineira**, alistada em 1928, Elvira Komel apoiou a Revolução de 1930, publicando nos jornais manifestos dirigido às mulheres, convocando-as a integrar o Batalhão Feminino João Pessoa, que fundou para servir de base de apoio ao movimento na capital mineira. Defendeu também a luta pela educação formal feminina liderando congressos e encontros. Sua breve trajetória foi marcada pelo engajamento nas bandeiras feministas e movida pelo sentimento de construção de um novo Brasil. Ela se posicionou na contramão de juristas que valorizavam a proteção oferecida às mulheres pelo casamento, que fornecia aparência e fazia perpetuar subserviência e obediência.
+ 
+J. Bonfioti. Elvira Komel, 1928. Belo Horizonte, MG / Acervo Arquivo Nacional
+ 
+No retrato acima destacado, produzido no estúdio do fotógrafo J. Bonfioti, em 1928, Elvira aparece de cabelos curtos, a la garçonne, prático e moderno, como ditava a moda. Essa nova estética buscava simbolizar a independência feminina, a mentalidade moderna.
+Elvira Komel nasceu em São João do Morro Grande, hoje município Barão de Cocais, em 24 de junho de 1906, filha de Ernest Komel, austríaco, especialista em montagem hidráulica e usinas elétricas; e da mineira Marieta Correia Guedes. Cursou o ensino primário em sua terra natal e, entre 1921 e 1924, fez o curso ginasial em Viçosa, para onde sua família havia se mudado. Revelou-se uma excelente aluna. Foi para o Rio de Janeiro onde, com apenas 19 anos, em 10 de janeiro de 1925, prestou vestibular para Direito. Graduou-se em Ciências Jurídicas e Sociais, na Universidade do Rio de Janeiro, em novembro de 1929. Foi apontada como a “leader do movimento feminista” de Minas Gerais (Diário Carioca, 8 de janeiro de 1930, primeira coluna).
+ 
+Diário de Notícias, 15 de novembro de 1930
+ 
+Diário Carioca, 8 de janeiro de 1930
+ 
+Voltou para Belo Horizonte e foi morar com os pais no bairro da Floresta. Foi a primeira advogada a atuar em Minas Gerais, no Fórum da Comarca de Belo Horizonte, enfrentando juízes conservadores da época, inclusive o então promotor de Justiça, Afonso Arinos de Mello Franco, futuro ministro de Relações Exteriores e constituinte em 1988. Segundo Alberto Deodato, “ela teve grande atividade forense, enfrentando em vários júris o promotor Afonso Arinos de Mello Franco, que levou dela sempre a pior.” [i] No depoimento de Afonso Arinos prestado à historiadora Lélia Vidal para o livro Elvira Komel: Uma estrela riscou o céu, afirmou acreditar “que a formação feminista de Elvira teve o seu forjamento no âmbito universitário, pois naquele tempo já se discutia o voto feminino no Rio de Janeiro. Já a mulher mineira era mais do lar, recatada e não participava dos movimentos organizados em prol de seus direitos”. [ii]
+Outra bandeira defendida com entusiasmo por Elvira era a educação feminina, fato que fica evidenciado na conferência pronunciada por ela na Radio Club, “Pela educação da mulher brasileira”, e publicada na íntegra no O Jornal, 05 de janeiro de 1930.
+ 
+O Jornal, 5 de janeiro de 1930
+ 
+Durante a Revolução de 30, liderada por Getulio Vargas (1882 – 1954), cuja esposa, Alzira Vargas (1914 – 1992), era sua amiga, Elvira fundou o Batalhão Feminino João Pessoa e seu empenho na causa conseguiu reunir legiões de mulheres em toda Minas Gerais, “de  fardas de brim cáqui e confeccionando a bem da Revolução mais de quatro mil fardamentos para os soldados e servindo nos hospitais de sangue da Capital e dos municípios mineiros, além de terem como obrigatória a instrução militar feminina. Eram mulheres de todas as classes e profissões sociais, incluindo 300 enfermeiras práticas, postas à disposição da Saúde Pública (através de aquiescência do secretário da Saúde, Dr. Ernani Agrícola) e bem comandadas pela inesperada comandante.”[iii]
+Foi publicada na primeira página de O Jornal, 15 de novembro de 1930 sob manchete “A colaboração da mulher mineira no movimento revolucionário” uma reportagem completa sobre o Batalhão Feminino.
+ 
+O Jornal, 15 de novembro de 1930
+ 
+O Batalhão Feminino João Pessoa, nome escolhido em homenagem ao Governador da Paraíba que morrera assassinado durante a Revolução de 30, possuía oito mil seguidoras em 52 municípios do Estado de Minas Gerais, sendo 1.200 em Belo Horizonte. No desfile das forças militares realizado no Rio de Janeiro em 15 de novembro, em comemoração à Proclamação da República, o Batalhão da Komel, representado por 75 mulheres, comandadas por Elvira foi uma grande atração (Diário Carioca e o Diário de Notícias, ambos de 15 de novembro de 1930; Jornal do Brasil, 16 de novembro de 1930).
+ 
+Diário Carioca, 15 de novembro de 1930
+ 
+Diário de Notícias, 15 de novembro de 1930
+ 
+No Rio de Janeiro, ainda participou da inauguração da Praça João Pessoa, onde ficava a Praça dos Governadores (Jornal do Brasil, de 20 de novembro de 1930).
+É importante lembrar que a louvação do militarismo e patriotismo, presentes fortemente ideário de Elvira e de suas companheiras, se ajustava à atmosfera carregada do pré-guerra europeu e da Primeira Guerra Mundial (1914-1918), na ampla mobilização social desejada pelos intelectuais de sua época. O que não impedia que elas fossem muito hostilizadas por questões de gênero, a exemplo da publicação da revista Careta.
+ 
+Elvira Komel fardada de coronel. Jornal do Brasil, 15 de novembro de 1930
+ 
+Careta, 7 de fevereiro de 1931
+ 
+No dia 23 de novembro de 1930, na sede do América Futebol Clube, na rua dos Caetés, 343, no centro de Belo Horizonte, Elvira Komel transformou o batalhão feminino na Associação Feminina João Pessoa (AFJP). A reunião preparatória para a fundação da AFJP determinou uma comissão elaboradora dos estatutos: Celina Coelho, a bacharelanda Elza Pinheiro Guimarães; as farmacêuticas Zinah Coelho Júnior e Elvira Poch; as professoras Olympia Duarte, Diva Magalhães, Esmeralda Alves e Irene Dias. Adeptas de 52 municípios mineiros receberam ofícios da Comandante Komel comunicando o início da Associação Feminina João Pessoa e autorizando e estimulando as a fundação de centros municipais e centros filiais nos bairros de Belo Horizonte, por professoras.
+ 
+Correio da Manhã, 24 de setembro de 1931
+ 
+Em janeiro de 1931, esteve no Rio de Janeiro com a também sufragista e advogada gaúcha Natércia da Silveira (1905 – 1993), e se encontraram com o ministro do Trabalho, Lindolpho Collor (1890 – 1942), com Oswaldo Aranha (1894 – 1960), ministro da Justiça e Assuntos Internos, e com outras autoridades para pleitear a igualdade de direitos entre os sexos, reivindicando para as mulheres o direito ao voto e as honras militares de oficiais do Exército (Jornal do Brasil, 14 de janeiro de 1931, primeira coluna).
+Foi a presidente do I Congresso Feminino Mineiro, em Belo Horizonte, entre 21 e 27 de junho de 1931, com a participação de representantes de municípios mineiros, do Espírito Santo, de Goiás, da Paraíba, do Rio Grande do Sul, e da Aliança Nacional de Mulheres, fundada por Natércia Silveira (1905 – 1993), 1ª vice-presidente do evento. A primeira-dama Darcy Vargas (1895 – 1968) foi a presidente de honra do congresso. Na ocasião, foram discutidas questões de interesse das mulheres, inclusive a equiparação dos direitos da mulher ao do homem perante à legislação nacional. Foi também votada e aprovada por unanimidade uma moção de solidariedade ao governo de Getulio Vargas.  O congresso foi encerrado em 29 de junho (Correio da Manhã, 6 de junho de 1931, segunda coluna; Correio da Manhã, 23 de junho de 1931, terceira coluna; Correio da Manhã, 30 de junho de 1931, sétima coluna; Diário Carioca, 14 de agosto de 1931, última coluna). Um pouco antes, em 11 de junho, a brasileira Odete Carvalho (1904 – 1969) participou da Conferência Internacional do Trabalho, em Genebra, conselheira técnica governamental;  e, em 19 de junho de 1931, havia sido inaugurado o II Congresso Internacional Feminista, no Rio de Janeiro, sob a direção de Bertha Lutz (1894 – 1976).
+ 
+Anônimo. Excursão das participantes do II Congresso Internacional Feminista ao Recreio dos Bandeirantes no Rio de Janeiro, junho de 1931. Rio de Janeiro, RJ / Acervo Arquivo Nacional
+ 
+Fundou, em 1931, o Partido Liberal Feminino Mineiro, uma fusão da Associação Feminina João Pessoa e da Legião Feminina, “formando uma única corporação com finalidades amplas: sociais, humanitárias, cívicas e políticas. O nosso programa visa proteger a mulher, trabalhar pela sociedade e pela pátria, colaborando, também, na realização do programa revolucionário, para que a República Nova se torne realidade” (Correio da Manhã, 24 de setembro de 1931, primeira coluna; A Noite, 7 de outubro de 1931, quarta coluna).
+ 
+A Noite, 7 de outubro de 1931
+ 
+Finalmente, através do Decreto nº 21.076, de 24 de fevereiro de 1932, que instituiu o Código Eleitoral Provisório, foi reconhecido o direito de voto às mulheres. Em julho do mesmo ano, Elvira foi para Juiz de Fora, onde proferiu diversas palestras sobre a Revolução de 30 e seu caráter político, preparando-se para a sua candidatura ao senado estadual (deputada estadual). Voltando para Belo Horizonte, sentiu fortes dores de cabeça e, vítima de meningite, faleceu no dia 25 de julho de 1932, com apenas 26 anos de idade, sendo sepultada no Cemitério do Bonfim, na capital mineira (Jornal do Brasil, 27 de julho de 1932; Correio da Manhã, 27 de julho de 1932, sexta coluna). Este laudo foi contestado por sua família, que atribuiu sua morte precoce a um aneurisma cerebral.
+“A morte inesperadamente a vem colher no desdobramento de um programa de úteis iniciativas em prol da causa feminina, que a Dra. Elvira Komel defendia com desassombro”[iv].
+                                                                                                                                   Jornal Minas Gerais de 27 de agosto de 1932
+ 
+Os amigos de Elvira, Carlos Drummond de Andrade, Pedro Nava, Cyro dos Anjos, Edmundo Hass, Olinto Fonseca e Alberto Deodato lamentaram sua morte.
+ 
+ 
+[i] DUARTE, CARMO & LUZ in Mulheres em Minas: Lutas e Conquistas. Conselho Estadual da Mulher de Minas Gerais – 25 anos. Belo Horizonte: Imprensa Oficial. 2008, p 270
+[ii] Idem, p 271
+[iii] Idem, p 271
+[iv] Idem, p 272
+ 
+*Maria Silvia Pereira Lavieri Gomes é historiadora e é desde 2014 pesquisadora responsável pelo acervo do embaixador Walther Moreira Salles, no Instituto Moreira Salles.
+** A primeira foi a advogada Mietta Santiago (1903 – 1995) – O Paiz, 16 de setembro de 1928.
+ 
+Cronologia de Elvira Komel (1906 – 1932)
+Andrea C. T. Wanderley**
+ 
+Elvira Komel / Correio da Manhã, 27 de julho de 1932
+ 
+1906 – A mineira Elvira Komel nasceu em São João do Morro Grande, hoje município Barão de Cocais, em 24 de junho de 1906, filha de Ernest Komel, austríaco, especialista em montagem hidráulica e usinas elétricas; e da mineira Marieta Correia Guedes. Cursou o ensino primário em sua terra natal (Correio da Manhã, 27 de junho de 1931, sétima coluna)
+1921 a 1924 - Fez o curso ginasial em Viçosa, para onde sua família havia se mudado. Revelou-se uma excelente aluna.
+1925 – Foi para o Rio de Janeiro onde, com apenas 19 anos, em 10 de janeiro de 1925, prestou vestibular para Direito.
+1925 – Registro de sua aprovação plena nos exames do primeiro ano da facudade de Direito (Jornal do Commercio, 20 de março de 1926, primeira coluna).
+1928 – Por volta desse ano começou a exercer a advocacia nos auditórios de Belo Horizonte (O Paiz, 6 janeiro de 1930, quarta coluna).
+Quando o politico e advogado Maurício de Lacerda (1888 – 1959) visitou Belo Horizonte, antes de proferir sua palestra sobre o voto secreto no Teatro Municipal da cidade, foi saudado por Elvira. Na ocasião, ela discursou acerca de “conceitos oportuníssimos sobre as mais palpitantes questões políticas do momento, monstrando-se profunda conhecedora de nosas prementes necessidades” (O Jornal, 15 de junho de 1928, quinta coluna; A Esquerda, 20 de setembro de 1928, terceira coluna).
+Foi a segunda mulher mineira a se alistar para ter o direito do exercício do voto: “É, pois, um novo valor que se vem  juntar ao esforço coletivo em prol da nossa regeneração política” (O Paiz, 20 de setembro de 1928, segunda coluna; Diário Carioca, 20 de setembro de 1928, penúltima coluna; A Esquerda, 20 de setembro de 1928, terceira coluna).
+Ela e a advogada mineira Mietta Santiago (1903 – 1995) foram citadas no relatório que a Federação Brasileira pelo Progresso Feminino (FBPF) – entidade civil criada no Rio de Janeiro, em 1922, cuja fundadora e principal líder foi a bióloga Bertha Lutz  (1894 – 1976) – apresentou à Comissão Redatora da História do Movimento Feminista Internacional, da Aliança Internacional pelo Sufrágio Feminino (O Paiz, 21 de outubro de 1928).
+ 
+Mietta Santiago (1903 – 1995) / O Paiz, 16 de setembro de 1928
+ 
+Publicação do artigo Requerendo o meu alistamento eleitoral, de autoria de Elvira Komel (O Paiz, 4 de novembro de 1928, terceira coluna).
+Em entrevista, Elvira declarou que o feminismo em Minas estava efetivamente triunfante e que várias mineiras já haviam se alistado. Argumentou também em favor do voto feminino. Nessa matéria, está reproduzida a fotografia de Elvira Komel que se encontra no acervo fotográfico da Brasiliana Fotográfica (A Noite, 16 de novembro de 1928).
+ 
+A Noite, 16 de novembro de 1928
+ 
+1929 – Foi a primeira eleitora a exercer o direito do voto em Minas Gerais (O Jornal, 8 de maio de 1929, sexta coluna; Diário Carioca, 10 de maio de 1929, penúltima coluna; Diário Nacional: A Democracia em Macha, 10 de maio de 1929, quinta coluna e Brasil Social, julho de 1929).
+ 
+Diário Nacional: a Democracia em Marcha, 10 de maio de 1929
+ 
+Era a única mulher integrante da embaixada universitária mineira que passou pelo Rio de Janeiro em direção ao Paraná, onde para participaria de uma confraternização acadêmica. Foi como representante da FederaçãoBrasileira pelo Progresso Feminino e da União Universitária Feminina de Minas. O advogado e escritor Cyro dos Anjos (1906 – 1994), na época redator do Diário de Minas, e José Américo de Macedo (1906 – ?), futuro prefeito de Ituiutaba, eram os líderes do grupo. elvira proferiu uma palestra sobre feminismo no Club Curitibano onde depois houve um sarau dançante em homenagem à embaixada universitária (Correio da Manhã, 17 de julho de 1929, segunda coluna; A República: órgão do Partido Republicano Paranaese, 22 de julho de 1929, terceira coluna; O Dia (PR), 22 de julho de 1929, segunda coluna; O Dia (PR), 27 de julho de 1929, segunda coluna; A República: órgão do Partido Republicano Paranaese, 29 de julho de 1929, penúltima coluna).
+ 
+O Dia (PR), 22 de julho de 1929
+ 
+Em reunião da União Universitária Feminina, presidida pela engenheira Carmen Portinho (1903 – 2001), foi comunicado que Elvira Komel estava fundando com a colaboração de Alzira Reis Vieira Ferreira (1886 – 1970), de Teófilo Otoni, o Diretório Mineiro da entidade. O evento foi realizado na sede da Federação Brasileira pelo Progresso Feminino, na avenida Rio Branco, nº 111 (Jornal do Commercio, 2 de novembro de 1929, quarta coluna).
+Foi anunciado que Elvira Komel seria a palestrante da penúltima conferência da série promovida pela Federação Brasileira pelo Progresso Feminino, na Rádio Club (O Paiz, 21 de dezembro de 1929, quinta coluna).
+Foi uma das duas mulheres que se graduaram em Ciências Jurídicas e Sociais, na Universidade do Rio de Janeiro, em 1929. A outra foi Myrthes Etienne Dessaune. A cerimônia de colação de grau dos bacharelandos realizou-se no Instituto Nacional de Música, com a presença do presidente da República, Washington Luis (1869 – 1957) e de outras autoridades. O reitor da universidade, Cícero Peregrino, abriu a cerimônia, o orador da turma foi Narcélio de Queiroz e o paraninfo, Clóvis Bevilaqua (1859 – 1944). O aluno apontado como o melhor da turma foi Helvecio Xavier Lopes, que recebeu a medalha de ouro das mãos do presidente da República. A benção dos anéis foi feita pelo arcebispo coajutor do Rio de Janeiro, Sebastião Leme (1882 – 1942). Uma curiosidades: na mesma turma formou-se Paschoal Carlos Magno (1906 -1980), futuro ator, dramaturgo, poeta e diplomata de destaque no Brasil (A Noite, 27 de dezembro de 1929, primeira coluna).
+ 
+Elvira Komel
+1930 – De volta a Belo Horizonte e morando com os pais no bairro da Floresta, Elvira tornou-se a primeira advogada a atuar em Minas Gerais, no Fórum da Comarca de Belo Horizonte, enfrentando juízes conservadores da época. Foi apontada como a “leader do movimento feminista” de Minas Gerais (Diário Carioca, 8 de janeiro de 1930, primeira coluna).
+Pronunciou a conferência “Pela educação da mulher brasileira”, na Rádio Club, de Belo Horizonte (O Jornal, 05 de janeiro de 1930.
+Era a representante de Minas Gerais da União Universitária Feminina (A Noite, 5 de abril de 1930, segunda coluna).
+Durante a Revolução de 30, liderada por Getulio Vargas (1882 – 1954), cuja esposa, Alzira Vargas (1914 – 1992), era sua amiga, Elvira fundou, em 5 de outubro, o Batalhão Feminino João Pessoa para apoiar o movimento. O batalhão, cujo nome foi escolhido para homenagear o governador da Paraíba que morrera assassinado durante a Revolução, chegou a possuir  oito mil seguidoras em 52 municípios do Estado de Minas Gerais, sendo 1.200 em Belo Horizonte (Jornal do Brasil, 15 de novembro de 1930).
+O Batalhão Feminino João Pessoa participou do desfiles de forças militares realizados no Rio de Janeiro, em 15 de novembro de 1930. A porta-bandeira foi Esmeralda Alves, sobrinha de Olegário Maciel (1855 – 1933), presidente do estado de Minas Gerais.
+ 
+O Batalhão tinha um hino, escrito por Zinah Coelho Junior e Celina Coelho (Diário da Noite, 14 de novembro de 1930; Correio da Manhã, 15 de novembro de 1930, sexta coluna; O Estado de Florianópolis, 19 de novembro de 1930, quarta coluna; Jornal do Brasil, 16 de novembro de 1930).
+ 
+Letra do hino do Batalhão João Pessoa / Estado de Florianópolis, 19 de novembro de 1930
+ 
+Foi publicada uma entrevista com Elvira no Diário da Noite de 15 de novembro de 1930.
+ 
+Diário da Noite, 15 de novembro de 1930
+ 
+Participaram também de diversos eventos sociais e homenagens como a realizada pela União do Empregados do Comércio do Rio de Janeiro, de um Chá na Cruzada Feminina do Brasil Novo e de uma festa no Teatro João Caetano (Diário de Notícias, 18 de novembro de 1930; A Batalha, 15 de novembro de 1930; A Batalha, 18 de novembro de 1930, terceira coluna; Diário de Notícias, 18 de novembro de 1930; O Jornal, 18 de novembro de 1930, penúltima coluna).
+ 
+O Jornal, 18 de novembro de 1930
+ 
+O pai de Elvira, o engenheiro Ernest Komel, foi agredido por um cabo do Exército, quando passava em frente ao Quartel dos Barbonos, na rua Evaristo da Veiga, no Rio de Janeiro. Foi atendido no posto de saúde da Praça da República e retornou ao Hotel Magnífico, na rua do Riachuelo, 124, onde o Batalhão Feminino João Pessoa e sua filha estavam hospedados (A Noite, 18 de novembro de 1930, penúltima coluna).
+O Diário de Notícias publicou uma grande reportagem com diversas fotografias sobre o Batalhão Feminino João Pessoa, no Hotel Magnífico (Diário de Notícias, de 18 de novembro de 1930).
+ 
+Várias integrantes do Batalhão Feminino João Pessoa, no Hotel Magnífico / Diário de Notícias, 18 de novembro de 1930
+ 
+Elvira participou da inauguração da Praça João Pessoa, onde ficava a Praça dos Governadores, no Centro do Rio de Janeiro (Correio da Manhã, 20 de novembro de 1930, última coluna; Jornal do Brasil, de 20 de novembro de 1930).
+ 
+Jornal do Brasil, 20 de novembro de 1930
+ 
+Foi publicado artigo “A Mulher Mineira“, do médico e jornalista Floriano de Lemos (1906 – 1965), sobre o desfile do Batalhão Feminino João Pessoa (Diário da Noite, 20 de novembro de 1930, última coluna).
+Fez uma visita à redação do Jornal do Brasil (Jornal do Brasil, 21 de novembro de 1930). Também visitou a sede do Touring Clube do Brasil acompanhada de Zinah Coelho Junior, Elvira Rodrigues e Julia Guerra (Jornal do Commercio, 30 de novembro de 1930, quinta coluna).
+ 
+Jornal do Brasil, 21 de novembro de 1930
+ 
+No dia 23 de novembro de 1930, na sede do América Futebol Clube, na rua dos Caetés, 343, no centro de Belo Horizonte, Elvira Komel transformou o batalhão feminino na Associação Feminina João Pessoa (AFJP).
+Durante a sessão do Partido Nacional Feminino, em Nova York, a sra. Oliveira Lima, membro brasileiro da Comissão Interamericana de Mulheres citou o Batalhão João Pessoa, comandado por Elvira, como um exemplo da atuação das mulheres na Revolução de 30, comparável a dos homens (A Gazeta (SP), 22 de dezembro de 1930, quinta coluna).
+1931 – Em janeiro, em companhia da também advogada e sufragista Natércia Silveira (1905 – 1993), Elvira esteve no Rio de Janeiro onde permaneceu até dia 17 de janeiro. Em pauta, o apoio à causa do voto feminino.
+O mineiro Augusto Lima (1859 – 1934), diretor do jornal A Noite, publicou o artigo “A Mulher Militar“, onde elogiava a ação de Elvira Komel (A Noite, 13 de janeiro de 1931, primeira coluna). Ela agradeceu com uma carta publicada no jornal A Noite, de 20 de janeiro de 1931, penúltima coluna.
+Fizeram visitas ao prefeito Adolpho Bergamini (1886 – 1945), às redações de A Batalha, do Jornal do Brasil , de O Jornal  e de A Noite. Na manchete da notícia da visita neste último jornal foram classificadas como “Duas batalhadoras do ideal feminista, no Brasil” (A Batalha, 16 de janeiro de 1930, última coluna; A Noite, 17 de janeiro de 1931).
+.
+Jornal do Brasil, 11 de janeiro de 1931
+ 
+Encontraram-se com o então ministro do Trabalho, Lindolpho Collor (1890 – 1942), para pleitear a igualdade de direitos entre os sexos reivindicando para as mulheres o direito ao voto e as honras militares de oficiais do Exército (Diário da Noite, 13 de janeiro de 1931, quarta coluna; Jornal do Brasil, 14 de janeiro de 1931, primeira coluna).
+Publicação de uma reportagem sobre o encontro de Elvira Komel e  Natércia Silveira (1905 – 1993) com o Barão de Itararé, alcunha de Aparicio Torelly (1895 – 1971), dono do semanário humorístico A Manha (A Manha, 16 de janeiro de 1931).
+Publicação de uma entrevista com Elvira a respeito da luta pelo voto feminino e sobre o Batalhão João Pessoa (Correio da Manhã, 16 de janeiro de 1931, penúltima coluna).
+Foi citada em uma reportagem do jornal O Globo acerca da possibilidade de uma mulher poder ser oficial honorária do Exército (República (SC), 16 de janeiro de 1931, segunda coluna).
+Durante sua estadia no Rio de Janeiro, Elvira e  Natércia Silveira (1905 – 1993) encontraram-se também com o ministro da Fazenda, José Maria Whitaker (1878 – 1970), e com o general Juarez Távora (1898 – 1975), no Rio de Janeiro (A Notícia (SC), 20 de janeiro de 1931, quarta coluna; Eu vi, 21 de janeiro de 1931).
+ 
+Elvira Komel e Natércia conversando com o general Juarez Távora / Eu vi, 21 de janeiro de 1931
+ 
+Já em Belo Horizonte, Elvira deu uma entrevista sobre o direito da mulher de ser jurada (A Notícia (SC), 22 de janeiro de 1931).
+Elvira declarou-se confiante no êxito das reivindicações feministas que havia feito ao Governo Provisório e ao Cardeal Sebastião Leme durante sua estadia no Rio de Janeiro (A Batalha, 23 de janeiro de 1931, primeira coluna).
+Na seção “Notas e comentários”, foi questionada as reivindicações de Elvira: “Ora, para que diabo é que a dra. Elvira Komel quer ser generala? Em que lucra a pátria? Em que melhora o câmbio? Que benefícios trará a distinção à mulher brasileiro? Que ideias novas acarretará?” (Excelsior, fevereiro de 1931).
+No Tribunal de Júri de Belo Horizonte, o reú, Agostinho Simão Santos, defendido por Elvira, foi considerado culpado (Correio da Manhã, 4 de fevereiro de 1931, sexta coluna)
+A revista Careta de 7 de fevereiro de 1931, publicou uma caricatura de Elvira Komel pleiteando patentes de oficiais do Exército. Em 11 de março de 1931, ela enviou uma carta a Alzira Reis Vieira Ferreira (1886 – 1970), que na época dirigia a União Feminina de Teófilo Otoni, comentando algumas críticas em relação a essa reivindicação (O Fluminense, 31 de julho de 1932).
+ 
+Trecho de carta de Elvira Komel a Alzira Reis Vieira Ferreira, de 11 de março de 1931 / O Fluminense, 31 de julho de 1932
+ 
+Elvira e  Natércia Silveira (1905 – 1993) encontraram-se com Delminda Aranha, mulher de Oswaldo Aranha (1894 – 1960), então ministro da Justiça e Assuntos Internos, para conversar sobre direitos politicos das mulheres na organização da constituinte. Já haviam estado com o prórpio ministro, em janeiro (O Estado de Florianópolis, 15 de janeiro de 1931, primeira coluna; O Dia (PR), 11 de fevereiro de 1931, última coluna).
+Publicação de um telegrama enviado ao Correio da Manhã desmentindo o que havia sido noticiado por alguns jornais mineiros em relação à atuação de Elvira à frente do movimento feminista em Minas Gerais. De acordo com o telegrama ela continuava firme no comando, tendo inclusive feito um discurso na chegada do Chefe do Governo Provisório, Getulio Vargas, quando ele visitou a capital mineira (Correio da Manhã, 6 de março de 1931, terceira coluna).
+Elvira enviou telegramas para Getulio Vargas e para Batista Luzardo (1892 – 1992), chefe da polícia do Distrito Federal, após a divulgação, em Minas Gerais, do discurso desse último em nome do Governo Provisório, anunciando a concessão do voto feminino (A Noite, 19 de março de 1931, segunda coluna).
+Como diretora do recém criado Núcleo Feminino da Legião de Outubro, lançou um manifesto às mulheres mineiras chamando-as para participarem da reconstrução nacional (A Noite, 12 de março, terceira coluna; A Noite, 23 de  março de 1931, segunda coluna).
+ 
+Início do manifesto às mulheres mineiras feito por Elvira Komel / A Noite, 23 de março de 1931
+ 
+Respondendo à enquente promovida peo jornal A Esquerda, Deve a mulher ser guerreira ou pacifista?, Elvira Komel declarou “a mulher mineira é inteiramente pacifista, como devem ser todas as mulheres, qualquer que seja o país a que pertencem” (A Esquerda, 31 de março de 1931).
+Foi conferido à Elvira o título de sócia honorária da Cruz Vermelha Internacional (A Noite, 15 de abril de 1931).
+Presidiu, em junho de 1931, o I Congresso Feminino Mineiro, em Belo Horizonte, cuja presidente de honra foi a primeira-dama, Alzira Vargas. Foi publicada a programação do evento (Excelsior, junho de 1931).
+ 
+ 
+Excelsior, junho de 1931
+ 
+Durante o evento, representantes de municípios mineiros, do Espírito Santo, de Goiás, da Paraíba, do Rio Grande do Sul, e da Aliança Nacional de Mulheres, fundada por  Natércia Silveira (1905 – 1993), 1ª vice-presidente do evento, discutiram questões acerca da emancipação da mulher. Foi aprovada unanimemente uma moção de apoio ao governo revolucionário (Correio da Manhã, 6 de junho de 1931, primeira coluna; Correio da Manhã, 23 de junho de 1931, terceira coluna; Diário de Notícias, 23 de junho de 1931, quarta coluna; Correio da Manhã, 30 de junho de 1931, sétima coluna; Diário Carioca, 14 de agosto de 1931, última coluna).
+ 
+Diário da Noite, 24 de junho de 1931
+ 
+Correio da Manhã, 10 de julho de 1931
+ 
+Publicação de uma entrevista com Elvira Komel sobre a realização do I Congresso Feminino Mineiro (Diário da Noite, 31 de julho de 1931, quinta coluna).
+Pela passagem do primeiro ano de morte de João Pessoa (1878 – 1930), a Associação dos Voluntários Mineiros promoveu uma homenagem no Teatro Municipal de Belo Horizonte, sob a presidência de Ribeiro Junqueira, secretário de Agricultura de Minas Gerais (1871 – 1946). Na ocasião Pedro Aleixo (1901 – 1975), um dos fundadores da Legião Liberal Mineira, versão estadual da Legião de Outubro; e Elvira discursaram (Correio da Manhã, 28 de julho de 1931, quarta coluna).
+Anunciou, em setembro, a fundação do Partido Liberal Feminino Mineiro, uma fusão da Associação Feminina João Pessoa e da Legião Feminina.  (Correio da Manhã, 24 de setembro de 1931, primeira coluna; Diário de Pernambuco, 25 de setembro de 1931, quarta coluna; A Noite, 7 de outubro de 1931, quarta coluna).
+Elvira Komel lançou um manifesto congratulando-se com suas associadas pela publicação do ante-projeto da lei eleitoral, no qual ficou claramente estipulado o voto feminino (A Notícia (SC), 30 de setembro de 1931, penúltima coluna).
+ 
+A Notícia (SC), 30 de setembro de 1931
+ 
+Foi recebida, no Palácio do Catete, por Getulio Vargas (Diário de Notícias, 26 de setembro de 1931, segunda coluna).
+Elvira participou da reunião da Aliança Nacional de Mulheres, no Rio de Janeiro, e sua presença foi anunciada pela presidente da entidade,  Natércia Silveira (1905 – 1993), e saudada pela professora Adélia de Lacerda (Correio da Manhã, 2 de outubro de 1931, sétima coluna).
+Elvira comentou o ante-projeto de reforma eleitoral e criticou alguns de seus aspectos como o de colocar a mulher casada em inferioridade ao homem e também as solteiras, viúvas ou desquitadas sujeitando-as a uma interminável tutela (Diário de Pernambuco, 10 de outubro de 1931, quarta coluna).
+1932 – O Decreto nº 21.076, de 24 de fevereiro de 1932 instituiu o Código Eleitoral Provisório e reconheceu o direito de voto às mulheres, uma das bandeiras defendidas por Elvira.
+O jornal A Batalha parabeniza Elvira por seu aniversário e anuncia que ela havia acabado de contratar casamento com o engenheiro Clarkson de Mello Menezes (A Batalha, 24 de junho de 1932, primeira coluna).
+Elvira era correspondente especial da revista Brasil Feminino (Brasil Feminino, julho de 1932).
+Em julho, Elvira foi para Juiz de Fora, onde proferiu diversas palestras sobre a Revolução de 30. Preparava sua candidatura ao senado estadual (deputada estadual).
+Elvira apoiou a indicação de  Natércia Silveira (1905 – 1993), da Aliança Nacional de Mulheres, para ingressar na comissão que Getulio Vargas havia prometido nomear para elaborar o ante-projeto da nova Constituição. Havia um impasse porque outras feministas apoiavam Bertha Lutz (1894 – 1976), da Federação Brasileira pelo Progresso Feminino (A Batalha, 6 de julho de 1932).
+Já em Belo Horizonte, lançou um manifesto em prol da pacificação do Brasil, onde se inciava a Revolução Constitucionalista de 1932, que tinha o objetivo derrubar o governo provisório de Getulio Vargas e convocar uma Assembleia Nacional Constituinte  (Jornal do Brasil, 20 de julho de 1932, quinta coluna).
+Vítima de meningite, faleceu no dia 25 de julho de 1932, com apenas 26 anos de idade, sendo sepultada no Cemitério do Bonfim, na capital mineira. Na ocasião, Elza Pinheiro Guimarães e Anibal Vaz de Melo, representando Sociedade Cultural e Coligação dos Universitários Independentes, fizeram discursos enaltecendo as qualidades e a atuação de Elvira em favor dos “fracos e oprimidos” (Jornal do Brasil, 27 de julho de 1932; Correio da Manhã, 27 de julho de 1932, sexta coluna; Diário de Notícias, 5 de agosto de 1932, primeira coluna; Nação Brasileira, setembro de 1932). O laudo da causa de sua morte foi contestado por sua família, que atribuiu seu falecimento precoce a um aneurisma cerebral.
+ 
+“A passagem do féretro, todo de branco, foi uma nota muito comovente, arrancando lágrimas a muitos dos circuntantes“
+(A Noite, 27 de julho de 1932, penúltima coluna).
+ 
+Amélia Duarte, aluna de Direito da Faculdade de São Paulo, publicou um comentário sobre a morte de Elvira (Correio da Manhã, 28 de julho de 1932, segunda coluna).
+A Aliança Nacional de Mulheres, que decretou luto de oito dias pelo falecimento de Elvira Komel, a homenageou  com a celebração de uma missa de sétimo dia na Catedral Metropolitana do Rio de Janeiro. O Chefe do Governo Provisório, Getulio Vargas, foi convidado, não compareceu, tendo sido representado por seu ajudante de ordens, Amaro da Silveira (Correio da Manhã, 28 de julho de 1932, penúltima coluna; O Radical, 1º de agosto de 1932, quarta coluna; Fon-Fon, 6 de agosto de 1932).
+ 
+Fon-Fon, 6 de agosto de 1932
+ 
+A poetisa Ilka Labarthe (? – 1975) falou sobre a vida de Elvira em um programa da Rádio Club (Correio da Manhã, 31 de julho de 1932, quinta coluna).
+Foi feita uma homenagem  a Elvira Komel na reunião da Aliança Nacional de Mulheres (Jornal do Brasil, 2 de agosto de 1932, quinta coluna).
+Na passagem do trigésimo dia de seu falecimento, foi feita uma romaria a seu túmulo, em Belo Horizonte (Correio da Manhã, 30 de agosto de 1932, sétima coluna).
+ 
+Correio da Manhã, 30 de agosto de 1932
+ 
+A escritora e jornalista curitibana Rachel Prado (1891 – 1943) publicou um artigo sobre Elvira Komel (Brasil Feminino, dezembro de 1932).
+ 
+Brasil Feminino, dezembro de 1932
+ 
+1934 - Existia em Belo Horizonte o Grêmio Literário Elvira Komel (Lavoura e Commercio (MG), 3 de março de 1934, quarta coluna).
+2022 – Foi inaugurada, em 25 de julho, na Praça da Lagoa, em sua cidade natal, uma estátua em sua homenagem, de autoria do escultor Fernando Poletti. Em seu pronunciamento, o prefeito Décio dos Santos ressaltou a emoção daquele momento e destacou aos presentes o fato da estátua de Elvira Komel ter o pulso de sua mão direita fechado, simbolizando sua firmeza e determinação, enquanto o pulso da mão esquerda, em aberto, representa sua leveza e sensibilidade. “Nossa cidade é feita por muitas Elvira”, completou o chefe do Executivo.Durante a cerimônia, a presidente da OAB de Barão de Cocais, Aline Félix, fez a leitura do manifesto escrito por Elvira Komel durante a Revolução de 30 (Prefeitura de Barão de Cocais). ***
+ 
+Estátua de Elvira Komel / Prefeitura de Barão de Cocais
+ 
+ 
+** Andrea C. T. Wanderley é editora e pesquisadora do portal Brasiliana Fotográfica
+*** Essa informação foi colocada no artigo em 1º de agosto de 2022.
+ 
+Fontes:
+CAMPOS, Raquel Discini de. Floriano de Lemos no Correio da Manhã, 1906-1965. Hist. cienc. saude-Manguinhos vol.20  supl.1 Rio de Janeiro Nov. 2013
+DUARTE, CARMO & LUZ in Mulheres em Minas: Lutas e Conquistas. Conselho Estadual da Mulher de Minas Gerais – 25 anos. Belo Horizonte: Imprensa Oficial.
+DEL PRIORE, Mary (Org.). História das mulheres no Brasil. Coordenação de textos de Carla Bassanesi. São Paulo: Contexto, 1997
+DEL PRIORI, Mary. História e conversas de mulher. São Paulo: Planeta Brasil, 2014
+ENGLER, Isabel. A primeira prefeita brasileira Alzira Soriano: o poder polpitico coronelístico, Lages/RN, 1928. Trabalho de Conclusão de Curso  – Universidade Federal da Fronteira do Sul, Curso de História – Licenciatura, Chapecó, SC, 2019
+GAMA, Lélia Vidal Gomes de. Elvira Komel: uma estrela riscou o céu. EDIÇÃO IMPRENSA OFICIAL DE BELO HORIZONTE, 1987
+Hemeroteca Digital da Biblioteca Nacional
+HEYNEMANN, Claudia; RAINHO, Maria do Carmo. Memória das lutas feministas in Brasiliana Fotográfica, 8 de agosto de 2017.
+PINTO, Celi Regina Jardim. Uma história do feminismo no Brasil. São Paulo: Editora Fundação Perseu Abramo (coleção história do povo brasileiro) 2003.
+Portal da Câmara dos Deputados
+SCHUMAHER, Schuma; BRAZIL, Erico Vital (organizadores). Dicionário mulheres do Brasil: de 1500 até a atualidade biográfico e ilustrado. Rio de Janeiro : Jorge Zahar Ed., 2000.
+SCHWARCZ, Lilia Moritz; STARLING, Heloisa Murgel. Brasil: uma biografia. São Paulo: Companhia das Letras, 2015.
+SEVCENKO, Nicolau. Orfeu extático na metrópole: São Paulo, sociedade e cultura nos frementes anos 20. São Paulo, SP: Companhia das Letras, 1992
+Site Acontece Online
+Site CPDOC
+Site Mulheres de Minas- Lutas e conquistas
+Site Mulher 500 anos atrás dos panos
+Site Observatório do Terceiro Setor
+Tribuna do Paraná, 19 de janeiro de 2013
+ 
+Acesse aqui os outros artigos da Série “Feministas, graças a Deus!“
+
+ 
+Série “Feministas, graças a Deus!” I – Elvira Komel, a feminista mineira que passou como um meteoro, publicado em 25 de julho de 2020, de autoria da historiadora Maria Silvia Pereira Lavieri Gomes, do Instituto Moreira Salles, em parceria com Andrea C. T. Wanderley, editora e pesquisadora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” II  – Natércia da Cunha Silveira (1905 – 1993), o jequitibá da floresta, publicado em 20 de agosto de 2020, de autoria de Andrea C.T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” II  – Natércia da Cunha Silveira (1905 – 1993), o jequitibá da floresta, publicado em 20 de agosto de 2020, de autoria de Andrea C.T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” III  – Bertha Lutz e a campanha pelo voto feminino: Rio Grande do Norte, 1928, publicado em 29 de setembro de 2020, de autoria de Maria do Carmo Rainha, doutora em História e pesquisadora do Arquivo Nacional
+Série “Feministas, graças a Deus!” IV  – Uma sufragista na metrópole: Maria Prestia (? – 1988), publicado em 29 de outubro de 2020, de autoria de Claudia Heynemann, doutora em História e pesquisadora do Arquivo Nacional
+Série “Feministas, graças a Deus!” V – Feminista do Amazonas: Maria de Miranda Leão (1887 – 1976), publicado em 26 de novembro de 2020, de autoria de Maria Elizabeth Brêa Monteiro, mestre em História e pesquisadora do Arquivo Nacional
+Série “Feministas, graças a Deus!” VI – Júlia Augusta de Medeiros (1896 – 1972) fotografada por Louis Piereck (1880 – 1931), publicado em 9 de dezembro de 2020, de autoria de Andrea C.T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” VII – Almerinda Farias Gama (1899 – 1999), uma das pioneiras do feminismo no Brasil, publicado em 26 de fevereiro de 2021, de autoria de Andrea C.T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” VIII – A engenheira e urbanista Carmen Portinho (1903 – 2001), publicado em 6 de abril de 2021, de autoria de Andrea C. T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” IX – Mariana Coelho (1857 – 1954), a “Beauvoir tupiniquim”, publicado em 15 de junho de 2021, de autoria de Andrea C. T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” X – Maria Luiza Dória Bittencourt (1910 – 2001), a eloquente primeira deputada da Bahia, publicado em 25 de março de 2022, de autoria de Andrea C. T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” XI e série “1922 – Hoje, há 100 anos” VI – A fundação da Federação Brasileira pelo Progresso Feminino, publicado em 9 de agosto de 2022, de autoria de Andrea C. T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” XII e série “1922 – Hoje, há 100 anos” XI – A 1ª Conferência para o Progresso Feminino, publicado em 19 de dezembro de 2022, de autoria de Maria Elizabeth Brêa Monteiro, historiadora do Arquivo Nacional
+Série “Feministas, graças a Deus!” XIII – E as mulheres conquistam o direito do voto no Brasil!, publicado em 24 de fevereiro de 2023, de autoria de Andrea C T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” XIV – No Dia Internacional da Mulher, Alzira Soriano, a primeira prefeita do Brasil e da América Latina, publicado em 8 de março de 2023, de autoria de Andrea C T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” XV – No Dia dos Povos Índígenas, Leolinda Daltro,”a precursora do feminismo indígena” e a “nossa Pankhurst, publicado em 19 de abril de 2023, de autoria de Andrea C T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” XVI – O I Salão Feminino de Arte, em 1931, no Rio de Janeiro, de autoria de Andrea C. T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica, publicado em 30 de junho de 2023
+Série “Feministas, graças a Deus!” XVII – Anna Amélia Carneiro de Mendonça e o Zeppelin, equipe de Documentação da Escola de Ciências Sociais FGV CPDOC, em parceira com Andrea C.T. Wanderley, publicado em 5 de janeiro de 2024
+Série “Feministas, graças a Deus!” XVIII – Júlia Lopes de Almeida (1862 – 1934), a “escritora da Belle Époque tropical”, de autoria de Andrea C. T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica, publicado em 5 de junho de 2024
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/6473` — `itens/20.500.12156.1_6473/`
+- `20.500.12156.1/5028` — `itens/20.500.12156.1_5028/`
+
diff --git a/wordpress/20105-serie-avenidas-e-ruas-do-brasil-iii-a-rua-do-bom-jesus-no-recife.md b/wordpress/20105-serie-avenidas-e-ruas-do-brasil-iii-a-rua-do-bom-jesus-no-recife.md
new file mode 100644
index 0000000..f3535b1
--- /dev/null
+++ b/wordpress/20105-serie-avenidas-e-ruas-do-brasil-iii-a-rua-do-bom-jesus-no-recife.md
@@ -0,0 +1,96 @@
+---
+id: 20105
+url: "https://brasilianafotografica.bn.gov.br/?p=20105"
+titulo: "Série “Avenidas e ruas do Brasil” III – A Rua do Bom Jesus, no Recife"
+autor: "Andrea Wanderley"
+data: "2020-08-06T10:29:02+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/2329", "20.500.12156.1/2694", "20.500.12156.1/2494"]
+fetched_at: "2026-09-10T10:02:50.126Z"
+---
+
+# Série “Avenidas e ruas do Brasil” III – A Rua do Bom Jesus, no Recife
+
+Série “Avenidas e ruas do Brasil” III – A Rua do Bom Jesus, no Recife
+ 
+A revista norte-americana Architectural Digest publicou, em 26 de novembro de 2019, a reportagem “31 of the most beautiful streets in the world“, de autoria de Nick Mafi, destacando as ruas mais bonitas do mundo. Em terceiro lugar, figurou a Rua do Bom Jesus, no Bairro do Recife, única brasileira da lista. Os primeiro e segundo lugares ficaram com a ruas de Setenil de las Bodegas, cidade localizada no sul Espanha, entre Sevilha e Málaga; e a Washington Street, no Brooklyn, em Nova York, respectivamente.
+Aqui destacamos três imagens da Rua do Bom Jesus, tema do terceiro artigo da série “Avenidas e ruas do Brasil”. São de autoria de Auguste Stahl (1828 – 1877), de Guilherme Gaensly (1843 – 1928) e de Moritz Lamberg (18? – 19?).
+ 
+Acessando o link para as fotografias da rua do Bom Jesus, no Recife, disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas. 
+ 
+
+ 
+A rua colorida, repleta de palmeiras altas, está cheia de história. E está mesmo! Na época da ocupação holandesa, conhecida como Rua do Bode – Bokestraet – , a atual Rua do Bom Jesus era a mais importante alameda do Bairro do Recife, talvez por ser, na época, a via usada por viajantes que iam ou vinham de Olinda. Suas bases foram lançadas, em 1636, quando o cristão novo de origem portuguesa, Duarte Saraiva, cujo nome judeu seria David Sênior Colonel, comprou o terreno onde a rua começou a ser construída. Tornou-se a rua preferida dos israelitas e passou a ser chamada de Rua dos Judeus.
+Foi lá que entre 1636 e 1654 existiu a mais antiga sinagoga das Américas, a Sinagoga Kahal Zur Israel – Rochedo de Israel – , com a mais antiga piscina de banho ritual (micveb ou micveh) do continente, descoberta a partir de uma prospecção arqueológica realizada pela Universidade Federal de Pernambuco entre 1999 e 2000. Perto dali também foi construído o primeiro cemitéro judaico do continente. A lei municipal nº 16.496, de 19 de julho de 1999, transferiu o uso dos prédios para a Federação Israelita de Pernambuco, a fim de que fosse instalada uma réplica da sinagoga Zur Israel. Atualmente abriga o Centro Judaico de Pernambuco
+A chegada de judeus em Pernambuco se deu de duas formas. Com a crescente perseguição a não cristãos em Portugal, o país, segundo Tania Kaufman, fundadora do Arquivo Histórico Judaico de Pernambuco, “chegou a distribuir terras no Brasil para os judeus. A Coroa queria que eles povoassem o Nordeste. Era uma forma de a Coroa garantir a posse das terras”. Porém havia uma condição: para terem direito a terras brasileiras, os judeus teriam que se converter, tornando-se cristãos novos.
+Centenas de outros judeus chegaram em Pernambuco, em 1630, com os holandeses que estavam em busca de açúcar. Era o início da Invasão Holandesa no estado. Estes judeus haviam fugido de Portugal para os Países Baixos, uma meca da liberdade religiosa, devido à crescente perseguição da Inquisição. Eles tinham tradição mercantil, entendiam de refino de açúcar e eram fluentes em português.
+Vinte e quatro anos depois, Portugal retomou o controle de Pernambuco e com a rendição dos exércitos holandeses, em janeiro de 1654, uma população de cerca de 400 judeus residentes no Recife teve estabelecido pelo então governador da região, Francisco Barreto de Menezes (1616 – 1688), um prazo de quatro meses para deixarem o Brasil. Quem ficasse teria que enfrentar a Inquisição. Muitos fugiram para o interior do país e outros partiram para as Antilhas e para Amsterdã. Dezenas de judeus embarcaram para a Holanda, no navio Valk, em janeiro de 1654, e devido a uma série de imprevistos, como uma tempestade e o saque do navio por piratas, foram socorridos por uma fragata francesa que os deixou na Jamaica, então uma colônia espanhola. Ficaram presos por um período, foram libertados e 23 deles – seis famílias compostas por 13 crianças, quatro casais e duas viúvas – acabaram indo para a região conhecida como Nova Amsterdã, futura Nova York, onde aportaram em 7 de setembro de 1654. Lá fundaram a primeira congregação judaica da América do Norte, a Shearith Israel.
+ 
+Monumento em homenagem aos 23 primeiros judeus a chegarem a Nova Amsterdã
+ 
+Mas, voltando à história da rua. Quando os judeus foram embora de Pernambuco, a rua foi denominada Rua da Cruz. Finalmente, em 1870, o Instituto Arqueológico, Histórico e Geográfico Pernambucano propôs que a Rua da Cruz passasse a se chamar Rua do Bom Jesus, iniciativa  aprovada pelo Conselho Municipal. Assim ficaria lembrado que “naquela rua existia sobre o arco, que era antiga porta da cidade, a capela do bom Jesus, demolida em 1850“(Diário de Pernambuco, 20 de agosto de 1870, terceira coluna).
+ 
+Diário de Pernambuco, 20 de agosto de 1870
+ 
+O casario da Rua do Bom Jesus, que liga a Marquês de Olinda à praça Artur Oscar, apesar de ter sido modificado principalmente no século XIX,  mantém quase o mesmo traçado da rua do tempo dos holandeses.
+ 
+Um pouco sobre as imagens destacadas
+ 
+Abaixo está reproduzida a mais antiga imagem da Rua do Bom Jesus presente no acervo da Brasiliana Fotográfica. Na época ainda se chamava Rua da Cruz. É de autoria de Augusto Stahl (1828 – 1877), nascido em Bergamo, na Itália, em 23 de maio de 1828, originário de uma família da Alsácia, na França. Desembarcou do vapor inglês Thames, no Recife, em 31 de dezembro de 1853. Teve diversos ateliês fotográficos na cidade até mudar-se para o Rio de Janeiro, em 1862. Foi agraciado por d. Pedro II (1825 – 1891) com o título de “Fotógrafo de S.M , o Imperador”.
+ 
+Augusto Stahl. Rua da Cruz, dos Judeus e do Comércio, c. 1855. Recife, Pernambuco / Acervo IMS
+ 
+A próxima imagem foi produzida por Moritz Lamberg que, em 1880, teve anunciada sua chegada à Photographia Allemã de Recife, pelo gerente do estabelecimento, Constantino Barza, para cuidar da parte técnica e artística do ateliê do berlinense Alberto Henschel (1827 – 1882). Lamberg foi apresentado como celebridade europeia e insigne artista, que havia dirigido estabelecimentos em Berlim e em Viena e obtido prêmios em Paris e em Viena nas exposições de 1868 e 1873.
+A fotografia é da já rebatizada Rua do Bom Jesus. Aparecem do lado esquerdo o estabelecimento de Augusto Coers e a Botica Francesa, no número 22. Augusto Coers tinha o privilégio por 15 anos da funda herniária electo medical, invenção dos irmãos Marie para a cura de hérnias (Diário de Pernambuco, 23 de janeiro de 1880). Na Botica Francesa, eram vendidos medicamentos estrangeiros (Jornal do Recife, 14 de agosto de 1880). Atrás vemos a Torre Malakoff, um importante monumento construído no século XIX, atualmente tombado pelo Iphan. Foi o portão monumnetla do ARsenal da Marinha e um observatório astronômico. Desde 2000 abriga um espaço cultural.
+ 
+Moritz Lamberg. Rua do Bom Jesus, c. 1880. Recife, Pernambuco / Acervo IMS
+ 
+Diário de Pernambuco, 23 de janeiro de 1880
+ 
+A última fotografia, de autoria do suíço Guilherme Gaensly (1843 – 1928), é a mais recente, tendo sido produzida por volta de 1890. No número 86, quase ao lado da Botica Franceza, aparece a Botica do Recife. Um pouco depois, a Caixa Econômica.
+ 
+Guilherme Gaensly. Rua do Bom Jesus, tendo ao fundo a Torre Malakoff, c. 1890. Recife, Pernambuco / Acervo IMS
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+Architectural Digest, de 26 de novembro de 2019
+CAVALCANTI, Carlos Bezerra. O Recife e suas ruas: se essas ruas fossem minhas… Recife: Edições Edificantes, 2002. 140 p. il. p. 59.
+Diário de Pernambuco, 6 de julho de 2020
+Folha de São Paulo, 25 de novembro de 2002
+FRAGOSO, Danillo. Velhas ruas do Recife. Recife: UFPE, Imprensa Universitária, 1971. p. 60.
+GASPAR, Lúcia. Rua do Bom Jesus, Recife, PE. Pesquisa Escolar online, Fundação Joaquim Nabuco, Recife. Disponível em: <http://basilio.fundaj.gov.br/pesquisaescolar/>. Acesso em 13 de julho de 2020.
+LEVY, Daniela. De Recife para Manhattan. São Paulo : Editora Planeta, 2018.
+Site Recife Antigo
+SILVA, Leonardo Dantas. Arruando pelo Recife: por ruas, pontes, praias e sítios históricos. Recife: SEBRAE/PE, 2000. 178 p. il. p. 101-102.
+Wiznitzer, Arnold. The Exodus from Brazil and Arrival in New Amsterdam of the Jewish Pilgrim Fathers, 1654. American Jewish Historical Society 44 (1954): 80-97.
+WOLFF, Egon; WOLFF, Frieda. A Odisséia dos Judeus de Recife. Editora Centro de Estudos Judaicos, 1979.
+ 
+Links para as outras publicações da série “Avenidas e ruas do Brasil”
+ Série “Avenidas e ruas do Brasil” I – Avenida Central, atual Rio Branco, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 7 de setembro de 2016
+Série “Avenidas e ruas do Brasil” II – A Rua do Imperador em Petrópolis por Klumb, Leuzinger e Stahl, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 26 de junho de 2020
+Série “Avenidas e ruas do Brasil” IV – A Rua 25 de Março, em São Paulo, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 1º de setembro de 2020
+Série “Avenidas e ruas do Brasil” V – A Rua Direita, a Rua das Mercês e a Rua Macau do Meio, em Diamantina, Minas Gerais, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 22 de outubro de 2020
+Série “Avenidas e ruas do Brasil” VI  – Rua Augusto Ribas e outras, em Ponta Grossa, no Paraná, pelo fotógrafo Luiz Bianchi, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 16 de novembro de 2020
+Série “Avenidas e ruas do Brasil” VII – A Avenida Atlântica, em Copacabana, no Rio de Janeiro, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 23 de dezembro de 2020
+Série “Avenidas e ruas do Brasil VIII – A Rua da Carioca por Cássio Loredano, de autoria de Cássio Loredano, publicada em 20 de janeiro de 2021
+Série “Avenidas e ruas do Brasil” IX – Ruas e panoramas do bairro do Catete, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 14 de julho de 2021
+Série “Avenidas e ruas do Brasil” X – A Rua da Ajuda, no Rio de Janeiro, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 9 de novembro de 2021
+Série “Avenidas e ruas do Brasil” XI – A Rua da Esperança, em São Paulo, por Vincenzo Pastore, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 14 de dezembro de 2021
+Série “Avenidas e ruas do Brasil” XII – A Avenida Paulista, o coração pulsante da metrópole, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 21 de janeiro de 2022
+Série “Avenidas e ruas do Brasil” XIII – A Rua Buenos Aires no Centro do Rio de Janeiro, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 19 de julho de 2022
+Série “Avenidas e ruas do Brasil” XIV – A Avenida Presidente Vargas,, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 31 de agosto de 2022
+Série “Avenidas e ruas do Brasil” XV – Misericórdia: rua, largo e ladeira, no Rio de Janeiro, por Cássio Loredano, de autoria de Cássio Loredano, publicada em 8 de dezembro de 2022
+Série “Avenidas e ruas do Brasil” XVI – “Alguma coisa acontece no meu coração”, a Avenida São João nos 469 anos de São Paulo, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 25 de janeiro de 2023
+Série “Avenidas e ruas do Brasil” XVII  e série “O Rio de Janeiro desaparecido” XXIII – A Praia e a Rua do Russel, na Glória, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 15 de maio de 2023
+Série “Avenidas e ruas do Brasil” XVIII – Avenida Beira-Mar, de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal, publicada em 22 de janeiro de 2024
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/2329` — `itens/20.500.12156.1_2329/`
+- `20.500.12156.1/2694` — `itens/20.500.12156.1_2694/`
+- `20.500.12156.1/2494` — `itens/20.500.12156.1_2494/`
+
diff --git a/wordpress/20151-serie-feministas-gracas-a-deus-ii-natercia-da-cunha-silveira-1905-1993-o-jequiti.md b/wordpress/20151-serie-feministas-gracas-a-deus-ii-natercia-da-cunha-silveira-1905-1993-o-jequiti.md
new file mode 100644
index 0000000..b798966
--- /dev/null
+++ b/wordpress/20151-serie-feministas-gracas-a-deus-ii-natercia-da-cunha-silveira-1905-1993-o-jequiti.md
@@ -0,0 +1,473 @@
+---
+id: 20151
+url: "https://brasilianafotografica.bn.gov.br/?p=20151"
+titulo: "Série “Feministas, graças a Deus!” II – Natércia da Cunha Silveira (1905 – 1993), o jequitibá da floresta"
+autor: "Andrea Wanderley"
+data: "2020-08-20T10:21:06+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/6557", "20.500.12156.1/6472"]
+fetched_at: "2026-09-10T10:02:54.211Z"
+---
+
+# Série “Feministas, graças a Deus!” II – Natércia da Cunha Silveira (1905 – 1993), o jequitibá da floresta
+
+Série “Feministas, graças a Deus!” II  – Natércia da Cunha Silveira (1905 – 1993), o jequitibá da floresta
+ 
+A personagem do segundo artigo da série “Feministas, graças a Deus“, Natércia da Cunha Silveira, foi uma importante personalidade na luta pela emancipação da mulher no Brasil. Na fotografia destacada abaixo, seu entusiasmo, eloquência, seu espírito vibrante e culto parecem saltar da imagem, que faz parte do Fundo Federação Brasileira pelo Progresso Feminino, do Arquivo Nacional, uma das instituições parceiras da Brasiliana Fotográfica. Ela, como oradora, representante do sul, da Federação Brasileira pelo Progresso Feminino FBPF), estava saudando Juvenal Lamartine de Faria (1874 – 1956), governador do Rio Grande do Norte e patrono do voto feminino, que chegava ao Rio de Janeiro, a bordo do navio Almanzora. Além da expressividade da oradora, é interessante também notar o registro da presença de um homem à direita da imagem. Na ocasião, estavam no cais, aguardando pelo governador, autoridades políticas, além de outras associadas da Federação Brasileira pelo Progresso Feminino (FBPF) como a bióloga Bertha Lutz  (1894 – 1976), uma das fundadoras da entidade; e a engenheira e urbanista Carmen Portinho (1903 – 2001). Orminda Ribeiro Bastos (1899 – 1971), também da FBPF,  saudou o governador como representante do Norte do país.
+ 
+Natércia da Cunha Silveira, a bordo do navio Almanzora, saúda Juvenal Lamartine de Faria, governador do Estado do Rio Grande do Norte e patrono do voto feminino, de 5 de maio de 1928. Rio de Janeiro, RJ / Acervo Arquivo Nacional
+ 
+Essa mesma foto está reproduzida na reportagem sobre o evento publicada no jornal O Paiz, de 6 de maio de 1928. Aqui não podemos deixar de chamar atenção para a importância da digitalização de imagens, que possibilita, a partir de recursos tecnológicos como o zoom, que as fotografias tenham outra visibilidade e possam ser acessadas em sua qualidade plena.
+ 
+O Paiz, 6 de maio de 1928
+ 
+Foi também uma das 86 fotografias do Arquivo Nacional integrantes da exposição Imagens da Mulher Brasileira, no Espaço BNDES, em 1996.
+ 
+Jornal do Brasil, 21 de março de 1996
+ 
+Nascida em Itaqui, em 14 de março de 1905, Natércia foi a primeira advogada do Rio Grande do Sul. Elegante, simpática, ativa, inteligente, culta são adjetivos frequentes com os quais Natércia foi, ao longo de sua vida, elogiada. Uma adolescente ardorosa, ainda no Rio Grande do Sul, envolveu-se com a política, muito provavelmente por influência de seu pai, Manoel da Cunha Silveira (18? – 1941), membro do Partido Libertador do Rio Grande do Sul. Na Revolução de 1923, aderiu à causa libertadora e foi considerado um acontecimento para a vida dos Pampas os discursos com que Natércia da Silveira em nome da mulher gaúcha acolheu os generais Zeca Netto e Honório Lemes na sua chegada a Porto Alegre.
+Colou grau em Direito pela atual Universidade Federal do Rio Grande do Sul, em 1926, e veio para o Rio de Janeiro. Já em dezembro deste ano, deu uma entrevista ao jornal O Paiz, edição de 5 de dezembro, falando sobre feminismo, direito de votos e educação. No ano seguinte, fez sua estreia no Tribunal do Juri. Na ocasião, já era ligada à Federação Brasileira pelo Progresso Feminino, presidida pela também feminista, a bióloga Bertha Lutz (1894 – 1976).
+Em 1929, foi uma das fundadoras da União Universitária Feminina, no Rio de Janeiro, que congregava mulheres com ensino superior em prol da defesa dos direitos femininos, sob a direção da engenheira civil Carmen Portinho (1903 – 2001).  As outras foram a também engenheira civil Amélia Sapienza, Bertha Lutz  (1894 – 1976), a naturalista e ornitóloga alemã Emilia Snethlage (1868-1929), a professora Heloisa Marinho (1903 – 1994), as médicas Herminia de Assis e Juana Lopes, as advogadas Maria Alexandrina Ferreira Chaves, Maria Ramalho e Myrthes de Campos (1875 – 1965); e Orminda Ribeiro Bastos (1899 – 1971), formada em Ciências Jurídicas.
+Neste mesmo ano, Natércia fez a defesa do título eleitoral de Francisca de Gaya, que trabalhava como enfermeira em São João da Barra, mediante a procuração que lhe fora substabelecida por Bertha Lutz  (1894 – 1976), presidente da Federação Brasileira pelo Progresso Feminino, a quem a senhora Gaya encarregaria da defesa dos seus direitos eleitorais.
+Em janeiro de 1931, em companhia da também advogada e sufragista Elvira Komel (1906 – 1932), Natércia participou no Rio de Janeiro de vários encontros para pleitear apoio à causa do voto feminino. Estiveram com o prefeito Adolpho Bergamini (1886 – 1945), com o ministro do Trabalho, Lindolpho Collor (1890 – 1942); com o ministro da Fazenda, José Maria Whitaker (1878 – 1970); com o ministro da Justiça e Assuntos Internos, Oswaldo Aranha (1894 – 1960); com o cardeal Sebastião Leme (1882 – 1942) e com o general Juarez Távora (1898 – 1975), além de terem visitado as redações de A Batalha, do Jornal do Brasil , de  e de A Noite. 
+Devido a divergências com Bertha em relação a seu engajamento político e a sua participação em comícios da Aliança Liberal em apoio a Getulio Vargas (1882 – 1954) e João Pessoa (1878 – 1930), Natércia fundou, em 30 de janeiro de 1931, a Aliança Nacional de Mulheres, cujo objetivo principal era proporcionar proteção à mulher que trabalhava em todos os ramos de atividades, amparando-a na conquista de sua independência econômica. Por volta de 1932, a entidade contava com cerca de três mil sócias. Dentre as atividades da Aliança Nacional de Mulheres, destacavam-se a fiscalização das condições de trabalho das mulheres, o serviço de assistência jurídica e uma caixa de auxílio à mulher desamparada. Eram realizadas reuniões mensais nas quais temas relativos à legislação, à educação, ao trabalho e às artes eram contemplados. As associadas também faziam visitas a fábricas e a entidades de assistência social. Com o Estado Novo, decretado em 1937, foi extinta, mas Natércia continuou atuando no fórum do Rio de Janeiro.
+Em junho de 1931, Natércia foi a representante do Rio Grande do Sul no Segundo Congresso Internacional Feminista, promovido pela Federação Brasileira pelo Progresso Feminino, sob a orientação de Bertha Lutz  (1894 – 1976); e vice-presidente do I Congresso Feminino Mineiro, em Belo Horizonte, presidido por Elvira Komel (1906 – 1932).
+Em 1932, foi nomeada segunda adjunta do procurador do Conselho Nacional do Trabalho. O Decreto nº 21.076, de 24 de fevereiro de 1932 instituiu o Código Eleitoral Provisório e reconheceu o direito de voto às mulheres. Ela e Bertha Lutz foram as únicas mulheres nomeadas para integrar a comissão para elaborar o anteprojeto da nova Constituição. Sempre esteve ligada à política: foi candidata à Assembleia Constituinte nas eleições de 1933; no ano seguinte, concorreu a vereadora pela Frente Única do Distrito Federal, quando elegeu-se suplente; e em 1945 e em 1950 foi candidata a deputada pelo Partido Libertador, integrante da coligação democrática que apoiava a União Democrática Nacional (UDN).
+Ao longo de sua vida pessoal e profissional, sempre esteve ligada aos temas relativos aos direitos da mulher, ao trabalho, à educação e à assistência social. Em 1964, tornou-se a primeira mulher a ocupar a direção geral do Departamento Nacional do Trabalho (DNT), do qual pediu demissão, em 1966, após uma discussão com o então ministro do Trabalho, Walter Peracchi Barcelos (1907 – 1986), acerca de um projeto de decreto que, no seu entendimento, aniquilaria o movimento sindical portuário. Voltou à Procuradoria Geral do Trabalho, de onde se aposentou, em 1971, após ter ocupado cargos de relevância, tendo sido muito elogiada pelo então procurador-geral, Marco Aurélio Frates de Macedo, pelos dedicados e eficientes serviços prestados à Procuradoria não só por meio de eruditos pronunciamentos como também quando por diversas vezes assumiu sua chefia.
+Foi casada de 1933 a 1972 com o médico e membro da Academia Brasileira de Medicina, Paulo Arthur Pinto da Rocha (1901 – 1972), com quem teve uma filha Velleda Maria (1938 – ).
+ 
+Cronobiografia de Natércia da Cunha Silveira (1905 – 1993)
+“Eu sou como o jequitibá da floresta, o machado que tentar derribar-me há de criar dentes”.
+ 
+Natércia da Cunha Silveira / Excelsior, julho de 1931
+ 
+1905 –  Natércia da Cunha Silveira nasceu em 14 de junho, em Itaqui, no Rio Grande do Sul, filha de Manoel da Cunha Silveira (18? – 1941), primeiro promotor público da comarca de Itaqui, juiz de Direito em Uruguaiana e membro do Partido Libertador do Rio Grande do Sul; e Maria da Conceição do Valle Cunha (18? – 1924). Além de Natércia, o casal teve mais cinco filhos: Demócrito, Cézar, Athalia, Hesione e Octacília
+1923 – Sobre a atuação política de Natércia ainda na adolescência: “Ardorosa desde adolescente, desposou a causa libertadora, quando da Revolução de 1923. Foi um acontecimento para a vida dos Pampas os discursos com que Natércia da Silveira em nome da mulher gaúcha acolheu os generais Zeca Netto e Honório Lemes na sua chegada a Porto Alegre” (Correio da Manhã, 31 de janeiro de 1932, quarta coluna). Sobre Honório Lemes, escreveu, anos depois,  o artigo O Leão do Caverá, publicado no jornal A Esquerda de 3 de outubro de 1931.
+1924 – Falecimento de sua mãe, Maria da Conceição do Valle Cunha (18? – 1924).
+Fazia parte da comissão do Centro dos Acadêmicos de Direito, em Porto Alegre, que iria promover a comemoração do aniversário da fundação dos cursos jurídicos no Brasil.
+ 
+Correio do Povo (RS), 23 de julho de 1924
+ 
+Natércia, que neste ano completaria o curso da Faculdade Livre de Direito de Porto Alegre enviou uma carta a Honório Lemes (1864 – 1930), oferecendo-se para advogar em sua defesa. Ele estava preso por ter apoiado a rebelião de jovens oficiais do Exército liderados por Luis Carlos Prestes (1898 – 1990) contra o governo do presidente Artur Bernardes (1875 – 1955). Ele respondeu aceitando a oferta da jovem advogada (O Estado do Paraná, 24 de novembro de 1925, quarta coluna).
+1926 – Colou grau em Direito pela atual Universidade Federal do Rio Grande do Sul, tornando-se  a primeira mulher advogada do Rio Grande do Sul (A Noite (RJ), 11 de maio de 1926, quarta coluna).
+Havia chegado há pouco no Rio de Janeiro e faria sua estreia em pouco tempo no juri da cidade. Foi entrevistada pelo O Paiz e falou sobre feminismo, direito de votos e educação (O Paiz, 5 de dezembro de 1926, segunda coluna).
+ 
+O Paiz, 5 de dezembro de 1926
+ 
+1927 – Estreia de Natércia no Tribunal do Juri, no julgamento do réu Joaquim Bueno da Costa Cruz. acusado de ter atirado no dr. Annibal Bittencourt por ter convicção que ele era o responsável pela morte de sua irmã, esposa da vítima. Foi muito apreciada a atuação da jovem advogada (Correio da Manhã, 1º de julho de 1927, sexta coluna).
+ 
+Correio da Manhã, 1º de julho de 1927
+ 
+1928 – Como oradora, representante do sul, da Federação Brasileira pelo Progresso Feminino (FBPF), Natércia saudou Juvenal Lamartine de Faria (1874 – 1956), governador do Rio Grande do Norte, e patrono do voto feminino, que chegava ao Rio de Janeiro, a bordo do navio Almanzora.  Na ocasião, estavam no cais, aguardando pelo governador, autoridades políticas, além de outras associadas da Federação Brasileira pelo Progresso Feminino como a bióloga Bertha Lutz (1894 – 1976) e a engenheira civil Carmen Portinho (1903 – 2001). A advogada Orminda Ribeiro Bastos (1899 – 1971), também da FBPF,  saudou o governador como representante do Norte do país (O Paiz, 6 de maio de 1928; O Paiz, 7 de maio de 1928, última coluna).
+Foi elogiado o talento oratório de Natércia durante uma discussão em torno do voto feminino com o senador Thomas Rodrigues, que ocorreu na leitura do parecer do senador Godofredo Vianna (1878 – 1944) contrário ao voto feminino no pleito do Rio Grande do Norte (O Imparcial (MA), 21 de maio de 1928, quarta coluna; Diário Nacional: A Democracia em Marcha, 23 de maio de 1928, primeira coluna).
+Falou ao jornal Correio da Manhã sobre os direitos políticos da mulher (Correio da Manhã, 15 de junho de 1928).
+ 
+Correio da Manhã, 15 de junho de 1928
+ 
+Foi uma das associadas da Federação Brasileira pelo Progresso Feminino que assinou uma moção em homenagem à presidente da entidade, Bertha Lutz  (1894 – 1976), por sua atuação como líder do movimento feminista nacional (A Noite (RJ), 12 de dezembro de 1928, quarta coluna; O Paiz, 12 de dezembro de 1928, segunda coluna).
+ 
+Homenagem a Bertha Lutz assinado por Natércia da Cunha Silveira / O Paiz, 12 de dezembro de 1928
+ 
+1929 – Seu escritório de advocacia ficava na rua Rodrigo Silva, nº 11, no Centro do Rio de Janeiro (Almanak Laemmert, 1929).
+Em janeiro, foi uma das fundadoras da União Universitária Feminina, no Rio de Janeiro, que congregava mulheres com ensino superior em prol da defesa dos direitos femininos, sob a direção da engenheira civil Carmen Portinho (1903 – 2001).  As outras foram a também engenheira civil Amélia Sapienza, a bióloga Bertha Lutz  (1894 – 1976), a naturalista e ornitóloga alemã Emilia Snethlage (1868-1929), a professora Heloisa Marinho (1903 – 1994), as médicas Herminia de Assis e Juana Lopes, as advogadas Maria Alexandrina Ferreira Chaves, Maria Ramalho e Myrthes de Campos ( 1875 – 1965); e Orminda Ribeiro Bastos (1899 – 1971), formada em Ciências Jurídicas (A Noite, 14 de janeiro de 1929, O Imparcial, 15 de janeiro de 1929, primeira coluna; Gazeta de Notícias, 15 de janeiro de 1929, quarta coluna; A Noite, 5 de abril de 1930, primeira coluna; Manchete, 30 de janeiro de 1971).
+Natércia fez a defesa do título eleitoral de Francisca de Gaya, que trabalhava como enfermeira em São João da Barra, mediante a procuração que lhe fora substabelecida pela dra. Bertha Lutz  (1894 – 1976), presidente da Federação Brasileira pelo Progresso Feminino, a quem a senhora Gaya encarregaria da defesa dos seus direitos eleitorais (Correio da Manhã, 25 de janeiro de 1929, quarta coluna; O Imparcial, 26 de janeiro de 1929, terceira coluna; Gazeta de Notícias, 26 de janeiro de 1929, terceira coluna; O Paiz, 3 de fevereiro de 1929).
+ 
+Correio da Manhã, 25 de janeiro de 1929
+ 
+Visitou na Casa de Detenção, Maria da Silva Bastos, que havia assassinado o marido que a abandonara, deixando ela e os filhos na penúria (Crítica (RJ), 11 de dezembro de 1928; Crítica (RJ), 20 de março de 1929, terceira coluna).
+Integrava a Comissão Feminina em apoio à Cruzada na Cooperação na Extinção da Febre Amarela. Em uma reunião, foi uma das escolhidas de fazer propaganda da causa em programas de rádio (O Paiz, 24 de abril de 1929, terceira coluna; Gazeta de Notícias, 28 de abril, quinta coluna; Diário Carioca, 28 de abril de 1929, quinta coluna).
+A advogada sergipana Maria Rita Soares de Andrade (1904 – 1998), em uma reunião da União Universitária Feminina fez um discurso no qual defendia que a entidade deveria mobilizar a opinião pública em prol da valorização da formação intelectual da mulher brasileira. Foi formada uma comissão cujas integrantes eram, além de Natércia, Bertha Lutz  (1894 – 1976) e Amélia Sapienza, para estudar o assunto e redigir um apelo aos pais no sentido de estimular o estudo das mulheres (Jornal do Brasil, 1º de novembro de 1929, quarta coluna). Maria Rita Soares de Andrade tornou-se, em 1967, a primeira juíza federal brasileira.
+Foi designada pela União Universitária Feminina, da qual era secretária, a convite da Federação Brasileira pelo Progresso Feminino, para falar em um programa da Rádio Club. Em pauta, o estímulo das famílias à cultura superior de suas filhas (A Noite (RJ), 14 de dezembro de 1929, quinta coluna; O Paiz, 14 de abril de 1929, quinta coluna).
+Participou de comícios da Aliança Liberal em apoio a Getulio Vargas (1882 – 1954) e João Pessoa (1878 – 1930), nas escadarias do Palácio Tiradentes. Falando “em nome da mulher brasileira arrancou delirantes aplausos da massa popular”. Na ocasião também discursaram os deputados Plinio Casado, Marry Junior, Nelson Senna, Adolpho Bergamini e Cândido Pessoa (Diário Carioca, 21 de dezembro de 1929, segunda coluna; Diário Nacional, 21 de dezembro de 1929, segunda coluna; Estado do Rio Grande, 21 de dezembro de 1929; O Jornal, 22 de dezembro de 1929, sétima coluna;  A Razão, 27 de dezembro de 1929; O Rebate (AC), 29 de dezembro de 1929, quarta coluna). A feminista Bertha Lutz  (1894 – 1976), da Fundação Brasileira pelo Progresso Feminino, não concordou com a atitude de Natércia que, na sua opinião, poderia comprometer a luta pelo voto feminino (O Jornal, 16 de julho de 1932, terceira coluna).
+ 
+Trecho do discurso de Natércia em comício em prol da Aliança Nacional
+ 
+Foi publicada uma entrevista em que Natércia manifestava sua posição política em apoio à Campanha Liberal (A Batalha (RJ), 26 de dezembro de 1929).
+ 
+A Batalha (RJ), 26 de dezembro de 1929
+ 
+Fez parte da equipe inicial de advogados da escritora Sylvia Serafim Thibau (1902 – 1936), que assassinou o jornalista Roberto Rodrigues (1906 – 1929), na redação do jornal a Crítica, em 26 de dezembro de 1929. O estopim do crime foi a publicação na primeira página do jornal da notícia do pedido de seu desquite do médico João Thibau Júnior, com quem Syvia tinha dois filhos, acompanhado de um desenho. O jornal a acusava de estar tendo um caso com o médico Manuel Dias de Abreu (1894 – 1962), futuro inventor da abreugrafia.
+ 
+ Crítica, 26 de dezembro de 1929
+ 
+Sylvia foi ao jornal armada, atrás do editor Mário Rodrigues ( 1885 – 1930), que não estava na redação. Sylvia acabou atirando em Roberto, filho do editor. O futuro escritor Nelson Rodrigues (1912 – 1980), irmão da vítima, então com 17 anos, testemunhou o assassinato, fato que influenciou fortemente sua obra literária. Seu julgamento, em 22 de agosto de 1930, presidido pelo juiz Margarino Torres (1892 – 1942), foi o primeiro no país a ser transmitido ao vivo pelo rádio. O promotor foi Max Gomes de Paiva (1897 – 1969) com a assistência do futuro grande criminalista Romeiro Neto (1903 – 1969). O advogado de defesa foi Clóvis Dunshee de Abranches (1892 – 1942) e seu filho recém-formado, Carlos Alberto Dunshee de Abranches (1913 – 1983). A ré foi absolvida por 5 votos a 2. Anos depois, em 27 de abril de 1936, Sylvia, que era filha de Augusto Serafim, auxiliar de Oswaldo Cruz (1872 – 1917), se suicidou (O Jornal, 27 de dezembro de 1929, primeira coluna; O Jornal, 28 de dezembro de 1929, primeira coluna; A Crítica, 28 de dezembro de 1929; Gazeta de Notícias, 28 de dezembro de 1929, sétima coluna; A Batalha, 10 de janeiro de 1930, última coluna; Jornal do Brasil, 12 de janeiro de 1930, terceira coluna; A Batalha, 8 de abril de 1930; Diário Nacional: A Democracia em Marcha, 30 de abril de 1930, segunda coluna; Crítica, 23 de agosto de 1930; O Jornal, 23 de agosto de 1930; Revista do Ministério Público, jan a março de 2009).
+1930 – No Hotel Glória, foi comemorado com um almoço o primeiro ano da fundação da União Universitária Feminina com a presença de Carmen Portinho (1903 – 2001), Natércia da Cunha Silveira, Amélia Sapienza, Mary Corbett, “Master of Arts”, Srta Gutrie, as estudantes de engenharia Elza Pinho, Renée Rocques e Sylvia Vacanni (Jornal do Brasil, 14 de janeiro de 1930, primeira coluna; O Paiz, 13 e 14 de janeiro de 1930, segunda coluna).
+ 
+Jornal do Brasil, 14 de janeiro de 1930
+ 
+Esteve presente na missa de Ação de Graças realizada na Catedral Metropolitana do Rio de Janeiro em homenagem ao aniversário do ex-presidente da República, Epitácio Pessoa (1865 – 1942) (Jornal do Commercio, 24 de maio de 1930, segunda coluna).
+Natércia estreou na Tribuna Popular, defendendo Waldemar Ferreira da Silva, acusado de assassinato. Com sua argumentação, considerada segura, muita calma e de grande oportunidade, conseguiu a desclassificação do delito para ferimentos leves, o que foi aceito. O juiz Magarino Torres havia a nomeado para a defesa porque o réu, sentenciado a sete meses e 15 dias de prisão, era pobre (Diário de Notícias, 1º de julho de 1930, terceira coluna)
+Durante uma seção do Instituto dos Advogados constou do expediente a proposta da inclusão da dra. Natércia como membro efetivo da entidade (Jornal do Commercio, 25 de julho de 1930, terceira coluna).
+Natércia declarou-se muito comovida com a morte de João Pessoa (1878 – 1930) e compareceu à missa de sétimo dia, celebrada na Igreja da Candelária (A Batalha, 29 de julho de 1930, penúltima coluna; O Jornal, 2 de agosto de 1930, terceira coluna). João Pessoa era governador da Paraíba e candidato à vice-presidência na chapa de Getulio Vargas (1882 – 1954). Foi assassinado, em 26 de julho de 1930, no Recife, pelo jornalista João Duarte Dantas (888 – 1930), seu adversário político. A polícia da Paraíba, sob o governo Pessoa, invadiu o escritório de Dantas e, além de outras coisas, apoderou-se de cartas íntimas entre ele e a professora e poetisa Anaíde Beiriz (1905 – 1930). O crime é considerado o estopim da Revolução de 30. As últimas fotos de João Pessoa foram produzidas pouco antes de sua morte no ateliê do fotógrafo Louis Piereck (1880 – 1931).
+O Diário de Notícias publicou uma grande reportagem com diversas fotografias sobre o Batalhão Feminino João Pessoa, dirigido pela feminista mineira Elvira Komel (1906 -1932), no Hotel Magnífico. Em uma das fotografias, Natércia encontra-se ao lado do jornalista Hugo Auler. O Batalhão participou, com grande sucesso, do desfile do dia 15 de novembro (Diário de Notícias, de 18 de novembro de 1930).
+ 
+Na foto de baixo, Natércia está à esquerda / Diário de Notícias, de 18 de novembro de 1930
+ 
+Publicação do artigo Jury e jurados, de autoria de Natércia (A Esquerda, 3 de dezembro de 1930, última coluna).
+No Tribunal do Juri atuou como advogada de defesa de João Batista de Souza, acusado pelo assassinato de João de Souza Breves (O Jornal, 24 de dezembro de 1930, primeira coluna).
+1931 – Em janeiro, em companhia da também advogada e sufragista Elvira Komel (1906 – 1932), Natércia participou no Rio de Janeiro de vários encontros para pleitear apoio à causa do voto feminino (A Razão, 14 de fevereiro de 1931, segunda coluna; Vida Doméstica, fevereiro de 1931).
+ 
+Vida Doméstica, fevereiro de 1931
+ 
+Fizeram visitas ao prefeito Adolpho Bergamini (1886 – 1945), às redações de A Batalha, do Jornal do Brasil , de O Jornal  e de A Noite. Na manchete da notícia da visita neste último jornal foram classificadas como “Duas batalhadoras do ideal feminista, no Brasil” (A Batalha, 16 de janeiro de 1930, última coluna; A Noite, 17 de janeiro de 1931).
+ 
+Jornal do Brasil, 11 de janeiro de 1931
+ 
+Encontraram-se com o então ministro do Trabalho, Lindolpho Collor (1890 – 1942), para pleitear a igualdade de direitos entre os sexos reivindicando para as mulheres o direito ao voto e as honras militares de oficiais do Exército (Diário da Noite, 13 de janeiro de 1931, quarta coluna; Jornal do Brasil, 14 de janeiro de 1931, primeira coluna).
+Publicação de uma reportagem sobre o encontro de Elvira Komel e Natércia da Silveira com o Barão de Itararé, alcunha de Aparicio Torelly (1895 – 1971), dono do semanário humorístico A Manha (A Manha, 16 de janeiro de 1931).
+Durante sua estadia no Rio de Janeiro, Elvira e Natércia encontraram-se também com o ministro da Fazenda, José Maria Whitaker (1878 – 1970), com o cardeal Sebastião Leme (1882 – 1942) e com o general Juarez Távora (1898 – 1975), no Rio de Janeiro (A Notícia (SC), 20 de janeiro de 1931, quarta coluna; Eu vi, 21 de janeiro de 1931; A Notícia (SC), 22 de janeiro de 1931, segunda coluna; O Combate (MA), 3 de março de 1931).
+ 
+Elvira Komel e Natércia conversando com o general Juarez Távora / Eu vi, 21 de janeiro de 1931
+ 
+Natércia da Silveira e Elvira Komel encontraram-se com a Delminda Aranha, mulher de Oswaldo Aranha (1894 – 1960), então ministro da Justiça e Assuntos Internos, para conversar sobre direitos políticos das mulheres na organização da constituinte. Já haviam estado com o próprio ministro, em janeiro (O Estado de Florianópolis, 15 de janeiro de 1931, primeira coluna; O Dia (PR), 11 de fevereiro de 1931, última coluna).
+Por divergir de Bertha Lutz  (1894 – 1976) em relação a questões de engajamento partidário, Natércia fundou a Aliança Nacional de Mulheres, no Rio de Janeiro, em 30 de janeiro de 1931. A entidade era mobilizada pelo tema do trabalho e foi registrada em 7 de março do mesmo ano.
+ 
+Objetivos da Aliança Nacional de Mulheres / A Esquerda, 13 de março de 1931
+ 
+A própria Natércia estruturou um projeto de atendimento voluntário, como advogada, para aconselhamento jurídico. Em seguida, médicas associadas também dedicavam um tempo para consultas gratuitas. Abaixo reportagem sobre a nova associação com fotografias de Natércia, presidente da entidade, da médica Herminia de Assis e da professora catedrática Esther Pego Rodbeere Williams, vice-presidentes; da advogada Maria Alexandrina Ferreira Chaves e da médica Amélia de Godoy, secretárias; e da engenheira civil Amélia Sapienza, tesoureira. Também faziam parte da diretoria da Aliança Nacional de Mulheres, e como tesoureira, a funcionária pública Sara Muniz Freire. /Pouco tempo depois, a escritora e jornalista Rachel Prado (1891 – 1943) foi convidada para dirigir um dos departamentos da associação. A sede provisória ficava na avenida Rio Branco, nº 33, quarto andar, sala 16. Ao longo do ano, Natércia e diversas associadas visitaram vários bairros do Distrito /federal, divulgando as propostas da Aliança Nacional de Mulheres (Correio da Manhã, 20 de fevereiro de 1931, quinta coluna; Diário Carioca, 21 de fevereiro de 1931, quinta coluna; O Estado (SC), 25 de fevereiro de 1931, quinta coluna; A Noite, 18 de março de 1931; A Esquerda, 23 de março de 1933; Diário de Notícias, 2 de abril de 1931, sexta coluna; Gazeta de Notícias, 1º de dezembro de 1935, terceira coluna).
+ 
+A Noite, 18 de março de 1931
+ 
+Sobre a Aliança Nacional de Mulheres, Lindolfo Collor (1890 – 1942), ministro do Trabalho, escreveu à Natércia: “O concurso da associação, cujos delineamentos estatutários visam o amparo da mulher que trabalha será na obra que esboçamos e começamos a realizar, por certo notável, preenchendo, assim, com o esforço louvável de suas diretoras, uma das partes de nosso programa revolucionário” (Correio da Manhã, 26 de fevereiro de 1931, sétima coluna).
+Após o pronunciamento do gaúcho Batista Luzardo (1892 – 1982), em Caxambu, no qual explicitou o pensamento do chefe do Governo Provisório, Getulio Vargas (1882-1954), sobre os direitos políticos das mulheres, em nome da Aliança Nacional de Mulheres, Natércia enviou telegramas ao orador, a Getulio Vargas  e ao ministro Joaquim Francisco Assis Brasil (1857 – 1938), chefe do Partido Libertador (Correio da Manhã, 11 de março de 1931, segunda coluna).
+Foi uma das feministas que participou da enquete promovida pelo jornal A Esquerda sobre o voto feminino e a Constituinte (A Esquerda, 13 de março de 1931).
+Uma comissão de senhoras das associações femininas do Rio de Janeiro, dentre  elas, Natércia, visitou as dependências médicas e esportivas da Light (Sino Azul, março de 1931; O Jornal, 19 de março de 1931, segunda coluna; A Esquerda, 19 de março de 1931, terceira coluna).
+Resposta de Natércia à enquete “Deve a mulher ser guerreira ou pacifista?”, promovida pelo jornal A Esquerda: “Sou pela paz, desde que essa paz não repouse no aviltamento de uma raça e não macule uma nacionalidade” (A Esquerda, 24 de março de 1931).
+Natércia e Hemínia de Assis foram visitar uma fábrica onde haviam sido informadas que as moças trabalhavam em péssimas condições (A Batalha, 25 de março de 1931, terceira coluna).
+Foi a oradora, representando a Aliança Nacional de Mulheres, no desembarque do chefe da Polícia do Distrito Federal, o gaúcho Batista Luzardo (1892 – 1982), paladino ardoroso dos direitos femininos, no Rio de Janeiro. Da diretoria da associação, também estiveram presentes ao evento Maria Alexandrina Ferreira Chaves, Isolina Becker de Segadas Vianna e Amélia Sapienza (A Esquerda, 31 de março de 1931; A Batalha, 31 de março de 1931, quarta coluna; A Esquerda, 1º de abril de 1931).
+Enquanto a Federação Brasileira pelo Progresso Feminino afastava de seu programa as questões políticas e religiosas, a Aliança Nacional de Mulheres queria a participação ativa na vida política brasileira política de renovação intelectual e moral para a obra de rejuvenescimento da pátria. O primeiro manifesto da Aliança Nacional de Mulheres foi irradiado em 12 de abril de 1931 (A Batalha, 7 de abril de 1931; Jornal do Recife, 11 de abril de 1931, sexta coluna).
+ 
+Primeiro manifesto da Aliança Brasileira de Mulheres / A Batalha, 7 de abril de 1931
+ 
+Em sua sede provisória, no Edifício do Liceu de Artes e Ofícios, realizou-se uma reunião da Aliança Nacional de Mulheres com a presença de várias associadas. ficou estabelecido que a entidade promoveria conferências de instrução, educação e orientação das mulheres sobre educação moral e cívica, educação higiênica, educação associativa e cooperativa, educação econômica tanto individual como doméstica, educação artística e educação política, versando sobre direitos civis e políticos, orientando o critério de seleção eleitoral. Natércia agradeceu a diversas lojas comerciais por ajudarem a Aliança e informou que a associação se pronunciaria sobre a reforma da legislação. Tratou também do programa de alfabetização das sócias e ressaltou que o atendimento médico e jurídico às mesmas seria totalmente grátis (Diário da Noite, 2 de maio de 1931, penúltima coluna; Diário de Notícias, 5 de maio de 1931).
+Na agência da Prefeitura de Campo Grande, a Aliança Nacional de Mulheres iniciou uma série de visitas com o objetivo de propagar as ideias e iniciativas da associação (Jornal do Brasil, 19 de maio de 1931, segunda coluna).
+Fotografias de Bertha Lutz  (1894 – 1976) e de Natércia ilustraram uma reportagem sobre a expansão do feminismo no Brasil (Excelsior, julho de 1931).
+ 
+Bertha Lutz e Natércia da Cunha Silveira / Excelsior, julho de 1931
+ 
+Foi a representante do Rio Grande do Sul no Segundo Congresso Internacional Feminista, promovido pela Federação Brasileira pelo Progresso Feminino, sob a orientação de Bertha Lutz  (1894 – 1976) (O Jornal, 19 de junho de 1931, primeira coluna).
+Foi a vice-presidente, em junho de 1931, do I Congresso Feminino Mineiro, em Belo Horizonte, presidido por Elvira Komel (1906 – 1932). Foi publicada a programação do evento (Excelsior, junho de 1931). Durante o evento, representantes de municípios mineiros, do Espírito Santo, de Goiás, da Paraíba, do Rio Grande do Sul, e da Aliança Nacional de Mulheres, fundada por Natércia da Silveira, discutiram questões acerca da emancipação da mulher. A Além de Natércia, a Aliança foi representada pelas médicas Herminia de Assis, membro do Conselho Deliberativo do Sindicato Médico Brasileiro; Amélia de Godoy, do Hospital Pedro II; Isolina Becker de Segadas Vianna, Olga Gervais Vieira, ex-interna e assistente voluntária da clínica oftalmológica da Faculdade de Medicina; Ermilinda Lopes de Vasconcelos, primeira médica formada no Brasil; Ercilia Rocha Pitta e Eponina Rua. Também integravam a comitiva da associação Esmeralda Souto, dentista e regente da cadeira de Geografia e Cosmografia do Liceu de Humanidades Nilo Peçanha, em Niterói; a advogada Maria Alexandrina Pereira Chaves; a escritora e jornalista Anna César, membro da Associação Brasileira de Imprensa; a professora Joanna Brasil Silvado, a farmacêutica Elvira Roch e a engenheira civil Amélia Sapienza. Natércia foi também representante dos jornais A Batalha e A Esquerda, no congresso e, a pedido de José Antônio Flores da Cunha (1880 – 1959, governador do Rio Grande do Sul, representou o estado no evento. Na ocasião, foi aprovada unanimemente uma moção de apoio ao governo revolucionário (A Batalha, 5 de junho de 1931, quarta coluna; Correio da Manhã, 6 de junho de 1931, primeira coluna; A Batalha, 20 de junho de 1931, penúltima coluna; Correio da Manhã, 23 de junho de 1931, terceira coluna; Diário de Notícias, 23 de junho de 1931, quarta coluna; Correio da Manhã, 30 de junho de 1931, sétima coluna; A Esquerda, 7 de julho de 1931, quinta coluna; Diário da Noite, 31 de julho de 1931, quarta coluna; Diário Carioca, 14 de agosto de 1931, última coluna).
+ 
+Representantes da Aliança Nacional de Mulheres que apresentariam teses durante o I Congresso Feminino Mineiro / Jornal do Commercio, 11 de junho de 1931
+ 
+Natércia da Cunha Silveira discursando na sessão solene inaugural do I Congresso Feminino Mineiro, na Câmara dos Deputados de Belo Horizonte / Jornal das Moças, 2 de julho de 1931
+ 
+O governador do Rio Grande do Sul, Flores da Cunha, enviou a Natércia um telegrama a felicitando por sua participação brilhante no I Congresso Feminino Mineiro (A Batalha, 2 de julho de 1931, segunda coluna).
+Ela e Bertha Lutz  (1894 – 1976) foram algumas das representantes do II Congresso Internacional Feminista recebidas, no Palácio do Catete, por Getulio Vargas (1882 – 1954), chefe do Governo Provisório (Diário de Notícias, 17 de julho de 1931, segunda coluna).
+Foi auxiliar de acusação no julgamento de Sidney da Rocha Sampaio, acusado de assassinato (A Noite, 6 de agosto de 1931, quarta coluna).
+Foi recebida no Palácio do Catete por Getulio Vargas (1882 – 1954) (Correio da Manhã, 21 de agosto de 1931, quarta coluna).
+O Ministério da Educação remeteu ao diretor geral do Departamento de Ensino os decretos já referendados que nomearam Adelaide Bastos Tornaghi e Natércia para exercer em comissão as funções de inspetoria em estabelecimentos de ensino secundário no Distrito Federal. Amélia Sapienza, tesoureira da Aliança Nacional de Mulheres, exerceria as mesmas funções em São Paulo (O Jornal, 5 de setembro de 1931, primeira coluna).
+Publicação de uma reportagem intitulada A nova legislação eleitoral e o voto feminino, com a história do movimento feminista no Brasil, onde a Federação Brasileira pelo Progresso Feminino, dirigido por Bertha Lutz  (1894 – 1976), a União Universitária Feminina e a Aliança Nacional de Mulheres, presidida por Natércia foram citadas como importantes iniciativas para a emancipação da mulher no país. Na matéria foi publicado também a lista dos países onde as mulheres já possuíam direito ao voto e comentada a liderança do Rio Grande do Norte na concessão de direitos políticos às mulheres, por intermédio do governador Juvenal Lamartine. Foi transcrito também o discurso proferido por Ruy Barbosa (1849 – 1923) no Teatro Lyrico em apoio à causa feminina (A Batalha, 13 de setembro de 1931).
+ 
+
+Trecho da conferência A questão social e política no Brasil, proferida por Ruy Barbosa, no Teatro Lyrico, no Rio de Janeiro, em 20 de março de 1919
+ 
+Como presidente da Aliança Nacional de Mulheres, Natércia da Silveira anunciou a presença de Elvira Komel na reunião da entidade. Na ocasião, Elvira foi saudada pela professora paraense Adélia de Lacerda (Correio da Manhã, 2 de outubro de 1931, sétima coluna).
+Duas advogadas, a paulista Maria Xavier da Silveira (1900 – 19?), a primeira mulher inscrita na OAB SP,  e Natércia atuaram em conjunto no Tribunal do Júri e conseguiram a absolvição do réu Chrispim do Nascimento, acusado de assassinato (Diário de Notícias, 26 de novembro de 1931, penúltima coluna; A Noite Ilustrada, 2 de dezembro de 1931; O Cruzeiro, 12 de dezembro de 1931).
+ 
+A Noite Ilustrada, 2 de dezembro de 1931
+ 
+As advogadas Maria Xavier da Silveira e Natércia da Cunha Silveira, ladeando o réu Chrispim, absolvido / Excelsior, dezembro de 1931
+ 
+
+Diário de Notícias, 26 de novembro de 1931
+Natércia e outras associadas da Aliança Nacional de Mulheres fizeram uma visita ao Instituto Nacional de Surdos-Mudos (Diário de Notícias, 1º de dezembro de 1931, última coluna). Na reunião mensal da associação, ocorrida no dia seguinte, Natércia revelou que havia pedido a Getulio Vargas a criação de uma seção feminina no instituto (Correio da Manhã, 2 de dezembro de 1931, segunda coluna).
+Participou, no Beira-Mar Cassino, de uma homenagem a João Neves da Fontoura (1887 – 1963), que havia lançado em Porto Alegre uma campanha em prol da convocação da Constituinte (Diário Carioca, 26 de dezembro de 1931, quinta coluna).
+Foi realizada a última reunião mensal do ano da Aliança Nacional de Mulheres na qual foi feito um balanço muito positivo da associação ao longo de 1931 (Correio da Manhã, 1º de janeiro de 1932, quarta coluna).
+1932 – Foi nomeada segunda adjunta do procurador do Conselho Nacional do Trabalho (Jornal do Brasil, 21 de janeiro de 1932, quinta coluna; Diário de Notícias, 24 de janeiro de 1932, segunda coluna).
+Publicação de uma reportagem com um balanço do primeiro ano de existência da Aliança Nacional de Mulheres (Correio da Manhã, 31 de janeiro de 1932, quarta coluna).
+Na reunião comemorativa do primeiro ano da Aliança Nacional de Mulheres, Natércia propôs a criação da Caixa de Auxílio à Mulher Desamparada (Correio da Manhã, 4 de fevereiro de 1932, quarta coluna).
+O Decreto nº 21.076, de 24 de fevereiro de 1932 instituiu o Código Eleitoral Provisório e reconheceu o direito de voto às mulheres.
+No Automóvel Clube, realização de um almoço em homenagem a Natércia (Para Todos, 27 de fevereiro de 1932).
+ 
+Para Todos, 27 de fevereiro de 1932
+ 
+Foi entrevistada por Branca de Castro para a revista Brasil Feminino, de março de 1932.
+ 
+Brasil Feminino, março de 1932
+ 
+Requereu sua inscrição na Ordem dos Advogados do Brasil e foi requisitado, assim como a outros requerentes, que ela explicasse a diversidade entre sua assinatura e o nome com o qual figurava na relação do registro da Corte de Apelação (O Jornal, 13 de março de 1932, segunda coluna).
+Na reunião mensal da Aliança Nacional de Mulheres, a primeira realizada após a promulgação da lei eleitoral concedendo o voto à mulher, decidiu-se o envio de uma moção para Getulio Vargas e para Maurício Cardoso (1888 – 1938), ministro da Justiça, como uma demonstração do júbilo da associação (Correio da Manhã, 1º de abril de 1932, sexta coluna).
+Ela e uma comissão da Aliança Nacional de Mulheres foram visitar os Grandes Laboratórios Farmacêuticos (Brasil Feminino, maio de 1932).
+ 
+Brasil Feminino, maio de 1932
+ 
+Na reunião mensal da Aliança Nacional de Mulheres, foi anunciada a criação do Departamento de Professoras, que seria instalado em breve e dirigido por Maria do Carmo Vidigal (Correio da Manhã, 4 de maio de 1932, última coluna).
+Participou no Salão da Sociedade Riograndense, onde todo o alto mundo carioca estava reunido, da leitura do livro Migalhas, da poetisa gaúcha e diretora da revista Brasil Feminino, Iveta Ribeiro (1886 – 1962), seguido por uma apresentação de declamação e canto de Zoraide Aranha (Revista da Semana, 25 de junho de 1932).
+ 
+Iveta Ribeiro (1886 – 1962) / O Malho, 14 de janeiro de 1937
+ 
+Na reunião mensal da Aliança Nacional de Mulheres, foi anunciada a instalação do Departamento Eleitoral , a cargo da professora Adelaide Horta de Andrade, a quem as sócias deveriam se dirigir para questões de alistamento eleitoral (Correio da Manhã, 3 de junho de 1932, última coluna).
+Foi enviado a Getulio Vargas uma carta indicando Natércia para a comissão para elaborar o anteprojeto da nova Constituição “não só por seus serviços à causa da mulher e da Revolução Brasileira como por ser possuidora da necessária cultura científica para essa missão“(República (SC), 17 de junho de 1932, terceira coluna).
+Natércia, na época adjunta do Procurador Geral do Conselho Nacional do Trabalho, foi indicada pela Aliança Nacional de Mulheres, por ofício ao Ministro da Justiça, Francisco Campos, em 24 de junho de 1932, para integrar a comissão para elaborar o anteprojeto da nova Constituição. O documento foi assinado por sua vice-presidente, Herminia de Assis, fazendo referência à sua representatividade de 1.900 mulheres (corpo de sócias de médicas, advogadas, engenheiras, professoras, escritoras, funcionárias públicas, empregadas do comércio, operárias e domésticas), para inclusão de uma representante feminina na Comissão:
+“Para esta missão indicamos a Dra. Natércia da Cunha Silveira, Advogada e adjuncto do Procurador Geral do Conselho Nacional do Trabalho. Pelos seus serviços á causa da mulher brasileira e á Revolução, pela sua cultura solida, que a impoz em nosso meio social, apresenta ella as credenciaes necessárias para o encargo. Nossa representação conta elemento de todas as classes sociaes: medicas, advogadas, engenheiras, professoras, escriptoras, funcionarias publicas, empregadas no comercio, operarias e domesticas“.
+A escritora Ilka Labarthe (? – 1975) proferiu a palestra A incorporação da mulher proletária na sociedade durante a reunião da Aliança Nacional de Mulheres, presidida pelo embaixador do México, A. Reys. A escritora também lançou a candidatura de Natércia para integrar a comissão para elaborar o anteprojeto da nova Constituição.(A Noite, 1º de julho de 1932, última coluna).
+Outro ofício da Aliança, de 7 de julho de 1932, elaborado após uma assembleia com mais de três mil mulheres do Rio de Janeiro, com a assinatura de 348 mulheres, foi encaminhado a Getulio Vargas, com a indicação de Natércia. Bertha Lutz (1894 – 1976), da Federação Brasileira pelo Progresso Feminino, e Carmen Portinho (1903 – 2001), pela União Universitária Feminina, também foram indicadas, o que causou um impasse. Entre Bertha Lutz (1894 – 1976) e Natércia houve um conflito aberto. A mineira Elvira Komel, a pernambucana Martha de Hollanda (1903-1950), presidente da Cruzada Feminina Brasileira, e a escritora Ilka Labarthe (? – 1975)apoiaram a indicação de Natércia, que escreveu a Getulio Vargas, retirando sua candidatura, após saber de  uma intempestiva agressão pelas partidárias da sra. Bertha Lutz. Dias depois, a professora Adelaide Horta de Andrade entregou, em nome da Aliança, uma moção a Getulio, afirmando que as afiliadas da entidade continuavam a desejar unanimemente a nomeação de Natércia. Sua amiga, Maria do Patrocínio Oliveira, lembrou que toda vez que contavam a Natércia alguma maquinação da inveja e do despeito ela falava o ditado: “Eu sou como o jequitibá da floresta, o machado que tentar derribar-me há de criar dentes” (Correio da Manhã, 2 de julho de 1932, sexta coluna; A Batalha, 3 de julho de 1932; Correio da Manhã, 5 de julho de 1932, segunda coluna; Diário de Notícias, 5 de julho de 1932, penúltima coluna; A Batalha, 6 de julho de 1932; Correio da Manhã, 9 de julho de 1932, sexta coluna; O Radical, 9 de julho de 1932, primeira coluna; A Gazeta(SP), 9 de julho de 1932, quarta coluna; Correio da Manhã, 13 de julho de 1932, quarta coluna).
+ 
+Carta de Natércia ao presidente Getulio Vargas / O Estado (SC), 7 de julho de 1932
+ 
+Finalmente, Natércia foi nomeada para integrar a comissão para elaborar o anteprojeto da nova Constituição, fato comemorado na Confeitaria Paschoal. Bertha Lutz  (1894 – 1976) também foi indicada (Correio da Manhã, 14 de julho de 1932, terceira coluna; Correio da Manhã, 19 de julho de 1932, primeira coluna; Brasil Feminino, dezembro de 1932).
+Natércia foi a capa da revista Brasil Feminino de julho de 1932.
+ 
+Brasil Feminino, julho de 1932
+
+Como presidente da Aliança Nacional de Mulheres assinou o manifesto da Cruz Vermelha dirigido ao governo provisório no sentido de pacificar o país que passava pela Revolução Constitucionalista de 1932, movimento armado que expressava a insatisfação dos paulistas com a Revolução de 1930 (O Jornal, 28 de julho de 1932, terceira coluna; Jornal do Recife, 30 de julho de 1932, última coluna). O movimento serviu, antes de mais nada, para convencer o Governo Provisório de Getulio Vargas da necessidade de pôr fim ao caráter discricionário do regime sob o qual vivia o país. Isto só aconteceria quando a constituição de 1890, tornada sem efeito, fosse substituída por outra. A Revolução Constitucionalista começou em 9 de julho de 1932 e terminou alguns meses depois, em 1º de outubro.
+A Aliança Nacional de Mulheres decretou luto de oito dias devido à morte prematura de Elvira Komel (1906 – 1932), líder do movimento feminista em Minas Gerais (Correio da Manhã, 28 de julho de 1932, oitava coluna).
+Abaixo, registro do embarque, na Central do Brasil, de uma comissão da Aliança Nacional de Mulheres, que apoiava o governo, para visita ao front do setor leste. Visitaram também os prisioneiros na Ilha Grande (O Radical, 17 de agosto de 1932, quinta coluna; A Noite, 24 de agosto de 1932; Revista da Semana, 27 de agosto de 1932; Revista da Semana, 27 de agosto de 1932; O Cruzeiro, 27 de agosto de 1932).
+ 
+A Noite, 24 de agosto de 1932
+ 
+O Cruzeiro, 27 de agosto de 1932
+ 
+O Cruzeiro, 27 de agosto de 1932
+ 
+Foi promovida, em Niterói, pelo Departamento Fluminense da Aliança Nacional de Mulheres, uma reunião de professoras, sob a direção de Natércia (Revista da Semana, 17 de setembro de 1932).
+Casamento de Octacília da Cunha Vieira , irmã de Natércia, com José Ferreira Noval (Vida Doméstica, outubro de 1932).
+Em 27 de outubro, o presidente Getulio Vargas nomeou a comissão do anteprojeto da nova Constituição brasileira, três semanas após o fim  da Revolução Constitucionalista. Era formada por 23 componentes, dentre eles Bertha Lutz (1894 – 1976) e Natércia da Cunha Silveira.
+ 
+Lista dos nomeados par a Comissão do Anteprojeto da Constituinte / A Federação, Órgão do Partido Republicano, 28 de outubro de 1932
+ 
+Na fotografia abaixo, Natércia e Bertha Lutz (1894 – 1976) com Afrânio de Melo Franco (1870 – 1943), Agenor Lafayete de Roure ( 1870 – 1935), Carlos Maximiliano Pereira dos Santos (1873 – 1960), Francisco Antunes Maciel  Júnior (1881 – 1966) e José Américo de Almeida (1887-1980), no dia da instalação da Comissão do Anteprojeto da Constituinte, no Palácio Monroe (Correio de São Paulo, 9 de novembro de 1932).
+ 
+Membros da Comissão Elaboradora do Anteprojeto da Constituição de 1934, 9 de novembro de 1932. Rio de Janeiro, RJ / Acervo Arquivo Nacional
+ 
+Fez uma contribuição à Casa do Pobre de Copacabana (Beira-Mar: Copacabana, Ipanema, Leme, 8 de outubro de 1932, quinta coluna).
+Ela e Adalzira Bittencourt (1904 – 1976) eram consultoras jurídicas da revista Brasil Feminino. Na edição de dezembro da revista foi publicada a matéria Feminismo – O que a mulher deve querer , sobre a instalação oficial da Comissão do Anteprojeto da Constituinte e sobre o papel de Natércia e Bertha como representantes femininas (Brasil Feminino, dezembro de 1932).
+ 
+Natércia da Cunha Silveira / Brasil Feminino, dezembro de 1932
+ 
+O escritório de advocacia de Natércia ficava na avenida Rio Branco, nº 183, sala 501, onde permaneceu até 1937 (Beira-mar, 26 de novembro de 1932; Almanak Laemmert, 1934; Almanak Laemmert, 1937).
+ 
+Beira-Mar: Copacabana, Ipanema e Leme ,26 de novembro de 1932
+ 
+Natércia da Cunha Silveira e a escritora Olga Monteiro de Barros patrocinaram, no Instituto Nacional de Música um concerto com a participação do pianista Ênio de Freitas (1911 – 1975), da harpista Jacy Lobato e do flautista Moacyr Lisserra (1905-1971) (Fon-Fon, 17 de dezembro de 1932).
+1933 - Natércia justifica não ter aceito o convite, feito pela escritora Ikla Labarthe para participar de uma convenção cujo tema seria a criação de um Partido Nacional Revolucionário, ideia do Partido Socialista Brasileiro (Diário Carioca, 11 de janeiro de 1933, terceira coluna).
+Foi uma das homenageadas na inauguração de uma galeria de retratos no Tribunal do Juri com retratos das maiores figuras da defesa que funcionaram na sede nova da instituição desde 1927 (Correio da Manhã, 19 de janeiro de 1933, terceira coluna).
+Foi enviado ao prefeito Pedro Ernesto (1884 – 1942) as conclusões do Departamento das Professoras da Aliança Nacional de Mulheres sobre a reforma da Instrução Municipal (Diário da Noite, 27 de janeiro de 1933).
+Vários eventos marcaram o aniversário de dois anos da aliança Nacional de Mulheres. Um deles realizou-se no salão nobre da Associação dos Empregados do comércio, quando Natércia foi homenageada com um festival literário e musical (A Noite, 28 de janeiro de 1933, quarta coluna; Jornal do Brasil, 1º de fevereiro de 1933, primeira coluna).
+ 
+A Noite, 30 de janeiro de 1933
+ 
+Jornal do Brasil, 1º de fevereiro de 1933
+ 
+As feministas Natércia e Ilka Labarthe (? – 1975) tiveram suas mãos lidas (O Malho, 4 de fevereiro de 1933).
+ 
+O Malho, 4 de fevereiro de 1933
+ 
+A pedido da Aliança Nacional de Mulheres foi proibido que homens se fantasiassem de mulheres grávidas durante o carnaval no Distrito Federal (Diário da Noite, 22 de fevereiro de 1933, terceira coluna).
+Na reunião mensal da Aliança Nacional de Mulheres, foi discutida a candidatura de Natércia à Assembleia Constituinte (Correio da Manhã, 1º de abril de 1933, última coluna).
+Publicação de uma reportagem sobre as candidatas à Assembleia Constituinte (Noite Ilustrada, 2 de abril de 1933).
+Em 20 de abril, o Departamento Político da Aliança Nacional de Mulheres, realizou na sede social da associação, localizada na rua 13 de maio, nº 33/35, quarto andar, uma reunião para apresentar o programa de pré-candidatura de sua presidente, Natércia, à Assembleia Constituinte (Diário Carioca, 20 de abril de 1933, última coluna).
+Em 27 de abril, realizou-se, na Esplanada do Castelo, um comício feminino organizado pela Aliança Nacional de Mulheres, em prol da candidatura de Natércia para deputada constituinte. Ela não pode comparecer devido a uma indisposição súbita (Diário da Noite, 26 de abril de 1933, segunda coluna; Correio da Manhã, 28 de abril de 1933, primeira coluna).
+ 
+Diário de Notícias, 28 de abril de 1933
+ 
+Além dela, foram candidatas para deputadas constituintes pelo Rio de Janeiro a bióloga Bertha Lutz (1894 – 1976), a escritora e jornalista Anna César Vieira (? – 1942), a escritora socialista Ilka Labarthe (? – 1975) e Georgina de Azevedo Lima (? – 19?) que, segundo a reportagem publicada na Revista da Semana, não se sabia de trabalhos feministas. Na matéria da Revista da Semana, a professora baiana Leolinda Daltro (1859 – 1935), também candidata e uma das precursoras do feminismo no Brasil, declarou-se satisfeita por testemunhar a candidatura de mulheres a cargos políticos no país (Correio da Manhã, 26 de abril de 1933, terceira coluna; Revista da Semana, 20 de maio de 1933). Nenhuma delas foi eleita.
+ 
+Revista da Semana, 20 de maio de 1933
+Trecho da entrevista da dra. Natércia da Cunha Vieira sobre sua candidatura / Revista da Semana, 20 de maio de 1933
+ 
+Leolinda Daltro (1859 – 1935)
+ 
+Fotos das demais candidatas:
+ 
+Berta Lutz / Revista da Semana, 20 de maio de 1933
+ 
+Anna Cesar Vieira / Revista da Semana, 20 de maio de 1933
+ 
+Georgina de Azevedo Lima / Revista da Semana, 20 de maio de 1933
+ 
+Ilka Labarte / Revista da Semana, 20 de maio de 1933
+ 
+A eleição aconteceu em 3 de maio de 1933. A professora Olga Monteiro de Barros (c. 1868 – 1943) fez um apelo em prol da  candidatura de Natércia (Jornal do Brasil, 3 de maio de 1933, penúltima coluna), que obteve 3.220 votos, mas não foi eleita (Jornal do Brasil, 3 de maio de 1933; A Noite, 31 de julho de 1933, segunda coluna). Bertha Lutz recebeu 15.756 votos; Georgina Azevedo Lima, 14.093; e Ilka Labarthe, 3.869.
+ 
+
+                                       A Batalha, 1º de julho de 1933
+ 
+A pedido de Natércia, o ministro da Fazenda, Oswaldo Aranha (1894 – 1960), autorizou a realização de uma loteria em benefício à Caixa de Auxílio da Mulher Desamparada, da Aliança Nacional de Mulheres (Diário da Noite, 4 de setembro de 1933, quarta coluna).
+O anúncio do noivado de Natércia com o médico e cirurgião da Assistência Municipal, o gaúcho Paulo Arthur Pinto da Rocha (1901 – 1972), um espírito elegante, foi considerado uma notícia amável para a sociedade carioca. Casaram-se, em 9 de setembro de 1933, no Rio de Janeiro. O casamento constituiu uma nota de elegância na sociedade carioca. Ela adotou o sobrenome do marido passando a chamar-se Natércia Silveira Pinto da Rocha  (Jornal do Brasil, 21 de julho de 1933, terceira coluna; Diário da Noite, 9 de setembro de 1933, segunda coluna; A Noite Ilustrada, 13 de setembro de 1933; Vida Doméstica, outubro de 1933).
+ 
+Noite Ilustrada, 13 de setembro de 1933
+ 
+Foi com os professores Alexandre Pogio, Eustorgio Wanderley, Lourdes Moreira Ribeiro e Maria Rosa Moreira Ribeiro organizadora do Teatro da Criança, com caráter estritamente educacional, tendo como objetivos principais o aprendizado da califasia da música, do canto orfeônico e da dança e da arte de representação. Para isso ofereceria cursos práticos (Jornal do Brasil, 8 de novembro de 1933, terceira coluna).
+Natércia, o jornalista e presidente da Associação Brasileira de Imprensa (ABI), Herbert Moses (1884 – 1972), o escritor e político Humberto de Campos (1886 – 1934) e o médico e político Washington Pires (1892 – 1970) foram os patrocinadores da solenidade de posse da diretoria da União Brasileira dos Estudantes, na sede da ABI, no dia 10 de dezembro de 1933 (O Paiz, 6 de dezembro de 1933, última coluna).
+1934 - Foi eleita a nova diretoria da Aliança Nacional de Mulheres para o triênio de 1934 a 1937 e foi realizado uma missa na Igreja Santa Cruz dos Militares e um almoço no Automóvel Club (Jornal do Brasil, 24 de janeiro de 1934, segunda coluna).
+ 
+Jornal do Brasil, 23 de janeiro de 1934
+ 
+No concurso do Banco do Brasil, a colaboração feminina não estava sendo aceita. Natércia escreveu para o presidente do Banco do Brasil, Arthur Costa (1893 – 1957); para Oswaldo Aranha (1894 – 1960), ministro da Fazenda; e para o presidente da República, Getulio Vargas, no sentido de conseguir a reversão desta situação (Correio da Manhã, 22 de fevereiro de 1934, quarta coluna).
+Natércia foi agraciada com o título de membro perpétuo da União Cultural Universal de Sevilha (Correio da Manhã, 24 de fevereiro de 1924, última coluna; O Jornal, 24 de fevereiro de 1934, segunda coluna).
+Foi publicado o artigo Benefícios mutilados, de sua autoria, sobre a necessidade de desenvolver e aperfeiçoar  a obra de assistência social…É um mito com arremedos de realidade a que existe (Jornal do Brasil, 6 de abril de 1934, quinta coluna).
+Em nome da Aliança Nacional de Mulheres, Natércia enviou a Getulio Vargas (1882 – 1954), chefe do Governo Provisório, um apelo relativo à comutação de pena de delinquentes primários, conforme decidido na reunião mensal da entidade (O Paiz, 3 de junho de 1934, quinta coluna).
+As reuniões mensais da Aliança Nacional de Mulheres continuavam a ser realizadas (Correio da Manhã, 6 de setembro de 1934, sétima coluna).
+Concorreu a vereadora pela Frente Única do Distrito Federal, em 14 de outubro de 1934, e obteve 22.559 votos, tornando-se suplente (Diário de Notícias, 12 de outubro de 1934, terceira coluna; Correio da Manhã, 13 de outubro de 1934, última coluna; Correio da Manhã, 1º de fevereiro de 1935, quarta coluna; Jornal do Brasil, 3 de fevereiro de 1935, sexta coluna).
+ 
+Diário de Notícias, 12 de outubro de 1934
+ 
+1935  - Ao longo de 1935 e 1936, participou de diversas reuniões do Conselho Nacional do Trabalho.
+Em uma entrevista, Natércia dá suas opiniões sobre o movimento feminista e mais uma vez reafirma a necessidade de uma cultura científica, profissional e objetiva para a concretização das conquistas femininas. “Essa cultura é o denominador comum que devemos alcançar” (A Nação, 5 de maio de 1935).
+Natércia manifestou seu pesar com a morte da professora Leolinda Daltro (1859 – 1935), que fazia parte da comissão fiscal da Aliança Nacional de Mulheres (Jornal do Brasil, 8 de maio de 1935, quinta coluna). Baiana e atuante ativista pela emancipação da mulher, Leolinda viveu a maior parte de sua vida no Rio de Janeiro e foi uma das precursoras do indigenismo e do feminismo no Brasil. Defendia a incorporação da população indígena brasileira à sociedade a partir da alfabetização laica e para por sua ideia em prática, entre 1896 e 1897,  percorreu o interior do país. Organizou, em 1906, o organizou a Grêmio Patriótico Leolinda Daltro destinado à proteção dos índios. Era muita amiga da primeira mulher do presidente Hermes da Fonseca (1855 – 1923), Orsina Fonseca (1858 – 1912) que, como ela, era a favor da igualdade entre os sexos. Em 1910, fundou o Partido Republicano Feminino (PRF) para mobilizar as mulheres em torno do direito ao voto feminino. Fundou a Escola de Ciências, Artes e Profissões Orsina da Fonseca e a primeira Escola de Enfermeiras Laicas do Brasil, da Cruz Vermelha, ambas em 1911. Em 1919, candidatou-se ao cargo de intendente municipal pela cidade do Rio de Janeiro. Em 1920, lançou o livro Da catequese dos índios do Brasil (notícias e documentos para a história). Em 1933, foi candidata pelo Partido Nacional do Trabalho para deputada constituinte, mas não se elegeu. Faleceu em um desastre de automóvel em 4 de maio de 1935 (Jornal do Brasil, 2 de novembro de 1906, oitava coluna; Revista Feminina, de 1919; Revista da Semana, 20 de maio de 1933; A Noite, 3 de agosto de 1934, primeira coluna; Correio da Manhã, 5 de maio de 1935, sexta coluna; Revista da Semana, 11 de maio de 1935).
+ 
+O Malho, 24 de junho de 1911
+ 
+Declaração de Leolinda Daltro (1859 – 1935) , uma das precursoras do feminismo no Brasil, para o jornal A Noite, 3 de agosto de 1934
+ 
+Natércia foi uma das promotoras de uma homenagem a o dramaturgo Renato Vianna (1894 – 1953), criador do Theatro Escola, no Studio Nicolas (Jornal do Brasil, 23 de maio de 1935, quarta coluna; Gazeta de Notícias, 24 de maio de 1935, quinta coluna).
+Natércia e Evaristo de Morais (1871 – 1939) foram alguns dos advogados que se ofereceram para defender, sem nenhuma remuneração, o jornalista Américo Novais, acusado de ter atirado em Oscar Viana, oficial de gabinete do Ministério da Agricultura (Jornal do Brasil, 23 de junho de 1935, sétima coluna).
+Participou, na Rádio Guanabara, de um programa comemorativo do centenário da Revolução Farroupilha , na Hora do Brasil. Também estavam presentes Dario Crespo, Lindolpho Collor, Lourival Fontes e Luiz Aranha (Gazeta de Notícias, 22 de setembro de 1935).
+ 
+Gazeta de Notícias, 22 de setembro de 1935
+ 
+1936 - Escreveu o artigo A insegurança do funcionário público (Jornal do Brasil, 11 de julho de 1936, penúltima coluna).
+Natércia foi uma das advogadas, Virgolino da Silva, acusado pelo assassinato de Hermeto Faria, chefe da portaria da Câmara dos Deputados (Diário de Notícias, 4 de setembro de 1936, penúltima coluna).
+Foi uma das mulheres citadas na reportagem Personalidades Femininas Brasileiras. Segundo a matéria, ela teria fundado o Centro Cívico Feminino de Porto Alegre (A Nação, 13 de dezembro de 1936).
+1937 - Na sede da Aliança Nacional de Mulheres, proferiu uma palestra sobre A mulher brasileira em face da Constituição (Correio da Manhã, 16 de julho de 1937, quinta coluna).
+1938 – Em um processo do Instituto dos Bancários, Natércia defendeu a obrigatoriedade de pagamento a empregada gestante vencimentos integrais, mesmo afastada do serviço, na forma da lei. 
+“Reduzir à mulher que trabalha, as fontes de renda de sua atividade pouque necessita interrompê-la para, com sacrifíco próprio, embora o mais dignificante dos saccrifícios, tornar-se mães, não é só desumano, é, sobretudo, o que interessa para a solução do caso, inconstitucional” (O Radical, 17 de abril de 1938, quinta coluna; O Radical, 19 de abril de 1938, primeira coluna; O Radical, 29 de agosto de 1938, terceira coluna).
+Escreveu o artigo A aposentadoria compulsória o e Tribunal de Contas (Jornal do Brasil, 22 de abril de 1938, quarta coluna).
+Nascimento de Velleda Maria, filha de Natércia e Paulo Arthur, em 1º de setembro que foi batizada, na Igreja Nossa Senhora da Paz (A Noite, 7 de outubro de 1938, sexta coluna).
+Foi decretado, em 10 de novembro, o Estado Novo, que vigorou até 31 de janeiro de 1946. Foram fechados o  Congresso Nacional e os partidos políticos foram extintos. A Aliança Nacional de Mulheres foi extinta, mas Natércia deu continuidade a sua vida profissional atuando no fórum do Rio de Janeiro.
+1938 – Ao longo do ano, apresentou 1164 processos na Procuradoria Geral do Conselho Nacional do Trabalho  (Gazeta de Notícias, 6 de janeiro de 1939, segunda coluna).
+1939 – Natércia fazia parte da comissão especial constituída pelo ministro do Trabalho, Waldemar Falcão (1895 – 1946), para preparar as teses que seriam apresentadas pela delegação brasileira na II Conferência dos Estados da América membros da Organização Internacional do Trabalho, que se realizaria, em Havana, em novembro de 1939 (O Jornal, 14 de setembro de 1939, quarta coluna).
+1940 – Foram concluídos os trabalhos da comissão nomeada pelo ministro do Trabalho, Waldemar Falcão (1895 – 1946), em 5 de março de 1940, para rever a legislação sobre trabalhos de mulheres e menores, cuja uma das integrantes era Natércia (O Imparcial, 6 de março de 1940, primeira coluna; A Batalha, 16 de junho de 1940, segunda coluna). Sobre o assunto, Natércia deu uma entrevista ao jornal A Noite, de 26 de março de 1940.
+Era uma das professoras do curso de Assistência Social, de extensão universitária, mantido pela Escola Técnica de Serviço Social, na Escola Nacional de Belas Artes. Continuou a lecionar no curso em 1941 e 1942 (Jornal do Brasil, 9 de 1940, segunda coluna).
+1941 - Natércia estava na Procuradoria Geral do Conselho Nacional do Trabalho ligada a questões da Justiça do Trabalho, ainda não instalada (Jornal do Commercio, 20 e 21 de janeiro de 1941, terceira coluna).
+Era uma das integrantes da comissão especial instituída pelo Conselho Nacional do Trabalho para acompanhar a incorporação ao Instituto de Aposentadorias e Pensões dos Marítimos das Caixas de Aposentadoria e Pensões dos Portuários (O Jornal, 22 de março de 1941, última coluna).
+Natércia da Silveira comenta um memorial dos bacharelandos de Direito da Faculdade de Niterói submetido ao presidente da República, Getulio Vargas, – que mandou arquivá-lo – , segundo o qual haveria a necessidade de uma regulamentação das atividades femininas no nos serviços públicos, em cujo crescimento anteviam graves riscos tanto para a ordem pública e social como para a doméstica (A Noite, 18 de maio de 1941, sexta coluna).
+ 
+A Noite, 18 de maio de 1941
+ 
+Fez um donativo à uma instituição ligada à Santa Casa de Misericórdia (Jornal do Commercio, 27 de agosto de 1941, quinta coluna).
+Falecimento do pai de Natércia, Manoel da Cunha Silveira. Além de Natércia, convidavam para a missa seus irmãos Demócrito, Cézar, Athalia, Hesione e Octacília, seus respectivos cônjuges e filhos (Correio da Manhã, 28 de agosto de 1941, quarta coluna; A Noite, 30 de julho de 1941, terceira coluna).
+1942 - Como procuradora, integrou uma comissão de inquérito que investigaria uma denúncia contra Rubens de Amaral Soares, diretor da Divisão de Fiscalização do Departamento de Previdência Social do Conselho Nacional do Trabalho. A denúncia foi feita pelo inspetor de Previdência, Nilo de Albuquerque (O Radical, 28 de maio de 1942, quinta coluna).
+Fazia parte do quadro de sócios efetivos do Instituto Brasileiro de Direito do Trabalho (A Noite, 25 de abril de 1943, sétima coluna).
+1943 - Não era a favor do divórcio (A Manhã, 12 de novembro de 1943, terceira coluna).
+1944 - Natércia era a advogada de defesa do soldado do Exército, Jordão Seixas, acusado de assassinato. Natércia alegou legítima defesa e ele foi condenado a dez meses de prisão (O Jornal, 7 de setembro de 1944, sexta coluna).
+1945 - Foi uma das organizadoras com Carmen Portinho (1903 – 2001), Maria Luisa Dória de Bittencourt (1910 – 2001), primeira deputada da Bahia; Maria Rita Soares de Andrade (1904 – 1998), que viria a ser a primeira juíza federal do Brasil, e outras mulheres, de uma coligação democrática para apoiar a candidatura do brigadeiro Eduardo Gomes (1896 – 1981) à presidência da República (Diário de Notícias, 24 de fevereiro de 1945, quinta coluna).
+Na sede da Associação Brasileira de Imprensa, eleição do Diretório da União Democrática Nacional (UDN). Ela, Carmen Portinho (1903 – 2001) e Maria Rita Soares de Andrade (1904 – 1998) compunham o Comitê Feminino do Distrito Federal. A UDN foi fundada em 7 de abril de 1945 como uma “associação de partidos estaduais e correntes de opinião” contra a ditadura do Estado Novo e sua principal bandeira foi a oposição constante a Getulio Vargas e ao getulismo (O Jornal, 7 de abril de 1945, sexta coluna; Correio da Manhã, 8 de abril de 1945, sexta coluna).
+Foi uma das signatárias do movimento de apoio de advogados à candidatura de Eduardo Gomes à presidência da República, que foi vencido, em 2 de dezembro de 1945, pelo general Eurico Gaspar Dutra (1883 – 1974), da aliança entre O PTB e o PSD. O movimento era encabeçado por uma comissão chefiada por Adauto Lúcio Cardoso (1904 – 1974)  (Diário Carioca, 28 de junho de 1945, última coluna).
+Natércia foi uma das convidadas para uma homenagem da União Democrática Nacional (UDN) em homenagem a ex-deputada federal Carlota Pereira de Queiroz (1892- 1982), na época membro da Comissão Executiva da UDN. Ela foi a primeira deputada federal do Brasil, eleita em 1934. A recepção foi oferecida pela sra. Arnon de Mello, em nome do Comitê Feminino da UDN (Correio da Manhã, 31 de agosto de 1945, quarta coluna).
+Participou de uma festa da União Social Feminina, no Liceu Literário Português (Gazeta de Notícias, 16 de setembro de 1945, terceira coluna).
+Foi receber no aeroporto do Rio de Janeiro, Raul Pilla, líder do Partido Libertador (Correio da Manhã, 7 de outubro de 1945, quarta coluna).
+Natércia foi uma das advogadas que subescreveu o manifesto da classe em homenagem ao candidato à presidência da República, Eduardo Gomes (Correio da Manhã, 19 de outubro de 1945, sexta coluna).
+ 
+Correio da Manhã, 19 de outubro de 1945
+ 
+Natércia e o jornalista Fernando Caldas foram designados para delegados do diretório do Partido Libertador de Porto Alegre (Diário de Notícias, 26 de outubro de 1945, primeira coluna). Candidatou-se à Assembleia Nacional Constituinte, mas não se elegeu (Diário de Notícias, 13 de novembro de 1945, primeira coluna). O Partido Libertador Gaúcho havia sido fundado em 1928 por políticos do antigo Partido Federalista do Rio Grande do Sul, como Joaquim Francisco de Assis Brasil (1857 – 1938) e Raul Pilla (1892 – 1973). Foi extinto pelo Estado Novo e reorganizado em 1945, sob a presidência de Pilla, como Partido Libertador. Sua principal bandeira foi a defesa da implantação do parlamentarismo no Brasil. Pilla foi o único do PL a eleger-se para a Assembleia Nacional Constituinte, nas eleições de 1945, mesma ocasião em que o general Dutra elegeu-se presidente da República, vencendo o candidato udenista, brigadeiro Eduardo Gomes.
+1946 - Fazia parte do conselho consultivo do Diretório Regional do Partido Democrata Cristão (A Noite, 13 de setembro de 1946, sexta coluna).
+Foi organizada, a seção do Distrito Federal do Partido Libertador por seu presidente, Raul Pilla (1892 -1973). Seria presidida pelo general Isidoro Dias Lopes  (1865 – 1949), secretariada por Natércia e divulgada por Espiridião Paulo (Diário Carioca, 1º de novembro de 1946, sexta coluna).
+1947 - Era uma das vice-presidentes da instituição social Casa de Nossa Senhora da Paz (A Cruz, 20 de julho de 1947, última coluna).
+No auditório da Associação Brasileira de Imprensa, posse do diretório do Distrito Federal do Partido Libertador. Seria presidido pelo general Isidoro Dias Lopes (1865 – 1949) e secretariado por Natércia. Na ocasião, o deputado Raul Pilla (? – 1973), presidente do Partido Libertador, expôs as ideias da referida agremiação política (A Noite, 20 de setembro de 1947, terceira coluna; Diário do Paraná (PR), 26 de setembro de 1947, terceira coluna).
+1949 – Natércia era procuradora da Justiça do Trabalho (Jornal do Commercio, 11 de junho de 1949, quinta coluna).
+1950 - Publicação de uma fotografia de Natércia participando de uma reunião do Diretório do Partido Libertador (PL) carioca (Revista da Semana, 29 de abril de 1950). O PL apoiou a candidatura do brigadeiro Eduardo Gomes (1896 – 1981), pela UDN, à presidência da República, mas ele foi derrotado por Getulio Vargas (1882 – 1954), do Partido Trabalhista Brasileiro, em 3 de outubro de 1950 (Diário Carioca, 6 de junho de 1950, terceira coluna; Revista da Semana, 17 de junho de 1950).
+ 
+Revista da Semana, 29 de abril de 1950
+ 
+Foi designada pela Procuradoria Geral da Justiça do Trabalho para presidir a mesa apuradora da eleição sindical do Sindicato dos Enfermeiros e Empregados em Hospitais e Casas de Saúde do Rio de Janeiro (A Manhã (RJ), 8 de junho de 1950, penúltima coluna).
+Foi candidata a deputada federal pelo Partido Libertador, mas não foi eleita (Jornal do Brasil, 15 de agosto de 1950, quarta coluna; A Manhã (RJ), 23 de setembro de 1950, primeira coluna).
+ 
+Diário de Notícias, 24 de setembro de 1950
+ 
+1951 – Elogiou o projeto de lei apresentado pelo senador Mozart Lago (1889 – 1974) criando um departamento feminino no Departamento Federal de Segurança Pública, a qual incumbiria “a Polícia de Costumes, a guarda de detentos e condenados do sexo feminino, e tudo o que disser respeito à mulher e aos menores em ralação à função policial“(Diário de Natal, 21 de julho de 1951, terceira coluna).
+Integrava o gabinete executivo da seção carioca do Partido Libertador (Diário de Notícias, 12 de outubro de 1951, sexta coluna).
+1953 – Como procuradora geral substituta da Justiça do Trabalho, atuou durante a greve de tecelões no Rio de Janeiro (Diário Carioca, 15 de janeiro de 1953, quarta coluna; Diário de Notícias, 14 de março de 1953).
+Integrava o Diretório Nacional do Partido Libertador (Jornal do Brasil, 18 de julho de 1953, quarta coluna).
+Foi publicado um artigo de sua autoria em homenagem a Lindolfo Collor (1890 – 1942), que havia sido ministro do Trabalho (Diário Carioca, 21 de julho de 1954).
+1956 - Foi escolhida para integrar o gabinete executivo do Diretório Nacional do Partido Libertador (O Jornal, 10 de julho de 1956, terceira coluna).
+Seu marido, Paulo Arthur (1901 – 1972), tomou posse na cadeira nº 85 da Academia Brasileira de Medicina, em 2 de agosto de 1956.
+1958 – Foi escolhida para saudar Evaristo de Moraes Filho, que havia se tornado professor catedrático em Direito do Trabalho na Faculdade de Direito,  durante uma homenagem feita a ele pelos procuradores da Justiça do Trabalho (O Jornal, 13 de julho de 1958, primeira coluna).
+Na Capela da Reitoria da Universidade do Brasil, Velleda Maria, única filha de Natércia e Paulo Otávio, casou-se com o pediatra Adherbal de Andrade, em 17 de dezembro (Jornal do Brasil, 12 de dezembro de 1958, primeira coluna).
+1959 - Participou da Convenção Nacional do Partido Libertador e integrava o anunciado novo Diretório Nacional do partido (Diário de Notícias, 21 de julho de 1959, quarta coluna).
+1964 – Foi empossada como uma das vice-presidentes da Associação do Ministério Público do Brasil (Jornal do Commercio, 23 de agosto de 1964, quarta coluna)
+O ministro do Trabalho, Arnaldo Sussekind (1917 – 2012), nomeou Natércia para completar o Conselho Nacional do Sesi (Correio da Manhã, 6 de novembro de 1964, primeira coluna).
+O ministro do Trabalho, Arnaldo Sussekind (1919 – 2012) determinou a suspensão da intervenção ministerial na Comissão Nacional de Sindicalização Rural e nomeou Natércia como uma das representantes do ministério no referido órgão (Jornal do Brasil, 8 de dezembro de 1964).
+Foi convidada para ser a diretora-geral do Departamento Nacional do Trabalho (DNT). Foi a primeira mulher a ocupar o cargo (Jornal do Commercio, 23 de dezembro de 1964, última coluna; Correio da Manhã, 25 de dezembro de 1964, quarta coluna).
+1965 – Segundo Natércia grande parte do pessoal da empresa aérea Panair seria aproveitada pela Força Aérea Brasileira. Em 10 de fevereiro, a Panair havia sido comunicada pelo Governo Federal da cassação de seu certificado de operação. O ato foi assinado pelo ministro da Aeronáutica, brigadeiro Eduardo Gomes (1896 – 1981). Suas linhas nacionais foram passadas para a Cruzeiro e as linhas internacionais para a Varig (Jornal do Commercio, 13 de fevereiro de 1965, terceira coluna).
+Natércia, como diretora-geral do Departamento Nacional do Trabalho (DNT), informou que o Ministério do Trabalho divulgaria a lista de 150 entidades sindicais que seriam liberadas da intervenção oficial. Era anticomunista (A Luta Democrática, 28 e 29 de março de 1965, quarta coluna; A Cruz, 24 de outubro de 1965, segunda coluna).
+Foi homenageada com um jantar, no Hotel Excelsior, pela Associação Brasileira de Mulheres Universitárias (Correio da Manhã, 23 de maio de 1965, última coluna).
+Como diretora-geral do DNT, Natércia fez uma advertência aos dirigentes sindicais no sentido deles se absterem de atividades políticas nas entidades por eles dirigidas(A Luta Democrática, 3 de julho de 1965, quinta coluna).
+Também como diretora-geral do DNT, Natércia enviou uma circular a todas as Delegacias Regionais do Trabalho determinando que providências fossem tomadas para a realização de eleições das entidades sob sua jurisdição, que haviam sofrido intervenção (A Luta Democrática, 25 de agosto de 1965, quarta coluna).
+Sob sua presidência foi instalada a comissão encarregada de opinar sobre a extinção ou não do Imposto Sindical (Correio da Manhã, 1º de setembro de 1965).
+Foi pedida a exoneração de Natércia do cargo de diretora-geral do Departamento Nacional do Trabalho (DNT) (Tribuna da Imprensa, 16 de setembro de 1965, penúltima coluna).
+Foi uma das autoridades que se reuniu com o presidente Castelo Branco para uma discussão em torno da crise da indústria açucareira do Nordeste e do crescente desemprego na região (Correio da Manhã, 18 de setembro de 1965, quarta coluna).
+Natércia recebeu as primeiras 30 mil, das 250 mil carteiras do trabalhador rural que estavam sendo confeccionadas (Correio da Manhã, 28 de setembro de 1965, primeira coluna).
+Meses depois, Natércia negou provimento ao recurso da diretoria do Sindicato dos Jornalistas Profissionais da Guanabara que pretendia manter a eliminação de 5.516 associados da entidade (A Luta Democrática, 3 e 4 de outubro de 1965, sexta coluna).
+Foi nomeada pelo presidente Humberto Castelo Branco (1897 – 1967) para receber a Ordem do Mérito do Trabalho no Grau d0 Mérito Especial (Jornal do Commercio, 29 e 30 de novembro de 1965, sexta coluna).
+Foi noticiado que Natércia havia pedido demissão do cargo de diretora-geral do Departamento Nacional do Trabalho (Correio da Manhã, 9 de dezembro de 1965). Segundo jornais da época, o pedido teria sido causado pelo fato dela não ter sido consultada acerca da intervenção ministerial no Sindicato dos Comerciários da Guanabara (Correio da Manhã, 18 de janeiro de 1966, primeira coluna).
+1966 – Após uma discussão com o novo ministro do Trabalho, Walter Peracchi Barcelos (1907 – 1986), empossado em dezembro de 1965, acerca de um projeto de decreto que no seu entender aniquilaria o movimento sindical portuário, Natércia pediu demissão do cargo de diretora-geral do Departamento Nacional do Trabalho em caráter irrevogável (Correio da Manhã, 23 de janeiro de 1966, penúltima coluna). Foi substituída por Aladir Barata, que tomou posse no início de fevereiro (O Jornal, 29 de janeiro de 1966, quinta coluna; Jornal do Commercio, 7 e 8 de fevereiro de 1966, sexta coluna).
+Tomou posse como Procuradora Geral da Justiça do Trabalho, cargo que exerceria enquanto o titular. Luiz Augusto do Rego Monteiro, estivesse de férias (O Jornal, 5 de fevereiro de 1966, sexta coluna; Jornal do Brasil, 9 de fevereiro de 1966, última coluna).
+1971 – Aposentou-se da Procuradoria-Geral do Trabalho, tendo sido muito elogiada pelo procurador-geral, Marco Aurélio Frates de Macedo, pelos dedicados e eficientes serviços prestados à Procuradoria não só por meio de eruditos pronunciamentos como também quando por diversas vezes assumiu sua chefia. Recebeu a Comenda do Ministério Público (O Jornal, 12 de maio de 1971, primeira coluna).
+No apartamento de Natércia, em Ipanema, sob a direção do ex-vice-presidente do Brasil, Pedro Aleixo (1901 – 1975), foi instalada a Comissão Provisória Regional da Guanabara do Partido Democrático Republicano (Jornal do Brasil, 17 de dezembro de 1971, primeira coluna).
+1972 – Em 20 de setembro, falecimento de seu marido, Paulo Arthur. Convidavam para o enterro, além de Natércia, a filha do casal, Velleda, e o neto Bruno. a missa de sétimo dia foi na Igreja de Nossa Senhora do Carmo (Jornal do Brasil, 21 de setembro e 26 de setembro de 1972).
+1973 – No salão dos Passos Perdidos do I Tribunal do Júri, Natércia, dentre outros juristas, teve um retrato seu inaugurado (Jornal do Brasil, 3 de fevereiro de 1973, quinta coluna).
+1975 – Natércia escreveu uma carta ao Secretário de Segurança da Guanabara e ao futuro governador Faria Lima (1917 – 2011), relatando um assalto que sua filha havia sofrido e pedindo providências em relação à insegurança da cidade (Tribuna da Imprensa, 25 e 26 de janeiro de 1975).
+Escreveu o artigo Divórcio, um assunto em pauta (Tribuna da Imprensa, 17 de março de 1975).
+Como advogada, defendeu os plantonistas do Instituto Médico Legal (IML) , drs Jorge Nunes de Amorim e Graccho Guimarães Silveira, que haviam sido punidos administrativamente pelo diretor do IML, dr. Nilson do Amaral Sant´Ana. Segundo a advogada, a queixa que resultou na punição ocorreu devido à falta de condições de trabalho. Apenas com um auxiliar de necrópsia os acusados deveriam, em 24horas, ter necropsiado 39 cadáveres, mas só haviam conseguido realizar a necrópsia em 31. As famílias dos oito que ficaram sem atendimento fizeram a a queixa (A Luta Democrática, 28 e 29 de dezembro de 1975, última coluna).
+1977 – Ainda atuava no Escritório de Advocacia Natércia Pinto da Rocha (Boletim ABI, dezembro de 1977).
+1993 – Natércia faleceu em 7 de dezembro de 1993 (O Globo, 14 de dezembro de 1993).
+ 
+O Globo, 14 de dezembro de 1993
+ 
+1996 - A fotografia de Natércia que abre esse artigo foi uma das 86 imagens do Arquivo Nacional integrantes da exposição Imagens da Mulher Brasileira, no Espaço BNDES, em comemoração ao Dia Internacional da Mulher (Jornal do Brasil, 21 de março de 1996).
+ 
+Jornal do Brasil, 21 de março de 1996
+ 
+ 
+Agradeço a Bruno Pinto da Rocha, neto de Natércia, por sua colaboração nesse artigo.
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+BARBOSA, Ruy. A questão social e política no Brasil, 20 de março de 1919.
+COELHO, Mariana. A evolução do feminismo: subsídios para sua história. Curitiba: Imprensa Oficial do Paraná, 2002.
+COSTA, Valesca Brasil; SOUZA, José Edimar.  Gênero e campo jurídico: a mulher na Faculdade de Direito (1960-1974). Unilasalle Editora – Revista de Educação, Ciência e Cultura, v. 22, n. 3, 2017
+DEL PRIORE, Mary (Org.). História das mulheres no Brasil. Coordenação de textos de Carla Bassanesi. São Paulo: Contexto, 1997
+DEL PRIORI, Mary. História e conversas de mulher. São Paulo: Planeta Brasil, 2014
+DULTRA, Eneida Vinhaes Bello. DIREITOS DAS MULHERES NA CONSTITUINTE DE 1933-1934: disputas, ambiguidades e omissões. Tese de Doutorado. Universidade de Brasília – Programa de pós-graduação da Faculdade de Direito
+ENGLER, Isabel. A primeira prefeita brasileira Alzira Soriano: o poder político coronelístico, Lages/RN, 1928. Trabalho de Conclusão de Curso  – Universidade Federal da Fronteira do Sul, Curso de História – Licenciatura, Chapecó, SC, 2019
+Hemeroteca Digital da Biblioteca Nacional
+HEYNEMANN, Claudia; RAINHO, Maria do Carmo. Memória das lutas feministas in Brasiliana Fotográfica, 8 de agosto de 2017.
+MARQUES, Tereza Cristina de Novaes. Bertha Lutz. Série perfis parlamentares, n. 73. Brasília: Câmara dos Deputados, Edições Câmara, 2016.
+MOREIRA ALVES, Branca. Ideologia & Feminismo. A luta da mulher pelo voto no Brasil. Petrópolis: Vozes, 1980.
+PINTO, Celi Regina Jardim. Uma história do feminismo no Brasil. São Paulo: Editora Fundação Perseu Abramo (coleção história do povo brasileiro) 2003.
+SCHUMAHER, Schuma; BRAZIL, Erico Vital (organizadores). Dicionário mulheres do Brasil: de 1500 até a atualidade biográfico e ilustrado. Rio de Janeiro : Jorge Zahar Ed., 2000.
+SCHWARCZ, Lilia Moritz; STARLING, Heloisa Murgel. Brasil: uma biografia. São Paulo: Companhia das Letras, 2015.
+Site Academia Nacional de Medicina
+Site CPDOC
+Site CPDOC – Revolução Constitucionalista de 1932
+Site Fundaj
+Site Genealogia e História na fronteira sul do RS
+Site Geneanet
+Site Mulher 500 anos atrás dos panos
+Site Museu da Justiça – Centro Cultural do Poder Judiciário
+Site Superior Tribunal Eleitoral
+ 
+Acesse aqui os outros artigos da Série “Feministas, graças a Deus!“
+
+ 
+Série “Feministas, graças a Deus!” I – Elvira Komel, a feminista mineira que passou como um meteoro, publicado em 25 de julho de 2020, de autoria da historiadora Maria Silvia Pereira Lavieri Gomes, do Instituto Moreira Salles, em parceria com Andrea C. T. Wanderley, editora e pesquisadora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” III  – Bertha Lutz e a campanha pelo voto feminino: Rio Grande do Norte, 1928, publicado em 29 de setembro de 2020, de autoria de Maria do Carmo Rainha, doutora em História e pesquisadora do Arquivo Nacional
+Série “Feministas, graças a Deus!” IV  – Uma sufragista na metrópole: Maria Prestia (? – 1988), publicado em 29 de outubro de 2020, de autoria de Claudia Heynemann, doutora em História e pesquisadora do Arquivo Nacional
+Série “Feministas, graças a Deus!” V – Feminista do Amazonas: Maria de Miranda Leão (1887 – 1976), publicado em 26 de novembro de 2020, de autoria de Maria Elizabeth Brêa Monteiro, mestre em História e pesquisadora do Arquivo Nacional
+Série “Feministas, graças a Deus!” VI – Júlia Augusta de Medeiros (1896 – 1972) fotografada por Louis Piereck (1880 – 1931), publicado em 9 de dezembro de 2020, de autoria de Andrea C.T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” VII – Almerinda Farias Gama (1899 – 1999), uma das pioneiras do feminismo no Brasil, publicado em 26 de fevereiro de 2021, de autoria de Andrea C.T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” VIII – A engenheira e urbanista Carmen Portinho (1903 – 2001), publicado em 6 de abril de 2021, de autoria de Andrea C. T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” IX – Mariana Coelho (1857 – 1954), a “Beauvoir tupiniquim”, publicado em 15 de junho de 2021, de autoria de Andrea C. T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” X – Maria Luiza Dória Bittencourt (1910 – 2001), a eloquente primeira deputada da Bahia, publicado em 25 de março de 2022, de autoria de Andrea C. T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” XI e série “1922 – Hoje, há 100 anos” VI – A fundação da Federação Brasileira pelo Progresso Feminino, publicado em 9 de agosto de 2022, de autoria de Andrea C. T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” XII e série “1922 – Hoje, há 100 anos” XI – A 1ª Conferência para o Progresso Feminino, publicado em 19 de dezembro de 2022, de autoria de Maria Elizabeth Brêa Monteiro, historiadora do Arquivo Nacional
+Série “Feministas, graças a Deus!” XIII – E as mulheres conquistam o direito do voto no Brasil!, publicado em 24 de fevereiro de 2023, de autoria de Andrea C T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” XIV – No Dia Internacional da Mulher, Alzira Soriano, a primeira prefeita do Brasil e da América Latina, publicado em 8 de março de 2023, de autoria de Andrea C T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” XV – No Dia dos Povos Índígenas, Leolinda Daltro,”a precursora do feminismo indígena” e a “nossa Pankhurst, publicado em 19 de abril de 2023, de autoria de Andrea C T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” XVI – O I Salão Feminino de Arte, em 1931, no Rio de Janeiro, de autoria de Andrea C. T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica, publicado em 30 de junho de 2023
+Série “Feministas, graças a Deus!” XVII – Anna Amélia Carneiro de Mendonça e o Zeppelin, equipe de Documentação da Escola de Ciências Sociais FGV CPDOC, em parceira com Andrea C.T. Wanderley, publicado em 5 de janeiro de 2024
+Série “Feministas, graças a Deus!” XVIII – Júlia Lopes de Almeida (1862 – 1934), a “escritora da Belle Époque tropical”, de autoria de Andrea C. T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica, publicado em 5 de junho de 2024
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/6557` — `itens/20.500.12156.1_6557/`
+- `20.500.12156.1/6472` — `itens/20.500.12156.1_6472/`
+
diff --git a/wordpress/20341-antes-do-paraiso-o-expurgo-a-hospedaria-central-da-ilha-das-flores.md b/wordpress/20341-antes-do-paraiso-o-expurgo-a-hospedaria-central-da-ilha-das-flores.md
new file mode 100644
index 0000000..1d16a71
--- /dev/null
+++ b/wordpress/20341-antes-do-paraiso-o-expurgo-a-hospedaria-central-da-ilha-das-flores.md
@@ -0,0 +1,178 @@
+---
+id: 20341
+url: "https://brasilianafotografica.bn.gov.br/?p=20341"
+titulo: "Antes do paraíso, o expurgo: a Hospedaria Central da Ilha das Flores"
+autor: "Andrea Wanderley"
+data: "2020-11-05T13:27:14+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/8373", "20.500.12156.1/7889", "20.500.12156.1/8388"]
+fetched_at: "2026-09-10T10:02:57.521Z"
+---
+
+# Antes do paraíso, o expurgo: a Hospedaria Central da Ilha das Flores
+
+A Brasiliana Fotográfica publica o artigo “Antes do paraíso, o expurgo: a Hospedaria Central da Ilha das Flores“, de autoria de Beatriz Kushnir, diretora do Arquivo Geral da Cidade do Rio de Janeiro, uma das instituições parceiras do portal. O texto aqui apresentado é um resumo da pesquisa de Pós-doutoramento Júnior realizada junto ao CEMI/Unicamp, com financiamento CNPq, entre 2003-5. A edificação da Hospedaria no Rio, uma  iniciativa de dom Pedro II foi instituída, em 1883, quando o governo Imperial, por meio da Inspetoria Geral de Terras e Colonização do Ministério da Agricultura, adquiriu, por 170 contos de réis, a Ilha das Flores do senador do Império, José Inácio Silveira Motta (1811 -1893). Atualmente, existe na Ilha das Flores o Centro de Memória do Imigrante, mantido por um convênio entre a Marinha do Brasil e a Universidade do Estado do Rio de Janeiro (UERJ).
+ 
+Acessando o link para as fotografias da Ilha das Flores disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas. 
+ 
+Com o artigo, estão destacadas três fotografias. Duas são de autoria de Marc Ferrez (1843 – 1923) - uma de fins do século XIX e uma sem data especificada, ambas do Instituto Moreira Salles, uma das instituições fundadoras do portal. Ferrez foi um brilhante cronista visual das paisagens e dos costumes cariocas da segunda metade do século XIX e do início do século XX. Sua vasta e abrangente obra iconográfica se equipara a dos maiores nomes da fotografia do mundo. Cerca de metade de sua produção fotográfica foi realizada no Rio de Janeiro e em seus arredores, onde registrou, além do patrimônio construído, a exuberância das paisagens naturais. Outro segmento de sua obra iconográfica registrou as várias regiões do Brasil – ele foi o único fotógrafo do século XIX que percorreu todas as regiões do país, tendo sido, no referido século, o principal responsável pela divulgação da imagem do país no exterior.
+ 
+Marc Ferrez. Ilha das Flores, s/d. São Gonçalo, RJ / Acervo IMS
+ 
+Há também uma imagem aérea da Ilha das Flores, realizada em 28 de novembro de 1936, por um fotógrafo ainda não identificado da Escola de Aviação Militar, cujo setor responsável pela atividade de fotografar era a Seção Foto e estava vinculada às escolas de aviação que formavam pilotos e observadores aéreos, além de funcionar como uma “escola técnica de aviação” que formava também militares especializados em fotografia e em toda a técnica envolvida. Essa imagem pertence  ao acervo do Museu Aeroespacial, instituição parceira da Brasiliana Fotográfica.
+ 
+Escola de Aviação Militar. Vista Aérea da Ilha das Flores, 28 de novembro de 1936. São Gonçalo, RJ / Acervo Museu Aeroespacial
+ 
+ 
+Antes do paraíso, o expurgo: a Hospedaria Central da Ilha das Flores [1]
+Beatriz Kushnir[2]
+ 
+A Ilha das Flores, no litoral da baía de Guanabara, no Rio de Janeiro, consagrou-se como uma arena de isolamentos, prisões e quarentenas; existindo tanto a Hospedaria para imigrantes em quarentena epidemiológica, como cárceres militares para presos políticos em 1922 – onde estiveram os revoltosos do Levante do Forte de Copacabana, como os tenentistas Cordeiro de Faria e Juarez Távora, os opositores à Revolução de 1930 e da Revolta Comunista de 1935 –, os “estrangeiros indesejáveis” a partir de 1942 – após o governo Vargas ter rompido relações com a Alemanha e a Itália – e no pós-1964.
+Ali são instaladas tanto “campos de concentração” para “forasteiros perigosos”,  e/ou prisioneiros opositores do governo; além de imigrantes enfermos. Assim, nas malhas da burocracia do Estado brasileiro, a Hospedaria de Imigrantes da Ilha das Flores foi desativada em meados da década de 1960. O presídio não. Servindo também como espaço para o encarceramento de presos políticos das esquerdas armadas na ditadura civil-militar do pós-1964.
+Não restrita apenas à faceta das questões imigratórias desse espaço, pode-se perceber que esse lugar permite um estudo em um corte de tempo largo – de fins do Segundo Reinado até o governo do general Ernesto Geisel [1974-79]. Tendo quase 100 anos como mote de reflexão, o relevante é identificar a Ilha como zoneamento para o isolamento pelas questões “sanitárias”, físicas e políticas.
+As hospedarias de imigrantes foram estruturas especificamente instituídas a partir da segunda metade do século 19 para receber cidadãos estrangeiros recém-chegados ao Brasil, que seriam posteriormente destinados ao trabalho rural no interior do país, ou ao serviços urbanos em cidades como São Paulo e Rio de Janeiro. Acolheram imigrantes europeus, mas também havia árabes e japoneses a partir de 1908. Os que aportavam com enfermidades, o que não era raro, permaneciam em quarentena antes de regularizarem suas entradas em solo brasileiro, e as hospedarias eram encarregadas de atendê-los. Entre as mais importantes hospedarias que funcionaram no Brasil, destacam-se:
+ 
+
+Hospedaria de imigrantes de São Paulo;
+Hospedaria de imigrantes de Campinas (São Paulo);
+Hospedaria de imigrantes do Pinheiro (Espírito Santo);
+Hospedaria de imigrantes de Vitória (Hospedaria da Pedra d’Água);
+Hospedaria de imigrantes de Alfredo Chaves (Espírito Santo);
+Hospedaria de imigrantes da Ilha das Flores (Casa dos Imigrantes do Rio de Janeiro, Hospedaria Central);
+Hospedaria de imigrantes do Saco do Padre Inácio (Florianópolis).
+
+ 
+A travessia do Atlântico e a Hospedaria de Imigrantes
+ 
+Marc Ferrez. Ilha das Flores, c. 1885. São Gonçalo, RJ / Acervo IMS
+ 
+Essa reflexão privilegia alguns aspectos, entre estes, um enfoque muito particular do processo de imigração, para o Brasil, de fins do século 19 às três primeiras décadas do século 20. Para além de não concentrar a análise em uma etnia, a preocupação se vincula às políticas estatais quanto à permissão, ou não, de entrada de estrangeiros no Brasil.
+Uma apreciação das múltiplas faces do fluxo imigratório para o Rio de Janeiro ainda demonstra grandes lacunas. Tal ponto é diferentemente esquadrinhado quando centramos os estudos do fenômeno em outros estados. Nestes, iniciativas governamentais e privadas, incentivam tanto a construção de uma “memória do imigrante”, como, por vezes, a ponderação de suas trajetórias. O fomento ao tema do percurso do imigrante e do seu papel na sociedade que o recebeu, remetem, muitas vezes, a uma idealização preconceituosa do tema racial e ao seu encarceramento à imagem sempre vitoriosa do self-made man.
+A trajetória da imigração encontra sua versão máxima no Ellis Island Immigration Museum, nas costas de Manhattan.[3] Na América do Sul, tem-se o exemplo da Argentina, tendo Buenos Aires como, por longos anos, a principal “porta de acesso”, encontra-se a Hospedaria de imigrantes de Buenos Aires [Hotel de inmigrantes de La Rotond]. Naquele país, desde 1876 a Lei de Imigração e Colonização regulou a chegada de imigrantes estrangeiros e as medidas necessárias para evitar a mendicância. Dentro dessa premissa, se criou alguns centros de acolhida designados “albergues”, “asilos” e  “hotéis de imigrantes”, onde teriam direito a cinco dias de permanência.[4]
+No caso do Brasil, sabe-se muito, por exemplo, sobre as Hospedarias de Imigrantes de São Paulo. Existiu, porém, outras, como arrolado anteriormente.
+Essas edificações eram respostas as pressões, publicadas nos jornais da época, denunciando os maus-tratos para com os imigrantes. Assim, o aluguel de hotéis na zona do porto como alojamentos confortáveis e asseados, assustavam até mesmo os políticos que para ali se dirigiam no intuito de autorizar a estadia e alimentação dos imigrantes.[5] Cabe aqui ressaltar que as despesas para com os imigrantes, autorizadas pela Província, no caso de Pelotas, eram de 400 réis por adulto, porém nem sempre a Câmara Municipal – que era responsável por esse primeiro atendimento ao imigrante – era ressarcida, o que de fato acarretava morosidade no processo de abrigo e alimentação daqueles que chegavam.
+A edificação da Hospedaria no Rio – cuja iniciativa é de dom Pedro II – instituiu-se quando, em 1883, o governo Imperial, por meio da Inspetoria Geral de Terras e Colonização do Ministério da Agricultura, adquiriu, por 170 contos de réis, a Ilha das Flores do senador do Império, Silveira Mota. Originariamente, era um estabelecimento de piscicultura, lavoura e fábrica de goma de fécula de mandioca, que media 148 mil m². A Hospedaria era composta por um pavilhão em que os imigrantes permaneciam até conseguirem colocação em outros pontos do Rio ou outras Províncias, e posteriormente foi se tornando uma estrutura mais complexa, dotada de alojamento, administração, hospital, farmácia, refeitório, escola, lavanderia e área de lazer.
+A Inspetoria Geral de Terras e Colonização do Ministério da Agricultura foi instituída pelo Decreto nº. 6.129, de 23/2/1876, onde se fazia menção à necessidade de se constituir hospedarias de imigrantes, locais onde estes, assim que chegavam ao Brasil, permaneciam até que lhes fosse acertado um destino[6]. Estudos como o de Diana Zaidman [Imigração ao Brasil no Império: O Caso Particular da Hospedaria de Imigrantes da Ilha das Flores, UFF/História, 1983], no então, indicam o ano de 1879 como a data de institucionalização da ideia e necessidade de se constituir a Hospedaria de Imigrantes na Ilhas das Flores, destinada a acolher os estrangeiros que chegavam ao Porto do Rio de Janeiro. A intenção era de fazer dessa hospedaria um centro de convergência de emigrantes ao Brasil. Demarcando forçadamente a centralidade da capital na questão, [7]
+A grande concentração de imigrantes e a relevância que tiveram em outros estados têm dirigido as reflexões sobre o tema. Como sede da Corte e capital da República, essa cidade foi, por longo tempo, a principal cidade-porto do país, tendo importância no afluxo de imigrantes para o território brasileiro. O que pondera pensar o porquê dessa restrita atenção à questão neste estado.[8]
+No sentido de preencher uma fração desse vácuo analítico, aponta-se a acuidade de se examinar parte da trajetória desta ilha, tomando como marco o instante em que esta passa a ser de propriedade do Estado brasileiro. A Ilha das Flores, na baía de Guanabara, localiza-se em frente ao município de São Gonçalo e a 10 km da Praça 15 de Novembro, no Rio, e forma com as Ilhas do Engenho, Ananazes, Mexingueiro e do Carvalho um pequeno arquipélago.
+Na esfera das demandas imigratórias, é fundamental sublinhar as dificuldades em se demarcar etapas fixas desse processo. Os dados do Ministério do Império balizam o movimento de entrada de imigrantes entre 1855 – cinco anos após a decretação oficial do fim do tráfico  e do estabelecimento da “Lei de Terras”–, e 1889 – com a instauração republicana. Perseguindo as fontes, as do Departamento Nacional de Povoamento – órgão do Ministério da Agricultura –, circunscreveram-na entre 1877 e 1932. As informações deste acervo que se referem à Ilha das Flores convergem suas estatísticas ao período de janeiro de 1883, possivelmente a data de inauguração da hospedaria, até 1932 – provavelmente quando o Ministério da Agricultura altera a estrutura e competência do Departamento Nacional de Povoamento. Paralelamente as informações do que se passava no Rio e demonstrando que a prática da quarentena não se vinculava apenas ao eixo Rio/São Paulo, neste mesmo conjunto documental há outra série que compreende o período de dezembro de 1891 a setembro de 1932, e esquadrinha a Hospedaria de Imigrantes de Pinheiros, no Espírito Santo.[9]
+Delimitando a noção de hospedaria e localizando outras pelo país, é oportuno destacar que o termo também se refere aos centros para reclusão de enfermos. No caso da do Espírito Santo, há alusão, no ano de 1892, de imigrantes confinados no lazareto – uma construção para quarentena de indivíduos vítimas de doenças infecciosas – da Ilha Grande. Sendo essa, no final do século 19 a única estação quarentenária no Brasil. Por isso, os navios que vinham de portos suspeitos ou infectados e que se dirigiam ao Norte tinham, primeiro, de ancorar naquela ilha. Esse mesmo local, cerca de trinta e cinco anos depois, durante a ditadura estadonovista [1937-45], tornou-se um presídio político.[10]
+A ausência de outras estações de quarentena tematizou uma persistente reclamação das empresas marítimas, obrigando ao Estado a prometer construir o lazareto de Tamandaré, em Pernambuco. Em janeiro de 1895, entretanto, as obras em Pernambuco continuavam inacabadas, e as estações no Pará e na Bahia permaneciam nas promessas.[11]
+Diversos indícios, portanto, mapeiam as intenções e, por vezes, concretizações, de se instalar lazaretos no território nacional. Tais projetos arquitetônicos, como o exemplo da edificação da Hospedaria da Ilha das Flores são espaços de isolamento para doenças do corpo e para os motes políticos. A Hospedaria da Ilha das Flores foi, da sua inauguração até pelo menos o início da 2ª Guerra, voltada às demandas das enfermidades dos imigrantes. Outras atividades, porém, igualmente ocuparam sua extensão neste período. Assim, durante parte da 1ª Guerra – de novembro de 1917 a outubro de 1919 –, a Ilha das Flores foi cedida à Marinha, que lá instalou um centro de reclusão tendo como “hóspedes” imigrantes alemães[12]. Prática repetida durante a 2ª Guerra, quando essa experiência de reclusão com caráter político foi novamente instituída. Os estudos atuais, contudo, parecem desconhecer a informação e se concentraram no período do segundo conflito mundial.
+Os presos políticos foram asilados na Ilha entre 1922 e 1942, como mencionado anteriormente, em “campos de concentração” para “estrangeiros perigosos”. A partir de maio de 1969, com a captura de militantes da Dissidência da Guanabara – grupo que originaria o MR-8[13] – e num instante anterior ao sequestro do embaixador americano, a Ilha das Flores passou a ser um dos destinos dos presos políticos das organizações das esquerdas armadas. Não se pode afirmar, contudo, se a Hospedaria, os “centros de trabalho forçado”, no caso dos alemães, e as prisões políticas coexistiram. Tudo indica que sim.
+A Hospedaria, em seu primeiro ano de funcionamento, recebeu, alojou e encaminhou aos seus destinos, 7.462 imigrantes, sendo 5.208 homens e 2.254 mulheres. Por nacionalidade, tem-se: 4.690 italianos, 1.083 portugueses, 901 austríacos, 640 alemães, 100 espanhóis, 26 franceses, 9 ingleses e, mais 13 de nacionalidades diversas. Em contraposição, nos últimos anos de funcionamento da Hospedaria de Imigrantes, o movimento imigratório baixou consideravelmente. Assim, no período de 1953 a 1965:
+ 
+
+ANO
+HOSPEDAGEM
+ANO
+HOSPEDAGEM
+ANO
+HOSPEDAGEM
+
+1953
+1,742
+1954
+968
+1955
+854
+
+1956
+374
+1957
+1.513
+1958
+1.186
+
+1959
+1.401
+1960
+737
+1961
+391
+
+1962
+291
+1963
+172
+1964
+347
+
+1965
+86
+
+ 
+É oportuno observar as outras ilhas da baía de Guanabara que desempenharam funções semelhantes de confinamento. Parto da perspectiva, portanto, de que as ilhas são também apropriadas, segundo Marshall Sahlins, como locais de “higiene” de ideias e de doenças, como espaços do isolamento e da quarentena, assim como são revestidas da imagem de
+ 
+“[…] lugares especiais, remotos e misteriosos, imensamente atrativos, mas também assustadores. […] As ilhas ‘diabolicamente encantadoras’” são o cenário de náufragos, de presídios, da expatriação de enfermos – do corpo e das “questões da alma” –, e também dos relatos do Capitão Cook e de Fernão de Magalhães. Exemplos dos espaços da natureza selvagem que abrigam o singular – tanto em indivíduos, como em paisagem –, os locais destinados às bênçãos ou às maldições e que sentiu a ação do homem quando o “[…] senso do romântico, do misterioso ficou subordinado à paixão da curiosidade científica”. [14]
+ 
+No plano mítico e metafórico, é interessante perceber as idealizações que as ilhas ocuparam e ainda o fazem. Na concepção de um sonho, de uma utopia do idílico, são ainda pontuadas pela expressão do exílio.
+ 
+O perigo que vem do mar
+ 
+Partindo da noção de que as ilhas formam um conjunto de sítios destinados também à limpeza, no caso do Brasil essa percepção esteve presente no aumento do afluxo de imigrantes aos seus portos, no final do século 19. Paralelo às estratégias de substituição da mão-de-obra escrava por imigrantes assalariados nas fazendas de café, o Império do Brasil também se preocupou em regularizar a posse e aquisição das terras e, assim, em 18/9/1850, institui a Repartição Geral de Terras Públicas, pela Lei nº 601, a “Lei de Terras”. Mais de um quarto de século se passaria até que a Inspetoria Geral de Terras e Colonização, vinculada ao Ministério de Negócios da Agricultura, Comércio e Obras Públicas, e destinada a promover a imigração espontânea, fosse instaurada pelo Decreto nº 6.129, de 23/2/1876. O receio às questões sanitárias frente ao fluxo de homens, mulheres e crianças que desembarcavam, diariamente, nos portos do país sentencia a necessidade de se constituir uma Inspetoria e regulamentar suas atividades.
+Um marco importante de como ocupar as ilhas e proteger o território está descrito no Código Sanitário de 1894, que legislou durante toda a primeira República. Nele se inscreve um preceito de higiene que é milenar, mas o importante é perceber sua apropriação nesse instante. Assim, esse Código determinou que “os hospitais deveriam se localizar sempre afastados dos centros urbanos, em terrenos secos, saneados e cercados por vegetação exuberante”.[15] Vale destacar, contudo, que de modo algum se está afirmando que não existiam centros de tratamento e hospitais dentro do espaço da cidade.[16]
+No artífice de atrair mão-de-obra estrangeira e ao mesmo tempo não permitir o alastramento de epidemias na população, é interessante o relato de um médico norte-americano, funcionário do Serviço de Hospital da Marinha, que era o encarregado da escolha de quem entraria ou não no país como imigrante. Victor Heiser descreveu, nas suas memórias, os últimos anos do século 19 e lembrou que
+ 
+“[…] durante muitos anos a inundação de operários baratos vindos de fora derramara no país, pelos portões escancarados de Boston, Nova York, Filadélfia, São Francisco e outros portos de grandes cidades, uma aluvião de aleijados, coxos e cegos, até 1882. Passaram-se mais nove anos antes que o sentimento público, insurgindo-se lentamente contra a invasão do trabalho estrangeiro, forçasse o Congresso a agir. Naquela época, não somente chineses foram excluídos, mas o Serviço de Hospital da Marinha foi encarregado de indicar, para que fossem rejeitados, os imigrantes portadores de moléstias repugnantes ou contagiosas ou os que poderiam vir a ser, por alguma tara física, encargos públicos” [17]
+ 
+Nesta passagem o Dr. Heiser se refere, en passant, a todo um clamor sindical que estabeleceu o sistema de cotas, por nacionalidade, para a entrada de estrangeiros nos EUA, a partir de 1924. Essas medidas, repetidas pela Argentina um pouco mais tarde, tornam o Brasil, no início do século 20, um porto desejável de acesso. Esses “portos abertos”, porém, foram redimensionados nos primeiros meses do governo Getulio Vargas. Em 12/12/1930, o Decreto nº 19.482 limitou a entrada de passageiros estrangeiros de terceira classe a partir do instrumento das “cartas de chamada” – que obrigavam o imigrante a garantir já ter emprego no país. A existência desse instrumento justificou também a constituição de regras de amparo ao trabalhador nacional, estabelecendo como o imigrante preferencial o que se dirigisse ao meio rural.[18]
+Mapeando os nortes que direcionam as políticas de Saúde Pública na Primeira República, constata-se que o modelo político liberal, do período, não oferecia assistência individual à saúde, que só passou a vigorar na década de 1930. As ações de Saúde Pública nas primeiras três décadas do século 20, centraram-se no saneamento urbano e na regulamentação das habitações populares[19]. O alto custo de uma assistência médica privada também explica a sobrecarga nas ações filantrópicas das Santas Casas de Misericórdia e das Ligas de Higiene, fazendo proliferar uma prática recorrente: o curandeirismo entre os pobres enfermos, tanto nas áreas urbanas como rurais.[20]
+É o decreto nº 9.081, de 1911, que pela primeira vez faz referência à Ilha das Flores como o local de hospedagem de imigrantes desembarcados no Rio de Janeiro. O capítulo 23 desse dispositivo legal determinava o tempo de estada na Ilha, que “só poderá exceder de oito dias [de permanência] em casos extraordinários ou de força maior, a juízo da diretoria do Serviço de Povoamento”. Dentro desse panorama de regulamentações, uma dimensão importante do problema foi discutida nas convenções sanitária internacionais. A de novembro de 1887, por exemplo, definiu a criação, nos portos do Brasil e nas principais estações ferroviárias, de serviços de desinfecção para “barrar os agentes patogênicos veiculados por mercadorias e pessoas”.
+Em janeiro de 1886, a Junta Central de Higiene Pública foi dividida em duas repartições: Inspetoria Geral de Saúde dos Portos e Inspetoria Geral de Higiene, ambas vinculadas ao Ministério do Império. A primeira era, por assim dizer, a das Relações Exteriores. Tinha a seu cargo a polícia sanitária do litoral, dos ancoradouros e navios, a superintendência dos lazaretos e do Hospital Marítimo de Santa Isabel, em Niterói. Quando recebia notícia de epidemia em país vinculado comercialmente ao Brasil, propunha ao ministro as medidas para barrar o ingresso da doença aqui e impunha quarentena aos navios procedentes das zonas infectadas. As funções do Inspetor-Geral de Higiene, segundo Benchimol [1999], eram portas adentro, estendendo-se, formalmente, a todo o território nacional.
+A partir da adoção dessas instruções sanitaristas e na esteira do inventário de truques do médico americano para impedir um “não bom trabalhador” de ingressar no território nacional, vislumbra-se a gênese de teorias segregacionistas. Algumas dessas preocupações são compartilhadas pelas autoridades brasileiras e os itens idade, moralidade e profissão concentravam a atenção do Estado. As condições de saúde física e/ou psíquica, entretanto, não eram declaradamente empecilhos. Neste contexto, as normas de conduta determinavam que um navio cuja tripulação e/ou passageiros estivessem com alguma enfermidade contagiosa a bordo, deveria advertir as autoridades de saúde do porto, com oito dias de antecedência à sua chegada e, assim, era impedido de aportar e era desviado para as Hospedarias e seus centros médicos. Os irremediavelmente incuráveis, na noção estatal da época – inválidos, dementes e vagabundos –, contudo, não eram bem-vindos e deveriam, de algum modo, ser “descartado”, sendo impedidos, pelo uso da Lei, de alcançarem o continente.
+Neste sentido, os trajetos dos imigrantes enfermos que se curavam e tiveram vistos de entrada, são razoavelmente conhecidos, quando se deslocaram para outros estados das regiões sudeste e sul. Pouco ainda se sabe, contudo, do “lugar do imigrante” na Capital Federal.[21]
+ 
+[1] Esse artigo é uma adaptação de um paper sobre um projeto desenvolvido entre 2003-05, como pós-doutoramento júnior, financiado pelo CNPq, junto ao Cemi [Centro de Estudos de Migrações Internacionais] da Unicamp e sobre orientação do professor Michael Hall. Partes dessas reflexões estão publicadas, como artigos, em dois livros: “A ante-sala do paraíso: quarentena, isolamento e prisão na Ilha das Flores”. In Keila Grinberg (org.). História dos Judeus no Brasil. Rio de Janeiro, Civilização Brasileira, 2005. pp. 399-421; e “Cercear para conter! A Ilha das Flores: uma experiência de quarentena, isolamento e prisão”. In Izabel Andrade Marson e Márcia Capelari Naxara (orgs.). Sobre a Humilhação: sentimentos, gestos e palavras. Uberlândia, EDUFU, 2005. pp. 265-84.
+[2] Doutora em História pela Universidade Estadual de Campinas [Unicamp] e Diretora do Arquivo Geral da Cidade do Rio de Janeiro. Autora, entre outros, de Baile de Máscaras: mulheres judias e prostituição. As polacas e suas associações de ajuda mútua [Rio de Janeiro, Editora Imago, 1996] e Cães de guarda: jornalistas e censores, do AI-5 à Constituição de 1988 [São Paulo, Editora Boitempo, 2004]. E organizadora de Perfis cruzados: trajetórias e militância política no Brasil [Rio de Janeiro, Editora Imago, 2002].
+[3]A Hospedaria de Ellis Island, em Nova York, foi construída a partir de 1860. De 1892 a 1952, 12 milhões de estrangeiros, com passagem de 3ª classe, passaram pelo exame médico e adentraram o país como imigrantes [www.nps.gov/Elis]
+[4] Na Argentina, o primeiro albergue instalou-se na avenida Corrientes, nº 8-10, com capacidade para 300 pessoas, e atendeu 20% da imigração entre 1857 e 1874, tratando os enfermos de febre amarela, em 1871, e cólera em 1873. A partir de 1880 se construiu outros alojamentos para imigrantes, como, em 1888 a Rotonda de Retiro, que recebeu até 5 mil estrangeiros num só dia, e durante 1908 acolheu um total de 129.304 imigrantes. Em 1911, outra Hospedaria foi erguida nos arredores do Rio de la Plata, com capacidade de receber 15 mil pessoas e que funcionou até 1953. Entre 1910 e 1913 as estatísticas oficiais argentinas registram a chegada de 1.100.000 imigrantes. Também se instalaram em outros países, Hospedarias de Imigrantes, como, por exemplo, no Chile, a Hospedaria de Vergara, na cidade de Valparaíso, a Hospedaria de Talca, e outras [http://www.ub.es/geocrit/b3w-739.htm].
+[5] “Foco de Infecção”, Jornal Correio Mercantil, 2/3/1889, p. 2.
+[6] “Capitulo VII: Da Hospedaria dos imigrantes e dos escritórios de locação de serviços. Art. 23. Na hospedaria de imigrantes haverá um Administrador nomeado pelo Inspetor Geral, incumbido de providenciar acerca do tratamento dos imigrantes e guarda das bagagens; e bem assim de manter a ordem e a policia do estabelecimento.  § 1º Subordinado ao Inspetor, dar-lhe-á parte diária do que ocorrer na hospedaria, solicitando as providências indispensáveis ao bem-estar dos imigrantes e fazendo observar as instruções expedidas para a regularidade do serviço. § 2º Terá sob sua imediata direção os Guardas que o Inspetor designar para o coadjuvarem no desempenho de seus deveres.  Art. 24. O escritório de locação de serviços ficará a cargo de um Agente nomeado pelo Inspetor, com os auxiliares por estes designados”.
+[7]  Zaidman, Diana. “A Imigração ao Brasil no Império: o caso particular da hospedaria de Imigrantes da Ilha das Flores”. Niterói, Dissertação de Mestrado em História, UFF, 1983.
+[8] Trabalhos recentes como as coletâneas Histórias de imigrantes e de imigração no Rio de Janeiro, organizada por Angela de Castro Gomes [Rio de Janeiro, Sette Letras, 2000] e a de Carlos Lessa, Os lusíadas na aventura do Rio de Janeiro [Rio de Janeiro, Record, 2002], apontam essa carência e investem em saneá-la.
+[9] Os acervos documentais do Ministério do Império e do Departamento Nacional de Povoamento estão em depósito no Arquivo Nacional, e finda seus registros em 1932.
+[10] Relatos do cárcere vivido na Ilha Grande, durante a ditadura estadonovista, são encontrados nos livros de: Graciliano Ramos, em Memórias do cárcere, e Jorge Amado, em Os Subterrâneos da Liberdade; como também as lembranças de Noé Gertel a respeito de Joaquim Câmara Ferreira, o Velho ou Toledo, quando juntos estiveram [in Kushnir, Beatriz (org.). Perfis Cruzados: trajetórias e militância política no Brasil. Rio de Janeiro, Imago, 2002]. Esses fazem um paralelo entre o ocorrido naquela ilha e na das Flores, possibilitando que esses sejam fontes de análise das experiências de prisão política em Ilhas no período.
+[11] O Decreto no 9554, de 3/2/1886, regulamentou as Inspetorias Gerais de Higiene conforme o disposto no Decreto no 3271, de 28/9/1885. Cf. revista Brasil Médico, Rio de Janeiro, 15/1/1895, p. 824 [Agradeço a Jaime L. Benchimol que me chamou a atenção para esse dado].
+[12] Pelo Decreto no 12.689, de 21/10/1917, a Ilha das Flores foi transferida, provisoriamente, ao Ministério da Marinha. E pelo Decreto no 13.781, de 1/10/1919, retorna ao Ministério da Agricultura, Indústria e Comércio.
+[13] Movimento Revolucionário 8 de outubro (MR-8) originou-se da Dissidência da Guanabara (DI da Guanabara) do PCB, tendo uma grande influência no Movimento Estudantil. Destacou-se nacional e internacionalmente ao idealizar, em conjunto com a ALN, o primeiro seqüestro de caráter político que teve êxito: o do embaixador norte-americano no Brasil. Em 1972, o MR-8 foi desarticulado no país.
+[14] Sahlins, Marshall. Ilhas de História. Rio de Janeiro, Jorge Zahar Editor, 1990. pp. 19-21.
+[15] Telarolli Junior, Rodolpho. “Imigração e epidemias no estado de São Paulo”. Revista Manguinhos, vol. III, nº 2, jul./out. 1995. p. 274; Machado, Roberto et alli. A danação da norma: medicina social e constituição da psiquiatria no Brasil. Rio de Janeiro, Graal, 1978.
+[16] Para ilustrar a afirmativa é interessante a fonte produzida pela Prefeitura da cidade do Rio de Janeiro em 1922. A partir do mapeamento das instituições de assistência pública e privada, desenhou-se toda a rede hospitalar e assistencialista [Assistência Pública e Privada no Rio de Janeiro (Brasil), História e Estatística. Comemoração do Centenário da Independência Nacional. Rio de Janeiro, Tipografia do “Anuário do Brasil”, 1922].
+[17] Heiser, Victor. A odisséia de um médico americano. (2ª ed.). Porto Alegre, Ed. Globo, 1940. pp. 18-19.
+[18] Quanto a essa questão, são extremamente elucidativas além de plasticamente belíssimas, as fotos que Jorge Latour – adido comercial do Brasil em Varsóvia, Polônia – sacou de transeuntes de origem judaica nas ruas da cidade. A intenção era provar que esses seriam imigrantes urbanos e não rurais, por isso deveriam ser proibidos de entrar. Essa problemática se situa dentro das questões do pré-Segunda Guerra e as tendências nazi-fascistas do Estado Novo [8/11/1936, maço 9650 (622), Arquivo Histórico do Itamaraty/Rio de Janeiro].
+[19] Benchimol, Jaime Larry. Pereira Passos, um Hausmann tropical. Rio de Janeiro, Secretaria Municipal de Cultura, Turismo e Esportes/Departamento Geral de Documentação e Informação, 1990; Rocha, Oswaldo Porto. A era das demolições, cidade do Rio de Janeiro: 1870-1920. Rio de Janeiro, Secretaria Municipal de Cultura, Turismo e Esportes/Departamento Geral de Documentação e Informação, 1986.
+[20] Algumas leituras percebem um deslocamento da atuação de Saúde Pública, em São Paulo, para o espaço rural, com o Código Sanitário, de 1918 [Telarolli Junior, 1995]. Na visão de Benchimol [1999], contudo, esse Código não sinaliza precisamente uma reorientação para as doenças endêmicas no campo. Para esse autor, Oswaldo Cruz ao combater doenças transmitidas por insetos – febre amarela, peste – ou passíveis de serem combatidas por vacina (varíola) ou soro (peste), desprendeu as questões de Saúde Pública da retórica anterior, centrada na higiene, à qual permanecem aderidos os engenheiros e todos os atores sociais interessados em derrubar “cascos urbanos” antigos e habitações coletivas.  A prática do isolamento dos doentes durante as epidemias de febre amarela e varíola, por exemplo, após o advento da teoria microbiana e consequentemente o fortalecimento da ideia de que as doenças eram contagiosas, reforçou os procedimentos de quarentena e desinfecção como rotinas da Saúde Pública. Mesmo quando não se conhecia com certeza qual o micróbio da doença e como ela de fato se transmitia, como era o caso da febre amarela na virada do século 19 para o 20, o importante, para Oswaldo Cruz, era isolar o doente do mosquito. As desinfecções deixaram de ser feitas nesses casos, como também na malária, pois Cruz e Ribas eram intransigentes nas suas recusas a essas práticas. Essas medidas colidiam “não tanto contra os miasmáticos, que queriam derrubar tudo, mas principalmente contra os magnetizados pela correlação micróbios-contágio”.
+[21] São oportunos o levantamento e a discussão bibliográfica feitos por Rodolpho Telarolli Junior, “Imigração e epidemias no estado de São Paulo”, op. cit., pp. 265-281.
+ 
+A Ilha das Flores – um pouco de sua história até a criação da hospedaria
+Andrea C. T. Wanderley
+A Ilha das Flores pertencia, no início do XIX a Delfina Felicidade do Nascimento Flores e era chamada de Ilha de Santo Antônio. Segundo o Centro de Memória da Imigração da Ilha das Flores, é “provável que seu nome atual tenha referência a essa proprietária, pois o local devia ser conhecido como a “ilha da D. Flores”, passando depois à “Ilha das Flores”.
+​Foi incorporada ao patrimônio da província do Rio de Janeiro, rovavelmente em quitação a dívidas de sua proprietária, e, em 17 de agosto de 1834, foi comprada por Maria do Leo Antunes. Anos depois, foi colocada à venda,  (Correio Mercantil, 21 de dezembro de 1956, penúltima coluna) e, em 1857, foi vendida para o senador José Inácio Silveira Motta (1811 – 1893), que mudou-se para lá, com sua família, em 1861 (Correio Mercantil, 12 de fevereiro de 1861, quinta coluna) e fundou no local um estabelecimento de piscicultura e também desenvolveu o cultivo de mandioca. Eram abundantes na ilha ostras e argilas.
+A edificação da Hospedaria no Rio, uma  iniciativa de dom Pedro II, foi instituida em 1883, quando o governo imperial, através da Inspetoria Geral de Terras e Colonização do Ministério da Agricultura, adquiriu de Silveira Motta, por 170 contos de réis, a Ilha das Flores. As negociações haviam começado em 1878 – o senador havia, por conselhos médicos, decidido ir viver em São Paulo. Quando foi adquirida pelo Império, havia na Ilha das Flores “uma boa casa de vivenda“, construída em 1868, grandes armazésn, “casinhas para escravos e trabalhadores livres”, um edifício que servia como disensa e depósito, dois torreões de recreio e seis docas que serviam como viveiros de peixes (Correio Paulistano, 6 de dezembro de 1878, última coluna; Correio Paulistano, 17 de setembro de 1881, segunda coluna;Gazeta de Notícias, 13 de janeiro de 1883, penúltima coluna; e 17 de janeiro de 1883, terceira coluna; Correio Paulistano, 14 de janeiro de 1883, terceira coluna; Jornal do Commercio, 20 de janeiro de 1883, quinta coluna; Correio Paulistano, 8 de março de 1883, primeira coluna).
+ 
+Militão Augusto de Azevedo. José Inácio Silveira da Mota, 1862 / Acervo do Museu Paulista da USP
+ 
+Os primeiros imigrantes chegaram à Hospedaria da Ilha das Flores, em 1º de maio de 1883 (Gazeta de Notícias, 6 de maio de 1883, segunda coluna). Sua localização geográfica era considerada favorável porque seu isolamento tornaria dispensável a passagem dos imigrantes pela cidade do Rio de Janeiro, um foco de epidemias; e também por ser perto da Corte e de Niterói, uma vantagem para o deslocamento dos imigrantes para seus destinos finais.
+ 
+Jornal do Commercio, 6 de maio de 1883
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+ 
+FERREIRA, Raquel França dos Santos. Hospedaria de Imigrantes Ilha das Flores. Biblioteca Nacional, 10 de maio de 2020.
+Hemeroteca Digital da Biblioteca Nacional
+Site Centro de Memória da Imigração da Ilha das Flores
+Site Ministério da Defesa – Marinha do Brasil
+Site MultiRio
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/8373` — `itens/20.500.12156.1_8373/`
+- `20.500.12156.1/7889` — `itens/20.500.12156.1_7889/`
+- `20.500.12156.1/8388` — `itens/20.500.12156.1_8388/`
+
diff --git a/wordpress/20381-serie-avenidas-e-ruas-do-brasil-iv-rua-25-de-marco-em-sao-paulo.md b/wordpress/20381-serie-avenidas-e-ruas-do-brasil-iv-rua-25-de-marco-em-sao-paulo.md
new file mode 100644
index 0000000..47766c0
--- /dev/null
+++ b/wordpress/20381-serie-avenidas-e-ruas-do-brasil-iv-rua-25-de-marco-em-sao-paulo.md
@@ -0,0 +1,96 @@
+---
+id: 20381
+url: "https://brasilianafotografica.bn.gov.br/?p=20381"
+titulo: "Série “Avenidas e ruas do Brasil” IV – Rua 25 de março em São Paulo"
+autor: "Andrea Wanderley"
+data: "2020-09-01T11:32:39+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/2128", "20.500.12156.1/2104", "20.500.12156.1/1903", "20.500.12156.1/2114"]
+fetched_at: "2026-09-10T10:03:00.788Z"
+---
+
+# Série “Avenidas e ruas do Brasil” IV – Rua 25 de março em São Paulo
+
+Série “Avenidas e ruas do Brasil” IV – Rua 25 de Março
+ 
+No quarto artigo da série “Avenidas e ruas do Brasil”, a Rua 25 de Março, atualmente uma das mais movimentadas de São Paulo é a destacada. Popularmente conhecida como “a 25″, é o maior centro comercial da América Latina, localiza-se no Centro da cidade e sua história é fortemente identificada com a própria história da cidade e marcada pela presença da imigração para a metrópole, principalmente de sírios e libaneses. Foi batizada, em 1865, em homenagem à data da assinatura da primeira constituição brasileira, em 25 de março de 1824. As fotografias deste artigo muito contrastam com a região nos dias de hoje, conhecida como “o maior shopping céu aberto da América Latina”. São do fim do século XIX e início do XX, de autoria de Guilherme Gaensly (1843 – 1928) e de Vincenzo Pastore (1865 – 1918).
+Um das 10 fotografias da Rua 25 de Março destacadas nesse artigo é de autoria do fotógrafo suíço Guilherme Gaensly, autor de importantes registros de São Paulo, vendidos como fotografias em papel albuminado e colotipias impressas na Suíça e comercializadas em álbuns. Ao lado de seu contemporâneo Marc Ferrez (1843 – 1923), foi provavelmente o fotógrafo mais publicado em postais no Brasil.
+ 
+Guilherme Gaensly. Álbum Fotografias de São Paulo 1900 – Várzea do Mercado e o Mercado Caipira, c. 1890. São Paulo, SÇP / Acervo IMS
+ 
+Acessando o link para as fotografias da Rua 25 de março, em São Paulo, disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas. 
+ 
+As outras nove foram produzidas pelo italiano Vincenzo Pastore (1865 – 1918), por volta de 1910. Com sua câmara de pequeno formato, Pastore capturava tipos e costumes de um cotidiano ainda pacato de São Paulo, uma cidade que logo, com o desenvolvimento econômico, mudaria de perfil. Captava as transformações urbanas e humanas da cidade, que passava a ser a metrópole do café. Com seu olhar sensível, o bem sucedido imigrante italiano flagrava trabalhadores de rua como, por exemplo, feirantes, engraxates, vassoureiros e jornaleiros, além de conversas entre mulheres e brincadeiras de crianças. Pastore, ao retratar pessoas simples do povo, realizou, na época, um trabalho inédito na história da fotografia paulistana. Registrou cenas de ruas de São Paulo, como estas na Rua 25 de março, produzindo imagens diferentes das realizadas, durante o século XIX, com câmeras de grande formato sobre tripés, tendo sido um dos pioneiros da nova linguagem da fotografia do século XX.
+ 
+
+ 
+Um pouco da história da Rua 25 de Março, o “maior shopping a céu aberto da América Latina”
+ 
+O Pátio do Colégio, reconhecido como o berço da cidade de São Paulo, está localizado próximo a área da rua 25 de Março, e o rio Tamanduateí, além de se relacionar com a fundação da cidade, tem ligação com a origem da referida rua, por ter sido a porta de entrada mais importante dos fundadores e dos desbravadores da cidade.
+ 
+Photographia Americana; Militão Augusto de Azevedo. Álbum comparativo da cidade de São Paulo 1862-1887 – Igreja e Convento do Colégio, c. 1862. São Paulo, SP / Acervo IMS
+ 
+A colina do Pátio do Colégio, próxima ao rio Tamanduateí, abrigava o Porto Geral, que era usado para o descarregamento de mercadorias importadas que chegavam do Porto de Santos. Desde o século XVI, era utilizado como rota alternativa às trilhas no trajeto entre Santo André e São Paulo. Também por ele eram transportados da fazenda São Caetano, dos beneditinos, gêneros alimentícios para o Mosteiro de São Bento. A atual Rua 25 de Março era chamada, no século XVIII, de rua ou beco das Sete Voltas por margear o rio Tamanduateí que era sinuoso e que, até meados do século XIX, abrigou quatro portos: o já citado Geral, o Tabatinguera, o Figueira e o Coronel Paulo Gomes. O rio foi retificado em duas etapas – em 1848 e entre 1896 e 1914.
+ 
+Vincenzo Pastore. Barcos no rio Tamanduateí, c. 1910. São Paulo, SP / Acervo IMS
+ 
+Acessando o link para as fotografias do rio Tamanduateí, em São Paulo, disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas. 
+ 
+Nesse século a rua recebeu a denominação popular de Rua de Baixo, por ficar na parte baixa da cidade em realação à colina do Pátio do Colégio. Em 28 de novembro de 1865, foi apresentado pelo vereador Malaquias (ou Malachias) Rogério de Salles Guerra (18? – 19?) um ofício sugerindo a alteração do nome de várias ruas, sendo uma delas a alteração do nome da Rua de Baixo para Rua 25 de Março, até a projetada Praça do Mercado (atual praça Fernando Costa), e desse ponto em diante, até a Ladeira do Carmo, atual avenida Rangel Pestana (Correio Paulistano, 22 de dezembro de 1865, última coluna). Uma curiosidade: foi para a casa de São Paulo de Malaquias, primo de seu pai, que o futuro governador de São Paulo e presidente do Brasil, Manuel Ferraz de Campos Salles (1841 – 1913), nascido em Campinas, se mudou, aos 15 anos, para estudar na capital.
+ 
+
+Correio Paulistano, 22 de novembro de 1865
+ 
+Por volta de 1870, a migração de sírios e libaneses aumentou devido à ocupação desses dois países pelo Império Turco-Otomano, razão pela qual eles chegavam ao Brasil com passaportes fornecidos pelo governo turco. Daí terem ficado conhecidos como “turcos”, apesar de não sê-los. Uma ironia e até uma crueldade histórica já que os turcos eram, na verdade, seus opressores. Enfim, foram os sírios e os libaneses os responsáveis pela ocupação e pela colonização da área da Rua 25 de Março. Vieram “fazer a América”. Em 1887 ou 1890 (as fontes variam em relação a essa data), foi aberta a primeira loja na rua de que se tem notícia até hoje. Era de propriedade do imigrante libanês Benjamin Jafet (1864 – 1940), que se mudou para o Brasil, em 1887, e tornou-se um grande empresário do ramo têxtil (Correio Paulistano, 25 de fevereiro de 1940, quinta coluna).
+A maioria desses imigrantes sírios e libaneses era cristãos ortodoxos e foi em janeiro de 1897 que, após a celebração de uma missa, em uma salão situado na Rua 25 de Março, que o padre Mussa Abi Haidar realizou a primeira procissão ortodoxa da América do Sul. Nas proximidades da Rua 25 de Março, na antiga Rua Itobi, atual Rua Cavalheiro Basílio Jafet, foi construída, nos primeiros anos do século XX, a primeira igreja ortodoxa do Brasil, a Igreja Ortodoxa Antioquina da Anunciação à Nossa Senhora, consagrada em 1904.
+Além dos sírios e libaneses, comerciantes alemães, franceses e italianos – como vendedores de tecidos e estes últimos também como maiores vendedores de sapatos e principais agentes das atividades de funilaria e ferragem -, ingleses e norte-americanos no setor de metalurgia, e brasileiros e portugueses em trabalhos de carpintaria, se instalaram na região. Nos últimos anos, a presença de orientais vem se intensificando.
+A área, cuja origem é a Rua 25 de Março, constitui-se de um conglomerado de lojas e galerias que vai desde o Mosteiro de São Bento até o Mercado Municipal. Desde o início de sua história, a rua foi identificada com a possibilidade de oportunidade de negócios em atividades comerciais e em sua região estão instaladas lojas tanto atacadistas como varejistas de produtos variados: de armarinhos a papelarias, roupas de cama e mesa, bijuterias e brinquedos, dentre vários outros. É, como já mencionado, apesar das grandes mudanças ocorridas na estrutura de comércio da capital paulistana, uma região comercialmente muito movimentada e ativa, o “maior shopping a céu aberto da América Latina“.
+Em 2007, , “a 25″ foi o tema do enredo da Associação Cultural e Social Escola de Samba Mocidade Camisa Verde e Branco intitulado Das sete curvas de um rio nasce a Rua da Cultura, religião, comércio e festas populares: 25 de Março, Isso é Brasil!
+Devido à pandemia do Covid-19, o comércio da rua ficou fechado de março de 2020 ao dia 10 de junho do mesmo ano. Recebe cerca de quatrocentas mil pessoas por dia e, perto de datas comemorativas, esse número sobe para um milhão.
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+CESARINO, G. K.; CALDANA JUNIOR, V. L. (2017). Adaptação e resiliência do espaço comercial de rua: a 25 de março. RUA, 23 (1), 117-139.
+Hemeroteca Digital da Biblioteca Nacional
+KOSSOY, Boris. Dicionário histórico-fotográfico brasileiro: fotógrafos e ofício da fotografia no Brasil (1833-1910). São Paulo: Instituto Moreira Salles, 2002. 408 p., il. p&b.
+OLIVEIRA, Lineu Francisco de; GIL Antonio Carlos. O conglomerado comercial da rua 25 de março, em São Paulo: uma região socialmente construída. Revista de Estudos Sociais, 2011, nº 25, vol. 13
+PONCIANO, Levino. Todos os centros da Paulicéia. São Paulo: Editora Senac, 2007.
+PREFEITURA DO MUNICÍPIO DE SÃO PAUL, Departamento do Patrimônio Histórico. A enchente de 1º de janeiro de 1850. São Paulo, 2009.
+Site Brasil Econômico
+Site Casas Históricas Paulistanas
+Site Dicionário de ruas da Prefeitura de São Paulo
+Site Guiada25
+Site Igreja Ortodoxa Antioquina
+Site Loja Maçônica Campos Salles 2654
+Site São Paulo in Foco
+Site Viagens e Caminhos
+Links para as outras publicações da série “Avenidas e ruas do Brasil”
+ Série “Avenidas e ruas do Brasil” I – Avenida Central, atual Rio Branco, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 7 de setembro de 2016
+Série “Avenidas e ruas do Brasil” II – A Rua do Imperador em Petrópolis por Klumb, Leuzinger e Stahl, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 26 de junho de 2020
+Série “Avenidas e ruas do Brasil” III – A Rua do Bom Jesus, no Recife, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 6 de agosto de 2020
+Série “Avenidas e ruas do Brasil” V – A Rua Direita, a Rua das Mercês e a Rua Macau do Meio, em Diamantina, Minas Gerais, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 22 de outubro de 2020
+Série “Avenidas e ruas do Brasil” VI  – Rua Augusto Ribas e outras, em Ponta Grossa, no Paraná, pelo fotógrafo Luiz Bianchi, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 16 de novembro de 2020
+Série “Avenidas e ruas do Brasil” VII – A Avenida Atlântica, em Copacabana, no Rio de Janeiro, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 23 de dezembro de 2020
+Série “Avenidas e ruas do Brasil VIII – A Rua da Carioca por Cássio Loredano, de autoria de Cássio Loredano, publicada em 20 de janeiro de 2021
+Série “Avenidas e ruas do Brasil” IX – Ruas e panoramas do bairro do Catete, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 14 de julho de 2021
+Série “Avenidas e ruas do Brasil” X – A Rua da Ajuda, no Rio de Janeiro, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 9 de novembro de 2021
+Série “Avenidas e ruas do Brasil” XI – A Rua da Esperança, em São Paulo, por Vincenzo Pastore, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 14 de dezembro de 2021
+Série “Avenidas e ruas do Brasil” XII – A Avenida Paulista, o coração pulsante da metrópole, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 21 de janeiro de 2022
+Série “Avenidas e ruas do Brasil” XIII – A Rua Buenos Aires no Centro do Rio de Janeiro, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 19 de julho de 2022
+Série “Avenidas e ruas do Brasil” XIV – A Avenida Presidente Vargas,, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 31 de agosto de 2022
+Série “Avenidas e ruas do Brasil” XV – Misericórdia: rua, largo e ladeira, no Rio de Janeiro, por Cássio Loredano, de autoria de Cássio Loredano, publicada em 8 de dezembro de 2022
+Série “Avenidas e ruas do Brasil” XVI – “Alguma coisa acontece no meu coração”, a Avenida São João nos 469 anos de São Paulo, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 25 de janeiro de 2023
+Série “Avenidas e ruas do Brasil” XVII  e série “O Rio de Janeiro desaparecido” XXIII – A Praia e a Rua do Russel, na Glória, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 15 de maio de 2023
+Série “Avenidas e ruas do Brasil” XVIII – Avenida Beira-Mar, de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal, publicada em 22 de janeiro de 2024
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/2128` — `itens/20.500.12156.1_2128/`
+- `20.500.12156.1/2104` — `itens/20.500.12156.1_2104/`
+- `20.500.12156.1/1903` — `itens/20.500.12156.1_1903/`
+- `20.500.12156.1/2114` — `itens/20.500.12156.1_2114/`
+
diff --git a/wordpress/2040-bairros-do-rio.md b/wordpress/2040-bairros-do-rio.md
new file mode 100644
index 0000000..b93f412
--- /dev/null
+++ b/wordpress/2040-bairros-do-rio.md
@@ -0,0 +1,28 @@
+---
+id: 2040
+url: "https://brasilianafotografica.bn.gov.br/?p=2040"
+titulo: "Bairros do Rio"
+autor: "Roberta Zanatta"
+data: "2015-08-12T10:28:19+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/2143"]
+fetched_at: "2026-09-10T10:03:03.902Z"
+---
+
+# Bairros do Rio
+
+Anônimo. Botafogo, c. 1930. Rio de Janeiro / Acervo IMS
+ 
+No ano em que se comemoram os 450 anos da fundação do Rio de Janeiro, a Brasiliana Fotográfica convida seus leitores para um passeio por alguns bairros da cidade, no início do século XIX e nas primeiras décadas do século XX. São registros fotográficos de Botafogo, Copacabana, Centro, Gamboa, Glória, Ipanema, Santa Teresa e de outras regiões do Rio feitos por Marc Ferrez, Augusto Malta, Augusto Stahl, Georges Leuzinger e Carlos Bippus, dentre outros.
+ 
+Acessando o link para as fotografias selecionadas dos bairros do Rio de Janeiro e disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Andrea C. T. Wanderley
+Editora assistente e pesquisadora da Brasiliana Fotográfica
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/2143` — `itens/20.500.12156.1_2143/`
+
diff --git a/wordpress/20537-curso-de-aplicacao-no-instituto-oswaldo-cruz.md b/wordpress/20537-curso-de-aplicacao-no-instituto-oswaldo-cruz.md
new file mode 100644
index 0000000..a6ebdab
--- /dev/null
+++ b/wordpress/20537-curso-de-aplicacao-no-instituto-oswaldo-cruz.md
@@ -0,0 +1,69 @@
+---
+id: 20537
+url: "https://brasilianafotografica.bn.gov.br/?p=20537"
+titulo: "Curso de Aplicação no Instituto Oswaldo Cruz"
+autor: "Andrea Wanderley"
+data: "2020-10-08T07:49:25+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/8434", "20.500.12156.1/8435", "20.500.12156.1/8427", "20.500.12156.1/8430", "20.500.12156.1/8426", "20.500.12156.1/5139", "20.500.12156.1/5140", "20.500.12156.1/8428"]
+fetched_at: "2026-09-10T10:03:06.871Z"
+---
+
+# Curso de Aplicação no Instituto Oswaldo Cruz
+
+Ricardo Augusto dos Santos, pesquisador titular da Fundação Oswaldo Cruz, uma das parceiras da Brasiliana Fotográfica, é o autor do artigo “Curso de Aplicação no Instituto Oswaldo Cruz”, que contribuiu para consolidar  os estudos da bacteriologia, da microbiologia e da parasitologia, tendo sido a semente da Pós-graduação na instituição. A primeira turma de ensino formal teve início somente em 1908, ano em que o Instituto Soroterápico Federal recebeu o nome de Oswaldo Cruz. Fizeram parte de seu quadro de professores grandes cientistas, dentre eles Adolpho Lutz (1855 – 1940) e Alcides Godoy (1880 – 1950).
+ 
+Turma do Curso de Aplicação do Instituto Oswaldo Cruz, 1933. Manguinhos, Rio de Janeiro / Acervo Casa de Oswaldo Cruz
+ 
+Curso de Aplicação no Instituto Oswaldo Cruz
+ Ricardo Augusto dos Santos*
+ 
+Turma de 1911 do Curso de Aplicação do Instituto Oswaldo Cruz, 1911. Manguinhos, Rio de Janeiro / Casa de Oswaldo Cruz
+ 
+A formação de profissionais para a ciência está presente em Manguinhos desde a criação do Instituto Soroterápico Federal. Fundado em maio de 1900 com o objetivo de produzir soros e vacinas para combater a peste bubônica, o Instituto começou a desenvolver atividades educativas. No início, as tarefas de pesquisa e ensino eram realizadas em conjunto. Ainda não havia uma estrutura com funções específicas. Para consolidar a instituição, os primeiros cientistas se preocuparam com a formação de pessoal treinado nas técnicas recentemente (final do século XIX) desenvolvidas. De fato, as ações do Instituto combinariam ensino, investigação em laboratórios e produção de medicamentos. Posteriormente, a pesquisa aliada à prática docente se tornaria uma tradição na história da Fundação Oswaldo Cruz.
+ 
+Acessando o link para as fotografias do Curso de Aplicação do Instituto Oswaldo Cruz disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Muito cedo, estudantes de medicina frequentavam o Instituto Soroterápico em busca de orientação para suas teses. O trabalho de conclusão era indispensável para a conquista do diploma em medicina. Era um mundo novo e modernos temas de pesquisa atraíam os formandos. Na época, poucas instituições médicas no Brasil possuíam competência no campo da medicina experimental.
+ 
+Alunos do Curso de Aplicação do Instituto Oswaldo Cruz, 1911. Manguinhos, Rio de Janeiro / Acervo Casa de Oswaldo Cruz
+ 
+Em meio às obras de construção dos primeiros prédios da nova instituição, era habitual a presença de alunos da Faculdade de Medicina convivendo com os pesquisadores na outrora Fazenda de Manguinhos. Nos primórdios do Soroterápico, mestres e alunos apresentavam seus trabalhos que eram discutidos. A partir de 1903, ainda de maneira caseira, aulas começaram a serem oferecidas aos estudantes. Contudo, a primeira turma de ensino formal teve início somente em 1908, ano em que o Instituto recebeu o nome de Oswaldo Cruz. O Curso de Aplicação de Manguinhos contribuiu para consolidar a bacteriologia, a microbiologia e a parasitologia. Podemos afirmar que foi a semente da Pós-graduação na Fiocruz.
+Chamado domesticamente de Curso de Aplicação ou Escola de Manguinhos, em seu corpo docente, se destacavam nomes de cientistas, como Adolpho Lutz, Alcides Godoy, Henrique da Rocha Lima e Henrique de Beaurepaire Aragão, que haviam adquirido experiência e conhecimentos na Europa, em institutos onde se praticava a ciência mais avançada. O ensino no Curso de Aplicação era rigoroso. Em seus primórdios, eram admitidos médicos e estudantes de medicina. Depois, seriam aceitos farmacêuticos e veterinários. O curso era gratuito e os alunos responsabilizavam-se pela compra do material utilizado. Para se inscrever, os candidatos solicitavam autorização ao diretor do Instituto Oswaldo Cruz. Muitas vezes, os alunos trabalhavam voluntariamente como pesquisadores nos laboratórios e, posteriormente, poderiam ser absorvidos, entrando no quadro de funcionários contratados.
+ 
+Alunos do Curso de Aplicação do Instituto Oswaldo Cruz, 1913. Manguihos, Rio de Janeiro / Acervo Casa de Oswaldo Cruz
+ 
+Com a ampliação progressiva do desenho institucional, através da diversificação dos departamentos, laboratórios de pesquisa do IOC e disciplinas do Curso de Aplicação, um número crescente de alunos chegava em Manguinhos pretendendo a desejada entrada no Castelo da Ciência. O título destacava seu aspecto empírico e prático. Oficialmente, esse nome – Curso de Aplicação – surgiria apenas em 1919, mas era assim chamado desde a sua fundação. Era realizado anualmente e, logo, fortaleceu-se como escola de aperfeiçoamento em medicina experimental.
+ 
+Curso de Aplicação do Instituto Oswaldo Cruz, 1912. Manguinhos, Rio de Janeiro / Acervo Casa de Oswaldo Cruz
+ 
+Olympio da Fonseca Filho, diretor do Instituto Oswaldo Cruz entre 1949 e 1953, ao tentar entrar em 1912, não conseguiu vaga, adiando seu ingresso para o ano seguinte. Desde os primeiros anos houve uma procura intensa. Entre sua abertura e a década de 1930, quinhentos candidatos se inscreveram, mas somente 275 conseguiram matricular-se. O programa era muito rígido. As disciplinas duravam quatorze meses, não se admitindo mais de dez faltas. Muitos estudantes que entravam não alcançavam a frequência e o rendimento necessários para a conclusão.
+Com o término do período, a publicação do texto como produção científica do Instituto Oswaldo Cruz proporcionava a ampliação da atuação do pesquisador. Após o curso, era possível a contratação provisória para os quadros do Instituto Oswaldo Cruz através das verbas obtidas com vendas das vacinas e medicamentos. Posteriormente, de acordo com alterações no corpo permanente de funcionários (aposentadoria ou morte de pesquisador) o aprendiz de cientista poderia sonhar com a nomeação para um cargo vitalício. O Curso de Aplicação significava a porta de entrada para o universo da pesquisa. Apesar de envolver relações próximas, a disputa por espaços baseava-se em critérios técnicos e científicos que aliavam o desempenho no Curso com o estágio nos laboratórios, lugar para amadurecimento das pesquisas.
+ 
+J. Pinto. Curso de Aplicação do Instituto Oswaldo Cruz, 1931. Manguinhos, Rio de Janeiro / Acervo Casa de Oswaldo Cruz
+ 
+*Ricardo Augusto dos Santos é Pesquisador Titular da Fundação Oswaldo Cruz
+ 
+J. Pinto. Presença feminina no Curso de Aplicação do Instituto Oswaldo Cruz, 1930. Manguinhos, Rio de Janeiro / Acervo Casa de Oswaldo Cruz
+ 
+ 
+Indicações de Leitura: 
+ 
+AZEVEDO, Nara & FERREIRA, Luiz Otávio. Os dilemas de uma tradição científica: ensino superior, ciência e saúde pública no Instituto Oswaldo Cruz, 1908-1953. História, Ciências, Saúde-Manguinhos, 2012, vol.19, n.2.
+REIS, Renata. A “grande família” do Instituto Oswaldo Cruz: a contribuição dos trabalhadores auxiliares dos cientistas no início do século XX. Tese (doutorado)-Universidade Federal Fluminense, Niterói, 2018.
+ 
+Henrique Aragão e alunos do Curso de Aplicação, 1938. Manguinhos, Rio de Janeiro / Acervo Casa de Oswaldo Cruz
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/8434` — `itens/20.500.12156.1_8434/`
+- `20.500.12156.1/8435` — `itens/20.500.12156.1_8435/`
+- `20.500.12156.1/8427` — `itens/20.500.12156.1_8427/`
+- `20.500.12156.1/8430` — `itens/20.500.12156.1_8430/`
+- `20.500.12156.1/8426` — `itens/20.500.12156.1_8426/`
+- `20.500.12156.1/5139` — `itens/20.500.12156.1_5139/`
+- `20.500.12156.1/5140` — `itens/20.500.12156.1_5140/`
+- `20.500.12156.1/8428` — `itens/20.500.12156.1_8428/`
+
diff --git a/wordpress/20682-serie-avenidas-e-ruas-do-brasil-v-a-rua-direita-a-rua-das-merces-e-a-rua-macau-d.md b/wordpress/20682-serie-avenidas-e-ruas-do-brasil-v-a-rua-direita-a-rua-das-merces-e-a-rua-macau-d.md
new file mode 100644
index 0000000..29f5441
--- /dev/null
+++ b/wordpress/20682-serie-avenidas-e-ruas-do-brasil-v-a-rua-direita-a-rua-das-merces-e-a-rua-macau-d.md
@@ -0,0 +1,84 @@
+---
+id: 20682
+url: "https://brasilianafotografica.bn.gov.br/?p=20682"
+titulo: "Série “Avenidas e ruas do Brasil” V – A Rua Direita, a Rua das Mercês e a Rua Macau do Meio, em Diamantina, Minas Gerais"
+autor: "Andrea Wanderley"
+data: "2020-10-22T10:11:16+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/5161", "20.500.12156.1/313", "20.500.12156.1/5155", "20.500.12156.1/5156"]
+fetched_at: "2026-09-10T10:03:10.249Z"
+---
+
+# Série “Avenidas e ruas do Brasil” V – A Rua Direita, a Rua das Mercês e a Rua Macau do Meio, em Diamantina, Minas Gerais
+
+Série “Avenidas e ruas do Brasil” V – A Rua Direita, a Rua das Mercês e a Rua Macau do Meio, em Diamantina, Minas Gerais
+ 
+No quinto artigo da série “Avenidas e ruas do Brasil”, a Brasiliana Fotográfica destaca imagens de três ruas na cidade de Diamantina, em Minas Gerais: a Rua Direita, a Rua das Mercês e a Rua Macau do Meio. O registro da rua Direita foi realizado, no século XIX, pelo fotógrafo alemão Augusto Riedel (1836 – ?) e os da Rua das Mercês e Macau do Meio pelo mineiro Chichico Alkmim (1886 – 1978), já nas primeiras décadas do século XX. Em suas ruas de pedras, com várias subidas e descidas, onde se encontra um casario homogêneo e bem conservado, fazemos uma viagem no tempo…
+ 
+Chichico Alkmim. Rua Macau do Meio, s/d. Diamantina, Minas Gerais / Acervo IMS
+ 
+Diamantina é uma das mais importantes cidades históricas do Brasil e sua formação está ligada à exploração de ouro e de diamante. Sua ocupação inicial ocorreu com o bandeirante Jerônimo Gouveia (16? – ?) que, seguindo o curso do rio Jequitinhonha, encontrou uma significativa quantidade de ouro nas confluências dos rios Piruruca e Grande. O povoado começou a surgir nas primeiras décadas do século XVIII, em torno dos rios garimpados. A cidade de Diamantina, cuja origem foi o Arraial do Tijuco (ou Tejuco), foi oficialmente fundada em 6 de março de 1831. O conjunto arquitetônico de seu centro histórico foi tombado pelo Instituto do Patrimônio Histórico e Artístico Nacional, em 16 de maio de 1938. Em dezembro de 1999, Diamantina recebeu da Unesco o título de Patrimônio Cultural da Humanidade (Jornal do Brasil, 2 de dezembro de 1999).
+ 
+“Diamantina foi o maior centro de extração de diamantes do mundo no século XVIII, condição que se refletiu na evolução da cidade, desfavorecendo a formação de um espaço urbano arquitetônico na forma de uma praça representativa do poder político e religioso, como era então regra geral. Sua arquitetura civil tem referência especial pela extrema homogeneidade do seu casario. Possui uma estética sóbria, simples, porém refinada se comparada com outras cidades de sua época. Suas fachadas são bem geometrizadas e seu padrão foi sistematicamente reproduzido pela cidade, não havendo rupturas estilísticas importantes. Essas edificações apresentam evidentes testemunhos da reprodução do modelo cultural de origem portuguesa.” 
+                               Portal Iphan
+Brasão de Diamantina
+ 
+Augusto Riedel (1836 – ?) e Diamantina
+ 
+Considerado um dos mais talentosos fotógrafos paisagistas dos oitocentos, o alemão Augusto Riedel (1836-?) foi proprietário de um estúdio fotográfico à Rua Direita nº 24, em São Paulo (Diário de São Paulo, de 1º de outubro de 1865, primeira coluna), na década de 1860, e na Rua Cassiano, 41, no Rio de Janeiro, entre 1875 e 1877. De sua produção, restaram 40 imagens do álbum Viagem de S.S.A.A. Reaes Duque de Saxe e seu Augusto Irmão D. Luis Philippe ao Interior do Brasil no Anno 1868 – que se tornou um dos trabalhos clássicos da documentação fotográfica do século XIX no Brasil. Os registros de Diamantina fazem parte deste conjunto. O duque de Saxe, dom Luis Augusto de Saxe Coburgo e Gotha (1845 – 1907), era genro do imperador Pedro II (1825 – 1891), marido da princesa Leopoldina de Bragança e Bourbon (1847 – 1871). A presença do nome do fotógrafo na capa do álbum indica que ele já devia ser bastante conhecido e que provavelmente devam existir outras fotos dele ainda hoje não amplamente reconhecidas.
+ 
+Augusto Riedel. Rua Direita da Diamantina, 1868-1869. Diamantina, Minas GErais / Acervo Fundação Biblioteca Nacional
+ 
+A viagem representada no mencionado álbum durou meses , durante os quais foram percorridos os estados de Minas Gerais, onde foram retratadas, além de Diamantina, as cidades de Ouro Preto, Mariana, Sabará, Lagoa Santa e o primeiro vapor do rio das Velhas, além das minas de Morro Velho; vistas do rio São Francisco, que levaram os viajantes até Penedo, em Alagoas; Sergipe e, finalmente, Bahia, último estado visitado pela expedição. São possivelmente os mais antigos registros fotográficos dessas regiões do Brasil.  O itinerário percorrido sugere um grande interesse do grupo em geologia e em assuntos relativos à mineração. Um obscuro diamantinense publicou uma homenagem à visita dos príncipes à Diamantina (Diário do Rio de Janeiro, de 10 de agosto de 1868, primeira coluna).
+ 
+
+Diário do Rio de Janeiro, 10 de agosto de 1868
+ 
+Acessando o link para as fotografias de Augusto Riedel de aspectos de Diamantina disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+ Chichico Alkmim (1886 – 1978) e Diamantina
+ 
+O mineiro Chichico Alkmim (1886 – 1978), autodidata, pioneiro da fotografia de estúdio em Diamantina, e primeiro cronista visual da cidade, atuou na profissão de 1907 a 1955. Seu primeiro ateliê foi inaugurado em 1912 e sua obra, uma das principais referências da memória visual de Minas Gerais, compreende imagens da arquitetura diamantinense, sua religiosidade, suas ruas, costumes, ritos e retratos de seus habitantes. Chichico retratou a burguesia e também os trabalhadores ligados ao pequeno garimpo, ao comércio e à indústria. Produziu imagens de casamentos, batizados, funerais, festas populares e religiosas, paisagens e cenas de rua. De 1955, quando parou de  fotografar, até 1978, ano de sua morte, continuou cuidando de seu acervo, que guardava no porão de sua casa.
+ 
+Chichico Alkmim. Rua das Mercês, s/d. Diamantina, Minas Gerais / Acervo IMS
+ 
+Acessando o link para as fotografias de Chichico Alkmim de aspectos de Diamantina disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Chichico Alkmim. Crianças na atual rua Macau do Meio, s/d. Diamantina, Minas Gerais / Acervo IMS
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+Hemeroteca Digital da Biblioteca Nacional
+Portal Iphan
+Site Prefeitura de Diamantina
+ 
+Links para as outras publicações da série “Avenidas e ruas do Brasil”
+ Série “Avenidas e ruas do Brasil” I – Avenida Central, atual Rio Branco, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 7 de setembro de 2016
+Série “Avenidas e ruas do Brasil” II – A Rua do Imperador em Petrópolis por Klumb, Leuzinger e Stahl, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 26 de junho de 2020
+Série “Avenidas e ruas do Brasil” III – A Rua do Bom Jesus, no Recife, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 6 de agosto de 2020
+Série “Avenidas e ruas do Brasil” IV – A Rua 25 de Março, em São Paulo, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 1º de setembro de 2020
+Série “Avenidas e ruas do Brasil” VI  – Rua Augusto Ribas e outras, em Ponta Grossa, no Paraná, pelo fotógrafo Luiz Bianchi, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 16 de novembro de 2020
+Série “Avenidas e ruas do Brasil” VII – A Avenida Atlântica, em Copacabana, no Rio de Janeiro, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 23 de dezembro de 2020
+Série “Avenidas e ruas do Brasil VIII – A Rua da Carioca por Cássio Loredano, de autoria de Cássio Loredano, publicada em 20 de janeiro de 2021
+Série “Avenidas e ruas do Brasil” IX – Ruas e panoramas do bairro do Catete, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 14 de julho de 2021
+Série “Avenidas e ruas do Brasil” X – A Rua da Ajuda, no Rio de Janeiro, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 9 de novembro de 2021
+Série “Avenidas e ruas do Brasil” XI – A Rua da Esperança, em São Paulo, por Vincenzo Pastore, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 14 de dezembro de 2021
+Série “Avenidas e ruas do Brasil” XII – A Avenida Paulista, o coração pulsante da metrópole, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 21 de janeiro de 2022
+Série “Avenidas e ruas do Brasil” XIII – A Rua Buenos Aires no Centro do Rio de Janeiro, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 19 de julho de 2022
+Série “Avenidas e ruas do Brasil” XIV – A Avenida Presidente Vargas,, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 31 de agosto de 2022
+Série “Avenidas e ruas do Brasil” XV – Misericórdia: rua, largo e ladeira, no Rio de Janeiro, por Cássio Loredano, de autoria de Cássio Loredano, publicada em 8 de dezembro de 2022
+Série “Avenidas e ruas do Brasil” XVI – “Alguma coisa acontece no meu coração”, a Avenida São João nos 469 anos de São Paulo, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 25 de janeiro de 2023
+Série “Avenidas e ruas do Brasil” XVII  e série “O Rio de Janeiro desaparecido” XXIII – A Praia e a Rua do Russel, na Glória, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 15 de maio de 2023
+Série “Avenidas e ruas do Brasil” XVIII – Avenida Beira-Mar, de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal, publicada em 22 de janeiro de 2024
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/5161` — `itens/20.500.12156.1_5161/`
+- `20.500.12156.1/313` — `itens/20.500.12156.1_313/`
+- `20.500.12156.1/5155` — `itens/20.500.12156.1_5155/`
+- `20.500.12156.1/5156` — `itens/20.500.12156.1_5156/`
+
diff --git a/wordpress/20708-serie-avenidas-e-ruas-do-brasil-vi-rua-augusto-ribas-e-outras-em-ponta-grossa-no.md b/wordpress/20708-serie-avenidas-e-ruas-do-brasil-vi-rua-augusto-ribas-e-outras-em-ponta-grossa-no.md
new file mode 100644
index 0000000..58d11f6
--- /dev/null
+++ b/wordpress/20708-serie-avenidas-e-ruas-do-brasil-vi-rua-augusto-ribas-e-outras-em-ponta-grossa-no.md
@@ -0,0 +1,132 @@
+---
+id: 20708
+url: "https://brasilianafotografica.bn.gov.br/?p=20708"
+titulo: "Série “Avenidas e ruas do Brasil” VI – Rua Augusto Ribas e outras, em Ponta Grossa, no Paraná, pelo fotógrafo Luiz Bianchi"
+autor: "Andrea Wanderley"
+data: "2020-11-16T10:30:34+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/4213", "20.500.12156.1/4210", "20.500.12156.1/4214", "20.500.12156.1/4211", "20.500.12156.1/4212"]
+fetched_at: "2026-09-10T10:03:13.703Z"
+---
+
+# Série “Avenidas e ruas do Brasil” VI – Rua Augusto Ribas e outras, em Ponta Grossa, no Paraná, pelo fotógrafo Luiz Bianchi
+
+Série “Avenidas e ruas do Brasil” VI – Rua Augusto Ribas e outras, em Ponta Grossa, no Paraná, pelo fotógrafo Luiz Bianchi
+ 
+No sexto artigo da série “Avenidas e ruas do Brasil”, a Brasiliana Fotográfica destaca imagens de ruas de Ponta Grossa, no Paraná, produzidas pelo fotógrafo Luiz Bianchi (1876-1943), que pertencem ao acervo fotográfico da Biblioteca Nacional, uma das fundadoras do portal. Uma delas é a Rua Augusto Ribas, que liga a zona sul à zona norte da cidade e, anteriormente, era conhecida como “Rua das Tropas”. Bianchi foi um dos primeiros fotógrafos a se instalar em Ponta Grossa e seu estúdio atravessou o século XX, tendo sido dirigido por três gerações da família.
+O nome da rua já citada é uma homenagem ao político ponta-grossense Augusto Lustosa de Andrade Ribas (1847 – 1897), muito ativo na vida pública da cidade (A República, 22 de julho de 1897, primeira coluna). Ele participou da organização da visita de dom Pedro II (1825 – 1891) a Ponta Grossa, em 1880 (Dezenove de Dezembro, 1º de junho de 1880); e também foi um dos idealizadores da mudança do traçado da Estrada de Ferro do Paraná e da construção do cemitério da cidade (Dezenove de Dezembro, 9 de fevereiro de 1889, primeira coluna). Foi agraciado com a comenda de Oficial da Ordem da Rosa (Dezenove de Dezembro, 9 de outubro de 1889, última coluna).
+ 
+Luiz Bianchi. Ponta Grossa : Rua Augusto Ribas, 1910. Ponta Grossa, Paraná / Acervo Fundação Biblioteca Nacional
+ 
+As outras ruas registradas por Luiz Bianchi (1876 – 1943)* e disponíveis no portal, a avenida Fernandes Pinheiro e a XV de Novembro, foram endereços de seus ateliês fotográficos. O fotógrafo nasceu na Argentina, em 1º de novembro de 1876, filho dos italianos Carlos e Carolina Bianchi, que migraram para a Argentina, provavelmente nessa época. Segundo o historiador José Augusto Leandro:
+“Carlos Bianchi, natural de Bologna, resolvera emigrar por desentendimentos familiares. Não era um artesão em vias de tornar-se um proletário urbano. Nem tampouco um camponês que almejava tornar-se um pequeno proprietário de terra no Novo Mundo, como a maioria dos imigrantes europeus que se dirigiram para a América do Sul naquele tempo”.
+Luiz Bianchi teria aprendido o ofício da fotografia com o pai, que possuia um pequeno jornal em Buenos Aires, ou durante o período em que passou no Exército? Sobre esta informação, as fontes consultadas variam. Não há um consenso.
+ 
+Acessando o link para as fotografias de Luiz Bianchi disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+O fato é que no início do século XX, Luiz Bianchi veio para o Brasil e começou sua trajetória profissional na Lapa, cidade do Paraná, como agricultor. Não teve sucesso. Foi então contratado como fotógrafo pela Brasil Railway Company, empresa responsável pela construção da estrada de ferro na região. Casou-se, em Curitiba, com Maria Thommen, de família suíça, e mudaram-se para Ponta Grossa, em torno de 1909. Na época da chegada de Luiz Bianchi a Ponta Grossa, a cidade se beneficiava pela exportação de erva-mate e pela condição de entroncamento ferroviário e, devido a estes fatores, urbanizava-se, modernizava-se. Era, então, um local de oportunidades, e atraia um considerável fluxo de imigração.
+ 
+Luiz Bianchi. Ponta Grossa, 1910. Ponta Grossa, Paraná / Acervo FBN
+ 
+Em 1909, o casal Bianchi abriu uma loja de comércio de vários produtos, a Casa de Armarinho e Modas Thommen & Bianchi. A fotografia era uma ocupação paralela e o ateliê Fotografia Bianchi só foi formalizado como empresa, em 1913. Foram três gerações que estiveram à frente do ateliê –  até 2001 – e ao longo destas décadas o estabelecimento conquistou prestígio e confiabilidade. A família Bianchi se tornou uma importante propagadora da fotografia, tanto em seu aspecto artístico como técnico. Produzia registros em ambientes externos e também no espaço do estúdio.
+ 
+Letreiro da Fotografia Bianchi, s/d. Ponta Grossa, Paraná / Acervo Casa da Memória Paraná
+ 
+Inicialmente, a Fotografia Bianchi funcionava na avenida Fernandes Pinheiro, perto da Estação Saudade, inaugurada em 1900. Posteriormente, transferiu-se para a Rua XV de Novembro, e, finalmente, a partir de fevereiro de 1940, estabeleceu-se na Rua Sete de Setembro, nº 92, onde Bianchi passou também a residir.
+ 
+Luiz Bianchi. Avenida Fernandes Pinheiro, 1910. Ponta Grossa, Paraná / Acervo FBN
+ 
+Luiz Bianchi. Ponta Grossa: Rua 15 de Novembro, 1910. Ponta Grossa, Paraná / Acervo FBN
+ 
+O aparato técnico utilizado por Bianchi foi muitas vezes fabricado por ele mesmo como, por exemplo, chapas de vidro umedecidas com nitrato de prata e um ampliador que teria copiado de um manual fotográfico do século XIX. Possuia duas máquinas fotográficas. Produziu muitos retratos de família e também de aspectos dos Campos Gerais do Paraná.
+“Comercializava, em seu estúdio, imagens das principais ruas, praças, eventos e pontos turísticos dos Campos Gerais. Nas fotos panorâmicas de Bianchi, o público tem a oportunidade, entre outras temáticas, da visão da Catedral, das movimentações nas estações de trem, da ampliação do comércio, das festividades religiosas e cívicas – e das apresentações militares”.
+Portal da Universidade Estadual de Ponta Grossa
+ 
+Diário dos Campos
+ 
+Maria Thommen Bianchi tornou-se sua colaboradora e realizava os serviços de laboratório como revelação e retoques. O casal teve quatro filhos, Rauly (1911 -1987), Fleury (19? -?), que se dedicou à cinematografia; Leonardo (19? – ?) e Raul, que morreu com pouco tempo de vida. Rauly e, posteriormente, seu filho e neto de Luiz, Raul (1950 – 2002), seguiram a profissão de fotógrafo. Rauly sucedeu o pai e trabalhou na Fotografia Bianchi até 1987, ano em que faleceu. Seu filho Raul o sucedeu, ficando á frente do estabelecimento até 2001. Luiz faleceu em 12 de abril de 1943. O cineasta Sérgio Bianchi (1945 – ) é bisneto de Luiz, filho de Rauly e Celina Bianchi, e irmão de Raul.
+ 
+Entre o casal Maria e Luiz Bianchi, seus filhos Rauly, Fleury e Leonardo, s/d / Fonte: Diário dos Campos
+ 
+A Fotografia Bianchi foi roubada em 26 de janeiro de 2001 e segundo Raul (1950 – 2002), seu proprietário na ocasião, foi perdida uma média de 90 mil reais em equipamentos e ele teria ficado “sem os dedos para trabalhar”.  No mesmo ano a loja foi fechada e vendida. Parte do acervo de negativos do ateliê foi vendido, em 30 de março de 2001, à Prefeitura Municipal de Ponta Grossa.
+O acervo da Fotografia Bianchi, composto por cerca de 45 mil negativos em chapa de vidro e celulos e flexível, assim como os cadernos de registo do estabelecimento, estão sob a responsabilidade da Casa da Memória Paraná/Fundação de Cultura. Em 2014, o Museu Campos Gerais realizou uma exposição com 20 registros de Luiz Bianchi.
+ 
+Luiz Bianchi. Ponta Grossa, 1910. Ponta Grossa, Paraná / Acervo FBN
+ 
+ 
+Cronologia do fotógrafo Luiz Bianchi (1876 – 1943)
+ 
+1870 – 1879 – Luiz Bianchi nasceu, em 1º de novembro de 1876 , na Argentina. Era filho dos italianos Carlos e Carolina Bianchi, que motivados por brigas familiares imigraram para a Argentina. Algumas fontes informam que Luiz teria nascido na Itália e registrado, meses depois, na Argentina. A pesquisadora Patricia Camera, da Universidade Estadual de Ponta Grossa, dirimiu essa dúvida quando consultou o atestado de óbito do fotógrafo.
+1880 – 1899 – Carlos Bianchi, seu pai, possuia um pequeno jornal em Buenos Aires, frequentado por ele. Luiz passou um tempo no Exército. Luiz teria aprendido o ofício de fotógrafo no período em que residiu na Argentina.
+1900 – 1910 - No início do século XX, Luiz Bianchi veio para o Brasil e começou sua trajetória profissional na Lapa, cidade do Paraná, como agricultor, mas não teve sucesso.
+Ainda na Lapa, trabalhou com um fotógrafo alemão, entre 1906 e 1907, ano em que fotografou a pedra fundamental da Santa Casa de Misericórida de Ponta Grossa, inaugurada em 1913.
+Foi contratado como fotógrafo pela Brasil Railway Company, empresa responsável pela construção da estrada de ferro na região.
+Casou-se, em Curitiba, com Maria Thommen, de família suíça, e mudaram-se para Ponta Grossa, em torno de 1909, ano em que o casal Bianchi abriu uma loja de comércio de vários produtos, a Casa de Armarinho e Modas Thommen & Bianchi. A fotografia era uma ocupação paralela e o estabelecimento ficava na Rua Fernandes Pinheiro.
+1910 – 1919 –  Maria Thommen Bianchi tornou-se sua colaboradora e realizava os serviços de laboratório como revelação e retoques.
+O casal teve quatro filhos, Rauly (1911 -1987), Fleury (19? -?), que se dedicou à cinematografia; Leonardo (19? – ?) e Raul, que morreu com pouco tempo de vida.
+O ateliê Fotografia Bianchi foi formalizado como empresa, em 1913, e passou a funcionar na Rua XV de Novembro, nº5. Na época, era a rua mais movimentada de Ponta Grossa.
+1920 – 1939 – A Fotografia Bianchi permaneceu no novo endereço tendo sempre a sua frente Luiz.
+1940 – 1949 – Em fevereiro de 1943, a Fotografia Bianchi transferiu-se para na Rua Sete de Setembro, nº 92, onde a família passou a morar.
+Em 12 de abril de 1943, falecimento de Luiz Bianchi, que foi sucedido por seu filho Rauly.
+1950 – 1979 – Durante este período a Fotografia Boanchi foi dirigida por Rauly (1911 – 1987).
+Em 1950, nascimento de Raul Bianchi (1949 – 2002), filho de Rauly e neto de Luiz.
+1980 – 1999 – Em 1987, falecimento de Rauly (1911 – 1987), que foi sucedido na Fotografia Bianchi por  seu filho Raul (1949 – 2002).
+2000 – 2009 – A Fotografia Bianchi foi roubada em 26 de janeiro de 2001 e segundo Raul, seu proprietário na ocasião, foi perdida uma média de 90 mil reais em equipamentos e ele teria ficado “sem os dedos para trabalhar”.  No mesmo ano a loja foi fechada e vendida. Parte do acervo de negativos do ateliê foi vendido, em 30 de março de 2001, à Prefeitura Municipal de Ponta Grossa.
+O acervo da Fotografia Bianchi, composto por cerca de 45 mil negativos em chapa de vidro e celulose flexível, assim como os cadernos de registo do estabelecimento passam a ficar sob a responsabilidade da Casa da Memória Paraná/Fundação de Cultura.
+Em 2002, falecimento de Raul Bianchi (1949 – 2002).
+2010 – 2019 – Em 2014, o Museu Campos Gerais, inaugurado em Ponta Grossa, em 1983, realizou uma exposição com 20 registros de Luiz Bianchi.
+* Muitas vezes o nome do fotógrafo é escrito Luís, com “s”, mas a pesquisadora Patricia Camera, achou a marca dele “Luiz Bianchi” em alguns cartões de visita e postais.
+ 
+A Brasiliana Fotográfica agradece à colaboração da pesquisadora Patricia Camera, da Universidade Estadual de Ponta Grossa.
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+ALVARENGA, Jhennifer Batista de; VARELA, Patricia Camera. O contexto de formação do acervo Foto Bianchi em Ponta Grossa/PR (2001-2016). In: XV Encontro Regional de História, 2016. Curitiba: Universidade Federal do Paraná, 26 a 29 de julho de 2016.
+BARBOSA, Audrey Franciny. Foto Bianchi: retratos e representações visuais do escolar (Ponta Grossa/PR. 1913-1943). Dissertação (Mestrado em História). Paraná: Universidade Estadual de Ponta Grossa, 2019.
+BEDIM, Willian; CAMERA, Patricia. O contexto comercial e a produção de Luís Bianchi: memória escrita e fotográfica. In: ENCONTRO INTERNACIONAL DE ESTUDOS DA IMAGEM, 2., 2015, Londrina. Anais… Londrina: Universidade Estadual de Londrina, 2015. v. 8.
+BIANCHI, Rauly. Rauly Bianchi [3 nov. 1982]. Entrevistadores: Loreno Luiz Zatelli Hogedorn e Roseli T. Boschilia. Ponta Grossa, 1982. Papel, p. 13. Entrevista concedida ao Projeto Fotógrafos Pioneiros do Paraná (Acervo da Casa da Memória de Curitiba).
+BIANCHI, Raul. Bianchi e suas batalhas [9 set. 2001]. Entrevistador: Irinêo Netto. Ponta Grossa, 2001. Entrevista concedida ao jornal Diário dos Campos.
+CAMERA, Patricia. Curadoria do Fundo Foto Bianchi: cultura fotográfica em Ponta Grossa e região. Anais do Museu Paulista vol.26  São Paulo, 3 de dezembro de 2018.
+CHAVES, Niltonci Batista. Os “problemas citadinos” em uma “cidade civilizada”: estratégias discursivas de um intelectual polivalente no Jornal Diário dos Campos – Ponta Grosa/PR (Década de 1930). In. II Congresso Internacional de História UEPG – UNICENTRO: Produção e circulação do conhecimento histórico no século XXI. 2015. Ponta Grossa/PR, Anais eletrônico.
+DROPPA, Ana Maria. O Fotógrafo Luís Bianchi. Diário dos Campos, Ponta Grossa, 17 fev. 2002.
+Hemeroteca Digital da Biblioteca Nacional
+LEANDRO, José Augusto. Luís Bianchi, fotógrafo dos Campos Gerais. Jornal de História, Ponta Grossa, v. 3, 1996.
+Portal da Universidade Estadual de Ponta Grossa
+SANTOS, Francieli Lunelli. Arranjos fotográficos, arranjos familiares: representações sociais em retratos de família do Foto Bianchi. Dissertação (Mestrado em Ciências Sociais). Universidade Estadual de Ponta Grossa, Ponta Grossa, 2009.
+SANTOS, Francieli Lunelli. Luís Bianchi e as Práticas do Italiano no Brasil: fotografia, profissão do imigrante. Revista Domínios da Imagem, Londrina, ano VI, n. 11, p. 57-70, 2012.
+Site Academia Paranaense de Letras
+Site Artes na Web
+Site Enciclopédia Itaú Cultural
+Site Prefeitura de Ponta Grossa
+ 
+Links para as outras publicações da série “Avenidas e ruas do Brasil”
+ Série “Avenidas e ruas do Brasil” I – Avenida Central, atual Rio Branco, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 7 de setembro de 2016
+Série “Avenidas e ruas do Brasil” II – A Rua do Imperador em Petrópolis por Klumb, Leuzinger e Stahl, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 26 de junho de 2020
+Série “Avenidas e ruas do Brasil” III – A Rua do Bom Jesus, no Recife, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 6 de agosto de 2020
+Série “Avenidas e ruas do Brasil” IV – A Rua 25 de Março, em São Paulo, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 1º de setembro de 2020
+Série “Avenidas e ruas do Brasil” V – A Rua Direita, a Rua das Mercês e a Rua Macau do Meio, em Diamantina, Minas Gerais, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 22 de outubro de 2020
+Série “Avenidas e ruas do Brasil” VII – A Avenida Atlântica, em Copacabana, no Rio de Janeiro, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 23 de dezembro de 2020
+Série “Avenidas e ruas do Brasil VIII – A Rua da Carioca por Cássio Loredano, de autoria de Cássio Loredano, publicada em 20 de janeiro de 2021
+Série “Avenidas e ruas do Brasil” IX – Ruas e panoramas do bairro do Catete, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 14 de julho de 2021
+Série “Avenidas e ruas do Brasil” X – A Rua da Ajuda, no Rio de Janeiro, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 9 de novembro de 2021
+Série “Avenidas e ruas do Brasil” XI – A Rua da Esperança, em São Paulo, por Vincenzo Pastore, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 14 de dezembro de 2021
+Série “Avenidas e ruas do Brasil” XII – A Avenida Paulista, o coração pulsante da metrópole, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 21 de janeiro de 2022
+Série “Avenidas e ruas do Brasil” XIII – A Rua Buenos Aires no Centro do Rio de Janeiro, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 19 de julho de 2022
+Série “Avenidas e ruas do Brasil” XIV – A Avenida Presidente Vargas,, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 31 de agosto de 2022
+Série “Avenidas e ruas do Brasil” XV – Misericórdia: rua, largo e ladeira, no Rio de Janeiro, por Cássio Loredano, de autoria de Cássio Loredano, publicada em 8 de dezembro de 2022
+Série “Avenidas e ruas do Brasil” XVI – “Alguma coisa acontece no meu coração”, a Avenida São João nos 469 anos de São Paulo, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 25 de janeiro de 2023
+Série “Avenidas e ruas do Brasil” XVII  e série “O Rio de Janeiro desaparecido” XXIII – A Praia e a Rua do Russel, na Glória, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 15 de maio de 2023
+Série “Avenidas e ruas do Brasil” XVIII – Avenida Beira-Mar, de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal, publicada em 22 de janeiro de 2024
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/4213` — `itens/20.500.12156.1_4213/`
+- `20.500.12156.1/4210` — `itens/20.500.12156.1_4210/`
+- `20.500.12156.1/4214` — `itens/20.500.12156.1_4214/`
+- `20.500.12156.1/4211` — `itens/20.500.12156.1_4211/`
+- `20.500.12156.1/4212` — `itens/20.500.12156.1_4212/`
+
diff --git a/wordpress/20721-serie-avenidas-e-ruas-do-brasil-vii-a-avenida-atlantica-em-copacabana-no-rio-de-.md b/wordpress/20721-serie-avenidas-e-ruas-do-brasil-vii-a-avenida-atlantica-em-copacabana-no-rio-de-.md
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+++ b/wordpress/20721-serie-avenidas-e-ruas-do-brasil-vii-a-avenida-atlantica-em-copacabana-no-rio-de-.md
@@ -0,0 +1,275 @@
+---
+id: 20721
+url: "https://brasilianafotografica.bn.gov.br/?p=20721"
+titulo: "Série “Avenidas e ruas do Brasil” VII – A Avenida Atlântica, em Copacabana, no Rio de Janeiro"
+autor: "Andrea Wanderley"
+data: "2020-12-23T10:23:15+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/6952", "20.500.12156.1/4766", "20.500.12156.1/8285", "20.500.12156.1/8129", "20.500.12156.1/6958", "20.500.12156.1/5365", "20.500.12156.1/6146"]
+fetched_at: "2026-09-10T10:03:17.188Z"
+---
+
+# Série “Avenidas e ruas do Brasil” VII – A Avenida Atlântica, em Copacabana, no Rio de Janeiro
+
+Série “Avenidas e ruas do Brasil” VII – A Avenida Atlântica, em Copacabana, no Rio de Janeiro
+Cenário de um dos maiores e mais belos réveillons do mundo que, devido à pandemia do cononavírus não será realizado como nos anos anteriores quando chegava a reunir cerca de dois milhões de pessoas, e de diversos eventos esportivos, culturais, politicos e de lazer, a Avenida Atlântica, via litorânea da praia de Copacabana, é uma das paisagens mais bonitas e famosas do Rio de Janeiro, uma das que justificam a celebrada fotogenia da cidade. Foi também o local de diversos palacetes, onde a vida social do Rio de Janeiro acontecia,  da realização de footings, quando a cidade passeava na avenida, de eventos esportivos e culturais. Ela é o tema do último artigo da Brasiliana Fotográfica de 2020 e o sétimo da série “Avenidas e ruas do Brasil”. Estão destacadas fotografias das primeiras décadas do século XX produzidas por anônimos, por Augusto Malta (1864 – 1957), fotógrafo oficial da prefeitura do Rio de Janeiro entre 1903 e 1936; e por Jorge Kfuri (1893 – 1965), autor das primeiras fotografias aéreas da cidade. Pertecem aos acervos do Instituto Moreira Salles, uma das instituições fundadoras do portal, e às instituições parceiras Acervo Geral da Cidade do Rio de Janeiro e Diretoria do Patrimônio Histórico e Documentação da Marinha. Feliz Ano Novo e muito obrigada pela audiência!
+ 
+Acessando o link para as fotografias da avenida Atlântica disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+A Avenida Atlântica tem atualmente, cerca de quatro quilômetros de orla marítima, começa na Praça Almirante Júlio de Noronha e termina na Praça Coronel Eugênio Franco, no Posto 6. Algumas de suas construções mais famosas são o Hotel Copacabana Palace (1923), os edifícios Chopin, Machado de Assis, Regina Feigl, Sayonara, Tancredo  Neves e o neoclássico Edifício Lellis, mais antigo prédio residencial que ainda está na avenida, inaugurado em 1931, na esquina da rua Barão de Ipanema. Segundo o historiador Milton Teixeira, a primeira edificação da orla foi a Clínica Conde Figueiredo Magalhães, de hidroterapia, de 1872, muitos anos antes da construção da Avenida Atlântica. Alguns dos moradores mais famosos da avenida foram o arquiteto Oscar Niemeyer (1907 – 2012), o jornalista Assis Chateaubriand (1892 – 1968), os artistas e irmãos Bernardelli, dona Guilhermina Guinle (1852 – 1925) e a cantora Elza Soares (1930 – ).
+ 
+A avenida Atlântica em zig zag / Beira-Mar, 5 de agosto de 1928
+ 
+Durante a gestão de Francisco Pereira Passos (1836 – 1913), como prefeito do Rio de Janeiro entre 30 de dezembro de 1902 a a 16 de novembro de 1906 foi realizada uma significativa reforma urbana na cidade. Para saneá-la e modernizá-la, ele realizou diversas demolições, conhecidas popularmente como a política do “bota-abaixo”, que contribuiu fortemente para o surgimento do Rio de Janeiro da Belle Époque. Foi em consonância com essa política que Avenida Atlântica foi concebida, pelo Decreto Municipal nº 561, de 04 de novembro de 1905.
+ 
+Jornal do Brasil, 7 de abril de 1906
+ 
+Poucos meses antes, Pereira Passos expôs seus planos ao presidente Rodrigues Alves (1848 – 1919) durante uma visita à Exposição Geral de Belas-Artes de 1905, diante de um quadro de um trecho da praia Copacabana ao nascer do sol, de autoria de João Baptista da Costa (1865 – 1926) (O Paiz, 28 de setembro de 1905, terceira coluna; Correio da Manhã, 2 de outubro de 1905, quinta coluna; Jornal do Brasil, 5 de novembro de 1905, quinta coluna; A Notícia, 3 de agosto de 1906, primeira coluna; A Notícia, 19 de setembro de 1906 coluna). Em 4 de março de 1906, foi inaugurado o Restaurante Avenida Atlântica, do sr. Gomes da Silva, e a companhia Jardim Botânico inaugurou sua nova linha elétrica pelo Túnel do Leme, indo o ramal até o ponto terminal da praça do Vigia, onde foi construída a estação de bonds  (O Paiz, 4 de março de 1906, quarta coluna; A Notícia, 6 e 7 de março de 1906, quinta coluna).
+ 
+Restaurante Avenida Atlântica, 1907. Rio de Janeiro, RJ / Acervo IMS
+ 
+A construção da Avenida Atlântica começou em 31 de janeiro de 1906 – as obras tiveram início no lugar denominado Murungu para a rua do Barroso (Jornal do Brasil, 1º de fevereiro de 1906, sexta coluna) –  e, os trabalhos de aterro, em 5 de abril de 1906. Sua construção foi incluida na Carta Cadastral como um dos grandes melhoramentos urbanos realizados na cidade (O Paiz, 5 de abril de 1906, quarta coluna; O Paiz, 8 de maio de 1906, quarta coluna; O Paiz, 14 de setembro de 1906, quinta coluna). O autor do projeto e responsável pela construção da Avenida Atlântica foi o engenheiro Augusto Américo de Souza Rangel (1865 – 1924), que trabalhava na comissão da Carta Cadastral tendo, inclusive, sido seu chefe durante um período *.
+ 
+O Paiz, 5 de abril de 1906
+ 
+Seu calçadão foi feito com pedras pretas de basalto e pedras brancas de calcita, trazidas de Portugal, o que lhes rendeu o apelido de pedras portuguesas. O padrão de ondas é do século XIX e foi criado para a Praça do Rossio, em Lisboa – uma homenagem ao encontro das águas do rio Tejo com o Oceano Atlântico.
+As obras foram suspensas em 15 de dezembro de 1906, um mês após o início do mandato do novo prefeito da cidade,  Francisco Marcelino de Souza Aguiar (1855 – 1935). A avenida tinha 485 metros de meios fios em ambos os lados e estava pronto o aterro em toda a extensão entre a praça Malvino Reis, atual praça Serzedelo Correia, e a rua padre Antonio Vieira.
+ 
+Jornal do Brasil, 7 de abril de 1907
+ 
+Em 1907,  terrenos na avenida foram anunciados para venda (O Copacabana, 1º de agosto de 1907). O prefeito Souza Aguiar era acusado pelo abandono lamentável da avenida Atlântica e perguntado sobre o porquê de não mandar continuar as obras da avenida Atlântica (O Copacabana, 1º de novembro de 1907, primeira coluna; O Copacabana, 1º de janeiro de 1908, segunda coluna).
+ 
+O Copacabana, 1º de dezembro de 1908
+ 
+Ainda neste ano, 1907, na esquina da rua da Igrejinha, atual Francisco Otaviano, com a Avenida Atlântica, na recém inaugurada casa da francesa Mme. Louise Chabas, que se tornou um dos cabarés mais famosos do Brasil, o Mère Louise, houve uma festa para comemorar o 14 de julho, data nacional da França. “Tem pois agora o Rio um cabaré à maneira do de Montmartre, em Paris, onde quem saiba fazer algo sobe ao palco e… faz o que sabe!”  (Jornal do Brasil, 23 de abril de 1907, segunda coluna; Jornal do Brasil, 15 de julho de 1907, oitava coluna). Mme. Chabas vendeu o estabelecimento à Cervejaria em 1910. Posteriormente, tornou-se um hotel que foi fechado, em 1931, pela polícia do 30º Distrito Policial.
+Durante a década de 1910, 0 aumento da quantidade de automóveis e a crescente popularização da prática do banho de mar tornou a avenida pequena. Além disso, as chuvas de março de 1911 causaram vários danos na Avenida Atlântica e providências eram cobradas ao prefeito Bento Ribeiro (1856 – 1921) (O Copacabana, 16 de julho de 1911, primeira coluna; O Copacabana, 13 de agosto de 1911, primeira coluna). Ocorriam vários na avenida (O Copacabana, 10 de dezembro de 1911, última coluna; O Copacabana, 14 de janeiro de 1912, primeira coluna).
+Na gestão de Amaro Cavalcanti (1849 – 1922) foram realizadas na Avenida Atlântica obras para proteção contra a fúria atlântica da esplêndida avenida beira-mar e também seu alargamento. O diretor de Obras Públicas era Cupertino Durão (1861 – 1929) (A Rua, 13 de março de 1918, primeira coluna; A Rua, de 18 de maio de 1918, quarta coluna). Ainda em 1918, uma ressaca deixou a avenida esburacada e o então prefeito do Rio de Janeiro, o engenheiro Paulo de Frontin (1860 -1933), a percorreu para inspecionar seu estado e a incluiu em seu projeto de melhoramentos da cidade (A Rua, 5 de novembro de 1918, quarta coluna; A Rua, 4 de fevereiro de 1919, quinta coluna; A Rua, 24 de março de 1919; A Rua, 3 de abril de 1919, penúltima coluna). Vale lembrar que 1918 foi o ano da pandemia da Gripe Espanhola, uma tragédia mundial que deixou milhares de mortos no Rio de Janeiro – cerca de 300 mil pessoas no Brasil -, tendo sido o presidente eleito, Rodrigues Alves (1848 – 1919), sua mais notória vítima no Brasil.
+ 
+A Rua, 3 de abril de 1919
+ 
+Construiu a nova e soberba avenida Atlântica com 17 metros de largura total em substituição à antiga rua marginal (Arquitetura no Brasil, janeiro de 1922). A nova Avenida Atlântica foi inaugurada em 22 de julho de 1919 com pista dupla e iluminação no canteiro central(A Época, 23 de julho de 1919).
+ 
+Augusto Malta. Avenida Atlântica, reconstruída e com nova iluminação pública, c. 1919. Rio de Janeiro, RJ / Acervo IMS
+ 
+O anúncio da reparação do calçamento da avenida foi feito, em 1920, durante a gestão de Carlos Sampaio (1861 – 1930) (A Rua, 12 de agosto de 1920, quinta coluna). O rei Alberto da Bélgica (1875 – 1934) e sua mulher, a rainha Elizabeth (1876 – 1965), visitaram o Brasil entre setembro e outubro de 1920, e na ocasião foram várias vezes tomar banho de mar no posto 5 da Avenida Atlântica.
+Em 1921, uma nova ressaca atingiu a avenida cuja resistência da muralha, honra à engenharia do sr. Frontin, resistia valentemente a todos os embates (A Rua, 14 de julho de 1921, terceira coluna). Mas a violência da ressaca acabou destruindo a muralha (Revista da Semana, 23 de julho de 1921, primeira coluna). O prefeito Sampaio decidiu então realizar obras de consolidação dos cais e das muralhas da Guanabara em defesa da avenida Beira-Mar e da avenida Atlântica. Foram contratados para o projeto, cuja quantia prevista causou polêmica, os engenheiros Adhemar de Melo Franco, Edgar Raja Gabaglia (1896 – 1953) e Azevedo Amaral (A Rua, 23 de julho de 1921; A Rua, 29 de outubro de 1921; A Rua, 31 de outubro de 1921; Arquitetura no Brasil, novembro de 1921). Sobre a obra de reconstrução os engenheiros civis J. Le Cocq de Oliveira e Alfredo Lisboa publicaram artigos na revista Arquitetura no Brasil, de dezembro de 1921 e de janeiro de 1922.
+ 
+A Rua, 23 de julho de 1921
+ 
+Em 1922, ano do centenário da independência no Brasil, os postos de salvamento, que eram de madeira, estavam em péssimas condições. Então o prefeito Carlos Sampaio os renovou e transferiu o posto de socorros para um novo prédio no Lido. O serviço de salvamento, agora subordinado à Assistência Municipal, passou a oferecer serviço médico à população do bairro e também o arrendamento de cabines para banhistas que quisessem trocar de roupa (A Noite, 8 de março de 1922, terceira coluna; A Noite, 24 de março de 1922, terceira coluna; Beira-Mar, 22 de abril de 1928, primeira coluna). Ainda nesse ano, a Avenida Atlântica foi o cenário da marcha realizada pelos militares da Revolta dos 18 do Forte (O Paiz, 7 de julho de 1922; Beira-Mar, 3 de julho de 1927). Na edição da Beira-Mar, de 29 de junho de 1940, foi publicado um interessante relato de um repórter que presenciou o acontecimento.
+ 
+Beira-Mar, 3 de julho de 1927
+ 
+O proprietário da Empresa Balneária, que explorava as barracas para banho na praia de Copacabana, Luiz Dante Torre, teve a ideia de colocar bancos de 10 em 10 metros ao longo de toda a Avenida Atlântica, mas em 1926 a falta de bancos era cobrada à Prefeitura, já sob a gestão de Antônio da Silva Prado Junior (1880 – 1955) (Beira-Mar,  21 de janeiro de 1923, terceira coluna; Beira-Mar, 7 de fevereiro de 1926, quarta coluna; Beira-Mar, 5 de dezembro de 1926, última coluna). Começava também a construção de um prédio na esquina da avenida com a então denominada rua do Barroso, atual Siqueira Campos, projeto do engenheiro Eduardo Pederneiras e de propriedade dos srs. Rocha Miranda Filhos & Companhia Limitada (Beira-Mar, 28 de outubro de 1923). Mas o mais marcante fato de 1923 na avenida foi a inauguração do Hotel Copacabana Palace, ícone da arquitetura do Rio de Janeiro, que se tornaria um símbolo do glamour carioca. Na época de sua inauguração,era o maior hotel da América Latina e representava a modernidade da cidade.
+Em 1924, a praia tinha seis postos de salvamentos com guarda-vidas no topo de postes de concreto. Na ocasião, o prefeito do Rio era Alaor Prata (1882 – 1964) (Fon Fon, 19 de janeiro de 1924). Nesta época, a alegria e a graça de Copacabana já faziam parte da nossa “urbs” estupenda (Revista da Semana, 12 de janeiro de 1924). Um corso de automóveis aconteceu na avenida e em frente ao Copacabana Palace foi tirada uma fita cinematográfica do movimento extraordinário da praia… (Beira-Mar, 20 de janeiro de 1924). Também houve, em março, uma Batalha de Confetes, que se repetiu em outros anos, assim como banhos de mar e outros festejos durante o carnaval (Beira-Mar, 2 de março de 1924, terceira coluna; Beira-Mar, 6 de março de 1927, segunda coluna; Beira-Mar, 19 de fevereiro de 1928; Beira-Mar, 16 de fevereiro de 1930; Beira-Mar, 23 de janeiro de 1937; Beira-Mar, 19 de fevereiro de 1938; Beira-Mar, 11 de fevereiro de 1939). Em 7 de março de 1924, foi inaugurado o Bar e Restaurante Lido-Antarctica, na esquina da rua Belfort Roxo, com um rinque de patinação e um dancing room (Beira-Mar, 22 de junho de 1924, última coluna). Porém, em outubro, mais uma vez a fúria do mar destruiu o trabalho de engenharia realizado na Avenida Atlântica (Revista da Semana, 18 de outubro de 1924). As obras de reconstrução foram realizadas sob a chefia e fiscalização de Ângelo Barata, chefe da 1ª circunscrição da viação municipal (Beira-Mar, 16 de novembro de 1924, segunda coluna; Beira-Mar, 7 de junho de 1925, primeira coluna).
+ 
+Revista da Semana, 18 de outubro de 1924
+ 
+As obras de reconstrução ainda não estavam concluidas quando, em 1925, de novo, a avenida foi atingida por nova ressaca, ficando bastante esburacada. A muralha foi reconstruída ainda durante a gestão de Alaor Prata (Revista da Semana, 18 de julho de 1925; Beira-Mar, 19 de julho de 1925; Beira-Mar, 6 de setembro de 1925; Beira-Mar, 8 de novembro de 1925; Beira-Mar, 6 de dezembro de 1925; Revista da Semana, 2 de outubro de 1926). Dias antes da ressaca, havia sido realizada na Avenida Atlântica, a festa dos pescadores em homenagem a São Pedro (Beira-Mar, 19 de julho de 1925, segunda coluna).
+ 
+Fachada do Hotel Copacabana Palace, 5 de julho de 1925. Rio de Janeiro, RJ / Acervo IMS
+ 
+ 
+Na edição do períódico Beira-Mar, de 7 de junho de 1926, na quarta coluna, foi feito um balanço dos danos causados nas últimas ressacas e também uma análise das obras em andamento e na edição de 4 de julho de 1926 uma retrospectiva das obras de calçamento e reconstrução da avenida desde 1923. As escadinhas que davam aceso à praia também havia sido destruídas e àquela altura, não foram recolocadas (Beira-Mar, 18 de julho de 1926, segunda coluna). As obras foram concluídas em agosto de 1926. De sua fundação até 1926, a Avenida Atlântica havia sofrido as consequências de cinco ressacas (Beira-Mar, 8 de agosto de 1926).
+ 
+Augusto Malta. Avenida Atlântica, ao fundo o Hotel Copacabana Palace, c. 1926. Rio de Janeiro, RJ / Acervo IMS
+ 
+Banhistas na Praia de Copacabana / Beira-Mar, 7 de fevereiro de 1926
+ 
+O hábito do footing, quando a sociedade carioca passeava na avenida, era frequente tanto nos anos 20 como nos anos 30 e 40 (Beira-Mar, 26 de dezembro de 1926, primeira coluna; Beira-Mar, 23 de janeiro de 1927, quarta coluna; Beira-Mar, 28 de outubro de 1939; Beira-Mar, 9 de novembro de 1940; Beira-Mar, 29 de agosto de 1942, primeira coluna; Beira-Mar, fevereiro de 1945). Ainda em 1927, reclamava-se da ausência de bancos e escadinhas na avenida (Beira-Mar, 3 de julho de 1927).
+ 
+Beira-Mar, 5 de junho de 1925
+ 
+Beira-Mar, 27 de outubro de 1934
+ 
+Em 1927, uma nova ressaca deixava suas marcas na Avenida Atlântica… (Beira-Mar, 7 de agosto de 1927).
+ 
+Beira-Mar, 7 de agosto de 1927
+ 
+Foi inaugurado em 1928, a sede do Praia-Club – fundado em 25 de setembro de 1927 por um grupo de moradores de Copacabana -, na altura do Posto 4 da avenida, que promovia eventos que integravam a programação do Rio chic, além de disputas esportivas (Beira-Mar, 5 de maio de 1928, última coluna; Beira-Mar, 22 de julho de 1929, segunda coluna; Beira-Mar, 8 de dezembro de 1929).
+ 
+ 
+Beira-Mar, 1º de junho de 1930
+ 
+Também havia o Hotel Londres, prédio no melhor ponto de banhos da encantadora Avenida Atlântica. Lá eram realizados elegantes eventos sociais (Beira-Mar, 21 de outubro de 1928, última coluna; Beira-Mar, 21 de abril de 1929, primeira coluna).
+ 
+Beira-Mar, 27 de outubro de 1934
+ 
+O periódico Beira-Mar de 12 de maio de 1929, chamava atenção para a falta de arborização da Avenida Atlântica. Na década de 30, palacetes como o da família Duvivier e onde ficava a sede do Atlântico Club povoavam a avenida (Beira-Mar, 15 de junho de 1930).
+ 
+Beira-Mar, 26 de janeiro 1930
+ 
+Beira-Mar, 30 de março de 1930
+ 
+Em 1930, foi pela primeira promovida a Tarde das Flores, na Avenida Atlântica, para celebrar a chegada do inverno Cada posto escolheu flores para simbolizá-los: Posto 1 – amor-perfeito, Posto 2 – magnólia, Poto 3 – violeta, Posto 4 – hortênsia, Posto 5 – dália e Posto 6 – margarida (Beira-Mar, 13 de abril de 1930, quarta coluna).
+Novamente a Avenida Atlântica foi castigada por uma ressaca, diversas casas foram inundadas, a água foi até a porta principal do Hotel Copacabana Palace mas suas muralhas de proteção não foram destruídas (Beira-Mar, 20 de julho de 1930, primeira coluna; Beira-Mar, 27 de julho de 1930, primeira coluna). Em dezembro, foram inaugurados pavilhões praianos ao longo da avenida (Beira-Mar, 7 de dezembro de 1930, penúltima coluna).
+ 
+Beira-Mar, 7 de dezembro de 1930
+ 
+Em 1931, foi inaugurado, na Avenida Atlântica com a rua Haritoff, atual rua Ronald de Carvalho, com pistas originalíssimas, o  Natural Pi Wi Golf (Beira-Mar, 3 de maio de 1931, terceira coluna). Foi inaugurado, logo no início de 1932, um rinque de patinação entre os postos 3 e 4, no nº 628 (Beira-Mar, 9 de janeiro de 1932, segunda coluna). O carnaval deste ano contou com uma Batalha de Flores e de um corso na Avenida Atlântica (Beira-Mar, 6 de fevereiro de 1932) e, em 7 de março, foi inaugurada uma filial do Colégio Anglo-Americano, no número 458, na avenida (Beira-Mar, 20 de fevereiro de 1932). Havia ainda na Avenida Atlântica, nº 952, o Instituto Anglo-Francês (Beira-Mar, 2 de julho de 1932, terceira coluna).
+ 
+Prédio do Colégio Anglo-Americano / Beira-Mar, 20 de fevereiro de 1932
+ 
+O Bar Alpino era um dos points da Avenida Atlântica, ficava no nº 142, no Leme, e em uma propaganda se identificava como o maior e mais confortável bar da América do Sul (Beira-Mar, 27 de outubro de 1934). Apesar da beleza da avenida, seus bancos continuava a ser espatifados. 
+ 
+Beira-Mar, 27 de outubro de 1934
+ 
+Em 1934, parte do morro do Inhangá, que ainda chegava à Avenida Atlântica foi cortado para a construção da piscina do Copacabana Palace. Então a linha imaginária entre as praias de Copacabana e do Leme passou a ser a atual Avenida Princesa Isabel. Em 1951, o que havia restado dessa pedra junto ao hotel foi retirado para a construção do grupo de edifícios Chopin, Balada e Prelúdio. 
+ 
+Morro do Inhangá, 1907. Rio de Janeiro, RJ / Acervo IMS
+ 
+Beira-Mar, 27 de outubro de 1934
+ 
+Foi inaugurado, em 20 de março de 1935, na Avenida Atlântica, na altura do Posto 6, onde antes havia a já mencionada casa da francesa Mère Louise, o Cassino Balneário Atlântico (Beira-Mar, 16 de fevereiro de 1935; Beira-Mar, 30 de março de 1935).
+ 
+Beira-Mar, 16 de fevereiro de 1935
+ 
+Logo no início de 1935, foi anunciada pela Diretoria Geral de Turismo a reposição de 48 dos bancos espatifados (Beira-Mar, 22 de dezembro de 1934; Beira-Mar, 12 de janeiro de 1935, primeira coluna). Em setembro, foram de novo depredados (Beira-Mar, 28 de setembro de 1935, penúltima coluna; Beira-Mar, 26 de outubro de 1935).
+Neste mesmo ano, o Cine-Varieté, no Cassino Balneário Atlântico, passou a receber o público, tornando-se um dos mais chiques e elegantes locais da Avenida Atlântica. Apresentava produções internacionais e nacionais e realizava matinés infantis. Aos domingos eram distribuídos brinquedos para as crianças. (Beira-Mar, 9 de novembro de 1935).
+ 
+Beira-Mar, 30 de novembro de 1935
+ 
+Em 1936, foram inauguradas as primeiras torres dos postos de salvamento, nos Postos  2 e 6, com a presença de Pedro Ernesto Baptista (1884 – 1942), primeiro prefeito eleito do Distrito Federal (Beira-Mar, 28 de março de 1936, primeira página e página 10). Nesta época, os focos do mundanismo no Posto 2, então o mais concorrido da Avenida Atlântica, eram a Confeitaria Alvear, esquina com a República do Peru, o restaurante Lido e o Bar e Restaurante OK, esquina com a então rua Haritoff, atual Ronald de Carvalho (Beira-Mar, 2 de maio de 1936).
+ 
+Beira-Mar, 28 de março de 1928
+ 
+Em maio de 1936, uma nova ressaca atingiu a Avenida Atlântica, cujo tráfego ficou impedido porque a água e a areia invadiram a rua (Beira-Mar, 29 de agosto de 1936, primeira coluna). Seu calçamento foi parcialmente consertado e em 1937 as reclamações em relação ao estado da avenida continuava (Beira-Mar, 10 de outubro de 1936, primeira coluna; Beira-Mar, 4 de setembro de 1937, quarta coluna). No ano seguinte, foi publicado um artigo afirmando que a avenida havia sido mal projetada, tendo sido traçada muito próxima ao mar (Correio da Manhã, 30 de março de 1937, quinta coluna; Beira-Mar, 10 de abril de 1937).
+ 
+Beira-Mar, 31 de outubro de 1936
+ 
+No final do ano, foi inaugurado mais um point no Posto 2, o Citro Bar Expresso (Beira-Mar, de 7 de novembro de 1936).
+ 
+Beira-Mar, 7 de novembro de 1936
+ 
+O Clube dos Marimbás, fundado em 5 de abril de 1932 por 36 rapazes, dentre eles o proprietário das Organizações Globo, Roberto Marinho (1904 – 2003), e inicialmente sediado ao lado do Edifício Olinda, já se localizava no final da praia de Copacabana, junto ao Forte de Copacabana. Seu anteprojeto, inspirado em um navio ancorado, é dos renomados arquitetos Lucio Costa (1902 – 1998) e do russo Gregori Warchavchik (1896 – 1972), expoentes da arquitetura modernista no Brasil. O projeto, no entanto, foi concluído pelo arquiteto Paulo Antunes Ribeiro (1905 – 1973), um dos sócio fundadores do clube, da onde descortina-se uma das mais belas vistas da Avenida Atlântica (Beira-Mar, 7 de novembro de 1936).
+ 
+Beira-Mar, 7 de novembro de 1936
+ 
+O moderníssimo Luxor Hotel foi inaugurado na avenida, no Posto 4, (Beira-Mar, 12 de junho de 1937, primeira coluna) e no Posto 2, inauguração do Wonder Bar, novo ponto de reunião para a elegância copacabanense (Beira Mar, 9 de outubro de 1937). Ainda nesse ano, foi inaugurada a Casa Arthur Hermanny, o estabelecimento mais distinto a serviço do bairro mais elegante, especializada em artigos de luxo, na esquina com a rua Bolivar (Beira-Mar, 4 de dezembro de 1937; Beira-Mar, 1º de julho de 1939). Na década de 30, outro hotel de destaque na avenida eram o Hotel Atlântico, no número 654. Também ficava na avenida o Lar da Creança, orfanato para meninas, no número 842 (Beira-Mar, 25 de maio de 1935).
+ 
+Beira-Mar, 1º de julho de 1939
+ 
+De acordo com um artigo publicado na Beira-Mar, de 29 de janeiro de 1938, o tráfego intenso na Atlântica, artéria principal de Copacabana, colocava em perigo a vida das pessoas que praticavam o footing na avenida. Em entrevista, o prefeito Henrique Dodsworth (1895 – 1975) informou que a avenida seria alargada (Diário da Noite, 7 de março de 1938; Beira-Mar, 12 de março de 1938, primeira coluna).
+No carnaval de 1938, as escolas de samba desfilaram na avenida Atlântica e as vencedoras foram a Portela e a Unidos da Tijuca (Beira-Mar, 26 de fevereiro de 1938). Meses depois, a iluminação da avenida começou a ser trocada e foi inaugurado o Internacional Bridge Club, no primeiro andar do Edifício Continental (Beira-Mar, 2 de abril de 1938, página 5 e página 7). O restaurante Carlton ficava no Posto 3 (Beira-Mar, 23 de abril de 1938, segunda coluna) e a casa de modas Longchamps, no número 822 (Beira-Mar, 4 de junho de 1938, primeira coluna). Havia também o Hotel Cosmópolis (Beira-Mar, 2 de julho de 1938, primeira coluna) e o Hotel Rivera. Mas a ocupação da avenida por apartamentos “cabeças de porco” já era uma preocupação (Beira-Mar, 24 de setembro de 1938).
+Já no início de 1939, foi inaugurada uma nova iluminação na avenida, iniciativa do prefeito Henrique Dodsworth (1895 – 1975) (Beira-Mar, 4 de fevereiro de 1939, quarta coluna; Beira-Mar, 4 de março de 1939; Beira-Mar, 18 de março de 1939; Beira-Mar, 20 de maio de 1939; Beira-Mar, 9 de novembro de 1940).
+ 
+Praia de Copacabana / Capa da Revista da Light de janeiro de 1939
+ 
+O alargamento da avenida e a construção de groynes para afastar o mar foi anunciada (Beira-Mar, 4 de março de 1939, primeira coluna). Mas na ressaca de junho, os groynes do sr Maurício Joppert foram por…água abaixo (Gazeta de Notícias, 13 de junho de 1939, terceira coluna; Beira-Mar, 17 de junho de 1939, primeira coluna; Beira-Mar, 15 de julho de 1939). Os problemas de trânsito persistiam e acidentes com mortes aconteciam (Beira-Mar, 1º de abril de 1939, primeira coluna; Beira-Mar, 15 de abril de 1939). Também 17 bancos da avenida foram destruídos por vândalos (Beira-Mar, 15 de abril de 1939). Existia na avenida um solarium da Seção de Convalescentes da Secretaria de Saúde e Assistência Social (Beira-Mar, 13 de maio de 1939). Ainda nesse ano, foi publicada a matéria Os praianos reclamam sobre os ratos que infestavam a praia e o número de prisão de mulheres que faziam “troittoir” na Avenida Atlântica (Beira-Mar, 8 de julho de 1939).
+ 
+Beira-Mar, 20 de maio de 1939
+ 
+Foi na década de 40, que Copacabana se firmou como bairro chique e sua vida noturna era dividida entre seus os cassinos do Hotel Copacabana Palace e o Cassino Atlântico, que ficava na avenida esquina com Francisco Otaviano.
+Ao lado do Hotel Londres, no início dos ano 40, era ministrado o Curso de Ginástica da Sociedade Brasileira de Cultura Física e Eugenia, sob a orientação do drs. David Madeira e Paulo Rolim (Beira-Mar, 3 de fevereiro de 1940). Já o Colégio Paula Freitas ficava no número 762 da avenida (Beira-Mar, 27 de abril de 1940).
+ 
+Beira-Mar, 3 de fevereiro de 1940
+ 
+Colégio Paula Freitas / Beira-Mar, 22 de junho de 1940
+ 
+O trânsito e a velocidade com que os carros trafegavam na avenida, além da falta de sinalização e o barulho das buzinas, continuavam a ser um problema (Beira-Mar, 8 de junho de 1940, terceira coluna; Beira-Mar, 12 de outubro de 1940; Beira-Mar, 8 de março de 1941; Beira-Mar, 21 de junho de 1941; Beira-Mar, 2 de agosto de 1941). Também havia reclamações em relação ao calcamento da avenida (Beira-Mar, 16 de agosto de 1941).
+Na fotografia destacada abaixo, vê-se a grande diferença do mesmo trecho da Avenida Atlântica fotografada em 1912 e em 1940. Em 1930, a nossa avenida Atlântica não tinha um único arranha-céu; hoje é quase toda cheia de imensos palácios que são um orgulho de nosso progresso (Beira-Mar, 14 de março de 1942).
+ 
+Avenida Atlântica em dis tempos: 1912 e 1940 / Beira-Mar, 9 de novembro de 1940
+ 
+Uma grande parada de elegância e automobilística foi patrocinada pela Rádio Ipanema. Houve um desfile de carros pela Avenida Atlântica que culminou com uma festa no Luxor Hotel (Beira-Mar, 1º de fevereiro de 1941). O Ginásio Brasileiro funcionava no número 996 da avenida (Beira-Mar, 8 de março de 1941).
+Foi publicada uma crônica sobre o popular cachorro Faísca que era muito popular em Copacabana e acabou morrendo, atropelado na Avenida Atlântica: Faísca, filho do prazer, Nascido no Mère Louise e criado no OK, de Nelson Nascimento (Beira-Mar, 22 de março de 1941; Beira-Mar, 5 de abril de 1941).
+No artigo Copacabana, a cidade mais moça e mais bela do Brasil era mencionado que “Em 1930, a nossa Avenida Atlântica não possuia um único arranha-céu; hoje é quase toda cheia de imensos palácios que são um orgulho de nosso progresso” (Beira-Mar, 14 de março de 1942, última coluna). Na mesma edição do periódico, havia uma propaganda da loja Dr.Scholl, inaugurada na avenida Atlantica, número 766, esquina com a rua Bolívar (Beira-Mar, 28 de março de 1942).
+Charretes e bicicletas passaram a ser usadas no Rio de Janeiro devido ao racionamento de gasolina e consequente suspensão da circulação de automóveis na cidade. Aos domingos, essa substituição dava um novo movimento à nossa Avenida Atlântica. É o divertimento do dia (Beira-Mar, 15 de agosto de 1942). A sede provisória da Associação Atlética de Copacabana ficava na Avenida Atlântica número (Beira-Mar, 15 de agosto de 1942, segunda coluna).
+Houve três dias de black-out em Copacabana, Ipanema, Leme e Leblon que alterou o “footing” colorido de outras noites na Avenida Atlântica (Beira-Mar, 19 de setembro de 1942).
+Foi anunciada a inauguração do Cinema Rian, na Avenida Atlântica (Beira-Mar, 10 de outubro de 1942). Em sua abertura foi exibido o filme Aconteceu Em Havana, com Carmen Miranda e o Bando da Lua, Alice Faye, John Payne e Cesar Romero. O cinema funcionou no prédio de mesmo nome construído Nair de Teffé, caricaturista e viúva do ex-presidente Hermes da Fonseca, com a herança deixada por seu pai, o Barão de Teffé, morto em 1931. Rian é o seu nome escrito de trás para frente. Em 1940, o edifício foi vendido, mas manteve seu nome como uma homenagem a ela.
+ 
+Cartaz de inauguração do Cinema Rian / Editora Posto Seis
+ 
+O Repousário do Hospital Jesus, na Avenida Atlântica, que havia passado por vários melhoramentos foi, em 27 de novembro, visitado pelo prefeito Henrique Dodsworth. Na mesma data, o prefeito inaugurou, com a presença de Assis Chateaubriand, os novos postos de salvamento da Praia de Copacabana (Beira-Mar, 1º de janeiro de 1943, primeira coluna).
+E os novos estúdios da Rádio Ipanema ficavam na Avenida Atlântica, número 24, no Leme (Beira-Mar, 19 de dezembro de 1942, primeira coluna).
+Foi realizada a primeira procissão de Nossa Senhora de Copacabana com um cortejo pela Avenida Atlântica (Beira-Mar, 9 de outubro de 1943, primeira coluna). Ainda em outubro, foi reaberto o Wonder Bar, primeiro estabelecimento do Rio adaptado ao “black-out” (Beira-Mar, 30 de outubro de 1943).
+ 
+Wonder Bar, na avenida Atlântica, 358 / Beira-Mar, 30 de outubro de 1943
+ 
+Mais uma vez, os bancos da Avenida Atlântica foram depredados (Beira-Mar, 29 de abril de 1944, quarta coluna). Em outubro do mesmo ano, foi publicada uma propaganda da Confeitaria Alvear, que ficava no número 444 na avenida, esquina com República do Peru (Beira-Mar, 28 de outubro de 1944).
+Em 27 de junho 1945, foi inaugurado no número 546 da Avenida Atlântica, esquina com Siqueira Campos, o Bar e  Restaurante Albatros (Beira-Mar, julho de 1945). Também havia na avenida, no número 730-A, a Bombonière Rian (Beira-Mar, setembro de 1945).
+As festas de carnaval na Boate Bolero, na Avenida Atlântica, 434, eram um sucesso, e o melhor chopp do Rio era servido na Taberna Atlântica, no número 186 (Beira-Mar, março de 1946). No mesmo ano, no número 980, foi inaugrada a Casa 980, de acessórios de automóveis (Beira-Mar, abril de 1946).
+Na década de 50, de muito movimento social na Avenida Atlântica e no bairro como um todo (Correio da Manhã, 28 de julho de 1957), a sede da Associação Atlética do Banco do Brasil (AABB), no Posto Seis, no edifício da avenida esquina com a Rua Francisco Otaviano continuava mantendo a tradição de baluarte da alegria carnavalesca. Há duas semanas vêm realizando em sua boate os movimentados bailes “Sassaricadas” (das 14h às 20h), os quais terão prosseguimento, todos os sábados, até o carnaval (O Globo, 29 de janeiro de 1954).
+Na mesma década, foi na Confeitaria Alvear, na Avenida Atlântica,  que um grupo de rapazes, bem nascidos e bem sucedidos, se encontrava para beber e conversar. Formaram o Grupo dos Cafajestes, que na época de Carnaval dali partiam para os bailes de Copacabana. Seu fundador foi o comandante da Panair do Brasil, Edu, Eduardo Henrique Martins de Oliveira, botafoguense fanático. Outros integrantes do grupo foram o jogador de futebol Heleno de Freitas, Baby Pignatari, Carlos Niemeyer, Carlos Peixoto, Celmar Padilha, Ermelindo Matarazzo, Fernando Aguinaga, Ibrahim Sued, Jorginho Guinle, Mário Saladini, Mariozinho de Oliveira, Sérgio Pettezzoni, Sérgio Porto (Stanislaw Ponte Preta), dentre vários outros.
+Em março de 1954, no Bife de Ouro, restaurante do Copacabana Palace, ocorreu uma briga entre o jornalista Carlos Lacerda (1914 – 1977) e Euclides Aranha, filho do então ministro da Fazenda, Oswaldo Aranha (1894 – 1960), noticiada no jornal O Globo:
+Lacerda e filho de Aranha trocam socos
+Principiando por uma altercação seguida de luta corporal entre o Sr. Euclides Aranha e o jornalista Carlos Lacerda, um incidente que se prolongaria até a meia-noite, resultando, inclusive, em congestionamento do tráfego da Avenida Atlântica e interdição do local por autoridades policiais, perturbou na noite de ontem o jantar no Bife de Ouro, o restaurante do Copacabana palace Hotel. Achavam-se reunidos na mesma mesa o ministro João Cleophas, o deputado Edilberto Ribeiro, o Sr. Manuel Ferreira e Carlos Lacerda, diretor da “Tribuna da Imprensa”, num jantar promovido pelo deputado. De outra mesa, o Sr. Euclides Aranha, filho do ministro Oswaldo Aranha, jantava com a esposa, levantou-se, fisionomia transtornada, dirigiu-se à mesa onde se encontrava o referido grupo, deteve-se junto à cadeira do jornalista e interpelou-o sobre ataques dirigidos a seu pai na “Tribuna da Imprensa”. À interpelação seguiu-se áspera troca de palavras, tendo o jornalista se levantado, entrando em luta com o filho do ministro da Fazenda. Segundo as testemunhas, os dois trocaram socos por algum tempo, até que amigos comuns se interpuseram e os separaram. Às 23h, o próprio ministro Oswaldo Aranha compareceu ao restaurante para ver o que ocorrera. Pouco depois, simultâneamente, por portas diferentes, os Srs. Euclides Aranha e Carlos Lacerda abandonaram o Bife de Ouro (O Globo, 24 de março de 1954).
+E foi também na década de 50, que a Bossa Nova nasceu: na casa dos pais da cantora Nara Leão (1942 – 1989), na avenida Atlântica, no Posto 4, que jovens como Roberto Menescal (1937 – ), Ronaldo Boscoli (1928 – 1994), Carlinhos Lyra (1933 – ) e outros se reuniam para cantar e compor. Mas o fato que marcou o aparecimento do movimento musical foi o disco gravado por Elizete Cardoso (1920 – 1990), em 1958, Canção do amor demais, cujo acompanhamento era feito pelo violonista João Gilberto (1931 – 2019). Outro gênero musical sacudiu a Avenida Atlântica: o rock and roll. Em 1957, estreou o filme Ao balanço das horas, com Bill Haley e seus cometas, no Cinema Rian, e suas sessões foram muitas vezes tumutuadas pelos jovens que dançavam durante o filme (O Jornal, 15 de janeiro de 1957, última coluna).
+Acervo de O Globo
+ 
+Já em fins da década de 60, sob a gestão do governador Francisco Negrão de Lima (1901 – 1981) e por sugestão do arquiteto Lúcio Costa (1902 – 1998), entre 1969 e 1971, uma grande obra, projeto do engenheiro gaúcho Raimundo de Paula Soares (1926 – 1992), foi realizada na Avenida Atlântica. Com bombeamento de areia, a distância entre a fachada dos prédios e a praia passou de 21 para 73 metros e a área ganhou estacionamentos, seis pistas de automóveis, calçadões e um interceptor oceânico para captar o esgoto do bairro.
+“Sobre a areia foram construídas duas pistas de rolamento com um calçadão central sob o qual instalou-se o Interceptor Oceânico da Zona Sul, a maior obra de esgotamento sanitário até então feita na cidade. Todo o espaço até então usado pela antiga avenida e suas duas calçadas transformou-se em largo calçadão junto aos prédios; o atual estacionamento fica sobre o que era a areia da praia. Esta teve sua largura ampliada, com areia retirada do fundo do mar por dragas. Os mosaicos dos calçadões foram desenhados por Roberto Burle Marx (1909 – 1994), utilizando pedras de três cores, representando os povos que formaram a população brasileira. O calçadão junto à areia manteve o antigo desenho, oriundo de Portugal, uniformizando a orientação e ampliando o tamanho das ondas, fazendo-as condizentes com a largura da nova calçada. Em 1975, foram construídos novos postos de salvamento, projetados pelo arquiteto Sérgio Bernardes (1919 – 2002) (IBGE).
+Foi em meados da década de 70, que o Hotel Méridien, então localizado na avenida Atlântica esquina com avenida Princesa Isabel, no Leme, promoveu uma queima de fogos espetacular do alto de seu prédio (Jornal do Brasil, 2 de janeiro de 1978, última coluna). A partir daí, a queima de fogos foi crescendo na Praia de Copacabana e passou a integrar o calendário do Rio de Janeiro.
+ 
+Jorge Kfuri. O Graf Zeppelin sobrevoa Copacabana e a Avenida Atlântica, 25 de maio de 1930. Rio de Janeiro, RJ / Acervo DPHDM
+ 
+Na administração do Prefeito Saturnino Braga (1986-1988) foram plantados grupos de coqueiros na areia e, na de Marcelo Alencar (1983-1986), construídos quiosques fixos e uma ciclovia” (IBGE).
+Em 1984, por designação do Comitê Olímpico Brasileiro, foi realizada a Maratona do Rio como prova seletiva dos Jogos Olímpicos de Los Angeles. A Avenida Atlântica fazia parte do percurso do evento esportivo.
+ 
+Copacabana(RJ), 193?. Rio de Janeiro, RJ / Acervo AGCRJ
+ 
+Na década de 90, começaram a ser promovidos pela prefeitura da cidade, durante a gestão de César Maia, shows nas areias da Praia de Copacabana com diversos artistas durante a passagem do fim do ano. A estreia, no réveillon de 1993 / 1994, foi com Jorge Benjor (Jornal do Brasil, 2 de janeiro de 1994). No ano seguinte, a atração foi o roqueiro inglês Rod Stewart (Jornal do Brasil, 1º de janeiro de 1995). O réveillon na Avenida Atlântica ficava cada vez mais animado e concorrido!
+Em 18 de fevereiro de 2006, 1 milhão e meio de pessoas assistiram das areias de Copacabana e da Avenida Atlântica ao show da lendária banda britânicca The Rolling Stones.
+Para os Jogos Olímpicos do Rio de Janeiro de 2016, foi  montada na Praia de Copacabana uma arena para a disputa de vôlei de praia com capacidade para 12 mil lugares, 21 metros de altura no ponto mais alto – equivalente a um prédio de sete andares – e 62 mil metros quadrados. Mais uma vez, a Avenida Atlântica aparecia para o mundo todo!
+ 
+Andrea C. T. Wanderley
+
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+
+Acervo O Globo
+Biblioteca do IBGE
+CASTRO, Ruy. A noite do meu bem. São Paulo : Companhia das Letras, 2015.
+CASTRO, Ruy. A onda que se ergueu no mar. Novíssimo mergulhos na Bossa Nova. São Paulo : Companhia das Letras, 2017.
+CASTRO, Ruy. Chega de saudade. São Paulo : Companhia das Letras, 2016.
+CASTRO, Ruy. Metrópole à beira-mar: O Rio moderno dos anos 20. São Paulo : Companhia das Letras, 2019.
+Diário do Rio
+Dicionário de verbetes do Arquivo Geral da Cidade do Rio de Janeiro
+GARSON, Marcelo. Roquianos, suburbanos e dançarinos: rock and roll carioca (55-60). Música Popular em Revista. Campinas, ano 1, vol 2, jan-junho 2013.
+GERSON, Brasil. História das Ruas do Rio. Rio de Janeiro: Bem-Te-Vi, 2013.
+Hemeroteca Digital da Biblioteca Nacional
+Jornal O Globo
+Site Câmara Municipal do Rio de Janeiro
+Site Copacabana.com
+Site Copacabana em foco
+Site Clube dos Marimbás
+Site Curiosidades cariocas
+Site Editora Posto 6
+Site Escritório de Arte
+Site Rio que passou
+*Inicialmente, estava escrito José Américo de Souza Rangel,, nome que consta em várias fontes de pesquisa. Porém, uma bisneta de Augusto Américo de Souza Rangel entrou em contato com a Brasiliana Fotográfica e, de fato, quem trabalhava na época na Comissão da Carta Cadastral e era, inclusive, muitíssimo amigo de Pereira Passos era o engenheiro Augusto Américo. Ele assumiu diversos cargos na comissão da Carta Cadastral, tendo sido seu chefe entre 1901 e 1903. O órgão teve grande relevância para o plano de reforma urbana realizado durante a gestão do prefeito Pereira Passos. Uma curiosidade: Souza Rangel e Pereira Passos eram muito próximos e as cartas trocadas entre eles, quando, após o término de sua gestão, Passos viajou para a Europa e para o Oriente Médio, ficaram famosas e foram compiladas no livro Notas de viagens, cartas a um amigo, publicado em 1913. a correção foi realizada em 5 de janeiro de 2020.
+ 
+Jornal do Brasil, 18 de abril de 1929
+ 
+Links para as outras publicações da série “Avenidas e ruas do Brasil”
+ Série “Avenidas e ruas do Brasil” I – Avenida Central, atual Rio Branco, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 7 de setembro de 2016
+Série “Avenidas e ruas do Brasil” II – A Rua do Imperador em Petrópolis por Klumb, Leuzinger e Stahl, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 26 de junho de 2020
+Série “Avenidas e ruas do Brasil” III – A Rua do Bom Jesus, no Recife, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 6 de agosto de 2020
+Série “Avenidas e ruas do Brasil” IV – A Rua 25 de Março, em São Paulo, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 1º de setembro de 2020
+Série “Avenidas e ruas do Brasil” V – A Rua Direita, a Rua das Mercês e a Rua Macau do Meio, em Diamantina, Minas Gerais, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 22 de outubro de 2020
+Série “Avenidas e ruas do Brasil” VI  – Rua Augusto Ribas e outras, em Ponta Grossa, no Paraná, pelo fotógrafo Luiz Bianchi, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 16 de novembro de 2020
+Série “Avenidas e ruas do Brasil VIII – A Rua da Carioca por Cássio Loredano, de autoria de Cássio Loredano, publicada em 20 de janeiro de 2021
+Série “Avenidas e ruas do Brasil” IX – Ruas e panoramas do bairro do Catete, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 14 de julho de 2021
+Série “Avenidas e ruas do Brasil” X – A Rua da Ajuda, no Rio de Janeiro, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 9 de novembro de 2021
+Série “Avenidas e ruas do Brasil” XI – A Rua da Esperança, em São Paulo, por Vincenzo Pastore, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 14 de dezembro de 2021
+Série “Avenidas e ruas do Brasil” XII – A Avenida Paulista, o coração pulsante da metrópole, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 21 de janeiro de 2022
+Série “Avenidas e ruas do Brasil” XIII – A Rua Buenos Aires no Centro do Rio de Janeiro, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 19 de julho de 2022
+Série “Avenidas e ruas do Brasil” XIV – A Avenida Presidente Vargas,, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 31 de agosto de 2022
+Série “Avenidas e ruas do Brasil” XV – Misericórdia: rua, largo e ladeira, no Rio de Janeiro, por Cássio Loredano, de autoria de Cássio Loredano, publicada em 8 de dezembro de 2022
+Série “Avenidas e ruas do Brasil” XVI – “Alguma coisa acontece no meu coração”, a Avenida São João nos 469 anos de São Paulo, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 25 de janeiro de 2023
+Série “Avenidas e ruas do Brasil” XVII  e série “O Rio de Janeiro desaparecido” XXIII – A Praia e a Rua do Russel, na Glória, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 15 de maio de 2023
+Série “Avenidas e ruas do Brasil” XVIII – Avenida Beira-Mar, de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal, publicada em 22 de janeiro de 2024
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/6952` — `itens/20.500.12156.1_6952/`
+- `20.500.12156.1/4766` — `itens/20.500.12156.1_4766/`
+- `20.500.12156.1/8285` — `itens/20.500.12156.1_8285/`
+- `20.500.12156.1/8129` — `itens/20.500.12156.1_8129/`
+- `20.500.12156.1/6958` — `itens/20.500.12156.1_6958/`
+- `20.500.12156.1/5365` — `itens/20.500.12156.1_5365/`
+- `20.500.12156.1/6146` — `itens/20.500.12156.1_6146/`
+
diff --git a/wordpress/20730-o-artista-fotografo-louis-piereck-1880-1931.md b/wordpress/20730-o-artista-fotografo-louis-piereck-1880-1931.md
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+++ b/wordpress/20730-o-artista-fotografo-louis-piereck-1880-1931.md
@@ -0,0 +1,383 @@
+---
+id: 20730
+url: "https://brasilianafotografica.bn.gov.br/?p=20730"
+titulo: "O “artista fotógrafo” Louis Piereck (1880 – 1931)"
+autor: "Andrea Wanderley"
+data: "2020-12-15T10:13:18+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/8445", "20.500.12156.1/8450", "20.500.12156.1/8440", "20.500.12156.1/8444", "20.500.12156.1/8441", "20.500.12156.1/6569"]
+fetched_at: "2026-09-10T10:03:21.044Z"
+---
+
+# O “artista fotógrafo” Louis Piereck (1880 – 1931)
+
+O “artista fotógrafo” Louis Piereck (1880 – 1931)
+ 
+Louis Piereck / Jornal Pequeno, 20 de novembro de 1931
+ 
+O fotógrafo Louis Jacques Piereck (1880- 1931) é o autor do retrato destacado no sexto artigo da série “Feministas, graças a Deus”, sobre Júlia Medeiros (1896 – 1972), publicado na Brasiliana Fotográfica, em 9 de dezembro de 2020. De origem austríaca e nascido em Campinas, em 13 de outubro de 1880, ele atuou no Recife, entre fins do século XIX e nas primeiras décadas do XX. Pernambuco, a partir da década de 1850, com a chegada de vários fotógrafos estrangeiros e o estabelecimento de diversos ateliês fotográficos, tornou-se uma referência importante na história da fotografia no Brasil. Piereck foi contemporâneo do português Francisco du Bocage (1860 – 1919) e do pernambucano Manoel Tondella (1861 – 1921), dentre outros. Considerado talentoso, tinha muito prestígio na sociedade pernambucana e, em seu estabelecimento, a Photographia Piereck, eram produzidos “os mais perfeitos trabalhos“. Anunciava como sua especialidade “retratos, grupos de criança e o bello sexo“.
+ 
+Louis Piereck. Maria dos Anjos Correia de Araújo, s/d. Usina Timboassú, Escada, Pernambuco / Acervo Fundação Joaquim Nabuco
+ 
+Muito provavelmente Louis aprendeu seu ofício de fotógrafo convivendo com profissionais em estabelecimentos fotográficos onde seu pai, o pintor acadêmico austríaco Ferdinand (Fernando) Piereck (1844 – 1925), trabalhou como, por exemplo, os ateliês de Henrique Rosén (1840 – 1892), em Campinas; Alberto Henschel (1827 – 1882), no Recife; e o de Carlos Hoenen (18? – ?), em São Paulo. Em 1870, Ferdinand esteve pela primeira vez no Brasil, onde todos os seus cinco filhos, que teve com a tcheca Elizabeth Taussig (1855 – 19?), nasceram: Wilhelmine Ernestine (Guilhermina Christiani) (1878 – 19?), Ferdinand Junior (1879 – ?), Louis (1880 – 1931), Babette (Elizabeth White) (1881 – 19?) e Laura Correia (1882 – 19?). Naturalizou-se brasileiro em 1896. A motivação de sua vinda para o Brasil é incerta. Teria vindo atraido pela natureza tropical? À procura de uma clientela desejosa de que sua prosperidade fosse retratada?
+ 
+Antônio Jovino da Fonseca, negociante de açúcar, Maria Fausta Jovino da Fonseca, s/d. Recife, Pernambuco / Acervo Fundação Joaquim Nabuco
+ 
+Em 1904, após uma estadia na Europa, Louis Piereck avisava a amigos, a antigos fregueses e ao público em geral que seu ateliê, a Photographia Piereck, no número 54 da rua dr. Rosa e Silva (1), antiga rua da Imperatriz, no Recife, tinha todos os requisitos necessários a fim de bem servi-los (Jornal Pequeno, 30 de abril de 1904, primeira coluna). Era o mesmo endereço onde havia se localizado o ateliê do fotógrafo Flosculo de Magalhães (18? – 19?).
+Casou-se, no Recife, com Hermínia Bastos Tigre (? – 1949), em 31 de janeiro de 1907, e tiveram cinco filhos, Luiz (c. 1907 – 1923), Edgard (1909 – 1993), Carmelita (19? -19?) – que faleceu ainda criança de crupe em uma das viagens da família à Europa -, Helena (19? – 19?) e Hermínia (Baby) (1916 – 1987) (Jornal Pequeno, 31 de janeiro de 1907, quarta coluna).
+Louis Piereck conquistou o Grande Prêmio na Exposição Nacional de 1908 e medalhas de ouro na Exposição Internacional de Bruxelas de 1910, na Exposição Internacional de Turim de 1911, na Exposição Internacional do Trabalho de Milão de 1915, e na Exposição Internacional do Centenário da Independência, no Rio de Janeiro, em 1922. Seu estabelecimento fotográfico era uma Casa honrada com a preferência da alta sociedade pernambucana, onde além de produzir e expor fotografias, Piereck vendia equipamentos fotográficos. Frequentemente ia à Europa, de onde trazia as “novidades da arte“.
+“Essa conhecida casa, de que é proprietário o habilíssimo e competente artista sr. Luiz Piereck, acaba de ser dotada de importantes melhoramentos e novidades da arte, tonando-se desta sorte o principal estabelecimento do gênero desta capital”
+Jornal Pequeno, 20 de fevereiro de 1913
+ 
+A Photographia Piereck também foi palco de exposições de artistas plásticos como Vicente do Rego Monteiro (1899 – 1970), que se tornaria um pintor de renome internacional, e do chargista e caricaturista paraibano Fausto Silvério Monteiro, (? – 1935), o Fininho, pioneiro nas produções de materiais gráficos do cinema pernambucano (Diário de Pernambuco, 7 de janeiro de 1920, primeira coluna; Diário de Pernambuco, 27 de agosto de 1922, quinta coluna).
+ 
+Louis Piereck. Feliciana dos Santos Dias, s/d. Recife, Pernambuco / Acervo Fundaj
+ 
+Acessando o link para as fotografias de Louis Piereck disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Cerca de um ano antes de sua morte, Piereck foi o responsável pela última fotografia do então governador da Paraíba, João Pessoa  (1878 – 1930) que, no dia em que foi assassinado, 26 de julho de 1930, pelo jornalista João Dantas (1888 – 1930), no Recife, esteve na Photographia Piereck, onde tirou novas fotografias a fim de atender a pedidos que constantemente lhe eram feitos por jornalistas, amigos e parentes. O governador estava com o ex-deputado e futuro governador de Pernambuco, Agamenon Magalhães (1893 – 1952), e com o jornalista Caio Lima Cavalcanti (1898 – 1975). Piereck era grande admirador de Pessoa e, segundo noticiado no Correio da Manhã, o encontro dos dois se deu com grande emoção. O assassinato é considerado um dos estopins da Revolução de 30.
+ 
+O último retrato de João Pessoa, produzido por Piereck horas antes do assassinato do político, em 26 de julho de 1930, no Recife / Primeira página do jornal A União (PB), 2 de agosto de 1930
+ 
+Link para o Hino a João Pessoa (o político), composto por Eduardo Souto e Oswaldo Santiago, cantado por Francisco Alves
+O assassino de João Pessoa, João Dantas, e o engenheiro Augusto Caldas, seu cunhado, foram presos na Casa de Detenção do Recife, onde foram encontrados mortos em 6 de outubro (Diário de Pernambuco, 7 de outubro de 1930, primeira coluna). O motivo oficial das morte foi suicídio mas, anos depois, a descoberta de registros fotográficos produzidos por Piereck contribuíram para desacreditar essa versão.
+Assim como Júlia de Medeiros, Louis Piereck teve um fim de vida trágico: suicidou-se, em 1931, ingerindo uma alta dose de oxianureto de mercúrio. Ele era viciado em jogo e havia perdido seu patrimônio em corridas de cavalo.
+Além da fotografia de Júlia, que pertence ao acervo do Arquivo Nacional, a Brasiliana Fotográfica disponibiliza 12 imagens produzidas por Piereck que pertencem ao acervo da Fundação Joaquim Nabuco. Ambas são instituições parceiras do portal.
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+ 
+ 
+Cronologia de Louis Piereck (1880 – 1931)
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+O fotógrafo Louis Piereck / Acervo da família Piereck
+ 
+1844 – Em Viena, na Áustria, nascimento do pintor Ferdinand (Fernando) Piereck (1844 – 1925), pai de Louis, em 10 de setembro.
+1870 – Em 15 de outubro, Ferdinand chegou ao Rio de Janeiro, a bordo do paquete francês Amazone (Jornal do Commercio, 16 de outubro de 1870, sexta coluna).
+1875 - Em Viena, em 13 de março, casamento de Ferdinand com Elizabeth Taussig (05/11/1855 – ?), nascida em Praga, de origem judaica. Os dois primeiros filhos do casal, Wilhelmine Ernestine (Guilhermina Christiani) (1878 – 19?) e Ferdinand Junior (1879 – ?), nasceram em Pernambuco. O fotógrafo Louis (1880 – 1931), Babette (Elizabeth White) (1881 – 19?) e Laura Correia (1882 – 19?), em São Paulo.
+ 
+Ferdinand e Elizabeth Piereck e três de seu netos: Louis, Edgard e Hermínia (Baby), fotografados por Louis Piereck em torno de 1920/ Acervo da família Piereck
+ 
+1876 – Ferdinand partiu do Rio de Janeiro para Pernambuco (O Globo, 1º de janeiro de 1876, quinta coluna). Foi contratado para trabalhar na Photographia Allemã de  Alberto Henschel (1827 – 1882) no Recife (Jornal do Recife, 14 de janeiro de 1876).
+1877 – Ferdinand  foi contratado para ser o responsável pela pela policromia das fotopinturas a óleo e aquarela da Photographia Allemã, de Carlos Hoenen (18?-?), inaugurada em 1º de setembro de 1875, na rua do Carmo, 74, em São Paulo (Correio Paulistano, 31 de agosto de 1875, última coluna; Correio Paulistano, 23 de novembro de 1877).
+1878 – Ferdinand ainda trabalhava no estabelecimento de Hoenen (Correio Paulistano, 30 de julho de 1878) e foi, muito provavelmente, o autor da pintura do teto de um dos cômodos do Grande Hotel, da Rua São Bento (Revista do IPHAN, nº 10, 1946), de propriedade de dois comerciantes: o teuto-suíço Frederico Glette (? – 1886) e o alsaciano Victor Nothmann (? – 1905).
+ 
+Correio Paulistano, 30 de abril  de 1878
+ 
+Foi também o autor de uma pintura de tema religioso realizada para a Igreja da Penha (A Província de São Paulo, 28 de julho de 1878).
+Transferiu-se para Campinas, onde trabalhou no ateliê Photographia Campinense, do sueco Henrique Rosén (1840 – 1892), na época o mais importante fotógrafo do interior paulista, que, posteriormente, em janeiro de 1890, foi nomeado cônsul do Brasil da Suécia e da Noruega (Relatório do Ministério das Relações Exteriores, 1891; Jornal do Brasil, 12 de junho de 1891, primeira coluna). A expansão cafeeira no oeste paulista fez com que vários fazendeiros alojassem em suas casas artistas que retratavam suas famílias. Ferdinand pintou diversos barões do café e, neste ano, pintou o retrato de dom Pedro II, que está no casarão da Fazenda  Pinhal, em São Carlos, São Paulo.
+ 
+Dom Pedro II, por Ferdinand Piereck, 1878
+ 
+Sua primeira filha, Wilhelmine (Guilhermina) (1878 -?), nasceu em Pernambuco.
+1879 – Nascimento do segundo filho do casal Ferdinand e Elizabeth, Ferdinand Junior, em Pernambuco.
+1880 – Nascimento de Louis Piereck, em 13 de outubro, em Campinas (Jornal Pequeno, 13 de outubro de 1919, terceira coluna; Jornal do Recife, 13 de outubro de 1923, primeira coluna; Diário de Pernambuco, 14 de outubro de  1930, sexta coluna). Algumas fontes informam o ano de nascimento 1878, e, por vezes, indicam como local de seu nascimento a Áustria ou a Suíça, mas documentação enviada da Áustria para familiares do fotógrafo apontam 1880 e Campinas como o ano e o local corretos do nascimento do fotógrafo.
+ 1881 – 1882 – Em São Paulo, nascimento dos últimos filhos do casal Ferdinand e Elizabeth: Elizabeth (Babette) (1881 – 19?) e Laura (1882 – 19?) .
+1886 - Ferdinand Piereck, que havia voltado de Viena, foi contratado pela Photographia Allemã, de Albert Henschel (1827 – 1882), localizada na rua do Barão da Vitória, nº 52, no Recife. O gerente do estabelecimento era o também austríaco Constantino Barza (Jornal do Recife, 3 de março de 1886).
+ 
+Jornal do Recife, 3 de março de 1886
+ 
+1887 – Segundo passaporte emitido na Áustria, em 16 de abril de 1887, para Ferdinand (Fernando) Piereck, com validade de três anos, ele estava em Viena, e viria ainda naquele ano para o Brasil. Aqui, após ter visitado as principais galerias durante sua viagem, voltou a trabalhar na Photographia Allemã, ficando encarregado dos retratos a óleo (Jornal do Recife, 26 de maio de 1887, quarta coluna).
+1892 – De acordo com propaganda veiculada em 1910, a fundação do ateliê fotográfico de Louis Piereck teria ocorrido neste ano (Jornal Pequeno, 14 de novembro de 1910). Em janeiro de 1892, foi inaugurada a Photographia Brazil, de Flosculo de Magalhães (18? – 19?),  na rua da Imperatriz 54 A (que em 1895 passou a chamar-se rua dr. Rosa e Silva), primeiro estabelecimento do gênero no bairro da Boavista (Jornal do Recife, 6 de janeiro de 1892, terceira coluna). Em 1901, 1902 e 1903 continuava a funcionar no mesmo endereço. Flosculo mudou-se, em 1904, com a família para o Rio de Janeiro (A Província, 6 de novembro de 1901, quinta coluna; A Província, 21 de janeiro de 1902, penúltima coluna; A Província, 30 de janeiro de 1904, segunda coluna; A Província, 1º de setembro de 1904, segunda coluna). É o mesmo endereço que, a partir de 1904, foi anunciado como o da Photographia Piereck (Jornal Pequeno, 30 de abril de 1904, primeira coluna). Teriam os fotógrafos trabalhado juntos ou Piereck teria sucedido Flosculo no mesmo endereço?
+1895 – Louis enviou um cartão de felicitações a sra. H. Barza. Seria uma parente de Constantino Barza (18? – ?), que havia sido o gerente da Photographia Allemã, de Henschel (1827 – 1882)? (Jornal do Recife, 1º de novembro de 1895, terceira coluna.
+1896 - Seu pai, Ferdinand (Fernando) Piereck, naturalizou-se brasileiro, em 22 de maio de 1896 (Gazeta de Notícias, 25 de maio de 1896, quinta coluna).
+1899 - Fazia parte de um Club de Photographia que distribuiu prêmios durante o ano de 1899 e 1900. O primeiro sorteio premiou o sócio Tito Rosas e o segundo, Alfredo Garcia (Jornal Pequeno, 2 de janeiro de 1899, terceira coluna).
+Morava no Entroncamento nº 37 (Jornal do Recife, 30 de julho de 1899, sexta coluna).
+1900 - Possuía um estabelecimento fotográfico, em Campina Grande, na Paraíba.
+1904 – Seu estabelecimento fotográfico, a Photographia Piereck, ficava no número 54 A  da rua dr. Rosa e Silva (1), antiga rua da Imperatriz, no Recife, mesmo endereço onde havia se localizado anteriormente o ateliê do fotógrafo Flosculo de Magalhães (18? – 19?). Foi anunciado que Piereck havia chegado há pouco da Europa onde havia se dedicado com esmero à arte fotográfica. Avisava a amigos, a antigos fregueses e ao público em geral que seu ateliê tinha todos os requisitos necessários a fim de bem servi-los (Jornal Pequeno, 30 de abril de 1904, primeira coluna).
+ 
+Diário de Pernambuco, 7 de maio de 1904
+ 
+Na mesma rua dr. Rosa e Silva, no número 39, ficava a Modern Photograph, de Manoel Ribeiro Filho (18? – 19?) (Diário de Pernambuco, 20 de fevereiro de 1904, terceira coluna).
+Piereck retratou a atriz e cantora Vittorina Cesana (1896? – 19?) caracterizada para o papel de militar da opereta Os 28 dias de Clarinha. Durante a apresentação da peça, no Teatro Santa Izabel, no Recife, esta fotografia foi distribuida aos espectadores (Jornal Pequeno, 21 de julho de 1904, terceira coluna; Diário de Pernambuco, 23 de julho de 1904, penúltima coluna).
+Na Photographia Piereck e na Maison Chic estavam sendo vendidos exemplares de A Linguagem dos selos pelo cartão postal ou o dicionário do amor pelo correio (Jornal Pequeno, 12 de outubro de 1904).
+ 
+Jornal Pequeno, 12 de outubro de 1904
+ 
+Seu pai, o pintor acadêmico Ferdinand (Fernando) Piereck, trabalhava na Photographia Piereck (Jornal Pequeno, 20 de outubro de 1904, quarta coluna).
+1905 - Foi anunciada uma grande exposição artística na Photographia Piereck (A Província, 8 de abril de 1905).
+Houve uma liquidaçao de cartões-postais em seu estabelecimento (Jornal Pequeno, 14 de junho de 1905, segunda coluna).
+1906 – Estavam em exposição na Photographia Piereck o retrato de todos os presidentes da Câmara de Deputados Estaduais de Pernambuco desde a proclamação da República: José Maria, Moreira Alves, José Marcelino, Elpidio Figueireido, Mota Silveira e João Coimbra (Jornal do Recife, 20 de fevereiro de 1906, sétima coluna).
+Anunciava seu estabelecimento fotográfico como uma Casa honrada com a preferência da alta sociedade pernambucana (Jornal do Recife, 23 de fevereiro de 1906, oitava coluna).
+Anúncio da contratação do casamento com Hermínia Bastos Tigre, irmã do poeta, bibliotecário, publicitário e jornalista Manuel Bastos Tigre (1882 – 1957), filha do negociante Delfino Tigre (18? – 1932) e de Maria Leontina Bastos Tigre (18? – 1926) e publicação das proclamas (Diário de Pernambuco, 5 de outubro de 1906, penúltima coluna; e Jornal do Recife, 25 de dezembro de 1906, quarta coluna). Uma curiosidade: o cunhado de Piereck, Manuel Bastos Tigre, foi o responsável pelo slogan da Bayer que se tornou famoso em todo o mundo: “Se é Bayer é bom“. É também o autor da letra da música Chopp em Garrafa, com música de Ary Barroso (1903 – 1964), que foi interpretada por Orlando Silva (1915 – 1978). Foi inspirada no produto que a Brahma passou a engarrafar. Sucesso do carnaval de 1934, é considerado o primeiro jingle publicitário do Brasil. Foi também o autor do livro Meu Bebê: livro das mamães para anotações sobre o bebê desde seu nascimento. O Dia do Bibliotecário, 12 de março, dia de seu nascimento, foi instituído, em 1980, em sua homenagem.
+1907 – Louis Piereck produziu as fotografias da turma de bacharéis de 1906 (Jornal Pequeno, 5 de janeiro de 1907, primeira coluna).
+ 
+Jornal Pequeno, 3 de junho de 1907
+ 
+Louis Piereck. Pedro Velho Pessoa de Albuquerque, bacharel em 1906, 1906. Recife, Pernambuco / Acervo Fundaj
+ 
+Casou-se, no Recife, com Hermínia Bastos Tigre (? – 1949), em 31 de janeiro de 1907, e tiveram cinco filhos, Luiz (c. 1907 – 1923), Edgard (1909 – 1993), Carmelita (19? -19?) – que faleceu ainda criança de crupe em uma das viagens da família à Europa -, Helena (19? – 19?) e Hermínia (Baby) (1916 – 1987) (Jornal Pequeno, 31 de janeiro de 1907, quarta coluna).
+ 
+Da esquerda para a direita: Louis (filho primogênito do fotógrafo), Hermínia, sua mulher; Edgard (seu filho), o fotógrafo Louis Piereck, duas irmãs de Hermína e a mãe de Hermínia, Maria Leontina Bastos Tigre, em um navio indo para a Europa, década de 10 / Acervo da família Piereck
+ 
+Anunciava utilizar na Photografia Piereck o processo Van Bosch, garantido para os climas tropicais (Jornal Pequeno, 24 de maio de 1907).
+ 
+Jornal Pequeno, 24 de maio de 1907
+ 
+Anunciou a Alta Novidade Photo-Pintura-Esmaltada como exclusividade da Photographia Piereck (Jornal Pequeno, 9 de dezembro de 1907). Com esta técnica foram realizados os retratos do desembargador Sigismundo Gonçalves (1845 – 1915) e do senador Rosa e Silva (1847 – 1929), expostos no depósito da Fábrica Lafayette (Jornal Pequeno, 13 de dezembro de 1907, primeira coluna).
+1908 – A Photographia Piereck ficou incumbida pelo retrato do príncipe Luiz Felipe de Portugal (1887 – 1908), assassinado em 1º de fevereiro de 1908, que seria colocado na galeria do Real Hospital Português de Pernambuco (Jornal do Recife, 22 de fevereiro de 1908, oitava coluna).
+Exposição na Fábrica Lafayette, na rua 1º de Março, do retrato em photo-pintura-esmaltada do coronel Cornélio Padilha (18? – 19?), realizado pela Photographia Piereck. O retrato seria dado ao coronel por amigos na ocasião de sua chegada da Europa (Jornal do Recife, 16 de setembro de 1908, última coluna).
+A Photographia Piereck conquistou o Grande Prêmio na Exposição Nacional de 1908 (Diário de Pernambuco, 10 de dezembro de 1908, primeira coluna; Gutemberg, 31 de dezembro de 1908; Jornal Pequeno, 3 de junho de 1909, última coluna).
+ 
+Gutemberg, 31 de dezembro de 1908
+ 
+1909 – Foi publicada uma lista de personalidades fotografadas pelo sistema “Esmalte Piereck” (Jornal Pequeno, 3 de junho de 1909).
+ 
+
+Jornal Pequeno, 3 de junho de 1909
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+Exposição de um retrato do ex-presidente Afonso Pena (1847 – 1909) na Photographia Piereck (Diário de Pernambuco, 24 de junho de 1909, penúltima coluna).
+Louis Piereck embarcou, em 10 de outubro, para a Europa, a bordo do Aragon, e anunciou que seu ateliê fotográfico continuaria funcionando. Retornou em 9 de dezembro de 1909 (A Província, 10 de outubro de 1909, terceira coluna; Jornal do Recife, 24 de outubro de 1909, terceira coluna; A Província, 10 de dezembro de 1909, quinta coluna).
+1910 – Na Fábrica Lafayette, exposição de retratos produzidos por Piereck, feitos por um novo e belíssimo processo, o mais moderno da arte fotográfica, imitação de fina gravura em relevo (A Província, 14 de janeiro de 1910, última coluna).
+Venda de quadros e molduras a varejo e no atacado na Photographia Piereck (A Província, 30 de maio de 1910, quinta coluna).
+A Photographia Piereck conquistou a Medalha de Ouro na Exposição Internacional de Bruxelas, realizada entre 23 de abril e 1º de novembro de 1910 (Diário de Pernambuco, 1º de novembro de 1910, última coluna). Também participaram da exposição os pintores brasileiros Lucilio de Albuquerque (1877 – 1939) e Antônio Parreiras (1860 – 1937). O encarregado pelos concertos de música brasileira no evento foi o maestro cearense Alberto Nepomuceno (1864 – 1920), então diretor do Instituto Nacional de Música. O pavilhão brasileiro foi projetado pelo arquiteto belga Franz van Ophen (18? – 19?).
+ 
+Pavilhão brasileiro na Exposição Internacional de Bruxelas, em 1910 / Fon-Fon, 9 de julho de 1910
+ 
+Em 15 de novembro de 1910, foi inaugurada a instalação elétrica da Photographia Piereck (Jornal Pequeno, 14 de novembro de 1910).
+ 
+Jornal Pequeno, 14 de novembro de 1910
+ 
+O quadro das novas professoras formadas no Colégio Prytaneu foi confeccionado e exposto na Photographia Piereck (A Província, 28 de novembro de 1910, segunda coluna).
+1911 - A Photographia Piereck ganhou a Medalha de Ouro na Exposição de Turim, realizada entre 29 de abril e 19 de novembro de 1911 (Almanach de Pernambuco, 1912). 
+ 
+
+Medalha de Ouro da Exposição de Turim / Acervo da família Piereck
+ 
+Nessa mesma exposição, o fotógrafo amador alagoano Luis Lavènere Wanderley (1868 – 1966) também foi premiado com uma Medalha de Ouro exibindo fotografias sobre madeira, sobre porcelana e quadros de gênero  (Leituras para todos, janeiro de 1912).
+ 
+Poster oficial da Exposição Internacional de Turim em 1911, de autoria de Adolfo De Karolis (1874 – 1928)
+ 
+O fotógrafo austríaco radicado no Brasil Otto Rudolf Quaas (c. 1862 – c. 1930) recebeu a Medalha de Prata. Segundo artigo de Boris Kossoy, publicado no O Estado de São Paulo, de 4 de março de 1973,  o fotógrafo Valério Vieira (1862 – 1941) participou da Exposição Universal de Turim, durante a qual foi agraciado com a comenda de Cavaleiro da Coroa, concedida pelo rei da Itália, por sua defesa da causa da imigração italiana para o fotógrafo Valério Vieira (1862 – 1941).
+ 
+Almanach de Pernambuco, 1912
+ 
+Em uma exposição do quadro de bacharéis em Ciências Jurídicas e Sociais da Faculdade de Direito na Photographia Piereck, a iluminação do ateliê foi descrita e referida como responsável por um surpreendente efeito luminoso. O evento, muito concorrido, contou com a apresentação da banda do 49º Batalhão de Caçadores (A Província, 6 de dezembro de 1911, quarta coluna).
+1912 –  Exposição de um retrato de Eudoro Correia (1869 – 1961), prefeito do Recife, na Photographia Piereck. O retrato seria ofertado ao prefeito pelos carvoeiros da casa Cory Brothers (Jornal do Recife, 19 de abril de 1912).
+Mais uma vez, o quadro de retratos das novas professoras formadas no Colégio Prytaneu foi confeccionado e exposto na Photographia Piereck (Jornal Pequeno, 16 de maio de 1912, quarta coluna).
+A Photographia Piereck também confeccionava elegantes e custosas molduras (Jornal Pequeno, 20 de junho de 1912, última coluna).
+Em julho, Louis Piereck foi passar uma temporada na Europa e deixou na direção de seu estabelecimento seu antigo auxiliar J. de Oliveira Lopes. Seu amigo Delfino da Silva Tigre cuidaria de seus assuntos particulares e comerciais (Jornal do Recife, 18 de julho de 1912, terceira coluna).
+1913 – A bordo do Araguaya, Louis Piereck retornou de uma viagem à Europa quando visitou vários estabelecimentos fotográficos, especialmente em Viena e em Berlim. Comprou a patente para o processo fotográfico esmalte ouro para a América do Sul. Além disso, adquiriu uma utilíssima e magnífica máquina para operação em atelier, tipo 1912, a mais aperfeiçoada invenção e dotada de uma fina objetiva do importante cabricante Carl Zeiss…esse aparelho é o único que consegue apanhar clichês representando a maior naturalidade e nitidez, visto como o fotografado não vê diante de si a câmara, mas um grande espelho, onde se reflete a sua imagem, podendo desta natureza o artista, no momento crítico, apanhar uma fisionomia com a expressçao mais viva e natural. No interior da máquina  existe um aparelho instantâneo automático, de maneira que a pessoa que está sendo fotografada, por mais nervosa que seja, não pode modificar a expressão do rosto, evitando assim as tão frequentes reclamações de que “o trabalho não está bom a cópia não foi fiel”. Trouxe também fundos e decorações, uma coleção de animais para fotos com crianças, um projetor automático e elétrico, o maior do gênero em Pernambuco, que permitia apanhar no dia mais escuro qualquer clichê e um graduador automático de regulamentação de luz nas provas. Finalmente, comprou também uma rica e elegante cartonagem para a produção de um belíssimo efeito no acabamento dos retratos (Jornal do Recife, 1º de fevereiro de 1913, penúltima coluna; Jornal Pequeno, 20 de fevereiro de 1913, segunda coluna; e A Província, 25 de fevereiro de 1913, quarta coluna).
+ 
+Descrição do processo Esmalte Ouro / Jornal Pequeno, 20 de fevereiro de 1913
+ 
+“Essa conhecida casa, de que é proprietário o habilíssimo e competente artista sr. Luiz Piereck, acaba de ser dotada de importantes melhoramentos e novidades da arte, tonando-se desta sorte o principal estabelecimento do gênero desta capital”.
+Louis Piereck anunciou que havia reassumido a direção técnica de seu estabelecimento e a nova máquina fotográfica adquirida na Europa foi exposta na Photographia Piereck (Jornal Pequeno, 26 de fevereiro de 1913, terceira coluna; Jornal Pequeno, 1º de março de 1913, primeira coluna).
+Anunciou possuir os aparatos mais modernos e necessários para transformar seu ateliê em um interior de igreja para os atos de 1ª Comunhão, casamentos e batizados (Jornal Pequeno, 7 de abril de 1913, primeira coluna).
+ 
+Louis Piereck. José do Santos Dias, Luiz Dias Lins [primeira Comunhão], s/d. Recife, Pernambuco / Acervo Fundaj
+A Photographia Piereck inaugurou seu serviço fotográfico noturno sem o processo do magnésio (Jornal Pequeno, 13 de junho de 1913, penúltima coluna).
+ 
+Jornal Pequeno, 13 de junho de 1913
+ 
+A Photographia Piereck foi contratada para realizar o quadro dos formandos da Escola de Farmácia (A Província, 24 de julho de 1913, terceira coluna).
+Em 14 de novembro, no Teatro Santa Izabel, no Recife, foi entregue a Medalha de Ouro conquistada por Louis Piereco, na Exposição Internacional de Turim, em 1911 (Jornal Pequeno, 15 de novembro de 1913, terceira coluna).
+ 
+Jornal Pequeno, 15 de novembro de 1913
+ 
+Foi noticiado que Louis Piereck embarcaria para a Europa com a família. Teria aceito a incumbência de realizar para o Jornal Pequeno reportagens fotográficas nas principais cidades que visitasse (Jornal Pequeno, 29 de novembro de 1913, segunda coluna; Jornal do Recife, 18 de abril de 1915, segunda coluna).
+Na Photographia Piereck, exposição de um quadro com retratos da tripulação vencedora, do Club Náutico, do páreo de honra da última regata (Jornal Pequeno, 13 de dezembro de 1913, última coluna).
+1914 – Exposição do quadro das professoras da Escola Normal Pinto Junior, confeccionado no ateliê fotográfico de Piereck que foi decorado, para o evento, em estilo japonês. Na ocasião, houve a apresentação de uma banda militar (A Província, 21 de novembro de 1914, última coluna; Jornal do Recife, 24 de novembro de 1914, última coluna).
+1915 – Ganhou o Grande Prêmio de Honra e uma Medalha de Ouro na Exposição Internacional do Trabalho em Milão.
+ 
+Grande Prêmio de Honra, Milão, 1915 / Acervo da família Piereck
+ 
+Após uma longa viagem pela Europa, iniciada em fins de 1913, quando esteve em Viena, Paris e Berlim, Louis Piereck e sua família voltaram para o Recife, a bordo do transatlântico Avon. Trouxe para seu ateliê recentes descobertas fotográficas, dentre elas o processo de Pigment ou carvon verdadeiro, em que se notam nas provas 20 e tantas cores diferentes. Adquiriu também aparelhos para a execução de trabalhos esmaltados em moldura de diversos formatos – ovais, medalhões, redondos, quadrados, dentre outros – , e máquinas fotográficas para a realização de instantâneos de toda natureza … podendo apanhar as imagens com a rapidez de 2500 de segundo (Jornal do Recife, 18 de abril de 1915, segunda coluna; A Província, 23 de abril de 1915, segunda coluna; A Província, 27 de abril de 1915, quinta coluna; Jornal Pequeno, 28 de maio de 1915, penúltima coluna). Reassumiu seu estabelecimento fotográfico em 1º de junho (A Província, 27 de maio de 1915, segunda coluna).
+Era o único depositário para todo o Brasil do medicamento Expulsin, fabricado em Berlim para o combate à gota, reumatismo e artrite (A Província, 27 de junho de 1915, primeira coluna; A Província, 17 de março de 1917, última coluna).
+O inspetor de higiente, dr. Gouveia de Barros, foi retratado na Photographia Piereck (Jornal Pequeno, 4 de agosto de 1915, última coluna).
+Inauguração de diversos e importantes melhoramentos na Photographia Piereck, dentre eles o aumento da iluminação elétrica. Havia no ateliê um espaçoso laboratório para lavagem, revelação e fixagem de chapas, uma prensa automática e elétrica para a impressão de provas e também um aparelho para o serviço de ampliação. Havia também a seção de colagem, cortagem de cartão e abertura de firma da casa e outros distintivos, além da sala de fotografia e da seção de molduras. Nesta ocasião, trabalhavam no ateliê os artistas Gustavo Fischer e o alemão Phil Schafer, que havia trabalhado no ateliê Hubart & Cia, no Rio de Janeiro (Jornal Pequeno, 29 de dezembro de 1915, última coluna).
+1916 - Piereck esteve por cerca de três meses na Europa e reassumiu a direção artística de seu ateliê, em 30 de junho de 1916. Trouxe para seu estabelecimento um aparelho para fotografias noturnas usado nas grandes casas da Europa. Adquiriu também uma belíssima cartonagem, o que havia de mais chic e novo no gênero (Jornal Pequeno, 1º de julho de 1916, última coluna).
+Viajou a passeio para o Rio de Janeiro (Jornal Pequeno, 22 de agosto de 1916, última coluna).
+1917 - Em um aviso publicado no jornal A Província, Piereck denunciou fotógrafos que, usando de má fé, apresentavam-se como seus representante (A Província, 3 de abril de 1917, última coluna).
+ 
+A Província, 3 de abril de 1917
+ 
+Devido à manifestações contra a Alemanha ocorridas no Recife, Piereck procurou a redação do Jornal do Recife e declarou, mostrando documentos, ser brasileiro (Jornal do Recife, 12 de abril de 1917, primeira coluna).
+A Photograhia Piereck foi escolhida para realizar o quadro de retratos dos bacharelandos de Direito de 1917 (Jornal Pequeno, 26 de maio de 1917, última coluna).
+Anúncio da instalação, na Photographia Piereck, de uma importante e bem montada oficina para o fabrico de molduras, a cargo de competentes artistas (Jornal Pequeno, 26 de julho de 1917).
+No quarto e mais importante páreo da regata promovida pelo Club Sportivo Almirante Barroso, foi disputado pela primeira vez o rico e elegante brinde “Photo Piereck”, oferecido pela conceituada Photographia Piereck  (Jornal Pequeno, 4 de agosto de 1917, quinta coluna).
+ 
+
+ 
+Foi noticiado que Gustavo Fischer havia deixado de ser o auxiliar de Louis Piereck, por sua livre e espontânea vontade. Ele passou a gerenciar a Photographia Chic (Diário de Pernambuco, 23 de outubro de 1917, primeira coluna; Jornal Pequeno, 24 de outubro de 1917, última coluna).
+1918 - Mais uma vez, a Photographia Piereck foi a responsável pela realização do quadro de bacharéis da Faculdade de Direito (A Província, 7 de fevereiro de 1918, segunda coluna).
+ 
+A Província, 26 de maio de 1918
+ 
+Exposição de diversos retratos na Photographia Piereck (Jornal Pequeno, 2 de agosto de 1918, terceira coluna).
+1919 – As capas da revista Vida Moderna passaram a trazer fotografias cedidas pela Photographia Piereck (Vida Moderna (PE), 5 de julho de 1919).
+ 
+Vida Moderna, 5 de julho de 1919
+ 
+Inauguração na Photographia Piereck do quadro dos engenheiros formados em 1919 na Escola Livre de Engenharia. O passe-partout havia sido confeccionado pelo artista Moser (Jornal do Recife, 16 de agosto de 1919, penúltima coluna).
+Realização de um magnífico trabalho na Photographia Piereck. Quadro do corpo médico e da junta administrativa de 1948, do Hospital Português (Jornal Pequeno, 20 de agosto de 1919, segunda coluna).
+Foi anunciada a venda, na Photographia Piereck, de novas tintas para artistas pintores (Jornal Pequeno, 7 de outubro de 1919, primeira coluna).
+A Photographia Piereck foi, de novo, a responsável pela realização do quadro de bacharéis da Faculdade de Direito (A Província, 10 de dezembro de 1919, penúltima coluna).
+Na Photographia Piereck, inauguração do quadro de retratos dos professores da Escola Normal: Julio Pires Ferreira, França Pereira, Arthur Cavalcanti e José Ferreira Muniz (A Província, 13 de dezembro de 1919, quarta coluna).
+1920 – O pintor Vicente do Rego Monteiro (1899 – 1970) fez uma exposição de ilustrações e aquarelas na Photographia Piereck (Diário de Pernambuco, 7 de janeiro de 1920, primeira coluna). Rego Monteiro trouxe para o Recife, em 1930, uma exposição de artistas da Escola de Paris, que foi a primeira mostra internacional de arte moderna realizada no Brasil, com artistas ligados às grandes inovações nas artes plásticas, como o cubismo e o surrealismo. Foram expostas, dentre outras, obras de Fernand Léger (1881 – 1955), Georges Braque (1882 – 1963), Joan Miró (1893 – 1983) e Pablo Picasso (1881 – 1973), além de trabalhos dele.
+ 
+Diário de Pernambuco, 7 de janeiro de 1920
+ 
+Estavam à venda na Photographia Piereck, as chapas fotográficas de fabricação alemã que, devido à guerra e a consequente interrupção das exportações, passaram muito tempo em falta. Outros produtos fotográficos também eram vendidos no ateliê (A Província, 22 de julho de 1920, primeira coluna; A Província, 20 de agosto de 1920, última coluna).
+ 
+Diário de Pernambuco, 16 de dezembro de 1920
+ 
+A Photographia Piereck foi escolhida para realizar o quadro de retratos dos formandos em odontologia (Jornal do Recife, 7 de agosto de 1920, quinta coluna).
+Os retratos do presidente do Brasil, Epitácio Pessoa (1865 – 1942), e do governador de Pernambuco, José Rufino Bezerra Cavalcanti (1865 – 1922), realizados pela Photographia Piereck, foram expostos durante a realização da comemoração do primeiro ano de governo de Bezerra CAvalcanti (A Província, 18 de dezembro de 1920, quarta coluna).
+1921 – A Photographia Piereck realizou o quadro de retratos dos formandos da Faculdade de Direito e dos farmacêuticos (Jornal do Recife, 13 de janeiro de 1921, sexta coluna; A Província, 3 de dezembro de 1921, segunda coluna).
+Piereck Irmãos vendiam carros (Diário de Pernambuco, 20 de janeiro de 1921).
+A Photographia Piereck recebeu da Alemanha cartonagem para retratos de formatos visita e álbum em cores sortidas com os seus respectivos envelopes transparentes (A Província, 30 de janeiro de 1921, quarta coluna).
+Exposição de diversos retratos na Photographia Piereck, uma das melhores de nosso país (A Província, 11 de fevereiro de 1921, primeira coluna).
+Louis Piereck reassumiu, em 15 de setembro, a direção de seu estabelecimento (A Província, 20 de setembro de 1921, última coluna).
+Phil Schafer, gerente da Photographia Piereck, anunciou que havia se desligado do estabelecimento e oferecia seus serviços profissionais de ampliação, sua especialidade, assim como outros ligados à fotografia. Posteriormente abriu um estabelecimento fotográfico na rua da Imperatriz, 285, bem perto da Photographia Piereck (Jornal Pequeno, 20 de setembro de 1921, última coluna; Almanak Laemert, 1927, última coluna).
+O Club Sportivo Almirante Barroso conquistou algumas taças nas regatas realizadas na baciaa do Capiberibe, uma delas a Taça Photo Piereck (A Província, 20 de setembro de 1921, segunda coluna).
+Houve um incêndio na Photographia Piereck devido a um curto-circuito na fiação elétrica (Jornal Pequeno, 6 de dezembro de 1921, quinta coluna; A Província, 7 de dezembro de 1921, última coluna).
+1922 – Foi premiado com a Medalha de Ouro na Exposição Internacional do Centenário da Independência, realizada no Rio de Janeiro (A Província, 11 de julho de 1924, primeira coluna).
+A Photo Piereck anunciou a chegada de uma nova remessa de chapas alemães do afamado fabricante Schleussner. No mesmo anúncio aconselhava os fotógrafos e amadores: só usem chapas preparadas com emulsão tropical  (Diário de Pernambuco, 19 de janeiro de 1922, terceira coluna). No mesmo ano, foi anunciada a chegada de uma remessa da tinta Helios, especiais para a pintura de tecidos (Diário de Pernambuco, 14 de juho de 1922, terceira coluna).
+A Photographia Piereck realizou o quadro de retratos das professoras formadas na Escola Normal de Pernambuco (Diário de Pernambuco, 2 de fevereiro de 1922, sexta coluna).
+Nascimento de Fernando Carlos, filho de Elizabeth Piereck White, irmã de Louis, que era casada com Fernando White (Jornal Pequeno, 16 de fevereiro de 1922, quinta coluna).
+Durante as exéquias celebradas, na basílica Nossa Senhora da Penha, em memória de José Rufino Bezerra Cavalcanti (1865 – 1922), foi exibido um retrato a óleo, realizado pela Photographia Piereck na época em que ele foi ministro da Agricultura, entre 1915 e 1917 (Diário de Pernambuco, 28 de abril de 1922, quarta coluna).
+Após concorrer com o fotógrafo Fidanza – curiosamente, mesmo sobrenome do fotógrafo português Felipe Augusto Fidanza (c. 1847 – 1903) – , foi escolhido para realizar o quadro de retratos dos bacharéis da Faculdade de Direito (A Província, 12 de maio de 1922, quinta coluna).
+Na Photographia Piereck, exposição do chargista e caricaturista paraibano Fausto Silvério Monteiro, (? – 1935), Fininho, pioneiro nas produções de materiais gráficos do cinema pernambucano. Pode ser considerado como um dos primeiros artistas gráficos a trabalhar para o cinema no Brasil (Diário de Pernambuco, 27 de agosto de 1922, quinta coluna).
+ 
+Diário de Pernambuco, 27 de agosto de 1922
+ 
+A Photo Piereck anunciava-se como a única importadora em Pernambuco de produtos fotográficos.
+ 
+Diário de Pernambuco, 7 de setembro de 1922
+ 
+Foi, de novo, o responsável pela realização do quadro de retrato de bacharéis da Faculdade de Direito (Diário de Pernambuco, 15 de dezembro de 1922, quinta coluna).
+1923 - Ferdinand Piereck Junior noticiou que seu irmão, Louis Piereck, estava se retirando da firma Piereck Irmãos, que ficava na Praça da Independência 31 e que havia há pouco anunciado a venda de tintas e anilinas de Brauns (A Província, 24 de abril de 1923, segunda coluna).
+Exposição na Photographa Piereck do retrato do senador Manoel Borba (1864 – 1928), que seria colocado na Prefeitura de Jaboatão (Jornal Pequeno, 9 de junho de 1923, primeira coluna).
+Eram vendidas na Photographia Piereck máquinas fotográficas Kodack Goerz, além de outros produtos fotográficos da marca Gevaert (Jornal Pequeno, 16 de janeiro de 1923, última coluna; Jornal Pequeno, 10 de julho de 1923, segunda coluna).
+ 
+Jornal Pequeno, 10 de julho de 1923
+ 
+O alemão Martin Schumann dirigia a seção de retratos a óleo, pastel, aquarelas e ampliações fotográficas da Photographia Piereck. Anteriormente, já havia dirigido uma academia em Dresden onde ensinava essas técnicas. Em homenagem à data da independência do Brasil, foi realizada uma exposição na Photo Piereck de quadros a óleo e trabalhos outros do gênero (Jornal Pequeno, 5 de setembro de 1923, quinta coluna; A Província, 7 de setembro de 1923, quarta coluna).
+ 
+Martin Schumann / Jornal Pequeno, 5 de setembro de 1923
+ 
+Morte do primogênito de Louis e Hermínia Piereck, Luiz, que estudava no Colégio Synodal, em Santa Cruz, no Rio Grande do Sul (Jornal Pequeno, 30 de novembro de 1923, primeira coluna).
+Publicação de propagandas das lentes Goerz, vendidas na Photographia Piereck (Diário de Pernambuco, 9  e 30 de dezembro de 1923).
+ 
+Diário de Pernambuco, 9 de dezembro de 1923
+ 
+“A memória nem sempre é fiel….É recem-casado?…De futuro a sua alegria será enorme” – de uma propaganda da Photo Piereck (Jornal Pequeno, 31 de dezembro de 1923, última coluna).
+ 
+Jornal Pequeno, 31 de dezembro de 1923
+ 
+1924 - Mário Araújo Sobrino e Felipe Nery dos Santos trabalhavam como auxiliares na Photographia Piereck  (Diário de Pernambuco, 14 de fevereiro, segunda coluna; e Diário de Pernambuco, 27 de maio de 1924, terceira coluna).
+Realizou o quadro de retratos dos bacharéis em ciências comerciais (A Província, 29 de março de 1924, quarta coluna).
+Exposição, na Photographia Piereck, do quadro de retratos dos formandos da Escola de Engenharia de Pernambuco. O passe-partout foi de autoria do pintor H. Moser  (Diário de Pernambuco, 5 de abril de 1924, quarta coluna).
+Na Photographia Piereck eram vendidos diversos equipamentos fotográficos (Jornal Pequeno, 21 de maio de 1924).
+ 
+Jornal Pequeno, 21 de maio de 1924
+ 
+Exposição na vitrine da Photographia Piereck de um magnífico retrato busto em tamanho natural enfaixado em rica moldura do abastado comerciante e nosso particular amigo coronel Othon Mendes Bezerra de Mello (Jornal Pequeno, 2 de setembro de 1924, segunda coluna).
+Ganhou uma Medalha de Ouro do Instituto Agrícola,  no Rio de Janeiro.
+1925 – Inauguração, na Photographia Piereck, do quadro de retratos de bacharéis da Faculdade de Direito (Diário de Pernambuco, 12 de março de 1925, primeira coluna).
+ 
+Quadro de bacharéis de Direito de 1924 / Revista de Pernambuco, março de 1925
+ 
+Publicação de fotografias de Piereck na Revista de Pernambuco (Revista de Pernambuco, março de 1925).
+ 
+Photo Piereck na Revista de Pernambuco, março de 1925
+ 
+Anunciou a venda de vários produtos “Para photografia!” como prensa de copiar 13:18 9:12, bacias de porcelana e ágata, copas de graduar, balanças, vidros finos despolidos, rubi e calibres diversos. Vendia também papéis mate e brilhantes de diversos fabricantes, além de cartolinas (Diário de Pernambuco, 31 de maio de 1925, terceira coluna; Diário de Pernambuco, 4 de julho de 1925, primeira coluna).
+A Photographia Piereck foi responsável pelo quadro de retratos da primeira turma de médicos formados na Faculdade de Medicina do Recife (A Província, 6 de dezembro de 1925, terceira coluna).
+Falecimento de seu pai, Ferdinand, em sua casa na estrada dos Aflitos, 192 (Jornal do Recife, 12 de dezembro de 1925, segunda coluna).
+1926 – Falecimento da sogra de Piereck, Maria Leontina Bastos Tigre (Jornal Pequeno, 4 de janeiro de 1926)
+A Photo Piereck anunciava uma grande novidade, o metallon, um papel fotográfico ideal para efeitos artísticos (Diário de Pernambuco, 28 de março de 1926).
+ 
+Diário de Pernambuco, 28 de março de 1926
+ 
+O chargista  e caricaturista Fausto Silvério Monteiro (? – 1935), Fininho, trabalhava na Photographia Piereck, na rua da Imperatriz, 198  (Jornal do Recife, 10 de abril de 1926, quinta coluna).
+A Photographia Piereck produziu o quadro de retrato das primeiras diplomadas em Comércio do Instituto Nossa Senhora do Carmo (Jornal do Recife, 20 de novembro de 1926, quarta coluna).
+Na primeira edição da Revista da Cidade, publicação de duas fotografias de autoria de Piereck. Em diversas edições desta revista, fotografias de Piereck foram publicadas.
+ 
+Photo Piereck. Um five gracioso  / Revista da Cidade, 29 de maio de 1926, primeira edição
+ 
+ 
+Photo Piereck. FELICIDADE O sr. Fileno de Miranda, esposa e filhinhos / Revista da Cidade, 29 de maio de 1926, primeira edição, página 22
+ 
+1927 – Foi o responsável pelo quadro de retratos da Turma do Centenário da Faculdade de Direito do Recife (Diário de Pernambuco, 21 de abril de 1927, sexta coluna).
+Publicada as fotografias, todas de autoria de Piereck, dos membros da diretoria da Sociedade Anônima Revista da Cidade, recém formada (Revista da Cidade, 16 de abril de 1927, páginas 12 e 13).
+ 
+Revista da Cidade, 16 de abril de 1927, páginas 12 e 13
+ 
+ 
+Foi noticiada uma reforma na Seção de amadores da Photo Piereck (Jornal Pequeno, 18 de julho de 1927, última coluna).
+1928 – Anunciou a chegada novas remessas de papel Leonar, chapas Eisenberger (Jornal Pequeno, 8 de março de 1928, última coluna).
+A Photographia Piereck realizou a fotografia de dom Miguel de Lima Valverde (1872 – 1951), arcebispo de Olinda e Recife (Diário de Pernambuco, 22 de julho de 1928, quarta coluna).
+Em um anúncio, convidava os fotógrafos amadores a ver a nova Vest pocket à venda na Photographia Piereck (Jornal Pequeno, 22 de novembro de 1928, segunda coluna)
+1929 - Também eram vendidos na Photographia Piereck produtos da Kodak, da Agfa, da Hauff e de outros fabricantes (Jornal Pequeno, 2 de janeiro de 1929, segunda coluna).
+Um retrato da Photographia Piereck era um dos prêmios oferecidos à vencedora do concurso de beleza que elegeu a Miss Pernambuco, Connie Brás da Cunha (Jornal Pequeno, 21 de março de 1929, quarta coluna).
+A professora e feminista Júlia Augusta de Medeiros (1896 – 1972) ofereceu à feminista e presidente da Federação Brasileira para o Progresso Feminino, Bertha Lutz (1894 – 1976), uma fotografia sua produzida por Louis Piereck, datada de 5 de maio de 1929.
+ 
+Louis Piereck. Júlia de Medeiros, 1929. Pernambuco / Acervo Arquivo Nacional
+ 
+1930 - No dia em que foi assassinado, 26 de julho de 1930, pelo jornalista João Dantas (1888 – 1930), no Recife, o então governador de Paraíba, João Pessoa (1878 – 1930), esteve na Photographia Piereck, onde tirou novas fotografias a fim de atender a pedidos que constantemente lhe eram feitos por jornalistas, amigos e parentes. O governador estava com Agamenon Magalhães (1893 – 1952), na época ex-deputado e futuro governador de Pernambuco; e com o jornalista Caio Lima Cavalcanti. Piereck era grande admirador de Pessoa e segundo o Correio da Manhã, o encontro dos dois se deu com grande emoção. Na ocasião, Piereck teria contado a Pessoa que tivera um pesadelo com a morte dele (Diário Carioca, 29 de julho de 1930, penúltima coluna; Correio da Manhã, 29 de julho de 1930, penúltima coluna). O assassinato é considerado um dos estopins da Revolução de 30.
+ 
+Correio da Manhã, 29 de julho de 1930
+ 
+Segundo o jornalista Domingos Meirelles em seu livro Órfãos da revolução, ao preparar os equipamentos, Piereck notou que João Pessoa continuava tenso, olhos baixos, expressão congelada, com tristeza na face. Produziu um segundo retrato, segundo o pesquisador Edival Varandas, ao se dar conta que as luvas no bolso do paletó do presidente estavam desalinhadas e, subitamente, solicitando que não se movesse, ajeitou as luvas, pediu que esboçasse um leve sorriso e tirou o outro retrato, que viria a ser o último de Pessoa (O Dia (PR), 21 de novembro de 1931, quarta coluna).
+O assassino de João Pessoa, João Dantas, e o engenheiro Augusto Caldas, seu cunhado, foram presos na Casa de Detenção do Recife, onde foram encontrados mortos em 6 de outubro (Diário de Pernambuco, 7 de outubro de 1930, primeira coluna). O motivo oficial das morte foi suicídio mas, anos depois, a descoberta de registros fotográficos produzidos por Piereck contribuiu para desacreditar essa versão:
+ “João Dantas e seu cunhado Augusto Caldas estavam detidos, desde a morte de João Pessoa, na penitenciária em Recife, quando, na tarde de 6 de outubro, foram encontrados mortos. A notícia oficial apontou suicídio, e assim foi divulgado na imprensa. Somente após a morte do fotógrafo Piereck foi que uma nova versão para a morte foi trazida ao público – tratava-se de outras fotografias desconhecidas e que estavam guardadas no cofre do fotógrafo. Conta-se que Piereck, sabendo do que ocorrera, fotografou o local, mas foi obrigado a tirar novas fotos em que, num novo cenário fotografado, esconderia os sinais de luta e de assassinato. Essa versão se encontra no livro do irmão de Augusto Caldas, que foi recentemente publicado pela ONG “Parahyba Verdade”” e editado pela Gráfica e Editora Imprell  (Trecho da dissertação de mestrado Sacrifício, heroísmo e imortalidade: a arquitetura da construção da imagem do Presidente João Pessoa, de Genes Duarte Ribeiro – página 100).
+Essas fotografias foram publicadas no livro de Joaquim Inojosa Andrade, A República de Princesa (José Pereira x João Pessoa, -1930) e reproduzidas no site princesapb.com.
+ 
+
+ 
+1931 – Piereck era viciado em jogo e havia perdido seu patrimônio em corridas de cavalo, motivo de seu suicídio, em 19 de novembro. Ingeriu uma alta dose de oxianureto de mercúrio em sua residência, na avenida Rosa e Silva, 192. Desesperada, sua mulher, Herminia Tigre Piereck, também tentou se matar ingerindo ácido arsênico.  O casal tinha, na época, dois filhos, Edgard e Herminia “Baby” Piereck. O primogênito, Luiz, havia falecido em 1923 (Diário de Pernambuco, 20 de novembro de 1931, penúltima coluna; Jornal Pequeno, 20 de novembro de 1931, quinta coluna; Diário de Pernambuco, 20 de novembro de 1931, sexta coluna).
+“A dolorosa ocorrência repercutiu tristemente em nosso meio, onde o sr. Louis Piereck se tornara um homem popular, pela sua bondade, pelos seus dotes morais. E o seu gesto,não foi só uma desagradável surpresa para os que apenas o conheciam mas também para os que pertenciam a sua família que, de momento, não podiam atinar onde essa causa tão forte, que levava o chefe a praticar o ato de desespero que lhe roubara a vida. Entretanto, ao que se sabe, o sr.Louis Piereck, antes de objetivar a sua macabra resolução, teria escrito uma longa carta a seu filho de nome Edgard Piereck expondo-lhe com pormenores as causas que o levaram a procurar a morte de uma maneira tão violenta”.
+Jornal Pequeno, 20 de novembro de 1931
+ 
+Era diretor do Jockey Club e as corridas foram suspensas no domingo seguinte a seu falecimento. Estiveram presentes a seu enterro o interventor federal e figuras da maior represetação da alta sociedade pernambucana (Jornal Pequeno, 21 de novembro de 1931, primeira coluna).
+1932 – Foi publicado um anúncio convocando todos os credores da Photographia Piereck a fim de se entenderem com Edgard Piereck, filho de Louis (Diário de Pernambuco, 5 e fevereiro de 1932).
+O estabelecimento foi a leilão judicial, em abril de 1932.
+ 
+A Província, 26 de abril de 1932
+ 
+1949 – A esposa de Louis Piereck, Hermínia, morava na rua República do Peru, 124, no Rio de Janeiro, com a filha, Herminia Baby. Tropeçou em um cachorro, caiu, foi hospitalizada e acabou falecendo (Diário de Pernambuco, 17 de setembro de 1949, última coluna).
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+(1) De acordo com Lúcia Gaspar, da Fundaj, “curiosamente, a rua da Imperatriz Tereza Cristina mudou de nome três vezes. Em 1895, foi denominada Dr. Rosa e Silva. Passou para Floriano Peixoto. Finalmente, por meio da Lei nº 1.336, de 13 de março de 1923, voltou ao nome tradicional. De maneira espontânea, a população reduziu a sua denominação para Rua da Imperatriz, como é conhecida até hoje”. Por isso, apesar de entre 1904 e 1931 a Photographia Piereck ter existido no mesmo lugar, o endereço variou: rua dr. Rosa e Silva, 54; rua Floriano Peixoto, 54; rua Floriano Peixoto, 198; e rua da Imperatriz, 198.
+ 
+Agradeço muitíssimo à família de Louis Piereck, especialmente à sua neta, Eliane Piereck, por inúmeras informações e pela cessão de registros do acervo pessoal da família.
+Agradeço à bisneta de Louis Piereck, Chris Piereck, que contribuiu com novas informações, incorporadas ao artigo, em 30 de janeiro de 2023.
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+ 
+Fontes:
+ANDRADE, Joaquim Inojosa. República da Princesa (José Pereira x João Pessoa – 1930). Rio de janeiro/Brasília: Civilização Brasileira/INL-MEC, 1980.
+Blog do Juan Esteves
+BEZERRA, Dinarte Varela. 1930, a Paraíba e o inconsciente político da revolução: a narrativa como ato socialmente simbólico. 2009. 227 f. Tese (Doutorado em Desenvolvimento Regional; Cultura e Representações) – Universidade Federal do Rio Grande do Norte, Natal, 2009.
+CALDAS, Joaquim Moreira. Porque João Dantas assassinou João Pessoa: o delito do “Glória” e a tragédia da penitenciária do Recife em 1930. João Pessoa: Gráfica e Editora Imprell, 2008.
+CAMPOS, Eudes. O antigo Beco da Lapa e o Grande Hotel. Informativo Arquivo Histórico Municipal, 4 (24): maio/jul. 2009
+Google Arts and Culture
+Hemeroteca Digital da Biblioteca Nacional
+KOSSOY, Boris. Dicionário histórico-fotográfico brasileiro: fotógrafos e ofício da fotografia no Brasil (1833-1910). São Paulo: Instituto Moreira Salles, 2002.
+MEIRELLES, Domingos. Órfãos da revolução. Editora Record : Rio de Janeiro, 2006
+RIBEIRO, Genes Duarte. Sacrifício, heroísmo e imortalidade: a arquitetura da construção da imagem do Presidente João Pessoa. Dissertação de Mestrado. Universidade Federal da Paraíba, 2009.
+Site CPDOC
+Site Dezenovevinte.net
+Site Enciclopédia Itaú Cultural
+Site Imigração Histórica
+Site Silvia Matos Ateliê de Criatividade
+Site princesapb.com
+Site Propagandas Históricas
+TURAZZI, Maria Inez. Poses e trejeitos: a fotografia e as exposições na era do espetáculo: 1839/1889. Prefácio Pedro Karp Vasquez. Rio de Janeiro: Funarte. Rocco, 1995. 309 p., il. p&b. (Coleção Luz & Reflexão, 4). ISBN 85-85781-08-4.
+VARANDAS, Edival Toscano. O último retrato do presidente João Pessoa.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/8445` — `itens/20.500.12156.1_8445/`
+- `20.500.12156.1/8450` — `itens/20.500.12156.1_8450/`
+- `20.500.12156.1/8440` — `itens/20.500.12156.1_8440/`
+- `20.500.12156.1/8444` — `itens/20.500.12156.1_8444/`
+- `20.500.12156.1/8441` — `itens/20.500.12156.1_8441/`
+- `20.500.12156.1/6569` — `itens/20.500.12156.1_6569/`
+
diff --git a/wordpress/20752-cronologia-de-benjamin-abrahao-calil-botto-1901-1938.md b/wordpress/20752-cronologia-de-benjamin-abrahao-calil-botto-1901-1938.md
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+---
+id: 20752
+url: "https://brasilianafotografica.bn.gov.br/?p=20752"
+titulo: "Cronologia de Benjamin Abrahão Calil Botto (1901 – 1938)"
+autor: "Andrea Wanderley"
+data: "2021-01-06T10:10:06+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/5241", "20.500.12156.1/5245", "20.500.12156.1/5259", "20.500.12156.1/5255"]
+fetched_at: "2026-09-10T10:03:24.569Z"
+---
+
+# Cronologia de Benjamin Abrahão Calil Botto (1901 – 1938)
+
+Cronologia de Benjamin Abrahão Calil Botto (1901 – 1938)
+ 
+Anônimo. Benjamin Abrahão, uma criança e a matriarca dos Elihimas, 1938. Recife, Pernambuco / Acervo IMS
+1901 – Segundo sua família, Benjamin Abrahão Calil Botto nasceu em Zahle (na época, cidade na Síria e, atualmente, do Líbano). Segundo o próprio, havia nascido em Belém, local de nascimento de Jesus Cristo.
+c. 1910 – Por volta desse ano, todo fim de mês ia para Damasco, na Síria, com um tio que armava caravanas para a venda de utensílios aos beduínos.
+1915 – Benjamin desembarcou no porto de Recife, fugindo ao alistamento militar obrigatório devido à Primeira Guerra Mundial. Aqui fez contato com parentes distantes, os Elihimas, que trabalhavam no comércio da cidade, no ramo de miudezas por atacado, das ferragens, de equipamentos de caça e da pesca, na Rua Visconde de Inhaúma, nº 83-91, com filiais em João Pessoa e em Campina Grande, Paraíba.
+c. 1915 – Fugiu do colégio onde os seus primos Elihimas o matricularam e foi para Rio Branco, atual Arcoverde. Devolvido aos parentes, passou a trabalhar como mascate.
+1916 – Em São Bento do Una, ficou amigo do fazendeiro José Ferreira de Morais é foi acolhido na casa-grande.
+1916 / 1917 – Em Arcoverde, toma conhecimento da existência do Padre Cícero Romão Batista (1844 – 1834), o Padim Ciço, por romeiros que partiriam para Juazeiro do Norte, no Ceará, onde morava o sacerdote, considerado virtuoso e místico, que havia se ordenado no Seminário de Fortaleza, em 1870. O religioso obteve sua aura de santidade ao transformar a hóstia em sangue na boca da beata Maria de Araújo, em 6 de março de 1889. O fato teria se repetido diversas vezes durante cerca de dois anos.
+Benjamin, soube que milhares de nordestinos iam a Juazeiro do Norte para receber a bênção do padre pelo menos uma vez por ano, o que tornara a cidade um excelente local para negócios. Decide então ir para Juazeiro do Norte.
+Todos os dias, o Padim Ciço dava uma bênção, de sua casa, a seus fiéis. A mensagem costumeira era: Meus amiguinhos, quem matou, não mate mais! Quem roubou, não roube mais! Quem pecou, não peque mais! Os amancebados se casem! Um dia, Benjamin conseguiu ser avistado pelo sacerdote, que perguntou a ele sua origem. Benjamin identificou-se como natural de Belém, a terra de Jesus, e pediu para ficar na cidade, sob a proteção do religioso. O padre então respondeu: Fique meu filho. Seja bom e pode sentir-se aqui como se fosse a sua própria casa.
+Benjamin foi morar na casa de Pelúsio Correia de Macedo (1867 – 1955), pessoa da inteira confiança do Padre Cícero. Pelúsio foi dono da primeira oficina mecânica da cidade e também fundou a primeira escola de música, onde surgiu a primeira banda de Juazeiro do Norte, que animava desfiles e festas sob sua regência. Foi também proprietário do Cine Iracema, primeiro telegrafista da Estação Telegráfica de Juazeiro do Norte, além de fabricante de quase todos os relógios públicos da região.
+Padre Cícero mandou matricular Benjamin no Colégio São Miguel, do professor Manuel Pereira Diniz (1887 – 1949).
+Foi incumbido de fotografar a primeira visita feita por um governador do Ceará, José Tomé de Sabóia e Silva (1870 – 1945), a Juazeiro do Norte.
+Retomou o ofício de ourives, tentando aprimorar os rudimentos que havia trazido da casa de seus pais. Estudou no Crato com o mestre Teofisto Abath.
+c. 1920 – Como ourives, viajou por Cajazeiras, Crato, Jardim e Barbalha. Teve a notícia da morte de sua mãe e recebeu uma herança, enviada por seus primos de Recife.
+Abriu um armazém de artigos religiosos e fixou-se em Juazeiro do Norte, em 1920.
+Benjamin tornou-se secretário particular do Padre Cícero e passou a morar na casa paroquial. Pouco tempo depois, recebeu as chaves da casa. Como assistente pessoal do sacerdote passou a ter muito poder e a exercer diversas atribuições públicas e privadas. Conheceu personalidades de destaque nacional, clérigos, políticos, militares e educadores.
+Benjamin começou a prosperar com a venda aos romeiros de objetos supostamente abençoados pelo Padre Cícero.
+Participou também de jogatinas e do desvio de valores doados à igreja, o que decepcionou Joana Tertulina de Jesus, a beata Mocinha, que mais prestígio tinha com o Padre Cícero.
+1924 – Benjamin, que dizia-se jornalista, no periódico O Ideal, envolveu-se na denúncia feita pelo farmacêutico José Geraldo da Cruz com o auxílio de Manuel Diniz sobre o fuzilamento sumário de presos tirados da cadeia pública pelo médico e político baiano Floro Bartolomeu da Costa (1876 – 1926), velho amigo do Padre Cícero. Foi Floro que, em 1914, liderou o episódio que ficou conhecido como a Sedição de Juazeiro, um confronto entre as oligarquias cearenses e o governo federal, quando um exército de jagunços derrotou as forças do governo federal e Marcos Franco Rabelo (1851 – 1940) foi deposto do governo do Ceará. Além disso, Floro havia sido importante na ocasião da emancipação de Juazeiro do Norte, em 1911, quando o Padre Cícero tornou-se o primeiro prefeito da cidade.
+1925 - Na festa de descerramento da estátua de bronze do Padre Cícero, em 11 de janeiro, ocasião em que a cidade atraiu cerca de 40 mil romeiros, no intervalo dos discursos, Benjamim tentou falar algumas palavras, mas foi interrompido por Floro Bartolomeu, que abriu seu paletó e gritou Desça daí! Seguiu-se a fala do Padre Cícero.
+O padre Manuel Correia de Macedo, filho de Pelúsio de Macedo, acusou Floro Bartolomeu de déspota, de subjugador do Padre Cícero e de corrupto no livro Juazeiro em foco, publicado em Fortaleza pela Editora de Autores Católicos.
+Em junho, José Landim, compadre de Floro e escrivão da Coletoria, agrediu Benjamin, durante os festejos de recepção ao padre Macedo, em Juazeiro.
+Em agosto, Floro alegou ter sido alvejado à bala pelo turco Benjamin Abrahão quando participava de uma reunião na casa de Francisco Alencar. Benjamin foi preso. Segundo telegrama enviado por Floro ao advogado Raimundo Gomes de Matos, em Fortaleza: Não podendo ser provado que o turco Benjamin Abrahão realmente quisesse cometer um atentado, por isso que não chegeui a lançar mão da arma, e mais ainda porque escreveu carta, para ser publicada, declarando querer morar aqui e outreas coisas, foi solto completamente encabulado.
+1926 - Nesse ano, Benjamin já vivia com Josefa Araújo Alves, com quem teve dois filhos: Atallah e Abdallah. O primeiro foi criado como filho por seu amigo, Gonçalo Mundó.
+De 4 a 7 de março, Lampião e seu bando ficaram em Juazeiro do Norte em visita organizada por Floro Bartolomeu (1876 – 1926), que faleceu em 8 de março, no Rio de Janeiro. Foi na ocasião dessa visita que Benjamin provavelmente conheceu Lampião. Foram realizados saraus dançantes em homenagens a Lampião, que participou de conferências com autoridades públicas. Encontrou-se com o Padre Cícero e com o coronel Pedro Silvino, comandante do Batalhão Patriótico, uma milícia para combater a Coluna Prestes. Lampião e seu bando entraram para o citado batalhão e Lampião recebeu a patente de capitão honorário das Forças Legais de Combate aos Revoltosos, manuscrita por Pedro de Albuquerque Uchoa, ajudante de inspetor agrícola federal. Ele e seu bando receberam armamentos, munição e uniformes do Exército. Pouco tempo depois, o acordo foi desfeito. Em Juazeiro, os cangaceiros foram fotografados por Lauro Cabral de Oliveira Leite e por Pedro Maia (Jornal do Recife, 10 de abril de 1926).
+Durante sua estada em Juazeiro do Norte, quando já estava hospedado no sobrado de João Mendes de Oliveira, Lampião foi visitado pelos ourives da região, levados por Benjamin Abrahão.
+1927 – Benjamin prestava serviços a jornais do Rio de Janeiro e de São Paulo.
+1929 – Benjamin residia na casa do Padre Cícero (A Razão, 17 de outubro de 1929, na terceira coluna).
+Benjamin despachou para todo o sertão emissários com a notícia, falsa, de que o Padre Cícero daria uma bênção de despedida aos romeiros. Juazeiro foi invadida por romeiros e Benjamin, que havia reforçado o estoque de sua loja, lucra muito.
+Benjamim foi confirmado como colaborador especial do jornal O Globo, no Cariri.
+A Razão, 3 de outubro de 1929. Benjamin participa de almoço com o padre Cícero
+1930 – Em 4 de janeiro, Benjamin fundou o jornal O Cariri, dirigido pelo advogado do Padre Cícero, Antônio Alencar Araripe, e editado pelos professores Manuel Diniz e J. Rocha. Teve pelo menos doze edições até março de 1931, quando teve seu título arrematado por editores do Crato.
+Benjamin foi recebido pelo presidente do estado do Ceará, Manuel Fernandes Távora (1877 – 1977) (A Razão, 18 de outubro de 1930, na terceira coluna).
+1932 – Era uma das pessoas mais influentes do círculo do Padre Cícero (O Jornal, 19 de maio de 1932, na segunda coluna).
+1933 – Após uma viagem a Juazeiro do Norte, Otacílio Alecrim publicou no Diário de Pernambuco o artigo “O desencanto de Macunaíma”, em que estranhou dois fatos quando visitou a casa paroquial do Padre Cícero: uma vitrola de corda e a onipresença de um secretário turco: Francamente, com um turco e uma vitrola, não há messias que possa ser levado a sério…(Diário de Pernambuco, 12 de fevereiro de 1933, na penúltima e última colunas).
+ 
+Benjamin concluiu ao lado de dezessete rapazes de Juazeiro do Norte e de cidades ao redor, a primeira turma do Tiro de Guerra 48, implantado no Juazeiro em 1931.  A instrução havia sido suspensa, em 1932, devido ao movimento constitucionalista de São Paulo. Benjamin tornou-se, assim, reservista do Exército.
+1934 - Falecimento do Padre Cícero, em 20 de julho. Segundo o escritor Otacílio Anselmo, em meio às dezenas de repórteres , um deles chama a atenção de todos, tanto pela mobilidade como pelo modo de manejar sua máquina, provida de pequena manivela…o tal cinegrafista era o sírio Benjamin Abrahão, antigo leão de chácara do sacerdote, aproveitando o acontecimento para concluir um filme sobre a vida do famoso líder sertanejo.
+Benjamin fotografou o morto de diversos modos e cortou uma mecha de seu cabelo, que vendeu a diversos devotos até que um deles se seu conta que o padre não tinha tanto cabelo…
+Fundação da Aba Film por Adhemar Bezerra de Albuquerque (1892 – 1975), funcionário do Bank of London & South America Limited em Fortaleza. A empresa era de material fotográfico e de produção de imagens, inclusive cinematográficas. Adhemar era pai do fotógrafo Chico Albuquerque (1917 – 2000) e de Antônio Albuquerque.
+Adhemar foi para Juazeiro do Norte realizar o documentário Funerais de Padre Cícero. Provavelmente, nessa ocasião, conheceu Benjamin Abrahão.
+1935 – Abrahão apresentou seu projeto de fotografar e filmar Lampião e seu bando à Aba Film. Adhemar forneceu a Benjamin equipamentos cinematográficos e fotográficos, além de filmes. Também passou a Benjamin noções básicas de como utilizá-los.
+Benjamin meteu-se numa roupa de brim azulão, sacudiu a tiracolo sua máquina fotográfica e se internou nas caatingas. Ao longo de 18 meses, viajou pelo sertão de Alagoas, Bahia, Paraíba, Pernambuco e Sergipe, e encontrou-se mais duas vezes com Lampião (Diário de Pernambuco de 27 de dezembro de 1936).
+Segundo anotações em sua caderneta de campo, esse foi o início de seu trajeto:
+10 de maio – partiu de Fortaleza para a missão/ 12 de maio – está em Missão Velha / 13 de maio – Brejo Santo / 14 de maio – Jati / 15 de maio – Belmonte, e Fazenda Boqueirão, em Pernambuco / 16 a 21 de maio – Vila Bela, atual Serra Talhada / 22 e 23 de maio – Custódia e Rio Branco, atual Arcoverde / 24 de maio – Pedra de Buíque / dian25 de maio – de Negras a Jaburu, quando deixa Pernambuco e chega a Alagoas / dia 26 de maio – de Caititu a Mata Grande / 27 de maio – de Manuel Gomes ao Capiá / 28 de maio – Olho d´Água do Chicão/ 3 de junho – Maravilha.
+Benjamin radicou-se na vila do Pau Ferro, município de Águas Belas, em Pernambuco, tomando o lugar como sua base de operações. Inaugurou a parte terrestre de sua busca em Maravilha, no estado de Alagoas. Assim começava a aventura de Benjamin em busca de Lampião e seu bando.
+No segundo semestre, perambulou pelos sertões de Alagoas e de Pernambuco. Em Pau Ferro, hospedava-se na casa de Antônio Paranhos, motorista de Audálio Tenório de Albuquerque , chefe do lugar, e protetor de Lampião.
+1936 - Em 20 de janeiro, Benjamin autorretratou-se contra uma cerca com seu equipamento trançado em xis sobre os ombros. Naquela altura, ainda não havia encontrado os cangaceiros.
+Ao longo do ano, encontrou-se duas vezes com Lampião e seu bando.
+ 
+Benjamin Abrahão. Lampião, Maria Bonita, o fotógrafo Benjamin Abrahão e outros cangaceiros, 1936. Sertão nordestino, nas proximidades do rio São Francisco / Acervo IMS
+ 
+O historiador Frederico Pernambucano de Mello estima que o primeiro encontro tenha acontecido em fins de março, nas caatingas alagoanas da ribeira do Capiá, soltas bravias do Canapi, então do município de Mata Grande, no limite entre as fazendas Lajeiro Alto e Poço do Boi. A localização do encontro foi revelada em entrevista por Aristeia, mulher do cangaceiro Catingueira, em depoimento de 2004. Benjamin foi levado até Lampião pelos cangaceiros Juriti e Marreca. Almoçaram bode assado com farinha de mandioca e beberam conhaque Macieira. Segundo matéria publicada no jornal O Povo, de 12 de janeiro de 1937, Benjamin ficou com o grupo central, o de Lampião, por cinco dias.
+Benjamin viajou para Fortaleza, em 17 de maio para, na Aba Film, situada na rua Major Fecundo, iniciar a revelação dos negativos realizados de Lampião e seu bando.
+Em meados de julho, voltou a encontrar Lampião, com quem passou três dias.
+‘…Lampião estava pronto para confirmar sua presença na História através da linguagem moderna do cinema. Benjamin passava de solicitante a solicitado, revalando para a garupa do projeto, a ser tocado doravante pelo próprio cangaceiro. Pior seria ficar a pé…
+Somente a ocorrência dessa troca de postos, soprada pelo sírio a Antônio Paranhos no segundo regresso ao Pau Ferro, explica o número de cenas que se irá obter nos cerca de quinze minutos de película e cerca de noventa fotografias que se salvaram para a história, a variedade das revelações desveladas a cada segundo – algumas pungentes, como a do bando a rezar, todos descobertos, momentaneamente desarmados, joelhos fincados na poeira – e a docilidade dos “atores”, a tudo se prestando diante das câmeras. Não somente da Ica, cinematográfica, mas da Universal, de fotografia, uma “caixão” de objetiva dupla, também da Zeiss, negativos de 6 x 6 cm’ (Frederico Pernambucano de Mello in Benjamin Abrahão – entre anjos e cangaceiros).
+Em 28 de setembro, os cangaceiros atacaram a cidade de Piranhas, em Alagoas, para libertar Inhacinha, a mulher do cangaceiro Gato, que havia sido baleada e presa pela volante do tenente João Bezerra da Silva (1898 – 1970). Porém, ela estava presa na cadeia da Pedra de Delmiro Gouveia. Foram recebidos por uma resistência feita apenas por civis, homens e mulheres. Uma das mulheres era dona Cira de Brito Bezerra, mulher do tenente João Bezerra. Os cangaceiros espalharam que a prenderiam caso Inhacinha não fosse encontrada ou morresse durante a ação. Sobre o ocorrido, Benjamin comentou:
+‘Atravessava o rio quando se travou o combate. Encontrava-me a uma distância de meia légua da cidade. Corrio ansioso para lá. Era uma oportunidade que não devia deixar escapar. Infelizmente, cheguei tarde. Os bandidos já se retiravam. Bem junto a mim, em um sofá, ferido, passou Gato, chefe do grupo. Quando entrava na cidade, tomaram-me por bandido e, por um triz, não me bateram‘.
+Até outubro, Benjamin fez diversas incursões a cada um dos chefes de subgrupos de Lampião. Produziu mais fotografias e um filme.
+ 
+Benjamin Abrahão. O cangaceiro Corisco e Dadá, sua companheira, com a cachorra Jardineira, 1936. Sertão nordestino, nas proximidades do rio São Francisco / Acervo IMS
+ 
+No Recife, deu uma entrevista, publicada no Diário de Pernambuco de 27 de dezembro de 1936, quando anunciou a realização de um filme e a produção de diversas fotografias de Lampião e seu bando. Foi apresentado como sírio naturalizado brasileiro e como fundador do periódico Cariri, em Juazeiro.
+ 
+Diário de Pernambuco de 27 de dezembro de 1936
+ 
+Benjamin apresentou-se na Aba Film, em Fortaleza, no dia 28 de dezembro, mesma data em que João Jacques publicou no jornal O Povo, matéria intitulada Carta ao Leota, na qual questionava o fato de Lampião e seu bando ter sido filmado e fotografado e continuar solto. Leota é Leonardo Mota, autor do livro No tempo de Lampião, de 1930.
+‘Que acha desse furo? Que me diz sobre o caso? Será possível, meu amigo, que se possa ainda, por esses tempos tão mudados, filmar um bandoleiro, um gangster, um assassino mil vezes assassino e não se tenha meios de apanhá-lo?‘
+No dia seguinte, dia 29, foi publicada na primeira página do jornal O Povo a matéria intitulada Sensacional vitória da Aba Film: uma das mais importantes reportagens fotográficas dos últimos tempos, Lampião, sua mulher e seus sequazes filmados em pleno sertão, ilustrada por fotografias de Benjamin ao lado de Lampião, de Maria Bonita, e da guarda pessoal do cangaceiro. A tiragem do jornal foi duplicada e totalmente esgotada.
+No dia 31 de dezembro, o jornal O Povo publicou uma fotografia inédita de Maria Bonita sentada com os cachorros Ligeiro e Guarani.
+1937 – No dia 10 de janeiro, Benjamin, que havia estado no sertão, retornou a Fortaleza.
+No jornal O Povo, de 12 de janeiro de 1937, Benjamin revelou que Maria Bonita escolheu ser mulher de Lampião por livre e espontânea vontade, contrariando a versão de que ela havia sido raptada e estuprada pelo cangaceiro.
+Foi publicada pelos Diários Associados, uma fotografia onde Benjamin aparecia ao lado do casal Lampião e Maria Bonita (Diário de Pernambuco, 16 de janeiro de 1937). Dias antes, o Diário da Noite, havia publicado uma notícia sobre o encontro de Benjamin com Lampião. Benjamin revelou que havia trazido também, além de imagens, a primeira entrevista escrita e assinada pelo bandido (Diário da Noite, 8 de janeiro de 1938, na última coluna). Outras fotografias de Lampião foram publicadas, uma delas mostrando o cangaceiro lendo um romance policial. Segundo Benjamin, Lampião gostava muito dos livros do belga Georges Simenon (1903 – 1989) e do inglês Edgard Wallace (1875 – 1932) (Diário de Pernambuco, 20 de janeiro de 1937, 12 de fevereiro de 1937, 14 de fevereiro de 1937, 17 de fevereiro, 19 de fevereiro, 20 de fevereiro de 1937, 21 de fevereiro,  30 de julho de 1938; Diário da Noite, 8 de fevereiro de 1937, 29 de julho de 1938 e  30 de julho de 1938). Foram também publicadas fotografias das volantes (Diário de Pernambuco, 27 de abril de 1937).
+Segundo o comerciante Farid Aon, amigo de Benjamin, dias depois do carnaval, terminado em 10 de fevereiro, Benjamin foi ao quartel da Sétima Região Militar, no Recife, para tentar obter uma licença do general para exibir o filme sobre Lampião em cinemas públicos. A oficialidade exigiu o exame do filme e, ao assistir à projeção, achou que o documentário era vergonhoso para o Brasil, ficou irritada, rebentou o filme e o projetor, e Benjamin foi maltratado e detido por uma semana.
+Lampião escreveu um bilhete atestando a autenticidade dos registros de Benjamin (Diário de Pernambuco, 18 de fevereiro de 1937).
+Na revista O Cruzeiro, de 6 de março de 1937, publicação de uma página com cinco fotografias de Lampião, de autoria de Benjamin, com o título Filmando Lampeão! Na matéria, mais uma vez, foi questionado o fato do bando de cangaceiros ainda estar solto.
+ 
+O Cruzeiro, 6 de março de 1937
+ 
+As fotografias dos cangaceiros em poses que transmitiam orgulho e segurança irritaram o presidente Getulio Vargas, fato que impulsionou o definitivo esforço de repressão que exterminaria os bandoleiros do sertão. Além disso, o documentário sobre Lampião foi apreendido.
+Não poderá ser exibido o filme de Lampião! Com essa manchete na primeira página do jornal O Povo, de 3 de abril de 1937, ilustrada com uma fotografia de Benjamin ladeando Lampião e Maria Bonita, era informado que o documentário sobre o cangaceiro deveria ser apreendido, por ordem do dr. Lourival Fontes (1899 – 1967), diretor do Departamento de Imprensa e Propaganda, durante o governo de Getulio Vargas (1882 – 1954). O filme não poderia ser exibido nos cinemas do país, por atentar contra os créditos da nacionalidade.
+Foi publicada no Correio do Ceará, 7 de abril de 1937, a transcrição da ordem dada por Lourival Fontes, que por telegrama determinou a apreensão do filme Lampião, que se exibia em Fortaleza:
+
+‘Secretário Segurança Pública Estado do Ceará – Fortaleza.
+Tendo chegado ao conhecimento do Departamento Nacional de Propaganda, estar sendo annunciado ou exhibido na capital ou cidades desse Estado, um filme sobre Lampeão, de propriedade de “Aba Film”, com sede á rua Major Facundo, solicito vos digneis providenciar no sentido de ser apprehendido immediatamente o referido filme, com todas suas copias, e respectivo negativo, e remettel-os a esta repartição, devendo ser evitado seja o mesmo negociado com terceiros e enviado para fora do paiz.
+Attenciosos cumprimentos. Lourival Fontes, director do Departamento Nacional de Propaganda do Ministério da Justiça.’
+
+Em 10 de abril, houve uma exibição especial do filme, às 17h, no Cinema Moderno, em Fortaleza, para o chefe de Polícia, o capitão Manuel Cordeiro Neto (1901 – 1992), assistido também pelo secretário do Interior do Ceará, pelo juiz federal de Fortaleza,pelos delegados de polícia da capital, pelos comandantes do 23º Batalhão de Caçadores do Exército e da Força Pública do Estado, por representantes de jornais e de empresas telegráficas. Em 22 de junho de 1979, o então já reformado general do Exército Brasileiro, Cordeiro Guerra, declarou sobre o filme apreendido: Se nada do conteúdo do filme ficou na minha lembrança de maneira viva, é porque as cenas a que assisti, em exibição especial que solicitei, ao lado de um conjunto de autoridades, eram triviais, coisas domésticas.
+Foi publicado o artigo O reduto do “Caldeirão” do beato José Lourenço, de autoria de Benjamin Abrahão (Diário de Pernambuco, 2 de junho de 1937). Fiel seguidor do Padre Cícero, José Lourenço (1872 – 1946) foi o líder da comunidade Caldeirão de Santa Cruz do Deserto, localizada na zona rural do Crato, extinta em 9 de maio de 1937. Segundo revelou a seu sobrinho Aziz, escreveu o artigo para sobreviver publicamente e regressar à imprensa.
+Na edição de 7 de agosto do Diário de Pernambuco, o poeta e folclorista Ascenso Ferreira (1895 – 1965) convidava para a vaquejada de Surubim, em Pernambuco, evento de maior destaque dos esportes regionais do estado. Benjamin, que estava hospedado, no Recife, na casa de dona Wadia, matriarca da família Elihimas, viu na convocação para as vaquejadas uma oportunidade de trabalho. Como uma das vaquejadas mais tradicionais acontecia na fazenda Barra Formosa, no Pau Ferro de Águas Belas, Benjamin foi para lá a tempo de se engajar nos preparativos da festa, que aconteceria em novembro. A fazenda era de propriedade do coronel Audálio Tenório de Albuquerque (1906 – ?), grande amigo de Lampião. O coronel Audálio deixou que Benjamin explorasse a jogatina durante o evento, além de instalar tendas de bebidas e aperitivos.
+Chegou em Pau Ferro um carregamento da Aba Film, de Fortaleza, para Benjamin: centenas de fotografias em diferentes tamanhos, com predominância do formato de cartão-postal, de cangaceiros dos vários grupos de Lampião. Começaria, então, a distribuir seu produto, barato e muitíssimo vendável, pelas feiras livres e pelo comércio fixo de Pernambuco. Começaria, assim, a tentar recuperar parte do prejuízo causado pela apreensão do filme que repercutiu sobre o patrimônio da Aba Film e da Benjamin & Cia, do Juazeiro.
+Em meados de outubro, as fotografias estavam espalhadas por todo o sertão. O major Lucena Maranhão, comandante da unidade sertaneja da polícia de Alagoas, homem temido em todo o nordeste e perseguidor ferrenho de Lampião, mandou recolher as imagens. Benjamin, então, tocou fogo nas fotografias estocadas. Benjamin foi a Recife obter do Diário de Pernambuco uma declaração de que está em Pau Ferro como colaborador do jornal.
+Em 5 de novembro, foi aberta a vaquejada do Pau Ferro, com a presença do major Lucena Maranhão. Benjamin fotografou o evento e quatro imagens produzidas por ele foram publicadas no Diário de Pernambuco de 13 de novembro de 1937. Também realizou um filme documental do acontecimento, fazendo com que a vaquejada do Pau Ferro se tornasse a primeira a ser filmada em Pernambuco. Fotografou uma cena inédita: o coronel Audálio Tenório, maior amigo de Lampião em Pernambuco passeando de braços dados com Lucena Maranhão, maior inimigo do cangaceiro em Alagoas, ladeados pelos coronéis Gerson Maranhão e João Nunes.
+Em 10 de novembro, foi estabelecido o Estado Novo, regime político fundado pelo presidente Getulio Vargas (1882 – 1954). Vigorou até 31 de janeiro de 1946.
+No Diário de Pernambuco, de 13 de novembro de 1937, foram publicadas quatro fotografias da vaquejada da fazenda Barra Formosa, em Águas Belas, produzidas por Benjamin Abrahão.
+Em 23 de novembro, Benjamin filmou a vaquejada da fazenda Lagoa Queimada e, em 25 de novembro, a da fazenda Riachão, ambas no município de Quebrangulo, em Alagoas.
+O tenente Luís Mariano da Cruz, sertanejo de São José de Belmonte, oficial a serviço da volante de Pernambuco revelou em entrevista dada ao Diário de Pernambuco, de 24 de novembro de 1937, que Lampião fazia uso de seus retratos com salvo-condutos autenticados com suas assinaturas. Esse retratos foram confeccionados pela Aba Film, em operação intermediada por Benjamin. Na entrevista, o tenente traçou os roteiros de Lampião, descreve o poderio bélico de seu bando e acusa alguns militares de omissão ou cumplicidade. Sobre a confecção dos cartões para Lampião, foi feito um relato por Chico Albuquerque, na Gazeta de Alagoas, de 2 de agosto de 1938.
+1938 - O lucro das bancas de vaquejada foi desastroso. Benjamin discutiu com um de seus auxiliares, tendo chamado um deles de ladrão.
+O coronel Audálio Tenório, com quem Benjamin tinha negócios, cobrou o que havia sido previsto na comercialização de tudo o que fornecera a Benjamin, que prometeu levantar a quantia com seus familiares no Recife. Emitiu promissórias que venceriam em 18 de fevereiro.
+No Recife, hospedou-se com dona Wadia, a matriarca dos Elihimas, e com o primo Francisco, na casa nº 579, da avenida Rui Barbosa, no bairro das Graças. Solicitou a Francisco três contos de réis e teve seu pedido negado.
+De 5 a 9 de fevereiro, brincou o carnaval e foi todas as noites aos bailes do Clube Internacional. Na Quarta-Feira de Cinzas, embriagado, quase foi atropelado por um bonde da rua Nova.
+Em 18 de fevereiro, Benjamin nem resgatou as promissórias nem deu satisfações. Seguiu tentando conseguir empréstimos entre Recife e Juazeiro.
+No início de maio, Benjamin voltou a Pau Ferro, município de Águas Belas, dizendo que pagaria tudo o que devia. Alguns atribuíram a ousadia de seu retorno ao fato de estar apaixonado por Alaíde Rodrigues de Siqueira. Ao amigo Antônio Paranhos, confessou não ter nem a metade do que devia e que estava pensando em vender seu silêncio, já que com seu convívio com Lampião e seu bando em 1936 teria tido acesso a várias informações que seriam incômodas para a elite sertaneja.
+Segundo o ex-cangaceiro Manuel Dantas Loiola, conhecido como Candeeiro, em 6 de maio, véspera do assassinato de Benjamin, Lampião e seu bando estavam acampados perto do riacho do Mel, a menos de duas léguas do Pau Ferro.
+Benjamin Abrahão foi assassinado com 42 facadas, em Águas Belas, hoje Itaíba, no interior de Pernambuco, em 7 de maio de 1938. Saiu do bar rumo à pensão onde se hospedava quando as ruas principais da cidade ficaram às escuras. Foi atacado, gritou por socorro e seu amigo Antônio Paranhos foi ao seu encontro, mas foi detido pela voz de um desconhecido que o avisou Arreda, cabra, que é encrenca (Diário da Noite, 9 de maio de 1938, na quarta coluna,  Diário de Pernambuco, 10 de maio de 1938, na quarta coluna e Diário de Pernambuco, 19 de maio de 1938, na quinta coluna). Seu assassino confesso foi Zé da Rita, marido de Alaíde Rodrigues de Siqueira, por quem Benjamin estaria apaixonado. Mas o fato dele ser franzino e paralisado da cintura para baixo gerou dúvidas quanto a sua capacidade de dominar Benjamin, que era um homem corpulento. Sendo assim, os motivos de sua morte ainda são misteriosos. As hipóteses vão desde a possibilidade de um crime passional até a de queima de arquivo, já que ele sabia do envolvimento de autoridades com Lampião. Em sua missa de sétimo dia, só estava presente o padre celebrante, Nelson de Barros Carvalho.
+Em 28 de julho, na grota de Angico, em Sergipe, o bando de Lampião foi cercado por uma força volante comandada pelo tenente João Bezerra da Silva (1898 – 1970), pelo aspirante Ferreira Mello e pelo sargento Aniceto da Silva. Além de Lampião, foram mortos sua mulher, Maria Gomes de Oliveira (c. 1911 – 1938), conhecida como Maria Bonita, e os cangaceiros Alecrim, Colchete, Elétrico, Enedina, Luiz Pedro, Macela, Mergulhão, Moeda e Quinta-feira. Foram todos decapitados (Jornal do Brasil, 30 de julho de 1938, na primeira coluna, Diário de Pernambuco, 30 de julho de 1938, com uma fotografia de autoria de Benjamin, Diário de Pernambuco, 31 de julho de 1938, 3 de agosto de 1938 ).
+ 
+Benjamin Abrahão. Os bandos de Lampião, Juriti e Luis Pedro, com Nenê, 1936. Sertão nordestino, nas proximidades do rio São Francisco / Acervo IMS
+ 
+Publicação de uma entrevista com Chico Albuquerque, que contou toda a história de Benjamin e Lampião (Diario da Manhã (PE), 31 de julho de 1938, terceira coluna).
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/5241` — `itens/20.500.12156.1_5241/`
+- `20.500.12156.1/5245` — `itens/20.500.12156.1_5245/`
+- `20.500.12156.1/5259` — `itens/20.500.12156.1_5259/`
+- `20.500.12156.1/5255` — `itens/20.500.12156.1_5255/`
+
diff --git a/wordpress/20759-cronologia-de-chichico-alkmim-1886-1978.md b/wordpress/20759-cronologia-de-chichico-alkmim-1886-1978.md
new file mode 100644
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+++ b/wordpress/20759-cronologia-de-chichico-alkmim-1886-1978.md
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+---
+id: 20759
+url: "https://brasilianafotografica.bn.gov.br/?p=20759"
+titulo: "Cronologia de Chichico Alkmim (1886 – 1978)"
+autor: "Andrea Wanderley"
+data: "2021-01-06T10:12:43+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/5233", "20.500.12156.1/5235", "20.500.12156.1/5226"]
+fetched_at: "2026-09-10T10:03:28.030Z"
+---
+
+# Cronologia de Chichico Alkmim (1886 – 1978)
+
+Cronologia de Chichico Alkmim (1886 – 1978)
+ 
+Chichico Alkmim. Chichico Alkmim e sua esposa, Maria Josephina Netto Alkmim, s/d. Diamantina, Minas Gerais / Acervo IMS
+ 
+1886 – Filho de Herculano Augusto d’Alkmim e Luiza Gomes d’Alkmim, Francisco Augusto de Alkmim, o Chichico Alkmim, nasceu em 28 de março, na fazenda do Sítio, município de Bocaiuva.
+ 
+1890 – 1900 – Em 7 de abril de 1890, falecimento de sua mãe, em Bocaiuva. Chichico e sua irmã Carmina foram levados para a fazenda do Caeté Mirim, localizada próximo ao distrito de São João da Chapada, das suas tias Tereza de Jesus Gomes Ribeiro e Maria Amélia de Jesus Ribeiro. A irmã mais velha, Amanda, permaneceu em Bocaiuva. Nessa década, na fazenda, foi educado pelas tias, com quem aprendeu a ler e escrever.
+1900-1910 – Nesse período, Chichico ajudou nos negócios da fazenda e nos trabalhos de mineração de diamantes empreendidos por suas tias. Realizou várias viagens, a maioria delas em companhia de seu pai, que comercializava gado. Os deslocamentos em tropa davam-se entre Caeté Mirim, São João da Chapada, Diamantina, Bocaiuva, Montes Claros, Buenópolis, Coração de Jesus, Januária, Carinhanha (Bahia) e várias outras localidades do vale do São Francisco, chegando algumas vezes até a Vila de Posse, atual cidade de Posse, em Goiás. Nessas viagens, Chichico vendia jóias e, possivelmente, foi em uma delas que, entre 1900 e 1902, conheceu a fotografia.
+1907 – Adotou a profissão de fotógrafo.
+1912 - No fim do ano, passou a residir em Diamantina. Sua casa e seu primeiro ateliê ocupavam parte do sobrado situado à praça Francisco Sá, 53, largo do Bonfim (atual sede da Casa da Cultura). Nos anos seguintes, mudou de endereço várias vezes, tendo permanecido por mais tempo em um sobrado localizado no alto da rua da Romana, 37.
+1913 – Em 14 de junho, casou-se com Maria Josephina Netto, a Miquita.
+1914 – No fim do ano, seu irmão por parte de pai, José Maria Alkmim (1901 – 1974), futuro político e vice-presidente do Brasil, entre 1964 e 1967, passou a residir em sua casa, até completar os estudos em 1921.
+1916 - Em 30 de junho, nasceu sua primeira filha, Maria de Jesus Alkmim, que faleceu poucos meses depois.
+1917 – Em 20 de agosto, nasceu a segunda filha, Maria Bernadette.
+1919 – Em 17 de abril, nasceu a filha Déa Maria.
+Em 9 de outubro, Chichico mudou-se para o beco João Pinto, 86, na parte alta da cidade, onde montou seu ateliê definitivo.
+1920 – Em 20 de outubro, nasceu a filha Luíza Marilac.
+1923 – Em 13 de outubro, nasceu a filha Maria Ruth.
+1924 – Em 12 de novembro, nasceu o filho José Antônio.
+1955 – Chichico  encerrou a carreira de fotógrafo.
+1978 – Faleceu em consequência de um colapso cardíaco, em 22 de agosto.
+1980 – Na inauguração do Centro de Documentação e Pesquisa da Casa da Cultura de Diamantina, durante o 16º Festival de Inverno da Universidade Federal de Minas Gerais (UFMG), realizou-se a primeira exposição de fotografias de Chichico, no Museu do Diamante/Ibram/MinC.
+1998 – O acervo fotográfico de Chichico, constituído por aproximadamente 5.500 negativos, começou a ser higienizado, indexado e catalogado na Faculdade de Filosofia e Letras da Fundação Educacional do Vale do Jequitinhonha (Fevale), em projeto financiado pela Fundação de Amparo à Pesquisa no Estado de Minas Gerais (Fapemig) e apoio da UFMG.
+1999 – Chichico Alkmim foi apresentado como um artista do circuito fotográfico brasileiro na mostra Minas: minas memorial e contemporânea, realizada no MIS-SP, com curadoria do fotógrafo Bernardo Magalhães.
+2002 – O acervo fotográfico de Chichico foi doado pelos seus herdeiros à Fevale.
+2005 – Foi lançado o livro O olhar eterno de Chichico Alkmim, pela Editora B, organizado por Flander de Sousa e Verônica Alkmim França.
+2008 – Foi realizada a exposição Chichico Alkmim, na galeria da Escola Guignard, Universidade Estadual de Minas Gerais (Uemg), em Belo Horizonte.
+2010 – Com a extinção da Fevale, o acervo fotográfico retornou aos herdeiros.
+2013 - Foi realizada a exposição Paisagens humanas — Paisagens urbanas, no Memorial Minas Gerais Vale, em Belo Horizonte.
+2015 – O acervo de Chichico Alkmim passou a integrar em regime de comodato o acervo de fotografias do Instituto Moreira Salles.
+2017 – Foi aberta a exposição Chichico Alkmim, fotógrafo, no Instituto Moreira Salles, no Rio de Janeiro, em 13 de maio, com curadoria de Eucanaã Ferraz.
+ 
+Chichico Alkmim. À direita, Maria Josefina Alkmim, Miquita, esposa de Chichico, década de 10. Diamantina, Minas Gerais / Acervo IMS
+ 
+Chichico Alkmim. Retrato de estúdio, década de 1910. Diamantina, Minas Gerais / Acervo IMS
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/5233` — `itens/20.500.12156.1_5233/`
+- `20.500.12156.1/5235` — `itens/20.500.12156.1_5235/`
+- `20.500.12156.1/5226` — `itens/20.500.12156.1_5226/`
+
diff --git a/wordpress/20765-cronologia-de-militao-augusto-de-azevedo-1837-1905.md b/wordpress/20765-cronologia-de-militao-augusto-de-azevedo-1837-1905.md
new file mode 100644
index 0000000..31203bd
--- /dev/null
+++ b/wordpress/20765-cronologia-de-militao-augusto-de-azevedo-1837-1905.md
@@ -0,0 +1,68 @@
+---
+id: 20765
+url: "https://brasilianafotografica.bn.gov.br/?p=20765"
+titulo: "Cronologia de Militão Augusto de Azevedo (1837 – 1905)"
+autor: "Andrea Wanderley"
+data: "2021-01-06T10:13:17+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: []
+fetched_at: "2026-09-10T10:03:31.309Z"
+---
+
+# Cronologia de Militão Augusto de Azevedo (1837 – 1905)
+
+Cronologia de Militão Augusto de Azevedo (1837 – 1905)
+ 
+Militão Augusto de Azevedo fotografado por A. Liébert. Photographie Americaine / Acervo IMS
+1837 – Em 18 de junho, nascimento de Militão Augusto de Azevedo, no Rio de Janeiro, filho de Antonio Ignácio de Azevedo e Lauriana Augusto de Azevedo.
+1858 – 1860 – No Rio de Janeiro, Militão trabalhou como cantor lírico e também como ator na Companhia Teatral Joaquim Heliodoro e na  companhia do Gymnasio, denominada Sociedade Dramática Nacional, sob a direção de Joaquim Augusto Ribeiro de Souza (Entreacto, 15 de setembro de 1860)..
+Na Ópera Nacional, realização de um espetáculo em seu benefício (Correio da Tarde, de 3 de setembro de 1858, terceira coluna).
+Foram encenadas peças em seu benefício (Correio Mercantil, 10 de outubro de 1859, terceira coluna).
+Morava na rua das Mangueiras, 49 (Almanak Administrativo, Mercantil e Comercial do Rio de Janeiro, 1861).
+1862 - Em 21 de junho,  nascimento de Luiz Gonzaga de Azevedo, seu filho com a atriz Benedita Maria dos Santos Pedroso, com quem vivia.
+Participou da reunião que decidiu criar o Monte-Pio dos Artistas Dramáticos (Diário do Rio de Janeiro, 11 de agosto de 1862, quinta coluna).
+Foi com a família para São Paulo como ator da Sociedade Dramática Nacional  para participar da estreia da peça Luxo e vaidade, de Joaquim Manoel de Macedo, que aconteceu em 29 de novembro (Correio Paulistano, 28 de novembro de 1862).
+Militão produziu cerca de 90 fotografias de São Paulo. Segundo Afonso d´Escragnolle Taunay (1876 – 1958), no livro Velho São Paulo (1954), até 1860, data que nos aparece a providencial série de fotografias, aliás, ótimas de Militão de Augusto de Azevedo, os arrolamentos de peças de iconografia paulistana mantêm-se insignificantes. Realiza o Álbum de vistas de São Paulo 1862, com trinta dessas fotos. Muitas serão utilizadas no trabalho que publicaria em 1887, o Álbum Comparativo da cidade de São Paulo 1862-1887.  Inicia seu trabalho como fotógrafo por volta deste ano, ou no ano seguinte, com Joaquim Feliciano Alves Carneiro e Gaspar Antonio da Silva Guimarães, proprietários do estúdio Carneiro & Gaspar, cuja matriz localizava-se no Rio de Janeiro, na rua Gonçalves Dias, 60. Em São Paulo, o estabelecimento ficava na rua do Rosário, 38. Depois o estúdio transferiu-se para a rua da Imperatriz, 58.
+1863 – Em 26 de agosto realizou-se o espetáculo Recordações da Mocidade, em benefício de Militão (Correio Paulistano, 26 de agosto de 1863, terceira coluna).
+Publicação do anúncio do Álbum de vistas de São Paulo 1862, destinado sobretudo aos estudantes de Direito que terão assim uma recordação agradável da cidade onde passarão talvez a melhor época da vida (Correio Paulistano, 22 de outubro de 1863, última coluna).
+1864 a 1885 – Realizou dois álbuns importantes de vistas: o Álbum de Santos e o Álbum da Estrada de Ferro Santos-Jundiaí.
+Militão catalogou cerca de 12.500 retratos.
+1868 – Militão, que trabalhava na Photographia Academica de Carneiro & Gaspar, desde 1866 como sócio gerente (Diário de São Paulo, 19 de agosto de 1866, primeira coluna), foi para o Rio de Janeiro estudar novos processos fotográficos, dentre eles o de fotografia sobre porcelana, ainda não conhecido no Brasil senão em duas casas do Rio de (O Ypiranga, de 19 de fevereiro de 1868).
+ 
+O Ypiranga, 19 de fevereiro de 1868
+ 
+1870 – Nascimento de seu primeiro filho, Francisco de Paula Azevedo, com sua nova companheira Maria Affonso das Dores.
+Participou de uma reunião promovida para instalar-se uma associação dramática particular. Foi escolhido para ser seu ensaiador e também para elaborar seu regulamento interno (Correio Paulistano, 27 de março de 1870, primeira coluna).
+1871 - Nascimento de seu segundo filho com Maria Affonso das Dores, Francisco Militão Affonso de Azevedo.
+1872 – Militão ficou viúvo e sua mãe, Lauriana Augusta de Azevedo, passou a se encarregar da criação de seus filhos.
+1875 – Participou da IV Exposição Nacional com uma coleção de vistas de São Paulo.
+Com a morte do português Gaspar Antonio da Silva Guimarães (18? – 1875) e com a venda da parte de Joaquim Feliciano Alves Carneiro (18? – 188?), Militão, que era sócio-gerente da Photographia Academica, tornou-se seu proprietário (Correio Paulistano, 28 de novembro de 1875, segunda coluna).
+ 
+Correio Paulistano, 28 de novembro de 1875
+ 
+Rebatizou o estúdio com o nome de Photographia Americana. Uma curiosidade: no período de transição, nas cartes de visite do estabelecimento, o fotógrafo improvisou, apagando o antigo nome e o endereço no Rio de Janeiro e carimbando a nova denominação.
+1878 – Viajou para a Europa no paquete francês Hoogly para estudar os aperfeiçoamentos da arte fotográfica (O Cruzeiro, 1º de maio de 1878, última coluna). A fotografia de Militão que ilustra esta cronologia foi tirada durante essa viagem por Alphonse J. Liébert (1827 – 1913), no estúdio Photographie Americaine, em Paris, e enviada de presente a sua mãe. Retroenou em setembo, no paquete francês Congo (O Cruzeiro, 15 de setembro de 1878, penúltima coluna).
+A Photographia Americana ficou sob a responsabilidade do fotógrafo e pintor retratista Caetano Ligi, que trabalhava no estúdio.
+1879 – Foi eleito diretor do mês do Club Euterpe Comercial (Jornal da Tarde, 11 de março de 1879, segunda coluna).
+1881 – Enviou para o Correio Paulistano uma vista fotográfica, cópia da do edifício da exposição brasileira-alemã em Porto Alegre (Correio Paulistano, 18 de setembro de 1881, quarta coluna).
+1883 – Ele, Alberto Henschel e Carlos Hoenen estavam na lista de fotógrafos da Província de São Paulo (Almanak Administrativo, Mercantil e Comercial do Rio de Janeiro, 1883).
+1885 – Em 7 de agosto, falecimento de sua mãe, Lauriana Augusta de Azevedo (Correio Paulistano, 8 de agosto de 1885, quarta coluna).
+Enviou ao Correio Paulistano uma fotografia tirada de um curioso trabalho litográfico representando o retrato do poeta francês Victor Hugo (1802 – 1885) executado pelo belga M.Gaillard (Correio Paulistano, 20 de dezembro de 1885, última coluna).
+ 
+Correio Paulistano, 20 de dezembro de 1885
+ 
+ 
+Em 31 de dezembro, Militão encaminhou um ofício às autoridades municipais informando sobre o fim da Photographia Americana.
+1886 – Militão tentou passar adiante a Photographia Americana, mas não conseguiu. Reformou e alugou a casa e vendeu aos poucos o equipamento fotográfico. Sobre isso, escreveu a seu amigo, o ator Jacinto Heller, em 5 de abril: Como deve saber estou hoje vagabundo. Liquidei mal e porcamente a fotografia, fazendo leilão no qual só vendi os trastes (vendi é um modo de dizer porque quase os dei) ficando com tudo de fotografia porque os colegas estão como eu.
+1887 –  Teve a a ideia de montar um álbum de vistas de São Paulo de 1862 e 1887. Retornou então aos mesmos lugares das fotos que havia tirado em 1862 e produziu uma nova série de fotografias.
+No jornal A Província de São Paulo, do dia 11 de agosto, foi anunciada a obra-prima de Militão: o Álbum Comparativo da cidade de São Paulo 1862-1887 acompanhado do artigo A Velha e a Nova Cidade de São Paulo. Com sessenta fotografias, 18 pares comparativos e 24 vistas isoladas, foram postos à venda a 50 mil réis por exemplar – até o dia 31 de agosto: depois custariam 70 mil réis.
+1888 - Abandonou definitivamente a fotografia.
+1889 - Viajou à Europa. Entre este ano e 1905, voltou a viver no Rio de Janeiro, mas em algum momento retornou a São Paulo, possivelmente em 1902, onde viveu com seu filho Luiz Gonzaga, um bem sucedido advogado.
+1892 – Viajou aos Estados Unidos.
+1900 – Viajou à Europa.
+1905 – Falecimento de Militão de Augusto de Azevedo, em São Paulo, no dia 24 de maio (Correio Paulistano, 30 de maio de 1905, penúltima coluna).
+ 
+Correio Paulistano, 30 de maio de 1905
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
diff --git a/wordpress/20770-cronologia-do-fotografo-carlos-bippus-18-19.md b/wordpress/20770-cronologia-do-fotografo-carlos-bippus-18-19.md
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+---
+id: 20770
+url: "https://brasilianafotografica.bn.gov.br/?p=20770"
+titulo: "Cronologia do fotógrafo Carlos Bippus (18? – 19?)"
+autor: "Andrea Wanderley"
+data: "2021-01-06T10:22:40+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/7774"]
+fetched_at: "2026-09-10T10:03:34.767Z"
+---
+
+# Cronologia do fotógrafo Carlos Bippus (18? – 19?)
+
+Cronologia do fotógrafo Carlos Bippus (18? – 19?)
+ 
+1915 – Carlos Bippus  estava hospedado no Hotel Globo, no Rio de Janeiro (O Paiz, 31 de dezembro de 1915, terceira coluna).
+1916 – Voltou a hospedar-se no Hotel Globo (O Paiz, 22 de junho de 1916, quarta coluna).
+1917 – Carlos Bippus chegou no Rio de Janeiro, no paquete Itaituba, vindo de Porto Alegre e escalas (O Imparcial, Diário Illustrado do Rio de Janeiro, 19 de junho de 1917, penúltima coluna).
+1918 – Bippus, de quem o remetente de um anúncio não sabia a direção, estava sendo procurado para receber proposta de negócio. No anúncio estava disponível o número de uma Caixa Postal de São Paulo (Correio da Manhã, 13 de agosto de 1918, primeira coluna).
+Foi noticiado que C. Bippus, provavelmente Carlos Bippus, havia perdido um caderno azul com documentos e quem o encontrasse seria recompensado. O endereço fornecido para contato era rua do Catete, 98, 2º andar (A Noite, 28 de setembro de 1918, terceira coluna).
+1921 – O ateliê Photographia Bippus ficava na rua Vista Alegre, nº 20 (Almanak Lammert, 1922).
+O estabelecimento fotográfico Photo Lopes anunciou que acabava de substituir com vantagem a Photo Bippus que até então se dizia único no fabrico de vistas de noite (Jornal do Brasil, 5 de março de 1921, quinta coluna).
+1922 – Os aviadores portugueses Sacadura Cabral (1881 – 1924) e Gago Coutinho (1869 – 1959) visitaram o ateliê Foto Brasil, de Bippus e Brand. Na ocasião, os aviadores, que haviam realizado a primeira travessia aérea do Atlântico Sul, entre Lisboa e Rio de Janeiro, posaram para diferentes clichês (O Jornal, 24 de junho de 1922, terceira coluna).
+Fotografou a Exposição Internacional do Centenário da Independência do Brasil, realizada entre 7 de setembro de 1922 e o dia 24 de julho de 1923 no Rio de Janeiro. A foto abaixo foi publicada na revista A Exposição de 1922: Órgão da Comissão Organizadora, de setembro de 1922.
+ 
+Photo Bippus Rio. Exposição Internacional do Centenário da Independência, 1922. Rio de Janeiro, RJ / Acervo IMS
+ 
+A Exposição de 1922: Órgão da Comissão Organizadora, de setembro de 1922
+ 
+1923 – A Photo Brasil e uma tipografia, dos sócios Carlos Bippus e Hurt Brand, ficavam na na avenida Rio Branco, nº 144. A Photo Bippus continuava funcionando na rua Vista Alegre, nº 20 (Almanak Laemmert, 1924).
+Fotografias do ateliê de Bippus, de belíssimas vistas e panoramas do Rio de Janeiro, Petrópolis, Teresópolis, etc, eram anunciadas como verdadeiros trabalhos artísticos e de uma perfeição absoluta (A União, 21 de outubro de 1923 e O Beija-Flor, segunda quinzena de outubro de 1923).
+ 
+O Beija-Flor, segunda quinzena de outubro de 1923
+ 
+Foi desfeita a sociedade de Bippus com Hurt Brand na Foto Brasil. Bippus ficou com o ativo e o passivo do estabelecimento (Jornal do Commercio, 27 de outubro de 1923, sexta coluna; e Correio da Manhã, 3 de novembro de 1923, na antepenúltima coluna).
+Na notícia, abaixo, publicada em O Jornal, em 23 de novembro de 1923, a arte fotográfica de Bippus foi elogiada como proficiente e caprichosa. Além de suas qualidades como fotógrafo paisagista, foi também destacada sua habilidade como retratista.
+ 
+O Jornal, 3 de novembro de 1923
+ 
+1924 - Foi noticiada a perda de uma cadela nas proximidades do Cinema Odeon e pedido para quem a encontrasse entrasse em contato com Carlos Bippus (Correio da Manhã, 7 de fevereiro, terceira coluna).
+As fotografias de Bippus continuavam sendo anunciadas como verdadeiros trabalhos artísticos e de uma perfeição absoluta (O Beija-Flor, 2ª quinzena de março de de 1924).
+1925 – Foi publicada uma fotografia de Margot Felix, que se casaria com Bippus (Revista da Semana, 10 de janeiro de 1925).
+ 
+Revista da Semana, 10 de janeiro de 1925
+ 
+1926 – O diretor da Recebedoria do Distrito Federal respondeu a uma consulta de Carlos Bippus relativa à interpretação do decreto nº 16041 sobre vendas de trabalhos fotográficos (Jornal do Commercio, 15 de junho de 1926, quarta coluna e O Globo, 15 de junho de 1926).
+Carlos Bippus era credor e foi nomeado um dos comissários da concordata preventiva requerida por Alzira dos Santos Affonso (O Paiz, 6 de agosto de 1926, última coluna). Foi anunciado que os comissários estariam entre 16 e 17h no estabelecimento da concordatária na avenida Rio Branco, nº 90 (O Paiz, 7 de agosto de 1926, última coluna).
+Com Flexa Ribeiro e A. Perrin, Bippus foi um dos jurados da 3º Exposição Anual de Fotografia do Photo Club Brasileiro, inaugurada em 26 de agosto de 1926, no saguão do edifício do Liceu de Artes e Ofícios. O concurso foi encerrado em 8 de setembro e contou com 284 provas de 16 concorrentes, todos eles sócios do Photo Club (O Paiz, 29 de agosto de 1926, última coluna). Os vencedores das três categorias – Retratos, Cenas de Gênero e Paisagens – foram, Guerra Duval, Del Vecchio e Hermínia de Mello Nogueira, Santos Leitão, respectivamente (O Paiz, 5 de setembro de 1926).
+ 
+O Paiz, 5 de setembro de 1926
+ 
+Bippus adquiriu dois lotes no Jardim Guanabara, bairro em construção na Ilha do Governador (Jornal do Brasil, 29 de setembro de 1926, penúltima coluna).
+1929 – Bippus fez uma requerimento de certidão comercial para a prefeitura do Rio de Janeiro (Jornal do Brasil, 6 de fevereiro de 1929, primeira coluna e  24 de março de 1929, primeira coluna).
+Houve na Photo Brasil, um incêndio em 1929, causado pela distração do assistente de Bippus.  Ele trabalhava com uma lâmpada de reproduções e colocou o cigarro que fumava perto de uma lata de magnésio, causando uma explosão. O acidente não teve graves consequências (Gazeta de Notícias, 17 de novembro de 1929, sexta coluna; e O Globo, 16 de novembro de 1929).
+ 
+O Globo, 16 de novembro de 1929
+ 
+Foi aceito o pedido de despejo feito por Antônio Fernandes e Cia contra Carlos Bippus (Jornal do Commercio, 15 de abril de 1931, na penúltima coluna).
+1931 – Foi aceito o pedido de despejo feito por Antônio Fernandes e Cia contra Carlos Bippus (Jornal do Commercio, 15 de abril de 1931, na penúltima coluna).
+A Photo Brasil foi anunciada pela última vez no Almanak Laemmert, 1931.
+Tramitava na Sexta Vara Cível um processo de Carlos Bippus (A esquerda, 8 de julho de 1931, terceira coluna).
+1932 – Na Quinta Vara Cível, ação de despejo contra Bippus requerida por José Maria Parames Domingos (Correio da Manhã, 29 de setembro de 1932, terceira coluna).
+1933 –  Na Sexta Vara Cível, em assunto relativo a falência, Bippus foi intimado a satisfazer o parecer do Curador de massas (A Batalha, 11 de agosto de 1933, última coluna)
+1937 – Tramitava na 3ª Pretoria uma ação sumária feita por Leopoldo Neuss contra Carlos Bippus (Jornal do Commercio, 30 de janeiro de 1937).
+1987 - O álbum A Exposição do Centenário da Independência, de 1922, com fotos de Bippus, Thiele Kollien e Lopes, foi apresentado ao Conselho Deliberativo do Museu de Arte Moderna do Rio de Janeiro, durante uma homenagem ao presidente da White Martins, Félix de Bulhões, que havia feito uma doação à instituição (Jornal do Brasil, 23 de outubro de 1987, última coluna).
+1988 - Fotografias de Bippus foram a leilão, em Copacabana, no Rio de Janeiro (Jornal do Commercio, 21 de agosto de 1988, última coluna).
+2002 - Publicação de propaganda sobre leilão de fotografias, manuscritos e livros, dentre outros itens, na Livraria Universal, no Rio de Janeiro. Fotografias de Bippus, Marc Ferrez (1843 – 1923) e Augusto Malta (1864 – 1957) fizeram parte do leilão (Jornal do Commercio, 20 de outubro de 2002).
+2003 – Fotos noturnas produzidas por Bippus foram leiloadas na livraria e antiquário Sebo fino, em Petrópolis (O Globo, 2 de outubro de 2003)
+Carlos Bippus foi um dos fotógrafos homenageados no livro Rio de Janeiro 1900 – 1930 – Uma crônica fotográfica, de George Ermakoff.
+2008 – Lançamento do livro Só existe um Rio com imagens produzidas por Carlos Bippus e outros fotógrafos:
+‘O Rio de Janeiro renovado das décadas de 1910 e 1920 foi imortalizado por um grupo de fotógrafos que produzia álbuns fotográficos para a venda a visitantes e colecionadores. Lopes, Braz, Tiele, W. Kollien e Carlos Bippus nos deixaram um legado de imagens de grande sensibilidade e técnica primorosa, com viragem em verde à base de sais de ferro e urânio que permitiu uma excelente preservação ao longo do tempo.’
+2015 - Fotografias de Bippus fizeram parte das exposições Rio: primeiras poses – Visões da cidade a partir da chegada da fotografia (1840-1930),  no Instituto Moreira Salles; e Uma história do futuro, na Biblioteca Nacional (O Globo, 12 de agosto de 2015).
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/7774` — `itens/20.500.12156.1_7774/`
+
diff --git a/wordpress/20774-cronologia-de-francisco-du-bocage-1860-1919.md b/wordpress/20774-cronologia-de-francisco-du-bocage-1860-1919.md
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+++ b/wordpress/20774-cronologia-de-francisco-du-bocage-1860-1919.md
@@ -0,0 +1,158 @@
+---
+id: 20774
+url: "https://brasilianafotografica.bn.gov.br/?p=20774"
+titulo: "Cronologia de Francisco du Bocage (1860 – 1919)"
+autor: "Andrea Wanderley"
+data: "2021-01-06T10:19:58+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/2052", "20.500.12156.1/2048"]
+fetched_at: "2026-09-10T10:03:38.077Z"
+---
+
+# Cronologia de Francisco du Bocage (1860 – 1919)
+
+Cronologia de Francisco du Bocage (1860 – 1919) 
+ 
+Francisco du Bocage em primeiro plano. Fotografia de 1907 publicada na página 224 do livro Railways of Brazil in Postcards and Souvenir Albums (2005).
+ 
+Francisco du Bocage. Porto do Recife, c. 1910. Recife, Pernambuco / Acervo IMS
+ 
+1860 –  Nascimento de Francisco du Bocage, em 14 de abril de 1860, em Portugal, filho de Albino José Pereira e Anna Maria de Oliveira Bocage.
+1889 – Francisco du Bocage seria o diretor do curso noturno de Escrituração Mercantil e Línguas, em Salvador, na rua Conselheiro Pedro Luis, n. 38 (Diário do Povo, 15 de maio de 1889, na última coluna). Nesse ano, foi publicado no Almanach Literário um poema , de sua autoria de Francisco Bocage, intitulado “Chromo”. Seria o próprio fotógrafo ou um homônimo?
+1892 – Francisco du Bocage chegou no Recife a bordo do vapor nacional Olinda, vindo do sul do Brasil (Diário de Pernambuco, 17 de fevereiro de 1892, na segunda coluna).
+No ateliê do fotógrafo, pintor, escultor, músico, colecionador e antiquário Alfredo Ducasble (18? – ?), localizado na rua Barão da Vitória, nº 65, no Recife, Bocage expôs chapéus e capotas (Diário de Pernambuco, 24 de fevereiro de 1892, quarta coluna e Jornal do Recife, 24 de fevereiro de 1892, terceira coluna).
+ 
+Diário de Pernambuco, 24 de fevereiro de 1892
+ 
+1894 – Francisco du Bocage declarou, em 11 de janeiro de 1894, a compra da oficina de chapéus para senhoras e crianças do sr. A. Damour, localizada na rua da Imperatriz, 31, que passaria a ser dirigida  pela modista A. du Bocage, sua esposa, Anna. Qualquer reclamação a fazer sobre venda e compra da dita oficina deverá ser dirigida ao signatário deste até o dia 20 do corrente mês, sob pena de nenhum efeito (Diário de Pernambuco, 14 de janeiro de 1894, na terceira coluna).
+Nascimento da primeira filha do casal, Beatriz Augusta du Bocage, em 2 de agosto de 1894.
+Produziu uma fotografia do cruzador Benjamin Constant, quando o navio esteve no Recife (Jornal do Recife, 13 de setembro de 1894, na sexta coluna).
+O Diário de Pernambuco agradeceu o oferecimento feito por Bocage de três esplêndidas fotografias de sua autoria (Diário de Pernambuco, 29 de setembro de 1894, quarta coluna).
+ 
+Diário de Pernambuco, 29 de setembro de 1894
+ 
+Bocage, do Centro Fotográfico Pernambucano, voltou a presentear o Diário de Pernambuco, dessa vez com duas belíssimas fotografias com cenas movimentadas, tomadas rapidamente, instantaneamente. São ambas de admirável perfeição e dão a exata medida não só da excelência do aparelho fotográfico empregado, mas também da habilidade do operador (Diário de Pernambuco, 17 de outubro de 1894, na quarta coluna).
+1895 – Ofereceu ao Jornal do Recife uma fotografia de sua autoria. No agradecimento do jornal, foi saudado como um hábil fotógrafo português (Jornal do Recife, 14 de março de 1895, na quarta coluna).
+Bocage colocou à venda retratos de Manoel Ferreira de Assumpção, assassino de Maria Joaquina, personagem de um crime de esquartejamento ocorrido em Pernambuco.
+Ofereceu ao Jornal do Recife, fotografias da parte externa do Colégio Salesiano (Jornal do Recife, 4 de julho de 1895, na quinta coluna).
+Fotografou a Estrada de Ferro Central de Pernambuco, durante uma visita que várias autoridades e engenheiros fizeram a Caruaru quando os trilhos chegaram à referida cidade (Jornal do Recife, 3 de agosto de 1895, na sétima coluna).
+1896 – Foi anunciada a conclusão e a abertura ao público do ateliê da Empresa Centro Artístico Fotográfico, na rua da Imperatriz, 31, sob a direção técnica de Bocage (Jornal do Recife, 5 de janeiro de 1896, na sétima coluna).
+ 
+Jornal do Recife, 5 de janeiro de 1896
+ 
+A Recebedoria do Estado de Pernambuco deferiu um pedido de Bocage (Diário de Pernambuco, 21 de abril de 1896,  primeira coluna).
+Bocage fotografou sua filha Beatriz com um chapéu formado pelo Jornal do Recife. O registro foi classificado pelo periódico como um esplêndido reclame (Jornal do Recife, 4 de junho de 1896, quarta coluna).
+Nascimento de sua filha, Dinah du Bocage, em 12 de junho de 1896.
+No mesmo endereço do ateliê da Empresa Centro Artístico Fotográfico, na rua da Imperatriz, 31, Anna du Bocage continuava a modernizar chapéus e capotas, cingindo-se às prescrições dos mais rigorosos figurinos (Jornal do Recife, de outubro de 1896, última coluna). O anúncio é publicado outras vezes ao longo do ano e também em janeiro do ano seguinte.
+1898 – Bocage havia importado da França envelopes, cartões, chaminés de vidro e obras de cobre (Jornal do Recife, 21 de abril de 1898, segunda coluna e Diário de Pernambuco, 30 de abril de 1898, última coluna).
+Nascimento de seu filho, George.
+1899 – Bocage estava listado como um dos devedores do imposto das casas comerciais do Recife, no endereço rua da Imperatriz, 31 (Diário de Pernambuco, 3 de julho de 1899, segunda coluna).
+1901 – Bocage estava listado como um dos devedores do imposto de bombeiros das casas comerciais do Recife. Seu endereço era ainda rua da Imperatriz, 31 (Jornal do Recife, 3 de janeiro de 1901, quinta coluna).
+1904 – O British Colony Photo Club anunciou que tinha uma carta endereçada a Francisco du Bocage, na rua do Apolo, n. 42 (A Província, 12 de março de 1904, primeira coluna).
+Bocage fotografou a inauguração do Asilo Magalhães Bastos, na Várzea, no Recife (Jornal Pequeno, 27 de junho de 1904, segunda coluna).
+Em Igarassu, Bocage fotografou a inauguração de uma fábrica de cimento da firma Cunha & C. Segundo a notícia, era a primeira fábrica do gênero a funcionar no Brasil (A Província, 17 de novembro de 1904, última coluna).
+Foi noticiado que Bocage deu de presente ao jornal A Província uma fotografia da fábrica de cimento São José, em Maria Farinha, e outra da construção do quarto fio telegráfico para Olinda. Na época, o fotógrafo residia na rua Hospital Pedro II, n.5 (A Província, 29 de novembro de 1905, sexta coluna).
+1905 – Fotografou a visita de oficiais da canhoneira portuguesa Pátria ao Recife (Diário de Pernambuco, 29 de agosto de 1905, última coluna, Diário de Pernambuco, 30 de agosto de 1905, sexta coluna e Jornal do Recife, 30 de agosto de 1905,  última coluna).
+Bocage retratou os convidados para o piquenique dos alunos do Colégio 7 de setembro, realizado no engenho Valha-me Deus. Na ocasião, o futuro magnata das comunicações no Brasil, Francisco de Assis Chateaubriand Bandeira de Mello (1892 – 1968), e seu irmão, Oswaldo, recitaram poesias. Seu pai, o sr. Francisco José Chateaubriand Bandeira de Mello, presentou o Jornal do Recife com uma das fotografias do piquenique produzida por Bocage (Jornal do Recife, 10 de setembro de 1905, primeira coluna e Jornal do Recife, 28 de outubro de 1905, última coluna).
+1906 - Bocage fotografou a visita do presidente da República eleito Afonso Pena (1847 – 1909) a Carpina, em Pernambuco (A Província, 8 de junho de 1906, sexta coluna).
+Era o correspondente em Pernambuco do periódico Jornal do Brasil e da Revista da Semana, ambos do Rio de Janeiro.
+Ofertou ao jornal A Província duas fotografias de sua autoria da chegada de Joaquim Nabuco (1849 – 1910) no Recife (A Província, 19 de julho de 1906, quarta coluna).
+ 
+A Província, 19 de julho de 1906
+ 
+Anna Luiza Bocage, esposa de Francisco, foi distinguida com a carta de assistente pelo Hospital Pedro II por ter sido aprovada no curso de obstetrícia (A Província, 26 de novembro de 1906, quinta coluna).
+O postal abaixo, publicado no site www.delcampe.net, tem sua produção atribuída a Francisco du Bocage, em 1906. Traz uma imagem do próprio no ato de fotografar.
+ 
+
+ 
+1907 – Foram anunciados os serviços da parteira alemã, Mme. A. Luise Hurst du Bocage. Pouco depois, foi anunciada a transferência de sua residência para a rua da Imperatriz, 31. Antes, residia na rua Hospital Pedro II, n. 5 (A Província , 27 de novembro de 1906, segunda coluna). Ainda em 1907, foi anunciada sua nova residência na rua do Dr. Rosa e Silva, 31.  A. Luise Hurst du Bocage é Anna du Bocage, mulher de Francisco (Jornal do Recife, 26 de janeiro de 1907, sexta coluna, Jornal do Recife, 8 de março de 1907, quinta coluna e Jornal do Recife, 12 de março, primeira coluna).
+Bocage anunciou seus serviços de massagem e de ginástica médica sueca diversas vezes ao longo de 1907 (Jornal do Recife, 5 de abril de 1907, terceira coluna).
+ 
+Jornal do Recife, 5 de abril de 1907
+ 
+No anúncio veiculado pelo Jornal do Recife, 4 de julho de 1907, terceira coluna, Bocage explicava seu trabalho como massagista e dos métodos que utilizava em seus exercícios físicos, além de apresentar Mme du Bocage como parteira e massagista.
+ 
+Jornal do Recife, 4 de julho de 1907
+ 
+ 
+1908 – Chegou à Alfândega do Recife, proveniente de Hamburgo, na Alemanha, no vapor alemão San Nicola, aparelhos fotográficos importados por Bocage (Diário de Pernambuco, 31 de março de 1908, terceira coluna).
+No vapor brasileiro Bahia, chegaram, de novo de Hamburgo, artigos fotográficos para Bocage (Diário de Pernambuco, 26 de julho de 1908, terceira coluna).
+Bocage possuía produtos em armazéns da Alfândega do Recife (Jornal do Recife, 8 de agosto de 1908, terceira coluna).
+No Recife, Bocage registrou o plantio de aglaias na rua Camarão, obedecendo ao plano traçado pelo ilustre doutor Archimedes de Oliveira, prefeito desta capital  para o embelezamento desta cidade (Diário de Pernambuco, 19 de setembro de 1908, quarta coluna).
+1909 – Bocage fotografou a festa realizada pelo Instituto de Proteção à Infância (A Província, 26 de janeiro de 1909,  quinta coluna).
+Chegaram ao porto do Recife, a bordo do vapor alemão Corrientes, proveniente de Nova York, placas fotográficas importadas por Bocage (Diário de Pernambuco, 4 de fevereiro de 1908, quinta coluna).
+O escriturário Lacerda de Almeida, da Recebedoria do Estado, cientificou ao sr. F. du Bocage, a rua do dr. Rosa e Silva n. 31 a coleta de um imposto no valor de 200$000 (Diário de Pernambuco, 26 de fevereiro de 1909, sexta coluna).
+Chegaram ao porto do Recife, provenientes de Hamburgo, na Alemanha, a bordo do vapor alemão Etruria, quatro caixas de artigo para farmácia importadas por Bocage (Diário de Pernambuco, 7 de abril de 1909, terceira coluna).
+No vapor alemão Petrópolis, vindo de Hamburgo, na Alemanha, chegaram no porto de Recife 4 caixas de material fotográfico importados por Bocage (Diário de Pernambuco, 24 de julho de 1909, quinta coluna).
+Bocage foi um dos autores do serviço fotográfico do Álbum de Pernambuco, organizado pelo jornalista Manuel Monteiro, cuja impressão ficou a cargo da casa do comendador Francisco Pastor. Os outros fotógrafos foram Manoel Tondella, Fernando Piereck, João José de Oliveira, Umbelino Silva, Mario Ribeiro e Luiz Santiago (Diário de Pernambuco, 24 de agosto de 1909, última coluna e Jornal Pequeno, 24 de agosto de 1909, última coluna).
+ 
+Diário de Pernambuco, 24 de agosto de 1909
+ 
+No vapor alemão São Paulo, chegada de material fotográfico, importado de Hamburgo por Bocage (Diário de Pernambuco, 4 de novembro de 1909, quarta coluna).
+Foram enterradas no Cemitério de Santo Amaro, com um intervalo de 9 dias, Beatriz Bocage, de 15 anos, e Carmen du Bocage, de 16 anos. A Brasiliana Fotográfica acredita que, provavelmente, elas eram filhas de Anna e Francisco du Bocage (A Província, 25 de novembro de 1909, segunda coluna e A Província, 30 de novembro de 1909, segunda coluna).
+1910 – Bocage continuava a importar artigos fotográficos (Diário de Pernambuco, 19 de fevereiro de 1910, quarta coluna;  10 de março de 1910, na quinta coluna; 7 de maio, quinta coluna; 5 de junho, quarta coluna;17 de setembro, quarta coluna; 5 de outubro, sexta coluna).
+1911 – A administração dos Correios publicou que Anna e Francisco du Bocage estavam na relação de pessoas que haviam autorizado a entrega de suas correspondências registradas (Jornal do Recife, 21 de julho de 1911, terceira coluna).
+Durante o ano, Bocage seguiu fazendo importações de artigos fotográficos (Diário de Pernambuco, 28 de maio de 1911, quarta coluna; 7 de julho, sétima coluna; 8 de junho, terceira coluna; 8 de agosto, quinta coluna; 22 de agosto, quarta coluna; e 20 de outubro, quarta coluna).
+Bocage utilizava em seu estabelecimento, a Photographia Industrial e Artística, os filmes Ensign, considerado por ele como superior a qualquer outro (A Província, 14 de setembro de 1911, quarta coluna).
+Bocage fotografou a chegada do general Emidio Dantas Barreto (1850 – 1931), futuro governador de Pernambuco, no Recife (A Província, 14 de outubro de 1911, terceira coluna).
+1912 – Publicação de duas fotografias de autoria de Bocage nas capas das edições de 5 e 6 de fevereiro do Jornal Pequeno.
+ 
+Jornal Pequeno, 5 de fevereiro de 1912
+ 
+Jornal Pequeno, 6 de fevereiro de 1912
+ 
+Embarcou no vapor Ilheus rumo a Aracaju, de onde retornou, no vapor Canavieiras (Jornal do Recife, 11 de março de 1912, última coluna, e Jornal do Recife, 23 de março de 1912, última coluna).
+A família Porto Carrero fez uma agradecimento a algumas pessoas, dentre elas, Anna du Bocage, pelos cuidados, dedicação e carinho que havia tido com Maria Emilia Uchoa Porto Carrero  (Jornal do Recife, 5 de maio de 1912, quinta coluna).
+Francisco du Bocage ofereceu à Biblioteca da Escola Regimental da Força Pública do Estado um grande número de obras de subido valor (Jornal do Recife, 3 de setembro de 1912, sexta coluna).
+Chegaram no Recife, a bordo do vapor alemão Queen Eleonora, vindo de Hamburgo, três caixas de material fotográfico importados por Bocage (Jornal do Recife, 20 de novembro de 1912, terceira coluna). Uma caixa de papel fotográfico chegou para ele em um vapor alemão, vindo de Nova York (Jornal do Recife, 9 de dezembro de 1912, quarta coluna).
+Bocage fotografou a festa de encerramento das aulas da Escola de Aprendizes Marinheiros (Jornal do Recife, 19 de dezembro de 1912, oitava coluna)
+1913 – Seguiam as importações de artigos fotográficos feitas por Bocage (Diário de Pernambuco, 30 de março, quinta coluna).
+Embarcou no vapor Pará, rumo a Natal (Diário de Pernambuco, 29 de abril de 1913, última coluna).
+Bocage fez o brinde ao dr. Gouveia de Barros, diretor de Higiene do Recife, após uma visita às obras do Matadouro de Peixinhos (Jornal do Recife, 2 de novembro de 1913, segunda coluna).
+Seu nome constava em um despacho da prefeitura do Recife (Jornal do Recife, 5 de novembro de 1913, quarta  coluna).
+1914 - Bocage foi contratado pelo Jockey Club para registrar as chegadas dos cavalos no fim de cada páreo e, no caso de dúvidas sobre algum resultado, revelar a chapa imediatamente (Jornal do Recife, 19 de abril de 1914, na última coluna).
+Anna du Bocage e George, filho do casal Bocage, embarcaram para Bremen, na Alemanha, no vapor alemão Erlangen (Jornal do Recife, 12 de julho de 1914, segunda coluna).
+O outro filho do casal Bocage, Daniel, tornou-se conselheiro do recém fundado Riachuelo Football Club (Diário de Pernambuco, 26 de julho de 1914, terceira coluna). Ele estudava no Ginásio Ayres Gama (Diário de Pernambuco, 22 de novembro de 1914, quinta coluna).
+1915 – Chegou no Recife, a bordo do vapor inglês Justin, vindo de Nova York, artigos fotográficos, envelopes e produtos químicos para fotografia, importados por Bocage (Jornal do Recife, 2 de julho de 1915, sexta coluna). Dias depois, chegada de papel fotográfico, também importado por ele, vindo de Liverpool, a bordo do vapor inglês Southampton (Jornal do Recife, 25 de julho de 1915, quinta coluna).
+Bocage foi convidado a comparecer na 1ª seção dos Correios (Diário de Pernambuco, 24 de novembro, quarta coluna).
+Bocage partiu para a Bahia no vapor Olinda e retornou para o Recife no vapor Itapura (A Província, 4 de novembro de 2015, quarta coluna; e Jornal do Recife, 13 de dezembro de 1915, quarta coluna).
+1916 - Bocage foi e voltou à Bahia, no vapor Itatinga (A Província, 15 de maio de 1916, primeira coluna; e Jornal do Recife, 28 de agosto de 1916, quarta coluna).
+O ministro da Fazenda negou provimento ao recurso ex-oficio interposto pelo Delegado Fiscal de Pernambuco, do seu ato, julgando improcedente o auto lavrado contra Francisco du Bocage, por infração do regulamento dos impostos de consumo (Jornal do Commercio, 6 de junho de 1916, sétima coluna).
+1917 – George, filho de Bocage e Anna,  voltou da Europa, a bordo do vapor holandês Hollandia (Jornal do Recife, 5 de janeiro de 1917, primeira coluna).
+De volta de uma viagem a Bezerros, Bocage foi saudado como distinto fotógrafo (Diário de Pernambuco, 20 de maio de 1917, primeira coluna).
+Acessórios fotográficos e medicamentos importados por Bocage chegaram no Recife a bordo do vapor brasileiro Tapajós, vindo de Nova York (Diário de Pernambuco, 14 de março, terceira coluna e Jornal do Recife, 17 de março de 1917, quarta coluna).
+Foi anunciado pela Casa du Bocage, na rua Imperatriz, n. 31, a produção de retratos pelo sistema fotomecânico, perfeitos e inalteráveis…únicos e a preços baratíssimos. O anúncio foi repetido diversas vezes ao longo do ano, mas a partir de julho, o endereço passou a ser rua Imperatriz, n. 13 (Jornal Pequeno, 7 de abril de 1917, primeira coluna e Jornal Pequeno, 5 de julho de 1917, quarta coluna).
+Bocage fez uma exposição fotográfica muito elogiada com o tema Maternidade: Pernambuco pode apresentar  Bocage como um grande artista e seus belos trabalhos fotográficos honram qualquer galeria e podem figurar em qualquer certame artístico (A Província, 27 de julho de 1917, primeira coluna).
+ 
+A Província, 27 de julho de 1917
+ 
+1918 – Com o título “Photographia Industrial”, Bocage anunciou não autorizar ninguém a fazer dívidas em seu nome (Diário de Pernambuco, 21 de janeiro de 1918, primeira coluna).
+Bocage chegou do Maranhão a bordo do vapor Cururupu (Diário de Pernambuco, 24 de agosto de 1918, segunda coluna).
+Após uma viagem ao norte do Brasil, Bocage anunciou o recomeço de seus trabalhos fotográficos, na rua da Imperatriz, 121 (Jornal do Recife, 1º de setembro de 1918, terceira coluna). Dias depois, veiculou uma propaganda de seu estúdio fotográfico (Jornal do Recife de 6 de setembro de 1918).
+ 
+Propaganda de Bocage no Jornal do Recife, 6 de setembro de 1918
+ 
+1919 – Chegada de material fotográfico importado por Bocage, no vapor inglês Somme, vindo de Londres (Jornal do Recife, 4 de outubro de 1919, terceira coluna).
+George du Bocage, filho de Francisco e Anna, estava na relação dos alistados para o serviço militar da cidade do Recife (Diário de Pernambuco, 8 de outubro de 1919, terceira coluna).
+Francisco du Bocage faleceu, em 22 de outubro de 1919, na cidade de Bezerros, onde se achava em tratamento de grave enfermidade e onde foi enterrado. Sua esposa, Anna du Bocage, declarou que continuava no mesmo ramo de negócios de seu falecido marido, Francisco du Bocage, à rua da Imperatriz, 121, dedicando-se especialmente ao serviço de amadores postais, vistas, etc, esperando a mesma confiança e boa vontade da parte de seus estimado fregueses ( Jornal Pequeno, 24 de outubro de 1919, terceira coluna; A Rua, 25 de outubro de 1919, quinta coluna; e Jornal do Recife, 26 de outubro de 1919, quarta e sexta colunas).
+ 
+Jornal Pequeno, 24 de outubro de 1919
+ 
+ 
+Jornal do Recife, 26 de outubro de 1919
+ 
+A Casa Bocage anunciou a venda de iluminação à gasolina e de material fotográfico (Diário de Pernambuco, 30 de outubro, na terceira coluna; e 31 de outubro, primeira coluna).
+Seu filho, George, tornou-se o proprietário da Casa Bocage (Jornal do Recife, 28 de dezembro de 1919, terceira coluna).
+ 
+Francisco du Bocage. Estação Estrada de Ferro, c. 1910. Recife, Pernambuco / Acervo IMS
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/2052` — `itens/20.500.12156.1_2052/`
+- `20.500.12156.1/2048` — `itens/20.500.12156.1_2048/`
+
diff --git a/wordpress/20779-cronologia-de-abram-louis-buvelot-1814-1888.md b/wordpress/20779-cronologia-de-abram-louis-buvelot-1814-1888.md
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+++ b/wordpress/20779-cronologia-de-abram-louis-buvelot-1814-1888.md
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+---
+id: 20779
+url: "https://brasilianafotografica.bn.gov.br/?p=20779"
+titulo: "Cronologia de Abram-Louis Buvelot (1814 – 1888)"
+autor: "Andrea Wanderley"
+data: "2021-01-06T10:21:43+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: []
+fetched_at: "2026-09-10T10:03:41.277Z"
+---
+
+# Cronologia de Abram-Louis Buvelot (1814 – 1888)
+
+Cronologia de Abram-Louis Buvelot (1814 – 1888)
+M. Louis Buvelot. Xilografia publicada no Australasian Sketcher, em 12 de julho de 1888 / Acervo da Coleção La Trobe Picture
+1814 – Nascimento de Abram-Louis Buvelot, em 3 de março, em Morges, na Suíça, segundo filho de François-Simeon (? – 1848), funcionário do Correio, e de Jeanne-Louise-Marguerite Heizer (? – 1856), diretora escolar. Tinha um irmão, Eugene-Jean-Louis-Henri (c. 1820- 1852), gravador e litógrafo. A família Buvelot havia se estabelecido em Morges em 1677, onde chegou como refugiada protestante da cidade de Condé-en-Barrois, na França.
+1830 – Em dezembro, Buvelot deixou sua cidade natal, provavelmente para estudar na Escola de Desenho de Lausanne, dirigida pelo pintor suíço Marc Louis Arlaud (1772 – 1845), que havia sido aluno do célebre pintor francês Louis David (1748-1825).
+1834 – Provavelmente, deixou a Suíça e passou alguns meses em Paris, onde foi aluno do pintor francês Camille Flers (1802 – 1868). Flers havia vivido no Rio de Janeiro entre 1821 e 1823.
+1835 - Buvelot chegou em Salvador, na Bahia, onde deu aulas de pintura. Seu tio, François Buvelot (1777 – ?) possuía uma plantação de café no estado entre 1825 e 1842. Buvelot permaneceu em Salvador até 1840 e os quadros que pintou da cidade, intitulados Vista da Bahia e Vista das Fortalezas da Entrada da Bahia, além de um retrato de Minerva Candida d’Albuquerque, o destacou entre as famílias europeias abastadas que viviam na Bahia.
+1839 – Anunciou ao público ter aberto uma casa onde desenhava paisagens, retratos de todos os tamanhos e tudo quanto diz respeito a essa arte (Correio Mercantil, 9 de fevereiro de 1939, na segunda coluna).
+1840 – Anunciou com o pintor francês Louis Auguste Moreau (1818 – 1877) aulas de desenho e pintura na rua Direita do Palácio, nº 65 (Correio Mercantil, 29 de janeiro, na segunda coluna, e 4 de fevereiro de 1840, na segunda coluna).
+Em outubro, chegou ao Rio de Janeiro, a bordo do patacho Minerva. Três dias depois, compareceu à Polícia e no livro de legitimação de passaportes identificou-se como Luis Buvelot, suíço, solteiro, 27 anos, retratista. Como a maioria dos imigrantes, viveu um tempo no Hotel Pharoux, e depois teve várias moradias, dentre elas na ruas do Rosário, do Cano, Santa Teresa e Ourives (Jornal do Commercio, 31 de outubro de 1840, na terceira coluna e Jornal do Brasil, 2 de junho de 1957). 
+Em dezembro, participou da III Exposição Geral de Belas Artes com duas paisagens representando a praia de Santa Luzia e o Saco da Gamboa com o cemitério inglês (Jornal do Commercio, 16 de dezembro de 1840 e Diário de Pernambuco, 13 de janeiro de 1841, na primeira coluna). Na ocasião, Zeferino Ferrez (1797 – 1951), pai do fotógrafo Marc Ferrez, foi condecorado.
+1841 – Foi anunciada a venda de uma litografia de Heaton & Rensburg representando a coroação e a sagração de d. Pedro II, quando ele se apresentou ao povo na varanda Largo do Paço, baseada em um desenho do pintor francês Louis Auguste Moreaux (1818 – 1877) e Buvelot. Estava à venda nas lojas de Georges Leuzinger (1813 – 1892) e Laemmert, dentre outras (Jornal do Commercio, 4 de agosto de 1841, na segunda coluna).
+Participou da Exposição Geral de Belas Artes com quadros representando a Lagoa Rodrigo de Freitas e Botafogo (Jornal do Commercio, 6 de janeiro de 1842, na terceira coluna).
+1842 – Foi publicado o primeiro número do Rio de Janeiro Pitoresco com seis estampas de vistas e figuras desenhadas por Buvelot e pelo pintor francês Louis Auguste Moreaux (1818 – 1877). Estava à venda nas lojas de Georges Leuzinger (1813 – 1892) e Laemmert (Jornal do Commercio, 24 de março de 1842, na terceira coluna).
+Embarcou no navio Bom Sucesso, rumo a Vila Viçosa e Campos (Jornal do Commercio, 17 de novembro de 1842, na última coluna).
+1843 - Em novembro, Buvelot casou-se com a parisiense Marie-Félicité Lalouette (1816 – ?), filha de Nicolas-Joseph e Appaline-Rosalie Piquet, meses depois do nascimento de Jeanne-Louise-Sophie, única filha do casal, em 24 de fevereiro.
+Ele e o pintor cearense José dos Reis Carvalho (1800 – 1872) ganharam medalha de ouro na Exposição Geral de Belas Artes.
+1844 – A imperatriz dona Teresa Cristina, que havia chegado ao Rio de Janeiro, em 3 de setembro de 1843, comprou todos os quadros de Buvelot expostos na Exposição do Rio de Janeiro: Cemitério Inglês na Gamboa, Vista do Convento de Santo Antônio, Canto do Beco do Cairu, Vista da Cidade do Rio de Janeiro observado do Andaraí Pequeno e Vista de Nossa Senhora da Glória observada dos aquedutos. O recibo, no valor de 300$000, de 1º de fevereiro de 1844, encontra-se no Arquivo da Casa Imperial. (Jornal do Commercio, 23 de fevereiro de 1844, na primeira coluna e Jornal do Brasil, 2 de junho de 1957).
+Buvelot participou da Exposição Geral de Belas Artes com quatro quadros: Vista da cidade e da Baía observada da Fábrica de Rapé, no Andaraí; Vista da passagem da Boa Vista observada do mesmo lugar; Vista do Corcovado e da Lagoa Rodrigo de Freitas observada da Boa Vista da Gávea; e Vista de Botafogo observada do caminho novo da praia Vermelha (Jornal do Commercio, 21 de dezembro de 1844, na primeira coluna e Jornal do Brasil, 2 de junho de 1957).
+c. 1845 – Fundou seu estabelecimento fotográfico, na rua dos Latoeiros (atual rua Gonçalves Dias), tornando-se um dos primeiros profissionais da daguerreotipia no Rio de Janeiro.
+1845 – Foi publicado pela Heaton & Rensburg o álbum litográfico Rio de Janeiro Pitoresco, realizado por Buvelot e pelo pintor francês Louis Auguste Moreaux (1818 – 1877). Reunia três séries de gravuras realizadas desde 1842 (Anuário do Museu Imperial, 1960).
+Consta dos livros de fevereiro da mordomia imperial um recibo no valor de 500$000 para o pagamento de uma vista da Lagoa Rodrigo de Freitas, de autoria de Buvelot (Jornal do Brasil, 2 de junho de 1957).
+Francisco Buvelot, provavelmente François Buvelot, o tio de Louis Buvelot, partiu para a França, na barca francesa Emile (Jornal do Commercio, 20 de junho de 1845, na última coluna).
+1846 – Era o professor de desenho do Colégio de São Pedro de Alcântara (Jornal do Commercio, 18 de outubro de 1846, na segunda coluna).
+Pintou, sob encomenda da imperatriz dona Teresa Cristina, uma paisagem de floresta brasileira, Vista de mato virgem, que foi exibida na Exposição Geral de Belas Artes de 1846. Pelo quadro, foram pagos 300$000 conforme recibo de 4 de dezembro de 1846 existente no Arquivo da Casa Imperial (Jornal do Brasil, 2 de junho de 1957).
+1847 – D. Pedro II o agraciou com o título de Cavaleiro da Imperial Ordem do Rosa  pelo mesmo decreto que tornou Grandjean de Montigny (1776 – 1850) Oficial da mesma Ordem (Diário Novo, 22 de março de 1847, na segunda coluna).
+Apresentou uma aquarela na Exposição Geral de Belas Artes (Jornal do Brasil, 2 de junho de 1957).
+1848 – Apresentou seis pinturas na Exposição Geral de Belas Artes: Vista de uma casa nas Laranjeiras, Vista de uma choupana, Vista do caminho dos aquedutos, Vista de uma casa em Catumbi, Vista da Gávea observada da Lagoa; e Vista das Laranjeiras (Jornal do Brasil, 2 de junho de 1957).
+1848 a 1951 – Seu estabelecimento, intitulado Louis Buvelot  foi anunciado na seção de “Pintores e Retratistas” do Almanak Administrativo, Mercantil e Industrial do Rio de Janeiro de 1848, 1849, 1950 e 1951. Em 1951, foi anunciado também na seção de “Daguerreótipos”, no mesmo endereço, mas intitulado Officina de Buvelot, 6, & Prat, r. dos Latoeiros, 36.
+1849 – Em 30 de novembro, a Família Real pagou a Buvelot  544$000 pela realização de 19 retratos e pelo fornecimento de 20 estojos de daguerreótipos (Jornal do Brasil, 2 de junho de 1957).
+Buvelot foi saudado como o artista que melhor sente e executa a natureza do Brasil, na Exposição da Academia de Belas Artes. Ele apresentou duas vistas (Correio Mercantil, 18 de dezembro de 1849, na terceira coluna).
+1850 – Uma conta de 404$000 de retratos de d. Pedro II foi paga pela mordomia imperial, em setembro. A partir dessa informação, o historiador Guilherme Auler concluiu que o retrato do imperador que se encontra no Palácio do Grã-Pará é de autoria de Buvelot & Prat e sua data é 1850 (Jornal do Brasil, 2 de junho de 1957).
+Em uma crítica às obras apresentadas na Exposição da Academia de Belas Artes, foi escrito: as paisagens do sr. Buvelot não podem ser mais naturais! Lamentamos que esse homem não seja brasileiro ou ao menos lente de paisagem da academia, que a esse respeito está muito mal servida… Ele apresentou duas aquarelas (Gazeta Mercantil, 17 de dezembro de 1850, na segunda coluna e Jornal do Brasil, 2 de junho de 1957).
+1851 – Buvelot e Prat estiveram em Petrópolis entre 25 de fevereiro a 1º de março e entre 9 e 15 de abril para fotografar aspectos da então colônia imperial e receberam da mordomia imperial 2:595$000. Foram pagos 92$000 ao Hotel Suíço de Francisco Gabriel Chifelli e ao colono Davi Heiderich pelo aluguel de carros que os transportou do Porto da Estrela a Petrópolis. Esses daguerriótipos estão desaparecidos. Segundo o historiador Guilherme Auler, alguns foram descritos por d. Pedro II em um dos 114 manuscritos que estão no Arquivo da Casa Imperial. Seriam a descrição dos registros do palácio, ainda não concluído; do Hotel Suíço, da serraria, da residência do ministro da Rússia, além de aspectos da rua do Imperador e da rua Dona Francisca, dentre outros. Auler levantou a hipótese dessas fotografias terem sido ofertadas a Dona Francisca, a Princesa de Joinville que semestralmente recebia de maneira oficial, com correspondência da Mordomia da Casa Imperial ao Ministro brasileiro em Paris, caixas de doce de abacaxi, farinha de mandioca, feijão preto, barril de aguardente, caixas de goiabada e sementes de quiabo… A feijoada recordava o Brasil. E se havia o cuidado de remeter tais coisas, para o culto da saudade, certamente um daguerreótipo representava muito mais  (Jornal do Brasil, 2 de junho de 1957).
+Foi o primeiro fotógrafo no Brasil, com seu associado Prat, a receber o real patrocínio de um monarca quando, em 8 de março de 1851, d. Pedro II autorizou o uso das armas imperiais na fachada do estabelecimento fotográfico Buvelot & Prat.
+Propaganda do ateliê fotográfico Buvelot & Prata, Correio Mercantil de 4 de junho de 1851.
+1852 – O estabelecimento fotográfico foi anunciado no Almanak Administrativo, Mercantil e Industrial do Rio de Janeiro como Officina Imperial de Buvelot, 6, & Prat, r. dos Latoeiros, 36.
+Apresentou  um quadro na Exposição Geral de Belas Artes (Jornal do Brasil, 2 de junho de 1957).
+Buvelot retornou à Suíça por motivos de saúde, provavelmente havia contraido malária. Porém, no livro Famous Australian Artists, de Lois Hunter, publicado na Austrália, em 2003, foi mencionado que o motivo real de Buvelot ter deixado o Brasil teria sido a pressão pública devido a um escândalo desencadeado por um caso que ele teria tido com uma estudante. Algumas fontes informam que o ano foi 1851.
+Viveu entre julho de 1852 e dezembro de 1853 em Vevey, Vaud, onde tentou, sem sucesso, se estabelecer como retratista.
+1853 - Em dezembro, mudou-se com Marie-Felicité e sua filha Jeanne-Louise-Sophie (1844 – ?) para Lausanne. 
+1854 – Foi com o artista austríaco Ferdinand Krumholtz (1810 – 1878), que ele havia conhecido no Rio de Janeiro, para Calcutá, na Índia, onde tentaram as carreiras de pintor e fotógrafo.
+1855 - Buvelot teria ido para a Escócia antes de voltar à Suíça (Jornal do Brasil, 2 de junho de 1957). Começou a trabalhar como desenhista na Escola de Design em La Chaux-de-Fonds, Neuchâtel. Permaneceu na cidade com sua mulher e filha até setembro de 1864. Nesse período, contribuiu inúmeras vezes em exposições organizadas pela Sociedade dos Amigos das Artes de Neuchâtel.
+1856 – Participou da Exposição de Berna com a pintura de uma paisagem.
+Pela última vez a Oficinna Imperial Buvelot & Prat foi anunciada no Almanaque Administrativo, Mercantil e Industrial do Rio de Janeiro. O último anúncio  publicado no Correio Mercantil e Instrutivo, Político, Universal foi publicado em 21 de janeiro de 1956, na terceira coluna.
+1857 – A oficina foi anunciada no Auxiliador da Administração do Correio da Tarde de 1857.
+1859/1860 – Buvelot participou da Exposição Geral de Belas Artes de 1859 e de 1860 (Revista Popular, janeiro a março de 1861).
+1864 – Buvelot trabalhou em um comitê que estabeleceu o Museu de Belas Artes em La Chaux-de-Fonds.
+Segundo informação do dicionário de Emmanuel Bénézit (1854 – 1920), Buvelot teria voltado ao Brasil durante esse ano (Jornal do Brasil, 2 de junho de 1957).
+Em setembro, deixou sua família em La Chaux-de-Fonds e, dois meses depois, partiu de Liverpool para a Austrália acompanhado de Caroline-Julie Beguin (? – 1902), que havia sido sua colega como professora de francês na Escola de Design de La Chaux-de-Fonds. Viveram juntos até a morte de Buvelot, em 1888.
+1865 – Chegou em 18 de fevereiro em Melbourne, em Vitória, estado da Austrália, onde comprou um estúdio fotográfico na rua Bourke, nº 92.
+1866 – Mudou-se para a rua La Trobe, nº 88 e retomou sua carreira de pintor. Caroline-Julie dava aulas de francês para ajudá-lo a se estabelecer como artista em Melbourne. Tornou-se conhecido, recebeu diversos prêmios, tendo-se notabilizado por suas paisagens. Entre 1866 e 1882, contribuiu com paisagens em várias exposições nacionais e internacionais. Segundo o crítico de arte do jornal australiano Argus, James Smith, ele reproduzia integralmente as paisagens australianas nas mais diversas técnicas: aquarelas, óleos e crayons.
+1868 - Inscreveu-se para ser o instrutor das aulas de arte na Galeria Nacional de Vitória, sem sucesso. Dois anos depois, o austríaco Eugen von Guerad (1811 – 1901) foi designado para o cargo.
+1869 – Em torno desse ano sua reputação como o principal pintor das paisagens da colônia australiana estava firmada.
+Foi professor de desenho de paisagens na Escola de Design de Artisan, em Carlton, subúrbio de Melbourne.
+Os quadros Winter morning near Heidelberg and Summer afternoon, Templestowe foram adquiridos pela Biblioteca Pública, como parte dos preparativos da Coleção Australiana para a Galeria Nacional de Vitória.
+1870 / 1874 – Serviu no comitê da Academia de Artes de Vitória e também participou de exibições do grupo.
+1873 –  O casal Buvelot mudou-se para o cottage Ma Retrait, na rua George, em Fitzroy, um subúrbio de Melborne.
+1884 - Devido a problemas na visão e nas mãos, deixou de pintar.
+1888 – A Academia de Belas Artes do Brasil adquiriu uma paisagem de Buvelot (Brasil. Ministério do Império, 1888).
+Buvelot faleceu, em 30 de maio, na Austrália. Foi enterrado no cemitério de Kew, onde foi construído um memorial em sua homenagem.
+1890 – Seu quadro, Vista da Gamboa, participou da Exposição Geral de Belas Artes de 1890 (Catálogo da Exposição Geral de Belas Artes de 1890).
+1894 – A Galeria Grosvenor da Galeria Nacional de Vitória passou a chamar-se Galeria Buvelot.
+Foster e Martin. Retrato de Louis Buvelot, c. 1883 / La Trobe Picture Collection, Biblioteca de Vitória, Austrália
+ 
+1953 – Integrou a mostra A Paisagem Brasileira até 1900, organizada por Rodrigo Melo Franco de Andrade (1898 – 1969) para a II Bienal de São Paulo.
+1961 – Na Biblioteca Estadual da Guanabara, foi um dos pintores expostos na mostra O Rio na Pintura Brasileira.
+1962 – Foi um dos artistas da mostra Pintura Australiana: colonial, impressionista e contemporânea, realizada em Perth e em Adelaide, na Austrália.
+1976 – Integrou a exposição Arte Australiana nos 1870s, em Melbourne e em Sidney, na Austrália.
+1977 - Integrou a exposição Aspectos da Paisagem Brasileira: 1816-1916, no Museu Nacional de Belas Artes.
+1982 – Integrou a mostra 150 Anos de Pintura de Marinha na História da Arte Brasileira, realizada no Museu Nacional de Belas Artes.
+1983 - Integrou a exposição Arcádia Australiana, em Sidney, na Austrália.
+1992 – Integrou a mostra Natureza: Quatro Séculos de Arte no Brasil, no Centro Cultural Banco do Brasil, no Rio de Janeiro.
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Acesse as obras de Buvelot disponíveis no acervo da Brasiliana Iconográfica.
diff --git a/wordpress/20783-cronologia-de-albert-richard-dietze-1838-1906.md b/wordpress/20783-cronologia-de-albert-richard-dietze-1838-1906.md
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+---
+id: 20783
+url: "https://brasilianafotografica.bn.gov.br/?p=20783"
+titulo: "Cronologia de Albert Richard Dietze (1838-1906)"
+autor: "Andrea Wanderley"
+data: "2021-01-06T10:19:46+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: []
+fetched_at: "2026-09-10T10:03:44.573Z"
+---
+
+# Cronologia de Albert Richard Dietze (1838-1906)
+
+Cronologia de Albert Richard Dietze (1838-1906)
+ 
+Albert Richard Dietze. Alberto Richard Dietze tocando concertina, c. 1879 / Acervo de Dolores Bucher
+1838 – Nascimento de Albert Richard Dietze em Kaja, na Saxônia, em 29 de dezembro.
+1858 – Alistou-se, em 1º de outubro, para servir no 12º Regimento de soldados do rei, em Magdebourg.
+1862 / 1868 – Dietze chegou ao Brasil, em 1862. Era fotógrafo, músico e já havia cursado Agronomia em seu país. Veio para o Brasil, atraído, provavelmente, pelas facilidades concedidas pelo governo imperial brasileiro para imigrantes como, por exemplo, adquirir lotes de terras devolutas nas incipientes colônias de imigração do país. Passou alguns meses em Santa Catarina e depois veio para o Rio de Janeiro, onde durante cerca de quatorze meses trabalhou com o francês Auguste François Marie Glaziou (1828 -1906), no Jardim Botânico da cidade. Posteriormente, abriu um estabelecimento denominado Photographia Allemã, e passou a fotografar imigrantes ilustres, aproveitando sua experiência na Alemanha como retratista de membros da elite, inclusive, segundo a pesquisadora e crítica de arte Almerinda da Silva Lopes, do próprio imperador alemão Guilherme I (1797 – 1888). Passou a viajar pelo interior do Rio de Janeiro e pelo Espírito Santo.
+ 1869 – No Espírito Santo, estabeleceu-se, inicialmente, em Vitória, possivelmente logo após ter sido nomeado agente consular da Alemanha. Entre este ano e 1878, registrou fotograficamente o início da colonização do Espírito Santo por seus compatriotas.
+1870 – Durante a década de 1870, fixou-se em Santa Leopoldina.
+Sua chegada em Cachoeira do Itapemirim foi noticiada e ele foi identificado como Ricardo A. Dietz (O Estandarte, de 20 de março de 1870, terceira coluna).  No O Estandarte, de 3 de abril de 1870, ofereceu seus serviços de fotógrafo, e no O Estandarte, de 27 de abril de 1870, anunciou sua iminente partida e cobrou dívidas de seus clientes. No mesmo ano, leiloou várias fotos de sua autoria para ajudar feridos, irmãos, viúvas e órfãos de alemães que haviam morrido na guerra contra os franceses (O Espirito-santense, de 24 de novembro de 1870, sob o título “Aos Alemmães”).
+1873 – Promoveu uma exposição com um “Viantoscopo”, em Vitória (Espirito-santense, de 22 de maio de 1873), e, em 12 de outubro de 1873, casou-se com Frederica Cristina Henrietta Sacht (? – 28/3/1908), com quem teve 9 filhos: Anna, Ricardo, Alberto, Maria, Gustavo, Charlotte, Otto, Pauline e Emma.
+1876 – Anunciou a abertura de seu estabelecimento fotográfico, na rua General Osório, 22, em Vitória (O Espirito-santense, 7 de março de 1876, sob o título “Photographo”). Posteriormente, diversificou suas atividades e tornou-se também comerciante de secos e molhados, brinquedos e instrumentos musicais importados da Alemanha, além de produtor e exportador de café.
+1877 – Como um dos líderes de sua comunidade, foi nomeado para integrar a comissão que viria a elaborar o estatuto de uma associação auxiliar entre os colonos de Santa Leopoldina (Correio Paulista, de 17 de janeiro de 1877).
+1883 – Dietze recebeu um prêmio, o grande diploma do mérito, em Berlim (O Horizonte, de 12 de maio de 1883, na primeira coluna sob o título “Exposição Brazileira em Berlim”). Enviou para a Sociedade de Geografia de Lisboa no Rio de Janeiro fotografias de paisagens e de um grupo de índios botocudos (A Provincia do Espirito Santo, de 15 de dezembro de 1883, sob o título “Offerta”, na quarta coluna).
+1884 -  Em 30 de março de 1884, escreveu na primeira página do jornal A Provincia do Espirito Santo, sob o título “À Praça”, defendendo-se de ataques contra sua honestidade e fazendo cobranças.
+1885 – Em 1º de outubro, cidadãos protestaram contra a decisão de Dietze em relação a uma mudança no trânsito (A Provincia do Espirito Santo, de 1º de outubro de 1885, primeira coluna sob o título “Santa Leopoldina”). Ele respondeu no mesmo jornal em 13 de outubro de 1885.
+1886 – Envolveu-se também em assuntos relativos à educação, tendo criado e mantido uma escola para o ensino de português e alemão (O Espirito-santense,de 13 de fevereiro de 1886, na quarta coluna). Convidou um professor alemão para lecionar para os filhos dos colonos (O Espirito-santense, de 23 de janeiro de 1886, sob o título “Professor Allemão” e de 7 de abril do mesmo ano, na primeira coluna). Também foi o fundador e diretor de uma orquestra familiar e participou ativamente da vida social de Santa Leopoldina.
+1888 –  É noticiado que ele estava organizando um álbum fotográfico com vistas do Espírito Santo e foi mencionado o prêmio que ele havia recebido em Berlim (O Espirito-santense, de 7 de outubro de 1888). 
+1897 – Ao que parece, Dietze nunca deixou de se dedicar à fotografia e à sua comunidade: fotografou e deu uma festa por ocasião da inauguração de uma ponte em Santa Leopoldina(O Estado do Espirito Santo, 24 de julho de 1897, na última coluna).
+1900 - Anunciou a venda de fotografias e de cartões postais (O Cachoeirano, de 4 de novembro de 1900, primeira coluna);
+1901 - O jornal O Estado do Espírito Santo agradeceu a oferta de cartões-postais feita por Dietze ao periódico (O Estado do Espirito Santo, 6 de junho de 1901).
+1906 – Faleceu, em Santa Leopoldina, em 24 de agosto, de parada cardíaca.
+ 
+Albert Richard Dietze. Orquestra da família Dietze, c. 1890 / Site da cidade de Santa Leopoldina
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
diff --git a/wordpress/20787-cronologia-de-alfredo-ducasble-18-19.md b/wordpress/20787-cronologia-de-alfredo-ducasble-18-19.md
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+---
+id: 20787
+url: "https://brasilianafotografica.bn.gov.br/?p=20787"
+titulo: "Cronologia de Alfredo Ducasble (18? – 19?)"
+autor: "Andrea Wanderley"
+data: "2021-01-06T10:19:32+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/3912", "20.500.12156.1/3909"]
+fetched_at: "2026-09-10T10:03:47.859Z"
+---
+
+# Cronologia de Alfredo Ducasble (18? – 19?)
+
+Cronologia de Alfredo Ducasble (18? – 19?)
+Galeria Ducasble, c. 1885. Recife, Pernambuco / Acervo IMS
+ 
+1873 – J. A. Ducasble teria chegado em Pernambuco vindo da Europa no vapor Rio Grande (Diário de Pernambuco, 11 de março de 1873, terceira coluna).
+1874 – No Recife, A. Ducasble, sua mulher e três filhos embarcaram rumo ao sul do país, no vapor inglês Illimani (A Província – Órgão do Partido Liberal, 27 de janeiro de 1874, primeira coluna).
+No Rio de Janeiro, João Alfredo Ducasble, sua senhora e um filho embarcaram no vapor Pará rumo a Pernambuco (Jornal do Commercio, 20 de junho de 1874).
+Foi anunciado que Ducasble era consertador de máquinas de costura e que a modista Madame Ducasble havia chegado da corte e convidava as senhoras que desejassem vestir-se elegantemente para a visitarem na rua da Imperatriz, nº 8, mesmo local onde Ducasble atendia (Jornal de Recife, 9 de julho e 13 de julho de 1874).
+ 
+ 
+Jornal de Recife, 9 de julho de 1874
+ 
+Foi publicado um anúncio de Ducasble oferecendo aulas de caligrafia e de francês no primeiro andar da rua da Imperatriz, nº 1, onde sua esposa tinha um estabelecimento de moda (Jornal de Recife, 6 de agosto e 11 de agosto de 1874).
+ 
+Jornal de Recife, 6 de agosto de 1874
+ 
+1875 – João Alfredo Ducasble trabalhava como desenhista na Repartição das Obras de Conservação dos Portos da Província (Almanak Administrativo, Mercantil, Industrial e Agrícola (PE), 1875).
+Sua esposa, a modista Urraca Ducasble (18? – 1893), participava a mudança de seu estabelecimento de moda para a rua Barão da Vitória, 52, no 1º andar, a partir do dia 12 de julho de 1875 (A Província – Órgão do Partido Liberal, 11 de julho de 1875). Dois anos depois, mudou-se para o número 65 da mesma rua.
+1876 - Vindo no navio Rio Grande, o francês Alfred Ducasble, chegou ao Rio de Janeiro (Diário do Rio de Janeiro, 13 de fevereiro de 1876, quinta coluna).
+1877 - Foi publicado um anúncio onde Ducasble oferecia-se para fazer qualquer levantamento em plantas de engenho, nivelamentos, projetos de casas de campo, chalés e qualquer desenho de arquitetura, mecânico e topográfico (Jornal de Recife, 18 de abril de 1877, quinta coluna). Continuava lecionando caligrafia e desenho em colégios, em casas particulares e em sua casa (Jornal de Recife, 23 de abril de 1877, terceira coluna). Mudou-se para a Rua Barão da Vitória (ex- rua Nova), nº 65, 1º andar (Jornal de Recife, 16 de outubro de 1877, quarta coluna).
+Ducasble participou de uma celebração na Escola Filotécnica (Jornal de Recife, 16 de novembro de 1877, quarta coluna).
+Imprimiu o Curso Prático de Caligrafia, de sua autoria, aprovado pelo Conselho Superior de Instrução Pública de Pernambuco (Jornal de Recife, 28 de novembro de 1877, última coluna).
+1878 - Durante uma reunião do Conselho de Instrução Pública da província da Bahia, foi lido um ofício mandando informar o requerimento de Alfred Ducasble, que se propõe a ensinar em 30 lições a caligrafia nas escolas, nos dois externatos e aos professores públicos, e oferece à venda por 1$500 réis cada exemplar da coleção de seus traslados. A venda não foi realizada (O Monitor, 28 de abril de 1878, terceira coluna e O Monitor, 18 de junho de 1878, sexta coluna).
+Em Salvador, Alfredo Ducasble embarcou no vapor francês Niger rumo ao Recife (O Monitor, 20 de junho de 1878, quarta coluna e A Província – Órgão do Partido Liberal, de 1878, 20 de junho de 1878, segunda coluna).
+Anunciou seus serviços como professor de caligrafia e de desenho, estabelecendo curtos prazos para ensinar as matérias (Jornal de Recife, 5 de julho de 1878, quinta coluna).
+ 
+Jornal de Recife, 5 de julho de 1878
+No fim dessa década, provavelmente, o alemão Rodolpho Frederico Francisco Lindemann (1852 – 19?)  trabalhava como fotógrafo junto a Alfredo Ducasble.
+1880 – Anunciou a realização de Retratos Inalteráveis na Photographia Parisiense pelo processo de cromotipia, na rua Barão da Vitória, 65.
+ 
+Jornal de Recife, 28 de fevereiro de 1880
+ 
+Em 1º de março, anunciou-se que na Photographia Parisiense, de Alfredo Ducasble & C., fazia-se retratos de pessoas falecidas, de grupos, retratos em domicílio e de paisagens e por todos os sistemas mais modernos. A dúzia de retratos custava 5 $ (Jornal de Recife, 1º de março de 1880).
+1881 - Teria pretendido estender sua atuação para a Paraíba onde seria seu representante ou sócio Manoel Bezerra de Mello.
+No Liceu de Artes e Ofícios do Recife, Ducasble era professor de caligrafia e de desenho linear. Doou para a biblioteca da instituição 10 exemplares de seu livro Curso de Caligrafia (Diário de Pernambuco, 18 de fevereiro de 1881, segunda coluna e Diário de Pernambuco, 22 de março de 1881, segunda coluna).
+Exposição, no estabelecimento fotográfico de M. Alfred Ducasble , que de dia em dia vem caminhando num progresso rápido a ponto de já ser o primeiro da província, de dois quadros do pintor paraibano Aurélio de Figueiredo (1856 – 1916), Saudade e Melancolia (Diário de Pernambuco, 19 de abril de 1881, primeira coluna). Meses depois, por motivos de saúde, o pintor foi para a Paraíba e deixou como contato no Recife a Galeria Ducasble (Diário de Pernambuco, 8 de setembro de 1881, quarta coluna).
+Participou da Exposição da Indústria Nacional e da Exposição Provincial de Pernambuco provavelmente com fotografias. Na última conquistou a medalha de mérito.
+1882 – Participou da Primeira Exposição Artístico-Industrial promovida pela Imperial Sociedade dos Artistas Mecânicos e Liberais de Pernambuco e conquistou uma medalha de mérito pelos retratos de seu estabelecimento fotográfico. Alberto Henschel (1827 – 1882) também recebeu uma medalha de mérito pelas vistas fotográficas que expôs (Diário de Pernambuco, 17 de janeiro de 1882, segunda coluna e Jornal de Recife, 22 de janeiro de 1882, última coluna).
+Uma menina de cor preta com aproximadamente 10 anos chamada Josefa foi abandonada na casa do casal Ducasble (Diário de Pernambuco, 14 de março de 1882, quinta coluna).
+Ducasble foi laureado com o primeiro prêmio na Exposição Artístico-Industrial do Rio de Janeiro (Jornal de Recife, 14 de maio de 1884, última coluna).
+Ducasble doou livros para a Biblioteca do Liceu de Artes e Ofícios de Pernambuco, inaugurada em 11 de dezembro de 1881 e aberta em 10 de abril de 1882 (Jornal de Recife, 4 de maio de 1882, penúltima coluna).
+Fazia parte da comissão do Club Abolicionista encarregada de angariar donativos no bairro de Santo Antônio, no Recife (Jornal do Recife, 13 de junho de 1882, penúltima coluna).
+Integrava o comitê nomeado pelo Consulado da França para organizar a Festa Nacional de 14 de julho (Jornal de Recife, 28 de junho de 1882, quinta coluna). Foi elogiado pelo trabalho verdadeiramente artístico - uma miniatura que foi ofertada aos participantes da festa (Jornal de Recife, de 16 de julho de 1882, penúltima coluna).
+Na comemoração dos 41 anos da Imperial Sociedade dos Artistas Mecânicos e Liberais de Pernambuco, foi realizada uma exposição com quatro salas. A primeira sala, que era a principal, denominada Galeria Ducasble apresentava um quadro de fotografias produzidas por Ducasble, quadros a óleo do paraibano Aurélio de Figueiredo (1856 – 1916), do francês radicado em Pernambuco  Eugène Lassailly (18? – 19?) e do pernambucano José Jerônimo Telles Júnior (1851 – 1914), além de trabalhos a crayon de Benevenuto Cabral e estudos, também a crayon, de Maria Tasso (Jornal do Recife, 19 de dezembro de 1882, quinta coluna).
+1883 – Fotografias porcelana produzidas por Ducasble eram um dos prêmios oferecidos em um sorteio da Livraria e Papelaria de G. Laporte & C. (Jornal de Recife, 4 de fevereiro de 1883, quinta coluna).
+Ducasble partiu para a Europa a bordo do vapor inglês La Plata (Diário de Pernambuco, 16 de fevereiro de 1883, segunda coluna).
+Na Galeria Ducasble, exposição de um quadro pintado por Leopoldino de Faria (1836 – 1911), retratando o diretor do Arsenal de Marinha (Jornal de Recife, 8 de junho de 1882, penúltima coluna).
+Ducasble chegou da Europa a bordo do vapor francês Gironde (Jornal de Recife, 5 de agosto de 1883, última coluna). Publicou que retomava a direção de seu estabelecimento e que estava recuperado de seus incômodos. Informava que havia visitado os melhores estabelecimentos das principais cidades europeias, onde havia praticado com grandes mestres de fotografia e pintura. Anunciou ter trazido modernos equipamentos e que havia se dedicado ao estudo dos processos instantâneos podendo tirar facilmente o retrato de toda e qualquer criança com expressão e semelhança (Jornal de Recife, 10 de agosto de 1883, quinta coluna).
+ 
+Alfredo Ducasble. Retrato de criança, c. 1883. Recife, Pernambuco / Acervo IMS
+ 
+O pintor francês Lassaily havia chegado da França e anunciava que quem precisasse de seus serviços poderia procurá-lo na Photographia Parisienne (Jornal de Recife, 13 de novembro de 1883, última coluna).
+Ducasble anunciou que o quadro dos bachareis do 5º ano encontrava-se em sua galeria e que até o fim do mês receberia o pagamento da segunda prestação (Jornal de Recife, 17 de novembro de 1883, terceira coluna).
+1884 - Anúncio da Galeria Ducasble informava que a partir de qualquer fotografia produzia retratos a óleo, crayon e nanquim (Jornal de Recife, 9 de maio de 1884).
+Ele, Menna da Costa e Hermina Costa formavam a comissão da Imperial Sociedade dos Artistas Mecânicos e Liberais para arrecadação dos impostos devidos por fotógrafos e retratistas (Jornal de Recife, 11 de julho de 1884, última coluna).
+Ducasble fez a importação de espelhos, que chegaram no vapor francês Ville de Pernambuco (Jornal de Recife, 11 de julho de 1884, segunda coluna). Ao longo do ano foram noticiadas outras importações.
+Na Galeria Ducasble, exposição de um belo retrato a óleo feito na Europa de Laurentino José de Miranda, que iria ornar a sala de sessões da Companhia de Ferrovia de Olinda (Diário de Pernambuco, 16 de maio de 1884). Exposição também de um bonito retrato a óleo do conselheiro Theodoro Machado Freire Pereira da Silva, que seria levado para o salão de honra da Câmara Municipal do Recife (Jornal de Recife, 14 de setembro de 1884, quarta coluna).
+ 
+Jornal de Recife, 6 de dezembro de 1884
+ 
+1885 – Estavam expostos na Galeria Ducasble os retratos a óleo dos advogados José Mariano Carneiro da Cunha (1850 – 1912) e Félix de Valois Correia (18? – 19?), encomendados pela Imperial Sociedade de Artistas Mecânicos e Liberais em homenagem aos serviços prestados por eles. Seriam colocados no salão de honra da referida instituição no dia do aniversário da mesma, em 18 de janeiro (Jornal de Recife, 14 de janeiro de 1885, quarta coluna).
+Publicou um anúncio intitulado Antiguidades, onde anunciava interesse na compra de objetos antigos como sejam: pratos, cadeiras de sofá, vasos e candelabros de bronze, pinturas antigas e modernas e qualquer objeto artístico (Jornal de Recife, 25 de fevereiro de 1885, sexta coluna e Diário de Pernambuco, 6 de março de 1885). Esse anúncio foi publicado várias vezes ao longo do ano.
+ 
+Diário de Pernambuco, 6 de março de 1885
+ 
+Participou da Exposição Internacional de Antuérpia, realizada entre 2 de maio e 2 de novembro de 1885, e ganhou o diploma de medalha de prata na Classe 7 – Fotografias e seus aparelhos (Diário de Pernambuco, 29 de outubro de 1885, terceira coluna e Jornal de Recife, 7 de abril de 1887, quinta coluna).
+‘A carta geral do Brasil assim como outra da província de São Paulo não deixam nada a desejar como gravura topográfica. Saíram das oficinas dos senhores Paul Robin & O, do Rio de Janeiro que obtiveram por seus trabalhos uma medalha de prata; a mesma recompensa foi atribuída aos senhores Marc Ferrez e Ducasbles por suas belas fotografias’ (Anvers à l´Exposition Universelle, 1886).
+A exposição de uma reprodução do quadro Sono de antíope, do pintor renascentista Correggio (c. 1439 – 1534), na Galeria Ducasble, causou polêmica por ser considerado imoral por parte do público e por essa causa deixou de frequentar o estabelecimento. O advogado e ex-presidente das províncias do Piauí, do Ceará e de Pernambuco Diogo Cavalcanti de Albuquerque (1829 – 1889) publicou uma crítica a esse comportamento, segundo ele, inspirado por uma nudofobia. No mesmo artigo critica o pouco incentivo do governo às artes e elogia o estabelecimento de Ducasble (Diário de Pernambuco, 27 de junho de 1885).
+ 
+Antíope dormindo, 1524/1527,  de Correggio / Acervo Museu do Louvre
+ 
+ 
+Diário de Pernambuco, 27 de junho de 1885
+ 
+Continuava trabalhando como professor do Liceu de Artes e Ofícios (Diário de Pernambuco, 14 de outubro de 1885 e Diário de Pernambuco, 3 de julho de 1886).
+Executou o retrato do sr. Epaminondas Gouvêia, que seria colocado na Igreja do Carmo. Foi encomendado pela Irmandade de Nossa Senhora da Luz (Jornal de Recife, 25 de outubro de 1885, quinta coluna).
+Participou, na Seção de Fotografia, da 5ª Exposição Artístico-Industrial, promovida pela Imperial Sociedade dos Artistas Mecânicos e Liberais, quando obteve o diploma de Progresso (Jornal de Recife, 31 de dezembro de 1885, quinta coluna).
+O larápio José Braz da Silva célebre autor do roubo que sofreu a atriz Helena Balsemão foi retratado por Ducasble (Diário de Pernambuco, 3 de julho de 1885, quarta coluna).
+Ducasble vendeu à Irmandade de Nossa Senhora da Conceição cadeiras de carvalho revestidas de acentuados desenhos de talha (Jornal de Recife, 9 de dezembro de 1926, primeira coluna).
+Participou da quinta Exposição Artístico-Industrial do Liceu de Artes e Ofícios promovida pela Imperial Sociedade dos Artistas Mecânicos e Liberais e ganhou o Diploma de Progresso. Na ocasião a fotografa pernambucana Hermina Menna da Costa (18? – 19?) recebeu o Diploma de Mérito (Diário de Pernambuco, 20 de dezembro de 1885).
+
+Diário de Pernambuco, 31 de dezembro de 1885
+
+1886 – Na exposição fotográfica no Palácio de Cristal, na cidade do Porto, em Portugal, Ducasble foi contemplado com uma menção honrosa (Gazeta de Notícias, 27 de junho de 1886, terceira coluna).
+Produziu um retrato da atriz portuguesa Lucinda Furtado Coelho (1850 – 1928) que constava de um jornal dedicado a ela (Jornal de Recife, 1º de julho de 1886, penúltima coluna).
+Na Galeria Ducasble, exposição de um retrato a óleo de Diogo Cavalcanti de Albuquerque executado em Paris por um brasileiro. Também na galeria, exposição de trabalhos do pintor cearense Irineu de Souza (1850 – 1924) e de uma fotografia do Teatro de Santa Isabel na ocasião da sessão fúnebre promovida União Federal Abolicionista em honra a José Bonifácio (Diário de Pernambuco, 9 de abril de 1886, primeira coluna; Jornal de Recife, 18 de setembro, quinta coluna e Jornal de Recife, 3 de dezembro de 1886, segunda coluna).
+Participou da Exposição Sul-Americana de Berlim e conquistou o primeiro prêmio e a medalha de ouro (Diário de Pernambuco, 21 de agosto de 1886, penúltima coluna; Jornal do Commercio, 31 de março de 1887, última coluna e Jornal de Recife, 16 de março de 1888)
+1887 – Publicação de artigos de Ducasble na quarta, na sexta e na oitava edição da Revista do Norte
+Publicação de uma carta do pintor Telles Júnior ao mestre Alfredo Ducasble sobre o artigo escrito sobre os quadros de Barreto Sampaio na Revista do Norte, 10 de fevereiro de 1887. Telles Junior sentiu-se ofendido pela crítica de Ducasble (Jornal de Recife, 14 de março, quinta coluna).
+Na Galeria Ducasble, exposição de retratos pintado a óleo por Bannel de Paris (Jornal de Recife, 13 de abril de 1887, quinta coluna).
+Ducasble ofertou ao Instituto Arqueológico Geográfico de Pernambuco uma fotografia da inscrição da Igreja de Nossa Senhora dos Prazeres, no Monte Guararapes (Jornal de Recife, 20 de abril de 1887, primeira coluna).
+Chegada no vapor Ville de Bahia de uma encomenda de quadros feita por Ducasble (Jornal de Recife, 7 de junho de 1887, quarta coluna).
+Em uma carta publicada por Feliciano de Azevedo Gomes para a família de Emílio Soares, alfaiate e genro de Ducasble, casado com sua filha Maria Vitória, foi revelado que Ducasble sofria dos nervos. Feliciano acusou Ducasble de calúnia no episódio envolvendo um surto de loucura de Soares e o desafiou para um duelo. Ducasble declarou jamais ter caluniado Feliciano, a quem continuava a considerar um cavalheiro muito distinto e honrado (Jornal de Recife, 14 de junho, última coluna;  15 de junho, penúltima coluna; e 18 de junho, terceira coluna).
+O escritor português Ramalho Ortigão (1936 – 1915) em sua vista ao Recife foi à Galeria Ducasble onde foi fotografado. Estava com Joaquim Nabuco (Jornal de Recife, 20 de novembro de 1887, segunda coluna).
+Na Galeria Ducasble, exposição de um retrato de Adolfo Manta, encomendado por seus ex-escravos, recém libertos por ele (Diário de Pernambuco, 7 de dezembro de 1887, última coluna).
+1888 – Publicação de uma propaganda da Galeira Ducasble com lista de prêmios (Jornal de Recife, 16 de março de 1888). Foi publicada diversas vezes ao longo do ano no Jornal de Recife e no Diário de Pernambuco.
+ 
+Jornal de Recife, 16 de março de 1888
+ 
+Na Galerie Artistique de Ducasble, exposição de dois bustos a óleo dos abolicionistas pernambucanos Joaquim Nabuco (1849 – 1910) e de José Mariano Carneiro da Cunha (1850 – 1912), realizados por Ducasble (Jornal de Recife, 30 de maio de 1888, quinta coluna).
+ 
+Joaquim Nabuco e José Mariano Carneiro da Cunha fotografados por Ducasble / Acervo Fundação Joaquim Nabuco
+ 
+ 
+O artista, pintor e decorador francês Eugène Lassailly  publicou uma propaganda de seus serviços e um dos lugares onde poderia ser contactado era a Galeria Ducasble (Jornal de Recife, 19 de junho de 1888, quarta coluna).
+Ducasble foi um dos contribuintes da subscrição agenciada no Recife por Luiz Cintra a fim de serem ofertadas aos médicos que cuidaram da saúde de dom Pedro II (Diário de Pernambuco, 28 de agosto de 1888, quinta coluna).
+Participou da Comissão Pernambucana para a representação da província na Exposição Universal de Paris (Diário de Pernambuco, 23 de setembro de 1888, última coluna e Jornal de Recife, 11 de janeiro de 1889, primeira coluna).
+Ducasble  lecionava caligrafia na Escola Normal da Sociedade Propagadora de Instrução Pública (Diário de Pernambuco, 23 de novembro de 1888, última coluna).
+Em anúncio, Ducasble atestava ter feito com sucesso uso do Elixir Cabeça de Negro sedativo contra o reumatismo, fórmula do dr. Santa Rosa (Jornal do Commercio, 12 de dezembro de 1888).
+1889 – Abertura da exposição prévia dos produtos que deveriam ir para a Exposição Universal de Paris, dentre eles objetos artísticos de Ducasble, que recebeu o diploma de 1ª classe (Jornal do Povo, 14 de janeiro de 1889, terceira coluna, Diário de Pernambuco, 15 de janeiro de 1889, quarta coluna; e Diário de Pernambuco, 5 de fevereiro de 1889, segunda coluna).
+Foi eleito conselheiro da diretoria da Imperial Sociedade de Artistas Mecânicos e Liberais (Jornal de Recife, 26 de janeiro de 1889, terceira coluna).
+Foi de sua autoria a fotografia do projeto do monumento em homenagem à abolição da escravidão que seria erigido em Olinda (Jornal de Recife, 10 de fevereiro de 1889, primeira coluna).
+Ducasble foi escolhido delegado da Comissão Pernambucana para a representação da província na Exposição Universal de Paris (Diário de Pernambuco, 3 de maio de 1889, penúltima coluna).
+Ducasble produziu uma fotografia do pessoal da Companhia de Bombeiros (Jornal do Povo, 17 de maio de 1889, segunda coluna).
+Na Exposição Universal de Paris, realizada entre 6 de maio e 31 de outubro de 1889, ganhou medalha de prata por seu panorama de Pernambuco e por retratos expostos e também por lenços bordados e rendas. Além disso, expôs 5 quadros, móveis, jóias e antiguidades (Diário de Pernambuco, 23 de outubro, quarta coluna, e Jornal de Recife, 24 de outubro de 1889, penúltima coluna). Segunda a Revista do Patrimônio Artístico e Histórico Nacional de 1946, Ducasble talvez tenha sido o primeiro a enviar peças antigas brasileiras ou luso-brasileiras para serem mostradas fora do país. Nessa mesma exposição, o fotógrafo Marc Ferrez (1843 – 1923) participou com vistas do Rio de Janeiro, vistas marinhas e paisagens e, de acordo com Maria Inez Turazzi, recebeu a medalha de bronze. Segundo o Auxiliador da Indústria Nacional, ele teria recebido a medalha de prata (O Auxiliador da Indústria Nacional, 1889). O fotógrafo Felipe Augusto Fidanza (c. 1847 – 1903) recebeu uma medalha de bronze. Outros fotógrafos que participaram foram Albert Richard Dietze (1838 – 1906), Rodolpho Lindemann (c. 1852 – 19?), Nicholson & Ferreira, Joaquim Insley Pacheco  ( 1830 – 1912) e José Ferreira Guimarães (1841 – 1924). Foi também nessa exposição que a Torre Eiffel, na época a mais alta estrutura do mundo, foi inaugurada.
+Ducasble estava presente no banquete realizado em 3 de outubro, no restaurante Voisin para a despedida de Visconde de Cavalcanti (1829 – 1899), presidente do Comissariado Geral do Brasil junto à Exposição Universal de Paris, que retornaria ao Rio de Janeiro (Jornal do Commercio, 24 de outubro de 1889, sexta coluna).
+Foi um dos fotógrafos incluídos no livro Album de vues du Brésil. O barão do Rio Branco (1845-1912) foi o responsável pelo livro, considerado a última peça para a promoção do Brasil imperial, representando um resumo iconográfico do país e de suas riquezas. Foi um dos livros que inaugurou a ilustração fotográfica do Brasil e é considerado por muitos uma espécie de balanço final do período imperial. Nas palavras do barão, o álbum pretendia “mostrar a fisionomia atual das principais cidades do Brasil e seus arredores. Sob esse aspecto, a presente coleção é a mais completa publicada até hoje”. Trazia também fotografias produzidas por Augusto Riedel (1836 -?), Joaquim Insley Pacheco (c. 1830 – 1912), Marc Ferrez (1843 – 1923) e Rodolpho Lindemann (c. 1852 – 19?), dentre outros. Foi lançado em Paris na ocasião da Exposição Universal de 1889, e fazia parte da segunda edição de Le Brésil, extrato da Grande Enciclopédia, trabalho dirigido pelo geógrafo Émile Levasseur  (1828-1911), para o qual o barão havia colaborado. O Album de vues du Brésil foi o primeiro do gênero publicado depois do Brasil Pitoresco (1861), primeiro livro de fotografia realizado na América Latina, com imagens de Jean Victor Frond (1821 – 1881) e texto do jornalista e político francês Charles Ribeyrolles (1812-1860), reeditado em 1941.
+Sua proposta para a confecção do quadro de retratos da turma do 5º ano da Faculdade de Direito foi vencida pela a de Constantino Barza, sucessor do fotógrafo berlinense Alberto Henschel (1827 – 1882) (Jornal de Recife, 19 de julho de 1889, quinta coluna). Em anúncio, Ducasble convidada os quintanistas que quisessem fazer parte do grupo da Torre Eiffel para irem a sua galeria (Jornal de Recife, 20 de agosto de 1889, terceira coluna).
+Na Galeria Ducasble, exposição de estudos cenográficos de um ex-aluno da Imperial Academia de Belas Artes do Rio de Janeiro (Diário de Pernambuco, 16 de julho de 1889, última coluna).
+Ducasble compareceu em Paris à missa celebrada pelo abade , na Igreja de Saint Augustin, em 25 de julho, a mando do Barão de Penedo, em desagravo ao atentado sofrido por d. Pedro II (Gazeta do Norte, 8 de setembro de 1889, terceira coluna).
+Escreveu uma carta informando sobre o sucesso dos produtos pernambucanos exibidos na Exposição Universal de Paris (Diário de Pernambuco, 8 de setembro de 1889, quarta coluna).
+Estava à venda na Galeria Ducasble fotografias da armação funerária da Igreja da Penha para as exéquias pela morte de dom Luiz I de Portugal (1838 – 1889) celebradas pela colônia portuguesa do Recife (Diário de Pernambuco, 20 de dezembro de 1889, segunda coluna).
+Duscable foi viver em Paris e abriu a farmácia Ducasbline, onde vendia remédios que produziu a partir de seus estudos sobre a flora brasileira e conseguindo a custa a custa de pacientes investigações e meticulosas experiências o conhecimento perfeito das propriedades medicinais de muitas plantas, submeteu-as a processos científicos manipulando assim os medicamentos vendidos em seu estabelecimento parisiense. Segundo carta enviada por Ducasble à redação do jornal A Província – Órgão do Partido Liberal, em dezembro de 1900, seus medicamentos eram aconselhados pelo Instituto Médico de Paris e e estavam obtendo resultado maravilhosos em casos de anemia, bronquite e outras doenças (A Província – Órgão do Partido Liberal, 20 de dezembro de 1900, terceira coluna).
+1890 – Foi publicada uma cobrança de impostos relativa ao imóvel que seu estabelecimento fotográfico ocupava na Rua Barão da Vitória, 65 (A Província – Órgão do Partido Liberal, 9 de abril de 1890, sexta coluna).
+Na Galeria, Ducasble, exposição de pinturas de paisagens de Frederico Desidério de Barros, cenógrafo da Companhia Heller (Jornal de Recife, 6 de julho de 1890, última coluna). Cerca de 2 meses depois, exposição de pinturas de paisagens do hábil amador e acadêmico José de Castro Paes Barreto (Jornal de Recife, 16 de setembro de 1890, quarta coluna).
+Madame Ducasble anunciou sua volta ao Brasil após uma temporada em Paris e a reabertura de seu ateliê de moda no Recife. Havia condescendência nos preços (Diário de Pernambuco, 21 de outubro de 1890, segunda coluna).
+No ateliê da Photografia Ducasble, exposição de retratos a óleo dos barões de Itapessuna e de Caiará, realizados por Frederico Ramos a partir de pequenas fotografias (A Província – Órgão do Partido Liberal, 14 de novembro de 1890, segunda coluna).
+Foi anunciada a existência de uma sucursal da Galeria Ducasble na avenida de La Grande Armée, em Paris, na França. Também anunciava a venda de antiguidades e de objetos que por afluência de artigos tinham deixado de ir para a Exposição Universal de Paris, no ano anterior (Jornal de Recife, 16 de novembro de 1890, terceira coluna).
+1891 – Para exportação 30 litros de licor foram embarcados por Madame Ducasble no vapor francês Equateur, que iria para Paris (Diário de Pernambuco, 5 de maio de 1891, terceira coluna).
+Publicação de uma denúncia de Ducasble, que estava em Paris, sobre problemas de pagamento com a Comissão de Pernambuco na Exposição Universal em Paris em 1889, do qual havia sido representante diante da Comissão Central de Paris (Jornal de Recife, 7 de maio de 1891, terceira coluna). Dois dias depois, a comissão publicou sua versão dos fatos (Jornal de Recife, 9 de maio de 1891, primeira coluna).
+ 
+Jornal de Recife, 14 de novembro de 1891
+ 
+1892 – Ducasble presenteou o Diário de Pernambuco com uma fotografia do cadafalso ereto na matriz de Boa Vista por ocasião das exéquias em memória de dom Pedro de Alcântara (Diário de Pernambuco, 5 de fevereiro de 1892, primeira coluna).
+Foi no ateliê de Ducasble, que o fotógrafo português naturalizado brasileiro Francisco du Bocage (1860 – 1919), recém chegado no Recife a bordo do vapor nacional Olinda, vindo do sul do Brasil (Diário de Pernambuco, 17 de fevereiro de 1892, na segunda coluna) expôs chapéus e capotas (Diário de Pernambuco, 24 de fevereiro de 1892, quarta coluna e Jornal do Recife, 24 de fevereiro de 1892, terceira coluna).
+ 
+Diário de Pernambuco, 24 de fevereiro de 1892
+ 
+Publicação de uma propaganda da Galeria Ducasble onde foram destacados os prêmios conferidos a ela e o fato de ter sempre à escolha de seus numerosíssimo fregueses fotografias artísticas onde o belo resplandece ante os efeitos de luz bem combinada e verdadeiros modelos que a crítica mais exigente jamais poderá ferir (Jornal de Recife, 30 de agosto de 1892, quarta coluna).
+A Photographia Ducasble registrou no Teatro de Santa Isabel, o pano de anúncios pintado por Libânio do Amaral (? – 1920) para o referido teatro (Jornal de Recife, 28 de outubro de 1892, segunda coluna).
+1893 – Falecimento de Urraca, esposa de Ducasble, de meningite. Foi enterrada no Cemitério Público de Santo Amaro e a missa de sétimo dia foi celebrada na matriz da Graça, no Recife (Diário de Pernambuco, 20 de junho de 1893, primeira coluna, Jornal de Recife, 21 de junho de 1893, sexta coluna; e Diário de Pernambuco, 22 de junho de 1893, penúltima coluna).
+A antiga Photographia Ducasble passou a ser dirigida por um fotógrafo de grande prática dispondo para a execução de seus trabalhos de um pessoal técnico competentemente habilitado (Diário de Pernambuco, 3 de outubro de 1893, quinta coluna e Jornal de Recife, 4 de outubro de 1893). O fotógrafo em questão era Ludgero Jardim da Costa (18? – 19?) (Jornal de Recife, 8 de agosto de 1894, sexta coluna).
+ 
+Jornal de Recife, 4 de outubro de 1893
+ 
+ 
+Jornal de Recife, 17 de setembro de 1896
+ 
+1894 – Representada pelos parentes presentes e ausentes, foi celebrada uma missa pelo primeiro ano da morte de Urraca Ducasble (Diário de Pernambuco, 17 de junho de 1894, terceira coluna).
+1895 – Casamento civil de Alfredo Ducasble Filho com Maria Hermelinda Magalhães (Jornal de Recife, 18 de setembro de 1895, última coluna).
+1898 –  Alfredo Ducasble foi aprovado como benfeitor da Sociedade Propagadora Instrução Pública (Diário de Pernambuco, 25 de janeiro de 1898, segunda coluna).
+1900 - Alfredo Ducasble Filho era representante da fábrica O Moinho de Ouro, produtora de chocolates, no Rio de Janeiro (A Província – Órgão do Partido Liberal, 20 de abril de 1900, terceira coluna). Posteriomente, passou a ser representante de um laboratório farmacêutico francês e viajante geral do Almanack Laemmert (A Província – Órgão do Partido Liberal, 5 de março de 1901, penúltima coluna; e A Província – Órgão do Partido Liberal, 25 de agosto de 1910, penúltima coluna).
+Realização de um leilão na antiga Photographia Ducasble (A Província – Órgão do Partido Liberal, 12 de dezembro de 1900, primeira coluna).
+ 
+A Província – Órgão do Partido Liberal, 12 de dezembro de 1900
+Alfredo Ducasble Filho era o representante no Brasil do grupo Pollaion-Ducasble, de produtos farmacêuticos, sediado em Paris (A Província – Órgão do Partido Liberal, 14 de março de 1901, penúltima coluna).
+1902 – A leitura do livro de Ducasble, Curso de caligrafia prática, foi indicado aos alunos pela Instrução Pública de Pernambuco (Diário de Pernambuco, 17 de maio de 1902, quinta coluna). Em 1904 e em 1906 foi adotado pelas escolas municipais do Recife.
+Faleceu de nefrite a alagoana Maria Vitoria Soares, filha de Ducasble e viúva de Emilio Soares. No anúncio de morte, foi mencionado que seu pai residia em Paris (A Província – Órgão do Partido Liberal, 2 de setembro de 1902, primeira coluna e Diário de Pernambuco, 12 de setembro de 1902, sexta coluna).
+1904 - No Rio de Janeiro, com pouco menos de 5 anos, falecimento de Adalgisa Ducasble, filha de Ducasble Filho e neta de Alfredo Ducasble (Jornal do Commercio, 9 de abril de 1904, última coluna).
+Alfredo Ducasble Filho e sua família viviam no bairro do Encantado, no Rio de Janeiro. Acolheram uma criança que havia sido maltratada por sua mãe adotiva, mas apesar dos cuidados, ela faleceu (Gazeta de Notícias, 18 de maio de 1905, primeira coluna).
+1910 – Na primeira página do jornal A Província – Órgão do Partido Liberal, foi publicada uma fotografia de melhoramentos no Porto de Recife com crédito para Ducasble Filho (A Província – Órgão do Partido Liberal, 30 de agosto de 1910)
+1917 – Na Sociedade da Cruz Vermelha, no Rio de Janeiro, Maria Magalhães Ducasble, filha de Ducasble Filho, recebeu o diploma de enfermeira (A Época, 4 de maio de 1917).
+1923 – Foi doado ao Instituto Arqueológico de Pernambuco uma coleção de cédulas e moedas que o governo do estado havia comprado de Alfredo Ducasble (Diário de Pernambuco, 6 de abril de 1923, segunda coluna).
+1928 – Desquite de Ducasble Filho e Maria (O Paiz, 17 de novembro de 1928, segunda coluna).
+1931 – Foi ofertada ao Instituto Arqueológico de Pernambuco uma fotografia produzida por Ducasble, em 1888, de Joaquim Nabuco.  A foto havia pertencido a Antônio Machado Gomes da Silva e seu neto, Adolfo da Silva Neto, a doou para a instituição(Diário de Pernambuco, 17 de dezembro de 1931, primeira coluna).
+1933 – Em um artigo sobre o pintor alagoano Rosalvo Ribeiro (1865 – 1915), Ducasble foi citado como seu admirador, que teria batizado uma das obras de Rosalvo de L´innocence (O Dia (PR), 8 de outubro de 1933, terceira coluna).
+1946 – Em uma matéria sobre a vida do pintor pernambucano José Jerônimo Telles Júnior (1851 – 1914), a Galeria Ducasble foi citada como um dos lugares mais frequentados por ele  (Diário de Pernambuco, 26 de maio de 1946, gunda coluna).
+1951 – Nas memórias de Telles Júnior, na ocasião do centenário de seu nascimento, Ducasble foi citado (Diário de Pernambuco, 2 de agosto de 1951, penúltima coluna)
+1956 – Fotografias produzidas por Ducasble foram publicadas no livro, Álbum de Pernambuco e seus arrabaldes, organizado por Gilberto Ferrez (Jornal do Brasil, 4 de novembro de 1956).
+1977 – Em Washington, capital dos Estados Unidos, fotografias de Ducasble, Insley Pacheco e Alberto Henschel encontradas na coleção Oliveira Lima foram expostas no Instituto Cultural Brasileiro Americano. Essas fotografias foram redescobertas por acaso pelo diretor da citada instituição, José Neinstein, quando ele foi pesquisar um livro raro sobre o Brasil na Biblioteca da Universidade Católica de Washington, em fins de abril de 1977. (Jornal do Brasil, 29 de junho de 1977, última coluna).
+1978 – Publicação, no Diário de Pernambuco, de uma fotografia de Joaquim Nabuco, produzida por Ducasble, em 1887 (Diário de Pernambuco, 17 de setembro de 1978).
+ 
+Joaquim Nabuco fotografado por Ducasble em 1887 / Diário de Pernambuco, 17 de setembro de 1978
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/3912` — `itens/20.500.12156.1_3912/`
+- `20.500.12156.1/3909` — `itens/20.500.12156.1_3909/`
+
diff --git a/wordpress/20796-cronologia-de-marc-ferrez-1843-1923.md b/wordpress/20796-cronologia-de-marc-ferrez-1843-1923.md
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--- /dev/null
+++ b/wordpress/20796-cronologia-de-marc-ferrez-1843-1923.md
@@ -0,0 +1,425 @@
+---
+id: 20796
+url: "https://brasilianafotografica.bn.gov.br/?p=20796"
+titulo: "Cronologia de Marc Ferrez (1843 – 1923)"
+autor: "Andrea Wanderley"
+data: "2021-01-06T10:13:43+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/2575", "20.500.12156.1/4740", "20.500.12156.1/2489", "20.500.12156.1/383", "20.500.12156.1/2593", "20.500.12156.1/4880", "20.500.12156.1/4770", "20.500.12156.1/953", "20.500.12156.1/2578", "20.500.12156.1/348", "20.500.12156.1/3037", "20.500.12156.1/4771", "20.500.12156.1/2589", "20.500.12156.1/11739", "20.500.12156.1/2515"]
+fetched_at: "2026-09-10T10:03:51.760Z"
+---
+
+# Cronologia de Marc Ferrez (1843 – 1923)
+
+Cronologia de Marc Ferrez (1843 – 1923)
+ 
+Marc Ferrez. Marc Ferrez aos 33 anos de idade, c. 1876. Rio de Janeiro, RJ / Acervo IMS
+ 
+1843 – O fotógrafo Marc Ferrez nasceu no Rio de Janeiro, em 7 de dezembro, sexto e último filho de Zépherin (Zeferino) Ferrez (31/07/1797 – 22/07/1851) e Alexandrine Caroline Chevalier (18? – 1851), que se casaram em 16 de junho de 1821, na igreja do Santíssimo Sacramento e passaram a residir na rua do Hospício, 62. Seu pai, o escultor e gravador francês Zeferino, e seu tio Marc (Marcos) Ferrez (14/09/1788 – 31/03/1850), também escultor, chegaram ao Rio de Janeiro, via Nova York, conforme informado nos livros da polícia de Registros Estrangeiros guardados no Arquivo Nacional. Eram formados pela Escola de Belas Artes de Paris e passaram a integrar a Missão Francesa, um dos marcos do desenvolvimento das artes no Brasil, que havia se instalado na cidade em 1816, chefiada por Joachim Le Breton (1760 – 1819) (O Despertador, 7 de março de 1840, na quarta coluna). Os irmãos de Marc Ferrez eram Fanny (1822 – 1902), Isabelle (18? – ?), Augustine Emile (1826 – 1904), afilhada do casal Grandjean de Montigny; Sophie (1831 – 1877) e Maurice (1835 – 1886). Marc não foi registrado na Legação Francesa.
+1850 - Falecimento de seu tio, o escultor e seu homônimo, Marc (Marcos) Ferrez, em 31 de março, de febre amarela.
+1851 - Em 20 de maio, Zeferino obteve a autorização da Secretaria de Polícia para embarcar para a França em “companhia de um filho menor”, Maurice ou Marc Ferrez (Diário do Rio de Janeiro, 21 de maio de 1851, na terceira coluna). Há uma possibilidade dele não ter embarcado porque, segundo especialistas, devido à duração da travessia entre o Brasil e a Europa não haveria tempo hábil para ele estar de volta em meados de julho, quando faleceu no Rio de Janeiro.
+Em julho, os pais de Marc Ferrez faleceram devido a uma doença misteriosa ou a um envenenamento. Eles moravam na rua do Hospício, 62 (Diário do Rio de Janeiro, 29 de julho de 1851, na terceira coluna;  Correio da Tarde, 23 de julho de 1851; Mercantil, 24 de julho de 1951, na última coluna e Jornal do Commercio, 25 de julho de 1851, na primeira coluna). Foram sepultados no Cemitério da Ordem Terceira de São Francisco de Paula. Essas mortes foram antecedidas e sucedidas pelas mortes de escravos e também de animais que viviam na propriedade de Zeferino. O cônsul francês pediu um exame médico-legal e o diagnóstico de disenteria foi confirmado. Em uma matéria publicada na revista Palcos e Telas, de 8 de abril de 1920 sobre Marc Ferrez, o envenenamento por um escravo foi apontado como a causa da morte.
+Segundo Gilberto Ferrez, seu neto, Marc Ferrez teria ido viver em Paris com o gravador de medalhas Joseph Eugène Dubois (1795 – 1863) e sua esposa Uranie Virginie Béthune. Porém, segundo a revista Palcos e Telas, de 8 de abril de 1920, Marc Ferrez já estaria em Paris quando ficou órfão. Segundo a mesma matéria, Marc Ferrez teria ficado na França até completar 21 anos. Gilberto Ferrez, afirmava que o avô teria retornado ao Brasil com 16 anos. Há muitas informações controversas a respeito da vida de Marc Ferrez no período em que morou em Paris.
+Em 11 de agosto de 1951, foi realizado o inventário de Zeferino. Nele constava que o fotógrafo suíço Georges Leuzinger (1813 – 1892) era o tutor do irmão de Marc Ferrez, Maurice. Apesar de ser suíço, Leuzinger mantinha muitas relações com a colônia francesa do Rio de Janeiro por ter se casado com a francesa Anne Antoinette du Authier (1822 – 1898), conhecida como Eleonore. Também informava que uma das filhas de Zeferino, Isabelle, era casada com Guillaume Keller, sub-rogado no documento como tutor de Marc. Ainda não se sabe se Guillaume era parente de Franz Keller, casado com Sabine, uma das filhas de Georges Leuzinger. Em outro documento, Amedée Poindrelle, marido de sua irmã Fanny, era apontado como o tutor de Marc.
+O irmão de Marc, Maurice, chegou no Rio de Janeiro, em 22 de outubro, vindo do Havre, na galera Imperatriz do Brasil (Correio Mercantil, 23 de outubro de 1851, na última coluna). Retornou à Europa em 4 de dezembro, na galera Galathea (Correio Mercantil, 5 de dezembro de 1851, na última coluna).
+c. 1863 –  Marc Ferrez retornou ao Brasil. Segundo seu neto, o historiador Gilberto Ferrez (1908 – 2000), Marc teria aprendido a arte da fotografia com o engenheiro e botânico alemão Franz Keller (1835 – 1890), que trabalharia como fotógrafo no ateliê de Georges Leuzinger, aberto em 1865. Uma carta enviada em 17 de janeiro de 1923 por um amigo de Ferrez, Luiz Carlos Franco, a seus filhos Julio e Luciano após a a morte do fotógrafo, confirma que Ferrez havia trabalhado para Leuzinger. Porém, a participação de Franz Keller no ateliê fotográfico de Leuzinger é questionável. Na verdade, até hoje não foi comprovada, e na década de 1860, Keller fez diversas viagens pelo Brasil com seu pai, Joseph, explorando rios do país, sob contrato do governo imperial.
+Foi também por volta dessa data que Ferrez requereu um registro de nascimento e batizado junto à Legação Francesa no Rio de Janeiro, que foi assinada pelo chanceler Théodore Taunay (1797-1881) e pelo próprio Ferrez, emitida em 12 de agosto de 1863.
+c. 1864 – Por volta desse ano, Marc Ferrez foi retratado pelo fotógrafo Augusto Stahl (1828 – 1877).
+1865 / 1875 – Durante esse período,  provavelmente Revert Henrique Klumb (c. 1826 – c. 1886) e Ferrez mantiveram uma parceria. A suposição existe devido a exames comparativos dos negativos originais dos fotógrafos que revelam semelhanças de procedimentos e de técnica.
+1867 – Em 12 de março, Marc Ferrez enviou requerimento à Câmara Municipal do Rio de Janeiro para obter licença para que seu estabelecimento fotográfico funcionasse na rua São José, 96, sob a razão comercial Marc Ferrez & Cia. Nesse ano, o fotógrafo Oscar Delaporte e o artista gráfico Paul Théodore Robin (? – 1897) anunciavam seus estabelecimentos nesse mesmo endereço. Este último era dirigido pelo fotógrafo Revert Henrique Klumb (Almanak Laemmert, 1867). Durante o século XIX, era comum fotógrafos utilizarem os mesmos espaços anteriormente usados por outros fotógrafos para aproveitar a infraestrutura e o laboratório fotográfico já existente. Segundo Gilberto Ferrez, Marc já teria sua loja desde 1865.
+1868 - Marc Ferrez anunciou a venda de “uma grande coleção de vistas do Rio de Janeiro e navios de guerra de todas as nações” na Photographia Brazileira (Jornal do Commercio, 6 de dezembro de 1868, na primeira coluna).
+Pela primeira vez, o Almanak Laemmert se referiu a Marc Ferrez na seção “Fotógrafos”. O endereço de seu ateliê era rua São José, 96.
+1869 – Publicação de um anúncio, em inglês, do estabelecimento de Ferrez, que ainda usava o nome de Photographia Brazileira, anunciando vistas do Rio de Janeiro e de seus arredores em todas as dimensões (Jornal do Commercio, 6 de junho de 1869, na segunda coluna).
+1870 - Em 10 de julho, Ferrez fotografou o “Monumento à Deusa da Vitória” e o “Templo da Vitória”, localizados no Campo da Aclamação, durante as comemorações ocorridas no Rio de Janeiro pelo fim da Guerra do Paraguai – foi a primeira festa cívica do império. Uma das imagens das comemorações foi doada a dom Pedro II (Jornal do Commercio, 11 de julho de 1870, na quarta coluna).
+Nos versos de seus cartões de montagem e fotografias estava inscrito “Marc Ferrez. Fotógrafo da Marinha Imperial e das construções navais do Rio de Janeiro”. Provavelmente a nomeação de Ferrez como fotógrafo oficial da Marinha relacionava-se com o lançamento do Plano para a Organização da Força Naval do Império que previa a renovação da frota com embarcações de diversos tipos, o que aconteceu nas décadas de 1870 e 1880. Ferrez registrou fotograficamente esses novos navios.
+1871 – O ótico José Maria dos Reis, integrante do conselho da Sociedade Auxiliadora da Indústria Nacional (O Auxiliador da Indústria Nacional, 1871), teve seus instrumentos científicos fotografados por Ferrez para a Exposição Científica de Córdoba, na Argentina, inaugurada em 15 de março (A Regeneração, 19 de fevereiro de 1871, na última coluna).
+1872 – Ferrez divulgou no Almanak Laemmert sua “especialidade de vistas do Brasil”, indicando que seu estabelecimento ficava na rua São José, 96.
+No mês de março, fotografou a comemoração pela chegada do casal imperial ao Brasil, após viagem pela Europa. Foi a primeira viagem ao exterior que dom Pedro II realizou em companhia da imperatriz Teresa Cristina (Diário do Rio de Janeiro, 1º de abril de 1872).
+1873 – A comissão de organização da III Exposição Nacional, aberta em 1º de janeiro, encomendou de Ferrez fotografias do edifício da Escola Central da Corte, onde o evento se realizou. Suas fotografias do palácio da exposição e da cascata construída em seu pátio foram enviadas para a Exposição Universal de Viena realizada no mesmo ano sob o tema “Cultura e Educação”.
+Ferrez casou-se com a francesa Marie Lefebvre (c. 1849 – 1914) em 16 de agosto. Cerca de um mês antes, em 13 de julho, foram lidas as proclamas do casamento na capela imperial (A República, 20 de julho de 1873, na quarta coluna).
+Em 18 de novembro, um incêndio destruiu seu ateliê. Todas a chapas de seus primeiros anos como fotógrafo assim como seu equipamento fotográfico foram queimados (Jornal do Commercio, 19 de novembro de 1873, na segunda coluna).
+1874 – Viajou para a França, graças à ajuda de seu amigo Júlio Claudio Chaigneau (? – 1894), negociante de artigos fotográficos. Em Paris, adquiriu material para recomeçar sua vida profissional de fotógrafo. Encontrou-se com seu amigo Alfée Dubois (1831 – 1905), de quem o Institut de France havia encomendado a cunhagem de moedas comemorativas de eventos astronômicos. Posteriormente, o Instituto enviou por Marc Ferrez três medalhas para dom Pedro II, em reconhecimento à colaboração do monarca brasileiro à ciência. Foram ofertadas por Jean-Baptiste Dumas (1800-1884), Secretário Perpétuo do Institut de France.  As medalhas são relativas à descoberta do centésimo planeta pequeno, à descoberta do processo de observação das protuberâncias do sol e a terceira era uma homenagem ao químico francês Michel Eugène Chevreul (1786 – 1889). Provavelmente as medalhas foram entregues pessoalmente por Ferrez a Pedro II em uma visita que realizou ao Paço Imperial (Diário do Rio de Janeiro, 18 de maio de 1874, na primeira coluna).
+1875 -  Marc ingressou, em fevereiro, na Irmandade do Santíssimo Sacramento da Candelária, como irmão remido.
+Ferrez começou a trabalhar como fotógrafo da Comissão Geológica do Império, chefiada pelo norte-americano Charles Frederick Hartt (1840 – 1878), que se tornaria diretor da Seção de Geologia do Museu Nacional em 1876. Percorreu os atuais estados de Alagoas, Bahia, Pernambuco e parte da região amazônica numa importante missão científica realizada no Brasil sob os auspícios do governo imperial, que gerou a primeira grande representação fotográfica de diversas regiões do território brasileiro. Segundo Gilberto Ferrez, foi durante essa viagem que Ferrez contraiu uma doença no fígado, da qual nunca se curou.
+ 
+Carimbo de Marc Ferrez. Rio de Janeiro, c. 1875 / Acervo IMS
+ 
+Marc Ferrez e outros membros da Comissão Geológica do Império embarcaram no paquete Pará com destino a Pernambuco (Jornal do Commercio, 10 de julho de 1875, na segunda coluna). Ele, Elias Fausto Pacheco Jordão, Francisco José de Freitas e Charles Frederick Hartt, todos membros da Comissão, agradeceram, publicamente, ao “digno comissário” J. Feliciano Gomes, que os recebeu no navio (Jornal do Recife, 26 de julho de 1875, na quarta coluna).
+Foi publicado o relatório preliminar dos trabalhos da Comissão Geológica na província de Pernambuco, de autoria de Hartt. Ferrez foi mencionado (Diário de Pernambuco, 25 de novembro de 1875, na primeira coluna).
+Na residência do inspetor do arsenal de Marinha, em Recife, o chefe da Comissão Geológica do Império, Charles Frederick Hartt, fez uma conferência sobre os arrecifes e outros aspectos de Pernambuco como o cabo de Santo Agostinho, praias, o rio São Francisco e a cachoeira de Paulo Afonso, ilustrados com fotografias de Marc Ferrez (Diário do Rio de Janeiro, 2 de dezembro de 1875, nas quinta e sexta coluna. sob o título “Norte do Império”).
+Ferrez  apresentou na Exposição de Obras Públicas, evento paralelo à IV Exposição Nacional, dois álbuns com imagens dos recifes de Pernambuco, do baixo São Francisco e da cachoeira de Paulo Afonso, além de registros de corais e madrepérolas. As imagens produzidas durante a viagem da Comissão Geológica foram projetadas por Ferrez durante uma conferência do professor Hartt (O Globo, 4 de janeiro de 1876, na penúltima coluna).
+A mulher de Ferrez, Marie Lefebvre foi retratada pelo renomado fotógrafo português José Ferreira Guimarães (1841 – 1924), radicado no Rio de Janeiro.
+1876 -  O New York Commercial Advertiser, de 29 de maio de 1876, publicou um artigo que informava que “riquíssimas fotografias da exploração geológica a cargo do professor Hartt” haviam sido apresentadas pelo Brasil na Exposição Universal da Filadélfia aberta em 10 de maio. Fotografias de Ferrez realizadas para a Comissão Geológica do Império foram premiadas com  medalha (The Rio News, 5 de agosto de 1879).  Uma curiosidade: a comissão de organização da Exposição da Filadéfia modificou as regras da premiação: os ganhadores receberiam um diploma, uma medalha de bronze e uma cópia certificada do parecer do júri, rompendo com o padrão de premiação hierárquica.
+Foi publicada uma fotografia de autoria de Ferrez da cachoeira de Paulo Afonso na revista Illustração Brasileira, 1ºde agosto de 1876, acompanhada por um texto de Charles Frederick Hartt (1840 – 1878), chefe da Comissão Geológica do Império. Na mesma edição, publicação de matéria sobre a Comissão Geológica do Império.
+Foi noticiado que Ferrez havia chegado ao sul da Bahia com o geólogo Richard Rathbum, também integrante da Comissão Geológica, com diversas fotografias de índios botocudos, dentre outras (Illustração Brasileira, 1º de novembro de 1876, na última coluna). Essas teriam sido as primeiras imagens desses índios produzidas no Brasil (Palcos e Telas, 8 de abril de 1920).
+ 
+Marc Ferrez. Índio botocudo, 1876. Bahia / Acervo IMS
+ 
+1877 – Publicação da fotografia do farol da Barra da Bahia, de autoria de Marc Ferrez, na capa da revista Illustração Brasileira, 15 de janeiro de 1877.
+ 
+Revista Illustração Brasileira, 15 de janeiro de 1877
+ 
+Marc Ferrez. Forte e Farol de Santo Antônio da Barra, c. 1877. Salvador, Bahia / Acervo IMS
+ 
+O livro A Descrição do novo edifício para a Tipografia Nacional, publicado pelo engenheiro Antonio de Paula Freitas (1845 – 1906), foi ilustrado por gravuras baseadas em fotografias de Marc Ferrez.
+Foi publicada uma gravura do morro da Glória, Pão de Açúcar e entrada na baía do Rio de Janeiro na capa da revista Illustração Brasileira, 15 de março de 1877.
+De 1877 até o final da década de 1880, Ferrez foi o responsável pela produção da documentação fotográfica das obras destinadas a melhorar o abastecimento de água no Rio de Janeiro (Gazeta de Notícias, de 28 de junho de 1889, na segunda coluna, sob o título “Águas do rio S. Pedro”).
+O governo decretou o fim da Comissão em 1º de julho de 1877 e em janeiro do ano seguinte sua extinção foi efetivada.
+Foi anunciada a exposição de quatro fotografias de autoria de Marc Ferrez, na galeria da A la Glacê Elegante, situada na rua do Ouvidor, 138. Eram imagens do “importante estabelecimento hidroterápico e  casa de saúde do sr. dr. Fernando Eiras (Jornal do Commercio, 11 de setembro de 1877, na quarta coluna). Na A la Glacê Elegante, outra exposição de fotografias de Ferrez, desta vez do engenho central Quissamã (Gazeta de Notícias. 12 de outubro de 1877, na quarta coluna). Ferrez voltaria a expor várias vezes na A la Glacê Elegante, loja de molduras, que assim como outros estabelecimentos como o Espelho Fiel e a Casa de Wilde, em meio a seus produtos, abriam espaço para exposições de obras de arte ou novidades do mundo artístico-industrial. Por exemplo, em 1878, o artista italiano Nicolau Facchinetti (1824 – 1900) expôs suas pinturas na A la Glacê Elegante.
+Publicação de uma matéria sobre o trabalhos da Comissão Geológica do Império e sobre o local onde estavam guardados e onde os membros da comissão cuidavam de sua classificação, estudo e do desenvolvimento, na rua da Constituição, nº 41, visitado pelo imperador Pedro II, no dia 27 de outubro. Foi mencionada a existência de um laboratório fotográfico, “grande e espaçoso…nele estão guardados algumas centenas de clichês , feitos no campo pelos Srs. Ferrez e Brenner e mno laboratório pelo Sr. Ratbunn, que hoje toma conta dessa parte do serviço da comissão“(O Vulgarizador, 3 de novembro de 1877).
+1878 – No Almanak Laemmert de 1878, Ferrez foi identificado como fotógrafo da Marinha Imperial e da Comissão Geológica. Seu estabelecimento ficava na rua São José, 88 com depósito na rua do Ouvidor, 55.
+Viajou para a França na época da Exposição Universal de Paris, quando apresentou o mesmo panorama do Rio de Janeiro que havia exposto na Exposição Universal da Filadélfia, em 1876. Participou de reuniões da da Sociedade Francesa de Fotografia apresentando imagens de paisagens brasileiras de sua autoria e retratos produzidos pelo fotógrafo Insley Pacheco (1830 – 1912).  Ferrez comprou o aparelho panorâmico de varredura, fabricado por David Hunter Brandon (1821 – 1893) sob sua encomenda. Com esse equipamento, que pesava mais de 100 quilos, era possível produzir grandes imagens panorâmicas de até 1 metro e 10 centímetros sem as distorções muitas vezes provocadas pela justaposição de várias fotografias para a formação de uma única imagem.
+Marc Ferrez estava na folha de pagamento do Ministério da Fazenda (Jornal do Commercio, 16 de março de 1878, na segunda coluna).
+Foi publicada uma imagem do prédio da Tipografia Nacional, baseada em fotografia de Ferrez, na revista Illustração Brasileira, de abril de 1878.
+Foi noticiada a morte de Charles Frederick Hartt, que havia sido o chefe da Comissão Geológica do Império. Ferrez foi mencionado (A Boa Nova, 24 de abril de 1878, na terceira coluna).
+1879 – Matéria bem humorada sobre o ofício da fotografia. Segundo o autor, “as crianças é que são o pesadelo, a ave agoureira” dos fotógrafos. Devido a elas Ferrez e outros fotógrafos estariam “avelhantados e cheio de cans” (Jornal do Commercio, 20 de janeiro, sob o título “Photographos”).
+Na galeria da A la Glacê Elegante, exposição de uma fotografia do correio, de autoria de Marc Ferrez, “tirada diretamente de uma dimensão nunca feita nesta capital até agora” (Jornal do Commercio, 28 de janeiro de 1879, na quarta coluna).
+Na seção de “Fotografia”, Ferrez participou pela primeira vez da Exposição da Academia Imperial de Belas Artes e recebeu a medalha de ouro. Apresentou “Vistas diversas”, “Vistas transparentes pelo processo inalterável au charbon” e “Fotografias da Secretaria de Agricultura” e foi premiado com a segunda medalha de ouro (Jornal do Recife, 11 de agosto de 1879, na sexta coluna e Revista Musical e de Belas Artes, 9 de agosto de 1879). As fotografias foram elogiadas, sobretudo “as feitas com tintas azuladas e rosadas” (Jornal do Commercio, 17 de abril de 1879, na última coluna).
+Em inglês, foram publicados anúncios das fotografias de Ferrez no jornal Rio News de 5 de agosto, de 15 de setembro, 15 de outubro, 5 de novembro, mencionando que ele havia recebido uma medalha na Exposição da Filadélfia e que havia sido fotógrafo da Comissão Geológica do Império. Os anúncios seguiram sendo publicados em 1880 e 1881.
+Na galeria da A la Glacê Elegante, exposição de fotografias de Marc Ferrez representando o engenho agrícola no Porto-Real, “de uma dimensão nunca feita até hoje”(Jornal do Commercio, 10 de outubro de 1879, na sexta coluna).
+Ferrez registrou a visita do Imperadordom Pedro II às obras para o abastecimento de água do Rio de Janeiro (Jornal do Commercio, 27 de novembro de 1879, primeira coluna).
+Ferrez fotografou a Exposição Portuguesa no Rio de Janeiro e colocou as fotografias à venda (Revista da Exposição Portuguesa no Rio de Janeiro, 1879).
+Anos 1880 – Começou a desenvolver a atividade de comerciante e representante de produtos e artigos para fotografia, de onde conseguia boa parte de sua renda. Entre 1880 e 1910, desenvolveu vários projetos em parceria com editores e fotógrafos, dentre eles Henri Gustave Lombaerts (1845-1897), Joaquim Insley Pacheco (1830 – 1912) e Gomes Junior.
+1880 – No mês de junho, Ferrez fotografou o evento comemorativo do tricentenário de morte do poeta português Luis de Camões (c. 1524 – 1589 ou 1580), a Exposição Camoniana, inaugurada em 10 de junho na Biblioteca Nacional, então denominada Biblioteca Pública. Um desses registros foi oferecido à instituição por dom Pedro II.
+Na casa do litógrafo Jules Martin, foi realizada uma exposição de fotografias de Ferrez produzidas no interior de São Paulo e na cidade de Santos, onde havia estado pela primeira vez (Jornal da Tarde, 29 de setembro de 1880, na terceira coluna).
+1881 - Nascimento do primeiro filho do casal Ferrez, Julio Marc (1881 – 1946), em 14 de abril.
+Na Exposição da Indústria Nacional, organizada por Jorge Henrique Leuzinger (1845 -1908), secretário da Associação Industrial e filho do fotógrafo Georges Leuzinger (1813 – 1892), Ferrez apresentou fotografias realizadas com a câmara panorâmica Brandon e ganhou o grande prêmio da mostra (O Binóculo, 23 de dezembro de 1881).
+Publicou o folheto Exposição de paisagens fotográficas produtos do artista brasileiro Marc Ferrez Fotógrafo da Marinha Imperial e da Comissão Geológica, onde em 10 páginas divulgava seu trabalho. Nesse folheto declarava que seu estabelecimento, “dedicado especialmente a fazer vistas do Brasil”, havia sido fundado em 1860. Segundo Maria Inez Turazzi, a data coincide com a inauguração da oficina de fotografia e ambrótipo do litógrafo Paul Théodore Robin (? – 1897), com quem Ferrez pode ter trabalhado.
+A Coroa imperial comprou, por 200 mil réis, quatro fotografias produzidas por Ferrez do Campo da Aclamação. No local havia sido instaladas as novas lâmpadas de filamento inventadas pelo industrial norte-americano Thomas Edison (1847 – 1931).
+1882 – Participou da Exposição Continental de Buenos Aires, inaugurada em 15 de março (a seção brasileira foi inaugurada no dia 1º de abril, ocupando uma área de 600m2), com as fotografias apresentadas na Exposição da Indústria Nacional do ano anterior e foi premiado com uma medalha de prata e um prêmio ao mérito.
+Fotografou na Exposição Antropológica Brasileira, inaugurada em 29 de julho de 1882, no Museu Nacional, no Rio de Janeiro, uma série de registros de objetos e aspectos da vida indígena. Algumas fotografias de sua autoria também foram expostas. A mostra durou três meses e teve muito sucesso, com um público de mais de mil visitantes.
+ 
+Marc Ferrez. Exposição Antropológica Brasileira : artefatos e aspectos da vida indígena, 1882 / Acervo FBN
+ 
+Fotografou as obras da ferrovia Dom Pedro II, em São Paulo e em Minas Gerais, tendo registrado a presença do imperador Pedro II e de sua comitiva na entrada do túnel da Serra da Mantiqueira (Gazeta de Notícias, 27 de junho de 1882, na quarta coluna).
+ 
+Marc Ferrez. Inauguração de túnel com a presença do Imperador e comitiva, 1882. Estrada de Ferro Rio-Minas / Acervo IMS
+ 
+Marc Ferrez. [Comissão Astronômica Brasileira] : passagem de Vênus de 6 de dezembro de 1882 : [retratos], 1882 -1883 / Acervo FBN
+1882 / 1883 – A fotomontagem feita por Ferrez de imagens de Antônio Luiz von Hoonholtz Tezpur, o Barão de Teffé (1837 – 1931), do capitão-tenente Francisco Calheiros da Graça (1849 – 1906) e do tenente Arthur Índio do Brasil e Silva (1856 – 1936) , os três homens encarregados pelo Observatório Imperial do Brasil para observar o trânsito de Vênus sobre o Sol, na ilha de São Tomás nas Antilhas, fez parte da publicação Comissão Astronômica Brasileira – Passagem de Vênus de 6 de dezembro de 1882, álbum comemorativo da participação brasileira no esforço internacional para acompanhar o citado evento astronômico. Com esse objetivo havia sido criado um observatório pelo Observatório Imperial, em homenagem a dom Pedro II (1825 – 1891), na ilha de São Tomás nas Índias Ocidentais Dinamarquesas (atualmente Ilhas Virgens Americanas). Esse trânsitos ofereciam a oportunidade de determinação da distância entre a Terra e o Sol e houve grande interesse científico e público nos trânsitos de 1874 e 1882.
+1883 – O Club de Engenharia ofereceu uma recepção ao engenheiro hidráulico holandês J. Dirks, o grande especialista da época em portos e canais, que estava de passagem pelo Rio de Janeiro e seguiria para Valparaíso, no Chile. Na ocasião, foi realizada uma exposição de fotografias das estradas de ferro, de autoria de Marc Ferrez (Revista de Engenharia, 14 de abril de 1883).
+Participou da Exposição Internacional de Amsterdam, realizada entre maio e outubro de 1883, com 24 grandes fotografias do Rio de Janeiro, de Santos, de Petrópolis e de outros lugares do interior do Brasil, tendo sido premiado com a medalha de bronze (Jornal do Commercio, 9 de outubro de 1883, na sétima coluna).
+Ferrez fotografou a Kermesse organizada pela Sociedade Francesa de Beneficência, na Guarda Velha, localizada no antigo Campo de Santo Antônio, atual largo da Carioca (Gazeta da Tarde, 25 de outubro de 1883, na segunda coluna).
+c. 1884 – Fotografou as obras da ferrovia do Paraná (Paranaguá – Curitiba). O gerente da firma Société Anonyme des Travaux Dyle et Bacalan, empreiteira belga encarregada pelas obras, o futuro prefeito do Rio de Janeiro, o engenheiro Francisco Pereira Passos (1836 – 1913), presenteou dom Pedro II com 14 fotografias e um álbum de autoria de Ferrez com registros da ferrovia e da província do Paraná.
+1884 - Nascimento do segundo filho do casal Ferrez, Luciano José André (1884 – 1955), em 9 de fevereiro.
+Participou, em maio, da Exposição Internacional de Horticultura de São Petesburgo, com diversos trabalhos, dentre eles vistas do Brasil.  José Maria da Silva Paranhos Júnior (1845 – 1912), o Barão do Rio Branco, foi o comissário do pavilhão brasileiro, que teve como destaque a promoção do café nacional produzido em fazendas dos estados do Rio de Janeiro, Minas Gerais e São Paulo (Jornal do Commercio, 7 de agosto de 1884, sexta coluna).
+Exposição, na Notre Dame de Paris, de um retrato do astrônomo belga Louis Ferdinand Cruls (1848 – 1908), diretor do Imperial Observatório do Rio de Janeiro, “trabalho artístico obtido pelo novo sistema de gelatino-bromureto, especialidade do sr. Marc Ferrez, clichê do sr. Insley Pacheco”(Jornal do Commercio, 4 de julho de 1884, na última coluna).
+ 
+Marc Ferrez. Luis Cruls, c. 1890. Rio de Janeiro, RJ / Acervo IMS
+ 
+Fotografias de Ferrez ilustravam a matéria escrita por Arthur Barreiros sobre o astrônomo belga Louis Ferdinand Cruls (1848 – 1908), diretor do Imperial Observatório do Rio de Janeiro, publicada na segunda edição da revista Galeria Contemporânea do Brasil (O Cearense, 29 de agosto de 1884, na terceira coluna).
+Na primeira edição da revista Galeria Contemporânea do Brasil, publicação de uma fotografia de Machado de Assis, identificada como uma fotografia inalterável de Marc Ferrez e clichê de Insley Pacheco (Revista Ilustrada, 31 de agosto de 1884, na seção “Livros a ler”). Já na época, a Revista Ilustrada comentou o que parecia ser uma imprecisão na identificação da autoria da fotografia de Machado e documentos recentemente localizados na Biblioteca Nacional indicam Insley Pacheco como possível autor desse retrato.
+ 
+Joaquim Insley Pacheco; Marc Ferrez;Livraria Lombaerts & C. Galeria contemporanea do Brazil : Machado de Assis : [retrato], 1884. Rio de Janeiro, RJ / Acervo FBN
+Foi apresentada a revista Galeria Contemporânea do Brasil, cujas fotografias ficariam a cargo de Marc Ferrez, “introdutor entre nós do sistema de platinotipia, que se recomenda pela inalterabilidade e beleza de detalhes” (A Província do Espírito Santo, 14 de setembro de 1884, na última coluna).
+Na “Seção de Fotografia” na Exposição Geral de Belas Artes, exibiu as fotografias Gaúcho do Rio Grande, Fragata Pallas, Fragata inglesa Amethyst, Cruzador brasileiro Almirante Barroso, Passeio pela baía e Amazona e cavaleiro, feitas em gelatino-brometo de prata. Sob o título Vegetação, apresentou fotografias produzidas pelo processo de platina.
+Exposição de fotografias da estrada de ferro Teresa Cristina, na A la Glacê Elegante (Gazeta da Tarde, 11 de novembro de 1884, na quinta coluna).
+Ferrez e suas irmãs Francisca e Augustine libertaram dois escravos. Um trabalhava na Casa Leuzinger e o outro era padeiro (Gazeta da Tarde, 13 de dezembro de 1884, na segunda coluna, sob o título “Chronica do bem”).
+1885 – Por volta deste ano, Ferrez produziu uma fotografia de uma vista panorâmica do Rio de Janeiro a partir de Santa Tereza, na qual ele brincava com o ilusionismo proporcionado pela dupla exposição: ele e um amigo apareciam duas vezes na foto.
+ 
+Panorama parcial do Rio de Janeiro, c. 1885. Rio de janeiro, RJ / Acervo IMS
+ 
+Ferrez participou da inauguração da ferrovia do Paraná, a Paranaguá – Curitiba (Dezenove de Dezembro, 4 de fevereiro de 1885, na terceira coluna).
+Marc Ferrez foi recebido por dom Pedro II (Jornal do Commercio, 19 de março de 1885, na terceira coluna).
+O imperador Pedro II agraciou Ferrez com o grau de Cavaleiro da Ordem da Rosa, em 7 de março (Publicador Maranhense, 26 de março de 1885, na quarta coluna). Outros que receberam a condecoração na mesma ocasião foram os pintores Antonio Firmino Monteiro (1855 – 1888), Augusto Rodrigues Duarte (1848 – 1888), Francisco Aurélio de Figueiredo e Mello (1856 – 1916), José Ferraz de Almeida Junior (1850 – 1899) , além do músico Vicente Cernicchiaro (1858 – 1928).
+Na Exposição Internacional de Beauvais, inaugurada em maio, 30 grandes fotografias de cidades brasileiras, dentre elas, Rio de Janeiro e Petrópolis, de autoria de Ferrez foram expostas. A seção brasileira foi organizada pelo sr. Rodrigues de Oliveira (Jornal do Commercio, 29 de maio de 1885, na sexta coluna).
+Ferrez partiu, em outubro, para Paris no vapor Orenoque onde buscaria as últimas novidades sobre técnicas e equipamentos de fotografia (Jornal do Commercio, 21 de outubro de 1885, na sexta coluna, sob o título “Despedida”). Aprimorou, na época, a técnica do ferro prussiano, método utilizado para reprodução rápida de plantas de engenharia e outros desenhos, um dos serviços que oferecia em seu estabelecimento (Revista de Engenharia, 14 de abril de 1886). Para a mesma finalidade, Ferrez também usava a heliografia.
+Apresentou na Sociedade Francesa de Fotografia, em Paris, entre 1885 e 1886, uma câmera desenvolvida para a realização de fotografias marinhas e ofereceu à associação provas panorâmicas produzidas no Brasil.
+Participou da Exposição Universal da Antuérpia ou Exposição Universal de Anvers, na Bélgica, com Grande coleções de vistas do Rio de Janeiro: 31 fotografias e ganhou a medalha de prata, na classe VII, de “Provas e aparelhos fotográficos”(O Auxiliador da Indústria Nacional, de 1885), informação corroborada no livro Anvers à l´Exposition Universelle 1885, de René Cornelli e Pierre Mussely, publicado no ano seguinte à mostra. Em 14 de outubro, os reis da Bélgica visitaram a exposição e a rainha apreciou muito as fotografias de Ferrez (Jornal do Recife, de 20 de novembro de 1885, na sexta coluna).
+Ferrez fotografou o escritório particular de dom Pedro II, no Palácio de São Cristóvão (Anais da Biblioteca Nacional, 1991).
+O livro Bilder aus Brasilen (Imagens do Brasil), do teuto-brasileiro Carlos von Koseritz (1830 – 1890), publicado em Leipzig por  A. W. Sellin foi ilustrado com onze gravuras produzidas a partir de fotografias de Ferrez. Foi traduzido para português, na década de 40, por Afonso Arinos de Melo Franco (1905 – 1990).
+1885/1887 - Com a reprodução de 12 imagens de Ferrez, a editora milanesa Fratelli Tensi publicou o álbum de fotogravuras Lembrança do Rio de Janeiro.
+1886 – O Boletim da Sociedade Francesa de Fotografia registrou a apresentação do equipamento criado por Ferrez para produzir fotografias marinhas.
+O engenheiro belga Aimé Durieux (1827 – 1901), representante da Sociedade Anonyma de Trabalhos Dyle & Bacalan, doou à Sociedade de Geografia de Paris, da qual era integrante, um álbum com 26 fotografias de autoria de Ferrez sobre a ferrovia do Paraná.  A empresa atuava na construção de veículos ferroviários, navios e aeronaves, bem como em obras públicas.
+O militar italiano Carlo de Amezaga (1835 -1899) publicou em Roma os quatro volumes de Viaggio di circumnavigazione della corvetta Caracciolo. No terceiro volume, há duas estampas do Rio de Janeiro baseadas em fotografias de Ferrez.
+O engenheiro britânico Hastings Charles Dent (1855 – 1909) publicou A year in Brazil: with notes on the abolition of slavery, the finances of the empire, religion, metereology, natural history, etc com 10 páginas de ilustrações e mapas baseados em registros de Ferrez.
+Ferrez retornou ao Brasil em março.
+O ateliê de Marc Ferrez era o depositário das chapas secas Clayton, “reconhecidas as melhores“ (Jornal do Commercio, 14 de março de 1886, na primeira coluna).
+Estava em exposição na A la Glacê Elegante diversos aumentos de retratos pelo sistema inalterável de gelatino-bromure, de autoria de Ferrez, dentre eles uma fotografia do navio Almirante Barroso considerada rara por suas “enormes dimensões”. O sistema era uma especialidade da Casa Marc Ferrez (Jornal do Commercio, 29 de março de 1886, na terceira coluna e 30 de março de 1886, na quarta coluna). Sobre a mesma exposição, Ferrez foi referido como “habilíssimo fotógrafo” que havia chegado da Europa para onde havia ido se aperfeiçoar “nas mais recentes ficelles de l´art, e fez no estabelecimento A la Glacê Elegante  uma exposição de positivos ampliados de clichês, e de uma prova de fotografia instantânea representando o cruzador Almirante Barroso. Esta prova é de grandes dimensões, calculamos ser de 1m20 x 0.80m. É escusado dizer que os trabalhos expostos traduzem a costumada e reconhecida perícia do expositor”. Informava também que uma das especialidades do ateliê de Ferrez era a reprodução rápida de plantas e de outros desenhos de engenharia através do processo “ferro prussiato“” (Revista de Engenharia, 14 de abril de 1886, na segunda coluna). Para a mesma finalidade, Ferrez também usava a heliografia.
+Propaganda do estabelecimento de Marc Ferrez na rua São José 88 onde era anunciado como Photographia da Marinha Imperial e oferecia material completo para fotógrafos e amadores, chapas instantâneas Clayton, aumento de retratos, reprodução indelével de plantas e vistas de todas as partes do Brasil (O Programa Avisador, 8 de julho de 1886, na última coluna). O anúncio foi publicado diversas vezes ao longo de 1886.
+ 
+Propaganda do estabelecimento fotográfico de Marc Ferrez, 1886.
+ 
+Na A la Glacê Elegante, exposição de fotografias produzidas “instantaneamente” por Marc Ferrez com um aparelho de sua invenção construído em Paris sob sua imediata inspeção (Jornal do Commercio, 26 de julho de 1886, na quarta coluna).
+Em uma reunião da Sociedade Central de Immigração, da qual faziam parte, entre outros, o astrônomo belga Louis Ferdinand Cruls (1848 – 1908), o pintor italiano Nicolau Facchinetti (1824 – 1900), e o político Alfredo d´Escragnolle Taunay (1843 – 1899), foram apresentadas por esse último, presidente da associação, fotografias da ferrovia do Paraná, de autoria de Ferrez (A Immigração, agosto de 1886).
+A estampa que acompanhava o artigo sobre o túnel de ferro corrugado publicado na Revista de Engenharia de 18 de outubro de 1886, foi impressa “por um econômico processo heliográfico, de cujos detalhes o bem conhecido fotógrafo Marc Ferrez adquiriu o conhecimento em sua recente viagem à Europa, e que é eminentemente adaptado pelo seu moderado custo à reprodução de desenhos, quando se precisa apenas de algumas dezenas de exemplares”.
+O Club de Engenharia aprovou a proposta de Marc Ferrez e de E. de Mascheuk para a execução de “diversos trabalhos concernentes à exposição dos caminhos de ferro” (Revista de Engenharia, 14 de dezembro de 1886, na primeira coluna).
+Ferrez fotografou a ferrovia Dom Pedro II, em Juiz de Fora.
+Não usava mais a referência da Comissão Geológica em seu currículo profissional. Apresentava-se como “Fotógrafo da Marinha Imperial”.
+1887 - Ferrez comunicou a chegada de novas chapas gelatino Brumure Clayton, reconhecidas como as melhores e mais rápidas, de todos os tamanhos, das quais ele era o único depositário (Jornal do Commercio, 27 de fevereiro de 1887).
+O antigo gerente do estabelecimento de Ferrez, Albert Breton, tornou-se funcionário da Casa Saturno, “grande atelier de retratos”, localizado na rua 1º de março, 23 (O Programa Avisador, 3 de março de 1887).
+O Ministério da Agricultura encomendou a Ferrez dez grandes fotografias da hospedaria da Ilha das Flores, local de passagem obrigatória dos imigrantes estrangeiros que aportavam no Rio de Janeiro (Gazeta da Tarde, 7 de abril de 1887).
+Entre 2 de julho e 2 de agosto, nos salões do Liceu de Artes e Ofícios, por uma iniciativa do Club de Engenharia, realizou-se a Exposição dos Caminhos de Ferro Brasileiros, com a exibição de fotografias de Ferrez (Revista de Engenharia, 14 de agosto de 1887). Estiveram presentes no encerramento da exposição, no dia 2 de agosto, a princesa Isabel(1845 – 1921) e o conde d´Eu (1842 – 1922), além de outras autoridades. O conselheiro Sinimbu (1810 – 1906) leu o relatório do juri da exposição, do qual também fazia parte o visconde de Mauá (1813 – 1889), Pedro Betim Paes Leme (1846 – 1918), Christiano Benedicto Ottoni (1811 – 1896), Carlos Peixoto de Mello (1871 – 1917), Álvaro Joaquim de Oliveira (1840 – 1922) e Manoel José Alves Barbosa (1845 – 1907). Ferrez foi contemplado com uma menção honrosa pelas “magníficas fotografias de importantes trechos de nossas vias férreas, com que concorreu não só para abrilhantar a Exposição como até para suprir algumas lacunas sensíveis de estradas que se não fizeram representar” (Jornal do Commercio, 3 de agosto de 1887, na terceira coluna e Revista de Estradas de Ferro, 31 de agosto de 1887, na primeira coluna).
+Ferrez era o secretário-adjunto da Diretoria da Associação Industrial, que enviou ao conselheiro Rodrigo Augusto da Silva (1833 – 1889), ministro e secretário de Estado para os Negócios da Agricultura, Comércio e Obras Públicas, um plano para a realização de uma exposição preparatória para a Exposição Universal de Paris, em 1889 (Revista de Engenharia, 28 de agosto de 1887).
+Anúncio da Photographia Marc Ferrez, apresentando-se como depositária das chapas secas de Attout-Taillfer & Clayton, além de oferecer cartões e câmaras de viagem (Jornal do Commercio, 4 de setembro de 1887, quarta e quinta colunas). Propagandas da Casa Marc Ferrez foram veiculadas várias vezes no mesmo jornal ao longo de 1887 e 1888.
+1888 – Marc Ferrez estava fotografando pessoas e grupos para perpetuar as memórias dos festejos pela abolição da escravatura (O Paiz, 16 de maio de 1888, primeira coluna).
+No Arsenal de Marinha, foi concluído o faceamento do meteorito de Bendegó com as presenças da princesa Isabel e do conde d´Eu. Ferrez fotografou o meteorito e o grupo com “Suas Altezas, o presidente da Sociedade de Geografia do Rio de Janeiro, Marquez de Paranaguá, iniciador da ideia de remoção desse meteorito, o diretor do Museu Nacional, os membros da comissão, e o sr. ministro dos estrangeiros”(Correio Paulistano, 17 de julho de 1888, na quinta coluna, sob o título “Meteorito de Bedengó”). Também no Arsenal de Marinha, cerca de um mês depois, com as presenças de Suas Altezas, da baronesa de Loreto Maria Amanda Paranaguá Dória (1849 – 1931), do barão de Corumbá João Mendes Salgado (1832 – 1894), do marquês de Paranaguá João Lustosa da Cunha Paranaguá (1821 – 1912), e do diretor do Imperial Observatório do Rio de Janeiro, Louis Ferdinand Cruls (1848 – 1908), dentre outros, o meteorito de Bedengó foi coberto com ácido nítrico. Na matéria, foi mencionado que Ferrez fotografaria o meteorito (Gazeta de Notícias, 17 de agosto de 1888, na segunda coluna sob o título “Corte do Bendegó”).
+Ferrez fotografou a fachada da tradicional farmácia carioca Casa Granado, tradicional farmácia carioca, enfeitada para as festividades de boas vindas a dom Pedro II  e à Imperatriz D. Teresa Cristina, que retornavamde sua viagem à Europa. No passepartout da fotografia, que foi distribuída como brinde pelo estabelecimento e trazia a assinatura de Marc Ferrez, lê-se: “Homenagem da Drogaria Granado ao feliz regresso de SS. MM. Imperiaes. Rio, 22 de agosto de 1888”.
+ 
+Marc Ferrez. Pharmacia Drogaria Granado and Ca, 1888. Rio de Janeiro, RJ / Acervo FBN
+ 
+Em torno deste ano, produziu fotografias dentro de minas de ouro – as primeiras conhecidas até hoje. Foram fotografadas as minas da Passagem e de Pari, em Minas Gerais. Ferrez utilizou o flash de magnésio. Na ocasião também realizou registros de Ouro Preto e de Itacolomy*.
+Ferrez  fotografou a cerimônia em que a Princesa Isabel (1846 – 1921) foi condecorada com a Rosa de Ouro, honraria do Vaticano, outorgada pelo papa Leão XIII (1810 – 1903) por ter assinado a Lei Áurea. A solenidade, celebrada em 28 de setembro, na Capela Imperial, foi, provavelmente, a primeira grande ocasião em que Ferrez usou os novos flashes de magnésio que havia recebido recentemente da Europa. A data escolhida para a entrega da Rosa de Ouro marcava o aniversário da Lei do Ventre Livre, assinada no dia 28 de setembro de 1871 (Gazeta da Tarde, 28 de setembro de 1888, primeira coluna; Gazeta de Notícias, 29 de setembro de 1888). Ferrez e Pedro da Silveira foram designados para fotografar o evento. O engenheiro Morin seria o encarregado pela luz elétrica (O Espírito – Santense, 6 de outubro de 1888, na segunda coluna)**.
+ 
+Marc Ferrez. A Princesa Isabel recebe a Rosa de Ouro, outorgada pelo papa Leão XIII, 28 de setembro de 1888. Rio de Janeiro, RJ / Coleção Princesa Isabel
+ 
+Gazeta da Tarde, 28 de setembro de 1888
+ 
+ 
+Em 25 de novembro, foi inaugurado o tráfego entre as estações de Alcântara e Rio do Ouro da estrada de ferro de Maricá. Marc Ferrez fotografou “instantaneamente ” um grupo de convidados da diretoria das estradas na estação Santa Izabel (Revista de Engenharia, 28 de dezembro de 1888, na primeira coluna).
+Participou com fotografias de paisagens de Ouro Preto e de outras regiões do Brasil da Exposição Brasileira Preparatória da Exposição Universal de Paris, realizada entre 11 e 31 de dezembro de 1888 (O Auxiliador da Indústria Nacional, na segunda coluna, janeiro de 1889). Por essas fotografias, no ano seguinte, Ferrez recebeu o diploma de honra da Exposição Preparatória (O Auxiliador da Indústria Nacional, outubro de 1889, na segunda coluna).
+Transcrição, na Gazeta de Notícias, de um artigo escrito pelo jornalista francês Charles (Carlos) Morel, redator chefe do jornal Étoile du Sud, sobre a participação brasileira na Exposição Universal de Paris de 1889. O desenvolvimento da fotografia no Brasil e a exposição de fotografias de Ferrez foram abordados (Gazeta de Notícias, 16 de dezembro de 1888, na sexta coluna).
+1889 – Ferrez retornou de uma viagem a Uruguaiana e informou estar de volta “à testa de seu estabelecimento”(Jornal do Commercio, 3 de março de 1889, na quinta coluna).
+Em propaganda da Casa Ferrez, era anunciada a chegada de várias novidades, dentre elas lanternas para aumento (Jornal do Commercio, 24 de março de 1889).
+Ferrez fotografou a capela imperial, que estava em obras (Gazeta de Notícias, 11 de abril de 1889, na segunda coluna).
+O Jornal do Commercio noticiou que havia recebido a já mencionada fotografia da Casa Granado, de autoria de Ferrez, por ocasião da volta de dom Pedro II da Europa, ocorrida em 1888 (Jornal do Commercio, 10 de agosto de 1889, na sexta coluna).
+Ferrez viajou com seus filhos e mulher para Paris. Apresentou fotografias de vistas do Rio de Janeiro, de vistas marinhas e paisagens na Exposição Universal em Paris, realizada entre 6 maio e 31 de outubro de 1889. De acordo com Maria Inez Turazzi, recebeu a medalha de bronze. Segundo o Auxiliador da Indústria Nacional, ele teria recebido a medalha de prata (O Auxiliador da Indústria Nacional, 1889). Foi nessa exposição que a Torre Eiffel, na época a mais alta estrutura do mundo, foi inaugurada.
+O barão do Rio Branco (1845 – 1912), com o apoio de dom Pedro II, publicou para a exposição de Paris o Álbum de vistas do Brasil com imagens produzidas por vários fotógrafos, dentre eles Joaquim Insley Pacheco (1830 – 1912), Augusto Riedel (1836 – ?) e Marc Ferrez, que teve o maior número de fotografias publicadas no álbum.
+A Casa Imperial comprou um lote de 50 vistas por 150 mil réis, na Casa Marc Ferrez.
+A documentação fotográfica produzida por Ferrez das obras destinadas a melhorar o abastecimento de água no Rio de Janeiro (Gazeta de Notícias, de 28 de junho de 1889, na segunda coluna, sob o título “Águas do rio S. Pedro”), entre 1877 e o final da década de 1880, resultou em oito álbuns: três deles foram presenteados a dom Pedro II, nesse ano, último do regime imperial no Brasil. Outros três foram dados ao engenheiro Francisco de Paula Bicalho (1847 – 1919), diretor das Águas da Corte.
+Na reportagem “La Révolution au Brésil”, sobre a queda do Império, foi publicado um desenho cuja base foi a fotografia da estátua eqüestre de Dom Pedro I, realizada por Marc Ferrez nos anos 1870 (Le Monde illustrée, 30 de novembro de 1889).
+
+1890 – Ferrez fotografou o lançamento do cruzador Almirante Tamandaré, em 20 de março (Revista Marítima Brasileira, junho de 1890).
+Em maio, Ferrez anunciou a câmara detetive de Steinheil. Comunicou, no mês seguinte, também, que seu estabelecimento possuía um catálogo, que, se solicitado, poderia ser remetido aos clientes. Esta foi, provavelmente, a primeira referência à existência de um catálogo de produtos de sua loja (Jornal do Commercio, 18 de maio de 1890, sétima coluna, e O Paiz, 29 de junho de 1890, última coluna).
+Ferrez oferecia em propaganda e desta vez indicando amadores também como potenciais clientes. É uma aposta e uma evidência de que essa nova categoria representava na época uma expansão no mercado de equipamentos e material de fotografia. “Grande especialidade de todas as pertenças para profissionais e amadores photographos. Câmaras objectivas garantidas de Dallmeyer e outros afamados fabricantes, banheiras, lanternas, obturadores, cartões de todos os tamanhos e qualidades etc. Acaba de receber a última novidade: a câmara detetive de Steinheil” (Jornal do Commercio, 1º de junho de 1890, segunda coluna).
+ 
+Jornal do Commercio, 1º de junho de 1890
+ 
+Outro anúncio é veiculado informando que o estabelecimento de Ferrez é a única agência da Casa Dallmeyer, de Londres e,  oferece o Revelador Iconogène , uma novidade (Jornal do Commercio, 3 de agosto de 1890 e O Paiz, 3 de agosto de 1890, sétima coluna).
+Anúncio da série completa de objectivas desse célebre autor (Ferrez), além de chapas de “todos os tamanhos e diversos autores”.
+Em setembro, Ferrez integrou a comitiva convidada para a  inauguração das obras da ferrovia Benevente-Minas, de Carangola a Benevente, atual Anchieta, no Espírito Santo (Diário de Notícias, 28 de setembro de 1890, quinta coluna).
+Propaganda da Photographia Marc Ferrez oferecia seus serviços ao engenheiros (O Cruzeiro, 5 de novembro de 1890)
+ 
+O Cruzeiro, 5 de novembro de 1890
+ 
+Na Revista de Engenharia, 28 de dezembro de 1890, foi publicado um anúncio: “Marc Ferrez – Fotógrafo da Marinha Nacional. Especialista de vistas de estradas de ferro e em geral das grandes obras públicas. Reprodução de plantas com traços pretos sobre fundo branco. Rua São José 8″. O mesmo anúncio voltou a ser veiculado na edição de 14 de agosto de 1891.
+1891 – Anúncio de venda de produtos fotográficos importados e exclusivos, como “as objetivas Dallmayer, de Londres, e das chapas Wratten-Wamweight”, em seu estabelecimento, situado na rua São José, 88 (Jornal do Commercio, 15 de janeiro e 18 de outubro de 1891).
+A Casa Lombaerts & C incorporou-se à Casa Marc Ferrez, sob a firma Lombaerts, Marc Ferrez & C (Diário da Manhã, 9 de março de 1891, na terceira coluna). A firma Lombaerts, Marc Ferrez & C foi a editora e proprietária do jornal quinzenal de moda A Estação (A Estação, 15 de julho de 1891). A sede do jornal ficava na rua dos Ourives, 7 (Almanak Laemmert, última edição de 1892). A firma também publicou postais e, por encomenda da Inspetoria Geral da Instrução Primária e Secundária da Capital, publicou o álbum Quadros de história Pátria, com 21 fototipias, e o ensaio do engenheiro e astrônomo Henrique Morize (1860 – 1930), intitulado Esboço de una climatologia do Brasil. A sociedade de Lombaerts e  Ferrez foi dissolvida (Diário de Notícias, 15 de dezembro de 1891, quarta coluna).
+1892 – O estabelecimento de Marc Ferrez era um dos locais de venda de ingressos para a Festa do 14 de Julho – Festa Nacional da França (Gazeta de Notícias, 11 de julho de 1892).
+Foi determinado que nas estradas de ferro subvencionadas pelo governo federal fossem liberados passes de ida e volta para Marc Ferrez e um ajudante para que pudessem “levantar fotografias em diversas localidades para o serviço da Exposição Universal Colombiana de Chicago”, que aconteceu entre 1º de maio e 30 de outubro de 1893 para celebrar os 400 anos da chegada do navegador genovês Cristóvão Colombo (1451 – 1506) ao Novo Mundo, em 1492 (Jornal do Brasil, 21 de agosto de 1892, na quinta coluna).
+Ferrez recebeu o pagamento de e 2:284$ pelo material fornecido para a exposição de Chicago e 6:454$ pelos “ trabalhos photographicos para a referida Exposição”, de acordo com a solicitação do Ministério da Justiça em 5 de janeiro, e com o pedido de transferência para o Tesouro Nacional do dia 8 de junho,  publicados no Diário Oficial em janeiro e julho de 1893[1]
+[1] Diário Official, 08 de janeiro de 1893, p. 132 e 23 de Julho de 1893, p. 5, seção 1, publicado digitalmente em  https://www.jusbrasil.com.br/diarios/1598158/pg-4-secao-1-diario-oficial-da-uniao-dou-de-08-01-1893/pdfView e https://www.jusbrasil.com.br/diarios/1663079/pg-5-secao-1-diario-oficial-da-uniao-dou-de-23-07-1893, consultados em 06 de fevereiro de 2018 às 15:50
+1893 – O governo autorizou uma encomenda a Marc Ferrez de “fotografias de diversas estradas e ainda os indispensáveis à organização da carta plastográfica” que seria enviada para a Exposição de Chicago. O valor do trabalho foi 6:454$000 (Relatório do Ministério da Agricultura, 1893).
+[1] Diário Official, 08 de janeiro de 1893, p. 132 e 23 de Julho de 1893, p. 5, seção 1, publicado digitalmente em  https://www.jusbrasil.com.br/diarios/1598158/pg-4-secao-1-diario-oficial-da-uniao-dou-de-08-01-1893/pdfView e https://www.jusbrasil.com.br/diarios/1663079/pg-5-secao-1-diario-oficial-da-uniao-dou-de-23-07-1893, consultados em 06 de fevereiro de 2018 às 15:50
+Ferrez registrou as consequências da Revolta da Armada nos navios e instalações da Marinha brasileira.
+1894 – Foi para Minas Gerais, onde produziu fotografias para a Comissão Construtora da Nova Capital do Estado.
+No Rio de Janeiro, registrou os engenheiros que trabalharam, em 1893, na elaboração da Carta Cadastral do Distrito Federal, encomendada pelo prefeito Cândido Barata Ribeiro (1843 – 1910).
+Após quatro décadas de carreira, Marc Ferrez é um fotógrafo consagrado e um comerciante de sucesso. Embora discreto e pacato, goza  também  de certa notoriedade para além do círculo de seus clientes e amigos. Sua popularidade é bem exemplificada no conto Dor, de Escrangolle Doria, publicado na revista A Semana e vencedor do segundo prêmio de prosa literária do próprio periódico. Seu nome aparece nos parágrafos finais do capítulo derradeiro, quando os dois personagens principais olhando para uma parede, fitam um retrato au crayon,  de autoria de Marc Ferrez
+O nome de Ferrez apareceu ao final do último capítulo do conto Dor, de Escrangolle Doria, vencedor do segundo prêmio de prosa literária da revista A Semana. Ele é citado quando os dois personagens principais olhavam um retrato au crayon, de autoria de Marc Ferrez (A Semana, 31 de março de 1894, terceira coluna).
+Forneceu o material para o laboratório de fotografia da Comissão Construtora da Nova Capital (CCNC), encarregada do plano urbanístico e da construção dos edifícios públicos de Belo Horizonte, nova capital de Minas Gerais.
+Exposição na redação do jornal A República de duas fotografias do couraçado Vinte e Quatro de Maio, ex-Aquidaban, ambas de autoria de Marc Ferrez. O navio havia sido atingido, em 16 de abril de 1894, em Santa Catarina, pela torpedeira Gustavo Sampaio, durante a Revolta da Armada (A República, 29 de agosto de 1894, na última coluna).
+ 
+Marc Ferrez. Effeito de um torpedo na proa do “Aquidaban”, 1894. Rio de Janeiro, RJ / Acervo FBN
+ 
+Em novembro, fotografou os festejos pela proclamação da República: a inauguração da estátua do general Osório, na Praça XV, em 12 de novembro, e a posse do novo presidente, Prudente de Morais (1841 – 1902), no dia 15 do mesmo mês. Um álbum do qual faziam parte essas imagens foi presenteado ao marechal Floriano Peixoto (1839 – 1895) pela comissão militar encarregada pelas comemorações oficiais do evento. Ferrez divulgava seu trabalho informando que “tendo por ordem do governo tirado fotografias das festas nacionais, tem conseguido magnífico resultado de todas elas” e que “recebia encomendas para coleção completa” (Jornal do Commercio, 18 de novembro de 1894).
+1895 – Propaganda da Casa Marc Ferrez anunciavam que o estabelecimento agenciava com exclusividade as objetivas Dallmeyer, Français e Zeiss, além das chapas Wratten e Wanwrigth no Brasil (Jornal do Commercio, 20 de janeiro de 1895).
+Publicação da fotografia do funeral do marechal Floriano de Peixoto (1839 – 1895), com crédito para Marc Ferrez (Le Monde Illustré, 3 de agosto de 1895).
+ 
+Le Monde Illustré, 3 de agosto de 1885
+ 
+Na igreja São Francisco de Paula, Ferrez produziu fotos do templo, ao final da cerimônia das solenes exéquias do almirante Saldanha da Gama (1846 – 1895), um dos líderes da Revolta da Armada (Jornal do Commercio, 4 de julho de 1895, quinta coluna).
+Em novembro, Ferrez fotografou, em Búzios, os convidados e a comissão responsável pela construção da Estrada de Ferro Rio de Janeiro-Minas, que uniria o povoado de Búzios a Paquequer, no estado de Minas Gerais (A Notícia, 11 de novembro de 1895, segunda coluna).
+1896 –  O explorador naturalizado francês Charles Wiener (1851 – 1913) e também cônsul geral encarregado de negócios franceses no Brasil, adquiriu uma coleção de 329 fotografias do Brasil, sendo 92 de autoria de Ferrez. Os três dos quatro álbuns dessas fotografias estão no Ministério das Relações Exteriores da França.
+Entusiasta da imigração de europeus para o Brasil, o fotógrafo Maurício Lamberg publicou o livro O Brazil, sobre o qual o historiador Sacramento Blake (1827 – 1903) comentou:  “[…] trata da natureza do Brazil e das diversas raças que contém; de sua lavoura, do solo, da imigração e colonização; de suas florestas…”. Para escrever o livro, Lamberg viajou durante anos pelo norte e por parte do sul do país. Escrita originariamente em alemão, a obra, que abrange assuntos como história, geografia, fontes de renda e costumes, foi vertida para o português pelo jornalista e crítico musical Luiz de Castro (1863 – 1920), editado pela Casa Lombaerts e impresso na Tipografia Nunes, com 381 páginas distribuídos em 15 capítulos, com fotos de Lamberg e de outros autores, dentre eles Ferrez.
+1897 – Marc Ferrez fotografou os convidados de uma festa realizada no Club de Paquetá para oficiais da Marinha chilena (Cidade do Rio, 12 de maio de 1897, na terceira coluna).
+Em torno desse ano, Ferrez realizava experiências no campo da imagem com Henrique Morize (1860 – 1930) e com Tasso Fragoso (1869 – 1945), na época aluno da Escola Militar e posteriormente general. O francês naturalizado brasileiro Henri Charles Morize ou Henrique Morize era engenheiro e astrônomo. Foi diretor do Observatório Nacional entre 1908 e 1929 e o primeiro presidente da Academia Brasileira de Ciências, de 1916 a 1926.
+1898 – Ferrez  cedeu dois retratos de família pintados por August Muller (1815 – 1883) para a Exposição Retrospectiva do Centro Artístico, associação de jornalistas e literatos, criada em 1897, que tinha como objetivo a promoção da arte brasileira. A mostra, realizada durante o mês de julho, na Escola Nacional de Belas Artes, foi o primeiro evento organizado pelo Centro Artístico. Reuniu um grande número de objetos de arte cedidos por proprietários e colecionadores (Gazeta da Tarde, 13 de agosto de 1898, na última coluna e Diário de Notícias, 28 de julho de 1898, na penúltima coluna).
+Três fotografias de Ferrez ilustraram a matéria O Palácio Presidencial (Revista Moderna, 25 de novembro de 1898).
+1899 – Por volta desse ano, Ferrez realizou, possivelmente em parceria com Gomes Junior, uma série de fotografias de ambulantes, como a de “Jornaleiros” e “Comprador de garrafas”.
+Anúncio da venda de produtos químicos do médico e cientista francês Charles Berthaud, na Casa Marc Ferrez (A Imprensa, 9 de abril de 1899, na quarta coluna).
+No consultório dos doutores Camilo Fonseca e Henrique Morize, foram realizadas experiências radiográficas nas gêmeas siamesas Rosalina e Maria Pinheiro, nascidas em 1893, no Espírito Santo, que chegaram ao Rio de Janeiro em junho (A Imprensa, 23 de junho de 1899, na terceira coluna). Elas foram fotografadas por Marc Ferrez em várias posições (O Cachoeirano, 2 de julho de 1899, na última coluna). A cirurgia para separá-las, realizada em 30 de maio de 1900, na Casa de Saúde São Sebastião, no Rio de Janeiro, pelo médico Eduardo Chapot Prevost (1864 – 1907), foi a primeira do gênero que foi bem sucedida em todo o mundo. Maria morreu cinco dias após a cirurgia devido a uma grave infecção e Rosalina viveu até pelo menos 75 anos, tendo casado e tido filhos (A Imprensa, 11 de agosto de 1900, na primeira coluna).
+ 
+Marc Ferrez. Irmãs siamesas, 1899. Rio de Janeiro, RJ / Acervo IMS
+ 
+Marc Ferrez e os fotógrafos portugueses Joaquim Insley Pacheco (1830 – 1912) e José Ferreira Guimarães (1841 – 1924) foram nomeados para formar a comissão de propaganda da classe de fotografia da Exposição do Quarto Centenário do Brasil, em 1900, promovida pela Sociedade Propagadora das Belas Artes (Cidade do Rio, 31 de outubro de 1899, na quinta coluna).
+1900 – Com seu amigo, o engenheiro Humberto Antunes, participou, a bordo do vapor “Vigilante”, que abrigava membros da Sociedade de Beneficência Portuguesa, da procissão de navios que acompanham a chegada da comitiva portuguesa, vinda para as comemorações do quarto centenário do descobrimento do Brasil (Jornal do Commercio, 30 de abril de 1900, terceira coluna).
+Ferrez fotografou alguns eventos dos festejos dos 400 anos da descoberta do Brasil: a missa campal celebrada pelo frei Amor Divino Costa (1830 – 1909), a inauguração do monumento a Pedro Álvares Cabral, de autoria de Rodolfo Bernardelli (1852 – 1931), o desfile das tropas e o arco manuelino na praça da Glória (Gazeta de Notícias, 4 de maio de 1900).
+Era um dos integrantes da comissão Exposição Artístico-Industrial Fluminense Comemorativa do IV Centenário do Descobrimento, promovida pela Sociedade Propagadora das Belas-Artes, realizada no Liceu de Artes e Ofícios, na rua da Guarda Velha, atual avenida 13 de Maio (O Paiz, 7 de maio de 1900, na sétima coluna). Ferrez participou com trabalhos fotográficos em transparentes de cristal.
+A Casa Marc Ferrez lançou bilhetes-postais com imagens produzidas pelo fotógrafo impressas em fototipia.
+Foram lançados os livros O Rio de Janeiro em 1900: vistas e excursões, do militar e jornalista Francisco Ferreira da Rosa (1864 – 1952) e Estados Unidos do Brasil, do geógrafo e anarquista francês Élisée Reclus (1830 – 1905). O primeiro trazia fotografias produzidas por Ferrez e, o segundo, estampas de T. Taylor e A. Slom baseadas em fotos de Ferrez.
+Marc Ferrez e sua família foram à exposição da tela histórica de Aurélio Figueiredo (1856 – 1916), O descobrimento do Brasil, no salão da Casa Postal, na rua do Ouvidor (O Paiz, 31 de maio de 1900, na quarta coluna).
+A Revista da Semana de 21 de outubro de 1900, publicou uma litogravura da Estação Central da Estrada de Ferro da Central do Brasil baseada em uma fotografia de autoria de Marc Ferrez. A Revista da Semana havia sido lançada em 20 de maio por Álvaro de Tefé.
+ 
+Marc Ferrez. Estação da estrada de ferro Central do Brasil, c. 1899. Rio de Janeiro, RJ / Acervo IMS
+ 
+Perto do fim do ano, teria embarcado para a Europa, onde até o dia 12 de novembro realizou-se a Exposição Universal de Paris. Uma curiosidade: pela primeira vez numa feira internacional foi feita, para efeito de premiação, uma diferença entre fotografia profissional e amadora.
+1901 – Em março, Ferrez anunciou seu retorno da temporada europeia e a retomada de suas atividades.
+No encerramento da Exposição Artístico-Industrial Fluminense Comemorativa do IV Centenário do Descobrimento, Ferrez recebeu o diploma de honra. A mostra foi promovida pela Sociedade Propagadora das Belas Artes (Jornal do Brasil, 14 de maio de 1901, na sétima coluna).
+Ferrez prometeu fazer uma doação para a Associação Nossa Senhora Auxiliadora para “o patrimônio do recolhimento de meninas e moças pobres, órfãs ou abandonadas”. O dinheiro seria parte da quantia devolvida pela Sociedade Propagadora de Belas Artes aos contribuintes das festas de distribuição dos prêmios da Exposição Artístico-Industrial Fluminense (A Notícia, 24 de maio de 1901, na última coluna).
+Foi publicada uma fotografia produzida por Marc Ferrez de um grupo presente na garden party oferecida pelo cônsul alemão à oficialidade e a alguns marinheiros do cruzador Vinela, no Sylvestre (Revista da Semana, 4 de agosto de 1901). Na edição seguinte, de 11 de agosto, foi publicada uma fotografia do Vinela, também de autoria de Ferrez.
+Fotografias de Marc Ferrez foram publicadas para ilustrar uma matéria sobre “A festa na ilha do Vianna – Experiência oficial de máquinas do cruzador República e da caça-torpedeiro Gustavo Sampaio” (Revista da Semana, 10 de novembro de 1901). Na edição seguinte, foi publicada uma fotografia da baía do Rio de Janeiro por ocasião da revista de tropas de 15 de novembro (Revista da Semana, 24 de novembro de 1901).
+1902 – Fotografia de autoria de Marc Ferrez do sr. Armando Darlot (? – 1902), no caixão. Ele havia sido um dos fundadores da empresa de seguros Sul-América (Revista da Semana, 13 de abril de 1902).
+O então capitão Tasso Fragoso (1869 – 1945), realizou sua segunda conferência sobre artilharia de campanha de tiro rápido. Foram apresentadas fotografias de projéteis e canhões, expostas em uma lanterna de projeção manejada por Henrique Morize e Marc Ferrez  (Jornal do Brasil, 26 de abril de 1902, na nona coluna).
+Ferrez registrou a inauguração da estátua do visconde do Rio Branco, na Glória, no dia 13 de maio. A obra, de autoria do escultor Félix Maurice Charpentier (1858 – 1924), fazia parte dos festejos pela comemoração da Abolição da Escravatura (Gazeta de Notícias, 14 de maio de 1902, na quinta coluna, na quarta coluna).
+Na Revista da Semana, publicação de diversas fotografias de autoria de Ferrez: Porto da cidade de Belém, Vista geral de Ouro Preto, Mercado de Porto Alegre e Uma vista de Paranaguá (Revista da Semana, 25 de maio de 1902); imagens dos portos de Recife e do Rio Grande (Revista da Semana, 15 de junho de 1902); e dos navios da esquadra chilena em visita ao Rio de Janeiro (Revista da Semana, 17 de agosto de 1902).
+A irmã de Ferrez, Francisca Poindrelle, a Fanny, faleceu (A Notícia, 25 de novembro de 1902, na última coluna).
+1903 – Fotografias de Ferrez foram publicadas na Revista da Semana: dos navios que haviam partido para o norte do Brasil sob o comando do contra-almirante Alexandrino de Alencar (1848 – 1926) (Revista da Semana, 8 de fevereiro de 1903) e Os Dois irmãos no Sylvestre, Laranjeiras, Entrada da barra do Rio de Janeiro vista por fora e Ilha das Cobras (Revista da Semana, 1º de março de 1903).
+Ao longo desse ano e de 1904, foram publicadas, no Correio da Manhã, diversas propagandas dos serviços prestados por Ferrez e ele era identificado como “Fotógrafo da Marinha Nacional” (Correio da Manhã, 3 de outubro de 1903, na terceira coluna).
+Marc Ferrez fotografou a cerimônia de Primeira Comunhão do Colégio Diocesano de São José (Jornal do Brasil, 3 de outubro de 1903, na segunda coluna).
+Em reunião da Associação Promotora de Instrução, foi autorizada a quantia de 250$ para Marc Ferrez produzir fotografias das escolas da associação, que seriam expostas na Exposição Universal de Saint Louis, em 1904 (Correio da Manhã, 30 de novembro de 1903, na quarta coluna, sob o título “Pelas associações“).
+Em 4 de dezembro, Marc Ferrez assinou o termo de aceitação da proposta de indenização do imóvel que pertencia a ele na rua São José e que seria demolido para a construção da avenida Central. Recebeu 25 contos de réis pela propriedade.
+1904 – No segundo número da revista Kosmos, fundada pelo jornalista e engenheiro agrônomo Mario Bhering (1876-1933) e lançada em janeiro, publicação das fotografias Paineiras, Aqueduto; Copacabana e Passeio Público (Kosmos, fevereiro de 1904).
+Exposição de fotografias da estrada de ferro Central do Brasil de autoria de Ferrez, no Club de Engenharia (O Commentario, março de 1904).
+Marc Ferrez importava cartões-postais de Paris (Jornal do Brasil, 23 de abril de 1904, na terceira coluna).
+Ele e o fotógrafo Joaquim Insley Pacheco receberam a medalha de ouro na Exposição Universal de Saint Louis, nos Estados Unidos, realizada entre de 30 de abril e 1 de dezembro de 1904 (Almanak Laemmert, 1905). O prédio que sediou o Pavilhão Brasileiro da exposição foi, em 1906, remontado no Rio de Janeiro, e foi batizado de Palácio Monroe.
+Anúncio da missa de 7º dia da irmã de Ferrez, Augustine Emile Catinot (Gazeta de Notícias, 30 de dezembro de 1904, na última coluna).
+Foi editada, provavelmente nesse ano, pela Inspeção Geral das Obras Públicas da Capital Federal, a obra Abastecimento d´água do Rio de Janeiro, com o trabalho feito por Ferrez sobre as obras na cidade.
+No final do ano, falecimento da irmã de Ferrez, Augustine Emile Cantinot.
+1905 – O Guia da cidade do Rio de Janeiro, organizado pelo engenheiro civil Vicente Alves de Paula Pessoa (c. 1857 – 19?), por incumbência da comissão diretora do Terceiro Congresso Científico Latino Americano, publicado pela Editora Beviláqua, foi ilustrado por imagens produzidas por Ferrez. A escolha das ilustrações e outros aspectos da publicação foram elogiados (Jornal do Brasil, na primeira coluna e  O Paiz, na quinta coluna, ambos de 18 de agosto de 1905).
+Ferrez iniciou a produção do Álbum da Avenida Central,  importante registro da reforma da principal via da então capital federal, onde ele contrapôs reproduções das plantas às fotografias das fachadas de cada edifício documentado. As pranchas de desenho foram impressas em zincografia e os prédios foram fotografados em colotipia. Esse álbum foi fundamental para a construção e para a difusão de uma nova imagem do Rio de Janeiro, uma imagem associada aos ideais de civilização e progresso.
+Com seu filho Julio obteve a representação da firma francesa Pathé Frères no Brasil. A firma era a maior e melhor fábrica de aparelhos e filmes cinematográficos da Europa.
+No final do ano, a Casa Marc Ferrez & Filhos passou a ser a fornecedora exclusiva do cinematógrafo ao ar livre Passeio Público, que existiu entre em 28 de outubro de 1905 e 2 de novembro de 1906, e pertencia ao português Arnaldo Gomes de Souza e ao italiano Vittorio di Maio (1852 – 1926). Passou também a distribuir filmes para outros cinematógrafos ambulantes do Rio de Janeiro.
+1906 – No periódico O Commentario, março de 1906, foi publicada a fotografia de um edifício, produzida por Marc Ferrez, 8 minutos após seu desabamento. O prédio estava sendo construído, na avenida Central, por ordem do Club de Engenharia.
+Foi publicado um anúncio da Photographia Cinematographica, de Marc Ferrez, anunciando “um imenso sortimento de material para profissionais e amadores a “preços vantajosos”. Também anunciava a “remessa de catálogos” (Jornal do Recife, 29 de março de 1906, na última coluna).
+A Alfândega indeferiu o requerimento de Marc Ferrez que pedia relevação para uma multa que lhe havia sido imposta (Correio da Manhã, 1º de novembro de 1906, na quinta coluna, sob o título “Alfândega”).
+Em dezembro de 1906 e ao longo de 1907, foram publicadas várias vezes propagandas de “Anúncios luminosos”, na avenida Central. “Grande lanterna mágica com várias vistas atraentes. Informações à rua S. José, 88, com Emilio Brondi, casa Marc Ferrez” (Rio Nu, 12 de dezembro de 1906, na última coluna).
+1907 – Em 30 de janeiro, Ferrez assinou um contrato com a  Comissão Construtora da avenida Central para a impressão do Álbum da Avenida Central.
+Seu filho, Julio, casou-se com Claire Poncy Ferrez (1888 – 1980).
+Marc Ferrez e Abílio Fontes representaram o comércio em uma comissão arbitral que julgaria o recurso interposto por Eduardo Trindade contra uma decisão da comissão de tarifas. Pela fazenda nacional, compunham a comissão arbitral Mendonça de Carvalho e Miranda Reis (Correio da Manhã, 7 de maio de 1907, na terceira coluna, sob o título “Alfândega”).
+Arrendou, em sociedade com Arnaldo Gomes de Souza, os prédios de número 145 e 149 da Avenida Central e inaugurou, em 18 de setembro, o Cinema Pathé, o terceiro da cidade (Gazeta de Notícias, 18 de setembro de 1907, nas sexta e sétima colunas) – o primeiro, Chic, foi inaugurado em 1º de agosto de 1907; o segundo, o Grande Cinematographo Pariziense, foi aberto em 9 de agosto do mesmo ano. A firma de Arnaldo e Ferrez chamava-se Arnaldo & Cia, omitindo a participação de Ferrez,  porque Charles Pathé (1863 – 1957), um dos proprietários da Pathé Frères, proibia que seus distribuidores e representantes possuíssem cinematógrafos.
+Em primeiro de outubro, foi criada a firma Marc Ferrez & Filhos. Ferrez era dono de 60% das ações, cabendo a Luciano e a Julio 20% do negócio. A empresa Marc Ferrez & C não deixou de existir. Em seu nome eram feitas as importações de material fotográfico enquanto a nova empresa era responsável pelas importações de material para cinema.
+A empresa de fotografia de Ferrez passa a ser administrada por Emilio Brondi.
+Publicação de uma propaganda de cinematógrafos de Marc Ferrez, identificado como representante da Casa Pathé Frères (Jornal do Commercio, 25 de outubro de 1907).
+1908 - Ferrez embarcou para a Europa no navio Chili. Estavam também a bordo os artistas premiados da Academia de Belas Artes Timotheo da Costa (1882 – 1922) e Carlos Chambelland (1884 – 1950) (Jornal do Brasil, 9 de janeiro de 1908, segunda coluna). Retornou em 30 de março a bordo do paquete francês Cordillere (Jornal do Brasil, 31 de março de 1908, na sexta coluna).
+ 
+Carlos Chambelland (1884 – 1950)
+ 
+ J. Timotheo, pint., 1912. Rio de Janeiro, RJ / Acervo FBN
+ 
+A sociedade de Ferrez com Arnaldo Gomes de Souza foi denunciada pelo concorrente de Ferrez, Jácomo Rosário Staffa (c. 1867 – 1927), proprietário do Grande Cinematographo Pariziense.
+A família Ferrez morava na rua Pedro Américo, 121.
+Ferrez e Arnaldo Gomes de Souza produziram o filme, Nhô Anastácio chegou de viagem, dirigido por Julio Ferrez. É considerada a primeira comédia cinematográfica brasileira e foi estrelada por Antônio Cataldi, José Gonçalves Leonardo e Ismênia Matteo. Ferrez produziu o curta-metragem A mala sinistra, também dirigido por seu filho Julio. Além disso, a Casa Marc Ferrez produziu filmes sobre obras em estradas de ferro do Brasil.
+Fotografias de Ferrez e também de outros fotógrafos, dentre eles Augusto Malta (1864 – 1957), foram publicadas na obra organizada pelo engenheiro Luiz Raphael Vieira Souto (1849 – 1922), Notícia sobre o desenvolvimento da indústria fabril no Distrito Federal e sua situação atual.
+Fotografias de Ferrez integravam a segunda edição do The new Brazil; its resources and attractions: historical, descriptive and industrial, de Marie Robinson Wright (1866 – 1914), publicada pela editora George Barrie & Son, da Filadélfia.
+Ao longo de 1908, foi publicado várias vezes um anúncio da venda de cinematógrafos na sucursal da firma Marc Ferrez & Filhos em São Paulo, o Bijou-Theatre, do empresário espanhol Francisco Serrador (1872-1941) (O Commercio de São Paulo, 15 de fevereiro de 1908, na primeira coluna).
+Em um anúncio veiculado pela Associação Geral de Auxílios Mútuos da Estrada de Ferro Central do Brasil, era noticiado um espetáculo de “Música com a expressão das fitas”. Informava também que as “fitas da Estrada são de exclusiva propriedade da Associação, conforme contrato assinado com a Casa Marc Ferrez (Correio da Manhã, 3 de abril de 1908, na quinta coluna).
+Fotografou a Exposição Nacional, realizada na Praia Vermelha no Rio de Janeiro, entre 11 de agosto e 15 de novembro, para celebrar o centenário da Abertura dos Portos ao Livre Comércio e, posteriormente, lançou uma série de postais sobre o evento.
+Em 5 de maio, nasceu Gilberto Ferrez (1908 – 2000), filho de Julio e neto de Marc. Ele foi pioneiro no estudo da fotografia no Brasil com a publicação, em 1946, do ensaio “A Fotografia no Brasil e um de Seus Mais Dedicados Servidores: Marc Ferrez (1843-1923)“, na Revista do Patrimônio Histórico e Artístico Nacional. 
+A Flávio Luz & Comp era a sucursal da Casa Marc Ferrez no Paraná para a venda de aparelhos e acessórios cinematográficos (A República, 1º de junho de 1908, na penúltima coluna).
+Marc Ferrez enviou telegrama de pêsames ao empresário e um dos pioneiros do cinema no Brasil, Paschoal Segreto (1868 – 1920), pelo falecimento de seu irmão, o jornalista Gaetano Segreto (A Imprensa, 29 de junho de 1908, na terceira coluna).
+O primeiro aniversário do Cinema Pathé foi comemorado com uma reforma, uma programação “divertida” e uma ceia (Fon-Fon, 26 de setembro de 1908).
+Ferrez fez uma doação de 10$000 para ajudar os sobreviventes de um terremoto ocorrido na Itália, nas regiões da Calábria e da Sicília, em 28 de dezembro de 1908. A iniciativa foi de David Romagnoli e as doações seriam entregues a uma comissão organizada pela Associação de Imprensa (A Imprensa, 13 de janeiro de 1909 na sexta coluna e 15 de janeiro na penúltima coluna).
+1909 - Foi anunciada a exibição do filme “Festival Hermes da Fonseca, fita nova para esta capital, mais completa e perfeita que se apresentou no Rio e foi tirada pela importante Casa Marc Ferrez” (A República, 27 de janeiro de 1909, sob o título “Diversões”).
+Um aprendiz de fotografia que trabalhava na Casa Marc Ferrez, o italiano Roviso Pietro, de 19 anos, após ter sido repreendido por seu patrão, tentou se suicidar (O Paiz, 12 de fevereiro de 1909, na quarta coluna).
+Foi anunciada pela Casa Marc Ferrez & Filhos a venda de “conjuntos electrogenios para produzir luz elétrica a domicílio por meio do querosene: pequeno consumo e grande força”(Revista da Semana, 11 de abril de 1909).
+Marc Ferrez e sua mulher, Marie, compareceram à missa pela morte do dr. João Vieira da Cunha (A Imprensa, 15 de agosto de 1909, na última coluna).
+Ferrez e sua esposa estiveram presentes na missa de 7º dia da viscondessa de Geslin, realizada na igreja de São Francisco de Paula (O Século, 2 de outubro de 1909, na quarta coluna).
+Na Exposição Nacional de 1908, em comemoração ao centenário do Decreto de Abertura dos Portos às Nações Amigas, realizada entre 11 de agosto e 15 de novembro de 1908 , no Rio de Janeiro (Gazeta de Notícias, 12 de agosto de 1908), Marc Ferrez participou no grupo de Fotografia e ganhou uma medalha de ouro (Almanak Laemmert, 1909).
+1910 – Marc Ferrez estava na lista de “Capitalistas, banqueiros, proprietários e pessoas ricas” do Almanak Laemmert de 1910, com o endereço Christóvão Colombo, 23 (futura rua Dois de Dezembro).
+O Cinema Royal, em Recife, anunciou um “Majestoso programa remetido do Rio de Janeiro no paquete Alagoas pelo srs. Marc Ferrez & Filhos, agentes em todo o Brasil da Casa Pathé Frères (Jornal do Recife, 14 de janeiro de 1910, na sexta coluna).
+A fábrica Pathé Frères de Paris por intermédio de seus representantes exclusivos no Brasil, a Casa Marc Ferrez , negou a autoria  da fita cinematográfica “O Guarany”, conforme havia sido noticiado por “má fé” por um cinema de São Paulo (Correio Paulistano, 16 de janeiro de 1910, na quarta coluna).
+Marc Ferrez foi um dos subscritores da lista organizada pelos presidentes das sociedades francesas sob os auspícios do cônsul da França para ajudar as vítimas de inundações ocorridas em Paris no mês de janeiro (O Paiz, 11 de fevereiro de 1910, na penúltima coluna).
+Às terças-feiras, “dia da moda” nos cinematógrafos, o Cinema Pathé era frequentado pelas senhoras da sociedade carioca (Gazeta de Notícias, 19 de fevereiro de 1910).
+Foi publicada a lista dos estabelecimentos comerciais com os quais a Empresa Paschoal Segreto havia feito negócios em 1909 e a Casa Marc Ferrez havia sido uma delas (O Paiz, 17 de março de 1910).
+José Ignácio Guedes Pereira Filho comunicou que havia firmado um contrato com a firma Marc Ferrez & Filhos para fornecer a ele durante um ano fitas cinematográficas da Pathé Frères (A Província, 27 de março de 1910, na primeira coluna).
+O ministro da Fazenda, José Leopoldo de Bulhões Jardim (1856 – 1928), negou “provimento ao recurso de Marc Ferrez e filhos interposto contra a decisão da Alfândega dessa capital, que lhes impôs a multa de 3:756$, tripulo do valor arbitrado para mercadoria submetida a despacho” (A Imprensa, 30 de abril de 1910, na terceira coluna).
+A firma Marc Ferrez & Filhos negou que a empresa do Iris Cinema recebia diretamente da Pathé Frères de Paris material cinematográfico para venda, já que os Ferrez eram seus representantes exclusivos e que em São Paulo sua sucursal era o Bijou-Theatre, do empresário Francisco Serrador (Correio Paulistano, 2 de maio de 1910, na segunda coluna, sob o título “Secção Livre”).
+Marc Ferrez embarcou no paquete francês Atlantique rumo a Bordeaux e escalas (Gazeta de Notícias, 12 de maio de 1910).
+Marc Ferrez enviou ao escultor e diretor da Escola Nacional de Belas Artes, Rodolfo Bernardelli (1852 – 1931), um telegrama felicitando-o por seu aniversário (Gazeta de Notícias, 20 de dezembro de 1910, na quinta coluna).
+No Anuário do Jornal do Brasil, foi veiculada uma propaganda dos Cinematógrafos Pathé Frères cujo representante para todo o Brasil era a firma Marc Ferrez & Filhos.
+1911 – Anúncio da missa de 7º dia da sogra de Ferrez, Pauline Caroline Lefebvre (Gazeta de Notícias, 26 de abril de 1911, na última coluna).
+A firma Marc Ferrez & Filhos iria filmar, na Enseada de Botafogo, a flotilha de embarcações do Club de Regatas do Boqueirão do Passeio, formada por 36 unidades (Gazeta de Notícias, 3 de junho de 1911, na segunda coluna).
+Marc e Marie Ferrez embarcaram para a Europa no navio Chili (O Paiz, 8 de junho de 1911, na última coluna).
+Foi grande o sucesso do filme “Notre-Dame de Paris”, exibido no Cinema Pathé (Fon-Fon, 4 de novembro de 1911). Ao longo de todo o ano de 1911, vários filmes exibidos pela Casa Marc Ferrez & Filhos foram anunciados na revista.
+No Cinema Pathé, reunião dos proprietários de cinematógrafos para discutir os impostos para o setor (O Século,  na primeira coluna e Correio da Manhã, na sexta coluna, 15 de novembro de 1911).
+Fim da sociedade de Marc Ferrez com Arnaldo Gomes de Souza.
+1912 – Ferrez introduziu no Brasil os autocromos, processo fotográfico colorido desenvolvido pelos irmãos Lumière.
+A Casa Marc Ferrez & Filhos passou a funcionar na rua São José 112 e o Cinema Pathé transferiu-se para o número 116 da avenida Central.
+ 
+Marc Ferrez. Cinema Pathé, c. 1919. Rio de Janeiro, RJ / Acervo IMS
+ 
+Marc e Marie Ferrez viajaram para a Europa. Na notícia, ele foi identificado como um “conhecido comerciante desta praça” (O Paiz, 18 de janeiro de 1912, na segunda coluna sob o título “Viajantes”).
+No Parque Fluminense, foi fundado um clube de futebol em patins cujo presidente era Julio Marc Ferrez (Diário de Notícias, 8 de agosto de 1912, na quinta coluna).
+O ministro da Fazenda, Francisco Antônio de Salles (1863 – 1933), negou provimento ao recurso interposto por Marc Ferrez “do ato da Inspetoria da Alfândega do Rio de Janeiro, mandando classificar como cinematógrafo, para pagamento de 60$ cada um, a mercadoria para a qual os recorrentes pediram classificação prévia” (A Imprensa, 13 de agosto de 1912, na terceira coluna).
+Marc Ferrez e sua mulher chegaram da Europa a bordo do paquete francês Amazone (A Imprensa, 11 de setembro de 1912, na quarta coluna).
+Marc Ferrez era um dos integrantes da comitiva do presidente do Brasil, Marechal Hermes da Fonseca (1855 – 1923), que havia ido para Passa Quatro observar o eclipse. Também participaram do evento o então diretor do Observatório Nacional, Henrique Morize (1860 – 1930), o diretor do Jardim Botânico, Graciano dos Santos Neves (1868 – 1922), e astrônomos ingleses, dentre outros (Gazeta de Notícias, 11 de outubro de 1912, na quinta coluna sob o título “Marechal Hermes e o eclipse“).
+O sr. Emilio Brondi, sócio da firma Marc Ferrez, ofereceu ao Arquivo Municipal do Rio de Janeiro 28 fotografias de aspectos da cidade (A Noite, 14 de outubro de 1912, na quarta coluna). No ano seguinte, ele fez uma segunda doação, desta vez de 176 fotografias, ao Arquivo Municipal do Rio de Janeiro. Em homenagem ao doador, o Arquivo iria organizar as fotografias em álbuns denominados Coleção Emilio Brondi (O Paiz, 30 de março de 1913, na terceira coluna).
+1913 – Em março, uma grande ressaca ocorrida no Rio de Janeiro inundou o porão da casa da família Ferrez, na Dois de Dezembro – antiga rua Christóvão Colombo, 23 – destruindo os exemplares do Álbum da Avenida Central ali guardados (O Paiz, 9 de março de 1913).
+Na seção “Crônica Social”, foi anunciado que Marc Ferrez estava em São Paulo, hospedado na Rotisserie Sportsman (Correio Paulistano, 10 de abril de 1913, na sexta coluna).
+Marc e Marie Ferrez embarcaram no paquete holandês Zeelandia rumo a Amsterdam e escalas (O Paiz, 17 de abril de 1913, na quarta coluna).
+Foi publicado Twentieth century impressions of Brazil: its history, people, commerce, industries and resources, uma obra de divulgação do Brasil, com fotografias de Marc Ferrez (Anais da Biblioteca Nacional de 1914).
+1914 – O casal Ferrez retornou ao Rio de Janeiro e alugou uma casa na Rua Voluntários da Pátria 50, em Botafogo.
+Falecimento “súbito da idolatrada” esposa de Marc, Marie Lefebvre Ferrez, em 27 de junho (O Paiz, 28 de junho de 1914, na quarta coluna e Diário de Notícias, 28 de junho de 1914, na última coluna). A missa de 30º dia foi realizada na igreja de São Francisco de Paula (O Imparcial, 29 de julho de 1914, na terceira coluna). Ferrez ficou muito abatido.
+1915 – No Almanak Laemmert, o estabelecimento Emilio Brondi & C.. Casa Marc Ferrez localizava-se na rua Rodrigo Silva, 28.
+Em abril, Ferrez viajou para França no navio Frizia em companhia de seu filho Julio – que retornou ao Brasil em agosto. Em junho, Marc foi para Vichy para tratar de dores nas pernas. Ficou hospedado no Hotel Europe. Nos cinco anos que ficou na Europa, Ferrez passou temporadas em Paris e na Suíça. Aderiu às fotografias coloridas.
+Para a comemoração do tricentenário de Cabo Frio, promovido pelo Instituto Histórico e Geográfico Fluminense, a Casa Marc Ferrez forneceria o operador e a máquina para a exibição de filmes ao ar livre (Jornal do Brasil, 9 de novembro de 1915, na terceira coluna e O Paiz, 11 de novembro de 1915, na última coluna).
+Em um dos diálogos de “Photo-Mania”, um sainete (peça alegre do teatro espanhol) de autoria de Eustorgio Wanderley (1882 – 1962), a loja de Marc Ferrez foi citada (Revista O Tico-Tico, 1º de dezembro de 1915).
+Foi publicado um anúncio informando que a agência geral para os estados do norte da Agência Cinematográfica Marc Ferrez & Filhos situava-se, provisoriamente, na rua Duque de Caxias, 39, em Recife. Eles continuavam como representantes da Casa Pathé Frères (Jornal do Recife, 18 de dezembro de 1915).
+1916 – Anúncio da “Casa Marc Ferrez & Filhos – Emilio Brondi & C., importadores de máquinas cinematográficas”, além de outros produtos (A Noite, 13 de janeiro de 1916, na penúltima coluna). O estabelecimento localizava-se na rua da Quitanda, 67 (Almanak Laemmert , 1916).
+Em uma reportagem sobre a falência dos cinemas no Rio de Janeiro, o Cinema Pathé, de Marc Ferrez, foi mencionado como deficitário “(A Notícia, 29 de fevereiro de 1916, sob o título “A falência dos cinemas”). A Casa Marc Ferrez & Filhos negou a crise dos cinemas (A Província, 27 de março de 1916).
+Anúncio da venda de um lote de 300 poltronas estrangeiras e quase novas pela Casa Marc Ferrez (Correio da Manhã, 21 de março de 1916, na sexta coluna).
+A Casa Marc Ferrez & Filhos anunciou “estar aparelhada para atender aos mais exigentes pedidos em toda a América Latina”. O endereço da agência Pathé em Recife era Duque de Caxias, 51 (A Província, 30 de abril de 1916).
+Os filhos de Marc Ferrez obtiveram terrenos em Guaratiba (Gazeta de Notícias, 6 de agosto de 1916, na última coluna).
+1917 - Seus filhos, Julio e Luciano, fundaram a Companhia Cinematográfica Brasileira, mais tarde denominada Casa Marc Ferrez Cinemas e Eletricidade Ltda.
+1919 - Diversos representantes e importadores de filmes, dentre eles Marc Ferrez & Filhos, publicaram um anúncio aos exibidores, comprometendo-se a não recusarem a nenhum deles o fornecimento de filmes nos moldes em que explicitaram na mensagem (Correio da Manhã, 18 de junho de 1919). Dois dias depois, a Fox Film Corporation e a Marc Ferrez & Filhos afirmaram, em outro anúncio, que nunca tiveram prevenção contra a Aliança dos Cinematografistas do Brasil (Correio da Manhã, 20 de junho de 1919).
+A polícia proibiu a exibição do filme O Caso Caillaux e Bolo Pachá, no Cinema Pathé. Tratava de um crime de alta traição julgado no Conselho de Guerra de Paris (Correio da Manhã, 31 de julho de 1919).
+Julio Ferrez foi um dos fundadores da União dos Importadores Cinematográficos no Brasil (O Imparcial, 8 de dezembro de 1919, na segunda coluna). Foi o primeiro tesoureiro da associação, cujo primeiro presidente foi o empresário Francisco Serrador.
+Em 15 de dezembro, Marc Ferrez participou da cerimônia de recepção na recém criada categoria Aplicação das ciências à indústria da Academia Francesa de Ciências a seu amigo Louis Lumière (1864 – 1948) que, com o irmão Auguste Lumière (1862 – 1954), havia inventado o cinematógrafo (Academia Francesa de Ciências e Palcos e Telas, 8 de abril de 1920).
+Os escritórios da empresa Marc Ferrez & Filhos, mudaram-se para a Rua São José 64.
+1920 - Marc Ferrez & Filhos localizava-se na rua São José, 64 (Correio da Manhã, 24 de março de 1920).
+Em 10 de fevereiro, no Palais d´Orsay, Ferrez foi um dos cerca de 500 convidados de um banquete em homenagem aos 25 anos da invenção do cinema e também a seu criador, Louis Lumière, que ingressou na Academia Francesa de Ciências. O evento foi organizado por associações e câmaras sindicais de fotógrafos e cinematografistas franceses.
+Foi noticiada a volta de Marc e Luciano Ferrez ao Brasil, a bordo do paquete inglês Orcona (Vida doméstica, abril de 1920). No  O Paiz de 22 de março de 1920, foi noticiada a chegada do Orcona ao Rio de Janeiro, mas na lista de passageiros publicada pelo jornal não constavam os nomes de Marc e Luciano Ferrez.
+Na edição de 8 de abril de 1920 da revista Palcos e Telas Marc, Julio e Luciano Ferrez foram biografados na seção “Grandes figuras da cinematografia”.  Nessa matéria, o envenenamento por um escravo foi apontado como a causa de morte dos pais de Marc Ferrez.
+A Casa Marc Ferrez Söndahl Comp. Limited localizava-se na Rua Sachet, 8 – antiga Travessa do Ouvidor – e anunciava-se como a única que dispunha de um técnico para instruir os amadores (Vida doméstica, junho de 1920).
+1921 – João Antônio Bruno, diretor das Empresas Cinematográficas Reunidas, defendeu-se da acusação de haver um “trust paulista”. Segundo ele, havia sim uma combinação da Companhia Cinematográfica Brasileira com as firmas Derrico & Bruno e Lopes & Figueiredo”. Afirmou que Marc Ferrez o apoiava (Palcos e Telas, 10 de março de 1921).
+Marc Ferrez & Filhos compraram terrenos onde anteriormente localizava-se o Convento d´Ajuda (Revista da Semana, 26 de março de 1921).
+Em maio, Ferrez voltou à França e chegou em Bordeaux, em 5 de junho. Em Paris, instalou-se no Hotel Brebant.
+Em correspondência a Malia Frucht Ferrez (1890 – 1953), sua nora, Ferrez contou que fez belas fotografias de rosas, em sua visita ao roseiral do Parque de La Bagatelle, no Bois de Boulogne, local que freqüentava enquanto Luciano e Malia estavam com ele em Paris.
+Foram publicados dados estatísticos da indústria cinematográfica no Brasil no primeiro semestre de 1921. Em número de filmes, a firma Marc Ferrez  & Filhos representava 3,9% (Para Todos, 13 de agosto de 1921). Na mesma revista, em 8 de julho de 1922, foram publicados os dados estatísticos do primeiro semestre de 1922.
+Devido ao inverno rigoroso de Paris, em dezembro, Marc viajou para Hyères, na Cote d´Azur.
+1922 – Em março, de volta à capital francesa, Marc recebeu a visita de seu amigo, o cientista Henrique Morize, em viagem para Europa em missão oficial do Observatório Nacional.
+Em matéria publicada em O Malho, 27 de maio de 1922 sobre a indústria cinematográfica, Marc Ferrez & Filhos foram citados como uma firma que fez fortuna atuando no setor.
+A Casa Marc Ferrez firmou contratos com importantes empresas cinematográficas dos Estados Unidos (O Jornal, 17 de junho de 1922, na quarta coluna).
+Marc Ferrez embarcou no navio Lutetia, em Bordeaux, de volta ao Brasil, em 31 de julho, e chegou ao Rio de Janeiro, em 14 de agosto. O navio fez escala em Boulogne-sur-mer, Vigo e Lisboa. Também viajaram no Lutecia o inventor Alberto Santos Dumont (1873 – 1932), o presidente do Jockey Clube, Linneu de Paula Machado (1880 – 1942); Arnaldo Guinle (1884 – 1963), presidente do Fluminense S.C.; o médico Paulo de Figueiredo Parreiras Horta (1884 – 1961) e os Oito Batutas, grupo musical formado, entre outros, por Pixinguinha (1897 – 1973) e Donga (1890 – 1974) (O Paiz, 15 de agosto de 1922, página 3 e página 4).
+Marc realizou fotografias estereoscópicas e autocromos dos diversos pavilhões nacionais e internacionais da Exposição do Centenário da Independência, inaugurado em 7 de setembro, no Rio de Janeiro (O Paiz, 8 e 9 de setembro de 1922).
+No Almanak Laemmert, anúncio de Marc Ferrez & Filhos, na rua da Quitanda, 67.
+1923 – Marc Ferrez faleceu em 12 de janeiro de 1923, na casa de seu filho Luciano e sua nora Malia Frucht Ferrez (1890 – 1953), no Rio de Janeiro, cidade que ele eternizou com sua arte. Residia na rua Joaquim Murtinho, 177, e foi enterrado no cemitério São João Batista (A Rua, 13 de janeiro de 1923, O Paiz, 14 de janeiro de 1923, última notícia da sexta coluna, Gazeta de Notícias, 16 de janeiro de 1923, na última coluna e Fon-Fon, 20 de janeiro de 1923).
+Sua missa de sétimo dia foi celebrada na Igreja São Francisco de Paula, em 19 de janeiro, foi muito concorrida e contou com a presença dos engenheiros André Gustavo Paulo de Frontin (1860 – 1933) e Alfredo de Paula Freitas (1855 – 1931); dos cientistas Henrique Morize (1860 – 1930), dos médicos Camillo Fonseca e Rodolpho e José Chapot-Prevost; artistas, como o escultores Benevenuto Berna (1865 – 1940) e Rodolpho Bernardelli (1852 – 1931), além de jornalistas, exibidores e donos das empresas cinematográficas (O Paiz, 20 de janeiro de 1923, na última coluna).
+ 
+Anúncio da missa de sétimo dia de Marc Ferrez no O Paiz, 18 de janeiro de 1923.
+ 
+No periódico A Scena Muda, 25 de janeiro de 1923, foi publicado um perfil de Ferrez, no qual sua morte foi atribuída a uma enfermidade que ele havia contraído devido ao uso do colódio. Na mesma matéria, foram mencionadas as experiências que fazia com seu amigo, o engenheiro e astrônomo Dr. Henrique Morize, em sua casa na rua São José, 88, com “luz oxi-etherica, luz oxydrica, de gás incandescente de petróleo com mechas concentradas fazendo também na ocasião as primeiras experiências com cinematógrafo com um aparelho Lumière e fitas de 10 e 20 metros…”. Na matéria da Para Todos de janeiro de 1923, o caráter de Ferrez foi exaltado: “A perfeita correção do velho comerciante, sua intransigente  honradez, a lisura dos seus processos o tornaram sempre uma figura de destaque nos meios cinematográficos”.
+1946 – Falecimento de Julio Marc Ferrez, em 11 de janeiro (O Jornal, 12 de janeiro de 1946, sexta coluna).
+1951 – Na edição de O Cruzeiro, de 25 de agosto de 1951, foi publicada a reportagem Fotografias do Rio Antigo, com texto de Gilberto Ferrez e fotografias produzidas por Marc Ferrez.
+ 
+O Cruzeiro, 25 de agosto de 1951
+ 
+1953 - Em 1º de junho, falecimento de Malia Frucht Ferrez (1890 – 1953), esposa de Luciano Ferrez (1884 – 1955), segundo filho de Marc Ferrez. Ele e José Fruscht, filho de criação do casal, agradeciam às manifestações de pesar (Correio da Manhã, 7 de junho de 1953).
+1955 – Falecimento de Luciano Ferrez (1884 – 1955), em 8 de agosto (Correio da Manhã, 14 de agosto de 1955).
+1980 - Falecimento de Claire Poncy Ferrez  (1888 – 1980), viúva de Julio Marc (1881 – 1946), primogênito de Marc Ferrez, e mãe de Gilberto, Eduardo e João Luciano Ferrez (O Globo, 15 de novembro de 1980).
+2000 – Em maio, falecimento de Gilberto Ferrez (1908 – 2000) (O Globo, 25 de maio de 2000).
+ 
+O Globo, 25 de maio de 2000
+ 
+2007 – Na edição de novembro de 2007 do Boletim Informativo da ABI, cujo tema foi o trabalho dos repórteres fotográficos, Marc Ferrez foi homenageado como o precursor do fotojornalismo no Brasil (ABI Boletim Informativo, novembro de 2007).
+ 
+Para a elaboração dessa cronologia, a Brasiliana Fotográfica pesquisou principalmente em diversos periódicos da Hemeroteca Digital da Biblioteca Nacional e valeu-se da cronologia de autoria de Maria Inez Turazzi publicada no livro O Brasil de Marc Ferrez, lançado pelo Instituto Moreira Salles em 2005.
+ 
+*Essa informação foi alterada em 18 de junho de 2025.
+** A data e a ocasião desta fotografia foram alteradas em 3 de junho de 2026. Anteriormente, foi identificada como o registro da cerimônia de Te Deum pela aclamação da Princesa Isabel como regente, realizada em 1887.
+ 
+
+Andrea C.T. Wanderley
+
+Editora e pesquisadora da Brasiliana Fotográfica
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/2575` — `itens/20.500.12156.1_2575/`
+- `20.500.12156.1/4740` — `itens/20.500.12156.1_4740/`
+- `20.500.12156.1/2489` — `itens/20.500.12156.1_2489/`
+- `20.500.12156.1/383` — `itens/20.500.12156.1_383/`
+- `20.500.12156.1/2593` — `itens/20.500.12156.1_2593/`
+- `20.500.12156.1/4880` — `itens/20.500.12156.1_4880/`
+- `20.500.12156.1/4770` — `itens/20.500.12156.1_4770/`
+- `20.500.12156.1/953` — `itens/20.500.12156.1_953/`
+- `20.500.12156.1/2578` — `itens/20.500.12156.1_2578/`
+- `20.500.12156.1/348` — `itens/20.500.12156.1_348/`
+- `20.500.12156.1/3037` — `itens/20.500.12156.1_3037/`
+- `20.500.12156.1/4771` — `itens/20.500.12156.1_4771/`
+- `20.500.12156.1/2589` — `itens/20.500.12156.1_2589/`
+- `20.500.12156.1/11739` — `itens/20.500.12156.1_11739/`
+- `20.500.12156.1/2515` — `itens/20.500.12156.1_2515/`
+
diff --git a/wordpress/20804-cronologia-de-felipe-augusto-fidanza-1844-1903.md b/wordpress/20804-cronologia-de-felipe-augusto-fidanza-1844-1903.md
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+---
+id: 20804
+url: "https://brasilianafotografica.bn.gov.br/?p=20804"
+titulo: "Cronologia de Felipe Augusto Fidanza (1844 – 1903)"
+autor: "Andrea Wanderley"
+data: "2021-01-06T10:19:21+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: []
+fetched_at: "2026-09-10T10:03:55.085Z"
+---
+
+# Cronologia de Felipe Augusto Fidanza (1844 – 1903)
+
+Cronologia de Felipe Augusto Fidanza (1844 – 1903)
+ 
+Reprodução do retrato de Fidanza, Álbum do Pará em 1899
+ 
+1844 - Nascimento, em Lisboa, em 4 de setembro, de Felipe Augusto Fidanza, filho de Fernando Gabriel Fidanza e Maria de Jesus Fidanza. Foi batizado em 5 de outubro de 1844, na paróquia/freguesia de São José em Lisboa. Era bisneto e neto dos atores italianos Raimondo e Giulio Fidanza, respectivamente, que participaram da cena teatral de Portugal. Raimondo, que também era bailarino, foi empresário teatral na Ilha da Madeira.
+ 
+Arquivo Nacional – Torre do Tombo, Portugal
+ 
+Fins da década de 1860 – Chegada ao Brasil.
+1867 – Em 1º de janeiro de 1867, o Diario do Gram-Pará publicou o anúncio : “PHOTOGRAPHIA, ao largo das Mercez , nº. 5, Fidanza & Com”, o que prova que nessa época ele já estava estabelecido no Pará.
+Fidanza realizou seu primeiro trabalho de importância nacional: o registro dos preparativos para a recepção da comitiva de dom Pedro II. O imperador foi ao Pará para participar das solenidades da abertura dos portos da Amazônia ao comércio exterior. Fidanza produziu três registros no dia 7 de setembro: duas do Arco em papelão montado para as solenidades, uma vista da baía para a cidade e outra da cidade para a baía; e uma do Largo do Palácio com a bela construção de Giuseppe Landi, do século XVIII.
+1869 - Publicação de uma propaganda do ateliê de Fidanza (Diário de Belém, de 29 de agosto de 1869).
+ 
+Diário de Belém, 29 de agosto de 1869
+ 
+1875 – Participou da IV Exposição Nacional de 1875, com fotografias de orquídeas da região amazônica.
+1889 – Participou da Exposição Universal de Paris de 1889, quando foi premiado com uma medalha de bronze.
+1893 – Participou da Exposição Universal Chicago de 1893.
+1897 – Em Belém, o fotógrafo, botânico e naturalista alemão George Huebner (1862 – 1935) colaborou com Fidanza.
+1900-  Foi assinado um contrato por Fidanza para o fornecimento de 6 mil álbuns ilustrados destinados à propaganda para o desenvolvimento do  Amazonas, o O Álbum do Amazonas (1902) (Diário Oficial, de 16 de março de 1900, na segunda coluna sob o título “Indústria”). foi impresso em Paris sem a supervisão do fotógrafo e continha várias imperfeições, o que gerou uma série de comentários negativos sobre seu caráter. Aparentemente este fato pode ter sido uma das causas de seu suicídio, em janeiro de 1903.
+1902 - O Álbum do Amazonas (1902) foi impresso em Paris sem a supervisão do fotógrafo e continha várias imperfeições.
+1903 – O Jornal do Brasil de 31 de janeiro de 1903 noticiou o suicídio do português Felipe Augusto Fidanza: “Atirou-se ao mar, de bordo do vapor Christiannia, em viagem de Lisboa para esta capital (Belém), o conhecido photographo Felippe Fidanza” ( Jornal do Brasil, 31 de janeiro de 1903, na primeira coluna ). Ele havia se jogado ao mar na altura da ilha da Madeira quando retornava de Portugal com a mulher e os filhos. Havia viajado para cuidar de uma encomenda dos governos do Pará e do Amazonas de 10 mil álbuns de vistas destes estados. Parece que foi mal sucedido e já havia, inclusive, tentado se matar em Lisboa ( O Pharol, 6 de março de 1903, na quinta coluna).
+Cinco meses após sua morte, seu estúdio foi leiloado por sua viúva e comprado por George Huebner (1862 – 1935), dono das Photographias Alemã de Manaus e de Recife, em sociedade com Libânio do Amaral (?-1920). Foi realizada uma grande reforma e o estúdio, localizado na Rua Conselheiro João Alfredo, nº 22, foi reaberto em 1906. Segundo o jornalista Cláudio de La Rocque Leal, o estabelecimento fotográfico sob o nome “Photo Fidanza” fez parte da história até 1969 – desde fins dos anos 1950, funcionava na Travessa Manoel Barata e seu último proprietário foi Carlos Dauer. Fidanza tornou-se uma marca da fotografia visto que, mesmo após a morte, seu nome permaneceu no cenário da produção fotográfica e na memória paraense, tanto que outros profissionais, ao adquirirem o seu ateliê, mantiveram o mesmo nome.
+1985 – Suas fotografias integraram a mostra Dom Pedro II e a Fotografia no Brasil, realizada na Casa do Bispo, no Rio de Janeiro.
+1986 – Foi um dos fotógrafos integrantes da exposição Photographie Bresilienne au Dix-Neuvieme Siecle, realizada em Paris.
+1995 – No Centro Cultural Banco do Brasil, no Rio de Janeiro, fotografias de sua autoria foram expostas na mostra Mestres da Fotografia no Brasil: Coleção Gilberto Ferrez.
+1997 – Em janeiro, no Centro Cultural Banco do Brasil, no Rio de Janeiro, fotografias de sua autoria foram expostas na mostra A Coleção do Imperador: fotografia brasileira e estrangeira no século XIX. Em abril, a exposição seguiu para a Pinacoteca do Estado de São Paulo e, em julho, foi inaugurada no Museu Nacional de Belas Artes, de Buenos Aires, na Argentina.
+2000 - Em junho, a exposição A Coleção do Imperador: fotografia brasileira e estrangeira no século XIX foi aberta no Centro Português de Fotografia, na cidade do Porto, em Portugal.
+2012 – Em maio, no Centro Cultural Banco do Brasil, no Rio de Janeiro, abertura da exposição Amazônia, Ciclos de Modernidade, com imagens de diversos fotógrafos, dentre eles, Fidanza.
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+Arquivo Nacional – Torre do Tombo – imagem: PT-ADLSB-PRQ-PLSB45-001-B18_m0390.TIF
+BRAGA, Teófilo. Historia do theatro portuguez: seculo XVIII. A Baixa comedia e a opera. Volume 3 in: Historia da Litteratura Portugueza, 1870/1871.
+KOSSOY, Boris. Dicionário histórico-fotográfico brasileiro: fotógrafos e ofício da fotografia no Brasil (1833-1910). São Paulo: Instituto Moreira Salles, 2002. 408 p., il. p&b.
+LAGO, Bia Corrêa do;LAGO, Pedro Corrêa do. Coleção Princesa Isabel: fotografia do século XIX. Rio de Janeiro: Capivara, 2008.432p.:il., retrs.
+LEAL, Cláudio de La Rocque. Retrato Paraense. Belém: Fundação Rômulo Maiorana, 1998.
+MAUAD, Ana Maria. Imagens de um outro Brasil: o patrimônio fotográfico da Amazônia oitocentista. Minas Gerais : Universidade Federal de Juiz de ForaLocus Revista de História – Dossiê – Patrimônio Histórico e Cultural, vol 16, nº2
+PEREIRA, Rosa Cláudia Cerqueira. Paisagens urbanas: fotografias e modernidades na cidade de Belém (1846-1908). Tese de Mestrado em História. Pará: Universidade Federal do Pará, 2006
+PEREIRA, Rosa Cláudia Cerqueira; SARGES, Maria de Nazaré. Photografia Fidanza: um foco sobre Belém (XIX/XX). Revista Estudos Amazônicos. Belém: PPGHSA, UFPA, v. VI, no. 2., p. 01-31, 2011
+RODRIGUES, Maria da Paz Ferreira. As Artes Performativas no Funchal Oitocentista (1820-1913), 2011.
+Site da Enciclopédia Itaú Cultural
+Site O Índio na Fotografia Brasileira
+TURAZZI, Maria Inez. Poses e Trejeitos: a fotografia e as exposições na era do espetáculo: 1839-1889. Rio de Janeiro: Funarte: Rocco, 1995 . (Coleção Luz e Reflexão, 4)
+VASQUEZ, Pedro. O Brasil na Fotografia Oitocentista. São Paulo: Metalivros, 2003
+ 
+Nota da editora: a data de nascimento e de batismo de Fidanza passaram a constar deste artigo em 17 de outubro de 2022. As informações foram fornecidas pelo leitor, sociólogo e genealogista Daniel Taddone, a quem a Brasiliana Fotográfica agradece.
diff --git a/wordpress/20823-cronologia-de-joao-firpo-1839-1899.md b/wordpress/20823-cronologia-de-joao-firpo-1839-1899.md
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+---
+id: 20823
+url: "https://brasilianafotografica.bn.gov.br/?p=20823"
+titulo: "Cronologia de João Firpo (1839 – 1899)"
+autor: "Andrea Wanderley"
+data: "2021-01-06T10:19:11+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/3939"]
+fetched_at: "2026-09-10T10:03:58.477Z"
+---
+
+# Cronologia de João Firpo (1839 – 1899)
+
+Cronologia de João Firpo (1839 – 1899)
+ 
+João Firpo. Retrato de criança (verso), c. 1880. João Pessoa, Paraíba / Acervo IMS
+ 
+1839 - Meses antes do anúncio da invenção do daguerreótipo, feito por François Arago (1786 – 1853), secretário da Academia de Ciências da França, em 19 de agosto de 1839 , nascimento de Giovanni (João) Firpo em Nervi, Gênova, na Itália, em 20 de fevereiro de 1839, filho de Domenico Firpo e Catterina Corsi.
+1861 – Em Gênova, nascimento de seu primeiro filho, Domenico.
+1863 - Em Gênova, nascimento de seu segundo filho, Giulio
+1865 - Em Gênova, nascimento de seu terceiro filho, Antônio.
+1866 – Firpo viajou para o Brasil 13 de agosto de 1866, na polaca Linda, em companhia de sua mulher, Maria Lydia Firpo, e de seus três filhos genoveses. Aportaram no Recife, em Pernambuco, em meados de outubro desse mesmo ano. Segundo informações de seu passaporte, era um jovem de 27 anos com “cabelo negro, sobrancelha escura, olhos castanhos, barba curta e cicatriz na testa“(Diário de Pernambuco, 20 de outubro de 1866, quinta coluna).
+ 
+Diário de Pernambuco, 20 de outubro de 1866
+ 
+1867 – Fixou residência na cidade do Recife comprando o estabelecimento comercial de fotografia do Sr. Leon Chapelin, à Rua da Imperatriz, n° 14. Chapelin havia sido o sucessor do estabelecimento do fotógrafo Augusto Stahl (1828 – 1877 ) no endereço mencionado (Diário de Pernambuco de 23 de abril de 1867; e Diário de Pernambuco, 26 de abril de 1867, quarta coluna).
+Em 28 de abril, Firpo inaugurou, no Recife, a Photographia Italiana (Diário de Pernambuco, 27 de abril de 1867).
+ 
+Diário de Pernambuco, 27 de abril de 1867
+ 
+Anunciou que todas as chapas de Augusto Stahl e Leon Chapellin estavam com ele e que reproduções das mesmas poderiam ser encomendadas. Oferecia também vistas de Pernambucos e seus arrebaldes (Diário de Pernambuco, de 23 de julho de 1867, primeira coluna).
+ 
+Diário de Pernambuco, 23 de julho de 1867
+ 
+Houve uma confusão entre João Firpo, uma senhora e o delegado Martins Pereira(O Conservador, 2 de novembro e 9 de novembro de 1867).
+Nesse mesmo ano, inaugurou um ateliê fotográfico, à Rua Nova n° 29, na cidade da Parahyba, onde estaria de passagem (O Publicador,  16 de dezembro de 1867).
+1868 – Firpo e sua mulher embarcaram em João Pessoa no vapor Ipojuca com destino a Natal (O Publicador, 26 de junho de 1868, primeira coluna).
+Foi noticiado que em um dos armazéns da Alfândega de Pernambuco havia para João Firpo, dentre outros produtos, 70 libras de massas alimentícias. A mercadoria havia chegado em 10 de janeiro de 1868, no vapor Bourgogne, de Marseille, na França (Jornal do Recife, 21 de julho de 1868, quinta coluna). Fica a questão: teria ele pensado em ser importador de massas italianas para o Brasil?
+1869 - No Rio Grande do Norte, nascimento de seu primeiro filho brasileiro, João Firpo Júnior.
+1870 –  Giovanni Firpo adotou o nome de João Firpo, aprovado em sessão do Parlamento Brasileiro no Rio de Janeiro, em 25 de agosto de 1870, quando naturalizou-se brasileiro. Na época, ele residia no Rio Grande do Norte (Annaes do Parlamento Brasileiro, Tomo 4, 1870).
+1874 - No Rio Grande do Norte, nascimento de seu segundo filho brasileiro, Eládio.
+1876 - No Rio Grande do Norte, nascimento de seu terceiro filho brasileiro, Arthur.
+Nesse ano, possuia um ateliê fotográfico, a Photographia Italiana, na rua da Viração, nº 17, em João Pessoa (Diário da Prahyba, 9 de junho de 1876).
+1877 - Nascimento de sua primeira filha, Maria Augusta, na Paraíba.
+Transferiu seu ateliê fotográfico para a rua Barão da Passagem, 92, em João Pessoa. Anunciou que iria “a qualquer parte mediante prévia convenção” e que também dava lições de fotografia. Na época,já comercializa retratos de homens públicos (A Opinião, 12 de julho de 1877 e 28 de outubro de 1877).
+1878 - Nascimento de sua segunda filha, Leopoldina, na Paraíba.
+Esteve No Recife (Diário de Pernambuco, 6 de abril de 1878, quarta coluna).
+1883 - Nascimento de seu filho caçula, José, na Paraíba.
+1885 – Anunciou a Grande Fotografia, na rua Duque de Caxias, 52, em João Pessoa (Diário da Parahyba, 24 de maio de 1885).
+ 
+Diário da Parahyba, 24 de maio de 1885
+ 
+Diário da Parahyba, 12 de junho de 1885
+ 
+Foi um dos compatriotas que se solidarizou com o comerciante italiano F. de Angelo, preso, acusado de tramar uma fuga e de se esconder de credores (Diário da Parahyba, 16 de junho de 1885, primeira coluna).
+Anunciou a venda de retratos de Joaquim Nabuco e de Victor Hugo no seu estabelecimento (Diário da Parahyba, 27 de outubro de 1885).
+ 
+Diário da Parahyba, 27 de outubro de 1885
+ 
+1886 – João Firpo estava em Taquaretinga, vindo da Paraíba. Segundo o jornal, havia armado sua tenda para aumentar sua galeria (Diário de Pernambuco, 9 de junho de 1886, segunda coluna).
+Partiu do Recife rumo aos portos do Norte no vapor Pirapama (Jornal de Recife, 21 de outubro de 1886, quarta coluna).
+1889 –  Partiu do Recife rumo aos portos do Norte no vapor Espírito Santo (Jornal de Recife, 30 de maio de 1889, quarta coluna).
+1893 – Mudou-se com sua família para a Villa de Maruim, em Sergipe, e lá instalou seu ateliê fotográfico.
+1896 - Esteve no Rio de Janeiro e  uma nota no jornal O Paiz se referiu a ele como um cavalheiro geralmente estimado e conceituado na cidade de Maruim, onde é comerciante e conselheiro municipal (O Paiz, 23 de agosto de 1896, segunda coluna).
+1897 – Esteve de novo no Rio de Janeiro, de onde embarcou para Aracaju no vapor Penedo (Jornal do Commercio, 23 de outubro de 1897, última coluna).
+1899 – João Firpo faleceu em Maruim, em 9 de outubro de 1899, aos 61 anos.
+2018 – Em 18 de agosto, familiares de João Firpo reuniram-se em Maruim para a comemoração dos 152 nos da migração do patriarca da Itália para o Brasil. Foi reinaugurado o mausoléu de João Firpo e depois foi celebrada uma missa em ação de graças na Igreja Matriz Senhor dos Passos (Facebook).
+ 
+
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/3939` — `itens/20.500.12156.1_3939/`
+
diff --git a/wordpress/20830-cronologia-de-antoine-hercule-romuald-florence-1804-1879.md b/wordpress/20830-cronologia-de-antoine-hercule-romuald-florence-1804-1879.md
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+---
+id: 20830
+url: "https://brasilianafotografica.bn.gov.br/?p=20830"
+titulo: "Cronologia de Antoine Hercule Romuald Florence (1804 – 1879)"
+autor: "Andrea Wanderley"
+data: "2021-01-06T10:14:31+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: []
+fetched_at: "2026-09-10T10:04:01.938Z"
+---
+
+# Cronologia de Antoine Hercule Romuald Florence (1804 – 1879)
+
+Cronologia de Antoine Hercule Romuald Florence (1804 – 1879)
+ 
+Hercule Florence, de Oscar Pereira da Silva / Acervo do Museu Paulista da USP
+ 
+1804 - Antoine Hercule Romuald Florence nasceu, em Nice, na França, em 29 de fevereiro, segundo escreveu em seu diário. Na verdade, essa seria a data de seu batismo. Já o autor William Luret achou a certidão de nascimento de Florence que indicaria o dia 9 de março como a data do nascimento. Foi um erro de leitura. Na verdade, o documento oficial de seu nascimento diz: “Do dia 8 Ventoso (Du Huit Ventôse), ano 12 da República Francesa Certidão de nascimento de Romuald Florence, nascido em Nice esta manhã, duas horas depois da meia-noite, filho de Arna[ud] Florence, professor de desenho em escolas secundárias que mora na rue la raison, e Augustine Vignali…” Du Huit Ventôse ao ser convertido para o calendário atual confirma que a data de nascimento de Hercule Florence é dia 28 de fevereiro de 1804.  Seu nome foi uma homenagem a Port Hercule, como se chamava Mônaco na época. Foi o quinto filho de um médico militar nascido em Toulouse, Arnaud Florence (1749 – 1807), que também foi professor de desenho da Academia de Belas Artes de Toulouse, e de Augustine de Vegnalys (1768 – 1857), de Mônaco. Eles se casaram em 2 de março de 1793 e tiveram seis filhos: Claudine-Herculine (1794 – 1796), Jean-Baptiste (1796 – 1799), Antoine Fortuné (1799 – 1865), Emmanuel (1802 – ?), Antoine Hercule (1804 – 1879) e Célestine (1805 – ?). Com exceção de Claudine-Herculine, que nasceu em Mônaco, todos os filhos do casal nasceram em Nice*.
+ 
+ 
+Site do Instituto Hercule Florence
+ 
+ 
+1807 - Com o falecimento de seu pai, mudou-se com a família para Ventimiglia, comuna italiana da região da Ligúria, e depois para Mônaco.
+c. 1818 - Trabalhou como desenhista e calígrafo, recebendo encomendas das autoridades de Mônaco.
+1820 – Dedicou-se ao estudo de Matemática e Física. Nesta época leu o livro Robinson Crusoé (1719), do escritor inglês Daniel Dafoe (1660 – 1731), que despertou seu desejo de viajar pelos oceanos. Com um dinheiro dado por sua mãe, embarcou para Bruxelas e Antuérpia, onde apresentou na Werbronck House uma carta de recomendação, provavelmente, de um banqueiro. Não conseguiu o emprego e retornou para Mônaco andando. Foi preso porque seu documento monegasco não foi aceito em território francês. Em troca de sua liberdade, pintou os retratos de dois policiais franceses.
+1822 - Foi para Nice, onde apresentou-se ao cônsul francês com o intuito de alistar-se na Marinha Real Francesa. Embarcou na galeota francesa La Torche, que seguiu para a cidade de Toulon.
+1823 - A bordo do navio Marie Thérèze, comandado pelo capitão Claude du Camp de Rosamel, trabalhou a bordo como copista de plantas das fortificações espanholas. Integrava a expedição francesa em apoio a Fernando VII (1784 – 1833), da Espanha, e participou da batalha de bloqueio a Barcelona.
+Após a missão, a fragata permaneceu ancorada por aproximadamente quatro meses em Toulon. Durante este período, Florence  realizou exercícios de desenho e alguns retratos.
+Idealizou uma bomba para puxar água, que denominou de nória hidrostática.
+Em 31 de julho, foi expedido seu passaporte pelo Principado de Mônaco.
+1824 - Em fevereiro, zarpou no navio Marie Thérèze, ainda sob o comando do capitão Rosamel, numa viagem pelo mundo e quarenta e cinco dias depois, chegou ao Rio de Janeiro, em abril. O navio partiu do Rio de Janeiro, em 1º de maio de 1824, mas Florence permaneceu na cidade (Império do Brasil – Diário do Governo, 5 de maio de 1824, segunda coluna).
+Começou a trabalhar como caixeiro numa casa comercial especializada em roupas, do francês Pierre Dillon, antigo secretário de  Joachim Le Breton (1760 – 1819), chefe da Missão Artística Francesa .
+1825 - Trabalhou por cerca de quatro meses na livraria e tipografia do francês Pierre Plancher (1764 – 1844), sendo responsável pela execução de diversas litografias. A tipografia ficava na Rua do Cano, atual Rua Sete de Setembro. Pierre René François Plancher de La Noé havia fugido da França por sua convicção bonapartista, já que a Restauração havia levado Luís XVIII ao trono francês. Instalou-se no Rio de Janeiro, em 1824, para onde trouxe todo o equipamento necessário para montar uma tipografia, além de alguns trabalhadores que sabiam manejar prensas e imprimir livros. Foi Plancher que fundou, em 1827, o Jornal do Commercio. Antes já havia lançado um guia de ruas do Rio de Janeiro, um guia para estrangeiros na cidade, um manual de conversação francês-inglês, o Almanack Plancher, o Spectador Brasileiro, a Revista Brasileira “das ciências, artes e indústria” e o Propagador das Ciências Médicas (Spectador Brasileiro, 4 de julho de 1825).
+A partir de um anúncio de jornal, Florence candidatou-se a participar em uma viagem acompanhando um naturalista e, como segundo desenhista, integrou-se à expedição científica de Georg Heinrich von Langsdorff (1774 – 1852). O primeiro desenhista era Adrien Taunay (1803 – 1828) que, durante a expedição, em 1828, morreu afogado quando tentava atravessar a cavalo o rio Guaporé, em Mato Grosso – ele havia substituído Johan Moritz Rugendas (1802 – 1858), que havia participado da expedição entre 1821 e 1824.
+ 
+Diário do Rio de Janeiro, 7 de julho de 1825
+ 
+Em 3 de setembro, Florence partiu a bordo da sumaca Aurora, juntamente com Langsdorff, Adrien Taunay , o astrônomo e oficial da marinha russa Nester Rubtsov (1799 – 1874), o zoólogo Christian Hasse (1771 – 1831) e o botânico Lüdwig Riedel (1791 – 1861), tendo como destino a Vila de Santos. Depois de permanecer por aproximadamente 20 dias na cidade separou-se dos demais membros da expedição e seguiu numa piroga para Cubatão. Durante a viagem executou desenhos do litoral paulista (Império do Brasil: Diário Fluminense, 7 de setembro de 1825, primeira coluna).
+Em Itu, conheceu as obras do frei Jesuíno do Monte Carmelo (1764 – 1819) e também as decorações feitas por José Patrício da Silva Manso (c. 1753 – 1801).
+1826 – Passou cinco meses na casa do médico e político Francisco Álvares Machado e Vasconcellos (1791 – 1846), em Porto Feliz, quando conheceu sua filha, Maria Angélica (1815 – 1850), com quem viria a se casar, em 1830.
+Em 22 de junho, partida da Expedição Langsdorff do porto no Rio Tietê, em Porto Feliz, para o norte do Brasil. Um dos organizadores da viagem foi Francisco Álvares Machado e Vasconcellos, o anfitrião e futuro sogro de Florence. Percorreu os rios Tietê, Paraná, Pardo, Coxim, Taquari, Paraguai, São Lourenço, Cuiabá, Preto, Arinos, Juruena, Tapajós e Amazonas. Retornou de Belém, pela costa brasileira, até chegar ao Rio de Janeiro, em 10 de março de 1829. O diário de bordo feito por Florence, Esboço da Viagem feita pelo Sr. Langsdorff ao interior do Brasil, desde setembro de 1825 até março de 1829, foi  traduzido pelo visconde de Taunay (1843 – 1899) e publicado em 1875, pelo Instituto Histórico e Geográfico do Rio de Janeiro, sendo que, posteriormente, com o título Viagem Fluvial do Tietê ao Amazonas – 1825- 1829, teve várias edições comerciais.
+1827 – A Expedição Langsdorff chegou em Cuiabá em 30 de janeiro, onde ficou até dezembro. No período, Florence desenhou os Bororós, os Guató e outros povos originários.
+1828 – A expedição se separou. Florence seguiu com Langsdorff e Rubtsov nos rios Arinos, Juruena e Tapajós. Langsdorff adoeceu. Chegaram em Belém, em 10 de novembro.
+1829 - De volta ao Rio de Janeiro, em 19 de março, Florence, como parte de suas Memórias, escreveu os manuscritos de seu tratado intitulado Zoophonia. 
+Deu à família de Adrien Taunay (1803 – 1828), o diário que escreveu durante aExpedição Langsdorff.
+‘
+Cachorro do mato, desenho de Hercule Florence, 1829 / Acervo FBN
+ 
+ 
+Bertholletia excelsa, desenho de Hercule Florence, 1829 / Acervo FBN
+ 
+Convidado por seu amigo, o médico e político Francisco Álvares Machado e Vasconcellos (1791 – 1846), fixou residência na Vila de São Carlos, atual Campinas.
+1830 - Passou a dedicar-se aos estudos de impressão com o intuito de publicar seu tratado sobre Zoophonia e cerca de 200 desenhos executados durante a expedição. Nesse processo, descobriu uma nova maneira de obter a impressão, que recebeu o título de Polygraphie – Poligrafia.
+No dia 4 de janeiro de 1830, na Igreja da Sé em São Paulo, casou-se com Maria Angélica Vasconcellos, natural de Itu, filha de Francisco Alvares Machado e Vasconcellos. O casal teve 13 filhos, todos nascidos em Campinas: Amador Bueno (1831 – ?), Celestina (1832-?), Adelaide (1834 – 1834), Francisco (1835 – 1836), Francisco (1837 – 1904), Cândida (1839- 1901), Antônio Hércules (1841 – 1916), Arnaldo (1843 – 1845), Angélica (1844 – ?), Arnaldo (1846 – 1872), Paulo (1847 – ?) e Ataliba (1849 – 1849).
+Hercule Florence com sua primeira esposa, Maria Angélica Vasconcellos
+Florence, identificado como pintor retratista, residia na rua das Flores, 53. Anunciou aulas de pintura em sua casa ou nas casas das alunas. Também anunciou a venda de retratos de alguns deputados e de vistas de Itu e do Salto de Itu por preços cômodos (O Farol Paulistano, 8 de junho de 1830, na segunda coluna).
+Redigiu entre os meses de julho e outubro o manuscrito Etudes de Ciels, À L’usage des jeunes paysagistes.
+1831 – Abriu uma loja de tecidos em Campinas. A tipografia R. Orgier, no Rio de Janeiro, publicou o manuscrito do tratado de Zoophonia, Recherche sur la voix des animaux, ou essai d’un nouveau suject d’ètudes, offert aux amis de la nature.
+ 
+‘Mineralogia é estudo da natureza passiva.
+Zoologia é estudo da natureza ativa.
+Zoofonia é estudo da natureza falante’.
+
+Do Rio de Janeiro, enviou à França, através de Edouard Pontois (Encarregado de Negócios de França), o manuscrito onde detalhava os processos da poligrafia, acompanhado por duas provas poligrafadas.
+
+1832 – De volta à Vila de São Carlos (Campinas), executou trabalhos de pintura, que ele intitulou Tableaux Transparents de Jour. A inovação técnica deste trabalho consistiu na execução de um grande número de furos de minúsculo diâmetro sobre o desenho original nas áreas que representariam luzes ou reflexos na imagem pictórica. Apreciados em um local escuro com a luz solar incidindo através de um foco dirigido, apenas sobre a pintura, resulta numa projeção exata da imagem pictórica original. Foi noticiado: Hercules Florence, inventor de um novo processo Autográfico, participa às pessoas que quiserem ter um certo número de exemplares do seu retratos para repartir entre parentes e amigos, que ele faz o original pelo preço de 3$200 e e imprime os exemplares a 320 rs cada um (O Novo Farol Paulistano, 11 de janeiro de 1832, segunda coluna).
+
+1833 –  Obteve no início do ano, através do uso de uma câmera escura, a primeira fixação de imagem em papel, utilizando o nitrato de prata. Não teria eu iniciado a arte mais do que maravilhosa de desenhar qualquer objeto, sem dar-me ao trabalho de o fazer com a própria mão?, indagou Florence, em 24 de junho de 1833, em seu diário Livre d’annotations et de premiers matériaux, referindo-se a suas pesquisas e experimentos no campo da fotografia, que o haviam levado a inventar, ele também e no Brasil, um processo de criação fotográfica.
+1834 –  Também em seu Livre d´annotations et les premiers matériaux, em 1834, Florence usou pela primeira vez o verbo photographier –  cinco anos antes da palavra ser utilizada na Inglaterra, em 1839, por John Frederick William Herschel (1792-1871). Florence deixou uma descrição do procedimento adotado por ele para obter o registro fotográfico, em 1833.
+1836 – Em viagem ao Rio de Janeiro, Florence adquiriu uma tipografia para conseguir executar o grande número de encomendas impressas que recebia. Começou suas pesquisas em direção à descoberta do papel inimitável (Correio Mercantil, Instrutivo, Político, Universal, 5 de novembro de 1857, terceira coluna).
+1837 -  Executou, a pedido do governo, um mapa itinerário da província de São Paulo, impresso através do sistema de poligrafia.
+Entre esse ano e 1859, redigiu sua biografia, intitulada L’Ami des Arts livre à lui-même ou Recherches et découvertes sur différents sujets nouveaux. O texto trazia informações biográficas, notas e ilustrações de seus inventos. O manuscrito, de 423 páginas, foi redigido quase todo em francês e é um compêndio ilustrado da vida e da obra de Florence. Traz a descrição de suas experiências e os fatos principais de sua vida, incluindo a versão mais completa do relato da viagem fluvial empreendida pela Expedição Langsdorff.
+1838 -  Instalou no Largo da Matriz a primeira tipografia da Vila de São Carlos.
+1839 - Redigiu em março o manuscrito De La Compression du Gaz Hydrogéne, apliquée à la direction des aérostats
+A velocidade com que a notícia do invento do daguerreótipo chegou ao Brasil é curiosa: cerca de 4 meses depois do anúncio da descoberta – em 7 de janeiro de 1839 -, foi publicado no Jornal do Commercio, de 1º de maio de 1839, sob o título “Miscellanea”, na segunda coluna, um artigo sobre o assunto – apenas 10 dias após de ter sido o tema de uma carta do inventor norte-americano Samuel F. B. Morse (1791 – 1872), escrita em Paris em 9 de março de 1839, para o editor do New York Observer, que a publicou em 20 de abril de 1839. Foi lendo o artigo do Jornal do Commercio que Florence tomou conhecimento da descoberta da fotografia realizada pelo francês Louis Jacques Mandé Daguerre (1787 – 1851).
+Florence redigiu, em maio, o manuscrito Sur L’impression des tableaux à huile, ou estampes coloriées. Em junho, redigiu o manuscrito  Fabrication au Métier des Chapeaux du Chili, et toute espèce de chapeaux de paille
+Os periódicos Phoenix , 26 de outubro de 1939, e o Observador Paulistano, publicaram um artigo onde Hercule se posicionou diante da descoberta da fotografia na Europa e reafirmou o caráter inventivo de seus trabalhos referentes à poligrafia e à fotografia.  O Jornal do Comércio, 29 de dezembro de 1839, publicou a transcrição do artigo (Jornal do Commercio, 29 de dezembro de 1839, primeira coluna).
+1840 – Publicação de uma carta escrita por Hercule Florence onde ele comunicou a descoberta da poligrafia e mencionou a possibilidade de ter sido um dos descobridores da fotografia (Jornal do Commercio, 10 de fevereiro de 1840, na terceira coluna).
+ 
+
+                                        Jornal do Commercio, 10 de fevereiro de 1840
+ 
+Foi anunciada a possível publicação de um ensaio sobre a impressão do papel moeda por um processo totalmente inimitável, de autoria de Florence (O Despertador, 29 de fevereiro de 1840, terceira coluna).
+Florence convidou os artistas do Rio de Janeiro e todos os amigos das artes que quisessem se certificar da realidade da descoberta da poligrafia para que fossem examinar uma coleção de 23 impressos poligráficos realizados desde o ano de 1831, em exposição na tipografia do Jornal do Commercio. Florence também descreveu o processo e termina afirmando:
+‘Nisto consiste o segredo da importante descoberta da poligrafia: não se sabe qual deve admirar-se mas, se a simplicidade do meio que se emprega, se a grandeza do resultado que se obtém‘(Jornal do Commercio, 16 de março de 1840, na terceira coluna). 
+1841 - A tipografia Costa Silveira publicou Ensaio sobre a impressão das Notas de Banco por um processo totalmente inimitável.
+1842 - Identificado como italiano, partiu do Rio de Janeiro a bordo do navio Bom Fim, com destino a Santos (Jornal do Commercio, 12 de fevereiro de 1842, na última coluna).
+Fundou, em Sorocaba, juntamente com o padre Diogo Antonio Feijó (1784 – 1843), o jornal revolucionário O Paulista. Teve curta duração, tendo sido publicado em 27 e 31 de maio e em 8 e 16 de junho de 1842.
+1843 – A Academia de Ciências e Artes de Turim declarou, em sessão realizada em 8 de janeiro, que o processo de impressão de notas bancárias inimitáveis merecia a proteção do governo da Sardenha. A Academia Imperial de Belas Artes, no Rio de Janeiro, em sessão realizada em 22 de novembro, através de uma comissão estabelecida pela Congregação de Lentes da instituição, se pronunciou favoravelmente à descoberta do novo processo de impressão de notas inimitáveis. Compunham esta comissão Auguste-Henri-Victor Grandjean Montigny (1776 – 1880), Zepherino Ferrez (1797 – 1851), pai do fotógrafo Marc Ferrez (1843 – 1923); e seu aluno José da Silva Santos.
+1844 – Há informações de que o periódico O Anuário era impresso nas oficinas de Florence.
+Obteve os primeiros ensaios sofríveis do papel inimitável e os remeteu à Academia Brasileira de Belas-Artes, que nomeou uma comissão cujo parecer foi muito animador para Florence (Correio Mercantil, Instrutivo, Político, Universal, 5 de novembro de 1857, terceira coluna).
+1848 - Desenvolveu um processo de simplificação do trabalho de composição tipográfica, intitulado Typos-syllabas, que se constitui a partir da união de cada uma das consoantes com uma vogal, formando sílabas em um único tipo.
+Publicou em sua tipografia um memorial intitulado Emprego dos Typos-syllabas.
+Realizou uma impressão que foi um verdadeiro adiantamento no processo do desenvolvimento do papel inimitável (Correio Mercantil, Instrutivo, Político, Universal, 5 de novembro de 1857, terceira coluna).
+1849 -  O Ministério do Império remeteu a Bernardo José da Gama, o visconde de Goyana (1782 – 1854), inspetor da Caixa de Amortização, 8 exemplares de um papel descoberto ou inventado por Hercules Florence, morador em Campinas, na província de S. Paulo, para que, depois de examinado o dito papel na caixa de amortização, informe se o acha próprio para os usos a que é destinado, mormente para dele se fazerem notas (Correio Mercantil Instrutivo, Político,Universal, 31 de janeiro de 1849, primeira coluna). A Caixa de Amortização, criada pela Lei Imperial de 15 de novembro de 1827, administrava a dívida interna emitindo, amortizando, resgatando e substituindo apólices, além do pagamento de juros da dívida.
+No expediente do Ministério do Império foi avisado que havia sido enviado ao ministro da Fazenda para tomar na consideração que merecer o ofício do presidente da província de S. Paulo, de 13 de janeiro último, não só com 8 exemplares de um papel inimitável que Herculano Florence diz ser sua invenção, e julga ao abrigo de toda falsificação, como também diversos ofícios relativos a este objeto (Correio Mercantil, Instrutivo, Político, Universal, 19 de abril de 1849, segunda coluna).
+Anunciou a venda de sua parte na sesmaria de seu falecido sogro, Francisco Alvares Machado e Vasconcellos. Quem quiser comprar pode dirigir-se aos srs Eduardo e Henrique Laemmert, no Rio de Janeiro, ou escrever ao anunciante (Correio Mercantil Instrutivo, Politico, Universal, 30 de novembro de 1849).
+ 
+Correio Mercantil, Istrutivo, Político, Universal, 30 de novembro de 1849
+ 
+1850 – Falecimento de sua esposa, Maria Angélica.
+1851 – Florence enviou ao à sociedade Auxiliadora da Indústria Nacional algumas amostras de papel e letras inimitáveis tiradas de chapas abertas ao acaso, cujas tintas são pelo autor afiançadas como indeléveis. Elas param em mãos da comissão de ensaio e análise química, e a serem reais os resultados que espera seu autor, é uma descoberta digna da atenção, pela segurança de que seu emprego pode vir ao papel moeda, bilhetes e letras dos bancos, e títulos de segurança empregados nos diversos ramos comerciais (O Auxiliador da Indústria Nacional, 1851).
+Florence era o agente, em Campinas, do medicamento Salsaparrilha Bristol (Gazeta Mercantil, 28 de agosto de 1851).
+1852 - Idealizou uma sexta forma de arquitetura a qual deu o título de Ordem Brasileira ou Palmiana, baseada na utilização das palmeiras brasileiras, cuja aplicação, de acordo com o tipo da palmeira, se daria na constituição de colunas, capitéis, arcadas e abóbodas.
+Era assinante do Almanak Administrativo, Mercantil e Industrial do Rio de Janeiro (Almanak Administrativo, Mercantil e Industrial do Rio de Janeiro, 1852).
+Era, em Campinas, o agente da Fábrica de Produtos Químicos e Farmacêuticos de Matacavallos (Jornal do Commercio, 6 de setembro de 1852).
+1853 – Publicou um folheto poligrafado composto de 16 páginas intitulado Descoberta da Poligrafia, datado de 1º de agosto de 1853.
+Carolina Krug (1828 – 1913)
+1854 – Casou-se, em 4 de janeiro, com a alemã Carolina Krug (1828 – 1913), nascida na cidade de Cassel, em 21 de março de 1828. Seu nome de solteira era Caroline Mary Catherine. Carolina estudou Pedagogia na Suíça, no Instituto de Madame Niederer, esposa de um antigo colaborador e amigo de Johann Heinrich Pestalozzi (1746 – 1827), já considerado, na época, um grande pedagogo moderno. Ela migrou para o Brasil, em 1852, acompanhada de pai, mãe e dos irmãos Francisco Guilherme, Henrique e Anna. Saíram de Hamburgo em um navio à vela e a viagem durou cerca de dois meses. O irmão mais velho de Carolina, o farmacêutico Jorge Krug (? – 1875), amigo de Florence, estava, desde 1846, muito bem estabelecido em Campinas, o que atraiu o restante da família. Jorge Krug foi durante muito tempo Vice-Cônsul da Suíça em toda a Província de São Paulo.
+‘Minha mãe, eu vos escrevi uma vez que eu me casaria novamente, mas que não deveria ser logo. No dia quatro de janeiro do ano corrente eu me casei com MIle. Caroline Krug, irmã de meu amigo Jorge Krug, farmacêutico estabelecido há oito anos em Campinas. Ela chegou de Cassel, com seu pai sua mãe e seus irmãos e irmã, e eu fui absorvido por suas qualidades, seu talento e suas maneiras distintas. Tendo feito sua educação durante três anos em um Instituto de jovens moças em Genebra, ela adquiriu um perfeito conhecimento de Francês. Ela sabe a história, a geografia, os elementos de matemática, a pintura e a música. Todas as ocupações de seu sexo. Ela saiu do instituto e foi ser professora em Altona, na Suíça-Holstein. Seu objetivo era de se ocupar do ensino e soube aproveitar disso em alto grau (Carta de Hércules Florence para sua mãe, residente em Nice, Campinas, 10/6/1854)
+Florence e Caroline tiveram sete filhos, todos nascidos em Campinas: Ataliba (1855 -?), futuro cônsul do Brasil em Dresden; Jorge (1857 – ?), que formou-se em farmácia em Heidelberg na Alemanha; Augusta (1859 – ?), Henrique (1861 -?), que se formou em Engenharia na Alemanha, os gêmeos Guilherme e Paulo Florence (1864 – ?); e Isabel (1867 – ?).
+1855 - Pela primeira vez desde sua chegada à América, Florence retornou à Mônaco para rever a família. Entre esse ano e 1856, adquiriu a Fazenda Soledade, onde foi viver com Carolina Krug. Fundou, em fevereiro de 1856, a colônia Florence. Passou a se dedicar à agricultura (Repartição dos Negócio do Império, 1859).
+1857 – Publicação de um pequeno perfil da Colônia Florence, que funcionava em sistema de parceria (Jornal do Commercio, 30 de janeiro de 1857, terceira coluna).
+Publicação de uma carta de Florence intitulada “Papel Inimitável”, na qual conta a história de sua descoberta do referido papel e explica os quatro sistemas pelo qual poderia ser produzido. Termina a carta afirmando: Limito-me por agora a estas explicações, que não são mais do que alguns dados sobre uma arte que é tão exata c0omo as ciências matemáticas (Correio Mercantil, Instrutivo, Político, Universal, 5 de novembro de 1857, terceira coluna).
+1858 - Estava listado como empresário e possuidor de 18 colonos na província de São Paulo, no Mapa Demonstrativo das Colônias do Existentes do Império, publicada no relatório da Repartição dos Negócio do Império, 1858. A colônia Florence funcionava em sistema de parceria regulada pela casa Vergueiro (Jornal do Commercio, 22 de março de 1858, última coluna).
+A Tipographia Commercial, G. Delius, publicou um pequeno folheto composto por 10 páginas, intitulado Invenção da Polygraphia, por Hercules Florence.
+Conseguiu aprimorar seu invento de impressões inimitáveis através da adição de um sistema que permitia a fusão de cores. As novas impressões inimitáveis foram expostas ao público durante um ano, no Banco Mauá & C., em Campinas.
+Imprimiu em sua litografia o Aurora Campineira, primeiro jornal de Campinas.
+1859 - Desenvolveu a Estereopintura, processo através do qual se pode obter maior fidelidade luminosa da execução de pinturas a óleo ou aquarela.
+No relatório do comissário do governo, Sebastião Machado Nunes, sobre as províncias de São Paulo, publicada na Repartição dos Negócio do Império, 1859, foi feito um comentário a respeito de colonos suíços da fazenda de Florence.
+A colônia Florence tinha 19 colonos, de duas famílias suíças. Cada família cuidava de 5 mil pés de café (Repartição dos Negócio do Império, 1859).
+Os filhos de Florence, os empresários Amador Bueno e Francisco, pretendiam estabelecer uma linha de carros de quatro rodas para o transporte de café de Campinas a Santos (A Actualidade, 31 de dezembro de 1859, terceira coluna).
+1860 - Desenvolveu a Pulvografia, processo que consiste na reprodução de imagens através da ação da poeira, sem a necessidade do emprego de prensa.
+ 
+Découverte de la Pulvographie, 1860 / Acervo FBN
+ 
+Redigiu o manuscrito Cellographie.
+1861 –  Aprimorou a poligrafia criando a possibilidade da sua realização sem a necessidade do emprego de uma prensa.
+1862 - Redigiu o manuscrito Les Intérêtes materiéles. 
+Foi noticiado no terceiro volume do Année Scientifique, de Louis Figuier, a invenção da neografia, mesmo invento descoberto por Florence anos antes, que ele batizou de poligrafia (Diário do Rio de Janeiro, 16 de abril de 1862, terceira coluna).
+ 
+Diário do Rio de Janeiro, 16 de abril de 1862
+ 
+1863 - Em Campinas, fundou, em novembro, juntamente com sua esposa Carolina Krug Florence, o Colégio Florence, situado na Rua José Paulino e dedicado à educação feminina. Hercule executou um desenho retratando o prédio do colégio. Foi professor de desenho da instituição.
+1865 - Conheceu Alfredo D’Escragnole Taunay (1843 – 1899), um dos fundadores da Academia Brasileira de Letras, que o cognominou de Patriarca da Iconografia Paulista. Na época, a caminho da Guerra do Paraguai, Taunay, com apenas 22 anos, impressionou-se com as histórias e conquistas de Florence, já um sexagenário.
+Redigiu o manuscrito Aquarrélographie.
+1866 -Redigiu o manuscrito Probléme Poly-Photographique.
+1867 – O presidente da província de São Paulo, o conselheiro Joaquim Saldanha Marinho (1816 – 1895) visitou o Colégio Florence, dirigido por Carolina Florence (O Ypiranga, 21 de dezembro de 1867, segunda coluna).
+1868 – Foi anunciada a venda de bandeiras brasileiras, na loja dos sr. Pompeu Pacheco C., em Campinas, impressas em ambos os lados pela poligrafia de Hercule Florence, sem prensa, sem pressão alguma, como na fotografia (O Ypiranga, 25 de setembro de 1868, terceira coluna).
+1869 – Redigiu o manuscrito Lavis Capillaire. 
+Florence foi indicado como um dos procuradores de Otto Rodolfo Kupfer, que partia para a Europa. Ele era marido de Anna Kupfer, irmã de Carolina, esposa de Florence (Correio Paulistano, 21 de abril de 1869, primeira coluna).
+Foi anunciada a impressão de papel inimitável na residência de Hercule Florence, na rua das Flores, n. 7, em Campinas (Correio Paulistano, 23 de julho de 1869, primeira coluna).
+Em setembro, escreveu uma carta ao poeta Castro Alves (1847 – 1871):‘
+Moro a metade do tempo na roça, e quisera morar sempre, porque aprecio os matos virgens, o ar livre, o nascer e o por do sol. Descobri em 1829 uma ciência nova que chamei Zoofonia. Fiz algumas publicações em francês a este respeito; mas creio que não deixaram mais vestígios que uma pedra que cai num tanque de água. Com as belezas da natureza, eu lia os vossos versos, onde acho a mesma verdade que na criação.’ 
+1870 – Escreveu um texto sobre seus trabalhos artísticos e científicos, a pedido do advogado de Campinas, Manuel Ferraz de Campos Sales (1841 – 1913), futuro presidente do estado de São Paulo, de 1896 a 1897, e  quarto presidente da República, entre 1898 e 1902.
+ 
+Anúncio do papel inimitável, 1870 / Acervo FBN
+ 
+Papel inimitável [Iconográfico] : impressão simultânea de todas as cores1871 - Florence garantia a superior qualidade do café vendido na loja do srs. Monteiro & Filho. Para isso, cada bote de libra era revestido por uma marca inimitável (Gazeta de Campinas, 2 de março de 1871, primeira coluna).No relatório realizado por João Pedro Carvalho de Moraes para o Ministério da Agricultura, Comércio e Obras Públicas, foi feita uma descrição da Fazenda Soledade, de Florence. Foi destacada a lealdade de Florence a seus colonos (Jornal do Pará, 13 de maio de 1871, segunda coluna).Foi anunciado que Florence havia achado o meio de de tornar o óleo de rícino secativo a ponto de se poder empregar na pintura a óleo, em quadros históricos, retratos e paisagens (Correio Paulistano, 15 de dezembro de 1871, primeira coluna). 1872 – Matéria sobre os Typos-syllabas, afirmando a autoria do invento por Florence, em 1848 (Correio do Brazil, 14 de maio de 1872, segunda coluna).Florence foi listado como lavrador de 1ª classe e deveria contribuir com 30$000 para a construção da matriz nova de Campinas (Gazeta de Campinas, 31 de outubro de 1872, primeira coluna). 1873 –  Em reunião do Conselho Administrativo da Sociedade Auxiliadora da Indústria, um de seus membros, o sr. Pinto Junior, apresentou algumas mostras do papel inimitável produzido por Hercule Florence, a quem se referiu como um homem muito distinto pelo seu reconhecido e provado talento e gênio investigador... (O Auxiliador da Indústria Nacional, 1873).Estava na lista de lavradores do estado de São Paulo (Almanak da Província de São Paulo, 1873).
+
+O sítio de Florence & Filhos estava contratando colhedores de café. Também foi anunciado que no sítio ensinava-se a juntar as folhas com a ajuda de um ancinho (Gazeta de Campinas, 10 de julho de 1873, e Gazeta de Campinas, 31 de julho de 1873, primeira coluna).
+Florence pedia dispensa do pagamento de uma multa por não ter varrido a frente de sua casa do largo da Matriz de Santa Cruz. Alegava que ignorava essa obrigação por residir em um sítio e não na casa (Gazeta de Campinas, 19 de outubro de 1873, primeira coluna).
+1875 – Florence foi listado como lavrador de 2ª classe e deveria contribuir com 80$000 para a construção da matriz nova de Campinas (Constitucional, 13 de fevereiro de 1875, última coluna).
+Alfredo d’Escragnolle Taunay (1843 – 1899) traduziu o diário de Florence, Esboço da Viagem feita pelo Sr. Langsdorff ao interior do Brasil, desde setembro de 1825 até março de 1829, originariamente escrito em francês, publicando-o na Revista do Instituto Histórico e Geográfico do Rio de Janeiro. Taunay encontrou o diário por acaso, entre papeis de sua família. Na verdade, Florence, em 1829, havia dado de presente à família Taunay suas anotações. Adrien Taunay (1803 – 1828), tio de Alfredo Taunay, havia feito parte da expedição Langsdorff como primeiro desenhista e morrido afogado, em 1828 (Diário de São Paulo, 10 de outubro de 1875, quinta coluna).
+Florence deveria pagar imposto predial referente a um imóvel na rua Direita, em Campinas (Constitucional, 15 de dezembro de 1875, segunda coluna).
+1876 – Florence foi visitado, em Campinas, por d. Pedro II (1825 – 1891).
+O aparecimento de notas falsas motivou Florence a reapresentar seu invento de papéis inimitáveis (Diário do Rio de Janeiro, 23 de junho de 1876, primeira coluna).
+1877 - Foi admitido como sócio do Instituto Histórico e Geográfico do Brasil, no Rio de Janeiro, tendo apresentado o trabalho intitulado Esboço da viagem feita pelo Sr. De Langsdorff no interior do Brasil, desde setembro de 1825 até março de 1829.
+1879 – Morreu, às 3 horas da tarde, acometido por uma cruel enfermidade, em 27 de março, em Campinas. Hercule Florence era o tipo completo do homem probo e devotado à religião do trabalho. O féretro saiu da casa em que residia ao largo de Matriz Velha – Praça Bento Quirino, n. 20 – às 5 horas da tarde do dia seguinte. Foi sepultado no Cemitério Municipal de Campinas, Cemitério da Saudade, sepultura 247 da primeira divisão, quadra n. 10. , e seu enterro foi extraordinariamente concorrido (Correio Paulistano, 29 de março de 1879, terceira coluna, e Gazeta de Notícias, 30 de março de 1879, última coluna).
+1900 - Publicação de Hércules Florence: Ensaio Histórico Literário, de autoria do jornalista Estevão Leão Bourroul (1859 – 1914), pela Tipografia Andrade Mello, de São Paulo.
+ 
+
+ 
+1908 – No artigo A litografia no Brasil, publicado na Revista do Instituto Histórico e Geográfico de São Paulo, vol. XIII, de 1908, seu autor, o jornalista Estevão Leão Bourroul (1859 – 1914), atribuiu a Florence a fundação do primeiro estabelecimento litográfico no Brasil, em 1825 (Revista Brasileira, dezembro de 1943). Lembramos aqui que a litografia foi desenvolvida pelo alemão Alois Senefelder (1771 – 1834), por volta de 1796, com o objetivo de encontrar um meio de impressão barato para suas peças teatrais e partituras musicais.
+1928 - O Museu Paulista através da sua revista publica tradução feita por Alfredo D’Escragnole Taunay (1843 – 1899), do diário de Hercule Florence intitulado Esboço da viagem feita pelo Sr. De Langsdorff no interior do Brasil, desde Septembro de 1825 até março de 1829
+1941 - Publicação, pelas Edições Melhoramentos, da 1ª edição da tradução feita por Alfredo D’Escragnole Taunay, do diário de Hercule Florence intitulado Viagem Fluvial do Tietê ao Amazonas de 1825 a 1829
+1963 - Inauguração, em Campinas, de um busto de Hercule Florence, executado pelo escultor Larroca.
+1972 / 1976 –  O método fotográfico de Florence foi comprovado cientificamente pelo pesquisador brasileiro e emérito historiador da fotografia brasileira Boris Kossoy (1941 – ), entre 1972 e 1976. Em meados de 1976, foi testado, com sucesso, nos laboratórios do Rochester Institute of Technology, nos Estados Unidos, sob a chefia do professor Thomas Hill. Em outubro do mesmo ano, a pesquisa de Kossoy foi apresentada no III Simpósio da História da Fotografia, na George Eastman House, em Rochester.
+Ainda em 1976, ano da comemoração dos 150 da realização da Expedição Langsdoff, Francisco Álvares Machado e Vasconcellos Florence traduziram os diários de Florence sob o título de A Célebre Expedição que, em 1826, partiu de Porto Feliz.
+1977 – No Museu de Arte de São Paulo (MASP), realização, em novembro de 1977, de uma exposição da obra de Florence. O MASP também publicou o diário completo de Hercule sobre a expedição sob o título Viagem fluvial do Tietê ao Amazonas: pelas Províncias brasileiras de São Paulo, Mato Grosso e Grão Pará (1825-1829).
+1980 – Publicação do livro “1833: a Descoberta Isolada da Fotografia no Brasil” (1980), de Boris Kossoy, pela Editora Duas Cidades.
+ 
+
+ 
+1988 – Entre 29 de setembro e 1º de outubro de 1988, realização do colóquio Les Multiples Inventions de la Photographie, em Cerizy-la-Salle, pelo Ministério de Cultura e Comunicação da França. Florence foi um dos inventores abordados. No ano seguinte, publicação do livro do seminário com um artigo do professor Boris Kossoy, Florence, o inventor no exílio (Centre Culturel International de Cerisy).
+1993 – Organizado por Jacques Vieillard, a Editora Universitária da Universidade Federal do Mato Grosso, lançou o livro A Zoophonia de Hercule Florence.
+ 
+
+ 
+2006 - Criação do Instituto Hercule Florence – de Estudos da Sociedade e Meio Ambiente do Século XIX Brasileiro. Surgiu do desejo de reunir, preservar e divulgar todo o acervo disponível sobre o artista, viajante e inventor franco-monegasco, que aportou em 1824 no Brasil, onde se estabeleceu, deu origem a uma numerosa família, desenvolveu pesquisas – inclusive as que levaram à descoberta do processo fotográfico – e viveu até a sua morte, em 1879.
+2017 - Em Villa Paloma, no Novo Museu Nacional de Mônaco, entre 17 de março e 24 de setembro, realização da exposição Hercule Florence – Le nouveau Robinson. Na ocasião foi lançado um livro homônimo.
+2019 – Publicado nos Anais do Museu Paulista de dezembro de 2019 o artigo Revelando Hercule Florence, o Amigo das Artes: análises por fluorescência de raios X.  A física Márcia de Almeida Rizzutto, coordenadora do NAP-Faepah, atestou, com a ajuda do método conhecido como fluorescência de raios X por dispersão de energia (ED-XRF) para detectar a presença de elementos químicos que os manuscritos de Florence descrevem fielmente os processos de produção fotográfica por ele testados em 1833. Segundo Kossoy, foi a comprovação física daquilo que já se sabia do ponto de vista químico.
+2023 – Realização, no Instituto Moreira Salles, de São Paulo, nos dias 23 e 24 de maio, do seminário internacional 190 anos dos experimentod fotográficos de Hercule Florence para celebrar o pioneirismo de Florence na descoberta dos processos fotográficos e tem como principal assunto a divulgação dos resultados das análises físico-químicas realizadas em 2022 de três objetos do inventor, por meio de uma parceria inédita entre quatro instituições de três continentes: o IMS e o Instituto Hercule Florence (IHF), de São Paulo, Brasil, o Getty Conservation Institute (GCI), de Los Angeles, EUA, e o Laboratório HERCULES da Universidade de Évora, Portugal. O encontro abordará também outros assuntos relacionados a Florence (Site do IMS).
+Em 17 de novembro, a publicação Viagem fluvial do Tietê à Amazonia pelas províncias de São Paulo, Mato Grosso e Grão-Pará, de Hercule Florence, conquistou o 1° lugar na categoria Projeto Gráfico do 9° prêmio ABEU, concedido pela Associação Brasileira das Editoras Universitárias.
+ 
+
+ 
+ 
+Esta cronologia foi atualizada em julho de 2024.
+
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
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+---
+id: 20836
+url: "https://brasilianafotografica.bn.gov.br/?p=20836"
+titulo: "Cronologia de Christoph Albert Frisch (1840 – 1918)"
+autor: "Andrea Wanderley"
+data: "2021-01-06T10:18:59+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/2020"]
+fetched_at: "2026-09-10T10:04:05.156Z"
+---
+
+# Cronologia de Christoph Albert Frisch (1840 – 1918)
+
+Cronologia de Christoph Albert Frisch (1840 – 1918)
+ 
+Autorretrato de Frisch no Tarumã, afluente do rio Negro, 1867. Rio Tarumã, Amazonas / Acervo IMS
+1840 – Christoph Albert Frisch nasceu em Augsburgo, na Baviera, na região sul da Alemanha, em 31 de maio, filho de Johanes Nepomuk Frisch e Auguste Korber. Seu pai possuia uma tecelagem e vários imóveis e era sócio de Eberhard Rugendas, possivelmente parente do desenhista Moritz Rugendas (1802 – 1858), também nascido em Augsburgo, que esteve no Brasil e produziu uma importante obra iconográfica do país.
+Nos anos 1840, as empresas de seu pai foram à falência.
+1849 – Devido à morte de sua mãe, foi criado, assim como seus irmãos homens, em um orfanato na Francônia. As irmãs foram entregues pelo pai a uma tia materna.
+Final da década de 1850 – Foi trabalhar como confeiteiro.
+Frisch partiu para Munique, capital da Bavária, onde começou a trabalhar no comércio de arte, na loja de Friedrich Gypen.
+1861 – Com o apoio de seu empregador, trabalhou como aprendiz na litografia do impressor e editor Adolphe Goupil (1806 – 1893), em Paris.
+Partiu para Buenos Aires, capital da Argentina, onde chegou por volta de 13 de dezembro. Tentou, sem sucesso, se estabelecer como comerciante de estampas de imagens religiosas, inspirado pela grande quantidade de imagens religiosas que goupil exportava para a América do Sul.
+Adolphe Goupil por Achille Devéria, c. 1831 /Museu Carnavalet, Paris
+Trabalhou, então, na região dos Pampas, como professor particular e gerente de um criador de gado alsaciano.
+1862 – Frisch retornou a Buenos Aires onde, aos 23 anos, começou sua carreira de fotógrafo, quando o alemão W. Raabe, que ele havia conhecido em uma taverna, o recomendou para seu empregador, o norte-americano Arthur Therry, dono de um renomado estúdio fotográfico, na calle Florida, 70,onde a alta sociedade argentina era retratada. As fotografias produzidas por Frisch nesse período não são conhecidas, mas segundo ele, teria retratado as sobrinhas do ditador argentino Juan Manuel Rozas (1793 – 1877).
+1863 – Poucos meses depois, Frisch foi para o Paraguai abrir um estúdio fotográfico, em Assunção, a pedido do próprio presidente do país, Solano Lopez (1827- 1870), que havia estado em Buenos Aires, no ano anterior, com sua esposa, a irlandesa Elisa Lynch (1833 – 1866), e seus dois filhos. Na ocasião, havia visitado o estúdio de Terry, onde conheceu Frisch.
+c. 1864 – Provavelmente, devido à Guerra do Paraguai, Frisch foi para o Rio de Janeiro.
+1865 - Começou a trabalhar no recém-inaugurado setor de fotografia da Casa Leuzinger, no Rio de Janeiro, cujo proprietário era o editor e fotógrafo suíço Georges Leuzinger (1813 – 1892), considerado um dos mais importantes fotógrafos e difusores para o mundo da fotografia sobre o Brasil no século XIX, além de pioneiro das artes gráficas no país.
+1866 - Encontrava-se na Europa.
+1867 – Viajou ao Pará, comissionado por Leuzinger para acompanhar uma expedição liderada pelo engenheiro alemão Joseph Keller e por seu filho, o fotógrafo, desenhista e pintor Franz Keller (1835 – 1890) (Diário do Povo, 15 de novembro de 1867, na primeira coluna).  Este último era casado com Sabine Christine (1842 – 1915), filha de Georges Leuzinger ( 1813 – 1892). Transitaram pela região dos rios Madeira e Mamoré, onde o governo imperial pretendia construir uma estrada de ferro.
+ 
+Diário do Povo, 15 de novembro de 1867
+ 
+Albert Frisch acompanhou os engenheiros somente até Manaus … percorreu 400 léguas pelo rio Amazonas e seus afluentes durante 5 meses…, num barco acompanhado por dois remadores, desde Tabatinga até Manaus. Produziu, na ocasião, uma pioneira série de 98 fotografias com os primeiros registros que chegaram até nós de índios brasileiros da região, além de aspectos de fauna e flora e de barqueiros de origem boliviana, que atuavam como comerciantes itinerantes nos rios amazônicos. Segundo o livro de Ernesto Senna, O velho commercio do Rio de Janeiro, a expedição fotográfica de Frisch à Amazônia foi fruto de uma solicitação feita pelo suíço Louis Agassiz (1807 – 1873) a Leuzinger.
+“Satisfazendo ao pedido de Agassiz, fez Leuzinger tirar vistas até Tabatinga, na fronteira do Amazonas com a República do Peru, vistas que serviram não só para os trabalhos científicos daqule sábio, como também para ilustrações europeias. Quando o engenheiro Keller foi em comissão explorar os rios Madeira e Mamoré, Georges Leuzinger mandou um fotógrafo da casa acompanhar a expedição, que trouxe depois daquelas incomparáveis regiões graande cópia de clichês, da flora, da fauna, de paisagens, e fotograafias de silvícolas e de suas tabas, aldeamentos, instruentos, armas, etc. Estas coleções, de graande valor para estudos etnográficos, eram muito interessantes sob qualquer ponto de vista e muito procuradas por viajantes estrangeiros”.
+Agassiz havia, entre 1865 e 1866, comandado a Comissão Thayer no Brasil, que percorreu boa parte do território brasileiro entre o Rio de Janeiro e a Amazônia, viagem que deu origem ao livro A journey in Brazil, editado em Boston, em 1868. A comissão foi financiada pelo empresário e filantropo norte-americano Nathaniel Thayer, Jr. (1808-1883), ex-aluno de Agassiz no Museu de Zoologia Comparada, em Harvard.
+Vale lembrar que Charles Frederick Hartt (1840 – 1878), o futuro chefe da Comissão Geológica do Império (1875 – 1878), integrada pelo fotógrafo Marc Ferrez (1843-1923), participou da Comissão ou Expedição Thayer – foi a primeira vez que esteve no Brasil.
+1868 – Frisch retornou ao sul do Brasil, a bordo do vapor Cruzeiro do Sul (Jornal Pedro II, de 24 de novembro de 1868, na quarta coluna).
+1869 – As imagens produzidas por Frisch durante a expedição pela Amazônia começaram a ser comercializadas a partir de um catálogo publicado pela Casa Leuzinger, Resultat d’une expédition phographique sur le Solimões ou Alto Amazonas et Rio Negro.
+Acervo FBN
+c. 1870 – Foi para Montevidéu e depois para Paris, onde trabalhou na litografia de Lemercier & Cie. Foi expulso do país, devido à guerra entra França e Alemanha (1870-1871), e perdeu tudo.
+Retornou à Alemanha e passou a trabalhar com o fotógrafo alemão Joseph Albert (1825 – 1886), que aperfeiçoou a técnica da colotipia, e com quem aprendeu as mais novas tecnologias de impressão fotomecânica da época. Verveer Den Haag, fotógrafo da corte da Holanda, e o mestre da litogravura, o francês Lemercier (1803 – 1887), também eram aprendizes de Joseph Albert.
+O fotógrafo Joseph Albert / Historic Camera
+1871 - Chegou, em 14 de março, a Nova York, onde instalou o processo de colotipia na empresa Bierstadt & Co. Trabalhando foi envenenado por cromo, tendo que ficar um tempo afastado da colotipia para cuidar da saúde.
+1872 – Voltou para a Alemanha, e foi funcionário numa fábrica de água mineral em Bad Homburg vor der Hohe.
+1873 – Em Bad Homburg vor der Hohe, abriu a empresa Frisch & Co, que trabalhava com albertotipia, colotipia e fotografia.
+1874 – Durante esse ano, Frisch trabalhou por um curto período com o fotógrafo Johannes Nöhring (1834 – 1913), de Lübeck, na empresa Nöhring & Frisch.
+1875 – Frisch mudou-se para Berlim e abriu o Kunstanstalt Albert Frisch, especializado na produção de reproduções fotomecânicas de alta qualidade. Depois de sua morte, seu filho, também Albert, continuou o negócio.
+1918 – Faleceu em Berlim, em 30 de maio.
+1925 – Lançamento de um livro em comemoração dos 50 anos da Casa Frisch, em Berlim, com textos escritos pelo filho do fotógrafo, Albert Frisch Junior.
+1930 - Edição de um álbum raríssimo com 109 reproduções de fotografias, sendo 106 imagens de Albert Frisch Senior.
+“As 106 fotografias reunidas neste álbum são reproduções dos originais, feitos por Albert Frisch sênio (nascido em 13 de maiode 1840 em Augsburg) no Brasil nos anos 60. Elas restaram de um número muito maior de fotografias que foram tiradas por Albert Frisch sênior depois que ingressou na empresa Keller & Leuzinger, Rio de Janeiro. Elas foram feias durante muitos anos em diversas excursões na região do rio Amazonas e em outras regiões do Brasil.”
+1942 - Impressão de uma história da família Frisch escrita por Eberhard, filho de Frisch. Nele há um esboço de uma autobiografia redigida pelo próprio Frisch, que revela que ele havia escrito uma autobiografia completa, destuída por ele mesmo no início da Primeira Guerra Mundial (1914 – 1918).
+Durante a Segunda Guerra Mundial (1939 – 1945), o acervo da Casa Frisch, em Berlim, foi totalmente destruído.
+2019 – Em outubro de 2019, o Instituto Moreira Salles, que já abrigava em seu acervo aproximadamente 40 imagens de Frisch, algumas delas pertencentes à série da Amazônia, arrematou, num leilão da Sotheby’s, em Nova York, um conjunto completo das 98 imagens, tal como editadas e comercializadas por Geroges Leuzinger.
+ 
+Andrea C. T. Wanderley
+Editora-assistente e pesquisadora do portal Brasiliana Fotográfica
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/2020` — `itens/20.500.12156.1_2020/`
+
diff --git a/wordpress/20840-cronologia-de-jean-victor-frond-1821-1881.md b/wordpress/20840-cronologia-de-jean-victor-frond-1821-1881.md
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+++ b/wordpress/20840-cronologia-de-jean-victor-frond-1821-1881.md
@@ -0,0 +1,134 @@
+---
+id: 20840
+url: "https://brasilianafotografica.bn.gov.br/?p=20840"
+titulo: "Cronologia de Jean Victor Frond (1821 – 1881)"
+autor: "Andrea Wanderley"
+data: "2021-01-06T10:18:45+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/2816", "20.500.12156.1/2838"]
+fetched_at: "2026-09-10T10:04:08.396Z"
+---
+
+# Cronologia de Jean Victor Frond (1821 – 1881)
+
+Cronologia de Jean Victor Frond (1821 – 1881)
+Victor Frond; Jules-Joseph-Augustin Laurens. Fabricants de jacas: Paniers, 1861. Acervo FBN
+ 
+1821 – Jean Victor Frond nasceu, em 1º de novembro, em Montfaucon, na França, filho de Jean Frond (1779 – 1841) e Marie Figeac (1791 – 1841). Provavelmente, Frond estudou no Seminário Diocesano de sua cidade natal.
+1839 - Apresentou-se para o serviço militar, no 57º Regimento da Infantaria de Ligne.
+1841 - Em 18 de abril, passou a integrar a Infantaria da Marinha, cuja responsabilidade era proteger portos e arsenais franceses, além de defender as colônias e os países sob protetorado da França.
+1841 a 1846 – Participou de operações de campanha na Martinica. Uma curiosidade: em sua ficha no 2º Regimento de Infantaria da Marinha, foi descrito como um homem de estatura mediana (1,64m), cabelos e olhos castanhos, testa larga, nariz grande, boca miuda, queixo vincado, sem cicatrizes.
+1850 – Deixou a Infantaria da Marinha, onde havia galgado as patentes de suboficial e oficial inferior, e entrou para o Batalhão do Corpo dos Bombeiros. Foi morar em Paris.
+1851 – Foi publicado, na França, o livro De l´insuffisance des secours contre l´incendie et des moyens d´organiser ce service public dand toute la France, de autoria do subtenente Jean Victor Frond, que integrava o Batalhão de Bombeiros de Paris, mais precisamente, a 4ª Companhia, na rua Poissy. Já havia conquistado uma certa liderança na caserna.
+Em 2 de dezembro, aconteceu um golpe de Estado na França, liderado por Luís Napoleão Bonaparte, futuro Napoleão III (1808 – 1873), então presidente da Segunda República Francesa. A Assembleia Nacional Francesa foi dissolvida e o império foi restabelecido, no ano seguinte.
+Em 3 de dezembro, o republicano Frond manifestou-se contra o golpe. Foi ordenado que ele cumprisse uma licença obrigatória e que ele entregasse sua espada. Abandonou a caserna e tentou participar dos movimentos de resistência republicana. Foi decretada sua prisão.
+Em 9 de dezembro, foi preso e levado para o Hotel de Conselho de Guerra, na rua du Cherche Midi.
+Foi transferido para uma prisão militar.
+1852 – Em 21 de janeiro, foi posto em liberdade, mas nessa mesma noite foi novamente detido, dessa vez pela Prefeitura de Polícia.
+Foi transferido para o forte de Ivry e depois para o forte de Bicêtre.
+Acusado de homem muito perigoso e de demagogo da pior espécie, foi condenado à transportação para a colônia penal na Argélia.
+Entre março e abril, várias cartas foram enviadas à comissão responsável pelo processo contra Frond e também para o príncipe-presidente com pedidos de clemência e de comutação de pena.
+Em 15 de maio, Frond foi levado para o Havre, e, em seguida, para o porto de Brest, de onde foi transportado para a colônia penal na Argélia.
+Frond fugiu da Argélia. Passou por Lisboa e chegou em Southampton, na Inglaterra.
+Em Londres, conheceu Charles Ribeyrolles (1812 – 1860), jornalista e militante político republicano francês, amigo do escritor Victor Hugo (1802 -1885). Ribeyrolles havia sido expulso da França por Napoleão III. Ele veio a ser o escritor do Brasil Pitoresco.
+1853 – Frond foi um dos nomes da lista parcial de anistia de Luís Bonaparte.
+Escreveu panfletos em defesa da causa republicana.
+1854 – Frond foi indicado para uma missão em Portugal e na Espanha para obter recursos materiais e estabelecer alianças políticas favoráveis à causa republicana francesa.
+Em Lisboa, tornou-se fotógrafo.
+1856 –  Frond chegou ao Rio de Janeiro (Correio Mercantil, de 9 de outubro de 1856, na quinta coluna, sob o título “Entrarão hontem nesse porto”).
+1857 - Foi apresentado como o oficial que organizou em grande parte o serviço de incêndios em Paris e foram comentados seus conhecimentos como fotógrafo (Correio Mercantil  de 27 de agosto de 1857, na quarta coluna, embaixo).
+Produziu retratos da família real e começaram a circular no Rio de Janeiro os primeiros fascículos do álbum Galeria dos brasileiros ilustres – Os Contemporâneos, com os retratos de d. Pedro II, da imperatriz Teresa Cristina e das princesas, litografados por Sébastien Auguste Sisson (1824-1898).
+Foi anunciada a inauguração do estabelecimento fotográfico de Frond, na rua da Assembleia, 34, com a participação do alemão Adam Ignace Fertig (1810-?), pintor retratista  (Diário do Rio de Janeiro, de 8 de maio de 1857 e Diário do Rio de Janeiro, de 11 de maio de 1857, na terceira coluna).
+Foi publicada uma crítica da exposição com a qual o ateliê de Frond havia sido inaugurado, no dia 15  de maio (Diário do Rio de Janeiro, de 24 de maio de 1857, no “Folhetim”, quinta coluna).
+Em 25 de maio, casou-se com Julie Charlotte Lacombe (1840-?), na Chancelaria do Consulado francês do Rio de Janeiro, tendo como testemunhas Fertig e Joseph Lacombe, irmão da noiva. Tiveram dois filhos no Brasil , Charles, em 1859, e Julie, em 1860; e duas filhas quando já estavam de volta na França, Henriette, em 1862, e Blanche, em 1866.
+Frond expõs seus planos de fotografar as mais importantes províncias do Brasil e seus locais históricos. Para isso, havia fundado uma associação integrada pelo imperador Pedro II e por muitas pessoas distintas, nacionais e estrangeiras (Correio Mercantil,  de 3  de novembro de 1857, na terceira coluna, embaixo, na coluna “Páginas Menores”).
+No Correio Mercantil , de 9 de dezembro de 1857, na segunda coluna, Frond explicou o projeto do Brasil Pitoresco.
+ 
+Correio Mercantil,  9 de dezembro de 1857
+ 
+Foi publicada uma propaganda do Brasil Pitoresco (Correio Mercantil , de 10 de dezembro de 1857, na quarta coluna, embaixo).
+ 
+Correio Mercantil, 10 de dezembro de 1857
+ 
+ 
+Entre 1857 e 1860, foi o fotógrafo que mais recebeu recursos da Mordomia Imperial: 12:027$000 réis.
+1858 - Os retratos produzidos por Frond e retocados pelo sr. Fertig, pintor de miniaturas que trabalha em sua oficina fotográfica, foram elogiados (Correio Mercantil, de 3 de janeiro de 1858, na terceira coluna).
+Foi publicada uma carta de Frond para os sub-escritores do Brasil Pitoresco explicando que não mais iria para Europa, onde buscaria material e pessoal para a execução da obra. Sua viagem havia sido impedida pelo governo de Bonaparte (Napoleão III), que via nele um conspirador. Aproveitou para agradecer a hospitalidade brasileira (Correio Mercantil , de 16 de março de 1858, na segunda coluna, sob o título “Publicações a pedidos”).
+No novo número da Galeria dos Brasileiros Ilustres, foi publicada uma litografia de Sébastien Auguste Sisson (1824 – 1898), baseada numa fotografia do imperador Pedro II produzida por Frond (Correio Mercantil , de 27 de maio de 1858, na primeira coluna).
+Em julho, chegou ao Rio de Janeiro o jornalista e militante político republicano francês Charles Ribeyrolles (Correio Mercantil , de 8 de julho de 1858, terceira coluna). Ribeyrolles havia sido expulso da França por Napoleão III e vivido na Inglaterra com o escritor Victor Hugo (1802-1885), o socialista Louis Blanc (1811 -1882) e o político Ledru Rollin (1807-1874), dentre outros. Foi o redator do Brasil Pitoresco. Tornou-se amigo dos escritores Machado de Assis (1839-1908) e Manuel Antônio de Almeida (1831-1861).
+Frond viajou para Vassouras para começar os trabalhos do Brasil Pitoresco (Correio Mercantil , de 17 de julho de 1858, na terceira coluna).
+Na coluna “Folhetim”, foi publicado um extrato do Brasil Pitoresco (Correio Mercantil,  de 4 de outubro de 1858).
+1859 - O escritor Machado de Assis (1839 – 1908) foi o único brasileiro presente em uma reunião na casa de Frond para celebrar o nascimento de seu primeiro filho com Julie Charlotte Lacombe, Charles Victor Marius Frond, nascido em 4 de janeiro. Ribeyrolles escreveu um poema intitulado Souvenirs d’Exil para saudar o menino, traduzido imediatamente por Machado. Estavam, na casa de Frond seus amigos Boulangier, Joseph Lacombe, Dr. H. Chomet, A. Lemâel, Leonce Aubé, Vieu, Pailleux, Salaberry, Massy e B. L. Garnier. Meses mais tarde, Machado de Assis publicou, no Correio Mercantil, seus primeiros versos em francês, prestando nova homenagem ao pequeno Charles Frond, no poema intitulado A Ch. F., filho de um proscrito (Correio Mercantil, 21 de julho de 1859, quarta coluna).
+Correio Mercantil, 21 de julho de 1859
+ 
+Foi anunciada a venda do primeiro volume do Brasil Pitoresco, informando que o segundo volume já estava no prelo (Correio Mercantil,  de 4 de fevereiro de 1859, na primeira coluna).
+Foi publicada uma crítica ao Brasil Pitoresco, assinada por H.M, provavelmente o jornalista Homem de Mello (Correio Mercantil , de 7 de abril de 1859, na coluna “Páginas Menores”).
+Foi anunciada a iminente publicação do segundo volume do Brasil Pitoresco (Correio Mercantil , de 5 de junho de 1859, na quarta coluna).
+Foi publicada uma crítica ao segundo volume do Brasil Pitoresco, com um comentário sobre as dificuldades enfrentadas por Frond (Correio Mercantil , de 22 de agosto de 1859, na primeira coluna).
+Foi anunciada a exposição das fotografias de Frond que integravam o Brasil Pitoresco, na casa do sr Bernasconi (Correio Mercantil , de 10 de setembro de 1859, na primeira coluna).
+Anúncio em francês do Brasil Pitoresco (Correio Mercantil, de 27 de outubro de 1859, na terceira coluna).
+Frond e Ribeyrolles se desentendem com o redator do Echo du Brésil, Alteve Aumont, que, segundo Frond, havia o acusado de aceitar “favores administrativos” e o chamado de “demagogo” (Correio Mercantil, de 31 de outubro, na terceira coluna sob o título “Publicações a pedido”; de 1º de novembro, na segunda coluna, embaixo; de 7 de novembro, na primeira coluna sob o título “Publicações a pedido”; e de 9 de novembro, na primeira coluna).
+Foi noticiada a iminente partida de Frond e Ribeyrolles para Campos, a fim de continuarem o trabalho para o Brasil Pitoresco. Também foi anunciado que as fotografias que ficaram expostas na casa de Bernasconi & Moncada já haviam sido enviadas para Paris, onde seriam litografadas (Correio Mercantil, de 4 de novembro de 1859, na quinta coluna).
+Ribeyrolles e Frond embarcaram para São João da Barra (Correio Mercantil de 27 de novembro de 1859, na última coluna).
+1860 – Ribeyrolles e Frond embarcaram para Campos (Correio Mercantil de 24 de janeiro de 1860, na última coluna).
+Foi publicada uma litografia de dom Pedro II e da imperatriz Teresa Cristina, de autoria de Carlos Linde (c. 1830 – 1873), baseada em fotografias de Frond (Correio Mercantil de 10 de fevereiro de 1860, na última coluna).
+Frond embarcou para Santos (Correio Mercantil ,de 12 de maio de 1860, na última coluna), onde, contratado pelo Barão de Mauá, fotografou a cidade, na ocasião da inauguração dos trabalhos da linha férrea entre São Paulo e Jundiaí (Correio Mercantil, de 18 de maio de 1860, na primeira coluna).
+Em 1º de junho, morte de Charles Ribeyrolles, em Niterói, de peritonite ou de febre amarela (Diário do Rio de Janeiro, de 3 de junho de 1860, na terceira coluna e Courrier du Brésil, de 8 de junho de 1860).
+Foi noticiada a publicação do 21º fascículo da Galeria dos Brasileiros Illustres, editado por Sébastien Auguste Sisson (1824-1893), com um quadro das princesas Isabel e Leopoldina a cavalo, copiado de uma fotografia de Frond (Correio Mercantil, de 5 de junho de 1860, na terceira coluna).
+Na edição de 8 de junho do Courrier du Brésil, foram divulgadas por Victor Frond duas cartas escritas pelo escritor francês Victor Hugo (1802-1885) a Charles Ribeyrolles sobre o Brasil Pitoresco.
+Frond integrou uma comissão que objetivava construir um monumento em cima do túmulo de Charles Ribeyrolles (Correio Mercantil, de 24 de junho de 1860, na quarta coluna).
+Por não concordar com várias decisões, Frond saiu da comissão e ofereceu 50 exemplares do Brasil Pitoresco para ajudar na construção do monumento (Jornal do Commercio, de 28 de junho de 1860, na penúltima e na última colunas e de 29 de junho de 1860, na sétima coluna).
+Reprodução de uma crítica feita no jornal francês Monitor às primeiras gravuras do Brasil Pitoresco, vistas nas oficinas de Lemercier, em Paris (Correio Mercantil, de 20 de julho de 1860, na primeira coluna).
+Chegaram de Paris 7 quadros, baseados nas fotografias de Frond, executados nas oficinas de Lemercier, em Paris. Seriam ofertados aos assinantes do Brasil Pitoresco (Correio Mercantil, de 14 de agosto de 1860, na segunda coluna).
+A comissão para a construção de um monumento em cima do túmulo de Charles Ribeyrolles reuniu-se na casa de Frond e aprovou o projeto do escultor Dubois (Correio Mercantil, de 3 de setembro de 1860, na primeira coluna).
+Foi anunciada a venda dos três volumes do Brasil Pitoresco, acompanhado de um álbum de 75 gravuras (Correio Mercantil, de 19 de setembro de 1860).
+Foi anunciada a venda da oficina fotográfica de Victor Frond, que partiria para a Europa (Correio Mercantil, de 20 de setembro de 1860).
+Foi noticiada a chegada de mais 10 vistas que integrariam o Brasil Pitoresco. Lista das obras com seus respectivos litógrafos (Correio Mercantil, de 4 de novembro de 1860, na quinta coluna).
+Nascimento de Julie Louise Marie Jeanne Frond, em 8 de novembro de 1860, primeira filha de Frond e Julie Charlotte Lacombe.
+1861 – O desenhista e caricaturista alemão Henrique Fleuiss (1824 – 1882), radicado no Brasil, publicou uma charge sobre o Brasil Pitoresco (Semana Ilustrada, de 17 de março de 1861).
+ 
+Semana Ilustrada, de 17 de março de 1861
+ 
+
+Frond enviou um exemplar do Brasil Pitoresco para o Instituto Histórico (Jornal do Commercio, de 2 de agosto de 1861, na sexta coluna).
+Victor Frond requereu um passaporte (Jornal do Commercio, de 5 de setembro de 1861, na quarta coluna, sob o título “Repartição da Polícia”).
+Um raio atingiu a casa de  Frond sem causar muitos danos (Diário do Rio de Janeiro, de 12 de novembro de 1861, na terceira coluna).
+Foi noticiada com entusiasmo a chegada das últimas 24 vistas para o Brasil Pitoresco – vieram da França no paquete Navarre (Diário do Rio de Janeiro, 19 de novembro de 1861, na primeira coluna).
+Frond fez parte do juri especial de Belas Artes da Exposição Nacional (Jornal do Commercio, de 9 de dezembro de 1861, na quinta coluna). O convite foi feito para amenizar o constrangimento da recusa da direção do evento em expor as litografias do Brasil Pitoresco durante a exposição, com a justificativa que haviam sido produzidas fora do Brasil. A Exposição Nacional foi inaugurada em 2 de dezembro, data do aniversário de Pedro II e terminou em 15 de janeiro de 1862.
+1862 - Apresentou com Cesar Garnier, no ministério da Agricultura, Comércio e Obras Públicas, um projeto de embelezamento do Campo da Aclamação (Jornal do Commercio, de 12 de março de 1862, na sexta coluna).
+O álbum encadernado pela Casa Lombaerts, cujo conteúdo era o Brasil Pitoresco, foi premiado na Exposição Nacional com medalha de prata. Foi doado a Pedro II como lembrança do evento. Está na Biblioteca do Museu Imperial em Petrópolis (Jornal do Commercio, 15 de março de 1862, na segunda coluna).
+Foi publicada uma propaganda da venda de exemplares do Brasil Pitoresco, cuja renda seria revertida para a construção do monumento em homenagem a Charles Ribeyrolles (Jornal do Commercio, de 26 de abril de 1862, na última coluna).
+Foram publicadas críticas ao projeto de embelezamento do Campo da Aclamação apresentado por Frond e Garnier (Semana Ilustrada, de 18 de maio de 1862 e de 25 de maio de 1862).
+Sua esposa, Julie Frond, seus dois filhos e um cunhado partiram para a França (Diário do Rio de Janeiro, de 2 de junho de 1862, na última coluna).
+Em fins de agosto, beneficiado pela anistia incondicional de 1859, Frond já se encontrava em Paris, na França, como editor da Maison Lemercier, na rua de Seine, 57.
+Em Paris, em 7 de setembro, nascimento de Henriette Camille Lucie Laurent, primeira filha do casal Frond que nasceu na França.
+1863 – Numa carta de 25 de maio, o pintor Gustave Courbet (1819-1877) recomendou os serviços de fotógrafo de Frond para o filósofo Pierre-Joseph Proudhon (1809-1865).
+1864 – Entre 1864 e 1869, os álbuns Panthéon des illustrations françaises au dix-neuvième siècle,  primeiro projeto de Frond ligado à Maison Lemercier, foram vendidos por subscrição. A publicação seguiu os moldes da Galeria dos brasileiros ilustres.
+1866 - Frond negociou a venda de quadros de Courbet para o superintendente das Belas Artes dos Museus Imperiais, o conde Alfred Émilien Nieuwerkerke (1811-1892).
+Em 12 de fevereiro, em Paris, nascimento da última filha do casal Frond, Blanche Adrienne Léontine Frond.
+1868 – Foi publicado o livro de Victor Frond, Histoire de la marine française – au XIXe siècle : portraits, biographies, autographes, editado por Abel Pilon.
+1870 – Frond foi reintegrado, pelo decreto de 21 de dezembro de 1870, ao 124º Regimento de Infantaria de Linha como capitão.
+1871 - Foi publicada sua obra, Atas e história do concílio ecumênico de Roma. Em 8 volumes, reunia textos, retratos, manuscritos e assinaturas. Foi editada por Abel Pilon e pela Maison Lemercier.
+Pelo decreto de 7 de fevereiro de 1871, foi nomeado Cavaleiro da Legião de Honra e passou a receber uma pensão de 250 francos. Recebeu a condecoração em 18 de dezembro do mesmo ano.
+Em novembro, foi para a reserva com uma pensão de 1.770 francos. Até meados da década, quando ficou muito doente, exerceu atividades administrativas no Palácio do Eliseu.
+1872 – Em 30 de janeiro, recebeu do papa Pio IX, (1792 – 1878) o título de Comendador da Ordem de Pio IX.
+1877 -  Instalou-se com a família em Varrèddes, cidade francesa do Departamento Seine-et-Marne.
+1878 – Uma versão afim do seu relato autobiográfico foi publicada no Cahiers complémentaire II —déposition des témoins, da Histoire d’un crime, do escritor Victor Hugo.
+Em 17 de setembro, sua doença foi diagnosticada: ele sofria de esclerose cérebro-raquidiana.
+1881 - Em 16 de janeiro de 1881, Victor Frond faleceu em Varrèddes.
+Em 24 de março, foi realizado seu inventário e seus bens inventariados chegaram ao valor de 3.183 francos.
+Foi autorizado pela Lei de Reparação Nacional, de 10 de julho de 1881, um pedido de indenização que Frond havia feito ao governo francês, em 1880, através de um texto manuscrito autobiográfico. Nele Frond se colocava como vítima do golpe de Estado de Luís Napoleão Bonaparte. Na época do pedido de indenização, ele e Julie tinham quatro filhos. Segundo Lygia Segala, é possível que o texto autobiográfico original tenha sido esboçado no contexto de resistência londrino, sendo depois readaptado às exigências do processo já mencionado.
+O Brasil Pitoresco integrou a Primeira Exposição de História do Brasil realizada na Biblioteca Nacional e inaugurada em 2 de dezembro de 1881. A obra foi saudada pelo diretor da instituição, Ramiz Galvão (1846 – 1938), como grande ressurreição do passado e uma previsão do futuro.
+1941 - Na coleção dirigida pelo bibliotecário municipal de São Paulo, Rubens Borba de Moraes (1899 – 1986), denominada Biblioteca Histórica Brasileira, da Livraria Martins de São Paulo, foi lançada a primeira reedição do Brasil Pitoresco, com dois volumes. Foi prefaciada por Affonso d’Escragnolle Taunay (1876 – 1958) com tradução e notas de Gastão Penalva (1887-1944). Integrava uma lista de livros raros.
+1980 - Foi lançada a segunda reedição do Brasil Pitoresco, na Coleção Reconquista do Brasil, dirigida por Mário Guimarães Ferri (1918 – 1985). A reedição foi feita por uma parceira entre a Editora Itatiaia e a Universidade de São Paulo.
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/2816` — `itens/20.500.12156.1_2816/`
+- `20.500.12156.1/2838` — `itens/20.500.12156.1_2838/`
+
diff --git a/wordpress/20846-cronologia-de-guilherme-gaensly-1843-1928.md b/wordpress/20846-cronologia-de-guilherme-gaensly-1843-1928.md
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+++ b/wordpress/20846-cronologia-de-guilherme-gaensly-1843-1928.md
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+---
+id: 20846
+url: "https://brasilianafotografica.bn.gov.br/?p=20846"
+titulo: "Cronologia de Guilherme Gaensly  (1843 – 1928)"
+autor: "Andrea Wanderley"
+data: "2021-01-06T10:18:30+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/979"]
+fetched_at: "2026-09-10T10:04:11.634Z"
+---
+
+# Cronologia de Guilherme Gaensly  (1843 – 1928)
+
+Cronologia de Guilherme Gaensly  (1843 – 1928)
+ 
+Guilherme Gaensly. Avenida Paulista, c. 1902. São Paulo, SP / Acervo FBN
+ 
+1843 – Em 1º de setembro (provavelmente), nascimento de Wilhelm (Guilherme) Gaensly, em Wellhausen, cantão de Thurgau, na Suíça, fronteira com a atual Alemanha, filho de Jacob Heinrich (c. 1804 – 1868) e Anna Barbara Kin (c. 1813 – 1895). Teve 4 irmãos: Ferdinand (c. 1837 – 1915), Frederick (c. 1838 – 1902), Julia (c.1848 – 1936) e Alaine (c.1852 – ?). Nesse mesmo ano, seu pai veio para o Brasil, repetindo a experiência de primos e irmãos, chegando em Salvador, em 19 de setembro.
+1848 – Em julho, chegada de Anna Barbara com os filhos Ferdinand, Frederick e Guilherme em Salvador, na época a segunda cidade mais populosa do Brasil – a primeira era o Rio de Janeiro.
+1850/1851 – Criação do Bahia Fremden Kirschhof, o Cemitério dos Estrangeiros. Os pais e irmãos de Gaensly estão enterrados lá, na área dos protestantes.
+1868 – Morte de Jacob Heinrich em 4 de janeiro. Alberto Henschel (1827 – 1882) anuncia a técnica da marfimographia, a contratação de novos profissionais e a iminente abertura de uma filial da Photographia Allemã em Salvador, na Bahia (Jornal de Recife, edição de 21 de julho de 1868, quarta e quinta colunas, no pé da página). Em algum momento entre a inauguração do ateliê e 1871 Gaensly trabalhou para Henschel.
+Década de 1870 – Segundo Kossoy, durante essa década, Gaensly também foi associado ao fotógrafo alemão Joseph Schleier (1827 – 1903), que havia chegado em Salvador em 1851.
+1871 – Após um período de aprendizado no ateliê de Henschel, situado na rua da Piedade, 16 (Jornal da Bahia, 16 de setembro de 1871), Gaensly estabeleceu-se como fotógrafo na firma Maison Gaensly & Lange (segundo Kossoy, Waldemar Lange), com a colaboração de Karl Gustaff ( c. 1837 – 1872), alemão que também havia prestado serviços para Henschel. Provavelmente, a Maison Gaensly & Lange ficava na Estrada do Manguinho.
+1874 – Segundo Geraldo da Costa Leal em Um cinema chamado saudade (1997), nessa época, o europeu Rodolpho Frederico Francisco Lindemann (c. 1852 – 19?) já trabalharia com Gaensly.
+1875 – No Jornal da Bahia de 29 de agosto de 1875, na página 3, de 31 de agosto, na página 4, e de 4 de setembro, na página 4, foram publicadas propagandas da Photographia do Commercio, de Gaensly, na Ladeira de São Bento, 1. A propaganda foi publicada outra vez em 14 e 19 de abril de 1876 no mesmo jornal.
+Novo estabelecimento
+montado com todo o gosto
+Photographia do Commercio
+Guilherme Gaensly
+1- Ladeira de S. Bento – 1
+na localidade que ocupava a I.l.L. M. Sociedade Recreativa
+Tendo sido todos os utensílios para esta nova galeria como instrumentos, mobílias, fundos, decorações, etc, escolhidos pessoalmente na minha última viagem à Europa onde visitei os maiores estabelecimentos deste gênero, venho oferecer ao respeitável público o ATELIER melhor montado desta capital garantindo trabalhos perfeitos e de DURAÇÃO visto que adotei todos os melhoramentos feitos nestes últimos anos.
+A ótima colocação do ATELIER permite pela boa luz tirar constantemente bons resultados ainda nos dias chuvosos.
+Sempre tem um trem  especial pronto para sair a qualquer chamado mediante prévio ajuste.
+Preços reduzidos
+A maior coleção de vidros da Bahia, Cartões de visita, Cartões imperiais, Cartões Bombés, Retratos Maiores 
+1876 – Segundo Kossoy, Gaensly anunciou seu estabelecimento, a Photographia do Commercio, no Largo do Teatro, 1, no Jornal da Bahia, de 20 de junho de 1876.
+1877 – Foi agraciado com 3 medalhas pelo Imperial Liceu de Artes e Ofícios da Bahia.
+1881 – Participou da grande mostra da Biblioteca Nacional, Exposição de História do Brasil, que reunia integrantes do acervo da instituição e também da coleção de dom Pedro II (1825 – 1891) e do barão Homem de Mello (1837 – 1918). Apresentou 28 fotografias de quadros a óleo de pessoas públicas como o padre Antônio Vieira (1608 – 1697) e o conde de Cavalleiros (1750 – 1807). Expôs também vistas da Bahia produzidas provavelmente durante a década de 1870 com o alemão Joseph Schleier (1827 – 1903) (Anais da Biblioteca Nacional, 1881 – 1882, volume 2, nas páginas 1418, 1419, 1421, 1495, 1501, 1542, 1544, 1545, 1546, 1552, 1554, 1555, 1558, 1566, 1571, 1572, 1574, 1575, 1576, 1578, 1579, 1581, 1582, 1583, 1589, 1591, 1592 e 1597).
+A presença de Schleier no catálogo da Exposição de História do Brasil parece confirmar a associação entre ele e Gaensly. As imagens são do Terreiro de Jesus com a cathedral e Faculdade de Medicina (antigo colégio dos jesuitas). Segundo Ricardo Mendes, “Considerando a abrangência do trabalho de Gaensly ao registrar a cidade de Salvador, não teria sentido a inclusão de imagens de locais tão conhecidos, a não ser que se tratasse de uma associação efetiva. De J. Schleier existem poucas referências, além de raras imagens no acervo da Biblioteca Nacional e dos Instituto Geográfico e Histórico da Bahia”.
+Nesse ano o endereço de seu ateliê mudou para Largo do Teatro n° 92 – ao lado do Teatro São João – local que anos depois ficaria conhecido como Praça Castro Alves. O estúdio, um grande sobrado, era, provavelmente, também a residência de Gaensly.
+Gaensly e Rodolpho Frederico Francisco Lindemann (c. 1852 – 19?), futuramente seu sócio e cunhado, fotografaram a inauguração do segundo trecho da Estrada de Ferro Central da Bahia, entre São Félix e Tapera, atual Taperi (Diário de Pernambuco, 1º de janeiro de 1882, na última coluna).
+1882 – Informava-se ao público novas mudanças e melhorias na Fotografia premiada de Guilherme Gaensly, que além de ateliê fotográfico funcionava também como uma galeria de seus trabalhos e anunciava  “a melhor coleção de vistas dos pontos mais bonitos da capital e subúrbios. Chama especial atenção para os retratos de tamanho natural pela câmara solar, retocados por um hábil artista de Paris”. O retoque deveria ser uma referência ao acabamento de fotopintura. (Diário de Notícias, 1 de janeiro de 1882).
+Gaensly apresentou “excelentes trabalhos photographicos” na exposição dos 10 anos do Imperial Liceu de Artes e Ofícios (Diário de Pernambuco, 28 de outubro de 1882, na última coluna).
+Foi agraciado com uma medalha do Imperial Liceu de Artes e Ofícios da Bahia.
+Admitiu como ajudante Rodolpho Frederico Francisco Lindemann (c. 1852 – 19?), que no final dessa década tornou-se seu sócio.
+1883 –  Foi publicado um anúncio do ateliê fotográfico de Gaensly, com a denominação Photographia Gaensly, na Praça de Castro Alves (Diário de Notícias, 4 de abril de 1883).
+“O conhecido e acreditado photographo Gaensly” registrou o grupo que estava presente ao lançamento da pedra fundamental para as obras do primeiro engenho central da companhia Bahia Central Sugar Factories, um empreendimento do engenheiro britânico Hugh Wilson, organizador da Companhia Anônima da Imperial Estrada de Ferro Central da Bahia (Jornal do Commercio, 3 de junho de 1883, na primeira coluna).
+Foi agraciado com uma medalha do Imperial Liceu de Artes e Ofícios da Bahia.
+1884 – Foi agraciado com uma medalha do Imperial Liceu de Artes e Ofícios da Bahia.
+1885 – Foi agraciado com uma medalha do Imperial Liceu de Artes e Ofícios da Bahia.
+1888 - Em 5 de maio, Guilherme casou-se com Ida Itschner (c.1863 – 1933), na residência dos pais da noiva, João Jacob Itschner e Elisabet Wolf Itschner. Teve como testemunhas seu sócio, Rodolfo Lindemann, e um de seus irmãos, Frederick. A cerimônia foi celebrada pelo pastor A.L. Blackford, um dos fundadores da igreja presbiteriana no Brasil.
+Rodolfo Lindemann havia se casado com a irmã de Guilherme, Alaine, em 23 de abril, no ateliê fotográfico dele e de Guilherme, tendo como testemunhas os irmãos de Gaensly, Frederick e Ferdinand.
+Acervo IMS
+1889 – Rodolpho Lindemann, do ateliê Gaensly & Lindemann, foi premiado na Exposição Universal de Paris, no Campo de Marte, com uma medalha de bronze com quadros fotográficos da Bahia e de Pernambuco.
+1891 – Gaensly embarcou rumo à Europa no paquete alemão Rosário (Diário de Notícias, 14 de janeiro de 1891, na penúltima coluna).
+O casal Guilherme e Ida Gaensly embarcou no paquete alemão Mondevidéu rumo a Santos (O Paiz, 2 de julho de 1891, na última coluna).
+1892 – Foi noticiado que o beco ao lado do ateliê fotográfico de Gaensly & Lindemann, na praça Castro Alves, em Salvador, havia se tornado um “mictório” (Jornal de Notícias, 28 de maio de 1892, na primeira coluna).
+1893 – O casal Guilherme e Ida Gaensly embarcaram no paquete alemão Olinda rumo à Europa (Gazeta de Notícias, 9 de julho de 1893, na última coluna).
+1894 – Inauguração da filial da firma Gaensly & Lindemann, em São Paulo, na rua XV de Novembro, 28, onde se concentrava o comércio de alto padrão na capital. Gaensly foi chefiar a sede paulista e Lindemann permaneceu em Salvador. A firma baiana teve seu nome alterado para Photographia Cosmopolita. Tudo indica que a crescente concorrência em Salvador e a queda do desempenho da economia baiana devido à seca foram as causas da abertura do ateliê em São Paulo.
+Entre 1894 e  1897, editou a série de grandes estampas fotográficas de São Paulo.
+O ateliê fotográfico Gaensly & Lindemann foi o responsável pela produção de um quadro com os retratos de todos os arcebispos da Bahia. Foi organizado por iniciativa de Olavo de Freitas Martins, um dos fundadores do Instituto Geográfico e Histórico da Bahia. “O trabalho artístico do systema photogravura foi executado pelo artista sr. Rodolpho Lindemann, ficando perfeito”. A matéria também informava que a sede paulista do ateliê Gaensly & Lindemann estava produzindo um quadro com os retratos dos arcebispos de São Paulo (Jornal de Recife, 24 de outubro de 1894, na quinta coluna).
+As edições de 1894 e 1895 do livro São Paulo, de Gustav Köenigswald, foram ilustradas com as primeiras séries de vistas da capital paulista produzidas por Gaensly.
+1895 – Aos 82  anos, faleceu em Salvador a mãe de Gaensly, Anna Barbara.
+1896 – Anúncio em francês da Photographia Gaensly & Lindemann, com os endereços em São Paulo – rua Quinze de Novembro,28 – e em Salvador – Largo Castro Alves, 92 (Almanach, 1896).
+Elogio à fotografia Otto de bicicleta, produzida pelo ateliê Gaensly & Lindemann, exposta na casa de música do sr. Luiz Levy, na rua Quinze de Novembro, em São Paulo (A Bicycleta, 12 de julho de 1896, na primeira coluna).
+O fotógrafo Juan Gutierrez (c. 1860 – 1897) anunciou que Gaensly e Lindemann haviam cedido “gentilmente” a ele o seu “magnífico atelier” na rua Quinze de Novembro, 28, na capital paulista. Gutierrez estava expondo suas fotografias no salão da Associação Comercial (O Commercio de São Paulo, 24 de novembro de 1896, na quinta coluna).
+No periódico paulista A música para todos, exemplar de dez.1896 / jan.1897, foi anunciada a Photographia Gaensly & Lindemann recomendada aos nossos assinantes. No mesmo anúncio,  foi também noticiada a exposição de mais de cinquenta fotografias do ateliê na redação da revista.
+1898 – Foi comercializado o álbum “Colleções de 27 cartões com vistas da Cantareira, Jardim Publico, Quartel de Policia, Serra de Santos, Fazendas de Café, Poços de Caldas, Escola Normal de Campinas, Estação de Campinas, Largo de São Bento, Largo do Palacio, Ypiranga e outros”, cartões postais impressos por Victor Vergueiro Steidel (1868 – 1906). Não foi apresentada a autoria das imagens, mas foram, muito provavelmente, baseadas em fotografias de Gaensly, de Paulo Kowalsky e de Marc Ferrez(1843 – 1923). O fotógrafo Kowalsky teria atuado em São Paulo entre 1891 e 1897.
+Para a Escola Politécnica, o estúdio Gaensly & Lindemann produziu o quadro de formatura da turma de Engenheiros Geógrafos.
+1899 – Gaensly & Lindemann presentearam o Correio Paulistano com “uma bella collecção de bilhetes postais contendo vistas dos principais edificios e dos logares mais pitorescos” de São Paulo (Correio Paulistano, 4 de agosto de 1899, na última coluna). Seria sua primeira série de postais, Lembrança de São Paulo.
+Gaensly & Lindemann anunciaram o envio da Grande Collecção de Vistas de São Paulo para a Exposição Universal de Paris de 1900.
+Em abril, foi constituída em Toronto, por um grupo de investidores canadenses estimulados por empresários paulistas a The São Paulo Railway, Light and Power Company Limited.  Em 17 de junho, a empresa obteve autorização para funcionar no Brasil e logo em seguida iniciou seus trabalhos no país.
+Gaensly foi contratado pela companhia e foi seu principal fotógrafo até 1925. Com equipamentos de grande porte (negativos em vidro 24 x 30cm), passou, então, a documentar os trabalhos da empresa, produzindo registros das transformações urbanas de São Paulo, causadas por obras de implantação de linhas de bonde elétrico, de iluminação pública, imagens de casas de máquina e interiores de oficinas de manutenção, além de fotografias da construção de barragens e das hidrelétricas da Light no estado. A primeira fotografia produzida por ele para a Light foi das obras da rua 25 de março, em 5 de julho.
+ 
+Guilherme Gaensly. A imagem zero. Obras na Rua 25 de Março, 5 de julho de 1899. São Paulo, SP / Acervo da Light
+ 
+1900 – Terminou a sociedade entre Gaensly & Lindemann, em São Paulo, e Gaensly passou a atuar sozinho na Photographia Gaensly (Alkmanak Lammert, 1901). No mesmo Almanak, consta o ateliê Gaensly & Lindemann, em Salvador.
+Produção da segunda série de postais, também denominada Lembrança de São Paulo, dessa vez apenas com a assinatura de Gaensly. A terceira série deve ter sido editada logo em seguida.
+1901 – Foi noticiado que a Photographia Gaensly & Lindemann de Salvador havia fotografado uma criança natimorta e hermafrodita, que estava despertando a curiosidade da população e de médicos, dentre eles o professor  de medicina legal, Nina Rodrigues (1862 – 1906) (Diário do Maranhão, 31 de outubro de 1901, na última coluna sob o título “Criança fenomenal”).
+1902 - As imagens publicadas no primeiro Relatório de Diretoria da Light dirigido aos acionistas no exterior foram baseadas em fotografias de Gaensly e Lindemann, produzidas especificamente para a empresa ou para o álbum Lembrança de São Paulo, editado pelo Instituto Politécnico de Zurique e impresso em colotipia.
+O estúdio fotográfico Gaensly & Lindmann continuava funcionando em Salvador (Almanak Laemmert, 1903).
+1903 - Para “auxiliar a propaganda do café” na Exposição de Saint Louis (1904), Gaensly começou a documentar as instalações e a  lavoura cafeeira da colônia americana em Santa Bárbara (Correio Paulistano, 6 de dezembro de 1903).
+Enviou ao Correio Paulistano uma coleção de dez cartões-postais coloridos e 50 em planotipia (Correio Paulistano, 26 de abril de 1903, na primeira coluna).
+1904 – Gaensly entregou “as vistas produzidas no interior da exposição (Saint Louis) e as dos mapas do café” (Correio Paulistano, 12 de fevereiro de 1904, na primeira coluna).
+Gaensly integrou uma comitiva que visitou a Ilha dos Búzios, parte do Arquipélago de Ilhabela, onde seria instalada uma colônica correcional. O conhecido fotógrafo Gaensly tinha a tarefa de tirar vistas dos trechos mais pitorescos e menos conhecidos dos Búzios e das histórias do fortes coloniais de Bertioga, São Sebastião e Villa Bella. Dentre vários, também estavam na expedição o escritor e engenheiro Euclides da Cunha (1866 – 1909), autor de Os Sertões, e o pintor Benedito Calixto (1853 – 1927), além de autoridades como o secretário do Interior de São Paulo e o chefe de polícia (Correio Paulistano, 8 de agosto de 1904, na quarta coluna, e 12 de agosto de 1904, na última coluna).
+Anúncio da Photographia de Guilherme Gaensly, antiga Gaensly & Lindemann. A propaganda seria publicada diversas vezes durante 1904 e 1905 (Correio Paulistano, 1º de novembro de 1904, na sétima coluna). Foi contemporâneo dos fotógrafos húngaro José Wollsack (1847 – 1927), do austríaco Otto Rudolf Quaas (c. 1862 – c. 1930) e do brasileiro Valério Vieira (1862 – 1941).
+ 
+Correio Paulistano, 1º de novembro de 1904
+ 
+Na Exposição Mundial de Saint Louis, realizada entre 30 de abril e 1º de dezembro de 1904,  Gaensly ganhou medalha de prata na categoria “Photographia” (Almanak Laemmert, 1905).
+O estúdio fotográfico Gaensly & Lindmann continuava funcionando em Salvador (Almanak Laemmert, 1905).
+1905 - Entre 1905 e 1907, nas notas fiscais da Photographia Gaensly existem muitas referências a serviços de reproduções de mapas para a Comissão Geográfica e Geológica.
+Início das atividades da Rio de Janeiro Railway, Light and Power Company Limited e contratação do fotógrafo Augusto Malta (1864 – 1957).
+Foi publicada uma fotografia de autoria de Gaensly da festa do Club da Guarda Nacional, realizada no Jardim da Luz, em 26 de julho de 1905 (Revista da Semana, 20 de agosto de 1905).
+c. 1905 – Gaensly editou uma série no formato postal, que ficou conhecida como a série A, com cinquenta imagens. Foi produzida com uma técnica de impressão que resultava numa melhor visualização, próxima ao da cópia fotográfica.
+1906 - Guilherme Gaensly estava na folha de pagamento da Secretaria de Agricultura de São Paulo (Correio Paulistano, 1º de novembro de 1906, na última coluna).
+Foi elogiada como magnífica a fotografia do quadro da turma de graduandos da Escola de Farmácia de Ouro Preto, produzida por Gaensly (O Pharol, 11 de dezembro de 1906, na sexta coluna, sob o título “Municípios”).
+Último registro do funcionamento do estúdio fotográfico Gaensly & Lindmann, em Salvador, no Almanak Laemmert, 1906.
+1907 – Guilherme Gaensly estava na folha de pagamento da secretaria de Agricultura de São Paulo (Commercio de São Paulo, 22 de novembro de 1907, na primeira coluna).
+1908 – Guilherme Gaensly estava na folha de pagamento das secretarias do Interior e da Agricultura de São Paulo (Commercio de São Paulo, 12 de janeiro de 1908, na primeira coluna, 26 de fevereiro, na quinta coluna, 8 de maio, na terceira coluna e Correio Paulistano, 30 de outubro de 1908, na sexta coluna e 15 de dezembro de 1908, na última coluna).
+Participou da Exposição Nacional e obteve a medalha de ouro na seção de “Photographia” (Commercio de São Paulo, 27 de novembro de 1897, na quarta coluna, sob o título “Notas e Notícias”, e Almanak Laemmert, 1909).
+1909 – Guilherme Gaensly estava na folha de pagamento da secretaria de Agricultura de São Paulo (Correio Paulistano, 13 de julho de 1909, na penúltima coluna).
+1910 – Iniciou a produção de um novo conjunto de 50 imagens de São Paulo no formato postal, posteriormente conhecida como a série B.
+1911 - O naturalista Hermann von Ihering (1850-1930), que dirigiu o Museu Paulista entre 1894 e 1916, pediu à Diretoria de Terras, Colonização e Imigração um coleção de fotografias dos núcleos coloniais “ultimamente tiradas pelo dr. Gaensly” (Correio Paulistano, 29 de abril de 1911, na segunda coluna).
+Uma coleção de fotografias de Guilherme Gaensly foi um dos prêmios da rifa organizada por artistas em prol das vítimas de uma inundação ocorrida em Santa Catarina e no Paraná (O Paiz, 18 de dezembro de 1911, na última coluna)
+c. 1912 – O ateliê de Gaensly mudou-se para a rua Boa Vista, 39 (Almanak Laemmert, 1913).
+1915 - Foi publicada no jornal Germania, da comunidade alemã, em 15 de junho de 1914, uma propaganda do ateliê do fotógrafo na rua Boa Vista, 39.
+1917 – Gaensly prestou serviços à Prefeitura de São Paulo (Correio Paulistano, 4 de dezembro de 1917, na última coluna).
+1922 – Fotografou os participantes do Sínodo Presbiteriano Independente reunido em São Paulo em 24 de maio, um importante evento da igreja presbiteriana. A imagem foi publicada na edição de 2 de março de 1922 na capa do jornal O Estandarte e encontra-se arquivada no Centro de Documentação e História Reverendo Vicente Themudo Lessa.
+1925 – Gaensly deixou de trabalhar para a The São Paulo Railway, Light and Power Company Limited.
+1927 –  Último registro do funcionamento de seu ateliê na rua Boa Vista, 39, no Almanak Laemmert de 1927.
+1928 – Guilherme Gaensly morreu em 20 de junho de pneumonia, em São Paulo.
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/979` — `itens/20.500.12156.1_979/`
+
diff --git a/wordpress/20850-cronologia-de-walter-garbe-18-19-e-de-seu-pai-ernst-garbe-1853-1925.md b/wordpress/20850-cronologia-de-walter-garbe-18-19-e-de-seu-pai-ernst-garbe-1853-1925.md
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+---
+id: 20850
+url: "https://brasilianafotografica.bn.gov.br/?p=20850"
+titulo: "Cronologia de Walter Garbe (18? – 19?) e de seu pai, Ernst Garbe (1853 – 1925)"
+autor: "Andrea Wanderley"
+data: "2021-01-06T10:18:20+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: []
+fetched_at: "2026-09-10T10:04:14.768Z"
+---
+
+# Cronologia de Walter Garbe (18? – 19?) e de seu pai, Ernst Garbe (1853 – 1925)
+
+Cronologia de Walter Garbe (18? – 19?) e de seu pai, Ernst Garbe (1853 – 1925)
+ 
+1853 – Nascimento de Ernst Garbe, em 22 de novembro, em Gorlitz, na Alemanha, filho de Augusto e Henriqueta Garbe.
+1882 - Ernst Garbe veio pela primeira vez ao Brasil e daqui levou grandes carregamentos de animais vivos da fauna sul-americana para Hamburgo, além de grande quantidade de couros de aves, mamíferos e peixes.
+1901/1902 - Ernst Garbe explorou a região do rio Juruá, no norte do Brasil, subvencionado pelo Museu Paulista.
+1902 – Ernst Garbe trouxe para o Museu Paulista os primeiros exemplares de mico-leão-preto: três espécimes, uma fêmea e dois machos, coletados em Vitoriana, município de Botucatu, em São Paulo. Foi o segundo registro histórico da espécie.
+Foi contratado como naturalista-viajante do Museu Paulista em 26 de dezembro, por proposta do então diretor da instituição, o alemão Hermann von Inhering (1850 – 1930). Exerceu esse cargo até sua morte, em 1925.
+1904 – Publicação de um artigo sobre a expedição feita por Ernst Garbe, entre 1901 e 1902, no rio Juruá, no norte do Brasil (Boletim do Museu Paraense, 1904).
+1905 – Ernst e seu filho, Walter Garbe, partiram do Rio de Janeiro para Caravelas, na Bahia, a bordo do Guarany (Brazilian Review, 17 de outubro de 1905, primeira coluna).
+1906 - Walter, excelente auxiliar e fotógrafo artista, em companhia de seu pai, o alemão Ernst (Ernesto) Garbe explorou a região do rio Doce, desde a fronteira do estado de Minas Gerais até Linhares e na Lagoa Juparanã, no Espírito Santo. Obtiveram valiosas coleções zoológicas, mas, na ocasião, não se relacionaram com os índios.
+1907 – Walter Garbe chegou ao Rio de Janeiro a bordo do paquete Muqui, que vinha de Caravelas, na Bahia, tendo feito escala em Guarapari, no Espírito Santo (Correio da Manhã, 18 de abril de 1907, na terceira coluna).
+Ernst Garbe partiu rumo a Manaus e escalas no paquete Maranhão (Gazeta de Notícias, 27 de outubro de 1907, na última coluna).
+1908 - Ernst Garbe chegou a Vitória vindo de Caravelas, na Bahia, a bordo do Guanabara (O Estado do Espírito Santo, 20 de dezembro de 1908, na primeira coluna). No dia seguinte, chegou ao Rio de Janeiro (Jornal do Brasil, 21 de dezembro de 1908, na última coluna).
+1909 – Entre março e maio, Walter Garbe fez diversas excursões à margem esquerda do rio Doce, no Espírito Santo, e obteve uma coleção de peças etnográficas dos índios “botocudos”.
+1911 – Walter Garbe partiu para Manaus e escalas no paquete Alagoas (Gazeta de Notícias, 1º de julho de 1911, quinta coluna).
+Walter Garbe chegou a Vitória, procedente do Rio de Janeiro, no paquete Bahia (Diário da Manhã, 14 de setembro de 1911, quarta coluna).
+1912 – Walter Garbe embarcou no paquete Manaus, que seguiu para Manaus e escalas (O Paiz, 19 de janeiro de 1912, segunda coluna).
+No Rio de Janeiro, Ernst Garbe ficou hospedado no Hotel Familiar Globo (O Paiz, 14 de maio de 1912, na quinta coluna).
+1913 - Publicação na primeira página do Correio Paulistano de 23 de fevererio de 1913 da matéria Fauna e flora do Brasil – As excursões e os trabalhos de um naturalista-viajante, ilustrada com uma fotografia de Ernst Garbe.
+ 
+Fotografia na primeira página do Correio Paulistano de 23 de fevereiro de 1913 com a legenda O sr. Ernesto Garbe preparando sua caça para o Museu Paulista.
+ 
+Ernst Garbe naturalizou-se brasileiro (Jornal do Commercio, 25 de julho de 1913, na sexta coluna).
+Walter Garbe e família chegaram ao Brasil a bordo do paquete alemão Tucuman, vindo de Hamburgo e escalas (O Imparcial, 5 de novembro de 1913, na segunda coluna).
+1915 – Foi noticiado que Ernst Garbe acabara de fazer uma excursão zoológica ao longo do rio Uruguai, no Rio Grande do Sul (Correio Paulistano, 23 de julho de 1915, primeira coluna).
+1917 – Ernst Garbe tornou-se sócio da União Internacional Protetora dos Animais (Correio Paulistano, 1º de maio de 1917, na segunda coluna).
+1919 - A secretaria do Interior de São Paulo fez um pagamento a Ernst Garbe (Correio Paulistano, 28 de março de 1919, na quarta coluna).
+Foi publicada a matéria O resultado das recentes pesquisas realizadas pelo naturalista sr. Ernesto Garbe (Correio Paulistano, 7 de setembro de 1919, na penúltima coluna).
+1920 - A secretaria do Interior solicitou do presidente do Lloyd Brasileiro no Rio de Janeiro passagem daquele porto para Belém e de Belém a Manaus para Ernst Garbe, naturalista viajante do Museu Paulista (Correio da Paulistano, 13 de abril de 1920, na terceira coluna).
+Ernst Garbe seguiu para o Rio de Janeiro, vindo de São Paulo, no primeiro trem noturno (O Paiz, 28 de abril de 1920, na penúltima coluna).
+No mês de abril, Ernst Garbe seguiu para a Amazônia. Essa foi a última excursão que realizou.
+No trem noturno, Walter Garbe seguiu do Rio para São Paulo (Correio Paulistano, 6 de agosto de 1920, sexta coluna).
+1921 – A secretaria do Interior fez um pagamento a Ernst Garbe (Correio Paulistano, 20 de janeiro de 1921, na sétima coluna).
+Durante o carnaval, em Santa Thereza, no Espírito Santo, O sr Walter Garbe, conhecido fotógrafo, tirou várias fotografias inclusive a do salão principal do Governo Municipal (O Povo, 13 de fevereiro de 1921, primeira coluna).
+O diretor do Museu Paulista informou que Ernst Garbe estava desde abril de 1920 explorando a Amazônia, tendo coletado mais de 300 mamíferos, cem aves, ofídios, répteis, batráquios, aracnideos, crustáceos, lepdopteros, insetos e peixes. Elogiou os trabalhos feitos por ele em outras regiões do Brasil (Correio Paulistano, 21 de maio de 1921, na sétima coluna).
+A secretaria da Fazenda de São Paulo fez um pagamento a Ernst Garbe (Correio Paulistano, 25 de agosto de 1921, na quinta coluna).
+1922 – Walter Garbe esteve no palácio do Governo do Espírito Santo (Diário da Manhã, 7 de janeiro de 1922, na segunda coluna).
+O fotógrafo Walter Garbe residia em Santa Leopoldina, no Espírito Santo (Diário da Manhã, 8 de janeiro de 1922, na quarta coluna).
+O senhor Elpidio Pimentel havia recebido da secretaria de Agricultura do Espírito Santo 76 fotografias produzidas por Walter Garbe (Diário da Manhã, 3 de agosto de 1922, na quarta coluna).
+A coleção exposta na sala de ornitologia do Museu de Ciências foi ampliada com a presença de aves amazônicas trazidas pelo naturalista Ernst Garbe (Correio Paulistano, 4 de setembro de 1922).
+A prefeitura de Santa Leopoldina mandou, pelo hábil fotógrafo Walter Garbe, tirar diversos filmes cinematográficos da cidade, com a sua movimentada vida comercial, das nossas vias de comunicação; das nossas quedas d´água; do transporte do café da colônia para aqui e daqui para Vitória, via fluvial, e também das imponentes festas do Centenário aqui realizadas (O Jornal, 11 de novembro de 1922, na coluna).
+1923 – Walter Garbe requereu da secretaria de Agricultura o pagamento por serviços fotográficos em diversos municípios do Espírito Santo (Diário da Manhã, 31 de agosto de 1923, na quarta coluna).
+1924 – Walter Garbe esteve no palácio do governo do Espírito Santo (Diário da Manhã, 18 de março de 1924, na última coluna).
+Ernst Garbe foi mencionado na matéria Uma visita ao Museu do Ypiranga como o responsável pelas recentes aquisições de animais da Amazônia (Gazeta de Notícias, 23 de março de 1924).
+Walter Garbe foi um dos compradores da cidade de Vitória da Empresa Territorial Nova Capital Federal (Diário da Manhã, 15 de julho de 1924).
+Walter Garbe foi um dos convidados ao casamento do prefeito de Vitória, Otávio Peixoto, com Elida Avidos (Diário da Manhã, 20 de novembro de 1924, na última coluna).
+Ernst Garbe foi citado no artigo Porto Seguro em princípios do século XIX, de autoria de Afonso d’Escragnolle Taunay (1876 – 1958), na época diretor do Museu Paulista (América Brasileira, novembro – dezembro de 1924).
+1925 – Ernst Garbe ainda ocupava o cargo de naturalista-viajante do Museu Paulista (Almanak Laemmert, 1925).
+Falecimento de Ernst Garbe em 4 de julho, em São Paulo (O Dia, 5 de julho de 1925, na segunda coluna e O Paiz, 9 de julho de 1925, na quarta coluna). Publicação de um perfil sobre ele, escrito pelo então diretor do Museu Paulista, Afonso d’Escragnolle Taunay (1876 – 1958) (Correio Paulistano, 7 de julho de 1925).
+1928 – A prefeitura de São Paulo indeferiu um pagamento a Walter Garbe (Correio Paulistano, 21 de março de 1928, na segunda coluna).
+1929 – A secretaria da Fazenda de São Paulo fez um pagamento a Walter Garbe (Correio Paulistano, 28 de dezembro de 1929, na segunda coluna).
+1932/1933 – De outubro de 1932 a abril de 1933, Walter Garbe participou com Carlos Camargo de uma expedição comandada por Olivério Pinto. Foram coletadas aves do estado da Bahia – no vale do rio das Contas e nos arredores de Caravelas. Perto de Salvador, coletaram também na ilha da Madre de Deus.
+1937 – Walter Garbe era um dos componentes da Bandeira Anhanguera que após uma temporada na região do rio das Mortes, onde teve contato com os índio xavantes, sob o comando do sertanista e escritor Hermano Ribeiro da Silva(? – 1937), retornou a São Paulo (Correio Paulistano, 5 de dezembro de 1937, na primeira coluna).
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
diff --git a/wordpress/20853-cronologia-de-jose-ferreira-guimaraes-1841-1924.md b/wordpress/20853-cronologia-de-jose-ferreira-guimaraes-1841-1924.md
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@@ -0,0 +1,157 @@
+---
+id: 20853
+url: "https://brasilianafotografica.bn.gov.br/?p=20853"
+titulo: "Cronologia de José Ferreira Guimarães (1841 – 1924)"
+autor: "Andrea Wanderley"
+data: "2021-01-06T10:20:34+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/5391", "20.500.12156.1/5399"]
+fetched_at: "2026-09-10T10:04:18.074Z"
+---
+
+# Cronologia de José Ferreira Guimarães (1841 – 1924)
+
+Cronologia de José Ferreira Guimarães (1841 – 1924)
+ 
+José Ferreira Guimarães. Retrato de homem fardado, verso, 1886. Rio de Janeiro, RJ / Acervo Arquivo Nacional
+ 
+1841 – Nascimento de José Ferreira Guimarães, em Guimarães, na região do Minho, em Portugal.
+c. 1852 – Aos 11 anos, emigrou sozinho para o Brasil, a bordo de um veleiro carregado de repolhos.
+1860 – Guimarães radicou-se no Rio de Janeiro.
+1862 – Provavelmente, nesse ano iniciou sua trajetória como fotógrafo, associando-se a Eduardo Isidoro Van Nyvel (18? – ?), na rua do Ouvidor, nº 75. Anunciaram que em seu estabelecimento fotográfico, aberto há poucos dias, executava-se retratos pelos sistemas do ambrótipo e cartões de visita (Jornal do Commercio, 9 de setembro de 1862).
+1863 – Publicação de uma propaganda do estabelecimento fotográfico de Van Nyvel e Guimarães no qual anunciaram ter recebido de Alexandre Ken, o primeiro fotógrafo do globo, o processo de cartões de visita, além de uma máquina…para fazer oito retratos em um só vidro e outra que com um único tubo tira quatro posições diferentes em um vidro (Jornal do Commercio, 10 de junho de 1863).
+ 
+Jornal do Commercio, 10 de junho de 1863
+ 
+1864 - Van Nyvel e Guimarães mudaram-se para a rua do Ourives, nº 40 (Jornal do Commercio, 22 de março de 1864, primeira coluna).
+1865 – Guimarães ganhou a medalha de prata na Exposição Geral de Belas Artes da Academia Imperial.
+1866 – Passou a anunciar-se sozinho no mesmo endereço, rua do Ourives, nº 40. Em outubro de 1866, Van Nyvel abriu um novo estabelecimento na Rua dos Ouvires, 65 (Jornal do Commercio, 2 de outubro de 1866, terceira coluna).
+Foi agraciado por d. Pedro II com o título de fotógrafo da Casa Imperial, em 13 de setembro.
+Ganhou a medalha de prata na 2ª Exposição Nacional. Sobre ele, o pintor Victor Meirelles, representando o júri do quarto grupo, onde se incluía a fotografia, escreveu no relatório do evento:
+‘1ª Medalha de Prata – José Ferreira Guimarães (1841 – 1924):
+Cabe a honra de ser classificado em primeiro lugar, obtendo a medalha de prata, o sr. J. F. Guimarães, estabelecido na rua dos Ourives, nº 40, por seus retratos de cartões de visita, e chapas de diferentes dimensões. Os trabalhos do Sr. Guimarães sobressaem-se pela fineza, nitidez e perfeição dos objetos representados e também pelo vigor dos tons que são bem calculados e de uma cor agradável, posições escolhidas com gosto e naturalidade.’
+1867 - Produziu um retrato em tamanho natural no formato de 2 x 1,35 m, a maior fotografia realizada no Brasil até então.
+Ganhou a medalha de prata na Exposição Geral de Belas Artes da Academia Imperial.
+Informava ter partido para a Europa (Jornal do Commercio, 25 de julho de 1867, sexta coluna).
+De volta de Paris, anunciou uma exposição de retratos sobre placas de porcelana na casa do Sr. Bernasconi & Moncada (Jornal do Commercio, 15 de novembro de 1867; Correio Mercantil, 5 de novembro de 1867, quinta coluna).
+ 
+Jornal do Commercio, 15 de novembro de 1867
+ 
+1869 – Anunciou ter regressado da Europa, aonde havia ido pela terceira vez, e também a abertura de seu novo estabelecimento na rua do Ourives, nº 38, segundo andar (Jornal do Commercio, 10 de outubro de 1869, página 3, Segunda Folha).  
+1872 – Fotografou a pintura Combate Naval do Riachuelo, de Victor Meirelles (1832 – 1903), empregando seu sistema de ampliação para fazer reproduções de obras de arte de grande formato. Produziu a fotografia em placa de porcelana pelo processo inalterável…Para execução dessa fotografia serviu-se o habilísssimo fotógrafo José Ferreira Guimarães de placa denominada pelos fotógrafos “negativo”…Foram tirados e distribuídos alguns “positivos” sobre papel albuminado…(Relatório da Repartição dos Negócios do Império, 1882).
+1873 – Ganhou a medalha de prata na 3ª Exposição Nacional.
+Teria voltado, nesse ano, a sua cidade natal, Guimarães.
+1875 - Retratou Marie Caroline Lefebvre (c. 1849 – 1914), mulher do fotógrafo Marc Ferrez (1843 – 1923).
+Na coluna “Folhetim da Gazeta de Notícias –  Bellas Artes”, o português Julio Huelva (1840 – 1904), pseudônimo do músico e arquiteto Alfredo Camarate, elogiou a fotografia produzida no Brasil e destacou os trabalhos dos ateliês de José Ferreira Guimarães  (1841 –1924), Joaquim  Insley Pacheco (1830 – 1912) e de Albert Henchel (1827 – 1892) e Franz (Francisco) Benque (1841-1921). O autor cobrou também a presença de fotógrafos do Rio de Janeiro na Exposição Universal da Filadélfia, que se realizaria em 1876 (Gazeta de Notícias, 21 de dezembro de 1875).
+Década de 1880 - Durante esta década, o fotógrafo Valério Vieira (1862 – 1941) trabalhou como assistente no estúdio do fotógrafo José Ferreira Guimarães.
+1882 - No Almanack Laemmert, foi veiculado um anúncio de Guimarães: Retratos vitrificados fixados a fogo, como as porcelanas de Sèvres. Perpétua duração, constituindo por isso uma verdadeira e imorredoura relíquia de família (Almanaque Laemmert, 1882).
+Segundo relatório do diretor da Academia das Belas Artes, a instituição comprou a fotografia produzida por Guimarães da primeira versão da pintura Combate Naval do Riachuelo, de Victor Meirelles, perdida durante a Exposição Internacional da Filadéfia, em 1876 (Relatório da Repartição dos Negócios do Império, 1882).
+Segundo consta em um de seus cartões, foi premiado com a medalha de ouro na Exposição Continental de Buenos Aires, inaugurada em 15 de março de 1882 – a seção brasileira foi inaugurada no dia 1º de abril, ocupando uma área de 600 m2 (Diário de Pernambuco, 10 de julho de 1882, terceira coluna).
+1884 – Recebeu o título de Comendador da Ordem da Rosa.
+Guimarães anunciou que Waldemar Lange executava fotografias de grupos de família pelo sistema americano de John Carbutt, da Filadélfia (Jornal do Commercio, 17 de julho de 1884, na página 8). Segundo Boris Kossoy, Lange havia sido associado na Bahia ao fotógrafo Guilherme Gaensly (1843 – 1928). Na época, seu ateliê ficava na rua dos Ourives, nº 38.
+ 
+Jornal do Commercio, 17 de julho de 1884
+ 
+Participou da Exposição da Academia de Belas Artes com esmaltes, platinotipos e algumas fotografias instantâneas, obtidas pelo processo denominado gelatino bromureto de prata  (Jornal do Commercio, 26 de setembro de 1884, segunda coluna).
+A fotografia produzida por Guimarães da turma do sexto ano dos doutorandos de medicina foi exposta na casa de Narciso & Arthur Napoleão. É um trabalho, como todos os deste artista, muito notável (Diario Portuguez, 20 de dezembro de 1884, segunda coluna).
+1885 – Foi encomendado à casa Guimarães um retrato a óleo de Francisco de Assis Mascarenhas. Foi realizado por Victor Meirelles e exposto na galeria Moncada. Os dois artistas foram referidos, na nota do jornal, como comendadores (Jornal do Commercio, 2 de agosto de 1885, sexta coluna).
+ 
+Jornal do Commercio, 2 de agosto de 1885
+ 
+1886 – A Casa Guimarães, na rua do Ourives, nº 38, foi substituída pela Photographia Americana, passando a pertencer a Roltgen, antigo retocador da Casa Guimarães, e do sr. Silva, antigo sócio-gerente da fotografia Carneiro & Tavares (O Paiz, 31 de julho de 1886, primeira coluna).
+ 
+O Paiz, 31 de julho de 1886
+ 
+Guimarães inaugurou um verdadeiro palácio da fotografia, a maior casa fotográfica brasileira do século XIX, na rua Gonçalves Dias, nº 2, esquina com a rua da Assembleia. A casa, de 4 andares, foi durante algum tempo o mais alto prédio do Rio de Janeiro e foi construída expressamente para sediar o estabelecimento fotográfico de Guimarães. Os três primeiros pavimentos abrigavam as diversas seções de fotografia e o último servia de moradia do fotógrafo (Revista do Iphan, 1946, p. 199 e O Rio de Janeiro, 8 de agosto de 1886, quarta coluna).
+ 
+José Ferreira Guimarães. Retrato de mulher (em pé) – verso, c. 1889. Rio de Janeiro, RJ / Acervo IMS
+ 
+Uma menina se acidentou quando passou em frente à casa fotográfica de Guimarães e uma tábua que servia de andaime caiu sobre sua cabeça. O fotógrafo prestou assistência à acidentada e responsabilizou-se pelo ocorrido (O Paiz, 18 de agosto de 1886, na última coluna).
+1877 – Guimarães participou com fotografias das obras mais importantes da estrada de D. Pedro II da Exposição Internacional de Caminhos de Ferro no Bois de Vincennes, em Paris, em comemoração ao cinquentenário das ferrovias na França. Essas fotografias e também outras, de autoria de Marc Ferrez (1843 – 1923), foram expostas no Liceu de Artes e Ofícios (O Paiz, 18 de julho de 1887, terceira coluna).
+Na casa Chameaux, exposição de uma pintura a óleo, de autoria do artista francês Battu, realizado com muita suavidade a partir de uma fotografia produzida pelo distinto fotógrafo Guimarães de uma menina vestida à moda das camponesas do norte de Portugal (Jornal do Commercio, 26 de julho de 1887, sétima coluna).
+1888 – No salão do jornal O Paiz, exposição de um retrato do apregoado atirador Bento Moraes, produzido por Guimarães. Moraes era a primeira figura de uma companhia de variedades que se apresentaria no Polytheama (O Paiz, 13 de março de 1888, sétima coluna).
+A Casa Guimarães, na rua de Gonçalves Dias, canto da da Assembleia foi enfeitada para participar dos festejos da cidade pelo retorno do imperador Pedro II (1825 – 1891) e da imperatriz Teresa Cristina (1822 – 1889), que ficaram ausentes do Brasil por quase um ano, na terceira viagem do soberano à Europa. Haviam partido em 30 de junho de 1887 (Diário de Notícias, 23 de agosto de 1888, terceira coluna).
+ 
+Diário de Notícias, 23 de agosto de 1888
+ 
+1890 – Antes de cometer suicídio, o português e guarda-livros José Custódio de Oliveira enviou uma carta a Guimarães (Diário de Notícias, 22 de jumho de 1890, segunda coluna).
+1891 - A partir de janeiro, José Ferreira Guimarães estaria até o fim da estação, às segundas e terças-feiras, em seu ateliê de Petrópolis (Jornal do Commercio, 11 de janeiro de 1891).
+1894 – A Photographia Guimarães funcionava em Petrópolis, aos domingos, segundas e terças-feiras, em um chalé ao lado do Hotel Orleans (Gazeta de Petrópolis, 7 de março de 1894, terceira coluna).
+Estava exposto na casa Palais Royal um quadro com os retratos dos doutorandos de 1894, produzido pela Photographia Guimarães (Gazeta de Notícias, 7 de novembro de 1894, na penúltima coluna).
+Alguns membros da comissão da República Oriental do Uruguai, em visita ao Brasil, iriam ser fotografados na Photographia Guimarães (A Notícia, 8 e 9 de novembro de 1894, terceira coluna).
+1895 – Na primeira página do Jornal do Brasil, era noticiado que a Photographia Guimarães & C continuava a merecer o favor público pela excelência de seus trabalhos artísticos (Jornal do Brasil, 10 de março de 1895, quarta coluna).
+ 
+Jornal do Brasil, 10 de março de 1895
+ 
+1896 – Na edição 36 de A Bruxa, foi publicada uma fotografia de F. Guimarães, conhecido proprietário da Photographia Guimarães (Commercio de São Paulo, 13 de outubro de 1896, última coluna). A Bruxa foi uma revista dirigida pelo poeta Olavo Bilac  (1865-1918) e pelo ilustrador português Julião Machado (1863 – 1930), entre 1896 e 1897.
+Foi noticiado que a Photographia Guimarães produziria fotografias das salas do Club dos Repórteres com convidados por um processo novo de notável sucesso na arte fotográfica cuja primeira experiência foi realizada ontem (A Notícia, 24 e 25 de outubro de 1896, segunda coluna).
+Estava exposto na vitrine da casa Colussi, na rua do Ouvidor, uma fotografia do presidente Prudente de Morais (1841 – 1902), produzida pela Photographia Guimarães. De acordo com a notícia, poderia se dizer que a obra é uma nova descoberta da photographia pois que o retrato…é feito em esmalte photográphico vitrificado a fogo, tão inalterável como as pinturas da porcelana de Sèvres e de Limoges… (Jornal do Brasil, 8 de novembro de 1896, quinta coluna).
+1897 – O fotógrafo Alfredo Musso, irmão de Luis Musso, trabalhava na Photographia Guimarães (Jornal do Commercio, 1º de fevereiro de 1897, penúltima coluna).
+Luis Musso, sócio da Photographia Guimarães, levou de presente à redação do Jornal do Brasil uma fotografia em platinotipia de um grupo de jornalistas que haviam assistido à inauguração da luz artificial para obter fotografias instantâneas (Jornal do Brasil, 12 de março de 1897, segunda coluna). Luis Musso havia sido o primeiro operador da Companhia Photographica Brazileira, dirigida pelo fotógrafo Juan Gutierrez (c. 1860 – 1897), desde sua fundação, em 1892, até 31 de março de 1894 (Jornal do Commercio, 13 de fevereiro de 1898, na última coluna). Em 1905, os irmãos Musso estavam estabelecidos na rua Uruguayana sob a razão social L. Musso & C, que também se anunciava como Photographia Brazileira.
+Foi encomendada à Photographia Guimarães um retrato do engenheiro e primeiro diretor da Estrada de Ferro Pedro II, Christiano Ottoni (1811 – 1896), que seria ofertado à Escola Naval por seu filho, o industrial Julio Ottoni (Jornal do Brasil, 17 de setembro, sétima coluna).
+1898 – Herrero Vargas, empregado da Photographia Guimarães, retratou um grupo da Estudantina do Cassino Espanhol em excursão a Santa Teresa (Gazeta de Notícias, 28 de fevereiro de 1898, primeira coluna).
+O presidente da República, Prudente de Morais (1841 – 1902), presenteou o redator-chefe da Cidade do Rio, José do Patrocínio (1854 – 1905), fotografias de sua família produzidas pela Photographia Guimarães (Cidade do Rio, 10 de novembro de 1898, terceira coluna).
+Na Casa Merino, estavam expostas três fotografias em platinotipia produzidas pela Photographia Guimarães: do presidente e do vice-presidente da República, Campos Salles (1841 – 1913) e Rosa e Silva (1857 – 1929), respectivamente, e do novo ministério do governo (Jornal do Commercio, 15 de novembro de 1898, sexta coluna).
+1899 – O Sr. Musso, da Photografia Guimarães, registraria o cruzador italiano Fieramosca (A Notícia, 5 e 6 de agosto de 1899, segunda coluna).
+Joaquim Insley Pacheco (1830 – 1912), Marc Ferrez (1843 – 1923) e José Ferreira Guimarães foram nomeados para formar a comissão de propaganda da classe de fotografia da Exposição do Quarto Centenário do Brasil, em 1900, promovida pela Sociedade Propagadora das Belas Artes (A Imprensa, 31 de outubro de 1899, quarta coluna).
+1900 – Horacio Garcia Vidal trabalhava na Photographia Guimarães (Cidade do Rio, 24 de janeiro de 1900, na última coluna).
+Publicada na Revista da Semana, de 22 de julho de 1900, um instantâneo do Largo da Carioca, tirado do segundo andar da afamada Photographia Guimarães.
+Apresentou na Exposição Universal de Paris o Relâmpago Guimarães, uma espécie de flash que permitia tirar fotografias em ambientes obscurecidos ou no período da noite.
+‘A luz produzida por ele é exatamente a necessária para substituir a claridade do dia, suprindo-a em todo o seu vigor, mas permitindo respeitar as nuances do modelo, por mais delicado que seja.
+O acolhimento que foi feito na Europa à invenção de nosso compatriota, proprietário da afamada Photographia Guimarães, deve ser muito lisonjeiro para os fotógrafos nacionais‘ (Revista da Semana, 12 de agosto de 1900).
+ 
+Propaganda do Relâmpago Guimarães, reproduzida no O Estado de São Paulo de 4 de dezembro de 1977
+ 
+1901 – Guimarães era sócio de Luis Musso e Julio D. Roltgen (Almanak Laemmert, 1901).
+Julio Roltgen, da Photographia Guimarães, foi o autor do registro do “batismo da Salamina”, festa realizada no club de Regatas Botafogo. A imagem foi publicada na revista quinzenal Brasil Náutico, número 4, e foi considerada a nota elegante da edição (A Notícia, 8 e 9 de maio de 1901, terceira coluna).
+Um retrato do senador do Império, Cândido Mendes de Almeida (1818 – 1881), executado pela Photographia Guimarães e emoldurado pela fábrica Martins Seabra & C., foi ofertado ao Jornal do Brasil (Jornal do Brasil, 31 de maio de 1901, sétima coluna).
+Foi noticiado que o Relâmpago Guimarães havia obtido a medalha de 1ª classe na Exposição Universal de Paris de 1900. A Photographia Guimarães foi referida como admirável estabelecimento da rua Gonçalves Dias, esquina do largo da Carioca e, devido ao Relâmpago Guimarães estava executando trabalhos de inigualável perfeição. Os retratos produzidos na Casa Guimarães eram verdadeiras maravilhas de arte pela naturalidade da pose e pela incomparável nitidez (Gazeta de Notícias, 4 de julho de 1901, sétima coluna).
+Por encomenda do presidente da República, Campos Sales (1841 – 1913), a Photographia Guimarães produziu um quadro medindo 1 metro por 80 centímetros com as fotografias do governo provisório da República organizado em 15 de novembro de 1889. O quadro ficaria no salão de despachos do Palácio do Catete (A Notícia, 26 e 27 de novembro de 1901, segunda coluna).
+1902 – Na Igreja da Candelária, foi rezada uma missa pela turma de guardas-marinha de 1879. Nove deles estiveram presentes à cerimônia e depois foram retratados na Photographia Guimarães (Gazeta de Notícias, 9 de março de 1902, sétima coluna).
+Luis Musso estava na direção da Photographia Guimarães (Jornal do Brasil, 24 de julho, sexta coluna).
+1903 – Em anúncio, a Photographia J.F. Guimarães & C afirmava acreditar que nada devia à praça e pedia que, caso houvesse qualquer reclamação, que fosse levada a seu proprietário até o dia 10 de dezembro de 1903 (Jornal do Brasil, 6 de dezembro de 1903, primeira coluna).
+1904 – Tendo deixado de trabalhar na Photographia Guimarães, Alfredo e Luis Musso e Julio D. Beltgen anunciaram a abertura de um novo estabelecimento fotográfico, na rua Uruguaiana, nº 10 (Gazeta de Notícias, 21 de fevereiro de 1904, terceira coluna).
+Recém chegado da Europa, Guimarães anunciou a reabertura de seus ateliers modelos onde o high life poderia encontrar o chic da fotografia moderna (Jornal do Brasil, 24 de fevereiro de 1904, quinta coluna e Gazeta de Notícias , 21 de fevereiro, terceira coluna).
+ 
+Jornal do Brasil, 24 de fevereiro de 1904
+ 
+1905 – Estava exposta na Photographia Guimarães uma fotografia de Oswaldo Cruz (1872 – 1917), diretor da Saúde Pública, com um tamanho que nunca se fez entre nós (Gazeta de Notícias, 12 de abril, sexta coluna).
+A Photographia Guimarães continuava na rua Gonçalves Dias (A Notícia, 10 e 11 de junho de 1905, quarta coluna).
+1906 – A Photographia Guimarães funcionava sob a direção de José Ferreira Guimarães e A. Pinto, na rua da Assembleia, 78 (A Notícia, 25 e 26 de outubro, segunda coluna). Novo anúncio, no mês seguinte, só menciona Guimarães na direção do estabelecimento fotográfico (A Notícia, 6 e 7 de novembro de 1906, quinta coluna).
+1907 – A Photographia Guimarães informava não ter nem funcionários ambulantes nem filiais pelo Brasil. As encomendas deveriam ser feitas na rua da Assembleia, 78 (A Notícia, 31 de janeiro e 1º de fevereiro de 1907, segunda coluna).
+A turma de formandos em Odontologia e Medicina encomendaram quadros alegóricos na Photographia Guimarães. Seriam feitos em Paris, sob a supervisão do comendador Guimarães, que mais uma vez daria provas de seu bom gosto artístico (A Notícia, 27 e 28 de julho de 1907, quarta coluna).
+A Photographia Guimarães anunciou que o funcionário Augusto Cezar Osório não trabalhava mais no estabelecimento (Jornal do Brasil, 14 de setembro de 1907, sétima coluna).
+Exposição, na Photographia Guimarães de uma fotografia de Oswaldo Cruz (1872 – 1917), diretor da Saúde Pública (A Notícia, 4 e 5 de novembro de 1907, terceira coluna).
+1909 / 1910 / 1911 / 1912 /1913 - A Photographia Guimarães funcionava em um sobrado, na rua da Assembleia, 100 (A Notícia, 22 e 23 de maio de 1909, terceira coluna e Almanak Laemmert, 1911, terceira coluna).
+1909 – Publicação na revista Careta, 21 de agosto de 1909, de duas fotografias do escritor Euclides da Cunha (1866 – 1909), produzidas na Photographia Gumarães. Pouco antes de sua morte, o escritor havia oferecido ao jornalista Ernesto Senna (1858-1913) uma fotografia sua produzida na Photographia Guimarães (Correio Paulistano, 17 de agosto de 1909, primeira coluna).
+Década de 1910 – Provavelmente, durante essa década, mudou para a França, onde morou em Bois Colombe.
+1911 – Publicação de um retrato do cientista Carlos Chagas (1879 – 1934), produzido na Photographia Guimarães (A Noite, 8 de agosto e 9 de agosto de 1911).
+1912 – Do terceiro andar da Photographia Guimarães, o comandante Souza Aguiar dirigia o trabalho dos bombeiros para debelar um grande incêndio no coração da cidade (O Paiz, 25 de março de 1912, na última coluna).
+Proprietário e empregados de estabelecimentos fotográficos requisitaram que os mesmos não mais abrissem aos domingos. Dois empregados da Photographia Guimarães participaram do abaixo-assinado endereçado aos vereadores da cidade do Rio de Janeiro (A Imprensa, 13 de abril de 1912, segunda coluna).
+1913 – Foi roubada uma mercadoria – papel sensibilizado – destinada a José Ferreira Guimarães (Correio da Manhã, 23 de janeiro de 1913, segunda coluna).
+Uma dúzia de retratos de Boudoir, última novidade, criação da afamada Photographia Guimarães, seria o 2º Prêmio do Grande Concurso Extraordinário D, promovido pelo semanário O Tico-Tico: Jornal das Crianças (O Tico-Tico, 4 de junho de 1913).
+1914 - Pela última vez a Photographia Guimarães foi anunciada no Almanak Laemmert.
+Uma dúzia de retratos da Photographia Guimarães foi o 1º prêmio do Grande Concurso Extraordinário K, promovido pelo semanário O Tico-Tico: Jornal das Crianças (O Tico-Tico, 7 de outubro de 1914).
+1915 – A capa do Jornal das Moças foi ilustrada com uma imagem de Carolina Pereira dos Santos, filha de um empresário do Rio de Janeiro. O trabalho fotográfico foi da Casa Guimarães e a gravura foi realizada no ateliê de Alois Fabien (Jornal das Moças, 1º de março de 1915).
+1916 – Um dos prêmios sorteados pelo semanário O Tico-Tico seriam retratos da Photographia Guimarães (O Tico-Tico, 9 de fevereiro de 1916).
+Após longos anos na Europa, José Ferreira Guimarães voltou a dirigir seu estabelecimento fotográfico no
+Rio de Janeiro (A Noite, 5 de agosto de 1916, quinta coluna).
+ 
+A Noite, 5 de agosto de 1916
+ 
+ 
+1917 – Foi anunciado que o segundo andar da Photographia Guimarães poderia ser alugado para dentista ou negócio de luxo. O prédio, que possuia elevador, foi referido como aristocrático (Jornal do Brasil, 28 de julho de 1917, quarta coluna). Nesse mesmo ano, foi anunciado que A Photographia Huebner & Amaral havia reaberto em 11 de setembro, na rua da Assembleia, 100, antigo endereço da Photographia Guimarães (Jornal do Commercio, 9 de setembro de 1917).
+1919 - Neste ano, Maria Aparecida, uma sobrinha neta de sua esposa, foi residir com eles, na França.
+1921 – O sobrinho neto de sua mulher, Benedito Junqueira Duarte (1910 – 1995), viajou para Paris, tornando-se discípulo de Guimarães. Posteriormente, Benedito trabalhou na Seção de Fotografia do Departamento de Cultura de São Paulo a convite de Mário de Andrade (1893 – 1945), além de ter sido sócio-fundador do Foto Cine Clube Bandeirante.
+1924 – José Ferreira Guimarães faleceu na França, em 30 de janeiro, provavelmente, de infecção pulmonar. Foi enterrado no cemitério de Bois Colombe.
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/5391` — `itens/20.500.12156.1_5391/`
+- `20.500.12156.1/5399` — `itens/20.500.12156.1_5399/`
+
diff --git a/wordpress/20857-cronologia-de-juan-gutierrez-de-padilla-c-1860-1897.md b/wordpress/20857-cronologia-de-juan-gutierrez-de-padilla-c-1860-1897.md
new file mode 100644
index 0000000..28f4e88
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+++ b/wordpress/20857-cronologia-de-juan-gutierrez-de-padilla-c-1860-1897.md
@@ -0,0 +1,56 @@
+---
+id: 20857
+url: "https://brasilianafotografica.bn.gov.br/?p=20857"
+titulo: "Cronologia de Juan Gutierrez de Padilla (c. 1860 – 1897)"
+autor: "Andrea Wanderley"
+data: "2021-01-06T10:20:22+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: []
+fetched_at: "2026-09-10T10:04:21.377Z"
+---
+
+# Cronologia de Juan Gutierrez de Padilla (c. 1860 – 1897)
+
+Cronologia de Juan Gutierrez de Padilla (c. 1860 – 1897)
+Desenho retratando Juan Gutierrez publicado no jornal O Paiz, de 14 de julho de 1897, com um artigo de Luiz Murat
+ 
+c. 1860 – O espanhol Juan Gutierrez de Padilla nasceu, provavelmente, nas Antilhas, na época, uma colônia espanhola. Porém, outras fontes afirmam que ele teria nascido em Cuba ou na África.
+1885 / 1887- Período provável de sua chegada ao Brasil, vindo da cidade do Porto, Portugal.
+1889 – Trabalhava na Photographia União, localizada na rua da Carioca, nº 114.
+Em 3 de agosto, recebeu o título de “Fotógrafo da Casa Imperial”.
+Participou do movimento pela Proclamação da República como tenente da Guarda Nacional.
+Gutierrez naturalizou-se brasileiro, aproveitando o decreto de Deodoro da Fonseca (1827 – 1892), o primeiro presidente do Brasil, que concedeu aos estrangeiros que residiam no país na data de 15 de novembro, quando a República foi proclamada, a nacionalidade brasileira.
+1890 – Foi concedida licença para que Gutierrez usasse as armas da República no seu estabelecimento, a Photographia União (Diário de Notícias, 18 de julho de 1890, na quinta coluna, sob o título “Armas da República”).
+Em 29 de setembro, foi constituída uma sociedade anônima denominada Companhia Photographica Brazileira, com 31 acionistas. Gutierrez foi eleito diretor técnico do negócio. De um total de cinco mil ações, era proprietário de 100 ações do empreendimento (Jornal do Commercio, 30 de setembro de 1890, na primeira coluna).
+Agregou às atividades do estabelecimento, o comércio de produtos e equipamentos fotográficos. Foi anunciada a incorporação da Companhia Photographica Brazileira pelo Banco Constructor (Diário do Commercio, 25 de setembro de 1890).
+Foi publicada a ata da instalação da Companhia Photographica Brazileira (Gazeta da Tarde, 24 de outubro de 1894, na primeira coluna).
+1891 – Gutierrez anunciou a venda da Photographia União (Jornal do Commercio, 17 de dezembro de 1891, na quarta coluna, sob o título “Photographia à venda“).
+1892 – Em 1º de janeiro, foi inaugurado o edifício da Companhia Photographica Brazileira, na rua Gonçalves Dias, 40, sob a direção técnica de Juan Gutierrez (Jornal do Commercio, 2 de janeiro de 1892, na sétima coluna sob o título “Companhia Photographica” ).
+Foi noticiada a inauguração das oficinas de fototipia da Companhia Photographica Brazileira. De acordo com a notícia, pela primeira vez fotografias perfeitas eram produzidas no Rio de Janeiro e isso se devia ao talento e ao trabalho de Gutierrez (O Combate, 27 de fevereiro de 1892, na quinta coluna).
+Em 17 de junho, a sociedade da Companhia Photographica Brazileira foi dissolvida e o maior credor da empresa, o conselheiro Francisco de Paula Mayrink, recebeu os imóveis sociais e demais ativos do empreendimento.
+Em 29 de setembro, Gutierrez solicitou à Junta Comercial do Rio de Janeiro permissão para a abertura de uma nova firma, chamada J. Gutierrez, no mesmo endereço da anterior.
+1893 - Foi fundado o semanário O Álbum e Gutierrez tornou-se responsável pelos trabalhos fotográficos. Artur Azevedo (1855 – 1908) era o diretor literário da publicação. Na edição de maio, Castro Soromenho dedicou-lhe o poema “Desegaño”, no qual confessava seu amor pelo fotógrafo. Imediatamente o poeta foi impedido de frequentar a redação de O Álbum e, em 12 de junho, foi definitivamente afastado do periódico.
+Em 6 de setembro, início da Revolta da Armada, comandada pelo almirante Custódio de Mello (1840 – 1902), amplamente fotografada por Gutierrez.
+1894 - Em 13 de março, fim da Revolta da Armada.
+Foi noticiada a exposição, no ateliê de Gutierrez, de um quadro fotográfico retratando o marechal Eneas Galvão (1832 – 1895) rodeado por seus ajudantes de ordem. O quadro seria ofertado ao marechal, que foi ministro da Guerra durante o governo de Floriano Peixoto (1839 – 1895) (O Paiz, 23 de maio de 1894, na segunda coluna).
+O primeiro número da publicação quinzenal Illustração Sul-Americana trazia diversos retratos de autoria de Gutierrez: do marechal Floriano Peixoto (1839 – 1895), de Affonso Pena (1847 – 1909), do presidente da República Prudente de Moraes (1841 – 1902), do capitão-tenente José Carlos de Carvalho e do jornalista Artur Azevedo (1855 – 1908) (O Paiz, de 21 de julho de 1894, nas sexta e sétima colunas).
+Em 17 de setembro, foi inaugurada a Confeitaria Colombo, ao lado do ateliê de Gutierrez, onde ele, além de trabalhar, residia. Logo a confeitaria tornou-se um dos pontos mais concorridos da cidade, contribuindo para o aumento do movimento em torno da casa fotográfica de Gutierrez.
+Em novembro, Gutierrez foi o fotógrafo do álbum Recordação das festas nacionais, em homenagem aos cinco anos da proclamação da República brasileira. Registrou grandes manifestações populares em vários pontos da cidade: banquetes, desfiles militares , além de cerimônias cívicas e inaugurações de monumentos. Esse trabalho pode ser considerado um exemplo precursor da linguagem da fotografia jornalística.
+
+Foi publicada uma propaganda dos cigarros Bouquet: “em cada carteira contem o retrato de uma das notabilidades brazileiras ou estrangeiras, perfeição, creditadas pela casa J. Gutierrez & C., sucessora da Companhia Photographica. A colecção completa comprehenderá 200 RETRATOS” (O Paiz, 14 de novembro de 1894).
+1895 – O periódico A Cigarra, de 29 de agosto de 1895 elogiou a arte do fotógrafo: Que homem este Gutierrez! Tenacidade, talento, amor e trabalho!1896 – Foi publicado um elogio às fotografias produzidas por Gutierrez  pela técnica da platinotipia: “…nada há mais perfeito do que o trabalho de Gutierrez…” (O Paiz, 3 de junho de 1896, na última coluna, sob o título “Commercio, Industria e Arte).
+Eclodiu o conflito em Canudos e, após a derrota da expedição comandada pelo coronel Moreira César (1850 – 1897), Gutierrez decidiu incorporar-se como ajudante de ordens do general João da Silva Barbosa.
+1897 – Antes de partir para Canudos, Gutierrez lavrou seu testamento e nomeou como testamenteiros e inventariantes Manoel Rodrigues Monteiro de Azevedo, Francisco de Paula Mayrink, José Carlos de Carvalho e José do Patrocínio (1853 – 1905). Suas beneficiárias foram sua mãe, Francisca Vicente Vandrel e sua amiga, a viúva Orlandina Aurora Rosani.
+Juan Gutierrez foi promovido de tenente a capitão da Guarda Nacional (O Paiz, 19 de fevereiro de 1897, na sexta coluna).
+Desembarcou em Salvador, em 2 de abril, e seguiu para  Canudos.
+Sua ida para Canudos foi um dos assuntos da coluna “Semanaes”, de Anselmo Ribas (A Notícia, 10 e 11 de julho de 1897).
+Em 28 de junho, foi mortalmente ferido (Jornal do Commercio, 13 de julho de 1897, na terceira coluna sob o título “Expedição de Canudos” e O Paiz, 7 de setembro de 1897, na primeira coluna).
+Sua morte foi também noticiada no O Paiz, de 14 de julho de 1897, na primeira página, com um artigo de Luiz Murat (1861 – 1929) em sua homenagem.  No livro Os Sertões, Euclides da Cunha (1866 – 1909) referiu-se a ele como um Oficial honorário, um artista que fora até lá atraído pela estética sombria das batalhas.
+Foi publicado o que um dos amigos mais próximos de Gutierrez, o tenente Frederico Luiz da Costa, escreveu a respeito dele (O Paiz, de 23 de julho de 1897, na primeira coluna).
+Foram realizadas na Igreja de São Francisco de Paula, as missas em sufrágio da alma de Juan Gutierrez. Foi celebrada pelo monsenhor Amorim, ajudado pelo cônego Polinca e pelos padres Teixeira, Colaço, Próspero, Guimarães e Pitta. Uma multidão lotou a igreja, onde a marcha fúnebre foi executada por uma banda militar. No dia anterior, na mesma igreja, havia sido celebrada uma missa na intenção de Gutierrez por Antônio Costa e Orlandina Aurora Rosani, que recebeu um terço dos bens do fotógrafo (O Paiz, 19 de agosto de 1897, na quarta coluna e 20 de agosto de 1897, na sexta coluna).
+Fim da Guerra de Canudos, em 5 de outubro de 1897.
+1898 – O ateliê fotográfico de Juan Gutierrez encontrava-se em processo de liquidação (O Paiz, 3 de janeiro de 1898, na última coluna). Havia uma disputa em torno do estabelecimento envolvendo Frederico Luiz da Costa, Alfredo Franco e Luis Musso ( O Paiz, 12 de fevereiro de 1898, na quarta coluna).
+A Associação dos Empregados do Comércio do Rio de Janeiro comprou o prédio da Gonçalves Dias, nº 40, onde havia funcionado o ateliê fotográfico de Gutierrez (O Paiz, 15 de junho de 1898, na quinta coluna).
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
diff --git a/wordpress/20861-cronologia-de-alberto-henschel-1827-1882.md b/wordpress/20861-cronologia-de-alberto-henschel-1827-1882.md
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+---
+id: 20861
+url: "https://brasilianafotografica.bn.gov.br/?p=20861"
+titulo: "Cronologia de Alberto Henschel (1827 – 1882)"
+autor: "Andrea Wanderley"
+data: "2021-01-06T10:14:07+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: []
+fetched_at: "2026-09-10T10:04:24.538Z"
+---
+
+# Cronologia de Alberto Henschel (1827 – 1882)
+
+Cronologia de Alberto Henschel (1827 – 1882)
+
+Identificação de Alberto Henschel / Acervo do IMS
+1827 - Em 13 de junho, Alberto Henschel nasceu em Berlim, na Alemanha.
+1866 – maio –  Chegou no Recife acompanhado de Karl Heinrich (Carlos Henrique) Gutzlaff no patacho hamburguês Catharine Jane (Diário de Pernambuco, edição de 28 de maio de 1866).
+julho – Os dois fotógrafos associaram-se ao maranhense Julio dos Santos Pereira e, com ele, assumiram a direção do estabelecimento Photographia Alberto Henschel & C. , localizado na rua do Imperador, nº 38. No anúncio da abertura do negócio, os proprietários destacaram as photographias coloridas por um novo systema, que reune o brilho da pintura à óleo à pureza da aquarella (Diário de Pernambuco, edição de 7 de julho de 1866). Para atrair clientela, foi realizada no ateliê uma exposição com trabalhos feitos por Henschel na Europa. Foi neste mesmo endereço que entre 1860 e 1865 o fotógrafo A.W. Osborne tinha o estabelecimento fotográfico Galeria Americana (Diário de Pernambuco, de 7 de maio de 1860), comprado por Julio dos Santos Pereira em fevereiro de 1865  (Diário de Pernambuco, 2 de fevereiro de 1865, penúltima coluna), quando Osborne foi para o Rio de Janeiro (Jornal de Recife, 16 de fevereiro de 1865).
+outubro – Henschell e Gutzlaff anunciaram o fim da associação com Julio dos Santos Pereira.
+novembro – Foi anunciada a reabertura do novo ateliê fotográfico de Henschel, mas agora com o nome de Photographia Allemã e localizado no largo da matriz de Santo Antonio, nº 2 (Diário de Pernambuco, edição de 16 de novembro de 1866, primeira coluna). No anúncio, destacaram-se as qualidades do novo estabelecimento, dentre as quais o fato de possuir uma galeria envidraçada com cristais especiais capazes de atenuar os efeitos da luz forte.
+1867 – Em junho, Henschel anunciou uma viagem à Europa, de onde retornou em setembro acompanhado do pintor alemão Karl Ernst (Carlos Ernesto) Papf (1833-1910), no vapor Oneida (Diário de Pernambuco, edições de 2 de junho e de 28 de setembro de 1867 – o sobrenome de Henschel está escrito errado). Já em outubro, foram publicados anúncios participando a volta de Henschel ao Recife e apresentando Papf como membro honorário da Academia Real de Pintura de Dresden (Diário de Pernambuco, edição de 26 de outubro de 1867). Nos anos que se seguiram, Papf trabalhou em todo os ateliês de Henschel, prestando serviços de fotopintura.
+1868 – Henschel fez nova viagem à Europa para atualizar seus conhecimentos em fotografia e comprar novos equipamentos. Provavelmente, nesse ano terminou sua associação com Gutzlaff, que fundou em julho a Photographia Internacional, no Recife, na rua do Imperador, nº 38 (Diário de Pernambuco, 6 de junho de 1868, última coluna; e Diário de Pernambuco, 15 de julho de 1868, segunda coluna). . Henschel anunciou a técnica da marfimographia, a contratação de novos profissionais e a iminente abertura de uma filial da Photographia Allemã em Salvador, na Bahia (Jornal de Recife, edição de 21 de julho de 1868, quarta e quinta colunas, no pé da página). O ateliê da capital baiana ficava na rua da Piedade, nº 16. Posteriomente passou a funcionar no largo do Theatro.
+1870 - Casou-se com Simy (1851 – 1920), filha do rabino inglês Isaac Amzalak, dono de armazéns e armador bem sucedido. Uma curiosidade: segundo o livro Salões e damas do Segundo Reinado, de Wanderley Pinho, o poeta Castro Alves se inspirou na beleza das três filhas do armador Amzalak para criar o poema Hebreia.
+Henschel realizou a série de vistas em Itatiaia.
+Foi anunciada a abertura da Photographia Allemã. Alberto Henschel & C., no Rio de Janeiro, sucedendo os fotógrafos Guilherme Mangeon e Van Nyvel. O novo estabelecimento localizava-se na rua dos Ourives, 40, atual rua Miguel Couto. No anúncio, foi informado que Van Nyvel continuaria a trabalhar no ateliê (Jornal do Commercio, edição de 18 de dezembro de 1870).
+1871 - Nasceu no Rio de Janeiro o único filho de Henschel e Simy, Maurício, que viria a falecer em 1934.
+Anunciada a contratação do  fotógrafo alemão Franz (Francisco) Benque (1841-1921), a quem Henschel foi associado até, provavelmente, 1878 (Diário do Rio de Janeiro de 10 e 11 de abril,  segunda coluna).
+1872 – Henschel & Benque participaram da exposição da Academia Imperial de Belas-Artes e expuseram um retrato do poeta Castro Alves (1847 – 1871) ( Correio do Brazil, edição de 24 de junho de 1872, na coluna Folhetim). Em 23 de setembro, receberam uma visita de Suas Magestades e Altezas Imperiaes na Photographia Allemã ( Correio do Brazil, edição de 25 de setembro de 1872, na quinta coluna).
+1873 – Henschel & Benque participaram da Exposição Universal de Viena. Enviaram dois retratos: de uma baiana quitandeira e da família real brasileira (Diário de Pernambuco, 10 de abril de 1873, quinta coluna).  Ganharam a medalha de mérito (A Reforma, edição de 10 de setembro de 1873).
+1874 – Ao longo do segundo semestre, foram publicados vários anúncios no Jornal da Bahia anunciando a chegada de um pintor no ateliê de Salvador.
+Segundo o artigo Dom Pedro II e a fotografia (2), de Ricardo Martim, pseudônimo de Guilherme Auler (1914-1965), publicado na Tribuna de Petrópolis, de 8 de abril de 1856, a dupla Henschel & Benque foi agraciada com o título de Photographos da Caza Imperial, em 7 de dezembro de 1874.
+1875 – Chegada do austríaco Constantino Barza, a bordo do vapor inglês News, vindo da Europa. Ele viria a ser o gerente da Photographia Allemã de Henschel (Jornal de Recife, 26 de fevereiro de 1875, primeira coluna).
+Ainda associado a Francisco Benque, Henschel fez a série de vistas de Nova Friburgo e do Jardim Botânico e ambos participaram da exposição da Academia Imperial de Belas-Artes ( Epocha, 15 de dezembro de 1875).
+Na coluna “Folhetim da Gazeta de Notícias –  Bellas Artes”, o português Julio Huelva (1840 – 1904), pseudônimo do músico e arquiteto Alfredo Camarate, elogiou a fotografia produzida no Brasil e destacou os trabalhos dos ateliês de José Ferreira Guimarães  (1841 –1924), Joaquim  Insley Pacheco (1830 – 1912) e de Albert Henchel (1827 – 1892) e Franz (Francisco) Benque (1841-1921). O autor cobrou também a presença de fotógrafos do Rio de Janeiro na Exposição Universal da Filadélfia, que se realizaria em 1876 (Gazeta de Notícias, 21 de dezembro de 1875).
+1877 - No estabelecimento A La Glace Elegante, no Rio de Janeiro, exposição de uma tela com os retratos do conde e da condessa d´Eu e do príncipe do Grão Pará, de autoria de  Karl Ernst (Carlos Ernesto) Papf (1833-1910), do estabelecimento de Henschel & Benque. Teria sido uma encomenda da princesa Isabel (Diário do Rio de Janeiro, 6 de novembro de 1877, penúltima coluna).
+Em novembro, a Photographia Allemã, no Recife, passou a funcionar na rua do Barão da Victoria, nº52 , devido à construção de prédios na frente da galeria. Os trabalhos do estabelecimento foram interrompidos por 15 dias (Diário de Pernambuco, edição de 26 de novembro de 1877).
+1879 – Foi publicado um elogio às fotografias de crianças tiradas por Henschel (Gazeta de Notícias, 11 de março, primeira coluna).
+1880 – Constantino Barza, apresentando-se como gerente da Photographia Alemã de Recife, anunciou a chegada do fotógrafo Moritz Lamberg para cuidar da parte técnica e artística do ateliê (Diário de Pernambuco, edição de 30 de janeiro de 1880). Lamberg é apresentado como celebridade europeia e insigne artista, que havia dirigido estabelecimentos em Berlim e Viena e obtido prêmios conquistados em Paris e em Viena nas exposições de 1868 e 1873. Em 1899, Lamberg publicou o livro de fotografias Brazilian.
+1881- Participou da Exposição de História do Brasil promovida pela Biblioteca Nacional do Rio de Janeiro com vistas urbanas, rurais e retratos.
+Foi noticiado um caso envolvendo Henschel e um relojoeiro, de quem, segundo o jornal, ele achava ter sido vítima da esperteza (Gazeta da Tarde, edição de 16 de abril de 1881, terceira coluna)
+O fotógrafo Moritz Lamberg fez uma petição à Associação Comercial da Cidade do Recife para que se ordenasse o registro da escritura da compra que fez do estabelecimento denominado Photographia Allemã (Diário de Pernambuco, 19 de setembro de 1881, na quarta coluna).
+Vistas do Recife produzidas por Henschel foram elogiadas pela imprensa local como as melhores que conhecemos até hoje dos pontos photographados (Diário de Pernambuco, edição de 18 de outubro de 1881).
+Alberto Henschel e Moritz Lamberg convidavam para apreciar os trabalhos de nossa casa, que vão ser exibidos na próxima exposição que terá lugar no Rio de Janeiro (Diário de Pernambuco, 14 de novembro de 1881).
+ 
+Diário de Pernambuco, 14 de novembro de 1881.
+ 
+É possível que neste ano Henschel, ou mesmo antes, tenha vendido a filial baiana de seu ateliê fotográfico para Waldemar Lange, que se anunciava como seu sucessor  no Almanak da Província da Bahia, 1881, pág. 43.
+1882 – Henschel participou da Primeira Exposição Artístico-Industrial promovida pela Imperial Sociedade dos Artistas Mecânicos e Liberais de Pernambuco e conquistou uma medalha de mérito pelas vistas fotográficas que expôs (Diário de Pernambuco, 17 de janeiro de 1882, segunda coluna).
+Foi aberto o ateliê de Henschel em São Paulo, na rua Direita nº 1. A imprensa noticiou que a inauguração desse importante e sumptoso estabelecimento artístico seria mais um signal do crescente desenvolvimento de São Paulo (Correio Paulistano, na edição de 1º de fevereiro de 1882). No anúncio da inauguração, apresentavam-se como fotógrafos da Casa Imperial (Correio Paulistano, edição de 7 de fevereiro de 1882). O gerente da sucursal paulista era o fotógrafo húngaro José Vollsack (1847 – 1927), que, em 1888, tornou-se dono da referida filial. Por já existir na capital paulista uma casa fotográfica com o nome de Photographia Allemã, de propriedade do fotógrafo alemão Carlos Hoenen (18? – ?), a de Henschel ficou conhecida como Photographia Imperial.
+Em abril, foi publicada na Revista Illustrada, número 295, na seção Exposição de bellas-artes, uma crítica desfavorável a dois retratos de Henschel.
+Morte de Albert Henschel em 30 de junho, no Rio de Janeiro ( Rio News, edição de 5 de julho de 1882 e Gazeta de Notícias, edição de 10 de julho de 1882). Faleceu em sua residência, na rua Barão de Itambi, nº 14, em Botafogo.
+1884 – Foi autorizada a venda da filial do Rio de Janeiro por força de alvará judicial (Jornal do Commercio, de 7 de junho de 1884, primeira coluna).
+1885 - O austríaco Constantino Barza reassumiu a gerência da  Photographia Alemã (Diário de Pernambuco, 13 de novembro de 1885). Anteriormente, em 1881, havia se associado ao dinarmarquês Niels Olsen (1843 – 1911), em Fortaleza (O Cearense, 26 de janeiro de 1881, quarta coluna) e, depois, no Pará (O Liberal do Pará, 3 de janeiro de 1882, quarta coluna e Almanak Paraense, 1883). Em Belém, o estabelecimento de Olsen e Barza começou a funcionar em 1º de janeiro de 1882 e ficava na rua da Trindade, n° 24, no antigo ateliê do fotógrafo José Thomaz Sabino, que havia falecido.
+ 
+Diário de Pernambuco, 23 de novembro de 1885
+ 
+1887 – Até esse ano Constantino Barza continuava a anunciar as atividades da Photographia Allemã no Recife. em 1905, Constantino Barza trabalhava como agente de venda dos charutos Poock & C(A Província, 9 de março de 1905).
+2020 – Em 13 de maio, publicação, na Brasiliana Fotográfica, do artigo A mulher negra de turbante, de Alberto Henschel, de autoria de Aline Montenegro Magalhães e Maria do Carmo Rainho, historiadoras, respectivamente, do Museu Histórico Nacional e do Arquivo Nacional.
+O artista visual brasileiro Vik Muniz (1961-) produziu a obra Sem nome (mulher com turbante), a partir de Alberto Henschel.
+ 
+Vik Muniz. Sem nome (mulher com turbante), a partir de Alberto Henschel, 2020.
+ 
+Para a elaboração da presente cronologia de Alberto Henschel vali-me, especialmente, do Dicionário Histórico-Fotográfico Brasileiro: Fotógrafos e Ofício da Fotografia no Brasil (1833-1910), de autoria de Boris Kossoy, e da Hemeroteca Digital da Biblioteca Nacional.
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
diff --git a/wordpress/20866-cronologia-do-fotografo-e-aviador-britanico-s-h-holland-1883-1936.md b/wordpress/20866-cronologia-do-fotografo-e-aviador-britanico-s-h-holland-1883-1936.md
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@@ -0,0 +1,60 @@
+---
+id: 20866
+url: "https://brasilianafotografica.bn.gov.br/?p=20866"
+titulo: "Cronologia do fotógrafo e aviador britânico S.H. Holland (1883 – 1936)"
+autor: "Andrea Wanderley"
+data: "2021-01-06T10:22:27+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/2915", "20.500.12156.1/2855"]
+fetched_at: "2026-09-10T10:04:27.751Z"
+---
+
+# Cronologia do fotógrafo e aviador britânico S.H. Holland (1883 – 1936)
+
+Cronologia do fotógrafo e aviador britânico S.H. Holland (1883 – 1936)
+ 
+O Jornal, 26 de abril de 1930
+ 
+1883 – Em Petworth, na Inglaterra, em 17 de março de 1883, nascimento de Sydney Henry Holland, filho de Arthur Charles Holland (1850 – 1936) e Amy Louisa Katherine Stratton (1857 – 1936).
+1914 – 1918 – Combateu como piloto na Primeira Guerra Mundial.
+1920 - Na Argentina, Holland sofreu um desastre de avião e ficou gravemente ferido. Ele estava pilotando um avião Avro, pertencente ao Aeroclube de Buenos Aires. Estava com o presidente da entidade, Nicanor Posse, e com o instrutor Gregorio Sandoval (O Paiz, 15 de abril de 1920, na penúltima coluna).
+Holland sofreu outro acidente de avião, também na Argentina, e fraturou a perna (O Paiz, 26 de maio de 1920, penúltima coluna).
+1923 - Ficou em terceiro lugar na Copa Wilbur Wright organizada pelo Aeroclube Argentino, em 5 de agosto de 1923, no circuito San Isidor, San Fernando e el Palomar com a participação de quinze pilotos.
+ 
+Classificação na Copa Wilbur Wright, na Argentina, em 5 de agosto de 1923
+ 
+ 
+Também na Argentina, em 9 de dezembro, Holland ficou em 2º lugar na Copa 19 de Novembro, competição de regularidade conhecida como Carrera Aérea de la Plata. Vinte e quatro pilotos participaram da prova.
+ 
+Classificação dos pilotos na Copa 19 de Novembro, realizada em 9 de dezembro de 1923
+ 
+1928 – Chegada de S. H. Holland ao Rio de Janeiro vindo da Europa no paquete Arandora. Veio com os engenheiros contratados pela prefeitura do Rio de Janeiro para fazer o levantamento da planta cadastral da cidade. Holland era o chefe da seção de aviação da comissão e o chefe da delegação da Aircraft Operating era o coronel do corpo de engenharia do exército inglês, T.T. Behrens Foi noticiado que Holland já conhecia o Rio de Janeiro de passagem e que dessa vez teria que ficar na cidade por pelo menos 3 anos para concluir o trabalho para o qual havia sido contatado (A Noite, 21 de junho de 1928, segunda coluna; O Paiz, 22 de junho de 1928, segunda coluna e Correio da Manhã, 22 de junho de 1928, sétima coluna).
+Foi aprovado no exame para motorista (Correio da Manhã, 7 de julho de 1928, primeira coluna).
+O ministro da Viação, Vítor Konder (1886 – 1941), autorizou a revalidação da carta de piloto de Holland (Correio Paulistano, 18 de julho de 1928, na sexta coluna).
+1929 – Na Exposição Ferroviária, os pilotos Charles Astor e S.H. Holland fizeram uma exibição de acrobacia aérea (Jornal do Brasil, 17 de agosto de 1929, terceira coluna).
+1930 – Foi noticiado que as famosas artistas Margarida Max (c. 1890 – c.1960), estrela do teatro de revista, e Josephine Baker (1906 – 1975) já haviam voado com o capitão Holland.
+A partir de uma denúncia de que S.H. Holland havia produzido fotografias de pontos estratégicos da cidade e por requisição dos ministros da Guerra e da Marinha, a 4ª Delegacia Auxiliar do Rio de Janeiro o prendeu em seu escritório no Edifício Portella, na avenida Rio Branco, nº 111., onde localizava-se sua empresa de reclames aéreos. Seus representante comerciais James Cecil Cotton e Cecil Howard Cotton também foram presos. No escritório, foram apreendidos seus arquivos de escrituração e fotografias. Em seu ateliê na rua Capitão Salomão, 30, anexo à Empresa Brasileira de Aviação Limitada, foi apreendido cerca de 40 contas de material fotográfico. A prisão e as apreensões foram baseadas nas determinações do Decreto 16983, de 22 de julho de 1925, que proibia fotografar pontos estratégicos da cidade, fortalezas e quartéis. A ação integrava a forte ação de repressão que a polícia estava realizando contra a fotografia aérea. Além disso, o avião de Holland não estava registrado na Aeronáutica (Diário Carioca, 20 de abril de 1930, primeira coluna; Diário da Noite, 22 de abril de 1930, quinta coluna; O Jornal, 22 de abril de 1930). e Jornal do Brasil, 23 de abril de 1930, quinta coluna). Pouco depois, foi apreendido na Alfândega uma aeroplano procedente do exterior para Holland (Correio da Manhã, 24 de abril de 1930, última coluna). Holland foi solto e seus funcionários foram soltos em 24 de abril (Correio da Manhã, 25 de abril de 1930).
+Publicação de uma fotografia aérea de Petrópolis, a linda cidade de verão, de autoria de Holland e produzida especialmente para a revista O Cruzeiro (O Cruzeiro, 26 de abril de 1930).
+Publicação de fotografias aéreas produzidas por Holland de diversos bairros do Rio de Janeiro, dentre eles Leme, Copacabana, Ipanema e Leblon, todos dentro da zona da recém instalada estação de telefonia automática “7”, localizada na rua Visconde de Pirajá, 44, em Ipanema (Sino Azul, junho de 1930).
+O capitão Holland envolveu-se na Revolução de 30.
+1931 – Na Feira Internacional de Amostras, o paraquedista Genaro Maddalun pulou de paraquedas de um avião cedido por Holland (A Esquerda, 14 de agosto de 1931, segunda coluna, Diário de Notícias, 14 de agosto de 1931, última coluna, e Jornal do Commercio, 23 de agosto de 1931, quarta coluna).
+Na página central da edição de O Cruzeiro, de 10 de outubro de 1931, publicação de uma fotografia aérea do Cristo Redentor, pouco antes de sua inauguração oficial, em 12 de outubro, produzida por Holland especialmente para a revista.
+1932-  Holland envolveu-se na Revolução de 1932 e pouco depois deixou o Brasil.
+1936 – Holland faleceu, em dezembro, quando combatia na Guerra Civil Espanhola em um avião vermelho de bombardeio ao lado das tropas governamentais da Espanha. Na primeira patrulha contra os americanos, Holland foi abatido dentro das linhas do general Franco. Também morreram os dois outros tripulantes do avião: um russo que o pilotava e um observador espanhol. Com Holland foram encontradas duas cartas, um cheque de 15 libras e duas notas de 100 pesetas. Em uma das cartas, escrita na véspera de sua morte, o aviador comentou que pilotava um aparelho não muito bom, e reclamou da desorganização vermelha, do atraso de seu pagamento, que havia sido acertado com o embaixador da Espanha em Londres na ocasião de seu alistamento; e também da falta de aquecimento no campo de aviação em que servia. Os documentos do piloto foram remetidos para a sua esposa em Londres inclusive as promessas dos vermelhos espanhóis de pagar aos seus herdeiros a importância de 1.500 libras, no caso em que ele morresse. Holland integrava a primeira esquadrilha yankee, formada por 4 aviadores norte-americanos e por diversos pilotos voluntários ingleses, cuja base ficava perto da cidade espanhola de Bilbao (Correio da Manhã, 16 de dezembro de 1936, terceira coluna; e O Jornal, 20 de dezembro de 1936 )
+‘O chefe de três ataques simultâneos estava no setor de Bondilla, noroeste de Madri. Mouros e recém chegados alemães atacaram com tanques e aviões. Os legalistas venceram após 5 horas, matando 200 e ferindo vários. Sydney Henry Holland, que recentemente havia ido para a Espanha com outros aviadores britânicos, foi morto no front Vittoria quando os rebeldes revidaram um ataque no aeródromo contra 11 máquinas legalistas. O avião de Holland, pilotado por um russo, com um observador espanhol, foi derrubado por rajadas de metralhadoras. Os ocupantes morreram queimados. O correspondente do Daily Mail de Salamanca revelou que os documentos encontrados com Holland mostravam que o governo o havia empregado em 27 de novembro de 1936 com um salário de 220 libras por mês, subsídios de 24 libras, passagem de primeira-classe, um prêmio de 300 libras por cada máquina rebelde abatida, compensação por incapacitação por ferimentos, e 1500 libras para seu parente mais próximo em caso de morte… (Trove Advocate, 18 de dezembro de 1936).
+ 
+ 
+S.H. Holland. Ilha Redonda, c. 1930. Rio de Janeiro, RJ / Acervo FBN
+ 
+S.H. Holland. Esplanada do Castello, Mercado Municipal, etc.,c. 1930. Rio de Janeiro, RJ / Acervo FBN
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/2915` — `itens/20.500.12156.1_2915/`
+- `20.500.12156.1/2855` — `itens/20.500.12156.1_2855/`
+
diff --git a/wordpress/20870-cronologia-do-fotografo-george-huebner-1862-1935.md b/wordpress/20870-cronologia-do-fotografo-george-huebner-1862-1935.md
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+---
+id: 20870
+url: "https://brasilianafotografica.bn.gov.br/?p=20870"
+titulo: "Cronologia do fotógrafo George Huebner (1862 – 1935)"
+autor: "Andrea Wanderley"
+data: "2021-01-06T10:22:14+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/1835", "20.500.12156.1/1839"]
+fetched_at: "2026-09-10T10:04:30.924Z"
+---
+
+# Cronologia do fotógrafo George Huebner (1862 – 1935)
+
+Cronologia do fotógrafo George Huebner (1862 – 1935)
+ 
+ 
+Refeição na casa de Huebner (na cabeceira); à direita, Theodor Koch-Grünberg, 1911-1913. Legado científico de Theodor Koch-Grünberg. Coleção Etnográfica da Universidade Phillips de Marburg, Alemanha. N°  de inventário KG-H-VIII, 35. Notam-se os quadros na parede: à esquerda, um retrato do Imperador Wilhelm II; ao centro, uma fotografia de palmeiras realizada por Huenber. Foto: Reprodução/’A fotografia amazônica de George Huenber’, de Andreas Valentin
+ 
+1862 – Nascimento de Georg Hübner, em Dresden, na época, uma das mais importantes cidades da Alemanha. Posteriormente seu nome foi latinizado para George Huebner.
+1885 – Huebner realizou sua primeira viagem à América do Sul. Já mantinha contato com sociedades científicas, para as quais iria coletar dados e imagens sobre os povos nativos da região.
+1888 - Huebner fez viagens pelo Peru e, estabelecido em Lima, conheceu Charles Kroehle, um fotógrafo alemão. Durante cerca de três anos e meio, percorreram o território peruano, desde os altiplanos andinos até a costa do Pacífico e a região amazônica.
+1892 – Huebner retornou a Dresden, publicou textos ilustrados em revistas de ciência popular e de viagens como Globus e Deutsche Rundschau für Geographie und Statistik. Fez palestras em sociedades científicas e forneceu imagens para artigos científicos. Foi sua primeira incursão no meio científico.
+1894 – Voltou à Amazônia e fez duas expedições: a primeira, à nascente do Orinoco, já na Venezuela, e a outra por um longo trecho do rio Branco, afluente do rio Negro. Nos oito meses em que permaneceu na Floresta Amazônica, Huebner também aprofundou seus conhecimentos de botânica amazônica, ao coletar e documentar espécimes da flora, especialmente de orquídeas.
+1894 /1895 / 1896 – Ao longo desses anos, retornou a Dresden e voltou para o Brasil.
+c. 1895 - Coletou o holótipo do lagarto do verme do rio Inirida, que foi posteriormente batizado em sua homenagem como Mesobaena huebneri .
+1896 - Foi admitido como naturalista, sócio-correspondente do Verein für Erdkunde (Sociedade de Geografia) de Dresden.
+Huebner e o também fotógrafo Gomes Leite seguiram no vapor Tabatinga para o Rio Madeira, comissionados pela casa artística do sr. Antonio Luciani, a serviço de suas profissões (Diário Oficial(AM), 25 de janeiro de 1896, última coluna).
+1897 – Em Belém, colaborou com o fotográfo português Felipe Augusto Fidanza (c. 1847 – 1903).
+Em novembro, George Huebner, apresentando-se como membro correspondente da Sociedade Geográfica de Dresden, informava a abertura de um ateliê fotográfico em Manaus, a Photographia Allemã, no antigo Hotel Cassina, junto ao palácio do governo (Jornal do Rio Negro, 7 de novembro de 1897).
+1898 – Quase todas as imagens do Álbum Descritivo do Pará (1898), de Arthur Caccavoni (18? -19?), são de autoria de Huebner.
+1899 – Huebner anunciou que seguiria para o rio Juruá e que, durante sua ausência, a Photographia Allemã seria gerenciada por José Gomes Leite (Commercio do Amazonas, 4 de fevereiro de 1899, sexta coluna).
+Quase todas as imagens do álbum Amazônia (1899), de Arthur Caccavoni, são de autoria de Huebner.
+1900 – Huebner anunciou seu estabelecimento fotográfico na rua São Vicente, 23, onde fazia retratos de todos os gêneros e em platinotipia e crayon, diversas vezes ao longo de 1900 (Commercio do Amazonas, 25 de abril de 1900).
+ 
+Commercio do Amazonas, 16 de junho de 1900
+ 
+Huebner fotografou a sessão extraordinária do Congresso do Estado do Amazonas (A Federação, orgam do Partido Republicano Federal (AM), 10 de julho de 1900, terceira coluna).
+Foi noticiado uma grande afluência de curiosos ao escritório da redação do Commercio do Amazonas para apreciarem as fotografias do sahimento do dr. Eduardo Ribeiro, trabalho do conceituado “atelier” do sr George Huebner . Sahimento é a procissão de condução do cadáver (Commercio do Amazonas, 23 de outubro de 1900, sexta coluna).
+Em torno desse ano, foram produzidas as fotografias do Álbum de Vistas de Manaus.
+ 
+George Huebner. Álbum Vistas de Manaus, c, 1900. Manaus, Amazonas / Acervo IMS
+ 
+1902 – Associou-se a Libânio do Amaral (? – 1920), professor de Belas Artes. A Photographia Allemã ficava na rua Eduardo Ribeiro (O Palito, 1º de junho de 1902).
+Lindos leques em que se aprecia o primor artístico do exímio desenhista Libânio Amaral da acreditada Photographia Allemã de Huebner & Amaral seriam os mimos para a barraca amazonense (Quo vadis?, 21 de novembro de 1902, última coluna).
+Huebner & Amaral fizeram vistas da festa de Natal de 1902 e realizaram uma estereotipia da festa do Christo, em Manaus (Quo vadis?, 28 de dezembro de 1902, quinta coluna).
+Huebner forneceu 8 retratos para o Ginásio Amazonense (Mensagens do governador do amazonas para a Assembleia, 1902).
+1903 – A delegacia fiscal do Amazonas comprou um retrato do presidente da República, Rodrigues Alves, realizado por Huebner & Amaral (Quo vadis?, 28 de janeiro de 1903, quinta coluna).
+O etnólogo alemão Theodor Koch-Grünberg chegou a Manaus para iniciar sua expedição ao alto Rio Negro, patrocinado pelo Museu de Berlim. Dois anos antes havia se apresentado como voluntário do Museu Etnográfico de Berlim e, em 1902, foi contratado como pesquisador assistente trabalhando sob a tutela do pesquisador Karl von den Steinen. Nesse mesmo ano, obteve seu doutoramento na Universidade de Würzburg.
+Theodor conheceu Huebner, com quem estabeleceu laços de amizade e uma colaboração profissional de quase 22 anos, que só terminaria com sua morte prematura por malária, em 1924, em Vista Alegre, no atual estado de Roraima. Segundo Andreas Valentin, a parceria entre os dois já se transformara em cumplicidade, que transparecia nas suas cartas. É importante, no entanto, lembrar que Huebner não tivera formação superior de qualquer espécie. Era de se esperar que um homem das ciências, para ser reconhecido como tal, fosse treinado e passasse por todos os trajetos e rituais da Academia. Não foi este o caso de Huebner. A confiança que ele conquistou não só de Koch Grünberg como também de outros cientistas e instituições, principalmente após abandonar o negócio fotográfico, se deve aos seus próprios méritos, como profissional dedicado não apenas à sua atividade-fim, mas também como investigador meticuloso, preciso e sempre em busca do desconhecido. Acrescenta-se, ainda, a postura humanista que eles compartilhavam em sua preocupação com a rápida extinção dos índios.
+1904 – O folheto Kautschukgewinnung am Amazonen – Strome, de 15 páginas, sem data, fazia parte da bibliografia do artigo “Chelonios do Brasil”. Foi publicado como texto explicativo de 8 grandes fotografias publicadas pelos srs. G. Huebner & Amaral, de Manaus. Contém uma breve resenha da indústria de borracha no amazonas, com indicações originais sobre as árvores de borracha, os seringais, os processos de extração e preparação e a exportação (Boletim do Museu Paraense de História Natural e Etnografia, 1904 )
+Huebner e Amaral ofereceram  à redação do jornal Quo Vadis? duas lindas coleções de bilhetes postais, com fotografias de Manaus e do interior do Amazonas (Quo vadis?, 11 de fevereiro de 1904, segunda coluna). Ao Jornal do Commercio(AM), ofereceram fotografias do edifício do jornal onde funcionavam seus escritórios e oficinas (Jornal do Commercio (AM), 13 de abril de 1904, segunda coluna).
+Huebner & Amaral realizaram quadros de 110 cm sobre 86, ampliações de fotografias, em moldura de madeira da terra, das diversas fases do cultivo e do beneficiamento da borracha (Jornal do Commercio, 17 de abril de 1904, segunda coluna).
+Huebner chegou em Manaus, vindo de Belém, no vapor Campos Salles (Jornal do Commercio (AM), 14 de junho de 1904, quarta coluna).
+O monsenhor Luis Gonzaga de Oliveira e um grupo de seus ex-discípulos foram fotografados no ateliê de Huebner & Amaral. Durante a reunião, o compositor Caetano Briones executou ao piano a música Rio Negro, de sua autoria (Jornal do Commercio (AM), 19 de junho de 1904, quarta coluna).
+Huebner estava em Dresden, na Alemanha (Jornal do Commercio (AM), 23 de setembro de 1904, terceira coluna). Em 29 de outubro, já estava de volta em Manaus (Jornal do Commercio (AM), 29 de outubro de 1904, segunda coluna).
+O governador do Amazonas, coronel  Constantino Neri (1859 – 1926), foi presenteado com uma fotografia dele produzida por Huebner & Amaral (Jornal do Commercio (AM), 9 de dezembro de 1904, segunda coluna).
+O ateliê de Huebner & Amaral é elogiado como o preferido do público devido às incontestáveis provas de competência (Jornal do Commercio (AM), 15 de dezembro de 1904, quarta coluna).
+1905 - Exposição de retratos produzidos por Huebner & Amaral dos cinco presidentes do Brasil até então: Deodoro da Fonseca (1827 – 1892), Floriano Peixoto (1839 – 1895), Prudente de Morais (1841 – 1902), Campos Salles (1841 – 1913) e Rodrigues Alves (1848 – 1919) (Jornal do Commercio (AM), 11 de fevereiro de 1905, segunda coluna).
+Huebner foi um dos fiscais do carnaval realizado na primeira avenida de Manaus (Jornal do Commercio (AM), 7 de março de 1905, primeira coluna).
+Huebner importou artigos fotográficos da Europa (Jornal do Commercio (AM), 9 de junho de 1905, quarta coluna).
+Durante uma sessão na Academia de Letras, em Manaus, Huebner teve uma discussão com o fotógrafo italiano Panigal. Amobos fotografavam a ocasião (Jornal do Commercio, 6 de agosto de 1905, última coluna).
+1906 – Huebner e Libânio do Amaral adquiriram, em Belém, o ateliê fotográfico Fidanza, que havia sido o mais tradicional do Pará – pertencia ao fotógrafo português Felipe Augusto Fidanza (c. 1847 – 1903), que havia se suicidado três anos antes. O ateliê ficava na rua Conselheiro João Alfredo, 23.
+Huebner encontrava-se em Funchal, cidade portuguesa na Ilha da Madeira (Jornal do Commercio, 5 de junho de 1906, quarta coluna). Seguiu para Hamburgo (Jornal do Commercio (AM), 21 de junho de 1906, quarta coluna).
+Foi editado durante o governo do coronel Constantino Neri (1859 – 1926) no Amazonas, o álbum Vale do Rio Branco – Estado do Amazonas com fotografias produzidas por Huebner. Foi coordenado pelo engenheiro militar Alfredo Ernesto Jacques Ourique (1848 – 1932). Ele e Huebner faziam parte da comitiva da viagem que o governador Neri fez pelo rio Branco, em 1904, a  bordo do Vapor Mararyr. Eles documentaram a vida ribeirinha, as paisagens, as fazendas, as ruínas do Forte São Joaquim, a fronteira do Brasil com a Guiana Inglesa e a população indígena. O álbum Vale do Rio Branco foi editado em Dresden, na Alemanha, ficou pronto, em 1906. Só foi divulgado na Exposição Nacional de 1908, no Rio de Janeiro: todas as gravuras são magníficas, sendo o trabalho do álbum verdadeiramente artístico, feito no estrangeiro (Jornal do Brasil, 24 de junho de 1908, segunda coluna).
+Huebner & Amaral fotografaram os assassinos da família Pacoty (Jornal do Commercio (AM), 22 de setembro de 1906, quarta coluna).
+1907 – Ao longo desse ano, Huebner importou material fotográfico da Europa.
+Na opulenta vitrine da acreditada fotografia de Huebner & Amaral, exposição de retratos do governador Constantino Neri e dos coronéis Antonio Bittencourt e Afonso de Carvalho (Jornal do Commercio (AM), 15 de dezembro de 1907, terceira coluna).
+1908 – Um funcionário da Photographia Allemã foi preso, acusado de roubar dinheiro de Huebner (Jornal do Commercio (AM), 10 de janeiro de 1908, última coluna).
+A Photographia Allemã inaugurou uma exposição de quadros do artista plástico Ernest Vollbehr (1876 – 1960) (Jornal do Commercio (AM), 18 de fevereiro de 1908, última coluna).
+Huebner fotografou o grupo Club Cabocolin, de foliões que se fantasiavam de índios (Jornal do Commercio (AM), 3 de março de 1908, terceira coluna).
+Exposição de um retrato da sra. Zuleide de Barros, executado por Huebner, que seria mostrado na Exposição Nacional de 1908, no Rio de Janeiro (Jornal do Commercio (AM), 5 de março de 1908, quinta coluna).
+Pela primeira vez, Huebner viajou para o Rio de Janeiro, onde ele e Libânio do Amaral ganharam a medalha de prata e a medalha de ouro pelo Amazonas e o Grande Prêmio pelo Pará, na Exposição Nacional de 1908 (Almanak Laemmert, 1909).
+Na gerência do Jornal do Commercio de Manaus, exposição de fotografias de autoria de Huebner realizadas na seção amazonense da Exposição Nacional (Jornal do Commercio (AM), 10 de setembro de 1908, primeira coluna).
+Realização de um trabalho sobre os índios Macuchi e Wapishana, por Huebner e pelo etnologista e explorador alemão Theodor Koch Grumberg (1872 – 1924) sobre aspectos dessas tribos, por exemplo, seus vocabulários (Boletim do Museu Paranaense de História Natural e de Etnografia, 1909).
+1909 – Exposição de uma fotografia produzida pela casa Huebner & Amaral da passeata da Sociedade do Tiro Brasileiro do Amazonas (Jornal do Commercio (AM), 7 de janeiro de 1909, primeira coluna).
+Huebner & Amaral ofereceram ao Jornal do Commercio fotografias da inauguração do Cristo no Tribunal do Juri (Jornal do Commercio (AM), 23 de junho de 1909, segunda coluna)
+Huebner participou da expedição para prestar socorro às vítimas da enchente do rio Amazonas. As fotografias foram expostas mostrando a desolação causada pela enchente (Jornal do Commercio (AM), 4 de julho de 1909, quinta coluna, e 5 de julho, quarta coluna).
+1910 – Huebner e Libânio do Amaral eram credores do estado do Amazonas pela realização de trabalhos fotográficos para a Comissão de Saneamento e para a Polícia, e também pela publicação da obra Vale do Rio Branco (Relatório dos presidentes dos estados brasileiros (AM), 1910, página 525, página 559 e página 580).
+No salão nobre da Photographia Allemã, exposição de um excelente retrato em nítida fotogravura do fundador do Jornal do Commercio de Manaus, o português Joaquim Rocha dos Santos (Jornal do Commercio (AM), 4 de janeiro de 1910, última coluna).
+George Huebner e Libânio Amaral estão na Alemanha (Jornal do Commercio (AM), 15 de agosto de 1910, quinta coluna).
+1911 – Foi publicada uma propaganda da Photografia G. Huebner & Amaral que estaria à disposição do público para executar qualquer trabalho fotográfico a partir do dia 1º de janeiro de 1911, no Rio de Janeiro. Ficava no edifício de O Paiz, com entrada pela rua Sete de Setembro. O prédio ficava na esquina da avenida Central com Sete de Setembro (A Notícia, 2 de janeiro de 1911, última coluna e  Jornal do Commercio (AM), 27 de janeiro de 1911, penúltima coluna).
+Fotografias da extração da borracha e de seu beneficiamento realizadas por Huebner & Amaral ganharam a medalha de ouro na exposição de borracha anexa ao Congresso Comercial, Industrial e Agrícola realizada em Manaus em fevereiro de 1911 (Jornal do Commercio (AM), 18 de março de 1911, terceira coluna e 19 de março de 1911, última coluna).
+A revista Fon Fon publica uma matéria elogiando o ateliê de Huebner & Amaral. A fotografia junta patenteará aos nosso leitores o conforto e a sóbria elegância desse atelier, cujos trabalhos são verdadeiras maravilhas (Fon-Fon, 22 de abril de 1911).
+ 
+Fotografia do ateliê Huebner & Amaral, no Rio de Janeiro, publicada na revista Fon-Fon, 22 de abril de 1911
+ 
+Reputado estabelecimento de arte, a Photographia Allemã passou por várias reformas (Jornal do Commercio (AM), 24 de dezembro de 1911, segunda coluna e 25 de dezembro, primeira coluna).
+1912 – Huebner e Libânio do Amaral ofereceram ao Centro Cívico Sete de Setembro uma fotografia do barão do Rio Branco (A Imprensa, 20 de março de 1912, terceira coluna).
+O endereço do estabelecimento dos fotógrafos passou a ser avenida Rio Branco, 128 – com a morte do barão do Rio Branco, a avenida Central passou a se chamar avenida Rio Branco.
+Huebner chegou ao Maranhão, vindo do Rio de Janeiro (Jornal do Commercio (AM), 20 de abril de 1912, pen~ultima coluna).
+Huebner e Libânio do Amaral e outros proprietários e empregados de estabelecimentos fotográficos requerem que o governo decrete uma lei que determine o fechamento de suas casas comerciais aos domingos (A Imprensa, 13 de abril de 1912, primeira coluna). O pedido foi indeferido (A Imprensa, 8 de junho de 1912, última coluna).
+Notícia de que Huebner e dona Maria Ângela pagaram imposto de transmissão de propriedade. Será ela esposa de Huebner? (Jornal do Commercio (AM), 30 de junho de 1912, segunda coluna).
+Huebner & Amaral cobraram do senhor Carlos Simas, empregado do Banco do Brasil, o pagamento de uma encomenda de fotografias (Jornal do Commercio (AM), 8 de julho de 1912, penúltima coluna).
+Publicação de uma carta enviada do rio Orinoco do etnólogo alemão Theodor Koch-Grünberg (1872 – 1924) a Huebner na qual ele narra seu encontro com indígenas em dezembro de 1911 (Jornal do Commercio (AM), 11 de julho de 1912, quinta coluna).
+Denúncia de tráfico de índios no interior do Amazonas feita Koch-Grünberg, que encaminhou dois indígenas escravizados para a residência de Huebner e Amaral (Jornal do Commercio (AM), 17 de julho de 1912, terceira coluna).
+1917 – A Photographia Huebner & Amaral reabriu em 11 de setembro, na rua da Assembleia, 100, antigo endereço da Photographia Guimarães, do fotógrafo português José Ferreira Guimarães (1841 – 1924) (Jornal do Commercio, 9 de setembro de 1917).
+ 
+Anúncio da reabertura da G. Huebner, Amaral & C. Photpgraphos – Jornal do Commercio, 9 de setembro de 1917
+ 
+A Photographia Huebner & Amaral foi apedrejada por populares em revolta contra a pirataria alemã. Os mostruários do estabelecimento fotográfico foram destruídos (Diário de Pernambuco, 15 de novembro de 1917, quinta coluna).
+ 
+George Huebner. Álbum Vistas de Manaus – Ponte dos Remédios, c. 1890. Manaus, Amazonas / Acervo IMS
+ 
+1918 – O Almanak Laemmert anunciou o estabelecimento fotográfico G. Huebner, Amaral & Cia, na rua da Assembleia, 100, no Rio de Janeiro.
+O estabelecimento fotográfico G. Huebner & Amaral, em Manaus, na avenida Eduardo Ribeiro, foi anunciado pela última vez no Almanak Laemmert.
+1919 – O estabelecimento fotográfico G. Huebner & Amaral, de Belém, na rua Conselheiro João Alfredo, foi anunciado pela última vez no Almanak Laemmert.
+Foi anunciada a dissolução da sociedade entre George Huebner, Libânio do Amaral e Paulo Erbe, sócio-gerente da firma desde 1912, que passou a ser o único dono do estabelecimento fotográfico G. Huebner, Amaral & Cia (Jornal do Commercio, 23 de novembro de 1919, oitava coluna). Erbe se estabeleceu, posteriormente, na rua República do Peru, nº 100.
+ 
+Jornal do Commercio, 23 de novembro de 1919
+ 
+1928 - Foi introduzida no Jardim Botânico do Rio de Janeiro a palmeira Leopoldinia piassaba Wallace, da região do rio Negro, no Amazonas, adquirida de George Huebner, em Manaus (Rodriguésia, junho / setembro de 1936).
+1929 – O estabelecimento fotográfico G. Huebner & Amaral, do Rio de Janeiro, na rua República do Peru, 100, foi anunciado pela última vez no Almanak Laemmert.
+1930 -  Huebner foi identificado como um incansável estudioso, abrigado infelizmente na mais severa, verídica modéstia, quem primeiramente (da sua chácara perdida num obscuro arrabalde de Manaus) revelou aos meios científicos esse bizarro exemplar da família das palmaceas…a sohnregia excelsa… (Eu sei tudo, maio de 1930).
+Foi publicado o artigo As nossas plameiras como elemento de decoração, de autoria de Huebner (O Campo, fevereiro de 1930).
+1935 – George Huebner, que em seus últimos anos de vida, vivia em um sítio nos arredores de Manaus coletando espécies vegetais, sobretudo orquídeas, faleceu.
+1944 – Apesar de ter sido rebatizado com o nome de Fotografia Artística, o estúdio Photographia Allemã foi depredado devido aos acontecimentos relacionados à Segunda Guerra Mundial, destruindo parte do acervo fotográfico de Huebner.
+ 
+Andrea C. T. Wanderley
+Editora-assistente e pesquisadora do portal Brasiliana Fotográfica
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/1835` — `itens/20.500.12156.1_1835/`
+- `20.500.12156.1/1839` — `itens/20.500.12156.1_1839/`
+
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+---
+id: 20875
+url: "https://brasilianafotografica.bn.gov.br/?p=20875"
+titulo: "Cronologia de José Christiano Júnior (1832 – 1902)"
+autor: "Andrea Wanderley"
+data: "2021-01-06T10:18:08+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/4735", "20.500.12156.1/5522"]
+fetched_at: "2026-09-10T10:04:34.293Z"
+---
+
+# Cronologia de José Christiano Júnior (1832 – 1902)
+
+Cronologia de José Christiano Júnior (1832 – 1902)
+ 
+Retrato de Christiano Junior, c. 1872/ Site Buenos Aires História 
+ 
+1832 – O português José Christiano de Freitas Henriques Junior nasceu na Ilha das Flores, no Arquipélago dos Açores, em 21 de julho de 1832.
+1855 - Chegou ao Brasil com sua esposa, Maria Jacinta Fraga, e com os dois filhos do casal: os futuros fotógrafos José Virgílio (1851 -?) e Frederico Augusto (1853-?).
+1862 – Christiano Junior anunciava, em Maceió, em Alagoas, seus retratos fotográficos sobre vidro, papel, pano e encerado.
+Chegou no Rio de Janeiro e em anúncio ofereceu seus serviços de fotógrafo. Seus trabalhos estariam expostos na casa do sr. Bernasconi e chamados escritos deveriam ser enviados para o Hotel Brysson, na rua d´Ajuda, 57 B. Também aceitava pedidos de quadros e cestas de flores e frutas de cera, imitando perfeitamente o natural (Correio Mercantil, e Instrutivo, Político, Universal, 2 de dezembro de 1862, quinta coluna).
+ 
+Correio Mercantil, e Instrutivo, Político, Universal, 2 de dezembro de 1862
+ 
+1864 - Era um dos proprietários da Photographia do Commercio, na rua São Pedro, 69. Seu sócio era Fernando Antônio de Miranda (Jornal do Commercio, 17 de julho de 1864).
+ 
+Jornal do Commercio, 17 de julho de 1864
+ 
+Almanak Administrativo, Mercantil e Industrial do Rio de Janeiro, 1864
+ 
+1865 - O endereço do estabelecimento fotográfico de Christiano e Miranda mudou para rua da Quitanda, 53 (Almanak Administrativo, Mercantil e Industrial do Rio de Janeiro, 1865).
+Christiano mudou-se sozinho para a rua da Quitanda, 45. Anunciou que em seu estabelecimento, a Photographia e Pintura, fazia cartões de visita, ambrótipos, cenótipos, fotografias coloridas a óleo, aquarela ou pastel, além de retratos para broches e medalhas. Também anunciou a venda de coleções dos costumes dos pretos nessa corte e no interior da província, em cartões para álbuns, coisa muito própria para quem se retira para a Europa  (Jornal do Commercio, 2 de abril de 1865 e Almanak Administrativo, Mercantil e Industrial do Rio de Janeiro, 1866).
+ 
+Jornal do Commercio, 2 de abril de 1865
+ 
+Exposição na Casa Bernasconi de quatro molduras contendo 48 fotografias de autoria de Christiano. Delas 12 costumes de pretos de ganho, vendilhões e outras 12 representam tipos de diferentes nações da raça africana. Essas 24 imagens foram oferecidas a d. Pedro II (1825 – 1891). As outras 24 foram enviadas à eExposição Internacional do Porto e oferecidas a d. Fernando, rei de Portugal (Correio Mercantil, 22 de julho de 1865, penúltima coluna).
+Participou da Exposição Internacional do Porto e suas obras, assim como as do fotógrafo Joaquim Insley Pacheco (1830 – 1912), foram expostas na seção de Belas-Artes (Jornal do Commercio, de 1865, terceira coluna).
+Christiano Jr, identificado como fotógrafo bastante conhecido pelos excelentes trabalhos executados em sua oficina, doou 400 fotografias do falecido cônsul de Portugal, Antonio Emilio Machado Reis, para ajudar à família do diplomata. Houve uma exposição das fotos na sociedade Madrepora, instituída por Machado Reis (Correio Mercantil, 1º de novembro de 1865, terceira coluna).
+1866 - Publicação de anúncio da Galeria Photographica e de Pintura na seção de “Notabilidades” do Almanaque Administrativo, Mercantil e Industrial do Rio de Janeiro. Christiano Junior anunciava que havia reaberto seu estabelecimento fotográfico após uma reforma e oferecia timbres-postes, fotografias em diversas dimensões – até a natural -, podendo ser coloridas por várias técnicas, retratos em cenótipos, fotografias de homens célebres, além de uma variada coleção de costumes e tipos de pretos, coisa muito própria para quem se retira para a Europa.
+
+Estabelecido na rua da Quitanda, 45, Christiano fez uma exibição de retratos para cartas, uma nova e interessante aplicação da fotografia, realizada a partir de um instrumento que em 15 segundos dá 12 e 24 retratos, pequenos, mas nem por isso menos parecidos. Os retratos seriam usados para marcar o papel de carta, o que anteriormente era feito com a iniciais do remetente (Diário de São Paulo, 4 de fevereiro de 1866, segunda coluna).
+ 
+Diário de São Paulo, 4 de fevereiro de 1866
+ 
+No verso de uma de suas cartas de visita oferecia retratos em lenço, costumes e tipos de índios, cópias de gravuras de Morgado de Mateus reproduzidas de uma rara edição de Os Lusíadas, retratos em porcelana, e em marfim, retratos em vidro para ver por transparências, vistas para estereoscópios, retratos de homens célebres, monarcas, guerreiros, literatos, etc.
+Participou da II Exposição Nacional e o que apresentou foi saudado como excelentes retratos e perfeitíssimas reproduções de uma dúzia de gravuras. Conquistou a medalha de bronze (Semana Ilustrada, 18 de novembro de 1866, segunda coluna e Diário do Rio de Janeiro, 1º de fevereiro de 1867, última coluna).
+Sobre ele, o pintor Victor Meirelles (1832 – 1903), que assinou em nome do júri do quarto grupo – onde se incluía a fotografia – comentou no Relatório da II Exposição Nacional do Rio de Janeiro:
+‘Os trabalhos deste senhor não são menos dignos de atenção por algumas boas qualidades que contêm. As reproduções das gravuras da obra ilustrada: Os Lusíadas, de Camões, publicada em 1817, por D. José Maria de Souza Botelho – Morgado de Mateus, etc, etc, são bem copiadas, e não podemos deixar de louvar tão feliz lembrança, bem como o serviço que presta aos artistas e amadores das belas artes pela propagação dessas belas composições artísticas devidas ao lápis dos célebre pintores Gerard e  Fragonard.      
+Christiano Junior participou que, a partir do dia 1º de dezembro de 1866, seu amigo Bernardo José Pacheco passaria a ser seu sócio em seu estabelecimento fotográfico, na rua da Quitanda, 45, que passaria a funcionar com a razão Christiano Junior & Pacheco (Jornal do Commercio, 3 de dezembro de 1866, quarta coluna e Almanak Administrativo, Mercantil e Industrial do Rio de Janeiro, 1867).
+ 
+ 
+Jornal do Commercio, 3 de dezembro de 1866
+ 
+Em torno desse ano, realizou uma série de fotografias médicas.
+ 
+Christiano Junior. Elephantiasis : [homem nu com deformidade nos órgãos genitais, pernas e pés: retrato, c. 1866. Rio de Janeiro, RJ / Acervo FBN
+1867 – Christiano Junior estava em Desterro, atual Florianópolis, e abriu um ateliê fotografico na rua Augusta, 26. Anunciou sua pretensão de fazer algumas vistas da cidade e também de vistas para estereoscopos, além de informar que pretendia ficar apenas por um mês na cidade porque estaria de passagem para o rio da Prata (O Despertador, 1º de fevereiro de 1867 e O Mercantil, 28 de fevereiro de 1867).
+ 
+O Despertador, 1º de fevereiro de 1867
+ 
+O Mercantil, 28 de fevereiro de 1867
+ 
+ 
+Abriu um ateliê fotográfico, em Mercedes, no Uruguai.
+Christiano Junior começou a tentar expandir suas atividades na Argentina. Em 1º de dezembro, em Buenos Aires, inaugurou um bem sucedido estúdio de fotografia, na rua Florida, nº 159. Iniciou uma significativa produção de retratos e, segundo os pesquisadores argentinos Abel Alexander e Luis Priano, que examinaram os álbuns relativos ao seu trabalho que estão depositados no Archivo General de la Nación, estima-se que foram produzidos por ele mais de 4 mil retratos entre 1873 e 1875.
+No censo de 1869 de Buenos Aires, constavam os nomes de Christiano e de seus dois filhos. O de sua esposa não, o que indica que provavelmente estavam separados ou ele tinha enviuvado.
+1870 - Em um anúncio, Christiano Junior & Pacheco avisavam que à vista dos mesquinhos preços a que alguns de nossos colegas têm reduzido a fotografia, vemo-nos também obrigados a baixar nossos preços. Informava ainda que Christiano Junior havia trazido de sua casa, em Buenos Aires, um novo sistema, a imitação porcelana, por ele introduzida lá e aqui (Jornal da Tarde, 18 de agosto de 1870).
+ 
+Jornal da Tarde, 18 de agosto de 1870
+ 
+Em francês, anúncio da venda de um produto de combate à umidade na Maison Christiano Junior & Cia. O produto teria sido descoberto por um associado de Christiano em Paris, o pintor químico M. Regnault. A propaganda foi publicada outras vezes (Ba-Ta-clan, 27 de agosto de 1870).
+Christiano Junior & Pacheco anunciavam uma novidade fotográfica, a imitação da porcelana – unicamente se fazem na rua da Quitanda, 45 (Jornal do Commercio, 28 de agosto de 1870, terceira coluna).
+Christiano Junior montou um estúdio fotográfico voltado ao público infantil, a Fotografia de la Infancia, na rua de Las Artes, n. 118, em Buenos Aires.
+Em torno desse ano, fotografou o Conde d´Eu(1842 – 1922), marido da princesa Isabel (1846 – 1921).
+ 
+Christiano Junior. Gastão de Orleans, o conde d’Eu, c. 1870. Rio de Janeiro, RJ / Acervo IMS
+ 
+1871 – Recebeu a medalha de ouro na primeira Exposição Nacional da Argentina, na cidade de Córdoba, com a série de fotos Vistas y costumbres de la Republica Argentina. 
+1873 - Publicação de um anúncio da Photographia de Christiano Junior & Pacheco no Almanak Administrativo, Mercantil e Industrial do Rio de Janeiro, 1873 .
+ 
+Almanak Administrativo, Mercantil e Industrial do Rio de Janeiro, 1873
+ 
+1874 – Christiano Junior & Pacheco eram réus em uma ação movida por Olímpio Militão Vieira na Primeira Vara Cível (Diário do Rio de Janeiro, 10 de dezembro de 1874, primeira coluna).
+1875 – O estabelecimento fotográfico de Christiano Junior & Pacheco foi anunciado pela última vez no Almanak Administrativo, Mercantil e Industrial do Rio de Janeiro, 1875, no endereço rua da Quitanda, 39 a 41.
+Seu ateliê fotográfico voltado ao público infantil, a Fotografia de La Infância, era, segundo anúncio publicado no jornal La Prensa de 04 de fevereiro de 1875, possuidor de máquinas instantâneas que permitem tirar retratos de criaturas inquietas e travessas. O ateliê foi destruído por um incêndio em março de 1875, e foi reaberto pouco depois, à rua Victoria 296, agora gerenciado por seu filho José Virgílio, que havia sido seu ajudante.
+Manoel Garcia Vidal, ex-sócio de Christiano Junior & Pacheco, anunciou a abertura de um estabelecimento fotográfico na rua Sete de Setembro, 76, esquina com Gonçalves Dias (Jornal do Commercio, 17 de março de 1875, sexta coluna).
+Um incêndio destruiu o prédio número 41 da rua da Quitanda, de propriedade da Santa Casa de Misericórdia. No segundo andar ficava o estabelecimento Christiano Junior & Pacheco (Jornal de Recife, 29 de março de 1875, segunda coluna). Eles passaram a atender no ateliê do renomado fotógrafo português José Ferreira Guimarães (1841 – 1924), na rua do Ourives, 38 (Jornal do Commercio, 21 de março de 1875).
+A Photographia de Pacheco, Menezes e Irmão era anunciada como sucessora de Christiano Junior & Pacheco, na rua da Quitanda, 39 (Gazeta de Notícias, 10 de agosto de 1875, terceira coluna).
+ 
+Gazeta de Notícias, 10 de agosto de 1875
+ 
+Christiano tornou-se fotógrafo oficial da Sociedade Rural Argentina e realizou sua primeira exposição pela entidade, da qual se desligaria em 1878.
+1876 – Lançou o primeiro volume da coleção intitulada Album de Vistas e Costumes de La Republica Argentina, que trazia 16 imagens de Buenos Aires acompanhadas por textos explicativos em quatro idiomas. Primeiro trabalho com essas características produzido na Argentina, o material foi, em parte, formado pelo aproveitamento de vistas anteriormente colocadas à venda em seu ateliê. Christiano Júnior nesse trabalho mesclou imagens da Argentina colonial e pastoril com as de uma nova nação, representada sobretudo pelas novas construções.
+Para introduzir o álbum afirmou: ‘Meu plano é vasto e quando estiver completo a República Argentina não haverá nem pedra nem árvore histórica, do Atlântico até os Andes, que não tenha sido submetido ao foco vivificador da câmara escura.’
+ 
+
+ 
+Ganhou a medalha de ouro na segunda exposição anual da Sociedade Científica Argentina.
+Participou da Exposição Universal da Filadélfia de 1876.
+1877 - Foi lançado o segundo volume de seu trabalho, contando com doze retratos de tipos populares urbanos e com vistas de construções modernas e históricas.
+Produziu uma série que retratava a nova penitenciária de Buenos Aires, trabalho que foi vendido de forma avulsa e em álbum encadernado.
+No catálogo da primeira exposição do Club Industrial de Buenos Aires, em 1877, na qual participou, Christiano Junior escreveu acerca de suas fotos médicas, realizadas no Brasil, que segundo o parecer dos médicos nacionais e estrangeiros, nenhum fotógrafo, até aquela data [1866] havia tirado do natural um trabalho semelhante.
+1878 - Vendeu seu estúdio em Buenos Aires para Witcomb & Mackern. Deixou no arquivo do ateliê um acervo de mais de 170 vistas.
+Participou da Exposição Universal de Paris de 1878.
+1879 a 1883 – Viajou pelo interior da Argentina, fotografando várias províncias do país, continuando a série de álbuns de Vistas e Costumes da República Argentina. Passou pelas cidades de Rosário, Córdoba, Río Cuarto, Mendoza, San Juan, San Luis, Catamarca, Tucumán, Salta e Jujuy. Antes de chegar às cidades, anuncia nos jornais locais que ali prestará seus serviços. Monta seu estúdio associado a um fotógrafo local e, em alguns casos, acompanhado de seu  filho. Uma vez instalado na localidade, dá início ao trabalho no ateliê e, paralelamente, desenvolve seu projeto maior: os álbuns de vistas.
+1882 – Participou da Exposição Continental de Buenos Aires em 1882.
+1883 – Anúncio do estabelecimento fotográfico de Menezes & Irmão, sucessores de Christiano Junior & Pacheco (Gazeta da Tarde, 5 de junho de 1883, última coluna).
+Christiano Junior desvinculou-se de seu último ateliê, localizado na cidade de Corrientes. Abandonou temporariamente a fotografia, dedicando-se à produção e comércio de vinhos e licores, os quais vendia ao Brasil, à Argentina e ao Paraguai.
+1890 – De Buenos Aires, Christiano Junior importou 382 fardos feno, que chegaram no vapor francês Bearn (Jornal do Commercio, 28 de janeiro de 1890, penúltima coluna).
+De Buenos Aires, Christiano Junior importou quatro sacos de alpiste, 10 de cevada, 10 de linhaça, seis de milho e 40 caixas de passas e nove de vinho que chegaram no vapor francês Bretagne (Jornal do Commercio, 23 de abril de 1890, quarta coluna).
+1892 – Pelo decreto de 21 de dezembro de 1892, foi concedida, por 15 anos, a Christiano Junior, a patente da invenção do processo aperfeiçoado de fabricar vinho de cana (Minas Gerais, Órgão Oficial dos Poderes do Estado, 24 de dezembro de 1992, terceira coluna, Jornal do Brasil, 26 de dezembro de 1892, quarta coluna, e Relatório do Ministério da Agricultura de 1993).
+1901/1902 – Entre esses anos, Christiano Júnior escreveu ainda oito textos autobiográficos publicados no jornal La Provincia: Sueños raros (14/12/1901); Recuerdos de mi tierra, dedicado a seu neto Augusto (1/1/1902), Tempora mutantur (Buenos Aires de 1866 a 1900), dedicado a sua neta Telma (15, 18, 21, 25/1/1902); Un carnaval en mi tierra, dedicado a Pedro Benjamín Serrano ( 8/2/1902); En los Andes, dedicado a Félix M Gómez (1/3/1902); Informalidad y mentira, dedicado a Manuel V. Figuerero (26/3/1902); Brasil de 1855 a 1870, dedicado a Guillermo Rojas ( 5/4/1902), e De Corrientes (17/5/1902) (Recordando Christiano).
+1899 – Publicação do livro de sua autoria, Tratado prático de vinicultura, destilaria e licoreria, com prólogo do escritor argentino Eduardo L. Holmberg (1852 – 1937).
+1902 – Christiano Junior faleceu em 19 de novembro, em Assunção, no Paraguai. Seu necrológio foi publicado, em 13 de dezembro de 1902, na revista argentina Caras Y Caretas, página 28 :
+‘Em Assunção do Paraguai, onde vivia retirado há muitos anos pintando fotografias, faleceu na semana passada o velho fotógrafo don Christiano Junior, cuja arte para retratar a antiga família portenha era famosa em seu tempo. Junior foi o antecessor de Witcomb e diante de sua objetiva desfilaram as mais conhecidas damas e cavalheiros daquela época. Morreu pobre, privado quase por completo de sua visão, e deixa uma lembrança agradável em todos os que conheceram.’
+ 
+ Caras y Caretas, 13 de dezembro de 1902
+ 
+Posteriormente, seus restos mortais foram levados para Buenos Aires e sepultados no cemitério de Olivos.
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/4735` — `itens/20.500.12156.1_4735/`
+- `20.500.12156.1/5522` — `itens/20.500.12156.1_5522/`
+
diff --git a/wordpress/20878-cronologia-do-piloto-e-fotografo-jorge-kfuri-1893-1965.md b/wordpress/20878-cronologia-do-piloto-e-fotografo-jorge-kfuri-1893-1965.md
new file mode 100644
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+++ b/wordpress/20878-cronologia-do-piloto-e-fotografo-jorge-kfuri-1893-1965.md
@@ -0,0 +1,127 @@
+---
+id: 20878
+url: "https://brasilianafotografica.bn.gov.br/?p=20878"
+titulo: "Cronologia do piloto e fotógrafo Jorge Kfuri (1893 – 1965)"
+autor: "Andrea Wanderley"
+data: "2021-01-06T10:21:55+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/4345", "20.500.12156.1/6597", "20.500.12156.1/4245", "20.500.12156.1/3549"]
+fetched_at: "2026-09-10T10:04:37.621Z"
+---
+
+# Cronologia do piloto e fotógrafo Jorge Kfuri (1893 – 1965)
+
+Cronologia de Jorge Kfuri (1893 – 1965)
+ 
+
+1893 – Nascimento de Jorge Kfuri, no Líbano ou na Síria, em 3 de setembro, filho de Amelia (18? -1931) e Calile Kfuri (18?- ?)*.
+1913 - Esteve na festa em comemoração ao primeiro ano do jornal O Imparcial (O Imparcial, 18 de agosto de 1913, última coluna).
+Foi um dos fundadores da Associação dos Photographos de Imprensa, provavelmente a primeira do gênero, no Brasil, criada em 28 de outubro de 1913.
+ 
+Fon-Fon, 1º de novembro de 1913
+ 
+1914 - Havia trabalhado para o jornal O Século e ia para a Europa. Foi substituído por Joaquim Alberto Vieira (Correio da Noite, 11 de maio de 1914, última coluna; O Século, 23 de junho de 1914, segunda coluna).
+1916 –  Kfuri já trabalhava como fotógrafo do jornal A Noite, quando passou mal, com sintomas de intoxicação, após tomar um chocolate em um café do Largo da Carioca. Foi noticiado que esses casos de envenenamento aconteciam porque os donos dos estabelecimentos usavam vasilhames de cobre, o que era proibido pela Saúde Pública e, para isso, contavam com a desonestidade dos fiscais (A Noite, 2 de abril de 1916, na última coluna).
+Um falso advogado foi preso e no caminho para a delegacia tentou agredir Kfuri (A Razão, 12 de junho de 1917, na terceira coluna).
+O jornal A Noite noticiou que as primeiras fotografias aéreas produzidas no Brasil haviam sido de autoria de Kfuri. Eram imagens do acampamento dos Afonsos tiradas de um biplano, da Escola de Aviação, pilotado por Darioli (A Noite, 30 de outubro de 1916).
+ 
+A Noite, 30 de outubro de 1916
+ 
+Produziu fotografias aéreas do Rio de Janeiro, também em 1916, quando voou com o piloto naval Virginius de Lamare, futuro major-brigadeiro, no C-1, uma das três aeronaves Curtiss Flying Boats. Foram encomendadas pelo então ministro da Marinha, almirante Alexandrino de Alencar (1848 – 1926), e chegaram ao Brasil em 9 de julho de 1916 (A Noite, 29 de novembro de 1916; A Noite, 24 de outubro de 1953, na quarta coluna).
+ 
+Jorge Kfuri. Hidroavião Curtiss F na Baía de Guanabara junto à Praça Mauá, 1916. Rio de Janeiro, RJ / Acervo DPHDM
+ 
+A Noite, 29 de novembro de 1916
+ 
+1918 – Kfuri presenteou a Associação Brasileira de Imprensa com uma fotografia produzida por ele do sr.presidente da República em companhia dos ministros do Estado num dos maiores momentos históricos da vida nacional – assinando a declaração de guerra do Brasil à Alemanha (O Imparcial, 8 de outubro de 1918, na última coluna). O presidente era Wenceslau Braz (1868 – 1966) e a assinatura aconteceu em 26 de outubro de 1917.
+1919 –  Fez parte do time de futebol de fotógrafos que jogou na festa do Audax Club (O Paiz, 16 de janeiro de 1919, na primeira coluna) e, ainda trabalhando no jornal A Noite, foi arrolado como testemunha de irregularidades praticadas em uma casa de saúde ( Jornal, 7 de outubro de 1919, na penúltima coluna). Participou da cobertura jornalística da prisão de um criminoso envolvido no tráfico de cocaína (A Noite, 23 de outubro de 1919, na terceira coluna).
+1920 – Trabalhando como fotógrafo do jornal A Noite, Kfuri sofreu queimaduras de primeiro grau no dorso da mão direita pela explosão de magnésio quando se preparava para tirar uma chapa no edifício do Senado Federal. Na época, ele residia na rua Senador Dantas, nº 14, e foi identificado como sírio com a idade de 27 anos (O Jornal, 4 de maio de 1920, na última coluna).
+Kfuri foi aceito como associado na Associação Brasileira de Imprensa (Jornal do Brasil, 23 de junho de 1920, na penúltima coluna).
+1921 – Kfuri, referido como sírio, naturalizou-se brasileiro, em 19 de março (O Paiz, 5 de maio de 1921, na terceira coluna e Relatórios do Ministério da Justiça de 1922).
+Kfuri foi contratado como encarregado técnico do serviço de fotografia aérea da Aviação Naval (O Paiz, 21 de dezembro de 1921, na primeira coluna, e O Relatório do Ministério da Marinha de 1922).
+ 
+O Paiz, 21 de dezembro de 1921
+ 
+Sofreu um pequeno acidente aéreo com o piloto Epaminondas Santos, no aeromarino 40 (O Paiz, 28 de dezembro de 1921, na quarta coluna).
+1922 – Publicação de fotos de autoria de Kfuri da Ilha das Cobras e do Cemitério do Caju (Fon-Fon, 4 de fevereiro de 1922).
+Kfuri estava no avião Avro nº 2, pilotado pelo tenente Luiz Leal Netto dos Reis, que sobrevoou a casa de Santos Dumont (1873 – 1932), em Petrópolis, onde deixaram cair um para-quedas com uma mensagem de saudações a ele, que a recolheu (O Paiz, 16 de março de 1922, na terceira coluna).
+Fotografou a visita dos aviadores Sacadura Cabral (1881 – 1924) e Gago Coutinho(1869 – 1959) ao Brasil e navios iluminados na ocasião do Centenário da Independência do Brasil.
+Jorge Kfuri. Exposição do centenário da Independência, 1922. Rio de Janeiro, RJ / Acervo DPHDM
+ 
+Foto de Kfuri publicada na revista Illustração Brasileira de 15 de novembro de 1922
+ 
+1923 –  Para servir como encarregado técnico do serviço de fotografia aérea da Aviação Naval, o Ministério da Marinha contratou o sr. Jorge Kfuri, servindo também como operador cinematográfico em qualquer dos departamentos da Marinha para que seja requisitado (Jornal do Commercio, 14 de maio de 1923, na segunda coluna).
+O ministro da enviou ao presidente do Tribunal de Contas uma cópia do contrato celebrado com Jorge Kfuri para servir como fotógrafo da Marinha (Última Hora, 15 de junho de 1923, na terceira coluna e O Paiz, 16 de junho de 1923, na última coluna).
+Kfuri integrou como segundo tenente honorário da Marinha a esquadrilha de quatro hidroaviões que foi para a Bahia, sob o comando do capitão de mar e guerra e futuro ministro da Marinha Protógenes Pereira Guimarães (1876 – 1938) (Gazeta de Notícias, 26 de junho de 1923, na quinta coluna e A Rua, 2 de julho de 1923, na penúltima coluna). A esquadrilha voltou para o Rio de Janeiro e foi muito homenageada (O Paiz, 9 de agosto de 1923). Kfuri foi um dos convidados para o banquete oferecido no Palace Hotel pelo Aero Club Brasileiro a Protógenes e a seus comandados no raid de aviação entre Rio e Aracaju (O Imparcial, 30 de agosto de 1923, na segunda coluna).
+Foi um dos tripulantes dos três hidroaviões que regressaram de Santos para o Rio de Janeiro (Jornal do Commercio, 12 de setembro de 1923, na quarta coluna).
+1926 – Fez parte da tripulação de um dos aviões que recepcionou a chegada, no Rio de Janeiro, do avião Plus Ultra, que havia partido da Europa, pilotado por Ramon Franco (1896 – 1938), um dos pioneiros da aviação espanhola (A Manhã, 3 de fevereiro de 1926 e Jornal do Brasil, 10 de fevereiro de 1926, na terceira coluna).
+Participou do segundo voo do avião 322 no serviço postal (O Paiz, 4 de abril de 1926, na sexta coluna).
+Houve uma tentativa de assalto na casa de Kfuri na rua Taylor, nº 80 (Gazeta de Notícias, 21 de abril de 1926, na quarta coluna).
+Kfuri fez parte da tripulação dos aviões que receberam o hidroavião Buenos Aires, pilotado pelos aviadores argentinos Duggan e Olivero (O Paiz, 19 e 20 de julho de 1926).
+Integrava a equipe da esquadrilha da Marinha de Guerra, de três aviões, que partiu para pela primeira vez voar entre o Rio de Janeiro e Belo Horizonte. Estava no avião, pilotado pelo capitão-tenente Luiz Leal Netto dos Reis, que sofreu uma pane e caiu nos arredores de Petrópolis (O Brasil, 4 de agosto de 1926, O Paiz, 4 de agosto de 1926, na sexta coluna e O Jornal, 4 de agosto de 1926).
+ 
+O piloto Netto Reis, de uniforme escuro, e Jorge Kfuri / O Jornal, 4 de agosto de 1926
+ 
+1927 –  Sua participação na documentação fotográfica das pesquisas sobre os explosivos super-rupturita foi elogiada em um ofício encaminhado pelo diretor da comissão dos estudos desse tipo de explosivo ao diretor-geral da Aeronáutica (O Brasil, 11 de novembro de 1927, na última coluna).
+1928 – Jorge Kfuri foi elogiado por seu trabalho à disposição do comando da esquadra no segundo período dos exercícios gerais, em dezembro de 1927, e que satisfazendo os desejos do referido comando, conseguiu organizar para o Diretório da Aeronáutica da Armada, valioso documento cinematográfico demonstrativo das fainas e exercícios naquela ocasião (O Paiz, 10 de agosto de 1928, na quinta coluna).
+Kfuri foi um dos oficiais escalados para velar o corpo do aviador italiano Carlo del Prete (1897 – 1928), na Embaixada da Itália, no Rio de Janeiro. O italiano havia sofrido um acidente na Ponta do Galeão (Jornal do Commercio, 17 de agosto de 1928, na segunda coluna).
+Na Escola de Grumetes de Angra dos Reis, Kfuri foi um dos três oficiais feridos com a explosão de uma bomba que deveria ser utilizada pelos aviadores navais durante os exercícios da Armada. Dois oficiais morreram (A Noite, 27 de novembro de 1928, O Estado, 28 de novembro de 1928 e Careta, 1º de dezembro de 1928).
+ 
+Jorge Kfuri. O Chapéu do Sol no morro do Corcovado, s/d. Rio de Janeiro, RJ / Acervo DPHDM
+ 
+1929 - Foi ferido em um acidente no avião MF 4, pilotado por Raul Bandeira (Diário Nacional, 12 de junho de 1929, na última coluna, Jornal do Brasil, 12 de junho de 1929 e O Paiz, 13 de junho de 1929, na segunda coluna).
+No Almanak Laemmert de 1929 e de 1931, Jorge Kfuri foi listado como o encarregado do serviço fotográfico da Escola de Aviação Naval.
+1931 – Falecimento da mãe de Kfuri, dona Amélia Kfuri, no Rio de Janeiro (Diário da Noite, 16 de março de 1931, na primeira coluna).
+A família de Kfuri mandou rezar uma missa em Ação de Graças por seu restabelecimento após o acidente de 1929 (Diáro da Noite, 11 de junho de 1931, na segunda coluna).
+1932 – O ministro da Marinha, Protógenes Pereira Guimarães (1876 – 1938), elogiou a conduta de Kfuri no navio Belmonte, como auxiliar do aviador João Correia Dias Costa (Correio da Manhã, 21 de fevereiro de 1932, na terceira coluna).
+Por decreto do Ministério da Marinha, Kfuri foi efetivado no lugar de encarregado técnico dos serviços fotográficos dos Centros e Escola de Aviação Naval com as honras e vantagens do posto de 1° tenente da Armada (Correio da Manhã, 14 de maio de 1932, na sétima coluna).
+1933 – A reportagem Aspectos de Belém foi ilustrada com fotografias produzidas por Jorge Kfuri (A Noite Ilustrada, 19 de julho de 1933)
+Kfuri foi um dos oficiais integrantes da 4ª Divisão de Esclarecimento e Bombardeio Aéreo que atuou no Alto Solimões na vigilância da neutralidade do Brasil no conflito entre a Colômbia e o Peru. A divisão foi comandada pelo capitão de corveta aviador Álvaro de Araújo (Jornal da Noite, 28 de junho de 1933, na terceira coluna, e Correio da Manhã, 21 de junho de 1933, na terceira coluna).
+Entrevista com Kfuri sobre suas impressões da região do Alto Solimões nos 45 dias que passou lá (Jornal da Noite, 3 de julho de 1933).
+Kfuri produziu a primeira fotografia aérea de Belo Horizonte, durante uma viagem do ministro da Marinha, Protógenes Pereira Guimarães (1876 – 1938), a Minas Gerais. Kfuri voou em um avião Fairey pilotado pelo capitão de corveta Álvaro de Araújo (Diário da Noite, 19 de julho de 1933, na quinta coluna).
+ 
+O Fairey comandado pelo capitão de corveta Álvaro de Araújo pousado em Ponta Nova durante a viagem a Minas Gerais. Kfuri é o primeiro a esquerda e o capitão Araújo está com o uniforme todo escuro / Jornal da Noite, 3 de outubro de 1933
+ 
+Kfuri ficou ferido em um acidente aéreo perto de Petrópolis, quando voava em um avião da Marinha em exercício no território fluminense, pilotado pelo capitão de corveta Álvaro Araújo. O terceiro tripulante era o aviador civil Raphael Chrisóstomo de Oliveira. Esses dois últimos sofreram pequenas escoriações. A aeronave, Fairey 55, ficou inutilizada. Kfuri foi referido comoum dos nossos aviadores navais mais arrojados…Fotógrafo, talvez, o mais hábil da nossa aviação naval… (Pequeno Jornal, 3 de outubro de 1933, na quarta coluna, Jornal da Noite, 3 de outubro de 1933, e Jornal do Brasil, 4 de outubro de 1933). Segundo a matéria do Jornal da Noite, foi a sétima vez que Kfuri estava em uma avião que caiu (Jornal da Noite, 3 de outubro de 1933, na penúltima coluna).
+1934 – Foi um dos filhos de libaneses homenageados pela Missão Libanesa Maronita do Rio de Janeiro (Jornal do Brasil, 30 de janeiro de 1934).
+Kfuri iria integrar como responsável pelo serviço aerofotográfico o grupo da Marinha que faria o levantamento aerotopográfico do litoral nortista (Jornal da Noite, 27 de abril de 1934, na sétima coluna).
+1935 – O ministro da Marinha, Protógenes Pereira Guimarães (1876 – 1938), solicitou ao consultor geral da República a extensão do abono salarial a três oficiais honorários da Armada brasileira e Kfuri era um deles (Jornal do Brasil, 2 de outubro de 1935, na segunda coluna).
+1936 – Terrenos da aviação naval no campo de São Bento, na Ilha do Governador, estavam ameaçados de despejo pela Companhia Indústria e Comércio. Kfuri era um dos oficiais da Armada que possuía um dos lotes (O Imparcial, 27 de junho de 1936 e 28 de junho de 1936, na última coluna).
+1939 – Participou de um cruzeiro aéreo entre o Rio de Janeiro e São Paulo (Correio Paulistano, 18 de julho de 1939, na última coluna).
+1941 – Kfuri estava presente na posse do coronel Dias Costa como presidente do Aeroclube do Brasil (Jornal do Brasil, 1º de agosto de 1941, na quinta coluna).
+1942 – O ministro da Aeronáutica, Joaquim Pedro Salgado Filho (1888 – 1950), tornou sem efeito a transferência e nomeação de Jorge Kfuri para monitor de fotografia aérea da Escola de Especialistas da Aeronáutica (Diário de Notícias, 23 de maio de 1942, na segunda coluna, e A Manhã, 7 de julho de 1942, na quarta coluna).
+1954 – Kfuri servia no gabinete do ministro da Aeronáutica (Correio da Manhã, 1º de setembro de 1954, na sétima coluna).
+1956 – Em uma coluna sobre reportagens antigas do jornal A Noite,  o jornalista Bento Malafaia relatou que o fotógrafo Kfuri havia participado de uma reportagem onde ele se fez passar como secretário de um suposto faquir, na verdade, o redator Eustachio Alves. O “consultório” fez muito sucesso na cidade. Depois de revelada a verdade, foram tomadas medidas contra a exploração de faquires e cartomantes abrandando a crendice popular (A Noite, 24 de julho de 1956, na penúltima coluna).
+ 
+Jorge Kfuri. Pão de Açúcar, Rio de Janeiro, 1919. Rio de Janeiro, RJ / Acervo FBN
+ 
+1957 – Em cerimônia realizada na praça Salgado Filho, com a presença do presidente da República, Juscelino Kubitschek (1902 – 1976), e de Thomas White, Chefe do Estado Maior da Força Aérea dos Estados Unidos, Kfuri foi condecorado com o grau de Cavaleiro da Ordem do Mérito Aeronáutico. Foi publicada uma fotografia de Kfuri sendo condecorado (Correio da Manhã, 24 de outubro de 1957 e Jornal do Brasil, 24 de outubro de 1957, na primeira coluna).
+1959 – O presidente da República, Juscelino Kubitschek (1902 – 1976), assinou um decreto suprimindo o cargo de chefe do Serviço Fotográfico da Aeronáutica, vago em virtude da aposentadoria de Jorge Kfuri (Jornal do Dia, 15 de setembro de 1959, na quarta coluna).
+1965 – Falecimento de Jorge Kfuri, em 21 de janeiro, no Hospital Central da Aeronáutica. Sua esposa, Hilda Carelli Kfuri, publicou um anúncio do enterro, realizado no cemitério São João Batista. Na sua certidão de óbito, consta que ele teria nascido no Líbano (Correio da Manhã, 22 de janeiro de 1965, na primeira coluna).
+ 
+Correio da Manhã, 22 de janeiro de 1965
+ 
+No seu atestado de óbito consta que ele havia nascido no Líbano.
+ 
+Atestado de óbito de Jorge Kfuri / Site Family Search
+ 
+1999 – No Espaço Cultural da Marinha, no Rio de Janeiro, foi realizada, entre dezembro de 1999 e abril de 2000, a exposição Imagens da Aviação Naval com fotografias pertencentes ao acervo do Serviço de Documentação da Marinha, que fazem parte de um álbum de 555 imagens produzidas por Kfuri com registros da aviação naval desde seu início, de vistas aéreas do Rio de Janeiro e de acontecimentos importantes na cidade.
+ 
+Jorge Kfuri / Jornal da Noite, 3 de outubro de 1933
+ 
+ 
+
+*Em matérias de jornal, ele é referido ora como sírio ora como libanês. A pesquisa da Brasiliana Fotográfica acredita que ele tenha nascido no Líbano por dois fatos: em 1934, ele foi um dos filhos de libaneses homenageados pela Missão Libanesa Maronita do Rio de Janeiro; e o local de seu nascimento como o Líbano é o que consta em seu atestado de óbito.
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/4345` — `itens/20.500.12156.1_4345/`
+- `20.500.12156.1/6597` — `itens/20.500.12156.1_6597/`
+- `20.500.12156.1/4245` — `itens/20.500.12156.1_4245/`
+- `20.500.12156.1/3549` — `itens/20.500.12156.1_3549/`
+
diff --git a/wordpress/20882-cronologia-de-revert-henrique-klumb-c-1826-c-1886.md b/wordpress/20882-cronologia-de-revert-henrique-klumb-c-1826-c-1886.md
new file mode 100644
index 0000000..5546ba3
--- /dev/null
+++ b/wordpress/20882-cronologia-de-revert-henrique-klumb-c-1826-c-1886.md
@@ -0,0 +1,75 @@
+---
+id: 20882
+url: "https://brasilianafotografica.bn.gov.br/?p=20882"
+titulo: "Cronologia de Revert Henrique Klumb (c. 1826 – c. 1886)"
+autor: "Andrea Wanderley"
+data: "2021-01-06T10:21:00+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/4225"]
+fetched_at: "2026-09-10T10:04:40.828Z"
+---
+
+# Cronologia de Revert Henrique Klumb (c. 1826 – c. 1886)
+
+Cronologia de Revert Henrique Klumb (c. 1826 – c. 1886)
+ 
+Revert Henrique Klumb: autorretrato, c. 186? / Acervo FBN
+ 
+c. 1826 – Nascimento de Revert Henry Klumb, no Departamento de Seine e Oise, na França, filho de lavradores-proprietários. Alguns estudiosos afirmam que ele teria nascido em Berlim, na Alemanha. Porém, em um documento que está no Arquivo Nacional, conforme publicado no livro Rio de Janeiro – 1840 -1900 – Uma crônica fotográfica, de 2006, de George Ermakoff, Klumb se reconhece como francês. Também em uma matéria do Jornal do Commercio, de 1859, foi identificado como francês (Jornal do Commercio, de 27 de junho de 1859, na quinta coluna).
+1852 / 1853 - Klumb chegou ao Rio de Janeiro com Affonso Rouel, trazendo uma máquina fotográfica. Eles eram, segundo consta no livro Artistas de meu tempo, de Mello Morais Filho, fugitivos do exército francês. Em algum momento de sua estadia no país, Klumb aportuguesou seu nome do meio para Henrique.
+1855 – Anúncio do estabelecimento Photographia de François Rene Moreaux, Klumb e Cia, na rua do Rosário, 134 (Diário de Rio de Janeiro, 16 de março de 1855, na segunda coluna). Klumb e Rouel se associaram a Moreaux e, segundo Melo Moraes Filho em seu livro Artistas do meu tempo, foram os primeiros a produzir fotografias sobre papel no Brasil.
+Já em novembro, foi publicado um anúncio da abertura da galeria de exposição de Klumb, na rua dos Ourives, 64 , atual rua Miguel Couto ( Correio Mercantil , de 4 de novembro de 1855, na última coluna, além do anúncio).
+ 
+Anúncio da abertura da galeria de exposição de Klumb no Correio Mercantil de 4 de novembro de 1855
+ 
+Foi anunciado que um quadro de autoria de Manuel Araujo de Porto Alegre (1806 – 1879), diretor da Academia Imperial de Belas Artes, seria copiado em ponto pequeno na officina photographica do sr. Klumb (A Semana, 8 de dezembro de 1855).
+Em anúncio do estabelecimento de Klumb, foi noticiada a presença do artista M. Muller no ateliê, responsável pelos serviços de pintura e desenho (Jornal do Commercio, 10 de julho de 1956, na sexta coluna)
+1856 – Anúncio do estabelecimento fotográfico de Klumb, com aprovação do governo imperial (Gazeta Mercantil, de 6 de fevereiro de 1856, na primeira coluna).
+Propaganda do estabelecimento fotográfico de Klumb, anunciando a descoberta por ele de um novo processo por meio do qual obtem-se retratos em fumo e coloridos, da mais absoluta perfeição, podendo-se entrega-los depois de um quarto de hora (Gazeta Mercantil, de 18 de julho de 1856, na quarta coluna).
+Klumb anunciou a venda do retrato do marquês do Paraná (1801 – 1856), em seu leito de morte, produzido em 3 de setembro de 1856,  que serviu como base para uma litografia de Clement Bernard Louis Thérier (Jornal do Commercio, de 16 de novembro de 1856). Thérier havia chegado ao Rio de Janeiro, em fevereiro de 1853, contratado por Francisco de Paula Brito (1809 – 1861) para trabalhar na Marmota Fluminense.
+1857 - Anúncio do leilão da casa de fotografia de Klumb (Jornal do Commercio, de 20 de janeiro de 1857, na última coluna).
+Sob o título “Lições de Photographia”, Klumb anunciava-se como professor de fotografia na ladeira do Castello, nº 18, onde residia ( Jornal do Commercio, de 29 de janeiro de 1857, na segunda coluna).
+Klumb trabalhou como empregado no estabelecimento do fotógrafo Pierre Benoit Loup, na rua dos Latoeiros, 60 ( Jornal do Commercio, de 7 de março de 1857, na quarta coluna ).
+1858 – Klumb embarcou para São João da Barra ( Jornal do Commercio, de 9 de fevereiro de 1858, na terceira coluna, sob o título “Movimento do Porto” )
+1859 – Klumb viajou para Campos, e foi identificado como francês (Jornal do Commercio, de 27 de junho de 1859, na quinta coluna ).
+1860 -Participou do Salão Imperial da Academia de Belas Artes, inaugurado em 23 de dezembro, expondo 15 fotografias: 6 retratos, duas vistas do dique da Ilha das Cobras, duas reproduções de estátuas em gesso, uma vista da Floresta da Tijuca, uma vista da Cascatinha da Tijuca, uma vista de uma chácara na Tijuca, uma vista de uma chácara às margens do rio Paraíba, em Campos; e um quadro contendo vistas estereocópicas e três retratos no formato carte de visite.  No catálogo do evento constava “Sr. Henrique Klumb, photographo da Academia. Rua dos Latoeiros, nº 44″.
+1861 – Foi publicada uma crítica sobre o Salão Imperial da Academia de Belas Artes com elogios a Klumb (Diário do Rio de Janeiro, 31 de janeiro de 1861 ).
+Com a presença de Pedro II e da imperatriz Teresa Cristina, foi realizada a cerimônia de premiação dos artistas que participaram do Salão Imperial da Academia de Belas Artes de 1860. Klumb foi agraciado com uma Menção Honrosa (O Correio da Tarde, 8 de julho de 1861, na segunda coluna).
+Em 23 de julho, Klumb documentou a inauguração da estrada União Indústria e as comemorações que se seguiram em Juiz de Fora na casa do construtor Mariano Procópio Ferreira Lage (1821 – 1872), com a presença da família imperial brasileira. A União Indústria foi a primeira estrada de rodagem macadamizada do Brasil, além de ter sido a maior obra de engenharia da América Latina, na época. Na sua construção não foi utilizada mão de obra escrava.
+Em 24 de agosto, foi agraciado com o título de “Fotógrafo da Casa Imperial”.
+No segundo semestre, começou a dar aulas de fotografia para a princesa Isabel.
+Por encomenda de dom Pedro II, fotografou os interiores do Palácio de São Cristóvão, remodelado pelo decorador italiano Mario Bragaldi ( 1809 – 1873) e pelo arquiteto da Casa Imperial, Teodoro Marx.
+1862 - Vendeu vistas estereoscópicas para as princesas Isabel e Leopoldina.
+1864 – Anúncio da Photographia Brazileira, de Klumb, na rua São José, 94 e 96 (Jornal do Commercio,  de outubro de 1864, na quarta coluna).
+1865 –  A imperatriz Teresa Cristina, uma das melhores clientes de Klumb, gastou 480 mil réis em retratos, vistas e esteoroscopias de sua autoria.
+Anúncio da oficina do litógrafo Paul Théodore Robin (? – 1897), dirigida por Klumb, na Rua São José, 96 ( Almanak Administrativo, Mercantil e Industrial do Rio de Janeiro, de 1865 ). Klumb  foi sucedido no local por Marc Ferrez (1843 – 1923), então com 22 anos.
+“O francês Paul Théodore Robin (-1897) deve ter chegado ao Rio de Janeiro em 1853 ou mesmo 1854, já com experiência litográfica, pois nesse último, conforme se observou, formou a sociedade Alfredo Martinet & Paulo Robin, com litografia na Rua da Ajuda, 113, embora com a duração de apenas alguns meses. Reencontrar-se-á Robin em 1860 com ateliê de “fotografia e ambrotipia” na Rua dos Ourives, 117, primeiro andar, na sociedade Maupoint & Robin, uma prática que iria beneficiá-lo futuramente, quando montasse oficina de fotogravador. A sociedade com Maupoint não foi além de 1861: em 1862 já possuía seu próprio ateliê fotográfica, na Rua São José, 94 e 96, a “Officina de Paulo Robin, dirigida por Henrique Klumb”, que foi dos mais estimados fotógrafos do Brasil”(FERREIRA, 1994).
+1865 / 1866 – Klumb foi morar em Petrópolis, na rua dos Artistas, nº 10, em frente à praça Coblenz. Fez uma extensa documentação da paisagem urbana da cidade, inclusive com efeitos noturnos – uma grande inovação na época. Devido a problemas financeiros, no período em que residiu em Petrópolis, também trabalhou no comércio de vinho.
+1872 – Anúncio da abertura da Photographia Franceza, de Klumb e outros fotógrafos, na residência do sr. Figueira de Melo, na rua do Ouvidor, nº 49 (Jornal do Commercio, 22 de maio de 1872, na última coluna ).
+Foi publicado o livro Doze horas em diligência – Guia do viajante de Petrópolis e Juiz  de Fora, editado na Casa do Editor J.J.da Costa Pereira Braga, na rua Nova do Ouvidor, 25 e 26. Foi um dos primeiros livros de fotografia produzidos no Brasil.
+ 
+Doze horas em diligência – Guia do viajante de Petrópolis e Juiz de Fora, dedicado à princesa Isabel
+ 
+1873 – Crítica ao livro Doze horas em diligência – Guia do viajante de Petrópolis e Juiz  de Fora ( A Vida Fluminense, 19 de julho de 1873, na segunda coluna).
+Anúncio da venda do livro Doze horas em diligência – Guia do Viajante de Petrópolis a Juiz de Fora (Jornal do Commercio, de 26 de julho de 1873, na última coluna).
+ 
+Jornal do Commercio, 26 de julho de 1873
+ 
+1874 - Publicação do livro Petrópolis e seus arrabaldes, com fotografias produzidas por Klumb.
+1875 – Anúncio e crítica da exposição de fotografias de Petrópolis, de autoria de Klumb, em Petrópolis (O Globo, de 10 de janeiro de 1875 , na segunda coluna, O Mercantil, de 6 e 9 janeiro de 1875  e de 6 de fevereiro de 1875).
+Dom Pedro II e a imperatriz Tereza Cristina visitaram a exposição (O Mercantil, de 10 de janeiro de 1875, na terceira coluna).
+Klumb anunciou seus serviços de fotógrafo na cidade Petrópolis aos domingos, segundas, terças e dias santos na rua D. Januária (O Mercantil, de 17 de fevereiro de 1875, na terceira coluna).
+A exposição de fotografias de Klumb foi anunciada como uma das atrações de Petrópolis (O Mercantil, de 22 de dezembro de 1875, na primeira coluna).
+Entre 1875 e 1886 – Nesse período, de cerca de 10 anos, não há notícias sobre Klumb.
+1886 – Klumb estava em Paris e de lá escreveu à imperatriz Teresa Cristina pedindo que ela financiasse a volta dele e de sua família para o Brasil. Era casado com a baiana Hermelinda Barreto, com quem tinha duas filhas. O pedido foi deferido, e ele e sua família deveriam embarcar para o Brasil em outubro de 1886. Porém, não se sabe se ele chegou a vir para o Brasil. Essa é a última notícia que se tem, até o momento, sobre Klumb.
+1952 – Foi publicado o artigo Segredos e Revelações da História do Brasil – Primeiro Guia Turístico do Brasil, sobre Doze horas em diligência – Guia do Viajante de Petrópolis a Juiz de Fora, escrito pelo criador e primeiro diretor do Museu Histórico Nacional, Gustavo Barroso (1888-1959) (O Cruzeiro, de 1º de novembro de 1952).
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/4225` — `itens/20.500.12156.1_4225/`
+
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+---
+id: 20887
+url: "https://brasilianafotografica.bn.gov.br/?p=20887"
+titulo: "Cronologia de Moritz (Maurício) Lamberg 18? – 19?)"
+autor: "Andrea Wanderley"
+data: "2021-01-06T10:17:54+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/2656"]
+fetched_at: "2026-09-10T10:04:44.188Z"
+---
+
+# Cronologia de Moritz (Maurício) Lamberg 18? – 19?)
+
+Cronologia de Moritz (Maurício) Lamberg 18? – 19?)
+ 
+Moritz Lamberg. Rua Nova, c. 1880. Recife, Pernambuco / Acervo IMS
+ 
+1863 – De acordo com a dissertação de Regina Beatriz Quariguasy Schlochauer, A presença do piano na vida carioca no século passado, apresentada ao Departamento de Música da Escola de Comunicação e Artes da Universidade de São Paulo, sob orientação do Prof. Dr. Amilcar Zani Netto, o pianista Emílio Lamberg, filho de Maurício Lamberg, teria nascido em Pernambuco, em 1863, e ido para para Viena, com a família, aos 3 anos. Segundo noticiado pelo jornal O Paiz, de 18 de agosto de 1919, ele teria falecido com 52 anos em 1919, ou seja, teria nascido em 1867 ou 1868. Com essas informações, pode-se deduzir que, possivelmente, nessa época Maurício Lamberg estava vivendo no Brasil.
+1880 – O gerente da Photographia Allemã de Recife, Constantino Barza, anunciou a chegada do fotógrafo europeu Maurício Lamberg para cuidar da parte técnica e artística do ateliê do berlinense Alberto Henschel (1827 – 1882). Lamberg foi apresentado como celebridade europeia e insigne artista, que havia dirigido estabelecimentos em Berlim e Viena e obtido prêmios em Paris e em Viena nas exposições de 1868 e 1873 (Diário de Pernambuco, 30 de janeiro de 1880).
+O Instituto Moreira Salles possui o álbum Vistas de Pernambuco, com 48 fotografias da cidade de Recife, produzidas por Lamberg em torno desse ano.
+ 
+Capa do álbum Vistas de Pernambuco, com fotografias de Lamberg, que pertence ao acervo do Instituto Moreira Salles
+ 
+1880 – 1885 – O álbum de sua autoria, Ansichten Pernambuco’ s Recife Photographia Allemã, foi provavelmente produzido nesse período. Dedicado a d. Pedro II, faz parte do acervo da Biblioteca Nacional, e possui 2o fotografias de Recife.
+ 
+Capa do álbum Ansichten Pernambuco’ s Recife Photographia Allemã, com fotografias produzidas por Lamberg, que pertence ao acervo da Biblioteca Nacional.
+ 
+1881 – Lamberg fez uma petição à Associação Comercial da cidade do Recife para que se ordenasse o registro da escritura da compra que fez do estabelecimento denominado Photographia Allemã, que era de propriedade de Alberto Henschel (1827 – 1882) (Diário de Pernambuco, 19 de setembro de 1881, na quarta coluna).
+Alberto Henschel e Lamberg convidavam o público para apreciar os trabalhos de nossa casa, que vão ser exibidos na próxima exposição que terá lugar no Rio de Janeiro (Diário de Pernambuco, 14 de novembro de 1881).
+ 
+Diário de Pernambuco, 14 de novembro de 1881
+ 
+1884 – Após uma longa temporada de estudo na Europa, o filho de Lamberg, o pianista e organista Emilio Lamberg (1860 – 1919), chegou ao Brasil, no vapor Niger, que havia partido da França (Diário de Pernambuco, 6 de março de 1884, na primeira coluna; e Diário de Pernambuco, de 13 de março de 1884, na primeira coluna). Dias depois, Emilio fez uma apresentação no primeiro andar do sobrado onde ficava a Photographia Allemã, na rua Barão da Vitória, nº 52 (Diário de Pernambuco, 29 de março de 1884, na penúltima coluna). Maurício Lamberg convidou o público para a apresentação de seu filho, no Teatro de Santa Isabel, inicialmente agendada para o dia 19 de abril e depois transferida para o dia 24 do mesmo mês. O recital foi um sucesso e Emilio se apresentou várias outras vezes (Diário de Pernambuco, 9 de abril de 1884, na quarta coluna; Diário de Pernambuco, 18 de abril de 1884, na segunda coluna; e Diário de Pernambuco, 27 de abril de 1884, na quinta coluna).
+1885 – Foi concedida a Maurício Lamberg, identificado como um súdito austríaco, a carta de naturalização (Diário de Pernambuco, 12 de abril de 1885, na primeira coluna e 29 de abril, na quarta coluna).
+Em uma notícia sobre o suicídio de um empregado no estabelecimento Photographia Allemã, localizada na rua Barão da Vitória, em Recife, Lamberg foi identificado como proprietário da casa fotográfica (Jornal do Commercio, 27 de maio de 1885, na quarta coluna; e Diário de Pernambuco, 15 de maio de 1885, na primeira coluna).
+1887 – Representando a casa fotográfica Alberto Henschel, seu sócio viajante Lamberg esteve de janeiro a março de 1887, em Vitória, no estabelecimento fotográfico de Ayres, provavelmente Joaquim Ayres, que iniciou sua carreira como funcionário do fotógrafo Joaquim Insley Pacheco (1830 – 1912), no Rio de Janeiro. O estabelecimento seria a Photographia Artística Vitoriense (O Espírito-Santense, 1º de janeiro de 1887, e A Província do Espírito Santo, 26 de fevereiro de 1887, na última coluna, e O Espírito Santense, 2 de março de 1887, na última coluna). Dias depois, Lamberg anunciou a exposição das fotografias produzidas em sua estadia em Vitória (A Província do Espírito Santo, 13 de março de 1887, na primeira coluna). Na época, a Photographia Artística Vitoriense ficava no Largo do dr. João Clímaco, nº 6.
+No estabelecimento fotográfico de Alberto Henschel, a Photographia Allemã, na rua dos Ourives, nº 40, atual rua Miguel Couto, no Rio de Janeiro, foi inaugurada uma exposição de vistas fotográficas de pontos do norte do país, produzidas por Lamberg, na época, um dos sócios do ateliê (The Rio News, 5 de maio de 1887, na primeira coluna; Diário de Notícias, 20 de maio de 1887, na penúltima coluna sob o título “Vistas fotográficas”; e Novidades, 21 de maio de 1887, na segunda coluna). As fotografias serviriam de modelos para as gravuras em madeira que viriam a ilustrar o livro, na época intitulado “Esquissos sobre o norte do Brasil em relação à colonização”, que estava sendo escrito, em alemão, por Lamberg. Eram imagens de núcleos coloniais, tipos populares, casas coloniais, espécies do reino vegetal, entre outras. Sobre o conjunto de imagens, escreveu-se: é uma coleção curiosa mesmo para quem a vir desacompanhada de texto explicativo (Jornal do Commercio, 22 de maio de 1887, na sexta coluna; O Cearense, 20 de julho de 1887, na quarta coluna).
+ 
+Propaganda da exposição de fotografias de Lamberg, publicada no The Rio News de 5 de outubro de 1887
+ 
+Em 1º de junho, Lamberg fotografou a família imperial no Palácio Itamaraty. Ficou assim o grupo: ao centro o imperador e a imperatriz; à direita do imperador, a princesa imperial com seu filho o príncipe d. Luiz e junto a si o príncipe d. Antonio e o príncipe do Grão-Pará, o conde d´Eu e o príncipe d. Augusto, ficando estes no segundo plano. À esquerda da imperatriz, figurou sentado o príncipe d. Pedro (O Paiz, 20 de junho de 1887, na quarta coluna, sob o título “Noticiário” e A Federação, 28 de junho de 1887, na primeira coluna).
+Na reunião da diretoria da Sociedade Central de Imigração, presidida pelo senador Escragnolle Taunay, após a leitura do expediente, apresentou-se Lamberg, austríaco, que faz sentir a facilidade com que poderiam instalar-se no Brasil vários compatriotas seus, trabalhadores de primeira ordem que na Europa já não podem conseguir certas condições de bem estar. Devido à complexidade da questão, foi pedido para que Lamberg comparecesse na reunião seguinte da diretoria, no dia 5 de maio (A Immigração, 30 de junho de 1887, na segunda coluna).
+A visita que Lamberg fez à redação do Correio Paulistano foi registrada pelo jornal com a publicação da matéria “Um estrangeiro amigo no Brasil”(Correio Paulistano, 29 de julho de 1887, na primeira coluna).
+ 
+“Um estrangeiro amigo do Brasil”, publicado no Correio Paulistano, 29 de julho de 1887
+ 
+Foi veiculada uma propaganda da Photographia Allemã: Alberto Henschel & Co – Retratos em fotografia e a óleo, sendo estes feitos pelo artista E. Paft e aqueles pelo artista sr. Lamberg. Rua dos Ourives, 40, das 9 horas da manhã às 4 da tarde (Jornal do Commercio, 2 de outubro de 1887, na segunda coluna).
+Seu filho, o pianista Emilio Lamberg chegou ao Rio de Janeiro.
+1888 – Lamberg e seu filho, o pianista e organista Emilio Lamberg, visitaram a redação do jornal Diário de Notícias. Foi anunciado que Emilio se apresentaria no dia 19 de junho no Club Beethoven, inaugurado em 1882, que abrigava saraus com os principais nomes da música clássica. De acordo com o jornal, Emilio Lamberg havia estudado na Academia de Música de Berlim e nos conservatórios de Viena e de Paris, tendo sido aluno do músico francês Camille Saint-Saens (1835 – 1921). Nesta matéria Lamberg foi identificado como escritor e viajante austríaco (Diário de Notícias, 9 de novembro de 1888, na última coluna, sob o título “Echos e Notas”).
+1889 – Seu filho, Manfredo Carlos Lamberg, prestou exames para a Escola Normal, no Rio de Janeiro (Jornal do Commercio, 28 de janeiro e 12 de fevereiro de 1889, ambos na segunda coluna).
+1890 – Mauricio Lamberg foi nomeado professor substituto da cadeira de alemão do Instituto Nacional de Instrução Secundária, atual Colégio Pedro II (Diário de Notícias, 7 de fevereiro de 1890, na penúltima coluna). Inscreveu-se para a vaga de professor efetivo (Jornal do Commercio, 15 de junho de 1890, na terceira coluna).
+Foi noticiado que um parecer sobre a obra de Lamberg, um estudo sobre o Brasil sob uma ótica econômica e social, seria apresentado ao presidente do Brasil, marechal Deodoro da Fonseca (1827 – 1892). Para escrever o livro, Lamberg teria viajado durante anos pelo norte e por parte do sul do país (Diário de Notícias, 5 de março de 1890, na penúltima coluna). Uma curiosidade: quando esteve em Santa Catarina, conheceu o fotógrafo e agente consular Albert Richard Dietze (1839 – 1906), que o hospedou. Na ocasião, houve um sarau com dança na casa do anfitrião (O Brazil, pág. 256).
+Emilio Lamberg era professor de piano da Academia de Música, fundada em 1885 pelo Club Beethoven. Funcionava na Escola de São José (Gazeta de Notícias, 26 de abril de 1890, no centro da página). Foi admitido como professor de órgão no Instituto Nacional de Música (Jornal do Commercio, 30 de agosto de 1890, na última coluna). Pouco depois viajou para a Europa onde foi acompanhar a construção do órgão encomendado pelo Instituto à casa Wilhelm Sauer, em Frankfurt, na Alemanha (Jornal do Commercio, 17 de novembro de 1890, na sétima coluna). Ficou na Europa até 9 de junho de 1894 (Jornal do Commercio , 20 de agosto de 1904, na sexta coluna).
+1892 – Maurício Lamberg embarcou no dia 19 de abril para a Europa a bordo do paquete inglês Clyde, rumo a Southampton e outras escalas (O Paiz, 20 de abril de 1892, na penúltima coluna).
+Emilio Lamberg foi demitido do cargo de professor de órgão no Instituto Nacional de Música, a bem do serviço público. Posteriormente, tornou-se um professor particular de sucesso (Diário de Notícias, 26 de agosto de 1892, na terceira coluna e Jornal do Brasil, 26 de agosto de 1892, na primeira coluna).
+1894 – Maurício Lamberg estava inscrito para o concurso para amanuense da Diretoria do Interior e Estatísticas, da Prefeitura do Rio de Janeiro (O Paiz, 16 de setembro de 1894, na quinta coluna). Amanuense era o funcionário de repartições públicas que faziam cópias, registros e cuidavam da correspondência.
+Foi anunciado que Moritz Lamberg, depois de ter viajado pelo nosso país oito anos, escreveu um importante trabalho – O Brazil, que vai ser editado pela casa H. Lombaerts & C, desta capital. O livro, que será luxuosamente impresso, contém um estudo sobre a nossa história, geografia, fontes de renda, costumes, caráter do povo e 50 fotografias representando trechos de nossas matas virgens e seculares e vistas das cidades mais importantes (O Paiz, 30 de dezembro de 1894, na sexta coluna).
+1895 – Transcrição do capítulo  “As classes baixas do Brasil –  caboclos, mulatos, cabras, negros e antigos escravos”, do livro de Lamberg, O Brasil, que ainda não havia sido lançado. O trecho foi traduzido pelo professor Cândido Jucá (1865 – 1929) (Diário de Pernambuco, 13 de fevereiro de 1895, na primeira coluna).
+Notícia sobre o livro O Brazil, identificado como um estudo completo da história sociológica do país (A Semana, 16 de fevereiro de 1895, na segunda coluna).
+Maurício Lamberg estava relacionado em uma lista da Secretaria do Interior e Justiça do Estado do Rio de Janeiro para completar o sello dos respectivos requerimentos (Jornal do Commercio, 20 de junho de 1895, na terceira coluna).
+Na Câmara dos Deputados, era pleiteada uma verba para ajudar a publicação do livro de Lamberg em quatro línguas, como reforço do fomento que o Governo fazia à imigração, estabelecendo superintendências na Europa (O Paiz, 8 de junho de 1895, na quinta coluna, e Jornal do Commercio, 9 de novembro de 1895, na terceira coluna).
+1896 – Emilio Lamberg e sua mulher, professores de música, comunicaram sua mudança para Petrópolis (Jornal do Commercio, 2 de fevereiro de 1896, na penúltima coluna).
+Maurício Lamberg apresentou à Câmara de Deputados uma petição pedindo isenção de direito para as gravuras e capas que ilustrariam o livro sobre o Brasil que ele estava prestes a publicar (Jornal do Commercio, 4 de dezembro de 1896, na segunda coluna, e The Rio News, 8 de dezembro de 1896, na terceira coluna). O pedido foi indeferido (Liberdade, 2 de dezembro de 1896, na última coluna).
+Foi publicado seu livro, O Brazil, editado pela Casa Lombaerts e impresso na Tipografia Nunes, com 381 páginas (Diário do Rio, 2 de abril de 1897, na quarta coluna).
+1897 – Maurício Lamberg, identificado como professor, tinha estado no Palácio Itamaraty (O Paiz, 19 de janeiro de 1897, na quinta coluna).
+Foi enviado um exemplar do livro O Brazil para a redação do Jornal do Brasil (Jornal do Brasil, 31 de março de 1897, na terceira coluna).
+Foi publicado um comentário sobre O Brazil, referido como um importantíssimo livro, cuja edição era primorosa e as gravuras admiráveis de nitidez (Revista Illustrada, abril de 1897, na segunda coluna).
+Publicação de uma crítica ao livro O Brazil (A Notícia, 8 de abril de 1897, na penúltima coluna, na coluna “Semana Literária”). Outra crítica foi publicada descrevendo os temas do livro, com a transcrição do trecho em que se refere aos jornalistas atuais (Gazeta de Notícias, 27 de abril de 1897, na primeira coluna). O livro estava à venda na Livraria Laemmert, na rua do Ouvidor, 66 (A Notícia, 26 e 27 de abril, na última coluna).
+Em comentário do dr. Figueiredo Magalhães, transcrição de um trecho do livro O Brazil, de autoria de Moritz Lamberg, sobre a pretensa descoberta da vacina amarela pelo dr. Domingos Freire (1849 – 1899), professor da Academia de Medicina no Brasil. Lamberg afirmava que conhecidos dele haviam morrido de febre amarela depois de terem sido vacinados (Jornal do Commercio, 11 de abril de 1897, na primeira coluna). Devido a esse trecho de seu livro, Lamberg foi convidado a comparecer ao Instituto Bacteriológico dr. Domingos Freire a fim de dar esclarecimentos, certo de que se não o fizer no espaço de oito dias sua afirmação será tida como falsa e aleivosa (O Paiz, 13 de abril de 1897, na quinta coluna).
+ 
+Propaganda do livro O Brasil, na Gazeta de Petrópolis, em 20 de abril de 1897
+ 
+A Casa Garraux, na rua Quinze de Novembro, em São Paulo, onde estava à venda o livro O Brasil , enviou um exemplar para a redação do Correio Paulistano (Correio Paulistano, 29 de maio de 1897, na terceira coluna).
+1898 – O livro O Brasil estava à venda na Livraria A. Lavignasse Filho & C, na rua dos Ourives, 7 (A Notícia, 12 e 13 de agosto de 1898, na última coluna).
+Publicação do texto “Viagem ao Pará”, de 12 de outubro de 1898, de autoria de Lamberg. Ele descreveu sua viagem de 14 dias, a bordo do paquete Alagoas, do Lloyd Brasileiro, que partiu do Rio de Janeiro em 24 de setembro de 1898, até o Pará. Tive ocasião de ver de novo as capitais do Norte, que eu havia visitado 13 anos atrás e que descrevi no meu livro Bresilien.  Antes de chegar em Belém, o navio parou nos portos de Vitória, Salvador, Maceió, Recife, João Pessoa, Natal, Fortaleza e São Luis. Ele exaltou a opulência do Pará: O Pará! Que diferença de todas as outras cidades do Brasil – Aqui não há indústria, toda a riqueza vem da natureza (Jornal do Brasil, 25 de setembro de 1898, na primeira coluna e Gazeta de Petrópolis, 10 de novembro de 1898, na terceira coluna). Em sua passagem por São Luís, no Maranhão, e Belém, no Pará, foi identificado como engenheiro (O Pará, 9 de outubro de 1898, na penúltima coluna, e Diário do Maranhão, 15 de novembro de 1898, na terceira coluna).
+Após uma longa estada no rio Acará, retornou a Belém o ilustre explorador Moritz Lamberg (O Pará, 11 de dezembro de 1898, na primeira coluna). Escreveu o artigo “Excursão ao rio Acará (O Pará, 13 de dezembro de 1898, na quarta coluna, 15 de dezembro de 1898, na última coluna, 17 de dezembro, na segunda coluna).
+1899 – Lamberg regressou ao rio Acará, onde chefiava a discriminação de lotes para a fundação de um núcleo colonial ali (O Pará, 2 de janeiro de 1899, na última coluna).
+Lamberg, identificado como ilustre homem de ciência, embarcou no vapor Brasil para Manaus, no Amazonas (República, 18 de maio de 1899, na última coluna).
+Lamberg escreveu o artigo “Brasil-Alemanha”, publicado com a assinatura de Julio Lamberg. No dia seguinte, o jornal corrigiu o erro (A República, 19 de maio de 1899, na segunda coluna, e 20 de maio de 1899, na quinta coluna). O artigo foi uma resposta a uma matéria publicada no jornal A Província do Pará, publicada alguns dias antes, em dia 14 de maio, sobre uma publicação de um jornal de Bremen, na Alemanha, aconselhando o governo alemão a hastear sua bandeira n’um estado do sul do Brasil.
+Seu livro, O Brasil, já estava traduzido para o italiano, para o francês e para o inglês. Embarcou para o rio Madeira no vapor Porto de Moz. Ele era sócio correspondente de várias agremiações e revistas de ciência do estrangeiro (Commercio do Amazonas, 8 de julho de 1899, na penúltima coluna).
+1900 – No início de fevereiro, estava em Belém (O Pará, 5 de fevereiro de 1900, na penúltima coluna). No paquete Pernambuco, Lamberg regressou do Amazonas para o Rio de Janeiro. Esteve também na Bolívia e no Peru. Trouxe grande cópia de informações geográficas e etnográficas, notas sobre a vida prática e comercial de todas aquelas regiões, uma monografia sobre a borracha e descrição das duas capitais brasileira e da de Iquitos, no Peru, tratando nela da vida social, política e cultural, e grande quantidade de fotografias interessantíssimas dos diversos pontos que percorreu (Jornal do Commercio, 20 de março de 1900, na última coluna)
+O livro O Brasil estava no catálogo do leilão da livraria de A. Pinheiro (Jornal do Commercio, 23 de novembro de 1900, na primeira coluna).
+1901 – No artigo Por que me ufano de meu país, do poeta mineiro Affonso Celso (1860-1938), foi mencionado que Lamberg afirmava que o céu do Brasil era mais bonito do que o da Europa (A Cidade, 20 de julho de 1901, na primeira coluna).
+1902 – Lamberg estava na Áustria comissionado em propaganda de imigração e para ele foi enviado uma via de letra em florins para Viena (O Commercio de São Paulo, 18 de maio de 1902, na sexta coluna).
+Na edição de 20 de setembro de 1902 da publicação Relatórios dos Presidentes dos Estados Brasileiros foi transcrito um trecho do livro O Brasil sobre a inferioridade educacional dos fazendeiros do país: O fazendeiro possuía apenas alguns conhecimentos empíricos sobre a lavoura e era por demais fidalgo para se ocupar seriamente com ela…
+Sobre a indiferença dos governos em relação à indústria agrícola, foram transcritas algumas palavras de Lamberg, na edição de 20 de setembro da publicação Mensagens do governador do Rio de Janeiro para a Assembleia: A situação lamentável da lavoura teria materialmente falando arruinado qualquer outro país; mas o Brasil assemelha-se ao gigante de Anteu que assim que tocava a terra adquiria novas forças.
+1903 – Em um vibrante opúsculo escrito para a colônia italiana que emigra por Pasquale Vincenti e publicado em Nápoles, a obra O Brazil foi mencionada (Gazeta de Notícias, 3 de dezembro de 1903, na terceira coluna).
+1904 – No concerto realizado em 14 de agosto, no salão do Instituto Nacional de Música, Emilio Lamberg não pode usar o órgão porque o conservador do mesmo não havia executado os consertos necessários ao instrumento. Devido à reação que teve diante do problema, foi proibido pelo ministro das Belas Artes a alugar o mesmo salão para futuros concertos. Dias depois, Emilio Lamberg afirmou, em uma nota assinada, que sua demissão do Instituto Nacional de Música, quando se encontrava na Europa, em 1892, havia sido o resultado da ação de seus desafetos. Esclareceu que, na verdade, a demissão foi declarada sem efeito, já que o contrato celebrado para que ele fosse o titular do órgão do Instituto havia sido celebrado em 18 de setembro de 1890 e só duraria um ano. Afirmou também já ter quitado sua dívida com o Tesouro Federal. Terminou a nota declarando: Depois disso – creio que posso esperar me deixem em paz os infatigáveis zoilos que tão desumana e covardemente me perseguem. Nada mais direi ainda mesmo provocado. Teve negado seu pedido de reintegração ao cargo de professor da cadeira de órgão do Instituto Nacional de Música (Correio da Manhã, 16 de agosto de 1904, na penúltima coluna, Jornal do Commercio , 20 de agosto de 1904, na sexta coluna, Correio da Manhã, 28 de agosto de 1904, na quinta coluna e Relatórios do Ministério da Justiça, março de 1905).
+1905 – O professor Emilio Lamberg dirigiu um concerto de sucesso, no Club dos Diários, no Rio de Janeiro. Apresentou-se com Annunziata Palermini e Leopoldo Duque-Estrada Júnior (Gazeta Fluminense, 12 de abril de 1905, na terceira coluna).
+1906 – Emilio Lamberg, protegido pelo pianista compositor alemão de origem polaca Moritz Moszkowski (1854 – 1925) estabeleceu-se em Paris. Foi assistente do célebre professor de canto polonês Jean Reszké (1850 – 1925). Viajou à Alemanha e à Áustria para conhecer os novos processos da arte pianística (Jornal do Commercio, 8 de dezembro de 1914, na quarta coluna).
+1907 – Em abril, Emilio Lamberg deu um concerto na Sala Erard, em Paris (Jornal do Commercio, 8 de dezembro de 1914, na quarta coluna).
+1908 – Em março, Emilio Lamberg deu um outro concerto na Sala Erard, em Paris, dessa vez com a participação do violoncelista catalão Pablo Casals (1876 – 1973). Repetiu a apresentação em Londres, o que lhe valeu um convite para tocar, no ano seguinte, na Sociedade Filarmônica, sob a regência de Mr Woord. (Jornal do Commercio, 8 de dezembro de 1914, na quarta coluna).
+1909 – Numa apreciação do seu livro O Brasil, Lamberg foi identificado como alemão (A Província, 5 de outubro de 1909, na quarta coluna).
+Em Londres, Emílio Lamberg  esteve em um recital do pianista português Vianna da Motta (1868 – 1948) (Jornal do Commercio, 8 de dezembro de 1914, na quarta coluna).
+Foi publicada uma notícia sobre um drama histórico escrito por M. Lamberg, provavelmente Maurício Lamberg, identificado como alemão, sobre a proclamação da República no Brasil. O livro, Dom Pedro II von Bragança und sein Paladon, estava sendo impresso em Viena pelo editor F.B. Zelanoroski. Segundo a notícia, o autor referia-se com carinho a Saldanha da Gama (1846 – 1895) e enaltecia o Visconde de Ouro Preto (1836 – 1912) (O Commercio de São Paulo, 13 de novembro de 1909, na penúltima coluna e Diário da Tarde, Paraná, 15 de novembro de 1909, na última coluna). No ano seguinte, 1910, o Jornal do Brasil noticiou ter recebido possivelmente o mesmo drama histórico mencionado, de autoria de Moniz Lamberg, de origem polaca (Jornal do Brasil, 6 de fevereiro de 1910, na terceira coluna).
+1910 – Emilio Lamberg fez uma turnê pela Europa com a violoncelista portuguesa Guilhermina Suggia (1885 – 1950), primeira mulher de Pablo Casals.
+1911 e 1912 – Com Pablo Casals, Emilio fez turnês pela Áustria, Alemanha, Holanda, Hungria e Rússia.
+1912 – O livro O Brazil foi identificado como uma importantíssima obra sobre o Brasil (Jornal do Commercio, 15 de abril de 1912, na quarta coluna).
+1914 – Após uma permanência de oito anos na Europa, Emilio Lamberg retornou ao Brasil e comunicou que voltaria a dar aulas de piano. Nessa matéria, ele descreveu sua vida nesse período europeu (Jornal do Commercio, 8 de dezembro de 1914, na quarta coluna).
+1915 – Emilio Lamberg chegou a Curitiba, onde hospedou-se na casa de Raul dos Guimarães Bonjean (Diário da Tarde, Paraná, 5 de janeiro de 1915, na última coluna). Apresentou-se no salão do Ginásio Paraná (Diário da Tarde, Paraná, 19 de janeiro de 1915, na quinta coluna).
+Uma propaganda anunciava que Emilio Lamberg havia chegado recentemente da Europa e oferecia aulas de piano no Rio de Janeiro e em Petrópolis (A Notícia, 30 / 31 de janeiro de 1915, na última coluna).
+1918 – Emilio Lamberg estava gravemente doente. Em seu benefício, foi realizado um concerto no salão nobre do Jornal do Commercio (O Paiz, 28 de dezembro de 1918, na primeira coluna).
+1919 – Emilio Lamberg faleceu, em 16 de agosto, no Hospital Nacional de Alienados, devido a uma arteriosclerose generalizada e foi enterrado no Cemitério São João Batista. Foi rezada uma missa em sua memória na Igreja da Glória (Última Hora, 17 de agosto de 1919, na segunda coluna, Correio da Manhã, 18 de agosto de 1919, na sexta coluna, O Paiz, 18 de agosto de 1919, na terceira coluna e Jornal do Commercio, 5 de setembro de 1919, na segunda coluna). No convite para a missa constava como sua mulher Lily Lamberg, que na ocasião estava em Paris, e, como seu irmão, Manfredo Carlos Lamberg (18? – 1921). Osmar, Olga, Elza, Oscar e José Carlos, citados no anúncio, seriam netos de Moritz (Correio da Manhã, 26 de agosto de 1919, na última coluna e O Paiz, 16 de junho de 1926, na quarta coluna).
+1921 – Em Minas Gerais, falecimento do engenheiro Manfredo Carlos Lamberg, o outro filho de Moritz. Foi realizada, em sua homenagem, uma missa da igreja da Glória, no Largo do Machado (Correio da Manhã, 7 de março de 1921, na segunda coluna). Sobre ele, Lamberg escreveu no capítulo VIII de seu livro O Brazil: …tinha uma estatura de gigante, a quem a natureza dera ossos duplamente fortes e a força quíntupla de um homem comum. Não era uma grande ilustração mas todos os seus gestos indicavam coragem e energia e seus nos seus olhos refletia-se a  intrepidez.
+1957 – Em seu livro, Ordem e Progresso, sobre a transição do regime monarquista ao republicano no Brasil, da abolição da escravatura à Primeira Guerra Mundial, o pernambucano Gilberto Freyre (1900 – 1987), considerado um dos mais importantes sociólogos do século XX, cita e discorda de uma passagem no capítulo “Pernambuco” do livro Brazil, de Lamberg, a quem se refere como teuto-sergipano do Recife: … A causa de não contribuírem os brasileiros do Norte e do Sul do Império com nenhum trabalho de “importância universal” para as ciências e o saber, julgou encontrá-la Lamberg – esquecido de todo de um José Bonifácio, de um Teixeira de Freitas, de um José Vieira – não “na falta de inteligência e boa vontade” mas “na natureza do habitante do trópico, incapaz de consagrar toda a sua existência ao exame de um problema científico, sacrificando muitos gozos da vida, como faz o sábio das zonas temperadas e frias…” . Lamberg fazia uma exceção a Tobias Barreto (1839 – 1889). Freyre achava significativo Lamberg reconhecer que tanto o Pará como Pernambuco estavam procurando “recuperar o tempo perdido” em relação às artes e às ciências. Em outro trecho, Freyre citou o conselho que Lamberg dava àqueles que contraíssem febre amarela: preferir se consultar com médicos brasileiros, em sua opinião, mais preparados do que os europeus para o tratamento da doença.
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/2656` — `itens/20.500.12156.1_2656/`
+
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+---
+id: 20891
+url: "https://brasilianafotografica.bn.gov.br/?p=20891"
+titulo: "Cronologia de Georges Leuzinger (1813 – 1892)"
+autor: "Andrea Wanderley"
+data: "2021-01-06T10:17:39+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/4442"]
+fetched_at: "2026-09-10T10:04:47.277Z"
+---
+
+# Cronologia de Georges Leuzinger (1813 – 1892)
+
+Cronologia de Georges Leuzinger (1813 – 1892)
+ 
+Retrato de Georges Leuzinger por Insley Pacheco, c. 1863 / Acervo IMS
+ 
+Georges Leuzinger. Folha de rosto do Álbum Rio de Janeiro e seus Arredores, c. 1868 / Acervo IMS
+ 
+1813 – Georg Leuzinger nasceu, em 31 de outubro, no cantão de Glarus, na cidade suíça de Mollis, filho de Georg Leuzinger e Sabine Laager. Posteriormente, já no Brasil, adotou para seu nome a grafia francesa Georges.
+1817 - Nasceu o único irmão de Leuzinger, Johannes, em 31 de dezembro.
+1822 – Nasceu em Saint-Léonard, na França, a futura esposa de Georges Leuzinger, Anne Antoinette du Authier (1822-1898), filha do visconde Du Authier e de Marie-Anne Mounier. Curiosamente, era chamada de Eleonore pela família.
+1832 – Em 30 de dezembro, sozinho, falando apenas alemão e com 19 anos, Leuzinger desembarca no Rio de Janeiro, após uma viagem de 54 dias desde o porto de Havre. No Diário do Rio de Janeiro, 2 de janeiro de 1833, terceira coluna, foi noticiada a chegada Bergantim Francez Les Drigas, que trouxe ao Brasil 56 suíços e oito franceses. Vem para trabalhar na Leuzinger & Cia, firma de exportação e importação que pertencia a seu tio, Jean-Jacques Leuzinger. Links para notícias de negócios realizados pela firma do tio: Diário de Rio de Janeiro, 3 de fevereiro de 1837, na primeira coluna, sob o título “Entradas no dia 31″; O Paquete do Rio, de 27 de maio de 1837, terceira coluna, sob o título “Entradas do dia 26 de maio”; Pharol do Imperio, de 20 e julho de 1837, sob o título “18 de julho – De portos estrangeiros”; O Sete d´abril, de 14 de março de 1839, na primeira coluna).
+1839 – Eleonore, futura esposa de Leuzinger, veio morar no Brasil com a irmã, a baronesa de Geslin, dona  do Colégio de Meninas Francês, Português, no Rio de Janeiro. Posteriormente, Eleonore lecionou e dirigiu o estabelecimento.
+1840 -  A firma do tio de Leuzinger foi liquidada.
+Leuzinger comprou do também suíço Jean Charles Bouvier a papelaria e encadernação “Ao Livro Encarnado”, na rua do Ouvidor, 36, e abriu seu próprio negócio, em 1º de julho (Jornal do Commercio, 22 de julho de 1840, na terceira coluna). Ao longo das décadas seguintes, com a ampliação de seus negócios, tornou-se proprietário das seguintes firmas: Estamparia de G.Leuzinger, Litografia de G. Leuzinger e Officina Photographica de G.Leuzinger. Reunidas sob a marca G. Leuzinger, eram conhecidas como Casa Leuzinger.
+Em 24 de novembro, Leuzinger e Eleonore se casaram, na igreja de Nossa Senhora da Glória do Outeiro. O casal, entre 1842 e 1862, teve 13 filhos: Sabine Christine (1842-1915), Anne Marie (1843-1911), Georges Henri (1845 -1908), Mathilde (1846-?), Eugenie (1847-?), Jean Edmond (1848-1916). Victor Ulrich (1849-1877), Léonie Emilie (1851-?), Gabrielle Marie (1853-186?), Paul Alphonse (1855-1927), Elise Georgianne (1856-1927), Georges (1858-1905), e Jules Adolf (1862-1889).
+Anunciou a venda de “álbuns, pastas e carteiras de veludo e marroquim dourado, do gosto mais moderno de Paris; caixinhas ricas, contendo papéis diversos com cercaduras pintadas, para bilhetes de convites e cartas para senhoras, com todos os pertences de escrever e outros para pintura e desenho” (Jornal do Commercio, de 28 de dezembro de 1840, na terceira coluna).
+1841- Anúncio da Leuzinger, com o endereço da rua do Ouvidor, 36, sobre a venda da Galeria Contemporânea Brasileira ou Colecção de Trinta Retratos de Brasileiros Célebres, desenhados e publicados pelo pintor e fotógrafo francês radicado no Rio de Janeiro, François-René Moreau (1807-1860) (O Despertador, 7 de outubro de 1841, na segunda coluna, sob o título “Annuncios”).
+1842 - Leopoldo de Geslin, provavelmente o barão de Geslin, casado com a irmã de Leuzinger, tornou-se seu sócio (Jornal do Commercio, de 10 de maio de 1942, na primeira coluna sob o título “Objectos diversos”). Poucos meses depois, a sociedade terminou (Jornal do Commercio, de 5 de agosto de 1842, na terceira coluna).
+1845 – Com litografias do francês Alfred Martinet (1821 – 1875), foram  publicadas as primeiras estampas editadas por Leuzinger, o Panorama circular da baía de Guanabara ( Jornal do Commercio, de 5 de março de 1845, na terceira coluna).
+1846 – Leuzinger comprou a estamparia que pertencia a Eduardo Hulsemann (Jornal do Commercio, de 16 de janeiro de 1846, na primeira coluna).
+1849 - O único irmão de Leuzinger, Johanes, mudou-se para Muscatine, no estado de Iowa, nos Estados Unidos.
+Em parceria com o gravador (abridor) alemão R. Bollenberg, Leuzinger inaugurou uma oficina de estamparia. Oferecia, assim, dois serviços: o da “abrição”, que é a gravação da chapa em metal, e a sua impressão, função da estamparia (Jornal do Commercio, de 12 de julho de 1849, na segunda coluna).
+Leuzinger publicou três projetos editoriais: um panorama da cidade, tomado do Corcovado em três partes; um conjunto de paisagem natural e outro de vistas da cidade. Este último foi impresso pela Maison Lemercier, em Paris.
+1852 – Leuzinger comprou do francês Jean-Sébastian Saint-Amand uma tipografia, que ficava na rua São José, 64 (Jornal do Commercio, de 3 de novembro de 1852, na primeira coluna).
+1853 - Leuzinger comprou uma oficina de litografia.
+A Casa Leuzinger publicou o periódico semanal O Emigrado Alemão – Órgão para a colonização, Literatura, Ciências e Política  (Jornal do Commercio, de 18 de junho de 1853, na última coluna). 
+A partir de daguerreótipos, Leuzinger publicou um conjunto de litografias da cidade do Rio de Janeiro. Anunciou no Jornal do Commercio, de 24 de dezembro de 1853, que as imagens poderiam ser “entregues em Paris, Londres, Hamburgo e Lisboa, conforme a vontade dos subscritores” (no topo da última coluna).
+1854 - Imprimiu o periódico Courrier du Brésil, 5 de novembro de 1854..
+1855 – Nasceu o décimo filho de Leuzinger, Paul, que teve como padrinho o pintor, escritor e jornalista dinamarquês Paul Harro-Harring (1798–1870)*, que foi um dos maiores ativistas e revolucionários europeus do século XIX. Era amigo de Leuzinger e esteve várias vezes no Brasil: em 1840, para denunciar a violência da escravidão; em 1842 e entre os anos de 1854 e 1855 como refugiado político (Correio Mercantil, de 21 de outubro de 1855, na terceira coluna, sob o título “Saíram ontem desse porto”) .
+1856 - Foi aberta a oficina para escrituração da Casa Leuzinger.
+1857 – Em dezembro, passou a imprimir o periódico Rio Commercial Journal.
+1858 – Segundo registrado no volume XI dos Anais da Biblioteca Nacional, nesse ano, Leuzinger importou dos Estados Unidos “os primeiros prelos e tipos americanos, com que operou uma completa transformação na indústria tipográfica brasileira” (Annaes da Biblioteca Nacional, volume XI, de 1883).
+1861 - Seus filhos Edmond e Victor foram estudar na Basiléia, na Suíça.
+Leuzinger participou da Exposição Nacional com dois trabalhos na classe “Impressão, encadernação e objetos de escritório”. Recebeu a medalha de prata referente a “Livros grandes de encadernação”.
+1862 – Leuzinger participou, pela primeira vez, de uma mostra internacional, a Exposição Universal de Londres.
+Após  temporada de estudo, seu filho mais velho, Georges Henri, retornou da Europa e foi trabalhar na empresa do pai. Seria o gerente da Casa Leuzinger por mais de 40 anos.
+Leuzinger ganhou a medalha de prata na categoria “Indústria fabril e manual”, da Exposição Nacional (Correio da Tarde, de 16 de março de 1862, na quinta coluna, sob o título “Collaboração”).
+1865 – Foi aberto o ateliê de fotografia da Casa Leuzinger, especializado em “vistas da cidade, Tijuca, Petrópolis, Teresópolis e rio Amazonas”, como se lê no verso de uma de suas cartes de visite.
+“Em 1865 montou então Georges Leuzinger um completo ateliê fotográfico, com todos os aparelhos necessários para viagens para o interior do Brasil, tendo para esse fim contratado um habilíssimo artista fotógrafo para dirigi-lo, que em companhia de vários auxiliares fizeram excursões por essa capital, Petrópolis, Teresópolis, etc., tirando fotografias de tudo o que de mais interessante se encontra na pujante natureza daquelas blíssimas regiões“.
+Ernesto Senna em O Velho Comércio do Rio de Janeiro
+ 
+Algumas obras apontam que seu futuro genro, Franz Keller, trabalharia em seu ateliê fotográfico e que teria sido professor, no ateliê, do fotógrafo Marc Ferrez (1843 – 1923), recém chegado da França. Mas esses fatos nunca foram comprovados. Na verdade, durante a década de 1860, Keller ficou bastante ocupado com trabalhos na área de engenharia que realizou com seu pai, o também engenhero Joseph Keller.
+1865 a 1875 – Nesse período, Leuzinger realizou a maior e mais importante parte de sua produção fotográfica, que pode ser dividida em cinco séries principais: panoramas e paisagens da cidade do Rio de Janeiro e de seu entorno imediato, vistas de Niterói, vistas da Serra dos Órgãos de Teresópolis e Petrópolis, documentação botânica e documentação etnográfica, botânica e paisagística da região amazônica.
+1866 – Seus filhos, Victor e Edmond, já estavam no Brasil trabalhando em seu ateliê fotográfico.
+De 19 de outubro a 16 de dezembro de 1866, realizou-se a II Exposição Nacional. A fotografia apareceu pela primeira vez como categoria específica, separando-se do grupo destinado às Belas Artes. Leuzinger ganhou a medalha de prata na categoria “Paisagem”, com nove vistas da cidade e arredores (Semana Illustrada, de 18 de novembro de 1866). Seu trabalho chamou a atenção do pintor Victor Meirelles (1833-1903) que comentou:
+“Os trabalhos fotográficos desse senhor primam pela nitidez, vigor e fineza dos tons e também por uma cor muito agradável. Pode-se dizer desses trabalho, que são perfeitos, pois que representam fielmente com todas as minudências os diversos lugares pitorescos de nosso característico país. Algumas provas são obtidas com tanta felicidade que parece antes um trabalho artisticamente estudado e que neste ponto rivalizam com a mais perfeita gravura em talhe doce; direi que estas provas poderiam perfeitamente servir de estudo aos artistas que se dedicam a arte bela da pintura de paisagens. As formas são ali reproduzidas com toda a fidelidade da perspectiva linear, e o que sobretudo torna-se ainda mais digno de atenção é a perspectiva aérea, tão difícil de obter-se na fotografia sem grande alteração.
+Aquela gradação dos planos que tão bem se destacam entre si e vão gradualmente desaparecendo no horizonte até o último é obtida de modo a não ter-se mais que desejar, sendo nesta parte notáveis as seguintes vistas:
+Gavia do lado da Tijuca, Vale do Andarahy, Montanha dos Órgãos vista da barreira, Vista da Praia Grande, A planície abaixo da cascata na Tijuca, O rochedo de Quebra Cangalhas, Panorama da cidade do Rio de Janeiro, Montanha dos Órgãos do lado de Teresópolis, O Garrafão, e muitas outras que deixaremos de mencionar”.
+1867 -Sua filha Sabine Christine  (1842-1915) casou-se com Franz Keller (1835-1890), que passou a assinar Franz Keller-Leuzinger.
+Franz e seu pai, o também engenheiro Joseph Keller, foram encarregados pelo governo brasileiro de fazer os estudos preparatórios para a construção da estrada de ferro Madeira-Mamoré. Leuzinger enviou, com eles, o fotógrafo alemão Christoph Albert Frisch (1840 – 1918), que trabalhava em seu ateliê. Partiram em 15 de novembro (Diário do Povo, de 15 de novembro de 1867, na primeira coluna).
+Albert Frisch acompanhou os engenheiros somente até Manaus … percorreu 400 léguas pelo rio Amazonas e seus afluentes durante 5 meses…, num barco acompanhado por dois remadores, desde Tabatinga até Manaus. Produziu, na ocasião, uma pioneira série de 98 fotografias com os primeiros registros que chegaram até nós de índios brasileiros da região, além de aspectos de fauna e flora e de barqueiros de origem boliviana, que atuavam como comerciantes itinerantes nos rios amazônicos. Segundo o livro de Ernesto Senna, O velho commercio do Rio de Janeiro, a expedição fotográfica de Frisch à Amazônia foi fruto de uma solicitação feita pelo suíço Louis Agassiz (1807 – 1873) a Leuzinger.
+“Satisfazendo ao pedido de Agassiz, fez Leuzinger tirar vistas até Tabatinga, na fronteira do Amazonas com a República do Peru, vistas que serviram não só para os trabalhos científicos daqule sábio, como também para ilustrações europeias. Quando o engenheiro Keller foi em comissão explorar os rios Madeira e Mamoré, Georges Leuzinger mandou um fotógrafo d casa acompanhar a expedição, que trouxe depois daquelas incomparáveis regiões graande cópia de clichês, da flora, da fauna, de paisagens, e fotograafias de silvícolas e de suas tabas, aldeamentos, instruentos, armas, etc. Estas coleções, de graande valor para estudos etnográficos, eram muito interessantes sob qualquer ponto de vista e muito procuradas por viajantes estrangeiros”.
+Agassiz havia, entre 1865 e 1866, comandado a Comissão Thayer no Brasil, que percorreu boa parte do território brasileiro entre o Rio de Janeiro e a Amazônia, viagem que deu origem ao livro A journey in Brazil, editado em Boston, em 1868. A comissão foi financiada pelo empresário e filantropo norte-americano Nathaniel Thayer, Jr. (1808-1883), ex-aluno de Agassiz no Museu de Zoologia Comparada, em Harvard.
+Vale lembrar que Charles Frederick Hartt (1840 – 1878), o futuro chefe da Comissão Geológica do Império (1875 – 1878), integrada pelo fotógrafo Marc Ferrez (1843-1923), participou da Comissão ou Expedição Thayer – foi a primeira vez que esteve no Brasil.
+Leuzinger adquiriu a loja número 33 da rua do Ouvidor, posteriormente renumerada para 31, onde passou a funcionar sua papelaria.
+O trabalho do ateliê fotográfico de Leuzinger ganhou uma Menção Honrosa na Exposição Universal de Paris, com um panorama tomado da ilha das Cobras. Foi a primeira premiação internacional do Brasil em fotografia.
+O imperador Pedro II (1825 – 1891) pediu a Leuzinger que fotografasse o quadro Os funerais de Atahualpa, do pintor peruano Luiz Montero (1826-1869), que estava fazendo uma exposição no Rio de Janeiro (Jornal do Commercio, de 1º de setembro de 1867, sob o título “Gazetilha”, na sexta coluna).
+1869 – A filha de Leuzinger, Gabrielle Marie (1853 – 1869), faleceu em 23 de abril de 1869 (Jornal do Commercio, 29 de abril de 1869, última coluna).
+“Após sua morte, ela estava quase sorridente, uma figura de anjo e tão branca quanto os lençóis de seu leito. Franz Keller fez seu retrato de perfil para nosso espanto o perfil perfeito de Mathilde quando tinha sua idade, 16 anos, 6 dias e 21 horas e meia” (Carta de Georges Leuzinger para seu filho Paul, que estava vivendo na França, de 2 de junho de 1969).
+A obra Flora Brasiliensis, iniciada por Carl Friedrich Phillip von Martius (Erlanger, Alemanha, 1794 – Munique, Alemanha, 1868), renomado naturalista do século XIX, e concluída pelos também alemães August Wilhelm Eichler (1839 – 1887) e Ignatz Urban (1848 – 1931), com a ajuda de 65 especialistas de vários países, foi publicada entre 1840 e 1906. A imagem Silva Montium Serra dos Orgâos Declivia Obumbrans, in Prov. Rio de Janeiro, publicada no fascículo de 1869, foi baseada em uma fotografia de Leuzinger.
+ 
+Georges Leuzinger. O Dedo de Deus na Serra dos Órgãos, c. 1867. Serra dos Órgãos, RJ / Acervo IMS
+ 
+Publicação do catálogo Resultat d’une expédition phographique sur le Solimões ou Alto Amazonas et Rio Negro, com as fotografias produzidas pelo fotógrafo alemão Christoph Albert Frisch (1840 – 1918) durante sua viagem pela Amazônia, em 1867.
+ 
+Acervo FBN
+ 
+1872 – A Casa Leuzinger estava em seu auge. Já tinha recursos como 19 mil quilos de tipos americanos para impressão, um motor a gás com potência de quatro cavalos e dez prelos mecânicos, além de empregar 50 funcionários (Annaes da Biblioteca Nacional, volume XI de 1883).
+Em julho, Franz Keller estava na Suíça.
+Em 1º de novembro, concedeu aos três filhos mais velhos a sociedade na Casa Leuzinger, passando a firma a se chamar G. Leuzinger & Filhos (Jornal do Commercio, de 8 de maio de 1873, na segunda coluna).
+1873 – Leuzinger voltou pela primeira vez à Europa.
+A Casa Leuzinger  ocupava um prédio de três andares da rua Sete de Setembro, 35, além do segundo andar do número 37 da mesma rua. Nesses endereços funcionavam as oficinas de pautação, encadernação, douração, e livros para escrituração. A tipografia continuava na rua do Ouvidor, 36.
+Com dois panoramas litografados do Rio de Janeiro, Leuzinger participou da Exposição Nacional. Ganhou Menção Honrosa na Exposição Universal de Viena nas duas categorias em que enviou trabalhos: “Fotografia” e “Livros de contabilidade e encadernação”.
+1874 – Seu genro e funcionário, Franz Keller (1835-1890), que já havia retornado à Alemanha, publicou o livro ilustrado Do Amazonas ao Madeira (Jornal do Commercio, de 31 de janeiro de 1874, na última coluna).
+ 
+Jornal do Commercio, 31 de janeiro de 1874
+ 
+Polêmica em torno da vitória de Leuzinger em uma concorrência para a impressão de trabalhos da repartição geral de estatística (Jornal do Commércio, 1º de setembro, na última coluna; dois artigos no dia 2 de setembro, na quinta coluna da primeira página e na terceira coluna da segunda página; de 3 de setembro, na última coluna; de 4 de setembro, na sexta coluna; e de 5 de setembro, na terceira coluna).
+Provavelmente nesse ano, Leuzinger imprimiu o Censo Geral do Império, de 1872, o primeiro da história do Brasil.
+1875 – Seu filho Edmond casou-se com Leocádia de Faria e passou a trabalhar na firma do sogro, a Faria, Cunha e Cia.
+A Casa Leuzinger participou da IV Exposição Nacional com um álbum composto de quatro fotogravuras impressas pela Casa Goupil, de Paris, e com fotografias de índios e paisagens da Amazônia.
+1876 – A Casa Leuzinger participa da Exposição Universal da Filadélfia com material de encadernação. Imprime o primeiro volume dos Anais da Bibliotheca Nacional .
+1878 a 1879 - Publicou O Besouro, jornal que trazia litografias impressas a vapor por Ângelo Agostini (1843 – 1910) e Paul Théodore Robin (? – 1897), a maioria de autoria do português Bordalo Pinheiro(1846 – 1905).
+1881 – Para preservar seu trabalho como editor de estampas, Leuzinger doou para a Seção de Iconografia da Biblioteca Nacional um conjunto de 114 imagens de gravuras e desenhos.
+No Rio Grande do Sul, a Casa Leuzinger participou da Exposição Provincial Brasileira-Alemã.
+1882 – Foi realizada a Exposição Continental de Buenos Aires, com a participação da Casa Leuzinger.
+1885 - Leuzinger participou da Exposição Internacional de Antuérpia. Foi fundada, em 23 de novembro, a Sociedade Beneficente dos Empregados da Casa Leuzinger.
+1889 – A Casa Leuzinger participou da Exposição Universal de Paris.
+1892 – Georges Leuzinger morreu em 24 de outubro (Gazeta de Notícias, 25 de outubro de 1892, na quinta coluna e Revista Illustrada, novembro de 1892, na terceira coluna). A família agradeceu às manifestações de pesar (O Tempo, 27 de outubro de 1892, no topo da quarta coluna).
+1898 – Morte de Eleonore Leuzinger (Gazeta de Notícias, de 18 de outubro de 1898, no topo da quinta coluna).
+Para a elaboração dessa cronologia, a Brasiliana Fotográfica pesquisou em várias fontes, principalmente no Cadernos de Fotografia Brasileira – Georges Leuzinger, do Instituto Moreira Salles, e em diversos jornais da Hemeroteca Digital da Biblioteca Nacional.
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/4442` — `itens/20.500.12156.1_4442/`
+
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+---
+id: 20900
+url: "https://brasilianafotografica.bn.gov.br/?p=20900"
+titulo: "Cronologia de Luiz do Nascimento Ramos, conhecido como Lunara (1864 – 1937)"
+autor: "Andrea Wanderley"
+data: "2021-01-06T10:17:28+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/5634", "20.500.12156.1/5626", "20.500.12156.1/5619"]
+fetched_at: "2026-09-10T10:04:50.720Z"
+---
+
+# Cronologia de Luiz do Nascimento Ramos, conhecido como Lunara (1864 – 1937)
+
+Cronologia de Luiz do Nascimento Ramos, conhecido como Lunara (1864 – 1937)
+ 
+Revista da Semana, 5 maio de 1901
+ 
+1864 - Luiz do Nascimento Ramos nasceu, em Porto Alegre, no Rio Grande do Sul.
+1883 - Passou a integrar a comissão editorial do jornal O Athleta (1883-1889), vinculado ao Club Caixeiral Porto Alegrense. No período de existência do jornal, escrevia e publicava crônicas bem-humoradas sob os pseudônimos Bitu ou Sancho. O Club Caixeiral Porto Alegrense foi fundado, em 1882, por imigrantes alemães vinculados ao comércio.
+1886 – Era um dos integrantes do Club Caixeral que seria homenageado com um espetáculo de gala em honra da simpática e brisosa classe caixeiral, no Theatro São Pedro (A Federação, Orgam do partido Republicano, 17 de maio de 1886).
+1888 – De novo os comerciários foram homenageados com um espetáculo de ópera no Theatro São Pedro e os integrantes do Club Caixeral, dentre eles Lunara, representaram a classe (A Federação, Orgam do partido Republicano, 10 de março de 1888).
+Década de 1890 – Em fins dessa década, sua fotografia intitulada Aguadeira foi publicada na revista francesa Photo-Gazette .
+ 
+Lunara. Aguadeira, c. 1900. Porto Alegre, Rio Grande do Sul / Acervo IMS
+ 
+1891 – Trabalhava na firma Caetano Pinto & Franco (A Federação, Orgam do partido Republicano, 17 de fevereiro de 1891).
+1894 - Contratou casamento com Maria Isabel Borges Ramos (A Federação, Orgam do partido Republicano, 10 de maio de 1894, segunda coluna).
+1896 - Associou-se a Adwaldo Franco e abriu a firma de importações Franco, Ramos & Cia. Também trabalhava como contador contábil em outras empresas.
+c. 1899- Registrava a periferia da cidade aos domingos e utilizava o pseudônimo Lunara para expor suas imagens.
+Como fotógrafo amador passou a integrar a associação Sploro Photo-Club, em Porto Alegre, um dos fotoclubes pioneiros do Brasil. Funcionava na Drogaria Ingleza , que pertencia a Sépia, também fotógrafo amador.
+ 
+Acervo de Imprensa da Museu de Comunicação Hipólito José da Costa, 1901
+ 
+1899 –  Ele fotografou as festas da inauguração do velódromo da União Velocipédica e algumas ficaram expostas nas vitrines da Drogaria Ingleza, em Porto Alegre. Seu amigo, o fotógrafo Virgílio Callegari (1868 – 1937) faria as ampliações (A Federação, Orgam do partido Republicano, 23 de novembro de 1899, segunda coluna).
+Lunara participou de um evento promovido pela associação Sploto Photo-Club, na Drogaria Ingleza. O júri do evento era formado por Augusto Daisson, Miguel Weingartner e Virgilio Callegari.
+Década de 1900 - Foi editado e publicado o álbum Vistas de Porto Alegre – Fotografias Artísticas, com 20 imagens assinadas pelo fotógrafo amador gaúcho Lunara (1864 – 1937), e produzido pelos Editores Krahe & Cia, cuja loja e livraria ficavam na rua dos Andradas, em Porto Alegre.
+ 
+Acervo de Imprensa da Museu de Comunicação Hipólito José da Costa, 1901
+ 
+1900 - Endereçou à Repartição Central da Secretaria de Estado de Negócios do interior e exterior em Porto Alegre uma carta sugerindo a adoção de um novo método marcas e sinais para gado (A Federação, Orgam do partido Republicano, 27 de agosto de 1900).
+Nascimento de seu filho, Áureo.
+1901 – Lunara já era um próspero comerciante e membro da diretoria da Associação Comercial de Porto Alegre.
+Recebeu a medalha de bronze no segundo concurso para amadores da fotografia realizado nos salões da fotografia Leterre, na rua da Carioca, com um registro do busto de perfil da filha de um amigo. Fazia parte do júri o fotógrafo Joaquim Insley Pacheco (1830 – 1912), além do escultor Rodolfo Bernardelli (1852 – 1931) e do pintor Hilarião Teixeira (1860 – 1952). Nos dois primeiros lugares ficaram o carioca Narciso Braga e o gaúcho Luiz Manuel de Souza Filho (Jornal do Brasil, de 2 de março de 1901, sexta coluna e A Federação, Orgam do partido Republicano, 9 de março de 1901, segunda coluna).
+Realização da Exposição Estadual no Campo da Redenção, quando foi exibido o desenvolvimento da indústria e do comércio do Rio Grande do Sul. Luiz do Nascimento Ramos foi membro do júri do concurso de fotografias que integrava o evento. Os outros membros do júri foram Balduíno Rohrig e Luiz Manuel de Souza Filho (A Federação, Orgam do partido Republicano, 10 de março de 1901, quinta coluna). Na ocasião, fotografou todos os pavilhões da exposição. Forneceu as fotografias publicadas na  Revista da Semana, 5 de maio de 1901, uma edição especial comemorativa da Exposição Estadual Riograndense.
+1902 – Publicação do artigo intitulado “Artigo Infamante – Aos Amadores de Fotografia no Brasil – Aos profissionais e a meus clientes e amigos “, de autoria de A. Laterre  em resposta a uma publicação de 5 de abril d e 1902 na Gazeta do Commercio, em Porto Alegre, que relatava que durante uma reunião do Sploro Photo-Club, da qual Lunara participou, haviam sido feitos protestos contra um artigo publicado pela revista parisiense Photographie Française, de janeiro de 1902, e também protestos contra o fotógrafo sr. A. Leterre, acusado de prejudicar os fotógrafos amadores do Rio Grande nos concursos que promovia. Nele o fotógrafo Joaquim Insley Pacheco, um dos juízes dos concursos, era mencionado (Jornal do Brasil, 20 de abril de 1902).
+Publicação da fotografia “Sono Pesado”, de sua autoria, na Revista da Semana de 16 de novembro de 1902.
+1903 - Conquistou medalha de ouro na Mostra Grupal de Artes Plásticas, promovida pelo jornal Gazeta do Comércio. Concorreu com diversas fotografias, dentre elas Águas correntes, Dois Filósofos e Nhô João, deixa disso…, que fazem parte do álbum Vistas de Porto Alegre.
+ 
+Lunara. Águas correntes, c. 1900. Porto Alegre, Rio Grande do Sul / Acervo IMS
+ 
+Nascimento de sua filha, Zaida (A Federação, Orgam do partido Republicano, 28 de julho de 1901, terceira coluna).
+1904 – Foi eleito para integrar o conselho fiscal da companhia de seguros marítimos e terrestre Phenix de Porto Alegre (A Federação, Orgam do partido Republicano, 11 de março de 1904, terceira coluna).
+Foi eleito em 9 de outubro, conselheiro fiscal do Club Caixeiral Porto Alegrense (Almanak Laemert, 1905).
+Recebeu 1 voto na eleição municipal para intendente e conselheiro (A Federação, Orgam do partido Republicano, 11 de outubro de 1904, terceira coluna).
+1904 /1905 – Foram publicados cartões-postais colorizados de Lunara. A maioria pelos Editores Krahe &  Cia.
+1905 – Foi eleito diretor da Praça do Comércio de Porto Alegre (A Federação, Orgam do partido Republicano, 1 de janeiro de 1905, quinta coluna).
+1908 – Foi noticiada a chegada do negociante Luiz Nascimento Ramos ao Rio de Janeiro (O Século, 19 de setembro de 1908, quarta coluna).
+Década de 10 – Publicava regularmente seu trabalho na revista Máscara.
+1910 – Fotografou uma excursão automobilística (A Federação, Orgam do partido Republicano, 14 de novembro de 1910, primeira coluna).
+1913 – Lunara foi o testamenteiro do pintor Pedro Weingartner (1853 – 1929).
+1922 -Recebeu o prêmio da publicação La Revue de Photographie, de Paris, pela fotografia O Lago (Illustração Brasileira, 24 de junho de 1922).
+Publicação da fotografia Sono pesado, de autoria de Lunara (Illustração Brasileira, 15 de agosto de 1922).
+1937 – Faleceu em Porto Alegre e, durante décadas, sua obra permaneceu guardada por familiares.
+1976 – A jornalista e fotógrafa gaúcha Eneida Serrano (1952 – ) entrou em contato com o filho de Lunara, Áureo, de 76 anos, que mostrou a ela o acervo de seu pai: uma máquina fotográfica, recortes de jornais, 15 chapas de vidro, 13 x 18cm, e dois álbuns com 60 fotografias de sua autoria.
+1979 – Eneida Serrano realizou a exposição Lunara – Amador 1900, no Museu de Comunicação Hypólito José da Costa, em Porto Alegre.
+2001 – Em homenagem ao fotógrafo, foi inaugurado no centro cultural Usina do Gasômetro, na capital gaúcha, a Galeria Lunara, espaço especializado em fotografias.
+Suas fotos foram reunidas no livro Lunara Amador 1900, de Eneida Serrano.
+2018 – Exposição, no Museu de Arte do Rio Grande do Sul, de 20 fotografias de autoria de Lunara na 11ª Bienal de Artes Visuais do Mercosul, realizada em Porto Alegre e Pelotas. As imagens fazem parte do álbum Vistas de Porto Alegre – Photographias Artísticas, do acervo fotográfico do Museu da Comunicação Hipólito José da Costa.
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/5634` — `itens/20.500.12156.1_5634/`
+- `20.500.12156.1/5626` — `itens/20.500.12156.1_5626/`
+- `20.500.12156.1/5619` — `itens/20.500.12156.1_5619/`
+
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+---
+id: 20908
+url: "https://brasilianafotografica.bn.gov.br/?p=20908"
+titulo: "Cronologia de Augusto Malta (1864 – 1957)"
+autor: "Andrea Wanderley"
+data: "2021-01-06T10:17:17+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/2609", "20.500.12156.1/3151", "20.500.12156.1/3156"]
+fetched_at: "2026-09-10T10:04:54.289Z"
+---
+
+# Cronologia de Augusto Malta (1864 – 1957)
+
+Cronologia de Augusto Malta (1864 – 1957)
+Augusto Malta / Portal MultiRio
+ 
+Augusto Malta. Vista do Rio de Janeiro, 1906. Morro Corcovado, Rio de Janeiro / Acervo IMS
+1864 – Em 14 de maio, Augusto Cesar Malta de Campos nasceu em Mata Grande, Alagoas, que entre 1902 e 1929 se chamou Paulo Afonso, filho do escrivão Claudino Dias de Campos e Blandina Vieira Malta de Campos, conhecida como Dona Iaiá. Foi batizado em 5 de junho, na matriz de Nossa Senhora de Mata Grande, por Francisco Felix Dias e Sebastiana Bezerra Sidrino. A cerimônia foi celebrada pelo pároco Luiz José de Oliveira Diniz.
+1886 / 1887 - Deixou de morar com o padre Antonio Marques de Castilho (18? – 1886), com quem havia ido residir por decisão de seu pai, que queria que ele seguisse a carreira religiosa. Alistou-se no Exército, no Recife. Serviu como cadete sargento. Pretendia seguir a carreira militar, mas, posteriormente, quando cumpriu o prazo de tempo de serviço, foi dispensado.
+1888 – Em maio, participou, ainda no Recife, de manifestações a favor da abolição da escravatura.
+Chegou ao Rio de Janeiro em fins de 1888, imbuído pelas ideias republicanas. Seu primeiro emprego na cidade foi o de auxiliar de escrita da Casa Leandro Martins, localizada na rua dos Ourives, atual rua Miguel Couto. Na Hemeroteca Digital da Biblioteca Nacional, nas décadas de 1880 e 1890, há referências ao nome Augusto Malta como professor de caligrafia e também como comerciante, mas acredito ser um homônimo do fotógrafo, já que em entrevista a Charles Julius Dunlop (1908–1987), em 1957, o fotógrafo Malta disse que seu primeiro emprego no Rio de Janeiro foi no comércio, como auxiliar de escrita. No ano seguinte, já era guarda-livros da firma Leandro Martins.
+1889 - Era guarda-livros na firma Leandro Martins.
+Participou dos acontecimentos de 15 de novembro de 1889, quando foi proclamada a República no Brasil, quando participou de uma manifestação coletiva dos empregados do comércio. No dia seguinte, foi um dos signatários do termo de juramento lido na Câmara Municipal do Rio de Janeiro, dando posse ao governo provisório republicano (O Paiz, 19 de novembro de 1912, última coluna; O Paiz, 27 de dezembro de 1925, segunda coluna; Correio da Manhã, 24 de outubro de 1941, sétima coluna).
+ 
+O Paiz, 19 de novembro de 1912
+ 
+1890 – Por volta desse ano, Augusto Malta visitou a família, em Alagoas, e trouxe, para o Rio de Janeiro, seus irmãos Alfredo e Joaquim Populo. Seus irmãos Fernando e Teófilo vieram para o Rio um pouco depois.
+Casou-se com sua prima distante, a alagoana Laura Oliveira Campos (1874 – 1905), filha de Vicente Clementino de Oliveira e Rita Soares de Mello. O casal teve cinco filhos: Luthgardes (05/01/1896 – 05/02/1928), Arethusa (1898 – 31/03/1913), Callisthene (26/07/1900 – 20/02/1919), Aristocléa (21/06/1903 – 03/1934), afilhada do prefeito Pereira Passos; e Aristógiton (25/08/1904 – 15/08/1954). Todas as filhas do casal aqui citadas morreram de tuberculose.
+ 
+Augusto Malta com os filhos de seu primeiro casamento, c. 1907. Passeio Público, Rio de Janeiro, RJ / Site Family Search – Da esquerda para direita, acima: Arethusa, Malta e Luthgarde; e abaixo, Aristocléa, Aristógiton e Callishene
+ 
+1894  – Fundou uma casa de secos e molhados, a Casa do Ouvidor, na rua de mesmo nome, mas teve que fechá-la. Ficava na esquina da Rua Uruguaiana, mas o negócio não foi avante. “Dei com os burros n’água”, diz ele. Tentou um novo negócio na Rua Larga de São Joaquim, que também não deu certo (Diário de Notícias, 29 de agosto de 1936, terceira coluna; Crônica de C. J. Dunlop, do livro Rio Antigo, vol. II, 1956; Almanak Laemmert, 1901, segunda coluna).
+1895 - Identificado como capitão Augusto Malta, foi um dos homens que segurou a alça do caixão do filho de um militar morto no naufrágio da barca Terceira (Diário de Notícias, 19 de janeiro de 1895, quinta coluna).
+Começou, então, a vender tecidos finos e tornou-se o precursor dos vendedores a prestação. Pedalando sua bicicleta, visitava diariamente a freguesia, que era das mais seletas. A Sra. Campos Sales, a Viscondessa de Guai (Sra. Joaquim Elísio Pereira Marinho) e outras damas da alta sociedade, embora não comprando a prestação, davam preferência ao amável vendedor que lhes levava a mercadoria em casa (Crônica de C. J. Dunlop, do livro Rio Antigo, vol. II, 1956).
+1900 – Em agosto, foi criado, entre os sócios do Congresso Commercial, o Grupo de Velocemen com o objetivo de organizar passeios ciclísticos pela cidade. Augusto Malta foi aclamado secretário da agremiação (O Paiz, 19 de agosto de 1900, quinta coluna; Semana Sportiva, 25 de agosto de 1900, na seção “Velocipedia”).  Foi noticiado o passeio ciclístico inaugural do grêmio velocipédico (Semana Sportiva, 29 de setembro de 1900, na seção “Velocipedia”).
+Um dos clientes de Malta, um aspirante da Marinha, propôs que ele trocasse a bicicleta, que usava para entregar encomendas de tecidos, por uma máquina fotográfica. No início, Malta não aceitou, mas dias depois concordou com a troca. Continuou a vender fazendas, a pé, e começou, então, a se interessar por fotografia. Aos domingos, saía para tirar fotografias com um amigo, também fotógrafo amador. Outros interesses de Malta eram, segundo depoimento de sua filha Amalthea, a leitura e a astronomia.
+Integrava o Centro Ciclista, fundado em 2 de dezembro de 1900 (Semana Sportiva, 8 de dezembro de 1900, primeira coluna).
+1903 – Identificado como photographo amador e morador da Rua Senador Câmara, foi à polícia reclamar de um assalto a sua casa quando foram inutilizados vários objetos próprios para a photographia (Correio da Manhã, 6 de março de 1903, primeira coluna).
+Foi apresentado pelo empreiteiro Antônio Alves da Silva Júnior, fornecedor da Prefeitura do Rio de Janeiro, que já havia visto suas fotografias, ao prefeito, Francisco Pereira Passos (1836-1913), que promovia uma grande reforma urbana na cidade, que ficou conhecida como o “bota-abaixo”. Ele precisava de um fotógrafo para registrar as obras e os imóveis a serem desapropriados para posteriores pagamentos de indenizações. Inicialmente, Malta resisitiu porque a venda de tecidos estava indo bem. Porém seu interesse pela fotografia e sua admiração por Pereira Passos o convenceram. Em junho, pelo Decreto Municipal 445, Augusto Malta foi nomeado fotógrafo da Prefeitura do Distrito Federal. O cargo foi criado para ele e era subordinado à Diretoria Geral de Obras e Viação da Prefeitura. Trabalhou durante 33 anos para a Prefeitura do Rio de Janeiro.
+Fotografou diversos imóveis estavam sendo demolidos para a realização do prolongamento da Rua do Sacramento (Gazeta de Notícias, 30 de maio de 1903, primeira coluna).
+Fotografou a Batalha de Flores, o Aquário do Passeio Público e do quartel-general. Foi identificado como um profissional de merecimento e que goza de grandes e justas simpatias. Já era fotógrafo da prefeitura (Jornal do Brasil, 15 de agosto de 1903, quinta coluna; Correio da Manhã, 29 de setembro de 1903, quarta coluna).
+1904 – Uma fotografia da Igreja de São Joaquim, de autoria de Malta, foi publicada na edição de abril da revista O Comentário.
+ 
+Igreja de São Joaquim por Augusto Malta / O Comentário, abril de 1904
+ 
+Por volta deste ano, passou a prestar serviços para a The Rio de Janeiro Tramway, Light and Power Company Limited – que ficaria popularmente conhecida como Light. Ao longo dos anos, prestando serviços para a empresa, Malta fotografou as atividades modernizadoras da Light no Rio de Janeiro, como a implantação dos bondes elétricos e da iluminação pública.
+ 
+Augusto Malta. Light and Power – S. Christóvão, 3 de abril de 1904. Rio de Janeiro, RJ / Acervo Light
+ 
+Abriu um estúdio fotográfico e trabalhava também para particulares e empresas (Catálogo da Série Negativo em Vidro).
+Fotografou a comemoração do Dia do Trabalho, promovida por Domingo Rodrigues Pacheco e Antônio Alves da Silva Júnior, proprietários das pedreiras situadas à rua Conselheiro Bento Lisboa (Correio da Manhã, 02 de maio de 1904, sob o título “Um almoço”). Este último foi quem apresentou Malta a Pereira Passos.
+Malta foi um dos fundadores, sócio nº 148 da Sociedade Cartophila Emanuel Hermann, uma associação incentivadora da divulgação de cartões-postais. Ele editava postais de turismo. Hermann (1839 – 1902) foi um professor de Economia que sugeriu aos Correios do Império Austro-Húngaro a emissão dos primeiros cartões-postais.
+Foi realizada no escritório do jornal Correio da Manhã uma exposição com as fotos que Malta produziu da Batalha de Flores, e de outras de sua autoria (Correio da Manhã, 29 de setembro de 1904, quarta coluna).
+Em 25 de agosto, nascimento de seu filho Aristógiton que, a partir de 1925, o auxiliou como fotógrafo da Prefeitura do Rio de Janeiro.
+ 
+Aristógiton Malta (1904-1954) / Site Family Search
+ 
+1905 – No Concurso de Fotografia promovido pela revista Leitura para Todos, ganhou Menções Honrosas por duas fotos de sua autoria (Leitura para Todos, 1905).
+O então prefeito Pereira Passos, na Mensagem enviada ao Conselho Municipal, chamava atenção para a importância do trabalho realizado no laboratório fotográfico da Diretoria de Obras e Viação pela verificação que permitirá aos vindouros da transformação que operam na cidade com os melhoramentos ora em execução.
+Falecimento de sua esposa, Laura Oliveira Campos (Jornal do Brasil, 3 de julho de 1905, segunda coluna). Aristógiton passou a morar com uma irmã de sua mãe, a Tia Glória.
+ 
+Jornal do Brasil, 3 de julho de 1905
+ 
+No dia 7 de novembro, ocorreu um incêndio de grandes proporções no Centro do Rio de Janeiro, entre as ruas do Lavradio, da Relação, dos Inválidos e do Rezende. O estúdio e residência de Malta, localizado no Teatro Eden-Lavradio, na rua do Lavradio, nº 96, depois 112,  foi atingido. Ele e a família conseguiram escapar apenas com a roupa do corpo. O prédio havia sido inaugurado em 28 de maio de 1895, mandado construir pelo médico e poeta Luís Delfino dos Santos (1834 – 1910) (O Paiz, 8 de novembro de 1905, sob o título “Pavoroso Incêndio; Correio da Manhã, 9 de novembro de 1905, terceira coluna). Na ocasião, foram destruídos cerca de quinhentos clichês da coleção de Malta de pontos demolidos ou desaparecidos da cidade do Rio de Janeiro, devido à reforma urbana promovida pela Prefeitura.
+Entre esse ano e 1907, ocupou imóveis da Prefeitura na Rua do Riachuelo, 22; na Rua Frei Caneca e no jardim do Passeio Público.
+c. 1906 – Augusto Malta passou a viver maritalmente com Celina Augusta Verscheuren (16/03/1884 – 1969), que trabalhava desde os 15 anos como babá dos filhos de Malta e Laura. Com Celina, Malta teve mais quatro filhos: Dirce (1907 – 10/1971), Eglé (20/09/1909 – 11/1941), Uriel (28/09/1910 – 05/08/1994) e Amalthea (12/12/1912 – 12/03/2007). Celina era de origem belga e ela e sua irmã ficaram órfãs de pai e mãe, ainda menores. Os pais deixaram uma quantia razoável de dinheiro e as meninas foram internadas em um pensionato na Glória. Com 15 anos, como já mencionado, Celina foi trabalhar na casa da família Malta. Sua irmã tornou-se professora.
+Fotografou a Conferência Internacional Pan Americana, inaugurada, no Rio de Janeiro, em 23 de julho. Durante o evento, conheceu diplomata, escritor e  político Joaquim Nabuco (1849–1910), na época representante do Brasil nos Estados Unidos. Tornaram-se amigos.
+Em setembro, feriu sua mão esquerda fazendo experimentos com a câmara escura (Correio da Manhã, 12 de setembro de 1906,a primeira coluna, abaixo de “Assistência à Infância”).
+Foi identificado como major, além de fotógrafo da Prefeitura, quando fez uma visita ao ministro da Justiça e Negócios Interiores, Felix Gaspar de Barros e Almeida (1865 – 1907), que foi fotografado por ele (Correio da Manhã, 26 de setembro de 1906, na seção “Do Maranhão”, na sexta coluna; Correio da Manhã, 27 de setembro de 1906, penúltima coluna). Sua carta patente de major da Guarda Nacional foi assinada pelo então presidente da República, Afonso Pena (1847-1909).
+1907 – Na Rua Castorina, sofreu um acidente de carro com seus amigos Durão e Machado. Segundo Malta, não fora a ahabilidade do chauffeur, atirando o auto contra o barranco, teríamos ido todos para o fundo do grotão (Correio da Manhã, 13 de março de 1953).
+Foi à Polícia denunciar o roubo de um anel com brilhante de uma de suas filhas (O Século, 9 de janeiro de 1907, quarta coluna).
+Fotografou a festa de 10 anos da formatura dos médicos da turma de 1897 da Faculdade de Medicina do Rio de Janeiro, dentre eles os médicos Miguel Pereira (1871–1918) e Moncorvo Filho (1871-1944)  (Correio da Manhã, 4 de fevereiro de 1907, terceira coluna).
+Assinou a ata da inauguração da sub-estação provisória da Light and Power (O Paiz, 31 de julho de 1907, penúltima coluna).
+Malta apareceu em duas fotos da revista O Malho. Na primeira, de 3 de agosto de 1907, foi fotografado durante a queima das listas e cadernetas que serviram para o recenseamento feito pelo ex-prefeito Pereira Passos. Na edição de 10 de agosto, foi fotografado participando da inauguração oficial, pela Light and Power, do serviço de distribuição de energia elétrica, produzida por motor hidraúlico, no Rio de Janeiro.
+Participou com fotografias que documentavam as transformações do Rio de Janeiro da Terceira Exposição do Photo-Club e primeira do Salão Livre de Belas Artes, promovida pelo Photo-Club. A mostra, realizada no Museu Commercial, na avenida Central, contava com 170 fotografias e 142 pinturas (Gazeta de Notícias, 13 de agosto de 1907, sob o título “Nossos Artistas”).
+ 
+Gazeta de Notícias, 13 de agosto de 1907
+ 
+Ganhou o terceiro prêmio na categoria de profissionais. O júri não considerou nenhum dos trabalhos merecedores do 1º e 2º lugares (O Paiz, 28 de agosto de 1907, abaixo da propaganda “Retalhos e Saldos”).
+Fotografou, no Palácio do Catete, o almoço oferecido pelo presidente da República, Afonso Pena (1847 – 1909), ao político francês Paul Doumer (1857 – 1932), futuro presidente da França, entre 1931 e 1932 (Correio da Manhã, 9 de setembro de 1907, última coluna).
+No dia do aniversário da Liga dos Maquinistas, Eletricistas e Metalúrgicos, Malta fotografou a estatueta e Colombo (Jornal do Brasil, 18 de outubro de 1907, quinta coluna).
+Publicação de uma fotografia de autoria de Augusto Malta na revista Renascença, de dezembro de 1907, no artigo Terceira Exposição Artística do Photo-Club. É identificado como aquele que mais pratica a ampliação, gênero em que é habilíssimo (Renascença, dezembro de 1907).
+ 
+Efeito da ressaca na Avenida por Augusto Malta
+ 
+1908 –  Seu endereço era Rua do Lavradio, 90 (Almanak Laemmert, 1908).
+Colaborou com fotografias na revista Exposição Nacional, edição especial da Revista da Época, dirigida por Carlos Vianna (18? – 19?) e Lima Barreto (1881 – 1922) (O Paiz, 21 de julho de 1908, segunda coluna; O Paiz, 13 de agosto de 1908, segunda coluna).
+Visitou a seção de Alagoas, da Exposição Nacional de 1908. Estava instalada na antiga Escola Superior de Guerra. Foi identificado como o decano de nossos instantanistas (O Paiz, 21 de julho de 1908, quarta coluna).
+Ganhou a medalha de ouro na seção de Artes Liberais da Exposição de 1908 (Gutemberg, 30 de dezembro de 1908, terceira coluna).
+1909 – A Prefeitura, através da Diretoria de Estatística, ilustrou o guia La ville de Rio de Janeiro et ses environs com algumas de suas fotografias (Catálogo da Série Negativo em Vidro).
+ 
+Almanak Henault, 1909
+ 
+Negociava artigos fotográficos na Rua da Saúde, 51 (Almanak Henault, 1909, primeira coluna).
+Esteve em um acidente – a carruagem em que estava partiu-se em duas após passar em ruas esburacadas do Rio de Janeiro (A Imprensa, 21 de abril de 1909, segunda coluna).
+O hiper conhecido photographo Malta encontrou os equipamentos fotográficos que haviam sido roubados de sua casa, na Rua da Relação, nº 37. O larápio também chamava-se Henrique Krauss (Gazeta de Notícias, 12 de agosto de 1907, penúltima coluna; Correio da Manhã, 12 de agosto de 1909, penúltima coluna; A Notícia, 26 de agosto de 1909, sob o título “Apprehensão de Furto“; O Paiz, 27 de agosto de 1909, quinta coluna).
+Foi extinto o cargo de Malta, que ficou adido à Subdiretoria de Serviços da Carta Cadastral, na Diretoria de Obras e Viação. Prestou, então, serviços particulares de fotografia para o ex-prefeito Pereira Passos (Correio da Manhã, 3 de outubro de 1909, terceira coluna).
+Passou a ser sócio efetivo do Centro Alagoano (O Século, 7 de outubro de 1909, sob o título “Centro Alagoano“).
+Participou de um concurso de Casa Velhas promovido pela Gazeta de Notícias (Gazeta de Notícias, 15 de novembro de 1909, segunda coluna).
+Com o prefeito do Rio de Janeiro, Serzedelo Correa (1858-1932), visitou a Villa Ipanema e participou da inauguração da área de diversões da Brahma (O Paiz, 29 de novembro de 1909, sob o título “Villa Ipanema”).
+Prestava serviços fotográficos particulares para Pereira Passos.
+Participou da segunda visita do Governador da Cidade ao esplêndido bairro de Copacabana. O governador da cidade era Serzedelo Correia (1858 – 1932) (O Copacabana, 19 de dezembro de 1909, primeira coluna).
+1910 - Sua oficina fotográfica ficava na Avenida Central, 92 (Almanak Laemmert, 1910, última coluna).
+Criou o Centro Fotográfico de Propaganda no Brasil.
+Ficou à disposição da Diretoria de Instrução para que fotografasse estabelecimento municipais de ensino (Correio da Manhã, 4 de março de 1910, última coluna).
+Por ocasião de seu aniversário, foi saudado na coluna “Vida social” como um rapaz ativíssimo e comunicativo cujos enormes óculos dão a impressão de duas objetivas perpetuamente postas diante dos olhos vivos… Na mesma coluna, cerca de um mês depois, foi noticiado que ele estava adoentado (O Paiz, 14 de maio de 1910, primeira coluna; 19 de junho de 1910, penúltima coluna).
+ 
+O Paiz, 14 de maio de 1910
+ 
+Integrou o grupo do Centro Alagoano que visitou o destroyer Alagoas. Em 4 de setembro, esteve presente na eleição da nova diretoria da associação (O Paiz, 18 de julho de 1910, primeira coluna; 9 de setembro de 1910, primeira coluna).
+Por ordem do prefeito Serzedelo Correa, foi posto à disposição da comissão de inspeção escolar (Gazeta de Notícias, 6 de agosto de 1910, na seção “Prefeitura“).
+Em 28 de setembro, nascimento de Uriel (1910 – 1994), que posteriormente trabalhou como fotógrafo na Prefeitura do Rio de Janeiro.
+ 
+Uriel Malta (1910 – 1994) / Site Family Search
+ 
+1911 – Em junho, fotografou o presidente da República, Hermes da Fonseca (1855 – 1923).
+Foi autorizado pelo prefeito do Rio de Janeiro, Bento Ribeiro (1856-1921), a organizar a galeria dos ex-prefeitos (Gazeta de Notícias, 10 de julho de 1911, na seção “Prefeitura“; O Paiz, de 17 de julho de 1911, quinta coluna).
+Fazia parte de um grupo de moradores da Rua Camerino que entregou ao prefeito, Bento Ribeiro, uma reclamação em relação ao estado de calçamento da referida via, uma das mais movimentadas da cidade (Correio da Manhã, 9 de setembro de 1911, última coluna).
+ 
+Augusto Malta, 1911 / Wikipedia
+ 
+ 
+Em outubro, lançou, em edição de autor, o Álbum geral do Brasil, primeiro fascículo de uma coleção de fotos do Rio de Janeiro e de outras cidades brasileiras (Jornal do Commercio Edição da Tarde, 28 de outubro de 1911, quinta coluna; Fon-Fon, 28 de outubro de 1911, terceira coluna).
+ 
+Jornal do Commercio Edição da Tarde, 28 de outubro de 1911
+ 
+Entre novembro de 1911 e 1917, foi um dos fotógrafos da revista A Faceira. As senhoras e senhoritas que quisessem figurar na A Faceira poderiam ter seus retratos executados por Malta ou por Albuquerque & Flosculo de Magalhães em troca da aquisição de 25 exemplares da revista (A Faceira, novembro de 1911, segunda coluna).
+ 
+A Faceira, novembro de 1911
+ 
+1912 – Identificado como insigne photographo que é atualmente o dedicado historiador da fixação em clichês oportunos dos fatos e figuras mais interessantes da evolução do Rio de Janeiro, foi noticiado que Malta estava expondo no salão da reportagem da Prefeitura do Rio de Janeiro fotografias que seriam enviadas pelo prefeito, Bento Ribeiro, à comissão brasileira da Exposição Internacional de Tuberculose em Roma, na Itália (O Paiz, 1º de fevereiro de 1912, quarta coluna; Correio da Manhã, 15 de fevereiro de 1912, última coluna; 16 de fevereiro de 1912, penúltima coluna).
+Malta requereu a contagem de tempo de serviço para a aposentadoria, incorporando o período em que prestou o serviço militar (O Paiz, 24 de abril de 1912, penúltima coluna).
+Fotografias de sua autoria foram solicitadas e enviadas para Delfim Carlos (18? – 19?) e Abdon Milanez (1858 – 1927), chefes do Escritório de Informações do Brasil em Paris e na Suíça, respectivamente. Seriam expostas no referidos escritórios Correio da Manhã, 8 de maio de 1912, primeira coluna).
+Solicitou ao Ministério da Fazenda a classificação dos cartões-postais que importaria da Alemanha. A falta de classificação gerava problemas alfandegários (O Paiz, 20 de setembro de 1912, penúltima coluna; 25 de setembro de 1912, segunda coluna; Correio da Manhã, 4 de dezembro de 1912, quarta coluna).
+Bento Ribeiro, prefeito do Rio de Janeiro, ordenou que Malta fotografasse os prédios que seriam demolidos para a realização do prolongamento da Avenida Gomes Freire (A Notícia, 8 e 9 de outubro de 1912, penúltima coluna).
+1913 – O Tesouro Nacional autorizou o pagamento a Malta pelo fornecimento de fotografias e de um álbum ao Ministério da Agricultura (Correio da Manhã, 9 de janeiro de 1913, penúltima coluna).
+Falecimento de sua filha, Arethusa, em 31 de março (Site Family Search – Registro de Óbito; O Paiz, 5 de abril de 1913, primeira coluna).
+ 
+Augusto Malta. Aristocléa e Aristógiton no velório de Arethusa, 31 de março de 1913 / Acervo MIS-RJ
+ 
+O prefeito Bento Ribeiro recriou o cargo de fotógrafo oficial da Prefeitura com todas as vantagens e Malta foi reconduzido à sua antiga posição (Catálogo da Série Negativo em Vidro).
+Bento Ribeiro determinou que Malta atendesse as requisições de trabalhos fotográficos feitas por Ataulpho Paiva, presidente da Comissão de Estatística dos Estabelecimentos e Instituições de Caridade e Assistência Públicas ou Privadas (Correio da Manhã, 22 de julho de 1913, segunda coluna).
+Foi criada em 28 de outubro de 1913, a Associação dos Photographos de Imprensa, provavelmente a primeira do gênero, no Brasil. Entre seus fundadores estavam Augusto Malta e Jorge Kfuri (1893 – 1965), autor das primeiras fotografias aéreas do Rio de Janeiro, produzidas em 1916. A fotografia abaixo, foi publicada na revista Fon-Fon, de 1º de novembro de 1913, e  está assinada por F. Garcia, o presidente da então recém criada associação.
+ 
+Fon-Fon, 1º de novembro de 1913
+ 
+Na ocasião, fotógrafos de jornais e revistas da então capital federal reuniram-se na casa 106, da Rua São José, criaram a associação e elegeram a seguinte diretoria, que regeria os destinos da entidade por um ano: na presidência, Francisco Garcia; na vice-presidência, Arthur do Carmo; Jayme Ramalho e Benjamin Vernaut, primeiro e segundo secretário, respectivamente; Carlos Chapelin, tesoureiro; e José Teixeira, procurador.
+O objetivo da Associação dos Photographos de Imprensa era a união da classe, a assistência em caso de caso de doença, etc (Revista Moderna, 25 de outubro de 1913; A Noite, 28 de outubro de 1913, última coluna; Correio da Manhã, 29 de outubro de 1913, quarta coluna; O Paiz, 29 de outubro de 1913; Fon-Fon, 1º de novembro de 1913).
+ 
+O Paiz, 29 de outubro de 1913
+ 
+1914 - Integrou um grupo que foi verificar a poluição da Baía de Guanabara. Fazia parte do trupo o médico Mendes Tavares (1873 – 1965) (O Paiz, 16 de março de 1914, quinta coluna).
+A filha de Malta, Callisthenes, que completava 14 anos, era fotógrafa e auxiliava o pai em sua oficina fotográfica (O Paiz, 26 de julho de 1914, terceira coluna).
+ 
+O Paiz, 26 de julho de 1914
+ 
+ 
+No Palácio da Guanabara, retratou o presidente da República, Wenceslau Brás (1868-1966) (Gazeta de Notícias, 14 de dezembro de 1914, última notícia da terceira coluna).
+
+1915 – Foi noticiado o aniversário da filha de Malta, Luthgardes (O Paiz, 5 de janeiro de 1915, terceira coluna).
+Declarou que não tinha mais nenhuma ligação com a então recentemente fundada revista A Escola, dirigida por Dionysio de Cerqueira e Damon José de Siqueira; e para a qual ele havia prestado serviços profissionais (A Rua, 23 de outubro de 1915, terceira coluna; O Paiz, 6 de novembro de 1915, penúltima coluna).
+1916 – Foi noticiado o aniversário da filha de Malta, Aristocléa (O Paiz, 21 de junho de 1916, quarta coluna).
+1917 – Malta, por ocasião do centenário da Revolução Pernambucana de 1817, ofereceu ao Instituto Histórico e Geográfico Brasileiro, uma ampliação com os retratos de José Luiz Mendonça e Domingos Martins, membros do governo provisório da Revolução Pernambucana  (A Faceira, 16 de março de 1917, última coluna).
+Durante toda a década de 1910, foi atuante no Centro Alagoano (O Paiz, 16 de setembro de 1917, quinta coluna).
+1918 – Apoiou a decisão do Centro Alagoano de não abrir um inquérito contra Goulart de Andrade (1881 – 1936) (Rio-Jornal, 9 de maio de 1918, segunda coluna).
+1919 – Assinou com outros membros do Centro Alagoano uma declaração de apoio à candidatura de Ruy Barbosa (1849 – 1923) à presidência da República (Jornal do Brasil, 24 de janeiro de 1919, quarta coluna).
+Em 20 de fevereiro, falecimento de Callisthene, filha de Malta. Seu apelido era Nem (Gazeta de Notícias, 21 de fevereiro de 1919, quarta coluna; O Paiz, 25 de fevereiro de 1919, quarta coluna; Fon-Fon, 15 de março de 1919, última coluna).
+Foi inaugurada a nova sede do Centro Alagoano, sob a direção de Augusto Malta, na rua São José nº 34 (Gazeta de Notícias, 9 de março de 1919).
+Com uma nota ilustrada com foto, foi noticiado o aniversário de Augusto Malta (Gazeta de Notícias 14 de maio de 1919).
+ 
+Gazeta de Notícias, 14 de maio de 1919
+ 
+Fez uma declaração em relação ao fechamento do Centro Alagoano devido a suposta realização de jogos proibidos. Segundo Malta, tesoureiro da associação, a polícia foi arbitrária (Rio-Jornal, 22 de junho de 1919, penúltima coluna; 24 de junho de 1919, primeira coluna).
+Conforme uma regulamentação realizada em julho, a Diretoria de Obras e Viação passa a contar com mais um fotógrafo (Decreto nº 1365 de 22 de julho de 1919, Catálogo da Série Negativo em Vidro).
+Seu filho, Uriel, então com nove anos, sofreu um acidente em casa e fraturou o braço e o antebraço direitos (Gazeta de Notícias, 19 de junho de 1920, sexta coluna; O Jornal, 19 de junho de 1920, terceira coluna).
+Foi encarregado pelo prefeito do Rio de Janeiro, Carlos Sampaio (1861 – 1930), de organizar uma completa coleção de vistas e panoramas do Rio de Janeiro que seriam colocadas no salão de leitura do  couraçado São Paulo, que trariam os reis da Bélgica -Alberto I (1875 – 1934) e a rainha Elisabeth (1876 – 1965) ao Brasil, entre 19 de setembro e 15 de outubro de 1920. Foi a primeira realizada por uma monarca europeu à América do Sul.
+Foi encarregado de fotografar e organizar um álbum da festa infantil que se realizaria na Quinta da Boa Vista em homenagem aos reis belgas. Por solicitação dos organizadores do álbum Bélgica-Brasil, forneceu vários clichês para o trabalho que seria oferecido ao rei belga (Jornal do Brasil, 28 de setembro de 1920, última coluna; O Paiz, 28 de setembro de 1920, última coluna).
+Foi o organizador do álbum de fotografias oferecido pelo Club de Engenharia aos reis belgas. Foi confeccionado pela Casa Heitor Ribeiro & C e continha 120 vistas da cidade do Rio de Janeiro e seus principais monumentos (Jornal do Brasil, 16 de outubro de 1920, penúltima coluna).
+Esteve presente à inauguração da Gruta da Imprensa (Correio da Manhã, 7 de dezembro de 1920, segunda coluna).
+Seu irmão, Espiridião Malta, negociante no estado do Amazonas, encontrava-se no Rio de Janeiro (Jornal do Brasil, 16 de dezembro de 1920, primeira coluna).
+1920 / 1921- Por suspeita de irregularidades, a Comissão da Caixa Mútua do Centro Alagoano requereu ao gerente os livros e mais papéis. Malta pediu demissão do cargo de tesoureiro. Durante a assembleia, realizada em 29 de agosto de 1920, do Centro Alagoano, foi proibida a entrada de Malta, ex-tesoureiro da associação, na sua sede e seu retrato foi retirado da galeria de beneméritos, por ordem do presidente da associação, Raymundo de Miranda. Malta foi processado pelo crime de injúrias impressas (Jornal do Commercio, 15 de maio de 1920, quinta coluna, 20 de agosto de 1920, penúltima coluna; 23 de março de 1921, oitava coluna; O Imparcial, 24 de agosto de 1920, quarta coluna; 1º de setembro, quarta coluna;  Razão, 30 de agosto de 1920, primeira coluna).
+1921 – Identificando-se como um apaixonado colecionador fotográfico da história retrospectiva do Rio de Janeiro, justificativa para de vez em quando meter o bedelho no assunto, enviou uma carta à redação de O Jornal fazendo alguns esclarecimentos acerca do arrasamento do Morro do Castelo (O Jornal, 8 de abril de 1921, quarta coluna).
+1922 - Pela primeira vez, devido ao acúmulo de trabalho ocasionado pela Exposição do Centenário da Independência, Malta contratou um ajudante – seu irmão, Teófilo.
+Esteve presente à exumação da urna que continha os despojos mortais do fundador do Rio de Janeiro, Estácio de Sá (1520 – 1567) (A Rua,16 de janeiro de 1922, última coluna).
+1924 – Recebeu o título de sócio da Associação Brasileira de Imprensa, ABI, na época, presidida por Raul Pederneiras (1874 – 1953) (O Paiz, 23 de fevereiro de 1924, terceira coluna). Entre os jornalistas, seu apelido era Pelanca. Outros       dois jornalistas também tinham esse apelido e o grupo era chamado Os três Pelancas.
+1925 – Quando prestava um serviço para a Sul América, uma explosão ocasionada pelo flash de sua máquina fotográfica dilacerou um de seus dedos. Malta foi operado e ficou internado no Hospital da Ordem Terceira da Penitência. Seu filho, Aristógiton, começou a auxiliá-lo na Prefeitura (O Paiz, 16 de julho de 1925, terceira coluna; Correio da Manhã, 16 de julho de 1925, terceira coluna).
+Segundo o artigo de Regina da Luz Moreira, Augusto Malta, dono da memória fotográfica do Rio, publicado no Portal Augusto Malta do Acervo Geral da Cidade do Rio de Janeiro, em termos técnicos, Malta manteve-se sempre fiel ao seu equipamento, só admitindo mudanças a partir do momento em que o filho Aristógiton passou a trabalhar com ele. Foram então introduzidas câmaras americanas e alemãs, as mais modernas então existentes. Mesmo assim, até praticamente os 90 anos continuou a fotografar com chapas de vidro, optando, no entanto, pelas de tamanho mais reduzido, como as de 13 cm por 18 cm.
+1926 – Fotografou a inauguração da estrada e Barra de Guaratiba (Jornal do Brasil, 10 de julho de 1926, penúltima coluna).
+A Secretaria de Agricultura e Obras Públicas autorizou um pagamento a Malta (Jornal do Commercio, 11 de agosto de 1926, quarta coluna).
+Foi noticiado o aniversário de Eglé, filha de Malta (A Noite, 20 de setembro de 1926, penúltima coluna).
+Foi noticiado o aniversário de Uriel, filho de Malta (A Noite, 28 de setembro de 1926, terceira coluna).
+1927 – A coluna “Registo”, do Jornal do Commercio, recebeu de Malta uma fotografia onde as moças retratadas apareciam sem cabeça. O tema da fotografia eram as pernas das jovens (Jornal do Commercio, 27 de janeiro de 1927, quinta coluna).
+Deu assistência a uma menor que foi atropelada na Rua General Câmara, onde residia (Correio da Manhã, 19 de março de 1927, quarta coluna).
+Sua filha, Amalthea, foi admitida non primeiro ano do Curso Completar anexo à Escola Profissional Rivadávia Correa (Jornal do Brasil, 21 de março de 1927, primeira coluna).
+1928 – Em 5 de fevereiro, falecimento da professora municipal Luttgardes, filha de Malta. Morava com seus pais na Rua General Câmara, 260 (Jornal do Commercio, 7 de fevereiro de 1928, penúltima coluna; 12 de fevereiro de 1928, penúltima coluna; O Imparcial, 7 de fevereiro de 1928, segunda coluna).
+Foi publicada uma fotografia produzida por Malta, com água pelos joelhos, de uma inundação na Rua do Senado, ocorrida em 21 de março de 1909 (Jornal do Brasil, 15 de abril de 1928).
+ 
+Jornal do Brasil, 15 de abril de 1928
+ 
+Augusto Malta reproduziu o exemplar nº 1 da mensagem que seria atirada sobre o navio Arcona, em que Santos Dumont (1873 – 1932) retornava ao Brasil. Trazia as assinaturas dos passageiros do hidroavião Santos Dumont, todos mortos em um desastre ocorrido diante dos olhos do homenageado, em 3 de dezembro. Malta reproduziu o documento tal como foi recolhido do mar. O Santos Dumont era conduzido pelo comandante alemão August Wilhem Paschen e transportava uma tripulação de nove passageiros composta por amigos de Santos Dumont e personalidades da época (Correio da Manhã, 4 de dezembro de 1928, quarta coluna).
+1929 – Publicação de uma fotografia de autoria de Malta do diplomata Joaquim Nabuco (1849 – 1910) e do conselheiro Antônio Prado (1840 – 1929) (Fon-Fon, 4 de maio de 1929).
+ 
+Fon-Fon, 4 de maio de 1929
+ 
+Alistou-se como sócio efetivo e contribuinte da Cruzada contra a Tuberculose (O Paiz, 12 de setembro de 1929, terceira coluna).
+Publicação de uma fotografia , de autoria de Malta, da Festa da Bandeira, realizada na Prefeitura do Rio de Janeiro (Fon-Fon, 30 de novembro de 1929).
+ 
+Fon-Fon, 30 de novembro de 1929
+ 
+1930 – Ao longo dessa década, suas fotos ilustraram artigos de Ulysses de Aguiar, um dos pseudônimos de Luiz Gastão d’ Escragnolle Dória (1869-1948), na Revista da Semana, e também de outros autores (Revista da Semana, 2 de fevereiro de 1935, 2 de março de 1935, 27 de julho de 1935, 22 de outubro de 1938).
+Em 13 de maio, foi inaugurada, na Associação Brasileira de Imprensa, sua primeira exposição individual de fotografias, “O Rio de Janeiro Antigo” .
+“Quando o doutor Pereira Passos tomou conta das rédeas da República, os caprichos do acaso – que sempre acompanham, aliás, os artistas predestinados a vencer – atiraram Augusto Malta e sua máquina fotográfica para o campo visual do remodelador do Rio colonial. Cargo este que até hoje Augusto Malta vem exercendo a contento e com elogiosas referências de todos os altos administradores que têm passado pelo palácio da Praça da República”.
+Trecho do artigo Tilburis, de Júlio de Azurem
+Jornal do Brasil, 31 de dezembro de 1930
+ 
+1931 – Todas as fotografias publicadas na reportagem A cidade e seus governadores na República…e o que se tem feito de Barata Ribeiro a Adolpho Bergamini, da edição de 20 de janeiro de 1931 do Jornal do Brasil eram de autoria de Malta (Jornal do Brasil, 21 de janeiro de 1931, sexta coluna).
+Publicação de uma foto de autoria de Malta com o escultor Rodolpho Bernardelli (1852 – 1931), falecido recentemente, em 7 de abril de 1931, modulando o busto do então prefeito do Rio de Janeiro, Pereira Passos (Jornal do Brasil, 10 de abril de 1931).
+ 
+Jornal do Brasil, 10 de abril de 1931
+ 
+N0 dia de seu 67º aniversário, publicação de uma pequena homenagem a Malta, chefe operoso do Gabinete Fotográfico da Prefeitura, mencionando seu arquivo raro e precioso sobre os aspectos do Rio Antigo (Jornal do Brasil, 14 de maio de 1931, terceira coluna).
+ 
+Jornal do Brasil, 14 de maio de 1931
+ 
+Publicação de uma fotografia da filha de Malta, Eglé, no dia de seu casamento com o engenheiro civil Ricardo Kossat ou Kossatz (Jornal do Brasil, 28 de janeiro de 1931, terceira coluna; Fon-Fon, 18 de julho de 1931).
+ 
+Fon-Fon, 18 de julho de 1931
+ 
+O prefeito colocou Malta à disposição do diretor da Instrução Pública (Correio da Manhã, 4 de novembro de 1931, última coluna).
+1932 –  Malta e João Montenegro Cordeiro (18? – 19?) foram nomeados fotógrafos e Aristógiton foi nomeado auxiliar de fotografia da Diretoria de Engenharia da Prefeitura (Jornal do Brasil, 3 de março de 1932, segunda coluna; Correio da Manhã, 3 de março de 1932, quinta coluna).
+Por volta deste ano, Malta deixou de prestar serviços para a Light.
+ 
+Augusto Malta. Rua São Gonçalo, c. 1932. Rio de Janeiro, RJ / Acervo Light
+ 
+Malta começou a organizar o arquivo histórico e fotográfico dos serviços executados. Começou então a fornecer ao Arquivo Público as fotografias relativas ao desenvolvimento da cidade ou de cerimônias realizadas.
+1933 – Publicação de imagens – do Convento da Ajuda, da Cinelândia, da Quinta da Boa Vista – todas do arquivo de Augusto Malta (Revista Municipal de Engenharia, janeiro de 1933; setembro de 1933).
+Publicação de uma fotografia das matas da Tijuca, de autoria de Malta (Revista Nacional de Educação, fevereiro de 1933).
+ 
+Matas da Tijuca por Malta / Revista Nacional de Educação, fevereiro de 1933
+ 
+1933 – Aristógiton Malta casou-se com Helena de Freitas Moitinho (1906 – 1975), no Rio de Janeiro. Tiveram seis filhos: Marcus Moitinho Malta (193? – 1977), Maryse Malta Muller (193? – ), Mauro Moitinho Malta (c. 1938 – ), Marcelo Moitinho Malta (1940 – 2020), Antonio Carlos Moitinho Malta (1947 – 1950) e Monica Moitinho Malta (1952 -?) (Site Family Search; A Noite, 31 de março de 1950, penúltima coluna; 6 de fevereiro de 1953, segunda coluna; 24 de março de 1955, segunda coluna). Seguia como auxiliar de fotografia da Diretoria de Engenharia Geral da Prefeitura do Rio de Janeiro, enquanto seu pai e João Montenegro Cordeiro eram os fotógrafos (Jornal do Brasil, 9 de novembro de 1933, terceira coluna).
+Marcus Moitinho Malta (193? – 1977), Maryse Malta Muller (193? – ), Mauro Moitinho Malta (c. 1938 – ), Marcelo Moitinho Malta (1940 – 2020), Antonio Carlos Moitinho Malta (1947 – 1950) e Monica Moitinho Malta (1952 -?) (Site Family Search; A Noite, 31 de março de 1950, penúltima coluna; 6 de fevereiro de 1953, segunda coluna; 24 de março de 1955, segunda coluna) .
+1934 – Publicação de imagens do Túnel Velho, atual Túnel Alaor Prata, do arquivo de Augusto Malta (Revista Municipal de Engenharia, março de 1934).
+Falecimento de Aristocléa, filha de Malta. Seu apelido era Pequenina (Jornal do Brasil, 1º de abril de 1934, primeira coluna).
+No artigo Viaturas Cariocas, escrito por Escragnolle Dória (1869 – 1948) sobre o novo livro do historiador Noronha Santos (1876–1954), Meios de Transportes no Rio de Janeiro, a contribuição das fotografias de Malta para a obra foi mencionada (Revista da Semana, 16 de junho de 1934, primeira coluna).
+1935 – Em uma reportagem sobre a ampliação do Museu Histórico da Cidade e possível instalação, no Casino Beira- Mar, o ateliê de Malta é citado pelo entrevistado, Ariosto Berna (18? – 1988) , zelador da referida instituição, como um lugar onde podia-se reavivar todos os seus aspectos antigos (do Rio de Janeiro) desde os magníficos desenhos de Debret até a última fotografia atual (Diario da Noite, 12 de junho de 1935, penúltima coluna).
+Na coluna “O Rio de Janeiro do meu Tempo”, do jornalista e poeta Luiz Edmundo (1878 – 1961), publicação de uma fotografia do Hotel Locomotora, de autoria de Malta (Correio da Manhã, 30 de junho de 1935).
+ 
+Correio da Manhã, 30 de junho de 1935
+ 
+Na coluna “O Rio desaparecido”, escrita por Ulysses de Aguiar, publicação da foto da menor casa térrea do centro urbano do Rio de Janeiro – que ficava na Visconde do Rio Branco entre as ruas do Lavradio e Gomes Freire -, do Beco do Fisco – entre as ruas Buenos Aires e Rosário -, da chácara 92 da Rua dos Inválidos ; todas de autoria de Malta. Na coluna “Terra carioca”, também de Ulysses de Aguiar, publicação de uma footgrafia da Rua de Santa Luiza, de autoria de Malta (Revista da Semana, 2 de fevereiro de 1935, 2 de março de 1935; 22 de junho de 1935, 27 de julho de 1935
+ 
+Menor casa térrea do centro urbano do Rio de Janeiro por Augusto Malta / Revista da Semana, 2 de fevereiro de 1935
+ 
+Beco do Fisco por Augusto Malta / Revista da Semana, 2 de março de 1935
+ 
+Rua de Santa Luzia vendo-se a entrada do Panorama do Descobrimento por Victor Meirelles por Augusto Malta / Revista da Semana, 22 de junho de 1935
+ 
+Chácara no número 92 na Rua dos Inválidos / Revista da Semana, 27 de julho de 1935
+ 
+1936 – Residia com a família na Rua Sergipe, no Maracanã.
+Malta deu uma entrevista sobre a extinção dos quiosques no Rio de Janeiro (Correio da Manhã, 10 de janeiro de 1936). Uma semana depois, um leitor contestou a entrevista (Correio da Manhã, 17 de janeiro de 1936, na última coluna, sob o título Os velhos kiosques do Rio de Janeiro).
+ 
+Correio da Manhã, 10 de janeiro de 1936
+ 
+Integrou a comitiva do Centro Carioca que foi examinar as obras da estrada Cristo Redentor (Correio da Manhã, 14 de janeiro de 1936, penúltima coluna).
+Foi concedida a ele, pela Associação Brasileira de Imprensa, a carteira de jornalista profissional pela Illustração Brasileira (Diário Carioca, 4 de abril de 1936, última coluna).
+O jornal O Globo de 1° de agosto, publicou uma matéria sobre a elegância de Malta e comentou o fato dele ter lançado a moda dos óculos de aro de tartaruga. Comentou, também, que ele sempre usava um panamá de fita preta. Sempre sem colete, ao pescoço esvoaçava e ainda esvoaça como borboleta uma gravata de laço preto.
+
+ 
+O GLOBO, 1º de agosto de 1936
+ 
+Em 25 de agosto, Augusto Malta aposentou-se da Prefeitura nos termos estabelecidos pelo decreto n 1851 de 23/10/1917 e da lei nº 196 de 18/01/1917. Foi substituído por seu filho, Aristógiton, a partir de 9 de setembro do mesmo ano. Posteriormente, seu outro filho, Uriel, passou a trabalhar com o irmão.
+Augusto Malta continuou a trabalhar como fotógrafo.
+Foi um dos colaboradores da homenagem que o Diario de Notícias e A Nação publicaram na ocasião do centenário do ex-prefeito Pereira Passos (Diario de Notícias, 29 de agosto de 1936; A Nação, 30 de agosto de 1936, primeira coluna).
+ 
+Pereira Passos por Augusto Malta / Diario da Noite, 29 de agosto de 1936
+ 
+Com a publicação de uma foto de Malta, o suplemento do jornal A Noite agradeceu a Malta por ter facilitado singularmente o trabalho de reminiscência fotográfica da remodelação da cidade em uma matéria publicada pelo periódico na ocasião do centenário de Pereira Passos (A Noite, 1º de setembro de 1936).
+ 
+A Noite, 1º de setembro de 1936
+ 
+As gravuras reproduzindo aspectos do Rio Antigo publicadas na edição da Revista da Semana, 29 de agosto de 1936 eram de autoria de Malta, Marc Ferrez (1843 – 1923) e Sabino Horta e pertenciam ao arquivo de Luiz Edmundo .
+Também dentro das homenagens ao centenário de Pereira Passos, foi entrevistado para o artigo O depoimento de um auxiliar imediato de Passos, publicado no Jornal do Brasil de 29 de agosto de 1936 (Jornal do Brasil, 29 de agosto de 1936, sexta coluna).
+Fotografou, em 7 de agosto, uma ponte de pedra em arco sobre o Rio Cachoeira, construída por Pereira Passos quando ainda era estudante de Engenharia (Jornal do Commercio, 29 de agosto de 1936, última coluna).
+Malta foi um dos homenageados por serviços prestados ao Centro Alagoano, na ocasião da comemoração do 119º aniversário da emancipação de Alagoas e do 49º aniversário da associação (A Offensiva, 16 de setembro de 1936, na última coluna, sob o título “Emancipação política do Estado de Alagoas”; Jornal do Brasil, 16 de setembro de 1936, quarta coluna).
+Havia sido furtado e pedia, na seção de “Achados e Perdidos”, a devolução de diversos documentos, dentre eles sua carteira de membro da ABI e seu título eleitoral. Alguns foram devolvidos , mas seu relógio e o dinheiro roubado, não. (Jornal do Brasil, 31 de outubro de 1936, segunda coluna; 6 de novembro de 1936, última coluna).
+Foi noticiado pelo Diario Carioca que a foto de autoria de Malta do registro dos batizados da Igreja do Santíssimo Sacramento onde constava o batizado de Quintino Bocaiuva (1836 – 1912) teria sido publicada em O GLOBO, de 20 de agosto de 1932. Uma notícia do Correio da Manhã, de 1966, relatava que a data de publicação havia sido 20 de agosto de 1933. A foto não consta em nenhum dos dois exemplares do acervo de O GLOBO das referidas datas. De qualquer forma, não havia mais dúvida, Bocaiuva era carioca (Diario Carioca, 1º de dezembro de 1936, quarta coluna; Correio da Manhã, 21 de agosto de 1966, quinta coluna).
+Após sua aposentadoria, foi morar na Rua Campo D´Areia, 132, em Jacarepaguá, em uma casa comprada por sua filha Amalthea em sociedade com Hilda de Abreu  (1908 – 1976), futura esposa de Uriel.
+1937 - Seu filho, Uriel, passou a trabalhar no Serviço de Fotografia da Prefeitura do Rio de Janeiro (Jornal do Brasil, 12 de março de 1937, primeira coluna).
+Participou, como escrutinador, das eleições da Associação Brasileira de Imprensa (Correio da Manhã, 4 de maio de 1937, na terceira coluna).
+Fazia parte da comissão do Centro Carioca que visitou a Estrada Velha da Pavuna (Diario Carioca, 25 de maio de 1937, primeira coluna).
+No dia da inauguração da Escola Evaristo da Veiga, um retrato de sua autoria do patrono do estabelecimento também foi inaugurado. Foi oferecido à escola pelo Centro Carioca (Jornal do Brasil, 9 de outubro de 1937, segunda coluna).
+1938 – Foi publicada a reportagem O Barão, de costas, numa fotografia inédita e sensacional, guardada há vinte e seis anos! sobre Malta e seu arquivo fotográfico. Malta é identificado como um fotógrafo modesto, que seria a história colorida, palpitante da cidade. Ele comentou ter produzido a foto do Barão de Rio Branco (1845 – 1912) de costas por sugestão do escultor Rodolfo Bernardelli. Também referiu-se à fotografia de um castiçal, que tronou-se famoso por ter sido citado pelo jurista e escritor Rodrigo Otávio (1866–1944) na obra Minha memória dos outros, série de livros publicados entre 1934 e 1936 (Diario da Noite, 13 de janeiro de 1938).
+ 
+O Barão do Rio Branco de costas por Augusto Malta / Diario da Noite, 13 de janeiro de 1938
+ 
+Castiçal do Barão do Rio Branco por Augusto Malta / Diario da Noite, 13 de janeiro de 1938
+ 
+Várias fotografias de autoria de Malta foram publicadas na matéria O Jardim do Campo de Sant´Anna (Revista da Semana, 15 de janeiro de 1938).
+Publicação de uma fotografia produzida por Malta, em 1907, de uma vista parcial da avenida do Mangue (Diario da Noite, 18 de fevereiro de 1938, segunda coluna).
+ 
+Diario da Noite, 18 de fevereiro de 1938
+ 
+O jornal Diario da Noite sugeriu que a Prefeitura adquirisse o arquivo fotográfico de Malta (Diario da Noite, 2 de março de 1938, na última coluna, sob o título “Uma suggestão do Diario de Noite”).
+A ABI expediu a carteira de jornalista de Malta (Jornal do Commercio, 28 de abril de 1938, última coluna).
+Tornou-se sócio honorário do Centro Carioca (O Imparcial, 29 de junho de 1938, sob o título “A grande Assembleia Geral do Centro Carioca”).
+Foi lançado o livro O Rio de Janeiro de meu tempo, de Luiz Edmundo, ilustrado com fotos de diversos fotógrafos, dentre eles, Malta (Jornal do Brasil, 10 de agosto de 1938, última coluna; O Jornal, de 28 de agosto de 1938).
+ 
+Jornal do Commercio, 29 de agosto de 1938
+ 
+Na coluna “O Rio desaparecido”, de Ulysses de Aguiar, publicação de uma fotografia do Rio das Cabloclas, de autoria de Malta (Revista da Semana, 22 de outubro de 1938).
+ 
+ 
+O Rio das Caboclas por Augusto Malta / Revista da Semana, 22 de outubro de 1938
+ 
+O presidente da República, Getúlio Vargas (1882 – 1954), visitou a “Feira de Amostras”,  uma exposição de diversas secretarias da Prefeitura do Rio de Janeiro. Um dos stands de maior sucesso foi o da Secretaria de Viação, Trabalho e Obras Públicas, que expôs fotos de Augusto Malta e de seu filho, Aristógiton (A Noite, 31 de outubro de 1938, sob o título “A evolução do Rio através da fotografia”).
+ 
+Correio da Manhã, 31 de outubro de 1938
+ 
+1939 – Foi preso sob a alegação de que vendia fotografias sem ter licença, quando estava apenas mostrando algumas de seus registros da Imprensa Nacional a um amigo. O delegado o reconheceu e o soltou (Jornal do Brasil, 15 de janeiro de 1939, sexta coluna; 17 de janeiro de 1939, sexta coluna).
+Foi noticiado que na ocasião da inauguração da Casa do Jornalista haveria uma exposição de fotografias do Rio Antigo de autoria de Malta (Jornal do Brasil, 16 de março de 1939, terceira coluna).
+NO Centro Carioca, seria inaugurada, em 17 de junho, uma fotografia de autoria de Malta de um almoço em que Pereira Passos e Machado de Assis estiveram presentes, oferecido pelo delegado da Uribe y Uribe (Jornal do Commercio, 13 de junho de 1939, penúltima coluna).
+O Diário da Noite publicou uma fotografia de autoria de Malta, de 1907, em que o escritor Machado de Assis foi retratado tendo uma síncope e sendo socorrido por populares no Cais Pharoux (Diário da Noite, 21 de junho de 1939).
+ 
+Machado de Assis sendo socorrido por populares, no Cais Pharoux, em 1907,  por Augusto Malta / Diário da Noite, 21 de junho de 1939
+ 
+1940 – Foi morar em Niterói e anunciou a venda de alguns de seus quadros (Correio da Manhã, 8 de fevereiro de 1940, na primeira coluna, sob o título “Photographias do Rio Antigo”).
+Em 16 de setembro de 1940, na comemoração do 123º aniversário da emancipação de Alagoas, no Centro Alagoano, que completava 44 anos de existência, oretrato de Malta foi reposto na galeria dos sócios beneméritos. Havia sido retirado em pelo ntão presidente da associação, Raymundo de Miranda, em 1920 (Gazeta de Alagoas, 3 de outubro de 1940, última coluna).
+Prestou solidariedade  à atitude de Wladimir Bernardes (18? – 19?), diretor da Gazeta de Notícias,  em relação à ultrajante atitute inglesa em relação contra a soberania do Brasil (Gazeta de Notícias, 12 de dezembro de 1940, quinta coluna).
+1941 – Vendeu para a Biblioteca Nacional 280 fotos distribuídas em vários álbuns.
+Seu nome estava inscrito no Livro de Ouro dos Amigos da Biblioteca da Casa do Jornalista (A Manhã, 26 de agosto de 1941, primeira coluna).
+Na coluna assinada por Roberto Macedo, intitulada “Notas Históricas – A Primeira Posse Republicana”,  no Correio da Manhã, Augusto Malta foi citado como um dos signatários do termo de juramento lido na Câmara Municipal do Rio de Janeiro, em 16 de novembro de 1889, dando posse ao governo provisório republicano (Correio da Manhã, 24 de outubro de 1941, sétima coluna).
+Falecimento de Eglé, filha de Malta, em novembro de 1941, devido à falta de um medicamento do qual necessitava (Jornal do Commercio, 23 de novembro de 1941, última coluna).
+1942 – Vendeu fotografias para o Museu Paulista.
+Em 6 de junho, sua fiha Amalthea, que já havia trabalhado como retocadora de fotografias, casou-se com Dante Carlini (1915 – ?)
+Foi a uma missa de Ação de Graças pelo restabelecimento da saúde do presidente do Brasil, Getúlio Vargas (1882-1954), realizada na igreja Nossa Senhora da Glória do Outeiro (O Jornal,  27  de agosto de 1942).
+Sofreu uma intervenção cirúrgica no Hospital da Ordem Terceira de São Francisco (O Jornal, 26 de setembro de 1942, na seção “Notas Mundanas”; Jornal do Commercio, 26 de setembro de 1941, penúltima coluna).
+1943 – Em reportagem sobre o Barão do Rio Branco (1845 – 1912), foram publicadas várias fotos de autoria de Augusto Malta (Illustração Brasileira, outubro de 1943).
+Na matéria Incêndios no Rio, de Escragnolle Dória, publicação de uma fotografia, de autoria de Malta, do antigo Hospital São Francisco de Paula (Revista da Semana, 31 de julho de 1943).
+ 
+Antigo Hospital São Francisco de Paula, por Malta / Revista da Semana, 31 de julho de 1943
+ 
+Publicação de uma reportagem sobre a vida de Malta. Nela é mencionado que ele havia fotografado Getúlio Vargas na inauguração do último trecho da Avenida Presidente Vargas, ocorrida em 10 de novembro de 1943. Também pronunciou-se a favor  a iniciativa de presentear-se os condutores de bondes no Natal (Gazeta de Notícias, 24 de novembro de 1943, primeira coluna).
+1944 – Malta foi roubado por uma ladra na barca entre o Rio de Janeiro e Niterói (Correio da Manhã, 10 de fevereiro de 1944, na seção “O Dia Policial”).
+Uriel Malta casou-se com Hilda de Abreu Malta, em 15 de abril de 1944, no Rio de Janeiro. Tiveram pelo menos três filhos: Claudius Vinicius de Abreu Malta (1945-2010), Lelia Sandra de Abreu Malta (19?-?) e Lelia Egle de Abreu Malta (19?-?) (Registro Civil do Rio de Janeiro, Site Family Search; O Fluminense, 13 de agosto de 1960, segunda coluna; O Fluminense, 17 de agosto de 1960, segunda coluna).
+Na coluna “Curiosidades Cariocas”, publicação de uma fotografia de Malta da saída da última missa celebrada na Igreja de São Sebastião, no Morro do Castelo (Revista da Semana, 2 de setembro de 1944).
+ 
+Saída da última missa celebrada na Igreja de São Sebastião, no Morro do Castelo, por Malta, 1º de novembro de 1921 / Revista da Semana, 2 de setembro de 1944
+ 
+Estava presente na conferência do ministro Bernardino José de Souza sobre O Carro de bois nos grandes fatos da História Nacional, em 21 de junho de 1944, realizada no Instituto Histórico e Geográfico Brasileiro (Revista do Instituto Histórico e Geográfico Brasileiro, outubro – dezembro, 1944).
+Na edição de natal da Revista da Semana, de 16 de dezembro de 1944, Malta foi descrito como um nortista tipo perfeito da classificação conhecida: braquicéfalo, altura mediana, maxilares salientes, olhos amendoados como os de um mongol. Na verdade, visto de perfil, parece-se com um soldado de Chiang-Kai-Chek, que tivesse abandonado a farda… Há cinquenta anos usa uma gravata borboleta, dessas preferidas pelos pintores e poetas do século passado. Nesta reportagem, realizada por Raymundo de Athayde, Malta fala muito de sua vida, desde que saiu de Alagoas.
+1945 – Malta foi comparado a Marc Ferrez (Boletim da Sociedade de Geographia do Rio de Janeiro, 1945): A documentação fotográfica e de gravuras era, como se vê, abundante e valiosa, oriunda de desenhos de Rugendas e outros, e de fotografias de Marc Ferrez, que desempenhou no Império a função que mais tarde seria, no Rio, exercida por Augusto Malta, fotógrafo da Prefeitura: de documentador pela imagem dos principais acontecimentos de seu tempo”. 
+No Jornal do Brasil, de 11 de fevereiro de 1945, Malta é comparado a José de Alencar, no artigo A velha e nobre Tijuca, de Everardo Backheuser (1879 – 1951): “José de Alencar em Sonhos d´Ouro foi para a Tijuca das cercanias da Guerra do Paraguai o que Augusto Malta representa para o Rio de Janeiro do tempo de Pereira Passos. Cada qual ao seu modo gravou de maneira indelével as recordações do “quadro geográfico” da respectiva era. Graças a Malta, eu e outros temos podido documentar asserções sobre a geografia carioca do princípio do século. José de Alencar vai me servir para ilustrar com exemplos fatos da geografia da Tijuca daqueles afastados tempos”.
+1946 - No artigo Urbanização com cordões apertados, de Everardo Backheuser, publicação de três fotografias de autoria de Malta: do alargamento das ruas Uruguaiana e 13 de maio; e da Igreja São Joaquim, demolida para ligar as ruas Marechal Floriano à Visconde de Inhaúma. No artigo O istmo da Praia Vermelha, do mesmo autor, de novo, publicação de fotografias de Malta: do isto mencionado e de uma vista da Praia de Botafogo (Jornal do Brasil, 6 de janeiro de 1946; 24 de março de 1946).
+Falecimento do irmão de Malta, Joaquim Populo de Campos, diretor aposentado da Secretaria da Fazenda e da produção. São mencionados os outros irmãos dele: Espiridião, o industrial e farmacêutico Fernando, o fotógrafo Teófilo, Engracia Malta de Sá, Julieta Malta de Campos e Maria Malta de Campos Silva. (Jornal do Commercio, 17 de agosto de 1946, segunda coluna).
+Foi noticiado que Augusto Malta teve sua carteira roubada em um bonde no Rio de Janeiro (O Fluminense, 21 de agosto de 1946, sob o título “Cuidado com os batedores de carteiras”).
+1947 - Em seu aniversário, foi homenageado pelos jornalistas credenciados junto ao gabinete do prefeito (A Noite, 14 de maio de 1947, na coluna “Sociedade”).
+1948 – Publicação da reportagem Centenário de Rodrigues Alves, com texto de Raymundo Athayde e fotos de Augusto Malta (O Cruzeiro, 17 de julho de 1948).
+Publicação da reportagem Biografia da cidade – Largo da Carioca, com texto de Raymundo Athayde e fotos de Augusto Malta e Ângelo Regato (O Cruzeiro, 16 de outubro de 1948).
+1949 – Publicação da reportagem Centenário de Joaquim Nabuco, com texto de Raymundo Athayde e fotos de Augusto Malta, identificado como o fotógrafo mais antigo do Brasil (O Cruzeiro, 20 de agosto de 1949).
+Publicação da reportagem Rui na intimidade, com texto de Raymundo Athayde e fotos de Augusto Malta e Aristógiton Malta (O Cruzeiro, 12 de novembro de 1949).
+1950 – Foi internado na Ordem Terceira da Penitência (A Manhã, 19 de janeiro de 1950, na seção “Mundo Social”).
+Publicação da reportagem Banho de mar – 1915, com texto de Raymundo Athayde e fotos de Augusto Malta (O Cruzeiro, 22 de abril de 1950).
+Por ocasião de seu aniversário, foi saudado como o mais velho repórter fotógrafo do Brasil (A Manhã, 13 de maio de 1950, na seção “Mundo Social“).
+Na edição de O Cruzeiro, de 9 de setembro de 1950, foi publicada a matéria Biografia da cidade – Do Convento da Ajuda às luzes da Cinelândia , com texto de Raymundo Athayde e fotos de Augusto Malta e Luciano Carneiro. Contava a história da Cinelândia e as  fotos antigas que ilustraram a reportagem foram produzidas por Malta, em 1911. São do Convento da Ajuda, de sua demolição e do terreno que ocupava, após a demolição; e do edifício do antigo Conselho Municipal. As fotografias abaixo, do acervo da Biblioteca Nacional, estavam entre as que foram publicadas na reportagem.
+ 
+Augusto Malta. , Convento da Ajuda demolido em 1911. Rio de Janeiro, RJ / Acervo FBN
+ 
+ 
+Augusto Malta. Convento da Ajuda : face dos côros das freiras e das servas de onde ouviam missa, 1911. Rio de Janeiro, RJ / Acervo FBN
+ 
+1951 – Publicação da reportagem Biografia da Cidade – O Flamengo e suas ressacas, com texto de Raymundo Austregésilo de Athayde e fotos de Augusto Malta (O Cruzeiro, 12 de maio de 1951).
+1952 – Ao longo desse ano, a coluna “Pequenas Reportagens – Transformações da Cidade”, do jornal Correio da Manhã, foi ilustrada com fotos de Malta. são fotos do Largo de São Francisco, em 1903; da Praia de Copacabana, em 1910; do Largo da Glória, em 1905; do Largo da Lapa e da Rua do Passeio, em 1906 (Correio da Manhã, 1º de junho de 1952, 8 de junho de 1952, 10 de junho de 1952, 22 de junho de 1952, .
+Também a partir desse ano até 1955, a coluna “Rio Antigo”, de Charles Julius Dunlop, no mesmo jornal, foi, muitas vezes, ilustrada por fotos de Malta. São fotos da Praia de Copacabana, em 1919; da Ponta do Calabouço, em 1907 ; do alargamento da Rua da Carioca, em 1905; da antiga rua estreita de São Joaquim, em torno de 1902. Dunlop e Malta haviam se conhecido na época em que Malta prestava serviços para a Light, empresa na qual Dunlop começou a trabalhar na década de 20 (Correio da Manhã, 30 de maio de 1952, 6 de junho de 1952, 8 de agosto de 1952, 26 de setembro de 1952).
+Também na década de 1950, recebia muitas visitas de compradores de suas fotografias e um dos mais constantes era o colunista Arthur Faveret (? – 1968), que fazia diversas encomendas de vistas da cidade. Como laboratorista, Uriel  ajudava o pai, produzindo as cópias solicitadas.
+Em entrevista para a Tribuna da Imprensa, declarou: Não acredito em outros mundos. A gente só morre uma vez e eu pretendo chegar aos 120 anos. O motivo de ter fixado esta data não o sei . Seguia morando em Niterói e tomava banhos de mar diariamente. Algumas de suas fotos foram publicadas no Suplemento da Cidade do jornal. Também foi comentado o extenso arquivo de fotos de Malta (Tribuna da Imprensa, 27 e 28 de dezembro de 1952, quarta coluna e penúltima coluna).
+ 
+Tribuna da Imprensa, 27 e 28 de dezembro de 1952
+ 
+1953 – Na coluna “Rio Antigo”, de Charles Julius Dunlop, no Correio da Manhã, publicação de fotos de autoria de Malta: da Lagoa Rodrigo de Freitas, no início do século XX; de um desastre de automóvel, em 1907; do lançamento da pedra fundamental do monumento em homenagem ao prefeito Pereira Passos, em 1906; de uma gravura da antiga fábrica de gás; do campo do Fluminense, em 1906; da fábrica de gás em São Cristóvão; do “Templo inglês” na Rua Evaristo da Veiga;  do desabamento do edifício do Club de Engenharia, em 1906; do primeiro número do Jornal do Commercio; da parada de 24 de maio de 1906; de um quadro do incêndio do Recolhimento do Parto, ocorrido em 1789; da ascensão do balão Portugal, em maio de 1905; do Convento da Ajuda, em 1905; e de um grupo de telefonistas, em 1915 (Correio da Manhã, 1º de janeiro de 1953; 13 de março de 1953, 2 de abril de 1953, 15 de maio de 1953, 12 de junho de 1953; 19 de junho de 1953; 24 de julho de 1953, 31 de julho de 1953, 1º de outubro de 1853, 16 de outubro de 1953, 23 de outubro de 1953, 13 de novembro de 1953, 27 de novembro de 1953, 4 de dezembro de 1953).
+ 
+Augusto Malta, em Niterói, 1953 / Acervo MIS-RJ
+ 
+Foi publicada uma fotografia dos arquivos de Augusto Malta sobre os banhos a fantasia do carnaval carioca na matéria Carnaval através dos tempos (Diário da Noite, 14 de fevereiro de 1953).
+Para ilustrar uma matéria sobre Ipanema, foi publicada uma foto do bairro, produzida por Malta, em 1907 (Diário de Notícias, 27 de março de 1953).
+Foi publicado o artigo O Jubileu do Bota Abaixo, sobre a radical reforma urbana promovida pelo prefeito Pereira Passos no Rio de Janeiro, de autoria do acadêmico Pedro Calmon (1902 – 1985), com fotos de Augusto Malta (Revista da Semana, 8 de agosto de 1953).
+Segundo um artigo na coluna “Registro”, do Jornal do Commercio, o principal alimento de Malta nortista que nunca foi gordo e que agora está ainda mais seco… tem sido o entusiasmo pela fotografia do Rio de Janeiro – panoramas, ruas de gente  (Jornal do Commercio, 30 de agosto de 1953, terceira coluna).
+Como parte das comemorações da Quinzena do Jornalismo, foi um dos 35 decanos da imprensa premiados pelo Sindicato dos Jornalistas com o diploma de honra (Diário Carioca, 21 de novembro de 1953, sob o título “Jornalistas Veteranos”; Diário de Notícias, 21 de novembro de 1953, primeira coluna; Boletim da Associação Brasileira de Imprensa, novembro de 1953, última coluna; Manchete, 28 de novembro de 1953).
+1954 - Devido ao aniversário de 90 anos de Malta, publicação de um pequeno perfil dele (O Jornal, 13 de maio de 1954, penúltima coluna).
+Na coluna “Rio Antigo”, de Charles Julius Dunlop, no Correio da Manhã, publicação de fotos de autoria de Malta: do Aquário do Passeio Público, em 1906;  da Caixa de Amortização, em 1907;  da Avenida Beira-Mar, em 1906; dos folguedos de São João, típicos da cidade de Braga, realizados no Campo de Santana, no Rio de Janeiro, em junho de 1910, por iniciativa de comerciantes portugueses e patrocinados pela ABI; do Arquivo Nacional; da residência, na esquina da Praça da República com a Rua Frei Caneca, que havia sido de Paulo Fernandes Viana (? – 18?), intendente da Polícia na época de dom João VI (1767 – 1826) no Brasil. c. 1905; do Campo de São Cristóvão, em 1906; do Palácio Monroe; da grande ressaca na Praia do Flamengo, em 1913; do Bonde Caradura, em 1907; domprédio histórico,na esquina na rua Visconde do Rio Branco com rua Regente Feijó, antiga Rua Tobias Barreto, pouco antes de ser demolido; do Teatro Recreio, em 1906; do Largo da Mãe do Bispo, no início do século XX; e de Paquetá, em torno de 1904 (Correio da Manhã, 2 de julho de 1954, 30 de julho de 1954, 6 de agosto de 1954, 13 de agosto de 1954, 27 de agosto de 1954, 3 de setembro de 1954, 10 de setembro de 1954, 24 de setembro de 1954, 1º de outubro de 1954, 8 de outubro de 1954, 15 de outubro de 1954, 22 de outubro de 1954, 26 de novembro de 1954, e 17 de dezembro de 1954)
+Aristógiton Malta faleceu em 15 de agosto de 1954, no Hospital de Servidores da Prefeitura, no Rio de Janeiro. Foi enterrado no Cemitério da Ordem do Carmo (A Noite, 16 de agosto de 1954, terceira coluna; Diário de Notícias, 17 de agosto de 1954, sexta coluna).
+ 
+A Noite, 16 de agosto de 1954
+ 
+A Noite, 17 de agosto de 1954
+ 
+1955 - Na coluna “Rio Antigo”, de Charles Julius Dunlop, no Correio da Manhã, publicação de fotos de autoria de Malta: da Escola Municipal de São Sebastião, demolida em 1938; da Ilha de Paquetá; do portão do forte levantado no alto do Morro da Viúva, na época da Questão Christie, na década de 1860; do antigo Cais e Largo do Valongo; da construção do Teatro Municipal,  em 1907;  (Correio da Manhã, 7 de janeiro de 1955, 21 de janeiro de 1955, 18 de março de 1955, 25 de março de 1955; 15 de abril de 1855,
+Publicação de uma fotografia de autoria de Malta na matéria Um século de enchentes – Enquanto “dormem” nas gavetas os projetos par a solução do problema (Correio da Manhã, 6 de março de 1955).
+Na matéria O Rio da Velha Guarda, foi publicada uma foto de jornaleiros em torno de um quiosque, de autoria de Augusto Malta e também da inauguração da Escola Tiradentes com a presença do então Pereira Passos e do presidente, Rodrigues Alves (1848 – 1919) (Diário da Noite, 8 de março de 1955, primeira coluna e sexta coluna).
+Foram publicadas pelo Diário de Notícias fotos antigas de Ipanema,  Copacabana, do Lido e do Leblon, também de autoria de Malta (Diário de Notícias, 27 e 28 de março de 1955, 3 de abril de 1955, 15 de maio de 1955, 22 de maio de 1955, 19 de junho de 1955).
+No artigo Ipanema de ontem e de amanhã, escrita por Almir de Andrade, foi publicada uma foto de Ipanema de autoria de Malta (Diário de Notícias, 1º de maio de 1955).
+Publicação de uma foto de autoria de Malta do ex-futuro Hospital de Clínicas (Diário de Notícias, 8 de maio de 1955).
+Anúncio e reportagem sobre o lançamento do livro Rio Antigo, do pesquisador Charles Dunlop. Publicado pela Editora Gráfica Laemmert Ltda, conta a história do Rio com fotos de Malta, Marc Ferrez, George Leuzinger (1813 – 1892) e E.A. Mortimer (18? – 19?). Em O Jornal, publicação de um artigo do jornalista Brasil Gerson (1904 – 1981) sobre o livro (Correio da Manhã, 15 de julho de 1855, primeira coluna; Jornal do Brasil, 21 de agosto de 1955, primeira coluna; O Jornal, 21 de agosto de 1955, penúltima coluna; Revista da Semana, 5 de novembro de 1955).
+1956 – Na Revista do Instituto Histórico e Geográfico Brasileiro do último trimestre de 1956, publicação do artigo Um panorama do Rio de Janeiro em 1775, de autoria de Gilberto Ferrez (1908 – 2000). Para mostrar detalhes mais recentes da cidade, é ilustrado com fotografias de Marc Ferrez e de Augusto Malta, cujas imagens são do velho quartel do Moura, do Convento e da Igreja de Santo Antônio e da Ordem Terceira de São Francisco da Penitência (Revista do Instituto Histórico e Geográfico Brasileiro, outubro-dezembro de 1956; Correio da Manhã, 4 de abril de 1957, segunda coluna).
+Publicação de uma fotografia do Leblon, de autoria de Malta, tirada da Ponta do Vidigal…ali era o Campo do Leblon (Tribuna da Imprensa, 20 de abril de 1956).
+1957 – Foi lançado o segundo fascículo da publicação Rio Antigo, do pesquisador Charles Dunlop, com ilustrações do italiano Ângelo Agostini (1843 – 1910), reproduzidas da Revista Illustrada, e com fotos de Malta, Marc Ferrez, George Leuzinger (1813 – 1892)  e E.A. Mortimer (18? – 19?) (Correio da Manhã, 8 de fevereiro de 1957; Diário de Notícias, 4 de março de 1957, última coluna; Careta, 4 de maio de 1957, sob o título “Documentário Militar no Rio Antigo”).
+ 
+O GLOBO, 18 de janeiro de 1957
+ 
+Foi publicada uma reportagem sobre o arquivo de fotografias de Augusto Malta, na coluna “Letras Vivas”. Revelou seu desejo de realizar uma grande exposição geral de suas obras, bem bonita, preparada a rigor (Diário da Noite, 30 de março de 1957, sexta coluna).
+Em 30 de junho, morte de Augusto Malta, por problemas cardíacos, no Hospital da Ordem Terceira da Penitência, devido a uma insuficiência cardíaca. Foi sepultado no dia seguinte, no Cemitério do Caju. Residia na Rua Pereira Nunes, em Niterói, bem próximo à Praia das Flechas. Apesar deter sempre se declarado ateu, foi enterrado com as vestes de irmão da Ordem Terceira da Penitência, entidade para a qual sempre contribuiu. Quando faleceu, só tinha três filhos vivos: o fotógrafo Uriel, Amalthea e Dirce (A Noite, 1º de julho de 1957, primeira coluna; Diário da Noite, 1º de julho de 1957, primeira coluna; Correio da Manhã, 2 de julho de 1957, na seção “Prefeitura”; Correio da Manhã, 2 de julho de 1957, sexta coluna; Diário de Notícias, 2 de julho de 1957, terceira coluna; Jornal do Commercio, 2 de julho de 1957, primeira coluna).
+ 
+
+O GLOBO, 1º de julho de 1957
+ 
+No sepultamento de Malta, no Cemitério do Caju, falou Ariosto Berna em nome da Sociedade dos Amigos da Cidade (Jornal do Brasil, 2 de julho de 1957, segunda coluna).
+Devido ao falecimento de Malta, a ABI hasteou em funeral o pavilhão da sede. Malta era associado desde a década de 1920 e sua matrícula era a número 141 (Diário de Notícias, 3 de julho de 1957, quarta coluna; Boletim da Associação Brasileira de Imprensa, agosto de 1957).
+O prefeito, Francisco Negrão de Lima, (1901 – 1981), assinou um decreto tornando Augusto Malta nome de rua, situada no distrito de Realengo (Correio da Manhã, 5 de setembro de 1957, segunda coluna).
+Seu acervo fotográfico foi dividido da seguinte forma: metade ficou para a viúva e a outra metade foi dividida pelos seus três filhos. O acervo ficou em Jacarepaguá, na Rua Renato Meira Lima, 443, casa de Amalthea, para onde Celina se mudou após a morte do marido (A belle époque carioca : imagens da modernidade na obra de Augusto Malta. (1900-1920)).
+1961 - Na reportagem A mais viva imagem do Brasil, é mencionado que em antigas fotos de autoria de Malta dos Arcos da Lapa podia-se observar que a parte inferior dos Arcos era habitada por famílias pobres, em casa-barracos de madeira (A Noite, 17 de janeiro de 1961, quarta coluna).
+1963 - Adquirido por determinação do governador da Guanabara, Carlos Lacerda (1914 – 1977), o arquivo fotográfico de Malta seria examinado por uma comissão designada pelo reitor da Universidade do Estado da Guanabara, Haroldo Lisboa da Cunha (1909 – 1990), que julgaria seu valor cultural e histórico (Correio da Manhã, 19 de dezembro de 1963, quinta coluna).
+1964 - Por ordem do governador da Guanabara, o arquivo fotográfico de Malta foi comprado pelo Banco do Estado da Guanabara, presidido por Antônio Carlos de Almeida Braga, adquirido para o patrimônio do Museu da Imagem e do Som, na época, administrado pela Fundação Vieira Fazenda. O acervo de Malta foi comprado de sua família por 12 milhões de cruzeiros, em 16 de setembro de 1964 (Correio da Manhã, 25 de novembro de 1964, segunda coluna; A belle époque carioca : imagens da modernidade na obra de Augusto Malta. (1900-1920)).
+1965 – Em 3 de setembro de 1965, inauguração do Museu da Imagem e do Som, no Rio de Janeiro. A Coleção Malta, além de reproduções, é composta por negativos de vidros e negativos panorâmicos divididos em três índices: pessoas, logradouros e diversos  (Tribuna da Imprensa, 20 de junho de 2007;  A belle époque carioca : imagens da modernidade na obra de Augusto Malta. (1900-1920)).
+1966 - Publicação de uma foto do do Convento e da Igreja de Santo Antônio e da Ordem Terceira de São Francisco da Penitência, de 1910, de autoria de Malta (Anais do Museu Histórico Nacional, 1966).
+Publicação do artigo Museu da Imagem e do Som conserva o Arquivo Malta (Correio da Manhã, 8 de julho de 1966).
+1967 - Publicação de um artigo sobre a trajetória do Museu da Imagem e do Som (MIS). As fototecas de Malta e de Guilherme Santos (1871 – 1966) foram mencionadas (Diário de Notícias, 10 e 11 de setembro de 1967, terceira coluna).
+1968 – Em uma matéria sobre o Museu da Imagem e do Som, as fototecas de Malta e de Guilherme Santos foram mencionadas (A Cigarra (SP), fevereiro de 1968).
+1968/1969/1970 – Foi concedida uma licença-prêmio a Uriel Malta por ter cumprido o tempo de serviço exigido pela lei. Foi promovido e seu salário foi aumentado. Em 1970, teve assinada a apostila fixando os proventos anuais de inatividade  (Diário de Notícias, 3 de abril de 1968, segunda coluna; Diário de Notícias, 20 de outubro de 1968, primeira coluna; Diário de Notícias, 31 de janeiro de 1969, terceira coluna; Diário de Notícias, 7 de abril de 1970, última coluna).
+1969 – Foi noticiado que a coleção de cerca de 30 mil chapas fotográficas realizadas por Malta estavam sob a guarda da Divisão do Patrimônio Histórico e Artístico da Guanabara (Correio da Manhã, 30 de janeiro de 1969, penúltima coluna).
+Em uma matéria sobre o Museu da Imagem e do Som, as fototecas de Malta e de Guilherme Santos foram mencionadas (Jornal de Letras, junho de 1969).
+Em 29 de outubro, falecimento de Celina Augusta Verschuren, segunda mulher de Malta (Family Search).
+1971 - Falecimento de Dirce Malta Couto, filha de Malta (O GLOBO, 8 de outubro de 1971, página 18).
+1972 - Fotografias de autoria de Malta integraram a exposição Imagem e Som da Primeira República, realizada no Museu da Imagem e do Som, no Rio de Janeiro (Diário de Notícias, 11 de novembro de 1952, quinta coluna).
+1974 – No saguão do Tribunal de Contas do Estado da Guanabara, realização da exposição O Rio no princípio do século, com a exibição de 68 fotos de Malta. Foi organizada pelo Patrimônio Histórico da Guanabara, dirigido por Trajano Quinhões (19? -?) (Diário de Notícias, 17 de janeiro de 1974, primeira coluna).
+1976 - Na matéria Os Daguerres não mentem jamais, Gilberto Ferrez comenta sobre diversos artistas plásticos e fotógrafos, dentre eles Augusto Malta cujas obras serão expostas na mostra Pioneer Photographer of Brazil: 1840 – 1920, no Center for Inter-American Relations, em  Nova York. O catálogo homônino é uma obra pioneira sobre os primórdios da fotografia no Brasil (Jornal do Brasil, 15 de setembro de 1976).
+1977 - Na matéria Metrô redescobre o Rio Carioca, publicação de uma fotografia de autoria de Malta da Praça José de Alencar com operários trabalhando na canalização do Rio Carioca, no início do século XX (Jornal do Brasil, 31 de maio de 1977).
+1979 - Na matéria O Rio da primeira República, sobre o trabalho realizado pela equipe de História Visual da Casa de Rui Barbosa sobre as condições de vida no Rio de Janeiro na Primeira República, publicação de diversas fotografias de autoria de Malta. A pesquisa foi realizada por Solange Zuniga, Eduardo da Silva e Luís Guilherme Sodré com a participação de uma equipe contratada pelo Centro Nacional de Referência Cultural. eles se concentraram no material existente no Arquivo Municipal do Rio de Janeiro (Jornal do Brasil, 25 de fevereiro de 1979).
+Publicação da crônica O Malta viu tudo, de Carlos Drummond de Andrade (1902 – 1987) (Jornal do Brasil, 1º de março de 1979).
+ 
+
+ 
+
+ 
+ 
+1980 – Inauguração da exposição O Carnaval do Rio Antigo na visão de Augusto Malta, na Galeria de Fotografia da Funarte com fotos do carnaval carioca de 1909 a 1932 (Jornal do Commercio, 2 de fevereiro de 1980; O Fluminense, 7 de fevereiro de 1980, terceira coluna; Tribuna da Imprensa, 9 e 10 de fevereiro, segunda coluna).
+A matéria O carnaval dos almofadinhas e das melindrosas, escrita por Raymundo Magalhães Junior (1907 – 1981) foi ilustrada com fotografias de autoria de Malta, uma cortesia da Fundação de Museus do Rio de Janeiro – MIS (Manchete, 1º de março de 1980).
+Dentro do Ciclo de Ciências e de Artes Plásticas, promovido pelo Museu da Imagem e do Som, em março de 1980, sua filha, Amalthea, prestou um depoimento a José Carlos Monteiro, então diretor do MIS.
+1981 – No Clube de Engenharia, realização da exposição Transformações de uma Cidade, mostra comparativa de 1880 a 1980, com fotos de Malta e de Marc Ferrez (Jornal do Commercio, 5 de janeiro de 1981).
+Fotografias de autoria de Malta integraram a exposição Universo do Carnaval: Imagens e Reflexões, na Acervo Galeria, de Max Perlingeiro (1940-). Foi organizada pelo crítico Carlos Roberto Maciel Levy (1951-) (Jornal de Letras, abril de 1981).
+1983 -Painéis com fotos de autoria de Malta integraram a exposição Volta aos Bons Tempos, uma promoção do Barra Shopping (Última Hora, 5 de janeiro de 1983, primeira coluna).
+Publicação de uma fotografia de autoria de Malta do carnaval na Praia das Flechas, em Niterói, de 1921 (O Fluminense, 20 e 21 de fevereiro de 1983, segunda coluna).
+Com fotografias de Malta e de um fotógrafo ainda não identificado, o Museu Histórico Nacional mostra a ambientação de uma sala de aula do Rio Antigo na exposição De volta às aulas (Última Hora, 16 de junho de 1983, quinta coluna).
+Pela Rio Gráfica, publicação do livro Malta, o fotógrafo do Rio Antigo (Site do IMS).
+1984 – Em uma reportagem sobre a Praça XV, publicação de cinco imagens do local: uma gravura de Nicolas Geelkerken, uma de Luís dos Santos Vilhena, de 1775; uma água-tinta de um artista ainda não identificado anterior a 1818, uma fotografia de autoria de Georges Leuzinger posterior a 1867 e uma de Malta, produzida em torno de 1920 (Revista do Patrimônio Histórico e Artístico Nacional, 1984).
+No Museu da Imagem e do Som, realização da exposição Aonde vai, Valente? Praça Tiradentes, baseada na monografia Almanaque Tiradentes, de Roberto Machado Junior e Roberto Moura. Cinco fotos de autoria de Malta, de 1904, foram exibidas (Jornal dos Sports, 2 de janeiro de 1984, última coluna).
+Publicação de uma fotografia de autoria de Malta de uma dama fantasiada no carnaval dos anos 20 (O Fluminense, 30 de maio de 1984, penúltima coluna).
+No Museu da Casa de Ruy Barbosa, realização da exposição Imagens do Rio, com fotos de Malta. No Instituto de Fotografia da Funarte, realização da exposição Malta, o Fotógrafo do Rio (Última Hora, 6 de junho de 1984, primeira coluna).
+No prédio da Light, no Rio de Janeiro, realização da exposição Light, Rua Larga, arredores, com fotos de autoria de Malta. Mostra a implantação da Light no Brasil, a história da Rua Larga e de seus arredores e parte da história do Rio do início do século XX (O Fluminense, 11 de dezembro de 1984, segunda coluna; Última Hora, 11 de dezembro de 1984, primeira coluna; SPHAN/Pro-Memória, novembro/ dezembro de 1984).
+1985 – Na Casa de Ruy Barbosa, realização de uma exposição comparativa entre fotos do Rio de Janeiro de autoria de Malta e de Marcos Perrier Teixeira Ribeiro (Tribuna da Imprensa, 8 de outubro de 1985, quarta coluna).
+1986 – No Guia Oficial da Cidade, publicação de fotos de autoria de Malta (Jornal dos Sports, 8 de fevereiro de 1986, última coluna).
+Na matéria O Cristo do Corcovado, publicação de uma fotografia de Malta do mirante do Corcovado, produzida em 1908 (Manchete, 4 de outubro de 1986).
+1987 - No Solar Grandjean de Montigny, na Pontifícia Universidade Católica do Rio de Janeiro, realização da exposição Augusto Malta: Fotógrafo Municipal, com lançamento do livro Um Fotógrafo, uma Cidade: Augusto Malta, Rio de Janeiro, de Fernando Ferreira Campos (1945-), editado pela Maison Graphique (O Fluminense, 10 de outubro de 1987, quarta coluna; Tribuna da Imprensa, 10 e 11 de outubro de 1987, penúltima coluna; 26 de outubro, primeira coluna.
+1988 - No Museu da República, lançamento do livro Flagrantes do Passado nº 1: Catete e Arredores, idealizado pela pesquisadora Maria Ignez Turazzi, na época Chefe do Arquivo Histórico do Museu. A maioria das 14 fotos publicadas no livro é de autoria de Malta (Tribuna da Imprensa, 1º de fevereiro de 1988, quarta coluna).
+1989 – No Museu da República, lançamento do livro Flagrantes do Passado nº 2: Rio, cidade cosmopolita, com fotos de Augusto Malta e idealizado pela pesquisadora Maria Ignez Turazzi, na época Chefe do Arquivo Histórico do Museu, com fotos de Malta e ilustrações de Ivan Wasth Rodrigues (1927 – 2007)(Tribuna da Imprensa, 16 de maio de 1989).
+No Arquivo Geral da Cidade do Rio de Janeiro, realização, entre 15 de agosto e 13 de setembro de 1989, da exposição Malta, um olhar de fotógrafo. Na Casa do Bispo,  realização da mostra Memória da Fotografia – Vida Carioca: 1906/1930, também com fotos de Malta (O Fluminense, 6 e 7 de agosto de 1989, primeira coluna; Tribuna da Imprensa, 15 de agosto de 1989).
+ 
+Augusto Malta / Tribuna da Imprensa, 15 de agosto 1989
+ 
+Na seção “O Leitor escreve”, publicação de um texto de Oromar Terra, que havia trabalhado no Palácio da Guanabara, na década de 1950. Em 1953, foi trabalhar na Sala de Imprensa do Palácio da Prefeitura, como representante do jornal Última Hora, e conheceu diversos fotógrafos, dentre eles, Aristógiton Malta, de quem se tornou amigo. Segundo Oromar, Aristógiton nasceu, viveu e morreu em silêncio, fotografando as migalhas que o pai lhe deixara (O Fluminense, 1º de setembro de 1989, primeira coluna).
+Foi anunciada a realização de uma exposição, a partir de 31 de outubro, no Arquivo Geral da Cidade do Rio de Janeiro, sobre os acontecimentos no Brasil, principalmente, no Rio de Janeiro, entre 1896 e 1910. Seriam expostos documentos históricos importantes, além de fotografias de Malta e desenhos do italiano Ângelo Agostini (O Fluminense, 24 de outubro de 1989, primeira coluna; Jornal dos Sports, 11 de novembro de 1989, primeira coluna).
+Fotos de autoria de Malta integraram a exposição realizada na Galeria de Arte Centro Empresarial Rio sobre a Floresta da Tijuca (Jornal do Commercio, 18 de dezembro de 1989).
+1990 – Fotos de autoria de Malta integraram o filme Rio de memórias, realizado por José Inácio Parente (1942-), que conta simultaneamente a história da fotografia e do Rio de Janeiro entre 1840 a 1930 (Jornal do Brasil, 14 de janeiro de 1990).
+Em Petrópolis, no Hipershopping ABC, realização da exposição Memória da Fotografia – Vida Carioca (1906/1930), com fotografias de autoria de Malta (Jornal do Commercio, 5 de fevereiro de 1990, última coluna).
+Fotos de autoria de Malta foram leiloadas no 44º Grande Leilão de Leoni (Jornal do Brasil, 31 de março de 1990).
+Publicação de uma foto de autoria de Malta da Rua Primeiro de Março na matéria O sorvete de pitanga do Imperador, na coluna “Dupla Exposição” (Jornal do Brasil, 2 de abril de 1990).
+Fotos de autoria de Malta integraram a exposição Imagens Republicanas, aberta no Espaço BNDES (Jornal do Brasil, 10 de julho de 1990, última coluna).
+Em Cabo Frio, inauguração de uma exposição de fotografias do acervo deixado por Wolney Teixeira de Souza, que inclui trabalhos dele e de profissionais do início do século XX como Malta (Jornal do Brasil, 23 de dezembro de 1990, penúltima coluna).
+1991 - No Arquivo Geral da Cidade do Rio de Janeiro, realização da exposição Evoé folia – Carnaval Carioca dos Anos 20, com fotos de autoria de Malta e desenhos de J. Carlos (1884 – 1950) (Jornal do Brasil, 8 de fevereiro de 1991, segunda coluna).
+No Museu da Imagem e do Som, no Rio de Janeiro, fotos de autoria de Malta integraram a mostra Revivendo 22 – Fragmentos (Jornal do Brasil, 1º de março de 1991).
+Na exposição Pereira Passos e a Cidade Rebelde, no Museu da República, exibição de uma fotografia de autoria de Malta do jantar que o presidente Rodrigues Alves ofereceu ao então prefeito (Jornal do Commercio, 16 de março de 1991, quarta coluna).
+O Arquivo Geral da Cidade do Rio de Janeiro estava recuperando três mil negativos em vidro e 40 mil negativos em celulóide, dentre eles milhares de autoria de Malta (Jornal do Brasil, 10 de novembro de 1991).
+Na coluna “Dupla Exposição”, publicação de uma fotografia da Avenida Beira-Mar, de autoria de Malta (Jornal do Brasil, 13 de novembro de 1991).
+Na matéria Nos tempos de Machado de Assis, publicação de fotos de autoria de Malta (Jornal do Brasil, 3 de dezembro de 1991).
+1992 - No Museu Histórico Nacional, realização da exposição Memória da Educação da Cidade do Rio de Janeiro com fotos de autoria de Malta e cartões-postais retratando cenas do cotidiano das escolas entre 1870 e 1940  (Tribuna da Imprensa, 8 de janeiro de 1992, penúltima coluna).
+Dentro do projeto Memória Fotográfica da Cidade, o Arquivo Geral da Cidade do Rio de Janeiro distribui painéis com fotos de autoria de Malta por pontos estratégicos da cidade (Jornal do Brasil, 6 de março de 1992, primeira coluna).
+No Museu Histórico Nacional, realização da exposição Pelas ruas e calçadas – Ontem e hoje com fotos de Malta e de Marc Ferrez, gravuras do francês Jean-Baptiste Debret (1768 – 1848), dentre outras (Jornal do Brasil, 19 de março de 1992).
+No Centro Cultural Banco do Brasil, realização da exposição Retratos da Cidade, de fotografias desde 1840 até 1992, dentre elas imagens produzidas por Malta. As fotos de 1992 eram da remodelação da cidade para receber a Conferência sobre Meio Ambiente e Desenvolvimento, a Rio 92 (Tribuna da Imprensa, 5 de maio de 1992, primeira coluna; Jornal do Brasil, 10 de junho de 1992, penúltima coluna).
+Para celebrar os 100 anos do bairro de Copacabana, lançamento do livro Copacabana 1892 – 1992, subsídios para sua história, com imagens produzidas por Malta e pro outros fotógrafos (Jornal do Brasil, 2 de julho de 1992).
+No Museu Histórico Nacional, realização da exposição sobre os 70 anos da Exposição de 1922. fotografias de Malta integraram a mostra, organizada pelo arquiteto Olínio Coelho (1935-?) (Tribuna da Imprensa, 7 de setembro de 1992).
+1993 – O Arquivo Geral da Cidade do Rio de Janeiro promoveu a exposição Imagens do Comércio no Rio de Janeiro (1900-1930), com fotos de autoria de Malta. Em maio, a exposição integrou a mostra Estilo anos 90, no Rio Design Center (Jornal do Brasil, 25 de março de 1993, primeira coluna; 26 de maio de 1993, quinta coluna).
+1994 – Publicação da dissertação de mestrado Do reflexo à mediação: um estudo da expressão fotográfica e da obra de Augusto Malta, de Antônio Ribeiro de Oliveira Júnior, aluno da Unicamp (Anais do Museu Histórico Nacional, 2000).
+Fotografias de autoria de Malta integraram a exposição Ruas do Rio – Caminhos da História, no Centro Cultural Banco do Brasil (Jornal do Brasil, 21 de janeiro de 1994, primeira coluna).
+O I Fórum Brasileiro de Fotografia, aberto no Centro Cultural Banco do Brasil, homenageou os 130 anos de nascimento de Malta (Jornal do Brasil, 28 de abril de 1994, terceira coluna).
+Na inauguração do Centro Cultural da Light, realização da exposição Light, 90 anos de história, com 52 pelas e 12 fotografias de autoria de Malta (Jornal do Brasil, 30 de abril de 1994, quarta coluna).
+O trabalho de Malta foi o eixo do ciclo de debates Imagem e Cidade, realizado no Centro Cultural Banco do Brasil, com a participação do pesquisador Fernando Ferreira Campos, do crítico Mário Barata (19121- 2007) e do jornalista Claudio Bojunga (1939 – 2022) (Jornal do Brasil, 17 de maio de 1994, primeira coluna).
+Foi firmada uma parceria entre a Embratel e a Secretaria Municipal de Cultura para a implantação do banco de imagens do Arquivo Geral da Cidade do Rio de Janeiro. Em poucas semanas, começaria ser feita a digitalização de seis mil imagens produzidas por Malta (Jornal do Brasil, 18 de maio de 1994, segunda coluna).
+Fotografias de autoria de Malta, adquiridas pela empresa White Martins, passaram a integrar o acervo do Museu de Arte Moderna do Rio de Janeiro (Jornal do Brasil, 17 de julho de 1994, segunda coluna).
+A exposição itinerante A Escola de Outros Tempos, com fotos de autoria de Malta e organizada pelo Centro de Memória do Departamento Geral de Ação Comunitária da Secretaria Municipal de Educação, seria inaugurada na Escola Municipal Mato Grosso (Jornal do Commercio, 31de julho e 1 de agosto de 1994, quarta coluna).
+Em Magé, falecimento de Uriel Malta, em 5 de agosto.
+No Centro Cultural Oduvaldo Viana, o Castelinho, abertura da exposição de fotos do bairro do Flamengo de 1920, de autoria de Malta (Jornal do Brasil, 12 de agosto de 1994, segunda coluna).
+Lançamento do primeiro volume do livro Augusto Malta – Catálogo da série negativo e vidro, editado pela Coleção Biblioteca Carioca, com 900 foto s de autoria de Malta com 900 fotos de sua autoria. Foi o primeiro catálogo de um arquivo fotográfico publicado no Brasil (Jornal do Brasil, 11 de setembro de 1994, primeira coluna).
+No Fórum de Ipanema, realização da exposição Memória de Ipanema, em comemoração ao centenário do bairro, com imagens produzidas por diversos fotógrafos, dentre eles Malta (Jornal do Brasil, 9 de novembro de 1994, primeira coluna).
+No Arquivo Geral da Cidade do Rio de Janeiro, apresentação multimídia do Projeto Fotomemória, um banco de imagens do acervo de Malta (Jornal do Brasil, 2 de dezembro de 1994, terceira coluna).
+Fotografias de Malta integravam o livro Rio de Janeiro – Retratos da Cidade, de José Inácio Parente e Patricia Monte-Mor (1956 – 2022) (Jornal do Brasil, 16 de dezembro de 1994).
+1995 – Exibição do documentário Rio de memórias no Instituto do Patrimônio Histórico e Artístico Nacional (Jornal do Brasil, 20 a 26 de janeiro de 1995, última coluna).
+Para comemorar os 430 anos do Rio de Janeiro, realização da exposição Um olhar de fotógrafo / Augusto Malta, no Arquivo Geral da Cidade do Rio de Janeiro (Jornal do Brasil, 28 de março de 1995, terceira coluna).
+No Boletim da ABI, publicação de uma foto da redação do Jornal do Commercio, de sua oficina, e da sede da ABI, na Rua do Rosário, na década de 20; todas de autoria de Malta (Boletim da ABI, abril de 1995).
+Na Fundação Museu da Imagem e do Som, realização da exposição Augusto Malta: um olhar carioca, com 80 fotografias de sua autoria (Tribuna da Imprensa, 28 de abril de 1995, última coluna).
+No Centro Cultural Banco do Brasil, com curadoria de Gilberto Ferrez e Pedro Vasquez (1954-), realização da exposição Mestres da Fotografia no Brasil, com cerca de 100 imagens de 20 fotógrafos, dentre eles Malta e Marc Ferrez, com o lançamento de um livro homônimo. As fotos eram do acervo de Gilberto Ferrez (Jornal do Brasil, 25 de maio de 1995, terceira coluna).
+ 
+Os Arcos da Lapa por Malta, 1906 / Jornal do Brasil, 25 de maio de 1995
+ 
+As fotografias de Malta são usadas pelo artista plástico Eduardo Camões (1955-) na criação de seus quadros que remetem ao Rio Antigo (Jornal do Brasil, 11 de junho de 1995).
+Fotos de Malta integraram a exposição Igreja Solidária, realizada no Centro Cultural Villa Maurina. No artigo, é mencionada a exibição da foto da Igreja de São Sebastião no Morro do Castelo, demolida na década de 1920 (Jornal do Brasil, 24 de junho de 1995, última coluna).
+Fotos de Malta integraram o livro Imagens de Jacarepaguá, do jornalista Waldemar Costa (1937 – ?). Na matéria, publicação de fotos de Malta da Rua Baronesa e da Praça Barão da Taquara, atual Praça Seca (Jornal do Brasil, 13 de julho de 1995).
+Dentro das comemorações dos 30 anos do Museu da Imagem e do Som do Rio de Janeiro, inauguração do Muro da Fama com o objetivo de homenagem personalidades do universo da música, do cinema, da fotografia, do rádio e televisão. O patrono de cada área são Chiquinha Gonzaga (1847 – 1935), Oscarito (1906 – 1970), Augusto Malta, Ademar Casé (1902 – 1993) e Assis Chateaubriand (1892 – 1968), respectivamente (Tribuna da Imprensa, 4 de setembro de 1995, penúltima coluna; Jornal do Commercio, 19 de setembro de 1997, segunda coluna).
+No Centro Cultural Gama Filho, realização do Evento Zona Norte, um Jeito de Ser Carioca. Uma das atrações era uma exposição de fotos com imagens produzidas por Malta e por Carlos Botelho, dentre outros (Jornal do Brasil, 22 de setembro de 1995).
+A matéria Um olhar nostálgico sobre a cidade, é sobre a iniciativa de fotógrafos do Jornal do Brasil de fotografar lugares retratados por Malta, Guilherme Santos, Marc Ferrez e Juan Gutierrez no início do século. É mencionado o lançamento, em 1994, do livro Niterói e a fotografia: 1858 – 1958, de Pedro Vasquez, editado pela Fundação Niteroiense de Arte, a Funiarte  (Jornal do Brasil, 24 de dezembro de 1995).
+1996 – Publicação de uma fotografia da Cinelândia de autoria de Malta na reportagem sobre o lançamento do livro Palácios e Poeiras, de Alice Gonzaga (1934-) (Jornal do Brasil, 12 de abril de 1996).
+No Museu do Catete, exibição de fotos de autoria de Malta da Batalha de Flores (Jornal do Brasil, 10 de maio de 1996; Tribuna da Imprensa, 17 de maio de 1996).
+Realização da exposição A Light e o Rio Antigo nas lentes de Malta, no Centro Cultural da Light da exposição (Jornal do Brasil, 17 de maio de 1996; Tribuna da Imprensa, 24 de maio de 1996, primeira coluna).
+No Museu da República, realização da exposição O Rio nos trilhos com fotos de Malta, pinturas de Eliseu Visconti (1866 – 1944), caricaturas e postais que contavam a história dos bondes na cidade (Jornal do Brasil, 21 de junho de 1996, penúltima coluna).
+Com foto se Malta e de outros artistas, realização, na Casa de Cultura José Dome, em Cabo Frio, da exposição 70 anos da mais pura beleza sobre a construção da Ponte Feliciano Sodré (Jornal do Brasil, 26 de julho de 1996, coluna).
+Foi noticiado que o Arquivo Nacional havia digitalizado todo o acervo de Augusto Malta sob sua guarda (Tribuna da Imprensa, 11 de setembro de 1996, última coluna).
+O Arquivo Geral da Cidade do Rio de Janeiro fez um convênio com a Telebras e lançou a série Rio e suas memórias com 20 cartões telefônicos trazendo imagens do Rio Antigo produzidas por Malta, retratando os lugares por onde passava o bonde. Devido ao convênio, as fotos foram impressas em dois milhões de cartões que foram distribuídos pelo Brasil  (Jornal do Brasil, 17 de setembro de 1996, primeira coluna).
+Foi anunciado que seriam distribuídos pela cidade galhardetes com imagens do Rio Antigo produzidas por Malta, selecionadas pelo Arquivo Geral da Cidade do Rio de Janeiro. Seriam colocadas nos locais onde foram clicadas. a iniciativa marcaria o início das obras do Rio Cidade na Avenida Rio Branco (Jornal do Brasil, 18 de setembro de 1996, terceira coluna).
+No Espaço Cultural dos Correios, realização da exposição Memória do Saara – do tropical inglês ao blue jeans, projeto que integra o projeto Memória do Saara, desenvolvido pela Escola de Comunicação da UFRJ. Uma foto de autoria de Malta do calçamento da Rua da Alfândega foi publicada na matéria (Jornal do Brasil, 26 de outubro de 1996).
+1997 - Pela Editora Salamandra, publicação do livro O Rio de Janeiro do bota-abaixo, com fotografias Augusto Malta e textos de Marques Rebelo (1907 – 1973) e Antonio Bulhões (1925 – 2009) (Site do IMS).
+Na matéria Arquivo Geral da Cidade, o acervo de Malta foi mencionado (Jornal do Commercio, 19, 20 e 21 de janeiro de 1997).
+As fotografias de Malta da Avenida Central foram mencionadas no artigo A Turma da Lira – Sobrevivência Negra no Rio de Janeiro pós-abolicionista, de Luiz Sérgio Dias (Revistas do IPHAN, nº 25, 1997).
+Realização da exposição O Rio que passou em minha vida, no Centro Cultural da Light, com 60 fotografias de autoria de Malta (Jornal do Commercio, 25 de fevereiro de 1997, segunda coluna; Jornal do Brasil, 27 de fevereiro de 1997, terceira coluna).
+Fotografias de autoria de Malta e de Marc Ferrez do Rio Antigo, além de fotos da família do músico homenageado faziam parte do CD-ROM Vida e obra de Villa-Lobos. Foi produzido pela LN Comunicação e Informática com o apoio da Finep (Jornal do Brasil, 19 de março de 1997).
+Foi noticiado que a Secretaria Estadual de Cultura do Rio de Janeiro havia concluído a digitalização do acervo da Biblioteca Pública do Estado, com mais de 20 mil fotografias do Rio de Janeiro, dentre elas imagens produzidas por Malta e por Marc Ferrez que poderiam ser, a partir desse trabalhos, serem acessadas pelo computador (Jornal do Brasil, 9 de junho de 1997, primeira coluna).
+No Centro Cultural da Light, inauguração de um espaço em homenagem a Di Cavalcanti (1897 – 1976), que colaborou com a Revista da Light, entre 1929 e 1930. Uma das atrações foi a exposição de 60 imagens do Rio de Janeiro produzidas por Malta, que chegaram pelas mãos do técnico Sérgio Burgi (1958-), depois de um cuidadoso processo de restauração . São imagens raras dos subúrbios e da Zona Oeste da cidade (Jornal do Brasil, 13 de junho de 1997).
+Com uma coleção de 117  itens, dentre partituras, gravuras, instrumentos, outros objetos e fotos, a maioria de autoria de Malta, realização da exposição Imagens da memória musical do Rio de Janeiro, no Centro Cultural Banco do Brasil com curadoria de Ricardo Prado (19?) (Jornal do Brasil, 6 de julho de 1997).
+Editado pelo Instituto Cultural Itaú, publicação do livro O Brasil na máquina do tempo: coleção referencial da história da fotografia brasileira, com curadoria de Pedro Vasquez (Site do IMS).
+1998 - No artigo Divagações mais ou menos contemporâneas acerca das coleções de imagens, de Solange Zuniga,  foram publicadas uma foto de sua autoria da Rua da Carioca e outra da Rua do Curvelo (Revistas do IPHAN, nº 27, 1998).
+Na matéria A cidade faz pose, que aborda o lançamento de livros com imagens do Rio Antigo, O Rio de Janeiro do Bota-Abaixo, de Antônio Fernandes Bulhões de Carvalho, com fotos de Malta , lançado em novembro de 1997, foi citado. Já estava em sua terceira edição. Noticiado o lançamento, pelo Centro Cultural da Light, do livro O Rio de ontem e de sempre, com fotos inéditas de autoria de Malta (Jornal do Brasil, 4 de janeiro de 1998).
+No Centro Cultural da Light, realização da exposição de fotomontagens com imagens produzidas por Malta Quando o Carnaval chegou, do designer Fernando Pimenta (1951-?) (Jornal do Brasil, 10 de fevereiro de 1998, segunda coluna).
+No Museu do Telefone, realização da peça Número, faz favor?, da diretora Cacá Mourthé (1959-) com as atrizes Dedina Bernardelli (1964-) e Soraya Ravenle (1962-). Dinho Valladares (19?-) interpretou Augusto Malta, cujas fotos foram utilizadas no cenário (Jornal do Brasil, 22 de maio de 1998, última coluna).
+Inauguração do Casarão Hermé, em Santa Teresa, com uma exposição de fotos inéditas de Malta, pertencentes ao acervo do Museu da Imagem e do Som (Jornal do Brasil, 14 de agosto de 1998, segunda coluna).
+Com fotografias de Malta e Guilherme Santos e vitrolas e rádios antigos, o Museu da Imagem e do Som participou da exposição Coleções do Governo do Estado – Palácios, Museus e Acervos do Banerj, realizada no Centro Cultural dos Correios (Jornal do Commercio, 30 e 31 de agosto de 1998).
+No evento Criadores da Paisagem Cultural Fluminense, promovido pela Universidade Federal Fluminense, a UFF, realização de palestras e exibição de filmes em torno de nomes importantes da cultura carioca, dentre eles, Malta (O Fluminense, 1º de setembro de 1998, penúltima coluna).
+No Centro Cultural da Light, realização da exposição Fábricas do Rio Antigo, com a exibição de 18 fotos de autoria de Malta (Jornal do Commercio, 22 e 23 de novembro de 1998).
+Na homepage do Museu do Telefone, acesso a uma galeria virtual de fotos de Malta (O Fluminense, 26 de dezembro de 1998, terceira coluna).
+No artigo Estátuas e chafarizes franceses: relíquias do século XIX no Rio, de Eulália Junqueira, as fotos de Malta foram mencionadas (Revista Municipal de Engenharia, 1998).
+1999 – Uma foto de autoria de Malta da Avenida Rio Branco foi publicada no livro Caixa de Cultura Fotografia: história e técnica, apresentado por Flavia Aidar e editado pelo Itaú Cultural (Site do IMS).
+O IPHAN lança a Revista do Patrimônio com fotos de Augusto Malta, Sebastião Salgado (1944 – 2025), dentre outros, e textos e poemas de Carlos Drummond de Andrade, Cecília Meireles (1901 – 1964) e Jorge de Lima (1893 – 1953) (Jornal do Brasil, 28 de fevereiro de 1999, última coluna).
+No Centro Cultural da Light, realização da exposição O Transporte do Carioca com a exibição de 18 fotos de autoria de Malta (O Fluminense, 11 de maio de 1999; Jornal do Brasil, 4 de junho de 1999, primeira coluna).
+O acervo de Malta é listado como uma das preciosas coleções do Museu da Imagem e do Som do Rio de Janeiro: 80 mil fotos, 2,6 mil negativos em vidro e 400 negativos panorâmicos (Jornal do Brasil, 2 de junho de 1999, penúltima coluna).
+O cirurgião plástico Paulo Muller arrematou em um leilão quatro fotos de autoria de seu bisavô, Augusto Malta (Jornal do Brasil, 7 de setembro de 1999, primeira coluna).
+No Arquivo Geral da Cidade do Rio de Janeiro, exposição de cartões-postais, alguns assinados por Malta (Jornal do Brasil, 17 de setembro de 1999, primeira coluna).
+No Instituto Moreira Salles, no Rio de Janeiro, realização, entre 1º de outubro de 1999 e 11 de junho de 2000, da exposição Rio de Janeiro 1862 a 1927 e outros destaques do Highclifffe Album, com 180 fotografias de Malta,  Marc Ferrez, Georges Leuzinger e Juan Gutierrez (c. 1860 – 1897), dentre outros pioneiros da fotografia no Brasil (Jornal do Brasil, 1º de outubro de 1999; Manchete, 16 de outubro de 1999; IMS).
+Fazia parte da festa Cine Íris 90 Anos uma exposição de fotografias com imagens produzidas por Malta, pertencentes o acervo do Museu de Arte Moderna do Rio de Janeiro (Jornal do Brasil, 1º de outubro de 1999, primeira coluna).
+Lançamento do livro Rio de Janeiro (1862 – 1927), editado pelo Instituto Moreira Salles, prefaciado por Zuenir Ventura (1931-), com textos de Pedro Vasquez e de Augusto C. da Silva Telles (1923 – 2025). Publicação de 153 fotografias dos pioneiros da fotografia no Basil, dentre eles Malta, Marc Ferrez e Juan Gutierrez  (Jornal do Brasil, 13 de novembro de 1999).
+Lançamento do livro Memórias e curiosidade do bairro de Laranjeiras , coordenado por João Augusto Fortes e editado pela João Fortes Engenharia, com fotos de Malta e Marc Ferrez e obras de Rugendas (1802 – 1858), entre outros registros iconográficos (Jornal do Brasil, 14 de novembro de 1999).
+Fotos de autoria de Malta e a primeira edição de Poesias Completas, de Machado de Assis (1839 – 1908) foram os destaques do 5º Leilão de Livros e Raridades, realizado pela Livraria Universal (Jornal do Brasil, 16 de novembro de 1999).
+2000 - Noventa e oito fotografias produzidas por Malta da derrubada do Morro do Castelo, em 1921, foram apresentadas na exposição iconográfica e bibliográfica 500 Anos de Brasil na Biblioteca Nacional, promovida pela Biblioteca Nacional, entre dezembro de 2000 e abril de 2001, celebrando seus 190 anos e os 500 anos do Descobrimento do Brasil (Jornal do Commercio, 10 e 11 de dezembro de 2000, última coluna; Revista do Livro (RJ), janeiro de 2002).
+Dentro do projeto Fragmentos Discursivos de Bairros do Rio de Janeiro , realizado por pesquisadores da UNI-Rio, publicação de três volumes sobre o bairro da Urca, com fotografias de autoria de Malta (Jornal do Brasil, de 14 de julho de 2000).
+2001 - Na capa da Revista de Domingo do Jornal do Brasil, publicação de uma foto de autoria de Malta do carnaval carioca que está no livro Rastros de memória, de Ricardo Cravo Albim (1940-). Na matéria Vovô caía na farra, publicação de mais fotos de Malta  (Jornal do Brasil, 21 de janeiro de 2001).
+No site do Museu do Telefone, realização da exposição Virtual telephonia: Augusto Malta, com 18 imagens do fotógrafo com comentários do designer Pedro Agilson (Jornal do Commercio, 17 e 18 de junho de 2001, terceira coluna; Tribuna da Imprensa, 5 de junho de 2001, primeira coluna).
+Fotos de autoria de Malta foram leiloadas por Horácio Hermani de Melo, no Palácio dos Leilões em Botafogo (Jornal do Brasil, 11 de agosto de 2001, primeira coluna).
+Fotos de Malta foram pesquisadas pela produção do filme Madame Satã (2002), dirigido por Karim Aïnouz (1966-) (Jornal do Brasil, 20 de agosto de 2001, quarta coluna).
+Na exposição Memória da Destruição, no Arquivo Geral da Cidade do Rio de Janeiro, exibição de 60 fotos de autoria de Augusto Malta, além de 15 charges (Jornal do Brasil, 14 de dezembro de 2001).
+Na matéria À luz do abajur lilás sobre o lançamento da antologia Lapa do desterro e do desvario, da historiadora Isabel Lustosa (1955-), publicação de uma fotografia de Malta (Jornal do Brasil, 26 de dezembro de 2001).
+2002 – Na Brasiliana da Biblioteca Nacional, publicação de fotos de autoria de Malta (Jornal do Brasil, 13 de janeiro de 2002).
+Publicação de um registro de uma Ipanema deserta, realizada por Malta, no Mapa do Maravilhoso Rio de Janeiro, de Beatriz Jaguaribe (1959-) (Jornal do Brasil, 23 de março de 2002, segunda coluna).
+Fotos de autoria de Malta integraram o 19º Leilão da Gioconda, na Galeria Artes&Leilões Gioconda, em Laranjeiras (Jornal do Commercio, 24 e 25 de março de 2002, quarta coluna).
+Dentro das providências da reorganização do Arquivo Geral da Cidade do Rio de Janeiro, sancionada pelo então prefeito César Maia (1945-). As fotografias, dentre elas as de autoria de Malta seriam colocadas à disposição do público na internet (Jornal do Brasil, 23 de junho de 2002).
+Leilão de fotos de autoria de Malta  na Livraria Universal (Jornal do Brasil, 27 de junho de 2002, primeira coluna, 9 de julho de 2002, segunda coluna).
+ 
+Jornal do Commercio, 20 e 21 de outubro de 2002
+ 
+A Coleção Brascan, com cerca de 16 mil fotos, foi doada ao Instituto Moreira Salles e fotos de Guilherme Gaensly (1843 – 1928) e de Malta deste acervo foram exibidas, na exposição Guilherme Gaensly e Augusto Malta: dois mestres da fotografia no Acervo Brascan, no IMS-RJ. Ambos trabalharam como fotógrafos para a São Paulo Railway Light and Power, futura Brascan (Jornal do Brasil, 2 de setembro de 2002, primeira coluna, 9 de setembro de 2002, quarta coluna, 10 de setembro de 2002, primeira coluna).
+Na exposição Arquipélagos, o universo plural do MAM, exibição de fotos de autoria de Malta (Jornal do Brasil, 18 de outubro de 2002, primeira coluna; Jornal do Commercio, 20 e 21 de outubro de 2002).
+Uma foto de autoria de Malta foi usada para a reconstituição do gabinete do Barão do Rio Branco, exibida na exposição O Barão do Rio Branco e a alma carioca, no Museu Histórico Nacional (Jornal do Brasil, 6 de dezembro de 2002, terceira coluna; Jornal do Commercio, 15 e 16 de dezembro de 2002, última coluna).
+2003 - A diretora técnica do Museu da Imagem e do Som, Nilcemar Nogueira (1959-), declarou que, em 2002, cinco mil fotos de autoria de Malta haviam sido restauradas (Jornal do Brasil, 6 de fevereiro de 2003, segunda coluna).
+Na LGC Galeria Arte Hoje, realização da exposição AUGUSTO MALTA / RIO DE JANEIRO FOTOS ORIGINAIS ANOS 1920/1940 (Jornal do Brasil, 26 de março, penúltima coluna).
+No Centro Cultural da Justiça Federal, exposição de fotos de autoria de Malta dentro da programação do Foto-Rio (Jornal do Brasil, 29 de maio de 2003, primeira coluna).
+Em 6 de agosto, na Unicamp, defesa e aprovação da tese de doutorado A escola profissional para o sexo feminino através da imagem fotográfica, de Nailda Marinho da Costa Bonato. A tese estuda a Escola Profissional para o Sexo Feminino tendo como fonte privilegiada a imagem fotográfica. Esse tipo de escola foi instituída na esfera pública de ensino do Distrito Federal na Primeira República como Instituto Profissional Feminino (1898), Primeira Escola Profissional Feminina [Bento Ribeiro] e Segunda Escola Profissional Feminina [Rivadavia Correa] (ambas em 1913) e Escola Profissional Paulo de Frontin (1919). A investigação ao ¿olhar¿ para as imagens produzidas da escola busca os motivos do registro, reconstituir as atividades didático-pedagógicas do seu cotidiano, sua estrutura e funcionamento e o que representou para a educação feminina no projeto educativo republicano do poder municipal, considerando que as imagens trazidas foram produzidas por Augusto Malta, contratado da Prefeitura como fotógrafo, cargo criado na gestão de Pereira Passos (1902-1906) para documentar visualmente as obras de transformação da cidade naquele período, permanecendo na função até 1936. À “leitura” da imagem foram trazidas outras fontes documentais, como relatórios, ofícios, livros de ata, decretos, leis, jornais (Site do IMS).
+No espaço cultural do BNDEs, realização da exposição Arte em Movimento com a exibição de obras de diversos artistas, dentre elas, foto de autoria de Malta (O Fluminense, 9 de agosto de 2003, penúltima coluna).
+O artista plástico Eduardo Camões lançou um livro e abriu uma exposição. Sua obra é inspirada nas fotos de Malta e de Marc Ferrez, dentre outros (Tribuna da Imprensa, 26 de novembro de 2003, última coluna).
+Situado na Rua do Lavradio, Centro do Rio, o restaurante Mangue Seco era decorado com fotos de Malta (Jornal do Brasil, 14 de dezembro de 2003, última coluna).
+2004 – No Museu da Imagem e do Som, realização da exposição Carnaval de Ontem e Hoje com fotos de Malta e de Guilherme Santos; e caricaturas de Lan (1925 – 2020), sob a curadoria de Nilcemar Nogueira. A mostra marca a reabertura do museu na Praça XV (Jornal do Brasil, 16 de fevereiro de 2004, penúltima coluna; O Fluminense, 19 de fevereiro de 2004, penúltima coluna; Tribuna da Imprensa, 16 de fevereiro de 2004).
+Publicação da crônica Carnaval de Morro, escrita por Luiz Edmundo, em 1938, com uma fotografia de autoria de Malta (Jornal do Brasil, 21 de fevereiro de 2004).
+ 
+Préstitos das sociedades carnavalescas na Avenida Central, em 1908, por Malta / Jornal do Brasil, 21 de fevereiro de 2004
+ 
+O tema da Revista Rio de Janeiro, do Iuperj,  foi o centenário da reforma de  Pereira Passos e trazia 30 fotos de autoria de Malta (Jornal do Brasil, 3 de abril de 2004, primeira coluna).
+No livro Brasil rito e ritmo: um século de música popular e clássica, organizado por Leonel Kaz, publicação de uma foto rara de mulheres instrumentistas, na década de 1910, de autoria de Malta, do acervo do Museu da Imagem e do Som (Jornal do Brasil, 26 de abril de 2004, primeira coluna).
+ 
+Mulheres instrumentistas, na década de 10, por Malta / Jornal do Brasil, 26 de abril de 2004
+ 
+No BNDEs, na exposição Rio & Buenos Aires: duas cidades modernas, exibição de fotos de autoria de Malta e do norte-americano H.G. Olds (1868-1943) ambientada em um típico café da belle époque (Jornal do Brasil, 21 de junho de 2004, primeira coluna;14 de julho de 2004, última coluna).
+NO restaurante Toq Final, exposição de fotos do Leblon de autoria de Malta, em comemoração ao aniversário do bairro (Jornal do Commercio, 29 de julho de 2004, quarta coluna).
+Suas bisnetas de Malta, Gabriela e Lucca, lançaram De Malta a Malta, uma coleção de fotos inéditas do bisavô  impressas em bolsas e em caixas personalizadas (Jornal do Brasil, 10 de agosto de 2004, segunda coluna).
+Fotos de autoria de Malta ilustraram caixas de madeira e porta-copos (Jornal do Brasil, 29 de novembro de 2004, última coluna).
+Um inventário de emergência realizado pelas secretarias da Cultura descobriu que havia desaparecido do Museu da Cidade 42  fotos de Malta e de Marc Ferrez (Jornal do Brasil, 22 de junho de 2006).
+2005 - No site www.samba-choro.com.br, realização da exposição virtual Carnaval de Augusto Malta (Monitor Campista, 15 de fevereiro de 2005).
+O Centro de Conservação e Preservação Fotográfica da Funarte em parceria com o Museu da Imagem e patrocínio da Fundação Vitae, estava finalizando o Projeto de Tratamento Técnico dos Negativos Panorâmicos da Coleção Augusto Malta, comprada pelo então governador da Guanabara, Carlos Lacerda, na década de 1960 (O Fluminense, 22 e 23 de fevereiro de 2005, primeira coluna; Jornal do Brasil, 2 de abril de 2005, segunda coluna; Jornal do Commercio, 12 e 13 de junho de 2005).
+Comemorando seu centenário, a Light inaugurou três exposição, uma delas Testemunho da Luz, com 41 fotos de Malta, algumas inéditas, no Centro Cultural da Light. Na matéria, publicação de uma foto de um bonde passando diante do Colégio Militar, na década de 30; e uma de um ônibus, em 1929, ambas de autoria de Malta (Jornal do Brasil, 3 de junho de 2005, terceira coluna).
+No Arquivo Geral da Cidade do Rio de Janeiro, realização da exposição Avenida Central, contrastes do tempo, com a exibição de painéis com a reprodução da planta original das fachadas da via a partir de fotos de autoria de Malta e de Marc Ferrez (Jornal do Brasil, 19 de agosto de 2005, penúltima coluna).
+Fotos de Malta, de Marc Ferrez e de fotógrafos ainda não identificados foram usadas para a recomposição volumétrica dos modelos dos prédios da Avenida Central no slide show de imagens da Primeira República apresentado no DVD Aurora Luminosa, lançado pela Universidade Federal Fluminense (Jornal do Brasil, 20 de setembro de 2005, última coluna).
+Na Exposição de Mesas de Natal do Hotel Othon, a bisneta de Malta, Gabriela Malta, do ateliê Imaginarte, decorou sua mesa com fotos de autoria do bisavô intercalada por fotos de família (Jornal do Brasil, 16 de outubro de 2005, primeira coluna).
+Com fotos de autoria de Malta e de Marc Ferrez, realização, no Clube de Engenharia, de uma exposição sobre o centenário da Avenida Central, atual Rio Branco (Jornal do Commercio, 7 de novembro de 2005).
+Realização da exposição Avenida Central 1905 – 2005: imagens de um Brasil moderno, com fotos de autoria de Malta e de Marc Ferrez, dentre outros, organizada pelo Instituto Moreira Salles em parceria com o Centro Cultural Justiça Federal (Jornal do Brasil, 11 de novembro de 2005, terceira coluna; Jornal do Commercio, 19 e 20 de novembro de 2005).
+Fotografias de autoria de Malta estavam entre os milhares de itens roubados da Biblioteca Nacional (Jornal do Commercio, 18 de novembro de 2005, quarta coluna).
+2006 - Na matéria Pedras no Caminho, publicação de uma fotografia de autoria de Malta do Copacabana Palace, quando o morro ao lado hotel ainda não havia sido dinamitado para a construção de sua piscina (Jornal do Brasil, 10 de janeiro de 2006).
+No livro Arte francesa do ferro no Rio de Janeiro, de Eulália Junqueira, publicação de fotos de Malta e de Pedro Oswaldo Cruz (1940 – 2020) (Tribuna da Imprensa, 17 de janeiro de 2006, última coluna).
+No desfile da escola de samba Viradouro com o enredo Arquitetando folias, em uma das alas os componentes vestiam fantasias estampadas com fotos da antiga Avenida Central, atual Rio Branco, de autoria de Malta (Tribuna da Imprensa, 2 de março de 2006, penúltima coluna).
+Na exposição Uma avenida chamada Central, na Universidade Federal Fluminense, exibição de 13 fotos de autoria de Malta e também de Marc Ferrez (Jornal do Brasil, 9 de março de 2006, segunda coluna; O Fluminense, 9 de março de 2006, primeira coluna).
+Na matéria Abandono que ofusca a beleza, sobre o centenário da Vista Chinesa, publicação da foto da inauguração de seu pagode, em 1906, produzida por Malta (Jornal do Brasil, 19 de março de 2006, última coluna).
+A então diretora do Arquivo Geral da Cidade do Rio de Janeiro, Beatriz Kushnir, informou que 15 mil imagens de autoria de Malta estavam sendo digitalizadas e que em pouco tempo seriam disponibilizadas em um portal (Jornal do Brasil, 9 de abril de 2006, segunda coluna).
+Dezoito fotos do acervo de Malta, exemplares de publicações raras como a Revista Illustrada, a Revista da Semana e Dom Quixote; e toda a coleção de gravuras de Debret, mapas e estudos do pintor Lucílio de Albuquerque (1877 – 1939) foram furtados do Arquivo Geral da Cidade do Rio de Janeiro e não havia nenhum sinal de arrombamento. Ao todo foram 1500 fotos. Foi realizado um protesto pedindo maior rigor contra o roubo de obras de arte (Jornal do Brasil, 22 de junho de 2006; 7 de julho de 2006,  25 de abril de 2007, primeira coluna; Jornal do Commercio, 24 de abril de 2007, quarta coluna; Tribuna da Imprensa, 22 de junho de 2006; 30 de junho de 2006).
+Uma foto de autoria de Malta foi publicada na matéria O chá e o mesmo. A Academia não (Jornal do Brasil, 2 de setembro de 2006).
+ 
+Almoço solene na ABL por Augusto Malta, 1906 / Jornal do Brasil, 2 de setembro de 2006
+ 
+Fotos de autoria de Malta ilustravam o livro Século XX: a mulher conquista o Brasil, organizado por Leonel Kaz e Nigge Loddi  (Jornal do Commercio, 21 de dezembro de 2006, última coluna).
+2007 – Publicação de fotos do Museu de Belas Artes e da Biblioteca Nacional, em 1925, ambas de autoria de Malta (Anais da Biblioteca Nacional, 2007).
+Falecimento de sua filha, Amalthea, em 12 de março. Foi sepultada no Cemitério de São Francisco, em Niterói. Deixou um filho (Site Family Search – Registro Civil).
+No livro Rio de Janeiro – o cotidiano carioca no início do século 20, dos pesquisadores Alberto Cohen e Samuel Gorberg, publicação de fotos de autoria de Malta, Marc Ferrez e Brum, dentre outros (Jornal do Brasil, 18 de março de 2007; Jornal do Commercio, 23, 24 e 25 de março de 2007).
+Na matéria A prata da casa no comando, sobre os 180 anos do Jornal do Commercio, publicação de uma fotografia de autoria de Malta mostrando o cotidiano da equipe de linotipia do jornal, no início do século (Jornal do Commercio, 1º de outubro de 2007).
+ 
+Equipe de linotipia do Jornal do Commercio no início do século XX, por Augusto Malta / Jornal do Commercio, 1º de outubro de 2007
+ 
+Na matéria sobre Na Niemeyer a beleza é proporcional ao perigo, publicação de uma fotografia de autoria de Malta, do início do século XX com uma fila de carros na Avenida Niemeyer (Jornal do Brasil, 3 de outubro de 2007).
+2008 - Na Edição Especial do Centenário, publicação de fotos de autoria de Malta (ABI Boletim Informativo, 2008, página 16 e 17).
+Uma foto de Malta da Biblioteca Nacional foi publicada na coluna de Wilson Martins (1921 – 2010) (Jornal do Brasil, 12 de janeiro de 2008).
+Na matéria Museu da Imagem e do Som vai reuniu o rico acervo, publicação de duas fotos de Malta: uma de uma prostituta e outra da Avenida Vieira Souto, a partir do Castelinho (Jornal do Brasil, 17 de fevereiro de 2008).
+ 
+Uma prostituta e a Avenida Vieira Souto a partir do Castelinho por Malta / Jornal do Brasil, 17 de fevereiro de 2008
+ 
+No Instituto Moreira Salles, realização da exposição O Rio de Janeiro de Augusto Malta (Jornal do Brasil, 9 de março de 2008).
+Na exposição O Rio de Janeiro de Machado de Assis no Acervo do Instituto Moreira Salles, na Tenda dos Autores da Flip, exibição de fotografias de Marc Ferrez, Georges Leuzinger, Augusto Stahl (1828 – 1877) e Malta (Jornal do Brasil, 28 de junho de 2008, primeira coluna).
+No Museu da Maré, fotos de Malta integram o acervo (Jornal do Brasil, 19 de setembro de 2008).
+Realização, em 23 de outubro, de 2008, da defesa e da aprovação da tese de mestrado A belle époque carioca : imagens da modernidade na obra de Augusto Malta. (1900-1920), de Fernando Gralha de Souza, da Universidade Federal de Juiz de Fora.
+Fotos de autoria de Malta integravam o livro Coleção Princesa Isabel : fotografia do século XIX: a descoberta de um tesouro cultural inédito, composto de mais de mil imagens brasileiras, de Pedro e Bia Corrêa do Lago, da Editora Capivara (Site IMS).
+2009 - Disponibilização do Portal Augusto Malta, do Arquivo Geral da Cidade do Rio de Janeiro (Jornal do Brasil, 1º de janeiro de 2009, primeira coluna).
+Lançamento do livro Augusto Malta e o Rio de Janeiro, de George Ermakoff (Jornal do Brasil, 6 de junho de 2009, primeira coluna).
+Lançamento do livro Meu Carnaval Brasil, pela Editora Aprazível, com fotos de autoria de Malta (Monitor Campista, 28 de fevereiro de 2009, última coluna).
+Realização, no Museu da República, da exposição Flanando pelo Rio de Janeiro da Belle Époque Carioca com fotos de Malta e ilustrações de Ivan Wasth Rodrigues O evento integra a programação da Primavera dos Museus e do Ano da França no Brasil (Jornal do Commercio, 2,3 e 4 de outubro de 2009).
+Na matéria Almirante Negro, publicação de uma foto de autoria de Malta de marinheiros que participaram da Revolta da Chibata (Jornal do Brasil, 24 de outubro de 2009).
+Na quinta edição do evento Choque de Alegria!, promovido pela Associação Gastronômica, Turística e Cultural do Polo Novo Rio Antigo, realização, na Lapa, na exposição Rio, Ontem e Hoje com fotos de Malta e de Nelson Porto (O Fluminense, 21 de novembro de 2009, primeira coluna).
+2010 – Com fotografias antigas de autoria de Malta e contemporâneas de autoria de Marcos Terranova (1964-), lançamento do livro Lagoa, da Editora Andrea Jakobson (Jornal do Brasil, 31 de janeiro de 2010).
+Fotografias de autoria de Malta integraram a exposição Horizonte Construído – Fotografia e Arquitetura nas coleções do MAM, sob a curadoria de João Camillo Osório (1963-) (O Fluminense, 30 de dezembro de 2010, penúltima coluna).
+Editado pela Unesp, publicação do livro Machado de Assis: relíquias culinárias, de Rosa Belluzzo (19?) com fotografias de Malta, Joaquim Insley Pacheco (1830 – 1912) e Marc Ferrez (Site do IMS).
+2011 – Realização da exposição Até quarta-feira!, no IMS Rio, entre 15 de fevereiro e 13 de março de 2011, com curadoria de Sérgio Burgi e de Paulo Roberto Pires com fotos de autoria de Malta, Marcel Gautherot (1910 – 1996), José Medeiros (1921 – 1990), Carlos Moskovics (1916 – 1988) e Peter Scheier (1908 – 1979), dentre outros (Jornal da ABI, fevereiro de 2011; Site do IMS).
+No Salão Nobre da Academia Carioca de Letra, George Ermakoff (1949-) proferiu a palestra A fotografia no Rio: dos pioneiros a Augusto Malta, parte do seminário A Cidade do Rio de Janeiro: Patrimônio e História Cultural (O Fluminense, 23 de novembro de 2011, quarta coluna).
+2012 – Publicação de diversos livros pela Folha de S. Paulo com textos de Oscar Pilagallo (1955-) e de Pietra Diwan (1974-):
+1 – A indústria : fábricas de chaminés de barro  com fotos de Malta, Guilherme Gaensly (1843-1928), Giacomo Geremia (1880 – 1966), Pierre Verger (1902-1996), Hans Gunter Flieg (1923 – 2024) e Chico Albuquerque (1917 – 2000);
+2 – Comércio: do mascate ao mercado, com registros de diversos fotógrafos, dentre eles, Malta;
+3 – Arquitetura: da taipa ao arranha-céu com fotografias Malta, Claude Lévi-Strauss (1908 – 2009), Guilherme Gaensly, Marcel Gautherot, Marc Ferrez, Pierre Verger, Revert Henrique Klumb (c. 1830 – c. 1886) e Vicenzo Pastore (1865 – 1918), entre outros;
+4 – Cotidiano: um dia na vida de brasileiros com fotos de Malta, Hildegard Rosenthal (1913 – 1990), Peter Scheier (1908 – 1979), Thomaz Farkas (1924 – 2011) e José Medeiros (1921 – 1990), dentre outros;
+5- Festas populares: uma celebração de sons e movimentos, com fotos de Malta, Claude Lévi-Strauss, José Medeiros, Marcel Gautherot e Thomaz Farkas, dentre outros;
+6 – Obras e construções : marcos do desenvolvimento, com fotos de Malta,  Dana B. Merrill (c. 1887 – 19?), Hans Gunter Flieg, José Medeiros, Marcel Gautherot e Pierre Verger, dentre outros;
+7 – Paisagens: um país belo por natureza, com fotos de Malta, Albert Frisch (1840 – 1918), Flávio de Barros (18? -19?) e de Revert Henrique Klumb, dentre outros;
+8 – Protestos e passeatas: a construção da democracia com fotos de Malta, Antônio Luiz Ferreira (18? – 19?), Marc Ferrez,  Thomaz Farkas e José Medeiros;
+9 – Transportes: a história dos nossos caminhos com fotos de Malta,Hildegard Rosenthal, Marcel Gautherot, Marc Ferrez, dentre outros.
+Fotografias de Malta e Ferrez, dentre outras, além de documentos, foram apreendidos  e o Ministério Público Federal do Rio de Janeiro denunciou 13 envolvidos no crime de receptação de bens públicos furados do acervo do Arquivo Nacional, da Biblioteca Nacional e do Arquivo Geral da Cidade do Rio de Janeiro. Os acusados estavam envolvidos, no leilão de colecionismo, que seria realizado em 18 de maio de 2006, e que foi denunciado (Jornal do Commercio, 19 de dezembro de 2012, primeira coluna).
+No Sesc Copacabana, realização da exposição Augusto Malta – Subversões Poéticas, quando oito fotógrafos exibiram registros feitos a partir de imagens produzidas por Malta no início do século XX (Jornal do Commercio, 28, 29 e 30 de dezembro de 2012).
+Editado pela Objetiva, publicação do livro Um olhar sobre o Brasil: a fotografia na construção da imagem da nação 1833-2003, com coordenação de Boris Kossoy (1941-) e consultoria científica de Lilia Moritz Schwarcz (1957-). Trazia fotos de Malta, Albert Frisch, Alberto Henschel (1827 – 1882), Alice Brill (1920 – 2013), Augusto Stahl, Carlos Moskovics, Claude Lévi-Strauss, Dulce Soares (1943-), Felipe Augusto Fidanza (1844 – 1903) ,Georges Leuzinger, Guilherme Gaensly, Hans Günter Flieg, Haruo Ohara (1909 – 1999), Henri Ballot (1921 – 1997), Hildegard Rosenthal, Joaquim Insley Pacheco, José Medeiros, Juan Gutierrez, Madalena Schwartz, Marc Ferrez, Marcel Gautherot e Thomaz Farkas, dentre outros (Site IMS).
+2013 - Editado por George Ermakoff, publicação do livro Parc Royal: um magazine na belle époque carioca, de Marissa Gorberg (19?-), com fotos de Malta.
+Pela Funarte, publicação do livro Quase acervo, de autoria de Ivan Grilo, com fotos de Malta. (Site IMS).
+Na matéria Irineu Marinho em todos os seus matizes, publicação de uma fotografia do prédio do jornal A Noite, de autoria de Malta (ABI Boletim Informativo, 2013).
+ 
+Prédio do jornal A Noite, anos 1920 por Malta / ABI Boletim Informativo, 2013
+ 
+Publicação do livro  A01 [cod.19.1.1.43] — A27 [s|cod.23], de Rosângela Rennó (1962-), sobre o roubo de mais da metade do acervo de fotografias de Augusto Mala do Arquivo Geral da Cidade do Rio de Janeiro. A obra mapeia o desaparecimento, retratando caixas vazias, rótulos e vestígiosComo a notação e ordenação originais dos álbuns, contém as reproduções do interior e do conteúdo de cada caixa, tal como foram encontrados após a constatação do grande furto de parte dos álbuns da Coleção Pereira Passos do Arquivo Geral da Cidade do Rio de Janeiro. Dos álbuns remanescentes foram reproduzidos cerca de 20% do seu conteúdo fotográfico (Site do IMS).
+Publicação do livro Arpoador : tribute/homenagem, de Julia Michaels e Maria Lago com a colaboração especial de Carolina Matos, pela Editora Língua Geral. Trazia imagens de vários fotógrafos, dentre eles Malta, Rogério Reis (1954-) e Carlos Moskovics.
+Com registros de Malta, Marc Ferrez, Thiele (18? – 19?) e Sidney Henry Holland (1883 – 1936), publicação do livro Cristo Redentor: de braços abertos com curadoria e coordenação Maria Izabel Noronha (196?-) e texto de apresentação Ruy Castro (1948-)(Site do IMS).
+Defesa e aprovação da tese de mestrado Documentando a experiência urbana carioca : o Rio de Janeiro pelas fotografias de Augusto Malta e do Rio, de Débora Gauziski de Figueredo Bueno, na Universidade Estadual do Rio de Janeiro (Site do IMS).
+Com imagens de Malta e de outros fitógrafos, publicação de O Largo do Paço: imagem e história, catálogo da exposição realizada no Museu de Arte do Rio de Janeiro – MAR -, de janeiro a abril de 2014 (Site do IMS).
+2015 – Publicação do livro Mar de Malta – fotografias Augusto Malta, com curadoria de Milton Guran (1948-) e texto de Pedro Vasquez (Site do IMS).
+Publicação do catálogo da exposição O Rio em movimento: cidade natural, cidade construção, realizada no Arquivo Nacional, entre outubro de 2015 e março de 2016, com curadoria de Renata William do Vale e fotos de Malta, Luciano Ferrez (1884 – 1955), Juan Gutierrez e Gilberto Ferrez  (1908 – 2000), dentre outros (Site do IMS).
+Editado pelo Instituto Odeon, publicação do livro Do Valongo à favela: imaginário e periferia, organizado por Clarissa Diniz e Rafael Cardoso com registros de vários fotógrafos, dentre eles Malta, Claudia Jaguaribe (1955-), Hélio Oiticica (1917 – 1980), Miguel Rio Branco (1946-) e Walter Firmo (1937-) (Site do IMS).
+No Centro Cultural da Light, realização da exposição Augusto Malta Revival, do fotógrafo Marcello Cavalcanti (Jornal do Commercio, 26 de outubro de 2015, última coluna).
+Pela Fundação Biblioteca Nacional, publicação do livro Os dias passam, de João do Rio (1881 – 1921). Foi publicada uma fotografia do Largo da Glória e da Praia do Russel, de autoria de Malta (Site do IMS).
+2016 – Com imagens de diversos fotógrafos, dentre eles Malta, publicação do livro Como nasceram as cidades brasileiras, de Carlos A. C. Lemos (1925 – 2015), editado pelo Studio Nobel (Site do IMS).
+Com registros de Malta, Marc Ferrez e de outros fotógrafos, publicação pela Cidade Viva Editora do livro Lagoa Rodrigo de Freitas : uma discussão centenária, de Victor Coelho (19?-).
+Publicação do catálogo da exposição O paço, a praça e o morro, realizada pelo Instituto Moreira Salles, no Paço Imperial, entre 24 de junho e 28 de agosto de 2016, reunindo 200 imagens que construíram a representação fotográfica do Rio de Janeiro através do registros de grandes mestres da fotografia brasileira do século XIX e das primeiras décadas do século XX, como Augusto Malta, Camillo Vedani (18? – 1888), Georges Leuzinger, Guilherme Santos, Juan Gutierrez e Marc Ferrez (Site IMS).
+2017 – Por ocasião da exposição homônima, realizada no IMS Rio, de 26 de novembro de 2017 a 25 de fevereiro de 2018 e no IMS Paulista, de 8 de maio a 29 de julho de 2018, publicação do livro Conflitos : fotografia e vivência política no Brasil, 1889-1964, organizado por Angela Alonso e Heloisa Espada, com registros de fotógrafos, dentre eles Malta (Site do IMS).
+2018 - Defesa e aprovação da tese de mestrado Memórias subterrâneas na fotografia de Augusto Malta: imagens, disputas e identidades no Rio de Janeiro da modernidade, de Dolores Eugênia de Rezende, pela Unirio (Site do IMS).
+2021 – Com textos de Augusto Ivan de Freitas Pinheiro, Eliane Canedo, Maria Pace e Piedade Grinberg; além de um ensaio fotográfico de Mauricio Hora, publicação do livro Moinho Fluminense – Memória, editado pela Automática, com registros de diversos fotógrafos, dentre eles, Malta (Site IMS).
+2022 – Editado pelo Arquivo Geral da Cidade do Rio de Janeiro, o livro Álbum da Cidade do Rio de Janeiro / Bicentenário da independência 2022, com fotografias de Malta, Georges Leuzinger, Guilherme Santos, Juan Gutierrez, Marc Ferrez, Therezio Mascarenhas (18? – 19?) e Uriel Malta, dentre outros.
+2023 – Na Janela Livraria, do Shopping da Gávea, lançamento do livro  Augusto Malta Revival, do fotógrafo Marcello Cavalcanti (marcellocavalcanti.com.br).
+2026 - Em 27 de janeiro, no Arquivo Geral da Cidade do Rio de Janeiro, sob a presidência do internacionalista e doutor em Ciência Política, Eliseu Santiago, em parceria com a Aprazível Edições, do jornalista, editor de livros, curador de museus e exposições, Leonel Kaz, o AGCRJ lançou o livro digital Achados e Perdidos: imagens inéditas do Rio de Janeiro (1937-1945), que revela um valioso e inédito acervo iconográfico da cidade do Rio no período do Estado Novo, sob a presidência de Getúlio Vargas (1882 – 1954).  São fotografias inéditas produzidas pelos filhos de Augusto Malta, Aristógiton  e Uriel. As imagens do livro resgatam a importância do trabalho dos filhos de Augusto Malta, que fotografaram os últimos anos da belle époque carioca assim como seu desaparecimento.
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/2609` — `itens/20.500.12156.1_2609/`
+- `20.500.12156.1/3151` — `itens/20.500.12156.1_3151/`
+- `20.500.12156.1/3156` — `itens/20.500.12156.1_3156/`
+
diff --git a/wordpress/20917-cronologia-de-benjamin-robert-mulock-1829-1863.md b/wordpress/20917-cronologia-de-benjamin-robert-mulock-1829-1863.md
new file mode 100644
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--- /dev/null
+++ b/wordpress/20917-cronologia-de-benjamin-robert-mulock-1829-1863.md
@@ -0,0 +1,74 @@
+---
+id: 20917
+url: "https://brasilianafotografica.bn.gov.br/?p=20917"
+titulo: "Cronologia de Benjamin Robert Mulock (1829 – 1863)"
+autor: "Andrea Wanderley"
+data: "2021-01-06T10:17:01+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/2221"]
+fetched_at: "2026-09-10T10:04:57.293Z"
+---
+
+# Cronologia de Benjamin Robert Mulock (1829 – 1863)
+
+Cronologia de Benjamin Robert Mulock (1829 – 1863)
+ 
+Benjamin Robert Mulock, em 1858 / Site Benjamin R. Mulock Photographer
+1829 – Benjamin Robert Mulock nasceu em 18 de junho, no condado de Staffordshire, na Inglaterra, filho do pregador evangélico dublinense Thomas Samuel Mulock (1789 – 1869), um fanático religioso de origem humilde, e da inglesa Dinah Mellard (1794-1845), órfã de um próspero industrial do ramo de curtumes. Eles haviam se casado em 7 de junho de 1825. Benjamin foi o mais novo entre seus irmãos Thomas Mellard Mulock (1827 – 1847) e Dinah Maria Mulock Craik (20/04/1826 – 12/10/1887).
+1830 - Seu pai, Thomas Samuel Mulock foi, pela primeira vez, internado no Stafford County Lunatic Asylum, hospital para doentes mentais, onde ficou do dia 1º ao dia 10 de maio.
+1831 - Thomas Samuel Mulock perdeu sua paróquia e a família foi viver em Newcastle-under-Lyme.
+1832 - Em 2 de dezembro, o pai de Benjamin, que devido a seu temperamento era conhecido como Moloch Sangrento, uma alusão a um demônio da tradição cristã e cabalística, foi internado de novo no Stafford County Lunatic Asylum, onde permaneceu sete anos.
+Nos últimos anos dessa década, Dinah Mellard, mãe de Benjamin, fundou, com a ajuda de sua filha, uma pequena escola em Newcastle-under-Lyme.
+1839 –  Com a morte da avó materna de Benjamin, a família Mulock herdou algum dinheiro.
+Em 31 de dezembro, seu pai deixou o Stafford County Lunatic Asylum.
+1840 - A família foi para Londres, onde passou a ter uma vida mais confortável. Moravam em Earls Court Terrace. Benjamin começou a estudar piano e concertina. Entre esse ano e por volta de 1845, quando Dinah, a mãe, faleceu, os Mulock tiveram uma vida cultural interessante. Thomas Samuel tornou-se amigo de Charles Mathews, gerente do Covent Garden, que convidava constantemente os Mulock para ocuparem uma frisa no teatro. Conviveram com atores, comediantes, e escritores, como George (1804 – 1878) e Maria Lovell (1803-1877), também atriz; a poeta Eliza Leslie (1787 – 1858), e o editor Samuel Carter Hall (1800 – 1889).
+1842 – Sua mãe começou a apresentar problemas de saúde.
+1843 – Benjamin começou a se interessar por Engenharia Civil.
+1844 – Sua mãe e sua irmã voltaram temporariamente para o condado de Staffordshire, provavelmente na esperança de que a saúde da mãe melhorasse.
+ 
+O pai de Benjamin, Thomas Samuel Mulock, c. 1823. Fotografia publicada no livro The Mellards and Their Descendants, 1915.
+ 
+1845 – Em Londres, Benjamin, seus irmãos e mãe foram abandonados pelo pai, em 21 de março de 1845, Sexta-Feira da Paixão.
+Sua mãe, Dinah Mellard Mulock, faleceu em 3 de outubro. Thomas Samuel tentou se reaproximar da filha Dinah.
+1846 – Por motivos financeiros, seu irmão Thomas teve que abandonar seus estudos de pintura e passou a trabalhar como capitão de navios. Ele havia estudado pintura com William Holman Hunt (1827 – 1910), que fundou, em 1848, juntamente com Dante Gabriel Rossetti (1828 – 1882) e John Everett Millais (1829 – 1896), o grupo artístico Irmandade Pré-Rafaelita.
+1847/ 1848 /1849 - Em Londres, morte de seu irmão, Thomas, em 12 de fevereiro de 1847, após uma queda do navio em que faria sua segunda viagem como capitão da Marinha Mercante.
+Benjamin vivia com sua irmã, Dinah, em alojamentos nas cercanias de Tottenham Court Road, e estudava no University College London latim, matemática e filosofia natural como preparação para a Engenharia. No século XIX, a filosofia natural englobava o estudo da astronomia, cosmologia, geologia, física e quimíca.
+Dinah completou 21 anos e recebeu sua parte do trust de sua mãe. Ela escrevia contos e poemas que vendia para revistas, jornais e para os anuários de moda de Lady Blessington (1789 – 1849), além de percorrer editoras fazendo contatos. Em 1849, Dinah, publicou seu primeiro romance, The Ogilvies.
+1850 – Benjamim completou 21 anos, recebeu sua parte do trust de sua mãe e foi para a Austrália. Desse ano até 1853, estabeleceu uma criação de ovinos e participou da corrida ao ouro no país.
+1854 – Entre esse ano e 1855, Mulock retornou à Europa para tratar um problemas nos olhos, na Suíça e em Marienberg, na Alemanha.
+1855 - Alistou-se na Army Works Corps e serviu como engenheiro em uma ferrovia durante a guerra da Criméia, conflito que ocorreu entre 1853 e 1856, na península da Criméia, no mar Negro, ao sul da Rússia e nos Bálcãs.
+1856 – Retornou à Inglaterra, em julho, e entrou para o Liverpool Public Offices Engineers Department. Como engenheiro, trabalhou para os Correios de Liverpool. Em torno dessa época, Mulock tornou-se um fotógrafo autodidata.
+Nesse ano, sua irmã publicou John Halifax. No período em que escreveu o livro, foi sustentada por Benjamin.
+Seu pai voltou a ser internado no asilo de doentes mentais do condado de Stafford, onde permaneceu até 1860.
+1857 - Em 31 de março, foi lançada a pedra fundamental da ferrovia da Bahia ao São Francisco, que ligava Salvador a Alagoinhas, a primeira da Bahia. Os planos da obra foram levantados pelos engenheiros civis ingleses Henrique Law e John Blount e sua execução contratada a John Watson (1816-1890), que dela encarregou o engenheiro H. Vignoles (1793 – 1875) (Diário de Pernambuco, 14 de abril de 1857, na segunda coluna sob o título “Bahia”, e Jornal do Commercio, 11 de março de 1858, na quarta coluna). Na época, o presidente da província da Bahia era o desembargador João Lins Vieira Cansansão de Sinimbú (1810 – 1906), presente na cerimônia do lançamento da pedra fundamental da obra.
+1858 – Benjamim vivia em Liverpool e sua irmã, Dinah, foi morar com ele.
+ 
+Os irmãos Dinah e Benjamin Mulock, em 1858, no Jardim de Linacre Grange, em Bootle, cidade próxima a Liverpool. Fotografia publicada no livro The Mellards and Their Descendants, 1915.
+ 
+1859 – Dinah e Benjamin mudaram-se para Londres e foram viver em Wildwood Cottage, perto de Hampstead, uma área rural da cidade. Entre fins de 1858 e 1859, Benjamin trabalhou como fotógrafo para John Jabez Edwin Paisley Mayall (1813 -1901), profissional famoso por sua produção de fotografias no formato cartões de visita da rainha Victoria (1819 – 1901). No período que se dedicou à fotografia, provavelmente entre 1858 e 1862, Benjamin sofreu doenças de pele decorrentes do uso de produtos químicos no processo fotográfico.
+Benjamin embarcou no paquete inglês Oneida, que partiu de Southampton, e chegou ao Brasil em 1º de novembro, onde ficou até 1862. Teria sido contratado na França, onde aprimorava seus conhecimentos de fotografia, pela firma empreiteira do engenheiro civil inglês John Watson (1816-1890), para documentar a construção da estrada de ferro da Bahia ao São Francisco. Segundo o site Salvador Antiga, teria escrito sobre a Bahia: Eu nunca vi um lugar que me agradasse tanto à primeira vista. A Cidade alonga-se pela Baía, de forma crescente. A orla é alta e as casas erguem-se umas sobre as outras, misturando-se com a vegetação dominada por bananeiras e coqueiros, tudo tão verde.
+ 
+Site Family Search – Entrada de Passageiros na Bahia – Tabela com ano, mês, dia, procedência, nome da embarcação e nome do passageiro
+ 
+1860 - Duas fotografias de sua autoria produzidas na Bahia foram publicadas na Illustrated London News, fundado em 1842 e primeiro jornal ilustrado semanal do mundo.
+Em uma carta enviada por sua irmã, Dinah, a ele, em 4 de setembro, ficava evidenciada sua tendência à melancolia: Você trabalhar de modo silencioso e constante apesar das dificuldades, tenho orgulho disso, mas quando você se esfalfa de modo descuidado e inútil, e então fica irritado e vê as coisas de modo melancólico, bem, isto me preocupa bastante, eu admito.
+c. 1861 – Em torno desse ano, vinte e sete fotografias da construção da ferrovia e também 32 imagens da cidade de Salvador e do interior da Bahia foram presenteadas a d. Pedro II pelo empreiteiro John Watson.
+1862 – Em abril, deixou o Brasil e voltou para a Inglaterra, onde passou a viver com sua irmã, Dinah, em Hampstead.
+1863 –  Em janeiro e fevereiro, trabalhou em Swansen, cidade no País de Gales, como engenheiro. Em abril, Benjamin retornou à Inglaterra e voltou a morar com sua irmã em Hampstead, em Londres.
+Benjamin começou a dar sinais de melancolia. Sua irmã, que cuidou dele, tinha medo que ele cometesse suicídio. Em 7 de junho, foi internado na clínica para doentes mentais do Dr. Harrington Tukes, em Hammersmith, Londres. Fugiu cinco dias depois e foi atropelado, tendo morrido dos ferimentos em 17 de junho (Weekly Freeman’s Journal, 27 de junho de 1863).
+Segundo o artigo Mrs. Craik, da escritora escocesa Margaret Oliphant (1828 – 1887), publicado em 1887,  na Macmillan’s Magazine, seria impossível penetrar suficientemente nas linhas da reticência vitoriana para descobrir se o problema de Benjamin era com o álcool, com o ópio ou instabilidade mental; ele aparecia e desaparecia, era muito falado, ternamente recebido pela irmã, causando nela ansiedade; rejeitado pelos amigos dela, mas nunca por ela.
+1865 - Casamento de Dinah com George Lillie Craik  (1798–1866), escritor e crítico literário escocês.
+1869 – Morte de seu pai, Thomas Samuel Mulock.
+1887 – Morte de Dinah Maria Mulock Craik, em 12 de outubro.
+ 
+Benjamin R. Mulock. Cemitério dos Ingleses, c. 1860. Salvador, Bahia / Acervo IMS
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/2221` — `itens/20.500.12156.1_2221/`
+
diff --git a/wordpress/20924-cronologia-de-joaquim-insley-pacheco-1830-1912.md b/wordpress/20924-cronologia-de-joaquim-insley-pacheco-1830-1912.md
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+---
+id: 20924
+url: "https://brasilianafotografica.bn.gov.br/?p=20924"
+titulo: "Cronologia de Joaquim Insley Pacheco (1830 – 1912)"
+autor: "Andrea Wanderley"
+data: "2021-01-06T10:21:31+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/2951"]
+fetched_at: "2026-09-10T10:05:01.040Z"
+---
+
+# Cronologia de Joaquim Insley Pacheco (1830 – 1912)
+
+Cronologia de Joaquim Insley Pacheco (1830 – 1912)
+ (atualizada em dezembro de 2025)
+Joaquim Insley Pacheco, s/d / Acervo FBN
+ 
+1830 - Em 31 de março, nascimento de Joaquim José (depois Insley) Pacheco, em Cabeceiras de Basto, em Portugal. Era filho de José Antonio Pacheco e Maria Antonia da Conceição. Joaquim era o mais novo de três irmãos: Bernardo José (1824 – 1886), e Joaquina (1827 – 18?). Ficaram órfãos de pai em 1835 e, de mãe, em 1839. 
+1843 -  Provavelmente em fins de 1843 veio para o Brasil juntar-se ao seu irmão Bernardo, que teria partido de Portugal em 1837. Também em torno de 1843 sua irmã Joaquina veio para o Brasil – provavelmente vieram juntos. Joaquim fixou-se em Pernambuco, onde trabalhava como mascate ou caixeiro viajante. 
+1846 – Já estava em Fortaleza, no Ceará, e ele e seu irmão, Bernardo José, doaram dinheiro para ajudar “seus infelizes compatriotas naufragados no brigue português S. João Baptista”, que ia do Pará para Lisboa (Pedro II (CE), 19 de setembro de 1846, segunda coluna).
+1848 – Teve contato com a fotografia com o daguerreotipista e mágico irlandês Frederick Walter (1811 – 18?) que, segundo Mello Moraes Filho  (1844 – 1919), “desembarcara no Ceará, trazendo consigo um aparelho de daguerreótipo, que usava durante o dia, e um gabinete de mágica, que funcionava à noite nos teatrinhos“. Walter tornou-se o mestre do jovem Pacheco.
+ 
+Mello Moraes Filho em “Artistas do meu tempo” / Correio da Manhã, 5 de abril de 1903
+ 
+O nome abrasileirado do mestre irlandês de Insley era Guilherme Frederico Walter e ele havia trabalhado, em 1840, no Rio de Janeiro, com o mágico Jacomo Luiz Marques (18?-?); e, em 1846, no Recife, como assistente do mágico inglês George Sutton (18? -?) (Jornal do Commercio, 12 de setembro de 1840, penúltima coluna; e Diário de Pernambuco, 9 de maio de 1846, última coluna).
+ 
+Jornal do Commercio, 12 de setembro de 1840
+ 
+Diário de Pernambuco, 9 de maio de 1846
+ 
+Após as apresentações no Recife, Walter seguiu para São Luís, capital do Maranhão, onde aprendeu a daguerreotipia com o norte-americano Charles DeForest Fredericks (1823 – 1894) que, na ocasião, estava trabalhando na cidade (O Espelho de Papel – A fotografia de Insley Pacheco na coleção do IHGB (2025)). Em 1849, no Recife, Walter estabeleceu sua galeria de daguerreótipos na Rua da Cadeia de Santo Antônio, nº 26, no segundo andar (Diário de Pernambuco, 21 de fevereiro de 1849, última coluna).
+Segundo História da fotografia no Ceará (Edição do Autor, 2019), de Ary Bezerra Leite, Pacheco pintava cenários para os espetáculos de magia do seu professor/empregador e, em troca, recebia dele aulas de daguerreotipia.  Guilherme Frederico Walter chegou ao Ceará, em 30 de maio de 1848, e anunciou, poucos dias depois, que tirava retratos pelo daguerreótipo com toda a perfeição. Assim começava a história da fotografia no Ceará (O Cearense, 8 de junho de 1848, última coluna).
+ 
+O Cearense, 8 de junho de 1848 ( no anúncio está escrito, erradamente, 1849)
+ 
+Em torno desse ano, Insley conheceu Augustin Lettarte (1812 – ?),  que abriu um estúdio de daguerreotipia, na rua Nova, e nos anos 1850, estabeleceu-se no Recife.
+1849 - Trabalhou inicialmente na casa do lisboeta Antonio de Oliveira Borges, que havia chegado na cidade em 1829. Depois trabalhou com João Antônio Garcia, da cidade de Chaves, em Portugal, que viria a ser seu sogro. Seu ateliê ficava na rua Formosa e ainda como Joaquim José Pacheco anunciou que havia recebido dos Estados Unidos uma excelente máquina e mais utensílios para tirar retratos pelo daguerreótipo (O Cearense, 17 de maio de 1849, na última coluna).
+ 
+O Cearense, 17 de maio de 1849
+ 
+1850 - Contribuiu para o aumento e ratificação da capela do Senhor do Bonfim, em Aracati (Pedro II (CE), 30 de janeiro de 1850, segunda coluna).
+Anunciou que havia transferido sua oficina, em São Luís, para a rua do Quebra-Costa, e que havia recebido de Nova York um sortimento de caixinhas, medalhas e alfinetes, estes próprios para colocar dois retratos em cada um, e sendo tudo de muito bom gosto (A Revista: Folha política e literária (MA), 13 de junho de 1850, última coluna).
+ 
+A Revista: Folha política e literária (MA), 13 de junho de 1850
+ 
+Entre o segundo semestre deste ano e 1851, esteve nos Estados Unidos. Teria sido sua primeira viagem àquele país? Mello Moraes Filho mencionou que ele teria ido para os Estados Unidos duas vezes, mas não precisou as datas (Correio da Manhã, 5 de abril de 1903, primeira coluna). 
+Estudou, inicialmente, com Mathew Brady (1822 – 1896), fotógrafo predileto do presidente Abrahan Lincoln (1809 – 1865), responsável pela cobertura fotográfica da Guerra Civil, considerado o pai do fotojornalismo, que mantinha a Daguerrean Miniature Gallery, na Broadway, 205 – 207, em Nova York.
+ 
+Matthew Brady (1822 – 1896), c. 1875 / Brady-Handy Photograph Collection, Biblioteca do Congresso dos Estados Unidos
+ 
+“Apenas chegou em New York, Pacheco demandou sôfrego as oficinas do célebre daguerreotipista Brad, que reunia sob seu teto brilhante plêiade de alunos americanos e forasteiros que se empenhavam em estudar-lhe o savoir-faire dos retratos”
+Mello Moraes, em Artistas do meu tempo (1904)
+Insley estudou também com Jeremiah Gurney (1812 – 1895) e Henry E. Insley (1811 – 1894), ambos pioneiros da daguerreotipia nos Estados Unidos. Também tinham seus estabelecimentos fotográficos na Broadway. Acredita-se que em homenagem a esse último Joaquim José Pacheoc adotou o sobrenome Insley.
+ 
+Jeremiah Gurney fotografado por Henry Hunt Snelling, c. 1858
+
+Autorretrato de Henry E. Insley, c. 1839 / The Nelson-Atkins Museum of Art, Kansas City
+ 
+1851 - Após a temporada em Nova York, aportou em São Luís do Maranhão, após 31 dias de viagem no brigue Escuna Nacional Fere-Fogo. Trabalhou por cerca de 15 dias na cidade, em uma galeria na rua Grande, oferecendo retratos a daguerreótipo por Pacheco e Ory tirado em – JENNY LIND – e outros produtos. Jenny Lind (1820 – 1887) era uma cantora sueca de  ópera que fazia muito sucesso na época. O parceiro de Insley era o fotógrafo Fortunato Ory (c. 1848 -1918). Na nota do Correio d´Anúncios – Folha Comercial da Províjncia do Maranhão, de 15 de março de 1851, na última coluna, Insley é referido como brasileiro (Publicador Maranhense, 16 de março de 1851, segunda coluna).
+ 
+Correio d´Anúncios Folha Comercial da Província do Maranhão, de 15 de março de 1851
+ 
+Publicador Maranhense, 16 de março de 1851
+ 
+Anunciou que estava de volta à Fortaleza, depois de uma viagem aos Estados Unidos onde havia sido instruído pelo melhor artista daquele país. Seu ateliê ficava na rua da Palma (O Cearense, 9 de maio de 1851, na última coluna).
+ 
+O Cearense, 9 de maio de 1951
+ 
+Insley tinha um ateliê na rua Nova , 61, no Recife, e anunciava sua despedida da cidade porque iria retirar-se para os portos do sul (Diário de Pernambuco, 19 de novembro de 1851, primeira coluna).
+ 
+Diário de Pernambuco, 19 de novembro
+ 
+1852 – Seu irmão, Bernardo José, ensinava flauta, clarineta, piano e canto (Pedro II(CE), 17 de abril de 1852, segunda coluna).
+Avisou que havia chegado em Fortaleza, vindo de uma viagem às províncias do sul e divulgava seus retratos pelo sistema electrotypo (Pedro II (CE), 30 de junho de 1852, na terceira coluna).
+ 
+Pedro II (CE), 30 de junho de 1852
+ 
+Casou-se com Elvira Laura Garcia Pacheco (c. 1831 – 1877), filha de João Antônio Garcia.
+Provavelmente a falta de clientela levou-o a vender por menos de seu valor todos os utensílios pertencentes a sua profissão de retratista. Anunciava também possuir uma máquina eletro-magnética, que além de servir para choques contra reumatismo, ou gota, paralisia ou dores e S. Victor e todas as moléstias provenientes de um distúrbio do sistema nervoso tem a vantagem de servir para galvanizar!  (Pedro II (CE), 21 de agosto de 1852, na terceira coluna).
+Anunciou sua iminente partida de Fortaleza e aconselhava às pessoas a se deixarem retratar. Destaca-se nesse anúncio, a importância que Insley atribuia ao retrato:  o objecto mais precioso que as pessoas de gosto devem possuir, já para consolarem as saudades da ausencia de quem lhes é caro, já para metigar a lembrança d’um pai que perde o filho, ou o filho que perde o pai & c. (Pedro II (CE), 21 de setembro de 1852, na primeira coluna).
+ 
+Pedro II (CE), 21 de setembro de 1852
+ 
+Cobrou uma dívida de dois retratos a José Monteiro (Pedro II (CE), 4 de dezembro de 1852, última coluna).
+Partiu para Sobral, no Ceará (Pedro II (CE), 8 de dezembro de 1852, última coluna).
+1854 – Em anúncio, ainda como J. J. Pacheco ou Joaquim José Pacheco, divulgava seu novo estilo de retratar – chrystalotypo (cristalotipo) – e informava que seu estabelecimento fotográfico, no Recife, no Aterro da Boa Vista, nº 4, ficava na casa em que havia morado o sr. Augustin Lettarte (Diário de Pernambuco, 23 de março de 1854, na primeira coluna; Diário de Pernambuco, 29 de março de 1854, na terceira coluna). Neste mesmo endereço haviam trabalhado o fotógrafo norte-americano Charles DeForest Fredricks (1823 – 1894), em 1851 (Diário de Pernambuco, 23 de julho de 1851, última coluna); Augustin Lettarte, em 1854 (Diário de Pernambuco, 6 de fevereiro de 1854, segunda coluna), e, posteriormente entre 1856 e 1857, o pernambucano João Ferreira Villela (Diário de Pernambuco, 3 de outubro de 1856, primeira coluna). Anunciava também ter estado recentemente nos Estados Unidos. Terá sido sua segunda viagem ao país, uma das duas mencionadas por Mello Moraes?
+ 
+Diário de Pernambuco, 23 de março de 1854
+ 
+Nascimento de sua filha, Elvira Elizabeth (1854 – 1913).
+Houve entre o primeiro daguerreotipista pernambucano, Cincinato Mavignier (1826 – 1868), e Insley Pacheco, um desentendimento em relação à venda de um daguerreótipo (Diário de Pernambuco, 29 de agosto de 1854, última coluna).
+ 
+Diário de Pernambuco, 29 de agosto de 1854
+ 
+O norte-americano Thomaz Oxford Smith (18?-?), futuro sócio de Insley no Rio de Janeiro, apresentava-se como um professor de daguerreótipo recém chegado de Nova York  (Jornal do Commercio, 10 de dezembro de 1854).
+Em fins deste ano ou início de 1855, Insley mudou-se para o Rio de Janeiro e, na época, seus antigos colegas do curso de Matthew Brady, nos Estados Unidos, os húngaros exilados políticos Carlos Kornis de Totvárad (1822 – c. 1862) e Estevão Biranyi (18? – c. 1857), trabalhavam como fotógrafos na rua São Pedro, 43; e, posteriormente, na rua dos Ourives. O fato de terem sido contemporâneos de Insley no estúdio de Brady foi apontado por Gilberto Ferrez em A Fotografia no Brasil – 1840-1900 (1985) (Jornal do Commercio, 2 de setembro de 1855; Jornal do Commercio, 11 de novembro de 1855).
+1855 – Em 2 de fevereiro, nascimento de seu filho, Alfredo Henrique (1855 – 1895) (Site Emerald Insight).
+Anúncio da Novíssima e esplêndida galeria de retratos pelo sistema cristalotipo, novo estúdio fotográfico de Insley Pacheco na rua do Ouvidor, nº 31, posteriormente 40. Ficava na região que concentrava os estabelecimentos mais elegantes da cidade (Jornal do Commercio,  7 de fevereiro de 1855 e Correio Mercantil, 9 de fevereiro de 1855 ). Já assinava com o sobrenome Insley. Foi publicada uma propaganda da nova galeria em inglês (Jornal do Commercio, 9 de fevereiro de 1855). No estabelecimento, anunciado como o primeiro a realizar retratos pela técnica mencionada na América Meridional, também eram comercializados quadros, caixas, molduras e alfinetes (Jornal do Commercio, 2 de agosto de 1855).
+ 
+Jornal do Commercio, 7 de fevereiro de 1855
+ 
+Um homem do público o acusa de charlatanismo, questionando o anúncio de retratos em cristotipo em seu novo estúdio fotográfico (Diário do Rio de Janeiro, 10 de fevereiro de 1855, na quinta coluna). Insley Pacheco respondeu a seu acusador (Correio Mercantil, 12 de fevereiro de 1855, primeira coluna), que por sua vez replicou (Correio Mercantil, 14 de fevereiro de 1855, na primeira coluna).
+Foi publicado um convite para uma exposição à noite na galeria de retratos de Insley Pacheco (Jornal do Commercio, 5 de abril de 1855, na quarta coluna). Elogio à exposição e comentário sobre as duas soberbas molduras destinadas às augustas efígies de SS. MM. II (Jornal do Commercio, 11 de abril de 1855, na sexta coluna).
+Foi anunciada a nova iluminação a gás da galeria de Insley Pacheco (Jornal do Commercio, 4 de maio de 1855).
+Insley Pacheco fotografou o imperador Pedro II, a imperatriz Teresa Cristina e a filha do casal, princesa Leopoldina (1847 – 1871), na Quinta da Boa Vista, em 10 de agosto (Diário do Rio de Janeiro, 9 de janeiro de 1856).
+Diário do Rio de Janeiro, 9 de janeiro de 1856
+Propaganda de seu ateliê, agora batizado de Photographia Moderna (Diário do Rio de Janeiro, 16 de novembro de 1855).
+ 
+Diário do Rio de Janeiro, 16 de novembro de 1855
+ 
+Foi noticiado que o estabelecimento de Insley Pacheco havia recebido dos Estados Unidos um rico e variado sortimento de molduras, caixas, passe-partouts (franceses) e outros produtos (Jornal do Commercio, 20 de dezembro de 1855).
+Segundo Guilherme Auler, sob o pseudônimo de Ricardo Martim, em dois artigos publicados na Tribuna de Petrópolis, em 1º e 8 de abril de 1956, conforme informado no livro O Brasil na fotografia oitocentista (2003), de Pedro Vasquez, Insley teria sido agraciado com com o título de “Photographo da Caza Imperial”, em 22 de dezembro. Mas este fato só foi anunciado pela imprensa, em 1857.
+1856 - Nascimento de sua filha, Emilia (1856 – 1858).
+Propaganda do estabelecimento de Insley Pacheco, destacando uma técnica que beneficiava a execução de retratos de crianças (Correio Mercantil, 7 de dezembro de 1856).
+ 
+Correio Mercantil, 7 de dezembro de 1856
+ 
+1857 -  O fotógrafo Thomaz Oxford Smith anunciou o fim de sua sociedade com Insley Pacheco no ateliê fotográfico da rua do Ouvidor, 40 (Gazeta Mercantil, 23 de outubro de 1857, na penúltima coluna). 
+Foi noticiado que Insley Pacheco havia sido agraciado com o título de “Fotógrafo da Casa Imperial” (Diário do Rio de Janeiro, 19 de dezembro de 1857).
+Em anúncio de seu estabelecimento fotográfico, apresentava-se como Photographista da Augusta Casa Imperial e miniaturista em marfim (Jornal do Commercio, 22 de dezembro de 1857).
+ 
+Jornal do Commercio, 22 de dezembro de 1857
+ 
+1858 -  Foi anunciado um grande passo na arte fotográfica no ateliê de Insley Pacheco: É o ambrotipo e a pintura dando-se as mãos para reunirem a fidelidade da cópia a duração e a persistência das cores (Diário do Rio de Janeiro, 17 de janeiro de 1858, na quarta coluna). Publicação de uma carta de Insley Pacheco sobre o assunto (Diário do Rio de Janeiro, 17 de janeiro de 1858, na terceira coluna). Foi feito um elogio a seu trabalho (Correio Mercantil, 17 de março de 1858, na segunda coluna).
+ 
+Diário do Rio de Janeiro, 17 de janeiro de 1858
+ 
+De mesenterites, falecimento de Emilia (1856 – 1858), filha de Insley Pacheco (Correio da Tarde, 22 de abril de 1858, na primeira coluna).
+Em anúncio de seu estabelecimento, Insley Pacheco apresentava-se como “primeiro e único retratista em vidro” (Jornal do Commercio, 13 de maio de 1858).
+ 
+Jornal do Commercio, 13 de maio de 1858
+ 
+Insley Pacheco ofereceu ao liceu de artes e ofícios da sociedade Propagadora das Belas-Artes material para ser usado nas aulas de desenho (Diário do Rio de Janeiro, 24 de setembro de 1858).
+Na casa do sr. Bernascone, na rua do Ouvidor, nº 143, exposição de um retrato do próprio Insley Pacheco colorido a óleo pelo pintor Giovanni Bruschetti (Jornal do Commercio, 29 de setembro de 1858, na terceira coluna).
+Nascimento de seu filho, Joaquim Insley Pacheco Junior (1858-1947).
+Passou a integrar a comissão artística da sociedade Propagadora das Belas Artes (Diário do Rio de Janeiro, 9 de dezembro de 1958, na segunda coluna).
+1859 - Retornou a Fortaleza, onde instalou seu estúdio no sobrado de seu sogro, na rua Formosa. Passou 15 dias na cidade e apresentou a ambrotipia pela primeira vez, no Ceará (Pedro II (CE), 4 de maio de 1859, terceira coluna).
+ 
+Pedro II (CE), 4 de maio de 1859
+ 
+“Pacheco e Irmão Ambrotypistas da Augusta Caza Imperial” tinham um ateliê fotográfico em São Luiz, que funcionou até dia 6 de fevereiro (Publicador Maranhense, 1º de fevereiro de 1859, última coluna).
+Insley Pacheco, sua mulher, Elvira Laura Garcia Pacheco, e dois filhos retornaram de uma viagem ao norte, a bordo do paquete a vapor “Oiapoque” (Correio Mercantil, 26 de junho de 1859, na sexta coluna). Voltou ao comando de seu ateliê (Correio Mercantil, 29 de junho de 1859, na primeira coluna).
+Foi anunciada a exposição do retrato de uma dama da sociedade tendo ao fundo um bosque, primeiro trabalho desse gênero obtido pelo sistema ambro-cromo-tipo, inventado pelo sr. J. Insley Pacheco (Correio Mercantil, 10 de outubro de 1859, na segunda coluna).
+Tornou-se suplente da comissão artística da sociedade Propagadora das Belas Artes (Correio Mercantil, 10 de dezembro de 1859).
+1860 – “Pacheco e Irmão Ambrotypistas da Augusta Caza Imperial” anunciaram sua presença em Salvador, na Ladeira de São Bento, 17 (Jornal da Bahia, 3 de janeiro de 1860). Pouco tempo depois, foi anunciado que o estabelecimento fecharia em junho (Jornal da Bahia, 15 de maio de 1860).
+A firma abriu um ateliê em São Luís pela segunda vez (Jornal do Commercio, Instrutivo, Agrícola e Recreativo (MA), 7 de setembro de 1860). Provavelmente, foi seu irmão que seguiu para o Maranhão.
+ 
+Jornal do Commercio, Instrutivo, Agrícola e Recreativo (MA), 7 de setembro de 1860)
+ 
+O fotógrafo João Ferreira Villela (18? – ?) anunciou sua volta ao Recife, depois de temporada no Rio de Janeiro, apresentando-se como único discípulo de Insley Pacheco (Diário de Pernambuco, de 4 de outubro de 1860, na última coluna).
+Insley Pacheco foi um dos subscritores de uma carta enviada ao escritor  francês Victor Hugo (1802-1885) na ocasião da construção de um monumento em homenagem ao jornalista e político francês Charles Ribeyrolles (1812-1860) (Courrier du Brésil, 9 de dezembro de 1860, na segunda coluna).
+1861 – Anunciou que a “Pacheco e Irmão Ambrotypistas da Augusta Caza Imperial” deixaria São Luís no fim de fevereiro (O Commercio, 2 de fevereiro de 1861, na quarta coluna).
+Realização de uma exposição de retratos em cartões de visita na loja de Insley Pacheco, no Rio de Janeiro (Jornal do Commercio, 27 de abril de 1861, na terceira coluna).
+Propaganda de Insley Pacheco anunciando o processo “hallotypo” (Jornal do Commercio, 7 de setembro de 1861).
+ 
+Jornal do Commercio, 7 de setembro de 1861
+ 
+1862 - Foi agraciado com a medalha de cobre na Exposição Nacional de 1861 / 1862, na qual participou na seção de Belas Artes com retratos da família imperial e com fotopinturas de paisagens (Correio da Tarde, 13 de março de 1862, na última coluna).
+1863 - Foi noticiada a abertura do novo estabelecimento de Insley Pacheco, na rua do Ouvidor, nº 102 (Diário do Rio de Janeiro , 1º de abril de 1863, na quarta coluna).
+Foi nomeado sócio efetivo da Sociedade Auxiliadora da Indústria Nacional (Diário do Rio de Janeiro, 13 de maio de 1863, na quarta coluna).
+Nascimento de sua filha, Maria Amélia Pacheco (1863-1944), a Marocas.
+Uma crônica do poeta e jornalista Faustino Xavier de Novais (1820 – 1869), de 24 de outubro de 1863, chamava atenção para a popularidade de Insley Pacheco no Rio de Janeiro (Correio Mercantil, 24 de outubro de 1863, terceira coluna):
+“…Pouco distante do meu pouso eleva-se uma casa cuja fachada pintada de cores vivas provoca a atenção dos que passam. É aí o palácio do fotógrafo mais afamado da capital, J. Insley Pacheco, que tem tido a honra de copiar todos os narizes do Rio…”
+ 
+Faustino Xavier de Novais por Ângelo Agostino, 1870 / Wikipedia
+ 
+Faustino era irmão de Carolina Augusta (1835 – 1904), esposa do escritor Machado de Assis (1839 – 1908), posteriormente fotografado por Insley..
+ 
+1864 -  O irmão de Insley Pacheco, Bernardo José Pacheco, chegou da Europa, depois de uma temporada entre Bruxelas, Paris e Londres, onde estudou em diversas oficinas fotográficas (Diário do Rio de Janeiro, 20 de fevereiro de 1864, na quarta coluna).
+O escritor Machado de Assis (1839 – 1908), que nasceu no mesmo ano em que nasceu a fotografia, 1839, escreveu em sua coluna do Diário do Rio de Janeiro de 7 de agosto de 1864 sobre suas visitas à casa do Pacheco (justamente Insley Pacheco), que definiu como o mais luxuoso Templo de Delos do Rio de Janeiro, exaltando poder ver no mesmo álbum fotográfico os rostos mais belos do Rio de Janeiro, falo dos rostos femininos. Contou também a história da chegada do daguerreótipo na cidade e, em seguida, elogiou o trabalho realizado pelo artista  J.T. da Costa Guimarães, uma miniatura de Diane de Poitiers, exposto no estabelecimento de Insley Pacheco. Finalmente, revelou que havia chegado há pouco tempo no referido ateliê um aparelho fotográfico destinado a reproduzir em ponto grande as fotografias de cartão. Termina seu passeio perguntando-se “Até onde chegará o aperfeiçoamento do invento de Daguerre?”
+Um grande temporal ocorrido em 10 de outubro, no Rio de Janeiro, atingiu seriamente o estabelecimento fotográfico de Insley Pacheco (O Paiz (MA), 8 de novembro de 1864, na segunda coluna).
+1865 – Na revista Semana Illustrada, de 3 de setembro de 1865, foi publicada uma charge mencionando Insley Pacheco.
+ 
+Revista Semana Illustrada, 3 de setembro de 1865
+ 
+Enviou para a Exposição Internacional do Porto diversos retratos de pessoas “notáveis” e da família real, de dom Pedro II, da imperatriz Teresa Cristina, além de duas paisagens e dois estudos (Correio Paulistano, 3 de outubro de 1865, na segunda coluna). Esses trabalhos foram elogiados (O Despertador, 10 de outubro de 1865, na primeira coluna). Ele ganhou uma medalha de primeira classe por suas fotografias (Jornal do Commercio, 7 de novembro de 1865, na segunda coluna).
+1866 - Anúncio de seu estabelecimento fotográfico, que já era na rua do Ouvidor, 102 (Índice Alfabético, edição de 1866, segunda coluna).
+No Club Fluminense, com a presença de dom Pedro II e da imperatriz Teresa Cristina, realização do Salão Literário e Artístico da Arcadia Fluminense, cuja galeria de arte havia sido arrumada por Insley Pacheco (O Publicador Maranhense, 3 de janeiro de 1866, na terceira coluna sob o título “Arcadia Fluminense”).
+Foi publicado um comentário sobre o governo português ter condecorado Insley Pacheco como Cavaleiro da Real Ordem de Cristo (Semana Ilustrada, 3 de março de 1866, segunda coluna).
+Insley Pacheco foi premiado com a segunda medalha de prata da seção de “Fotografia” na Segunda Exposição Nacional de 1866, realizada pela Academia Real de Belas Artes, de 19 de outubro a 16 de dezembro de 1866. Pela primeira vez, a fotografia apareceu como categoria específica, separando-se do grupo destinado às Belas Artes. Ele participou com participou com fotografias, retrato de uma senhora e fotopinturas (Diário do Rio de Janeiro, 1º de fevereiro de 1867, na última coluna).
+Sobre sua participação, o pintor Victor Meirelles (1833-1903), que presidiu o júri, comentou no Relatório sobre a II Exposição Nacional:
+“Pelos seus retratos que se recomendam pela perfeição do trabalho, nitidez e beleza das meias tintas, efeitos de luz agradáveis, tornando-se sobretudo notável nessa parte, que é tratada artisticamente, a bela prova fotográfica representando uma senhora, que graciosamente e com bastante naturalidade descansa sobre o espaldar de uma poltrona”.
+Entre este ano e 1875, Bernardo José, o irmão de Insley, foi sócio do fotógrafo José Christiano Jr. (1832 – 1902) no estabelecimento fotográfico Christiano Jr & Pacheco (Jornal do Commercio, 3 de dezembro de 1866, quarta coluna e Almanak Administrativo, Mercantil e Industrial do Rio de Janeiro, 1867). Entre 1876 e 1882, eram um dos associados do estabelecimento fotográfico Pacheco, Menezes & Irmão, dele e dos irmãos João Xavier e Carlos Xavier de Oliveira.
+1867 - Participou da Exposição Universal de Paris com fotopinturas.
+Integrava o conselho da Sociedade Auxiliadora da Indústria Nacional (Jornal do Commercio, 16 de outubro de 1867, na segunda coluna).
+Foi concedido a Joaquim Insley Pacheco o privilégio do período de cinco anos para fazer fotografias de sua invenção, aplicadas à porcelana, vidro opalino e marfim. Ele havia pedido 20 anos (Jornal do Commercio, 19 de dezembro de 1867, na quinta coluna ).
+1868 - O privilégio foi suspenso, impugnado por Carneiro & Gaspar (Jornal do Commercio, 1° de abril de 1868, na sexta coluna).
+Na loja do sr. Bernasconi, estavam expostos retratos de dom Pedro II e da imperatriz Teresa Cristina, de autoria de Insley Pacheco (Diário do Rio de Janeiro, 5 de abril de 1868, na coluna “Folhetim”).
+1870 - Insley Pacheco foi cumprimentar dom Pedro II (Diário do Rio de Janeiro, 2 de janeiro de 1870, na terceira coluna).
+Foi eleito conselheiro da Sociedade Propagadora das Belas Artes (Dezesseis de Julho, de 1870).
+1871 -  Insley Pacheco foi cumprimentar dom Pedro II (Diário do Rio de Janeiro, 27 de março de 1871, na sexta coluna).
+1872 – Insley Pacheco foi cumprimentar dom Pedro II (Diário do Rio de Janeiro, 1º de agosto de 1872, na segunda coluna).
+Elogio e crítica aos trabalhos expostos no estabelecimento de Insley Pacheco (A Reforma, 25 de setembro de 1872, na quinta coluna; O Mosquito, 28 de setembro de 1872, segunda coluna).
+ 
+Charge de Angelo Agostini (1843- 1910) sob o título Exposição de quadros, photographias e varios objectos d´arte em casa de Pacheco / O Mosquito, 28 de setembro de 1872
+ 
+1873 - Na Terceira Exposição Nacional, participou com pinturas a guache e pastel (fotopinturas) e com paisagens a óleo. Ganhou medalhas de prata e de cobre (Diário do Rio de Janeiro, 13 de março de 1873, na segunda coluna).
+Na Exposição Universal de Viena, Insley recebeu uma menção honrosa no grupo das Artes Gráficas (Diário de São Paulo, 13 de setembro de 1873, na quinta coluna)
+1874 - O Ministério do Império, com o decreto 5613, de 25 de abril, “concedeu privilégio de cinco anos a Joaquim Insley Pacheco, para fazer fotografias de sua invenção, aplicadas à porcelana, vidro opalino e marfim” (Diário do Rio de Janeiro, 15 de maio de 1874, na última coluna).
+Seu ateliê de Insley, na rua do Ouvidor, 102, foi anunciado como um dos principais estabelecimentos da Corte (A Vida Fluminense, 3 de julho de 1874, na segunda coluna).
+ 
+A Vida Fluminense, 3 de julho de 1874
+ 
+1875 – Foi premiado com medalha de prata e menção honrosa na Terceira Exposição Nacional de 1873 (A Reforma, 12 de janeiro de 1875, nas primeiras e segunda colunas).
+Insley Pacheco agradeceu à perícia do capitão Marques Sobrinho no combate a três incêndios ocorridos na rua dos Ourives (Diário do Rio de Janeiro, 5 de novembro de 1875, na sexta coluna).
+No Despertador de 26 de novembro de 1875, transcrição de matéria do jornal O Globo de 13 de novembro do mesmo ano sobre a participação do Brasil na Exposição Internacional de Santiago, mencionando Insley Pacheco.
+Participou da Quarta Exposição Nacional com desenhos e pinturas e foi premiado com a medalha de mérito (Diário do Rio de Janeiro, 4 de fevereiro de 1876, na segunda coluna).
+Na coluna “Folhetim da Gazeta de Notícias –  Bellas Artes”, o português Julio Huelva (1840 – 1904), pseudônimo do arquiteto e músico Alfredo Camarate, elogiou a fotografia produzida no Brasil e destacou os trabalhos dos ateliês de José Ferreira Guimarães  (1841 –1924), Joaquim  Insley Pacheco (c. 1830 – 1912) e de Alberto Henchel (1827 – 1892) e Franz (Francisco) Benque (1841-1921). O autor cobrou também a presença de fotógrafos do Rio de Janeiro na Exposição Universal da Filadélfia, que se realizaria em 1876 (Gazeta de Notícias, 21 de dezembro de 1875).
+1876 - Insley Pacheco e o folhetinista Julio Huelva, travaram uma espécie de duelo em torno da questão entre os estilos idealista e realista da arte, entre dezembro de 1875 e janeiro de 1876 (Gazeta de Notícias, 12 de dezembro de 1875; Jornal do Commercio, 1º de janeiro de 1876, sétima coluna; Gazeta de Notícias, 6 de janeiro, 16 de janeiro, 17 de janeiro e 20 de janeiro de 1876). Esse confronto foi refletido em uma caricatura produzidas por Ângelo Agostini (1843 – 1910), para a Revista Illustrada.
+ 
+Revista Illustrada, 22 de janeiro de 1876
+ 
+Revista Illustrada, 22 de janeiro de 1876
+ 
+Elogio às pinturas de paisagens de autoria de Insley Pacheco expostas na Exposição Internacional de Santiago, no Chile (Diário de Maranhão, 13 de janeiro de 1876, sob o título “O Brasil na exposição de Santiago”).
+Insley Pacheco recebeu uma medalha na Exposição Universal da Filadélfia por suas fotografias (O Liberal do Pará, 28 de novembro de 1876, na segunda coluna e Diário do Rio de Janeiro, 2 de dezembro de 1876, na sexta coluna).
+1877 -  A casa de Insley Pacheco foi atingida por um temporal ocorrido em setembro. Sua esposa, Elvira Laura estava “gravemente enferma (Diário do Rio de Janeiro, 17 de outubro de 1877, na última coluna e O Despertador, 23 de outubro de 1877, na quarta coluna). Ela faleceu de tuberculose, depois de “longos e dolorosos sofrimentos”, em 24 de outubro (Revista Ilustrada, 27 de outubro de 1877 e Diário do Rio de Janeiro, 27 de outubro de 1877, na quarta coluna).
+1882 - Segundo informações dadas em anúncio do fotógrafo, foi premiado na Exposição Continental de Buenos Aires.
+1883 - Em 18 de outubro, dom Pedro II visitou a exposição de pinturas do pernambucano Arsênio da Silva (1833 – 1883), no estabelecimento de Insley Pacheco que, no desenho abaixo, com o imperador contempla a exposição de um de seus mestres na pintura. O outro foi Louis-Auguste Moreaux (1818-1877).
+ 
+Charge de Ângelo Agostini (1843-1910) / Revista Illustrada, ano 8, nº358, 1883
+ 
+1884 - Insley Pacheco anunciou melhoramentos em seu estúdio fotográfico com a introdução da platinotipia, mencionando que Marc Ferrez (1843 – 1923) e José Ferreira Guimarães também já faziam uso da nova técnica (Gazeta de Notícias, 12 de abril de 1884, na segunda coluna).
+Foi anunciada a exposição do artista plástico Firmino Monteiro (1855 – 1888) no ateliê de Insley Pacheco (Jornal do Recife, 3 de junho de 1884, na sexta coluna).
+1885 a 1897 – Entre esses anos, o estabelecimento pertencia à sociedade Joaquim Insley Pacheco & Filho.
+1886 - Em Portugal, no dia 20 de janeiro, falecimento do irmão de Insley, Bernardo José (Jornal do Commercio, 28 de janeiro de 1886, quarta coluna).
+1888 - Em 27 de janeiro, Antônio Parreiras (1860 – 1937) inaugurou uma exposição na Casa Insley Pacheco com 22 estudos de paisagem. Duas foram adquiridas pela própria princesa Isabel: Ocaso no Arraial e Aldeia do Pontal (O Paiz, 29 de janeiro de 1888, sob o título “Noticiário“, e Revista Illustrada, 4 de fevereiro de 1888).
+Um dos filhos de Insley, o engenheiro Alfredo Henrique, casou-se, no Rio de Janeiro, com Sarah Williams Pacheco (1866-1938), em 29 de maio (O Paiz, 3 de junho de 1888, segunda coluna).
+Também na Casa Insley Pacheco realização da primeira exposição individual do artista plástico gaúcho Pedro Weingartner (1853 – 1929) (Cidade do Rio, 28 de agosto de 1888, última coluna; Gazeta de tarde, 30 de agosto de 1888, última coluna; Gazeta de Notícias, 3 de outubro de 1888, última coluna).
+1891 - Seu ateliê continuava localizado em um sobrado na rua do Ouvidor, 102 (Almanak Laemmert, 1891).
+A neta de Insley Pacheco, Maria, filha de Alfredo Henrique e Sarah, faleceu, aos nove meses (Jornal do Commercio, 27 de janeiro, de 1891, última coluna; O Paiz, 18 de janeiro de 1891, na quarta coluna).
+No salão nobre do Teatro São Pedro de Alcântara, participou do banquete oferecido por jornalistas e homens das letras ao corpo docente da Escola de Belas Artes para comemorar a inauguração de seus “trabalhos letivos” (Gazeta de Notícias, 17 de junho, na primeira coluna).
+Falecimento de dom Pedro II (1825 – 1891), em Paris. Insley Pacheco reproduziu uma das fotografias do post-mortem do imperador, realizada por Felix Nadar (1820 – 1910), e as distribuiu no Brasil no formato carte-cabinet.
+ 
+Felix Nadar; Pacheco & Filho. Pedro II, Imperador do Brasil, 1891. Paris, França / Acervo FBN
+ 
+1892 - No ateliê de Insley Pacheco, exposição de quadros do artista alemão Breno Treidler (1857 – 1931) (O Tempo, 23 de janeiro de 1892, na última coluna, sob o título “Cabriolas”).
+Em torno desse ano, na folha de proteção sobreposta às suas fotografias, Insley Pacheco identificava-se como “Photographo e pintor. Cavaleiro da Real Ordem de Cristo. Premiado com a Menção de Honra nas exposições de Viena e mais 16 medalhas nas exposições de Philadelphia, Porto, Brazil, Chile, Buenos Aires e Chicago. Novo sistema de platinotipia – Rua dos Ourives, 38 – Rio de Janeiro”.
+1893 - Com fotografias e pinturas a óleo, Insley participou da Exposição Universal Colombiana de Chicago, que aconteceu entre maio e outubro de 1893 para celebrar os 400 anos da chegada de Cristóvão Colombo (1451 – 1506) ao Novo Mundo, em 1492 (Gazeta de Notícias, 19 de janeiro de 1893, na última coluna).
+ 
+Gazeta de Notícias, 19 de janeiro de 1893
+ 
+Comentário sobre um quadro do pintor espanhol Fortuny (1838 – 1874), de propriedade de Insley (Gazeta de Notícias, 13 de março de 1893, na terceira coluna).
+Seu filho, Joaquim Insley Pacheco Junior (1858 – 1947), casou-se em São João del Rei com Elvira de Oliveira Coelho (1871 – 1912) (O Paiz, 16 de maio de 1893, na última coluna).
+1895 – Seu filho, Alfredo Henrique, faleceu, em 14 de fevereiro. Ele era membro do Club de Engenheiros Civis de Londres e trabalhava no 2º distrito de obras públicas do Rio de Janeiro (O Paiz, 16 de fevereiro de 1895, na primeira coluna; Jornal do Commercio, 20 de fevereiro de 1895, última coluna; Emerald Insight).
+Mudança de seu estabelecimento para a rua dos Ourives, 40, no segundo andar (Almanak Laemmert, 1896).
+O estabelecimento de Insley Pacheco foi roubado (O Paiz, 10 de dezembro de 1895, na penúltima coluna).
+1896 - Os pintores Augusto Petit (1844 – 1927), Madruga Filho (1882 – 1951) e Insley Pacheco receberam a terceira medalha na Exposição Geral de Belas Artes (Minas Gerais, 10 de outubro de 1896, na última coluna).
+Inauguração do Club dos Repórteres, em 12 de outubro. Em uma das salas havia uma pintura de Insley (Jornal do Commercio, 14 de outubro, na quarta coluna).
+1897 - No toucador principal do Palácio do Catete, o novo palácio do governo no Rio de Janeiro, que seria inaugurado em poucos dias, havia uma aquarela de Insley Pacheco (Diário de Pernambuco, 6 de março de 1897, na terceira coluna).
+1898 - O endereço de seu estabelecimento era Ourives, 38, 2º andar (Almanak Laemmert, 1898).
+Participou da Exposição Retrospectiva do Centro Artístico expondo um guache de Arsenio Silva (1833 – 1883), uma marinha de Edoardo De Martino (1838 – 1912) , uma paisagem de Henri Langerock (1830 – 1915) e miniaturas de Thomaz da Costa Guimarães. O Centro Artístico, associação de jornalistas e literatos, criada em 1897,  tinha como objetivo a promoção da arte brasileira. A exposição, realizada durante o mês de julho, na Escola Nacional de Belas Artes, foi o primeiro evento organizado pela associação. Reuniu um grande número de objetos de arte, cedidos por proprietários e colecionadores (A Notícia, 28 e 29 de julho de 1898, na quarta coluna e 12 e 13 de agosto de 1898).
+Participou com 37 quadros da 5ª Exposição Geral de Belas Artes (Gazeta da Tarde, 1º de setembro de 1898, na penúltima coluna).
+1899 - Algumas vezes ao longo desse ano, foram publicados o anúncio: Retratos – Admiráveis pelo novíssimo processo a platina, unicamente feitos por Insley Pacheco a rua do Ourives n.38 (Jornal do Commercio, 17 de janeiro de 1899, na sexta coluna).
+Insley Pacheco, Marc Ferrez e José Ferreira Guimarães  foram nomeados para formar a comissão de propaganda da classe de fotografia da Exposição do Quarto Centenário do Brasil, em 1900, promovida pela Sociedade Propagadora das Belas Artes (A Imprensa, 31 de outubro de 1899, na quarta coluna).
+Insley Pacheco estava presente na cerimônia de exéquias mandada celebrar pelos alunos da Escola de Belas Artes pelo pintor Almeida Júnior (1850 – 1899), realizada na matriz da Candelária (Jornal do Commercio, 23 de novembro de 1899, na quinta coluna).
+1901 - Insley Pacheco foi um dos jurados do 2º concurso entre fotógrafos amadores, promovido pela “afamada fotografia Leterre”. Os outros jurados foram o escultor Rodolfo Bernardelli (1852 – 1931), diretor da Escola Nacional de Belas Artes, e o artista Hilário Teixeira (A Imprensa, 2 de março de 1901, na terceira coluna).
+Insley Pacheco exibiu uma fotografia em estereoscópio, reprodução em cores naturais de um vaso de flores , obtida por um processo inteiramente novo, ao que se diz superior ao de Lippman e de outros…A propósito desse processo de fotografia foi apresentado pelos seus inventores A.L. Lumière, um interessante relatório (Jornal do Brasil, 7 de março de 1901,na terceira coluna).
+Insley estava presente na inauguração da quinta exposição de paisagens de Antônio Parreiras (O Fluminense, 12 de março de 1901, na segunda coluna).
+Insley Pacheco foi um dos jurados do 3º concurso entre fotógrafos amadores, promovido pela fotografia Leterre, ocorrido no dia 3 de agosto de 1901. Os outros jurados foram o escultor Rodolfo Bernardelli (1852 – 1931), diretor da Escola Nacional de Belas Artes, e o artista Hilário Teixeira (18? -19?) (Jornal do Brasil, 2 de agosto de 1901, na terceira coluna).
+Estava presente na Central do Brasil durante o embarque do presidente Prudente de Morais (1841 – 1902) para São Paulo (Jornal do Brasil, 30 de outubro de 1901, na terceira coluna).
+1902 – Publicação do Artigo Infamante – Aos Amadores de Fotografia no Brasil – Aos profissionais e a meus clientes e amigos, de autoria de A. Laterre em resposta a uma publicação de 5 de abril na Gazeta do Commercio, em Porto Alegre, que relatava que durante uma reunião do Sploro Photo-Club haviam sido feitos protestos contra um artigo publicado pela revista parisiense Photographie Française, de janeiro de 1902, e também protestos contra o fotógrafo sr. A. Leterre, acusado de prejudicar os fotógrafos amadores do Rio Grande nos concursos que promovia. Nele, Insley Pacheco, um dos juízes dos concursos, era mencionado (Jornal do Brasil, 20 de abril de 1902).
+Integrou a Exposição Geral de Belas Artes com 60 quadros (A Notícia, 30 e 31 de agosto de 1902, na última coluna). Alguns deles  foram adquiridos pelo barão Sampaio Vianna (O Paiz, 5 de setembro de 1902, na penúltima coluna). Foi um dos participantes da festa dos artistas da exposição, realizada no restaurante do Silvestre (A Notícia, 12 e 13 de setembro de 1902, na quinta coluna, sob o título “Festa entre artistas”).
+Insley Pacheco foi à delegacia dar queixa sobre o não pagamento de uma dívida a seu filho Insley Pacheco Júnior pelo estabelecimento Jupiter Almeida & Comp (O Pharol, 12 de outubro de 1902, na penúltima coluna).
+Foi com Mello Moraes Filho e outros um dos organizadores do Rancho das Reisadas (Gazeta de Notícias, 25 de dezembro de 1902, quarta coluna).
+1903 - Publicação de um daguerreótipo da atriz portuguesa Ludovina Soares da Costa (1802-1868), “primeira dama trágica do teatro brasileiro“, produzido, em 1860, por Insley Pacheco (Brasil-Theatro, 1903).
+Em São João del Rei, faleceu a neta de Insley Pacheco, Maria de Lourdes, filha de Joaquim Insley Pacheco Junior (Correio Paulistano, 31 de janeiro de 1903, na segunda coluna).
+Ao longo de abril e maio de 1903, foram publicadas quatro colunas no Correio da Manhã, intituladas “Artistas do meu Tempo” – Carlos Kornis e Insley Pacheco, de autoria de Mello Moraes Filho (Correio da Manhã, 5 de abril de 1903, 12 de abril, 19 de abril e 3 de maio de 1903, quarta coluna).
+Em uma reunião de artistas, promovida pelo pintor Rodolfo Amoedo (1857 – 1941), na Escola de Belas Artes, foi fundada a Associação de Aquarelistas e Insley foi eleito para presidi-la. A primeira exposição da associação foi inaugurada em 1º de julho e Insley participou com oito marinhas. Outros artistas que participaram da mostra foram Eliseu Visconti (1866 – 1944), Henrique Bernardelli  (1858 – 1936) e Rodolfo Amoedo, dentre outros (A Notícia, 24 e 25 de abril de 1903, na terceira coluna, Jornal do Brasil, 2 de julho de 1903, na oitava coluna, e Correio da Manhã, 3 de julho de 1903, quinta coluna).
+Na matéria Problema histórico sobre o motivo de Joaquim José da Silva Xavier, o Tiradentes (1746 – 1792), sempre ser representado com a fisionomia de Jesus Cristo, seu autor, Carlos Laet (1847 – 1927), afirmou que Insley Pacheco era responsável pelo fato. Uma das duas filhas de Insley estava copiando uma estampa da coleção Julien de uma cabeça de Cristo quando o estatuário Cândido Caetano de Almeida Reis (1838 – 1889) chegou para uma visita. Durante sua conversa com Insley, mencionou que haviam lhe feito uma encomenda de um busto de Tiradentes e ele não havia encontrado nenhuma representação em que ele pudesse se basear. Foi então que Insley ofertou a ele o desenho de sua filha (Jornal do Brasil, 20 de julho de 1903, na primeira coluna, sob o título “Problema histórico”).
+1904 - Participou da Exposição Universal de Saint Louis, realizada entre 30 de abril e 1º de dezembro de 1904, em conjunto com os III Jogos Olímpicos, e obteve a medalha de ouro em fotografia e a de bronze na seção de arte (Almanak Laemmert, 1905).
+Insley inaugurou uma exposição de seus últimos trabalhos, em seu ateliê, na rua dos Ourives, 38 (Correio da Manhã, 15 de maio de 1904, na segunda coluna).
+O barão de Rio Branco (1845 – 1912), na época ministro das Relações Exteriores do Brasil, adquiriu uma paisagem de Insley Pacheco, exposta no Club Petrópolis (Correio da Manhã, 24 de março de 1904, na quarta coluna).
+A segunda exposição da Associação de Aquarelistas foi realizada na casa 70 da rua Gonçalves Dias e Insley apresentou quatro aquarelas a guache (A Notícia, 15 e 16 de junho de 1904, na segunda coluna).
+Em 7 de setembro, reabriu seu ateliê na rua do Ouvidor esquina com Gonçalves Dias (Correio da Manhã, 7 de setembro de 1904, na penúltima coluna).
+Participou da Exposição da Escola Nacional de Belas Artes de 1904 com 15 guaches (O Tagarela, 15 de setembro de 1904 e O Paiz, 25 de setembro de 1904, na primeira coluna).
+1905 - O estabelecimento de Insley Pacheco ficava na rua do Ouvidor, 124, esquina com Gonçalves Dias, 70 (Almanak Laemmert, 1905).
+Foi publicado que os participantes da Exposição de Saint Louis, ocorrida em 1904, podiam retirar os produtos enviados para o evento que lhes pertencessem (Jornal do Brasil, 6 de junho de 1905, na segunda coluna).
+Foi noticiado que Insley Pacheco havia conseguido “em fotografia colorida um belo triunfo”  (Gazeta de Notícias, 11 de julho de 1905, na sexta coluna).
+Foi um dos jurados da 2ª Exposição Artística do Photo Club (O Paiz, 26 de julho de 1905, na primeira coluna). Foi publicado um artigo de A. Leterre intitulado Rapto de honra – Fotografia sobre o resultado da 2ª Exposição Artística do Photo Club (Jornal do Brasil, 19 de agosto de 1905, nas penúltima e última colunas).
+Nos suntuosos salões do Cassino Fluminense, realização de um baile, no qual Insley era um dos convidados (Jornal do Brasil, 22 de agosto de 1905, na terceira coluna).
+1907 - No Palácio Monroe, em 2 de junho, foi realizada a entrega dos prêmios aos participantes brasileiros da Exposição Universal de Saint Louis, de 1904 (O Século, 3 de junho de 1907 e Relatórios do Ministério da Agricultura, 1908).
+Participou da Exposição da Escola Nacional de Belas Artes (Jornal do Brasil, 31 de agosto de 1907, na sexta coluna).
+1908 - Na Exposição Nacional de 1908, ganhou a medalha de prata na categoria de pintura e o grande prêmio de fotografia (Almanak Laemmert, 1909).
+Insley Pacheco havia iniciado um processo…para a impressão de clichês à tinta, processo esse que torna indelével a fotografia … (O Paiz, 13 de outubro de 1908, nas quarta e quinta colunas).
+1909 – Seu estabelecimento ficava na rua Gonçalves Dias, 74 (Almanak Laemmert, 1909).
+Insley instalou em seu ateliê a tipocromia, um novíssimo e interessante invento (A Notícia, 6 e 7 de abril de 1909, nas quarta e quinta colunas , O Século, 7 de abril de 1909, na primeira coluna e O Paiz, 19 de maio de 1909, na segunda coluna).
+Participou da Exposição de Belas Artes com uma coleção de guaches (O Paiz, 1º de setembro, na terceira coluna).
+1910 - Pela última vez seu estabelecimento foi listado pelo Almanak Laemmert.
+Participou da 17ª Exposição Geral de Belas Artes com guaches (A Imprensa, 29 de setembro de 1910).
+1912 - Falecimento, em 14 de outubro, de Insley Pacheco, o fotógrafo tradicional do Rio, em sua residência, na rua Gonçalves Dias, nº 74, no segundo andar (O Século, 15 de outubro de 1912, na sexta coluna, Jornal do Brasil, 15 de outubro de 1912, na sétima coluna , O Paiz, 16 de outubro de 1912, na penúltima coluna).
+ 
+Jornal do Brasil, 15 de outubro de 1912
+ 
+1913 - Falecimento de sua filha, Elvira Elizabeth, em 21 de janeiro (Jornal do Commercio, 20 de fevereiro de 1913, terceira coluna).
+1936 - Insley Pacheco foi o biografado da coluna “Figuras do Passado” (O Malho, de 3 de setembro de 1936).
+1944 -  Falecimento, em janeiro, de sua filha, Maria Amélia Pacheco (Correio da Manhã, 23 de janeiro de 1944, penúltima coluna).
+1947 - Falecimento, em outubro, de seu filho, o comendador Joaquim Insley Pacheco Junior (Correio da Manhã, 31 de outubro de 1947, primeira coluna).
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+Esta cronologia foi atualizada em novembro de 2025.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/2951` — `itens/20.500.12156.1_2951/`
+
diff --git a/wordpress/20933-cronologia-de-vincenzo-pastore-1865-1918.md b/wordpress/20933-cronologia-de-vincenzo-pastore-1865-1918.md
new file mode 100644
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+++ b/wordpress/20933-cronologia-de-vincenzo-pastore-1865-1918.md
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+---
+id: 20933
+url: "https://brasilianafotografica.bn.gov.br/?p=20933"
+titulo: "Cronologia de Vincenzo Pastore (1865 – 1918)"
+autor: "Andrea Wanderley"
+data: "2021-01-06T10:16:50+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/2119", "20.500.12156.1/2093"]
+fetched_at: "2026-09-10T10:05:04.196Z"
+---
+
+# Cronologia de Vincenzo Pastore (1865 – 1918)
+
+Cronologia de Vincenzo Pastore (1865 – 1918)
+ 
+Autorretrato de Vincenzo Pastore, c. 1910. São Paulo, SP / Acervo IMS
+ 
+1865 – Em 5 de agosto, nascimento de Vincenzo Pastore, em Casamassima, na região de Puglia, na Itália, filho de Francesco Pastore e Costanza Massara.
+1890 – Pastore chegou ao Brasil, em São Paulo, provavelmente no início dessa década, quando houve um grande fluxo de imigração de italianos para a cidade, em busca de novas oportunidades de trabalho. Entre sua chegada ao Brasil e sua morte, em 1918, volta algumas vezes à Itália.
+1894 – Iniciou suas atividades de fotógrafo em São Paulo.
+1898 – Pastore tem um estabelecimento fotográfico na Itália, em Potenza, na região de Basilicata. Casou-se com Elvira Leopardi Pastore (1876-1972) com quem teve 10 filhos: Costanza (1899-?), Beatriz (1902-?), Maria Lucia (1903-1988), Francisco (1905-1985), Pion Donato (1906-?), Eleonora ( 1908-1992), Olga (1909-?), Carmelita (1910 -?), Dante (1912-?) e Redento (1915-1918).
+1899 -  Voltou para São Paulo.
+Recebeu uma carta protocolada do município de Potenza, transcrevendo carta do prefeito agradecendo pelo retrato do rei, que seria colocado na sala do Conselho Provincial.
+1900 – Possuia um estabelecimento fotográfico na Rua da Assembleia, nº 12 (depois rua Rodrigo Silva), onde também residia. Em nota no Estado de São Paulo, edições de 22 e 23 de outubro de 1900, anunciava: “Dá de presente aos seus clientes seis photographias / novo formato Elena, em elegantíssimos cartõezinhos ornados, só 4$500 e por poucos dias”.
+Sua esposa, Elvira, trabalhava no estúdio e era a responsável pelos serviços de fotopintura e acabamento. Era ela, também, que registrava em um caderno de anotações, intitulado “A arte de fotografar e revelar”, o trabalho realizado no laboratório e as técnicas de fotopintura.
+1905 – Recebeu uma carta do Consulado Geral da Itália em São Paulo, transmitindo os agradecimentos do Ministro da Casa Real pelo envio de fotos de índios bororos.
+1906 - Recebeu uma carta de Giacomo della Chiesa (1854 – 1922), futuro papa Bento XV, agradecendo o envio de fotografias de índios bororós para o papa Pio X.
+1907 – Inauguração de um novo estúdio, na Rua Direita nº 24-A. Em notas sobre a abertura do novo estabelecimento, foi anunciada a distribuição de Retratos Mimosos, pequenas fotos com moldura especial de flores e arabescos, a cada visitante. Posteriormente, Pastore abriu um novo estúdio na Praça da República, nº 95.
+1908 – Participou da Exposição Nacional, realizada no Rio de Janeiro, em comemoração ao centenário da abertura dos portos no Brasil, com um conjunto de fotopinturas e trabalhos de grandes dimensões.
+Realizou também um concurso de beleza infantil, do dia 10 de maio a 10 de julho, em seu ateliê fotográfico de São Paulo (O Paiz, edição de 8 de maio de 1908, última nota da primeira coluna).
+1911 – Ganhou a medalha de bronze na Espozione Internazionale delle industrie e dell lavoro, em Turim, na Itália.
+1914 – Viajou com a família para a Europa (Correio Paulistano, edição de 10 de fevereiro de 1914, na terceira coluna, sob o título “Hóspedes e Viajantes” ).
+Em novembro, inaugurou o estabelecimento Fotografia Italo-Americana – ai Due Mondi, na Via Sparano, nº 117, em Bari, na Itália. O nome do estúdio italiano indicava sua condição de imigrante bem sucedido, que pertencia a dois mundos.
+Realizou uma grande exposição de fotografias.
+1915 – Devido à Primeira Guerra Mundial, encerrou as atividades na Itália e voltou a São Paulo.
+1916 - Sob os títulos Bellezas Paulistanas, Melancholia, Quem é a moça dos óculos pretos? e Oração, foram publicadas fotografias de autoria de Pastore, na revista Cigarra, nas edições  de 31 de março,  30 de abril  , 17 de agosto, 14 de setembro e 26 de outubro.
+No dia 17 de junho, foi publicada no O Estado de São Paulo, a seguinte nota: “O Sr. Vincenzo Pastore, proprietario da Photographia Pastore, a rua Direita, recebeu communicação official, do sr. Giannetto Cavasola, ministro da Agricultura da Italia, e do prefeito da provincia de Bari, de que, a 4 de maio passado, foi nomeado pelo duque de Genova, principe regente, cavalheiro da Ordem da Corôa da Italia. O sr. Pastore é muito conhecido nesta capital, onde conta com muitas amizades. Em 1914, o sr. Pastore fez, em Bari, uma grande exposição italo-brasileira de photographias, que mereceu francos elogios da imprensa. Os seus esforços acabam de ser merecidamente recompensados”. Em 18 de dezembro, o prêmio foi concedido.
+1918 – Em 15 de janeiro, Pastore faleceu, em São Paulo, devido a complicações após uma cirurgia de hérnia. Era alérgico e foi anestesiado com clorofórmio (Correio Paulistano, 19 de janeiro de 1918, na terceira coluna).
+ 
+Vincenzo Pastore. Homens conversando em banco de praça, c. 1910. São Paulo, SP / Acervo IMS
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/2119` — `itens/20.500.12156.1_2119/`
+- `20.500.12156.1/2093` — `itens/20.500.12156.1_2093/`
+
diff --git a/wordpress/20941-cronologia-de-otto-rudolph-quaas-c-1862-c-1930.md b/wordpress/20941-cronologia-de-otto-rudolph-quaas-c-1862-c-1930.md
new file mode 100644
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@@ -0,0 +1,86 @@
+---
+id: 20941
+url: "https://brasilianafotografica.bn.gov.br/?p=20941"
+titulo: "Cronologia de Otto Rudolph Quaas (c. 1862 – c. 1930)"
+autor: "Andrea Wanderley"
+data: "2021-01-06T10:16:37+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/1992"]
+fetched_at: "2026-09-10T10:05:07.541Z"
+---
+
+# Cronologia de Otto Rudolph Quaas (c. 1862 – c. 1930)
+
+Cronologia de Otto Rudolph Quaas (c. 1862 – c. 1930)
+A Cigarra, 15 de abril de 1920
+c. 1862 – Segundo Boris Kossoy, Otto Rudolph Quaas nasceu na Áustria por volta desse ano.
+1895 – Quaas chegou em São Paulo, vindo da Europa, nos primeiros dias de 1895 e estabeleceu seu ateliê fotográfico na rua do Gasômetro, n. 20 (O Commercio de São Paulo, 16 de janeiro de 1895, na quarta coluna).
+Chegou num dos últimos dias a essa capital e tomou a direção do atelier fotográfico da rua do Gazometro n. 20, o sr. Otto Rudolf Quaas, que nos dizem ser um artista de muitíssimo merecimento. O público vai ter ocasião de avaliar dos progressos daquela casa, em virtude de tão excelente aquisição (O Estado de São Paulo, 16 de janeiro de 1895).
+ 
+Propaganda da Photographia Artistica, de Otto Rudolf Quaas, no O Estado de São Paulo, 28 de janeiro de 1895
+ 
+Em maio, transferiu-se para o Largo Sete de Setembro, nº 11, casa onde esteve por muito tempo o estabelecimento dos srs. Victor Steidel & C. Neste novo prédio o atelier do sr. Otto, enriquecido como foi ultimamente com novos aparelhos ficará sendo, senão o primeiro, pelo menos um dos primeiros estabelecimentos fotográficos de S. Paulo (O Estado de São Paulo, 8 de maio de 1895).
+1896 – Mudou-se para a rua de São Bento, n. 30, e inaugurou a nova Photographia Artística, em 26 de fevereiro de 1896 (O Commercio de São Paulo, 26 de fevereiro de 1896, quarta coluna). Ficava defronte do Grande Hotel e estava montada com todo o capricho e com os aperfeiçoamentos mais modernos (O Estado de São Paulo, 26 de fevereiro de 1896).
+ 
+Anúncio da Photographia Artística, na rua de São Bento nº 30, no Estado de São Paulo, 19 de março de 1896
+ 
+1898 – A Photographia Artística transferiu-se para o número 46 da rua de São Bento, em frente a Rotisserie Sportsman.
+ 
+Anúncio da mudança da Photographia Artística, no O Estado de São Paulo, 2 de julho de 1898
+ 
+No último dia de 1898, foi anunciada uma Grande Inauguração no ateliê de Quaas com a apresentação de um grande repertório de óperas, músicas e cantos. Anunciava como a última novidade a Photographia de Voz. Avisamos especialmente o distinto público que todas as pessoas que tirarem uma dúzia de retratos Imperiais, no atelier fotográfico, têm direito de falar na máquina, podendo ouvir e levar logo depois o cilindro com a sua própria voz gravada eternamente para mandar aos seus afeiçoados.
+ 
+O Estado de São Paulo, 31 de dezembro de 1898
+ 
+1899 – O tcheco Gustavo Figner (18? – 1934), depositário da Casa Inana, no Rio de Janeiro, e futuro fundador da Casa Edison de São Paulo, anunciou a venda de um fonógrafo de corda na fotografia O. R. Quaas e Cia (O Estado de São Paulo, 5 de janeiro de 1899). Ele era irmão de Fred Figner (1866 – 1947), fundador da Casa Edison no Rio de Janeiro e primeiro produtor fonográfico do Brasil.
+ 
+O Estado de São Paulo, 5 de janeiro de 1899
+ 
+Nesse mesmo ano, o atelier de Quaas, foi uma das lojas que sofreram danos consideráveis causados pelo estampido e pela água, devido a um incêndio na Loja do Japão, na rua de São Bento (O Estado de São Paulo, 6 de julho de 1899). Dias depois, Quaas enviou à redação do jornal O Estado de São Paulo uma vista de um trecho da rua S. Bento na ocasião do incêndio (O Estado de São Paulo, 11 de julho de 1899).
+ 
+Otto Rudolf Quaas. Álbum Escritório Técnico do Engenheiro e Arquiteto F. P. Ramos d’Azevedo, São Paulo, Álbum de Construções – Quartel de Polícia, c. 1900. São Paulo, SP / Acervo IMS
+ 
+1900 – A Photographia Artística enviou à redação do O Estado de São Paulo uma coleção de 15 magníficas fotografias com vistas de diversos pontos da exposição universal de Paris. Essas vistas são reproduzidas no atelier do sr. Quaas e constituem um trabalho que acredita o conhecido estabelecimento artístico (O Estado de São Paulo, 23 de novembro de 1900).
+1901 –  Estava exposto em seu ateliê um retrato em grande formato da rainha Vitória (1819 – 1901), do Reino Unido, que havia falecido em 22 de janeiro (O Estado de São Paulo, 24 de janeiro de 1901).
+Quaas registrou a visita que o ministro plenipotenciário da Áustria-Hungria, Eugen Kuezyuski, fez à Sociedade Auxiliadora Austro-Húngara (O Estado de São Paulo, 27 de abril de 1901).
+Era um dos membros da comissão da Sociedade Auxiliadora Austro-Húngara (O Estado de São Paulo, 24 de setembro de 1901).
+Trabalhou para a Companhia Paulista de Estradas de Ferro, tendo fotografado a inauguração do ramal de Rincão a Martinho Prado, em 30 de dezembro de 1901 (O Correio Paulistano, 4 de janeiro de 1902, na quarta coluna).
+1902 – Quaas presenteou o governador do estado de São Paulo, Rodrigues Alves (1848 – 1919), e outras autoridades com uma coleção de pequenas fotografias da inauguração do ramal ferroviário do Rincão (O Estado de São Paulo, 14 de janeiro de 1902).
+Quaas foi eleito vice-presidente da Instituição Imperador Francisco José I (O Estado de São Paulo, 12 de julho de 1902).
+No salão de honra da Santa Casa da Misericórdia de São Paulo, Quaas registrou a entrega, realizada pelo cônsul da França, Numa Antigeon, do diploma de Oficial da Academia à superiora da instituição, Maria Arsênia, nome religioso de Anna Berthet (O Estado de São Paulo, 19 de julho de 1902)
+Uma comissão de redatoras do periódico Educação escolheu as mais interessantes fotografias tiradas de crianças entre 1 e 7 anos durante o ano de 1902 dos seguintes estúdios fotográficos do centro de São Paulo: o de Quaas & Cia, o de José Vollsack, o de Rodolfo Neuhaus, o de Giovanni Sarracino e o de Valério Vieira (O Commercio de São Paulo, 22 de dezembro de 1902, na segunda coluna).
+Quaas foi de novo eleito vice-presidente da instituição Imperador Francisco José I (O Estado de São Paulo, 24 de dezembro de 1902).
+1903 – Quaas ofereceu à redação do O Estado de São Paulo uma magnífica fotografia de Santos Dumont (O Estado de São Paulo, 19 de setembro de 1903).
+1904 – Na Revista Ilustração Brasileira, de dezembro de 1904, seu trabalho foi elogiado por sua nitidez e fidelidade incríveis. A casa Quass é a única que está habilitada em S. Paulo a trabalhar à noite.
+1905 – A Secretaria de Agricultura de São Paulo requisitou um pagamento a Otto Quaas (O Estado de São Paulo, 4 de março de 1905).
+Estava envolvido na criação de um Club de Retratos em Cores e anunciou, no O Estado de São Paulo de 19 de maio de 1905, o adiamento do club até segundo aviso.
+Os credores da falência de Otto Quaas reuniram-se na segunda vara comercial de São Paulo (O Estado de São Paulo, 13 de julho de 1905).
+1907 - Quaas fotografou a Villa Penteado iluminada, na ocasião em que hospedou o ex-presidente da Argentina, general Julio Argentino Roca (1843 – 1914), que havia participado da Guerra do Paraguai (O Estado de São Paulo, 23 de março de 1907).
+Fotografou o eclipse solar ocorrido em 10 de julho (O Estado de São Paulo, 12 de julho de 1907).
+Foi um dos premiados no concurso de fotógrafos promovido pela Secretaria de Agricultura do Estado de São Paulo (O Estado de São Paulo, 18 de agosto de 1907).
+1908 – Seu estabelecimento, a Photographia Quaas, ficava na rua Barra Funda, 149 (O Estado de São Paulo, 25 de novembro de 1908).
+Participou da Exposição Nacional, com 24 quadros com fotografias, pinturas a pastel, sepiotipias, aumentos, platinotipia e fotografia em alto relevo, tendo recebido uma das medalhas de ouro da seção de fotografias. Outro fotógrafo agraciado com uma medalha de ouro foi Guilherme Gaensly (1843 – 1928). Os grandes prêmios foram conquistados por Valério Vieira (1862 – 1941) e Giovanni Sarracino (O Estado de São Paulo, 23 de novembro de 1908 e Catálogo da Exposição, 1908).
+ 
+Anúncio da Photographia Quaas, no O Estado de São Paulo, 18 de dezembro de 1908
+ 
+1910 - Quaas participou da comemoração pelo octagésimo aniversário de Francisco José I, rei da Áustria-Hungria, realizada no consulado do país, em São Paulo (O Estado de São Paulo, 19 de agosto de 1910).
+1911 – A Photographia Quaas publicou um anúncio para a contratação de um bom impressor com prática de atelier, de um ajudante com bastante prática e de um aprendiz de fotógrafo. Ainda se localizava na rua Barra funda, 149 (O Estado de São Paulo, 19 de março, 3 de de junho e 25 de setembro de 1911).
+Participou da Exposição de Turime ganhou a medalha de prata.
+1912 – A Photographia Quaas publicou um anúncio para a contratação de um bom impressor e retocador (O Estado de São Paulo, 6 de janeiro de 1912).
+1913 – Seu estabelecimento ficava na rua das Palmeiras, 59, onde residia com sua família.
+1920 – Em uma matéria sobre a história da Casa Edison de São Paulo, cujo proprietário era Gustavo Figner (? – 1934), foi relembrado que em fins do século XIX, um fonógrafo do empresário esteve em exposição no estabelecimento de Quaas, na época localizado na rua São Bento (O Estado de São Paulo, 13 de junho de 1920).
+ 
+O Estado de São Paulo, 13 de junho de 1920
+ 
+1926 – Fotografou a inauguração da pista de atletismo do Sport Club Germânia, atual Esporte Clube Pinheiros (Revista do Esporte Clube Pinheiros, março de 2014). Também do Germânia, fotografou, no fim da década de 20, panoramas do rio com os cochos, a casa de barcos e a figueira de tronco duplo, além das festas ao ar livre e também no salão da Rua Dom José de Barros (Site do Esporte Clube Pinheiros).
+1929 / 1930 – Segundo depoimento de Vicentina Mello Cunha concedido a Boris Kossoy, Quaas faleceu por volta de 1929 e 1930, com cerca de 68 anos.
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/1992` — `itens/20.500.12156.1_1992/`
+
diff --git a/wordpress/20950-cronologia-de-guilherme-santos-1871-1966.md b/wordpress/20950-cronologia-de-guilherme-santos-1871-1966.md
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+---
+id: 20950
+url: "https://brasilianafotografica.bn.gov.br/?p=20950"
+titulo: "Cronologia de Guilherme Santos (1871 – 1966)"
+autor: "Andrea Wanderley"
+data: "2021-01-06T10:16:26+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: []
+fetched_at: "2026-09-10T10:05:10.857Z"
+---
+
+# Cronologia de Guilherme Santos (1871 – 1966)
+
+Cronologia de Guilherme Antônio dos Santos (1871 – 1966)
+ 
+Guilherme Santos, aos 85 anos, retratado com um aparelho estereoscópico na Noite Ilustrada de 1º de agosto de 1950
+ 
+1871 – No Rio de Janeiro, em 12 de fevereiro, nasceu Guilherme Antonio dos Santos, cuja família residia na Rua do Rezende. Seu pai era o joalheiro José Antonio dos Santos (? – 1905).
+1883 - No encerramento das aulas do Colégio Aquino, onde fez seus estudos, Guilherme Santos e Escragnolle Doria (1869 – 1948) receberam do imperador Pedro II medalhas por terem respondido “com prontidão e segurança a todas as suas perguntas sobre História do Brasil” (Correio da Manhã, 31 de maio de 1952).
+1896 – Guilherme casou-se com Maria Mendonça dos Santos, conhecida como dona Mariquinhas. Tiveram quatro filhos: Guilherme dos Santos Júnior (? – 1980), médico que foi diretor do Souza Aguiar e do Hospital Paulino Werneck; Amália Santos Pinto da Silva (? – 1986), Manoel Antônio dos Santos , que sempre trabalhou com o pai na representação dos cofres belgas Fichet; e Francisca Mendonça dos Santos (1901 – ?) . Os filhos estudaram no Colégio São Vicente de Paulo e as filhas no Colégio Santa Isabel, em Petrópolis.
+dezembro de 1898 – A joalheria e galeria de arte Luiz de Rezende & Cia, cujo um dos sócios era o pai de Guilherme Santos, José Antonio dos Santos, foi roubada. Ficava na rua do Ouvidor 88 e 89 e na rua Ourives 69 ( Gazeta de Notícias, 6 de dezembro de 1898, na última coluna e  Jornal do Brasil, 19 de dezembro de 1903, na sétima coluna, sob o título “O buraco do Rezende”). Anteriormente, a joalheria chamava-se Santos Moutinho e Cia. Na época do roubo, que teve grande repercussão, Guilherme Santos morava no último andar da loja.
+1901 – Guilherme Santos foi empossado no conselho da Sociedade Animadora da Corporação dos Ourives (Jornal do Brasil, 31 de julho de 1901, na última coluna). Nasceu sua filha caçula, Francisca, (Jornal do Brasil, de 16 de dezembro de 1901, na quarta coluna). Nos Almanak Laemert de 1901, 1902, 1903, 1904, 1905, 1906 e 1907, Guilherme e seu irmão, Francisco Antonio, aparecem como dois dos sócios da joalheria Luiz de Rezende & Cia. Luiz de Rezende ( – 1927) era português e foi com o pai de Guilherme Santos, José Antônio, que ele aprendeu a ourivesaria.
+1905 / 1906 – No Almanak Laemert de 1905, Guilherme Santos aparece como o 2º secretário da Sociedade Animadora da Corporação dos Ourives. Viajou para Paris com a família para, a conselho de seu pai, se tratar de um estado de nervosismo permanente ocasionado pelo roubo à joalheira em 1898. Cuidou-se com um tratamento de auto-sugestão cujo lema era “Hoje sob todos os pontos de vista vou cada vez melhor”. Interessou-se pela técnica da estereoscopia e adquiriu um equipamento Verascope, da Maison Richard, após visitar uma exposição de fotografias estereocópicas no Grand Palais. Lá constatou que havia pouquíssimos registros do Brasil, todos de mulheres negras vendendo abacaxis. Santos começou a praticar a fotografia amadora e foi em Portugal que produziu seu primeiro registro, no pinhal de Caldas da Rainha. Seu pai, José Antonio dos Santos, faleceu (Correio da Manhã, 20 de maio de 1952).
+1907 – Provavelmente, foi um dos proprietários do Cinema Pavilhão Progresso, na rua Hadock Lobo, 16. O cinema foi inaugurado em 31 de outubro de 1907 (Jornal do do Brasil, 30 de outubro de 1907, na primeira coluna).
+1920 – Guilherme Santos morava na rua Conde de Bonfim, 86, na Tijuca.
+1922 – Santos cedeu ao então ministro do Exterior, José Manuel de Azevedo Marques (1865 – 1943), milhares de reproduções estereográficas de quadros da natureza brasileira que foram distribuídas aos estrangeiros que vieram representar seus países nas comemorações do centenário da independência do Brasil. Deixou de trabalhar na Casa Luiz de Rezende ( Correio da Manhã, 20 de maio de 1952).
+1923 – Foi criado o Photo Club Brasileiro, uma associação de fotógrafos, no Rio de Janeiro, pelos associados do Photo Club do Rio de Janeiro, fundado em 1910, que se juntaram a fotógrafos de arte para debater as relações entre fotografia e arte. O Photo Club Brasileiro promovia cursos, concursos, exposições e excursões. Publicou as revistas Photo Revista do Brasil (1925 – 1926) e Photogramma (1926 – 1931). Também organizava salões anuais, o primeiro deles inaugurado em 4 de julho de 1924, no Liceu de Artes e Ofícios (artigo de Fernando Guerra Duval, na Gazeta de Notícias, 9 de julho de 1924), além de divulgar novas técnicas e estéticas, mantendo correspondência com sociedades internacionais de fotografia. Até o fim da década de 1940, foi uma instituição fundamental na difusão da ideia da fotografia como arte. Uma matéria da revista Para Todos, de 17 de setembro de 1927, sobre a quarta exposição anual do Photo Club ilustrava essa função primordial da associação. Alguns de seus membros de destaque foram Alberto Friedmann, Barroso Neto, Fernando Guerra Duval, Herminia Borges, João Nogueira Borges, Oscar de Teffé e Silvio Bevilacqua.
+ 
+Aspecto da quarta exposição anual promovida pelo Photo Club Brasileiro – Revista da Semana de 1º de outubro de 1927
+ 
+maio de 1925 –  Guilherme Santos tornou-se membro do Photo Club Brasileiro. Publicou na edição de lançamento da Photo Revista do Brasil, órgão oficial da associação, o artigo “Photographia Estereoscópica”. No expediente da revista, aparece como um de seus principais colaboradores. E, nas páginas dedicadas às notícias do Photo Club, que acabava de se instalar em uma nova sede, na rua 13 de maio, 35, aparece como um dos membros recentes da associação. O presidente e o vice-presidente do Photo Club Brasileiro eram Alberto Friedmann e Fernando Guerra Duval, respectivamente.
+ 
+“Photographia Estereoscópica”
+Por Guilherme A Santos
+Confeccionar uma photographia é quasi sempre reconstruir uma recordação!
+Nenhuma outra photographia trabalhada pelos processos conhecidos, pôde dar-nos tamanha satisfação, produzir-nos impressão tão viva  e tão nitida daquilo que quizermos recordar como a photographia estereoscopica! Seja o retracto de um ente querido, seja uma paysagem, ou ainda uma reunião de família, cujo objecto exprima um momento feliz da nossa existencia!
+A sensação do relevo e da perspectiva que nos dá um positivo sobre vidro, copia de um cliche estereoscopico, introduzido no instrumento apropriado, é inegualavel! inconfundivel! incomparavel!
+Ao olhar, apresentam-se as imagens das creaturas, da Natureza ou dos objectos, com a expressão a mais perfeita e verdadeira , mostrando-nos em destaque todos os planos que as objectivas colheram na extensão do angulo focal!
+Como passa tempo, o que é possível de encontrar que seja mais agradável, mais divertido do que os positivos sobre vidro da photoestereoscopia!?
+Reunidos em família e acompanhados de bons amigos sentados em redor de uma mesa, passa-se de mão em mão o apparelho estereoscópicos exibindo as differentes séries de positivos! Algumas, despertando recordações aos que, num afogar de saudades revêem os bons momentos que passaram, contemplando imagens de creaturas que talvez nunca mais encontrem no caminho da vida e que fizeram a delícia daqueles momentos, em uma estação de águas, em uma excursão, em cidades de verão, a bordo de um transatlântico, na convivência íntima de uma longa viagem, etc.
+Outras séries apresentando o esplendor da Natureza em grandes quadros compostos com senso esthético, com observação artística que estasiam, que empolgam e que nunca cançaríamos de contemplar são photografias que provam como é impossível negar o extraordinário poder que tem a natureza, de impressionar e fazer vibrar a alma das creaturas com suas majestosas creações!
+Nesse particular a nossa terra recebeu do CREADOR um dote precioso, o qual infelizmente em vez de ser transportado para as chapas da photographia por meio das objectivas dos differentes apparelhos, tem o homem esbanjado e destruido quasi inconscientemente sem considerar o grande mal que causa ao bem commum e sem reflectir no crime que pratica!
+Disse PAULO MANTEGAZZA, capitulo IV no “O LIVRO DAS MELANCHOLIAS” de uma forma encantadora e com a alma amargurada: que se conhecesse DEUS, dir-khe-hia que na sua infinita misericordia, perdoasse todos os peccados dos homens e reservasse toda a sua ira, toda as suas vinganças, tododos seus raios, para o homem que destróe uma “FLORESTA”!!…
+Faço minhas as palavras do primoroso escriptor, mas accrescento que o homem que dedicar-se á photographia, de preferenciaa estereoscopica, no contacto intimo e constante que ele tiver com a NATUREZA, quando a tiver estudado bem, irá lentamente habituando-se a apreciar devidamente a sua obra grandiosa, sentirá despertar em sua alma, sentimentos delicadosque até então desconhecia e difficilmente será capaz de derrubar uma arvore ou consentir que alguem o faça em sua presença!
+A falta de amor e o abandono ás nossa bellezas naturaes é patente! Cito um exemplo mui recente:
+Por uma destas lindas manhãs de ABRIL (era dia feriado) percorremos uma parte da estrada que liga o ALTO DA BOA VISTA ao SUMARÉ.
+É uma das maravilhas da TIJUCA! A vegetação é abundante e variada e conta-se ás dezenas, arvores gigantescas cujas ramadas projectam sombras extensas sobre o caminho!
+O sol imprimia uma luz de oiro sobre o verde esmeralda do arvoredo e fazia pensar que foi a NATUREZA quem inspirou os nossos antepassados sobre a escolha das cores para a nossa bandeira!
+Caminhamos cerca de 6 kilometros ida e volta e gastamos cerca de 5 horas. Pois bem, nesse demorado percurso, cruzamos com 3 outros grupos de excursionistas, todos elles, compunham-se de estrangeiros!
+Nem um brasileiro! nem um amador da photographia! Digo, encontramos um brasileiro, que empunhando uma vara que tinha um sacco de gaze preso a uma das extremidades, caçava as lindas borboletas azues de grandes azas que faziam o encanto daquellas paragens! aquelle rapaz de 20 annos presumives, de bella estaturaphysica, fazia-o como meio de vida! Contamos estendidas sobre um jornal, 20 daquellas borboletas, apanhadas em menos de uma hora! Pobrezinhas! a  NATUREZA limitou-lhes curtíssima existência, nem mesmo a essas deixam viver!
+Creio ser o momento de ser transformada essa situação. A Photo-Revista vem preencher uma lacuna e acreditamos que uma campanha sustentada com perseverança por todos os seus collaboradores, daria bom resultado, no sentido de desenvolver o gosto dos brasileiros pela arte photographica: talvez conseguíssemos convence-los de trocar uma ou outra vez (às horas de ócio) os encantos do lar doméstico, pelos encantos naturaes, lembrando-lhes que em companhia de nossa família e em contacto com a floresta, também construímos lares provisorios sob a benção da mãe de tudo e de todos que é a NATUREZA!
+(Photo Revista do Brasil, vol 1, maio de 1925, pg 14)
+Além disso, a fotografia da capa era de sua autoria (O Brasil, 31 de maio de 1925, na sexta coluna, sob o título “Publicações”). E, na mesma edição da revista, foi publicada uma propaganda das fotografias estereoscópicas de Guilherme. O endereço, rua Buenos Aires, 93, é o mesmo do escritório dos cofres belgas Fichet, empresa que ele representava no Brasil. Posteriormente, o escritório foi transferido para a rua do Rosário, 146.
+1937 – Resumo do assalto ocorrido na Casa Luiz de Rezende, em 1898, com retratos dos sócios Luiz de Rezende e José Antonio dos Santos, pai de Guilherme (Noite Illustrada, 25 de maio de 1937).
+1942 – Publicação da matéria “Rio desaparecido”, de Escragnolle Doria, sobre a importância dos arquivos fotográficos de Augusto Malta e Guilherme Santos (Revista da Semana, 30 de maio de 1942).
+1945 – Publicação no Boletim de Belas Artes de outubro de um artigo sobre o desmonte do Morro do Castelo com entrevista de Guilherme Santos (Correio da Manhã, 8 de maio de 1952).
+1950 – Publicação de matéria elogiando a coleção de fotografias de Guilherme Santos (Jornal do Brasil, 24 de março de 1950, na última coluna sob o título “Belas Artes). Publicação de uma reportagem de Walter Sampaio sobre o “Arquivo Guilherme dos Santos”. Na matéria, Santos revelou ter vontade de “expor em um museu o seu valioso arquivo histórico e estereoscópico nacional”. (A Noite Ilustrada, 1º de agosto de 1950).
+ 
+Guilherme Santos, aos 85 anos, retratado com um aparelho estereoscópico na Noite Ilustrada de 1º de agosto de 1950
+ 
+1951 – O Departamento de História e Documentação do Rio de Janeiro examinou a coleção fotográfica de Guilherme Santos (O Malho, setembro de 1951).
+1952 – Faleceu sua esposa, Maria Mendonça dos Santos, em 26 de maio ( Correio da Manhã, 30 de maio de 1952, na primeira coluna). Na coluna “Pequenas Reportagens”, é lembrado um artigo do Boletim de Belas Artes de outubro de 1945, onde Guilherme Santos comentava seus registros fotográficos do desmonte do Morro do Castelo (Correio da Manhã, 8 de maio de 1952). Na mesma coluna, foi publicada uma matéria sobre Guilherme Santos ( Correio da Manhã, 20 de maio de 1952). Finalmente na coluna de 31 de maio de 1952, o assunto foi a coleção de fotografias de Santos.
+ 
+Propaganda dos cofres Fichet, representados por Guilherme Santos, publicado no Almanak do Correio da Manhã,  de 1953
+ 
+1954 –  Às vésperas do Natal, a sede da G.A. Santos & CIA, localizada na Rua do Rosário, 146, sofreu um incêndio. A única coisa resgatada foi o acervo de fotografias de Guilherme que estava dentro de um cofre à prova de fogo. Foi devido a esse fato que Santos decidiu vender sua coleção de fotografias (Correio da Manhã, 24 de dezembro de 1954).
+1956 – Na primeira página do Jornal do Brasil, foi publicada a matéria “O Rio de Janeiro através da estereoscopia”, assinada por Augusto Maurício, sobre a coleção de fotografias de Guilherme Santos ( Jornal do Brasil, 27 de maio de 1956).
+1964 – A Coleção Guilherme Santos foi adquirida pelo Banco do Estado da Guanabara, em 28 de abril de 1964, para iniciar, juntamente com a coleção de fotografias de Augusto Malta (1864 – 1957), o acervo do Museu da Imagem e do Som do Rio de Janeiro. O contrato de compra e venda foi assinado pelo filho e procurador de Guilherme, Manoel Antônio dos Santos.
+1965 – Inauguração do Museu da Imagem e do Som do Rio de Janeiro, em 3 de setembro de 1965 (Diário de Notícias, 2 de setembro de 1965). A maior parte da obra de Santos, que inclui 17.812 mil negativos e 9.310 mil positivos (em vidro), além de 1.302 ampliações em papel feitas a partir dos negativos, está sob a guarda da instituição.
+janeiro de 1966 – Guilherme Santos faleceu em 26 de janeiro, na casa de sua filha Francisca, na Ilha do Governador. Na época, ele morava na rua Cesário Alvim, 39. Anúncio da missa de sétimo dia de Guilherme Santos (Diário de Notícias, 30 de janeiro de 1966).
+1984 – Fotografias do Rio Antigo de autoria de Guilherme Santos fizeram parte da exposição “19 anos do Museu da Imagem e do Som” (Última Hora, 27 de dezembro de 1984, na última coluna).
+2013 – Um conjunto de cerca de 3000 imagens produzidas pelo fotógrafo foi adquirida pelo Instituto Moreira Salles, em 2013.
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
diff --git a/wordpress/20961-cronologia-de-bernardo-scheidemantel-1834-1908.md b/wordpress/20961-cronologia-de-bernardo-scheidemantel-1834-1908.md
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+---
+id: 20961
+url: "https://brasilianafotografica.bn.gov.br/?p=20961"
+titulo: "Cronologia de Bernardo Scheidemantel (1834 – 1908)"
+autor: "Andrea Wanderley"
+data: "2021-01-06T10:16:15+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: []
+fetched_at: "2026-09-10T10:05:14.154Z"
+---
+
+# Cronologia de Bernardo Scheidemantel (1834 – 1908)
+
+Cronologia de Carl Bernard Scheidemantel (1834 – 1908)
+ 
+Litogravura de Bernardo Scheidemantel, 1876 / Fundação Cultural de Blumenau
+ 
+1834 – Nascimento, em 3 de dezembro de Carl Bernard Scheidemantel, na Saxônia. Precursor da fotografia no vale do Itajaí,  era considerado inteligente, crítico e possuidor de um humor peculiar. Nasceu em 3 de dezembro de 1834, em Braunsdorf.
+1859 – Chegou ao Brasil em 1859 e estabeleceu-se na Colônia Blumenau com seus pais, Gottfried Scheidemantel e Johanna Rosine, e com o irmão Ernst. Trabalhou como lavrador.
+1860 - Era desenhista e tipógrafo e criou seu próprio portfólio, reunindo grande parte do seu acervo de rótulos e desenhos desenvolvidos para os mais diversos segmentos, a partir deste ano.
+1862 – Em 16 de fevereiro, casou-se com Agnes Müller.
+c. 1864 – Começou a atuar como fotógrafo. Mas só a partir da década de 1870 passou a se dedicar exclusivamente à fotografia e à litografia, abandonando sua atividade rural.
+Década de 1870 – Passou a se dedicar exclusivamente à fotografia e à litografia, abandonando sua atividade rural.
+1881 – Nos Anais da Biblioteca Nacional de 1881 estão registrados que duas obras foram produzidas em sua oficina litográfica na Colônia de Blumenau: uma planta da barra do rio Itajaí levantadas pelos guardas marinhas Alfredo José de Abreu e Arthur Índio do Brasil e Silva sob a direção do capitão tenente Carlos Balthazar da Silveira; e um mapa geral levantado pelo engenheiro Emílio Odebrecht, em 1872 ( Anais da Biblioteca Nacional, pág 296 e pág 298).
+ 
+Anais da Biblioteca Nacional, 1881
+ 
+Anais da Biblioteca Nacional, 1881
+ 
+1883 e 1891 - Publicou uma propaganda de seu ateliê fotográfico em Blumenau (Immigrant Wochenblatt, 4 de abril de 1883). Anunciou seu trabalho como fotógrafo e gravurista no Immigrant, de 15 de março de 1891. Nas duas propagandas, anunciava seus serviços em fotografia, impressão de livros e litografia. Produzia fotos de paisagens, fotos de grupos, retratos, ampliações até a metade do tamanho natural, reproduções de desenhos, gravuras em metal, pinturas, ilustrações, planos, mapas, desenho à mão, diplomas, miniaturas de objetos e desenhos trazidos ao ateliê em fotos e gravura. Também anunciava a  preparação de impressos de obras inteiras, relatórios, estatutos para sociedades, catálogos, cartazes, livros escolares, revistas, formulários de todo tipo, letras de câmbio, papel de carta, faturas, notas (em Português!), recibos, memorandos, listas de preços, livros de contabilidade, convites, cartões de visita, noivado e endereço, ilustrados ou não, rótulos para cervejas, vinhos, cigarros, manteiga e (?), em todas as formas e apresentações – impressos em bronze e a cores. A execução era de bom gosto a preços baixos.
+ 
+Immigrant Wochenblatt, 4 de abril de 1883
+ 
+ 
+Immigrant, 15 de março de 1891
+ 
+1884 - Naturalizou-se brasileiro (A Regeneração, 23 de fevereiro de 1884, primeira coluna e 5 de março de 1884, última coluna).
+
+1887 – Em Blumenau, era o responsável pelas assinaturas da publicação Reform, que representaria os interesses da Colônia Dona Francisca. No Rio, as assinaturas poderiam ser feitas na Laemmert & Co; em Santos, com Eduard Menn; e, em Berlim, com Rudolf Mosse (Rio-Post, 2 de junho de 1887).
+ 
+Rio-Post, 2 de junho de 1887
+ 
+1885 – Foi listado como fotógrafo da província de Santa Catarina (Almanak Administrativo, Mercantil e Industrial do Rio de Janeiro, 1885).
+1908 - Falecimento de Bernardo Scheidemantel. Seu filho, Franz, também seguiu a profissão de fotógrafo.
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
diff --git a/wordpress/20965-cronologia-de-joaquim-pinto-da-silva-o-j-pinto-1884-1951.md b/wordpress/20965-cronologia-de-joaquim-pinto-da-silva-o-j-pinto-1884-1951.md
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+++ b/wordpress/20965-cronologia-de-joaquim-pinto-da-silva-o-j-pinto-1884-1951.md
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+---
+id: 20965
+url: "https://brasilianafotografica.bn.gov.br/?p=20965"
+titulo: "Cronologia de Joaquim Pinto da Silva, o J. Pinto (1884-1951)"
+autor: "Andrea Wanderley"
+data: "2021-01-06T10:16:05+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/5380"]
+fetched_at: "2026-09-10T10:05:17.674Z"
+---
+
+# Cronologia de Joaquim Pinto da Silva, o J. Pinto (1884-1951)
+
+Cronologia de Joaquim Pinto da Silva, o J. Pinto (1884-1951) 
+Anônimo. Retrato de J. Pinto, 192?. Rio de Janeiro, RJ / Acervo Casa de Oswaldo Cruz
+1884 – O fotógrafo Joaquim Pinto da Silva, que ficou conhecido como J. Pinto, nasceu em Alagoinhas, na Bahia, filho de José Camerino Pinto da Silva e Maria da Purificação.
+c. 1898 – Com 14 anos, J. Pinto teria vindo para o Rio de Janeiro.
+1903 – Foi contratado pelo médico e sanitarista Oswaldo Cruz na fase inicial das atividades em Manguinhos e começou a documentar a construção do que viria a ser um dos principais centros de ciência e saúde do Brasil.
+1910 – Segundo o historiador Eduardo Thielen, que escreveu a dissertação Imagens da saúde no Brasil – A fotografia na institucionalização da saúde pública, J. Pinto teria sido possivelmente o autor do primeiro filme científico feito no Brasil, Chagas em Lassance. A obra, com 9 minutos de duração, era sobre a descoberta da doença de Chagas, feita pelo cientista Carlos Chagas, em Lassance, Minas Gerais, em 1909 (Agência Fiocruz, 15 de agosto de 2008).
+1911 – Chagas em Lassance foi exibido por Oswaldo Cruz na Exposição Internacional de Higiene e Demografia de Dresden, na Alemanha (Agência Fiocruz, 15 de agosto de 2008). Também foi exibido o filme sobre as ações de combate à febre amarela no Rio de Janeiro. Esses dois filmes constituem o mais antigo acervo audiovisual científico preservado de que se tem notícia no Brasil. O pavilhão do Brasil, único país das Américas a construir um estande próprio no evento, foi inaugurado em 15 de junho (O Paiz, 16 de junho de 1911, quinta coluna).
+1946 - J. Pinto aposentou-se devido a problemas de saúde.
+1951 – Em outubro, falecimento de Joaquim Pinto da Silva. Sua missa de 30º dia foi realizada na Catedral Metropolitana do Rio de Janeiro (Diário de Notícias, 25 e 26 de novembro de 1951).
+Anúncio da missa de 30º dia de J. Pinto, no Diário de Notícias, 25 e 26 de novembro de 1951
+ 
+2014 – Lançamento do livro Vida, engenho e arte — O acervo histórico da Fundação Oswaldo Cruz, com imagens produzidas por J. Pinto (O Globo, 6 de junho de 2014).
+2016 – Realização da exposição Manguinhos Revelado: um Lugar de Ciência, com cerca de 120 fotografias, a maioria de autoria de J. Pinto (Portal Fiocruz, 8 de novembro de 2016).
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/5380` — `itens/20.500.12156.1_5380/`
+
diff --git a/wordpress/20972-cronologia-de-augusto-stahl-1828-1877.md b/wordpress/20972-cronologia-de-augusto-stahl-1828-1877.md
new file mode 100644
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+++ b/wordpress/20972-cronologia-de-augusto-stahl-1828-1877.md
@@ -0,0 +1,92 @@
+---
+id: 20972
+url: "https://brasilianafotografica.bn.gov.br/?p=20972"
+titulo: "Cronologia de Augusto Stahl (1828 – 1877)"
+autor: "Andrea Wanderley"
+data: "2021-01-06T10:20:47+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/2330", "20.500.12156.1/4726"]
+fetched_at: "2026-09-10T10:05:20.715Z"
+---
+
+# Cronologia de Augusto Stahl (1828 – 1877)
+
+Cronologia de Augusto Stahl (1828 – 1877)
+Carl Suck. Auguste Stahl, c. 1863 / Rio de Janeiro – 1840-1900 – Uma crônica fotográfica, de George Ermakoff
+1828 - Em Bergamo, na Itália, nascimento de Théophile Auguste Stahl, em 23 de maio de 1828, filho do pastor luterano Fréderic Stahl, que entre 1825 e 1841 trabalhou em Bergamo, e de Marie Elise Stahl (nascida Stamm). Sua famíla era da Alsácia, na França, e seu avô, Jean Georges, estabeleceu-se em Estrasburgo como açougueiro. Auguste Stahl, segundo de oito filhos, foi batizado em 8 de junho e seus padrinhos foram Giovanni Steiner e Orsola Andreozzi.
+1853 - Stahl chegou no Recife, a bordo do vapor Thames, da Mala Real Inglesa, em 31 de dezembro de 1853 (Diário de Pernambuco, 2 de janeiro de 1854, na quarta coluna sob o título “Movimento do Porto”).
+1854 / 1856 – Nesse período, seu estabelecimento ficava na rua do Crespo, 21, esquina com a rua da Cadeia (Diário de Pernambuco, 14 de abril de 1856, na primeira coluna).
+1855 - Realizou uma série de fotografias de Olinda.
+1856 - Anunciou a mudança de seu estúdio para a rua Nova, 21 (Diário de Pernambuco, 13 de maio de 1856, na penúltima coluna, sob o título “Retratos”).
+Publicação de uma propaganda do estabelecimento de Stahl com o título “O mais belo presente para noivos”(Diário de Pernambuco, 28 de agosto de 1856, na primeira coluna).
+1857 - Stahl anunciou a chegada do segundo pintor para trabalhar em seu estabelecimento (Diário de Pernambuco, 24 de março de 1857, na última coluna).
+Mudou-se para o Aterro da Boa Vista, 12, logradouro que, posteriomente, passaria a chamar-se rua da Imperatriz (Diário de Pernambuco, 24 de outubro de 1857, sexta coluna). O fotógrafo Agio Rio Pedro da Fonseca era seu ajudante.
+1858 –  Realizou uma série de registros das obras da estrada de ferro Recife-São Francisco. Também fotografou Olinda, Goiana e o interior de Pernambuco.
+Na barca francesa Tampico, chegada de uma encomenda de objetos para fotografia para Stahl (Diário de Pernambuco, 11 de janeiro de 1858, na quinta coluna).
+Anunciou os melhoramentos em seu estabelecimento e sua associação ao “químico fotógrafo” Adolpho Schmidt (18 -?) e ao “artista pintor” Germano Wahnschaffe (18? -?), que haviam chegado de Hamburgo (Diário de Pernambuco, 23 de setembro de 1858, na última coluna).
+Foi noticiado que Stahl viajaria para a Europa (Diário de Pernambuco, 12 de outubro de 1858, na sexta coluna).
+1859 - Stahl participou da terceira exposição fotográfica da Société Française de Photographie – SFP -, realizada entre 15 de abril e 1º de julho em Paris. Apresentou vistas de Pernambuco e retratos de negros. Acredita-se, até o momento, que foi o primeiro fotógrafo atuante no Brasil que enviou obras para uma exposição da SFP. Nessa exposição, foi desencadeada uma discussão acerca dos rumos da pintura após o surgimento da fotografia.
+ 
+Página 59 do Catálogo da Terceira Exposição da Sociedade Francesa de Fotografia
+ 
+O “químico fotógrafo” Adolpho Schmidt deixou a sociedade (Diário de Pernambuco, 29 de julho de 1859).
+Foi anunciado a chegada há pouco tempo da Europa do artista suíco Ulrich Steffen (c.1816 – ?) que realizava retratos a óleo em tamanho natural (Diário de Pernambuco, 6 de agosto de 1859).
+Dom Pedro II e a imperatriz Teresa Cristina, chegaram no Recife, em 22 de novembro. Foi a primeira viagem do imperador ao norte do Brasil (Diário de Pernambuco, 2 de dezembro de 1859). Stahl fotografou o evento e os fotografou em 1º de dezembro, ocasião em que ofereceu a eles o álbum Memorando pitoresco de Pernambuco, com imagens do desembarque dos dois no Recife, da própria cidade e da estrada de ferro Recife-São Francisco. O imperador mandou fazer mais 6 álbuns iguais, o que prova o quanto apreciou o trabalho do sr. Stahl, a quem concedeu a permissão de retratá-lo assim como a S.M. a Imperatriz.
+ 
+
+ 
+
+Jornal do Recife, 3 de dezembro de 1859
+ 
+Stahl & C. receberam de Pedro II a licença de usarem o título de Fotógrafo de Sua Majestade Imperial.
+ 
+Augusto Stahl. Desembarque da família imperial, 1859. Recife, Pernambuco / Acervo IMS
+ 
+1860 – Fotografou as quedas de Paulo Afonso, sob encomenda da Casa Imperial. Baseado nessas imagens o artista alemão Germano Wahnschaffe pintou o óleo “Cachoeira de Paulo Afonso”, entre esse ano e 1861 (Jornal do Recife, 23 de novembro de 1861, segunda coluna). 
+Anunciava o ensino de fotografia em seu estabelecimento e também a produção de retratos em cartões de visita “como se usa em Paris” (Diário de Pernambuco, 10 de setembro de 1860, na última coluna). Provavelmente foi o introdutor dos cartões de visita em Pernambuco e também um dos primeiros fotógrafos a realizá-los no Brasil.
+Por volta de 1860, foi o autor da única fotografia de uma natureza morta – até hoje conhecida – produzida no Brasil durante o século XIX.
+ 
+Augusto Stahl. Natureza morta, c. 1860. Recife, Pernambuco / Acervo IMS
+ 
+1861 - Participou da Exposição Provincial de Pernambuco, aberta no Recife, em 16 de novembro de 1861, com retratos, dentre eles um retrato do presidente da província de Pernambuco, Antônio Marcelino Nunes Gonçalves (1823 – 1899); e uma vista da Cachoeira de Paulo Afonso. A maior parte dos trabalhos eram retratos sobre papel pintados por Ulrich Steffen e Germano Wahnschaffe. O quadro a óleo da Cachoeira de Paulo Afonso foi pintado por Germano Wahnschaffe, entre 1860 e 1861, copiado da fotografia da cachoeira de Paulo Afonso executada por Stahl, a pedido de Pedro II, em 1860, e foi considerado considerado o quadro mais imponente da exposição (Jornal do Recife, 23 de novembro de 1861, segunda coluna). O quadro pertence à Coleção Brasiliana Itaú, uma das parceiras da Brasiliana Iconográfica.
+Vendeu à Corte Imperial uma coleção de vistas de Goiana e Paulo Afonso.
+Participou da Primeira Exposição Nacional com trabalhos em halótipos e recebeu uma menção honrosa.
+Fechou seu ateliê fotográfico no Recife em 31 de dezembro.
+1862 -  Em 23 de janeiro, no Diário de Pernambuco, foi anunciado que Stahl, Wahnschaffe e Ulrich Steffen iriam para o Rio de Janeiro. Embarcaram para o Rio de Janeiro em 4 de fevereiro. Stahl deixou como sucessor, no Recife, Leon Chapelin ((Diário de Pernambuco, 5 de fevereiro de 1862, primeira coluna; Diário de Pernambuco, 6 de fevereiro de 1862, terceira coluna).
+ 
+Diário de Pernambuco, 23 de janeiro de 1862
+ 
+Diário de Pernambuco, 6 de fevereiro de 1862
+ 
+Desembarcaram na cidade em 11 de fevereiro (Jornal do Commercio, 12 de fevereiro de 1862, penúltima coluna).
+ 
+Jornal do Commercio, 12 de fevereiro de 1862
+ 
+Segundo publicado na Tribuna de Petrópolis de 1º de abril de 1956, por Ricardo Martim, pseudônimo de Guilherme Auler (1914-1965), Stahl & Wahnschaffe foram agraciados, em 21 de abril de 1862, com o título de “Fotógrafos da Casa Imperial”. Porém, em janeiro de 1860, a sociedade Stahl & Cia já se identificava em anúncios no jornal como “Fotógrafos de S.M. o Imperador do Brasil” (Diário de Pernambuco, 10 de janeiro de 1860, na segunda coluna).
+Participou da Exposição Universal de Londres com fotografias.
+Entre 1862 e 1863, voltou à Europa, onde se casou com Marie Julie Bing (1835 – 1921), nascida em Ostheim, na Alsácia.
+1863 a 1870 - Nesse período, era publicado anualmente, no Almanack Laemmert, o endereço do estabelecimento de Stahl & Wahnschaffe, na rua do Ouvidor, 117. Anteriormente, até 1862, Maupoint & Robin ocuparam esse mesmo endereço (Almanack Laemmert, edição de 1870).
+1864 - Nascimento de Olga Marie, primeira filha do casal, no Rio de Janeiro.
+1865 - Stahl & Wahnschaffe participaram da Exposição da Academia Real de Belas Artes com várias fotografias, dentre elas um retrato da imperatriz Leopoldina.
+Produziu para a missão científica Thayer, financiada pelo empresário e filantropo norte-americano Nathaniel Thayer, Jr. (1808-1883), pelo interior do Brasil chefiada pelo naturalista suíço naturalizado norte-americano Louis Agassiz (1807 – 1873),  retratos de “tipos” do país: portraits e fotografias antropométricas de chineses que residiam no Rio de Janeiro e de escravos negros. A obra Voyage au Brésil – 1865 – 1866 foi resultado dessa missão. Agassiz era professor no Museu de Zoologia Comparada da Universidade de Harvard. Charles Frederick Hartt (1840 – 1878), futuro chefe da Comissão Geológica do Império, integrou a Expedição Thayer – foi a primeira vez em que veio ao Brasil.
+Nascimento de Paul Theodor Waldemar, segundo filho de Stahl, no Rio de Janeiro.
+1866 - Stahl & Wahnschaffe participaram da Segunda Exposição Nacional, realizada entre 19 de outubro e 16 de dezembro de 1866, com fotografias, retratos da família real em fotopintura por Ulrich Steffen, retratos de negros, vistas de subúrbios e uma panorama do Rio de Janeiro. Foram premiados com a quarta medalha de prata. Sobre a participação, o pintor Victor Meirelles (1833-1903) comentou no Relatório sobre a II Exposição Nacional:
+“São ainda dignos de toda atenção os trabalhos fotográficos destes senhores. As provas que representam diversos tipos da raça africana reúnem as qualidades essenciais, que sem elas a fotografia seria imperfeita. As de grandes dimensões, dos retratos de SS. MM. Imperiais obtidos também pelo sistema de amplificação pecam um pouco por não serem mais firmes e caírem excessivamente no efeito oposto, que os artistas chamam mole. Bem sabemos quanto é difícil em uma prova dessa dimensão obter-se melhor resultado. Acreditamos que essas provas foram antes ali representadas para que o público julgue o quanto são suscetíveis de serem depois coloridas a guache ou retocadas a óleo, como as que se acham expostas. As vistas do panorama da cidade do Rio de Janeiro e de algumas outras localidades pitorescas dos nosso subúrbios são trabalhos que ficam recomendados também por sua perfeição”.
+A Revista Ilustrada de 18 de dezembro referiu-se a Stahl & Wahnschaffe como “mestres nas paisagens e vistas da cidade, tão bons aí como nos retratos”.
+1867 - Stahl & Wahnschaffe participaram da Exposição Universal de Paris com paisagens do Rio de Janeiro.
+1870 – Provavelmente, as atividades do estúdio de Stahl & Wahnschaffe terminaram neste ano, já que o estabelecimento não foi anunciado pelo Almanak Laemmert de 1871. Os equipamentos teriam sido vendidos para os fotógrafos Cypriano & Silveira (Jornal do Commercio, 22 de maio de 1870). A família de Stahl retornou à Europa.
+Foi doada pelo sr. Manoel Figueiroa ao Instituto Arqueológico e Geográfico de Pernambuco uma fotografia das quedas de Paulo Afonso, de autoria de Stahl (Diário de Pernambuco, 16 de setembro de 1870, na penúltima coluna).
+1875 - Stahl partiu do Rio de Janeiro no paquete francês Senegal (O Globo, 26 de julho de 1875, na primeira coluna).
+1877 – Augusto Stahl faleceu em 30 de outubro, no Estabelecimento Público de Saúde Alsace Nord.
+1921 - Sua mulher, Marie Julie, faleceu em Genebra, em 30 de maio.
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/2330` — `itens/20.500.12156.1_2330/`
+- `20.500.12156.1/4726` — `itens/20.500.12156.1_4726/`
+
diff --git a/wordpress/20978-cronologia-de-camillo-vedani-18-1888.md b/wordpress/20978-cronologia-de-camillo-vedani-18-1888.md
new file mode 100644
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@@ -0,0 +1,46 @@
+---
+id: 20978
+url: "https://brasilianafotografica.bn.gov.br/?p=20978"
+titulo: "Cronologia de Camillo Vedani (18? – 1888)"
+autor: "Andrea Wanderley"
+data: "2021-01-06T10:15:39+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/2468"]
+fetched_at: "2026-09-10T10:05:23.786Z"
+---
+
+# Cronologia de Camillo Vedani (18? – 1888)
+
+Cronologia de Camillo Vedani (18? – 1888)
+Camillo Vedani. Passeio Público, c. 1868. Rio de Janeiro, RJ / Acervo IMS
+ 
+Década de 1850 – O fotógrafo italiano Camillo Vedani se estabeleceu no Rio de Janeiro.
+1860 / 1865 – Durante esse período viveu em Salvador, capital da Bahia. Produziu belas vistas da cidade, além de ter trabalhado na Bahia and São Francisco Railway. Provavelmente esteve também em Alagoas e em Sergipe.
+1869 – Na Bahia, realizou um trabalho de engenharia: o estabelecimento de uma linha telegráfica que faria a comunicação entre o Palácio da Presidência, o Comando das Armas e a Secretaria de Polícia. Pelo serviço, ganhou  575 réis (Relatório dos Trabalhos do Conselho interino do Governo, 1869).
+Década de 1870 – Durante algum tempo, nos últimos anos dessa década, residiu em Campos (RJ), onde trabalhou como engenheiro desenhista na construção da ferrovia do Carangola, cuja pedra fundamental foi lançada em 14 de junho de 1875.
+1875 – Em 11 de agosto, Camillo Vedani foi naturalizado brasileiro. Foi identificado como italiano, católico, casado e engenheiro (Diário do Rio de Janeiro, 13 de agosto de 1875, na segunda coluna e Ministério do Império, 1876).
+1876 - Notícia de que a esposa de Camillo, dona Antonieta Novelli Vedani, havia embarcado no Rio de Janeiro, em um vapor, com destino a Imbitiba, cidade perto de Campos (O Globo, 22 de maio de 1876, na quarta coluna).
+1878 – Vedani participou de uma reunião na casa do sr. Francisco Portella, propagador do Café Liberia (O Monitor Campista, 29 de maio de 1878, na terceira coluna sob o título “Café da Libéria”).
+Esclareceu não ser o autor de um pasquim insultando o sr. Biolchini, com quem era brigado (O Monitor Campista, 15 de dezembro de 1878, na terceira coluna sob o título “A pedido”).
+A partir de 25 de dezembro, Vedani expôs um presépio de sua autoria, na rua Direita, nº 99, na cidade de Campos. Foi elogiado por sua inteligência e apresentado como engenheiro desenhista da estrada de ferro do Carangola. A renda dos ingressos para apreciar o presépio foi revertido para uma obra beneficente (O Monitor Campista, 28 de dezembro de 1878, na primeira coluna).
+1879 - Camillo Vedani, como um dos engenheiros da estrada de ferro do Carangola, assinou uma manifestação em homenagem ao Sr. Julio Barbosa, diretor da construção da ferrovia, que havia sido exonerado da função (O Monitor Campista, 24 de outubro de 1879, na última coluna sob o título “A pedido”).
+1880 – Ele e o fotógrafo Marc Ferrez (1843 – 1923) foram contratados foram contratados para documentar os trabalhos realizados na Estrada de Ferro Central do Brasil.
+1882 –  Notícia da formação de uma comissão para estudos do traçado da ferrovia Madeira e Mamoré. Vedani era o desenhista do grupo, que partiria no dia 10 de janeiro de 1883 para efetuar o trabalho, sob a direção do engenheiro-chefe Carlos Morsing ( Revista de Engenharia, 1882).
+1883 – Camillo Vedani foi cumprimentar, com os outros membros da comissão para estudos da ferrovia Madeira e Mamoré, suas majestades imperiais, na primeira semana de janeiro ( Gazeta de Notícias, 20 de janeiro de 1883, na quinta coluna).
+Notícia com o histórico da construção da ferrovia Madeira e Mamoré (Jornal do Commercio, 9 de janeiro de 1883, na quarta coluna, sob o título “Gazetilha”).
+Vedani e sua esposa embarcaram para o Pará no vapor Espírito Santo. Os demais membros da comissão para estudos da ferrovia Madeira e Mamoré também viajaram para o norte (Gazeta de Notícias, 10 de janeiro de 1883, na sexta coluna sob o título “Passageiros” e Jornal do Commercio, 9 de janeiro de 1883, na quarta e quinta colunas, sob a seção “Gazetilha” ).
+1884 – Em Manaus, faleceu, em fevereiro, Antonieta Novelli  Vedani, esposa de Camillo, identificado como o desenhista da comissão de estudo do Madeira e Mamoré. Ela teve um ataque cerebral (Diário de Notícias, 16 de fevereiro de 1884, terceira coluna e Gazeta de Notícias, 4 de março de 1884, na segunda coluna).
+Notícias de 10 de abril de 1884 sobre a comissão para estudos da ferrovia Madeira e Mamoré: dos 17 que embarcaram no Rio de Janeiro, só dois continuavam no Amazonas: Vedani e o chefe da comissão, o engenheiro Carlos Morsing. Os outros tiveram problemas de saúde (Brazil, 9 de maio de 1884, na terceira coluna).
+De volta ao Rio de Janeiro, Vedani mostrou fotografias do Amazonas de sua autoria. Algumas eram de Manaus e da Cachoeira do Xingu (Folha Nova, 30 de abril de 1884, na quinta coluna).
+Em reunião do Club de Engenharia, Vedani ofereceu 11 fotografias de sua autoria (Jornal do Commercio, 6 de dezembro de 1884, na terceira coluna, sob o título “Club de Engenharia”)
+1888 -  Falecimento de Vedani (Gazeta de Notícias, 13 de maio de 1888, na última coluna). A notícia é que um amigo havia mandado celebrar uma missa pela alma do fotógrafo.
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/2468` — `itens/20.500.12156.1_2468/`
+
diff --git a/wordpress/20982-cronologia-de-jose-baptista-barreira-vianna-1860-1925.md b/wordpress/20982-cronologia-de-jose-baptista-barreira-vianna-1860-1925.md
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+---
+id: 20982
+url: "https://brasilianafotografica.bn.gov.br/?p=20982"
+titulo: "Cronologia de José Baptista Barreira Vianna (1860 – 1925)"
+autor: "Andrea Wanderley"
+data: "2021-01-06T10:15:28+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: []
+fetched_at: "2026-09-10T10:05:26.895Z"
+---
+
+# Cronologia de José Baptista Barreira Vianna (1860 – 1925)
+
+Cronologia de José Baptista Barreira Vianna (1860 – 1925)
+ 
+José Baptista Barreira Vianna. Autorretrato, c. 1900. Rio de Janeiro, RJ / Acervo do IMS
+ 
+1860 – Nascimento de José Baptista Barreiros, em Vianna do Castelo, em Portugal.
+1875 - Chegou ao Brasil com seu irmão, José Lourenço. Ele se fixa no Rio de Janeiro e emprega-se no comércio. Seu irmão estabeleceu-se em São Paulo. Por ter nascido em Vianna do Castelo, José Baptista Barreiros foi chamado por seus amigos da colônia portuguesa de Vianna. Adotou o apelido como sobrenome e também mudou seu sobrenome de Barreiros por Barreira, passando a chamar-se José Baptista Barreira Vianna.
+1884 - Casou-se com Laura Carlota Moreira (O Apóstolo, de 9 de março de 1884, na última coluna). Tiveram seis filhos: Maria Alice, João Jorge, Henriqueta, Rita, José e Lívia.
+1887 - Solicitou um seguro de vida à empresa New York Life Insurance Company (Jornal do Commercio, de 10 de julho de 1887, na terceira coluna).
+Década de 1890 – Durante essa década, a família Barreira Vianna residia na rua Santa Carolina, na Tijuca. José tinha como hobbies a marcenaria e a fotografia. Com um amigo fotógrafo, Sr. Mendes, produzia imagens com sua máquina, uma Eastman Kodak. Adquiriu um terreno do loteamento do Barão de Ipanema, na esquina das atuais Francisco Otaviano e Vieira Souto.
+1891 - Tornou-se um dos membros do conselho fiscal do Banco Incorporador (Diário do Commercio, de 15 de fevereiro de 1891, na sétima coluna e em anúncio de 16 de fevereiro).
+Integrava a diretoria da Companhia Manufactora e Importadora de Calçado Brasil como tesoureiro (Gazeta de Notícias, de 21 de fevererio de 1891).
+Firmou um contrato comercial de uma empresa de importação situada na rua General Câmara, número 72, em sociedade com Manoel Cândido de Azambuja, Francisco dos Santos Romano e Miguel de Magalhães Fonseca (Jornal do Commercio, de 14 de março de 1891, na terceira coluna, sob o título “Contratos Commerciaes”).
+1894 -  Firmou um contrato de um comércio de armarinho com Manoel Cândido de Azambuja, Francisco dos Santos Romano e Miguel de Magalhães Fonseca (Jornal do Commercio, de 6 de junho de 1894, na sétima coluna).
+Foi noticiado o aniversário de sua esposa, Laura Vianna (O Paiz, de 23 de setembro de 1894, na terceira coluna).
+ 
+José Baptista Barreira Vianna. D. Laura, esposa de José Baptista Barreira Vianna, c. 1900. Rio de Janeiro, RJ / Acervo IMS
+ 
+1895 – Participou de um abaixo-assinado apoiando a medida da gerência da empresa New York Life Insurance Company em relação a um projeto de lei discutido na Câmara dos Deputados sobre companhias estrangeiras de seguro atuantes no Brasil (Cidade do Rio, de 21 de agosto de 1895, sob o título “Segurados da New York”, na segunda coluna).
+1896 – Foi para a Europa com sua esposa e um filho, no paquete francês Brésil (Jornal do Brasil, de 16 de março de 1896, na terceira coluna).
+Voltou para o Brasil, no paquete francês Chili (A Notícia, de 6 de setembro de 1896, na última coluna sob o título “Visita”).
+Foi eleito um dos suplentes da Sociedade Portugueza de Beneficência (Liberdade, 23 de dezembro de 1896, sob o título “Sociedade Portugueza de Beneficencia, na quarta coluna).
+1897 – A diretoria da Sociedade Portugueza de Beneficência tomou posse e Barreira Vianna foi um dos suplentes (Cidade do Rio, 29 de março de 1897, na sexta coluna).
+Firmou um contrato com Francisco dos Santos Romano para o comércio de material de construção (O Paiz, de 25 de abril de 1897, na segunda coluna).
+Integrou o grupo da colônia portuguesa que se organizou para oferecer um navio de guerra à Portugal como parte das comemorações do quarto centenário do descobrimento do caminho marítimo para as Índias (Jornal do Brasil, de 15 de novembro de 1897, na terceira coluna, sob o título “Grande subscripção patriotica portugueza“).
+1899 – Já estava morando com a família na casa de Ipanema, cujo projeto e construção foram do arquiteto italiano Raphael Rebecchi (1844 – 1922). Foi a primeira casa da praia e uma das primeiras do bairro. Dos dois lados da casa, havia duas construções onde ficavam as dependências dos empregados, a lavanderia e uma oficina. São dessa época as fotografias que produziu das áreas internas e externas da residência. Embora a eletricidade não houvesse chegado à Ipanema, a casa possuía eletricidade produzida por um gerador movido por motor à explosão alimentado por acetileno.
+1900 – Firmou um contrato com Viríssimo Barbosa de Souza, Luiz José Monteiro e José Antônio Teixeira Barroso para o comércio de sabão na Praia de São Cristóvão, números 5 e 7 (O Paiz, de 21 de agosto de 1900, na terceira coluna).
+Em 29 de dezembro,  falecimento do pintor João Baptista Castagneto (1862 – 1900), de quem José Baptista Barreira Vianna era muito amigo. Também fazia parte de seu rol de amizades o pintor João Baptista da Costa (1865 – 1926), que era professor de pintura de seus filhos.
+1900 a 1903 – Do moinho de vento, que pertencia à propriedade e puxava água do sub-solo para a lavagem externa da casa, Barreira Vianna produziu fotografias do Leme, de Copacabana, do Arpoador, de Ipanema, do Leblon, da Gávea e da Lagoa.
+1902 – Foi um dos escolhidos pela Associação Comercial do Rio de Janeiro para compor uma comissão para discutir os problemas gerados pela multiplicidade de taxas cambiais (Jornal do Commercio Retrospecto Commercial, edição de 1902, na primeira coluna).
+1906 – Foi um dos patronos da conferência que John R. Mott (1865 – 1955) proferiu na Associação dos Empregados do Commercio. Mott iria presidir, em São Paulo, a Convenção Nacional da Associação Cristã dos Moços, aberta em 19 de julho de 1906 (Gazeta de Notícias, de 19 de julho de 1906, na sétima coluna).
+1909 – Firmou um contrato com Theophilo Rufino Bezerra de Menezes, Carlos Frederico Oberlaender e José Pinto de Almeida para o comércio de sal na rua da Gamboa, números 193 e 795 (O Paiz, de 7 de aogosto de 1909, na terceira coluna).
+1925 – Foi noticiado o falecimento de Barreira Vianna, que na época morava na rua João Alfredo, número 31. Ele foi enterrado no Cemitério Francisco Xavier (O Paiz, 4 de julho de 1925, na sexta coluna). Foi anunciada sua missa de 30º dia (Jornal do Brasil, 2 de agosto de 1925, na quinta coluna).
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
diff --git a/wordpress/20989-cronologia-de-valerio-vieira-1862-1941.md b/wordpress/20989-cronologia-de-valerio-vieira-1862-1941.md
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+++ b/wordpress/20989-cronologia-de-valerio-vieira-1862-1941.md
@@ -0,0 +1,226 @@
+---
+id: 20989
+url: "https://brasilianafotografica.bn.gov.br/?p=20989"
+titulo: "Cronologia de Valério Vieira (1862 – 1941)"
+autor: "Andrea Wanderley"
+data: "2021-01-06T10:14:59+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: []
+fetched_at: "2026-09-10T10:05:30.499Z"
+---
+
+# Cronologia de Valério Vieira (1862 – 1941)
+
+Cronologia de Valério Vieira (1862 – 1941)
+Valério Vieira, 1882, Rio de Janeiro / Reprodução fotográfica autoria desconhecida / Enciclopédia Itaú Cultural
+1862 - Em 16 de novembro, nascimento de Valério Octaviano Rodrigues Vieira, em Angra dos Reis, filho dos imigrantes portugueses Octaviano, fazendeiro de café, e Anna Rodrigues Vieira.
+1869 / 1874 – Provavelmente, estudou na Escola do Convento do Carmo, em Angra dos Reis.
+1875 – Transferiu-se para o Rio de Janeiro com seu único irmão, Luiz Delfino, vinte anos mais velho e médico na Corte Imperial. De acordo com o catálogo da mostra Memória Paulistana, realizada no Museu da Imagem e do Som de São Paulo, em 1975, fez isso contra a vontade de seus pais.
+1876 / 1884 – Provavelmente, frequentou nesse período a Academia Imperial de Belas Artes, no Rio de Janeiro, como aluno ouvinte.
+Década de 1880 – Casou-se com Irene Maria Moura e trabalhou como assistente no estúdio do fotógrafo português José Ferreira Guimarães (1841 – 1924), profissional de muito prestígio, agraciado com o título de Fotógrafo da Casa Real, em 13 de setembro de 1866.
+1886 - Falecimento de sua esposa Irene Maria, no Rio de Janeiro. Foi enterrada no cemitério São João Batista. A ela, Valério dedicou, no ano seguinte, a composição La Irenita (Diário de Notícias, 27 de setembro de 1887, na segunda coluna).
+1887 –  Valério mudou-se para Pindamonhangaba, onde abriu seu primeiro estúdio fotográfico, especializado em retratos.
+A habanera La Irenita, composição de Valério, foi anunciada como uma das novidades musicais à venda na Casa Buschmann & Guimarães, no número 52, na rua do Ourives, atual rua Miguel Couto, no Rio de Janeiro (O Programma Avisador, 16 de outubro de 1887). O anúncio foi repetido diversas vezes ao longo do ano.
+Pelos mesmos editores, foi publicada a polca Catita, de autoria de Valério (Jornal do Commercio, 27 de outubro de 1887, na penúltima coluna).
+1889 – Casou-se em Taubaté com Carmen Augusta Vieira, em 16 de maio. O casal teve quatro filhos: José do Patrocínio (26/04/1891 – 12/07/1911), Maria Catarina (02/09/1892 – 1918), Roque (1893 – 03/1977) e Francisco (1900 – 1971).
+Valério Vieira. Carmen Augusta Vieira. Reprodução fotográfica autoria desconhecida / Enciclopédia Itaú Cultural
+O casal mudou-se para Ouro Preto, onde Valério montou a Photographia União, em sociedade com Riberi, na rua Bobadela, posteriormente rua Direita.
+Fotografou a inauguração do início dos trabalhos do traçado final da ferrovia entre Ubatuba e Taubaté. Estavam presentes na cerimônia o concessionário da ferrovia, Francisco de Moura Escobar, e os senadores Leão Veloso (1828 – 1902) e Joaquim Floriano de Godoy (1826 – 1907), dentre outros (Gl´Italiani in San Paulo, 21/22 de março de 1889, na última coluna).
+Década de 1890 – Valério fixou-se em São Paulo, onde formou uma representativa clientela e tornou-se popular entre os paulistanos. Frequentemente são identificados retratos de sua autoria em álbuns de famílias da cidade.
+1890 – Os editores Buschmann & Guimarães enviaram para o periódico A Republica a polca tango Ai!Ai!, de autoria de Valério Vieira (A Republica, 24 de novembro de 1890, na última coluna).
+1891 – Já era o único proprietário da Photographia União, em Ouro Preto.
+Em 26 de abril, nascimento do primeiro filho do casal, José do Patrocínio, batizado em homenagem ao abolicionista de mesmo nome.
+Por volta desse ano, tornou-se muito amigo do jornalista e artista francês Émile Rouéde (1848 – 1908), que viveu em Ouro Preto entre 1890 e 1894. Rouéde foi também amigo dos escritores e irmãos Aluísio (1857 – 1913) e Artur Azevedo (1865 -1908), de Coelho Netto (1864 – 1934), José do Patrocínio (1854 – 1905) e Olavo Bilac (1865 – 1918).
+Anunciou que, após uma viagem a Caxambu e ao Rio de Janeiro, estava de volta ao seu estabelecimento fotográfico, a Photographia União (Jornal de Minas, 20 de abril de 1891).
+Os editores Buschmann & Guimarães enviaram para o periódico O Vassourense a valsa Tuas Lágrimas, de autoria de Valério Vieira (O Vassourense, 1º de fevereiro de 1891, na última coluna).
+Anúncio da venda das composições de Valério Vieira na Gazeta de Notícias de 15 de janeiro de 1891.
+Foi o autor do quadro com todos os membros do Congresso Mineiro (A Ordem, 11 de julho de 1891, na primeira coluna).
+Seu pedido de exoneração do cargo de professor de desenho do Externato do Ginásio Mineiro foi concedido, em 1º de setembro (Minas Gerais, 2 de julho de 1892, na segunda coluna).
+1892 – Em 2 de setembro, nascimento da única filha do casal, Maria Catarina (O Estado de São Paulo, 2 de setembro de 1910, página 7, na sétima coluna).
+Em um dos artigos da série “Na terra do ouro”, a Photographia União foi citada como um dos estabelecimentos que atestavam o adiantamento da cidade de Ouro Preto, sendo dirigido com muita perícia e gosto pelo sr. Valério Vieira (O Paiz, 15 de janeiro de 1892, na terceira coluna).
+Anúncio veiculado pelo periódico Minas Gerais, 26 de abril de 1892.
+Foi noticiado que ele se encontrava em São Paulo e que na casa Aguiar, na rua São Bento, estava exposto um grande quadro da cidade mineira de Caxambu de sua autoria. Mencionava-se que Valério gostaria de se fixar em São Paulo (Diário Popular, 24 de julho de 1892, página 2).
+1893 – Nascimento de Roque, o terceiro filho do casal.
+1894 - Com a mudança de sua família, estabeleceu-se definitivamente em São Paulo.
+1895 - No salão do periódico O Paiz, exposição de uma fotografia do ator baiano Xisto Bahia (1841 – 1894) em seu leito de morte, produzida por Valério Vieira, em Caxambu. O retrato foi oferecido ao jornalista e dramaturgo Artur de Azevedo (1855 – 1908) por Paulo da Fonseca (O Paiz, 16 de janeiro de 1895, na sexta coluna).
+Valério fotografou a decoração do refeitório do Colégio de Ytu na ocasião da festa realizada em homenagem ao padroeiro do estabelecimento, São Luiz Gonzaga (Jornal do Brasil, 10 de julho de 1895, na terceira coluna).
+Abertura de seu estúdio fotográfico na rua Quinze de Novembro, nº 19, em São Paulo. Essa data é baseada em uma notícia, reproduzida abaixo, publicada no O Estado de São Paulo, de 30 de outubro de 1909, na página 7, na sétima coluna, informando sobre a comemoração dos 14 anos do ateliê de Valério em São Paulo. Algumas fontes apontam 1892 ou 1893 como os anos de fundação do ateliê de Valério.
+Notícia sobre a comemoração dos 14 anos do ateliê de Valério Vieira em São Paulo / O Estado de São Paulo, 30 de outubro de 1909.
+1896 – Iniciou a sociedade com Aguiar, no estúdio Photographia Valério & Aguiar.
+1897 – Foi publicado o seguinte anúncio na edição de janeiro de 1897, da revista A Música para todos:
+“Photographia. – Valerio e Aguiar, na rua Quinze de Novembro, 19 – Casa de primeira ordem – Recomendamos esta casa pela elegância e solicitude dos trabalhos. Todos os artistas antes de irem em qualquer outro lugar, devem visitar o elegante atelier do simpático sr. Valério, que há poucos dias acabou o grande tableau alegórico do Veloce Club Olympico Paulista.”
+Estavam em exposição na vitrine do escritório do jornal Correio Paulistano algumas fotografias da passagem do 1º Batalhão de Polícia pelas ruas de São Paulo e da missa campal que se realizou na Praça da República, produzidas pelos sócios Valério e Aguiar. O trabalho exposto se recomenda por sua nitidez e perfeição (Correio Paulistano, 30 de outubro de 1897, na quarta coluna).
+1898 – Valério participou da inauguração do Hotel Internacional, em Santos (Correio Paulistano, 4 de outubro de 1898, na primeira coluna).
+Em novembro de 1898, Valério & Aguiar expuseram no pavimento térreo do Banco União sete quadros executados por diferentes processos. Fora muito elogiados, principalmente os quadros da srta. Bulcão e a do sábio Vastecer e a matéria termina com a afirmação: já temos photographias em São Paulo (Correio Paulistano, 19 de novembro de 1898, na última coluna). A senhorita Bulcão era Isabel Bulcão, que havia vencido um concurso de beleza em São Paulo, realizado pela Revista do Brasil.
+Foi noticiado o falecimento de Antonio Ribeiro Netto, concunhado do distinto fotógrafo Valério Vieira (Correio Paulistano, 1º de dezembro de 1898, na sexta coluna).
+Durante um almoço no salão nobre da Rotisserie, oferecido aos oficiais do cruzador português Adamastor, Valério tocou ao piano sua valsa homônima e foi muito aplaudido (O Commercio de São Paulo, 8 de dezembro de 1898, na quarta coluna).
+1899 – Provavelmente, a sociedade Valério & Aguiar terminou nesse ano como indica a nota sobre uma exposição na Charutaria Neumann de “um grande quadro com retratos dos membros da câmara dos deputados do Estado.”, obra que “muito recomenda a Photographia Valerio…” (Diário Popular, 05 de agosto de 1899, página 1). Alguns autores indicam 1900 como o ano do fim da sociedade.
+Valério foi um dos participantes da reunião para deliberar sobre a realização de homenagens ao pintor José Ferraz de Almeida Júnior (1850 – 1899), no Club Internacional, em São Paulo. O pintor havia sido vítima de um crime passional (Cidade do Rio, 18 de novembro de 1899, na quinta coluna). Valério ofereceu-se para fotografar gratuitamente todos os quadros de Almeida Júnior (Jornal do Commercio, 21 de novembro de 1899, na segunda coluna ).
+1900 – Nascimento de seu quarto filho, Raymundo Nonato.
+Realizou um painel retratando os membros que formavam o senado no Congresso Paulista.
+Valério estava na folha de pagamento da Secretaria do Interior de São Paulo (Lavoura e Commercio, 20 de março de 1900, na primeira coluna).
+Expôs na rua Quinze de Novembro, nº 44, vários trabalhos de sua autoria, dentre eles um retrato da senhorita Edith Reis, belo trabalho de miniatura a ponto, pintado com lente, segundo o processo de Meissonier, fotografias aquareladas (fotocromia), entre as quais uma da senhorita Bulcão, vários retratos em tamanho natural pelo processo de platinotipia e bem assim variada coleção de retratos bebés, última novidade no gênero... (Correio Paulistano, 21 de março de 1900, na quarta coluna).
+Foram enviadas pela Casa Levy & Irmão à redação do jornal O Estado de São Paulo as partituras das polcas Photographica e Paixão recolhida , ambas de Valério Vieira (O Estado de São Paulo, 5 de abril de 1900, página 2, na quinta coluna).
+Em Rio Claro, no interior do estado de São Paulo, Valério fotografou um almoço oferecido pela Companhia Elétrica com a presença de políticos e autoridades da cidade (O Estado de São Paulo, 4 de junho de 1900, página 1, na sétima coluna).
+Mostrou no salão do jornal O Paiz, no Rio de Janeiro, fotografias em relevo, que no dia seguinte poderiam ser vistas em exposição no Liceu de Artes e Ofícios. Eram fotografias pintadas a aquarela e diversos tipos de retratos (O Paiz, 26 de julho de 1900, na terceira coluna).
+Fotografou a abertura da Galeria de Cristal, em São Paulo, inaugurada com uma exposição de seus trabalhos e com as presenças do governador de São Paulo, Rodrigues Alves (1848 – 1919), e de outras autoridades. A galeria, de Christiano Webendorf, ligava a rua Quinze de Novembro à Boa Vista (O Paiz, 15 de novembro de 1900, na quarta coluna e A Imprensa, 16 de novembro de 1900, na primeira coluna).
+O seu estúdio, que passou a chamar-se Photographia Valério, continuava à rua Quinze de Novembro, nº 19. Oferecia  retratos convencionais, além de imagens coloridas com aquarela e pastel, ou ampliadas em materiais como espelho, porcelana e marfim. No número 28 da mesma rua, havia o ateliê de Guilherme Gaensly (1843 – 1928). O estabelecimento de Valério era um dos estúdios mais frequentados por artistas, políticos e intelectuais, dentre eles o deputado Rodolfo Miranda (1882 – 1954), o político Lins de Vasconcelos (1853 – 1916), o fotógrafo Militão Augusto de Azevedo (1837-1905) e o mecenas José Freitas do Valle (1870 – 1958) (Almanak Laemmert, 1901).
+1901 – Em torno desse ano, realizou a fotomontagem “Os trinta Valérios”, inicialmente batizada de “Valerio Fregoli”. É também dessa época a fotomontagem Tribunal de Justiça de São Paulo, na qual foi retratado o conselheiro Duarte de Azevedo (1831 – 1912) discursando na tribuna. 
+Nascimento de seu filho caçula, Francisco.
+No atelier de Valério, exposição de um quadro de todos os senadores do estado de São Paulo (Commercio de São Paulo, 30 de junho de 1901, na segunda coluna).
+Na Galeria Cristal, foi inaugurada uma exposição de trabalhos fotográficos do conceituado artista Valério Vieira, que ali expôs, além de alguns retratos à aquarela, que são primorosamente trabalhados, dois grandes quadros de admirável confecção artística – um com os retratos dos bacharelando em Direito de nossa Faculdade, e outro, do Senado Paulista (O Commercio de São Paulo, 13 de agosto de 1901, na quinta coluna).
+Foi noticiado que João Berniles e A. Bueno, representantes da Photographia Valerio Vieira, haviam seguido para o interior (O Commercio de São Paulo, 21 de setembro de 1901, na quarta coluna).
+Fotografou a conclusão das obras na Estação da Luz e exibiu a imagem na porta de seu estúdio fato que, segundo Boris Kossoy, gerou uma confusão matrimonial : …Um senhor que por ali passava, ao examinar a fotografia reconheceu sua esposa presente à inauguração de mãos dadas com um estranho. Pode se prever o que se seguiu, procura de satisfações e grande pancadaria… (Artigo de Boris Kossoy publicado no O Estado de São Paulo, 4 de março de 1973, na página 5 do “Suplemento Literário”). 
+Conforme descrito por Antônio Francisco Bandeira Junior no livro A Indústria de São Paulo em 1901, páginas 116 e 117, Valério havia inventado o Degradador Valério: um pequeno aparelho que se adapta em qualquer máquina, sendo sua principal qualidade abreviar 8 procedimentos dando maior realce à fotografia, saindo a chapa da máquina quase concluída. Esse invento trouxe um grande aperfeiçoamento à arte da fotografia.
+1902 – Valério era aguardado na Pensão Mineira, em Caxambu (Gazeta de Notícias, 7 de março de 1902, na penúltima coluna).
+Na notícia da reabertura do estabelecimento de Valério, na rua Quinze de Novembro, em 8 de março, há uma longa descrição dos trabalhos expostos e menções às obras Fé, esperança e caridade e Os trinta Valérios, sob o nome de Valério Fregoli – possivelmente uma referência ao ator italiano Leopoldo Fregoli (1867 – 1936), que representava diferentes papéis numa mesma encenação com rápida troca de caracterização. Na ocasião, estavas expostas esplêndidos processos como sejam a l´Art Noveau, fototipia, aquarelas, pastel, óleo, carvão, miniaturas, alto relevo e geminatura, novidade em São Paulo, isto é: gravação de retratos sobre cristal de espelho (O Commercio de São Paulo, 9 de março de 1902, na sétima coluna).
+Valério anunciou que estava estudando um novo processo de fotografia sobre porcelana e que tinha a intenção de fazer uma exposição com os frutos desses estudos e também com o Álbum de fotografias, de paisagens, marinhas, panoramas e curiosidades artísticas do estado de São Paulo, que estava em execução (O Commercio de São Paulo, 11 de setembro de 1902, na quinta coluna).
+O sr. Valério Vieira, proprietário da Photographia Artística exibiu na redação de O Estado de São Paulo retratos produzidos por grapho photo, processo inteiramente novo, que o hábil artista conseguiu aplicar a photographia, de modo a dar-lhe um aspecto lindíssimo (O Estado de São Paulo, 4 de novembro de 1902, página 2, na quinta coluna).
+Valério comemorou seu aniversário com um reunião em sua residência (O Estado de São Paulo, 16 de novembro de 1902, página 3, na quinta coluna).
+Uma comissão de redatoras do periódico Educação escolheu as mais interessantes fotografias tiradas de crianças entre 1 e 7 anos durante o ano de 1902 dos seguintes estúdios fotográficos do centro de São Paulo: o de Valério, o de José Vollsack, o de Rodolfo Neuhaus, o de Giovanni Sarracino e o Quaas & Cia (O Commercio de São Paulo, 22 de dezembro de 1902, na segunda coluna).
+1903 – Foi noticiada a intenção de Valério de mandar construir uma câmara de 1 metro e 50 centímetros por 80 centímetros, a primeira que nessas condições se tem até hoje fabricado. Com ela pretendia fotografar vistas do Brasil para apresentá-las no exterior (Correio Paulistano, 5 de maio de 1903, na última coluna).
+Anunciou ter regressado da Europa, tendo trazido novos aparelhos e materiais. Anunciou também uma liquidação em seu estabelecimento (O Commercio de São Paulo, 6 de outubro de 1903, na quarta coluna). Seu retorno foi registrado com uma charge na revista Vida Paulista, de 10 de outubro de 1903.
+ 
+Charge sobre a volta de Valério Vieira da Europa, publicada na revista Vida Paulista, de 10 de outubro de 1903, página 8 / Acervo do Arquivo Público do Estado de São Paulo
+ 
+Valério foi um dos subscritos para participar da exposição preparatória de Saint Louis (Correio Paulistano, 29 de outubro de 1903, na sexta coluna).
+Distribuiu um cartão de Boas Festas para seus clientes, onde seu rosto aparecia no lugar das flores em um buquê.
+  
+Valério Vieira. Boas Festas, 1902/1903. Reprodução fotográfica autoria desconhecida / Enciclopédia Itaú Cultural
+1904 – Notícia sobre a Exposição Universal de Saint Louis, nos Estados Unidos (O Commercio de São Paulo, 21 de janeiro de 1904, na primeira coluna). Com sua obra mais conhecida, Os trinta Valérios, ganhou a medalha de prata. Na mesma exposição, o pintor Eliseu Visconti (1866 – 1944) ganhou a medalha de ouro na Seção de Arte – Pintura e Desenho (Almanak Laemmert, 1905).
+Nas vitrines do Mundo Elegante, exposição de duas fotografias de autoria de Valério Vieira, uma do deputado Eugenio Egas (1863 – 1956) e outra do coronel Argemiro Sampaio. As fotografias seriam posteriormente colocadas na sala da música da banda da força policial de São Paulo (O Estado de São Paulo, 3 de março de 1904, página 2, na quarta coluna).
+Era anunciada a venda da partitura do cakewalk Capoeira, em elegante edição, composição de Valério, na Casa di Franco, em São Paulo (Correio Paulistano, 3 de dezembro de 1904, na primeira coluna).
+No artigo “A Fotografia em São Paulo”, o jornalista Múcio Teixeira (1857 -1926) elogiou a obra de Valério:
+“…Esse moço é uma das mais completas organizações artísticas da atualidade; apto para os mais arrojados cometimentos, de uma coragem heróica, de uma tenacidade japonesa, não trepida em sacrificar os haveres e a própria saúde numa elaboração perseverante e prolongada, no intuito exclusivo de desbravar caminhos por outros não trilhado…”(Correio Paulistano, 18 de dezembro de 1904, na segunda coluna).
+1905 – Na edição de 8 de janeiro do Correio Paulistano foi publicado um clichê tirado de uma fotografia do conselheiro Antônio da Silva Prado (1840 – 1929), de autoria de Valério (Correio Paulistano, 9 de janeiro de 1905, na primeira coluna).
+A colônia síria de São Paulo ofereceu ao prefeito de São Paulo, conselheiro Antônio da Silva Prado (1840 – 1929), um retrato a óleo pintado por Valério Vieira (O Paiz, 9 de janeiro de 1905, na quarta coluna). Dias depois, Valério foi um dos convidados do baile em homenagem ao prefeito (O Commercio de São Paulo, 15 de janeiro de 1905, na quarta coluna).
+Valério foi um dos retratados na edição comemorativa do primeiro aniversário da Folha Nova (A Republica, 18 de janeiro de 1905, na última coluna).
+Em São Paulo, era discutida a fundação de uma nova revista sob a direção artística de Valério Vieira e direção literária de Múcio Teixeira (1857 -1926) (O Pharol, 19 de janeiro de 1905, na terceira coluna).
+O atelier dos fotógrafo Guilherme Gaensly (1843 – 1928) era vizinho do de Valério. Ficava na rua Quinze de Novembro, nº 28 (Correio Paulistano, 4 de fevereiro de 1905, na sétima coluna).
+No Teatro Sant´Anna, como parte das homenagens ao trigésimo dia de morte de José do Patrocínio (1853 – 1905), foi exposta uma alegoria do abolicionista, de autoria do artista fotógrafo Valério Vieira (O Commercio de São Paulo, 25 de fevereiro de 1905, na quarta coluna). O filho primogênito de Valério chamava-se José do Patrocínio em homenagem ao abolicionista.
+A fotomontagem Tribunal de Justiça de São Paulo, na qual foi retratado o conselheiro Duarte de Azevedo (1831 – 1912) discursando na tribuna, foi publicada na segunda edição de 1905 do periódico Archivo Illustrado e seus integrantes foram nomeados.
+Em um dos intervalos do vaudeville O Lambe Feras, em cartaz no Teatro Polytheama, era executada a valsa Aeronave, de autoria de Valério (O Commercio de São Paulo, 29 de março de 1905).
+Foi anunciado na “Crônica social” o aniversário de José do Patrocínio, primogênito de Valério (Correio Paulistano, 26 de abril de 1905, na última coluna).
+A fotografia do Panorama de São Paulo foi tirada em 1º de julho em um esplêndido dia de sol a 1 hora da tarde, a partir do Santuário do Sagrado Coração de Jesus. Foram cinco chapas perfeitas (O Commercio de São Paulo, 19 de novembro de 1905).
+Requereu à Câmara Municipal de São Paulo uma ajuda de seis contos de réis para a conclusão do grande painel fotográfico que estava realizando da cidade de São Paulo (O Pharol, 5 de agosto de 1905, na primeira coluna).
+Valério foi nomeado um dos peritos em um caso de investigação de falsificação de dinheiro no bairro de Perdizes, em São Paulo (Jornal do Commercio, 12 de novembro de 1905, na segunda coluna).
+Em entrevista, Valério Vieira explicou a realização do Grande Panorama de São Paulo, anunciada como a maior fotografia do mundo, com 11 x 1.43 metros, batendo o recorde anterior que pertenceria a um registro de um fotógrafo alemão. Este sucesso extraordinário, este notável acontecimento na arte fotográfica deve 0 São Paulo aos esforços, à perícia, à coragem e ao apaixonado sentimento artístico de um distinto conterrâneo nosso, o exímio fotógrafo sr. Valério Vieira (O Commercio de São Paulo, 19 de novembro de 1905).
+Lauro Müller (1863 – 1926), ministro da Indústria, em visita a São Paulo, foi ver o panorama da cidade que estava sendo executado por Valério (Correio Paulistano, 30 de novembro de 1905, na segunda coluna).
+Um leitor rebateu a informação de que o Panorama de São Paulo fosse a maior fotografia do mundo. Segundo ele, havia sido apresentado na Exposição de Saint Louis um registro do Panorama da Baía de Nápoles, produzida pela Companhia Fotográfica de Hamburgo, com 12 metros por 1 metro e 50 (O Commercio de São Paulo, 14 de dezembro de 1905, na última coluna).
+Valério promoveu uma exposição individual no Salão Progredior, de propriedade do conde de Prates (1860 – 1928), e o mais elegante da belle époque paulistana. A inauguração contou com cerca de quatro mil visitantes e foi um grande acontecimento social e cultural. Os convidados recebiam, ao chegar, o catálogo da exposição, um exemplar do cakewalk Capoeira, composição de Valério, e cartões postais com os retratos do governador e dos secretários do estado de São Paulo. Entre 10 de dezembro e 06 de janeiro, foram expostos 54 trabalhos, dentre eles o Panorama da Fazenda Santa Gertrudes, em Rio Claro, propriedade do conde de Prates,  Os trinta Valérios, José do Patrocínio, Palácio do Governo e a primeira versão do Panorama de São Paulo, com cerca de de 11 metros de comprimento por 2 metros de largura, o clou da exposição. A exposição deste panorama foi autorizado pela prefeitura de São Paulo (Correio Paulistano, 8 de dezembro de 1905, na quinta coluna). A imagem havia sido realizada em maio de 1905,  tomada da torre da Igreja do Sagrado Coração de Jesus, no bairro dos Campos Elíseos, e cobria um amplo arco indo do Bom Retiro, a leste, até Higienópolis, a oeste (Correio Paulistano, 11 de dezembro de 1905, na última coluna).
+Exposição do ‘Panorama nº 1 de Valério Vieira no Salão Progredior, em São Paulo, 1905 / Reprodução de fotografia publicada na edição de janeiro de 1906 da Revista Santa Cruz
+Foi noticiado que Valério estava planejando a execução de um panorama do Rio de Janeiro nos moldes do que realizou de São Paulo (Jornal do Brasil, 20 de dezembro de 1905, sétima coluna).
+Foi noticiado que iria figurar na próxima exposição de Milão de 1906 um panorama de São Paulo, a maior cópia fotográfica que se tem feito no mundo. Para a realização da obra, seu autor, Valério Vieira, pediu à prefeitura de São Paulo uma ajuda financeira (A Federação, 23 de dezembro de 1905, na quinta coluna)
+O ministro do Interior e da Justica, J.J. Seabra (1855 – 1942), e outras autoridades visitaram a exposição de Valério no Salão Progredior (O Commercio de São Paulo, 27 de dezembro de 1905, na quarta coluna). No dia seguinte o governador de São Paulo, Jorge Tibiriçá Piratininga (1855 – 1928), visitou a exposição (Gazeta de Notícias, 28 de dezembro de 1905, na terceira coluna).
+1906 – A edição de janeiro da revista Santa Cruz trazia um extenso artigo, assinado por Vera-Cruz, sobre a exposição no Salão Progredior. Relacionava as obras e as técnicas empregadas, além de trazer, segundo Ricardo Mendes, o mais antigo registro visual conhecido de uma exposição fotográfica em São Paulo.
+Fotógrafo não identificado. Exposição de Valério Vieira no Salão Progredior, 1905. São Paulo, SP / Reprodução de fotografia publicada na edição de janeiro de 1906 da Revista Santa Cruz
+ 
+O sucesso da exposição do Salão Progredior foi tão grande que foi prorrogada até dia 6 de janeiro (Correio Paulistano, 1º de janeiro de 1906, na quarta coluna). Foi anunciado que o conde de Prates havia feito um bom donativo para que o artista realizasse outras mostras (O Commercio de São Paulo, 6 de janeiro de 1906). Na mesma data, o Correio Paulistano publicou a matéria “O Panorama e o Valério”, de autoria de Hilário Freire, que o classificou como uma poderosa síntese fotográfica de quase todo São Paulo.
+Foi noticiada a exposição, no Rio de Janeiro, de um grande panorama fotográfico de São Paulo feito pelo sr. Valério Vieira por encomenda do governo daquele estado para figurar na próxima exposição de Milão (Jornal do Commercio, 13 de fevereiro de 1906, na oitava coluna).
+No Rio de Janeiro, Valério convidou o ministro do Interior e da Justica, J.J. Seabra (1855 – 1942), para ir à inauguração da exposição do Panorama de São Paulo na Avenida Central, nº 133 (A Notícia, 16 de fevereiro de 1906, na terceira coluna). Foi noticiada a inauguração da exposição: alguns dos trabalhos era feitos por processos inventados por ele, ainda não conhecidos. Apesar da chuva, muitas pessoas compareceram ao evento, inclusive um representante do presidente da República, o capitão-tenente César de Mello. Dentre os 57 quadros expostos estavam o Panorama de São Paulo e Os trinta Valérios. Esse último, segundo a reportagem, já havia sido reproduzido em vários jornais da Inglaterra. Encontravam-se também expostos quadros do presidente da República, Francisco de Paula Rodrigues Alves (1848 – 1919), e do governador de São Paulo, Jorge Tibiriçá Piratininga (1855 – 1928) (Jornal do Commercio, 18 de fevereiro de 1906, na última coluna). O presidente da República visitou a exposição ( Correio Paulistano, 25 de fevereiro de 1906, na quarta coluna).
+Retornou a São Paulo em 29 de março, tendo quase concluído o contrato para a organização do grande panorama do Rio de Janeiro (Correio Paulistano, 30 de março de 1906, na segunda coluna).
+O Panorama de São Paulo embarcou para a Europa (Correio Paulistano, 1º de abril de 1906, na sexta coluna).
+Valério visitou o sr. Carlos Botelho (1855 – 1942), secretário de Agricultura de São Paulo, para quem mostrou diversas fotografias de fazendas e de estabelecimentos públicos. Anunciou sua breve partida para uma viagem pela Europa (O Commercio de São Paulo, 10 de abril de 1906, na terceira coluna). Na mesma ocasião, apresentou o processo fotográfico a gelo-albuminite de platina que dá a reprodução exata da chapa, conservando com fidelidade absoluta todos os traços fisionômicos da pessoa fotografada (Correio Paulistano, 10 de abril de 1906, na última coluna).
+Participou da Exposição Universal de 1906, também conhecida como Exposição Internacional del Sempione, em Milão, realizada entre 28 de abril a 31 de outubro de 1906.
+O Cardeal Arcoverde (1850 – 1930) celebrou uma missa na capela do Paço Episcopal de São Paulo, seguida de uma recepção. Em um ateliê improvisado, representando o fundo da vista o interior de uma das dependências do Vaticano, Valério Vieira fotografou o religioso (O Estado de São Paulo, 29 de junho de 1906, página 3, na terceira coluna).
+Valério participou da cerimônia de formatura da turma de Engenharia da Escola Politécnica de São Paulo (Correio Paulistano, 30 de junho de 1906, na terceira coluna).
+Acompanhou o primeiro cardeal da América Latina, o Cardeal Arcoverde (1850 – 1930), em  Itu, onde se realizavam festejos em torno do religioso (Correio Paulistano, 1º de julho de 1906, na última coluna).
+Foi inaugurado, no Conservatório Dramático e Musical de São Paulo, um retrato em tamanho natural do governador de São Paulo, Jorge Tibiriçá Piratininga (1855 – 1928), de autoria de Valério (Correio Paulistano, 23 de julho de 1906, na penúltima coluna).
+Valério fotografou em seu ateliê o presidente da República eleito, Afonso Pena (1847 – 1909) (Correio Paulistano, 2 de agosto de 1906, na última coluna).
+Foi noticiado que Valério publicaria em breve o Cicerone Paulista, pequeno guia da capital, que seria editado em uma gráfica alemã (Correio Paulistano, 24 de agosto de 1906, na primeira coluna).
+O diplomata Joaquim Nabuco (1849 – 1910), em visita a São Paulo, foi fotografado no ateliê de Valério (Correio Paulistano, 18 de setembro de 1906, na quarta coluna).
+Na Casa Bonilha, na rua Quinze de Novembro, exposição de um quadro de Valério Vieira que havia conquistado o primeiro lugar no último garden party realizado no Jardim da Luz. O quadro representava o menino Nonô, filho do sr. Francisco de Castro Júnior (Correio Paulistano, 24 de setembro de 1906, na quinta coluna).
+Foi realizada no estúdio de Valério a exposição individual do artista plástico José Joaquim Monteiro França(1876 – 1944) (Correio Paulistano, 24 de novembro de 1906, na sexta coluna).
+Exposição na Câmara de Deputados de São Paulo de uma fotografia de autoria de Valério Vieira retratando os deputados da legislatura corrente (O Commercio de São Paulo, 16 de dezembro de 1906, na segunda coluna).
+Valério dedicou a composição Valériopolka à imprensa paulista.
+No livro Il Brasil e gli Italiani, publicado pelo jornal Fanfulla, em 1906, no segmento Arti e Artistici, metade do espaço foi dedicado à obra de Valério. O Fanfulla, fundado em 1893, era um famoso periódico de imigrantes italianos de São Paulo.
+Il Brasil e gli Italiani, 1906.
+1907 - No Salão Progredior, foi inaugurado um gabinete para a exposição permanente da obra de Valério (Correio Paulistano, 5 de maio de 1907, na última coluna).
+O tenente La Brousse, da missão francesa, foi levado pelo oficial de gabinete da Secretaria de Justiça e Segurança de São Paulo, Sebastião Pereira Sobrinho, ao atelier de Valério Vieira que, sob a supervisão do tenente, fotografou um cabo do 1º  Batalhão para ilustrar e dar um caráter mais prático às instruções aos soldados da Força Pública (O Commercio de São Paulo, 7 de junho de 1907, na primeira coluna).
+Valério expôs no Salão Progredior um retrato do poeta Olavo Bilac (1865 – 1918), de grande tamanho que muito justamente prendeu a atenção do público (Correio Paulistano, 31 de julho de 1907, na segunda coluna).
+Foi noticiado que o quadro da turma dos bacharelandos em Ciências e Letras do Ginásio Paulista seria realizado por Valério Vieira (Correio Paulistano, 20 de agosto de 1907, na última coluna).
+Os participantes do Sexto Congresso Brasileiro de Medicina e Cirurgia foram fotografados por Valério, na Escola Normal (O Commercio de São Paulo, 7 de setembro de 1907, na quarta coluna). Doutorandos de 1885, que participavam do congresso, também foram fotografados por ele (Correio Paulistano, 14 de setembro de 1907, na quarta coluna). Os congressistas membros da seção de Farmacologia, ofereceram, no Parque Antártica, uma recepção a seu presidente, o farmacêutico Vicente Werneck, e Valério fotografou o evento (O Estado de São Paulo, 14 de setembro de 1907, página 1, na última coluna). Foi publicada na primeira página do Correio Paulistano de 15 de setembro de 1907 uma fotografia de autoria de Valério de participantes do congresso médico.
+Valério Vieira foi um dos vários que foram ver o vulto imponente do Barão do Rio Branco (1845 – 1912), que estava visitando São Paulo (Correio Paulistano, 5 de outubro de 1907, na quarta coluna).
+Valério Vieira assistiu a um concerto de violino de Celina Branco, realizado no salão do jornal Correio Paulistano (Correio Paulistano, 7 de novembro de 1907, na primeira coluna).
+O aniversário de Valério foi registrado na coluna “Crônica Social”, do Correio Paulistano de 16 de novembro de 1907.
+Valério Vieira estava na folha de pagamentos da Secretaria da Fazenda (O Commercio de São Paulo, 28 de novembro de 1907, na primeira coluna).
+1908 – Valério foi o idealizador do quadro que seria executado por Oscar Pereira da Silva (1867 – 1939) simbolizando o estado de São Paulo recebendo Portugal, que seria ofertado pela colônia portuguesa paulista ao rei de Portugal, dom Carlos (1863 – 1908), durante sua visita a São Paulo (A Notícia (PR), 21 de janeiro de 1908, na quarta coluna). A viagem não se realizou devido ao assassinato do monarca.
+Foi inaugurado no atelier de Valério um novo salão de exposições. O anfitrião recebeu os convidados com uma composição musical de sua lavra e um copo de cerveja (O Commercio de São Paulo, 23 de fevereiro de 1908, na terceira coluna).
+Participou da solenidade promovida pelo Centro de Ciências e Artes de Campinas em homenagem ao cinquentenário da fundação da imprensa campinense (O Commercio de São Paulo, 7 de abril de 1908, na segunda coluna).
+No Salão Steinway, foi realizada a quarta audição orquestral da escola de violino do professor Giulio Bastiani, italiano que havia se estabelecido em São Paulo por volta de 1882. Uma composição de Valério Vieira fazia parte do programa (O Commercio de São Paulo, 9 de abril de 1908, na quinta coluna).
+Valério estava na folha de pagamentos da Secretaria de Agricultura de São Paulo pelo fornecimento de fotografias para a Exposição preparatória da Exposição Nacional em comemoração ao centenário da Abertura dos Portos, realizada no Rio de Janeiro (O Commercio de São Paulo, 21 de junho de 1908, na quarta coluna).
+Foi noticiada a participação de Valério com seu Panorama de São Paulo na Exposição Nacional do Rio de Janeiro (Correio da Manhã, 26 de julho de 1906, na sexta coluna).
+Apresentou na Exposição Nacional do Rio de Janeiro, realizada entre 11 de agosto e 15 de novembro de 1908, em comemoração ao centenário da Abertura dos Portos, o Panorama de São Paulo, que mereceu grande atenção do público e da crítica.
+Antonio de Barros Barreto, presidente da comissão executiva do estado de São Paulo na Exposição Nacional recepcionou o ministro da Indústria, Miguel Calmon du Pin e Almeida (1879 – 1935), o secretário de Fazenda de São Paulo, Olavo Egydio (1862 – 1928), outras autoridades e jornalistas em uma visita às seções do estado de São Paulo na exposição. Na ocasião, Valério ofereceu aos visitantes vários quadros fotográficos (Jornal do Commercio e Jornal do Brasil, 3 de setembro de 1908, Correio Paulistano, 4 de setembro de 1908, na quinta coluna). O adido da legação argentina no Rio de Janeiro, Ricardo Sollá, visitou a seção paulista da exposição e considerou os trabalhos fotográficos de Valério esplêndidos (A Imprensa, 6 de setembro de 1908, na quinta coluna).
+Publicação de uma excelente crítica sobre os trabalhos de Valério Vieira exibidos na Exposição Nacional (O Subúrbio, 3 de outubro de 1908, na última coluna).
+Valério obteve o Grande Prêmio do Grupo de Fotografia do estado de São Paulo (Almanak Laemmert, 1909, e O Commercio de São Paulo, 23 de novembro de 1908, na terceira coluna). Foi publicada lista dos premiados do estado de São Paulo. Na categoria Arte Fotográfica, além de Valério, foi premiado o italiano Giovanni Sarracino que apresentou retratos de Manuel Joaquim de Albuquerque Lins (1852 – 1926), Jorge Tibiriçá Piratininga (1855 – 1928), Washington Luís (1869 – 1957) e Olavo Egydio (1862 – 1928), Carlos Botelho (1855 – 1942) e Siqueira Campos (1898 – 1930), entre outros (Correio Paulistano, 24 de novembro de 1908, na sexta coluna).
+Diogo José da Silva, a Companhia Clark, Isidoro Nardelli, Dallo & Filhos, Marino del Favero, Francisco Pitoresi e Valério, todos expositores paulistas da Exposição Nacional de 1908, convidavam para uma reunião para deliberações sobre a recepção a Barros Barreto e para a comissão executiva do estado de São Paulo na Exposição Nacional de 1908.  A reunião aconteceu no ateliê de Valério, que foi um dos secretários da assembleia (O Estado de São Paulo, 20 de dezembro de 1908, página 12, na quarta coluna, e Correio Paulistano, 27 de dezembro de 1908, na quarta coluna). A contribuição dos expositores para a compra de um presente e para a realização da recepção deveria ser entregue no ateliê de Valério, na rua Quinze de Novembro, nº 19, sede da comissão formada para organizar os festejos (O Estado de São Paulo, 26 de janeiro de 1909, página 5, na última coluna).
+1909 – Valério ofereceu ao secretário da Agricultura, Cândido Rodrigues (1850 – 1934), um quadro representando o pavilhão de São Paulo, na Exposição nacional de 1908 (O Estado de São Paulo, 8 de janeiro de 1909, página 1, na quinta coluna).
+Foi enviado à diretoria do Povoamento do Solo um requerimento de Valério Vieira solicitando o envio de algumas fotografias de seu atelier para a Europa a título de propaganda. Elas haviam feito parte da Exposição Nacional (O Paiz, 24 de janeiro de 1909, na terceira coluna).
+Foi noticiado que Valério iria contratar com a União o fornecimento de colossais panoramas de vistas de várias cidades do Brasil destinados à propaganda no estrangeiro (Jornal do Brasil, 5 de fevereiro de 1909, na quinta coluna e Gazeta de Notícias, 5 de fevereiro de 1909, na última coluna).
+Iria encontrar-se com o ministro da Indústria, Miguel Calmon du Pin e Almeida (1879 – 1935), no Hotel dos Estrangeiros (O Século, 16 de fevereiro de 1909, na quarta coluna). Valério Vieira propôs ao então Ministro da Indústria, Viação e Obras Públicas, Miguel Calmon (1879 – 1935), a quem visitou no Rio de Janeiro, uma plano para a exposição de panoramas do Brasil na Europa (O Século, 17 de fevereiro, na quarta coluna, e O Commercio de São Paulo, 17 de fevereiro de 1909, na segunda coluna).
+Valério foi uma das dezenas de pessoas que foi a gare do Norte, em São Paulo, para recepcionar Antonio de Barros Barreto, presidente da comissão executiva do estado de São Paulo na Exposição Nacional, e seus auxiliares (O Commercio de São Paulo, 8 de fevereiro de 1909, na segunda coluna).
+Valério levou ao escritório do ministro da Indústria, Miguel Calmon du Pin Almeida (1879 – 1935), várias ampliações de fotografias, medindo 3 metros de comprimento por 1 de largura, dentre elas da Avenida Beira- Mar e do Pavilhão da Bahia na Exposição Nacional (Jornal do Commercio, 18 de fevereiro de 1909, na sexta coluna e O Paiz, 18 de fevereiro de 1909, na terceira coluna).
+Valério foi o fotógrafo oficial da visita do presidente da República, Afonso Penna (1847 – 1909), a São Paulo (Correio Paulistano, 1º de abril de 1909, e Jornal do Commercio, 2 de abril de 1909, na sexta coluna).
+Estava no Rio de Janeiro, hospedado no Hotel Avenida (Correio da Manhã, 14 de junho de 1909, na quinta coluna).
+Valério foi um dos convidados para participar da viagem de trem do presidente da República, Afonso Penna (1847 – 1909), ao Paraná (Gazeta de Notícias, 9 de maio de 1909, na quarta coluna).
+Foi inaugurada uma exposição para comemorar os 14 anos do atelier de Valério (O Commercio de São Paulo, 30 de outubro de 1909, na terceira coluna).
+Foi noticiado que Valério fotografaria Rui Barbosa (1849 – 1923) e sua comitiva (O Século, 14 de dezembro de 1909, na primeira coluna). O fotógrafo anunciou que colocaria na frente de seu estabelecimento a fotografia do jurista medindo dois metros e cinquenta centímetros (O Commercio de São Paulo, 14 de dezembro de 1909, na terceira coluna).
+Foi noticiado que Valério havia enviado ao Correio Paulistano um criativo cartão de Boas Festas: estampando a pauta musical onde, à guisa de notas, se vêem os retratos do talentoso artista e dos membros de sua exma família (Correio Paulistano, 3 de janeiro de 1910, na quarta coluna).
+1910 – No Rio de Janeiro, Valério visitou o ministro da Agricultura, Rodolfo Nogueira da Rocha Miranda (1862 – 1943). Estava hospedado no Hotel Avenida (A Imprensa, 11 de janeiro de 1910, na penúltima coluna e Gazeta de Notícias, 11 de janeiro de 1910, na terceira coluna). Foi contratado, meses depois, por Rocha Miranda para confeccionar seis grandes panoramas da cidade do Rio de Janeiro e um grande número de cartões postais de várias cidades do Brasil para figurarem nas exposições de Turim e Roma (A Republica, 1º de julho de 1910, na quarta coluna).
+Como parte das comemorações do centenário de morte do poeta português Alexandre Herculano (1810 – 1877), foram expostos na Casa Garraux, em São Paulo, retratos do homenageado, primoroso trabalho de Valério Vieira. Seu ateliê era um dos locais onde foram distribuídos os convites para a aula magna em homenagem a Alexandre Herculano, realizada na Faculdade de Direito de São Paulo (Correio Paulistano, 23 de abril de 1909, na segunda coluna, e A Imprensa, 29 de abril de 1910, na quinta coluna). Retratos do homenageado, de autoria de Valério, foram distribuídos na faculdade (Correio Paulistano, 27 de abril de 1910, na quinta coluna). 
+Valério chegou ao Rio de Janeiro para permanecer alguns dias e foi saudado pelo jornal A Imprensa como …uma figura finamente cavalheiresca e o mais completo feitor da arte fotográfica em todo o Brasil…  (A Imprensa, 21 de junho de 1910, na última coluna)
+A Secretaria de Agricultura de São Paulo comunicou a aceitação da proposta de Valério para a confecção de um panorama de São Paulo para a Exposição Internacional de Roma e recusando a proposta de realização de cartões-postais e pequenos álbuns com o mesmo fim (Correio Paulistano, 22 de julho de 1910, na primeira coluna).
+Quando soube da visita do rei de Portugal, dom Carlos (1863 – 1908), ao Brasil, Valério fez um croquis de sua chegada no Rio de Janeiro e por isso recebeu o título de Comendador de Portugal. A visita não aconteceu porque o rei foi assassinado em 1º de fevereiro de 1908 (Artigo de Boris Kossoy publicado no O Estado de São Paulo, 4 de março de 1973, na página 5 do “Suplemento Literário”). Valério ofertou ao rei de Portugal, dom Manuel (1889 – 1932), o croquis da aquarela que deveria ter sido executada na ocasião da visita do rei dom Carlos ao Brasil, algumas fotografias e uma composição, a valsa “Adamastor”, de sua autoria. Recebeu uma carta de agradecimento do camareiro do rei, o conde de São Lourenço (Jornal de Recife, 19 de agosto de 1910, na quarta coluna). 
+Durante o Segundo Congresso Brasileiro de Geografia, o Centro Acadêmico Onze de Agosto, da Faculdade de Direito de São Paulo, ofereceu ao professor José Lobo D´Ávila Lima (1885 – 1957?), da Universidade de Coimbra, uma fotografia de autoria de Valério, retratando a diretoria da agremiação (Correio Paulistano, 17 de setembro de 1910, na sexta coluna).
+Valério fotografou os bispos que participaram da Conferência do Episcopado Sul-Americano para realizar um quadro artístico comemorativo do evento, realizado em São Paulo (O Estado de São Paulo, 8 de outubro de 1910, página 6, na segunda coluna).
+Valério comunicou ao ministro da Agricultura, Pedro Manuel de Toledo (1860 – 1935), que o panorama do Rio de Janeiro, que seria exibido na Exposição Internacional de Turim, já estava pronto (O Estado de São Paulo, 14 de dezembro de 1910, página 2, sétima coluna).
+1911 - Foi noticiado que Valério havia entregue ao ministro da Agricultura, Pedro Manuel de Toledo (1860 – 1935) o panorama do Rio de Janeiro que seria apresentado na Exposição Internacional de Turim. O panorama seria exposto nos salões do Museu Comercial antes de embarcar para a Itália (O Século, 27 de janeiro de 1911, na sexta coluna).
+Valério esteve no Rio de Janeiro (O Estado de São Paulo, 5 de março de 1911, página 1, na segunda coluna)
+A Câmara Municipal de São Paulo mandou arquivar o pedido de auxílio feito por Valério Vieira com o fim de confeccionar um grande panorama de São Paulo para a Exposição Internacional de Roma (Correio Paulistano, 20 de abril de 1911, na sexta coluna).
+Quatro retratos a óleo, do governador de São Paulo, Manuel Joaquim de Albuquerque Lins (1852 – 1926), do secretário do Interior, Carlos Guimarães (1862 – 1927), do deputado Mario Tavares (1874 – 1958) e do senador Antônio de Lacerda Franco (1853 – 1936), de autoria de Valério e de E. Távola, foram expostos no salão do jornal Correio Paulistano. Foram realizados por encomenda da Câmara Municipal de Pirassununga, para onde serão levados (Correio Paulistano, 27 de abril de 1911, na segunda coluna).
+Para distribuição durante as exposições de Roma e Turim, Valério Vieira mandou imprimir, por ordem do Ministério da Agricultura, 776 mil cartões postais de paisagens e edifícios públicos brasileiros. Também por encomenda do governo federal, Valério produziu seis telas reproduzindo aspectos da Exposição Nacional de 1908, da baía de Guanabara, das avenidas Beira-Mar e Central (A Imprensa, 25 de abril de 1911, na quinta coluna e O Pharol, 29 de abril de 1911, na quinta coluna). Foram pagos a Valério 12 contos de réis (O Estado de São Paulo, 14 de dezembro de 1911, página 2, sétima coluna).
+Segundo artigo de Boris Kossoy, publicado no O Estado de São Paulo, de 4 de março de 1973, Valério participou da Exposição Universal de Turim, realizada entre 29 de abril e 19 de novembro de 1911, durante a qual foi agraciado com a comenda de Cavaleiro da Coroa, concedida pelo rei da Itália, por sua defesa da causa da imigração italiana para o Brasil.
+A Câmara Municipal de Bauru encomendou de Valério três retratos para sua sala de honra: do governador de São Paulo, Manuel Joaquim de Albuquerque Lins (1852 – 1926); do secretário da Justiça e da Segurança Pública, Washington Luís (1869 – 1957); e do senador Bernardino José de Campos Júnior (1841 – 1915) (Correio Paulistano, 20 de maio de 1911, na terceira coluna).
+Em 12 de julho, seu primogênito, José do Patrocínio, faleceu repentinamente. Sua missa de sétimo dia foi celebrada na igreja de São Gonçalo (Correio Paulistano, 13 de julho de 1911, na terceira coluna e 19 de julho de 1911, na última coluna).
+Foi julgada por sentença a desistência requerida por José Paulino Nogueira Filho da ação executiva que movia contra Valério (Correio Paulistano, 5 de agosto de 1911, na segunda coluna).
+Foi noticiado que o senhor João de Barros estaria interessado em abrir uma filial do ateliê fotográfico de Valério Vieira no Rio de Janeiro (Diário da Tarde, 31 de agosto de 1911, na quarta coluna). Valério apresentou queixa à polícia contra ele, que também esteve no interior de São Paulo e no Paraná, apresentando-se, falsamente, como representante da Photographia Valério (Correio Paulistano, 7 de setembro de 1911, na quarta coluna).
+1912 – Valério fazia parte de um grupo de artistas que fotografou, em Pindamonhangaba, a chegada do governador de São Paulo, Manuel Joaquim de Albuquerque Lins (1852 – 1926), e de seus secretários à estação de trem da cidade. A comitiva foi inaugurar o Haras Paulista e o Posto Zootécnico Dr. Francisco Romeiro, além de outros melhoramentos na cidade. Valério também participou do baile oferecido a eles pela Câmara Municipal de Pindamonhangaba, no palacete de Elói Bicudo Varela Lessa (1844 – 1922), o barão de Lessa (Correio Paulistano, 28 de abril, na sexta coluna e 29 de abril, na quarta coluna).
+Foi publicado no Correio Paulistano, ao longo de 1912, o seguinte endereço de Valério: Largo de São Paulo, nº 71 (Correio Paulistano, 18 de maio de 1912, na terceira coluna).
+Valério esteve em Uberaba (MG), hospedado do Hotel do Comércio e em Igarapava(SP) (O Estado de São Paulo, 23 de setembro de 1912,  página 2, na terceira coluna, e Correio Paulistano, 29 de setembro de 1912, na segunda coluna). Recebeu diversas encomendas de retratos que seriam colocados nos salões do grupo escolar e do Fórum de Igarapava. Para o fórum, seriam fotografias de todos os juízes de Direito da comarca, desde sua instalação. Para o grupo escolar, retratos do ex-deputado Francisco Martins, e de outros políticos (Correio Paulistano, 8 de outubro de 1912, na quarta coluna).
+1913 – Valério Vieira estava em Igarapava (SP)(Correio Paulistano, 16 de maio de 1913, na última coluna).
+Participou da inauguração da estátua do Regente Feijó (1784 – 1843), na Praça da Liberdade, em São Paulo (Correio Paulistano, 25 de maio de 1913).
+1914 – Valério estava visitando Barretos (SP)(Correio Paulistano, 23 de janeiro de 1914, na última coluna). De volta a Barretos, expôs no salão do Central Hotel, onde estava hospedado, vários retratos de pessoas proeminentes da sociedade da cidade (Correio Paulistano, 13 de março de 1914, na quarta coluna).
+Foi exposta na Casa Alemã, em Campinas, uma fotografia realizada por Valério dos professorandos de 1914 da Escola Normal da cidade (Correio Paulistano, 12 de dezembro de 1914, na primeira coluna).
+1915 - Reabertura do ateliê fotográfico de Valério na rua Quinze de Novembro, nº 43 montado segundo todas as exigências da arte moderna (Correio Paulistano, 11 de fevereiro de 1915, na primeira coluna e 13 de fevereiro, na quinta coluna).
+Valério ofereceu uma prenda à barraca da Bélgica, dirigida por Gladys Nisseus de Saint Remy, na quermesse realizada no Jardim da Luz em prol dos flagelados do Norte e dos desamparados da Bélgica (Correio Paulistano, 2 de outubro de 1915, na quarta coluna).
+1916 – O ateliê fotográfico de Valério ficava na rua Quinze de Novembro, porém no número 43 (Almanak Laemmert, 1917).
+Havia uma letra de câmbio em um cartório na rua da Boa Vista, 58, em São Paulo sacada à vista contra Valério Vieira (O Estado de São Paulo, 28 de fevereiro de 1916, página 9, na quinta coluna).
+Fotografou o polêmico médium Carlos Mirabelli (1899 – 1951) (Correio Paulistano, 18 de junho de 1916).
+Recebeu pagamento da Secretaria da Fazenda de São Paulo (Correio Paulistano, 6 de julho de 1916, na segunda coluna).
+1917 – Realizou o quadro dos bacharelandos da Faculdade de Direito de São Paulo de 1917 (Correio Paulistano, 16 de outubro de 1917, na quarta coluna).
+Falecimento de Antonio Marjues Teixeira, pai de Augusta, esposa de Valério. Ele era professor público e um dos mais antigos guarda-livros nesta capital (O Estado de São Paulo, 18 de outubro de 1917, página 3, na penúltima coluna).
+1918 – Foi representado por seu filho, Roque, no enterro do italiano Vincenzo Pastore (1865 – 1918), fotógrafo que assim como Valério produzia retratos de múltipla exposição, revelando um traço de humor (Correio Paulistano, 19 de janeiro de 1918, na terceira coluna).
+Com 26 anos, falecimento da única filha de Valério, Maria Catarina. Deixou uma filha, Lydia (1914 – 1993), que passou a morar com Valério e Augusta.
+1921 - Pediu à Prefeitura de São Paulo auxílio para a confecção de uma nova versão do Panorama de São Paulo, apresentado na Exposição de 1908. O trabalho seria exibido na Exposição do Centenário da Independência, em 1922, no Rio de Janeiro (Correio Paulistano, 20 de janeiro de 1921, na quarta coluna, 30 de janeiro, na segunda coluna, 2 de fevereiro, na segunda coluna). O pedido foi autorizado pelo prefeito Firmiano de Moraes Pinto (1861- 1938) (Correio Paulistano, 18 de fevereiro de 1921).
+Valério esteve no Rio de Janeiro (O Estado de São Paulo, 20 de março de 1921, página 4, na sétima coluna)
+1922 - Foi inaugurada a exposição provisória do Panorama de São Paulo, na rua São Bento , nº 24, anunciada como a maior fotografia já realizada no mundo, com 16 metros (Correio Paulistano, 6 de setembro de 1922, na segunda coluna e 7 de setembro, na quarta coluna). O trabalho foi apresentado na Exposição do Centenário da Independência, no Rio de Janeiro, realizada entre 7 de setembro de 1922 e 24 de julho de 1923. Foi Conrado Wessel (1891 – 1993) que possibilitou a impressão da foto fornecendo a fórmula da emulsão química, uma solução de brometo de sais de prata que foi aplicada sob luz vermelha, para evitar que a emulsão fosse velada. Amigos e parentes de Vieira providenciaram a água necessária para a revelação do panorama, trazida em baldes e bacias para o antigo cineteatro São Paulo. As imagens do panorama foram obtidas do alto da torre da igreja do Liceu Sagrado Coração de Jesus, em Campos Elíseos. Com um ângulo visual de 180 graus, o registro foi realizado entre 1919 e 1921. Depois de pronta, as imagens em preto-e-branco foram pintadas para destacar os planos entre as ruas e as casas e para dar maior durabilidade da tela (Folha de São Paulo, 2 de março de 1995; O Estado de São Paulo, 13 de agosto de 1998, página 140).
+O ateliê fotográfico de Valério na rua Quinze de Novembro, nº 43, foi anunciado pela última vez no Almanak Laemmert de 1922.
+1923 – Inauguração do Estabelecimento Modelo, novo ateliê e uma escola para fotógrafos amadores de Valério Vieira, na rua Quinze de Novembro, nº 3 (Correio Paulistano, 17 de março de 1923, na sexta coluna e A Gazeta, 19 de março de 1923, na quarta coluna).
+Mudou seu estúdio para o Largo São Paulo, 16, no Cambuci.
+1924 - De tuberculose, falecimento de seu filho, Raymundo Nonato (Correio Paulistano, 25 de janeiro de 1924, na terceira coluna).
+Propôs à Câmara Municipal de São Paulo a execução de um quadro artístico com as fotografias dos vereadores em alto relevo (Correio Paulistano, 23 de setembro de 1924, na quarta coluna).
+1925 – Realizou um painel com a legislatura de 1923 a 1926 da Câmara Municipal de São Paulo.
+Fechamento definitivo de seu estúdio.
+1925 / 1940 – Continuou fotografando São Paulo e estâncias próximas à cidade como Águas de Lindóia e Caxambu.
+1929 – Recebeu pagamentos das secretarias da Fazenda e da Agricultura de São Paulo (Correio Paulistano, 2 de julho de 1929, na primeira coluna, e 6 de setembro de 1929, na quinta coluna).
+1941 – Valério Vieira faleceu, aos 79 anos, em 26 de julho, de colapso cardíaco, e foi enterrado no cemitério da Consolação (Correio Paulistano, 29 de julho de 1941, na terceira coluna e Estado de São Paulo, 27 de julho de 1941, página 5, na quinta coluna).
+1949 – Numa carta enviada por Augusto Nunes, que na época trabalhava no Sindicato dos Músicos do Rio de Janeiro, para o compositor, ator e cantor carioca Almirante (1908 – 1980), datada de 18 de fevereiro de 1949, ele se referia a Valério como um ótimo pianista e compositor… solicitado em todos os salões…
+1971 – Falecimento de seu filho, Francisco.
+1972 – O Panorama de São Paulo, de sua autoria, foi exposto nas comemorações do cinquentenário da Semana de Arte Moderna, no Museu de Arte de São Paulo.
+1975 – Suas obras foram expostas na mostra Memórias Paulistanas, realizada pelo Museu da Imagem e do Som de São Paulo, entre 26 de fevereiro e 6 de março.
+1977 - Em março, falecimento de seu filho Roque (O Estado de São Paulo, 6 de março de 1977, página 56).
+1999 – O Panorama de São Paulo foi o grande destaque do 4º mês Internacional da Fotografia realizado no Museu da Imagem e do Som de São Paulo, entre 19 de maio e 15 de julho de 1999. A exposição Valério Vieira foi organizada pelo fotógrafo Fausto Chermont (1961 -) (O Estado de São Paulo, de 19 de abril de 1999, página D5 do “Caderno 2″).
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
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+---
+id: 21001
+url: "https://brasilianafotografica.bn.gov.br/?p=21001"
+titulo: "Cronologia de João Ferreira Villela (18? –?)"
+autor: "Andrea Wanderley"
+data: "2021-01-06T10:21:14+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/491", "20.500.12156.1/4006"]
+fetched_at: "2026-09-10T10:05:34.055Z"
+---
+
+# Cronologia de João Ferreira Villela (18? –?)
+
+Cronologia de João Ferreira Villela (18? – ?)
+ 
+1840 – O aluno João Ferreira Villela, do Colégio Pernambucano, foi aprovado na prova geral de primeiras letras e gramática nacional (Diário de Pernambuco, 23 de dezembro de 1840, última coluna).
+1841 – João Ferreira Villela foi aprovado na prova de História, seção de História Sagrada, do Colégio Pernambucano (Diário de Pernambuco, 18 de dezembro de 1841, segunda coluna).
+1849 – João Ferreira Villela requereu à Assembleia Provincial de Pernambuco uma gratificação para que ele pudesse concluir o curso de taquigrafia. Ele e outro aluno, Joaquim Izidoro Simões, receberam uma gratificação de  400 mil réis cada um, e o professor de arte recebeu 800 (Diário de Pernambuco, 30 de maio de 1849, primeira coluna; e Diário de Pernambuco, 23 de junho de 1849, primeira coluna).
+1850 – Fez outro requerimento à Assembleia Provincial de Pernambuco em relação a financiamento para seu curso de taquigrafia e passou a ser adido da secretaria da assembleia (Diário de Pernambuco, 25 de maio de 1850, primeira coluna, e Diário de Pernambuco, 2 de julho de 1850, primeira coluna).
+1851 – João Ferreira Villela e Joaquim Izidoro Simões solicitaram a criação de lugares de taquígrafos na Assembleia Provincial de Pernambuco (Diário de Pernambuco, 13 de março de 1851, terceira coluna).
+1852 – Foi concedida uma licença de um mês e 24 dias para João Ferreira Villela, praticante de taquigrafia, ir à Paraíba (Diário de Pernambuco, 11 de maio de 1852, quinta coluna).
+No dia 13 de novembro, a bordo do vapor brasileiro Mucury, Villela chegou ao Rio de Janeiro (O Globo, 20 de novembro de 1852, primeira coluna).
+1853 – O então taquígrafo João Ferreira Villela voltou para Pernambuco, em 12 de novembro, no vapor Guanabara e informou que não devia nada nesta praça (Diário do Rio de Janeiro, 9 de novembro de 1853, primeira coluna; e Diário do Rio de Janeiro, 13 de novembro de 1853, última coluna).
+1855 – Inicialmente, segundo Boris Kossoy, sem anunciar seu nome, João Ferreira Villela possuía um ateliê de fotografia no Aterro da Boa Vista, nº4, mesmo endereço onde anteriormente trabalharam os fotógrafos norte-americanos Charles DeForest Fredricks (1823 – 1894), em 1851 (Diário de Pernambuco, 23 de julho de 1851, última coluna), e, em 1854, Augustin Lettarte (18? – ?) (Diário de Pernambuco, 6 de fevereiro de 1854, segunda coluna) e o português Joaquim Insley Pacheco (1830 – 1912) (Diário de Pernambuco, 29 de março de 1854, na terceira coluna). O ateliê de Villela oferecia retratos de pessoas idosas, de crianças e anunciava que iria a qualquer lugar para tirar retratos de pessoas mortas. Anunciava também tirar retratos em stereoscopo, isto é de maneira a apresentar a pessoa em relevo e ao natural e incumbiam-se de tirar cópias em daguerreótipo (Diário de Pernambuco, 10 de dezembro de 1855, penúltima coluna).
+Diário de Pernambuco, 10 de dezembro de 1855
+1856 – Vendia-se no estabelecimento de Villela um grande sortimento de objetos para a colocação de retratos que lá se tiravam com a maior perfeição tanto pelo sistema francês como pelo norte-americano (Diário de Pernambuco, 3 de outubro de 1856, primeira coluna).
+Diário de Pernambuco, 3 de outubro de 1856
+ 
+1857 – Publicação de propaganda da Grande Oficina de Galeria de Daguerreótipo informando a chegada de produtos de Nova York e também informando os preços dos retratos (Diário de Pernambuco, 13 de junho de 1857, terceira coluna).
+1858 –  Recém chegado à cidade, no vapor Oyapock, o retratista J. Villela abriu seu novo estabelecimento de daguerreotipia à rua Nova, nº 18, primeiro andar. Anunciava possuir o mais completo sortimento de caixinhas, molduras pretas, douradas e jóias para a colocação dos retratos. Anunciava também que iria a qualquer parte tirar retrato de família ou de pessoa morta (Diário de Pernambuco, 15 de dezembro de 1858, segunda coluna).
+1859 –  Em uma propaganda de seu estabelecimento, Villela divulgou sua habilidade como restaurador de daguerreótipos (Diário de Pernambuco, 7 de setembro de 1859).
+Quando dom Pedro II visitou Recife, em outubro, Villela ofereceu a ele seis molduras douradas com imagens obtidas sobre chapas metálicas: do Pavilhão construído a mando da Câmara Municipal para a recepção do imperador, do porto de desembarque do imperador com quiosque, dois barracões, chafariz e cais do Colégio; da continuação da citada vista com o mastro norte do pavilhão da Câmara e mosqueiro com todas as embarcações ali fundeadas; de uma marinha, do Templo dos Ingleses, na rua da Aurora; e do fim da rua da Cruz com o princípio do arsenal de Marinha. S. Majestade, com a bondade que todos conhecem, dignou-se receber o mimo, declarar que conhecia todas as vistas e achava bom o trabalho. O monarca encomendou a Villela vistas de locais no interior de Pernambuco que havia conhecido. Ficou combinado que seriam remetidas para o Rio de Janeiro. É mais uma prova do quanto nosso adorado monarca aprecia e anima as artes assim como do valor e importância que dá ao que é nosso (Diário de Pernambuco, 26 de dezembro de 1859, quarta coluna; e Correio Mercantil (RJ), 7 de janeiro de 1860, quarta coluna).
+1860 – Sobre a foto abaixo, produzida por Villela em torno de 1860, Luis Felipe de Alencastro comentou no livro História da vida privada no Brasil Império: a corte e a modernidade nacional, publicado pela Companhia das Letras, em 1998:
+ 
+João Ferreira Villela. Augusto Gomes Leal com a Ama-de-Leite Mônica, c. 1860. Recife. Pernambuco / Acervo da Fundação Joaquim Nabuco
+ 
+‘A fotografia feita no Recife por volta de 1860. Na época era preciso esperar no mínimo um minuto e meio para se fazer uma foto. Assim, preferia-se fotografar as crianças de manhã cedo, quando elas estavam meio sonolentas, menos agitadas. O menino veio com a sua mucama, enfeitada com a roupa chique, o colar e o broche emprestado pelos pais dele. Do outro lado, além do fotógrafo Villela, podiam estar a mãe, o pai e outros parentes do menino. Talvez por sugestão do fotógrafo, talvez porque tivesse ficado cansado na expectativa da foto, o menino inclinou-se e apoiou-se na ama. Segurou-a com as duas mãozinhas. Conhecia bem o cheiro dela, sua pele, seu calor. Fora no vulto da ama, ao lado do berço ou colado a ele nas horas diurnas e noturnas da amamentação, que os seus olhos de bebê haviam se fixado e começado a enxergar o mundo. Por isso ele invadiu o espaço dela: ela era coisa sua, por amor e por direito de propriedade. O olhar do menino voa no devaneio da inocência e das coisas postas em seu devido lugar. Ela, ao contrário, não se moveu. Presa à imagem que os senhores queriam fixar, aos gestos codificados de seu estatuto. Sua mão direita, ao lado do menino, está fechada no centro da foto, na altura do ventre, de onde nascera outra criança, da idade daquela. Manteve o corpo ereto, e do lado esquerdo, onde não se fazia sentir o peso do menino, seu colo, seu pescoço, seu braço escaparam da roupa que não era dela, impuseram à composição da foto a presença incontida de seu corpo, de sua nudez, de seu ser sozinho, da sua liberdade. O mistério dessa foto feita há 130 anos chega até nós. A imagem de uma união paradoxal mas admitida. Uma união fundada no amor presente e na violência pregressa. A violência que fendeu a alma da escrava, abrindo o espaço afetivo que está sendo invadido pelo filho do senhor. Quase todo o Brasil cabe nessa foto‘.
+Em propaganda de sua oficina e galeria da rua Nova, 18, anúncio de que Ferreira Villela já havia tirado mais de cinco mil retratos em quatro anos (Diário de Pernambuco, 22 de maio de 1860, terceira coluna).
+ 
+Diário de Pernambuco, 22 de maio de 1860
+ 
+Lado a lado, propagandas dos estabelecimentos fotográficos de Villela e de Augusto Stahl (1828 – 1877) (Diário de Pernambuco, 3 de fevereiro de 1860).
+ 
+Diário de Pernambuco, 3 de fevereiro de 1860
+ 
+Embarcou no vapor Oyapock rumo aos portos do sul (Diário de Pernambuco, 6 de agosto de 1860, quarta coluna).
+Embarcou, no Rio de Janeiro, no paquete Cruzeiro do Sul, rumo a Pernambuco (Correio Mercantil(RJ), 13 de setembro de 1860, penúltima coluna). Anunciou seu retorno, a iminência da inauguração de seu novo estabelecimento fotográfico, na rua do Cabugá, nº 18, e identificou-se como único discípulo de Insley Pacheco. Oferecia retratos por ambrótipo, daguerreótipo e ambrocromótipo. Este último sistema, invenção do distinto professor Insley Pacheco, de quem o anunciante é o único discípulo (Diário de Pernambuco, 4 de outubro de 1860).
+ 
+Diário de Pernambuco, 4 de outubro de 1860
+ 
+De acordo com Guilherme Auler (6/1/1914 – 27/12/1965), sob o pseudônimo de Ricardo Martim, em dois artigos publicados na Tribuna de Petrópolis, em 1º e 8 de abril de 1956, segundo o livro O Brasil na fotografia oitocentista, de Pedro Vasquez, João Ferreira Villela, teve seu título de Fotógrafo Imperial concedido por dom Pedro II(1825 – 1891), em 18 de setembro de 1860. Foi o primeiro e único pernambucano agraciado. Antes dele, os fotógrafos Buvelot & Prat e Joaquim Insley Pacheco, ambos da província do Rio de Janeiro, haviam recebido o título em 8 de março de 1851 e em 22 de dezembro de 1855, respectivamente.
+Os padrinhos de uma de suas filhas foram dom Pedro II e dona Teresa Cristina (1822 – 1889), que se fizeram representar pelo Presidente da Província de Pernambuco, Ambrósio Leitão da Cunha (1825 – 1898) e sua esposa. Muitas autoridades estavam presentes à cerimônia, na Igreja Paroquial de Santo Antônio, e também à festa na casa de Ferreira Villela (Diário de Pernambuco, 18 de dezembro de 1860, penúltima coluna; e Diário do Rio de Janeiro, 29 de dezembro de 1860, penúltima coluna).
+1861 –  No Almanak Administrativo, Mercantil e Industrial da Província de Pernambuco de 1861 , Villela foi listado como taquígrafo e, com Augusto Stahl, como fotógrafo.
+ 
+
+ 
+ 
+ 
+Apresentou-se como Retratista da Augusta Casa Imperial em anúncio de seu estabelecimento fotográfico na rua do Cabugá, nº 18 (Diário de Pernambuco, 13 de abril de 1861).
+ 
+Diário de Pernambuco, 13 de abril de 1861
+ 
+Oferecia retratos por ambrótipos e por melainótipos sobre panos encerados próprios para remeterem-se dentro de cartas ou sobre malacacheta ou talco especiais para alfinetes ou cassoletas, além de retratos transparentes, oferecendo o mesmo retrato em duas vistas, uma colorida e outra em preto e branco (Diário de Pernambuco, 22 de junho de 1861).
+Durante 1861, assinou alguns artigos da coluna “Palestra sobre o Theatro”, do jornal pernambucano O Constitucional: jornal político, religioso, científico e literário: em 31 de julho, 7 de agosto, 14 de agosto, 21 de agosto, 4 de setembro, 18 de setembro, e 25 de setembro.
+Abaixo, uma reclamação do bilheteiro do Teatro de Santa Isabel sobre Ferreira Villela que identificou como hábil em daguerreotipar os defeitos alheios. Há também uma resposta do diretor e regente da orquestra, Francisco Libânio Colás ( 1827 – 1885) a crítica feita a ele no O Constitucional de 7 de agosto de 1861 (Diário de Pernambuco, 8 de agosto de 1861, segunda coluna).
+ 
+Diário de Pernambuco, 8 de agosto de 1861
+ 
+Villela deu um esclarecimento sobre a reclamação do bilheteiro do Teatro de Santa Isabel, o Cunha  (Diário de Pernambuco, 9 de agosto de 1861, primeira coluna).
+Em seu estabelecimento eram oferecidos retratos dos principais personagens da Europa, vistas estereoscópicas, vidros para ambrótipos e químicas fotográficas (Diário de Pernambuco, 26 de outubro de 1861, terceira coluna).
+Participou com uma coleção de retratos pelo sistema ambrótipo da Exposição Provincial de Pernambuco, inaugurada em 16 de novembro de 1861, no Palácio do Governo (Diário de Pernambuco, 18 de novembro de 1861, última coluna e Jornal do Recife, 19 de novembro de 1861). Sua esposa, Idalina Teixeira Leal Ferreira Villela, participou expondo uma caixa envidraçada contendo um grupo de frutas de cera (Jornal do Recife, 23 de novembro de 1861, primeira coluna).
+ 
+Jornal do Recife, 19 de novembro de 1861
+ 
+1862 – Villela ofereceu retratos a dom Pedro II, que haviam sido exibidos na Exposição Nacional (Boletim do Expediente do Governo: Ministério do Império, janeiro de 1862).
+Foi qualificado como juiz de fato (Diário de Pernambuco, 7 de fevereiro de 1862, terceira coluna).
+Anunciou a decoração de seu estabelecimento fotográfico com retratos dos imperadores, das princesas imperiais e de pessoas importantes do Recife. Afirmava que os preços dos retratos eram os mais razoáveis da cidade (Diário de Pernambuco, 17 de julho de 1862, última coluna).
+Nessa mesma época, atuava no Recife o retratista norte-americano Augusto W. Osborn, na rua do Imperador (Diário de Pernambuco, 5 de agosto de 1862).
+ 
+João Ferreira Villela. Ponte Santa Isabel: construção, 1862. Recife , Pernambuco / Acervo FBN
+ 
+1864 – Candidatou-se a vereador (Diário de Pernambuco, 26 de agosto de 1864, penúltima coluna).
+ 
+Diário de Pernambuco, 26 de agosto de 1864
+ 
+1866 – Participou com uma coleção de retratos da Exposição Provincial de Pernambuco e ganhou a medalha de cobre. Era na época o único fotógrafo brasileiro no Recife. Os outros eram estrangeiros (Diário de Pernambuco, 5 de dezembro de 1866, primeira coluna).
+ 
+Diário de Pernambuco, 5 de dezembro de 1866
+ 
+Participou da II Exposição Nacional do Rio de Janeiro quando recebeu com Leon Chapelin a 3ª menção honrosa (Diário do Rio de Janeiro, 1º de fevereiro de 1867, última coluna).
+Sobre eles, o pintor Victor Meirelles (1832 – 1903), que assinou em nome do júri do quarto grupo – onde se incluía a fotografia – comentou no Relatório da II Exposição Nacional do Rio de Janeiro:
+‘Os trabalhos fotográficos que esses senhores apresentaram não são absolutamente sem defeitos e, salvo algumas provas mais felizes, pecam em geral pela aparência que têm de dureza, e pouca transparência nas sombras, tendo alguns retratos os fundos pouco convenientes, e de modo que prejudicam antes o relevo das figuras, por não lhes dar maior destaque.
+O efeito do contraste bem calculado é uma das qualidades essenciais, de que nem todos sabem tirar bom partido, e que requer mesmo muito estudo’.
+Seu ateliê fotográfico continuava funcionando na rua do Cabugá, 18 (Diário de Pernambuco, 21 de dezembro de 1866).
+ 
+Diário de Pernambuco, 21 de dezembro de 1866
+ 
+1867 – Villela informou que havia comprado o material fotográfico do estabelecimento fotográfico de Eugênio & Maurício que ficava na rua Nova, 25 (Diário de Pernambuco, 1º de março de 1867).
+Na coluna “Revista Diária”, muitos elogios foram feitos ao trabalho de Villela (Diário de Pernambuco, 12 de agosto de 1867, penúltima coluna).
+Publicação de anúncios dos estabelecimentos fotográficos de Ferreira Villela e do berlinense Alberto Henschel (1827 – 1882) (Diário de Pernambuco, 25 de outubro de 1867).
+ 
+Diário de Pernambuco, 25 de outubro de 1867
+ 
+1868 – Ferreira Villela publicou um convite para a missa de sétimo dia de sua mãe (Diário de Pernambuco, 15 de fevereiro de 1868, última coluna).
+Em propaganda anunciava seus cartões de visita sem o menor retoque de lápis ou de nanquim e chamava a atenção do público para os retratos expostos no salão de cortar cabelos do sr. José Ricardo Coelho e na livraria do sr. Nogueira de Souza (Diário de Pernambuco, 27 de fevereiro de 1868, última coluna).
+Anunciou uma liquidação de vistas estereoscópicas de países da Europa e também de estereoscopos (Diário de Pernambuco, 21 de março de 1868, última coluna).
+Anunciou a venda de retratos do bispo dom Francisco Cardoso Ayres (1821 – 1870). Anunciou também a utilização sem economia de uma lavagem sobre os retratos para extrair todo o hipossulfito de soda, causa da alteração das provas (Diário de Pernambuco, 4 de junho de 1868, última coluna).
+Após uma temporada no Rio de Janeiro, para onde havia ido a fim de conhecer e examinar os melhores estabelecimentos fotográficos da corte, tendo passado um mês estudando e aproveitando as lições do fotógrafo Insley Pacheco, retornou ao Recife no dia 7 de dezembro e retomou a direção de seu ateliê (Diário de Pernambuco, 23 de dezembro de 1868, terceira coluna).
+1869 – No Almanak Administrativo, Mercantil, Industrial e Agrícola de Pernambuco de 1869 , Villela foi listado como taquígrafo e, com Alberto Henschel (1827 – 1882), como fotógrafo.
+ 
+
+ 
+Anunciou que estava sempre em dia com os melhoramentos e progressos que na América do Norte, na Europa ou no Rio de Janeiro se consegue na arte fotográfica e para alcançarmos tal fim nunca poupamos despesas nem sacrifícios de sorte que nossos numerosos fregueses podem ter a certeza de que sempre encontrarão em nosso estabelecimento tudo quanto a arte e a moda oferecer de bom no novo e velho mundo aos amantes da fotografia (Diário de Pernambuco, 22 de janeiro de 1869).
+ 
+Diário de Pernambuco, 22 de janeiro de 1869
+ 
+Após 10 meses de reforma em seu estabelecimento, anunciou o fim das obras para a primeira quinzena do mês de dezembro de 1869. A reforma teve como modelo o ateliê fotográfico de Insley Pacheco, na rua do Ouvidor, 102, no Rio de Janeiro, que Villela visitou em 1868. Em 16 de dezembro, informou um novo prazo para a conclusão das obras: 7 de janeiro de 1870 (Diário de Pernambuco, 24 de novembro de 1869, terceira coluna; Diário de Pernambuco, 16 de dezembro de 1869, terceira coluna; e O Liberal, 2 de setembro de 1870, última coluna).
+ 
+Diário de Pernambuco, 24 de novembro de 1869
+ 
+1870 – Em 7 de abril, após uma grande reforma, abertura da Photographia Imperial e Galeria de Pintura de João Ferreira Villela, no mesmo endereço, rua do Cabugá, 18 (Diário de Pernambuco, 7 de abril de 1870, terceira coluna; Diário de Pernambuco, 23 de junho de 1870, terceira coluna; e O Liberal, 2 de setembro de 1870, última coluna).
+ 
+O Liberal, 2 de setembro de 1870
+ 
+A partir desse ano, o pintor alemão Jorge Augusto Roth (18? – ?), no Brasil desde 1868, quando desembarcou do vapor francês Extremadure (Diário de Pernambuco, 13 de junho de 1868, penúltima coluna) passou a colaborar no ateliê de Ferreira Villela, como encarregado de colorir as cópias fotográficas (Diário de Pernambuco, 3 de junho de 1870, segunda coluna; Diário de Pernambuco, 22 de agosto de 1870).
+Na livraria francesa dos srs. Lalhacar & C., na rua do Crespo, exposição de quatro retratos produzidos no estabelecimento de Ferreira Villela (Diário de Pernambuco, 27 de julho, quarta coluna).
+A Photographia Imperial anunciava os Retratos Timbre-posts, excelentes para circulares, convites, ou simplesmente para cartas a amigos (Diário de Pernambuco, 14 de novembro de 1871, terceira coluna).
+A Photographia Imperial anunciava retratos de grupos de cinco a 100 pessoas (Diário de Pernambuco, 25 de novembro de 1871, última coluna).
+1872 – A Photographia Imperial anunciava a grande novidade dos cartões de visita e afirmava ser o único estabelecimento que possuía as máquinas e os aparelhos precisos para preparar esses cartões (Diário de Pernambuco, 16 de fevereiro de 1872, segunda coluna).
+Villela participou da Exposição Provincial de Pernambuco, inaugurada em 20 de outubro (Diário de Pernambuco, 21 de outubro de 1872, primeira coluna), com um quadro a óleo (fotopintura?), dois quadros com fotografias no formato carte de visite e 3 quadros de retratos a óleo (fotopinturas?). O fotógrafo alemão Alberto Henschel (1827 – 1882) também participou com 2 quadros de fotografias. Ambos ganharam medalhas de prata. Villela expôs também uma variada coleção de produtos químicos de seu fabrico que revelam uma capacidade artística congênita e de uma força de vontade digna de toda animação (Diário de Pernambuco, 20 de fevereiro de 1873, segunda coluna; e Diário de Pernambuco, 21 de fevereiro de 1873, última coluna).
+Como relator da Comissão da Sociedade dos Artistas Mecânicos e Liberais de Pernambuco, fez o discurso na sessão fúnebre que o Club Popular do Recife celebrou em homenagem à memória de Antônio Rangel de Torres Bandeira (Diário de Pernambuco, 27 de dezembro de 1872, primeira coluna).
+1873 – Ele e o fotógrafo Leon Chapelin eram integrantes avulsos da loja Capitular União e Beneficência da maçonaria de Pernambuco (Diário de Pernambuco, 9 de janeiro de 1873, segunda coluna).
+Participou da III Exposição Nacional no Rio de Janeiro com produtos farmacêuticos e tintas de escrever, tendo sido premiado com as medalhas de prata e de bronze.
+Participou da Exposição Universal de Viena com produtos farmacêuticos, tendo sido premiado com a medalha de mérito e com uma menção honrosa.
+A Photographia Imperial anunciou ter cartões de visitas coloridos ao natural (Diário de Pernambuco, 18 de junho de 1873, última coluna).
+A Photographia Imperial anunciou possuir retratos do papa Pio IX (1792 – 1878), de outros religiosos e da infeliz Maria da Conceição, assassinada pelo desembargador Pontes Visgueiro (Diário de Pernambuco, 12 de novembro de 1873, primeira coluna).
+1874 – Estava na lista de devedores de um imposto de 4% cobrados a alguns estabelecimentos comerciais (Diário de Pernambuco, 7 de abril de 1874, quarta coluna).
+Em 8 de abril de 1874, foi veiculado uma propaganda do estabelecimento de Lopes & C, na rua do Barão da Vitória, 14, denominado Photographia Imperial, mesmo nome do estabelecimento de Villela. Note-se que a última propaganda da Photographia Imperial de Villela foi veiculada em novembro de 1873 (Diário de Pernambuco, 8 de abril de 1874 e Diário de Pernambuco, 9 de abril, segunda coluna).
+Participou de uma reunião do Instituto Arqueológico e Geográfico e na ocasião ofertou à entidade duas fotografias: da fortaleza do Brum e do porto de Pernambuco (Diário de Pernambuco, 21 de agosto de 1874, segunda coluna; e Jornal do Recife, 21 de agosto de 1874, penúltima coluna).
+Chegou ao Rio de Janeiro a bordo do paquete a vapor Pará (O Globo, 2 de setembro de 1874, última coluna).
+1875 - Participou da IV Exposição Nacional no Rio de Janeiro com tintas de escrever e ganhou uma medalha de mérito (O Globo, 4 de fevereiro de 1876, segunda coluna; e Diário de Pernambuco, 14 de fevereiro de 1876, terceira coluna).
+Participou da Exposição Internacional de Santiago do Chile, ocorrida entre 16 de setembro de 1875 e 16 de janeiro de 1876, com tintas de escrever, tendo conquistado o segundo prêmio (O Globo, 4 de maio de 1876, primeira coluna). Na listagem dos premiados, apareceu como expositor do Rio de Janeiro. Teria se mudado para a corte?
+1876 – Participou da Exposição Universal da Filadélfia, ocorrida entre 10 de maio e 10 de novembro de 1876, com tintas de escrever, e conquistou a medalha de honra (O Novo Mundo, setembro de 1876, quarta coluna; e O Novo Mundo, janeiro de 1877, quarta coluna). Da mesma forma como na listagem dos premiados na Exposição Internacional de Santiago do Chile, apareceu como expositor do Rio de Janeiro. Teria ido viver na corte?
+ 
+Palácio da Presidência da Província, c. 1870. Recife, Pernambuco / Acervo FBN
+ 
+(1) Em 1845, há o registro da atuação de um daguerreotipista no Recife, que se anunciava como Mr. Roberto, provavelmente estrangeiro (Diário de Pernambuco, 20 de setembro de 1845, terceira coluna). Os outros, de quem se têm notícia até  hoje e que também atuaram na cidade na década de 1840, eram com certeza estrangeiros: os norte-americanos Joseph Evans (? -18?) e Charles DeForest Fredricks (1823 – 1894). Na década de 1850, quando Villela começou a trabalhar como fotógrafo, foi o segundo pernambucano na profissão. O primeiro foi Cincinato Mevignier que, em junho de 1854, identificava-se-se como retratista e pensionista de S.M. o Imperador e possuía uma Galeria de retratos a óleo e daguerreótipo, no Aterro da Boa Vista, nº 82, primeiro e segundo andares. Anunciava ter encomendado da Europa uma máquina extraordinária daguerreótipo…será sem dúvida maior que tem de se apresentar-se nessa capital e mesmo em todas as outras províncias do império…Também, na mesma propaganda, afirmou ser pernambucano o que o torna o primeiro daguerreotipista nascido no referido estado conhecido até os dias de hoje: “Pernambucanos! a nossa província tão bela e tendo em si os melhores golpes de vista pra os astistas que sabem apreciar a natureza…” (Diário de Pernambuco, 9 de junho de 1854, segunda coluna). O primeiro registro de Villela como daguerreotipista é de 1855.
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/491` — `itens/20.500.12156.1_491/`
+- `20.500.12156.1/4006` — `itens/20.500.12156.1_4006/`
+
diff --git a/wordpress/21006-cronologia-de-luiz-lavenere-wanderley-1868-1966.md b/wordpress/21006-cronologia-de-luiz-lavenere-wanderley-1868-1966.md
new file mode 100644
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+++ b/wordpress/21006-cronologia-de-luiz-lavenere-wanderley-1868-1966.md
@@ -0,0 +1,281 @@
+---
+id: 21006
+url: "https://brasilianafotografica.bn.gov.br/?p=21006"
+titulo: "Cronologia de Luiz Lavenère Wanderley (1868 – 1966)"
+autor: "Andrea Wanderley"
+data: "2021-01-06T10:14:48+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/7949", "20.500.12156.1/7948", "20.500.12156.1/5045"]
+fetched_at: "2026-09-10T10:05:37.597Z"
+---
+
+# Cronologia de Luiz Lavenère Wanderley (1868 – 1966)
+
+Cronologia de Luiz Lavenère Wanderley (1868 – 1966)
+ 
+Fon-Fon, 24 de abril de 1920
+ 
+1868 – Em Maceió, Alagoas, em 17 de fevereiro, nascimento de Luiz Lavenère Wanderley, filho do jornalista e funcionário da Fazenda federal Stanislau Wanderley (7 de maio de 1830 – 18 de março de 1899) e de Amélia Lavenère Wanderley (1835  – 1905). O casal teve mais dois filhos: Rachel (1869 – 1952) e o futuro general Alberto Lavenère Wanderley (1870 – 1930).
+1876 – 1878 – Quando tinha entre 8 e 10 anos de idade, encontrou a câmara fotográfica e o material de laboratório pertencentes ao seu pai.
+1881 – Em prol do movimento abolicionista, instalação da Sociedade Libertadora Alagoana, em 28 de setembro, no antigo Teatro Maceioense. Dela fizeram parte, entre outros:  Luiz Lavenère,  e seu pai, Stanislau Wanderley. Seu primeiro presidente foi Antônio de Almeida Monteiro.
+1883 – Começou a lecionar (Gutenberg, 13 de julho de 1899, última coluna).
+Foi o representante da Sociedade Recreio Scientífico na cerimônia fúnebre pelo 30 º dia do falecimento de Dias Cabral, no Instituto Arqueológico Alagoano (Gutemberg, 21 de agosto de 1883, primeira coluna).
+Luiz Lavenère era o primeiro secretário do jornal literário Castro Alves (Castro Alves, 11 de novembro de 1883, última coluna).
+1884 – Foi aprovado no Colégio Bom Jesus – Boletim de 10 de dezembro de 1884 (O Orbe, 16 de janeiro de 1885).
+Contribuiu com o movimento abolicionista escrevendo no jornal Lincoln, dirigido pela Sociedade Libertadora Alagoana, cujos redatores eram, além dele, Francisco Domingues da Silva e Euzébio de Andrade.
+1885 – Era um dos redatores do periódico quinzenal José de Alencar, lançado em 15 de maio de 1885 e propriedade do clube literário homônimo (José de Alencar, 15 de maio de 1885, segunda coluna).
+1886 - Foi aprovado como sócio correspondente do Instituto dos Professores Primários de Alagoas (O Orbe, 19 de setembro de 1886, quarta coluna).
+1887 - Embarcou para Pernambuco no vapor Pará (Gutemberg, 11 de maio de 1887, última coluna).
+Ensinava francês, inglês e matemáticas elementares em sua casa, na rua da Boa Vista, nº 110, ou na casa dos alunos (Gutenberg, 12 de agosto de 1887, terceira coluna).
+ 
+Gutenberg, 12 de agosto de 1887
+ 
+Foi publicado um artigo de Lavenère na revista pedagógica, científica, literária e noticiosa O Magistério, de 30 de outubro de 1887. Começava assim: O Brasil não progride: é arrastado pela avalanche universal da civilização.
+Foi um dos oradores da sessão magna de aniversário da instalação do Instituto Arqueológico e Geográfico Alagoano (Gutenberg, 3 de dezembro de 1887, primeira coluna).
+Anunciou que no ano seguinte abriria um Curso Primário Misto ministrado por sua esposa, Maria Capitulina (18? – 1890) e avisou que continuaria dando aulas particulares (Gutenberg, 24 de dezembro de 1887).
+ 
+Maria Capitulina Lavenère Wanderley / Site Geni
+ 
+1888 – Doou livros para a formação da biblioteca do Instituto dos Professores Primários de Alagoas (O Magistério, 15 de fevereiro de 1888, última coluna).
+1889 - Nascimento da única filha do casal, Albertina, em 27 de julho (1889 – 1914).
+1890 - Falecimento de sua esposa, Maria Capitulina.
+Foi um dos representantes do Clube Federal Republicano em um encontro realizado na sede do Club Centro Popular Republicano. Em pauta a eleição do presidente do Partido Republicano de Maceió e a escolha dos candidatos do partido à Constituinte (Diário do Povo, 24 de fevereiro de 1890, segunda coluna).
+Fora publicados os contos O mais infeliz dos três, O philosopho apaixonado e Secção de moral, de sua autoria (O Republicano (SE), 21 de novembro de 1890, 24 de novembro de 1890 e 19 de dezembro de 1890).
+1891 – O conto Um typo de mulher, de autoria de Lavenère que foi publicado nos jornais Monitor Fidelense (RJ) e no Publicador Goyano (O Republicano (SE), 21 de janeiro de 1891, primeira coluna; e 12 de março de 1891, primeira coluna).
+Publicação da fantasia A ermida dos mortos, também de sua autoria (O Republicano (SE), 9 de abril de 1891).
+Foi trabalhar como telegrafista da estação do Recife (Jornal do Commercio, 4 de novembro de 1891, quarta coluna). Provavelmente foi nessa época professor no Colégio Spencer e do Instituto Ayres Gama.
+1892 – Foi promovido a 3º telegrafista da estação do Recife (Cruzeiro do Norte, 14 de fevereiro de 1892, terceira coluna).
+ 
+L. Lavenère. Fotografias lembrança de Maceió. Músicos de feira de Alagoas, 1905-1906. Maceió, Alagoas / Acervo Arquivo Nacional
+ 
+1894 – Foi noticiado no Almanak do Estados das Alagoas de 1894, que Lavenère era o encarregado da estação telegráfica de Piassabussu.
+Em 23 de dezembro, nascimento da primeira filha de Lavenère com Túlia dos Reis (1877 – 1940), Jessie (1894 – 19?) (Gutenberg, 23 de dezembro de 1896, quinta coluna). O casal teve mais quatros filhos: Edith (1896 – 1916), Olga (? – 19?), os gêmeos Carmen (1906 – 1910) e Túlio (1906 – 1932), e Yvonne (1915 – 1998) .
+1896 – Durante a realização de um jantar a bordo do navio alemão Helas, Lavenère, representando o jornal Gutenberg, fez um brinde em inglês (Gutenberg, 17 de janeiro de 1896, última coluna).
+Lançou a revista quinzenal literária Paulo Affonso, em 6 de abril, com Goulart de Andrade e Hugo Jobim. A gazeta, impressa na Tipografia de Tertuliano de Menezes, só teve dois números publicados, provavelmente, por falta de recursos (Gutenberg, 8 de abril de 1896, última coluna; Jornal de Recife, 21 de abril de 1896, quarta coluna e O Trabalho, 27 de junho de 1896, primeira coluna).
+Foi o tradutor dos contos Qui pro quo, de William Rogers;  A Vingança, de Miss Lambie (Gutemberg, 8 de outubro de 1896, e 11 de outubro de 1896).
+Participou da festa de aniversário e da homenagem prestada ao engenheiro chefe do distrito telegráfico em que trabalhava (Gutenberg, 29 de outubro de 1896, quinta coluna).
+Escreveu o artigo Sete anos saudando a proclamação da República em 1889 (Gutenberg, 15 de novembro de 1896).
+Foi eleito suplente do 2º secretário do Instituto Arqueológico e Geográfico de Alagoas, Manuel Laurindo Martins Junior. Também fazia parte da comissão de redatores e revisores da revista da instituições e da comissão realizadora de trabalhos históricos, geográficos, arqueológicos e estatísticos (Gutenberg, 28 de novembro de 1896, primeira coluna).
+Era um dos fiscais de raia das corridas realizadas pelo Club Veloz (Gutenberg, 13 de dezembro de 1896, quarta coluna).
+Foi eleito segundo secretário do Club Atlético Alagoano, do qual foi um dos fundadores (Gutenberg, 24 de dezembro de 1896, quarta coluna).
+1897 – Fundação em 18 de janeiro do Club Atlético Alagoas “com a finalidade de promover o desenvolvimento muscular de seus associados, empregando para isso qualquer tipo de força e agilidade”. Sua sede era em Jaraguá, seu presidente era Carlos Leopoldo Ferreira; seu vice, Napoleão Goulart; seu 1o secretário, Luiz Lavenère Wanderley e 2o secretário, José A. Leão.
+1899 – Falecimento de seu pai, Stanislau Wanderley (1830 – 1899), republicano, abolicionista e um dos fundadores da Associação Libertadora Alagoana (Gutenberg, 19 de março de 1899, primeira coluna).
+Ensinava inglês e francês pelo método indutivo e anunciou também ensinar para crianças.
+ 
+Gutenberg, 9 de abril de 1899
+Gutenberg, 24 de maio de 1899
+ 
+Escrevia para a seção Questões gramaticais (Gutenberg, 17 de junho de 1899, primeira coluna; 1º de julho de 1899, quarta coluna; 16 de julho de 1899, quarta coluna; 18 de julho de 1899, primeira coluna; 19 de julho de 1899, terceira coluna; 10 de agosto de 1899, segunda coluna; 22 de agosto de 1899, terceira coluna).
+Mudou-se para a rua do Commercio, nº 19 (Gutenberg, 18 de junho de 1899, quinta coluna).
+1901 – Lavenère foi promovido a telegrafista de 2ª classe na Repartição Geral dos Telégrafos (Jornal do Brasil, 1º de maio de 1901, sétima coluna).
+1902 - Era um dos jurados do concurso de tradução para o português do soneto Ave Dea, de Victor Hugo, promovido pelo jornal Gutenberg (Diário do Maranhão, 26 de junho de 1902, primeira coluna).
+Lançamento do jornal Evolucionista, em 1º de setembro de 1902, sob a direção de Lavenère. No início era semanal e publicado às segundas-feiras.
+Uma série de artigos intitulados Contra o socialismo, foram publicados  por Lavanère, no Evolucionista ( no ano seguinte foram vendidos como um libreto). Causaram grande polêmica com o socialista João Ferro (1872 – 1902) que respondeu a eles com a publicação de 7 artigos intitulados O “Evolucionista” e o Socialismo, publicados no periódico O Trocista, entre setembro e outubro do mesmo ano.
+Já vendia material fotográfico e foi o primeiro em Alagoas a fcomercializar regularmente esses produtos.
+Era o diretor da Empresa do Almanak Alagoano das Senhoras, anuário editado por Manoel Gomes da Fonseca, proprietário das Oficinas Tipográficas da Livraria Fonseca ou Oficinas Fonseca; e diretor do jornal  Evolucionista, que passou a ser diário (Almanak Laemmert, 1903).
+1904 – Foi publicado no Almanak de Mato Grosso de 1904 uma tabela de fases da Lua para Cuiabá calculada por Lavenère.
+1905 – Entre esse ano e 1906, fotografou o folguedo Festa da Chegança.
+ 
+L. Lavenère. Fotografias lembrança de Maceió. Festa da Chegança, 1905 – 1906. Maceió, Alagoas / Acervo Arquivo Nacional
+ 
+Era redator- chefe do jornal Evolucionista. O outro redator era Arroxelas Galvão, e os colaboradores eram Paulino Santiago, Sebastião de Abreu, Aurélio Jatubá e de P. Julio de Albuquerque.
+Foi convidado por Joaquim Goulart de Andrade para ser um dos fundadores de uma associação para promover a construção de um monumento em homenagem ao marechal Floriano Peixoto (Gutenberg, 28 de janeiro de 1905).
+Era deputado em Alagoas e foi convidado para ser o 2º secretário da Câmara (Gutenberg, 14 de abril de 1905, segunda coluna; e 27 de abril de 1905, primeira coluna). Foi deputado até 1908.
+Falecimento de Amélia, mãe de Lavenère (Evolucionista, 19 de abril de 1905, última coluna).
+Foi eleito para integrar a comissão de Finanças do Instituto Arqueológico e Geográfico de Alagoas (Gutenberg, 19 de abril de 1905, quarta coluna).
+Polêmica entre Lavanère e José Correia da Silva, revisor do jornal Gutenberg (Gutenberg, 17 de junho de 1905, última coluna; Gutenberg, 18 de junho de 1905, segunda coluna).
+Polêmica entre os jornais Gutenberg e o Evolucionista (Gutenberg, 6 de julho de 1905, quarta coluna; Gutenberg, 7 de julho de 1905, primeira coluna).
+Lavenère foi eleito sócio efetivo e secretário da Associação Comercial (Evolucionista, 20 de julho de 1905, quinta coluna; Gutenberg, 21 de julho de 1905, segunda coluna; e 23 de julho de 1905, quinta coluna).
+No Teatro Polytheama, participou do espetáculo em benefício de A. Sierra (Gutenberg, 28 de julho de 1905, segunda coluna).
+Segundo noticiado no jornal Gutenberg, o jornal Correio de Alagoas dirigiu-se a Lavenère com o calão baixo e afrontoso (Gutenberg, 15 de setembro de 1905, primeira coluna; e Evolucionista, 20 de setembro de 1906, quinta coluna).
+Lavenère ficou doente durante o mês de setembro e não pode dar aulas de inglês no Liceu de Artes e Ofícios, onde era professor (Gutenberg, 19 de outubro de 1905, última coluna).
+Foi aceito unanimemente para ser sócio efetivo da Sociedade de Agricultura Alagoana (Evolucionista, 5 de outubro de 1905, primeira coluna).
+Participou de uma almoço no paquete Castro Alves, a convite de seu comandante e do fiscal da Empresa Freitas de Navegação. Fotografou o grupo (Evolucionista, 10 de novembro de 1905, última coluna).
+Fotografou uma mulher que havia sido assassinada (Jornal Pequeno (PE), 14 de novembro de 1905, terceira coluna).
+Foi noticiado que um retrato do poeta Aristheu de Andrade (1878 – 1905) e duas fotografias de Maceió, de autoria de Lavenère haviam sido publicadas na revista Mundo Elegante de Paris (Evolucionista, 18 de dezembro de 1905, terceira coluna).
+1906 – Foi listado como fotógrafo no Almanak Laemmert de 1906 e seu endereço era rua do Commercio, 40. Em 1907, continuava no mesmo endereço (Almanak Laemmert, 1907).
+ 
+
+ 
+Foi referido como diretor do Evolucionista (Evolucionista, 1º de janeiro de 1906).
+Em fevereiro, nascimento dos gêmeos Túlio e Carmem, filhos de Lavenère e Túlia (Evolucionista, 28 de fevereiro de 1906, quinta coluna).
+Foi distribuída a herança de sua mãe entre ele e seus dois irmãos, Rachel (1869 – 1952) e Alberto (1870 – 1930), que residia em São Paulo (Evolucionista, 7 de março de 1906, terceira coluna).
+Em Paris,  falecimento de seu cunhado, o comerciante Gustavo Augusto dos Santos, casado com sua irmã Rachel (1869 – 1952) – tinham 7 filhos (Gutenberg, 27 de maio de 1906, quarta coluna).
+Recepcionou na Câmara dos Deputados o político Afonso Pena (1847 – 1909), que se tornaria presidente da República em novembro de 1906. Em nome da Associação Comercial visitou Afonso Pena e em nome do jornal Evolucionista lhe ofertou um álbum de fotografias de Maceió de sua autoria, impresso e encadernado pela Livraria Fonseca (Evolucionista,  30 de maio de 1906, quarta coluna; e 31 de maio de 1906, primeira coluna). Lavenère fotografou a recepção a Afonso Pena no Palácio dos Martírios, em 28 de maio.
+ 
+Evolucionista, 31 de maio de 1906
+ 
+Denunciou que um canalha qualquer havia assinado um soneto em seu nome na revista O Malho (O Malho, 7 de julho de 1906, primeira coluna; e Evolucionista, 18 de julho de 1906, terceira coluna).
+Na edição de 17 de julho de 1906 do Evolucionista, seu nome constava no expediente com a atribuição de redator do jornal com Raymundo de Miranda. O jornal deixou de ser publicado em dezembro.
+ 
+Evolucionista, 10 de outubro de 1906
+ 
+Foi um dos 30 candidatos a deputado de Alagoas pelo Partido Republicano e foi eleito (Gutenberg, 23 de outubro de 1906, última coluna; 27 de abril de 1907, primeira coluna).
+1907 - A casa editora da Livraria Fonseca publicou pela primeira vez imagens de autoria de Lavenère como cartões-postais.
+Foi constituída uma empresa, da qual Lavenère fazia parte, para fazer reaparecer o Diário das Alagoas (Jornal de Recife, 15 de janeiro de 1907, sexta coluna).
+Participou do desfile carnavalesco do Club dos Antigos, organizado por profissionais da imprensa (Gutenberg, 10 de fevereiro de 1907, última coluna).
+Aposentou como telegrafista de 2ª classe (Gutenberg, 7 de abril de 1907, última coluna).
+Foi publicada na revista Tico-Tico uma fotografia de Edith (1896-1916). Será de autoria de seu pai, Luiz Lavenère? (Tico-Tico, 5 de junho de 1907).
+ 
+Tico-Tico, 5 de junho de 1907
+ 
+Era redator do Diário de Alagoas (Gutenberg, 6 de junho de 1907, primeira coluna).
+Mudou-se para rua Macena nº 42 (Gutenberg, 12 de setembro de 1907, terceira coluna).
+Realização do casamento de sua filha Albertina (1889-1914) com Manoel Gomes Machado (Gutenberg, 27 de outubro de 1907, primeira coluna).
+1908 –  Uma fotografia de autoria de Lavenère de sua filha Edith (1896-1916) foi descrita no jornal Gutenberg de 30 de outubro de 1908. Na notícia, foi mencionado que ele havia sido elogiado pelo diretor da revista parisiense Photo Magazine, Charles Mendel. A foto foi publicada no ano seguinte na revista Tico-Tico. Outras fotografias de sua autoria foram expostas no jornal Gutenberg durante o ano.
+ 
+Tico-Tico, 18 de agosto de 1909
+ 
+Gutenberg, 30 de outubro de 1908
+ 
+Gutenberg, 28 de novembro de 1908
+ 
+Enviou um cartão de Boas Festas e um de Ano Novo usando fotografias de sua autoria. No de Boas Festas retratou sua filha, que aparecia no meio dos quatros jornais de Alagoas. No de Ano Novo, disfarçou-se e fotografou-se para representar o Ano Velho.
+ 
+Gutenberg, 11 de dezembro de 1908
+ 
+Gutenberg, 22 de dezembro de 1908
+ 
+1909 - Foi listado no Almanak Laemmert de 1909 como professor particular e também como intérprete juramentado.
+Recebeu 100 votos no concurso do oficial ou praça mais garboso do Tiro Alagoano (Guternberg, 4 de março de 1909).
+ 
+Gutenberg, 23 de maio de 1909
+ 
+Gutenberg, 2 de junho de 1909
+ 
+Gutenberg, 15 de junho de 1909
+ 
+Gutenberg, 18 de novembro de 1909
+ 
+Foi publicada uma fotografia de Aurora Silva, primeira farmacêutica alagoana, de autoria de Lavenère (O Malho, 4 de dezembro de 1909).
+ 
+O Malho, 4 de dezembro de 1909
+ 
+1910 – Ainda era diretor do jornal Evolucionista (Almanak Laemmert, 1910).
+Publicação de uma carta de sua autoria onde ele explicava o significado do termo boycottage (Gutenberg, 15 de janeiro de 1910, sexta coluna).
+Passou a dar aulas de inglês no Instituto de Humanidades, dirigido por Anisio Jobim (Gutenberg, 20 de janeiro de 1910, quarta coluna).
+Estava em exposição na loja Lauria, em Maceió, um quadro retratando Lavenère de autoria do pintor baiano Olavo Baptista (1879-1953) (Gutenberg, 5 de fevereiro de 1910, quinta coluna).
+Foi publicada na revista O Malho uma fotografia de autoria de Laverène suas filhas Edith e Jessie com uma amiga. Elas desfilaram no Club das Japonezas fantasiadas de gueishas (O Malho, 30 de abril de 1910).
+ 
+O Malho, 30 de abril de 1910
+ 
+Participou do primeiro concerto que o Círculo Musical de Alagoas, associação de musicistas de Maceió, apresentou no Teatro Maceioense. O Círculo Musical, do qual se tornou associado, foi fundado em 14 de julho de 1910 sob a presidência do músico e juiz Manoel Lopes Ferreira Pinto (Gutenberg, 6 de setembro de 1910, última coluna).
+1911 - Foi identificado como guarda-livros e tradutor juramentado em Alagoas (Almanak Laemmert, 1911).
+Foi editada uma série de 24 cartões-postais de autoria de Lavenère.
+ 
+Série de cartões-postais Phot. L. Lavenère. Jami Abib, Elysio de Oliveira Belchior, Instituto Histórico e Geográfico de Alagoas e Josebias Bandeira de Oliveira.
+ 
+Foi premiado na Exposição Universal de 1911 em Turim, na Itália, na qual expôs trabalhos fotográficos executados em porcelana, madeira e papelão. Os diplomas de suas medalhas estão no Instituto Histórico de Alagoas (Leituras para todos, janeiro de 1912).
+ 
+Leituras para todos, janeiro de 1912
+ 
+1912 – No mesmo ano em que o fotógrafo Marc Ferrez (1843 – 1923) começou a fazer suas experiências com fotografias em cores utilizando as placas autocromos Lumière, Lavenère  introduziu a fotografia em cores em Alagoas com a imagem de um trecho da rua Barão de Anadia. Segundo o Jornal de Alagoas a respeito da chapa autocromo: “A fotografia das cores naturais, onde sobressai o efeito da luz do sol sobre o solo e o mar, com esse brilho misterioso que o pincel dos mais afamados pintores não pode ainda levar à tela, foi conseguido pelo hábil amador (L. Lavenère) em placas diretamente importadas da Europa. É um deslumbramento” (Jornal de Alagoas, 10 de setembro de 1912).
+1913 – Continuava dirigindo o Almanach Alagoano das Senhoras e foi de novo identificado como guarda-livros e tradutor juramentado em Alagoas (Almack Laemmert, 1913).
+1914 – Foi de novo identificado como guarda-livros e tradutor juramentado em Alagoas (Almack Laemmert, 1914).
+ 
+Fon-Fon, 29 de agosto de 1914
+ 
+Em 25 de setembro, falecimento de sua filha Albertina, 25 anos (Diário de Pernambuco, 26 de setembro de 1914, quinta coluna).
+1915 – Foi de novo identificado como guarda-livros e tradutor juramentado em Alagoas (Almanak Laemmert, 1915).
+Publicação do livro O bonde elétrico, de sua autoria.
+1916 - Foi de novo identificado como guarda-livros e tradutor juramentado em Alagoas (Almanak Laemmert, 1916).
+Em 19 de maio, falecimento de sua filha Edith, com 20 anos (Diário de Pernambuco, 20 de maio de 1916, segunda coluna).
+Era o proprietário da Livraria Americana, em Jaraguá, bairro de Maceió (Diário do Povo(AL), 19 de setembro de 1916).
+ 
+Diário do Povo (AL), 19 de setembro de 1916
+ 
+Era o agente das revistas Fon-Fon e Selecta em Alagoas (Diário do Povo (AL), 19 de novembro de 1916, terceira coluna).
+1917 - Foi de novo identificado como guarda-livros e tradutor juramentado em Alagoas (Almack Laemmert, 1917).
+Importou da Europa papel para impressão (Diário do Povo (AL), 31 de janeiro de 1917, segunda coluna; 1º de fevereiro, quarta coluna).
+Foi nomeado encarregado da Agência Consular da França em Alagoas (Diário do Povo (AL), 18 de março de 1917, primeira coluna).
+Era árbitro da Alfândega de Maceió por parte do comércio e da indústria (Diário do Povo (AL), 25 de março de 1917, terceira coluna).
+1918 – Foi de novo identificado como guarda-livros e tradutor juramentado em Alagoas, mas desta vez também como proprietário da Livraria Americana e como litógrafo, zincógrafo e tipógrafo (Almanak Laemmert, 1918).
+ 
+Almanak Laemmert, 1918
+ 
+Pediu exoneração do cargo de gerente da Agência Consular da França em Alagoas (Diário de Pernambuco, 10 de dezembro de 1918, segunda coluna).
+1919 - Foi identificado como guarda-livros e proprietário da Livraria Americana (Almanak Laemmert, 1919).
+Foi um dos fundadores, em 1º de novembro, da Academia Alagoana de Letras.
+1920 – Editada pela Livraria Machado uma série de cartões-postais de autoria de Lavenère.
+Lançamento em 14 de março , de A Conquista, o primeiro periódico ilustrado com a técnica da fotogravura, preparado totalmente em Maceió.  Lavenère era seu proprietário.
+“Semanário publicado em Maceió de 14 de março a 25 de dezembro de 1920. O primeiro, em Alagoas, a ter clichê de zinco. Confeccionado pelo dono do periódico – L. L. Lavenère -, o clichê intitulado “O Paurílio”, reproduz a figura de Hipólito Paurílio, tendo sido publicado no segundo número, a 21/3/1920. Em 14/7/1920 publicou um número dedicado à França, inclusive com a música da Marselhesa. Lavenère nele usava o pseudônimo de Marie Pambrun” (ABC das Alagoas).
+Ao longo dos anos 20 continuou a atuar como guarda-livros, intérprete juramentado e dono da Livraria Americana.
+Denunciou que um homem chamado Guedes Alcoforado estava recebendo criminosamente dinheiro por conta da Livraria Machado (Diário de Pernambuco, 17 de fevereiro de 1920, segunda coluna).
+Instalação, em 17 de julho, da Academia Alagoana de Letras, no salão nobre do Teatro Deodoro. Lavenère foi o primeiro ocupante da cadeira número 36.
+1921 – Foi anunciado o lançamento de um novo livro de Lavenère, identificado como jornalista e fotógrafo premiado (Diário de Pernambuco, 12 de maio de 1921, primeira coluna).
+ 
+Diário de Pernambuco, 12 de maio de 1921
+ 
+O livro se chamava Zefinha (Diário de Pernambuco, 10 de agosto de 1921, primeira coluna). Os srs. Monteiro Lobato e C. propuseram a edição da continuação da obra, que se chamaria O Padre Cornélio (Diário de Pernambuco, 24 de setembro de 1921, terceira coluna).
+ 
+
+ 
+1922 - Publicou o livro Mostruário de gravuras de zinco.
+1924 – Lançamento do livro Novo método de escrituração, de autoria de Lavenère, identificado como verdadeira competência em assuntos comerciais, editado pela Livraria Machado (Diário de Pernambuco, 11 de setembro de 1924, penúltima coluna).
+1926 – Foi pela última vez listado como dono de uma livraria na rua da Alfândega, 115, no Almanak Laemmert de 1926.
+Em um artigo elogioso em torno da obra literária de Lavenère foi mencionado que ele teria sido um fotógrafo emérito e responsável por um processo prático, original, rápido e barato de preparo de “clichês” (Diário de Pernambuco, 2 de dezembro de 1926, quarta coluna).
+ 
+
+ 
+Foi eleito um dois membros da comissão da revista do Instituto Arqueológico e Geográfico Alagoano (Jornal do Commercio, 23 de dezembro de 1926, quarta coluna).
+1927 - Lançamento de um Compêndio de Teoria Musical de autoria de Lavenère e publicado pela Livraria Machado de Alagoas (Diário de Pernambuco, 30 de julho de 1927, terceira coluna; e Diário de Pernambuco, 20 de agosto de 1927, penúltima coluna).
+Lavenère escreveu vários artigos contra o aumento dos impostos (Gazeta de Notícias, 27 de dezembro de 1927, sexta coluna).
+1929 – Lançou Musicologia, continuação do Compêndio de Teoria Musical (Diário de Pernambuco, 10 de julho de 1929, terceira coluna).
+1930 – Continuou a ser identificado no Almanak Laemmert  de 1930 e de 1931 como guarda-livros e tradutor juramentado.
+O livro Compêndio de Teoria Musical de autoria de Lavenère foi adotado no ensino primário de Alagoas por recomendação do Conselho de Ensino do estado (Revista de Ensino, 1930).
+Falecimento de seu irmão Alberto, na época general de brigada, em 4 de outubro de 1930. Ele era desde 1929 comandante da 7ª Região Militar, em Recife. Com o assassinato de João Pessoa em fins de julho de 1930  o comando da 7ª RM foi transferido para o 22º Batalhão de Caçadores, na capital paraibana. Em 4 de outubro, revoltosos militares e civis que apoiavam a Revolução de 30 atacaram p 22º BC e controlaram, apo´s alguns combates, a situação. Houve troca de tiros e o general Alberto foi atingido. Foi operado mas faleceu à noite. Foi promovido post mortem a general de divisão no dia 15 de outubro de 1930. Alberto Lavenère Wanderley era pai de Nélson Lavenère Wanderley (1909 – 1985), que foi ministro da Aeronáutica em 1964 e chefe do Estado-Maior das Forças Armadas de 1966 a 1968.
+1931 - Era 2º vice-presidente do Instituto Arqueológico e Geográfico Alagoano (Almanak Laemmert, 1931).
+Era um dos colaboradores de Novidade Semanário Illustrado, lançado em 11 abril de 1931. Publicou um artigo na seção de Música na oitava edição da revista (Novidade, 30 de maio de 1931).
+Foi eleito membro da Academia Alagoana de Letras (Novidade, 18 de julho de 1931, primeira coluna).
+1933 - No Teatro Deodoro, instalação em 6 de abril, da Liga Alagoana Pró-Pensamento Livre, sob a presidência de Lavenère (Jornal de Recife, 18 de abril de 1933, segunda coluna). Fundada em
+1934 - Em 24 de fevereiro de 1934, a Liga Alagoana Pró-Pensamento Livre realizou um ato em comemoração ao aniversário da promulgação da constituição de 1891, sob a presidência de  Lavenère com a participação dos oradores Levy Pereira, Barbosa Júnior, Sebastião da Hora, Esdras Gueiros e Américo Mello, “que expressaram seus veementes protestos contra a intromissão da igreja católica na política nacional, tendente a coarctar a liberdade de pensamento no que concerne ao ensino religioso nas escolas”.
+Foi entre esse ano e 1943 secretário do Instituto Geográfico e Histórico de Alagoas (Diário de Pernambuco, 5 de agosto de 1934, quinta coluna).
+Passou a lecionar Escrituração Mercantil na sede da Federação Alagoana para o Progresso Feminino (Diário de Pernambuco, 20 de fevereiro de 1934, terceira coluna).
+Seu livro Compêndio de Teoria Musical foi adotado pelo Instituto Português de Música de Lisboa (Diário de Pernambuco, 6 de julho de 1934, terceira coluna).
+ 
+L. Lavenère. Lembrança de Maceió/[Paço episcopal], 1905-1906. Maceió, Alagoas / Acervo Arquivo Nacional
+1935 - Publicou o livro Nigumba, conto africano.
+1936 – Foi o vereador mais votado de Maceió (Diário de Pernambuco, 29 de janeiro de 1936, terceira coluna).
+Apresentou um projeto de lei criando um serviço de Assistência à Infância Desvalida (Diário de Notícias, 21 de agosto de 1936, terceira coluna).
+1937 - Como vereador por Maceió aderiu à candidatura de Armando Salles (1887 – 1945) à presidência da República e foi eleito membro da União Democrática Brasileira (O Jornal, 16 de setembro de 1937, segunda coluna).
+1938 - Foi nomeado representante da Casa dos Artistas em Maceió (Diário de Notícias, 24 de abril de 1938, terceira coluna).
+Contribuiu financeiramente para a confecção do busto do presidente Getulio Vargas na Casa dos Artistas (O Imparcial, 25 de junho de 1938, primeira coluna).
+1939 - Mantinha uma seção diária na Gazeta de Alagoas (A Noite, 12 de junho de 1939, quinta coluna).
+Publicação de uma poesia de Lavenère (Correio de Manhã, 15 de junho de 1939).
+ 
+Correio da Manhã, 15 de junho de 1939
+ 
+1941 - Na inauguração do Sindicato dos Jornalistas Profissionais em Maceió, foi eleito um dos membros da comissão fiscal (Diário de Notícias, 3 de janeiro de 1941, terceira coluna).
+Foi o orador do encerramento da Semana da Siderurgia no Teatro Deodoro, em Maceió (Jornal do Brasil, 25 de maio de 1941, terceira coluna).
+1942 – Escreveu contra as indecências de cantigas carnavalescas (A Ordem (RN), 13 de fevereiro de 1942, terceira coluna).
+1944 - Instalação em 8 de março do Centro de Estudos Econômicos e Sociais de Alagoas, no auditório da Faculdade de Direito, por iniciativa do Rotary Clube de Maceió. Sua primeira diretoria: presidente, Diegues Júnior; vice-presidentes, Sebastião da Hora e Barreto Falcão; secretários, Ruy de Almeida, Aurélio Viana e Luiz Lavenère; tesoureiros, Ismael Brandão e Luiz Calheiros; diretor da Biblioteca, Afrânio Melo; e diretor de Publicidade, Carvalho Veras. Tinha por finalidade discutir a realidade alagoana e os problemas regionais, dentro de uma visão interdisciplinar: econômica, social, histórica, sociológica, antropológica, sem exclusão da visão política ou ideológica.
+1945 – Foi candidato ao senado por Alagoas concorrendo pelo Partido Republicano Progressista mas foi o candidato menos votado: só obteve 194 votos (O Jornal, 20 de dezembro de 1945, última coluna).
+1946 – Foi eleito para integrar a Comissão de História do Instituto Histórico de Alagoas (A Noite, 28 de abril de 1946, quinta coluna).
+Publicou o livro Meu Waterloo na imprensa de Maceió.
+1948 – Publicou o livro Ad memoriam.
+1949 – Publicou, pela Livraria Machado, Conversas com o reverendo.
+1950 – Era o diretor do Teatro Deodoro, em Maceió (Diário de Pernambuco, 26 de março de 1950, quinta coluna).
+Foi eleito tesoureiro da Academia Alagoana de Letras (A Noite, 15 de dezembro de 1950, sexta coluna).
+1962 – O Arquivo Público de Alagoas, criado em dezembro de 1961, adquiriu para sua Fototeca a coleção de negativos fotográficos de vidro de Luiz Lavenère, composta de cerca de 350 chapas, em vidro, na sua maioria de trechos desaparecidos da cidade de Maceió e seus arrabaldes no princípio do século XX. Na época era dirigido por Moacir Medeiros de Santana.
+Publicação, na primeira revista do Arquivo Público de Alagoas, do artigo pioneiro sobre a história da fotografia na capital alagoana desde seus primórdios intitulado A fotografia em Maceió: 1858- 1918, de Luiz Lavenère e Moacir Medeiros de Sant’Ana.
+1966 – Falecimento de Luiz Lavenère Wanderley, em 29 de outubro de 1966, em Maceió.
+ 
+
+ 
+1985 - Foi escolhido para ser o patrono da cadeira número 41 do Instituto Histórico e Geográfico de Alagoas.
+2012 - Início dos trabalhos de conservação e reprodução da coleção de imagens de Lavenère adquiridas pelo Arquivo Público de Alagoas em 1961.
+2018 -  Foi lançado, em dezembro de 2018, o livro Olhares de Maceió por Luiz Lavenère, com 220 fotografias de Maceió, a maioria inédita e rara, organizado por Gian Carlos de Melo Silva e Wilma Maria Nóbrega Lima e editado pela Imprensa Oficial Graciliano Ramos em parceria com o Arquivo Público Alagoano. As fotografias foram separadas em grupos: Águas, Construções, Cotidiano e Lavenère. São registros, dentre outros, do antigo farol, de atletas, avenidas, bairros, barcos, do carnaval de rua, de casas, cenas de teatro, engraxates, escolas, estação de trem, fábricas, festas, do folguedo Barca da Chegança, de hospital, hotéis, igrejas, inundações, da Livraria Fonseca ao lado do jornal Evolucionista, de lojas, do mercado público, de paisagens, pescadores, pessoas, praças, do prado, de praias, prédios governamentais, do primeiro avião em Maceió, de procissão, quartel, da recepção ao presidente da República Afonso Pena no Palácio dos Martírios, de ruas, do Teatro Deodoro e do Teatro Polytheama, além de imagens do próprio Lavenère. Também está reproduzido no livro o artigo A fotografia em Maceió: 1858- 1918, de Luiz Lavenère e Moacir Medeiros de Sant’Ana, publicado na primeira revista do Arquivo Público de Alagoas, 1962 (Agenda “a” (AL) , 28 de dezembro de 2020).
+ 
+
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/7949` — `itens/20.500.12156.1_7949/`
+- `20.500.12156.1/7948` — `itens/20.500.12156.1_7948/`
+- `20.500.12156.1/5045` — `itens/20.500.12156.1_5045/`
+
diff --git a/wordpress/21022-cronologia-de-manoel-tondella-1861-1921.md b/wordpress/21022-cronologia-de-manoel-tondella-1861-1921.md
new file mode 100644
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+++ b/wordpress/21022-cronologia-de-manoel-tondella-1861-1921.md
@@ -0,0 +1,116 @@
+---
+id: 21022
+url: "https://brasilianafotografica.bn.gov.br/?p=21022"
+titulo: "Cronologia de Manoel Tondella (1861 – 1921)"
+autor: "Andrea Wanderley"
+data: "2021-01-06T10:15:50+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/6921", "20.500.12156.1/6932"]
+fetched_at: "2026-09-10T10:05:40.767Z"
+---
+
+# Cronologia de Manoel Tondella (1861 – 1921)
+
+Cronologia de Manoel Tondella (1861 – 1921)
+ 
+Manoel Tondella. Sobrados e igrejas, 1905. Recife, Pernambuco / Acervo Fundação Joaquim Nabuco
+1854 – O pai do do fotógrafo Tondella, Manoel Pereira de Figueiredo Tondella, provavelmente português, e José Barros Veiga dissolveram amigavelmente a sociedade comercial que possuíam denominada Veiga & Tondella (Diário de Pernambuco, 26 de setembro de 1854, última coluna).
+1855 – O Gabinete Português de Leitura decidiu promover uma subscrição em favor da construção de um hospital para atender os portugueses indigentes que não pudessem receber tratamento adequado contra a epidemia que se alastrava por algumas províncias do Brasil e que eles acreditavam que chegaria no Recife. No Bairro do Recife, Manoel Pereira de Figueiredo Tondella era o encarregado pelas subscrições (Diário de Pernambuco, 25 de agosto de 1855, primeira coluna). Fez parte da comissão responsável pela instalação do Hospital Português em Pernambuco para o qual contribuiu com 50 mil reis (Diário de Pernambuco,  7 de setembro de 1855, segunda coluna; e Diário de Pernambuco, 15 de novembro de 1855, penúltima coluna).
+1861 / 1862 – O fotógrafo Manoel Tondella, nasceu em 3 de outubro de 1861, filho de Manoel Pereira de Figueiredo Tondella e Marcionilla Francisca Soares, e foi batizado em 1º de janeiro do ano seguinte, na freguesia de Boa Vista, no Recife. A família morava no bairro Capunga, no Recife (Diário de Pernambuco, 3 de outubro de 1862, segunda coluna; Diário de Pernambuco, 17 de abril de 1862, segunda coluna; e Diário de Pernambuco, 22 de julho de 1899, segunda coluna).
+1863 – José Carneiro de Faria Lins informava ter feitos as pazes com Manoel Pereira de Figueiredo Tondella, a quem teria ofendido em momentos de delírio (Diário de Pernambuco, 22 de abril de 1863, última coluna).
+1881 – O irmão de Manoel, Francisco Tondella (18? – 1913), era proprietário da tipografia Acadêmica (Diário de Pernambuco, 12 de abril de 1881, penúltima coluna).
+1884 – Casamento de seu irmão Francisco com Francisca Olympia Rodrigues (? – 1891) (Jornal do Recife, 22 de setembro de 1884, última coluna).
+1885 - Francisco era sócio da Biblioteca do Club Dramático Familiar (Jornal do Recife, 19 de março de 1885, quinta coluna).
+Anúncio do casamento do irmão de Manoel, Antônio Pereira de Figueiredo Tondella com Francelina Maria de França Caldas (Diário de Pernambuco, 5 de novembro de 1895, última coluna).
+1886 - Falecimento de uma das avós de Manoel Tondella, Maria Monteiro da Silva, cuja missa de sétimo dia foi celebrada na matriz de Santo Antônio do dia 8 de novembro de 1886 (Jornal do Recife, 5 de novembro de 1886, última coluna). Manoel era irmão de Francisco (18? – 1913), Antônio (18? – 1898) e Maria Tondella (c. 1860 – 1905), que também convidavam para a missa, além da mulher de Francisco, Francisca Olympia Rodrigues (? – 1891) e da tia dos Tondellas, Antônia Monteiro da Silva (1826 – 1902), filha da falecida.
+1890 - Era um dos subscritores para os festejos do aniversário de Deodoro da Fonseca contribuindo com 5 mil réis (Jornal do Recife, 7 de agosto de 1890, quarta coluna).
+Publicação do primeiro número do periódico mensal O Filatelista, de propriedade de Francisco Tondella, seu irmão, direcionado para os colecionadores de selos  (Jornal do Recife, 17 de outubro de 1890, penúltima coluna)
+1891 - Falecimento de sua cunhada, Francisca Olympia Rodrigues Tondella, casada com seu irmão Francisco (Jornal do Recife, 10 de abril de 1891, última coluna).
+1892 - Anúncio de seu casamento com Anna Amelia Celestina Ramos (18? – 19?) (Jornal do Recife, 9 de fevereiro de 1892, última coluna).
+Anna Amelia Tondella foi eleita juíza da Sociedade Beneficente Nossa Senhora do Carmo no período de 1892 a 1893 (Jornal do Recife, 20 de julho de 1892, primeira coluna).
+1894 – Anunciou com sua mulher e outros parentes a missa pelo 1º ano de falecimento de Lesbina Celestina Ramos (? – 1893), mulher de seu compadre Caetano Ferreira Ramos (? – 1919) e irmã de sua esposa, Anna Amelia (Diário de Pernambuco, 6 de julho de 1894, segunda coluna).
+1895 – Presenteou o Jornal do Recife com duas fotografias de sua autoria: uma da estação da Estrada de Ferro Central de Pernambuco e outra da rua Larga do Rosário por ocasião da procissão das Chagas. “Um correto trabalho que muito recomenda o seu autor” (Jornal do Recife, 28 de maio de 1895, quinta coluna). Nessa época, provavelmente seu estabelecimento fotográfico ficava na rua da Concórdia, nº 13.
+Seu irmão Antônio casou-se com Francelina Maria de França Caldas (Diário de Pernambuco, 5 de novembro de 1895, última coluna).
+1897 - Manoel Tondella enviou ao Diário de Pernambuco 2 exemplares de lindíssimas fotografias em ponto pequeno. É no gênero um trabalho de grande perfeição e cuja apreciação recomendamos ao público (Diário de Pernambuco, 13 de janeiro de 1897, quarta coluna).
+Presenteou o Jornal do Recife com três fotografias de quadros de pintores célebres (Jornal do Recife, 14 de janeiro de 1897, sexta coluna).
+Estava à venda na Livraria Francesa fotografias de autoria de Tondella do préstito que havia acompanhado o general Artur Oscar no dia 15 de novembro (Jornal do Recife, 23 de novembro de 1897, sexta coluna).
+Já existia a sociedade Oliveira & Tondella, entre Manoel e João José de Oliveira (18? – 19?). Tornaram-se devedores de impostos do período entre 1897 e 1898 (Diário de Pernambuco, 3 de junho de 1899, terceira coluna).
+1898 - Ele e o sócio importaram uma caixa com objetos de fotografia (Diário de Pernambuco, 20 de fevereiro de 1898, segunda coluna).
+Chegou uma caixa de mercadorias para Oliveira & Tondella , do vapor inglês Ile, que vinha de potos da Europa (Diário de Pernambuco, 18 de março de 1898, terceira coluna).
+Falecimento do irmão de Manoel Tondella, Antônio (? – 1898). Ele, seu irmão Francisco (? – 1913) e filhos, sua irmã Maria (1860 – 1905), sua tia Antônia Maria Monteiro da Silva  (1826 – 1902) e sua esposa Anna Amelia convidaram para a missa de Sétimo Dia, na matriz de Santo Antônio. Pelo anúncio, Maria não era casada e Manoel e Anna Amélia não tinham filhos. Na missa de trigésimo dia, quem convida é a mulher de Antônio, Francelina França Caldas (Diário de Pernambuco, 27 de agosto de 1898, terceira coluna; Diário de Pernambuco, 21 de setembro de 1898, penúltima coluna; e Jornal do Recife, 23 de fevereiro de 1899, quarta coluna).
+Anna Amelia era uma das paraninfas da bênção solene da imagem do Santíssimo Coração de Jesus, na Matriz de São José. A solenidade contou com a presença do governador de Pernambuco (Jornal do Recife, 4 de novembro de 1898, segunda coluna).
+Oliveira & Tondella importaram álbuns e papel albuminado (Diário de Pernambuco, 30 de novembro de 1898, segunda coluna).
+1899 – O estabelecimento dos fotógrafos ficava na rua da Imperatriz, nº 79 (Almanach de Pernambuco, 1900).
+Oliveira & Tondella importaram artigos para fotografia (Diário de Pernambuco, 8 de março de 1899, segunda coluna).
+Como era assinante da America Illustrada, Revista Nacional de Letras e Artes, a firma Oliveira & Tondella ganhou de brinde um Livro de Ouro do Brasil  na Exposição de 1900 em Paris (Jornal do Recife, 23 de julho de 1899, penúltima coluna).
+1900 – Ao longo do ano, Oliveira & Tondella importaram diversas vezes materiais fotográficos, envelopes e cartões.
+Tondella foi o fotógrafo responsável pela realização de uma imagem que a Celestial Confraria da Santíssima Trindade ofereceria à Sociedade Musical Charanga do Recife (A Província (PE), 17 de julho de 1900, penúltima coluna).
+Encontrava-se exposto no ateliê  Photographia Popular Oliveira & Tondella, na rua da Imperatriz, nº 79, um quadro dos bacharéis da Faculdade de Direito do Recife de 1900 (Jornal do Recife, 22 de novembro de 1900, última coluna)
+A firma Oliveira & Tondella realizou um retrato em busto do professor Gaspar Regueira Costa na ocasião de seu aniversário, com o qual o magistério municipal o presentearia (Jornal Pequeno, 20 de dezembro de 1900).
+1901 – Ao longo do ano, Oliveira & Tondella importaram diversas vezes materiais fotográficos, cartões, papel para desenho.
+ 
+Almanach de Pernambuco, 1901
+ 
+Encontrava-se exposto no ateliê  Photographia Popular Oliveira & Tondella, na rua da Imperatriz, nº 79, um quadro dos bacharéis da Faculdade de Direito do Recife de 1901 (Jornal do Recife, 26 de novembro de 1901, última coluna).
+ 
+Jornal do Recife, 26 de novembro de 1901
+ 
+1902 – Ao longo do ano, Oliveira & Tondella importaram diversas vezes materiais fotográficos.
+Na Travessa da Concórdia, nº 13, falecimento da tia de Tondella, Antônia Maria Monteiro da Silva (1826 – 1902). A família foi adjetivada como ilustre e Francisco e Manoel Tondella foram referidos como seus dignos sobrinhos (Jornal do Recife, 18 de junho de 1902, segunda coluna; A Província, 24 de junho, quinta coluna; e Diário de Pernambuco, 18 de junho de 1902, quarta coluna).
+Oliveira & Tondella realizaram um retrato em tamanho natural do tenente-coronel Miranda Curio, delegado de saúde do Exército junto ao comando do 2º Distrito Militar, que lhe seria dado como presente de aniversário pelos farmacêuticos do corpo de saúde de Pernambuco (A Província (PE), 22 de agosto de 1902, quarta coluna).
+Jornalistas do Diário de Pernambuco fizeram uma visita ao ateliê fotográfico de Oliveira & Tondella e elogiaram os retratos e as vistas expostas e também a amabilidade dos dignos artistas. “Mostraram-nos os mesmos srs. os estereoscópios que acabam de receber, novidade que expõem à venda…” (Diário de Pernambuco, 22 de outubro de 1902, quinta coluna).
+ 
+Diário de Pernambuco, 22 de outubro de 1902
+ 
+A firma Oliveira & Tondella ofereceu uma fotografia de presente ao Jornal do Recife: uma imagem do general Marinho da Silva passando em revista as tropas federais na Campina do Bode (Jornal do Recife, 28 de novembro de 1902, quarta coluna).
+Oliveira & Tondella enviaram ao Jornal do Recife um cartão de boas festas com uma imagem de um trecho do rio Capibaribe próximo aos arrecifes. Além disso, enviaram a fotografia de uma paisagem (Jornal do Recife, 23 de dezembro de 1902, sétima coluna). Enviaram para o periódico A Província uma fotografia do farol de Olinda e uma de uma lancha (A Província (PE), 23 de dezembro de 1902, quarta coluna). E enviaram para o Jornal Pequeno uma fotografia dos bairros do Recife e de Santo Antônio como votos de boas festas (Jornal Pequeno, 23 de dezembro de 1902, primeira coluna).
+1903 – Ao longo do ano, Oliveira & Tondella importaram diversas vezes materiais fotográficos.
+Um retrato a óleo feito no ateliê de Oliveira & Tondella foi oferecido ao alferes Virgílio Antônio Borba (Diário de Pernambuco, 8 de janeiro de 1903, sexta coluna).
+Foi noticiado o novo endereço do ateliê fotográfico de Oliveira & Tondella, devido à mudança do nome da rua da Imperatriz para rua Rosa e Silva. O número, 79, continuou o mesmo. Eles haviam produzido um retrato do conselheiro Rosa e Silva durante um banqueteExpuseram as vistas do salão do banquete, que deveriam ser apreciadas com um estereoscópio (Diário de Pernambuco, 12 de fevereiro de 1903, sexta coluna; e 13 de fevereiro de 1903, última coluna). Expuseram as vistas do salão do banquete, que deveriam ser apreciadas com um estereoscópio (Diário de Pernambuco, 20 de fevereiro de 1903, última coluna).
+Os hábeis artistas Oliveira & Tondella produziram uma fotografia da Igreja de Santa Cruz na ocasião da festa do Bom Jesus da Via Sacra, realizada em 3 de maio, e a enviaram de presente para o Jornal do Recife, para o Jornal Pequeno e para o periódico A Província (Jornal Pequeno, 16 de maio de 1903, segunda coluna; Jornal do Recife, 17 de maio de 1903, terceira coluna; e A Província (PE), 17 de maio de 1903, última coluna).
+Casamento de Amália de Oliveira, filha de José Joaquim Oliveira, com Tacito Altino Correia de Araújo (Diário de Pernambuco, 5 de setembro de 1903, sexta coluna).
+Leonilla Lusetta de Oliveira, esposa de Joaquim José de Oliveira, sócio de Tondella, faleceu (Jornal Pequeno, 31 de outubro de 1903, terceira coluna).
+Oliveira & Tondella presentearam o Jornal Pequeno com fotografias em miniatura da primeira página edição de 28 de junho de 1902 do periódico (Jornal Pequeno, 4 de dezembro de 1903, terceira coluna).
+Oliveira & Tondella presentearam o Diário de Pernambuco com fotografias do edifício do referido jornal na rua Duque de Caxias esquina com a Praça da Independência (Diário de Pernambuco, 25 de dezembro de 1903, quarta coluna)
+1904 – Oliveira & Tondella enviaram votos de um feliz ano novo para o Jornal do Recife (Jornal do Recife, 1º de janeiro de 1904, quinta coluna).
+Chegada, da Inglaterra, de papel fotográfico, de câmaras escuras, de cartões cortados e obras impressas para Oliveira & Tondella (Província (PE), 16 de janeiro de 1904, segunda coluna; 21 de maio de 1904, terceira coluna, 15 de junho, segunda coluna; 29 de julho de 1904, terceira coluna; e 31 de agosto de 1904, terceira coluna).
+Oliveira & Tondella foram citados pela Diretoria de Contabilidades e Rendas Municipais do Recife. O endereço era av. Rosa e Silva, 79 (Diário de Pernambuco, 4 de fevereiro de 1904, sexta coluna).
+A firma Oliveira & Tondella produziu uma fotografia da Companhia dos Bombeiros (Diário de Pernambuco, 6 de março de 1904, sexta coluna).
+Tondella abriu, sem sócios, um estabelecimento fotográfico na rua da Velha, 137, no primeiro andar, onde também residia. Anos depois essa rua passou a chamar-se Antônio Carneiro. Na época, oferecia cartões postais da procissão Encontro, que havia saído da Igreja de Santa Cruz, no Recife (Jornal do Recife, 22 de abril de 1904, penúltima coluna; A Província, 13 de setembro de 1904, penúltima coluna). A recente abertura do ateliê do hábil e conhecido fotógrafo foi anunciada. Provisoriamente a entrada seria feita a partir da rua da Alegria (Jornal do Recife, 13 de setembro de 1904, última coluna; e A Província,(PE), 13 de setembro de 1904, penúltima coluna).
+ 
+A Província, 23 de setembro de 1904
+ 
+Tondella produziu de uma janela da Igreja de Santa Cruz uma fotografia da Charanga do Recife (A Província, 20 de setembro de 1904, última coluna).
+1905 – Com cerca de 45 anos, falecimento de Maria Tondella, irmã de Manoel (A Província, 26 de abril de 1905, primeira coluna; Jornal do Recife, 6 de maio de 1905, sexta coluna).
+Publicação de uma propaganda da Photographia Tondella anunciando o desligamento de Tondella da firma Oliveira & Tondella, realizado no ano anterior (A Província, 16 de julho de 1905, primeira coluna). No mesmo ano, publicação de uma propaganda da Photographia Popular apenas com o nome de Joaquim José de Oliveira no mesmo endereço, na rua da Imperatriz, 79 (Almanach de Pernambuco, 1905).
+ 
+A Província (PE), 16 de julho de 1905
+ 
+Ofertou ao Jornal do Recife a fotografia da canhoneira Pátria e seu trabalho foi considerado perfeitíssimo. Uma fotografia ampliada da mesma canhoneira estava exposta na Livraria Francesa, na rua Primeiro de Março, nº 9 (Jornal do Recife, 21 de setembro de 1905, oitava coluna).
+O Jornal Pequeno homenageou Anna Amélia no dia de seu aniversário, 5 de dezembro (Jornal Pequeno, 5 de dezembro de 1905, primeira coluna).
+1910 - O nome da rua de seu estabelecimento mudou de rua da Velha para rua Antônio Carneiro (Diário de Pernambuco, 11 de agosto de 1910, quarta coluna).
+1913 - Falecimento de sue irmão Francisco, que havia sido livreiro no Recife, proprietário da antiga casa Bolitreau, a Livraria Tondella, Cockles & Co, desde 1897, na rua do Imperador, 46 (Diário de Pernambuco, 13 de fevereiro de 1898, penúltima coluna; e Diário de Pernambuco, 19 de março de 1898, terceira coluna) e que ultimamente trabalhava como contador na Papelaria Brasil. Era pai de Marcionila e de Francisco Tondella Junior (Diário de Pernambuco, 21 de setembro de 1897, penúltima coluna; e Jornal Pequeno, 19 de novembro de 1913, última coluna)
+1917 -Morte de sua sobrinha, Marcionila Tondella, filha de seu irmão e comerciante Francisco (já falecido), que também era pai do poeta Tondella Junior (Diário de Pernambuco, 20 de maio de 1917, segunda coluna).
+1919 - Falecimento do compadre e cunhado de Tondella, Caetano Ferreira Ramos (? – 1919) (Jornal do Recife, 20 de abril de 1919, última coluna).
+Morte de seu sobrinho, o poeta Francisco Tondella Junior, aos 28 anos, filho de seu irmão já falecido, Francisco (Diário de Pernambuco, 15 de junho de 1919, segunda coluna).
+Foi publicado um anúncio do estabelecimento fotográfico de Tondella, na rua Antônio Carneiro, 403 (antiga Velha) no qual eram oferecidos retratos Mignon, Visita, Elisabeth, Gabinete, Boudoir, Salão, cartões postais, e fotos de edifícios, de grupos ao ar livre em papel platina ou brilhante, retratos em tamanho natural em preto ou em cor pelo novo sistema americano. Oferecia também uma grande coleção de vistas de Pernambuco. Além disso, consertava máquinas e obturadores e fazia revelação, impressão e retoque em chapas de amador. O mesmo anúncio foi publicado diversas vezes ao longo de 1919 e 1920.
+ 
+Pequeno Jornal, 13 de outubro de 1919
+ 
+Foi anunciado que o artista e fotógrafo Manoel Tondella estava diariamente, na rua Velha, 103, à disposição dos assinantes e dos anunciantes de La Revue de revues de l´Amerique du Sud, de Daniel Valenford & C sobre Recife (A Província (PE), 8 de fevereiro de 1920, segunda coluna; e Jornal do Recife, 17 de outubro de 1919, penúltima coluna).
+1921 - Foi realizada uma missa fúnebre pela alma de Manoel Tondella, na Igreja de Santa Cruz (A Província (PE), 22 de fevereiro de 1921, primeira coluna).
+1922 -Pela última vez foi anunciado o estabelecimento fotográfico de Tondella, na rua Antônio Carneiro, nº 137 (Almanak Laemmert, 1922).
+ 
+Manoel Tondella. Rio Beberibe, 1905. Recife, Pernambuco / Acervo Fundaj
+ 
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/6921` — `itens/20.500.12156.1_6921/`
+- `20.500.12156.1/6932` — `itens/20.500.12156.1_6932/`
+
diff --git a/wordpress/21026-dia-internacional-da-musica.md b/wordpress/21026-dia-internacional-da-musica.md
new file mode 100644
index 0000000..d5f7f7d
--- /dev/null
+++ b/wordpress/21026-dia-internacional-da-musica.md
@@ -0,0 +1,39 @@
+---
+id: 21026
+url: "https://brasilianafotografica.bn.gov.br/?p=21026"
+titulo: "Dia Internacional da Música"
+autor: "Andrea Wanderley"
+data: "2020-10-01T13:39:44+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/5234", "20.500.12156.1/5620"]
+fetched_at: "2026-09-10T10:05:44.123Z"
+---
+
+# Dia Internacional da Música
+
+A Brasiliana Fotográfica homenageia o Dia Internacional da Música e os músicos de todos os ritmos e estilos destacando a imagem de uma banda, produzida pelo fotógrafo mineiro Chichico Alkmim (1886 – 1978), na década de 1910; e outra, intitulada “As cantigas do vovô”, realizada pelo gaúcho Lunara (1864 – 1937), em torno de 1900. Nestas duas fotografias fica evidente a relação da música, a arte das musas, do grego μουσική τέχνη – musiké téchne -, com o prazer e também seu aspecto gregário. A música está presente em todas as civilizações conhecidas até hoje.
+ 
+Chichico Alkmim. A banda, década de 1910. Diamantina, Minas Gerais / Acervo IMS
+ 
+Acessando o link para as fotografias relacionadas à música disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Lunara. As cantigas do vovô, c. 1910. Porto Alegre, Rio Grande do Sul / Acervo IMS
+ 
+O Dia Internacional da Música foi criado, em 1973, por uma iniciativa do Conselho Internacional de Música, e foi comemorado, pela primeira vez, em 1975. Fundado em 1949, o Conselho Internacional de Música é o órgão consultivo da UNESCO para questões relacionadas à música. O Dia Internacional da Música foi criado para encorajar a promoção da arte musical em todos os setores da sociedade, para aplicar os ideais da UNESCO de paz e amizade entre os povos; e, finalmente, para promover as atividades do Conselho Internacional de Música.
+ 
+Andrea C. T. Wanderley
+
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+Site International Music Council
+Site Ritmos e Som
+Site Significados
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/5234` — `itens/20.500.12156.1_5234/`
+- `20.500.12156.1/5620` — `itens/20.500.12156.1_5620/`
+
diff --git a/wordpress/21156-henrique-rosen-1840-1892-um-fotografo-sueco-no-interior-de-sao-paulo.md b/wordpress/21156-henrique-rosen-1840-1892-um-fotografo-sueco-no-interior-de-sao-paulo.md
new file mode 100644
index 0000000..225ca3c
--- /dev/null
+++ b/wordpress/21156-henrique-rosen-1840-1892-um-fotografo-sueco-no-interior-de-sao-paulo.md
@@ -0,0 +1,149 @@
+---
+id: 21156
+url: "https://brasilianafotografica.bn.gov.br/?p=21156"
+titulo: "Henrique Rosén (1840 – 1892), um fotógrafo sueco no interior de São Paulo"
+autor: "Andrea Wanderley"
+data: "2020-12-04T11:25:57+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/949", "20.500.12156.1/627", "20.500.12156.1/948"]
+fetched_at: "2026-09-10T10:05:47.777Z"
+---
+
+# Henrique Rosén (1840 – 1892), um fotógrafo sueco no interior de São Paulo
+
+Henrique Rosén. Vista geral da Olaria, e Ferraria onde se vê a casa em que está a roda hydraulica, 1869. Campinas, São Paulo / Acervo FBN
+ 
+A Brasiliana Fotográfica destaca oito imagens produzidas pelo fotógrafo sueco Henrique Rosén (1840 – 1892) para a divulgação publicitária da Olaria, ferraria e oficina mecânica a vapor e água de propriedade de Antônio Carlos Sampaio Peixoto, inaugurada em 2 de dezembro de 1867, em Campinas (Correio Paulistano, 13 de outubro de 1867, primeira coluna; Correio Paulistano, 18 de janeiro de 1868, segunda coluna; Gazeta de Campinas, 1º de dezembro de 1870, primeira coluna; Gazeta de Campinas, 6 de janeiro de 1870, penúltima coluna). No período em que viveu em Campinas, o francês Hercule Florence (1904 – 1879),  inventor de um dos primeiros métodos de fotografia do mundo, também morava na cidade.
+ 
+Correio Paulistano, 18 de janeiro de 1868
+ 
+Acessando o link para as fotografias de Henrique Rosén disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Gazeta de Campinas, 6 de dezembro de 1870
+ 
+Rosén é considerado um dos mais importantes fotógrafos do interior de São Paulo, no período em que atuou: entre as décadas de 1860 e 1880. Foi, com os franceses Valentin Favreu e Louis Robin e com os brasileiros Militão Augusto de Azevedo (1837 – 1905), Candido Alvares Machado de Vasconcelos e Virgílio Gomes Guimarães, pioneiro da fotografia em São Paulo. Na década de 1860, já atuavam no Brasil os fotógrafos inglês A.W. Osborne (18?-?), o francês Leon Chapelin (18? – ?) e o alemão Alberto Henschel (1827 – 1882), no Recife; o português José Ferreira Guimarães (1841 – 1924) e o brasileiro, filho de franceses, Marc Ferrez (1843 – 1923), no Rio de Janeiro; o português Felipe Augusto Fidanza (c. 1847 – 1903), em Belém; o italiano Luiz Terragno (c. 1831 – 1891), em Porto Alegre; o inglês Benjamin Mulock (1829 – 1863), em Salvador; o alemão Augusto Riedel (1836 – ?), em Alagoas, Bahia, Minas e Sergipe; e o alemão, Pedro Hees (1841 – 1880), em Petrópolis, dentre outros.
+Rosén, foi também um dos precursores do uso do ampliador no Brasil, tendo anunciado, em 1875, possuir uma câmara solar, como era então conhecida esta machina de augmentar retratos (Correio Paulistano, 8 de dezembro de 1875). No período em que permaneceu em Campinas, fez algumas viagens à Europa, da onde trazia o que havia de mais moderno para a arte da fotografia.
+ 
+Correio Paulistano, 8 de dezembro de 1875
+ 
+Retratou vários membros da aristocracia brasileira como, por exemplo, o fazendeiro Euclides Egídio de Sousa Aranha (1864 – 1929) e Luiza Jacques de Freitas Vale Aranha, pais do futuro ministro das Relações Exteriores, Oswaldo Aranha (1894 – 1960); e personalidades como o jornalista e político Quintino Bocaiuva (1836 – 1912).
+Provavelmente, iniciou sua carreira de fotógrafo no Brasil, em Santos, entre julho e 15 de agosto de 1862.
+“…todos os dias, independente de qualquer tipo, retratos das 8 horas da manhã às 2 da tarde. Durante o tempo de sua estada n’esta trabalhará a preços muito módicos, sendo as suas obras feitas com a maior perfeição e asseio possível; consistem elas em grupos de família, cartões de visita, retratos grandes, ditos pequenos para pulseiras, broches e medalhões, tanto sobre papel e vidro, como sobre encerado; vistas para cartas de 3 a 4$000 etc. As pessoas que quiserem honrá-lo com sua confiança acharão no seu gabinete grande número de amostras e serão servidas a contento“.                                                                              
+                                                                                                                        Revista Commercial (Santos), 19 de julho de 1862
+ 
+Voltou à cidade em outras ocasiões, quando montava estúdios provisórios.
+Em 1862, transferiu-se para Campinas, na época povoada por fazendeiros abastados e, auxiliado pelo vereador dinamarquês Otto Langaard e pelo dr. Dupfer, conseguiu uma máquina fotográfica e tornou-se fotógrafo ambulante. Neste mesmo ano, um ilustre morador da cidade, o francês Hercule Florence (1804 – 1877), inventor de um dos primeiros métodos de fotografia do mundo, redigiu o manuscrito Les Intérêtes materiéles. Florence e Rosén conheceram o escritor, engenheiro militar e um dos fundadores da Academia Brasileira de Letras, Alfredo d´Escragnolle Taunay (1843 – 1899), na ocasião em que ele esteve em Campinas, em 1865, integrando Corpo Expedicionário em Operação no Sul de Mato Grosso, que atuaria na Guerra do Paraguai.
+Rosén fundou, ainda em 1862, um dos pioneiros estabelecimentos fotográficos da cidade, a Photographia Campinense, na rua Direita, nº 28. Mas continuava a viajar por outras cidades de São Paulo como, por exemplo, Rio Claro, onde esteve, em 1866 (Correio Paulistano, 25 de agosto de 1866, segunda coluna). Casou-se com Luzia Rosén, que se tornou sua colaboradora. Em 1868, anunciou o Processo Crozat de fotografia em cores e a venda de retratos de indígenas, de Santos e de outras cidades, além de um grande sortimentos de álbuns, quadros e vistas estereocopos (O Ypiranga, 20 de dezembro de 1868, última coluna). Em 1878, contratou o pintor austríaco Ferdinand (Fernando) Piereck  (1844 – 1925) para trabalhar em seu ateliê fotográfico em Campinas. Ferdinand é o pai do fotógrafo Louis Piereck (1880 – 1931).
+ 
+“Chama-se, pois, a atenção das pessoas de bom gosto para as seguintes Especialidades: 1o . Retratos de tamanho natural; 2o . Retratos inalteráveis sobre porcelana (não imitação) coloridos ou em cores, transparentes e duma delicadeza excepcional, próprios para presentes em dias de anos, para o natal e ano bom, etc; 3o . Retratos Boudoir e Promenade há pouco tempo introduzidos em Paris, e muito estimados, próprios para as exmas. senhoras e toilettes elegantes; 4o . Retratos de crianças que são tirados instantaneamente, com a maior facilidade, por uma nova combinação química; 5o . Retratos coloridos a pastel, tamanho grande, reproduzidos de qualquer retrato antigo, por mais estragado que esteja; 6o . Grupos grandes de famílias e sociedades, por mais numerosas que sejam, tendo para isso máquinas de construção especial; 7o . Heliominiaturas, por processos aperfeiçoados; 8o . Vistas fotográficas ou desenhadas ou coloridas a aquarela, de fazendas, chácaras, jardins, etc. Os preços serão ao alcance de todos e com 20 por cento de abatimento para as exmas. famílias que preferirem pagar a vista”.
+A Província de São Paulo, 3 de novembro de 1880
+ 
+Em janeiro de 1890, Rosén foi nomeado cônsul do Brasil da Suécia e da Noruega (Relatório do Ministério das Relações Exteriores, 1891; Jornal do Brasil, 12 de junho de 1891, primeira coluna). Faleceu em 5 de janeiro de 1892.
+ 
+Henrique Rosén. Vires Industria Firmart, entre 1867 e 1875. Campinas, São Paulo / Acervo FBN
+ 
+ 
+Henrique Rosen. Vista igual a primeira tomada do lado opposto, deixando vêr o vapôr, entre 1869. Campinas, São Paulo / Acervo FBN
+ 
+ 
+Cronologia de Henrique Rosén (1840 – 1892)
+ 
+1840 – Em Vadstena, na região de Gotalândia, na Suécia, nascimento de Henrik Gustaf Jacob Rosén, em 19 de junho filho de Eric Herman Rosén e Sofia Charlotta Falkman.
+1862 – Após ficar entre julho e agosto em Santos, o fotógrafo sueco Henrique Rosén inaugurou, em Campinas, a Photographia Campinense, na rua Direita. nº 28.
+1865 – “Em abril de 1865, em meio ao clima outonal, a rica população da Campinas dos Barões de Café, de fazendeiros, de comerciantes e de escravos, foi tomada de surpresa e de êxtase com a chegada aos seus longínguos rincões dos soldados imperiais formando o Corpo Expedicionário em Operação no Sul de Mato Grosso. Acabara de eclodir a Guerra do Paraguai e D. Pedro II criara duas forças para enfrentar Solano López. Os expedicionários atacariam pelo flanco Norte, sob o comando do coronel Manuel Pedro Drago. Durante 66 dias, as tropas permaneceram acampadas no Largo Santa Cruz, hoje no bairro do Cambuí, um local sagrado e profano. E traziam no Corpo de Engenheiros a jovem figura heroica e diverida de Alfredo Maria Adriano d’Escragnolle Taunay – o posterior Visconde de Taunay -, que proclama em seu livro A Retirada de Laguna: “A! Campinas”. Foram 66 dias de festas, banquetes, regabofes, bailes e flertes com as moças campineiras. Uma espécie de antessala no céu, antes da dança no inferno da Laguna!”(Retiro antes de Laguna em Campinas).
+Nessa ocasião, Rosén conheceu Alfredo d´Escragnolle Taunay (1843 – 1899), escritor, engenheiro militar e um dos fundadores da Academia Brasileira de Letras que muito o impressionou como o mesmo registrou em suas memórias (Correio Paulistano, 11 de abril de 1865, segunda coluna; O Sete de Setembro, 13 de abril de 1865, primeira coluna; Jornal do Brasil, 28 de setembro de 1948, segunda coluna; Suplemento Literário, 15 de outubro de 1960, quarta coluna). Taunay também conheceu, na ocasião, o inventor francês radicado em Campinas, Hercule Florence.
+ 
+Jornal do Brasil, 21 de setembro de 1948
+ 
+1866 – Houve um desmoronamento de uma das paredes da matriz nova de Campinas, que estava em obras. Rosén foi um dos homens que participou dos trabalhos de salvamento de operários que ficaram soterrados (Correio Mercantil, e Instructivo, Político, Universal,  7 de fevereiro de 1866, quarta coluna).
+Entre maio e junho, esteve na região do rio da Prata, para onde foi e voltou no paquete inglês Arno. Embarcou e desembarcou no porto do Rio de Janeiro (Correio Mercantil, e Instructivo, Político, Universal,  7 de maio de 1866, quinta coluna; Correio Mercantil, e Instructivo, Político, Universal,  4 de junho de 1866, quinta coluna).
+Esteve em Rio Claro, cidade do interior de São Paulo e despediu-se agradecendo ao modo generoso e obsequioso que foi recebido e prometendo voltar no próximo ano (Correio Paulistano, 25 de agosto de 1866, segunda coluna).
+1867 - Anunciou seus serviços, em Santos, inicialmente em um imóvel alugado na rua de Santo Antônio, 27, e depois no Hotel Millon (Revista Comercial (Santos), 12 de outubro de 1867).
+1868 – Anunciou o Processo Crozat de fotografia em cores e a venda de retratos de indígenas, de Santos e de outras cidades, além de um grande sortimentos de álbuns, quadros e vistas estereocopos (O Ypiranga, 20 de dezembro de 1868, última coluna).
+1869 – Casou-se, no Brasil, em 30 de janeiro, com a sueca Lovisa Mathilda Ladau.
+O fotógrafo Joaquim Feliciano Alves Carneiro (18? – 188?), um dos sócios do estabelecimento Carneiro & Gaspar, no Rio de Janeiro e em São Paulo, percorreu o estado de São Paulo e ficou algum tempo em Campinas, quando Rosén pode conhecer o que se usava de mais moderno em termos de fotografia na capital do Brasil. Uma curiosidade: com a morte do português Gaspar Antonio da Silva Guimarães (18? – 1875) e com a venda da parte de Joaquim Feliciano Alves Carneiro, Militão Augusto de Azevedo (1837 – 1905), autor do “Álbum comparativo da cidade de São Paulo 1862-1887″, que era sócio-gerente da Photographia Academica de Carneiro & Gaspar, em São Paulo, tornou-se seu proprietário. Localizava-se na rua da Imperatriz, 58 (Correio Paulistano, 28 de novembro de 1875, segunda coluna).
+Produziu a divulgação publicitária da Olaria, ferraria e oficina mecânica a vapor e água de propriedade de Antônio Carlos Sampaio Peixoto, que a Brasiliana Fotográfica destaca neste artigo. A fábrica havia sido inaugurada em 2 de dezembro de 1867, em Campinas (Correio Paulistano, 13 de outubro de 1867, primeira coluna; Correio Paulistano, 18 de janeiro de 1868, segunda coluna; Gazeta de Campinas, 1º de dezembro de 1870, primeira coluna; Gazeta de Campinas, 6 de janeiro de 1870, penúltima coluna).
+1870 – Anunciou que a especialidade da Photographia Campinense, a mais antiga da província, era o processo novo de Crozat, belíssimos retratos a cores. Tira-se retratos todos os dias mesmo nos chuvosos, às horas do costume. (Gazeta de Campinas, 1º de janeiro de 1870, primeira coluna; Gazeta de Campinas, 27 de fevereiro de 1870, segunda coluna).
+ 
+Gazeta de Campinas, 1º de janeiro de 1870
+ 
+1871 - Anunciou a Photographia Campinense como a mais antiga da província (Gazeta de Campinas, 1º de janeiro de 1871, segunda coluna).
+ 
+Gazeta de Campinas, 1º de janeiro de 1871
+ 
+Foi um dos subscritores da obra humanitária em favor dos franceses vítimas da guerra franco-prussiana (Gazeta de Campinas, 19 de março de 1871, última coluna).
+Anunciou a produção de retratos Bombés, novo processo, e também a produção de retratos de cavaleiros montados, em qualquer tamanho, tendo para isso os arranjos necessários (Gazeta de Campinas, 6 de abril de 1871, primeira coluna; Gazeta de Campinas, 31 de agosto de 1871, última coluna).
+1872 – O retratista e pintor a óleo J. Stewart, de passagem em Campinas, anunciou que provas de seu trabalho estariam disponíveis na Photographia Campinense. O artista estava hospedado no Hotel Oriental (Gazeta de Campinas, 28 de março de 1872, segunda coluna; Gazeta de Campinas, 2 de maio de 1872, primeira coluna).
+Rosén anunciou a chegada da Europa de um bonito sortimento de tudo o que pertence à arte fotográfica a seu estabelecimento. Chamava atenção para os retratos em cartão Victoria (Gazeta de Campinas, 19 de maio de 1872, segunda coluna).
+ 
+Gazeta de Campinas, 19 de maio de 1872
+ 
+Reproduziu em cartão o retrato a óleo de Joaquim Saldanha Marinho (1816 – 1895), que havia sido governador de São Paulo. O trabalho foi feito pelo sistema mezzo-tinto (Gazeta de Campinas, 15 de setembro de 1872, primeira coluna).
+Anunciou uma grande redução nos preços de retratos. Destacava que os processos Victoria e Mezzo-Tinto só eram realizados, em Campinas, no seu estabelecimento  (Gazeta de Campinas, 8 de dezembro de 1872, segunda coluna).  
+1873 - Publicou uma mensagem do Consulado Geral da Suécia e da Noruega no Rio de Janeiro: havia sido comissionado para receber de todos os suecos e noruegueses que vivessem em Campinas e em suas redondezas uma declaração de submissão ao rei Oscar II (1829 – 1907), que havia iniciado seu reinado em setembro de 1872. Para tal, dispunha de formulários (Gazeta de Campinas, 10 de janeiro de 1873).
+ 
+Gazeta de Campinas, 10 de janeiro de 1873
+ 
+Foi elogiado por sua inteligência e critério profissionais (Gazeta de Campinas, 1º de novembro de 1873, última coluna).
+ 
+Gazeta de Campinas, 1º de novembro de 1873
+ 
+1875 – Anunciou que devido aos melhoramentos no salão de vidro da Photographia Campinense seriam tirados retratos das 7 horas da manhã às 5 horas da tarde, sendo preferíveis os dias cobertos e chuvosos. Anunciou também a filial do ateliê em São João do Rio Claro, na rua do Commercio, 20 (Gazeta de Campinas, 6 de janeiro de 1875).
+Declarou que não tinha nenhuma dívida e que não se responsabilizaria por nenhuma compra feita em seu nome. Pedia que quem se considerasse seu credor se apresentasse a ele até 15 de maio (Gazeta de Campinas, 9 de maio de 1875, última coluna).
+Chegou ao Rio de Janeiro, vindo de Santos, no paquete a vapor Conde d´Eu (Jornal do Commercio, 23 de maio de 1875, última coluna). Foi anunciada sua partida e também a de Augusta Florence (1859 – ?), filha do francês Hercule Florence (1804 – 1877), inventor de um dos primeiros métodos de fotografia do mundo – que morava em Campinas desde 1829 – e da alemã Carolina Krug (1828 – 1913), para a Europa. Ela iria aperfeiçoar seus estudos na Alemanha (Gazeta de Campinas, 27 de maio de 1875, penúltima coluna).
+A Photographia Campinense anunciava a venda de vistas lindíssimas da cidade (Gazeta de Campinas, 1º de agosto de 1875, segunda coluna).
+Retornou da Europa no paquete inglês Mondego (O Globo, 20 de novembro de 1875, última coluna). Anunciou que que havia estudados os principais estabelecimentos fotográfico de Londres, Paris e Berlim e que estava prestes a receber “grande sortimento de tudo que pertence à minha arte“. Informava também ter comprado o processo Lambertypie, que produzia “retratos grandes, sem retoques, de um efeito belíssimo” e mencionava todas as técnicas de que dispunha seu ateliê. Outra novidade foi a aquisição de uma câmara solar, como era então conhecida a “machina de augmentar retratos”, que o tornou pioneiro nessa técnica no Brasil. Seu ateliê ficava na rua Direita, nº 50 e possuia numerosas galerias abertas à visitação. Chamava atenção para o fato de que algumas técnicas de que seu ateliê dispunha não haviam sido introduzidas disponíveis na capital do Império. (Correio Paulistano, 8 de dezembro de 1875; Almanach Litterario Paulista para 1876, 1875).
+ 
+
+ 
+1876 – Contratou seu irmão, Carlos Rosén, como auxiliar de seu ateliê.
+1878 –  Contratou o pintor austríaco Ferdinand (Fernando) Piereck  (1844 – 1925) para trabalhar em seu ateliê fotográfico em Campinas. Ferdinand é o pai do fotógrafo Louis Piereck (1880 – 1931).
+Chegou ao Rio de Janeiro, com sua mulher, Luiza, no vapor alemão Santos (O Cruzeiro, 28 de julho de 1878, terceira coluna).
+1879 – O prussiano Jacques Vigier (1839 – ?), que havia chegado no Brasil em 1861, foi  sócio de Rosén, entre esse ano e 1880, quando fundou a Photographia de Jacques Vigier, na mesma rua Direita onde ficava o estabelecimento de Rosén.
+1880 – Informava que havia chegado da Europa há pouco tempo. No anúncio, seu estabelecimento ficava na rua Direita, 48, e tinha o nome de Photographia Campineira. O “retrato em tamanho natural” continuava sendo uma das atrações e Rosén também oferecia tecnologia para retratos coletivos e de crianças, além de Retratos Boudoir e Promenade, há pouco introduzidos em Paris, o que conferia a seu estabelecimento uma aura de elegância e modernidade. Prometia a partir da foto-pintura, “retratos coloridos a pastel, tamanho grande, reproduzidos de qualquer retrato antigo, por mais estragado que esteja” (Almanach Campinense, 1880). No mesmo local, Rosén vendia pianos fabricados para o clima do Brasil (Almanach Campinense, 1880).
+ 
+
+Almanach Campinense para 1881, 1880
+1881 – Rosén  tornou-se sócio de B. Munchs.
+Expôs na Casa Garraux, em São Paulo, uma coleção de retratos da atriz Lucinda (Correio Paulistano, 15 de novembro de 1881, última coluna).
+1882 – A Fotografia Campineira abriu uma filial em Santos, nas instalações do estúdio do fotógrado Augusto Pinto de Oliveira (18? – ?) (Diário de Santos, 16 de abril de 1882; Diário de Santos, 7 de maio de 1882). Meses depois, em um anúncio, Rosén agradecia às “as pessoas que honraram com a sua confiança” a permanência de um representante seu na cidade, acrescentando que esperava que “sua volta no próximo ano” tivesse “a mesma aceitação” (Diário de Santos, 5 de setembro de 1882). Uma curiosidade: havia na cidade a chapelaria de Friederich Hempel, cuja vitrine era disputada pelos fotógrafos, dentre eles, Rosén (Diário de Santos, 13 de maio de 1882).
+1883 -  B. Munchs foi sucedido pelo alemão Julius Nickelsen na sociedade com Henrique Rosén. Nickelsen havia trabalhado na casa Henschel & Benque, no Rio de Janeiro, entre 1878 e 1883.
+ 
+Almanach da Província de São Paulo, 1883
+ 
+1884 – Nickelsen e o português Bernardino Francisco Ferreira compraram a Photographia Campineira de Rosén e mudaram o nome do estabelecimento para Photographia Campinense. Bernardino havia trabalhado como funcionário do ateliê do fotógrafo açoriano Christiano Junior (1832 – 1902) – entre 1866 e 1870 – e também de Henschel & Benque – entre 1870 e 1884 -, ambos no Rio de Janeiro.
+1890 - Em janeiro, Rosén foi nomeado cônsul do Brasil da Suécia e da Noruega e passou a residir em Estocolmo (Relatório do Ministério das Relações Exteriores, 1891; Jornal do Brasil, 12 de junho de 1891, primeira coluna). A nomeação deveu-se, provavelmente, ao relacionamento de Rosén com dois campineiros que faziam parte do governo de Deodoro da Fonseca: o ministro da Justiça, Campos Salles (1841 – 1913); e o ministro da Agricultura, Francisco Glicério Cerqueira Leite (1846 – 1916) (Jornal do Brasil, 12 de junho de 1891, primeira coluna).
+1891 –  Informou ao ministro da Agricultura que o número de imigrantes da Suécia para o Brasil seria avultado, a seu ver, devido à decisão do governo brasileiro de lhes dar passagens gratuitas  (O Tempo, 22 de maio de 1891, sexta coluna; Jornal do Brasil, 12 de junho de 1891, primeira coluna).
+1892 – Falecimento de Rosén, em 5 de janeiro. No mesmo ano, sua mulher, Lovisa Mathilda Ladau, também faleceu.
+ 
+Andrea C. T. Wanderley
+
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+Enciclopédia Itaú Cultural
+FERREIRA, Dirceu Franco. Narrando viagens e invenções. Hercule Florence: amigo das artes na periferia do capitalismo. São Paulo : Anais do Museu Paulista: História e Cultura Material, volume 2, julho/dezembro 2014.
+FERREZ, Gilberto. A Fotografia no Brasil: 1840-1900 / Gilberto Ferrez; [prefácio por Pedro Vasquez] – 2ª ed. – Rio de Janeiro: FUNARTE: Fundação Nacional Pró-Memória, 1985.
+Hemeroteca Digital da Biblioteca Nacional
+TAUNAY, Afonso d’Escragnolle. Mémorias de Hércules Florence, in Jornal do Commercio, Rio de Janeiro, 20 janeiro 1946.
+KOUTSOUKOS,Sandra Sofia Machado. No estúdio do fotógrafo: representação e autorepresentação de negros livres, forros e escravos no Brasil da segunda metade do século XIX. / Sandra Sofia Machado Koutsoukos . – Campinas, SP: [s.n.], 2006.
+LAPA, José Roberto do Amaral Lapa. A cidade: os cantos e os antros : Campinas, 1850-1900. São Paulo ; Editora da Universidade de São Paulo, 1996.
+REY, Luis Roberto Saviani. Retiro antes de Laguna em Campinas. Campinas : Ponte Editores, 2013.
+Site Fundação Getulio Vargas
+Site Novo Milênio
+TURAZZI, Maria Inez. Poses e trejeitos: a fotografia e as exposições na era do espetáculo: 1839/1889. Prefácio Pedro Karp Vasquez. Rio de Janeiro: Funarte. Rocco, 1995. 309 p., il. p&b. (Coleção Luz & Reflexão, 4). ISBN 85-85781-08-4.
+ 
+A fotografia abaixo foi um dos fatores que motivou Marco Aurélio de Camargo Marques a pesquisar a genealogia de sua família. Nela, está retratado seu bisavô, Eulalio Augusto Alves de Camargo (1864 – 1940). Marco Aurélio contribuiu para esse artigo com algumas informações biográficas de Rósen: data exata e local de seu nascimento, data de seu casamento e nome completo da cônjuge. A Brasiliana Fotográfica agradece, publica e credita sua colaboração. *
+ 
+Henrique Rósen. Eulalio Augusto Alves de Camargo (sentado) ao lado do cunhado João Franco Bueno, 1882. Campinas, SP
+ 
+* Esse parágrafo foi inserido em 6 de julho de 2021.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/949` — `itens/20.500.12156.1_949/`
+- `20.500.12156.1/627` — `itens/20.500.12156.1_627/`
+- `20.500.12156.1/948` — `itens/20.500.12156.1_948/`
+
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+---
+id: 21254
+url: "https://brasilianafotografica.bn.gov.br/?p=21254"
+titulo: "Cronologia de Henrique Rosén (1840 – 1892)"
+autor: "Andrea Wanderley"
+data: "2021-01-06T10:14:17+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: []
+fetched_at: "2026-09-10T10:05:51.342Z"
+---
+
+# Cronologia de Henrique Rosén (1840 – 1892)
+
+Cronologia de Henrique Rosén (1840 – 1892)
+ 
+1840 – Em Vadstena, na região de Gotalândia, na Suécia, nascimento de Henrik Gustaf Jacob Rosén, em 19 de junho filho de Eric Herman Rosén e Sofia Charlotta Falkman.
+1862 – Após ficar entre julho e agosto em Santos, o fotógrafo sueco Henrique Rosén inaugurou, em Campinas, a Photographia Campinense, na rua Direita. nº 28.
+1865 – “Em abril de 1865, em meio ao clima outonal, a rica população da Campinas dos Barões de Café, de fazendeiros, de comerciantes e de escravos, foi tomada de surpresa e de êxtase com a chegada aos seus longínguos rincões dos soldados imperiais formando o Corpo Expedicionário em Operação no Sul de Mato Grosso. Acabara de eclodir a Guerra do Paraguai e D. Pedro II criara duas forças para enfrentar Solano López. Os expedicionários atacariam pelo flanco Norte, sob o comando do coronel Manuel Pedro Drago. Durante 66 dias, as tropas permaneceram acampadas no Largo Santa Cruz, hoje no bairro do Cambuí, um local sagrado e profano. E traziam no Corpo de Engenheiros a jovem figura heroica e diverida de Alfredo Maria Adriano d’Escragnolle Taunay – o posterior Visconde de Taunay -, que proclama em seu livro A Retirada de Laguna: “A! Campinas”. Foram 66 dias de festas, banquetes, regabofes, bailes e flertes com as moças campineiras. Uma espécie de antessala no céu, antes da dança no inferno da Laguna!”(Retiro antes de Laguna em Campinas).
+Nessa ocasião, Rosén conheceu Alfredo d´Escragnolle Taunay (1843 – 1899), escritor, engenheiro militar e um dos fundadores da Academia Brasileira de Letras que muito o impressionou como o mesmo registrou em suas memórias (Correio Paulistano, 11 de abril de 1865, segunda coluna; O Sete de Setembro, 13 de abril de 1865, primeira coluna; Jornal do Brasil, 28 de setembro de 1948, segunda coluna; Suplemento Literário, 15 de outubro de 1960, quarta coluna). Taunay também conheceu, na ocasião, o inventor francês radicado em Campinas, Hercule Florence.
+ 
+Jornal do Brasil, 21 de setembro de 1948
+ 
+1866 – Houve um desmoronamento de uma das paredes da matriz nova de Campinas, que estava em obras. Rosén foi um dos homens que participou dos trabalhos de salvamento de operários que ficaram soterrados (Correio Mercantil, e Instructivo, Político, Universal,  7 de fevereiro de 1866, quarta coluna).
+Entre maio e junho, esteve na região do rio da Prata, para onde foi e voltou no paquete inglês Arno. Embarcou e desembarcou no porto do Rio de Janeiro (Correio Mercantil, e Instructivo, Político, Universal,  7 de maio de 1866, quinta coluna; Correio Mercantil, e Instructivo, Político, Universal,  4 de junho de 1866, quinta coluna).
+Esteve em Rio Claro, cidade do interior de São Paulo e despediu-se agradecendo ao modo generoso e obsequioso que foi recebido e prometendo voltar no próximo ano (Correio Paulistano, 25 de agosto de 1866, segunda coluna).
+1867 - Anunciou seus serviços, em Santos, inicialmente em um imóvel alugado na rua de Santo Antônio, 27, e depois no Hotel Millon (Revista Comercial (Santos), 12 de outubro de 1867).
+1868 – Anunciou o Processo Crozat de fotografia em cores e a venda de retratos de indígenas, de Santos e de outras cidades, além de um grande sortimentos de álbuns, quadros e vistas estereocopos (O Ypiranga, 20 de dezembro de 1868, última coluna).
+1869 – Casou-se, no Brasil, em 30 de janeiro, com a sueca Lovisa Mathilda Ladau.
+O fotógrafo Joaquim Feliciano Alves Carneiro (18? – 188?), um dos sócios do estabelecimento Carneiro & Gaspar, no Rio de Janeiro e em São Paulo, percorreu o estado de São Paulo e ficou algum tempo em Campinas, quando Rosén pode conhecer o que se usava de mais moderno em termos de fotografia na capital do Brasil. Uma curiosidade: com a morte do português Gaspar Antonio da Silva Guimarães (18? – 1875) e com a venda da parte de Joaquim Feliciano Alves Carneiro, Militão Augusto de Azevedo (1837 – 1905), autor do “Álbum comparativo da cidade de São Paulo 1862-1887″, que era sócio-gerente da Photographia Academica de Carneiro & Gaspar, em São Paulo, tornou-se seu proprietário. Localizava-se na rua da Imperatriz, 58 (Correio Paulistano, 28 de novembro de 1875, segunda coluna).
+Produziu a divulgação publicitária da Olaria, ferraria e oficina mecânica a vapor e água de propriedade de Antônio Carlos Sampaio Peixoto, que a Brasiliana Fotográfica destaca neste artigo. A fábrica havia sido inaugurada em 2 de dezembro de 1867, em Campinas (Correio Paulistano, 13 de outubro de 1867, primeira coluna; Correio Paulistano, 18 de janeiro de 1868, segunda coluna; Gazeta de Campinas, 1º de dezembro de 1870, primeira coluna; Gazeta de Campinas, 6 de janeiro de 1870, penúltima coluna).
+1870 – Anunciou que a especialidade da Photographia Campinense, a mais antiga da província, era o processo novo de Crozat, belíssimos retratos a cores. Tira-se retratos todos os dias mesmo nos chuvosos, às horas do costume. (Gazeta de Campinas, 1º de janeiro de 1870, primeira coluna; Gazeta de Campinas, 27 de fevereiro de 1870, segunda coluna).
+ 
+Gazeta de Campinas, 1º de janeiro de 1870
+ 
+1871 - Anunciou a Photographia Campinense como a mais antiga da província (Gazeta de Campinas, 1º de janeiro de 1871, segunda coluna).
+ 
+Gazeta de Campinas, 1º de janeiro de 1871
+ 
+Foi um dos subscritores da obra humanitária em favor dos franceses vítimas da guerra franco-prussiana (Gazeta de Campinas, 19 de março de 1871, última coluna).
+Anunciou a produção de retratos Bombés, novo processo, e também a produção de retratos de cavaleiros montados, em qualquer tamanho, tendo para isso os arranjos necessários (Gazeta de Campinas, 6 de abril de 1871, primeira coluna; Gazeta de Campinas, 31 de agosto de 1871, última coluna).
+1872 – O retratista e pintor a óleo J. Stewart, de passagem em Campinas, anunciou que provas de seu trabalho estariam disponíveis na Photographia Campinense. O artista estava hospedado no Hotel Oriental (Gazeta de Campinas, 28 de março de 1872, segunda coluna; Gazeta de Campinas, 2 de maio de 1872, primeira coluna).
+Rosén anunciou a chegada da Europa de um bonito sortimento de tudo o que pertence à arte fotográfica a seu estabelecimento. Chamava atenção para os retratos em cartão Victoria (Gazeta de Campinas, 19 de maio de 1872, segunda coluna).
+ 
+Gazeta de Campinas, 19 de maio de 1872
+ 
+Reproduziu em cartão o retrato a óleo de Joaquim Saldanha Marinho (1816 – 1895), que havia sido governador de São Paulo. O trabalho foi feito pelo sistema mezzo-tinto (Gazeta de Campinas, 15 de setembro de 1872, primeira coluna).
+Anunciou uma grande redução nos preços de retratos. Destacava que os processos Victoria e Mezzo-Tinto só eram realizados, em Campinas, no seu estabelecimento  (Gazeta de Campinas, 8 de dezembro de 1872, segunda coluna).  
+1873 - Publicou uma mensagem do Consulado Geral da Suécia e da Noruega no Rio de Janeiro: havia sido comissionado para receber de todos os suecos e noruegueses que vivessem em Campinas e em suas redondezas uma declaração de submissão ao rei Oscar II (1829 – 1907), que havia iniciado seu reinado em setembro de 1872. Para tal, dispunha de formulários (Gazeta de Campinas, 10 de janeiro de 1873).
+ 
+Gazeta de Campinas, 10 de janeiro de 1873
+ 
+Foi elogiado por sua inteligência e critério profissionais (Gazeta de Campinas, 1º de novembro de 1873, última coluna).
+ 
+Gazeta de Campinas, 1º de novembro de 1873
+ 
+1875 – Anunciou que devido aos melhoramentos no salão de vidro da Photographia Campinense seriam tirados retratos das 7 horas da manhã às 5 horas da tarde, sendo preferíveis os dias cobertos e chuvosos. Anunciou também a filial do ateliê em São João do Rio Claro, na rua do Commercio, 20 (Gazeta de Campinas, 6 de janeiro de 1875).
+Declarou que não tinha nenhuma dívida e que não se responsabilizaria por nenhuma compra feita em seu nome. Pedia que quem se considerasse seu credor se apresentasse a ele até 15 de maio (Gazeta de Campinas, 9 de maio de 1875, última coluna).
+Chegou ao Rio de Janeiro, vindo de Santos, no paquete a vapor Conde d´Eu (Jornal do Commercio, 23 de maio de 1875, última coluna). Foi anunciada sua partida e também a de Augusta Florence (1859 – ?), filha do francês Hercule Florence (1804 – 1877), inventor de um dos primeiros métodos de fotografia do mundo – que morava em Campinas desde 1829 – e da alemã Carolina Krug (1828 – 1913), para a Europa. Ela iria aperfeiçoar seus estudos na Alemanha (Gazeta de Campinas, 27 de maio de 1875, penúltima coluna).
+A Photographia Campinense anunciava a venda de vistas lindíssimas da cidade (Gazeta de Campinas, 1º de agosto de 1875, segunda coluna).
+Retornou da Europa no paquete inglês Mondego (O Globo, 20 de novembro de 1875, última coluna). Anunciou que que havia estudados os principais estabelecimentos fotográfico de Londres, Paris e Berlim e que estava prestes a receber “grande sortimento de tudo que pertence à minha arte“. Informava também ter comprado o processo Lambertypie, que produzia “retratos grandes, sem retoques, de um efeito belíssimo” e mencionava todas as técnicas de que dispunha seu ateliê. Outra novidade foi a aquisição de uma câmara solar, como era então conhecida a “machina de augmentar retratos”, que o tornou pioneiro nessa técnica no Brasil. Seu ateliê ficava na rua Direita, nº 50 e possuia numerosas galerias abertas à visitação. Chamava atenção para o fato de que algumas técnicas de que seu ateliê dispunha não haviam sido introduzidas disponíveis na capital do Império. (Correio Paulistano, 8 de dezembro de 1875; Almanach Litterario Paulista para 1876, 1875).
+ 
+
+ 
+1876 – Contratou seu irmão, Carlos Rosén, como auxiliar de seu ateliê.
+1878 –  Contratou o pintor austríaco Ferdinand (Fernando) Piereck  (1844 – 1925) para trabalhar em seu ateliê fotográfico em Campinas. Ferdinand é o pai do fotógrafo Louis Piereck (1880 – 1931).
+Chegou ao Rio de Janeiro, com sua mulher, Luiza, no vapor alemão Santos (O Cruzeiro, 28 de julho de 1878, terceira coluna).
+1879 – O prussiano Jacques Vigier (1839 – ?), que havia chegado no Brasil em 1861, foi  sócio de Rosén, entre esse ano e 1880, quando fundou a Photographia de Jacques Vigier, na mesma rua Direita onde ficava o estabelecimento de Rosén.
+1880 – Informava que havia chegado da Europa há pouco tempo. No anúncio, seu estabelecimento ficava na rua Direita, 48, e tinha o nome de Photographia Campineira. O “retrato em tamanho natural” continuava sendo uma das atrações e Rosén também oferecia tecnologia para retratos coletivos e de crianças, além de Retratos Boudoir e Promenade, há pouco introduzidos em Paris, o que conferia a seu estabelecimento uma aura de elegância e modernidade. Prometia a partir da foto-pintura, “retratos coloridos a pastel, tamanho grande, reproduzidos de qualquer retrato antigo, por mais estragado que esteja” (Almanach Campinense, 1880). No mesmo local, Rosén vendia pianos fabricados para o clima do Brasil (Almanach Campinense, 1880).
+ 
+
+Almanach Campinense para 1881, 1880
+1881 – Rosén  tornou-se sócio de B. Munchs.
+Expôs na Casa Garraux, em São Paulo, uma coleção de retratos da atriz Lucinda (Correio Paulistano, 15 de novembro de 1881, última coluna).
+1882 – A Fotografia Campineira abriu uma filial em Santos, nas instalações do estúdio do fotógrado Augusto Pinto de Oliveira (18? – ?) (Diário de Santos, 16 de abril de 1882; Diário de Santos, 7 de maio de 1882). Meses depois, em um anúncio, Rosén agradecia às “as pessoas que honraram com a sua confiança” a permanência de um representante seu na cidade, acrescentando que esperava que “sua volta no próximo ano” tivesse “a mesma aceitação” (Diário de Santos, 5 de setembro de 1882). Uma curiosidade: havia na cidade a chapelaria de Friederich Hempel, cuja vitrine era disputada pelos fotógrafos, dentre eles, Rosén (Diário de Santos, 13 de maio de 1882).
+1883 -  B. Munchs foi sucedido pelo alemão Julius Nickelsen na sociedade com Henrique Rosén. Nickelsen havia trabalhado na casa Henschel & Benque, no Rio de Janeiro, entre 1878 e 1883.
+ 
+Almanach da Província de São Paulo, 1883
+ 
+1884 – Nickelsen e o português Bernardino Francisco Ferreira compraram a Photographia Campineira de Rosén e mudaram o nome do estabelecimento para Photographia Campinense. Bernardino havia trabalhado como funcionário do ateliê do fotógrafo açoriano Christiano Junior (1832 – 1902) – entre 1866 e 1870 – e também de Henschel & Benque – entre 1870 e 1884 -, ambos no Rio de Janeiro.
+1890 - Em janeiro, Rosén foi nomeado cônsul do Brasil da Suécia e da Noruega e passou a residir em Estocolmo (Relatório do Ministério das Relações Exteriores, 1891; Jornal do Brasil, 12 de junho de 1891, primeira coluna). A nomeação deveu-se, provavelmente, ao relacionamento de Rosén com dois campineiros que faziam parte do governo de Deodoro da Fonseca: o ministro da Justiça, Campos Salles (1841 – 1913); e o ministro da Agricultura, Francisco Glicério Cerqueira Leite (1846 – 1916) (Jornal do Brasil, 12 de junho de 1891, primeira coluna).
+1891 –  Informou ao ministro da Agricultura que o número de imigrantes da Suécia para o Brasil seria avultado, a seu ver, devido à decisão do governo brasileiro de lhes dar passagens gratuitas  (O Tempo, 22 de maio de 1891, sexta coluna; Jornal do Brasil, 12 de junho de 1891, primeira coluna).
+1892 – Falecimento de Rosén, em 5 de janeiro. No mesmo ano, sua mulher, Lovisa Mathilda Ladau, também faleceu.
+ 
+Andrea C. T. Wanderley
+
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+A fotografia abaixo foi um dos fatores que motivou Marco Aurélio de Camargo Marques a pesquisar a genealogia de sua família. Nela, está retratado seu bisavô, Eulalio Augusto Alves de Camargo (1864 – 1940). Marco Aurélio contribuiu para esse artigo com algumas informações biográficas de Rósen: data exata e local de seu nascimento, data de seu casamento e nome completo da cônjuge. A Brasiliana Fotográfica agradece, publica e credita sua colaboração. *
+ 
+Henrique Rósen. Eulalio Augusto Alves de Camargo (sentado) ao lado do cunhado João Franco Bueno, 1882. Campinas, SP
+ 
+* Esse parágrafo foi inserido em 6 de julho de 2021.
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+---
+id: 21259
+url: "https://brasilianafotografica.bn.gov.br/?p=21259"
+titulo: "Cronologia de Louis Piereck (1880 – 1931)"
+autor: "Andrea Wanderley"
+data: "2021-01-06T10:13:55+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/8444", "20.500.12156.1/8441", "20.500.12156.1/6569"]
+fetched_at: "2026-09-10T10:05:54.813Z"
+---
+
+# Cronologia de Louis Piereck (1880 – 1931)
+
+Cronologia de Louis Piereck (1880 – 1931)
+ 
+O fotógrafo Louis Piereck / Acervo da família Piereck
+ 
+1844 – Em Viena, na Áustria, nascimento do pintor Ferdinand (Fernando) Piereck (1844 – 1925), pai de Louis, em 10 de setembro.
+1870 – Em 15 de outubro, Ferdinand chegou ao Rio de Janeiro, a bordo do paquete francês Amazone (Jornal do Commercio, 16 de outubro de 1870, sexta coluna).
+1875 - Em Viena, em 13 de março, casamento de Ferdinand com Elizabeth Taussig (05/11/1855 – ?), nascida em Praga, de origem judaica. Os dois primeiros filhos do casal, Wilhelmine Ernestine (Guilhermina Christiani) (1878 – 19?) e Ferdinand Junior (1879 – ?), nasceram em Pernambuco. O fotógrafo Louis (1880 – 1931), Babette (Elizabeth White) (1881 – 19?) e Laura Correia (1882 – 19?), em São Paulo.
+ 
+Ferdinand e Elizabeth Piereck e três de seu netos: Louis, Edgard e Hermínia (Baby), fotografados por Louis Piereck em torno de 1920/ Acervo da família Piereck
+ 
+1876 – Ferdinand partiu do Rio de Janeiro para Pernambuco (O Globo, 1º de janeiro de 1876, quinta coluna). Foi contratado para trabalhar na Photographia Allemã de  Alberto Henschel (1827 – 1882) no Recife (Jornal do Recife, 14 de janeiro de 1876).
+1877 – Ferdinand  foi contratado para ser o responsável pela pela policromia das fotopinturas a óleo e aquarela da Photographia Allemã, de Carlos Hoenen (18?-?), inaugurada em 1º de setembro de 1875, na rua do Carmo, 74, em São Paulo (Correio Paulistano, 31 de agosto de 1875, última coluna; Correio Paulistano, 23 de novembro de 1877).
+1878 – Ferdinand ainda trabalhava no estabelecimento de Hoenen (Correio Paulistano, 30 de julho de 1878) e foi, muito provavelmente, o autor da pintura do teto de um dos cômodos do Grande Hotel, da Rua São Bento (Revista do IPHAN, nº 10, 1946), de propriedade de dois comerciantes: o teuto-suíço Frederico Glette (? – 1886) e o alsaciano Victor Nothmann (? – 1905).
+ 
+Correio Paulistano, 30 de abril  de 1878
+ 
+Foi também o autor de uma pintura de tema religioso realizada para a Igreja da Penha (A Província de São Paulo, 28 de julho de 1878).
+Transferiu-se para Campinas, onde trabalhou no ateliê Photographia Campinense, do sueco Henrique Rosén (1840 – 1892), na época o mais importante fotógrafo do interior paulista, que, posteriormente, em janeiro de 1890, foi nomeado cônsul do Brasil da Suécia e da Noruega (Relatório do Ministério das Relações Exteriores, 1891; Jornal do Brasil, 12 de junho de 1891, primeira coluna). A expansão cafeeira no oeste paulista fez com que vários fazendeiros alojassem em suas casas artistas que retratavam suas famílias. Ferdinand pintou diversos barões do café e, neste ano, pintou o retrato de dom Pedro II, que está no casarão da Fazenda  Pinhal, em São Carlos, São Paulo.
+ 
+Dom Pedro II, por Ferdinand Piereck, 1878
+ 
+Sua primeira filha, Wilhelmine (Guilhermina) (1878 -?), nasceu em Pernambuco.
+1879 – Nascimento do segundo filho do casal Ferdinand e Elizabeth, Ferdinand Junior, em Pernambuco.
+1880 – Nascimento de Louis Piereck, em 13 de outubro, em Campinas (Jornal Pequeno, 13 de outubro de 1919, terceira coluna; Jornal do Recife, 13 de outubro de 1923, primeira coluna; Diário de Pernambuco, 14 de outubro de  1930, sexta coluna). Algumas fontes informam o ano de nascimento 1878, e, por vezes, indicam como local de seu nascimento a Áustria ou a Suíça, mas documentação enviada da Áustria para familiares do fotógrafo apontam 1880 e Campinas como o ano e o local corretos do nascimento do fotógrafo.
+1881 – 1882 – Em São Paulo, nascimento dos últimos filhos do casal Ferdinand e Elizabeth: Elizabeth (Babette) (1881 – 19?) e Laura (1882 – 19?) .
+1886 - Ferdinand Piereck, que havia voltado de Viena, foi contratado pela Photographia Allemã, de Albert Henschel (1827 – 1882), localizada na rua do Barão da Vitória, nº 52, no Recife. O gerente do estabelecimento era o também austríaco Constantino Barza (Jornal do Recife, 3 de março de 1886).
+ 
+Jornal do Recife, 3 de março de 1886
+ 
+1887 – Segundo passaporte emitido na Áustria, em 16 de abril de 1887, para Ferdinand (Fernando) Piereck, com validade de três anos, ele estava em Viena, e viria ainda naquele ano para o Brasil. Aqui, após ter visitado as principais galerias durante sua viagem, voltou a trabalhar na Photographia Allemã, ficando encarregado dos retratos a óleo (Jornal do Recife, 26 de maio de 1887, quarta coluna).
+1892 – De acordo com propaganda veiculada em 1910, a fundação do ateliê fotográfico de Louis Piereck teria ocorrido neste ano (Jornal Pequeno, 14 de novembro de 1910). Em janeiro de 1892, foi inaugurada a Photographia Brazil, de Flosculo de Magalhães (18? – 19?),  na rua da Imperatriz 54 A (que em 1895 passou a chamar-se rua dr. Rosa e Silva), primeiro estabelecimento do gênero no bairro da Boavista (Jornal do Recife, 6 de janeiro de 1892, terceira coluna). Em 1901, 1902 e 1903 continuava a funcionar no mesmo endereço. Flosculo mudou-se, em 1904, com a família para o Rio de Janeiro (A Província, 6 de novembro de 1901, quinta coluna; A Província, 21 de janeiro de 1902, penúltima coluna; A Província, 30 de janeiro de 1904, segunda coluna; A Província, 1º de setembro de 1904, segunda coluna). É o mesmo endereço que, a partir de 1904, foi anunciado como o da Photographia Piereck (Jornal Pequeno, 30 de abril de 1904, primeira coluna). Teriam os fotógrafos trabalhado juntos ou Piereck teria sucedido Flosculo no mesmo endereço?
+1895 – Louis enviou um cartão de felicitações a sra. H. Barza. Seria uma parente de Constantino Barza (18? – ?), que havia sido o gerente da Photographia Allemã, de Henschel (1827 – 1882)? (Jornal do Recife, 1º de novembro de 1895, terceira coluna.
+1896 - Seu pai, Ferdinand (Fernando) Piereck, naturalizou-se brasileiro, em 22 de maio de 1896 (Gazeta de Notícias, 25 de maio de 1896, quinta coluna).
+1899 - Fazia parte de um Club de Photographia que distribuiu prêmios durante o ano de 1899 e 1900. O primeiro sorteio premiou o sócio Tito Rosas e o segundo, Alfredo Garcia (Jornal Pequeno, 2 de janeiro de 1899, terceira coluna).
+Morava no Entroncamento nº 37 (Jornal do Recife, 30 de julho de 1899, sexta coluna).
+1900 - Possuía um estabelecimento fotográfico, em Campina Grande, na Paraíba.
+1904 – Seu estabelecimento fotográfico, a Photographia Piereck, ficava no número 54 A  da rua dr. Rosa e Silva (1), antiga rua da Imperatriz, no Recife, mesmo endereço onde havia se localizado anteriormente o ateliê do fotógrafo Flosculo de Magalhães (18? – 19?). Foi anunciado que Piereck havia chegado há pouco da Europa onde havia se dedicado com esmero à arte fotográfica. Avisava a amigos, a antigos fregueses e ao público em geral que seu ateliê tinha todos os requisitos necessários a fim de bem servi-los (Jornal Pequeno, 30 de abril de 1904, primeira coluna).
+ 
+Diário de Pernambuco, 7 de maio de 1904
+ 
+Na mesma rua dr. Rosa e Silva, no número 39, ficava a Modern Photograph, de Manoel Ribeiro Filho (18? – 19?) (Diário de Pernambuco, 20 de fevereiro de 1904, terceira coluna).
+Piereck retratou a atriz e cantora Vittorina Cesana (1896? – 19?) caracterizada para o papel de militar da opereta Os 28 dias de Clarinha. Durante a apresentação da peça, no Teatro Santa Izabel, no Recife, esta fotografia foi distribuida aos espectadores (Jornal Pequeno, 21 de julho de 1904, terceira coluna; Diário de Pernambuco, 23 de julho de 1904, penúltima coluna).
+Na Photographia Piereck e na Maison Chic estavam sendo vendidos exemplares de A Linguagem dos selos pelo cartão postal ou o dicionário do amor pelo correio (Jornal Pequeno, 12 de outubro de 1904).
+ 
+Jornal Pequeno, 12 de outubro de 1904
+ 
+Seu pai, o pintor acadêmico Ferdinand (Fernando) Piereck, trabalhava na Photographia Piereck (Jornal Pequeno, 20 de outubro de 1904, quarta coluna).
+1905 - Foi anunciada uma grande exposição artística na Photographia Piereck (A Província, 8 de abril de 1905).
+Houve uma liquidaçao de cartões-postais em seu estabelecimento (Jornal Pequeno, 14 de junho de 1905, segunda coluna).
+1906 – Estavam em exposição na Photographia Piereck o retrato de todos os presidentes da Câmara de Deputados Estaduais de Pernambuco desde a proclamação da República: José Maria, Moreira Alves, José Marcelino, Elpidio Figueireido, Mota Silveira e João Coimbra (Jornal do Recife, 20 de fevereiro de 1906, sétima coluna).
+Anunciava seu estabelecimento fotográfico como uma Casa honrada com a preferência da alta sociedade pernambucana (Jornal do Recife, 23 de fevereiro de 1906, oitava coluna).
+Anúncio da contratação do casamento com Hermínia Bastos Tigre, irmã do poeta, bibliotecário, publicitário e jornalista Manuel Bastos Tigre (1882 – 1957), filha do negociante Delfino Tigre (18? – 1932) e de Maria Leontina Bastos Tigre (18? – 1926) e publicação das proclamas (Diário de Pernambuco, 5 de outubro de 1906, penúltima coluna; e Jornal do Recife, 25 de dezembro de 1906, quarta coluna). Uma curiosidade: o cunhado de Piereck, Manuel Bastos Tigre, foi o responsável pelo slogan da Bayer que se tornou famoso em todo o mundo: “Se é Bayer é bom“. É também o autor da letra da música Chopp em Garrafa, com música de Ary Barroso (1903 – 1964), que foi interpretada por Orlando Silva (1915 – 1978). Foi inspirada no produto que a Brahma passou a engarrafar. Sucesso do carnaval de 1934, é considerado o primeiro jingle publicitário do Brasil. Foi também o autor do livro Meu Bebê: livro das mamães para anotações sobre o bebê desde seu nascimento. O Dia do Bibliotecário, 12 de março, dia de seu nascimento, foi instituído, em 1980, em sua homenagem.
+1907 – Louis Piereck produziu as fotografias da turma de bacharéis de 1906 (Jornal Pequeno, 5 de janeiro de 1907, primeira coluna).
+ 
+Jornal Pequeno, 3 de junho de 1907
+ 
+Louis Piereck. Pedro Velho Pessoa de Albuquerque, bacharel em 1906, 1906. Recife, Pernambuco / Acervo Fundaj
+ 
+Casou-se, no Recife, com Hermínia Bastos Tigre (? – 1949), em 31 de janeiro de 1907, e tiveram cinco filhos, Luiz (c. 1907 – 1923), Edgard (1909 – 1993), Carmelita (19? -19?) – que faleceu ainda criança de crupe em uma das viagens da família à Europa -, Helena (19? – 19?) e Hermínia (Baby) (1916 – 1987) (Jornal Pequeno, 31 de janeiro de 1907, quarta coluna).
+ 
+Da esquerda para a direita: Louis (filho primogênito do fotógrafo), Hermínia, sua mulher; Edgard (seu filho), o fotógrafo Louis Piereck, duas irmãs de Hermína e a mãe de Hermínia, Maria Leontina Bastos Tigre, em um navio indo para a Europa, década de 10 / Acervo da família Piereck
+ 
+Anunciava utilizar na Photografia Piereck o processo Van Bosch, garantido para os climas tropicais (Jornal Pequeno, 24 de maio de 1907).
+ 
+Jornal Pequeno, 24 de maio de 1907
+ 
+Anunciou a Alta Novidade Photo-Pintura-Esmaltada como exclusividade da Photographia Piereck (Jornal Pequeno, 9 de dezembro de 1907). Com esta técnica foram realizados os retratos do desembargador Sigismundo Gonçalves (1845 – 1915) e do senador Rosa e Silva (1847 – 1929), expostos no depósito da Fábrica Lafayette (Jornal Pequeno, 13 de dezembro de 1907, primeira coluna).
+1908 – A Photographia Piereck ficou incumbida pelo retrato do príncipe Luiz Felipe de Portugal (1887 – 1908), assassinado em 1º de fevereiro de 1908, que seria colocado na galeria do Real Hospital Português de Pernambuco (Jornal do Recife, 22 de fevereiro de 1908, oitava coluna).
+Exposição na Fábrica Lafayette, na rua 1º de Março, do retrato em photo-pintura-esmaltada do coronel Cornélio Padilha (18? – 19?), realizado pela Photographia Piereck. O retrato seria dado ao coronel por amigos na ocasião de sua chegada da Europa (Jornal do Recife, 16 de setembro de 1908, última coluna).
+A Photographia Piereck conquistou o Grande Prêmio na Exposição Nacional de 1908 (Diário de Pernambuco, 10 de dezembro de 1908, primeira coluna; Gutemberg, 31 de dezembro de 1908; Jornal Pequeno, 3 de junho de 1909, última coluna).
+ 
+Gutemberg, 31 de dezembro de 1908
+ 
+1909 – Foi publicada uma lista de personalidades fotografadas pelo sistema “Esmalte Piereck” (Jornal Pequeno, 3 de junho de 1909).
+ 
+
+Jornal Pequeno, 3 de junho de 1909
+ 
+Exposição de um retrato do ex-presidente Afonso Pena (1847 – 1909) na Photographia Piereck (Diário de Pernambuco, 24 de junho de 1909, penúltima coluna).
+Louis Piereck embarcou, em 10 de outubro, para a Europa, a bordo do Aragon, e anunciou que seu ateliê fotográfico continuaria funcionando. Retornou em 9 de dezembro de 1909 (A Província, 10 de outubro de 1909, terceira coluna; Jornal do Recife, 24 de outubro de 1909, terceira coluna; A Província, 10 de dezembro de 1909, quinta coluna).
+1910 – Na Fábrica Lafayette, exposição de retratos produzidos por Piereck, feitos por um novo e belíssimo processo, o mais moderno da arte fotográfica, imitação de fina gravura em relevo (A Província, 14 de janeiro de 1910, última coluna).
+Venda de quadros e molduras a varejo e no atacado na Photographia Piereck (A Província, 30 de maio de 1910, quinta coluna).
+A Photographia Piereck conquistou a Medalha de Ouro na Exposição Internacional de Bruxelas, realizada entre 23 de abril e 1º de novembro de 1910 (Diário de Pernambuco, 1º de novembro de 1910, última coluna). Também participaram da exposição os pintores brasileiros Lucilio de Albuquerque (1877 – 1939) e Antônio Parreiras (1860 – 1937). O encarregado pelos concertos de música brasileira no evento foi o maestro cearense Alberto Nepomuceno (1864 – 1920), então diretor do Instituto Nacional de Música. O pavilhão brasileiro foi projetado pelo arquiteto belga Franz van Ophen (18? – 19?).
+ 
+Pavilhão brasileiro na Exposição Internacional de Bruxelas, em 1910 / Fon-Fon, 9 de julho de 1910
+ 
+Em 15 de novembro de 1910, foi inaugurada a instalação elétrica da Photographia Piereck (Jornal Pequeno, 14 de novembro de 1910).
+ 
+Jornal Pequeno, 14 de novembro de 1910
+ 
+O quadro das novas professoras formadas no Colégio Prytaneu foi confeccionado e exposto na Photographia Piereck (A Província, 28 de novembro de 1910, segunda coluna).
+1911 - A Photographia Piereck ganhou a Medalha de Ouro na Exposição de Turim, realizada entre 29 de abril e 19 de novembro de 1911 (Almanach de Pernambuco, 1912).
+ 
+
+Medalha de Ouro da Exposição de Turim / Acervo da família Piereck
+ 
+Nessa mesma exposição, o fotógrafo amador alagoano Luis Lavènere Wanderley (1868 – 1966) também foi premiado com uma Medalha de Ouro exibindo fotografias sobre madeira, sobre porcelana e quadros de gênero  (Leituras para todos, janeiro de 1912).
+ 
+Poster oficial da Exposição Internacional de Turim em 1911, de autoria de Adolfo De Karolis (1874 – 1928)
+ 
+O fotógrafo austríaco radicado no Brasil Otto Rudolf Quaas (c. 1862 – c. 1930) recebeu a Medalha de Prata. Segundo artigo de Boris Kossoy, publicado no O Estado de São Paulo, de 4 de março de 1973,  o fotógrafo Valério Vieira (1862 – 1941) participou da Exposição Universal de Turim, durante a qual foi agraciado com a comenda de Cavaleiro da Coroa, concedida pelo rei da Itália, por sua defesa da causa da imigração italiana para o fotógrafo Valério Vieira (1862 – 1941).
+ 
+Almanach de Pernambuco, 1912
+ 
+Em uma exposição do quadro de bacharéis em Ciências Jurídicas e Sociais da Faculdade de Direito na Photographia Piereck, a iluminação do ateliê foi descrita e referida como responsável por um surpreendente efeito luminoso. O evento, muito concorrido, contou com a apresentação da banda do 49º Batalhão de Caçadores (A Província, 6 de dezembro de 1911, quarta coluna).
+1912 –  Exposição de um retrato de Eudoro Correia (1869 – 1961), prefeito do Recife, na Photographia Piereck. O retrato seria ofertado ao prefeito pelos carvoeiros da casa Cory Brothers (Jornal do Recife, 19 de abril de 1912).
+Mais uma vez, o quadro de retratos das novas professoras formadas no Colégio Prytaneu foi confeccionado e exposto na Photographia Piereck (Jornal Pequeno, 16 de maio de 1912, quarta coluna).
+A Photographia Piereck também confeccionava elegantes e custosas molduras (Jornal Pequeno, 20 de junho de 1912, última coluna).
+Em julho, Louis Piereck foi passar uma temporada na Europa e deixou na direção de seu estabelecimento seu antigo auxiliar J. de Oliveira Lopes. Seu amigo Delfino da Silva Tigre cuidaria de seus assuntos particulares e comerciais (Jornal do Recife, 18 de julho de 1912, terceira coluna).
+1913 – A bordo do Araguaya, Louis Piereck retornou de uma viagem à Europa quando visitou vários estabelecimentos fotográficos, especialmente em Viena e em Berlim. Comprou a patente para o processo fotográfico esmalte ouro para a América do Sul. Além disso, adquiriu uma utilíssima e magnífica máquina para operação em atelier, tipo 1912, a mais aperfeiçoada invenção e dotada de uma fina objetiva do importante cabricante Carl Zeiss…esse aparelho é o único que consegue apanhar clichês representando a maior naturalidade e nitidez, visto como o fotografado não vê diante de si a câmara, mas um grande espelho, onde se reflete a sua imagem, podendo desta natureza o artista, no momento crítico, apanhar uma fisionomia com a expressçao mais viva e natural. No interior da máquina  existe um aparelho instantâneo automático, de maneira que a pessoa que está sendo fotografada, por mais nervosa que seja, não pode modificar a expressão do rosto, evitando assim as tão frequentes reclamações de que “o trabalho não está bom a cópia não foi fiel”. Trouxe também fundos e decorações, uma coleção de animais para fotos com crianças, um projetor automático e elétrico, o maior do gênero em Pernambuco, que permitia apanhar no dia mais escuro qualquer clichê e um graduador automático de regulamentação de luz nas provas. Finalmente, comprou também uma rica e elegante cartonagem para a produção de um belíssimo efeito no acabamento dos retratos (Jornal do Recife, 1º de fevereiro de 1913, penúltima coluna; Jornal Pequeno, 20 de fevereiro de 1913, segunda coluna; e A Província, 25 de fevereiro de 1913, quarta coluna).
+ 
+Descrição do processo Esmalte Ouro / Jornal Pequeno, 20 de fevereiro de 1913
+ 
+“Essa conhecida casa, de que é proprietário o habilíssimo e competente artista sr. Luiz Piereck, acaba de ser dotada de importantes melhoramentos e novidades da arte, tonando-se desta sorte o principal estabelecimento do gênero desta capital”.
+Louis Piereck anunciou que havia reassumido a direção técnica de seu estabelecimento e a nova máquina fotográfica adquirida na Europa foi exposta na Photographia Piereck (Jornal Pequeno, 26 de fevereiro de 1913, terceira coluna; Jornal Pequeno, 1º de março de 1913, primeira coluna).
+Anunciou possuir os aparatos mais modernos e necessários para transformar seu ateliê em um interior de igreja para os atos de 1ª Comunhão, casamentos e batizados (Jornal Pequeno, 7 de abril de 1913, primeira coluna).
+ 
+Louis Piereck. José do Santos Dias, Luiz Dias Lins [primeira Comunhão], s/d. Recife, Pernambuco / Acervo Fundaj
+A Photographia Piereck inaugurou seu serviço fotográfico noturno sem o processo do magnésio (Jornal Pequeno, 13 de junho de 1913, penúltima coluna).
+ 
+Jornal Pequeno, 13 de junho de 1913
+ 
+A Photographia Piereck foi contratada para realizar o quadro dos formandos da Escola de Farmácia (A Província, 24 de julho de 1913, terceira coluna).
+Em 14 de novembro, no Teatro Santa Izabel, no Recife, foi entregue a Medalha de Ouro conquistada por Louis Piereco, na Exposição Internacional de Turim, em 1911 (Jornal Pequeno, 15 de novembro de 1913, terceira coluna).
+ 
+Jornal Pequeno, 15 de novembro de 1913
+ 
+Foi noticiado que Louis Piereck embarcaria para a Europa com a família. Teria aceito a incumbência de realizar para o Jornal Pequeno reportagens fotográficas nas principais cidades que visitasse (Jornal Pequeno, 29 de novembro de 1913, segunda coluna; Jornal do Recife, 18 de abril de 1915, segunda coluna).
+Na Photographia Piereck, exposição de um quadro com retratos da tripulação vencedora, do Club Náutico, do páreo de honra da última regata (Jornal Pequeno, 13 de dezembro de 1913, última coluna).
+1914 – Exposição do quadro das professoras da Escola Normal Pinto Junior, confeccionado no ateliê fotográfico de Piereck que foi decorado, para o evento, em estilo japonês. Na ocasião, houve a apresentação de uma banda militar (A Província, 21 de novembro de 1914, última coluna; Jornal do Recife, 24 de novembro de 1914, última coluna).
+1915 – Ganhou o Grande Prêmio de Honra e uma Medalha de Ouro na Exposição Internacional do Trabalho em Milão.
+ 
+Grande Prêmio de Honra, Milão, 1915 / Acervo da família Piereck
+ 
+Após uma longa viagem pela Europa, iniciada em fins de 1913, quando esteve em Viena, Paris e Berlim, Louis Piereck e sua família voltaram para o Recife, a bordo do transatlântico Avon. Trouxe para seu ateliê recentes descobertas fotográficas, dentre elas o processo de Pigment ou carvon verdadeiro, em que se notam nas provas 20 e tantas cores diferentes. Adquiriu também aparelhos para a execução de trabalhos esmaltados em moldura de diversos formatos – ovais, medalhões, redondos, quadrados, dentre outros – , e máquinas fotográficas para a realização de instantâneos de toda natureza … podendo apanhar as imagens com a rapidez de 2500 de segundo (Jornal do Recife, 18 de abril de 1915, segunda coluna; A Província, 23 de abril de 1915, segunda coluna; A Província, 27 de abril de 1915, quinta coluna; Jornal Pequeno, 28 de maio de 1915, penúltima coluna). Reassumiu seu estabelecimento fotográfico em 1º de junho (A Província, 27 de maio de 1915, segunda coluna).
+Era o único depositário para todo o Brasil do medicamento Expulsin, fabricado em Berlim para o combate à gota, reumatismo e artrite (A Província, 27 de junho de 1915, primeira coluna; A Província, 17 de março de 1917, última coluna).
+O inspetor de higiente, dr. Gouveia de Barros, foi retratado na Photographia Piereck (Jornal Pequeno, 4 de agosto de 1915, última coluna).
+Inauguração de diversos e importantes melhoramentos na Photographia Piereck, dentre eles o aumento da iluminação elétrica. Havia no ateliê um espaçoso laboratório para lavagem, revelação e fixagem de chapas, uma prensa automática e elétrica para a impressão de provas e também um aparelho para o serviço de ampliação. Havia também a seção de colagem, cortagem de cartão e abertura de firma da casa e outros distintivos, além da sala de fotografia e da seção de molduras. Nesta ocasião, trabalhavam no ateliê os artistas Gustavo Fischer e o alemão Phil Schafer, que havia trabalhado no ateliê Hubart & Cia, no Rio de Janeiro (Jornal Pequeno, 29 de dezembro de 1915, última coluna).
+1916 - Piereck esteve por cerca de três meses na Europa e reassumiu a direção artística de seu ateliê, em 30 de junho de 1916. Trouxe para seu estabelecimento um aparelho para fotografias noturnas usado nas grandes casas da Europa. Adquiriu também uma belíssima cartonagem, o que havia de mais chic e novo no gênero (Jornal Pequeno, 1º de julho de 1916, última coluna).
+Viajou a passeio para o Rio de Janeiro (Jornal Pequeno, 22 de agosto de 1916, última coluna).
+1917 - Em um aviso publicado no jornal A Província, Piereck denunciou fotógrafos que, usando de má fé, apresentavam-se como seus representante (A Província, 3 de abril de 1917, última coluna).
+ 
+A Província, 3 de abril de 1917
+ 
+Devido à manifestações contra a Alemanha ocorridas no Recife, Piereck procurou a redação do Jornal do Recife e declarou, mostrando documentos, ser brasileiro (Jornal do Recife, 12 de abril de 1917, primeira coluna).
+A Photograhia Piereck foi escolhida para realizar o quadro de retratos dos bacharelandos de Direito de 1917 (Jornal Pequeno, 26 de maio de 1917, última coluna).
+Anúncio da instalação, na Photographia Piereck, de uma importante e bem montada oficina para o fabrico de molduras, a cargo de competentes artistas (Jornal Pequeno, 26 de julho de 1917).
+No quarto e mais importante páreo da regata promovida pelo Club Sportivo Almirante Barroso, foi disputado pela primeira vez o rico e elegante brinde “Photo Piereck”, oferecido pela conceituada Photographia Piereck  (Jornal Pequeno, 4 de agosto de 1917, quinta coluna).
+ 
+
+ 
+Foi noticiado que Gustavo Fischer havia deixado de ser o auxiliar de Louis Piereck, por sua livre e espontânea vontade. Ele passou a gerenciar a Photographia Chic (Diário de Pernambuco, 23 de outubro de 1917, primeira coluna; Jornal Pequeno, 24 de outubro de 1917, última coluna).
+1918 - Mais uma vez, a Photographia Piereck foi a responsável pela realização do quadro de bacharéis da Faculdade de Direito (A Província, 7 de fevereiro de 1918, segunda coluna).
+ 
+A Província, 26 de maio de 1918
+ 
+Exposição de diversos retratos na Photographia Piereck (Jornal Pequeno, 2 de agosto de 1918, terceira coluna).
+1919 – As capas da revista Vida Moderna passaram a trazer fotografias cedidas pela Photographia Piereck (Vida Moderna (PE), 5 de julho de 1919).
+ 
+Vida Moderna, 5 de julho de 1919
+ 
+Inauguração na Photographia Piereck do quadro dos engenheiros formados em 1919 na Escola Livre de Engenharia. O passe-partout havia sido confeccionado pelo artista Moser (Jornal do Recife, 16 de agosto de 1919, penúltima coluna).
+Realização de um magnífico trabalho na Photographia Piereck. Quadro do corpo médico e da junta administrativa de 1948, do Hospital Português (Jornal Pequeno, 20 de agosto de 1919, segunda coluna).
+Foi anunciada a venda, na Photographia Piereck, de novas tintas para artistas pintores (Jornal Pequeno, 7 de outubro de 1919, primeira coluna).
+A Photographia Piereck foi, de novo, a responsável pela realização do quadro de bacharéis da Faculdade de Direito (A Província, 10 de dezembro de 1919, penúltima coluna).
+Na Photographia Piereck, inauguração do quadro de retratos dos professores da Escola Normal: Julio Pires Ferreira, França Pereira, Arthur Cavalcanti e José Ferreira Muniz (A Província, 13 de dezembro de 1919, quarta coluna).
+1920 – O pintor Vicente do Rego Monteiro (1899 – 1970) fez uma exposição de ilustrações e aquarelas na Photographia Piereck (Diário de Pernambuco, 7 de janeiro de 1920, primeira coluna). Rego Monteiro trouxe para o Recife, em 1930, uma exposição de artistas da Escola de Paris, que foi a primeira mostra internacional de arte moderna realizada no Brasil, com artistas ligados às grandes inovações nas artes plásticas, como o cubismo e o surrealismo. Foram expostas, dentre outras, obras de Fernand Léger (1881 – 1955), Georges Braque (1882 – 1963), Joan Miró (1893 – 1983) e Pablo Picasso (1881 – 1973), além de trabalhos dele.
+ 
+Diário de Pernambuco, 7 de janeiro de 1920
+ 
+Estavam à venda na Photographia Piereck, as chapas fotográficas de fabricação alemã que, devido à guerra e a consequente interrupção das exportações, passaram muito tempo em falta. Outros produtos fotográficos também eram vendidos no ateliê (A Província, 22 de julho de 1920, primeira coluna; A Província, 20 de agosto de 1920, última coluna).
+ 
+Diário de Pernambuco, 16 de dezembro de 1920
+ 
+A Photographia Piereck foi escolhida para realizar o quadro de retratos dos formandos em odontologia (Jornal do Recife, 7 de agosto de 1920, quinta coluna).
+Os retratos do presidente do Brasil, Epitácio Pessoa (1865 – 1942), e do governador de Pernambuco, José Rufino Bezerra Cavalcanti (1865 – 1922), realizados pela Photographia Piereck, foram expostos durante a realização da comemoração do primeiro ano de governo de Bezerra CAvalcanti (A Província, 18 de dezembro de 1920, quarta coluna).
+1921 – A Photographia Piereck realizou o quadro de retratos dos formandos da Faculdade de Direito e dos farmacêuticos (Jornal do Recife, 13 de janeiro de 1921, sexta coluna; A Província, 3 de dezembro de 1921, segunda coluna).
+Piereck Irmãos vendiam carros (Diário de Pernambuco, 20 de janeiro de 1921).
+A Photographia Piereck recebeu da Alemanha cartonagem para retratos de formatos visita e álbum em cores sortidas com os seus respectivos envelopes transparentes (A Província, 30 de janeiro de 1921, quarta coluna).
+Exposição de diversos retratos na Photographia Piereck, uma das melhores de nosso país (A Província, 11 de fevereiro de 1921, primeira coluna).
+Louis Piereck reassumiu, em 15 de setembro, a direção de seu estabelecimento (A Província, 20 de setembro de 1921, última coluna).
+Phil Schafer, gerente da Photographia Piereck, anunciou que havia se desligado do estabelecimento e oferecia seus serviços profissionais de ampliação, sua especialidade, assim como outros ligados à fotografia. Posteriormente abriu um estabelecimento fotográfico na rua da Imperatriz, 285, bem perto da Photographia Piereck (Jornal Pequeno, 20 de setembro de 1921, última coluna; Almanak Laemert, 1927, última coluna).
+O Club Sportivo Almirante Barroso conquistou algumas taças nas regatas realizadas na baciaa do Capiberibe, uma delas a Taça Photo Piereck (A Província, 20 de setembro de 1921, segunda coluna).
+Houve um incêndio na Photographia Piereck devido a um curto-circuito na fiação elétrica (Jornal Pequeno, 6 de dezembro de 1921, quinta coluna; A Província, 7 de dezembro de 1921, última coluna).
+1922 – Foi premiado com a Medalha de Ouro na Exposição Internacional do Centenário da Independência, realizada no Rio de Janeiro (A Província, 11 de julho de 1924, primeira coluna).
+A Photo Piereck anunciou a chegada de uma nova remessa de chapas alemães do afamado fabricante Schleussner. No mesmo anúncio aconselhava os fotógrafos e amadores: só usem chapas preparadas com emulsão tropical  (Diário de Pernambuco, 19 de janeiro de 1922, terceira coluna). No mesmo ano, foi anunciada a chegada de uma remessa da tinta Helios, especiais para a pintura de tecidos (Diário de Pernambuco, 14 de juho de 1922, terceira coluna).
+A Photographia Piereck realizou o quadro de retratos das professoras formadas na Escola Normal de Pernambuco (Diário de Pernambuco, 2 de fevereiro de 1922, sexta coluna).
+Nascimento de Fernando Carlos, filho de Elizabeth Piereck White, irmã de Louis, que era casada com Fernando White (Jornal Pequeno, 16 de fevereiro de 1922, quinta coluna).
+Durante as exéquias celebradas, na basílica Nossa Senhora da Penha, em memória de José Rufino Bezerra Cavalcanti (1865 – 1922), foi exibido um retrato a óleo, realizado pela Photographia Piereck na época em que ele foi ministro da Agricultura, entre 1915 e 1917 (Diário de Pernambuco, 28 de abril de 1922, quarta coluna).
+Após concorrer com o fotógrafo Fidanza – curiosamente, mesmo sobrenome do fotógrafo português Felipe Augusto Fidanza (c. 1847 – 1903) – , foi escolhido para realizar o quadro de retratos dos bacharéis da Faculdade de Direito (A Província, 12 de maio de 1922, quinta coluna).
+Na Photographia Piereck, exposição do chargista e caricaturista paraibano Fausto Silvério Monteiro, (? – 1935), Fininho, pioneiro nas produções de materiais gráficos do cinema pernambucano. Pode ser considerado como um dos primeiros artistas gráficos a trabalhar para o cinema no Brasil (Diário de Pernambuco, 27 de agosto de 1922, quinta coluna).
+ 
+Diário de Pernambuco, 27 de agosto de 1922
+ 
+A Photo Piereck anunciava-se como a única importadora em Pernambuco de produtos fotográficos.
+ 
+Diário de Pernambuco, 7 de setembro de 1922
+ 
+Foi, de novo, o responsável pela realização do quadro de retrato de bacharéis da Faculdade de Direito (Diário de Pernambuco, 15 de dezembro de 1922, quinta coluna).
+1923 - Ferdinand Piereck Junior noticiou que seu irmão, Louis Piereck, estava se retirando da firma Piereck Irmãos, que ficava na Praça da Independência 31 e que havia há pouco anunciado a venda de tintas e anilinas de Brauns (A Província, 24 de abril de 1923, segunda coluna).
+Exposição na Photographa Piereck do retrato do senador Manoel Borba (1864 – 1928), que seria colocado na Prefeitura de Jaboatão (Jornal Pequeno, 9 de junho de 1923, primeira coluna).
+Eram vendidas na Photographia Piereck máquinas fotográficas Kodack Goerz, além de outros produtos fotográficos da marca Gevaert (Jornal Pequeno, 16 de janeiro de 1923, última coluna; Jornal Pequeno, 10 de julho de 1923, segunda coluna).
+ 
+Jornal Pequeno, 10 de julho de 1923
+ 
+O alemão Martin Schumann dirigia a seção de retratos a óleo, pastel, aquarelas e ampliações fotográficas da Photographia Piereck. Anteriormente, já havia dirigido uma academia em Dresden onde ensinava essas técnicas. Em homenagem à data da independência do Brasil, foi realizada uma exposição na Photo Piereck de quadros a óleo e trabalhos outros do gênero (Jornal Pequeno, 5 de setembro de 1923, quinta coluna; A Província, 7 de setembro de 1923, quarta coluna).
+ 
+Martin Schumann / Jornal Pequeno, 5 de setembro de 1923
+ 
+Morte do primogênito de Louis e Hermínia Piereck, Luiz, que estudava no Colégio Synodal, em Santa Cruz, no Rio Grande do Sul (Jornal Pequeno, 30 de novembro de 1923, primeira coluna).
+Publicação de propagandas das lentes Goerz, vendidas na Photographia Piereck (Diário de Pernambuco, 9  e 30 de dezembro de 1923).
+ 
+Diário de Pernambuco, 9 de dezembro de 1923
+ 
+“A memória nem sempre é fiel….É recem-casado?…De futuro a sua alegria será enorme” – de uma propaganda da Photo Piereck (Jornal Pequeno, 31 de dezembro de 1923, última coluna).
+ 
+Jornal Pequeno, 31 de dezembro de 1923
+ 
+1924 - Mário Araújo Sobrino e Felipe Nery dos Santos trabalhavam como auxiliares na Photographia Piereck  (Diário de Pernambuco, 14 de fevereiro, segunda coluna; e Diário de Pernambuco, 27 de maio de 1924, terceira coluna).
+Realizou o quadro de retratos dos bacharéis em ciências comerciais (A Província, 29 de março de 1924, quarta coluna).
+Exposição, na Photographia Piereck, do quadro de retratos dos formandos da Escola de Engenharia de Pernambuco. O passe-partout foi de autoria do pintor H. Moser  (Diário de Pernambuco, 5 de abril de 1924, quarta coluna).
+Na Photographia Piereck eram vendidos diversos equipamentos fotográficos (Jornal Pequeno, 21 de maio de 1924).
+ 
+Jornal Pequeno, 21 de maio de 1924
+ 
+Exposição na vitrine da Photographia Piereck de um magnífico retrato busto em tamanho natural enfaixado em rica moldura do abastado comerciante e nosso particular amigo coronel Othon Mendes Bezerra de Mello (Jornal Pequeno, 2 de setembro de 1924, segunda coluna).
+Ganhou uma Medalha de Ouro do Instituto Agrícola,  no Rio de Janeiro.
+1925 – Inauguração, na Photographia Piereck, do quadro de retratos de bacharéis da Faculdade de Direito (Diário de Pernambuco, 12 de março de 1925, primeira coluna).
+ 
+Quadro de bacharéis de Direito de 1924 / Revista de Pernambuco, março de 1925
+ 
+Publicação de fotografias de Piereck na Revista de Pernambuco (Revista de Pernambuco, março de 1925).
+ 
+Photo Piereck na Revista de Pernambuco, março de 1925
+ 
+Anunciou a venda de vários produtos “Para photografia!” como prensa de copiar 13:18 9:12, bacias de porcelana e ágata, copas de graduar, balanças, vidros finos despolidos, rubi e calibres diversos. Vendia também papéis mate e brilhantes de diversos fabricantes, além de cartolinas (Diário de Pernambuco, 31 de maio de 1925, terceira coluna; Diário de Pernambuco, 4 de julho de 1925, primeira coluna).
+A Photographia Piereck foi responsável pelo quadro de retratos da primeira turma de médicos formados na Faculdade de Medicina do Recife (A Província, 6 de dezembro de 1925, terceira coluna).
+Falecimento de seu pai, Ferdinand, em sua casa na estrada dos Aflitos, 192 (Jornal do Recife, 12 de dezembro de 1925, segunda coluna).
+1926 – Falecimento da sogra de Piereck, Maria Leontina Bastos Tigre (Jornal Pequeno, 4 de janeiro de 1926)
+A Photo Piereck anunciava uma grande novidade, o metallon, um papel fotográfico ideal para efeitos artísticos (Diário de Pernambuco, 28 de março de 1926).
+ 
+Diário de Pernambuco, 28 de março de 1926
+ 
+O chargista  e caricaturista Fausto Silvério Monteiro (? – 1935), Fininho, trabalhava na Photographia Piereck, na rua da Imperatriz, 198  (Jornal do Recife, 10 de abril de 1926, quinta coluna).
+A Photographia Piereck produziu o quadro de retrato das primeiras diplomadas em Comércio do Instituto Nossa Senhora do Carmo (Jornal do Recife, 20 de novembro de 1926, quarta coluna).
+Na primeira edição da Revista da Cidade, publicação de duas fotografias de autoria de Piereck. Em diversas edições desta revista, fotografias de Piereck foram publicadas.
+ 
+Photo Piereck. Um five gracioso  / Revista da Cidade, 29 de maio de 1926, primeira edição
+ 
+ 
+Photo Piereck. FELICIDADE O sr. Fileno de Miranda, esposa e filhinhos / Revista da Cidade, 29 de maio de 1926, primeira edição, página 22
+ 
+1927 – Foi o responsável pelo quadro de retratos da Turma do Centenário da Faculdade de Direito do Recife (Diário de Pernambuco, 21 de abril de 1927, sexta coluna).
+Publicada as fotografias, todas de autoria de Piereck, dos membros da diretoria da Sociedade Anônima Revista da Cidade, recém formada (Revista da Cidade, 16 de abril de 1927, páginas 12 e 13).
+ 
+Revista da Cidade, 16 de a bril de 1927, páginas 12 e 13
+ 
+Foi noticiada uma reforma na Seção de amadores da Photo Piereck (Jornal Pequeno, 18 de julho de 1927, última coluna).
+1928 – Anunciou a chegada novas remessas de papel Leonar, chapas Eisenberger (Jornal Pequeno, 8 de março de 1928, última coluna).
+A Photographia Piereck realizou a fotografia de dom Miguel de Lima Valverde (1872 – 1951), arcebispo de Olinda e Recife (Diário de Pernambuco, 22 de julho de 1928, quarta coluna).
+Em um anúncio, convidava os fotógrafos amadores a ver a nova Vest pocket à venda na Photographia Piereck (Jornal Pequeno, 22 de novembro de 1928, segunda coluna)
+1929 - Também eram vendidos na Photographia Piereck produtos da Kodak, da Agfa, da Hauff e de outros fabricantes (Jornal Pequeno, 2 de janeiro de 1929, segunda coluna).
+Um retrato da Photographia Piereck era um dos prêmios oferecidos à vencedora do concurso de beleza que elegeu a Miss Pernambuco, Connie Brás da Cunha (Jornal Pequeno, 21 de março de 1929, quarta coluna).
+A professora e feminista Júlia Augusta de Medeiros (1896 – 1972) ofereceu à feminista e presidente da Federação Brasileira para o Progresso Feminino, Bertha Lutz (1894 – 1976), uma fotografia sua produzida por Louis Piereck, datada de 5 de maio de 1929.
+ 
+Louis Piereck. Júlia de Medeiros, 1929. Pernambuco / Acervo Arquivo Nacional
+ 
+1930 - No dia em que foi assassinado, 26 de julho de 1930, pelo jornalista João Dantas (1888 – 1930), no Recife, o então governador de Paraíba, João Pessoa (1878 – 1930), esteve na Photographia Piereck, onde tirou novas fotografias a fim de atender a pedidos que constantemente lhe eram feitos por jornalistas, amigos e parentes. O governador estava com Agamenon Magalhães (1893 – 1952), na época ex-deputado e futuro governador de Pernambuco; e com o jornalista Caio Lima Cavalcanti. Piereck era grande admirador de Pessoa e segundo o Correio da Manhã, o encontro dos dois se deu com grande emoção. Na ocasião, Piereck teria contado a Pessoa que tivera um pesadelo com a morte dele (Diário Carioca, 29 de julho de 1930, penúltima coluna; Correio da Manhã, 29 de julho de 1930, penúltima coluna). O assassinato é considerado um dos estopins da Revolução de 30.
+ 
+Correio da Manhã, 29 de julho de 1930
+ 
+Segundo o jornalista Domingos Meirelles em seu livro Órfãos da revolução, ao preparar os equipamentos, Piereck notou que João Pessoa continuava tenso, olhos baixos, expressão congelada, com tristeza na face. Produziu um segundo retrato, segundo o pesquisador Edival Varandas, ao se dar conta que as luvas no bolso do paletó do presidente estavam desalinhadas e, subitamente, solicitando que não se movesse, ajeitou as luvas, pediu que esboçasse um leve sorriso e tirou o outro retrato, que viria a ser o último de Pessoa (O Dia (PR), 21 de novembro de 1931, quarta coluna).
+O assassino de João Pessoa, João Dantas, e o engenheiro Augusto Caldas, seu cunhado, foram presos na Casa de Detenção do Recife, onde foram encontrados mortos em 6 de outubro (Diário de Pernambuco, 7 de outubro de 1930, primeira coluna). O motivo oficial das morte foi suicídio mas, anos depois, a descoberta de registros fotográficos produzidos por Piereck contribuiu para desacreditar essa versão:
+ “João Dantas e seu cunhado Augusto Caldas estavam detidos, desde a morte de João Pessoa, na penitenciária em Recife, quando, na tarde de 6 de outubro, foram encontrados mortos. A notícia oficial apontou suicídio, e assim foi divulgado na imprensa. Somente após a morte do fotógrafo Piereck foi que uma nova versão para a morte foi trazida ao público – tratava-se de outras fotografias desconhecidas e que estavam guardadas no cofre do fotógrafo. Conta-se que Piereck, sabendo do que ocorrera, fotografou o local, mas foi obrigado a tirar novas fotos em que, num novo cenário fotografado, esconderia os sinais de luta e de assassinato. Essa versão se encontra no livro do irmão de Augusto Caldas, que foi recentemente publicado pela ONG “Parahyba Verdade”” e editado pela Gráfica e Editora Imprell  (Trecho da dissertação de mestrado Sacrifício, heroísmo e imortalidade: a arquitetura da construção da imagem do Presidente João Pessoa, de Genes Duarte Ribeiro – página 100).
+Essas fotografias foram publicadas no livro de Joaquim Inojosa Andrade, A República de Princesa (José Pereira x João Pessoa, -1930) e reproduzidas no site princesapb.com.
+ 
+
+ 
+1931 – Piereck era viciado em jogo e havia perdido seu patrimônio em corridas de cavalo, motivo de seu suicídio, em 19 de novembro. Ingeriu uma alta dose de oxianureto de mercúrio em sua residência, na avenida Rosa e Silva, 192. Desesperada, sua mulher, Herminia Tigre Piereck, também tentou se matar ingerindo ácido arsênico.  O casal tinha, na época, dois filhos, Edgard e Herminia “Baby” Piereck. O primogênito, Luiz, havia falecido em 1923 (Diário de Pernambuco, 20 de novembro de 1931, penúltima coluna; Jornal Pequeno, 20 de novembro de 1931, quinta coluna; Diário de Pernambuco, 20 de novembro de 1931, sexta coluna).
+“A dolorosa ocorrência repercutiu tristemente em nosso meio, onde o sr. Louis Piereck se tornara um homem popular, pela sua bondade, pelos seus dotes morais. E o seu gesto,não foi só uma desagradável surpresa para os que apenas o conheciam mas também para os que pertenciam a sua família que, de momento, não podiam atinar onde essa causa tão forte, que levava o chefe a praticar o ato de desespero que lhe roubara a vida. Entretanto, ao que se sabe, o sr.Louis Piereck, antes de objetivar a sua macabra resolução, teria escrito uma longa carta a seu filho de nome Edgard Piereck expondo-lhe com pormenores as causas que o levaram a procurar a morte de uma maneira tão violenta”.
+Jornal Pequeno, 20 de novembro de 1931
+ 
+Era diretor do Jockey Club e as corridas foram suspensas no domingo seguinte a seu falecimento. Estiveram presentes a seu enterro o interventor federal e figuras da maior represetação da alta sociedade pernambucana (Jornal Pequeno, 21 de novembro de 1931, primeira coluna).
+1932 – Foi publicado um anúncio convocando todos os credores da Photographia Piereck a fim de se entenderem com Edgard Piereck, filho de Louis (Diário de Pernambuco, 5 e fevereiro de 1932).
+O estabelecimento foi a leilão judicial, em abril de 1932.
+ 
+A Província, 26 de abril de 1932
+ 
+1949 – A esposa de Louis Piereck, Hermínia, morava na rua República do Peru, 124, no Rio de Janeiro, com a filha, Herminia Baby. Tropeçou em um cachorro, caiu, foi hospitalizada e acabou falecendo (Diário de Pernambuco, 17 de setembro de 1949, última coluna).
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+(1) De acordo com Lúcia Gaspar, da Fundaj, “curiosamente, a rua da Imperatriz Tereza Cristina mudou de nome três vezes. Em 1895, foi denominada Dr. Rosa e Silva. Passou para Floriano Peixoto. Finalmente, por meio da Lei nº 1.336, de 13 de março de 1923, voltou ao nome tradicional. De maneira espontânea, a população reduziu a sua denominação para Rua da Imperatriz, como é conhecida até hoje”. Por isso, apesar de entre 1904 e 1931 a Photographia Piereck ter existido no mesmo lugar, o endereço variou: rua dr. Rosa e Silva, 54; rua Floriano Peixoto, 54; rua Floriano Peixoto, 198; e rua da Imperatriz, 198.
+ 
+Agradeço muitíssimo à família de Louis Piereck, especialmente à sua neta, Eliane Piereck, por inúmeras informações e pela cessão de registros do acervo pessoal da família.
+Agradeço à bisneta de Louis Piereck, Chris Piereck, que contribuiu com novas informações, incorporadas ao artigo, em 30 de janeiro de 2023.
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/8444` — `itens/20.500.12156.1_8444/`
+- `20.500.12156.1/8441` — `itens/20.500.12156.1_8441/`
+- `20.500.12156.1/6569` — `itens/20.500.12156.1_6569/`
+
diff --git a/wordpress/21263-novidade-na-brasiliana-fotografica-cronologia-de-fotografos.md b/wordpress/21263-novidade-na-brasiliana-fotografica-cronologia-de-fotografos.md
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+---
+id: 21263
+url: "https://brasilianafotografica.bn.gov.br/?p=21263"
+titulo: "Novidade na Brasiliana Fotográfica – Cronologia de fotógrafos"
+autor: "Andrea Wanderley"
+data: "2021-01-06T08:41:55+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/6658"]
+fetched_at: "2026-09-10T10:05:57.805Z"
+---
+
+# Novidade na Brasiliana Fotográfica – Cronologia de fotógrafos
+
+A Brasiliana Fotográfica traz em sua primeira publicação de 2021 uma novidade: a criação da seção “Cronologia de fotógrafos”, onde estão reunidas todas as cronologias já publicadas no portal. A nova seção encontra-se no canto superior da página inicial. Assim, se o leitor quiser saber se determinado fotógrafo já tem uma cronologia e desejar pesquisar somente nela, pode ir direto na “Cronologia de fotógrafos” onde, em ordem alfabética, eles estão listados. Já são 45! Dentre eles, Augusto Malta (1864 – 1957), José Christiano Junior (1832 – 1902, Juan Gutierrez (c. 1860 – 1897) e Marc Ferrez (1843 – 1923). Todos os fotógrafos que possuem cronologia já foram temas de artigos da Brasiliana Fotográfica, nos quais há também um perfil e um link para as imagens de autoria de cada um deles. Feliz Ano Novo! E vamos em 2021 continuar a cumprir nossa missão de difundir a fotografia brasileira!
+ 
+Link para a página “Cronologia de fotógrafos”
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Augusto Malta (1864 – 1957), s/d. Rio de Janeiro, RJ / Acervo AGCRJ
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/6658` — `itens/20.500.12156.1_6658/`
+
diff --git a/wordpress/21310-cronologia-de-luiz-bianchi-1876-1943.md b/wordpress/21310-cronologia-de-luiz-bianchi-1876-1943.md
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+---
+id: 21310
+url: "https://brasilianafotografica.bn.gov.br/?p=21310"
+titulo: "Cronologia de Luiz Bianchi (1876 – 1943)"
+autor: "Andrea Wanderley"
+data: "2021-01-06T10:20:07+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: []
+fetched_at: "2026-09-10T10:06:01.353Z"
+---
+
+# Cronologia de Luiz Bianchi (1876 – 1943)
+
+Cronologia do fotógrafo Luiz Bianchi (1876 – 1943)
+ 
+Diário dos Campos
+ 
+1870 – 1879 – Luís Bianchi* nasceu, em 1º de novembro de 1876 , na Argentina. Era filho dos italianos Carlos e Carolina Bianchi, que motivados por brigas familiares imigraram para a Argentina. Algumas fontes informam que Luís teria nascido na Itália e registrado, meses depois, na Argentina. A pesquisadora Patricia Camera, da Universidade Estadual de Ponta Grossa, dirimiu essa dúvida quando consultou o atestado de óbito do fotógrafo.
+1880 – 1899 – Carlos Bianchi, seu pai, possuia um pequeno jornal em Buenos Aires, frequentado por ele. Luís passou um tempo no Exército. Luís teria aprendido o ofício de fotógrafo no período em que residiu na Argentina.
+1900 – 1910 - No início do século XX, Luís Bianchi veio para o Brasil e começou sua trajetória profissional na Lapa, cidade do Paraná, como agricultor, mas não teve sucesso.
+Ainda na Lapa, trabalhou com um fotógrafo alemão, entre 1906 e 1907, ano em que fotografou a pedra fundamental da Santa Casa de Misericórida de Ponta Grossa, inaugurada em 1913.
+Foi contratado como fotógrafo pela Brasil Railway Company, empresa responsável pela construção da estrada de ferro na região.
+Casou-se, em Curitiba, com Maria Thommen, de família suíça, e mudaram-se para Ponta Grossa, em torno de 1909, ano em que o casal Bianchi abriu uma loja de comércio de vários produtos, a Casa de Armarinho e Modas Thommen & Bianchi. A fotografia era uma ocupação paralela e o estabelecimento ficava na rua Fernandes Pinheiro.
+1910 – 1919 –  Maria Thommen Bianchi tornou-se sua colaboradora e realizava os serviços de laboratório como revelação e retoques.
+O casal teve quatro filhos, Rauly (1911 -1987), Fleury (19? -?), que se dedicou à cinematografia; Leonardo (19? – ?) e Raul, que morreu com pouco tempo de vida.
+O ateliê Fotografia Bianchi foi formalizado como empresa, em 1913, e passou a funcionar na rua XV de Novembro, nº5. Na época, era a rua mais movimentada de Ponta Grossa.
+1920 – 1939 – A Fotografia Bianchi permaneceu no novo endereço tendo sempre a sua frente Luís.
+1940 – 1949 – Em fevereiro de 1943, a Fotografia Bianchi transferiu-se para na rua Sete de Setembro, nº 92, onde a família passou a morar.
+Em 12 de abril de 1943, falecimento de Luís Bianchi, que foi sucedido por seu filho Rauly.
+1950 – 1979 – Durante este período a Fotografia Boanchi foi dirigida por Rauly (1911 – 1987).
+Em 1950, nascimento de Raul Bianchi (1949 – 2002), filho de Rauly e neto de Luís.
+1980 – 1999 – Em 1987, falecimento de Rauly (1911 – 1987), que foi sucedido na Fotografia Bianchi por  seu filho Raul (1949 – 2002).
+2000 – 2009 – A Fotografia Bianchi foi roubada em 26 de janeiro de 2001 e segundo Raul, seu proprietário na ocasião, foi perdida uma média de 90 mil reais em equipamentos e ele teria ficado “sem os dedos para trabalhar”.  No mesmo ano a loja foi fechada e vendida. Parte do acervo de negativos do ateliê foi vendido, em 30 de março de 2001, à Prefeitura Municipal de Ponta Grossa.
+O acervo da Fotografia Bianchi, composto por cerca de 45 mil negativos em chapa de vidro e celulose flexível, assim como os cadernos de registo do estabelecimento, passam a ficar sob a responsabilidade da Casa da Memória Paraná/Fundação de Cultura.
+Em 2002, falecimento de Raul Bianchi (1949 – 2002).
+2010 – 2019 – Em 2014, o Museu Campos Gerais, inaugurado em Ponta Grossa, em 1983, realizou uma exposição com 20 registros de Luís Bianchi.
+* Muitas vezes o nome do fotógrafo é escrito Luís, com s, mas a pesquisadora Patricia Camera, achou a marca dele “Luiz Bianchi” em alguns cartões de visita e postais.
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
diff --git a/wordpress/21321-pixel-sobre-tela-tecnologias-da-memoria-e-preservacao-digital-do-patrimonio-hist.md b/wordpress/21321-pixel-sobre-tela-tecnologias-da-memoria-e-preservacao-digital-do-patrimonio-hist.md
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@@ -0,0 +1,46 @@
+---
+id: 21321
+url: "https://brasilianafotografica.bn.gov.br/?p=21321"
+titulo: "Pixel sobre tela. Tecnologias da memória e preservação digital do patrimônio histórico e cultural"
+autor: "Andrea Wanderley"
+data: "2020-10-16T10:35:52+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/324"]
+fetched_at: "2026-09-10T10:06:04.478Z"
+---
+
+# Pixel sobre tela. Tecnologias da memória e preservação digital do patrimônio histórico e cultural
+
+No artigo Pixel sobre tela. Tecnologias da memória e preservação digital do patrimônio histórico e cultural, a historiadora da arte Carolina Matos elogia iniciativas como o Portal Brasiliana Fotográfica, que conecta acervos de fotografia analógica com o público através da Internet e faz uma análise sobre a coleção e a conservação do patrimônio histórico e cultural, destacando que a comunicação do passado através de sua exposição é, sem dúvida, o maior legado que podemos deixar para as gerações futuras.
+ 
+Pixel sobre tela. Tecnologias da memória e preservação digital do patrimônio histórico e cultural
+Carolina Matos*
+ 
+Augusto Riedel. Memoria de S. M., o Imperador : Cachoeira de Paulo Affonso, 1869. Cachoeira de Paulo Afonso, Alagoas / Acervo FBN
+ 
+Até o final do século XX, as tecnologias de memória limitavam-se ao uso de mídias analógicas como suporte para a transmissão de tempos passados, como arquivos, escrita, fotografia e, posteriormente, o cinema. Independentemente dos métodos tradicionais de coleção e conservação do patrimônio histórico e cultural, a comunicação do passado através de sua exposição é, sem dúvida, o maior legado que podemos deixar para as gerações futuras.
+Com a chegada do novo milênio e a crescente presença do formato digital na esfera cultural, a gestão da memória passou a contar com a administração de arquivos informáticos e bancos de dados numéricos, em detrimento da usual manipulação de objetos físicos. Nos museus e instituições culturais da atualidade, o rápido desenvolvimento de uma diversidade de tecnologias destinadas a mediar o contato do espectador contemporâneo com as coleções provoca uma reconfiguração contundente nos modos usuais de representação.
+Manifestar nosso passado por meio de imagens digitais gera um cruzamento, nunca antes imaginado, entre as disciplinas da História e da Museologia, para citar apenas duas das mais importantes esferas que envolvem a memória cultural, com a Comunicação. O novo modelo de acesso e exposição digital aproxima o público através da linguagem ágil das redes de computadores e da acessibilidade proporcionada no simples gesto de um clique.
+A partir do pensamento do filósofo alemão Martin Heidegger à respeito da obra de arte(1), sabemos que os próprios gregos, “que entendiam algo das obras de arte,” usavam a palavra “techné” para se referir à arte, e denominavam o artesão e o artista com a mesmo nome: “technités”. Pois bem, a origem da palavra tecnologia, na sua forma grega, implicava igualmente um modo de conhecer, um modo de conceber o mundo. Mais atual, impossível.
+No século XXI, é inegável admitir que a imagem digital é onipresente e que os conteúdos visuais são consumidos pelo público no espaço virtual como um ato cotidiano. Nesse ambiente digital, os objetos nada mais são do que uma abstração conceitual e geram um tipo de percepção semelhante àquela alcançada no confronto com o objeto real, produzindo a possibilidade de contemplação e reflexão sobre o conteúdo que transcende sua materialidade.
+Especificamente, podemos pensar na utilização das telas digitais táteis, marcadamente as de telefones celulares, como meio intermediário entre a experiência do sujeito em seu encontro com a obra de arte no novo milênio. A tecnologia integra de forma essencial tanto o fazer quanto o ver nessa relação entre pessoas e obras, e a utilização da mesma ocasiona consequências inéditas para alguns processos intrínsecos ao espectador, como a contemplação.
+Nesse sentido, a discussão sobre o conceito de aura da obra de arte se faz necessária, dada a importante mudança nos parâmetros de autenticidade na era digital. Walter Benjamin e seu pensamento de vanguarda sobre a reprodutibilidade técnica das imagens é um referencial teórico essencial(2). Por meio da tela digital, a imagem transcende a materialidade e novos conceitos para a história da arte são apresentados, como a aura da informação. Quanto mais acessível e compartilhada uma imagem, maior seu valor de culto na sociedade do espetáculo.
+Já dizia o francês André Malraux, em seu ensaio sobre o Museu Imaginário (3), que a história da arte é a história do que é fotografável. A reprodução digital pode levar a fotografia a situações que ela jamais alcançaria na materialidade do papel. Iniciativas como o Portal Brasiliana Fotográfica, que conecta acervos de fotografia analógica com o público através da Internet, são a chave para alcançar a finalidade social que os museus sempre almejaram ao longo de sua história. Atualmente, as instituições culturais que estabelecem conexões múltiplas com diferentes públicos são aquelas que podem alcançar o maior impacto social e a presença digital é essencial para atingir esse objetivo em um mundo cada vez mais virtual, conectado e online.
+Através da viagem pelo portal que alberga este artigo, o passado pode sair ao encontro do destinatário e a reflexão, que antes era fruto apenas da memória individual, agora pode ser conectada no mesmo espaço, ainda que virtual. À moda do “Atlas Mnemosyne”(4), obra inacabada do historiador de arte alemão Aby Warburg produzida na década de 1920, visitantes de iniciativas virtuais como esta podem articular a correspondência de uma infinidade de imagens através da abordagem de um espaço visual dinâmico, aberto e infinito.
+Na busca pela disponibilidade infinita do passado, hoje observamos uma metamorfose no paradigma memorial por meio da ampliação das possibilidades de interação com o patrimônio histórico e artístico mundial. Como definiria o intelectual alemão Hans Ulrich Gumbrecht(5), em nosso presente muito eletrônico, não há nada do passado que tenhamos que deixar para trás, ou qualquer coisa do futuro que não possa se tornar presente por antecipação simulada.
+Finalmente, toda memória depende, previamente, do esquecimento. Para que exista a memória, é necessário perceber o passado como um tempo diferente, como um antecedente do tempo atual. Culturalmente, a leitura de fotografias do passado permite o reconhecimento das diferentes personalidades individuais, políticas e culturais. Com essa memória do passado, sujeitos e sociedades podem construir sua identidade e também projetar uma visão de futuro.
+(1) HEIDEGGER, Martin. A Origem da obra de arte. Trad. de Maria da Conceição Costa. Lisboa, Edições 70, 1999.
+(2) BENJAMIN, Walter. A obra de arte na era da sua reprodutibilidade técnica. Trad. de Gabriel Valladão Silva. SãoPaulo, L&PM, 2014.
+(3) MALRAUX, Andre. O Museu Imaginário. Trad. de Isabel Saint-Aubyn. Lisboa, Edições 70, 2011.
+(4) WARBURG, Aby. Atlas Mynemosyne. Trad. De Joaquín Chamorro Mielke. Madrid, Ediciones Akal S.A, 2010.
+(5) GUMBRECHT, Hans Ulrich. Produção de Presença: o que o sentido não consegue transmitir. Trad. de Ana Isabel
+Soares. Rio de Janeiro, Contraponto: Ed. PUC-Rio, 2010.
+ 
+* Carolina Matos é Historiadora da Arte e Coordenadora do Abre-te Código, primeiro Hackathon de dados culturais abertos do Brasil.  Atua no mercado editorial como fotógrafa e editora de imagens. Está concluindo Doutorado em História da Arte pela Universidad Complutense de Madrid, com tese sobre a imagem digital no campo cultural.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/324` — `itens/20.500.12156.1_324/`
+
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+---
+id: 21354
+url: "https://brasilianafotografica.bn.gov.br/?p=21354"
+titulo: "Série “Feministas, graças a Deus!” III – Bertha Lutz (1894 – 1976) e sua luta pelo voto feminino"
+autor: "Andrea Wanderley"
+data: "2020-09-29T15:04:03+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/5030", "20.500.12156.1/6558", "20.500.12156.1/6474", "20.500.12156.1/6555", "20.500.12156.1/6581"]
+fetched_at: "2026-09-10T10:06:08.062Z"
+---
+
+# Série “Feministas, graças a Deus!” III – Bertha Lutz (1894 – 1976) e sua luta pelo voto feminino
+
+Série “Feministas, graças a Deus!” III – Bertha Lutz (1894 – 1976) 
+ 
+O terceiro artigo da série “Feministas, graças a Deus”, Bertha Lutz e a campanha pelo voto feminino: Rio Grande do Norte, 1928 é de autoria da historiadora Maria do Carmo Rainho, do Arquivo Nacional, uma das instituições parceiras da Brasiliana Fotográfica. Bertha Lutz (1894 – 1976) foi a fundadora da Federação Brasileira pelo Progresso Feminino, em 1922, iniciativa vinculada ao movimento sufragista internacional, principal tendência do feminismo no início do século XX. As outras reivindicações eram de igualdade entre os sexos e de independência da mulher. Em 1932, Bertha foi uma das duas mulheres nomeadas para integrar a comissão para elaborar o ante-projeto da nova Constituição – a outra foi a advogada Natércia da Cunha Silveira (1905 – 1993) – tema do segundo artigo da série do portal. Em 1936, Bertha assumiu o mandato de deputada na Câmara Federal. Sempre ocupou importantes cargos públicos, dentre eles a chefia do setor de Botânica do Museu Nacional, cargo no qual se aposentou em 1964. Sua vida sempre esteve ligada à ciência e à luta pela emancipação da mulher. Nasceu em São Paulo, no dia 2 de agosto de 1894, filha da enfermeira inglesa Amy Marie Gertrude Fowler (1869 – 1922 ) e do cientista e pioneiro da Medicina Tropical, Adolpho Lutz (1855 – 1940).
+ 
+Bertha Lutz na cidade de Natal, um dos locais em que fez campanha pelo voto feminino, 1928. Natal, Rio Grande do Norte / Acervo Arquivo Nacional
+ 
+ Bertha Lutz e a campanha pelo voto feminino: Rio Grande do Norte, 1928
+Maria do Carmo Rainho*
+ 
+O acervo da Federação Brasileira pelo Progresso Feminino, custodiado pelo Arquivo Nacional, foi constituído a partir de doações realizadas entre 1976 e 1986. Contemplando 25 metros lineares de documentos textuais e 537 itens iconográficos, dentre estes, 478 fotografias produzidas nas décadas de 1910-1970, o fundo privado conserva também cartazes, cartões-postais, desenhos e gravuras. Conjunto expressivo de fotografias registra eventos nacionais e internacionais promovidos pela Federação ou com a participação de Bertha Lutz e integrantes da entidade, como o I Congresso Internacional Feminista (Rio de Janeiro, 1922) e o IX Congresso da Aliança Internacional pelo Sufrágio Feminino (Roma, 1923). Registros de cerimônias públicas; audiências com autoridades; almoços, jantares, recepções, além de retratos variados (políticos, feministas do Brasil e do exterior) também se destacam. Para este artigo foram selecionadas algumas das fotografias que registram a movimentação em torno do sufrágio feminino no Rio Grande do Norte, a partir de 1927; a atuação de Juvenal Lamartine nesse sentido e, a viagem de Bertha Lutz àquele estado em 1928, em campanha pelo alistamento das mulheres.
+ 
+Acessando o link para as fotografias de Bertha Lutz disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Conforme observa June Hahner, “a campanha sufragista no Brasil nunca se tornou um movimento de massas – existem poucos destes na história do Brasil -, mas, apesar disso, teve o mérito de se caracterizar por sua excelente organização, bem maior do que a da maioria dos movimentos semelhantes que a seguiram na América Latina.”(1) Essa organização se deve, em grande parte, a Bertha Lutz, por ter fundado, em 1919, a Liga para a Emancipação Intelectual da Mulher- LEIM, precursora da Federação Brasileira pelo Progresso Feminino – FBPF, de 1922; pelo modo como constituiu as entidades e articulou suas integrantes; e, sobretudo, pelas estratégias utilizadas na busca pela extensão do direito do voto às mulheres.
+Estratégicas também foram a preservação e a organização dos documentos da Liga e da Federação, que somados ao amplo material publicado pela imprensa referente às campanhas pelo sufrágio feminino nos anos 1920, nos possibilitam traçar uma parte importante da trajetória de Bertha Lutz, por meio da análise das relações que ela vai construindo e de como atua no espaço social.
+Nosso ponto de partida foram as fotografias referentes à viagem que Bertha empreendeu ao Rio Grande do Norte, nos meses de julho e agosto de 1928, em campanha pelo alistamento, após a aprovação do voto feminino naquele estado, em 1927. Somam-se a elas registros das primeiras eleitoras e das primeiras eleitas, e dos eventos, muitos deles, relacionados a Juvenal Lamartine, político potiguar que desde o início da década se dedicou à causa. As fotografias nos levaram à documentação textual do fundo FBPF e às matérias publicadas pela imprensa, dando a ver o alcance da campanha de alistamento, o protagonismo de Bertha Lutz no processo e as conexões que a uniam a Lamartine, então governador do estado.
+Esses documentos também possibilitaram analisar as estratégias empregadas por ela, aquilo que Celi Pinto qualificou de “feminismo bem comportado”(2) ; o “bom feminismo”, conforme a própria Bertha, ou, a nosso juízo, o feminismo pragmático, que, no lugar do confronto visando expor as desigualdades de gênero – tática utilizada por Leolinda Daltro – preferia se associar a lideranças masculinas que defendiam o voto das mulheres, como Lamartine, Justo Chermont, Adolfo Gordo e Maurício de Lacerda, entre outros.
+Em 1921, a LEIM inaugurou a prática de enviar cartas e telegramas aos deputados solicitando a atenção a projetos que possibilitassem às mulheres o direito ao voto; cópias dessas correspondências eram encaminhadas também à imprensa. Naquele ano, Bertha Lutz entrou em contato pela primeira vez com Lamartine, deputado federal pelo Rio Grande do Norte desde 1906, e este lhe prometeu “destacar a emenda sobre o voto feminino do projeto de reforma eleitoral, para que ele próprio desse parecer.”(3) No entanto, após o adiamento da votação, em novembro de 1921, um novo projeto foi apresentado na Câmara dos Deputados, permitindo o alistamento eleitoral de mulheres com mais de 21 anos, as quais poderiam também ser votadas. Integrante da Comissão de Constituição e Justiça e relator do projeto, Juvenal Lamartine expressou vivamente o seu apoio à causa das mulheres, em texto embasado, no qual elencava as conquistas femininas no século XX e os países nos quais elas já podiam votar(4).
+ 
+Ao desembarcar no Rio de Janeiro, Juvenal Lamartine de Faria, governador do Estado do Rio Grande do Norte e patrono do voto feminino, é recebido por autoridades e líderes feministas, 5 de maio de 1928. Rio de Janeiro, RJ / Acervo Arquivo Nacional. 
+ 
+A partir de então, ele participa de reuniões e eventos da Federação e torna-se alvo frequente de suas homenagens.(5) De fato, o apoio a Juvenal Lamartine ganhou corpo quando, em sua plataforma para o governo do Rio Grande do Norte, em 1927, ele incluiu o voto feminino. E mais ainda, logo após a sua eleição, ao enviar telegrama ao então governador, José Augusto Bezerra de Medeiros, para que constasse na Lei que regulava o serviço eleitoral que poderiam “votar e ser votados, sem distinção de sexo, todos os cidadãos que reunirem as condições exigidas”(6).
+A relação entre Bertha e Juvenal era simétrica e de mão dupla: ao mesmo tempo em que recebia o apoio dele em sua campanha pelo sufrágio feminino, ela colaborava para a construção da imagem pública de Lamartine como um governante moderno, associado a pautas progressistas. Pesquisando-se os jornais do ano de 1927 e 1928 é possível perceber o espaço que ele ocupava nas matérias que tratavam especificamente do voto feminino e da Federação de modo geral. Bertha também se encarregava de citá-lo constantemente na coluna “Feminismo”, publicada pelo jornal O Paiz, redigida juntamente com Orminda Bastos. A relação entre eles é tão estreita e o nome de Lamartine tão associado ao voto feminino que Bertha, convidada a enviar material para a exposição “A mulher, o movimento feminista e a imprensa”, realizada na Alemanha, em abril de 1928, encaminha um quadro dedicado ao Rio Grande do Norte, incluindo foto de Lamartine, do eleitorado feminino, e da primeira eleitora daquele estado, a professora de matemática Júlia Barbosa.(7) Esta será uma figura importante para o alistamento feminino no Rio Grande do Norte e uma das responsáveis pela viagem de Bertha Lutz ao estado. Conforme a correspondência trocada entre elas, Júlia expressa o desejo de Lamartine de que se organizasse uma entidade filiada à Federação; ao mesmo tempo, revela um desinteresse das mulheres potiguares, por terem “alcançado ingresso na vida política do nosso Estado sem trabalho e sem lutas”. (8) A solução, segundo ela, estaria na viagem de Bertha. Nas cartas e telegramas evidencia-se que Júlia é uma das interlocutoras da presidente da Federação para os assuntos relativos aos direitos das mulheres no Rio Grande do Norte: é solicitada a lhe enviar dados, como o número de eleitoras por município; informa Bertha sobre a decisão do diretor do Departamento de Educação de excluir do magistério as mulheres casadas; comenta a eleição para o Senado do ex-governador José Augusto, na qual haviam votado as eleitoras alistadas há mais de 60 dias. (9) Por sua vez, pede o apoio de Bertha para a construção de uma maternidade em Natal. Torna-se colaboradora na coluna “Feminismo”, de O Paiz e, em junho de 1928, funda a Associação Eleitoral Feminina. Por sua atuação é homenageada pela Federação com um almoço no Hotel Glória, no Rio de Janeiro.(10)
+Em 6 de julho de 1928, Bertha Lutz, acompanhada por seu pai, o cientista Adolpho Lutz, parte para o Rio Grande do Norte; ambos em missão de pesquisa da flora local mas, Bertha, a serviço, primordialmente, do sufrágio feminino. Ao longo da viagem prospectos em favor da propaganda do voto feminino são jogados do avião em cidades de oito estados, dentre elas Vitória, Caravelas, Recife, Maceió e Natal. Bertha repetia a ação realizada em maio, no Rio de Janeiro, quando sobrevoou a cidade com Carmen Portinho (1903 – 2001) e Amélia Bastos lançando panfletos “na Câmara, no Senado, no Palácio da Presidência, nas redações de jornais, nas grandes artérias da capital” (11).
+ 
+Photo Chic. Almoço oferecido aos aviadores italianos Arturo Ferrarin e Carlo del Prete. Da esquerda para direita, o Cônsul italiano em Recife, Gino Romizi; Arturo Ferrarin; o governador do Rio Grande do Norte, Juvenal Lamartine; Carlo del Prete e a cientista Bertha Lutz, 13 de julho de 1928. Natal, Rio Grande do Norte / Acervo Arquivo Nacional
+ 
+Até 24 de agosto, véspera do seu retorno ao Rio, Bertha percorrerá inúmeros municípios daquele estado. Em Natal, onde permanece a maior parte do tempo, cumpre uma extensa programação que inclui a recepção pela Associação Eleitoral Feminina; um evento promovido pelas associações operárias, presidida por Juvenal Lamartine no teatro estadual; festa no Palácio do governo; a inauguração do curso de botânica na Escola Normal; a Festa Matuta, organizada pelos intelectuais natalenses; a inauguração da sede social do Clube Paissandu. Também participa do almoço oferecido por Juvenal Lamartine, no palacete da Assembleia Legislativa, aos aviadores italianos Arturo Ferrarin e Carlo del Prete, (12) evento no qual o governador conseguiu reunir expoentes de dois importantes pilares da sua administração: a aviação (13) e o feminismo.
+A partir de Natal, Bertha viaja, geralmente, acompanhada por outras mulheres às cidades de Macaíba, São José de Mipibu, Ceará- Mirim, Acari, Seridó, Santa Cruz, Currais Novos, Caicó, visando ao alistamento das eleitoras, além de participar de almoços, banquetes, lanches e inaugurações. Nesses locais encontram-se os círculos sociais frequentados por Bertha Lutz, integrados por mulheres das camadas médias e altas, escolarizadas, em sua maioria, professoras. E embora aqui e ali haja algumas menções à presença de operárias em eventos, habitualmente, o que se noticia é a participação de “altas autoridades civis, militares e eclesiásticas”; “a elite natalense”; os “chefes políticos locais”; o “juiz eleitoral”; “o prefeito”. É interessante registrar também que, a despeito de se tratar de uma temática feminista, parcela da imprensa, ao elencar as mulheres alistadas em Macaíba, por exemplo, ainda as apresentam de forma anônima: são “as senhoras do prefeito, do juiz de direito, do diretor de mesa de rendas, do promotor e de outras autoridades.”(14)
+ 
+Banquete oferecido a Berta Lutz por ocasião do alistamento de eleitoras no município de Macaíba, Rio Grande do Norte, 19 de julho de 1928 / Acervo Arquivo Nacional
+ 
+As relações que Bertha estabelece com as elites locais, para além de evidenciarem o lugar que ocupa no espaço social, reforçam uma tática adotada por ela: “a necessidade de se legitimar aos olhos do público, procurando para isto mobilizar mulheres cuja posição social fosse de indiscutível respeitabilidade.”(15) A viagem ao Rio Grande do Norte também evidencia a importância da sociabilidade, dos encontros, palestras, almoços e jantares nos quais ela circula e discursa e estimula as mulheres ao alistamento. E a importância que ela, àquela altura já havia alcançado, no que tange ao fomento de associações e grupos de mulheres envolvidos com a causa do sufrágio. Não é por acaso que, em 9 de agosto de 1928, é fundada a Associação das Eleitoras Norte-Riograndenses(16) e que, um ano após a aprovação do voto feminino, 10% do eleitorado daquele estado fosse constituído por mulheres.
+ 
+Banquete oferecido no Hotel Glória à Júlia Barbosa, primeira eleitora do Brasil, pela Federação Brasileira pelo Progresso Feminino, 23 de junho de 1928. Rio de Janeiro, RJ / Acervo Arquivo Nacional
+ 
+No registro do encontro das feministas com a primeira eleitora vemos a produção de sentido pelas fotografias ou como construímos o mundo visualmente. Não passa despercebido o fato de todas as mulheres estarem elegantemente vestidas, em uma imponência a que podemos chamar autonomia. São figuradas, conforme a “última moda”, exibindo roupas e cabelos mais curtos, estes no estilo “à la garçonne”, embora escondidos nos chapéus cloche. Os vestidos com modelagem solta e cintura baixa, não aprisionam o corpo, as pernas à mostra também estão livres. Mas cabem algumas perguntas: as feministas se deixavam subjugar pela moda? Ou os cuidados de si eram, naquele momento, imprescindíveis para ocupar espaços? Se a moda de cabelos e roupas mais curtas é onipresente, das fotos das feministas às revistas populares, talvez ela expressasse os desejos que as mulheres compartilhavam de ocupar novas posições. Nesse sentido, haveria pouco espaço para roupas com armações ou espartilhos. Mas, pensando a contrapelo, é preciso refletir se a emancipação estava à disposição de todas ou se roupas e cabelos mais curtos não eram, eles também, elementos de distinção social, evidenciando que, se as mudanças ocorrem, elas nunca ocorrem todas de uma vez e nem para todas.
+(1) HAHNER, June E. Emancipação do sexo feminino. A luta pelos direitos da mulher no Brasil, 1850-1940. Florianópolis : EDUNISC, 2003, p.333.
+(2) PINTO, Celia Regina Jardim. Uma história do feminismo no Brasil. São Paulo: Editora Fundação Perseu Abramo, 2003, p. 6.
+(3) KARAWEJCZYK, Monica. As filhas de Eva querem votar: uma história da conquista do sufrágio feminino no Brasil. Tese (Doutorado em História), Universidade Federal do Rio Grande do Sul, Porto Alegre, 2013, p. 219-220.
+(4) “Nada justifica mais, na época atual, essa restrição que é uma sobrevivência dos tempos em que a mulher era considerada incapaz de exercer os direitos civis e políticos.” Anais, vol. XIX, 1925, p. 40, apud KARAWEJCZYK, Monica, op. cit., p. 223.
+(5) Em 1925, Lamartine foi convidado pela FBPF para evento alusivo às datas cívicas nacionais, discorrendo sobre a concessão dos direitos políticos à mulher nas democracias modernas. Em 1927, a entidade promoveu uma manifestação comemorativa da sua eleição ao governo do Rio Grande do Norte. Em 1928, ao viajar a então capital do país, para tratar de assuntos referentes à administração daquele estado, foi recebido no desembarque por expressivo grupo de mulheres. No discurso da representante da FBPF, Orminda Bastos, Juvenal é qualificado de “estadista liberal e administrador eminente”.“Ecos da chegada do presidente Juvenal Lamartine”, O Paiz, 7 e 8 de maio de 1928, p. 5.
+(6) Lei n. 600, de 25 de outubro de 1927.
+(7) “A Federação Brasileira pelo Progresso Feminino e a exposição de imprensa de Colônia”, O Paiz, 18 de abril de 1928, p. 2.
+(8) Carta de Julia Barbosa para Bertha Lutz, Natal, 23 de janeiro de 1928. Arquivo Nacional, FBPF, BR RJANRIO Q0.ADM, COR.A928.107.
+(9) “Dessa eleição dependerá, tacitamente, a resolução do problema feminino no Brasil inteiro, pois se o Senado “engolir” os votos que eu e as minhas conterrâneas demos ao dr. José Augusto…”. Carta de Julia Barbosa para Bertha Lutz, Natal, 9 de abril de 1928. Arquivo Nacional, FBPF, BR RJANRIO Q0.ADM, COR.A928.107.
+(10) “O primeiro banquete político feminino”, O Paiz, 24 de junho de 1928, p. 10.
+(11) “A propaganda feminista por via aérea”, O Paiz, 14 e 15 de maio de 1928, p. 8.
+(12) Os pilotos se notabilizaram por realizar a primeira travessia do Atlântico em avião, sem escalas, entre a Europa e a América Latina, indo de Montecelio, na Itália, a Touros, no Rio Grande do Norte.
+(13) Natal, assim como Dakar, no Senegal, por sua posição geográfica, interessava vivamente às empresas de aviação – dentre elas, a francesa Latécoère – que desejavam expandir suas rotas para os países da América do Sul (Brasil, Argentina, Chile). Foi em um avião da companhia que Bertha Lutz se deslocou do Rio de Janeiro a Natal e de volta ao Rio, em 1928; a empresa também cedeu um aparelho a Juvenal Lamartine quando da inauguração dos campos de aterrisagem de Acari e Caicó no mesmo ano. As rotas e suas respectivas escalas envolviam interesses tanto econômicos quanto por prestígio, dos países de origem das empresas e dos locais que deveriam fazer parte dos itinerários estabelecidos. Lamartine soube capitalizar a importância da aviação comercial naquele momento e, em especial, da cidade de Natal como escala em um circuito mundial de navegação aérea. Nesse sentido, entende-se, também, a inauguração do Aeroclube de Natal em 1928. TEIXEIRA, Rubenilson B. “Por mar, terra e ar: Dakar, Natal e as conexões transatlânticas (1880-1940)”, Cahiers des Amériques Latines, vol. 76, 2014, p. 131-157. Disponível em: https://journals.openedition.org/cal/3327 Acesso em 27 de setembro de 2020.
+(14) “Em efervescência o alistamento feminino no Rio Grande do Norte”, Correio da Manhã, 24 de julho de 1928, p. 2.
+(15) ALVES, Branca Moreira, Ideologia e feminismo: a luta das mulheres pelo voto no Brasil. Petrópolis: Vozes, 1980, p.100.
+(16) Filiada à Federação Brasileira pelo Progresso Feminino, a Associação era presidida por Francisca Bezerra Dantas. A data da fundação era uma homenagem ao aniversário de Juvenal Lamartine e aos 6 anos de fundação da FBPF.
+ 
+*Maria do Carmo Rainho é Doutora em História | Pesquisadora do Arquivo Nacional
+ 
+Acesse aqui os 0utros artigos da Série “Feministas, graças a Deus!“
+
+Série “Feministas, graças a Deus!” I – Elvira Komel, a feminista mineira que passou como um meteoro, publicado em 25 de julho de 2020, de autoria da historiadora Maria Silvia Pereira Lavieri Gomes, do Instituto Moreira Salles, em parceria com Andrea C. T. Wanderley, editora e pesquisadora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” II  – Natércia da Cunha Silveira (1905 – 1993), o jequitibá da floresta, publicado em 20 de agosto de 2020, de autoria de Andrea C.T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” IV  – Uma sufragista na metrópole: Maria Prestia (? – 1988), publicado em 29 de outubro de 2020, de autoria de Claudia Heynemann, doutora em História e pesquisadora do Arquivo Nacional
+Série “Feministas, graças a Deus!” V – Feminista do Amazonas: Maria de Miranda Leão (1887 – 1976), publicado em 26 de novembro de 2020, de autoria de Maria Elizabeth Brêa Monteiro, mestre em História e pesquisadora do Arquivo Nacional
+Série “Feministas, graças a Deus!” VI – Júlia Augusta de Medeiros (1896 – 1972) fotografada por Louis Piereck (1880 – 1931), publicado em 9 de dezembro de 2020, de autoria de Andrea C.T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” VII – Almerinda Farias Gama (1899 – 1999), uma das pioneiras do feminismo no Brasil, publicado em 26 de fevereiro de 2021, de autoria de Andrea C.T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” VIII – A engenheira e urbanista Carmen Portinho (1903 – 2001), publicado em 6 de abril de 2021, de autoria de Andrea C. T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” IX – Mariana Coelho (1857 – 1954), a “Beauvoir tupiniquim”, publicado em 15 de junho de 2021, de autoria de Andrea C. T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” X – Maria Luiza Dória Bittencourt (1910 – 2001), a eloquente primeira deputada da Bahia, publicado em 25 de março de 2022, de autoria de Andrea C. T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” XI e série “1922 – Hoje, há 100 anos” VI – A fundação da Federação Brasileira pelo Progresso Feminino, publicado em 9 de agosto de 2022, de autoria de Andrea C. T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” XII e série “1922 – Hoje, há 100 anos” XI – A 1ª Conferência para o Progresso Feminino, publicado em 19 de dezembro de 2022, de autoria de Maria Elizabeth Brêa Monteiro, historiadora do Arquivo Nacional
+Série “Feministas, graças a Deus!” XIII – E as mulheres conquistam o direito do voto no Brasil!, publicado em 24 de fevereiro de 2023, de autoria de Andrea C T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” XIV – No Dia Internacional da Mulher, Alzira Soriano, a primeira prefeita do Brasil e da América Latina, publicado em 8 de março de 2023, de autoria de Andrea C T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” XV – No Dia dos Povos Índígenas, Leolinda Daltro,”a precursora do feminismo indígena” e a “nossa Pankhurst, publicado em 19 de abril de 2023, de autoria de Andrea C T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” XVI – O I Salão Feminino de Arte, em 1931, no Rio de Janeiro, de autoria de Andrea C. T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica, publicado em 30 de junho de 2023
+Série “Feministas, graças a Deus!” XVII – Anna Amélia Carneiro de Mendonça e o Zeppelin, equipe de Documentação da Escola de Ciências Sociais FGV CPDOC, em parceira com Andrea C.T. Wanderley, publicado em 5 de janeiro de 2024
+Série “Feministas, graças a Deus!” XVIII – Júlia Lopes de Almeida (1862 – 1934), a “escritora da Belle Époque tropical”, de autoria de Andrea C. T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica, publicado em 5 de junho de 2024
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/5030` — `itens/20.500.12156.1_5030/`
+- `20.500.12156.1/6558` — `itens/20.500.12156.1_6558/`
+- `20.500.12156.1/6474` — `itens/20.500.12156.1_6474/`
+- `20.500.12156.1/6555` — `itens/20.500.12156.1_6555/`
+- `20.500.12156.1/6581` — `itens/20.500.12156.1_6581/`
+
diff --git a/wordpress/21455-o-palacio-de-cristal-em-petropolis-fotografado-por-marc-ferrez-1843-1923.md b/wordpress/21455-o-palacio-de-cristal-em-petropolis-fotografado-por-marc-ferrez-1843-1923.md
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@@ -0,0 +1,127 @@
+---
+id: 21455
+url: "https://brasilianafotografica.bn.gov.br/?p=21455"
+titulo: "O Palácio de Cristal, em Petrópolis, fotografado por Marc Ferrez (1843 – 1923)"
+autor: "Andrea Wanderley"
+data: "2021-02-02T10:09:17+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/7702", "20.500.12156.1/1792", "20.500.12156.1/2575"]
+fetched_at: "2026-09-10T10:06:11.113Z"
+---
+
+# O Palácio de Cristal, em Petrópolis, fotografado por Marc Ferrez (1843 – 1923)
+
+A Brasiliana Fotográfica destaca uma imagem do Palácio de Cristal de Petrópolis produzida em torno da época de sua inauguração, em 1884, por Marc Ferrez (1843 – 1923), que realizou cerca da metade de sua produção fotográfica no Rio de Janeiro e em seus arredores, onde registrou, além do patrimônio construído, a exuberância das paisagens naturais. Patrimônio histórico tombado pela União, o Palácio de Cristal, localizado na Praça Koblenz ou Praça da Confluência, já abrigou exposições agrícolas, de flores e pássaros, além de eventos culturais como, por exemplo, o Petrópolis Bier Festival. É um monumento importante e simbólico para a história do Brasil e um dos principais pontos turísticos de Petrópolis. Em janeiro de 2020, foi fechado para visitação para a realização de uma reforma, paralisada no mês seguinte pelo Instituto do Patrimônio Histórico e Artístico Nacional, e retomada no início de outubro de 2020.
+ 
+Marc Ferrez. Palácio de Cristal, c. 1885. Petrópolis, Rio de Janeiro / Acervo IMS
+ 
+Foi inaugurado em 2 de fevereiro de 1884 (Gazeta de Notícias, 27 de janeiro de 1884, quarta coluna; Gazeta de Notícias, 5 de fevereiro de 1884, quinta coluna), cinco anos após o lançamento de sua pedra fundalmental, com um grande baile que contou com a presença maciça da família imperial brasileira.
+Sobre sua construção e inauguração, foi publicado em Petrópolis, guia de viagem (1885), de José Nicolau Tinoco de Almeida (18? – 1950):
+“ Petrópolis – Escrevem-nos dessa cidade:
+03 de Fevereiro –  Por telegrama que expedi hontem daqui dei-lhes de noticia do baile com que se inaugurou o palácio de crystal, construído no local do antigo passeio publico, e cuja estufa ostenta agora as suas columnas de ferro e paredes vidro branco.
+Se o palacio de crystal há de ser mais conveniente e util a Petropolis dirão os frequentadores desta bella cidade que assistirem às festas que alli se derem. O facto é que o antigo Passeio Público era o recreio das crianças e ponto de reunião de todos.
+O palacio de crystal de Petrópolis foi construído nas oficinas da sociedade anonyma de Saint Sauveur les Arraz, para uma associação de horticultura sob a proteção as Sua Alteza Conde d’Eu. Devendo servir de lugar de exposição ou de festas, tem esta enorme estufa uma vasta sala composta de uma parte central e dois corpos lateraes rectangulares, com uma superfície de 224 metros quadrados. Ligão-se ao corpo principal duas meias luas, cada uma com uma superfície de 56 metros quadrados. Espaço suficiente no caso de haver exposição hortícola para receber pequenos volumes e plantas e em reuniões numerosas os necessários acessórios para uma sala de festas. É inconstestavelmente um elegante EDIFÍCIO, solidamente construido pelo engenheiro Eduardo Bonjean.
+Como já dissemos, fez-se a inauguração do palacio-estufa com um baile dado em beneficio da Associação. A inauguração da sala foi feita sob as vistas de S.A. a Serenissima Princeza Imperial, o que fez ter maior realce a primeira festa dada no palacio de crystal.
+ Às 9 horas da noite já a sala estava cheia de senhoras e cavalheiros, que receberão Suas Majestades e Altezas, dando-se logo depois começo às danças, nas quaes dignou-se S.A. a Sra. Princeza Imperial de tomar parte. Foi uma brilhante reunião tanto pela escolhida sociedade como pela bonita iluminação. Da corte vierão muitas senhoras para este tão falado baile, de cuja direção se encarregou, a convite de S.A. o Sr. Conde d’Eu uma comissão de cavalheiros da nossa sociedade, que se esmerarão no desempenho de tão agradável incumbência.
+Mas não foi só para assistir ao baile que veio gente da corte; para fugir do calor e aqui passar dois dias também vierão muitas pessoas. A affluencia desde sexta-feira tem sido extraordinária.
+Cerca de 1.000 pessoas vierão para Petrópolis, e sabe Deus que trabalho teve o Dr. Berrini para acomodar os passageiros nos carros da estrada de ferro Principe Grão Pará.
+Os hotéis estão cheios que os últimos passageiros tiveram de dormir nos bilhares e salas.
+O Hotel d’ Orleans não teve outras acomodações senão a rouparia e o quarto de banho para dar aos dois últimos hospedes que apparecêrão hontem ”
+A estrutura pré-montada do Palácio de Cristal foi encomendada pelo conde D´Eu (1842 – 1922), marido da princesa Isabel (1846 – 1921), na época, presidente da Sociedade Agrícola de Petrópolis, às oficinas da Société Anonyme de Saint-Sauveur, na cidade de Arras, na França.
+ 
+
+ 
+O conde d´Eu e a princesa Isabel haviam se casado cerca de 20 anos antes, em 15 de outubro de 1864, na Capela Imperial, no Rio de Janeiro, em cerimônia celebrada por D. Manoel Joaquim da Silveira, arcebispo da Bahia e primaz do Brasil (Diário do Rio de Janeiro, edição de 16 de outubro de 1864). O escritor Machado de Assis (1839 – 1908) escreveu na coluna Folhetim uma calorosa descrição do evento (Diário do Rio de Janeiro, edição de 17 de outubro de 1864). O casal passou a lua de mel justamente em Petrópolis, de onde retornou no dia 24 de outubro.
+ 
+Alberto Henschel. Princesa Isabel, Conde D’Eu e os filhos D. Pedro de Alcântara, príncipe do Grão-Pará, D. Luís Maria e D. Antônio Gastão, c. 1884 / Acervo IMS
+ 
+Voltando ao Palácio de Cristal… Sua estrutura, a primeira pré-fabricada ultimada no Brasil, foi montada em Petrópolis pelo engenheiro Eduardo Bonjean (1844 -?),  foi inspirada em duas edificações: o Crystal Palace de Londres e no Palácio de Cristal do Porto. O Crystal Palace, construído no Hyde Park para sediar a Grande Exposição dos Trabalhos da Indústria de Todas as Nações de 1851, foi inaugurado em 1º de maio de 1851 pela Rainha Vitória (1837 – 1901)  e destruído por um incêndio em 1936. O Palácio de Cristal do Porto, inaugurado em 18 de setembro de 1865 pelo rei dom Luis (1838 0 1889) para abrigar a Exposição Internacional do Porto, foi demolido em 1951 para dar lugar ao Pavilhão dos Desportos,  atualmente denominado Pavilhão Rosa Mota.
+ 
+Crystal Palace de Londres, 1851
+
+Palácio de Cristal do Porto, publicado no Archivo Pittoresco: semanário illustrado, Anno 7,  número 1, 1864
+ 
+Em 20 de abril 1884, com ornamentação do botânico francês Auguste Glaziou (1828 – 1906), que havia sido o responsável pelo embelezamento do Campo de Santana, foi aberta a Quarta Exposição da Sociedade Agrícola e Hortícula de Petrópolis, a primeira no Palácio de Cristal – as três primeiras haviam sido realizadas em 1875, 1876 e 1877, em pequenos pavilhões na mesma Praça Koblenz. A edição de 1884 contou com a presença dom Pedro II, do corpo diplomático e de ministros do Império. O discurso oficial foi proferido pelo Conde d’ Eu e o júri do evento, na seção hortícola, era formado por Glaziou, Ramiz Galvão (1846 – 1938), na ocasião preceptor dos filhos da princesa Isabel; e do bibliotecário José de Saldanha da Gama. Na seção zootécnica, os jurados foram Ferreira Penna e E. P. Wilson (Jornal do Commercio, 21 de abril de 1884, primeira coluna; Gazeta de Notícias, 22 de abril de 1884, quarta coluna; Gazeta de Notícias, 27 de abril, terceira coluna). Em 12 de abril de 1885 e em 20 de março de 1886, o Palácio de Cristal sediou as edições seguintes do evento. Em maio de 1886, também no palácio, foi realizada a Primeira Exposição Industrial de Petrópolis, organizada pela Câmara Municipal por iniciativa do vereador Henrique Kopke Junior (18? – ?).
+ 
+No chuvoso domingo de Páscoa de 1888, o Palácio de Cristal foi todo enfeitado e em seu exterior via-se uma grande cruz também de ramagens e flores com o dístico “Viva a liberdade”. Na ocasião, a princesa Isabel e o conde d´Eu junto a seus filhos, os príncipes Pedro de Alcântara (1875 – 1940) e dom Luis Maria (1878 – 1920), entregaram 127 cartas de alforria a escravizados da cidade Imperial (Jornal do Commercio, 2 de abril de 1888, primeira coluna; Diário de Notícias, 2 e 3 de abril de 1888, sétima coluna). A maioria dos senhores desses escravizados foram indenizados a partir de uma grande campanha desenvolvida na cidade pela comissão agenciadora das libertações. Compareceram à cerimônia representantes do gabinete ministerial de João Alfredo, os abolicionistas André Rebouças (1838 – 1898) e José do Patrocínio (1853 – 1905), além dos embaixadores da Argentina, da Bélgica, do Chile, da Espanha, dos Estados Unidos e da Itália, e diplomatas das legações de outros países, dentre outros.
+ 
+Jornal do Commercio, 2 de abril de 1888
+ 
+Com a proclamação da República, em 1889, o palácio entrou em decadência e, em 1894 foi doado à Prefeitura de Petrópolis. Foi arrematado em leilçao público por Manorel Buaque de Macedo que o cedeu à Associação Artística e Literária Fluminense. Em 1938, o Palácio de Cristal foi coberto por tijolos e folhas-de-flandres, passando a sediar o Museu Histórico de Petrópolis (MHP), por iniciativa do jornalista e historiador Alcindo de Azevedo Sodré (1895 – 1952). Em 1943, quando Petrópolis comemorava 100 anos de sua fundação, o MHP foi transferido para o Museu Imperial de Petrópolis, inaugurado na antiga residência de veraneio de dom Pedro II (1825 – 1891), do qual Sodré foi o primeiro diretor.
+ 
+Palácio de Cristal quando foi a sede do Museu Histórico de Petrópolis /Site Acontece em Petrópolis
+ 
+Voltou a pertencer à prefeitura e, em 1957,  durante as comemorações do centenário da elevação de Petrópolis à condição de cidade, foi realizada, no Palácio de Cristal, a Exposição Industrial e Histórica de Petrópolis (Anuário do Museu Imperial, 1957). Em 21 de junho de 1967, o palácio, integrante do conjunto arquitetônico e paisagístico da antiga Praça da Confluência, foi tombado pelo Instituto do Patrimônio Histórico e Artístico Nacional. Na década de 1970, uma série de restaurações, inclusive em seus jardin, foram iniciadas. No ano de seu centenário, 1984, foi lançado um selo comemorativo em homenagem à data (Jornal do Brasil, 10 de janeiro de 1984, quarta coluna) e ele foi reinaugurado em 2 de fevereiro, coberto por paredes de vidro similares às suas originais, que eram de cristais bisotados importados da Bélgica, com uma mostra de medalhas, uma exposição de esculturas de Maria Martins (1894 – 1973) e um recital de música antiga do Praetorius Emsemble (Jornal do Brasil, 2 de fevereiro de 1984, segunda coluna).
+
+O poeta Carlos Drummond de Andrade dedicou ao Palácio uma crônica, A vária sorte do Palácio de Cristal, no Jornal do Brasil 2 de fevereiro de 1984.
+
+ 
+Jornal do Brasil, 2 de fevereiro de 1984
+ 
+Nela se refere à história do edifício e também a uma fotografia do trio das inseparáveis amigas – a princesa Isabel e as baronesas de Muritiba (1851 – 1932) e de Loreto (1849 – 1931) -, retratadas dentro do Palácio de Cristal, em 1884, e publicada no Anuário do Museu Imperial de 1958.
+ 
+A Princesa Isabel, entre a Baronesa de Muritiba (D. Maria José Velho de Avelar Vieira Tosta) e Baronesa de Loreto (D. Amanda de Paranaguá Dória), no recinto da Exposição Hortícola e Agrícola, no Palácio de Cristal, em 1884 / Anuário do Museu Imperial, 1958.
+ 
+O Palácio de Cristal, fotografia do ateliê de Georges Leuzinger/ Anuário do Museu Imperial, 1948
+ 
+Andrea C. T. Wanderley
+
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+
+Fontes:
+Anuário do Museu Imperial
+Archivos Pittorescos: semanário illustrado
+Diário de Petrópolis, 6 de outubro de 2020
+Hemeroteca Digital da Biblioteca Nacional
+Portal Iphan
+Revista do Instituto Histórico e Geográfico Brasileiro
+SILVA, Lucas Ventura da. Patrimônio documental sobre escravidão: o elemento servil na Petrópolis do oitocentos. Revista Eletrônica Discente do Curso de História – UFAM, volume 4, número 1, ano 4, 2020
+Site Biblioteca do IBGE
+Site Cultura Viva
+Site e-monument.net
+Site Enciclopedia Britannica
+Site G1
+Site ipatrimonio.org
+Site Visite Petrópolis
+SODRÉ, Alcindo. Palácio de Cristal. Centenário de Petrópolis, vol. 2, p.103.
+ 
+Publicações da Brasiliana Fotográfica em torno da obra do fotógrafo Marc Ferrez 
+ 
+Marc Ferrez aos 33 anos, c. 1876. Rio de Janeiro, RJ / Acervo IMS
+O Rio de Janeiro de Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 30 de junho de 2015
+Obras para o abastecimento no Rio de Janeiro por Marc Ferrez , de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 25 de janeiro de 2016
+O brilhante cronista visual Marc Ferrez (7/12/1843 – 12/01/1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 7 de dezembro de 2016
+Do natural ao construído: O Rio de Janeiro na fotografia de Marc Ferrez, de autoria de Sérgio Burgi, um dos curadores da Brasiliana Fotográfica, publicada em 19 de dezembro de 2016
+No primeiro dia da primavera, as cores de Marc Ferrez (1843 – 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 22 de setembro de 2017
+Marc Ferrez , a Comissão Geológica do Império (1875 – 1878) e a Exposição Antropológica Brasileira no Museu Nacional (1882), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica,  publicada em 29 de junho de 2018
+Série “O Rio de Janeiro desaparecido” V – O quiosque Chopp Berrante no Passeio Público, Ferrez, Malta e Charles Dunlop, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 20 de julho de 2018
+Uma homenagem aos 175 anos de Marc Ferrez (7 de dezembro de 1843 – 12 de janeiro de 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 7 de dezembro de 2018 
+Pereira Passos e Marc Ferrez: engenharia e fotografia para o desenvolvimento das ferrovias, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 5 de abril de 2019
+Fotografia e ciência: eclipse solar, Marc Ferrez e Albert Einstein, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 24 de junho de 2019
+Os 180 anos da invenção do daguerreótipo – Os álbuns da Comissão Geológica do Império com fotografias de Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 19 de agosto de 2019
+Celebrando o fotógrafo Marc Ferrez (1843 – 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 4 de dezembro de 2019
+Uma homenagem da Casa Granado ao imperial sob as lentes de Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 7 de fevereiro de 2020
+Ressaca no Rio de Janeiro invade o porão da casa do fotógrafo Marc Ferrez, em 1913, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado 6 de março de 2020
+Petrópolis, a Cidade Imperial, pelos fotógrafos Marc Ferrez e Revert Henrique Klumb, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 16 de março de 2020
+Bambus, por Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 5 de junho de 2020
+O Baile da Ilha Fiscal: registro raro realizado por Marc Ferrez e retrato de Aurélio de Figueiredo diante de sua obra, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 9 de novembro de 2020
+A Estrada de Ferro do Paraná, de Paranaguá a Curitiba, pelos fotógrafos Arthur Wischral (1894 – 1982) e Marc Ferrez (1843 – 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 22 de março de 2021
+Dia dos Pais – Julio e Luciano, os filhos do fotógrafo Marc Ferrez, e outras famílias, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 6 de agosto de 2021
+No Dia da Árvore, mangueiras fotografadas por Ferrez e Leuzinger, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 21 de setembro de 2021
+Retratos de Pauline Caroline Lefebvre, sogra do fotógrafo Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 28 de abril de 2022
+A Serra dos Órgãos: uma foto aérea e imagens realizadas pelos mestres Ferrez, Leuzinger e Klumb, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 30 de junho de 2022
+O centenário da morte do fotógrafo Marc Ferrez (1843 – 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 12 de janeiro de 2023
+O Observatório Nacional pelas lentes de Marc Ferrez, amigo de vários cientistas, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 29 de maio de 2023
+No Dia Mundial do Meio Ambiente, a potente imagem da Cachoeira de Paulo Afonso, por Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 5 de junho de 2023
+A Fonte Adriano Ramos Pinto por Guilherme Santos e Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 18 de julho de 2023
+Os 180 anos de nascimento do fotógrafo Marc Ferrez (1843 – 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 7 de dezembro de 2023
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/7702` — `itens/20.500.12156.1_7702/`
+- `20.500.12156.1/1792` — `itens/20.500.12156.1_1792/`
+- `20.500.12156.1/2575` — `itens/20.500.12156.1_2575/`
+
diff --git a/wordpress/21470-e-o-grande-escritor-machado-de-assis-elogia-o-imperador-pedro-ii.md b/wordpress/21470-e-o-grande-escritor-machado-de-assis-elogia-o-imperador-pedro-ii.md
new file mode 100644
index 0000000..68b6421
--- /dev/null
+++ b/wordpress/21470-e-o-grande-escritor-machado-de-assis-elogia-o-imperador-pedro-ii.md
@@ -0,0 +1,77 @@
+---
+id: 21470
+url: "https://brasilianafotografica.bn.gov.br/?p=21470"
+titulo: "E o grande escritor Machado de Assis elogia o imperador Pedro II"
+autor: "Andrea Wanderley"
+data: "2025-03-05T11:58:36+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/3923", "20.500.12156.1/508", "20.500.12156.1/7182"]
+fetched_at: "2026-09-10T10:06:14.294Z"
+---
+
+# E o grande escritor Machado de Assis elogia o imperador Pedro II
+
+Neste ano de 2025, quando comemora-se em 2 de dezembro os 200 anos de nascimento de dom Pedro II (1825 – 1891) que, dentre outros interesses, era um grande entusiasta da fotografia, tendo atuado decisivamente para seu desenvolvimento no Brasil, destacamos uma crônica de 1867, em que o escritor Machado de Assis (1839-1908), então com 27 anos, elogiou o imperador, declarando sua admiração pelo monarca.
+Neste artigo, a Brasiliana Fotográfica destaca duas imagens, uma do rei e outra do literato, produzidas pelo fotógrafo e pintor português Joaquim Insley Pacheco (1830-1912), um dos mais prestigiados e famosos retratistas do Brasil no século XIX. No fim dos anos 1840, já estava em Fortaleza, onde teve contato com a fotografia com o daguerreotipista e mágico irlandês Frederick Walter (1811 – 18?), que tornou-se seu mestre. Em 1855, já estava estabelecido no Rio de Janeiro e nesse mesmo ano fotografou o imperador Pedro II, a imperatriz Teresa Cristina e a filha do casal, princesa Leopoldina, na Quinta da Boa Vista. Foi noticiado que havia sido agraciado com o título de “Fotógrafo da Casa Imperial”, em 1857 (Diário do Rio de Janeiro, 9 de janeiro de 1856; Diário do Rio de Janeiro, 19 de dezembro de 1857).
+ 
+
+ 
+Voltando a Machado de Assis. Declarou em sua crônica a respeito de dom Pedro II:
+“… gosto do imperador. Tem as duas qualidades essenciais ao chefe de uma nação: é esclarecido e honesto. Ama o seu país e acha que ele merece todos os sacrifícios”.
+ 
+Joaquim Insley Pacheco. Pedro II, Imperador do Brasil : retrato, 1883 / Acervo FBN
+ 
+A crônica foi publicada no dia 5 de março de 1897, no Diário do Rio de Janeiro, na coluna “Folhetim”, e Machado a assinou com o pseudônimo Job – criado, em 1865, para a assinatura de contos destinados ao Jornal das Famílias. Em forma de correspondência, era endereçada à Opinião Pública.
+ 
+Joaquim Insley Pacheco. Retrato de Machado de Assis, c. 1880. Rio de Janeiro, RJ / Acervo IMS
+ 
+Foi a primeira de duas crônicas intituladas Cartas Fluminenses.
+ 
+Diário do Rio de Janeiro, 5 de março de 1867
+ 
+Abaixo, a transcrição:
+CARTAS FLUMINENSES
+ À OPINIÃO PÚBLICA
+5 DE MARÇO DE 1867.
+Dizem alguns que V. Excia. não existe; outros afirmam o contrário. Mas estes são em maior número, e a força do número, que é a suprema razão moderna, resolve as dúvidas que eu porventura possa ter. Creio que V. Excia. existe, em que pese aos mofinos caluniadores de V. Excia. Se não existisse, como se falaria tanto em seu nome, na tribuna, na imprensa, nos meetings, na praça do comércio, na rua do Ouvidor? Das criações fabulosas não se fala com tanta insistência e generalidade, salvo se houvesse uma conspiração para asseverar aquilo que não é, e isto repugna-me acreditar. Também por muito tempo se duvidou da existência de Mr. Hume, aquele célebre mágico que transformava os ovos em carvão, mas, se bem me lembro, apareceu um dia o dito mágico, e daí em diante ninguém mais duvidou dele. O mesmo há de acontecer com o judeu errante, de quem falam todos, e que eu creio que existe, sem ser a cholera-morbos, e que há de aparecer mais dia menos dia, tenho essa esperança. É a maioria da gente que tem razão, e quando falo em maioria suponho ter produzido um desses argumentos invulneráveis, até mesmo no calcanhar, apesar de quanto possa ter dito o visconde de Albuquerque. Assentado isto, receba V. Excia. esta carta que é a primeira da série com que eu pretendo estrear na imprensa. É costume entre a gente trocar os bilhetes de visita a primeira vez que se encontra. Na Europa, ao menos, é tão necessário trazer um maço de bilhetes, como trazer um lenço. V. Excia. terá desejo de saber quem sou. Di-lo-ei em poucas palavras.
+Se a velhice quer dizer cabelos brancos, se a mocidade quer dizer ilusões fracas, não sou moço nem velho. Realizo literalmente a expressão francesa: Un homme entre deux âges. Estou tão longe da infância como da decrepitude; não anseio pelo futuro, mas também não choro pelo passado. Nisto sou exceção dos outros homens que, de ordinário, diz um romancista, passam a primeira metade da vida a desejar a segunda, e a segunda a ter saudades da primeira. Não sou alto nem baixo; estou entre Thiers e Dumas, entre o finado marquês de Abrantes e o visconde de Camaragibe. Cito os dois para dar cor local à compa- ração, e ficar logo às boas com a crítica literária. Além disso, há um ponto de contato entre o orador francês e o orador brasileiro; ambos obtiveram um apelido quase idêntico pela semelhança da eloqüência parlamentar. Onde não há nenhum ponto de contato é entre os outros dois: nem o Sr. Camaragibe faz romances, nem Alexandre Dumas faz política, e creio que ambos se dão bem com esta abstenção. Não sou votante nem eleitor, o que me priva da visita de algumas pessoas de consideração em certos dias, gozando, aliás, da estima deles no resto do ano, o que me é sobremaneira agradável. Ao mesmo tempo poupo-me às lutas da igreja e às corrupções da sacristia.
+Não privo com as musas, mas gosto delas. Leio por instruir-me; às vezes por consolar-me. Creio nos livros e adoro-os. Ao domingo leio as Santas Escrituras; os outros dias são divididos por meia dúzia de poetas e prosadores da minha predileção; consagro a sexta-feira à Constituição do Brasil e o sábado aos manuscritos que me dão para ler. Quer tudo isto dizer que à sexta-feira admiro os nossos maiores, e ao sábado durmo a sono solto. No tempo das câmaras leio com freqüência o padre Vieira e o padre Bernardes, dois grandes mestres. Quanto às minhas opiniões públicas, tenho duas, uma impossível, outra realizada. A impossível é a republica de Platão. A realizada é o sistema representativo. É sobretudo como brasileiro que me agrada esta última opinião, e eu peço aos deuses (também creio nos deuses) que afastem do Brasil o sistema republicano, porque esse dia seria o do nascimento da mais insolente aristocracia que o sol jamais iluminou.. Não freqüento o paço, mas gosto do imperador. Tem as duas qualidades essenciais ao chefe de uma nação: é esclarecido e honesto. Ama o seu país e acha que ele merece todos os sacrifícios. Aqui estão os principais traços da minha pessoa. Não direi a V. Excia. se tomo sorvetes nem se fumo charutos de Havana; são ridiculezas que não devem entrar no espírito da opinião pública.
+Agora que me conhece, perguntará V. Excia. por que motivo esta primeira carta é dirigida à sua pessoa, e que lhe quero dizer com esta dedicatória. Nada mais simples. Entrando numa sala, cumprimenta-se logo a dona de casa; entrando na imprensa, dirijo-me a V. Excia. que é a dona dela, segundo dizem as gazetas, e eu creio no que as gazetas dizem. Consinta V. Excia. que eu não lhe faça corte. De todas as pessoas deste mundo é V. Excia. a mais cortejada desde que um italiano escreveu estas celebres palavras: — de l’opinione, regina del mondo, talvez para contrabalançar o título que as ladainhas da Igreja dão à Virgem Maria, regina angelorum. Não será V. Excia. igual à Virgem Maria, mas creio poder compará-la a Santa Bárbara, e realmente é uma Santa Bárbara, que a maior parte da gente invoca na hora do temporal e esquece na hora da bonança. Eu serei o mesmo em todas as fases do tempo, e se vier a cortejá-la algum dia, será em silêncio, silentium loquens, como dizia S. Jerônimo, outro advogado contra as borrascas. Terá V. Excia. a indiscrição de pedir-me um programa? Acho que este uso parlamentar não pode ter aceitação nos domínios da musa epistolar, que é toda incerta, caprichosa, fugitiva. Demais, sei eu acaso o que há de acontecer amanhã? Posso criar uma norma aos acontecimentos? Deixe que os dias passem, e o sucessor com ele, os sucessos imprevistos, as coisas inesperadas, e a respeito de todos direi francamente a minha opinião.
+Ou, se quiser absolutamente um programa, dir-lhe-ei que prometo escrever com pena e tinta todas as minhas cartas, imitando deste modo o programa daquele ministério que consistia em executar as leis e economizar os dinheiros públicos. Profunda política que toda a gente compreendeu de um lance. Perdoe-me V. Excia., creio que V. Excia. apoiou esse ministério; ao menos assim dizem os amigos dele; e creio que também lhe fez oposição; ao menos, diziam-no os parlamentares oposicionistas. Coisas de V. Excia. É nisto que ninguém pode vencê-la. O dom de ubiqüidade é V. Excia. quem o tem de uma maneira prodigiosa. Agora, por exemplo, não anda V. Excia. de um lado trajando sedas e agitando guizos, alegre e descuidada, pulando uma valsa de Strauss, dando a mão à tísica dos pulmões e à tísica das algibeiras, e de outro lado envergando uma casaca preta, e distribuindo pelos candidatos políticos a palma eleitoral? Ajuizada e louca, grave e risonha, entre uma urna e um cálice de champanhe, na esquerda o tirso da bacante, na direita o estilo do escritor, olhar de Cícero, calva de Anacreonte, eis aí V. Excia., a quem todos adoram, os velhos e os mancebos, os boêmios e os candidatos.
+A verdade é que V. Excia. tem às vezes caprichos singulares; gosta da cor vermelha, e a pretexto de eleição, inspira não sei que maus ímpetos ao leão popular, que a tudo investe e tudo desfaz. Nessas ocasiões V. Excia. não tem cetro, como rainha que é, tem um cacete, que é um teorema infalível. Mas nem assim perde o caráter de opinião: é esse o parecer dos seus escolhidos. Enfim, são ímpetos. O pior é quando, em vez de ímpetos, apenas se emprega o meio da corrupção das urnas, da sedução do votante, da intervenção do fósforo, — pasmoso invento que eu coloco entre a obra de Fulton e a obra de Gusmão, vulgo Montgolfier. Isso é que é pior. Francamente, eu creio que V. Excia. desconhece todos esses meios, e os condena, e se acaso os sofre é por honra da firma. Em todo caso, por que não protesta V. Excia.? É deste silêncio que algumas pessoas tiram a conclusão de que V. Excia. não existe. É amanhã que V. Excia. tem de escolher definitivamente os deputados; começam duas quaresmas, uma religiosa, outra política. Amanhã os católicos e os candidatos vão receber a cinza, e todos recebem a cinza, — ainda os que não forem eleitos, — uns na testa, outros nos olhos. Alegrias e decepções, dores e flores, todas as exaltações, todos os abatimentos, todos os contrastes. Eu creio que há em todo o império uma soma de políticos capaz de formar cinco ou seis câmaras. É que não há outra classe mais numerosa no Brasil. Divide-se essa classe em diversas secções: políticos por vocação, políticos por interesse, políticos por desfastio, políticos por não terem nada que fazer. Imagino daqui o imenso trabalho que há de ter V. Excia. em escolher os bons e úteis dentre tantos. E esse é o meu desejo, essa é a necessidade do país. Mande-nos V. Excia. uma câmara inteligente, generosa, honesta, sinceramente dedicada aos interesses públicos, uma câmara que ponha de parte as subtilezas e os sofismas, e entre de frente nas magnas questões do dia, que são as grandes necessidades do futuro, de que depende a grandeza, ia quase dizer a existência do corpo social.
+Mas eu que falo assim obscuro e rude, quem sou eu para dar conselhos à opinião, regina del mondo? Perdoe-me V. Excia. É natural nos homens, e eu sou homem, homo sum. Ao menos veja nisto a minha boa vontade e o grande amor que lhe tenho. Creio que esta carta vai longa; tenho-lhe roubado demasiado tempo. Vou pôr aqui o ponto final, e recolher-me ao silêncio, a fim de pensar nos diversos assuntos com que me hei de ocupar, se Deus me der vida e saúde. Devia ir vê-la hoje divertindo-se e pulando, mas não posso. Consagro o dia de hoje a S. Francisco de Salles, apropriado à estação de penitência que começa amanhã. Preparo assim o meu espírito à meditação. Além de que, o bom do Santo é um dos melhores amigos que a gente pode ter: não fala mal nem dá conselhos inúteis. Se V. Excia. cuida que é um homem de carne e osso, engana-se; é um maço de folhas de papel metidos numa capa de couro; mas dentro do couro e do papel fulge e palpita uma bela alma.
+JOB
+A segunda crônica foi publicada no mesmo jornal e na mesma coluna, uma semana depois, em 12 de março. Também em forma de correspondência, era endereçada a Hetaira, termo grego para as prostitutas requintadas da Grécia Antiga. Foi sua última crônica publicada no Diário do Rio de Janeiro.
+___________________________________________________________________________________________
+Na década anterior, em 6 de novembro de 1859, na primeira página da revista semanal O Espelho, cujos textos de capa eram usualmente de autoria de Machado, foi publicada uma biografia não assinada de dom Pedro II. A descoberta deste texto e a possibilidade de sua autoria ser de Machado foi abordada pela pesquisadora Cristiane Garcia Teixeira (1985-), da Universidade Federal de Santa Catarina (UFSC), em sua tese de mestrado, de 2016, intitulada Um projeto de revista n’O Espelho: literatura, modas, indústria e artes (1859-1860).
+ 
+O Espelho, 6 de novembro de 1859
+ 
+Segundo Cristiane, “Machado de Assis tinha vinte anos de idade quando começou a escrever nesta revista. Ele foi o colaborador mais assíduo, escreveu 38 textos em apenas quatro meses“. O Espelho circulou entre setembro de 1859 e janeiro de 1860, totalizando 19 números.
+Sobre a possibilidade de Machado ser o autor do texto sobre o imperador, a pesquisadora escreveu em sua tese:
+… O argumento se sustenta da seguinte maneira; na edição número seis, publicada no dia nove de outubro, na rubrica Notícias á mão – sem menção de autor – uma nota informou: “Brevemente encetaremos a publicação de uma–Galeria Dramática – biografias e um retrato correspondente. O fotógrafo é o Sr. Gaspar Guimarães, e o biógrafo é o Sr. Machado de Assis”. Em nenhum dos números posteriores (sete, oito e nove), foram publicadas biografias ou apareceu alguma menção ao retrato. Apenas no número dez apareceu este esboço biográfico de D. Pedro II. O texto, por sua vez, ocupou um espaço geográfico na revista que foi comum a publicação de textos de Machado de Assis ou Francisco Eleutério de Sousa; a primeira página e o primeiro artigo. Era o “abre alas” da revista…Portanto, este texto biográfico, pode vir a ser um texto ainda desconhecido do literato tão aclamado pela crítica brasileira. Ademais, o biógrafo absteve-se de falar em política, no esboço biográfico, justificando que “As conveniências impõem-se esta falta, ou antes o cálculo impõe-nos esse silêncio”.
+ 
+Abaixo, um trecho do esboço biográfico de Pedro II publicado em O Espelho:
+“Duas nobres qualidades têm o imperador, que sempre acompanharão a sua memória: a da fé evangélica e a do amor pelo seu país, que o faz nivelar-se com o mais humilde de seus cidadãos. Além destas qualidades de um coração bem formado e educado nos são principio da moral e da religião, o monarca brasileiro presa-se de ser o cultor e amante protetor das letras pátrias. Em diversas associações entre nós fundadas todos o vêem representado no seu nome, nos donativos que faz a bem de sua prosperidade, e mesmo quando pode dispor de algumas horas de sua afadigada vida, ainda todos o veem animar com a sua presença as reuniões literárias dos nossos jovens estudiosos. É que o imperador reconhece, e mui bem, que sobre a ilustração assenta-se a moralidade de um povo, o seu adiantamento, a sua civilização; e sendo a mocidade o esteio do futuro, cumpre prepará-la de modo que as esperanças hoje sonhadas possam ser uma realidade nos dias que hão de vir”.
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora da Brasiliana Fotográfica
+ 
+Fontes:
+ 
+Folha de São Paulo, 17 de setembro de 2020
+Hemeroteca Digital da Biblioteca Nacional
+MOREIRA, Éric. Machado de Assis escreveu texto sobre D. Pedro II?. Aventuras na História, 23 de fevereiro de 2025
+O GLOBO, 17 de setembro de 2020
+Site Sábado
+Site UFSC
+WANDERLEY, Andrea. O retratista português Joaquim Insley Pacheco (1830 – 14 de outubro de 1912), in Brasiliana Fotográfica, 14 de outubro de 2016.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/3923` — `itens/20.500.12156.1_3923/`
+- `20.500.12156.1/508` — `itens/20.500.12156.1_508/`
+- `20.500.12156.1/7182` — `itens/20.500.12156.1_7182/`
+
diff --git a/wordpress/21588-serie-feministas-gracas-a-deus-iv-uma-sufragista-na-metropole-maria-prestia-1988.md b/wordpress/21588-serie-feministas-gracas-a-deus-iv-uma-sufragista-na-metropole-maria-prestia-1988.md
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+---
+id: 21588
+url: "https://brasilianafotografica.bn.gov.br/?p=21588"
+titulo: "Série “Feministas, graças a Deus!” IV – Uma sufragista na metrópole: Maria Prestia (? – 1988)"
+autor: "Andrea Wanderley"
+data: "2020-10-29T10:29:31+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/6570"]
+fetched_at: "2026-09-10T10:06:17.825Z"
+---
+
+# Série “Feministas, graças a Deus!” IV – Uma sufragista na metrópole: Maria Prestia (? – 1988)
+
+Série “Feministas, graças a Deus!” IV – Uma sufragista na metrópole: Maria Prestia (? – 1988)
+ 
+No quarto artigo da Série “Feministas, graças a Deus!”, Claudia Beatriz Heynemann, doutora em História e pesquisadora do Arquivo Nacional, uma das instituições parceiras da Brasiliana Fotográfica, escreveu sobre a feminista Maria Prestia (? – 1988) e sobre o próprio movimento feminista no Brasil. Além disso, abordou a questão da circulação dos retratos, “um aspecto frequentemente negligenciado na reflexão teórica sobre a fotografia, em detrimento das análises sobre o modo de representação tecnológico que a fotografia introduziu e, portanto, sobre o lugar do referente na fotografia, esse vínculo de indexação que ela mantém com o objeto“.
+ 
+Correio Paulistano, 1º de julho de 1951
+ 
+
+Uma sufragista na metrópole: Maria Prestia
+Claudia Beatriz Heynemann*
+ 
+Photo Skarke. Maria Prestia, 1931. São Paulo, SP / Acervo Arquivo Nacional
+ 
+No início do século XX o endereço da Santa Ifigênia em São Paulo era conhecido por seu comércio sofisticado, no qual predominavam lojas de chapéus, peles e tecidos, frequentado pelas famílias do bairro Campos Elísios. Nessa área central, onde inicialmente se instalaram os cafeicultores enriquecidos, funcionava o ateliê Photo Skarke, de propriedade de Hugo Skarke (1898 – 197?) [1] cujo fundador, Fernando Skarke (1858 – 1935), foi, possivelmente, o único na província de São Paulo a ser distinguido com o título de fotógrafo da Casa Imperial em 1886, funcionando em Piracicaba [2] e posteriormente em Santos.
+Esses fundos e cenários, com opções de mobiliário e outros acessórios, tão comuns no século XIX, continuaram em voga no início do XX. Por trás do busto recortado em oval de Maria Prestia,  [3]  distingue-se uma paisagem que envolve a sua face compenetrada. No retrato de Maria Prestia, o Photo Skarke empregou o recurso da colorização, criada por André Adolphe Eugène Disdéri, também responsável pela invenção das carte de visite, por volta de 1863 e que pode ser encontrado no Brasil pouco tempo depois. Bastante disseminada no país, apesar das críticas recebidas, a fotopintura “fornecia um ar aristocrático à fotografia, aproximando-a dos quadros pintados a óleo”  [4]  O gênero iria se perpetuar por muitas décadas da primeira metade do século XX em retratos de família, chegando ao gosto popular. Contudo, nesse momento da virada da década dos anos 1920, a técnica parece indicar uma escolha refinada, aplicada para realçar as joias e o batom, em uma fotografia que apresentava sua titular ao meio profissional e político em que circulava.
+O retrato de Maria Prestia, possivelmente enviado para sua amiga Bertha Lutz pelo correio, produz sua presença no evento em que faltaria, mas não interrompe ali a sua trajetória. Uma legenda em inglês a identifica como líder de um minoritário grupo de feministas de S. Paulo, e aponta para o caráter internacional do movimento sufragista. Atesta da mesma forma a sua passagem a documento público com todos os deslocamentos que o arquivo promove, em uma primeira inflexão, considerando-se que integra o fundo Federação para o Progresso Feminino sob a custódia do Arquivo Nacional. De natureza privada, esse conjunto dialoga com o universo documental da Instituição, predominantemente público, interpelando as esferas de ação política e comportamento daquelas primeiras décadas do século XX.
+A circulação do retrato, evidenciada nesse exemplar, é um aspecto frequentemente negligenciado na reflexão teórica sobre a fotografia, em detrimento das análises sobre o modo de representação tecnológico que a fotografia introduziu, e, portanto, sobre o lugar do referente na fotografia, esse vínculo de indexação que ela mantém com o objeto. No entanto, não se deve esquecer outra característica, a separação entre imagem fotográfica e referente, na perspectiva da circulação, quando as fotografias ganham uma mobilidade que seu referente nunca possuiu e circulam em espaço e tempo separados, como sintetiza Tom Gunning. [5] Assim é que a fotografia é um índice da modernidade, compartilhando com a moeda e o capitalismo a possibilidade de transformar objetos em simulacros transportáveis, um equivalente universal. A partir das carte de visite sobretudo, as imagens fotográficas, em formatos cada vez mais intercambiáveis e passíveis de serem colecionados, transitam do estúdio às vitrines, aos álbuns, às famílias, aos arquivos e às redações dos jornais.
+O retrato que acompanha a correspondência vinha emoldurado em generoso passe-partout onde caberia a dedicatória “À distinta amiga Bertha Lutz, o meu apoio à grande causa. S. Paulo, 19/6/1931”. A data coincide com a da abertura do II Congresso Internacional Feminista no Rio de Janeiro, que contou com a presença do presidente Getulio Vargas no salão do Automóvel Club do Brasil e ao qual Prestia deveria comparecer. O Diário de Notícias, [6] assim como outros jornais, deu espaço ao encontro que durou mais de dez dias e incluiu uma série de passeios e visitas a pontos turísticos da capital, teatros e instituições tradicionais como o Instituto Histórico Geográfico Brasileiro. Ela era representante da filial da Federação em S. Paulo, inserção recente como se pode acompanhar pela correspondência oficial da FBPF que cita o cartão enviado por Maria Prestia, no qual havia se pronunciado “em prol dos nossos ideais, nos meios femininos dessa capital”, formulando votos pelo sucesso da causa. Na mesma carta ela é convidada a participar do “Congresso Feminista” [7], embora não fosse ainda filiada aos quadros da Federação conforme correspondência posterior ao congresso, de 27 de agosto de 1931, quando é ressaltada a sua “simpatia” pela causa feminista [8]
+A “causa feminista” a que se referem nesses documentos foi, como é característico nos movimentos identitários, um território de disputas atravessado por uma série de outras condições, a principal delas a das classes sociais, dos movimentos de trabalhadores, das tendências políticas. Apesar disso a atuação da FBPF e de Bertha Lutz domina a narrativa consolidada sobre os movimentos das mulheres brasileiras, encobrindo um cenário bastante mais fragmentado, como alerta Mª Margareth Lopes:
+“Em suas múltiplas faces, a diversidade dos feminismos brasileiros incluía mulheres que partilhavam concepções conflitantes de feminismos, de conotações ideológicas e prioridades variadas, diferentes credos religiosos ou nenhum; diversas opções políticas, teóricas, regionais, partidárias. Tais mulheres repensaram as relações de gênero no país, inseridas em maior ou menor grau em um contexto internacional de movimentos feministas, sufragistas, modernistas, cientificistas, pacifistas, anarquistas, comunistas, de reivindicações e lutas por diretos das mulheres”. [9]
+Não são essas as diferenças assinaladas na correspondência de Maria para Bertha, acerca do Congresso Feminista no Rio de Janeiro. Em carta de 3 de junho ela se desculpa pelo silêncio e conta ter estado muito doente, mas, uma vez recuperada, iria “colaborar para que S. Paulo possa apresentar uma prova real do trabalho operoso de suas mulheres”. Menciona em seguida ter consigo “uma amiga de ideal, a escritora Lila Escobar de Camargo”, uma possível militante. Trata-se aqui de uma referência significativa; autora de Caracteres femininos, de 1920, Camargo era ligada ainda à escritora Albertina Bertha, membro de organizações como a Associação da Mulher Brasileira, uma leitora de Nietzsche, conhecida por seus livros centrados em personagens femininos. Da mesma forma que Albertina, de quem Tristão de Athayde diria tender “a um delírio da individualidade”, Lila Escobar retratava, para o crítico, o “artifício requintado das cidades no interior das quais ganharia cada vez mais espaço a afirmação das individualidades femininas”. [10]
+Qualquer que fosse a avaliação de Athayde, podemos entrever por essa descrição da escritora Lila Escobar, algo da identidade feminina de Prestia, suas afinidades, bem como de sua sociabilidade em um ambiente literário, intelectual, indo além dos círculos da assistência social nos quais iria se sobressair. Seu espaço na grande imprensa paulista foi conquistado como presidente da Federação Internacional Feminina, com representação na Praça da Sé, entidade que tinha como objetivo central a “assistência à mulher e à criança”. Prestia recebeu atenção nos jornais, no ano seguinte ao congresso feminista, durante a Revolução constitucionalista de 1932, quando não teria relegado o “soldado que na trincheira luta e morre por São Paulo”. A diretoria da Federação criou o Curso de Enfermagem, a Casa do Trabalho, a Casa da Criança e os “bilhetes para eles”. [11]. Logo no ano seguinte, finda a Revolução, é a Casa da Criança que recebe a atenção do Correio de São Paulo, que ouviu a presidente e a secretaria da Federação sobre o que consideraram “o testemunho inegável do espírito filantrópico da sociedade paulista”. Em suas declarações Maria Prestia assegurou que no amparo à infância, a federação, voltada à família paulista, as educaria “de acordo com os preceitos da pedagogia moderna, tendo paralelamente ao ensino a higiene que não faltará a esta casa. Além do ensino primário ministraremos o ensino religioso, o amor pelo trabalho, fazendo-as aprender desde o trabalho agrícola até o Industrial e tudo, afinal, que as torna capazes de engrandecer com o seu concurso a nossa amada pátria.” [12]
+Esses enunciados jogam luz sobre o perfil político do movimento encabeçado pela FBPF, eminentemente sufragista, mas não só, que em análises mais tradicionais representaria, assim, uma primeira onda do feminismo no Brasil. A Federação operaria apartada das lutas sindicais, lutando exclusivamente pelo direito ao voto e pelos direitos civis,  não atendia a muitas trabalhadoras e intelectuais que não se reconheciam em Bertha e suas seguidoras. Não encontrava acolhida por exemplo junto às comunistas que iriam fundar a União Feminina do Brasil. O conflito de classes e as diferentes condições de vida das mulheres trabalhadoras não parecia ecoar nas preocupações e estratégias da Federação. Ainda hoje, diz Glaucia Fraccaro, procura-se “compreender como um movimento desse caráter pretendia lutar pelos direitos das mulheres sem alterar os direitos dos homens, atuando por dentro das instituições governamentais”. A explicação encontrada, não satisfatória para essa autora, varia entre tratá-las como um “feminismo difuso”, ou ainda como um “feminismo tático” [13].
+Em 26 de junho, ainda no decorrer do II Congresso Internacional Feminista, Maria Prestia informa a Bertha Lutz que não poderia comparecer, enviando uma representante em seu lugar e recomenda destaque ao relatório que havia produzido. Mesmo que considerando o documento incompleto, ela pondera ter percorrido todas as repartições onde os diretores seriam favoráveis ao feminismo – “a semente que florescerá em breve”, acrescentando que “as moças funcionárias, dizem que são contra o feminismo pois elas pensam erradamente, não tem noção do verdadeiro feminismo”, sem que o defina, refletindo sobre o obstáculo representado por um “certo egoísmo entre as mulheres”. Conclui contando ter recebido “insistentes convites para visitar fábricas e instituições onde há interesses femininos. Por falta de tempo, só visitei algumas e mais tarde atendendo aos inúmeros pedidos irei trabalhando. Farei o que for possível. Aqui em S. Paulo a mulher já venceu naturalmente, ela ocupa lugares importantes, falta-lhes agora saber compreender sua missão de amparar e proteger” [14]
+O ativismo de Prestia movia-se entre o apoio resoluto à “grande causa” e o que aparenta ser um distanciamento em relação aos “interesses femininos” que ela poderia encontrar nas fábricas, uma suposição da “vitória” das mulheres paulistas e de seu poder exercido em S. Paulo, “onde os homens são governados suavemente pelas mulheres”. A despeito dessas crenças, que em si já seriam portadoras de um juízo conservador sobre as mulheres, Prestia faz parte da história das lutas feministas, devendo-se lembrar que a Federação acabaria por endossar reivindicações que incluíam as trabalhadoras como a pauta da equiparação dos salários entre homens e mulheres. De seu retrato, alinhado aos cânones da fotografia de estúdio e de seus padrões femininos, a filha do imigrante italiano ressurge nas páginas da memória de Zelia Gattai, e figura, assim, contestadora e militante no que é também a sua experiência urbana:
+“Berta Lutz, por essa época, conclamava as mulheres à luta pela emancipação feminina. Mamãe e Wanda haviam recebido uma visita de Maria Préstia, filha mais velha de uma família italiana numerosa, habitante antiga do bairro, convidando-as a tomar parte em manifestação feminista. Maria Préstia era exaltada discípula de Berta Lutz, mas parece que não conseguiu nada lá em casa”. [15]
+ 
+[1] Almanak Laemmert : Administrativo, Mercantil e Industrial (RJ) – 1891 a 1940. Ano 1931, vol. II, p. 664.
+Disponível em
+http://memoria.bn.br/docreader/DocReader.aspx?bib=313394&pesq=skarke&pagfis=36563
+[2] KOSSOY, Boris. Dicionário Histórico-Fotográfico Brasileiro: fotógrafos e ofício da fotografia no Brasil (1833-1910). São Paulo: IMS, 2002, p.296
+[3] Retrato de Maria Prestia. Federação Brasileira para o Progresso Feminino. Arquivo Nacional. BR_RJANRIO_Q0_ADM_CPA_VFE_FOT_0024_d0001de0001.
+[4] MAUAD, Ana Maria. Imagem e autoimagem do Segundo Reinado. In: ALENCASTRO, Luiz Felipe de (Org). História da vida privada no Brasil: Império. São Paulo: Companhia das Letras, 1997, p. 194.
+[5] GUNNING, Tom. O retrato do corpo humano: a fotografia, os detetives e os primórdios do cinema. In: CHARNEY, Leo, SCHWARTZ, Vanessa R. (Orgs.). O cinema e a invenção da vida moderna. São Paulo: Cosac & Naify, 2001
+[6] Instala-se hoje o segundo congresso internacional Feminista. Diário de Notícias. 20/6/31. Disponível em http://memoria.bn.br/DocReader/docreader.aspx?bib=093718_01&pasta=ano%20193&pesq=%22Congresso%20Internacional%20Feminista%22&pagfis=5890
+[7] Correspondência entre a FBPF e Maria Prestia. Federação Brasileira para o Progresso Feminino. Arquivo Nacional. Rio de Janeiro, 18 de abril de 1931. OOAdm Cor A931.54, p.138.
+[8] Correspondência entre a FBPF e Maria Prestia. Federação Brasileira para o Progresso Feminino. Arquivo Nacional. Rio de Janeiro, 27 de agosto de 1931. OOAdm Cor A931.54, p.186
+[9] LOPES, Maria Margaret. Proeminência na mídia, reputação em ciências: a construção de uma feminista paradigmática e cientista normal no Museu Nacional do Rio de Janeiro. História, Ciências, Saúde – Manguinhos, Rio de Janeiro, v.15, supl., p.73-95, jun. 2008. Disponível em https://www.scielo.br/pdf/hcsm/v15s0/04.pdf
+[10] TOLENTINO, Thiago Lenine Tito. Do ceticismo aos extremos: cultura intelectual brasileira nos escritos de Tristão de Athayde (1916-1928). Tese (doutorado) – Universidade Federal de Minas Gerais, Faculdade de Filosofia e Ciências Humanas, 2016, p. 221. Disponível em https://repositorio.ufmg.br/handle/1843/BUOS-AQ8PMU
+[11] Na Federação Internacional Feminina foram inscritas as primeiras madrinhas dos órfãos da revolução constitucionalista. Diário Nacional – 17/8/1932. Disponível em http://memoria.bn.br/DocReader/docreader.aspx?bib=213829&pesq=Federa%C3%A7%C3%A3o%20Feminina%20Internacional&pagfis=15759
+[12] Uma agradável visita à Casa da Criança. Correio de São Paulo. 8/6/1933. Disponível em: http://memoria.bn.br/DocReader/DocReader.aspx?bib=720216&Pesq=Federa%c3%a7%c3%a3o%20Feminina%20Internacional&pagfis=1773
+[13] FRACCARO, Glaucia Cristina Candian. Uma história social do feminismo – Diálogos de um campo político brasileiro (1917-1937). Estudos Históricos. Rio de Janeiro, vol. 31, nº 63, p. 7-26, janeiro-abril 2018, p. 10. Disponível em http://bibliotecadigital.fgv.br/ojs/index.php/reh/article/view/71642
+[14] Carta de Maria Prestia a Bertha Lutz. São Paulo, 26 de junho de 1931. Federação Brasileira para o Progresso Feminino. Arquivo Nacional. BR_RJANRIO_Q0_ADM_COR_A931_0086_d0001de0001, p. 4.
+[15] GATTAI, Zelia. Anarquistas, graças a Deus. Ed. Record, 1979, p. 245.
+ 
+*Claudia Beatriz Heynemann é Doutora em História | Pesquisadora do Arquivo Nacional
+ 
+Acesse aqui os outros artigos da Série “Feministas, graças a Deus!“
+
+Série “Feministas, graças a Deus!” I – Elvira Komel, a feminista mineira que passou como um meteoro, publicado em 25 de julho de 2020, de autoria da historiadora Maria Silvia Pereira Lavieri Gomes, do Instituto Moreira Salles, em parceria com Andrea C. T. Wanderley, editora e pesquisadora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” II  – Natércia da Cunha Silveira (1905 – 1993), o jequitibá da floresta, publicado em 20 de agosto de 2020, de autoria de Andrea C.T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” III  – Bertha Lutz e a campanha pelo voto feminino: Rio Grande do Norte, 1928, publicado em 29 de setembro de 2020, de autoria de Maria do Carmo Rainha, doutora em História e pesquisadora do Arquivo Nacional
+Série “Feministas, graças a Deus!” V – Feminista do Amazonas: Maria de Miranda Leão (1887 – 1976), publicado em 26 de novembro de 2020, de autoria de Maria Elizabeth Brêa Monteiro, mestre em História e pesquisadora do Arquivo Nacional
+Série “Feministas, graças a Deus!” VI – Júlia Augusta de Medeiros (1896 – 1972) fotografada por Louis Piereck (1880 – 1931), publicado em 9 de dezembro de 2020, de autoria de Andrea C.T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” VII – Almerinda Farias Gama (1899 – 1999), uma das pioneiras do feminismo no Brasil, publicado em 26 de fevereiro de 2021, de autoria de Andrea C.T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” VIII – A engenheira e urbanista Carmen Portinho (1903 – 2001), publicado em 6 de abril de 2021, de autoria de Andrea C. T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” IX – Mariana Coelho (1857 – 1954), a “Beauvoir tupiniquim”, publicado em 15 de junho de 2021, de autoria de Andrea C. T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” X – Maria Luiza Dória Bittencourt (1910 – 2001), a eloquente primeira deputada da Bahia, publicado em 25 de março de 2022, de autoria de Andrea C. T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” XI e série “1922 – Hoje, há 100 anos” VI – A fundação da Federação Brasileira pelo Progresso Feminino, publicado em 9 de agosto de 2022, de autoria de Andrea C. T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” XII e série “1922 – Hoje, há 100 anos” XI – A 1ª Conferência para o Progresso Feminino, publicado em 19 de dezembro de 2022, de autoria de Maria Elizabeth Brêa Monteiro, historiadora do Arquivo Nacional
+Série “Feministas, graças a Deus!” XIII – E as mulheres conquistam o direito do voto no Brasil!, publicado em 24 de fevereiro de 2023, de autoria de Andrea C T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” XIV – No Dia Internacional da Mulher, Alzira Soriano, a primeira prefeita do Brasil e da América Latina, publicado em 8 de março de 2023, de autoria de Andrea C T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” XV – No Dia dos Povos Índígenas, Leolinda Daltro,”a precursora do feminismo indígena” e a “nossa Pankhurst, publicado em 19 de abril de 2023, de autoria de Andrea C T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” XVI – O I Salão Feminino de Arte, em 1931, no Rio de Janeiro, de autoria de Andrea C. T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica, publicado em 30 de junho de 2023
+Série “Feministas, graças a Deus!” XVII – Anna Amélia Carneiro de Mendonça e o Zeppelin, equipe de Documentação da Escola de Ciências Sociais FGV CPDOC, em parceira com Andrea C.T. Wanderley, publicado em 5 de janeiro de 2024
+Série “Feministas, graças a Deus!” XVIII – Júlia Lopes de Almeida (1862 – 1934), a “escritora da Belle Époque tropical”, de autoria de Andrea C. T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica, publicado em 5 de junho de 2024
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/6570` — `itens/20.500.12156.1_6570/`
+
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+---
+id: 21613
+url: "https://brasilianafotografica.bn.gov.br/?p=21613"
+titulo: "Cronologia de Fernando Skarke (1858 – 1935)"
+autor: "Andrea Wanderley"
+data: "2021-08-23T11:03:27+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/9330", "20.500.12156.1/9331", "20.500.12156.1/9333", "20.500.12156.1/9332", "20.500.12156.1/6570"]
+fetched_at: "2026-09-10T10:06:21.073Z"
+---
+
+# Cronologia de Fernando Skarke (1858 – 1935)
+
+Cronologia de Fernando Skarke (1858 – 1935)
+ 
+Fernando Skarke. Verso de retrato de casal não identificado, 18?. Santos, São Paulo / Acervo Museu Histórico Nacional
+ 
+1858 - Ferdinand (Fernando) Adolf Skarke nasceu em 17 de outubro de 1858, filho de Johann e Theresa Skarke. Em sua certidão de óbito consta que ele teria nascido na Tchecoslováquia embora, segundo seu bisneto Luiz Henrique Pitombo, a família sempre tenha considerado a Áustria como sua terra natal. O pai de Fernando Skarke imigrou para o Brasil, onde trabalhou em obras de engenharia hidráulica em Campinas, no estado de São Paulo.
+1886 – Fernando Skarke possuía um ateliê fotográfico em Piracibaca. Dom Pedro II (1825 – 1891) e dona Teresa Cristina (1822 – 1889) visitaram a cidade em novembro de 1886. Skarke presenteou o imperador com uma fotografia panorâmica da cidade, montada a partir da união de imagens de várias chapas. Ficaram hospedados na casa do empresário e um dos fundadores da Companhia Ituana de Navegação, nos rios Tietê e Piracicaba, Estevão Ribeiro de Souza Rezende (1840 – 1909). Ele também foi o fundador do Engenho Geral de Piracicaba, em 1881, além de escritor e sócio do Instituto Histórico e Geográfico de São Paulo. Por ter lutado na Guerra do Paraguai foi agraciado com a Ordem de Cristo. Também participaram da visita imperial o ministro da Agricultura, Antônio da Silva Prado (1840 – 1929); e o presidente da Província de São Paulo, Antônio de Queirós Teles (1831 – 1888) (Correio Paulistano, 13 de novembro de 1886, primeira coluna).
+ 
+Fernando Skarke. Pedro II e Teresa Cristina em Piracicaba, 1886. Piracicaba, SP / Acervo pessoal de Luiz Henrique Pitombo, bisneto do fotógrafo
+ 
+Em 14 de dezembro de 1886, Skarke foi agraciado pelo imperador com o título de Fotógrafo da Casa Imperial, tendo sido, provavelmente, o único da província de São Paulo a receber a condecoração. Abaixo, estão reproduzidos o envelope e a carta da concessão do título, do acervo pessoal de Luiz Henrique Pitombo, bisneto de Skarke.
+ 
+
+ 
+Envelope e carta da concessão do título de fotógrafo da Casa Imperial concedido a Fernando Skarke por dom Pedro II / Acervo pessoal de Luiz Henrique Pitombo, bisneto do fotógrafo
+ 
+1887 – Skarke produziu três vistas fotográficas da enchente do rio Piracicaba que, na ocasião, apresentou um aspecto tão formidável e pitoresco ( L´Italia, 15/16 de janeiro de 1887, terceira coluna; Jornal do Commercio, 22 de janeiro de 1887, última coluna).
+Neste mesmo ano, Skarke fotografou o bebê Emilia Diehl Muller, em Piracicaba (Site Coisas Antigas):
+ 
+Fernando Skarke. Emilia Diehl Muller, 1887. Piracicaba, SP / Site Coisas Antigas
+ 
+c. 1888 – Em Santos, seu estabelecimento fotográfico ficava na rua General Jardim, 80.
+1890 – Casou-se, em São Paulo, com a alemã, de Bremen, Meta Gesine, que trabalhava como preceptora dos filhos de um casal abastado em Piracicaba. Nos primeiros anos dessa década, o casal teve o primeiro filho, que faleceu. 
+ 
+O casal Fernando Skarke e Meta Gesine / Acervo pessoal de Luiz Henrique Pitombo, bisneto do fotógrafo
+ 
+1891 – Em 1891, Verano Alonso enviou seu retrato, produzido por Fernando Skarke, para José Joaquim de Miranda. No verso do cartão, Skarke anuncia “aparelhos especiais para grupos“, “novidades para retratos de crianças” e informa que “conserva-se chapas para reproduções e tendo as mesmas um abatimento de 25%“.
+ 
+Fernando Skarke. Verso do retrato de Verano Alonso, 1891. Santos, SP / Acervo Museu Histórico Nacional
+ 
+Fernando Skarke. Retrato de Verano Alonso, 1891. Santos, SP / Acervo Museu Histórico Nacional
+ 
+1892 – Fez propaganda de suas novas instalações, dotadas de “um magnífico e espaçoso salão, com excelente luz”, além de máquinas modernas e vários fundos, entre eles as paisagens” (Folha da Tarde, 22 de março de 1892). Na ocasião, seu ateliê ficava na Praça da República, 16, em Santos.
+ 
+Verso de um cartão de Fernando Skarke / Acervo de Marjorie C.F. Medeiros)
+ 
+Fernando Skarke. Retrato de casal não identificado, 18?. Santos, São Paulo / Acervo Museu Histórico Nacional
+ 
+1894 - Meta decidiu ter o segundo filho junto à mãe, Gesine Schwarting, na Alemanha. Em Lesum, perto de Bremen, nascimento da filha primogênita do casal, Melitta. Um ano depois, as três vieram para o Brasil.
+Todos os demais filhos de Skarke nasceram em Santos: Thereza (1896 – ?), Hugo Fernando (1898 – 197?), Regina (c. 1900 – ?) e Erna (c. 1902 – ?).
+ 
+Fernando Skarke. Os cinco filhos de Fernando e Meta Gersine Skarke, c. 1905 / Acervo pessoal de Luiz Henrique Pitombo, bisneto do fotógrafo
+ 
+1908 a 1911 - Seu ateliê, em Santos, ficava na rua São Leopoldo, 14. Nessa mesma época, além da Société Photographique Internacional, atuavam na cidade outros fotógrafos como Carlos W. Weize (18? – 19?), Gustavo Paiva (18? – 19?), Emílio Gottschalk  (18? – 19?), o alemão Hermann Eckman (18? – 19?) e J. Marques Pereira (18? – 19?) –  no Almanak Laemmert, o nome deste último fotógrafo aparece como J. Moraes Pereira (Almanak Laemmert, 1908, última coluna; Almanak Laemmert, 1910, segunda coluna; Almanak Laemmert, 1911, primeira coluna).
+ 
+Almanak Laemmert, 1908, última coluna
+ 
+1912 - Skarke fotografou o passe-partout, desenhado pelo apreciado pintor Waldemir Alfaya, das diplomandas de 1911 da Associação Feminina Santista. A imagem foi publicada em A Fita, revista humorística, literária e ilustrada, fundada em 1911 e dirigida por Bento de Andrade e Manoel Pompílio dos Santos (A Fita, 1º de maio de 1912).
+ 
+A Fita, 1º de maio de 1912
+ 
+1914 – Fotografou Um almoço de caridade, oferecido, no Natal de 1913, aos presos da Cadeia Pública de Santos, pela Associação das Mães Cristãs (A Fita, 15 de janeiro de 1914).
+ 
+A Fita, 15 de janeiro de 1914
+ 
+Neste ano, durante a Primeira Guerra Mundial, Hugo Fernando (1898 – 197?), sucessor do pai na Photo Skarke, estava estudando, provavelmente, fotografia, na Alemanha.
+c. 1930 - A Photo Skarke ficava no Largo Santa Ifigênia, 12, em São Paulo, endereço conhecido por seu comércio sofisticado, frequentado pelas famílias do bairro Campos Elísios.
+1931 - Uma fotografia realizada pela Photo Skarke da feminista Maria Prestia (? – 1988) foi enviada por ela a então presidente da Federação Brasileira pelo Progresso Feminino, a cientista Bertha Lutz (1894 – 1976).
+ 
+Photo Skarke. Maria Prestia, 1931. São Paulo, SP / Acervo Arquivo Nacional
+ 
+1935 - Fernando Skarke faleceu, vítima de arteriosclerose, em 18 de abril de 1935, aos 76 anos, em São Paulo, na casa de seu filho Hugo, à rua Tupi, no bairro de Santa Cecília. Foi enterrado no Cemitério do Redentor.
+ 
+Fernando Skarke. Erna,  filha de Fernando Skarke, c. 1905. Santos, SP / Acervo pessoal de Luiz Henrique Pitombo, bisneto do fotógrado
+ 
+ 
+A Brasiliana Fotográfica agradece ao bisneto de Fernando Skarke, Luiz Henrique D. T. Pitombo que, generosamente, forneceu informações importantes acerca da Photo Skarke, além de ter cedido imagens para essa publicação.
+Agradecimentos também à pesquisadora Maria Isabel Lenzi e à arquivista Daniella Gomes dos Santos, ambas do Museu Histórico Nacional, que viabilizaram, para essa publicação, a digitalização das imagens da referida instituição e de sua disponibilização no acervo da Brasiliana Fotográfica.
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/9330` — `itens/20.500.12156.1_9330/`
+- `20.500.12156.1/9331` — `itens/20.500.12156.1_9331/`
+- `20.500.12156.1/9333` — `itens/20.500.12156.1_9333/`
+- `20.500.12156.1/9332` — `itens/20.500.12156.1_9332/`
+- `20.500.12156.1/6570` — `itens/20.500.12156.1_6570/`
+
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+---
+id: 21770
+url: "https://brasilianafotografica.bn.gov.br/?p=21770"
+titulo: "Série “Feministas, graças a Deus!” V – Feminista do Amazonas: Maria de Miranda Leão (1887 – 1976)"
+autor: "Andrea Wanderley"
+data: "2020-11-26T10:50:36+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/6577", "20.500.12156.1/5025"]
+fetched_at: "2026-09-10T10:06:24.487Z"
+---
+
+# Série “Feministas, graças a Deus!” V – Feminista do Amazonas: Maria de Miranda Leão (1887 – 1976)
+
+Série “Feministas, graças a Deus!” V – Feminista do Amazonas: Maria de Miranda Leão (1887 – 1976)
+ 
+Maria de Miranda Leão (1887 – 1976), pioneira na participação feminina na política da região Norte do Brasil, eleita pela Liga Católica, em 1934, deputada estadual na Assembleia Constituinte (1935-1937), é o personagem do quinto artigo da série “Feministas, graças a Deus!, escrito pela pesquisadora Maria Elizabeth Brêa Monteiro, do Arquivo Nacional, uma das instituições parceiras da Brasiliana Fotográfica. A feminista Maria de Miranda Leão foi professora, enfermeira e assistente social, tendo vinculado sua vida com talento e cultura ao ensino e à solidariedade. Em dezembro de 1922, foi uma das fundadoras de Federação Brasileira pelo Progresso Feminino, seção Amazonas, meses após a fundação da FBPF, iniciativa de Bertha Lutz (1894 – 1976), em 9 de agosto do mesmo ano.
+Foi descrita em uma matéria do Jornal do Brasil de 1936 como “Uma dessas inteligências femininas que se sente ao contato do seu verbo fluente, emotivo, todo saturado por esse amor imenso esse encanto arrebatado pela natureza mágica e caraterística da Amazônia.” Segundo Maria Elizabeth Brêa Monteiro, na fotografia destacada nesse artigo, produzida pela Photographia Alemã, “é possível perceber um perfil de austeridade que parece caracterizar a vida pública de Maria de Miranda e suas vinculações fortes com a igreja católica e com uma ação assistencial”.
+ 
+Feminista do Amazonas: Maria de Miranda Leão
+Maria Elizabeth Brêa Monteiro*
+Fotografia Alemã. Maria de Miranda Leão, 1935. Manaus, Amazonas / Acervo Arquivo Nacional
+ 
+Conclamando as mulheres à paz e à guerra, Maria de Miranda Leão proferiu seu discurso na sessão inaugural do 3º Congresso Nacional Feminista, realizado na sede do Automóvel Club, no Rio de Janeiro, entre os dias 1°e 8 de outubro de 1936. Delegada da Liga Católica do Amazonas junto ao Congresso Eucarístico Nacional e designada representante da Federação Amazonense pelo Progresso Feminino e de outras agremiações de Manaus pelo governador Álvaro Maia para o Congresso Nacional Feminino [1], o Jornal do Brasil em sua edição de 2 de outubro de 1936 descreve Maria de Miranda como “uma dessas inteligências femininas que se sente ao contato do seu verbo fluente, emotivo, todo saturado por esse amor imenso esse encanto arrebatado pela natureza mágica e caraterística da Amazônia.”[2]
+Maria de Miranda Leão nasceu em 1887 em uma família de longa atuação no Amazonas nos vários setores da atividade humana: no magistério, no comércio, nas ciências, na política. O patriarca, coronel José Coelho de Miranda Leão, foi deputado que havia se notabilizado por combater os cabanos em Mundurucânia, em 1839. Era filha do professor e jornalista Manoel de Miranda Leão, deputado provincial da Assembleia Legislativa (1886) e um crítico do cenário da instrução pública no Amazonas, identificando a falta de experiência e de dedicação no magistério como um dos principais problemas a enfrentar. Professora, enfermeira, assistente social e uma pioneira na participação feminina na política da região Norte, Maria de Miranda primou, segundo Agnello Bittencourt, pelo talento e pela cultura, tendo vinculado sua vida ao ensino e à caridade.[3]
+Ingressou, em 1922, no Serviço Federal de Profilaxia Rural e nesse mesmo ano criou a Sociedade de Amparo à Maternidade e à Infância, núcleo que deu origem ao Hospital Infantil Casa Dr. Fajardo, onde trabalhou como enfermeira e chefe dos serviços internos.
+A partir das primeiras décadas do século XX, Manaus não mais se assemelhava à Paris dos Trópicos dos anos de pujança da exportação da borracha. A derrocada do comércio extrativista impeliu levas de seringueiros a se dirigirem com suas famílias para as cidades que enfrentavam as consequências da depressão econômica, assoladas por doenças como paludismo, verminose, disenteria, enterite, gripe e outras. Nesse contexto as crianças compunham o grupo mais vulnerável, identificado no elevado índice da mortalidade infantil. Todavia, o estado do Amazonas e, em particular, a cidade de Manaus não possuíam uma instituição oficial de atendimento hospitalar exclusivo para crianças. Esse atendimento era realizado pela Casa Dr. Fajardo, instituição particular, fundada em 1922 pelo médico Samuel Uchôa, diretor do Serviço de Profilaxia Rural do Amazonas, com a finalidade de receber crianças órfãs ou desamparadas acometidas por paludismo e verminose. Além do tratamento médico prestado, essa instituição tinha uma preocupação pedagógica, principalmente em relação às questões de higiene das crianças e das famílias, no intuito de resgatá-las de uma condição depauperada e libertá-las, segundo o próprio Dr. Uchoa, “da tirania das doenças destruidoras”, preparando-as para o trabalho.[4]
+Vem desse período, durante o qual Maria de Miranda realizou atividades de assistência às crianças e às camadas mais empobrecidas da população amazonense, o apelido pelo qual ficou conhecida: Mãezinha.
+Com apoio do Serviço de Profilaxia Rural do Amazonas, durante a administração do governador Ephigênio Salles, criou o primeiro preventório do Brasil, voltado para o cuidado dos filhos dos portadores de hanseníase.
+Maria de Miranda teve também relevante atuação para a profissionalização e regularização das atividades de serviço social. Em 1940, com apoio do bispo d. Basílio Manoel Olímpio Pereira, realizou, no Rio de Janeiro, os cursos de “Ação Católica e Serviço Social”, o que favoreceu a criação da Escola de Serviço Social de Manaus, subordinada, inicialmente, ao Juízo Tutelar de Menores, onde foi professora de Assistência Social.
+Essa orientação pela assistência e cuidados mobilizou sempre Maria de Miranda ao longo de sua vida. Como secretária-geral e enfermeira chefe da Cruz Vermelha no Amazonas, ficou encarregada da entrega de correspondências aos prisioneiros de guerra (japoneses, italianos e alemães) e foi, de 1946 a 1951, diretora do Instituto Benjamin Constant, criando nele a primeira Escola Normal Rural do Amazonas.
+Paralelamente ao trabalho assistencial, Maria de Miranda destacou-se no movimento feminista, sendo membro da Federação Feminista Amazonense e uma das fundadoras da Federação Brasileira pelo Progresso Feminino. Liderou o movimento feminino católico de incentivo à participação das mulheres nas eleições e na política de modo geral, fato que, por certo, contribuiu para seu sucesso nas urnas aos 48 anos, quando foi eleita pela Liga Católica, em 1934, deputada estadual na Assembleia Constituinte (1935-1937), onde também atuou nas comissões de Educação e de Poderes e leis.
+Em carta para Bertha Lutz de 20 de junho de 1935, Maria de Miranda informa sobre sua atuação na Constituinte na defesa da atuação da mulher em todos os setores de ação social, moral e político, e não mais apenas dedicada a servir o lar, “coser meias e embalar meninos”. Nessa mesma carta, Maria envia uma fotografia dedicada a Bertha na qual se identifica como sua admiradora e a convida a visitar o estado e ver “como o nosso Amazonas é grandioso, com suas florestas encantadas e seus rios caudalosos. Seria ocasião de sentir as aspirações da mulher amazonense e que a cultura e a mentalidade da cabocla morena do rio Negro não envergonham as irmãs do Sul.”[5] Nessa fotografia é possível perceber um perfil de austeridade que parece caracterizar a vida pública de Maria de Miranda e suas vinculações fortes com a igreja católica e com uma ação assistencial.
+Essas linhas de ação de Maria de Miranda se conjugavam com os temas discutidos na Assembleia Nacional Constituinte. A organização da assistência social foi defendida pela representante feminina, Carlota Pereira de Queiroz, médica eleita com apoio da Liga Católica, que considerava a educação e a saúde do povo as duas questões fundamentais de uma nação e tinha a proteção à maternidade e à infância como diretrizes prioritárias de seu mandato.
+A Liga Eleitoral Católica, movimento gerado em defesa dos ideais cristãos e em resposta à secularização da cultura e à fundação do Partido Comunista do Brasil, congregava intelectuais como Alceu do Amoroso Lima, o advogado Sobral Pinto, além outros representantes de segmentos da classe média, e teve expressiva participação nas eleições para a Assembleia Nacional Constituinte. No Amazonas, seus principais dirigentes eram o bispo dom João da Mata e Jatir Pucu de Aguiar, do Partido Liberal. Maria de Miranda exerceu os cargos de secretária-geral da Liga Eleitoral Católica, ao lado de Maria Julia Lima, e, em 1935, foi nomeada para a presidência.
+Maria de Miranda acompanhou de perto a mobilização das mulheres pelo sufrágio feminino no Brasil. Foi uma das fundadoras de Federação Brasileira pelo Progresso Feminino, seção Amazonas, em 18 de dezembro de 1922. Trabalhou para organizar uma série de atividades com o objetivo de sensibilizar as mulheres para o alistamento eleitoral, direito conquistado pelas brasileiras em fevereiro de 1932 com a promulgação do novo código eleitoral que concedeu pela primeira vez o direito de voto às mulheres. Participou de todos os eventos nacionais promovidos pela FBPF na década de 1930.
+A Federação Brasileira pelo Progresso Feminino, fundada em 9 de agosto de 1922, por iniciativa da Bertha Lutz e outras mulheres com diferentes abordagens de prioridades na construção de agenda entre elas, tinha como principal bandeira a busca pelo sufrágio universal e a promoção do avanço da mulher no espaço público através da reivindicação de seus direitos políticos, das melhorias de suas condições de trabalho, de saúde e educação. Esses foram temas discutidos nos congressos organizados pela FBPF, sob a presidência de Bertha. Mudar a visão da sociedade brasileira em relação à mulher considerada como a “rainha do lar”, debater sobre a formação do magistério, a nacionalização do ensino público, o acesso da mulher ao mercado de trabalho e igualdade salarial orientavam a atuação da Federação ao lado de postulados sustentados pela Liga Católica no sentido do ensino religioso nas escolas e da indissolubilidade do matrimônio. A questão da cidadania constituía-se no debate em torno de direitos civis, que englobava o acesso ao voto e ao divórcio, maternidade, igualdade salarial e proibição do trabalho noturno às mulheres, e se misturavam com perspectivas de proteção e de conquista de direitos.[6]
+As lideranças feministas das maiores organizações constituídas – FBPF, Aliança Nacional de Mulheres, Liga Eleitoral Católica e suas derivadas regionais – argumentavam que era possível assegurar a agregação de mulheres na política, pois isso não ofereceria risco de concorrência para os ocupantes dos cargos públicos eletivos nem ocasionaria instabilidade social ou para as famílias.
+Mesmo com ambiguidades presentes no movimento feminista, as mulheres iam introduzindo mudanças nos mecanismos de conquista de direitos. Empunhando, assim, a bandeira do voto feminino, a Federação rumava de maneira cordial para a defesa da emancipação da mulher e à conquista de direitos. Essa postura, identificada por pesquisadores, com um “feminismo bem comportado”, voltado para os anseios das mulheres das classes média e alta, de alguma forma se contrapunha ao feminismo sustentado por Maria Lacerda de Moura, tido como “mal comportado” ao atentar para os direitos das trabalhadoras das classes baixas e para a liberdade sexual.[7]
+ 
+Participantes do III Congresso Nacional Feminista em audiência com presidente Vargas, 1936. Rio de Janeiro, RJ / Acervo Arquivo Nacional
+ 
+Nesse contexto realiza-se no Rio de Janeiro o 3º Congresso Nacional Feminista, que contou com a presença de autoridades como o presidente da República, Getulio Vargas, e o governador do Rio de Janeiro, Protogenes Guimarães. Maria de Miranda foi a oradora da sessão inaugural que apresentou um discurso intitulado “A missão da mulher no momento atual”, no qual fazia “a defesa do regime, a manutenção da ordem, a salvação da honra e da tradição, contra o sacrilégio devastador do comunismo”. Ficam evidentes os princípios católicos da família indissolúvel como alicerce da nação e a luta feminista como uma “cruzada santa”. Maria de Miranda deixa claro seu alinhamento à igreja católica condenando “a política sem Deus e contra Deus, ambiciosa e libertina”. Antecedido por um preâmbulo de cunho regionalista, mencionando as belezas e riquezas do Amazonas, em que cita os pacíficos e ordeiros Barés e os combativos Maués, Maria de Miranda enfatiza em seu discurso o caráter pacífico da “guerra” a ser empreendida pela mulher, “poder moderador capaz de trazer o homem à razão, quando levado pelos ímpetos próprios de sua natureza combativa, muitas vezes se afastada de caminho traçado.”. E conclui, em sua visão, o objetivo do congresso:
+“Um dos pontos fundamentais é, por certo, a defesa do regime, a manutenção da ordem, a salvação da honra e da tradição contra o sacrilégio devastador do comunismo. (…) Se procura nos seduzir, garantindo à mulher todos os campos de ação social, a igualdade de valores e trabalhos com o homem, não nos deixaremos enganar. Queremos a vitória das nossas reivindicações, a nossa igualdade política e social, salário igual para trabalho igual. Mas a mulher do Brasil coloca acima de tudo Deus, a Fé, a honra, a dignidade, a força moral e a integridade da Pátria. (…) É essa a promessa, a clarinada guerreira, o juramento inflexível que a Mulher Amazonense vos manda por minha voz: Ouviremos a voz do Brasil e na luta estaremos na linha de frente, na brecha por Deus, pela Pátria, pela Raça.”[8]
+Nesse congresso foi votado o Estatuto da Mulher, a ser apresentado na forma de projeto de lei em outubro de 1937 à Câmara dos Deputados, por iniciativa das deputadas Bertha Lutz e Carlota Pereira de Queirós. Em seus 150 artigos, o projeto tinha como objetivo regulamentar os dispositivos constitucionais de proteção às mães e às crianças, tratava, em essência, de nacionalidade, direitos políticos, trabalho.[9]
+O mandato de Maria de Miranda como deputada estadual foi interrompido em 1937 quando Getulio Vargas fechou o legislativo federal e os estaduais, dando início ao Estado Novo que perdurou até 1945. Com a democratização, tentou a reeleição, pelo Partido Social Democrático (PSD), em 1947, não obtendo êxito.
+Sua atuação política e social foi reconhecida pelas autoridades amazonenses que lhe concederam o título de Cidadã Benemérita de Manaus, em 1957, e a Medalha Cidade de Manaus, em 1969. Pelos serviços prestados, foi condecorada pela Cruz Vermelha do Amazonas.
+Maria de Miranda Leão faleceu em 1976, no mesmo ano de sua “distinta patrícia” Bertha Lutz, com quem batalhou pela ampliação dos espaços de poder e decisão da mulher na sociedade e pela garantia de direitos conquistados.
+ 
+[1] Telegrama do governo do Estado do Amazonas comunicando que a Federação Amazonense pelo Progresso Feminino designou a deputada Maria de Miranda Leão como representante do Amazonas no 3º Congresso Nacional Feminino. Federação Brasileira pelo Progresso Feminino. Arquivo Nacional. Rio de Janeiro.3 de julho de 1936. BR RJANRIO Q0.ADM, COR.A936.74
+[2] Jornal do Brasil. Edição 232, 2 de outubro de 1936. Disponível em http://memoria.bn.br/DocReader/docreader.aspx?bib=030015_05&pasta=ano%20193&pesq=%22miss%C3%A3o%20da%20mulher%20no%20momento%20atual%E2%80%9D&pagfis=69211
+[3] Bittencourt, Agnello. Dicionário Amazonense de Biografias: vultos do passado. Rio de Janeiro, Conquista, 1973. p. 359. Disponível em https://issuu.com/bibliovirtualsec/docs/dicionario_amazonense_de_biografias
+[4] Schweickardt, Júlio Cesar. Ciência, nação e região: as doenças tropicais e o saneamento no Estado do Amazonas (1890-1930). Manaus: Fiocruz/Casa de Oswaldo Cruz, 2009. p. 345. Disponível em http://ppghcs.coc.fiocruz.br/images/teses/tesejuliochweickardt.pdf.
+[5] Cartas de Maria de Miranda Leão. Federação Brasileira pelo Progresso Feminino. Arquivo Nacional. Rio de Janeiro. BR_RJANRIO_Q0_ADM_COR_A935_0066_d0001
+[6] Fraccaro, Glaucia Cristina Candian. Uma história social do feminismo – Diálogos de um campo político brasileiro (1917-1937). Estudos Históricos. Rio de Janeiro, vol. 31, nº 63, p. 7-26, janeiro-abril 2018, p. 18. Disponível em http://bibliotecadigital.fgv.br/ojs/index.php/reh/article/view/71642
+[7] Dultra, Eneida Vinhaes Bello. Direitos das mulheres na Constituinte de 1933-1934: disputas, ambiguidades e omissões. Tese em Direito, Estado e Constituição. UnB, 2018. Disponível em https://repositorio.unb.br/bitstream/10482/34535/1/2018_EneidaVinhaesBelloDultra.pdf
+[8] Jornal do Brasil. Edição 248, 18 de outubro de 1936. Disponível em http://memoria.bn.br/DocReader/docreader.aspx?bib=030015_05&pasta=ano%20193&pesq=%22miss%C3%A3o%20da%20mulher%20no%20momento%20atual%E2%80%9D&pagfis=69211
+[9] Potechi, Bruna. As mulheres dos estatutos no Congresso Nacional Brasileiro. Revista Estudos Feministas, v. 27, n. 1, Florianópolis, 2019. Disponível em https://www.scielo.br/pdf/ref/v27n1/1806-9584-ref-27-01-e50110.pdf
+ 
+Maria Elizabeth Brêa Monteiro é Mestre em História | Pesquisadora do Arquivo Nacional
+ 
+Acesse aqui os outros artigos da Série “Feministas, graças a Deus!“
+ 
+Série “Feministas, graças a Deus!” I – Elvira Komel, a feminista mineira que passou como um meteoro, publicado em 25 de julho de 2020, de autoria da historiadora Maria Silvia Pereira Lavieri Gomes, do Instituto Moreira Salles, em parceria com Andrea C. T. Wanderley, editora e pesquisadora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” II  – Natércia da Cunha Silveira (1905 – 1993), o jequitibá da floresta, publicado em 20 de agosto de 2020, de autoria de Andrea C.T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” III  – Bertha Lutz e a campanha pelo voto feminino: Rio Grande do Norte, 1928, publicado em 29 de setembro de 2020, de autoria de Maria do Carmo Rainha, doutora em História e pesquisadora do Arquivo Nacional
+Série “Feministas, graças a Deus!” IV  – Uma sufragista na metrópole: Maria Prestia (? – 1988), publicado em 29 de outubro de 2020, de autoria de Claudia Heynemann, doutora em História e pesquisadora do Arquivo Nacional
+Série “Feministas, graças a Deus!” VI – Júlia Augusta de Medeiros (1896 – 1972) fotografada por Louis Piereck (1880 – 1931), publicado em 9 de dezembro de 2020, de autoria de Andrea C.T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” VII – Almerinda Farias Gama (1899 – 1999), uma das pioneiras do feminismo no Brasil, publicado em 26 de fevereiro de 2021, de autoria de Andrea C.T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” VIII – A engenheira e urbanista Carmen Portinho (1903 – 2001), publicado em 6 de abril de 2021, de autoria de Andrea C. T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” IX – Mariana Coelho (1857 – 1954), a “Beauvoir tupiniquim”, publicado em 15 de junho de 2021, de autoria de Andrea C. T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” X – Maria Luiza Dória Bittencourt (1910 – 2001), a eloquente primeira deputada da Bahia, publicado em 25 de março de 2022, de autoria de Andrea C. T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” XI e série “1922 – Hoje, há 100 anos” VI – A fundação da Federação Brasileira pelo Progresso Feminino, publicado em 9 de agosto de 2022, de autoria de Andrea C. T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” XII e série “1922 – Hoje, há 100 anos” XI – A 1ª Conferência para o Progresso Feminino, publicado em 19 de dezembro de 2022, de autoria de Maria Elizabeth Brêa Monteiro, historiadora do Arquivo Nacional
+Série “Feministas, graças a Deus!” XIII – E as mulheres conquistam o direito do voto no Brasil!, publicado em 24 de fevereiro de 2023, de autoria de Andrea C T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” XIV – No Dia Internacional da Mulher, Alzira Soriano, a primeira prefeita do Brasil e da América Latina, publicado em 8 de março de 2023, de autoria de Andrea C T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” XV – No Dia dos Povos Índígenas, Leolinda Daltro,”a precursora do feminismo indígena” e a “nossa Pankhurst, publicado em 19 de abril de 2023, de autoria de Andrea C T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” XVI – O I Salão Feminino de Arte, em 1931, no Rio de Janeiro, de autoria de Andrea C. T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica, publicado em 30 de junho de 2023
+Série “Feministas, graças a Deus!” XVII – Anna Amélia Carneiro de Mendonça e o Zeppelin, equipe de Documentação da Escola de Ciências Sociais FGV CPDOC, em parceira com Andrea C.T. Wanderley, publicado em 5 de janeiro de 2024
+Série “Feministas, graças a Deus!” XVIII – Júlia Lopes de Almeida (1862 – 1934), a “escritora da Belle Époque tropical”, de autoria de Andrea C. T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica, publicado em 5 de junho de 2024
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/6577` — `itens/20.500.12156.1_6577/`
+- `20.500.12156.1/5025` — `itens/20.500.12156.1_5025/`
+
diff --git a/wordpress/21806-fernando-skarke-1858-1935-fotografo-da-casa-imperial.md b/wordpress/21806-fernando-skarke-1858-1935-fotografo-da-casa-imperial.md
new file mode 100644
index 0000000..43711b6
--- /dev/null
+++ b/wordpress/21806-fernando-skarke-1858-1935-fotografo-da-casa-imperial.md
@@ -0,0 +1,125 @@
+---
+id: 21806
+url: "https://brasilianafotografica.bn.gov.br/?p=21806"
+titulo: "Fernando Skarke (1858 – 1935), Fotógrafo da Casa Imperial"
+autor: "Andrea Wanderley"
+data: "2021-08-23T11:15:11+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/9332", "20.500.12156.1/9330", "20.500.12156.1/9331", "20.500.12156.1/9333", "20.500.12156.1/6570"]
+fetched_at: "2026-09-10T10:06:27.837Z"
+---
+
+# Fernando Skarke (1858 – 1935), Fotógrafo da Casa Imperial
+
+O fotógrafo austríaco Ferdinand (Fernando) Adolf Skarke (1858 – 1935) veio para o Brasil com seus pais Johann e Theresa Skarke. Seu pai imigrou para trabalhar em Campinas em obras de engenharia hidráulica. Já na década de 1880, Fernando possuía um ateliê fotográfico em Piracicaba. Em novembro de 1886, dom Pedro II (1825 – 1891)  e dona Teresa Cristina (1822 – 1889) fizeram uma visita à cidade e, no mês seguinte, em 14 de dezembro de 1886, o imperador concedeu a Fernando o título de Fotógrafo da Casa Imperial. Acredita-se, até o momento, que ele tenha sido o único da província de São Paulo a receber essa distinção. De temperamento alegre e comunicativo, tinha vários amigos como, por exemplo, o poeta santista José Martins Fontes (1884-1937) e o empresário Conrado Wessel (1891 – 1993). Só saiu do Brasil, já idoso, para visitar Viena.
+ 
+Site Coisas Antigas
+ 
+Acessando o link para as fotografias de Skarke disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Por volta de 1888, foi para Santos onde teve estabelecimentos fotográficos em três diferentes endereços: rua General Jardim, 80; na Praça da República, 16; e na rua São Leopoldo, 14. Na virada do século XIX para o XX, Santos prosperava e a demanda por fotografias na cidade aumentava. Os profissionais disputavam a freguesia local e o ateliê de Skarke, na Praça da República, era o mais luxuoso da cidade: “montado com todo o capricho, tendo um magnífico e espaçoso salão, com excelente luz; dispõe também das melhores e mais modernas máquinas, tendo uma grande variedade de ornamentos e fundos, tanto paisagens, como de salão, e mobília“.
+ 
+Fernando Skarke. Retrato de casal não identificado, 18?. Santos, São Paulo / Acervo Museu Histórico Nacional
+ 
+Segundo sua filha Mellita (1894 – ?), Skarke emulsionava papéis fotográficos com produtos químicos, usava albumina de ovo e nos dias ensolarados distribuía caixas de madeira com negativos de vidro e papel para serem sensibilizados pela luz natural. O sistema de iluminação natural do estúdio era composto por uma série de janelas de vidro, incluindo partes altas do telhado, que eram recobertas por cortinas em trilhos. Ajustes eram feitos para obter-se a iluminação desejada.
+Sua neta Elisa Dias de Toledo Pitombo, filha de Mellita, relatou que Fernando teria feito fortuna produzindo retratos de famílias de imigrantes, principalmente, de comerciantes portugueses abastados que gostavam de enviar esses registros para seus parentes. “Com a fotografia ele ganhou muito dinheiro e morou num palacete que depois virou hotel, a casa começava na rua da praia e ia até o morro“.
+Em 1890, Skarke casou-se com a alemã Meta Gesine. O primeiro filho do casal faleceu ainda bebê. A primogênita, Melitta, nasceu na Alemanha, e, os demais, em Santos:  Thereza (1896 – ?), Hugo Fernando (1898 – 197?), que o sucedeu na Photo Skarke; Regina (c. 1900 – ?) e Erna (c. 1902 – ?).
+Faleceu, vítima de arteriosclerose, em 18 de abril de 1935, aos 76 anos, em São Paulo, na casa de seu filho Hugo, à rua Tupi, no bairro de Santa Cecília. Foi enterrado no Cemitério do Redentor.
+ 
+Fernando Skarke. Hugo Skarke, c. 1905 / Acervo pessoal de Luiz Henrique Pitombo, bisneto do fotógrafo
+ 
+ 
+Cronologia de Fernando Skarke (1858 – 1935)
+ 
+Fernando Skarke. Verso de retrato de casal não identificado, 18?. Santos, São Paulo / Acervo Museu Histórico Nacional
+ 
+1858 - Ferdinand (Fernando) Adolf Skarke nasceu em 17 de outubro de 1858, filho de Johann e Theresa Skarke. Em sua certidão de óbito consta que ele teria nascido na Tchecoslováquia embora, segundo seu bisneto Luiz Henrique Pitombo, a família sempre tenha considerado a Áustria como sua terra natal. O pai de Fernando Skarke imigrou para o Brasil, onde trabalhou em obras de engenharia hidráulica em Campinas, no estado de São Paulo.
+1886 – Fernando Skarke possuía um ateliê fotográfico em Piracibaca. Dom Pedro II(1825 – 1891) e dona Teresa Cristina (1822 – 1889) visitaram a cidade em novembro de 1886. Skarke presenteou o imperador com uma fotografia panorâmica da cidade, montada a partir da união de imagens de várias chapas. Ficaram hospedados na casa do empresário e um dos fundadores da Companhia Ituana de Navegação, nos rios Tietê e Piracicaba, Estevão Ribeiro de Souza Rezende (1840 – 1909). Ele também foi o fundador do Engenho Geral de Piracicaba, em 1881, além de escritor e sócio do Instituto Histórico e Geográfico de São Paulo. Por ter lutado na Guerra do Paraguai foi agraciado com a Ordem de Cristo. Também participaram da visita imperial o ministro da Agricultura, Antônio da Silva Prado (1840 – 1929); e o presidente da Província de São Paulo, Antônio de Queirós Teles (1831 – 1888) (Correio Paulistano, 13 de novembro de 1886, primeira coluna).
+ 
+Fernando Skarke. Pedro II e Teresa Cristina em Piracicaba, 1886. Piracicaba, SP / Acervo pessoal de Luiz Henrique Pitombo, bisneto do fotógrafo
+ 
+Em 14 de dezembro de 1886, Skarke foi agraciado pelo imperador com o título de Fotógrafo da Casa Imperial, tendo sido, provavelmente, o único da província de São Paulo a receber a condecoração. Abaixo, estão reproduzidos o envelope e a carta da concessão do título, do acervo pessoal de Luiz Henrique Pitombo, bisneto de Skarke.
+ 
+
+ 
+Envelope e carta da concessão do título de fotógrafo da Casa Imperial concedido a Fernando Skarke por dom Pedro II / Acervo pessoal de Luiz Henrique Pitombo, bisneto do fotógrafo
+ 
+1887 – Skarke produziu três vistas fotográficas da enchente do rio Piracicaba que, na ocasião, apresentou um aspecto tão formidável e pitoresco ( L´Italia, 15/16 de janeiro de 1887, terceira coluna; Jornal do Commercio, 22 de janeiro de 1887, última coluna).
+Neste mesmo ano, Skarke fotografou o bebê Emilia Diehl Muller, em Piracicaba (Site Coisas Antigas):
+ 
+Fernando Skarke. Emilia Diehl Muller, 1887. Piracicaba, SP / Site Coisas Antigas
+ 
+c. 1888 – Em Santos, seu estabelecimento fotográfico ficava na rua General Jardim, 80.
+1890 – Casou-se, em São Paulo, com a alemã, de Bremen, Meta Gesine, que trabalhava como preceptora dos filhos de um casal abastado em Piracicaba. Nos primeiros anos dessa década, o casal teve o primeiro filho, que faleceu. 
+ 
+O casal Fernando Skarke e Meta Gesine / Acervo pessoal de Luiz Henrique Pitombo, bisneto do fotógrafo
+ 
+1891 – Em 1891, Verano Alonso enviou seu retrato, produzido por Fernando Skarke, para José Joaquim de Miranda. No verso do cartão, Skarke anuncia “aparelhos especiais para grupos“, “novidades para retratos de crianças” e informa que “conserva-se chapas para reproduções e tendo as mesmas um abatimento de 25%“.
+ 
+Fernando Skarke. Verso do retrato de Verano Alonso, 1891. Santos, SP / Acervo Museu Histórico Nacional
+ 
+Fernando Skarke. Retrato de Verano Alonso, 1891. Santos, SP / Acervo Museu Histórico Nacional
+ 
+1892 – Fez propaganda de suas novas instalações, dotadas de “um magnífico e espaçoso salão, com excelente luz”, além de máquinas modernas e vários fundos, entre eles as paisagens” (Folha da Tarde, 22 de março de 1892). Na ocasião, seu ateliê ficava na Praça da República, 16, em Santos.
+ 
+Verso de um cartão de Fernando Skarke / Acervo de Marjorie C.F. Medeiros)
+ 
+Fernando Skarke. Retrato de casal não identificado, 18?. Santos, SP ? Acervo Museu Histórico Nacional
+ 
+1894 - Meta decidiu ter o segundo filho junto à mãe, Gesine Schwarting, na Alemanha. Em Lesum, perto de Bremen, nascimento da filha primogênita do casal, Melitta. Um ano depois, as três vieram para o Brasil.
+Todos os demais filhos de Skarke nasceram em Santos: Thereza (1896 – ?), Hugo Fernando (1898 – 197?), Regina (c. 1900 – ?) e Erna (c. 1902 – ?).
+ 
+Fernando Skarke. Os cinco filhos de Fernando e Meta Gersine Skarke, c. 1905 / Acervo pessoal de Luiz Henrique Pitombo, bisneto do fotógrafo
+ 
+1908 a 1911 - Seu ateliê, em Santos, ficava na rua São Leopoldo, 14. Nessa mesma época, além da Société Photographique Internacional, atuavam na cidade outros fotógrafos como Carlos W. Weize (18? – 19?), Gustavo Paiva (18? – 19?), Emílio Gottschalk  (18? – 19?), o alemão Hermann Eckman (18? – 19?) e J. Marques Pereira (18? – 19?) –  no Almanak Laemmert o nome deste último fotógrafo aparece como J. Moraes Pereira (Almanak Laemmert, 1908, última coluna; Almanak Laemmert, 1910, segunda coluna; Almanak Laemmert, 1911, primeira coluna).
+ 
+Almanak Laemmert, 1908, última coluna
+ 
+1912 - Skarke fotografou o passe-partout, desenhado pelo apreciado pintor Waldemir Alfaya, das diplomandas de 1911 da Associação Feminina Santista. A imagem foi publicada em A Fita, revista humorística, literária e ilustrada, fundada em 1911 e dirigida por Bento de Andrade e Manoel Pompílio dos Santos (A Fita, 1º de maio de 1912).
+ 
+A Fita, 1º de maio de 1912
+ 
+1914 – Fotografou Um almoço de caridade, oferecido, no Natal de 1913, aos presos da Cadeia Pública de Santos, pela Associação das Mães Cristãs (A Fita, 15 de janeiro de 1914).
+ 
+A Fita, 15 de janeiro de 1914
+ 
+Neste ano, durante a Primeira Guerra Mundial, Hugo Fernando (1898 – 197?), sucessor do pai na Photo Skarke, estava estudando, provavelmente, fotografia, na Alemanha.
+c. 1930 - A Photo Skarke ficava no Largo Santa Ifigênia, 12, em São Paulo, endereço conhecido por seu comércio sofisticado, frequentado pelas famílias do bairro Campos Elísios.
+1931 - Uma fotografia realizada pela Photo Skarke da feminista Maria Prestia (? – 1988) foi enviada por ela a então presidente da Federação Brasileira pelo Progresso Feminino, a cientista Bertha Lutz (1894 – 1976).
+ 
+ Photo Skarke. Maria Prestia, 1931. São Paulo, SP / Acervo Arquivo Nacional
+ 
+1935 - Fernando Skarke faleceu, vítima de arteriosclerose, em 18 de abril de 1935, aos 76 anos, em São Paulo, na casa de seu filho Hugo, à rua Tupi, no bairro de Santa Cecília. Foi enterrado no Cemitério do Redentor.
+ 
+Fernando Skarke. Erna, filha de Fernando Skarke, c. 1905. Santos, SP / Acervo pessoal de Luiz Henrique Pitombo, bisneto do fotógrado
+ 
+A Brasiliana Fotográfica agradece ao bisneto de Fernando Skarke, Luiz Henrique D. T. Pitombo que, generosamente, forneceu informações importantes acerca da Photo Skarke, além de ter cedido imagens para essa publicação.
+Agradecimentos também à pesquisadora Maria Isabel Lenzi e à arquivista Daniella Gomes dos Santos, ambas do Museu Histórico Nacional, que viabilizaram, para essa publicação, a digitalização das imagens da referida instituição e de sua disponibilização no acervo da Brasiliana Fotográfica.
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+Hemeroteca Digital da Biblioteca Nacional
+KOSSOY, Boris. Dicionário histórico-fotográfico brasileiro: fotógrafos e ofício da fotografia no Brasil (1833-1910). São Paulo: Instituto Moreira Salles, 2002.
+KOSSOY, Boris. Origens e expansão da fotografia no Brasil : século XIX. Prefácio Boris Kossoy. Rio de Janeiro: Funarte, 1980. 128 p.
+FERREZ, Gilberto. A Fotografia no Brasil: 1840-1900 / Gilberto Ferrez; [prefácio por Pedro Vasquez] – 2ª ed. – Rio de Janeiro: FUNARTE: Fundação Nacional Pró-Memória, 1985.
+PITOMBO, Luiz Henrique D. T. Fernando Skarke – fotógrafo pioneiro.
+Site Câmara de Piracicaba
+Site Coisas Antigas
+Site Enciclopédia Itaú Cultural
+Site Fundação Conrado Wessel
+Site Novo Milênio
+Site Secretaria de Cultura e Turismo de Piracicaba
+VASQUEZ, Pedro Karp. Dom Pedro II e a fotografia no Brasil. Rio de Janeiro: Fundação Roberto Marinho: Companhia Internacional de Seguros: Ed. Index, 1985.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/9332` — `itens/20.500.12156.1_9332/`
+- `20.500.12156.1/9330` — `itens/20.500.12156.1_9330/`
+- `20.500.12156.1/9331` — `itens/20.500.12156.1_9331/`
+- `20.500.12156.1/9333` — `itens/20.500.12156.1_9333/`
+- `20.500.12156.1/6570` — `itens/20.500.12156.1_6570/`
+
diff --git a/wordpress/21888-serie-avenidas-e-ruas-do-brasil-viii-a-rua-da-carioca-por-cassio-loredano.md b/wordpress/21888-serie-avenidas-e-ruas-do-brasil-viii-a-rua-da-carioca-por-cassio-loredano.md
new file mode 100644
index 0000000..6e7765b
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+++ b/wordpress/21888-serie-avenidas-e-ruas-do-brasil-viii-a-rua-da-carioca-por-cassio-loredano.md
@@ -0,0 +1,133 @@
+---
+id: 21888
+url: "https://brasilianafotografica.bn.gov.br/?p=21888"
+titulo: "Série “Avenidas e ruas do Brasil” VIII – A Rua da Carioca por Cássio Loredano"
+autor: "Andrea Wanderley"
+data: "2021-01-20T10:24:44+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/3681", "20.500.12156.1/2153", "20.500.12156.1/2296", "20.500.12156.1/6709", "20.500.12156.1/3579", "20.500.12156.1/2793", "20.500.12156.1/7032"]
+fetched_at: "2026-09-10T10:06:31.153Z"
+---
+
+# Série “Avenidas e ruas do Brasil” VIII – A Rua da Carioca por Cássio Loredano
+
+A Brasiliana Fotográfica celebra o Dia de São Sebastião, padroeiro do Rio de Janeiro, com a publicação do oitavo artigo da série “Avenidas e ruas do Brasil”. É o jornalista e caricaturista Cássio Loredano que nos conta a história de uma das ruas mais antigas e representativas da cidade, a Rua da Carioca, no Centro, que traz no seu nome, desde 1848, por deliberação da Câmara Municipal da Corte, a denominação daqueles que nascem na cidade (Diário do Rio de Janeiro, 8 de novembro de 1848, terceira coluna). Mas já foi, há séculos, chamada de Caminho do Egito e Rua do Piolho.
+Acessando o link para as fotografias do largo e da Rua da Carioca disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.  
+ 
+Série “Avenidas e ruas do Brasil” VIII – A rua da Carioca por Cássio Loredano
+Cássio Loredano*
+ 
+Phototypia A. Ribeiro; Maison Chic. Largo da Carioca, 1912?. Rio de Janeiro, RJ / Acervo FBN
+ 
+Degredar foi em Portugal, desde o século XVI, uma das penas impostas a quem tinha contas a ajustar com a lei. E foi disso que se lembraram por lá quando, no início do Setecentos, pretenderam se ver livres de uma gente incômoda que em toda a Europa e ao longo de séculos era alvo de ondas recorrentes de antipatia, segregação, preconceitos e perseguições, – os ciganos: mandar para o Brasil. E no Rio de Janeiro, como eram “intocáveis”, em grego
+athígganos, isto é, que não queriam e, mais do que não quererem, eram proibidos de contato com cristãos, foram armar suas barracas fora dos estreitos limites municipais de então: lá para os lados do Rocio grande, na época Campo da Cidade, e numa rua que a partir dele se formou e se chamou Rua dos Ciganos. O próprio campo passou a ser então também chamado dos Ciganos.
+ 
+H. Mutlow. View in Rio de Janeiro. Largo do Rocio, popularmente chamado Campo dos Ciganos / Acervo FBN – Site MultiRio
+ 
+Que são as atuais Rua da Constituição e praça Tiradentes. O acesso a esse campo se dava pelo que é hoje a Rua da Carioca e era um tortuoso “caminho que pelo areal passa pelo pé do outeiro de São Francisco (Santo Antônio)”.
+ 
+Augusto Stahl. Praça da Constituição, atual Praça Tiradentes, destaque para a estátua equestre de Pedro I, c. 1865. Rio de Janeiro, RJ / Acervo IMS
+ 
+Essa hesitação na toponímia se deve a que Santo Antônio de Lisboa era franciscano. Saiu a pé para a Itália, onde ingressou nessa ordem, se fez doutor e lecionou Teologia em Bolonha. Foi canonizado como Santo Antônio de Pádua, cidade em que morreu. Era soldado honorário do exército português e, quando o Rio foi atacado em 1710 por um pirata francês, Jean-François Duclerc, tiveram a ideia de tirar sua imagem do frontão da igreja e colocá-la em cima do muro do convento para inspirar os defensores da cidade. A isso atribuído o êxito da campanha, promoveu-se o santo a tenente-coronel e lhe outorgaram a grã-cruz da Ordem Militar de Cristo. Quando, um ano depois, outro pirata, René Duguay-Trouin, veio vingar Duclerc, que tinha morrido no Rio, não houve santo que evitasse a nódoa que ficou no brasão da cidade.
+ 
+Os piratas franceses Jean-François Duclerc (16? – 1711) e René Duguay Troin (1673 – 1736)
+ 
+°°°
+Em 1967, dois anos depois o do 4º centenário da, com nódoa ou sem nódoa, “mui heróica e leal” São Sebastião do Rio de Janeiro, o Instituto Histórico e Geográfico Brasileiro, IHGB, publicou um preciosíssimo Atlas da evolução urbana da cidade, de Eduardo Canabrava Barreiros. São vinte e duas pranchas em que nos passa sob o olhar tudo o que houve com o plano municipal ao longo de quatrocentos anos: abertura de caminhos, ruas e praças, desmontes de morros, aterros de lagoas, charcos e perfis litorâneos, etc.
+ 
+
+ 
+A prancha 10 do atlas, que  tem por base uma planta de 1713, de José Massé, ensina que aquele “caminho do areal” passara a se chamar Caminho do Egito. Em sua História das ruas do Rio, Brasil Gerson levanta a possibilidade de ter havido em algum ponto do caminho um oratório com a imagem da fuga de Maria, José e o Menino para o Egito para escapar ao infanticídio decretado por Herodes. Muito mais plausível, embora não se conheça documento que o comprove, é que se chamasse do Egito por conduzir ao campo dos Ciganos, como está no último romance da pentalogia carioca de Alberto Mussa, A biblioteca elementar, de 2018.
+ 
+Quando a Rua da Carioca ainda se chamava Caminho do Egito / Proposta Pedagógica: território e imagem, inspirada na plataforma Imagine Rio – IMS
+ 
+Em algumas línguas, português, italiano, alemão, manteve-se a palavra grega que Bizâncio usou, athígganos, como derivação para cigano, zíngaro, Zigeuner (tsigóiner). Esses nômades originários da Índia tinham entrado na Europa com as invasões mongóis do século XIII e subido até a Boêmia pelo vale do Danúbio. Outro itinerário de entrada teria sido via Egito, e isso diziam os próprios ciganos, o que originou as palavras por que foram chamados em outras línguas. Em castelhano, gitanos, de egiptanos. Em francês, além do empréstimo tomado ao castelhano, gitans, também égyptiens ou bohémiens, dependendo de se tinham chegado pelo Mediterrâneo ou descido pelo continente, – e Victor Hugo pode numa mesma página de Notre-Dame de Paris chamar sua Esmeralda de bohémienne ou égyptienne. Em inglês, simplesmente gypsys ou gipsys.
+Ora, os degredados do campo dos Ciganos diziam que tinham entrado na Europa passando pelo Egito e é mais plausível que por isso a rua tenha se chamado assim do que pelo oratório imaginado por Brasil Gerson.
+ 
+Degredados de Portugal, os ciganos se instalaram na imediação da Tiradentes. Alguns enriqueceram traficando escravizados. Interior da casa de um deles, em gravura de Jean-Baptiste Debret, 1820 / Site MultiRio
+ 
+º º º
+ 
+Tom Jobim dizia que o Brasil não é para principiantes. Aqui, prostitutas se apaixonam e traficantes se viciam. E cigano se fixa, cigano se estabelece. E o mesmo Brasil Gerson nos conta como alguns deles ganharam dinheiro com o negócio negreiro no Valongo e deixaram seus acampamentos para vir morar dentro dos limites da cidade. Na Rua do Piolho, como tinha passado a se chamar o caminho do Egito, segundo o mapa de André Vaz Figueira, de 1750, base para a prancha 12 do atlas de Canabrava Barreiros.
+“Piolho” era como a vizinhança chamava um solicitador da época, cujo nome a história esqueceu, apelido que se dava a gente que como ele vivia escarafunchando arquivos e cartórios em busca de questões de que pudesse tirar proveito. “Piolho das roupas”, “piolho em costura”. Algo como hoje muquirana (aliás o nome do piolho em tupi), parasita, sanguessuga.
+ 
+Georges Leuzinger. Rua do Piolho e Praça da Constituição, c. 1870. Rio de Janeiro, RJ / Acervo IMS
+ 
+No começo, o caminho do Egito só tinha casas do lado direito de quem vai para o campo. Do lado esquerdo, só havia uma cerca que separava da cidade os domínios dos franciscanos. Mas quando a ordem terceira de São Francisco da Penitência construiu seu hospital no sopé do morro, detrás dele ficou aberto o espaço em que se fizeram as casas do lado esquerdo e a Rua do Piolho passou a tê-las dos dois lados. O “Piolho” tinha na rua a casa em que morava e mais três que alugava.
+Na Planta Régia mandada fazer em 1808 pela casa real que chegara ao Brasil naquele ano, a rua ainda se chama do Piolho, mas o campo é da Lampadosa, por causa da igreja dessa virgem que havia (e há) na Rua do Sacramento, atual Avenida Passos. Nessa igreja o Tiradentes teve licença de ouvir uma missa antes de ser  levado ao patíbulo que estava para ele armado no centro do campo.
+ 
+º º º
+ 
+Em 1723, tinha sido mandada aterrar uma lagoa, às vezes só charco, emanação de miasma e criadouro de mosquitos que havia embaixo, defronte ao convento de Santo Antônio (como se vê no mapa acima, diante do convento assinalado pelo quadrado preto). Naquele espaço se construiu o primeiro chafariz “da Carioca”. De suas 16 bicas despejava a água que os velhos arcos construídos pelo governador Aires Saldanha traziam da nascente do rio Carioca pelos altos de Santa Teresa. Depois, Gomes Freire, também governador, mandou subir o maravilhoso monumento que são os Arcos da Lapa, com o idêntico propósito de vencer o vale entre os morros de Santa Teresa e Santo Antônio, trazendo a água para um novo, enorme chafariz de agora 35 torneiras. E largo da Carioca passou a se chamar o espaço do antigo viveiro pestilento aterrado. (Como “da Carioca” se chamara lá atrás o caminho que levava até a foz do rio Carioca, na atual praia do Flamengo, onde se fazia a aguada, o reabastecimento de água doce a bordo das embarcações que estavam fundeadas na baía. Quando a Rua do Cano, atual Sete de Setembro, e o chafariz do Mestre Valentim puxaram a água até o largo do Paço, a aguada dos marinheiros passou a se fazer com muito maior comodidade, no cais Pharoux.)
+ 
+Marc Ferrez. Largo da Carioca, chafariz com 35 bicas, c. 1895. Rio de Janeiro, RJ / Acervo IMS
+ 
+A Rua do Piolho, que ganhou a importância de ser o acesso de quem morava lá fora à água do chafariz, passou com o tempo a ser também chamada  de Rua da Carioca, como consta na planta Garnier, de 1859, prancha 16 do atlas do IHGB. Nela, o campo da Lampadosa tinha mudado de novo de nome, praça da Constituição. Sempre se disse que o novo nome comemorava a primeira constituição do Brasil independente, de 1824. Brasil Gerson avança, porém, a informação de que isto foi porque na praça, dia 26 de fevereiro de 1821 – e apenas dois meses antes de seu embarque de volta a Portugal, a 25 de abril – d. João VI jurou “as bases da futura Constituição a ser votada pelas Cortes de Lisboa”. A República rebatizou outra vez o velho campo: praça Tiradentes.
+No começo do século XX, a administração Pereira Passos tornou o velho caminho uma rua reta, alargou-a, arborizou-a e a tornou importante eixo de ligação centro-norte da cidade, com suas “colegas” lá na frente, Visconde do Rio Branco, Frei Caneca, Salvador e Estácio de Sá, Haddock Lobo e por ali adiante. Depois, ganharam a concorrência brutal da Presidente Vargas. A rua manteve um charme que foi devagar se degradando e entrou na depressão que agora está atravessando e que se comunica a seus frequentadores mais antigos.
+º º º
+Em 1862, instalou-se no centro da então praça da Constituição o primeiro e possivelmente o mais belo bronze da cidade, a estátua equestre de Pedro I, esculpida e fundida em Paris nas oficinas de Louis Rochet. O imperador está brandindo um calhamaço que seria a constituição de 1824, origem da tal confusão que se criou com a afirmação de Brasil Gerson.
+ 
+Manoel Banchieri. Estátua equestre de Pedro I, 1862. Rio de Janeiro, RJ / Acervo FBN
+ 
+º º º
+2020
+Da praça que emoldura o monumento, três quartos das portas estão arriados, a maioria – por causa da pandemia – definitivamente. Na face entre a Rua da Carioca e a Visconde do Rio Branco estão os dois hotéis da esquina da rua Silva Jardim: o decadente e o moderno da cadeia Ibis. Há depois uma loja de ferragens e “sebo” mais nenhum. O Teatro Carlos Gomes está obviamente fechado e o quartel da polícia foi abandonado. Do lado onde funcionou o lendário dancing Estudantina Musical, estão o palacete do visconde do Rio Seco, imponente e restaurado, e seu vizinho moderno, ambos abrigando agora o Centro de Referência do Artesanato Brasileiro. Depois, só mais a tradicional loja Tic-tac, sapataria nos três sentidos: indústria, comércio e reparo de sapatos e consertos gerais. O resto, até a Rua da Constituição, é deprimente, doze portas de aço fechadas, enferrujando.
+Dessa Rua da Constituição, há quatro anos, saem, passam pela praça e se enfiam pela Rua Sete de Setembro os trilhos da linha 2 do VLT, tetrassílabo tolo, quando se tem bonde, delicioso brasileirismo quase monossilábico. Desse lado da praça, funciona um pequeno supermercado. A casa onde morou a cantora Bidu Sayão foi restaurada e abandonada. Na esquina da Rua da Imperatriz há um café e restaurante novo, bastante simpático. Na pequena quadra dali até a Avenida Passos funcionou no século XIX a tipografia e editora do grande Francisco de Paula Brito, aliás nascido na Rua do Piolho, primeiro empregador de um certo Quincas, jovem revisor, por extenso Joaquim Maria Machado de Assis. Hoje ali não há mais nada e o outrora imponente casarão da esquina da avenida é uma perigosa ruína. O Teatro João Caetano está também sem função. Na face entre a Rua do Teatro e a da Carioca existe uma caixa de fósforos estreita e comprida, de 31 andares, isolada e horrorosa, o Edifício Centro Paulista. Fora isso, mais nada. Uma filial da Adega do Pimenta, de Santa Teresa, está fechada.
+Entremos então pela Rua da Carioca. Mais ou menos metade das portas também está fechada. Do tradicional polo de lojas de instrumentos musicais ainda resistem oito, mas não mais nem A Guitarra de Prata, nem O Bandolim de Ouro. Das de malas ainda existem quatro. De guarda-chuvas, uma só e só uma de chapéus de sol e cadeiras de praia.
+Do lado esquerdo de quem está indo para o Largo da Carioca, está a metade do que foi a fachada do Cinema Ideal, com sua marquise de vidro sustentada por belo artesanato de ferro art déco. A sala tinha o luxo de um teto retrátil para noites limpas de verão. A seguir, chega-se a uma simpaticíssima servidão de passagem para a Rua Sete de Setembro, Rua do Verde, inteiramente dedicada a comércios de plantas; e uma filial do paraíso, a loja do Palácio das Ferramentas. Na esquina de Ramalho Ortigão existiu muito tempo um lindo armazém do tipo da Casa Paladino, na Rua Uruguaiana, ou o do Senado na Gomes Freire e o Gomes de Santa Teresa. Pé-direito altíssimo, mobiliário até o teto em madeira escura entalhada e portas de cristal, balcões, prateleiras e gôndolas com milhares de garrafas de toda aguardente imaginável, compotas, rapaduras envoltas em folhas de bananeira secas ou palha de milho. Bar Flora. Agora na esquina, no espaço de um terço do que era, está um bar com graça zero, tudo de fórmica, em que  pessoas engolem de pé e depressa uma fritura massuda qualquer com qualquer refresco para ajudar a descer.
+No sobrado do nº 38 – magnificamente restaurado, deixando à mostra por dentro a antiga alvenaria de pedra e argamassa à base de óleo de baleia -, funcionava até a pandemia e reabrirá depois dela a Casa do Choro, iniciativa de Luciana Rabello, reduto da melhor música instrumental da cidade.
+Mas atravessemos a rua. No pequeno edifício estreito do nº 59, ocupou um andar a última redação do Pasquim, em que, praticamente sozinhos, Jaguar e Reinaldo “casseta” levaram o barco até o fim. O segundo andar do 53 foi o lendário restaurante Zicartola. Os donos, Cartola e sua mulher Zica, a chefe da cozinha, moravam no andar de cima. O local tinha um espaço em que se apresentava a nata do universo do samba carioca – e onde Hermínio Bello de Carvalho concebeu o espetáculo Rosa de Ouro, de 1965. O Zicartola foi o primeiro palco de Paulinho da Viola.
+Seguindo: Cinema Iris. Em 1973, o patrimônio fechou, para restaurar sua arquitetura eclética e a bela escadaria de ferro que leva ao balcão, a sala que exibia filmes pornô, – mas em que o mais picante não se passava na tela. Na reinauguração, houve uma concorridíssima festa, com público nada a ver com o que habitualmente frequentava suas poltronas. Cinema mudo a noite toda, animado pela orquestra de Nicolino Coppia, o maestro Copinha. Dali, saiu todo mundo para o Bar Luiz. No dia seguinte, o Iris já tinha voltado à velha batida. Esteve fechado desde março por causa da pandemia, mas reabriu agora em setembro. “O melhor do Rio em filmes eróticos” é o orgulhoso aviso que recebe o público: “três filmes pornô” por 20 módicos reais.
+ 
+Augusto Malta. Cine Iris, 1921. Rio de Janeiro, RJ / Acervo IMS
+ 
+O Bar Luiz, antes de vir para a Rua da Carioca, 39, fora na Rua da Assembleia, de um alemão chamado Wendling. Quando se mudou, veio como Adolf, Bar Adolf. Óbvio, na guerra foi obrigado a mudar. Passava por ter o melhor chope da cidade, mesmo quando a cozinha já não era mais nada do outro mundo. Até que alguns anos atrás um novo dono tivesse a infeliz ideia de tirar a chopeira da Brahma e botar a da cervejaria Sol. Pronto: debandada geral. Ninguém mais ia lá – e agora, ainda por cima, veio a pandemia. O bar foi reaberto com menos mesas, mas as mesmas toalhas imaculadas dando destaque às belas cadeiras pretas tipo austríacas. O chope voltou a ser Brahma. Mas o estrago que se conseguiu num dia pode levar anos para ser reparado, – se é que será possível reparar.
+Desse lado impar, do Bar Luiz até o Largo da Carioca, há ainda uma loja de roupas masculinas, outra de artigos esportivos, uma sapataria e as lojas de artigos de praia e malas, mas não mais a Mala Carioca, a Mala Inglesa ou A Mala Amada. E uma loja maluca, O Rei das Facas, cutelaria que é também armeiro – espadas decorativas, lanças, fuzis, pistolas, munição -, loja de ferramentas e ferragens, aqueles velhos moedores de carne caseiros, manuais, panelas de ferro, máquinas também manuais de esticar massa de pastel,  penicos de ágate etc.
+Entre esses poucos negócios, tudo portas de aço arriadas.
+E assim chegamos ao Largo da Carioca, presidido pelo Convento e a Igreja de Santo Antônio e a da Ordem Terceira de São Francisco da Penitência – pequenina preciosidade inteiramente forrada de ouro -, no alto do pouco que restou do Morro de Santo Antônio.
+ 
+Augusto Malta. Convento e Igreja de Santo Antônio, 1902. Rio de Janeiro, RJ / Acervo IMS
+ 
+Na área que foi desmontada, abriu-se a “esplanada das estatais”, Petrobrás, BNDES, BNH. No centro do largo continua o velho relógio, que ficou anos parado e recentemente voltou a funcionar. No subsolo, a estação Carioca do metrô, cuja obra demoliu a loja de discos Palermo, que aparece no filme Garrincha, alegria do povo, de Joaquim Pedro de Andrade: Mané consultando as bancadas de LPs. Lá no fundo, o edifício do Liceu Português, na esquina de Senador Dantas, e à esquerda, na de Bitencourt da Silva, os fundos da Caixa Econômica e do premiado edifício modernista de Henrique Mindlin, o Avenida Central.
+ 
+Largo da Carioca, por Cássio Loredano, 2015 / Acervo IMS
+ 
+Uma banca de jornais vende mapas e painéis de anatomia daqueles de antigas salas de aula. De vez em quando aparece um vendedor de panaceias em garrafadas, um sujeito com cobras, engolidores de fogo. Um homenzinho de Bíblia em punho anuncia para a indiferença geral o final dos tempos.
+ 
+* Cássio Loredano é jornalista e caricaturista. E, sobretudo, um apaixonado pelo Rio de Janeiro e suas histórias.
+ 
+Links para as outras publicações da série “Avenidas e ruas do Brasil”
+ Série “Avenidas e ruas do Brasil” I – Avenida Central, atual Rio Branco, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 7 de setembro de 2016
+Série “Avenidas e ruas do Brasil” II – A Rua do Imperador em Petrópolis por Klumb, Leuzinger e Stahl, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 26 de junho de 2020
+Série “Avenidas e ruas do Brasil” III – A Rua do Bom Jesus, no Recife, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 6 de agosto de 2020
+Série “Avenidas e ruas do Brasil” IV – A Rua 25 de Março, em São Paulo, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 1º de setembro de 2020
+Série “Avenidas e ruas do Brasil” V – A Rua Direita, a Rua das Mercês e a Rua Macau do Meio, em Diamantina, Minas Gerais, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 22 de outubro de 2020
+Série “Avenidas e ruas do Brasil” VI  – Rua Augusto Ribas e outras, em Ponta Grossa, no Paraná, pelo fotógrafo Luiz Bianchi, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 16 de novembro de 2020
+Série “Avenidas e ruas do Brasil” VII – A Avenida Atlântica, em Copacabana, no Rio de Janeiro, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 23 de dezembro de 2020
+Série “Avenidas e ruas do Brasil” IX – Ruas e panoramas do bairro do Catete, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 14 de julho de 2021
+Série “Avenidas e ruas do Brasil” X – A Rua da Ajuda, no Rio de Janeiro, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 9 de novembro de 2021
+Série “Avenidas e ruas do Brasil” XI – A Rua da Esperança, em São Paulo, por Vincenzo Pastore, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 14 de dezembro de 2021
+Série “Avenidas e ruas do Brasil” XII – A Avenida Paulista, o coração pulsante da metrópole, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 21 de janeiro de 2022
+Série “Avenidas e ruas do Brasil” XIII – A Rua Buenos Aires no Centro do Rio de Janeiro, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 19 de julho de 2022
+Série “Avenidas e ruas do Brasil” XIV – A Avenida Presidente Vargas,, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 31 de agosto de 2022
+Série “Avenidas e ruas do Brasil” XV – Misericórdia: rua, largo e ladeira, no Rio de Janeiro, por Cássio Loredano, de autoria de Cássio Loredano, publicada em 8 de dezembro de 2022
+Série “Avenidas e ruas do Brasil” XVI – “Alguma coisa acontece no meu coração”, a Avenida São João nos 469 anos de São Paulo, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 25 de janeiro de 2023
+Série “Avenidas e ruas do Brasil” XVII  e série “O Rio de Janeiro desaparecido” XXIII – A Praia e a Rua do Russel, na Glória, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 15 de maio de 2023
+Série “Avenidas e ruas do Brasil” XVIII – Avenida Beira-Mar, de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal, publicada em 22 de janeiro de 2024
+ 
+ 
+_____________________________________________________________________________
+Link para a Proposta Pedagógica: território e imagem, realizada pela equipe educativa do IMS-RJ sob inspiração da plataforma interativa ImagineRio, que ilustra a partir de fotografias, ilustrações e mapas as transformações sociais e urbanas da cidade do Rio de Janeiro.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/3681` — `itens/20.500.12156.1_3681/`
+- `20.500.12156.1/2153` — `itens/20.500.12156.1_2153/`
+- `20.500.12156.1/2296` — `itens/20.500.12156.1_2296/`
+- `20.500.12156.1/6709` — `itens/20.500.12156.1_6709/`
+- `20.500.12156.1/3579` — `itens/20.500.12156.1_3579/`
+- `20.500.12156.1/2793` — `itens/20.500.12156.1_2793/`
+- `20.500.12156.1/7032` — `itens/20.500.12156.1_7032/`
+
diff --git a/wordpress/21929-mercado-publico-de-sao-jose-por-manoel-tondella-1861-1921.md b/wordpress/21929-mercado-publico-de-sao-jose-por-manoel-tondella-1861-1921.md
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+---
+id: 21929
+url: "https://brasilianafotografica.bn.gov.br/?p=21929"
+titulo: "Mercado Público de São José por Manoel Tondella (1861 – 1921)"
+autor: "Andrea Wanderley"
+data: "2021-03-12T09:45:15+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/6922"]
+fetched_at: "2026-09-10T10:06:34.195Z"
+---
+
+# Mercado Público de São José por Manoel Tondella (1861 – 1921)
+
+Com um belo registro produzido pelo fotógrafo Manoel Tondella (1861 – 1921) do Mercado Público de São José no Recife, monumento tombado, em 1973, pelo Instituto do Patrimônio Histórico e Artístico Nacional, a Brasiliana Fotográfica festeja o aniversário de fundação da cidade, ocorrida em 12 de março de 1537.  Recife é a mais antiga capital dos estados brasileiros. Tondella, de ascendência portuguesa, foi um dos mais importantes fotógrafos de Pernambuco da segunda metade do século XIX, período a partir do qual Recife tornou-se referência histórica para a fotografia no Brasil. Documentou em imagens as transformações da cidade, entre os anos 1890 e as duas primeiras décadas do século XX.
+ 
+Almanach de Pernambuco, 1901
+ 
+O Mercado Público de São José, localizado em frente à Igreja Nossa Senhora da Penha, no bairro de São José, um dos mais antigos da cidade, ficou no lugar do antigo Mercado da Ribeira de Peixes. Inaugurado em 7 de setembro de 1875 (Diário de Pernambuco, 9 de setembro de 1875, última coluna), foi inspirado no Mercado Público de Grenelle, em Paris, projeto de A. Normand, e sua arquitetura em ferro é típica do século XIX.
+ 
+Conclusão do discurso inaugural do Mercado Público de São José, proferido pelo pró-presidente da Câmara Municipal do Recife, João Pedro das Neves / Diário de Pernambuco, 9 de setembro de 1875
+ 
+ 
+Manoel Tondella; Photographia Tondella. Mercado Público de São José, 1905. Recife, Pernambuco / Acervo Fundaj
+ 
+É o mais antigo edifício pré-fabricado em ferro no Brasil e seu estilo conferia status ao Recife, que crescia e perseguia o caráter da modernidade, que passava pelos conceitos de higiene e de melhorias urbanas (Diário de Pernambuco, 12 de novembro de 1870, quarta coluna). Os locais de comércio de alimentos teriam que atender a essas novas diretrizes a partir da retirada das ruas de mascates, ambulantes e feiras. Assim, a construção do mercado “representaria o ideal de organização e padronização de um comércio que, antes, se encontrava disperso em forma de comércio ambulante, realizado por negros forros, escravos e trabalhadores livres.” (GUILLEN; GRILLO; FARIAS, 2010).
+ 
+Termo de inauguração e abertura do Mercado de São José / Diário de Pernambuco, 7 de setembro de 1975
+ 
+A encomenda do projeto do Mercado de São José pela Câmara Municipal do Recife foi feita ao engenheiro pernambucano João Luiz Victor Lieutier (c. 1819 – 1883), que havia feito seus estudos em Paris (Diário Novo, 12 de agosto de 1845, primeira coluna ; Diário de Pernambuco, 29 de novembro de 1870, quarta coluna; Diário de Pernambuco, 10 de junho de 1883, última coluna). O detalhamento ficou sob a responsabilidade do engenheiro francês Louis Léger Vauthier (1815 – 1901), que havia sido o autor do projeto do Teatro de Santa Isabel (1850), além de ter ocupado o cargo de Diretor de Obras Públicas do Recife. Ele coordenou as obras do mercado, que começaram em 14 de junho de 1872, por determinação do presidente da província de Pernambuco, Henrique Pereira de Lucena (1835 – 1913). O empreiteiro foi José Augusto de Araújo e o custo da obra ultrapassou, devido às modificações sugeridas por Vauthier para adequar o edifício ao clima tropical, quase cinco milhões de réis, totalizando 390:315$136 (trezentos e noventa milhões, trezentos e quinze mil, centro e trinta e seis contos de réis).
+A primeira reforma realizada no Mercado de São José, em 1906, durou quase um ano e foram executadas obras de reparo e a também a retirada de barracas do pátio interno, além de sua pavimentação. Na ocorrida em 1941, foi construída a câmara frigorífica do mercado. Suas venezianas de madeira e vidro foram, em 1950, substituídas por cobogós de cimento (Diário de Pernambuco, 15 de fevereiro de 1950, quinta coluna; IPHAN, página 4). No início da década de 80, suas instalações elétricas foram reformadas (Diário de Pernambuco, 4 de janeiro de 1980). A estrutura do edifício foi danificada por um incêndio ocorrido 29 em novembro de 1989 (Diário de Pernambuco, 30 de novembro de 1989). Foi reinaugurado com grande festa em 12 de março de 1994 e, quatro anos depois, foi novamente restaurado.  São conservados até hoje seus detalhes em art-noveau, como as bicas do telhado em forma de animais.
+ 
+Diário de Pernambuco, 30 de novembro de 1989
+ 
+Foi nas décadas de 40 e 50, frequentado por recifenses ilustres como o cronista e compositor Antônio Maria (1921 – 1964) e o poeta Ascenso Ferreira (1895 – 1965). Foi também cenário de diversas manifestações artísticas, tendo sido um importante local de reunião de cantadores, emboladores e poetas da literatura de cordel.  Seus principais produtos, vendidos em cerca de 540 boxes, são o artesanato e a gastronomia do Nordeste, além de ervas medicinais, especiarias e artigos para rituais de religiões de matrizes africanas. O Mercado de São José ocupa uma área coberta de 3.541 metros quadrados, mede 48,88 metros de frente por 75,44 metros de fundo.
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+DANIELLI, Leonardo; MACKMILLAN, Vanderli Machado. Mercado público: tipologias e sociabilidades do ambiente urbano. I Simpósio Nacional de Geografia e Gestão Territorial e XXXIV Semana de Geografia da Universidade Estadual de Londrina, 2018
+GASPAR, Lúcia. Mercado de São José. Pesquisa Escolar Online, Fundação Joaquim Nabuco, Recife.
+GUILLEN, Isabel Cristina Martins; GRILLO, Maria Ângela de Faria; FARIAS, Rosilene Gomes. Mercado de São José: Memória e História. 1.ed. Recife: FADURPE, 2010.
+Hemeroteca Digital da Biblioteca Nacional
+LINS, Marcelo. Mercados do Recife. Recife : Projeto Recife no bolso, 2007.
+MELO, Maria Carneiro Lacerda de. A relação dos mercados públicos de São José e da Boa Vista com a Cidade do Recife entre 1820 e 1875. Pernanbuco : Universidade Federal de Pernambuco, 2011.
+Memória da Escravidão e cultura negra em Pernambuco Mercado de São José
+OLIVEIRA JÚNIOR, José Vanildo de Oliveira. Fluxograma do processo de planejamento arquitetônico aplicado a
+mercados públicos. 2006. Dissertação (Mestrado em Engenharia Urbana) – Universidade Federal da
+Paraíba, Paraíba.
+Recife – Mercado de São José – Encarte Rotas do Patrimônio – Uma viagem pela história. IPHAN e Monumenta.
+SILVA, Geraldo Gomes da. O Mercado de São José. Recife: Fundação de Cultura da Cidade do Recife, 1984.
+Site Prefeitura do Recife
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/6922` — `itens/20.500.12156.1_6922/`
+
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+---
+id: 22058
+url: "https://brasilianafotografica.bn.gov.br/?p=22058"
+titulo: "A Estrada de Ferro do Paraná, de Paranaguá a Curitiba, pelos fotógrafos Arthur Wischral e Marc Ferrez"
+autor: "Andrea Wanderley"
+data: "2021-03-22T11:06:21+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/8641", "20.500.12156.1/8646", "20.500.12156.1/8649", "20.500.12156.1/8873", "20.500.12156.1/8862", "20.500.12156.1/1792", "20.500.12156.1/2575", "20.500.12156.1/8859", "20.500.12156.1/8906", "20.500.12156.1/2418", "20.500.12156.1/8879", "20.500.12156.1/5345", "20.500.12156.1/2593", "20.500.12156.1/2589"]
+fetched_at: "2026-09-10T10:06:37.635Z"
+---
+
+# A Estrada de Ferro do Paraná, de Paranaguá a Curitiba, pelos fotógrafos Arthur Wischral e Marc Ferrez
+
+O fotógrafo Arthur Wischral / Portal Memória Paranaense
+ 
+Arthur Júlio Wischral (1894 – 1982) foi um importante fotógrafo do Paraná, tendo realizado trabalhos para a imprensa e também para o governo do estado onde atuou. Em 1928, foi contratado pela Rede Viação Paraná – Santa Catarina e registrou o dia a dia das obras de manutenção da estrada de ferro Curitiba-Paranaguá assim como as dificuldades enfrentadas por seus trabalhadores. Um álbum, editado pelo próprio fotógrafo e por J. J. Wischral, foi produzido com esses registros.
+
+ 
+Arthur Wischral e J.J. Wischral. Álbum Photographias da Estrada de Ferro Curitiba-Paranaguá, 1928. Paraná / Acervo IMS
+ 
+Arthur Wischral. Túneis nº 12 e 11, 1928. Paraná / Acervo IMS
+ 
+
+Acessando o link para o Álbum de Photografias da Ferrovia de Curytiba a Paranaguá, de autoria de Arthur Wischral, disponível na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Arthur Wischral. Locomotiva, 1928. Paraná / Acervo IMS
+ 
+No final do artigo, há uma cronologia da vida de Wischral.
+ 
+Um pouco da história da ferrovia Curitiba-Paranaguá, cuja construção foi registrada pelo fotógrafo Marc Ferrez (1843 – 1923)
+ 
+Marc Ferrez. E. de F. de Paranagua a Corityba : tunel do Rochedo, K. 60.614, 1880-1884. Paraná / Acervo FBN
+ 
+O surgimento dos trens de ferro e a expansão das ferrovias eram no século XIX um evidente sinal de modernidade. Significavam a vitória, o triunfo do homem a partir da tecnologia e tinham como uma de suas consequências o desenvolvimento econômico. A ideia da construção da Ferrovia do Paraná surgiu após a emancipação do estado do Paraná, em 29 de agosto de 1853, a partir da Lei Imperial nº 704, assinada por dom Pedro II(1825 – 1891). Era um desafio escoar a erva-mate, importante produto para a economia do estado, para os portos do litoral. Por essa razão, foi autorizada a contratação de uma via férrea a partir da Lei Provincial nº 11, de 30 de abril de 1856 (Dezenove de Dezembro, 22 de outubro de 1856).
+ 
+Acessando o link das imagens do Álbum da Estrada de Ferro do Paraná, de autoria de Marc Ferrez, disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Porém, só no início da década de 1870, os engenheiros Francisco Monteiro Tourinho (1837 – 1885), Antônio Pereira Rebouças (1839 – 1874) e Maurício Schwartz (18? -?) solicitaram ao Império um pedido de concessão para a construção da ferrovia. Eles já haviam construído a Estrada da Graciosa, também no Paraná. A estrada de ferro do Paraná sairia, a princípio, da cidade de Antonina. Após muita polêmica, o Decreto Imperial de 1.º de maio de 1875 decidiu que o trem partiria de Paranaguá. O argumento foi que a profundidade da baía de Antonina não comportaria navios de grande porte.
+O projeto da ferrovia, arrojado e muito avançado para a época, foi dos irmãos e engenheiros André Rebouças (1838 – 1898) – também abolicionista – e Antônio Pereira Rebouças (1839 – 1874), considerados, até hoje, os primeiros afrodescendentes formados em Engenharia no Brasil. Para realizá-lo, os irmãos fizeram um estudo detalhado da Serra do Mar e elaboraram um traçado cheio de pontes, túneis e viadutos.
+ 
+Os irmãos e engenheiros Antônio e André Rebouças, em pintura de Rodolfo Bernardelli (Museu Histórico Nacional) / Revista Ideias
+ 
+Em 1873, por não conseguir cumprir os prazos estabelecidos para o início das obras, Antônio Rebouças cedeu seus direitos ao Barão de Mauá (1813 – 1889), que também não cumpriu as exigências do contrato. Em 1877, foi aprovado um novo traçado baseado nos originais de Rebouças e com adaptações dos engenheiros Rodolpho Alexandre Helh e Luiz da Rocha Dias. Pelo Decreto n° 7420 de 12 de agosto de 1879, assinado por João Lins Vieira Cansanção de Sinimbu, o Visconde de Sinimbu (1810 – 1906), foi autorizada a transferência de todos os direitos e obrigações dos, desde 1875, concessionários da ferrovia, José Gonçalves Pecego Junior e José Maria da Silva Lemos, à companhia francesa Compagnie Général de Chemins de Fer Brésiliens, que não tinha expertise em relação à construção de estradas de ferro, o que sua companhia associada, a empreiteira belga Société Anonyme de Travaux Dyle et Bacalan, tinha. Ficou, então, encarregada das obras.
+ 
+A sede da empreiteira belga Dyle e Bacalan, na cidade de Lovaina, na Bélgica
+ 
+O diretor dos novos serviços para a construção, um marco da engenharia do Brasil, foi o comendador Antônio Ferrucci (c. 1830 – ?), um dos principais chefes de seu planejamento que, com outros membros da comissão de engenharia da estrada, chegou ao Rio de Janeiro, em 8 de fevereiro de 1880, no paquete francês Gironde (Gazeta de Notícias, 10 de fevereiro de 1880, sétima coluna). Ferrucci comandou as obras até fins de 1881. A partir de 20 de janeiro de 1882, o representante no Brasil da Société Anonyme des Travaux Dyle et Bacalan, o engenheiro Francisco Pereira Passos (1836 – 1913), futuro prefeito do Rio de Janeiro, entregou a chefia das obras ao engenheiro brasileiro João Teixeira Soares (1848 – 1927), que concluiu a construção da ferrovia, sendo o seu primeiro diretor.
+ 
+João Teixeira Soares (1848 – 1927)/ Site Geni
+ 
+A construção da ferrovia para a qual, entre brasileiros e estrangeiros – franceses, italianos, belgas, suíços, suecos e poloneses -, foram empregados cerca de nove mil trabalhadores, alavancou o desenvolvimento de Curitiba assim como a história da economia do Paraná.
+Em 5 de junho de 1880, com a presença de dom Pedro II (1825 – 1891), em sua primeira e única visita ao Paraná, foi lançada a pedra fundamental das obras da ferrovia (Dezenove de Dezembro, 24 de maio de 1880; Dezenove de Dezembro, 9 de junho de 1880, segunda coluna). A inauguração do tráfego regular da primeira seção, o trecho de Paranaguá a Morretes, ocorreu em 17 de novembro de 1883. O da segunda seção, entre Morretes e Borda do Campo ou Roça Nova, em 1884.
+ 
+Marc Ferrez. E. de F. de Paranagua a Corityba : Estação de Morretes K. 40.900, 1880-1884. Paraná / Acervo FBN
+ 
+Em 13 de dezembro de 1884, a princesa Isabel (1846 – 1921), seus filhos, o governador do Paraná, Brasílio Augusto de Machado Oliveira (1848 – 1919); além de outras autoridades viajaram na ferrovia do Paraná, entre Curitiba e Paranaguá, onde a princesa embarcaria para Antonina e depois para Santa Catarina, onde encontraria seu marido, o conde d´Eu (1842 – 1922), em Joinville (Gazeta de Notícias, 14 de dezembro de 1884, primeira coluna; Dezenove de Dezembro, 14 de dezembro de 1884, primeira coluna; O Paiz, 14 de dezembro de 1884, segunda coluna).
+ 
+Alberto Henschel. Princesa Isabel, Conde D’Eu e os filhos D. Pedro de Alcântara, príncipe do Grão-Pará, D. Luís Maria e D. Antônio Gastão, c. 1884 / Acervo IMS
+ 
+No dia 1º de fevereiro de 1885,  partiu da cidade de Curitiba um trem especial com destino à Paranaguá. Nele viajaram o dr. Brasilio Machado (1848 – 1919), presidente da Província; o chefe da Polícia, o senador Pedro Leão Veloso (1828 – 1902), o engenheiro João Teixeira Soares (1848 – 1927), dentre outras autoridades. Em Paranaguá, pelo vapor América, fretado pela Compagnie Général de Chemins de Fer Brésiliens, chegaram da Corte, no dia seguinte pela manhã, entre outros, o ministro da Agricultura, Manoel Pinto de Souza Dantas (1831 – 1894);  os ministros da Bélgica, da Rússia e da França; o Visconde de Paranaguá (1821 – 1912) e o Conselheiro Sinimbu (1810 – 1906) (Dezenove de Dezembro, 4 de fevereiro de 1885).
+ 
+O vapor do mar, em galas, saudava a locomotiva, vapor de terra. Fulton abraçava Stephenson.
+ 
+O fotógrafo Marc Ferrez (1843 – 1923), que fotografou a ferrovia na época de sua construção, estava presente no evento (Dezenove de Dezembro, 4 de fevereiro de 1885, terceira coluna).
+ 
+Marc Ferrez. Marc Ferrez aos 33 anos, c. 1876. Rio de Janeiro / Acervo IMS
+ 
+Ainda na manhã de 2 de fevereiro, às 10h, o trem inaugural da Ferrovia do Paraná partiu de Paranaguá, fez uma parada em Morretes e, às 14h, em Cadeado, onde os convidados almoçaram. Houve uma série de saudações, uma delas feita pelo engenheiro Pereira Passos (1836 – 1913).
+ 
+Marc Ferrez. Paranaguá, 1880-1884. Paraná / Acervo FBN
+ 
+Depois de mais uma parada, na estação de Piraquara, o comboio chegou, às 19h, à Curitiba, tendo sido recepcionado por cerca de cinco mil pessoas que o aguardavam. Às 20:20, a Compagnie Général de Chemins de Fer Brésiliens ofereceu um banquete aos convidados da Corte, em um dos armazéns da estação, ornamentada com as bandeiras belga, brasileira, francesa, italiana e russa. Havia também uma exposição de utensílios dos operários que haviam trabalhado na construção da ferrovia.
+ 
+Marc Ferrez. E. de F. de Paranaguá a Corityba : Província do Paraná : Estação de Corityba, 1880-1884. Paraná / Acervo FBN
+ 
+ 
+Dezenove de Dezembro, 6 de fevereiro de 1885
+ 
+ 
+Dezenove de Dezembro, 1º de abril de 1885
+ 
+Pereira Passos (1836 – 1913) presenteou dom Pedro II (1825 – 1891) com 14 fotografias e um álbum de autoria de Ferrez das obras da ferrovia, Estrada de Ferro do Paraná. O álbum integra a coleção Thereza Christina Maria, mantida na Biblioteca Nacional do Brasil, uma das instituições fundadoras da Brasiliana Fotográfica.
+ 
+Augusto Malta. Francisco Pereira Passos e José Maria da Silva Paranhos Júnior, barão do Rio Branco, 14 de junho de 1911. Rio de Janeiro, RJ / Acervo IMS
+ 
+Em 1886, em uma reunião da Sociedade Central de Immigração, da qual faziam parte, entre outros, o astrônomo belga Louis Ferdinand Cruls (1848 – 1908), o pintor italiano Nicolau Facchinetti (1824 – 1900), e o político Alfredo d´Escragnolle Taunay (1843 – 1899), foram apresentadas por esse último, presidente da associação, fotografias da ferrovia do Paraná, de autoria de Ferrez (A Immigração, agosto de 1886).
+ 
+
+ 
+Acesse aqui o pdf do Álbum da Estrada de Ferro do Paraná, de autoria de Marc Ferrez, com 33 imagens.
+Sobre o viaduto São João, considerado o mais importante de toda a linha, inaugurado em 26 de junho de 1884 e registrado na fotografia abaixo, o engenheiro Teixeira Soares (1848 – 1927) comentou:
+ 
+Marc Ferrez. E. de F. de Paranagua a Corityba : viaducto sobre o rio São João K. 62.210, 4 vãos de 12-16-32-70-12, altura 55m, 1880 – 1884. Paraná / Acervo FBN
+ 
+“Os três vãos pequenos são vencidos com vigas de alma cheia. Só o vão central é de treliça. Assenta sobre pilares de ferro batido, apoiados em base de alvenaria de pedra. A estrutura metálica é fabricada na Bélgica. Fornecemos os perfis do terreno natural e do greide. Eles projetam cada ponte ou viaduto de acordo com o trem de carga especificado. Aqui fazemos a montagem, que não é fácil. Para muita gente pode parecer desperdício pilares metálicos, se estamos rodeados de granito e de gnaisse em abundância. Acontece que a experiência europeia concluiu que, a partir de 30 metros, o ferro torna-se mais econômico do que a alvenaria de pedra. O alojamento e a manutenção do numeroso pessoal necessário à execução de importantes maciços de alvenaria acarretam dificuldades. Embora isso, os pilares metálicos devem ser embutidos em bases de alvenaria, com certa altura. Não só impedem que a unidade provoque a corrosão do metal, como evitam que suba até a estrutura metálica. Para vãos inferiores a 15 metros, os europeus recomendam vigas de alma cheia. Mais afoitos, os americanos as empregam até vãos de 35 metros. Seu inconveniente é a rebitagem. Trabalho insano. Como estamos sujeitos ao mercado europeu, acima de 15 metros usamos vigas em treliça, a exemplo do vão central. As treliças simples são três. Em “V”, conhecidas por vigas ‘Warren’, do nome do engenheiro inglês que primeiro as usou no seu país. Em “N”, ou Monier, nome do engenheiro belga que as patenteou em 1858, na Alemanha. Finalmente as Neville, nome tirado do engenheiro americano que as inventou, mas que não passam de um tipo misto das anteriores. Aqui, dada a extensão do vão, os belgas projetaram uma treliça múltipla dupla.”
+ 
+Pequena cronologia da carreira de Marc Ferrez como fotógrafo no setor ferroviário
+ 
+Família Ferrez. c. 1912. Marc Ferrez está em pé atrás de sua esposa, Marie, ladeados pelo filho do casal, Julio, e sua mulher, Claire. As crianças são Gilberto e Eduardo, netos de Marc. Rio de Janeiro, RJ / Acervo IMS
+ 
+1880 – Entre 1880 e 1890,  fotografou as construções ferroviárias no Brasil, quando produziu um grande panorama da paisagem brasileira de sua época.
+1882 – Fotografou as obras da ferrovia Dom Pedro II, em São Paulo e em Minas Gerais, tendo registrado a presença do imperador Pedro II e de sua comitiva na entrada do túnel da Serra da Mantiqueira (Gazeta de Notícias, 27 de junho de 1882, na quarta coluna).
+ 
+Marc Ferrez. Inauguração de túnel com a presença do imperador e comitiva, 1882 / Acervo IMS
+1883 – O Club de Engenharia ofereceu uma recepção ao engenheiro hidráulico holandês J. Dirks, o grande especialista da época em portos e canais, que estava de passagem pelo Rio de Janeiro e seguiria para Valparaíso, no Chile. Na ocasião, foi realizada uma exposição de fotografias das estradas de ferro, de autoria de Marc Ferrez (Revista de Engenharia, 14 de abril de 1883).
+c. 1884 – Fotografou as obras da ferrovia do Paraná (Paranaguá – Curitiba. O gerente da firma Société Anonyme des Travaux Dyle et Bacalan, empreiteira belga encarregada pelas obras, o futuro prefeito do Rio de Janeiro, o engenheiro Francisco Pereira Passos (1836 – 1913), presenteou dom Pedro II com 14 fotografias e um álbum de autoria de Ferrez com registros da ferrovia e da província do Paraná.
+1884 - Exposição de fotografias da estrada de ferro Teresa Cristina, na A la Glacê Elegante (Gazeta da Tarde, 11 de novembro de 1884, na quinta coluna).
+1885 – Ferrez participou da inauguração da ferrovia do Paraná, a estrada de ferro Paranaguá – Curitiba (Dezenove de Dezembro, 4 de fevereiro de 1885, na terceira coluna).
+1886 – Em uma reunião da Sociedade Central de Immigração, da qual faziam parte, entre outros, o astrônomo belga Louis Ferdinand Cruls (1848 – 1908), o pintor italiano Nicolau Facchinetti (1824 – 1900), e o político Alfredo d´Escragnolle Taunay (1843 – 1899), foram apresentadas por esse último, presidente da associação, fotografias da ferrovia do Paraná, de autoria de Ferrez (A Immigração, agosto de 1886).
+O Club de Engenharia aprovou a proposta de Marc Ferrez e de E. de Mascheuk para a execução de “diversos trabalhos concernentes à exposição dos caminhos de ferro” (Revista de Engenharia, 14 de dezembro de 1886, na primeira coluna).
+Ferrez fotografou a ferrovia Dom Pedro II, em Juiz de Fora.
+1887 - Entre 2 de julho e 2 de agosto, nos salões do Liceu de Artes e Ofícios, por uma iniciativa do Club de Engenharia, realizou-se a Exposição dos Caminhos de Ferro Brasileiros, com a exibição de fotografias de Ferrez (Revista de Engenharia, 14 de agosto de 1887). Estiveram presentes no encerramento da exposição, no dia 2 de agosto, a princesa Isabel(1845 – 1921) e o conde d´Eu (1842 – 1922), além de outras autoridades. O conselheiro Sinimbu (1810 – 1906) leu o relatório do júri da exposição, do qual também fazia parte o visconde de Mauá (1813 – 1889), Pedro Betim Paes Leme (1846 – 1918), Christiano Benedicto Ottoni (1811 – 1896), Carlos Peixoto de Mello (1871 – 1917), Álvaro Joaquim de Oliveira (1840 – 1922) e Manoel José Alves Barbosa (1845 – 1907). Ferrez foi contemplado com uma menção honrosa pelas “magníficas fotografias de importantes trechos de nossas vias férreas, com que concorreu não só para abrilhantar a Exposição como até para suprir algumas lacunas sensíveis de estradas que se não fizeram representar” (Jornal do Commercio, 3 de agosto de 1887, na terceira coluna e Revista de Estradas de Ferro, 31 de agosto de 1887, na primeira coluna).
+1888 – Em 25 de novembro, foi inaugurado o tráfego entre as estações de Alcântara e Rio do Ouro da estrada de ferro de Maricá. Marc Ferrez fotografou “instantaneamente ” um grupo de convidados da diretoria das estradas na estação Santa Izabel (Revista de Engenharia, 28 de dezembro de 1888, na primeira coluna).
+1890 – Em setembro, Ferrez integrou a comitiva convidada para a  inauguração das obras da ferrovia Benevente -Minas, de Carangola a Benevente, atual Anchieta, no Espírito Santo (Diário de Notícias, 28 de setembro de 1890, quinta coluna).
+1891 – Na Revista de Engenharia, 28 de dezembro de 1890, foi publicado um anúncio: “Marc Ferrez – Fotógrafo da Marinha Nacional. Especialista de vistas de estradas de ferro e em geral das grandes obras públicas. Reprodução de plantas com traços pretos sobre fundo branco. Rua São José 8″. O mesmo anúncio voltou a ser veiculado na edição de 14 de agosto de 1891.
+1892 – Foi determinado que nas estradas de ferro subvencionadas pelo governo federal fossem liberados passes de ida e volta para Marc Ferrez e um ajudante para que pudessem “levantar fotografias em diversas localidades para o serviço da Exposição Universal Colombiana de Chicago”, que aconteceu entre 1º de maio e 30 de outubro de 1893 para celebrar os 400 anos da chegada do navegador genovês Cristóvão Colombo (1451 – 1506) ao Novo Mundo, em 1492 (Jornal do Brasil, 21 de agosto de 1892, na quinta coluna).
+1895 – Em novembro, Ferrez fotografou, em Búzios, os convidados e a comissão responsável pela construção da Estrada de Ferro Rio de Janeiro-Minas, que uniria o povoado de Búzios a Paquequer, no estado de Minas Gerais (A Notícia, 11 de novembro de 1895, segunda coluna).
+1900 – A Revista da Semana de 21 de outubro de 1900, publicou uma litogravura da Estação Central da Estrada de Ferro da Central do Brasil baseada em uma fotografia de autoria de Marc Ferrez.
+ 
+Marc Ferrez. Estação da estrada de ferro Central do Brasil, c. 1899. Rio de Janeiro, RJ / Acervo IMS
+ 
+1904 - Exposição de fotografias da estrada de ferro Central do Brasil de autoria de Ferrez, no Club de Engenharia (O Commentario, março de 1904).
+1908 – A Casa Marc Ferrez produziu filmes sobre obras em estradas de ferro do Brasil.
+ 
+Cronologia do fotógrafo Arthur Júlio Wischral
+ 
+Diário do Paraná, 28 de junho de 1975
+ 
+1894 - Em Curitiba, nascimento de Arthur Júlio Wischral, descendente de alemães.
+c. 1910 - Com uma máquina fotográfica emprestada de um amigo, Arthur Wischral procurou orientação do fotógrafo alemão Germano Fleury (1873 – 1945), estabelecido em Curitiba, durante a década de 1900. Além de fotografar, Fleury comercializava artigos fotográficos. Na cidade havia, na época, estúdios fotográficos utilizando as últimas técnicas trazidas da Europa e aonde também eram vendidos cartões postais e materiais fotográficos. Com Fleury, Wischral teve as primeiras noções de fotografia profissional. Segundo ele, quando começou a fotografar gostava de registrar cenas incomuns das reuniões familiares (Diário do Paraná, 28 de junho de 1975).
+1912 – Fotografou o primeiro bonde elétrico de Curitiba, que saiu da praça Ouvidor Pardinho com destino ao Portão (Diário do Paraná, 28 de junho de 1975).
+1913 - Ganhou de seu pai uma máquina fotográfica com todas as inovações que as indústrias de Dresden haviam conquistado até então. Custando 120 mil réis, a câmara apresentava fole, movas dimensões 13 x 18 cm – e vários outros recursos que possibilitavam um trabalho ainda mais sensível e de qualidade (Diário do Paraná, 21 de junho de 1975). Antes, seu pai havia tentado demovê-lo da ideia de ser fotógrafo. Queria que o filho se dedicasse ao violino.
+O amador fotográfico Arthur Wischral fotografou os enterros de Mário de Castro e de Francisco de Luccas, em Curitiba (Diário da Tarde (PR), 14 de maio de 1913, quinta coluna).
+Trabalhava como repórter fotográfico do jornal A República, do Paraná, e produziu registros de manobras militares realizadas pelo Regimento de Segurança na invernada do Campo Comprido (A República (PR), 26 de maio de 1913, sexta coluna).
+Fotografou uma horrível catástrofe quando 26 tamboretes de explosivos de guerra explodiram nos armazéns da Rede Ferroviária, na praça Eufrásio Correia, causando a morte de 8 soldados, 3 operários e uma criança, deixando vários feridos e produzindo grandes danos materiais. As fotos foram vendidas para jornais do Rio de Janeiro e de São Paulo (A República (PR), 2 de julho de 1913, primeira coluna; Diário do Paraná, 28 de junho de 1975).
+Pelo jornal A República (PR), ele e Seraphin França acompanharam o governador do Paraná,  Carlos Cavalcanti (1864 – 1935), em uma viagem a cidades do litoral do estado (A República (PR), 14 de julho de 1913, terceira coluna; A República (PR), 22 de julho de 1913, sexta coluna).
+Wischral era o repórter fotográfico da revista ilustrada, humorística e literária A Bomba (PR), publicada nos dias 10, 20 e 30 de cada mês. Era de propriedade de Marcello Bittencourt (A Bomba, 30 de julho de 1913, primeira coluna).
+Além de Wischral, a Photographia Volk passou a integrar a equipe de reportagem fotográfica da revista A Bomba (PR) (A Bomba (PR), 10 de setembro de 1913, segunda coluna).
+ 
+Foto assinada por Arthur Wischral / A Bomba (PR), 31 de dezembro de 1913
+ 
+1914 – Estava presente à inauguração do ramal Serrinha – Nova Restinga, da Estrada de Ferro São Paulo – Rio Grande (A República (PR), 19 de fevereiro de 1914, última coluna).
+Em 5 de abril, fotografou o primeiro voo de avião realizado em Curitiba. O piloto foi Cícero Martins (Diário do Paraná, 28 de junho de 1975).
+Já estava na Alemanha e não era repórter fotográfico de A República (PR) (A República (PR), 30 de outubro de 1914, última coluna). A conselho de seu pai, havia viajado para aprender novas técnicas fotográficas. Ficou no país até depois do fim da Primeira Guerra Mundial. Empregou-se num estabelecimento que prestava serviços fotográficos para amadores. Fez um estágio no laboratório na Universidade de Würzburg e aprendeu a técnica do retoque com um fotógrafo da cidade, dominada por poucos profissionais em Curitiba. Em Würburg, encontrou-se uma vez com o futuro papa Pio XII a quem perguntou onde poderia encontrar pessoas que falassem português e ele lhe indicou uma escola onde estavam alguns feridos de guerra. Eram portugueses e estranharam o sotaque dele.  Durante sua estada na Alemanha, trabalhou durante seis anos no jornal Franken Warte. No período em que ficou na Europa viajou para diversos países do continente (Diário do Paraná, 28 de junho de 1975).
+1921 – Voltou a Curitiba e por volta dessa época começou a prestar serviços para o governo e para empresas. Fotografou o interior do Paraná, realizando uma série de imagens que integrariam o estande do estado na exposição comemorativa do Centenário da Independência do Brasil, no Rio de Janeiro.
+1922 – Fotografou a exposição comemorativa do Centenário da Independência do Brasil, no Rio de Janeiro.
+Voltou ao Rio de Janeiro, onde fotografou os primeiros prédios da orla carioca e também os arredores de Petrópolis.
+1924 - Esteve no Palácio do governador do Paraná, Caetano Munhoz da Rocha (1879 – 1944) (O Dia, 13 de fevereiro de 1924, terceira coluna).
+O hábil fotógrafo Arthur Wischral realizou na Villa Olga uma sessão de projeção de fotografias (O Dia (PR), 30 de março de 1924).
+ 
+O Dia (PR), 30 de março de 1924
+ 
+1926 – No artigo Uma audaciosa excursão ao Marumby, escrito por Affonso Wischral, de 9 de julho de 1926, foi mencionado que o autor e Arthur Wischral haviam fotografado aspectos do passeio que poderiam ser vistos na loja “O Pequeno Paris“, na rua 15, nº 58 (O Dia (PR), 26 de julho de 1926, última coluna).
+1928 – Foi contratado pela Rede Viação Paraná – Santa Catarina e registrou o dia a dia das obras, as dificuldades dos trabalhadores e as obras de manutenção da estrada de ferro Curitiba – Paranaguá, inaugurada em 1885 e considerada um marco na história da engenharia no Brasil. Um álbum, editado pelo próprio fotógrafo e por J. J. Wischral, foi produzido com esses registros. O endereço deles era avenida Silva Jardim, nº 175.
+ 
+Arthur Wischral e J.J. Wischral. Álbum Fotografias da Estrada de ferro Curitiba-Paranaguá, 1928. Paraná / Acervo IMS
+ 
+Acessando o link para o Álbum de Fotografias da Ferrovia de Curitiba a Paranaguá, de autoria de Arthur Wischral, disponível na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Dezenove de Dezembro, 1º de abril de 1885
+ 
+1929/1931 - Durante cerca de um ano e meio, Wischral permaneceu na Bahia onde documentou, contratado pelas Empresas Elétricas Brasileiras S.A, a construção da Barragem Jerry O´Connell, em Bananeiras. Uma das fotografias da barragem foi publicada no Estado de Florianópolis, 26 de julho de 1930.
+ 
+O Estado de Florianópolis (SC), 26 de julho de 1930
+O contrato previa também a produção de uma série de imagens de Salvador e do interior da Bahia que foram, posteriormente, reunidas em uma publicação de quatro volumes intitulada Desenvolvimento, Geologia e Produtos Agrícolas, Indústria do Cacau, feita pelas Empresas Elétricas Brasileiras S.A.
+Wischral montou, com imagens de sua estada na Bahia, um álbum pessoal com cerca de 500 fotografias.
+1934 - Registrou-se para receber algum pagamento da prefeitura de Curitiba (Correio do Paraná, 21 de fevereiro de 1934, quinta coluna).
+1935 – Na ocasião do cinquentenário da Estrada de Ferro do Paraná, Wischral, identificado como veterano dessas empreitadas estéticas e artista da Kodak, deu um depoimento, publicado no jornal O Dia (PR), 9 de janeiro de 1935.
+Foi contratado para acompanhar e documentar a expedição do coronel Raul Bandeira de Mello ao sudoeste do Paraná. As fotos e o relatório deram origem ao livro de mais de 400 páginas Ensaios de Geobélica Brasileira, editado pela Imprensa Nacional em 1938. O nome do fotógrafo não foi citado. A expedição registrou fatos e imagens desde Palmas até 7 Quedas e é um documento formidável da vida naquelas paragens nos anos 30. Eles documentaram os lugares das batalhas da revolução de 1924 e a situação de pontes, estradas e as defesas militares brasileiras na região. Também indígenas e até um chocante registro de uma família de deficientes físicos gerados por um casal de irmãos, imagens que correram o Brasil à época. Ao final uma cena bucólica com o comandante da expedição em meio aos hóspedes do hotel argentino das cataratas, constando do acervo até uma carta de “vinos” e menu, com a assinatura de todos os presentes. São mais de 90 fotos e mapas que mereciam uma exposição e uma edição fac-símile da obra, ou pelo menos das suas fotografias. Os originais encontram-se com Paulo José da Costa, proprietário da Fígaro Loja de Cultura Sebo e Antiquário, de Curitiba (Página Arthur Wischral no Facebook).
+ 
+
+ 
+1936 - A matéria Capricho ou punição da natureza, sobre as consequências da sífilis, trazia uma fotografia de uma família com 4 filhos portadores de deficiência física , produzida por Wischral quando esteve no sertão de Guarapuava (O Estado (SC), 2 de setembro de 1936, primeira coluna).
+1937 – Uma fotografia de sua autoria foi publicada no artigo A Floresta Brasileira (O Observador Econômico e Financeiro, agosto de 1937). 
+ 
+Observador Econômico e Financeiro (RJ), agosto de 1937
+ 
+Década de 1940 – No início dessa década, Wischral foi contratado pela prefeitura de Curitiba e documentou detalhadamente as obras do Plano Agache. Ao longo de três décadas fotografou a transformação da cidade, a urbanização dos bairros, o alargamento das ruas, a construção de praças ajardinadas e dos primeiros grandes edifícios.
+Seu laboratório ficava na rua Desembargador Westphalen.
+1950 – A mesma fotografia publicada na edição de agosto de 1937 da revista Observador Econômico e Financeiro foi de novo publicada na edição de julho de 1950 da mesma revista. No ano seguinte, um leitor da revista, Martim Zipperer, de Curitiba, curioso acerca da autoria da fotografia que, segundo ele, foi produzida no rio dos Bugres, no município de São Bento do Sul, em Santa Catarina, a pedido de um de seus parentes, procurou a revista. Havia fotografado o mesmo local e a imagem foi publicada em Observador Econômico e Financeiro, abril de 1951. Segundo a reportagem “o confronto dessas fotografias, representando duas épocas, é um dos mais impressionantes documentos que se poderia divulgar sobre os males causados pela economia predatória que vem sido exercida sobre as nossas reservas florestais!”
+ 
+Fotografia produzida por Martim Zipperer no mesmo local da imagem de Wischral  publicada em 1937 e em 1950 no Observatório Econômico e Financeiro (RJ)/ Observatório Econômico e Financeiro (RJ), abril de 1951
+ 
+1964 - Uma fotografia de 1912 ou 1914, de autoria de Wischral foi publicada (Correio do Paraná, 23 de fevereiro de 1964, penúltima coluna).
+ 
+Correio do Paraná, 23 de fevereiro de 1964
+ 
+1967 - Com texto de Sérgio Augusto e fotografias de Arthur Wischral, publicação do artigo A maravilhosa Curitiba-Paranaguá (Diário do Paraná, 15 de julho de 1967).
+Publicação da matéria Era uma vez um vapor chamado Pery, com texto de Sérgio Augusto e fotos cedidas por Wischral (Diário do Paraná, 6 de agosto de 1967).
+Com fotografias dos arquivos de César Pinto e de Arthur Wischral, publicação da matéria Prefeitura -Século XX (I – Parte Primeira – Do aluguel de 200 mil réis à casa própria (Diário do Paraná, 10 de setembro de 1967).
+1975 – Publicação da matéria Curitiba em dois tempos, com fotos antigas produzidas por Wischral e com atuais do fotógrafo Mário Nunes do Nascimento (Diário do Paraná, 21 de junho de 1975). Dias depois, publicação de uma matéria sobre sua vida (Diário do Paraná, 28 de junho de 1975).
+1978 - Publicação de um artigo com fotografias de carnavais antigos sob as lentes de Wischral (Diário do Paraná, 3 de fevereiro de 1978).
+1979 - Na Casa Romário Martins, em Curitiba, realização da exposição Imagens e paisagens que Curitiba perdeu, com registros de Wischral e de outros fotógrafos (Diário do Paraná, 10 de junho de 1979, primeira coluna).
+ 
+Diário do Paraná, 21 de junho de 1975
+ 
+1982 – Na Sala Funarte, em Curitiba, realização da exposição Paraná de ontem com fotografias de Wischral e de Alberto Weiss, dentre outros (Diário do Paraná, 4 de maio de 1982, terceira coluna).
+O fotógrafo Arthur Wischral faleceu, em setembro.
+Década de 1990 – Em fins dessa década, A Universidade Federal da Bahia comprou da família do fotógrafo o álbum montado por ele com cerca de 500 imagens de sua estada na Bahia em torno de 1930.
+1994 – Foi um dos fotógrafos com obras expostas no evento Curitiba Capital Nacional de Fotografia, entre 14 e 21 de agosto (Jornal do Brasil, 27 de julho de 1994).
+2020 – O Instituto Moreira Salles adquiriu em leilão 91 imagens de um conjunto de registros de Salvador e de outras localidades, realizadas em 1931, por ocasião das obras da construção da usina hidrelétrica de Bananeiras, todas de autoria de Wischral. Complementam o trabalho do fotógrafo presente no acervo do IMS, que já possuía o álbum Estrada de Ferro Curitiba-Paranaguá, de 1928.
+ 
+Link para um pequeno filme realizado pelo Paraná Portal sobre Arthur Wischral
+Link para o filme Ferrovia Curitiba Paranaguá vista por Arthur Wischral
+Link para a cronologia de Marc Ferrez, publicada na Brasiliana Fotográfica, em 7 de dezembro de 2016
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+A construção do trem da Serra do Mar entre Curitiba e o Litoral em 1885, TV Bandeirantes, Youtube
+Blog de Paulo José da Costa
+Boletim Casa Romário Martins. O acervo Wischral: documentos de um olhar / pesquisa e texto por Maria Luiza Baracho e Marcelo Saldanha Sutil; apresentação por João Urban. Curitiba : Fundação Cultural de Curitiba, vol 31, n. 134, abril de 2007.
+CERON, Ileana Pradilla Ceron. Marc Ferrez – uma cronologia da vida e da obra. São Paulo : Instituto Moreira Salles, 2018.
+Estrada de Ferro Paranaguá Curitiba, Youtube
+Facebook
+Ferrovia Paranaguá-Curitiba 130 Anos – Documentário, Youtube
+Gazeta do Povo
+ Hemeroteca Digital da Biblioteca Nacional
+KOSSOY, Boris. Dicionário histórico-fotográfico brasileiro: fotógrafos e ofício da fotografia no Brasil (1833-1910). São Paulo: Instituto Moreira Salles, 2002.
+Site Artes na Web
+Site Biblioteca Digital Mundial
+Site Clube dos Amantes da Ferrovia
+Site Inbec-Pós-graduação
+Site Paraná Portal
+Site Patrimônio belga no Brasil
+Site Prefeitura de Curitiba
+TURAZZI, Maria Inez. Cronologia. In O Brasil de Marc Ferrez – São Paulo : Instituto Moreira Salles, 2005.
+ 
+Publicações da Brasiliana Fotográfica em torno da obra do fotógrafo Marc Ferrez 
+ 
+Marc Ferrez aos 33 anos, c. 1876. Rio de Janeiro, RJ / Acervo IMS
+O Rio de Janeiro de Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 30 de junho de 2015
+Obras para o abastecimento no Rio de Janeiro por Marc Ferrez , de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 25 de janeiro de 2016
+O brilhante cronista visual Marc Ferrez (7/12/1843 – 12/01/1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 7 de dezembro de 2016
+Do natural ao construído: O Rio de Janeiro na fotografia de Marc Ferrez, de autoria de Sérgio Burgi, um dos curadores da Brasiliana Fotográfica, publicada em 19 de dezembro de 2016
+No primeiro dia da primavera, as cores de Marc Ferrez (1843 – 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 22 de setembro de 2017
+Marc Ferrez , a Comissão Geológica do Império (1875 – 1878) e a Exposição Antropológica Brasileira no Museu Nacional (1882), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica,  publicada em 29 de junho de 2018
+Série “O Rio de Janeiro desaparecido” V – O quiosque Chopp Berrante no Passeio Público, Ferrez, Malta e Charles Dunlop, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 20 de julho de 2018
+Uma homenagem aos 175 anos de Marc Ferrez (7 de dezembro de 1843 – 12 de janeiro de 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 7 de dezembro de 2018 
+Pereira Passos e Marc Ferrez: engenharia e fotografia para o desenvolvimento das ferrovias, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 5 de abril de 2019
+Fotografia e ciência: eclipse solar, Marc Ferrez e Albert Einstein, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 24 de junho de 2019
+Os 180 anos da invenção do daguerreótipo – Os álbuns da Comissão Geológica do Império com fotografias de Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 19 de agosto de 2019
+Celebrando o fotógrafo Marc Ferrez (1843 – 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 4 de dezembro de 2019
+Uma homenagem da Casa Granado ao imperial sob as lentes de Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 7 de fevereiro de 2020
+Ressaca no Rio de Janeiro invade o porão da casa do fotógrafo Marc Ferrez, em 1913, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado 6 de março de 2020
+Petrópolis, a Cidade Imperial, pelos fotógrafos Marc Ferrez e Revert Henrique Klumb, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 16 de março de 2020
+Bambus, por Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 5 de junho de 2020
+O Baile da Ilha Fiscal: registro raro realizado por Marc Ferrez e retrato de Aurélio de Figueiredo diante de sua obra, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 9 de novembro de 2020
+O Palácio de Cristal fotografado por Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 2 de fevereiro de 2021
+Dia dos Pais – Julio e Luciano, os filhos do fotógrafo Marc Ferrez, e outras famílias, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 6 de agosto de 2021
+No Dia da Árvore, mangueiras fotografadas por Ferrez e Leuzinger, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 21 de setembro de 2021
+Retratos de Pauline Caroline Lefebvre, sogra do fotógrafo Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 28 de abril de 2022
+A Serra dos Órgãos: uma foto aérea e imagens realizadas pelos mestres Ferrez, Leuzinger e Klumb, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 30 de junho de 2022
+O centenário da morte do fotógrafo Marc Ferrez (1843 – 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 12 de janeiro de 2023
+O Observatório Nacional pelas lentes de Marc Ferrez, amigo de vários cientistas, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 29 de maio de 2023
+No Dia Mundial do Meio Ambiente, a potente imagem da Cachoeira de Paulo Afonso, por Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 5 de junho de 2023
+A Fonte Adriano Ramos Pinto por Guilherme Santos e Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 18 de julho de 2023
+Os 180 anos de nascimento do fotógrafo Marc Ferrez (1843 – 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 7 de dezembro de 2023
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/8641` — `itens/20.500.12156.1_8641/`
+- `20.500.12156.1/8646` — `itens/20.500.12156.1_8646/`
+- `20.500.12156.1/8649` — `itens/20.500.12156.1_8649/`
+- `20.500.12156.1/8873` — `itens/20.500.12156.1_8873/`
+- `20.500.12156.1/8862` — `itens/20.500.12156.1_8862/`
+- `20.500.12156.1/1792` — `itens/20.500.12156.1_1792/`
+- `20.500.12156.1/2575` — `itens/20.500.12156.1_2575/`
+- `20.500.12156.1/8859` — `itens/20.500.12156.1_8859/`
+- `20.500.12156.1/8906` — `itens/20.500.12156.1_8906/`
+- `20.500.12156.1/2418` — `itens/20.500.12156.1_2418/`
+- `20.500.12156.1/8879` — `itens/20.500.12156.1_8879/`
+- `20.500.12156.1/5345` — `itens/20.500.12156.1_5345/`
+- `20.500.12156.1/2593` — `itens/20.500.12156.1_2593/`
+- `20.500.12156.1/2589` — `itens/20.500.12156.1_2589/`
+
diff --git a/wordpress/22130-serie-os-arquitetos-do-rio-de-janeiro-i-porto-dave-e-a-moderna-arquitetura-hospi.md b/wordpress/22130-serie-os-arquitetos-do-rio-de-janeiro-i-porto-dave-e-a-moderna-arquitetura-hospi.md
new file mode 100644
index 0000000..d6887cc
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+++ b/wordpress/22130-serie-os-arquitetos-do-rio-de-janeiro-i-porto-dave-e-a-moderna-arquitetura-hospi.md
@@ -0,0 +1,75 @@
+---
+id: 22130
+url: "https://brasilianafotografica.bn.gov.br/?p=22130"
+titulo: "Série “Os arquitetos do Rio de Janeiro” I – Porto d’Ave e a moderna arquitetura hospitalar"
+autor: "Andrea Wanderley"
+data: "2021-01-14T10:36:29+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/8476", "20.500.12156.1/8480", "20.500.12156.1/8479", "20.500.12156.1/8478", "20.500.12156.1/8475"]
+fetched_at: "2026-09-10T10:06:40.853Z"
+---
+
+# Série “Os arquitetos do Rio de Janeiro” I – Porto d’Ave e a moderna arquitetura hospitalar
+
+Em momentos de crises sanitárias como a que vivemos, nunca foi tão importante pensar nos hospitais. Se hoje assistimos à edificação emergencial desses prédios com normas específicas para atender aos casos de Covid-19, há cem anos já se observava os preceitos da bacteriologia ditando a moderna arquitetura hospitalar. Assim Cristiane d´Avila, jornalista do Departamento de Arquivo e Documentação Casa de Oswaldo Cruz/Fiocruz, uma das instituições parceiras da Brasiliana Fotográfica, inicia seu artigo, no qual conta a história da parceria entre o médico Carlos Chagas, o empresário Guilherme Guinle e o engenheiro e arquiteto Adelstano Soares de Mattos Porto d’Ave para a construção de alguns dos mais importantes hospitais do Rio de Janeiro, o Hospital Gaffrée e Guinle, inaugurado em 1929. É o primeiro artigo da série Os arquitetos do Rio de Janeiro.
+ 
+Porto d’Ave e a moderna arquitetura hospitalar
+Cristiane d´Avila*
+Em momentos de crises sanitárias como a que vivemos, nunca foi tão importante pensar nos hospitais. Se hoje assistimos à edificação emergencial desses prédios com normas específicas para atender aos casos de Covid-19, há cem anos já se observava os preceitos da bacteriologia ditando a moderna arquitetura hospitalar. No artigo “O Hospital Gaffrée e Guinle: filantropia, saúde e os ecos do pasteurianismo no Brasil da Primeira República”, a historiadora da Casa de Oswaldo Cruz, Gisele Sanglard, analisa o tema a partir do entrelaçamento de três personagens emblemáticos da história do Rio de Janeiro e da arquitetura em saúde: Carlos Chagas (1878-1934), médico sanitarista, Guilherme Guinle (1882-1960), empresário e mecenas; e Adelstano Soares de Mattos Porto d’Ave (1890-1952), engenheiro-arquiteto.
+ 
+Perspectiva geral da Fundação Gaffrée e Guinle, s/d. Rio de Janeiro, RJ / Acervo Casa de Oswaldo Cruz
+ 
+ 
+Acessando o link para as fotografias do Gaffrée e Guinle disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+De acordo com a historiadora, a construção do Hospital Gaffrée e Guinle teve triplo valor simbólico: para a medicina, o coroamento da saúde pública; para a filantropia, uma ação que renderia bons frutos à sociedade; para a arquitetura hospitalar, a adoção de uma estética própria associada ao que de mais moderno havia na época. “Guilherme Guinle investiu seu capital social e político, além de seus recursos financeiros, no apoio à ciência produzida em Manguinhos pela escola de Oswaldo Cruz. Ele era daqueles que acreditavam que a medicina pasteuriana tinha o poder de transformar a sociedade”, explica Sanglard na minuciosa e extensa pesquisa sobre o tema.
+ 
+O início da parceria
+ 
+Hospital Gaffrée e Guinle, s/d. Rio de Janeiro, RJ / Acervo Casa de Oswaldo Cruz
+ 
+ 
+A parceria entre Chagas, sucessor de Oswaldo Cruz na direção do Instituto Oswaldo Cruz (IOC) após o falecimento do cientista, em 1917, e a família Guinle datava do início do século. Em 1905, o médico foi indicado por Oswaldo Cruz para debelar os casos de malária no obra de construção da usina hidrelétrica em Itatinga (SP), que os sócios Eduardo Guinle (1846-1912) e Cândido Gaffré (1845-1919) construíam para o porto de Santos. O sucesso de Chagas na missão aproximou-o da família, já proeminente nos negócios de ferrovias, energia elétrica, portos e responsável por obras filantrópicas no Rio, Santos e Porto Alegre.
+Anos depois, em 1919, Chagas promoveu uma ampla reforma na saúde, transformando a então Diretoria Geral de Saúde Pública (DGSP) em Departamento Nacional de Saúde Pública (DNSP), tornando-se seu diretor. No ano seguinte (1920), Guilherme Guinle assumiu, após a morte do pai, os negócios da família. “A relação que se estabelecerá entre o médico e o jovem empresário mostra que Carlos Chagas continuou gozando do respeito da família – o que será traduzido nas ações de Guilherme Guinle financiando os projetos da Inspetoria de Profilaxia da Lepra e das Doenças Venéreas do DNSP, dirigida pelo médico Eduardo Rabello, e os projetos de saúde pública de Carlos Chagas”, explica Sanglard.
+Os Guinle se notabilizaram pelo mecenato e a filantropia. Porém, as ações beneméritas dos sócios e de seus descendentes não se restringiram às artes e à cultura em geral. O amplo apoio deles às instituições científicas e de saúde pode ser classificado como próprio de um período em que investir na pesquisa médica era investir na tentativa de erradicação da miséria, que assolava a população urbana do Rio de Janeiro, então capital do Brasil.
+No caso de Guilherme Guinle, ganha destaque a criação da Fundação Gaffrée e Guinle (1923) – para o controle da sífilis e de doenças venéreas, com a construção de um hospital e ambulatórios – e do Instituto de Pesquisa. O projeto do Hospital Gaffrée e Guinle, inaugurado em 1929, foi assinado pelo escritório do arquiteto brasileiro Porto d’Ave (Porto d’Ave & Haering), sob a fiscalização e orientação dos médicos Eduardo Rabello e Gilberto de Moura Costa. Já o Instituto de Pesquisa, cuja inauguração se deu em 1927, aliava pesquisa e assistência médica, seguindo o modelo do IOC e a ciência desenvolvida em Manguinhos.
+ 
+O arquiteto e o projeto
+ 
+Hospital Gaffrée e Guinle, s/d. Rio de Janeiro, RJ / Acervo Casa de Oswaldo Cruz
+ 
+Segundo informações do Fundo Porto d’Ave, sob a guarda do Departamento de Arquivo e Documentação da COC/Fiocruz, o engenheiro-arquiteto Adelstano Soares de Mattos Porto d’Ave nasceu em 6 de março de 1890 no Rio de Janeiro e faleceu em janeiro de 1952, na mesma cidade (Correio da Manhã, 22 de janeiro de 1952). Teve como sócio, ao menos no início, o alemão Kurt Haering. O escritório de ambos funcionava na rua Buenos Aires, 54, 2o andar, e Porto d’Ave estava registrado como construtor e Kurt Haering como engenheiro.
+Por intermédio da família Guinle, elaborou projetos de três hospitais na cidade: o Gaffrée e Guinle, o Hospital e Instituto do Câncer e o Hospital das Clínicas Arthur Bernardes. A partir de então, consolidou seu nome como arquiteto de hospitais, tendo sido responsável pelo traçado de outros, como o Espanhol, o Regional de Niterói e o do Sanatório Santa Clara, em Campos do Jordão (SP).
+ 
+Hospital Gaffrée e Guinle, s/d. Rio de Janerio, RJ / Acervo Casa de Oswaldo Cruz
+ 
+Segundo Sanglard e Renato Gama-Rosa Costa, arquiteto e também pesquisador da COC/Fiocruz, o projeto do hospital, originalmente de Hugo Haering, sofreu adaptações propostas por Porto d’Ave, principalmente na linguagem arquitetônica. O hospital, elaborado para internar 320 pessoas, contava com prédio principal de quatro pavimentos. Nele funcionavam os serviços de Pronto-Socorro, Vias Urinárias, Ginecologia, Obstetrícia, Serviços Auxiliares ao Ambulatório do Hospital (laboratório, fisioterapia e raios X), Sífilis Visceral, Otorrinolaringologia e Oftalmologia, salas de cirurgia e Serviço de Mulheres Contagiantes. No campus foram projetados pavilhões especiais para abrigar o Instituto de Pesquisa, o Biotério, a capela consagrada à Nossa Senhora da Conceição do Brasil, a residência do diretor, as oficinas de conservação, o dormitório dos empregados e a lavanderia.
+Do ponto de vista arquitetônico, o projeto do Hospital Gaffrée e Guinle foi considerado como moderno por uma série de características: a disposição das enfermarias, sua implantação no centro urbano, o uso dos elevadores, entre outras características. Porto d’Ave imprimiu à estética contornos neocoloniais, em voga na década de 1920 no Rio.
+“A opção pelo estilo neocolonial também pode ser incluída neste rol (projeto moderno), uma vez que remete à valorização do elemento genuinamente nacional, bem como à noção de salvação do homem brasileiro, tão necessária para a construção da nação acalentada pelos intelectuais envolvidos no projeto”, completa Sanglard no artigo.
+ 
+Hospital Gaffrée e Guinle, fachada da rua projetada com a capela, o Instituto de Pesquisa e a casa do administrador, s/d. Rio de Janeiro, RJ / Acervo Casa de Oswaldo Cruz
+ 
+*Cristiane d’Avila é jornalista do Departamento de Arquivo e Documentação Casa de Oswaldo Cruz/Fiocruz
+Em 29 de outubro de 2023, o título deste artigo foi alterado para Série “Os arquitetos do Rio de Janeiro” I – Porto d’Ave e a moderna arquitetura hospitalar.
+Fontes:
+SANGLARD, Gisele. “O Hospital Gaffrée e Guinle: filantropia, saúde e os ecos do pasteurianismo no Brasil da Primeira República”. In: A Modernidade na arquitetura hospitalar: contribuições para a historiografia – Volume 1\Ana M. G. Albano Amora e Renato Gama-Rosa Costa (Organizadores). Rio de Janeiro: Programa de Pós-Graduação em Arquitetura – Faculdade de Arquitetura e Urbanismo – PROARQ-FAU-UFRJ, 2019.
+SANGLARD, G. e COSTA, R. da Gama-Rosa: “Direções e traçados da assistência hospitalar no Rio de Janeiro (1923-31)”. História, Ciências, Saúde. Manguinhos, vol. 11(1): 107-41, jan.-abr. 2004.
+ 
+Outros artigos da série Os arquitetos do Rio de Janeiro
+ 
+Série “Os arquitetos do Rio” II – No Dia Nacional da Saúde, o Desinfetório de Botafogo e um breve perfil do arquiteto português Luiz de Moraes Junior, responsável pelo projeto, de autoria de Cristiane d´Avila, Casa de Oswaldo Cruz, Fiocruz, em parceria com Andrea C. T. Wanderley, publicado em 5 de agosto de 2023
+Série “Os arquitetos do Rio de Janeiro” III – O centenário do Copacabana Palace, quintessência do “glamour” carioca, e seu criador, o arquiteto francês Joseph Gire, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado em 13 de agosto de 2023
+Série “Os arquitetos do Rio de Janeiro” IV – Archimedes Memória (1893 – 1960), o último dos ecléticos, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 1º de dezembro de 2023
+Série “O Rio de Janeiro desaparecido“ XXVII e “Os arquitetos do Rio” V – O Jockey Club e o Derby Club, na Avenida Rio Branco e o arquiteto Heitor de Mello (1875 – 1920), de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 15 de janeiro de 2024
+Série “Os arquitetos do Rio de Janeiro” VI – O Clube Naval e os arquitetos Tommaso G. Bezzi (1844 – 1915) e Heitor de Mello (1875 – 1920), de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal, publicada em 6 de maio de 2024
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/8476` — `itens/20.500.12156.1_8476/`
+- `20.500.12156.1/8480` — `itens/20.500.12156.1_8480/`
+- `20.500.12156.1/8479` — `itens/20.500.12156.1_8479/`
+- `20.500.12156.1/8478` — `itens/20.500.12156.1_8478/`
+- `20.500.12156.1/8475` — `itens/20.500.12156.1_8475/`
+
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+---
+id: 22230
+url: "https://brasilianafotografica.bn.gov.br/?p=22230"
+titulo: "João Stamato, um fotógrafo nos sertões"
+autor: "Andrea Wanderley"
+data: "2021-02-09T16:51:50+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/7789", "20.500.12156.1/7791", "20.500.12156.1/5103", "20.500.12156.1/7792", "20.500.12156.1/4860"]
+fetched_at: "2026-09-10T10:06:44.114Z"
+---
+
+# João Stamato, um fotógrafo nos sertões
+
+Um fotógrafo nos sertões                                   
+  Ricardo Augusto dos Santos*  
+ 
+João Stamato. Fazendo farinha, 1911. Itagary, Bahia / Acervo Casa de Oswaldo Cruz
+ 
+Acho que me comecei a ser historiador ouvindo minha avó contar estórias. Passou o tempo e, adulto, passei a perseguir memórias de outras pessoas. Grande parte da historiografia tende a ignorar algumas vozes e, quando não negligencia, valoriza demasiadamente determinados discursos. Também ocorre que, em busca dos homens no tempo, alguns personagens fiquem vagando pelas estantes, mexendo nos livros e papéis. Vários pesquisadores narram esse fenômeno. Um dos que me perturbam, e fascinam, é o João Stamato (1886-1951).
+Acessando o link para as fotografias de João Stamato disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+Tomei contato com este fotógrafo, quando participei da pesquisa e redação do álbum fotográfico A Ciência a Caminho da Roça. Trata-se de um livro editado em 1992, contendo fotografias das cinco expedições científicas que o Instituto Oswaldo Cruz promoveu pelo interior do país entre 1911 e 1913. Stamato participou da viagem em que um grupo de cientistas e engenheiros, entre setembro de 1911 e fevereiro de 1912, percorreu os vales do São Francisco e Tocantins. Junto com os funcionários da Estrada de Ferro Central do Brasil e do IOC, responsáveis pelos estudos da linha que, partindo de Pirapora (Minas Gerais), deveria alcançar Belém (Pará), Stamato documentou a jornada, registrando as casas, costumes e pessoas, demonstrando conhecimento das técnicas, além de sensibilidade para fotografar a vida naqueles sertões.
+ 
+João Stamato. Família, 1911 / Acervo Casa de Oswaldo Cruz
+ 
+A expedição era liderada por Adolfo Pereira Dias, engenheiro chefe do serviço de exploração da Central do Brasil, Astrogildo Machado e Antônio Martins, respectivamente, cientista e farmacêutico do IOC. Dentre os demais participantes da aventura, além de engenheiros e operários, estavam João Stamato e Cipriano Segur, ajudante do fotógrafo. Admirador das fotografias de Stamato, iniciei na década de 1990 as primeiras pesquisas. As informações indicavam que ele fora cineasta no Rio e em São Paulo. Hoje, podemos acrescentar alguns dados. Natural de São Carlos (SP), João Stamato faleceu no Rio de Janeiro. Era filho do italiano Giuseppe Stamato (1861-1935) e Felicia Stamato (1870-1952). Dessa união, nasceram 12 filhos. Dentre eles, João Stamato.
+Em 1915, João casou-se com Thereza Funari Stamato, tendo cinco filhos. O cineasta Fernando Stamato (1917-1993) seguiria os caminhos do pai. Apesar das trajetórias relevantes, apenas os aficcionados por cinema conhecem João e Fernando. Este também teve uma carreira importante. Fernando foi cinegrafista da Força Expedicionária Brasileira durante a Segunda Guerra, trabalhando como correspondente na Itália. Viúvo, partiu para os campos da batalha para documentar os movimentos das tropas brasileiras. Sua esposa Lourdes Soares Dutra (1917-1941) havia falecido no parto da filha, que também não resistiu. Durante o conflito mundial, em pleno front, Fernando se apaixonou pela italiana Rossana Bonfatti. Casaram-se em Pistóia (Itália) e, no final da guerra, tiveram uma menina, nascida em 14 de setembro de 1945. No ano seguinte, nasceria outro filho.
+ 
+Correspondentes que serviram junto à Força Expedicionária Brasileira durante a Guerra. Em pé da esquerda para direita: Rubem Braga (Diário Carioca), Frank Norall (USIS), Thassilo Mitke (Agência Nacional), Henry Bagley (Associated Press), Raul Brandão (Correio da Manhã) e Horácio Gusmão, cinegrafista da FEB. Em baixo, da esquerda para direita: Allan Fischer (USIS), Joel Silveira (Diários Associados), Egídio Squeff (O Globo) e Fernando Stamato (Agência Nacional). Correio da Manhã, 14 de abril de 1945 / Arquivo Nacional
+ 
+João Stamato. Expedição aos vales dos rios São Francisco e Tocantins. Membros do Clube Recreativo, 1911. Tocantins / Acervo Casa de Oswaldo Cruz
+ 
+João Stamato foi um pioneiro do cinema nacional. Esteve presente em dezenas de produções cinematográficas. Filmes de ficção, documentários e desenhos animados. Em 1910, antes de viajar pelos sertões na expedição do IOC, ele participara do primeiro documentário em longa-metragem realizado no Brasil, o Imigração e Colonização no Estado de São Paulo. No mesmo ano, ele filmou o Terceiro Match de Futebol Corinthians e Brasileiros. Trata-se de um curta-metragem, registrando um jogo de futebol entre o time Corinthians inglês e o Atletic, no Velódromo Paulistano, com o resultado de 8 x 2 para o Corinthians.
+Em 1917, vinte anos após a morte de Diogo da Rocha Figueira, conhecido como Dioguinho (1863-1897), um criminoso do interior de São Paulo, foi lançado um filme que contava as façanhas do “bandido elegante”. Após uma perseguição policial, foi dado como morto, mas seu cadáver, no entanto, jamais foi encontrado. Esta produção, rodada em 1916, com fotografia de João Stamato, possui duração de 72 minutos. Produzido pelo estúdio Paulista Filme, direção de Guelfo Andaló e com elenco formado por Antônio Latari, Elvira Latari, Georgina Marchiani e Antônio Rolando.
+
+Contudo, na década seguinte, Stamato colaborou num grande sucesso. Um desenho animado com o estilo dos irmãos Fleischer, conhecidos por criarem a Betty Boop. Trata-se do filme Macaco Feio, Macaco Bonito. Narra a história de um macaco que foge do zoológico. Após beber, é procurado pela polícia. Consegue despistar seus algozes atirando caixas de ovos e batatas, até ser amparado por uma família. De Luiz Seel e João Stamato, o icônico Macaco Feio, Macaco Bonito (1929) é o primeiro curta-metragem de animação efetivamente preservado. O primeiro filme animado feito no Brasil, O Kaiser (1917) é um curta que satiriza a Alemanha e seus sonhos imperiais de dominar o mundo. Entretanto, este documento está perdido. Exibido no Cine Pathé, na Cinelândia, palco do iniciante cinema nacional, deste primeiro desenho animado criado por um brasileiro, restou apenas um fotograma.
+A lista de produções de Stamato é formada por vários curtas e longas que marcaram a história do cinema, de ficção, animado e documentários. Vamos citar algumas produções que J. Stamato esteve envolvido: A Viuvinha (1916), Coração de Gaúcho (1920), Ubirajara (1919), Amor de Perdição (1918), A Quadrilha do Esqueleto (1917), Pátria Brasileira (1917) e Perdida (1916). João e Fernando trabalharam muito. O pai chegou a ter uma produtora. Os descendentes narram com orgulho as contribuições dos Stamatos para a história do cinema e da fotografia.
+ 
+João Stamato (em pé) com Álvaro Marins / Cinearte, 28 de maio de 1930 
+ 
+Seth, pseudônimo de Álvaro Marins (1891-1949) foi um desbravador da animação brasileira. Produziu charges e caricaturas. Seth dirigiu o filme Kaiser, a primeira animação brasileira exibida nos cinemas. O cartunista acrescentou movimento ao desenho e fez o imperador Guilherme II contracenar com um globo terrestre. Dessa primeira experiência restou um único fotograma. Portanto, o mais antigo filme animado preservado é Macaco Feio, Macaco Bonito, com o nosso João Stamato. 
+ 
+Durante as filmagens de Paralelos da Vida, da Aurora Film. João Stamato, o operador ( sentado, à esquerda), o diretor Gentil Roiz, as atrizes Gina Cavalliere e Estella Mar, e um visitante/  Cinearte, 13 de agosto de 1930
+ 
+João Stamato. Mulheres. Expedição científica aos vales do São Francisco e Tocantins, dezembro de 1911 / Acervo Casa de Oswaldo Cruz
+ 
+*Ricardo Augusto dos Santos é Pesquisador Titular da Fundação Oswaldo Cruz
+ 
+Cronologia do fotógrafo João Stamato (1886 – 1951), pioneiro do cinema nacional
+Andrea C. T. Wanderley
+ 
+João Stamato / O Jornal 4 de novembro de 1951
+ 
+1886 – Em 28 de fevereiro, nascimento de João Stamato, em São Carlos, em São Paulo, um dos 12 filhos do italiano Giuseppe Stamato (1861-1935) e Felicia Chiffoni Stamato (1870-1952). Eram seus irmãos Antenor, Carlos, Júlio (? – 1914), Leonor (? – 1927), Luisa, Maria de Lourdes (? – 1927), Mariana, Matilde, Olga, Rafael, Ricardina e a irmã adotiva Ida Ricardi.
+1905 – Em São Paulo, abriu um pequeno estúdio fotográfico com laboratório.
+1907 – Foi o fotógrafo do curta-metragem Dançarina Descalça, dirigido pelo italiano Guelfo Andalo (? – 1945), estrelado por Cristiano Reis e Anita Pelisser.
+Atuava como fotógrafo em São Paulo e enviou para a redação do Correio Paulistano registros do funeral de Miranda de Azevedo, realizado na Matriz de Santa Cecília (Correio Paulistano, 14 de março de 1907, quarta coluna).
+Participou de um suntuoso almoço oferecido pela Câmara Municipal de Santos ao então governador de São Paulo, Jorge Tibiriçá Piratininga (1855 – 1928)(Correio Paulistano, 28 de agosto de 1907, quinta coluna).
+1909 - Na coluna de “Crônica Social”, foi anunciado seu aniversário e ele foi identificado como fotógrafo (Correio Paulistano, 28 de fevereiro de 1909, sexta coluna).
+Fechou seu estúdio fotográfico, comprou uma câmera Pathê e tornou-se o cinegrafista oficial do cinema Radium, na rua São Bento, 59, em São Paulo. A sala de exibição havia passado por uma transformação completa (Correio Paulistano, 2 de junho de 1909, primeira coluna).
+ 
+Correio Paulistano, 11 de junho de 1909
+ 
+Dirigiu e foi o fotógrafo do documentário Revista Militar do Campo da Mooca, de 24 minutos e estrelado por Manoel Joaquim de Albuquerque Lins.
+1910 - Fundou a São Paulo Film e foi o produtor de Imigração e Colonização no Estado de São Paulo, primeiro documentário de longa-metragem do cinema brasileiro.
+Dirigiu e foi o fotógrafo dos documentários Segunda-feira de Páscoa na Cantareira e Terceiro Match de Futebol Corinthians e Brasileiros. Esse último foi um curta-metragem, registrando um jogo de futebol entre o time Corinthians inglês e o Atlectic, no Velódromo Paulistano, com o resultado de 8 x 2 para o Corinthians.
+Era o cinegrafista oficial da Comissão Geológica e Geográfica do Estado de São Paulo.
+Mudou-se para o Rio de Janeiro.
+Por volta deste ano, foi contratado pelo fotógrafo e diretor de cinema Alfredo Musso (18? – 19?) e passou uma temporada no Rio Grande do Sul, onde produziu registros de temas agrícolas que, em 1911, foram enviados para a Exposição Internacional de Agricultura em Roma e em Turim.
+1911/1912 - Stamato participou da viagem em que um grupo de cientistas e engenheiros, entre setembro de 1911 e fevereiro de 1912, percorreu os vales do São Francisco e Tocantins. Junto com os funcionários da Estrada de Ferro Central do Brasil e do Instituto Oswaldo Cruz, responsáveis pelos estudos da linha que, partindo de Pirapora (Minas Gerais), deveria alcançar Belém (Pará), Stamato documentou a jornada, registrando as casas, costumes e pessoas, demonstrando conhecimento das técnicas, além de sensibilidade para fotografar a vida naqueles sertões. Seu assistente era Cipriano Segur (Estado do Pará, 20 de janeiro de 1912, última coluna).
+Segundo uma nota do artigo Expedições científicas, fotografia e intenção documentária: as viagens do Instituto Oswaldo Cruz (1911-1913):
+“Uma sequência de imagens de um batelão vencendo uma corredeira sugere que João Stamato, na Expedição Machado e Martins, ao contrário de seus colegas das outras viagens, pode ter recorrido a filmes flexíveis de nitrato de celulose, já disponíveis em escala comercial desde 1902. O uso de placas de vidro teria dificultado significativamente a rápida operação de substituição das placas, que uma sequência desse tipo requereria. Cabe observar também que não são conhecidos negativos em vidro dessa expedição”
+Uma das fotografias de sua autoria, Fazendo farinha, produzida durante essa viagem, em 1911, em Itagary, na Bahia, é, de certa forma, muito semelhante a uma fotografia de autoria de Flávio de Barros, realizada durante a Guerra de Canudos, também na Bahia, em 1897.
+ 
+João Stamato. Fazendo farinha, 1911. Itagary, Bahia / Acervo Casa de Oswaldo Cruz
+ 
+Flavio de Barros. 400 jagunços prisioneiros, 2 de outubro de 1897. Canudos, Bahia / Acervo Museu da República / Imagem recuperada digitalmente pelo Instituto Moreira Salles 
+ 
+Viajou com o ministro da Agricultura, Pedro Manuel de Toledo (1860 -1935), a Montevidéu. Voltou ao Brasil a bordo do paquete alemão Cap Arcona (Gazeta de Notícias, 30 de maio de 1912, sexta coluna).
+1913 – Esteve em Cataguazes, em Minas Gerais, contratado pela empresa Paschoal, onde filmou vários aspectos da cidade. O resultado seria exibido em poucos dias no Cinema Recreio Cataguazense (O Paiz, 9 de março de 1913, quarta coluna).
+Montou um laboratório na Praça XV.
+1914 – Seu irmão, Júlio Stamato, faleceu a caminho da Europa, no navio Duca di Genova, em 2 de fevereiro (O Imparcial: Diário Illustrado do Rio de Janeiro, 23 de junho de 1914, sexta coluna).
+Conheceu Luiz de Barros (1893 – 1982), que havia chegado da Itália com sua mulher, a atriz italiana Gita de Barros (1897 – 1994). Em seu livro, Minhas Memórias (1978), Barros escreveu:
+“…conheci o saudoso João Stamato, que tinha um rudimentar laboratório instalado numa dependência da Academia do Comércio ali na Rua Sete de Setembro, esquina da Praça 15, onde, por muito tempo, existiu um vendedor de pássaros. Aquele laboratório me encantou. Revelava-se, então, enrolando o filme em volta de grandes tambores engradados, cabendo a eles, geralmente, de 50 a 160 metros de filme de cada vez. e numas grandes banheiras côncavas, com os banhos, o rolo era colocado de forma que a parte de baixo entrava no banho e a gente, com uma manivela, rodava o mesmo para que o filme, em cada volta, fosse mergulhado no revelador. Uma beleza!”
+Stamato foi o fotógrafo de A viuvinha, filme baseado no livro de José de Alencar (1829 – 1877), sob a direção de Luiz de Barros (1893 – 1982) e estrelado por Linda Bianchi, pela italiana Gita de Barros (1897–1994) e pelo próprio Luiz de Barros. A maior parte do filme foi realizado no Clube Dramático da rua 24 de maio.
+1915 – Casou-se com  Thereza Funari Stamato, em Taquaritinga, ativo agente nesta praça da Companhia Cinema Color de São Paulo (O Imparcial: Diário Illustrado do Rio de Janeiro, 6 de março de 1915, segunda coluna). Tiveram cinco filhos.
+Foi o fotógrafo do documentário Polyterpsia, filmado em Niterói.
+1916 - Foi o fotógrafo do filme Perdida, dirigido por Luiz de Barros (1893–1982) e estrelado por Leopoldo Froes (1882–1932), Érico Braga (1889 – 1962) e Yole Burlini (18? – 19?). Ele e o diretor brigaram e ele foi substituído por Paulino Botelho.
+Também foi o fotógrafo de Entre o amor e a arte, que estreou no Cine Avenida em 16 de novembro, sob a direção de Charles F. MacLaren e estrelado por Duque, Gaby, Miss Ray, Francisco Marzullo e Emilio Campos.
+ 
+João Stamato focalizando Gaby no set de filmagem de Entre a arte e o amor / O Jornal, 4 de novembro de 1951
+ 
+Stamato era o operador da Anglo Brazilian Cinematographic Co (A Notícia, 15 de julho de 1916, última coluna).
+Sua irmã Mathilde casou-se com Francisco Perrone, recém formado na Faculdade de Medicina (Jornal do Commercio, 11 de dezembro de 1916, terceira coluna).
+1917 - Nascimento de seu filho, o futuro cineasta Fernando Stamato (1917-1993)(O Imparcial: Diário Illustrado do Rio de Janeiro, 28 de junho de 1917, segunda coluna).
+Vinte anos após a morte de Diogo da Rocha Figueira, conhecido como Dioguinho (1863-1897), um criminoso do interior de São Paulo, foi lançado o filme Dioguinho, que contava as façanhas do “bandido elegante”. Após uma perseguição policial, foi dado como morto, mas seu cadáver, no entanto, jamais foi encontrado. Esta produção, rodada em 1916, com fotografia de João Stamato, possui duração de 72 minutos. Produzido pelo estúdio Paulista Filme, direção do italiano Guelfo Andaló (? – 1945) e com elenco formado por Antônio Latari, Elvira Latari, Georgina Marchiani e Antônio Rolando.
+Estreia em 24 maio do filme Pátria Brasileira, do qual foi o fotógrafo. A direção foi do italiano Guelfo Andalo (? – 1945) e os atores foram Antônio Latarim Elvira Latari e Georgina Marchiani. O poeta Olavo Bilac (1865 – 1918) dirigiu uma das cenas do filme (Para Todos, primeira quinzena de novembro de 1956).
+Foi também o fotógrafo do filme A Quadrilha do Esqueleto, dirigido por Eduardo Arouca e estrelado pelo próprio, além de Mário Assunção e Nella Berti.
+Casamento da irmã adotiva de Stamato, Ida Ricardi, com o comerciante João Campello Junior (Jornal do Commercio, edição da tarde, 6 de outubro de 1917, segunda coluna).
+Ladrões invadiram a casa onde Stamato residia com a família, na rua Riachuelo, 156, e roubaram uma máquina fotográfica e outros objetos de valor (O Paiz, 25 de outubro de 1917, terceira coluna).
+1918 - Baseado na obra do escritor português Camilo Castelo Branco (1825–1890), lançamento do filme Amor de Perdição, sob a direção de José Vianna, com fotografia de João Stamato, estrelado por Eduardo Arouca, João Ayres e Esther Cordeiro.
+1919 – Em junho, estreia do filme Ubirajara, baseado na obra de José de Alencar (1829 – 1877), dirigido por Luiz de Barros (1893–1982), com quem havia se reconciliado, e estrelado por Otília Amorim (1894–1970), Manoel F. Araujo (1880 – 1940) e pelo próprio Luiz de Barros. Produzido pela Guanabara-Film, foi o filme de estreia do ator e futuro dono da Cinédia, Adhemar Gonzaga (1901 – 1978).
+ 
+Correio da Manhã, 28 de junho de 1919
+ 
+Stamato, identificado como antigo operador da Guanabara Film, e Antonio Couto Sobrinho desligaram-se da empresa, mas continuariam a produzir filmes sob a marca Rio Film (A Época, 28 de setembro de 1919, quarta coluna).
+1920 – Em 28 de janeiro, estreia do curta-metragem Convém martelar, do qual Stamato foi o fotógrafo. Com duração de 20 minutos, foi dirigido por Manoel F. Araujo (1880  1940) e pelo português Antonio Silva (1886 – 1971). Foi estrelado pelo próprio Araújo, por Carlos Barbosa e por Adhemar Gonzaga (1901 – 1978). Na época, era associado da Amazônia Film.
+Em 26 de abril, estreia de Coração de Gaúcho, do qual Stamato também foi o fotógrafo. Baseado na obra de José de Alencar (1829 – 1877), dirigido por Luiz de Barros (1893–1982) e estrelado por Antônia Denegri (1900 – 1935), Manoel F. Araujo (1880 – 1940) e pelo próprio Luiz de Barros.
+ 
+Cena do filme Coração de Gaúcho com Manoel Araújo e Antônio Silva / Cinearte, 1º de setembro de 1936
+ 
+Ele e Vicente Capelaro foram identificados como artistas que no silêncio de seus laboratórios e sem os “reclamos bombásticos” têm-nos dados sempre produções artísticas elevando a cinematografia nacional ao nível em que deve estar (Correio da Manhã, 14 de outubro de 1920, penúltima coluna).
+Nascimento de José, filho de João e Thereza Stamato (Jornal do Commercio, edição da tarde, 30 de outubro de 1920, segunda coluna).
+1921/1922 – Repassou seus equipamentos e laboratório para a Brasília Filme, de Salvador Aragão. Na companhia, que era também uma escola de cinema, realizou algumas reportagens e fez créditos e intertítulos para filmes estrangeiros.
+1923 - Era o proprietário da Ita-Film, produtora cinematográfica nacional, e recebeu profissionais da Gazeta de Notícias em sua empresa (Gazeta de Notícias, 25 de abril de 1923, quinta coluna).
+1927 – Falecimento de sua irmã, Leonor Stamato (A Noite, 9 de maio de 1927, primeira coluna).
+Em São Paulo, falecimento de sua irmã, Maria de Lourdes Stamato (A Noite, 30 de agosto de 1927, segunda coluna).
+1928 - A Belo Horizonte Films, sob a direção de Thiers Teóphilo do Bom Conselho e do professor Manoel Tallon, tentou contratar João como operador (Cinearte, 18 de julho de 1928).
+
+1929 - Ele e Luiz Seel dirigiram o icônico Macaco Feio, Macaco Bonito (1929), o primeiro curta-metragem de animação brasileiro efetivamente preservado. Seu estilo é semelhante ao dos irmãos norte-americanos Max (1883 – 1972) e Dave Fleischer (1894 – 1979), responsáveis pela transformação de personagens de história em quadrinhos em desenhos animados como Betty Boop, Popeye e Super-Homem. O primeiro filme animado feito no Brasil, O Kaiser (1917), produzido pelo cartunista Álvaro Marins (1891 – 1949), também conhecido como Seth, é um curta que satiriza a Alemanha e seus sonhos imperiais de dominar o mundo. Estreou no Cinema Pathé, na Cinelândia. Entretanto, este documento está perdido.
+ 
+
+ 
+Era o responsável pelos trabalhos de câmera e laboratório do filme de estreia de Gentil Roiz (1889 – 1975) no Rio, na época intitulado A Religião do Amor, estrelado por Gina Cavallieri, Neusa Dora e Raul Schnoor e produzido pela Aurora Film. Foi anunciado que quando terminassem essas filmagem, produziria pela Ita Film, de sua propriedade, um filme sob a direção de Manoel F. Araújo (1880 – 1940) (Cinearte, 9 de janeiro 1929, Cinearte, 17 de abril de 1929 e Cinearte, 16 de outubro de 1929).
+ 
+Cena de A Religião do Amor / Cinearte, 13 de março de 1929, página 4
+ 
+1930 - O cinematógrafo de João Stamato ficava no Beco da Carioca, nº 24 (Almanak Laemmert, 1930).
+Colaborou com Gentil Roiz (1899 – 1975) em Paralelos da Vida, filme inacabado.
+Auxiliou a filmagem de um filme dirigido por Álvaro Marins (1891 – 1949), conhecido como Seth, sobre a teoria do funcionamento do serviço telefônico automático (Cinearte, 28 de maio de 1930). Seth foi, como já mencionado, o autor do primeiro desenho animado brasileiro, Kaiser, exibido em 1917.
+Um incêndio no laboratório da Ita-Film, de sua propriedade, destruiu alguns trechos do filme Paralelos da Vida, que ele estava fotografando para a Aurora Film e todo o seu material de filmagem (Cinearte, 3 de dezembro de 1930).
+1932 – Com sede na rua da Lapa, 95, fundação, em 1º de fevereiro, da Associação Brasileira de Produtores Cinematográficos. Stamato, Fausto Moniz e Luiz Leal eram do conselho fiscal da entidade, presidida por Armando Carijó, tendo como vice-presidente Adhemar Gonzaga e, como tesoureiro, Alberto Botelho. O secretário era Eurico de Oliveira (Diário Carioca, 27 de janeiro de 1932, primeira coluna; Cinearte, 16 de março de 1932).
+Stamato integrava uma comissão da Associação Brasileira de Produtores Cinematográficos que foi ao Palácio Rio Negro, em Petrópolis, entregar ao presidente da República, Getulio Vargas (1882 – 1954), o título de presidente de honra da entidade. Os outros diretores eram Adhemar Gonzaga, Alberto Botelho, Antão Correia da Silva, Armando Valle, Carlos Eugênio, Eurico Oliveira, Humberto Mauro, Jayme Pinheiro, Luis Seel e Oduvaldo Vianna (Diário Nacional: a Democracia em Marcha (SP), 4 de março de 1932, quarta coluna).
+Em 4 de abril, promulgação do Decreto nº 21.240, de 4 de Abril de 1932 – “Nacionalizar o serviço de censura dos filmes cinematográficos, cria a “Taxa Cinematográfica para a educação popular e dá outras providências”.
+“Após anos de reivindicações daqueles que desempenhavam as atividades cinematográficas, em 1932 o Decreto-lei nº. 21.240 foi aprovado por Getulio Vargas e trata da nacionalização do serviço de censura dos filmes, cria a “Taxa Cinematográfica para a Educação Popular”, obriga as salas de cinema a exibirem um complemento nacional em cada sessão e dá outras providências. Esta primeira “reserva de mercado” para o produto nacional garantiu uma pequena sobrevida financeira dos estúdios e laboratórios da época, que presenciou também o surgimento de produtores nacionais independentes. Esse é o marco do início da intervenção do Estado na atividade cinematográfica nacional. Até hoje há dúvidas se a promulgação desse Decreto por esse governo foi uma medida que visava à produção nacional de fato ou se já buscava a manutenção do cinema como ferramenta da política populista” (O Estado e a produção audiovisual).
+A composição da direção da Associação Brasileira  de Produtores Cinematográficos havia mudado: presidente, Carijó; vice-presidente, Alberto Botelho; secretário, Adhemar Gonzaga; tesoureiro, Jayme Pinheiro; procurador, Armando Walls; conselheiros fiscais, Fausto Muniz, Luiz Seel e Stamato; bibliotecário, William Schoucair (Cinearte, 3 de agosto de 1932).
+1933 - João Stamato filmou aspectos da chegada ao Rio de Janeiro de Luiz Severiano Ribeiro (1886 – 1974), principal figura da organização dos Exibidores Reunidos ao Rio de Janeiro. Julio Marc Ferrez (1881 – 1946), filho do grande fotógrafo Marc Ferrez (1843 – 1923), pelo Sindicato dos Exibidores Cinematográficos, foi um dos presentes à chegada de (A Nação, 16 de fevereiro de 1933).
+Lançamento de Brasil Jornal, com filmes nacionais produzidos pelos cinematógrafos Stamato e Antão Corrêa da Silva. O ministro da Marinha, Protógenes Pereira Guimarães (1876 – 1938), foi à preview do programa de atualidades.
+ 
+A Noite Illustrada, 26 de julho de 1933
+ 
+O ministro da Educação, Washington Ferreira Pires (1892 – 1970), deferiu o requerimento de João Stamato que pedia a isenção da taxa de censura para o filme nacional Evitando o perigo. O filme sobre uma excursão a Sete Quedas e às Cataratas do Iguaçu, do Touring Club do Brasil, também foi beneficiado (Diário da Noite, 5 de setembro de 1933, sexta coluna).
+1934 – Criou uma série de curtas-metragens exibida nas edições do cinejornal Lanterna Mágica, que fez escola na maneira de angular as cenas.
+Era diretor da produtora cinematográfica Brasil Jornal Ltda. Além dele, eram sócios da empresa Antão Correia da Silva e Leônidas Detsi Filho (Jornal do Commercio, 21 de junho de 1934, quarta coluna; Correio da Manhã, 8 de julho de 1934).
+ 
+Correio da Manhã, 8 de julho de 1934
+ 
+No Cinema Alhambra, a Associação Brasileira de Produtores Cinematográficos promoveu a exibição de vários filmes nacionais. Trabalhos de João Stamato foram exibidos (Jornal do Brasil, 4 de novembro de 1934, primeira coluna).
+Era proprietário da produtora João & Stamato (Cinearte, 15 de novembro de 1934).
+Produziu o curta-metragem Copacabana, o bairro encantador (Cinearte, 1º de dezembro de 1934).
+1935 - Estreou no Palácio Teatro o Lanterna Mágica nº 5, sobre os jardins do Rio de Janeiro. “Fotografia de João Stamato que inegavelmente está se tornando um de nossos melhores cinegrafistas”(Cinearte, 1º de março de 1935).
+Falecimento de José Stamato, pai de João (Diário da Manhã, 16 de abril de 1935, segunda coluna).
+Ele, A. F. Castro e Edgar Brasil, considerados três dos melhores cinegrafistas do Brasil, participavam da Cinédia “o complemento brasileiro preferido pelos exibidores” (Cinearte, 1º de dezembro de 1935).
+ 
+Cinearte, 1º de deembro de 1935
+ 
+1936 - Representando a Lanterna Mágica, Stamato participou de uma reunião no Departamento de Propaganda, presidida por Lourival Fontes (1899 – 1967), seu diretor (Diário Carioca, 15 de janeiro de 1936).
+ 
+Diário de Notícias, 15 de janeiro de 1936
+ 
+Foi o cinegrafista de dois novos e lindos complementos da Cinédia: São Paulo em 1936 e Filmando Copacabana (Cinearte, 1º de maio de 1936).
+Havia chegado há pouco tempo de uma viagem ao Norte onde, para a Cinédia, filmou Recife, Bahia, Paraíba e a Cachoeira de Paulo Afonso (Cinearte, 1º de junho de 1936).
+Seu filme Lanterna Mágica nº 13 ficou em terceiro lugar no concurso promovido pelo Mês do Cinema Nacional. O primeiro e o segundo lugares foram conquistados por Rio, propagandista da beleza brasileira, da Waldow Film S.A, produzido por Wallace Downey (1902 – 1967) com texto de Cesar Ladeira (1910 – 1969); e por Cachoeira de Paulo Afonso, da Cinédia, filmado por Stamato com texto proferido pelo locutor Dilo Guardia, respectivamente (Diário Carioca, 24 de maio de 1936, quarta coluna; A Noite, 24 de maio de 1936, segunda coluna).
+ 
+Diário Carioca, 29 de maio de 1936
+ 
+Estava trabalhando como operador no filme Bonequinha de Luxo, da Cinédia, e dirigido por Oduvaldo Vianna (1892 – 1972) (A Noite, 30 de junho de 1936, quarta coluna).
+O ator Manoel F. Araújo (1880 – 1940), que participou de muitos filmes com João Stamato, declarou sua admiração pelo cinegrafista (Cinearte, 1º de setembro de 1936).
+Viajou para as Cataratas do Iguaçu com um grupo de excursionistas do Touring Club do Brasil (Gazeta de Notícias, 22 de setembro de 1936, segunda coluna).
+1937 - Em matéria da Cinearte, Stamato foi elogiado. Também foi lembrado que a Cinédia o cedeu para que ele trabalhasse com o ator, cantor e diretor de cinema brasileiro, Raul Roulien (1905 – 2000), no curta-metragem O meu colégio. Roulien é considerado o primeiro galã brasileiro em Hollywood (Cinearte, 1º de janeiro de 1937).
+ 
+Cinearte, 1º de janeiro de 1937
+ 
+Ele e Edgar Brasil foram os fotógrafos de Vozes da Floresta, novo complemento de valor da Cinédia (Cinearte, 1º e março de 1937).
+No Palácio, na Cinelândia, apresentação do curta-metragem do Lanterna Mágica nº 19, Rumando ao Rio, de J0ão Stamato. Nunca se viram tão lindos aspectos de nossa cidade-sublimes como estes (Jornal do Brasil, 16 de março de 1937, penúltima coluna).
+No concurso do Mês do Cinema Brasileiro, instituído pela Associação Cinematográfica de Produtores Brasileiros, o curta-metragem de João Stamato, Lanterna Mágica nº 21, ficou em terceiro lugar (A Noite, 27 de março de 1937, primeira coluna).
+Trabalhava para a Cinédia e também por conta própria (Dom Casmurro, 17 de junho de 1937, primeira coluna).
+Estava em cartaz no Glória o curta-metragem Proteção à Saúde Escolar, de João Stamato (Jornal do Brasil, 12 de outubro de 1937, quinta coluna; Gazeta de Notícias, 12 de outubro de 1937, primeira coluna).
+Pela Cinédia, Stamato estava em Corumbá, no Mato Grosso, acompanhando as manobras militares pelo general Deschamps Cavalcanti (Gazeta de Notícias, 20 de outubro de 1937, terceira coluna).
+Era o responsável pela nova Revista Cinédia (Fon-Fon, 18 de dezembro de 1937).
+ 
+Fon-Fon, 18 de dezembro de 1937
+ 
+1938 - Para documentar a visita do presidente Getulio Vargas (1882 – 1954) à sua terra natal, Stamato embarcou para o Sul (O Imparcial, 9 de janeiro de 1938, última coluna).
+Seu filho, Fernando, funcionário do Departamento Nacional de Propaganda, ficou noivo de Lourdes Sales Soares Dutra (Diário Carioca, 25 de junho de 1938, terceira coluna). Casaram-se no dia 8 de dezembro do ano seguinte (Diário Carioca, 8 de dezembro de 1939, terceira coluna).
+Ele e Jaime de Andrade Pinheiro, proprietário da Pan-Film do Brasil, formavam uma comissão que estava convocando profissionais de cinema para uma reunião na sede da Associação Brasileira de Produtores Cinematográficos quando seriam discutidos temas referentes aos interesses dos trabalhadores do setor assim como o desenvolvimento técnico e artístico do cinema nacional (Jornal do Brasil, 5 de agosto de 1938).
+1940 – Recebeu elogios por seu curta-metragem Vida de Antônio Parreiras (Jornal dos Sports, 11 de janeiro de 1940).
+As Bodas de Prata de João e Thereza Stamato foram comemoradas com a realização de uma missa em ação de graças na Igreja de Santo Antônio dos Pobres (Diário Carioca, 27 de fevereiro de 1940, quinta coluna).
+Stamato foi identificado como destacado produtor de cinejornais e curtas-metragens. Fez um acordo com a Distribuidora de Filmes Brasileiros Ltda (A Batalha, 19 de junho de 1940, quinta coluna).
+ 
+A Scena Muda, 2 de julho de 1940
+ 
+Falecimento de sua avó materna, Ricarda Giffone (A Noite, 4 de dezembro de 1940, sétima coluna).
+1941 – Trabalhava como cinematografista do Departamento de Imprensa e Propaganda e embarcou para Manaus (Diário de Pernambuco, 25 de novembro de 1941, última coluna).
+Sua nora, Lourdes Soares Dutra (1917-1941), casada com seu filho, Fernando, faleceu no parto da filha.
+1942 - Operou com Firmo Neto (1916 – 1998) O Coelho sai, primeiro filme falado do cinema pernambucano, dirigido por Newton Paiva, estrelado por Alvarenga (1911 – 1978) e produzido pela Meridional Filmes S.A. Era um musical em peto e branco que contava a história da saudade de uma jovem pelo Recife, tendo como pano de fundo a cultura e o carnaval pernambucanos. A música do filme era do maestro Nelson Ferreira (1902 – 1976) e originou o nome do longa (Scena Muda, 2 de fevereiro de 1943; Cinema Pernambucano).
+Foi o fotógrafo do curta-metragem Debret e o Rio de hoje (Diário de Pernambuco, 16 de abril de 1942).
+ 
+Diário de Pernambuco, 16 de abril de 1942
+ 
+Foi publicada a ata de uma reunião da Distribuidora de Filmes Brasileiros S.A., realizada em 7 de abril (O Jornal, 8 de agosto de 1942).
+1944 – Como cinegrafista do Serviço de Informação Agrícola do Ministério da Agricultura, onde foi contratado para substituir Lafayette Cunha,  filmou aspectos da reunião de técnicos agrícolas, no Recife (Diário de Pernambuco, 12 de maio de 1944, quinta coluna).
+1945 – Era cinegrafista do serviço de Documentação do Ministério da Agricultura (A Manhã, 23 de junho de 1945, segunda coluna).
+Fernando foi cinegrafista da Força Expedicionária Brasileira durante a Segunda Guerra, trabalhando como correspondente na Itália. Viúvo, partiu para os campos da batalha para documentar os movimentos das tropas brasileiras. Durante o conflito mundial, em pleno front, se apaixonou pela italiana Rossana Bonfatti. Casaram-se em Pistóia (Itália) e, no final da guerra, tiveram uma menina, nascida em 14 de setembro de 1945. No ano seguinte, nasceria outro filho.
+ 
+Memorabilia de Fernando Stamato / Acervo Museu da Vitória Blogspot
+ 
+João Stamato foi o responsável pela filmagem da Cachoeira Dourada, em Goiânia, uma parceria entre o governo de Goiás e o Ministério da Agricultura (A Manhã, 7 de outubro de 1945, quinta coluna).
+1946 – Trabalhando para o Ministério da Agricultura, realizou um documentário sobre a extração de gás e de petróleo na Bahia (O Jornal, 18 de janeiro de 1946, quinta coluna).
+Realizou também os documentários Aspectos da economia goiana, Goiânia e Goiás de ontem e de hoje, além do curta-metragem Nem te ligo (A Manhã, 20 de março de 1946, última coluna).
+1947 - Foi publicado o artigo Como nasceu o cinema, de João Stamato (O Jornal, 5 de outubro de 1947).
+1948 – Foi o responsável por uma sequência do filme Mãe, produzido pela Cinédia. Publicação de uma crítica do filme (O Jornal, 12 de outubro de 1948).
+1950 – Embarcou para Porto Alegre (Diário Carioca, 26 de outubro de 1950, última coluna).
+1951 – Faleceu no Rio de Janeiro, em 25 de outubro de 1951, vítima de uma síncope do coração, quando saía do Ministério da Agricultura. Foi enterrado no Cemitério João Batista e sua missa de sétimo dia realizou-se na Igreja de São Francisco de Paula. Na épica era cinegrafista do Ministério da Agricultura e havia chegado há pouco tempo do Norte do país onde filmou os trabalhos da Usina Hidroelétrica de São Francisco. Pela primeira havia filmado a cores, um dos maiores desejos de sua vida (O Jornal, 26 de outubro de 1951; Diário Carioca, 26 de outubro de 1951, última coluna; A Noite, 27 de outubro de 1951, quinta coluna; Diário de Notícias, 30 de outubro de 1951, última coluna).
+ 
+O Jornal, 26 de outubro de 1951
+ 
+O crítico de cinema Pedro Lima escreveu o artigo Para a história do cinema brasileiro sobre a vida de João Stamato (O Jornal, 4 de novembro de 1951).
+1957 – Em artigos João Stamato foi citado como um dos pioneiros do cinema nacional (Gazeta Esportiva, 11 de janeiro de 1957 e Fon-Fon, 12 de março de 1957).
+ 
+Filmografia de João Stamato no Dicionário de Fotógrafos do Cinema Brasileiro
+ 
+
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora da Brasiliana Fotográfica
+ 
+Fontes da cronologia:
+BARROS, Luiz de. Minhas Memórias de Cineasta. Rio de Janeiro : Artenova, 1978.
+Fundação Oswaldo Cruz. Casa de Oswaldo Cruz. A ciência a caminho da roça. Imagens das expedições científicas do Instituto Oswaldo Cruz ao interior do Brasil entre 1911 e 1913. Rio de Janeiro: Fiocruz/Casa de Oswaldo Cruz, 1991.
+Hemeroteca Digital da Biblioteca Nacional
+MELLO, Maria Teresa Bandeira de; Pires-Alves, Fernando A. Expedições científicas, fotografia e intenção documentária: as viagens do Instituto Oswaldo Cruz (1911-1913). História, Ciências, Saúde-Manguinhos, vol 16 supl.1 Rio de Janeiro, julho de 2009.
+RAMOS, Fernão; MIRANDA, Luiz Felipe (orgs). Enciclopédia do Cinema Brasileiro. São Paulo : SENAC, 2000.
+Revista de História da Biblioteca Nacional, 1º de dezembro de 2007
+Revista Fime Cultura - Rio de Janeiro: Instituto Nacional de Cinema. Ano II – nº 8 – 6 de março de 1968
+
+SILVA NETO, Antônio Leão da. Dicionário de Fotógrafos do Cinema Brasileiro. São Paulo : Imprensa Oficial do Estado de São Paulo, 2010.
+Site Cinemateca Brasileira
+Site Cinematema Pernambucana
+Site IMDB
+SOARES, Natália de Castro. A cor do cinema silencioso do Brasil 1913 – 1931: produção e linguagem (dissertação). Escola de Comunicação e Artes da Universidade de São Paulo, 2014.
+SOUZA, José Inácio Melo. Retomando o trabalho com jornais da tela (ensaio).
+TOMAIN, Cássio dos Santos. “Janela da Alma” Cinejornal e Estado Novo – Fragmentos de um discurso totalitário. São Paulo: Annablume; Fapesp, 2006.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/7789` — `itens/20.500.12156.1_7789/`
+- `20.500.12156.1/7791` — `itens/20.500.12156.1_7791/`
+- `20.500.12156.1/5103` — `itens/20.500.12156.1_5103/`
+- `20.500.12156.1/7792` — `itens/20.500.12156.1_7792/`
+- `20.500.12156.1/4860` — `itens/20.500.12156.1_4860/`
+
diff --git a/wordpress/22326-serie-feministas-gracas-a-deus-viii-a-engenheira-e-urbanista-carmen-portinho-190.md b/wordpress/22326-serie-feministas-gracas-a-deus-viii-a-engenheira-e-urbanista-carmen-portinho-190.md
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+---
+id: 22326
+url: "https://brasilianafotografica.bn.gov.br/?p=22326"
+titulo: "Série “Feministas, graças a Deus”! VIII – A engenheira e urbanista Carmen Portinho (1903 – 2001)"
+autor: "Andrea Wanderley"
+data: "2021-04-06T13:14:01+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Bertha Lutz / Museu Bertha Lutz", "Maria Eugênia Celso Carneiro de Mendonça / Museu Bertha Lutz", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/6571", "20.500.12156.1/5028", "20.500.12156.1/6581", "20.500.12156.1/4944", "20.500.12156.1/4943", "20.500.12156.1/6579"]
+fetched_at: "2026-09-10T10:06:47.506Z"
+---
+
+# Série “Feministas, graças a Deus”! VIII – A engenheira e urbanista Carmen Portinho (1903 – 2001)
+
+“Acho que nasci feminista. Por isso não me lembro quando nem por que – estava na Escola Politécnica, isso eu sei – resolvi assumir esse meu lado contestatório e reivindicatório”.
+ 
+Serviço Photographico de Vida Doméstica. Carmen Portinho, 1931. Rio de Janeiro, RJ / Acervo Arquivo Nacional
+ 
+A fotografia acima foi produzida pelo Serviço Fotográfico de Vida Doméstica e é muito semelhante a um registro publicado na edição de agosto de 1931 da revista. A dedicatória na foto é de novembro de 1931 e refere-se ao II Congresso Internacional Feminista, realizado no Rio de Janeiro, em junho de 1931, do qual Carmen foi a secretária-geral.
+ 
+Vida Doméstica, agosto de 1931
+ 
+Nascida em Corumbá, no Mato Grosso, em 26 de janeiro de 1903, Carmen Velasco Portinho foi uma militante das causas feministas como o sufrágio feminino, além de ativista pela educação das mulheres e pela valorização do trabalho feminino fora da esfera doméstica, tendo sido a terceira mulher a se formar em Engenheira Civil (1925) e a primeira a obter o título de urbanista (1939) no Brasil. Sempre na vanguarda, foi uma mulher graciosa, cheia de energia, culta, inteligente, dinâmica, tenaz, considerada simpática e afável. E, segundo a própria, apesar de ter tido uma vida de muito trabalho, sempre se divertiu.
+Viveu quase todo o século XX, tendo falecido em 2001. Conheceu pessoas influentes do Brasil e do mundo como o empresário norte-americano Nelson Rockfeller (1908 – 1979), o escritor francês André Malraux (1901 – 1976), os arquitetos Le Corbusier (1887 – 1965), Lúcio Costa (1902 – 1998), Mies Van Der Hohe (1886 – 1969), Oscar Niemeyer (1907 – 2012), e Walter Gropius (1883 – 1969), além de artistas como André Lhote (1885 – 1962), Candido Portinari (1903 – 1962), Cícero Dias (1907 – 2003), Edith Behring (1916 – 1996), José Pancetti (1902 – 1958), Maria Martins (1894 – 1973) e Roberto Burle Marx (1909 – 1994).
+Foi amiga e trabalhou com diversas feministas, dentre elas a advogada Almerinda Farias Gama (1899 – 1999), a também engenheira civil Amélia Sapienza (? – 19?), a bióloga Bertha Lutz  (1894 – 1976), Déa Torres Paranhos (1915 – 2001), uma das primeiras mulheres registradas como arquiteta no CREA, em 1935; a advogada Elvira Komel (1906 – 1932), a naturalista e ornitóloga alemã Emilia Snethlage (1868-1929), a professora Heloisa Marinho (1903 – 1994), as médicas Herminia de Assis e Juana Lopes; a enfermeira Jerônima Mesquita (1880 – 1972), a mecenas Laurinda Santos Lobo (1878 – 1946), as advogadas Maria Alexandrina Ferreira Chaves, Maria Ester Correia Ramalho e Myrthes de Campos ( 1875 – 1965); a escritora Maria Eugênia Celso (1886 – 1963), as advogadas Natércia da Cunha Silveira (1905 – 1993) e  Orminda Ribeiro Bastos (1899 – 1971), formada em Ciências Jurídicas; e Stella de Carvalho Guerra Duval (1879 – 1971).
+ 
+Excursão das participantes do II Congresso Internacional Feminista ao Recreio dos Bandeirantes no Rio de Janeiro, junho de 1932 / Acervo Arquivo Nacional
+ 
+Viajou muito, participou de congressos, seminários, programas de rádio, criou e escreveu para revistas e jornais, foi curadora e suas principais atividades sempre estiveram ligadas à engenharia, ao urbanismo, ao desenho industrial e às artes. Declarou em uma entrevista, em 1951, que suas paixões eram a matemática e a jardinagem. Vamos tentar nesse artigo traçar um perfil dessa mulher notável que deixou, a partir de suas ações, uma marca indelével na história do Brasil e na história da emancipação da mulher brasileira.
+ 
+Acessando o link para as fotografias de Carmen Portinho disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Filha da boliviana Maria Velasco Blanco (1877 – 1958), conhecida como Mamita, com o gaúcho Francisco Sertório Portinho (1871 – 1925), conhecido como coronel Portinho, ainda criança, em 1911, mudou-se com os pais para o Rio de Janeiro. Era a primogênita de nove irmãos: as advogadas Branca (? – 1966) e Rosita (? – 1996) – que como ela nasceram em Corumbá – e os já nascidos no Rio de Janeiro, o engenheiro e jornalista José Velasco Portinho  (? – 1986), que foi diretor de O Jornal; os advogados Teresa (? – 1950), Carlos (? – 1991) e Luzia (? – c. 2005),  Maria de Lourdes (c. 1918 – 1962), que chegou a cursar os primeiros anos de Engenharia; e o também advogado Paulo (? – 2007). Luzia e Branca, se tornaram, por concurso, funcionárias da Câmara dos Deputados.
+ 
+Maria Blanco Portinho e Francisco Sertório Portinho, os pais de Carmen / Correio da Manhã, 17 de julho de 1958 e Carmen Portinho – Por toda a minha vida
+ 
+Começou a cursar, em 1920, Engenharia na Escola Politécnica da Universidade do Brasil. Ingressou também na Escola Nacional de Belas Artes, que cursou durante dois anos. Estudou escultura e desenho a mão livre com professores como o escultor Celso Antônio de Menezes (1896 – 1984) e o pintor Lucílio de Albuquerque (1877 – 1939). Foi na Escola de Belas Artes que Carmen conheceu e tornou-se amiga do arquiteto Lúcio Costa (1902 – 1998) e do pintor Candido Portinari (1903 – 1962) (O Jornal, 17 de maio de 1962, primeira coluna).
+Em 9 de agosto de 1922, ela, Bertha Lutz  (1894 – 1976), Jerônima Mesquita (1880 – 1972) e Stella Guerra Duval (1879 – 1971) fundaram a Federação Brasileira pelo Progresso Feminino, que no mesmo ano recebeu a medalha de ouro na Exposição Internacional do Centenário da Independência. A iniciativa estava vinculada ao movimento sufragista internacional, principal tendência do feminismo no início do século XX. As outras reivindicações eram de igualdade entre os sexos e de independência da mulher.  Carmen foi tesoureira e vice-presidente da entidade. Inicialmente, a sede da Federação Brasileira pelo Progresso Feminino ficava na avenida Rio Branco, 117 (Revista da Semana, 2 de julho de 1932).
+Em 1924, formou-se como engenheira geógrafa e, ainda cursando Engenharia Civil na Escola Politécnica da Universidade do Brasil, para aumentar o rendimento familiar, dava aulas de matemática no Colégio Pedro II, um internato masculino, o que foi considerado um escândalo. O então ministro da Justiça, Augusto Viana do Castelo (1874 – 1953), tentou, sem sucesso, impedi-la. Conversaram, ela apresentou suas justificativas e o rendimento de seus alunos, tendo seguido lecionando por mais três a quatro anos no colégio, quando decidiu pedir demissão.
+Seu pai, Francisco Sertório Portinho (1871 – 1925), que havia sido superintendente da Limpeza Pública do Distrito Federal, faleceu, em 1925 (O Paiz, 21 de outubro de 1925, última coluna; Jornal do Brasil, 29 de outubro, de 1925, sétima coluna). Nessa época, Carmen montou uma loja para suas irmãs trabalharem como datilógrafas.
+ 
+A emancipação econômica da mulher é a base de sua emancipação social e política.
+ 
+Formou-se, em 1925, como a terceira mulher engenheira civil do Brasil. Foi antecedida por Edwiges Becker e por Maria Ester Correia Ramalho e, em 1926, na cerimônia de colação de grau de engenheiros civis e de engenheiros geógrafos formados no anterior na Escola Politécnica, foi a responsável pela leitura do compromisso solene. Ao final de seu discurso, o orador da turma de engenheiros civis, Gentil Ferreira de Souza, prestou uma homenagem a ela oferecendo uma corbeille de flores. O paraninfo foi o engenheiro e político Mauricio Joppert (1890 – 1985), que foi, posteriormente presidente do Clube de Engenharia do Rio de Janeiro e ministro dos Transportes do governo do presidente José Linhares (1886 – 1957). O paraninfo da turma dos engenheiros geógrafos foi o engenheiro e astrônomo Henrique Morize (1860 – 1930), com quem o fotógrafo Marc Ferrez (1843 – 1923) havia realizado experiências cinematográficas em 1897. Morize foi diretor do Observatório Nacional entre 1908 e 1929 e o primeiro presidente da Academia Brasileira de Ciências, de 1916 a 1926. Os ministro da Justiça e da Agricultura, Afonso Pena Junior (1879 – 1968) e Miguel Calmon (1912 – 1967), respectivamente, e o prefeito do Distrito Federal, Alaor Prata (1882 – 1964), estavam presentes à solenidade (O Paiz, 30 de abril de 1926; Jornal do Brasil, 4 de maio de 1926, primeira coluna; A União, 9 de maio de 1926, última coluna). Além dos já citados professores, ao longo do curso, Carmen foi aluna de Manuel Amoroso Costa (1885 – 1928) e José Matoso de Sampaio Correia (1875 – 1942), dentre outros.
+ 
+Carmen Portinho, a primeira sentada à esquerda / O Paiz, 30 de abril de 1926
+ 
+Seu professor de Hidráulica, Mauricio Joppert (1890 – 1985), a convidou, com mais dois alunos, para trabalhar com ele em uma obra federal na Ilha das Cobras, prevista para durar dois anos. Declinou do convite devido à sua nomeação pelo então prefeito, Alaor Prata (1882 – 1964), ao quadro técnico da Diretoria de Obras e Viação da prefeitura do Distrito Federal do Brasil. Seu diretor, um engenheiro que não confiava na competência feminina, deu a ela como primeira tarefa a vistoria de um para-raios instalado no alto de um edifício da prefeitura. Seria um teste. Sua passagem pelo Centro Excursionista Brasileiro, quando escalava diversos morros cariocas, na companhia de amigas como Clotilde Cavalcanti (1904 – 1984), a ajudou a passar no teste. Segundo a própria: “Peguei uma escada, subi ao teto, vi o que o para-raios tinha e resolvi o problema. Foi uma maneira de enfrentar o preconceito“…”difícil mesmo foi aprender como se consertava um para-raios… (Jornal do Brasil, 20 de dezembro de 1999, última coluna). A partir desse dia, adotou calças compridas para o trabalho.
+Em 1928, foi promovida a auxiliar técnico da Diretoria de Obras da Prefeitura do Distrito Federal (Correio Paulistano, 15 de abril de 1928, primeira coluna). Ainda nesse ano, ela, Bertha Lutz  (1894 – 1976) e Maria Amélia de Faria, tesoureira, presidente e secretária da Federação Brasileira pelo Progresso Feminino, respectivamente, sobrevoaram o Rio de Janeiro fazendo propaganda pelo voto feminino, lançando folhetos e cartões em cima dos edifícios da Câmara, do Senado e em diversas ruas do centro da cidade (Correio da Manhã, 12 de maio de 1928, sexta coluna; Correio Paulistano, 12 de maio de 1928, primeira coluna).
+ 
+Correio da Manhã, 12 de maio de 1928
+ 
+Foi uma das signatárias da Declaração dos Direitos da Mulher distribuído pela Federação Brasileira pelo Progresso Feminino. Outras que também assinaram o manifesto foram Bertha Lutz  (1894 – 1976), a mecenas da belle époque carioca, Laurinda Santos Lobo (1878 – 1946); a escritora Maria Eugênia Celso (1886 – 1963) e Maria de Lourdes Lamartine de Faria (1906 – 1992) (Correio da Manhã, 15 de junho de 1928).
+ 
+Correio da Manhã, 15 de junho de 1928
+ 
+Bertha Lutz / Museu Bertha Lutz
+ 
+Maria Eugênia Celso Carneiro de Mendonça / Museu Bertha Lutz
+ 
+Laurinda Santos Lobo / Guia Legal
+ 
+Participou do banquete oferecido pela Federação Brasileira pelo Progresso Feminino à Julia Alves Barbosa (1898 – 1943), identificada como a primeira eleitora brasileira e uma das fundadoras da Associação de Eleitoras Norte-Rio-Grandenses. Na verdade, a primeira eleitora brasileira foi Celina Guimarães Viana (1890 – 1972) (O Paiz, 23 de junho de 1928, última coluna; O Paiz, 24 de junho de 1928, Fundaj).
+ 
+O Paiz, 24 de junho de 1928
+ 
+Abaixo a mesma foto, que faz parte do acervo do Arquivo Nacional:
+ 
+Banquete oferecido no Hotel Glória à Júlia Barbosa, primeira eleitora do Brasil, pela Federação Brasileira pelo Progresso Feminino, 23 de junho de 1928. Rio de Janeiro, RJ / Acervo Arquivo Nacional
+ 
+Era, com Bertha Lutz  (1894 – 1976) e Orminda Ribeiro Bastos, responsável pela coluna “Feminismo”, de O Paiz (O Paiz, 4 de novembro de 1928).
+Estava presente e foi fotografada na recepção a Lou Henry Hoover (1874 – 1944), mulher do então presidente eleito dos Estados Unidos, Herbert Hoover (1874 – 1964), ofereceu, no Palácio Guanabara, a associações feministas (O Paiz, 23 de dezembro de 1928).
+ 
+O Paiz, 23 de dezembro de 1928
+ 
+Abaixo, a mesma foto, que pertence ao acervo do Arquivo Nacional. Carmen Portinho é a terceira, da direita para a esquerda.
+ 
+Recepção oferecida pela Sra. Herbert Hoover às Associações Feministas no Palácio Guanabara, 20 de dezembro de 1928. Palácio Guanabara, RJ / Acervo Arquivo Nacional
+ 
+Sob sua direção foi criada a União Universitária Feminina, no Rio de Janeiro, em 13 de janeiro de 1929, que congregava mulheres com ensino superior em prol da defesa dos direitos femininos. As outras criadoras ou conselheiras da entidade foram a também engenheira civil Amélia Sapienza, a bióloga Bertha Lutz  (1894 – 1976),  a advogada Natércia da Cunha Silveira (1905 – 1993), a naturalista e ornitóloga alemã Emilia Snethlage (1868-1929), a professora Heloisa Marinho (1903 – 1994), as médicas Herminia de Assis e Juana Lopes, as advogadas Maria Alexandrina Ferreira Chaves, Maria Ester Correia Ramalho e Myrthes de Campos ( 1875 – 1965) e Orminda Ribeiro Bastos(O Paiz, 14 de janeiro de 1929, terceira coluna; O Imparcial, 15 de janeiro de 1929, primeira coluna; Gazeta de Notícias, 15 de janeiro de 1929, quarta coluna; A Noite, 5 de abril de 1930, primeira coluna; Manchete, 30 de janeiro de 1971).
+ 
+A Noite, 14 de janeiro de 1929
+ 
+O Paiz, 20 de janeiro de 1929
+ 
+Correio da Manhã, 3 de maio de 1930
+ 
+Também em 1929, foi promovida a engenheira de segunda classe no quadro técnico da Diretoria de Obras da Prefeitura do Distrito Federal. Como era sempre preterida nas promoções, foi falar diretamente com o presidente da República, Washington Luís (1869 – 1957), que interferiu por ela. Ele teria dito ao comandante Braz Veloso, que o acompanhava nas audiências públicas: “Tome nota e providencie o pedido da moça“.
+Desde seu ingresso na diretoria já havia fiscalizado as obras da Escola Modelo Soares Pereira, remodelado o Asilo Francisco de Assis, e estava incumbida da instalação elétrica de todos os próprios municipais, incluindo instalação em quase de todas as escolas públicas, fator este que favoreceu a inauguração de cursos noturnos que deixavam de funcionar por falta de iluminação. Havia sido também responsável por melhoramentos em escolas profissionais (A Noite, 9 de março de 1929, segunda coluna; O Paiz, 9 de março de 1929, primeira coluna; O Paiz, 10 de março de 1929, primeira coluna; Movimento Brasileiro, abril de 1920, coluna do meio).
+Suas primeiras construções foram realizadas ao longo da década de 30: uma escola em Ricardo de Albuquerque, subúrbio carioca, e a sede da Polícia Municipal, na rua do Rezende, no centro do Rio de Janeiro; ambos projetos de Affonso Eduardo Reidy (1909 – 1964), de quem, anos depois, tornou-se companheira. Segundo Lúcio Costa (1902 – 1998), como arquiteto Reidy foi o mais elegante e civilizado de sua geração.
+ 
+Revista Municipal de Engenharia, julho de 1937
+ 
+Sede da Polícia Municipal, na rua do Rezende / Revista Municipal de Engenharia, julho de 1937
+ 
+Para Carmen, Reidy projetou duas casas: a Casa Carmen Portinho, em Jacarepaguá, e a Casa Reidy-Portinho (1959), no Vale do Cuiabá, em Itaipava.
+A Casa Carmen Portinho foi construída entre 1949 e 1952, concebida para que ele e Carmen vivessem lá. Ela foi a engenheira responsável (Diário Carioca, 11 de março de 1953, última coluna).
+ 
+Diário Carioca, 11 de março de 1953
+ 
+Ficou conhecida como Residência Carmen Portinho e foi tombada a nível municipal pelo Decreto nº 35.874 de 05 de julho de 2012, devido à sutileza plástica de sua arquitetura, na qual foram utilizadas técnicas inovadoras para sua época, tem sua presença destacada na cultura arquitetônica carioca.
+ 
+Residência Carmen Portinho / Acervo NPD-FAU-UFRJ
+ 
+Casa Reidy-Portinho no Vale do Cuiabá, em Itaipava / Acervo NPD FAU UFRJ
+ 
+Foi uma das idealizadoras da criação da Casa do Estudante do Brasil, inaugurada em 13 de agosto de 1929, durante uma assembleia promovida peo Centro Acadêmico Cândido de Oliveira, da Faculdade Nacional de Direito, reunindo estudantes universitários das escolas superiores do Rio de Janeiro e de representantes das escolas Naval e Militar. A poetisa e Rainha dos Estudantes, Ana Amélia Carneiro de Mendonça (1896 – 1971), foi aclamada presidente da entidade e o escritor Pascoal Carlos Magno (1906 – 1980), secretário (O Jornal, 13 de agosto de 1952, quinta coluna; Tribuna da Imprensa, 9 de março de 1956).
+Na Escola Nacional de Música, Carmen esteve presente nas conferências realizadas pelo arquiteto francês Le Corbusier (1887 – 1965), em dezembro de 1929, a convite do arquiteto espanhol Morales de los Rios Filho (1887 – 1973). Foi a primeira visita de Le Corbusier ao Rio de Janeiro. Em pauta, urbanismo e revolução arquitetônica. Le Corbusier, considerado um dos mais importantes arquitetos do século XX, exerceu grande influência sobre a arquitetura moderna brasileira (O Jornal, 3 de dezembro de 1929, última coluna; O Jornal, 4 de dezembro de 1929, quarta coluna; O Jornal, 6 de dezembro de 1929, segunda coluna; O Jornal, 8 de dezembro de 1929, quarta coluna). Foi com a construção do Ministério da Educação, no Rio de Janeiro, a partir de 1937, encomendado pelo ministro Gustavo Capanema (1900 – 1985), que no Brasil puseram-se em prática as teorias do arquiteto como brise soleil (proteção contra raios solares), pan de verre (fachada envidraçada) e pilotis (estacarias). O prédio é um ícone da arquitetura moderna brasileira.
+No início da década de 30, foi uma das engenheiras responsáveis, sem cobrar por isso, pela adaptação de um sobrado na rua do Passeio, que havia sido sede do Clube dos Diários e da sociedade carnavalesca Democráticos, para abrigar a Associação Brasileira de Imprensa (Boletim da Associação Brasileira de Imprensa, agosto de 1956 e julho de 1961).
+Representou o governo do Rio Grande do Norte no IV Congresso Pan-americano de Arquitetos, realizado no Rio de Janeiro entre 19 e 30 de junho de 1930. O estado ganhou na exposição promovida pelo congresso a medalha de prata por seu plano de remodelação de Natal. A tese da qual Carmen foi uma das vogais era Parques escolares, universitário, hospitalares, esportivos e de diversões (Jornal do Brasil, 28 de junho de 1930; Mensagens do Governo do Rio Grande do Norte, 1930; Correio da Manhã, 24 de junho de 1930, última coluna).
+ 
+O Cruzeiro, 28 de junho de 1930
+ 
+A bordo no navio Southern Prince, partiu para os Estados Unidos, onde participaria do Congresso Internacional de Estradas de Rodagem, em Washington, como delegada do Automóvel Clube do Brasil. Conheceu o Canadá e ficou hospedada com umas primas, em Nova York (Correio da Manhã, 15 de outubro de 1930, terceira coluna; A Gazeta (SP), 14 de outubro de 1930, segunda coluna).
+A Federação Brasileira pelo Progresso Feminino organizou o II Congresso Internacional Feminista, no Rio de Janeiro, inaugurado, em junho, no Automóvel Club. Carmen foi uma das encarregadas pela organização e pela programação do evento, cujos temas foram educação feminina, proteção às mães e à infância, trabalho feminino, direitos das mulheres e estreitamento das relações pan-americanas e internacionais (Correio da Manhã, 5 de março de 1931, primeira coluna; Jornal do Brasil, 19 de junho de 1931; O Jornal, 19 de junho de 1931, primeira coluna; Correio da Manhã, 26 de junho de 1931; O Malho, 27 de junho de 1931;  Revista da Semana, 27 de junho de 1931;  Correio da Manhã, 1º de julho de 1931; O Malho, 11 de julho de 1931; Vida Doméstica, agosto de 1931).
+ 
+Jornal do Brasil, 19 de junho de 1931
+ 
+Careta, 8 de agosto de 1931
+ 
+Finalmente, o Decreto nº 21.076, de 24 de fevereiro de 1932 instituiu o Código Eleitoral Provisório e reconheceu o direito de voto às mulheres. Sobre essa conquista, em entrevista, declarou que deveria ser um estímulo para outros avanços: “Obtivemos a nossa emancipação política, mas esse direito assim isolado, de que nos serve?” (A Noite, 17 de agosto de 1933, última coluna).
+Casou-se, em 11 de março de 1932, com o irmão da feminista Bertha Lutz, Gualter Adolpho Lutz (1903 – 1969), que viria a ser especialista em medicina legal, tornando-se catedrático da Escola Nacional de Medicina. Separaram-se poucos anos depois (Revista da Semana, 5 de março de 1932, primeira coluna).
+ 
+Sócias da Federação Brasileira pelo Progresso Feminino em visita ao Instituto Osvaldo Cruz, década de 20. Rio de Janeiro, RJ / Acervo Arquivo Nacional – Na foto, Carmen está na primeira fila, do lado esquerdo de Leocádio Rodrigues Chaves. Gualter Adolpho Lutz está na última fila.
+ 
+Foi uma das fundadoras da Revista da Diretoria de Engenharia – posteriormente Revista Municipal de Engenharia -, cuja primeira edição foi publicada em julho de 1932. Foi criada por sugestão dada por ela ao então secretário de Obras do Rio de Janeiro, Delso Mendes da Fonseca (1899 – 1984). Seu diretor-geral era Everardo Backheuser e seu editor Armando de Godoy. A revista, técnica, divulgava as realizações da prefeitura, de engenheiros e de arquitetos. Carmen foi inicialmente secretária e posteriormente foi também redatora e diretora da publicação. Foi na Revista da Diretoria de Engenharia da Prefeitura do Distrito Federal que surgiram os primeiros ensaios sobre a arquitetura moderna no Brasil. No primeiro número foram publicados artigos sobre o primeiro projeto de Affonso Eduardo Reidy (1909 – 1964), sobre o projeto de Lúcio Costa e Warchavshick para apartamentos na Gamboa e dois artigos de Carmen, A arquitetura moderna na Holanda e Influência do nosso clima na arquitetura das prisões. Nas páginas da revista foram, portanto, publicados os primeiros ensaios sobre a arquitetura moderna no Brasil, que seria, anos depois, uma das mais importantes expressões da criatividade do país.
+ 
+Expediente do primeiro exemplar da Revista da Diretoria de Engenharia, julho de 1932
+ 
+Foi a capa da revista Brasil Feminino de novembro de 1932.
+ 
+Capa da revista Brasil Feminino, novembro de 1932
+ 
+Acompanhou a comissão do Ministério da Viação de obras contra a seca no Nordeste, a convite do ministro José Américo de Almeida (1887 – 1980). A comissão era presidida por Sampaio Correia (1875 – 1942) e contava com alguns de seus antigos professores como Mauricio Joppert (1890 – 1985) e Hildebrando de Góes (1899 – 1980). Durante a viagem, visitou as filiais da Federação Brasileira pelo Progresso Feminino na Bahia, em Pernambuco, no Ceará e no Rio Grande do Norte (Jornal do Brasil, 30 de novembro de 1932, sexta coluna; Jornal do Recife, 7 de dezembro de 1932, penúltima coluna; Correio da Manhã, 10 de dezembro de 1932, terceira coluna; Jornal do Brasil, 14 de dezembro de 1932, terceira coluna; Jornal do Brasil, 15 de dezembro, segunda coluna; Jornal do Brasil, 23 de dezembro de 1932, terceira coluna).
+Ela e Bertha Lutz  (1894 – 1976) participaram da Conferência Pan-americana, em Montevidéu, no Uruguai. Seguiram para o evento em companhia do diplomata Arno Konder (1882 – 1942), futuro cônsul do Brasil em Washington e na Alemanha (Correio da Manhã, 30 de novembro de 1933, quinta coluna; Jornal do Brasil, 2 de dezembro de 1933, sexta coluna; Correio da Manhã, 9 de dezembro de 1933, terceira coluna).
+Em 1934, era a segunda secretária do Sindicato Central de Engenheiros, do qual, em 1938, tornou-se vice-presidente  (Jornal do Brasil, 7 de janeiro de 1934, primeira coluna, Revista Municipal de Engenharia, setembro de 1938; Correio da Manhã, 8 de outubro de 1938, primeira coluna). Também em 1934, foi nomeada engenheira-chefe da prefeitura (Jornal do Brasil, 16 de agosto de 1934, primeira coluna).
+Ingressou, em 1936, no curso de pós-graduação do Curso de Urbanismo e Arquitetura da Universidade do Distrito Federal. Em 22 de dezembro de 1938, Carmen defendeu sua tese, Plano da futura capital do Brasil (Jornal do Brasil, 14 de dezembro de 1938, quinta coluna; Correio da Manhã, 18 de dezembro de 1938, segunda coluna).
+ 
+Jornal do Brasil, 14 de dezembro de 1938
+ 
+Tornou-se, em 1939, a primeira mulher a obter o título de urbanista no Brasil (Correio da Manhã, 17 de janeiro de 1939, primeira coluna e sua tese foi publicada nas edições de março e maio da Revista Municipal de Engenharia. A primeira turma do curso era composta por oito alunos: Carmen Portinho, Déa Torres de Paranhos  (1915 – 2001), Albino dos Santos, Dante Jorge Albuquerque, Ricardo José Antunes Júnior, Paulo de Camargo e Almeida, João Lourenço da Silva e Adhemar Marinho da Cunha (O Imparcial, 7 de agosto de 1938, última coluna). Todos, menos ela, eram arquitetos. Teve como professores Mário de Andrade (1893 – 1945), de História da Arte; Candido Portinari (1903 – 1962), de Pintura; e Celso Antônio de Menezes (1896 – 1984), de Escultura, dentre outros. Foi nessa ocasião que conheceu Edith Behring (1916 – 1996), que se tornaria uma das mais importantes gravadoras brasileiras e futura responsável pelo Ateliê de Gravura do Museu de Arte Moderna do Rio de Janeiro.
+Por iniciativa de Carmen e de outras engenheiras, foi fundada, em 19 de julho de 1937, a Associação Brasileira de Engenheiras e Arquitetas (ABEA), para incentivar mulheres formadas a ingressar no mercado de trabalho. Ela foi sua primeira presidente (Correio da Manhã, 27 de julho de 1937, terceira coluna).
+ 
+Correio da Manhã, 27 de julho de 1937
+ 
+Lista de Presença da Fundação da ABEA /Fonte: Revista da ABEA Nacional – Ano 1 no. 1, 2011.
+ 
+Foi eleita, em 1940, membro do Conselho Diretor do Club de Engenharia, presidido por José Matoso de Sampaio Corrêa (1875 – 1942) (Jornal do Commercio, 16 de junho de 1940, segunda coluna).
+Em 1945, foi uma das organizadoras, com Natércia da Cunha Silveira (1905 – 1993), Maria Luisa Dória de Bittencourt (1910 – 2001), primeira deputada da Bahia; Maria Rita Soares de Andrade (1904 – 1998) e outras mulheres, de uma coligação democrática para apoiar a candidatura do brigadeiro Eduardo Gomes (1896 – 1981) à presidência da República (Diário de Notícias, 24 de fevereiro de 1945, quinta coluna).
+Viajou para a Inglaterra, em agosto de 1945, por ter recebido uma bolsa do Conselho Britânico para estagiar junto às comissões de reurbanização das cidades inglesas destruídas pela guerra. A viagem durou 24 dias de navio. Em setembro, já em Londres, ela ofereceu uma recepção na sede do British Council. Em outubro, foi homenageada com um almoço na residência do embaixador do Brasil em Londres, José Joaquim de Lima e Silva Muniz de Aragão (1887 – 1974). Em 21 de dezembro, foi oferecido em homenagem a seu regresso ao Brasil um cocktail na sede da Sociedade de Engenheiros da Prefeitura do Distrito Federal. Segundo ela, foi nesse período que aprendeu o conceito de unidade de habitação. Esteve também na Escócia e em Paris, quando encontrou-se com Beata Vettori (1909 – 1994), diplomata e sua antiga companheira na Federação Brasileira para o Progresso Feminino. Também, em Paris, encontrou-se com Le Corbusier (1887 – 1965) e lhe mostrou as transparências e as plantas da sede do Ministério da Educação (A Noite, 6 de setembro de 1945, terceira coluna; O Jornal, 6 de outubro de 1945, primeira coluna; Jornal do Commercio, 7 de outubro de 1945, quinta coluna; Correio da Manhã, 15 de dezembro de 1945, sexta coluna; Revista da Semana, 10 de abril de 1948; Jornal do Commercio, 21 de dezembro de 1945, sexta coluna). 
+Foi criado, em 1946, o Departamento de Habitação Popular da Secretaria de Viação e Obras Públicas da Prefeitura do Distrito Federal e Carmen foi nomeada sua chefe (Diário de Notícias, 5 de abril de 1946; Correio da Manhã, 5 de abril de 1946, quarta coluna; Diário de Notícias, 16 de abril de 1946, quarta coluna; Correio da Manhã, 17 de fevereiro de 1948, sétima coluna; Diário Carioca, 3 de março de 1948, quinta coluna). Em 1951 foi destituída do cargo, para o qual foi e reconduzida em 1952. Em 1961, foi substituída pelo engenheiro Stelio Emmanuel de Alencar Roxo (1925 – ?), nomeado por Carlos Lacerda (1914 – 1977), que havia sido empossado no governo da Guanabara, em 5 de dezembro de 1960. Carmen tinha divergências políticas irreconciliáveis com Lacerda. Aposentou-se do serviço público (Diário Carioca, 4 de janeiro de 1961, quinta coluna). 
+No período que atuou à frente do departamento, lutou pela implementação de um programa de habitação popular na cidade do Rio de Janeiro. Liderou uma equipe de assistentes sociais, arquitetos e engenheiros que idealizaram e construíram quatro conjuntos residenciais, importantes e seminais na trajetória do urbanismo e da arquitetura no Brasil.
+1 – O Conjunto Residencial do Pedregulho, cujos primeiros 54 apartamentos foram inaugurados com a presença do prefeito Ângelo Mendes de Moraes (1894 – 1990) e de diversas autoridades. Na ocasião, Carmen proferiu uma palestra sobre a construção (A Noite, 20 de junho de 1950, primeira coluna; Correio da Manhã, 21 de junho de 1950). O projeto de Reidy conquistou o  prêmio de Organização de Grandes Áreas ou de Urbanismo na Bienal Internacional de São Paulo de 1951 (Última Hora, 24 de agosto de 1951, quarta coluna; Correio da Manhã, 6 de dezembro de 1951, primeira coluna).
+ 
+Conjunto Residencial do Pedregulho / A Noite, 17 de janeiro de 1953
+ 
+Marcel Gautherot. Conjunto Residencial do Pedregulho, 20 de junho de 1950. São Cristóvao, Rio de Janeiro / Acervo IMS
+ 
+2 – O Conjunto Residencial da Gávea, outro projeto de Reidy. O prefeito Dulcidio Espírito Santo Cardoso (1896 – 1978) extinguiu a comissão de Planejamento e Direção das Obras do Parque Proletário na rua Marquês de São Vicente, na Gávea, que ficou a cargo de Carmen Portinho. Publicação de uma entrevista com ela (Jornal do Commercio, 16 de janeiro de 1953, primeira coluna; A Noite, 17 de janeiro de 1953). Devido à sua aposentadoria, em 1961, não concluiu a obra.
+ 
+Conjunto Habitacional da Gávea / Revista da Diretoria de Engenharia, jan/março de 1954
+ 
+Maquete do Conjunto Residencial da Marquês de São Vicente / Tribuna da Imprensa, 17 de dezembro de 1955
+ 
+3 – O Conjunto Habitacional Paquetá,  projeto de Francisco Bolonha (1923 – 2006), inaugurado em 1952 (Correio da Manhã, 30 de março de 1952, segunda coluna).
+ 
+Conjunto Residencial de Paquetá / Revista da Diretoria de Engenharia, jan/março de 1954
+ 
+4 – O Conjunto Residencial de Vila Isabel , cuja concorrência foi aberta em 1954. Foi também um projeto do arquiteto Francisco Bolonha voltado para funcionários municipais (Diário de Notícias, 16 de janeiro de 1954, quinta coluna; A Noite, 1º de outubro de 1956; Jornal do Commercio, 18 de outubro de 2003, última coluna).
+ 
+Maquete do Conjunto Residencial de Vila Isabel / Bauen+Wohnen, Zurich, 1962
+ 
+Entre 27 de setembro e 1º de outubro de 1947, participou, como delegada do Brasil, do Congresso Internacional de Mulheres, organizado pela Entente Mondiale pour la Paix, na sede da Unesco, onde ficava anteriormente o Hotel Majestic. Retornou em 24 de outubro e, em 5 de novembro, proferiu uma palestra sobre o evento, na Casa do Estudante do Brasil (Correio da Manhã, 18 de julho de 1947, terceira coluna; Correio da Manhã, 27 de agosto de 1947, quinta coluna; Correio da Manhã, 28 de setembro de 1947, última coluna; O Jornal, 28 de setembro de 1947, sexta coluna; Correio da Manhã, 25 de outubro de 1947, última coluna; Jornal do Commercio, 5 de novembro de 1947, primeira coluna; Revista da Semana, 6 de dezembro de 1947).
+Em 21 de março de 1951, foi eleita e tomou posse a nova diretoria do Museu de Arte Moderna do Rio de Janeiro, fundado em 1948: Raymundo de Castro Maya (1894 – 1968) – presidente -, Francisco de San Thiago Dantas  (1911 – 1964) – vice-presidente -, Niomar Moniz Sodré Bittencourt (1916 – 2003) – diretora executiva , Carmen Portinho – diretora executiva adjunta -, Maria Barreto (diretora secretária) e Walther Moreira Salles (1912 – 2001) (tesoureiro). Permaneceu no cargo até 1966. Nesses 15 anos, participou ativamente das atividades do museu, tendo apoiado, curado ou organizado importantes exposições de artistas como Portinari, Cícero Dias e Pancetti.
+ 
+Correio da Manhã, 15 de junho de 1954
+ 
+Foi a engenheira de sua sede definitiva, projeto de Reidy, no Aterro do Flamengo. O início das obras se deu em 9 de dezembro de 1954, quando o bate-estaca da obra foi acionado pelo então presidente Café Filho (1899 – 1970). Uma cápsula do tempo foi enterrada junto às fundações, contendo marcas do período, como moedas, notas e recortes de jornal. A pedido de Carmen, a artista plástica Lygia Clark decorou a barraca do museu com amostras do material que seria usado nas obras, com um painel de exposição na entrada, entre a sala de trabalho e de reuniões (Correio da Manhã, 9 de dezembro de 1954; Tribuna da Imprensa, 10 de dezembro de 1954, penúltima coluna; Correio da Manhã, 16 de dezembro de 1954, terceira coluna; Vida Doméstica, janeiro de 1955).
+ 
+Tribuna da Imprensa, 10 de dezembro de 1954
+ 
+
+ 
+Foi inaugurada em 27 de janeiro de 1958, com uma exposição permanente de seu acervo, uma mostra do inglês Ben Nicholson (1894 – 1982) e uma de escultores ingleses.  (Última Hora, 4 de janeiro de 1958, primeira coluna; Correio da Manhã, 5 de janeiro de 1958; Correio da Manhã, 28 de janeiro de 1958; Última Hora, 28 de janeiro de 1958, quarta coluna; O Jornal, 30 de janeiro de 1958, última coluna).
+ 
+Inauguração do Museu de Arte Moderna. O presidente JK entre Carmen Portinho, à esquerda, e Niomar Moniz Sodré Bittencourt, à direita / Correio da Manhã, 30 de janeiro de 1958
+ 
+O projeto do arquiteto Affonso Eduardo Reidy (1909 – 1964) é reconhecido internacionalmente como um marco da arquitetura moderna mundial. Seus jardins são de autoria de Roberto Burle Marx (1909 – 1994), que também integrou a equipe que realizou, alguns anos depois, o paisagismo do Parque Flamengo, contíguo ao museu.
+ 
+Maquete do MAM-RJ / Revista Shell, abril, maio, junho de 1954
+ 
+ 
+Em 8 e 9 de setembro de 1966, respectivamente o presidente e o vice-presidente do Museu de Arte Moderna, Gustavo Capanema (1900 – 1985) e João Carlos Vital (1900 – 1984) pediram demissão. A crise no museu foi ocasionada pelo convite feito ao então ministro das Relações Exteriores, Juracy Magalhães (1905 – 2001), para visitar o museu na ocasião da exposição do artista português Bernardo Marques (1898 – 1962). Juracy era um desafeto de Niomar Moniz Sodré Bittencourt (1916 – 2003), então presidente de honra do museu. Em 27 de setembro foi realizada uma reunião do Conselho Deliberativo e por aclamação foi eleita uma nova diretoria. Assim, após 15 anos, Carmen Portinho deixou o cargo de diretora executiva adjunta do MAM-RJ, que exerceu desde 1951. Por não concordarem com esta resolução, os conselheiros Raymundo de Castro Maya (1894 – 1968), Rodrigo de Mello Franco (1898 – 1969) e Leonídio Ribeiro pediram demissão  (Correio da Manhã, 9 de setembro de 1966, primeira coluna; Correio da Manhã, 29 de setembro de 1966; Jornal do Brasil, 14 de setembro de 1978, quinta coluna; Jornal do Brasil, 8 de julho de 1979).
+Foi convidada, em 1967, pelo então governador da Guanabara, Francisco Negrão de Lima (1901 – 1981), para ser diretora da Escola Superior de Desenho Industrial – Esdi –, cargo que exerceu por 20 anos. A Esdi havia sido criada pelo Decreto 1.443, de 25 de dezembro de 1962, e publicado no Diário Oficial do Estado da Guanabara de 4 de janeiro de 1963, durante a gestão do governador Carlos Lacerda (1914 – 1977). Foi instalada à Rua Evaristo da Veiga 95, estendendo-se o terreno até a Rua do Passeio, onde tem o nº 80. Iniciou suas atividades de ensino em 1963, como instituição isolada, pertencente à estrutura da Secretaria de Educação e Cultura da Guanabara. Dada à fusão dos estados do Rio de Janeiro e Guanabara, foi integrada pelo decreto n°67, de 11 de abril de 1975, à nascente UERJ, antiga UEG (O Jornal, 1º de abril de 1967, quinta coluna; O Jornal, 11 de abril de 1967, primeira coluna; Leitura, agosto de 1967; Jornal do Brasil, 26 de setembro de 1977, primeira coluna). 
+ 
+Esdi / Site da Escola Superior de Desenho Industrial
+ 
+h A Cigarra, maio de 1967
+ 
+Foi sob sua direção que, em 1970, a Esdi foi oficializada pelo Conselho Nacional de Educação (Jornal dos Sports, 20 de maio de 1970, primeira coluna). Em 1986, Carmen conseguiu unanimidade na Câmara dos Vereadores do Rio de Janeiro na contestação do veto do prefeito Saturnino Braga (1931 – ) ao projeto de preservação da área ocupada pela Esdi, impedindo o despejo da escola (Jornal do Commercio, 6 de julho de 1986, sexta coluna).
+Em 1987, foi convidada pelo Conselho Nacional dos Direitos da Mulher (CDNM) a entregar ao presidente da Câmara dos Deputados, Ulysses Guimarães (1916 – 1992), ao lado de outras mulheres, a Carta das Mulheres aos constituintes, com propostas para a Constituição que estava sendo escrita (Correio Braziliense, 27 de março de 1987, segunda coluna).
+Foi convidada, em 1988, para trabalhar como assessora do Centro de Tecnologia e Ciências da Universidade Estadual do Rio de Janeiro. Recebeu o Prêmio Gonzaga Duque, da Associação Brasileira de Críticos de Arte, destinado a crítico associado, pela sua atuação ou publicação de livro. O troféu é uma escultura de Haroldo Barroso (1935 – 1989). Foi eleita presidente da Associação Brasileira de Críticos de Arte, cargo que ocupou até 1990, quando foi substituída por Esther Emilio Carlos. Uma curiosidade: foi por sugestão de Mario Pedrosa (1900 – 1981) que passou a fazer parte da Associação Brasileira de Críticos de Arte, em torno de 1967 (Jornal do Commercio, 3 de outubro de 1988, quinta coluna; Jornal do Commercio, 3 de outubro de 1990, quarta coluna).
+Em 1991, passou a fazer parte da Comissão Técnica de Arte da Bienal Internacional de São Paulo (Jornal do Commercio, 22 de fevereiro de 1991, quinta coluna). Carmen Portinho, em 1993, era então a mais antiga engenheira do Brasil e coordenava as unidades do Centro de Tecnologia e Ciências da Universidade Estadual do Rio de Janeiro (O Globo, 27 de abril de 1993).
+Em 1999, trabalhava como consultora do Centro de Tecnologia e Ciências da Universidade Estadual do Rio de Janeiro. Foram lançados os livros Carmen Portinho, de autoria de Ana Luiza Nobre; e de Carmen Portinho – por toda a minha vida, um depoimento dela a Geraldo Edson de Andrade (Jornal do Brasil, 24 de novembro de 1999, terceira coluna; Jornal do Brasil, 18 de dezembro de 1999, última coluna).
+Carmen faleceu no dia 25 de julho de 2001, aos 98 anos (Jornal do Brasil, 26 de julho de 2001). Não teve filhos, mas adotou informalmente uma menina de 6 anos, filha de sua irmã Maria de Lourdes (c. 1918 – 1962), morta precocemente – por coincidência, também chamada Carmen, irmã da atriz e cineasta Ana Maria Magalhães.
+Em 2019, foi homenageada com a declaração do Ano Institucional Carmen Portinho da UERJ.
+
+ 
+Filme Carmen Portinho e a UERJ / Programa Campus – TV UERJ
+ 
+Carmen Portinho / A Noite, 5 de outubro de 1951
+ 
+Cronologia de Carmen Velasco Portinho (1903 – 2001) 
+ 
+Carmen Portinho / Jornal das Moças, 2 de julho de 1931
+ 
+1903 – Carmen Velasco Portinho nasceu em Corumbá, no Mato Grosso, em 26 de janeiro de 1903, filha do casal formado pela boliviana Maria Velasco Blanco (1877 – 1958) e pelo gaúcho Francisco Sertório Portinho (1876 – 1925). Maria Velasco, nascida em Cochabamba, em 4 de junho de 1877, e conhecida como Mamita era filha do poeta Leon Velasco e da professora Abigail Blanco. Casou-se em Corumbá com Francisco Sertório Portinho (1871 – 1925), conhecido  como coronel Portinho, nascido em Cachoeira do Sul. Ele havia sido obrigado a deixar o Rio Grande do Sul por ter participado da Revolução Federalista, ocorrida no estado entre 1893 e 1895, quando a paz foi assinada e os castilhistas foram vitoriosos. Portinho era maragato.
+Carmen era a primogênita de nove irmãos: as advogadas Branca (? – 1966) e Rosita (? – 1996), que como ela nasceram em Corumbá. Os demais nasceram no Rio de Janeiro: o engenheiro e jornalista José Velasco Portinho  (? – 1986), que foi diretor de O Jornal; os advogados Teresa (? – 1950), Carlos (? – 1991) e Luzia (? – c. 2005),  Maria de Lourdes (c. 1918 – 1962), que chegou a cursar os primeiros anos de Engenharia; e o também advogado Paulo (? – 2007). Luzia e Branca, se tornaram, por concurso, funcionárias da Câmara dos Deputados.
+1911 - Mudou-se com a família para o Rio de Janeiro.
+1912 - Passou a estudar no Colégio Sacre-Coeur de Jésus, na Glória, onde aprendeu francês.
+1914 - Estava inscrita e foi aprovada nos exames finais de instrução primária da Escola Afonso Pena (O Paiz, 29 de novembro de 1914, segunda coluna; O Paiz, 22 de dezembro de 1914, penúltima coluna).
+1918 – Enviou ao Tico-Tico: Jornal das Crianças, os textos A Tempestade e O Regato (Tico-Tico, 20 de março de 1918, última coluna).
+Foi uma das organizadoras das manifestações dos alunos do externato Maurell da Silva em homenagem a Amalia Maurell da Silva, diretora do estabelecimento (O Paiz, 5 de setembro de 1918, segunda coluna; Jornal do Commercio, 6 de setembro de 1918, quarta coluna).
+1919 – Em dezembro era candidata à turma suplementar de inglês do Colégio Pedro II (Correio da Manhã, 1º de dezembro de 1919, segunda coluna).
+1920 - Começou a cursar Engenharia na Escola Politécnica da Universidade do Brasil. Ingressou também na Escola Nacional de Belas Artes, que cursou durante dois anos. Estudou escultura e desenho a mão livre com professores como o escultor Celso Antônio de Menezes (1896 – 1984) e o pintor Lucílio de Albuquerque (1877 – 1939). Foi na Escola de Belas Artes que Carmen conheceu e tornou-se amiga do arquiteto Lúcio Costa (1902 – 1998) e do pintor Candido Portinari (1903 – 1962) (O Jornal, 17 de maio de 1962, primeira coluna).
+1922 – No concurso Qual é a mulher mais bela do Brasil?, realizado no Rio de Janeiro, em uma apuração parcial, havia recebido dois votos na eleição do bairro de São Cristóvão (A Noite, 14 de junho de 1922, terceira coluna).
+Em 9 de agosto, ela, Bertha Lutz  (1894 – 1976), Jeronyma Mesquita (1880 – 1972) e Stella Guerra Duval (1879 – 1971) fundaram a Federação Brasileira pelo Progresso Feminino, que no mesmo ano recebeu a medalha de ouro na Exposição Internacional do Centenário da Independência. A iniciativa estava vinculada ao movimento sufragista internacional, principal tendência do feminismo no início do século XX. As outras reivindicações eram de igualdade entre os sexos e de independência da mulher.  Carmen foi tesoureira e vice-presidente da entidade. Inicialmente, a sede da Federação Brasileira pelo Progresso Feminino ficava na avenida Rio Branco, 117 (Revista da Semana, 2 de julho de 1932).
+1924 – Formou-se engenheira-geógrafa.
+1925 – Ainda cursando Engenharia Civil na Escola Politécnica da Universidade do Brasil, para aumentar o rendimento familiar, dava aulas de matemática no Colégio Pedro II, um internato masculino, o que foi considerado um escândalo. Sem sucesso, o então ministro da Justiça, Augusto Viana do Castelo (1874 – 1953), tentou, sem sucesso, impedi-la. Conversaram, ela apresentou suas justificativas e o rendimento de seus alunos, tendo seguido lecionando por mais três a quatro anos no colégio, quando decidiu pedir demissão.
+Seu pai, Francisco Sertório Portinho (1871 – 1925), que havia sido superintendente da Limpeza Pública do Distrito Federal, faleceu (O Paiz, 21 de outubro de 1925, última coluna; Jornal do Brasil, 29 de outubro, de 1925, sétima coluna).
+Nessa época, Carmen montou uma loja para suas irmãs trabalharem como datílografas.
+Integrava uma das juntas examinadoras dos estabelecimentos de ensino secundário de Petrópolis (Correio da Manhã, 15 de novembro de 1925, sétima coluna).
+Formou-se como a terceira mulher engenheira civil do Brasil. Foi antecedida por Edwiges Becker e por Maria Ester Correia Ramalho.
+1926 – Na cerimônia de colação de grau de engenheiros civis e de engenheiros geógrafos formados no anterior na Escola Politécnica, Carmen foi a responsável pela leitura do compromisso solene. Ao final de seu discurso, o orador da turma de engenheiros civis, Gentil Ferreira de Souza, prestou uma homenagem a ela, que se tornou uma das primeiras engenheiras do Brasil, a quem foi entregue uma corbeille de flores. O paraninfo foi o engenheiro e político Mauricio Joppert (1890 – 1985), que foi, posteriormente presidente do Clube de Engenharia do Rio de Janeiro e ministro dos Transportes do governo do presidente José Linhares (1886 – 1957). O paraninfo da turma dos engenheiros geógrafos foi o engenheiro e astrônomo Henrique Morize (1860 – 1930), com quem o fotógrafo Marc Ferrez (1843 – 1923) havia realizado experiências cinematográficas em 1897. Morize foi diretor do Observatório Nacional entre 1908 e 1929 e o primeiro presidente da Academia Brasileira de Ciências, de 1916 a 1926. Os ministro da Justiça e da Agricultura, Afonso Pena Junior (1879 – 1968) e Miguel Calmon (1912 – 1967), respectivamente, e o prefeito do Distrito Federal, Alaor Prata (1882 – 1964), estavam presentes à solenidade (O Paiz, 30 de abril de 1926; Jornal do Brasil, 4 de maio de 1926, primeira coluna; A União, 9 de maio de 1926, última coluna). Além dos já citados professores, ao longo do curso, Carmen foi aluna de Manuel Amoroso Costa (1885 – 1928) e José Matoso de Sampaio Correia (1875 – 1942), dentre outros.
+ 
+Carmen Portinho, a primeira sentada à esquerda / O Paiz, 30 de abril de 1926
+ 
+Seu professor de Hidraúlica, Mauricio Joppert (1890 – 1985), a convidou, com mais dois alunos, para trabalhar com ele em uma obra federal na Ilha das Cobras, prevista para durar dois anos. Declinou do convite devido à sua nomeação pelo então prefeito, Alaor Prata (1882 – 1964), ao quadro técnico da Diretoria de Obras e Viação da prefeitura do Distrito Federal do Brasil. Seu diretor, um engenheiro que não confiava na competência feminina, deu a ela como primeira tarefa a vistoria de um para-raios instalado no alto de um edifício da prefeitura. Seria um teste. Sua passagem pelo Centro Excursionista Brasileiro, quando escalava diversos morros cariocas, na companhia de amigas como Clotilde Cavalcanti (1904 – 1984), a ajudou a passar no teste. Segundo a própria: “Peguei uma escada, subi ao teto, vi o que o para-raios tinha e resolvi o problema. Foi uma maneira de enfrentar o preconceito“…”difícil mesmo foi aprender como se consertava um para-raios… (Jornal do Brasil, 20 de dezembro de 1999, última coluna). A partir desse dia, adotou calças compridas para o trabalho.
+Participou do lançamento da pedra fundamental da Maternidade do Méier (O Paiz, 22 de maio de 1926, última coluna; O Jornal, 22 de maio de 1926).
+1926 – Ela e Carlos Penna e fiscalizavam as obras da Escola Municipal Soares Pereira (O Jornal, 14 de novembro de 1926,  quinta coluna).
+Em 15 de julho, foi uma das mulheres que recepccionam a cientista francesa Marie Curie (1867 – 1934), anunciada como uma das mais ilustres individualidades do mundo científico internacional, e sua filha Irène Joliot-Curie (1897 – 1956), que haviam chegado ao Rio de Janeiro a bordo do navio Pincio (O Paiz, 16 de julho de 1926, sexta coluna).  Participou da conferência inaugural do curso de Madame Curie sobre o elemento rádio na Escola Politécnica (Correio da Manhã, 21 de julho de 1926, quinta coluna; Correio da Manhã, 22 de julho de 1926, segunda coluna; O Paiz, 21 de julho de 1926, primeira coluna). Era uma das integrantes da comissão de senhoras da Federação Brasileira pelo Progresso Feminino, presidido por Bertha Lutz  (1894 – 1976), responsáveis pela programação da cientista e de sua filha no Rio de Janeiro (O Paiz, 26 e 27 de julho de 1926, última coluna).
+1927 - Fazia parte da quarta junta examinadora para os exames de 2ª época dos colégios particulares do Distrito Federal. As juntas eram designadas pelo diretor-geral do Departamento Nacional de ensino, na época, Aloysio de Castro (1881 – 1959) (Jornal do Commercio, 12 de março de 1927, última coluna).
+Participou, assim como Bertha Lutz  (1894 – 1976) e outras feministas, de uma reunião da Comissão de Legislação e Justiça do Senado, presidida por Adolfo Gordo (1858 – 1929). Em pauta: o voto feminino. A sessão foi aberta pelo senador Aristides Rocha (1882 – 1950), relator da comissão. Na época, Carmen era uma das secretárias da Federação Brasileira pelo Progresso Feminino (O Paiz, 13 de novembro de 1927, primeira coluna).
+ 
+O Paiz, 6 de junho de 1928 
+ 
+Parabenizou o governador Juvenal Lamartine de Faria (1874 – 1956) pela instituição do voto feminino no Rio Grande do Norte (O Jornal, 25 de novembro de 1927, primeira coluna).
+1928 - Era a tesoureira da Federação Brasileira pelo Progresso Feminino (O Paiz, 4 de abril de 1928, terceira coluna).
+Foi promovida a auxiliar técnico da Diretoria de Obras da Prefeitura do Distrito Federal (Correio Paulistano, 15 de abril de 1928, primeira coluna)
+Ela, Bertha Lutz  (1894 – 1976) e Maria Amélia de Faria, tesoureira, presidente e secretária da Federação Brasileira pelo Progresso Feminino, respectivamente, sobrevoaram o Rio de Janeiro fazendo propaganda pelo voto feminino, lançando folhetos e cartões pelo sufrágio feminino em cima dos edifícios da Câmara, do Senado e em diversas ruas do centro da cidade (Correio da Manhã, 12 de maio de 1928, sexta coluna; Correio Paulistano, 12 de maio de 1928, primeira coluna).
+ 
+Correio da Manhã, 12 de maio de 1928
+ 
+Estava presente ao desembarque, no Rio de Janeiro, do governador de São Paulo, Júlio Prestes (1882 – 1946), que ficou hospedado no Copacabana Palace. Ele veio à cidade para ser padrinho do casamento de Maria Pereira de Souza, filha do presidente Washington Luís (1869 – 1957), com o advogado Firmino Pires de Mello (O Paiz, 13 de maio de 1928, terceira coluna).
+Foi receber Juvenal Lamartine de Faria (1874 – 1956), governador do Rio Grande do Norte, e patrono do voto feminino, que chegava ao Rio de Janeiro, a bordo do navio Almanzora, em 5 de maio de 1928. Na ocasião, estavam no cais, aguardando pelo governador, autoridades políticas, além de outras associadas da Federação Brasileira pelo Progresso Feminino como a advogada Natércia da Cunha Silveira (1905 -1993) e a engenheira civil Carmen Portinho (1903 – 2001). A advogada Orminda Ribeiro Bastos, também da FBPF,  saudou o governador como representante do Norte do país e Natércia como a representante do Sul (O Paiz, 6 de maio de 1928; O Paiz, 7 de maio de 1928, última coluna).
+Em nome da Federação Brasileira pelo Progresso Feminino (FBPF), Carmen fez a saudação a Juvenal, poucos dias antes do regresso do governador ao Rio Grande do Norte, durante uma chá oferecido a ele no Hotel Glória (O Jornal, 1º de junho de 1928; O Paiz, 6 de junho de 1928).
+ 
+Revista da Semana, 9 de junho de 1928
+ 
+Foi uma das signatárias da Declaração dos Direitos da Mulher distribuído pela Federação Brasileira pelo Progresso Feminino. Outras que também assinaram o manifesto foram Bertha Lutz  (1894 – 1976), a mecenas da belle époque carioca, Laurinda Santos Lobo (1878 – 1946); a escritora Maria Eugênia Celso Carneiro de Mendonça (1886 – 1963) e Maria de Lourdes Lamartine de Faria (1906 – 1992) (Correio da Manhã, 15 de junho de 1928).
+ 
+Correio da Manhã, 15 de junho de 1928
+ 
+ 
+Bertha Lutz / Museu Bertha Lutz
+ 
+Maria Eugênia Celso Carneiro de Mendonça / Museu Bertha Lutz
+Laurinda Santos Lobo / Guia Legal
+ 
+Participou do banquete oferecido pela Federação Brasileira pelo Progresso Feminino à Julia Alves Barbosa (1898 – 1943), identificada como a primeira eleitora brasileira e uma das fundadoras da Associação de Eleitoras Norte-Rio-Grandenses. Na verdade a primeira eleitora brasileira foi Celina Guimarães Viana (1890 – 1972) (O Paiz, 23 de junho de 1928, última coluna; O Paiz, 24 de junho de 1928).
+“É importante lembrar que Celina Guimarães Viana, natural de Mossoró, não foi a primeira mulher a requerer inclusão no alistamento eleitoral. Em verdade, tal pioneirismo coube à professora Júlia Alves Barbosa, nascida em Natal, em 24 de novembro de 1927. Entretanto, na época, dada à sua condição de solteira, o juiz da 1ª vara da Capital retardou o deferimento do pleito de Júlia, e este só saiu publicado, no Diário Oficial do Estado, no dia 1º de dezembro do mesmo ano. Por outro lado, o despacho de Celina foi rapidamente aprovado, pelo fato de ser casada com um advogado e professor. Logo, por ser esposa de alguém importante, Celina se tornou a primeira eleitora não apenas do Rio Grande do Norte e do Brasil, porém, de toda a América Latina. E Júlia Alves Barbosa ficou sendo a segunda eleitora. Seja como for, pode-se observar como o movimento sufragista potiguar era atuante, na época” (Fundaj).
+ 
+O Paiz, 24 de junho de 1928
+ 
+Abaixo a mesma foto, que faz parte do acervo do Arquivo Nacional:
+ 
+Banquete oferecido no Hotel Glória à Júlia Barbosa, primeira eleitora do Brasil, pela Federação Brasileira pelo Progresso Feminino, 23 de junho de 1928. Rio de Janeiro, RJ / Acervo Arquivo Nacional
+ 
+Era, com Bertha Lutz  (1894 – 1976) e Orminda Ribeiro Bastos, responsável pela coluna “Feminismo”, de O Paiz (O Paiz, 4 de novembro de 1928).
+Estava presente e foi fotografada na recepção a Lou Henry Hoover (1874 – 1944), mulher do então presidente eleito dos Estados Unidos, Herbert Hoover (1874 – 1964), ofereceu, no Palácio Guanabara, a associações feministas (O Paiz, 23 de dezembro de 1928).
+ 
+O Paiz, 23 de dezembro de 1928
+ 
+Abaixo, a mesma foto, que pertence ao acervo do Arquivo Nacional. Carmen Portinho é a terceira, da direita para a esquerda.
+ 
+Recepção oferecida pela Sra. Herbert Hoover às Associações Feministas no Palácio Guanabara, 20 de dezembro de 1928. Palácio Guanabara, RJ / Acervo Arquivo Nacional
+ 
+1929 - Sob sua direção foi criada a União Universitária Feminina, no Rio de Janeiro, em 13 de janeiro de 1929, que congregava mulheres com ensino superior em prol da defesa dos direitos femininos. As outras criadoras ou conselheiras da entidade foram a também engenheira civil Amélia Sapienza, a bióloga Bertha Lutz  (1894 – 1976),  a advogada Natércia da Cunha Silveira (1905 – 1993), a naturalista e ornitóloga alemã Emilia Snethlage (1868-1929), a professora Heloisa Marinho (1903 – 1994), as médicas Herminia de Assis e Juana Lopes, as advogadas Maria Alexandrina Ferreira Chaves, Maria Ester Correia Ramalho, Myrthes de Campos ( 1875 – 1965) e Orminda Ribeiro Bastos (O Paiz, 14 de janeiro de 1929, terceira coluna; O Imparcial, 15 de janeiro de 1929, primeira coluna; Gazeta de Notícias, 15 de janeiro de 1929, quarta coluna; A Noite, 5 de abril de 1930, primeira coluna; Manchete, 30 de janeiro de 1971).
+ 
+A Noite, 14 de janeiro de 1929
+ 
+O Paiz, 20 de janeiro de 1929
+ 
+“Nas décadas de 20 e 30, eram poucas as mulheres que se formavam na universidade, mas esse número começava a aumentar. Então, resolvemos fundar a União Universitária Feminina, para incentivar e ajudar as mulheres que se formavam. A associação foi fundada em 13 de janeiro de 1929, na minha casa, e de seu início participou também a Bertha Lutz. Estavam presentes: Maria Ester Ramalho, Sylvia Vaccani, Natércia Silveira, Orminda Bastos, Luiza e Amélia Sapienza, além de outras mulheres que agora não me recordo o nome. Nós tínhamos a seguinte estratégia: sempre que uma mulher passava no exame para a universidade – em medicina, direito, engenharia ou qualquer outra área – procurávamos por ela e lhe oferecíamos o “Chá das calouras”, aliciando-a para a associação. Quando uma mulher se formava, oferecíamos o “Chá da vitoria”, íamos buscar as mulheres uma por uma, de modo que isso se tornou muito conhecido. Nós nos dedicávamos muito e o feminismo era para nós uma luta muito importante”.
+Carmen Portinho, 1995
+ 
+Correio da Manhã, 3 de maio de 1930
+ 
+Aderiu a um almoço organizado por professores em homenagem ao delegado do Departamento Nacional do Ensino, Raul Leitão da Cunha (1881 – 1947), no Bar e Restaurante Lido-Antártica, na avenida Atlântica (Correio da Manhã, 17 de janeiro de 1929, segunda coluna).
+Foi publicado o artigo de sua autoria A mulher na atuação universitária (O Paiz, 27 de janeiro de 1929).
+Na coluna “Notas sociais”, publicação de um comentário desairoso sobre o feminismo e o estilo das roupas das feministas. Bertha Lutz  (1894 – 1976) e Carmen Portinho foram citadas (Jornal do Brasil, 27 de fevereiro de 1929, primeira coluna).
+Foi promovida a engenheira de segunda classe no quadro técnico da Diretoria de Obras da Prefeitura do Distrito Federal. Como era sempre preterida nas promoções, foi falar diretamente com o presidente da República, Washington Luís (1869 – 1957), que interferiu por ela. Ele teria dito ao comandante Braz Veloso, que o acompanhava nas audiências públicas: “Tome nota e providencie o pedido da moça“.
+Desde seu ingresso na diretoria já havia fiscalizado as obras da Escola Modelo Soares Pereira, remodelado o Asilo Francisco de Assis, e estava incumbida da instalação elétrica de todos os próprios municipais, incluindo instalação em quase de todas as escolas públicas, fator este que favoreceu a inauguração de cursos noturnos que deixavam de funcionar por falta de iluminação. Havia sido também responsável por melhoramentos em escolas profissionais e até para a colocação de um para-raio já havia sido incumbida (A Noite, 9 de março de 1929, segunda coluna; O Paiz, 9 de março de 1929, primeira coluna; O Paiz, 10 de março de 1929, primeira coluna). Suas primeiras construções foram realizadas ao longo da década de 30: uma escola em Ricardo de Albuquerque, subúrbio carioca, e a sede da Polícia Municipal, na rua do Rezende, no centro do Rio de Janeiro; ambos projetos de Affonso Eduardo Reidy (1909 – 1964), de quem, na década de 40, tornou-se companheira.
+ 
+Revista Municipal de Engenharia, julho de 1937
+ 
+Sede da Polícia Municpal, na rua do Rezende / Revista Municipal de Engenharia, julho de 1937
+ 
+No Palace Hotel, Carmen participou de uma sessão presidida pela enfermeira e líder feminista Jeronyma Mesquita (1880 – 1972) em que se deliberou que as associações femininas colaborariam com a campanha de educação sanitária, de acordo com a Comissão de Cooperação de Exitinção da Febre Amarela (O Paiz, 14 de abril de 1929, terceira coluna; Diário Nacional, 24 de abril de 1929, segunda coluna).
+Integrava a comissão organizadora do II Congresso Pan-americano de Estradas de Rodagem, inaugurado em 18 de agosto de 1929, no Rio de Janeiro. Foi com o deputado Rafael Fernandes e com o engenheiro Clóvis Nóbrega, representante do Rio Grande do Norte (Correio da Manhã, 3 de agosto de 1929, terceira coluna; Jornal do Commercio, 3 de agosto de 1929, quinta coluna).
+Foi uma das idealizadoras da criação da Casa do Estudante do Brasil, inaugurada em 13 de agosto de 1929, durante uma assembleia promovida pelo Centro Acadêmico Candido de Oliveira, da Faculdade Nacional de Direito, reunindo estudantes universitários das escolas superiores do Rio de Janeiro e de representantes das escolas Naval e Militar. A poetisa e Rainha dos Estudantes, Ana Amélia Carneiro de Mendonça (1896 – 1971), foi aclamada presidente da entidade e o escritor Pascoal Carlos Magno (1906 – 1980), secretário (O Jornal, 13 de agosto de 1952, quinta coluna; Tribuna da Imprensa, 9 de março de 1956).
+Acompanhou os delegados estrangeiros que participaram do  II Congresso Pan-americano de Estradas de Rodagem a uma visita a São Paulo (Correio Paulistano, 31 de agosto de 1929, terceira coluna).
+ 
+Correio Paulistano, 31 de agosto de 1929
+ 
+Correio Paulistano, 31 de agosto de 1929
+ 
+Estava presente ao chá de despedida oferecido pela Federação Brasileira pelo Progresso Feminino, no Pão de Açúcar, à comissão de estudantes norte-americanos vencedores no concurso nacional de oratória promovido nos Estados Unidos. As três mulheres vencedoras de conscursos regionais e também Maria Luisa Dória de Bittencourt (1910 – 2001), vencedora do concurso promovido na Faculdade de Direito, no Rio de Janeiro, foram homenageadas. Maria Luisa tornou-se, em 1935, a primeira deputada estadual da Bahia (Jornal do Commercio, 14 de setembro de 1929, primeira coluna; Jornal do Brasil, 14 de setembro de 1929, quarta coluna).
+ 
+Maria Luisa Bittencourt, 1935. Bahia / Acervo Arquivo Nacional
+ 
+ 
+Em reunião da União Universitária Feminina, foi aprovado o apoio da entidade a um grupo de líderes feministas europeias o sentido de obtenção da nomeação de mulheres delegadas entre os representantes oficiais dos governos na próxima Conferência de Codificação do Direito Internacional Privado, que ocorreria em Haia, em 1930. Outra solicitação aprovada foi a de colaboração para que esses mesmos governos apoiassem os direitos de nacionalidade idênticos para homens e mulheres. Também foi criada uma comissão, que Carmen passou a integrar, para auxiliar a propaganda junto à imprensa e a venda de entradas para a peça Orfeu, que seria encenada no estádio do Fluminene em benefício da Casa do Estudante. A feminista e poetisa Ana Amélia Carneiro de Mendonça (1896 – 1971) participou do encontro (O Jornal, 3 de outubro de 1929, quinta coluna; Jornal do Commercio, 5 de outubro de 1929, segunda coluna).
+Integrava a comissão nomeada pela Associação Comercial para estudar a reforma do Calendário (Gazeta de Notícias, 18 de outubro de 1929, última coluna; Correio Paulistano, 29 de outubro de 1929).
+Em reunião da União Universitária Feminina, presidida por ela, foi comunicado que a feminista mineira Elvira Komel (1906 – 1932) estava fundando com a colaboração de Alzira Reis Vieira Ferreira (1886 – 1970), de Teófilo Otoni, o Diretório Mineiro da entidade. O evento foi realizado na sede da Federação Brasileira pelo Progresso Feminino, na avenida Rio Branco, nº 111 (Jornal do Commercio, 2 de novembro de 1929, quarta coluna).
+Publicação de uma entrevista de Carmen Portinho a respeito de suas impressões sobre as atividades políticas e sociais das mulheres argentinas durante a temporada de cerca de um mês que passou naquele país, enviada por O Jornal. Visitou os jornais La Prensa, La Razon e Caras y Caretas, além de instituições de caridade dirigidas por mulheres. Regressou  no dia 21 de novembro a bordo do transatlântico Astúrias (Correio da Manhã, 22 de novembro de 1929, quarta coluna; O Jornal, 23 de novembro de 1929).
+ 
+O Jornal, 23 de novembro de 1929
+ 
+Na Escola Nacional de Música, Carmen esteve presente nas conferências realizadas pelo arquiteto francês Le Corbusier (1887 – 1965), a convite do arquiteto espanhol Morales de los Rios Filho (1887 – 1973). Foi a primeira visita de Le Corbusier ao Rio de Janeiro. Em pauta, urbanismo e revolução arquitetônica. Le Corbusier, considerado um dos mais importantes arquitetos do século XX, exerceu grande infuência sobre a arquitetura moderna brasileira (O Jornal, 3 de dezembro de 1929, última coluna; O Jornal, 4 de dezembro de 1929, quarta coluna; O Jornal, 6 de dezembro de 1929, segunda coluna; O Jornal, 8 de dezembro de 1929, quarta coluna). Foi com a construção do Ministério da Educação, no Rio de Janeiro, a partir de 1937, encomendado pelo ministro Gustavo Capanema (1900 – 1985), que no Brasil puseram-se em prática as teorias do arquiteto como brise soleil (proteção contra raios solares), pan de verre (fachada envidraçada) e pilotis (estacarias). O prédio é um ícone da arquitetura moderna brasileira.
+O discurso que proferiu, na sede da Federação Brasileira pelo Progresso Feminino, sobre as associações femininas argentinas na ocasião da palestra do ministro plenipotenciário do Uruguai, Ramos Monteiro, foi muito aplaudido. Ramos Monteiro falou sobre o movimento feminista em seu país (Jornal do Commercio, 14 de dezembro de 1929, última coluna).
+1930 – Apesar de nunca ter estado em Natal, no Rio Grande do Norte, colaborou com o arquiteto italiano Giacomo Palumbo (1891 – 19?) no projeto de remodelação da cidade.
+No início dessa década foi uma das engenheiras responsáveis, sem cobrar por isso, pela adaptação de um sobrado na rua do Passeio, que havia sido sede do Clube dos Diários e da sociedade carnavalesca Democráticos, para abrigar a Associação Brasileira de Imprensa (Boletim da Associação Brasileira de Imprensa, agosto de 1956 e julho de 1961).
+No Hotel Glória, foi comemorado com um almoço o primeiro ano da fundação da União Universitária Feminina com a presença de Carmen Portinho, Natércia da Cunha Silveira (1905 – 1993), Amélia Sapienza, Mary Corbett, “Master of Arts”; Srta Gutrie, além das estudantes de engenharia Elza Pinho Osborne (? – 1995), Renée Rocques e Sylvia Vacanni (Jornal do Brasil, 14 de janeiro de 1930, primeira coluna; O Paiz, 13 e 14 de janeiro de 1930, segunda coluna).
+ 
+Jornal do Brasil, 14 de janeiro de 1930
+ 
+ 
+Em entrevista para o Jornal do Brasil, Carmen Portinho chamava atenção para a importância da construção de praças de jogos para crianças (Jornal do Brasil, 25 de janeiro de 1930, quinta coluna).
+No Liceu de Artes e Ofícios, visitou a exposição póstuma de desenhos do jornalista Roberto Rodrigues (1906 – 1929), assassinado na redação do jornal a Crítica, em 26 de dezembro de 1929, pela escritora Sylvia Serafim Thibau (1902 – 1936). O estopim do crime foi a publicação na primeira página do jornal da notícia do pedido de seu desquite do médico João Thibau Júnior, com quem Silvia tinha dois filhos, acompanhado de um desenho. O jornal a acusava de estar tendo um caso com o médico Manuel Dias de Abreu (1894 – 1962), futuro inventor da abreugrafia (Crítica, 28 de fevereiro de 1930, quinta coluna).
+Ela e Bertha Lutz (1894 – 1976) falaram sobre o feminismo em uma reunião do Rotary Club (Revista da Semana, 24 de maio de 1930).
+O advogado, escritor e jornalista Sebastião Paraná (1864 – 1938), na coluna “Crônica” comenta o fato de Bertha Lutz  (1894 – 1976), Carmen Portinho e Amélia Carolina de Freitas Bevilacqua (1860 – 1946) terem tentado, sem sucesso, ingressar na Academia Brasileira de Letras (Diário da Tarde (PR), 16 de junho de 1930, segunda coluna).
+Representou o governo do Rio Grande do Norte no IV Congresso Pan-americano de Arquitetos, realizado no Rio de Janeiro entre 19 e 30 de junho de 1930. O estado ganhou na exposição promovida pelo congresso a medalha de prata por seu plano de remodelação de Natal. A tese da qual Carmen foi uma das vogais era Parques escolares, universitário, hospitalares, esportivos e de diversões (Jornal do Brasil, 28 de junho de 1930; Mensagens do Governo do Rio Grande do Norte, 1930; Correio da Manhã, 24 de junho de 1930, última coluna).
+ 
+O Cruzeiro, 28 de junho de 1930
+ 
+Participou do almoço de despedida da advogada e feminista sergipana Maria Rita Soares de Andrade (1904 – 1998), que se tornaria, em 1967, a primeira juíza do Brasil (Jornal do Brasil, 28 de junho de 1930, segunda coluna).
+Ela e Amélia Sapienza, ambas da União Universitária Feminina, foram algumas das personagens da reportagemVitórias da Inteligência Feminina – As Nossas Doutoras e seus Conceitos sobre a Emancipação da Mulher (Vida Doméstica, agosto de 1930).
+ 
+Engenheira Carmen Velasco Portinho, presidenta da União Universitária Feminina / Vida Doméstica, agosto de 1930
+ 
+A engenheira civil Amélia Sapienza / Vida Doméstica, agosto de 1930
+ 
+Participou da homenagem prestada pela embaixada italiana à escritora italiana Margarida Sarfati e ao professor Francisco Severi, ambos da Real Academia Italiana (Correio da Manhã, 22 de agosto de 1930, sexta coluna).
+Publicação de um artigo com um resumo dos principais objetivos da Federação Brasileira pelo Progresso Feminino e também com um resumo das conquistas femininas no Brasil (Correio da Manhã, 29 de junho de 1930).
+A Federação Brasileira pelo Progresso Feminino ofereceu um chá para Maria Amélia Teixeira, diretora da revista Portugal Feminino (Excelsior, outubro de 1930).
+ 
+Excelsior, outubro de 1930
+ 
+A bordo no navio Southern Prince, estava a caminho dos Estados Unidos, onde participaria do Congresso Internacional de Estradas de Rodagem, em Washington, como delegada do Automóvel Clube do Brasil. Conheceu o Canadá e ficou hospedada com umas primas, em Nova York (Correio da Manhã, 15 de outubro de 1930, terceira coluna; A Gazeta (SP), 14 de outubro de 1930, segunda coluna).
+1931 – Em comemoração ao segundo ano de fundação da União Universitária Feminina, foi inaugurado na sede da entidade uma exposição com obras de arte de autoria feminina: Georgina de Albuquerque, Maria Francelina, Sarah Figueiredo, Cândida Cerqueira, Celita Vaccani, Odelli Castelo Branco e Wanda Turatti (Fon-Fon, 31 de janeiro de 1931).
+Uma curiosidade, em setembro do mesmo ano, foi realizado o Salão de Arte Moderna de 1931, o Salão Revolucionário como ficou conhecida a 38ª Exposição Geral de Belas Artes, em razão de ter abrigado, pela primeira vez, artistas de perfil moderno e modernista. Realizado no curto período de Lúcio Costa (1902 – 1998) na direção da Escola Nacional de Belas Artes – Enba, de 1930 a 1931, o Salão Revolucionário sinalizou o esforço do arquiteto de modernizar o ensino de arte no país e de abrir as mostras oficiais, até então dominadas pelos artistas acadêmicos, à arte moderna (Manchete, 3 de dezembro de 1977; Enciclopédia Itaú Cultural).
+Era a vice-presidente da Federação Brasileira pelo Progresso Feminino (Jornal do Brasil, 11 de março de 1931, última coluna).
+A Federação Brasileira pelo Progresso Feminino  organizou o II Congresso Internacional Feminista, no Rio de Janeiro, inaugurado, em junho, no Automóvel Club. Carmen foi uma das encarregadas pela organização e pela programação do evento cujos temas foram educação feminina, proteção às mães e à infância, trabalho feminino, direitos das mulheres e estreitamento das relações pan-americanas e internacionais (Correio da Manhã, 5 de março de 1931, primeira coluna; Jornal do Brasil, 19 de junho de 1931; O Jornal, 19 de junho de 1931, primeira coluna; Correio da Manhã, 26 de junho de 1931; O Malho, 27 de junho de 1931; Correio da Manhã, 1º de julho de 1931; O Malho, 11 de julho de 1931; Vida Doméstica, agosto de 1931).
+ 
+Jornal do Brasil, 19 de junho de 1931
+ 
+Vida Doméstica, agosto de 1931
+ 
+Na Associação Cristã dos Moços, realização de um chá em homenagem a Carmen Portinho (Jornal do Brasil, 2 de agosto de 1931).
+ 
+Careta, 8 de agosto de 1931
+ 
+Por proposta de Carmen Coutinho foram admitidos homens no quadro social da Federação Brasileira pelo Progresso Feminino (Correio da Manhã, 14 de agosto de 1931, sétima coluna).
+Integrava com a comissão da Federação Brasileira pelo Progresso Feminino que foi ao Ministério da Viação e Obras solicitar ao ministro José Américo de Almeida (1887 – 1990) a readmissão das mulheres nas repartições dos Correios (Diário Nacional, 15 de agosto de 1931, primeira coluna).
+Durante a última reunião do ano da Federação Brasileira pelo Progresso Feminino, Carmen assumiu a presidência porque Bertha Lutz  (1894 – 1976) estava fora do Brasil (Correio da Manhã, 10 de dezembro de 1931, quinta coluna).
+1932 - No terceiro aniversário da União Universitária Feminina, Carmen Portinho fez uma palestra de cinco minutos na Rádio Sociedade, inaugurando o programa idealizado por ela em colaboração com a Rádio Sociedade do Brasil (Correio da Manhã, 13 de janeiro de 1932, terceira coluna).
+O Decreto nº 21.076, de 24 de fevereiro de 1932 instituiu o Código Eleitoral Provisório e reconheceu o direito de voto às mulheres.
+Foi uma das signatárias de uma carta enviada pela Federação Brasileira pelo Progresso Feminino ao presidente da República, Getulio Vargas (1882 – 1954), em agradecimento pelo reconhecimento do direito do voto feminino  (Diário Nacional, 2 de março de 1932, última coluna).
+Em 11 de março, casou-se com o irmão da feminista Bertha Lutz, Gualter Adolpho Lutz (1903 – 1969), que viria a ser especialista em medicina legal, tornando-se catedrático da Escola Nacional de Medicina, de quem se separou poucos anos depois (Revista da Semana, 5 de março de 1932, primeira coluna).
+ 
+Sócias da Federação Brasileira pelo Progresso Feminino em visita ao Instituto Osvaldo Cruz, década de 20. Rio de Janeiro, RJ / Acervo Arquivo Nacional – Na foto, Carmen está na primeira fila, do lado esquerdo de Leocádio Rodrigues Chaves. Gualter Adolpho Lutz está na última fila.
+ 
+Escreveu uma carta para a revista Brasil Feminino (Brasil Feminino, maio de 1932).
+ 
+Brasil Feminino, maio de 1932
+ 
+Com uma programação especial para celebração do primeiro Dia das Mães, estabelecido a partir de uma iniciativa do Congresso Feminino de 1931, e criado pelo Decreto nº 21.366, de 5 de maio de 1932, assinado pelo presidente Getulio Vargas (1884 – 1954) consagrando o segundo domingo de maio para a celebração anual da data no Brasil, a Federação Brasileira pelo Progresso Feminino, inaugurou a nova sede da entidade, no edifício Caetano Segreto, na Praça Tiradentes, sob a presidência de Carmen Portinho, já que Bertha Lutz  (1894 – 1976) estava fora do Brasil (Correio da Manhã, 10 de maio de 1932, sétima coluna).
+Publicação de uma artigo sobre a União Universitária Feminina (Revista da Semana, 9 de julho de 1932).
+Natércia da Cunha Silveira (1903 – 1993), da Aliança Nacional de Mulheres; Bertha Lutz (1894 – 1976), da Federação Brasileira pelo Progresso Feminino; e Carmen Portinho (1903 – 2001), pela União Universitária Feminina, foram indicadas para integrar a comissão para elaborar o anteprojeto da nova Constituição. Finalmente, Natércia e Bertha foram nomeadas (Correio da Manhã, 14 de julho de 1932, terceira coluna; Correio da Manhã, 19 de julho de 1932, primeira coluna; Brasil Feminino, dezembro de 1932).
+Foi uma das fundadoras da Revista da Diretoria de Engenharia – posteriormente Revista Municipal de Engenharia -, cuja primeira edição foi publicada em julho de 1932. Foi criada por sugestão dada por ela ao então secretário de Obras do Rio de Janeiro, Delso Mendes da Fonseca. Seu diretor-geral era Everardo Backheuser e seu editor Armando de Godoy. A revista, técnica, divulgava as realizações da prefeitura, de engenheiros e de arquitetos. Carmen foi inicialmente secretária e posteriormente foi também redatora e diretora da publicação. Foi na Revista da Diretoria de Engenharia da Prefeitura do Distrito Federal que surgiram os primeiros ensaios sobre a arquitetura moderna no Brasil. No primeiro número foram publicados artigos sobre o primeiro projeto de Affonso Eduardo Reidy (1909 – 1964), sobre o projeto de Lúcio Costa e Warchavshick para apartamentos na Gamboa e dois artigos de Carmen, A arquitetura moderna na Holanda e Influência do nosso clima na arquitetura das prisões.
+Participou da Quinzena da Constituição, uma série de estudos práticos sobre o futura Constituição, organizada em comemoração dos 10 anos de fundação da Federação Brasileira pelo Progresso Feminino (Correio da Manhã, 18 de outubro de 1932).
+Foi a capa da revista Brasil Feminino de novembro de 1932.
+ 
+Capa da revista Brasil Feminino, novembro de 1932
+ 
+Acompanhou a comissão do Ministério da Viação de obras contra a seca no Nordeste, a convite do ministro José Américo de Almeida (1887 – 1980). A comissão era presidida por Sampaio Correia (1875 – 1942) e contava com alguns de seus antigos professores como Mauricio Joppert (1890 – 1985) e Hildebrando de Góes (1899 – 1980). Durante a viagem visitou as filiais da Federação Brasileira pelo Progresso Feminino na Bahia, em Pernambuco, no Ceará e no Rio Grande do Norte (Jornal do Brasil, 30 de novembro de 1932, sexta coluna; Jornal do Recife, 7 de dezembro de 1932, penúltima coluna; Correio da Manhã, 10 de dezembro de 1932, terceira coluna; Jornal do Brasil, 14 de dezembro de 1932, terceira coluna; Jornal do Brasil, 15 de dezembro, segunda coluna; Jornal do Brasil, 23 de dezembro de 1932, terceira coluna).
+Era uma das colaboradoras da Lux-Jornal (República (SC), 18 de dezembro de 1932, quarta coluna).
+Era uma das mulheres integrantes de uma comissão da Federação Brasileira pelo Progresso Feminino pelo incentivo ao alistamento eleitoral feminino. No ano seguinte, a comissão passou a oferecer seus préstimos também a homens que precisassem de ajuda para o alistamento (Jornal do Brasil, 30 de dezembro de 1932, quarta coluna; Jornal do Brasil, 31 de janeiro de 1933).
+1933 - Publicação do artigo Concurso para a urbanização das avenidas compreendidas entre “La Place de L´Etoile”, em Paris, e a praça circular de La Défense, em Courbevoie, de sua autoria, na edição de janeiro da Revista da Diretoria de Engenharia.
+Em uma reunião da sub-comissão constitucional,  Afrânio de Melo Franco (1870 – 1943), ministro das Relações Exteriores, mencionou um telegrama assinado por Bertha Lutz  (1894 – 1976) e Carmen Portinho, dentre outras, representando a mulher brasileira e solicitando que ao votar-se a questão na nacionalidade se resolvesse pelo jus soli, quando a nacionalidade originária é obtida em virtude do território onde o indivíduo tenha nascido – regra do solo. Oswaldo Aranha (1894 – 1960), minisro da Fazenda, então comentou Tivemos o cuidado de ficar com as mulheres…antes do pedido (Correio da Manhã, 17 de janeiro de 1933, sétima coluna).
+Ela e Clotilde Cavalcanti (1904 – 1984), chefe do Departamento de Cultura da União Universitária Feminina, que ficou conhecida como Tilde Canti, visitaram, em companhia da jornalista Zenaide Andrea, a redação do Correio de São Paulo, onde falaram sobre a inauguração da filial paulista da União Universitária Feminina, presidida por Adolpha Rodrigues, da Universidade Mackenzie (Correio de São Paulo, 28 de março de 1933, primeira coluna).
+ 
+Clotilde Cavalcanti, a Tilde Canti / Youtube
+ 
+Era uma das dirigentes da Liga Eleitoral Feminina (Correio da Manhã, 22 de março de 1933, quarta coluna).
+Compareceu à reunião da Convenção Nacional das Eleitoras, quando discutiu-se a melhor forma de fazer a propagadana eleitoral da candidatura de Bertha Lutz  (1894 – 1976) à Assembleia Nacional Constituinte nas eleições de 3 de maio. Foi lançado um manifesto escrito pela jornalista, feminista e declamadora Maria Sabina de Albuquerque (1898 – 1991). Bertha não foi eleita, tendo obtido 15.756 votos. Foi eleita a primeira mulher constituinte nesse pleito, a médica paulista Carlota Pereira de Queiroz (1892 – 1982) Em 9 de novembro de 1933, Bertha foi diplomada como primeira suplente do Partido Autonomista do Distrito Federal.
+Identificada como Carmen Portinho Lutz, era a representante da Engenharia na comissão da homenagem à poetisa Gilka Machado (1893 – 1980), que se realizaria no Instituto Nacional de Música (Jornal do Brasil, 17 de maio de 1933, sexta coluna).
+Na recentemente inagurada nova sede da Associação Cristã Feminina, Carmen proferiu a palestra sobre os Problemas do Nordeste (Correio da Manhã, 24 de maio de 1933, terceira coluna).
+Na Universidade Livre da Capital Federal, realização da aula magna do curso de Altos Estudos Femininos, dirigido pela poetisa e escritora Francisca de Bastos Cordeiro. Carmen e Bertha eram algumas das professoras (Correio da Manhã, 26 de maio de 1933, quarta coluna).
+Foi reconhecida  pelo ministro do Trabalho, Joaquim Pedro Salgado Filho (1888 – 1950) como delegada eleitora pela União Universitária Feminina. Nessa condição, em 30 de julho, concorreu nas eleições dos constituintes representantes das associações profissionais. Maria Eugênia Celso Carneiro de Mendonça (1886 – 1963) concorreu pela União Profissional Feminina. Não foram eleitas (Correio da Manhã, 25 de julho de 1933, sétima coluna; Correio da Manhã, 1º de agosto de 1933, primeira coluna).
+Em entrevista, declarou que a conquista do direito ao voto feminino deveria ser um estímulo para outros avanços: “Obtivemos a nossa emancipação política, mas esse direito assim isolado, de que nos serve?” (A Noite, 17 de agosto de 1933, última coluna).
+O artigo Futura Cidade Universitária Argentina, de autoria de Carmen, foi publicado na Revista da Diretoria de Engenharia (Correio da Manhã, 10 de setembro de 1933, última coluna).
+Um manifesto de autoria de Bertha Lutz  (1894 – 1976) e assinado por Carmen Coutinho, pela tradutora Lina Hirsh, por Almerinda Farias Gama (1899 – c. 1992), sindicalista e uma das primeiras mulheres negras a atuar na política brasileira; e a advogada Maria Luisa Dória de Bittencourt (1910 – 2001), que em 1935 tornou-se a primeira deputada estadual da Bahia; foi apresentado à seção de Legislação da Conferência Nacional de Proteção à Infância (Jornal do Brasil, 23 de setembro de 1933, penúltima coluna; Correio da Manhã, 23 de setembro de 1933, quinta coluna).
+ 
+Almerinda Farias Gama, advogada e sindicalista / Facebook
+ 
+Fazia parte da embaixada de universitários cariocas que seguiram para uma visita a São Paulo patrocinada pela Associação Universitária (Correio da Manhã, 1 de outubro de 1933, primeira coluna).
+Nas eleições da Federação Brasileira pelo Progresso Feminino, ela e Maria Eugênia Celso Carneiro de Mendonça (1886 – 1963) continuaram a ocupar os cargos de vice-presidentes ex-officio (Jornal do Brasil, 17 de outubro de 1933, penúltima coluna).
+Fazia parte da comissão de bolsas de estudos oferecidas pelas associações universitárias americanas e outras associações como o Instituto Internacional de Educação. Na ocasião, a sede do ficava no Edifício Odeon, sala 417, na praça Marechal Floriano (Correio da Manhã, 1º de novembro de 1933, penúltima coluna).
+Ela e Bertha Lutz  (1894 – 1976) participaram da Conferência Pan-americana, em Montevidéu, no Uruguai. Seguiram para o evento em companhia do diplomata Arno Konder (1882 – 1942), futuro cônsul do Brasil em Washington e na Alemanha (Correio da Manhã, 30 de novembro de 1933, quinta coluna; Jornal do Brasil, 2 de dezembro de 1933, sexta coluna; Correio da Manhã, 9 de dezembro de 1933, terceira coluna).
+ 
+Correio da Manhã, 1º de dezembro de 1933
+ 
+1934 – Na edição de janeiro da Revista da Diretoria de Engenharia, publicação do artigo de O critério científico no urbanismo, de sua autoria (Jornal do Brasil, 24 de janeiro de 1934, sexta coluna).
+Era a segunda secretária do Sindicato Central de Engenheiros (Jornal do Brasil, 7 de janeiro de 1934, primeira coluna).
+Foi sorteada para fazer parte do Tribunal do Juri (Correio da Manhã, 19 de janeiro de 1934, última coluna).
+Visitou a Associação Brasileira de Imprensa, da qual foi representante junto à imprensa uruguaia durante a realização da Conferência Pan-americana, em dezembro de 1933 (Correio da Manhã, 24 de janeiro de 1934, primeira coluna).
+Foi uma das feministas que enviou à Assembleia Nacional o pedido de voto para artigos da futura Constituição que contemplavam os direitos da mulher (Correio da Manhã, 23 de março de 1934, quinta coluna).
+Era uma das organizadoras da celebração do Dia das Américas realizado pela Federação Brasileira pelo Progresso Feminino. Foi identificada no artigo como Carmen Portinho Lutz (Jornal do Brasil, 13 de abril de 1934, penúltima coluna).
+Estava presente ao chá oferecido na Casa do Estudante, presidida por Anna Amélia Queiroz Carneiro de Mendonça (1896 – 1971), para as calouras universitárias. Na ocasião, a arqueóloga sueca , da Universidade de Estocolmo, fez uma palestra Hanna Rydh (A Noite Illustrada, 18 de abril de 1934).
+ 
+Carmen Portinho está sentada, sem chapéu / A Noite, 18 de abril de 1934
+ 
+No salão nobre do Hotel dos Estrangeiros, cArmen proferiu a palestra Uma viagem ao Nordeste, dentro da programação de abril do Centro Excursionista Brasileiro (Vida Doméstica, maio de 1934).
+ 
+Revista da Semana, 21 de abril de 1934
+ 
+Vida Doméstica, maio de 1934
+ 
+Na edição de julho da Revista da Diretoria de Engenharia, publicou o artigo O ensino do urbanismo.
+Foi a tradutora do livro A ditadura dos incas, do escritor mexicano Gabriel A. Gomes (Diário da Manhã (SC), 31 de julho de 1934, terceira coluna).
+Foi homenageada por sua recente nomeação a engenheira-chefe da prefeitura (Jornal do Brasil, 16 de agosto de 1934, primeira coluna).
+Foi citada no artigo As Vitórias Femininas, de Costa Rego, sobre as conquistas das mulheres da Constituição promulgada em 16 de julho de 1934 (Correio da Manhã, 17 de agosto de 1934, segunda coluna).
+Como delegada do Distrito Federal, ela e Maria dos Reis Campos participaram da Convenção Nacional Feminina, na Bahia. Bertha Lutz  (1894 – 1976) era a delegada federal assim como a líder do encontro (Jornal do Brasil, 24 de agosto de 1934, última coluna; Correio da Manhã, 26 de agosto de 1934, quinta coluna; Correio da Manhã, 1º de setembro de 1934, sexta coluna).
+Recebeu a incumbência de ser a engenheira responsável pela construção do novo prédio da sede do Montepio dos Empregados Municipais. Pediu exoneração da função em 1936 (Jornal do Brasil, 31 de agosto de 1934, segunda coluna; Jornal do Brasil, 4 de março de 1936, primeira coluna).
+Era a redatora-chefe da Revista da Diretoria de Engenharia (Revista da Diretoria de Engenharia, setembro de 1934).
+Ela, que na época era engenheira ajudante da Diretoria Geral de Engenharia, foi designada para assumir interinamente o cargo de engenheiro-chefe de divisão da entidade (Correio da Manhã, 13 de setembro de 1934, segunda coluna).
+Integrava o conselho de redação da recém lançada revista Tribuna Feminina, sob a direção de Alzira Reis Vieira Pereira, tendo como principal redatora Eunice Weaver (O Fluminense, 27 de dezembro de 1934, última coluna).
+1935 - Publicou o artigo A arte dos jardins (Revista da Diretoria de Engenharia, janeiro de 1935).
+No Palace Hotel, comemoração dos seis anos da União Universitária Feminina (Walkyrias, fevereiro de 1935).
+ 
+Walkyrias, fevereiro de 1935
+ 
+A poetisa baiana Seleneh Carneiro de Souza foi homenageada pela União Universitária Feminina com um chá na Sorveteria Americana (A Noite Illustrada, 12 de março de 1935).
+ 
+A Noite, 12 de março de 1935
+ 
+Ela e Edith Fraenkel (1889 – 1969), futura primeira presidente eleita da Associação Brasileira de Enfermagem e uma de suas fundadoras, foram indicadas para suplentes da delegação brasileira no Congresso de Istambul. A representante do Brasil seria a poetisa e feminista Anna Amélia Queiroz Carneiro de Mendonça (1896 – 1971) (Relatórios do Ministério das Relações Exteriores, 1935; Jornal do Brasil, 11 de abril de 1935, primeira coluna).
+ 
+Anna Amélia Carneiro de Mendonça / Correio da Manhã, 10 de abril de 1935
+ 
+Revista da Semana, 20 de abril de 1935
+ 
+Inauguração da primeira oficina da Divisão de Edificações Municipais, onde Carmen era engenheira-chefe (Revista da Semana, 6 de julho de 1935).
+ 
+O Malho, 4 de julho de 1935
+ 
+Estava presente à homenagem prestada pela Federação Brasileira pelo Progresso Feminino ao ministro das Relações Exteriores, José Carlos Macedo Soares (1883 – 1968), e a sua esposa, no salão nobre do Automóvel Clube (O Imparcial, 6 de julho de 1935, primeira coluna).
+Foi homenageada na celebração dos 13 anos da Federação Brasileira pelo Progresso Feminino (O Imparcial, 10 de agosto de 1935).
+A Diretoria de Engenharia da Secretaria Geral de Viação, Trabalho e Obras Públicas do Distrito Federal convocou ela, Affonso Eduardo Reidy (1909 – 1964) e outros engenheiros para resolver um assunto relativo às obras no Paço Municipal (Jornal do Brasil, 12 de outubro de 1935, primeira coluna).
+1936 – Ingressou no curso de pós-graduação do Curso de Urbanismo e Arquitetura da Universidade do Distrito Federal. A primeira turma do curso era composta por oito alunos: Carmen Portinho, Déa Torres de Paranhos  (1915 – 2001), Albino dos Santos, Dante Jorge Albuquerque, Ricardo José Antunes Júnior, Paulo de Camargo e Almeida, João Lourenço da Silva e Adhemar Marinho da Cunha (O Imparcial, 7 de agosto de 1938, última coluna). Todos, menos ela, eram arquitetos. Teve como professores Mário de Andrade (1893 – 1945), de História da Arte; Candido Portinari (1903 – 1962), de Pintura; e Celso Antônio de Menezes (1896 – 1984), de Escultura, dentre outros. Foi nessa ocasião que conheceu Edith Behring, que se tornaria uma das mais importantes gravadoras brasileiras e futura responsável pelo Ateliê de Gravura do Museu de Arte Moderna do Rio de Janeiro.
+Devido a irregularidades cometidas pela Companhia Territorial Construtora, pediu exoneração do cargo de engenheira responsável pela construção do novo prédio da sede do Montepio dos Empregados Municipais (Correio da Manhã, 9 de janeiro de 1936, terceira coluna).
+Dentre outros, como o professor e artista plástico Benevenuto Berna (1865 – 1940) e o fotógrafo Augusto Malta (1864 – 1957), que entre 1903 e agosto de 1936 foi o fotógrafo oficial da prefeitura do Rio de Janeiro, fazia parte da caravana do Centro Carioca que visitou as obras da estrada para o Cristo Redentor (Correio da Manhã, 12 de janeiro de 1936, penúltima coluna; Beira-Mar, 18 de janeiro de 1936).
+ 
+Benevenuto Berna / Acervo FBN
+ 
+Participou da organização e da programação da celebração do Dia Pan-americano ou Dia das Américas. Em castelhano, Carmen proferiu uma palestra pleitando a inclusão de mulheres delegadas plenipotenciárias em todas as delegações das conferências de paz. Bertha Lutz  (1894 – 1976) falou em inglês e Anna Amélia Queiroz Carneiro de Mendonça (1896 – 1971) em português também discursaram (Correio da Manhã, 15 de abril de 1936, terceira coluna).
+Ela e a artista plástica Clotilde Cavancanti – Tilde Canti – (1906 – 1984), representando a União Universitária Feminina, e Anna Amélia Queiroz Carneiro de Mendonça (1896 – 1971), presidente da Casa do Estudante, reuniram-se com o presidente da República, Getulio Vargas (1822 – 1954), para tratar de assuntos relativos ao intercâmbio universitário (Correio da Manhã, 9 de julho de 1936, terceira coluna; A Offensiva, 9 de julho de 1936, segunda coluna).
+No Salão Nobre da Escola Nacional de Belas Artes, como aluna do Curso de Urbanismo e Arquitetura da Universidade do Distrito Federal, durante a celebração em torno do ex-prefeito Francisco Pereira Passos (1836 – 1913), proferiu o discurso Passos, o grande prefeito. O arquiteto espanhol Morales de los Rios Filho (1887 – 1973), professor do mesmo curso, proferiu o discurso o Passos, o Haussmann brasileiro (Jornal do Brasil, 5 de setembro de 1936, terceira coluna).
+Ela e sua amiga e colega no curso de Urbanismo, Déa Torres Paranhos (1915 – 2001), uma das primeiras mulheres registradas como arquiteta no CREA, em 1935, publicaram o artigo Aerophotogrametria (Revista da Diretoria de Engenharia, novembro de 1936). Déa havia ingressado, com 15 anos, em 1930, na Escola Nacional de Belas Artes da Universidade do Rio de Janeiro, no curso especial de Arquitetura, mesma turma de Oscar Niemeyer (1907 – 2012), uma turma com um total de 137 alunos, onde apenas 15 eram mulheres.
+ 
+Fotografia do álbum de formatura de Deá Torres de Paranhos / Biblioteca da FAU/UFRJ
+ 
+1937 - Após presidir a União Universitária Brasileira desde sua fundação, Carmen Portinho foi sucedida pela também engenheira Elza Pinho Osborne (? – 1995) (Jornal do Brasil, 22 de janeiro de 1937, segunda coluna).
+Participou e foi uma das signatárias do manifesto lançado pelo Congresso Nacional dos Estudantes (Correio da Manhã, 2 de abril de 1937, quarta coluna).
+Por iniciativa de Carmen e de outras engenheiras foi fundada, em 19 de julho de 1937, a Associação Brasileira de Engenheiras e Arquitetas (ABEA), para incentivar mulheres formadas a ingressar no mercado de trabalho. Ela foi sua primeira presidente (Correio da Manhã, 27 de julho de 1937, terceira coluna).
+ 
+Correio da Manhã, 27 de julho de 1937
+ 
+Lista de Presença da Fundação da ABEA /Fonte: Revista da ABEA Nacional – Ano 1 no. 1, 2011.
+ 
+Integrava o Departamento de Urbanismo do Centro Carioca, cuja sede ficava na Praça tiradente, nº 60, no quarto Andar. Era presidido pelo professor e artista plástico Benevenuto Berna (1865 – 1940) (Correio da Manhã, 24 de agosto de 1937, penúltima coluna).
+Publicou o artigo O Homem e o seu Abrigo no primeiro número da Revista de Cultura Técnica (Jornal do Brasil, 27 de agosto de 1937, última coluna).
+Ela, Affonso Eduardo Reidy (1909 – 1964), Iberê Ebert e outros engenheiros foram designados redatores da Revista Municipal de Engenharia, sob a gerência do engenheiro Alim Pedro  (Jornal do Brasil, 16 de outubro de 1937, última coluna).
+O redator-chefe da Revista da Diretoria de Engenharia passou a ser Carvalho Netto. Ela, Affonso Eduardo Reidy (1909 – 1964), Raposo de Almeida e Castro Faria passaram a ser os redatores (Revista Municipal de Engenharia, novembro de 1937).
+Foi indicada para integrar a subcomissão de Elaboração do Plano da Cidade.
+1938 - Publicação de uma notícia sobre o curso de Urbanismo e sobre a defesa da tese de seus alunos, dentre eles, Carmen Portinho (Jornal do Brasil, 7 de agosto de 1938, última coluna).
+Foi eleita vice-presidente do Sindicato Nacional dos Engenheiros (Revista Municipal de Engenharia, setembro de 1938; Correio da Manhã, 8 de outubro de 1938, primeira coluna).
+Em 22 de dezembro, Carmen defendeu sua tese, Plano da futura capital do Brasil (Jornal do Brasil, 14 de dezembro de 1938, quinta coluna; Correio da Manhã, 18 de dezembro de 1938, segunda coluna).
+ 
+Jornal do Brasil, 14 de dezembro de 1938
+ 
+1939 - Tornou-se a primeira mulher a obter o título de urbanista no Brasil (Correio da Manhã, 17 de janeiro de 1939, primeira coluna)*.
+Publicação de sua tese Plano da futura capital do Brasil nas edições de março e maio da Revista Municipal de Engenharia.
+Estava presente na inauguração da Seção Brasileira da Confederação dos Trabalhadores Intelectuais, com sede em Genebra. A iniciativa foi da advogada Marie Therese Nizot (Jornal do Brasil, 16 de agosto de 1939, sexta coluna).
+1940 – Foi uma das juradas no juglamento de um assassinato (Gazeta de Notícias, 14 de março de 1940, primeira coluna).
+Foi eleita membro do Conselho Diretor do Club de Engenharia, presidido por José Matoso de Sampaio Corrêa (1875 – 1942) (Jornal do Commercio, 16 de junho de 1940, segunda coluna).
+1941 – Integrava a comissão organizadora e a delegação do Club de Engenharia no I Congresso Brasileiro de Urbanismo, realizado entre 20 e 27 de janeiro, no Rio de Janeiro, com a participação de profissionais de renome como o francês Alfred Agache (1875 – 1959). O evento foi idealizado pelo engenheiro Francisco Baptista de Oliveira, diretor do Departamento de Urbanismo do Centro Carioca. Houve um concurso de cartazes para o evento (Gazeta de Notícias, 22 de novembro de 1940, quinta coluna; Jornal do Commercio, 11 de de dezembro de 1940, primeira coluna; Revista de Arquitetura, dezembro de 1940). A edição especial de maio da Revista da Semana foi dedicado ao tema do urbanismo.
+ 
+Carmen Portinho é a única mulher na fotografia / Revista da Semana, maio de 1941
+ 
+Na Rádio Difusora da Municipalidade, proferiu uma palestra, que integrou a Jornada de Habitação Econômica, presidida pelo então prefeito do Rio de Janeiro, Henrique Dodsworth (1895 – 1975) (Jornal do Commercio, 17 de setembro de 1941, segunda coluna).
+Fazia parte da diretoria do Sindicato de Engenheiros, presidida por Furtado Simas (1913 – 1978) (O Radical, 22 de novembro de 1941, terceira coluna; Jornal do Commercio, 22 de novembro de 1941, quinta coluna;  O Malho, janeiro de 1942).
+Era uma das colaboradoras da revista Urbanismo e Viação (O Jornal, 11 de dezembro de 1941).
+1942 – Publicação de seu artigo A habitação – o Homem (Revista Municipal de Engenharia, janeiro de 1942).
+Fazia parte da comissão que entregou à delegação dos Estados Unidos uma moção de solidariedade da União Universitária Feminina aos princípios que regem a solidariedade continental de defesa da democarcia e da liberdade, durante a III Reunião de Consulta dos Ministros das Relações Exteriores das Repúblicas Americanas, no Rio de Janeiro (Correio da Manhã, 20 de janeiro de 1942, terceira coluna).
+Em uma reunião extraordinária da Obra de Fraternidade da Mulher Brasileira, presidida pela advogada Maria Rita Soares de Andrade (1904 – 1998), Carmen foi uma das mulheres que falaram sobre a importância da participação da mulher universitária no esforço de defesa do Brasil após o torpedeamento de cinco navios mercantes brasileiros pelos países do Eixo – Alemanha e Itália (Jornal do Brasil, 28 de agosto de 1942, segunda coluna).
+Ela, Maria Rita Soares de Andrade (1904 – 1998) e, como suplentes, as médicas Maria Lourdes Pedroso e Iraci Dolle Ferreira, foram as representantes da União Universitária Feminina na IV Convenção Nacional Feminina, realizada na sala de leitura do Palácio Itamaraty, entre 26 e 28 de outubro, presidida por Maria Sabina de Albuquerque (1898 – 1991) e que contou com a participaçao de diversas feministas, dentre elas Bertha Lutz  (1894 – 1976) e Anna Amélia Queiroz Carneiro de Mendonça (1896 – 1971). Em pauta, a participação da mulher brasileira na guerra. Na época, Carmen era a presidente da Associação das Engenheiras e Arquitetas Brasileiras (A Manhã, 22 de outubro de 1942, última coluna; A Manhã, 27 de outubro de 1942, quinta coluna; A Manhã, 29 de outubro de 1942, primeira coluna).
+ 
+Carmen Portinho e a engenheira Nídia Moura com a repórter / A Manhã, 29 de outubro de 1942
+ 
+1943 – Era uma das cinco mulheres integrantes do Club de Engenharia. As outras eram Anita Dubrugas (1892 – 1951), Elza Pinho Osborne (? – 1995), Edwiges Maria Becker Hom’meil  (18? – 19?) e Maria Helena Souza Coelho. Edwiges e Anita foram a primeira e a segunda mulheres, respectivamente, a se formarem em Engenharia Civil no Brasil. Carmen fazia parte do Conselho Diretor da chapa Eugênio Gudin – Marques Porto que concorreu, mas não ganhou as eleições do Club de Engenharia (Diário de Notícias, 14 de março de 1943, última coluna; O Jornal, 16 de março de 1943, sexta coluna).
+Era a segunda secretária da diretoria do Conselho Diretor da Sociedade de Engenheiros da Prefeitura e vice-presidente do Sindicato dos Engenheiros (Correio da Manhã, 30 de julho de 1943, quarta coluna).
+ 
+A Noite, 30 de julho de 1943
+ 
+1944 – Como presidente da União Universitária Feminina endereçou uma carta à diretora do Museu Nacional solicitando que mulheres fossem autorizadas a fazer a prova para a contratação de ex-numerário mensalista na instituição (A Manhã, 10 de fevereiro de 1944, terceira coluna).
+Sob sua presidência, a União Universitária Feminina promoveu sua I Exposição de Artes Plásticas, patrocinado pelo Ministério de Educação e Saúde (Diário da Noite, 1º de agosto de 1944).
+ 
+Diário da Noite, 1º de agosto de 1944
+ 
+Como vice-presidente da Associação de Engenheiras e Arquitetas Brasileiras proferiu a palestra A reconstrução de Londres, na sessão inaugural da exposição do plano urbanístico para a reconstrução de Londres, realizada no Instituto dos /arquitetos do Brasil, sob os auspícios do Conselho Britânico (A Manhã, 22 de outubro de 1944, última coluna).
+1945 - Foi uma das organizadoras com Natércia da Cunha Silveira (1905 – 1993), Maria Luiza Bitencourt (1910 – 2001), primeira deputada da Bahia; Maria Rita Soares de Andrade (1904 – 1998) e outras mulheres, de uma coligação democrática para apoiar a candidatura do brigadeiro Eduardo Gomes (1896 – 1981) à presidência da República (Diário de Notícias, 24 de fevereiro de 1945, quinta coluna).
+Estava presente à posse do general Isidoro Dias Lopes (1865 – 1949) como presidente da Coligação Democrática do Distrito Federal de combate ao getulismo (Correio da Manhã, 18 de março de 1945, quarta coluna).
+Estava presente na chegada ao Rio de Janeiro do general Manoel Rabelo (1878 – 1945), ministro do Superior Tribunal Militar, que apoiava a candidatura do brigadeiro Eduardo Gomes à presidência da República (O Jornal, 23 de março de 1945, primeira coluna).
+Na sede da Associação Brasileira de Imprensa, eleição do Diretório da União Democrática Nacional (UDN). Ela, Natércia da Cunha Silveira (1905 – 1993) e Maria Rita Soares de Andrade (1904 – 1998) compunham o Comitê Feminino do Distrito Federal. A UDN foi fundada em 7 de abril de 1945 como uma “associação de partidos estaduais e correntes de opinião” contra a ditadura do Estado Novo e sua principal bandeira foi a oposição constante a Getulio Vargas (1884 – 1954) e ao getulismo (O Jornal, 7 de abril de 1945, sexta coluna; Correio da Manhã, 8 de abril de 1945, sexta coluna; Revista da Semana, de 1950).
+Foi uma das signatárias do manifesto de programa de ação da recém fundada União Socialista Popular, de caráter provisório, que serviria de base para a organização de um grande órgão político socialista (Diário Carioca, 18 de abril de 1945, quarta coluna).
+Carmen deu uma entrevista ao jornal Correio da Manhã, que havia rompido as amarras da censura dipeana com a publicação, em 22 de fevereiro de 1945, de declarações, que tiveram grande repercussão, de José Américo de Almeida (1887 – 1980) a Carlos Lacerda (1914 – 1977) acerca da situação política estabelecida pelo Estado Novo. José Américo participou da Revolução de 30, havia sido ministro da Viação de Getulio e pré-candidato à presidência da República para as eleições de 1938 que não se realizaram devido ao estabelecimento do Estado Novo. É também o autor do aclamado romance A Bagaceira (1928). Dentre outros assuntos, Carmen Portinho, na entreista, comentou as restrições impostas às mulheres pelo Departamento Administrativo do Serviço Público, o DASP, com referência ao trabalho feminino nas repartições públicas (Correio da Manhã, 26 de abril de 1945, quinta coluna).
+ 
+Correio da Manhã, 26 de abril de 1945
+ 
+ 
+Correio da Manhã, 26 de abril de 1945
+ 
+Participou das demonstrações práticas dos eletrodutos moldados Semerato, invenção do brasileiro Ariosto Semeraro, nas obras do edifício Aquitânia, na avenida Presidente Vargas. Ela comentou o sucesso que o invento teria na reconstrução das cidades inglesas destruídas pela guerra (A Noite, 30 de maio de 1945, primeira coluna).
+Viajou para a Inglaterra, em agosto de 1945, por ter recebido uma bolsa do Conselho Britânico para estagiar junto às comissões de reurbanização das cidades inglesas destruídas pela guerra. A viagem durou 24 dias de navio. Em setembro, já em Londres, ela ofereceu uma recepção na sede do British Council. Em outubro, foi homenageada com um almoço na residência do embaixador do Brasil em Londres, José Joaquim de Lima e Silva Muniz de Aragão (1887 – 1974). Em 21 de dezembro, foi oferecido em homenagem a seu regresso ao Brasil um cocktail na sede da Sociedade de Engenheiros da Prefeitura do Distrito Federal. Segundo ela, foi nesse período que aprendeu o conceito de unidade de habitação. Esteve também na Escócia e em Paris, quando encontrou-se com Beata Vettori (1909 – 1994), diplomata e sua antiga companheira na Federação Brasileira para o Progresso Feminino. Também, em Paris, encontrou-se com Le Corbusier (1887 – 1965) e lhe mostrou as transparências e as plantas da sede do Ministério da Educação (A Noite, 6 de setembro de 1945, terceira coluna; O Jornal, 6 de outubro de 1945, primeira coluna; O Jornal, 6 de outubro de 1945, primeira coluna; Jornal do Commercio, 7 de outubro de 1945, quinta coluna; Correio da Manhã, 15 de dezembro de 1945, sexta coluna; Revista da Semana, 10 de abril de 1948; Jornal do Commercio, 21 de dezembro de 1945, sexta coluna). 
+Neste ano formou-se em Engenharia na Universidade Federal do Paraná, Enedina Alves Marques (1913 – 1981), primeira mulher negra a se tornar engenheira no país.
+ 
+Enedina Alves Marques, a primeira engenheira negra do Brasil
+ 
+1946 – Na Sociedade dos Engenheiros da Prefeitura, Carmen proferiu a palestra Comentários sobre uma viagem à Grã-Bretanha e à Escócia (A Manhã, 9 de janeiro de 1946, primeira coluna).
+Publicação dos artigos de Carmen Portinho, Habitação Popular, onde abordou as limitações de cidades-jardins, cidades-dormitórios e cidades-satélites, defendendo a criação de conjuntos residenciais, construídos em áreas previamente determinadas e distribuidos racionalmente por todo o centro urbano. Também abordou a existência das favelas, explicou o conceito de Unidade de Habitação, comentou a construção de habitações para solteiros e idosos e outros aspectos da reconstrução de cidades na Inglaterra e o Decreto-Lei 9128 de 1º de maio de 1946 autorizando a criação da Fundação da Casa Popular (Correio da Manhã, 10 de março de 1946, quarta coluna; Correio da Manhã, 17 de março de 1946, quarta coluna; Correio da Manhã, 24 de março de 1946, quarta coluna; Correio da Manhã, 31 de março de 1946, quarta coluna; Correio da Manhã, 7 de abril de 1946, primeira coluna; Correio da Manhã, 14 de abril de 1946, sétima coluna).
+Criação do Departamento de Habitação Popular da Secretaria de Viação e Obras Públicas da Prefeitura do Distrito Federal. Carmen foi nomeada chefe do departamento (Diário de Notícias, 5 de abril de 1946; Correio da Manhã, 5 de abril de 1946, quarta coluna; Diário de Notícias, 16 de abril de 1946, quarta coluna; Correio da Manhã, 17 de fevereiro de 1948, sétima coluna; Diário Carioca, 3 de março de 1948, quinta coluna).
+Foi uma das pessoas designadas pelo prefeito Hildebrando de Góis (1899 – 1980) para integrar a Comissão de Revisão do Código de Obras do Distrito Federal (O Jornal, 30 de maio de 1946, primeira coluna).
+Publicação do artigo de sua autoria Trabalho Feminino, sobre a participação das mulheres na Segunda Guerra Muncial (Correio da Manhã, 2 de junho de 1946, quarta coluna).
+Foi citada com seu nome de casada, Carmen Portinho Lutz (Correio da Manhã, 2 de julho de 1946, quinta coluna).
+Publicação de seu artigo Escola Maternal e Jardim de Infância. A respeito do artigo, Gloria A. Vaz lhe enviou uma carta, também publicada na jornal (Correio da Manhã, 14 de julho de 1946, quarta coluna; Correio da Manhã, 28 de julho de 1946, quarta coluna).
+Publicação de seu artigo Exposição Fotográfica de Arquitetura Britânica, apresentada na Sociedade Brasileira de Cultura Inglesa. Ela fez uma conferência sobre o assunto no dia 6 de agosto (Diário de Notícias, 28 de julho de 1946, segunda coluna; Correio da Manhã, 11 de agosto de 1946, quarta coluna).
+Publicação de seu artigo Matisse (Correio da Manhã, 13 de outubro de 1946, quarta coluna).
+Foi mencionada como uma das professoras queridas em artigo de Paulo A. Figueiredo, No Pedro II do meu tempo (A Manhã, 25 de outubro de 1946, sexta coluna).
+Publicação do artigo A Cidade dos Motores, de Le Corbusier (1887 – 1965), traduzido por ela. O artigo é sobre a futura construção da Cidade dos Motores, na Baixada Fluminense, projetada por Paul Lester Weiner e José Luiz Sert (Correio da Manhã, 17 de novembro de 1946, quinta coluna).
+1947 - Publicação do artigo de sua autoria Senhor dos Navegantes, sobre a procissão realizada em Salvador no dia 31 de dezembro (Correio da Manhã, 12 de janeiro de 1947).
+Foi eleita presidente da Sociedade de Engenheiros da Prefeitura (Revista Municipal de Engenharia, julho de 1947).
+Entre 27 de setembro e 1º de outubro, participou, como delegada do Brasil, do Congresso Internacional de Mulheres, organizado pela Entente Mondiale pour la Paix, na sede da Unesco, onde ficava anteriormente o Hotel Majestic. Retornou em 24 de outubro e, em 5 de novembro, proferiu uma palestra sobre o evento, na Casa do Estudante do Brasil (Correio da Manhã, 18 de julho de 1947, terceira coluna; Correio da Manhã, 27 de agosto de 1947, quinta coluna; Correio da Manhã, 28 de setembro de 1947, última coluna; O Jornal, 28 de setembro de 1947, sexta coluna; Correio da Manhã, 25 de outubro de 1947, última coluna; Jornal do Commercio, 5 de novembro de 1947, primeira coluna; Revista da Semana, 6 de dezembro de 1947).
+ 
+A jornalista e escritora Helena Silveira (1911 – 1984) e Carmen Portinho (em primeiro plano, à direita), delegadas do Brasil no Congresso / Revista da Semana, 6 de dezembro de 1947
+ 
+Foi uma das signatárias de um protesto enviado ao Congresso Nacional contra o projeto do senador Ivo d´Aquino (1895 – 1974), que pretendia cassar mandatos de parlamentares. O projeto se aplicava aos comunistas quando incluía entre os casos de extinção a cassação do registro do respectivo partido por ser considerado “extremista” (artigo 141 da Constituição de 1946). Aprovado em primeira e segunda votações no Senado em outubro de 1947, por 35 votos a 19, e 34 a 18, respectivamente, o projeto foi votado pela Câmara dos Deputados em 7 de janeiro de 1948 (162 votos favoráveis e 74 contrários) e levado à sanção de Dutra na mesma data (Tribuna Popular, 4 de dezembro de 1947, primeira coluna; CPDOC).
+1948 – Foi a personagem da coluna “Personalidade da Semana”. Um dos assuntos que abordou foi a construção do Conjunto Habitacional do Pedregulho, no bairro de São Cristóvão, para abrigar funcionários públicos do então Distrito Federal. O projeto, de Affonso Eduardo Reidy (1909 – 1964), já havia sido aprovado pelo prefeito Ângelo Mendes de Moraes (1894 – 1990) (Revista da Semana, 10 de abril de 1948).
+Participou com Oscar Niemeyer (1907 – 2012), Affonso Eduardo Reidy (1909 – 1964), Henrique Mindlin (1911 – 1971) e Rodrigo de Mello Franco de Andrade (1898 – 1969), dentre outros, de um almoço que o Conselho Britânico realizou no Hotel Palace para engenheiros e arquitetos que recepcionaram o arquiteto inglês Percy Marshall (1915 – 1993) no Rio de Janeiro (Correio da Manhã, 20 de junho de 1948, última coluna).
+Estava envolvida no projeto da prefeitura do Rio de Janeiro, cujo prefeito era Ângelo Mendes de Moraes (1894 – 1990), de construção de 500 casas no Parque Proletário da Gávea para moradores que seriam transferidos da Favela do Pinto (Correio da Manhã, 20 de julho de 1948, sexta coluna).
+Mostrou fotografias do projeto de urbanização da região do desmonte do Morro de Santo Antônio, realizado por Affonso Eduardo Reidy (1909 – 1964), diretor do Departamento de Urbanismo da Prefeitura (Correio da Manhã, 7 de novembro de 1948, segunda coluna).
+Ela e o arquiteto Mauro Viegas (1919 – ), adjunto do secretário de Viação, foram os representantes da prefeitura do Rio de Janeiro no Segundo Congresso Brasileiro de Arquitetos, em Porto Alegre, de 20 a 27 de novembro. Apresentaram o projeto do Conjunto Residencial do Pedregulho, da urbanização da região do desmonte do Morro de Santo Antônio e do Estádio Municipal (Correio da Manhã, 12 de novembro de 1948, primeria coluna; Correio da Manhã, 14 de novembro de 1948, quinta coluna; Revista de Arquitetura,  novembro/dezembro de 1948).
+ 
+
+ 
+1949 - Ela, formavam a comissão para realizar os estudos e os projetos para a urbanização das áreas situadas nas encostas da Tijuca, no vale do rio Cachoeira e das terras compreendidas entre o Itanhangá, a lagoa e a Barra da Tijuca (Correio da Manhã, 12 de janeiro de 1949, sétima coluna).
+Artigo sobre a construção do Conjunto Residencial do Pedregulho, cuja executora era Carmen Portinho (Correio da Manhã, 23 de janeiro de 1949, quinta coluna).
+Fazia parte da chapa encabeçada por Alcides Lins (1891 – 1969) para o Club de Engenharia. A eleição foi vencida pela chapa encabeçada por Edson Passos *1893-1954) (A Noite, 31 de março de 1949, penúltima coluna).
+Foi um dos engenheiros designados para representar a prefeitura do Rio de Janeiro no I Congreso Pan-americano de Engenharia que se realizou na cidade entre 15 e 24 de julho (Correio da Manhã, 14 de julho de 1949, primeira coluna).
+1950 – A princesa Margaret da Inglaterra (1930 – 2002) fumou em público o que causou certa polêmica. Algumas mulheres brasileiras foram convidadas a comentar o fato, dentre elas, Carmen que declarou não achar condenável a atitude da princesa (Diário da Noite, 11 de abril de 1950).
+Foi uma das representantes do Brasil no III Seminário Regional de Assuntos Sociais da União Panamericana, que se realizou em Porto Alegre entre 14 e 26 de maio (A Manhã, 10 de maio de 1951, última coluna).
+Inauguração dos primeiros 54 apartamentos do Conjunto Residencial do Pedregulho com a presença do prefeito Ângelo Mendes de Moraes (1894 – 1990) e de diversas autoridades. Na ocasião, Carmen proferiu uma palestra sobre a construção (A Noite, 20 de junho de 1950, primeira coluna; Correio da Manhã, 21 de junho de 1950).
+Deu uma entrevista falando de suas ideias em relação à questão da habitação (Diário Carioca, 2 de julho de 1950).
+1951 – Em 21 de março, foi eleita e tomou posse a nova diretoria do Museu de Arte Moderna do Rio de Janeiro, fundado em 1948: Raymundo de Castro Maya (1894 – 1968) – presidente -, Francisco de San Thiago Dantas  (1911 – 1964) – vice-presidente -, Niomar Moniz Sodré Bittencourt (1916 – 2003) – diretora executiva , Carmen Portinho – diretora executiva adjunta -, Maria Barreto (diretora secretária) e Walther Moreira Salles (1912 – 2001) (tesoureiro).
+Foi uma das personalidades de destaque no Brasil que se manifestou entusiasmadamente sobre a realização da I Bienal Internacional de São Paulo, promovida pelo Museu de Arte Moderna de São Paulo, então presidido por Ciccillo Matarazzo (1898 – 1977).  Sua mulher, de Yolanda Penteado (1903 – 1983), foi uma peça fundamental para a realização do evento, que aconteceu em um pavilhão provisório localizado na Esplanada do Trianon, na região da Avenida Paulista. Foi realizada entre outubro e dezembro com 729 artistas de 25 países e 1854 obras. O projeto do Conjunto Residencial do Pedregulho, do arquiteto Affonso Eduardo Reidy (1909 – 1964), do qual Carmen era a engenheira, conquistou o prêmio de Organização de Grandes Áreas ou de Urbanismo (Última Hora, 24 de agosto de 1951, quarta coluna; Correio da Manhã, 6 de dezembro de 1951, primeira coluna).
+ 
+
+Foi afastada do cargo de diretora do Departamento de Habitação Popular pelo novo secretário de Viação da Prefeitura, Paulo Sá, nomeado pelo novo prefeito do Rio de Janeiro, João Carlos Vital (1900 – 1984) (Correio da Manhã, 28 de abril de 1951, segunda coluna).
+Foi uma das integrantes da delegação de Habitação e Urbanismo designada pelo presidente da República para participar do III Seminário Regional de Assuntos Sociais da União Pan-americana, realizada entre 14 e 26 de maio, em Porto Alegre (Correio da Manhã, 10 de maio de 1951, última coluna).
+No artigo Muita construção, alguma arquitetura e um milagre, sobre os últimos 50 anos de arquitetura no Brasil, o arquiteto Lúcio Costa (1902 – 1998) citou a participação de Carmen Portinho na Faculdade como decisiva para a formação do arquiteto no Brasil e a definiu como um “traço vivo de união, desde menina, entre as Belas Artes e a Politécnica” (Correio da Manhã, 15 de junho de 1951, segunda coluna).
+Em entrevista, declarou que suas paixões era a matemática e a jardinagem (A Noite, 5 de outubro de 1951)
+1952 - O Museu de Arte Moderna do Rio de Janeiro, fundado, em 1948, sob a presidência de Raymundo de Castro Maya (1894 – 1968) e inaugurado, em  20 de janeiro de 1949, com a exposição Pintura Europeia Contemporânea, em sua sede provisória localizada no 11º andar do Banco Boavista, passou a funcionar, em 15 de janeiro de 1952, no pavimento térreo do Edifício Gustavo Capanema, o prédio do Ministério da Educação. A área foi cedida, no ano anterior, pelo então ministro da Educação e da Saúde e também fundador do jornal A Tarde, da Bahia, Ernesto Simões Filho (1886 – 1957). O recinto do museu foi projetado por Oscar Niemeyer (1907 – 2012) e Carmen foi responsável pelas obras. A cerimônia de inauguração, à qual compareceram diversas personalidades do mundo político e cultural brasileiro, como a primeira-dama Darci Vargas (1895 – 1968) e o casal Ciccillo Matarazzo (1898 – 1977) e Yolanda Penteado (1903 – 1983), foi presidida por Simões Filho.
+Carmen era, como já mencionado, diretora executiva adjunta do MAM-RJ, cargo que ocupou até 1967. Sua diretora executiva era Niomar Moniz Sodré Bittencourt (1916 – 2003), seu vice-presidente, Francisco Clementino San Tiago Dantas (1911 – 1964), e seu tesoureiro, Walther Moreira Salles (1912 – 2001). A exposição inaugural mostrou quadros pertencentes ao museu e obras premiadas na I Bienal de São Paulo, realizada entre outubro e dezembro de 1951 (Correio da Manhã, 21 de janeiro de 1949, terceira coluna; Correio da Manhã, 7 de março de 1951, quinta coluna; Correio da Manhã, 6 de janeiro de 1952, quarta coluna; Correio da Manhã, 16 de janeiro de 1952; A Noite, 5 de outubro de 1951, primeira coluna; Última Hora, 9 de janeiro de 1952, penúltima coluna; A Noite, 16 de janeiro de 1952; Vida Doméstica, fevereiro de 1952; Revista da Semana, 26 de julho de 1952).
+ 
+Sede provisória do MAM-RJ no térreo do Edifício Gustavo Capanema / Correio da Manhã, 11 de janeiro de 1952
+ 
+Na inauguração do MAM-RJ, no Palácio Capanema, Carmen está à direita de Niomar Moniz Sodré Bittencourt / Vida Doméstica, fevereiro de 1952
+ 
+Almanak do Correio da Manhã, 1952
+ 
+Carmen Portinho hasteou a bandeira do Brasil na inauguração da escola do Conjunto Residencial do Pedregulho (A Noite, 31 de janeiro de 1952, penúltima coluna).
+ 
+Escola do Conjunto Residencial do Pedregulho / A Noite, 31 de janeiro de 1952
+ 
+Inauguração do Conjunto Habitacional Paquetá,  projeto de Francisco Bolonha (1923 – 2006), do qual Carmen era a diretora das obras (Correio da Manhã, 30 de março de 1952, segunda coluna).
+Fazia parte do Conselho Central da Fundação da Casa Popular, nomeado pelo ministro do Trabalho, Segadas Viana (1906 – 1991) (Diário Carioca, 9 de abril de 1952, segunda coluna; Tribuna da Imprensa, 9 de abril de 1952, primeira coluna).
+Foi uma das engenheiras citadas em um artigo sobre mulheres engenheiras no Rio de Janeiro. Foi publicada uma foto dela fiscalizando as obras do Conjunto Residencial do Pedregulho (Manchete, 24 de maio de 1952).
+ 
+Manchete, 24 de maio de 1952
+ 
+Em entrevista, Carmen afirmou que a construção de conjuntos residenciais seria a solução ideal para o problema de habitação no Rio de Janeiro (Tribuna da Imprensa, 2 de julho de 1952).
+Foi uma das diretoras do Museu de Arte Moderna do Rio de Janeiro que recepcionou o artista André Lhote (1885 – 1962) em visita ao museu (Correio da Manhã, 23 de julho de 1952, terceira coluna).
+Participou de um ciclo de conferências realizado no Centro de Medicina Social como uma das relatoras do tema dos problemas das favelas (A Noite, 4 de agosto de 1952, penúltima coluna).
+Inauguração, no MAM-RJ, na Exposição de Arquitetura Contemporânea Brasileira. Segundo Carmen, organizadora do evento: “esse trabalho serve para demonstrar que nossa arquitetura moderna não está divorciada da tradição, da boa qualidade. O que é bom é bom em qualquer época“. O trabalho a que se referia era uma igreja antiga de Gregory Warchavsky (1896 – 1972), arquiteto ucraniano radicado no Brasil (Tribuna da Imprensa, 6 de agosto de 1952, primeira coluna; Correio da Manhã, 6 de agosto de 1952).
+ 
+Correio da Manhã, 6 de agosto de 1952
+ 
+Tribuna da Imprensa, 6 de agosto de 1952
+ 
+Em artigo, o jornalista Carlos Lacerda (1914 – 1977), futuro governador da Guanabara, elogia Reidy e Carmen, dois dos melhores servidores da cidade e o projeto do Conjunto Residencial do Pedregulho, em São Cristóvão (Tribuna da Imprensa, 14 de agosto de 1952, primeira coluna).
+ 
+ 
+Exposição de tapetes franceses no MAM-RJ / Tribuna da Imprensa, 10 de outubro de 1952
+ 
+Fez em sua casa, na rua Timboassu, 671, em Jacarepaguá, uma reunião para apresentar um óleo do artista Ivan Serpa (1923 – 1973), que ela classificava como a mais bela obra do jovem artista que tinha, na época, 29 anos (Correio da Manhã, 10 de outubro de 1952, quinta coluna).
+A casa foi construída entre 1949 e 1952, concebida por Reidy para que ele e Carmen vivessem lá. Ela foi a engenheira responsável. (Diário Carioca, 11 de março de 1953, última coluna).
+ 
+Diário Carioca, 11 de março de 1953
+ 
+Ficou conhecida como Residência Carmen Portinho e foi tombada a nível municipal pelo Decreto nº 35.874 de 05 de julho de 2012 devido à sutileza plástica de sua arquitetura, na qual foram utilizadas técnicas inovadoras para sua época, tem sua presença destacada na cultura arquitetônica carioca.
+ 
+Residência Carmen Portinho / Acervo NPD-FAU-UFRJ
+ 
+Foi uma das diretoras do museu que participou da cerimônia que aconteceu pouco antes da inauguração da exposição retrospectiva de Cícero Dias (1907 – 2003), no Museu de Arte Moderna do Rio de Janeiro, quando empresário norte-americano Nelson Rockefeller (1908 – 1979) recebeu o título de sócio remido da instituição (Correio da Manhã, 21 de novembro de 1952, quinta coluna).
+Carmen foi uma das convidadas da primeira-dama do Brasil, Darci Vargas (1895 – 1968), para assistir, no Palácio do Catete, à exibição de filmes sobre os artistas plásticos franceses Georges Braque, Paul Gauguin e Toulouse-Lautrec (Última Hora, 28 de novembro de 1952, primeira coluna).
+Foi reconduzida ao cargo de diretora do Departamento de Habitação Popular da administração do novo prefeito do Rio de Janeiro, Dulcidio Espírito Santo Cardoso (1896 – 1978) (Tribuna da Imprensa, 17 de dezembro de 1952, sexta coluna).
+Estava presente na inauguração de uma exposição de arte infantil, com trabalhos de crianças de 2 a 12 anos, fruto do curso do Museu de Arte Moderna do Rio de Janeiro ministrado sob a orientação de Ivan Serpa (1923 – 1973). Dois outros cursos eram ministrados no museu: com os artistas plásticos norte-americanos Margaret Spence (1914 – ?) e Milton Goldring (1918 – ?) (Tribuna da Imprensa, 17 de dezembro de 1952, primeira coluna; Tribuna da Imprensa, 26 de dezembro de 1952, quarta coluna).
+1953 – Estava presente à reunião do Conselho Deliberativo do museu quando o embaixador Maurício Nabuco (1891 – 1979) foi eleito por aclamação presidente da instituição, devido ao pedido de demissão de Raymundo de Castro Maya (1894 – 1968). Na ocasião foi extinto o cargo de conservador e criado o de segundo vice-presidente, ocupado por Aloysio de Salles (1918 – 2007)(Correio da Manhã, 9 de janeiro de 1953, terceira coluna).
+O prefeito Dulcidio Espírito Santo Cardoso (1896 – 1978) extinguiu a comissão de Planejamento e Direção das Obras do Parque Proletário na rua Marquês de São Vicente, na Gávea. O conjunto residencial em construção ficaria a cargo de Carmen Portinho, diretora do Departamento de Habitação Popular da Secretaria de Viação e Obras da Prefeitura. Publicação de um entrevista com ela (Jornal do Commercio, 16 de janeiro de 1953, primeira coluna; A Noite, 17 de janeiro de 1953).
+ 
+Conjunto Residencial do Pedregulho / A Noite, 17 de janeiro de 1953
+ 
+Parte da entrevista com Carmen Portinho / A Noite, 17 de janeiro de 1953
+ 
+Instalação da Comissão das Favelas, criada pelo prefeito Dulcidio Espírito Santo Cardoso (1896 – 1978). Carmen era um das intergrantes (Correio da Manhã, 14 de fevereiro de 1953, terceira coluna).
+Integrava a comissão artística do Congresso Eucarístico que realizaria no Rio de Janeiro, em 1955 (Tribuna da Imprensa, 10 de março de 1953, primeira coluna).
+Carmen, como diretora do Serviço de Habitação Popular da Prefeitura falou sobre soluções para o problema de transporte no Rio de Janeiro (Flan, 12 a 18 de abril de 1953).
+Ela e o arquiteto Affonso Eduardo Reidy (1909 – 1964) foram elogiados pelo arquiteto e artista plástico suíço Max Bill (1908 – 1994), que visitou o Brasil a convite do Itamaraty (Sombra, abril/maio de 1953; Correio da Manhã, 28 de maio de 1953, quinta coluna).
+Estava presente na inauguração de uma exposição de Candido Portinari (1903 – 1962), no MAM-RJ (Correio da Manhã, 30 de abril de 1953; Sombra, junho de 1953).
+ 
+Sombra, junho de 1953
+ 
+Rio, maio de 1953
+ 
+Ela, Rui de Souza Leão, Stelio Alencar e Olga Costa Leite – esses três últimos funcionários da Secretaria de Assistência Social, sob o comando de Guilherme Romano – formavam a comissão especial para estudar a transferência dos favelados do “Esqueleto”, que estavam sob a custódia da prefeitura no Albergue da Boa Vontade e no Asilo de São Francisco, para os parques proletários (Última Hora, 8 de junho de 1953, terceira coluna).
+Fez uma exposição do Conjunto Residencial do Pedregulho em uma visita-conferência promovida pela Difusão Cultural da Prefeitura (Correio da Manhã, 14 de junho de 1953, terceira coluna; A Noite, 25 de junho de 1953, quarta coluna).
+Esteve presente ao cocktail oferecido por Valentim Bouças (1891 – 1964) na ocasião em que o empresário doou um desenho do artista francês Henri Matisse (1869 – 1954) ao Museu de ARte do Rio de Janeiro (Correio da Manhã, 12 de julho de 1953, terceira coluna).
+Recepcionou o então diretor-geral da Unesco, Luther Harris Evans (1902 – 1981), na visita que ele fez ao Museu de Arte Moderna do Rio de Janeiro, durante uma viagem a países da América Latina (Correio da Manhã, 23 de agosto de 1953, quarta coluna).
+Esteve presente na cerimônia que marcou o início das obras preliminares do desmonte do Morro de Santo Antônio (Correio da Manhã, 7 de novembro de 1953, terceira coluna).
+ 
+Correio da Manhã, 7 de novembro de 1953
+ 
+Esteve presente à vernissage da II Bienal Internacional de São Paulo (Correio da Manhã, 10 de dezembro de 1953, terceira coluna).
+1954 – Carmen, diretora do Departamento de Habitação Popular, falou sobre os conjuntos residenciais do Pedregulho e da Gávea, que pretendia concluir ainda em 1954, e informou que já havia sido aberta a concorrência pública para a construção de um conjunto residencial em Vila Isabel (Diário de Notícias, 16 de janeiro de 1954, quinta coluna; Jornal do Commercio, 18 de outubro de 2003, última coluna).
+Participou da comemoração dos dois anos da sede do MAM-RJ, no Palácio Capanema, com a inauguração de uma exposição do projeto e da maquete da futura sede do museu, no Aterro do Flamengo, de autoria de Affonso Eduardo Reidy (1909 – 1964); e de uma exposição com obras de seu acervo (Tribuna da Imprensa, 16 de janeiro de 1954, segunda coluna).
+Publicação de uma foto do Conjunto de Habitação Paquetá, projeto de Francisco Bolonha (1923 – 2006) (Revista da Municipal de Engenharia, janeiro/março de 1954).
+ 
+Revista Municipal de Engenharia, jan/mar de 1954
+ 
+Ela e outras feministas brasileira pioneiras como Bertha Lutz  (1894 – 1976), Jeronyma Mesquita (1880 – 1972), Maria Rita Soares de Andrade (1904 – 1998) e Maria Sabina de Albuquerque (1898 – 1991), dentre outras, estiveram presentes à solenidade, realizada no Senado, da promulgação da lei reingresso das mulheres na carreira diplomática (Correio da Manhã, 19 de janeiro de 1954, quarta coluna).
+Em visita ao Rio de Janeiro, o arquiteto alemão Walter Gropius (1883 – 1969), fundador da Bauhaus, esteve com Carmen, com o paisagista Roberto Burle Marx (1909 – 1994) e os arquitetos Lúcio Costa (1902 – 1998), Oscar Niemeyer (1907 – 2012), Affonso Eduardo Reidy (1909 – 1964) e Sergio Bernardes  (1919 – 2002) (Tribuna da Imprensa, 27 de janeiro de 1954, terceira coluna).
+Deu uma entrevista a respeito da nova sede do Museu de Arte Moderna do Rio de Janeiro que seria construído, próximo ao Aeroporto Santos Dumont, em um aterro que seria realizado com o material resultante do desmonte do Morro de Santo Antônio. O projeto era do arquiteto Affonso Eduardo Reidy (1909 – 1964) (A Noite, 12 de fevereiro de 1954).
+Membros do Instituto Norte-Americano de Arquitetos visitaram o MAM-RJ e Carmen Portinho expôs a eles a maquete da futura sede da instituição, projeto de Reidy (Correio da Manhã, 18 de fevereiro de 1954, terceira coluna).
+Estava presente na abertura da Exposição de Cubismo no Museu de Arte Moderna do Rio de Janeiro (Tribuna da Imprensa, 18 de março de 1954, penúltima coluna).
+Publicação do artigo A arte deste século, sobre a construção da futura sede do Museu de Arte Moderna do Rio de Janeiro (Revista Shell, abril, maio, junho de 1954).
+ 
+Maquete do MAM-RJ / Revista Shell, abril, maio, junho de 1954
+ 
+Foi, com os arquitetos MMM Roberto, colaboladora do artigo A arquitetura industrial brasileira, publicado na Revista Shell, nº 66, de 1954.
+Ela e Reidy receberam o italiano Aldo Calvo (1906 – 1991), autoridade na construção de teatros que estava no Rio para colaborar com Reidy na construção do Auditório do Museu de Arte Moderna do Rio de Janeiro. Calvo estava morando em São Paulo há cerca de seis anos e desenvolvia um Curso de Cenografia da Comissão do IV Centenário (Correio da Manhã, 15 de junho de 1954, quinta coluna).
+ 
+Correio da Manhã, 15 de junho de 1954
+ 
+Foi uma das signatárias de uma nota que a diretoria do MAM-RJ divulgou acerca da realização do Congresso Eucarístico no Rio de Janeiro, em 1955, em resposta a declarações feitas por dom Helder Câmara (1909 – 1999) no Correio da Manhã de 27 de junho de 1954 sobre uma polêmica em torno da localização do evento: o Aterro de Santa Luzia onde se construiria a futura sede do MAM) ou o Aero Clube de Manguinhos (Correio da Manhã, 29 de junho de 1954, última coluna).
+Assinou um manifesto em apoio à criação do Núcleo de Estudos e Divulgação da Arquitetura no Brasil – NEDAB (Correio da Manhã, 8 de julho de 1954, quarta coluna).
+Ela e Reidy receberam o italiano Paolo Grassi (1919 – 1981), diretor do Piccollo Teatro de Milano, que visitou a exposição Modernos de Israel, no Museu de Arte Moderna do Rio de Janeiro (Correio da Manhã, 18 de julho de 1954, terceira coluna).
+Esteve presente à conferência de M. Georges Henri Rivier, diretor do Museu de Artes e Tradições da França e e presidente do Conselho de Museus Internacional, que visitava o Brasil. O evento se realizou na casa da adida cultural da França no Rio de Janeiro (Jornal do Brasil, 15 e 16 de agosto de 1954, primeira coluna).
+Foi à inauguração da exposição retrospectiva de 30 anos de carreira do pintor Emiliano Di Cavalcanti (1897 – 1976), no Museu de Arte Moderna do Rio de Janeiro, ainda instalado no Palácio Gustavo Capanema. Ela era diretora executiva adjunta do MAM-RJ (Tribuna da Imprensa, 11/12 de setembro de 1954, terceira coluna; A Noite Ilustrada, 21 de setembro de 1954).
+ 
+Noite Ilustrada, 21 de setembro de 1954
+ 
+Carmen estava presente ao chá oferecido pelas sócias da União Universitária Feminina, fundada por ela em 1929, a Minnie Miller, professora de línguas do Teacher`s College, no Kansas, e membro da Associação de Mulheres Universitárias dos Estados Unidos (Correio da Manhã, 5 de dezembro de 1954, quarta coluna).
+Chefiou as obras de engenharia civil da construção da nova sede do MAM, no Aterro do Flamengo. O início das obras se deu em 9 de dezembro de 1954, quando o bate-estaca da obra foi acionado pelo então presidente Café Filho (1899 – 1970). Uma cápsula do tempo foi enterrada junto às fundações, contendo marcas do período, como moedas, notas e recortes de jornal. A pedido de Carmen, a artista plástica Lygia Clark decorou a barraca do museu com amostras do material que seria usado nas obras, com um painel de exposição na entrada, entre a sala de trabalho e de reuniões (Correio da Manhã, 9 de dezembro de 1954; Tribuna da Imprensa, 10 de dezembro de 1954, penúltima coluna; Correio da Manhã, 16 de dezembro de 1954, terceira coluna;Vida Doméstica, janeiro de 1955).
+ 
+Tribuna da Imprensa, 10 de dezembro de 1954
+ 
+Vida Doméstica, janeiro de 1955
+ 
+Carmen com Juscelino Kubitschek, Herbert Moses, senador Georgino Avelino e o jornalista Gilberto Pimentel no lançamento da pedra fundamental do MAM-RJ / Vida Doméstica, janeiro de 1955
+ 
+Filme Reidy, a construção da utopia
+ 
+1955 - O MAM-RJ abriu a temporada de 1955 com uma exposição de obras de seu acervo. No artigo, foi apintada como um dos diretores da instituição que nos últimos três anos trabalharam sem cessar (Tribuna da Imprensa, 7 de janeiro de 1955, primeira coluna).
+Ela, Reidy e Niomar Muniz Sodré Bittencourt, dentre outros, estavam presentes à inauguração da Exposição de Flores e Frutos, realizada no Hotel Quitandinha, em Petrópolis. Foi averta pelo presidente Café Filho (1899 – 1970) com a presença do governador da Guanabara, Miguel Couto Filho (1900 – 1967). O paisagista Roberto Burle Marx (1909 – 1994) era o resonsável pela decoração e pela distribuição dos stands do evento (Correio da Manhã, 6 de março de 1955, sexta coluna).
+“Não passam de charlatães!” Assim reagiu Carmen em relação a arquitetos desonestos, referidos como assinadores de plantas, após desmoronamentos de edifícios no Rio de Janeiro. Ela e outros engenheiros se pronunciaram no sentido da cassação das carteiras desses profissionais (Última Hora, 13 de abril de 1955, última coluna).
+Em entrevista, Carmen defendeu que a criação de conjuntos residenciais resolveriam “integralmente os problemas da donas de casa. Eles são feitos visando a atender às necessidades daquelas que sentem mais de perto os problemas da família”. Ainda segunda a engenheira, o planejamento desses conjuntos deveriam ser realizados com espírito social (Tribuna da Imprensa, 11 de maio de 1955).
+Durante a exposição retrospectiva do pintor José Pancetti (1902 – 1958), no Museu de Arte Moderna do Rio de Janeiro, Carmen recebeu os irmãos José Medeiros (1921 – 1990) – fotógrafo e jornalista – e Anisio Medeiros (1922 – 2003) – artista plástico -, entre outros (Correio da Manhã, 19 de maio de 1955).
+ 
+Correio da Manhã, 19 de maio de 1955
+ 
+Participou do almoço que o ministro da Marinha, o almirante Amorim do Valle (1893 – 1971), ofereceu ao pintor José Pancetti (1902 – 1958) (Jornal do Brasil, 26 de maio de 1955, terceira coluna).
+Publicação de uma entrevista com Carmen falando sobre o andamento das obras do museu. Já haviam sido cravadas 300 das 370 estacas projetadas. Cerca de um mês depois a última estaca foi cravada (Correio da Manhã, 26 de maio de 1955, terceira coluna; Correio da Manhã, 27 de junho de 1955).
+Devido à realização do 36º Congresso Eucarístico Internacional no Rio de Janeiro, em julho, no Aterro do Flamengo, as obras da nova sede do MAM foram suspensas e retomadas em meados de agosto (Correio da Manhã, 1º de janeiro de 1956, quinta coluna).
+Era uma das diretoras do Museu de Arte Moderna do Rio de Janeiro que convidavam para a abertura da Exposição de Litografias de Artistas Ingleses (Tribuna da Imprensa, 16 de setembro de 1955, sexta coluna).
+Viajou para a Europa. Participou do Congresso de Arquitetos, em Haia, na Holanda. Visitou a Itália e encontrou, em Milão, Pascoal Carlos Magno (1906 – 1980). Esteve também na Alemanha e ficou impressionada com a reconstrução de cidades inteiras (Correio da Manhã, 16 de julho de 1955, quarta coluna; Correio da Manhã, 5 de agosto de 1955, terceira coluna; O Jornal, 27 de setembro de 1955, penúltima coluna).
+Em outubro, foi realizada uma visita às obras da nova sede do MAM-RJ com a presença do prefeito do Rio de Janeiro, Alim Pedro (1907 – 1975), da diretoria do museu e de vários de seus conselheiros. Na ocasião, Carmen expôs detalhes da construção do novo prédio (Almanak do Correio da Manhã, 1956).
+Foi uma das colaboradoras do álbum de propaganda do país, Le Brésil Actuel 1955 (Diário de Notícias, 27 de novembro de 1955, quarta coluna).
+Publicação de uma entrevista com Carmen Portinho com fotografias dos conjuntos residenciais do Pedregulho e da Marquês de São Vicente – projetos de Reidy – ; e de Paquetá – projeto de Francisco Bolonha (1923 – 2006) (Tribuna da Imprensa, 17 de dezembro de 1955).
+ 
+Maquete do Conjunto Residencial da Marquês de São Vicente / Tribuna da Imprensa, 17 de dezembro de 1955
+ 
+1956 - Compareceu à vernissage de Roberto Burle Marx (1909 – 1994) no MAM-RJ (Última Hora, 16 de março de 1956, última coluna).
+Sobre o trabalho de pesquisa sobre a integração da pintura à arquitetura que a artista Lygia Clark (1920 – 1988) estava realizando, Carmen declarou: “A contribuição de Lygia Clark à arquitetura contemporânea será, sem dúvida, muito valiosa. Talento, coragem e honestidade para levar a sua tarefa até o fim não lhe faltam” (Correio da Manhã, 7 de abril de 1956, última coluna).
+Era uma das diretoras do MAM-RJ que convidava para a abertura da Exposição de Arte Alemã Contemporânea (Tribuna da Imprensa, 9 de abril de 1956, última coluna).
+Ela e outros diretores do Museu de Arte Moderna recepcionaram o empresário norte-americano Nelson Rockefeller (1908 – 1979) que visitou as obras da instituição. Rockefeller elogiou muito a precisão, a clareza e o conhecimento da engenheira Correio da Manhã, 14 de abril de 1956; Correio da Manhã, 15 de abril de 1956).
+Também visitaram as obras do museu as arquitetas italianas Adele Racheli Domenighetti (c. 1894 – 19?) e Maria Luisa Rastelli Baj. Várias personalidades do mundo político, cultural e econômico visitaram as obras, dentre eles o prefeito do Rio de Janeiro, Negrão de Lima (1901 – 1991)  (Correio da Manhã, 4 de maio de de 1956, sexta coluna; Correio da Manhã, 14 de setembro de 1956).
+No MAM-RJ, Participou da inauguração, realizada pelo presidente da República, Juscelino Kubitschek (1902 – 1976), da exposição da escultora Maria Martins (1894 – 1973), mulher do embaixador Carlos Martins Pereira e Souza (1884 – 1965) (O Jornal, 18 de maio de 1956, quarta coluna).
+O projeto do edifício do Teatro Rural Estudantil, em Campo Grande, foi de Carmen e de Reidy. Foi a engenheira Elza Pinho Osborne (? – 1995) que conseguiu a doação do terreno para sua construção (Diário Carioca, 13 de julho de 1956, primeira coluna).
+ 
+Maquete do edifício do Teatro Rural Estudantil, projeto de Carmen Portinho e Affonso Eduardo Reidy / Diário Carioca, 13 de julho de 1956
+ 
+Eleição da nova diretoria do museu para o período de 1956 a 1961. Carmen seguiu como diretora executiva adjunta (Correio da Manhã, 9 de agosto de 1956).
+ 
+Correio da Manhã, 9 de agosto de 1956
+ 
+Integrava a diretoria do Museu de Arte Moderna do Rio de Janeiro (Módulo, setembro de 1956).
+ 
+Sombra, maio/junho de 1956
+ 
+Módulo, setembro de 1956
+ 
+Em entrevista, Carmen declarou que os conjuntos residenciais da Gávea, projeto de Reidy, e de Vila Isabel, projeto de Francisco Bolonha  (1923 – 2006), para funcionários municipais, seriam entregues em 1957 (A Noite, 1º de outubro de 1956).
+Carmen ciceroneou visitas públicas e explicadas à maquete e às obras da nova sede do Museu de ARte Moderna do Rio de Janeiro dentro da programação da Campanha Internacional de Museus em comemoração aos 10 anos da Unesco (Correio da Manhã, 6 de outubro de 1956).
+Passou de sócia efetiva a remida do Museu de Arte Moderna do Rio de Janeiro (Correio da Manhã, 6 de novembro de 1956, última coluna).
+Compareceu ao almoço de confraternização da Escolinha de Arte do Brasil, dirigida por Augusto Rodrigues (1913 – 1993), pioneiro na criação desse tipo de escola no Brasil (Diário Carioca, 18 de dezembro de 1956).
+1957 –  Na coluna de Jayme Maurício (1926 – 1997), publicação de uma entrevista com Carmen Portinho sobre a construção da nova sede do museu (Correio da Manhã, 6 de janeiro de 1957).
+Era uma das diretoras que convidavam para a reabertura da exposição permanente do MAM-RJ, acrescida de algumas doações (Tribuna da Imprensa, 10 de janeiro de 1957, quarta coluna).
+Segundo Carmen Portinho: “O Brasil está à frente de todos os países do mundo quanto à aplicação da arquitetura moderna às obras públicas“. Foi mencionado que ela havia há pouco tempo viajado para a Europa e para os Estados Unidos (Tribuna da Imprensa, 25 de janeiro de 1957, primeira coluna).
+Fez uma viagem à Europa, tendo visitado a Itália e a Grécia (A Noite, 2 de abril de 1957, primeira coluna; Correio da Manhã, 10 de abril de 1957, última coluna; Última Hora, 9 de maio de 1957, segunda coluna).
+Na União Universitária Feminina proferiu a palestra Impressões da Europa, ilustrada com projeções (Jornal do Brasil, 30 de junho de 1957, quinta coluna).
+Participou como presidente da Associação de Engenheiras e Arquitetas do Brasil de uma homenagem à ministra Francisca Fernãndez Hall, na ocasião embaixadora da Guatemala no Brasil. (Correio da Manhã, 21 de julho de 1957, quarta coluna).
+Durante todo o ano, ciceroneou diversos visitantes às obras da nova sede do museu (Correio da Manhã, 4 de setembro de 1957).
+Deu uma entrevista sobre a nova sede do MAM-RJ, que seria inaugurado em janeiro de 1958 (Jornal do Brasil, 24 de outubro de 1957).
+ 
+Jornal do Brasil, 24 de outubro de 1957
+ 
+Ela – tesoureira-, Elza Pinho Osborne – 1ª vice-presidente -, e Isabel do Prado – secretária de Relações Internacionais -, da União Universitária Feminina, assinavam uma carta de agradecimento endereçada à Condessa Pereira Carneiro pela publicação doa artigo Nada de privilégios, de Maria Rita Soares de Andrade (1904 – 1998), no Jornal do Brasil de 9 de outubro de 1957. A presidente da União Universitária Feminina era, na ocasião, Zeia Pinho de Rezende Silva (Jornal do Brasil, 27 de outubro de 1957, quarta coluna).
+Convidou para a exibição do filme Estruturas metálicas do prédio da UNESCO, no Departamento de Habitação Popular, do qual era diretora (Correio da Manhã, 30 de outubro de 1957, primeira coluna).
+Ela, Reidy e outros arquitetos ofereceram um almoço ao arquiteto alemão naturalizado norte-americano Mies Van Der Hohe (1886 – 1969), pioneiro da arquitetura moderna e ex-professor da Bauhaus, em visita ao Rio de Janeiro (Correio da Manhã, 7 de dezembro de 1957).
+ 
+Mies Van Der Hohe com Carmen Portinho / Correio da Manhã, 10 de dezembro de 1957
+ 
+Era uma das diretoras do MAM-RJ que convidavam para a abertura da exposição Coelção Fleischmann, de arte norte-americana (Tribuna da Imprensa, 17 de dezembro de 1957, segunda coluna).
+1958 - Inauguração, em 27 de janeiro, do Bloco Escola do Museu de Arte Moderna do Rio de Janeiro, no Aterro do Flamengo, com uma exposição permanente de seu acervo, uma mostra do inglês Ben Nicholson (1894 – 1982) e uma de escultores ingleses. O projeto do arquiteto Affonso Eduardo Reidy (1909 – 1964) é reconhecido internacionalmente como um marco da arquitetura moderna mundial. Seus jardins são de autoria de Roberto Burle Marx (1909 – 1994), que também integrou a equipe que realizou alguns anos depois o paisagismo do Parque Flamengo, contíguo ao museu  (Última Hora, 4 de janeiro de 1958, primeira coluna; Correio da Manhã, 5 de janeiro de 1958; Correio da Manhã, 28 de janeiro de 1958; Última Hora, 28 de janeiro de 1958, quarta coluna; O Jornal, 30 de janeiro de 1958, última coluna).
+ 
+Direção do MAM-RJ na inauguração / Correio da Manhã, 26 de janeiro de 1958
+ 
+Na edição de 26 de janeiro do Correio da Manhã, publicação de diversos artigos sobre o assunto, dentre eles, Características da construção do museu, de autoria de Carmen. O arquiteto Reidy, opaisagista Burle Marx, o professor Carlos Flexa Ribeiro (1914 – 1991) e o crítico de cinema Antônio Augusto Moniz Vianna (1924 – 2009) assinaram outros artigos.
+ 
+O Jornal, 25 de janeiro de 1958
+ 
+Inauguração do Museu de Arte Moderna. O presidente JK entre Carmen Portinho, à esquerda, e Niomar Moniz Sodré Bittencourt, à direita / Correio da Manhã, 30 de janeiro de 1958
+ 
+Por nomeação do então prefeito do Rio de Janeiro, Francisco Negrão de Lima (1901 – 1991), ela, o professor José Maria Arantes (1915 – 1997) e Reinaldo Reis, Chefe do Gabinete do Prefeito, passaram a integrar o Conselho Fiscal da Fundação Leão XIII (Última Hora, 31 de janeiro de 1958, quarta coluna).
+Foi homenageada por seus 10 anos à frente do Departamento de Habitação Popular da Prefeitura do Rio de Janeiro (Correio da Manhã, 11 de fevereiro de 1958, terceira coluna; Jornal do Brasil, 12 de fevereiro de 1958).
+ 
+Carmen Portinho de Maria Rita Soares de Andrade / Jornal do Brasil, 12 de fevereiro de 1958
+ 
+Participou da inauguração da exposição de Candido Portinari (1903 – 1962) na nova sede do MAM-RJ (Correio da Manhã, 24 de abril de 1958).
+Manifestou-se a favor da política educacional implementada pelo professor Anisio Teixeira, diretor do Instituto Nacional de Estudos Pedagógicos – INEP – e criador e primeiro dirigente da Campanha Nacional de Aperfeiçoamento de Pessoal de Nível Superior, atual CAPES (Última Hora, 2 de maio de 1958, quinta coluna).
+Inauguração da Escola Pública Francisco Sertório Portinho, em homenagem ao pai de Carmen, que havia sido funcionário da prefeitura do Rio de Janeiro (Correio da Manhã, 10 de maio de 1958, primeira coluna).
+Falecimento da mãe de Carmen, Maria Velasco Portinho (1877 – 1958), conhecida como Mamita (Correio da Manhã, 17 de julho de 1958, penúltima coluna).
+ 
+Maria Velasco Portinho / Correio da Manhã, 17 de julho de 1958
+ 
+Participou em Haia, na Holanda, do Seminário de Habitação e Urbanismo, a convite da Associação Internacional de Habitação e Urbanismo. Depois seguiu para o Congresso de Habitação de Urbanismo, em Liège, e para a Feira Internacional em Bruxelas (Jornal do Brasil, 17 de agosto de 1958, quinta coluna).
+1959 – Reidy projetou a casa de campo dos dois, no Vale do Cuiabá, em Itaipava.
+ 
+Casa Reidy-Portinho no Vale do Cuiabá, em Itaipava / Acervo NPD FAU UFRJ
+Era a tesoureira da União Universitária Feminina quando a associação comemorou 30 anos de existência. Foi sua fundadora e primeira presidente (Jornal do Brasil, 11 de janeiro de 1959, segunda coluna).
+Foi usada como exemplo na matéria Alforria para a mulher casada (Manchete, 25 de abril de 1959).
+ 
+Manchete, 25 de abril de 1959
+ 
+Em maio, inauguração do Ateliê Livre de Gravura no MAM com um curso ministrado pelo gravador franco-alemão Johnny Friedlaender (1912-1992). Carmen foi uma das maiores incentivadoras da criação deste departamento, dirigido por Edith Behring por cerca de 10 anos. Teve como assistentes Rossini Perez e Anna Letycia, dentre outros. Reuniu nomes como Fayga Ostrower, Maria Bonomi e Thereza Miranda.
+Presidiu, no Museu de Arte Moderna do Rio de Janeiro, a comissão julgadora do melhor cartaz do Dia do Papai, promovido pelo sindicato de Lojistas do Comércio do Rio de Janeiro (Correio da Manhã, 10 de junho de 1959, quarta coluna; Correio da Manhã, 28 de junho de 1959, primeira coluna).
+Estava presente ao almoço  – que inaugurou a cantina do Museu de Arte Moderna do Rio de Janeiro – oferecido ao escritor e ministro da Cultura da França, André Malraux (1901 – 1976) (Correio da Manhã, 29 de agosto de 1959, primeira coluna).
+1960 – Apoiou a candidatura de Sérgio Magalhães (1916 – 1991), do PTB, ao governo da Guanabara. Ele foi derrotado por Carlos Lacerda (1914 – 1977), da UDN, nas eleições realizadas em 3 de outubro. Ele era casado com uma das irmãs de Carmen, Maria de Lourdes (c. 1918 – 1962) (Última Hora, 29 de setembro de 1960, penúltima coluna).
+1961 – Carmen foi substituida no Departamento de Habitação Popular pelo engenheiro Stelio Emmanuel de Alencar Roxo (1925 – ?), nomeado por Carlos Lacerda (1914 – 1977), que havia sido empossado no governo da Guanabara, em 5 de dezembro de 1960. Carmen tinha divergências políticas irreconciliáveis com Lacerda. Aposentou-se do serviço público (Diário Carioca, 4 de janeiro de 1961, quinta coluna).
+Ela e Reidy se encontraram com o casal Paulo Bittencourt (1895 – 1963), dono do jornal Correio da Manhã, e Niomar Moniz Sodré Bittencourt (1916 – 2003), em Paris. Niomar havia deixado há pouco tempo o cargo de diretora executiva do Museu de Arte Moderna do Rio de Janeiro (Última Hora, 20 de junho de 1961, quinta coluna; Diário de Notícias, 30 de junho de 1961, última coluna).
+Tomou posse como Conselheira da Fundação Casa Popular (Correio da Manhã, 2 de julho de 1961, sexta coluna).
+Gustavo Capanema (1900 – 1985) passou a ser o presidente do MAM-RJ, substituindo o embaixador Maurício Nabuco (1891 – 1979). Carmen continuou como diretora executivva adjunta (Correio da Manhã, 16 de julho de 1961, sexta coluna).
+Ela, Aldo Calvo (1906 – 1991), Giselda Leiner (1928 – ) e José Geraldo Vieira (1897 – 1977) formavam o júri do Concurso Nacional de Desenho para Jóias, promovido pela H. Stern (Correio Paulistano, 7 de novembro de 1961, segunda coluna).
+Integrava a comissão julgadora das obras apresentadas na I Exposição de Arte Decorativa, realizada no Clube de Engenharia (Tribuna da Imprensa, 13 de dezembro de 1961, segunda coluna).
+1962 – Em missão cultural embarcou para a Europa, onde visitaria a Grécia, a Suíça, a Itália, a Alemanha e a França (A Noite, 18 de outubro de 1962, quinta coluna).
+1963 – Carmen falou em entrevista sobre os 12 dias que passou no Egito (Correio da Manhã, 18 de janeiro de 1963, quarta coluna).
+Fazia parte do Conselho Deliberativo da Associação Brasileira de Museologistas (Diário de Notícias, 13 de novembro de 1963, terceira coluna).
+Integrava o júri da Primeira Bienal Americana de Gravura, realizada em santiago, no Chile. Na ocasião, Edith Behring (1916 – 1996), professora de gravura do MAM-RJ e do Museu de Belas Artes, foi a grande premiada do evento (Correio da Manhã, 24 de novembro de 1963, primeira coluna; Diário de Notícias, 27 de novembro de 1963, segunda coluna; O Jornal, 13 de dezembro de 1963, sexta coluna).
+1964 – Falecimento de seu marido, Affonso Eduardo Reidy, em 10 de agosto de 1964, de câncer (Correio da Manhã, 11 de agosto de 1964, última coluna; A Tribuna (SP), 16 de agosto de 1964).
+ 
+Correio da Manhã, 11 de agosto de 1964
+ 
+Fazia parte da delegação brasileira, chefiada por Flávio Lacerda (1903 – 1983), ministro da Educação, que participou em Assunção, no Paraguai, da inauguração do Colégio Experimental Paraguai Brasil, projeto de Reidy (Diário de Notícias, 4 de setembro de 1964, quarta coluna; Correio da Manhã, 5 de setembro de 1964, primeira coluna; Correio da Manhã, 20 de setembro de 1964, primeira coluna).
+ 
+Colégio Experimental Paraguai Brasil
+ 
+1965 - Carmen empenhou-se para a realização, entre 12 de agosto e 12 de setembro, no MAM-RJ, da exposição Opinião 65, proposta pelos marchands Ceres Franco (1926 -) e Jean Boghici (1928 – 2015). A mostra, que chamou a atenção para uma nova geração de artistas, que incluía Hélio Oiticica (1937 – 1980), que mostrou seus parangolés;  Rubens Gershman (1942 – 2008), Antônio Dias (1944 – ), Carlos Vergara (1941 – ) e Ivan Serpa (1923 – 1973), integrou as comemorações do IV Centenário da Cidade do Rio de Janeiro.
+No Peru, Carmen realizou várias palestras em torno da obra de Reidy, em exposição em Lima, sob o patrocínio da Faculdade de Arquitetura e do Colégio de Arquitetos do Peru (Jornal do Brasil, 17 de agosto de 1965, penúltima coluna).
+Estava presente na inauguração da Exposição Arquitetura Atual da América, em Madri, na Espanha. Também visitou Barcelona (Correio da Manhã, 9 de dezembro de 1965, segunda coluna).
+As obras brasileiras apresentadas na II Bienal de Gravura em Santiago, no Chile, foram selecionadas por Carmen e ganharam três prêmios – Roberto De Lamonica (1933 – 1995) e Luiz Arthur Piza (1928 – ) conquistaram os prêmios Eduardo Frei e Instituto Extensão em Artes Plásticas, respectivamente; e o conjunto brasileiro recebeu o prêmio Sociedade amigos do Museu de ARte Contemporânea (O Jornal, 17 de de dezembro de 1965, primeira coluna).
+Deu uma entrevista para a coluna “Itinerário das Artes Plásticas”, de Jayme Maurício (1926 – 1997), acerca das obras no Aterro do Flamengo (Correio da Manhã, 25 de dezembro de 1965).
+1966 - Foram iniciadas, em 15 de fevereiro de 1966, sob a supervisão de Carmen, as obras do Bloco de Exposições do Museu de Arte Moderna do Rio de Janeiro, que foi inaugurado em 29 de outubro de 1967, com uma exposição retrospectiva de Lasar Segal (1889 – 1957) (Diário de Notícias, 4 de março de 1966, primeira coluna; Correio da Manhã, 13 de março de 1966, penúltima coluna; Correio da Manhã, 31 de outubro de 1967).
+Esteve na Argentina como comissária da Exposição de Artistas Brasileiros Contemporâneos, realizada no Museu de Arte Moderna de Buenos Aires. Quando regressou, foi homenageada pela diretoria do MAM-RJ com um almoço (O Jornal, 28 de abril de 1966, primeira coluna).
+Em 27 de abril viajou para os Estados Unidos como convidada do programa de intercâmbio educativo e cultural do Departamento de Estado norte-americano. Foi homenageada com um jantar oferecido pela escultora Irene Amar, em Nova YorkRegressou ao Brasil, em 26 de junho (Correio da Manhã, 1º de maio de 1966, . terceira coluna; Correio da Manhã, 24 de junho de 1966, primeira coluna; O Jornal, 26 de junho de 1966, terceira coluna; Tribuna da Imprensa, 1º de julho de 1966, primeira coluna; O Cruzeiro, 9 de agosto de 1966, segunda coluna).
+Apresentou-se um programa da TV Continental, produzido por Wilma Luchesi (O Jornal, 17 de julho de 1966, quinta coluna).
+Realizou uma exposição sobre a obra de Le Corbusier (1887 – 1965), no MAM-RJ, com a colaboração de Charlotte Perriand (1903 – 1999), designer e ex-colaboradora do arquiteto. Na época, morava no Rio de Janeiro porque seu marido, Jacques Martin, era o representante da Air France no Brasil(Jornal do Brasil, 1º de agosto de 1966).
+Foi reeleita para o cargo de diretora executiva adjunta do MAM-RJ, para um período de cinco anos (Correio da Manhã, 3 de agosto de 1966, primeira coluna).
+O deputado Carvalho Neto propôs que ela recebesse o título de Cidadã do Estado da Guanabara (O Jornal, 18 de setembro de 1966, primeira coluna).
+Em 8 e 9 de setembro, respectivamente o presidente e o vice-presidente do Museu de Arte Moderna, Gustavo Capanema (1900 – 1985) e João Carlos Vital (1900 – 1984) pediram demissão. A crise no museu foi ocasionada pelo convite feito ao então ministro das Relações Exteriores, Juracy Magalhães (1905 – 2001), para visitar o museu na ocasião da exposição do artista português Bernardo Marques (1898 – 1962). Juracy era um desafeto de Niomar Moniz Sodré Bittencourt (1916 – 2003), então presidente de honra do museu. Em 27 de setembro foi realizada uma reunião do Conselho Deliberativo e por aclamação foi eleita uma nova diretoria. Assim, após 15 anos, Carmen Portinho deixou o cargo de diretora executiva adjunta do MAM-RJ, que exerceu desde 1951. Por não concordarem com esta resolução, os conselheiros Raymundo de Castro Maya (1894 – 1968), Rodrigo de Mello Franco (1898 – 1969) e Leonídio Ribeiro pediram demissão  (Correio da Manhã, 9 de setembro de 1966, primeira coluna; Correio da Manhã, 29 de setembro de 1966; Jornal do Brasil, 14 de setembro de 1978, quinta coluna; Jornal do Brasil, 8 de julho de 1979).
+ 
+Correio da Manhã, 29 de setembro de 1966
+ 
+Por seus 15 anos como diretora executiva adjunta do Museu de Arte Moderna do Rio de Janeiro, foi homenageada por seus amigos, no restaurante Casa Grande, e recebeu outra homenagem no MAM-RJ (O Jornal, 5 de outubro de 1966, primeira coluna; O Cruzeiro, 9 de outubro de 1966).
+ 
+O Cruzeiro, 9 de outubro de 1966
+ 
+Ela e o crítico de arte Clarival do Prado Valladares (1918 – 1983) foram os responsáveis pela escolha da representação brasileira da III Bienal de Córdoba, na Espanha, quando os artistas Abrahan Palatnik (1928 – 2020) e João Câmara (1944 – ) foram premiados. Em matéria publicada no Jornal do Brasil de 26 de outubro de 1966, Clarival revelou que o transporte das obras brasileiras foi pago por Carmen com dinheiro doado por amigos, que exigiram sigilo. A pedido do jornalista Alberto Dines (1932 – 2018), Carmen atuou também, durante o evento, como correspondente do Jornal do Brasil. Paralelamente à Bienal, foi realizada o II Salão Universitário de Gravura, em Buenos Aires, do qual Carmen fazia parte do júri (O Cruzeiro, 3 de dezembro de 1966).
+1967 - Foi a orientadora artística da matéria Em Belo Horizonte, inauguração do XXI Salão Municipal de Belas-Artes, de José Franco com fotografias de Luis Alfredo (O Cruzeiro, 11 de fevereiro de 1967).
+Foi convidada pelo então governador da Guanabara, Francisco Negrão de Lima (1901 – 1981), para ser diretora da Escola Superior de Desenho Industrial – Esdi –, cargo que exerceu por 20 anos. A Esdi havia sido criada pelo Decreto 1.443, de 25 de dezembro de 1962, e publicado no Diário Oficial do Estado da Guanabara de 4 de janeiro de 1963, durante a gestão do governador Carlos Lacerda (1914 – 1977). Foi instalada à Rua Evaristo da Veiga 95, estendendo-se o terreno até a Rua do Passeio, onde tem o nº 80. Iniciou suas atividades de ensino em 1963, como instituição isolada, pertencente à estrutura da Secretaria de Educação e Cultura da Guanabara. Dada à fusão dos estados do Rio de Janeiro e Guanabara, foi integrada pelo decreto n°67, de 11 de abril de 1975, à nascente UERJ, antiga UEG (O Jornal, 1º de abril de 1967, quinta coluna; O Jornal, 11 de abril de 1967, primeira coluna; Leitura, agosto de 1967; Jornal do Brasil, 26 de setembro de 1977, primeira coluna).
+ 
+Esdi / Site da Escola Superior de Desenho Industrial
+ 
+Como diretora da Escola Superior de Desenho Industrial, a Esdi, comentou o entusiasmo dos alunos (A Cigarra, maio de 1967).
+ 
+A Cigarra, maio de 1967
+ 
+Fez parte do júri que escolheu a decoração para o baile de carnaval do Teatro Municipal de 1968 (Correio da Manhã, 30 de dezembro de 1967, sexta coluna).
+Por sugestão de Mario Pedrosa (1900 – 1981), passou a fazer parte da Associação Brasileira de Críticos de Arte.
+1968 – Publicação da matéria Carmen Portinho e seus sete instrumentos, de Carlos Calcalcanti com fotos de Sérgio Rocha (O Cruzeiro, 10 de fevereiro de 1968).
+ 
+O Cruzeiro, 10 de fevereiro de 1968
+ 
+Na Esdi, inauguração da exposição O artista brasileiro e a iconografia de massa, organizada pelo Diretório Acadêmico da escola com a colaboração do professor e crítico de arte Frederico Moraes (1936 – ) (O Jornal, 18 de abril de 1968, segunda coluna).
+1969 – Matéria publicada sobre a Esdi questionava o motivo da escola não ser reconhecida oficialmente pelo Ministério da Educação. Em outubro de 1969, o Conselho Federal de Educação aprovou o currículo mínimo da escola (Jornal dos Sports, 27 de abril de 1969; Jornal dos Sports, 24 de outubro de 1969).
+Fazia parte do Conselho de Cultura da Revista GAM – Galeria de Arte Moderna – , lançada em dezembro de 1966 e editada por Claudir Chaves, jornalista e crítico de arte (Jornal do Brasil, 26 de janeiro de 1969; Manchete, 21 de junho de 1969).
+Viajou à Brasília (Correio Braziliense, 12 de julho de 1969, última coluna; Correio Braziliense, 24 de julho de 1969, primeira coluna).
+Publicação de um artigo de sua autoria O carioca Mavignier , sobre o artista plástico Almir Mavignier (1925 – 2018) que participaria da 10ª Bienal de São Paulo (Jornal do Brasil, 27 de setembro de 1969).
+1970 – Integrou o júri que votou do Resumo da Arte, promovido pelo Jornal do Brasil . Os críticos votavam nas exposições que consideraram as mais importantes do ano anterior (Jornal do Brasil, 20 de fevereiro de 1970).
+Fazia parte do júrio do Prêmio Simonsen da Feira Nacional de Utilidades Domésticas (Correio da Manhã, 1º de abril de 1970, terceira coluna).
+Sob sua direção a Esdi foi oficializada pelo Conselho Nacional de Educação (Jornal dos Sports, 20 de maio de 1970, primeira coluna).
+Foi homenageada como uma das Dez Mulheres do Ano pelo Conselho Nacional de Mulheres do Brasil (Diário de Notícias, 13 de dezembro de 1970, primeira coluna).
+1971 – Ela, Walmir Ayala (1933 – 1991) e  Clarival do Prado Valadares (1918 – 1983) compunham o júri do Salão de Veraõ do JB (Jornal do Brasil, 13 de fevereiro de 1971).
+1972 – Jayme Maurício (1926 – 1997) escreveu sobre os 10 anos de existência da Esdi, dirigida desde 1967 por Carmen (Correio da Manhã, 30 de abril de 1972).
+Fazia parte da Comissão Organizadora da Copa Independência, mostra de arte promovida pela Comissão Nacional das Comemorações do Sesquicentenário (Jornal do Brasil, 8 de abril de 1972, terceira coluna; Correio da Manhã, 23 de junho de 1972).
+Esteve em Moscou (Diário de Notícias, 29 de julho de 1972, última coluna).
+1974 – A Comissão de Críticos de Arte da Bienal de São Paulo era composta por ela, Liseta Levy, Rhada Abramo (1934 – 2013), Wolfgang Pfeifer (1912 – 2003) e Walmir Ayala (1933 – 1991) (Jornal do Brasil, 27 de maio de 1974, última coluna).
+1976 – Era a vice-presidente da chapa de José Roberto Teixeira Leite (1930-) que concorreu à nova Diretoria da Associação Brasileira de Críticos de Arte. A chapa vencedora era formada por Carlos Flexa Ribeiro (1914 – 1991) e Clarival do Prado Valadares (1918 – 1983), presidente e vice-presidente, respectivamente (Jornal do Brasil, 5 de abril de 1976, segunda coluna; Jornal do Brasil, 17 de maio de 1976, segunda coluna).
+1977 - Foi uma das personagens de uma matéria sobre a Associação Brasileira de Engenheiras e Arquitetas (Manchete, 3 de dezembro de 1977).
+1978 – Participou do júri que escolheu o projeto da sede da Radiobras, em Brasília (O Cruzeiro, 21 de janeiro de 1978, segunda coluna).
+Quando o Museu de Arte Moderna pegou fogo, em julho, estava em Paris com seu irmão José e sua cunhada Norma (Jornal do Brasil, 9 de julho de 1978).
+Integrava o juri que escolheu uma escultura em bronze de autoria de Mario Agostinelli (1915 – 2000) como troféu do prêmio Golfinho de Ouro (Tribuna da Imprensa, 27 de novembro de 1978, primeira coluna).
+1979 – Protestou contra a colocação de telha de alumínio no pavilhão de exposições do museu, classificando-a de ser ridícula e de também ser um “desrespeito à obra do arquiteto Affonso Eduardo Reidy” (Jornal do Brasil, 6 de março de 1979, penúltima coluna). O embaixador Hugo Gouthier (1909 – 1992) presidia a Comissão de Reconstrução.
+1980 – Foi uma das signatárias do documento Por um MAM para a cidade do Rio de Janeiro (Jornal do Brasil, 10 de junho de 1980, quarta coluna).
+1982 - Inaugurou o ciclo de palestras realizado pelo Museu Nacional de Belas Artes, Aspectos da Criatividade Humana – Uma introdução à Historia da Arte, falando sobre Desenho e Indústria (Jornal do Brasil, 2 de julho de 1982, segunda coluna).
+1985 – Exposição do fotógrafo Ademar Manarini (1920 – 1989) no espaço de exposição criado na Esdi, sob a curadoria de Carmen (Manchete, 14 de dezembro de 1985, segunda coluna).
+1986 – Carmen conseguiu unanimidade na Câmara dos Vereadores do Rio de Janeiro na contestação do veto do prefeito Saturnino Braga (1931 – ) ao projeto de preservação da área ocupada pela Esdi, impedindo o despejo da escola (Jornal do Commercio, 6 de julho de 1986, sexta coluna).
+1987 - Foi convidada pelo Conselho Nacional dos Direitos da Mulher (CDNM) a entregar ao presidente da Câmara dos Deputados, Ulysses Guimarães (1916 – 1992), ao lado de outras mulheres, a Carta das Mulheres aos constituintes, com propostas para a Constituição que estava sendo escrita (Correio Braziliense, 27 de março de 1987, segunda coluna).
+1988 - Foi convidada para trabalhar como assessora do Centro de Tecnologia e Ciências da Universidade Estadual do Rio de Janeiro.
+Recebeu o Prêmio Gonzaga Duque, da Associação Brasileira de Críticos de Arte, destinado a crítico associado, pela sua atuação ou publicação de livro. O troféu é uma escultura de Haroldo Barroso (1935 – 1989).
+Foi eleita presidente da Associação Brasileira de Críticos de Arte, cargo que ocupou até 1990, quando foi substituída por Esther Emilio Carlos (Jornal do Commercio, 3 de outubro de 1988, quinta coluna; Jornal do Commercio, 3 de outubro de 1990, quarta coluna).
+1991 – Passou a fazer parte da Comissão Técnica de Arte da Bienal Internacional de São Paulo (Jornal do Commercio, 22 de fevereiro de 1991, quinta coluna).
+1993 – Carmen Portinho, então a mais antiga engenheira do Brasil, coordenava as unidades do Centro de Tecnologia e Ciências da Universidade Estadual do Rio de Janeiro (O Globo, 27 de abril de 1993).
+1999 – Lançamento dos livros Carmen Portinho, de autoria de Ana Luiza Nobre; e de Carmen Portinho – por toda a minha vida, um depoimento dela a Geraldo Edson de Andrade (Jornal do Brasil, 24 de novembro de 1999, terceira coluna; Jornal do Brasil, 18 de dezembro de 1999, última coluna).
+Continuava trabalhando como consultora do Centro de Tecnologia e Ciências da Universidade Estadual do Rio de Janeiro
+2001 – Faleceu no dia 25 de julho de 2001, aos 98 anos (Jornal do Brasil, 26 de julho de 2001).
+2009 – Lançamento do documentário Reidy, a construção da utopia, dirigido por Ana Maria Magalhães (1950 – ), filha de Maria de Lourdes (c. 1918 – 1962), irmã de Carmen, com o político Sérgio Magalhães (1916 – 1991). O filme trazia depoimentos de Carmen.
+2019 – Foi homenagem com a declaração do Ano Institucional Carmen Portinho da UERJ.
+
+Filme Carmen Portinho e a UERJ / Programa Campus – TV UERJ
+
+Carmen Portinho / A Noite, 5 de outubro de 1951
+ 
+*A pesquisa não encontrou informação sobre o êxito ou não da outra aluna, Déa Torres Paranhos, que defendeu a tese Grande composição apresentando projetos de melhoramentos na Cidade do Rio de Janeiro (Gazeta de Notícias, 14 de dezembro de 1938, terceira coluna). No livro Carmen Portinho, por toda a minha vida, Carmen informou que Déa “acabou não frequentando o curso“.
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+ANDRADE, Geraldo Edson; PORTINHO, Carmen. Por toda a minha vida. Rio de Janeiro : UERJ, 1999.
+CAVALCANTI, Lucas. Conhecendo Tilde Canti. Rio de Janeiro ; UFRJ, 2020.
+COSTA, Vera Rita. Entrevista com Carmen Portinho. Revista Ciência Hoje, 1995.
+DEL PRIORE, Mary (Org.). História das mulheres no Brasil. Coordenação de textos de Carla Bassanesi. São Paulo: Contexto, 1997
+DEL PRIORI, Mary. História e conversas de mulher. São Paulo: Planeta Brasil, 2014
+Filme Reidy, a construção da utopia (2009), de Ana Maria MagalhãesFilme Carmen Portinho e a UERJ (2019) / Programa Campus – TV UERJHemeroteca Digital da Biblioteca Nacional
+HEYNEMANN, Claudia; RAINHO, Maria do Carmo. Memória das lutas feministas in Brasiliana Fotográfica, 8 de agosto de 2017.Instituto Histórico e Geográfico Brasileiro
+NASCIMENTO, Flávia de Brito do. Carmen Portinho e o habitar moderno – Teoria e trajetória de uma urbanista. R. B. Estudos Urbanos e regionais v.9, Nn.1 / maio 2007
+NOBRE, Ana Luiza. Carmen Portinho. Rio de Janeiro : Relume Dumará, 1999
+PINTO, Celi Regina Jardim. Uma história do feminismo no Brasil. São Paulo: Editora Fundação Perseu Abramo (coleção história do povo brasileiro) 2003.
+Portal Câmara dos Deputados
+Portal MultiRio
+Portal Senado Federal
+Revista Brasileira de Enfermagem, volume 55, nº 3. Brasília jan/fev de 2002
+Revista Casa Claudia, 22 de agosto de 2017
+Revista Projeto, junho de 1988
+Revista Vitruvius, janeiro de 2007, agosto de 2001
+SERRANO, Cinthia Lobato. Arquitetura e Gênero: o resgate de pioneiras no cenário profissional. Dissertação do curso de Arquitetura e Urbanismo da Universidade Federal Fluminense, 25 de março de 2013.
+
+SCHUMAHER, Schuma; BRAZIL, Erico Vital (organizadores). Dicionário mulheres do Brasil: de 1500 até a atualidade biográfico e ilustrado. Rio de Janeiro : Jorge Zahar Ed., 2000.
+
+SILVA, Raquel Coutinho M. da. Carmen Portinho: engenheira da prefeitura do Distrito Federal, difusora do urbanismo e uma feminista avant-garde. Revista do Arquivo Geral da Cidade do Rio de Janeiro.
+Site ArqFashion
+Site Bienal de São Paulo
+Site Casas Brasileiras
+Site CPDOC
+Site Cronologia do Pensamento Urbanístico
+Site Democracia e Mundo do Trabalho
+Site Esdi
+Site Mulher 500 anos atrás dos panos
+Site Unifei
+
+Acesse aqui os outros artigos da Série “Feministas, graças a Deus!“
+
+Série “Feministas, graças a Deus!” I – Elvira Komel, a feminista mineira que passou como um meteoro, publicado em 25 de julho de 2020, de autoria da historiadora Maria Silvia Pereira Lavieri Gomes, do Instituto Moreira Salles, em parceria com Andrea C. T. Wanderley, editora e pesquisadora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” II  – Natércia da Cunha Silveira (1905 – 1993), o jequitibá da floresta, publicado em 20 de agosto de 2020, de autoria de Andrea C.T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” III  – Bertha Lutz e a campanha pelo voto feminino: Rio Grande do Norte, 1928, publicado em 29 de setembro de 2020, de autoria de Maria do Carmo Rainha, doutora em História e pesquisadora do Arquivo Nacional
+Série “Feministas, graças a Deus!” IV  – Uma sufragista na metrópole: Maria Prestia (? – 1988), publicado em 29 de outubro de 2020, de autoria de Claudia Heynemann, doutora em História e pesquisadora do Arquivo Nacional
+Série “Feministas, graças a Deus!” V – Feminista do Amazonas: Maria de Miranda Leão (1887 – 1976), publicado em 26 de novembro de 2020, de autoria de Maria Elizabeth Brêa Monteiro, mestre em História e pesquisadora do Arquivo Nacional
+Série “Feministas, graças a Deus!” VI – Júlia Augusta de Medeiros (1896 – 1972) fotografada por Louis Piereck (1880 – 1931), publicado em 9 de dezembro de 2020, de autoria de Andrea C.T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” VII – Almerinda Farias Gama (1899 – 1999), uma das pioneiras do feminismo no Brasil, publicado em 26 de fevereiro de 2021, de autoria de Andrea C.T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” IX – Mariana Coelho (1857 – 1954), a “Beauvoir tupiniquim”, publicado em 15 de junho de 2021, de autoria de Andrea C. T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” X – Maria Luiza Dória Bittencourt (1910 – 2001), a eloquente primeira deputada da Bahia, publicado em 25 de março de 2022, de autoria de Andrea C. T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” XI e série “1922 – Hoje, há 100 anos” VI – A fundação da Federação Brasileira pelo Progresso Feminino, publicado em 9 de agosto de 2022, de autoria de Andrea C. T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” XII e série “1922 – Hoje, há 100 anos” XI – A 1ª Conferência para o Progresso Feminino, publicado em 19 de dezembro de 2022, de autoria de Maria Elizabeth Brêa Monteiro, historiadora do Arquivo Nacional
+Série “Feministas, graças a Deus!” XIII – E as mulheres conquistam o direito do voto no Brasil!, publicado em 24 de fevereiro de 2023, de autoria de Andrea C T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” XIV – No Dia Internacional da Mulher, Alzira Soriano, a primeira prefeita do Brasil e da América Latina, publicado em 8 de março de 2023, de autoria de Andrea C T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” XV – No Dia dos Povos Índígenas, Leolinda Daltro,”a precursora do feminismo indígena” e a “nossa Pankhurst, publicado em 19 de abril de 2023, de autoria de Andrea C T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” XVI – O I Salão Feminino de Arte, em 1931, no Rio de Janeiro, de autoria de Andrea C. T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica, publicado em 30 de junho de 2023
+Série “Feministas, graças a Deus!” XVII – Anna Amélia Carneiro de Mendonça e o Zeppelin, equipe de Documentação da Escola de Ciências Sociais FGV CPDOC, em parceira com Andrea C.T. Wanderley, publicado em 5 de janeiro de 2024
+Série “Feministas, graças a Deus!” XVIII – Júlia Lopes de Almeida (1862 – 1934), a “escritora da Belle Époque tropical”, de autoria de Andrea C. T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica, publicado em 5 de junho de 2024
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/6571` — `itens/20.500.12156.1_6571/`
+- `20.500.12156.1/5028` — `itens/20.500.12156.1_5028/`
+- `20.500.12156.1/6581` — `itens/20.500.12156.1_6581/`
+- `20.500.12156.1/4944` — `itens/20.500.12156.1_4944/`
+- `20.500.12156.1/4943` — `itens/20.500.12156.1_4943/`
+- `20.500.12156.1/6579` — `itens/20.500.12156.1_6579/`
+
diff --git a/wordpress/22501-serie-1922-hoje-ha-100-anos-i-os-batutas-embarcam-para-paris-em-29-de-janeiro-um.md b/wordpress/22501-serie-1922-hoje-ha-100-anos-i-os-batutas-embarcam-para-paris-em-29-de-janeiro-um.md
new file mode 100644
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@@ -0,0 +1,351 @@
+---
+id: 22501
+url: "https://brasilianafotografica.bn.gov.br/?p=22501"
+titulo: "Série “1922 – Hoje, há 100 anos” I – Os Batutas embarcam para Paris, em 29 de janeiro – Uma história de música e de racismo"
+autor: "Andrea Wanderley"
+data: "2022-01-29T01:01:24+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/8908", "20.500.12156.1/8907", "20.500.12156.1/8912", "20.500.12156.1/10361"]
+fetched_at: "2026-09-10T10:06:51.324Z"
+---
+
+# Série “1922 – Hoje, há 100 anos” I – Os Batutas embarcam para Paris, em 29 de janeiro – Uma história de música e de racismo
+
+A Brasiliana Fotográfica inaugura a Série 1922 – Hoje, há 100 anos com o artigo Os Batutas embarcam para Paris, em 29 de janeiro – Uma história de música e de racismo, contando um pouco da história da turnê parisiense dos Batutas, considerado o primeiro grupo de música popular brasileira a alcançar projeção internacional. Tinha, entre seus integrantes, dois expoentes: o virtuoso Alfredo da Rocha Vianna Filho, o Pixinguinha (1897 – 1973), o maior chorão de todos os tempos; e Joaquim Maria dos Santos, o Donga (1891 – 1974), um dos autores daquele que é um dos primeiros sambas gravados no Brasil, Pelo Telefone, registrado em 27 de novembro de 1916.
+“A verdade é que o choro me agrada mais por ser mais trabalhado, com três partes, cada uma delas com dezesseis compassos, e não apenas oito, como no samba. Depois, o choro, que me parece originado da polca (uma das músicas de salão da época), era para mim a forma metódica através da qual eu podia expressar meus sentimentos”
+Pixinguinha (1966)
+“O ritmo caracteriza um povo. Quando o homem primitivo quis se acompanhar, bateu palmas. As mãos foram, portanto, um dos primeiros instrumentos musicais. Mas como a humanidade é folgada e não quer se machucar, começou a sacrificar os animais, para tirar o couro. Surgiu o pandeiro. E veio o samba. E surgiu o brasileiro, povo que lê música com mais velocidade do que qualquer outro no mundo, porque já nasce se mexendo muito, com ritmo, agitadinho, e depois vira capoeira até no enxergar”.
+Donga (1966)
+Ao longo do ano, serão publicados no portal artigos com imagens de fatos importantes ocorridos em 1922 como a Semana de Arte Moderna e a Exposição do Centenário da Independência do Brasil. A temporada dos Batutas que, em 29 de janeiro de 1922, embarcaram para a França, foi um sucesso e causou polêmica e ataques racistas, veiculados na imprensa brasileira. Uma curiosidade: os Batutas e o fotógrafo Marc Ferrez (1843 – 1923) retornaram da França no mesmo navio, o Lutetia, e chegaram ao Brasil em 14 de agosto de 1922.
+ 
+Oito Batutas, 1919. Da esquerda para a direita: Jacob Palmieri, Donga, José Alves, Nelson Alves, Raul Palmieri, Luís de Oliveira, China e Pixinguinha. Rio de Janeiro, RJ / Acervo IMS
+ 
+Acessando o link para as imagens dos Batutas disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+O dançarino Duque, o empresário Arnaldo Guinle e os Oito Batutas
+ 
+“Pixinguinha nem sequer era músico. Era música – e essa seria a melhor palavra para defini-lo, explicá-lo e amá-lo”.
+Carlos Heitor Cony
+O dentista, dançarino, compositor e jornalista baiano Antônio Lopes de Amorim Diniz (1884-1953), conhecido como Duque, conheceu no Assyrio, cabaré no subsolo do Theatro Municipal do Rio de Janeiro, os Oito Batutas, que tocavam enquanto ele dançava com sua parceira, a dançarina e manequim francesa Gaby, entre fins de 1921 e início de 1922.
+Foi noticiado que Pixinguinha tinha reassumido a função de diretor de harmonia do bloco carnavalesco de Reinado de Siva.
+ 
+Jornal do Brasil, 11 de janeiro de 1922
+ 
+Mas então:
+“Menos de três semanas depois, Pixinguinha estava trocando o palácio do Reinado de Siva, na rua Senador Pompeu pelo Shérérazade, 16, Faubourg Montmartre, em Paris. Isto porque, nessas três semanas abençoadas, Ogum resolveu usar sua espada para abrir as portas do mundo para seu filho de fé e seus sete companheiros. Para transportá-los, usou como veículo o Assyrio, cabaré instalado no subsolo do Teatro Municipal. Ali são ouvidos todas as noites pela fina flor da sociedade boemia carioca. Ali, no mesmo espetáculo, um casal de bailarinos de fama internacional empolga o público dançando o ritmo que, durante anos e anos, fora uma dança excomungada, anatematizada, proibida às moças e aos rapazes de família. Duque e Gaby dançam o maxixe, ou la matchiche, como preferiam os almofadinhas da época”. 
+Filho de Ogum Bexiguento, página 49.
+
+Duque / Fon-Fon, 20 de fevereiro de 1915
+ 
+Segundo Pixinguinha, na Série Depoimentos:
+“Bem, o Duque era um bailarino aristocrático. Ele dançava um maxixe aristocrático. Era um malabarista. Duque empolgou todo mundo. Não era um maxixe como a gente via em certos lugares. Era um sujeito muito delicado. Dançava um maxixe clássico. Quando chegamos em Paris conhecemos a academia dele. Era uma academia que ensinava a dança do maxixe brasileiro. Quando Duque chegava no salão, todo mundo disputava o privilégio de dançar com ele. Eram princesas, reis, etc, Sim, senhores, até rei apareceu para dançar com ele. Foi ele que pediu ao Arnaldo Guinle para nos levar para Paris. Ele gostava muito do que a gente fazia e interpretava a nossa música nos pés. Depois de quatro compassos ele já estava criando coisas novas nos pés. E tinha a Gaby, uma francesa que compreendia perfeitamente o Duque”.
+ 
+O Duque havia se mudado de Salvador para o Rio de Janeiro, em 1906. Três anos depois, começou a viajar pelo mundo. Chegou em Paris, conforme artigo que escreveu para a revista O Cruzeiro, em 1912, quando passou a dançar em restaurantes e bares com a dançarina ítalo-brasileira Maria del Nigri, conhecida como Maria Lino, a Rainha do Maxixe (c. 1880 – 1940). Ganharam, em 1913, o primeiro prêmio em uma competição em Berlim. Também foram suas parceiras Arlette Dorgère (1880 -1965) e Gaby. Tornou-se dono de academias de dança em Paris e no Rio de Janeiro, tendo sido responsável pela difusão do maxixe em capitais como Berlim, Buenos Aires, Montevidéu, Londres, Nova York e Paris, numa época em que o ritmo era considerado imoral por boa parte da sociedade brasileira. Em 1921, havia, após uma temporada no Brasil com sua parceira Gaby, retornado à França, onde estrelou um espetáculo na Ópera de Paris com o compositor e violinista paulista Nicolino Milano (1876 – 1962) e apresentou o samba na peça La Proie (A Presa), de Regina Regis de Oliveira (18? – 1956), no Teatro Albert I, também em Paris. Foi provavelmente a primeira exibição de samba em um palco europeu (L´Esprit Nouveau, página 106; A Gazeta (SP), 8 de março de 1921, sexta coluna; Jornal do Brasil, 2 de abril de 1921, terceira coluna;  D. Quixote, 18 de maio de 1921, primeira coluna).
+ 
+Os dançarinos Duque e Gaby no Assyrio / Fon-Fon, 18 de setembro de 1915
+ 
+Foi, como mencionado por Pixinguinha, o Duque que pediu ao empresário Arnaldo Guinle (1884 – 1963) que patrocinasse a excursão dos Batutas à França, em janeiro de 1922, para a divulgação da música popular brasileira no cenário internacional. Mecenas das artes e dos esportes, Arnaldo Guinle foi um dos homens mais ricos do Brasil, cuja fortuna era oriunda da exploração do Porto de Santos. Além do suporte financeiro de Guinle, Duque conseguiu apoio político-diplomático de Lauro Müller (1863 – 1926), o que, segundo o antropólogo Rafael José de Menezes Bastos, imprimiu na jornada uma idéia, diríamos, de missão quase diplomática. Duque e Guinle haviam se conhecido na França, já que Guinle vivia entre o Rio de Janeiro e Paris. O general e engenheiro militar Lauro Müller, ministro das Relações Exteriores entre 1912 e 1917, havia conhecido os Batutas por ter sido um assíduo frequentador da noite carioca. Mas o governo não contribuiu financeiramente para a viagem. Segundo Donga, em depoimento para o Museu da Imagem e do Som:
+“Absolutamente. O grande brasileiro Arnaldo Guinle nos levou para lá sem it, com essa pelezinha escura e tudo, sem medo de levar vaia. Viajamos às custas dele”.
+Guinle contratava, desde 1919, os Batutas, que conheceu tocando na sala de espera do Cine Palais, para saraus em sua mansão no bairro das Laranjeiras. Patrocinou, com o apoio de Irineu Marinho (1876 – 1925), fundador do jornal O GLOBO, uma turnê do grupo pelo Brasil, iniciada em outubro de 1919 por São Paulo e Minas Gerais e encerrada, no ano seguinte, pela Bahia e por Pernambuco. O objetivo da turnê, além da realização de apresentações artísticas, era recolher e catalogar ritmos para integrar uma antologia de música folclórica sob a supervisão do escritor Coelho Neto (1864 – 1934) que, por seu estilo literário, considerado ultrapassado, sofreu fortes críticas na Semana de Arte Moderna de 1922, tema do próximo artigo da Série 1922: Hoje, há 100 anos.
+ 
+Arnaldo Guinle pela Photo Chapelin / Fluminense Futebol Clube
+ 
+Segundo o depoimento de Donga para o Museu da Imagem e do Som do Rio de Janeiro:
+“O dr. Arnaldo, como bom brasileiro que era, simpatizou com a gente. Pensou e combinou com o Coelho Neto uma antologia, recolhendo material através de pessoas idôneas. Ele, junto com o Floresta de Miranda, nos procurou e disse: “amanhã você vai à minha casa em Copacabana”. Eu fui junto com o Pixinguinha. Nós estávamos há 20 dias sem função e o dinheiro tinha acabado. Ele explicou o que queria e perguntou o que achávamos. Nós dissemos que íamos fazer uma excursão ao Norte e o dr. Arnaldo pediu que incluíssemos o João Pernambuco, porque assim ele faria algumas coisas para ele. Assim foi feito, nós fomos a Pernambuco, Bahia, etc, e o João Pernambuco recolheu uma porção de coisas e trouxe. Mas não era o bastante. O dr. Arnaldo disse para o João Pernambuco que ia prosseguir na colheita, mas só que dessa vez levaria um músico para escrever, porque ele só havia trazido letras e músicas de memória. Disse ainda que pagaria tudo. Eu não sei o que eles arranjaram, ele e Pixinguinha, porque o dr. Arnaldo ficou zangado e não quis saber de mais nada. O João Pernambuco era meio egoísta e parece que pediu demais. Eu não sabia de nada. Depois de alguns dias o Patricio Teixeira me deu um recado que o dr. Arnaldo queria falar comigo. Eu fui e ele disse: “Não quero mais saber de histórias com o João Pernambuco e com o Pixinguinha”. Eu então combinei tudo com ele, que exigiu a presença de um músico na viagem. Eu comecei a enrolar um pouco e toda vez que o Floresta de Miranda me procurava para informar ao dr. Arnaldo eu dava sempre uma desculpa: “Olha, eu queria o Zezé, mas ele para escrever música de folclore é difícil e como tem o Pixinguinha, este seria melhor”. Parece que o Floresta de Miranda disse isso ao dr. Arnaldo e ele amoloceu um pouco com respeito ao Pixinguinha. Com o João Pernambuco ele nunca mais falou até morrer. Nas proximidades da viagem eu disse ao dr. Arnaldo: “eu acho que vou levar o Pixinguinha”. Ele respondeu: “você leva quem quiser, apanhe o dinheiro lá na rua Sete de Setembro”. Era tudo pago. Estivemos então em Morro Velho, Minas, Bahia, etc. Pixinguinha trouxe tudo escrito, tudo bem feito, e o dr. Arnaldo ficou satisfeito”.
+Segundo o historiador Clóvis Bulcão, essas pesquisas foram responsáveis pelo encontro dos Guinles com Heitor Villa-Lobos (1887 – 1959), pois foi o compositor o encarregado pela organização do material. Em 1923,  Arnaldo Guinle deu a Villa-Lobos duzentos contos de réis para que ele fosse aprimorar sua arte na França.
+ 
+A temporada dos Batutas em Paris (1922)
+ 
+Chegamos ao dia do embarque. No dia 29 de janeiro de 1922, o grupo formado então pelos músicos Alfredo da Rocha Vianna Filho, o Pixinguinha (1897 – 1973); seu irmão, Octávio (1888 – 1926), conhecido como China; Joaquim Maria dos Santos, o Donga (1891 – 1974); Nelson Alves (1895 – 1960), Sizenando Santos (o Feniano), José Monteiro e José Alves de Lima embarcou no navio transatlântico Massília rumo à França (O Jornal, 24 de janeiro, segunda coluna e 28 de janeiro, última coluna de 1922; O Paiz, 29 de janeiro de 1922, quarta coluna). Os últimos dois substituíram os irmãos Jacob e Raul Palmieri (1887 – 1968), que desistiram da viagem. O baterista Joaquim Silveira Tomás (1898 – 1948), o J. Tomás, adoeceu e não pode viajar com o grupo. Ao longo de sua existência, entre 1919 e 1931, a formação dos Batutas variou.
+Para Paris foram mesmo sete batutas. Foi o primeiro conjunto brasileiro a apresentar na Europa a música urbana produzida no Rio de Janeiro na época. Tocaram durante os seis meses que ficaram em Paris, na época a capital cultural do mundo, choros, maxixes, polcas, tangos brasileiros, sambas, lundus, batuques, valsas, cateretês, emboladas, cocos e toadas sertanejas.
+ 
+O Jornal, 24 de janeiro de 1922
+ 
+Chegaram em 11 de fevereiro, no porto de Bordeaux, na França e foram recepcionados na Gare d´Orsay, em Paris, no dia seguinte, pelo Duque e pelo jornalista Floresta de Miranda, secretário particular de Guinle. Nos meses seguintes, como Les Batutas, seriam atração fixa numa badalada casa noturna de Paris, o dancing Shéhérazade, na Faubourg Montmartre, 16, cujo diretor artístico era o Duque, responsável pelo convite ao conjunto. O proprietário era G. Calmet.
+ 
+Interior do cabaré Shéhérazade / Pixinguinha, Vida e Obra
+ 
+A chegada do grupo em Paris foi noticiada por alguns jornais franceses:
+ 
+“Fala-se bastante dos “Batutas” no mundo artístico. É com curiosidade que esperamos por sua muito próxima estreia” / Le Gaulois, 11 de fevereiro de 1922
+ 
+“Os Batutas, que chegaram do Brasil, farão esta semana sensacional estreia em Paris” / Le Gaulois, 12 de fevereiro de 1922
+ 
+ 
+“Les Batutas, cet extraordinaire orchestre brésilien, unique au monde, d’une gaieté endiablée, composé de virtuoses surnommés les rois du rythme et de la samba, joue tous les jours aux thés et aux soupers de Shéhérazade, 16, Faubourg Montmartre. Direction: Duque” (Tradução: Os Batutas, esta extraordinária orquestra brasileira, única no mundo, com alegria frenética, composta por virtuosos apelidados de reis do ritmo e do samba, toca todos os dias nos chás e jantares do Shéhérazade, 16, Faubourg Montmartre. Direção: Duque).
+ Le Journal, 14 de fevereiro de 1922
+ 
+A Primeira Guerra Mundial havia acabado há pouco tempo e Paris fervilhava na euforia do pós-guerra, ocupada por músicos do mundo inteiro, principalmente dos Estados Unidos e das Antilhas, e por artistas de vanguarda, o que tornava trepidantes a atmosfera cultural da cidade, seu ritmo e sua noite. Eram os Anos Loucos. Como definiu o escritor norte-americano Ernest Hemingway (1899 – 1961): Paris é uma festa. Os intelectuais estavam interessados em antropologia e por estudos sobre a África, o que propiciava um ambiente receptivo para movimentos artísticos relacionados com a cultura negra, caso dos Batutas, recebidos com simpatia por simbolizar um certo exotismo, em voga na ocasião. Muitas bandas de jazz apresentavam-se no Shéhérazade, identificado pela imprensa parisiense como um palácio das mil e uma noites. O dancing, onde os Batutas se apresentaram, era frequentado por intelectuais, pela aristocracia, por políticos e artistas de renome – era o ponto de encontro da elite que circulava na capital francesa. Pixinguinha entrou em contato com o charleston, o foxtrote, o shimmie e o ragtime. Foi, posteriormente, acusado de ter sido influenciado pelo jazz norte-americano.
+Foi durante a temporada em Paris que Pixinguinha passou a tocar saxofone. Gostou tanto do instrumento que acabou sendo presenteado com um por Arnaldo Guinle, que também enviou para o Brasil uma bateria para J. Tomás, o batuta que na última hora ficou doente e não pode seguir para Paris com o grupo.
+ 
+“Foi em Paris. Quando viajei para lá não tocava saxofone. Tocava flauta. No conjunto que se apresentava na casa em frente aos Shéhérazade, havia um violoncelista que, durante a apresentação, mudava do violoncelo para o saxofone, principalmente na hora de tocar o shimmy. Um dia, Arnaldo Guinle me perguntou: “Você toca aquele instrumento?”. Respondi: “Eu toco”. Na verdade, eu já conhecia a escala do instrumento e sabia que era quase igual à flauta”. Então vou mandar fazer um saxofone pra você”, me disse Arnaldo Guinle. Um mês depois o saxofone estava pronto. Levei o instrumento para o hotel e ensaiei. No outro dia já estava tocando uns chorinhos no saxofone. Mas só toquei naquele dia, porque não queria magoar o músico da casa em frente. Toquei só para o Arnaldo Guinle ver. Ele viu e ficou satisfeito. Depois, fiquei só na flauta. Quando voltei para o Brasil é que passei a tocar mais saxofone. Mas nós trouxemos outras novidades. Na volta, o nosso pessoal estava tocando violão-banjo, cavaquinho-banjo, estas coisas”.
+Pixinguinha, na Série Depoimentos
+ 
+As apresentações fizeram sucesso com o público e com a imprensa parisiense. E os Batutas, que haviam sido contratados para uma temporada de um mês no Shéhérazade, com um salário de 3.500 réis, ficaram na cidade por cerca de 6 meses. O grupo executava músicas como Dádiva de Amor, composta por Donga, em Paris; Fala Baixo, de Sinhô (1888 – 1930); Gargalhada, de Pixinguinha; Les Batutas, também de Pixinguinha e com letra de Duque; e Vem vovó, de Álvaro Sandim (1862 – 1919).
+ 
+No Shéhérazade: Os Batutas, a célebre orquestra brasileira única no mundo, estreou com gande sucesso no Shéhérazade, o feérico estabelecimento do faubourg Montmartre. Vá ouvir os Batutas, você não vai se arrepender de sua viagem / Le Galois, 25 de fevereiro de 1922
+ 
+Letra de Les Batutas / Gazeta de Notícias, 14 de abril de 1922
+ 
+A partir de maio,  apresentaram-se no Chez Duque, na rue Caumartin, 17, cujo proprietário era o Duque; e, em 1º de junho, eles e a prestigiada Bernard Kay’s American Jazz Band estavam presentes na inauguração dos Chás Dançantes, na Reserve de Saint-Cloud, na boulevard Senard. Fizeram também um show em homenagem ao norte-americano Jack Dempsey (1895 – 1993), campeão mundial dos pesos pesados de 1919 a 1926 (O Imparcial, 15 de agosto de 1922).
+ 
+Anúncio da inauguração dos Chás Dançantes no La Reserve de Saint-Cloud / Pixinguinha, Vida e Obra
+ 
+Segundo Donga, fizeram uma apresentação para a família real brasileira que residia em Paris. Sebastião Braga, em seu livro O Lendário Pixinguinha, menciona uma apresentação do músico no Conservatório de Paris, quando Pixinguinha teria tocado a polca Gargalhada e os diretores do Instituto de Música da França, em respeito, teriam lhe dado uma flauta de prata. De acordo com o jornalista e musicólogo Lúcio Rangel (1914 – 1979), o primeiro prêmio de flauta do Conservatório de Paris, Harold de Bozzi, teria ficado embasbacado com Pixinguinha.
+Por intermédio de Olivia Penteado (1872 – 1934), grande incentivadora do modernismo no Brasil e ligada ao movimento intelectual que desencadeou a Semana de Arte Moderna, os Batutas foram convidados pelo embaixador Luiz Martins de Souza Dantas (1876 – 1954) para participar de uma festa organizada pelo Comitê França-América, no Palais des Affaires Publiques. Souza Dantas (1876 – 1954), que servia como chefe da representação brasileira em Roma e que, em novembro de 1922, assumiu a embaixada brasileira na França, era um dos anfitriões do evento. Vale lembrar que Souza Dantas foi proclamado, no Museu do Holocausto, em Israel, em 2003, Justo entre as nações, por ter arriscado sua vida para ajudar os judeus perseguidos pelo nazimo e pelo fascismo.
+ 
+Le Gaulois, 26 de junho de 1922
+ 
+A polêmica em torno da ida dos Batutas a Paris – O Racismo
+ 
+Mas aqui no Brasil, a excursão do grupo à Europa suscitou polêmica e debates nos jornais, ora defendendo os Batutas ora os atacando com declarações abertamente racistas. A música popular como representante da cultura nacional também fez parte da discussão. Porém ataques racistas não eram novidades para os Batutas, que foram alvos deles desde seu início, em 1919 (Fon-Fon, 19 de abril de 1919).
+“Desde sua fundação Os Oito Batutas geraram polêmica. O fato de serem em sua maioria negros e o tipo de música que faziam eram motivos para controvérsia. Identificá-los à genuína musicalidade nacional, significava para muitos uma desqualificação em termos de uma pretensa universalidade – equacionada com o cânone da música clássico-romântica ocidental – e um veredicto de provincianismo. Além disso, a negritude era vista como sinal de inferioridade sociocultural”.
+Rafael José de Menezes Bastos
+ 
+Segundo Sérgio Cabral, no livro Pixinguinha – Vida e Obra (1997), na ocasião da estreia do grupo no Cine Palais, que reabria suas portas, em 1919, o pianista e maestro paulista Júlio Cesar do Lago Reis (1863 – 1933), em sua coluna de música no jornal A Rua, se disse envergonhado com o que considerava um escândalo. Afinal, como poderia um grupo musical composto de afrodescendentes se apresentar em um endereço chique e elegante, um cinema na antiga avenida Central? 
+Na Revista da Semana, do início de abril de 1919, em nota atribuida ao jornalista Xavier Pinheiro, veio a resposta à crítica de Júlio Reis que, segundo ele:
+“(não aceita) pela sua fina educação artística, que o violão, o cavaquinho, o reco-reco, o chocalho e a flauta interpretem as modinhas, as chulas, os sambas, os tangos e outras composições que tenham cunho nacional, na sala de espera de qualquer cinema da avenida porque isso é ofensivo aos ouvidos educados da grande maioria da nossa sociedade composta de uma boa parte de nossa aristocracia. O defensor de nossa sociedade aristocrática está enganado na apreciação da orquestra dos Oito Batutas. Aqueles rapazes morenos, que levam horas a cantar as encantadoras modinhas da nossa terra e as executam na flauta, no violão, no reco-reco, no cavaquinho e no chocalho, têm sido apreciados pela nossa finíssima sociedade, não têm escandalizado, têm obtido ruidoso sucesso…A Orquestra dos Oito Batutas foi mal apreciada pelo aplaudidíssimo e popular maestro Julio Reis porque aqueles rapazes tocam e cantam com clima, com sentimento, interpretam a música muito melhor do que certos e conceituados artistas que andam por aí…O maestro Júlio Reis foi severo. Foi injustíssimo com os morenos que ganham sua vida com brilho e aplauso no Cine Palais. Eles tocam bem, são da nossa terra, têm compostura, agradam a todos e o povo que ali vai gosta da flauta de Pixinguinha, do violão de Donga, do cavaquinho do Nelson e dos outros caboclos seus companheiros”.
+Os ataques racistas, segundo os quais os Batutas desmoralizariam o Brasil levando para Paris o que o país tinha de pior para o seio da civilização da Europa, recrudesceram, em 1922. O cronista A. Fernandes escreveu no Diário de Pernambuco: “Não sei se a coisa é para rir ou para chorar. Seja como for, o boulevard vai se ocupar de nós. Não do Brasil de Arthur Napoleão, de Osvaldo Cruz, de Rui Barbosa, de Oliveira Lima, não do Brasil expoente, do Brasil elite, mas do Brasil pernóstico, negróide e ridículo e de que la chanson oportunamente tomará conta” (Diário de Pernambuco, 1º de fevereiro de 1922, segunda coluna). Uma observação: o destacado político baiano Ruy Barbosa (1849 – 1923) era grande fã dos Batutas e presença frequente nas apresentações do grupo no Cine Palais.
+O cronista que se assinava como S, no Jornal do Commercio, em 1º de fevereiro de 1922, descreveu os Batutas como “oito, aliás, nove pardavascos que tocam violas, pandeiros e outros instrumentos rudimentares” e lamentava“não haver uma política inexorável que, legalmente, os fisgasse pelo cós e os retirasse de bordo com a manopla rija, impedindo-lhes a partida no liner da Mala Real!”.
+Segundo o artigo do jornalista e escritor Benjamin Costallat (1897 – 1961), publicado na Gazeta de Notícias de 22 de janeiro de 1922, foi um verdadeiro escândalo a presença dos Batutas no Cine Palais, em 1919, assim como o anúncio da ida do grupo para Paris. Foram atacados com um desabrido e repugnante racismo:
+“Eram  músicos brasileiros que vinha cantar cousas brasileiras. Isso em plena Avenida, em pleno almofadismo, no meio de todos esses meninos anêmicos, frequentadores de “cabarets” que só falam francês e só dançam tango argentino! No meio do internacionalismo das costureiras francesas, das livrarias italianas, das sorveterias espanholas, dos automóveis americanos, das mulheres polacas, do esnobismo cosmopolita e imbecil!
+Não faltaram censuras aos modestos “oito batutas”. Aos heróicos “oito batutas” que pretendiam, num  cinema da Avenida, cantar a verdadeira terra brasileira, atráves de sua música popular, sinceramente, sem artifícios nem cabotinismos, ao som espontâneo de seus violões e cavaquinhos.
+A guerra que lhes fizeram foi atroz. Como os músicos eram bons, “batutas de verdade”, violeiros e cantadores magníficos, como a flauta de Pixinguinha fosse melhor do que qualquer flauta por aí saída com dez diplomas de dez Institutos, começaram os despeitados a alegar a cor dos “oito batutas”, na maioria pretos”. Segundo os descontentes, era uma desmoralização para o Brasil ter na principal artéria de sua capital uma orquestra de negros! O que iria pensar de nós o estrangeiro?”
+O jornal A Noite também antecipou a possibilidade de que haveria quem num melindre idiota reprovasse a ida dos rapazes porque eram de cor (A Noite, 28 de janeiro de 1922).
+ 
+
+A Noite, 28 de janeiro de 1922
+ 
+O Imparcial saudou com entusiasmo a viagem dos Batutas, exímios tocadores de instrumentos nacionais que só executam músicas nacionais, o que só podem considerar como uma das mais altas expressões da arte musical genuinamente brasileira (O Imparcial, 28 de janeiro de 1922, segunda coluna).
+ 
+O Imparcial, 28 de janeiro de 1922
+ 
+Careta, 1º de abril de 1922
+ 
+Uma carta enviada pelo jornalista Floresta de Miranda, de Paris, defendeu e deu notícias das apresentações dos Batutas na França (Jornal do Recife, 11 de abril de 1922, primeira coluna).
+ 
+Carta de Floresta de Miranda em defesa dos Batutas / Jornal do Recife, 11 de abril de 1922, primeira coluna
+ 
+“Paris, inverno de 1922. Frio de rachar, vários graus abaixo de zero. Duque e eu estávamos na Estação de Quai d´Orsay, esperando o trem de Bordéus. Nesse trem iriam chegar os Oito Batutas. Às 23 horas apareceram os músicos brasileiros, cada qual carregando o seu instrumento. Trajavam roupas leves e tiritavam. Na manhã seguinte Duque os levou a comprar roupas apropriadas para aquele clima. Vem a estreia no Shéhérazade. Sucesso completo. Paris acode àquele dancing. Pixinguinha com a sua flauta infernal faz o diabo. China abafa com o seu violão e a sua bela voz e Donga abafa no pinho e desperta paixões…”
+Parte de uma crônica do jornalista Floresta de Miranda
+publicada no livro Samba jazz & outras notas
+Os Batutas. c. 1923. Sebastião Cirino (trompete/piston), Euclides Virgulino (bateria), Pixinguinha (saxofone), Fausto Mozart Corrêa (piano), José Monteiro (violão e banjo), José Batista Paraíso (saxofone) e Esmerino Cardoso (trombone de vara) / Acervo IMS
+ 
+Já em fins da década de 1970, o jornalista carioca João Ferreira Gomes, cujo pseudônimo era Jota Efegê (1902 – 1987) e que se destacou como um grande cronista das histórias cariocas, de seus personagens e manifestações culturais, comentou esse tipo de declaração abertamente racista em relação aos Batutas no artigo Para os racistas, os Oito Batutas eram “negróides” e “pardavascos”, publicad0 em O GLOBO.
+ 
+
+O GLOBO, 22 de março de 1977
+ 
+Até por políticos a ida dos Batutas à Europa foi questionada. Em 24 de julho de 1922, votava-se na Câmara um auxílio de 40 contos de réis para uma viagem do compositor Heitor Villa-Lobos (1887 – 1959) à Europa. Pedro da Costa Rego (1889 – 1954), representante de Alagoas, deu parecer contrário e Gilberto Amado (1887 – 1969), deputado por Sergipe, ao encaminhar a votação, discordou de seus colegas que combateram a emenda e apelou:
+“Negar a Heitor Vila Lobos 40:000$ para que possa tomar passagem e ir à Europa, que nos manda, todos os anos, maestros e pseudomaestros, às vezes abaixo de nossa cultura negar a Vila Lobos o direito de ir à Europa, mostrar que não somos apenas os “Oito Batutas”, que lá sambeiam, é negar que pensamos musicalmente, é uma atitude não digna da Câmara dos Senhores Deputados brasileiros!”
+ 
+O Retorno
+“Chiii! Se fosse agora, nós seríamos o Roberto Carlos”
+Pixinguinha em depoimento dado, em 1966,
+sobre a popularidade dos Batutas quando retornaram de Paris
+“Fiquei tão apaixonado pela França que compus uma valsa de seis partes, ganhando um prêmio da Sociedade Francesa de Compositores. Mas era grande a saudade que sentíamos do Rio de Janeiro. Um dia, quando passeávamos por uma rua parisiense, um de nós começou a assobiar uma valsa de Manuel da Harmonia. Não nos contivemos: choramos como crianças”.
+Donga(1966)
+ 
+Em 31 de julho de 1922, os Batutas embarcaram no Lutetia, em Bordeaux, na França. O navio fez escalas em Boulogne-sur-mer, Vigo e Lisboa e, após cerca de 6 meses, em 14 de agosto de 1922, os músicos chegaram no Rio de Janeiro. Durante a viagem de volta, fizeram algumas apresentações em festas a bordo. Saudades do Brasil, os negócios de Duque que não rendiam muito e a vontade de participar dos festejos do centenário da independência do Brasil foram razões alegadas para o retorno. Além deles, desembarcaram também do navio o fotógrafo Marc Ferrez (1843 – 1923), o inventor Alberto Santos Dumont (1873 – 1932), o presidente do Jockey Clube, Lineu de Paula Machado (1880 – 1942); o empresário Arnaldo Guinle (1884 – 1963); o coronel Buchalet, da missão militar francesa no Brasil, e o médico Paulo de Figueiredo Parreiras Horta (1884 – 1961) (A Noite, 1º de agosto, primeira coluna, e 14 de agosto de 1922; O Paiz, 15 de agosto de 1922, página 3 e página 4). No artigo do Imparcial, de 15 de agosto, Pixinguinha (1897 – 1973), declarou que não havia animosidade contra os homens de cor na França. Mencionou a presença de músicos de jazz em Paris e disse que os Batutas voltaram para o Brasil para tomar parte nas comemorações pelo centenário da Independência do Brasil.
+ 
+Em pé, da esquerda para a direita: Pixinguinha, José Alves de Lima; José Monteiro; Sizenando Santos “Feniano” e o Duque. Sentados: China, Nelson dos Santos Alves e Donga /A Noite, 14 de agosto de 1922.
+ 
+“Modéstia à parte, fique sabendo que triunfamos. É bom que se saiba de que quando daqui saímos, animados por uns, ridicularizados por outros, não tinha a estulta pretensão de representar no estrangeiro a arte musical brasileira. O que iríamos apresentar em Paris, e o fizemos com decência, graças a Deus, era apenas uma das feições de nossa música, mas daquela essencialmente popular, característica. Para os que amavam, ficam em nossos corações o reconhecimento e a saudade. Dos outros, preferimos amargar os apodos a discutir. Tocamos para frente!”
+Pixinguinha, em entrevista dada ao jornal A Notícia, após a chegada no Rio de Janeiro (Pixinguinha: Vida e Obra)
+Durante o mês de setembro, os Batutas fizeram apresentações na Exposição do Centenário da Independência como atração fixa do pavilhão da montadora de automóveis norte-americana General Motors, contando com os reforços da cantora Zaíra de Oliveira (1900 – 1951), mulher de Donga (1890 – 1974)); e do trompetista Bonfiglio de Oliveira (1894 – 1940). Pixinguinha, em entrevista, disse que havia tocado também durante a primeira transmissão radiofônica oficial brasileira, ocorrida em 7 de setembro de 1922. O evento integrou as comemorações do centenário da Independência. Toquei num estudiozinho que havia lá e a Zaíra de Oliveira cantou. O estúdio foi montado no pavilhão dos Estados Unidos.
+ 
+Pavilhão dos Estados Unidos na Exposição do Centenário da Independência do Brasil / Histórias  e Monumentos
+ 
+Uma estação de 500 watts, montada no alto do Corcovado pela Westinghouse Eletric International em combinação com a Companhia Telefônica Brasileira, irradiou músicas e um discurso do presidente Epitácio Pessoa (1865 – 1942), surpreendendo os visitantes da Exposição Internacional do Rio de Janeiro, através de 80 receptores vindos dos Estados Unidos, que haviam sido distribuídos às autoridades e instalados em pontos centrais da cidade.
+Após diversas apresentações, entre agosto e dezembro de 1922, dentre elas shows promovidos pela famíla Guinle em dois dos mais exclusivos clubes do país, o Fluminense, presidido por Arnaldo Guinle; e o Jockey Club do Rio de Janeiro, cujo presidente era Lineo de Paula Machado, marido de Celina Guinle; os Oito Batutas embarcaram no navio Duque d´Osta para uma temporada no Teatro Empire, em Buenos Aires, sob o comando do empresário José Segreto (O Paiz, 2 de dezembro de 1922, quarta coluna).
+ 
+Os Batutas na imprensa brasileira em 1922
+ 
+Decadência do maxixe… (O Paiz, 4 de janeiro de 1922, última coluna) – Na coluna “Artes e Artistas”, comentário sobre o fato dos Oito Batutas ser o único conjunto musical a privilegiar o maxixe.
+Os Oito Batutas estrearam no Cine Theatro Abigail Maia, em Madureira (Correio da Manhã, 7 de janeiro de 1922, terceira coluna; A Noite, 9 de janeiro de 1922, segunda coluna)
+Os Oito Batutas apresentavam-se no Cine-Theatro Abigail Maia, em Madureira. Mané Pequeno, imitador de caipiras também participava do espetáculo (O Imparcial, 11 de janeiro de 1922, primeira coluna; O Jornal, 12 de janeiro de 1922, última coluna).
+No Cine Theatro Fluminense, em São Cristóvão, com a participação dos Oito Batutas e a apresentação de duas peças, realização de um espetáculo em homenagem ao Clube de São Cristóvão (Correio da Manhã, 13 de janeiro de 1922, quinta coluna; O Jornal, 17 de janeiro, sexta coluna).
+Os Oito Batutas tocaram durante uma excursão marítima em comemoração aos 35 anos de formatura de uma turma de médicos (O Paiz, 14 de janeiro de 1922, terceira coluna).
+No Trianon, participaram de uma festa em benefício de Christóvão Vasques (O Paiz, 17 de janeiro de 1922, sexta coluna).
+Artigo do jornalista e escritor Benjamin Costallat (1897 – 1961) fazendo uma pequena trajetória dos Batutas e criticando o esnobismo imbecil em relação à música popular brasileira e o racismo e defendendo a ida do conjunto para Paris (Correio da Manhã, 22 de janeiro de 1922, penúltima coluna).
+Lançamento da música A Carta, de autoria de Pixinguinha (1897 – 1973) e M. Almeida (A Noite, 24 de janeiro de 1922, terceira coluna). 
+Sátira aos novos auxiliares do Ministério da Fazenda, chamando-o de Oito Batutas (D. Quixote, 25 de janeiro de 1922).
+Os Oito Batutas vão dar concertos em Paris (O Imparcial, 28 de janeiro de 1922, segunda coluna).
+Pelo que é nosso (A Noite, 28 de janeiro de 1922).
+A Pátria saudou a viagem como uma das expressões mais legítimas do que é nosso (A Pátria, 28 de janeiro de 1922).
+No dia 29 de janeiro de 1922, o grupo musical Oito Batutas embarcou no navio transatlântico Massília rumo à França (O Paiz, 29 de janeiro de 1922, terceira coluna).
+Na coluna Aventuras de Motta e Chefe, publicação de uma charge satirizando a ida dos Oito Batutas à Europa (Jornal do Brasil, 29 de janeiro de 1922). 
+Crítica à ida dos Batutas a Paris. “Não sei se a coisa é para rir ou para chorar. Seja como for, o boulevard vai se ocupar de nós. Não do Brasil de Arthur Napoleão, de Osvaldo Cruz, de Rui Barbosa, de Oliveira Lima, não do Brasil expoente, do Brasil elite, mas do Brasil pernóstico, negróide e ridículo e de que la chanson oportunamente tomará conta” (Diário de Pernambuco, 1º de fevereiro de 1922, segunda coluna).
+Meu diário
+O sr. Benjamin Costallat, que é um dos nossos mais finos observadores, estava o ano passado em Paris, quando a sua confreira patrícia, a sra. Regina Regis, lá residente, fez representar num teatro qualquer uma peça “genuinamente brasileira” por ela assim inculcada ao público e, como tal, por esse vivamente aplaudida. Nessa assistência, contava-se a flor de nossa colônia na Cidade Luz. E o cronista não pode deixar de manifestar a sua indignação em correspondência para um jornal do Rio diante de um negroide obsceno das bananeiras e dos sambas que a sra. Regis se lembrara de impingir como as únicas coisas típicas de sua pátria à frivolidade boulevardière.
+Eu recordei-me imediatamente do protesto de Costallat ao ler um dias desses do telegrama (informando) que o dançarino Duque embarcara com destino à capital francesa levando em sua companhia a troupe dos Oito Batutas. Esses “artistas” já estiveram aqui se exibindo no Teatro Moderno. São oito, aliás, nove desempenados pardavascos, que tocam viola, pandeiro e outros instrumentos rudimentares, acompanhando uns aos outros em cantigas do horrível gênero Catulo Cearense e dançando com exagero as cores da nossa Tersícopere bárbara.
+Pois bem! É essa gente que Luiz Duque, o famoso bailarino do Luna Park, um dos ilustres reveladores de “La Mattchiqhe” ao velho mundo, vai fazer exibir no seu cassino, onde passa cotidianamente a gama de blasbenismos e do rastacuerismo internacional. Os Oito Batutas vão ser, dentro de pouco, o número “suco” do Luna e, diante deles, o parisiense blasé se espantará, excitando a sua perdida sensualidade diante das sortes daqueles mulatos audazes que pretendem representar o Brasil”.
+E não haver uma política inexorável que legalmente os fisgasse pelo cós e os retirasse de bordo com manopla rija, impedindo-lhes a partida no liner da Mala Real! Impunemente, porém, os Oito Batutas lá vão rumo a Paris mais o Duque, que tem olho fino, mais fino mesmo que os pés e sabem como treinar para que eles se mostrem de verdade uns cotubas no remelexo, nas cantilenas estropeadas de Catulo, na música lúbrica dos choros. Para consagrá-los e desmoralizarem cada vez mais o seu país, lá estão a espera com os seus lugares reservados, os mesmíssimos brasileiros que aplaudiram a peça “nacionalista” da sra. Regis. E depois ainda nos queixamos quando chega por aqui um maroto estrangeiro que, de volta a penates, se dá a divertida tarefa de contar das serpentes e da pretalhada que viu no Brasil (Jornal do Commercio, 1º de fevereiro de 1922 – de um cronista que se identificava como S).
+Foi noticiado que tanto o Jornal do Commercio como o Diário de Pernambuco, do Recife, criticaram a ida dos Oito Batutas à Europa com comentários racistas (Jornal do Brasil, 2 de fevereiro de 1922, segunda coluna). 
+Crítica à ida dos Oito Batutas para a Europa. Menção à música Ai, seu Mé, uma sátira em torno da alegada passividade de Artur Bernardes (1875 – 1955), eleito presidente da República, em março de 1922  (Correio da Manhã, 3 de fevereiro de 1922, sexta coluna). 
+De Barbacena, Leon Feranda enviou uma carta em francês criticando a ida dos Oito Batutas a Paris como representantes do Brasil como havia sido noticiado pelo jornal A Noite. O jornal O Paiz responde às críticas (O Paiz, 4 de fevereiro de 1922, terceira coluna).
+Na coluna “Ecos e Novidades”, comentário sobre a ida dos Batutas a Paris e crítica ao esnobismo ignorante dos que nunca atentaram para as belezas da música popular (A Noite, 4 de fevereiro de 1922, primeira coluna).
+Crítica ao esnobismo em torno da ida dos Oito Batutas a Paris (A Província, 15 de fevereiro de 1922, terceira coluna).
+Notícia sobre a estreia, com sucesso, dos Batutas, em Paris (Jornal do Brasil, 17 de fevereiro de 1922, sexta coluna; Gazeta de Notícias, 17 de fevereiro de 1922, sétima coluna).
+Publicação do artigo Os “Batutas” em Paris, de José Fortunato, em torno da polêmica da ida dos Batutas a Paris (A Maçã, 18 de fevereiro de 1922).
+O préstito do Club dos Democráticos durante o carnaval contou com um carro alegórico de crítica chamado Oito Batutas, onde eram tocados os tangos que mais agradaram ao público dos teatros cariocas (Correio da Manhã, 28 de fevereiro de 1922, quarta coluna; Jornal do Brasil, 4 de março de 1922, última coluna; O Jornal, 28 de fevereiro de 1922, quinta coluna).
+Notícia sobre o sucesso dos Oito Batutas no pequeno teatro de Montmartre, Shéhérazade, sob a direção de Duque, em Paris (O Paiz, 9 de março de 1922, quarta coluna; O Jornal, 10 de março de 1922, última coluna).
+Publicação do artigo A Música Brasileira, de Chrysantheme, Maria Cecília Bandeira de Melo Vasconcelos (1870 – 1948), elogiando a turnê dos Oito Batutas, em Paris (Correio Paulistano, 29 de março de 1922, primeira coluna).
+Matéria celebrando o sucesso dos Batutas em Paris (Careta, 1º de abril de 1922).
+Quando o samba fala francês… Publicação da letra do samba Les Batutas, composto por Pixinguinha (Gazeta de Notícias, 14 de abril de 1922, quarta coluna).
+Uma carta enviada pelo jornalista A. Floresta de Miranda de Paris defendeu e deu notícias das apresentações dos Batutas em Paris (Jornal do Recife, 11 de abril de 1922, primeira coluna).
+Carta do jornalista A. Floresta de Miranda em defesa dos Batutas (Jornal do Recife, 11 de abril de 1922, primeira coluna). 
+Os “Oito Batutas” representam a música vulgar carioca’(A Noite, 19 de abril de 1922, quinta coluna).
+Crítica sobre a temporada dos Batutas em Paris. Estariam fazendo sucesso.  …está dando em resultado o cruzamento harmônico e melódico do nosso do samba com o cancan parisiense (Jornal do Brasil, 22 de abril de 1922, sexta coluna).
+Em um artigo sobre a universalidade da linguagem universal, o autor, Augusto de Lima (1859 – 1934), membro da Academia Brasileira de Letras, cita os Oito Batutas (O Imparcial, 16 de junho de 1922, quarta coluna).
+Após cerca de 6 meses, em 14 de agosto de 1922, os Batutas voltaram ao Rio de Janeiro, a bordo do Lutetia. O paquete partiu de Bordeux, em 1º de agosto, e fez escalas em Boulogne-sur-mer, Vigo e Lisboa (A Noite, 1º de agosto, primeira coluna, e 14 de agosto de 1922; Diário de Pernambuco, 2 de agosto de 1922, quarta coluna; O Paiz, 15 de agosto de 1922, página 3 e página 4; Jornal do Brasil, 15 de agosto, quinta coluna; Gazeta de Notícias, 15 de agosto de 1922, última coluna).
+Pixinguinha declarou que não havia animosidade contra os homens de cor na França. Mencionou a presença de músicos de jazz em Paris e disse que os Batutas voltaram para o Brasil para tomar parte nas comemorações pelo centenário da Independência do Brasil (O Imparcial, 15 de agosto de 1922).
+O dançarino Duque, Antônio Lopes de Amorim Diniz (1884-1953), que também havia retornado de Paris, fez uma visita à redação da Gazeta de Notícias e revelou que pretendia abrir um curso de dança no Rio de Janeiro. Estava acompanhado de Donga (1891 – 1974) e de China (1888 – 1926). Foi noticiado que, em 17 de agosto, os Batutas apresentariam um repertório de músicas brasileiras, no Jockey Club em uma festa oferecida ao presidente do clube, Lineu de Paula Machado. No dia 6 de setembro, se apresentariam no Fluminense Futebol Clube no gênero jazz band (Gazeta de Notícias, 16 de agosto de 1922, segunda coluna).
+Na coluna “Artes e Artistas” foi noticiado que, a convite da sra. Rasimi (1874 – 1954), diretora da Companhia do Ba-ta-clan, os Oitos Batutas haviam apresentado no Theatro Lyrico o repertório dos shows que haviam realizado em Paris. “Não há dúvida nenhuma: mais uma vez os versos do trovador popular se justificam… ”A Europa continua a curvar-se ante o Brasil” (O Paiz, 23 de agosto de 1922, quinta coluna; e 27 de agosto, penúltima coluna, de 1922; Correio da Manhã, 24 de agosto de 1922, segunda coluna; Gazeta de Notícias, 27 de agosto de 1922,segunda coluna).
+A senhora Rasimi ofereceu um almoço, na Ilha d´Água, a vários escritores, artistas e jornalistas brasileiros com uma apresentação dos Oito Batutas (O Paiz, 24 de agosto de 1922, primeira coluna).
+Propaganda e notícia da apresentação dos Batutas no Theatro Lyrico, no espetáculo de revista V´la Paris (O Paiz, 26 de agosto de 1922 e Correio da Manhã, 26 de agosto de 1922; O Jornal, 26 de agosto de 1922, terceira coluna).
+No Palace Hotel, a esposa do adido naval dos Estados Unidos, a sra. Herbert Sparrow, ofereceu uma recepção com a apresentação dos Oito Batutas (O Paiz, 2 de setembro de 1922, terceira coluna).
+Foi noticiado que os Oito Batutas trouxeram de Paris novas músicas: Dádiva d´ Amor, de Donga (1891 – 1974), e Batutas, samba de Pixinguinha (A Noite, 5 de setembro de 1922, última coluna).
+Segundo artigo do poeta e compositor Hermes Fontes (1888 – 1930): “Já cá estão os Oito Batutas, de volta de Paris, onde estragaram o sentimento brasileiro e a verdadeira poesia dos sertões” (A Illustração Brasileira (FRA), 7 de setembro de 1922).
+Apresentação dos Oito Batutas na inauguração do Hotel Balneário Sete de Setembro, construído na Praia de Botafogo para as comemorações do centenário da independência do Brasil (O Paiz, 7 de setembro de 1922, quarta coluna; O Imparcial, 7 de setembro, penúltima coluna).
+Propaganda da estreia dos Oito Batutas no Cine-Theatro Rialto (O Paiz, 10 de setembro e 12 de setembro de 1922; Correio da Manhã, 10 de setembro de 1922; O Imparcial, 12 de setembro de 1922, quarta coluna).
+Os Oito Batutas foram contratados pelo prefeito do Rio de Janeiro, Carlos Sampaio (1861 – 1930), para tocarem na festa, no alto do Corcovado, oferecida às delegações de Buenos Aires e de Montevidéu, presentes na cidade devido à comemoração do centenário da Independência do Brasil. “Os Oito Batutas empurraram um maxixe eletrizante” (Correio da Manhã, 16 de setembro, última coluna; O Combate, 18 de setembro de 1922, primeira coluna).
+Participaram, no Teatro Municipal, de uma homenagem ao presidente de Portugal, Antônio José de Almeida. O ator Leopoldo Froes (1882 – 1932) e os músicos Catulo da Paixão Cearense (1863 – 1946) e Mario Pinheiro (1883 – 1923) também participaram do evento (Jornal do Commercio, 18 de setembro de 1922, última coluna).
+No Country Club, apresentação dos Oito Batutas e da jazz band Harry Kosarin´s (ou Kosarini) em um chá dançante em homenagem a estudantes sul-americanos (O Paiz, 21 de setembro de 1922, primeira coluna; O Imparcial, 21 de setembro de 1922, penúltima coluna).
+A Sociedade Brasileira de Autores Teatrais havia aberto um inquérito contra os Oito Batutas devido a acusações feitas a eles por J. B. da Silva, o Sinhô (1888- 1930), e Francisco José Freire Junior (1881 – 1956). Segundo os compositores, os Oito Batutas haviam, sem autorização, editado, em Paris, trabalhos musicais da autoria deles. O relator foi Cardoso de Menezes, que pediu que o professor Duque fosse ouvido (O Imparcial, 21 de setembro de 1922, segunda coluna; Jornal do Commercio, 6 de outubro de 1922, quinta coluna; Jornal do Commercio, 10 de outubro de 1922, segunda coluna).
+Os Oito Batutas tocaram na festa oferecida pelo Círculo da Imprensa para os jornalistas estrangeiros, presentes na cidade devido à comemoração do centenário da Independência do Brasil (Correio da Manhã, 2 de outubro de 1922, quarta coluna).
+A Companhia Abigail Maia estava sendo esperada, com os Oito Batutas, em São Paulo, onde fariam apresentações no Teatro da República (O Combate, 2 de outubro de 1922, segunda coluna;  3 de outubro, primeira coluna).
+No Clara Hotel, apresentação dos Oito Batutas com o delicioso exotismo de seus fox-trots parisienses (O Imparcial, 7 de outubro de 1922, terceira coluna).
+A valsa Diza, de autoria de China (1888 – 1926), irmão de Pixinguinha (1897 – 1973), e executada pelos Oito Batutas e pelas orquestras Cícero, Romeu Silva e Andreosi, foi editada pela Casa Viúva Guerreiro (O Jornal, 1º de novembro de 1922, terceira coluna).
+No Palácio das Festas, na Exposição do Centenário da Independência do Brasil, os Oito Batutas e uma banda militar foram as atrações musicais do baile promovido pela União dos Empregados no Comércio. O serviço de buffet foi do restaurante Falconi (A Noite, 8 de novembro de 1922, quarta coluna; O Paiz, 9 de novembro de 1922, segunda coluna).
+Tocaram na sala de espetáculos do Teatro Carlos Gomes, onde se apresentava o vaudeville Surpresas da exposição, do dramaturgo Gastão Tojeiro (1880 – 1965) (Jornal do Brasil, 28 de novembro de 1922, quinta coluna); O Imparcial, 28 de novembro de 1922, segunda coluna).
+Os Oito Batutas embarcaram no navio Duque d´Osta para uma temporada no Empire, em Buenos Aires, sob o comando do empresário José Segreto (O Paiz, 2 de dezembro de 1922, quarta coluna; O Jornal, 3 de dezembro de 1922, quinta coluna; Correio Paulistano, 2 de dezembro de 1922, quinta coluna 1922, quinta coluna; Correio Paulistano, 2 de dezembro de 1922, quinta coluna).
+ 
+Uma brevíssima história dos Oito Batutas e Pixinguinha
+ 
+“Se você tem 15 volumes para falar de toda a música popular brasileira, fique certo de que é pouco. Mas, se dispõe apenas do espaço de uma palavra, nem tudo está perdido; escreva depressa: Pixinguinha”
+Ary Vasconcellos, crítico e historiador
+ 
+Augusto Malta. Da esquerda para a direita: Pixinguinha, Raul Palmieri, José Alves, China, Jacob Palmieri, Luís de Oliveira, Donga, Nelson Alves e o empresário José Segreto (cortado na foto), 24 de setembro de 1920. Rio de Janeiro, RJ / Acervo IMS
+ 
+“É o melhor ser humano que conheço. E olha que o que eu conheço de gente não é fácil!”
+Vinícius de Moraes sobre Pixinguinha
+ 
+O elegante Cine Palais foi inaugurado, na avenida Rio Branco, antiga avenida Central, no Rio de Janeiro, em 16 de julho de 1914. Ficava no edifício onde anteriormente localizava-se o Cine Pathé (Correio da Manhã, 12 de julho e 15 de julho de 1914). Seu proprietário era o coronel Gustavo de Mattos (Revista da Semana, 17 de julho  e 24 de julho de 1915).
+ 
+Correio da Manhã, 15 de julho de 1914
+ 
+Apresentaram-se pela primeira vez, em abril de 1919, na sala de espera do Cine Palais, os Oito Batutas, formado por Pixinguinha (flauta), Donga (violão), China (voz e violão), Nelson Alves (cavaquinho), os irmãos Raul (violão) e Jacob Palmieri (pandeiro); José Alves de Lima, o Zezé (bandolim e ganzá) e Luís de Oliveira (bandola e reco-reco). Todos os livros consultados pela pesquisa da Brasiliana Fotográfica apontam o dia 7 de abril de 1919 como o da estreia do grupo no Cine Palais, mas há registros nos jornais da época de apresentações anteriores a essa data (O Paiz, 2 de abril, penúltima coluna; e 4 de abril, terceira coluna, de 1919; Manchete, 24 de setembro de 1966).
+Pixiguinha já havia tocado flauta, em meados da década de 1910, na sala de projeção do Cine Palais, acompanhando os filmes mudos. 
+ 
+O Paiz, 7 de abril de 1919
+ 
+A ideia da criação do conjunto musical, que se tornaria lendário na história da música popular brasileira, foi de Isaac Frankel, gerente do cinema, como uma estratégia para resgatar o público que havia se afastado dos cinemas devido à violenta epidemia de gripe espanhola, em 1918. Frankel havia ouvido, no carnaval de 1919, o Grupo Caxangá, do qual faziam parte, dentre mais de 15 músicos, Pixinguinha (1897 – 1973), Donga (1891 – 1974) e João Pernambuco (1883 – 1947), no coreto do Largo da Carioca, ao lado da sede da Sociedade Tenentes do Diabo. O Caxangá era, na década de 1910, uma das principais atrações do carnaval do Rio de Janeiro.
+ 
+Grupo Caxangá no carnaval de 1914 / Pixinguinha, Vida e Obra
+ 
+Em julho de 1919, os Oito Batutas também tocaram nas salas de espera dos teatros Carlos Gomes e São José, ambos do empresário e um dos pioneiros do cinema no Brasil, Paschoal Segreto (1868 – 1920) (O Paiz, 23 de julho de 1919). Em outubro, João Pernambuco integrava o conjunto, do qual o bandolinista José Alves de Lima havia se desligado.
+ 
+O Paiz, 15 de outubro de 1919
+ 
+As apresentações do grupo na sala de espera do Cine Palais, frequentado pela elite carioca, onde já haviam tocado os pianistas Oswaldo Cardoso de Menezes (1893 – 1935) e Luciano Gallet (1893 – 1931), fizeram muito sucesso e logo o conjunto ganhou admiradores como o músico Ernesto Nazareth (1863 – 1934), que tocava na sala de espera do concorrente Cine Odeon; o político Ruy Barbosa (1849 – 1923) e o empresário Arnaldo Guinle (1884 – 1963) que, como já mencionado, patrocinou uma turnê do grupo por estados do sudeste e do nordeste do Brasil, entre 1919 e 1920; e, em 1922, para Paris.
+ 
+Os Oito Batutas, 1919 / Em pé, da esquerda para a direita: Pixinguinha, Donga, Raul Palmieri, China, Jacob Palmieri e o secretário José Alves. Sentados: Nelson Alves, João Pernambuco e Luís de Oliveira / Acervo FBN
+ 
+Estava programada uma apresentação dos 8 Batutas para os reis da Bélgica, que visitaram o Brasil entre 19 de setembro e 16 de outubro de 1920. Aconteceria durante o almoço que seria oferecido a eles pelo então prefeito do Rio de Janeiro, Carlos Sampaio, na Mesa do Imperador. Porém uma chuva fez com que o evento fosse cancelado (O Paiz, 24 de setembro de 1920, segunda coluna; O Paiz, 25 de setembro de 1920).
+Em 1º de dezembro de 1922, após a turnê de Paris, o conjunto seguiu em nova viagem internacional, desta vez para a Argentina e foram mesmo Oito Batutas: Pixinguinha (flauta e saxofone), Donga (violão e banjo), J. Tomás (bateria), China (violão e voz), Nelson Alves (cavaquinho e banjo), J. Ribas (piano), Josué de Barros (violão) e José Alves (bandolim e ganzá). Apresentaram-se em Buenos Aires, no Teatro Empire; em Rosário, La Plata e Chivilcoy (O Paiz, 2 de dezembro de 1922, quarta coluna). A temporada foi um sucesso e terminou em abril de 1923 (Correio da Manhã, 6 de abril de 1923, sexta coluna).
+Em 1927, os Batutas começaram a tocar no Cinema Odeon e fizeram uma turnê por Santa Catarina (Correio da Manhã, 25 de agosto, segunda coluna). Também se apresentaram em teatros e no espetáculo Noites de Montmartre, no Assyrio (Correio da Manhã, 14 de julho de 1927), onde, de maio de 1928 a 1931, foram atração fixa.
+Pixinguinha, Donga (1891 – 1974) e João da Baiana (1887 – 1974) criaram o Grupo da Guarda Velha, que substituiu os Batutas e foram um grande sucesso no carnaval de 1932. Os três músicos foram frequentadores da Casa de Tia Ciata (1854 – 1924), que ficava na Pequena África no Brasil, expressão baseada numa afirmação do cantor e pintor Heitor dos Prazeres (1898 – 1966) se referindo à área que começava no Porto do Rio de Janeiro e abrangia os atuais bairros da Saúde, Estácio, Santo Cristo, Gamboa e Cidade Nova, até a Praça Onze de Junho, que foi totalmente remodelada nos anos 1940 para a abertura da avenida Presidente Vargas. Foi  lá que, a partir da década de 1870, a comunidade baiana se estabeleceu no Rio de Janeiro, fazendo da área um local de concentração de diversas manifestações da cultura afro-brasileira.
+ 
+Pixinguinha, João da Baiana e Donga / Fundação Palmares
+ 
+João da Baiana era filho de Prisciliana Maria Constança, e Donga, filho de Amélia Silvana de Araújo, tias baianas da Pequena África. Eras irmãs-de-santo da lendária Tia Ciata (1854 – 1924), Hilária Batista de Almeida, no terreiro de João Alabá, um dos principais babalorixás do candomblé  no Rio de Janeiro. Havia também as tias Bebiana, Carmen e Mônica, dentre outras, que fizeram de suas casas pontos de referência e de convívio, que garantiram a manutenção das tradições africanas na cidade. Nessas casas eram cultuadas a música e a religiosidade afro-brasileira. As casas de Tia Prisciliana e, principalmente, a de Tia Ciata foram espaços fundamentais da música popular carioca.
+ 
+Região da Pequena África / O GLOBO, 26 de maio de 2019
+ 
+Entre a última década do século XIX e as primeiras décadas do século XX, a comunidade afrodescendente se reunia nessa região para praticar religiões de matriz africana e cantar sambas. Foi na casa de Tia Ciata, onde havia um terreiro de candomblé clandestino e onde os bambas do samba se encontravam, que o primeiro samba, registrado e gravado como tal, Pelo telefone, foi composto por Donga e Mauro de Almeida (1882 – 1956), em 1916. Foi lançado pela Odeon, em 1917. Existiu uma polêmica em torno de sua autoria: foi registrado por Donga, em 27 de novembro de 1916, mas teria sido uma criação coletiva. Houve uma troca de petardos musicais entre Sinhô (1888 – 1930), que estaria presente na casa de Tia Ciata quando o samba foi composto e a turma de Donga, dentre eles João da Baiana e Pixinguinha. Outra polêmica envolve o fato de ter sido mesmo o primeiro samba ou se foi o primeiro samba a fazer sucesso, já que alguns autores alegam que antes foram compostos os sambas Em casa da baiana, de 1911; e A viola está magoada, de 1914.
+ 
+Capa da partitura do samba “Pelo telefone”, de Donga e Mauro de Almeida / Acervo IMS
+ 
+Foi também na Pequena África que a Deixa Falar, considerada a primeira escola de samba, foi fundada, em 12 de agosto de 1928, pelos sambistas Bide, Mano Edgar, Brancura, Baiaco, dentre outros, além de Ismael Silva, que reinvidicava a expressão escola de samba. Eles se reuniam no Bar Apolo ou no Café Compadre, em frente à Escola Normal, no Largo do Estácio. Existiu até 1932, quando se apresentou como rancho carnavalesco.
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+A Brasiliana Fotográfica agradece a colaboração de Bia Paes Leme, coordenadora de Música do Instituto Moreira Salles, e a de Fernando Krieger e Isadora Cirne, assistentes da Coordenadoria de Música do Instituto Moreira Salles, para a publicação desse artigo.
+Para mais informações sobre Pixinguinha e os Batutas, inclusive para acessar gravações e mais fotografias do conjunto, acesse o site Pixinguinha, do Instituto Moreira Salles.
+ 
+Abotoaduras que pertenceram a Pixinguinha/ Arquivo Pixinguinha / Acervo IMS
+ 
+ 
+Fontes:
+ALENCAR, Edigar. O Fabuloso e Harmonioso Pixinguinha. Rio de Janeiro: Editora Cátedra, 1979.
+BARBOSA, Maria Ignes Correa da Costa. Gentíssima: 28 entrevistas. Cotia(SP) : Ateliê Editorial, 2007.
+BASTOS, Rafael José de Menezes. Les Batutas, 1922: uma antropologia da noite parisiense. Revista Brasileira de Ciências Sociais – vol. 20 nº 58 , munho de 2005.
+BESSA, Virginia de Almeida. “Um bocadinho de cada coisa”: trajetória e obra de Pixinguinha. Universidade de São Paulo: Departamento de História, 2005.
+BIANCHI, Leonor. Nós somos batutas. Revista do Choro, 1º de dezembro de 2019.
+Blog Batucada Fantástica
+Blog Editora Intrínseca
+BRAGA, Sebastião. O lendário Pixinguinha. Niterói, RJ : Muiraquitã, 1997.
+BULCÃO, Clóvis. Os Guinle: a história de uma dinastia. Rio de Janeiro : Intrínseca, 2015.
+CABRAL, Sérgio. Pixinguinha – Vida e Obra. Rio de Janeiro : Lumiar Editora, 1997.
+CONY, Carlos Heitor. Pixinguinha, um choro de saudade. Folha de São Paulo, 4 de abril de 2003.
+Dicionário Cravo Albim da Música Popular Brasileira
+DINIZ, André. Almanaque do Choro. A história do chorinho: o que ouvir, o que ler, onde curtir. Rio de Janeiro : Jorge Zahar, 2003.
+DINIZ, André. Pixinguinha: o gênio e o tempo. Rio de Janeiro : Casa da Palavra, 2011.
+DUQUE. O maxixe em Paris e em Nova York in O Cruzeiro, 7 de julho de 1934.
+FERNANDES, Antonio Barroso (org.). As vozes desassombradas do museu: Pixinguinha, Donga  e João da Baiana. Rio de Janerio : Museu da Imagem e do Som, 1970, vol. 1.
+Folha de São Paulo, 15 de maio de 2010.
+Hemeroteca Digital da Biblioteca Nacional
+João do Rio, As Religiões no Rio. Livraria Garnier, 1906.
+Jota Efegê. Maxixe – A Dança Excomungada. Rio de Janeiro : Editora Conquista, 1974.
+LACERDA. Isomar. Nós somos Batutas. Rio de Janeiro : Flor Amorosa Editora, 2019.
+MALTA, Pedro Paulo. Pixinguinha e a música dos Estados Unidos, 28 de maio de 2021.
+MARCONDES, Marcos Antônio (org.). Enciclopédia da música brasileira: popular, erudita e folclórica. São Paulo : Art Editora, 1998.
+MARTINS, Luiza Mara Braga. Os Oito Batutas. Rio de Janeiro : UFRJ, 2014.
+MOTA, Maria Aparecida Rezende (org.). Série Depoimentos – Pixinguinha. Rio de Janeiro : UERJ, Departamento Cultural, 1997.
+MOURA, Roberto. Tia Ciata e a Pequena África no Rio de Janeiro. Rio de Janeiro : Funarte, 1983.
+NARLOCH, Leonardo. Guia politicamente incorreto da história do Brasil, 2ª edição. São Paulo : Editora Leya, 2011.
+NETO, Lira. Uma História do Samba: Volume 1 ( As origens). 1.ed. São Paulo: Companhia das Letras, 2017.
+PEREIRA, Beatriz da Silva Lopes. Sururu na cidade – Diálogos Interartes em Mário de Andrade e Pixinguinha. Jundiaí : Paço Editorial, 2016.
+Perfis parlamentares – Gilberto Amado / Câmara dos Deputados
+Portal FUNARTE
+Portal Fundação Biblioteca Nacional
+Portal Gallica
+Portal Pixinguinha – IMS
+RANGEL, Lúcio. Samba, jazz & outras notas; organização, apresentação e notas Sérgio Augusto. Rio de Janeiro ; Agir, 2007.
+RANGEL, Lúcio.  Sambistas e chorões. São Paulo : IMS. Reedição, 2014.
+Revista do Choro.
+REZENDE MOTA, Maria Aparecida (coord.) Pixinguinha, MIS, Série Depoimentos. Rio de Janeiro: UERJ, Departamento Cultural, 1997.
+SEIGEL, Micol. Uneven Encounters: Making Race and Nation in Brazil and the United States. Estados Unidos ; Duke University Press, 2009.
+SILVA, Marilia BARBOSA DA; OLIVEIRA FILHO, Arthur. Filho de Ogum Bexiguento. Rio de Janeiro: Gryphos, 1998.
+SIMAS, Luiz Antônio; LOPES, Nei. Dicionário de História Social do Samba. Rio de Janeiro : Civilização Brasileira, 2015.
+Site Casa da Tia Ciata
+Site Musica Brasiliensis -Crônicas bovinas
+Site Musica Brasilis
+Site O Obscuro Fichário dos Artistas Mundanos
+Site Orquestra Paulista
+TINHORÃO, José Ramos. Pequena história da música popular. São Paulo: Círculo do Livro, [s.d.]
+ULHOA, Marta Tupinambá de; AZEVEDO, Claudia; TROTTA, Felipe. Made in Brazil. Studies in Popular Music. New York : Routledge, 2015.
+ 
+Links para os artigos já publicados da Série 1922 – Hoje, há 100 anos
+Série 1922 – Hoje, há 100 anos II- A Semana de Arte Moderna, de autoria de Andrea C.T. Wanderley, publicado em 13 de fevereiro de 2022, na Brasiliana Fotográfica
+Série 1922 – Hoje, há 100 anos III – A eleição de Artur Bernardes e a derrota de Nilo Peçanha, de autoria de Andrea C.T. Wanderley, publicado em 1º de março de 2022, na Brasiliana Fotográfica
+Série 1922 – Hoje, há 100 anos IV – A primeira travessia aérea do Atlântico Sul, realizada pelos aeronautas portugueses Gago Coutinho e Sacadura Cabral, de autoria de Andrea C. T. Wanderley, publicada em 17 de junho de 2022, na Brasiliana Fotográfica
+Série 1922 – Hoje, há 100 anos V – A Revolta do Forte de Copacabana, de autoria de Andrea C. T. Wanderley, publicada em 5 de julho de 2022, na Brasiliana Fotográfica
+Série 1922 – Hoje, há 100 anos VI e série Feministas, graças a Deus XI – A fundação da Federação Brasileira para o Progresso Feminino, de autoria de Andrea C. T. Wanderley, publicado em 9 de agosto de 2022, na Brasiliana Fotográfica
+Série 1922 – Hoje, há 100 anos VII – A morte de Gastão de Orleáns, o conde d´Eu (Neuilly-sur-Seine, 28/04/1842 – Oceano Atlântico 28/08/1922), de autoria de Andrea C. T. Wanderley, publicado em 28 de agosto de 2022, na Brasiliana Fotográfica.
+Série 1922 – Hoje, há 100 anos VIII – A abertura da Exposição Internacional do Centenário da Independência do Brasil e o centenário da primeira grande transmissão pública de rádio no país, de autoria de Andrea C. T. Wanderley, publicado em 7 de setembro de 2022, na Brasiliana Fotográfica.
+Série 1922 – Hoje, há 100 anos IX – O centenário do Museu Histórico Nacional, de autoria de Maria Isabel Lenzi, historiadora do Musseu Histórico Nacional, publicado em 12 de outubro de 2022, na Brasiliana Fotográfica.
+Série 1922 – Hoje, há 100 anos X –  A morte do escritor Lima Barreto (1881 – 1922), de autoria de Andrea C. T. Wanderley, publicado em 1º denovembro de 2022, na Brasiliana Fotográfica.
+Série 1922 – Hoje, há 100 anos XI e série Feministas, graças a Deus XII – 1ª Conferência pelo Progresso Feminino e o “bom” feminismo, de autoria de Maria Elizabeth Brêa Monteiro, antropóloga do Arquivo Nacional, publicado em 19 de dezembro de 2022, na Brasiliana Fotográfica.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/8908` — `itens/20.500.12156.1_8908/`
+- `20.500.12156.1/8907` — `itens/20.500.12156.1_8907/`
+- `20.500.12156.1/8912` — `itens/20.500.12156.1_8912/`
+- `20.500.12156.1/10361` — `itens/20.500.12156.1_10361/`
+
diff --git a/wordpress/2257-o-comercio-no-seculo-xix-e-nas-primeiras-decadas-do-seculo-xx.md b/wordpress/2257-o-comercio-no-seculo-xix-e-nas-primeiras-decadas-do-seculo-xx.md
new file mode 100644
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--- /dev/null
+++ b/wordpress/2257-o-comercio-no-seculo-xix-e-nas-primeiras-decadas-do-seculo-xx.md
@@ -0,0 +1,29 @@
+---
+id: 2257
+url: "https://brasilianafotografica.bn.gov.br/?p=2257"
+titulo: "O comércio no século XIX e nas primeiras décadas do século XX"
+autor: "Andrea Wanderley"
+data: "2015-08-28T11:51:04+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/2919"]
+fetched_at: "2026-09-10T10:06:54.612Z"
+---
+
+# O comércio no século XIX e nas primeiras décadas do século XX
+
+Ateliers D. A. Longuet Imp. Phot.. Rio de Janeiro: a Torre Eiffel: [interior da loja visto de cima], c. 1900. Rio de Janeiro, RJ / Acervo FBNA Brasiliana Fotográfica convida seus leitores para um passeio pelo comércio, em algumas cidades brasileiras, na segunda metade do século XIX e nas primeiras décadas do século XX. São ruas e lojas em Belém, Manaus, Pirapora, Recife, Rio de Janeiro, Salvador e São Paulo. Embora todas estas cidades tenham sofrido mudanças radicais, ainda estão de pé alguns dos estabelecimentos aqui retratados. E quanto aos demais… recordar é viver! O mais antigo registro fotográfico da galeria data de 1870 e o mais recente, de 1929.
+Entre os fotógrafos, estão os renomados Augusto Malta (1864 – 1957), Georges Huebner, Guilherme Gaensly (1843 – 1928) ,Marc Ferrez (1843 – 1923), Militão Augusto de Azevedo (1837 – 1905), Moritz Lamberg e Vicenzo Pastore (1865 – 1918). Mas há, também, imagens produzidas por fotógrafos que ainda não figuram nas páginas da história da fotografia no Brasil.
+As fotografias paulistanas de Frédéric Manuel (1868-1961) foram realizadas em 1906 para Menotti Levi, editor do Guia Levi, “utilíssimo vade-mécum para viajantes”, publicado em São Paulo. Já a Pharmacia Castro, de Pirapora, em Minas Gerais, foi documentada, em 1927, por Reginald Gorham, representante da S. S. White no Brasil – empresa atuante na intermediação e promoção de vendas no campo odontológico – além de membro ativo do Rotary Club, entre outras atividades. Em suas viagens pelo Brasil, documentou muitas localidades do país e todas estas imagens já integram o portal Brasiliana Fotográfica.
+Há, ainda, algumas fotografias cujos autores não foram identificados. As colaborações são bem-vindas.
+ 
+Acessando o link para as fotografias de estabelecimentos comerciais disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Andrea C. T. Wanderley
+Editora-assistente e pesquisadora do portal Brasiliana Fotográfica
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/2919` — `itens/20.500.12156.1_2919/`
+
diff --git a/wordpress/22708-serie-feministas-gracas-a-deus-vii-almerinda-farias-gama-1899-1999-uma-das-pione.md b/wordpress/22708-serie-feministas-gracas-a-deus-vii-almerinda-farias-gama-1899-1999-uma-das-pione.md
new file mode 100644
index 0000000..7b64d35
--- /dev/null
+++ b/wordpress/22708-serie-feministas-gracas-a-deus-vii-almerinda-farias-gama-1899-1999-uma-das-pione.md
@@ -0,0 +1,319 @@
+---
+id: 22708
+url: "https://brasilianafotografica.bn.gov.br/?p=22708"
+titulo: "Série “Feministas, graças a Deus” VII – Almerinda Farias Gama (1899 – 1999), uma das pioneiras do feminismo no Brasil"
+autor: "Andrea Wanderley"
+data: "2021-02-23T16:50:34+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/5028"]
+fetched_at: "2026-09-10T10:06:57.834Z"
+---
+
+# Série “Feministas, graças a Deus” VII – Almerinda Farias Gama (1899 – 1999), uma das pioneiras do feminismo no Brasil
+
+A advogada e sindicalista alagoana Almerinda Farias Gama (1899 – 1999) foi uma das primeiras mulheres negras a atuar na política brasileira numa época em que tanto o machismo como o racismo eram ainda mais presentes na sociedade brasileira do que são hoje. Nasceu em Maceió, em 16 de maio de 1899, passou parte da infância no Pará, onde escreveu para o jornal A Província, e formou-se em datilografia. Foi para o Rio de Janeiro, em fevereiro de 1929, quando descobriu que o salário de datilógrafas mulheres eram bem menores do que o dos homens.
+
+ 
+Almerinda é a primeira sentada da equerda para a direita. Excursão das participantes do II Congresso Internacional Feminista ao Recreio dos Bandeirantes no Rio de Janeiro, junho de 1931. Rio de Janeiro, RJ / Acervo Arquivo Nacional
+ 
+“A inteligência não tem sexo”
+ 
+Assim que chegou à cidade, filiou-se à Federação Brasileira pelo Progresso da Mulher (FBPM), presidido por Bertha Lutz (1894 – 1976), e iniciou sua luta pela emancipação da mulher, especialmente pelo voto feminino, que para ela uma arma que nós tínhamos para poder ingressar no recinto onde se discutia esses assuntos. Tornou-se uma das pioneiras na história do feminismo brasileiro. Leitora assídua, inspirou-se em grandes mulheres do passado para sua luta pelos direitos femininos.
+ 
+
+Almerinda Farias Gama (detalhe da foto anterior), 1931 / Acervo Arquivo Nacional
+ 
+Foi de Bertha a ideia de criar, em 1931, o Sindicato dos Datilógrafas e Taquígrafas, reconhecido em 1933, associação da qual Almerinda tornou-se a primeira presidente. Em junho de 1931, Almerinda participou do II Congresso Internacional Feminista, no Automóvel Club, no Rio de Janeiro, organizado pela FBPM.
+ 
+
+“Eu sempre, por instinto, me revoltei contra a desigualdade de direitos entre homem e mulher”
+ 
+Em 20 de julho de 1933, indicada pelo Sindicato das Datilógrafas e Taquígrafas, como delegada sindical, votou na escolha da bancada classista para a Assembleia Nacional Constituinte de 1934, tendo sido a única representante feminina presente. Compareceu com uma máquina de escrever com a qual, durante a votação, confecciou numerosas chapas para os colegas que as solicitavam. Ainda em 1933, um manifesto de autoria de Bertha Lutz assinado por ela, por Carmen Portinho (1903 – 2001), pela tradutora Lina Hirsh (? – ?) e pela advogada Maria Luisa Dória de Bittencourt (1910 – 2001) foi apresentado à seção de Legislação da Conferência Nacional de Proteção à Infância. Estava à frente do movimento de renovação cívica Ala Moça do Brasil, uma associação de cunho social e político, instalado em 28 de novembro de 1933, na sede da Ordem Mystica do Pensamento. Na época era bacharelanda de Direito.
+Em 18 de fevereiro de 1934, foi inaugurado o Ginásio Almerinda Gama, educandário dirigido por Laurentino Garrido, na rua Maria Emília, nº 50, em São João do Meriti. Foi batizado em homenagem à Almerinda, responsável por uma infatigável agitação das causas do ensino. Ainda em 1934, foi uma das feministas que enviou à Assembleia Nacional o pedido de voto para artigos da futura Constituição que contemplavam os direitos da mulher.
+Foi uma das dirigentes do Partido Socialista Proletário do Brasil, fundado em agosto de 1934 e candidata à deputada pela legenda Decreto ao Direito ao Trabalho (Congresso Master) nas eleições para a Câmara de Deputados e para o Senado, realizadas em outubro do mesmo ano, mas não foi eleita.
+No panfleto de Almerinda, lia-se:
+“Advogada consciente dos direitos das classes trabalhadoras, jornalista combativa e feminista de ação. Lutando pela independência econômica da mulher, pela garantia legal do trabalhador e pelo ensino obrigatório e gratuito de todos os brasileiros em todos os graus“.
+ 
+
+ 
+Era também poetisa e participava de saraus no Studio Eros Volusia, boite da rua São José, onde tantas figuras do nosso meio artístico têm recebido os aplausos da elite carioca. Também se apresentou como atriz. Foi professora e tradutora de francês, inglês e espanhol. Publicou, em 1942, o livro de poesias Zumbi, no qual também foi a responsável pelas ilustrações. Em 1943, foi efetivada  como escrevente juramentada do 9º Ofício de Notas, onde trabalhou até 1967. Era a tesoureira da diretoria do Curso Popular Chiquinha Gonzaga, em 1947. Em 1956, trabalhava no jornal O Dia e foi uma das dirigentes dos trabalhos realizados na instalação da Comissão de apoio à Conferência de Mulheres Trabalhadoras, na Associação Brasileira de Imprensa. Em 1992, gravou uma pequena entrevista para a organização feminista ComMulher.
+Sua data de morte era até pouco tempo desconhecida e foi revelada pela pesquisa realizada por Patrícia Cibele Tenório para a elaboração de sua dissertação de Mestrado em História, no Programa de Pós-Graduação em História, da Universidade de Brasília, A trajetória de vida de Almerinda Farias Gama (1899-1999) – feminismo, sindicalismo e identidade política (2020): Almerinda faleceu em 31 de março de 1999, em São Paulo.
+Em 2024, a jornalista Cibele Tenório, da Universidade de Brasília, encontrou nos arquivos da Escola Nacional de Música da Universidade Federal do Rio de Janeiro partituras inéditas de autoria de Almerinda, compositora de gêneros como o baião, o samba e a valsa.
+ 
+Cronologia de Almerinda Farias Gama (1899 – 1999)
+ 
+Diário da Noite, 22 de junho de 1931
+ 
+1899 – Almerinda Farias Gama nasceu em Maceió, em Alagoas, em 16 de maio de 1899, filha de José Antônio Gama (18? – 1907), dono de casas proletárias, e de Eulália da Rocha Gama (18? – 19?), dona de casa. Eles se casaram em 1896. Sua mãe foi professora e seu pais vivia do aluguel de casas populares. Almerinda tinha um irmão, o jornalista José da Silva Gama (1891 – 1941) e uma irmã, mais velha do que ela, cerca de dois anos.
+1907 – Seu pai faleceu, em 14 de maio e, aos oito anos, Almerinda foi morar com uma tia no Pará porque sua mãe não tinha condições financeiras para criá-la. Ficou nove anos sem frequentar nenhuma escola, período em que sua tia a ensinou prendas domésticas, como corte e costura, e também música (O Gutenberg de 22 de maio de 1907).
+ 
+Almerinda com 8 anos
+ 
+
+1919 – Seu conto O Milagre de Natal foi premiado com o terceiro lugar no concurso Um Conto de Natal, do jornal Estado do Pará ( Estado do Pará, 25 de dezembro de 1919, penúltima coluna).
+c. 1920 – Quando pode receber a herança de seu pai, voltou a estudar, mas já no segundo ano do curso de datilografia custeava seus estudos como monitora. Frequentou a Escola Prática de Comércio, em Belém, e tornou-se datilógrafa profissional (Estado do Pará, 11 de junho de 1920, quarta coluna). Escrevia crônicas para o jornal A Província (PA). 
+1921 – Na Escola Prática de Comércio foi premiada por sua aplicação nos estudos. Já trabalhava como monitora, o que permitia que pagasse por seus estudos (Estado do Pará, 7 de março de 1921, quinta coluna).
+
+1923 – Casou-se, em março, com um primo, o poeta e escritor Benigno Farias Gama (1897 – 1925), que contribuía para vários periódicos paraenses, autor dos livros Epopeia acreana e Águas e selvas, dentre outros. Com ele teve um filho, que faleceu de doença não identificada, entre esse ano e 1925. Em 1921, ele era professor na Escola 7 de Setembro, em Xapuri, no Acre.
+ 
+Benigno Farias Gama (1897 – 1925)
+ 
+
+1925 – Benigno morreu, em 1925, de tuberculose (O Paiz, 20 de dezembro de 1925, quinta coluna).
+1929 - Quando descobriu que o salário de datilógrafas mulheres era um terço do que o pago aos homens, mudou-se, em fevereiro, para o Rio de Janeiro.
+
+1930 – Iniciou seu ativismo feminista, filiando-se à Federação Brasileira pelo Progresso da Mulher (FBPM), presidido pela bióloga Bertha Lutz (1894 – 1976). Integrou a comissão organizadora de uma homenagem da associação ao governador do Rio Grande do Norte, Juvenal Lamartine de Faria (1874 – 1956) (A Gazeta, 2 de julho de 1930, quarta coluna).
+Recitou poesias na inauguração do Centro de Sócias da FBPM (O Paiz, 17 de setembro de 1930, penúltima coluna).
+Publicação da Carta aberta ao senhor Humberto de Campos, de sua autoria, onde questionava o voto contrário do escritor e político ao ingresso das mulheres na Academia Brasileira de Letras (O Jornal, 6 de março de 1930, primeira coluna).
+Inaugurou a sessão Perspectivas dentro  da coluna “Para a mulher no lar”, dirigida por Sylvia Serafim (1902 – 1936), em O Jornal.  Em sua crônica inaugural, Almerinda escreveu sobre o caso de uma esposa que depois de seis meses de casamento, por não aguentar os maus tratos do marido, havia se incendiado (O Jornal, 4 de maio de 1930, terceira coluna). Sylvia havia assassinado o jornalista Roberto Rodrigues (1906 – 1929), na redação do jornal a Crítica, em 26 de dezembro de 1929. Foi armada ao jornal, atrás do editor Mário Rodrigues ( 1885 – 1930), que não estava na redação e acabou atirando em Roberto, filho do editor. O futuro escritor Nelson Rodrigues (1912 – 1980), irmão da vítima, então com 17 anos, testemunhou o assassinato, fato que influenciou fortemente sua obra literária. O julgamento de Sylvia, em 22 de agosto de 1930, presidido pelo juiz Margarino Torres (1892 – 1942), foi o primeiro no país a ser transmitido ao vivo pelo rádio. O promotor foi Max Gomes de Paiva  (18? – 19?) e o advogado de defesa, Clóvis Dunshee de Abranches (18? – 19?), de quem Almerinda viria a ser secretária. A ré foi absolvida por 5 votos a 2. Anos depois, em 27 de abril de 1936, Sylvia, que era filha de Augusto Serafim de Souza (18? – 1929), auxiliar de Oswaldo Cruz (1872 – 1917), se suicidou
+Publicação de seu poema, A Nossa História (O Jornal, 22 de junho de 1930).
+ 
+O Jornal, 22 de junho de 1930
+ 
+Em suas crônicas na seção Perspectivas, de O Jornal, comentou um caso de incesto seguido de infanticício, do suicídio de uma mulher, a não candidatura de Maria de Lourdes Lamartine à Câmara, dentre outros assuntos (O Jornal, 13 de julho de 1930, terceira coluna; O Jornal, 20 de julho de 1930, terceira coluna; O Jornal, 3 de agosto de 1930, terceira  coluna; O Jornal, 12 de outubro de 1930, terceira coluna; O Jornal, 19 de outubro de 1930, terceira coluna; O Jornal, 2 de novembro de 1930, terceira coluna; O Jornal, 26 de abril de 1931, terceira coluna).
+Publicação de um pequeno perfil de Almerinda (O Jornal, 21 de dezembro de 1930).
+Publicação de uma pequena crônica de sua autoria, Films do écran e da plateia (A Esquerda, 6 de dezembro de 1930, segunda coluna). No mesmo jornal, publicou o artigo Cultura Feminina, no qual critica a falta de estímulo, no Brasil, para a publicação de livros escritos por mulheres; e também a posição da Academia Brasileira de Letras que, alegando tradição, não aceitava mulheres (A Esquerda, 13 de dezembro de 1930, penúltima coluna).
+Acompanhou a escritora Sylvia Serafim (1902 – 1936) em uma viagem à Belo Horizonte (A Esquerda, 18 de dezembro de 1930, quarta coluna).
+Foi publicado na edição de dezembro da Revista A.E.C, da Associação dos Empregados do Comércio, um artigo de sua autoria, A doutrina de Malthus (Correio da Manhã, 27 de dezembro de 1930, segunda coluna).
+1931 – Por ideia de Bertha Lutz (1894 – 1976), criação do Sindicato dos Datilógrafas e Taquígrafas, do qual Almerinda foi a primeira presidente.
+ 
+Correio Braziliense, 19 de outubro de 2020/ Acervo FGV CPDOC
+ 
+Trabalhava como auxiliar no 9º Ofício de Notas, na rua do Rosário (Almanak Laemmert, 1931).
+Publicou o artigo Cartas sem endereço (O Jornal, 11 de janeiro de 1931, terceira coluna).
+Ela e Sylvia Serafim (1902 – 1936) foram entrevistadas pelo jornal A Batalha. Em pauta, a concessão de direitos políticos da mulher (A Batalha, 13 de março de 1931, primeira coluna).
+Suas observações acerca da moda foram citadas no artigo No império da moda (O Jornal, 29 de março de 1931, primeira coluna).
+Publicação de seu poema Da tristeza que mora nos meus olhos (O Jornal, 12 de abril  de 1931; A Batalha, 19 de abril de 1931).
+ 
+A Batalha, 19 de abril de 1931
+ 
+Foi uma das filiadas da Federação Brasileira pelo Progresso Feminino que encantaram com belos números de arte as participantes da celebração do Dia do Trabalho, organizado pela associação (A Noite, 4 de maio de 1931, primeira coluna).
+Publicação de seus poemas Moderna afronta e Felicidade (O Jornal, 17 de maio de 1931, penúltima coluna; O Jornal, 31 de maio de 1931, prenúltima coluna).
+Participou do II Congresso Internacional Feminista, instalado em 20 de junho, no Automóvel Club, no Rio de Janeiro, organizado pela FBPM (O Jornal, 19 de junho de 1931, primeira coluna; Correio da Manhã, 24 de junho de 1931, primeira coluna; O Malho, 27 de junho de 1931; O Malho, 11 de julho de 1931; Vida Doméstica, agosto de 1931). Com um grupo de senhoras que participavam do encontro, foi visitar a Usina de Ribeirão das Lajes, a convite da Rio de Janeiro Light & Power. Depois, visitaram a Maternidade Suburbana, em Cascadura (Jornal do Commercio, 30 de junho de 1931, última coluna). Na plenária sobre Educação, realizada no dia 27 de junho, Bertha Lutz presidiu a mesa, Maria Eugênia Celso Carneiro de Mendonça (1886 – 1963) foi a vice-presidente, Orminda Bastos (1899 – 1971) foi a consultora parlamentar e Almerinda secretariou a sessão.
+ 
+Almerinda secretariando o II Congresso Internacional Feminista
+ 
+Publicação do conto Tatuagem, de sua autoria (O Jornal, 6 de setembro, segunda coluna; Revista da Semana, 12 de setembro de 1931).
+Cartões ilustrados com versos de sua autoria e de outros nomes em evidência nos meios literários foram distribuídos como propaganda da Suipa, Sociedade União Infantil Protetora dos Animais. Na reunião organizadora dessa associação, realizada na Federação Brasileira pelo Progresso da Mulher, Almerinda foi eleita secretária da diretoria provisória (A Esquerda, 7 de setembro de 1931, quinta coluna).
+Trabalhava como secretária no escritório do advogado Clóvis Dunshee de Abranches  (18? – 19?)(Jornal do Brasil, 16 de setembro de 1931, quarta coluna).
+Foi a responsável pela leitura na Rádio Sociedade nos cinco minutos feministas de um texto de autoria de Maria Eugênia Celso Carneiro de Mendonça, vice-presidente da Federação Brasileira pelo Progresso Feminino (Diário de Notícias, 23 de setembro de 1931, terceira coluna).
+Foi eleita assessora de imprensa da União Infantil Protetora dos Animais (Diário de Notícias, 23 de setembro de 1931, última coluna).
+Publicação do artigo de sua autoria, Perspectivas, sobre a Semana Antialcoólica. Para fortalecer seu argumento que a educação social seria o caminho para o sucesso da campanha, reproduziu no artigo as palavras do dr. Oscar de Carvalho (18? – 19?), clínico alagoano que havia proferido palestra na Sociedade de Medicina de Alagoas, alguns meses antes (O Jornal, 25 de outubro de 1931, terceira coluna).
+“Dentro do último Congresso Internacional Feminista, reunido no Rio de Janeiro, representou brilhantemente o nosso Estado a sra. Almerinda Farias Gama, cuja inteligência e erudição já, de há muito tempo, se vem destacando, quer no Pará, pela palavra e pela pena, quer na Capital do país, onde o seu nome é largamente conhecido. Essa nossa ilustre coestaduana, bem poderá interessar o movimento feminista, neste particular, atendendo ao apelo que, estamos certos, a Sociedade de Medicina de Alagoas se não furtará de fazer-lhe. E assim teremos a mulher brasileira interessada, intimamente, no movimento antialcoólico nacional”.
+1932 - O Decreto nº 21.076, de 24 de fevereiro de 1932, instituiu o Código Eleitoral Provisório e reconheceu o direito de voto às mulheres.
+
+Por iniciativa do Congresso Feminino de 1931 foi criada uma data para a comemoração do Dia das Mães. O Decreto nº 21.366, de 5 de maio de 1932, assinado pelo presidente Getulio Vargas (1884 – 1954), consagrou o segundo domingo de maio para a celebração anual da data no Brasil. No primeiro ano de sua comemoração, Almerinda escreveu um artigo sobre a importância da efeméride (Diário de Notícias, 24 de abril de 1932, penúltima coluna).
+Publicação do poema de sua autoria Meu amor é a incarnação do vento (Diário de Notícias, 21 de agosto de 1932).
+ 
+Diário de Notícias, 21 de agosto de 1932
+ 
+Ela, Alice Coimbra (? -19?) e Sylvia Patrício (? -19?) formavam a comissão nomeada pela Federação Brasileira pelo Progresso da Mulher para atender à solicitação do Centro Cândido de Oliveira no sentido de combater o sensacionalismo na repressão ao crime (Correio da Manhã, 23 de setembro de 1932, última coluna).
+Almerinda esteve na redação do jornal A Batalha para falar sobre a conquista do voto da mulher e sobre o alistamento eleitoral feminino (A Batalha, 24 de setembro de 1932, penúltima coluna).
+Publicação do artigo Divórcio: um bem ou um mal?, de sua autoria (Diário de Notícias, 30 de novembro de 1932, penúltima coluna).
+Foi publicado o artigo Lendas Amazonenses – A Gênese das Frutas, de sua autoria (Diário de Notícias, 4 de dezembro de 1932, penúltima coluna).
+Publicação de seu artigo Feminismo e Serviço Militar (Diário de Notícias, 9 de dezembro de 1932, penúltima coluna).
+Escreveu um artigo sobre Eros Volúsia (1914 – 2004), filha dos poetas Rodolfo de Melo Machado (1884 – 1923) e Gilka Machado (1893 – 1980), uma dançarina arrojada, que se notabilizou por suas coreografias inspiradas na cultura brasileira (Diário de Notícias, 11 de dezembro de 1932, primeira coluna).
+ 
+A dançarina Eros Volúsia (1914 – 20024 / A Cigarra, fevereiro de 1945
+ 
+1933 - Almerinda tirou seu título de eleitor. A data de inscrição do documento no cartório foi 17 de fevereiro de 1933 e seu domicílio eleitoral era Sacramento.
+ 
+
+ 
+Publicação de seu poema Meu Carnaval (Diário de Notícias, 5 de março de 1933, penúltima coluna).
+Publicação do poema Ele falou, de sua autoria (Diário de Notícias, 19 de março de 1933, penúltima coluna).
+Participou, como secretária, da Convenção Nacional de Eleitoras, realizado na sede da Federação Brasileira pelo Progresso da Mulher, quando foi lançada pela educadora Alba Canizares (1893 – 1944) a candidatura de Bertha Lutz (1894 – 1976) à Constituinte.
+ 
+Alba Canizares / O Malho, 31 de dezembro de 1936
+ 
+Diversas feministas estavam presente no evento, dentre elas a engenheira e urbanista Carmen Portinho (1903 – 2001), Orminda Ribeiro Bastos (1899-1971), Maria Luisa Dória Bittencourt (1910 – 2001), Maria Sabina de Albuquerque (1898 – 1991), filha do cientista João Pedro de Albuquerque (1874 – 1934) ; e Maria Eugênia Celso Carneiro de Mendonça (Diário de Notícias, 4 de abril de 1933, primeira coluna; O Dia (PR), 4 de abril de 1933, primeira coluna; Jornal do Commercio, 5 de abril de 1933, segunda coluna; Diário de Notícias, 5 de abril de 1933).
+ 
+Almerinda Gama, Bertha Lutz e Maria Sabina de Albuquerque / Diário de Notícias, 5 de abril de 1933
+ 
+Uma resolução aprovada neste encontro aconselhava o eleitorado feminino a, quando não pudessem votar em candidatas idôneas, identificadas com as justas reivindicações da mulher, que votasse nos candidatos masculinos e partidos que pela ação demonstraram serem feministas genuínos. A proposta havia sido feita por Almerinda (Jornal do Brasil, 8 de abril de 1933, última coluna).
+Publicação de uma poesia de Almerinda em homenagem à poetisa Gilka Machado (1893 – 1980) (O Malho, 15 de abril de 1933).
+ 
+Gilka Machado / O Malho, 26 de novembro de 1936
+ 
+O Malho (RJ), 15 de abril de 1933
+ 
+Participou como atriz da peça inédita Rumo à Turquia, de Jorge Murad (1910 – 1998), apresentada no Studio Eros Volusia, boite da rua São José, onde tantas figuras do nosso meio artístico têm recebido os aplausos da elite carioca (A Noite, 20 de abril de 1933, terceira coluna).
+ 
+A Noite, 20 de abril de 1933
+ 
+Participou de mais uma tarde de arte do Studio Eros Volúsia e seu melhor número foi a apresentação da lenda amazonense do boto (Diário de Notícias, 30 de abril de 1933, primeira coluna). Meses depois, Almerinda voltou a se apresentar no Studio Eros Volusia, recitando as poesias de sua autoria O inverno chegou e O que eu pediria ao amor (Correio de Manhã, 12 de julho de 1933, primeira coluna).
+Publicação de seu poema, Viandante que passas…, ilustrado por Odelli Castello Branco(Diário de Notícias, 21 de maio de 1933).
+Reconhecimento pelo Ministério do Trabalho do Sindicato de Datilógrafas e Taquígrafas, do qual Almerinda era presidente (O Radical, 3 de junho de 1933, primeira coluna).
+Em 20 de julho de 1933, indicada pelo Sindicato das Datilógrafas e Taquígrafas, como delegada sindical, votou na escolha da bancada classista para a Assembleia Nacional Constituinte de 1934. A outra representante feminina seria Euphrosina Messena, do Sindicato dos Magarefes (açougueiros) de Sergipe, que não compareceu por problemas de saúde.
+ 
+Almerinda Farias Gama votando para a escolha dos representantes classistas para a Assembleia Nacional Constituinte
+ 
+Compareceu com uma máquina de escrever com a qual, durante a votação, confeccionou numerosas chapas para os colegas que as solicitavam (A Nação, 21 de julho de 1933, segunda coluna; O Radical, 21 de julho de 1933, última coluna; Jornal do Commercio, 21 de julho de 1933, primeira coluna; A Batalha, 21 de julho de 1933, primeira coluna).
+ 
+Almerinda Farias Gama, em 1933, na eleição de representantes classistas para a Assembleia Nacional Constituinte
+ 
+Almerinda Gama também foi votada. Estava relacionada na chapa intitulada Oposição como a última suplente. A chapa foi derrotada.
+ 
+Almerinda está no centro da foto / Diário da Noite, 22 de julho de 1933
+ 
+Publicação da poesia Fogueira, de sua autoria (O Malho (RJ), 3 de agosto de 1933).
+ 
+O Malho (RJ), 3 de agosto de 1933
+ 
+Pronunciou-se, em reunião presidida por ela na Federação Brasileira pelo Progresso da Mulher, sobre a situação das garçonetes, devido à execução do decreto 24.417, de 17 de maio de 1932, proibindo o trabalho de mulheres em estabelecimentos públicos após as 22h (A Noite, 19 de agosto de 1933, penúltima coluna).
+ 
+A Noite, 19 de agosto de 1933
+ 
+Um manifesto de autoria de Bertha Lutz (1894 – 1976) e assinado por ela, por Carmen Portinho (1903 – 2001), pela tradutora Lina Hirsh e pela advogada Maria Luisa Dória de Bittencourt (1910 – 2001), que em 1935 tornou-se a primeira deputada estadual da Bahia; foi apresentado à seção de Legislação da Conferência Nacional de Proteção à Infância. Almerinda, em nome da Federação e da União Universitária Feminina defendeu a proposta que pleiteava o reestabelecimento do curso de obstetrícia, com estudos teóricos e práticos, em todas as Faculdades de Medicina do país (Jornal do Brasil, 23 de setembro de 1933, penúltima coluna; Correio da Manhã, 23 de setembro de 1933, quinta coluna).
+Publicação de seu poema Cântico de Yara, ilustrado por Odelli (Correio de Manhã, 24 de setembro de 1933, primeira coluna).
+Foi uma das oradoras na celebração do primeiro ano de fundação do partido político Centro Cívico 4 de Novembro, no Sindicato dos Proprietários de Padarias. O partido havia sido fundado em 11 de novembro de 1932 (O Radical, 7 de novembro de 1933, penúltima coluna).
+Estava à frente do movimento de renovação cívica Ala Moça do Brasil, uma associação de cunho social e político, instalado em 28 de novembro de 1933, na sede da Ordem Mystica do Pensamento, na avenida Suburbana, nº 2.618. Na época era bacharelanda de Direito. Foi eleita presidente. A diretoria eleita e empossada foi a seguinte: vice-presidente, Erothilde Ferreira; secretaria geral, Lycia Sobral; 1º secretário, Luiz Mello; 2º secretário, Mariana Ferreira da Silva; 1ª tesoureira, Georgina Coutinho; 2ª tesoureira, Olga Silva; 1º procurador, dr. Theodomiro José de Lima; 2º procurador, Juracy Cardoso (Diário da Noite, 24 de novembro de 1933, segunda coluna; Jornal do Brasil, 24 de novembro de 1933, quinta coluna; A Batalha, 30 de novembro de 1933, segunda coluna).
+ 
+Diário da Noite, 24 de novembro de 1933, segunda coluna
+ 
+Era a encarregada, no Brasil, de prestar informações sobre o concurso que a Nero History Society promovia para estudantes matriculados em universidades, escolas secundárias e de ensino superior da América do Sul, América Central, México, Antilhas e ilhas adjacentes ao continente sul-americano (Jornal do Brasil, 29 de dezembro de 1933, última coluna).
+1934 – Como presidente da Ala Moças do Brasil participou de uma reunião da sede do jornal O Proletário, em São João do Meriti, para a discussão de providências em relação à educação e à saúde da classe de trabalhadores  do referido bairro. Almerinda providenciaria junto ao interventor do Estado do Rio, o comandante Ari Parreiras (1890 – 1945), a abertura de dois postos de socorro para o atendimento de trabalhadores em São João do Meriti, José Bulhões e Xerém. Também pediria que o Ginásio Almerinda Gama fosse aberto no dia 21 de janeiro. Lá funcionaria um educandário para crianças pobres de ambos os sexos, dirigido por Laurentino Garrido. Antônio Hermont havia cedido um barracão na rua Maria Emília, nº 50, em São João do Meriti, para sediá-lo (O Paiz, 3 de janeiro de 1934, última coluna). A inauguração do ginásio aconteceu em 18 de fevereiro, foi batizado em homenagem à Almerinda, responsável por uma infatigável agitação das causas do ensino (A Batalha, 17 de fevereiro de 1934, segunda coluna; Jornal do Brasil, 17 de fevvereiro de 1934, terceira coluna; Correio da Manhã, 17 de fevereiro de 1934, segunda coluna).
+Participou da recepção oferecida pela Federação Brasileira pelo Progresso Feminino à jornalista norte-americana Marjorie Schuler (O Paiz, 17 de janeiro de 1934, terceira coluna).
+Foi uma das feministas que enviou à Assembleia Nacional o pedido de voto para artigos da futura Constituição que contemplavam os direitos da mulher (Jornal do Brasil, 23 de março de 1934, penúltima coluna).
+Publicação do artigo Casamentos para todos os gostos, de sua autoria (A Batalha, 10 de junho de 1934, primeira coluna).
+Participou da homenagem prestada pela Federação Brasileira pelo Progresso da Mulher ao poeta paraibano Antônio Joaquim Pereira da Silva (1876 – 1944) admitido na Academia Brasileira de Letras (Jornal do Commercio, 23 de junho de 1934, terceira coluna).
+Falando em nome do Sindicato das Datilógrafas e Taquígrafas e de outros sindicatos de trabalhadores do Rio de Janeiro, Almerinda fez um discurso, muito aplaudido, durante a inauguração da sede do Sindicato dos Vendedores Lotéricos, no Beco das Cancelas, nº 8. O interventor do Distrito Federal, Pedro Ernesto (1884 – 1942), estava presente na solenidade (O Paiz, 5 de julho de 1934, quinta coluna).
+Dentre outras, ela, Bertha Lutz (1894 – 1976) e Carmen Portinho (1903 – 2001) foram referidas como pioneiras do feminismo no Brasil (Walkyrias, agosto de 1934).
+Foi uma das dirigentes do Partido Socialista Proletário do Brasil, fundado em agosto de 1934 até 1937, quando foi instaurado o Estado Novo (Diário da Noite, 4 de agosto de 1934, segunda coluna).
+ 
+Diário de Notícias, 5 de agosto de 1934
+ 
+Já formada em Direito, foi candidata à deputada federal pela legenda Decreto ao Direito ao Trabalho (Congresso Master) nas eleições para a Câmara de Deputados e para o Senado, realizadas em 14 de outubro de 1934. Por esse motivo foi afastada do Partido Socialista Proletariado do Brasil (Diário de Notícias, 22 de setembro de 1934, terceira coluna).
+A outra mulher que também concorreu pelo partido foi Guilly (Jornal do Brasil, 27 de setembro de 1934, quinta coluna; Jornal do Brasil, 5 de outubro de 1934, terceira coluna; Jornal do Brasil, 9 de outubro de 1934, quarta coluna). Não foram eleitas.
+No panfleto de Almerinda, lia-se:
+“Advogada consciente dos direitos das classes trabalhadoras, jornalista combativa e feminista de ação. Lutando pela independência econômica da mulher, pela garantia legal do trabalhador e pelo ensino obrigatório e gratuito de todos os brasileiros em todos os graus“.
+ 
+
+ 
+Pouco antes das eleições, foi publicada uma carta de Almerinda Farias Gama,  respondendo à divulgação do Partido Socialista Proletário do Brasil, que informou que ela havia sido excluída de suas fileiras por ter se tornado propagandista do partido imperialista Master Sistema (Jornal do Brasil, 27 de setembro de 1934).
+1935 – Passou a viver com um engenheiro com quem teve um filho, mas ambos faleceram antes dela.
+1936 – Publicação de seus poemas Passeio de Automóvel e Aspiração (A Gazeta (SC), 25 de setembro de 1936; A Gazeta (SC), 26 de setembro de 1936).
+ 
+A Gazeta (SC), 25 de setembro de 1936
+ 
+A Gazeta (SC), 26 de setembro de 1936
+ 
+1937 – Identificada como conhecedora de altos ensinos esotéricos, Almerinda proferiu a palestra Viver para si, na Tattwa Fraternidade Exotérica (A Nação, 21 de fevereiro de 1937, quinta coluna).
+Participou e foi uma das oradoras de uma festa em homenagem a Catulo da Paixão Cearense (1863 – 1946), na casa do compositor, em Engenho de Dentro (Gazeta de Notícias, 25 de agosto de 1937, segunda coluna).
+Foi identificada como uma das nossas poetisas humoristas mais interessantes. Um de seus textos, Corrida da bicicleta, foi lido pelo poeta Renato Lacerda, no programa radiofônico Hora do Guri, na Rádio Tupi (Gazeta de Notícias, 29 de agosto de 1937, primeira coluna)
+1938 – Escreveu as crônicas  Raça, Eu e o meu Brasil e Mamãe (A Notícia (SC), 1º de maio de 1938, penúltima coluna; A Notícia, 3 de maio de 1938, terceira coluna; A Notícia (SC), 22 de junho de 1938, penúltima coluna).
+1939 – Era professora em um estabelecimento de ensino particular e também do Departamento de Educação da Prefeitura do Rio de Janeiro (Jornal do Brasil, 8 de agosto de 1939, terceira coluna).
+1941 – Foi publicado um anúncio em que Almerinda oferecia seus serviços de datilógrafa, de redatora e de tradutora de francês, inglês e espanhol (Jornal do Brasil, 23 de junho de 1940, sétima coluna; Jornal do Brasil, 5 de janeiro de 1941, sexta coluna).
+Ela e S. Moura ofereciam cursos de datilografia e caligrafia individual ou coletivo, na Escola Prática de Comércio Avalfred, de dia e à noite (Jornal do Brasil, 12 de janeiro de 1941, sexta coluna).
+Almerinda anunciou realizar cópias a máquina em qualquer língua (Jornal do Brasil, 13 de abril de 1941, sétima coluna). No ano seguinte, voltou a anunciar seus serviços (Jornal do Brasil, 7 de junho de 1942, quarta coluna).
+Enviou um telegrama felicitando o presidente da República, Getulio Vargas (1884 – 1954), pela promulgação da lei de proteção à família (Jornal do Commercio, 7 de maio de 1941, primeira coluna).
+Falecimento de seu irmão, José da Silva Gama (c. 1891 – 1941) (Diário da Noite, 11 de setembro de 1941, última coluna).
+1942 – Publicação do artigo de sua autoria, Não quero ser doutor (Jornal das Moças, 6 de agosto de 1942).
+Publicou, em 1942, o livro de poesias Zumbi. Foi também a responsável pelas ilustrações (Careta, 30 de janeiro de 1943).
+ 
+A Manhã, 22 de abril de 1942
+ 
+Ofertou 15 exemplares do livro Zumbi para o leilão promovido pelo Diário da Noite para a compra do  Arará, um avião Catalina PBY-5 da Força Aérea Brasileira, que se tornaria o primeiro avião brasileiro a afundar um submarino do Eixo, o U-199, ao largo da costa do Rio de Janeirom, em 31 de julho de 1943. Foi batizado Arará em homenagem ao navio de carga brasileiro homônimo que havia sido torpedeado no litoral da Bahia, em 17 de agosto de 1943, pelo submarino alemão U-507 (Diário da Noite, 25 de setembro de 1942, sexta coluna).
+ 
+Fon-Fon, 15 de agosto de 1942
+ 
+1943 - Zumbi foi inscrito para concorrer ao Prêmio Olavo Bilac da Academia Brasileira de Letras (Jornal do Commercio, 24 de junho de 1943, última coluna).
+1943 / 1944 - Era membro da Associação dos Escreventes da Justiça do Distrito Federal, tendo sido nomeada escrevente juramentada do Tabelião do 9º Ofício de Notas, cargo que exerceu interinamente, até 1944, quando foi efetivada (Diário de Pernambuco, 16 de julho de 1943, segunda coluna; Gazeta de Notícias, 2 de fevereiro de 1944, segunda coluna).
+ 
+
+Fonte: CPDOC – Almerinda, a luta continua, 1984.
+ 
+1944 – Seu poema, Como é triste a prisão, fez parte da programação do festival da bailarina de oito anos, Sally Loretti (c. 1934 -?), no Teatro Carlos Gomes (Jornal do Brasil, 14 de maio de 1944, quinta coluna). No mesmo ano, a canção Quem chora comigo, música de Hilda Matos e letra de Almerinda, foi apresentada na edição do festival de Sally Loretti em benefício do músico Assis Valente (1911 – 1958), que estava doente (A Noite, 19 de novembro de 1944, primeira coluna).
+1946- Publicação do poema Figurinha de Quadro Americana, de sua autoria (O Jornal, 12 de maio de 1946).
+ 
+O Jornal, 12 de maio de 1942
+ 
+1947 - Participou da festa de arte no Esporte Clube Minerva, promovida pela escritora Hecilda Clark (1909 – ?) e Leocádia Silva, presidentes das Uniões Femininas Lapa-Esplanada do Senado e Catumbi-Rio Comprido, respectivamente (Tribuna Popular, 10 de junho de 1947, penúltima coluna).
+Era a tesoureira da diretoria do Curso Popular Chiquinha Gonzaga, na rua do Riachuelo, sob a responsabilidade jurídica de Hecilda Clark (1909 – ?). Participou de um show em benefício da criação de um ambulatório popular promovido pela entidade e também de uma festa de artistas na sede da Associação Cristã dos Moços, na rua Araújo Porto Alegre, nº 36 (Diário de Notícias, 7 de junho de 1947, terceira coluna; Diário de Notícias, 12 de junho de 1947, quinta coluna; Diário Carioca, 12 de novembro de 1947, sexta coluna; Jornal do Commercio, 26 de novembro de 1947, primeira coluna).
+1949 – A entrevista que deu ao Diário de Notícias sobre a oficialização da Justiça foi manchete de primeira página: Justiça para o povo é gênero de primeira necessidade (Diário de Notícias, 22 de maio de 1949).
+ 
+Diário de Notícias, 22 de maio de 1949
+ 
+1955 - Foi uma das jornalistas que assinou um telegrama enviado ao presidente da República reclamando a inscrição na Ordem do Mérito Aeronáutico do nome de Victorino de Oliveira (1882 – 1964), idealizador e fundador, em 14 de outubro de 1911, do Aeroclube do Brasil. Ele havia sido redator do jornal A Noite (Correio da Manhã, 19 de outubro de 1955, quarta coluna; Diário Carioca, 20 de janeiro de 1962, primeira coluna).
+1956 - Foi uma das dirigentes dos trabalhos realizados na instalação da Comissão de apoio à Conferência de Mulheres Trabalhadoras, na Associação Brasileira de Imprensa. Trabalhava no jornal O Dia (Imprensa Popular, 28 de janeiro de 1956, penúltima coluna).
+1958 – Foi acusada de ter cometido irregularidades como escrevente em uma escritura de compra e venda de imóvel, em Caxias, do qual seria a beneficiada. Teria falsificado a assinatura de Hans Bertold Stochaussen, falecido em 8 de julho de 1947. A Comissão de Investigações levou o inquérito para a Corregedoria. Almerinda sempre afirmou que a transação havia sido legal, o que disse que provaria em juízo (Jornal do Brasil, 15 de outubro de 1958, terceira coluna; A Noite, 7 de março de 1961, quinta coluna; Correio da Manhã, 9 de outubro de 1964, quinta coluna).
+1961 – Publicação do artigo Sapato – Artigo de Luxo, de sua autoria, sobre a incidência de verminoses nos trabalhadores (O Dia (PR), 19 de abril de 1961).
+1964 – Publicação de O dedo de Luciano, de autoria de Almerinda. A iniciativa foi da Companhia Antárctica Paulista que o distribuiria gratuitamente em todo o país como contribuição à divulgação dos ensinamentos de higiene, em benefício da saúde pública (Jornal do Brasil, 18 de novembro de 1964, última coluna).
+1967 - Almerinda foi demitida do cargo de escrevente juramentada do 9º Ofício de Notas (Correio da Manhã, 16 de março de 1967, segunda coluna).
+1984 - Em 8 de junho de 1984, foi entrevistada por Angela Maria de Castro Gomes e Eduardo Navarro Stotz no contexto do projeto “Velhos Militantes”, em vigência entre os anos de 1983 e 1986, sendo parte integrante do livro homônimo publicado pela Zahar Editores em 1988. A escolha da entrevistada se justificou por sua atuação como militante de movimento feminista nos anos de 1930 e de movimento sindical pró-Getulio Vargas (FGV – CPDOC).
+1989 - Publicação de uma foto de Almerinda votando no segundo turno da eleição presidencial (Jornal do Brasil, 18 de dezembro de 1989).
+ 
+Jornal do Brasil, 18 de dezembro de 1989
+ 
+1991 – Foi entrevistada por Joel Zito de Araújo (1954 – ) que produziu e dirigiu com Ângela Freitas o média-metragem Almerinda, uma Mulher de Trinta (1991), premiado no Festival Guarnicê de Cinema, realizado no Maranhão.
+1992 - Gravou uma pequena entrevista para o documentário Memória de Mulheres, dirigido por Maria Angélica Lemos (1958 – ), para a organização feminista ComMulher. Na época, morava em uma casa em um subúrbio carioca. É a última notícia que se tem de Almerinda.
+ 
+Almerinda Farias Gama / Almerinda, uma mulher de trinta
+ 
+1999 - Sua data de morte era até pouco tempo desconhecida e foi revelada pela pesquisa realizada por Patrícia Cibele Tenório para a elaboração de sua dissertação de Mestrado em História, no Programa de Pós-Graduação em História, da Universidade de Brasília, A trajetória de vida de Almerinda Farias Gama (1899-1999) – feminismo, sindicalismo e identidade política (2020): Almerinda faleceu em 31 de março de 1999, em São Paulo.
+2016 – Foi instituído pela prefeitura de São Paulo o Prêmio Almerinda Farias Gama, de incentivo a iniciativas em comunicação social ligadas à defesa da população negra.
+
+2024 - A jornalista Cibele Tenório, da Universidade de Brasília, encontrou nos arquivos da Escola Nacional de Música da Universidade Federal do Rio de Janeiro 29 partituras inéditas de autoria de Almerinda, compositora de gêneros como o baião, o samba e a valsa. A pianista Renata Sica (19?-), gravou as composições. As partituras foram disponibilizadas pelo Instituto do Piano Brasileiro. Seus temas tratam de amor, lendas amazônicas e canções de ninar.
+2025 – Lançamento do livro Almerinda Gama: a sufragista negra, de autoria de Cibele Tenório, pela Editora Todavia.
+ 
+
+ 
+Veja aqui o documentário Almerinda, a luta continua, dirigido por Cibele Tenório e produzido pela FGV CPDOC Núcleo de Audiovisual e Documentário
+Ouça aqui algumas músicas de Almerinda executadas pela pianista Renata Cortez Sica:
+Acalanto
+Canto de Natal
+Lamento
+Noturno
+ 
+Esse artigo foi ampliado em março de 2026.
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+Fontes:
+Almerinda, uma mulher de 30 Produção: Tapiri Vídeos, SOS CORPO/ TV VIVA – A Sua Imagem/CCLF Direção: Angela Freitas e Joel Zito Araújo, 1991.
+Blog Mulheres Notáveis
+Almerinda, a luta continua. Filme realizado na 2ª Oficina de Produção Audiovisual do Núcleo de Audiovisual e Documentário FGV/CPDOC. Direção: Cibele Tenório 
+DEL PRIORE, Mary (Org.). História das mulheres no Brasil. Coordenação de textos de Carla Bassanesi. São Paulo: Contexto, 1997
+DEL PRIORI, Mary. História e conversas de mulher. São Paulo: Planeta Brasil, 2014
+Hemeroteca Digital da Biblioteca Nacional
+HEYNEMANN, Claudia; RAINHO, Maria do Carmo. Memória das lutas feministas in Brasiliana Fotográfica, 8 de agosto de 2017.
+Marques, Teresa Cristina de Novaes. “Enfim, eleitoras”. O voto feminino no Brasil 2ª ed. Brasília: Edições Câmara, 2018.
+PINTO, Celi Regina Jardim. Uma história do feminismo no Brasil. São Paulo: Editora Fundação Perseu Abramo (coleção história do povo brasileiro) 2003.
+
+SCHUMAHER, Schuma; BRAZIL, Erico Vital (organizadores). Dicionário mulheres do Brasil: de 1500 até a atualidade biográfico e ilustrado. Rio de Janeiro : Jorge Zahar Ed., 2000.
+Site Alma Preta
+Site CPDOC
+Site Democracia e Mundo do Trabalho
+Site Festival Guarnicê de Cinema
+Site História de Alagoas
+Site Mulher 500 anos atrás dos panos
+Site Poder Naval
+TENÓRIO, Patrícia Cibele da Silva. A vida na ponta dos dedos: A trajetória de vida de Almerinda Farias Gama (1899-1999) – feminismo, sindicalismo e identidade política. Dissertação (Mestrado em História) – Programa de Pós-Graduação em História, Universidade de Brasília. Brasília, 2020.
+TENÓRIO, Patrícia Cibele da Silva. Almerinda Gama: a sufragista negra. Rio de Janeiro :  Editora Todavia, 2025.
+Youtube
+ 
+Acesse aqui os outros artigos da Série “Feministas, graças a Deus!“
+
+Série “Feministas, graças a Deus!” I – Elvira Komel, a feminista mineira que passou como um meteoro, publicado em 25 de julho de 2020, de autoria da historiadora Maria Silvia Pereira Lavieri Gomes, do Instituto Moreira Salles, em parceria com Andrea C. T. Wanderley, editora e pesquisadora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” II  – Natércia da Cunha Silveira (1905 – 1993), o jequitibá da floresta, publicado em 20 de agosto de 2020, de autoria de Andrea C.T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” III  – Bertha Lutz e a campanha pelo voto feminino: Rio Grande do Norte, 1928, publicado em 29 de setembro de 2020, de autoria de Maria do Carmo Rainha, doutora em História e pesquisadora do Arquivo Nacional
+Série “Feministas, graças a Deus!” IV  – Uma sufragista na metrópole: Maria Prestia (? – 1988), publicado em 29 de outubro de 2020, de autoria de Claudia Heynemann, doutora em História e pesquisadora do Arquivo Nacional
+Série “Feministas, graças a Deus!” V – Feminista do Amazonas: Maria de Miranda Leão (1887 – 1976), publicado em 26 de novembro de 2020, de autoria de Maria Elizabeth Brêa Monteiro, mestre em História e pesquisadora do Arquivo Nacional
+Série “Feministas, graças a Deus!” VI – Júlia Augusta de Medeiros (1896 – 1972) fotografada por Louis Piereck (1880 – 1931), publicado em 9 de dezembro de 2020, de autoria de Andrea C.T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” VIII – A engenheira e urbanista Carmen Portinho (1903 – 2001), publicado em 6 de abril de 2021, de autoria de Andrea C. T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” IX – Mariana Coelho (1857 – 1954), a “Beauvoir tupiniquim”, publicado em 15 de junho de 2021, de autoria de Andrea C. T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” X – Maria Luiza Dória Bittencourt (1910 – 2001), a eloquente primeira deputada da Bahia, publicado em 25 de março de 2022, de autoria de Andrea C. T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” XI e série “1922 – Hoje, há 100 anos” VI – A fundação da Federação Brasileira pelo Progresso Feminino, publicado em 9 de agosto de 2022, de autoria de Andrea C. T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” XII e série “1922 – Hoje, há 100 anos” XI – A 1ª Conferência para o Progresso Feminino, publicado em 19 de dezembro de 2022, de autoria de Maria Elizabeth Brêa Monteiro, historiadora do Arquivo Nacional
+Série “Feministas, graças a Deus!” XIII – E as mulheres conquistam o direito do voto no Brasil!, publicado em 24 de fevereiro de 2023, de autoria de Andrea C T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” XIV – No Dia Internacional da Mulher, Alzira Soriano, a primeira prefeita do Brasil e da América Latina, publicado em 8 de março de 2023, de autoria de Andrea C T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” XV – No Dia dos Povos Índígenas, Leolinda Daltro,”a precursora do feminismo indígena” e a “nossa Pankhurst, publicado em 19 de abril de 2023, de autoria de Andrea C T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” XVI – O I Salão Feminino de Arte, em 1931, no Rio de Janeiro, de autoria de Andrea C. T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica, publicado em 30 de junho de 2023
+Série “Feministas, graças a Deus!” XVII – Anna Amélia Carneiro de Mendonça e o Zeppelin, equipe de Documentação da Escola de Ciências Sociais FGV CPDOC, em parceira com Andrea C.T. Wanderley, publicado em 5 de janeiro de 2024
+Série “Feministas, graças a Deus!” XVIII – Júlia Lopes de Almeida (1862 – 1934), a “escritora da Belle Époque tropical”, de autoria de Andrea C. T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica, publicado em 5 de junho de 2024
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/5028` — `itens/20.500.12156.1_5028/`
+
diff --git a/wordpress/22777-dia-dos-pais-julio-e-luciano-os-filhos-do-fotografo-marc-ferrez-e-outras-familia.md b/wordpress/22777-dia-dos-pais-julio-e-luciano-os-filhos-do-fotografo-marc-ferrez-e-outras-familia.md
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@@ -0,0 +1,115 @@
+---
+id: 22777
+url: "https://brasilianafotografica.bn.gov.br/?p=22777"
+titulo: "Dia dos Pais – Julio e Luciano, os filhos do fotógrafo Marc Ferrez, e outras famílias"
+autor: "Andrea Wanderley"
+data: "2021-08-06T10:08:02+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/6410", "20.500.12156.1/5345", "20.500.12156.1/7177", "20.500.12156.1/7185", "20.500.12156.1/5230", "20.500.12156.1/6100", "20.500.12156.1/1794", "20.500.12156.1/5383", "20.500.12156.1/4996", "20.500.12156.1/5556", "20.500.12156.1/2575"]
+fetched_at: "2026-09-10T10:07:01.150Z"
+---
+
+# Dia dos Pais – Julio e Luciano, os filhos do fotógrafo Marc Ferrez, e outras famílias
+
+Marc Ferrez. Marc Ferrez e seus filhos, c. 1905. Floresta da Tijuca, Rio de Janeiro / Acervo IMS
+ 
+A Brasiliana Fotográfica homenageia o Dia dos Pais, que esse ano será comemorado no próximo dia 8, publicando fotografias de Jules-Marc (1881 – 1946), que ficou conhecido como Julio, e Luciano José André (1884 – 1955), filhos do fotógrafo Marc Ferrez (1843 – 1923) e da francesa Marie Lefebvre (c.1849 – 1914), que se casaram em 16 de agosto de 1873. Há também imagens de Ferrez com seus netos Gilberto e Eduardo, filhos de Julio e Claire, além de registros de passeios da família na Floresta da Tijuca. Destacamos também fotografias do cientista Carlos Chagas (1878-1934) com seus filhos Evandro Chagas (1905 – 1940) e Carlos Chagas Filho (1910 – 2000), dos filhos do fotógrafo J. Pinto (1884 – 1951), dos filhos do Conde d´Eu (1842 – 1922), de dom Pedro II (1825 – 1891)  e do prefeito Francisco Pereira Passos (1836 – 1913) com suas famílias e também registros de outras famílias produzidos por Chichico Alkmin (1886 – 1978), João Stamato (1886 – 1951), José Teixeira e por fotógrafos ainda não identificados.
+ 
+Marc Ferrez. Família Ferrez, c. 1912. Rio de Janeiro, RJ / Acervo IMS. Na foto, Marc Ferrez (em pé), Julio, Marie e Claire (sentados) e Gilberto e Eduardo
+ 
+Marc Ferrez foi um brilhante cronista visual das paisagens e dos costumes cariocas da segunda metade do século XIX e do início do século XX. Sua vasta e abrangente obra iconográfica se equipara a dos maiores nomes da fotografia do mundo. Cerca de metade da produção fotográfica de Ferrez foi realizada na cidade e em seus arredores, onde registrou, além do patrimônio construído, a exuberância das paisagens naturais. Outro segmento de sua obra iconográfica registrou as várias regiões do Brasil – ele foi o único fotógrafo do século XIX que percorreu todas as regiões do país, tendo sido, no referido século, o principal responsável pela divulgação da imagem do país no exterior.
+Ele e seus filhos desempenharam um importante papel na história do estabelecimento e do desenvolvimento do cinema no Brasil, tanto pela participação na produção de filmes, como pelo investimento em equipamentos necessários à criação de uma rede de distribuição e exibição de filmes.
+Acessando o link para as fotografias de Marc Ferrez e seus filhos disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.  
+ 
+Marc Ferrez. Julio e Luciano,1º de janeiro de 1886. Rio de Janeiro, RJ / Acervo IMS
+ 
+Foi com Julio que Marc Ferrez, em 1905, obteve a representação da firma francesa Pathé Frères, no Brasil. A firma era a maior e melhor fábrica de aparelhos e filmes cinematográficos da Europa. Em primeiro de outubro de 1907, foi criada a firma Marc Ferrez & Filhos. Ferrez era dono de 60% das ações, cabendo a Luciano e a Julio 20% do negócio para cada um. Nesse mesmo ano, Julio havia se casado com Claire Poncy Ferrez (1888 – 1980), pais de Gilberto (1908 – 2000) e Eduardo. Gilberto foi pioneiro no estudo da fotografia no Brasil com a publicação, em 1946, do ensaio “A Fotografia no Brasil e um de Seus Mais Dedicados Servidores: Marc Ferrez (1843-1923)“, na Revista do Patrimônio Histórico e Artístico Nacional.
+Em 1908, Ferrez e Arnaldo Gomes de Souza, sócios no Cinema Pathé, produziram o filme, Nhô Anastácio chegou de viagem, dirigido por Julio Ferrez. É considerada a primeira comédia cinematográfica brasileira e foi estrelada por Antônio Cataldi, José Gonçalves Leonardo e Ismênia Matteo. Marc Ferrez produziu o curta-metragem A mala sinistra, também dirigido por seu filho Julio.
+Em abril de 1915, Ferrez viajou para França no navio Frizia em companhia de seu filho Julio – que retornou ao Brasil em agosto.
+Em 1917, Julio e Luciano, fundaram a Companhia Cinematográfica Brasileira, mais tarde denominada Casa Marc Ferrez Cinemas e Eletricidade Ltda. Dois anos depois, Julio Ferrez foi um dos fundadores da União dos Importadores Cinematográficos no Brasil (O Imparcial, 8 de dezembro de 1919, na segunda coluna). Foi o primeiro tesoureiro da associação, cujo primeiro presidente foi o empresário Francisco Serrador (1872 – 1941).
+Em 1920, foi noticiada a volta da Europa de Marc e Luciano Ferrez ao Brasil, a bordo do paquete inglês Orcona (Vida doméstica, abril de 1920). 
+ 
+“O senhor Marc Ferrez é uma das figuras mais notáveis, de maior destaque na indústria fotográfica e cinematográfica do Brasil”
+ 
+Vida doméstica, abril de 1920
+ 
+ 
+Na edição de 8 de abril de 1920 da revista Palcos e Telas, Marc, Julio e Luciano Ferrez foram biografados na seção “Grandes figuras da cinematografia”.
+ 
+Em correspondência a Malia Frucht Ferrez (1890 – 1953), casada com Luciano, Marc Ferrez contou que havia feito belas fotografias de rosas, em sua visita ao roseiral do Parque de La Bagatelle, no Bois de Boulogne, local que freqüentava enquanto Luciano e Malia estavam com ele em Paris. Foi na casa deles, no Rio de Janeiro, cidade que ele eternizou com sua arte, que Ferrez faleceu em 12 de janeiro de 1923. Residia na rua Joaquim Murtinho, 177, e foi enterrado no cemitério São João Batista (A Rua, 13 de janeiro de 1923, O Paiz, 14 de janeiro de 1923, última notícia da sexta coluna, Gazeta de Notícias, 16 de janeiro de 1923, na última coluna e Fon-Fon, 20 de janeiro de 1923).
+ 
+Marc Ferrez. Julio e Luciano Ferrez, c. 1910. Rio de Janeiro, RJ / Acervo IMS
+ 
+Outras famílias
+ 
+Acessando o link para as fotografias de pais e filhos disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.  
+ 
+Chichico Alkmin. Retrato de Família, s/d. Diamantina, Minas Gerais / Acervo IMS
+ 
+ 
+J.Pinto. Evandro Chagas com o pai Carlos Chagas e o irmão mais novo, Carlos Chagas Filho, no Pavilhão Mourisco, 1910. Manguinhos, Rio de Janeiro / Acervo Casa de Oswaldo Cruz
+ 
+ 
+Alberto Henschel. A Família Imperial reunida. Da esquerda para a direita: d. Antônio, em pé, princesa Isabel, sentada, tendo à sua frente d. Luís, sentado, d. Pedro de Alcântara, príncipe do Grão-Pará, e d. Augusto Leopoldo, ambos em pé; d. Pedro II, sentado, segurando um guarda-chuva, conde d’Eu, em pé, d. Teresa Cristina e d. Pedro Augusto, ambos sentados, 1887. Alto da Boa Vista, Rio de Janeiro / Acervo IMS
+ 
+Família J.Pinto, 192? . Rio de Janeiro, RJ/ Acervo Casa de Oswaldo Cruz
+ 
+Augusto Malta. Família Passos: Pereira Passos, Maria Rita Passos, Maria Paula Passos de Castro, Francisco de Oliveira Passos, Olímpia Passos e Maria Ernestina T. de Castro, 14 de novembro de 1910. Rio de Janeiro, rJ / Acervo Museu da República
+ 
+Posto no rio Surumu, índios Jaricuna em sua maloca, 1922. Amazônia / Acervo Arquivo Nacional
+ 
+Breve história da criação do Dia dos Pais
+O Dia dos Pais foi comemorado pela primeira vez, em 1910, nos Estados Unidos. No Brasil, a ideia de criar esta data partiu do publicitário Sylvio Bhering e o jornal O Globo começou uma campanha para difundir a efeméride (O Globo, 1º de junho de 1953), festejada pela primeira vez no dia 16 de agosto de 1953 (Jornal do Brasil, 16 de agosto de 1953). Posteriormente, o Dia dos Pais passou a ser comemorado no segundo domingo de agosto.
+ 
+Link para a publicação do Dia dos Pais, em 14 de agosto de 2016
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Publicações da Brasiliana Fotográfica em torno da obra do fotógrafo Marc Ferrez 
+ 
+Marc Ferrez aos 33 anos, c. 1876. Rio de Janeiro, RJ / Acervo IMS
+O Rio de Janeiro de Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 30 de junho de 2015
+Obras para o abastecimento no Rio de Janeiro por Marc Ferrez , de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 25 de janeiro de 2016
+O brilhante cronista visual Marc Ferrez (7/12/1843 – 12/01/1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 7 de dezembro de 2016
+Do natural ao construído: O Rio de Janeiro na fotografia de Marc Ferrez, de autoria de Sérgio Burgi, um dos curadores da Brasiliana Fotográfica, publicada em 19 de dezembro de 2016
+No primeiro dia da primavera, as cores de Marc Ferrez (1843 – 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 22 de setembro de 2017
+Marc Ferrez , a Comissão Geológica do Império (1875 – 1878) e a Exposição Antropológica Brasileira no Museu Nacional (1882), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica,  publicada em 29 de junho de 2018
+Série “O Rio de Janeiro desaparecido” V – O quiosque Chopp Berrante no Passeio Público, Ferrez, Malta e Charles Dunlop, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 20 de julho de 2018
+Uma homenagem aos 175 anos de Marc Ferrez (7 de dezembro de 1843 – 12 de janeiro de 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 7 de dezembro de 2018 
+Pereira Passos e Marc Ferrez: engenharia e fotografia para o desenvolvimento das ferrovias, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 5 de abril de 2019
+Fotografia e ciência: eclipse solar, Marc Ferrez e Albert Einstein, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 24 de junho de 2019
+Os 180 anos da invenção do daguerreótipo – Os álbuns da Comissão Geológica do Império com fotografias de Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 19 de agosto de 2019
+Celebrando o fotógrafo Marc Ferrez (1843 – 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 4 de dezembro de 2019
+Uma homenagem da Casa Granado ao imperial sob as lentes de Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 7 de fevereiro de 2020
+Ressaca no Rio de Janeiro invade o porão da casa do fotógrafo Marc Ferrez, em 1913, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado 6 de março de 2020
+Petrópolis, a Cidade Imperial, pelos fotógrafos Marc Ferrez e Revert Henrique Klumb, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 16 de março de 2020
+Bambus, por Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 5 de junho de 2020
+O Baile da Ilha Fiscal: registro raro realizado por Marc Ferrez e retrato de Aurélio de Figueiredo diante de sua obra, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 9 de novembro de 2020
+O Palácio de Cristal fotografado por Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 2 de fevereiro de 2021
+A Estrada de Ferro do Paraná, de Paranaguá a Curitiba, pelos fotógrafos Arthur Wischral (1894 – 1982) e Marc Ferrez (1843 – 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 22 de março de 2021
+No Dia da Árvore, mangueiras fotografadas por Ferrez e Leuzinger, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 21 de setembro de 2021
+Retratos de Pauline Caroline Lefebvre, sogra do fotógrafo Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 28 de abril de 2022
+A Serra dos Órgãos: uma foto aérea e imagens realizadas pelos mestres Ferrez, Leuzinger e Klumb, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 30 de junho de 2022
+O centenário da morte do fotógrafo Marc Ferrez (1843 – 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 12 de janeiro de 2023
+O Observatório Nacional pelas lentes de Marc Ferrez, amigo de vários cientistas, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 29 de maio de 2023
+No Dia Mundial do Meio Ambiente, a potente imagem da Cachoeira de Paulo Afonso, por Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 5 de junho de 2023
+A Fonte Adriano Ramos Pinto por Guilherme Santos e Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 18 de julho de 2023
+Os 180 anos de nascimento do fotógrafo Marc Ferrez (1843 – 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 7 de dezembro de 2023
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/6410` — `itens/20.500.12156.1_6410/`
+- `20.500.12156.1/5345` — `itens/20.500.12156.1_5345/`
+- `20.500.12156.1/7177` — `itens/20.500.12156.1_7177/`
+- `20.500.12156.1/7185` — `itens/20.500.12156.1_7185/`
+- `20.500.12156.1/5230` — `itens/20.500.12156.1_5230/`
+- `20.500.12156.1/6100` — `itens/20.500.12156.1_6100/`
+- `20.500.12156.1/1794` — `itens/20.500.12156.1_1794/`
+- `20.500.12156.1/5383` — `itens/20.500.12156.1_5383/`
+- `20.500.12156.1/4996` — `itens/20.500.12156.1_4996/`
+- `20.500.12156.1/5556` — `itens/20.500.12156.1_5556/`
+- `20.500.12156.1/2575` — `itens/20.500.12156.1_2575/`
+
diff --git a/wordpress/22813-e-a-primeira-dama-nair-de-teffe-leva-a-musica-de-chiquinha-gonzaga-para-o-palaci.md b/wordpress/22813-e-a-primeira-dama-nair-de-teffe-leva-a-musica-de-chiquinha-gonzaga-para-o-palaci.md
new file mode 100644
index 0000000..dfd17a9
--- /dev/null
+++ b/wordpress/22813-e-a-primeira-dama-nair-de-teffe-leva-a-musica-de-chiquinha-gonzaga-para-o-palaci.md
@@ -0,0 +1,130 @@
+---
+id: 22813
+url: "https://brasilianafotografica.bn.gov.br/?p=22813"
+titulo: "E a primeira-dama Nair de Teffé leva a música de Chiquinha Gonzaga para o Palácio do Catete, em 1914"
+autor: "Andrea Wanderley"
+data: "2021-03-05T15:09:17+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/8914", "20.500.12156.1/8858", "20.500.12156.1/8855", "20.500.12156.1/8856", "20.500.12156.1/8909", "20.500.12156.1/8910", "20.500.12156.1/8911"]
+fetched_at: "2026-09-10T10:07:04.871Z"
+---
+
+# E a primeira-dama Nair de Teffé leva a música de Chiquinha Gonzaga para o Palácio do Catete, em 1914
+
+Nair de Teffé e Chiquinha Gonzaga: duas mulheres à frente de seu tempo e a história do Corta-jaca no Palácio do Catete, em 1914
+ 
+Chiquinha Gonzaga aos 18 anos, c. 1865. Rio de Janeiro, RJ / Acervo IMS
+ 
+Em uma recepção oferecida no Palácio do Catete pelo presidente da República, o gaúcho Hermes da Fonseca (1855 – 1923), e pela primeira-dama, Nair de Teffé (1886 – 1981), em 26 de outubro de 1914, foi executado dentro da programação musical da elegante soirée o tango Gaúcho, mais conhecido como Corta-jaca, da revolucionária, transgressora e prodigiosa maestrina, a carioca e afrodescendente Chiquinha Gonzaga (1847 – 1935), cuja mãe era filha de uma escravizada alforriada e, o pai, um militar de família tradicional. Pela primeira vez esse estilo de música era apresentado nos salões chiques da capital da República, tendo como convidados o corpo diplomático e a elite carioca. A própria Nair de Teffé, uma mulher à frente de seu tempo, culta, talentosa, boêmia e festeira tocou a composição ao violão, instrumento ainda marginalizado na época.
+ 
+Nair de Teffé, 1913. Rio de Janeiro, RJ / Acervo Museu da República
+ 
+De origem aristocrática, filha dos barões de Teffé, Nair foi uma pioneira. É considerada uma das primeiras mulheres caricaturistas do mundo, conhecida pelo pseudônimo Rian, e colaborava com publicações como Fon-Fon, Gazeta de Notícias e o Malho. Foi educada na França e falava seis idiomas. Era atriz e criou a Troupe Rian, que encenava peças teatrais para angariar fundos para a construção da Catedral de Petrópolis e também para beneficiar obras sociais. Casou-se com Hermes da Fonseca, em 8 de dezembro de 1913, após ele ficar viúvo, em novembro de 1912, de sua primeira esposa, Orsina da Fonseca (1858 – 1912) (Fon-Fon, 31 de julho de 1909; Jornal do Brasil, 1º de dezembro de 1912; Jornal do Brasil, 9 de dezembro de 1913; O Malho, 13 de dezembro de 1913).
+ 
+Hermes da Fonseca e Nair de Teffé, 9 de dezembro de 1913. Rio de Janeiro, RJ / Acervo Museu da República
+ 
+Acessando o link para as fotografias de Nair de Teffé e de Hermes da Fonseca disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Casamento de Hermes da Fonseca e Nair de Teffé, 8 de dezembro de 1913. Petrópolis, RJ / Acervo Museu da República
+ 
+Voltando ao sarau…Ocorreu, como já mencionado, em 26 de outubro de 1914, menos de um mês antes da transmissão do cargo de presidente de Hermes da Fonseca para Venceslau Brás (1868 – 1966), em dia 15 de novembro de 1914. Grandes pianistas se apresentaram, dentre eles Arthur Napoleão (1843 – 1925), interpretando Les étincelles, de sua autoria; e Leopoldo Duque-Estrada (18? – 19?) com a Grande fantasia triunfal sobre o Hino Nacional Brasileiro, de Gottschalk (1829 – 1869). Mas foi a execução do Corta-jaca pela primeira-dama que marcou o evento. Finalmente uma música eminentemente popular era apresentada na sede do governo! (A Rua, 6 de novembro de 1914, primeira coluna).
+ 
+A última recepção do presidente. Aspecto de um dos salões do Palácio Presidencial do Catete durante a última recepção de S. Ex. o sr. Marechal Hermes da Fonseca e sua senhora na noite de 26 de outubro / Revista da Semana, 7 de novembro de 1914
+ 
+O Corta-jaca na programação da recepção do Palácio do Catete / A Rua, 6 de novembro de 1914
+ 
+Foi um escândalo e provocou reações na sociedade. O senador Rui Barbosa (1849 – 1923), que havia perdido a eleição presidencial para Hermes da Fonseca, em 1910, foi um dos que se manifestou contra o episódio, que ficou para a história como uma espécie de alforria da música popular brasileira.
+ 
+“Remexe, assim…assim…”Nair de Teffé e Hermes da Fonseca dançando o Corta-jaca / A Rua, 4 de novembro de 1914
+ 
+“A mais baixa, a mais chula, a mais grosseira de todas as danças selvagens, a irmã gêmea do batuque, do cateretê e do samba. Mas nas recepções presidenciais o corta-jaca é executado com todas as honras de música de Wagner, e não se quer que a consciência deste país se revolte, que as nossas faces se enrubesçam e que a mocidade se ria!”
+Trecho do discurso proferido no Senado por Rui Barbosa 
+sobre o Corta-jaca no Catete, em 7 de novembro de 1914
+ 
+Careta, 7 de novembro de 1914
+ 
+Acessando o link para as fotografias de Chiquinha Gonzaga disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas. 
+ 
+O Gaúcho é um dos maiores sucessos de Chiquinha e integra a opereta burlesca Zizinha Maxixe, que estreou em 20 de agosto de 1895, no Teatro Éden Lavradio, no Rio de Janeiro, sob a direção da atriz Pepa Ruiz (1859 – 1923) (Gazeta de Notícias, 21 de agosto de 1895, terceira coluna).
+ 
+Gazeta de Notícias, 21 de agosto de 1895
+ 
+Em um dos  manuscritos de Chiquinha, sob a guarda do Instituto Moreira Salles, pode-se ver o momento exato em que sua famosa música, segundo a escritora e biógrafa da maestrina, Edinha Diniz, camuflada de cateretê, dançada como maxixe e publicada como tango, nasceu. Ao final da partitura, a maestrina escreveu: “Arre!! São 3 e um quarto da manhã! Estou cansada, vou dormir… Felizmente acabei – os galos cantam”. Caiu nas graças do público, popularizando-se com o nome de Corta-jaca, intitulando, a partir daí, um gênero musical e apelidando, posteriormente, o governo do presidente Hermes da Fonseca (1910 a 1914).
+ 
+Anotação de Chiquinha Gonzaga sobre o “nascimento” do Corta-jaca / Site IMS
+ 
+A opereta não fez sucesso e só foi encenada três vezes (Jornal Illustrado, 31 de agosto de 1895, terceira coluna). Porém O Gaúcho foi editado em abril de 1899 sob o selo da Casa Vieira Machado, importante estabelecimento de publicação de partituras musicais, no Rio de Janeiro.
+ 
+Partitura do tango “Gaúcho”, de Chiquinha Gonzaga, que se tornou popular como “O Corta-jaca” / Acervo IMS
+ 
+A música foi incluída na revista Cá e lá, de 1904 (O Paiz, 23 de junho de 1904, quarta coluna), e cantada pela população carioca em “chopps berrantes” por toda a cidade.
+ 
+O Paiz, 23 de junho de 1904
+ 
+Devido ao sucesso, o tcheco Frederico (Fred) Figner (1866 – 1947), fundador da primeira empresa fonográfica do Brasil, a Casa Edison, e primeiro produtor fonográfico do país, gravou duas versões da canção em seu estúdio, na efervescente rua do Ouvidor, no centro da cidade.
+ 
+Gazeta de Notícias, 20 de fevereiro de 1901
+ 
+O Corta-jaca tornou-se um clássico do grande repertório da música instrumental brasileira, merecendo gravações, entre outros, de Abel Ferreira, Altamiro Carrilho, Antonio Adolfo, Artur Moreira Lima, Clara Sverner, Conjunto Regional do Donga, Eudóxia de Barros, Guio de Morais, Itamar Assieré, Leandro Braga, Marcus Viana, Maria Teresa Madeira, Marcelo Verzoni, Paulo Moura, Radamés Gnatalli, Rosária Gatti, Talitha Peres, Turíbio Santos, inúmeras bandas e algumas versões cantadas (Site Chiquinha Gonzaga).
+ 
+Chiquinha Gonzaga aos 29 anos, c. 1877. Rio de Janeiro, RJ / Acervo IMS
+ 
+Ouça aqui o Gaúcho, composição de Chiquinha Gonzaga, conhecido como Corta-jaca, executado pela pianista Fernanda Canaud e pelo violonista Marco de Pinna, em 2014
+ 
+Chiquinha Gonzaga aos 47 anos, 1894. Rio de Janeiro, RJ / Acervo IMS
+ 
+Para saber mais sobre a vida e a obra da maestrina Chiquinha Gonzaga, acesse: https://ims.com.br/por-dentro-acervos/resgate-de-chiquinha-gonzaga/
+ 
+Transcrição do artigo Chiquinha Gonzaga, de autoria do importante historiador da cultura brasileira, Mário de Andrade, publicado em O Estado de São Paulo, em 19 de fevereiro de 1940
+CHIQUINHA GONZAGA 
+Mario de Andrade
+Na evolução da música popular urbana do Brasil teve grande importância o trabalho de uma mulher, já muito esquecida em nossos dias, Francisca Gonzaga. Esse esquecimento, aliás, é mais ou menos justificável, porque nada existe de mais transitório, em música, que esta espécie de composição. Compôr música de dansa, compôr música para revistas de anno e coisas assim é uma espécie de arte de consumo, tão necessária e tão consumível como o leite, os legumes, perfume e sapatos. O sapato gasta-se, o perfume se evola, o alimento é digerido. E o samba, o maxixe, a rumba, depois de cumprido o seu rápido destino de provocar várias e metaphoricas… calorias, é esquecido e substituído por outro. E como o artista só vive na função da obra que elle mesmo criou, o compositor de dansa, de canções de rádio, de revistas de anno, também é usado, gastado, e em seguida esquecido e substituído por outro.
+Francisca Gonzaga, a Chiquinha Gonzaga de todos os cariocas do fim da Monarquia, também foi algum tempo um daqueles “pianeiros” a que me referi num artigo anterior, tocadores de música de dansa nos assustados ou nas já desapparecidas salas-de-espera dos cinemas. Mas só o foi por pouco tempo, levada pelas suas necessidades econômicas. Logo reagiu e subiu, chegando mesmo a dirigir orchestra de theatro de operetas. Em 1885 no Theatro Lyrico, numa festa em sua homenagem, ella regeu a opereta “A filha do Guedes”, um dos seus maiores sucessos, de que ninguém se lembra mais. Foi a primeira regente mulher que já tivemos, prophetisadora, por muito tempo não seguida, das Dinorah de Carvalho e Joanidia Sodré dos nossos dias.
+Mas esta foi apenas uma aventura a mais na vida desta mulher ativa, de existência fortemente movimentada. Nascida de família de militares, trazendo a têmpera dos Lima e Silva, aos treze annos Chiquinha Gonzaga casava-se com o marido que lhe impunham. Mas, como no verso de Alberto de Oliveira: “Não gostava de música o marido”. Depois de uma curta vida de casada, Chiquinha se revoltou, fugiu, foi viver independente no seu canto, repudiada por todos, parentes e amigos, que não podiam se conformar com aquella ofensa à moral pública. E a sua vida foi difficil, ella pobre, com filhos a criar, uma honestidade a defender sozinha na fatal obrigação de frequentar ambientes bohemios e moralmente flacidos. Foi professora de piano, constituiu um chôro para execução de dansas em casas de família, em que se fazia acompanhar do filhinho mais velho, tocador de cavaquinho, com dez anos de edade.
+Conta Mariza Lyra, que recentemente evocou a vida de Chiquinha Gonzaga num livro muito útil, que naquelles tempos cariocas do Segundo Império, um processo commum de se vender música de dansa era mandar negros e escravos offerecer de porta em porta a mercadoria. Foi também assim que Chiquinha Gonzaga principiou a vender suas composições.
+O seu primeiro grande sucesso foi a polka “Attrahente”, hoje uma preciosidade bibliographica raríssima; publicada pelo editor de música Narciso, já então associado, em sua casa commercial, a Arthur Napoleão e Leopoldo Miguez. A capa trazia o retrato de Chiquinha Gonzaga, desenhada por Bordalo Pinheiro. Peça brilhante, ainda pouco nacionalmente característica, não representa a verdadeira Chiquinha Gonzaga, que só oito anos mais tarde, em 1885, com a opereta “A corte na Roça”, se apresentava bem mais brasileira em sua invenção melódica.
+Aliás, para se impôr como compositora de theatro, Chiquinha Gonzaga teve muito que lutar. Era mulher, e embora já celebrada nas suas peças de dansa, ninguém a imaginava com o folcgo sufficiente para uma peça theatral. Conseguiu arrancar um libreto de Arthur Azevedo, mas a sua partitura foi rejeitada. Compôs em seguida, sobre texto de sua própria autoria, uma “Festa de S. João”, que também não conseguiu ver executada. Só a terceira tentativa vingou – essa “Corte na Roça” que a Companhia Souza Bastos representou em janeiro de 1885.
+Foi o sucesso, a celebridade mais alargada, e Francisca Gonzaga fixou-se como compositora de theatro leve, em que havia de continuar, por toda a sua vida activa. Ninguém está esquecido, imagino, de uma peça deliciosa que ainda hoje pode se sustentar, sem graves symptomas de velhice, a “Jurity”, com texto de Viriato Corrêa. Será talvez o que mais perdurável compoz Chiquinha Gonzaga. Aliás a combinação Chiquinha Gonzaga-Viriato Corrêa foi das mais felizes do nosso theatro popular.  Além da “Jurity”, “Maria e a Sertaneja” são das obras mais finas, no seu gênero, entre nós.
+A invenção Chiquinha Gonzaga é discreta e raramente banal. Ella pertence a um tempo em que mesmo a composição popularesca, mesmo a música de dansa e das revistas de anno ainda não se degradaram cynicamente, procurando favorecer apenas os instinctos e sensualidades mais reles do público urbano, como hoje. Basta comparar uma canção, uma modinha, uma polka de Francisca Gonzaga corn a infinita maioria das canções dc rádio, os sambas, as marchinhas de Carnaval deste século, para reconhecer o que affirmo. Não se trata apenas de differenças condicionadas pelo tempo, conservando na differenciação o mesmo nível desavergonhadarnente baixo. Trata-se de um verdadeiro rebaixamento de nível, num interesse degradado em servir o público com o que lhe for mais fácil, mais immediatamente gostoso, para vencer mais rápido numa concorrência mais numerosa e brutal.
+O interesse maior de Chiquinha Gonzaga está nisso: a sua música, assim como ela soube resvalar pela boemia carioca sem se tisnar, é agradavel, é simples sem attingir o banal, é fácil sem atingir a boçalidade. Os seus maiores succesos públicos, a “Lua Branca”, que ainda hoje cantam por ahi como modinha anonyma, a “Casa de Caboclo”, o lundu “P’ra Cera do Santissimo”, o famoso “Oh Abre Alas!” carnavalesco, e especialmente o “Corta-Jaca”, guardam na sua felicidade de invenção uma espécie de pudor, um recato melódico que não se presta nunca aos desmandos da sensualidade musical.
+No livro de Mariza Lira, tão cheio de indicações históricas interessantes, vem aliás uma pequena inexactidão que convem rectificar. Foi costume entre nós, imprimir musicas de sentido político em lenços grandes, se não me engano trazidos ao pescoço. Informa Mariza Lira que “P’ra Cera do Santissimo” andou impressa em lenços de seda, tal a popularidade do lundu’. E adianta mais que um destes lenços esteve exposto na exposição de inconographia musical brasileira, realizada pelo Departamento de Cultura durante o Congresso da Língua Nacional Cantada. A inexactidão é que o lenço exposto, nessa occasião, não reproduzia a peça de Chiquinha Gonzaga, mas sim o “Chô Arauna”, e vinha provavelmente das últimas lutas ou primeiras celebrações do Treze de Maio.
+Num outro passo do seu livro ainda, Mariza Lira dá como de acceitação definitiva a versão sobre a origem da palavra “maxixe”, para designar a nossa dansa urbana que antecedeu o samba carioca actual. Conta-se que essa designação derivou de um indivíduo que numa sociedade carnavalesca do Rio, chamada os Estudantes de Heidelberg, dansou de maneira tão especial e convidativa que todos começaram a imital-o. Esse indivíduo tinha o appelido de Maxixe; e como todos principiassem  a “dansar como o Maxixe”, em breve o nome do homem passou a designar a própria dansa. Ora, quem deu esta versão fui eu, que a ouvi do compositor Villa Lobos que por sua vez a teria ouvido de um velho, carnavalesco em seu tempo de mocidade, frequentador dos Estaudantes de Heldelberg e testemunha do facto. A versão é muito plausível, nada tem de extraordinária. Mas eu a dei com as devidas reservas, pois me parece que a coisa carece de maior confirmação. 
+O que eu apenas fixei é que o maxixe, como dansa carioca, appareceu na década que vae de 1870 a 1880, e isso coincide de facto com a existência dos Estudantes de Heldelberg. Não conheço texto algum de 1870 em que a palavra apareça. Em 1880 ella ja principia frequentando regularmente as revistas e jornaes do Rio. Mas as minhas pesquisas pararam nisto, eu levado por outros interesses mais profundos.
+O livro de Mariza Lira nos conta pela primeira vez vários passos interessantes da vida de Francisca Gonzaga. A autora do “Corta-Jaca” foi realmente uma mulher enérgica, cheia de iniciativas. Republicana apaixonada, tomou parte nas lutas de 1893, publicando músicas de sentido político. Chegou a ter ordem de prisão, por isso, as copias de sua cançoneta “Aperte o Botão” foram apprehendidas e inutilisadas. 
+De outra feita, lhe doendo a sepultura miserável que guardava restos mortaes do autor do Hino Nacional, apesar de já nos seus 75 anos de idade, Chiquinha Gonzaga tomou a peito dar a Francisco Manuel morada mais digna. Serviu-se da Sociedade Brasileira de Autores Theatrais; lutou e conseguiu o seu intento. Na mocidade, discutindo com a pobreza, inventava as suas próprias vestes, em que havia sempre alguma originalidade lhe realçando a bonita carinha. Na cabeça, não podendo comprar os chapéus da moda, inventou trazer um toucado feito com um simples lenço de seda. Tão encantadora ficava assim e era tão diffícil de comprehender como arranjava o lenço, que uma vez, em plena rua do Ouvidor, uma senhora não se conteve, arrancou-lhe o lenço da cabeça, para descobrir o truque. Chiquinha indignada voltou-se e insultou a invejosa, chamando-lhe “Feia!”.
+Francisca Gonzaga compôs 77 obras theatrais e tunas duas mil peças avulsas. Quem quizer conhecer a evolução das nossas dansas urbanas terá sempre que estudar muito attentamente as obras della. Vivendo no Segundo Império e nos primeiros decennios da República, Francisca Gonzaga teve contra si a phase musical muito ingrata em que compoz; phase de transicção, com suas habaneras, polkas, quadrilhas, tangos e maxixes, em que as características raciaes ainda lutam muito com os elementos de importação. E, ainda mais que Ernesto Nazaré, ella representa essa fase. A gente surprehende nas suas obras os elementos dessa luta como em nenhum outro compositor nacional. Parece que a sua fragilidade feminina captou com maior acceitação e também maior agudeza o sentido dos muitos caminhos em que se extraviava a nossa música de então.
+ 
+ 
+Chiquinha Gonzaga ao piano, 17 de outubro de 1932. Rio de Janeiro, RJ / Acervo IMS 
+ 
+A Brasililiana Fotográfica agradece a colaboração de Bia Paes Leme, coordenadora de Música do Instituto Moreira Salles, e a de Euler Gouvêa, músico e assistente da Coordenadoria de Música do Instituto Moreira Salles, para a publicação desse artigo.
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+DINIZ, Edinha. Chiquinha Gonzaga, uma história de vida. São Paulo : Companhia das Letras, 2009.
+FRANCESCHI, Humberto. A Casa Edison e seu tempo. Rio de Janeiro: Sarapuí, 2002.
+Hemeroteca Digital da Biblioteca Nacional
+NASCIMENTO, Rafael. Catete em ré menor: tensões da música na Primeira República. Universidade Estadual de Campinas : Revista do Instituto de Estudos Brasileiros, núm. 67, 2017. Instituto de Estudos Brasileiros.
+PASCHOALOTTO, Ivanete; SIMILI, Ivana. Nair de Teffé: Uma narrativa biográfica para as mulheres dos séculos XIX e XX. Diálogos & Saberes, Mandaguari, 2011.
+SANDRONI, Carlos. Feitiço decente: transformações do samba no Rio de Janeiro, 1917-1933. Rio de Janeiro ;  Jorge Zahar Editor, 2001.
+
+Site Chiquinha Gonzaga
+
+Site Instituto Moreira Salles
+Site Multirio
+Site Musica Brasilis
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/8914` — `itens/20.500.12156.1_8914/`
+- `20.500.12156.1/8858` — `itens/20.500.12156.1_8858/`
+- `20.500.12156.1/8855` — `itens/20.500.12156.1_8855/`
+- `20.500.12156.1/8856` — `itens/20.500.12156.1_8856/`
+- `20.500.12156.1/8909` — `itens/20.500.12156.1_8909/`
+- `20.500.12156.1/8910` — `itens/20.500.12156.1_8910/`
+- `20.500.12156.1/8911` — `itens/20.500.12156.1_8911/`
+
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+---
+id: 22940
+url: "https://brasilianafotografica.bn.gov.br/?p=22940"
+titulo: "Cronologia de João Stamato (1886 – 1951)"
+autor: "Andrea Wanderley"
+data: "2021-02-09T16:56:29+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/7789", "20.500.12156.1/4860"]
+fetched_at: "2026-09-10T10:07:08.047Z"
+---
+
+# Cronologia de João Stamato (1886 – 1951)
+
+Cronologia do fotógrafo João Stamato (1886 – 1951), pioneiro do cinema nacional
+ 
+João Stamato / O Jornal 4 de novembro de 1951
+ 
+1886 – Em 28 de fevereiro, nascimento de João Stamato, em São Carlos, em São Paulo, um dos 12 filhos do italiano Giuseppe Stamato (1861-1935) e Felicia Chiffoni Stamato (1870-1952). Eram seus irmãos Antenor, Carlos, Júlio (? – 1914), Leonor (? – 1927), Luisa, Maria de Lourdes (? – 1927), Mariana, Matilde, Olga, Rafael, Ricardina e a irmã adotiva Ida Ricardi.
+1905 – Em São Paulo, abriu um pequeno estúdio fotográfico com laboratório.
+1907 – Foi o fotógrafo do curta-metragem Dançarina Descalça, dirigido pelo italiano Guelfo Andalo (? – 1945), estrelado por Cristiano Reis e Anita Pelisser.
+Atuava como fotógrafo em São Paulo e enviou para a redação do Correio Paulistano registros do funeral de Miranda de Azevedo, realizado na Matriz de Santa Cecília (Correio Paulistano, 14 de março de 1907, quarta coluna).
+Participou de um suntuoso almoço oferecido pela Câmara Municipal de Santos ao então governador de São Paulo, Jorge Tibiriçá Piratininga (1855 – 1928)(Correio Paulistano, 28 de agosto de 1907, quinta coluna).
+1909 - Na coluna de “Crônica Social”, foi anunciado seu aniversário e ele foi identificado como fotógrafo (Correio Paulistano, 28 de fevereiro de 1909, sexta coluna).
+Fechou seu estúdio fotográfico, comprou uma câmera Pathê e tornou-se o cinegrafista oficial do cinema Radium, na rua São Bento, 59, em São Paulo. A sala de exibição havia passado por uma transformação completa (Correio Paulistano, 2 de junho de 1909, primeira coluna).
+Correio Paulistano, 11 de junho de 1909
+Dirigiu e foi o fotógrafo do documentário Revista Militar do Campo da Mooca, de 24 minutos e estrelado por Manoel Joaquim de Albuquerque Lins.
+1910 - Fundou a São Paulo Film e foi o produtor de Imigração e Colonização no Estado de São Paulo, primeiro documentário de longa-metragem do cinema brasileiro.
+Dirigiu e foi o fotógrafo dos documentários Segunda-feira de Páscoa na Cantareira e Terceiro Match de Futebol Corinthians e Brasileiros. Esse último foi um curta-metragem, registrando um jogo de futebol entre o time Corinthians inglês e o Atlectic, no Velódromo Paulistano, com o resultado de 8 x 2 para o Corinthians.
+Era o cinegrafista oficial da Comissão Geológica e Geográfica do Estado de São Paulo.
+Mudou-se para o Rio de Janeiro.
+Por volta deste ano, foi contratado pelo fotógrafo e diretor de cinema Alfredo Musso (18? – 19?) e passou uma temporada no Rio Grande do Sul, onde produziu registros de temas agrícolas que, em 1911, foram enviados para a Exposição Internacional de Agricultura em Roma e em Turim.
+1911/1912 - Stamato participou da viagem em que um grupo de cientistas e engenheiros, entre setembro de 1911 e fevereiro de 1912, percorreu os vales do São Francisco e Tocantins. Junto com os funcionários da Estrada de Ferro Central do Brasil e do Instituto Oswaldo Cruz, responsáveis pelos estudos da linha que, partindo de Pirapora (Minas Gerais), deveria alcançar Belém (Pará), Stamato documentou a jornada, registrando as casas, costumes e pessoas, demonstrando conhecimento das técnicas, além de sensibilidade para fotografar a vida naqueles sertões. Seu assistente era Cipriano Segur (Estado do Pará, 20 de janeiro de 1912, última coluna).
+Segundo uma nota do artigo Expedições científicas, fotografia e intenção documentária: as viagens do Instituto Oswaldo Cruz (1911-1913):
+“Uma sequência de imagens de um batelão vencendo uma corredeira sugere que João Stamato, na Expedição Machado e Martins, ao contrário de seus colegas das outras viagens, pode ter recorrido a filmes flexíveis de nitrato de celulose, já disponíveis em escala comercial desde 1902. O uso de placas de vidro teria dificultado significativamente a rápida operação de substituição das placas, que uma sequência desse tipo requereria. Cabe observar também que não são conhecidos negativos em vidro dessa expedição”
+Uma das fotografias de sua autoria, Fazendo farinha, produzida durante essa viagem, em 1911, em Itagary, na Bahia, é, de certa forma, muito semelhante a uma fotografia de autoria de Flávio de Barros, realizada durante a Guerra de Canudos, também na Bahia, em 1897.
+ 
+João Stamato. Fazendo farinha, 1911. Itagary, Bahia / Acervo Casa de Oswaldo Cruz
+ 
+Flavio de Barros. 400 jagunços prisioneiros, 2 de outubro de 1897. Canudos, Bahia / Acervo Museu da República / Imagem recuperada digitalmente pelo Instituto Moreira Salles
+ 
+Viajou com o ministro da Agricultura, Pedro Manuel de Toledo (1860 -1935), a Montevidéu. Voltou ao Brasil a bordo do paquete alemão Cap Arcona (Gazeta de Notícias, 30 de maio de 1912, sexta coluna).
+1913 – Esteve em Cataguazes, em Minas Gerais, contratado pela empresa Paschoal, onde filmou vários aspectos da cidade. O resultado seria exibido em poucos dias no Cinema Recreio Cataguazense (O Paiz, 9 de março de 1913, quarta coluna).
+Montou um laboratório na Praça XV.
+1914 – Seu irmão, Júlio Stamato, faleceu a caminho da Europa, no navio Duca di Genova, em 2 de fevereiro (O Imparcial: Diário Illustrado do Rio de Janeiro, 23 de junho de 1914, sexta coluna).
+Conheceu Luiz de Barros (1893 – 1982), que havia chegado da Itália com sua mulher, a atriz italiana Gita de Barros (1897 – 1994). Em seu livro, Minhas Memórias (1978), Barros escreveu:
+“…conheci o saudoso João Stamato, que tinha um rudimentar laboratório instalado numa dependência da Academia do Comércio ali na Rua Sete de Setembro, esquina da Praça 15, onde, por muito tempo, existiu um vendedor de pássaros. Aquele laboratório me encantou. Revelava-se, então, enrolando o filme em volta de grandes tambores engradados, cabendo a eles, geralmente, de 50 a 160 metros de filme de cada vez. e numas grandes banheiras côncavas, com os banhos, o rolo era colocado de forma que a parte de baixo entrava no banho e a gente, com uma manivela, rodava o mesmo para que o filme, em cada volta, fosse mergulhado no revelador. Uma beleza!”
+Stamato foi o fotógrafo de A viuvinha, filme baseado no livro de José de Alencar (1829 – 1877), sob a direção de Luiz de Barros (1893 – 1982) e estrelado por Linda Bianchi, pela italiana Gita de Barros (1897–1994) e pelo próprio Luiz de Barros. A maior parte do filme foi realizado no Clube Dramático da rua 24 de maio.
+1915 – Casou-se com  Thereza Funari Stamato, em Taquaritinga, ativo agente nesta praça da Companhia Cinema Color de São Paulo (O Imparcial: Diário Illustrado do Rio de Janeiro, 6 de março de 1915, segunda coluna). Tiveram cinco filhos.
+Foi o fotógrafo do documentário Polyterpsia, filmado em Niterói.
+1916 - Foi o fotógrafo do filme Perdida, dirigido por Luiz de Barros (1893–1982) e estrelado por Leopoldo Froes (1882–1932), Érico Braga (1889 – 1962) e Yole Burlini (18? – 19?). Ele e o diretor brigaram e ele foi substituído por Paulino Botelho.
+Também foi o fotógrafo de Entre o amor e a arte, que estreou no Cine Avenida em 16 de novembro, sob a direção de Charles F. MacLaren e estrelado por Duque, Gaby, Miss Ray, Francisco Marzullo e Emilio Campos.
+ 
+João Stamato focalizando Gaby no set de filmagem de Entre a arte e o amor / O Jornal, 4 de novembro de 1951
+ 
+Stamato era o operador da Anglo Brazilian Cinematographic Co (A Notícia, 15 de julho de 1916, última coluna).
+Sua irmã Mathilde casou-se com Francisco Perrone, recém formado na Faculdade de Medicina (Jornal do Commercio, 11 de dezembro de 1916, terceira coluna).
+1917 - Nascimento de seu filho, o futuro cineasta Fernando Stamato (1917-1993)(O Imparcial: Diário Illustrado do Rio de Janeiro, 28 de junho de 1917, segunda coluna).
+Vinte anos após a morte de Diogo da Rocha Figueira, conhecido como Dioguinho (1863-1897), um criminoso do interior de São Paulo, foi lançado o filme Dioguinho, que contava as façanhas do “bandido elegante”. Após uma perseguição policial, foi dado como morto, mas seu cadáver, no entanto, jamais foi encontrado. Esta produção, rodada em 1916, com fotografia de João Stamato, possui duração de 72 minutos. Produzido pelo estúdio Paulista Filme, direção do italiano Guelfo Andaló (? – 1945) e com elenco formado por Antônio Latari, Elvira Latari, Georgina Marchiani e Antônio Rolando.
+Estreia em 24 maio do filme Pátria Brasileira, do qual foi o fotógrafo. A direção foi do italiano Guelfo Andalo (? – 1945) e os atores foram Antônio Latarim Elvira Latari e Georgina Marchiani. O poeta Olavo Bilac (1865 – 1918) dirigiu uma das cenas do filme (Para Todos, primeira quinzena de novembro de 1956).
+Foi também o fotógrafo do filme A Quadrilha do Esqueleto, dirigido por Eduardo Arouca e estrelado pelo próprio, além de Mário Assunção e Nella Berti.
+Casamento da irmã adotiva de Stamato, Ida Ricardi, com o comerciante João Campello Junior (Jornal do Commercio, edição da tarde, 6 de outubro de 1917, segunda coluna).
+Ladrões invadiram a casa onde Stamato residia com a família, na rua Riachuelo, 156, e roubaram uma máquina fotográfica e outros objetos de valor (O Paiz, 25 de outubro de 1917, terceira coluna).
+1918 - Baseado na obra do escritor português Camilo Castelo Branco (1825–1890), lançamento do filme Amor de Perdição, sob a direção de José Vianna, com fotografia de João Stamato, estrelado por Eduardo Arouca, João Ayres e Esther Cordeiro.
+1919 – Em junho, estreia do filme Ubirajara, baseado na obra de José de Alencar (1829 – 1877), dirigido por Luiz de Barros (1893–1982), com quem havia se reconciliado, e estrelado por Otília Amorim (1894–1970), Manoel F. Araujo (1880 – 1940) e pelo próprio Luiz de Barros. Produzido pela Guanabara-Film, foi o filme de estreia do ator e futuro dono da Cinédia, Adhemar Gonzaga (1901 – 1978).
+ 
+Correio da Manhã, 28 de junho de 1919
+ 
+Stamato, identificado como antigo operador da Guanabara Film, e Antonio Couto Sobrinho desligaram-se da empresa, mas continuariam a produzir filmes sob a marca Rio Film (A Época, 28 de setembro de 1919, quarta coluna).
+1920 – Em 28 de janeiro, estreia do curta-metragem Convém martelar, do qual Stamato foi o fotógrafo. Com duração de 20 minutos, foi dirigido por Manoel F. Araujo (1880  1940) e pelo português Antonio Silva (1886 – 1971). Foi estrelado pelo próprio Araújo, por Carlos Barbosa e por Adhemar Gonzaga (1901 – 1978). Na época, era associado da Amazônia Film.
+Em 26 de abril, estreia de Coração de Gaúcho, do qual Stamato também foi o fotógrafo. Baseado na obra de José de Alencar (1829 – 1877), dirigido por Luiz de Barros (1893–1982) e estrelado por Antônia Denegri (1900 – 1935), Manoel F. Araujo (1880 – 1940) e pelo próprio Luiz de Barros.
+ 
+Cena do filme Coração de Gaúcho com Manoel Araújo e Antônio Silva / Cinearte, 1º de setembro de 1936
+ 
+Ele e Vicente Capelaro foram identificados como artistas que no silêncio de seus laboratórios e sem os “reclamos bombásticos” têm-nos dados sempre produções artísticas elevando a cinematografia nacional ao nível em que deve estar (Correio da Manhã, 14 de outubro de 1920, penúltima coluna).
+Nascimento de José, filho de João e Thereza Stamato (Jornal do Commercio, edição da tarde, 30 de outubro de 1920, segunda coluna).
+1921/1922 – Repassou seus equipamentos e laboratório para a Brasília Filme, de Salvador Aragão. Na companhia, que era também uma escola de cinema, realizou algumas reportagens e fez créditos e intertítulos para filmes estrangeiros.
+1923 - Era o proprietário da Ita-Film, produtora cinematográfica nacional, e recebeu profissionais da Gazeta de Notícias em sua empresa (Gazeta de Notícias, 25 de abril de 1923, quinta coluna).
+1927 – Falecimento de sua irmã, Leonor Stamato (A Noite, 9 de maio de 1927, primeira coluna).
+Em São Paulo, falecimento de sua irmã, Maria de Lourdes Stamato (A Noite, 30 de agosto de 1927, segunda coluna).
+1928 - A Belo Horizonte Films, sob a direção de Thiers Teóphilo do Bom Conselho e do professor Manoel Tallon, tentou contratar João como operador (Cinearte, 18 de julho de 1928).
+
+1929 - Ele e Luiz Seel dirigiram o icônico Macaco Feio, Macaco Bonito (1929), o primeiro curta-metragem de animação brasileiro efetivamente preservado. Seu estilo é semelhante ao dos irmãos norte-americanos Max (1883 – 1972) e Dave Fleischer (1894 – 1979), responsáveis pela transformação de personagens de história em quadrinhos em desenhos animados como Betty Boop, Popeye e Super-Homem. O primeiro filme animado feito no Brasil, O Kaiser (1917), produzido pelo cartunista Álvaro Marins (1891 – 1949), também conhecido como Seth, é um curta que satiriza a Alemanha e seus sonhos imperiais de dominar o mundo. Estreou no Cinema Pathé, na Cinelândia. Entretanto, este documento está perdido.
+
+ 
+Era o responsável pelos trabalhos de câmera e laboratório do filme de estreia de Gentil Roiz (1889 – 1975) no Rio, na época intitulado A Religião do Amor, estrelado por Gina Cavallieri, Neusa Dora e Raul Schnoor e produzido pela Aurora Film. Foi anunciado que quando terminassem essas filmagem, produziria pela Ita Film, de sua propriedade, um filme sob a direção de Manoel F. Araújo (1880 – 1940) (Cinearte, 9 de janeiro 1929, Cinearte, 17 de abril de 1929 e Cinearte, 16 de outubro de 1929).
+ 
+Cena de A Religião do Amor / Cinearte, 13 de março de 1929, página 4
+ 
+1930 - O cinematógrafo de João Stamato ficava no Beco da Carioca, nº 24 (Almanak Laemmert, 1930).
+Colaborou com Gentil Roiz (1899 – 1975) em Paralelos da Vida, filme inacabado.
+Auxiliou a filmagem de um filme dirigido por Álvaro Marins (1891 – 1949), conhecido como Seth, sobre a teoria do funcionamento do serviço telefônico automático (Cinearte, 28 de maio de 1930). Seth foi, como já mencionado, o autor do primeiro desenho animado brasileiro, Kaiser, exibido em 1917.
+Um incêndio no laboratório da Ita-Film, de sua propriedade, destruiu alguns trechos do filme Paralelos da Vida, que ele estava fotografando para a Aurora Film e todo o seu material de filmagem (Cinearte, 3 de dezembro de 1930).
+1932 – Com sede na rua da Lapa, 95, fundação, em 1º de fevereiro, da Associação Brasileira de Produtores Cinematográficos. Stamato, Fausto Moniz e Luiz Leal eram do conselho fiscal da entidade, presidida por Armando Carijó, tendo como vice-presidente Adhemar Gonzaga e, como tesoureiro, Alberto Botelho. O secretário era Eurico de Oliveira (Diário Carioca, 27 de janeiro de 1932, primeira coluna; Cinearte, 16 de março de 1932).
+Stamato integrava uma comissão da Associação Brasileira de Produtores Cinematográficos que foi ao Palácio Rio Negro, em Petrópolis, entregar ao presidente da República, Getulio Vargas (1882 – 1954), o título de presidente de honra da entidade. Os outros diretores eram Adhemar Gonzaga, Alberto Botelho, Antão Correia da Silva, Armando Valle, Carlos Eugênio, Eurico Oliveira, Humberto Mauro, Jayme Pinheiro, Luis Seel e Oduvaldo Vianna (Diário Nacional: a Democracia em Marcha (SP), 4 de março de 1932, quarta coluna).
+Em 4 de abril, promulgação do Decreto nº 21.240, de 4 de Abril de 1932 – “Nacionalizar o serviço de censura dos filmes cinematográficos, cria a “Taxa Cinematográfica para a educação popular e dá outras providências”.
+“Após anos de reivindicações daqueles que desempenhavam as atividades cinematográficas, em 1932 o Decreto-lei nº. 21.240 foi aprovado por Getulio Vargas e trata da nacionalização do serviço de censura dos filmes, cria a “Taxa Cinematográfica para a Educação Popular”, obriga as salas de cinema a exibirem um complemento nacional em cada sessão e dá outras providências. Esta primeira “reserva de mercado” para o produto nacional garantiu uma pequena sobrevida financeira dos estúdios e laboratórios da época, que presenciou também o surgimento de produtores nacionais independentes. Esse é o marco do início da intervenção do Estado na atividade cinematográfica nacional. Até hoje há dúvidas se a promulgação desse Decreto por esse governo foi uma medida que visava à produção nacional de fato ou se já buscava a manutenção do cinema como ferramenta da política populista” (O Estado e a produção audiovisual).
+A composição da direção da Associação Brasileira  de Produtores Cinematográficos havia mudado: presidente, Carijó; vice-presidente, Alberto Botelho; secretário, Adhemar Gonzaga; tesoureiro, Jayme Pinheiro; procurador, Armando Walls; conselheiros fiscais, Fausto Muniz, Luiz Seel e Stamato; bibliotecário, William Schoucair (Cinearte, 3 de agosto de 1932).
+1933 - João Stamato filmou aspectos da chegada ao Rio de Janeiro de Luiz Severiano Ribeiro (1886 – 1974), principal figura da organização dos Exibidores Reunidos ao Rio de Janeiro. Julio Marc Ferrez (1881 – 1946), filho do grande fotógrafo Marc Ferrez (1843 – 1923), pelo Sindicato dos Exibidores Cinematográficos, foi um dos presentes à chegada de (A Nação, 16 de fevereiro de 1933).
+Lançamento de Brasil Jornal, com filmes nacionais produzidos pelos cinematógrafos Stamato e Antão Corrêa da Silva. O ministro da Marinha, Protógenes Pereira Guimarães (1876 – 1938), foi à preview do programa de atualidades.
+ 
+A Noite Illustrada, 26 de julho de 1933
+ 
+O ministro da Educação, Washington Ferreira Pires (1892 – 1970), deferiu o requerimento de João Stamato que pedia a isenção da taxa de censura para o filme nacional Evitando o perigo. O filme sobre uma excursão a Sete Quedas e às Cataratas do Iguaçu, do Touring Club do Brasil, também foi beneficiado (Diário da Noite, 5 de setembro de 1933, sexta coluna).
+1934 – Criou uma série de curtas-metragens exibida nas edições do cinejornal Lanterna Mágica, que fez escola na maneira de angular as cenas.
+Era diretor da produtora cinematográfica Brasil Jornal Ltda. Além dele, eram sócios da empresa Antão Correia da Silva e Leônidas Detsi Filho (Jornal do Commercio, 21 de junho de 1934, quarta coluna; Correio da Manhã, 8 de julho de 1934).
+ 
+Correio da Manhã, 8 de julho de 1934
+ 
+No Cinema Alhambra, a Associação Brasileira de Produtores Cinematográficos promoveu a exibição de vários filmes nacionais. Trabalhos de João Stamato foram exibidos (Jornal do Brasil, 4 de novembro de 1934, primeira coluna).
+Era proprietário da produtora João & Stamato (Cinearte, 15 de novembro de 1934).
+Produziu o curta-metragem Copacabana, o bairro encantador (Cinearte, 1º de dezembro de 1934).
+1935 - Estreou no Palácio Teatro o Lanterna Mágica nº 5, sobre os jardins do Rio de Janeiro. “Fotografia de João Stamato que inegavelmente está se tornando um de nossos melhores cinegrafistas”(Cinearte, 1º de março de 1935).
+Falecimento de José Stamato, pai de João (Diário da Manhã, 16 de abril de 1935, segunda coluna).
+Ele, A. F. Castro e Edgar Brasil, considerados três dos melhores cinegrafistas do Brasil, participavam da Cinédia “o complemento brasileiro preferido pelos exibidores” (Cinearte, 1º de dezembro de 1935).
+ 
+Cinearte, 1º de deembro de 1935
+ 
+1936 - Representando a Lanterna Mágica, Stamato participou de uma reunião no Departamento de Propaganda, presidida por Lourival Fontes (1899 – 1967), seu diretor (Diário Carioca, 15 de janeiro de 1936).
+ 
+Diário de Notícias, 15 de janeiro de 1936
+ 
+Foi o cinegrafista de dois novos e lindos complementos da Cinédia: São Paulo em 1936 e Filmando Copacabana (Cinearte, 1º de maio de 1936).
+Havia chegado há pouco tempo de uma viagem ao Norte onde, para a Cinédia, filmou Recife, Bahia, Paraíba e a Cachoeira de Paulo Afonso (Cinearte, 1º de junho de 1936).
+Seu filme Lanterna Mágica nº 13 ficou em terceiro lugar no concurso promovido pelo Mês do Cinema Nacional. O primeiro e o segundo lugares foram conquistados por Rio, propagandista da beleza brasileira, da Waldow Film S.A, produzido por Wallace Downey (1902 – 1967) com texto de Cesar Ladeira (1910 – 1969); e por Cachoeira de Paulo Afonso, da Cinédia, filmado por Stamato com texto proferido pelo locutor Dilo Guardia, respectivamente (Diário Carioca, 24 de maio de 1936, quarta coluna; A Noite, 24 de maio de 1936, segunda coluna).
+ 
+Diário Carioca, 29 de maio de 1936
+ 
+Estava trabalhando como operador no filme Bonequinha de Luxo, da Cinédia, e dirigido por Oduvaldo Vianna (1892 – 1972) (A Noite, 30 de junho de 1936, quarta coluna).
+O ator Manoel F. Araújo (1880 – 1940), que participou de muitos filmes com João Stamato, declarou sua admiração pelo cinegrafista (Cinearte, 1º de setembro de 1936).
+Viajou para as Cataratas do Iguaçu com um grupo de excursionistas do Touring Club do Brasil (Gazeta de Notícias, 22 de setembro de 1936, segunda coluna).
+1937 - Em matéria da Cinearte, Stamato foi elogiado. Também foi lembrado que a Cinédia o cedeu para que ele trabalhasse com o ator, cantor e diretor de cinema brasileiro, Raul Roulien (1905 – 2000), no curta-metragem O meu colégio. Roulien é considerado o primeiro galã brasileiro em Hollywood (Cinearte, 1º de janeiro de 1937).
+ 
+Cinearte, 1º de janeiro de 1937
+ 
+Ele e Edgar Brasil foram os fotógrafos de Vozes da Floresta, novo complemento de valor da Cinédia (Cinearte, 1º e março de 1937).
+No Palácio, na Cinelândia, apresentação do curta-metragem do Lanterna Mágica nº 19, Rumando ao Rio, de J0ão Stamato. Nunca se viram tão lindos aspectos de nossa cidade-sublimes como estes (Jornal do Brasil, 16 de março de 1937, penúltima coluna).
+No concurso do Mês do Cinema Brasileiro, instituído pela Associação Cinematográfica de Produtores Brasileiros, o curta-metragem de João Stamato, Lanterna Mágica nº 21, ficou em terceiro lugar (A Noite, 27 de março de 1937, primeira coluna).
+Trabalhava para a Cinédia e também por conta própria (Dom Casmurro, 17 de junho de 1937, primeira coluna).
+Estava em cartaz no Glória o curta-metragem Proteção à Saúde Escolar, de João Stamato (Jornal do Brasil, 12 de outubro de 1937, quinta coluna; Gazeta de Notícias, 12 de outubro de 1937, primeira coluna).
+Pela Cinédia, Stamato estava em Corumbá, no Mato Grosso, acompanhando as manobras militares pelo general Deschamps Cavalcanti (Gazeta de Notícias, 20 de outubro de 1937, terceira coluna).
+Era o responsável pela nova Revista Cinédia (Fon-Fon, 18 de dezembro de 1937).
+ 
+Fon-Fon, 18 de dezembro de 1937
+ 
+1938 - Para documentar a visita do presidente Getulio Vargas (1882 – 1954) à sua terra natal, Stamato embarcou para o Sul (O Imparcial, 9 de janeiro de 1938, última coluna).
+Seu filho, Fernando, funcionário do Departamento Nacional de Propaganda, ficou noivo de Lourdes Sales Soares Dutra (Diário Carioca, 25 de junho de 1938, terceira coluna). Casaram-se no dia 8 de dezembro do ano seguinte (Diário Carioca, 8 de dezembro de 1939, terceira coluna).
+Ele e Jaime de Andrade Pinheiro, proprietário da Pan-Film do Brasil, formavam uma comissão que estava convocando profissionais de cinema para uma reunião na sede da Associação Brasileira de Produtores Cinematográficos quando seriam discutidos temas referentes aos interesses dos trabalhadores do setor assim como o desenvolvimento técnico e artístico do cinema nacional (Jornal do Brasil, 5 de agosto de 1938).
+1940 – Recebeu elogios por seu curta-metragem Vida de Antônio Parreiras (Jornal dos Sports, 11 de janeiro de 1940).
+As Bodas de Prata de João e Thereza Stamato foram comemoradas com a realização de uma missa em ação de graças na Igreja de Santo Antônio dos Pobres (Diário Carioca, 27 de fevereiro de 1940, quinta coluna).
+Stamato foi identificado como destacado produtor de cinejornais e curtas-metragens. Fez um acordo com a Distribuidora de Filmes Brasileiros Ltda (A Batalha, 19 de junho de 1940, quinta coluna).
+ 
+A Scena Muda, 2 de julho de 1940
+ 
+Falecimento de sua avó materna, Ricarda Giffone (A Noite, 4 de dezembro de 1940, sétima coluna).
+1941 – Trabalhava como cinematografista do Departamento de Imprensa e Propaganda e embarcou para Manaus (Diário de Pernambuco, 25 de novembro de 1941, última coluna).
+Sua nora, Lourdes Soares Dutra (1917-1941), casada com seu filho, Fernando, faleceu no parto da filha.
+1942 - Operou com Firmo Neto (1916 – 1998) O Coelho sai, primeiro filme falado do cinema pernambucano, dirigido por Newton Paiva, estrelado por Alvarenga (1911 – 1978) e produzido pela Meridional Filmes S.A. Era um musical em peto e branco que contava a história da saudade de uma jovem pelo Recife, tendo como pano de fundo a cultura e o carnaval pernambucanos. A música do filme era do maestro Nelson Ferreira (1902 – 1976) e originou o nome do longa (Scena Muda, 2 de fevereiro de 1943; Cinema Pernambucano).
+Foi o fotógrafo do curta-metragem Debret e o Rio de hoje (Diário de Pernambuco, 16 de abril de 1942).
+ 
+Diário de Pernambuco, 16 de abril de 1942
+ 
+Foi publicada a ata de uma reunião da Distribuidora de Filmes Brasileiros S.A., realizada em 7 de abril (O Jornal, 8 de agosto de 1942).
+1944 – Como cinegrafista do Serviço de Informação Agrícola do Ministério da Agricultura, onde foi contratado para substituir Lafayette Cunha,  filmou aspectos da reunião de técnicos agrícolas, no Recife (Diário de Pernambuco, 12 de maio de 1944, quinta coluna).
+1945 – Era cinegrafista do serviço de Documentação do Ministério da Agricultura (A Manhã, 23 de junho de 1945, segunda coluna).
+Fernando foi cinegrafista da Força Expedicionária Brasileira durante a Segunda Guerra, trabalhando como correspondente na Itália. Viúvo, partiu para os campos da batalha para documentar os movimentos das tropas brasileiras. Durante o conflito mundial, em pleno front, se apaixonou pela italiana Rossana Bonfatti. Casaram-se em Pistóia (Itália) e, no final da guerra, tiveram uma menina, nascida em 14 de setembro de 1945. No ano seguinte, nasceria outro filho.
+ 
+Memorabilia de Fernando Stamato / Acervo Museu da Vitória Blogspot
+ 
+João Stamato foi o responsável pela filmagem da Cachoeira Dourada, em Goiânia, uma parceria entre o governo de Goiás e o Ministério da Agricultura (A Manhã, 7 de outubro de 1945, quinta coluna).
+1946 – Trabalhando para o Ministério da Agricultura, realizou um documentário sobre a extração de gás e de petróleo na Bahia (O Jornal, 18 de janeiro de 1946, quinta coluna).
+Realizou também os documentários Aspectos da economia goiana, Goiânia e Goiás de ontem e de hoje, além do curta-metragem Nem te ligo (A Manhã, 20 de março de 1946, última coluna).
+1947 - Foi publicado o artigo Como nasceu o cinema, de João Stamato (O Jornal, 5 de outubro de 1947).
+1948 – Foi o responsável por uma sequência do filme Mãe, produzido pela Cinédia. Publicação de uma crítica do filme (O Jornal, 12 de outubro de 1948).
+1950 – Embarcou para Porto Alegre (Diário Carioca, 26 de outubro de 1950, última coluna).
+1951 – Faleceu no Rio de Janeiro, em 25 de outubro de 1951, vítima de uma síncope do coração, quando saía do Ministério da Agricultura. Foi enterrado no Cemitério João Batista e sua missa de sétimo dia realizou-se na Igreja de São Francisco de Paula. Na épica era cinegrafista do Ministério da Agricultura e havia chegado há pouco tempo do Norte do país onde filmou os trabalhos da Usina Hidroelétrica de São Francisco. Pela primeira havia filmado a cores, um dos maiores desejos de sua vida (O Jornal, 26 de outubro de 1951; Diário Carioca, 26 de outubro de 1951, última coluna; A Noite, 27 de outubro de 1951, quinta coluna; Diário de Notícias, 30 de outubro de 1951, última coluna).
+ 
+O Jornal, 26 de outubro de 1951
+ 
+O crítico de cinema Pedro Lima escreveu o artigo Para a história do cinema brasileiro sobre a vida de João Stamato (O Jornal, 4 de novembro de 1951).
+1957 – Em artigos João Stamato foi citado como um dos pioneiros do cinema nacional (Gazeta Esportiva, 11 de janeiro de 1957 e Fon-Fon, 12 de março de 1957).
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/7789` — `itens/20.500.12156.1_7789/`
+- `20.500.12156.1/4860` — `itens/20.500.12156.1_4860/`
+
diff --git a/wordpress/22999-cronologia-de-antonio-luiz-ferreira-18-19.md b/wordpress/22999-cronologia-de-antonio-luiz-ferreira-18-19.md
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+++ b/wordpress/22999-cronologia-de-antonio-luiz-ferreira-18-19.md
@@ -0,0 +1,68 @@
+---
+id: 22999
+url: "https://brasilianafotografica.bn.gov.br/?p=22999"
+titulo: "Cronologia de Antonio Luiz Ferreira (18? – 19?)"
+autor: "Andrea Wanderley"
+data: "2021-02-17T12:34:34+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/6963", "20.500.12156.1/1795", "20.500.12156.1/6780", "20.500.12156.1/6709", "20.500.12156.1/3287"]
+fetched_at: "2026-09-10T10:07:11.125Z"
+---
+
+# Cronologia de Antonio Luiz Ferreira (18? – 19?)
+
+Cronologia de Antonio Luiz Ferreira (18? – 19?)
+1885 – Pela primeira vez a Photographia Antonio Luiz Ferreira foi anunciada no Almanak Administrativo, Mercantil e Industrial do Rio de Janeiro. O estabelecimento ficava na rua da Conceição, nº 87.
+1888 – Em 13 de maio, fotografou a multidão em torno do Paço Imperial quando a Lei Áurea foi assinada pela princesa Isabel.
+ 
+Antonio Luiz Ferreira. Assinatura da Lei Áurea no Paço Imperial, 13 de maio de 1888. Rio de Janeiro, RJ / Acervo IMS
+ 
+Em 17 de maio, fotografou a missa campal realizada no Campo de São Cristóvão, uma celebração de Ação de Graças pela libertação dos escravos no Brasil, decretada quatro dias antes, com a assinatura da Lei Áurea. A festividade contou com a presença da princesa Isabel (1846 – 1921), regente imperial do Brasil, e de seu marido, o conde D´Eu (1842 – 1922), príncipe consorte, que, na foto, está ao lado da princesa, além de autoridades e políticos, dentre eles o escritor Machado de Assis (1834 – 1908).
+ 
+Antônio Luiz Ferreira. Missa campal celebrada em ação de graças pela Abolição da Escravatura no Brasil, 1888. São Cristóvão, Rio de Janeiro. / Acervo IMS
+ 
+ 
+Ferreira, referido como conhecido fotógrafo, levou à redação do Diário de Notícias e também na de O Paiz a fotografia da Missa Campal, que fazia honra ao artista porque é de uma fidelidade pasmosa. Media 52 x 32 cm e era emoldurada em pelúcia auriverde e suas margens tinha iluminuras realizadas pelo calígrafo R. Santos. Seria ofertada à princesa Isabel (Diário de Notícias, 3 de junho de 1888, sexta coluna; e O Paiz, 3 de junho de 1888, sétima coluna).
+ 
+O Paiz, 3 de junho de 1888
+ 
+A prova da fotografia da missa campal, que ficou em exposição na papelaria Guimarães & Ferdinando, foi entregue à princesa em junho de 1888 juntamente com as outras 12 que Ferreira havia produzido em torno dos festejos pela abolição da escravatura (Diário de Notícias, 9 de junho de 1888, na segunda coluna).
+Fotografou o Paço do Rio de Janeiro e exercícios militares de celebração pela volta de dom Pedro II e da imperatriz Tereza Christina da Europa, ocorrida em 22 de agosto de 1888.
+1891 – Falecimento de Mário, filho de Ferrreira e de Elisa ou Luisa Christini, devido em um incêndio em sua casa na rua de Guaratiba, nº 53.  Mário e outro filho ou filha do fotógrafo estavam brincando com uma caixa de fósforos, causa do acidente. A mãe ficou com as mãos bastante queimadas por ter tentado salvar as crianças (Jornal do Brasil, 11 de novembro de 1891, quinta coluna; e Jornal do Brasil, 12 de novembro de 1891, segunda coluna).
+1893 –  Seu ateliê fotográfico, a Photographia Central, ficava na rua da Guarda Velha, atual avenida 13 de maio, nº 1, no Largo da Carioca (Almanak Laemmert, 1894, 1896, 1898, 1899).
+ 
+Detalhe da foto de Marc Ferrez Largo da Carioca, c, 1890. Rio de Janeiro, RJ / Acervo IMS
+ 
+Almanak Laemmert, 1894
+ 
+Detalhe da fotografia de Marc Ferrez. Largo da Carioca com chafariz com 35 bicas, c. 1895. Rio de Janeiro, RJ / Acervo IMS
+ 
+1894 – Fotografou, no Arpoador, a comitiva que participou de um piquenique em Vila Ipanema, promovido pelo incorporador da Sociedade Anônima Copacabana Sport, Gonçalves Junior (Jornal do Commercio, 29 de maio de 1894, penúltima coluna; 6 de junho de 1894, quarta coluna).
+1895 – No mesmo endereço da Photographia Central, rua da Guarda, nº 1, ficava o gabinete cirúrgico-dentário do dr. J. Pontes Lopes & Gonçalves (Jornal do Brasil, de 1895, 8 de julho de 1895, terceira coluna).
+1897 – Um retrato do coronel Moreira César, (1850 – 1897), morto em 4 de março de 1897 na Guerra de Canudos, encontrava-se na Photographia Central, de Ferreira, ou na Casa Nalté, na rua do Ouvidor (Jornal do Commercio, 10 de março de 1897, penúltima coluna).
+1898 – Na Photographia Central, venda de folhinhas, anunciadas como bons presentes de festas, com fotografias do cruzador Adamastor e de seus marinheiros (Cidade do Rio, 27 de dezembro de 1898, penúltima coluna).
+1899 – Anúncio de venda de uma máquina detectiva 9 x 12 com 12 chassis, o que há de mais aperfeiçoado, quase nova, na Photographia Central. Eram câmeras fotográficas sem tripé (Jornal do Commercio, 22 de abril de 1899, primeira coluna).
+Por ocasião da visita do presidente da Argentina, Julio Argentino Roca (1843 – 1914) ao Rio de Janeiro, Ferreira foi um dos integrantes da comissão de ornamentação e iluminação das ruas, no caso do Largo da Carioca, onde ficava seu ateliê (Jornal do Commercio, 9 de agosto de 1899, sétima coluna).
+1901 - Seu ateliê continuava a se localizar na rua da Guarda Velha, nº 1, e foi anunciado pela última vez no Almanak Laemmert de 1903 (Almanak Laemmert, 1901, 1902, 1903).
+1902 - Publicação de dois álbuns realizados por Antonio Luiz Ferreira, que havia sido contratado para documentar o edifício sede da Biblioteca Nacional, na rua do Passeio, onde a instituição permaneceu até 1910. Um, com as cópias em papel albuminado e outro, com as cópias produzidas em platina, que apresentam melhores atributos de estabilidade e permanência.
+ 
+Antonio Luiz Ferreira. Álbum de vistas da Bibliotheca Nacional, 1902 / Acervo FBN
+ 
+1903 - Nascimento de Antônio, filho de Ferreira e de Luiza ou Elisa Christini (Jornal do Brasil, 10 de abril de 1903, terceira coluna).
+Houve um incêndio no prédio onde ficava na Photographia Central, causado por um restaurante que também ficava no edifício (Jornal do Brasil, 13 de agosto de 1903, penúltima coluna; e Almanak Gazeta de Notícias, 1904).
+1904 – Estavam sendo vendidas máquinas fotográficas quase novas na Photographia Central (Jornal do Brasil, 13 de dezembro de 1904, terceira coluna).
+1905 - Ferreira pediu licença para retirar materiais que lhe pertenciam do prédio onde ficava seu ateliê fotográfico, na rua Treze de Maio, n° 1, antiga rua da Guarda (Gazeta de Notícias, 5 de maio de 1905, primeira coluna).
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/6963` — `itens/20.500.12156.1_6963/`
+- `20.500.12156.1/1795` — `itens/20.500.12156.1_1795/`
+- `20.500.12156.1/6780` — `itens/20.500.12156.1_6780/`
+- `20.500.12156.1/6709` — `itens/20.500.12156.1_6709/`
+- `20.500.12156.1/3287` — `itens/20.500.12156.1_3287/`
+
diff --git a/wordpress/23162-serie-avenidas-e-ruas-do-brasil-ix-ruas-e-panoramas-do-bairro-do-catete.md b/wordpress/23162-serie-avenidas-e-ruas-do-brasil-ix-ruas-e-panoramas-do-bairro-do-catete.md
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+---
+id: 23162
+url: "https://brasilianafotografica.bn.gov.br/?p=23162"
+titulo: "Série “Avenidas e ruas do Brasil” IX – Ruas e panoramas do bairro do Catete"
+autor: "Andrea Wanderley"
+data: "2021-07-14T12:18:44+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/6706", "20.500.12156.1/2770", "20.500.12156.1/8583", "20.500.12156.1/5101"]
+fetched_at: "2026-09-10T10:07:14.143Z"
+---
+
+# Série “Avenidas e ruas do Brasil” IX – Ruas e panoramas do bairro do Catete
+
+Série “Avenidas e ruas do Brasil” IX – Ruas e panoramas do bairro do Catete
+A Brasiliana Fotográfica publica o nono artigo da série Avenidas e ruas do Brasil e convida seus leitores a um passeio pelas ruas do Catete, a partir de fotografias de autoria de Antônio Caetano da Costa Ribeiro (18? – 19?), Augusto Malta (1864 – 1957), Augusto Stahl (1828 – 1877), Georges Leuzinger (1813 – 1892), Juan Gutierrez (c. 1860 – 1897) e Marc Ferrez (1843  1923). São vistas panorâmicas e registros das ruas Conde de Baependy, do Príncipe, da Praça José de Alencar e, finalmente, da Rua do Catete, onde localiza-se o Palácio do Catete, que já foi a residência dos presidentes da República do Brasil e o local do suicídio de Getulio Vargas (1882-1954), em 24 de agosto de 1954, um dos fatos mais dramáticos de nossa história. Hoje abriga o Museu da República, uma das instituições parceiras da Brasiliana Fotográfica.
+ 
+Marc Ferrez. Palácio do Catete – fachada, c. 1890. Rio de Janeiro, RJ / Acervo IMS
+ 
+Acessando o link para as fotografias do Catete disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Augusto Malta. Bonde na Rua do Catete, c. 1920. Rio de Janeiro, RJ / Acervo IMS
+ 
+Georges Leuzinger. Bairro do Catete e morro do Corcovado; a partir da Glória, c. 1866. Rio de Janeiro, RJ / Acervo IMS
+ 
+Augusto Malta. Rua do Catete: aspecto parcial em direção a Botafogo e vista da esquina com Largo do Machado, 1903. Rio de Janeiro, RJ / Acervo Museu da República
+ 
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Links para as outras publicações da série “Avenidas e ruas do Brasil”
+ Série “Avenidas e ruas do Brasil” I – Avenida Central, atual Rio Branco, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 7 de setembro de 2016
+Série “Avenidas e ruas do Brasil” II – A Rua do Imperador em Petrópolis por Klumb, Leuzinger e Stahl, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 26 de junho de 2020
+Série “Avenidas e ruas do Brasil” III – A Rua do Bom Jesus, no Recife, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 6 de agosto de 2020
+Série “Avenidas e ruas do Brasil” IV – A Rua 25 de Março, em São Paulo, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 1º de setembro de 2020
+Série “Avenidas e ruas do Brasil” V – A Rua Direita, a Rua das Mercês e a Rua Macau do Meio, em Diamantina, Minas Gerais, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 22 de outubro de 2020
+Série “Avenidas e ruas do Brasil” VI  – Rua Augusto Ribas e outras, em Ponta Grossa, no Paraná, pelo fotógrafo Luiz Bianchi, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 16 de novembro de 2020
+Série “Avenidas e ruas do Brasil” VII – A Avenida Atlântica, em Copacabana, no Rio de Janeiro, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 23 de dezembro de 2020
+Série “Avenidas e ruas do Brasil VIII – A Rua da Carioca por Cássio Loredano, de autoria de Cássio Loredano, publicada em 20 de janeiro de 2021
+Série “Avenidas e ruas do Brasil” X – A Rua da Ajuda, no Rio de Janeiro, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 9 de novembro de 2021
+Série “Avenidas e ruas do Brasil” XI – A Rua da Esperança, em São Paulo, por Vincenzo Pastore, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 14 de dezembro de 2021
+Série “Avenidas e ruas do Brasil” XII – A Avenida Paulista, o coração pulsante da metrópole, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 21 de janeiro de 2022
+Série “Avenidas e ruas do Brasil” XIII – A Rua Buenos Aires no Centro do Rio de Janeiro, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 19 de julho de 2022
+Série “Avenidas e ruas do Brasil” XIV – A Avenida Presidente Vargas,, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 31 de agosto de 2022
+Série “Avenidas e ruas do Brasil” XV – Misericórdia: rua, largo e ladeira, no Rio de Janeiro, por Cássio Loredano, de autoria de Cássio Loredano, publicada em 8 de dezembro de 2022
+Série “Avenidas e ruas do Brasil” XVI – “Alguma coisa acontece no meu coração”, a Avenida São João nos 469 anos de São Paulo, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 25 de janeiro de 2023
+Série “Avenidas e ruas do Brasil” XVII  e série “O Rio de Janeiro desaparecido” XXIII – A Praia e a Rua do Russel, na Glória, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 15 de maio de 2023
+Série “Avenidas e ruas do Brasil” XVIII – Avenida Beira-Mar, de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal, publicada em 22 de janeiro de 2024
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/6706` — `itens/20.500.12156.1_6706/`
+- `20.500.12156.1/2770` — `itens/20.500.12156.1_2770/`
+- `20.500.12156.1/8583` — `itens/20.500.12156.1_8583/`
+- `20.500.12156.1/5101` — `itens/20.500.12156.1_5101/`
+
diff --git a/wordpress/23174-serie-feministas-gracas-a-deus-ix-mariana-coelho-1857-1954-a-beauvoir-tupiniquim.md b/wordpress/23174-serie-feministas-gracas-a-deus-ix-mariana-coelho-1857-1954-a-beauvoir-tupiniquim.md
new file mode 100644
index 0000000..cfccbc7
--- /dev/null
+++ b/wordpress/23174-serie-feministas-gracas-a-deus-ix-mariana-coelho-1857-1954-a-beauvoir-tupiniquim.md
@@ -0,0 +1,345 @@
+---
+id: 23174
+url: "https://brasilianafotografica.bn.gov.br/?p=23174"
+titulo: "Série “Feministas, graças a Deus!” IX – Mariana Coelho (1857 – 1954), a “Beauvoir tupiniquim”"
+autor: "Andrea Wanderley"
+data: "2021-06-15T12:07:32+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Maria Eugênia Celso Carneiro de Mendonça (1886 – 1963) / Museu Bertha Lutz", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/6578", "20.500.12156.1/5481", "20.500.12156.1/6092"]
+fetched_at: "2026-09-10T10:07:18.071Z"
+---
+
+# Série “Feministas, graças a Deus!” IX – Mariana Coelho (1857 – 1954), a “Beauvoir tupiniquim”
+
+Série “Feministas, graças a Deus!” IX – Mariana Coelho (1857 – 1954), a “Beauvoir tupiniquim”
+ 
+“Por que somos feministas? Eis uma pergunta ingênua de que várias vezes temos sido alvo, por parte do sexo masculino. Respondemos: porque é impossível a realização do progresso sem a vitória da evolução; e o nosso fim principal é precisar e fomentar o progresso feminino”.
+ 
+Mariana Coelho foi uma das mais importantes escritoras e intelectuais do Paraná. Portuguesa, nascida em 10 de setembro de 1857, em Sabrosa, Distrito de Vila Real, imigrou para o Brasil, com sua família, em fins do século XIX, tendo naturalizando-se brasileira em 1939. Espírito brilhante, educadora de prestígio, reconhecida por sua competência profissional e erudição, foi diretora do Colégio Santos Dumont, em Curitiba, de 1902 a 1917.
+ 
+Mariana Carvalho, 1935. Paraná / Acervo Arquivo Nacional
+ 
+“O sexo feminino, da mesma forma que o masculino pode, socialmente falando, subir a escada do progresso. Sendo convenientemente preparada, poderá também exercer livremente qualquer profissão. Senhores oposicionistas da emancipação feminina, aguentem e sem protesto, que já nada vale perante a eloquência desta frase profética, cujo conceito em tudo se vê maravilhosamente realizado: le monde marche! [o mundo caminha]”
+Diário da Tarde (PR), 1º de março de 1901
+Defendeu o direito da mulher ao voto e acreditava na educação como passaporte para a emancipação feminina, tendo dedicado sua vida ao ensino e à literatura. De formação positivista, em sua poesia, em fins do século XIX, criou a metáfora mar de amor, que representaria o amor à humanidade, o desejo do progresso associado à aquisição de cultura e de instrução. Feminista e pacifista, foi uma trabalhadora incansável. Integrava a Federação Brasileira pelo Progresso Feminino (FBPF) e, entre 1923 e 1940, trocou várias cartas com Bertha Lutz (1894 – 1973), presidente da FBPF, uma referência dentro do movimento feminista brasileiro, sobretudo na luta pelo voto da mulher. Mariana também mantinha relações com as feministas Maria Sabina Albuquerque (1898-1991) e Maria Amália Bastos de Miranda Jordão, ambas ligadas à federação.
+ 
+“Permitir, hoje, que a mulher permaneça amarrada ao deplorável poste da ignorância equivale a arriscá-la criminosamente à probabilidade de receber em compensação do seu mais nobre e espontâneo afeto o completo aniquilamento da alma – o que quer dizer a sua principal ruína”.
+Breviário, agosto de 1900
+Em um dos seus ensaios sobre escritoras, a professora Zahidé Luppinaci Muzart (1939 – 2015) a chamou de Beauvoir tupiniquim, em uma alusão à filósofa, escritora e feminista francesa Simone de Beauvoir (1908 – 1986).
+ 
+Simone de Beauvoir (1908 – 1986), por Moshe Milner, 1967
+ 
+Em 1908, Mariana adotou no Colégio Santos Dumont o Método João de Deus, do pedagogo português João de Deus de Nogueira Ramos (1830 – 1896), a partir do qual aprendia-se em quatro meses a ler e escrever corretamente. Um professor habilitado veio de Lisboa para ministrar aulas do método. Além disso, promovia no colégio saraus artísticos, literários e musicais. Em 1916, o Colégio foi visitado pelo próprio Santos Dumont (1873 – 1932). Posteriormente, Mariana dirigiu a Escola Profissional Feminina República Argentina, onde trabalhou até meados da década de 40, quando se aposentou.
+ 
+A Divulgação, março, abril e maio de 1950
+ 
+ 
+Também em 1908 foi lançado o livro Paraná Mental, de sua autoria, com prefácio do historiador Rocha Pombo (1857 – 1933), sobre os prosadores e poetas do Paraná. Foi impresso pelo governo paranaense para ser apresentado como documento na Exposição Nacional de 1908, no Rio de Janeiro, tendo recebido, no evento, a medalha de prata. Mariana também participou da exposição com delicada manufatura onde sobressaem os bordados brancos e com uma aquarela de flores. Recebeu uma medalha de prata na sessão de Artes Aplicadas.
+ 
+Livro Paraná Mental, de Mariana Coelho
+ 
+ 
+Em 1933, foi publicado o mais importante de seus livros, A Evolução do Feminismo: subsídios para a sua história, com prefácio de Rocha Pombo, sobre a emancipação da mulher, a mulher na religião, o civismo da mulher na guerra, a ação da mulher na imprensa, nas artes, nas ciências e nas letras, além de um capítulo dedicado à mulher nas diversas modalidades do amor. Fez também uma retrospectiva histórica do feminismo no Ocidente, trazendo à tona nome de mulheres notáveis na luta pelos direitos femininos.
+ 
+Livro A Evolução do Feminino”, de Mariana Coelho, relançado em 2002
+ 
+Seus outros livros foram O Discurso (1902), Um Brado de Revolta contra a Morte Violenta (1935), Linguagem (1937),  Cambiantes: contos e fantasias (1940), ilustrados com desenhos do italiano Guido Viaro (1897 – 1971) e prefaciado por Leôncio Correia (1865 – 1950); e a obra póstuma Palestras Educativas (1956). É patrona da Cadeira nº 30 da Academia Paranaense de Poesia e da Cadeira nº 28  da Academia Feminina de Letras do Paraná. Era sócia do Centro de Letras do Paraná e do Centro Paranaense de Cultura Feminina.
+Colaborou em diversos jornais brasileiros como A República (PR) e O Beijo; e também em revistas paranaenses como A Penna, Galáxia, Vitrix e O Breviário. Entre 1900 e 1901, assinou a coluna “Chronica da Moda”, na Folha da Tarde do Paraná. Em Portugal, escreveu para os jornais O Comercio de Vila Real, Jornal da Manhã e A Voz Pública.
+ 
+ Cronologia de Mariana Coelho (1857 – 1954)
+ 
+“Ora, a mulher que apenas sabe ser dona de casa, é incapaz de viver do seu trabalho, não se pode tornar independente – está fatalmente condenada a ser escrava – ou dos parentes ou dos estranhos, quando não consiga uma miserável pensão para não morrer de fome!” 
+                                                                                                                                                     A Evolução do Feminismo
+ 
+1857 – Mariana Teixeira Coelho nasceu em Sabrosa, no Distrito de Vila Real, em Portugal, em 10 de setembro de 1857. A data foi comprovada com a publicação de sua certidão de batismo na tese de Dyeinne Cristina Tomé, de 2020. Antes os anos 1872 ou 1880 eram considerados como possíveis anos de seu nascimento.
+“Mariana, filha de Manoel Antonio Ribeiro Coelho e sua mulher D. Maria do Carmo Teixeira Coelho, nepta paterna de Felix Ribeiro e Maria Amallia Coelho (já defunto o primeiro) de Lamas da freguezia do mesmo nome de Orelhão, Bispado de Bragança, materna de Antonio Joze de Meireles e Maria Engracia de Valcovo freguesia de Santa Comba da Ermida, nasceo dia dez de setembro de mil oitocentos e cincoenta e sete e foi solemnemente por mim baptizada nesta pia baptismal da Igreja de Cumieira dia vinte cinco do mesmo mez e anno, com imposição dos santos óleos. Foram seus padrinhos: Padre Joze Candido de Carvalho por seu procurador Jeronimo Joze Correa Botelho, que apresentou a competente procuração que reconheço, e D. Mariana Maxima Correa Botelho mulher deste procurador. E para constar fiz este termo que assigno. Cumieira vinte e quatro de setembro de 1857 – (ARQUIVO DISTRITAL DE VILA REAL, 1857, fl. 69verso)”
+Era filha do farmacêutico Manoel Antônio Ribeiro Coelho (c. 1832 – 1882) e de Maria do Carmo Teixeira Coelho (18? – 1911), e irmã do capitão Thomaz Alberto Teixeira Coelho (1859 – 1934), do professor Carlos Alberto Teixeira Coelho (1863 – 1926), de Rita do Rosário Teixeira Coelho (1865 -1888) e de Maria Natividade Teixeira Coelho (1870 – 19?).
+1871 – Seu irmão, Thomaz Alberto Teixeira Coelho (1859 – ?), imigrou para o Brasil para suceder seu tio, o próspero comerciante que atuava em Curitiba, José Natividade Teixeira de Meireles.
+1882 – Falecimento de seu pai, Manoel Antônio Ribeiro Coelho, em 7 de setembro de 1882, em Portugal.
+1888 – Falecimento de sua irmã, Rita do Rosário Teixeira Coelho, em 2 de junho de 1888, em Portugal.
+1892 – Devido a problemas financeiros, imigrou para o Brasil com sua mãe e com sua irmã, Maria Natividade Teixeira Coelho, fixando-se em Curitiba, no Paraná. Partiram do Rio de Janeiro, em 18 de agosto, no paquete Arlindo em direção a Porto Alegre com escalas (Gazeta de Notícias, 29 de agosto de 1892, última coluna).
+1893 –  Sua primeira poesia, Madrigal, foi publicada em agosto na Revista Azul, cujo dono e diretor era Júlio Pernetta (1869 – 1921), irmão do escritor Emiliano Pernetta (1866 – 1921), e o redator, Dario Vellozo (1869 – 1937). Emiliano e Dario, assim como Nestor de Castro e Rocha Pombo, com quem Mariana manteria relações próximas, faziam parte do Movimento Simbolista do Paraná.
+Seu irmão, Carlos Alberto Teixeira Coelho (1866 – 1926), imigrou para o Brasil com sua esposa, Júlia da Conceição Monteiro (c.1872 – ?) e com sua filha, Maria da Conceição, na época com 8 meses. Foi morar em Ponta Grossa, no Paraná. Foi dono de periódicos associados aos ideais do livre-pensamento, do anticlericalismo e do anarquismo.
+1895 – Era uma das colaboradoras do Suplemento Literário do jornal A República (PR) (A República (PR), 27 de outubro de 1895, primeira coluna).
+Integrava como oradora a diretoria do Grêmio das Violetas (A República (PR), 29 de dezembro de 1895, quinta coluna).
+1897 – Publicou o artigo A Noiva, no jornal literário A Penna, dirigido por Romário Martins (1874 – 1948) e Julio Pernetta (1869 – 1921) (A Penna, 18 de abril de 1897).
+Escreveu um artigo sobre o livro Alma Penitente, de Dario Velloso (1885 – 1937), na revista Galáxia, do Centro Literário (A República (PR), 28 de novembro de 1897, quinta coluna).
+1898 – Colaborou na parte literária do Almanach Paranaense, em seu quarto ano de publicação (O Sapo (PR), 18 de dezembro de 1898, primeira coluna).
+1899 - Lançamento, em 21 de dezembro, do jornal literário O Beijo, provavelmente o primeiro dirigido, no Paraná, por uma mulher, Mariana Coelho (Diário da Tarde, 6 de janeiro de 1950, quarta coluna).
+1900 – Seu retrato, acompanhado de uma ligeira biografia, ilustrava a página da oitava edição de O Beijo (A República (PR), 19 de abril de 1900, segunda coluna). Era sua redatora-chefe (A República (PR), 29 de julho de 1900, segunda coluna).
+Tocou violão em um sarau musical e dançante do Grêmio das Violetas, nos salões do Club Curitibano (Diário da Tarde (PR), 23 de outubro de 1900, terceira coluna).
+Sob a direção de Romário Martins (1874 – 1948) e Alfredo Coelho (18? – 19?), em agosto, lançamento, em Curitiba, da revista de arte Breviário, com a participação da prosa de Mariana Coelho. Publicação de artigo de sua autoria, Emancipação da mulher (A Imprensa (RJ), 31 de agosto de 1900, segunda coluna; O Breviário, agosto de 1900, páginas 7 e 8).
+ 
+
+ 
+Começou a assinar a coluna “Chronica da Moda”, do Jornal da Tarde do Paraná (Jornal da Tarde (PR), 17 de setembro de 1900, segunda coluna; Jornal da Tarde (PR), 1º de outubro de 1900, segunda coluna). Antes colaborava com a Gazeta do Povo.
+1901 – Na coluna “Chronica da Moda” abordou a luta pelo direito ao voto da mulher, iniciando uma polêmica na imprensa paranaense (Diário da Tarde (PR), 1º de março de 1901, segunda coluna). Na edição do dia seguinte, a poetisa brasileira nascida na Bélgica Georgina Mongruel (1861 – 1953) comentou sobre o texto, divergindo das opiniões de Mariana, que respondeu a ela na edição de 6 de março. Também foi contestada por Jean Jacques, pseudônimo usado por Nestor de Castro (1867-1906) , considerado um dos maiores jornalistas do Paraná (Diário da Tarde (PR), 21 de março de 1901, segunda coluna; Diário da Tarde (PR), 29 de março de 1901, penúltima coluna). E a discussão continuou com a publicação do artigo Emancipação da Mulher, de Mariana, e do artigo Feminismo, de Nestor de Castro (Diário da Tarde (PR), 2 de abril de 1901, terceira coluna; Diário da Tarde (PR), 4 de abril de 1901, quinta coluna).
+ 
+Nestor de Castro / O Breviário, setembro de 1900
+ 
+Outra polêmica, desta vez sobre o uso do chapéu, foi iniciada em um artigo de Erasto. Mariana respondeu dias depois e Nestor de Castro também escreveu dois artigos sobre o tema (Diário da Tarde (PR), 2 de abril de 1901, quinta coluna; Diário da Tarde (PR), 9 de abril de 1901, quarta coluna; Diário da Tarde (PR), 12 de abril de 1901, última coluna; Diário da Tarde (PR), 15 de abril de 1901, penúltima coluna).
+Como decidiu se dedicar ao magistério, passou no final desse ano a escrever apenas esporadicamente para a coluna “Chronica da Moda”. Destacamos aqui um artigo onde Mariana discorreu sobre a importância da beleza da mulher (Diário da Tarde (PR), 5 de outubro de 1901, segunda coluna).
+1902 – Mariana Coelho inaugurou, em 2 de janeiro de 1902, e passou a dirigir o Colégio Santos Dumont, na rua Quinze de Novembro, 105, em Curitiba. Também era a professora de francês da instituição (Diário da Tarde (PR), 10 de dezembro de 1901, quarta coluna).
+ 
+Diário da Tarde, 25 de dezembro de 1901
+ 
+Discursou na sessão magna de regulamentação da loja maçônica Filhas da Acácia. Essa sua fala foi publicada no folheto O Discurso (Diário da Tarde (PR), 22 de maio de 1902, quarta coluna). Provavelmente, herdou sua ligação com a maçonaria de seu tio, José Natividade Teixeira de Meireles, e de seu irmão mais velho, Thomaz Alberto Teixeira Coelho.
+Fazia parte da redação da revista de arte Vitrix, dirigida por Emiliano Pernetta (1866 – 1921) (A República (PR), 4 de setembro de 1902, quarta coluna; Diário da Tarde (PR), 19 de dezembro de 1903, segunda coluna).
+ 
+Emiliano Pernetta, O Breviário, agosto de 190o
+ 
+1903 – Publicação de uma fotogravura do Colégio Santos Dumont, para meninos e meninas, dirigido por Mariana Coelho, em Curitiba (O Malho, nº 36, 1903).
+ 
+O Malho, maio de 1903
+ 
+1904 – Era colaboradora do Diário da Tarde do Paraná e foi publicada uma crítica de sua autoria sobre a obra Velhas Páginas, do escritor Euclides Bandeira (1876 – 1947) (Diário da Tarde (PR), 20 de fevereiro de 1904, primeira coluna).
+O Colégio Santos Dumont, que ela dirigia, já tinha 40 alunos e conquistava cada vez mais prestígio em Curitiba (A República (PR), 8 de julho de 1904, terceira coluna).
+Juntou-se aos protestos em relação à decisão tomada pelo Supremo Tribunal Federal sobre a fronteira entre o Paraná e Santa Catarina (Diário da Tarde (PR), 12 de julho de 1904, terceira coluna).
+Compareceu com suas alunas à inauguração da estátua do Marechal Floriano (A República (PR), 21 de dezembro de 1904).
+1905 – O Colégio Santos Dumont ficava na rua Coronel Luiz Xavier, 105 (Diário da Tarde (PR), 29 de dezembro de 1905).
+ 
+Diário da Tarde (PR), 19 de dezembro de 1905
+ 
+1907 – O Colégio Santos Dumont passou a funcionar no prédio do sr. José Rodrigues de Almeida à rua 15, desta capital, canto da rua 1º de março (A Notícia (PR), 30 de agosto de 1907, última coluna).
+Ofereceu à Biblioteca da Associação Cívica a coleção do Mundo Elegante (A Notícia (PR), 27 de novembro de 1907, quarta coluna).
+1908 – Esteve presente com suas alunas à missa que a colônia portuguesa de Curitiba mandou celebrar pela morte do rei Carlos I de Portugal (1863 – 1908) (A Notícia (PR), 10 de fevereiro de 1908, quinta coluna).
+Um professor habilitado veio de Lisboa para ministrar aulas sobre o Método João de Deus, do pedagogo português João de Deus de Nogueira Ramos (1830 – 1896), a partir do qual aprendia-se em quatro meses a ler e escrever corretamente e que seria adotado no Colégio Santos Dumont. Haveria 80 vagas para professores interessados. O Método João de Deus foi inaugurado no Santos Dumont, em 5 de julho de 1908 (A República (PR), 24 de junho de 1908, sexta coluna; Diário da Tarde (PR), 3 de julho, terceira coluna; Diário da Tarde (PR), 6 de julho de 1908, primeira coluna; Diário da Tarde (PR), 16 de julho de 1908, quarta coluna).
+ 
+Revista O Ocidente, 15 de julho de 1878
+ 
+Publicação da história do Método João de Deus (A Notícia (PR), de junho de 1908, terceira coluna).
+Lançamento do livro Paraná Mental, de sua autoria, com prefácio do historiador Rocha Pombo (1857 – 1933), sobre os prosadores e poetas do Paraná. Foi impressa pelo governo paranaense para ser apresentado como documento na Exposição Nacional de 1908. Foi premiado com a medalha de prata pelo Júri do Distrito Federal (Diário da Tarde (PR), 17 de agosto de 1908, quarta coluna; A República (PR), 23 de abril de 1909, quinta coluna).
+Também participou do evento com delicada manufatura onde sobressaem os bordados brancos e com uma aquarela de flores. Recebeu uma medalha de prata na sessão de Artes Aplicadas (A República (PR), 25 de junho de 1908, quarta coluna; O Paiz, 16 de julho de 1908, sexta coluna; Diário da Tarde (PR), 17 de agosto de 1908, primeira coluna; A República, 26 de agosto de 1908, primeira coluna; Jornal do Brasil, 21 de novembro de 1908, quinta coluna; A República (PR), 25 de novembro de 1908, terceira coluna; Diário da Tarde (PR), 22 de dezembro de 1908, primeira coluna).
+ 
+Augusto Malta. Exposição Nacional de 1908. Rio de Janeiro, RJ / Acervo Museu da República
+ 
+No livro Paraná Mental, não deixou de abordar o tema da emancipação da mulher:
+ 
+“A despeito das muitas e várias opiniões retrógradas, em todos os grandes centros do mundo civilizado, a par dos graves problemas sociais que têm convulsionado a nossa época, há muito que ventila franca e entusiasticamente a questão da emancipação da mulher, a que o grande movimento feminista, que abrange o novo e velho mundos, tem dado impulso e determinada importância, alimentando com denodo e convicção este desideratum”. 
+ 
+Publicação de uma crítica a seu o livro Paraná Mental. Ela escreveu respondendo à crítica (A República (PR), 4 de setembro de 1908, quinta coluna; A República (PR), 19 de setembro de 1908, quarta coluna; A Repúbica (PR), 21 de setembro de 1908, quarta coluna). Polêmica em torno de uma crítica ao livro (Diário da Tarde (PR), de 7 de setembro de 1908, quarta coluna; Diário da Tarde (PR), 11 de setembro, terceira coluna); Diário da Tarde (PR), 12 de setembro, segunda coluna; Diário da Tarde (PR), 21 de setembro de 1908, terceira coluna).
+Foi oferecido à aluna que mais se distinguiu nos exames do Colégio Santos Dumont na 2ª série do 1º grau o prêmio denominado Mariana Coelho (A República (PR), 21 de dezembro de 1908, sexta coluna).
+1909 – Reprodução da crítica favorável de Eloy Pontes sobre o livro de Mariana Coelho, Paraná Mental, publicada na Folha Moderna, em novembro de 1908 (A República (PR), 4 de janeiro de 1909, segunda coluna).
+Publicação de uma crítica a seu livro, Paraná Mental (A República (PR), 26 de fevereiro de 1909, quinta coluna).
+Contribuiu financeiramente para a visita que o escritor português Guerra Junqueiro (1850 – 1923) faria ao Brasil no ano seguinte (A República (PR), 13 de fevereiro de 1909, primeira coluna).
+1910 – Na Câmara Municipal de Curitiba, houve uma reunião de associações femininas em prol da unidade do estado do Paraná. Mariana Coelho foi eleita por aclamação primeira secretária do Comitê Central de Senhoras, presidido por Francisca Cavalcante (Correio Paulistano, 3 de janeiro de 1910, quarta coluna; A República (PR), 18 de janeiro de 1910, quinta coluna).
+Promovia no Colégio Santos Dumont saraus artísticos, literários e musicais (A República (PR), 19 de dezembro de 1910, terceira coluna).
+1911 – Em propaganda do Colégio Santos Dumont foi mencionado que o estabelecimento de instrução e educação havia conquistado medalhas de ouro e de prata na Exposição Nacional de 1908, no Rio de Janeiro. Ficava na praça Carlos Gomes, nº 5 (A República (PR), 5 de janeiro de 1911).
+ 
+A República (PR), 5 de janeiro de 1911
+ 
+Em maio, falecimento de sua mãe, Maria do Carmo Teixeira Coelho. Em sua homenagem, publicou para a revista Fanal, de janeiro de 1912, a poesia Morreu!.
+ 
+
+ 
+Participou do Congresso de Geografia realizado em Curitiba (Diário da Tarde (PR), 2 de setembro de 1911, primeira coluna; A República (PR), 8 de setembro de 1911).
+ 
+A República (PR), 8 de setembro de 1911
+ 
+Fazia parte da comissão para a venda de ingressos do festival do Teatro Politeama para ajudar as vítimas das inundações ocorridas no Paraná, em Santa Catarina e no Rio Grande do Sul (Diário da Tarde (PR), 27 de outubro de 1911, última coluna).
+1912  – Os cursos de alfabetização pelo Método João de Deus e o de prendas domésticas são destacados como os principais do Colégio Santos Dumont, referido como uma importante influência na educação em Curitiba (A República (PR), 31 de outubro de 1912, terceira coluna).
+Em 19 de dezembro, criação do Centro de Letras do Paraná, do qual tornou-se sócia (Diário da Tarde (PR), 19 de dezembro de 1959, primeira coluna).
+1913 – O Colégio Santos Dumont ficava na rua da Misericórdia, nº 84 (A República (PR), 11 de janeiro de 1913, primeira coluna).
+1914 – Durante o concerto do maestro amazonense, o conde José Sabbatini (18? – 19?), na época diretor da escola de música do Paraná, realizado no Clube Curitibano, foram distribuidos folhetos com versos escritos por Mariana (Diário da Tarde (PR), 19 de fevereiro de 1914, última coluna).
+ 
+Diário da Tarde (PR), 19 de fevereiro de 1914
+ 
+O maestro e violinista amazonense José Sabbatini / O Malho, 19 de junho de 1914
+ 
+1916 – Seu colégio ficava na rua José Loureiro, 27 (Diário da Tarde (PR), 28 de janeiro de 1916, última coluna).
+ 
+Diário da Tarde (PR), 28 de janeiro de 1916
+ 
+O inventor Alberto Santos Dumont (1873 – 1932), em visita à Curitiba, foi ao Colégio Santos Dumont, onde foi recebido por Mariana. Logo na entrada, as alunas jogaram pétalas de flores sobre o ilustre visitante, que chegou com o secretário do Interior, Enéas Marques dos Santos. O cônsul de Portugal, o irmão de Mariana e professor Carlos Alberto Teixeira Coelho, professores do colégio, além de outros convidados, participaram do encontro. Uma orquestra executou o Hino Santos Dumont (A República (PR), 4 de maio de 1916, quinta coluna; A República (PR), 8 de maio de 1916, quinta coluna; Diário da Tarde (PR), 8 de maio de 1916, terceira coluna).
+ 
+A República (PR), 5 de setembro de 1916
+ 
+A República (PR), 6 de setembro de 1916
+ 
+Na ocasião, uma das alunas do colégio proferiu o seguinte discurso:
+Ilustre Dr. Santos Dumont. – Meus Senhores. O âmbito de nosso peito é por demais acanhado para conter todo o jubilo que agita os nossos innocentes corações em face da honrosa presença do querido patrono do nosso collegio. Este formo palpitar de intima alegria, porém, não póde deixar de ser turbado pela saudade em que já nos envolve a vossa rapida passagem por esta capital e por que.., talvez não tenhamos a ventura de nos tornar a ver! O vosso retrato, senhor, aqui nos anima na principal sala de trabalhos escolares, a prosseguir nossos estudos, desde a fundação do estabelecimento que há 15 annos e que usa o vosso nome celebrado – orgulhando-se de que Santos Dumont seja um dos mais scintillantes astros que fulguram nos dominios da sciencia moderna. Por certo a nossa diretora, nos momentos mais angustiosos da sua lucta pela existência, busca e encontra na vossa veneranda effigie o alento para continuar a manter esta escola a que deu o vosso nome ilustre – prestando d’esta forma uma pallida homenagem á grande beleza de vossa alma e do vosso raro talento. É vossa, é unicamente vossa honra de descobrirdes a diribilidade do balão – assombroso progresso para a humanidade, mas hoje, infelizmente, transformada em machina homicida no seu contingente de morte, que o impelle a uma guerra sem procedentes, e cuja acabrunhadora fatalidade muito deve a amargurar uma alma nobilissima como a vossa! Ah! Como desejariamos subir comvosco na vossa bella aeronave e experimentar as emoções do espaço! Termino, illustre Dr., desejando em nome d’esta escolla, que a felicidade vos acompanhe por toda a parte – do que tão digno sois por todos os motivos, e pedindo-vos que nunca esqueçaes o Collegio Santos Dumont que tão sinceramente vos estima e admira” (A República (PR), 8 de maio de 1916).
+O poeta Olavo Bilac (1865 – 1918) enviou um belo autógrafo para o Colégio Santos Dumont (A República (PR), 26 de dezembro de 1916, terceira coluna).
+ 
+A República (PR), 26 de dezembro de 1916
+ 
+1917 – Proferiu um discurso durante a sessão em que foi eleita a primeira diretoria efetiva da recém criada Cruz Vermelha Paranaense (Diário da Tarde (PR), 2 de junho de 1917, primeira coluna).
+Era a encarregada do registro das pessoas que iriam se vacinar no recém inaugurado posto de vacinação da Cruz Vermelha Paranaense (Diário da Tarde (PR), 12 de outubro de 1917, última coluna).
+Devido à epidemia de tifo em Curitiba, Mariana decidiu suspender as aulas no Colégio Santo Dumont (A República (PR), 23 de outubro de 1917, quinta coluna).
+1918 – Começou a trabalhar como secretária e professora da Escola Profissional Feminina.
+Foi dedicado a ela, pelo escritor paranaense José Cadilhe (1880 – 1942), o poema Portugal (A República (PR), 27 de abril de 1918).
+ 
+A República (PR), 27 de abril de 1918
+ 
+O poeta curitibano José Cadilhe (1880 – 1942)
+ 
+1919 – Fazia parte da comissão escolar encarregada de promover atividades infantis para arrecadar fundos para ajudar os flagelados da seca do Nordeste (A República (PR), 21 de maio de 1919, terceira coluna).
+Era a terceira secretária da diretoria eleita para a Cruz Vermelha do Paraná (A República (PR), 3 de janeiro de 1919, última coluna).
+1921 – Escreveu um artigo em homenagem a João do Rio, pseudônimo de Paulo Barreto (1881 – 1921), recentemente falecido (A República (PR), 29 de junho de 1921, segunda coluna).
+1922 – Como segunda secretária do Centro Republicano Português participou da sessão solene, no Teatro Guayra, em celebração da primeira travessia aérea do Atlântico Sul, realizada pelos aviadores portugueses Carlos Viegas Gago Coutinho (1869 -1959) e Artur de Sacadura Freire Cabral (1881 – 1924). Haviam partido de Lisboa em 30 de março de 1922 e chegado ao Brasil em 17 de junho do mesmo ano (A República (PR), 19 de junho de 1922, última coluna).
+ 
+Augusto Malta. Gago Coutinho e Sacadura Cabral, 30 de junho de 1922. Rio de Janeiro, RJ / Acervo DPHDM
+ 
+1923 – Publicou o artigo O civismo da mulher na guerra (Commercio do Paraná, 23 de janeiro de 1923, quarta coluna).
+Iniciou uma troca de correspondências, que manteve até 1940, com a feminista Bertha Lutz (1894 – 1973), presidente da Federação Brasileira pelo Progresso da Mulher, fundada em 9 de agosto de 1922.
+1925 – Foram publicados os trechos intitulados Renovação social da Tuquia e Flagrante flutuação de seu livro, ainda inédito, Evolução de Feminismo (Commercio do Paraná, 6 de janeiro de 1925, penúltima coluna; Sempre-Viva, 15 de maio de 1925).
+Tornou-se associada da Federação Brasileira pelo Progresso da Mulher, tendo recebido em 3 de março, a notificação de seu efetivo ingresso na entidade.
+Escreveu um artigo sobre a escritora e crítica literária berlinense Carolina Michaelis de Vasconcellos (1851 – 1925), recentemente falecida. Ela foi a primeira mulher a lecionar em uma universidade portuguesa, a Universidade de Coimbra (O Estado do Paraná, 22 de novembro de 1925, primeira coluna).
+ 
+Carolina Michaelis de Vasconcellos / Wikipedia
+ 
+1926 - Continuava  trabalhando na Escola Profissional Feminina, em Curitiba (O Estado do Paraná, 19 de janeiro de 1926, quarta coluna).
+Falecimento de seu irmão, o professor e um dos mais importantes filólogos de sua geração, Carlos Alberto Teixeira Coelho (1866 – 1926), em 28 de janeiro (O Dia (PR), 29 de janeiro de 1926, segunda coluna).
+A professora, poeta e jornalista catarinense Maura de Senna Pereira (1904 – 1991) dedicou a ela o poema Nesgas (A República (SC), 12 de dezembro de 1926, segunda coluna).
+ 
+A poeta Maura de Senna Pereira (1905 – 1991)
+ 
+1927 – Mariana esteve no Rio de Janeiro, na Federação Brasileira pelo Progresso da Mulher apresentou os originais do livro A Evolução do Feminismo, onde fazia uma imparcial crítica histórica ao papel da mulher. Bertha Luz (1894 – 1971) e Maria Amalia Bastos de Miranda Jordão, respectivamente, presidente e secretária da associação, ofereceram a ela um chá na Confeitaria Colombo (Jornal do Brasil, 19 de julho de 1927, quarta coluna; O Dia (PR), 17 de agosto de 1927, primeira coluna).
+1930 – Na “Página Literária”, publicação de um artigo de sua autoria, O Feio, sobre a valorização da beleza da mulher (A República (PR), 20 de janeiro de 1930, primeira coluna).
+Foi uma das intelectuais do Paraná que se declarou favorável à eleição de Julio Prestes (1882 – 1946) à presidência da República, apoiando a Ação Intelectual Brasileira. Ele foi eleito em 1º de março, mas não tomou posse devido à Revolução de 30, liderada por Getulio Vargas (1882 – 1954) (A República (PR), 12 de fevereiro de 1930).
+Foi nomeada diretora da Escola Profissional Feminina – que recebeu, em 1933, o nome de Escola Profissional Feminina República Argentina -, onde ficou até se aposentar. O local atualmente é o Centro Estadual de Capacitação em Artes Guido Viaro, no Capão da Imbuia (A República (PR), 19 de junho de 1930, primeira coluna).
+1931 – Foi efetivada nos cargos de professora e diretora da Escola Profissional Feminina  (O Dia (PR), 25 de março de 1931, primeira coluna; O Dia (PR), 10 de setembro de 1932, primeira coluna).
+ 
+1933 – No artigo A mulher paranaense, de Rachel Prado, foi mencionada como uma das mais importantes escritoras do estado (Brasil Feminino, maio de 1933).
+Participou no Centro de Letras do Paraná da sessão em homenagem ao escritor e historiador paranaense José Francisco da Rocha Pombo (1857 – 1933), recentemente falecido (O Dia (PR), 8 de julho de 1933, terceira coluna).
+ 
+O historiador José Francisco da Rocha Pombo (1857 – 1933) / Site Academia Brasileira de Letras
+ 
+Publicação do mais importante de seus livros, A Evolução do Feminismo: subsídios para a sua história, com prefácio de Rocha Pombo, sobre a emancipação da mulher, a mulher na religião, o civismo da mulher na guerra, a ação da mulher na imprensa, nas artes, nas ciências e nas letras, além de um capítulo dedicado à mulher nas diversas modalidades do amor (O Dia (PR), 29 de agosto de 1933, primeira coluna; O Dia (PR), 9 de setembro de 1933, primeira coluna;  Diário da Tarde (PR), 14 de outubro de 1933, quarta coluna; Jornal do Brasil, 19 de outubro de 1933, sexta coluna; O Dia (PR), 9 de novembro de 1933, última coluna).
+ 
+O Dia (PR), 29 de agosto de 1933
+ 
+Na reunião quinzenal do Centro de Letras do Paraná, Mariana Coelho foi cogitada para ocupar uma das cadeiras da casa. Foi empossada em 30 de novembro (O Dia (PR), 21 de setembro de 1933, segunda coluna; O Dia (PR), 24 de novembro de 1933, segunda coluna; O Dia (PR), 1º de dezembro de 1933, quinta coluna; O Dia (PR), 7 de dezembro de 1933, quarta coluna).
+1934 – Seu livro, A Evolução do Feminismo, foi elogiado pelo professor Antonio Austregésilo (1876 – 1960), da Academia Brasileira de Letras; e pelo crítico literário, também membro da Academia Brasileira de Letras, João Ribeiro (1860 – 1934)(A Noite, 13 de janeiro de 1934, primeira coluna; Jornal do Brasil, 14 de março de 1934, segunda coluna; Walkyrias, agosto de 1934).
+ 
+A Noite, 3 de julho de 1934
+ 
+Mariana ofereceu livros para a Biblioteca do Centro Paraense da Cultura Feminina, criado no ano anterior pelas advogadas Rosy Pinheiro e Ilnah Pacheco Secundino e pela médica Delohé Falce Scalco (O Dia (PR), 5 de dezembro de 1933, sexta coluna; O Dia (PR), 25 de fevereiro de 1934, última coluna).
+Falecimento de seu irmão, Thomaz Alberto Teixeira Coelho (1859 – 1934), que na época residia no Rio de Janeiro (O Dia (PR), 20 de abril de 1934, terceira coluna).
+Passou férias no Rio de Janeiro (Jornal do Brasil, 7 de julho de 1934, segunda coluna; Diário da Tarde (PR), 19 de julho de 1934, segunda coluna).
+Em reunião do Centro de Letras do Paraná, Mariana falou sobre o feminismo diante do amor, um dos temas de seu livro A Evolução do Feminismo (O Dia (PR), 16 de outubro de 1934, primeira coluna).
+Foi convidada para fazer uma conferência literária na ocasião da comemoração do primeiro ano de fundação do Centro Paraense da Cultura Feminina. Foi saudada pela oradora da associação, Ophir Athayde Leite. Mariana discorreu sobre o tema Um brado de alarme contra a guerra, os suicídios e a pena de morte (O Dia (PR), 7 de dezembro de 1934, quarta coluna).
+ 
+Ophir Leite / O Dia (PR), 25 de abril de 1937
+ 
+1935 – Participou da Semana Emiliano, um festival de arte que o Centro de Letras do Paraná organizou em homenagem ao poeta curitibano Emiliano Pernetta (1866 – 1921), um dos fundadores do simbolismo no Brasil e considerado o maior poeta paranaense de seu tempo. Recitou o poema Felicidade, da coleção Setembro. (O Dia (PR), 22 de janeiro de 1935, sexta coluna).
+ 
+O poeta Emiliano Perneta ( 18 – 1921) / BN Digital
+ 
+Publicou o livro Um Brado de Revolta contra a Morte Violenta e destinou 50% da venda para a construção de um mounumento em homenagem aos historiador Rocha Pombo (1857 – 1933) (O Dia (PR), 25 de abril de 1935; Diário da Tarde (PR), 9 de maio de 1935; O Dia (PR), 13 de julho de 1935, primeira coluna).
+ 
+Diário da Tarde (PR), 9 de maio de 1935
+ 
+O cientista paranaense Victor Amaral (1862 – 1953) escreveu sobre o livro Um Brado de Revolta contra a Morte Violenta (Diário da Tarde (PR), 19 de agosto de 1935, terceira coluna).
+Dirigia a Escola Profissional República Argentina (O Dia (PR), 12 de fevereiro de 1936, terceira coluna).
+1936 - Foi convidada para participar do Congresso das Academias de Letras e Sciencias de Cultura Literária realizado, em maio, no Rio de Janeiro, promovido pela Academia Carioca de Letras e sua tese, Linguagem, foi apresentada no evento. No ano seguinte, a tese foi publicada (Diário da Tarde (PR), 3 de março de 1936, penúltima coluna; Jornal do Commercio, 6 de maio de 1936, sexta coluna; O Dia (PR), 25 de abril de 1937, penúltima coluna; Diário Carioca, 17 de julho de 1937, primeira coluna). Era amiga do médico, escritor e militante anarquista Fábio Lopes dos Santos Luz (186? – 1938) que desde 1934 ocupava uma cadeira da Academia Carioca de Letras.
+ 
+Diário da Tarde (PR), 9 de maio de 1936
+ 
+Mariana Coelho, após defender em sua tese a simplificação da língua portuguesa, passou a assinar Mariana com apenas uma letra n, em oposição ao modo como foi registrada, com duas letras n.
+Preencheu a ficha para o 3.º Congresso Nacional Feminino, que ocorreu no Rio de Janeiro, em setembro de 1936, promovido pela Federação Brasileira pelo Progresso Feminino, mas a pesquisa não encontrou evidência de sua participação no evento. A representante do Paraná foi a presidente do Centro Paraense de Cultura Feminina, a advogada Ilnah Pacheco Secundino (O Dia (PR), 26 de julho de 1936, quinta coluna; O Dia (PR), 1º de outubro de 1936, terceira coluna).
+1937 - Publicação do artigo O feminismo no Brasil, de sua autoria, no qual apontava Nizia Floresta (1810 – 1885) como a primeira mulher, no Brasil, que reivindicou direitos femininos. Nisia Floresta, o pseudônimo de Dionísia Gonçalves Pinto, educadora e poetisa nascida no Rio Grande do Norte, é considerada a primeira feminista brasileira. A dentista Isabel de Mattos Dillon (1861 – 1920), primeira mulher a conseguir autorização para votar no Brasil, em 1886, também foi mencionada no artigo como outra importante feminista. A Lei Saraiva, promulgada em 1881, dizia que todo brasileiro com um título científico poderia votar. Isabel acionou essa lei para solicitar sua inclusão na lista de pessoas eleitoras do Rio Grande do Sul (Correio da Manhã, 3 de janeiro de 1937).
+ 
+Correio da Manhã, 3 de janeiro de 1937
+ 
+Nisia Floresta (1810 18) / Google Photos
+ 
+Na apuração final do plebiscito Qual a mulher intelectual merece a consagração da imortalidade?, Mariana tinha 106 votos. Foi vencida por Maria Eugênia Celso Carneiro de Mendonça (1886 – 1963) com 2.512 votos (O Malho, 14 de janeiro de 1937).
+ 
+Maria Eugênia Celso Carneiro de Mendonça (1886 – 1963) / Museu Bertha Lutz
+ 
+O filólogo José de Sá Nunes (18? – 1955)  escreveu sobre a tese Linguagem (1937) de autoria de Mariana Coelho. Outras personalidades também a felicitaram por sua tese (O Dia (PR), 1º de outubro de 1937).
+1938 – Concorreu mas não foi eleita para ocupar uma das cadeiras da Academia Paranaense de Letras (O Estado (PR), 1º de fevereiro de 1938).
+Foi homenageada por professores, funcionários e alunos da Escola Profissional República Argentina. Na ocasião, foi inaugurado um retrato de Mariana na sala em que trabalhava como diretora do colégio (O Dia (PR), 4 de outubro de 1938, terceira coluna).
+1939 – Naturalizou-se brasileira (Jornal do Brasil, 31 de agosto de 1939, penúltima coluna; Diário da Tarde (PR), 8 de novembro de 1939, segunda coluna).
+1940 - Foi eleita como sócia efetiva do Instituto Histórico e Geográfico do Paraná (O Dia (PR), 23 de fevereiro de 1940, segunda coluna).
+Publicou o livro Cambiantes: contos e fantasias, ilustrados com desenhos do italiano Guido Viaro (1897 – 1971) e prefaciado por Leôncio Correia (1865 – 1950) (ODia (PR), 14 de julho de 1940, segunda coluna; O Malho, fevereiro de 1941; O Dia (PR), 24 de setembro de 1941, penúltima coluna).
+O poeta, escritor e empresário Heitor Stockler (1888 – 1975) relembra a trajetória de Mariana Coelho como educadora e escritora (Diário da Tarde (PR), 14 de agosto de 1940, penúltima coluna).
+1941 – Devido a problemas de saúde, não pode mais trabalhar, tendo se aposentado do cargo de diretora da Escola Feminina República Argentina.
+Leôncio Correia (1865 – 1950) dedicou seu poema O Coração em Voo a várias pessoas, dentre elas Mariana Coelho (O Dia (PR), 14 de setembro de 1941, primeira coluna).
+ 
+O Dia (PR), 14 de setembro de 1941
+ 
+Ela, com Cambiantes, Plácido e Silva (1892 – 1973) com História do Macambira; e Angelo Guarinelo (1876 – 1959) com Ressurreição se inscreveram para concorrer a um prêmio da Academia Brasileira de Letras:(O Dia (PR), 14 de ooutubro de 1941, sexta coluna).
+ 
+Gran-Fina (PR), fevereiro de 1941
+ 
+Revista da Semana, 17 de maio de 1941
+ 
+1943 – Inauguração da Estante Mariana Coelho durante a celebração do sétimo ano da fundação da Academia Paranaense de Letras. Foi saudada por José Gelbcke (1879 – 1960). Mariana havia doado para a biblioteca da entidade cerca de 200 livros (O Dia (PR), 25 de setembro de 1943; O Dia (PR), 28 de setembro de 1943, segunda coluna).
+ 
+O Dia (PR), de 1942
+ 
+Fez uma visita ao ministro da Educação, Gustavo Capanema (1900 – 1985) (O Dia (PR), 26 de outubro de 1943, primeira coluna).
+1946 – Foi uma das 13 escritoras do Paraná que participaram da primeira Exposição do Livro Feminino Brasileiro, realizada no Palace Hotel, no Rio de Janeiro, em fevereiro (O Dia (PR), 7 de setembro de 1946, terceira coluna).
+1949 – Seus livros Cambiantes e Um Brado de Revolta contra a Morte Violenta integraram a Exposição Inter-americana do Livro, no Rio de Janeiro (O Dia (PR), 17 de agosto de 1949, terceira coluna).
+Mariana Coelho foi atropelada por um caminhão (Diário da Tarde (PR), 23 de novembro de 1949, penúltima coluna).
+O jornalista e escritor italiano radicado no Brasil desde o início dos anos 20, Francisco Stobbia (1881 – 1961),  escreveu um artigo sobre Mariana e sua obra, A Evolução do Feminismo (Diário da Tarde (PR), 6 de dezembro de 1949, penútima coluna).
+Era uma das colaboradoras da Revista do Centro de Letras do Paraná (O Dia (PR), 30 de janeiro de 1951, terceira coluna).
+1954 – Falecimento de Mariana Coelho, em 29 de novembro de 1954, em sua casa, na rua Presidente Taunay, em Curitiba. Foi sepultada no Cemitério Municipal São Francisco de Paula (Diário da Tarde(PR), 29 de novembro de 1954, sexta coluna; O Dia(PR), 30 de novembro de 1954, terceira coluna).
+ 
+O Dia (PR), 30 de novembro de 1954
+ 
+Em sua homenagem, seu retrato foi inaugurado no Centro de Letras do Paraná. O Centro Paranense Feminino de Cultura também participaria do evento (Diário da Tarde (PR), 8 de dezembro de 1954, penútima coluna; O Dia (PR), 12 de dezembro de 1954, sexta coluna).
+1955 – Publicação de um artigo do jornalista Otávio Secundino exaltando as qualidades de Mariana Coelho (Diário da Tarde (PR), 7 de janeiro de 1955, quinta coluna).
+Publicação de um artigo de  Francisco Stobbia (1881 – 1961) sobre A Evolução do Feminismo (Diário da Tarde, 15 de janeiro de 1955, primeira coluna).
+ 
+Francisco Stobbia / Correio do Paraná, 30 de janeiro de 1960
+ 
+1956 – Foi publicada sua obra póstuma Palestras Educativas (Diário do Paraná, 11 de setembro de 1956, primeira coluna; Diário da Tarde (PR), 15 de setembro de 1956, quinta coluna).
+1957 – Publicação do conto Um Urso, do livro Cambiantes: contos e fantasias (Diário do Paraná, 7 de abril de 1957).
+1959 – Publicação de seu poema Saudade (O Dia (PR), 19 de julho de 1959).
+ 
+O Dia (PR), 19 de julho de 1959
+ 
+A professora Maria Nicolas (1899 – 1988) publicou um artigo exaltando o papel de Mariana Coelho como educadora, escritora e feminista (Diário da Tarde (PR), 1º de maio de 1959, penúltima coluna).
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+ALVES, Branca Moreira, Ideologia e feminismo: a luta das mulheres pelo voto no Brasil. Petrópolis: Vozes, 1980
+BUENO, Alexandra Padilha. Educação e participação política: a visão de formação feminina de Mariana Coelho. Dissertação de Mestrado apresentada ao Programa de Pós-Graduação em Educação da Universidade Federal do Paraná, 2010.
+COELHO, Mariana. A evolução do feminismo, subsídios para a sua história. 2 ed. Org. Zahidé L. Muzart. Curitiba, Imprensa Oficial do Paraná, 2002.
+DINIZ, Aires Antunes. Mariana Coelho: uma educadora feminista luso-brasileira. Portugal: Penagrafica, 2015.
+Hemeroteca Digital da Biblioteca Nacional
+KAMITA, Rosana Cássia. Resgates e ressonâncias: Mariana Coelho. Tese de Doutorado. Curso de Pós-Graduação em Literatura da Universidade Federal de Santa Catarina, 2004.
+KARAWEJCZYK, Monica. As filhas de Eva querem votar: uma história da conquista do sufrágio feminino no Brasil. Tese (Doutorado em História), Universidade Federal do Rio Grande do Sul, Porto Alegre, 2013.
+MUZART, Zahidé L. Resgates e ressonâncias: uma beauvoir tupiniquim. In: BRANDÃO, Izabel; MUZART, Zahidé L.  e  BOLAÑOS, Aimée González (orgs.). Refazendo nós: ensaios sobre mulher e literatura. Florianópolis: Ed. Mulheres; Santa Cruz do Sul: EDUNISC, 2003.
+Revista dos Cursos de Letras – Universidade do Paraná, abril de 1955
+RIBEIRO, Leonardo Soares Madeira Iorio. Mariana Coelho: a educadora feminista. Rio de Janeiro : Editora Lumen Juris, 2015.
+SCHUMAHER, Schuma; BRAZIL, Erico Vital (organizadores). Dicionário mulheres do Brasil: de 1500 até a atualidade biográfico e ilustrado. Rio de Janeiro : Jorge Zahar Ed., 2000.
+Site Academia Brasileira de Letras
+Site A Memória dos Esquecidos
+Site Centro de Documentaação de Literatura de Autoria Feminina Paranaense
+Site Instituto Terra, Trabalho e Cidadania
+Site Universidade Federal do Paraná
+TOMÉ, Dyeinne Cristina. Mariana Coelho e a educação das mulheres: uma escritora feminista no campo intelectual (1893 – 1940). Tese de Doutorado. Universidade Estadual de Ponta Grossa Setor de Ciências Humanas, Letras e Artes Programa de Pós-Graduação em Educação, 2020.
+ 
+Acesse aqui os outros artigos da Série “Feministas, graças a Deus!“
+
+Série “Feministas, graças a Deus!” I – Elvira Komel, a feminista mineira que passou como um meteoro, publicado em 25 de julho de 2020, de autoria da historiadora Maria Silvia Pereira Lavieri Gomes, do Instituto Moreira Salles, em parceria com Andrea C. T. Wanderley, editora e pesquisadora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” II  – Natércia da Cunha Silveira (1905 – 1993), o jequitibá da floresta, publicado em 20 de agosto de 2020, de autoria de Andrea C.T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” III  – Bertha Lutz e a campanha pelo voto feminino: Rio Grande do Norte, 1928, publicado em 29 de setembro de 2020, de autoria de Maria do Carmo Rainha, doutora em História e pesquisadora do Arquivo Nacional
+Série “Feministas, graças a Deus!” IV  – Uma sufragista na metrópole: Maria Prestia (? – 1988), publicado em 29 de outubro de 2020, de autoria de Claudia Heynemann, doutora em História e pesquisadora do Arquivo Nacional
+Série “Feministas, graças a Deus!” V – Feminista do Amazonas: Maria de Miranda Leão (1887 – 1976), publicado em 26 de novembro de 2020, de autoria de Maria Elizabeth Brêa Monteiro, mestre em História e pesquisadora do Arquivo Nacional
+Série “Feministas, graças a Deus!” VI – Júlia Augusta de Medeiros (1896 – 1972) fotografada por Louis Piereck (1880 – 1931), publicado em 9 de dezembro de 2020, de autoria de Andrea C.T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” VII – Almerinda Farias Gama (1899 – 1999), uma das pioneiras do feminismo no Brasil, publicado em 26 de fevereiro de 2021, de autoria de Andrea C.T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” VIII – A engenheira e urbanista Carmen Portinho (1903 – 2001), publicado em 6 de abril de 2021, de autoria de Andrea C. T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” X – Maria Luiza Dória Bittencourt (1910 – 2001), a eloquente primeira deputada da Bahia, publicado em 25 de março de 2022, de autoria de Andrea C. T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” XI e série “1922 – Hoje, há 100 anos” VI – A fundação da Federação Brasileira pelo Progresso Feminino, publicado em 9 de agosto de 2022, de autoria de Andrea C. T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” XII e série “1922 – Hoje, há 100 anos” XI – A 1ª Conferência para o Progresso Feminino, publicado em 19 de dezembro de 2022, de autoria de Maria Elizabeth Brêa Monteiro, historiadora do Arquivo Nacional
+Série “Feministas, graças a Deus!” XIII – E as mulheres conquistam o direito do voto no Brasil!, publicado em 24 de fevereiro de 2023, de autoria de Andrea C T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” XIV – No Dia Internacional da Mulher, Alzira Soriano, a primeira prefeita do Brasil e da América Latina, publicado em 8 de março de 2023, de autoria de Andrea C T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” XV – No Dia dos Povos Índígenas, Leolinda Daltro,”a precursora do feminismo indígena” e a “nossa Pankhurst, publicado em 19 de abril de 2023, de autoria de Andrea C T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” XVI – O I Salão Feminino de Arte, em 1931, no Rio de Janeiro, de autoria de Andrea C. T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica, publicado em 30 de junho de 2023
+Série “Feministas, graças a Deus!” XVII – Anna Amélia Carneiro de Mendonça e o Zeppelin, equipe de Documentação da Escola de Ciências Sociais FGV CPDOC, em parceira com Andrea C.T. Wanderley, publicado em 5 de janeiro de 2024
+Série “Feministas, graças a Deus!” XVIII – Júlia Lopes de Almeida (1862 – 1934), a “escritora da Belle Époque tropical”, de autoria de Andrea C. T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica, publicado em 5 de junho de 2024
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/6578` — `itens/20.500.12156.1_6578/`
+- `20.500.12156.1/5481` — `itens/20.500.12156.1_5481/`
+- `20.500.12156.1/6092` — `itens/20.500.12156.1_6092/`
+
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+---
+id: 23302
+url: "https://brasilianafotografica.bn.gov.br/?p=23302"
+titulo: "O centenário da morte de João do Rio (1881 – 1921), o cronista da “belle époque” carioca"
+autor: "Andrea Wanderley"
+data: "2021-06-23T10:33:17+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/9189"]
+fetched_at: "2026-09-10T10:07:21.189Z"
+---
+
+# O centenário da morte de João do Rio (1881 – 1921), o cronista da “belle époque” carioca
+
+Em sua época, Paulo Barreto (1881 – 1921), o João do Rio, era considerado o príncipe dos cronistas brasileiros: “Era um espírito de escol, educado, viajado, e enobreceu, quanto pode, as letras do país conquistando um nome imortal pela glória constante do trabalho (Bahia Illustrada, junho de 1921). Foi o primeiro grande repórter da imprensa brasileira do século XX e sua produção oscilava entre a reportagem e o conto.
+Morou, a partir de fins da década de 1910, em uma casa na praia de Ipanema, na rua Vieira Souto, nº 476, registrada por Chapelin (18? – 19?), fotógrafo sobre o qual se sabe muito pouco. Anteriormente, João do Rio morava na rua Gomes Freire, na Lapa. Segundo o jornalista e historiador Raimundo Magalhães Junior (1907 – 1981), a casa deve ter sido adquirida, a preço de propaganda, desse espírito empreendedor o esquecido Raul Kennedy de Lemos (1880 – 1951), fundador da Companhia Construtora Ipanema. João do Rio comprou outra casa para sua mãe, também em Ipanema, na rua Prudente de Moraes, 391.
+ 
+Chapelin. Fachada da casa onde morou o escritor Paulo Barreto, o João do Rio; ao fundo, o morro do Corcovado, c. 1917. Ipanema, Rio de Janeiro / Acervo IMS
+ 
+Pouco antes, ele havia escrito a crônica Praia Maravilhosa em homenagem ao bairro (O Paiz, 23 de maio de 1917). O título faz uma referência à expressão Cidade Maravilhosa – La Ville Merveilleuse -, nome do livro onde os poemas Amor ao Rio, de autoria da francesa Jane Catulle Mendès (1867 – 1955), foram publicados em 1913. Ela havia passado uma temporada, de setembro a dezembro de 1911, no Rio de Janeiro, quando se encantou pela cidade (O Paiz, 20 de setembro, quarta coluna; e 6 de dezembro, primeira coluna de 1911).
+ 
+Fon Fon, 21 de outubro de 1911
+ 
+Voltando à crônica de João do Rio sobre Ipanema. Nela, ele evidencia seu entusiasmo pela beleza assim como traça o perfil do bairro, ainda recente e pouco habitado. Sobre a crônica, Magalhães Junior comentou que dava a “impressão de um prospecto predial. É claro que não poderia ter sido coisa desinteressada, pois João do Rio não era ingênuo ao ponto de se deixar arrastar por alguém cujo interesse estava perfeitamente caracterizado: criar ambiente favorável à venda de lotes de terreo e de casa a prestações”. Mas tudo indica que os elogios do cronista eram sinceros tanto que pouco tempo depois mudou-se para o bairro.
+ 
+ 
+
+O Paiz, 23 de maio de 1917
+ 
+Um pouco da história de Ipanema
+José Antônio Moreira Filho (1830-1899), o barão e conde de Ipanema, comprou, em 1878, do tabelião e empresário Francisco José Fialho (1820? – 1885), um lote de terras que ia desde a atual rua Barão de Ipanema até o atual Canal do Jardim de Alah. Criou, então, um novo bairro, que batizou de “Villa Ipanema”, em homenagem a seu pai, o primeiro barão e conde de Ipanema, o paulista João Antônio Moreira (1797 – 1879). O nome Ipanema significa em tupi água ruim e foi inspirado por uma das propriedades do barão, em Minas Gerais.
+A Villa Ipanema foi inaugurada, em 15 de abril de 1894, pelo barão e por seu sócio José Silva com a presença do prefeito Henrique Valladares, que no mesmo dia inaugurou a ampliação das linhas de bonde da empresa de Ferro Carril do Jardim Botânico, da Praça Malvino Reis, atual Serzedelo Correia, até a ponta da Igrejinha, que era a Igreja de Nossa Senhora de Copacabana, erguida no século XVIII e derrubada em 1918, próxima à rua Francisco Otaviano (Gazeta de Notícias, 16 de abril de 1894, terceira coluna). Em 26 de abril de 1894, foi assinada a ata de fundação definitiva do bairro Villa Ipanema, com a presença do então prefeito Henrique Valadares e do barão e conde de Ipanema, que lançou, em seus terrenos, um enorme loteamento, berço do que é ainda hoje um dos bairros mais valorizados da cidade do Rio de Janeiro. No princípio, foram abertas 13 ruas, uma avenida e duas praças no areal sem valor, tomado por pitangueiras, cajueiros e araçazeiros. Até hoje essas vias são as mais importantes artérias do bairro. Entre elas, a avenida Vieira Souto e as ruas Prudente de Moraes e Visconde de Pirajá, essa última batizada inicialmente de Vinte de Novembro. Ipanema conservou a denominação de vila até a década de 20. Apesar de alguns autores considerarem outras datas, o dia 26 de abril de 1894 é a data mais aceita como marco de referência da fundação do bairro. Ipanema tornou-se, ao longo do século XX, reduto de artistas, intelectuais, jornalistas e boêmios, um dos símbolos do comportamento de vanguarda, exportando a moda e os costumes cariocas para o resto do país.
+ 
+Um pouco da vida de Paulo Barreto, o João do Rio (1881 – 1921)
+ 
+João do Rio / Bahia Illustrada, junho de 1921
+ 
+“Qual de vós já passou a noite em claro ouvindo o segredo de cada rua? Qual de vós já sentiu o mistério, o sono, o vício, as idéias de cada bairro?”
+João do Rio em  A Alma Encantadora das Ruas (1908)
+ 
+Carioca, filho do matemático positivista Alfredo Coelho Barreto e da dona de casa Florência Cristóvão dos Santos Barreto, João Paulo Alberto Coelho Barreto nasceu em 5 de agosto de 1881. Em 1899, iniciou sua carreira no jornalismo, tendo colaborado, ao longo de sua vida, em diversas publicações, dentre elas O Paiz, A Noite, A Pátria, Revista Ilustrada, Rio-Jornal e a Gazeta de Notícias, onde ficou de 1903 a 1915, e onde assinou pela primeira vez como João do Rio, pseudônimo pelo qual tornou-se mais conhecido, no artigo O Brasil lê, publicado em 26 de novembro de 1903, uma enquete dos autores preferidos dos cariocas. Teve outros pseudônimos, dentre eles Claude, Caran d’Ache, Joe e José Antônio José. Assinou colunas importantes como “A cidade” (1903 a 1904), “O instante”(1912 a 1916), À margem do dia”(1913 a 1915), “Cinematógrafo” (1907 a 1910), todas na Gazeta de Notícias; “Pall-Mall Rio” (1915 a 1917), em O Paiz; “A Semana Elegante” (1916), na Revista Ilustrada; e “Notas de Teatro” (1918), no Rio-Jornal. Seus mais importantes personagens foram a cidade do Rio de Janeiro e ele mesmo, um dândi nos trópicos.
+ 
+Carlos Drummond de Andrade sobre João do Rio / Jornal do Brasil, 13 de agosto de 1981
+ 
+Entre 1902 e 1906, o Rio de Janeiro teve como prefeito Francisco Pereira Passos (1836 – 1913) que realizou na cidade uma significativa reforma urbana. Para saneá-la e modernizá-la realizou diversas demolições, conhecidas popularmente como a política do “bota-abaixo”, que contribuiu fortemente para o surgimento do Rio de Janeiro da Belle Époque. Em sua obra, que fundia a crônica com a reportagem, João do Rio escrevia sobre essas transformações, contribuindo para a formação da imagem desse novo Rio de Janeiro.
+ 
+“Flanar é ser vagabundo e refletir, é ser basbaque e comentar, ter o vírus da observação ligado ao da vadiagem…É vagabundagem? Talvez. Flanar é a distinção de perambular com inteligência. Nada como o inútil para ser artístico. Daí o desocupado flâneur ter sempre na mente dez mil coisas necessárias, imprescindíveis, que podem ficar eternamente adiadas. “
+João do Rio em  A Alma Encantadora das Ruas (1908)
+ 
+Em 1902, tentou ingressar no Itamaraty mas foi recusado pelo Barão do Rio Branco (1845 – 1912)  que justificou a decisão dizendo que as nomeações para a vaga pleiteada por João do Rio na comissão que estava organizando para tratar das questões da fronteira entre Brasil e Colômbia já haviam sido preenchidas por Enéias Martins, que chefiaria a missão. Segundo o professor Renato Cordeiro Gomes em seu livro João do Rio: vielas do vício, ruas da graça, na verdade teria sido recusado por ser “gordo, amulatado e homossexual“. O Brasil perdeu um diplomata e ganhou um notável jornalista/escritor. Sobre o trabalho na imprensa, em sua coluna “Cinematógrafo”, o definiu como “o voluntário cativeiro para o qual não há abolição possível” (Gazeta de Notícias, 10 de maio de 1908, sexta coluna). Produziu para a Gazeta de Notícias, as séries de reportagem  Religiões do Rio , em 1904, e O Momento Literário, em 1905, que foram posteriomente compiladas e publicadas pela Garnier.
+Em 12 de agosto de 1910, tomou posse na Academia Brasileira de Letras – havia sido eleito em 7 de maio. Foi recebido por Coelho Neto (1864 – 1934)(Site da ABL). Foi o primeiro a acadêmico a ser empossado com o “fardão dos imortais”, ideia do também acadêmico Medeiros e Albuquerque (1867 – 1934).
+ 
+João do Rio / Site da ABL
+ 
+Foi o responsável pelo texto do álbum Theatro Municipal do Rio de Janeiro, de 1913, com fotografias produzidas pelo ateliê Photographia Musso, também editor do livro. O teatro, inaugurado em 14 de julho de 1909, é uma das mais importantes salas de espetáculo da América do Sul, seu prédio é um dos mais bonitos e imponentes da cidade e sua história mistura-se à trajetória cultural do Brasil.
+ 
+Álbum Theatro Municipal do Rio de Janeiro, 1913. Texto de João do Rio e imagens da Photo Musso
+ 
+Link para o pdf do álbum Theatro Municipal do Rio de Janeiro (1913) com texto de Paulo Barreto, o João do Rio, e imagens produzidas pela Photo Musso, também editora do livro.
+A Photographia Musso, dirigida por Alfredo Musso, ficava na rua Uruguaiana, nº 12 (Almanak Laemmert, 1913, primeira coluna). Alfredo era irmão de Luis Musso (18? – 1908), que havia sido sócio do estabelecimento fotográfico do português José Ferreira Guimarães (1841 – 1924), onde Alfredo havia trabalhado (Jornal do Commercio, 1º de fevereiro de 1897, penúltima coluna; O Paiz, 19 de outubro de 1900, sexta coluna). Luis Musso havia sido o primeiro operador da Companhia Photographica Brazileira, dirigida pelo fotógrafo Juan Gutierrez (c. 1860 – 1897), desde sua fundação, em 1892, até 31 de março de 1894 (Jornal do Commercio, 13 de fevereiro de 1898, na última coluna). Em 1904, tendo deixado de trabalhar na Photographia Guimarães, Alfredo e Luis Musso e Julio D. Beltgen anunciaram a abertura de um novo estabelecimento fotográfico, na rua Uruguaiana, nº 10 (Gazeta de Notícias, 21 de fevereiro de 1904, terceira coluna). Em 1905, os irmãos Musso estavam estabelecidos sob a razão social L. Musso & C, que também se anunciava como Photographia Brazileira. Quando o álbum do Theatro Municipal foi publicado Luis Musso já havia falecido (O Paiz, 1º de agosto de 1908, sexta coluna).
+Voltando a João do Rio. Em 8 de agosto de 1916, sob o pseudônimo José Antônio José, publicou na coluna “Pall-Mall-Rio” a crônica Clic! Clac! O fotógrafo!, em que discorreu sobre a “loucura da fotografia” (O Paiz, 8 de agosto de 1916, sexta coluna).
+ 
+Início da crônica Clic! Cla! O fotógrafo! / O Paiz, 8 de agosto de 1916
+ 
+Em 1917, foi um dos fundadores e passou a dirigir a Sociedade Brasileira de Autores Teatrais – Sbat. Em 1920, fundou o jornal A Pátria, onde defendia os interesses da colônia portuguesa, que seria prejudicada pela nacionalização da pesca. Por seu posicionamento, foi muitas vezes ofendido, tendo sido surrado por nacionalistas – o capitão de fragata Frederico Vilar e cinco jovens oficiais – quando almoçava sozinho em um de seus restaurantes preferidos, o da Brahma (O Paiz, 3 de outubro de 1920, terceira coluna).
+Faleceu em 23 de junho de 1921, quando teve um enfarte dentro de um táxi na rua Bento Lisboa (O Paiz, 24 de junho e 25 de junho de 1921). Foi velado na redação do jornal A Pátria. Seu enterro, um dos mais concorridos realizados no Brasil, só comparável aos do presidente Getulio Vargas (1882 – 1954), da cantora Carmen Miranda (1909 – 1955) e do estudante Edson Luis (1950 – 1968), foi acompanhado por cerca de 100 mil pessoas. Seus restos mortais estão sepultados em uma tumba de mármore italiano e bronze, no Cemitério de São João Batista e é considerado um dos mais belos trabalhos de arte funerária no Rio de Janeiro (O Paiz, 27 de junho de 1921, terceira coluna; Gazeta de Notícias, 27 de junho de 1921; O Paiz, 28 de junhvido de 1921, primeira coluna). Sua biblioteca foi doada por sua mãe ao Real Gabinete Português de Leitura.
+ 
+
+Crônica de Celso Vieira (1878 – 1954) a respeito da morte de João do Rio na primeira página da Revista da Semana, 9 de julho de 1921
+ 
+João do Rio deixou uma vasta obra e entre seus livros mais importantes, destacam-se  A alma encantadora das ruas (1908),  Vida vertiginosa (1911) e Rosário da Ilusão (1919). Como teatrólogo, seu maior sucesso foi A bela madame Vargas, que estreou em 22 de outubro de 1912, no Teatro Municipal (Correio da Manhã, 22 de outubro de 1922; Revista da Semana, 26 de outubro de 1912). Outras de suas peças foram Chic-chic (1906) e Clotilde (1907). Traduziu obras do escritor e dramaturgo irlandês Oscar Wilde (1854 – 1900).
+ 
+Bahia Illustrada, junho de 1921
+ 
+
+ 
+Ao longo de sua vida viajou quatro vezes à Europa e conviveu com importantes personalidades do mundo cultural e artístico, dentre elas a bailarina Isadora Duncan (1877 – 1927), que esteve no Rio de Janeiro, em 1916 (Revista da Semana, 9 de setembro de 1916). ”…relatos de Gilberto Amado revelam a cumplicidade dos dois (Isadora e João do Rio): conversavam em várias línguas e não se desgrudavam. Isadora fez até uma apresentação exclusiva para o amigo e seu protegido na Cascatinha da Tijuca: tirou não só o sapato mas a roupa inteira, bailando envolta em filó”… Em suas memórias, Isadora diz: ”Aí conheci o poeta João do Rio, muito querido pela mocidade do Rio, onde aliás todos parecem poetas. Quando passeávamos, éramos seguidos pela rapaziada que gritava: ‘Viva Isadora!’, ‘Viva João do Rio!”’ (O Globo, 13 de abril de 1996).
+ 
+Revista da Semana, 9 de setembro de 1916
+ 
+Apesar de sua grande popularidade, segundo seu biógrafo, João Carlos Rodrigues,  João do Rio “teve muitos desafetos que o atacavam por sua afrodescendência e homossexualidade“. Logo no primeiro número de O Gato, Álbum de Caricaturas, em julho de 1911, revista desenhada por Seth (1891 – 1949) – pseudônimo de Álvaro Martins – e Hugo Leal – pseudônimo do português Vasco Lima (1883 – 1973) – foi caricaturado ao lado do poeta Olavo Bilac (1865 – 1918) apreciando uma escultura do imperador Heliogábalo nu. Na legenda, um suposto diálogo entre os dois escritores, que haviam estado recentemente na Itália: “- Soberbo, hein? – Que delicioso seria se todos os homens fossem assim!”.
+ 
+O Gato, julho de 1911
+ 
+O Globo, 13 de abril de 1996
+ 
+A professora e feminista portuguesa Mariana Coelho, personagem do artigo Série “Feministas, graças a Deus!” IX – Mariana Coelho (1857 – 1954), a “Beauvoir tupiniquim”, publicou uma homenagem a João do Rio, na ocasião da morte do escritor:
+ 
+Artigo da professora e feminista portuguesa Mariana Coelho em homenagem a Paulo Barreto, o João do Rio / A República (PR), 29 de junho de 1921
+ 
+
+ 
+Link para a crônica João do Rio na vitrina, de autoria de Carlos Drummond de Andrade (1987 – 1902), publicada no Jornal do Brasil de 13 de agosto de 1981, na ocasião do centenário de nascimento de João do Rio, quando a Biblioteca Nacional, uma das fundadoras do portal Brasiliana Fotográfica, realizou uma exposição em homenagem ao aniversariante.
+ 
+Jornal do Brasil, 13 de agosto de 1981
+ 
+A Rua
+João do Rio
+ 
+João do Rio / Fon Fon, 17 de janeiro de 1920
+ 
+Eu amo a rua. Esse sentimento de natureza toda íntima não vos seria revelado por mim se não julgasse, e razões não tivesse para julgar, que este amor assim absoluto e assim exagerado é partilhado por todos vós. Nós somos irmãos, nós nos sentimos parecidos e iguais; nas cidades, nas aldeias, nos povoados, não porque soframos, com a dor e os desprazeres, a lei e a polícia, mas porque nos une, nivela e agremia o amor da rua. É este mesmo o sentimento imperturbável e indissolúvel, o único que, como a própria vida, resiste às idades e às épocas. Tudo se transforma, tudo varia o amor, o ódio, o egoísmo. Hoje é mais amargo o riso, mais dolorosa a ironia. Os séculos passam, deslizam, levando as coisas fúteis e os acontecimentos notáveis. Só persiste e fica, legado das gerações cada vez maior, o amor da rua.
+A rua! Que é a rua? Um cançonetista de Montmartre fá-la dizer:
+         Je suis la rue, femme éternellement verte,
+         Je n’ai jamais trouvé d’autre carrière ouverte
+         Sinon d’être la rue, et, de tout temps, depuis
+         Que ce pénible monde est monde, je la suis…
+(Eu sou a rua, mulher eternamente verde, jamais encontrei outra carreira aberta senão a de ser a rua e, por todo o tempo; desde que este penoso mundo é mundo, eu a sou…)
+A verdade e o trocadilho! Os dicionários dizem: “Rua, do latim ruga, sulco. Espaço entre as casas e as povoações por onde se anda e passeia.” E Domingos Vieira, citando as Ordenações: “Estradas e rua pruvicas antigamente usadas e os rios navegantes se som cabedaes que correm continuamente e de todo o tempo pero que o uso assy das estradas e ruas pruvicas.” A obscuridade da gramática e da lei! Os dicionários só são considerados fontes fáceis de completo saber pelos que nunca os folhearam. Abri o primeiro, abri o segundo, abri dez, vinte enciclopédias, manuseei in-fólios especiais de curiosidade. A rua era para eles apenas um alinhado de fachadas, por onde se anda nas povoações…
+Ora, a rua é mais do que isso, a rua é um fator da vida das cidades, a rua tem alma! Em Benares ou em Amsterdã, em Londres ou em Buenos Aires, sob os céus mais diversos, nos mais variados climas, a rua é a agasalhadora da miséria. Os desgraçados não se sentem de todo sem o auxílio dos deuses enquanto diante dos seus olhos uma rua abre para outra rua. A rua é o aplauso dos medíocres, dos infelizes, dos miseráveis da arte. Não paga ao Tamagno para ouvir berros atenorados de leão avaro, nem à velha Patti para admitir um fio de voz velho, fraco e legendário. Bate, em compensação, palmas aos saltimbancos que, sem voz, rouquejam com fome para alegrá-la e para comer. A rua é generosa. O crime, o delírio, a miséria não os denuncia ela. A rua é a transformadora das línguas. Os Cândido de Figueiredo do universo estafam-se em juntar regrinhas para enclausurar expressões; os prosadores bradam contra os Cândido. A rua continua, matando substantivos, transformando a significação dos termos, impondo aos dicionários as palavras que inventa, criando o calão que é o patrimônio clássico dos léxicons futuros. A rua resume para o animal civilizado todo o conforto humano. Dá-lhe luz, luxo, bem-estar, comodidade e até impressões selvagens no adejar das árvores e no trinar dos pássaros.
+A rua nasce, como o homem, do soluço, do espasmo. Há suor humano na argamassa do seu calçamento. Cada casa que se ergue é feita do esforço exaustivo de muitos seres, e haveis de ter visto pedreiros e canteiros, ao erguer as pedras para as frontarias, cantarem, cobertos de suor, uma melopeia tão triste que pelo ar parece um arquejante soluço. A rua sente nos nervos essa miséria da criação, e por isso é a mais igualitária, a mais socialista, a mais niveladora das obras humanas. A rua criou todas as blagues e todos os lugares-comuns. Foi ela que fez a majestade dos rifões, dos brocardos, dos anexins, e foi também ela que batizou o imortal Calino. Sem o consentimento da rua não passam os sábios, e os charlatães, que a lisonjeiam e lhe resumem a banalidade, são da primeira ocasião desfeitos e soprados como bolas de sabão. A rua é a eterna imagem da ingenuidade. Comete crimes, desvaria à noite, treme com a febre dos delírios, para ela como para as crianças a aurora é sempre formosa, para ela não há o despertar triste, e quando o sol desponta e ela abre os olhos esquecida das próprias ações, é, no encanto da vida renovada, no chilrear do passaredo, no embalo nostálgico dos pregões – tão modesta, tão lavada, tão risonha, que parece papaguear com o céu e com os anjos…
+A rua faz as celebridades e as revoltas, a rua criou um tipo universal, tipo que vive em cada aspecto urbano, em cada detalhe, em cada praça, tipo diabólico que tem dos gnomos e dos silfos das florestas, tipo proteiforme, feito de risos e de lágrimas, de patifarias e de crimes irresponsáveis, de abandono e de inédita filosofia, tipo esquisito e ambíguo com saltos de felino e risos de navalha, o prodígio de uma criança mais sabida e cética que os velhos de setenta invernos, mas cuja ingenuidade é perpétua, voz que dá o apelido fatal aos potentados e nunca teve preocupações, criatura que pede como se fosse natural pedir, aclama sem interesse, e pode rir, francamente, depois de ter conhecido todos os males da cidade, poeira d’oiro que se faz lama e torna a ser poeira – a rua criou o garoto!
+Essas qualidades nós as conhecemos vagamente. Para compreender a psicologia da rua não basta gozar-lhe as delícias como se goza o calor do sol e o lirismo do luar. É preciso ter espírito vagabundo, cheio de curiosidades malsãs e os nervos com um perpétuo desejo incompreensível; é preciso ser aquele que chamamos flâneur e praticar o mais interessante dos esportes – a arte de flanar: É fatigante o exercício?
+Para os iniciados sempre foi grande regalo. A musa de Horácio, a pé, não fez outra coisa nos quarteirões de Roma. Sterne e Hoffmann proclamavam-lhe a profunda virtude, e Balzac fez todos os seus preciosos achados flanando. Flanar! Aí está um verbo universal sem entrada nos dicionários, que não pertence a nenhuma língua! Que significa flanar? Flanar é ser vagabundo e refletir, é ser basbaque e comentar, ter o vírus da observação ligado ao da vadiagem. Flanar é ir por aí, de manhã, de dia, à noite, meter-se nas rodas da populaça, admirar o menino da gaitinha ali à esquina, seguir com os garotos o lutador do Cassino vestido de turco, gozar nas praças os ajuntamentos defronte das lanternas mágicas, conversar com os cantores de modinha das alfurjas da Saúde, depois de ter ouvido dilettanti, de casaca, aplaudirem o maior tenor do Lírico numa ópera velha e má; é ver os bonecos pintados a giz nos muros das casas, após ter acompanhado um pintor afamado até a sua grande tela paga pelo Estado; é estar sem fazer nada e achar absolutamente necessário ir até um sítio lôbrego, para deixar de lá ir, levado pela primeira impressão, por um dito que faz sorrir, um perfil que interessa, um par jovem cujo riso de amor causa inveja…
+                                                  A alma encantadora das ruas (1908)
+ 
+Caricatura de João do Rio, de Cássio Loredano
+ 
+Link para o filme sobre a vida de João do Rio, De lá prá cá, parte 1 e parte 2.
+Link  para cartas enviadas por João do Rio para o político e pensador português João de Barros (1881 – 1960), publicadas no Correio IMS.
+A jornalista Cristiane d´Avila, da Casa de Oswaldo Cruz/Fiocruz, uma das instituições parceiras do portal, organizou um site com textos inéditos de João do Rio onde estão disponibilizadas s 52 colunas “Bilhete” do jornal A Pátria, fundado pelo escritor. Acesse aqui.
+Leia aqui as crônicas João do Rio (mas não só), de Humberto Werneck; e Flanar com João do Rio, de Guilherme Tauil, ambas publicadas no Portal Crônica Brasileira.
+Acesse aqui o site bilhetesdejoaodorio.com.br, que reúne as últimas colunas de João do Rio para o jornal A Pátria. É de autoria de Cristiane d´Avila, jornalista do Departamento de Arquivo e Documentação Casa de Oswaldo Cruz/Fiocruz, uma das instituições parceiras da Brasiliana Fotográfica, e uma das mais constantes colaboradoras do portal. Ela é também autora de livros sobre o escritor que estão na relação de fontes utilizadas para a elaboração deste artigo.
+Entre 9 e 13 de outubro de 2024, João do Rio foi o homenageado da 22ª edição da Flip- Festa Literária Internacional de Paraty.
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Nota da editora: os últimos dois parágrafos do artigo foram acrescentados em outubro de 2024.
+ 
+Fontes:
+ANTELO, Raul. João do Rio – O dândi e a especulação. Rio de Janeiro : Livraria Taurus-Timbre Editores, 1989.
+COSTA, Luis Ricardo Araújo. O Cinematographo de João do Rio; fotogramas de uma cidade em movimento, trabalho realizado sob a orientação do professor Ricardo Gomes, do Departamento de Comunicação Social da PUC-RJ.
+D’AVILA, Cristiane. João do Rio a caminho da Atlântida: por uma aproximação luso-brasileira. Rio de Janeiro: Faperj/Contra Capa, 2015.
+Enciclopédia Itaú Cultural 
+GAWRYSZEWSKI, Alfredo (organizador). Imagem: Artefato cultural. Londrina : Eduel, 2017.
+GOMES, Renato Cordeiro. João do Rio: vielas do vício, ruas da graças. Rio de Janeiro: Relume-Dumará: Prefeitura, 1996. Série Perfis do Rio, n. 13.
+GOMES, Renato Cordeiro. João do Rio. Rio de Janeiro : Agir, 2005.
+Hemeroteca da Biblioteca Nacional
+MAGALHÃES JUNIOR, Raimundo. A Vida Vertiginosa de João do Rio. Rio de Janeiro : Civilização Brasileira, 1978.
+O Globo, 19 de junho de 2021
+O Globo, 23 de junho de 2021 – Coluna de Joaquim Ferreira dos Santos.
+RIO, João do. Cartas de João do Rio a João de Barros e Carlos Malheiro Dias. Introdução, organização e notas: Cristiane d’Avila; prefácio: Zuenir Ventura. Rio de Janeiro: Funarte, 2012.
+RODRIGUES, João Carlos. João do Rio: vida, paixão e obra. Rio de Janeiro : Topbooks, 1996.
+RODRIGUES, João Gabriel. João do Rio e as representações do Rio de Janeiro: o artista, o repórter e o artifício, trabalho realizado sob a orientação do professor Ricardo Gomes, do Departamento de Comunicação Social da PUC-RJ.
+SCHAPOCHNIK, Nelson. João do Rio, um dândi na cafelândia. São Paulo : Boitempo Editorial, 2004.
+Site da Academia Brasileira de Letras
+​
+​
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/9189` — `itens/20.500.12156.1_9189/`
+
diff --git a/wordpress/23493-a-floresta-da-tijuca-na-colecao-familia-passos.md b/wordpress/23493-a-floresta-da-tijuca-na-colecao-familia-passos.md
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+---
+id: 23493
+url: "https://brasilianafotografica.bn.gov.br/?p=23493"
+titulo: "A Floresta da Tijuca na Coleção Família Passos"
+autor: "Andrea Wanderley"
+data: "2021-06-29T11:22:16+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/9181", "20.500.12156.1/9157", "20.500.12156.1/9169", "20.500.12156.1/9170", "20.500.12156.1/9177", "20.500.12156.1/9171", "20.500.12156.1/9158", "20.500.12156.1/9159", "20.500.12156.1/9172", "20.500.12156.1/9160", "20.500.12156.1/9161", "20.500.12156.1/9163", "20.500.12156.1/9162", "20.500.12156.1/9173", "20.500.12156.1/9174", "20.500.12156.1/9176", "20.500.12156.1/9175", "20.500.12156.1/9179", "20.500.12156.1/9178", "20.500.12156.1/9180", "20.500.12156.1/9188", "20.500.12156.1/9184"]
+fetched_at: "2026-09-10T10:07:24.464Z"
+---
+
+# A Floresta da Tijuca na Coleção Família Passos
+
+Nesse artigo, o cientista político Paulo Celso Corrêa, do Museu da República, uma das instituições parceiras da Brasiliana Fotográfica, nos convida a um passeio pela Floresta da Tijuca nos primeiros anos do século XX, a partir de visitas que o ex-prefeito do Distrito Federal, Francisco Franco Pereira Passos (1836-1913), fazia ali com sua família e convidados. A Floresta da Tijuca é uma das principais áreas verdes urbanas do mundo, com 33 km2 e 3.953 hectares. Desde 1961, integra o Parque Nacional que reúne as demais florestas do Maciço da Tijuca, com abrangência sobre as zonas oeste, norte e sul da cidade do Rio de Janeiro.
+ 
+A Floresta da Tijuca na Coleção Família Passos
+Paulo Celso Corrêa*
+Augusto Malta. Pereira Passos, Maria Rita Passos, Tina di Lorenzo, Armando Falconi e grupo de pessoas em visita à Furnas, na Floresta da Tijuca, 12 de junho de 1906. Rio de Janeiro, RJ / Acervo Museu da República
+ 
+O patrimônio natural e histórico da Floresta da Tijuca, produto e testemunha da história da ocupação humana na região, inspirou a produção de diversos registros fotográficos ao longo dos séculos XIX e XX, alguns dos quais já mostrados aqui no portal Brasiliana Fotográfica, no artigo A Floresta da Tijuca no Dia Mundial do Meio Ambiente, publicada em 5 de junho de 2019.
+As fotos a seguir ampliam o escopo desses registros ao retratar diferentes aspectos da Floresta da Tijuca durante as visitas que o ex-prefeito do Distrito Federal, Francisco Franco Pereira Passos (1836-1913), fazia ali com sua família e convidados. As fotos são de autoria de Augusto Malta (1864 – 1957), foram produzidas entre 1904 e 1906, e pertencem à Coleção Família Passos do Arquivo Histórico do Museu da República.
+ 
+Acessando o link para as fotografias da Floresta da Tijuca da Coleção Pereira Passos disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+A Floresta da Tijuca é o resultado de uma grande obra de reflorestamento iniciada em 1861 pelos seus primeiros administradores, o major Manuel Gomes Archer (1821 – 1907) e o Barão d’Escragnolle (1821 – 1888). Desde fins do século XVIII, a vegetação original que cobria o Maciço da Tijuca havia sido devastada pelas plantações de café e pelas queimadas para produção de carvão. Com isso, as fontes de água potável da região, que abasteciam a cidade, ficaram ameaçadas de secar. A recuperação da floresta começou com a desapropriação das fazendas de café e o plantio de sementes e mudas de árvores nativas e exóticas. O projeto do paisagista francês Auguste Glaziou (1828 – 1906) transformou a floresta num parque, com a abertura de estradas cavalgáveis, fontes, lagos, pontes e áreas de lazer como o mirante do Excelsior, a gruta Paulo e Virgínia e a Vista do Almirante.
+Tão logo o verde voltou a tomar conta dos altos tijucanos, as fazendas de café deram lugar às chácaras de nobres e burgueses, atraídos pelo sossego e clima fresco semelhante ao de Petrópolis. A Floresta da Tijuca se tornou o lugar favorito de quem, a exemplo dos integrantes da Família Real brasileira, buscava “passeios pitorescos e pic-nics restauradores” como os prometidos em um anúncio do Almanak Laemmert, de 1897:
+ 
+Almanak Laemmert, 1897
+ 
+As ações tomadas pela gestão de Francisco Pereira Passos na prefeitura do Distrito Federal entre 1902 e 1906 buscaram tornar a Floresta da Tijuca melhor sinalizada, transitável e atrativa aos praticantes do que se chamava à época de “excursionismo” – o hábito de sair de casa, na cidade, para apreciar a natureza, fazendo passeios e piqueniques. Antes, como engenheiro, Passos já havia trabalhado em outro projeto relacionado ao aproveitamento das florestas e montanhas do Maciço da Tijuca para fins recreativos e turísticos: a construção da estrada de ferro ligando o Cosme Velho ao Corcovado, inaugurada em 1885.
+As primeiras iniciativas da reforma urbana de Passos para a Floresta da Tijuca foram a reconstrução, em saibro, da estrada que ligava a rua Conde de Bonfim ao Alto da Boa Vista e, neste, a criação de uma praça – atual praça Afonso Viseu – com jardim projetado pelo paisagista francês Paul Villon (1841 – 1905). Nela foi construído um coreto de música oferecido pela Companhia Ferro-Carril de São Cristóvão, que operava a linha de bonde do Largo de São Francisco até o Alto da Boa Vista. O quiosque ali existente foi demolido e substituído por um restaurante de arquitetura em estilo norueguês, mais afinado aos critérios burgueses de higiene e bom-gosto. Um dos traços da reforma Passos foi o combate aos quiosques que, servindo comidas e bebidas a trabalhadores, desocupados e demais integrantes das camadas pobres da sociedade, eram qualificados como focos de desordem e sujeira. Agindo de tal modo, o poder público assegurava então que a Floresta da Tijuca continuasse a ser um espaço moldado ao gosto das classes dominantes e que, na esteira das transformações urbanas promovidas na capital federal, fosse capaz de atrair visitantes e turistas. O coreto, o jardim e o restaurante aparecem nesses dois postais, que reproduzem fotos de Augusto Malta.
+ 
+Augusto Malta. Alto da Boa Vista: aspectos da praça; vendo-se o coreto e os jardins após as transformações ocorridas na administração Passos, s/d. Rio de Janeiro, RJ / Acervo Museu da República
+ 
+Augusto Malta. Alto da Boa Vista: aspectos da praça; vendo-se o coreto e os jardins após as transformações ocorridas na administração Passos, s/d. Rio de Janeiro, RJ / Acervo Museu da República
+ 
+A inauguração da praça aconteceu em 12 de outubro de 1903 e contou com a presença do presidente Rodrigues Alves, conforme noticiou o Jornal do Brasil na matéria Alto da Boa Vista, publicada no dia seguinte. Na mesma ocasião, foram inauguradas a Mesa do Imperador reformada e o novo pavilhão oriental da Vista Chinesa.
+No lugar conhecido como Mesa do Imperador, onde se supõe que a Família Real fazia suas refeições quando passeava pela Tijuca, a prefeitura fez construir um novo caramanchão e grades rústicas para melhor abrigar os piqueniques. A seguir, a foto de Augusto Malta mostra a Mesa do Imperador com essas novidades, em 1903; e o cartão postal (sem data) registra Passos e um grupo majoritariamente feminino, que inclui sua esposa Maria Rita, posando diante de uma placa na qual se lê o nome do lugar, a sua altitude e a sigla PM de “Prefeitura Municipal”.
+ 
+Augusto Malta. Floresta da Tijuca: aspecto da Mesa do Imperador e da Vista Chinesa, vendo-se ao fundo a Lagoa Rodrigo de Freitas. Rio de Janeiro, 1903. Rio de Janeiro, RJ / Acervo Museu da República
+ 
+Augusto Malta. Pereira Passos, Maria Rita Passos e grupo de pessoas na Mesa do Imperador, durante visita à Floresta da Tijuca, s/d. Rio de Janeiro, RJ / Acervo Museu da República
+ 
+Mais adiante se chega à Vista Chinesa, lugar assim chamado desde meados do século XIX em alusão aos trabalhadores chineses que cultivavam chá nas antigas fazendas da região. Na gestão de Pereira Passos, foi erguido ali um novo pavilhão em forma de pagode (torre típica dos templos budistas asiáticos), com estrutura de argamassa imitando bambu e uma mesa de piquenique. O projeto foi de autoria do arquiteto Luiz Rey. Desse mirante, inaugurado em 1903, se podia ver o Corcovado (ainda sem o Cristo Redentor), o Pão de Açúcar, a Baía de Guanabara, a Lagoa Rodrigo de Freitas e um pouco de Niterói. A foto seguinte mostra o pavilhão ainda em um estágio primário de construção.
+ 
+Augusto Malta. Floresta da Tijuca: aspecto da Mesa do Imperador e da Vista Chinesa, vendo-se ao fundo a Lagoa Rodrigo de Freitas. Rio de Janeiro, 1903. Rio de Janeiro, RJ / Acervo Museu da República
+ 
+As fotos abaixo registram uma visita de Passos à Tijuca, realizada em 19 de abril de 1906, com a finalidade de verificar os reparos feitos nas estradas da região, danificadas após fortes chuvas. A visita foi noticiada na seção “Prefeitura” do Jornal do Brasil de 20 de abril de 1904, na sétima coluna. Também integravam a comitiva Jerônimo Coelho, diretor municipal de Obras e Viação, e Manuel Maria Del Castilho, superintendente do Serviço de Limpeza Pública e Particular. As fotos de Malta mostram o grupo na Estrada da Vista Chinesa, em meio a um corredor de bambus; e na Estrada do Pica-Pau, destacando a presença da Pedra da Gávea ao fundo e alguns aspectos da comunidade local, como um armazém de secos e molhados e uma escola pública.
+ 
+Augusto Malta. Pereira Passos e grupo de pessoas em visita à várzea do Picapau na Floresta da Tijuca, 19 de abril de 1906. Rio de Janeiro, RJ / Acervo Museu da República
+ 
+Augusto Malta. Pereira Passos e grupo de pessoas em visita à várzea do Picapau na Floresta da Tijuca, 19 de abril de 1906. Rio de Janeiro, RJ / Acervo Museu da República
+ 
+Augusto Malta. Pereira Passos e grupo de pessoas em visita à várzea do Picapau na Floresta da Tijuca, 19 de abril de 1904. Rio de Janeiro, RJ / Acervo Museu da República
+ 
+Augusto Malta. Pereira Passos e grupo de pessoas em visita à várzea do Picapau na Floresta da Tijuca, 19 de abril de 1904. Rio de Janeiro, RJ / Acervo Museu da República
+ 
+Nas fotos a seguir, datadas de 8 de julho de 1906, Passos e um grupo de homens aparecem em passeio à Mesa do Imperador, à Vista Chinesa e ao Rio das Furnas. Na foto abaixo, Malta destacou a Mesa do Imperador com as inovações inauguradas três anos antes. Pereira Passos aparece no canto direito, conversando com dois homens sentados na cerca rústica.
+ 
+Augusto Malta. Pereira Passos com grupo de pessoas em visita à Floresta da Tijuca, 8 de julho de 1906. Rio de Janeiro, RJ / Acervo Museu da República
+ 
+Posicionado no pavilhão da Vista Chinesa, Augusto Malta fotografou Passos e seus convivas, observados ao fundo por um adulto e uma criança descalços, provavelmente trabalhadores encarregados de manter a estrada em boas condições. O homem à direita de Pereira Passos segura um binóculo, instrumento necessário à melhor contemplação da paisagem oferecida pelo mirante. Na imagem é possível ver a traseira de um automóvel, veículo cada vez mais presente nas ruas das principais cidades brasileiras a partir dos primeiros anos do século XX. O carro, ainda privilégio daqueles com bastante dinheiro para pagar pela sua importação, facilitava subir as estradas da Floresta da Tijuca; por outro lado, também contribuía para este novo acontecimento da vida urbana, o acidente automobilístico, como o que aconteceu nas proximidades da Vista Chinesa, conforme noticiado pela Revista da Semana de 16 de junho de 1907.
+ 
+Augusto Malta. Pereira Passos com grupo de pessoas em visita à Floresta da Tijuca, 8 de julho de 1906. Rio de Janeiro, RJ / Acervo Museu da República
+ 
+O mesmo grupo de homens aparece noutra foto, produzida no mesmo passeio, à beira do Rio das Furnas.
+ 
+Augusto Malta. Pereira Passos com grupo de pessoas em visita à Floresta da Tijuca, 8 de julho de 1906. Rio de Janeiro, RJ / Acervo Museu da República
+ 
+Já o cartão postal abaixo foi feito a partir de foto de Augusto Malta do dia 14 de junho de 1904, durante a excursão oferecida pela prefeitura aos delegados brasileiros da Convenção Sanitária Internacional entre o Brasil, a Argentina e o Uruguai, encerrada no dia anterior. No canto esquerdo da imagem está a esposa do prefeito, Maria Rita Passos,  na Vista Chinesa. A convenção teve a finalidade de unificar protocolos de combate e prevenção à epidemias entre os três países. O sanitarista Oswaldo Cruz (1872 – 1917), então Diretor-Geral de Saúde Pública do Distrito Federal, integrava a delegação brasileira, mas não participou do passeio tijucano. Desde o ano anterior, Cruz vinha aplicando uma série de novas e polêmicas medidas para o combate à febre amarela e à peste bubônica, como os batalhões de mata-mosquitos e a compra de ratos. Naquele momento a cidade passava por um grave surto de varíola, o que em breve levaria o governo federal a propor a lei de vacinação obrigatória contra a doença, episódio que culminaria na Revolta da Vacina, em novembro de 1904.
+ 
+Augusto Malta. Maria Rita de A. Passos com grupo de pessoas na Vista Chinesa, 14 de junho de 1904. Rio de Janeiro, RJ / Acervo Museu da República
+ 
+Abaixo, os participantes da excursão posam para foto na escadaria do Hotel White, antigo Palacete do Conde de Boa Vista. O Jornal do Brasil do dia 15 de junho deu notícia do acontecimento na matéria No Alto da Boa Vista.
+ 
+Augusto Malta. Pereira Passos, Maria Rita Passos, Olímpia Passos, J.J. Seabra e outros posam diante da escadaria do Hotel White, no Alto da Boa Vista, 14 de junho de 1906. Rio de Janeiro, RJ / Acervo Museu da República
+ 
+Situado no Alto da Boa Vista, o Hotel White aparece em várias outras fotos dessa série. Isso porque as recepções oferecidas aos figurões da política, dos negócios e da cultura que visitavam a cidade do Rio de Janeiro costumavam incluir passeios à Floresta da Tijuca e refeições num dos hotéis de luxo existentes na região. O palacete neoclássico que servia como edifício principal do Hotel White foi construído em meados do século XIX para o Conde de Itamaraty, sob projeto do arquiteto José Maria Jacinto Rebelo (1821 – 1871), responsável também por parte do Palácio do Itamaraty, no centro do Rio. Posteriormente, o hotel foi renomeado em homenagem ao primeiro proprietário, como se vê no anúncio publicado na revista Careta de 24 de janeiro de 1914. O palacete é tombado pelo Instituto Estadual do Patrimônio Cultural desde 1979.
+ 
+Careta, 24 de janeiro de 1914
+ 
+As fotos abaixo foram produzidas por Augusto Malta no jardim do Hotel White, em 17 de dezembro de 1905. Fazem parte de um pequeno álbum que reúne fotos descontraídas do engenheiro Francisco Oliveira Passos (1878 – 1958), filho do prefeito e então consultor técnico da prefeitura, posando e fumando com um grupo de homens, dentre os quais o escritor e diplomata Graça Aranha (1868 – 1931) e o diretor da Limpeza Pública, Manoel Maria Del Castilho (1856 – 1911). A fotografia do grupo no coreto da praça do Alto da Boa Vista foi depois transformada em postal, enviado a Oliveira Passos pelo próprio Malta no Natal de 1905.
+ 
+Augusto Malta. Francisco de Oliveira Passos com grupo de pessoas em visita à Floresta da Tijuca, 17 de dezembro de 195. Rio de Janeiro, RJ / Acervo Museu da República
+ 
+Augusto Malta. Francisco de Oliveira Passos com grupo de pessoas em visita à Floresta da Tijuca, 17 de dezembro de 1905. Rio de Janeiro, RJ / Acervo IMS
+ 
+As fotos abaixo, também no Hotel White, mostram cenas da visita de Elihu Root (1845 – 1937), Secretário de Estado dos Estados Unidos, à Floresta da Tijuca. Em agosto de 1906, Root veio ao Rio de Janeiro participar da Terceira Conferência Pan Americana, iniciada em 25 de julho no Palácio Monroe, com a participação de representantes de dezenove países da América. Root chegava ao Brasil como representante da política externa do “Corolário Roosevelt”, oficializada pelo presidente estadunidense Theodore Roosevelt (1858 – 1919), em 1904, que justificava as intervenções militares “preventivas” dos Estados Unidos em outros países no caso de perturbação da ordem e desrespeito aos contratos. O Brasil, no entanto, não se via ameaçado pelo chamado “Grande Porrete”. A política externa brasileira dirigida pelo Barão do Rio Branco (1845 – 1912) considerava o poderio do país norte-americano um fator de proteção contra o intervencionismo europeu e um aliado na promoção dos interesses brasileiros no sul do continente.
+As esperanças do governo brasileiro manifestaram-se no entusiasmo com que Root foi recebido no país. Sua despedida da capital federal, no dia 3 de agosto de 1906, foi marcada por um passeio à Floresta da Tijuca, organizado por Pereira Passos e por Joaquim Nabuco (1849 – 1910), embaixador nos Estados Unidos e chefe da delegação brasileira na Conferência. Na primeira foto aparecem Nabuco, Maria Rita Passos e as senhoritas Teixeira Castro num dos automóveis da excursão, que passou pelo Mirante Excelsior, Gruta Paulo e Virgínia, Vista Chinesa, Estrada de Furnas e pelas Furnas de Agassiz. O encontro incluiu um almoço no Hotel White (Jornal do Brasil, 4 de agossto de 1906, sétima coluna).
+ 
+Augusto Malta. Maria Rita Passos, as senhoritas Teixeira Castro e Joaquim Nabuco em automóvel na Vista Chinesa, durante o passeio de Elihu Root à Floresta da Tijuca, 3 de agosto de 1906 / Acervo Museu da República
+ 
+Augusto Malta. Pereira Passos, Maria Rita Passos, Joaquim Nabuco e grupo de pessoas nas escadarias do Hotel White, durante o passeio de Elihu Root à Floresta da Tijuca, 3 de agosto de 1906. Rio de Janeiro, RJ / Acervo Museu da República
+ 
+A vinda de Root, primeira viagem oficial de um secretário de Estado dos Estados Unidos ao exterior, foi interpretada pelos entusiastas da modernidade republicana como indício da inclusão do Brasil no seleto grupo dos países “civilizados”. O mesmo se deu com a chegada ao Rio da turnê internacional de uma prestigiosa atriz do teatro europeu, a italiana Tina Di Lorenzo (1872 – 1930). Ela veio ao Rio com sua companhia teatral apresentar um repertório de peças famosas que incluía Romeu e Julieta, de Shakespeare; Casa Paterna, de Hermann Sudermann e A Dama das Camélias, de Alexandre Dumas, dentre outros sucessos. E, como de costume, ela também foi convidada pelos Passos a conhecer a Floresta da Tijuca, junto de seu marido, o também ator teatral Armando Falconi (1871 – 1954) (Revista da Semana, 3 de junho de 1906).
+Nas fotos a seguir, o grupo aparece fotografado diante das Furnas de Agassiz, conjunto de grutas e cavernas cujo nome faz referência ao naturalista suíço Louis Agassiz (1807 – 1873), que as estudou quando viajou pelo Brasil entre 1865 e 1866. Tina e o marido posam juntos diante da gruta principal das Furnas, formada por um conjunto de rochas superpostas. Noutra foto é possível ver os carros que levaram o grupo até o local e, na paisagem ao fundo, a Pedra da Gávea. Outro local visitado durante o passeio foi a Gruta de Paulo e Virgínia, batizada em referência ao romance francês Paulo e Virgínia, de Bernardin de Saint Pierre, muito famoso durante o século XIX (O Malho, 30 de junho de 1906).
+ 
+Augusto Malta. Pereira Passos, Maria Rita Passos, Tina di Lorenzo, Armando Falconi e grupo de pessoas em visita à Furnas, na Floresta da Tijuca, 12 de junho de 1906. Rio de Janeiro, RJ / Acervo Museu da República
+ 
+Augusto Malta. Pereira Passos, Maria Rita Passos, Tina di Lorenzo e grupo de pessoas em visita à Furnas, na Floresta da Tijuca, 12 de junho de 1906. Rio de Janeiro, RJ / Acervo Museu da República
+ 
+Augusto Malta. Pereira Passos, Maria Rita Passos, Tina di Lorenzo e grupo de pessoas em visita à Furnas, na Floresta da Tijuca, 12 de junho de 1906. Rio de Janeiro, RJ / Acervo Museu da República
+ 
+ 
+* Paulo Celso Liberato Corrêa é cientista político do Arquivo Histórico e Institucional do Museu da República.
+ 
+Fontes: 
+ABREU, Alzira Alves de (coord.). Dicionário Histórico-Biográfico da Primeira República (1889-1930). Rio de Janeiro: Editora FGV, 2015.
+AGASSIZ, Elizabeth Carey & AGASSIZ, Louis. Viagem ao Brasil 1865-1866. Brasília: Senado Federal, 2000.
+CRULS, Gastão. Aparência do Rio de Janeiro. Rio de Janeiro: Editora José Olympio, 1965.
+GERSON, Brasil. História das ruas do Rio de Janeiro. Rio de Janeiro: Editora Bem-te-vi, 2015.
+SEVCENKO, Nicolau. A revolta da vacina. São Paulo: Editora Scipione, 1993.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/9181` — `itens/20.500.12156.1_9181/`
+- `20.500.12156.1/9157` — `itens/20.500.12156.1_9157/`
+- `20.500.12156.1/9169` — `itens/20.500.12156.1_9169/`
+- `20.500.12156.1/9170` — `itens/20.500.12156.1_9170/`
+- `20.500.12156.1/9177` — `itens/20.500.12156.1_9177/`
+- `20.500.12156.1/9171` — `itens/20.500.12156.1_9171/`
+- `20.500.12156.1/9158` — `itens/20.500.12156.1_9158/`
+- `20.500.12156.1/9159` — `itens/20.500.12156.1_9159/`
+- `20.500.12156.1/9172` — `itens/20.500.12156.1_9172/`
+- `20.500.12156.1/9160` — `itens/20.500.12156.1_9160/`
+- `20.500.12156.1/9161` — `itens/20.500.12156.1_9161/`
+- `20.500.12156.1/9163` — `itens/20.500.12156.1_9163/`
+- `20.500.12156.1/9162` — `itens/20.500.12156.1_9162/`
+- `20.500.12156.1/9173` — `itens/20.500.12156.1_9173/`
+- `20.500.12156.1/9174` — `itens/20.500.12156.1_9174/`
+- `20.500.12156.1/9176` — `itens/20.500.12156.1_9176/`
+- `20.500.12156.1/9175` — `itens/20.500.12156.1_9175/`
+- `20.500.12156.1/9179` — `itens/20.500.12156.1_9179/`
+- `20.500.12156.1/9178` — `itens/20.500.12156.1_9178/`
+- `20.500.12156.1/9180` — `itens/20.500.12156.1_9180/`
+- `20.500.12156.1/9188` — `itens/20.500.12156.1_9188/`
+- `20.500.12156.1/9184` — `itens/20.500.12156.1_9184/`
+
diff --git a/wordpress/23540-a-mesa-os-pioneiros-da-ciencia-brasileira.md b/wordpress/23540-a-mesa-os-pioneiros-da-ciencia-brasileira.md
new file mode 100644
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--- /dev/null
+++ b/wordpress/23540-a-mesa-os-pioneiros-da-ciencia-brasileira.md
@@ -0,0 +1,48 @@
+---
+id: 23540
+url: "https://brasilianafotografica.bn.gov.br/?p=23540"
+titulo: "À mesa, os pioneiros da ciência brasileira"
+autor: "Andrea Wanderley"
+data: "2021-06-07T11:22:16+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/9187", "20.500.12156.1/5386"]
+fetched_at: "2026-09-10T10:07:27.582Z"
+---
+
+# À mesa, os pioneiros da ciência brasileira
+
+A fotografia destacada pela jornalista Cristiane d´Avila, da Fiocruz, uma das instituições parceiras do portal, representa bem mais do que o registro de um momento de descontração de pesquisadores, na Casa de Chá, em Manguinhos, em torno de 1908. Ali estava parte do grupo que alçaria o Instituto Oswaldo Cruz a ícone da medicina experimental no Brasil. A participação no Congresso Internacional de Higiene e Demografia realizado em Berlim, em 1907, onde o país foi laureado com medalha de ouro, deu condições para que uma instituição científica de estado, dedicada à pesquisa e ao ensino, se perpetuasse e fizesse de um sonho a concretização de seu projeto original, pautado até o presente na valorização da vida.
+ 
+À mesa, os pioneiros da ciência brasileira
+Cristiane d´Avila*
+ 
+Interior da casa de Chá: Henrique Aragão e Gustav Giemsa; 2º mesa: S. Von Prowazek e Oswaldo Cruz, 1908?. Rio de Janeiro, RJ / Acervo Casa de Oswaldo Cruz
+ 
+Pausa para a foto e o café. Pequenas mesas dispostas em semicírculo rondam a figueira, fincada na área central do caramanchão. À mesa, talvez o mesmo cardápio das refeições de alguns anos antes, quando o almoço era servido em um barracão: “galinha ensopada com batatas, arroz, pão”[1]. No primeiro plano, o químico alemão Gustav Giemsa (1867 – 1948) e o médico Henrique Aragão (1879 – 1956) posam ao lado do garçom, anônimo, de pé; no segundo, o protozoologista e também alemão Stanislas Von Prowazek (1875 – 1915) conversa com Oswaldo Cruz (1872 – 1917), a câmera como testemunha do suposto diálogo entre ambos.
+A fotografia do almoço na bucólica casa de chá (inaugurada em 1905 e, desde então, instalada no campus da Fiocruz em Manguinhos) data de 1908. Naquele ano, os dois professores da Escola de Medicina Tropical de Hamburgo receberam autorização do governo alemão para uma visita técnica ao Instituto Oswaldo Cruz, por seis meses. Realizada às expensas do Instituto Oswaldo Cruz (IOC), incluía bolsa de dois mil marcos por mês, para cada um, e passagens. Objetivos: ministrar cursos sobre suas especialidades aos profissionais do IOC e publicar em primeira mão, na recém-lançada revista científica Memórias do Instituto Oswaldo Cruz, os resultados das pesquisas realizadas durante o intercâmbio no instituto.
+A visita dos cientistas alemães foi impulsionada pela participação do Instituto de Patologia Experimental (denominação anterior do IOC)[2] no Congresso Internacional de Higiene e Demografia realizado em Berlim, em 1907. Único representante da América do Sul no evento, o Brasil ocupou três salas de exposições: uma dedicada à profilaxia da febre amarela, fruto da bem-sucedida campanha de Oswaldo Cruz no combate à doença no Rio, em 1904; outra, a estatísticas demográfico-sanitárias da cidade, então capital do país; e a terceira a projetos, fotografias dos prédios projetados para o campus de Manguinhos e produtos biológicos fabricados no instituto.
+Os estrangeiros ficaram impressionados com a coleção de insetos e os materiais representativos das doenças tropicais exibidas pelos cientistas brasileiros, principalmente as peças ilustrando as lesões provocadas pela febre amarela e a peste bubônica. “A participação do país no congresso internacional se dava, sobretudo, aos vínculos que Oswaldo Cruz criara com os mais importantes institutos europeus de medicina experimental. Tais relações tornaram Manguinhos mais conhecido na Europa que no Brasil”, explica o historiador Jaime Benchimol no livro Manguinhos do sonho à vida.
+Até então, segundo Benchimol, o IOC contava com parcos recursos e com quadro de pessoal que se resumia ao diretor, Oswaldo Cruz, a dois bacteriologistas e a dois estudantes, além de pesquisadores voluntários. Com o sucesso da campanha de Berlim, o IOC recebeu novo regulamento e arcabouço institucional, ganhando maior autonomia orçamentária e administrativa.
+Foi justamente esse profícuo intercâmbio que levou, em 1908, os professores de Hamburgo a Manguinhos. “Os trunfos colhidos em Berlim e a nova realidade institucional de Manguinhos permitiram a Oswaldo Cruz incorporar novos pesquisadores e deslanchar uma política de intercâmbio com os institutos estrangeiros, visando ao aperfeiçoamento de seu quadro de cientistas e ao amadurecimento de suas linhas de pesquisa”, continua Benchimol na detalhada obra sobre a história da Fiocruz e mesmo da própria ciência no país.
+O intercâmbio com centros de pesquisa internacionais como Instituto Pasteur, Museu Britânico, Instituto de Higiene de Heidelberg e de Moléstias Infecciosas de Berlim, escolas de Medicina Tropical de Hamburgo, Londres e Liverpool, etc., foi fundamental nesse processo de enfrentamento de resistências ao investimento em ciência e à autonomia do IOC. Igual relevância teve o papel dos pesquisadores e de suas inúmeras investigações, que levaram ao desenvolvimento de produtos biológicos de uso veterinário e humano. “A pauta industrial de Manguinhos evoluiu de 11 produtos em 1907 para 26 em 1918, entre soros, vacinas e outras substâncias biológicas para fins terapêuticos, para diagnóstico ou utilizados como matéria-prima em processos laboratoriais”[3].
+A fotografia, portanto, representa mais do que o registro de um momento de descontração, após a refeição dos pesquisadores, na bucólica Casa de Chá. Ali estava parte do grupo que alçaria o Instituto Oswaldo Cruz (assim nomeado a partir de 1908) a ícone da medicina experimental no Brasil. De certa forma, a participação no congresso em Berlim, onde o Brasil foi laureado com medalha de ouro, deu condições, ao longo dos anos, para que uma instituição científica de estado dedicada à pesquisa e ao ensino pudesse trilhar caminhos que a permitiram fazer de um sonho, seu objetivo maior: a valorização da vida.
+[1] ARAGÃO apud FUNDAÇÃO OSWALDO CRUZ, 1947.
+[2] A Fundação Oswaldo Cruz foi inaugurada em 1900 como Instituto Soroterápico Federal, passou a Instituto de Patologia Experimental e, a partir de 1908, ganhou o nome do patrono.
+[3] Benchimol, 2020, p. 84
+ 
+*Cristiane d´Avila é jornalista do Departamento de Arquivo e Documentação Casa de Oswaldo Cruz/Fiocruz
+Fontes:
+BENCHIMOL, Jaime Larry (coord.). Manguinhos do sonho à vida: a ciência na Belle Époque. Rio de Janeiro: Editora Fiocruz, 2020.
+FUNDAÇÃO OSWALDO CRUZ. CASA DE OSWALDO CRUZ. Resumo histórico da fundação do Instituto Soroterápico Federal, hoje Instituto Oswaldo Cruz. Coletânea organizada pelo arquivista Albino Taveira. Rio de Janeiro, COC, 1947.
+ 
+J. Pinto. Alcides Godoy, Oswaldo Cruz, Carlos Chagas, Arthur Neiva e outros cientistas em frente à Casa de Chá, 191?. / Rio de Janeiro, RJ / Acervo Casa de Oswaldo Cruz
+ 
+Os cientistas Gustav Giemsa (1867 – 1948) e Stanislas Von Prowazek (1875 – 1915) / Wikipedia e Fiocruz
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/9187` — `itens/20.500.12156.1_9187/`
+- `20.500.12156.1/5386` — `itens/20.500.12156.1_5386/`
+
diff --git a/wordpress/23678-cronologia-de-arthur-julio-wischral-1894-1982.md b/wordpress/23678-cronologia-de-arthur-julio-wischral-1894-1982.md
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+---
+id: 23678
+url: "https://brasilianafotografica.bn.gov.br/?p=23678"
+titulo: "Cronologia de Arthur Júlio Wischral (1894 – 1982)"
+autor: "Andrea Wanderley"
+data: "2021-03-22T10:22:03+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/8641"]
+fetched_at: "2026-09-10T10:07:30.963Z"
+---
+
+# Cronologia de Arthur Júlio Wischral (1894 – 1982)
+
+Cronologia do fotógrafo Arthur Júlio Wischral (1894 – 1982)
+ 
+Diário do Paraná, 28 de junho de 1975
+ 
+1894 – Em Curitiba, nascimento de Arthur Júlio Wischral, descendente de alemães.
+c. 1910 – Com uma máquina fotográfica emprestada de um amigo, Arthur Wischral procurou orientação do fotógrafo alemão Germano Fleury (1873 – 1945), estabelecido em Curitiba, durante a década de 1900. Além de fotografar, Fleury comercializava artigos fotográficos. Na cidade havia, na época, estúdios fotográficos utilizando as últimas técnicas trazidas da Europa e aonde também eram vendidos cartões postais e materiais fotográficos. Com Fleury, Wischral teve as primeiras noções de fotografia profissional. Segundo ele, quando começou a fotografar gostava de registrar cenas incomuns das reuniões familiares (Diário do Paraná, 28 de junho de 1975).
+1912 – Fotografou o primeiro bonde elétrico de Curitiba, que saiu da praça Ouvidor Pardinho com destino ao Portão (Diário do Paraná, 28 de junho de 1975).
+1913 – Ganhou de seu pai uma máquina fotográfica com todas as inovações que as indústrias de Dresden haviam conquistado até então. Custando 120 mil réis, a câmara apresentava fole, movas dimensões 13 x 18 cm – e vários outros recursos que possibilitavam um trabalho ainda mais sensível e de qualidade (Diário do Paraná, 21 de junho de 1975). Antes, seu pai havia tentado demovê-lo da ideia de ser fotógrafo. Queria que o filho se dedicasse ao violino.
+
+O amador fotográfico Arthur Wischral fotografou os enterros de Mário de Castro e de Francisco de Luccas, em Curitiba (Diário da Tarde (PR), 14 de maio de 1913, quinta coluna).
+
+Trabalhava como repórter fotográfico do jornal A República, do Paraná, e produziu registros de manobras militares realizadas pelo Regimento de Segurança na invernada do Campo Comprido (A República (PR), 26 de maio de 1913, sexta coluna).
+Fotografou uma horrível catástrofe quando 26 tamboretes de explosivos de guerra explodiram nos armazéns da Rede Ferroviária, na praça Eufrásio Correia, causando a morte de 8 soldados, 3 operários e uma criança, deixando vários feridos e produzindo grandes danos materiais. As fotos foram vendidas para jornais do Rio de Janeiro e de São Paulo (A República (PR), 2 de julho de 1913, primeira coluna; Diário do Paraná, 28 de junho de 1975).
+Pela jornal A República (PR), ele e Seraphin França acompanharam o governador do Paraná,  Carlos Cavalcanti (1864 – 1935), em uma viagem a cidades do litoral do estado (A República (PR), 14 de julho de 1913, terceira coluna; A República (PR), 22 de julho de 1913, sexta coluna).
+Wischral era o repórter fotográfico da revista ilustrada, humorística e literária A Bomba (PR), publicada nos dias 10, 20 e 30 de cada mês. Era de propriedade de Marcello Bittencourt (A Bomba, 30 de julho de 1913, primeira coluna).
+Além de Wischral, a Photographia Volk passou a integrar a equipe de reportagem fotográfica da revista A Bomba (PR) (A Bomba (PR), 10 de setembro de 1913, segunda coluna).
+ 
+Foto assinada por Arthur Wischral / A Bomba (PR), 31 de dezembro de 1913
+ 
+1914 – Estava presente à inauguração do ramal Serrinha – Nova Restinga, da Estrada de Ferro São Paulo – Rio Grande (A República (PR), 19 de fevereiro de 1914, última coluna).
+Em 5 de abril, fotografou o primeiro voo de avião realizado em Curitiba. O piloto foi Cícero Martins (Diário do Paraná, 28 de junho de 1975).
+Já estava na Alemanha e não era repórter fotográfico de A República (PR) (A República (PR), 30 de outubro de 1914, última coluna). A conselho de seu pai, havia viajado para aprender novas técnicas fotográficas. Ficou no país até depois do fim da Primeira Guerra Mundial. Empregou-se num estabelecimento que prestava serviços fotográficos para amadores. Fez um estágio no laboratório na Universidade de Würzburg e aprendeu a técnica do retoque com um fotógrafo da cidade, dominada por poucos profissionais em Curitiba. Em Würburg, encontrou-se uma vez com o futuro papa Pio XII a quem perguntou onde poderia encontrar pessoas que falassem português e ele lhe indicou uma escola onde estavam alguns feridos de guerra. Eram portugueses e estranharam o sotaque dele.  Durante sua estada na Alemanha, trabalhou durante seis anos no jornal Franken Warte. No período em que ficou na Europa viajou para diversos países do continente (Diário do Paraná, 28 de junho de 1975).
+1921 – Voltou a Curitiba e por volta dessa época começou a prestar serviços para o governo e para empresas. Fotografou o interior do Paraná, realizando uma série de imagens que integrariam o estande do estado na exposição comemorativa do Centenário da Independência do Brasil, no Rio de Janeiro.
+1922 – Fotografou a exposição comemorativa do Centenário da Independência do Brasil, no Rio de Janeiro.
+Voltou ao Rio de Janeiro, onde fotografou os primeiros prédios da orla carioca e também os arredores de Petrópolis.
+1924 - Esteve no Palácio do governador do Paraná, Caetano Munhoz da Rocha (1879 – 1944) (O Dia, 13 de fevereiro de 1924, terceira coluna).
+O hábil fotógrafo Arthur Wischral realizou na Villa Olga uma sessão de projeção de fotografias (O Dia (PR), 30 de março de 1924).
+ 
+O Dia (PR), 30 de março de 1924
+ 
+1926 – No artigo Uma audaciosa excursão ao Marumby, escrito por Affonso Wischral, de 9 de julho de 1926, foi mencionado que o autor e Arthur Wischral haviam fotografado aspectos do passeio que poderiam ser vistos na loja “O Pequeno Paris“, na rua 15, nº 58 (O Dia (PR), 26 de julho de 1926, última coluna).
+1928 – Foi contratado pela Rede Viação Paraná – Santa Catarina e registrou o dia a dia das obras, as dificuldades dos trabalhadores e as obras de manutenção da estrada de ferro Curitiba – Paranaguá, inaugurada em 1885 e considerada um marco na história da engenharia no Brasil. Um álbum, editado pelo próprio fotógrafo e por J. J. Wischral, foi produzido com esses registros. O endereço deles era avenida Silva Jardim, nº 175.
+ 
+Arthur Wischral e J.J. Wischral. Álbum Fotografias da Estrada de ferro Curitiba-Paranaguá, 1928. Paraná / Acervo IMS
+ 
+Acessando o link para o Álbum de Fotografias da Ferrovia de Curitiba a Paranaguá, de autoria de Arthur Wischral, disponível na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Dezenove de Dezembro, 1º de abril de 1885
+ 
+1929/1931 - Durante cerca de um ano e meio, Wischral permaneceu na Bahia onde documentou, contratado pelas Empresas Elétricas Brasileiras S.A, a construção da Barragem Jerry O´Connell, em Bananeiras. Uma das fotografias da barragem foi publicada no Estado de Florianópolis, 26 de julho de 1930.
+ 
+O Estado de Florianópolis (SC), 26 de julho de 1930
+ 
+O contrato previa também a produção de uma série de imagens de Salvador e do interior da Bahia que foram, posteriormente, reunidas em uma publicação de quatro volumes intitulada Desenvolvimento, Geologia e Produtos Agrícolas, Indústria do Cacau, feita pelas Empresas Elétricas Brasileiras S.A.
+Wischral montou, com imagens de sua estada na Bahia, um álbum pessoal com cerca de 500 fotografias.
+1934 - Registrou-se para receber algum pagamento da prefeitura de Curitiba (Correio do Paraná, 21 de fevereiro de 1934, quinta coluna).
+1935 – Na ocasião do cinquentenário da Estrada de Ferro do Paraná, Wischral, identificado como veterano dessas empreitadas estéticas e artista da Kodak, deu um depoimento, publicado no jornal O Dia (PR), 9 de janeiro de 1935.
+Foi contratado para acompanhar e documentar a expedição do coronel Raul Bandeira de Mello ao sudoeste do Paraná. As fotos e o relatório deram origem ao livro de mais de 400 páginas Ensaios de Geobélica Brasileira, editado pela Imprensa Nacional em 1938. O nome do fotógrafo não foi citado. A expedição registrou fatos e imagens desde Palmas até 7 Quedas e é um documento formidável da vida naquelas paragens nos anos 30. Eles documentaram os lugares das batalhas da revolução de 1924 e a situação de pontes, estradas e as defesas militares brasileiras na região. Também indígenas e até um chocante registro de uma família de deficientes físicos gerados por um casal de irmãos, imagens que correram o Brasil à época. Ao final uma cena bucólica com o comandante da expedição em meio aos hóspedes do hotel argentino das cataratas, constando do acervo até uma carta de “vinos” e menu, com a assinatura de todos os presentes. São mais de 90 fotos e mapas que mereciam uma exposição e uma edição fac-símile da obra, ou pelo menos das suas fotografias. Os originais encontram-se com Paulo José da Costa, proprietário da Fígaro Loja de Cultura Sebo e Antiquário, de Curitiba (Página Arthur Wishcral no Facebook).
+ 
+
+ 
+1936 - A matéria Capricho ou punição da natureza, sobre as consequências da sífilis, trazia uma fotografia de uma família com 4 filhos portadores de deficiência física , produzida por Wischral quando esteve no sertão de Guarapuava (O Estado (SC), 2 de setembro de 1936, primeira coluna).
+1937 – Uma fotografia de sua autoria foi publicada no artigo A Floresta Brasileira (O Observador Econômico e Financeiro, agosto de 1937). 
+ 
+Observador Econômico e Financeiro (RJ), agosto de 1937
+ 
+Década de 1940 – No início dessa década, Wischral foi contratado pela prefeitura de Curitiba e documentou detalhadamente as obras do Plano Agache. Ao longo de três décadas fotografou a transformação da cidade, a urbanização dos bairros, o alargamento das ruas, a construção de praças ajardinadas e dos primeiros grandes edifícios.
+Seu laboratório ficava na rua Desembargador Westphalen.
+1950 – A mesma fotografia publicada na edição de agosto de 1937 da revista Observador Econômico e Financeiro foi de novo publicada na edição de julho de 1950 da mesma revista. No ano seguinte, um leitor da revista, Martim Zipperer, de Curitiba, curioso acerca da autoria da fotografia que, segundo ele, foi produzida no rio dos Bugres, no município de São Bento do Sul, em Santa Catarina, a pedido de um de seus parentes, procurou a revista. Havia fotografado o mesmo local e a imagem foi publicada em Observador Econômico e Financeiro, abril de 1951. Segundo a reportagem “o confronto dessas fotografias, representando duas épocas, é um dos mais impressionantes documentos que se poderia divulgar sobre os males causados pela economia predatória que vem sido exercida sobre as nossas reservas florestais!”
+ 
+Fotografia produzida por Martim Zipperer no mesmo local da imagem de Wischral  publicada em 1937 e em 1950 no Observatório Econômico e Financeiro (RJ)/ Observatório Econômico e Financeiro (RJ), abril de 1951
+ 
+1964 - Uma fotografia de 1912 ou 1914, de autoria de Wischral foi publicada (Correio do Paraná, 23 de fevereiro de 1964, penúltima coluna).
+ 
+Correio do Paraná, 23 de fevereiro de 1964
+ 
+1967 - Com texto de Sérgio Augusto e fotografias de Arthur Wischral, publicação do artigo A maravilhosa Curitiba-Paranaguá (Diário do Paraná, 15 de julho de 1967).
+Publicação da matéria Era uma vez um vapor chamado Pery, com texto de Sérgio Augusto e fotos cedidas por Wischral (Diário do Paraná, 6 de agosto de 1967).
+Com fotografias dos arquivos de César Pinto e de Arthur Wischral, publicação da matéria Prefeitura -Século XX (I – Parte Primeira – Do aluguel de 200 mil réis à casa própria (Diário do Paraná, 10 de setembro de 1967).
+1975 – Publicação da matéria Curitiba em dois tempos, com fotos antigas produzidas por Wischral e com atuais do fotógrafo Mário Nunes do Nascimento (Diário do Paraná, 21 de junho de 1975). Dias depois, publicação de uma matéria sobre sua vida (Diário do Paraná, 28 de junho de 1975).
+1978 - Publicação de um artigo com fotografias de carnavais antigos sob as lentes de Wischral (Diário do Paraná, 3 de fevereiro de 1978).
+1979 - Na Casa Romário Martins, em Curitiba, realização da exposição Imagens e paisagens que Curitiba perdeu, com registros de Wischral e de outros fotógrafos (Diário do Paraná, 10 de junho de 1979, primeira coluna).
+ 
+Diário do Paraná, 21 de junho de 1975
+ 
+1982 – Na Sala Funarte, em Curitiba, realização da exposição Paraná de ontem com fotografias de Wischral e de Alberto Weiss, dentre outros (Diário do Paraná, 4 de maio de 1982, terceira coluna).
+O fotógrafo Arthur Wischral faleceu, em setembro.
+Década de 1990 – Em fins dessa década, A Universidade Federal da Bahia comprou da família do fotógrafo o álbum montado por ele com cerca de 500 imagens de sua estada na Bahia em torno de 1930.
+1994 – Foi um dos fotógrafos com obras expostas no evento Curitiba Capital Nacional de Fotografia, entre 14 e 21 de agosto (Jornal do Brasil, 27 de julho de 1994).
+2020 – O Instituto Moreira Salles adquiriu em leilão 91 imagens de um conjunto de registros de Salvador e de outras localidades, realizadas em 1931, por ocasião das obras da construção da usina hidrelétrica de Bananeiras, todas de autoria de Wischral. Complementam o trabalho do fotógrafo presente no acervo do IMS, que já possuía o álbum Estrada de Ferro Curitiba-Paranaguá, de 1928.
+ 
+Link para um pequeno filme realizado pelo Paraná Portal sobre Arthur Wischral
+Link para o filme Ferrovia Curitiba Paranaguá vista por Arthur Wischral
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/8641` — `itens/20.500.12156.1_8641/`
+
diff --git a/wordpress/2375-serie-conflitos-i-a-revolta-da-armada.md b/wordpress/2375-serie-conflitos-i-a-revolta-da-armada.md
new file mode 100644
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+++ b/wordpress/2375-serie-conflitos-i-a-revolta-da-armada.md
@@ -0,0 +1,85 @@
+---
+id: 2375
+url: "https://brasilianafotografica.bn.gov.br/?p=2375"
+titulo: "Série “Conflitos” I – A Revolta da Armada"
+autor: "Andrea Wanderley"
+data: "2015-09-06T09:04:59+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/3073", "20.500.12156.1/3052"]
+fetched_at: "2026-09-10T10:07:34.423Z"
+---
+
+# Série “Conflitos” I – A Revolta da Armada
+
+“Grave notícia se espalhou desde manhã cedo pela cidade: uma parte da força armada da nação se sublevara, e havia uma greve assustadora na estrada de ferro Central.
+Nem tudo isso era verdade. Os sucessos ocorridos na estrada não tinham a gravidade que se anunciava; mas era certo que a esquadra se achava em atitude francamente hostil ao governo”.
+ 
+Juan Gutierrez. Revolta da Armada – Arsenal de Marinha, c. 1893. Rio de Janeiro, RJ / Acervo IMS
+ 
+Assim a Gazeta de Notícias, de 7 de setembro de 1893, iniciava a matéria sobre a Revolta da Armada, rebelião da última década do século XIX, que evidenciou algumas das cisões da então incipiente República brasileira.
+A Brasiliana Fotográfica traz para seus leitores registros fotográficos desse acontecimento produzidos pelo importante fotógrafo Marc Ferrez (1843-1923), que foi fotógrafo da Marinha brasileira, e pelo espanhol Juan Gutierrez (?-1897), que chegou ao Brasil, provavelmente, na década de 1880, e foi um dos últimos profissionais que recebeu o título de “Fotógrafo da Casa Imperial“, em 1889.
+ 
+Acessando o link para as fotografias da Revolta da Armada disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+O Comitê Nacional do Brasil do Programa Memória do Mundo da UNESCO, o MoWBrasil, reunido em Sessão Plenária com a maioria de seus membros, entre os dias 2 e 3 de outubro de 2017, na cidade de Belo Horizonte, escolheu 10 das 22 candidaturas recebidas ao Edital MoWBrasil 2017, para serem inscritas no Registro Nacional do Brasil do Programa Memória do Mundo da UNESCO. Os registros iconográficos da Revolta da Armada (1893 – 1894), cuja inscrição foi proposta pelo Arquivo Geral da Cidade do Rio de Janeiro, pelo Instituto Moreira Salles e pelo Museu Histórico Nacional*, foi um dos selecionados. O IMS é um dos fundadores da Brasiliana Fotográfica e o Arquivo Geral da Cidade do Rio de Janeiro é parceiro do portal.
+Os outros escolhidos cujos proponentes são parceiros ou fundadores da Brasiliana Fotográfica foram o Arquivo Lima Barreto, da Fundação Biblioteca Nacional; a Coleção Família Passos, do Museu da República; a Correspondência original dos governadores do Pará com a corte. Cartas e anexos (1764-1807), do Arquivo Nacional; o Formulário médico manuscrito atribuídos aos jesuítas e encontrado em uma arca da igreja de São Francisco de Curitiba, da Fundação Oswaldo Cruz.
+Também foram selecionados: Atas do Montepio Geral de Economia dos Servidores do Estado – o início da Previdência no Brasil, da Mongeral Aegon Seguros e Previdência; a Coleção Tribunal de Segurança Nacional: a atuação do Supremo Tribunal Militar como instância revisional, 1936-1955, do Superior Tribunal Militar; a Coleção Vladimir Kozák: acervo iconográfico, filmográfico e textual de Povos Indígenas Brasileiros (1948 – 1978), do Museu Paranaense; os Livros de registros da Polícia Militar da Bahia, da Polícia Militar da Bahia; e o Testamento do senhor Martim Afonso de Souza e de sua mulher dona Ana Pimentel, da Universidade Federal de Minas Gerais.
+A cerimônia de entrega dos certificados ocorrerá no dia 7 de dezembro, no Rio de Janeiro, no Forte de Copacabana.
+ 
+Um pouco da história da Revolta da Armada
+ 
+As origens da Revolta da Armada remontam a novembro de 1891 (Gazeta de Notícias, de 5 de novembro de 1891, na primeira coluna), quando o marechal Deodoro da Fonseca (1827-1892), primeiro presidente do Brasil, fechou o Congresso Nacional por não conseguir negociar com as bancadas de São Paulo, Rio de Janeiro e Minas Gerais, estados produtores de café. Sob a liderança do contra-almirante Custódio de Mello (1840 – 1902), unidades da Marinha se sublevaram e ameaçaram bombardear o Rio de Janeiro. Vinte dias depois, em 23 de novembro, Deodoro renunciou e o vice-presidente, marechal Floriano Peixoto (1839-1895), assumiu a presidência (Gazeta de Notícias, de 24 de novembro de 1891). Porém, não convocou eleições presidenciais conforme previa a Constituição em vigor. Foi acusado de ocupar ilegalmente a presidência.
+Em 1892, ocorreu o primeiro movimento de oposição: 13 oficiais-generais divulgaram um manifesto exigindo a convocação de eleições. Os líderes do movimento foram presos e parte deles foi mandada para o interior do estado do Amazonas, na cidade de Tabatinga (Diário de Notícias, 23 de abril de 1892, sob os títulos “Manifesto” e “Habeas Corpus”).
+Em  6 de setembro de 1893, um grupo de oficiais da Marinha, liderados pelo ministro da Marinha e da Guerra, o contra-almirante Custódio de Mello (1840 – 1902), que pretendia se candidatar à sucessão de Floriano Peixoto, voltou a se rebelar. Iniciava-se assim a Revolta da Armada, na Baía de Guanabara, com os navios Aquidabã, Javari, Trajano e República. Custódio de Mello divulgou um manifesto acusando o governo de ter “armado brasileiros contra brasileiros” e de ter iludido “a Nação, abrindo com mão sacrílega as arcas do erário público a uma política de suborno e corrupção”(Gazeta de Notícias, 8 de setembro de 1893, na quinta coluna). Também fazia parte do grupo o almirante Eduardo Wandenkolk (1838 – 1902), que havia sido ministro da Marinha do governo de Deodoro da Fonseca e que, um ano antes, havia sido um dos oficiais presos por ter assinado o manifesto dos 13 generais.  Além das acusações contra a política de Floriano Peixoto, os oficiais da Marinha também se ressentiam de seu desprestígio em relação aos oficiais do Exército.
+Em 13 de setembro, os fortes fluminenses, em poder do Exército, começaram a ser bombardeados (Gazeta de Notícias, 14 de setembro de 1893, sob o título “A Revolta”). A frota das forças rebeldes era formada por embarcações da Marinha de Guerra e por navios civis de empresas brasileiras e estrangeiras.
+ 
+Revista Illustrada, outubro de 1893
+ 
+Revista Illustrada, outubro de 1893
+ 
+Na Marinha os revoltosos eram maioria, porém enfrentavam forte oposição no Exército, onde milhares de jovens aderiam aos batalhões que apoiavam o presidente Floriano. As elites dos estados, principalmente a de São Paulo, também eram favoráveis a Floriano.
+Na madrugada de 1º de dezembro, Custódio de Mello, no Aquidabã, seguido do República e de cruzadores auxiliares, foi para o sul para unir-se aos federalistas (O Paiz, 2 de dezembro de 1893, sob o título “A Revolta”). Na época acontecia a Revolução Federalista, uma disputa entre os federalistas (maragatos) e republicanos (pica-paus), esses últimos apoiados por Floriano. A cidade de Desterro, como se chamava então a capital de Santa Catarina, foi dominada pelos revoltosos.
+ 
+Juan Gutierrez. Ilha das Cobras, c. 1893. Rio de Janeiro, RJ / Acervo FBN
+ 
+Em 7 de dezembro, o contra-almirante Luís Filipe Saldanha da Gama (1846 – 1895), então diretor da Escola Naval, aderiu ao movimento, assumindo o comando dos revoltosos no Rio de Janeiro, dando início à segunda fase da Revolta da Armada (Gazeta de Notícias, 15 de dezembro de 1893, na segunda coluna). A essa altura, os rebelados contavam com pouca munição e não dispunham de víveres. A Fortaleza de São José, na Ilha das Cobras, foi praticamente destruída pelas tropas legalistas e, em 9 de fevereiro de 1894, quando os rebelados, sob o comando de Saldanha da Gama, desembarcaram na Ponta da Armação, em Niterói, foram derrotados. Também foram vencidos na Ilha do Governador (Gazeta de Notícias, 10 de fevereiro de 1894, sob o título “A Revolta”).
+Niterói, que era a capital do estado do Rio de Janeiro, teve seus sete fortes bombardeados. Em 20 de fevereiro de 1894 , a sede do governo foi então transferida para Petrópolis, cidade serrana fora do alcance dos canhões da Marinha (Gazeta de Petrópolis, 24 de fevereiro de 1894). Niterói só voltaria a sediar a capital em 1903.
+O governo federal havia adquirido navios de guerra, que foram apelidados de “frota de papelão”. O comando dessa esquadra foi entregue ao almirante Jerônimo Gonçalves (1835 – 1903), veterano da Guerra do Paraguai. Em março de 1894, com o apoio do Exército e do Partido Republicano Paulista (PRP), a Revolta da Armada foi sufocada ( O Paiz, 14 de março de 1894 e Gazeta de Notícias, 16 de março de 1894). Os rebeldes se asilaram nos navios portugueses Mindelo e Afonso de Albuquerque, terminando a segunda fase da revolta.
+A Revolução Federalista continuava no sul, para onde Saldanha da Gama e seus homens foram conduzidos. Custódio de Mello havia tomado o porto de Paranaguá e estava unido ao líder federalista Gumercindo Saraiva (1852 – 1894). Tomaram a cidade da Lapa e as tropas do governo deslocaram-se para o sul. Em 16 de abril de 1894, o encouraçado Aquidabã, dos revoltosos, foi torpedeado, em Santa Catarina, pela torpedeira Gustavo Sampaio, comandada pelo tenente Altino Flavio de Miranda Correia (Gazeta de Notícias, 18 de abril de 1894, sob o título “A Revolta”).
+No cruzador República, Custódio de Mello, comandando quatro navios mercantes e dois mil homens, tentou, sem sucesso, desembarcar na cidade do Rio Grande. Foi derrotado pelas tropas do governo de Julio de Castilhos. Os revolucionários da Armada estavam vencidos. Custódio refugiou-se na Argentina, onde entregou os navios (Diário de Notícias, 23 de abril de 1894). Segundo o historiador Helio Silva, o fim da terceira e última fase da Revolta da Armada aconteceu com a morte de Saldanha da Gama, em 25 de junho de 1895, em Campo Osório, no Rio Grande do Sul (Gazeta de Notícias, 26 de junho de 1895).
+ 
+Homenagem ao almirante Saldanha da Gama, na revista Don Quixote, jornal illustrado de Angelo Agostini, de 29 de junho de 1895.
+ 
+Floriano Peixoto ficou conhecido como “Marechal de Ferro” e governou até 15 de novembro de 1894, quando foi sucedido por Prudente de Morais, primeiro presidente civil do Brasil.
+ 
+Homenagem da Revista Illustrada, de julho de 1895, na ocasião da morte do marechal Floriano Peixoto.
+ 
+O Decreto nº 310, de 21 de outubro de 1895, anistiou “todas as pessoas que directa ou indirectamente se tenham envolvido nos movimentos revolucionarios occorridos no territorio da Republica até 23 de agosto do corrente anno, com as restricções que estabelece”(Gazeta de Notícias, de 22 de outubro de 1895, sob o título “Amnistia”). Custódio de Mello e outros oficiais envolvidos na Revolta da Armada  retornaram ao Brasil (Gazeta de Notícias, de 24 de outubro de 1895, sob o título “Telegrammas”, e Gazeta de Notícias, de 31 de outubro de 1895, no topo da segunda coluna). Chegaram no Rio de Janeiro em 6 de novembro (Gazeta de Notícias, de 7 de novembro de 1895, na terceira coluna).
+ 
+Capa da revista Don Quixote, jornal ilustrado de Angelo Agostini, de 9 de novembro de 1895, com a figura do almirante Custódio de Mello.
+ 
+Para a elaboração desse resumo da Revolta da Armada, a Brasiliana Fotográfica pesquisou diversos jornais da Hdmeroteca Digital da Biblioteca Nacional, além do Atlas da Fundação Getúlio Vargas, e dos livros A Revolta da Armada, de Hélio Leôncio Martins; Nasce a República 1888-1894, de Hélio Silva, e “Coleção História Naval Brasileira”.
+ 
+Outras publicações da Brasiliana Fotográfica sobre conflitos no Brasil:
+Guerra de Canudos pelo fotógrafo Flavio de Barros
+Lampião e outros cangaceiros pelas lentes de Benjamin Abrahão
+Registros da Guerra do Paraguai
+ 
+A Brasiliana Fotográfica convida seus leitores para uma visita ao Correio IMS, onde estão publicadas duas cartas que o jurista, escritor e jornalista Rui Barbosa (1849-1923) – opositor de Floriano Peixoto, que o considerava o mentor intelectual da Revolta da Armada – escreveu para sua esposa, Maria Augusta Viana Bandeira (1855-1949), na época da rebelião:
+“As “delícias” de ser preso”, de 7 de setembro de 1893
+“Não sei como ainda vivo!”, de 19 de setembro de 1893
+ 
+A Brasiliana Fotográfica faz um agradecimento especial ao Departamento de História da Marinha, à socióloga Roberta Zanatta e ao arquiteto Bruno Buccalon, ambos da equipe do IMS. 
+ 
+Andrea C. T. Wanderley
+Editora-assistente e pesquisadora do portal Brasiliana Fotográfica
+*ERRATA: anteriormente, a Brasiliana Fotográfica havia apontado o Museu da República como um dos proponentes. A correção foi feita em 30 de maio de 2018.
+Esse artigo passou a integrar a série Conflitos, em 20 de março de 2026.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/3073` — `itens/20.500.12156.1_3073/`
+- `20.500.12156.1/3052` — `itens/20.500.12156.1_3052/`
+
diff --git a/wordpress/23886-retorno-da-brasiliana-fotografica.md b/wordpress/23886-retorno-da-brasiliana-fotografica.md
new file mode 100644
index 0000000..7590312
--- /dev/null
+++ b/wordpress/23886-retorno-da-brasiliana-fotografica.md
@@ -0,0 +1,17 @@
+---
+id: 23886
+url: "https://brasilianafotografica.bn.gov.br/?p=23886"
+titulo: "Retorno da Brasiliana Fotográfica"
+autor: "Vinicius Martins"
+data: "2021-06-02T19:33:57+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Sem categoria", "Convidados", "Preservação digital"]
+handles_referenciados: []
+fetched_at: "2026-09-10T10:07:37.255Z"
+---
+
+# Retorno da Brasiliana Fotográfica
+
+Após os incidentes ocorridos no dia 11/04/2021 que afetaram diversos serviços da Biblioteca Nacional, incluindo a Brasiliana Fotográfica, foram empreendidos esforços para sanear e estabilizar o ambiente digital, bem como recuperar de forma mais completa possível tudo o que foi afetado.
+Desta forma, retornamos agora com a Brasiliana Fotográfica ainda com algumas lacunas em seu acervo, a recuperação total ainda levará algum tempo.
+Estamos cientes do impacto que a indisponibilidade de determinados acervos causa às pesquisas e aos trabalhos em andamento, mas gostaríamos de enfatizar que estamos trabalhando da forma mais rápida e segura possível.
+Até o completo restabelecimento dos serviços podem ocorrer episódios de indisponibilidade, instabilidade, lentidão ou imprecisão na recuperação de informações. Contamos com a compreensão dos usuários de nossos serviços.
diff --git a/wordpress/23910-visitantes-ilustres-em-manguinhos.md b/wordpress/23910-visitantes-ilustres-em-manguinhos.md
new file mode 100644
index 0000000..8bafa13
--- /dev/null
+++ b/wordpress/23910-visitantes-ilustres-em-manguinhos.md
@@ -0,0 +1,66 @@
+---
+id: 23910
+url: "https://brasilianafotografica.bn.gov.br/?p=23910"
+titulo: "Visitantes Ilustres em Manguinhos"
+autor: "Andrea Wanderley"
+data: "2021-07-29T12:34:13+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/5126", "20.500.12156.1/9322", "20.500.12156.1/9317", "20.500.12156.1/9319", "20.500.12156.1/6551", "20.500.12156.1/9328"]
+fetched_at: "2026-09-10T10:07:40.237Z"
+---
+
+# Visitantes Ilustres em Manguinhos
+
+A partir de uma informação errada sobre uma imagem da visita do célebre cientista alemão Albert Einstein (1879 – 1955), publicada no Facebook durante a pandemia da Covid, o pesquisador Ricardo Augusto dos Santos, da Fiocruz, uma das instituições parceiras da Brasiliana Fotográfica, escreveu um artigo com os dados corretos do acontecimento e também sobre outras visitas ilustres ao Castelo Mourisco, dentre elas o presidente Getulio Vargas (1882 – 1954) e o governador de São Paulo, Adhemar de Barros (1901 – 1969). O registro de Einstein no Instituto Oswaldo Cruz, em 8 de maio de 1925, foi produzido pelo fotógrafo J. Pinto (1884 – 1951).
+ 
+Visitantes Ilustres em Manguinhos
+  Ricardo Augusto dos Santos*  
+ 
+J.Pinto. Visita de Albert Einstein ao Instituto Oswaldo Cruz, 8 de maio de 1925. Manguinhos, Rio de Janeiro / Acervo Casa de Oswaldo Cruz
+ 
+Em plena pandemia de COVID uma fotografia de Albert Einstein (1879 – 1955) circulou nas redes sociais (originalmente num post no Facebook) com informações erradas. O texto estava repleto de equívocos, com a legenda mencionando uma visita do cientista ao Instituto Butantã, em São Paulo. Além disso, a postagem comentava a presença de Oswaldo Cruz entre os homens. Seria cômico, se não fosse trágico. A primeira falha cometida é a ausência de informação sobre a origem do documento fotográfico pertencente ao acervo da Casa de Oswaldo Cruz, a COC, que é a unidade da Fundação Oswaldo Cruz responsável pela memória e história da instituição e de temas ligados ao campo da medicina e da saúde pública.
+Vamos aos fatos. Em 1925, Einstein conheceu o Brasil, o Uruguai e a Argentina. Na foto aparece o cientista em visita ao Instituto Oswaldo Cruz. Em nosso país, entre compromissos profissionais e passeios, ficaram registradas visitas ao Observatório Nacional, Escola Politécnica, Museu Nacional, Instituto Oswaldo Cruz, Jardim Botânico e ao Clube de Engenharia. Não há dados sobre uma ida ao Butantã. No momento eternizado, na ampla varanda do belo prédio, o Pavilhão Mourisco, famoso Castelo da Avenida Brasil, estão fazendo companhia ao autor da Teoria Geral da Relatividade, Carlos Chagas, Alcides Godoy, Astrogildo Machado, Leocádio Chaves e demais pesquisadores. O principal equívoco que o autor do post no Facebook cometeu é que Oswaldo Cruz não poderia estar nessa foto, pois ele falecera em 1917. Oito anos, portanto, antes da visita de Einstein a Manguinhos.
+ 
+Getulio Vargas visitando Manguinhos, 1935. Manguinhos, Rio de Janeiro / Acervo Casa de Oswaldo Cruz
+ 
+Ao longo de seus 121 anos de história, a instituição de vanguarda na saúde pública e na ciência recebeu inúmeros visitantes. Personagens da história republicana, políticos, cientistas e intelectuais andaram pelos corredores, varandas, laboratórios e conheceram a ampla biblioteca. O acervo da Casa de Oswaldo Cruz guarda as imagens dessas visitas. Na foto acima, aparece Getulio Vargas (1882 – 1954); no grupo estão o ministro Gustavo Capanema (1900 – 1985), titular da pasta da Educação e Saúde Pública, e os cientistas Souza Araújo e Artur Neiva. Inúmeros cientistas nacionais e estrangeiros frequentaram Manguinhos, estudando, trabalhando ou visitando. Em outra fotografia, foi documentada a visita do médico francês León Bernard (1872 – 1934), especialista em tuberculose, membro do Comitê de Higiene da Liga das Nações e diretor dos Annales de Médecine.
+ 
+J.Pinto. Visita de León Bernard ao Instituto Oswaldo Cruz, 1925. Manguinhos, Rio de Janeiro / Acervo Casa de Oswaldo Cruz.  Da esquerda para a direita, (2º, León Bernard), professor de Higiene em Paris. Entre Leocádio Chaves(1º) e Souza Araújo(3º). 
+ 
+Curiosamente, dentre as visitas registradas, encontramos duas fotos comprovando a presença inusitada do governador de São Paulo, Adhemar Pereira de Barros (1901 – 1969), que ficou famoso pelo modo condenável de administrar a coisa pública. Suspeito de angariar recursos financeiros em benefício próprio, Adhemar de Barros foi retratado junto aos pesquisadores do IOC. O que estaria fazendo Adhemar no Instituto? Adhemar era médico. E estudou no Curso de Aplicação do Instituto Oswaldo Cruz entre 1919 e 1920. Contudo, na imagem feita nos anos 1940, Adhemar de Barros havia abandonado a medicina e ingressado na vida política.
+ 
+Adhemar de Barros em visita ao Instituto Oswaldo Cruz, 1940 / Manguinhos, Rio de Janeiro / Acervo Casa de Oswaldo Cruz
+ 
+O rei Alberto da Bélgica (1875 – 1934), em 25 de setembro de 1920, durante sua viagem ao Brasil, visitou Manguinhos, na companhia do presidente Epitácio Pessoa (1865 – 1942). Foram recebidos pelo cientista Carlos Chagas (1878 – 1934), diretor da instituição (O Paiz, 26 de setembro de 1920; Careta de 2 de outubro de 1920).
+ 
+O rei da Bélgica, Alberto I, tendo a sua esquerda o presidente Epitácio Pessoa e, a sua direita, o cientista Carlos Chagas / Careta, 2 de outubro de 1920
+ 
+Dias depois, em 27 de setembro de 1920, a rainha Elizabeth da Bélgica (1876 – 1965) também visitou o instituto (O Paiz, 28 de setembro de 1920). Foi recepcionada por Carlos Chagas (1879 – 1934) e por seus assistente. O fotógrafo J. Pinto (1884 – 1951) registrou o evento quando, segundo o jornal A Noite:
+“A rainha trocou idéias com o Dr. Carlos Chagas sobre a profilaxia da doença do ‘barbeiro’, e ficou bastante impressionada com as notícias das doenças rurais do país, procurando informar-se da organização sanitária que visa à respectiva profilaxia. O diretor expôs-lhe em traços gerais o novo regulamento destinado ao combate das moléstias que dizimam a população dos nossos campos e, ao retirar-se a rainha, a quem fora oferecido um delicado ‘lunch’, S.S. fez-lhe oferta de um lindo ramalhete de cravos, presos por fitas com as cores brasileiras e belgas“.
+A Noite, 28 de setembro de 1920
+ 
+J. Pinto. Carlos Chagas recepciona a rainha Elizabeth da Bélgica em sua visita ao Instituto Oswaldo Cruz, 27 de setembro de 1920. Manguinhos, Rio de Janeiro / Acervo Casa de Oswaldo Cruz
+ 
+O Paiz, 28 de setembro de 1920
+ 
+Finalmente, destaca-se a homenagem prestada por Carlos Chagas (1879 – 1934) ao ministro da Agricultura, Juarez Távora (1898 – 1975); ao interventor de Pernambuco, Carlos de Lima Cavalcanti (1892 – 1967); ao interventor do Rio de Janeiro, Pedro Ernesto (1884 – 1942); e a Washington Pires (1892 – 1970), ministro da Educação, em 26 de julho de 1933.
+ 
+Pesquisadores e políticos em visita ao Instituto Oswaldo Cruz. Entre eles, o ministro Juarez Távora e o prefeito Pedro Ernesto, 1933. Manguinhos, Rio de Janeiro / Acervo Casa de Oswaldo Cruz. Pedro Ernesto é o quarto, na primeira fila, da esquerda para a direita;  Juarez Távora está à direita de Carlos Chagas (de jaleco branco no centro da primeira fila); Washington Pires, ministro da Educação, está entre Pedro Ernesto e Carlos Chagas; e Carlos de Lima Cavalcanti, à direita de Távora.
+ 
+Jornal do Brasil, 27 de julho de 1933
+ 
+*Ricardo Augusto dos Santos é Pesquisador Titular da Fundação Oswaldo Cruz
+ 
+Pesquisa complementar: Andrea C. T. Wanderley – Editora e pesquisadora da Brasiliana Fotográfica
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/5126` — `itens/20.500.12156.1_5126/`
+- `20.500.12156.1/9322` — `itens/20.500.12156.1_9322/`
+- `20.500.12156.1/9317` — `itens/20.500.12156.1_9317/`
+- `20.500.12156.1/9319` — `itens/20.500.12156.1_9319/`
+- `20.500.12156.1/6551` — `itens/20.500.12156.1_6551/`
+- `20.500.12156.1/9328` — `itens/20.500.12156.1_9328/`
+
diff --git a/wordpress/23968-serie-teatros-e-cinemas-do-brasil-iv-cinema-no-brasil-a-primeira-sessao-e-um-pou.md b/wordpress/23968-serie-teatros-e-cinemas-do-brasil-iv-cinema-no-brasil-a-primeira-sessao-e-um-pou.md
new file mode 100644
index 0000000..a4c6721
--- /dev/null
+++ b/wordpress/23968-serie-teatros-e-cinemas-do-brasil-iv-cinema-no-brasil-a-primeira-sessao-e-um-pou.md
@@ -0,0 +1,70 @@
+---
+id: 23968
+url: "https://brasilianafotografica.bn.gov.br/?p=23968"
+titulo: "Série “Teatros e cinemas do Brasil” IV – Cinema no Brasil – a primeira sessão e um pouco da história do Cinema Odeon"
+autor: "Andrea Wanderley"
+data: "2021-07-08T11:03:22+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/8162"]
+fetched_at: "2026-09-10T10:07:43.674Z"
+---
+
+# Série “Teatros e cinemas do Brasil” IV – Cinema no Brasil – a primeira sessão e um pouco da história do Cinema Odeon
+
+Um “aparelho que projeta sobre uma tela colocada ao fundo da sala diversos espetáculos e cenas animadas, por meio de uma série enorme de fotografias“. Assim o Jornal do Commercio descreveu o omniógrafo, após a primeira sessão pública de cinema no Brasil, que aconteceu às 14h, do dia 8 de julho de 1896, no Rio de Janeiro, em uma sala especialmente preparada para as projeções do aparelho, na rua do Ouvidor (Jornal do Commercio, 9 de julho de 1896, quarta coluna). A exibição ocorreu poucos meses após a projeção inaugural dos filmes dos irmãos Auguste (1862 – 1954) e Louis-Jean Lumière (1864 – 1948), em Paris, no dia 28 de dezembro de 1895, no Grand Café do Boulevard des Capucines.
+ 
+Jornal do Commercio, 9 de julho de 1896
+ 
+Diversos fotógrafos não ficaram indiferentes à nova invenção. Alguns exemplos já abordados pela Brasiliana Fotográfica são Benjamin Abrahão Calil Botto (1901 – 1938), Jorge Kfuri (1893 – 1965), João Stamato (1886 – 1951), Marc Ferrez (1843 – 1923) e seus filhos e Walter Garbe (18? – 19?).
+ 
+Acessando o link para as fotografias dos cinemas disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Nesse artigo, a Brasiliana Fotográfica homenageia a sétima arte e destaca a imagem do Cinema Odeon produzida pelo fotógrafo alagoano Augusto Malta (1864 – 1957), que foi, de 1903 a 1936, o fotógrafo oficial da prefeitura do Rio de Janeiro. Acessando a fotografia no acervo do portal, o leitor poderá magnificá-la, verificar todos os dados referentes a ela e explorar todos os seus detalhes, como, por exemplo, os pedestres, os carros, a iluminação pública, a presença de uma agência da Sul-América Seguros no prédio, a arquitetura da fachada e ônibus que aparecem no registro. Basta clicar aqui ou na própria imagem. A preservaçao digital de imagens possibilita, a partir de recursos tecnológicos como o zoom, que as fotografias tenham outra visibilidade e possam ser acessadas em sua qualidade plena.
+ 
+Augusto Malta. Cine Odeon, c. 1930. Rio de Janeiro, RJ / Acervo IMS
+ 
+A sala de cinema Odeon já existia na década de 10, na então avenida Central, atual Rio Branco, nº 137, esquina com a rua Sete de Setembro, quando, entre 1909 e 1913, o pianista Ernesto Nazareth (1863 – 1934) tocava na sala de espera, tendo merecido um elogio do também pianista e compositor Henrique Oswald (1852 – 1931) que o ouviu no Cinema Odeon: “É admirável esse moço. Que música ele faz! Eu mesmo seria incapaz de interpretá-la com aquela mestria, aquele prodígio de ritmo. E aqui, perdido nesta indiferença…”. Nazareth havia dedicado o tango Batuque (1901) a Oswald.
+Nazareth retornou ao cinema, entre 1913 e 1918, como pianista da orquestra de Eduardo Andreozzi  (1892-1979). Villa-Lobos (1887 – 1959) era, na ocasião, o violoncelista. Darius Milhaud (1892 – 1974), que passou uma temporada no Brasil, tambem o ouviu tocar no Odeon e, posteriormente, escreveu sobre ele em sua autobiografia Notes san musique. Foi também no Odeon que o pianista polonês Arthur Rubinstein (1887-1982) o ouviu tocar, tendo ficado impressionado com sua performance. Sua composição, o tango Odeon, publicado em 1909 pela Casa Mozart (E. Bevilacqua & Cia.) foi dedicado “à distinta empresa Zambelli & Cia.”, proprietária do Cinema Odeon. A primeira gravação foi realizada por ele com Pedro Alcântara (1866 – 1929) ao flautim, em 1912. Não foi, na época, uma peça de especial destaque, mas tornou-se um de seus maiores sucessos na segunda metade do século XX.
+ 
+O maestro Ernesto Nazareth, que tocava na sala de esperava do Cine Odeon / Revista da Semana, 12 de agosto de 1939
+ 
+Voltando ao Cinema Odeon, o atual prédio, fotografado por Malta, foi inaugurado em 3 de abril em 1926, na Praça Floriano, nº 7, no auge da presença de salas de cinema na Cinelândia, no centro do Rio (Jornal do Commercio, 2 de abril de 1926, quarta coluna; O Paiz, 4 de abril de 1926, segunda coluna). Passou por reformas em fins do século XX e, sob a administração do Grupo Estação, foi fechado em 2014, devido a dívidas. Reaberto, em 2015, como Centro Cultural Luiz Severiano Ribeiro – Cine Odeon passou a ser, além de sala de cinema, um espaço para cursos, palestras e espetáculos. O Cine Odeon mantém viva a tradição dos cinemas de rua do Rio de Janeiro.
+ 
+Jornal do Commercio, 2 de abril de 1926
+ 
+” O ODEON é parte da memória cultural do Rio de Janeiro e representa uma época em que o cinema e o Centro da cidade se confundiam e se completavam. Sua história acompanha as mudanças da cidade ao seu redor ao longo dos seus 90 anos e continua a encantar o público, combinando com maestria a tradição e a renovação, o clássico e o contemporâneo, sem nunca perder a força da sua identidade“.
+ 
+ 
+Auguste e Louis Lumière, os inventores do cinematógrafo, os pais do cinema / Instituto Lumière
+ 
+Link para o site Ernesto Nazareth 150 anos, do Instituto Moreira Salles.
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+Hemeroteca Digital da Biblioteca Nacional
+Site Cine Odeon
+Site Ernesto Nazareth 150 Anos – Instituto Moreira Salles
+Site Musica Brasilis
+Youtube
+ 
+Outros artigos publicados na Brasiliana Fotográfica sobre teatros e cinemas
+ 
+Série O Rio de Janeiro desaparecido I - Salas de cinema do Rio de Janeiro do início do século XX, publicado em 26 de fevereiro de 2016.
+Os teatros do Brasil, publicado em 21 de março de 2016
+A inauguração do Theatro Municipal do Rio de Janeiro, publicado em 14 de julho de 2017
+Série “O Rio de Janeiro desaparecido” XII – O Teatro Lírico (Theatro Lyrico), publicado em 16 de setembro de 2021
+O Theatro de Santa Isabel, publicado em 28 de outubro de 2021
+O Teatro Amazonas (Theatro Amazonas), em Manaus, a “Paris dos Trópicos”, publicado em 28 de dezembro de 2021
+O Teatro João Caetano, no Rio de Janeiro, no Dia Mundial do Teatro, publicado em 27 de março de 2023
+Dia do Cinema Brasileiro, publicado em 19 de junho de 2023
+Série O Rio de Janeiro desaparecido XXV – O Theatro Phenix, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado em 5 de setembro de 2023
+O Theatro da Paz, em Belém do Pará, inaugurado em 15 de fevereiro de 1878, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado em 15 de fevereiro de 2024
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/8162` — `itens/20.500.12156.1_8162/`
+
diff --git a/wordpress/2415-alagoas-bahia-minas-gerais-e-sergipe-por-augusto-riedel-1836.md b/wordpress/2415-alagoas-bahia-minas-gerais-e-sergipe-por-augusto-riedel-1836.md
new file mode 100644
index 0000000..72c946d
--- /dev/null
+++ b/wordpress/2415-alagoas-bahia-minas-gerais-e-sergipe-por-augusto-riedel-1836.md
@@ -0,0 +1,82 @@
+---
+id: 2415
+url: "https://brasilianafotografica.bn.gov.br/?p=2415"
+titulo: "Alagoas, Bahia, Minas Gerais e Sergipe por Augusto Riedel (1836 -?)"
+autor: "Andrea Wanderley"
+data: "2015-09-22T11:35:34+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/321", "20.500.12156.1/58", "20.500.12156.1/327"]
+fetched_at: "2026-09-10T10:07:47.349Z"
+---
+
+# Alagoas, Bahia, Minas Gerais e Sergipe por Augusto Riedel (1836 -?)
+
+Alagoas, Bahia, Minas Gerais e Sergipe por Augusto Riedel (1836 -?)*
+ 
+Considerado um dos mais talentosos fotógrafos paisagistas dos oitocentos, o alemão Augusto Riedel (1836-?) foi proprietário de um estúdio fotográfico à rua Direita nº 24, em São Paulo (Diário de São Paulo, de 1º de outubro de 1865, na primeira coluna), na década de 1860, e na rua Cassiano, 41, no Rio de Janeiro, entre 1875 e 1877. De sua produção, restaram 40 imagens do álbum Viagem de S.S.A.A. Reaes Duque de Saxe e seu Augusto Irmão D. Luis Philippe ao Interior do Brasil no Anno 1868 – que se tornou um dos trabalhos clássicos da documentação fotográfica do século XIX no Brasil. O duque de Saxe, dom Luis Augusto de Saxe Coburgo e Gotha (1845 – 1907), era genro do imperador Pedro II (1825 – 1891), marido da princesa Leopoldina de Bragança e Bourbon (1847 – 1871). A presença do nome do fotógrafo na capa do álbum indica que ele já devia ser bastante conhecido e que provavelmente devam existir outras fotos dele ainda hoje não amplamente reconhecidas.
+ 
+Augusto Riedel. Parte da Cachoeira de Paulo Affonso: rio S. Francisco, 1868-1869. Cachoeira de Paulo Afonso, Alagoas / Acervo FBN
+ 
+A viagem durou meses e foram percorridos os estados de Minas Gerais, onde foram retratadas as cidades de Ouro Preto, Mariana, Sabará, Diamantina (e suas minas de diamantes), Lagoa Santa e o primeiro vapor do rio das Velhas, além das minas de Morro Velho; vistas do rio São Francisco, que levaram os viajantes até Penedo, em Alagoas; Sergipe e, finalmente, Bahia, último estado visitado pela expedição. São possivelmente os mais antigos registros fotográficos dessas regiões do Brasil.  O itinerário percorrido sugere um grande interesse do grupo em geologia e em assuntos relativos à mineração. No Diário do Rio, de 10 de agosto de 1868, há uma homenagem à visita dos príncipes à Diamantina.
+A grande maioria das fontes consultadas pela Brasiliana Fotográfica afirmam que Riedel fazia parte da comitiva da viagem, porém no livro O naturalista dr. Lund (Peter Wilhelm) - sua vida e seus trabalhos, publicado em 1883 (Gazeta de Notícias, 21 de julho de 1883, segunda coluna), o autor, o médico dinamarquês Theodoro Langgaard (1813 – 1883), que morou no Brasil, afirmou que um fotógrafo, sem mencionar a identidade, havia sido enviado pelo Duque de Saxe, após a realização da viagem, para fazer os registros dos lugares que ele havia julgado mais interessantes.
+ 
+Trecho do livro O naturalista dr. Lund (Peter Wilhelm) – sua vida e seus trabalhos, de Theodoro Langgaard, página 35
+ 
+Um trecho do testamento de Lund, escrito em 21 de junho de 1871, confirma que Augusto Riedel esteve em Lagoa Santa, em 1869, e teria procurado a caverna de Maquiné:
+“A pedido do Sr. Augusto Riedel delarco, ser com o meu consentimento que o mesmo senhor, na sua passagem por aqui no mês de maio de 1869, procedeu à procura da caverna chamada Lapa Nova de Maquiné, por mim explorada e descrita no ano 1834. Delcaro outrossim, que, se a mim couber direito, privilégio, prêmio ou emolumento qualquer como primeiro descobridor, cedo todos estes direitos e emolumentos ao dito Sr. Augusto Riedel”
+(Trecho transcrito do livro Peter Wilhelm Lund, o naturalista que revelou ao mundo a pré-história brasileira, de Ana Paula Almeida Marchesotti, página 93)
+ 
+Duas imagens que ilustram o livro de Theodoro Langgaard são do álbum Viagem de S.S.A.A. Reaes Duque de Saxe e seu Augusto Irmão D. Luis Philippe ao Interior do Brasil no Anno 1868 : Morada do dr. Lund em Lagoa Santa e Jazigo de Brandt em Lagoa Santa. Brandt trabalhou com Lund de 1835 até sua morte, em 1862. Posteriormente, o próprio Lund, Wilhelm Behrens, que havia sido seu secretário, e seu amigo suíço, Johann Rudolph Müller, foram enterrados no mesmo jazigo. A terceira imagem é a reprodução de um retrato de Lund. As três estão presentes nesse artigo.
+Anos depois de produzidas, várias dessas imagens produzidas por Riedel foram apresentadas na Exposição de História do Brasil de 1881-1882, na Biblioteca Nacional do Rio de Janeiro, um dos mais importantes eventos da historiografia nacional (Catálogo da Exposição de História do Brasil 1881-2, vol.2, páginas 1415, 1416, 1422, 1456, 1508 e 1612). A exposição, realizada sob a direção de Ramiz Galvão (1846-1938), foi aberta pelo imperador dom Pedro II, em 2 de dezembro de 1881, quando o soberano completou 56 anos (Gazeta de Notícias, de 3 de dezembro de 1881, na terceira coluna sob o título “Exposição da História do Brazil”). 
+Diversas vistas de Riedel foram incluídas pelo barão do Rio Branco (1845-1912) no Album de vues du Brésil, considerada a última peça para a promoção do Brasil imperial, representando um resumo iconográfico do Império e de suas riquezas. Trazia também fotografias de Marc Ferrez, Insley Pacheco e Rodolpho Lindemann (c. 1852 – 19?), dentre outros. Foi publicado em Paris durante a realização da Exposição Universal de 1889.
+* Pouco se sabe da biografia de Augusto Riedel e a grande maioria dos livros e sites consultados pela Brasiliana Fotográfica afirmam ou levam em conta a possibilidade de ele ser filho do botânico Ludwig Riedel (1790-1861). Em O olhar distante – a paisagem brasileira vista pelos grandes artistas estrangeiros 1637-1998, de Pedro Corrêa do Lago, e no livro Fotógrafos alemães no Brasil do século XIX, de Pedro Vasquez, a dúvida em relação a essa filiação foi levantada. Uma notícia do jornal O Globo, de 10 de novembro de 1874, na quarta coluna da página 4, de fato, prova que havia dois Augustos Riedel. O filho de Ludwig trabalhava na casa Leuzinger & Filhos:
+“Augusto Riedel, empregado na casa dos Srs. Leuzinger & Filhos, e filho do falecido botanico Dr. Luiz Riedel, declara, por causa de duvidas, que nada tem de afinidade com Augusto Riedel, photographo, e que de hora em diante, assignar-se-ha – Augusto Fernando Riedel“.
+ 
+O Globo, 10 de novembro de 1874
+ 
+Ainda na consulta a jornais, a Brasiliana resgatou duas notícias sobre Frederico Augusto Riedel, nome com o qual, de acordo com a Enciclopédia Itaú Cultural, Riedel é às vezes identificado. Em 1876, teria se naturalizado brasileiro (Diário do Rio de Janeiro, 10 de fevereiro de 1876, terceira coluna, sob o título “Noticiário”) e, em 17 de novembro de 1877, teria partido do Brasil no paquete “Habsburg”, com destino a Bremen, na Alemanha (Gazeta de Notícias, de 18 de novembro de 1877, na quinta coluna sob o título “Sahidas do dia 17″).
+Em 1976, algumas das fotografias de Riedel foram incluídas na exposição “Pioneer Photographers of Brazil”, realizada no Inter-American Relations, em Nova York, e no livro homônimo, onde os autores Weston Naef e Gilberto Ferrez  ressaltam que há na obra do fotográfo “um senso sutil das nuanças da composição pictórica capaz de transformar um tema banal num manifesto acerca dos abusos cometidos pelo ser humano contra a natureza”. Também comparam seu trabalho ao do fotógrafo paisagista irlandês Timothy O´Sullivan (1840-1882) que, na mesma época em que Riedel participava dessa viagem pelo Brasil, trabalhava no Arizona, em Nevada, no Colorado e no Novo México, na primeira expedição oficial para o oeste dos Estados Unidos após a Guerra Civil norte-americana (1861-1865).
+ 
+Acessando o link para as fotografias de Augusto Riedel disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Uma curiosidade: certamente Riedel conhecia o fotógrafo Auguste Stahl (1828 – 1877) ou pelo menos o trabalho realizado por ele porque uma das mais famosas fotografias de Stahl, da cachoeira de Paulo Afonso, na Bahia, foi usada por Riedel no álbum Viagem de S.S.A.A. Reaes Duque de Saxe e seu Augusto Irmão D. Luis Philippe ao Interior do Brasil no Anno 1868  com uma alteração: foi acrescida da presença de um suposto membro da comitiva da viagem.
+ 
+Stahl & Ca. Cachoeira de Paulo Afonso, Rio São Francisco, Bahia, 186? / Acervo FBN
+ 
+ 
+Augusto Riedel. Cachoeira de Paulo Affonso : rio S. Francisco : vazante, 1868-1869, Bahia / Acervo FBN
+ 
+*Esse artigo foi atualizado em 17 de julho de 2019.
+ 
+Andrea C. T. Wanderley
+Editora-assistente e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+Hemeroteca Digital da Biblioteca Nacional
+KOSSOY, Boris. Dicionário histórico-fotográfico brasileiro: fotógrafos e ofício da fotografia no Brasil (1833-1910). São Paulo: Instituto Moreira Salles, 2002. 408 p., il. p&b.
+LAGO, Bia Correia do. Augusto Stahl : obra completa em Pernambuco e Rio de Janeiro. Rio de Janeiro: Editora Capivara, 2001.
+LAGO, Bia Corrêa do;LAGO, Pedro Corrêa do. Coleção Princesa Isabel: fotografia do século XIX. Rio de Janeiro: Capivara, 2008.432p.:il., retrs.
+LAGO, Bia Corrêa do;LAGO, Pedro Corrêa do. Os fotógrafos do Império. Rio de Janeiro: Capivara, 2005. 240p.:il
+LAGO, Pedro Corrêa do. O olhar distante – a paisagem brasileira vista pelos grandes artistas estrangeiros 1637-1998. In: Mostra do redescobrimento: o olhar distante – The distant view. Nelson Aguilar, organizador. Fundação Bienal de São Paulo. São Paulo: Associação Brasil 500 Anos Artes Visuais, 2000.
+FERREZ, Gilberto.  A fotografia no Brasil : 1840-1900. 2a. ed. Rio de Janeiro: Funarte: Fundação Nacional Pró-Memória, 1985. (História da fotografia no Brasil, 1)
+FERREZ, Gilberto;NAEF, Weston J. Pioneer photographers of Brazil : 1840-1920. New York: The Center for Inter-American Relations, 1976.
+LANGGAARD, Theodoro. O naturalista dr. Lund (Peter Wilhelm) – sua vida e seus trabalhos. Rio de Janeiro : Typographia Universal de H. Laemmert & C, 1883.
+LUNA FILHO, Pedro Ernesto de. Peter Wilhelm Lund: o auge de suas investigações científicas e a razão para o término das pesquisas. Tese apresentada ao Programa de Pós-Graduação em História da Faculdade de Filosofia, Letras e Ciências Humanas da Universidade de São Paulo, 2007.
+MARCHESOTTI, Ana Paula Almeida: Peter Wilhelm Lund, o naturalista que revelou ao mundo a pré-história brasileira. Rio de Janeiro : E-Papers, 2011.
+TURAZZI, Maria Inez. Poses e trejeitos : a fotografia e as exposições na era do espetáculo: 1839-1889. Rio de Janeiro: Funarte: Rocco, 1995 (Coleção luz & reflexão,4)
+VASQUEZ, Pedro. O Brasil na fotografia oitocentista/ [pesquisa e texto]Pedro Karp Vasquez; [reproduções fotográficas Cesar Barreto, Rosa Gauditano].–São Paulo: Metalivros, 2003.
+VASQUEZ, Pedro. Dom Pedro II e a fotografia no Brasil. Rio de Janeiro: Fundação Roberto Marinho: Cia Internacional de Seguros: Ed. Index, 1985.
+VASQUEZ, Pedro Karp. Fotógrafos Alemães no Brasil do Século XIX: Deutsche Fotografen des 19. Jahrhunderts in Brasilien. Apresentação Winston Fritsch; prefácio Joaquim Marçal; projeto editorial Pedro Karp Vasquez, Ronaldo Graça Couto; projeto gráfico Victor Burton. São Paulo: Metalivros, 2000. 203 p., il. p&b. ISBN 85-85371-28-5.
+Site da Biblioteca Nacional Digital
+Site da Enciclopédia Brasiliana Guita e José Mindlin
+Site da Enciclopédia do Itaú Cultural
+Site do Instituto Moreira Salles
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/321` — `itens/20.500.12156.1_321/`
+- `20.500.12156.1/58` — `itens/20.500.12156.1_58/`
+- `20.500.12156.1/327` — `itens/20.500.12156.1_327/`
+
diff --git a/wordpress/2419-aracaju-160-anos-de-fundacao.md b/wordpress/2419-aracaju-160-anos-de-fundacao.md
new file mode 100644
index 0000000..8a34add
--- /dev/null
+++ b/wordpress/2419-aracaju-160-anos-de-fundacao.md
@@ -0,0 +1,26 @@
+---
+id: 2419
+url: "https://brasilianafotografica.bn.gov.br/?p=2419"
+titulo: "Aracaju – 160 anos de fundação"
+autor: "Andrea Wanderley"
+data: "2015-09-14T10:42:01+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: []
+fetched_at: "2026-09-10T10:07:50.602Z"
+---
+
+# Aracaju – 160 anos de fundação
+
+Bandeira de Aracaju
+ A capital de Sergipe, Aracaju, que significa cajueiro dos papagaios, completou, em 2015, 160 anos. Fundada em 17 de março de 1855, é a menos populosa capital do nordeste do Brasil.
+A Brasiliana Fotográfica homenageia a cidade e oferece a seus leitores fotografias da capital sergipana feitas no início da década de 30 do século passado. Fazem parte do Álbum photographico de Aracaju, publicado pela Casa Amador, e que integra o acervo da Fundação Biblioteca Nacional. São registros fotográficos que mostram as principais ruas e avenidas, os grupos escolares, a Assembleia Legislativa, a Chefatura de Polícia, o aquário, o matadouro, estátuas, hospitais, jardins e outros aspectos da cidade.
+Aracaju, uma das primeiras cidades brasileiras planejada, foi edificada para atender a necessidades do estado de Sergipe, que precisava de um porto para melhor escoar seus produtos. Inácio Joaquim Barbosa (1821-1855), primeiro presidente da Província de Sergipe Del Rey, transferiu oficialmente, em 2 de março de 1855, a capital de São Cristóvão para o novo povoado portuário que se erguia na foz do rio Sergipe. Em 17 de março do mesmo ano, Inácio Barbosa apresentou o projeto que elevaria o povoado de Santo Antônio de Aracaju à categoria de cidade. Matérias no Correio Mercantil, de 22 de março de 1955, na segunda coluna; e no Diário de Pernambuco, de 5 de maio de 1955 , sob o título “Interior”, comentam a decisão. Foi Inácio Barbosa que contratou o engenheiro Sebastião José Basílio Pirro para planejar a cidade, que foi construída formando quarteirões simétricos que lembravam um tabuleiro de xadrez.
+Links para uma homenagem do escritor e jornalista sergipano Joel Silveira (Diário de Notícias, 23 de março de 1955), para a crônica “Aracaju centenária”, de Alvarus de Oliveira (Diário da Tarde, 12 de maio de 1855), e para uma matéria sobre a história de Aracaju (Revista da Semana, de 30 de abril de 1955), na ocasião da comemoração dos 100 anos da cidade, em 1955.
+Para saber mais sobre a história de Aracaju, acesse a Biblioteca do IBGE – Instituto Brasileiro de Geografia e Estatística.
+ 
+Brasão de Aracaju
+ 
+Link para ver todas as fotos do Álbum photographico de Aracaju disponíveis na Brasiliana Fotográfica 
+
+Andrea C. T. Wanderley
+Editora-assistente e pesquisadora do portal Brasiliana Fotográfica
diff --git a/wordpress/24359-o-aquario-de-manguinhos.md b/wordpress/24359-o-aquario-de-manguinhos.md
new file mode 100644
index 0000000..5f371a2
--- /dev/null
+++ b/wordpress/24359-o-aquario-de-manguinhos.md
@@ -0,0 +1,50 @@
+---
+id: 24359
+url: "https://brasilianafotografica.bn.gov.br/?p=24359"
+titulo: "O Aquário de Manguinhos"
+autor: "Andrea Wanderley"
+data: "2021-09-08T13:53:26+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/8453", "20.500.12156.1/5018", "20.500.12156.1/8451", "20.500.12156.1/8431", "20.500.12156.1/6385"]
+fetched_at: "2026-09-10T10:07:53.735Z"
+---
+
+# O Aquário de Manguinhos
+
+O pesquisador Ricardo Augusto dos Santos, da Casa de Oswaldo Cruz, uma das instituições parceiras da Brasiliana Fotográfica, destaca a história do Aquário que integrou no século XX, da década de 10 a de 60, quando foi demolido, o conjunto arquitetônico histórico de Manguinhos, formado pelo Pavilhão Mourisco (Castelo), pela Cavalariça, pelo Pavilhão da Peste e pelo Quinino. O artigo traz registros realizados pelo fotógrafo Joaquim Pinto da Silva, o J. Pinto (1884 – 1951).
+ 
+O Aquário
+Ricardo Augusto dos Santos*
+ 
+J.Pinto. Vista do Aquário do Instituto Oswaldo Cruz, s/d. Rio de Janeiro, RJ / Acervo Casa de Oswaldo Cruz
+ 
+As milhares de pessoas que transitam pela avenida Brasil, principal porta de entrada do Rio de Janeiro, quando passam pela altura de Manguinhos, observam um Castelo em estilo mourisco. Porém, a vegetação impede que elas vejam as belas construções do estupendo conjunto arquitetônico. Além do Pavilhão Mourisco (Castelo), formam este núcleo histórico a Cavalariça, o Pavilhão da Peste e o Quinino. Completando a formação existia o Aquário. Situado atrás do Pavilhão da Peste, este prédio foi totalmente demolido na década de 1960.
+No início do século XX, o Instituto Soroterápico Federal era constituído por humildes casas, que serviam de escritório, laboratórios e refeitório. Entre as primeiras construções da embrionária instituição, ainda havia uma velha cocheira recebendo poucos cavalos e gaiolas para pequenos animais. Esse acanhado desenho original do futuro centro de pesquisa, educação e produtor de medicamentos teria vida curta.
+ 
+Acessando o link para as fotografias do Aquário de Manguinhos disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Oswaldo Cruz assumiu a direção do Instituto com planos ambiciosos. O projeto era desenvolver uma grande instituição capaz de produzir soros, vacinas, realizar pesquisa e oferecer sólido ensino científico. E as modestas instalações improvisadas não estavam afinadas com esses objetivos. O rudimentar e precário grupo de casas foi gradativamente demolido e substituído pelo conjunto arquitetônico histórico de Manguinhos. Para a tarefa, Oswaldo Cruz contratou o arquiteto português Luiz de Moraes Júnior.
+ 
+J. Pinto. O Aquário, s/d.Rio de Janeiro, RJ / Acervo casa de Oswaldo Cruz
+ 
+O primeiro prédio do complexo começou a ser construído em 1903. Era o Pavilhão da Peste, que seria usado para a fabricação de soro antipestoso. Na época, foram erguidos a Cavalariça e o biotério para pequenos animais, o Pombal. Durante a primeira década, começaram as obras do Aquário. O monumental Castelo Mourisco só seria concluído em 1918. O Quinino, levantado em 1919, seria ocupado pelo Serviço de Medicamentos Oficiais. Seu nome de batismo lembra a substância utilizada para combater a malária. Ainda seria criado no majestoso terreno, o Hospital Oswaldo Cruz (hoje Instituto Nacional de Infectologia Evandro Chagas). Este foi edificado entre 1912 e 1917.
+ 
+J.Pinto. O Aquário com o castelo ao fundo, s/d. Rio de Janeiro, RJ / Acervo Casa de Oswaldo Cruz
+ 
+Colado ao prédio dedicado a produção de vacina e soro contra a peste bubônica, estava o Aquário. Esta construção concluída em 1909, possuía duas piscinas (água salgada e doce) para cultura de animais, além de tanques para experiências. Seu compartimento de água salgada possuía ligação direta com o mar, recebendo na maré alta, água e animais. Com a maré baixa, um engenho com orifícios, permitia a retenção dos peixes.
+A arquitetura do Aquário propiciava que a temperatura em seu interior não fosse influenciada pelas bruscas alterações de clima na cidade. Além dos tanques, o edifício comportava laboratório e sala. Apesar da beleza, valor histórico e patrimonial, ele foi demolido. As poucas fontes indicam que suas funções nunca foram inteiramente executadas. Tendo perdido sua ligação com o mar devido à construção da Avenida Brasil, sua demolição foi decretada nos anos 50.
+ 
+J.Pinto. O Quinino e o Pavilhão Mourisco (Castelo). Ao fundo a baía da Guanabara. Em primeiro plano, parte do Pavilhão da Peste, s/d. Rio de Janeiro, RJ / Acervo Casa de Oswaldo Cruz
+ 
+*Ricardo Augusto dos Santos é Pesquisador Titular da Fundação Oswaldo Cruz
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/8453` — `itens/20.500.12156.1_8453/`
+- `20.500.12156.1/5018` — `itens/20.500.12156.1_5018/`
+- `20.500.12156.1/8451` — `itens/20.500.12156.1_8451/`
+- `20.500.12156.1/8431` — `itens/20.500.12156.1_8431/`
+- `20.500.12156.1/6385` — `itens/20.500.12156.1_6385/`
+
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+---
+id: 24659
+url: "https://brasilianafotografica.bn.gov.br/?p=24659"
+titulo: "Série “Feministas, graças a Deus!” X – Maria Luiza Dória Bittencourt (1910 – 2001), a primeira deputada da Bahia"
+autor: "Andrea Wanderley"
+data: "2022-03-25T11:28:46+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Maria Eugênia Celso Carneiro de Mendonça / Museu Bertha Lutz", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/6579"]
+fetched_at: "2026-09-10T10:07:57.313Z"
+---
+
+# Série “Feministas, graças a Deus!” X – Maria Luiza Dória Bittencourt (1910 – 2001), a primeira deputada da Bahia
+
+Série “Feministas, graças a Deus!” X – Maria Luiza Dória Bittencourt (1910 – 2001), a eloquente primeira deputada da Bahia
+“Quando a fina silhueta de Maria Luiza Doria Bittencourt assomou à tribuna para os dez minuros da prova de eloquência, todo o auditório sentiu que se achava ali diante de um especimen novo de individualidade feminina, o expoente de uma nova concepção de Eva moderna: a mulher valor-intelectual”.
+Maria Eugênia Celso Caneiro de Mendonça
+sobre Maria Luiza Dória Bittencourt
+Jornal do Brasil, 16 de outubro de 1929
+ 
+A imagem abaixo pertence ao acervo fotográfico do Arquivo Nacional, uma das instituições parceiras da Brasiliana Fotográfica.
+ 
+Maria Luiza Dória Bittencourt, 1935. Bahia / Acervo Arquivo Nacional
+ 
+A advogada e feminista Maria Luiza Dória Bittencourt nasceu em Paripe, subúrbio de Salvador, em 1910, filha de Luiz de Lima Bittencourt e Isaura Dória Bittencourt. Estudou no Rio de Janeiro, para onde se mudou com sua família e residia em um palacete na Praia Vermelha. Na década de 20, já era filiada à Federação Brasileira para o Progresso Feminino e à União Universitária Feminina, presididas por Bertha Lutz (1894 – 1976) e Carmen Portinho (1903 – 2001), respectivamente.
+Em 1929, venceu a etapa do Rio de Janeiro de um concurso de oratória promovido pelo Instituto dos Advogados, cujo tema foi a Constituição Federal. Foi a única mulher entre os seis finalistas da etapa nacional, e ficou em segundo lugar no concurso, cujo vencedor foi o acadêmico mineiro Jovert de Souza Lima.
+Foi uma das fundadoras, com a feminista e poetisa Anna Amélia Carneiro de Mendonça (1896 – 1971), presidente da associação, e o teatrólogo Paschoal Carlos Magno  (1906 – 1980), dentre outros, da Casa do Estudante do Brasil, em 13 de agosto de 1929.
+Participou do Congresso Penal Penitenciário Brasileiro, realizado, no Rio de Janeiro, entre 15 e 22 de junho de 1930, quando apresentou a tese Reformatório de Mulheres Criminosas. A mesma tese foi apresentada no 10º Congresso Penitenciário e Penal Internacional, em Praga, em agosto do mesmo ano.
+Formou-se, em 1931, na Faculdade de Direito da Universidade do Rio de Janeiro, onde havia ingressado, em 1927, e foi, anos depois, em 1942, a primeira colocada no concurso para a livre-docência em Legislação do Trabalho e Direito Industrial da instituição, tornando-se a primeira mulher docente da história da referida faculdade.
+Apoiada pelo grupo do então interventor da Bahia, Juracy Magalhães (1905 – 2001), concorreu a uma vaga de deputada estadual, em 14 de outubro de 1934. Pouco antes, em agosto, havia sido realizada, em Salvador, a Segunda Convenção Feminista, promovida pela Federação Brasileira pelo Progresso Feminino. Durante o evento foi recomendado aos partidos nomes de mulheres a candidatas às constituintes estaduais e dado apoio a candidatos comprometidos com os interesses femininos.
+ 
+A Batalha, 24 de junho de 1931
+ 
+Elegeu-se como primeira suplente de Humberto Pacheco Miranda, que havia sido prefeito de Cachoeira, município baiano. Em 6 maio de 1935, assumiu o mandato, tornando-se a primeira deputada estadual baiana e uma das primeiras do Brasil, após o Decreto nº 21.076, de 24 de fevereiro de 1932, que instituiu o Código Eleitoral Provisório e reconheceu o direito de voto às mulheres. Outras pioneiras foram Carlota Pereira de Queiróz (1892 – 1992), em São Paulo; Bertha Lutz (1894 – 1976), no Rio de Janeiro; Lili Lages (1907 – 2003), em Alagoas; Quintina Diniz de Oliveira (1878 – 1942), em Sergipe; e Maria de Miranda Leão (1887 – 1976), no Amazonas. Todas as citadas foram eleitas em 1934, exceto Carlota Pereira de Queiróz, eleita em 1933.
+Em janeiro de 1936, Maria Luiza seguiu para os Estados Unidos por ter ganho o prêmio Fellowship da Universidade Radcliffe. Retornou ao Brasil em julho do mesmo ano e, em dezembro, integrou a delegação brasileira que foi à Conferência Interamericana de Consolidação da Paz, em Buenos Aires. Durante o evento, proferiu um discurso e sua participação foi muito festejada e elogiada pela imprensa.
+Durante seu mandato como deputada estadual da Bahia, Maria Luiza integrou o grupo responsável pela elaboração do texto constitucional e foi a relatora dos capítulos da Educação e Ordem Econômica e Social. Em 1937, apoiou a candidatura de José Américo de Almeida (1887 – 1980) à Presidência da República, tendo participado da Convenção dos delegados apoiadores do governo, no Palácio Monroe. Recepcionou o candidato em sua viagem à Bahia.
+Segundo o Dicionário Mulheres do Brasil, foi de Maria Luiza a última voz que se manifestou na Assembléia Legislativa do Estado da Bahia em um discurso na defesa da democracia, antes do fechamento do legislativo determinado pela instauração do Estado Novo, pelo presidente Getulio Vargas (1882 – 1954), em 10 de novembro de 1937.
+Em 1938, tinha um escritório de advocacia, na rua da Quitanda, no centro do Rio de Janeiro, com a feminista sergipana Maria Rita Soares Andrade (1904 – 1998), que se tornaria, em 1967, a primeira juíza federal do Brasil. Continuava ligada às atividades da Federação Brasileira pelo Progresso da Mulher, da União Universitária Feminina e da Casa do Estudante do Brasil.
+Provavelmente, casou-se em torno de 1943, pois em uma reportagem de janeiro de 1944 foi identificada como Maria Luiza Dória Bittencourt Mello Neto.
+Em 1945, com Natércia da Cunha Silveira (1903 – 1993), Carmen Portinho  e Maria Rita Soares de Andrade, foi uma das organizadoras de uma coligação democrática para apoiar a candidatura do brigadeiro Eduardo Gomes (1896 – 1981) à presidência da República, tendo sido uma das fundadoras da UDN – União Democrática Nacional.
+Em 19 de janeiro de 1947, concorreu a uma vaga de vereadora do Distrito Federal pela Esquerda Democrática, mas não se elegeu. No ano seguinte, foi noticiado que o Curso de Geografia Econômica, ministrado gratuitamente por ela, na sede do Partido Socialista Brasileiro, na rua Buenos Aires, 57, seria reiniciado.
+Em 1954, morava em São Paulo e foi identificada em uma matéria do Jornal do Brasil como advogada, esposa e mãe exemplar. Em fins da década de 60, como integrante do Conselho Patrimonial da Casa do Estudante do Brasil, foi uma das oradoras na comemoração dos 40 anos da entidade, marcada pela reinauguração da Biblioteca Artur Ramos e pela realização de um Almoço de Confraternização Universitária.
+Em 1979, no auditório do MEC, Maria Luiza e o engenheiro L.A. Falcão Bauer fizeram palestras sobre o entrosamento profissional entre homens e mulheres dentro da programação da Segunda Reunião Latino-Americana de Mulheres Universitárias. Nove anos depois, em 1988, recebeu, na Associação Brasileira de Mulheres Universitárias, o diploma do Mérito Ruy Barbosa por ter sido a primeira mulher constituinte da Bahia.
+Faleceu em 2001.
+ 
+Cronologia de Maria Luiza Dória Bittencourt
+ 
+Maria Luiza Dória Bittencourt, única mulher entre os concorrentes da final nacional de um concurso de oratória / Correio da Manhã, 13 de outubro de 1929
+ 
+1910 – Nascimento de Maria Luiza Dória Bittencourt, em Paripe, subúrbio de Salvador, capital da Bahia. Era filha de Isaura Dória Bittencourt e Luiz de Lima Bittencourt.  
+1923 - Estudava na Escola Leitão da Cunha, no Rio de Janeiro, e participou do concurso Esther Pereira de Mello, promovido pela Escola Deodoro para a escolha, dentre as alunas que se destacaram em seus exames finais, da mais inteligente (Jornal do Commercio, 16 de dezembro de 1923, segunda coluna; e A Noite, 24 de dezembro de 1923, terceira coluna).
+No final do ano, foi chamada para prestar exames de preparatório no Colégio Pedro II (Jornal do Brasil, 6 de dezembro de 1923, terceira coluna; e 24 de dezembro,primeira coluna de 1923).
+1925 - Foi reprovada no exame de preparatória de Aritmética, no Colégio Pedro II (Jornal do Brasil, 19 de março de 1925, quinta coluna).
+1926 – Na Bahia, falecimento de seu avô paterno, Valentim Antônio da Rocha Bittencourt (Jornal do Brasil, 9 de fevereiro de 1926, terceira coluna).
+1927 – Ingressou na Faculdade de Direito da Universidade do Rio de Janeiro (Correio da Manhã, 30 de novembro de 1927, quarta coluna).
+Na Seção Acadêmica da Rádio Sociedade do Rio de Janeiro, Maria Luiza proferiu uma palestra sobre assuntos jurídicos (Jornal do Brasil, 23 de setembro de 1927, quarta coluna).
+A escritora Rosalina Coelho Lisboa (1900 – 1975) foi coroada como Rainha dos Estudantes, no Teatro João Caetano. Maria Luiza foi uma das oradoras do evento, onde se encontrava todo o escol social do Rio de Janeiro, dentre eles o escritor Coelho Neto (1864 – 1934), considerado o Príncipe dos Prosadores Brasileiros, numa votação realizada no ano seguinte pela revista O Malho; e o teatrólogo, ator e poeta Paschoal Carlos Magno (1906 – 1980)(O Paiz, 24 de setembro de 1927, segunda coluna).
+ 
+Paschoal Carlos Magno / Revista da Semana, 20 de agosto de 1927
+ 
+1928 - Foi um dos acadêmicos de Direito que assinaram uma mensagem enviada ao Congresso da Mocidade Católica de São Paulo (A Cruz, 26 de setembro de 1928, quinta coluna).
+1929 - Ainda como estudante, foi secretária da União Universitária Feminina, fundada por Carmen Portinho (1903 – 2001), no Rio de Janeiro, em 13 de janeiro de 1929 (O Paiz, 14 de janeiro de 1929, terceira coluna; O Imparcial, 15 de janeiro de 1929, primeira coluna; Gazeta de Notícias, 15 de janeiro de 1929, quarta coluna; O Jornal, 3 de outubro de 1929, quinta coluna).
+Era filiada à Federação Brasileira pelo Progresso Feminino (FBPF), fundada por Bertha Lutz (1894 – 1976), em 1922.
+Com a tese As liberdades e as garantias constitucionais venceu o concurso de oratória realizado entre os alunos da Faculdade de Direito do Rio de Janeiro. Concorreu com os acadêmicos Alvim Horcades Filho e Deocleciano Martins de Oliveira (Jornal do Brasil, 1º de setembro de 1929, quinta coluna; O Paiz, 31 de agosto de 1929, quarta coluna).
+Integrando a celebração da Independência do Brasil promovida pela FBPF e pela a União Universitária Feminina, Maria Luiza proferiu o discurso Independência política, independência moral, na Rádio Sociedade do Rio de Janeiro, representando a União Universitária Feminina. Pela FBPF, proferiram discursos as duas vencedoras norte-americanas de um concurso de oratória realizado nos Estados Unidos. Participou do chá de despedida oferecido pela FBPF, no Pão de Açúcar, a essas estudantes (O Paiz, 7 de setembro, sexta coluna; 14 de setembro de 1929, penúltima coluna, de 1929).
+Na casa de seu pai, dr. Lima Bittencourt, descrito como um palacete na Praia Vermelha, também ofereceu um chá ao grupo (Revista da Semana, 21 de setembro de 1929).
+ 
+Revista da Semana, 21 de setembro de 1929
+ 
+Por seu intermédio, o Instituto Histórico e Geográfico enviou vários livros para a Feira dos Livros. Foi fotografada participando do evento, em benefício da Casa do Estudante do Brasil, criada em 13 de agosto de 1929, da qual foi uma das fundadoras, assim como a importante poetisa e feminista Anna Amélia Carneiro de Mendonça (1896 – 1971), presidente da associação, e o ator, poeta e teatrólogo Paschoal Carlos Magno  (1906 – 1980), dentre outros (Correio da Manhã, 24 de setembro de 1929, sétima coluna; Revista da Semana, 28 de setembro de 1929; Diário de Notícias, 2 de junho de 1940, quarta coluna; Annuario Brasileiro de Literatura, 1943; Tribuna da Imprensa, 9 de março de 1956; Correio da Manhã, 14 de agosto de 1969, quarta coluna).
+ 
+Revista da Semana, de 28 de setembro de 1929
+ 
+Uma curiosidade: Anna Amélia de Queiroz Carneiro de Mendonça foi casada com Marcos Carneiro de Mendonça (1894 – 1988), goleiro do Fluminense e o primeiro goleiro da seleção brasileira. O casal teve quatro filhos e um deles foi Bárbara Heliodora (1923 – 2015), crítica teatral e uma das maiores especialistas em Shakespeare do Brasil.
+ 
+Anna Amélia e Marcos Carneiro de Mendonça, 1918 / Memória de Família
+ 
+Maria Luiza participou da Festa dos Balões, em prol da construção da Casa do Estudante do Brasil (Revista da Semana, 5 de outubro de 1929).
+ 
+Festa dos Balões : Maria Luiza está à direita do aviador fardado bem no centro da foto / Revista da Semana, 5 de outubro de 1929
+ 
+Maria Luiza foi uma das promotoras e discursou durante a programação da Festa da Primavera, organizada pela mocidade feminina carioca, realizada no Teatro Municipal do Rio de Janeiro. O presidente Washington Luis (1869 – 1957) foi homenageado (O Paiz, 28 de setembro de 1929, terceira coluna; A Manhã, 28 de setembro de 1928, primeira coluna).
+Publicação de um artigo da escritora e feminista Maria Eugênia Celso Carneiro de Mendonça (1886 – 1963), filha do historiador, político e poeta conde de Afonso Celso (1860 – 1938),  elogiando as qualidades intelectuais e pessoais de Maria Luiza (Jornal do Brasil, 16 de outubro de 1929, primeira coluna).
+ 
+Maria Eugênia Celso Carneiro de Mendonça / Museu Bertha Lutz
+ 
+Na reunião mensal da União Universitária Feminina, presidida por Carmen Portinho (1903 – 2001), solicitou que a associação apoiasse a construção da Casa do Estudante do Brasil, ajudando na venda de entradas para a peça Orpheu, no estádio do Fluminense. Na mesma ocasião, foi nomeada com Luiza Sapienza e Esther Corrêa Ramalho, uma das primeiras engenheiras brasileiras, para integrar a comissão do desenvolvimento da biblioteca da União Universitária Feminina (O Jornal, 3 de outubro de 1929, quinta coluna; e O Paiz, 20 de outubro de 1929, última coluna).
+Foi uma das finalistas, a única mulher, representando o Rio de Janeiro, no concurso nacional de oratória promovido pela Instituto dos Advogados entre estudantes de Direito do Brasil, cujo tema foi a Constituição Federal. Realizado no Salão da Associação dos Empregados do Comércio, foi vencido pelo acadêmico mineiro Jovert de Souza Lima. Maria Luiza conquistou o segundo lugar, seguida por Hermes Barroso, representante do Ceará (O Jornal,  11 de outubro, quarta coluna; 13 de outubro e 18 de outubro de 1929; A Gazeta (SP), 16 de outubro de 1929, quarta coluna; Revista da Semana, 19 de outubro de 1929; Fon-Fon, 19 de outubro de 1929; Excelsior, novembro de 1929).
+ 
+O Jornal, 13 de outubro de 1929
+ 
+O Jornal, 18 de outubro de 1929
+ 
+Sob os auspícios da Federação Brasileira para o Progresso Feminino, na Rádio Club do Brasil, apresentação de Maria Luiza, oradora e acadêmica de Direito, falando sobre Os direitos políticos femininos em face das leis do Brasil (Jornal do Brasil, 8 de novembro de 1929, quinta coluna).
+Foi citada, elogiosamente, no artigo Oratória Feminina, do conde de Afonso Celso (1860 – 1938) (Jornal Pequeno, 16 de dezembro de 1929, segunda coluna).
+“Na senhorita Maria Luiza Dória Bittencourt fulge, porém, deveras, um dos mais auspiciosos talentos verbais da presente geração acadêmica”. 
+1930 – Participou do Congresso Penal Penitenciário Brasileiro, realizado, no Rio de Janeiro, entre 15 e 22 de junho. Apresentou a tese Reformatório de Mulheres Criminosas. A mesma tese foi apresentada no 10º Congresso Penitenciário e Penal Internacional, em Praga, em agosto (O Jornal, 30 de março, sexta coluna; 11 de abril, quinta coluna; e 2 de setembro, sexta coluna, de 1930;  Jornal do Commercio, 24 de maio, primeira coluna; 16 e 17 de junho, quinta coluna, de 1930; Correio da Manhã, 5 de julho de 1931, terceira coluna).
+ 
+Revista da Semana, 5 de julho de 1930
+ 
+Participou de um almoço em homenagem à advogada sergipana Maria Rita Soares de Andrade (1904 – 1998), que se tornaria, em 1967, a primeira juíza federal do Brasil. Na foto abaixo, além de Maria Luiza e Maria Rita, a bibliotecária Luiza Sapienza, a escritora Maria Eugênia Celso Carneiro de Mendonça (1886 – 1963), a bióloga Bertha Lutz (1894 – 1976), Mary Corbett, Marianna Gurjão, a advogada Maria Alexandrina Ferreira Chaves, a maestrina Joanidia Sodré (1903 – 1975) e Anna Guttrie (Vida Doméstica, agosto de 1930).
+ 
+Vida Doméstica, agosto de 1930
+ 
+Na Aliança Internacional pelo Sufrágio Feminino, que reunia associações femininas de 44 países, representou a Federação Brasileira pelo Progresso Feminino no assunto de Igualdade de Condições de Trabalho do Homem e da Mulher (Correio da Manhã, 15 de agosto de 1930, última coluna).
+Integrava a comissão formada pela Federação Brasileira pelo Progresso Feminino para recepcionar a escritora portuguesa Maria Amélia Teixeira, diretora da revista Portugal Feminino (A Gazeta (SP), 27 de agosto de 1930, quarta coluna).
+Participou, no Hotel Glória, da Festa da Primavera promovida por Anna Amélia Carneiro de Mendonça (1896 – 1971), fundadora da Casa do Estudante do Brasil, com a presença da Miss Universo, Yolanda Pereira (1910 – 2001) (Revista da Semana, 20 de setembro de 1930; Correio da Manhã, 23 de setembro de 1930, sétima coluna).
+ 
+Revista da Semana, 20 de setembro de 1930
+ 
+Fazia parte da comissão de recepção da Federação Brasileira pelo Progresso Feminino nas homenagens ao cardeal Sebastião Leme (1882 – 1942) (Correio da Manhã, 19 de outubro de 1930, penúltima coluna).
+No Teatro João Caetano, a Casa do Estudante do Brasil promoveu uma homenagem aos estudantes soldados da revolução hospedados no Rio de Janeiro. Maria Luiza, Olegário Mariano (1889 – 1958), Paschoal Carlos Magno (1906 – 1980) e Eugênia Alvaro Moreyra (1898 – 1948), dentre outros, faziam parte da programação da noite (Correio da Manhã, 14 de novembro de 1930, sétima coluna).
+1931 – Criação da Federação Baiana pelo Progresso Feminino (A Noite, 9 de abril de 1932, quinta coluna).
+Publicação do artigo O feminismo na Bahia, de sua autoria, em que apresenta a Federação Baiana pelo Progresso Feminino e a União Universitária Feminina (Diário de Notícias (BA), 26 de março de 1931).
+Após uma temporada na Bahia, retornou ao Rio de Janeiro (Correio da Manhã, 12 de abril de 1931, primeira coluna).
+Ela, Bertha Lutz e a advogada e jornalista Orminda Ribeiro Bastos (1899 – 1971) foram as autoras da mensagem da FBPF à subcomissão de direitos eleitorais, encarregada pela redação do ante-projeto da Legislação Eleitoral (Correio da Manhã, 24 de maio de 1931, primeira coluna).
+ 
+Correio da Manhã, 24 de maio de 1931
+ 
+Orminda Ribeiro Bastos / Vida Doméstica, agosto de 1931
+ 
+Participou do Segundo Congresso Feminista Internacional, realizado entre 20 e 30 de junho, no Automóvel Club, no Rio de Janeiro, apresentando uma tese sobre o regime de família no Direito Civil Brasileiro. Foi a relatora da Comissão de Polícia Feminina. Na ocasião declarou que a mulher aceita a participação na vida pública, não como um direito a fruir, mas como um dever a desempenhar conscienciosamente. Fez um eloquente discurso sobre as futuras diretrizes do movimento feminista. Em um documento elaborado pela Federação Brasileira pelo Progresso Feminino pleiteando a criação de uma Polícia Feminina, seu nome foi sugerido para integrar a Comissão de Polícia Feminina, que seria presidida por Eunice Weavers (1902 – 1969 (Jornal do Brasil, 20 de junho de 1931, primeira coluna; Correio da Manhã, 20 de junho de 1931; A Batalha, 24 de junho de 1931, penúltima coluna; Jornal das Moças, 25 de junho de 1931; Para Todos, 27 de junho de 1931;Correio da Manhã, 1º de julho de 1931, sexta coluna; A Noite, 1º de julho de 1931; Correio da Manhã, 11 de julho de 1931, última coluna; Vida Doméstica, agosto de 1931).
+ 
+Correio da Manhã, 17 de junho de 1931
+ 
+Eunice Weavers / Vida Doméstica, agosto de 1931
+ 
+Maria Luiza Dória Bittencourt / Vida Doméstica, agosto de 1931
+ 
+Jornal do Brasil, 26 de setembro de 1957
+ 
+A sessão de Educação e Instrução ficou sob a responsabilidade da União Universitária Feminina, composta por Carmen Portinho, Orminda Ribeiro Bastos, Luiza Sapienza, Maria Luiza Doria Bittencourt e Maria Werneck de Castro. Entre as conclusões da comissão: promoção junto aos poderes competentes a propaganda das ideias modernas sobre a organização do ensino normal, considerando que da sua eficiência depende o progresso da educação popular no Brasil e apelar para a Associação de Educação para que organizem campanha tenaz, persistente e eminentemente patriótica, com determinação precisa de objetivos e métodos em torno da educação moral e cívica da criança e do adolescente.
+Participou de um almoço de adesões em homenagem ao advogado e escritor Gilberto Amado (1887 – 1969)(Correio da Manhã, 28 de junho de 1931, quarta coluna).
+Em nome da União Universitária Feminina, discursou durante uma homenagem a Assis Brasil (1857 – 1938), realizada no Cassino Beira-Mar (Correio da Manhã, 2 de agosto de 1931, quarta coluna; Fon-Fon, 8 de agosto de 1931).
+ 
+Maria Luiza discursando na homenagem a Assis Brasil / Fon-Fon, 8 de agosto de 1931
+ 
+Integrava com Carmen Portinho (1903 – 2001), Ignez Mathiessen e Carmen de Carvalho a comissão da Federação Brasileira pelo Progresso Feminino que foi ao Ministério da Viação e Obras solicitar ao ministro José Américo de Almeida (1887 – 1980) a readmissão das mulheres nas repartições dos Correios (Diário Nacional, 15 de agosto de 1931, primeira coluna; Correio da Manhã, 15 de agosto de 1931, última coluna).
+ 
+Carmen de Carvalho / Vida Doméstica, agosto de 1931
+ 
+Foi roubada no ateliê fotográfico Annunciato, que ficava no Edifício Guinle, e aonde foi com sua amiga, a engenheira civil Nidia Moura, buscar algumas fotografias que havia encomendado (A Noite, 25 de agosto de 1931, quarta coluna).
+Formou-se na Faculdade de Direito da Universidade do Rio de Janeiro. Era a única bacharelanda (Correio da Manhã, 10 de setembro de 1931, terceira coluna; Revista da Semana, 12 de setembro de 1931).
+ 
+Revista da Semana, 12 de setembro de 1931
+ 
+Foi homenageada na reunião mensal da União Universitária Feminina, da qual era secretária-geral, e também em uma reunião da Federação Brasileira pelo Progresso Feminino (Correio da Manhã, 4 de setembro de 1931, penúltima coluna; Correio da Manhã, 10 de setembro de 1931, terceira coluna; Correio da Manhã, 24 de setembro de 1931, quinta coluna; Para Todos, 19 de setembro de 1931).
+ 
+Maria Luiza, sentada, de roupa clara, entre Carmen Portinho e Bertha Lutz/ Para Todos, 19 de setembro de 1931
+ 
+Durante o curso de Direito, tentou ingressar no Centro de Estudos Jurídicos e Socias, o CAJU, do qual faziam parte, entre outros, Américo Lacombe (1909 – 1974), Antonio Galloti (1908 – 1986), Gilson Amado (1908 – 1979), Otávio de Faria (1908 – 1980), Plínio Doyle (1906 – 2000), San Tiago Dantas (1911 – 1964) e Vinícius de Morais (1913 – 1980). Para ser membro desse grupo era necessário defender uma tese. Ela apresentou um trabalho sobre extradição. Sua tese foi discutida em várias sessões, mas ela não foi aceita. Conforme depoimento de Vicente Chermont de Miranda (1909 – 2000), também aluno e membro do CAJU, foi discriminada por ser mulher.
+Apresentou-se na Rádio Educadora dentro da programação em homenagem à inauguração do Cristo Redentor (Correio da Manhã, 6 de outubro de 1931, segunda coluna).
+Compareceu ao enterro de Francisca Praguer Fróes (1872 – 1931), presidente da diretoria da União Universitária Feminina da Bahia (Correio da Manhã, 24 de novembro de 1931, terceira coluna).
+ 
+Francisca Praguer Froés / Brasil Feminino, julho de 1932
+ 
+1932 – Na conferência que realizou na reunião da Federação Brasileira pelo Progresso Feminino, Adelaide da Silva Cortes, primeira titular da comissão de imprensa da FBPF, mencionou a palestra Conceitos Feministas, proferida por Maria Luiza, na qual ela atacou os anti-feministas classificando-os de materialistas (Correio da Manhã, 3 de janeiro de 1932, última coluna).
+Fazia parte da diretoria da União Universitária Feminina (Correio da Manhã, 13 de janeiro de 1932, terceira coluna; A Noite, 14 de janeiro de 1932, quarta coluna).
+Em 24 de fevereiro de 1932, foi sancionado o Código Eleitoral pelo Decreto nº 21.076, que garantiu oficialmente às mulheres acima de 21 anos os direitos de votar e serem votadas no Brasil.
+Em Salvador, Maria Luiza realizou uma palestra durante a comemoração de um ano da criação da Federação Baiana pelo Progresso Feminino (A Noite, 9 de abril de 1932, quinta coluna).
+Na Rádio Sociedade, proferiu uma palestra em prol da Sociedade de Assistência aos Lázaros (Correio da Manhã, 6 de junho de 1932, sexta coluna).
+Foi convidada para votar no concurso Qual o maior poeta moço do Brasil? Na ocasião era segunda vice-presidente da União Universitária Feminina (Brasil Feminino, julho de 1932; Revista da Semana, 9 de julho de 1932).
+Bertha Lutz (1894 – 1976) havia viajado para os Estados Unidos para usufruir o prêmio de viagem que lhe concedeu a Carnegie Endowment for International Peace, por intermédio da União Pan Americana e da Associação Americana de Museus, para estudar o papel educativo dos museus americanos. Em dois meses e meio, ela percorreu vinte cidades e visitou 58 museus, saindo de Nova York em direção a St. Louis e dali para Chicago, gradualmente retornando a Nova York. Após três meses de viagem, voltou para o Brasil, em julho, e foi saudada por Maria Luisa (Correio da Manhã, 22 de julho, penúltima coluna, e 31 de julho de 1932).
+Participou da II Conferência Nacional de Educação, quando expôs um trabalho sobre o ensino primário com a proposta de regulamentação da divisão de competência entre União e os estados.
+Já como bacharel, fez uma prova de Direito Internacional Privado, na Faculdade de Direito da Universidade do Rio de Janeiro (Correio da Manhã, 10 de agosto de 1932, segunda coluna).
+Ela, Orminda Ribeiro Bastos e Maria de Lourdes Pinto Ribeiro integravam o escritório jurídico da União Universitária Feminina (Jornal do Commercio, 18 de setembro de 1932, segunda coluna).
+Participou da Quinzena de Estudos Práticos da Constituição Futura, evento que comemorou os 10 anos de existência da Federação Brasileira para o Progresso Feminino (Correio da Manhã, 18 de outubro de 1932).
+Presidiu a conferência de encerramento do primeiro curso de educação política promovido pela Federação Brasileira pelo Progresso Feminino. O conde de Afonso Celso (1860 – 1938) proferiu a palestra Vida internacional, arbitramento internacional e interno, A Guerra fora da lei, Autorização para firmar convênios e tratados internacionais, Direitos do estrangeiro naturalizado e do estrangeiro no Brasil (Correio da Manhã, 1º de novembro de 1932, segunda coluna).
+Foi uma das secretárias da primeira reunião realizada na sede da FBPF, presidida por Bertha Lutz, para receber sugestões da mulher brasileira para a nova Constituição. Apesar de ser a favor do divórcio, esclareceu que esta não seria uma matéria constitucional e sim pertinente ao Direito Civil (Correio da Manhã, 25 de novembro de 1932, sexta coluna).
+1933 - Esteve em São Paulo trabalhando em prol de uma cruzada de educação política (A Cigarra, janeiro de 1933).
+ 
+A Cigarra, janeiro de 1933
+ 
+Estava presente à instalação do posto eleitoral da Federação Brasileira pelo Progresso Feminino (A Noite, 13 de fevereiro de 1933, quarta coluna).
+Seguiu participando de reuniões pertinentes a sugestões à nova Constituição. Ela, Maria Eugênia Celso Carneiro de Mendonça (1886 – 1963) e a educadora Alba Canizares do Nascimento (1893 – 1944) propuseram o nome de Bertha Lutz como candidata mulher única à Assembléia Nacional Constituinte, nas eleições de 3 de maio (Diário de Notícias, 23 de abril de 1933, penúltima coluna; Correio da Manhã, 4 de abril de 1933, primeira coluna; Diário Carioca, 26 de abril de 1933, última coluna).
+ 
+ 
+Alba Canizares / Vida Doméstica, agosto de 1931
+ 
+Maria Luiza foi eleita primeira vice-presidente da União Universitária Feminina (Correio da Manhã, 26 de abril de 1933, terceira coluna).
+Além de Bertha, foram candidatas para deputadas constituintes pelo Rio de Janeiro a advogada Natércia Cunha Silveira (1905 – 1993), a escritora Anna César Vieira, a escritora socialista Ilka Labarthe e Georgina de Azevedo Lima de quem, segundo a reportagem publicada na Revista da Semana, não se sabia de trabalhos feministas. Na matéria da Revista da Semana, a professora baiana Leolinda Daltro (1859 – 1935), também candidata e uma das precursoras do feminismo no Brasil, declarou-se satisfeita por testemunhar a candidatura de mulheres a cargos políticos no país (Brasil Feminino, abril de 1933; O Malho, 15 de abril de 1933; Correio da Manhã, 26 de abril de 1933, terceira coluna; Revista da Semana, 20 de maio de 1933). Nenhuma delas foi eleita. Bertha obteve 15.756 votos, Natércia obteve 3.22o votos, Georgina Azevedo Lima, 14.093; e Ilka Labarthe, 3.869. Neste pleito, a médica paulista Carlota Pereira de Queiroz (1892 – 1982) foi eleita a primeira mulher constituinte.
+ 
+Ilka Labarthe / Vida Doméstica, agosto de 1931
+ 
+Era uma das professoras do Curso de Educação Feminina, inaugurado na Universidade Livre da Capital Federal (Correio da Manhã, 26 de maio de 1933, quarta coluna).
+Colaborou com a consultora jurídica da Federação Brasileira pelo Progresso Feminino, Orminda Ribeiro Bastos, na redação do programa da FBPF de reivindicações femininas da nova Constituição (Correio da Manhã, 22 de julho de 1933, sexta coluna).
+ 
+Correio da Manhã, 22 de julho de 1933
+ 
+Defendeu, no Tribunal Superior de Justiça Eleitoral, a causa de Bertha Lutz que pleiteava a suplência geral, pelo critério majoritário, por ter ficado em 11º lugar, e não apenas a diplomação como suplente do Partido Autonomista. Bertha assumiu o mandato em julho de 1936 (A Noite, 5 de setembro de 1933, última coluna).
+ 
+A Noite, 5 de setembro de 1933.
+ 
+Foi uma das signatárias de um manifesto de autoria de Bertha Lutz (1894 – 1976),  apresentado à seção de Legislação da Conferência Nacional de Proteção à Infância. Além dela, assinaram o manifesto a advogada Almerinda Farias Gama (1899 – 1999), a engenheira e urbanista  Carmen Portinho (1903 – 2001) e a tradutora Lina Hirsh (Jornal do Brasil, 23 de setembro de 1933, penúltima coluna; Correio da Manhã, 23 de setembro de 1933, quinta coluna).
+Foi eleita consultora jurídica da Federação Brasileira pelo Progresso Feminino (A Noite, 18 de outubro de 1933, quinta coluna).
+1934 – Presidia a Liga Eleitoral Independente da Bahia.
+A presidente da Federação Alagoana para o Progresso Feminino, Hilda Calheiros, enviou uma carta ao então presidente da República, Getulio Vargas, pedindo a nomeação de Maria Luiza Doria Bittencourt como representante feminina do Instituto de Amparo Social.
+Foi uma das organizadoras da comemoração do Dia Pan-Americano, no restaurante da Casa do Estudante do Brasil, na rua da Carioca 11, 1º andar (A Noite, 10 de abril de 1934, terceira coluna).
+No Automóvel Clube do Brasil, a Federação Brasileira para o Progresso Feminino promoveu a Festa da Vitória, celebrando a s conquistas femininas na nova Constituição Brasileira. Representando a União Universitária Feminina, Maria Luiza fez um discurso (Correio da Manhã, 9 de junho de 1934, terceira coluna; Correio da Manhã, 27 de junho de 1934, sétima coluna; As Walkyrias, agosto de 1934; Correio da Manhã, 26 de setembro de 1936, quarta coluna).
+ 
+Maria Luiza está sentada, de vestido escuro e cabelo repartido no meio, ao lado direito de Bertha Lutz. Na cadeira, de lado, Carmen Portinho / As Walkyrias, agosto de 1934
+ 
+
+Correio da Manhã, 23 de setembro de 1936
+
+ 
+
+Discurso de Maria Luiza Bittencourt durante a Festa da Vitória  / Walkyrias, agosto de 1934
+ 
+Participava da Cruzada Nacional de Educação, sob a presidência de Gustavo Ambrust (1879 – 1953) (Correio da Manhã, 17 de junho de 1934, quarta coluna).
+Foi eleita primeira secretária do diretório do Partido Autonomista da Paróquia de São José, filiado ao Partido Autonomista do Distrito Federal (Jornal do Brasil, 24 de junho de 1934, quinta coluna).
+Criação do Conselho de Previdência e Cultura do Distrito Federal, pleiteado por Bertha Lutz e por Maria Luiza à Assembléia Nacional Constituinte. Em setembro, Maria Luiza foi eleita secretária do Conselho, presidido por Maria Eugênia Celso Carneiro de Mendonça (A Noite, 12 de julho de 1934, quinta coluna; Correio da Manhã, 18 de setembro de 1934, penúltima coluna; Jornal do Brasil, 23 de setembro de 1934, segunda coluna).
+ 
+A Noite, 12 de julho de 1934
+ 
+Representando várias associações femininas,  participou da posse do novo ministro das Relações Exteriores, José Carlos de Macedo Soares (1883 – 1968) (A Noite, 27 de julho de 1934).
+Era uma das feministas empenhadas na campanha para interessar a mocidade feminina para o voto (Correio da Manhã, 16 de agosto de 1934, segunda coluna).
+Em Salvador, foi promovida, pela Fundação Brasileira pelo Progresso Feminino, a Segunda Convenção Feminista, entre 27 de agosto e 1º de setembro. Na época, Edith Mendes da Gama e Abreu (1903 – 1982) era a presidente da filial baiana da FBPF.
+ 
+ 
+Edith Mendes da Gama e Abreu
+ 
+ 
+Maria Luiza participou elaborando a programação do evento, cujo objetivo foi organizar o programa post-constitucional de reivindicações de pautas do interesse das mulheres e articular as federações femininas existentes no sentido de apontar as candidatas para as eleições de outubro. Foi decidido que a federação promoveria a organização de filiais nos estados, que qualquer cerimônia da federação seria precedida pela execução de um hino cuja letra foi composta por Maria Eugênia Celso Carneiro de Mendonça (1886 – 1963) e a música, pela maestrina Joanídia Sodré (1903 – 1975). Foi também formulado o Decálogo Feminista com 10 princípios básicos (Correio da Manhã, 15 de agosto de 1934, última coluna; Jornal do Brasil, 19 de agosto de 1934, sexta coluna; A Nação, 1º de setembro de 1934, penúltima coluna; Correio da Manhã, 1º de setembro de 1934, sexta coluna; Correio da Manhã, 4 de setembro de 1934, sexta coluna; Jornal do Brasil, 8 de setembro de 1934, quarta coluna).
+ 
+
+ 
+Seu nome foi incluído na chapa à Constituinte Estadual do Partido Social Democrático da Bahia, ligado ao interventor do estado Juracy Magalhães (1905 – 2001). Aloisio de Castro afirmou que seu nome foi substituido pelo de Maria Luiza devido a uma recomendação do presidente Getulio Vargas, fato negado por Juracy (O Jornal, 10 de maio de 1946, quarta coluna). Outras mulheres foram candidatas em outros estados do Brasil (Correio da Manhã, 8 de setembro de 1934, penúltima coluna; Gazeta de Notícias, 3 de outubro de 1934, segunda coluna).
+Maria Luiza embarcou para Salvador em um hidroavião da Panair (Correio da Manhã, 8 de setembro de 1934, oitava coluna; e 25 de setembro e 1934, sexta coluna, de 1934; A Noite, 10 de setembro de 1934, quinta coluna).
+ 
+A Noite, 10 de setembro de 1934
+ 
+Foi duramente criticada no artigo Feminismo ou burla?, do poeta e advogado Heitor Lima (1887 – 1945), que a chamou de prodigioso papagaio de quitanda, capaz de falar cinco horas a fio sem dizer nada que se aproveite (Correio da Manhã, 29 de setembro de 1934, primeira coluna).
+Fez campanha pelo interior da Bahia acompanhada por Juracy Magalhães e, nas eleições de 14 de outubro, Maria Luiza elegeu-se como primeira suplente do deputado estadual e engenheiro Humberto Pacheco Miranda (Correio da Manhã, 4 de outubro de 1934, terceira coluna; Jornal do Commercio, 3 de outubro, terceira coluna; e 8 e 9 de outubro, quarta coluna, de 1934; Correio da Manhã, 22 de novembro de 1934, sétima coluna; Jornal do Commércio, 11 e 12 de fevereiro, terceira coluna, de 1935).
+ 
+Humberto Pacheco Miranda / Etc (BA), 31 de outubro de 1932
+ 
+Foi a advogada de acusação no ruidoso processo de cassação do mandato do deputado Ernesto Pereira Carneiro (1877 – 1954) (A Noite, 9 de novembro de 1934, penúltima coluna).
+Na Casa do Estudante do Brasil, instalação dos conselhos patrimoniais e consultivos. Na ocasião, Maria Luiza, membro do conselho consultivo, leu os nomes dos empossados nos conselhos (Correio da Manhã, 29 de dezembro de 1934).
+ 
+Correio da Manhã, 29 de dezembro de 1934
+ 
+1935 - Foi uma das assinantes de um manifesto em defesa de Bertha Lutz, acusada de fraude nas eleições de outubro de 1934. Foi cassado o mandato do deputado Ernesto Pereira Carneiro (1877 – 1954) e ordenada a posse de Bertha Lutz, como suplente do Partido Autonomista (Gazeta de Notícias, 29 de dezembro de 1934, primeira coluna; A Noite, 11 de janeiro de 1935, terceira coluna; A Noite, 19 de janeiro de 1935).
+ 
+A Noite Illustrada, 16 de fevereiro de 1935
+ 
+Em maio, com o afastamento de Humberto Pacheco Miranda, nomeado superintendente da Viação Bahiana de São Francisco, Maria Luiza Bittencourt tomou posse como deputada estadual (Correio da Manhã, 9 de maio de 1935, última coluna).
+Integrou a Assembleia Constituinte da Bahia e foi uma das responsáveis pela elaboração de seu texto, tendo sido a relatora dos capítulos sobre ordem econômica e social, e também sobre educação (Gazeta de Notícias, 17 de maio de 1935, quarta coluna; Gazeta de Notícias, 14 de agosto de 1935, quinta coluna).
+Na Assembleia Legislativa da Bahia, foi uma das nomeadas para integrar a comissão para dar o parecer sobre o orçamento do estado (Gazeta de Notícias, 3 de setembro de 1935, terceira coluna).
+O Tribunal Superior de Justiça Eleitoral julgou os últimos recursos e o relatório final sobre o pleito baiano com as alterações decorrentes das eleições suplementares. Os deputados estaduais Waldomiro Lins de Albuquerque  e João Mendes da Costa Filho foram substituidos por Maria Luiza e Gilberto Valente (A Noite, 20 de setembro de 1935, terceira coluna).
+Conquistou o prêmio Fellowship da Universidade de Radcliffe, nos Estados Unidos, onde cursou uma especialização em economia social , finanças e racionalização (Diário de Notícias, 10 de setembro de 1935, terceira coluna; Correio da Manhã, 12 de setembro de 1935, primeira coluna).
+ 
+A Noite, 11 de setembro de 1935
+ 
+Foi homenageada na Casa do Estudante do Brasil (Diário de Notícias, 12 de setembro de 1935).
+ 
+Gazeta de Notícias, 12 de setembro de 1935
+ 
+1936 - Foi recebida no Itamaraty pelo ministro das Relações Exteriores,  José Carlos de Macedo Soares (1883 – 1968), e embarcou para os Estados Unidos para a Universidade de Radcliffe (Correio da Manhã, 16 de janeiro de 1936, terceira coluna; A Noite, 16 de janeiro de 1935, penúltima coluna).
+ 
+A Noite, 16 de janeiro de 1935
+ 
+Foi elogiada em uma reportagem do New York Sun (Gazeta de Notícias, 6 de fevereiro de 1936, última coluna; Gazeta de Notícias, 18 de fevereiro de 1936, terceira coluna).
+ 
+Gazeta de Notícias, 6 de fevereiro de 1936
+ 
+Regressou ao Brasil, em julho (A Noite, 3 de julho de 1936, quarta coluna).
+Integrou uma comissão da Federação Brasileira pelo Progresso Feminino que visitou o presidente da República, Getulio Vargas (1882 – 1954), no Palácio do Catete. Na pauta, o III Congresso Nacional Feminista, que se realizaria, no Rio de Janeiro, em outubro (Correio da Manhã, 18 de agosto de 1936, terceira coluna).
+Por sua indicação, Nair Guimarães Lacerda foi nomeada pelo governador Juracy Magalhães para o cargo de prefeita do município baiano Urandi.
+Foi uma das mulheres cujo nome foi cogitado para ingressar na Academia Brasileira de Letras. A primeira mulher imortal foi Rachel de Queiroz (1910 – 2003), eleita 41 anos depois, em 1977 (Fon-Fon, 12 de setembro de 1936).
+No Rio de Janeiro, participou do III Congresso Nacional Feminista, realizado entre 20 de setembro e 9 de outubro e, como membro da FBPF, defendeu a proposta de reformulação do estatuto jurídico da mulher brasileira que havia redigido. O documento, que ficou conhecido como o Estatuto da Mulher, foi a base para o projeto de lei apresentado, no ano seguinte, por Bertha Lutz no Legislativo Federal. Foi também decidido, por ideia de Alba Canizares do Nascimento (1893 – 1944), delegada do Distrito Federal, que a FBPF organizaria o movimento panamericano pelo progresso feminino (Correio da Manhã, 4 de outubro, última coluna; 6 de outubro, terceira coluna; 8 de outubro, sétima coluna;  9 de outubro, sexta coluna; 11 de outubro, sexta coluna, 15 de outubro, quarta coluna, de 1936; A Noite, 9 de outubro de 1936, segunda coluna; Gazeta de Notícias, 15 de setembro de 1936, primeira coluna; Gazeta de Notícias, 11 de outubro de 1936, sexta coluna).
+Integrou a delegação brasileira que foi à Conferência Interamericana de Consolidação da Paz, em Buenos Aires, realizada em dezembro. Antes de partir, foi homenageada pela Federação Brasileira pelo Progresso Feminino. Durante a conferência, após o discurso do embaixador Oswaldo Aranha, Maria Luiza falou, em nome das Associações Feministas Americanas Pró-Paz. Sua atuação foi elogiada pela imprensa e por seus companheiros de trabalho. Regressou ao Brasil, em 29 de dezembro (A Noite, 9 de novembro de 1936, terceira coluna; Correio da Manhã, 21 de novembro de 1936, terceira coluna; e 27 de novembro, quarta coluna, 6 de dezembro, quarta coluna, 30 de dezembro, sétima coluna, de 1936; A Noite, 19 de dezembro de 1936, primeira coluna; A Noite, 24 de dezembro de 1936, segunda coluna; Jornal do Brasil, 16 de dezembro, quinta coluna; Jornal do Brasil, 1º de janeiro de 1937, penúltima coluna).
+ 
+A Noite, 29 de dezembro de 1936
+ 
+1937 - Fez uma palestra sobre A Conferência de Buenos Aires, no Studio Nicolas, promovida pelo Club Universitário do Rio de Janeiro (A Noite, 8 de janeiro de 1937, terceira coluna).
+Como um dos membros fundadores, fazia parte do conselho consultivo da Casa do Estudante do Brasil (A Noite, 27 de janeiro de 1937, penúltima coluna).
+ 
+Revista da Semana, 3 de abril de 1937
+ 
+Apoiou a candidatura de José Américo de Almeida (1887 – 1980) à Presidência da República, tendo participado da Convenção dos delegados apoiadores do governo, no Palácio Monroe. Recepcionou o candidato em sua viagem à Bahia, durante a qual, no interior do estado, ela e outros integrantes do grupo que o acompanhava tiveram suas carteiras roubadas (A Noite, 25 de maio de 1937, primeira coluna; A Noite, 26 de maio de 1937; Correio da Manhã, 26 de maio de 1937, segunda coluna; 25 de agosto, quinta coluna, de 1937; Jornal do Brasil, 29 de agosto de 1937, sexta coluna; A Noite, 30 de agosto de 1937, primeira coluna).
+ 
+A Noite, 26 de maio de 1937
+ 
+Segundo o Dicionário Mulheres do Brasil, foi dela o último discurso proferido na Assembleia Legislativa da Bahia, cujo tema era a defesa da democracia, antes da instauração do Estado Novo, em 10 de novembro, pelo presidente Getulio Vargas (1882- 1954), fato que interrompeu sua carreira parlamentar (Correio da Manhã, 11 de novembro de 1937).
+Em uma reportagem da Revista da Semana, 11 de janeiro de 1947, foi noticiado que após o golpe do Estado Novo, ela teria sido presa por suas tendências socialistas.
+ 
+Revista da Semana, 11 de janeiro de 1947
+ 
+1938 - Lançamento do livro Trabalho Feminino, de sua autoria.
+Participou de um ciclo de palestras no departamento intelectual da União Universária Feminina (Correio da Manhã, 6 de maio de 1938, primeira coluna).
+Em um escritório na rua da Quitanda, no centro do Rio de Janeiro, trabalhava como advogada com a feminista sergipana Maria Rita Soares Andrade (1904 – 1998) (Correio da Manhã, 6 de agosto de 1938, sexta coluna).
+ 
+Correio da Manhã, 6 de agosto de 1938
+ 
+Ela e Mrs Stevens, Diretora da União Inter-Americana de Mulheres foram as entrevistadas da reportagem Privilégios para a mulher ou a mulher igual ao homem? (A Noite, 13 de outubro de 1938).
+1939 - Foi entrevistada sobre o imposto sobre os solteiros. Na ocasião, estava estudando para dois concursos: ao de livre docência da cadeira de Legislação do Trabalho da Faculdade Nacional de Direito e à cátedra da mesma matéria na Faculdade da Bahia (A Noite, 2 de janeiro de 1939).
+ 
+
+A Noite, 2 de janeiro de 1939
+ 
+Participou do ciclo de palestras O Brasil visto pelas brasileiras, promovido pela Federação Brasileira pelo Progresso Feminino, realizando uma conferência sobre Riqueza e Trabalho, no Palace Hotel (Correio da Manhã, 28 de novembro de 1939, segunda coluna).
+ 
+Revista da Semana, 9 de dezembro de 1939
+ 
+1940 - Presidiu uma sessão do Conselho Consultivo da Casa do Estudante do Brasil (Diário de Notícias, 2 de junho de 1940, quarta coluna).
+Durante a festa do Grêmio Literário do Colégio Batista Brasileiro, Maria Luiza, paraninfa do grupo, foi homenageada (A Noite, 13 de setembro de 1940, terceira coluna).
+1941 - Foi uma das entrevistadas, a única mulher, sobre a possibilidade de uma paralisação completa das atividades forenses, proposta classificada como necessária por advogados mineiros. Na opinião de Maria Luiza, as férias coletivas seriam contraproducentes: “que cada advogado escolha, todo ano, a época que lhe parecer mais propícia para um repouso” (Diário de Notícias, 22 de julho de 1941, quinta coluna).
+Presidiu a comissão julgadora do Concurso de Literatura de 1940, do Colégio Universitário, propriedade de Lelio Gomes. Compunham a comissão o poeta Murilo Araújo (1894 – 1980) e a escritora Maria Sabina de Albuquerque (1898 – 1991). Os prêmios foram ofertados pela Editora José Olympio (Diário de Notícias, 14 de setembro de 1941, terceira coluna).
+1942 - Por ocasião da realização da Conferência Continental, no Rio de Janeiro, a União Universitária Feminina, da qual Maria Luiza fazia parte, entregou à delegação americana uma moção de apoio aos princípios que orientavam a solidariedade continental (Jornal do Brasil, 20 de janeiro de 1942, quinta coluna).
+Foi a única mulher na lista dos candidatos a professor no concurso que seria realizado na Escola de Comércio do Rio de Janeiro (Diário de Notícias, 10 de julho de 1942, sexta coluna).
+Foi uma das oradoras da sessão realizada no Gabinete Português de Leitura. Em pauta, o envolvimento do Brasil na Segunda Guerra Mundial (Jornal do Brasil, 28 de agosto de 1942).
+Foi a primeira colocada no concurso para a livre-docência em Legislação do Trabalho e Direito Industrial na Faculdade de Direito da Universidade do Rio de Janeiro, tornando-se a primeira mulher docente da história da referida faculdade. Pela conquista foi homenageada, no Cineac Trianon, com Maria Luisa Castelo Branco e Leda de Albuquerque, que haviam vencido o primeiro prêmio de Peças Teatrais, promovido pelo Ministério do Trabalho (Jornal do Brasil, 25 de novembro de 1942, quinta coluna; O Jornal, 28 de novembro de 1942, primeira coluna; Correio da Manhã, 11 de dezembro de 1942; A Noite, 12 de dezembro de 1942, terceira coluna).
+ 
+Correio da Manhã, 11 de dezembro de 1942
+ 
+“Porque é principalmente através do Direito que podemos preparar os homens para fazer justiça àqueles que até hoje não têm sido senão párias sociais e só atravé do Direito bem compreendido e bem aplicado se poderá evitar a revolta e a explosão de sentimento de consequências lastimais para a sociedade”
+Correio da Manhã de 11 de dezembro de 1942
+1943 – Na sede da União Universitária Feminina, foi uma das sócias que recepcionaram Mary Cannon, da Divisão Feminina do Departamento de Trabalho dos Estados Unidos (A Manhã, 8 de janeiro de 1943, penúltima coluna).
+Maria Luiza posicionou-se a favor do ensino misto (O Radical, 20 de março de 1943, primeira coluna).
+ 
+O Radical, 20 de março de 1943
+ 
+Na Escola Nacional de Música, participou da Festa Pan-americana, comemorativa do Dia do Juramento Feminino de Lealdade Americana, promovida pela representação brasileira da Confederação Feminina dre Paz Americana, presidida pela escritora Iveta Ribeiro (1886 – 1962) (Correio da Manhã, 21 de abril de 1943, primeira coluna).
+Provavelmente, casou-se neste ano, pois em uma reportagem de janeiro de 1944 foi identificada como Maria Luiza Dória Bittencourt Mello Neto (Gazeta de Notícias, 28 de janeiro de 1944, quarta coluna).
+1944 - Participou da homenagem póstuma a Rachel Prado (1891 – 1943), pseudônimo da feminista curitibana Virgília Stella da Silva Cruz, fundadora do Clube das Mulheres Jornalistas, realizada no Conservatório de Música (Gazeta de Notícias, 28 de janeiro de 1944, quarta coluna).
+ 
+Rachel Prado (1891 – 1943) / Brasil Feminino, 1933
+ 
+1945 – Foi uma das professoras homenageadas durante a colação de grau dos bacharelandos da Faculdade de Economia e Finanças, realizada no Palácio Tiradentes (Correio da Manhã, 16 de janeiro de 1945, quinta coluna).
+Com Natércia da Cunha Silveira (1903 – 1993), Carmen Portinho (1903 – 2001) e Maria Rita Soares de Andrade (1904 – 1998, foi uma das organizadoras de uma coligação democrática para apoiar a candidatura do brigadeiro Eduardo Gomes (1896 – 1981) à presidência da República (Diário de Notícias, 24 de fevereiro de 1945, quinta coluna).
+Seu nome estava na lista dos fundadores da UDN – União Democrática Nacional  (O Jornal, 8 de abril de 1945, última coluna; Diário de Pernambuco, 10 de abril de 1945, primeira coluna).
+Foi uma das signatárias de um manifesto de apoio de advogados à candidatura de Eduardo Gomes (Diário Carioca, 28 de junho de 1945, última coluna).
+Foi uma das oradoras do comício do candidato Eduardo Gomes, em Salvador, na Bahia (Correio da Manhã, 24 de agosto de 1945, quarta coluna; 25 de agosto, primeira coluna; 28 de agosto, terceira coluna; de 1945; Diário de Notícias, 28 de agosto de 1945, quarta coluna).
+1946 - Fazia parte da Comissão Pró-Constituição Democrática assim como Evandro Lins e Silva (1912 – 2002), Orígenes Lessa (1903 – 1986) e Oscar Niemeyer (1907 – 2012), dentre outros(Correio da Manhã, 29 de março de 1946, terceira coluna).
+Foi uma das mulheres que entregou ao Comitê Parlamentar da Sociedade de Amigos da Democracia Portuguesa uma mensagem endereçada ao presidente de Portugal, Oscar Carmona (1869 – 1951), no sentido de libertar mulheres portuguesas detidas por motivos políticos (Diário Carioca, 11 de maio de 1946, primeira coluna).
+Foi escolhida para integrar, como secretária, a comissão executiva da II Convenção Nacional da União Democrátia Nacional, UDN (Correio da Manhã, 15 de maio de 1946, penúltima coluna; O Jornal, 15 de maio de 1946, primeira coluna).
+Participou de um comício da Esquerda Democrática no Campo de São Cristóvão e no Largo do Humaitá, em Botafogo; e foi, pelo partido, candidata a vereadora no Distrito Federal. Era, na época, livre docente da Faculdade Nacional de Direito e professora da Faculdade de Administração e Finanças (Diário de Notícias, 20 de novembro, quinta coluna; e 29 de dezembro, penúltima coluna, de 1946; Diário Carioca, 13 de dezembro de 1946, quinta coluna).
+ 
+Diário de Notícias, 29 de dezembro de 1946
+ 
+1947 - Participou, com outros candidatos da Esquerda Democrática, de um comício, no Jardim de Marechal Hermes. As eleições gerais foram realizadas em 19 de janeiro, mas Maria Luiza não foi eleita, tendo recebido 55 votos (Revista da Semana, 11 de janeiro de 1947; Diário de Notícias, 14 de janeiro de 1947, última coluna; Correio da Manhã, 6 de fevereiro de 1947, quarta coluna).
+Participou com várias outras feministas de uma reunião realizada na Casa do Estudante do Brasil. Em pauta, a realização do Congreso Internacional de Mulheres, entre setembro e outubro, em Paris. Foi uma das integrantes do Comitê Brasileiro do Congresso (Diário de Notícias, 18 de julho, quinta coluna; 17 de agosto, terceira coluna, de 1947).
+Foi uma das oradoras da comemoração dos 18 anos da Casa do Estudante do Brasil (Diário de Notícias, 9 de agosto de 1947, segunda coluna; Tribuna Popular, 12 de agosto de 1947, sexta coluna; Revista da Semana, 23 de agosto de 1947).
+1948 – O escritor pernambucano Mario Sette (1886 – 1950) realizou na Casa do Estudante do Brasil a palestra Velhas estampas que contam as histórias de uma cidade. A sessão foi presidida pelo acadêmico Mucio Leão (1898 – 1969), que foi saudado por Maria Luiza, então diretora da entidade (Diário de Pernambuco, 21 de março de 1948, segunda coluna).
+O Curso de Geografia Econômica, ministrado gratuitamente por Maria Luiza, na sede do Partido Socialista Brasileiro, na rua Buenos Aires, 57, seria reiniciado (Correio da Manhã, 15 de maio de 1948, sétima coluna).
+1950 – Foi noticiado que Maria Luiza seria uma das candidatas do Partido Socialista Brasileiro para a Câmara Municipal do Rio de Janeiro (Revista da Semana, 11 de março de 1950, segunda coluna).
+1951 – Como presidente em exercício da Casa do Estudante do Brasil assinou uma saudação à Embaixada Universitária de Coimbra e ofereceu uma feijoada aos estudantes portugueses (Tribuna da Imprensa, 28 de agosto de 1951, primeira coluna; Diário Carioca, 28 de agosto de 1951, sexta coluna; A Manhã, 1º de setembro de 1951, antepenúltima coluna).
+1952 – Foi noticiado na coluna de Gilberto Trompovski que Maria Luiza havia sido uma das convidadas de uma recepção oferecida por Anna Amélia e Marcos Carneiro de Mendonça (O Jornal, 13 de abril de 1952, segunda coluna).
+1954 – Morava em São Paulo e foi identificada em uma matéria do Jornal do Brasil como advogada, esposa e mãe exemplar (Jornal do Brasil, 29 de outubro de 1954, sexta coluna).
+1956 – Em uma entrevista, a advogada Maria Rita Soares de Andrade (1904 – 1998), perguntada sobre a possibilidade da mulher exercer uma profissão e ser uma boa mãe de família, declarou: “Não conheço esposa e mãe mais abnegada e heróica do que Maria Luiza Bittencourt, advogada e ex-deputada estadual na Bahia” (Jornal do Brasil, 4 de novembro de 1956).
+1961 - Foi a tradutora Introdução à Eloquência, do professor Charles Brown (Jornal do Brasil, 18 de maio de 1961, quinta coluna).
+Diretoras da Federação Brasileira pelo Progresso Feminino disseram ao professor Orlando Gomes, encarregado da reforma do Código Civil que era “uma pena que o presidente da República não tenha constituido um Grupo de Trabalho de advogados mulheres como Maria Luiza Bittencourt e Esther Figueiredo Ferraz para redigir o direito de família” (Tribuna da Imprensa, 9 de agosto de 1961, última coluna).
+1964 – Foi noticiado que ela e Maria Rita Soares de Andrade (1904 – 1998) haviam sido as inventariantes de Cecilia Meireles (1901 – 1964) após a morte do primeiro marido da escritora, o artista plástico Fernando Correia Dias (1892 – 1935) (Jornal do Brasil, 11 de novembro de 1964, quarta coluna).
+1969 - Integrante do Conselho Patrimonial da Casa do Estudante do Brasil, foi uma das oradoras na comemoração dos 40 anos da entidade, marcada pela reinauguração da Biblioteca Artur Ramos e pela realização de um Almoço de Confraternização Universitária (Correio da Manhã, 14 de agosto de 1969, quarta coluna; O Jornal, 14 de agosto de 1969, segunda coluna; O Jornal, 17 de agosto de 1969, penúltima coluna).
+1970 – Escreveu um artigo para a revista Rumo, cuja edição foi dedicada à Casa do Estudante do Brasil (O Jornal, 24 de maio de 1970, quarta coluna).
+1979 - No auditório do MEC, Maria Luiza e o engenheiro L.A. Falcão Bauer fizeram palestras sobre o entrosamento profissional entre homens e mulheres dentro da programação da Segunda Reunião Latino-Americana de Mulheres Universitárias (Jornal do Brasil, 11 de dezembro de 1979, quinta coluna).
+1981 – Foi entrevistada quando estava, na véspera do Dia de Finados, visitando o Cemitério São João Batista (Jornal do Brasil, 2 de novembro de 1981, terceira coluna).
+1983 – Foi citada como uma personalidade importante na conquista dos direitos femininos no Brasil em duas colunas de Alfio Ponzi (1914 – 1985) (Jornal do Commercio, 29 de março, última coluna; e 11 e 12 de setembro, segunda coluna, de 1983).
+1988 – Recebeu, na Associação Brasileira de Mulheres Universitárias, o diploma do Mérito Ruy Barbosa da diretoria da Casa da Bahia por ter sido a primeira mulher constituinte da Bahia (Jornal do Brasil, 29 de abril de 1988, segunda coluna).
+2001 – Falecimento de Maria Luiza.
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+ALVES, Branca Moreira, Ideologia e feminismo: a luta das mulheres pelo voto no Brasil. Petrópolis: Vozes, 1980.
+Arquivo Nacional. Série Mulheres e o Arquivo: Maria Luiza Bittencourt, 28 de outubro de 2020.
+BONATO, Nailda Marinho da Costa; COELHO, Ligia Martha Coimbra da Costa. CONCEPÇÕES DE EDUCAÇÃO INTEGRAL NA DÉCADA DE 30: AS TESES DO II CONGRESSO INTERNACIONAL FEMINISTA SECOND CONGRESS FEMINIST INTERNATIONAL – 1931 
+COSTA, Ana Alice Alcântara. As donas do poder. Mulher e política na Bahia. Salvador: NEIM/UFBa – Assembléia Legislativa da Bahia. 1998 – (Coleção Bahianas; 02)
+Faculdade Nacional de Direito – UFRJ
+Hemeroteca Digital da Biblioteca Nacional
+KARAWEJCZYK, Monica. As filhas de Eva querem votar: uma história da conquista do sufrágio feminino no Brasil. Tese (Doutorado em História), Universidade Federal do Rio Grande do Sul, Porto Alegre, 2013.
+LIMA, Thais de Souza. Federação Alagoana pelo Progresso Feminino: a luta pela ampliação da democracia e pelo direito ao voto feminino (1927-1932). 
+MARQUES, Teresa Cristina de Novaes. Bertha Lutz – Perfil parlamentar. Brasília : Editora da Câmara
+Mulher: 500 anos atrás dos pano
+Portal Academia Brasileira de Letras
+REGIS, Caren Victorino. A Casa do Estudante do Brasil – O Pavilhão Feminino: uma reivindicação de 1931. Universidade Federal do Estado do Rio de Janeiro, dezembro de 2008.
+REGIS, Caren Victorino. Relatório científico do subprojeto O ensino superior para as mulheres: concepções da União Universitária Feminina. Rio de Janeiro : UNIRIO, 2008.
+SCHUMAHER, Schuma; BRAZIL, Erico Vital (organizadores). Dicionário Mulheres do Brasil: de 1500 até a atualidade biográfico e ilustrado. Rio de Janeiro : Jorge Zahar Ed., 2000.
+Site do Senado Federal
+VANIN, Iole Macedo. A produção intelectual das médicas formadas na Bahia: o feminismo na tese de Ítala Oliveira. Diásporas, Diversidades, Deslocamentos, 23 a 26 de agosto de 2010.
+ 
+Acesse aqui os outros artigos da Série “Feministas, graças a Deus!“
+
+Série “Feministas, graças a Deus!” I – Elvira Komel, a feminista mineira que passou como um meteoro, publicado em 25 de julho de 2020, de autoria da historiadora Maria Silvia Pereira Lavieri Gomes, do Instituto Moreira Salles, em parceria com Andrea C. T. Wanderley, editora e pesquisadora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” II  – Natércia da Cunha Silveira (1905 – 1993), o jequitibá da floresta, publicado em 20 de agosto de 2020, de autoria de Andrea C.T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” III  – Bertha Lutz e a campanha pelo voto feminino: Rio Grande do Norte, 1928, publicado em 29 de setembro de 2020, de autoria de Maria do Carmo Rainha, doutora em História e pesquisadora do Arquivo Nacional
+Série “Feministas, graças a Deus!” IV  – Uma sufragista na metrópole: Maria Prestia (? – 1988), publicado em 29 de outubro de 2020, de autoria de Claudia Heynemann, doutora em História e pesquisadora do Arquivo Nacional
+Série “Feministas, graças a Deus!” V – Feminista do Amazonas: Maria de Miranda Leão (1887 – 1976), publicado em 26 de novembro de 2020, de autoria de Maria Elizabeth Brêa Monteiro, mestre em História e pesquisadora do Arquivo Nacional
+Série “Feministas, graças a Deus!” VI – Júlia Augusta de Medeiros (1896 – 1972) fotografada por Louis Piereck (1880 – 1931), publicado em 9 de dezembro de 2020, de autoria de Andrea C.T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” VII – Almerinda Farias Gama (1899 – 1999), uma das pioneiras do feminismo no Brasil, publicado em 26 de fevereiro de 2021, de autoria de Andrea C.T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” VIII – A engenheira e urbanista Carmen Portinho (1903 – 2001), publicado em 6 de abril de 2021, de autoria de Andrea C. T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” IX – Mariana Coelho (1857 – 1954), a “Beauvoir tupiniquim”, publicado em 15 de junho de 2021, de autoria de Andrea C. T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” XI e série “1922 – Hoje, há 100 anos” VI – A fundação da Federação Brasileira pelo Progresso Feminino, publicado em 9 de agosto de 2022, de autoria de Andrea C. T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” XII e série “1922 – Hoje, há 100 anos” XI – A 1ª Conferência para o Progresso Feminino, publicado em 19 de dezembro de 2022, de autoria de Maria Elizabeth Brêa Monteiro, historiadora do Arquivo Nacional
+Série “Feministas, graças a Deus!” XIII – E as mulheres conquistam o direito do voto no Brasil!, publicado em 24 de fevereiro de 2023, de autoria de Andrea C T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” XIV – No Dia Internacional da Mulher, Alzira Soriano, a primeira prefeita do Brasil e da América Latina, publicado em 8 de março de 2023, de autoria de Andrea C T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+
+Série “Feministas, graças a Deus!” XV – No Dia dos Povos Índígenas, Leolinda Daltro,”a precursora do feminismo indígena” e a “nossa Pankhurst, publicado em 19 de abril de 2023, de autoria de Andrea C T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” XVI – O I Salão Feminino de Arte, em 1931, no Rio de Janeiro, de autoria de Andrea C. T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica, publicado em 30 de junho de 2023
+Série “Feministas, graças a Deus!” XVII – Anna Amélia Carneiro de Mendonça e o Zeppelin, equipe de Documentação da Escola de Ciências Sociais FGV CPDOC, em parceira com Andrea C.T. Wanderley, publicado em 5 de janeiro de 2024
+Série “Feministas, graças a Deus!” XVIII – Júlia Lopes de Almeida (1862 – 1934), a “escritora da Belle Époque tropical”, de autoria de Andrea C. T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica, publicado em 5 de junho de 2024
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/6579` — `itens/20.500.12156.1_6579/`
+
diff --git a/wordpress/2490-o-pintor-antonio-parreiras-20-01-1860-niteroi-rj-17-10-1937-niteroi-rj.md b/wordpress/2490-o-pintor-antonio-parreiras-20-01-1860-niteroi-rj-17-10-1937-niteroi-rj.md
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@@ -0,0 +1,135 @@
+---
+id: 2490
+url: "https://brasilianafotografica.bn.gov.br/?p=2490"
+titulo: "O pintor Antonio Parreiras (20/01/1860, Niterói, RJ – 17/10/1937, Niterói, RJ)"
+autor: "Vinicius Martins"
+data: "2015-10-17T07:21:52+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/3188", "20.500.12156.1/3186", "20.500.12156.1/739"]
+fetched_at: "2026-09-10T10:08:00.570Z"
+---
+
+# O pintor Antonio Parreiras (20/01/1860, Niterói, RJ – 17/10/1937, Niterói, RJ)
+
+Anônimo. Antonio Parreiras, pintor, 1920. Porto Alegre, RS / Acervo FBN
+ 
+A Brasiliana Fotográfica oferece a seus leitores algumas fotos do niteroiense Antonio Parreiras ( 1860 -1937), um dos maiores pintores brasileiros do final do século XIX e das primeiras décadas do século XX.  Foi justamente em um estabelecimento fotográfico, do português Joaquim Insley Pacheco (1830-1912), um dos mais importantes retratistas do século XIX no Brasil e fotógrafo da Casa Imperial, que Parreiras realizou a sua primeira grande mostra artística, em 27 de maio de 1886 (O Paiz, 28 de maio de 1886, na sétima coluna). Não raramente havia uma colaboração próxima entre pintores e fotógrafos: foi justamento no ateliê de um fotógrafo, Félix Nadar (1820-1910), que foi realizada a primeira exposição dos impressionistas em Paris, entre 15 de abril e 15 de maio de 1874. Na época, os pintores impressionistas, dentre eles Claude Monet, Pierre-Auguste Renoir, Camille Pissarro, Alfred Sisley, Paul Cézanne, Berthe Morisot e Edgar Degas, eram rejeitados pela crítica.
+>Antonio Parreiras foi eleito, em 1925, o maior artista do país no Grande Concurso Nacional realizado entre os leitores da revista Fon-Fon (Revista Fon-Fon, 28 de março de 1925). Os segundo e terceiro lugares ficaram para Rodolfo Bernardelli e Baptista da Costa, respectivamente. Em outras categorias, brasileiros ilustres também se destacaram: Epitácio Pessoa, maior estadista; Guiomar Novaes, maior musicista; Coelho Netto, maior escritor; e Leopoldo Froes, maior ator; dentre outros. Mas não foi sempre uma uninimidade: o escritor Lima Barreto (1881 – 1922) o criticou duramente no artigo publicado Os pintores (Correio da Noite,  5 de março de 1915, última coluna).
+Em seu ateliê, que hoje faz parte do Museu Antonio Parreiras, em Niterói, inaugurado em 21 de janeiro de 1942,  mandou esculpir em seu pórtico a epígrafe “Trabalhar é viver”. Segundo o próprio Parreiras, ao longo de uma carreira de cerca de 55 anos, realizou 850 pinturas, das quais 720 em solo brasileiro. Inicialmente, dedica-se à paisagem, mas após uma temporada de cerca de dois anos na Europa, entre 1888 e 1890, começa a se interessar pela figura humana. A partir de 1899, executa painéis em alguns palácios e prédios públicos. O renomado pintor Victor Meirelles (1832-1903) o estimula a pintar cenas históricas para o governo. Dentre elas, destacam-se “Morte de Estácio de Sá”, “Prisão de Tiradentes” e “Proclamação da República”. Foi também o decorador do Instituto Nacional de Música e do Conservatório de Belo Horizonte.
+ 
+Acessando o link para as fotografias de autoria de Antonio Parreiras disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Cronologia da vida de Antonio Parreiras
+Anônimo. Antonio Parreiras e seus modelos no atelier em Paris, 1914. Paris, França / Acervo FBN
+ 
+1860 – Em 20 de janeiro, nascimento de Antonio Diogo da Silva Parreiras, em Niterói. Seu pai era o ourives Jacinto Antonio Diogo Parreiras, e sua mãe era Maria Rosa da Silva Parreiras. Quando criança estudou no Liceu Tintori e no Colégio Guilherme Briggs.
+1875 – Com a morte do pai, em 12 de dezembro de 1874, interrompeu seus estudos e começou a trabalhar como balconista no comércio.
+1878 – Solicitou inscrição no curso noturno de desenho da Academia Imperial de Belas Artes.
+1881- Casou-se com Quirina Ramalho da Silva. Nessa época, empregou-se como escriturário na Estrada de Ferro de Cantagalo, em Nova Friburgo. Tornou-se sócio do sogro em uma sapataria.
+1882 - Nascimento de Egídio, primeiro filho do casal, que faleceu 4 meses depois.
+1883- Matriculou-se  como aluno amador na Academia Imperial de Belas Artes e estudou com o paisagista Georg Grimm (1846-1887). Realizou sua primeira pintura a óleo: “Meu primeiro estudo a óleo”. Fez duas exposições: uma em sua casa, em Niterói, na rua Santa Rosa, 12; e outra na Casa Moncada, no Rio de Janeiro.
+1884 – Executou com Frederico de Barros e Orestes Coliva a pintura do pano de boca do Teatro Santa Teresa, atual Teatro Municipal João Caetano, em Niterói.
+Tornou-se aluno efetivo da Academia Imperial de Belas Artes.
+Recebeu uma crítica positiva por seus trabalhos expostos em Teresópolis (Gazeta de Notícias, de 15 de dezembro de 1884, na sexta coluna sob o título “Um túmulo no alto da serra de Theresópolis”).
+1884 / 1885 - Em decorrência da proibição imposta ao professor Grimm para que não ministrasse suas aulas ao ar livre, Parreiras abandonou a academia com os pintores Giovanni Castagneto (1851 – 1900), Hipólito Boaventura Caron (1862 – 1892), Domingos Garcia y Vasquez (1859 – 1912), Joaquim José de França Junior (1838 – 1890), Francisco Joaquim Gomes Ribeiro (c. 1855 – c. 1900) e Thomas Driendl (1849 – 1919). Formaram então o Grupo Grimm, que representou uma renovação na pintura da paisagem no Brasil.
+Nascimento de sua filha, Olga, em 19 de maio.
+Parreiras realizou exposições individuais na loja “A Photografia”, em Niterói, e na “Casa de Wilde” e na “Casa Katele”, no Rio de Janeiro. Seus quadros, “Maruhy Pequeno”, “Um lago em S. Vicente” e “Foz do Icarahy’ são elogiados (O Fluminense, 7 de junho de 1885). Também expôs em sua casa, em Niterói.
+1886 - Em 27 de maio, inaugurou  sua maior mostra artística, até então, no estabelecimento fotográfico de Joaquim Insley Pacheco, fotógrafo da Casa Imperial, na Rua do Ouvidor, no Rio de Janeiro (O Paiz, 28 de maio de 1886, na sétima coluna) e recebeu a visita do imperador Dom Pedro II. A exposição rendeu-lhe uma crítica do colega França Júnior (O Paiz, 1º de junho de 1886, sob o título “O Paisagista Parreiras”, na quinta coluna). O imperador Dom Pedro II comprou o quadro “Foz do Icarahy”.
+Expôs também em Angra dos Reis e em Rezende.
+1887 – Encontrou-se pela última vez com Georg Grimm, que retornou à Europa, e faleceu em Palermo, na Itália, em 24 de dezembro.
+As obras de Parreiras “A Tarde” e “Efeitos da Tempestade” foram adquiridas pela Academia Imperial de Belas Artes, o que possibilita sua primeira viagem à Europa.
+Foi noticiado que seria publicado o primeiro livro de versos de Olavo Bilac, “Via-Láctea”, e que traria na capa um desenho de Parreiras (Novidades, 27 de março de 1887).
+A Semana, de 18 de junho de 1887 , publicou uma matéria elogiosa à carreira do pintor.
+1888 - Em 27 de janeiro, uma nova exposição na Casa Insley Pacheco, na Rua do Ouvidor, foi inaugurada com 22 estudos de paisagem. Duas foram adquiridas pela própria princesa Isabel: “Ocaso no Arraial” e “Aldeia do Pontal” ( O Paiz, 29 de janeiro de 1888, sob o título “Noticiário“, e Revista Illustrada, 4 de fevereiro de 1888).
+Nascimento de sua segunda filha.
+Viajou para a Itália (Revista Illustrada, 10 de março de 1888, terceira coluna, última notícia) e durante dois anos frequentou a Academia de Belas Artes de Veneza, tornando-se discípulo de Filippo Carcano (1840-1910).
+Em 17 de março, foi publicado na Pacotilha, uma poesia de Rodrigo Otávio dedicada a Parreiras. Expõs, com sucesso, um quadro que retratava um campo romano, no Salão Permanente de Belas Artes em Veneza.
+Foi noticiado que uma fotografia da referida obra seria exposta em breve na galeria Leite Ribeiro, na rua do Ouvidor (Gazeta de Notícias, 19 de agosto de 1888, na sexta coluna).
+Um artigo da Gazeta de Notícias elogiava fotografias de obras de Parreiras, que ainda estava em Veneza, e citou críticas favoráveis ao artista feitas por jornais italianos (Gazeta de Notícias, 27 de dezembro de 1888).
+1889 – Nos salões do sr. Narciso e Artur Napoleão, com sucesso, foram expostos dez pinturas enviadas por Antonio Parreiras, de Veneza (Gazeta de Notícias, 20 de fevereiro de 1889, na sétima coluna, e Gazeta de Notícias, de 24 de fevereiro de 1889, quarta coluna), que foi visitada pelo conde d´Eu, marido da princesa Isabel (Gazeta de Notícias, 10 de março de 1889, última notícia da terceira coluna).
+1890 – Em 5 de janeiro, retornou ao Brasil.
+Foi nomeado professor interino na cadeira de Paisagem na Academia de Belas Artes e adotou o método de ensino do professor Grimm (Novidades, 7 de junho de 1890, sexta coluna, última notícia).
+Ganhou medalha de ouro na Exposição Geral de Belas Artes (Cidade do Rio, 10 de outubro de 1890, quarta coluna, última notícia).
+1891- Rompeu com a Academia Imperial de Belas Artes, quando a cadeira de Paisagem foi extinta, devido à reforma curricular proposta por Rodolfo Bernardelli (1852-1931) e Rodolfo Amoedo (1857-1941). Escreveu sobre sua demissão e foi apoiado (Novidades, 27 de janeiro de 1891 e Novidades, 30 de janeiro de 1891). O nome da instituição foi alterado para Escola Nacional de Belas Artes – Enba.
+Parreiras foi para Teresópolis e Friburgo.
+Fundou, em 6 de julho, em Niterói, a Escola de Pintura ao Ar Livre, seguindo os ensinamentos de Grimm.
+1892 - Em maio, comandou uma exposição dos membros da Escola ao Ar Livre, no salão do jornal Cidade do Rio, de José do Patrocínio (1853 – 1905). Das 92 obras exposta, 68 foram vendidas. A mostra foi um sucesso, tendo sido visitada por cerca de 10 mil pessoas, dentre elas os pintores Victor Meirelles (1832 – 1903) e Eliseu Visconti (1866 – 1944) (O Paiz, 30 de maio de 1892, na primeira coluna).
+Em agosto, morte de sua filha caçula.
+1893 – Em seu ateliê, exposição da pintura Panorama de Niterói.
+Realizou outra exposição com os discípulos com o qual formou a Escola de Pintura ao Ar Livre, no salão do jornal Cidade do Rio (Cidade do Rio, 5 de fevereiro de 1893, na quarta coluna).
+Em junho, realizou no Salão do Banco União, sua primeira exposição em São Paulo, um grande sucesso de vendas, público e crítica. Foi visitada por cerca de 4 mil pessoas e teve 24, dos 43 quadros expostos, vendidos (Cidade do Rio, 19 de junho de 1893, primeira coluna).
+Conheceu o engenheiro e arquiteto Francisco de Paula Ramos de Azevedo (1851-1928), de quem encomenda o projeto de sua residência, atualmente, parte do Museu Antônio Parreiras. Ramos de Azevedo foi o grande construtor da cidade de São Paulo em fins do século XIX e nas primeiras décadas do século XX.
+Realizou várias obras encomendadas por fazendeiros paulistas.
+1894 –  O general Argollo, comandante-chefe da guarnição de Niterói  visitou o ateliê de Parreiras e admira o quadro Viva a República!, que retratava a esquadra legal, no dia 13 de março de 1894, durante a Revolta da Armada (O Paiz, 6 de abril de 1894).
+Parreira terminou o segundo quadro de sua autoria sobre a Revolta da Armada, Bons dias a Villegaignon ( O Paiz, 19 de abril de 1894, na primeira coluna).
+Entre 15 e 29 de agosto, realização de outra exposição de sucesso de Parreiras, em São Paulo, desta vez no Club dos Tenentes de Plutão.
+No dia 24 de novembro, nascimento de seu filho e pupilo, Dakir (1894 – 1967).
+Expôs em São Paulo, na Casa Steidel e no Salão Paulicéia.
+As pinturas Panorama de Niterói, Paisagem e Noite foram apresentadas no Pavilhão Brasileiro da Exposição Universal de Chicago ( O Paiz, 11 de janeiro de 1895, penúltima notícia da quinta coluna). Em dezembro, Parreiras, Aurélio Figueiredo (1856 – 1916), Pedro Américo (1843 – 1905) e Victor Meirelles publicaram um manifesto e retiraram suas obras do julgamento do evento.
+1894 / 1895 - Como correspondente do Estado de São Paulo escreveu textos críticos sobre diversos pintores, dentre eles Pedro Alexandrino (1856 – 1942) e Berthe Worms (1868 – 1937), e também sobre a reforma de ensino da Escola Nacional de Belas Artes.
+1895 – Inaugurou em 11 de agosto sua residência-ateliê, projeto de Ramos de Azevddo, na rua Tiradentes, em Niterói, com a exposição de 45 trabalhos.
+Publicou no Jornal do Commercio, um artigo contra a orientação da Escola Nacional de Belas Artes (Jornal do Commercio, 23 de dezembro de 1895, quarta e quinta colunas).
+1896 – Após dois anos, terminou a pintura “Sertanejas” (O Paiz, 22 de setembro de 1896, na quinta coluna).
+Em novembro, fez uma exposição em seu ateliê com seus alunos Alberto Silva, Cândido de Souza Campos e Álvaro Castanheda no Pavilhão da Lapa, dedicada a Georg Grimm. A mostra foi um sucesso e no seu catálogo constavam poesias e textos de Olavo Bilac (1865-1918) e Coelho Neto (184-1934), dentre outros. Crítica de Oscar Guanabarino ( O Paiz, 6 de novembro de 1896).
+1897 – Sua obra Sertanejas foi adquirida pelo governo federal para ser colocada no Palácio do Catete, inaugurado em 22 de fevereiro, no Rio de Janeiro. Três anos depois, a pintura, danificada, foi transferida para a Escola Nacional de Belas Artes.
+1898 – Foi contratado pelo presidente da República, Campos Salles (1841 – 1913), para produzir obras para oo Supremo Tribunal Federal.
+Realizou suas duas primeiras pinturas históricas: Os Desterrados e Suplício de Tiradentes.
+1902 – Expôs 23 telas em Santos.
+Criou o estandarte para o jornal O Fluminense.
+1903 - Realizou uma exposição de trabalhos de suas alunas, que frequentavam um curso feminino de pintura que criou em seu ateliê no ano anterior ( O Fluminense, 11 de janeiro de 1903).
+1905 - Contratado pelo governador do Pará, Augusto Montenegro, Parreiras visitou Belém para executar A conquista do Amazonas (O Paiz, 6 de junho de 1905, na terceira coluna e  O Paiz, 13 de julho de 1905, segunda coluna). Expôs em Belém, no Teatro da Paz, e, em Manaus, no Palácio do Rio Negro.
+Contraiu malária.
+1906 - Em fevereiro, segunda viagem à Europa. Permaneceu em Lisboa por cerca de um mês, onde conheceu o pintor José Malhôa (1855-1933). Seguiu para Paris, onde instalou seu ateliê na rue Boissonade, 30 (O Paiz, 19 de junho de 1906). Encontrava-se frequentemente com o casal de artistas plásticos Lucílio de Georgina de Albuquerque, dentre outros. Posteriormente, transferiu seu ateliê para a Rue Le Goff (1908) e, depois, para a Rue Val de Grace (1913).
+1907 - Retornou ao Brasil a bordo do navio Magellan (O Paiz, 8 de julho de 1907, terceira coluna).
+1908 – Foi para Belém (Gazeta de Notícias, 3 de janeiro de 1908) e, de lá, com seu filho Dakir e sobrinho Edgard, seguiu para Paris, onde os iniciou na pintura.
+1909 -  Sua pintura de nu, Fantasia, foi muito elogiada pela imprensa parisiense e foi noticiada sua iminente volta ao Brasil (Gazeta de Notícias, 21 de junho de 1909, sob o título “Notas e Notícias“). Devido ao sucesso da obra, tornou-se associado da Societé Nationale de Beaux Arts et Lettres de Paris (Gazeta de Notícias, 21 de junho de 1909, na última coluna).
+Retornou ao Brasil (Gazeta de Notícias, 5 de julho de 1909, sob o título “Notas e Notícias“).
+Década de 10 - Vai várias vezes a Paris, onde tem um ateliê.
+1910 - Inscreveu no Salon de la Societé Nationale de Beaux Arts a pintura Frineia. Apresentou posteriormente Dolorida (1911), Flor Brasileira(1913), Nonchalance (1914), e Modelo em Repouso (1920).
+1911 – Seu sobrinho, Edgard, voltou de Paris.
+Parreiras participou da exposição de Turim (O Paiz, 22 de junho de 1911).
+Com a presença do presidente da República, marechal Hermes da Fonseca, inauguração da exposição do quadro Morte de Estácio de Sá, no edifício da Associação dos Empregados do Comércio (O Paiz, 2 de julho de 1911). Crítica à exposição de Parreiras (O Paiz, 31 de agosto de 1911, na segunda coluna).
+1913 – Terminou de pintar o quadro Flor brasileira.
+ 
+Anônimo. Antonio Parreiras, no seu atelier, ao terminar o seu grande quadro de nu a” Flor Brazileira”, 1913. Niterói, Rio de Janeiro / Acervo FBN
+ 
+ 
+1915 – Na Escola de Belas Artes, exposição de Antônio Parreiras, e de seu filho, Dakir (Revista da Semana, 27 de fevereiro de 1915).
+Década de 20 – Prosseguiu na realização de pinturas históricas, mas é menor o número de paisagens.
+1922 – Após a morte de sua primeira esposa, Parreiras casou-se com Laurence Palmire Martignet e retornou ao Brasil. Laurence foi a guardiã da obra de Parreiras. Ela foi a modelo dos quadros Dolorida e Flor Brasileira.
+1923 – Recebeu a medalha de honra de ouro na 30ª Exposição Geral de Belas Artes, quando apresentou 79 trabalhos.
+1925 – No concurso nacional Os maiores brasileiros vivos, promovido pela revista Fon-Fon, foi eleito o maior artista, com cerca de 19.827 mil votos, seguido por Rodolfo Bernardelli e Baptista da Costa (Fon-Fon, 14 de março de 1925, na segunda coluna, Fon-Fon, 28 de março de 1925, e Fon-Fon, 4 de abril de 1925).
+1927 - Notícia sobre a publicação de seu livro de memórias, História de um pintor contada por ele mesmo (1926), que o conduziu à Academia Fluminense de Letras (Revista da Semana, de 8 de janeiro de 1927, na seção “Novos Livros”).
+Esculpido em Paris por Marc Robert (1875 – ?), foi inaugurado um busto de Parreiras na Praça Getulio Vargas, em Niterói (O Fluminense, 25 de janeiro de 1927).
+ 
+Inauguração do busto de Antonio Parreiras em janeiro de 1925, O Fluminense, 25 de janeiro de 1927
+ 
+ 
+1929 – Em outubro, fundou o Salão Fluminense de Belas Artes.
+No Salão Ibero-Americano de Sevilha e na Exposição Universal de Barcelona foi premiado com medalha de ouro.
+1936 – Parreiras realizou com dificuldades, pois já estava doente e debilitado, a sua última grande obra, o tríptico Fundação da Cidade do Rio de Janeiro, encomendado pelo prefeito Pedro Ernesto (1884-1942).
+1937 - Suas últimas telas foram “A Tarde” e “O Fogo”.
+Em 17 de outubro, faleceu, aos 77 anos, em Niterói (Correio da Manhã, de 19 de outubro de 1937).
+1942 - Inauguração, em 21 de janeiro, do Museu Antonio Parreiras, em Niterói. Instituído pelo Decreto-Lei nº 219, de 24 de janeiro de 1941, foi o primeiro museu brasileiro dedicado a um só artista (O Fluminense, de 22 de janeiro de 1942). O conjunto arquitetônico e paisagístico é tombado pelo Instituto do Patrimônio Artístico Nacional.
+ 
+Andrea C. T. Wanderley
+Editora-assistente e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+Antonio Parreiras, pinturas e desenhos / curadoria Ana Paula Nascimento; textos de Ana Paula Nascimento e Telma Mösken; apresentação Ivo Mesquita et al. São Paulo: Pinacoteca de Estado, 1913
+Enciclopédia Itau Cultural
+Hemeroteca Digital da Biblioteca Nacional
+NASCIMENTO, Ana Paula; TARASANTCHI, Ruth Sprung. Família Parreiras: Antonio, Edgar e Dakir. José Oswaldo de Paula Santos e Fundação Maria Luisa e Oscar Americano (Apresentação); Ana Paula Nascimento e Ruth Sprung Tarasantchi (Curadoria). São Paulo: SOCIARTE, 2013. 100p.:il.
+PARREIRAS, Antonio. História de um pintor contada por ele mesmo. Brasil-França/1881-1939. 3.ed. Niterói (RJ): Niterói Livros, 1999. (1.ed.1926)
+PONTUAL, Roberto. Dicionário de Artes Plásticas no Brasil. Rio de Janeiro: Civilização Brasileira, 1969.
+Site da Associação Brasileira dos Críticos de Arte
+Site do Museu Antônio Parreiras
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/3188` — `itens/20.500.12156.1_3188/`
+- `20.500.12156.1/3186` — `itens/20.500.12156.1_3186/`
+- `20.500.12156.1/739` — `itens/20.500.12156.1_739/`
+
diff --git a/wordpress/2492-o-editor-e-fotografo-suico-georges-leuzinger-1813-1892.md b/wordpress/2492-o-editor-e-fotografo-suico-georges-leuzinger-1813-1892.md
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+---
+id: 2492
+url: "https://brasilianafotografica.bn.gov.br/?p=2492"
+titulo: "O editor e fotógrafo suíço Georges Leuzinger (1813 – 1892)"
+autor: "Vinicius Martins"
+data: "2015-10-24T05:44:33+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/9798", "20.500.12156.1/4442"]
+fetched_at: "2026-09-10T10:08:04.220Z"
+---
+
+# O editor e fotógrafo suíço Georges Leuzinger (1813 – 1892)
+
+Retrato de Georges Leuzinger por Insley Pacheco, c. 1863 / Acervo IMS
+Georges Leuzinger (1813-1892) nasceu em Mollis, cidade do cantão de Glarus, na Suíça, e foi um dos mais importantes fotógrafos e difusores para o mundo da fotografia sobre o Brasil no século XIX, além de pioneiro das artes gráficas no país. Grande empreendedor, montou um sofisticado e diversificado complexo editorial, a Casa Leuzinger, que se tornaria um polo de publicações e de produções fotográficas, alçando o Brasil ao mesmo nível da produção europeia do setor.
+A Casa Leuzinger era formada por oficinas de litografia, encadernação e fotografia, além de papelaria, tipografia e estamparia de livros e gravuras. Foi referência em artes gráficas, impressão e divulgação de gravuras e fotografias.  Além de produzir suas próprias imagens, o estabelecimento comercializava obras de fotógrafos como Marc Ferrez (1843 – 1923) e Albert Frisch (1840 – 1918) , entre outros.
+Como fotógrafo, Leuzinger realizou, durante a década de 1860, apenas cerca de 20 anos após a invenção da daguerreotipia, um importante e pioneiro trabalho de documentação do Rio de Janeiro, incluindo cenas urbanas, vistas de Niterói, da Serra dos Órgãos e de Teresópolis.
+Georges Leuzinger chegou ao Rio de Janeiro, em 1832, aos 19 anos, falando apenas alemão, para trabalhar na firma de comissões e exportações de seu tio Jean-Jacques Leuzinger. Foi, em 1840, quando a firma de seu tio faliu, que ele iniciou seu próprio negócio. Nesse mesmo ano, em 27 de novembro, casou-se com Anne Antoinette du Authier (1822-1898), conhecida como Eleonore, na igreja de Nossa Senhora da Glória do Outeiro. O casal teve 13 filhos.
+Em 1845, a Casa Leuzinger publicou o Panorama circular da baía de Guanabara, em 6 partes, com litografias do francês Alfred Martinet (1821 – 1875). São as primeiras estampas por ele editadas. Leuzinger editou também vários jornais em alemão redigidos, segundo Ernesto Senna (1858 – 1913) em O velho commercio do Rio de Janeiro, de 1908, “por alguns revolucionários e socialistas que a revolução de 1848 havia feito fugir da Europa”. Ainda, segundo este autor, encarregou alguns desses forasteiros, que muitas vezes eram também artistas, de produzir imagens do Brasil e de seus costumes populares. Essas imagens eram adquiridas pelos estrangeiros que passavam pelo Brasil.
+ 
+Ernesto Senna / O Rio de Janeiro do meu tempo, de Luiz Edmundo
+ 
+Na década de 1860, a Casa Leuzinger criou uma seção de fotografia, provavelmente dirigida por Franz Keller-Leuzinger (1835-1890), que era casado com uma das filhas de Leuzinger, Sabine Christine. Segundo Pedro Vasquez, Leuzinger foi “o primeiro marchand de fotografias do Brasil. Isso no sentido de distribuidor de fotografias e não no sentido moderno que damos ao termo, de galerista”. Possivelmente, o jovem Marc Ferrez (1843-1923) recebeu seus primeiros ensinamentos de fotografia de Franz Keller, na Casa Leuzinger. Em 1867, o trabalho do ateliê fotográfico de Leuzinger ganhou uma Menção Honrosa na Exposição Universal de Paris, com um panorama tomado da ilha das Cobras. Foi a primeira premiação internacional do Brasil em fotografia. No mesmo ano, Franz Keller, seu genro, e Joseph Keller, pai de Franz, foram encarregados pelo governo brasileiro para fazer os estudos preparatórios para a construção da estrada de ferro Madeira-Mamoré. Leuzinger enviou, com eles, o fotógrafo alemão Christoph Albert Frisch (1840 – 1918), que trabalhava em seu ateliê. Dois anos depois, a Casa Leuzinger publicou o catálogo Resultat d’une expédition phographique sur le Solimões ou Alto Amazonas et Rio Negro, com as fotografias produzidas pelo fotógrafo alemão Christoph Albert Frisch (1840 – 1918) durante essa viagem à Amazônia.
+O Catálogo da Exposição de História do Brasil, especialmente editado por Leuzinger para o evento realizado entre 1881 e 1882 pela Biblioteca Nacional, foi considerado pelo historiador José Honório Rodrigues (1913-1987) “o maior monumento bibliográfico da história do Brasil até hoje erguido”. Outros importantes trabalhos que editou foram uma série de fotografias da Amazônia de autoria do fotógrafo alemão Albert Frisch, o álbum Rio de Janeiro et ses environs, c. 1868, Caminho de Ferro de D. Isabel, 1875, dentre dezenas de outros.
+ 
+Georges Leuzinger. George Leuzinger, sentado à esquerda, em companhia de outros homens não identificados, c. 1865. Rio de Janeiro, RJ / Acervo IMS
+ 
+ 
+Acessando o link para as fotografias de Georges Leuzinger disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Cronologia de Georges Leuzinger (1813 – 1892)
+ 
+Georges Leuzinger. Folha de rosto do Álbum Rio de Janeiro e seus Arredores, c. 1868 / Acervo IMS
+ 
+1813 – Georg Leuzinger nasceu, em 31 de outubro, no cantão de Glarus, na cidade suíça de Mollis, filho de Georg Leuzinger e Sabine Laager. Posteriormente, já no Brasil, adotou para seu nome a grafia francesa Georges.
+1817 - Nasceu o único irmão de Leuzinger, Johannes, em 31 de dezembro.
+1822 – Nasceu em Saint-Léonard, na França, a futura esposa de Georges Leuzinger, Anne Antoinette du Authier (1822-1898), filha do visconde Du Authier e de Marie-Anne Mounier. Curiosamente, era chamada de Eleonore pela família.
+1832 – Em 30 de dezembro, sozinho, falando apenas alemão e com 19 anos, Leuzinger desembarca no Rio de Janeiro, após uma viagem de 54 dias desde o porto de Havre. No Diário do Rio de Janeiro, 2 de janeiro de 1833, terceira coluna, foi noticiada a chegada Bergantim Francez Les Drigas, que trouxe ao Brasil 56 suíços e oito franceses. Vem para trabalhar na Leuzinger & Cia, firma de exportação e importação que pertencia a seu tio, Jean-Jacques Leuzinger. Links para notícias de negócios realizados pela firma do tio: Diário de Rio de Janeiro, 3 de fevereiro de 1837, na primeira coluna, sob o título “Entradas no dia 31″; O Paquete do Rio, de 27 de maio de 1837, terceira coluna, sob o título “Entradas do dia 26 de maio”; Pharol do Imperio, de 20 e julho de 1837, sob o título “18 de julho – De portos estrangeiros”; O Sete d´abril, de 14 de março de 1839, na primeira coluna).
+1839 – Eleonore, futura esposa de Leuzinger, veio morar no Brasil com a irmã, a baronesa de Geslin, dona  do Colégio de Meninas Francês, Português, no Rio de Janeiro. Posteriormente, Eleonore lecionou e dirigiu o estabelecimento.
+1840 -  A firma do tio de Leuzinger foi liquidada.
+Leuzinger comprou do também suíço Jean Charles Bouvier a papelaria e encadernação “Ao Livro Encarnado”, na rua do Ouvidor, 36, e abriu seu próprio negócio, em 1º de julho (Jornal do Commercio, 22 de julho de 1840, na terceira coluna). Ao longo das décadas seguintes, com a ampliação de seus negócios, tornou-se proprietário das seguintes firmas: Estamparia de G.Leuzinger, Litografia de G. Leuzinger e Officina Photographica de G.Leuzinger. Reunidas sob a marca G. Leuzinger, eram conhecidas como Casa Leuzinger.
+Em 24 de novembro, Leuzinger e Eleonore se casaram, na igreja de Nossa Senhora da Glória do Outeiro. O casal, entre 1842 e 1862, teve 13 filhos: Sabine Christine (1842-1915), Anne Marie (1843-1911), Georges Henri (1845 -1908), Mathilde (1846-?), Eugenie (1847-?), Jean Edmond (1848-1916). Victor Ulrich (1849-1877), Léonie Emilie (1851-?), Gabrielle Marie (1853-1869), Paul Alphonse (1855-1927), Elise Georgianne (1856-1927), Georges (1858-1905), e Jules Adolf (1862-1889).
+Anunciou a venda de “álbuns, pastas e carteiras de veludo e marroquim dourado, do gosto mais moderno de Paris; caixinhas ricas, contendo papéis diversos com cercaduras pintadas, para bilhetes de convites e cartas para senhoras, com todos os pertences de escrever e outros para pintura e desenho” (Jornal do Commercio, de 28 de dezembro de 1840, na terceira coluna).
+1841- Anúncio da Leuzinger, com o endereço da rua do Ouvidor, 36, sobre a venda da Galeria Contemporânea Brasileira ou Colecção de Trinta Retratos de Brasileiros Célebres, desenhados e publicados pelo pintor e fotógrafo francês radicado no Rio de Janeiro, François-René Moreau (1807-1860) (O Despertador, 7 de outubro de 1841, na segunda coluna, sob o título “Annuncios”).
+1842 - Leopoldo de Geslin, provavelmente o barão de Geslin, casado com a irmã de Leuzinger, tornou-se seu sócio (Jornal do Commercio, de 10 de maio de 1942, na primeira coluna sob o título “Objectos diversos”). Poucos meses depois, a sociedade terminou (Jornal do Commercio, de 5 de agosto de 1842, na terceira coluna).
+1845 – Com litografias do francês Alfred Martinet (1821 – 1875), foram  publicadas as primeiras estampas editadas por Leuzinger, o Panorama circular da baía de Guanabara ( Jornal do Commercio, de 5 de março de 1845, na terceira coluna).
+1846 – Leuzinger comprou a estamparia que pertencia a Eduardo Hulsemann (Jornal do Commercio, de 16 de janeiro de 1846, na primeira coluna).
+1849 - O único irmão de Leuzinger, Johanes, mudou-se para Muscatine, no estado de Iowa, nos Estados Unidos.
+Em parceria com o gravador (abridor) alemão R. Bollenberg, Leuzinger inaugurou uma oficina de estamparia. Oferecia, assim, dois serviços: o da “abrição”, que é a gravação da chapa em metal, e a sua impressão, função da estamparia (Jornal do Commercio, de 12 de julho de 1849, na segunda coluna).
+Leuzinger publicou três projetos editoriais: um panorama da cidade, tomado do Corcovado em três partes; um conjunto de paisagem natural e outro de vistas da cidade. Este último foi impresso pela Maison Lemercier, em Paris.
+1852 – Leuzinger comprou do francês Jean-Sébastian Saint-Amand uma tipografia, que ficava na rua São José, 64 (Jornal do Commercio, de 3 de novembro de 1852, na primeira coluna).
+1853 - Leuzinger comprou uma oficina de litografia.
+A Casa Leuzinger publicou o periódico semanal O Emigrado Alemão – Órgão para a colonização, Literatura, Ciências e Política  (Jornal do Commercio, de 18 de junho de 1853, na última coluna). 
+A partir de daguerreótipos, Leuzinger publicou um conjunto de litografias da cidade do Rio de Janeiro. Anunciou no Jornal do Commercio, de 24 de dezembro de 1853, que as imagens poderiam ser “entregues em Paris, Londres, Hamburgo e Lisboa, conforme a vontade dos subscritores” (no topo da última coluna).
+1854 - Imprimiu o periódico Courrier du Brésil, 5 de novembro de 1854..
+1855 – Nasceu o décimo filho de Leuzinger, Paul, que teve como padrinho o pintor, escritor e jornalista dinamarquês Paul Harro-Harring (1798–1870)*, que foi um dos maiores ativistas e revolucionários europeus do século XIX. Era amigo de Leuzinger e esteve várias vezes no Brasil: em 1840, para denunciar a violência da escravidão; em 1842 e entre os anos de 1854 e 1855 como refugiado político (Correio Mercantil, de 21 de outubro de 1855, na terceira coluna, sob o título “Saíram ontem desse porto”) .
+1856 - Foi aberta a oficina para escrituração da Casa Leuzinger.
+1857 – Em dezembro, passou a imprimir o periódico Rio Commercial Journal.
+1858 – Segundo registrado no volume XI dos Anais da Biblioteca Nacional, nesse ano, Leuzinger importou dos Estados Unidos “os primeiros prelos e tipos americanos, com que operou uma completa transformação na indústria tipográfica brasileira” (Annaes da Biblioteca Nacional, volume XI, de 1883).
+1861 - Seus filhos Edmond e Victor foram estudar na Basiléia, na Suíça.
+Leuzinger participou da Exposição Nacional com dois trabalhos na classe “Impressão, encadernação e objetos de escritório”. Recebeu a medalha de prata referente a “Livros grandes de encadernação”.
+1862 – Leuzinger participou, pela primeira vez, de uma mostra internacional, a Exposição Universal de Londres.
+Após  temporada de estudo, seu filho mais velho, Georges Henri, retornou da Europa e foi trabalhar na empresa do pai. Seria o gerente da Casa Leuzinger por mais de 40 anos.
+Leuzinger ganhou a medalha de prata na categoria “Indústria fabril e manual”, da Exposição Nacional (Correio da Tarde, de 16 de março de 1862, na quinta coluna, sob o título “Collaboração”).
+1865 – Foi aberto o ateliê de fotografia da Casa Leuzinger, especializado em “vistas da cidade, Tijuca, Petrópolis, Teresópolis e rio Amazonas”, como se lê no verso de uma de suas cartes de visite.
+“Em 1865 montou então Georges Leuzinger um completo ateliê fotográfico, com todos os aparelhos necessários para viagens para o interior do Brasil, tendo para esse fim contratado um habilíssimo artista fotógrafo para dirigi-lo, que em companhia de vários auxiliares fizeram excursões por essa capital, Petrópolis, Teresópolis, etc., tirando fotografias de tudo o que de mais interessante se encontra na pujante natureza daquelas blíssimas regiões“.
+Ernesto Senna em O Velho Comércio do Rio de Janeiro
+Algumas obras apontam que seu futuro genro, Franz Keller, trabalharia em seu ateliê fotográfico e que teria sido professor, no ateliê, do fotógrafo Marc Ferrez (1843 – 1923), recém chegado da França. Mas esses fatos nunca foram comprovados. Na verdade, durante a década de 1860, Keller ficou bastante ocupado com trabalhos na área de engenharia que realizou com seu pai, o também engenhero Joseph Keller.
+1865 a 1875 – Nesse período, Leuzinger realizou a maior e mais importante parte de sua produção fotográfica, que pode ser dividida em cinco séries principais: panoramas e paisagens da cidade do Rio de Janeiro e de seu entorno imediato, vistas de Niterói, vistas da Serra dos Órgãos de Teresópolis e Petrópolis, documentação botânica e documentação etnográfica, botânica e paisagística da região amazônica.
+1866 – Seus filhos, Victor e Edmond, já estavam no Brasil trabalhando em seu ateliê fotográfico.
+De 19 de outubro a 16 de dezembro de 1866, realizou-se a II Exposição Nacional. A fotografia apareceu pela primeira vez como categoria específica, separando-se do grupo destinado às Belas Artes. Leuzinger ganhou a medalha de prata na categoria “Paisagem”, com nove vistas da cidade e arredores (Semana Illustrada, de 18 de novembro de 1866). Seu trabalho chamou a atenção do pintor Victor Meirelles (1833-1903) que comentou:
+“Os trabalhos fotográficos desse senhor primam pela nitidez, vigor e fineza dos tons e também por uma cor muito agradável. Pode-se dizer desses trabalho, que são perfeitos, pois que representam fielmente com todas as minudências os diversos lugares pitorescos de nosso característico país. Algumas provas são obtidas com tanta felicidade que parece antes um trabalho artisticamente estudado e que neste ponto rivalizam com a mais perfeita gravura em talhe doce; direi que estas provas poderiam perfeitamente servir de estudo aos artistas que se dedicam a arte bela da pintura de paisagens. As formas são ali reproduzidas com toda a fidelidade da perspectiva linear, e o que sobretudo torna-se ainda mais digno de atenção é a perspectiva aérea, tão difícil de obter-se na fotografia sem grande alteração.
+Aquela gradação dos planos que tão bem se destacam entre si e vão gradualmente desaparecendo no horizonte até o último é obtida de modo a não ter-se mais que desejar, sendo nesta parte notáveis as seguintes vistas:
+Gavia do lado da Tijuca, Vale do Andarahy, Montanha dos Órgãos vista da barreira, Vista da Praia Grande, A planície abaixo da cascata na Tijuca, O rochedo de Quebra Cangalhas, Panorama da cidade do Rio de Janeiro, Montanha dos Órgãos do lado de Teresópolis, O Garrafão, e muitas outras que deixaremos de mencionar”.
+1867 -Sua filha Sabine Christine  (1842-1915) casou-se com Franz Keller (1835-1890), que passou a assinar Franz Keller-Leuzinger.
+Franz e seu pai, o também engenheiro Joseph Keller, foram encarregados pelo governo brasileiro de fazer os estudos preparatórios para a construção da estrada de ferro Madeira-Mamoré. Leuzinger enviou, com eles, o fotógrafo alemão Christoph Albert Frisch (1840 – 1918), que trabalhava em seu ateliê. Partiram em 15 de novembro (Diário do Povo, de 15 de novembro de 1867, na primeira coluna).
+Albert Frisch acompanhou os engenheiros somente até Manaus … percorreu 400 léguas pelo rio Amazonas e seus afluentes durante 5 meses…, num barco acompanhado por dois remadores, desde Tabatinga até Manaus. Produziu, na ocasião, uma pioneira série de 98 fotografias com os primeiros registros que chegaram até nós de índios brasileiros da região, além de aspectos de fauna e flora e de barqueiros de origem boliviana, que atuavam como comerciantes itinerantes nos rios amazônicos. Segundo o livro de Ernesto Senna, O velho commercio do Rio de Janeiro, a expedição fotográfica de Frisch à Amazônia foi fruto de uma solicitação feita pelo suíço Louis Agassiz (1807 – 1873) a Leuzinger.
+“Satisfazendo ao pedido de Agassiz, fez Leuzinger tirar vistas até Tabatinga, na fronteira do Amazonas com a República do Peru, vistas que serviram não só para os trabalhos científicos daqule sábio, como também para ilustrações europeias. Quando o engenheiro Keller foi em comissão explorar os rios Madeira e Mamoré, Georges Leuzinger mandou um fotógrafo d casa acompanhar a expedição, que trouxe depois daquelas incomparáveis regiões graande cópia de clichês, da flora, da fauna, de paisagens, e fotograafias de silvícolas e de suas tabas, aldeamentos, instruentos, armas, etc. Estas coleções, de graande valor para estudos etnográficos, eram muito interessantes sob qualquer ponto de vista e muito procuradas por viajantes estrangeiros”.
+Agassiz havia, entre 1865 e 1866, comandado a Comissão Thayer no Brasil, que percorreu boa parte do território brasileiro entre o Rio de Janeiro e a Amazônia, viagem que deu origem ao livro A journey in Brazil, editado em Boston, em 1868. A comissão foi financiada pelo empresário e filantropo norte-americano Nathaniel Thayer, Jr. (1808-1883), ex-aluno de Agassiz no Museu de Zoologia Comparada, em Harvard.
+Vale lembrar que Charles Frederick Hartt (1840 – 1878), o futuro chefe da Comissão Geológica do Império (1875 – 1878), integrada pelo fotógrafo Marc Ferrez (1843-1923), participou da Comissão ou Expedição Thayer – foi a primeira vez que esteve no Brasil.
+Leuzinger adquiriu a loja número 33 da rua do Ouvidor, posteriormente renumerada para 31, onde passou a funcionar sua papelaria.
+O trabalho do ateliê fotográfico de Leuzinger ganhou uma Menção Honrosa na Exposição Universal de Paris, com um panorama tomado da ilha das Cobras. Foi a primeira premiação internacional do Brasil em fotografia.
+O imperador Pedro II (1825 – 1891) pediu a Leuzinger que fotografasse o quadro Os funerais de Atahualpa, do pintor peruano Luiz Montero (1826-1869), que estava fazendo uma exposição no Rio de Janeiro (Jornal do Commercio, de 1º de setembro de 1867, sob o título “Gazetilha”, na sexta coluna).
+1869 – A filha de Leuzinger, Gabrielle Marie (1853 – 1869), faleceu em 23 de abril de 1869 (Jornal do Commercio, 29 de abril de 1869, última coluna).
+“Após sua morte, ela estava quase sorridente, uma figura de anjo e tão branca quanto os lençóis de seu leito. Franz Keller fez seu retrato de perfil para nosso espanto o perfil perfeito de Mathilde quando tinha sua idade, 16 anos, 6 dias e 21 horas e meia” (Carta de Georges Leuzinger para seu filho Paul, que estava vivendo na França, de 2 de junho de 1969).
+A obra Flora Brasiliensis, iniciada por Carl Friedrich Phillip von Martius (Erlanger, Alemanha, 1794 – Munique, Alemanha, 1868), renomado naturalista do século XIX, e concluída pelos também alemães August Wilhelm Eichler (1839 – 1887) e Ignatz Urban (1848 – 1931), com a ajuda de 65 especialistas de vários países, foi publicada entre 1840 e 1906. A imagem Silva Montium Serra dos Orgâos Declivia Obumbrans, in Prov. Rio de Janeiro, publicada no fascículo de 1869, foi baseada em uma fotografia de Leuzinger.
+ 
+Georges Leuzinger. O Dedo de Deus na Serra dos Órgãos, c. 1867. Serra dos Órgãos, RJ / Acervo IMS
+ 
+Publicação do catálogo Resultat d’une expédition phographique sur le Solimões ou Alto Amazonas et Rio Negro, com as fotografias produzidas pelo fotógrafo alemão Christoph Albert Frisch (1840 – 1918) durante sua viagem pela Amazônia, em 1867.
+ 
+Acervo FBN
+ 
+1872 – A Casa Leuzinger estava em seu auge. Já tinha recursos como 19 mil quilos de tipos americanos para impressão, um motor a gás com potência de quatro cavalos e dez prelos mecânicos, além de empregar 50 funcionários (Annaes da Biblioteca Nacional, volume XI de 1883).
+Em julho, Franz Keller (1835-1890) estava na Suíça.
+Em 1º de novembro, concedeu aos três filhos mais velhos a sociedade na Casa Leuzinger, passando a firma a se chamar G. Leuzinger & Filhos (Jornal do Commercio, de 8 de maio de 1873, na segunda coluna).
+1873 – Leuzinger voltou pela primeira vez à Europa.
+A Casa Leuzinger  ocupava um prédio de três andares da rua Sete de Setembro, 35, além do segundo andar do número 37 da mesma rua. Nesses endereços funcionavam as oficinas de pautação, encadernação, douração, e livros para escrituração. A tipografia continuava na rua do Ouvidor, 36.
+Com dois panoramas litografados do Rio de Janeiro, Leuzinger participou da Exposição Nacional. Ganhou Menção Honrosa na Exposição Universal de Viena nas duas categorias em que enviou trabalhos: “Fotografia” e “Livros de contabilidade e encadernação”.
+1874 – Seu genro e funcionário, Franz Keller (1835-1890) que já havia retornado à Alemanha, publicou o livro ilustrado Do Amazonas ao Madeira (Jornal do Commercio, de 31 de janeiro de 1874, na última coluna).
+ 
+Jornal do Commercio, 31 de janeiro de 1874
+ 
+Polêmica em torno da vitória de Leuzinger em uma concorrência para a impressão de trabalhos da repartição geral de estatística (Jornal do Commércio, 1º de setembro, na última coluna; dois artigos no dia 2 de setembro, na quinta coluna da primeira página e na terceira coluna da segunda página; de 3 de setembro, na última coluna; de 4 de setembro, na sexta coluna; e de 5 de setembro, na terceira coluna).
+Provavelmente nesse ano, Leuzinger imprimiu o Censo Geral do Império, de 1872, o primeiro da história do Brasil.
+1875 – Seu filho Edmond casou-se com Leocádia de Faria e passou a trabalhar na firma do sogro, a Faria, Cunha e Cia.
+A Casa Leuzinger participou da IV Exposição Nacional com um álbum composto de quatro fotogravuras impressas pela Casa Goupil, de Paris, e com fotografias de índios e paisagens da Amazônia.
+1876 – A Casa Leuzinger participa da Exposição Universal da Filadélfia com material de encadernação. Imprime o primeiro volume dos Anais da Bibliotheca Nacional .
+1878 a 1879 - Publicou O Besouro, jornal que trazia litografias impressas a vapor por Ângelo Agostini (1843 – 1910) e Paul Théodore Robin (? – 1897), a maioria de autoria do português Bordalo Pinheiro(1846 – 1905).
+1881 – Para preservar seu trabalho como editor de estampas, Leuzinger doou para a Seção de Iconografia da Biblioteca Nacional um conjunto de 114 imagens de gravuras e desenhos.
+No Rio Grande do Sul, a Casa Leuzinger participou da Exposição Provincial Brasileira-Alemã.
+1882 – Foi realizada a Exposição Continental de Buenos Aires, com a participação da Casa Leuzinger.
+1885 - Leuzinger participou da Exposição Internacional de Antuérpia. Foi fundada, em 23 de novembro, a Sociedade Beneficente dos Empregados da Casa Leuzinger.
+1889 – A Casa Leuzinger participou da Exposição Universal de Paris.
+1892 – Georges Leuzinger morreu em 24 de outubro (Gazeta de Notícias, 25 de outubro de 1892, na quinta coluna e Revista Illustrada, novembro de 1892, na terceira coluna). A família agradeceu às manifestações de pesar (O Tempo, 27 de outubro de 1892, no topo da quarta coluna).
+1898 – Morte de Eleonore Leuzinger (Gazeta de Notícias, de 18 de outubro de 1898, no topo da quinta coluna).
+Para a elaboração dessa cronologia, a Brasiliana Fotográfica pesquisou em várias fontes, principalmente no Cadernos de Fotografia Brasileira – Georges Leuzinger, do Instituto Moreira Salles, e em diversos jornais da Hemeroteca Digital da Biblioteca Nacional.
+ 
+Andrea C. T. Wanderley
+Editora-assistente e pesquisadora do portal Brasiliana Fotográfica
+ 
+*Para conhecer mais sobre Paul Harro-Harring, acesse o artigo Paul Harro-Harring, um viajante abolicionista, publicado em 18 de outubro de 2013, na Brasiliana Iconográfica.
+ 
+Bibliografia
+Cadernos de Fotografia Brasileira – Georges Leuzinger, IMS. Rio de Janeiro: Bei Comunicação, junho de 2006.
+COSTA FERREIRA, Orlando da. Imagem e letra: introdução à bibliologia brasileira: a imagem gravada. São Paulo: Edusp, 1994.
+KOSSOY, Boris. Dicionário histórico-fotográfico brasileiro: fotógrafos e ofício da fotografia no Brasil (1833-1910). São Paulo: Instituto Moreira Salles, 2002. 408 p., il. p&b.
+LAGO, Bia Corrêa do;LAGO, Pedro Corrêa do. Coleção Princesa Isabel: fotografia do século XIX. Rio de Janeiro: Capivara, 2008.432p.:il., retrs.
+LAGO, Bia Corrêa do;LAGO, Pedro Corrêa do. Os Fotógrafos do Império. Rio de Janeiro: Capivara, 2005. 240p.:il
+MEIRELLES, Victor. “Photographia” In BRASIL. Exposição Nacional. Relatório da Segunda Exposição Nacional de 1866, publicado […] pelo Dr. Antonio José de Souza Rego, 1o secretário da Commissão Directora. Rio de Janeiro: Typ. Nacional, 1869, 2ª parte, pp. 158-170
+SANSON, Maria Lucia David de; AIZEN, Mario; VASQUEZ, Pedro. O Rio de Janeiro do fotógrafo Leuzinger 1860-1870. Rio de Janeiro: Editora Sextante Artes, 1998.
+SENNA, Ernesto. O Velho Comércio do Rio de Janeiro. 2ª edição. Rio de Janeiro: G Ermakoff, 2006.
+TURAZZI, Maria Inez. Poses e trejeitos: a fotografia e as exposições na era do espetáculo – 1839/1889 / Maria Inez Turazzi – Rio de Janeiro: Rocco, 1995. 309p. : il
+VASQUEZ, Pedro. O Brasil na fotografia oitocentista/ [pesquisa e texto]Pedro Karp Vasquez; [reproduções fotográficas Cesar Barreto, Rosa Gauditano].–São Paulo: Metalivros, 2003.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/9798` — `itens/20.500.12156.1_9798/`
+- `20.500.12156.1/4442` — `itens/20.500.12156.1_4442/`
+
diff --git a/wordpress/24945-guaruja-a-perola-do-atlantico-em-fins-do-seculo-xix-por-guilherme-gaensly.md b/wordpress/24945-guaruja-a-perola-do-atlantico-em-fins-do-seculo-xix-por-guilherme-gaensly.md
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+---
+id: 24945
+url: "https://brasilianafotografica.bn.gov.br/?p=24945"
+titulo: "Guarujá, a “Pérola do Atlântico”, em fins do século XIX, por Guilherme Gaensly"
+autor: "Andrea Wanderley"
+data: "2021-08-30T09:25:25+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/1873"]
+fetched_at: "2026-09-10T10:08:07.485Z"
+---
+
+# Guarujá, a “Pérola do Atlântico”, em fins do século XIX, por Guilherme Gaensly
+
+O surgimento da Vila Balneária Guarujá, na Ilha de Santo Amaro, que se tornou em fins do século XIX e início do século XX, o destino de verão mais disputado da classe alta paulistana, não passou despercebido pelo fotógrafo suíço Guilherme Gaensly (1843 – 1928), que a fotografou em torno de 1894, ano em que ele e seu sócio desde 1882, Rodolpho Lindemann (c. 1852 – 19?), abriram uma filial da próspera empresa Gaensly & Lindemann, em São Paulo, onde Gaensly havia ido morar. Ele havia chegado em Salvador com cinco anos e, em 1871, após um período de aprendizado no ateliê de Alberto Henschel (1827 – 1882) na capital baiana, estabeleceu-se como fotógrafo. Destacou-se como retratista e como fotógrafo de paisagens urbanas e rurais. Em São Paulo, foi contemporâneo dos fotógrafos Valério Vieira (1862 – 1941), do austríaco Otto Rudolf Quaas (c. 1862 – c. 1930) e do húngaro  José Wollsack (1847 – 1927), dentre outros.
+ 
+Correio Paulistano, 1º de novembro de 1904
+ 
+Apesar de nunca ter sido o fotógrafo oficial de São Paulo, como foi Augusto Malta (1864 – 1957) no Rio de Janeiro, Gaensly foi o autor de uma abrangente obra sobre a capital paulista nas primeiras décadas do século XX, o que o coloca nessa posição. Ele e Militão Augusto de Azevedo (1837 – 1905) são considerados os fotógrafos que mais cultuaram São Paulo. Seus registros eram vendidos como fotografias em papel albuminado e colotipias impressas na Suíça e comercializadas em álbuns. Ao lado de seu contemporâneo Marc Ferrez (1843 – 1923), foi provavelmente o fotógrafo mais publicado em postais no Brasil.
+ 
+Acessando o link para as fotografias  produzidas por Guilherme Gaensly, disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+A imagem destacada nesse artigo faz parte do Álbum de Fotografias de São Paulo 1900 e mostra o hotel do Guarujá, inaugurado em 1893, tendo, à esquerda, a linha do trem e, ao fundo, os chalés da Vila Balneário. O álbum, com encadernação em papelão e título em tinta dourada, traz 18 fotografias em gelatina/prata no formato 17,6 x 23,3, coladas em papel cartão cinza e com legenda manuscrita em tinta branca abaixo da imagem.
+ 
+Guilherme Gaensly. Álbum de Fotografias de São Paulo 1900 – Balneário do Guarujá, c. 1894. Guarujá, São Paulo / Acervo IMS
+ 
+Com a presença de várias autoridades, dentre elas o então governador de São Paulo, Bernardino de Campos (1841 – 1915) e o bispo Joaquim Arcoverde (1850 – 1930), a Vila Balneário foi inaugurada, em 2 de setembro de 1893, quando foi aberto pela Companhia Balneário, sob a liderança do Grupo Prado Chaves, presidido pelo conselheiro Antônio da Sillva Prado (1840 – 1929), o empreendimento que deu início a um importante pólo de turismo no Brasil, que viria a ser frequentado por personalidades como Ruy Barbosa (1849 – 1923), Washington Luis (1869 – 1957) e por Alberto Santos Dumont (1873 – 1932), que se suicidou no hotel do balneário em 23 de julho de 1923; além de estrangeiros que passavam pelo porto de Santos.
+Os convidados para a inauguração foram recepcionados pelo engenheiro civil, doutor pela Universidade de Cornell, e empresário Elias Fausto Pacheco Jordão (1849 – 1901), gerente da Companhia Prado Chaves e realizador do ousado e inovador plano de urbanização da área. Elias Fausto havia integrado, em 1875, a Comissão Geológica Imperial chefiada por Charles Frederick Hartt (1840 – 1878), da qual também faziam parte os geólogos Orville Adalbert Derby (1851 – 1915) e Richard Rathbun (1852-1918) – ambos da Universidade de Cornell -, que chegaram ao Brasil em fins de 1875; John Casper Branner (1850-1922), do Departamento de Botânica e Geologia da Universidade de Indiana; e o brasileiro Francisco José de Freitas, assistente geral e tradutor. Integraram, também, o corpo técnico da comissão os geólogos Luther Wagoner, substituto de Pacheco Jordão, em 1876, que foi posteriormente substituído por Frank Carpenter; o naturalista Herbert Huntington Smith (1851-1919), e o fotógrafo Marc Ferrez (1843-1923).
+ 
+José Elias Pacheco Jordão / Diário do Rio Claro, 3 de fevereiro de 2020
+ 
+Voltando à Vila Balneário. Para sua construção, foram encomendadas 46 casas de madeira nos Estados Unidos e um hotel de luxo com um cassino. A vila tinha grande sofisticação para a época, oferecendo confortos como água encanada, esgoto e luz elétrica. Suas calçadas tinham quatro metros de largura com avenidas largas e perpendiculares, além de duas estações de trem, igreja e um mini zoológico. Além da vila, a Companhia construiu uma linha férrea ligando o estuário de Santos à praia de Pitangueiras, batizada de Tramway de Guarujá, bem como o primeiro serviço regular de navegação entre Santos e Guarujá (Correio Paulistano, 28 de agosto de 1891, segunda coluna; Correio Paulistano, 5 de setembro, última coluna; Correio Paulistano, 6 de setembro de 1893, primeira coluna; O Commercio de São Paulo, 27 de setembro,  28 de setembro e 29 de setembro de 1895, terceiras colunas;  Revista Moderna, 1º de fevereiro de 1898).
+Em 1894, o artista plástico paulista Benedito Calixto (1853 – 1927) pintou a Vila Balneário no quadro Jardim à beira-mar.
+ 
+Benedito Calixto. Jardim à beira-mar, 1894
+ 
+Um incêndio destruiu o hotel, em 17 de novembro de 1897 (Correio Paulistano, 19 de novembro de 1897, segunda coluna).
+ 
+Propaganda do hotel no mesmo dia em que ocorreu o incêndio / Correio Paulistano, 17 de novembro de 1897
+ 
+O ex-gerente da sucursal paulista da Photographia Henschel que, em 1888, tornou-se dono da referida filial, o já mencionado fotógrafo húngaro José Vollsack (1847 – 1927), foi um dos 22 hóspedes que se encontravam no hotel. Ele avaliou em 10.000$ os objetos que perdeu no incêndio. O vice-cônsul dos Estados Unidos, que morava no quarto 43, sofreu prejuízos no valor de mil dólares.
+ 
+O Commercio de São Paulo, 19 de novembro de 1897
+ 
+Com corridas de bicicleta e a pé, apresentação da banda do Corpo de Bombeiros, da orquestra da Pauicéia e com uma soirée no sallão do cassino, o hotel foi reinaugurado em 8 de setembro de 1898 (O Commercio de São Paulo, 7 de setembro de 1898, segunda coluna).
+ 
+Correio Paulistano, 8 de setembro de 1898
+ 
+À direita, o novo hotel, de alvenaria, inaugurado em 1898. O cassino, o jardim, a estação e os chalés permaneceram com a mesma aparência / Fon-Fon, 7de junho de 1913
+No início da década de 10, a companhia foi adquirida por um grupo de empreendedores, dentre eles o empresário norte-americano Percival Farquhar (1865 – 1953), passando a se denominar Companhia Guarujá, que se associou ao grupo Ritz Carlton para administrar o novo complexo.
+A trajetória de Farquhar no Brasil aconteceu em um período de maciça presença do capital norte-americano e europeu no país. Suas atividades empresariais no Brasil começaram, em 1904, quando fundou a Rio de Janeiro Light & Power, companhia que assumiu concessões de serviços públicos de bondes, iluminação a gás e energia hidrelétrica. No ano seguinte, começou a investir na Amazônia, fundou a Brazil Railway Company (1906), a fim de construir um sistema ferroviário interligando a América do Sul e, em 1907, obteve a concessão para construir a Madeira-Mamoré.
+ 
+Percival Farqhart, New York Times, 22 de setembro de 1912
+ 
+O projeto do Grand Hotel de la Plage, terceira versão do primeiro, foi realizado pelo renomados arquitetos Francisco de Paula Ramos de Azevedo (1851 – 1928) e por Ricardo Severo da Fonseca e Costa (1869 – 1940).
+ 
+Retrato do arquiteto Ramos de Azevedo, por Oscar Pereira da Silva / Wikipedia
+ 
+Ricardo Severo da Fonseca e Costa / Universidade do Porto
+ 
+As obras começaram em 15 de janeiro de 1911 e o hotel foi reinaugurado em 8 de junho de 1913: “...as magníficas instalações são comparáveis às dos melhores hoteis da Europa“. Mais de duzentos convidados participaram das celebrações que incluíram bailes, piqueniques, shows aéreos, passeios de charrete e observação da flora e da fauna dos morros nos arredores do hotel, que tinha 220 quartos, salões de festa, de leitura, de refeição e um cassino anexo. A chegada do aviador Edu Chaves (1887 – 1975), aterrissando quase em frente ao hotel, foi um verdadeiro triunfo. Na ocasião, a reinauguração do Grand Hotel de la Plage foi a notícia mais comentada pela imprensa brasileira. O Guarujá foi o maior centro de diversão e turismo do Brasil nos primeiros 25 anos do século XX (Correio Paulistano, 9 de junho de 1913, primeira coluna).
+ 
+Fon-Fon, 14 de junho de 1913
+ 
+A estação do Guarujá / Fon-Fon, 14 de junho de 1913
+ 
+A fachada dovasto e  confortabilíssimo Gran Hotel / Fon-Fon, 14 de junho de 1913
+ 
+A vila seguiu se desenvolvendo durante toda a primeira metade do século XX devido ao sucesso do hotel e a reputação do Guarujá como balneário de primeira classe. Na década de 30, o hotel foi comprado por Alberto Quatrini Bianchi (1892 – 19?) e, em 30 de Junho de 1934, a cidade recebeu o título de Estância Balneária, tendo se emancipado de Santos. Com a proibição do jogo, em 1946, começou a decadência do hotel, que foi, na década de 60, demolido. Bianchi, que com Joaquim Rolla (1899 – 1972) dividia o título de Rei do Turismo Nacional,  teve diversos empreendimentos turísticos como, em Minas Gerais, o Pale Hotel de Ouro Preto e o Palace Casino de Poços de Caldas; em São Paulo, o já mencionado Hotel de La Plage e Cassino de Guarujá e o Serra Negra Hotel; no Maranhão, o Hotel Palace de São Luis; em Pernambuco, o Hotel Palace do Recife; Na Bahia, o Hotel e Cassino Palace de Salvador; no Espírito Santo, o Grande Hotel Guarapari (ES); no Rio de Janeiro, o Icaraí Hotel e o Casino Balenario Atlantico, além de dezenas de outros cassinos em diversos estados do Brasil. Quando faleceu, segundo reportagem do Diário do Rio Claro, 22 de julho de 2019, era garçom de um hotel no Guarujá que havia sido dele.
+
+Alberto Quatrini Bianchi / Jornal de Rio Claro, 22 de julho de 2019
+ 
+Alguns de seus visitantes ilustres foram o governador de São Paulo, Adhemar de Barros (1901 – 1969), Alberto I, rei da Bélgica (1875 – 1934), o banqueiro Anthony Gustav de Rothschield (1887 – 1961), o pi ntor Benedito Calixto (1853 – 1927), a cantora lírica Bidu Sayão (1902 – 1999), os presidentes do Brasil, Campos Salles (1841 – 1913), que inclusive faleceu no Guarujá (Correio Paulistano, 29 de junho de 1913); Getulio Vargas (1882 – 1954) e Rodrigues Alves (1848 – 1919); a atriz Carmen Miranda (1909 – 1955), o comediante mexicano Cantinflas (1911 – 1993), o escritor Euclydes da Cunha (1866 – 1909), o Conde Francesco Matarazzo (1854 – 1937), o ator norte-americano Glenn Ford (1916 – 2006), o ator francês Jean Sablon (1906 – 1994), o presidente da Argentina, general Julio Roca (1843 – 1914); o escritor Mário de Andrade (1893 – 1945), o pioneiro aviador francês Roland Garros (1888- 1918),  a atriz espanhola Sarita Montiel (1928 – 2013), o cantor Silvio Caldas (1908 – 1998), a pintora Tarsila do Amaral (1886 – 1973)
+ 
+Grupo de senhoritas na Praia de Guarujá / Fon-Fon, 21 de junho de 1913
+ 
+As arquibancadas de Guarujá / Fon-Fon, 28 de junho de 1913
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+BURGI, Sergio;DIETRICH, Ana Maria;MENDES,Ricardo. Imagens de São Paulo – Gaensly no acervo da Light 1899 – 1925, organização Vera Maria de Barros Ferraz. São Paulo:Fundação Patrimônio Histórico da Energia de São Paulo, 2001.
+Catálogo da Exposição comemorativa da doação do Acervo Brascan ao IMS – Guilherme Gaenly e Augusto Malta: dois mestres da fotografia brasileira no Acervo Brascan. Rio de Janeiro: Instituto Moreira Salles, 2002
+Centro de Documentação e Memória do Guarujá – História do Grande Hotel et de La Plage de Santos e Guarujá. 1893-1962 (Youtube)
+d´Ávila, Cristiane. Trilhos sobre a floresta: imagens da construção da E.F. Madeira-Mamoré, publicado na Brasiliana Fotográfica em 14 de outubro de 2019 – https://brasilianafotografica.bn.gov.br/?p=16710
+Hemeroteca Digital da Biblioteca Nacional
+Jornal de Rio Claro
+Kossoy, Boris. Álbum de Fotografias do Estado de São Paulo – 1892; São Paulo, CBPO/Kosmos, 1984.
+KOSSOY, Boris. Dicionário histórico-fotográfico brasileiro: fotógrafos e ofício da fotografia no Brasil (1833-1910). São Paulo: Instituto Moreira Salles, 2002. 408 p., il. p&b.
+Site CPDOC
+Site Novo Milênio
+Site Universidade do Porto
+WANDERLEY, Andrea. A construção da Madeira-Mamoré, a “Ferrovia da Morte”, pelas lentes de Dana B. Merrill (c. 1887 – 19?), publicado na Brasiliana Fotográfica em 16 de janeiro de 2018 - https://brasilianafotografica.bn.gov.br/?p=10460
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/1873` — `itens/20.500.12156.1_1873/`
+
diff --git a/wordpress/24947-autorretratos-de-fotografos-uma-homenagem-no-dia-mundial-da-fotografia.md b/wordpress/24947-autorretratos-de-fotografos-uma-homenagem-no-dia-mundial-da-fotografia.md
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@@ -0,0 +1,68 @@
+---
+id: 24947
+url: "https://brasilianafotografica.bn.gov.br/?p=24947"
+titulo: "Autorretratos de fotógrafos – Uma homenagem no Dia Mundial da Fotografia"
+autor: "Andrea Wanderley"
+data: "2021-08-19T11:01:29+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/2119", "20.500.12156.1/2575", "20.500.12156.1/2020", "20.500.12156.1/4225"]
+fetched_at: "2026-09-10T10:08:10.615Z"
+---
+
+# Autorretratos de fotógrafos – Uma homenagem no Dia Mundial da Fotografia
+
+A Brasiliana Fotográfica homenageia o Dia Mundial da Fotografia com a publicação de quatro autorretratos de importantes fotógrafos que atuaram no Brasil entre os séculos XIX e XX: o alemão Christoph Albert Frisch (1840 – 1918), o carioca Marc Ferrez (1843 – 1923), o francês Revert Henrique Klumb (c.1826 – c.1886) e o italiano Vincenzo Pastore (1865 – 1918). Interessante observar que o único autorretrato produzido fora de um estúdio fotográfico foi o de Frisch, que se fotografou, entre 1967 e 1868, em um barco em um rio na Amazônia, quando produziu os primeiros registros que chegaram até nós de índios brasileiros da região, além de aspectos de fauna e flora e de barqueiros de origem boliviana que atuavam como comerciantes itinerantes nos rios amazônicos. Os quatro fotógrafos já foram temas de artigos publicados no portal.
+ 
+Acessando o link para os autorretratos de fotógrafos disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+A data escolhida para a comemoração do Dia Internacional da Fotografia ou Dia Mundial da Fotografia tem sua origem no ano de 1839, quando, em 7 de janeiro, na Academia de Ciências da França, foi anunciada a descoberta da daguerreotipia, um processo fotográfico desenvolvido por Joseph Nicèphore Niépce (1765-1833) e Louis Jacques Mandé Daguerre (1787-1851). Cerca de sete meses depois, em 19 de agosto, durante um encontro realizado no Instituto da França, em Paris, com a presença de membros da Academia de Ciências e da Academia de Belas-Artes, o cientista François Arago (1786 – 1853), secretário da Academia de Ciências, explicou o processo e comunicou que o governo francês havia adquirido o invento, colocando-o em domínio público e, dessa forma, fazendo com que o “mundo inteiro” tivesse acesso à invenção. Em troca, Louis Daguerre e o filho de Joseph Niépce, Isidore, passaram a receber uma pensão anual vitalícia do governo da França, de seis mil e quatro mil francos, respectivamente.
+A velocidade com que a notícia do invento do daguerreótipo chegou ao Brasil é curiosa: cerca de 4 meses depois do anúncio da descoberta, foi publicado no Jornal do Commercio, de 1º de maio de 1839, sob o título “Miscellanea”, na segunda coluna, um artigo sobre o assunto – apenas 10 dias após de ter sido o tema de uma carta do inventor norte-americano Samuel F. B. Morse (1791 – 1872), escrita em Paris em 9 de março de 1839 para o editor do New York Observer, que a publicou em 20 de abril de 1839.
+ 
+Vincenzo Pastore (1865 – 1918)
+ 
+Vincenzo Pastore. Autorretrato de Vincenzo Pastore, c. 1910. São Paulo, SP / Acervo IMS
+ 
+A obra do fotógrafo italiano Vincenzo Pastore, importante cronista visual de São Paulo da segunda metade do século XIX e do início do século XX, ficou, durante décadas, em uma caixa de charutos, sem negativos. As ampliações foram produzidas pela própria mulher do fotógrafo, Elvira, que o ajudava no estúdio. Com sua câmara Pastore capturava tipos e costumes de um cotidiano ainda pacato de São Paulo, uma cidade que logo, com o desenvolvimento econômico, mudaria de perfil. Captava as transformações urbanas e humanas da cidade, que passava a ser a metrópole do café. Com seu olhar sensível, o bem sucedido imigrante italiano flagrava trabalhadores de rua como, por exemplo, feirantes, engraxates, vassoureiros e jornaleiros, além de conversas entre mulheres e brincadeiras de crianças. Pastore, ao retratar pessoas simples do povo, realizou, na época, um trabalho inédito na história da fotografia paulistana.
+Acessando o link para as fotografias de Vincenzo Pastore disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Marc Ferrez (1843 – 1923)
+ 
+Marc Ferrez aos 33 anos de idade, c. 1876. Rio de Janeiro, RJ / Acervo IMS
+ 
+Marc Ferrez (1843 – 1923) foi um brilhante cronista visual das paisagens e dos costumes cariocas da segunda metade do século XIX e do início do século XX. Sua vasta e abrangente obra iconográfica se equipara a dos maiores nomes da fotografia do mundo. Estabeleceu-se como fotógrafo com a firma Marc Ferrez & Cia, em 1867, na rua São José, nº 96, e logo se tornou o mais importante profissional da área no Rio de Janeiro. Cerca de metade da produção fotográfica de Ferrez foi realizada na cidade e em seus arredores, onde registrou, além do patrimônio construído, a exuberância das paisagens naturais.
+Acessando o link para as fotografias de Marc Ferrez disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Christoph Albert Frisch (1840 – 1918)
+  
+Albert Frisch. Autorretrato de Frisch no Tarumã, afluente do rio Negro, c. 1867. Rio Tarumã, AM / Acervo IMS
+ 
+Christoph Albert Frisch (1840 – 1918) foi o fotógrafo responsável pela impressionante e pioneira série de 98 fotografias realizadas em 1867 na Amazônia: foram os primeiros registros que chegaram até nós de índios brasileiros da região, além de aspectos de fauna e flora e de barqueiros de origem boliviana que atuavam como comerciantes itinerantes nos rios amazônicos. Ele foi o fotógrafo que acompanhou a expedição pela Amazônia liderada pelo engenheiro alemão Joseph Keller e pelo fotógrafo, desenhista e pintor Franz Keller (1835 – 1890). Este último era genro de Georges Leuzinger ( 1813 – 1892), considerado um dos mais importantes fotógrafos e difusores para o mundo da fotografia sobre o Brasil no século XIX, além de pioneiro das artes gráficas no país.
+Acessando o link para as fotografias de Christoph Albert Frisch disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Revert Henrique Klumb (c. 1826 – c. 1886)
+ 
+[Revert Henrique Klumb] : autorretrato], 186? / Acervo FBN
+Um dos primeiros fotógrafos estrangeiros a se estabelecer no Brasil, o francês Revert Henrique Klumb (c. 1826 – c. 1886) foi o fotógrafo preferido da família imperial brasileira, tendo sido agraciado com o título de “Fotógrafo da Casa Imperial”, em 1861. Um dos pioneiros na produção comercial de imagens sobre papel fotográfico e uso de negativo de vidro em colódio no Brasil, inaugurou seu estabelecimento fotográfico em 1855 ( Correio Mercantil , de 4 de novembro de 1855, na última coluna ). Foi professor de fotografia da princesa Isabel e, provavelmente, o introdutor da técnica estereoscópica no Brasil, com a qual entre os anos de 1855 e 1862 produziu ampla documentação sobre o Rio de Janeiro.
+Foi também o autor do livro Doze horas em diligência. Guia do viajante de Petrópolis a Juiz de Fora, única obra do Brasil do século XIX a ser idealizada, fotografada, escrita e publicada por uma só pessoa. Também foi o primeiro livro de fotografia inteiramente litografado e produzido no país. Dois exemplares estão conservados na Divisão de Obras Raras da Biblioteca Nacional.
+Acessando o link para as fotografias de Revert Henrique Klumb disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Leia aqui os artigos já publicados na Brasiliana Fotográfica sobre o Dia Mundial da Fotografia:
+ 
+Dia Mundial da Fotografia – 19 de agosto, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 19 de agosto de 2015
+Os 180 anos da invenção do daguerreótipo – Pequeno histórico e sua chegada no Brasil, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 19 de agosto de 2019
+Os 180 anos da invenção do daguerreótipo – Os álbuns da Comissão Geológica do Império com fotografias de Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 19 de agosto de 2019
+No Dia Internacional da Fotografia, fotógrafas pioneiras no Brasil, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 19 de agosto de 2022
+Dia Mundial da Fotografia, uma retrospectiva de artigos,  de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 19 de agosto de 2023
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/2119` — `itens/20.500.12156.1_2119/`
+- `20.500.12156.1/2575` — `itens/20.500.12156.1_2575/`
+- `20.500.12156.1/2020` — `itens/20.500.12156.1_2020/`
+- `20.500.12156.1/4225` — `itens/20.500.12156.1_4225/`
+
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+---
+id: 25046
+url: "https://brasilianafotografica.bn.gov.br/?p=25046"
+titulo: "O fotógrafo, desenhista e engenheiro alemão Franz Keller-Leuzinger (1835 – 1890)"
+autor: "Andrea Wanderley"
+data: "2021-09-28T17:35:43+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/4372", "20.500.12156.1/15", "20.500.12156.1/2020", "20.500.12156.1/3622"]
+fetched_at: "2026-09-10T10:08:13.907Z"
+---
+
+# O fotógrafo, desenhista e engenheiro alemão Franz Keller-Leuzinger (1835 – 1890)
+
+Franz Keller-Leuzinger / Xilogravura de Adolf Cloß publicada no livro Do Amazonas ao Madeira, em 1874
+O  engenheiro, fotógrafo e desenhista alemão Franz (Francisco) Keller-Leuzinger nasceu em Mannhein, em 30 de agosto de 1835, e foi um dos primeiros viajantes estrangeiros a documentar a região amazônica. Chegou ao Rio de Janeiro com seu pai, o também engenheiro Joseph (José) Keller (1811 – 1877), em 27 de dezembro de 1855, vindos do Havre, na galera francesa Dom Pedro II. 
+Ao longo da década de 60, Franz acompanhou o pai em levantamentos do rio Paraná, na região entre Campo Belo e Barra do Piraí; dos vales do rio Paraíba e Pomba, dos rios Iguaçu, Paranapanema e Tibagi. Dessas investigações resultaram relatórios publicados pelo Ministério da Agricultura (Almanak Administrativo, Mercantil e Industrial do Rio de Janeiro, 1865; O Cearense, 2 de dezembro de 1865, terceira coluna; Dezenove de Dezembro, 20 de dezembro de 1865, última coluna). Nessas expedições, como na que participou à Amazônia, em 1867, Franz registrava em notas, desenhos e aquarelas, vistas locais da fauna e flora, aspectos arqueológicos e etnográficos das regiões por onde passava.
+Em junho de 1867, ele e seu pai estudavam mapas e planos da expedição ao Paraná quando foram comissionados pelo Ministério da Agricultura, Comércio e Obras para explorar os rios Amazonas e Madeira para sondar a possibilidade da construção de uma ferrovia, a Madeira-Mamoré, costeando suas margens para contornar corredeiras que tornavam impossível a navegação a vapor em parte dos rios. A comissão da expedição pelo governo imperial foi motivada pela abertura da navegação do rio Amazonas para as nações estrangeiras, estabelecido pelo Decreto Imperial nº 3749 ,de 7 de dezembro de 1866, e pelo novo acordo sobre fronteiras e comércio com a Bolívia firmado, em 27 de março de 1867, pelo diplomata pernambucano, o Conselheiro Felipe Lopez Netto (1814 – 1895) (Publicação do Governo do Amazonas, 24 de agosto de 1868; Jornal do Commercio, 15 de julho de 1872, quinta coluna).
+Franz e Joseph embarcaram no Rio de Janeiro rumo ao Pará, em 15 de novembro de 1867, no paquete Paraná. O fotógrafo Christoph Albert Frisch (1840 – 1918), comissionado por seu patrão, o fotógrafo e editor suíço Georges Leuzinger (1813 – 1892), acompanhou a expedição até Manaus, levando um escravizado. Também estavam no navio a esposa de Franz, Sabine Christine Leuzinger (1842-1915), e sua irmã, Pauline.  Sabine era a filha primogênita de Leuzinger (Diário do Povo, de 15 de novembro de 1867, primeira coluna). Algumas fontes informam que Franz teria, em meados da década de 60, assumido a seção de fotografia da empresa de seu sogro, criada em 1865, e que teria, inclusive, ensinado a Marc Ferrez (1843 – 1923) a arte da fotografia. Porém, a participação de Franz Keller no ateliê fotográfico de Leuzinger é questionável e, na verdade, até hoje não foi comprovada. Lembramos que na década de 1860, como já mencionado, Franz fez diversas viagens pelo Brasil com seu pai, explorando rios do país sob contrato do governo imperial, o que tornaria difícil a possibilidade dele dirigir o estabelecimento fotográfico de seu sogro.
+Voltando à expedição amazônica. Frisch acompanhou os engenheiros somente até Manaus e permaneceu na Amazônia até novembro de 1868, tendo realizado, no período, a impressionante e pioneira série de 98 fotografias na Amazônia: foram os primeiros registros que chegaram até nós de índios brasileiros da região, além de aspectos da fauna e da flora e de barqueiros de origem boliviana que atuavam como comerciantes itinerantes nos rios amazônicos. Esse trabalho começou a ser comercializado a partir de um catálogo publicado pela Casa Leuzinger, Resultat d’une expédition phographique sur le Solimões ou Alto Amazonas et Rio Negro.
+ 
+Acervo FBN
+ 
+A expedição dos Keller durou até dezembro de 1868, quando voltaram ao Rio de Janeiro. Apresentaram propostas prevendo a construção de um sistema de planos inclinados capaz de permitir aos navios a superação dos declives do leito do Madeira e Mamoré, a abertura de um canal de navegação na margem direita das cachoeiras ou a construção de uma estrada de ferro entre Santo Antônio e Guajará-Mirim.
+Em 1874, já de volta à Alemanha, Franz publicou o livro ilustrado Do Amazonas ao Madeira, com anotações, desenhos e aquarelas da expedição de 1867/1868. Foi editado em Londres pela Chapman & Hall e também foi feita uma edição alemã. No livro, descreveu o rio e seus afluentes, as tribos nativas que encontraram, além dos animais e vegetações da floresta virgem dos rios Amazonas e Madeira. A expedição dos Keller se expandiu até o leste da Bolívia. Franz dedicou um capítulo aos índios Mojo daquela região e à história de suas interações com as missões jesuíticas.
+ 
+Capa da edição inglesa do livro Do Amazonas ao Madeira, 1874
+ 
+Na introdução a seus relatos, Franz chamava a atenção das autoridades brasileiras para a adoção de três providências que ele considerava prioritárias para o progresso do país: a abolição da escravatura, o incentivo à imigraçao de colonos da Alemanha para desenvolver a agricultura e a modernização dos meios de transportes para integrar o território nacional. Também assumia a autoria das ilustrações.
+ 
+“As ilustrações, que considero suplementos indispensáveis à descrição de cenas que nos são tão estranhas, originam-se de esboços feitos no local e que, para preservar-lhes a mais alta fidelidade, desenhei eu mesmo”.
+ 
+Franz Keller. Alto Madeira (Afluente do rio Amazonas), c. 1874. Amazonas / Convênio Instituto Moreira Salles – Leibniz-Institut fuer Laenderkunde
+ 
+Franz Keller-Leuzinger esteve no Brasil na década de 1880 e faleceu em Munique, na Alemanha, em 18 de julho de 1890.
+Acessando o link para as fotografias de Franz Keller-Leuzinger disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Cronologia de Franz Keller-Leuzinger (1835 – 1890)
+ 
+Assinatura de Franz Keller-Leuzinger
+ 
+1835 - Nascimento de Franz Keller, em Mannheim, na Alemanha, em 30 de agosto de 1835, filho do cartógrafo, desenhista e engenheiro Joseph (José) Keller (1811 – 1877), diplomado pela Universidade de Karlsruhe, que havia trabalhado como inspetor de estrada do Grão Ducado de Baden. Franz era irmão do pintor Ferdinand (Fernando) Keller (1842 – 1922).
+ 
+Ferdinand Keller por Christian Wilhelm Allers / Wikipedia
+ 
+1855 - Chegou, em 27 de dezembro, ao Rio de Janeiro com seu pai. Vieram do Havre, na galera francesa Dom Pedro II. Diversas fontes afirmam que Ferdinand, seu irmão, teria vindo com eles, mas nas notícias de jornal só constam os nomes de Joseph e Franz. Certamente Ferdinand passou um período no Brasil, mas provavelmente veio depois de seu pai e irmão (Correio da Tarde, 27 de dezembro de 1855, última coluna; Diário do Rio de Janeiro, 28 de dezembro de 1855, última coluna; Correio Mercantil, 28 de dezembro de 1855, segunda coluna).
+ 
+Diário do Rio de Janeiro, 28 de dezembro de 1855
+ 
+1856 - No Almanak Administrativo, Mercantil e Industrial do Rio de Janeiro de 1856, foi mencionado que Joseph Keller poderia ser contratado para a construção da estrada de Mangaratiba ou da de Ubatuba caso o desembargador J.J. Pacheco, presidente da Companhia da Estrada de Mangaratiba, fizesse um contrato com o presidente de São Paulo para uma outra estrada de carros de Taubaté a Ubatuba.
+Joseph e um ajudante trabalharam para o Governo da Província do Rio de Janeiro para a ratificação de plantas para a estrada de Petrópolis ao Parahybuna . Franz seria o ajudante? (Correio Mercantil, 21 de abril de 1856, quarta coluna).
+Incitados pela lisonjeira recepção que fizemos a seus compatriotas, os engenheiros Keller, vários arquitetos da Escola Politécnica de Karslruhe, no Grão Ducado de Baden, vieram para o Brasil, dentre eles Theodore Marx (1833 – 1890), que viria a ser um dos construtores do Palácio da Quinta da Boa Vista (Correio Mercantil, 12 de junho de 1856, terceira coluna).
+1857 – Seu pai, como engenheiro, e ele e Carlos Keller como ajudantes, haviam sido contratados pela Companhia União Indústria. Qual seria o parentesco de Carlos Keller com eles? Sobrinho e primo? Filho e irmão? Ou seria o filho de Johann Nepomuk Keller, o engenheiro Carlos Keller (1839 – 1928), futuro reitor do Instituto de Tecnologia de Karlsruhe? Uma coincidência: o pai do fotógrafo Chistophe Albert Frisch (1840 – 1918), tinha Nepomuk em seu sobrenome: chamava-se Johanes Nepomuk Frisch. Caso isso indique algum parentesco, Frisch e Franz Keller possivelmente já se conheciam antes de virem para o Brasil.
+O diretor-presidente da Companhia União Indústria era o comendador Mariano Procópio Ferreira Lage (1821 – 1872). A capacidade de Joseph Keller já era abonada pelos trabalhos executados na Europa sob sua direção (Relatório Companhia União Indústria, 24 de agosto de 1857). Sobre o trabalho para o qual havia sido contratado, uma linha de estrada entre  Pedro do Rio e a villa da Parahyba, Três Barras e a ponte do Parahybuna, apresentou um relatório ao comendador (Relatório Companhia União Indústria, 24 de agosto de 1857; Jornal do Commercio, 31 de agosto de 1857, quarta coluna).
+ 
+O comendador Mariano Procópio Ferreira Lage / Site Familia Espeschi
+ 
+Relatório da Companhia União Indústria, 24 de agosto de 1857(1)
+ 
+1861 / 1862 – Em 30 de abril de 1861, Joseph Keller apresentou ao comendador Mariano Procópio um relatório sobre o estado da estrada entre a ponte do Paraíba e Juiz de Fora (Relatório da Companhia União Indústria, 15 de junho de 1861). Foi expedida pelo Ministério da Agricultura a ordem para o pagamento dos engenheiros Joseph e Franz Keller pela exploração do rio Paraíba (Boletim do Expediente do Governo: Ministério do Império, novembro de 1861); Correio Mercantil, 7 de abril de 1862, terceira coluna; Boletim do Expediente do Governo: Ministério do Império, junho de 1862). Entre esse ano e 1867, Franz acompanhou o pai em levantamentos no mencionado rio, na região entre Campo Belo e Barra do Piraí; nos vales do rio Paraíba e Pomba, nos rios Iguaçu, Paranapanema e Tibagi. Dessas investigações resultam relatórios publicados pelo Ministério da Agricultura (Diário do Rio de Janeiro, 17 de junho de 1864, quaarta coluna; Almanak Administrativo, Mercantil e Industrial do Rio de Janeiro, 1865; O Cearense, 2 de dezembro de 1865, terceira coluna; Dezenove de Dezembro, 20 de dezdembro de 1865, última coluna; Dezenove de Dezembro, 13 de janeiro de 1866, primeira coluna).
+1862 – Seu irmão, Ferdinand, voltou do sul do Brasil, a bordo do patacho Guasca (Jornal do Commercio, 26 de fevereiro de 1862, terceira coluna). Retornou à Alemanha e ingressou na Academia de Belas Artes de Karlsruhe, estudando sob a tutela do paisagista alemão Johann Wilhelm Schirmer (1807 – 1863).
+Franz fotografou a Quinta da Boa Vista, em São Cristóvão.
+ 
+Franz Keller. St. Christovão; [Rio Joana e vegetação na Quinta da Boa Vista], 1862. Rio de Janeiro, RJ / Acervo FBNc. 1863 –  O fotógrafo carioca Marc Ferrez (1843 – 1923) retornou da Europa ao Brasil. Segundo seu neto, o historiador Gilberto Ferrez (1908 – 2000), Marc teria aprendido a arte da fotografia com Franz Keller (1835 – 1890), que em torno dessa data teria assumido a seção de fotografia da empresa de seu sogro, o fotógrafo e editor suíço Georges Leuzinger (1813 – 1892), criada em 1865. Uma carta enviada em 17 de janeiro de 1923 por um amigo de Ferrez, Luiz Carlos Franco, a seus filhos Julio e Luciano, após a a morte do fotógrafo, confirma que Ferrez havia trabalhado para Leuzinger. Porém, a participação de Franz Keller como diretor do ateliê fotográfico de Leuzinger é questionável e, na verdade, até hoje não foi comprovada. Além disso, na década de 1860, como já mencionado, Franz fez diversas viagens pelo Brasil com seu pai explorando rios do país sob contrato do governo imperial, o que tornaria difícil a possibilidade dele dirigir o estabelecimento fotográfico de seu sogro.
+1864 – Franz e seu pai, Joseph, embarcaram rumo a Campos no vapor Ceres (Correio Mercantil, 1º de maio de 1864, segunda coluna).
+Em ato oficial, de 24 de dezembro de 1864, do ministro de Estado dos Negócios da Agricultura Comércio e Obras Públicas, assinado pelo ministro Jesuino Marcondes de Oliveira e Sá (1827 – 1903), Franz e Joseph Keller foram encarregados de estudar o rio Ivahy (Correio Mercantil, 1º de janeiro de 1865, segunda coluna; Jornal do Recife, 22 de novembro de 1865, última coluna).
+ 
+Correio Mercantil, 1º de janeiro de 1865
+ 
+Franz Keller chegou a Santos na companhia de um criado, no vapor Dom Affonso, procedente de Santa Catarina com escalas (Correio Paulistano, 29 de outubro de 1865, primeira coluna).
+Integrou-se à Expedição do Avaí, quando produziu aquarelas da região.
+1865 – Foram publicadas notícias sobre o relatório elaborado pelos engenheiros Keller sobre a navegabilidade do rio Paraiba (Almanak Administrativo, Mercantil e Industrial do Rio de Janeiro, 1865).
+1866 – Foram publicadas notícias sobre o relatório elaborado pelos engenheiros Keller sobre a navegabilidade do rio Ivahy (Correio Mercantil, 16 de janeiro de 1866, penúltima coluna).
+Joseph e Franz foram contratados pelo governo do Paraná para a realização do levantamento e da impressão da carta corográfica do estado (Dezenove de Dezembro, 28 de março de 1966, primeira coluna).
+No dia 24 de julho, Franz e Joseph Keller partiram de Curitiba para explorar o rio Iguaçu. Também faziam parte do grupo o agrimensor Julio Kalkman e o intérprete Fructuoso Antonio de Moraes Dutra, além de 24 tripulantes das oito canoas da expedição (Dezenove de Dezembro, 14 de abril de 1866, última coluna; Dezenove de Dezembro, 4 de julho de 1866, primeira coluna; Correio Mercantil, 30 de julho de 1866, última coluna).
+Em 7 de dezembro, o Decreto Imperial nº 3749 autorizou a abertura da navegação do rio Amazonas para outras nações, após pressões internacionais, vindas principalmente dos Estados Unidos. Foi nesse contexto que, no ano seguinte, Franz e Joseph Keller foram encarregados pelo Império do Brasil para a exploração de rios do Norte do país.
+
+DECRETO Nº 3.749, DE  7 DE DEZEMBRO DE 1866
+ 
+“Abrindo os rios Amazonas, Tocantins, Tapajós, Madeira, Negro e S. Francisco á navegação dos navios mercantes de todas as nações.
+
+No intuito de promover o engrandecimento do Imperio, facilitando cada vez mais as suas relações internacionaes, e animando a navegação e o commercio do rio Amazonas e seus affluentes, dos rios Tocantins e S. Francisco, ouvido o Meu Conselho de Estado, Hei por bem Decretar o seguinte:
+    Art. 1º Ficará aberta, desde o dia 7 de Setembro de 1867, aos navios mercantes de todas as nações, a navegação do rio Amazonas até á fronteira do Brasil, do rio Tocantins até Cametá, do Tapajós até Santarem, do Madeira até Borba, e do rio Negro até Manáos.
+    Art. 2º Na mesma data fixada no art. 1º ficará igualmente aberta a navegação do rio S. Francisco até á Cidade do Penedo.
+    Art. 3º A navegação dos affluentes do Amazonas, na parte em que só uma das margens pertence ao Brasil, fica dependendo de prévio ajuste com os outros Estados ribeirinhos sobre os respectivos limites e regulamentos policiaes e fiscaes.
+    Art. 4º As presentes disposições em nada alterão a observancia do que prescrevem os Tratados vigentes de navegação e commercio com as Republicas do Perú e de Venezuela, conforme os regulamentos já expedidos para esse fim.
+    Art. 5º Os Meus Ministros e Secretarios de Estado, pelas Repartições competentes, promoveráõ os ajustes de que trata o art. 3º, e expediráõ as ordens e regulamentos necessarios para a effectiva execução deste Decreto.
+    Antonio Coelho de Sá e Albuquerque, do Meu Conselho, Senador do Imperio, Ministro e Secretario de Estado dos Negocios Estrangeiros, assim o tenha entendido e faça executar.
+Palacio do Rio de Janeiro em sete de Dezembro de mil oitocentos sessenta e seis, quadragesimo quinto da Independencia e do Imperio.
+Com a Rubrica de Sua Magestade o Imperador.
+Antonio Coelho de Sá e Albuquerque.
+
+Este texto não substitui o original publicado no Coleção de Leis do Império do Brasil de 1866″
+
+ 
+1867 – O presidente da província do Paraná mandou sustar a exploração do rio Iguassu, cujos encarregados eram Joseph e Franz Keller (Diário de São Paulo, 23 de janeiro de 1867, primeira coluna).
+Foi assinado, em 27 de março, e selado, em 23 de novembro, o Tratado de Ayacucho, entre o Brasil e a Bolívia, que definia os limites entre os dois países.
+Franz casou-se com Sabine Christine Leuzinger (1842-1915), filha primogênita do fotógrafo, livreiro e editor suíço Georges Leuzinger (1813-1892), adotando também o sobrenome do sogro, passando a assinar Franz Keller-Leuzinger.
+Por portaria de 10 de outubro de 1867, Franz e seu pai, Joseph Keller, foram incumbidos pelo governo imperial de explorar o rio Madeira na parte encachoeirada dele, desde Santo Antonio até a barra do rio Mamoré, e de elaborar os projetos mais apropriados para o melhoramento dessa importante via de comunicação com a província de Mato Grosso e a república da Bolívia. Relatório da exploração do rio Madeira na parte compreendida ente a cachoeira de Santo Antônio e a barra do Mamoré (Diário de Belém, 10 de outubro de 1869, última coluna).
+Em 15 de novembro, embarcaram no Rio de Janeiro rumo ao Pará (Diário do Povo, de 15 de novembro de 1867,  primeira coluna).
+O fotógrafo Christoph Albert Frisch (1840 – 1918) seguiu com os engenheiros rumo à Amazônia, comissionado por Leuzinger, em cujo ateliê fotográfico trabalhava. Levava um escravizado. A esposa de Franz, Sabine, e sua irmã, Pauline Keller, também estavam no paquete Paraná, assim como o engenheiro José Manoel da Silva, integrante da expedição (Diário do Povo, 15 de novembro de 1867, primeira coluna; Jornal do Commercio, 16 de novembro de 1867, terceira coluna).
+ 
+Diário do Povo, de 15 de novembro de 1867
+ 
+Detalhe do autorretrato de Alberto Christoph Frish, c. 1867. Rio Tarumã, AM / Acervo IMS
+ 
+Frisch acompanhou os engenheiros somente até Manaus e … percorreu 400 léguas pelo rio Amazonas e seus afluentes durante 5 meses…, num barco acompanhado por dois remadores, desde Tabatinga até Manaus. Produziu, na ocasião, uma pioneira série de 98 fotografias com os primeiros registros que chegaram até nós de índios brasileiros da região, além de aspectos de fauna e flora e de barqueiros de origem boliviana, que atuavam como comerciantes itinerantes nos rios amazônicos. Segundo o livro de Ernesto Senna, O velho commercio do Rio de Janeiro, a expedição fotográfica de Frisch à Amazônia foi fruto de uma solicitação feita pelo suíço Louis Agassiz (1807 – 1873) a Leuzinger.
+“Satisfazendo ao pedido de Agassiz, fez Leuzinger tirar vistas até Tabatinga, na fronteira do Amazonas com a República do Peru, vistas que serviram não só para os trabalhos científicos daqule sábio, como também para ilustrações europeias. Quando o engenheiro Keller foi em comissão explorar os rios Madeira e Mamoré, Georges Leuzinger mandou um fotógrafo da casa acompanhar a expedição, que trouxe depois daquelas incomparáveis regiões graande cópia de clichês, da flora, da fauna, de paisagens, e fotograafias de silvícolas e de suas tabas, aldeamentos, instruentos, armas, etc. Estas coleções, de grande valor para estudos etnográficos, eram muito interessantes sob qualquer ponto de vista e muito procuradas por viajantes estrangeiros”.
+Agassiz havia, entre 1865 e 1866, comandado a Comissão Thayer no Brasil, que percorreu boa parte do território brasileiro entre o Rio de Janeiro e a Amazônia, viagem que deu origem ao livro A journey in Brazil, editado em Boston, em 1868. A Comissão Thayer foi financiada pelo empresário e filantropo norte-americano Nathaniel Thayer, Jr. (1808-1883), ex-aluno de Agassiz no Museu de Zoologia Comparada, em Harvard. Vale lembrar que Charles Frederick Hartt (1840 – 1878), o futuro chefe da Comissão Geológica do Império (1875 – 1878), integrada pelo fotógrafo Marc Ferrez (1843-1923), participou da Comissão ou Expedição Thayer – foi a primeira vez que esteve no Brasil.
+A expedição à Amazônia liderada pelos Keller, com 32 volumes, alcançou Belém, em 1º de dezembro, e seguiu para Manaus, onde chegou no dia 10 do mesmo mês, no vapor Belém (Jornal do Pará, 11 de dezembro de 1867,terceira coluna; Jornal do Rio Negro, 11 de dezembro de 1867, segunda coluna).
+ 
+Jornal do Pará, 11 de dezembro de 1867
+ 
+1868 – No Anexo X do Relatório do Ministro da Agricultura de 1868, Joseph e Franz Keller fizeram comentários sobre a formação geológica do solo brasileiro. Em alguns pontos concordaram com o geógrafo, naturalista e explorador alemão Barão de Humboldt (1769- 1859), que havia participado de uma expedição pela América do Sul entre 1799 e 1804.(Jornal do Recife, de 12 de agosto de 1882, primeira coluna; Jornal do Recife, 13 de janeiro de 1883, primeira coluna).
+ 
+
+Jornal do Recife, 13 de janeiro de 1883
+ 
+O governador do Amazonas, José Coelho da Gama e Abreu (1832 – 1906), o barão de Marajó,  submeteu ao governador do Pará, Joaquim Raimundo de Lamare (1811 – 1889), um ofício sobre a comissão dos Keller, que havia sido enviado pelo ministro da Agricultura, Zacarias de Góis e Vasconcelos (1815 – 1877) (Amazonas, 25 de abril de 1868, última coluna; Amazonas, 9 de maio de 1968, última coluna).
+Foram concedidas às irmãs Sabine Leuzinger-Keller e a Pauline Keller concessão de passagens de Estado em embarcação da Companhia do Amazonas, de Manaus a Belém do Pará com as despesas pagas pelo Ministério da Agricultura. Joseph e Franz Keller foram recomendados pelo governo do Amazonas ao comandante do Forte Príncipe da Beira,  no Mato Grosso, para onde iriam com o objetivo de explorar o Rio Madeira, conforme comissão do governo brasileiro (Amazonas, 30 de maio de 1868, segunda coluna).
+Sabine e Pauline chegaram ao Rio de Janeiro em 19 de junho, a bordo do paquete a vapor Guará (Correio Mercantil, 20 de junho de 1868, última coluna).
+O fotógrafo Frisch retornou ao sul do Brasil, a bordo do vapor Cruzeiro do Sul (Jornal Pedro II, 24 de novembro de 1868, na quarta coluna). No ano seguinte, as imagens produzidas por ele durante a expedição pela Amazônia começaram a ser comercializadas a partir de um catálogo publicado pela Casa Leuzinger, Resultat d’une expédition phographique sur le Solimões ou Alto Amazonas et Rio Negro.
+ 
+Acervo FBN
+ 
+Em 9 de dezembro, o tenente -coronel José Wilkens de Mattos (1822 – 1889), governador do Amazonas, respondendo a um ofício enviado pelos Keller e pelo engenheiro José Manoel da Silva, autorizou a tesouraria de Fazenda a receber objetos que estavam com os requerentes, referentes à comissão que cumpriram no rio Madeira;  tomou ciência de que uma canoa adquirida na Bolívia pelos Keller e por José Manoel seria utilizada por João Martins da Silva Coutinho na comissão de exploração do rio Branco; e informou que os Keller e José Manoel teriam seu transporte a bordo do vapor Belém, de Manaus a Belém, em 10 de dezembro de 1868, custeado pelo Ministério da Agricultura. Poderiam utilizar o espaço de bagagem, duas toneladas, destinado ao governo. O trabalho comissionado pelo governo imperial havia sido concluído e eles voltariam para o Rio de Janeiro no mesmo vapor (Diário de Belém, 28 de dezembro de 1868, quarta coluna; Amazonas, 5 de janeiro de 1869, primeira coluna).
+ 
+Diário de Belém, 28 de dezembro de 1868
+ 
+Franz Keller. Resultados ethnographicos e archeologicos da Exploração do Rio Madeira : : empreendida por ordem do Governo Imperial pelos engenheiros José e Francº Keller, 1869 / Acervo FBN
+ 
+1869 - No dia 4 de janeiro de 1869, Joseph e Franz Keller e o ajudante José Manuel da Silva chegaram ao Rio de Janeiro a bordo do paquete Paraná. Franz estava enfraquecido pelas febres e queimado pelo sol. Segundo o pesquisador Frank Kohl, ele havia contraido malária (Diário do Rio de Janeiro, 5 de janeiro de 1869, quinta coluna).
+Fez o retrato da filha de Leuzinger, Gabrielle Marie (1853 – 1869), que faleceu em 23 de abril de 1869 (Jornal do Commercio, 29 de abril de 1869, última coluna).
+“Após sua morte, ela estava quase sorridente, uma figura de anjo e tão branca quanto os lençóis de seu leito. Franz Keller fez seu retrato de perfil para nosso espanto o perfil perfeito de Mathilde quando tinha sua idade, 16 anos, 6 dias e 21 horas e meia” (Carta de Georges Leuzinger para seu filho Paul, que estava vivendo na França, de 2 de junho de 1969).
+Esteve algumas vezes no Paço Imperial cumprimentando o imperador Pedro II (1825 – 1891) (Diário de Rio de Janeiro, 14 de setembro; 19 de outubro, 29 de novembro, 6 de dezembro e 21 de dezembro de 1869, primeiras colunas).
+Na seção de 14 de setembro do Instituto Politécnico Brasileiro, fez um discurso agradecendo sua nomeação para sócio correspondente da instituição. Além dele, discursaram Luiz Filipe de Saldanha da Gama (1846 – 1895) e Antônio Augusto Fernandes Pinheiro (18? – ?). Augusto Teixeira Coimbra (18? – ?) também foi, na ocasião, nomeado sócio correspondente (Jornal do Commercio, 24 de setembro de 1869, segunda coluna; Revista do Instituto Politécnico Brasileiro, 1869).
+1870 – Na seção de 14 de junho de 1870 do Instituto Politécnico Brasileiro, sob a presidência do conde d´Eu (1842 – 1922), J.M. da Silva anunciou que Franz Keller havia viajado para a Europa (Revista do Instituto Politécnico Brasileiro, 1874).
+Foi autorizada a venda em hasta pública dos objetos comprados para a exploração dos rios Iguaçu, Ivahy, Paranapanema e Tibagi, entregues por Joseph e Franz Keller a Serafim Carvalho Baptista e José Feliciano da Silva (Dezenove de Dezembro, 12 de outubro de 1870, última coluna).
+1872 – Joseph Keller ainda se encontrava no Brasil (Jornal do Commercio, 7 de abril de 1872, sétima coluna).
+Em julho, Franz Keller (1835-1890) estava na Suíça.
+1873 – Retornou à Alemanha para tratar da saúde, fixando residência na cidade alemã de Karlsruhe. Conforme hjá mencionado, segundo o pesquisador Frank Kohl, Franz havia contraído malária no Amazonas e justamente por isto não pode aceitar o convite do coronel americano George Earl Church (1835-1910) para participar da construção da ferrovia Madeira-Mamoré, que utilizou os dados levantados pelos Keller naquela região. Church havia recebido do governo brasileiro a concessão para a construção da ferrovia. Porém, por diversos motivos, Church não concluiu o empreendimento (Revista do Instituto Politécnico Brasileiro, fevereiro de 1874).
+“A magnitude e a expectativa que despertaram os projetos de Church provocaram o acre zelo e a oposição daqueles que detinham o monopólio comercial da área, os comerciantes da Costa do Pacífico, na medida em que se propunha a abrir rota concorrente de comércio. De repente descobriram que uma companhia americana detinha um empreendimento que prometia penetrar pelo centro da América do Sul e transformar seu comércio. Ao utilizar a rede fluvial, afetaria poderosamente as relações políticas e inter comerciais de vários Estados hispano-americanos. Ferozes interesses contrariados se aliaram amplamente. A English Construction Company denunciou o contrato e aliou-se aos seus acionistas em um ataque ao fundo fiduciário ferroviário, que eles vincularam por liminar ao Tribunal de Chancelaria. O governo boliviano tentou apreender o fundo. O coronel Church lutou contra esses pesados ataques, defendendo o terreno a cada polegada que houvesse para sustentar ganhou batalha após batalha entre 1873 a 1878. O comitê dos detentores de títulos subornou o presidente boliviano Daza com £ 20.000 para tomar partido ao seu favor e instaurou um novo processo para revogação da concessão boliviana. Mesmo neste novo processo, o coronel Church ganhou no Tribunal de Primeira Instância. A Câmara dos Lordes finalmente resolveu a questão declarando impraticável o empreendimento, embora meses antes o governo brasileiro tivesse dado seu apoio inabalável ao coronel Church. A seu pedido foi decretado um complemento ao fundo existente com o montante necessário para concluir as obras ferroviárias. Na época em que a empresa faliu havia 1.200 homens trabalhando na linha férrea e uma locomotiva em tráfego no primeiro trecho inaugurado”.
+A Madeira-Mamoré e a notícia biográfica de George Earl Church feita por Clements Markham,
+por  Dante Ribeiro da Fonseca
+ 
+1874 –  Franz Keller (1835-1890) publicou o livro ilustrado Do Amazonas ao Madeira (Jornal do Commercio, de 31 de janeiro de 1874, na última coluna). Na edição alemã, ficou registrado na folha de rosto que as ilustrações da obra, reconstruídas com base nos esboços de Franz, foram gravadas em madeira na oficina gráfica de Adolf Clob (1840 – 1894). Franz, no prefácio do livro, agradece a seu pai, “meu fiel companheiro e colega de ciência nessa cansativa jornada, além de também agradecer ao meu irmão, professor Ferdinand Keller, especialista em pinturas históricas, cuja consultoria quanto às ilustrações me foram de inestimável valor”. O livro também foi editado em Londres pela Chapman & Hall, no mesmo ano, e possuia 68 ilustrações.
+ 
+Jornal do Commercio, 31 de janeiro de 1874
+ 
+Com uma carta enviada de Karslruhe, datada de 1º de maio de 1874, Franz respondeu ao opúsculo intitulado Estudo sobre o Rio Madeira (1873), do engenheiro baiano Eduardo José de Moraes (1830 – 1895). O autor afirmava que a expedição para a exploração do rio Madeira não havia atendido às instruções do governo imperial, o que Franz rebateu (Jornal do Commercio, 15 de julho de 1874, quinta coluna).
+1876 – Gravuras do livro Do Amazonas ao Madeira foram publicadas na revista Illustração Brasileira, fundada pelo litógrafo alemão Henrique Fleuiss (1823-1882) e muito importante na história da imprensa no Brasil. Seu modelo eram as revistas francesa L´Illustration e a inglesa The Illustrated London News. Para Joaquim Marçal Ferreira de Andrade, um dos curadores do portal Brasiliana Fotográfica e coordenador da BN Digital, as páginas do artigo de Franz Keller-Leuzinger foram um marco na história do projeto gráfico das páginas das revistas ilustradas do Brasil, “mesmo considerando-se que as matrizes eram alemãs”(Illustração Brasileira, 1º de julho e 15 de julho de 1876).
+ 
+
+ 
+
+ 
+Illustração Brasileira, 1º de julho de 1876
+ 
+Illustração Brasileira, 15 de julho de 1876
+ 
+Em Karlsruhe, na Alemanha, dom Pedro II (1825 – 1891), durante sua segunda viagem à Europa, encontrou-se com Franz  Keller (Novo e completo Índice Cronológico da História do Brasil). Na ocasião, Franz, que vivia na época de seus trabalhos artísticos, escreveu uma carta ao monarca, na qual expunha seus planos para o futuro em um possível retorno ao Brasil. Dentre seus projetos, pedia o monopólio para explorar o sal no Paraná e se voluntariava para intermediar a venda da pólvora da Alemanha para o Brasil.
+“Voltando desse modo outra vez as belas praias da Terra de Santa Cruz, isto é, acompanhando em pessoa um carregamento de pólvora e se necessário fosse de armamento ao Rio de Janeiro. V. M. I. dignasse talvez de encarregar-me outra vez com trabalhos técnicos como antigamente. Me seja permitido, afora os trabalhos de exploração dos rios, alinhamento de estradas e caminhos de ferro e o levantamento de mapas geográficos, citar a elaboração de projetos de abastecimento da capital com água potável, que dia a dia fica mais urgente“.
+Carta de Franz Keller-Leuzinger a D. Pedro II, 29 de julho de 1876.
+Seção de Manuscritos da Biblioteca Nacional
+ 
+Parece que esses projetos nunca se realizaram.
+Tanto ele como seu pai eram sócios correspondentes do Instituto Politécnico Brasileiro (Revista do Instituto Politécnico Brasileiro, outubro de 1876).
+1877 – Foi publicado, no primeiro número do jornal O Vulgarisador, a imagem do encontro de Franz com os índios Caripunas, do livro Do Amazonas ao Madeira (O Vulgarisador, 1ª edição, 1877).
+ 
+O Vulgarisador, 1a edição, 1877
+ 
+ “Eram criaturas fortes, bem conformadas e de estatura mediana; traziam pendentes comprimidos cabelos pretos; um dos homens apenas usava-os enrolados em trança. Um dente de anta atravessava-lhes as pontas das orelhas, e tinha, além disto, em outro buraco na separação de nariz, um pequeno molho de penas encarnadas de tucano. Não traziam armas, a esta circunstancia junto à presença de uma de suas mulheres na embarcação, respondia-nos pela benevolência de suas intenções” (O Vulgarisador, 1ª edição, 1877).
+ 
+Site Mast
+ 
+Sobre o livro, o editor de O Vulgarisador, o poeta, escritor e jornalista português Augusto Emilio Zaluar (1826 – 1882), comentou: “deve interessar a todos que ligam a verdadeiro apreço aos trabalhos desta natureza, que, infelizmente, ainda tanto escasseiam entre nós”. Ele emigrou para o Brasil, em 1849, e, sete anos depois, naturalizou-se cidadão brasileiro. Em 1876, recebeu a comenda da Ordem da Rosa e era amigo de escritores como Machado de Assis (1839 – 1908) e José de Alencar (1829 – 1877). Colaborou em diversos periódicos como A Época, Espelho e Álbum Semanal. O Vulgarizador circulou entre 1877 e 1881, no Rio de Janeiro. Seus livros mais conhecidos são Peregrinações pela Província de São Paulo (1860-1861) (1862) e Doutor Benignus (1875). Este último é considerado a primeira ficção científica brasileira.
+ 
+Augusto Emílio Zaluar por Fernand Delannoy / Acervo FBN
+ 
+Falecimento de Joseph (José) Keller (1811 – 1877).
+Década de 1880 - Durante essa década, Franz Keller, esteve no Brasil, mas voltou à Alemanha.
+1881 - Aquarelas de Joseph Keller fizeram parte da exposição História do Brasil, da Biblioteca Nacional.
+1889 – Franz Keller continuava sendo sócio correspondente do Instituto Politécnico Brasileiro (Revista do Instituto Politécnico Brasileiro, 1889).
+1890 - Franz Keller-Leuzinger faleceu em Munique, na Alemanha, em 18 de julho de 1890.
+ 
+Roteiro da Expedição à Amazônia segundo o Relatório da exploração do rio Madeira na parte compreendida entre a cachoeira de Santo Antônio e a barra do Mamoré
+ 
+Mapa desenhado por Franz Keller-Leuzinger reproduzindo o percurso de sua viagem, nolivro Do Amazonas ao Madeira
+ 
+1967
+10 de outubro – Foi assinada pelo governo imperial uma portaria incumbindo os engenheiros Franz e Joseph Keller em de explorar o rio Madeira na parte encachoeirada dele, desde Santo Antonio até a barra do rio Mamoré, e de elaborar os projetos mais apropriados para o melhoramento dessa importante via de comunicação com a província de Mato Grosso e a república da Bolívia.
+15 de novembro – A expedição parte do Rio de Janeiro. Além dos Keller, embarcaram no paquete Paraná o fotógrafo Christoph Albert Frisch (1840 – 1918), a esposa e a irmã de Franz, repectivamente, Sabine Christine Leuzinger (1842-1915), filha do fotógrafo e editor suíço Georges Leuzinger (1813 – 1892); e Pauline.
+1º de dezembro – Chegada em Belém.
+10 de dezembro – Chegada em Manaus, a bordo do vapor Belém. A expedição levava 32 volumes. O governador do Amazonas, José Coelho da Gama e Abreu, o barão de Marajó (1832 – 1906), os avisou que a subida das cachoeiras e o estudo do rio das enchentes difícil e penoso. Fizeram então o levantamento. O governador os encarregou de fazer um levantamento de parte da planta do Rio Negro e da cidade de Manaus. O ajudante José Manoel da Silva fez o levantamento da planta de Manaus. Devido à falta de remeiros, o trabalho do Rio Negro não pode ser realizado. Foi feito então um projeto e orçamento para a reconstrução de uma ponte manauara que estava em ruínas.
+ 
+ 1868
+ 
+9 de fevereiro – José Coelho da Gama e Abreu, o barão de Marajó (1832 – 1906) foi sucedido no governo do Amazonas por Jacinto Pereira do Rego que não atendeu às solicitações necessárias para a expedição: nem forneceu o número de guardas nem o vapor Jurupensen que poderia ter levado o pessoal e o trem da expedição até Santo Antônio.
+fevereiro / maio – Com o propósito de levar a cabo a missão, procuraram o vice-cônsul da Bolívia, Ignacio Araus, que encontrava-se em Manaus. Ele ofereceu toda a ajuda necessária e falou de um comerciante boliviano que iria para o Pará e, de lá, para a Bolívia. Dessa forma uma comissão ao mando do governo imperial seguiu viagem sob os auspícios de um particular.
+Compraram, em Serpa, uma canoa de lotação de 300 arrobas mal construída e em mal estado por não haver outra, do major Dalmazo de Souza Barriga.
+30 de maio – A comissão Keller partiu de Serpa, no Amazonas, atrás do comerciante boliviano, com sete tripulantes quando a canoa demandava ao menos 12. A embarcação levava mantimentos para 4 meses, ferramentas para a construção e conserto de canoa, instrumentos de medição, armamentos, toldos e barracas.
+9 de junho – Chegada à Borba com menos dois remeiros, que haviam fugido.
+10 a 13 de junho – Passaram por Sapucaia-oroca, dos índios Mura; a Ilha das Araras e pela barra do rio Aripuanã.
+madrugada de 14 para 15 de junho – Conserto de uma canoa, que perigava afundar.
+15 de junho – Passaram pelas pedras de Aruá.
+18 de junho – Chegaram ao engenho de Ignacio Araus, onde o comerciante boliviano os aguardava com impaciência. Transferiram a carga para uma canoa mais apropriada.
+21 de junho – Continuaram a viagem. A comitiva tinha 70 índios bolivianos das missões do Mamoré como remeiros e pilotos de sete canoas e de oito brancos.
+30 de junho – Encontraram uma família de índios Mura. Por alguns dias, seguiram a expedição. Compraram tartarugas dos índios.
+início de julho – Acima de um lugar denominado Três Casas visitaram a barraca de alguns seringueiros bolivianos que com os índios Moxos exploravam a resina.
+5 de julho – Chegaram ao Crato, uma estância para a criação de gado. Lá se encontrava o destacamento de Santo Antônio que, nessa época do ano, princípio da estação de chuvas, se retirava de Santo Antônio para um lugar mais salubre. Foram recebidos com cordialidade pelo comandante do destacamento que os apresentou ao dono do lugar, o capitão Tenório.
+10 a 15 de julho – Passaram à Ilha das Abelhas, à barra do Pirapitanga e a do Jamary, muito rica em peixes mas infestada pelas febres de caráter maligno.
+16 de julho – Chegaram à Ilha dos Mutuns e à praia dos Tamanduás, onde, no mês de setembro, milhares de tartarugas vêm desovar. Na mesma época, seringueiros e pescadores vêm para o local, onde juntam os ovos das tartarugas para a fabricação de manteiga e levam tartarugas, causando grande destruição.
+Chegada à Cachoeira de Santo Antônio. Foi necessário descarregar as canoas e transportar tudo para 450 metros acima dos rochedos da margem esquerda..
+18 de julho – Chegaram na correnteza dos Macacos da qual já se descobre a fumaça que levanta o salto do Theotônio.
+22 de julho – Chegaram à Cachoeira dos Morrinhos, que tinha dois saltos distintos.
+25 de julho – Entre Morrinhos e o Caldeirão do Inferno encontraram canoas construídas com cascas de Jatubá pelo índios Caripunas, que habitavam aquela altura do rio. Foram convidados por eles para visitarem suas malocas e foram presenteados com raízes de mandioca e milhos em espiga. Ofertaram aos índios facas, tesouras e anzóis. Dias depois, encontraram outros Caripunas, de quem compraram uma anta e um porco do mato. Esses encontros transcorreram, segundo o relatório da expedição, sempre em um clima de amizade e harmonia.
+26 de julho – Chegaram à parte inferior da perigosa Cachoeira do Caldeirão do Inferno. Muitas cruzes rodeavam o local, onde diversos barcos haviam naufragado e pessoas morrido de febres malignas. O engenheiro peruano Maldonado foi uma das vítimas de um naufrágio na região. Um dos índios remeiros da comissão Keller faleceu no local devido a uma inflamação intestinal.
+27 de julho – Avistaram os morros ao pé do Salto do Girão. Durante quatro dias foi feito o transporte das cargas e a varação das canoas.
+31 de julho e 1º de agosto – Continuaram a viagem e chegaram a Pedras de Amolar, nome dado ao local por navegantes devido às camadas de gres argiloso (arenito). À tarde, chegaram à correnteza mais forte dos Três Irmãos, com uma  queda de menos de um metro.
+3 e 4 de agosto – Chegada à Cachoeira do Paredão, com uma queda divida em duas partes.
+5 de agosto – Chegada à Cachoeira Pederneira, assim chamada devido a presença de veias de quartzo nas fendas do rochedo. Rio acima, a cacheira mais próxima era a das Araras. Pouco acima da Pederneira, se acha à margem esquerda a barra do rio Abuná.
+9 a 15 de agosto – Chegaram à Cachoeira do Ribeirão onde ficaram até dia 15. Ela é formada por cinco saltos. Foi observado que os riscos das pedras em um dos saltos formam uma paralela interessante com a representação tosca de objetos celestes e de animais nos rochedos do Orenoco, descritos por Humboldt.
+15 a 18 de agosto – Chegaram à Cachoeira do Madeira e à Cachoeira das Lages.
+19 de agosto – Chegada ao Salto das Bananeiras. A passagem do salto durou dois dias, as canoas tiveram que ser descarregadas e transportadas por cima dos rochedos.
+21 a 22 de agosto – Após uma seca extraordinária, chuva forte e queda da temperatura para 11º.
+23 de agosto – Chegada à Cachoeira do Guajará-Guassu. As cargas foram transportadas por terra e as canoas por água a sirga (puxadas por cordas).
+24 de agosto – Chegada à Cachoeira Guajará-Mirim. Encontraram 10 canoas bolivianas carregadas com couros e sebo, Por seu dono, de Santa Cruz de la Sierra, enviaram ofícios e cartas para o Rio de Janeiro e para o Pará. No mesmo dia, chegaram à barra do Ribeirão da Paca Nova, ao pé da serra homônima. As canoas estavam quase todas defeituosas. Foram tiradas da água e calafetadas.
+1º de setembro – A expedição chegou na junção do rio Mamoré com o Guaporé, onde habitava uma tribo indígena. Seguiram para o Serrito, sítio do brasileiro Antônio de Barros Cardoso, que morava na Bolívia há cerca de 15 anos e recebeu a expedição com a maior afabilidade. Ele já havia ajudado anteriormente, no início da década de 1850, o explorador Lardner Gibbon (1820 – 1910), tenente da Marinha dos Estados Unidos. Ele acompanhou a expedição até Exaltacion de la Santa Cruz, na Bolívia, uma antiga missão dos jesuitas.
+10 de setembro – Chegada a Exaltacion de la Santa Cruz, onde Franz foi recebido pelas autoridades bolivianas. Com o prefeito da cidade, A. Morant, conversou sobre a o engajamento de índios remeiros para integrar a expedição. A essa altura já havia sido feita a aquisição de canoas e mantimentos.
+15 de outubro – Partida para o sítio do Serrito, onde permaneceram até dia 19 de outubro. O comboio era formado por cinco embarcações de diferentes tamanhos – uma galeota, duas ubás, uma montaria e uma igarité – com uma tripulação total de 32  remeiros.
+21 de outubro – Chegada à barra do Mamoré, onde ficaram dois dias medindo o volume cúbico das águas dos rios Mamoré e Guaporé.
+24 de outubro – Estavam nas Ilhas Cavalo Marinho onde iniciaram uma medição detalhada com o micrômetro. À noite, houve uma tempestade.
+25 de outubro – Realização da exploração e sondagem do rio Guajará-Mirim.
+27 de outubro –  Passaram o Salto das Bananeiras e, devido ao mau tempo, as embarcações chegaram a encostar e um rochedo. Alguns dos índios assim como um dos engenheiros da expedição tiveram uma febre intermitente e foram tratados com sulfato de quinino. Terá sido Franz o engenheiro já que se sabe que ele provavelmente contraiu malária durante a expedição? Fazia muito calor e à noite houve um temporal.
+30 de outubro – Haviam chegado com a medição até a Cachoeira do Pao-Grande.
+2 a 7 de novembro – Estavam na barra do rio Beni, onde entraram para realizar a medição de suas águas. Passaram pela Cachoeira do Madeira, pela passagem do Ribeirão, pelos Periquitos e pelas Araras. No dia 7, devido às chuvas, foram obrigados a parar e armar os toldos e as barracas.
+8 de novembro – Chegada ao Paredão.
+11 e 12 de novembro – Passaram por Três Irmãos e pelo Salto do Girão.
+13 a 15 de novembro – Passaram pelo Caldeirão do Inferno e reencontraram os índios Carapunas. Encontram também outra tribo indígena. Uma das canoas da expedição quase naufragou.
+16 de novembro – Passaram pela barra do Jassiparaná e chegaram, à tarde, à Cachoeira dos Morrinhos.
+17 e 18 de novembro – Chegaram ao Salto do Theotônio.
+19 e 20 de novembro – Passaram pela correnteza dos Macacos e pela Cachoeira de Santo Antônio.
+21 de novembro – Chegada ao Crato, primeiro ponto onde se encontram alguns recursos. Deixaram com o comandante do destacamento de Santo Antônio uma das ubás para ser devolvida ao brasileiro Antônio de Barros Cardoso, a quem pertencia.
+25 de novembro – Passaram o Manicoré e chegaram ao sítio de J. Arans, onde deixaram uma das embarcações e parte da tripulação. Seguiram viagem com três canoas. Na aldeia dos Muras fizeram uma medição do volume cúbico das águas do rio Madeira.
+26 de novembro – Chegaram à vila de Borba.
+30 de novembro – Chegada a Serpa. Remeteram as canoas ao major Damazo de Souza Barriga e deram conhecimento desse ato ao presidente da província.
+Passaram em Manaus onde entregaram no depósito do trem bélico armamentos e utensílios. Encontraram-se com o presidente da província.
+14 de dezembro – Chegada no Pará.
+ 
+1969
+4 de janeiro – Chegada ao Rio de Janeiro.
+ 
+ 
+Andrea C.T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+Acervo do IMS- Cartas de Georges Leuzinger
+ANDRADE, Joaquim Marçal Ferreira de. A trajetória de Henrique Fleiuss, da Semana Ilustrada: subsídios para uma biografia. In: KNAUSS, Paulo et alli (org.) Revistas Ilustradas: modos de ler e ver no Segundo Reinado. Rio de Janeiro: MAUAD; FAPERJ, p.53-66, 2011.
+BELLUZZO, Ana Maria de Moraes. O Brasil dos Viajantes. Vol.2. São Paulo: Metalivros, 1994.
+Dicionário de Verbetes AGCRJ
+Enciclopédia Itaú Cultural
+FERREZ, Gilberto. A fotografia no Brasil: 1840-1900. 2ª edição. Rio de Janeiro: FUNARTE, 1985.
+FASOLATO, Jorge Douglas Alves. Estrada União e Indústria: paisagem, intervenção e fotografias de Revert Henry Klumb na perspectiva de uma rota cultural. Fundação Casa de Rui Barbosa Programa de Pós-Graduação em Memória e Acervos Mestrado Profissional em Memória e Acervos, 2020.
+FONSECA, Dante Ribeiro da. A Madeira-Mamoré e a notícia biográfica de George Earl Church feita por Clements Markham. Gente de Opinião, 29 de outubro de 2019.
+Biblioteca de jornais digitais da Biblioteca Nacional
+KELLER-LEUZINGER, Franz. Os rios Amazonas e Madeira : esboços e descrições do caderno de um explorador . Londres: Chapman & Hall, 1874.
+KELLER-LEUZINGER, Franz (1835-1890). Os Rios Amazonas e Madeira: esboços e relatos de um explorador / Franz Keller-Leuzinger; tradução, apresentação e notas de Adriano Gonçalves Feitosa – Belo Horizonte : Editora Dialética, 2021.
+KOHL, Frank Stephan. Um jovem mestre da fotografia na Casa Leuzinger. Cadernos de Fotografia Brasileira/IMS, n.3, p.185-214, 2006.
+KOSSOY, Boris. Dicionário histórico-fotográfico brasileiro: fotógrafos e ofício da fotografia no Brasil (1833-1910). São Paulo: Instituto Moreira Salles, 2002.
+PESSOA, Ana; SANTOS, Ana Lucia Vieira dos. Th. Marx, um arquiteto na corte de D. Pedro II. 3° Congresso Internacional de História da Construção Luso-Brasileira (CIHCLB), realizado em Salvador (BA) nos dias 3 a 6 de setembro de 2019
+Relatório da exploração do rio Madeira na parte compreendida entre a cachoeira de Santo Antônio e a barra do Mamoré (Diário de Belém, 10 de outubro de 1869, última coluna; 12 de outubro de 1869, primeira coluna; 13 de outubro, terceira coluna; 14 de outubro de 1869, primeira coluna; 15 de outubro, segunda coluna; 16 de outubro de 1869, terceira coluna).
+SENNA, Ernesto. O Velho Comércio do Rio de Janeiro. 2ª edição. Rio de Janeiro: G Ermakoff, 2006.
+Site Biblioteca Digital Mundial
+Site Infoescola
+Site Mast
+Stolberg-Wernigerode, Otto: New German Biography . Berlim: Editor Fritz Wagner, 1997.
+VASQUEZ, Pedro Karp. Fotógrafos Alemães no Brasil do século XIX. São Paulo: Metalivros, 2000. p.77.
+VERGARA, Moema de Rezende. A Exploração dos rios Amazonas e Madeira no Império Brasileiro por Franz Keller-Leuzinger: imprensa e nação. Almanack. Guarulhos, n.06, p.81-94, 2º semestre de 2013.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/4372` — `itens/20.500.12156.1_4372/`
+- `20.500.12156.1/15` — `itens/20.500.12156.1_15/`
+- `20.500.12156.1/2020` — `itens/20.500.12156.1_2020/`
+- `20.500.12156.1/3622` — `itens/20.500.12156.1_3622/`
+
diff --git a/wordpress/25175-serie-o-rio-de-janeiro-desaparecido-xiv-o-conselho-municipal-do-rio-de-janeiro.md b/wordpress/25175-serie-o-rio-de-janeiro-desaparecido-xiv-o-conselho-municipal-do-rio-de-janeiro.md
new file mode 100644
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@@ -0,0 +1,71 @@
+---
+id: 25175
+url: "https://brasilianafotografica.bn.gov.br/?p=25175"
+titulo: "Série “O Rio de Janeiro desaparecido” XIV – O Conselho Municipal do Rio de Janeiro"
+autor: "Andrea Wanderley"
+data: "2021-11-19T12:37:53+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/8230"]
+fetched_at: "2026-09-10T10:08:17.260Z"
+---
+
+# Série “O Rio de Janeiro desaparecido” XIV – O Conselho Municipal do Rio de Janeiro
+
+No 14º artigo da Série O Rio de Janeiro desaparecido, o tema é o Conselho Municipal do Rio de Janeiro, fotografado pelo alagoano Augusto Malta, em torno de 1904, em seus primeiros anos como fotógrafo oficial da Prefeitura do Rio de Janeiro, cargo que ocupou de 1903 a 1936. Localizava-se na Praça Ferreira Viana, no antigo Largo da Mãe do Bispo, hoje Praça Floriano, no centro da cidade.
+ 
+Augusto Malta. Conselho Municipal, c. 1904. Rio de Janeiro, RJ / Acervo IMS
+ 
+O prédio, cuja pedra fundamental foi lançada, em 22 de maio de 1871, abrigou o Colégio São José e, a partir de 1895, o Conselho Municipal do Rio de Janeiro. Durante a reforma urbana empreendida pelo prefeito Francisco Pereira Passos (1836 – 1913), entre 1903 e 1906,  parte da imprensa, homens públicos e especialistas em saúde e tecnologia pressionaram o governo no sentido de condenar a arquitetura de citação portuguesa ou que viesse do período colonial. Mas o prefeito decidiu manter o prédio do Conselho Municipal, que tinha esse perfil, e, a seu lado, erguer o Teatro Municipal do Rio de Janeiro, inaugurado em 14 de julho de 1909. Segundo André Nunes de Azevedo, Pereira Passos propunha, dessa forma, um futuro que encarava o passado sem temor, sem desejo de superá-lo, de vencê-lo, mas como parte dele.
+Em 1918, o edifício foi demolido para dar lugar ao prédio atual, denominado Palácio Pedro Ernesto, inaugurado em 1923, onde funciona a Câmara dos Vereadores do Rio de Janeiro. Foi projetado por Heitor de Mello (1875 – 1920), porém ele faleceu em 14 de setembro de 1920. Na época, seu sócio era o franco-suíço Francique Cuchet (18? – 19?). Com sua morte, o arquiteto cearense Archimedes Memória (1893 – 1960) e Cuchet estabeleceram contrato de sociedade em partes iguais do “Escriptorio Technico Heitor de Mello – A. Memória & F. Couchet, architectos. Foram  eles que deram continuidade ao projeto do Palácio Pedro Ernesto, iniciado por Heitor de Mello (Vida Doméstica, 21 de julho de 1923).
+ 
+Conselho Municipal do Rio de Janeiro / Cartão Postal da Casa Staffa, na rua do Ouvidor, 127
+ 
+Na edição de O Cruzeiro, de 9 de setembro de 1950, foi publicada a matéria Biografia da cidade – Do Convento da Ajuda às luzes da Cinelândia , com texto de Raymundo Athayde e fotos de Augusto Malta (1864 – 1957) e do importante fotojornalista Luciano Carneiro (1926 – 1959). Contava a história da Cinelândia e as fotos antigas que ilustraram a reportagem foram produzidas por Malta, em 1911. Uma delas, abaixo reproduzida, é um registro do Conselho Municipal. Lembramos que o Convento da Ajuda foi o tema do 13º artigo da série O Rio de Janeiro desaparecido, publicado em 19 de outubro de 2021.
+ 
+Conselho Municipal, por Augusto Malta / O Cruzeiro, 9 de setembro de 1950
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+AZEVEDO, André Nunes de. A grande reforma urbana do Rio de Janeiro: Rodrigues Alves, Pereira Passos e as ideias de civilização e progresso. Rio de Janeiro ; Ed PUC, 2016.
+Diário do Rio
+Dunlop, Charles Julius. Legislativo Municipal in Rio Antigo. 3ª Tiragem ed. Rio de Janeiro: Editora Rio Antigo, 1963. (Composto e impresso na Gráfica Laemmert, Ltda.).
+Hemeroteca Digital da Biblioteca Nacional
+Wikilivros
+ 
+Links para os outros artigos da Série O Rio de Janeiro desaparecido
+ 
+Série O Rio de Janeiro desaparecido I - Salas de cinema do Rio de Janeiro do início do século XX, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 26 de fevereiro de 2016.
+Série O Rio de Janeiro desaparecido II – A Exposição Nacional de 1908 na Coleção Família Passos, de autoria de Carla Costa, historiadora do Museu da República, publicado na Brasiliana Fotográfica, em 5 de abril de 2018.
+Série O Rio de Janeiro desaparecido III – O Palácio Monroe, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica, em 9 de novembro de 2016.
+Série O Rio de Janeiro desaparecido IV - A via elevada da Perimetral, de autoria da historiadora Beatriz Kushnir, publicado na Brasiliana Fotográfica em 23 de junho de 2017.
+Série O Rio de Janeiro desaparecido V – O quiosque Chopp Berrante no Passeio Público, Ferrez, Malta e Charles Dunlop, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 20 de julho de 2018.
+Série O Rio de Janeiro desaparecido VI – O primeiro Palácio da Prefeitura Municipal do Rio de Janeiro, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 12 de setembro de 2018.
+Série O Rio de Janeiro desaparecido VII – O Morro de Santo Antônio na Casa de Oswaldo Cruz, de autoria de historiador Ricardo Augusto dos Santos da Casa de Oswaldo Cruz, publicado na Brasiliana Fotográfica em 5 de fevereiro de 2019.
+Série O Rio de Janeiro desaparecido VIII – A demolição do Morro do Castelo, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 30 de abril de 2019.
+Série O Rio de Janeiro desaparecido IX – Estrada de Ferro Central do Brasil: estação e trilhos, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 12 de novembro de 2019.
+Série O Rio de Janeiro desaparecido X – No Dia dos Namorados, um pouco da história do Pavilhão Mourisco em Botafogo, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 12 de junho de 2020.
+Série O Rio de Janeiro desaparecido XI – A Estrada de Ferro do Corcovado e o mirante Chapéu de Sol, de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 22 de julho de 2021.
+Série O Rio de Janeiro desaparecido XII – o Teatro Lírico (Theatro Lyrico), de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 15 de setembro de 2021.
+Série O Rio de Janeiro desaparecido XIII – O Convento da Ajuda, de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 12 de outubro de 2021.
+Série O Rio de Janeiro desaparecido XV – A Praia de Santa Luzia no primeiro dia do verão, de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 21 de dezembro de 2021.
+Série O Rio de Janeiro desaparecido XVI – O prédio da Academia Imperial de Belas Artes, de autoria de Andrea C.T. Wanderley, publicado na Brasiliana Fotográfica em 13 de janeiro de 2022.
+Série O Rio de Janeiro desaparecido XVII – Igreja São Pedro dos Clérigos, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 18 de março de 2022.
+Série O Rio de Janeiro desaparecido XVIII – A Praça Onze, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 20 de abril de 2022.
+Série O Rio de Janeiro desaparecido XIX – A Igrejinha de Copacabana, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 23 de junho de 2022.
+Série O Rio de Janeiro desaparecido XX – O Pavilhão dos Estados, futuro prédio do Ministério da Agricultura, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 26 de julho de 2022.
+Série O Rio de Janeiro desaparecido XXI – O Chafariz do Largo da Carioca, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 19 de setembro de 2022. 
+Série O Rio de Janeiro desaparecido XXII – A Cadeia Velha que deu lugar ao Palácio Tiradentes, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 11 de abril de 2023
+Série O Rio de Janeiro desaparecido XXIII e Avenidas e ruas do Brasil XVII - A Praia e a Rua do Russel, na Glória, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 15 de maio de 2023
+Série O Rio de Janeiro desaparecido XXIV – O luxuoso Palace Hotel, na Avenida Rio Branco, uma referência da vanguarda artística no Rio de Janeiro, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 4 de julho de 2023
+Série O Rio de Janeiro desaparecido XXV – O Theatro Phenix, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 5 de setembro de 2023
+Série O Rio de Janeiro desaparecido XXVI – Conclusão do arrasamento do Morro do Castelo por Augusto Malta, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 14 de dezembro de 2023
+Série O Rio de Janeiro desaparecido XXVII e Série Os arquitetos do Rio de Janeiro V – O Jockey Club e o Derby Club, na Avenida Rio Branco e o arquiteto Heitor de Mello (1875 – 1920), de autoria de Andrea c. T. Wanderley, editora e pesquisadora do portal, em 15 de janeiro de 2024
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/8230` — `itens/20.500.12156.1_8230/`
+
diff --git a/wordpress/25186-no-dia-da-arvore-mangueiras-fotografadas-por-ferrez-e-leuzinger.md b/wordpress/25186-no-dia-da-arvore-mangueiras-fotografadas-por-ferrez-e-leuzinger.md
new file mode 100644
index 0000000..35b5564
--- /dev/null
+++ b/wordpress/25186-no-dia-da-arvore-mangueiras-fotografadas-por-ferrez-e-leuzinger.md
@@ -0,0 +1,122 @@
+---
+id: 25186
+url: "https://brasilianafotografica.bn.gov.br/?p=25186"
+titulo: "No Dia da Árvore, mangueiras fotografadas por Ferrez e Leuzinger"
+autor: "Andrea Wanderley"
+data: "2021-09-21T12:24:20+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/7247", "20.500.12156.1/6714", "20.500.12156.1/6404", "20.500.12156.1/4356", "20.500.12156.1/6411", "20.500.12156.1/2032", "20.500.12156.1/8905", "20.500.12156.1/2575"]
+fetched_at: "2026-09-10T10:08:20.705Z"
+---
+
+# No Dia da Árvore, mangueiras fotografadas por Ferrez e Leuzinger
+
+Com imagens de mangueiras produzidas pelos fotógrafos Georges Leuzinger (1813 – 1892) e por Marc Ferrez (1843 – 1923), em fins do século XIX, a Brasiliana Fotográfica lembra o Dia da Árvore. As árvores são importantes símbolos da natureza, essenciais riquezas naturais do planeta Terra, e um dia comemorativo em torno delas remete à importância da preservação do meio ambiente. É celebrado pouco antes da chegada da primavera no hemisfério sul, que neste ano acontecerá amanhã, dia 22, às 16h21.
+Nas imagens selecionadas, há um registro curioso, de uma mangueira e um coqueiro que se confundem e outras, onde a presença humana de uma certa forma ressalta a força da natureza, sua dimensão e exuberância. A beleza é o denominador comum de todas as fotos. Sugerimos que vocês utilizem o zoom e explorem os detalhes de cada imagem.
+ 
+Marc Ferrez. Coqueiro e mangueira. c. 1885. Rio de Janeiro, RJ / Acervo IMS
+ 
+O carioca e filho de franceses Marc Ferrez (1843 – 1923) foi um brilhante cronista visual das paisagens e dos costumes cariocas da segunda metade do século XIX e do início do século XX. Sua vasta e abrangente obra iconográfica se equipara a dos maiores nomes da fotografia do mundo. Estabeleceu-se como fotógrafo com a firma Marc Ferrez & Cia, em 1867, na rua São José, nº 96, e logo se tornou o mais importante profissional da área no Rio de Janeiro. Cerca de metade da produção fotográfica de Ferrez foi realizada na cidade e em seus arredores, onde registrou, além do patrimônio construído, a exuberância das paisagens naturais.
+ 
+Marc Ferrez. Mangueiras no Jardim Botânico, c. 1880. Rio de Janeiro, RJ / Acervo IMS
+ 
+Acessando o link para as fotografias de mangueiras disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Marc Ferrez. Mangueira, c. 1880. Rio de Janeiro, RJ / Acervo IMS
+ 
+O fotógrafo e editor suíço Georges Leuzinger (1813 – 1892) é um dos mais importantes fotógrafos e difusores para o mundo da fotografia sobre o Brasil no século XIX, além de pioneiro das artes gráficas no país. Grande empreendedor, montou um sofisticado e diversificado complexo editorial, a Casa Leuzinger, que se tornaria um polo de publicações e de produções fotográficas, alçando o Brasil ao mesmo nível da produção europeia do setor.
+ 
+Georges Leuzinger. Mangifera indica (mangueira), c, 1866. Rio de Janeiro, RJ / Convênio Instituto Moreira Salles – Leibniz-Institut für Länderkunde
+ 
+Algumas das árvores nativas do Brasil são a Pata de Vaca (Bauhinia variegata), a Quaresmeira (Tibouchina granulosa), o Jacarandá de Minas (Jacaranda Cuspidifolia), a Sibipiruna (Caesalpinia Peltophoroides), o Manacá da Serra (Tibouchina mutabilis), a Chuva de Ouro (Lophantera lactescens), o Ipê-branco (Tabebuia roseo-alba), a Babosa Branca (Cordia superba), Ipê-amarelo (Tabebuia ochracea), a Aroeira-vermelha (Astronium fraxinifolium), o Angico-branco (Anadenanthera colubrina), o Cambucá (Plinia edulis), a Guabiroba-árvore (Campomanesia xanthocarpa), a Grumixama (Eugenia brasiliensis), o Açoita-cavalo miúdo (Luehea divaricata), a Sapuva (Machaerium stipitatum)  e o Jacarandá-paulista (Machaerium villosum).
+ 
+Acessando o link para as fotografias de árvores disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Marc Ferrez. Jardim Botânico – Aléia das mangueiras, c. 1880. Rio de Janeiro, RJ / Acervo IMS
+ 
+Curiosidades
+ 
+Segundo o site Brasil Escola, cada região do Brasil possui uma árvore como símbolo:
+ 
+Arvore símbolo da região Norte – castanheira;
+ 
+Árvore símbolo da região Nordeste – carnaúba;
+ 
+Georges Leuzinger. Carnaúba, c. 1867 . Rio de Janeiro, RJ / Acervo IMS
+ 
+Árvore símbolo da região Centro-Oeste – ipê amarelo;
+ 
+Árvore símbolo da região Sudeste – pau-brasil;
+ 
+Árvore símbolo da região Sul – araucária.
+ 
+Marc Ferrez. Araucária, 1880 – 1884. Paraná / Acervo FBN
+ 
+Velhas Árvores
+Olavo Bilac (1865 – 1918)
+Olha estas velhas árvores, mais belas
+ Do que as árvores moças, mais amigas,
+ Tanto mais belas quanto mais antigas,
+ Vencedoras da idade e das procelas…
+ O homem, a fera e o inseto, à sombra delas
+ Vivem, livres da fome e de fadigas:
+ E em seus galhos abrigam-se as cantigas
+ E os amores das aves tagarelas.
+ Não choremos, amigo, a mocidade!
+ Envelheçamos rindo. Envelheçamos
+ Como as árvores fortes envelhecem,
+ Na glória de alegria e da bondade,
+ Agasalhando os pássaros nos ramos,
+ Dando sombra e consolo aos que padecem!
+ 
+Olavo Bilac / O Rio de Janeiro do meu tempo, de Luiz Edmundo
+ 
+Publicações da Brasiliana Fotográfica em torno da obra do fotógrafo Marc Ferrez 
+ 
+Marc Ferrez aos 33 anos, c. 1876. Rio de Janeiro, RJ / Acervo IMS
+O Rio de Janeiro de Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 30 de junho de 2015
+Obras para o abastecimento no Rio de Janeiro por Marc Ferrez , de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 25 de janeiro de 2016
+O brilhante cronista visual Marc Ferrez (7/12/1843 – 12/01/1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 7 de dezembro de 2016
+Do natural ao construído: O Rio de Janeiro na fotografia de Marc Ferrez, de autoria de Sérgio Burgi, um dos curadores da Brasiliana Fotográfica, publicada em 19 de dezembro de 2016
+No primeiro dia da primavera, as cores de Marc Ferrez (1843 – 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 22 de setembro de 2017
+Marc Ferrez , a Comissão Geológica do Império (1875 – 1878) e a Exposição Antropológica Brasileira no Museu Nacional (1882), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica,  publicada em 29 de junho de 2018
+Série “O Rio de Janeiro desaparecido” V – O quiosque Chopp Berrante no Passeio Público, Ferrez, Malta e Charles Dunlop, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 20 de julho de 2018
+Uma homenagem aos 175 anos de Marc Ferrez (7 de dezembro de 1843 – 12 de janeiro de 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 7 de dezembro de 2018 
+Pereira Passos e Marc Ferrez: engenharia e fotografia para o desenvolvimento das ferrovias, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 5 de abril de 2019
+Fotografia e ciência: eclipse solar, Marc Ferrez e Albert Einstein, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 24 de junho de 2019
+Os 180 anos da invenção do daguerreótipo – Os álbuns da Comissão Geológica do Império com fotografias de Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 19 de agosto de 2019
+Celebrando o fotógrafo Marc Ferrez (1843 – 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 4 de dezembro de 2019
+Uma homenagem da Casa Granado ao imperial sob as lentes de Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 7 de fevereiro de 2020
+Ressaca no Rio de Janeiro invade o porão da casa do fotógrafo Marc Ferrez, em 1913, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado 6 de março de 2020
+Petrópolis, a Cidade Imperial, pelos fotógrafos Marc Ferrez e Revert Henrique Klumb, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 16 de março de 2020
+Bambus, por Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 5 de junho de 2020
+O Baile da Ilha Fiscal: registro raro realizado por Marc Ferrez e retrato de Aurélio de Figueiredo diante de sua obra, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 9 de novembro de 2020
+O Palácio de Cristal fotografado por Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 2 de fevereiro de 2021
+A Estrada de Ferro do Paraná, de Paranaguá a Curitiba, pelos fotógrafos Arthur Wischral (1894 – 1982) e Marc Ferrez (1843 – 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 22 de março de 2021
+Dia dos Pais – Julio e Luciano, os filhos do fotógrafo Marc Ferrez, e outras famílias, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 6 de agosto de 2021
+Retratos de Pauline Caroline Lefebvre, sogra do fotógrafo Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 28 de abril de 2022
+A Serra dos Órgãos: uma foto aérea e imagens realizadas pelos mestres Ferrez, Leuzinger e Klumb, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 30 de junho de 2022
+O centenário da morte do fotógrafo Marc Ferrez (1843 – 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 12 de janeiro de 2023
+O Observatório Nacional pelas lentes de Marc Ferrez, amigo de vários cientistas, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 29 de maio de 2023
+No Dia Mundial do Meio Ambiente, a potente imagem da Cachoeira de Paulo Afonso, por Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 5 de junho de 2023
+A Fonte Adriano Ramos Pinto por Guilherme Santos e Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 18 de julho de 2023
+Os 180 anos de nascimento do fotógrafo Marc Ferrez (1843 – 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 7 de dezembro de 2023
+ 
+ 
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/7247` — `itens/20.500.12156.1_7247/`
+- `20.500.12156.1/6714` — `itens/20.500.12156.1_6714/`
+- `20.500.12156.1/6404` — `itens/20.500.12156.1_6404/`
+- `20.500.12156.1/4356` — `itens/20.500.12156.1_4356/`
+- `20.500.12156.1/6411` — `itens/20.500.12156.1_6411/`
+- `20.500.12156.1/2032` — `itens/20.500.12156.1_2032/`
+- `20.500.12156.1/8905` — `itens/20.500.12156.1_8905/`
+- `20.500.12156.1/2575` — `itens/20.500.12156.1_2575/`
+
diff --git a/wordpress/25310-serie-teatros-e-cinemas-do-brasil-vi-o-theatro-de-santa-isabel-no-recife.md b/wordpress/25310-serie-teatros-e-cinemas-do-brasil-vi-o-theatro-de-santa-isabel-no-recife.md
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+++ b/wordpress/25310-serie-teatros-e-cinemas-do-brasil-vi-o-theatro-de-santa-isabel-no-recife.md
@@ -0,0 +1,122 @@
+---
+id: 25310
+url: "https://brasilianafotografica.bn.gov.br/?p=25310"
+titulo: "Série “Teatros e cinemas do Brasil” VI – O Theatro de Santa Isabel no Recife"
+autor: "Andrea Wanderley"
+data: "2021-10-28T12:44:21+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/2642", "20.500.12156.1/6918", "20.500.12156.1/7060"]
+fetched_at: "2026-09-10T10:08:23.930Z"
+---
+
+# Série “Teatros e cinemas do Brasil” VI – O Theatro de Santa Isabel no Recife
+
+Com imagens produzidas pelos fotógrafos Moritz (Maurício) Lamberg (18? – 19?) e  Manoel Tondella (1861 – 1921), a Brasiliana Fotográfica destaca o Teatro de Santa Isabel, inaugurado no Recife, em 18 de maio de 1850, após quase 10 anos de obras, com a encenação da peça O Pajem D´Aljubarrota, do escritor português José da Silva Mendes Leal (1820 – 1886).
+ 
+O Commercial, 18 de maio de 1850
+ 
+Acessando o link para as fotografias do Teatro de Santa Isabel no Recife disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+O Commercial, 31 de maio de 1850. Trecho de uma carta de José Barreto para Manoel de Camaragibe.
+ 
+O Teatro de Santa Isabel é o primeiro e mais expressivo exemplar da arquitetura neoclássica em Pernambuco e sua abertura deu início a uma nova fase artística, social e cultural da então província.
+ 
+Moritz Lamberg. Teatro Santa Isabel, c. 1880. Recife, Pernambuco / Acervo IMS
+ 
+Foi o Conde da Boa Vista, Francisco do Rego Barros (1802 – 1870), governador de Pernambuco entre 1837 e 1844, que idealizou a construção de um teatro público no Recife. Ele assinou, em 30 de abril de 1839, a Lei número 74, autorizando sua construção.
+ 
+Conde da Boa Vista / Wikipedia
+ 
+O projeto foi elaborado e dirigido pelo engenheiro francês Louis Léger Vauthier (1815 – 1901), que chegou no Recife, em setembro de 1840. Foi um dos profissionais cuja vinda foi promovida por Rego Barros, já que Pernambuco não dispunha, na ocasião, de engenheiros, arquiteto, pedreiros e carpinteiros especializados. Vauthier ocupou o cargo de Diretor de Obras Públicas do Recife e coordenou posteriormente as obras do Mercado Público de São José, que começaram em 14 de junho de 1872, por determinação do presidente da província de Pernambuco, Henrique Pereira de Lucena (1835 – 1913).
+ 
+Louis Leger Vauthier, por Antônio Rangel de Torres Bandeira, 1854 / Wikipedia
+ 
+A construção do Teatro de Santa Isabel foi realizada por trabalho não-escravo e com recursos vindos de loterias, da companhia de acionistas e do tesouro da província, uma inovação para a época. Chamado inicialmente de Teatro de Pernambuco, foi, pouco antes de sua inauguração, batizado de Teatro de Santa Isabel pelo então governador do estado, Honório Hermeto Carneiro Leão (1801 – 1856).
+ 
+Honório Hermeto Carneiro Leão / Site Aulas de História
+ 
+No dia 19 de setembro de 1869, um incêndio destruiu quase totalmente o teatro, tornando-o um montão de ruínas: apenas as paredes laterais, o alpendre e o pórtico ficaram de pé (Diário de Pernambuco, 20 de setembro de 1869, terceira coluna; Diário de Pernambuco, 21 de setembro de 1869, última coluna; Diário de Pernambuco, 20 de dezembro de 1869, segunda coluna).
+ 
+Jornal do Recife, 21 de setembro de 1869
+ 
+As obras de reconstrução tiveram início, quase dois anos depois, em maio de 1871. O engenheiro Vauthier, já de volta a Paris, foi o encarregado pela revisão dos planos de obras e pela modernização do Teatro de Santa Isabel. Suas recomendações foram acatadas pelo engenheiro militar e arquiteto recifense José Tibúrcio Pereira de Magalhães (1831 – 1886), responsável pelas obras de reconstrução, e o Santa Isabel foi reinaugurado em 16 de dezembro de 1876, com a apresentação da ópera Um Baile de Máscaras, de Giuseppe Verdi (1813 – 1901), pela companhia lírica italiana Thomaz Pasini (Diário de Pernambuco, 14 de dezembro de 1876). Em 1916, passou a usar luz elétrica, eliminando de uma vez o risco de incêndio provocado pelas luminárias a óleo.
+ 
+Diário de Pernambuco, 14 de dezembro de 1876
+ 
+Ao longo de sua história recebeu personalidades como  dom Pedro II (1825 – 1891), que, em 1859, passou seu aniversário no Recife, com a imperatriz Teresa Cristina (1822 – 1889), tendo sido homenageado com um espetáculo de gala no Santa Isabel, quando a cantora austríaca Agnes Ignez Fabbri Mulder (1831 – 1909) e seu marido, o pianista Ricardo Mulder (18? -?), apresentaram-se para o casal imperial (Jornal do Recife, 8 de outubro de 1859, segunda coluna; Jornal do Recife, 19 de novembro de 1959, primeira coluna; Jornal do Recife, 3 de dezembro de 1859, primeira coluna).
+ 
+Música e ópera no Santa Isabel: subsídio para a história e o ensino da música no Recife
+ 
+Agnes Ignez Fabri Mulder / Wikidata
+ 
+Dentre várias figuras proeminentes no cenário nacional e internacional, estiveram no teatro o poeta baiano Castro Alves (1847 – 1871), o escritor sergipano Tobias Barreto (1839 – 1899), o músico paulista Carlos Gomes (1836 – 1896), a bailarina russa de fama internacional, Anna Pavlova (1881 – 1931) e o ator carioca Procópio Ferreira (1898 – 1979).
+ 
+O Teatro de Santa Isabel também testemunhou fatos históricos:
+“O Teatro assistiu à Rebelião Praieira, à Campanha Abolicionista e à Campanha pelo advento da República, quando dois nomes ligaram-se definitivamente a sua história: Joaquim Nabuco e José Mariano. Nabuco proferiu a célebre frase que ficaria gravada numa placa do teatro: “A verdade histórica é esta: aqui nós ganhamos a causa da abolição”. Mas, antes do final da década, o Teatro foi ainda, mais uma vez, campo de batalhas políticas que agitavam o país. Agora, pela república, com os discursos de Martins Júnior e Silva Jardim”(Secretaria de Cultura do Recife)
+ 
+Busto de Joaquim Nabuco no Teatro de Santa Isabel com a placa “Ganhamos aqui a causa da abolição;’
+ 
+Em 1949, foi tombado pelo Instituto do Patrimônio Artístico Nacional (Iphan), tornando-se um dos 14 Teatros Monumentos do Brasil. Em seus palcos e dependências, já foram apresentadas óperas, peças de teatro, torneios de oratória, solenidades políticas e cívicas, além de bailes, festas, bailes de carnaval e jantares.
+Em dezembro de 1950, uma edição especial da revista Contraponto, periódico de vanguarda de arte e cultura editado por Valdemar de Oliveira (1900 – 1977), foi dedicada ao centenário do Santa Isabel.
+ 
+
+ 
+Foi reaberto em 11 de novembro de 2002, após sete anos de reforma, a terceira a que foi submetido. A primeira aconteceu em 1916, sob o governo de Manoel Borba (1864 – 1928) e, a segunda, em 1936, sob a prefeitura de João Pereira Borges (? – 19?).
+ 
+Planta do Teatro de Santa Isabel / Secretaria de Cultura do Recife
+ 
+Os fotógrafos Lamberg e Tondella
+ 
+Em 1880, o gerente da Photographia Allemã de Recife, Constantino Barza, anunciou a chegada do fotógrafo europeu Moritz (Maurício) Lamberg (18? – 19?), para cuidar da parte técnica e artística do ateliê do berlinense Alberto Henschel (1827 – 1882). Lamberg foi apresentado como celebridade europeia e insigne artista, que havia dirigido estabelecimentos em Berlim e em Viena e obtido prêmios em Paris e em Viena nas exposições de 1868 e 1873.  Provavelmente nesse período, entre 1880 e 1885, produziu diversos registros de Recife, capital de Pernambuco. Vinte dessas fotografias foram reunidas no  álbum Ansichten Pernambuco’ s Recife Photographia Allemã, dedicado a d. Pedro II, que faz parte do acervo da Biblioteca Nacional. Outras 48 imagens estão no álbum Vistas de Pernambuco, pertencente ao acervo do Instituto Moreira Salles. A foto de autoria de Lamberg do Teatro de Santa Isabel destacada nesse artigo pertence a esse álbum.
+ 
+Acessando o link para as fotografias do Teatro de Santa Isabel, no Recife, disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas. 
+ 
+Manoel Tondella (1861 – 1921) foi um dos mais importantes fotógrafos de Pernambuco da segunda metade dos século XIX, período a partir do qual Recife tornou-se referência histórica para a fotografia no Brasil. Dedicou-se à fotografia da paisagem urbana, documentando em imagens as transformações da cidade, entre os anos 1890 e as duas primeiras décadas do século XX.
+ 
+Photograhia Popular Oliveira & Tondella. Teatro Santa Isabel, 1900. Recife, Pernambuco / Acervo Fundaj
+ 
+Registrou, predominantemente no Recife e em Olinda, as ruas, a estação de trem, os prédios, o Mercado Público de São José, os casebres, as pontes, as igrejas, os ancoradouros, o Teatro de Santa Isabel, as praças, a Assembleia Legislativa, o Ginásio Pernambucano, as praias, cemitérios, locomotivas, engenhos, quiosques, feiras, estradas, os bairros centrais e também os subúrbios, com suas casas de taipa, além de vendedores, de pessoas se banhando no rio Beberibe e até um grupo de ciclistas à beira de um açude. São imagens muito ricas em detalhes que se destacam pela beleza, pela qualidade técnica e nos ajudam a entender a vida em Pernambuco no início do século XX. Alguns registros foram inspirados nas antigas litografias que desenhavam o perfil do litoral do Recife, da tradição holandesa ou portuguesa. Muitas imagens foram editadas em cartões-postais.
+ 
+Manoel Tondella. Teatro Santa Isabel, 1905. Recife, Pernambuco / Acervo Fundaj
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+FERREZ, Gilberto. Velhas fotografias pernambucanas: 1851-1890. Rio de Janeiro: Campo Visual, 1988.
+GASPAR, Lúcia; BARBOSA, Virginia. O Recife: uma bibliografia. Recife: Fundação Joaquim Nabuco, Editora Massangana, 2008. 360 p.
+GASPAR, Lúcia. Teatro Santa Isabel (Recife, PE). In: Pesquisa Escolar. Recife: Fundação Joaquim Nabuco, 2003. Disponível em: https://pesquisaescolar.fundaj.gov.br/pt-br/artigo/teatro-santa-isabel
+Hemeroteca Digital da Biblioteca Nacional
+KOSSOY, Boris. Dicionário histórico-fotográfico brasileiro: fotógrafos e ofício da fotografia no Brasil (1833-1910). São Paulo: Instituto Moreira Salles, 2002.
+LAMBERG, Moritz. O Brazil. Rio de Janeiro: Casa Lombaerts, 1896.
+MALTA, Albertina – Memória em sais de prata: fotografias do Recife em instituições memoriais. Dissertação para Universidade Federal de Pernambuco, fevereiro de 2013.
+MEDEIROS, R. M. H. (Orgs.). Arquivos e coleções fotográficas da Fundação Joaquim Nabuco. Recife: Massangana, 1995.
+MENDES, Luciana Cavalcanti. O campo fotográfico em Pernambuco: um resumo do final do XIX até 1930. XXIX Simpósio Nacional de História – Anpuh, 2017.
+Secretaria de Cultura do Recife
+SILVA, Fabiana Bruce. Entre fotógrafos, modernidade e fotografia no Recife do século XX, uma pesquisa. Apresentado durante XI Encontro Regional Sudeste de História Oral, realizado na Universidade Federal Fluminense, em Niteroi, em julho de 2015
+SILVA, José Amaros Santos da. Música e ópera no Santa Isabel: subsídio para a história e o ensino da música no Recife. Pernambuco : Editora Unversitária UFPE, 2006.
+Site Bora lá comigo?
+Site Readcube
+VASQUEZ, Pedro. Fotógrafos alemães no Brasil. São Paulo: Metalivros, 2000.
+ 
+Outros artigos publicados na Brasiliana Fotográfica sobre teatros e cinemas
+ 
+Série O Rio de Janeiro desaparecido I - Salas de cinema do Rio de Janeiro do início do século XX, publicado em 26 de fevereiro de 2016.
+Os teatros do Brasil, publicado em 21 de março de 2016
+A inauguração do Theatro Municipal do Rio de Janeiro, publicado em 14 de julho de 2017
+Cinema no Brasil – a primeira sessão e um pouco da história do Cinema Odeon, publicado em 8 de julho de 2021
+Série “O Rio de Janeiro desaparecido” XII – O Teatro Lírico (Theatro Lyrico), publicado em 16 de setembro de 2021
+O Teatro Amazonas (Theatro Amazonas), em Manaus, a “Paris dos Trópicos”, publicado em 28 de dezembro de 2021
+O Teatro João Caetano, no Rio de Janeiro, no Dia Mundial do Teatro, publicado em 27 de março de 2023
+Dia do Cinema Brasileiro, publicado em 19 de junho de 2023
+Série O Rio de Janeiro desaparecido XXV – O Theatro Phenix, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado em 5 de setembro de 2023
+O Theatro da Paz, em Belém do Pará, inaugurado em 15 de fevereiro de 1878, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado em 15 de fevereiro de 2024
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/2642` — `itens/20.500.12156.1_2642/`
+- `20.500.12156.1/6918` — `itens/20.500.12156.1_6918/`
+- `20.500.12156.1/7060` — `itens/20.500.12156.1_7060/`
+
diff --git a/wordpress/25358-serie-avenidas-e-ruas-do-brasil-xi-a-rua-da-esperanca-em-sao-paulo-por-vincenzo-.md b/wordpress/25358-serie-avenidas-e-ruas-do-brasil-xi-a-rua-da-esperanca-em-sao-paulo-por-vincenzo-.md
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+---
+id: 25358
+url: "https://brasilianafotografica.bn.gov.br/?p=25358"
+titulo: "Série “Avenidas e ruas do Brasil” XI – A Rua da Esperança, em São Paulo, por Vincenzo Pastore"
+autor: "Andrea Wanderley"
+data: "2021-12-14T13:31:11+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/2072", "20.500.12156.1/2074"]
+fetched_at: "2026-09-10T10:08:27.458Z"
+---
+
+# Série “Avenidas e ruas do Brasil” XI – A Rua da Esperança, em São Paulo, por Vincenzo Pastore
+
+Série “Avenidas e ruas do Brasil” XI – A Rua da Esperança, em São Paulo, por Vncenzo Pastore
+Na décima primeira publicação da Série “Avenidas e ruas do Brasil”, destacamos fotos do casario da Rua da Esperança, em São Paul,o em dois tempos: erguido e demolido. As imagens foram produzidas pelo fotógrafo italiano Vincenzo Pastore (1865 – 1918), que, da segunda metade do século XIX ao início do século XX, foi um importante cronista visual de São Paulo. Com sua câmara, Pastore capturava tipos e costumes de um cotidiano ainda pacato da cidade que logo, com o desenvolvimento econômico, mudaria de perfil. Captava as transformações urbanas e humanas de São Paulo, que passava a ser a metrópole do café.
+Com seu olhar sensível, o imigrante italiano flagrava trabalhadores de rua como, por exemplo, feirantes, engraxates, vassoureiros e jornaleiros, além de conversas entre mulheres e brincadeiras de crianças. Pastore, ao retratar pessoas simples do povo, realizou, na época, um trabalho inédito na história da fotografia paulistana. Registrou cenas de ruas, de demolições em São Paulo com uma câmara de pequeno formato, produzindo imagens diferentes das realizadas, durante o século XIX, com câmeras de grande formato sobre tripés. Foi um dos pioneiros da nova linguagem da fotografia do século XX. Com a ferramenta zoom os leitores podem observar as imagens com detalhes.
+ 
+Vincenzo Pastore. Casario da Rua da Esperança, c.1912. São Paulo, SP / Acervo IMS
+ 
+Acessando o link para as fotografias da Rua da Esperança disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Vincenzo Pastore. Casario em demolição na Rua da Esperança, c.1912. São Paulo, SP / Acervo IMS
+ 
+A antiga igreja da Sé começou a ser demolida em 1912, e também em torno desse período foi realizada toda a reurbanização do local com a demolição de alguns quarteirões, sendo alguns da Rua da Esperança, necessários para se abrir uma esplanada diante do edifício religioso (Correio Paulistano, 3 de fevereiro de 1912, terceira coluna; Correio Paulistano, 22 de janeiro de 1913, penúltima coluna; Correio Paulistano, 25 de abril de 1913, terceira coluna).
+ 
+ 
+Opinião de uma nonagenária sobre São Paulo
+O progressão da Rua da Esperança é mencionado
+O Pirralho, 25 de janeiro de 1913
+O Pirralho, 25 de janeiro 1913
+ 
+O projeto da nova catedral foi do arquiteto alemão radicado no Brasil, Maximiliano Hehl (1861 – 1916), e, em 06 de julho de 1913, foi realizada a cerimônia de lançamento da pedra fundamental (Correio Paulistano, 7 de julho de 1913, segunda coluna). Porém a inauguração da Catedral Metropolitana de São Paulo só aconteceria em 1954 por ocasião do IV Centenário de São Paulo, porém foi simbólica, já que o prédio ainda não estava concluído (Correio Paulistano, 22 de janeiro de 1954, primeira coluna). As torres só  foram inauguradas em 15 de novembro de 1969.
+ 
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+Dicionário de Ruas de São Paulo
+Hemeroteca Digital da Biblioteca Nacional
+ 
+Links para as outras publicações da série “Avenidas e ruas do Brasil”
+ Série “Avenidas e ruas do Brasil” I – Avenida Central, atual Rio Branco, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 7 de setembro de 2016
+Série “Avenidas e ruas do Brasil” II – A Rua do Imperador em Petrópolis por Klumb, Leuzinger e Stahl, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 26 de junho de 2020
+Série “Avenidas e ruas do Brasil” III – A Rua do Bom Jesus, no Recife, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 6 de agosto de 2020
+Série “Avenidas e ruas do Brasil” IV – A Rua 25 de Março, em São Paulo, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 1º de setembro de 2020
+Série “Avenidas e ruas do Brasil” V – A Rua Direita, a Rua das Mercês e a Rua Macau do Meio, em Diamantina, Minas Gerais, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 22 de outubro de 2020
+Série “Avenidas e ruas do Brasil” VI  – Rua Augusto Ribas e outras, em Ponta Grossa, no Paraná, pelo fotógrafo Luiz Bianchi, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 16 de novembro de 2020
+Série “Avenidas e ruas do Brasil” VII – A Avenida Atlântica, em Copacabana, no Rio de Janeiro, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 23 de dezembro de 2020
+Série “Avenidas e ruas do Brasil VIII – A Rua da Carioca por Cássio Loredano, de autoria de Cássio Loredano, publicada em 20 de janeiro de 2021
+Série “Avenidas e ruas do Brasil” IX – Ruas e panoramas do bairro do Catete, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 14 de julho de 2021
+Série “Avenidas e ruas do Brasil” X – A Rua da Ajuda, no Rio de Janeiro, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 9 de novembro de 2021
+Série “Avenidas e ruas do Brasil” XII – A Avenida Paulista, o coração pulsante da metrópole, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 21 de janeiro de 2022
+Série “Avenidas e ruas do Brasil” XIII – A Rua Buenos Aires no Centro do Rio de Janeiro, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 19 de julho de 2022
+Série “Avenidas e ruas do Brasil” XIV – A Avenida Presidente Vargas,, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 31 de agosto de 2022
+Série “Avenidas e ruas do Brasil” XV – Misericórdia: rua, largo e ladeira, no Rio de Janeiro, por Cássio Loredano, de autoria de Cássio Loredano, publicada em 8 de dezembro de 2022
+Série “Avenidas e ruas do Brasil” XVI – “Alguma coisa acontece no meu coração”, a Avenida São João nos 469 anos de São Paulo, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 25 de janeiro de 2023
+Série “Avenidas e ruas do Brasil” XVII  e série “O Rio de Janeiro desaparecido” XXIII – A Praia e a Rua do Russel, na Glória, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 15 de maio de 2023
+Série “Avenidas e ruas do Brasil” XVIII – Avenida Beira-Mar, de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal, publicada em 22 de janeiro de 2024
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/2072` — `itens/20.500.12156.1_2072/`
+- `20.500.12156.1/2074` — `itens/20.500.12156.1_2074/`
+
diff --git a/wordpress/25397-cronologia-de-franz-keller-leuzinger-1835-1890.md b/wordpress/25397-cronologia-de-franz-keller-leuzinger-1835-1890.md
new file mode 100644
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--- /dev/null
+++ b/wordpress/25397-cronologia-de-franz-keller-leuzinger-1835-1890.md
@@ -0,0 +1,242 @@
+---
+id: 25397
+url: "https://brasilianafotografica.bn.gov.br/?p=25397"
+titulo: "Cronologia de Franz Keller-Leuzinger (1835 – 1890)"
+autor: "Andrea Wanderley"
+data: "2021-09-28T17:30:37+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/15", "20.500.12156.1/2020", "20.500.12156.1/3622"]
+fetched_at: "2026-09-10T10:08:30.927Z"
+---
+
+# Cronologia de Franz Keller-Leuzinger (1835 – 1890)
+
+Cronologia de Franz Keller-Leuzinger (1835 – 1890)
+ 
+Franz Keller-Leuzinger / Xilogravura de Adolf Cloß publicada no livro Do Amazonas ao Madeira , em 1874
+ 
+1835 - Nascimento de Franz Keller, em Mannheim, na Alemanha, em 30 de agosto de 1835, filho do cartógrafo, desenhista e engenheiro Joseph (José) Keller (1811 – 1877), diplomado pela Universidade de Karlsruhe, que havia trabalhado como inspetor de estrada do Grão Ducado de Baden. Franz era irmão do pintor Ferdinand (Fernando) Keller (1842 – 1922).
+ 
+Ferdinand Keller por Christian Wilhelm Allers / Wikipedia
+ 
+1855 - Chegou, em 27 de dezembro, ao Rio de Janeiro com seu pai. Vieram do Havre, na galera francesa Dom Pedro II. Diversas fontes afirmam que Ferdinand, seu irmão, teria vindo com eles, mas nas notícias de jornal só constam os nomes de Joseph e Franz. Certamente Ferdinand passou um período no Brasil, mas provavelmente veio depois de seu pai e irmão (Correio da Tarde, 27 de dezembro de 1855, última coluna; Diário do Rio de Janeiro, 28 de dezembro de 1855, última coluna; Correio Mercantil, 28 de dezembro de 1855, segunda coluna).
+ 
+Diário do Rio de Janeiro, 28 de dezembro de 1855
+ 
+1856 - No Almanak Administrativo, Mercantil e Industrial do Rio de Janeiro de 1856, foi mencionado que Joseph Keller poderia ser contratado para a construção da estrada de Mangaratiba ou da de Ubatuba caso o desembargador J.J. Pacheco, presidente da Companhia da Estrada de Mangaratiba, fizesse um contrato com o presidente de São Paulo para uma outra estrada de carros de Taubaté a Ubatuba.
+Joseph e um ajudante trabalharam para o Governo da Província do Rio de Janeiro para a ratificação de plantas para a estrada de Petrópolis ao Parahybuna . Franz seria o ajudante? (Correio Mercantil, 21 de abril de 1856, quarta coluna).
+Incitados pela lisonjeira recepção que fizemos a seus compatriotas, os engenheiros Keller, vários arquitetos da Escola Politécnica de Karslruhe, no Grão Ducado de Baden, vieram para o Brasil, dentre eles Theodore Marx (1833 – 1890), que viria a ser um dos construtores do Palácio da Quinta da Boa Vista (Correio Mercantil, 12 de junho de 1856, terceira coluna).
+1857 – Seu pai, como engenheiro, e ele e Carlos Keller como ajudantes, haviam sido contratados pela Companhia União Indústria. Qual seria o parentesco de Carlos Keller com eles? Sobrinho e primo? Filho e irmão? Ou seria o filho de Johann Nepomuk Keller, o engenheiro Carlos Keller (1839 – 1928), futuro reitor do Instituto de Tecnologia de Karlsruhe? Uma coincidência: o pai do fotógrafo Chistophe Albert Frisch (1840 – 1918), tinha Nepomuk em seu sobrenome: chamava-se Johanes Nepomuk Frisch. Caso isso indique algum parentesco, Frisch e Franz Keller possivelmente já se conheciam antes de virem para o Brasil.
+O diretor-presidente da Companhia União Indústria era o comendador Mariano Procópio Ferreira Lage (1821 – 1872). A capacidade de Joseph Keller já era abonada pelos trabalhos executados na Europa sob sua direção (Relatório Companhia União Indústria, 24 de agosto de 1857). Sobre o trabalho para o qual havia sido contratado, uma linha de estrada entre  Pedro do Rio e a villa da Parahyba, Três Barras e a ponte do Parahybuna, apresentou um relatório ao comendador (Relatório Companhia União Indústria, 24 de agosto de 1857; Jornal do Commercio, 31 de agosto de 1857, quarta coluna).
+ 
+O comendador Mariano Procópio Ferreira Lage / Site Familia Espeschi
+ 
+Relatório da Companhia União Indústria, 24 de agosto de 1857(1)
+ 
+1861 / 1862 – Em 30 de abril de 1861, Joseph Keller apresentou ao comendador Mariano Procópio um relatório sobre o estado da estrada entre a ponte do Paraíba e Juiz de Fora (Relatório da Companhia União Indústria, 15 de junho de 1861). Foi expedida pelo Ministério da Agricultura a ordem para o pagamento dos engenheiros Joseph e Franz Keller pela exploração do rio Paraíba (Boletim do Expediente do Governo: Ministério do Império, novembro de 1861); Correio Mercantil, 7 de abril de 1862, terceira coluna; Boletim do Expediente do Governo: Ministério do Império, junho de 1862). Entre esse ano e 1867, Franz acompanhou o pai em levantamentos no mencionado rio, na região entre Campo Belo e Barra do Piraí; nos vales do rio Paraíba e Pomba, nos rios Iguaçu, Paranapanema e Tibagi. Dessas investigações resultam relatórios publicados pelo Ministério da Agricultura (Diário do Rio de Janeiro, 17 de junho de 1864, quaarta coluna; Almanak Administrativo, Mercantil e Industrial do Rio de Janeiro, 1865; O Cearense, 2 de dezembro de 1865, terceira coluna; Dezenove de Dezembro, 20 de dezdembro de 1865, última coluna; Dezenove de Dezembro, 13 de janeiro de 1866, primeira coluna).
+1862 – Seu irmão, Ferdinand, voltou do sul do Brasil, a bordo do patacho Guasca (Jornal do Commercio, 26 de fevereiro de 1862, terceira coluna). Retornou à Alemanha e ingressou na Academia de Belas Artes de Karlsruhe, estudando sob a tutela do paisagista alemão Johann Wilhelm Schirmer (1807 – 1863).
+Franz fotografou a Quinta da Boa Vista, em São Cristóvão.
+ 
+Franz Keller. St. Christovão; [Rio Joana e vegetação na Quinta da Boa Vista], 1862. Rio de Janeiro, RJ / Acervo FBNc. 1863 –  O fotógrafo carioca Marc Ferrez (1843 – 1923) retornou da Europa ao Brasil. Segundo seu neto, o historiador Gilberto Ferrez (1908 – 2000), Marc teria aprendido a arte da fotografia com Franz Keller (1835 – 1890), que em torno dessa data teria assumido a seção de fotografia da empresa de seu sogro, o fotógrafo e editor suíço Georges Leuzinger (1813 – 1892), criada em 1865. Uma carta enviada em 17 de janeiro de 1923 por um amigo de Ferrez, Luiz Carlos Franco, a seus filhos Julio e Luciano, após a a morte do fotógrafo, confirma que Ferrez havia trabalhado para Leuzinger. Porém, a participação de Franz Keller como diretor do ateliê fotográfico de Leuzinger é questionável e, na verdade, até hoje não foi comprovada. Além disso, na década de 1860, como já mencionado, Franz fez diversas viagens pelo Brasil com seu pai explorando rios do país sob contrato do governo imperial, o que tornaria difícil a possibilidade dele dirigir o estabelecimento fotográfico de seu sogro.
+1864 – Franz e seu pai, Joseph, embarcaram rumo a Campos no vapor Ceres (Correio Mercantil, 1º de maio de 1864, segunda coluna).
+Em ato oficial, de 24 de dezembro de 1864, do ministro de Estado dos Negócios da Agricultura Comércio e Obras Públicas, assinado pelo ministro Jesuino Marcondes de Oliveira e Sá (1827 – 1903), Franz e Joseph Keller foram encarregados de estudar o rio Ivahy (Correio Mercantil, 1º de janeiro de 1865, segunda coluna; Jornal do Recife, 22 de novembro de 1865, última coluna).
+ 
+Correio Mercantil, 1º de janeiro de 1865
+ 
+Franz Keller chegou a Santos na companhia de um criado, no vapor Dom Affonso, procedente de Santa Catarina com escalas (Correio Paulistano, 29 de outubro de 1865, primeira coluna).
+Integrou-se à Expedição do Avaí, quando produziu aquarelas da região.
+1865 – Foram publicadas notícias sobre o relatório elaborado pelos engenheiros Keller sobre a navegabilidade do rio Paraiba (Almanak Administrativo, Mercantil e Industrial do Rio de Janeiro, 1865).
+1866 – Foram publicadas notícias sobre o relatório elaborado pelos engenheiros Keller sobre a navegabilidade do rio Ivahy (Correio Mercantil, 16 de janeiro de 1866, penúltima coluna).
+Joseph e Franz foram contratados pelo governo do Paraná para a realização do levantamento e da impressão da carta corográfica do estado (Dezenove de Dezembro, 28 de março de 1966, primeira coluna).
+No dia 24 de julho, Franz e Joseph Keller partiram de Curitiba para explorar o rio Iguaçu. Também faziam parte do grupo o agrimensor Julio Kalkman e o intérprete Fructuoso Antonio de Moraes Dutra, além de 24 tripulantes das oito canoas da expedição (Dezenove de Dezembro, 14 de abril de 1866, última coluna; Dezenove de Dezembro, 4 de julho de 1866, primeira coluna; Correio Mercantil, 30 de julho de 1866, última coluna).
+Em 7 de dezembro, o Decreto Imperial nº 3749 autorizou a abertura da navegação do rio Amazonas para outras nações, após pressões internacionais, vindas principalmente dos Estados Unidos. Foi nesse contexto que, no ano seguinte, Franz e Joseph Keller foram encarregados pelo Império do Brasil para a exploração de rios do Norte do país.
+
+DECRETO Nº 3.749, DE  7 DE DEZEMBRO DE 1866
+ 
+“Abrindo os rios Amazonas, Tocantins, Tapajós, Madeira, Negro e S. Francisco á navegação dos navios mercantes de todas as nações.
+
+No intuito de promover o engrandecimento do Imperio, facilitando cada vez mais as suas relações internacionaes, e animando a navegação e o commercio do rio Amazonas e seus affluentes, dos rios Tocantins e S. Francisco, ouvido o Meu Conselho de Estado, Hei por bem Decretar o seguinte:
+    Art. 1º Ficará aberta, desde o dia 7 de Setembro de 1867, aos navios mercantes de todas as nações, a navegação do rio Amazonas até á fronteira do Brasil, do rio Tocantins até Cametá, do Tapajós até Santarem, do Madeira até Borba, e do rio Negro até Manáos.
+    Art. 2º Na mesma data fixada no art. 1º ficará igualmente aberta a navegação do rio S. Francisco até á Cidade do Penedo.
+    Art. 3º A navegação dos affluentes do Amazonas, na parte em que só uma das margens pertence ao Brasil, fica dependendo de prévio ajuste com os outros Estados ribeirinhos sobre os respectivos limites e regulamentos policiaes e fiscaes.
+    Art. 4º As presentes disposições em nada alterão a observancia do que prescrevem os Tratados vigentes de navegação e commercio com as Republicas do Perú e de Venezuela, conforme os regulamentos já expedidos para esse fim.
+    Art. 5º Os Meus Ministros e Secretarios de Estado, pelas Repartições competentes, promoveráõ os ajustes de que trata o art. 3º, e expediráõ as ordens e regulamentos necessarios para a effectiva execução deste Decreto.
+    Antonio Coelho de Sá e Albuquerque, do Meu Conselho, Senador do Imperio, Ministro e Secretario de Estado dos Negocios Estrangeiros, assim o tenha entendido e faça executar.
+Palacio do Rio de Janeiro em sete de Dezembro de mil oitocentos sessenta e seis, quadragesimo quinto da Independencia e do Imperio.
+Com a Rubrica de Sua Magestade o Imperador.
+Antonio Coelho de Sá e Albuquerque.
+
+Este texto não substitui o original publicado no Coleção de Leis do Império do Brasil de 1866″
+
+ 
+1867 – O presidente da província do Paraná mandou sustar a exploração do rio Iguassu, cujos encarregados eram Joseph e Franz Keller (Diário de São Paulo, 23 de janeiro de 1867, primeira coluna).
+Foi assinado, em 27 de março, e selado, em 23 de novembro, o Tratado de Ayacucho, entre o Brasil e a Bolívia, que definia os limites entre os dois países.
+Franz casou-se com Sabine Christine Leuzinger (1842-1915), filha primogênita do fotógrafo, livreiro e editor suíço Georges Leuzinger (1813-1892), adotando também o sobrenome do sogro, passando a assinar Franz Keller-Leuzinger.
+Por portaria de 10 de outubro de 1867, Franz e seu pai, Joseph Keller, foram incumbidos pelo governo imperial de explorar o rio Madeira na parte encachoeirada dele, desde Santo Antonio até a barra do rio Mamoré, e de elaborar os projetos mais apropriados para o melhoramento dessa importante via de comunicação com a província de Mato Grosso e a república da Bolívia. Relatório da exploração do rio Madeira na parte compreendida ente a cachoeira de Santo Antônio e a barra do Mamoré (Diário de Belém, 10 de outubro de 1869, última coluna).
+Em 15 de novembro, embarcaram no Rio de Janeiro rumo ao Pará (Diário do Povo, de 15 de novembro de 1867,  primeira coluna).
+O fotógrafo Christoph Albert Frisch (1840 – 1918) seguiu com os engenheiros rumo à Amazônia, comissionado por Leuzinger, em cujo ateliê fotográfico trabalhava. Levava um escravizado. A esposa de Franz, Sabine, e sua irmã, Pauline Keller, também estavam no paquete Paraná, assim como o engenheiro José Manoel da Silva, integrante da expedição (Diário do Povo, 15 de novembro de 1867, primeira coluna; Jornal do Commercio, 16 de novembro de 1867, terceira coluna).
+ 
+Diário do Povo, de 15 de novembro de 1867
+ 
+Detalhe do autorretrato de Alberto Christoph Frish, c. 1867. Rio Tarumã, AM / Acervo IMS
+ 
+Frisch acompanhou os engenheiros somente até Manaus e … percorreu 400 léguas pelo rio Amazonas e seus afluentes durante 5 meses…, num barco acompanhado por dois remadores, desde Tabatinga até Manaus. Produziu, na ocasião, uma pioneira série de 98 fotografias com os primeiros registros que chegaram até nós de índios brasileiros da região, além de aspectos de fauna e flora e de barqueiros de origem boliviana, que atuavam como comerciantes itinerantes nos rios amazônicos. Segundo o livro de Ernesto Senna, O velho commercio do Rio de Janeiro, a expedição fotográfica de Frisch à Amazônia foi fruto de uma solicitação feita pelo suíço Louis Agassiz (1807 – 1873) a Leuzinger.
+“Satisfazendo ao pedido de Agassiz, fez Leuzinger tirar vistas até Tabatinga, na fronteira do Amazonas com a República do Peru, vistas que serviram não só para os trabalhos científicos daqule sábio, como também para ilustrações europeias. Quando o engenheiro Keller foi em comissão explorar os rios Madeira e Mamoré, Georges Leuzinger mandou um fotógrafo da casa acompanhar a expedição, que trouxe depois daquelas incomparáveis regiões graande cópia de clichês, da flora, da fauna, de paisagens, e fotograafias de silvícolas e de suas tabas, aldeamentos, instruentos, armas, etc. Estas coleções, de grande valor para estudos etnográficos, eram muito interessantes sob qualquer ponto de vista e muito procuradas por viajantes estrangeiros”.
+Agassiz havia, entre 1865 e 1866, comandado a Comissão Thayer no Brasil, que percorreu boa parte do território brasileiro entre o Rio de Janeiro e a Amazônia, viagem que deu origem ao livro A journey in Brazil, editado em Boston, em 1868. A Comissão Thayer foi financiada pelo empresário e filantropo norte-americano Nathaniel Thayer, Jr. (1808-1883), ex-aluno de Agassiz no Museu de Zoologia Comparada, em Harvard. Vale lembrar que Charles Frederick Hartt (1840 – 1878), o futuro chefe da Comissão Geológica do Império (1875 – 1878), integrada pelo fotógrafo Marc Ferrez (1843-1923), participou da Comissão ou Expedição Thayer – foi a primeira vez que esteve no Brasil.
+A expedição à Amazônia liderada pelos Keller, com 32 volumes, alcançou Belém, em 1º de dezembro, e seguiu para Manaus, onde chegou no dia 10 do mesmo mês, no vapor Belém (Jornal do Pará, 11 de dezembro de 1867,terceira coluna; Jornal do Rio Negro, 11 de dezembro de 1867, segunda coluna).
+ 
+Jornal do Pará, 11 de dezembro de 1867
+ 
+1868 – No Anexo X do Relatório do Ministro da Agricultura de 1868, Joseph e Franz Keller fizeram comentários sobre a formação geológica do solo brasileiro. Em alguns pontos concordaram com o geógrafo, naturalista e explorador alemão Barão de Humboldt (1769- 1859), que havia participado de uma expedição pela América do Sul entre 1799 e 1804.(Jornal do Recife, de 12 de agosto de 1882, primeira coluna; Jornal do Recife, 13 de janeiro de 1883, primeira coluna).
+ 
+
+Jornal do Recife, 13 de janeiro de 1883
+ 
+O governador do Amazonas, José Coelho da Gama e Abreu (1832 – 1906), o barão de Marajó,  submeteu ao governador do Pará, Joaquim Raimundo de Lamare (1811 – 1889), um ofício sobre a comissão dos Keller, que havia sido enviado pelo ministro da Agricultura, Zacarias de Góis e Vasconcelos (1815 – 1877) (Amazonas, 25 de abril de 1868, última coluna; Amazonas, 9 de maio de 1968, última coluna).
+Foram concedidas às irmãs Sabine Leuzinger-Keller e a Pauline Keller concessão de passagens de Estado em embarcação da Companhia do Amazonas, de Manaus a Belém do Pará com as despesas pagas pelo Ministério da Agricultura. Joseph e Franz Keller foram recomendados pelo governo do Amazonas ao comandante do Forte Príncipe da Beira,  no Mato Grosso, para onde iriam com o objetivo de explorar o Rio Madeira, conforme comissão do governo brasileiro (Amazonas, 30 de maio de 1868, segunda coluna).
+Sabine e Pauline chegaram ao Rio de Janeiro em 19 de junho, a bordo do paquete a vapor Guará (Correio Mercantil, 20 de junho de 1868, última coluna).
+O fotógrafo Frisch retornou ao sul do Brasil, a bordo do vapor Cruzeiro do Sul (Jornal Pedro II, 24 de novembro de 1868, na quarta coluna). No ano seguinte, as imagens produzidas por ele durante a expedição pela Amazônia começaram a ser comercializadas a partir de um catálogo publicado pela Casa Leuzinger, Resultat d’une expédition phographique sur le Solimões ou Alto Amazonas et Rio Negro.
+ 
+Acervo FBN
+ 
+Em 9 de dezembro, o tenente -coronel José Wilkens de Mattos (1822 – 1889), governador do Amazonas, respondendo a um ofício enviado pelos Keller e pelo engenheiro José Manoel da Silva, autorizou a tesouraria de Fazenda a receber objetos que estavam com os requerentes, referentes à comissão que cumpriram no rio Madeira;  tomou ciência de que uma canoa adquirida na Bolívia pelos Keller e por José Manoel seria utilizada por João Martins da Silva Coutinho na comissão de exploração do rio Branco; e informou que os Keller e José Manoel teriam seu transporte a bordo do vapor Belém, de Manaus a Belém, em 10 de dezembro de 1868, custeado pelo Ministério da Agricultura. Poderiam utilizar o espaço de bagagem, duas toneladas, destinado ao governo. O trabalho comissionado pelo governo imperial havia sido concluído e eles voltariam para o Rio de Janeiro no mesmo vapor (Diário de Belém, 28 de dezembro de 1868, quarta coluna; Amazonas, 5 de janeiro de 1869, primeira coluna).
+ 
+Diário de Belém, 28 de dezembro de 1868
+ 
+Franz Keller. Resultados ethnographicos e archeologicos da Exploração do Rio Madeira : : empreendida por ordem do Governo Imperial pelos engenheiros José e Francº Keller, 1869 / Acervo FBN
+ 
+1869 - No dia 4 de janeiro de 1869, Joseph e Franz Keller e o ajudante José Manuel da Silva chegaram ao Rio de Janeiro a bordo do paquete Paraná. Franz estava enfraquecido pelas febres e queimado pelo sol. Segundo o pesquisador Frank Kohl, ele havia contraido malária (Diário do Rio de Janeiro, 5 de janeiro de 1869, quinta coluna).
+Fez o retrato da filha de Leuzinger, Gabrielle Marie (1853 – 1869), que faleceu em 23 de abril de 1869 (Jornal do Commercio, 29 de abril de 1869, última coluna).
+“Após sua morte, ela estava quase sorridente, uma figura de anjo e tão branca quanto os lençóis de seu leito. Franz Keller fez seu retrato de perfil para nosso espanto o perfil perfeito de Mathilde quando tinha sua idade, 16 anos, 6 dias e 21 horas e meia” (Carta de Georges Leuzinger para seu filho Paul, que estava vivendo na França, de 2 de junho de 1969).
+Esteve algumas vezes no Paço Imperial cumprimentando o imperador Pedro II (1825 – 1891) (Diário de Rio de Janeiro, 14 de setembro; 19 de outubro, 29 de novembro, 6 de dezembro e 21 de dezembro de 1869, primeiras colunas).
+Na seção de 14 de setembro do Instituto Politécnico Brasileiro, fez um discurso agradecendo sua nomeação para sócio correspondente da instituição. Além dele, discursaram Luiz Filipe de Saldanha da Gama (1846 – 1895) e Antônio Augusto Fernandes Pinheiro (18? – ?). Augusto Teixeira Coimbra (18? – ?) também foi, na ocasião, nomeado sócio correspondente (Jornal do Commercio, 24 de setembro de 1869, segunda coluna; Revista do Instituto Politécnico Brasileiro, 1869).
+1870 – Na seção de 14 de junho de 1870 do Instituto Politécnico Brasileiro, sob a presidência do conde d´Eu (1842 – 1922), J.M. da Silva anunciou que Franz Keller havia viajado para a Europa (Revista do Instituto Politécnico Brasileiro, 1874).
+Foi autorizada a venda em hasta pública dos objetos comprados para a exploração dos rios Iguaçu, Ivahy, Paranapanema e Tibagi, entregues por Joseph e Franz Keller a Serafim Carvalho Baptista e José Feliciano da Silva (Dezenove de Dezembro, 12 de outubro de 1870, última coluna).
+1872 – Joseph Keller ainda se encontrava no Brasil (Jornal do Commercio, 7 de abril de 1872, sétima coluna).
+Em julho, Franz Keller (1835-1890) estava na Suíça.
+1873 – Retornou à Alemanha para tratar da saúde, fixando residência na cidade alemã de Karlsruhe. Conforme hjá mencionado, segundo o pesquisador Frank Kohl, Franz havia contraído malária no Amazonas e justamente por isto não pode aceitar o convite do coronel americano George Earl Church (1835-1910) para participar da construção da ferrovia Madeira-Mamoré, que utilizou os dados levantados pelos Keller naquela região. Church havia recebido do governo brasileiro a concessão para a construção da ferrovia. Porém, por diversos motivos, Church não concluiu o empreendimento (Revista do Instituto Politécnico Brasileiro, fevereiro de 1874).
+“A magnitude e a expectativa que despertaram os projetos de Church provocaram o acre zelo e a oposição daqueles que detinham o monopólio comercial da área, os comerciantes da Costa do Pacífico, na medida em que se propunha a abrir rota concorrente de comércio. De repente descobriram que uma companhia americana detinha um empreendimento que prometia penetrar pelo centro da América do Sul e transformar seu comércio. Ao utilizar a rede fluvial, afetaria poderosamente as relações políticas e inter comerciais de vários Estados hispano-americanos. Ferozes interesses contrariados se aliaram amplamente. A English Construction Company denunciou o contrato e aliou-se aos seus acionistas em um ataque ao fundo fiduciário ferroviário, que eles vincularam por liminar ao Tribunal de Chancelaria. O governo boliviano tentou apreender o fundo. O coronel Church lutou contra esses pesados ataques, defendendo o terreno a cada polegada que houvesse para sustentar ganhou batalha após batalha entre 1873 a 1878. O comitê dos detentores de títulos subornou o presidente boliviano Daza com £ 20.000 para tomar partido ao seu favor e instaurou um novo processo para revogação da concessão boliviana. Mesmo neste novo processo, o coronel Church ganhou no Tribunal de Primeira Instância. A Câmara dos Lordes finalmente resolveu a questão declarando impraticável o empreendimento, embora meses antes o governo brasileiro tivesse dado seu apoio inabalável ao coronel Church. A seu pedido foi decretado um complemento ao fundo existente com o montante necessário para concluir as obras ferroviárias. Na época em que a empresa faliu havia 1.200 homens trabalhando na linha férrea e uma locomotiva em tráfego no primeiro trecho inaugurado”.
+A Madeira-Mamoré e a notícia biográfica de George Earl Church feita por Clements Markham,
+por  Dante Ribeiro da Fonseca
+ 
+1874 –  Franz Keller (1835-1890) publicou o livro ilustrado Do Amazonas ao Madeira (Jornal do Commercio, de 31 de janeiro de 1874, na última coluna). Na edição alemã, ficou registrado na folha de rosto que as ilustrações da obra, reconstruídas com base nos esboços de Franz, foram gravadas em madeira na oficina gráfica de Adolf Clob (1840 – 1894). Franz, no prefácio do livro, agradece a seu pai, “meu fiel companheiro e colega de ciência nessa cansativa jornada, além de também agradecer ao meu irmão, professor Ferdinand Keller, especialista em pinturas históricas, cuja consultoria quanto às ilustrações me foram de inestimável valor”. O livro também foi editado em Londres pela Chapman & Hall, no mesmo ano, e possuia 68 ilustrações.
+ 
+Jornal do Commercio, 31 de janeiro de 1874
+ 
+Com uma carta enviada de Karslruhe, datada de 1º de maio de 1874, Franz respondeu ao opúsculo intitulado Estudo sobre o Rio Madeira (1873), do engenheiro baiano Eduardo José de Moraes (1830 – 1895). O autor afirmava que a expedição para a exploração do rio Madeira não havia atendido às instruções do governo imperial, o que Franz rebateu (Jornal do Commercio, 15 de julho de 1874, quinta coluna).
+1876 – Gravuras do livro Do Amazonas ao Madeira foram publicadas na revista Illustração Brasileira, fundada pelo litógrafo alemão Henrique Fleuiss (1823-1882) e muito importante na história da imprensa no Brasil. Seu modelo eram as revistas francesa L´Illustration e a inglesa The Illustrated London News. Para Joaquim Marçal Ferreira de Andrade, um dos curadores do portal Brasiliana Fotográfica e coordenador da BN Digital, as páginas do artigo de Franz Keller-Leuzinger foram um marco na história do projeto gráfico das páginas das revistas ilustradas do Brasil, “mesmo considerando-se que as matrizes eram alemãs”(Illustração Brasileira, 1º de julho e 15 de julho de 1876).
+ 
+
+ 
+
+ 
+Illustração Brasileira, 1º de julho de 1876
+ 
+Illustração Brasileira, 15 de julho de 1876
+ 
+Em Karlsruhe, na Alemanha, dom Pedro II (1825 – 1891), durante sua segunda viagem à Europa, encontrou-se com Franz  Keller (Novo e completo Índice Cronológico da História do Brasil). Na ocasião, Franz, que vivia na época de seus trabalhos artísticos, escreveu uma carta ao monarca, na qual expunha seus planos para o futuro em um possível retorno ao Brasil. Dentre seus projetos, pedia o monopólio para explorar o sal no Paraná e se voluntariava para intermediar a venda da pólvora da Alemanha para o Brasil.
+“Voltando desse modo outra vez as belas praias da Terra de Santa Cruz, isto é, acompanhando em pessoa um carregamento de pólvora e se necessário fosse de armamento ao Rio de Janeiro. V. M. I. dignasse talvez de encarregar-me outra vez com trabalhos técnicos como antigamente. Me seja permitido, afora os trabalhos de exploração dos rios, alinhamento de estradas e caminhos de ferro e o levantamento de mapas geográficos, citar a elaboração de projetos de abastecimento da capital com água potável, que dia a dia fica mais urgente“.
+Carta de Franz Keller-Leuzinger a D. Pedro II, 29 de julho de 1876.
+Seção de Manuscritos da Biblioteca Nacional
+ 
+Parece que esses projetos nunca se realizaram.
+Tanto ele como seu pai eram sócios correspondentes do Instituto Politécnico Brasileiro (Revista do Instituto Politécnico Brasileiro, outubro de 1876).
+1877 – Foi publicado, no primeiro número do jornal O Vulgarisador, a imagem do encontro de Franz com os índios Caripunas, do livro Do Amazonas ao Madeira (O Vulgarisador, 1ª edição, 1877).
+ 
+O Vulgarisador, 1a edição, 1877
+ 
+ “Eram criaturas fortes, bem conformadas e de estatura mediana; traziam pendentes comprimidos cabelos pretos; um dos homens apenas usava-os enrolados em trança. Um dente de anta atravessava-lhes as pontas das orelhas, e tinha, além disto, em outro buraco na separação de nariz, um pequeno molho de penas encarnadas de tucano. Não traziam armas, a esta circunstancia junto à presença de uma de suas mulheres na embarcação, respondia-nos pela benevolência de suas intenções” (O Vulgarisador, 1ª edição, 1877).
+ 
+Site Mast
+ 
+Sobre o livro, o editor de O Vulgarisador, o poeta, escritor e jornalista português Augusto Emilio Zaluar (1826 – 1882), comentou: “deve interessar a todos que ligam a verdadeiro apreço aos trabalhos desta natureza, que, infelizmente, ainda tanto escasseiam entre nós”. Ele emigrou para o Brasil, em 1849, e, sete anos depois, naturalizou-se cidadão brasileiro. Em 1876, recebeu a comenda da Ordem da Rosa e era amigo de escritores como Machado de Assis (1839 – 1908) e José de Alencar (1829 – 1877). Colaborou em diversos periódicos como A Época, Espelho e Álbum Semanal. O Vulgarizador circulou entre 1877 e 1881, no Rio de Janeiro. Seus livros mais conhecidos são Peregrinações pela Província de São Paulo (1860-1861) (1862) e Doutor Benignus (1875). Este último é considerado a primeira ficção científica brasileira.
+ 
+Augusto Emílio Zaluar por Fernand Delannoy / Acervo FBN
+ 
+Falecimento de Joseph (José) Keller (1811 – 1877).
+Década de 1880 - Durante essa década, Franz Keller, esteve no Brasil, mas voltou à Alemanha.
+1881 - Aquarelas de Joseph Keller fizeram parte da exposição História do Brasil, da Biblioteca Nacional.
+1889 – Franz Keller continuava sendo sócio correspondente do Instituto Politécnico Brasileiro (Revista do Instituto Politécnico Brasileiro, 1889).
+1890 - Franz Keller-Leuzinger faleceu em Munique, na Alemanha, em 18 de julho de 1890.
+ 
+Roteiro da Expedição à Amazônia segundo o Relatório da exploração do rio Madeira na parte compreendida entre a cachoeira de Santo Antônio e a barra do Mamoré
+ 
+Mapa desenhado por Franz Keller-Leuzinger reproduzindo o percurso de sua viagem, nolivro Do Amazonas ao Madeira
+ 
+1967
+10 de outubro – Foi assinada pelo governo imperial uma portaria incumbindo os engenheiros Franz e Joseph Keller em de explorar o rio Madeira na parte encachoeirada dele, desde Santo Antonio até a barra do rio Mamoré, e de elaborar os projetos mais apropriados para o melhoramento dessa importante via de comunicação com a província de Mato Grosso e a república da Bolívia.
+15 de novembro – A expedição parte do Rio de Janeiro. Além dos Keller, embarcaram no paquete Paraná o fotógrafo Christoph Albert Frisch (1840 – 1918), a esposa e a irmã de Franz, repectivamente, Sabine Christine Leuzinger (1842-1915), filha do fotógrafo e editor suíço Georges Leuzinger (1813 – 1892); e Pauline.
+1º de dezembro – Chegada em Belém.
+10 de dezembro – Chegada em Manaus, a bordo do vapor Belém. A expedição levava 32 volumes. O governador do Amazonas, José Coelho da Gama e Abreu, o barão de Marajó (1832 – 1906), os avisou que a subida das cachoeiras e o estudo do rio das enchentes difícil e penoso. Fizeram então o levantamento. O governador os encarregou de fazer um levantamento de parte da planta do Rio Negro e da cidade de Manaus. O ajudante José Manoel da Silva fez o levantamento da planta de Manaus. Devido à falta de remeiros, o trabalho do Rio Negro não pode ser realizado. Foi feito então um projeto e orçamento para a reconstrução de uma ponte manauara que estava em ruínas.
+ 
+ 1868
+ 
+9 de fevereiro – José Coelho da Gama e Abreu, o barão de Marajó (1832 – 1906) foi sucedido no governo do Amazonas por Jacinto Pereira do Rego que não atendeu às solicitações necessárias para a expedição: nem forneceu o número de guardas nem o vapor Jurupensen que poderia ter levado o pessoal e o trem da expedição até Santo Antônio.
+fevereiro / maio – Com o propósito de levar a cabo a missão, procuraram o vice-cônsul da Bolívia, Ignacio Araus, que encontrava-se em Manaus. Ele ofereceu toda a ajuda necessária e falou de um comerciante boliviano que iria para o Pará e, de lá, para a Bolívia. Dessa forma uma comissão ao mando do governo imperial seguiu viagem sob os auspícios de um particular.
+Compraram, em Serpa, uma canoa de lotação de 300 arrobas mal construída e em mal estado por não haver outra, do major Dalmazo de Souza Barriga.
+30 de maio – A comissão Keller partiu de Serpa, no Amazonas, atrás do comerciante boliviano, com sete tripulantes quando a canoa demandava ao menos 12. A embarcação levava mantimentos para 4 meses, ferramentas para a construção e conserto de canoa, instrumentos de medição, armamentos, toldos e barracas.
+9 de junho – Chegada à Borba com menos dois remeiros, que haviam fugido.
+10 a 13 de junho – Passaram por Sapucaia-oroca, dos índios Mura; a Ilha das Araras e pela barra do rio Aripuanã.
+madrugada de 14 para 15 de junho – Conserto de uma canoa, que perigava afundar.
+15 de junho – Passaram pelas pedras de Aruá.
+18 de junho – Chegaram ao engenho de Ignacio Araus, onde o comerciante boliviano os aguardava com impaciência. Transferiram a carga para uma canoa mais apropriada.
+21 de junho – Continuaram a viagem. A comitiva tinha 70 índios bolivianos das missões do Mamoré como remeiros e pilotos de sete canoas e de oito brancos.
+30 de junho – Encontraram uma família de índios Mura. Por alguns dias, seguiram a expedição. Compraram tartarugas dos índios.
+início de julho – Acima de um lugar denominado Três Casas visitaram a barraca de alguns seringueiros bolivianos que com os índios Moxos exploravam a resina.
+5 de julho – Chegaram ao Crato, uma estância para a criação de gado. Lá se encontrava o destacamento de Santo Antônio que, nessa época do ano, princípio da estação de chuvas, se retirava de Santo Antônio para um lugar mais salubre. Foram recebidos com cordialidade pelo comandante do destacamento que os apresentou ao dono do lugar, o capitão Tenório.
+10 a 15 de julho – Passaram à Ilha das Abelhas, à barra do Pirapitanga e a do Jamary, muito rica em peixes mas infestada pelas febres de caráter maligno.
+16 de julho – Chegaram à Ilha dos Mutuns e à praia dos Tamanduás, onde, no mês de setembro, milhares de tartarugas vêm desovar. Na mesma época, seringueiros e pescadores vêm para o local, onde juntam os ovos das tartarugas para a fabricação de manteiga e levam tartarugas, causando grande destruição.
+Chegada à Cachoeira de Santo Antônio. Foi necessário descarregar as canoas e transportar tudo para 450 metros acima dos rochedos da margem esquerda..
+18 de julho – Chegaram na correnteza dos Macacos da qual já se descobre a fumaça que levanta o salto do Theotônio.
+22 de julho – Chegaram à Cachoeira dos Morrinhos, que tinha dois saltos distintos.
+25 de julho – Entre Morrinhos e o Caldeirão do Inferno encontraram canoas construídas com cascas de Jatubá pelo índios Caripunas, que habitavam aquela altura do rio. Foram convidados por eles para visitarem suas malocas e foram presenteados com raízes de mandioca e milhos em espiga. Ofertaram aos índios facas, tesouras e anzóis. Dias depois, encontraram outros Caripunas, de quem compraram uma anta e um porco do mato. Esses encontros transcorreram, segundo o relatório da expedição, sempre em um clima de amizade e harmonia.
+26 de julho – Chegaram à parte inferior da perigosa Cachoeira do Caldeirão do Inferno. Muitas cruzes rodeavam o local, onde diversos barcos haviam naufragado e pessoas morrido de febres malignas. O engenheiro peruano Maldonado foi uma das vítimas de um naufrágio na região. Um dos índios remeiros da comissão Keller faleceu no local devido a uma inflamação intestinal.
+27 de julho – Avistaram os morros ao pé do Salto do Girão. Durante quatro dias foi feito o transporte das cargas e a varação das canoas.
+31 de julho e 1º de agosto – Continuaram a viagem e chegaram a Pedras de Amolar, nome dado ao local por navegantes devido às camadas de gres argiloso (arenito). À tarde, chegaram à correnteza mais forte dos Três Irmãos, com uma  queda de menos de um metro.
+3 e 4 de agosto – Chegada à Cachoeira do Paredão, com uma queda divida em duas partes.
+5 de agosto – Chegada à Cachoeira Pederneira, assim chamada devido a presença de veias de quartzo nas fendas do rochedo. Rio acima, a cacheira mais próxima era a das Araras. Pouco acima da Pederneira, se acha à margem esquerda a barra do rio Abuná.
+9 a 15 de agosto – Chegaram à Cachoeira do Ribeirão onde ficaram até dia 15. Ela é formada por cinco saltos. Foi observado que os riscos das pedras em um dos saltos formam uma paralela interessante com a representação tosca de objetos celestes e de animais nos rochedos do Orenoco, descritos por Humboldt.
+15 a 18 de agosto – Chegaram à Cachoeira do Madeira e à Cachoeira das Lages.
+19 de agosto – Chegada ao Salto das Bananeiras. A passagem do salto durou dois dias, as canoas tiveram que ser descarregadas e transportadas por cima dos rochedos.
+21 a 22 de agosto – Após uma seca extraordinária, chuva forte e queda da temperatura para 11º.
+23 de agosto – Chegada à Cachoeira do Guajará-Guassu. As cargas foram transportadas por terra e as canoas por água a sirga (puxadas por cordas).
+24 de agosto – Chegada à Cachoeira Guajará-Mirim. Encontraram 10 canoas bolivianas carregadas com couros e sebo, Por seu dono, de Santa Cruz de la Sierra, enviaram ofícios e cartas para o Rio de Janeiro e para o Pará. No mesmo dia, chegaram à barra do Ribeirão da Paca Nova, ao pé da serra homônima. As canoas estavam quase todas defeituosas. Foram tiradas da água e calafetadas.
+1º de setembro – A expedição chegou na junção do rio Mamoré com o Guaporé, onde habitava uma tribo indígena. Seguiram para o Serrito, sítio do brasileiro Antônio de Barros Cardoso, que morava na Bolívia há cerca de 15 anos e recebeu a expedição com a maior afabilidade. Ele já havia ajudado anteriormente, no início da década de 1850, o explorador Lardner Gibbon (1820 – 1910), tenente da Marinha dos Estados Unidos. Ele acompanhou a expedição até Exaltacion de la Santa Cruz, na Bolívia, uma antiga missão dos jesuitas.
+10 de setembro – Chegada a Exaltacion de la Santa Cruz, onde Franz foi recebido pelas autoridades bolivianas. Com o prefeito da cidade, A. Morant, conversou sobre a o engajamento de índios remeiros para integrar a expedição. A essa altura já havia sido feita a aquisição de canoas e mantimentos.
+15 de outubro – Partida para o sítio do Serrito, onde permaneceram até dia 19 de outubro. O comboio era formado por cinco embarcações de diferentes tamanhos – uma galeota, duas ubás, uma montaria e uma igarité – com uma tripulação total de 32  remeiros.
+21 de outubro – Chegada à barra do Mamoré, onde ficaram dois dias medindo o volume cúbico das águas dos rios Mamoré e Guaporé.
+24 de outubro – Estavam nas Ilhas Cavalo Marinho onde iniciaram uma medição detalhada com o micrômetro. À noite, houve uma tempestade.
+25 de outubro – Realização da exploração e sondagem do rio Guajará-Mirim.
+27 de outubro –  Passaram o Salto das Bananeiras e, devido ao mau tempo, as embarcações chegaram a encostar e um rochedo. Alguns dos índios assim como um dos engenheiros da expedição tiveram uma febre intermitente e foram tratados com sulfato de quinino. Terá sido Franz o engenheiro já que se sabe que ele provavelmente contraiu malária durante a expedição? Fazia muito calor e à noite houve um temporal.
+30 de outubro – Haviam chegado com a medição até a Cachoeira do Pao-Grande.
+2 a 7 de novembro – Estavam na barra do rio Beni, onde entraram para realizar a medição de suas águas. Passaram pela Cachoeira do Madeira, pela passagem do Ribeirão, pelos Periquitos e pelas Araras. No dia 7, devido às chuvas, foram obrigados a parar e armar os toldos e as barracas.
+8 de novembro – Chegada ao Paredão.
+11 e 12 de novembro – Passaram por Três Irmãos e pelo Salto do Girão.
+13 a 15 de novembro – Passaram pelo Caldeirão do Inferno e reencontraram os índios Carapunas. Encontram também outra tribo indígena. Uma das canoas da expedição quase naufragou.
+16 de novembro – Passaram pela barra do Jassiparaná e chegaram, à tarde, à Cachoeira dos Morrinhos.
+17 e 18 de novembro – Chegaram ao Salto do Theotônio.
+19 e 20 de novembro – Passaram pela correnteza dos Macacos e pela Cachoeira de Santo Antônio.
+21 de novembro – Chegada ao Crato, primeiro ponto onde se encontram alguns recursos. Deixaram com o comandante do destacamento de Santo Antônio uma das ubás para ser devolvida ao brasileiro Antônio de Barros Cardoso, a quem pertencia.
+25 de novembro – Passaram o Manicoré e chegaram ao sítio de J. Arans, onde deixaram uma das embarcações e parte da tripulação. Seguiram viagem com três canoas. Na aldeia dos Muras fizeram uma medição do volume cúbico das águas do rio Madeira.
+26 de novembro – Chegaram à vila de Borba.
+30 de novembro – Chegada a Serpa. Remeteram as canoas ao major Damazo de Souza Barriga e deram conhecimento desse ato ao presidente da província.
+Passaram em Manaus onde entregaram no depósito do trem bélico armamentos e utensílios. Encontraram-se com o presidente da província.
+14 de dezembro – Chegada no Pará.
+ 
+1969
+4 de janeiro – Chegada ao Rio de Janeiro.
+ 
+ 
+Assinatura de Franz Keller-Leuzinger
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/15` — `itens/20.500.12156.1_15/`
+- `20.500.12156.1/2020` — `itens/20.500.12156.1_2020/`
+- `20.500.12156.1/3622` — `itens/20.500.12156.1_3622/`
+
diff --git a/wordpress/25416-no-dia-de-finados-o-cemiterio-sao-joao-batista-no-rio-de-janeiro.md b/wordpress/25416-no-dia-de-finados-o-cemiterio-sao-joao-batista-no-rio-de-janeiro.md
new file mode 100644
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--- /dev/null
+++ b/wordpress/25416-no-dia-de-finados-o-cemiterio-sao-joao-batista-no-rio-de-janeiro.md
@@ -0,0 +1,45 @@
+---
+id: 25416
+url: "https://brasilianafotografica.bn.gov.br/?p=25416"
+titulo: "No Dia de Finados, o Cemitério São João Batista no Rio de Janeiro"
+autor: "Andrea Wanderley"
+data: "2021-11-02T13:16:44+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/8464", "20.500.12156.1/5339", "20.500.12156.1/6603", "20.500.12156.1/4247", "20.500.12156.1/2786", "20.500.12156.1/8495"]
+fetched_at: "2026-09-10T10:08:33.819Z"
+---
+
+# No Dia de Finados, o Cemitério São João Batista no Rio de Janeiro
+
+A Brasiliana Fotográfica destaca no Dia de Finados imagens de lápides e cerimônias realizadas no Cemitério São João Batista, em Botafogo, no Rio de Janeiro. É do fotógrafo J. Pinto (1884 – 1951) o registro do túmulo do cientista Oswaldo Cruz (1872 – 1917). O alagoano Augusto Malta (1864 – 1957) é o autor dos registros do enterro do apóstolo do positivismo no Brasil, o maranhense Raimundo Teixeira Mendes (1855 – 1927), e também de uma vista da rua Real Grandeza. Há também uma fotografia do túmulo da família de Marc Ferrez (1843 – 1923), além de uma imagem  produzida por Jorge Kfuri (1893 – 1965), autor das primeiras fotos aéreas do Rio de Janeiro. As imagens mais antigas, produzidas em torno de 1866, são do fotógrafo e editor suíço Georges Leuzinger (1813 – 1893).
+ 
+J. Pinto. Túmulo de Oswaldo Cruz. Cemitério São João Batista, Rio de Janeiro / Acervo Cassa de Oswaldo Cruz
+ 
+Marc Ferrez. Túmulo Família Ferrez, 28 de junho de 1914. Cemitério São João Batista, Rio de Janeiro / Acervo IMS
+ 
+Acessando o link para as fotografias do Cemitério São João Batista disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Augusto Malta. Enterro de Raimundo Teixeira Mendes, 29 de junho de 1927. Cemitério São João Batista, Rio de Janeiro / Acervo Casa de Oswaldo Cruz
+ 
+Jorge Kfuri. Botafogo. Ao fundo o Cemitério São João Batista, s/d. Rio de Janeiro, RJ / Acervo DPHDM
+ 
+Augusto Malta. Vista da rua Real Grandeza, cemitério São João Batista à direita e morro Santa Marta ao fundo, c. 1910. Rio de Janeiro, RJ / Acervo IMS
+ 
+Georges Leuzinger. Cemitério São João Batista, c. 1866. Rio de Janeiro, RJ / Acervo IMS
+ 
+O Cemitério São João Batista foi criado pelo Decreto nº 842, de 16 de outubro de 1851, que autorizava que a Santa Casa de Misericórida administrasse os cemitérios da cidade. Foi oficialmente inaugurado em 4 de dezembro de 1852 (Diário do Rio de Janeiro, 2 de dezembro de 1852, última coluna). O Dia de Finados é celebrado, pela Igreja Católica, no dia 2 de novembro, um dia após à Festa de Todos os Santos.
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/8464` — `itens/20.500.12156.1_8464/`
+- `20.500.12156.1/5339` — `itens/20.500.12156.1_5339/`
+- `20.500.12156.1/6603` — `itens/20.500.12156.1_6603/`
+- `20.500.12156.1/4247` — `itens/20.500.12156.1_4247/`
+- `20.500.12156.1/2786` — `itens/20.500.12156.1_2786/`
+- `20.500.12156.1/8495` — `itens/20.500.12156.1_8495/`
+
diff --git a/wordpress/25474-serie-o-rio-de-janeiro-desaparecido-xv-a-praia-de-santa-luzia-no-primeiro-dia-do.md b/wordpress/25474-serie-o-rio-de-janeiro-desaparecido-xv-a-praia-de-santa-luzia-no-primeiro-dia-do.md
new file mode 100644
index 0000000..9accece
--- /dev/null
+++ b/wordpress/25474-serie-o-rio-de-janeiro-desaparecido-xv-a-praia-de-santa-luzia-no-primeiro-dia-do.md
@@ -0,0 +1,106 @@
+---
+id: 25474
+url: "https://brasilianafotografica.bn.gov.br/?p=25474"
+titulo: "Série “O Rio de Janeiro desaparecido” XV – A praia de Santa Luzia no primeiro dia do verão"
+autor: "Andrea Wanderley"
+data: "2021-12-21T08:25:34+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/8509", "20.500.12156.1/5282", "20.500.12156.1/6315", "20.500.12156.1/607", "20.500.12156.1/9218", "20.500.12156.1/7872", "20.500.12156.1/7514"]
+fetched_at: "2026-09-10T10:08:37.109Z"
+---
+
+# Série “O Rio de Janeiro desaparecido” XV – A praia de Santa Luzia no primeiro dia do verão
+
+No 15º artigo da série O Rio de Janeiro desaparecido, publicado no primeiro dia do verão de 2021, o tema é a praia de Santa Luzia, que ficava em frente à igreja homônima, no Centro da cidade e era uma das preferidas dos banhistas cariocas. A mais antiga imagem dessa praia disponível no acervo fotográfico da Brasiliana Fotográfica foi produzida em torno de 1866 pelo fotógrafo e editor suíço Georges Leuzinger (1813 – 1892).
+ 
+Georges Leuzinger. Igreja de Santa Luzia, c. 1866. Rio de Janeiro, RJ / Acervo IMS
+ 
+Há ainda registros realizados por Augusto Malta (1864 – 1957), Juan Gutierrez (c. 1860 – 1897), Marc Ferrez (1843 – 1923), Revert Henrique Klumb (c. 1826 – c. 1886) e por Rodrigues & C°. Editores e Proprietários. A grande maioria das fotografias são da paisagem, mas há uma, de autoria de Gutierrez, de uma trincheira montada durante a Revolta da Armada, entre 1893 e 1894. Uma curiosidade: foi justamente durante uma outra revolta ocorrida no Brasil, a Guerra de Canudos, que Gutierrez faleceu. Em 28 de junho, foi mortalmente ferido (Jornal do Commercio, 13 de julho de 1897, na terceira coluna sob o título “Expedição de Canudos” e O Paiz, 7 de setembro de 1897, na primeira coluna).
+ 
+Juan Gutierrez. Revolta da Armada – Trincheira da Praia de Santa Luzia, c. 1893. Rio de Janeiro, RJ / Acervo IMS
+ 
+Acessando o link para as fotografias da Praia de Santa Luzia disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Juan Gutierrez. Rua e praia de Santa Luzia, 189?. Rio de Janeiro, RJ / Acervo Museu Histórico Nacional
+ 
+Voltando à praia de Santa Luzia. Em suas margens foi construída a Santa Casa da Misericórdia, em meados do século XVI.
+ 
+Revert Henrique Klumb; Paulo Robin. La Miséricorde et l’Ile de Villegaignon, s/d. Rio de Janeiro, RJ / Acervo FBN
+ 
+Em 1898,  um dos pioneiros do cinema no Brasil, o italiano Affonso Segreto (1875 – 1919), filmou o documentário A Praia de Santa Luzia, um de seus primeiros registros cinematográficos do Rio de Janeiro.
+ 
+Affonso Segreto, pioneiro do cinema no Brasil e realizador do documentário A Praia de Santa Luzia, em 1898
+ 
+Até o início do século XX, a praia de Santa Luzia era uma opção de lazer no Rio de Janeiro, mas sua descaracterização começou, em 1905, quando o então prefeito Francisco Pereira Passos (1836 – 1913) mandou construir barracões que funcionariam como garagens para os barcos dos clubes de remo.
+ 
+Praia e Igreja de Santa Luzia. À esquerda, em segundo plano, o Grande Estabelecimento de Banhos de Mar de Santa Luzia / Revista da Semana, 29 de janeiro de 1905
+ 
+Regata na Praia de Santa Luzia / Revista da Semana, 24 de fevereiro de 1907
+ 
+Durante o seu mandato, entre 1902 e 1906, Pereira Passos realizou uma extensa reforma urbana, tendo ordenado diversas demolições, conhecidas como a política do “bota-abaixo”, que contribuíram para o surgimento do Rio de Janeiro da Belle Époque. Entre as obras dessa época, foi aberta a avenida Beira Mar, que estendeu  a linha litoral do entroncamento da praia de Santa Luzia até o Largo da Glória.
+ 
+Rodrigues & C°. Editores e Proprietários. Praia e Igreja de Santa Luzia, c. 1906. Rio de Janeiro, RJ / Acervo IMS
+ 
+Em 1922, com a derrubada do Morro do Castelo, foi construída a Esplanada do Castelo, diminuindo muito a faixa de areia da Praia de Santa Luzia. Foi substituída na preferência dos banhistas pela Praia das Virtudes, que ficava na altura da avenida Beira Mar entre a avenida Presidente Antônio Carlos e a rua Marechal Câmara, ao lado da praia de Santa Luzia (Correio da Manhã, 13 de janeiro de 1931, penúltima coluna).
+ 
+O Globo, 12 de janeiro de 1931
+ 
+Foi na década de 1930, que o que restava da praia de Santa Luzia e da Ponta do Calabouço desapareceram em consequência da ampliação do aterro, feito com entulho do desmanche do Morro do Castelo, para a construção do Aeroporto Santos Dumont, inaugurado oficialmente em 30 de novembro de 1936 com a presença do presidente da República, Getulio Vargas (1882 – 1954). Chamava-se anteriormente Aeroporto do Calabouço e teve seu nome alterado por ordem de Getulio para homenagear o Pai da Aviação (Diário Carioca, 20 de outubro de 1936, última coluna). O terminal de passageiros, projeto dos arquitetos Marcelo Roberto (1908-1964) e Milton Roberto (1914-1953), que venceram um concurso realizado pelo Ministério da Aeronáutica, ficou pronto em 1945.
+ 
+Escola de Aviação Militar. Vista Aérea da Ponta do Calabouço, 18 de junho de 1935. Rio de Janeiro, RJ / Acervo Museu Aeroespacial
+ 
+ 
+Escola de Aviação Militar. Vista Aérea Aeroporto Santos Dumont, 22 de novembro de 1941. Rio de Janeiro, RJ / Acervo Museu Aeroespacial
+ 
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+ANDREATTA, Verena; CHIAVARI, Maria Pace; e REGO, Helena. O Rio de Janeiro e a sua orla: história, projetos e identidade carioca. Prefeitura da Cidade do Rio de Janeiro, dezembro de 2009.
+Diário do Rio de Janeiro
+MELO, Victor Andrade. Remo, modernidade e Pereira Passos: primórdios das políticas públicas de esporte no Brasil. Revista do Núcleo de Estudos e Pequisas sobre Esporte e Sociedade – Universidade Federal Fluminense, julho/outubro de 2006
+Rio Memórias
+Site Infraero
+ 
+Links para os outros artigos da Série O Rio de Janeiro desaparecido
+ 
+Série O Rio de Janeiro desaparecido I - Salas de cinema do Rio de Janeiro do início do século XX, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 26 de fevereiro de 2016.
+Série O Rio de Janeiro desaparecido II – A Exposição Nacional de 1908 na Coleção Família Passos, de autoria de Carla Costa, historiadora do Museu da República, publicado na Brasiliana Fotográfica, em 5 de abril de 2018.
+Série O Rio de Janeiro desaparecido III – O Palácio Monroe, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica, em 9 de novembro de 2016.
+Série O Rio de Janeiro desaparecido IV - A via elevada da Perimetral, de autoria da historiadora Beatriz Kushnir, publicado na Brasiliana Fotográfica em 23 de junho de 2017.
+Série O Rio de Janeiro desaparecido V – O quiosque Chopp Berrante no Passeio Público, Ferrez, Malta e Charles Dunlop, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 20 de julho de 2018.
+Série O Rio de Janeiro desaparecido VI – O primeiro Palácio da Prefeitura Municipal do Rio de Janeiro, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 12 de setembro de 2018.
+Série O Rio de Janeiro desaparecido VII – O Morro de Santo Antônio na Casa de Oswaldo Cruz, de autoria de historiador Ricardo Augusto dos Santos da Casa de Oswaldo Cruz, publicado na Brasiliana Fotográfica em 5 de fevereiro de 2019.
+Série O Rio de Janeiro desaparecido VIII – A demolição do Morro do Castelo, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 30 de abril de 2019.
+Série O Rio de Janeiro desaparecido IX – Estrada de Ferro Central do Brasil: estação e trilhos, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 12 de novembro de 2019.
+Série O Rio de Janeiro desaparecido X – No Dia dos Namorados, um pouco da história do Pavilhão Mourisco em Botafogo, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 12 de junho de 2020.
+Série O Rio de Janeiro desaparecido XI – A Estrada de Ferro do Corcovado e o mirante Chapéu de Sol, de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 22 de julho de 2021.
+Série O Rio de Janeiro desaparecido XII – o Teatro Lírico (Theatro Lyrico), de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 15 de setembro de 2021.
+Série O Rio de Janeiro desaparecido XIII – O Convento da Ajuda, de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 12 de outubro de 2021.
+Série O Rio de Janeiro desaparecido XIV – O Conselho Municipal, de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 19 de novembro de 2021.
+Série O Rio de Janeiro desaparecido XVI – O prédio da Academia Imperial de Belas Artes, de autoria de Andrea C.T. Wanderley, publicado na Brasiliana Fotográfica em 13 de janeiro de 2022.
+Série O Rio de Janeiro desaparecido XVII – Igreja São Pedro dos Clérigos, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 18 de março de 2022.
+Série O Rio de Janeiro desaparecido XVIII – A Praça Onze, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 20 de abril de 2022.
+Série O Rio de Janeiro desaparecido XIX – A Igrejinha de Copacabana, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 23 de junho de 2022.
+Série O Rio de Janeiro desaparecido XX – O Pavilhão dos Estados, futuro prédio do Ministério da Agricultura, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 26 de julho de 2022.
+Série O Rio de Janeiro desaparecido XXI – O Chafariz do Largo da Carioca, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 19 de setembro de 2022. 
+Série O Rio de Janeiro desaparecido XXII – A Cadeia Velha que deu lugar ao Palácio Tiradentes, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 11 de abril de 2023
+Série O Rio de Janeiro desaparecido XXIII e Avenidas e ruas do Brasil XVII - A Praia e a Rua do Russel, na Glória, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 15 de maio de 2023
+Série O Rio de Janeiro desaparecido XXIV – O luxuoso Palace Hotel, na Avenida Rio Branco, uma referência da vanguarda artística no Rio de Janeiro, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 4 de julho de 2023
+Série O Rio de Janeiro desaparecido XXV – O Theatro Phenix, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 5 de setembro de 2023
+Série O Rio de Janeiro desaparecido XXVI – Conclusão do arrasamento do Morro do Castelo por Augusto Malta, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 14 de dezembro de 2023
+Série O Rio de Janeiro desaparecido XXVII e Série Os arquitetos do Rio de Janeiro V – O Jockey Club e o Derby Club, na Avenida Rio Branco e o arquiteto Heitor de Mello (1875 – 1920), de autoria de Andrea c. T. Wanderley, editora e pesquisadora do portal, em 15 de janeiro de 2024
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/8509` — `itens/20.500.12156.1_8509/`
+- `20.500.12156.1/5282` — `itens/20.500.12156.1_5282/`
+- `20.500.12156.1/6315` — `itens/20.500.12156.1_6315/`
+- `20.500.12156.1/607` — `itens/20.500.12156.1_607/`
+- `20.500.12156.1/9218` — `itens/20.500.12156.1_9218/`
+- `20.500.12156.1/7872` — `itens/20.500.12156.1_7872/`
+- `20.500.12156.1/7514` — `itens/20.500.12156.1_7514/`
+
diff --git a/wordpress/25489-serie-teatros-e-cinemas-do-brasil-v-e-serie-o-rio-de-janeiro-desaparecido-xii-o-.md b/wordpress/25489-serie-teatros-e-cinemas-do-brasil-v-e-serie-o-rio-de-janeiro-desaparecido-xii-o-.md
new file mode 100644
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+---
+id: 25489
+url: "https://brasilianafotografica.bn.gov.br/?p=25489"
+titulo: "Série “Teatros e cinemas do Brasil” V e Série “O Rio de Janeiro desaparecido” XII – O Teatro Lírico (Theatro Lyrico)"
+autor: "Andrea Wanderley"
+data: "2021-09-16T11:36:14+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Preservação digital", "Convidados", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/4254", "20.500.12156.1/8347", "20.500.12156.1/4417", "20.500.12156.1/6284"]
+fetched_at: "2026-09-10T10:08:40.238Z"
+---
+
+# Série “Teatros e cinemas do Brasil” V e Série “O Rio de Janeiro desaparecido” XII – O Teatro Lírico (Theatro Lyrico)
+
+O Rio de Janeiro desaparecido. Esta é uma série diferente. Quando foi concebida, inspirada pelo livro Vestígios da paisagem carioca: 50 lugares desaparecidos do Rio de Janeiro (2019), de Isabela Mota e Patricia Pamplona, e por artigos sobre o Rio Antigo, de autoria de Charles Julius Dunlop (1908 – 1997), já haviam sido publicados na Brasiliana Fotográfica 11 artigos que deveriam pertencer à série. Então, o artigo sobre o Theatro Lyrico, com o qual o portal presta uma homenagem à arte e aos artistas é, na verdade, o 12º da série, mas é o que a inaugura com essa denominação.
+Com um registro do alagoano Augusto Malta (1864 – 1957), que foi o fotógrafo oficial da Prefeitura do Rio de Janeiro, entre 1903 e 1936, vamos conhecer um pouco da história desse teatro que, em sua época, foi o centro artístico e cultural do Rio de Janeiro. Foi inaugurado em 2 de fevereiro de 1871 com o nome de Theatro Dom Pedro II e, em 20 de junho do mesmo ano, foi iniciada a primeira temporada lírica do estabelecimento. Por seu palco passaram artistas internacionais como o maestro italiano Arturo Toscanini (1867 – 1957), que lá regeu pela primeira vez uma orquestra, os tenores italianos Enrico Caruso (1873 – 1921) e Francesco Tamagno (1850 – 1905), as atrizes francesa Sarah Bernhardt (1844 – 1923) e Gabrielle Réjane (1856 – 1922); e a italiana Eleonora Duse (1858 – 1924). Vários artistas nacionais também atuaram no Lyrico, dentre eles as cantoras Bidu Sayão (1902 – 1999) e Carmen Miranda (1909 – 1955), a pianista Guiomar Novaes (1895 – 1979) e os atores (1882 – 1932) Procópio Ferreira (1898 – 1979) e Raul Roulien (1904 – 2000).
+Sob o assoalho removível da plateia, que tinha 1400 cadeiras, havia um picadeiro! O teatro contava com uma Tribuna Imperial, 86 camarotes de diferentes categorias, 252 galerias e 168 fauteuils de varandas. No total, tinha 2500 lugares. Segundo o historiador Luiz Edmundo (1878 – 1961) era o melhor teatro da cidade. A inauguração do Theatro Municipal, em 14 de julho de 1909, diminuiu a importância do Lyrico, mas devido à qualidade de sua acústica, considerada notável e superior a do Municipal, manteve fiéis os apreciadores do canto lírico. 
+“O melhor teatro da cidade é o Lyrico, uma ruína dourada, mostrando uma reles entradinha de ladrilhos, cercada de espelhos, uns espelhos muito velhos, muito sujos, muitos enodoados e uns porteiros de apresentação grotesca e mal ajambrada, sorrindo debaixo de densas gaforinhas postas em caramanchão e usando, nas noites de grandes premières, luvas brancas com punhos de celluloide”.
+Luiz Edmundo em O Rio de Janeiro do meu tempo
+ 
+No livro Palco e Picadeiro – o Theatro Lyrico, seu autor, o historiador Francisco Vieira destacou o fato do teatro ser tão integrado à vida da cidade que, em dia de estreia, os bancos dos bondes eram forrados de flanela braanca para que os passageiros a caminho do teatro não sujassem seus trajes. Logo o povo apelidou os veículos de “bonde de ceroulas”. 
+O Theatro Lyrico nasceu e morreu sob o signo do carnaval: seu primeiro evento foi um baile de mascarados, em fevereiro 1871, e, seu último, um ensaio de ranchos carnavalescos, em janeiro de 1932. Foi demolido entre 1933 e 1934. No artigo do Jornal do Brasil de 28 de dezembro de 1933 sobre sua demolição foi publicada a fotografia produzida por Malta, em torno de 1928. Destacamos aqui a importância da digitalização de fotografias para a pesquisa e também para a difusão e consequentemente para a própria preservação de acervos fotográficos. Além disso, as imagens, a partir de recursos tecnológicos como o zoom têm uma visibilidade muito melhor e podem ser acessadas com uma qualidade bem maior.
+ 
+Augusto Malta. Teatro Lírico, c. 1928. Rio de Janeiro, RJ / Acervo IMS
+ 
+Jornal do Brasil, 28 de dezembro de 1933
+ 
+ 
+Um pouco da história do Lyrico 
+ 
+O açoriano Bartholomeu Corrêa da Silva (1828 – 1917) / Palco e Picadeiro – o Theatro Lyrico
+ 
+O açoriano Bartholomeu Corrêa da Silva (1828 – 1917), nascido na Ilha Graciosa, em junho de 1828, deixou Portugal aos 14 anos, veio para o Brasil, estabeleceu-se em Campos dos Goytacazes e depois, já com sua mãe e duas irmãs, foi para São Fidélis, onde adquiriu um armazém. O diretor de um circo com cerca de 10 componentes chegou à cidade e alimentava sua trupe com comida e bebida da loja de Bartholomeu. Porém, o diretor fugiu e deixou uma dívida e a trupe para trás. Assim Bartolomeu tornou-se dono de um circo. Começava a história do Theatro Lyrico!
+Bartholomeu decidiu então deixar São Fidélis e apresentou sua Companhia Gymnastica Equestre, em Niterói  (Correio Mercantil, 14 de março de 1856, terceira coluna).
+ 
+Correio Mercantil, 23 de março de 1856
+ 
+No mesmo ano, já no Rio de Janeiro, a capital do Império, a Companhia Equestre instalou-se, provisoriamente, no Campo da Aclamação (Correio Mercantil, 1º de maio de 1856). No ano seguinte, voltou ao local (Correio Mercantil, 31 de maio de 1857, segunda coluna).
+ 
+Correio Mercantil, 1º de maio de 1856
+ 
+Em setembro de 1857, o Circo Olympico volante foi armado em São Cristóvão (Correio Mercantil, 12 de setembro de 1857).
+ 
+Correio Mercantil, 12 de setembro de 1857
+ 
+O artista e então administrador do Teatro São Pedro de Alcântara, João Caetano (1808 – 1863), convidou Bartholomeu para realizar um espetáculo. O contrato foi assinado em 15 de dezembro de 1857.
+ 
+O ator João Caetano (1808 – 1863)
+ 
+Marc Ferrez. Teatro São Pedro de Alcântara, c. 1870. Rio de Janeiro, RJ / Acervo IMS
+ 
+Em 1858, o Circo Olympico passou pela rua Nova do Conde, no Catumbi, e também pela rua São Clemente, em Botafogo (Correio Mercantil, 6 de janeiro e 23 de março de 1858).
+ 
+Correio Mercantil, 6 de janeiro de 1858
+ 
+Correio Mercantil, 23 de março de de 1858
+ 
+Finalmente estabeleceu-se, na rua da Guarda Velha, atual Rua 13 de maio, no Largo da Carioca, na época, o coração do Rio de Janeiro, uma localização privilegiada (Correio Mercantil, 21 de agosto e 25 de agosto de 1858).
+ 
+Correio Mercantil, 21 de agosto de 1858
+ 
+Marc Ferrez. Largo da Carioca, c. 1890. Rio de Janeiro, RJ / Convênio Instituto Moreira Salles – Leibniz-Institut für Länderkunde
+ 
+Em 1863, Bartholomeu cercou o terreno da Rua da Guarda Velha com um gradil e inaugurou, ao lado do circo, no ano seguinte, uma cervejaria, a Jardim Concerto, com produção própria, onde seria hoje a Rua Senador Dantas esquina com a avenida Chile. O empreendimento foi um sucesso.
+ 
+Diário do Rio de Janeiro, 18 de dezembro de 1864
+ 
+Aos poucos a lona do circo foi substituída por um circo de madeira, tornando-se uma casa de espetáculos circenses e teatrais. Famílias, inclusive a de dom Pedro II (1825 – 1891), frequentavam o circo e foi o imperador que propôs a Bartholomeu que construisse um teatro nos moldes dos melhores que existiam na Europa. Então Bartholomeu encomendou um projeto em que, com a retirada do piso de madeira da plateia, o teatro se transformava em circo equestre. Para isso contou com a ajuda do engenheiro Bittencourt da Silva. Segundo o historiador Francisco Vieira:
+“Retirando-se o assoalho do teatro, em cima do qual as cadeiras da plateia eram cuidadosamente dispostas, tinha-se de volta o picadeiro. Logo se percebeu a perfeição da acústica da sala. Provavelmente devido ao fato de que essa tampa de assoalho, de madeira fina e resistente, quando colocada sobre os cavaletes, criava uma caixa de ressonância em associação com o madeirame do teto. Era uma acústica de caixa de violino.” 
+A excelência dessa acústica ficou mundialmente conhecida.
+Os últimos espetáculos do circo, apresentados pela Companhia Chiarini, aconteceram em comemoração à vitória do Brasil na Guerra do Paraguai (Diário do Rio de Janeiro, 25 de março e 26 de abril de 1870).
+Pouco antes, em 24 de novembro de 1869, o grande pianista norte-americano Louis Moreau Gottschalk (1829 – 1869), autor da Grande Fantasia Triunfal Sobre o Hino Nacional Brasileiro, realizou um concerto monumental . Um tio de Ernesto Nazareth (1863 – 1934) era afinador de piano e o levou ao espetáculo, que teria, segundo a musicista Rosana Lanzellotti (1961-), inspirado Nazareth, então com seis anos, a ser pianista. Gottschalk faleceu pouco depois, ainda no Rio de Janeiro, em 18 de dezembro de 1869. O fotógrafo português Joaquim Insley Pacheco (1830 – 1912) teria retratado as mãos de Gottschalk executando o tremolo (Diário do Rio de Janeiro, 26 de novembro de 1869, primeira coluna; Semana Ilustrada, 4 de julho de 1869, 2 de janeiro de 1870; Facebook de Rosana Lanzellotti). *
+Em 2 de fevereiro de 1871, o Theatro Dom Pedro II foi aberto com uma apresentação de exercícios equestres e gimnásticos da companhia de Bartholomeu, que se repetiu ao longo de fevereiro (Diário do Rio de Janeiro, 2 de fevereiro de 1871, quinta coluna; 12 de fevereiro, quinta coluna, de 1871). Ainda no mesmo mês, foram realizados no salão da frente, logo antes da plateia, dois bailes de carnaval, em 19 e 21 de fevereiro, que marcaram a inauguração oficial do teatro (Jornal do Commercio, 12 de fevereiro, primeira coluna; 19 de fevereiro, última coluna, de 1871). O casal imperial não compareceu ao baile de abertura, mas às vésperas de sua realização suas majestades visitaram o teatro e elogiaram o prédio e sua decoração.
+No seu livro, Memórias, o escritor português Raul Brandão (1867 – 1930) escreveu uma história contada a ele pelo caricaturista, escultor e ceramista português Rafael Bordalo Pinheiro (1846 – 1905), que morou alguns anos no Rio de Janeiro, durante o século XIX:
+“O imperador do Brasil, logo que chegava ao theatro, mettia-se no camarote, descalçava as botas e calçava com regalo, uns chinelos. Uma noite o Raphael, que estava no Rio, foi pé ante pé, meteu a mão pela cortina e robou-lhe as botas. O pobre homem não se desconcertou: sahiu de chinelos, atravessou em chinelos a multidão, saudando para a direita, para esquerda, desceu até ao pateo e meteu-se, em chonelos, na carruagem”.
+Terá sido verdade? Ou terá sido uma história inventada por Bordalo Pinheiro?
+ 
+Diário do Rio de Janeiro, 2 de fevereiro de 1971
+ 
+Baile de Máscaras no Theatro Lyrico por Guerave, 1883.
+ 
+Com a presença de dom Pedro II e da imperariz Teresa Cristina (1822 – 1889), em 20 de junho de 1871, foi iniciada a primeira temporada lírica do Theatro D. Pedro com a apresentação da ópera Guilherme Tell, de Rossini, com os tenores Ballarini e Lelmi e a mezzo-soprano Amelia Escalante, dentre outros, sob a direção do maestro Ângelo Agostini, homônimo do famoso jornalista e ilustrador ítalo-brasileiro (Jornal do Commercio, 13 de junho de 1871). A programação da temporada da companhia italiana, com óperas de Ângelo Agostini (? -?), Carlos Gomes (1836 – 1896), Charles Gounod (1818 – 1893), Daniel Auber (1782 – 1871), Errico Petrella (1813 – 1877), Friedrich Flotow (1812 – 1883), Fromental Halevy (1799 – 1862), Giacomo Meyerbeer (1791 – 1864), Gioachino Rossini (1792 – 1868), Giovanni Pacini (1796 – 1867), Giuseppe Verdi (1813 – 1901) e Saverio Mercadante (1795-1870), foi publicada no Diário do Rio de Janeiro de 19 de março de 1871. Na mesma edição, em sua coluna “Revista do Domingo”, Luis Guimarães Jr. (1847 – 1898), um dos dez membros eleitos para se completar o quadro de fundadores da Academia Brasileira de Letras, comentou a vinda da Companhia Italiana ao Rio de Janeiro (Diário do Rio de Janeiro, 19 de março de 1871, sexta coluna). O teatro foi desde o início prestigiado pela elite já que o canto lírico representava o ápice da cultura europeia, da civilidade. Porém, Bartholomeu seguiu apresentando espetáculos para o grande público, garantindo a presença da cultura popular em seu teatro. Também cedia gratuitamente o Lyrico para a realização de festas beneficentes como as realizadas para as viúvas dos soldados da Guerra do Paraguai e para a Beneficência Portuguesa.
+ 
+Diário do Rio de Janeiro, 19 de março de 1871
+ 
+Diário do Rio de Janeiro, 20 de junho de 1871
+ 
+Semana Illustrada, 25 de junho de 1871
+ 
+A décima segunda récita da temporada, em 18 de julho de 1871, homenageou o aniversário da sagração de dom Pedro II e contou com a  presença da princesa Isabel (1846 – 1921) e de seu marido, o conde D´Eu (1842 – 1922). Na ocasião, a princesa era a regente porque dom Pedro II estava, pela primeira vez, em viagem à Europa, para onde havia embarcado em 25 de maio de 1871. Em 31 de março de 1872, retornou ao Rio de Janeiro (Diário do Rio de Janeiro, 1º de abril de 1872), trazendo o duque de Saxe, viúvo de de sua filha Leopoldina, e seus dois netos, Pedro Augusto (1866 – 1934) e Augusto Leopoldo (1867 – 1922), que seriam educados no Brasil.
+ 
+Diário do Rio de Janeiro, 18 de julho de 1871
+ 
+Em setembro de 1875,  o Theatro D. Pedro II passou a se chamar, por decreto, Imperial Theatro D. Pedro II (A Reforma, 7 de setembro de 1875, primeira coluna; Jornal do Commercio, 7 de setembro de 1875, primeira coluna).
+ 
+
+ 
+Em 25 de março de 1876, véspera da partida do casal imperial para uma viagem aos Estados Unidos, foi realizado um espetáculo de gala no Imperial Theatro D. Pedro II. Na ocasião, o ator Francisco Xavier da Silva Lisboa recitou uma saudação de despedida aos imperadores (Diário do Rio de Janeiro, 27 de março de 1876, penúltima coluna).
+Entre os anos de 1876 e 1886, o teatro foi administrado pelo maestro italiano Ângelo Ferrari (1835 – 1897) e conheceu uma fase áurea, com a apresentação de grandes óperas e dos maiores nomes do bel canto da época. Alguns dos espetáculos foram a Fosca, de Carlos Gomes (1836 – 1896), 1877 (Gazeta de Notícias, 25 de julho de 1877); Eurico, do maestro português Miguel Ãngelo Pereira (1843 – 1901), baseada no livro homônimo do poeta Alexandre Herculano (1810 – 1877), em 1878 (Revista Illustrada, 2 de novembro de 1878, terceira coluna); e Aída, de Giuseppe Verdi (1813 – 1901), em 1879 (Gazeta de Notícias, 15 de novembro de 1879, primeira coluna). Tenores famosos como o espanhol Julien Gayarre (1844 – 1890) (Gazeta de Notícias, 22 de outubro de 1876) e o italiano Francesco Tamagno (1850 – 1905) (Revista Musical, 15 de novembro de 1879, primeira coluna) apresentaram-se no teatro assim como as cantoras líricas Maria Durand (1846 – ?) (Gazeta de Notícias, 15 de novembro de 1879, primeira coluna) e Marianni (Diário do Rio de Janeiro, 27 de outubro de 1878, terceira coluna). Em 1888, o ator francês da Comedie Française, Benoit Constant Coquelin (1841 – 1909), e a atriz francesa Jane Hading (1859 – 1941) foram os grandes sucessos (Diário de Notícias, 30 de maio de 1888, última coluna).
+Foi por ocasião das comemorações do tricentenário do poeta Luis de Camões (1524-1580), organizadas pelo Real Gabinete de Leitura, que a peça de Machado de Assis (1839 – 1908), Tu, só tu, puro amor, estreou no Imperial Theatro D. Pedro II, em 10 de junho de 1880 (Gazeta de Notícias, 11 e 12 de junho de 1880, terceira coluna). Machado fez citações sobre o teatro em algumas de suas obras, como no livro Esaú e Jacó (1904) e em contos como  D. Jucunda (1889). Outros autores também o mencionaram: Lima Barreto (1881 – 1922) no conto Uma noite no Lírico, publicado em seu livro Histórias e Sonhos (1920); e Rubem Fonseca (1925 – 2020), em Agosto (1990), quando o personagem Emilio, o velho e doente professor de música do comissário Mattos, diz: “Nem Gigli nem Scotti põem mais os pés aqui…Não, não, minha cabeça não anda boa, o Scotti morreu há muito tempo, você não chegou a vê-lo, mas eu o vi, com esses olhos que a terra há de comer, cantando o Falstaff no Teatro Lírico, que eles demoliram, um teatro lindo com uma acústica melhor do que o Scala de Milão”. Antonio Scotti (1866 – 1936) foi um barítono italiano.
+No dia 30 de junho de 1886, o maestro italiano Arturo Toscanini (1867 – 1957) regeu pela primeira vez uma orquestra, apresentando Aída, de Giuseppe Verdi (1813 – 1901), no Theatro Lyrico. Toscanini regeu a ópera de cor, sem partitura, e recebeu os maiores elogios do severo crítico Oscar Guanabarino (1851 – 1937).
+ 
+Oscar Guanabarino / O Rio de Janeiro do meu tempo, de Luiz Edmundo
+ 
+Substituiu na última hora o maestro brasileiro Leopoldo Miguez (1850 – 1902), futuro autor do Hino da Proclamação da República, porque os artistas italianos não aceitaram a ideia de serem dirigidos por um estrangeiro. Miguez estava no lugar do regente italiano Claudio Rossi, que havia ficado doente (L´Italia, 1º de julho de 1886, última coluna; O Paiz, 1º de julho, quarta coluna;  4 de julho, quarta coluna, 1886).
+ 
+Toscanini em 1908
+ 
+A cantora que fazia o papel de Aída, a russa Nadina Bulicioff (1858 – 1921), comprou a liberdade de sete escravizados com os presentes que recebeu de seus admiradores. Entregou as cartas de alforrias em pleno palco, em 10 de agosto, em um ato da campanha abolicionista organizado por José do Patrocínio (1854 – 1905) (O Paiz, 11 de agosto de 1886, sexta coluna).
+ 
+Revista Illustrada, 20 de agosto de 1886
+ 
+A ópera Lo Schiavo, de Carlos Gomes (1836 – 1896), dedicada à princesa Isabel (1846 – 1921), estreou em 27 de setembro de 1889, sem a presença da família imperial, de luto devido à morte de dom Augusto de Portugal (1847 – 1889). Mas na récita do dia 2 de outubro, no intervalo da ópera, o compositor recebeu das mãos do imperador Pedro II a Ordem do Rosa (Diário de Notícias, 28 de setembro, quinta coluna; 3 de outubro de 1889, penúltima coluna).
+Devido à proclamação da República, em 15 de novembro de 1889, o camarote real foi demontado, os símbolos do império foram eliminados e o Theatro Imperial Dom Pedro II passou a chamar-se Theatro Lyrico (O Paiz, 3 de dezembro de 1889, terceira coluna). Em janeiro do ano seguinte, uma reunião para a escolha do Hino da Proclamação da República aconteceu no teatro com a presença do presidente Deodoro da Fonseca (1827 – 1892). A música de Leopoldo Miguez, que concorreu com Alberto Nepomuceno (1864 – 1920), Francisco Braga (1868 – 1945), futuro compositor do Hino da Bandeira (1905); e Jerônimo Queiroz, foi a escolhida. O Hino Nacional permaneceria sendo o composto por Francisco Manoel da Silva (1795 – 1865) (O Paiz, 21 de janeiro de 1890, penúltima coluna; Jornal do Brasil, 31 de dezembro de 1933). Entre fevereiro e março, foram realizados no teatro dois bailes mascarados e uma reunião operária (O Paiz, 13 de fevereiro de 1890; O Paiz, 17 de fevereiro de 1890; O Paiz, 2 de março de 1890, primeira coluna).
+Passou por uma reforma e foi reinaugurado em abril de 1890 com a apresentação da Grande e Luxuosa Companhia Equestre, acrobatica, gymnastica e comica do Polytheama Argentino de Buenos Aires, do empresário Luiz Gucci, representado por Alfredo Cattaneo (O Paiz, 23 de abril de 1890, primeira coluna).
+ 
+O Paiz, 25 de abril de 1890
+ 
+Em 28 de março de 1895, Bartholomeu tomou posse definitiva do terreno do teatro.
+ 
+Planta geral do Teatro Lírico
+ 
+O tango Tupã, uma homenagem da maestrina Chiquinha Gonzaga (1847 – 1935) ao jornalista e médico Lopes Trovão (1848-1925), autor da frase que se referia a ela: “Aquela Chiquinha é o diabo!”, foi executada pela Banda dos Meninos Desvalidos, regida por Luiz Moreira, em uma récita em benefício à compositora no Lyrico, em 20 de abril de 1891 (Gazeta de Notícias, 20 de abril de 1891, primeira coluna).
+Vamos destacar na primeira década do século XX , a estreia no Rio de Janeiro, do Cinematographo Lumière Aperfeiçoado realizado pela empresa Evert, em 26 de novembro de 1904; a apresentação das atrizes de renome internacional Gabrielle Réjane (1856 – 1922), Sarah Bernhardt (1844 – 1923) e a italiana Eleonora Duse (1858 – 1924); e do tenor italiano Enrico Caruso (1873 – 1921). São nomes que se confundem com as artes nas quais atuaram.
+ 
+Gazeta de Notícias, 26 de novembro de 1904
+ 
+Gabrielle Réjane esteve no Brasil três vezes. A primeira, em 1895. Em 1902, estreou no Lyrico na peça Zaza, escrita especialmente para ela por Pierre Berton (1842 – 1912) (Gazeta de Notícias, 1º de julho de 1903, última coluna). Fundou sua própria companhia teatral, em Paris, em 1906, e o escritor Marcel Proust (1871 – 1922) era seu grande amigo e admirador. Notabilizou-se por suas performances nas peças Madame Sans-Gêne, de Victorien Sardou (1831 – 1908); M Cousine, de Henri Meilhac (1830 – 1897), além da já citada Zaza. Apresentou-se no Theatro Municipal do Rio de Janeiro um dia depois de sua inauguração (O Paiz, 14 de julho, última coluna; 16 de julho, primeira coluna de 1909).
+ 
+Gazeta de Notícias, 1º de agosto de 1902
+ 
+Identificado como célebre tenor, o italiano Enrico Caruso estreou no Lyrico, em 9 de setembro de 1903, na ópera Rigoletto (1851), de Giuseppe Verdi (1813 – 1901), que foi reapresentada em 18 de setembro. Também atuou em Manon Lescaut (1893) e na Tosca (1900), ambas de Giacomo Puccini (1858 – 1924); e em Iris (1898), de Pietro Mascagni (1863 – 1945) (Correio da Manhã,  8 de setembro, 18 de setembro, 19 de setembro e 25 de setembro de 1903; Jornal do Brasil, 26 de setembro de 1926, terceira coluna). Esteve de novo no Brasil, em 1917, quando se apresentou no Theatro Municipal do Rio de Janeiro.
+ 
+Enrico Caruso, caricatura feita por ele / O Malho, 2 de novembro de 1907
+ 
+Sarah Bernhardt fez em julho de 1905 sua última turnê ao Rio de Janeiro. Já havia estado na cidade em 1886, quando se apresentou no Teatro São Pedro de Alcântara e sua atuação em Fedra, de Jean Racine (1639 – 1699) arrebatou a plateia; e, em 1893, quando suas performances aconteceram no Theatro Lyrico (Gazeta de Notícias, 10 de junho de 1893, última coluna). Foi também no Lyrico que se apresentou entre 13 e 17 de outubro de 1905, nas peças La Sorcière (1904), de Victorien Sardou (1831 – 1908); Adrienne Lecouvrier (1849), de Ernest Legouvé (1807 – 1903) e Eugène Scribe (1791 – 1861); A Dama das Camélias (1852), de Alexandre Dumas Filho (1824 – 1895); Angelo (1835), de Victor Hugo (1802 – 1885), e Hamlet (c. 1600), de William Shakespeare (1564 – 1616). Partiu do Rio de Janeiro em 18 de outubro de 1905 (Gazeta de Notícias, 19 de outubro de 1905, quinta coluna).
+ 
+A atriz Sarah Bernhardt como La Tisbee, da peça Angelo, de Victor Hugo / Revista da Semana, 29 de outubro de 1905
+ 
+Reza a lenda que ela teria se acidentado durante essa última turnê quando representava a peça A Tosca, de Sardou, cuja estreia foi estrelada por ela, em 27 de novembro de 1887, em Paris, tendo sido, em 1900, adaptada para a ópera homônima, por Giacomo Puccini (1858 – 1924). A queda teria ocasionado, posteriomente, a amputação da perna da atriz. Porém não há registro na imprensa de sua atuação na referida peça nessa sua última temporada carioca. Havia encenado A Tosca em sua turnê, no Rio de Janeiro, em 1893 (Gazeta de Notícias, 10 de junho , terceira coluna; 16 de junho, última coluna, de 1893).
+ 
+Eleonora Duse / Fon-Fon, 8 de junho de 1907
+ 
+Eleonora Duse ou La Duse, como era conhecida, foi uma verdadeira diva do teatro e destacou-se na interpretação de papéis escritos, muitas vezes, especialmente para ela pelo dramaturgo italiano Gabrielle D´Annunzio (1863 – 1938), com quem teve um romance; e de peças do norueguês Henrik Ibsen (1828 – 1906). Esteve no Rio de Janeiro, em 1885, quando se apresentou no Theatro São Pedro de Alcântara (Jornal do Commercio, 29 de junho de 1885, última coluna; A Semana, 17 de julho de 1885; Diario do Brazil, 7 de agosto de 1885, primeira coluna), e entre junho e julho de 1907, em uma temporada no Lyrico. Após sua última performance, realizada em 16 de julho na peça Rosmersholm (1886), de Ibsen, foi homenageada e um escudo de mármore com a seguinte inscrição foi inaugurado:
+ 
+Gazeta de Notícias, 17 de julho de 1907
+ 
+Um fato curioso: foi no Lyrico, numa homenagem ao aviador Santos Dumont (1873 – 1932), que o jornalista e abolicionista José do Patrocínio (1854 – 1905), quando saudava o inventor, sofreu uma hemoptise durante seu discurso, tendo falecido pouco tempo depois, em 29 de janeiro de 1905 (Site Academia Brasileira de Letras).
+Em 15 de setembro de 1911, houve um incêndio no edifício da Imprensa Nacional, vizinho ao teatro, o que suscitou boatos em torno da possível demolição do Lyrico. Um dos mais respeitados críticos de artes da época, o implacável Oscar Guanabarino (1851 – 1937), escreveu um artigo no qual se opunha veementemente a essa hipótese e chamava o Lyrico de melhor teatro dessa cidade (O Paiz, 16 de setembro, penúltima coluna; 7 de novembro, última coluna, de 1911).
+ 
+Juan Gutierrez. Prédio da Imprensa Nacional, 189?. Rio de Janeiro, RJ / Acervo Museu Histórico Nacional
+ 
+O comendador Bartholomeu, título que recebeu  do rei dom Carlos de Portugal, faleceu em 27 de dezembro de 1917, e o Lyrico, após uma ruidosa disputa entre sua neta Margarida Chaves Lopes, pra quem deixouo teatro em testamento, e seus sobrinhos, foi herdado por ela, que era filha de Emilia (1859 – 1881), filha adotiva de Bartholomeu, e do jornalista Henrique Chaves (1849 – 1910), português e um dos fundadores da Gazeta de Notícias. Emilia havia morrido tragicamente, atingida por um coice de um cavalo, em novembro de 1881, no pátio que ficava na saída lateral do teatro. Margarida era casada com César Lopes Ferreira, com quem tinha dois filhos: João Henrique e Maria Emilia. Moravam no teatro assim como Batholomeu até sua morte (A Noite, 27 de dezembro de 1917, terceira coluna;  Gazeta de Notícias, 23 de maio de 1918, penúltima coluna).
+Em 16 de fevereiro de 1919, foi realizado no Lyrico o primeiro concurso de músicas de carnaval. Os números foram executados pela Banda do Batalhão Naval e a vencedora foi o maxixe Prove e beba Vermutim, de Abdon Lyra (1887 – 1962) (Gazeta de Notícias, 17 de fevereiro de 1919, penúltima coluna).
+ 
+Fon-Fon, 1919
+ 
+O Lyrico também foi palco de eventos políticos. Destacamos aqui a convenção da campanha civilista, em agosto de 1909 (O Paiz, 23 de agosto, quinta coluna). 24 de agosto, segunda coluna, de 1909).
+ 
+Revista da Semana, 5 de setembro de 1909
+ 
+E também, em 20 de março de 1919, o evento no qual Ruy Barbosa (1879 – 1923), durante sua campanha presidencial, vencida, em 13 de abril, por seu concorrente, Epitácio Pessoa (1865 – 1942), leu a conferência A Questão Social e Política no Brasil, que se tornou famosa (O Imparcial, 21 de março de 1919, quarta coluna).
+ 
+O Imparcial, 21 de março de 1919
+ 
+Trecho da conferência A Questão Social e Política no Brasil 
+ O Brasil não é isso
+“Mas, senhores, se é isso o que eles vêem, será isto, realmente, o que nós somos? Não seria o povo brasileiro mais do que esse espécimen do caboclo mal desasnado, que não se sabe ter de pé, nem mesmo se senta, conjunto de todos os estigmas de calaçaria e da estupidez, cujo voto se compre com um rolete de fumo, uma andaina de sarjão e uma vez d’aguardente? Não valerá realmente mais o povo brasileiro do que os conventilhos de advogados administrativos, as quadrilhas de corretores políticos e vendilhões parlamentares, por cujas mãos corre, barateada, a representação da sua soberania?
+Deverão, com efeito, as outras nações, a cujo grande conselho comparecemos, medir o nosso valor pelo dessa troça de escaladores do poder, que o julgam ter conquistado, com a submissão de todos, porque, em um lance de roleta viciada, empalmaram a sorte e varreram a mesa?
+Não. Não se engane o estrangeiro. Não nos enganemos nós mesmos. Não! O Brasil não é isso. Não! O Brasil não é o sócio de clube, de jogo e de pândega dos vivedores, que se apoderaram da sua fortuna, e o querem tratar como a libertinagem trata as companheiras momentâneas da sua luxúria.
+Não! O Brasil não é esse ajuntamento coletício de criaturas taradas, sobre que possa correr, sem a menor impressão, o sopro das aspirações, que nesta hora agitam a humanidade toda.
+Não! O Brasil não é essa nacionalidade fria, deliqüescente, cadaverizada, que receba na testa, sem estremecer, o carimbo de uma camarilha, como a messalina recebe no braço a tatuagem do amante, ou o calceta, no dorso, a flor-de-lis do verdugo.
+Não! O Brasil não aceita a cova, que lhe estão cavando os cavadores do Tesouro, a cova onde o acabariam de roer até aos ossos os tatus-canastras da politicalha. Nada, nada disso é o Brasil”.
+Seguiram-se apresentações de Guiomar Novaes (1895 – 1979) (O Paiz, 11 de setembro de 1920, terceira coluna) e de vários concertos de Arthur Rubinstein (1887 – 1982) (Correio da Manhã, 20 de maio de 1920, quinta coluna), em 1920; e, no ano do Centenário da Indenpendência do Brasil, em 1922, o grande sucesso foi a companhia francesa Ba-Ta-Clan, de Madame Rasimi (1874 – 1954) (O Paiz, 6 de agosto de 1922, penúltima coluna). Os Oitos Batutas, a seu convite, haviam apresentado no Theatro Lyrico o repertório dos shows que haviam realizado em Paris. “Não há dúvida nenhuma: mais uma vez os versos do trovador popular se justificam… ”A Europa continua a curvar-se ante o Brasil” (O Paiz, 23 de agosto de 1922, quinta coluna; e 27 de agosto, penúltima coluna, de 1922).
+No ano seguinte, apresentaram-se no teatro o pianista russo Alexander Borovsky (1889 – 1968) (Correio da Manhã, 18 de maio de 1923, segunda coluna) e a cantora e atriz francesa Mistinguett (1873 – 1956) (Fon-Fon, 18 de agosto de 1923).
+ 
+Mistinguett vista pelo traço de Kalisto / Fon-Fon, 25 de agosto de 1923
+ 
+Em 1926, houve a apresentação da pianista Magdalena Tagliaferro (1893 – 1986) (Revista da Semana, 3 de julho de 1926, terceira coluna).
+ 
+A pianista Magdalena Tagliaferro / Fon-Fon, 13 de março de 1926
+ 
+Filippo Tomazzo Marinetti (1876 – 1944), principal teórico e fundador do futurismo italiano, fez duas conferência do Lyrico, em 15 e 18 de maio de 1926, apresentado por Graça Aranha (1868 – 1931). Foi vaiado pelo público e diversas caricaturas dele foram publicadas pela imprensa carioca (Gazeta de Notícias, 16 de maio e 19 de maio de 1926; Fon-Fon, 12 de junho de 1926).
+Em 15 de novembro, ainda em 1926, sob a direção do maestro e compositor Heitor Villa-Lobos (1887 – 1959),  realização do espetáculo de gala Musica Typica Brasileira, com um coro de 200 vozes, em homenagem ao Governo da República (O Paiz, 14 de novembro de 1926).
+ 
+O Paiz, 14 de novembro de 1926
+ 
+Foi promovido no Lyrico, em janeiro de 1930, o concurso carnavalesco da Casa Edison, primeira empresa fonográfica do Brasil, fundada pelo tcheco Frederico (Fred) Figner (1866 – 1947), primeiro produtor fonográfico do Brasil. A música vencedora foi Dá nela, de Ary Barroso (1903 – 1964), seu primeiro grande sucesso e também o hit do carnaval de 1930. O cantor oficial do evento foi o popular Francisco Alves (1898 – 1952) e a orquestra era a Pan-Americana (O Malho, 25 de janeiro; 1º de fevereiro de 1930). No mesmo ano, a temporada lírica foi inaugurada pelo famoso pianista Alexandre Brailowsky (O Malho, 17 de maio de 1930).
+ 
+
+ 
+Ainda em 1930, a cantora Carmen Miranda (1909 – 1955) lotou o teatro. Na mesma noite, apresentaram-se os atores Procópio Ferreira (1898 – 1979), Raul Roulien (1904 – 2000) e o jornalista e poeta Álvaro Moreyra (1888 – 1964), dentre outros (A Noite, 20 de junho de 1930, terceira coluna).
+ 
+
+Fon-Fon, 14 de junho de 1930
+ 
+Mas a crise financeira atingiu o Brasil, as instalações do Lyrico estavam velhas e muito dinheiro seria necessário para restaurá-lo. A última companhia que manteve um contrato com o teatro foi a A. Sonschein, de Cinematorgaphia, Theatros e Diversões. Em 23 de janeiro de 1932, a declamadora, atriz e cantora argentina, nascida na Bielorússia, Berta Singerman (1901 -1998), realizou seu 50º recital no Theatro Lyrico.
+ 
+O Jornal, 22 de janeiro de 1932
+ 
+Em 29 de janeiro de 1932, houve no teatro o ensaio dos ranchos carnavalescos Flor do Abacate, Arrepiados e Deixa Falar (O Jornal, 31 de janeiro de 1932, quarta coluna; Diário de Notícias, 3 de fevereiro de 1932, quarta coluna). Foi o último evento realizado no velho casarão da Rua da Guarda. Estava marcado para o dia 31 de janeiro, um festival para a escolha do melhor samba e da melhor marchinha do carnaval de 1932, porém foi adiado devido a um problema de saúde da cantora Zaira Cavalcanti (1913-1981). Não há registro de que tenha sido realizado, pelo menos não no Lyrico (O Jornal, 30 de janeiro de 1932, segunda coluna; Correio da Manhã, 31 de janeiro de 1932, segunda coluna; Diário de Notícias, 2 de fevereiro de 1932, segunda coluna).
+O teatro, em 1932, foi a leilão público e adquirido pelo diretor presidente da Caixa Econômica Federal, Solano Carneiro da Cunha (O Jornal, 14 de setembro, quinta coluna;  29 de setembro, última coluna;  29 de outubro, primeira coluna, de 1932). Na ocasião, segundo o livro Palco e Picadeiro – o Theatro Lyrico, o diretor do Instituto Nacional de Música, o professor Guilherme Fontainha (1887 – 1970), pediu a cessão das placas comemorativas que estavam no interior do Lyrico, que  foram então alocadas no Teatro João Caetano e na Escola Nacional de Música.
+ 
+O Jornal, 29 de outubro de 1932
+ 
+O prédio do teatro estava condenado por engenheiros e foi demolido entre 27 de dezembro de 1933 e 1934. Houve um desabamento durante sua demolição (Jornal do Brasil, 28 de dezembro de 1933; 29 de dezembro de 1933, penúltima coluna; 6 de maio, quarta coluna; 20 de maio, quinta coluna; 19 de dezembro, quinta coluna, de 1934; O Paiz, 3 de janeiro, penúltima coluna; 3 de abril, penúltima coluna de 1934; O Jornal, 28 de janeiro de 1934).
+ 
+O Jornal, 28 de janeiro de 1934
+ 
+Suas colunas de madeira foram vendidas aos irmãos e luthiers Benvenuto Pascole (1892 – 1956) e Guido Pascole (1905 – 1987), cuja fábrica de violinos ficava em São Paulo, e ao maestro Livolsi Bartholomeu. Foram utilizadas na fabricação desses instrumentos. O jornal A Noite promoveu um concurso para a entrega do violino fabricado com madeiras do Lyrico (A Noite, 2 de abril, 23 de abril, 10 de setembro, 17 de setembro, 22 de outubro e 15 de dezembro de 1934). Já no século XXI, o bombeiro e luthier Davi Lopes construiu instrumentos musicais com restos de madeira remanescentes do incêndio do Museu Nacional, ocorrido em 2 de setembro de 2018. Até agosto de 2021, Davi havia confeccionado com os destroços do museu dois violões, um bandolim, um cavaquinho e um violino, que seriam entregues ao Museu Nacional/UFRJ (Rota Cult, 27 de agosto de 2021).
+ 
+A Noite, 23 de abril de 1934
+ 
+Algumas das peças do  Lyrico foram a leilão e outras como, por exemplo, duas poltronas e um medalhão comemorativo da vista do presidente argentino, Julio Argentino Roca (1843 – 1914), ao Brasil, foram doadas ao Museu Histórico Nacional por Cesar Lopes, como já mencionado, marido de Margarida, a neta de Bartholomeu. No local do antigo teatro foi instalado um estacionamento (A Noite, 13 de novembro, quarta coluna).
+ 
+                                                                  Revista da Semana, 7 de abril de 1934
+ 
+O Theatro Lyrico em artigos e crônicas
+ 
+O Theatro Lyrico está presente em artigos e crônicas de dramaturgos, escritores, historiadores e políticos, dentre eles Coelho Neto (1864 – 1934), João do Rio (1881 – 1921), Oscar Lopes (1882 – 1938), cunhado da antiga proprietária, Margarida; e Ruy Barbosa (1849 – 1923).
+ 
+Coelho Neto / Academia Brasileira de Letras
+ 
+“Foi condenado à morte o Lyrico. No dia em que os pedreiros entrarem com seus ferros a atacar o casarão que foi tudo nesta cidade, desde circo até praça de manifestações políticas, os que vêm do passado, se o coração se lhes não esterilizaram, sofrerão produndamente com a perda da antigualha, que foi o centro da elegância e a “ágora” em dias que se perderam na grande noite dos tempos…Abate-se o Lyrico, mas que não o substituam por alguma joça ridícula que em vez de tornar o sítio mais formoso, o enfeia e faça mais forte a saudade do velho theatro, indubitavelmente o melhor que possuímos, não só para os espetáculos lyricos, como para as representações dramáticas”.
+Trecho do artigo O Lyrico, de Coelho Neto, 
+publicado no Jornal do Brasil, 18 de setembro de 1932
+ 
+ 
+João do Rio / Bahia Illustrada, junho de 1921
+ 
+“Flanar é ser vagabundo e refletir, é ser basbaque e comentar, ter o vírus da observação ligado ao da vadiagem. Flanar é ir por aí, de manhã, de dia, à noite, meter-se nas rodas da populaça, admirar o menino da gaitinha ali à esquina, seguir com os garotos o lutador do Cassino vestido de turco, gozar nas praças os ajuntamentos defronte das lanternas mágicas, conversar com os cantores de modinha das alfurjas da Saúde, depois de ter ouvido dilettanti, de casaca, aplaudirem o maior tenor do Lírico numa ópera velha e má; é ver os bonecos pintados a giz nos muros das casas, após ter acompanhado um pintor afamado até a sua grande tela paga pelo Estado; é estar sem fazer nada e achar absolutamente necessário ir até um sítio lôbrego, para deixar de lá ir, levado pela primeira impressão, por um dito que faz sorrir, um perfil que interessa, um par jovem cujo riso de amor causa inveja…”
+                                                                                            A alma encantadora das ruas (1908), de João do Rio
+ 
+ 
+Oscar Lopes / O Malho, 6 de novembro de 1936
+ 
+
+Relíquia Perdida, de Oscar Lopes, publicado no Jornal do Brasil, em 6 de agosto de 1933
+ 
+ 
+Ruy Barbosa em 1907 / Fundação Biblioteca Nacional
+ 
+“…Mas aqui estamos num recinto consagrado à flor do espírito e da graça. Como uma corbelha imensa, em camadas superpostas de flores, sorri toda uma sociedade inumerável de rosas, de violetas, de carbúnculos, à luz quase meridiana da eletricidade…a música vai entronar sua magia naquela atmosfera de templo de beleza. Desse feitiço dizem que já se moveu as pedras, mas que, hoje mesmo, na decadência de seu poder, amansa feras, e ensinar a bailar as serpentes…Mas no santuário de Mozart, de Mayerbeer e de Wagner não estruja a vozeria, não chocalhe a pilhéria deslavada…”
+ Trecho do artigo de Ruy Barbosa, O Direito da Vaia, publicado no jornal A Imprensa, do qual era diretor, em 17 de agosto de 1900, em torno da polêmica sobre a vaia iniciada devido às manifestações dos frequentadores do Lyrico
+ 
+*Este parágrafo foi acrescentado em 30 de julho de 2026.
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+GERSON, Brasil. História das Ruas do Rio. Rio de Janeiro: Bem-Te-Vi, 2013.
+EDMUNDO, Luiz. O Rio de Janeiro do meu tempo. Rio de Janeiro:Editora: Imprensa Nacional, 1938.
+Hemeroteca Digital da Biblioteca Nacional
+PERNY, Mônica Menezes. As máscaras de carnaval no cenário carioca: uma contribuição à Memória Social. 2015. 92f. Dissertação (Mestrado em Memória Social) – Centro de Ciências Humanas e Sociais, Universidade Federal do Estado do Rio de Janeiro, Rio de Janeiro, 2015.
+SATIN, Ionara. Machado de Assis e I cantanti d’opera italiani: transferências culturais. Olho d’água, São José do Rio Preto, 10(2): p. 1–285, Jun.–Dez./2018.
+Site Academia Brasileira de Letras
+Site Acervo Digital Chiquinha Gonzaga
+Site Panis & Circus – o site do circo
+Site Teatros do Centro Histórico do Rio de Janeiro
+VENCELAU, Maria da Gloria Leitão; SANDO, Rafael. The Pascoli Brothers: Violin Making and Immigration in 20th – Century Brazil, 2019.
+VIEIRA, Francisco. Palco e Picadeiro – o Theatro Lyrico. Rio de Janeiro : 19 Design e Editora Ltda, 2015.
+SAMPAIO, Daniel. Um circo lírico: conheça a história do Theatro Imperial Dom Pedro II. Veja Rio.
+ 
+ 
+Links para os outros artigos da Série O Rio de Janeiro desaparecido
+ 
+Série O Rio de Janeiro desaparecido I - Salas de cinema do Rio de Janeiro do início do século XX, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 26 de fevereiro de 2016.
+Série O Rio de Janeiro desaparecido II – A Exposição Nacional de 1908 na Coleção Família Passos, de autoria de Carla Costa, historiadora do Museu da República, publicado na Brasiliana Fotográfica, em 5 de abril de 2018.
+Série O Rio de Janeiro desaparecido III – O Palácio Monroe, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica, em 9 de novembro de 2016.
+Série O Rio de Janeiro desaparecido IV - A via elevada da Perimetral, de autoria da historiadora Beatriz Kushnir, publicado na Brasiliana Fotográfica em 23 de junho de 2017.
+Série O Rio de Janeiro desaparecido V – O quiosque Chopp Berrante no Passeio Público, Ferrez, Malta e Charles Dunlop, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 20 de julho de 2018.
+Série O Rio de Janeiro desaparecido VI – O primeiro Palácio da Prefeitura Municipal do Rio de Janeiro, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 12 de setembro de 2018.
+Série O Rio de Janeiro desaparecido VII – O Morro de Santo Antônio na Casa de Oswaldo Cruz, de autoria de historiador Ricardo Augusto dos Santos da Casa de Oswaldo Cruz, publicado na Brasiliana Fotográfica em 5 de fevereiro de 2019.
+Série O Rio de Janeiro desaparecido VIII – A demolição do Morro do Castelo, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 30 de abril de 2019.
+Série O Rio de Janeiro desaparecido IX – Estrada de Ferro Central do Brasil: estação e trilhos, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 12 de novembro de 2019.
+Série O Rio de Janeiro desaparecido X – No Dia dos Namorados, um pouco da história do Pavilhão Mourisco em Botafogo, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 12 de junho de 2020.
+Série O Rio de Janeiro desaparecido XI – A Estrada de Ferro do Corcovado e o mirante Chapéu de Sol, de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 22 de julho de 2021.
+Série O Rio de Janeiro desaparecido XIII – O Convento da Ajuda, de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 12 de outubro de 2021.
+Série O Rio de Janeiro desaparecido XIV – O Conselho Municipal, de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 19 de novembro de 2021.
+Série O Rio de Janeiro desaparecido XV – A Praia de Santa Luzia no primeiro dia do verão, de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 21 de dezembro de 2021.
+Série O Rio de Janeiro desaparecido XVI – O prédio da Academia Imperial de Belas Artes, de autoria de Andrea C.T. Wanderley, publicado na Brasiliana Fotográfica em 13 de janeiro de 2022.
+Série O Rio de Janeiro desaparecido XVII – Igreja São Pedro dos Clérigos, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 18 de março de 2022.
+Série O Rio de Janeiro desaparecido XVIII – A Praça Onze, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 20 de abril de 2022.
+Série O Rio de Janeiro desaparecido XIX – A Igrejinha de Copacabana, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 23 de junho de 2022.
+Série O Rio de Janeiro desaparecido XX – O Pavilhão dos Estados, futuro prédio do Ministério da Agricultura, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 26 de julho de 2022.
+Série O Rio de Janeiro desaparecido XXI – O Chafariz do Largo da Carioca, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 19 de setembro de 2022. 
+Série O Rio de Janeiro desaparecido XXII – A Cadeia Velha que deu lugar ao Palácio Tiradentes, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 11 de abril de 2023
+Série O Rio de Janeiro desaparecido XXIII e Avenidas e ruas do Brasil XVII - A Praia e a Rua do Russel, na Glória, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 15 de maio de 2023
+Série O Rio de Janeiro desaparecido XXIV – O luxuoso Palace Hotel, na Avenida Rio Branco, uma referência da vanguarda artística no Rio de Janeiro, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 4 de julho de 2023
+Série O Rio de Janeiro desaparecido XXV – O Theatro Phenix, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 5 de setembro de 2023
+Série O Rio de Janeiro desaparecido XXVI – Conclusão do arrasamento do Morro do Castelo por Augusto Malta, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 14 de dezembro de 2023
+Série O Rio de Janeiro desaparecido XXVII e Série Os arquitetos do Rio de Janeiro V – O Jockey Club e o Derby Club, na Avenida Rio Branco e o arquiteto Heitor de Mello (1875 – 1920), de autoria de Andrea c. T. Wanderley, editora e pesquisadora do portal, em 15 de janeiro de 2024
+ 
+Outros artigos publicados na Brasiliana Fotográfica sobre teatros e cinemas
+ 
+Série O Rio de Janeiro desaparecido I - Salas de cinema do Rio de Janeiro do início do século XX, publicado em 26 de fevereiro de 2016.
+Os teatros do Brasil, publicado em 21 de março de 2016
+A inauguração do Theatro Municipal do Rio de Janeiro, publicado em 14 de julho de 2017
+Cinema no Brasil – a primeira sessão e um pouco da história do Cinema Odeon, publicado em 8 de julho de 2021
+O Theatro de Santa Isabel, publicado em 28 de outubro de 2021
+O Teatro Amazonas (Theatro Amazonas), em Manaus, a “Paris dos Trópicos”, publicado em 28 de dezembro de 2021
+O Teatro João Caetano, no Rio de Janeiro, no Dia Mundial do Teatro, publicado em 27 de março de 2023
+Dia do Cinema Brasileiro, publicado em 19 de junho de 2023
+Série O Rio de Janeiro desaparecido XXV – O Theatro Phenix, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado em 5 de setembro de 2023
+O Theatro da Paz, em Belém do Pará, inaugurado em 15 de fevereiro de 1878, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado em 15 de fevereiro de 2024
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/4254` — `itens/20.500.12156.1_4254/`
+- `20.500.12156.1/8347` — `itens/20.500.12156.1_8347/`
+- `20.500.12156.1/4417` — `itens/20.500.12156.1_4417/`
+- `20.500.12156.1/6284` — `itens/20.500.12156.1_6284/`
+
diff --git a/wordpress/25759-serie-o-rio-de-janeiro-desaparecido-xiii-o-convento-da-ajuda.md b/wordpress/25759-serie-o-rio-de-janeiro-desaparecido-xiii-o-convento-da-ajuda.md
new file mode 100644
index 0000000..77facd6
--- /dev/null
+++ b/wordpress/25759-serie-o-rio-de-janeiro-desaparecido-xiii-o-convento-da-ajuda.md
@@ -0,0 +1,115 @@
+---
+id: 25759
+url: "https://brasilianafotografica.bn.gov.br/?p=25759"
+titulo: "Série “O Rio de Janeiro desaparecido” XIII – O Convento da Ajuda"
+autor: "Andrea Wanderley"
+data: "2021-10-19T08:13:16+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/3154", "20.500.12156.1/9347", "20.500.12156.1/3151", "20.500.12156.1/3156"]
+fetched_at: "2026-09-10T10:08:43.622Z"
+---
+
+# Série “O Rio de Janeiro desaparecido” XIII – O Convento da Ajuda
+
+No 13º artigo da Série O Rio de Janeiro desaparecido, a Brasiliana Fotográfica traz para seus leitores fotografias do Convento da Ajuda produzidas pela Casa Leuzinger, do fotógrafo e editor suíço Georges Leuzinger (1813 – 1892), e por Augusto Malta (1864 – 1957). Leuzinger foi um dos mais importantes fotógrafos e difusores para o mundo da fotografia sobre o Brasil no século XIX, além de pioneiro das artes gráficas no país. Grande empreendedor, montou um sofisticado e diversificado complexo editorial, a Casa Leuzinger, que se tornaria um polo de publicações e de produções fotográficas, alçando o Brasil ao mesmo nível da produção europeia do setor. Malta foi o fotógrafo oficial da Prefeitura do Rio de Janeiro entre 1903 e 1936 e sua relação com a cidade e sua paisagem, construída, inicialmente, por seus deslocamentos com sua bicicleta, se expandiria para a formação de seu significativo legado iconográfico. Foi o mais  importante cronista fotográfico do Rio de Janeiro das primeiras décadas do século XX.
+ 
+Augusto Malta. C[onvento] da Ajuda : terraço onde as freras [sic] fasião [sic] recreio, s/d. Rio de Janeiro, RJ / Acervo FBN
+O Convento da Ajuda, como ficou conhecido o Convento de Nossa Senhora da Conceição, que ocupava uma grande parte da área onde atualmente fica a região da Cinelândia, no centro do Rio de Janeiro, foi o primeiro mosteiro feminino da cidade e o terceiro do Brasil. Ficava na rua da Ajuda, uma das importantes vias do Rio Antigo. Teve sua origem, em torno de 1678, quando dona Cecília Barbalho, suas três filhas solteiras e mais duas moças recolheram-se em uma pequena casa, no Campo da Ajuda, construída a partir de uma subscrição pública. Dona Cecília era filha do ex-governador Luis Barbalho Bezerra (1584 – 1644), herói da guerra contra os holandeses no nordeste; e irmã de Jerônimo Barbalho (?-1661), condenado à forca devido a sua atuação na Revolta da Cachaça, contra o governador Salvador Correia de Sá e Benevides (1594 ou 1602 – 1688), em 1660.
+Foi fundado por monjas clarissas vindas do Convento de Santa Clara do Desterro da Bahia e construído pelo brigadeiro-engenheiro português José Fernandes Pinto Alpoim (1700 – 1765), sua inauguração, em 30 de março de 1750, aconteceu com grandes festejos populares e foi assistida pelo então governador Antônio Gomes Freire de Andrade(1685 – 1763) , o Conde de Bobadela.
+ 
+O brigadeiro engenheiro José Fernandes Pinto Alpoim
+ 
+Acessando o link para as fotografias do Convento da Ajuda disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Conde de Bobadela
+ 
+Já nos primórdios do século XX, havia propostas de construção de um hotel na área do convento. Os engenheiros Morales de los Rios (1858 – 1928) e João Pedreira do Couto Ferraz Junior (1826 – 1913) e Durish & Cia assinaram um contrato comprometendo-se a construir hoteis em algumas áreas da cidade, incluindo o terreno onde se localizava o Convento da Ajuda, o que não se realizou (O Paiz, 1º de abril de 1910, sexta coluna; O Paiz, 18 de novembro de 1910, quinta coluna).
+O convento foi adquirido pela empresa Brasil Railway Company, que  pertencia ao Sindicato Farquhar, holding liderada pelo capitalista norte-americano Percival Farquhar (1865 – 1953), o que causou polêmica. O empresário era um dos administradores da Rio de Janeiro Light and Power Company (O Paiz, 9 de julho de 1911, primeira coluna; Correio da Manhã, 28 de outubro de 1911, terceira coluna). E assim o casarão, que havia resistido ao bota-abaixo do prefeito Pereira Passos (1836 – 1913), na primeira década do século XX, foi demolido, entre fins de 1911 e 1912 (Correio da Manhã, 12 de janeiro de 1912, quinta coluna).
+ 
+Fon-Fon, 15 de julho de 1911
+ 
+Na mesma época, foi construido um novo Convento de Nossa Senhora da Ajuda, em Vila Isabel, para abrigar as freiras, que deixaram o convento durante uma madrugada do mês de outubro de 1911 (O Paiz, 28 de outubro de 1911, primeira coluna). Ficou aberto à visitação pública durante uma semana.
+ 
+Revista da Semana, 4 de novembro de 1911
+ 
+Foi visitado pelo presidente da República, Hermes da Fonseca (1855 – 1923), recebido pela Irmã Paula (O Paiz, 27 de outubro de 1911, penúltima coluna; Correio da Manhã, 28 de outubro de 1911; O Paiz, 5 de novembro de 1911, quarta coluna). O então presidente da Light, Alexander Mackenzie (1860 – 1943), prorrogou o prazo da visitação ao prédio até 9 de novembro, quando os restos mortais de pessoas da família real foram trasladados para o Convento de Santo Antônio, dentre eles os de dona Leopoldina (1797 – 1826), primeira mulher de dom Pedro I (1798 – 1834) (O Paiz, 7 de novembro de 1911, quarta coluna; Correio da Manhã, 10 de novembro de 1911).
+ 
+O Paiz, 5 de novembro de 1911
+ 
+A área ficou abandonada por cerca de nove anos e, eventualmente era ocupada com a realização de eventos (Revista da Semana, 15 de maio de 1915). Entre 1916 e 1918, houve no terreno exposições de pomicultura, de horticultura, de cachorros, de avicultura, além de exercícios de tiro e a realização de uma feira promovida pelo Ministério da Fazenda (Revista da Semana, 15 de julho e 12 de agosto de 1916; 4 de agosto de 1917; 12 de janeiro e 14 de dezembro de 1918).
+ 
+ 
+Capinzal no terreno onde ficava o Convento da Ajuda / Revista da Semana, 6 de fevereiro de 1915
+ 
+Na década de 20, o espanhol Francisco Serrador (1872 – 1941), que em 1908 era o dono do Bijou-Theatre, em São Paulo, sucursal da firma Marc Ferrez & Filhos e que foi o primeiro presidente da União dos Importadores Cinematográficos no Brasil, urbanizou a área, onde foram construídos prédios, hotéis e muitos cinemas, dando origem à Cinelândia. Pouco antes, em 1921, o prefeito Carlos Sampaio (1861 – 1930) havia começado o desmonte do Morro do Castelo e havia acontecido na cidade a Exposição do Centenário da Independência do Brasil, em 1922 (O Commercio de São Paulo, 15 de fevereiro de 1908, na primeira coluna).O Imparcial, 8 de dezembro de 1919, na segunda coluna; O Cruzeiro, 9 de setembro de 1950).
+ 
+Revista Municipal de Engenharia, janeiro de 1933
+ 
+A fotografia abaixo mostra a Fonte ou Chafariz  das Saracuras, colocado no pátio que ficava dentro do Convento da Ajuda, em 1795. Em 1911, foi posto pelo cardeal Arcoverde (1850 – 1930) à disposição do então prefeito da cidade, Bento Ribeiro (1856 – 1921) (O Paiz, 25 de outubro de 1911, penúltima coluna). Encontra-se na Praça General Osório, antiga praça Ferreira Vianna, em Ipanema. É uma obra atribuída a Valentim da Fonseca e Silva, o Mestre Valentim (1845 – 1913), um dos principais artistas do Brasil Colônia, e havia sido doado às freiras pelo vice-rei José Luis de Castro (1744 – 1819, o Conde de Resende .
+ 
+Augusto Malta. Convento da Ajuda, Fonte das Saracuras, 26 de outubro de 1911. Rio de Janeiro, RJ / Acervo IMS
+ 
+O Chafariz das Saracunas, em sua localizção atual, na Praça General Osório
+ 
+Na edição de O Cruzeiro, de 9 de setembro de 1950, foi publicada a matéria Biografia da cidade – Do Convento da Ajuda às luzes da Cinelândia , com texto de Raymundo Athayde e fotos de Augusto Malta (1864 – 1957) e do importante fotojornalista Luciano Carneiro (1926 – 1959). Contava a história da Cinelândia e as fotos antigas que ilustraram a reportagem foram produzidas por Malta, em 1911. São imagens do Convento da Ajuda, de sua demolição e do terreno que ocupava após a demolição; e do edifício do antigo Conselho Municipal. As fotografias abaixo estavam entre as que foram publicadas na reportagem.
+ 
+Augusto Malta. , Convento da Ajuda demolido em 1911. Rio de Janeiro, RJ / Acervo BN
+ 
+ 
+Augusto Malta. Convento da Ajuda : face dos côros das freiras e das servas de onde ouviam missa, 1911. Rio de Janeiro, RJ / Acervo BN
+ 
+Em um trecho de seu livro Memórias Póstumas de Brás Cubas (1881), Machado de Assis (1839 – 1908) referiu-se ao Convento da Ajuda ao descrever o jantar em comemoração da primeira queda de Napoleão promovido pela família Cubas. A doçaria, uma herança da gastronomia portuguesa, fazia sucesso na mesa dos cariocas, onde fios d’ovos, toucinhos do céu, pés-de-moleque e baba-de-moça, entre outros, eram muito apreciados. O Convento da Ajuda destacava-se pela excepcional qualidade dos doces que produzia.
+“Não se contentou a minha família em ter um quinhão anônimo no regozijo público; entendeu oportuno e indispensável celebrar a destituição do imperador com um jantar, e tal jantar que o ruído das aclamações chegasse aos ouvidos de sua Alteza, ou quando menos, de seus ministros. Dito e feito. Veio abaixo toda a velha prataria, herdada do meu avô Luis Cubas; vieram as toalhas de Flandres, as grandes jarras da Índia; matou-se um capado; encomendaram-se às madres de Ajuda as compotas e marmeladas; lavaram-se, areavam-se, poliram-se as salas, escadas, castiçais, arandelas, as vastas mangas de vidro, todos os aparelhos do luxo clássico”.
+ 
+Link para o artigo Série “Avenidas e ruas do Brasil” XI – A rua da Ajuda, no Rio de Janeiro, por Augusto Malta, publicado em 9 de novembro de 2021 na Brasiliana Fotográfica.
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+GERSON, Brasil. História das Ruas do Rio. Rio de Janeiro: Bem-Te-Vi, 2013.
+CRULS, Gastão. Aparência do Rio de Janeiro. Rio de Janeiro: Editora José Olympio, 1965.
+DUNLOP, Charles Julius. Convento da Ajuda. Rio Antigo. Rio de Janeiro: Editora Rio Antigo, 1963. (Composto e impresso na Gráfica Laemmert, Ltda.).
+Hemeroteca Digital da Biblioteca Nacional
+Site CPDOC
+Site Memória da Eletricidade
+Site Rio de Janeiro aqui
+ 
+Links para os outros artigos da Série O Rio de Janeiro desaparecido
+ 
+Série O Rio de Janeiro desaparecido I - Salas de cinema do Rio de Janeiro do início do século XX, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 26 de fevereiro de 2016.
+Série O Rio de Janeiro desaparecido II – A Exposição Nacional de 1908 na Coleção Família Passos, de autoria de Carla Costa, historiadora do Museu da República, publicado na Brasiliana Fotográfica, em 5 de abril de 2018.
+Série O Rio de Janeiro desaparecido III – O Palácio Monroe, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica, em 9 de novembro de 2016.
+Série O Rio de Janeiro desaparecido IV - A via elevada da Perimetral, de autoria da historiadora Beatriz Kushnir, publicado na Brasiliana Fotográfica em 23 de junho de 2017.
+Série O Rio de Janeiro desaparecido V – O quiosque Chopp Berrante no Passeio Público, Ferrez, Malta e Charles Dunlop, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 20 de julho de 2018.
+Série O Rio de Janeiro desaparecido VI – O primeiro Palácio da Prefeitura Municipal do Rio de Janeiro, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 12 de setembro de 2018.
+Série O Rio de Janeiro desaparecido VII – O Morro de Santo Antônio na Casa de Oswaldo Cruz, de autoria de historiador Ricardo Augusto dos Santos da Casa de Oswaldo Cruz, publicado na Brasiliana Fotográfica em 5 de fevereiro de 2019.
+Série O Rio de Janeiro desaparecido VIII – A demolição do Morro do Castelo, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 30 de abril de 2019.
+Série O Rio de Janeiro desaparecido IX – Estrada de Ferro Central do Brasil: estação e trilhos, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 12 de novembro de 2019.
+Série O Rio de Janeiro desaparecido X – No Dia dos Namorados, um pouco da história do Pavilhão Mourisco em Botafogo, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 12 de junho de 2020.
+Série O Rio de Janeiro desaparecido XI – A Estrada de Ferro do Corcovado e o mirante Chapéu de Sol, de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 22 de julho de 2021.
+Série O Rio de Janeiro desaparecido XII – o Teatro Lírico (Theatro Lyrico), de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 15 de setembro de 2021.
+Série O Rio de Janeiro desaparecido XIV – O Conselho Municipal, de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 19 de novembro de 2021.
+Série O Rio de Janeiro desaparecido XV – A Praia de Santa Luzia no primeiro dia do verão, de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 21 de dezembro de 2021.
+Série O Rio de Janeiro desaparecido XVI – O prédio da Academia Imperial de Belas Artes, de autoria de Andrea C.T. Wanderley, publicado na Brasiliana Fotográfica em 13 de janeiro de 2022.
+Série O Rio de Janeiro desaparecido XVII – Igreja São Pedro dos Clérigos, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 18 de março de 2022.
+Série O Rio de Janeiro desaparecido XVIII – A Praça Onze, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 20 de abril de 2022.
+Série O Rio de Janeiro desaparecido XIX – A Igrejinha de Copacabana, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 23 de junho de 2022.
+Série O Rio de Janeiro desaparecido XX – O Pavilhão dos Estados, futuro prédio do Ministério da Agricultura, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 26 de julho de 2022.
+Série O Rio de Janeiro desaparecido XXI – O Chafariz do Largo da Carioca, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 19 de setembro de 2022. 
+Série O Rio de Janeiro desaparecido XXII – A Cadeia Velha que deu lugar ao Palácio Tiradentes, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 11 de abril de 2023
+Série O Rio de Janeiro desaparecido XXIII e Avenidas e ruas do Brasil XVII - A Praia e a Rua do Russel, na Glória, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 15 de maio de 2023
+Série O Rio de Janeiro desaparecido XXIV – O luxuoso Palace Hotel, na Avenida Rio Branco, uma referência da vanguarda artística no Rio de Janeiro, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 4 de julho de 2023
+Série O Rio de Janeiro desaparecido XXV – O Theatro Phenix, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 5 de setembro de 2023
+Série O Rio de Janeiro desaparecido XXVI – Conclusão do arrasamento do Morro do Castelo por Augusto Malta, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 14 de dezembro de 2023
+Série O Rio de Janeiro desaparecido XXVII e Série Os arquitetos do Rio de Janeiro V – O Jockey Club e o Derby Club, na Avenida Rio Branco e o arquiteto Heitor de Mello (1875 – 1920), de autoria de Andrea c. T. Wanderley, editora e pesquisadora do portal, em 15 de janeiro de 2024
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/3154` — `itens/20.500.12156.1_3154/`
+- `20.500.12156.1/9347` — `itens/20.500.12156.1_9347/`
+- `20.500.12156.1/3151` — `itens/20.500.12156.1_3151/`
+- `20.500.12156.1/3156` — `itens/20.500.12156.1_3156/`
+
diff --git a/wordpress/25825-serie-avenidas-e-ruas-do-brasil-x-a-rua-da-ajuda-no-rio-de-janeiro-por-augusto-m.md b/wordpress/25825-serie-avenidas-e-ruas-do-brasil-x-a-rua-da-ajuda-no-rio-de-janeiro-por-augusto-m.md
new file mode 100644
index 0000000..96a9b0a
--- /dev/null
+++ b/wordpress/25825-serie-avenidas-e-ruas-do-brasil-x-a-rua-da-ajuda-no-rio-de-janeiro-por-augusto-m.md
@@ -0,0 +1,86 @@
+---
+id: 25825
+url: "https://brasilianafotografica.bn.gov.br/?p=25825"
+titulo: "Série “Avenidas e ruas do Brasil” X – A Rua da Ajuda, no Rio de Janeiro, por Augusto Malta"
+autor: "Andrea Wanderley"
+data: "2021-11-09T12:55:07+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/9342", "20.500.12156.1/8229", "20.500.12156.1/953", "20.500.12156.1/9353", "20.500.12156.1/8233", "20.500.12156.1/1795"]
+fetched_at: "2026-09-10T10:08:46.684Z"
+---
+
+# Série “Avenidas e ruas do Brasil” X – A Rua da Ajuda, no Rio de Janeiro, por Augusto Malta
+
+Série “Avenidas e ruas do Brasil” X – A Rua da Ajuda, no Rio de Janeiro, por Augusto Malta
+No 10º artigo da Série “Avenidas e ruas do Brasil”, o tema é a Rua da Ajuda, uma das mais antigas do Rio de Janeiro, registrada pelo alagoano Augusto Malta (1864 – 1957), fotógrafo oficial da Prefeitura do Rio de Janeiro, de 1903 a 1936. Esse cargo foi criado para ele por Francisco Pereira Passos (1836 – 1913), que o contratou meses após ter sido nomeado prefeito do então Distrito Federal, o Rio de Janeiro, pelo presidente Rodrigues Alves (1848 – 1919) em 30 de dezembro de 1902. O objetivo era o registro das obras e dos imóveis a serem desapropriados para posteriores pagamentos de indenizações. Malta passou a documentar, então, a radical mudança urbanística promovida pelo prefeito. Para realizá-la, várias demolições aconteceram e ficaram conhecidas popularmente como a política do “bota-abaixo”, que contribuíram decisivamente para o surgimento do Rio de Janeiro da Belle Époque. 
+ 
+Acessando o link para as fotografias da rua da Ajuda disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Augusto Malta. Rua da Ajuda, 1903. Rio de Janeiro, RJ / Acervo IMS
+ 
+A Rua da Ajuda, onde se encontravam o Conselho Municipal e o  Convento da Ajuda, que já foi tema de um artigo publicado na Brasiliana Fotográfica, foi drasticamente encurtada quando a Avenida Central, atual Avenida Rio Branco, foi construída e inaugurada, em 1904. Da rua restou apenas um pequeno trecho denominado Rua Chile, localizado entre a Rua São José e a Avenida Rio Branco.
+ 
+ Rua da Ajuda na planta da Cidade do Rio de Janeiro / Acervo FBN
+ 
+Recebeu, por volta de 1630, o nome de Caminho de Nossa Senhora da Ajuda por começar em frente à Capela de Nossa Senhora da Ajuda. Mas, antes disso, em fins do século XVI, no caminho que vai para a Lagoa Grande ou do Boqueirão, levantou-se a Ermida de Nossa Senhora da Conceição da Ajuda, fato que comprova a antiguidade da Rua da Ajuda, aberta pelos primeiros povoadores do Rio de Janeiro.
+“A Rua da Ajuda é quase tão antiga como as de São José e da Assembleia. Já encontramos escrituras de venda de terrenos e prédios desde 1612. Sua abertura explica-se pela comunicação, ao lado do Morro do Castelo e da rua São José, com a Ermida da Ajuda – onde está o Convento da Ajuda, demolido há poucos meses para construção de um grande hotel”.
+Felisberto Freire em História da Cidade do Rio de Janeiro (1912)
+ 
+Augusto Malta. Rua da Ajuda com Ladeira do Seminário, c.1904. Rio de Janeiro, RJ / Acervo IMS
+ 
+Em um trecho do conto Pai Contra Mãe, publicado na antologia de contos Relíquias de Casa Velha (1906), o escritor Machado de Assis (1839 – 1908), em cuja obra a paisagem urbana do Rio de Janeiro é bastante presente, a Rua da Ajuda foi três vezes citada.
+ 
+Machado de Assis fotografado por Joaquim Insley Pacheco, em 1884, no Rio de Janeiro. Cópia fotográfica de Marc Ferrez / Acervo FBN
+ 
+“…Saiu de manhã a ver e indagar pela Rua e Largo da Carioca, Rua do Parto e da Ajuda, onde ela parecia andar, segundo o anúncio. Não a achou; apenas um farmacêutico da Rua da Ajuda se lembrava de ter vendido uma onça de qualquer droga, três dias antes, à pessoa que tinha os sinais indicados. Cândido Neves parecia falar como dono da escrava, e agradeceu cortesmente a notícia. Não foi mais feliz com outros fugidos de gratificação incerta ou barata”.
+ 
+Augusto Malta. Rua da Ajuda, Chácara da Floresta,1903. Rio de Janeiro, RJ / Acervo IMS
+ 
+“…Mas não sendo a rua infinita ou sequer longa, viria a acabá-la; foi então que lhe ocorreu entrar por um dos becos que ligavam aquela à Rua da Ajuda. Chegou ao fim do beco e, indo a dobrar à direita, na direção do Largo da Ajuda, viu do lado oposto um vulto de mulher; era a mulata fugida. Não dou aqui a comoção de Cândido Neves por não podê-lo fazer com a intensidade real. Um adjetivo basta; digamos enorme. Descendo a mulher, desceu ele também; a poucos passos estava a farmácia onde obtivera a informação, que referi acima. Entrou, achou o farmacêutico, pediu-lhe a fineza de guardar a criança por um instante; viria buscá-la sem falta”.
+ 
+Augusto Malta. Rua da Ajuda, do número 139 ao 147,  1903. Rio de Janeiro, RJ / Acervo IMS
+ 
+“…O fruto de algum tempo entrou sem vida neste mundo, entre os gemidos da mãe e os gestos de desespero do dono. Cândido Neves viu todo esse espetáculo. Não sabia que horas eram. Quaisquer que fossem, urgia correr à Rua da Ajuda, e foi o que ele fez sem querer conhecer as consequências do desastre…”
+ 
+Detalhe do registro da Missa campal celebrada em ação de graças pela Abolição da Escravatura no Brasil, em 1888, fotografada por Antônio Luís Ferreira, com destaque para a presença do escritor Machado de Assis, identificado na foto por Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica
+ 
+Andrea C.T.Wanderley
+Editora e pesquisadora da Brasiliana Fotográfica
+ 
+Fontes:
+FREIRE, Felisberto. História da Cidade do Rio de Janeiro: 1564 – 1700. Rio de Janeiro, RJ; São Paulo, SP: Tipografia da Revista dos Tribunais, 1912
+GERSON, Brasil. História das Ruas do Rio. Rio de Janeiro: Bem-Te-Vi, 2013.
+Hemeroteca Digital da Biblioteca Nacional
+Rua da Ajuda. Revista do Arquivo do Distrito Federal, Volume I, pág. 356, 1950
+Site O Rio de Janeiro Aqui
+ 
+Links para as outras publicações da série “Avenidas e ruas do Brasil”
+ Série “Avenidas e ruas do Brasil” I – Avenida Central, atual Rio Branco, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 7 de setembro de 2016
+Série “Avenidas e ruas do Brasil” II – A Rua do Imperador em Petrópolis por Klumb, Leuzinger e Stahl, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 26 de junho de 2020
+Série “Avenidas e ruas do Brasil” III – A Rua do Bom Jesus, no Recife, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 6 de agosto de 2020
+Série “Avenidas e ruas do Brasil” IV – A Rua 25 de Março, em São Paulo, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 1º de setembro de 2020
+Série “Avenidas e ruas do Brasil” V – A Rua Direita, a Rua das Mercês e a Rua Macau do Meio, em Diamantina, Minas Gerais, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 22 de outubro de 2020
+Série “Avenidas e ruas do Brasil” VI  – Rua Augusto Ribas e outras, em Ponta Grossa, no Paraná, pelo fotógrafo Luiz Bianchi, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 16 de novembro de 2020
+Série “Avenidas e ruas do Brasil” VII – A Avenida Atlântica, em Copacabana, no Rio de Janeiro, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 23 de dezembro de 2020
+Série “Avenidas e ruas do Brasil VIII – A Rua da Carioca por Cássio Loredano, de autoria de Cássio Loredano, publicada em 20 de janeiro de 2021
+Série “Avenidas e ruas do Brasil” IX – Ruas e panoramas do bairro do Catete, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 14 de julho de 2021
+Série “Avenidas e ruas do Brasil” XI – A Rua da Esperança, em São Paulo, por Vincenzo Pastore, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 14 de dezembro de 2021
+Série “Avenidas e ruas do Brasil” XII – A Avenida Paulista, o coração pulsante da metrópole, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 21 de janeiro de 2022
+Série “Avenidas e ruas do Brasil” XIII – A Rua Buenos Aires no Centro do Rio de Janeiro, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 19 de julho de 2022
+Série “Avenidas e ruas do Brasil” XIV – A Avenida Presidente Vargas,, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 31 de agosto de 2022
+Série “Avenidas e ruas do Brasil” XV – Misericórdia: rua, largo e ladeira, no Rio de Janeiro, por Cássio Loredano, de autoria de Cássio Loredano, publicada em 8 de dezembro de 2022
+Série “Avenidas e ruas do Brasil” XVI – “Alguma coisa acontece no meu coração”, a Avenida São João nos 469 anos de São Paulo, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 25 de janeiro de 2023
+Série “Avenidas e ruas do Brasil” XVII  e série “O Rio de Janeiro desaparecido” XXIII – A Praia e a Rua do Russel, na Glória, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 15 de maio de 2023
+Série “Avenidas e ruas do Brasil” XVIII – Avenida Beira-Mar, de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal, publicada em 22 de janeiro de 2024
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/9342` — `itens/20.500.12156.1_9342/`
+- `20.500.12156.1/8229` — `itens/20.500.12156.1_8229/`
+- `20.500.12156.1/953` — `itens/20.500.12156.1_953/`
+- `20.500.12156.1/9353` — `itens/20.500.12156.1_9353/`
+- `20.500.12156.1/8233` — `itens/20.500.12156.1_8233/`
+- `20.500.12156.1/1795` — `itens/20.500.12156.1_1795/`
+
diff --git a/wordpress/25907-serie-teatros-e-cinemas-do-brasil-vii-o-teatro-amazonas-theatro-amazonas-em-mana.md b/wordpress/25907-serie-teatros-e-cinemas-do-brasil-vii-o-teatro-amazonas-theatro-amazonas-em-mana.md
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+---
+id: 25907
+url: "https://brasilianafotografica.bn.gov.br/?p=25907"
+titulo: "Série “Teatros e cinemas do Brasil” VII – O Teatro Amazonas (Theatro Amazonas), em Manaus, a “Paris dos Trópicos”"
+autor: "Andrea Wanderley"
+data: "2021-12-28T11:34:05+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/9340", "20.500.12156.1/9341", "20.500.12156.1/1849"]
+fetched_at: "2026-09-10T10:08:50.178Z"
+---
+
+# Série “Teatros e cinemas do Brasil” VII – O Teatro Amazonas (Theatro Amazonas), em Manaus, a “Paris dos Trópicos”
+
+Com registros realizados pelo fotógrafo, botânico e naturalista alemão George Huebner (1862 – 1935) a Brasiliana Fotográfica conta um pouco da história do Teatro Amazonas, um dos símbolos do apogeu da borracha na região Norte do Brasil, inaugurado na virada do ano de 1896 para 1897. O Teatro Amazonas mantém viva parte da história do ciclo da borracha e é, até hoje, um dos mais importantes símbolos culturais e arquitetônicos do estado do Amazonas. Localiza-se no Largo de São Sebastião, no centro de Manaus. Destaca-se, em sua história, a importância de Eduardo Ribeiro (1862 – 1900), governador do Amazonas em dois períodos – 1890 a 1891 e 1892 a 1896- , considerado o grande transformador de Manaus. A historiografia amazonense diz que ele teve origem modesta e que talvez fosse descendente de escravos.
+ 
+Huebner & Amaral; Photographia Allemã (Firma). Manáos : Theatro Amazonas, 1909. Manaus, Amazonas / Acervo FBN
+ 
+Huebner foi um dos estrangeiros atraídos a Manaus quando a cidade, justamente com o ciclo da borracha, tornou-se um importante pólo econômico. Estabeleceu-se comercialmente em Belém onde, em 1897, colaborou com o fotógrafo português Felipe Augusto Fidanza (c. 1847 – 1903). Em novembro do mesmo ano, apresentando-se como membro correspondente da Sociedade Geográfica de Dresden, informava a abertura de um ateliê fotográfico em Manaus, a Photographia Allemã, no antigo Hotel Cassina, junto ao Palácio do Governo. O ateliê mudou algumas vezes de endereço. Fotografou etnias indígenas, retratos de personalidades importantes de sua época, a sociedade que surgiu a partir do apogeu da economia da borracha, paisagens da floresta amazônica e a chegada da modernidade em Belém e em Manaus. Os registros do Teatro Amazonas se enquadram nessa última categoria.
+ 
+Acessando o link para as fotografias do Teatro Amazonas disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Durante a administração do governador Fileto Pires Ferreira (1866 – 1917), o Teatro Amazonas, imponente e de estilo neoclássico com detalhes ecléticos, foi inaugurado em 31 de dezembro de 1896, com a execução de trechos de óperas, apresentada pela Companhia Lírica Italiana, empresariada pelo maranhense Joaquim de Carvalho Franco. Na semana seguinte, em 7 de janeiro de 1897, a mesma companhia encenou a primeira récita operística no teatro: a ópera La Gioconda, de Almicare Ponchielli (1834 – 1886). Era a época áurea de Manaus, quando a cidade era conhecida como a Paris dos Trópicos. 
+ 
+Diário Oficial do Amazonas, 9 de janeiro de 1897
+ 
+A história do teatro começou durante o governo de Alarico José Furtado (1846 – 1884) no estado do Amazonas, quando o deputado provincial Antônio José Fernandes Júnior apresentou, em 21 de setembro de 1881, o projeto de lei para a construção de um teatro em Manaus. Sua construção foi polêmica, já que a cidade contava apenas com cerca de cem mil habitantes. Porém, a sociedade local, com a prosperidade causada pelo ciclo da borracha e influenciada pela cultura europeia, exigia um espaço para as artes, onde pudesse ver e ser vista.
+Em 1882, a licitação da obra foi vencida pelo Gabinete Português de Engenharia de Lisboa, representado pelo comerciante Antônio de Oliveira Braga. Segundo o historiador Mario Ypiranga Monteiro, constavam da planta original do teatro os nomes dos construtores Jorge dos Santos e Felipe Monteiro e do arquiteto francês Charles Peyroton (18? – 19?), que mais tarde participou da construção do Theatro Municipal do Rio de Janeiro. Em 1884, foi lançada sua pedra fundamental e o teatro começou a ser construído mas, em 11 de agosto de 1885, as obras foram suspensas porque os construtores queriam alterar o projeto inicial. Finalmente, em 12 de janeiro de 1886, o contrato com a firma italiana Rossi & Irmãos foi rescindido. Em 1892, já no período republicano, o governador do Amazonas, o militar e positivista maranhense Eduardo Gonçalves Ribeiro (1862 – 1900) (O Paiz, 18 de outubro de 1900, sexta coluna) decidiu reiniciar a construção, que ganhou fôlego a partir de uma lei que oferecia facilidades a artistas brasileiros e estrangeiros que quisessem se fixar em Manaus. Eduardo Ribeiro foi o grande transformador de Manaus. São também do período de sua administração o Palácio da Justiça, o Instituto Benjamin Constant e o inacabado Palácio do Governo, que se transformou no Instituto de Educação do Amazonas (IEA).
+Segundo o trabalho Da província à corte: a trajetória do negro maranhense Eduardo Ribeiro, rumo ao Rio de Janeiro, da historiadora Geisimara Soares Matos, da Universidade Federal do Rio de Janeiro, apresentado no II Seminário Internacional Histórias do Pós-Abolição do Mundo Atlântico, realizado entre 15 a 18 de maio de 2018, na Fundação Getulio Vargas, no Rio de Janeiro:
+ Na pesquisa documental feita até o momento não encontramos fontes primárias que permitissem dizer se Ribeiro nasceu livre ou escravo, ou, se sua mãe viveu as experiências do cativeiro. Muito pouco se sabe sobre a infância de Ribeiro, a historiografia amazonense diz que teve origem modesta e que talvez fosse descendente de escravos, mas sem nenhuma indicação de fonte primária sobre isso. Sua mãe, Florinda Maira da Conceição é citada em vários documentos aqui analisados, desde Fé de Ofício de Eduardo Ribeiro até o seu inventário póstumo. Em nenhum momento há referência a seu pai. No registro de batizados da Freguesia de Nossa Senhora da Conceição da capital do Maranhão de 1863 há apenas o registro da descendência feminina; sem nenhuma menção a sua paternidade. Isso era um fato preponderante, pois já que o mesmo era desconhecido, muitos jornais oposicionistas utilizavam-se desse fato para sugerir que não fosse filho natural e assim estigmatizá-lo, tendo em vista o preconceito contra uniões sem oficialização, ou para insinuar que Eduardo Ribeiro tinha vergonha de sua origem.
+Em 2019, Robério Braga (1951-), presidente da Academia Amazonense de Letras, proferiu uma palestra segundo a qual teria havido uma tentativa de apagamento do legado público de Eduardo Ribeiro:
+“Soterraram seu nome do alto do Teatro Amazonas que havia sido gravado em pedras revestidas de ouro, na lateral superior esquerda do prédio […]”, afirmou Braga, reforçando sua tese de que Eduardo Ribeiro sofreu preconceito, por ser negro, nordestino e de baixa estatura, e perseguição política por parte das elites política e econômica da época“.  A placa em homenagem a Ribeiro foi redescoberta, durante obras de manutenção do teatro, em 2012.
+ 
+Retrato do governador do Amazonas, Eduardo Ribeiro
+ 
+Na mesma palestra, Robério Braga afirmou que no sepultamento de Eduardo Ribeiro, João Barreto de Menezes, corajoso jornalista, filho de Tobias Barreto, então residente em Manaus, tido e havido como figura de contestação e coragem, anunciou que Ribeiro havia sido envenenado e que não havia praticado o suicídio, e o fez na presença de alguns de seus algozes.
+No trigésimo dia de sua morte foi realizada uma sessão magna, no Teatro Amazonas (Commercio do Amazonas, 13 de novembro de 1900):
+ 
+Commercio do Amazonas, 13 de novembro de 1900
+ 
+Voltando à história da construção do teatro. Em 1893, Manuel Coelho de Castro, também encarregado da construção do Palácio da Justiça, que assim como os Palácio do Governo e os prédios do Instituto Benjamin Constant e de Artes e Ofícios estava sendo construídos, assinou um contrato para a retomada das obras do Teatro Amazonas (Diário Oficial do Amazonas, 25 de novembro de 1893, última coluna; Diário Oficial do Amazonas, 10 de julho de 1894, última coluna).
+O versátil artista pernambucano, nascido em Olinda, Crispim do Amaral (1858 – 1911) foi contratato, em 1893, para as obras de decoração, pintura, ornamentação e mobiliário do teatro. Crispim era pintor, caricaturista, decorador, ilustrador e cenógrafo e havia estudado no Recife com o pintor e cenógrafo francês Leon Chapelin, que possuia um estúdio fotográfico na cidade (Diário de Pernambuco, 23 de abril de 1867). Foi o responsável pelo pano de boca do Teatro Amazonas, que descreve o encontros dos rios Negros e Solimões (Diário Oficial do Amazonas, 23 de janeiro de 1896, segunda coluna).
+ 
+Pano de Boca do Teatro Amazonas, de autoria de Crispim do Amaral
+ 
+Em 1876, havia se fixado em Belém. Tudo indica que foi discípulo do também pernambucano Vicente Pontes de Oliveira que, além de ator, era decorador e cenógrafo. Provavelmente, entre alugns anos de 1880 e 1893, Crispim viveu entre a França e a Itália. Na Itália, teria se formado pela Academia San Lucca. Na França, colaborou em vários periódicos, dentre eles o Le Rire, e trabalhou como cenógrafo da Comedie Française. Após sua passagem por Manaus, foi morar no Rio de Janeiro em fins do século XIX. Ao longo de sua vida, editou e ilustrou o jornal O Estafeta (1879), sob o pseudônimo Puck, trabalhou na revista A Semana Illustrada (1887), foi o primeiro diretor artístico da revista O Malho (1902), e o fundador das revistas A Avenida (1903) e O Pau (1905). Trabalhava como caricaturista na revista O Século quando faleceu, em 1911. Era irmão de Libânio do Amaral (? – 19?), que foi um dos sócios com Paul Erbe (? -19?) e George Huebner (1862-1935) da firma G. Huebner, Amaral e C, cujo ateliê fotográfico, durante a década de 1910, ficava na rua da Assembleia nº 100, no Rio de Janeiro. A sociedade foi dissolvida, em 1919 (Gazeta de Notícias, 18 de dezembro de 1911, quarta coluna; O Paiz, 23 de novembro de 1919).
+ 
+O artista Crispim do Amaral (1858 –  1911)
+ 
+Por intermédio de Crispim, o pintor romano Domenico De Angelis (c. 1852 – 1900) retornou, em torno de 1897, ao Brasil, onde já havia vivido. De Angelis havia participado da decoração interna do Teatro Nossa Senhora da Paz, em Belém, inaugurado em 1878. Haviam se conhecido nesta ocasião e foi justamente por intermédio de De Angelis que Crispim foi agraciado, em 1888, com uma bolsa de estudos do governo paraense para aperfeiçoar-se em pintura na Academia de San Luca.
+ 
+Domenico de Angelis (c. 1852 – 1900) / Oriundi Brasile
+ 
+De Angelis foi contratado como decorador do Salão Nobre do Teatro Amazonas, no período de 1897 a 1899 (Commercio do Amazonas, 17 de julho de 1898, segunda coluna). É de sua autoria a pintura A glorificação das Bellas Artes da Amazônia (1899), que orna o plafond do teatro. O teto tem também bustos de personalidades brasileiras e as tapeçarias que cobrem todas as paredes retratam a fauna e a flora amazônica. Possui lustres de vidro de Murano e seu piso, com formatos geométricos, foram produzidos com quatro tipos de madeiras. Faleceu na Itália, em março de 1900.
+ 
+Salão Nobre do Teatro Amazonas / Foto de Michael Dantas
+ 
+Outro destaque do teatro é sua cúpula, composta por 36 mil peças importadas da região da Alsácia, na França, nas cores da bandeira brasileira. Foi adquirida na Casa Koch Frères, em Paris, e sua pintura ornamental foi feita por Lourenço Machado.
+Segundo o Portal do Iphan:
+“A construção do teatro apresentou soluções avançadas para a época destacando-se a estrutura metálica da cobertura incluindo a cúpula. Devido à dificuldade de importação de materiais nobres, as colunatas, alisares, óculos e balaústres foram feitos de cimento, alvenaria e reboco, mas preparados para parecerem mármore e outros materiais nobres. A cúpula é revestida externamente em cerâmica policromada, com telhas em escamas e áreas em vidros coloridos”.
+ 
+Huebner & Amaral; Photographia Allemã (Firma)Manáos : Theatro com monumento, 1909. Manaus, Amazonas / Acervo FBN 
+ 
+Outros artistas que participaram da decoração interna do teatro foram Silvio Centofanti, Adalberto de Andreis e Francisco de Alegini. Provavelmente participaram da decoração do Salão de Honra Giovanni Capranesi (1852 – 1921) e Enrico Quattrini (1864 – 1950). A decoração externa foi realizada por Henrique Mazzolani. A época da construção do teatro foi, portanto, um tempo de efervescência artística em Manaus, quando oficinas de aprendizados e realizações foram formadas para sua edificação.
+Segundo a Secretaria de Cultura e Economia Criativa Amazonas:
+
+“A maior parte do material usado na construção do teatro foi importada da Europa: as paredes de aço de Glasgow, na Escócia; os 198 lustres e o mármore de Carrara das escadas, estátuas e colunas, são da Itália.
+
+O salão de espetáculos tem capacidade para 701 pessoas, distribuídas entre a plateia e três pavimentos de camarotes. Impossível não ficar hipnotizado com o teto côncavo, no qual estão quatro telas pintadas em Paris pela tradicional Casa Carpezot. As telas representam música, dança, tragédia e ópera. Esta última, uma homenagem ao compositor brasileiro Carlos Gomes. Ao centro, um majestoso lustre de bronze francês. Também não passam despercebidas as máscaras nas colunas da plateia, que homenageiam compositores e dramaturgos, entre eles, Aristophanes, Molière, Rossini, Mozart e Verdi.”
+Foi tombado pelo Iphan, em 1966, e reformado diversas vezes ao longo do século XX. Entre 1987 e 1990, durante o governo de Amazonino Mendes (1939-), foi feita a restauração e conclusão do projeto original do Teatro Amazonas. Dez anos depois, em 1997, foi realizado o I Festival de Ópera de Manaus e tiveram início os festivais de Teatro, Dança, Música, Rock, Jazz e Cinema.
+Em 2015, foi indicado para tombamento como Patrimônio da Humanidade, pela ONU-Unesco. Em setembro de 2021, foi inaugurada no Teatro Amazonas uma exposição comemorativa de seus 125 anos, com a curadoria do artista plástico paraense Jandr Reis (1968-).
+
+Link para todas as fotografias do Álbum Vistas de Manaus, de Georges Huebner, do acervo da Instituto Moreira Salles, uma das instituições fundadoras da Brasiliana Fotográfica. A fotografia destacada abaixo faz parte do álbum.
+ 
+ Georges Huebner. Álbum Vistas de Manaus – Panorama de Manaus, com destaque para o Teatro Amazonas, c. 1900. Manaus, Amazonas / Acervo IMS
+ 
+O Teatro Amazonas serviu como cenário para o filme Fitzcarraldo (1982), de Werner Herzog, e do desenho animado Rio 2 (2014). Vários artistas de destaque estiveram no palco do Teatro Amazonas, dentre eles o compositor Heitor Villa-Lobos (1887 – 1959), os cantores líricos Bidu Sayão (1902 – 1999) e José Carreras (1946-), a pianista Guiomar Novaes (1895 – 1979), o ator Procópio Ferreira (1898 – 1979), os cantores Caetano Veloso (1942-) e Gilberto Gil (1942-), além do grupo de rock norte-americano White Stripes.
+Em 27 de julho de 2026, o Theatro Amazonas e o Theatro da Paz, em Belém, foram reconhecidos como Patrimônio Cultural do Mundo, de acordo com a Unesco – Organização das Nações Unidas para a Educação, a Ciência e a Cultura, e passam a figurar conjuntamente na lista da referida agência da ONU sob a denominação Teatros da Amazônia. Ao todo, o Brasil passa a contar com 26 sítios inscritos como Patrimônio Mundial: 16 culturais, nove naturais e um misto*:
+Bens culturais: são obras feitas pelo homem.
+1980: Cidade Histórica de Ouro Preto
+1982: Centro Histórico de Olinda
+1983: Ruínas de São Miguel das Missões
+1985: Centro Histórico de Salvador
+1985: Santuário do Bom Jesus do Congonhas
+1987: Brasília
+1991: Parque Nacional Serra da Capivara
+1997: Centro Histórico de São Luís
+1999: Centro Histórico de Diamantina
+2001: Centro Histórico da Cidade de Goiás
+2010: Praça de São Francisco na Cidade de São Cristóvão
+2012: Rio de Janeiro: Paisagens Cariocas entre a Montanha e o Mar
+2016: Conjunto Moderno da Pampulha
+2017: Sítio Arqueológico do Cais de Valongo
+2021: Sítio Roberto Burle Marx
+2026: Teatros da Amazônia
+Bens naturais: são áreas da natureza de grande valor científico ou ecológico.
+1986: Parque Nacional do Iguaçu
+1999: Reservas da Mata Atlântica do Sudeste
+1999: Reservas da Mata Atlântica da Costa da Descoberta
+2000: Área de Conservação do Pantanal
+2000: Complexo de Conservação da Amazônia Central
+2001: Ilhas Atlânticas Brasileiras: Reservas Fernando de Noronha e Atol das Rocas
+2001: Unidades de Conservação do Cerrado: Parques Nacionais Chapada dos Veadeiros e Emas
+2024: Parque Nacional dos Lençóis Maranhenses
+2025: Cânion do Rio Peruaçu
+Bens mistos: juntam as duas características em um só lugar.
+2025: Paraty e Ilha Grande – Cultura e Biodiversidade
+ 
+*Esse parágrafo e a lista com os 26 sítios localizados no Brasil inscritos na Unesco como Patrimônio Mundial foram inseridos em 27 de julho de 2026.
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+Acervo Digital da UNESP
+ARAÚJO, Emanuel (curador). Para nunca esquecer: negras memórias / memórias de negros. Rio de Jnaeiro : Museu Histórico Nacional, 2002.
+Enciclopédia Itaú Cultural
+Globoplay
+Hemeroteca Digital daBiblioteca Nacional
+MATOS, Geisimara Soares. Da província à corte: a trajetória do negro maranhense Eduardo Ribeiro, rumo ao Rio de Janeiro in Caderno de Progamação e Resumos II Seminário Internacional Histórias do Pós-Abolição do Mundo Atlântico, página 49, 2018.
+MONTEIRO, Mário Ipyranga. Teatro Amazonas, 2ª edição. Amazonas : Valer, 2003.
+Portal Iphan
+SAMUEL, Rogel. Teatro Amazonas . Amazonas: Editora Eduá, 2012.
+Site AmazonaAmazônia
+Site CPDOC
+Projeto de planta de site
+Site Teatro Amazonas
+Site Secretaria de Cultura e Economia Criativa Amazonas
+VALLADARES, Clarival do Prado. Restauração e Recuperação do Teatro Amazonas. Amazonas : Governo do Estado do Amazonas, 1974.
+ 
+Outros artigos publicados na Brasiliana Fotográfica sobre teatros e cinemas
+ 
+Série O Rio de Janeiro desaparecido I - Salas de cinema do Rio de Janeiro do início do século XX, publicado em 26 de fevereiro de 2016.
+Os teatros do Brasil, publicado em 21 de março de 2016
+A inauguração do Theatro Municipal do Rio de Janeiro, publicado em 14 de julho de 2017
+Cinema no Brasil – a primeira sessão e um pouco da história do Cinema Odeon, publicado em 8 de julho de 2021
+Série “O Rio de Janeiro desaparecido” XII – O Teatro Lírico (Theatro Lyrico), publicado em 16 de setembro de 2021
+O Theatro de Santa Isabel, publicado em 28 de outubro de 2021
+O Teatro João Caetano, no Rio de Janeiro, no Dia Mundial do Teatro, publicado em 27 de março de 2023
+Dia do Cinema Brasileiro, publicado em 19 de junho de 2023
+Série O Rio de Janeiro desaparecido XXV – O Theatro Phenix, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado em 5 de setembro de 2023
+O Theatro da Paz, em Belém do Pará, inaugurado em 15 de fevereiro de 1878, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado em 15 de fevereiro de 2024
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/9340` — `itens/20.500.12156.1_9340/`
+- `20.500.12156.1/9341` — `itens/20.500.12156.1_9341/`
+- `20.500.12156.1/1849` — `itens/20.500.12156.1_1849/`
+
diff --git a/wordpress/25960-os-90-anos-do-cristo-redentor-um-dos-mais-importantes-simbolos-e-pontos-turistic.md b/wordpress/25960-os-90-anos-do-cristo-redentor-um-dos-mais-importantes-simbolos-e-pontos-turistic.md
new file mode 100644
index 0000000..f17198f
--- /dev/null
+++ b/wordpress/25960-os-90-anos-do-cristo-redentor-um-dos-mais-importantes-simbolos-e-pontos-turistic.md
@@ -0,0 +1,299 @@
+---
+id: 25960
+url: "https://brasilianafotografica.bn.gov.br/?p=25960"
+titulo: "Os 90 anos do Cristo Redentor, um dos mais importantes símbolos e pontos turísticos do Rio de Janeiro e do Brasil"
+autor: "Andrea Wanderley"
+data: "2021-10-08T15:53:05+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/9804", "20.500.12156.1/3541", "20.500.12156.1/9864", "20.500.12156.1/9866", "20.500.12156.1/9806", "20.500.12156.1/9862", "20.500.12156.1/2927", "20.500.12156.1/3656", "20.500.12156.1/6128", "20.500.12156.1/9865", "20.500.12156.1/6147", "20.500.12156.1/3213", "20.500.12156.1/3175", "20.500.12156.1/7304", "20.500.12156.1/3172"]
+fetched_at: "2026-09-10T10:08:53.446Z"
+---
+
+# Os 90 anos do Cristo Redentor, um dos mais importantes símbolos e pontos turísticos do Rio de Janeiro e do Brasil
+
+Samba do avião
+Tom Jobim
+
+Minha alma canta
+Vejo o Rio de Janeiro
+Estou morrendo de saudade
+Rio seu mar, praias sem fim
+Rio você foi feito pra mim
+Cristo Redentor
+ Braços abertos sobre a Guanabara
+Este samba é só porque
+Rio eu gosto de você
+A morena vai sambar
+Seu corpo todo balançar
+Rio de sol, de céu, de mar
+Dentro de mais um minuto
+Estaremos no Tom Jobim
+Te encontrar
+Minha alma canta
+Vejo o Rio de Janeiro
+Cristo Redentor
+Braços abertos sobre a Guanabara
+Este samba é só porque
+Rio eu gosto de você
+A morena vai sambar
+Seu corpo todo balançar
+Aperte o cinto, vamos chegar
+Água brilhando, olha a pista chegando
+E vamos nós aterrar
+
+ 
+Alfredo Krausz. Cristo Redentor, c. 1933. Rio de Janeiro, RJ / Acervo IMS
+Cantado em prosa e verso, o Cristo Redentor completa, no próximo dia 12 de outubro, 90 anos e confunde-se com a própria identidade dos cariocas, aliás, dos brasileiros. É um dos mais importantes símbolos e pontos turísticos do Rio de Janeiro e do país, além de ser também um dos maiores e mais famosos monumentos em estilo art déco do mundo. A Brasiliana Fotográfica comemora o ícone nonagenário que, de certa forma, confirma a beleza e a vocação exibicionista do Rio de Janeiro, com a republicação de um artigo sobre ele, porém com mais informações e novas imagens. Quando o primeiro artigo sobre a inauguração do Cristo Redentor foi publicado, em 12 de outubro de 2015, o acervo fotográfico do portal possuia seis registros do monumento – um de autoria de Augusto Malta (1864 – 1957) e um de S. H. Holland (1883 – 1936), ambas do acervo do Instituto Moreira Salles (IMS); e quatro da LTM Firma, do acervo da Fundação Biblioteca Nacional (FBN).
+O IMS e a FBN são as instituições fundadoras da Brasiliana Fotográfica e, até abril de 2016, as únicas representadas no acervo fotográfico do portal. Em 2021, o portal já conta com a parceria de mais nove instituições: o Arquivo Geral da Cidade do Rio de Janeiro, o Arquivo Nacional, a Diretoria do Patrimônio Histórico e Documentação da Marinha, a Fiocruz, a Fundação Joaquim Nabuco, o Leibniz-Institut fuer Laenderkunde, Leipzig; o Museu Aeroespacial, o Museu da República e o Museu Histórico Nacional.
+ 
+Acessando o link para as fotografias do Cristo Redentor disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.  
+ 
+Hoje a Brasiliana Fotográfica  traz para seus leitores, além das seis imagens publicadas em 2015, mais 17 fotografias do Cristo Redentor ou produzidas a partir dele: uma da Escola de Aviação Militar, uma de Mario Lucarell, sete do húngaro Alfredo Krausz (1902 – 1953), duas de fotógrafos ainda não identificados do Acervo Geral da Cidade do Rio de Janeiro, e duas também realizadas por fotógrafos ainda não conhecidos, que pertencem à Coleção Sebastião Lacerda, sob a guarda do Instituto Moreira Salles; mais uma da LTM Firma e três estereoscopias de autoria do fotógrafo amador Guilherme Santos (1871 – 1966). Usem a ferramenta zoom e façam um passeio pelas imagens! Além dessas fotos, destacamos registros belíssimos publicados em revistas na época da inauguração da estátua.
+ 
+Guilherme Santos. Estátua do Cristo Redentor, 12 de outubro de 1931. Rio de Janeiro, RJ / Acervo IMS
+ 
+ 
+Etapa da construção da estátua do Cristo Redentor – cabeça, c. 1930. São Gonçalo, RJ / Acervo IMS
+ 
+Link para a música Alma Carioca, especialmente composta por Moacyr Luz para a celebração dos 90 anos do Cristo Redentor.
+ 
+Alfredo Krausz. Vista da cidade; a partir do Cristo Redentor, c. 1933. Rio de Janeiro, RJ / Acervo IMS
+ 
+Localizado no Morro do Corcovado – os morros do Pão de Açúcar e o Morro de Santo Antônio foram cogitados para abrigá-lo – o Cristo Redentor fica a 710 metros de altitude, e a estátua tem 38 metros de altura, pesando 1.145 toneladas. Foi inaugurado, num dia chuvoso, pelo presidente Getulio Vargas (1882-1954) e por Pedro Ernesto (1884-1942), interventor do Distrito Federal. Várias celebrações ocorreram para marcar o acontecimento (Diário de Notícias, 13 de outubro de 1931; O Cruzeiro, 17 de outubro de 1931; Excelsior, novembro de 1931).
+ 
+Texto de Heitor da Silva Costa, engenheiro e autor do projeto do Cristo Redentor / O Cruzeiro, 17 de outubro de 1931
+ 
+Guilherme Santos. Missa de inauguração da estátua do Cristo Redentor; entre os presentes, Getulio e Darcy Vargas, 12 de outubro de 1931. Rio de Janeiro, RJ / Acervo IMS
+ 
+Na edição da Fon-Fon, de 17 de outubro de 1931, que trouxe uma ampla cobertura das festividades da inauguração do Cristo Redentor com diversas e lindas fotos, publicação do poema Cristo Redentor do Corcovado, de autoria do alagoano Jorge de Lima (1893 – 1853).
+ 
+Fon-Fon, 17 de outubro de 1931
+ 
+Fon-Fon, 17 de outubro de 1931
+ 
+Fon-Fon, 17 de outubro de 1931
+ 
+Mas foi no século XIX, que o padre lazarista francês Pietre-Marie (Pedro Maria) Bos (c.1834-1916), capelão do Colégio Imaculada Conceição, em Botafogo, que chegou ao Rio de Janeiro em torno de 1859, teve a ideia de erigir na capital do Império do Brasil um monumento que exaltasse a fé cristã (A União, 30 de janeiro de 1916, quinta coluna). O padre Boss deixou a ideia registrada no prefácio do livro Imitação de Cristo, edição de 1903:
+“O Corcovado! Lá se ergue o gigante de pedra alcantilado, altaneiro e triste, como interrogando o horizonte imenso… quando virá? Há tantos séculos espero. Sim, aqui está o pedestal único no mundo; quando vem a estátua colossal, imagem de quem me fez? Ai, Brasil amado! Acorda depressa, levanta naquele cume sublime a imagem de Jesus Salvador! Nem todos, por causas diversas, lerão o Livro, ao passo que em todas as línguas e linguagens a imagem dirá ao grande e ao pequeno, ao sábio e ao analfabeto…’”
+ 
+Padre Pedro Maria Bos (1834 – 1916)
+ 
+Ainda no século XIX, pouco depois da princesa Isabel (1846 – 1921) ter assinado a Lei Áurea, que aboliu a escravidão no Brasil, em 13 de maio de 1888, um grupo de abolicionistas queria homenageá-la com uma estátua no alto do Morro do Corcovado. Ela declinou, em um documento de 2 de agosto de 1888:
+“Manda Sua Alteza a Princesa Imperial Regente em Nome de Sua Magestade o Imperador agradecer a oferta da Commição Organizadora constituída da Sociedade Brazileira de Beneficência de Paris, da Cia. Estrada de Ferro do Cosme Velho ao Corcovado e do Jornal O Paiz, para erguer huma estátua em sua honra pela extinção da escravidão no Brasil, e faz mudar a dita homenagem e o projecto, pelo officio de 22 de julho do corrente anno, por huma estátua do Sagrado Coração de Nosso Senhor Jezus Christo, verdadeiro redentor dos homens, que se fará erguer no alto do morro do Corcovado”.
+ 
+Isabel, Princesa do Brasil : retrato, c. 1880 / Acervo FBN
+ 
+Os viscondes de Mauá, Irineu Evangelisa de Souza  (1813 – 1889), e de Santa Vitória, Manuel Afonso de Freitas Amorim (1831 – 1906), viajaram a Paris encomendando o projeto e a execução de uma estátua de bronze do Sagrado Coração de Jesus, com 15 metros de altura, mas o monumento nunca foi construído.
+ 
+Mario Lucarell. Monumento Cristo Redentor : Christ Statue, 193?. Rio de Janeiro, RJ / Acervo FBN
+ 
+Voltando ao século XX. Em 1917, o engenheiro Eduardo Limoeiro, presidente da recém criada Associação Auxiliar dos Engenheiros e Industriais, sugeriu, como parte das comemorações do centenário da independência do Brasil, que ocorreria em 1922, a edificação de um monumento em forma de esfera, sobre o qual se elevaria uma grande cruz, homenageando Jesus Cristo, no alto do Morro de Santo Antônio. O projeto era do engenheiro Alberto Pacca, mas a ideia não foi em frente (Jornal do Brasil, 21 de setembro de 1917, segunda coluna).
+Em 24 de fevereiro de 1921, numa sessão solene da Ação Social Nacionalista, presidida pelo Conde Afonso Celso (1860 -1938), o general Pedro Carolino Pinto de Almeida (1856 – 1922) sugeriu que fosse construido um monumento do Cristo Redentor para a comemoração do centenário da independência do Brasil. Em 20 de março de 1921, no Círculo Católico, foi realizada a primeira assembleia para estudar o projeto, cuja iniciativa foi aprovada pelo cardeal Arcoverde (1850 – 1930). Na ocasião, a ideia era que o monumento fosse de bronze e erigido no cume do Pão de Açúcar (Correio de Manhã, 21 de março de 1921, primeira coluna). Em 24 de abril, ocorreu outra reunião (O Jornal, 25 de abril de 1922, penúltima coluna) e, pela primeira vez, em 3 de maio, a comissão técnica do empreendimento, presidida pelo almirante José Carlos de Carvalho (1847 – 1934), se reuniu (Jornal do Brasil, 7 de maio de 1921, quinta coluna). O arquiteto Heitor da Silva Costa (1873-1947), José Agostinho dos Reis(18? – 19?) e Adolfo Morales de Los Rios (1858 – 1928), cujos projetos concorreram para a construção do monumento, participavam da comissão.
+Um abaixo-assinado organizado pela escritora Laurita Lacerda solicitava ao presidente Epitácio Pessoa (1865 – 1942) que a estátua do Cristo Redentor fosse construída. A iniciativa foi uma reação ao despacho do ministro da Fazenda, Homero Baptista (1861-1924), que havia negado a licença necessária para a construção do monumento. O documento foi entregue, com cerca de 30 mil nomes, ao presidente, em uma audiência, no Palácio Rio Negro, em Petrópolis, em 18 de fevereiro de 1922 (O Paiz, 11 de novembro de 1921, quinta coluna; Revista da Semana, 12 de novembro de 1921, última coluna; O Jornal, 19 de fevereiro de 1922, última coluna).
+ 
+O Jornal, 19 de fevereiro de 1922
+ 
+Houve manifestações de igrejas protestantes e de outras religiões contrárias ao apoio do governo à construção do monumento, um símbolo católico, já que o Estado era laico. Por exemplo, seguidores da igreja Batista declararam, em nota publicada em O Jornal Batista, órgão oficial da Convenção Batista Brasileira, em 22 de março de 1923, que a construção “será, a um tempo, um atestado eloquente de idolatria da igreja de Roma“.
+Epitácio justificou a permissão por ter sido requerida em primeiro lugar: se um representante de qualquer outra religião tivesse solicitado algo semelhante antes, a ele teria sido dada igualmente a autorização. A decisão para a construção do monumento no Morro do Corcovado foi concedida em 1º de junho de 1922 por Homero Baptista, ministro da Fazenda (O Paiz, 2 de junho de 1922, terceira coluna).
+Em setembro de 1922, foi realizada uma cerimônia no local onde o Cristo seria construído, com a presença de várias autoridades (O Paiz, 12 de setembro de 1922, terceira coluna) e, em 4 de outubro, foi lançada a pedra fundamental da obra (O Paiz, 5 de outubro de 1922). No ano seguinte, teve início uma grande campanha de arrecadação de recursos para a construção do monumento, sob a coordenação de dom Sebastião Leme (1882 – 1942), o cardeal do Rio de Janeiro. Em setembro de 1923, as comissões já estavam formadas e O Paiz publicou uma extensa matéria sobre a realização de uma semana de coleta de doações para a construção do monumento que, aliás, foi totalmente construído a partir de doações populares. Uma curiosidade: na época com sete anos, o futuro atleta e presidente da Fifa, João Havelange (1916 – 2016), ajudou a arrecadar dinheiro para a construção do Cristo durante a semana do monumento (O Paiz, 16 de março de 1923, sexta coluna; O Paiz, 2 de setembro de 1923).
+ 
+Cristo Redentor, 1931(?). Rio de Janeiro, RJ / Acervo AGCRJ
+ 
+Em 21 de setembro de 1923, o Jornal do Brasil publicou uma matéria noticiando que, em 22 maio de 1923, o projeto do engenheiro Heitor da Silva Costa (1873-1947) para o monumento havia sido escolhido em assembleia geral da Comissão Executiva do Monumento Nacional ao Cristo Redentor, com a presença do monsenhor Macedo Costa, representando o cardeal Arcoverde, e de Cesario Alvim, representando o ministro da Viação. Os outros concorrentes foram José Agostinho dos Reis e Adolfo Morales de Los Rios. A reportagem também contou toda a história do empreendimento. A principal inspiração para o projeto de Silva Costa foi a estátua de São Carlos Borromeu, construída no século XVII, que ele havia examinado, em Arona, na Itália, durante uma viagem de estudos, em 1912 (Jornal do Commercio, 27 de julho de 1930).
+ 
+Estátua de São Carlos Borromeu, Arona, Itália / O Cruzeiro, 10 de outubro de 1931
+ 
+Jornal do Brasil, 21 de setembro de 1923
+ 
+Primeiro anteprojeto / O Cruzeiro, 10 de outubro de 1931
+ 
+A mobilização popular em torno da construção do Cristo foi grande e um filme sobre o assunto, “O monumento do Christo Redemptor”, uma produção da Botelho Film, foi exibido no cinema Odeon (Revista da Semana, 8 de setembro de 1923; O Paiz, 16 de outubro de 1923, na quinta coluna sob o título “Cinemas e fitas”).
+A concepção inicial para o monumento foi modificada: no projeto original, a figura de Jesus Cristo empunharia em sua mão direita um globo e na esquerda uma cruz. 
+ 
+Projeto original de Heitor da Silva Costa para o Cristo Redentor / Revista da Semana, 1º de setembro de 1923
+ 
+O responsável pelo desenho final do monumento, a figura de Cristo com os braços estendidos, com o corpo na vertical e disposto sobre o Corcovado que, olhado à distância por qualquer ângulo é visto como uma cruz plantada no granito, foi o italiano Carlos Oswald (1882 – 1971), na época professor de gravura e desenho do Liceu de Artes e Ofícios do Rio de Janeiro, e grande amigo de Silva Costa.
+ 
+Carlos Oswald, em Paris, 1911 / Site Instituto Poimenica
+ 
+Segundo anteprojeto, redesenhado por Carlos Oswald / O Cruzeiro, 10 de outubro de 1931
+ 
+Trecho da palestra de Heitor Silva Costa, na Sociedade / Jornal do Commercio, 27 de julho de 1930
+ 
+Com os croquis de Oswald e suas convicções sobre o monumento a ser construído, Silva Costa foi para a Europa , em 1924 (Eu sei tudo, janeiro 1924). Esteve na Alemanha, na Itália e na França. Para colaborar no trabalho, escolheu um especialista em estatuária, o artista francês, de origem polonesa, Paul Landowsky (1875-1961), e o engenheiro francês Albert Caquot (1881 – 1976), mestre em cálculos estruturais. Silva Costa, em texto publicado em O Cruzeiro, de 10 de outubro de 1931, justificou a escolha por Landowsky.
+ 
+Heitor da Silva Costa (sentado) e Heitor Levy (terceiro da esquerda paraa a direita) em seu escritório técnico em Paris, com auxiliares e escultores e desenhistas, em 1926 / O Cruzeiro, 10 de outubro de 1931
+ 
+ 
+O Cruzeiro, 10 de outubro de 1931
+ 
+As duas mais famosas obras parisienses de Landowsky são a estátua de Sainte Geneviève, na Ponte de Tournelle, e a fonte da Porte de Saint-Cloud. 
+ 
+Paul Landowsky
+ 
+Albert Caquot / Photo collections ENSMP
+ 
+Montagem do modelo da estátua no ateliê de Landowsky, em Paris, 1926 / O Cruzeiro, 10 de outubro de 1931
+ 
+Colaborador de Landowsky, o escultor italiano Lelio Landucci (? – 1954) participou do processo da evolução do projeto do Cristo. Landucci veio morar no Brasil e foi o autor do primeiro livro sobre o pintor Cândido Portinari (1903 – 1962) (Diário Carioca, 1º de outubro de 1954, terceira coluna).
+ 
+Retrato de Lélio Landucci por Cândido Portinari, 1932 / Google Arts & Culture
+ 
+A obra de instalação do Cristo Redentor começou em 1926. De execução considerada complicadíssima, durou cinco anos. As peças foram transportadas de trem, pois ainda não havia estrada de rodagem até o Corcovado, só inaugurada, em 1936. Além disso, os depósitos de material, maquinário e os barracões para abrigar o pessoal envolvido na obra ficavam em um platô bem abaixo do cume, ocupado pelos andaimes. Pela primeira vez uma estátua era construída como um monumento arquitetônico e não simplesmente como uma escultura.
+Silva Costa, após passar 14 meses na Europa, chegou ao Brasil trazendo uma maquete e algumas peças do monumento (Lar Catholico, 14 de agosto de 1927, primeira coluna). Um documento, datado de 14 de fevereiro de 1925, assinado por Landowsky, delegava a Silva Costa e à comissão do monumento plenos poderes para conceder as necessárias autorizações para as reproduções da imagem da maquete desse monumento.
+ 
+Documento de cessão de direitos assinado por Paul Landowsky / Acervo de Bel Noronha, bisneta de Heitor Silva Costa
+ 
+Uma exposição com os modelos de gesso das mãos do Cristo, modeladas por Landowsky, foi realizada no Corcovado (Diário Carioca, 24 de janeiro de 1929, sexta coluna). Reza a lenda que teria usado as mãos da poetisa, atriz e declamadora Margarida Lopes de Almeida (1896 – 1979) como modelos para as mãos da estátua. Ela sempre confirmou essa história mas perto de morrer a desmentiu, deixando uma dúvida quanto a sua veracidade.
+ 
+Margarida Lopes de Almeida
+ 
+A cabeça do Cristo foi executada pelo escultor romeno Gheorghe Leonida (1892/1893 – 1942), que estudava em Paris. O molde de gesso foi recortado em 50 partes e foi remontado e concretado no sítio do arquiteto italiano Heitor Levy, em São Gonçalo (Diário da Noite, 22 de abril de 1931, última coluna). As únicas coisas que foram construídas na França foram justamente os moldes da cabeça e das mãos, porém em gesso, em tamanho natural, que foram recortadas, trazidas ao Brasil e aqui reconstruídas em concreto armado.
+ 
+Gueorghe Leonida
+ 
+Heitor da Silva Costa (em destaque), o engenheiro-supervisor Pedro Fernandes Vianna da Silva, o engenheiro Antonio Ferreira Antero e o arquiteto-executor Heitor Levy / Site Assembleia Legislativa do Estado de São Paulo
+ 
+O braço direito de Heitor da Silva, Heitor Levy, de credo judaico, que quase morreu em um acidente nos aidaimes do monumento, converteu-se ao catolicismo. Teria escrito os nomes de sua família num pergaminho guardado dentro do coração interno da estátua do Cristo Redentor.
+ 
+Heitor Levy / Diário do Corcovado
+ 
+Etapa da construção da estátua do Cristo Redentor – cabeça, c. 1930. Sâo Gonçalo, RJ / Acervo IMS
+ 
+As obras foram visitadas por autoridades, guiadas pelo engenheiro Heitor da Silva Costa e o monsenhor Gonzaga do Carmo foi fotografado ao lado de dedos da mão da escultura (Correio da Manhã, de 29 de junho de 1929).
+ 
+Correio da Manhã, 29 de junho de 1929
+ 
+A convite da Sociedade Brasileira de Engenheiro, Costa Silva proferiu uma conferência sobre os trabalhos da construção do monumento, quando palestrou sobre sua história, a observação de outros monumentos, a escolha de Landowsky, a filosofia pitagoriana e a divina geometria, a técnica utilizada e finalmente, a compara com a Estátua da Liberdade, inaugurada em 1886, em Nova York – um presente da França aos Estados Unidos, cujo projeto foi do escultor francês Frédéric Auguste Bartholdi (1834 – 1904) (Jornal do Commercio, 27 de julho de 1930, primeira coluna).
+ 
+Jornal do Commercio, 27 de julho de 1930
+ 
+Capa do periódico Frank Leslie´s Illustrated Newspaper, da semana que terminava em 13 de junho de 1885 / Wikipedia
+ 
+Foi publicada uma notícia sobre a construção do Cristo Redentor no Rio de Janeiro e de um nos Alpes, na revista A Semana, de 25 de abril de 1931, com a publicação de uma fotografia da estátua alpina e de quatro do Cristo Redentor carioca: de sua construção, de uma de suas mãos, de um de seus olhos e de sua cabeça.
+ 
+Revista da Semana, 25 de abril de 1931
+ 
+A estrutura do monumento é formada por quatro pilares e 12 andares em concreto armado, o que não era muito comum na época de sua construção. Era uma técnica relativamente recente, patenteada, em 1892, pelo engenheiro francês François Hennebique (1842 – 1921).
+“O Cristo, com evidente propósito figurativo, foi provavelmente a primeira obra escultórica do mundo a utilizar o concreto como material de base. O diálogo entre forma e estrutura, em concreto, aí presente, pautaria, anos depois, em outtras nuances mais próprias à arquitetura, boa parte da produção modernista brasileira”.(1)
+Com exceção das mãos, a estrutura da estátua é oca, o que possibilita o acesso interno através de uma escadaria metálica. O Cristo Redentor tem um coração, localizado no oitavo andar, e, em sua cabeça e braços, encontram-se para-raios. A superfície externa foi revestida com pedras-sabão, coladas por senhoras da sociedade carioca.
+ 
+Mulheres na casa paroquial fazendo mosaicos de pedra-sabão / O Cruzeiro, 10 de outubro de 1931
+ 
+Cristo Redentor, 1931. Rio de Janeiro, RJ / Acervo AGCRJ
+ 
+No dia da inauguração, foi o físico Guglielmo Marconi (1874-1937), inventor do telégrafo, que, da Itália, ligou os refletores da estátua. Assis Chateaubriand, diretor dos Diários Associados, enviou um telegrama a ele dizendo: “No instante em que iluminais o monumento de Jesus Cristo, os católicos brasileiros saúdam em vós a faísca do gênio latino que descobriu e construiu o novo mundo” ( O Cruzeiro, 17 de outubro de 1931).
+ 
+O Cruzeiro, 10 de outubro de 1931
+ 
+Segundo o site do Instituto do Patrimônio Histórico e Artístico Nacional, o Iphan, “o sistema não funcionou como o esperado, mas o Cristo foi iluminado graças à habilidade do engenheiro Gustavo Corção e sua equipe, atribui-se a Rinaldo Franco o ato de ter acionado o interruptor responsável pela iluminação”.
+ 
+LTM. Mon. A Christo Redemptor, 12 de outubro de 1931. Rio de Janeiro, RJ / Acervo FBN  Uma fotografia muito semelhante a essa está publicada na capa da revista Excelsior, novembro de 1931
+ 
+O Cruzeiro, 17 de outubro de 1931
+ 
+O Cruzeiro, 17 de outubro de 1931
+ 
+Em 1973, o conjunto paisagístico do monumento foi tombado pelo Iphan – Instituto do Patrimônio Histórico Nacional.
+O carro abre-alas da Escola de Samba Beija-Flor de Nilópolis, cujo samba-enredo de 1989 era Ratos e Urubus, Larguem Minha Fantasia, traria uma reprodução do Cristo Redentor vestido como um mendigo, mas a Arquidiocese do Rio de Janeiro conseguiu uma ordem judicial proibindo a apresentação da alegoria. O carnavalesco Joãosinho Trinta (1933 – 2011) cobriu a alegoria com um plástico preto e acrescentou uma faixa com a frase “mesmo proibido, olhai por nós“.
+Em 1990, a estátua foi restaurada e, em 7 de julho de 2007, o Cristo Redentor foi eleito uma das Sete Maravilhas do Mundo Moderno (Jornal do Brasil, 8 de julho de 2007). Ficou em terceiro lugar, atrás da Muralha da China e da Cidade de Petra, na Jordânia.
+ 
+Classificação das 7 Maravilhas do Mundo Moderno / Jornal do Brasil, 8 de julho de 2007
+ 
+O resultado foi divulgado pela empresa suíça promotora do concurso, a Fundação New  7 Wonders e o título foi recebido pelo técnico de futebol Luiz Felipe Scolari (1948 -) e pelo embaixador do Brasil em Portugal, Celso de Souza, no Estádio da Luz, sede do clube Benfica, em Lisboa, Portugal.
+ 
+LTM (Firma). Rio de Janeiro : : Pan. da Vista Chinesa, 1935?. Rio de Janeiro, RJ / Acervo FBN
+ 
+Em 2008, a bisneta de Heitor da Silva Costa, Bel Noronha, lançou o documentário De Braços abertos, sobre a história do Cristo Redentor.
+ 
+Jornal do Brasil, 12 de outubro de 2008
+ 
+Em 30 de setembro do mesmo ano, o Cristo Redentor foi tombado pelo Instituto do Patrimônio Histórico e Artístico Nacional – Iphan – por sua importância histórica (Portal Iphan). Em 1º de março de 2011, aniversário da cidade do Rio de Janeiro, foi inaugurada uma nova iluminação no monumento com 300 projetores de LED de última geração que deram mais cor à estátua do Cristo Redentor, com um consumo de energia bem menor, e com a possibilidade de criar diferentes efeitos e cores.
+ 
+O Globo, 1º de março de 2011
+ 
+Desde sua inauguração, o Cristo Redentor já recebeu diversas visitas de personalidades importantes no cenário internacional como o cientista Albert Einstein (1879 – 1955), o cantor Michael Jackson (1958 – 2009), o papa João Paulo II (1920 – 2005), o Dalai Lama (1935-), a Princesa Diana (1961 – 1997), o príncipe Charles (1948-) e o presidente dos Estados Unidos, Barack Obama (1961-), com sua família. Algumas pessoas que já subiram na cabeça da estátua foram a jornalista Glória Maria (1949-), a atriz Ingrid Guimarães (1972-), a apresentadora de televisão Patrícia Abravanel (1977-), o comediante Renato Aragão (1935-), a atriz Tatá Werneck (1983-) e a bisneta de Heitor Silva Costa, Bel Noronha.
+ 
+Escola de Aviação Militar. Vista Aérea do Cristo Redentor, 28 de junho de 1935. Rio de Janeiro, RJ / Acervo Museu Aeroespacial
+ 
+Corcovado
+João Gilberto 
+Um cantinho e um violão
+Este amor, uma canção
+Pra fazer feliz a quem se ama
+Muita calma pra pensar
+E ter tempo pra sonhar
+Da janela vê-se o Corcovado
+ O Redentor, que lindo
+Quero a vida sempre assim
+Com você perto de mim
+Até o apagar da velha chama
+E eu que era triste
+Descrente deste mundo
+Ao encontrar você eu conheci
+O que é felicidade meu amor
+
+LTM Firma. Rio de Janeiro : : Rua Paissandú, c. 1935. Rio de Janeiro, RJ / Acervo FBN
+ 
+Link a revista O Cruzeiro, de 10 de outubro de 1931, edição dedicada ao Cristo Redentor, com textos do Conde de Affonso Celso, de Heitor Silva Costa, de Arrojado Lisboa, de Felipe dos Santos Reis, do padre José Natuzzi, dentre outros, abordando a história, a concepção, a construção e outros aspectos do monumento. Publicação também do Cântico ao Cristo do Corcovado, de Tasso da Silveira; da história da Estrada de Ferro do Corcovado, das cartas trocadas entre o papa Pio XI  e o cardeal Sebastião Leme, da programação oficial e da lista das autoridades eclesiásticas que participariam dos eventos relacionados à inauguração do monumento.
+ 
+Capa da edição da revista O Cruzeiro, 10 de outubro de 1931
+ 
+Para saber um pouco da história do Morro do Corcovado antes do Cristo Redentor, acesse aqui o artigo Série “O Rio de Janeiro desaparecido” (11) – A Estrada de Ferro do Corcovado e o mirante Chapéu de Sol, publicado em 22 de julho de 2021, na Brasiliana Fotográfica.
+ 
+Fotografia de autoria e creditada a S. H. Holland, publicada em O Cruzeiro, 10 de outubro de 1931
+ 
+A Brasiliana Fotográfica agradece a colaboração para a realização desse artigo de Roberta Mociaro Zanatta, coordenadora do Núcleo de Catalogação e Indexação do IMS e uma das responsáveis pela gestão e atualização de conteúdos do portal Brasiliana Fotográfica., e de Guilherme Dias, Conservador de Fotografias do Núcleo de Conservação e Preservação de Acervos, do IMS.
+(1) KAZ, Leonel; LODDI, Nigge. Cristo Redentor História e Arte de um Símbolo do Brasil. Rio de Janeiro : Aprazível, 2008, página 75.
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+Agenda do Centro de Documentação da TV Globo
+ALVAREZ, Rodrigo. Redentor. Rio de Janeiro : GloboLivros, 2021.
+Biblioteca da Câmara Legislativa do Distrito Federal
+Blog Diário do Corcovado
+CERQUEIRA, Bruno da Silva Antunes de; ARGON, Maria de Fátima Moraes. Alegrias e Tristezas: Estudos Sobre a Autobiografia de D. Isabel do Brasil. Rio de Janeiro : Linotipo Digital Editora, 2020.
+Conforme está relatado no livro Alegrias e Tristezas: Estudos Sobre a Autobiografia de D. Isabel do Brasil (Linotipo Digital Editora) — escrito pelo historiador e advogado Bruno da Silva Antunes de Cerqueira, fundador do Instituto Cultural D. Isabel A Redentora, e pela historiadora e arquivista Maria de Fátima Moraes Argon, pesquisadora aposentada do Museu Imperial
+Coleção Nosso Século Brasil 10 Volumes. São Paulo : Abril Cultural, 1987.
+Entrevista com Bel Noronha, bisneta de Heitor da Silva Costa e diretora do documentário De braços abertos, no Programa do Jô
+Folha de São Paulo
+Google Arts & Culture
+Hemeroteca Digital da Biblioteca Nacional
+KAZ, Leonel; LODDI, Nigge. Cristo Redentor História e Arte de um Símbolo do Brasil. Rio de Janeiro : Aprazível, 2008.
+OSWALD, Carlos. Como me tornei pintor.  Petrópolis, RJ: Vozes, 1957.
+Portal Iphan
+RIBEIRO, Antônio Sérgio. Cristo Redentor: 80 anos de um símbolo. Agência de Notícias da Assembleia Legislativa de São Paulo. 
+SEMENOVITCH, Jorge Scévola. Corcovado: a conquista da montanha de Deus. Rio de Janeiro : Editora Lutecia, 2010
+Site Arquidiocese de São Sebastião do Rio de Janeiro
+Site Capital Mundial da Arquitetura – Rio 2020
+Site Engenharia 360
+Site Rio de Janeiro aqui
+Site Riotur
+Site Santuário Cristo Redentor
+Site Sim São Gonçalo
+Veja Rio, 5 de junho de 2017
+Wikipedia
+Youtube
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/9804` — `itens/20.500.12156.1_9804/`
+- `20.500.12156.1/3541` — `itens/20.500.12156.1_3541/`
+- `20.500.12156.1/9864` — `itens/20.500.12156.1_9864/`
+- `20.500.12156.1/9866` — `itens/20.500.12156.1_9866/`
+- `20.500.12156.1/9806` — `itens/20.500.12156.1_9806/`
+- `20.500.12156.1/9862` — `itens/20.500.12156.1_9862/`
+- `20.500.12156.1/2927` — `itens/20.500.12156.1_2927/`
+- `20.500.12156.1/3656` — `itens/20.500.12156.1_3656/`
+- `20.500.12156.1/6128` — `itens/20.500.12156.1_6128/`
+- `20.500.12156.1/9865` — `itens/20.500.12156.1_9865/`
+- `20.500.12156.1/6147` — `itens/20.500.12156.1_6147/`
+- `20.500.12156.1/3213` — `itens/20.500.12156.1_3213/`
+- `20.500.12156.1/3175` — `itens/20.500.12156.1_3175/`
+- `20.500.12156.1/7304` — `itens/20.500.12156.1_7304/`
+- `20.500.12156.1/3172` — `itens/20.500.12156.1_3172/`
+
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+---
+id: 2602
+url: "https://brasilianafotografica.bn.gov.br/?p=2602"
+titulo: "A inauguração do Cristo Redentor, em 12 de outubro de 1931"
+autor: "Andrea Wanderley"
+data: "2015-10-12T09:48:29+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/3171", "20.500.12156.1/2927", "20.500.12156.1/3175", "20.500.12156.1/7304"]
+fetched_at: "2026-09-10T10:08:56.775Z"
+---
+
+# A inauguração do Cristo Redentor, em 12 de outubro de 1931
+
+LTM(firma). Mon. A. Cristo Redemptor, 1935?. Rio de Janeiro, RJ / Acervo FBN
+Um dos mais importantes símbolos e pontos turísticos do Rio de Janeiro e do Brasil, o Cristo Redentor é um dos maiores e mais famosos monumentos em estilo art déco do mundo. Localizado no morro do Corcovado, a 710 metros de altitude, a estátua tem 38 metros de altura e pesa 1.145 toneladas. Foi inaugurada pelo presidente Getulio Vargas (1882-1954) e por Pedro Ernesto (1884-1942), interventor do Distrito Federal (Diário de Notícias, 13 de outubro de 1931 e O Cruzeiro, 17 de outubro de 1931).
+Mas foi no século XIX, que o padre Pedro Maria Boss (?-1916), capelão do Colégio Imaculada Conceição,em Botafogo, que chegou ao Rio de Janeiro, em 1859, teve a ideia de erigir na capital do Império do Brasil um monumento que exaltasse a fé cristã. A obra, contudo, só começou em 1926, com dinheiro arrecadado junto à população em eventos esportivos, culturais e sociais.
+Porém, ainda no século XIX, pouco depois da Princesa Isabel (1846 – 1921) ter assinado a Lei Áurea, que aboliu a escravidão no Brasil, em 13 de maio de 1888, um grupo de abolicionistas queria homenageá-la com uma estátua no alto do Morro do Corcovado. Ela declinou, em um documento de 2 de agosto de 1888:
+“Manda Sua Alteza a Princesa Imperial Regente em Nome de Sua Magestade o Imperador agradecer a oferta da Commição Organizadora constituída da Sociedade Brazileira de Beneficência de Paris, da Cia. Estrada de Ferro do Cosme Velho ao Corcovado e do Jornal O Paiz, para erguer huma estátua em sua honra pela extinção da escravidão no Brasil, e faz mudar a dita homenagem e o projecto, pelo officio de 22 de julho do corrente anno, por huma estátua do Sagrado Coração de Nosso Senhor Jezus Christo, verdadeiro redentor dos homens, que se fará erguer no alto do morro do Corcovado”.
+ 
+Isabel, Princesa do Brasil : retrato, c. 1880 / Acervo FBN
+ 
+Os viscondes de Mauá, Irineu Evangelisa de Souza  (1813 – 1889), e de Santa Vitória, Manuel Afonso de Freitas Amorim (1831 – 1906), viajaram a Paris encomendando o projeto e a execução de uma estátua de bronze do Sagrado Coração de Jesus, com 15 metros de altura, mas o monumento nunca foi construído.
+Voltando ao século XX. A autorização para a construção do monumento no morro do Corcovado foi concedida em 1º de junho de 1922 por Homero Baptista (1861-1924), ministro da Fazenda (O Paiz, 2 de junho de 1922, na terceira coluna). Em setembro, foi realizada uma cerimônia no local onde o Cristo seria construído, com a presença de várias autoridades (O Paiz, 12 de setembro de 1922, na terceira coluna) e, em outubro, foi lançada a pedra fundamental da obra (O Paiz, 5 de outubro de 1922). No ano seguinte, teve início uma grande campanha de arrecadação de recursos para a construção do monumento (O Paiz, 16 de março de 1923, na sexta coluna). Em setembro de 1923, as comissões já estavam formadas e O Paiz publica uma extensa matéria sobre a realização de uma semana de coleta de doações para a construção do monumento (O Paiz, 2 de setembro de 1923).
+Em 21 de setembro de 1923, o Jornal do Brasil publica uma matéria noticiando que, em 22 maio de 1923, o projeto do engenheiro Heitor da Silva Costa (1873-1947) para o monumento havia sido escolhido em assembleia geral da Comissão Executiva do Monumento Nacional ao Cristo Redentor, com a presença do monsenhor Macedo Costa, representando o cardeal Arcoverde, e de Cesario Alvim, representando o ministro da Viação. Os outros concorrentes foram José Agostinho dos Reis e Adolfo Morales de Los Rios. A reportagem também conta toda a história do empreendimento. A mobilização popular em torno da construção do Cristo foi grande (Revista da Semana, 8 de setembro de 1923) e um filme sobre o assunto, “O monumento do Christo Redemptor”, uma produção da Botelho Film, foi exibido no cinema Odeon ( O Paiz, 16 de outubro de 1923, na quinta coluna sob o título “Cinemas e fitas”).
+A concepção inicial para o monumento foi modificada: no projeto original, a figura de Jesus Cristo empunharia em sua mão direita um globo e na esquerda uma cruz. 
+ 
+Projeto original de Heitor da Silva Costa para o Cristo Redentor / Revista da Semana, 1º de setembro de 1923
+ 
+Mas o responsável pelo desenho final do monumento foi o italiano Carlos Oswald (1882 – 1971), na época professor de gravura e desenho do Liceu de Artes e Ofícios do Rio de Janeiro. 
+Para colaborar no trabalho, Heitor da Silva Costa escolheu um especialista em estatuária, o artista francês, de origem polonesa, Paul Landowsky (1875-1961).  Silva Costa trouxe da Europa uma maquete e algumas peças do monumento (Lar Catholico, 14 de agosto de 1927, primeira coluna). Uma exposição com os modelos de gesso das mãos do Cristo, modeladas por Landowsky, foi realizada no Corcovado (Diário Carioca, 24 de janeiro de 1929, na sexta coluna). Autoridades fizeram uma visita às obras, assunto de uma matéria no Correio da Manhã, de 29 de junho de 1929. Em 25 de abril de 1931, foi publicada uma notícia interessante sobre a construção do Cristo Redentor, na revista A Semana.
+No dia da inauguração, foi o físico Guglielmo Marconi (1874-1937), inventor do telégrafo, que, da Itália, ligou os refletores da estátua. Assis Chateaubriand, diretor dos Diários Associados, enviou um telegrama a ele dizendo “No instante em que iluminais o monumento de Jesus Cristo, os católicos brasileiros saúdam em vós a faísca do gênio latino que descobriu e construiu o novo mundo” ( O Cruzeiro, 17 de outubro de 1931). Segundo o site do Instituto do Patrimônio Histórico e Artístico Nacional, o Iphan, “o sistema não funcionou como o esperado, mas o Cristo foi iluminado graças à habilidade do engenheiro Gustavo Corção e sua equipe, atribui-se a Rinaldo Franco o ato de ter acionado o interruptor responsável pela iluminação”.
+ 
+LTM (Firma). Rio de Janeiro : : Pan. da Vista Chinesa, 1935?. Rio de Janeiro, RJ / Acervo FBN 
+ 
+ 
+Em 1990, o monumento foi restaurado. Em 7 de julho de 2007, o Cristo Redentor foi eleito uma das sete maravilhas do mundo moderno (Jornal do Brasil, 8 de julho de 2007). Ficou em terceiro lugar, atrás da Muralha da China e da Cidade de Petra, na Jordânia. O resultado foi divulgado pela empresa suíça promotora do concurso, a Fundação New  7 Wonders e o título foi recebido pelo técnico de futebol Luiz Felipe Scolari e pelo embaixador do Brasil em Portugal, Celso de Souza, no Estádio da Luz, sede do clube Benfica, em Lisboa, Portugal.
+ 
+Acessando o link para as fotografias do Cristo Redentor disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.  
+ 
+Escola de Aviação Militar. Vista Aérea do Cristo Redentor, 28 de junho de 1935. Rio de Janeiro, RJ / Acervo Museu Aeroespacial
+ 
+Andrea C. T. Wanderley
+Editora-assistente  e pesquisadora do portal Brasiliana Fotográfica
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/3171` — `itens/20.500.12156.1_3171/`
+- `20.500.12156.1/2927` — `itens/20.500.12156.1_2927/`
+- `20.500.12156.1/3175` — `itens/20.500.12156.1_3175/`
+- `20.500.12156.1/7304` — `itens/20.500.12156.1_7304/`
+
diff --git a/wordpress/26134-retratos-de-pauline-caroline-lefebvre-sogra-do-fotografo-marc-ferrez.md b/wordpress/26134-retratos-de-pauline-caroline-lefebvre-sogra-do-fotografo-marc-ferrez.md
new file mode 100644
index 0000000..660934f
--- /dev/null
+++ b/wordpress/26134-retratos-de-pauline-caroline-lefebvre-sogra-do-fotografo-marc-ferrez.md
@@ -0,0 +1,82 @@
+---
+id: 26134
+url: "https://brasilianafotografica.bn.gov.br/?p=26134"
+titulo: "Retratos de Pauline Caroline Lefebvre, sogra do fotógrafo Marc Ferrez"
+autor: "Andrea Wanderley"
+data: "2022-04-28T11:51:39+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/7195", "20.500.12156.1/6401", "20.500.12156.1/7185", "20.500.12156.1/5345", "20.500.12156.1/5355", "20.500.12156.1/5339", "20.500.12156.1/7186", "20.500.12156.1/2575"]
+fetched_at: "2026-09-10T10:09:00.000Z"
+---
+
+# Retratos de Pauline Caroline Lefebvre, sogra do fotógrafo Marc Ferrez
+
+Hoje, quando é comemorado o Dia da Sogra, a Brasiliana Fotográfica destaca imagens da modista e comerciante francesa Pauline Caroline Lefebvre (18?- 1911), mãe de Marie Lefebvre (c. 1849 – 1914), com quem o fotógrafo Marc Ferrez (1843 – 1923) casou-se, em 16 de agosto de 1873. Além de registros de Pauline, publicamos também outras fotografias da família de Ferrez, onde aparecem, além dele e de sua mulher, seus filhos Julio Marc (1881 – 1946) e Luciano José André (1884 – 1955); a casa onde moraram, na rua Voluntários da Pátria, em Botafogo; e o túmulo da família, no Cemitério São João Batista, no Rio de Janeiro.
+ 
+Marc Ferrez. Retrato de Pauline Caroline Lefebvre, sogra de Marc Ferrez, c, 1903. Rio de Janeiro, RJ / Acervo IMS
+ 
+Acessando o link para as fotografias da família de Marc Ferrez, da casa onde moraram na rua Voluntários da Pátria e do túmulo da família disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas. 
+ 
+Marc Ferrez. Detalhe da foto Marc Ferrez e sua família na Floresta da Tijuca, c. 1899. Rio de Janeiro, RJ / Acervo IMS
+ 
+Marc Ferrez. Julio e Luciano Ferrez, c. 1910. Rio de Janeiro, RJ / Acervo IMS
+ 
+ 
+Marc Ferrez. Família Ferrez, c. 1912. Rio de Janeiro, RJ / Acervo IMS
+ 
+ 
+Marc Ferrez. Casa da família Ferrez na rua Voluntários da Pátria, c. 1914. Rio de Janeiro, RJ / Acervo IMS
+ 
+ 
+Marc Ferrez. Túmulo da Família Ferrrez, 26 de agosto de 1914. Cemitério São João Batista, RJ / Acervo IMS
+ 
+ 
+Marc Ferrez. Retrato de Pauline Caroline Lefebvre, sogra de Marc Ferrez, c, 1910. Rio de Janeiro, RJ / Acervo IMS 
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Publicações da Brasiliana Fotográfica em torno da obra do fotógrafo Marc Ferrez 
+ 
+Marc Ferrez aos 33 anos, c. 1876. Rio de Janeiro, RJ / Acervo IMS
+O Rio de Janeiro de Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 30 de junho de 2015
+Obras para o abastecimento no Rio de Janeiro por Marc Ferrez , de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 25 de janeiro de 2016
+O brilhante cronista visual Marc Ferrez (7/12/1843 – 12/01/1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 7 de dezembro de 2016
+Do natural ao construído: O Rio de Janeiro na fotografia de Marc Ferrez, de autoria de Sérgio Burgi, um dos curadores da Brasiliana Fotográfica, publicada em 19 de dezembro de 2016
+No primeiro dia da primavera, as cores de Marc Ferrez (1843 – 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 22 de setembro de 2017
+Marc Ferrez , a Comissão Geológica do Império (1875 – 1878) e a Exposição Antropológica Brasileira no Museu Nacional (1882), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica,  publicada em 29 de junho de 2018
+Série “O Rio de Janeiro desaparecido” V – O quiosque Chopp Berrante no Passeio Público, Ferrez, Malta e Charles Dunlop, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 20 de julho de 2018
+Uma homenagem aos 175 anos de Marc Ferrez (7 de dezembro de 1843 – 12 de janeiro de 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 7 de dezembro de 2018 
+Pereira Passos e Marc Ferrez: engenharia e fotografia para o desenvolvimento das ferrovias, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 5 de abril de 2019
+Fotografia e ciência: eclipse solar, Marc Ferrez e Albert Einstein, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 24 de junho de 2019
+Os 180 anos da invenção do daguerreótipo – Os álbuns da Comissão Geológica do Império com fotografias de Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 19 de agosto de 2019
+Celebrando o fotógrafo Marc Ferrez (1843 – 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 4 de dezembro de 2019
+Uma homenagem da Casa Granado ao imperial sob as lentes de Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 7 de fevereiro de 2020
+Ressaca no Rio de Janeiro invade o porão da casa do fotógrafo Marc Ferrez, em 1913, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado 6 de março de 2020
+Petrópolis, a Cidade Imperial, pelos fotógrafos Marc Ferrez e Revert Henrique Klumb, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 16 de março de 2020
+Bambus, por Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 5 de junho de 2020
+O Baile da Ilha Fiscal: registro raro realizado por Marc Ferrez e retrato de Aurélio de Figueiredo diante de sua obra, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 9 de novembro de 2020
+O Palácio de Cristal fotografado por Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 2 de fevereiro de 2021
+A Estrada de Ferro do Paraná, de Paranaguá a Curitiba, pelos fotógrafos Arthur Wischral (1894 – 1982) e Marc Ferrez (1843 – 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 22 de março de 2021
+Dia dos Pais – Julio e Luciano, os filhos do fotógrafo Marc Ferrez, e outras famílias, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 6 de agosto de 2021
+No Dia da Árvore, mangueiras fotografadas por Ferrez e Leuzinger, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 21 de setembro de 2021
+A Serra dos Órgãos: uma foto aérea e imagens realizadas pelos mestres Ferrez, Leuzinger e Klumb, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 30 de junho de 2022
+O centenário da morte do fotógrafo Marc Ferrez (1843 – 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 12 de janeiro de 2023
+O Observatório Nacional pelas lentes de Marc Ferrez, amigo de vários cientistas, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 29 de maio de 2023
+No Dia Mundial do Meio Ambiente, a potente imagem da Cachoeira de Paulo Afonso, por Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 5 de junho de 2023
+A Fonte Adriano Ramos Pinto por Guilherme Santos e Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 18 de julho de 2023
+Os 180 anos de nascimento do fotógrafo Marc Ferrez (1843 – 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 7 de dezembro de 2023
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/7195` — `itens/20.500.12156.1_7195/`
+- `20.500.12156.1/6401` — `itens/20.500.12156.1_6401/`
+- `20.500.12156.1/7185` — `itens/20.500.12156.1_7185/`
+- `20.500.12156.1/5345` — `itens/20.500.12156.1_5345/`
+- `20.500.12156.1/5355` — `itens/20.500.12156.1_5355/`
+- `20.500.12156.1/5339` — `itens/20.500.12156.1_5339/`
+- `20.500.12156.1/7186` — `itens/20.500.12156.1_7186/`
+- `20.500.12156.1/2575` — `itens/20.500.12156.1_2575/`
+
diff --git a/wordpress/26164-os-instantaneos-crueis-de-monteiro-lobato.md b/wordpress/26164-os-instantaneos-crueis-de-monteiro-lobato.md
new file mode 100644
index 0000000..806c340
--- /dev/null
+++ b/wordpress/26164-os-instantaneos-crueis-de-monteiro-lobato.md
@@ -0,0 +1,303 @@
+---
+id: 26164
+url: "https://brasilianafotografica.bn.gov.br/?p=26164"
+titulo: "Os “Instantâneos Cruéis” de Monteiro Lobato"
+autor: "Andrea Wanderley"
+data: "2021-11-26T14:44:03+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/5094", "20.500.12156.1/6122", "20.500.12156.1/6515", "20.500.12156.1/5102", "20.500.12156.1/5096", "20.500.12156.1/10268", "20.500.12156.1/6124", "20.500.12156.1/6126", "20.500.12156.1/9335", "20.500.12156.1/10267"]
+fetched_at: "2026-09-10T10:09:03.357Z"
+---
+
+# Os “Instantâneos Cruéis” de Monteiro Lobato
+
+O contato de Monteiro Lobato (1882 – 1948) com as pesquisas realizadas por cientistas de Manguinhos em suas cinco expedições científicas pelo Brasil, no início do século XX, em especial a viagem de cerca de sete meses feita pelos sanitaristas Belisário Penna (1868 – 1939) e Arthur Neiva (1885 – 1945), em 1912, entre o norte da Bahia, o sudeste de Pernambuco, o sul do Piauí e Goiás de norte a sul, impactaram a obra do escritor.
+ 
+José Teixeira. Expedição do Instituto Oswaldo Cruz ao Nordeste e Centro Oeste : acampamento dos membros da expedição, entre eles Belisário Penna e Arthur Neiva (2° e 3° à esquerda), 1912. Piauí / Acervo Casa de Oswaldo Cruz
+ 
+Fotografias produzidas por José Teixeira, fotógrafo da expedição, batizadas por Lobato de instantâneos cruéis em seu artigo O problema do saneamento – O início da ação (O Estado de São Paulo, 12 de maio de 1918, página 3, terceira coluna (1)), que retratavam a fome, a miséria e as doenças do povo brasileiro, faziam parte dessas pesquisas, que influenciaram a mudança da concepção de um de seus famosos personagens, o Jeca Tatu, e fez com que Lobato se engajasse numa campanha pelo saneamento do país: O Jeca não é assim: está assim – epígrafe de seu livro Problema Vital, publicado em fins de 1918, reunindo a série de artigos que havia escrito para o jornal O Estado de São Paulo no referido ano. Redefiniu o perfil do Jeca Tatu. Se em seus artigos de 1914 – Velha Praga e Urupês – o Jeca era definido a partir de sua natureza racial ou genética, agora eram as péssimas condições de saúde e higiene as causadoras da característica de indolência atribuída ao personagem.
+Seu diagnóstico do Brasil havia se modificado, o saneamento das áreas rurais poderia transformar a realidade. A mudança de seu pensamento ancorava-se em sua crença otimista em relação à ciência. O pesquisador Ricardo Augusto dos Santos, da Fundação Oswaldo Cruz, uma das instituições parceiras da Brasiliana Fotográfica conta essa história no artigo Os Instantâneos Cruéis de Monteiro Lobato.
+ 
+Monteiro Lobato / Site Monteiro Lobato
+ 
+As fotografias e negativos remanescentes das cinco expedições realizadas entre 1911 e 1913 pelo Insituto Oswaldo Cruz, com aproximadamente 1700 itens, foram produzidos por câmeras grandes, pesadas, que utilizavam negativos de gelatina seca sobre base de vidro no formato 13 x 18 centímetros. Sobre os fotógrafos conhece-se apenas dois, o já citado José Teixeira, que acompanhou a expedição Penna-Neiva, e João Stamato (1886-1951), cinegrafista do Rio de Janeiro´, na década de 1910, que documentou a expedição aos Vales dos Rios São Francisco e Tocantins, em 1911.
+ 
+José Teixeira, fotógrafo dos instantâneos cruéis durante a expedição Penna-Neiva, 1912 / Acervo Casa de Oswaldo Cruz
+ 
+ 
+Os Instantâneos Cruéis de Monteiro Lobato
+ Ricardo Augusto dos Santos*
+ 
+José Teixeira. Doentes no sertão – Expedição Penna-Neiva, 2 de junho de 1912 / Acervo Casa de Oswaldo Cruz
+ 
+Foi em 1987 que tomei conhecimento da obra adulta de Monteiro Lobato (1882-1948). Naquele ano, a Casa de Oswaldo Cruz contratou-me para trabalhar no projeto de organização de fontes e publicação do álbum fotográfico A Ciência a Caminho da Roça.
+Que fontes eram essas? Tratava-se de um conjunto de imagens realizadas durante cinco expedições científicas efetuadas entre 1911 e 1913 pelo Instituto Oswaldo Cruz. Essas viagens produziram relatórios, registros e fotografias, que descreviam as condições de vida nas regiões visitadas. Era esse material que uma equipe organizava, pesquisava e preparava a edição do texto.
+Depois das primeiras reuniões com o grupo responsável pela produção do volume, atraído em estudar a ideologia nacionalista, encontrei o livro Problema Vital (2), de Lobato. Publicado, em 1918, essa obra reúne 14 artigos veiculados no jornal O Estado de São Paulo daquele ano. Nestes textos, Lobato comentava sobre os problemas sociais do Brasil. Em determinado trecho, o autor falava de modo enfático sobre as imagens produzidas pelo fotógrafo José Teixeira durante uma dessas expedições científicas, a viagem liderada por Belisário Penna e Arthur Neiva. Segundo Lobato, as fotografias eram instantâneos cruéis que possuiriam força para alterar o diagnóstico do país.
+ 
+Acessando o link para as fotografias de autoria de José Teixeira disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Belisário Penna e Arthur Neiva durante expedição científica, em 1912, no Piauí. Detalhe da fotografia de José Teixeira
+ 
+Mas, que cinco viagens foram essas? Entre setembro de 1911 e fevereiro de 1912, Astrogildo Machado (1885 – 1945) e Antônio Martins (18?-19?), respectivamente pesquisador e farmacêutico do Instituto Oswaldo Cruz, percorreram os vales do São Francisco e do Tocantins com os técnicos da Estrada de Ferro Central do Brasil, responsáveis por estudos para um prolongamento que, a partir de Pirapora, deveria alcançar a cidade de Belém, no Pará.
+ 
+João Stamato. Expedição aos vales dos rios São Francisco e Tocantins. Membros da Expedição, 1911. Vale do Tocantins / Acervo Casa de Oswaldo Cruz / Astrogildo Machado está sentado com as mãos entrelaçadas
+ 
+A serviço da Superintendência da Defesa da Borracha, Carlos Chagas  (1878-1934), Antonio Pacheco Leão (1872 – 1931) e João Pedroso Barreto de Albuquerque (1869 – 1936) inspecionaram parte da bacia amazônica, no período de outubro de 1912 a março de 1913.
+ 
+Expedição do Instituto Oswaldo Cruz ao Amazonas e Acre: Carlos Chagas e Pacheco Leão na Amazônia, 1913. São Gabriel da Cachoeira, Rio Negro, Amazonas / Acervo Casa de Oswaldo Cruz / Carlos Chagas está no centro do grupo e Pacheco Leão está a sua direita
+ 
+Entre março a outubro de 1912, a serviço da Inspetoria das Obras contra a Seca, três expedições exploraram o Nordeste e o Centro-Oeste do Brasil. Para o Ceará e o norte do Piauí, dirigiram-se João Pedro de Albuquerque (1874 – 1934) e José Gomes de Faria (18? – 1962). Adolfo Lutz (1855 – 1940) e Astrogildo Machado desceram o Rio São Francisco de Pirapora até Juazeiro, visitando alguns de seus afluentes. Das cinco expedições científicas deste período, a viagem de Arthur Neiva e Belisário Penna foi a mais longa, percorrendo em trens, cavalos e burros, quatro mil quilômetros entre o norte da Bahia, o sudeste de Pernambuco, o sul do Piauí e Goiás de norte a sul.
+Em 1916, o diário da jornada foi publicado no periódico Memórias do Instituto Oswaldo Cruz com as fotos obtidas durante o trajeto. Este documento registrava em detalhes a miséria em que viviam as populações. Em um dos textos reunidos em Problema Vital, Lobato refere-se às fotos da expedição Penna-Neiva, ao falar de idéias capazes de mudar a realidade:
+“A idéia do saneamento é uma. Bastou que a ciência experimental, após a série de instantâneos cruéis que o diário de viagem de Artur Neiva e Belisário Penna lhe pôs diante dos olhos, propalasse a opinião do microscópio, e esta fornecesse à parasitologia elementos para definitivas conclusões, bastou isso para que o problema brasileiro se visse, pela primeira vez, enfocado sob um feixe de luz rutilante. E instantaneamente vimo-la evoluir para o terreno da aplicação prática. E a idéia-força caminha avassaladoramente. Avassaladoramente e consoladora, porque o nosso dilema é este: ou doença ou incapacidade racial. É preferível optarmos pela doença.”
+Problema Vital. Monteiro Lobato, 1918
+José Teixeira. Mulher com bócio – Expedição Penna-Neiva, setembro de 1912. Goiás / Acervo Casa de Oswaldo Cruz
+ 
+As expedições científicas deixaram marcas profundas no pensamento de seus participantes e, posteriormente, influenciaram os intelectuais que tiveram acesso aos relatórios e às fotografias. Para Lobato, o diário da viagem Penna-Neiva foi um documento revelador dos reais problemas do país. Inclusive, a partir do texto repleto das imagens cruéis, Lobato e um dos personagens criados por ele, o Jeca Tatu, sofreriam uma metamorfose.
+O contato de Lobato com o diário provocou uma mudança de perspectiva do escritor a respeito do camponês. Quando surgiu o personagem, em 1914, em pequeno artigo jornalístico, o Jeca Tatu era um retrato pessimista do camponês do Vale do Paraíba. Naquela conjuntura, Lobato estava alinhado com o pensamento dominante na passagem do século XIX para o XX, adotando as teorias cientificistas para refletir a nacionalidade brasileira. Entre os primeiros anos do século, o determinismo biológico era hegemônico no Brasil.
+Em 1918, entretanto, Lobato assumiria outro ponto de vista. Certamente, um dos fatores que propiciaram a mudança está no encontro de Lobato com o diário e, especialmente, com os Instantâneos Cruéis. Seu diagnóstico do Brasil foi se alterando. Doravante, o saneamento das áreas rurais poderia transformar a realidade. Como o personagem Jeca se transformou?
+Nascido como alegoria do trabalhador rural, em artigo escrito em 1914, Jeca Tatu tornou-se sinônimo de homem do campo. Inclusive, através de sua narrativa, uma empresa de produtos farmacêuticos difundiu um tônico, propagando os seus valores terapêuticos, chegando a circular em milhões de exemplares do folheto Jeca Tatuzinho distribuído colado ao “fortificante”. A presença do símbolo do homem da roça em campanhas de educação higiênica, especialmente as direcionadas ao controle das endemias rurais, ajudou a popularizar os cuidados com a higiene individual e a saúde pública nas primeiras décadas do século.
+ 
+José Teixeira. Escola – Expedição Penna-Neiva. São Raimundo Nonato, PI / Acervo Casa de Oswaldo Cruz
+ 
+Caricatura do caipira brasileiro, o Jeca é um dos mais conhecidos personagens de nossa cultura. De caboclo preguiçoso e indolente à vítima da doença, a trajetória do matuto desenvolvido por Lobato está relacionada ao papel conferido às políticas de saúde pública e educação para o desenvolvimento econômico do país. Trata-se de uma das representações sociais da identidade nacional, em que se articula o retrato doente da sociedade, especialmente dos trabalhadores rurais, à regeneração do povo por meio da ação do Estado.
+Portanto, a série de artigos compilados em livro (1918) evidenciam uma mudança de perspectiva do caboclo brasileiro. Naquela altura de sua trajetória, Lobato estava influenciado pelo conjunto de teorias científicas surgidas na Europa. Criado como símbolo do camponês, Jeca Tatu estava ancorado no racismo científico ainda dominante. Para as idéias cientificistas, o clima, a localização geográfica e a raça determinavam a evolução e hierarquia das sociedades humanas.
+Lobato denunciava uma corrente de interpretação ufanista dos elementos culturais nacionais, atribuindo ao Jeca, espécie degenerada em sua origem mestiça indígena e portuguesa, e adaptada ao ambiente natural, a responsabilidade pelos problemas do universo rural. Esse primeiro Jeca era incapaz de participação no trabalho do mundo moderno.
+Contudo, o enfoque mudaria. Surgiria um segundo Jeca. E o diagnóstico seria outro. Se o determinismo biológico representava um problema grave, uma herança nociva, o saneamento poderia transformar cientificamente a realidade. No livro Problema Vital, encontramos um Lobato entusiasta da microbiologia e parasitologia.
+A primeira aparição do Jeca data de novembro de 1914, no texto Velha Praga (3), no qual Lobato se insurgia contra as queimadas de roça e descrevia o modo de vida dos camponeses. Nesta obra, aparecem os nomes de Manoel Peroba, Chico Marimbondo e Jeca Tatu.
+Porém, segue-se um novo artigo com o título de Urupês (4), onde Lobato fornece um panorama do sertanejo e seu modo de vida, em oposição a uma literatura que exaltava romanticamente o homem rural como um guerreiro imbatível. Para Lobato, então fazendeiro no interior paulista, a explicação para a apatia e a incapacidade produtiva do Jeca encontrava-se nas facilidades de sobrevivência proporcionadas pela mandioca, milho e cana: 
+“Pobre Jeca Tatu! Como és bonito no romance e feio na realidade! Da terra só quer a mandioca, o milho e a cana. A primeira, por ser um pão já amassado pela natureza. Basta arrancar uma raiz e deitá-la nas brasas. Não impõe colheita, nem exige celeiro. O vigor das raças humanas está na razão direta da hostilidade ambiente.”
+Urupês, Lobato(1914)
+ 
+José Teixeira. Fornecimento de água – Expedição Penna-Neiva, março de 1912 . Estrada de Ferro Bahia – São Francisco, BA / Acervo Casa de Oswaldo Cruz
+ 
+Em 1918, Lobato lançou o livro Urupês (5), reunindo contos, incluindo os artigos Velha Praga e Urupês. Nestas páginas militantes, Lobato critica o caboclo modorrento e o ufanismo que identificava o Brasil como um paraíso. No entanto, Lobato estava progressivamente participando da campanha pelo saneamento das áreas rurais. Ele estava em contato com os médicos Arthur Neiva, Belisário Penna, Renato Kehl e demais membros do movimento sanitarista. Assim, nascia um novo Jeca: o Jeca dos artigos reunidos em Problema Vital.
+Esse segundo Jeca padecia das mesmas enfermidades, mas após entrar em contato com a ciência médica, curava-se das moléstias que o levavam a ser apático; tornava-se trabalhador, enriquecia e transformava-se em exemplo para os vizinhos. Esta narrativa foi publicada com o título de Jeca Tatu. A Ressurreição. Conhecida como Jeca Tatuzinho, chegou a milhões de exemplares através do Almanaque de Produtos Farmacêuticos Fontoura.
+Mas, se a personagem mudava, o seu criador também mudaria. Em meados dos anos 40, surgiria um terceiro Jeca: o Zé Brasil. Este Jeca não era preguiçoso. Nem doente, mas um trabalhador explorado. A figura do caipira nacional aparecia pela terceira vez na literatura lobatiana. Neste momento, superando a intolerância em relação ao primeiro Jeca (Velha Praga e Urupês) e o paternalismo presente em relação ao segundo, o Jeca Tatuzinho. Como entendermos a mudança do primeiro para o segundo Jeca? Algumas respostas podem ser buscadas nos já citados artigos publicados em O Estado de S. Paulo e reunidos no Problema Vital, por decisão da Sociedade de Eugenia de São Paulo e da Liga Pró-Saneamento do Brasil.
+Se em Urupês e Velha Praga (1914) Lobato atribuía preponderância às teses raciais e climáticas para a pobreza, chegando a culpar o trabalhador do campo por sua condição, nos artigos redigidos quatro anos mais tarde, refletia sobre a questão nacional do saneamento. É através de uma explicação científica que Lobato, preocupado com a reprodução da força de trabalho improdutiva, mudaria a sua concepção do caipira. A ineficiência do Jeca não era devido à inferioridade racial, mas sim um problema sanitário. A epígrafe do livro Problema Vital traduz a ideia: O Jeca não é assim, está assim. O caboclo é pobre porque é doente e assim não produz. A mudança de concepção passava pela crença otimista de Lobato na ciência.
+De raça e clima, o problema que inviabilizava a construção da nação deslocou-se para a doença que passou a ser considerada a origem de todos os males. O Jeca permanecia incapaz, porém encontrava-se vitimado pelas doenças. No futuro, a ciência o absolveria da sua incapacidade. A educação o capacitaria para a vida e trabalho. A parasitologia, a bacteriologia e a microbiologia libertariam seu corpo dos agentes patogênicos. A higiene o protegeria dos micro-organismos.
+Lobato continuava a atacar a visão ufanista e romantizada do campo. Todavia, chamando a atenção para a realidade dos sertões e associando a verdadeira realidade com as fotos. Lobato usaria com frequência as representações metafóricas das imagens fotográficas.
+Contemporâneo do processo de modernização que pretendia transformar a sociedade brasileira nas primeiras décadas do século passado, Lobato lançou um olhar crítico sobre sua época. Constantemente, demonstrava crença no progresso e na ciência como verdade única e totalizante. As fotografias veiculadas no relatório causariam um grande impacto, ao revelarem um Brasil doente e pobre que vivia à margem da civilização que as cidades do litoral, em particular a capital da República, supunham personificar. Embora quase todas as fotos sejam fortes documentos das condições e modos de vidas das populações camponesas, até hoje, as imagens de doentes causam grande impacto.
+ 
+José Teixeira. Doentes – Expedição Penna-Neiva, setembro de 1912. Asilo de São Francisco de Paula, Goiás / Acervo Casa de Oswaldo Cruz
+ 
+“Nós, se fôramos poetas, escreveríamos um poema trágico com a descrição das misérias, das desgraças dos nossos infelizes sertanejos abandonados. A poesia das paisagens e dos panoramas ficaria apagada pela tragédia, pela desolação e pela miséria dos infelizes habitantes sertanejos, nossos patrícios. Aos nossos filhos, que aprendem nas escolas que a vida simples de nossos sertões é cheia de poesia e de encantos, pela saúde de seus habitantes, pela fartura do solo e generosidade da natureza, ficariam sabendo que nessas regiões se desdobra mais um quadro infernal, que só poderia ser mais magistralmente descrito pelo DANTE imortal.”
+Belisário Penna e Arthur Neiva.
+Viagem científica pelo norte da Bahia, sudoeste de Pernambuco, sul do Piauí e de norte a sul de Goiás, 1916.
+ 
+José Teixeira. Doente com bócio – Expedição Penna-Neiva, 1912. Santa Rita do Rio Preto, Bahia / Acervo Casa de Oswaldo Cruz
+ 
+ 
+Capa do folheto que acompanhava o Biotônico Fontoura
+ 
+ 
+*Ricardo Augusto dos Santos é Pesquisador Titular da Fundação Oswaldo Cruz
+ 
+Indicação Bibliográfica:
+ 
+DOS SANTOS, Ricardo Augusto. Lobato, os Jecas e a Questão Racial no Pensamento Social Brasileiro. Revista Achegas. Número 7, maio de 2003. http://www.achegas.net/numero/sete/ricardo_santos.htm
+DOS SANTOS, Ricardo Augusto. O Plano de Educação Higiênica de Belisário Penna: 1900-1930. Dynamis. 2012, vol. 32, n. 1, pp. 45-68.https://scielo.isciii.es/scielo.php?script=sci_arttext&pid=S0211-95362012000100003&lng=es&nrm=iso
+THIELEN,Eduardo Vilela; ALVES, Fernando Antonio Pires; BENCHIMOL, Jaime Larry;ALBUQUERQUE, Marli Brito de; DOS SANTOS, Ricardo Augusto; WELTMAN, Wanda Latmann. A ciência a caminho da roça: imagens das expedições científicas do Instituto Oswaldo Cruz ao interior do Brasil entre 1911 e 1913.  3ª edição. Rio de Janeiro: Editora Fiocruz, 2018.
+ 
+Notas da editora:
+(1) - Artigo O problema do saneamento – O início da ação, publicado no O Estado de São Paulo de 12 de maio de 1918, quando Monteiro Lobato usa a exxpressão instantâneos cruéis.
+ 
+
+ 
+(2) – Artigo Problema Vital, de Lima Barreto, sobre os livros Urupês e Problema Vital, publicado na Revista Contemporânea de 22 de fevereiro de 1919.
+ 
+Revista Contemporânea, 22 de fevereiro de 1919
+ 
+ 
+Primeira edição do livro Problema Vital, lançado em fins de 1918
+ 
+(3) O artigo Velha Praga, de autoria de Monteiro Lobato, foi publicado em 12 de novembro de 1914, no jornal O Estado de São Paulo, na página 3, quinta coluna. Pela primeira vez, Jeca Tatu foi citado.
+Velha Praga
+Andam todos em nossa terra por tal forma estonteados com as proezas infernais dos belacíssimos “vons” alemães, que não sobram olhos para enxergar males caseiros.
+Venha, pois, uma voz do sertão dizer às gentes da cidade que se lá fora o fogo da guerra lavra implacável, fogo não menos destruidor devasta nossas matas, com furor não menos germânico.
+Em agosto, por força do excessivo prolongamento do inverno, “von Fogo” lambeu montes e vales, sem um momento de tréguas, durante o mês inteiro.
+Vieram em começos de setembro chuvinhas de apagar poeira e, breve, novo “verão de sol” se estirou por outubro adentro, dando azo a que se torrasse tudo quanto escapara à sanha de agosto.
+A serra da Mantiqueira ardeu como ardem aldeias na Europa, e é hoje um cinzeiro imenso, entremeado aqui e acolá, de manchas de verdura – as restingas úmidas, as grotas frias, as nesgas salvas a tempo pela cautela dos aceiros. Tudo mais é crepe negro.
+À hora em que escrevemos, fins de outubro, chove. Mas que chuva caínha! Que miséria d’água! Enquanto caem do céu pingos homeopáticos, medidos a conta-gotas, o fogo, amortecido mas não dominado, amoita-se insidioso nas piúcas,a fumegar imperceptivelmente, pronto para rebentar em chamas mal se limpe  o céu e o sol lhe dê a mão.
+Preocupa à nossa gente civilizada o conhecer em quanto fica na Europa por dia, em francos e cêntimos, um soldado em guerra; mas ninguém cuida de calcular os prejuízos de toda sorte advindos de uma assombrosa queima destas. As velhas camadas de humus destruídas; os sais preciosos que, breve, as enxurradas deitarão fora, rio abaixo, via oceano; o rejuvenescimento florestal do solo paralizado e retrogradado; a destruição das aves silvestres e o possível advento de pragas insetiformes; a alteração para piora do clima com a agravação crescente das secas; os vedos e aramados perdidos; o gado morto ou depreciado pela falta de pastos; as cento e uma particularidades que dizem respeito a esta ou aquela zona e, dentro delas, a esta ou aquela “situação” agrícola.
+Isto, bem somado, daria algarismos de apavorar; infelizmente no Brasil subtrai-se; somar ninguém soma…
+É peculiar de agosto, e típica, esta desastrosa queima de matas; nunca, porém, assumiu tamanha violência, nem alcançou tal extensão, como neste tortíssimo 1914 que, benza-o Deus, parece aparentado de perto com o célebre ano 1000 de macabra memória. Tudo nele culmina, vai logo às do cabo, sem conta nem medida. As queimas não fugiram à regra.
+Razão sobeja para, desta feita, encarnarmos a sério o problema. Do contrário a Mantiqueira será em pouco tempo toda um sapezeiro sem fim, erisipelado de samambaias – esses dois términos à uberdade das terras montanhosas.
+Qual a causa da renitente calamidade?
+E mister um rodeio para chegar lá.
+A nossa montanha é vítima de um parasita, um piolho da terra, peculiar ao solo brasileiro como o “Argas” o é aos galinheiros ou o “Sarcoptes mutans” à perna das aves domésticas. Poderíamos, analogicamente, classificá-lo entre as variedades do “Porrigo decalvans”, o parasita do couro cabeludo produtor da “pelada”, pois que onde ele assiste se vai despojando a terra de sua coma vegetal até cair em morna decrepitude, núa e descalvada. Em quatro anos, a mais ubertosa região se despe dos jequitibás magníficos e das perobeiras milenárias – seu orgulho e grandeza, para, em achincalhe crescente, cair em capoeira, passar desta à humildade da vassourinha e, descendo sempre, encruar definitivamente na desdita do sapezeiro – sua tortura e vergonha.
+Este funesto parasita da terra é o CABOCLO, espécie de homem baldio, semi-nômade, inadaptável à civilização, mas que vive à beira dela na penumbra das zonas fronteiriças. À medida que o progresso vem chegando com a via férrea, o italiano, o arado, a valorização da propriedade, vai ele refugindo em silêncio, com o seu cachorro, o seu pilão, a picapau] e o isqueiro, de modo a sempre conservar-se fronteiriço, mudo e sorna. Encoscorado numa rotina de pedra, recua para não adaptar-se.
+É de vê-lo surgir a um sítio novo para nele armar a sua arapuca de “agregado; nômade por força de vago atavismos, não se liga à terra, como o campônio europeu “agrega-se”, tal qual o “sarcopte”, pelo tempo necessário à completa sucção da seiva convizinha; feito o que, salta para diante com a mesma bagagem com que ali chegou.
+Vem de um sapezeiro para criar outro. Coexistem em íntima simbiose: sapé e caboclo são vidas associadas. Este inventou aquele e lhe dilata os domínios; em troca o sapé lhe cobre a choça e lhe fornece fachos para queimar a colméia das pobres abelhas.
+Chegam silenciosamente, ele e a “sarcopta” fêmea, esta com um filhote no útero, outro ao peito, outro de sete anos à ourela da saia – este já de pitinho na boca e faca à cinta. Completam o rancho um cachorro sarnento – Brinquinho, a foice, a enxada, a picapau, o pilãozinho de sal, a panela de barro, um santo encardido, três galinhas pévas e um galo índio. Com estes simpes ingredientes, o fazedor de sapezeiros perpetua a espécie e a obra de esterilização iniciada com os remotíssimos avós.
+Acampam.
+Em três dias uma choça, que por eufemismo chamam casa, brota da terra como um urupê. Tiram tudo do lugar, os esteios, os caibros, as ripas, os barrotes, o cipó que os liga, o barro das paredes e a palha do teto. Tão íntima é a comunhão dessas palhoças com a terra local, que dariam idéia de coisa nascida do chão por obra espontânea da natureza – se a natureza fosse capaz de criar coisas tão feias.
+Barreada a casa, pendurado o santo, está lavrada a sentença de morte daquela paragem.
+Começam as requisições. Com a picapau o caboclo limpa a floresta das aves incautas. Pólvora e chumbo adquire-os vendendo palmitos no povoado vizinho. É este um traço curioso da vida do caboclo e explica o seu largo dispêndio de pólvora; quando o palmito escasseia, raream os tiros, só a caça grande merecendo sua carga de chumbo; se o palmital se extingue, exultam as pacas: está encerrada a estação venatória.
+Depois ataca a floresta. Roça e derruba, não perdoando ao mais belo pau. Árvores diante de cuja majestosa beleza Ruskin choraria de comoção, ele as derriba, impassível, para extrair um mel-de-pau escondido num ôco.
+Pronto o roçado, e chegado o tempo da queima, entra em funções o isqueiro. Mas aqui o “sarcopte” se faz raposa. Como não ignora que a lei impõe aos roçados um aceiro de dimensões suficientes à circunscrição do fogo, urde traças para iludir a lei, cocando dest’arte a insigne preguiça e a velha malignidade.
+Cisma o caboclo à porta da cabana.
+Cisma, de fato, não devaneios líricos, mas jeitos de transgredir as posturas com a responsabilidade a salvo. E consegue-o. Arranja sempre um álibi demonstrativo de que não esteve lá no dia do fogo.
+Onze horas.
+O sol quase a pino queima como chama. Um “sarcopte” anda por ali, ressabiado. Minutos após crepita a labareda inicial, medrosa, numa touça mais seca; oscila incerta; ondeia ao vento; mas logo encorpa, cresce, avulta, tumultua infrene e, senhora do campo, estruge fragorosa com infernal violência, devorando as tranqueiras, estorricando as mais altas frondes, despejando para o céu golfões de fumo estrelejado de faíscas.
+É o fogo-de-mato!
+E como não o detém nenhum aceiro, esse fogo invade a floresta e caminha por ela a dentro, ora frouxo, nas capetingas  ralas, ora maciço, aos estouros, nas moitas de taquaruçú; caminha sem tréguas, moroso e tíbio quando a noite fecha, insolente se o sol o ajuda.
+E vai galgando montes em arrancadas furiosas, ou descendo encostas a passo lento e traiçoeiro até que o detenha a barragem natural dum rio, estrada ou grota noruega.
+Barrado, inflete para os flancos, ladeia o obstáculo, deixa-o para trás, esgueira-se para os lados – e lá continua o abrasamento implacável. Amordaçado por uma chuva repentina, alapa-se nas piúcas, quieto e invisível,  para no dia seguinte, ao esquentar do sol, prosseguir na faina carbonizante.
+Quem foi o incendiário? Donde partiu o fogo?
+Indaga-se, descobre-se o Nero: é um urumbeva qualquer, de barba rala, amoitado num litro de terra litigiosa.
+E agora? Que fazer? Processá-lo?
+Não há recurso legal contra ele. A única pena possível, barata, fácil e já estabelecida como praxe, é “tocá-lo”.
+Curioso este preceito: “ao caboclo, toca-se”.
+Toca-se, como se toca um cachorro importuno, ou uma galinha que vareja pela sala. E tão afeito anda ele a isso, que é comum ouví-lo dizer: “Se eu fizer tal coisa o senhor não me toca?”
+Justiça sumária – que não pune, entretanto, dado o nomadismo do paciente.
+Enquanto a mata arde, o caboclo regala-se.
+-       Êta fogo bonito!
+No vazio de sua vida semi-selvagem, em que os incidentes são um jacú abatido, uma paca fisgada n’água ou o filho novimensal, a queimada é o grande espetáculo do ano, supremo regalo dos olhos e dos ouvidos.
+Entrado setembro, começo das “águas”, o caboclo planta na terra em cinzas um bocado de milho, feijão e arroz; mas o valor da sua produção é nenhum diante dos males que para preparar uma quarta de chão ele semeou.
+O caboclo é uma quantidade negativa. Tala cincoenta alqueires de terra para extrair deles o com que passar fome e frio durante o ano. Calcula as sementeiras pelo máximo da sua resistência às privações. Nem mais, nem menos. “Dando para passar fome”, sem virem a morrer disso, ele, a mulher e o cachorro – está tudo muito bem; assim fez o pai, o avô; assim fará a prole empanzinada que naquele momento brinca nua no terreiro.
+Quando se exaure a terra, o agregado muda de sítio. No lugar fica a tapera e o sapezeiro. Um ano que passe e só este atestará a sua estada ali; o mais se apaga como por encanto. A terra reabsorve os frágeis materiais da choça e, como nem sequer uma laranjeira ele plantou, nada mais lembra a passagem por ali do Manoel Peroba, do Chico Marimbondo, do Jéca Tatú ou outros sons ignaros, de dolorosa memória para a natureza circunvizinha.
+ 
+(4) – O artigo Urupês, que deu nome ao livro de contos lançado em 1918, foi publicado no jornal O Estado de São Paulo, de 23 de dezembro de 1914, na página 6, quinta coluna.
+Urupês
+Esboroou-se o balsâmico indianismo de Alencar ao advento dos Rondons que, ao invés de imaginarem índios num gabinete, com reminiscências de Chateaubriand na cabeça e a Iracema aberta sobre os joelhos, metem-se a palmilhar sertões de Winchester em punho.
+Morreu Peri, incomparável idealização dum homem natural como o sonhava Rousseau, protótipo de tantas perfeições humanas que no romance, ombro a ombro com altos tipos civilizados, a todos sobrelevava em beleza d’alma e corpo.
+Contrapôs-lhe a cruel etnologia dos sertanistas modernos um selvagem real, feio e brutesco, anguloso e desinteressante, tão incapaz, muscularmente, de arrancar uma palmeira, como incapaz, moralmente, de amar Ceci.
+Por felicidade nossa – a de D. Antonio de Mariz – não os viu Alencar; sonhou-os qual Rousseau. Do contrário lá teríamos o filho de Arará a moquear a linda menina num bom braseiro de pau brasil, em vez de acompanhá-la em adoração pelas selvas, como o Ariel benfazejo do Paquequer.
+A sedução do imaginoso romancista criou forte corrente. Todo o clã plumitivo deu de forjar seu indiozinho refegado de Peri e Atala. Em sonetos, contos e novelas, hoje esquecidos, consumiram-se tabas inteiras de aimorés sanhudos, com virtudes romanas por dentro e penas de tucano por fora.
+Vindo o público a bocejar de farto, já céptico ante o crescente desmantelo do ideal, cessou no mercado literário a procura de bugres homéricos, inúbias, tacapes, borés, piágas e virgens bronzeadas. Armas e heróis desandaram cabisbaixos, rumo ao porão onde se guardam os móveis fora de uso, saudoso museu de extintas pilhas elétricas que a seu tempo galvanizaram nervos. E lá acamam poeira cochichando reminiscências com a barba de D. João de Castro, com os frankisks de Herculano, com os frades de Garrett e que tais…
+Não morreu, todavia.
+Evoluiu.
+O indianismo está de novo a deitar copa, de nome mudado. Crismou-se de “caboclismo”. O cocar de penas de arara passou a chapéu de palha rebatido à testa; o ocara virou rancho de sapé; o tacape afilou, criou gatilho, deitou ouvido e é hoje espingarda troxadal o boré descaiu lamentavelmente para pio de inambu; a tanga ascendeu a camisa aberta ao peito.
+Mas o substrato psíquico não mudou: orgulho indomável, independência, fidalguia, coragem, virilidade heróica, todo o recheio em suma, sem faltar uma azeitona, dos Perís e Ubirajaras.
+Estes setembrino rebrotar duma arte morta inda se não desbagoou de todos os frutos. Terá o seu “I Juca Pirama”, o seu “Canto do Piaga” e talvez dê ópera lírica.
+Mas, completado o ciclo, virão destroçar o inverno em flor da ilusão indianista os prosaicos demolidores de ídolos – gente má e sem poesia. Irão os malvados esgaravatar o ícone com as curetas da ciência. E que feias se hão de entrever as caipirinhas cor de jambo de Fagundes Varela! E que chambões e sornas os Peris de calça, camisa e faca à cinta!
+Isso, para o futuro. Hoje ainda há perigo em bulir no vespeiro: o caboclo é o “Ai Jesus!” nacional.
+É de ver o orgulhoso entono com que respeitáveis figurões batem no peito exclamando com altivez: sou raça de caboclo!
+Anos atrás o orgulho estava numa ascendência de tanga, inçada de penas de tucano, com dramas íntimos e flechaços de curare.
+Dia virá em que os veremos, murchos de prosápia, confessar o verdadeiro avô: – um dos quatrocentos de Gedeão trazidos por Tomé de Souza¹ num barco daqueles tempos, nosso mui nobre e fecundo “Mayflower”.
+Porque a verdade nua manda dizer que entre as raças de variado matiz, formadoras da nacionalidade e metidas entre o estrangeiro recente e o aborígene de tabuinha no beiço, uma existe a vegetar de cócoras, incapaz de evolução, impenetrável ao progresso. Feia e sorna, nada a põe de pé.
+Quando Pedro I lança aos ecos o seu grito histórico e o país desperta estrouvinhado à crise duma mudança de dono, o caboclo ergue-se, espia e acocora-se de novo.
+Pelo 13 de Maio, mal esvoaça o florido decreto da Princesa e o negro exausto larga num uf! o cabo da enxada, o caboclo olha, coça a cabeça, ‘magina e deixa que do velho mundo venha quem nele pegue de novo.
+A 15 de Novembro troca-se um trono vitalício pela cadeira quadrienal. O país bestifíca-se ante o inopinado da mudança.² O caboclo não dá pela coisa.
+Vem Florianol estouram as granadas de Custódiol Gumercidndo bate às portas de Roimal Incitatus derranca o país.³ O caboclo continua de cócoras, a modorrar…
+Nada o esperta. Nenhuma ferrotoada o põe de pé. Social, como individualmente, em todos os atos da vida, Jéca, antes de agir, acocora-se.
+Jéca Tatu é um piraquara do Paraíba, maravilhoso epítome de carne onde se resumem todas as características da espécie.
+Hei-lo que vem falar ao patrão. Entrou, saudou. Seu primeiro movimento após prender entre os lábios a palha de milho, sacar o rolete de fumo e disparar a cusparada d’esguicho, é sentar-se jeitosamente sobre os calcanhares. Só então destrava a língua e a inteligência.
+– “Não vê que…
+De pé ou sentado as idéias se lhe entramam, a língua emperra e não há de dizer coisa com coisa.
+De noite, na choça de palha, acocora-se em frente ao fogo para “aquentá-lo”, imitado da mulher e da prole.
+Para comer, negociar uma barganha, ingerir um café, tostas um cabo de foice, fazê-lo noutra posição será desastre infalível. Há de ser de cócoras.
+Nos mercados, para onde leva a quitanda domingueira, é de cócoras, como um faquir do Bramaputra, que vigia os cachinhos de brejaúva ou o feixe de três palmitos.
+Pobre J’[eca Tatu! Como és bonito no romance e feio na realidade!
+Jéca mercador, Jéca lavrador, Jéca fisólofo…
+Quando comparece às feiras, todo mundo logo advinha o que ele traz: sempre coisas que a natureza derrama pelo mato e ao homem só custa o gesto de espichar a mão e colher – cocos de tucum ou jissara, guabirobas, bacuparis, maracujás, jataís, pinhões, orquídeas ou artefatos de taquara-poca – peneiras, cestinhas, samburás, tipitis, pios de caçador ou utensílios de madeira mole – gamelas, pilõesinhos, colheres de pau.
+Nada Mais.
+Seu grande cuidado é espremer todas as conseqüências da lei do menor esforço – e nisto vai longo.
+Começa na morada. Sua casa de sapé e lama faz sorrir aos bichos que moram em toca e gargalhar ao joão-de-barro. Pura biboca de bosquimano. Mobília, nenhuma. A cama é uma espipada esteira de peri posta sobre o chão batido.
+Às vezes se dá ao luxo de um banquinho de três pernas – para hospedes. Três pernas permitem equilíbrio inútil, portanto, meter a Quarta, o que ainda o obrigaria a nivelar o chão. Para que assentos, se a natureza os dotou de sólidos, rachados calcanhares sobre os quais se sentam?
+Nenhum talher. Não é a munheca um talher completo – colher, garfo e faca a um tempo?
+No mais, umas cuias, gamelinhas, um pote esbeiçado, a pichorra e a panela de feijão.
+Nada de armários ou baús. A roupa, guarda-a no corpo. Só tem dois parelhosl um que traz no uso e outro na lavagem.
+Os mantimentos apaióla nos cantos da casa.
+Inventou um cipó preso à cumieira, de gancho na ponta e um disco de lata no alto, alí pendura o toucinho, a salvo dos gatos e ratos.
+Da parede pende a espingarda picapau, o polvarinho de chifre, o S. Benedito defumado, o rabo de tatu e as palmas bentas de queimar durante as fortes trovoadas. Servem de gaveta os buracos da parede.
+Seus remotos avós não gozaram maiores comodidades. Seus netos não meterão Quarta perna ao banco. Para que? Vive-se bem sem isso.
+Se pelotas de barro caem, abrindo seteiras na parede, Jéca não se move a repô-las. Ficam pelo resto da vida os buracos abertos, a entremostrarem nesgas de céu.
+Quando a palha do teto, apodrecida, greta em fendas por onde pinga a chuva, Jéca, em vez de remendar a tortura, limita-se, cada vez que chove, a aparar numa gamelinha a água gotejante…
+Remendo… Para que? Se uma casa dura dez anos e faltam “apenas ” nove para que ele abandone aquela? Esta filosofia economiza reparos.
+Na mansão de Jéca a parede dos fundos bojou para fora um ventre empanzinado, ameaçando ruir; os barrotes, cortados pela umidade, oscilam na podriqueira do baldrame. Afim de neutralizar o desaprumo e prevenir suas conseqüências, ele grudou na parede uma Nossa Senhora enquadrada em moldurinha amarela – santo de mascate.
+– “Por que não remenda essa parede, homem de Deus?
+– “Ela não tem coragem de cair. Não vê a escora?
+Não obstante, “por via das dúvidas” , quando ronca a trovoada Jéca abandona a toca e vai agachar-se no ôco dum velho embirussu do quintal – para se saborear de longe com a eficácia da escora santa.
+Um pedaço de pau dispensaria o milagre! mas entre pendurar o santo e tomar da foice, subir ao morro, cortar a madeira, atorá-la, baldeá-la e especar a parede, o sacerdote da Grande lei do Menor Esforço não vacila. É coerente.
+Um terreirinho descalvado rodeia a casa. O mato o beira. Nem árvores frutíferas, nem horta, nem flores – nada revelador de permanência.
+Há mil razões para isso; porque não é sua a terral porque se o “tocarem” não ficará nada que a outrem aproveite; porque para frutas há o mato; porque a “criação” come; porque…
+– “Mas, criatura, com um vedozinho por ali… A madeira está à mão, o cipó é tanto…”
+Jéca, interpelado, olha para o morro coberto de moirões, olha para o terreiro nu, coça a cabeça e cuspilha.
+– “Não paga a pena”.
+Todo o inconsciente filosofar do caboclo grulha nessa palavra atravessada de fatalismo e modorra. Nada paga a pena. Nem culturas, nem comodidades. De qualquer jeito se vive.
+Da terra só quer a mandioca, o milho e a cana. A primeira, por ser um pão já amassado pela natureza. Basta arrancar uma raiz e deitá-la nas brasas. Não impõe colheita, nem exige celeiro. O plantio se faz com um palmo de rama fincada em qualquer chão. Não pede cuidados. Não a ataca a formiga. A mandioca é sem vergonha.
+Bem ponderado, a causa principal da lombeira do caboclo reside nas benemerências sem conta da mandioca. Talvez que sem ela se pusesse de pé e andasse. Mas enquanto dispuser de um pão cujo preparo se resume no plantar, colher e lançar sobre brasas, Jéca não mudará de vida. O vigor das raças humanas está na razão direta da hostilidade ambiente. Se a poder de estacas e diques o holandês extraiu de um brejo salgado a Holanda, essa jóia do esforço, é que ali nada o favorecia. Se a Inglaterra brotou das ilhas nevoentas da Caledônia, é que lá não medrava a mandioca. Medrasse, e talvez os víssemos hoje, os ingleses, tolhiços, de pé no chão, amarelentos, mariscando de peneira no Tamisa. Há bens que vêm para males. A mandioca ilustra este avesso de provérbio.
+Outro precioso auxiliar da calaçaria é a cana. Dá rapadura, e para Jéca, simplificador da vida, dá garapa. Como não possui moenda, torce a pulso sobre a cuia de café um rolete, depois de bem massetados os nós; açucara assim a beberagem, fugindo aos trâmites condutores do caldo de cana à rapadura.
+Todavia, est modus in rebus. E assim como ao lado do restolho cresce o bom pé de milho, contrasta com a cristianíssima simplicidade do Jéca a opulência de um seu vizinho e compadre que “está muito bem.” A terra onde mora é sua. Possui ainda uma égua, monjolo e espingarda de dois canos. Pesa nos destinos políticos do país com o seu voto e nos econômicos com o polvilho azedo de que é fabricante, tendo amealhado com ambos, voto e polvilho, para mais de quinhentos mil réis no fundo da arca.
+Vive num corrupio de barganhas nas quais exercita uma astúcia nativa muito irmã da de Bertoldo. A esperteza última foi a barganha de um cavalo cego por uma égua de passo picado. Verdade é que a égua mancava das mãos, mas ainda assim valia dez mil réis mais do que o rossinante zanaga.
+Esta e outras celebrizaram-lhe os engrimanços potreiros num raio de mil braças, grangeando-lhe a incondicional e babosa admiração do Jéca, para quem, fino como o compadre, “home” … nem mesmo o vigário de Itaóca!.
+Aos domingos vai à vila bifurcado na magreza ventruda da Serena; leva apenso à garupa um filho e atrás o potrinho no trote, mais a mulher, com a criança nova enrolada no chale. Fecha o cortejo o indefectível Brinquinho, a resfolgar com um palmo de língua de fora.
+O fato mais importante de sua vida é sem dúvida votar no governo. Tira nesse dia da arca a roupa preta do casamento, sarjão furadinho de traça e todo vincado de dobras, entala os pés num alentado sapatão de bezerro; ata ao pescoço um colarinho de bico e, sem gravata, ringindo e mancando, vai pegar o diploma de eleitor às mãos do chefe Coisada, que lho retém para maior garantia da fidelidade partidária.
+Vota. Não sabe em quam, mas vota. Esfrega a pena no livro eleitoral, arabescando o aranhol de gatafunhos a que chama “sua graça”.
+Se há tumulto, chuchurrea de pé firme, com heroísmo, as porretadas oposicionistas, e ao cabo segue para a casa do chefe, de galo cívico na testa e colarinho sungado para trás, afim de novamente lhe depor nas mão o “diploma”.
+Grato e sorridente, o morubixaba galardoa-lhe o heroísmo, flagrantemente documentado pelo latejar do couro cabeludo, com um aperto de munheca e a promessa, para logo, duma inspetoria de quarteirão.
+Representa este freguês o tipo clássico do sitiante já com um pé fora da classe. Exceção, díscolo que é, não vem ao caso. Aqui tratamos da regra e a regra é Jéca Tatu.
+O mobiliário cerebral de Jéca, à parte o suculento recheio de superstições, vale o do casebre. O banquinho de três pés, as cuias, o gancho de toucinho, as gamelas, tudo se reedita dentro de seus miolos sob a forma de idéias: são as noções práticas da vida, que recebeu do pai e sem mudança transmitirá aos filhos.
+O sentimento de pátria lhe é desconhecido. Não tem sequer a noção do país em que vive. Sabe que o mundo é grande, que há sempre terras para diante, que muito longe está a Corte com os graúdos e mais distante ainda a Bahia, donde vêm baianos pernósticos e cocos.
+Perguntem ao Jéca quem é o presidente da República.
+– “O homem que manda em nós tudo?
+– “Sim.
+– “Pois de certo que há de ser o imperador.
+Em matéria de civismo não sobe de ponto.
+– “Guerra? T’esconjuro! Meu pai viveu afundado no mato p’ra mais de cinco anos por causa da guerra grande. (4) Eu, para escapar do “reculutamento”, sou inté capaz de cortar um dedo, como o meu tio Lourenço…
+Guerra, defesa nacional, ação administrativa, tudo quanto cheira a governo resume-se para o caboclo numa palavra apavorante – “reculutamento”.
+Quando em princípios da Presidência Hermes andou na balha um recenseamento esquecido a Offenbach, o caboclo tremeu e entrou a casar em massa. Aquilo “havera de ser reculutamento”, e os casados, na voz corrente, escapavam à redada.
+A sua medicina corre parelhas com o civismo e a mobília – em qualidade. Quantitativamente, assombra. Da noite cerebral pirilampejam-lhe apozemas, cerotos, arrobes e eletuários escapos à sagacidade cômica de Mark Twain. Compendia-os um Chernoviz não escrito, monumento de galhofa onde não há rir, lúgubre como é o epílogo. A rede na qual dois homens levam à cova as vítimas de semelhante farmacopéia é o espetáculo mais triste da roça.
+Quem aplica as mezinhas é o “curador”, um Eusébio Macário de pé no chão e cérebro trancado como muita de taquaruçu. O veículo usual das drogas é sempre a pinga – meio honesto de render homenagem à deusa Cachaça, divindade que entre eles ainda não encontrou heréticos.
+Doenças hajam que remédios não faltam.
+Para bronquite, é um porrete cuspir o doente na boca de um peixe vivo e soltá-lo: o mal se vai com o peixe água abaixo…
+Para “quebranto de ossos”, já não é tão simples a medicação. Tomam-se três contas de rosário, três galhos de alecrim, três limas de bico, três iscas de palma benta, três raminhos de arruda, três ovos de pata preta (com casca; sem casca desanda) e um saquinho de picumã! mete-se tudo numa gamela d’água e banha-se naquilo o doente, fazendo-o tragar três goles da zurrapa. É infalível.
+O específico da brotoeja consiste em cozimento de beiço de pote para lavagens. Ainda há aqui um pormenor de monta; é preciso que antes do banho a mãe do doente molhe na água a ponta de sua trança. As brotoejas saram como por encanto.
+Para dor de peito que “responde na cacunda”, cataplasma de “jasmim de cachorro” é um porrete.
+Além desta alopatia, para a qual contribui tudo quanto de mais repugnante e inócuo existe na natureza, há a medicação simpática, baseada na influição misteriosa de objetos, palavras e atos sobre o corpo humano.
+O ritual bizantino dentro de cujas maranhas os filhos do Jéca vêm ao mundo, e do qual não há fugir sob pena de gravíssimas conseqüências futuras, daria um in-fólio d’alto fôlego ao Sílvio Romero bastante operoso que se propusesse a compendiá-lo.
+Num parto difícil nada tão eficaz como engolir três caroços de feijão mouro, de passo que a parturiente veste pelo avesso a camisa do marido e põe na cabeça, também pelo avesso, o seu chapéu. Falhando esta simpatia, há um derradeiro recurso: colar no ventre encruado a imagem de S. Benedito.
+Nesses momentos angustiosos outra mulher não penetre no recinto sem primeiro defumar-se ao fogo, nem traga na mão caça ou peixe. A criança morreria pagã. A omissão de qualquer destes preceitos fará chover mil desgraças na cabeça do chorincas recém- nascido.
+A posse de certos objetos confere dotes sobrenaturais. A invulnerabilidade às facadas ou cargas de chumbo é obtida graças à flor da samambaia.
+Esta planta, conta Jéca, só floresce uma vez por ano, e só produz em cada samambaial uma flor. Isto à meia noite, no dia de S. Bartolomeu. É preciso ser muito esperto para colhe-la, porque também o diabo anda à cata. Quem consegue pegar uma, ouve logo um estouro e tonteia ao cheiro de enxofre – mas livra-se de faca e chumbo pelo resto da vida.
+Todos os volumes do Larousse não bastariam para catalogar-lhes as crendices, e como não há linhas divisórias entre estas e a religião, confundem-se ambas em maranhada teia, não havendo distinguir onde pára uma e começa outra.
+A idéia de Deus e dos santos torna-se jéco-cêntrica. São os santos os graúdos lá de cima, os coronéis celestes, debruçados no azul para espreitar-lhes a vidinha e intervir nela ajudando-os ou castigando-os, como os metediços deuses de Homero. Uma torcedura de pé, um estrepe, o feijão entornado, o pote que rachou, o bicho que arruinou – tudo diabruras da corte celeste, para castigo de más intenções ou atos.
+Daí o fatalismo. Se tudo movem cordéis lá de cima, para que lutar, reagir? Deus quis. A maior catástrofe é recebida com esta exclamação, muito parenta do “Allah Kébir” do beduíno.
+E na arte?
+Nada.
+A arte rústica do campônio europeu é opulenta a ponto de constituir preciosa fonte de sugestões para os artistas de escol. Em nenhum país o povo vive sem a ela recorrer para um ingênuo embelezamento da vida. Já não se fala no camponês italiano ou teutônico, filho de alfobres mimosos, propícios a todas as florações estéticas. Mas o russo, o hirsuto mujique a meio atolado em barbarie crassa. Os vestuários nacionais da Ucrânia nos quais a cor viva e o sarapantado da ornamentação indicam a ingenuidade do primitivo, os isbas da Lituânia, sua cerâmica, os bordados, os móveis, os utensílios de cozinha, tudo revela no mais rude dos campônios o sentimento da arte.
+No samoieda, no pele-vermelha, no abexim, no Papua, un arabesco ingênuo costuma ornar-lhes as armas – como lhes ornam a vida canções repassadas de ritmos sugestivos.
+Que nada é isso, sabido como já o homem pré-histórico, companheiro do urso das cavernas, entalhava perfis de mamutes em chifres de rena.
+Egresso à regra, não denuncia o nosso caboclo o mais remoto traço de um sentimento nascido com o troglodita.
+Esmerilhemos o seu casebre: que é que ali denota a existência do mais vago senso estético? Uma chumbada no cabo do relho e uns ziguezagues a canivete ou fogo pelo roliço do porretinho de guatambú. É tudo.
+Às vezes surge numa família um gênio musical cuja fama esvoaça pelas redondezas. Ei-lo na viola concentra-se, tosse, cuspilha o pigarro, fere as cordase “tempera” , E fica nisso, no tempero.
+Dirão: e a modinha?
+A modinha, como as demais manifestações de arte popular existentes no país, é obra do mulato, em cujas veias o sangue recente do europeu, rico de atavismos estéticos, borbulha d’envolta com o sangue selvagem, alegre e são do negro.
+O caboclo é soturno.
+Não canta senão rezas lúgubres.
+Não dança senão o cateretê aladainhado.
+Não esculpe o cabo da faca, como o cabila.
+Não compõe sua canção, como o felá do Egito.
+No meio da natureza brasílica, tão rica de formas e cores, onde os ipês floridos derramam feitiços no ambiente e a infolhescência dos cedros, às primeiras chuvas de setembro, abre a dança dos tangarás; onde há abelhas de sol, esmeraldas vivas, cigarras, sabiás, luz, cor, perfume, vida dionisíaca em escachôo permanente, o caboclo é o sombrio urupê de pau podre a modorrar silencioso no recesso das grotas.
+Só ele não fala, não canta, não ri, não ama.
+Só ele, no meio da tanta vida, não vive…
+(5) O livro Urupês foi lançado em 1918 (Vida Moderna, 11 de julho de 1918; O Paiz, 14 de agosto de 1918, terceira coluna). No mesmo ano foi lançada uma segunda edição (Fon-Fon, 21 de setembro de 1918).
+ 
+Capa da primeira edição do livro Urupês, de Monteiro Lobato, com ilustração de José Wasth Rodrigues (1891 – 1957)
+ 
+A Rua, 13 de julho de 1918
+ 
+
+Fon-Fon, 7 de setembro de 1918
+ 
+Reunia os artigos Velha Praga e Urupês, ambos, como já mencionado, publicados no O Estado de São Paulo, em 1914, além de mais 12 contos, escritos entre 1915 e 1917: O estigma, Bocatorta, O mata-pau, Bucólica, Meu conto de Maupassant, A colcha de retalhos, Pollice Verso, O engraçado arrependido, Um suplício moderno, O comprador de fazendas, Os faroleiros e A Vingança da Peroba. A maior parte dos contos já havia sido publicado na Revista do Brasil, lançada em janeiro de 1916 e adquirida por Lobato em junho de 1918.
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora da Brasiliana Fotográfica
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/5094` — `itens/20.500.12156.1_5094/`
+- `20.500.12156.1/6122` — `itens/20.500.12156.1_6122/`
+- `20.500.12156.1/6515` — `itens/20.500.12156.1_6515/`
+- `20.500.12156.1/5102` — `itens/20.500.12156.1_5102/`
+- `20.500.12156.1/5096` — `itens/20.500.12156.1_5096/`
+- `20.500.12156.1/10268` — `itens/20.500.12156.1_10268/`
+- `20.500.12156.1/6124` — `itens/20.500.12156.1_6124/`
+- `20.500.12156.1/6126` — `itens/20.500.12156.1_6126/`
+- `20.500.12156.1/9335` — `itens/20.500.12156.1_9335/`
+- `20.500.12156.1/10267` — `itens/20.500.12156.1_10267/`
+
diff --git a/wordpress/26300-serie-exposicoes-ix-a-exposicao-internacional-de-higiene-de-dresden-na-alemanha-.md b/wordpress/26300-serie-exposicoes-ix-a-exposicao-internacional-de-higiene-de-dresden-na-alemanha-.md
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@@ -0,0 +1,117 @@
+---
+id: 26300
+url: "https://brasilianafotografica.bn.gov.br/?p=26300"
+titulo: "Série “Exposições” IX – A Exposição Internacional de Higiene de Dresden, na Alemanha, em 1911"
+autor: "Andrea Wanderley"
+data: "2022-01-05T12:08:43+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/10273", "20.500.12156.1/10261", "20.500.12156.1/5493", "20.500.12156.1/10270", "20.500.12156.1/10262", "20.500.12156.1/10264", "20.500.12156.1/10260", "20.500.12156.1/10263"]
+fetched_at: "2026-09-10T10:09:07.017Z"
+---
+
+# Série “Exposições” IX – A Exposição Internacional de Higiene de Dresden, na Alemanha, em 1911
+
+A Brasiliana Fotográfica inaugura 2022 com um artigo sobre a participação do Brasil na Exposição Internacional de Higiene de Dresden, em 1911, no qual foi o único país das Américas a ter um pavilhão. O Instituto Oswaldo Cruz, o Instituto Butantã e o Instituto Vacinogênico de São Paulo participaram do evento. O pavilhão brasileiro foi projetado por Luiz Moraes Junior (1872 – 1955), responsável pela construção do castelo de Manguinhos, prédio principal da Fiocruz, em estilo mourisco. Cristiane d´Avila, jornalista do Departamento de Arquivo e Documentação Casa de Oswaldo Cruz/Fiocruz, uma das instituições parceiras da Brasiliana Fotográfica, nos conta um pouco desta história. Não deixem de ver o filme Cinematógrafo brasileiro em Dresden, cujo link está no final do artigo!
+ 
+ 
+A Exposição Internacional de Higiene de Dresden 
+Cristiane d´Avila*
+Pavilhão Brasileiro da Exposição Internacional de Higiene de Dresden, 1911. Dresden, Alemanha / Acervo Casa de Oswaldo Cruz
+ 
+Sala repleta, público de pé, palmas ao final da sessão. Na tela do cinematógrafo, imagens das ações de combate à febre amarela no Rio de Janeiro e do médico Carlos Chagas em Lassance, Minas Gerais, onde pesquisava a doença que levaria seu nome. Era o ano de 1911, e um longínquo país chamado Brasil, como também os achados de seus cientistas, causavam espanto e admiração em mulheres, homens e crianças que visitavam a Exposição Internacional de Higiene de Dresden, Alemanha. Organizado para celebrar o progresso e a modernidade ocidental, o evento temático representava a oportunidade de os participantes exibirem produtos, pesquisas e inovações para um público diverso e ampliado.
+ 
+Pavilhão brasileiro na Exposição Internacional de Higiene de Dresden, 1911 – Sala dedicada à Doença de Chagas. Dresden, Alemanha / Acervo Casa de Oswaldo Cruz
+ 
+ 
+Nos salões e espaços de convivência distribuídos pelos 320 mil metros quadrados de área, mais de cinco milhões de visitantes conheceram, ao longo dos seis meses de duração do megaevento, o que de mais avançado havia sobre higiene e cuidados com o corpo, obras sanitárias, ciência e saúde pública. Nos pavilhões eram exibidos, entre inúmeros artefatos, microscópios, modelos em gesso e cera de partes do corpo humano, fotografias e também filmes relacionados às descobertas da medicina e da microbiologia.
+ 
+Acessando o link para as imagens relativas à Exposição Internacional de Higiene de Dresden, em 1911, disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Em artigo sobre essa exposição, a pesquisadora Alice Ferry de Moraes detalhou a composição dos pavilhões do evento internacional: doenças infecciosas, saúde da mulher, nutrição, cidades e habitações, esportes. No amplo terreno ocupado – onde havia praça e jardim, pavilhão de música e restaurante, pista de dança, cervejaria e casa de chá – circulavam não apenas cientistas, mas um público curioso e atento às descobertas da época. Além da Alemanha, anfitriã, havia pavilhões de mais 12 países: Áustria, China, Espanha, França, Holanda (Amsterdã), Hungria, Inglaterra, Itália, Japão, Rússia, Suíça e Brasil, única nação das Américas presente à mostra.
+ 
+Símbolo da Exposição Internacional de Higiene de Dresden , de autoria de Franz von Stuck (1863 – 1928), da Academia de Belas-Artes de Munique. Ele foi professor de Paul Klee e de Wassily Kandinsky
+ 
+Um dos destaques, o pavilhão do Brasil foi projetado por Luiz Moraes Junior, responsável pela construção do castelo de Manguinhos (prédio principal da Fiocruz, em estilo mourisco).
+ 
+Huberti. Luiz Moraes Jr., engenheiro responsável pelo projeto do Núcleo Arquitetônico de Manguinhos, incluindo o Pavilhão Mourisco, s/d. Rio de Janeiro, RJ / Acervo Casa de Oswaldo Cruz
+ 
+“Dentro do pavilhão havia uma casa que representava o sistema de isolamento criado para evitar a contaminação das pessoas saudáveis por pacientes vítimas da febre amarela. Também estavam expostos uniformes dos “mata-mosquitos” e material de desinfecção das ruas e casas. O pavilhão contava ainda com a exibição de soros e vacinas, uma coleção de mosquitos e outros insetos brasileiros”, detalha a pesquisadora.
+ 
+Pavilhão brasileiro na Exposição Internacional de Higiene de Dresden, 1911. Dresden, Alemanha / Acervo Casa de Oswaldo Cruz
+ 
+Segundo Ferry, havia imensa expectativa sobre o que o Brasil exibiria em Dresden, pois já se sabia das descobertas de Chagas em Lassance. O sucesso de Oswaldo Cruz e do Instituto de Manguinhos no XIV Congresso Internacional de Higiene e Demografia de Berlim e na Exposição de Higiene contígua ao evento, realizados em 1907, concorriam para uma nova consagração.
+De acordo com o historiador Jaime Benchimol, no evento berlinense o Brasil ocupou três salas: uma exibia a profilaxia da febre amarela no Rio de Janeiro; outra, as estatísticas demográficas da cidade; a terceira, projetos e fotografias dos prédios do Instituto e produtos biológicos fabricados em Manguinhos. A exibição dos materiais das doenças tropicais, segundo ele, causou sensação em Berlim: peças anatomopatológicas das lesões provocadas pela febre amarela e peste bubônica e a coleção de insetos brasileiros. Ao final, o reconhecimento: o país foi laureado com medalha de ouro, entregue a Oswaldo Cruz pela imperatriz da Alemanha. No ano seguinte, 1908, o instituto foi rebatizado como Instituto Oswaldo Cruz (IOC).
+Não à toa, o sucesso da campanha em Berlim elevou a expectativa sobre a presença do Brasil em Dresden: de três salas, o país ganhou um pavilhão inteiro para exibir seus avanços científicos e sanitários. Agraciado com o prêmio máximo na capital alemã, o Instituto, principalmente pelas descobertas de Chagas e a campanha de combate à febre amarela no Rio, tornou o país reconhecido por suas pesquisas na medicina tropical e microbiologia.
+ 
+Pavilhão brasileiro na Exposição Internacional de Higiene de Dresden, 1911. Uniformes dos guardas no combate à febre amarela e estatísticas da doença apresentadas em quadros e por objetos. Dresden, Alemanha / Acervo Casa de Oswaldo Cruz
+ 
+ 
+Pavilhão brasileiro na Exposição Internacional de Higiene de Dresden, 1911. Casa dentro do pavilhão brasileiro mostrando as formas de isolar os doentes de febre amarela. Dresden, Alemanha / Acervo Casa de Oswaldo Cruz
+ 
+Além do IOC, o Instituto Butantã e o Instituto Vacinogênico de São Paulo também se fizeram presentes na Exposição de Dresden: o primeiro, com exibição de ofídios, fotografias e filme sobre a produção da vacina contra mordida de cobra; o segundo, com fotos e filme sobre pesquisas experimentais e fabricação da vacina contra tuberculose bovina. No cinematógrafo brasileiro de Dresden foram exibidos quatro filmes: dois do IOC (Chagas em Lassance e o combate à febre amarela no Rio de Janeiro); um do Instituto Butantã e um do Instituto Vacinogênico de São Paulo.
+ 
+Pavilhão brasileiro na Exposição Internacional de Higiene de Dresden, 1911. Dresden, Alemanha / Acervo Casa de Oswaldo Cruz
+ 
+“O cinematógrafo brasileiro lotava todos os dias, mantendo uma parte do público em pé e terminando suas sessões sob aplausos”, destaca Ferry no artigo, lembrando que os dois filmes paulistas se perderam. Utilizando a ferramenta zoom, pode-se ver, na fotografia abaixo, a entrada do cinematógrafo e outros detalhes da imagem.
+ 
+Pavilhão brasileiro na Exposição Internacional de Higiene de Dresden, 1911. Na mesa, uma maquete da região do Instituto Oswaldo Cruz e do Castelo de Manguinhos. A porta no centro da imagem é do cinematógrafo. Dresden, Alemanha / Acervo Casa de Oswaldo Cruz
+ 
+Felizmente, os filmes sobre a campanha de febre amarela e Chagas em Lassance foram recuperados e podem ser vistos no documentário Cinematógrafo brasileiro em Dresden, roteirizado e dirigido pelos pesquisadores da Fiocruz Eduardo Thielen e Stella Oswaldo Cruz Penido.
+ 
+Biblioteca Virtual Oswaldo Cruz
+ 
+*Cristiane d´Avila é jornalista do Departamento de Arquivo e Documentação Casa de Oswaldo Cruz/Fiocruz
+ 
+“O comparecimento do Brasil à nossa Exposição tem uma importância capital. Aqui estão as principais nações do mundo. Grande é a nossa satisfação e o nosso reconhecimento ao governo brasileiro por ter sido o único país das Américas a participar e construir pavilhão especial”
+Karl Lingner (1861 – 1916), presidente da Exposição Internacional de Higiene de Dresden
+ 
+Karl Lingner (1861- 1916)
+ 
+Nota da editora: esse artigo passou a integrar uma série e mudou de título em 1º de dezembro de 2025.
+ 
+Fontes:
+ALMEIDA, Marta de. Entre balões, carrosséis e ciências: a exposição internacional de higiene na capital federal. ‘Usos do Passado’ — XII Encontro Regional de História ANPUH-RJ, 2006.
+BENCHIMOL, Jaime Larry (coord.). Manguinhos do sonho à vida: a ciência na Belle Époque. Rio de Janeiro: Editora Fiocruz, 2020.
+MONTEIRO, José Carlos. Imagens de paradoxos. RECIIS – R. Eletr. de Com. Inf. Inov. Saúde. Rio de Janeiro, v.6, n.4 – Suplemento, Fev., 2013.
+MORAES, Alice Ferry de. O Cinematógrafo e os Filmes Brasileiros na Exposição Internacional de Higiene De Dresden, em 1911. Revista Livre de Cinema, v.2, n. 2, mai/ago, 2015.
+SANJAD, Nelson. Exposições internacionais: uma abordagem historiográfica a partir da América Latina. História, Ciências, Saúde-Manguinhos, vol. 24, núm. 3, pp. 785-826, 2017.
+ 
+Cartão postal da Exposição Internacional de Higiene de Dresden, em 1911. hartung & Ruttinger (autores)  / Wikipedia
+ 
+Reprodução de cartão postal da entrada principal da Exposição Internacional de Higiene de Dresden, em 1911 / Wikipedia
+ 
+Pavilhão chinês na Exposição Internacional de Higiene de Dresden, em 1911 / Wikipedia
+ 
+Pavilhão russo na Exposição Internacional de Higiene de Dresden, em 1911 / Wikipedia
+ 
+Campo esportivo com escultura de lançamento de bola de Richard Daniel Fabricius na Exposição Internacional de Higiene de Dresden, em 1911. Representante dos cartões postais: Hartung & Ruttinger / Wikipedia
+ 
+Salão de Esportes e roupas na Exposição Internacional de Higiene de Dresden, em 1911. Representantes dos cartões postais: Hartung & Rüttinger / Wikipedia
+ 
+Iluminação da Herkules-Allee no Grande Jardim naExposição Internacional de Higiene Dresden, em 1911. Representantes do cartão postal: Hartung & Rüttingeer / Wikipedia
+ 
+Links para os artigos sobre exposições nacionais ou internacionais publicados na Brasiliana Fotográfica
+O pintor Victor Meirelles e a fotografia na II Exposição Nacional de 1866, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 17 de agosto de 2017.
+A festa do progresso: o Brasil na Exposição Continental, Buenos Aires, 1882, de autoria de Maria do Carmo Rainho, Arquivo Nacional, publicado em 29 de março de 2018.
+Série “O Rio de Janeiro desaparecido” II – A Exposição Nacional de 1908 na Coleção Família Passos, de autoria de Carla Costa, Museu da República, publicado em 5 de abril de 2018.
+Marc Ferrez, a Comissão Geológica do Império (1875 – 1878) e a Exposição Antropológica Brasileira no Museu Nacional (1882), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 29 de junho de 2018.
+Paris, 1889: o álbum da exposição universal, de autoria de Claudia B. Heynemann, Arquivo Nacional,publicado em 27 de julho de 2018.
+Café Brasil: o Império na Exposição Internacional de Filadélfia, de autoria de Claudia B. Heynemann, Arquivo Nacional, publicada em 4 de dezembro de 2019.
+Festa das Artes e da Indústria Segunda Exposição Nacional, 1866, de autoria de Claudia Beatriz Heynemann e Maria Elizabeth Brêa Monteiro, Arquivo Nacional, em 5 de abril de 2020.
+A apresentação do Departamento Nacional de Saúde Pública na Exposição Internacional do Centenário da Independência, de Ricardo Augusto dos Santos, Fiocruz, publicado em 13 de abril de 2020.
+Série 1922 – Hoje, há 100 anos VIII – A abertura da Exposição Internacional do Centenário da Independência do Brasil e o centenário da primeira grande transmissão pública de rádio no país, de autoria de Andrea C. T. Wanderley, publicado em 7 de setembro de 2022, na Brasiliana Fotográfica.
+Três álbuns fotográficos da Exposição Nacional de 1908 no Museu Histórico Nacional: Boscagli, Malta e Musso, de autoria de Maria Isabel Ribeiro Lenzi, historiadora do Museu Histórico Nacional, publicado em 25 de agosto de 2023, na Brasiliana Fotográfica.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/10273` — `itens/20.500.12156.1_10273/`
+- `20.500.12156.1/10261` — `itens/20.500.12156.1_10261/`
+- `20.500.12156.1/5493` — `itens/20.500.12156.1_5493/`
+- `20.500.12156.1/10270` — `itens/20.500.12156.1_10270/`
+- `20.500.12156.1/10262` — `itens/20.500.12156.1_10262/`
+- `20.500.12156.1/10264` — `itens/20.500.12156.1_10264/`
+- `20.500.12156.1/10260` — `itens/20.500.12156.1_10260/`
+- `20.500.12156.1/10263` — `itens/20.500.12156.1_10263/`
+
diff --git a/wordpress/26333-serie-o-rio-de-janeiro-desaparecido-xvi-o-predio-da-academia-imperial-de-belas-a.md b/wordpress/26333-serie-o-rio-de-janeiro-desaparecido-xvi-o-predio-da-academia-imperial-de-belas-a.md
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+---
+id: 26333
+url: "https://brasilianafotografica.bn.gov.br/?p=26333"
+titulo: "Série “O Rio de Janeiro desaparecido” XVI – O prédio da Academia Imperial de Belas Artes"
+autor: "Andrea Wanderley"
+data: "2022-01-13T14:35:33+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/2142", "20.500.12156.1/10162"]
+fetched_at: "2026-09-10T10:09:10.359Z"
+---
+
+# Série “O Rio de Janeiro desaparecido” XVI – O prédio da Academia Imperial de Belas Artes
+
+A Brasiliana Fotográfica, no 16º artigo da série O Rio de Janeiro desaparecido, destaca a importância da arte e da cultura com uma imagem do prédio da Academia Imperial de Belas Artes, considerado um dos primeiros edifícios neoclássicos construídos no Brasil, produzida pelo fotógrafo Marc Ferrez (1843 – 1923), em torno de 1885. Ficava na Travessa das Belas Artes, próximo a avenida Passos, no centro da cidade. Projetada pelo professor de arquitetura Grandjean de Montigny (1776 – 1850), membro da Missão Artística Francesa, a Academia Imperial de Belas Artes foi inaugurada, em 5 de novembro de 1826, e demolida, em 1938, durante o governo de Henrique de Toledo Dodsworth Filho (1895- 1975), interventor do então Distrito Federal entre 1937 e 1945. Já não era, desde 1908, a sede da Escola Nacional de Belas Artes – como foi renomeada a academia em 1890. O pórtico do edifício, cujos ornamentos de terracota das cinco colunas são creditados a Zépherin Ferrez (1797 – 1851), pai de Marc Ferrez, foi levado para o Jardim Botânico do Rio de Janeiro, durante a década de 1940. No local do prédio demolido, existe, atualmente, um estacionamento.
+ 
+Marc Ferrez. Escola Nacional de Belas Artes, c. 1895. Rio de Janeiro, RJ / Acervo IMS
+ 
+ 
+Grandjean de Montigny por Auguste Muller , c. 1843/ Wikipedia
+ 
+Um pouco da história da Escola de Belas Artes e do Museu Nacional de Belas Artes
+ 
+Quando foi criada, em 12 de agosto de 1816, por um decreto-lei de dom João VI (1767 – 1826), a atual Escola de Belas Artes chamava-se Escola Real de Ciências, Artes e Ofícios. Foi um projeto da Missão Artística Francesa, que chegou ao Brasil naquele ano, com o arquiteto francês Grandjean de Montigny (1776 – 1850), o pintor francês Jean-Baptiste Debret (1768-1848) , o gravador suíço Charles Simon Pradier (1786 – 1947), entre outros, incluindo artesãos, chefiados pelo intelectual e administrador francês Joachim Lebreton (1760 – 1819) (Correio Official, 29 de dezembro de 1834, terceira coluna).
+Lebreton foi administrador das obras de arte do Museu do Louvre, em Paris, e secretário perpétuo da classe de Belas Artes do Institut de France. Foi demitido de suas funções,em 1815, devido a seu apoio a Napoleão (1769 – 1821) e também por seu discurso proferido no Institut contra o desmembramento das coleções do Louvre. Veio para o Brasil como exilado.
+ 
+Joachim Lebreton por Charles-Victor Normand – Bibliothèque nationale de France / Wikipedia
+ 
+Uma curiosidade: em 1817, juntaram-se ao grupo o escultor Marc Ferrez (1788-1850) e o gravador de medalhas Zépherin Ferrez (1797 – 1851), tio e pai, respectivamente, do fotógrafo Marc Ferrez (1843 – 1923), autor da imagem da Academia Imperial de Belas Artes destacada nessa publicação e um brilhante cronista visual das paisagens e dos costumes cariocas da segunda metade do século XIX e do início do século XX. Sua vasta e abrangente obra iconográfica se equipara a dos maiores nomes da fotografia do mundo.
+Voltando à Escola de Belas Artes. O decreto de 1816 não chegou a ser cumprido e a escola não funcionou, levando os profissionais a ensinarem para um pequeno número de estudantes ou a procurarem outras atividades sob proteção da Coroa.
+A Escola Real de Ciências, Artes e Ofícios passou a chamar-se Academia Imperial de Belas Artes, pelo decreto de 23 novembro de 1820.
+ 
+Arquivo Nacional
+ 
+Foi apresentada então uma relação com as pessoas empregadas, em que apareciam, como lente de desenho e encarregado das aulas, o retratista português Henrique José da Silva, em substituição a Joaquim Lebreton, falecido em 1819; como secretário, Luís Rafael Soyer; como lente de pintura de paisagem, Nicolas-Antoine Taunay; como lente de pintura histórica, Jean-Baptiste Debret; de escultura, Auguste Taunay; de arquitetura, Henri-Victor Grandjean de Montigny; e de mecânica, François Ovide. Na lista de pensionários de desenho e pintura, figuravam Simplício Rodrigues da Silva, José de Christo Moreira e Francisco Pedro do Amaral; de escultura, Marc Ferrez; e de gravura, Zephérin Ferrez (CAMARGO, 2012).
+Mais uma vez, a Academia das Artes ficou no papel. Finalmente, a sede da Academia Imperial de Belas Artes, projetada por Montigny, foi inaugurada em 5 de novembro de 1826, quando seu corpo acadêmico foi instalado na presença de dom Pedro I (1798 – 1934) e da família imperial, e passou a funcionar efetivamente. Na inauguração a escola já tinha 38 alunos. O secretário da Academia, Luiz Rafael Soyé (1760 – 1831) e o ministro dos Negócios do Império fizeram discursos. O diretor da Academia era o pintor português Henrique José da Silva (1772-1834)  (Almanach do Rio de Janeiro, 1824; Império do Brasil – Diário Fluminense, 31 de julho de 1826, primeira coluna; Império do Brasil – Diário Fluminense, 7 de novembro de 1826, segunda coluna; Correio Official, 29 de dezembro de 1834, terceira coluna).
+ 
+Luiz Rafael Soyé, secretário da Academia
+ 
+O já mencionado Zépherin, pai de Marc Ferrez, pensionista de gravura da Academia, cunhou a medalha comemorativa do evento.
+ 
+Zépherin Ferrez por Augusto Muller
+ 
+Império do Brasil – Diário Fluminense, 7 de novembro de 1826
+ 
+Ali foi realizada, em 1829, por iniciativa de Debret (1768-1848), a I Exposição da Classe de Pintura Histórica, a primeira exposição de artes do Brasil. Na ocasião, foram exibidos 115 trabalhos de 33 de professores e de 82 de alunos (O Espelho Diamantino, 21 de janeiro de 1828; A Aurora Fluminense, 10 de dezembro de 1829, segunda coluna; e 11 de janeiro de 1830, segunda coluna).
+Pelo decreto de 30 de dezembro de 1831,  um novo regulamento para a Academia foi aprovado, ainda na gestão de Henrique José da Silva. Ela passava a dedicar-se exclusivamente às artes; as atividades relativas às ciências naturais, físicas e exatas já não integravam mais seu curso. O ensino dividia-se nas especialidades de pintura histórica, paisagem, arquitetura e escultura. Além dessas quatro divisões havia também aulas de desenho, anatomia e fisiologia, funcionando como disciplinas complementares aos quatro cursos da escola (GABLER, 2015).
+Novos estatutos, idealizados pelo diretor da instituição, entre 1854 e 1857, Manuel de Araujo Porto Alegre (1806 – 1879), foram aprovados pelo decreto n. 1.603, de 14 de maio de 1855 – a academia passava a ter cinco especializações – arquitetura, ciências acessórias, escultura, música e pintura.
+ 
+Manuel de Araújo Porto Alegre / Academia Brasileira de Letras
+ 
+Alguns anos depois, o decreto n. 2.424, de 25 de maio de 1859, modificou alguns regulamentos de 1855, dividindo as aulas em um curso diurno e outro noturno, voltado para lições artísticas e dedicado à formação prática, respectivamente.
+Em 8 de novembro de 1890, o decreto n. 983 aprovou os novos estatutos da instituição, que foi nomeada Escola Nacional de Belas Artes. No início do século XX, em 1908, sua sede foi transferida para um edifício na avenida Rio Branco, projetado pelo arquiteto Adolfo Morales de Los Rios y Garcia de Pimentel (1858 – 1928). Em 1931, a Escola Nacional de Belas Artes foi incorporada à Universidade do Rio de Janeiro, futura Universidade do Brasil.
+A partir de 1937, a Escola Nacional de Belas Artes dividiu o prédio com o Museu Nacional de Belas Artes, criado em 13 de janeiro de 1937, que hoje completa 85 anos.
+ 
+Marc Ferrez. Escola Nacional de Belas Artes; atual Museu Nacional de Belas Artes, c. 1912. Rio de Janeiro, RJ / Acervo IMS
+ 
+Acessando o link para as fotografias da Escola de Belas Artes e do Museu Nacional de Belas Artes disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Em 1965, a Universidade do Brasil foi renomeada Universidade Federal do Rio de Janeiro e, no mesmo ano, a Escola Nacional de Belas Artes passou a chamar-se Escola de Belas Artes. Entre 1974 e 1975, foi transferida para o campus do Fundão.
+Segundo o site da Escola de Belas Artes, sua missão é:
+a formação artística, cultural, técnica e científica dos estudantes, com ênfase na intersecção entre as atividades didáticas e os vários setores profissionais ligados aos campos da arte, do design e da cultura. Sua atual estrutura equilibra legados artísticos e culturais com abordagens da arte contemporânea e técnicas inovadoras. Orientada pelos conceitos de inter e transdisciplinaridade, a Escola oferece formas múltiplas de aprendizagem, visando a qualidade e a diversidade da produção artística e acadêmica.
+ 
+Fontes:
+Arquivo Nacional – MAPA – Memória da Administração Pública Brasileira – Academia Imperial de Belas Artes, por Louise Gabler, em 19 de outubro de 2015 e Escola Real de Ciências, Artes e Ofícios, por Angelica Ricci Camargo, fevereiro de 2012
+BANDEIRA, Julio; MARTINS, Pedro; CONDURU, Roberto. A Missão Francesa. Rio de Janeiro : Sextante, 2014.
+BANDEIRA, Julio; LAGO, Pedro Corrêa do. Debret e o Brasil: obra completa (1816-1831). Rio de Janeiro: Capivara, 2007, 720 p.
+BENCHIMOL, Jaime Larry. Pereira Passos – Um Haussmann tropical: as transformações urbanas na cidade do Rio de Janeiro no início do século XX. Rio de Janeiro, Secretaria Municipal de Cultura do Rio de Janeiro, Coleção Biblioteca Carioca, v. 11, 1991.
+BITTENCOURT, Gean Maria; GAUTHEROT, Marcel. A missão artística francesa de 1816. Petrópolis: Museu de Armas Ferreira da Cunha, 1967.
+CERON, Ileana Pradilla Ceron. Marc Ferrez – uma cronologia da vida e da obra. São Paulo : Instituto Moreira Salles, 2018.
+CAMARGO, Angélica Ricci. Escola Real de Ciências, Artes e Ofícios, 2012. Arquivo Nacional – Mapa Memória da História Administrativa Brasileira, 10 de novembro de 2016 .
+
+DIAS, Elaine. Correspondências entre Joachim Le Breton e corte portuguesa na Europa: o nascimento da missão artística de 1816. Anais do Museu Paulista: História e Cultura Material, São Paulo, v. 14, n. 2, jul-dez. 2006.
+GABLER, Louise. Academia Imperial de Belas Artes, 2015. Arquivo Nacional – Mapa Memória da História Administrativa Brasileira, 10 de novembro de 2016 .
+Hemeroteca Digital da Biblioteca Nacional
+
+MARQUES, Maria Eduarda. A Missão Artística Francesa no Brasil e Seus Discípulos. Rio de Janeiro : Editora Pinakotheke, 2016.
+PECHMAN, Robert. Henrique Dodsworth. Rio de Janeiro: Fundação Getulio Vargas, s.d.
+PEREIRA, Sônia Gomes. Henrique José da Silva, um pintor português na Academia Imperial de Belas Artes do Rio de Janeiro. CEPESE – Centro de Estudos da População, Economia e Sociedade.
+Portal Dezenovevinte.net
+Portal G-1
+SCHWARCZ, Lilia Moritz. As Barbas do Imperador: D. Pedro II, um monarca nos trópicos. São Paulo: Companhia das Letras, 1998.
+
+Site Enciclopédia Cultural Itaú
+Site Escola de Belas Artes
+TRINDADE, Mauro. A construção da ruína: a demolicção da Academia Imperial de Belas Artes e o iconoclatismo modernista através da imprensa in Histórias da Escola de Belas Artes: Revisão crítica de sua trajetória. Rio de Janeiro : Editora Nau, 2016.
+ 
+Links para os outros artigos da Série O Rio de Janeiro desaparecido
+ 
+Série O Rio de Janeiro desaparecido I - Salas de cinema do Rio de Janeiro do início do século XX, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 26 de fevereiro de 2016.
+Série O Rio de Janeiro desaparecido II – A Exposição Nacional de 1908 na Coleção Família Passos, de autoria de Carla Costa, historiadora do Museu da República, publicado na Brasiliana Fotográfica, em 5 de abril de 2018.
+Série O Rio de Janeiro desaparecido III – O Palácio Monroe, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica, em 9 de novembro de 2016.
+Série O Rio de Janeiro desaparecido IV - A via elevada da Perimetral, de autoria da historiadora Beatriz Kushnir, publicado na Brasiliana Fotográfica em 23 de junho de 2017.
+Série O Rio de Janeiro desaparecido V – O quiosque Chopp Berrante no Passeio Público, Ferrez, Malta e Charles Dunlop, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 20 de julho de 2018.
+Série O Rio de Janeiro desaparecido VI – O primeiro Palácio da Prefeitura Municipal do Rio de Janeiro, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 12 de setembro de 2018.
+Série O Rio de Janeiro desaparecido VII – O Morro de Santo Antônio na Casa de Oswaldo Cruz, de autoria de historiador Ricardo Augusto dos Santos da Casa de Oswaldo Cruz, publicado na Brasiliana Fotográfica em 5 de fevereiro de 2019.
+Série O Rio de Janeiro desaparecido VIII – A demolição do Morro do Castelo, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 30 de abril de 2019.
+Série O Rio de Janeiro desaparecido IX – Estrada de Ferro Central do Brasil: estação e trilhos, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 12 de novembro de 2019.
+Série O Rio de Janeiro desaparecido X – No Dia dos Namorados, um pouco da história do Pavilhão Mourisco em Botafogo, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 12 de junho de 2020.
+Série O Rio de Janeiro desaparecido XI – A Estrada de Ferro do Corcovado e o mirante Chapéu de Sol, de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 22 de julho de 2021.
+Série O Rio de Janeiro desaparecido XII – o Teatro Lírico (Theatro Lyrico), de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 15 de setembro de 2021.
+Série O Rio de Janeiro desaparecido XIII – O Convento da Ajuda, de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 12 de outubro de 2021.
+Série O Rio de Janeiro desaparecido XIV – O Conselho Municipal, de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 19 de novembro de 2021.
+Série O Rio de Janeiro desaparecido XV – A Praia de Santa Luzia no primeiro dia do verão, de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 21 de dezembro de 2021.
+Série O Rio de Janeiro desaparecido XVII – Igreja São Pedro dos Clérigos, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 18 de março de 2022.
+Série O Rio de Janeiro desaparecido XVIII – A Praça Onze, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 20 de abril de 2022.
+Série O Rio de Janeiro desaparecido XIX – A Igrejinha de Copacabana, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 23 de junho de 2022.
+Série O Rio de Janeiro desaparecido XX – O Pavilhão dos Estados, futuro prédio do Ministério da Agricultura, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 26 de julho de 2022.
+Série O Rio de Janeiro desaparecido XXI – O Chafariz do Largo da Carioca, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 19 de setembro de 2022. 
+Série O Rio de Janeiro desaparecido XXII – A Cadeia Velha que deu lugar ao Palácio Tiradentes, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 11 de abril de 2023
+Série O Rio de Janeiro desaparecido XXIII e Avenidas e ruas do Brasil XVII - A Praia e a Rua do Russel, na Glória, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 15 de maio de 2023
+Série O Rio de Janeiro desaparecido XXIV – O luxuoso Palace Hotel, na Avenida Rio Branco, uma referência da vanguarda artística no Rio de Janeiro, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 4 de julho de 2023
+Série O Rio de Janeiro desaparecido XXV – O Theatro Phenix, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 5 de setembro de 2023
+Série O Rio de Janeiro desaparecido XXVI – Conclusão do arrasamento do Morro do Castelo por Augusto Malta, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 14 de dezembro de 2023
+Série O Rio de Janeiro desaparecido XXVII e Série Os arquitetos do Rio de Janeiro V – O Jockey Club e o Derby Club, na Avenida Rio Branco e o arquiteto Heitor de Mello (1875 – 1920), de autoria de Andrea c. T. Wanderley, editora e pesquisadora do portal, em 15 de janeiro de 2024
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/2142` — `itens/20.500.12156.1_2142/`
+- `20.500.12156.1/10162` — `itens/20.500.12156.1_10162/`
+
diff --git a/wordpress/26514-serie-avenidas-e-ruas-do-brasil-xii-a-avenida-paulista-o-coracao-pulsante-da-met.md b/wordpress/26514-serie-avenidas-e-ruas-do-brasil-xii-a-avenida-paulista-o-coracao-pulsante-da-met.md
new file mode 100644
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@@ -0,0 +1,202 @@
+---
+id: 26514
+url: "https://brasilianafotografica.bn.gov.br/?p=26514"
+titulo: "Série “Avenidas e ruas do Brasil” XII – A Avenida Paulista, o coração pulsante da metrópole"
+autor: "Andrea Wanderley"
+data: "2022-01-21T11:08:45+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/10315", "20.500.12156.1/980", "20.500.12156.1/990", "20.500.12156.1/10313", "20.500.12156.1/979", "20.500.12156.1/1069", "20.500.12156.1/4047", "20.500.12156.1/4046"]
+fetched_at: "2026-09-10T10:09:13.914Z"
+---
+
+# Série “Avenidas e ruas do Brasil” XII – A Avenida Paulista, o coração pulsante da metrópole
+
+Série “Avenidas e ruas do Brasil” XII – A Avenida Paulista, o coração pulsante da metrópole
+No 12º artigo da Série Avenidas e ruas do Brasil, a Brasiliana Fotográfica traz fotografias da Avenida Paulista, um dos símbolos da cidade de São Paulo e um de seus principais pontos turísticos, produzidas pelo suíço Guilherme Gaensly (1843 – 1928) e por Frédéric Manuel (18? – 19?). Há ainda duas imagens realizadas por fotógrafos ainda não identificados. A Paulista foi inaugurada, oficialmente, em 8 de dezembro de 1891. Não deixem de usar a ferramenta zoom para uma melhor apreciação de todos os detalhes dos registros da Avenida Paulista, o centro financeiro, cultural e de entretenimento de São Paulo, um de seus mais representativos cartões postais.
+“As grandes ruas da Liberdade, de Santo Amaro, de Santo Antônio e da Consolação dirigem-se para o sul, dando acesso direto à célebre Avenida Paulista, sem contestação a mais bela avenida da capital, muito larga, asfaltada, composta de três pistas e orlada de habitações principescas. Uma pequena elevação que se acha na extremidade norte-oeste oferece bela perspectiva sobre o resto da cidade”.
+Paul Walle (1872 – 1950), viajante e economista francês,
+em Au Pays de l´Or Rouge, l´État de S. Paulo (1921)
+ 
+Acessando o link para as fotografias da Avenida Paulista disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Muitas de suas construções foram demolidas ao longo do século XX.
+“O que aconteceu na Avenida Paulista é uma tragédia nacional. São Paulo foi marginalizada, por causa de uma leitura da identidade brasileira que excluía o imigrante”.
+ Paulo Garcez, professor de arquitetura da Universidade de São Paulo (USP),
+sobre as demolições de construções na Avenida Paulista.
+ 
+Sobre a avenida Paulista
+“A Avenida Paulista é o arrabalde mais pitoresco dessa capital, está 64 metros mais alto do que o largo da Sé, e dista ao largo de S. Francisco 8 minutos de bonde elétrico”
+Diário Popular, agosto e setembro de 1900
+ 
+Em seus anos de existência (O Mercantil (SP), 29 de novembro de 1890, quarta coluna), a Avenida Paulista, cujo projeto inovador e realização foram da empresa Sociedade Anônima Companhia Viação Paulista, do engenheiro agrônomo e precursor do urbanismo na cidade de São Paulo, o uruguaio Joaquim Eugênio Lima (1845 – 1902), do capitalista José Borges de Figueiredo e do servidor público João Augusto Garcia, passou de zona residencial da burguesia ascendente a centro comercial, cultural e financeiro da cidade. Seu planejamento foi realizado pelo agrimensor Tarquínio Antonio Tarant, encarregado da arborização, do arruamento e da criação de suas alamedas transversais. A Avenida Paulista localiza-se no bairro Bela Vista, vai da Rua Treze de Maio à Rua da Consolação, tem uma extensão de 3 km e é considerada o coração pulsante da metrópole, a mais contemporânea via de São Paulo.
+ 
+Busto em homenagem a Joaquim Eugênio de Lima, no Parque Trianon, na Avenida Paulista
+ 
+Até a década de 1880, a região onde ela se encontra, na época conhecida como o Morro do Caaguaçu, que em tupi significa mata grande, era um terreno ermo e pertencia à Chácara do Capão, propriedade de Manuel Antônio Vieira. Os já mencionados donos da Sociedade Anônima Companhia Viação Paulista adquiriram parte da chácara e lotearam a área dando origem à Avenida Paulista. Bem larga, foi a primeira rua pública asfaltada, em 1909, e arborizada de São Paulo. Tinha três vias separadas por magnólias e plátanos, com grandes lotes de cada lado. Na mesma época, chamaram o paisagista francês Paul Villon (1841 – 1905) para projetar o Parque Trianon – atualmente Parque Tenente Siqueira Campos -, que foi inaugurado pelo arquiteto e urbanista inglês Barry Parker (1867 – 1947), em 3 de abril de 1892, e se tornou a área de lazer das famílias proprietárias de casas na região.
+ 
+Guilherme Gaensly. Avenida Paulista, c. 1905. São Paulo, SP / Acervo IMS
+ 
+A Avenida Paulista foi batizada em homenagem aos paulistas por decisão do engenheiro Joaquim Eugênio Lima. Segundo o livro Cidade de São Paulo: Estudos de Geografia Urbana, 1958, as denominações de Avenida das Acácias ou Prado de São Paulo foram cogitadas.  Ainda sobre seu nome: em 1927, quando José Pires do Rio (1880 -1950) era o prefeito de São Paulo, a Paulista passou a se chamar Avenida Carlos de Campos, em homenagem ao ex-governador do estado de São Paulo, mas a alteração não agradou o povo da cidade, fazendo com que voltasse ao seu nome original, em 13 de novembro de 1930, quando foi publicado, no Diário Oficial, o Ato nº 11, assinado pelo então prefeito de São Paulo, José Joaquim Cardoso de Melo (1883 – 1975), segundo o qual atendia “…finalmente, a que outras denominações há, que não deveriam jamais ter sido alteradas como a da – Avenida Paulista – que recorda, numa só palavra, todo o indefesso trabalho e honra da gente paulista” (Correio Paulistano, 6 de maio de 1927, sexta coluna; O Estado de São Paulo, 19 de novembro de 1930 e 8 de dezembro de 2021) .
+ 
+Guilherme Gaensly. Avenida Paulista, 1902?. São Paulo, SP / Acervo FBN
+ 
+Foi noticiada a inauguração a Avenida Paulista, em 1890 (O Mercantil (SP), 29 de novembro de 1890, quarta coluna) e, cerca de três meses depois, foi anunciado o início da venda de seus lotes para 12 de fevereiro de 1891 (Correio Paulistano, 8 de fevereiro de 1891, última coluna). 
+ 
+O Mercantil (SP), 29 de novembro de 1890
+ 
+ 
+Correio Paulistano, 8 de fevereiro de 1891
+ 
+Foi visitada, a convite de Joaquim Eugênio de Lima, pelo presidente do Estado, Américo Brasiliense (1833 – 1896), o jornalista Francisco Rangel Pestana (1839 – 1903) e Júlio Mesquita (1862 – 1927, que era, na época, senador estadual.
+ 
+O Estado de São Paulo, 16 de maio de 1891
+ 
+Foi publicada uma notícia sobre as obras e o assentamento de uma linha de bondes na Avenida Paulista (O Estado de São Paulo, 11 de outubro, quarta coluna e 31 de outubro de 1891).
+ 
+
+ 
+O Estado de São Paulo, 11 de outubro de 1891
+ 
+Em 8 de dezembro de 1891, foi finalmente instalada a nova linha de bondes até a Avenida Paulista, da Companhia Ferro Carril de São Paulo, com grande concorrência e com a presença da imprensa. A Avenida Paulista era oficialmente entregue à população e esta é a data considerada a de sua inauguração (Jornal do Brasil, 9 de dezembro de 1891, quinta coluna).
+“Hoje, ao meio-dia a Companhia Ferro Carril fará a inauguração de suas linhas da Bella Vista e da Bella Cintra. Os bonds inauguraes partirão da rua da Boa Vista esquina com a rua 15 de novembro percorrendo toda a Grande Avenida Paulista”
+Nota publicada na primeira página de O Estado de São Paulo de 8 de dezembro de 1891.
+ 
+Jornal do Brasil, 9 de dezembro de 1891
+ 
+Aquarela de Jules Victor André Martin, Avenida Paulista no dia de sua inauguração, em 1891 / Acervo Museu Paulista
+ 
+N0 ano seguinte, no salão do jornal O Paiz foram exibidas 3 grandes fotografias da Avenida Paulista. Quem seria o autor ou os autores dessas imagens? (O Paiz, 8 de junho de 1892, terceira coluna).
+Em fins do século XIX, a avenida já tinha cerca de 50 casarões. Abastados senhores do café, grandes comerciantes, banqueiros e industriais construíram imponentes mansões na nova avenida que usavam como residência ou como casa de veraneio. Dentre eles o empresário dinamarquês Adam Ditrik von Bullow (1840 – 1923), o industrial italiano Francesco Matarazzo (1854 – 1937), que foi durante muito tempo o homem mais rico do Brasil, cujo palacete foi projetado pelos arquitetos italianos Giulio Saltini e Luigi Mancini; e o farmacêutico e político Henrique Schaumann (1856 – 1922), cujo projeto de sua mansão foi do alemão Augusto Fried e de Carlos Ekman. O Shopping Cidade de São Paulo e a Torre Matarazzo localizam-se onde ficava a mansão Matarazzo.  O casarão de Schaumann foi propriedade das famílias Andraus e Lotaif. Após sua polêmica demolição, em 1982, virou um estacionamento e, posteriormente o Edifício Paulista 867.
+A família Thiollier, de imigrantes franceses, também tinha um palacete na avenida, a Villa Fortunata, onde hoje se encontra o Parque Mario Covas. René Thiollier (1882 – 1968), filho do patriarca Alexandre Honoré Marie Thiollier – sócio e proprietário da primeira livraria de São Paulo, a Casa Garroux – foi um dos fundadores do Teatro Brasileiro de Comédia e frequentava o círculo de intelectuais que organizou a Semana de Arte Moderna de 1922. Foi ele que pagou o aluguel do Teatro Municipal de São Paulo para a realização do evento. Uma curiosidade sobre a Villa Fortunata: a família Burle Marx alugou entre 1909 e 1912 a mansão e foi lá que nasceu o mundialmente famoso paisagista e artista plástico brasileiro Roberto Burle Marx (1909 – 1994).
+ 
+Recibo de pagamento de aluguel do Theatro Municipal para a Semana de Arte Moderna de 22
+ 
+ 
+“O grande passeio que o citadino mostra, com o mais legítimo orgulho ao forasteiro é a Avenida Paulista, imensa rua com alguns quilômetros de comprimento, situada no ponto mais elevado da cidade, toda arborizada, cercada de casas suntuosas, cuja arquitetura e ornamentação nada ficam a dever aos mais belos edifícios europeus”.
+Nicolau Fanuele (1888 – 1914), jornalista e advogado, em Il Brasile (1910).
+ 
+O casarão von Bulow, projeto de Augusto Fried, foi contruído perto da alameda Campinas e foi, talvez, o primeiro a ser documentado. Era um dos pontos prediletos de Guilherme Gaensly (1843 – 1928) para fotografar a Avenida Paulista. O palacete era propriedade do empresário dinamarquês Adam Ditrik von Bullow (1840 – 1923), um dos acionistas da Companhia Antarctica Paulista. Hoje, no lugar que ocupava está o Edifício Paulicéia, ícone da arquitetura moderna de São Paulo, projeto de Jacques Pilon (1905 – 1962) e do italiano Gian Carlo Gasperini (1926 – 2020), construído na década de 50.
+ 
+Guilherme Gaensly. Palacete v. Bulow, 1902?. Avenida Pauista, São Paulo / Acervo FBN
+ 
+A Paulista foi o cenário de corridas de charrete, de cabriolés e dos primeiros automóveis. Também foi o palco dos grandes carnavais dos anos 10, 20 e 30. Em 1912, o corso foi transferido da Praça da República para a avenida e as famílias desfilavam em carros enfeitados (O Estado de São Paulo, 15 de janeiro de 1912).
+ 
+Careta, 15 de fevereiro de 1930
+ 
+O Belvedere Trianon, que ficava na Paulista e foi durante muito tempo o principal ponto de encontro da cidade, foi demolido para ceder espaço à 1ª Bienal de Arte Moderna da cidade, realizada, em 1951, pelo Museu de Arte Moderna de São Paulo (MAM-SP), sob a presidência de Ciccillo Matarazzo (1898 – 1977), em um pavilhão provisório localizado na Esplanada do Trianon.
+ 
+Guilherme Gaensly. Avenida Paulista – Belvedere do Trianon, c. 1923. São Paulo, SP / Acervo IMS
+ 
+1ª Bienal de São Paulo – Pavilhão localizado na Esplanada do Trianon, na Avenida Paulista / Site da Bienal de São Paulo
+ 
+Restam poucos casarões na avenida, como a Casa das Rosas (1935), último projeto do arquiteto Francisco de Paula Ramos de Azevedo (1851 – 1928), que hoje abriga o Espaço Haroldo de Campos de Poesia e Literatura; e o Palacete Franco de Mello (1905), obra do construtor português Antônio Fernandes Pinto. Algumas construções remanescentes da via são tombadas pelo Conselho de Defesa Patrimônio Histórico, Arqueológico, Artístico e Turístico de São Paulo.
+Inicialmente, estabelecimentos comerciais não podiam existir na Avenida Paulista. Em 1952, durante a gestão do prefeito (1899 – 1955), a Lei nº 4313 de 29 de outubro, autorizou a construção de estabelecimentos hospitalares, educacionais, de imprensa, rádio, televisão, teatro e cinema. Quatro anos depois, foi inaugurada a primeira loja-exposição do Conjunto Nacional, que seria o primeiro shopping center da América do Sul. A inauguração da primeira etapa do Conjunto Nacional, em dezembro de 1958, contou com a presença do então presidente da República, Juscelino Kubitschek (1902 – 1976). O complexo localiza-se onde antes ficava o casarão do investidor e urbanista Horácio Sabino, cujo projeto foi o arquiteto francês Victor Dubugras (1868 – 1933), um dos precursores da arquitetura moderna na América Latina. O empreendimento foi do argentino José Tjurs (1901 – 1977), que comprou a mansão e que sonhava que a Paulista fosse a Quinta Avenida de São Paulo. O projeto foi do arquiteto paranaense David Libeskind (1928 – 2014), então com 26 anos (Correio Paulistano, 21 de outubro de 1956, quarta coluna).
+Mas foi só na década de 80 que a vocação da avenida para os negócios se firmou: os apartamentos residenciais do Edifício Savoy, nº 810,  foram convertidos em escritórios. Houve então uma procura de terrenos para  instalar os novos edifícios comerciais, que deixavam o Centro da cidade rumo à Paulista.
+Na Avenida Paulista, por onde diariamente passam cerca de um milhão e meio de pessoas, encontram-se diversos museus e centros culturais como o Museu de Artes de São Paulo, a Casa Japão, o Itaú Cultural e o Instituto Moreira Salles, uma das instituições fundadoras do portal Brasiliana Fotográfica. Também estão lá o Parque Trianon, atual Parque Tenente Siqueira Campos; o Parque Prefeito Mario Covas, criado em 2008 e localizado onde ficava a Villa Fortunatta; o Instituto Pasteur, dezenas de consulados, o Painel do Edifício Nações Unidas, criação de Clóvis Graciano (1907 – 1988); e a famosa antena do prédio da Fundação Cásper Líbero, a maior e mais alta da avenida. Possui uma disputada ciclovia, bancos, cinemas, colégios, feiras artesanais, hotéis, hospitais, restaurantes, teatros e, aos domingos, é aberta aos pedestres. É o endereço de prédios icônicos da cidade, dentre eles o Edifício Sul-Americano, projeto do escritório Rino Levi Arquitetos Associados, em 1966; e o Edifício Luís Eulálio Bueno Vidigal Filho, sede da Federação das Indústrias do Estado de São Paulo (Fiesp), construído onde ficava o palacete da família Salem.
+ 
+“Não se pode imaginar nada de mais bem traçado e mais bem arborizado que as ruas da Liberdade e da Consolação, que levam a essa esplêndida Avenida Paulista, à qual eu não saberia comparar senão certas avenidas de Nova York, onde a fantasia dos milionários americanos encerra, no verde das grandes árvores e da policromia ds canteiros dos jardins, seus palácios de elegantes esculturas, como se encaixa o diamante de valor, com múltiplas facetas, nos engastes das esmeraldas e rubis. Citaram-me, por alto, os principais proprietários dessas luxusas residências. Aqui, um grande nome de velha cepa portuguesa; lá um protegido da fortuna, sem mérito, pequeno mercador ambulante há vinte e cinco anos e hoje um grande senhor, em que a Itália reconhecerá facilmente algum descendente desses antigos venezianos ou genoveses que traziam, de suas viagens e dos seu comércio, muito ouro inesperado, com o qual produziam muita arte em seu país e algumas obras de enemerência. É agradável saber que, em nossa época de oportunismo pecuniário, há ainda alguns homens que sabem ao menos dar, ao supérfluo de sua rápida fortuna, um emprego que enobrece suas humildes origens”.
+L.A. Gafrée, padre francês, em Visions du Brésil (1912)
+ 
+Alguns eventos se realizam na avenida anualmente: seu popular réveillon com shows e queima de fogos, a Corrida de São Silvestre, desde 1924; e a Parada do Orgulho LGBT, desde 1997. Foi o cenário da minissérie Avenida Paulista, exibida pela TV Globo, entre 10 e 28 de maio de 1982. Em 1987, foi lançado o Álbum Iconográfico da Avenida Paulista, do historiador, arquiteto e urbanista Benedito Lima de Toledo (1934-2019). Na capa, um registro de Guilherme Gaensly (1843 – 1928).
+ 
+
+ 
+“Entre as avenidas, ruas e praças que mais realçam a beleza da cidade contam-se a magnífica Praça da República, a soberba Avenida Paulista com uma esplêndida arborização e ladeada por palacetes e residências de nobre arquitetura a qual todo paulista menciona com justo orgulho…Na parte sul, as ruas principais são Liberdade, Santo Amaro e Consolação, que todas vão ter à soberba Avenida Paulista, a rua nobre da cidade, asfaltada e profusamente arborizada e iluminada”.
+Impressões do Brasil no Século Vinte, editado em Londres, em 1913
+Sobre os fotógrafos
+Guilherme Gaensly (1843 – 1928)
+Guilherme Gaensly (1843 – 1928) nasceu em Wellhausen, cantão de Thurgau, e foi para Salvador, na Bahia, aos 5 anos de idade. Em 1871, após um período de aprendizado no ateliê de Alberto Henschel (1827 – 1882) na capital baiana, estabeleceu-se como fotógrafo. Destacou-se como retratista e como fotógrafo de paisagens urbanas e rurais. Em 1882, Rodolpho Lindemann (c. 1852 – 19?) tornou-se seu sócio e, em 1894, a próspera empresa Gaensly & Lindemann abriu uma filial em São Paulo, onde Gaensly foi morar.
+Foi o autor de importantes registros de São Paulo, vendidos como fotografias em papel albuminado e colotipias impressas na Suíça e comercializadas em álbuns. Ao lado de seu contemporâneo Marc Ferrez (1843 – 1923), foi provavelmente o fotógrafo mais publicado em postais no Brasil.
+Apesar de nunca ter sido o fotógrafo oficial de São Paulo, como foi Augusto Malta (1864 – 1957) no Rio de Janeiro, Gaensly foi o autor de uma abrangente obra sobre a capital paulista nas primeiras décadas do século XX, o que o coloca nessa posição. Ele e Militão Augusto de Azevedo (1837 – 1905) são considerados os fotógrafos que mais cultuaram São Paulo. Gaensly fotografou a cidade em plena transição para a modernidade, tendo registrado todos os aspectos urbanos da nova metrópole que surgia. Registrou a inauguração dos bondes elétricos que substituíram as carroças, o Jardim da Luz, a agitação do comércio na região do entorno da Praça da Sé, o crescimento da Avenida Paulista, além de palacetes, chácaras, edifícios públicos, igrejas, escolas, teatros e hospitais. Essas vistas de São Paulo foram comercializadas em álbuns impressos na Suíça a partir de fotografias em papel albuminado e de colotipias. Fotografou também a chegada de imigrantes italianos em Santos e em São Paulo. Dentre os prêmios que recebeu, está uma medalha de prata conquistada na Exposição Universal de Saint Louis, em 1904.
+Acessando o link para as fotografias de São Paulo produzidas por Guilherme Gaensly, disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Guilherme Gaensly. Avenida Paulista, 1902?. São Paulo, SP / Acervo FBN
+ 
+Frédéric Manuel (18? – 19?)
+As fotografias paulistanas de Frédéric Manuel (18? – 19?), sobre quem há ainda pouquíssima informação, foram realizadas em 1906 para Menotti Levi (18? – 19?), editor do Guia Levi, publicado, em São Paulo, de 1899 a meados até 1984 (Jornal do Brasil, 19 de novembro de 1900, penúltima coluna; A Notícia (RJ), 27 e 28 de agosto de 1906, segunda coluna), cuja utilidade já está comprovada pela aceitação que o público lhe dispensa (Correio Paulistano, 5 de fevereiro de 1905, penúltima coluna). O Guia Levi era uma publicação mensal de horários de trens, de bondes e outras informações úteis (Correio Paulistano, 8 de agosto de 1908, penúltima coluna), Uma curiosidade: o grande arquiteto e urbanista paulistano Rino di Menotti Levi (1901 – 1965) é filho de Menotti Levi.
+ 
+Almanak Hénault, 1910
+ 
+Frédéric Manuel. Avenida Paulista, 1906. São Paulo, SP / Acervo FBN
+ 
+Acessando o link para as fotografias de São Paulo produzidas por Frédéric Manuel, disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+As duas imagens abaixo foram produzidas por fotógrafos ainda não identificados.
+ 
+Parque Municipal, 1912-193?. Avenida Paulista, São Paulo / Acervo FBN
+ 
+Jardim Parque Municipal : Avenida Paulista, entre 1912 e 193?. Avenida Paulista, São Paulo / Acervo FBN
+ 
+ 
+Link para a palestra de Andrea Ronqui, doutoranda em Artes Visuais na Escola de Comunicações e Artes da USP e mestra em Estética e História da Arte, sobre a história da Avenida Paulista, no youtube do Instituto Moreira Salles, 8 de dezembro de 2021.
+Link para o artigo “Os idealizadores e os realizadores da Avenida Paulista”, de Rocha Azevedo Filho, publicado em O Estado de São Paulo de 29 de novembro de 1952.
+
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+BURGI, Sergio; DIETRICH, Ana Maria; MENDES,Ricardo. Imagens de São Paulo – Gaensly no acervo da Light 1899 – 1925, organização Vera Maria de Barros Ferraz. São Paulo:Fundação Patrimônio Histórico da Energia de São Paulo, 2001.
+COTRIM, Luciana Rossi. Série Avenida Paulista
+Câmara Estadual de São Paulo
+D’ALESSIO, Vito. Avenida Paulista – A síntese da metrópole. São Paulo: Dialeto Latin American Documentary, 2002.
+Enciclopédia Itaú Cultural
+FERNANDES JUNIOR, Rubens;KOSSOY,Boris;SEGAWA, Hugo. Guilherme Gaensly. São Paulo:Cosac Naify, 2011.
+FERREZ, Gilberto; NAEF, Weston J.. Pioneer Photographers of Brazil, 1840-1920. New York: Center for Inter-American Relations, 1976.
+Folha de São Paulo, 21 de janeiro de 2002.
+HANNAVY, John. Encyclopedia of Nineteenth-Century Photography. New York:Taylor and Francis Group, 205.
+Hemeroteca Digital da Biblioteca Nacional
+KOSSOY, Boris. Dicionário histórico-fotográfico brasileiro: fotógrafos e ofício da fotografia no Brasil (1833-1910). São Paulo: Instituto Moreira Salles, 2002. 408 p., il. p&b.
+KOSSOY, Boris. Origens e Expansão da fotografia no Brasil: século XIX. Rio de Janeiro:Funarte, 1980.
+KOSSOY, Boris. São Paulo, 1900. Rio de Janeiro:Editora Kosmos, 1988.
+KOSSOY, Boris;FERNANDES JUNIOR, Rubens;SEGAWA, Hugo. Guilherme Gaensly. São Paulo:Cosac Naify, 2011.
+LAGO, Bia Corrêa do;LAGO, Pedro Corrêa do. Os Fotógrafos do Império. Rio de Janeiro: Capivara, 2005. 240p.:il
+LIMA, Solange Ferraz de. São Paulo na virada do século. As imagens da razão urbana: a cidade nos álbuns fotográficos de 1887 a 1919. São Paulo:Universidade de São Paulo, 1995.
+OLSZEWSKI FILHA, Sofia. A fotografia e o negro na cidade de Salvador, 1840 – 1914. Salvador:EGBA, Fundação Cultural do Estado da Bahia, 1989.
+Portal Terra
+Prefeitura da Cidade de São Paulo
+Projeto São Paulo City
+Revista Crescer
+Revista Época, 8 de março de 2015
+Site Bienal de São Paulo
+Site Enciclopédia Itaú Cultural
+Site O Estado de São Paulo
+Site São Paulo Antiga
+SOARES JUNIOR, Rodrigo. Jorge Tibiriçá e sua época. São Paulo : Companhia Editora Nacional, 1958.
+TEIXEIRA, Cid. Professores de daguerreotipia: eles deixaram a Imagem do Senhor-de-Engenho e Sinhazinhas. Jornal da Bahia, 10 e 11 de novembro de 1963.
+TOLEDO, Benedito Lima de. Álbum iconográfico da Avenida Paulista. São Paulo : Editora Ex-Libris Ltda, 1987.
+TURAZZI, Maria Inez. Poses e trejeitos: a fotografia e as exposições na era do espetáculo: 1839/1889. Prefácio Pedro Karp Vasquez. Rio de Janeiro: Funarte. Rocco, 1995. 309 p., il. p&b. (Coleção Luz & Reflexão, 4). ISBN 85-85781-08-4.
+VASQUEZ, Pedro. Mestres da fotografia no Brasil: Coleção Gilberto Ferrez. Rio de Janeiro: Centro Cultural Banco do Brasil, 1995.
+Veja São Paulo, 24 de janeiro de 2014
+ 
+Links para as outras publicações da série “Avenidas e ruas do Brasil”
+ Série “Avenidas e ruas do Brasil” I – Avenida Central, atual Rio Branco, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 7 de setembro de 2016
+Série “Avenidas e ruas do Brasil” II – A Rua do Imperador em Petrópolis por Klumb, Leuzinger e Stahl, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 26 de junho de 2020
+Série “Avenidas e ruas do Brasil” III – A Rua do Bom Jesus, no Recife, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 6 de agosto de 2020
+Série “Avenidas e ruas do Brasil” IV – A Rua 25 de Março, em São Paulo, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 1º de setembro de 2020
+Série “Avenidas e ruas do Brasil” V – A Rua Direita, a Rua das Mercês e a Rua Macau do Meio, em Diamantina, Minas Gerais, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 22 de outubro de 2020
+Série “Avenidas e ruas do Brasil” VI  – Rua Augusto Ribas e outras, em Ponta Grossa, no Paraná, pelo fotógrafo Luiz Bianchi, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 16 de novembro de 2020
+Série “Avenidas e ruas do Brasil” VII – A Avenida Atlântica, em Copacabana, no Rio de Janeiro, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 23 de dezembro de 2020
+Série “Avenidas e ruas do Brasil VIII – A Rua da Carioca por Cássio Loredano, de autoria de Cássio Loredano, publicada em 20 de janeiro de 2021
+Série “Avenidas e ruas do Brasil” IX – Ruas e panoramas do bairro do Catete, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 14 de julho de 2021
+Série “Avenidas e ruas do Brasil” X – A Rua da Ajuda, no Rio de Janeiro, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 9 de novembro de 2021
+Série “Avenidas e ruas do Brasil” XI – A Rua da Esperança, em São Paulo, por Vincenzo Pastore, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 14 de dezembro de 2021
+Série “Avenidas e ruas do Brasil” XIII – A Rua Buenos Aires no Centro do Rio de Janeiro, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 19 de julho de 2022
+Série “Avenidas e ruas do Brasil” XIV – A Avenida Presidente Vargas,, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 31 de agosto de 2022
+Série “Avenidas e ruas do Brasil” XV – Misericórdia: rua, largo e ladeira, no Rio de Janeiro, por Cássio Loredano, de autoria de Cássio Loredano, publicada em 8 de dezembro de 2022
+Série “Avenidas e ruas do Brasil” XVI – “Alguma coisa acontece no meu coração”, a Avenida São João nos 469 anos de São Paulo, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 25 de janeiro de 2023
+Série “Avenidas e ruas do Brasil” XVII  e série “O Rio de Janeiro desaparecido” XXIII – A Praia e a Rua do Russel, na Glória, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 15 de maio de 2023
+Série “Avenidas e ruas do Brasil” XVIII – Avenida Beira-Mar, de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal, publicada em 22 de janeiro de 2024
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/10315` — `itens/20.500.12156.1_10315/`
+- `20.500.12156.1/980` — `itens/20.500.12156.1_980/`
+- `20.500.12156.1/990` — `itens/20.500.12156.1_990/`
+- `20.500.12156.1/10313` — `itens/20.500.12156.1_10313/`
+- `20.500.12156.1/979` — `itens/20.500.12156.1_979/`
+- `20.500.12156.1/1069` — `itens/20.500.12156.1_1069/`
+- `20.500.12156.1/4047` — `itens/20.500.12156.1_4047/`
+- `20.500.12156.1/4046` — `itens/20.500.12156.1_4046/`
+
diff --git a/wordpress/26587-serie-o-rio-de-janeiro-desaparecido-xvii-igreja-sao-pedro-dos-clerigos.md b/wordpress/26587-serie-o-rio-de-janeiro-desaparecido-xvii-igreja-sao-pedro-dos-clerigos.md
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@@ -0,0 +1,182 @@
+---
+id: 26587
+url: "https://brasilianafotografica.bn.gov.br/?p=26587"
+titulo: "Série “O Rio de Janeiro desaparecido” XVII – Igreja São Pedro dos Clérigos"
+autor: "Andrea Wanderley"
+data: "2022-03-18T09:58:08+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/8059", "20.500.12156.1/3008"]
+fetched_at: "2026-09-10T10:09:17.002Z"
+---
+
+# Série “O Rio de Janeiro desaparecido” XVII – Igreja São Pedro dos Clérigos
+
+No 17º artigo da Série O Rio de Janeiro desaparecido o tema é a Igreja São Pedro dos Clérigos. As fotografias são de Marc Ferrez (1843 – 1923), o mais importante cronista visual das paisagens e dos costumes cariocas da segunda metade do século XIX e do início do século XX; e do alagoano Augusto Malta (1864 – 1957), que foi o fotógrafo oficial da prefeitura do Rio de Janeiro de 1903 a 1936. O cargo foi criado para ele pelo prefeito Francisco Pereira Passos (1836 – 1913).
+Foi em 1733 que a Igreja São Pedro dos Clérigos começou a ser construída na região central do Rio de Janeiro, na esquina das ruas São Pedro, que na época chamava-se rua dos Carneiro, e dos Ourives, atual rua Miguel Couto. Utilizando a ferramenta zoom, o leitor poderá magnificar a imagem abaixo e ver claramente as placas indicando a rua do Ourives e a Drogaria Araújo Freitas & Cia, além do calçamento e dos detalhes arquitetônicos da igreja. Há ainda pedestres na rua e uma charrete.
+ 
+Marc Ferrez. Igreja São Pedro dos Clérigos, c. 1890. Rio de Janeiro, RJ / Acervo IMS
+ 
+O terreno onde foi construída a Igreja São Pedro dos Clérigos ou Igreja do Príncipe dos Apóstolos foi doado pelo irmão Franciso Barreto de Menezes, em 9 de outubro de 1732. Foi edificada pelo bispo dom Antonio Guadalupe, que também realizou uma doação particular. Ficou pronta em 1738 e era considerada uma jóia do barroco. Seu interior era decorado por um rico trabalho do mineiro Mestre Valentim (1745 – 1813), um dos principais artistas do Brasil colonial. Era propriedade da Venerável Irmandade do Príncipe dos Apóstolos de São Pedro.
+ 
+Busto do Mestre Valentim, no Passeio Público do Rio de Janeiro / Wikipedia
+ 
+Interior da Igreja de São Pedro dos Clérigos, no Rio de Janeiro/ Site José Maurício Nunes Garcia
+ 
+A autoria de seu projeto é controversa. Segundo a tese de doutorado de Luís Alberto Ribeiro Freire, A Talha Neoclássica na Bahia, Universidade do Porto, 2001:
+“ O livro de tombo não nos informa, assim como nenhum outro documento encontrado nos arquivos da irmandade, da autoria do projeto da igreja. No entanto, Moreira de Azevedo cita o engenheiro militar Tenente-Coronel José Cardoso Ramalho como o autor do risco, baseando-se, para tanto, na tradição oral e numa informação que teria recebido diretamente de descendentes do referido militar, que teriam afirmado ser dele a autoria da igreja de São Pedro, assim como também a de Nossa Senhora da Glória do Outeiro. Souza Viterbo contestou esta autoria comprovando que o Tenente-Coronel somente teria se instalado na capitania do Rio de janeiro em 1738, portanto ao final já da construção. Apesar disso, constatou-se posteriormente que o tenente-coronel poderia, ainda assim, ter sido o autor do risco, pois durante dez anos antes de ter tomado posse de seu posto no Rio de Janeiro, a serviço do rei, escoltava constantemente as frotas que da metrópole vinham ao Brasil.”  
+A igreja tinha uma planta elíptica, hoje só encontrada na Igreja Nossa Senhora do Rosário dos Pretos, em Ouro Preto, Minas Gerais. É também uma das igrejas brasileiras que se enquadram na tipologia curvilínea barroca, assim como a da Lapa dos Mercadores, no Rio de Janeiro, e outras igrejas em Minas Gerais, dentre elas a Igreja de Nossa Senhora do Rosário, em Ouro Preto; e a de São Pedro dos Clérigos, em Mariana.
+ 
+Planta da Igreja São Pedro dos Clérigos / Coisas da Arquitetura
+ 
+ 
+Revista do Patrimônio Histórico e Artístico Nacional 
+ 
+A Noite, 21 de julho de 1943
+ 
+O mineiro Manoel Vieira dos Santos tornou-se o benfeitor da igreja quando doou, em 1764, 42,000 cruzados para o estabelecimento de um coro de seis sacerdotes na igreja. No mesmo ano, o bispo Antonio do Desterro (1694 – 1773) concedeu a licença, declarando que a irmandade jamais poderia dispor do patrimônio e do rendimento para despesas estranhas àquela instituição.
+Foi uma das primeiras igrejas tombadas pelo Serviço do Patrimônio Histórico e Artístico Nacional – SPHAN -, criado em  em 13 de janeiro de 1937. O SPHAN é o atual Instituto do Patrimônio Histórico e Artístico Nacional – IPHAN. O tombamento deveria ser a garantia para sua conservação e permanência, porém a Igreja São Pedro dos Clérigos foi demolida, em 1944, durante o Estado Novo, devido à construção da avenida Presidente Vargas, um projeto de modernidade do governo de Getulio Vargas (1882 – 1954) que promulgou, em 29 de novembro de 1941, o Decreto-Lei 3866 de destombamento de bens do patrimônio histórico. Havia, na época, um pensamento segundo o qual resolver os problemas da cidade era solucionar seus problemas de tráfego.
+ 
+Traçado das ruas do Rio de Janeiro no século XVIII, localizando a Rua de São Pedro, a futura Avenida Presidente Vargas e a Igreja de São Pedro dos Clérigos / Coisas da Arquitetura
+ 
+DECRETO-LEI Nº 3.866, DE 29 DE NOVEMBRO DE 1941
+Dispõe sobre o tombamento de bens no Serviço do Patrimônio Histórico e Artístico Nacional      
+O Presidente da República, usando da atribuição que lhe confere o art. 180 da Constituição,
+       DECRETA:
+       Artigo único. O Presidente da República, atendendo a motivos de interesse público, poderá determinar, de ofício ou em grau de recurso, interposto pôr qualquer legítimo interessado, seja cancelado o tombamento de bens pertencentes à União, aos Estados, aos municípios ou a pessoas naturais ou jurídicas de direito privado, feito no Serviço do Patrimônio Histórico e Artístico Nacional, de acordo com o decreto-lei nº 25, de 30 de novembro de 1937.
+       Rio de Janeiro, 29 de novembro de 1941, 120º da Independência e 53º da República.
+Getulio Vargas
+Gustavo Capanema
+Este texto não substitui o publicado no D.O.U. de 31.12.1941
+Foi publicada a reportagem Vestígios da arte grega nos templos cariocas, com uma breve história e uma descrição da Igreja de São Pedro dos Clérigos e de suas raridades artísticas (Diário da Noite, 23 de julho de 1943).
+ 
+Diário da Noite, 23 de julho de 1943
+ 
+Rodrigo de Melo Franco Andrade (1898–1969), diretor do SPHAN, tentou evitar a demolição. Houve uma grande polêmica, protestos de fiéis, de engenheiros, de historiadores e de arquitetos.
+O então prefeito do Rio de Janeiro, Henrique Dodsworth (1895 – 1975), pensou na possibilidade de deslocar o prédio da igreja para a lateral da avenida Presidente Vargas, utilizando-se, para este fim, rolos de concreto de 60 cm de diâmetro (Illustração Brasileira, agosto de 1943; A Noite, 21 de setembro de 1943).
+ 
+A Noite, 21 de setembro de 1943
+ 
+A Noite, 21 de setembro de 1943
+ 
+“O projeto consistia em substituir a parte inferior das paredes da igreja por concreto. Sob o concreto seriam colocados rolos que serviriam para deslocar a igreja até o outro lado da avenida. A Franki, uma empresa de fundações e infra-estrutural tinha tido sucesso na Europa no transporte de construções sobre rolos de aço. Mas aqui no Brasil surgiu a idéia de usar rolos de concreto, cujos estudos foram realizados pelo Prof. Fernando Lobo Carneiro”. 
+Coisas da Arquitetura
+ 
+Mapa da Avenida Presidente Vargas localizando a Igreja de São Pedro dos Clérigos / Coisas da Arquitetura
+ 
+ 
+A Noite, 21 de julho de 1943
+ 
+Foi publicada uma matéria sobre as demolições já concluídas e as que ainda seriam realizadas para a abertura da avenida Presidente Vargas, dentre elas a da Igreja de São Pedro dos Clérigos (A Noite, 5 de novembro de 1943, primeira página, penúltima coluna e página 3, sexta coluna). Instalou-se uma polêmica em torno da remoção (Diário da Noite, 1º de dezembro de 1943).
+ 
+ 
+Diário da Noite, 1º de dezembro de 1943
+ 
+Dodsworth (1895 – 1975), começou a ser ridicularizado devido a esse projeto de deslocamento da igreja. Consultou a Franki, empresa de fundações e infra-estruturas, que tinha tido sucesso na Europa no transporte de construções sobre rolos de aço, sobre a garantia do transporte do prédio da igreja e o diretor da empresa disse que não poderia dar essa garantia devido à  heterogeneidade das paredes. Havia a possibilidade de um acidente que poderia causar o desmoronamento do igreja. Diante disso, Dodsworth optou pela demolição (Diário da Noite, 11 de fevereiro de 1944).
+ 
+Primeira página do Diário da Noite, 11 de fevereiro de 1944
+ 
+Augusto Malta. Igreja São Pedro dos Clérigos, s/d. Rio de Janeiro, RJ / Acervo FBN
+ 
+Na década de  1940, a cidade vivia a febre do progresso. O nascimento da avenida condenou ao desaparecimento outras três igrejas que estavam em seu caminho: a de São Domingos, de 1791, que ficava no largo de mesmo nome, na altura da Avenida Passos; a de Bom Jesus do Calvário, de 1719, na esquina da Rua Bom Jesus do Calvário com a da Vala, onde hoje é a Rua Uruguaiana; e a de de Nossa Senhora da Conceição, de 1757, na altura da atual Rua da Conceição. Uma curiosidade: o grande músico brasileiro, padre José Maurício Nunes Garcia (1767 – 1830), considerado o mais importante compositor brasileiro do fim do século XVIII e início do XIX; e o poeta Manuel Ignácio Silva Alvarenga (1749 – 1814) foram sepultados na Igreja São Pedro dos Clérigos.
+“Antes da demolição, foram retirados todo o mobiliário, o altar e as talhas de Mestre Valentim, além de portas, janelas e partes da construção que poderiam ser usadas numa futura recomposição do templo, o que nunca aconteceu. Por esse motivo, pedaços da bela São Pedro dos Clérigos foram distribuídos por museus, fundações e outras paróquias. A imagem do altar-mor e a portada principal foram reutilizadas na nova Igreja de São Pedro, na Avenida Paulo de Frontin, no Rio Comprido. Duas cabeças de anjos e uma parte do retábulo estão no Museu de Arte Sacra da Arquidiocese do Rio de Janeiro. E uma das portas foi parar no Palácio Assunção, no Sumaré”.
+O GLOBO, 7 de setembro de 2014
+ 
+Interior da Igreja São Pedro dos Clérigos – Coro e órgão – IPHAN
+ 
+O desmonte da igreja e a dispersão das suas peças por acervos públicos e coleções particulares alimentou durante anos o mercado de artes. A imagem venerada no altar-mor de São Pedro, representado em trajes pontificiais e assentado em sua cátedra; e a portada principal da capela se encontram na Igreja de São Pedro, construída no Rio Comprido.
+A rua de São Pedro, onde ficava a igreja e que havia sido aberta antes de 1620, também desapareceu para dar passagem à avenida Presidente Vargas. Havia se chamado rua Antônio Vaz Viçoso e rua do Carneiro, mas durante a construção da igreja passou a ser conhecida como rua de São Pedro. Em 1817, passou a ser, oficialmente denominada rua Desembargador Antonio Cardoso, mas permaneceu sendo designada São Pedro.
+Todas as peças históricas da Igreja de São Pedro dos Clérigos foram fotografadas pelo SPHAN, atual IPHAN, para facilitar os trabalhos de uma futura reconstrução, que nunca aconteceu. Foram divulgadas no livro Réquiem pela Igreja de São Pedro: um patrimônio perdido e exibidas durante a exposição homônima, comemorativa do cinquentenário da SPHAN, em 1987, realizada pelo SPHAN e pela Casa de Rui Barbosa. Algumas estão publicadas no Ensaio de Compressão Diametral Prof. Fernando Lobo Carneiro, com notas de aula de Eduardo C.S Thomas, entre as páginas 73 e 91.
+ 
+Capa do livro Réquiem pela Igreja de São Pedro um patrimônio perdido
+ 
+Igreja de São Pedro dos Clérigos (1733 – demolida em 1944) *
+Cássio Loredano
+Com que dor escreveria Sandra Alvim a palavra demolida – tantas dezenas de vezes em sua monumental Arquitetura religiosa colonial no Rio de Janeiro -, toda vez que trata da igreja de São Pedro dos Clérigos. “Traçado primoroso”, diz ela, formado pela interseção de arcos de circunferência, resultado de “elevado grau de elaboração formal”; inestimável documento da incipiente independência e formação da identidade do mestre-de-obras brasileiro em relação à Metrópole, superando as “rígidas limitações estéticas lusas”; primeira igreja da colônia a ter cobertura em cúpula coroada por zimbório com lanternim. Demolida em 1944. Ficava na velha rua de São Pedro, igualmente atropelada pela abertura da avenida Presidente Vargas.
+Dois anos antes, já tinham sido postas abaixo a pequenina ermida de São Domingos (1706, reconstruída em 1791) e a igreja do Bom Jesus do Calvário, de 1796, todas no caminho da violência poluente, inclemente, que vai da Candelária à Praça da Bandeira. “Demolidas em 1942″, escreve a professora Sandra. Demolidas. As fotos são de cortar o coração.
+*Esse texto, acompanhado de fotografias do acervo dos Diários Associados do Rio de Janeiro, adquirido pelo Instituto Moreira Salles, foi publicado em 13 de setembro de 2018 na seção Por dentro dos acervos, do site do IMS
+ 
+Diário de Notícias, 18 de maio de 1944
+ 
+Gravura de Debret / Ensaio de Compressão Diametral Prof. Fernando Lobo Carneiro
+ 
+Link para o samba Bom dia Avenida!, sobre a avenida Presidente Vargas, composição de Herivelto Martns e Grande Otelo, interpretada pelo Trio de Ouro, formado por Dalva de Oliveira, Herivelto Martins e Nilo Chagas.
+ 
+“Lá vem a nova avenida 
+Remodelando a cidade 
+Rompendo prédios e ruas 
+Os nossos patrimônios de saudade 
+É o progresso! 
+E o progresso é natural 
+Lá vem a nova avenida 
+Dizer à sua rival 
+Bom dia Avenida Central! 
+A União das Escolas de Samba 
+Respeitosamente fez o seu apelo 
+Três e duzentos de selo! 
+Requereu e quer saber 
+Se quem viu Praça Onze acabar 
+Tem direito à Avenida 
+Em primeiro lugar 
+Nem que seja depois de inaugurar! 
+Nem que seja depois de inaugurar!”
+ 
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+ALVIM, Sandra. Arquitetura Religiosa Colonial no Rio de Janeiro. Rio de Janeiro: UFRJ; IPHAN, Prefeitura da Cidade do Rio de Janeiro. 1999.
+AZEVEDO, Moreira de. A Igreja de São Pedro  in O Rio de Janeiro: Sua História, Monumentos, Homens Notáveis, Usos e Curiosidades. Rio de Janeiro: B. L. Garnier, 1877. 2 v.
+BARATA, Cau. Rio Antigo - Igreja de São Pedro dos Clérigos. Youtube, 2010.
+Blog Rio Curioso
+BURY, John. Arquitetura e Arte no Brasil Colonial. IPHAN/Monumenta. Brasília, 2006.
+Coisas da Arquitetura
+FREIRE, Luiz Alberto Ribeiro. A Talha Neoclássica na Bahia. Rio de Janeiro : Versal Editores, 2006.
+GERSON, Brasil. História das Ruas do Rio. Rio de Janeiro: Bem-Te-Vi, 2013.
+HOLLANDA, Daniela Maria Cunha de. A barbárie legitimada: A demolição da Igreja de São Pedro dos Clérigos do Rio de Janeiro. Rio de Janeiro : EDUERJ, 2014.
+Música Brasilis
+OLIVEIRA, Myriam A. R.; JUSTINIANO, Fátima. Barroco e Rococó nas Igrejas do Rio de Janeiro. Roteiros do Patrimônio, IPHAN/Monumenta. Brasília,2006.
+PEREIRA, André Luiz T. Notas Sobre o Patrimônio Artístico das Irmandades de São Pedro dos Clérigos. I Encontro de História da Arte, São Paulo, 2005.
+O Globo, 7 de setembro de 2014
+Rio de Antigamente
+Rio Memórias
+Secretária das Culturas/ Arquivo da Cidade. Memória da Destruição: Rio – Uma história que se perdeu. Prefeitura do Rio de Janeiro, 2002.
+Site José Maurício Nuno Garcia
+THOMAS, Eduardo C.S. Ensaio de Compressão Diametral Prof. Fernando Lobo Carneiro
+ 
+Links para os outros artigos da Série O Rio de Janeiro desaparecido
+ 
+Série O Rio de Janeiro desaparecido I - Salas de cinema do Rio de Janeiro do início do século XX, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 26 de fevereiro de 2016.
+Série O Rio de Janeiro desaparecido II – A Exposição Nacional de 1908 na Coleção Família Passos, de autoria de Carla Costa, historiadora do Museu da República, publicado na Brasiliana Fotográfica, em 5 de abril de 2018.
+Série O Rio de Janeiro desaparecido III – O Palácio Monroe, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica, em 9 de novembro de 2016.
+Série O Rio de Janeiro desaparecido IV - A via elevada da Perimetral, de autoria da historiadora Beatriz Kushnir, publicado na Brasiliana Fotográfica em 23 de junho de 2017.
+Série O Rio de Janeiro desaparecido V – O quiosque Chopp Berrante no Passeio Público, Ferrez, Malta e Charles Dunlop, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 20 de julho de 2018.
+Série O Rio de Janeiro desaparecido VI – O primeiro Palácio da Prefeitura Municipal do Rio de Janeiro, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 12 de setembro de 2018.
+Série O Rio de Janeiro desaparecido VII – O Morro de Santo Antônio na Casa de Oswaldo Cruz, de autoria de historiador Ricardo Augusto dos Santos da Casa de Oswaldo Cruz, publicado na Brasiliana Fotográfica em 5 de fevereiro de 2019.
+Série O Rio de Janeiro desaparecido VIII – A demolição do Morro do Castelo, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 30 de abril de 2019.
+Série O Rio de Janeiro desaparecido IX – Estrada de Ferro Central do Brasil: estação e trilhos, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 12 de novembro de 2019.
+Série O Rio de Janeiro desaparecido X – No Dia dos Namorados, um pouco da história do Pavilhão Mourisco em Botafogo, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 12 de junho de 2020.
+Série O Rio de Janeiro desaparecido XI – A Estrada de Ferro do Corcovado e o mirante Chapéu de Sol, de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 22 de julho de 2021.
+Série O Rio de Janeiro desaparecido XII – o Teatro Lírico (Theatro Lyrico), de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 15 de setembro de 2021.
+Série O Rio de Janeiro desaparecido XIII – O Convento da Ajuda, de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 12 de outubro de 2021.
+Série O Rio de Janeiro desaparecido XIV – O Conselho Municipal, de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 19 de novembro de 2021.
+Série O Rio de Janeiro desaparecido XV – A Praia de Santa Luzia no primeiro dia do verão, de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 21 de dezembro de 2021.
+Série O Rio de Janeiro desaparecido XVI – O prédio da Academia Imperial de Belas Artes, de autoria de Andrea C.T. Wanderley, publicado na Brasiliana Fotográfica em 13 de janeiro de 2022.
+Série O Rio de Janeiro desaparecido XVIII – A Praça Onze, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 20 de abril de 2022.
+Série O Rio de Janeiro desaparecido XIX – A Igrejinha de Copacabana, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 23 de junho de 2022.
+Série O Rio de Janeiro desaparecido XX – O Pavilhão dos Estados, futuro prédio do Ministério da Agricultura, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 26 de julho de 2022.
+Série O Rio de Janeiro desaparecido XXI – O Chafariz do Largo da Carioca, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 19 de setembro de 2022. 
+Série O Rio de Janeiro desaparecido XXII – A Cadeia Velha que deu lugar ao Palácio Tiradentes, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 11 de abril de 2023
+Série O Rio de Janeiro desaparecido XXIII e Avenidas e ruas do Brasil XVII - A Praia e a Rua do Russel, na Glória, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 15 de maio de 2023
+Série O Rio de Janeiro desaparecido XXIV – O luxuoso Palace Hotel, na Avenida Rio Branco, uma referência da vanguarda artística no Rio de Janeiro, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 4 de julho de 2023
+Série O Rio de Janeiro desaparecido XXV – O Theatro Phenix, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 5 de setembro de 2023
+Série O Rio de Janeiro desaparecido XXVI – Conclusão do arrasamento do Morro do Castelo por Augusto Malta, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 14 de dezembro de 2023
+Série O Rio de Janeiro desaparecido XXVII e Série Os arquitetos do Rio de Janeiro V – O Jockey Club e o Derby Club, na Avenida Rio Branco e o arquiteto Heitor de Mello (1875 – 1920), de autoria de Andrea c. T. Wanderley, editora e pesquisadora do portal, em 15 de janeiro de 2024
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/8059` — `itens/20.500.12156.1_8059/`
+- `20.500.12156.1/3008` — `itens/20.500.12156.1_3008/`
+
diff --git a/wordpress/26620-serie-1922-hoje-ha-100-anos-ii-a-semana-de-arte-moderna.md b/wordpress/26620-serie-1922-hoje-ha-100-anos-ii-a-semana-de-arte-moderna.md
new file mode 100644
index 0000000..5edaed4
--- /dev/null
+++ b/wordpress/26620-serie-1922-hoje-ha-100-anos-ii-a-semana-de-arte-moderna.md
@@ -0,0 +1,601 @@
+---
+id: 26620
+url: "https://brasilianafotografica.bn.gov.br/?p=26620"
+titulo: "Série “1922 – Hoje, há 100 anos” II – A Semana de Arte Moderna"
+autor: "Andrea Wanderley"
+data: "2022-02-13T08:31:07+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/10290", "20.500.12156.1/10288", "20.500.12156.1/10289", "20.500.12156.1/4255", "20.500.12156.1/8907"]
+fetched_at: "2026-09-10T10:09:22.707Z"
+---
+
+# Série “1922 – Hoje, há 100 anos” II – A Semana de Arte Moderna
+
+A Brasiliana Fotográfica publica o 2º artigo da Série 1922 – Hoje, há 100 anos, A Semana de Arte Moderna, com fotografias de Mário de Andrade (1893 – 1945) e Oswald de Andrade (1890 – 1954), cujas participações foram fundamentais no evento, realizado no Teatro Municipal de São Paulo, em fevereiro de 1922.  Hoje, o primeiro dos três Grandes Festivais realizados durante o evento completa 100 anos.
+Mário e Oswald se conheceram, na década de 1910. Na história do Modernismo brasileiro a versão dominante é que eles se encontraram pela primeira vez, em 1917, no Conservatório Dramático e Musical de São Paulo, mas há indícios de que eles haviam se conhecido anos antes. Foram amigos até 1929 (1).
+“Enquanto Oswald de Andrade era o devasso, o piadista, Mário era o “scholar”, o erudito, o monumento moral, imagem que incomodava o próprio escritor: “Me vejo convertido a erudito respeitável e, o que é pior, respeitado. Isso me queima de vergonha”, escreveu em 1942 ao jornalista e crítico Moacir Werneck de Castro”.
+José Geraldo Couto e Mario Cesar Carvalho
+Folha de São Paulo, 26/09/1993
+ 
+O leitor poderá ler, além de um pouco sobre a densa história da Semana, que na comemoração de seu centenário tem suscitado reinterpretações, brevíssimos perfis dos escritores Mário de Andrade e Oswald de Andrade e dos fotógrafos autores das imagens de ambos publicadas neste artigo: Benedito Junqueira Duarte (1910 – 1995), Jorge de Castro (19? -?) e Kasys Vosylius (1895 – 19?). As fotos pertencem à Fundação Biblioteca Nacional, uma das instituições fundadoras da Brasiliana Fotográfica.
+ 
+Kasys Kosilius. Mário de Andrade, 193?. Rio de Janeiro, RJ / Acervo FBN
+ 
+Acessando o link para as fotografias de Mário de Andrade e de Oswald de Andrade disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Jorge de Castro. Oswald de Andrade, 1940-1947. Rio de Janeiro, RJ / Acervo FBN
+ 
+Benedito Junqueira Duarte. Mário de Andrade, 1930. Rio de Janeiro / Acervo FBN
+ 
+A Semana de Arte Moderna de 1922, que contou com uma exposição de arquitetura, escultura e pintura, além de três festivais lítero-musicais (2), é considerado um marco no lançamento do Modernismo no Brasil. O escritor Graça Aranha (1868 – 1931) fez a conferência inaugural do evento, intitulada A emoção estética na arte moderna. 
+ 
+Catálogo e cartaz da Semana de Arte Moderna, produzidos por Di Cavalcanti
+ 
+Figuras de destaque da Semana foram os artistas plásticos Anita Malfatti (1889 – 1964), Di Cavalcanti (1897 – 1976), Vicente do Rego Monteiro (1899 – 1970) e Zina Aita (1900 – 1967); os poetas Guilherme de Almeida (1890 – 1969), Menotti del Picchia (1892 – 1988) e Ronald de Carvalho (1893 – 1935); os escultores Victor Brecheret (1894 – 1955) e Wilhelm Haarberg (1891 – 1986); os arquitetos Antonio Moya (1891 – 1949) e Georg Przirembel (1885 – 1956); a dançarina Yvonne Daumerie (19? -1977) e os músicos Ernani Braga (1888 – 1948), Guiomar Novaes (1895 – 1979), Lucilia Villa-Lobos (1886 – 1966), Paulina d´Ambrosio (1892 – 1976) e Heitor Villa-Lobos (1887 – 1959), dentre outros (Correio Paulistano, 29 de janeiro, quinta coluna; 2 de fevereiro, penúltima coluna; 7 de fevereiro, sexta coluna; 9 de fevereiro, quinta coluna, resposta à crítica de José Maria Bello; 11 de fevereiro, penúltima coluna; 13 de fevereiro, última coluna; 15 de fevereiro, quinta coluna, comentário de Guiomar Novaes sobre a apresentação musical do dia 13; 15 de fevereiro, quinta coluna; 16 de fevereiro, sexta coluna; 18 de fevereiro, quarta coluna; de 1922; A Gazeta (SP), 3 de fevereiro, quinta coluna; A Vida Moderna (SP), 23 de fevereiro de 1922; America Brasileira: Resenha da Activida Nacional, março de 1922; Careta, 1º de abril de 1922).
+ 
+Correio Paulistano, 13 de fevereiro de 1922
+ 
+Correio Paulistano, 14 de fevereiro de 1922
+ 
+Correio Paulistano, 16 de fevereiro de 1922
+ 
+“Com o triunfo de ontem, terminou a gloriosa Semana de Arte Moderna. Que ficou dela? De pé – germinando – a grande ideia. Dos vencidos, alguns latidos de cães e cacarejos de galinhas…”
+Helios, pseudônimo de Menotti del Picchia
+Correio Paulistano, 18 de fevereiro de 1922
+Abaixo, um registro do Teatro Municipal de São Paulo, palco da Semana de 22, realizado pelo fotógrafo suíço Guilherme Gaensly (1843 – 1928).
+ 
+Guilherme Gaensly. Teatro Municipal, c. 1915. São Paulo, SP / Acervo IMS
+ 
+Dias após o término da Semana, em 17 de fevereiro, foi publicada uma carta de Menotti del Picchia ao crítico Oscar Guanabarino (1851 – 1937) que, no Jornal do Commercio do dia anterior, havia feito comentários negativos sobre a Semana (Jornal do Commercio, 22 de fevereiro de 1922 – praticamente ilegível; Correio Paulistano, 23 de fevereiro de 1922). O mesmo Guanabarino publicou, no periódico Vida Moderna, de 3 de março de 1922, uma Chronica…carnavalesca, citando vários participantes da Semana.
+Cerca de cinco anos antes, uma outra crítica, intitulada A propósito da exposição Malfatti (3), escrita por Monteiro Lobato (1882 – 1948) e veiculada pelo O Estado de São Paulo, em 20 de dezembro de 1917, causou divergências e foi uma espécie de estopim da Semana de Arte Moderna de 1922. Ele elogiava o talento da pintora e lamentava sua opção pela arte moderna. A partir da crítica de Lobato, pintores como Tarsila do Amaral (1886 – 1973) e Pedro Alexandrino Borges (1856 – 1942) e o escritor Oswald de Andrade, dentre outros, se aproximaram de Malfatti e se juntaram a críticos, como Mário de Andrade, e alavancaram o movimento modernista em Sâo Paulo.
+A icônica Exposição de Pintura Moderna, de Anita Malfatti, aconteceu na rua Líbero Badaró, 111 (atual número 338), em um salão térreo cedido pelo conde Antônio de Toledo Lara, em São Paulo, e foi inaugurada em 12 de dezembro de 1917 e encerrada em 11 de janeiro de 1918, dia em que foi publicada uma crítica de Oswald de Andrade, no Jornal do Commercio, elogiando a mostra. Foram exibidas obras que se tornaram importantes na história da arte moderna brasileira como A Estudante Russa, O Japonês, Tropical e O Homem Amarelo. Este último foi comprado posteriormente por Mário de Andrade. Em uma de suas visitas à exposição, que foi um sucesso de público e visitada por diversos artistas e personalidades importantes da vida paulistana, Mário presenteou Anita com um soneto sobre o quadro. Além de 53 obras de Mafaltti, foram apresentados trabalhos de artistas internacionais  como Floyd O’Neale, Sara Friedman e Abraham S. Baylinson (1882−1950) (O Estado de São Paulo, 23 e 25 de dezembro de 1917; 27 de janeiro de 2019).
+ 
+O Homem Amarelo, quadro de Anita Malfatti exposto em 1917 e comprado por Mário de Andrade – Reprodução fotográfica de Rômulo Fialdini / Enciclopédia Itaú Cultural
+ 
+Curiosamente, não foi encontrada, até hoje, nenhuma fotografia da Semana de Arte Moderna. Até pouco tempo, acreditava-se que o registro fotográfico abaixo fosse o único do evento, mas descobriu-se que, na verdade, foi produzido durante um almoço em homenagem o exportador de café Paulo da Silva Prado (1869 – 1943) nos salões do Hotel Terminus, que ficava à rua Brigadeiro Tobias, esquina com Washington Luís, em São Paulo, ocorrido possivelmente em 12 ou 19 de março de 1924 (Folha de São Paulo, 13 de outubro de 2019).
+ 
+
+ 
+Folha de São Paulo, 13 de outubro de 2019
+ 
+Brevíssimos perfis de Mário de Andrade, de Oswald de Andrade e dos fotógrafos autores de suas imagens disponíveis neste artigo
+ 
+Mário de Andrade (1893 – 1945)
+…Mário, o aluvião de ouro rolando pela barranca.
+Rachel de Queiroz, em O Jornal, 1º de março de 1970
+ 
+“Estamos célebres! Enfim! Nossos livros serão comprados ! Ganharemos dinheiro! Seremos lidíssimos! Insultadíssimos! Celebérrimos! Teremos nossos nomes eternizados nos jornais e na História da Arte Brasileira.”
+Trecho de uma carta de Mário de Andrade para Helios, pseudônimo de Menotti del Picchia (1892 – 1988),
+Coluna “Chronica Social” do Correio Paulistano, 23 de fevereiro de 1922
+ 
+Charge de Belmonte sobre A Semana de Arte Moderna, publicada três dias após o final do evento, no jornal Folha da Noite. 20.02.1922. Crédito: Belmonte/Folhapress
+ 
+O poeta, ficcionista, ensaísta e musicista paulistano Mário Raul de Morais Andrade nasceu em 9 de outubro de 1893. Caracterizou-se pelo inconformismo e inquietação intelectual, pelo brilhantismo, pela autenticidade e ecletismo, tendo sido uma figura decisiva no cenário cultural brasileiro. Segundo Tristão de Athayde (1893 – 1983), ele haveria de marcar uma curva na história de nossas letras. E marcou (Excelsior, abril de 1928).
+Foi também fotógrafo e era um grande apreciador da arte fotográfica:
+“Ora, a fotografia é antes de mais nada um fato de luz; e apanha, a bem dizer, campos ilimitados. Se é certo que também pelo processo fotográfico podemos inventar livremente, provocando manifestações de luz de nossa arbitrária invenção, creio que ninguém negará ser destino essencial da fotografia, ser a sua fecundidade, ser a sua mensagem infatigável, registrar a realidade enquanto luz”.
+Crônica O homem que se achou,
+primeira quinzena de 1940
+ 
+Em 1923, passou a fotar com a sua “Codaque” autographic. 
+“Seu interesse pela fotografia foi se consolidando a partir de leituras de revistas alemãs e da observação da obra de Moholy-Nagy. O foto-olho do poeta se concentrou na composição – valori plastici (valores plásticos) – e no aproveitamento dos parcos recursos técnicos disponíveis numa câmera para amadores. Ao “fotar” preocupava-se em anotar indicações técnicas – “diaf. 3 – sol 1 das 12 e 30”. O diafragma corresponde à intensidade da luz exterior. Na viagem ao Norte/Nordeste, de maio a agosto de 1927, experimentou com sucesso seu novo perfil de fotógrafo do Turista aprendiz. Nas legendas das belas fotos que produziu, convocava o poeta: “Roupas freudianas”, “Veneza em Santarém”, “A Venus do milho””.
+Casa Mário de Andrade
+ 
+Na literatura, estreou, em 1917, com o livro Há uma gota de sangue em cada poema, que assinou com o pseudômino de Mario Sobral (Revista Americana, outubro de 1917).  Nessa época, conheceu o escritor Oswald de Andrade. Trabalhou na revista paulista Papel e Tinta, fundada por Menotti del Picchia e Oswald, em 1920. Um ano depois, escreveu para o Jornal do Commercio a série Mestres do Passado, criticando o parnasianismo, publicadas em 2, 12, 15, 16, 20, 23 de agosto e 1º de setembro de 1921.
+Ele e Oswald foram importantes participantes da Semana de Arte Moderna de 1922, mesmo ano em que Mário publicou Paulicéia Desvairada (1922), que introduziu, na poesia brasileira, temas e técnicas modernistas. Formou com as artistas plásticas Anita Malfatti  e Tarsila do Amaral e com os escritores Menotti del Picchia e Oswald de Andrade, o Grupo dos Cinco. Lecionava História da Música e Estética no Conservatório Dramático e Musical de São Paulo. Colaborou com a revista Klaxon, divulgadora do Modernismo no Brasil, que foi publicada entre 15 de maio de 1922 e janeiro de 1923.
+Ao longo da década de 20, fez várias viagens pelo país estudando e fotografando a cultura e o folclore. Na Semana Santa de 1924, integrou com Olívia Guedes Penteado (1872 – 1934), Tarsila do Amaral, René Thiollier (1882 – 1968), o filho de Oswald, Nonê (1914 – 1972); e o próprio Oswald a comitiva que acompanhou o poeta francês Blaise Cendrars (1887 – 1961) a Minas Gerais. A partir de 1928, começou a publicar no Diário Nacional, um diário de viagem, O turista aprendiz (Diário Nacional, 22 de janeiro de 1928).
+Foi o primeiro diretor do Departamento de Cultura da Prefeitura de São Paulo, criado, em 1935, na gestão do prefeito Fábio da Silva Prado (1887 – 1963), idealizado por ele e por Paulo Junqueira Duarte (1889 – 1984), irmão de Benedito Junqueira Duarte (1910 – 1995), autor da fotografia abaixo.
+ 
+Benedito Junqueira Duarte. Mário de Andrade, 1930. Rio de Janeiro / Acervo FBN
+ 
+Criou os primeiros parques infantis e concebeu a discoteca pública de São Paulo, atual Discoteca Oneyda Alvarenga.
+Em março de 1936, foi o autor do Anteprojeto para a criação do Serviço do Patrimônio Artístico Nacional (Revista do Patrimônio Histórico e Artístico Nacional – Mário de Andrade, 2002, página 272), que enviou para o então ministro da Educação, Gustavo Capanema (1900 – 1985). Mário reconhecia ali a importância da fotografia na sugestão do tombamento de um bem, propondo a criação de uma repartição que seria responsável por todo o serviço nacional de fotografia, fonografia e filmagem do patrimônio artístico nacional sob as orientações da Chefia do Tombamento.
+ 
+Anteprojeto para a cração do Serviço do Patrimônio Artístico Nacional (1936), página 285.
+ 
+Em abril de 1936, Mário instituiu o Curso de Etnografia patrocinado pelo Departamento de Cultura, com a finalidade de iniciar folcloristas nos trabalhos de campo. Durou seis meses e foi ministrado pela etnóloga francesa Dinah Dreyfuss Lévi-Strauss (1911 – 1999), então casada com o antropólogo francês Claude Levi-Strauss (1908 – 2009), que estava lecionando na Faculdade de Letras, Ciências e Artes da Universidade de São Paulo. Em 5 de setembro de 1936, Mário tomou posse como membro da Academia Paulista de Letras, na cadeira nº 3.
+Em 1937, criou a Sociedade de Etnografia e Folclore, extinta em 1939, tornando-se seu primeiro presidente. Dinah Dreyfuss Lévi-Strauss ocupou o cargo de 1ª secretária. Poucos meses depois, Mário promoveu no Teatro Municipal de São Paulo, entre 7 e 14 de julho de 1937, o Congresso da Língua Nacional Cantada, conferência sobre folclore e música folclórica, com representantes de diversos estados brasileiros (Correio de S. Paulo, 30 de junho de 1937).
+ 
+“Foi o primeiro congresso musical num país em que a música já alcançou esplêndida qualidade e tem numerosíssimos cultores. Desconfio mesmo que foi o primeiro da América do Sul”.
+Mário de Andrade na crônica Congresso de Língua Nacional Cantada, de setembro de 1937
+ 
+Em 1938, após seu afastamento da função de diretor do Departamento de Cultura da Prefeitura de São Paulo, Mário foi para o Rio de Janeiro, onde morou iniciamente na rua Santo Amaro, nº 5, na Glória e, depois, em Santa Teresa. Dirigiu o Instituto de Artes da Universidade do Distrito Federal (UDF) e ocupou a cátedra de Filosofia da Arte e História. Em sua aula inaugural, proferiu a palestra O Artista e o Artesão, publicada em Baile das Quatro Artes, em 1943. A UDF, idealizada e criada, em 1935, por Anísio Teixeira (1900 – 1971), então secretário de Educação do Rio de Janeiro, foi fechada em 1939 por não atender os propósitos do governo federal, e incorporada à Universidade do Brasil. Tinha uma proposta inovadora: não possuia as tradicionais faculdades de Direito, Engenharia e Medicina e possuia uma Faculdade de Magistério, que pioneiramente dotou o magistério de formação específica de nível superior.
+Mário voltou para São Paulo, em 1941, e, pelo Serviço do Patrimônio Histórico e Artístico Nacional (SPHAN), futuro Instituto do Patrimônio Histórico e Artístico Nacional (IPHAN), viajou por todo o estado. No ano seguinte, junto a outros intelectuais contrários ao regime ditatorial do Estado Novo, fundou a Sociedade de Escritores Brasileiros, que passou a chamar-se, em 1943, Associação Brasileira de Escritores (Gazeta de Notícias, 8 de março de 1942, terceira coluna; Correio Paulistano, 28 de fevereiro de 1943, penúltima coluna).
+No vigésimo aniversário da Semana de Arte Moderna, por solicitação do escritor Edgard Cavalheiro (1911 – 1958), escreveu um texto que originou a célebre conferência, O Movimento Modernista, proferida no auditório da Biblioteca do Itamaraty, em 30 de abril de 1942 (O Jornal, 24 de abril de 1942, terceira coluna).
+“Embora se integrassem nele figuras e grupos preocupados de construir, o espírito modernista que avassalou o Brasil, que deu o sentido histórico da Inteligência nacional desse período, foi destruidor. Mas essa destruição não apenas continha todos os germes da atualidade, como era uma convulsão profundíssima da realidade brasileira. O que caracteriza esta realidade que o movimento modernista impôs é, a meu ver a fusão de três princípios fundamentais: o direito permanente à pesquisa estética; a atualização da inteligência artística brasileira; e a estabilização de uma consciência criadora nacional. Nada disso representa exatamente uma inovação e de tudo encontramos exemplos na história artística do país. A novidade fundamental, imposta pelo movimento, foi a conjugação dessas três normas num todo orgânico da consciência coletiva”.
+Trecho do discurso O Movimento Modernista
+ 
+Kasys Vosylius. Mário de Andrade, 193?. Rio de Janeiro / Acervo FBN
+ 
+Algumas de suas obras de destaque foram A escrava que não é Isaura (1925), O Losângo Cáqui (1926), Amar, verbo intransitivo (1927), Ensaio sobra a música brasileira (1928), Macunaíma (1928), Compêndio de História da Música (1929), Música, doce música (1934), Contos de Belazarte (1934) e Lira Paulistana (1945), seu último livro de poemas, e Contos Novos (1947).
+Foi crítico de arte em vários jornais e revistas. Faleceu em 25 de fevereiro de 1945, em São Paulo (Correio Paulistano, 27 de maio de 1945).
+ 
+Capa da 1ª edição de Macunaíma
+ 
+Uma curiosidade: Pixinguinha (1897 – 1973), personagem do primeiro artigo da Série 1922: Há 100 anos, hoje, sobre a turnê dos Batutas a Paris, encontrou-se com Mário de Andrade, durante a temporada da peça Tudo preto, em São Paulo, entre outubro e novembro de 1926, encenada pela Companhia Negra de Revistas. Mário estava pesquisando para o livro Macunaíma, o herói sem nenhum caráter, publicado em 1928, e foi apresentado por Lamartine Babo (1904 – 1963) a Pixinguinha, que colaborou contando a ele sobre o ambiente da casa de Tia Ciata (1854 – 1924), na Pequena África, no Rio de Janeiro, onde havia festas com candomblé e música variada que integravam o repertório de seus frequentadores, dentre eles o próprio Pixinguinha, João da Baiana (1887 – 1974), Donga (1890 – 1974) e Sinhô (188 – 1930). As informações foram usadas por Mário em um dos capítulos do livro, o de número 7, intitulado Macumba, de Macunaíma. O personagem Olelê Rui Barbosa  foi inspirado em Pixinguinha:
+“Então a macumba principiou de deveras se fazendo um sairê para saudar os santos. E era assim: Na ponta vinha o Ogã tocador de atabaque que, um negrão filho de Ogum, bexiguento e fadista de profissão, se chamando Olelê Rui Barbosa”. 
+ 
+Pixinguinha. Detalhe da foto Os Batutas, 1923 / Acervo IMS
+ 
+Nos 25 anos de morte de Mário, foi publicada a crônica Lembrança e saudade de Mário, da escritora Rachel de Queiroz (1910 – 2003), em O Jornal de 1º de março de 1970.
+ 
+O Jornal, 1º de março de 1970
+ 
+Benedito Junqueira Duarte (1910 – 1995) e Kasys Vosylius (1895 – 19?) são os autores das imagens de Mário de Andrade destacadas nesta publicação da Brasiliana Fotográfica.
+ 
+Pequeno perfil do fotógrafo Benedito Junqueira Duarte (1910 – 1995), pseudônimo Vamp
+ 
+Benedito Junqueira Duarte / História do Jabaquara
+ 
+“…não fosse o Mario eu não teria conseguido fotografar o que fotografei; não fosse a dedicação e o amor com que realizei meu trabalho, alguns aspectos da cidade não teriam se conservado”.
+Junqueira Duarte sobre Mário de Andrade, em depoimento de 1981 para o MIS-SP
+ 
+Junqueira Duarte, conhecido como B. J. Duarte, um dos principais fotógrafos da história paulistana, foi iniciado na fotografia, aos 10 anos, em Paris, por um dos maiores fotógrafos que atuou no Brasil, seu tio-avô, o português José Ferreira Guimarães (1841 – 1924) que, em 1886,  havia inaugurado um verdadeiro palácio da fotografia, a maior casa fotográfica brasileira do século XIX, na rua Gonçalves Dias, nº 2, esquina com a rua da Assembleia.
+B. J. Duarte estudou em Paris no Estúdio Reutlinger, um dos mais conceituados de toda a Europa, graças a seu parentesco com Guimarães. Eram os Anos Loucos, do pós-guerra, e a cena cultural parisiense era trepidante. Como disse o escritor norte-americano Ernest Hemingway (1899 – 1961), Paris é uma festa. No Reutlinger, circulavam personalidades como as atrizes Sarah Bernhardt (1844 – 1923) e Gabrielle Réjane (1856 – 1920), que estiveram no Brasil e se apresentaram no Teatro Lírico; cineastas como Jean Renoir (1894 – 1979) e Alberto Cavalcanti (1897 – 1982) e fotógrafos como Paul Nadar (1856 – 1939) e Man Ray (1890 – 1976). Foi nesse ambiente interessante e eclético que B.J. Duarte se formou.
+Entre 1929 e 1933, já de volta a São Paulo, trabalhou como fotojornalista do órgão oficial do Partido Democrático, o jornal Diário Nacional, cujo redator-chefe era seu irmão, Paulo Duarte (1889 – 1984). Voltou a atuar como retratista e, devido a seu acesso à intelectualidade, fotografou, além de Mário de Andrade, os artistas plásticos Di Cavalcanti (1897 – 1976), Lasar Segall (1889 – 1957) e Tarsila do Amaral (1883 – 1973); a incentivadora do Modernismo, Olivia Guedes Penteado (1872 – 1934); e o jornalista Barão de Itararé (1895 – 1971), dentre outros. Em entrevista ao Museu da Imagem e do Som de São Paulo, realizada em 14 de maio de 1981, comentou a respeito dessa produção:
+“… tinha um arquivo com aproximadamente dez mil negativos, acondicionados em um caixa em minha casa no Jabaquara. Quando faleceu minha primeira esposa, por ocasião de uma viagem a Madri, minhas irmãs se ocuparam da mudança. Quando voltei perguntei sobre a caixa e como nada sabiam, voltei até a antiga casa e nada encontrei”.
+Em 1935, ele e Theodor Preising (1883 – 1962) eram os fotógrafos da Revista S. Paulo, publicação mensal cujo projeto gráfico articulava imagem e texto de modo inovador. Entre seus redatores, Cassiano Ricardo (1895 – 1974) e Menotti Del Picchia (1892 – 1988) e, na direção de arte, Livio Abramo (1903 – 1992), responsável pelas fotomontagens a partir das imagens produzidas pelos fotógrafos.
+Foi, também nesse ano, convidado por Mário de Andrade para trabalhar como chefe da Seção de Iconografia no recém criado Departamento de Cultura da Prefeitura de São Paulo, dirigido pelo escritor. Lá permaneceu até 1965, quando se aposentou. Realizou filmes sobre a cidade de São Paulo e organizou o arquivo fotográfico das obras realizadas na metrópole, tendo produzido mais de quatro mil fotografias. Realizou diversos filmes científicos, tendo documentado, em 26 de maio de 1968, o primeiro transplante de coração realizado na América Latina, pela equipe chefiada pelo dr. Zerbini (1912 – 1993), no Hospital das Clínicas de São Paulo. Foi um dos fundadores do Foto-cine Clube Bandeirante, em 28 de abril de 1939, tendo sido seu primeiro vice-presidente; e da Cinemateca Brasileira, instituição com maior acervo audiovisual/cinematográfico da América Latina. Foi um dos organizadores das primeiras edições do Salão Paulista de Fotografia e  foi também crítico de cinema.
+Segundo o crítico e curador de fotografia Rubens Fernandes Junior (1939-):
+“Suas imagens da cidade de São Paulo em plena transformação, entre as décadas de 1930 e 1950, bem como seus retratos, são essenciais para a compreensão da fotografia moderna brasileira”.
+ 
+Pequeno perfil do fotógrafo Kasys Vosylius (1895 – 19?)
+ 
+Kasys Vosylius/ Enciclopedia Lituana
+ 
+“K. Vosylius, o artista que sabe por a alma nas visões que a sua máquina fotográfica fixa… é um artista que vive viajando pelo Brasil, enamorado de nossa natureza e descobrindo o que ela tem de mais bonito e imponente. É uma sensibilidade requintada e um técnico da fotografia de real merecimento”
+Revista da Semana, 9 março de 1940
+ 
+A fotografia na preservação do patrimônio cultural, página 106
+ 
+ 
+O fotógrafo lituano Kasys Vosylius, um dos fotógrafos presentes no arquivo do Instituto de Estudo Brasileiros da Universidade de São Paulo, nasceu na aldeia Old Sausbaliai, na região de Pilviškiai, em 1895. Mudou-se para Vilnius, onde trabalhou como gráfico e formou-se na Escola de Comércio. Em 1919, depois que os bolcheviques ocuparam a cidade, fugiu para Kaunas e se juntou ao exército lituano como voluntário. Em 1920, foi eleito para a Assembleia Constituinte e, seis anos depois, recebeu uma bolsa de estudos e ingressou na Escola de Fotografia de Berlim, graduando-se em 1929. Veio para o Brasil nos anos 30.
+Ao longo das décadas de 30 e 40, foi, ao lado de profissionais como Edgar Cardoso Antunes, o alemão Erich Hess (1911 – 1995), Hans Peter Lange, Herman Kruse, os franceses Marcel Gautherot (1910 – 1996) e Pierre Verger (1902 – 1996), e Silvanísio Pinheiro, fotógrafo do Serviço do Patrimônio Histórico e Artístico Nacional (SPHAN), criado em 1937, futuro Instituto do Patrimônio Histórico e Artístico Nacional (IPHAN), cujo arquivo fotográfico foi coordenado por Rodrigo Melo Franco (1898–1969). Esses fotógrafos tiveram um papel fundamental nos trabalhos de inventariamento do patrimônio e na constituição do acervo da instituição, atividade mais importante do SPHAN em seus primeiros anos. No período em que trabalhou para o SPHAN, Vosylius participou do trabalho de tombamento de bens na Bahia, em Minas Gerais e no Rio de Janeiro, tendo também atuado em Alagoas, no Amapá, no Pará, em Pernambuco e no Rio Grande do Norte. Lembramos aqui que, em 1937, Mário de Andrade era o responsável, em São Paulo, pelo SPHAN.
+A museóloga Lygia Martins Costa, em entrevista concedida, em 15 de outubro de 2013, a Eduardo Augusto Costa, autor de Uma trajetória do Arquivo Fotográfico do Iphan: mudanças discursivas entre os anos 1970 e 1980, elogiou bastante o trabalho de Vosylius:
+“Como fotografia de estudo, não há ninguém que tenha feito como ele. Ele era o melhor! Absolutamente nítido! A gente via tudo! É, de longe, o melhor fotógrafo!
+Após uma temporada na Bahia fotografando para o SPHAN, quando voltava ao Rio de Janeiro, foi roubado a bordo do navio Santarém, entre Vitória e Rio de Janeiro (Diário da Noite, 21 de dezembro de 1939, última coluna).
+ 
+Vosylius no Diário da Noite, 21 de dezembro de 1939
+ 
+Especializado na arte de fotografar pinturas e esculturas, registrou dezenas de quadros no ateliê de Cândido Portinari (1903 – 1962), de quem se tornou amigo, deixando uma coleção de negativos fotográficos, composta de 719 chapas de vidro, descobertas na casa da viúva do pintor, a uruguaia Maria Victória Martinelli Portinari (1912 – 2006), em meados de 1989 (Jornal do Brasil, 26 de outubro de 1989).
+Em novembro de 1939, registrou a visita do presidente Getulio Vargas (1882 – 1954) à exposição de Cândido Portinari (1903 – 1962), no Museu Nacional de Belas Artes e, em 1942, fotografou o pintor com seus irmãos.
+ 
+Portinari e seus irmãos por Vosylius, 1942 / Googles Arts and Culture
+ 
+Também, em 1942, Vosylius ganhou o segundo prêmio no 1º Salão Paulista de Arte Fotográfica, inaugurado em 3 de outubro, na Galeria Prestes Maia, em São Paulo, uma iniciativa do Foto-cine Clube Bandeirante, cujo um dos fundadores, que também integrava a comissão julgadora do concurso, foi, como já mencionado, Benedito Junqueira Duarte. Sua foto chamava-se Tempos idos. O primeiro prêmio foi conquistado por Hejos (Henrique Joseph), o 3º prêmio por Raul dos Santos Carvalho, do Rio de Janeiro; e o 4º e o 5º por Jorge Bittar e a Herman Binder, ambos de São Paulo, respectivamente (Correio Paulistano, 4 de outubro de 1942, quinta coluna). Anos depois, a capa do Boletim do Foto-cine Clube Bandeirante, junho de 1947, trazia uma fotografia de sua autoria.
+ 
+Boletim do Foto-cine Clube Bandeirante, junho de 1947
+ 
+Em 1943, na Associaçao Cristã dos Moços, no Rio de Janeiro, Vosylius expôs as fotografias Visão Nordestina e Ismailovitch, no 3º Salão Brasileiro de Fotografia, uma iniciativa do Foto Club Brasileiro (A Noite, 18 de janeiro de 1943, terceira coluna).
+Segundo o American Annual of Photography, de 1944, era um dos quatro fotógrafos do Brasil que participavam de exposições em salões internacionais. Os outros eram Moacir Alves, Pedro Josué e Paulo Muniz. Esse fato foi mencionado pelo fotógrafo José Oiticica Filho (1906 – 1964), pai do artista plástico Hélio Oiticica (1937 – 1980), na inauguração da exposição de fotógrafos da Iugoslávia, na Associação Brasileira de Arte Fotográfica, em 14 de junho de 1952 (A Manhã, 29 de junho de 1952, terceira coluna).
+No hall do Cassino Icaraí, Vosylius participou do Salão da Sociedade Fluminense de Fotografia (Beira-mar, janeiro de 1945).
+ 
+Beira-mar, janeiro de 1945
+ 
+Entre maio de 1946 e junho de 1947, era, ao lado de João Farkas (1924 – 2011), José Medeiros (1921 – 1990), Peter Scheier (1908 – 1979), dentre outros, responsável pelas fotografias da revista mensal Rio, dirigida por Roberto Marinho (1904 – 2003). No quadro de desenhistas da revista estavam Athos Bulcão (1918 – 2008), Di Cavalcanti (1897 – 1976), Enrico Bianco (1918 – 2013) e Fayga Ostrower (1920 – 2001); e, no de colaboradores, Adalgisa Nery (1905 – 1990), Carlos Drummond de Andrade (1902 – 1987), Guilherme de Almeida (1890 – 1969), Manuel Bandeira (1886 – 1968), Sérgio Milliet (1898 – 1966) e Vinícius de Morais (1913 – 1980). Henrique Pongetti (1898 – 1979) era seu redator-chefe (Rio, maio, agosto, novembro e dezembro de 1946; fevereiro, março, abril , maio e junho de 1947).
+Em 1947, Rodrigo Melo Franco (1898–1969) solicitou que Vosylius pesquisasse e buscasse no Arquivo Militar, para o historiador da arte Robert Chester Smith (1912 – 1975), que estava no Brasil, o panorama/prospecto da cidade do Rio de Janeiro, encomendado pelo Conde de Bobadela, no século XVIII.
+Ministrou um curso de fotografia na sede social do Foto cine Clube de Campinas (Diário da Noite (SP), 2 de maio de 1951, quinta coluna). Talvez em torno dessa época tenha ido morar na cidade. Emprestou reproduções fotógraficas de sua autoria de obras sobre a vida de Tiradentes expostas na Biblioteca Pública Municipal de São Paulo. Uma delas, do mural Tiradentes, de autoria de Portinari (O Estado de São Paulo, 24 de abril de 1954).
+No Centro de Ciências, em Campinas, realização da Exposição Semana Mário de Andrade, de 6 a 13 de junho de 1960, com a exibição de fotos inéditas do escritor, de autoria e que estavam em poder de Vosylius, referido como amigo de Mário. Pela reportagem, ele ainda moraria em Campinas (Hífen, julho de 1960, segunda coluna). Não se sabe se ele saiu do Brasil ou se permaneceu no país até sua morte, ocorrida na década de 1960 ou depois.
+Foi um dos fotógrafos cujos registros foram exibidos na exposição Tesouros do Patrimônio, no Paço Imperial, sob a supervisão geral de Lúcia Meira Lima (Tribuna da Imprensa, 13 de dezembro de 1994). No livro São João del-Rei, de Maria da Graça Soto Queiroz, do Programa Monumenta do IPHAN, lançado em 2010, há imagens produzidas por ele da Igreja de Nossa Senhora do Carmo.
+Ao longo de seus anos no Brasil, fotografias de sua autoria foram publicadas em diversos periódicos:
+1 – A Noite, 20 de junho de 1941 – foto de uma piaçaveira em uma reportagem sobre o Instituto Central de Fomento econômico na Bahia.
+2 – Bahia, tradicional e moderna, de julho de 1939 – fotos do Museu do Estado da Bahia, de um quadro de Alberto Valença e da cidade de Nazaré.
+3- O Campo – agosto, outubro, novembro de 1939; janeiro e março de 1940 -fotos de côcos, de um coqueiral, da indústria de cera, de uma broca de coqueiro e dos produtos dos coqueiros.
+4 – Chácaras e Quintais –  15 de abril e 15 de agosto de 1939; 15 de outubro de 1940; e 15 de setembro de 1942 – fotos de vegetação baiana
+5 – Gazeta Esportiva, 11 de setembro de 1956; e  de 1º de dezembro de 1958 – fotos do esportista Dolor Barbosa e da comemoração do Dia da Pátria, em Campinas.
+6 –  Illustração Brasileira, março de 1940 e  novembro de 1943 – foto de coqueiral na capa e do quadro Paisagem pernambucana, respectivamente.
+7 – Revista da Semana, 13 de janeiro, 9 de março e 13 de abril de 1940 – fotos de capa.
+8 – Revista do Serviço do Patrimônio Histórico e Artístico Nacional, janeiro de 1945 e 1997 – fotos de uma areal em Pernambuco e diversas outras na ediçao de 1997.
+ 
+A fotografia na preservação do patrimônio cultural, página 106.
+ 
+ 
+Oswald de Andrade (1890 – 1954)
+Ele era uma força da natureza.
+Antônio Cândido, crítico literário
+ 
+“Só a ANTROPOFAGIA nos une. Socialmente. Economicamente. Filosoficamente. Única lei do mundo. Expressão mascarada de todos os individualismos, de todos os coletivismos. De todas as religiões. De todos os tratados de paz. Tupy or not tupy, that is the question”.
+Início do Manifesto Antropófago de Oswald de Andrade
+ 
+Jorge de Castro. Oswald de Andrade, 1940 – 1947. Rio de Janeiro / Acervo FBN
+ 
+Um dos maiores representantes do Modernismo no Brasil, o poeta, romancista, teatrólogo, ensaísta e jornalista paulistano José Oswald de Souza Andrade nasceu, em 11 de janeiro de 1890. Espírito inquieto e rebelde, foi amigo do poeta Guilherme de Almeida (1890 – 1969), do artista plástico Di Cavalcanti (1897 – 1976) e do escritor Mário de Andrade (1893 – 1945) – amizade rompida em 1929-, alguns de seus companheiros na Semana de Arte Moderna em 1922, evento no qual teve  papel destacado. Além de ter sido um de seus organizadores, leu trechos de seu romance Os Condenados, sob as vaias do público. Os Condenados foi o primeiro volume da Trilogia do Exílio, o segundo e o terceiro foram A Estrela de Absinto (1927) e A Escada Vermelha (1934). Em 1975, foi adaptado para o cinema por Zelito Viana (1938-).
+Oswald lançou mais tarde seus programas estéticos no Manifesto da Poesia Pau-Brasil (1924) e no Manifesto Antropófago (1928). Deixou obras marcantes como O Perfeito Cozinheiro das Almas deste Mundo (1918), diário coletivo composto por ele e por amigos que frequentaram a garçonnière do escritor na rua Líbero Badaró, entre 1917 e 1918; Memórias Sentimentais de João Miramar (1924), Serafim Ponte Grande (1933), Marco Zero, a Revolução Melancólica (1943) e Chão (1945), além de peças como O Homem e o Cavalo (1934) e O Rei da Vela e A Morta, ambas de 1937. Trabalhou em vários jornais, dentre eles o Correio Paulistano, o Diário Popular e o Jornal do Commercio, tendo fundado o semanário O Pirralho, em 1911. Em 1920, com o poeta Menotti del Picchia (1892 – 1988), fundou o periódico Papel e Tinta; e, com Patricia Galvão, a Pagu (1910 – 1962), com quem era casado na época, o semanário O Homem do Povo, em 1931. 
+ 
+Primeiro exemplar de O Pirralho, 12 de agosto de 1911 / Acervo FBN
+ 
+Foi um dos colaboradores da revista Klaxon, divulgadora do Modernismo no Brasil, que foi publicada entre 15 de maio de 1922 e janeiro de 1923; e da Revista da Antropofagia, que circulou entre maio de 1928 e agosto de 1929.
+ 
+
+ 
+Viveu com a francesa Henriette Denise Boufflers (c. 1895 -19?), que havia conhecido em uma viagem à Europa, em 1912. Durante esse viagem, conheceu as ideias artísticas sugeridas pelo Manifesto Futurista do poeta italiano Marinetti (1876 – 1944). Com Henriette, que apelidou de Kamiá, teve, já no Brasil, seu primeiro filho, o futuro artista José Oswald Antônio de Andrade (1914 – 1972), conhecido como Nonê de Andrade. Separou-se de Kamiá em 1916. Em 1922, começou a namorar a artista plástica Tarsila do Amaral (1886 – 1973), com quem se casou em 30 de outubro de 1926, tendo como padrinhos o exportador de café Paulo da Silva Prado (1869 – 1943) e Olivia Guedes Penteado (1872 – 1934), grandes incentivadores do Modernismo no Brasil; Washington Luis (1869 – 1957), que tomou posse como presidente da República, cerca de 15 dias depois; e Carlota Inglez de Souza (Correio Paulistano, 31 de outubro de 1926, quinta coluna). Com Tarsila, Anita Malfatti (1889 – 1964), Mário de Andrade (1893 – 1945) e Menotti del Picchia (1892 – 1988), Oswald formou o Grupo dos Cinco, que agitou culturalmente São Paulo com reuniões, festas e conferências. Em 1928, Tarsila deu de presente a Oswald um quadro que tornou-se icônico: o Abaporu, que significa homem que come carne humana, o antropófago. Oswald, então, escreveu o Manifesto Antropófago e inaugurou o Movimento Antropofágico. O casal se separou em 1929.
+ 
+Abaporu (1928), de Tarsila do Amaral, que pertence ao Museo de Arte Latinoamericano de Buenos Aires, o Malba
+ 
+Em 1930, Oswald passou a viver com a revolucionária escritora Patrícia Galvão (1910 – 1962), conhecida como Pagu. A união foi consolidada no Cemitério da Consolação, em São Paulo, diante do jazigo da família do escritor, em 5 de janeiro de 1930. Tiveram um filho, o futuro cineasta e escritor Rudá de Andrade (1930 – 2009), e viveram juntos até 1935. Oswald se casou pela última vez, em 1944, com Maria Antonieta D’Alkmin (? – 1969), com quem teve sua única filha, a pesquisadora e artista Antonieta Marília (1945-); e Paulo Marcos (1948 – 1968). Outras mulheres marcantes em sua vida foram as dançarinas Landa Kosbach, que mais tarde adotou o nome artístico Carmen Lydia (c. 1900 – 1992); e Isadora Duncan (1877 – 1927); Maria de Lourdes Castro (c. 1900 – 1919), chamada Deisi, a Miss Cyclone, com quem se casou in extremis dias antes da morte dela; e a poetisa e pintora Júlia Bárbara (1908 – 2005).
+Publicou o primeiro volume das suas memórias, Um Homem sem Profissão: sob as ordens da mamãe, pouco antes de falecer, em 22 de outubro de 1954, em São Paulo (Revista da Semana, 23 de outubro e 13 de novembro de 1954). …no bocadinho que lhe coube de papel jornal, dois dias depois, ali estava Di Cavalcanti bradando na beira do túmulo do escritor, no cemitério da Consolação, que o “natural anarquismo” de Oswald ainda daria uma grande banana para os que o deixaram de lado (Folha de São Paulo, 22 de outubro de 2004).
+Definia-se como um vira-latas do modernismo (Manchete, 19 de julho de 1975). Talvez por seu temperamento radical e seu gosto por zombarias – perdia um amigo mas não perdia a piada, dentre eles Mário de Andrade -, alguns de seus livros ficaram anos sem uma segunda edição: Memórias Sentimentais de João Miramar, de 1924, só foi reeditado em 1964; e Serafim Ponte Grande, de 1933, apenas em 1971. Sua peça O Rei da Vela, de 1937, só foi encenada em 1967.
+É de autoria de Jorge de Castro a fotografia de Oswald publicada neste artigo.
+ 
+Pequeno perfil do fotógrafo Jorge de Castro (19? – ?)
+ 
+“Fundamentalmente realista, amando as visões da vida, ele as interpreta, porém, captando o momento e o ângulo rico ou compondo o ambiente em que a realidade capitula diante da luz e se converte numa expressão sugestiva e bela”.
+Mário de Andrade sobre Jorge de Castro na crônica O homem que se achou,
+primeira quinzena de 1940
+ 
+Jorge de Castro fotografado por Jean Manzon / O Cruzeiro, 21 de julho de 1945
+ 
+A imagem de Oswald de Andrade (1890 – 1954) exibida neste artigo foi produzida pelo fotógrafo Jorge de Castro, na década de 40. Muito bem relacionado e inserido na cena cultural e social carioca, no mesmo período, retratou diversas outras personalidades importantes como o político e escritor Afonso Arinos de Mello Franco (1905 – 1990), o escultor Bruno Giorgi (1905 – 1993), o dramaturgo Guilherme Figueiredo (1915 – 1997), os poetas Augusto Frederico Schmidt (1906 – 1965), Manuel Bandeira (1886 – 1968), Murilo Mendes (1901 – 1975), Olegário Mariano (1889 – 1958) e Raul Bopp (1898 – 1984); o paisagista e artista plástico Roberto Burle Marx (1909 – 1994), o músico Heitor Villa-Lobos (1887 – 1959) e os arquitetos e irmãos Marcelo (1908 – 1964), Milton (1914 – 1953) e Maurício Roberto (1921 – 1996).
+Jorge de Castro estudou pintura na Europa e, na Inglaterra, andou metido em teatro e cinema. Ao retornar ao Brasil juntou-se ao grupo do pintor Cândido Portinari (1903 – 1962) e frequentou a Faculdade de Direito, que abandonou no terceiro ano, passando a se dedicar unicamente à fotografia. Registrou paisagens do interior e das capitais do Brasil, além de, como já mencionado, ter fotografado pessoas importantes da sociedade e do cenário cultural nacional.
+Foi, durante o Estado Novo (1937 – 1946) –  regime politico instaurado pelo presidente Getulio Vargas (1882 – 1954) -, um dos fotógrafos do Departamento de Imprensa e Propaganda, ao lado de profissionais como o engenheiro Epaminondas Vieira de Macedo, que também fotografou para o SPHAN; e do francês Jean Manzon (1915 – 1990), contratado pelo O Cruzeiro, em 1943, e responsável por um novo modelo de linguagem fotográfica na revista.
+Em 1938, foi um dos fundadores do grupo teatral Os Independentes, que passou a dirigir, em 1940, ao lado da atriz Luisa Barros Leite, do ator Brutus Pedreira, do crítico e escritor Gustavo Dória (1910- 1979) e do artista plástico paraibano Tomás Santa Rosa (1909 – 1956). A companhia foi rebatizada de Os Comediantes e passou, em 1943, a ser dirigida pelo escritor Aníbal Machado (1894 – 1964), cunhado de Jorge de Castro (Sombra, outubro de 1946).
+ 
+“Procurando na aparência dos objetos e dos seres o seu momento de transfiguração poética, o artista vai registrando, ora um ramo que o vento verga, ora a superfície rugada de um velho muro, ou a dura face de um homem”.
+Tomás Santa Rosa sobre Jorge de Castro
+ 
+Em 1939, Castro fez uma exposição de seus trabalhos no Palace Hotel do Rio de Janeiro. Na década de 40, trabalhou como fotógrafo e cinegrafista da Marinha.
+ 
+Dom Casmurro – Coluna Todas as ideias…, 21 de outubro de 1939
+ 
+Mário de Andrade (1893 – 1945) fez na crônica O Homem que se achou, que era Jorge de Castro, escrita na primeira quinzena de janeiro de 1940, considerações acerca de fotografia, que apreciava muito, e, sobretudo, sobre a mencionada exposição de Castro, em que figuravam uma série de retratos de intelectuais brasileiros, paisagens de fotografia “de gênero”, para me utilizar da terminologia da pintura.
+Foi uma fotografia de Cândido Portinari (1903 – 1962) de autoria de Castro que ilustrou a capa do boletim do Museu de Arte Moderna de Nova York, em outubro de 1940, ocasião em que foi realizada um exposição do pintor no MoMa.
+ 
+Portinari retratado por Jorge de Castro / A gênese da coleção da arte brasileira do MoMa, a década de 40, Portinari e artistas seguintes, página 118
+ 
+Quando a revista Sombra, dirigida por Walter Quadros (?-1962), foi lançada, em dezembro de 1940, Jorge de Castro era o secretário e o fotógrafo da publicação. No primeiro número, foi o responsável pelas imagens de diversas matérias, dentre  elas Ventalma, onde os versos de Mário de Andrade (1893 – 1945) foram interpretados pela bailarina Nini Theilade (1915 – 2018), do Balé Russo de Montecarlo. Na mesma edição suas fotos foram publicadas nas matérias The honorable Jefferson Caffery, Snra. Lourival Fontes, a poetisa que se assigna Adalgisa Nery, e De Tom Mix a Vivien Leigh.
+Passou muito tempo com Lincoln Kirstein (1907 – 1956), importante figura da cena cultural novaiorquina e co-fundador do New York City Ballet, quando este visitou o Brasil, em 1942, como consultor de arte latino-americana, enviado para adquirir obras para o Museu de Arte Moderna de Nova York, o MoMa . Foi Castro que apresentou Kirstein aos pintores Guignard (1896 – 1962), Edith Behring (1916 – 1996), José Bernardo Cardoso Júnior (1861 – 1947) e Tomas Santa Rosa.
+Kirstein deu a ele dinheiro para que concluísse um filme sobre a Academia Naval e escreveu ao empresário norte-americano Nelson Rockfeller (1908 – 1979), em 24 de junho de 1942:
+“Jorge de Castro: você pode contatá-lo sem embaraço. Um bom amigo de Carlos Lacerda. É considerado uma piada. Ele se parece com um cogumelo. É de excelente família, é conhecido como fotógrafo. Na verdade é um excelente operador cinematográfico, e conhece detalhes a respeito do Brasil que ninguém sabe. Ele é corajoso e foi o primeiro a ajudar Portinari, o que P. agora tende a esquecer. Eu sugiro que você peça a ele para lhe mostrar filmes da Academia Navale e você talvez possa ir lá. Ele é sensacional. Jorge é um pequeno inseto anônimo – mas é o máximo. Ele tirou fotos da Conferência do Rio. Amigo de Queiroz Lima, do secretariado pessoal de Aranha”.
+Em 1943, uma comissão de cineastas norte-americanos de Hollywood incorporados ao Office Stratic Service da Marinha de Guerra dos Estados Unidos, a convite do governo brasileiro, visitou São Paulo, para fazer um levantamento das possibilidades do Brasil  no esforço de guerrra das Nações Unidas. Castro era o representante do Ministério da Marinha do Brasil. No ano seguinte, como cinematografista do Ministério da Marinha seguiu para Belém, da onde iria para os Estados Unidos trabalhar em um filme sobre o nosso esforço de guerra, que fará parte de um filme de longa-metragem sobre a luta das Nações Unidas, que está sendo dirigido pelo Sr. John Ford (O Estado de São Paulo, 10 de junho de 1943 e  1º de julho de 1944).
+Em 1945, acompanhou o cinegrafista Gregg Tolland (1904 – 1948), em visita ao Brasil. Ele foi o fotógrafo de diversos filmes de sucesso, dentre eles Os Miseráveis (1935), O Morro dos Ventos Uivantes (1939), pelo qual ganhou o Oscar; As Vinhas da Ira (1940), Cidadão Kane (1941) e Os Melhores Anos de Nossas Vidas (1946), dentre outros.
+Foi também o fotógrafo do semanário ilustrado Política e Letras, lançado em 24 de julho de 1948, no Rio de Janeiro. O diretor responsável pela publicação era Odylo Costa Filho (1914 – 1979) e dentre seus colaboradores estavam Alceu Amoroso Lima (1893 – 1983), Carlos Drumond de Andrade (1902 – 1987) e Érico Veríssimo (1905 – 1975). Foi o fotógrafo das reportagem Uma Luz nas Trevas – O Farol da Ilha Rasa, assinada por Antônio Rangel Bandeira; e de Um veleiro faz-se ao mar, com Franklin de Oliveira (O Cruzeiro, 26 de março de 1949; 23 de abril de 1949).
+Era filho de Vital de Castro e de Maria da Glória Moura de Castro e irmão da pianista Maria Antônia de Castro Massé, de Ari de Castro, de Mário de Castro, de Vital de Castro Filho e de Luisa de Castro Machado, casada com Anibal Machado (1894 – 1964) (O Estado de São Paulo, 4 de dezembro de 1946). Era casado com Maria do Carmo de Castro, com quem teve os filhos Maria Cristina e Vital.
+ 
+Maria do Carmo, mulher de Jorge de Castro, com os filhos Maria Cristina e Vital / Sombra, dezembro de 1944
+ 
+—————————————————————————————————————————————–
+(1) Carta de Mário de Andrade a Tarsila do Amaral, na época casada com Oswald de Andrade, marcando a ruptura entre os escritores. Oswald tentou várias vezes uma reconciliação, sem sucesso.
+“São Paulo, 4 de julho de 1929
+Tarsila, espero que esta carta seja lida confidencialmente apenas por você e Oswaldo pois que só a você é dirigida.
+Acabo de receber por Anita o convite que você me faz e que, feito com o desprendimeno e o coração maravilhoso de você, inda mais me entristece. Mas eu não o posso aceitar. Por isso mesmo que a elevação de amizade sempre existida entre você, Osvaldo, Dulce e eu foi das mais nobres e tenho a certeza que das mais limpas, tudo ficou embaçado pra nunca mais. É coisa que não se endireita, desgraçadamente para mim.
+Mas devo confessar a você que sob o ponto-de-vista de amizade, único que me pode interessar como indivíduo, nada, absolutamente nada se acabou em mim. Se deu apenas uma como que transposição de planos, e aqueles que faziam parte da minha objetividade cotidiana, continuaram amigos nessa espécie de ambiente de anjo em que o espírito da gente descansa mais, povoado de retratos bons. E então eu, que não fui feito para esquecer, não será possível jamais que eu me esqueça de ninguém nem de nada. Nenhum sentimento desagradável permanece em mim e se acaso alguém confiar a você alguma queixa ou acusação feita por mim contra quem quer que seja de sua família, eu garanto que mente. Pedi aos meus companheiros de vida e até a amigos que nem Couto de Barros, que não me falassem em certos assuntos.
+Apenas, Tarsila: esses assuntos existem. E como os podemos esquecer, vocês e eu, que todos conservamos nosso passado comum? E quanto a mim, Tarsila, esses assuntos, criados por quem quer que seja (essas pessoas não me interessam), como será possível imaginar que não me terão ferido crudelíssimamente? Asseguro a vocês – tenho todo o meu passado como prova e vocês me conhecem espero que bem – que as acusações, insultos, caçoadas feitos a mim não podem me interessar. Já os sofri todos mais vezes e sempre passando bem. E nem uma existência como a que eu levo pode se libertar deles. Desque resolvi publicar Paulicéia, de que um só poema exposto provocara o maior enxurro de estupidez e presumidos insultos de que se enaltece a história literária brasileira, desde então me revesti dessa contemplatividade cínica que nos permite, sem inquietar a sinceridade com que caminhamos pra realização de nós mesmos, passarmos incólumes no meio de certos heróis. Não me atingem e, de resto, não os leio. 
+Mas não posso ignorar que tudo foi feito na assistência dum amigo meu. Isso é que me quebra cruelmente, Tarsila, e apesar de meu orgulho enorme, não tenho força no momento que me evite de confessar que ando arrasado de experiência.
+Eu sei que fomos todos vítimas de um ventarrão que passou. Passou. Porém a árvore caiu no chão e no lugar duma árvore tamanha não nasce mais. É impossível.
+Eu peço a vocês licença pra cumprimentá-los quando nos encontrarmos. Assim como desta carta e do que a motiva ninguém saberá por mim, tenho certeza que corações nobres como os de vocês hão-de sentir esse pudor de não dar azo a que os outros façam de nós e dum passado tão lindo nosso, o assunto deles.
+Peço mais que me recomende respeitosamente aos de sua família e enumero uma carícia toda especial a Dulce que no meu mundo faz parte do Sol.
+E paro porque afinal tudo isso é muito triste e pouco digno dos seus olhos e coração que só podem merecer felicidade.
+Respeitosamente
+Mário de Andrade”
+ 
+ 
+(2)                                          Programação da Semana de Arte Moderna em 1922
+ 
+ Catálogo com as atrações da exposição de arte realizada no saguão do Teatro Municipal de São Paulo
+ARCHITECTURA
+ANTONIO MOYA
+1- Entrada do Templo.
+2 – Templo.
+3 –      “
+4 – Monumento.
+5 – Pantheon.
+6 – Templo.
+7 – Casa do poeta.
+8 – Residência (planta e fachada).
+9 –         ”                 ”        ”     “
+10 –       ”                 ”        ”     “
+11 –        ”                 ”        ”     “
+12-        ”                 ”        ”     “
+13 – Volume architectonico.
+14 – Entrada.
+15 – Cariathyde.
+16 – Fonte.
+17 – Tumulo.
+18 – Tumulo.
+GEORG PRSIREMBEL
+19 – Taperinha na praia grande (Maquette e planta).
+ESCULPTURA
+VICTORIO BRECHERET
+1 – Genio.
+2 – Angelus.
+3 – Soror dolorosa.
+4 – Idolo.
+5- O regresso.
+6 – Pietá.
+7 – Cabeça de mulher.
+8 – Cabeça de Christo.
+9 – Sapho.
+10 – Torso.
+11 – Baixo relevo.
+12 – Victoria.
+W. HAARBERG
+13 – Nossa Senhora (madeira).
+14 – Mãe e filho (madeira).
+15 –    ”     ”     ”             “
+16 – Grupo (madeira).
+17 – Pequenas esculpturas decorativas.
+PINTURA
+Anitta Malfatti
+1- Estudante russa.
+2 – O Homem amarello.
+3 – O Fauno.
+4 – O japonez.
+5 – A mulher de cabellos verdes.
+6 – A onda.
+7 – A ventania.
+8 – Rochedos.
+9 – Casa de chá.
+10 – Pedras preciosas.
+11 – Penhascos.
+12 – Flores amarellas.
+13 – Impressão dividionista.
+14 – O Homem das sete cores.
+15 – Arvores japonezas
+16 – Bahianas.
+17 – Capa de livro.
+18 – Christo.
+19 – S. Sebastião.
+20 – Moêmas.
+DI CAVALCANTI
+21 – Ao pé da cruz – painel para capella.
+22 – O Homem do Mar – 1920.
+23 – Café turco – 1917.
+24 –     ”       ”      – 1921.
+25 – Retrato.
+26 – A Duvida.
+27 – Intimidade.
+28 –        ”
+29 – Illustrações para um livro.
+30 – Coqueteria.
+31 – Bohemios.
+32 – A piedade da inerte.
+J. GRAZ
+33 – Missa no tumulo.
+34 – S. Francisco fallando aos passaros.
+35 – Retrato do Ministro G.
+36 – Natureza morta.
+37 –          ”             ”
+38 – Paysagem Suissa.
+39 – Paysagem de Espanha.
+40 –           ”         ”        ”
+MARTINS RIBEIRO
+41 – Tedio.
+42 –    ”
+43 – Desenho.
+44 –       ”
+ZINA AITA
+45 – A sombra.
+46 – Estudo de cabeça.
+47 – Paysagem decorativa.
+48 – Mascaras Sianezas.
+49 – Aquarium.
+50 – Figura.
+51 – Painel decorativo.
+52 – 25 impressões.
+J.F. DE ALMEIDA PRADO
+53 – Dois desenhos.
+FERRIGNAC
+54 – Natureza dadaista.
+VICENTE REGO MONTEIRO
+55 – Retrato de Ronald de Carvalho.
+56 – Retrato.
+57 – Retrato.
+58 – Cabeças de Negras.
+59 – Cabeça Verde.
+60 – Baile no Assyrio.
+61 – Lenda Brasileira.
+62 – Lenda Brasileira.
+63 – Cubismo.
+64 – Cubismo.
+ 
+Grandes Festivais
+Primeiro Festival – 2ª feira, 13 de fevereiro
+1ª parte
+CONFERÊNCIA DE GRAÇA ARANHA
+“A emoção estética na arte moderna”, ilustrada com música executada por Ernani Braga e poesia por Guilherme de Almeida e Ronald de Carvalho.
+Música de câmara Villa-Lobos
+1. “Sonata II” de violoncelo e piano / 1916
+a. Allegro moderato
+b. Andante
+c. Scherzo
+d. Allegro Vivace sostenuto e finale
+Alfredo Gomes e Lucilia Villa-Lobos
+2. “Trio Segundo”: violino, violoncelo e piano / 1916
+a. Aleggro moderato
+b. Andantino calmo (Berceuse-Barcarola)
+c. Scherzo-spiritoso
+d. Molto allegro e finale
+Paulina d´Ambrosio, Alfredo Gomes e Frutuoso de Lima Vianna
+2ª parte
+CONFERÊNCIA DE RONALD DE CARVALHO
+“A pintura e a escultura moderna no Brasil”
+3. Solos de piano: Ernani Braga
+a. 1917 / “Valsa mística” (da Simples coletânea)
+b. 1919 / “Rodante” (da Simples coletânea)
+4. Otteto: Três danças africanas
+a. “Farrapós” / (“Dança dos moços”) / 1914
+b. “Kankukus” / (“Dança dos velhos”) / 1915
+c. “Kankikis” (“Dança dos meninos”) / 1916
+Violinos Paulina d´Ambrosio, George Marinuzzi
+Alto Orlando Frederico
+Violoncelos Alfredo Gomes
+Basso Alfredo Carazza
+Flauta Pedro Vieira
+Clarino Antão Soares
+Piano Frutuoso de Lima Vianna
+ 
+Segundo Festival – 4ª feira, 15 de fevereiro
+1ª parte
+1. PALESTRA DE MENOTTI DEL PICCHIA
+Ilustrada com poesias e trechos de prosa por Oswald de Andrade, Luís Aranha, Sérgio Milliet, Tácito de Almeida, Ribeiro Couto, Mário de Andrade, Plínio Salgado, Agenor Barbosa e dança pela senhorinha Yvonne Daumerie.
+2. SOLOS DE PIANO: GUIOMAR NOVAES
+a. E.R. Blanchet: “Au jardin du vieux sérail” (Andrinople)
+b. H. Villa-Lobos: “O Ginete do Pierrozinho”
+c. C. Debussy: “La soirée dans Grenade”
+d. C. Debussy: “Minstrels”
+2ª parte
+1 – RENATO ALMEIDA
+Perennis Poesia
+2. CANTO E PIANO
+Frederico Nascimento Filho e Lucília Villa-Lobos
+a. 1919 / “Festim Pagão
+b. 1920 / “Solidão”
+c. 1917 / “Cascavel
+3. QUARTETO TERCEIRO (CORDAS – 1916)
+a. Allegro giusto
+b. Scherzo satirico (pipocas e patocas)
+c. Adagio
+d. Allegro con fuoco e finale
+Violinos Paulina d´Ambrosio – George Marinuzzi
+Alto Orlando Frederico
+Violoncelos Alfredo Gomes
+Terceiro Festival – 6ª feira, 17 de fevereiro
+1ª parte
+1. VILLA-LOBOS
+1. “Trio Terceiro” / violino, violoncelos e piano / 1918
+a. Allegro con moto
+b. Moderato
+c. Allegretto spiritoso
+d. Allegro animato
+Paulina d´Ambrosio, Alfredo Gomes e Lucília Villa-Lobos
+2. CANTO E PIANO:
+MÁRIO EMMA E LUCÍLIA VILLA-LOBOS
+“Historietas” de Ronald de Carvalho / 1920
+a. “Lune d´octobre”
+b. ‘Voilà la vie”
+c. “Jouis sans retard, car vite s´ecoule la vie”
+3. “SONATA SEGUNDA / VIOLINO E PIANO / 1914
+a. Allegro non troppo
+b. Largo
+c. Allegro rondó / Prestíssimo finale
+Paulina d´Ambrosio e Frutuoso Vianna
+2ª parte
+VILLA-LOBOS:
+4 – SOLOS DE PIANO: ERNANI BRAGA
+a. “Camponesa Cantadeira” / (da Suite floral) / 1916
+b. “Num berço encantado” / (da Simples coletânea) / 1919
+c. “Dança Infernal” / 1920
+5. “QUARTETO SIMBÓLICO” / (IMPRESSÕES DA VIDA MUNDANA)
+flauta, saxofônico, celesta ou piano
+com vozes femininas em coro oculto / (1921)
+a. Allegro non troppo
+b. Andantino
+c. Allegro, finale
+Pedro Vieira, Antão Soares, Ernani Braga e Frutuoso de Lima Vianna
+ 
+ (3)                                                               “A Propósito da Exposição Malfatti”
+(O Estado de São Paulo, 20 de dezembro de 1917)
+“Há duas espécies de artistas. Uma composta dos que vêem normalmente as coisas e em consequência disso fazem arte pura, guardados os eternos ritmos da vida, e adotados para a concretização das emoções estéticas, os processos clássicos dos grandes mestres. Quem trilha por esta senda, se tem gênio, é Praxíteles na Grécia, é Raphael na Itália, é Rembrandt na Holanda, é Rubens na Flandres, é Reynolds na Inglaterra, é Leubach na Alemanha, é Iorn na Suécia, é Rodin na França, é Zuloaga na Espanha. Se tem apenas talento vai engrossar a plêiade de satélites que gravitam em torno daqueles sóis imorredoiros. A outra espécie é formada pelos que vêem anormalmente a natureza, e interpretam-na à luz de teorias efêmeras, sob a sugestão estrábica de escolas rebeldes, surgidas cá e lá como furúnculos da cultura excessiva. São produtos do cansaço e do sadismo de todos os períodos de decadência; são frutos de fins de estação, bichados ao nascedouro. Estrelas cadentes, brilham um instante, as mais das vezes com a luz de escândalo, e somem-se logo nas trevas do esquecimento. Embora eles se dêem como novos precursores duma arte a vir, nada é mais velho de que a arte anormal ou teratológica: nasceu com a paranóia e com a mistificação. De há muito já que a estudam os psiquiatras em seus tratados, documentando-se nos inumerosos desenhos que ornam as paredes internas dos manicômios. A única diferença reside em que nos manicômios esta arte é sincera, produto ilógico de cérebros transtornados pelas mais estranhas psicoses; e fora deles, nas exposições públicas, zabumbadas pela imprensa e absorvidas por americanos malucos, não há sinceridade nenhuma, nem nenhuma lógica, sendo mistificação pura.
+Todas as artes são regidas por princípios imutáveis, leis fundamentais que não dependem do tempo nem da latitude. As medidas de proporção e equilíbrio, na forma ou na cor, decorrem do que chamamos sentir. Quando as sensações do mundo externo transformam-se em impressões cerebrais, nós “sentimos”; para que sintamos de maneira diversa, cúbica ou futurista, é forçoso ou que a harmonia do universo sofra completa alteração, ou que o nosso cérebro esteja em “pane” por virtude de alguma grave lesão. Enquanto a percepção sensorial se fizer normalmente no homem, através da porta comum dos cinco sentidos, um artista diante de um gato não poderá “sentir” senão um gato, e é falsa a “interpretação” que o bichano fizer um “totó”, um escaravelho ou um amontoado de cubos transparentes.
+Estas considerações são provocadas pela exposição da sra. Malfatti, onde se notam acentuadíssimas tendências para uma atitude estética forçada no sentido das extravagâncias de Picasso e companhia. Essa artista possui um talento vigoroso, fora do comum. Poucas vezes, através de uma obra torcida para má direção, se notam tantas e tão preciosas qualidades latentes. Percebe-se de qualquer daqueles quadrinhos como a sua autora é independente, como é original, como é inventiva, em que alto grau possui um sem número de qualidades inatas e adquiridas das mais fecundas para construir uma sólida individualidade artística. Entretanto, seduzida pelas teorias do que ela chama arte moderna, penetrou nos domínios dum impressionismo discutibilíssimo, e põe todo o seu talento a serviço duma nova espécie de caricatura.
+Sejamos sinceros: futurismo, cubismo, impressionismo e “tutti quanti” não passam de outros tantos ramos da arte caricatural. É a extensão da caricatura a regiões onde não havia até agora penetrado. Caricatura da cor, caricatura da forma — caricatura que não visa, como a primitiva, ressaltar uma ideia cômica, mas sim desnortear, aparvalhar o espectador. A fisionomia de que sai de uma destas exposições é das mais sugestivas. Nenhuma impressão de prazer, ou de beleza denuncia as caras; em todas, porém, se lê o desapontamento de quem está incerto, duvidoso de si próprio e dos outros, incapaz de raciocinar, e muito desconfiado de que o mistificam habilmente. Outros, certos críticos sobretudo, aproveitam a vasa para “épater les bourgeois”. Teorisam aquilo com grande dispêndio de palavrório técnico, descobrem nas telas intenções e subintenções inacessíveis ao vulgo, justificam-nas com a independência de interpretação do artista e concluem que o público é uma cavalgadura e eles, os entendidos, um pugilo genial de iniciados da Estética Oculta. No fundo, riem-se uns dos outros, o artista do crítico, o crítico do pintor e o público de ambos.
+Arte moderna, eis o escudo, a suprema justificação. Na poesia também surgem, às vezes, furúnculos desta ordem, provenientes da cegueira nata de certos poetas elegantes, apesar de gordos, e a justificativa é sempre a mesma: arte moderna. Como se não fossem moderníssimos esse Rodin que acaba de falecer deixando após si uma esteira luminosa de mármores divinos; esse André Zorn, maravilhoso “virtuose” do desenho e da pintura; esse Brangwyn, gênio rembrandtesco da babilônia industrial que é Londres; esse Paul Chabas, mimoso poeta das manhãs, das águas mansas, e dos corpos femininos em botão. Como se não fosse moderna, moderníssima, toda a legião atual de incomparáveis artistas do pincel, da pena, da água forte, da “dry point” que fazem da nossa época uma das mais fecundas em obras-prima de quantas deixaram marcos de luz na história da humanidade.
+Na exposição Malfatti figura ainda como justificativa da sua escola o trabalho de um mestre americano, o cubista Bolynson. É um carvão representando (sabe-se disso porque uma nota explicativa o diz) uma figura em movimento. Está ali entre os trabalhos da sra. Malfatti em atitude de quem diz: eu sou o ideal, sou a obra prima, julgue o público do resto tomando-me a mim como ponto de referência.
+Tenhamos coragem de não ser pedantes: aqueles gatafunhos não são uma figura em movimento; foram, isto sim, um pedaço de carvão em movimento. O sr. Bolynson tomou-o entre os dedos das mãos ou dos pés, fechou os olhos, e fê-lo passar na tela às pontas, da direita para a esquerda, de alto a baixo. E se não o fez assim, se perdeu uma hora da sua vida puxando riscos de um lado para o outro, revelou-se tolo e perdeu o tempo, visto como o resultado foi absolutamente o mesmo. Já em Paris se fez uma curiosa experiência: ataram uma brocha na cauda de um burro e puseram-n’o trazeiro voltado para uma tela. Com os movimentos da cauda do animal a broxa ia borrando a tela. A coisa fantasmagórica resultante foi exposta como um supremo arrojo da escola cubista, e proclama pelos mistificadores como verdadeira obra prima que só um ou outro raríssimo espírito de eleição poderia compreender. Resultado: o público afluiu, embasbacou, os iniciados rejubilaram e já havia pretendentes à tela quando o truque foi desmascarado. A pintura da sra. Malfatti não é cubista, de modo que estas palavras não se lhe endereçam em linha reta; mas como agregou à sua exposição uma cubice, leva-nos a crer que tende para ela como para um ideal supremo. Que nos perdoe a talentosa artista, mas deixamos cá um dilema: ou é um gênio o sr. Bolynson e ficam riscados desta classificação, como insignes cavalgaduras, a corte inteira dos mestres imortais, de Leonardo a Stevens, de Velasquez a Sorolla, de Rembrandt a Whistler, ou… vice-versa. Porque é de todo impossível dar o nome da obra de arte a duas coisas diametralmente opostas como, por exemplo, a Manhã de Setembro, de Chabas, e o carvão cubista do sr. Bolynson.
+Não fosse a profunda sympatia que nos inspira o formoso talento da sra. Malfatti, e não viríamos aqui com esta série de considerações desagradáveis.
+Há de ter essa artista ouvido numerosos elogios à sua nova atitude estética.
+Há de irritar-lhe os ouvidos, como descortez impertinência, esta voz sincera que vem quebrar a harmonia de um coro de lisonjas. Entretanto, se refletir um bocado, verá que a lisonja mata e a sinceridade salva. O verdadeiro amigo de um artista não é aquele que o entontece de louvores, e sim o que lhe dá uma opinião sincera, embora dura, e lhe traduz châmente, sem reservas, o que todos pensam dele por detrás. Os homens têm o vezo de não tomar a sério as mulheres. Essa é a razão de lhes darem sempre amabilidades quando elas pedem opinião. Tal cavalheirismo é falso, e sobre falso, nocivo. Quantos talentos de primeira água se não transviaram arrastados por maus caminhos pelo elogio incondicional e mentiroso? E víssemos na sra. Malfatti apenas uma “moça que pinta”, como há centenas por aí, sem denunciar centelhas de talento, calar-nos-iamos, ou talvez lhe déssemos meia dúzia desses adjetivos “bombons” que a crítica açucarada tem sempre à mão em se tratando de moças. Julgamo-la, porém, merecedora da alta homenagem que é tomar a sério o seu talento dando a respeito da sua arte uma opinião sinceríssima, e valiosa pelo fato de ser o reflexo da opinião do público sensato, dos críticos, dos amadores, dos artistas seus colegas e… dos seus apologistas.
+Dos seus apologistas sim, porque também eles pensam deste modo… por trás”.
+M. L.
+A crítica de Lobato foi mais tarde transformado em Paranóia ou Mistificação? e publicada no livro Ideias de Jeca Tatu, em 1919. 
+ 
+O Grupo dos Cinco por Anita Malfatti: a própria deitada no sofá, Mário de Andrade e Tarsila do Amaral, ao piano; e Oswald de Andrade e Menotti del Picchia estirados no chão
+ 
+Mulheres que participaram da programação da Semana de Arte Moderna
+ 
+A artista plástica Anita Malfatti , 1912 / Wikipedia
+ 
+A pianista Lucilia Villa-Lobos / Revista do Vale do Café
+ 
+A violinista Paulina d´Ambrosio / O Explorador
+ 
+A bailarina Yvonne Daumerie / Arquivo Humberto Franceschi
+ 
+A artista plástica Zina Aita / Guia das Artes
+ 
+Pode ser que a pintora e decoradora Regina Gomide Graz (1897 – 1973), casada com o suíço John Graz, tenha participado do evento, mas o nome dela não consta no catálogo da exposição.
+ 
+A Brasiliana Fotográfica agradece a colaboração de André Luis Câmara, poeta, jornalista e Doutor em Literatura pela PUC-RJ.
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Acesse os 10 encontros do ciclo 1922: MODERNISMOS EM DEBATE, organizados por Ana Gonçalves Magalhães, Fernanda Pitta, Heloisa Espada, Horrana de Kássia Santoz, Helouise Costa e Valéria Piccoli – Instituto Moreira Salles, Museu de Arte Contemporânea da Universidade de São Paulo e Pinacoteca -, realizados entre 29 de março e 13 de dezembro de 2021, com a participação de 41 convidados.
+Acesse a crônica Mário presente, de Carlos Drummond de Andrade, publicada em 4 de junho de 1970, no Jornal do Brasil.
+Acesse o artigo publicado, em 21 de novembro de 2022, na seção POR DENTRO DOS ACERVOS, do Instituto Moreira Salles, Mário de Andrade nos Arquivos IMS, de autoria de Elvia Bezerra.
+ 
+Fontes:
+Academia Paulista de Letras
+Agenda do Centro de Documentaçãoda TV Globo
+ALMEIDA, Paulo Mendes de. De Anita ao museu. São Paulo : Perspectiva, 1976.
+AMARAL, Aracy. Artes plásticas na Semana de 22. São Paulo : Perspectiva, 1972.
+ANDRADE, Mário de. Anteprojeto para a criação do Serviço do Patrimônio Artístico Nacional. Revista do Patrimônio Histórico e Artístico Nacional, Rio de Janeiro, n. 30, p. 271-287, 2002.
+ANDRADE, Mário de. Macunaíma. São Paulo : Editora Martins, 1970.
+ANDRADE, Mário de. Será o Benedito? São Paulo : Educ, 1992
+AMARAL, Aracy (org). Correspondência entre Mário de Andrade e Tarsila do Amaral. São Paulo : Edusp, 2001.
+BOAVENTURA, Maria Eugênia. O Salão e a Selva – Uma biografia ilustrada de Oswald de Andrade. Campinas : Editora Ex-Libris Unicamp, 1995.
+CARDOSO, Rafael. Modernidade em preto e branco: arte e imagem, raça e identidade no Brasil, 1890-1945. São Paulo : Companhia das Letras, 2022.
+CASTRO, Ruy. Metrópole à beira-mar. O Rio moderno dos anos 20. São Paulo : Companhia das Letras, 2019.
+Catálogo da Sociedade de Etnografia e Folclore
+CHIARELLI, Tadeu. Um jeca nos vernissages. São Paulo : Edusp, 1995.
+COELHO, Fred. A Semana de Cem Anos. Texto  apresentado no ciclo de encontros “1922: Modernismos em debate”, promovido pelo Instituto Moreira Salles (IMS), em São Paulo, no dia 29 de março de 2021.
+CNN Brasil
+COSTA, Eduardo Augusto. Uma trajetória do Arquivo Fotográfico do Iphan: mudanças discursivas entre os anos 1970 e 1980. Anais Paulista, jan-abril de 2016.
+COUTO, José Geraldo; CARVALHO, Mario Cesar. Vida do escritor foi um “vulcão de complicações” in Folha de São Paulo, 26 de setembro de 1993.
+DINIZ, Igor Mello. Os estudos de folclore e as ciências sociais no Brasil (1930 – 1940) in Revista Habitus – IFCS/UFRJ Vol. 8 – Nº 2 – Ano 2010
+DUARTE, Paulo. Mario de Andrade por ele mesmo. São Paulo: EDART-São Paulo Livraria Editora Ltda, 1971.
+Enciclopédia Itaú Cultural
+Entrevista com Judith Martins/[org. Analucia Thompson]. – Rio de Janeiro: IPHAN/DAF/Copedoc, 2009. 164 p.: il.; 16 x 23cm. – (Memórias do Patrimônio, 1)
+FERNANDES JÚNIOR, Rubens. Invenção e Modernidade na Fotografia Documental.
+Folha de São Paulo, 21 de maio de 2011
+Folhapress
+FONSECA, Maria Augusta. Oswald de Andrade – Biografia. Rio de Janeiro : Editora Globo, 2007.
+GONÇALVES, Marcos Augusto. 1922: a semana que não terminou. São Paulo : Companhia das Letras, 2012.
+Google Arts & Culture
+Hemeroteca Digital da Biblioteca Nacional
+História do Jabaquara
+Instituto do Patrimônio Histórico e Artístico Nacional (Brasil). Coordenação-Geral de Pesquisa, Documentação e Referência. A fotografia na preservação do patrimônio cultural: uma abordagem preliminar/coordenação Francisca Helena Barbosa Lima, Mônica Muniz Melhem, Oscar Henrique Liberal de Brito e Cunha. – Rio de Janeiro: IPHAN, COPEDOC, 2008.
+JARDIM, Eduardo. Mario de Andrade: a morte do poeta. Rio de Janeiro : Civilização Brasileira, 2005.
+Jornal da Unicamp, 25 a 31 de outubro de 2004
+LIMA; Francisca Helena Barbosa; MELHEM, Mônica Muniz; CUNHA, Oscar Henrique Liberal de Brito e (coordenação). A fotografia na preservação do patrimônio cultural: uma abordagem preliminar in Cadernos de Pesquisa e Documentação do IPHAN nº 4. COPEDOC/IPHAN – RIO DE JANEIRO – 2008.
+Manchete, 19 de julho de 1975
+MELO, Sabrina Fernandes. Robert Chester Smith no Brasil: arte colonial e iconografia nas viagens de 1936 e 1947. Anais do Museu Paulista, São Paulo, Nova Série, vol. 29, 2021
+MOTTA, Debora. Genevieve Naylor: um olhar humanizado sobre o Brasil da Boa Vizinhança. FAPERJ, 21 de julho de 2021.
+MOURA, Christian Fernando dos Santos Moura. O Teatro Experimental do Negro – Estudo da personagem negra em duas peças encenadas (1947-1951). Dissertação apresentada ao Programa de PósGraduação em Artes. Área de concentração: Artes Cênicas, Linha de pesquisa: Teoria, prática, história e ensino das Artes Cênicas, do Instituto de Artes da Universidade Estadual Paulista (UNESP) como requisito parcial para obtenção do grau de Mestre, com Orientação do Prof. Dr. Reynuncio Napoleão de Lima, 2008.
+NASTARI, Danielle Misura. A gênese da coleção da arte brasileira do MoMa, a década de 40, Portinari e artistas seguintes. Dissertação apresentada ao Programa de Pós-Graduação Interunidades em Estética e História da Arte da Universidade de São Paulo para a obtenção do titulo de mestre em Estética e História da Arte, 2016.
+O Estado de São Paulo
+Portal Academia Brasileira de Letras
+Portal Terra
+PREVIDELLI, Fábio. Cerimônia peculiar: Oswal de Andrade se casou com Pagu no Cemitério da Consolação, em São Paulo in Aventuras na História, 31 de outubro de 2019.
+Site Academia de Letras de São Paulo
+Site BBC
+Site Casa Mário de Andrade
+Site CPDOC
+Site Editora Capivara
+Site Enciclopédia Itaú Cultural
+Site Escritório de Arte
+Site Etnografiha Vilkaviskis
+SOUZA, Alana.“Arte anormal: a dura crítica de Monteiro Lobaro à arte de Anita Malfatti in Aventuras na História, 4 de julho de 2021.
+TÉRCIO, Jason. Em busca da alma brasileira – Biografia de Mário de Andrade. Rio de Janeiro : Estação Brasil, 2019.
+ 
+Links para os artigos já publicados da Série 1922 – Hoje, há 100 anos
+Série 1922 – Hoje, há 100 anos I – Os Batutas embarcam para Paris, de autoria de Andrea C.T. Wanderley, publicado em 29 de janeiro de 2022
+Série 1922 – Hoje, há 100 anos III – A eleição de Artur Bernardes e a derrota de Nilo Peçanha, de autoria de Andrea C.T. Wanderley, publicado em 1º de março de 2022, na Brasiliana Fotográfica
+Série 1922 – Hoje, há 100 anos IV – A primeira travessia aérea do Atlântico Sul, realizada pelos aeronautas portugueses Gago Coutinho e Sacadura Cabral, de autoria de Andrea C. T. Wanderley, publicada em 17 de junho de 2022, na Brasiliana Fotográfica
+Série 1922 – Hoje, há 100 anos V – A Revolta do Forte de Copacabana, de autoria de Andrea C. T. Wanderley, publicada em 5 de julho de 2022, na Brasiliana Fotográfica
+Série 1922 – Hoje, há 100 anos VI e série Feministas, graças a Deus XI- A fundação da Federação Brasileira para o Progresso Feminino, de autoria de Andrea C. T. Wanderley, publicado em 9 de agosto de 2022, na Brasiliana Fotográfica
+Série 1922 – Hoje, há 100 anos VII – A morte de Gastão de Orleáns, o conde d´Eu (Neuilly-sur-Seine, 28/04/1842 – Oceano Atlântico 28/08/1922), de autoria de Andrea C. T. Wanderley, publicado em 28 de agosto de 2022, na Brasiliana Fotográfica.
+Série 1922 – Hoje, há 100 anos VIII – A abertura da Exposição Internacional do Centenário da Independência do Brasil e o centenário da primeira grande transmissão pública de rádio no país, de autoria de Andrea C. T. Wanderley, publicado em 7 de setembro de 2022, na Brasiliana Fotográfica.
+Série 1922 – Hoje, há 100 anos IX – O centenário do Museu Histórico Nacional, de autoria de Maria Isabel Lenzi, historiadora do Musseu Histórico Nacional, publicado em 12 de outubro de 2022, na Brasiliana Fotográfica.
+Série 1922 – Hoje, há 100 anos X –  A morte do escritor Lima Barreto (1881 – 1922), de autoria de Andrea C. T. Wanderley, publicado em 1º denovembro de 2022, na Brasiliana Fotográfica
+Série 1922 – Hoje, há 100 anos XI e série Feministas, graças a Deus XII – 1ª Conferência pelo Progresso Feminino e o “bom” feminismo, de autoria de Maria Elizabeth Brêa Monteiro, antropóloga do Arquivo Nacional, publicado em 19 de dezembro de 2022, na Brasiliana Fotográfica.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/10290` — `itens/20.500.12156.1_10290/`
+- `20.500.12156.1/10288` — `itens/20.500.12156.1_10288/`
+- `20.500.12156.1/10289` — `itens/20.500.12156.1_10289/`
+- `20.500.12156.1/4255` — `itens/20.500.12156.1_4255/`
+- `20.500.12156.1/8907` — `itens/20.500.12156.1_8907/`
+
diff --git a/wordpress/26624-serie-1922-hoje-ha-100-anos-iii-a-eleicao-de-artur-bernardes-e-a-derrota-de-nilo.md b/wordpress/26624-serie-1922-hoje-ha-100-anos-iii-a-eleicao-de-artur-bernardes-e-a-derrota-de-nilo.md
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@@ -0,0 +1,124 @@
+---
+id: 26624
+url: "https://brasilianafotografica.bn.gov.br/?p=26624"
+titulo: "Série “1922 – Hoje, há 100 anos” III – A eleição de Artur Bernardes e a derrota de Nilo Peçanha"
+autor: "Andrea Wanderley"
+data: "2022-03-01T23:37:33+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/8418", "20.500.12156.1/8419", "20.500.12156.1/8410", "20.500.12156.1/8402", "20.500.12156.1/8404", "20.500.12156.1/8406", "20.500.12156.1/7902"]
+fetched_at: "2026-09-10T10:09:26.464Z"
+---
+
+# Série “1922 – Hoje, há 100 anos” III – A eleição de Artur Bernardes e a derrota de Nilo Peçanha
+
+No 3º artigo da Série 1922 – Hoje, há 100 anos, A eleição de Artur Bernardes e a derrota de Nilo Peçanha, a Brasiliana Fotográfica traz três fotografias de Artur Bernardes (1875 – 1955), da Coleção Presidentes da República, e oito de Nilo Peçanha (1867 – 1924), todas do acervo do Museu da República, uma das instituições parceiras do portal. Uma das imagens de Bernardes foi produzida pela Annunciato Photo e as outras duas são de autoria de fotógrafos ainda não identificados. Um dos registros de Nilo Peçanha, o candidato derrotado, é de autoria de Juan Gutierrez (c. 1860 -1897). Há também a imagem do verso de um estojo de madeira que protege o álbum fotográfico da Escola de Aprendizes e Artífices do Estado de Alagoas, que já foi tema de um artigo do portal, onde Nilo aparece desenhado entre as bandeiras do Brasil e de Alagoas.
+ 
+O candidato vitorioso, Artur Bernardes (1875 – 1955)
+ 
+Artur Bernardes, s/d / Acervo Museu da República
+ 
+Acessando o link para as fotografias de Artur Bernardes disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Mineiro de Viçosa, Artur Bernardes foi eleito pelo Partido Republicano Mineiro, em 1º de março de 1922, quando derrotou Nilo Peçanha, candidato do Movimento Reação Republicana, tornando-se o 12º presidente do Brasil (O Jornal, 2 de março de 1922).
+No mesmo mês de março, foi fundado o Partido Comunista do Brasil, por iniciativa do Grupo Comunista de Porto Alegre, que realizou, no Rio e em Niterói, nos dias 25, 26 e 27 de março, um congresso. Abílio de Nequete (1888 – 1960) foi eleito secretário geral.
+ 
+De pé, da esquerda para a direita: Manuel Cendon, Joaquim Barbosa, Astrogildo Pereira, João da Costa Pimenta, Luís Peres e José Elias da Silva; sentados, da esquerda para a direita: Hermogênio Silva, Abílio de Nequete e Cristiano Cordeiro / Nosso Século
+ 
+Voltando às eleições: foram 466.877 votos contra 317.714 e o pleito dividiu o país: Bahia, Pernambuco, Rio de Janeiro e Rio Grande do Sul deram apoio a Nilo Peçanha enquanto Minas Gerais e São Paulo apoiaram a candidatura de Bernardes, que tomou posse em 15 de novembro de 1922 e ficou no cargo até 15 de novembro de 1926. Governou grande parte de seu mandato sob estado de sítio, decretado por ele.
+ 
+Anunciato. Artur Bernardes, s/d / Acervo Museu da República
+ 
+Formado em Direito, Bernardes foi vereador, deputado, secretário das Finanças e governador de Minas Gerais antes de chegar à presidência da República. Sua eleição para o governo de Minas representou a ascensão de uma nova geração de políticos no estado e durante seu mandato fez grande oposição às atividades do proprietário da Itabira Iron Ore Company, o empresário norte-americano Percival Farquhar (1865–1953).
+Era o representante da política que ficou conhecida como Café com Leite, que alternava candidatos das oligarquias de São Paulo e Minas Gerais. Durante a campanha presidencial houve o episódio das cartas falsas: ele foi acusado de ter escrito cartas ao senador Raul Soares (1877 – 1924), publicadas no jornal Correio da Manhã, atacando seu opositor, Nilo Peçanha, chamado de moleque, e o marechal Hermes da Fonseca (1855 – 1923) referido como um sargentão sem compostura, o que acirrou os ânimos dos militares contra sua candidatura. Bernardes chegou ao Rio de Janeiro, em 15 de outubro de 1921, para apresentar sua plataforma de governo e foi recebido por uma multidão raivosa na avenida Rio Branco. Houve um quebra-quebra na cidade e seus retratos foram arrancados das vitrines das lojas e queimados (Correio da Manhã, 9 de outubro, última coluna; 13 de outubro e 16 de outubro de 1921).
+ 
+Correio da Manhã, 16 de outubro de 1921
+ 
+Os reponsáveis pelas cartas foram Jacinto Cardoso de Oliveira Guimarães, Oldemar Lacerda e Pedro Burlamaqui e, ainda durante a campanha, foi provado que haviam sido forjadas, mas a contestação a Bernardes nos meios militares já era irreversível. Apesar da importante crise política, Artur Bernardes se elegeu, mas, durante seu governo, enfrentou o movimento tenentista, que deu início a um processo de ruptura política que teria como consequência a Revolução de 1930. Seu governo foi fortemente marcado pela dura repressão a seus oposiocionistas e pela censura à imprensa.
+ 
+Artur Bernardes, s/d / Acervo Museu da República
+ 
+Curiosidades: Freire Júnior (1881 – 1956) e Luiz Nunes Sampaio (1886 – 1953) compuseram a marcha carnavalesca conhecida como “Ai, Seu Mé”, em 1922. Seu Mé era um apelido dado pela oposição a Bernardes. Versos como O queijo de Minas está bichado, seu Zé Não seu porquê é, não sei porquê é e Aí, seu Mé! Aí Mé, Mé Lá no Palácio das Águias, Olé Não hás de pôr o pé ironizavam o candidato. Apesar de nas gravações da música não aparecer o nome dis compositores e sim o nome do conjunto A Canalha das Ruas, com a eleição de Bernardes, eles foram presos. Ouça aqui a músicas.
+O compositor José Barbosa da Silva, conhecido pelo pseudônimo Sinhô (1888 – 1930), também compôs uma música alfinetando Artur Bernardes. Foi a marcha carnavalesca Fala baixo, cujo título denunciava a censura policial da época. Nos versos, as invocações de uma “rolinha”, que era o apelido injurioso dado a Artur Bernardes pelos jornais do Rio, complicaram a vida do artista que foi perseguido e teve que sumir por uns tempos.
+ 
+ Fala baixo (1919-1921)
+
+Quero te ouvir cantar 
+Vem cá, rolinha, vem cá 
+Vem para nos salvar 
+Vem cá, rolinha, vem cá 
+Não é assim 
+Não é assim 
+Não é assim 
+Que se maltrata uma mulher 
+És a minha paixão 
+Vem cá, rolinha, vem cá 
+És o meu coração 
+Vem cá, rolinha, vem cá 
+Não é assim…
+ 
+Um pouco sobre o candidato derrotado, Nilo Peçanha (1867 – 1924) 
+ 
+Nilo Peçanha, s/d / Acervo Museu da República
+ 
+O candidato derrotado nas eleições presidenciais de 1922, Nilo Peçanha, era fluminense, de Campos de Goytacazes. Sua candidatura iniciou o movimento chamado de Reação Republicana que protestava contra as oligarquias de São Paulo e Minas Gerais. Inaugurava-se, então, o nilismo – uma nova forma de fazer política.
+ 
+Juan Gutierrez, s/d / Acervo Museu da República
+ 
+ 
+Acessando o link para as fotografias de Nilo Peçanha disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Já havia sido presidente, o primeiro com um perfil popular, entre junho de 1909 e novembro de 1910, quando Afonso Pena (1847 – 1909) faleceu no exercício do cargo (Gazeta de Notícias, 15 de junho de 1909, sétima coluna). Quando assumiu a presidência, Peçanha declarou que as bases de seu governo seriam a paz e o amor. Era formado em Direito e antes de chegar à presidência participou das campanhas abolicionista e republicana e havia sido deputado, governador do Rio de Janeiro e vice-presidente da República. Depois foi ministro das Relações Exteriores e senador. Era um excelente orador, fazia frequentemente discursos em praças do Rio de Janeiro, então capital do Brasil. Gostava de andar pelas ruas da cidade, parando em bares e lojas para conversar.
+Foi, muitas vezes, vítima de racismo. Segundo o diplomata e membro da Academia Brasileira de Letras, Alberto Costa e Silva:
+“Nilo Peçanha era mulato escuro, assim como diversos outros presidentes da república, a começar por Rodrigues Alves, que era mulato, e também Washington Luís. A questão é que nenhum desses políticos brasileiros era considerado mulato ou negro. Eles eram tidos como brancos, por terem uma posição social elevada. Faziam parte do “mundo dos brancos”, e não de uma minoria. A população dita “branca” no Brasil na realidade era composta por muitos mestiços”.
+Revista Época, 22 de novembro de 2008
+ 
+Nilo Peçanha. Niterói, Rio de Janeiro, 1915 / Acervo Museu da República
+ 
+Conforme já abordado pelo artigo publicado na Brasiliana Fotográfica, em 26 de março de 2020, Escola de Aprendizes e Artífices de Alagoas, 1910, de Paulo Celso Corrêa, cientista político do Arquivo Histórico e Institucional do Museu da República, as Escolas de Aprendizes e Artífices foram criadas durante o governo do presidente Nilo Peçanha, em 1909. Sob a responsabilidade do recém-criado Ministério da Agricultura, Indústria e Comércio, elas ofereciam ensino primário e profissional para menores de idade pobres, com a finalidade de formá-los em operários e contramestres para a indústria. Com o texto, estão disponibilizadas as 14 fotos de um álbum da Coleção Nilo Peçanha referentes ao tema. São cenas dos cinco primeiros meses de funcionamento da escola, com as crianças tendo aulas e participando de oficinas de marcenaria, funilaria, sapataria, entre outras. Em 1937, as Escolas de Aprendizes e Artífices foram transformadas em Liceus de Artes e Ofícios. Estas instituições de ensino técnico e profissionalizante deram origem às posteriores Escolas Técnicas, Centros Federais de Educação Tecnológica e Institutos Federais de Educação, Ciência e Tecnologia.
+ 
+Verso do estojo de madeira que serve de proteção ao álbum fotográfico da Escola de Aprendizes e Artífices do Estado de Alagoas, na qual aparece desenhado Nilo Peçanha, entre duas bandeiras, a do Brasil e a do Estado de Alagoas, 1910 / Acervo Museu da República
+ 
+Também criou o Serviço de Proteção ao Índio (SPI), precursor da Funai, em 1910. O primeiro diretor do órgão foi o marechal Cândido Rondon (1865 – 1958).
+ 
+Revista da Semana, 12 de novembro de 1921
+ 
+Andrea C.T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+Atlas Histórico do Brasil
+BARTZ, Frederico Duarte. Abílio de Nequete (1888-1960): os múltiplos caminhs de uma militância operária. Dossiês Mundo do Trabalho, 14 de janeiro de 2011 in História Social, uma publicação semestral dos alunos do Programa de Pós-Graduação em História da Unicamp.
+
+Blog do Luis Nassif
+Casa do Choro
+CPDOC – Artur Bernardes, Nilo Peçanha, PCB e Raul Soares
+FRANZINI, Fábio. No campo das ideias – Gilberto Freyre e a invenção da brasilidade futebolística. Departamento de História da Unesp
+Folha de São Paulo, 18 de outubro de 2019
+GGN – O jornal de todos os Brasis
+Hemeroteca Digital da Biblioteca Nacional 
+Nosso Século
+ 
+Links para os artigos já publicados da Série 1922 – Hoje, há 100 anos
+Série 1922 – Hoje, há 100 anos I – Os Batutas embarcam para Paris, de autoria de Andrea C.T. Wanderley, publicado em 29 de janeiro de 2022
+Série 1922 – Hoje, há 100 anos II- A Semana de Arte Moderna, de autoria de Andrea C.T. Wanderley, publicado em 13 de fevereiro de 2022, na Brasiliana Fotográfica
+Série 1922 – Hoje, há 100 anos IV – A primeira travessia aérea do Atlântico Sul, realizada pelos aeronautas portugueses Gago Coutinho e Sacadura Cabral, de autoria de Andrea C. T. Wanderley, publicada em 17 de junho de 2022, na Brasiliana Fotográfica
+Série 1922 – Hoje, há 100 anos V – A Revolta do Forte de Copacabana, de autoria de Andrea C. T. Wanderley, publicada em 5 de julho de 2022, na Brasiliana Fotográfica
+Série 1922 – Hoje, há 100 anos VI e série Feministas, graças a Deus XI – A fundação da Federação Brasileira para o Progresso Feminino, de autoria de Andrea C. T. Wanderley, publicado em 9 de agosto de 2022, na Brasiliana Fotográfica
+Série 1922 – Hoje, há 100 anos VII – A morte de Gastão de Orleáns, o conde d´Eu (Neuilly-sur-Seine, 28/04/1842 – Oceano Atlântico 28/08/1922), de autoria de Andrea C. T. Wanderley, publicado em 28 de agosto de 2022, na Brasiliana Fotográfica.
+Série 1922 – Hoje, há 100 anos VIII – A abertura da Exposição Internacional do Centenário da Independência do Brasil e o centenário da primeira grande transmissão pública de rádio no país, de autoria de Andrea C. T. Wanderley, publicado em 7 de setembro de 2022, na Brasiliana Fotográfica.
+Série 1922 – Hoje, há 100 anos IX – O centenário do Museu Histórico Nacional, de autoria de Maria Isabel Lenzi, historiadora do Musseu Histórico Nacional, publicado em 12 de outubro de 2022, na Brasiliana Fotográfica.
+Série 1922 – Hoje, há 100 anos X –  A morte do escritor Lima Barreto (1881 – 1922), de autoria de Andrea C. T. Wanderley, publicado em 1º denovembro de 2022, na Brasiliana Fotográfica
+Série 1922 – Hoje, há 100 anos XI e série Feministas, graças a Deus XII – 1ª Conferência pelo Progresso Feminino e o “bom” feminismo, de autoria de Maria Elizabeth Brêa Monteiro, antropóloga do Arquivo Nacional, publicado em 19 de dezembro de 2022, na Brasiliana Fotográfica.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/8418` — `itens/20.500.12156.1_8418/`
+- `20.500.12156.1/8419` — `itens/20.500.12156.1_8419/`
+- `20.500.12156.1/8410` — `itens/20.500.12156.1_8410/`
+- `20.500.12156.1/8402` — `itens/20.500.12156.1_8402/`
+- `20.500.12156.1/8404` — `itens/20.500.12156.1_8404/`
+- `20.500.12156.1/8406` — `itens/20.500.12156.1_8406/`
+- `20.500.12156.1/7902` — `itens/20.500.12156.1_7902/`
+
diff --git a/wordpress/26827-fotografias-da-gripe-espanhola-do-fundo-moncorvo-filho-da-casa-de-oswaldo-cruz.md b/wordpress/26827-fotografias-da-gripe-espanhola-do-fundo-moncorvo-filho-da-casa-de-oswaldo-cruz.md
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@@ -0,0 +1,92 @@
+---
+id: 26827
+url: "https://brasilianafotografica.bn.gov.br/?p=26827"
+titulo: "Fotografias da Gripe Espanhola do fundo Moncorvo Filho, da Casa de Oswaldo Cruz"
+autor: "Andrea Wanderley"
+data: "2022-03-11T13:00:31+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/10325", "20.500.12156.1/10324", "20.500.12156.1/10321", "20.500.12156.1/10322", "20.500.12156.1/10323", "20.500.12156.1/10327", "20.500.12156.1/10326"]
+fetched_at: "2026-09-10T10:09:30.166Z"
+---
+
+# Fotografias da Gripe Espanhola do fundo Moncorvo Filho, da Casa de Oswaldo Cruz
+
+Hoje, data que marca os dois anos da caracterização da Covid-19 como uma pandemia, pela Organização Mundial da Saúde, a Brasiliana Fotográfica traz para seus leitores fotografias da pandemia de Gripe Espanhola, em 1918, descobertas, em meados de março de 2020, no arquivo do médico Moncorvo Filho. Os autores do artigo Fotografias da Gripe Espanhola são Ricardo Augusto dos Santos, Felipe Almeida Vieira e Francisco dos Santos Lourenço, pesquisadores Departamento de Arquivo e Documentação da Casa de Oswaldo Cruz/Fiocruz, uma das instituições parceiras do portal.
+Fotografias da Gripe Espanhola 
+Ricardo Augusto dos Santos, Felipe Almeida Vieira e Francisco dos Santos Lourenço*
+ 
+“Grande vozerio, gritos e gemidos de repente ouvi que partiam do saguão da entrada e contiguo à minha sala. Corro a ver o que era. Uma onda humana invadia o prédio de nossa sede: eram homens, mulheres e crianças, em sua maioria andrajosos, comprimindo-se para entrar e agasalhar-se em todas as salas do nosso estabelecimento. Havia gente de todas as classes sociais, indivíduos brancos e de cor, velhos, moços e crianças, carregados uns pelos outros, alguns que entravam a cambalear, esquálidos, ardendo em febre, outros a vomitar e finalmente alguns encontrados já a expirar na via pública…” (Moncorvo Filho, 1924:49)
+ 
+Em meados de março de 2020, durante o início da quarentena imposta pela epidemia de Covid-19, encontramos imagens inéditas da Gripe Espanhola no arquivo do médico Moncorvo Filho. Sabíamos da importância deste acervo, entretanto, não possuíamos a real dimensão do inestimável patrimônio que estava em nossas mãos. Apresentamos algumas das imagens neste breve trabalho.
+ 
+Acessando o link para as fotografias inéditas da Gripe Espanhola no arquivo do médico Moncorvo Filho disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Octávio de Barros atendendo um doente durante a Gripe Espanhola, 1918. Morro da Mangueira, RJ / Acervo Casa de Oswaldo Cruz
+ 
+Em setembro de 1918, no Rio de Janeiro, os habitantes começaram a apresentar febre alta. Era a Gripe Espanhola, doença que vinha da Europa pelos navios que ancoravam nos portos brasileiros. Numa cidade com um milhão de habitantes, morreram, segundo os registros oficiais, quase 15 mil pessoas. Os médicos receitavam canja e limão. Não que o Brasil não estivesse avisado. A gripe estava dizimando na Europa e mataria, de acordo com as estimativas mais cautelosas, trinta milhões de pessoas em todo o mundo.
+Médicos e autoridades não sabiam como proceder e que atitudes tomar diante da pandemia. As instituições governamentais de saúde concentraram sua atuação no atendimento aos doentes. O que melhorou um pouco a trágica situação foram as ações isoladas. Hospitais e enfermarias provisórias foram montadas. Toda ajuda era bem-vinda, mas era pouca. Alguns círculos operários também contribuíram fornecendo auxílio.
+ 
+“Morrer na cama era um privilégio abusivo e aristocrático. O sujeito morria nos lugares mais impróprios, insuspeitados: – na varanda, na janela, na calçada, na esquina, no botequim… Muitos caíam, rente ao meio-fio, com a cara enfiada no ralo. E ficavam, lá, estendidos, não como mortos, mas como bêbados. Ninguém os chorava, ninguém. Nem um vira-latas vinha lambê-los. Era como se o cadáver não tivesse nem mãe, nem pai, nem amigo, nem vizinho e, nem ao menos, inimigo.” (, 1967:72)
+ 
+Os cariocas morriam em casa, na rua, no trabalho, sendo recolhidos pelos funcionários da Prefeitura. Estes jogavam os corpos nas carroças da companhia de limpeza pública. Conta-se que quando descobriam alguém dado como morto e ainda vivo, acabavam de matá-lo com as pás. Nos cemitérios, coveiros abriram valas, onde eram despejadas dezenas de mortos. E, quanto mais corpos acumulados, mais a situação piorava.
+Frente ao desconhecimento ou ineficácia das medidas que pudessem impedir o contágio ou cuidar dos doentes, as autoridades públicas inicialmente restringiram-se a orientar a população a evitar aglomeração. A cidade transformou-se num caos, faltavam alimentos e ocorriam saques aos armazéns. Para completar este quadro tenebroso ainda havia o problema dos cadáveres insepultos. Não havendo pessoal suficiente para enterrar os mortos, foram utilizados os presidiários. O cenário de corpos amontoados pelos cemitérios ou abandonados pelas ruas era desolador.
+ 
+Manoel Peregrino da Silva examinando doente durante a Gripe Espanhola, 1918. Morro da Mangueira, Rio de Janeiro / Acervo Casa de Oswaldo Cruz
+ 
+Com o desenrolar dos fatos, aumentava o temor coletivo. No período mais crítico, a população ficou desesperada. A divulgação pela imprensa do número de óbitos, da ausência de assistência médica e das atrocidades cometidas intensificava o clima de medo. A todo esse cenário podemos acrescentar o ar fétido, emanado das covas, casas e ruas, onde os corpos permaneciam à espera de sepultamento. Outro aspecto que deve ser considerado diz respeito às atitudes desencadeadas a partir do terror instalado com a gripe. Narrativas terríveis falam de atos insensatos cometidos por pessoas transtornadas com a situação.
+A interrupção das atividades econômicas e outras adversidades inerentes aos fenômenos epidêmicos não foram evitadas e tampouco houve planejamento para aplacar os efeitos da espanhola. A doença inicialmente apresentou-se aos habitantes do país como um mal distante. Tanto órgãos da imprensa quanto os responsáveis pelos serviços de saúde pública colocavam em dúvida a existência da espanhola no Brasil. Os casos observados poderiam ser moléstias ainda não identificadas. Para além da discussão científica, um fator deve ser observado: a aceitação de que a epidemia havia invadido o país evidenciaria a fragilidade das políticas públicas de saúde.
+A gripe é transmitida por contágio direto, tendo como sintomas principais febre, prostração e dores musculares. Embora não seja incorreta a ideia do caráter “democrático” das doenças contagiosas, que atacam de forma indiferenciada as classes sociais, as observações mostram que enfermidades epidêmicas podem ser fulminantes em organismos debilitados por condições de sobrevivência precárias.
+Embora os políticos e administradores do Rio de Janeiro não acreditassem, ou não quisessem aceitar, a epidemia foi dominando a cidade. Em outubro, a imprensa noticiou a existência de doentes em quartéis, fábricas e escolas. Por volta da segunda semana era enorme a quantidade de casos. Nesse momento, o número de pessoas atingidas havia crescido, deixando a população apavorada. A violência da gripe transformava a cidade, paralisando vários setores das atividades urbanas.
+“Nas habitações coletivas, em estado grave caiam quase fulminados pelo terrível morbo inúmeros de seus moradores. A população estava muito justamente alarmadíssima e todos os serviços públicos já se mostravam em 10 de outubro sensivelmente desfalcados do seu pessoal, por doença afastado de seus misteres, sendo em número assaz elevado as guias extraídas pelas Delegacias de Polícia para o internamento de gripantes no Hospital da Misericórdia. Os miseráveis e mendigos, como sempre sucede, eram os que primeiro caiam vítimas do devastador morbo e nos quais a doença de maior gravidade era desde logo emprestada.” (Moncorvo Filho, 1924:52)
+ 
+Distribuição de alimentos no Instituto de Proteção e Assistência à Infância, 1918. Rio de Janeiro / Acervo Casa de Oswaldo Cruz
+ 
+Nos primeiros dias de novembro, a situação era alarmante. A epidemia forçara o fechamento do comércio e indústrias, bem como a interrupção dos serviços públicos. A cidade estava paralisada. O governo passou a distribuir quinino. Sem esclarecer o valor terapêutico dessa substância no combate à gripe ou o perigo da sua ingestão sem controle. Surgiam na imprensa receitas peculiares, que prometiam curar a doença. Além disso, os produtos – galinhas, ovos e limão – supostamente eficazes no combate ao mal, sofreram intensa especulação comercial.
+A desorganização das atividades comerciais provocou uma grave crise de abastecimento. Se nas áreas próximas do centro urbano havia dificuldade em conseguir alimentos, nas áreas suburbanas eles eram extremamente escassos. Para amenizar a situação, o governo passou a distribuir leite, sopa e pão para a população. Entretanto, noticiadas pela imprensa, as reclamações de moradores dos subúrbios deixam evidente que essa medida foi inoperante.
+ 
+“Era apavorante a rapidez com que ela ia da invasão ao apogeu, em poucas horas, levando a vítima às sufocações, às diarréias, às dores lancinantes, ao letargo, ao coma, à uremia, à síncope e à morte em algumas horas ou poucos dias. Aterravam a velocidade do contágio e o número de pessoas que estavam sendo acometidas. Nenhuma de nossas calamidades chegara aos pés da moléstia reinante: o terrível não era o número de casualidades, mas não haver quem fabricasse caixões, quem os levasse ao cemitério, quem abrisse covas e enterrasse os mortos. O espantoso já não era a quantidade de doentes, mas o fato de estarem quase todos doentes, a impossibilidade de ajudar, tratar, transportar comida, vender gêneros, aviar receitas, exercer, em suma, os misteres indispensáveis à vida coletiva.” (Pedro Nava, 1976:201)
+ 
+Maurity Santos e enfermeiras atendendo doente no Morro do Salgueiro, 1918. Rio de Janeiro / Acervo Casa de Oswaldo Cruz
+ 
+Acreditava-se que um corpo bem alimentado resistiria melhor à doença. Até galinhas foram distribuídas à população. Para auxiliar o atendimento dos cariocas acometidos pela gripe, associações filantrópicas tomaram providências para tratar os doentes. Uma das instituições que participaram dessa mobilização foi o Instituto de Proteção e Assistência à Infância do Rio de Janeiro (IPAI). Em suas dependências, funcionou um dos postos de socorros criados.
+ 
+ Prédio do Instituto de Proteção e Assistência à Infância, 1918. Rio de Janeiro / Acervo Casa de Oswaldo Cruz
+ 
+ 
+O instituto fora criado pelo médico Arthur Moncorvo Filho (1871-1944), em 1899. Dedicava-se ao auxílio de crianças, mas, durante a epidemia, transformou-se num local de assistência emergencial, onde as pessoas atingidas pela espanhola, recebiam atendimento médico. Suas dependências ficaram lotadas e formaram-se filas para a distribuição de produtos alimentícios. Além disto, grupos de médicos e enfermeiras eram enviados aos bairros mais populares. Chamadas de Caravanas do Bem, saíam do IPAI em direção ao Morro do Salgueiro, Morro do Andaraí, Morro do Telégrafo (Mangueira), Engenho de Dentro, Cascadura e Ramos.
+As imagens que retratam o cotidiano do IPAI durante a pandemia de Gripe de 1918 podem ser encontradas no acervo da Casa de Oswaldo Cruz. São registros originais que documentam o período da Gripe Espanhola no Rio de Janeiro. Elas pertencem ao Arquivo Arthur Moncorvo Filho. Além destas imagens documentando a pandemia, este arquivo reúne mais de mil itens, entre fotografias, cartas, relatórios, publicações e recortes de jornais acumulados pelo médico, gestor e membro de associações científicas, tanto no Brasil quanto no exterior.
+Nascido em 13 de setembro de 1871, na cidade do Rio de Janeiro, Arthur Moncorvo Filho viveu na Europa, onde Carlos Arthur Moncorvo de Figueiredo (1846-1901) estagiava em Paris com os professores Eugène Bouchut (1818-1891) e Henri-Louis Roger (1809-1891). Retornando ao Brasil, seu pai o convenceu a estudar medicina. Terminou o curso em 1897 na Faculdade de Medicina do Rio de Janeiro, diplomando-se com a tese Das linfangites na infância e suas consequências. Durante o curso, trabalhou na Policlínica Geral do Rio de Janeiro, instituição fundada por Carlos Arthur Moncorvo em 1881. Com seu falecimento, em 1901, o filho ocuparia seu lugar no serviço de moléstias de crianças da policlínica.
+ 
+Moncorvo Filho no Instituto de Proteção e Assistência à Infância, 193?. Rio de Janeiro / Acervo Casa de Oswaldo Cruz
+  
+Criado em 1899, o IPAI funcionava na casa da família, localizada na rua da Lapa. Neste mesmo local, seu pai criara, em 1881, a Policlínica Geral. Dois anos depois, o instituto foi instalado em prédio alugado, à rua Visconde do Rio Branco. Em 1914, o presidente da República, Hermes da Fonseca, doou o terreno onde foi construída a sede do instituto, na rua do Areal, atual rua Moncorvo Filho. Hoje, funciona no local o Hospital Moncorvo Filho, nomeado em sua homenagem.
+Moncorvo Filho foi membro de várias sociedades médicas. Em 1919 foi eleito membro honorário da Academia Nacional de Medicina. Em 1921 tornou-se sócio da Sociedade de Medicina e Cirurgia do Rio de Janeiro. Em 1933 veio a ser presidente da Sociedade Brasileira de Pediatria. Publicou obras de referência para a história da pediatria no Brasil: Hygiene infantil (1917), Formulário de doenças das creanças (1923) e Histórico da protecção à infância no Brasil (1926).
+As muitas atividades associativas contribuíram para a influência de Moncorvo Filho. Reconhecido como um pioneiro pelos membros do campo da pediatria, participou de encontros científicos nacionais e internacionais em cargos de coordenação. Por exemplo, foi encarregado da organização do 1º Congresso Americano da Criança, realizado em julho de 1916 na cidade de Buenos Aires. No 1º Congresso Brasileiro de Proteção à Infância, em 1922, ocupou o cargo de presidente. Nesses eventos defendia ideias de proteção à saúde das crianças, como a proibição da fabricação de chupetas, até ações de saneamento das cidades. Desde o início de sua carreira, Moncorvo Filho fazia críticas às instituições de amparo à infância. Para ele, a saúde das crianças dependia de condições de higiene, da exposição a luz solar, além de boa alimentação. Seus pronunciamentos nos congressos médicos eram publicados na imprensa, alimentando o debate político do período.
+ 
+Gripe Espanhola no Morro do Salgueiro, 1918. Rio de Janeiro / Acervo Casa de Oswaldo Cruz
+ 
+ 
+* Ricardo Augusto dos Santos, Felipe Almeida Vieira e Francisco dos Santos Lourenço são pesquisadores do Departamento de Arquivo e Documentação da Casa de Oswaldo Cruz/Fiocruz.
+ 
+Fontes: 
+MONCORVO FILHO, Arthur. O Pandemônio de 1918: subsídio ao histórico da epidemia de grippe que em 1918 assolou o território do Brasil. Rio de Janeiro: Departamento da Criança no Brasil, 1924.
+NAVA, Pedro. Chão de ferro. Memórias/3. Rio de Janeiro: J. Olympio, 1976.
+RODRIGUES, Nelson. Memórias. Rio de Janeiro: Ed. Correio da Manhã, 1967.
+SANTOS, Ricardo Augusto dos. O Carnaval, a Peste e a Espanhola.  História, Ciências, Saúde-Manguinhos. vol.13, no.1. Rio de Janeiro, 2006.https://www.scielo.br/j/hcsm/a/Z9Lr5HqtjXzFsTD5FFvGFBQ/?lang=pt
+FREIRE, Maria Martha de Luna; LEONY, Vinícius da Silva. A caridade científica: Moncorvo Filho e o Instituto de Proteção e Assistência à Infância do Rio de Janeiro (1899-1930). História, Ciências, Saúde-Manguinhos. vol.18, supl. 1. Rio de Janeiro, 2011.https://www.scielo.br/j/hcsm/a/pMzXR6Xv9xBJgG9gyc4ZrZv/?lang=pt
+VENANCIO JUNIOR, André Luiz & MIGNOT, Ana Chrystina. O Pandemônio de 1918: Testemunho de um médico para a posteridade. Revista Educação em Questão, Natal, v. 58 n. 58, out./dez. 2020. https://periodicos.ufrn.br/educacaoemquestao/article/view/21540/13358
+ 
+Link para o artigo E o ex e futuro presidente do Brasil morreu de gripe…a Gripe Espanhola de 1918, de autoria de Andrea C. T. Wanderley, publicado em 23 de março de 2020, na Brasiliana Fotográfica.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/10325` — `itens/20.500.12156.1_10325/`
+- `20.500.12156.1/10324` — `itens/20.500.12156.1_10324/`
+- `20.500.12156.1/10321` — `itens/20.500.12156.1_10321/`
+- `20.500.12156.1/10322` — `itens/20.500.12156.1_10322/`
+- `20.500.12156.1/10323` — `itens/20.500.12156.1_10323/`
+- `20.500.12156.1/10327` — `itens/20.500.12156.1_10327/`
+- `20.500.12156.1/10326` — `itens/20.500.12156.1_10326/`
+
diff --git a/wordpress/26838-o-cemiterio-de-pistoia-e-a-memoria-dos-combatentes-da-feb.md b/wordpress/26838-o-cemiterio-de-pistoia-e-a-memoria-dos-combatentes-da-feb.md
new file mode 100644
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+++ b/wordpress/26838-o-cemiterio-de-pistoia-e-a-memoria-dos-combatentes-da-feb.md
@@ -0,0 +1,82 @@
+---
+id: 26838
+url: "https://brasilianafotografica.bn.gov.br/?p=26838"
+titulo: "O Cemitério de Pistoia e a memória dos combatentes da FEB"
+autor: "Andrea Wanderley"
+data: "2022-02-18T08:49:41+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/10379", "20.500.12156.1/10384", "20.500.12156.1/10383", "20.500.12156.1/10387", "20.500.12156.1/10377", "20.500.12156.1/10391", "20.500.12156.1/10399", "20.500.12156.1/10403"]
+fetched_at: "2026-09-10T10:09:33.623Z"
+---
+
+# O Cemitério de Pistoia e a memória dos combatentes da FEB
+
+A Brasiliana Fotográfica publica o artigo O Cemitério de Pistoia e a memória dos combatentes da FEB com imagens da Coleção Lafayette Brasiliano, do Arquivo Histórico e Institucional do Museu da República, uma das instituições parceiras do portal. Essa coleção é formada por 41 fotografias produzidas, em sua maioria, pelo fotógrafo Horácio Coelho. Além de imagens do cemitério e de cerimônias de sepultamento, há imagens de militares da FEB, entre eles seu comandante, marechal Mascarenhas de Morais, e os proprietários do terreno cedido para a construção do cemitério, Dr. Landini e sua esposa. A autora do artigo é a historiadora Maria de Fátima Morado, que inicia seu texto com uma bela e comovente poesia de Cecilia Meirelles.
+ 
+Horácio Coelho. Cemitério de Pistoia. Pistoia, Itália, 1945 / Acervo Museu da República
+ 
+O Cemitério de Pistoia e a memória dos combatentes da FEB
+Maria de Fátima Morado*
+ 
+Eles vieram felizes, como para grande jogos atléticos:
+com um largo sorriso no rosto, com forte esperança no peito,
+- porque eram jovens e eram belos.
+ 
+Marte, porém, soprava fogo por estes campos e estes ares.
+E agora estão na calma terra,sob estas cruzes e estas flores,
+cercados por montanhas suaves.
+ 
+São como um grupo de meninos num dormitório sossegado,
+com lençóis de nuvens imensas, e um longo sono sem suspiros,
+de profundíssimo cansaço
+ 
+Cecília Meireles(1901 – 1964)
+ 
+Horácio Coelho. Cemitério de Pistoia, 1945. Pistoia, Itália / Acervo Museu da República
+ 
+O Cemitério Militar Brasileiro foi instalado na cidade italiana de Pistoia, em 02 de dezembro de 1944, durante a Segunda Guerra Mundial. Nele foram sepultados os corpos dos integrantes da Força Expedicionária Brasileira (FEB), onde permaneceram até 05 de outubro de 1960, quando seus restos mortais foram transladados para o Monumento Nacional aos Mortos da Segunda Guerra Mundial, localizado no Aterro do Flamengo, no Rio de Janeiro. Em junho de 1965, em substituição ao cemitério, foi erguido no local o Monumento Votivo Militar Brasileiro (MVMB) como homenagem aos expedicionários brasileiros que morreram durante a guerra.
+ 
+Horácio Coelho. Cemitério de Pistoia, 1945. Pistoia, Itália / Acervo Museu da República
+ 
+A construção do cemitério foi pensada para agilizar os procedimentos necessários para o transporte, identificação, liberação e ritos fúnebres dos corpos dos soldados brasileiros. Até então, os sepultamentos eram realizados no cemitério de Traquinia e no cemitério militar dos Estados Unidos, em Vada. O deslocamento dos corpos dos postos de coleta para esses cemitérios mudavam de acordo com os novos locais de frentes de batalha. Dessa forma, as distâncias poderiam variar entre 200 km a 360 km o que acarretava o aumento do tempo para a mobilização de soldados dedicados à essa missão. Além disso, a burocracia realizada pela administração do cemitério americano causava atrasos para a liberação da documentação e notificação aos familiares.
+ 
+Horácio Coelho. Cemitério de Pistoia, 1945. Pistoia, Itália / Acervo Museu da República
+ 
+Acessando o link para as fotografias do Cemitério de Pistóia do acervo do Museu da República disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Horácio Coelho. Cemitério de Pistoia, 1945. Pistoia, Itália / ACervo Museu da Repúbica
+ 
+Todo o trâmite para o resgate dos corpos, identificação, sepultamento e homenagem era realizado pelo Pelotão de Sepultamento da FEB, criado em 04 de julho de 1944, pouco após a ida do 1º Escalão da Força Expedicionária Brasileira para a Europa, em 2 de julho de 1944. Em agosto, o Pelotão partiu do Rio de Janeiro, capital federal nessa época, sob o comando do primeiro-tenente Lafayette Brasiliano, que mais tarde foi responsável pela organização do Cemitério de Pistoia.
+ 
+Horácio Coelho. Cerimônia de sepultamento. Pistoia, Itália / Acervo Museu da República
+ 
+Lafayette Vargas Moreira Brasiliano nasceu em 25 de junho de 1913, filho do general do Exército João Moreira de Oliveira Braziliano e de Alcinda Vargas Moreira Braziliano. Lafayette Brasiliano concluiu o Colégio Militar em 1931 e integrou a Força Expedicionária Brasileira durante a Segunda Guerra Mundial. Após o final da Guerra, já no posto de capitão, foi nomeado instrutor de ensino militar, em 1946, participando da organização do curso de Intendência. Foi ajudante-de-ordens do presidente Getulio Vargas entre 1951 e 1954, passando para a reserva em 1957. Faleceu em 8 de novembro de 1976, na cidade do Rio de Janeiro.
+A Coleção Lafayette Brasiliano, do Arquivo Histórico e Institucional do Museu da República, foi doada em 1999. Essa coleção é formada por 41 fotografias produzidas, em sua maioria, pelo fotógrafo Horácio Coelho. As imagens apresentam a estrutura do cemitério, detalhes das sepulturas e registram cerimônias de sepultamento. Nas fotos da coleção também estão presentes os militares da FEB, entre eles seu comandante, marechal Mascarenhas de Morais, e os proprietários do terreno cedido para a construção do cemitério, Dr. Landini e sua esposa.
+ 
+Horácio Coelho. Força Expedicionária Brasileira no Cemitério Militar Brasileiro, com a presença do marechal Mascarenhas de Morais, 1945. Pistoia, Itália / Acervo Museu da República.
+ 
+ 
+Horácio Coelho. Proprietários do terreno do cemitério durante cerimônia: Dr. Landini e esposa., 1945. Pistoia, Itália / Acervo Museu da República
+ 
+*Maria de Fátima Morado é Historiadora do Arquivo Histórico e Institucional do Museu da República
+ 
+Fontes:
+ADITÂNCIA DO EXÉRCITO JUNTO À EMBAIXADA DO BRASIL NA ITÁLIA. Monumento Votivo Militar Brasileiro (MVMB) “Honra e Glória”. Brasília.
+FARIA. Durland Puppin de. O Pelotão de Sepultamento da FEB. Revista Agulhas Negras, Resende, ano 3, n. 3, jan./dez. 2019.
+FUNDAÇÃO GETULIO VARGAS. Força Expedicionária Brasileira (FEB). Rio de Janeiro, 2020.
+MEIRELES, Cecilia. Pistoia – Cemitério Militar Brasileiro. Rio de Janeiro: Global, 1955.
+PIOVEZAN, Adriane. Os mortos na memória dos vivos: o Cemitério Militar Brasileiro de Pistóia (1945-1960). In: Anais do XVII Encontro Estadual de História da ANPUH-SC. Joinville, 2018.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/10379` — `itens/20.500.12156.1_10379/`
+- `20.500.12156.1/10384` — `itens/20.500.12156.1_10384/`
+- `20.500.12156.1/10383` — `itens/20.500.12156.1_10383/`
+- `20.500.12156.1/10387` — `itens/20.500.12156.1_10387/`
+- `20.500.12156.1/10377` — `itens/20.500.12156.1_10377/`
+- `20.500.12156.1/10391` — `itens/20.500.12156.1_10391/`
+- `20.500.12156.1/10399` — `itens/20.500.12156.1_10399/`
+- `20.500.12156.1/10403` — `itens/20.500.12156.1_10403/`
+
diff --git a/wordpress/26902-no-dia-internacional-da-fotografia-fotografas-pioneiras-no-brasil.md b/wordpress/26902-no-dia-internacional-da-fotografia-fotografas-pioneiras-no-brasil.md
new file mode 100644
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--- /dev/null
+++ b/wordpress/26902-no-dia-internacional-da-fotografia-fotografas-pioneiras-no-brasil.md
@@ -0,0 +1,448 @@
+---
+id: 26902
+url: "https://brasilianafotografica.bn.gov.br/?p=26902"
+titulo: "No Dia Internacional da Fotografia, fotógrafas pioneiras no Brasil"
+autor: "Andrea Wanderley"
+data: "2022-08-19T09:03:32+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/11117", "20.500.12156.1/11144", "20.500.12156.1/2123", "20.500.12156.1/2122", "20.500.12156.1/11098", "20.500.12156.1/11103", "20.500.12156.1/11145"]
+fetched_at: "2026-09-10T10:09:37.253Z"
+---
+
+# No Dia Internacional da Fotografia, fotógrafas pioneiras no Brasil
+
+“O trabalho das mulheres é brilhante. Desde o advento da fotografia a mulher atuou em todos os campos da fotografia”.
+ 
+Stefania Brill (1922 – 1992), fotógrafa, curadora e crítica de fotografia,
+durante um debate no Museu da Imagem e do Som, de São Paulo (MIS-SP),
+sobre a mulher na fotografia, em 1981
+ 
+Desde a invenção da fotografia, em 1839, as mulheres atuaram nos bastidores e, eventualmente, à frente dos estabelecimentos fotográficos: filhas, esposas ou parentes dos fotógrafos proprietários do negócio comumente trabalhavam nos ateliês e raramente recebiam crédito pelo trabalho que realizavam. Então hoje, quando é comemorado o Dia Internacional da Fotografia ou Dia Mundial da Fotografia, a Brasiliana Fotográfica, com muita satisfação, traz para seus leitores perfis de algumas mulheres fotógrafas ou administradoras de estabelecimentos fotográficos que atuaram no século XIX e nas primeiras décadas do século XX no Brasil. Foram importantes para o desenvolvimento da fotografia no país mas eram, normalmente, invisibilizadas.
+Não se conhecem muitas até hoje. Por exemplo, na importantíssima obra de referência sobre a fotografia no Brasil, o Dicionário Histórico -Fotográfico Brasileiro (1982), de autoria do professor Boris Kossoy (1941-), ponto de partida de todas as pesquisas sobre fotógrafos do século XIX  que realizo para a Brasiliana Fotográfica, entre centenas de verbetes sobre fotógrafos que atuaram no Brasil no período de 1833 a 1910, há somente oito mulheres listadas.
+São elas: Fanny Volk, que atuou no Paraná; Hermina de Carvalho Menna da Costa, em Pernambuco; Leocadia Amoretti e Madame Lavenue, no Rio de Janeiro; Madame Reeckel, no Rio Grande do Sul; Maria Brasilina de Magalhães Faria, no Espírito Santo; Maria Izabel da Rocha, em Sergipe; e Roza Augusta, na Paraíba. Além da publicação de breves perfis destas fotógrafas, publicamos o perfil de Gioconda Rizzo e de Elvira Pastore, além de cinco cronologias: a destas duas últimas, a de Fanny Volk, a de Hermina de Carvalho Menna da Costa e a de Madame Reeckell.
+A Fundação Joaquim Nabuco, parceira da Brasiliana Fotográfica, possui em seu acervo, na Coleção Francisco Rodrigues, retratos de autoria da pioneira Hermina de Carvalho Menna da Costa.
+ 
+Hermina de Carvalho Menna da Costa. Julia de Albuquerque Araújo, 188?. Recife, Pernambuco / Acervo Fundaj
+ 
+O Instituto Moreira Salles, uma das instituições fundadoras do portal, possui uma carte de visite produzida pela portuguesa Madame Reeckell, registros produzidos por Gioconda Rizzo e fotografias produzidas por Vincenzo Pastore (1865 – 1918). Sabemos que Elvira (1876 – 1972), sua mulher e parceira profissional, trabalhava no estúdio e era a responsável pelos serviços de fotopintura, revelação e acabamento das fotografias.
+ 
+Izabel Jacintha Reeckell; Photographia Allemã; Madame Reeckell. Retrato de homem não identificado, c. 1876. Porto Alegre, RS / Acervo IMS
+ 
+Foto de autoria de Gioconda Rizzo,19?. São Paulo, SP / Acervo IMS
+ 
+Vincenzo Pastore. Elvira Leopardi Pastore e sua filha primogênita, Costanza, c. 1905. São Paulo, SP / Acervo IMS
+ 
+ 
+Pioneiras representadas nos acervos fotográficos de parceiros da Brasiliana Fotográfica
+ 
+Breve perfil de Elvira Leopardi Pastore (1876 – 1972)
+ 
+O casal Pastore, no Álbum de Recordações Vicente e Elvira Pastore / Entre o estúdio e a rua: a trajetória de Vincenzo Pastore, fotógrafo do cotidiano, por Fabiana Beltramin, página 33 / Coelção Dante Pastore
+ 
+A italiana Elvira Leopardi Pastore (1876 – 1972) foi casada com o fotógrafo italiano Vincenzo Pastore (1865 – 1918), que foi um importante cronista visual de São Paulo da segunda metade do século XIX e do início do século XX. A obra de Vincenzo ficou, durante décadas, em uma caixa de charutos, sem negativos. As ampliações desse material foram produzidas por Elvira, sua parceira no estúdio fotográfico e na vida. Mas o segredo de família chegou ao fim quando as fotografias foram herdadas por seu neto, o pianista e professor Flávio Varani, que as doou – 137 imagens – para o Instituto Moreira Salles, em 1996.
+Acessando o link para as fotografias de Vincenzo Pastore disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+Elvira trabalhava no laboratório do estúdio e era a responsável pelos serviços de fotopintura e acabamento. Era ela, também, que registrou, entre 1898 e 1918, em um caderno de anotações, intitulado “A arte de fotografar e revelar“, o trabalho realizado no laboratório, as fórmulas fotográficas e as técnicas de fotopintura.
+ 
+Vincenzo Pastore. Elvira Leopardi Pastore e sua filha Maria Lúcia, c. 1908. São Paulo, SP / Acervo IMS
+ 
+Segundo relatos dos filhos mais velhos do casal, eles trabalhavam muitas horas juntos, às vezes, até de madrugada, para atender os prazos de entrega. Era dessa parceria que vinha a sobrevivência da família.
+Em seu diário, após ficar viúva, Elvira escreveu aos filhos:
+“O dia em que vocês mancharem, mesmo que só com uma mancha pouco perceptível, o nome que aquele anjo lhes deixou, eu os renegarei, eu não lhes darei mais a minha bênção, porque não serão mais dignos dela. Deus e a Virgem do Carmo os ajudem a afastar essa desgraça e os abençoe”.
+Vincenzo havia iniciado suas atividades fotográficas, no Brasil, em São Paulo, em 1894. Retornou à Itália e, em 1897, quando estava em Potenza, na região de Basilicata, ele se casou com Elvira Leopardi Pastore (1876 – 1972). Tiveram 10 filhos: Costanza (1899-?), Beatriz (1902-?), Maria Lucia (1903 – 1988), Francisco (1905 – 1985), Pion Donato (1906-?), Eleonora ( 1908-1992), Olga (1909-?), Carmelita (1910 -?), Dante (1912-?) e Redento (1915 – 1918). No ano seguinte ao casamento, ele já possuia um estabelecimento fotográfico em Potenza. Em 1899, o casal veio para o Brasil, estabelecendo-se, em São Paulo.
+Em 1900, os Pastore possuíam um estabelecimento fotográfico na Rua da Assembleia, nº 12 (depois Rua Rodrigo Silva), onde também residiam. Em nota no Estado de São Paulo, edições de 22 e 23 de outubro de 1900, anunciava: “Dá de presente aos seus clientes seis photographias / novo formato Elena, em elegantíssimos cartõezinhos ornados, só 4$500 e por poucos dias”.
+A irmã de Elvira, Avelina Leopardi de Mauro, também trabalhava com fotografia em parceria com seu marido, José de Mauro, que havia aprendido fotografia e trabalhado com o próprio Vincenzo Pastore e que assumiu o ateliê da Rua da Assembleia quando foi inaugurado, em 1907, o estabelecimento dos Pastore na Rua Direita. A filha do casal de Mauro, Aurélia Figueiredo, também colaborava fazendo retoques no estúdio da família.
+Com sua câmara Vincenzo Pastore capturava tipos e costumes de um cotidiano ainda pacato de São Paulo, uma cidade que logo, com o desenvolvimento econômico, mudaria de perfil. Captava as transformações urbanas e humanas da cidade, que passava a ser a metrópole do café. Com seu olhar sensível, o bem sucedido imigrante italiano flagrava trabalhadores de rua como, por exemplo, feirantes, engraxates, vassoureiros e jornaleiros, além de conversas entre mulheres e brincadeiras de crianças. Pastore, ao retratar pessoas simples do povo, realizou, na época, um trabalho inédito na história da fotografia paulistana. Registrou cenas de ruas de São Paulo com uma câmara de pequeno formato, produzindo imagens diferentes das realizadas, durante o século XIX, com câmeras de grande formato sobre tripés, tendo sido um dos pioneiros da nova linguagem da fotografia do século XX. É o autor de uma panorama de São Paulo a partir do Largo de São Bento e também fotografou eventos e prédios da capital paulista. Em seu estúdio, dedicava-se, com sucesso, ao retrato. Produzia retratos mimosos, que tinham como padrão o recorte losangular, mas os tamanhos e os tipos de cartões variavam. Oferecia serviços variados como imagens em esmaltes para broches, autocromos, platinotipias e fotominiaturas. Fazia montagens com desenhos e retratos de múltipla exposição, revelando um traço de humor. Também contemplou temas bucólicos e produziu ensaios com temas religiosos, muitas vezes com o uso de composições alegóricas.
+Vincenzo faleceu, prematuramente, em 15 de janeiro de 1918, devido a complicações após uma cirurgia de hérnia – era alérgico e foi anestesiado com clorofórmio. Elvira tentou continuar com o estúdio, mas não foi possível. O fotógrafo e amigo da família, Michelle Rizzo (1869 – 1939), chegou a emprestar seu funcionário Carlos Tornatti para ajudar. Porém, para sustentar os 10 filhos, ela vendeu tudo, até os negativos de vidro e foi lecionar italiano no Colégio Dante Alighieri.
+Passou a reunir, selecionar e organizar recordações da vida de Vincenzo que pudessem preservar a memória do marido. Havia um caderno pessoal, outro reunindo recortes de matérias de jornais do Brasil e da Itália e o Álbum de recordações Vicente e Elvira Pastore com documentos pessoais, boletins, cartas e fotografias.
+ 
+Capa e primeira página do Álbum de Recordações Vicente e Elvira Pastore / Entre o estúdio e a rua: a trajetória de Vincenzo Pastore, fotógrafo do cotidiano, por Fabiana Beltramin, página 33 / Coleção Dante Pastore
+ 
+Acesse aqui a Cronologia de Elvira Leopardi Pastore (1876 – 1972) e Vincenzo Pastore (1865 – 1918)
+ 
+Breve perfil de Gioconda Rizzo (1897 – 2004)
+ 
+Foto de autoria de Gioconda Rizzo,19?. São Paulo, SP / Acervo IMS
+ 
+“Fotografia é uma coisa maravilhosa, que a gente tira o retrato quando era criança e depois quando é velho está vendo a figura dele quando era criança, é uma coisa maravilhosa. É muito bonito!”
+Gioconda Rizzo, 2002
+Autorretrato de Gioconda Rizzo, 1913. As retratistas de uma época: fotógrafas de São Paulo na primeira metade do século, por Carla Ibrahim, página 35.
+ 
+O avô da paulistana Gioconda Rizzo (1897 – 2004), Vincenzo Rizzo, já se encontrava em São Paulo, em 1887, e era fabricante de cerveja (L´Italia, 21 de maio de 1887, quarta coluna). Seu filho e pai de Gioconda, Michelle (Miguel) Rizzo (1869 – 1939), sofreu um acidente que afetou seus olhos. Foi para a Itália se tratar, sem sucesso, e lá aprendeu fotografia com B. Lauro, retratista da família real italiana.
+Já de volta ao Brasil, Michelle inaugurou, em 10 de março de 1892, a Photographia Central, na Rua Direita nº 55, em São Paulo (O Estado de São Paulo, de 10 de março de 1892, página 1, antepenúltima coluna).
+ 
+O Estado de São Paulo, 10 de março de 1892
+ 
+O Estado de São Paulo, 15 de maio de 2012
+ 
+Em um anúncio veiculado pelo Fanfulla, de 8 de agosto de 1896, página 4, Michelle anunciava-se como proprietário da primeira photografia italiana no Brazil. Em 1906, estava na relação de fotógrafos italianos que atuavam em São Paulo (Il Brasile e gli Italiani, 1906, página 1165).
+ 
+Michelle Rizzo, do Acervo da Família Rizzo / As retratistas de uma época: fotógrafas de São Paulo na primeira metade do século, por Carla Ibrahim, página 36
+ 
+Cartão de Boas Festas do ateliê de Michelle Rizzo, 1906. São Paulo, SP / Entre o estúdio e a rua: a trajetória de Vincenzo Pastore, fotógrafo do cotidiano, por Fabiana Beltramin, página 86 / Coleção de Rubens Fernandes Junior
+ 
+Foi com ele, seu grande incentivador, que Gioconda iniciou seus experimentos em fotografia, tendo sido a primeira mulher a ter um estabelecimento fotográfico, em São Paulo, a Photo Femina, aberto em 1914. Desde a adolescência Gioconda só enxergava com o olho direito. Sempre foi apaixonada por fotografia e aos 12 anos tirou um autorretrato e também fotografou uma amiga:
+ 
+Autorretrato de Gioconda Rizzo, 1912, do Acervo da Família Rizzo / As retratistas de uma época: fotógrafas de São Paulo na primeira metade do século, por Carla Ibrahim, página 39
+ 
+“Eu comecei a tirar foto de mim mesma… então meu pai quando viu aquela chapa… a primeira coisa que fiz… viu a chapa… disse: “Quem foi que fez isso?” “Fui eu papai”; ele disse: “Ihhhh! Esta vai me passar a perna!”
+ Depoimento de Gioconda Rizzo a Carla Ibrahim. São Paulo, setembro de 2002.
+ 
+Michelle muitas vezes viajava para o interior, de onde enviava fotografias para processamento, retoque e finalização em São Paulo. Quando estava ausente, seu filho Armando (1894 – 19?) cuidava dos negócios. Gioconda trabalhava com o irmão e participava desde a recepção e ambientação dos clientes no ateliê até o trabalho de revelação e acabamentos, como retoques e acondicionamento das fotos em álbuns, molduras ou estojos. Conhecia e dominava todas as etapas do processo fotográfico.
+Em 1914, Michelle abriu para Gioconda o ateliê Femina, também na Rua Direita, número 8A, perto do seu, que ficava, então, na mesma rua, no número 10 C. O Femina atendia somente crianças e mulheres, pois, na época, não era adequado que uma mulher ficasse sozinha na presença de homens. Mesmo com essa restrição, a mãe de Gioconda, Giuseppina, sempre a acompanhava em  suas sessões fotográficas.
+“Fui a primeira fotógrafa a se especializar em fotos assim. Fotografei, então, muitas mulheres de barões do café e muitas atrizes. Todas gostavam de minha maneira de fazer as fotos porque eu enfocava só meio corpo, realçando o rosto e usando tapetes nas paredes para servirem de fundo”.
+Gioconda Rizzo, Folha de São Paulo, 12 de abril de 1982
+ 
+Ainda em 1914, na revista A Cigarra, edição de 31 de dezembro, na seção “A Formiga”, foi publicada uma fotografia de autoria de Gioconda Rizzo com a assinatura do ateliê Femina.
+ 
+Fotografia de Wanda Massucci (a maior), de autoria de Gioconda Rizzo / A Cigarra, 31 de dezembro de 1914
+ 
+Para criar diferentes figurinos e cenários, Gioconda possuia em seu estúdio almofadas, banquinhos, diversas cadeiras, colunas de mármore, estátuas de cães, laços, sombrinhas, véus, e outros objetos e adereços. Fazia também uso de uma balança para fotografar bebês, como sua filha, Wanda Pasqualucci (1926-), retratada, em 1926, na foto abaixo.
+ 
+Wanda Pasqualucci, 1926, fotografada por sua mãe, Gioconda Rizzo, do Acervo da Família Rizzo / As retratistas de uma época: fotógrafas de São Paulo na primeira metade do século, por Carla Ibrahim, página 46
+ 
+Criava poses que descontraíssem suas clientes, que tinham uma tendência a ficar muito sérias na hora da foto. Buscava em seus retratos a beleza, a sensualidade. Criava uma atmosfera de sonho, romântica. Suas retratadas sorriam, deixavam ombros e colos muitas vezes desnudos e os cabelos soltos, sem chapéus, enfeitados com flores.
+Gioconda participou, trabalhando no pavilhão Gradisca, da quermesse realizada no parque da avenida Paulista, promovido pela sub-comissão italiana do bairro da Consolação para socorrer as famílias dos reservistas que haviam partido para a Itália (Correio Paulistano, 19 de julho de 1915, segunda coluna).
+Em torno de 1916, Michelle trouxe da Itália o flash de magnésio que possibilitava a captação de poses mais rapidamente, o que facilitava enormemente fotografar crianças. Uma vez, Gioconda sofreu uma queimadura na mão direita quando utilizava a nova ferramenta. Também por volta deste ano, seu irmão, Vicente, descobriu que o ateliê Femina recebia cortesãs francesas e polonesas e contou para Michelle, que decidiu fechá-lo. Gioconda voltou a trabalhar com seu pai e seu irmão, Armando Rizzo. Passaram a produzir fotografias coloridas a óleo e a fazer fundos de paisagens aplicadas nas chapas. Também produziam muitas fotos de formaturas de escolas e faculdades.
+Em 1926, Gioconda casou-se com o comerciante Onofre Pasqualucci (c. 1898 – 1935) e, no mesmo ano, nasceu sua única filha, Wanda.
+ 
+Gioconda Rizzo
+ 
+Em 1931, devido à crise financeira deflagrada pela quebra da Bolsa de Valores de Nova York, a família Rizzo fechou, após cerca de 40 anos de funcionamento, o ateliê da Rua Direita, e abriu outro na Rua Líbero Badaró, 63, chefiado por Armando. Nesse mesmo ano, Gioconda fotografou a Miss Universo, Yolanda Pereira (1910 – 2001).
+ 
+A Miss Universo Yolanda Pereira fotografada por Gioconda, em 1931, do Acervo da Família Rizzo / As retratistas de uma época: fotógrafas de São Paulo na primeira metade do século, por Carla Ibrahim, página 69
+ 
+Ela aprendeu as técnicas de fotografias fundidas em esmalte para joias com o fotógrafo espanhol Medina, estabelecido no Rio de Janeiro. Adaptou as técnicas à porcelana e passou a produzir fotojoias e decorações tumulares para o ateliê Photo do Carmo, do italiano Sestilio Fiorelli. Instalou em sua casa, no bairro do Cambuci, um ateliê e um forno para a produção das peças, que eram vitrificadas a uma temperatura de 1.000º C.
+ 
+“Essas fotos em porcelana dão muito trabalho e se desenvolvem em várias fases até que se consegue uma película aplicada sobre a louça. Queima-se então a uma temperatura de 1000 graus e está pronta”.
+Gioconda Rizzo, Folha de São Paulo, 12 de abril de 1982
+ 
+Fotos em porcelana de autoria de Gioconda Rizzo,19?. São Paulo, SP / Acervo IMS
+ 
+Em 14 de junho de 1935, Gioconda ficou viúva e foi com a fotografia em porcelana que sobreviveu com sua filha. Aposentou-se na década de 60.
+ 
+O Estado de São Paulo, 15 de junho de 1935
+ 
+Cinco décadas mais tarde, entre 12 e 30 de abril de 1982, houve uma exposição de parte de sua obra na Galeria Fotoptica, em São Paulo: 20 fotos em papel, 15 em porcelana e algumas coloridas a óleo.
+Faleceu em 22 de março de 2004, pouco antes de completar 107 anos, e foi sepultada no Cemitério da Consolação.
+Uma curiosidade: a capa do livro Anarquistas, Graça a Deus, da escritora Zélia Gattai (1916 – 2008), foi ilustrada com uma foto da família Da Col – Gattai, de autoria de Gioconda.
+Abaixo, reprodução do texto O real e a representação nos retratos de Gioconda, de autoria da fotógrafa e crítica de arte Stefania Bril (1922 – 1992), publicado em O Estado de São Paulo, de 30 de abril de 1982:
+ 
+
+ 
+Acesse aqui uma entrevista com Gioconda Rizzo para o programa Moviola
+ 
+Gioconda Rizzo fotografada por Maira Soares, em 2003 / Wikipedia
+ 
+Acesse aqui a Cronologia de Gioconda Rizzo (1897 – 2004)
+ 
+Breve perfil de Hermina de Carvalho Menna da Costa (18? – ?), pioneira da fotografia em Pernambuco
+ 
+Hermina de Carvalho Menna da Costa, adolescente retratada entre 1884 e 1889. Recife, Pernambuco / Acervo Fundaj
+ 
+A partir do século XIX, vários fotógrafos estrangeiros e brasileiros estabeleceram ateliês fotográficos em Recife, tornando a cidade uma referência importante na história da fotografia no Brasil. Alguns dos mais importantes, representados no acervo da Brasiliana Fotográfica, foram o alemão Alberto Henschel (1827 – 1882), o francês Alfred Ducasble (18-?-19?), o francês nascido na Itália Augusto Stahl (1828-1877), o austríaco Constantino Barza (18? -?), o português Francisco du Bocage (1860-1919), os pernambucanos João Ferreira Villela (18?-1901) e Manoel Tondella (1861-1921), o português Joaquim Insley Pacheco (1830-1912) e o europeu Moritz Lamberg (18?-?). 
+
+Outros fotógrafos que atuaram em Pernambuco no século XIX foram Agio Rio Pedro da Fonseca, Antônio Lopes Cardoso, A.W. Osborne, Borges de Mello, Cincinato Mavignier, Daniel Bérard, Eduardo Gadaut, Eugênio, Firmino, Flosculo de Magalhães, Francisco Labadie, Frederico Ramos, Hermina de Carvalho Menna da Costa, João José de Oliveira, João Firpo, J. B. Thoma, Joaquim Canelas de Castro, Jorge Augusto Roth (c. 1840 – 1893), Lins, Louis Piereck, Ludgero Jardim da Costa, Manoel Inocêncio Menna da Costa, Manoel Ribeiro Filho, Manoel Tondella, Mauricio, Monteiro e Roberto.
+Dentre eles, havia uma mulher: Hermina de Carvalho Menna da Costa, considerada, até o momento, a primeira mulher fotógrafa de Pernambuco. Porém, pouco se sabe sobre ela.
+ 
+Acessando o link para as fotografias de autoria de Hermina Menna da Costa  disponíveis na Brasiliana Fotográfica, o leitor poderá visualizar e magnificar as imagens.
+ 
+Hermina de Carvalho Menna da Costa. Francisco Ernesto de Souza Limeira, 188?. Recife, Pernambuco / Acervo Fundaj
+ 
+Não se sabe até o momento nem o ano nem o local exato de nascimento e morte de Hermina de Carvalho Menna da Costa, especializada em retratos em estúdio. Apesar das várias lacunas e indagações, esse breve perfil conta um pouco da trajetória de Hermina, até hoje, considerada a primeira fotógrafa pernambucana e, muito provavelmente a primeira brasileira.
+Seu nome de solteira era Hermina Adelaide da Cunha Carvalho e casou-se, em 1871, com Felippe Emilio Menna da Costa (Jornal do Recife, 14 de novembro de 1871, primeira coluna). Qual seria então seu parentesco com Manoel Inocêncio Menna da Costa, que atuava como fotógrafo desde 1872 e que, a partir de 1875, possuia um ateliê fotográfico na Rua da Imperatriz, nº 48, no primeiro andar?
+Entre 1880 e 1881, antes de se estabelecer como fotógrafa, Hermina trabalhava na Rua da Imperatriz, nº 48, mesmo endereço de Manoel Inocêncio, porém no segundo andar. Fazia qualquer trabalho de cera… bandejas com bolos… doura letreiros em fitas (Jornal do Recife, 2 de dezembro de 1880, antepenúltima coluna). Terá essa vizinhança colaborado para despertar o interesse de Hermina para a fotografia?
+ 
+Jornal do Recife, 2 de dezembro de 1880
+ 
+O fato é que, em 21 de outubro de 1883, Hermina inaugurou, já com alguns trabalhos em exposição, o estabelecimento fotográfico Hermina Costa & C, na Rua Barão da Victoria, nº 14, no mesmo local onde antes se localizava o ateliê do francês Francisco (François) Labadie (? – 1883), falecido em fevereiro de 1883, vítima de gastro-hepatite (Jornal do Recife, 19 de outubro de 1883, terceira coluna; Jornal do Recife, 20 de outubro de 1883, penúltima coluna; Diário de Pernambuco, 21 de outubro de 1883).
+ 
+Jornal do Recife, 19 de outubro de 1883
+ 
+Em 1884, ela, Manoel Inocêncio Menna da Costa e o antiquário francês Alfred Ducasble (18? – 19?) formavam a comissão da Imperial Sociedade dos Artistas Mecânicos e Liberais para arrecadação dos impostos devidos por fotógrafos e retratistas.
+Em setembro de 1885, a Rua Barão da Vitória já havia passado a se chamar Rua Nova e o estabelecimento de Hermina ficava no nº 12, segundo andar  (Jornal do Recife, 12 de setembro de 1885, coluna). Devido à grande quantidade de ateliês fotográficos, a Rua Nova era conhecida, no século XIX, como a rua dos fotógrafos.
+Ainda neste ano, em dezembro, Hermina participou da quinta Exposição Artístico-Industrial do Liceu de Artes e Ofícios, promovida pela Imperial Sociedade dos Artistas Mecânicos e Liberais, ocasião em que foi premiada com um Diploma de Mérito. Provavelmente essa conquista conferiu a ela maior visibilidade. O fotógrafo francês Alfred Ducasble (18? -19?) ganhou o Diploma de Progresso (Diário de Pernambuco, 31 de dezembro de 1885, última coluna). O ateliê de Ducasble ficava na Rua Barão da Vitória, nº 65, mesma rua do ateliê de Hermina.
+ 
+Diário de Pernambuco, 20 de dezembro de 1885
+ 
+Diário de Pernambuco, 31 de dezembro de 1885
+ 
+Em 1886, ela anunciou que o fotógrafo Flosculo de Magalhães (18? – ?) não era mais sócio de seu estabelecimento desde o dia 6 de junho. No ano seguinte, inaugurou um outro ateliê fotográfico, a Photographia Moderna, na Rua Primeiro de Março (antiga Rua do Crespo), nº 7. Trabalhavam com ela no novo estabelecimento os fotógrafos Joaquim Canellas de Castro e Manoel Inocêncio Menna da Costa, recém chegado do Maranhão (Jornal do Recife, 27 de outubro de 1887, primeira coluna). Flosculo voltou a trabalhar com Hermina no ateliê fotográfico da Rua Barão da Victoria.
+ 
+Diário de Pernambuco, 31 de maio de 1887
+ 
+Em um anúncio de seu estabelecimento, era chamava atenção para a boa luz do ateliê (Jornal do Recife, 4 de maio de 1889).
+ 
+Jornal do Recife, 4 de maio de 1889
+ 
+Participou com o austríaco Constantino Barza, identificado como sucessor de Alberto Henschel (1827 – 1892), e Alfred Ducasble, de uma concorrência para realizar o quadro de retratos dos formandos da Faculdade de Direito. Barza foi o vencedor (Jornal do Recife, 19 de julho de 1889). No mesmo ano, foram feitos elogios aos novos cartões, que está empregando a oficina fotográfica Hermina Costa (Jornal do Recife, 21 de setembro de 1889, penúltima coluna). Em 1891, venceu a concorrência para a realiação do quadro de formandos da Faculdade de Direito (Diário de Pernambuco, 17 de julho de 1891, última coluna).
+Em 1892, foi anunciado que a Photographia Moderna havia passado por uma grande reforma (Jornal do Recife, 22 de setembro de 1892).
+ 
+Jornal do Recife, 22 de setembro de 1892
+ 
+Seu estabelecimento, na Rua 15 de novembro, nº 7, estava listado no Almanak do Estado de Pernambuco de 1894. Em 29 de dezembro de 1894, foi publicado que algum pedido feito por ela à Prefeitura do Recife havia sido deferido (Jornal do Recife, 29 de dezembro de 1894, quarta coluna). Até 1895, seu estabelecimento fotográfico continuava a funcionar (Diário de Pernambuco, 5 de fevereiro de 1895, segunda coluna).
+Acesse aqui a Cronologia de Hermina de Carvalho Menna da Costa (18? -?)
+
+ 
+Breve perfil de Madame Reeckel (1837 – 19?)
+ 
+ 
+Izabel Jacintha Reeckell; Photographia Allemã; Madame Reeckell. Retrato de homem não identificado, c. 1876. Porto Alegre, RS / Acervo IMS
+ 
+Acima, uma carte de visite produzida na Photographia Allemã de Mme Reeckell. Por cima do endereço do ateliê, em Porto Alegre, está escrito outro endereço, Praia (?) de Santa Izabel, nº 86, Lisboa. Terá sido o endereço do primeiro ateliê de Madame Reeckell na cidade? Provavelmente a foto foi produzida no Brasil, ainda em Porto Alegre. Teria Madame Reeckell escrito em cima do velho endereço o novo, já em Portugal, para enviar a carte de visite como referência para a produção de novos suportes? Ainda há muitas perguntas em torno da vida do casal formado por Izabel Jacintha e Carlos Reeckell.
+Madame Reeckel, a primeira fotógrafa de Porto Alegre, cujo nome de solteira era Izabel Jacintha da Cunha, nasceu no Arquipélago dos Açores, na Ilha de São Jorge, na Vila de Velas, em 23 de outubro de 1837. O fotógrafo prussiano Carlos Frederico Johann Reeckel (18? – c. 189?), seu futuro marido chegou ao Rio de Janeiro no paquete Navarre, em 19 de março de 1863 (Diário Oficial do Império do Brasil, 20 de março de 1863). Izabel Jacintha havia migrado para o Brasil, possivemente com seus pais.
+Em 1865, Carlos F. J. Reeckell tornou-se sócio de Bernardo Lopes Guimarães, o Lopes, em um estabelecimento na Rua do Hospício, futura Rua Buenos Aires, nº 104, sob a firma Frederico & Lopes (Correio Mercantil, 11 de julho de 1865, sétima coluna).
+Em julho de 1867, Carlos Reeckell anunciava-se como retratista em Vassouras e participava ao respeitável público, aos Srs. fazendeiros da região que havia aberto uma photographia volante na cidade. Já havia trabalhado em Valença e em Santa Teresa (Jornal do Commercio, 19 de julho de 1867, última coluna).
+ 
+Jornal do Commercio, 19 de julho de 1867
+ 
+Carlos e Izabel Jacintha se casaram, no Rio de Janeiro, em setembro de 1867 (O Apóstolo, 20 de outubro de 1867, terceira coluna) e, em 22 de setembro de 1867, partiram para a os Açores, rumo à Ilha Terceira, no patacho português Terceirense (Jornal do Commercio, 23 de setembro de 1867, última coluna). Carlos Reeckell trabalhou e teve ateliês fotográficos montados em três ilhas do arquipélago: São Miguel, Terceira e Faial. Anunciava-se como fotógrafo volante. Transmitiu seus conhecimentos a diversos fotógrafos, dentre eles Antônio José Raposo (1848 – 19?), que adquiriu o ateliê e os clichês de Reeckell.
+ 
+Anúncio do estabelecimento de Carlos Reeckell, em São Miguel, nos Açores, 1869
+ 
+O casal partiu da ilha de São Miguel, em 15 de julho de 1870 a bordo da barca portuguesa Amisade, e chegou no Ceará em 1º de agosto (A Constituição, 4 de agosto de 1870, primeira coluna; Pedro II, 2 de agosto de 1870, primeira coluna).
+ 
+Os nomes de Carlos Frederico John Reeckell e de dona Izabel Jacintha Reeckell estavam na lista de passageiros do navio Amisade / Pedro II, 2 de agosto de 1870
+ 
+História da fotografia no Ceará do século XIX, página 129
+ 
+Estabeleceram-se, em Fortaleza, na Praça Municipal, nº 40 (A Constituição, 20 de setembro de 1870, primeira coluna).
+ 
+Pedro II (CE), 14 de agosto de 1870
+ 
+Em julho de 1872, Carlos Reeckell voltou de uma temporada no sul do Brasil (Pedro II (CE), 12 de julho de 1872, terceira coluna). Em novembro do mesmo ano, seu ateliê fotográfico ficava na Rua do Cajueiro, nº 25, e ele anunciava sua sociedade com Francisco Cândido Pereira Lins.
+ 
+Pedro II (CE), 6 de novembro de 1872
+ 
+Foi noticiado que Carlos iria ao Rio de Janeiro (Pedro II, 10 de novembro de 1872, última coluna). Não foi mencionado se a senhora Reeckell o acompanhou nessa viagem.
+Em torno de 1873, o casal encontrava-se em Porto Alegre e o estabelecimento fotográfico de Carlos ficava na Rua dos Andradas. Ele já estava muito doente. Foi então que Madame Reeckell, segundo Miguel Antônio de Oliveira Duarte, autor do livro Faça chuva ou faça sol: fotógrafos em Porto Alegre (1849-1909) (2016), teria tomado a frente do negócio como administradora e fotógrafa no ateliê das Rua dos Andradas, 80 (Álbum do Domingo, 7 de abril de 1878, última  coluna).
+Em abril de 1875, foi inaugurada  a segunda Exposição Provincial do Rio Grande do Sul ou Exposição Commercial e Industrial, uma exposição de agricultura, indústria e comércio, realizada no Edifício do Atheneo Rio Grandense, em Porto Alegre. Segundo o historiador Athos Damasceno (1902 – 1975), foi Carlos von Koseritz (1830 – 1890), jornalista, poeta e importante personalidade da colônia alemã no sul do Brasil durante o Segundo Império, quem sugeriu a inclusão na exposição “de uma seção especial destinada a exibição de obras de arte, assim imprimindo no parque um cunho de sensibilidade e cultura…” (Relatórios dos Presidentes das Províncias Brasileiras: Império (RS), 11 de março de 1875).
+Dois fotógrafos apresentaram seus trabalhos nessa mostra: Madame Reeckell e o tradicional Luiz Terragno (c. 1831 – 1891), Fotógrafo da Casa Imperial, que possuía estabelecimentos fotográficos no Rio Grande do Sul e em Santa Catarina (O Despertador, 19 de novembro de 1875, primeira coluna). Na  Exposição Nacional de 1875, no Rio de Janeiro, inaugurada em 12 de dezembro e finda em 16 de janeiro de 1876, Terragno recebeu uma Medalha de Mérito (Jornal do Commercio, 4 de fevereiro de 1876, segunda coluna).
+O estabelecimento de Madame Reeckell, em Porto Alegre (RS), se chamava Photographia Allemã, e lá ela desenvolvia sua técnica da “luz tangente para fazer retratos nos dias sombrios (…) e mesmo nos chuvosos”. Ficava na Rua dos Andradas, 80 (A Reforma, 30 de julho de 1875).
+Houve uma polêmica em torno deste sistema fotográfico entre Luiz Terragno e Madame Reeckell que no jornal A Reforma, de 4 de agosto de 1870, publicou:
+“Luz Tangente. O sr. Terragno, em a pedido inserto no Riograndense, tratando dos retratos à luz tangente, diz que os não tiro pelo mesmo sistema dos seus. Os retratos chamados pelo sr. Terragno de à luz tangente –  são na minha opinião iguais aos que tiro e tenho anunciado. Quem quiser convencer disso venha à minha casa para ver os retratos que tenho tirado e outros de fotógrafos do Rio de Janeiro, também do mesmo sistema, isto é, preferindo-se os dias escuros para o trabalho dessa qualidade de fotografias. O sr. Terragno é injusto quando atribui-me querer imitá-lo, dando o nome de retratos – à luz tangente – que só s.s. pode tirar, quando é certo que os tiro há muito tempo. Desafia-me a apresentar os aparelhos e ingredientes que são precisos. Poderá vê-los  quem quiser. O sistema é simples e não faço mistério para com as pessoas que, visitando a minha galeria, pedem par ver os aparelhos de que me sirvo. Quanto a supor que usei do emblema seu no meu anúncio publicado na Reforma, declaro que nada tenho com isso. E o sr. Terragno com aquela empresa deve entender-se a respeito. M Reeckell”.
+Em 1878, a família de artistas Riosa, a quem Carlos Reeckell já havia ajudado no Ceará, reverteu à família Reeckell o valor que arrecadou em um dos espetáculos que realizou em Porto Alegre (Álbum do Domingo, 7 de abril de 1878, segunda coluna).
+ 
+Álbum do Domingo, 7 de abril de 1878
+ 
+Segundo a tese de Paula Cristina Viegas, de acordo com anuários portugueses, Carlos Reeckell havia se instalado em Lisboa, com um novo negócio, na Rua Saraiva de Carvalho, 86, a partir de 1892. Entre 1896 e 1898, a Photographia Allemã, situava-se na Rua Saraiva de Carvalho, n.º 80, 1.º andar, sob a administração de Madame Reeckell, já viúva. A partir de 1897, o estabelecimento passou a existir em outros endereços, conforme anunciado:
+“Photographia Allemã 158, avenida da Liberdade 211, rua de S. José. Este atelier fundado em 1878, executa todos os trabalhos com a maior seriedade. Retratos até ao tamanho natural. Instantaneos de creanças. Incumbe-se trabalhos de photographos amadores”. 
+Mulheres Fotógrafas em Portugal (1844 – 1918) 
+Maria E. R. Campos 1.ª Photographa Portugueza
+Parece que a Viúva Reeckell ficou à frente da Photographia Allemã até os primeiros anos do século XX.
+ 
+Do livro Fotógrafos de Porto Alegre. Faça chuva ou faça sol / GZH Almanaque
+ 
+Algumas fotografias de autoria de Madame Reeckell estão no acervo do Arquivo Histórico do Rio Grande do Sul e também no acervo pessoal de Boris Kossoy.
+Acesse aqui a Cronologia de Izabel Jacintha Cunha Reeckell, a Madame Reeckell (1837 – 19?)
+ 
+ 
+Mulheres fotógrafas ou comerciantes de produtos fotográficos no século XIX, 
+no Brasil, entre 1842 e 1910*
+
+Espírito Santo
+Maria Brasilina de Magalhães Faria (atuou entre 1876 e 1878) 
+Foi casada com o fotógrafo Francisco Antônio de Faria (? – 1876) que havia sido associado a Henrique Deslandes, na Deslandes & Faria, de 1870 a 1871, em Vitória e em Cachoeiro do Itapemirim, no Espírito Santo.
+ 
+Correio da Vitória, 6 de abril de 1870
+ 
+O Estandarte, de Cachoeiro do Itapemirim, 2 de abril de 1871
+ 
+A sociedade já estava desfeita quando Maria Brasilina ficou viúva, em 20 de outubro de 1876. A morte do hábil fotógrafo deixou Maria Brasilina e a filha do casal na pobreza (O Espírito-Santense, 21 de outubro de 1876, primeira coluna). Maria Brasilina seguiu com as atividades do ateliê fotográfico do marido, na Rua Duque de Caxias, nº 55, em Vitória. Não se sabe se exerceu atividades de fotógrafa ou se manteve apenas a administração do negócio. Em 1878, associou-se a Joaquim Ayres, formando a firma Viúva Faria & Ayres, mas a sociedade não durou nem um ano, tendo a companhia ficado para Ayres.
+ 
+O Espírito-santense, 28 de outubro de 1876
+ 
+Paraíba
+Roza Augusta (atuou entre 1890 e 1899)
+O ateliê de Roza Augusta situava-se na Rua d´Areia, nº 72, em João Pessoa. Chamava-se Photographia Minerva e realizava trabahos fotográficos simples, em esmalte e em porcelana. Encarregava-se também de retratos a crayon, funcionando com bom e mau tempo devido à boa luz do atelier (O Parahybano, 5 de abril de 1892). Sua presença exercendo uma atividade tipicamente masculina deve ter, provavelmente, causado surpresa na capital da Paraíba. Todos os anúncios disponíveis na Hemeroteca Digital da Biblioteca Nacional de seu estsbelecimento são de 1892. Não se sabe se itinerou pelo estado e quanto tempo permaneceu na Paraíba. De acordo com um artigo do projeto Fotografia Paraibana Revista, de 2013, a Paraíba só voltou a ter uma mulher fotógrafa em 1932, quando Tereza de Jesus Medeiros foi presenteada com uma câmera-caixão e a cidade de Santa Luzia ganha uma retratista.
+ 
+O Parahybano, 5 de abril de 1892
+ 
+Paraná
+Fanny Paul Volk (c. 1867 – 1948)(atuou entre 1900 e 1918)
+ 
+Fanny Paul Volk : pioneira na fotografia de estúdio em Curitiba, por Giovanna Simão
+ 
+Fanny Paul Volk foi uma pioneira da fotografia, filha de uma também pioneira da fotografia, a austríaca Anna Paul, que nasceu na mesma década em que a fotografia foi descoberta.
+O fotógrafo alemão de Munique, Adolpho Volk (18? – 1908), a mãe de Fanny, a austríaca Anna Paul (c.1836 – 1902), e seu irmão, August, de 16 anos, vieram para o Brasil, em 1880, no mesmo navio, o Hamburg, e se conheceram durante a travessia. August faleceu durante a viagem. No ano seguinte, Fanny Paul, nascida em Leipa, chegou ao país, com 13 anos, com seu pai, Anton Paul (c. 1831 – 1891).
+ 
+Fanny e sua mãe, Anne Paul / Casa da Memória. nº. de cadastro:FO:460,SN:50. Fotógrafo: Adolpho Volk/Estúdio Volk in Fanny Paul Volk : pioneira na fotografia de estúdio em Curitiba, por Giovanna Simão
+ 
+Adolpho abriu seu estabelecimento fotográfico, em Curitiba, em 1881, na Travessa da Rua da Carioca (Dezenove de Dezembro, 19 de novembro, de 1881). Em 1882, o ateliê já estava situado na Rua da Imperatriz, 77 (Dezenove de Dezembro, de 1822, segunda coluna).
+ 
+Dezenove de Dezembro, 19 de novembro de 1881
+ 
+Globoplay
+ 
+Fanny casou-se com Adolpho, em janeiro de 1886, e trabalhou com a mãe e com seu marido na capital do Paraná. O trio superou a tendência da sociedade local a discriminar os imigrantes de origem alemã possivelmente porque traziam para a cidade a fotografia, um símbolo da modernidade e para isso divulgaram seu ofício a partir de anúncios em jornais e por seus clientes da comunidade alemã.
+ 
+Fanny Paul Volk : pioneira na fotografia de estúdio em Curitiba, por Giovanna Simão
+ 
+O ateliê funcionou na Rua do Imperador, nº 9, de 1888 a 1889 e na Rua Marechal Deodoro, números 9 e 10, de 1890 a 1902, com a participação de Adolpho, Fanny e Anna, que faleceu em 1902. Em 1903, o ateliê já se encontrava na Rua XV de Novembro, nº 54.
+Em 1900, Adolpho foi premiado com a medalha de ouro na Exposição Agrícola e Industrial do Paraná. O último anúncio do ateliê sob sua gestão foi publicado, em 1904 (Diário do Paraná, 16 de janeiro de 1904).
+ 
+Diário do Paraná. 16 de janeiro de 1904
+ 
+Em 1904, Adolpho partiu para a Alemanha, deixando Fanny e a filha única do casal, Adolphine (1887 -19?), no Brasil. Constituiu uma nova família e faleceu, na Alemanha, em 1908 (Diário do Paraná (PR), 28 de agosto de 1908, quarta coluna).
+ 
+Fanny Paul Volk : pioneira na fotografia de estúdio em Curitiba, por Giovanna Simão
+ 
+Em 1904, foi oferecido o aluguel de uma das portas do ateliê fotográfico na Rua XV de Novembro. Fanny tomou a frente dos negócios e, no ano seguinte, já anunciava novidades: Retratos do tamanho de selos próprios para cartões de visita e correspondência de cartões postais (Diário da Tarde (PR), 7 de julho de 1904, última coluna; Cartão Postal, julho de 1905).
+Em 1906, foi realizada na vitrine do jornal A Notícia uma exposição com cartões postais luminosos produzidos na Photographia Volk (A Notícia, PR 17 de fevereiro de 1906, penúltima coluna).
+ 
+A Notícia (PR), 17 de fevereiro de 1906
+ 
+Ainda em 1906, foram expostos na Photographia Volk os retratos dos generais Carneiro e Benjamin Constant que seriam inaugurados no 2º Esquadão da Cavalaria (A Notícia, 13 de novembro de 1906, penúltima coluna).
+Os retratos que seriam inaugurados na Secretaria Estadual de Agricultura, em 1907, foram realizados pela Photographia Volk (Diário da Tarde (PR), 15 de abril de 1907, segunda coluna).
+Em 1908, anunciava-se como o mais antigo estabelecimento fotográfico do Paraná e realizava fotografias e retratos de todos os gêneros e por todos os processos até hoje conhecidos, como sejam: aristotipia, platinotipia, pigment, bromuro, contact, etc (Almanak do Paraná, 1908).
+ 
+Almanak do Paraná, 1908
+ 
+Ainda em 1908, foi anunciado que na Photographia Volk seriam produzidos os trabalhos do Primeiro Club de Retratos de Curitiba, organizado por Carlos de Andrade (O Commercio (PR), 8 de março de 1909, primeira coluna).
+ 
+A República (PR), 25 de dezembro de 1908
+ 
+Segundo a autora da tese de Doutorado, Fanny Paul Volk : pioneira na fotografia de estúdio em Curitiba, Giovana Terezinha  Simão:
+“Afora as fotografias com maiores demandas de inspiração pictórica realizadas por Fanny, a fotógrafa possuía também temáticas mais coloquiais, em geral na composição de retratos de família e casais. É possível observar que após a partida de Adolpho, o trabalho do estúdio foi muito solicitado nas seguintes categorias: fotos de família, dupla de namorados, duplas de amigas e crianças. Destaca-se que e as crianças fizeram parte de uma grande clientela de Fanny, responsáveis talvez, pelo sustento do estúdio. Vale refletir que um perfil recorrente de clientes do estúdio Volk – quando este estava sendo administrado por Fanny – foram as famílias, mulheres e a criançada. Talvez este perfil da clientela tenha se avolumado em virtude de Fanny ser mulher, afinal as mães, avós, tias, madrinhas, entre outras mulheres, teriam menos constrangimentos no reduto do estúdio se existisse uma fotógrafa mulher”.
+Não deixou de fotografar diversos homens que se mantiveram ou se tornaram seus clientes, mesmo após a sua separação conjugal e, em 1912, numa época em que os nenéns eram retratados muito vestidos, fotografou um bebê nu. Ainda segundo Simão, esta teria sido uma das primeiras fotografias de um bebê nu produzidas no Brasil e no mundo. O bebê era Javita Egg.
+ 
+Fanny Paul Volk : pioneira na fotografia de estúdio em Curitiba, por Giovanna Simão
+ 
+Adolphine, cujo apelido era Lilly, casou-se, em 1911, com Julio Leite, que aprendeu a fotografar com Fanny e trabalhou com ela após o matrimônio. Lilly e Julio tiveram cinco filhos: Rennée, Helvídia, Fanny, Marcel e Ritta. Neste mesmo ano, foi contratado pela Photographia Volk um hábil artista fotógrafo de Berlim, Hugo Schreiber (Diário da Tarde (PR), 10 de novembro de 1911, quinta coluna).
+ 
+O Olho da Rua (PR), 1911
+ 
+A Photographia Volk, que havia se mudado, provisoriamente, para a Rua Marechal Deodoro, nº 81, e Arthur Wischral (1894 – 1982) integravam a equipe de reportagem fotográfica da revista A Bomba (PR) (A República (PR), 14 de março de 1913, última coluna; Diário da Tarde(PR), 28 de março de 1913, terceira coluna; A Bomba (PR), 10 de setembro de 1913, segunda coluna). O estabelecimento já tinha estado neste mesmo endereço de 1890 a 1902. Na Photographia Volk passaram a ser comercializados terrenos (Diário da Tarde, 26 de abril de 1913, primeira coluna).
+ 
+A República (PR), 14 de março de 1913
+ 
+Voltou a funcionar na Rua XV de novembro, nº 72, em 5 de abril de 1914 (A República (PR), 3 de abril de 1914, penúltima coluna; Diário da Tarde(PR), 2 de maio de 1914).
+ 
+Diário da Tarde (PR), 2 de maio de 1914
+ 
+Em 1915, Fanny recebeu um pecúlio a que tinha direito, pago por um funcionário da Mutua Ideal, de São Paulo (Diário da Tarde (PR), 11 de março de 1915, terceira coluna).
+Em 1918, Bernardo Heisler comprou a Photographia Volk e manteve o nome, certamente pelo sucesso e prestígio do estabelecimento.
+ 
+Arquivo Casa da Memória / Fanny Paul Volk : pioneira na fotografia de estúdio em Curitiba, por Giovanna Simão
+ 
+Fanny, de uma tradicional família paranaense, faleceu, em Curitiba, em setembro de 1948 (Diário da Tarde (PR), 29 de setembro de 1948, segunda coluna). Foi uma pioneira e conseguiu atuar como fotógrafa durante cerca de 40 anos em um ambiente eminentemente machista.
+ 
+Diário da Tarde (PR), 29 de setembro de 1948
+ 
+Acesse aqui a Cronologia de Fanny Paul Volk (c. 1867 – 1948)
+ 
+Rio de Janeiro
+Leocadia Amoretti (atuou entre 1886 e 1894) 
+Leocadia Moreira Lamas (18?-?) era o nome de solteira de Leocadia Amoretti, que foi casada e teve três filhos – Luiz, Victoria e Francisco – com o francês, de Marselha, João Baptista Francisco Amoretti (? – 1885), de quem enviuvou em 14 de novembro de 1885 (Gazeta de Notícias, 25 de novembro de 1885, segunda coluna).
+Em torno de meados da década de 1860, João Baptista sucedeu Laurent Amoretti na firma A Palheta de Ouro, fundada em 1861.
+ 
+Almanak Gazeta de Notícias, 1880
+ 
+A loja ficava na Rua dos Latoeiros, nº 38, mais tarde denominada Rua Gonçalves Dias. A firma era especializada no comércio de equipamentos e produtos para a química fotográfica e foi contemporânea da loja de Georges Leuzinger e Filhos, na Rua do Ouvidor e na Rua Sete de Setembro. A loja anunciou, em 1882, contar com fotógrafos em seu quadro de funcionários (Jornal do Commercio, 18 de janeiro de 1882, segunda coluna). Em 1883, Amoretti anunciou que a loja tinha grande sortimento, trazido por ele de uma viagem à Europa (Almanak Gazeta de Notícias, 1880; Jornal do Commercio, 18 de novembro de 1883, penúltima coluna).
+Após o falecimento de Francisco, Leocadia dirigiu o estabelecimento de 1886 até meados da década seguinte. Não se sabe, até o momento, se ela também atuava como fotógrafa (Jornal do Commercio, 6 de dezembro de 1886, quarta coluna; Jornal do Commercio, 23 de março de 1887, terceira coluna).
+ 
+Almanak Laemmert, 1891
+ 
+Jornal do Commercio, 15 de novembro de 1885
+ 
+Madame Lavenue (atuou de 1842 a 1843) 
+Em 1842, Mme. Lavenue, provavelmente francesa, foi certamente uma das primeiras mulheres fotógrafas do mundo e comercializava daguerreótipos no Rio de Janeiro, nos primeiros anos da década de 1840, pouquíssimo tempo depois no anúncio do invento do daguerreótipo. Era esposa do afinador de piano, marceneiro e fotógrafo francês Hyppolite Lavenue.
+Ela atendia os fregueses no Hotel da Itália, localizado no Largo do Rocio, e também ia à casa dos clientes. Seu estúdio fotográfico foi um dos primeiros da cidade e nos anúncios de seu estabelecimento, oferecia acessórios para a realização das fotografias, chamava atenção para a nitidez das imagens, informava que o horário de atendimento era entre 9 e 11 horas da manhã e, na parte da tarde, entre 14 e 17h. Os preços variavam ente 12$ e 15$.
+ 
+Jornal do Commercio, 24 de dezembro de 1842
+ 
+Na capa da edição do Jornal do Commercio de 24 de dezembro de 1842, na notícia sobre a presença do fotógrafo norte-americano Augustus Morand (c. 1818 – 1896), no Rio de Janeiro, que passou cerca de cinco meses na cidade, entre novembro de 1842 e abril de 1843, Mme Lavenue foi mencionada como daguerreotipista e por ter participado da recente exposição da Academia de Belas Artes, quando apresentou alguns retratos e uma cópia de gravura de bastante mérito. Terá sido ela a primeira fotógrafa a mostrar seus trabalhos em uma exposição? Certamente uma das primeiras!
+ 
+Jornal do Commercio, 24 de dezembro de 1842
+ 
+No Jornal do Commercio, de 9 de janeiro de 1843, foi publicada uma carta de um leitor elogiando os retratos tirados por Madame Lavenue, admiráveis pela nitidez e perfeição de todos os traços. Também elogiou o agrado e boas maneiras da fotógrafa.
+ 
+Jornal do Commercio, 9 de janeiro de 1843
+ 
+Em anúncios publicados em 17 e em 19 de fevereiro de 1843, oferecia-se para dar aulas de daguerreótipo, na Rua do Rosário, 50 (Jornal do Commercio, 17 de fevereiro de 1843). São esses os últimos registros das atividades de Madame Lavenue que a pesquisa do portal Brasiliana Fotográfica encontrou.
+ 
+Jornal do Commercio, 19 de fevereiro de 1843
+ 
+O francês Hippolyte Lavenue chegou no Recife, em 1839, e anunciou que havia trabalhado durante quatro anos em uma das melhores fábricas de piano da França. Oferecia seus serviços como consertador e afinador de pianos. Em 1840, ele morava na Rua Nova, na capital pernambucana. Em 1942, anunciou que teria que retornar à França, mas, em 5 de novembro de 1842, já anunciava seus serviços de afinador de piano, que executava com Louis Bayer, na Rua do Cano, nº 109, no Rio de Janeiro. Tinham chegado recentemente de Paris (Diário de Pernambuco, 6 de fevereiro de 1839, primeira coluna; Diário de Pernambuco, 17 de janeiro de 1840, segunda coluna; Diário de Pernambuco, 5 de novembro de 1840, terceira coluna; Diário de Pernambuco, 10 de fevereiro de 1942, segunda coluna; Jornal do Commercio, 5 de novembro de 1942, segunda coluna; Pequeno Almanak, 1843).
+Em 1843, Hippolyte morou em Pouso Alegre, Minas Gerais, onde se estabeleceu como daguerreotipista. Em 1850, residia em Ouro Preto e era o dono ou trabalhava no Hotel Mineiro. Madame Lavenue não foi citada nessas notícias (O Recreador Mineiro, 1º semestre de 1845; O Itamontano, 19 de agosto de 1848 e 30 de janeiro de 1850).
+ 
+Sergipe
+Maria Izabel da Rocha (atuou entre 1908 e 1909)  
+A sergipana Maria Izabel da Rocha era filha do fotógrafo Manoel Leobardo Rodrigues da Rocha e na ocasião da morte de seu pai, em 1908, decidiu adotar a profissão de fotógrafa. De acordo com o jornal Folha de Sergipe, de 24 de setembro de 1908, ela se considerava competentemente habilitada a exercer a arte fotográfica já que havia sido auxiliar de seu pai e de com ele ter aprendido a prática da fotografia no estabelecimento Photographia Leobardo, da Rua Santo Amaro, em Aracaju. Pedia aos antigos fregueses de seu pai, a continuação de sua preferência e proteção. Esse anúncio foi repetido diversas vezes entre 1908 e 1909. Em julho de 1909, seu ateliê estava situado na Rua São Christóvão (Folha de Sergipe, 1º de julho de 1909).
+ 
+Folha de Sergipe, 24 de setembro de 1908
+ 
+Seu pai, Manoel Leobardo, já atuava como fotógrafo desde 1879, em Maceió, na Rua do Palácio, nº 7.  Em abril de 1881, anunciou que passaria por Aracaju, onde não ficaria muito tempo (Correio do Sergipe, 7 de abril de 1881). Atendia na Rua de São Cristóvão, nº 35. Esteve no Rio de Janeiro para aperfeiçoar-se nos mais novos sistemas da arte fotográficas e, em 1884, estava de volta a Maceió (Diário da Manhã, 18 de junho de 1884). Em 1888, seu ateliê ficava na Rua Pedro Paulino. Em 1890, foi para Aracaju e seu estabelecimento ficava na Rua Japaratuba (Gazeta de Sergipe, 8 de fevereiro de 1890).
+ 
+Gazeta de Sergipe, 22 de janeiro de 1890
+ 
+Quando faleceu, em 1908, o ateliê ficava na Rua Santo Amaro, assumido por Maria Izabel, até hoje considerada a única mulher a atuar como fotógrafa em Sergipe, na década de 1900.
+* Nota da autora: muito ainda há que se avançar na biografia dessas fotógrafas, mas com esses breves perfis acredito que os leitores poderão, pelo menos, saber um pouco de suas vidas e atuações na história da fotografia.
+
+Breve história do Dia Internacional da Fotografia ou Dia Mundial da Fotografia
+ 
+A data escolhida para a comemoração do Dia Internacional da Fotografia tem sua origem no ano de 1839, quando, em 7 de janeiro, na Academia de Ciências da França, foi anunciada a descoberta da daguerreotipia, um processo fotográfico desenvolvido por Joseph Nicèphore Niépce (1765-1833) e Louis Jacques Mandé Daguerre (1787-1851). Cerca de sete meses depois, em 19 de agosto, durante um encontro realizado no Instituto da França, em Paris, com a presença de membros da Academia de Ciências e da Academia de Belas-Artes, o cientista François Arago, secretário da Academia de Ciências, explicou o processo e comunicou que o governo francês havia adquirido o invento, colocando-o em domínio público e, dessa forma, fazendo com que o “mundo inteiro” tivesse acesso à invenção. Em troca, Louis Daguerre e o filho de Joseph Niépce, Isidore, passaram a receber uma pensão anual vitalícia do governo da França, de seis mil e quatro mil francos, respectivamente.
+ 
+Acesse aqui o artigo Os 180 anos do invento do daguerreótipo – Pequeno histórico e sua chegada no Brasil, publicado em 19 de agosto de 2019, na Brasiliana Fotográfica.
+Acesse aqui o artigo O que elas viram: fotolivros históricos feitos por mulheres, publicado na Revista de Fotografia Zum, em 13 de julho de 2022
+ 
+A Brasiliana Fotográfica agradece à colaboração, neste artigo, dos seguintes profissionais do Instituto Moreira Salles: Millard Schisler, Coodernador da Gestão de Acervos; Joanna Americano Castilho, Coordenadora do Núcleo Digital; Carolina Filippo do Nascimento e Nrishinro Vallabha das Mahe, integrantes de sua equipe; e Joanna Balabram, historiadora da arte que atua na organização e processamento das coleções de fotografia do século XIX, na Coordenadoria de Fotografia. Agradece também à Albertina Lacerda Malta e a Lino Madureira, respectivamente, Coordenadora Geral e Coordenador de Documentação e Pesquisa do Cehibra – Centro de Documentação e de Estudos da História Brasileira Rodrigo Melo Franco de Andrade (Cehibra), da Fundação Joaquim Nabuco. Finalmente, agradece à revisão realizada por André Luis Câmara, poeta, jornalista e Doutor em Literatura pela PUC-RJ.
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+BELTRAMIN, Fabiana Marcelli S. Entre o estúdio e a rua: a trajetória de Vincenzo Pastore, fotógrafo do cotidiano. Tese de dooutado em História Social apresentada ao Programa de História Social da Faculdade de Filosfia, Letras e Ciências Humanas da Universidade de São Paulo para a obtenção do título de Doutor em História Social. São Paulo, 2015.
+BOCK, Mario. Gioconda Rizzo. Um olhar de 105 anos. Revista Fotografe Melhor, São Paulo, setembro de 2002.
+Blog do O Estado de São Paulo – Rizzo e sua filha Gioconda, 15 de maio de 2012
+CHAVES, Ricardo. Cristalizadores do fugidio in GZH, 4 de novembro de 2016.
+CORRÊA, Amélia Siegel. As mulheres na história da fotografia brasileira: alguns apontamentos, 2014.
+DUARTE, Miguel Antônio de Oliveira. Faça chuva ou faça sol: fotógrafos em Porto Alegre (1849-1909). Porto Alegre, 2016.
+Enciclopédia Itaú Cultural – Gioconda Rizzo e Madame Lavenue
+Folha de São Paulo, 12 de abril de 1982 e 30 de janeiro de 1997 .
+Fotografia Paraibana Revista, 2013.
+GASTAL, Susana. Pedro Weingärtner: sob o olhar fotográfico. 19&20, Rio de Janeiro, v. III, n. 3, jul. 2008.
+Globoplay – A pioneira da fotografia Fanny Volk, exibido em 2014
+Hemeroteca Digital da Biblioteca Nacional
+História dos Açores
+Histórias do Livro
+IBRAHIM, Carla Jacques. As retratistas de uma época: fotógrafas de São Paulo na primeira metade do século XX. Dissertação apresentada ao Curso de Mestrado em Multimeios do Instituto de Artes da Unicamp como requisito parcial para a obtenção do grau de Mestre em Multimeios sob a orientação do Prof. Dr. Roberto Berton De Ângelo , 2005.
+KOSSOY, Boris. Dicionário histórico-fotográfico brasileiro: fotógrafos e ofício da fotografia no Brasil (1833-1910). São Paulo: Instituto Moreira Salles, 2002.
+LEITE, Ari Bezerra. História da fotografia no Ceará do século XIX. Edição do autor, 2019.
+LIMA, André. O retrato da ousadia. Revista Photos e Imagens. São Paulo, nº.26, 2002
+MAUAD, Ana Maria. Através da imagem: Fotografia e História in TEMPO. Universidade Federal Fluminense, Departamento de História, volume 1, nº 2, dezembro de 1996. Rio de Janeiro : Relume Dumará, 1996.
+O Estado de São Paulo, 14 de agosto de 1998.
+OLIVEIRA, Cândida Santos. Lentes, memórias e História: os fotógrafos lambe-lambe em Aracaju 1950 – 1990. Dissertação apresentada ao programa de PósGraduação em História da Universidade Federal de Sergipe, como requisito obrigatório para obtenção do título de Mestre em História, na Área de Concentração Cultura e Sociedade, 2020.
+Omicron – Escola de Fotografia
+PARAÍSO, Rostand. A velha Rua Nova e outras histórias. Recife: Bagaço, 2011.
+Pergamum
+ROCHA, Renaldo Ribeiro. Um breve histórico da fotografia em Aracaju. IV Congresso Sergipano de História e IV Encontro Estadual de História da Anpuh / SE, outubro de 1914.
+SIMÃO, Giovana Terezinha Fanny Paul Volk : pioneira na fotografia de estúdio em Curitiba. Tese apresentada ao Curso de Pós-Graduação em Sociologia, Setor de Ciências Humanas, Letras e Artes, Universidade Federal do Paraná, como requisito parcial à obtenção do título de Doutor em Sociologia, 2010.
+Site Cultura – Governo dos Açores 
+SOARES, Maria Thereza Gomes de Figueiredo; FEITOSA, Marcia Manir Miguel; FERREIRA JUNIOR, José. Um olhar sobre a fotografia feminista brasileira contemporânea. Rev. Estud. Fem. 26 (3), 2018.
+SOUZA, Camila Targino. Da Transparência Diáfana à Opacidade Densa – Imagens e Imaginário da Coleção Francisco Rodrigues de Fotografia. Dissertação apresentada ao Programa de Pós-Graduação em Comunicação da Universidade Federal de Pernambuco, 2007.
+SUTIL, Marcelo Saldanha; BARACHO, Maria Luisa Gonçalves. Fotos de estúdio: imagens construídas. Fundação Biblioteca Nacional.
+TURAZZI, Maria Inez. Poses e trejeitos: a fotografia e as exposições na era do espetáculo: 1839/1889. Prefácio Pedro Karp Vasquez. Rio de Janeiro: Funarte. Rocco, 1995. 309 p., il. p&b. (Coleção Luz & Reflexão, 4). ISBN 85-85781-08-4.
+VASQUEZ, Pedro Karp. Dom Pedro II e a fotografia no Brasil. Rio de Janeiro: Fundação Roberto Marinho: Companhia Internacional de Seguros: Ed. Index, 1985.
+VASQUEZ, Pedro Karp. Fotógrafos alemães no Brasil do século XIX. São Paulo: Metalivros, 2000.
+VASQUEZ, Pedro Karp. Mestres da fotografia no Brasil: Coleção Gilberto Ferrez. Tradução Bill Gallagher. Rio de Janeiro: Centro Cultural Banco do Brasil, 1995.
+VIEGAS, Paula Cristina de Pinho Coelho Cintra.  Mulheres Fotógrafas em Portugal (1844 – 1918) Maria E. R. Campos 1.ª Photographa Portugueza. Disssertação para a obtenção de grau em Mestre em Arte, Patrimônio e Teoria do Restauro. Universidade de Lisboa Faculdade de Letras, 2018.
+Leia aqui os artigos já publicados na Brasiliana Fotográfica sobre o Dia Mundial da Fotografia:
+ 
+Dia Mundial da Fotografia – 19 de agosto, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 19 de agosto de 2015
+Os 180 anos da invenção do daguerreótipo – Pequeno histórico e sua chegada no Brasil, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 19 de agosto de 2019
+Os 180 anos da invenção do daguerreótipo – Os álbuns da Comissão Geológica do Império com fotografias de Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 19 de agosto de 2019
+Autorretratos de fotógrafos – Uma homenagem no Dia Mundial da Fotografia, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 19 de agosto de 2021
+Dia Mundial da Fotografia, uma retrospectiva de artigos,  de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 19 de agosto de 2023
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/11117` — `itens/20.500.12156.1_11117/`
+- `20.500.12156.1/11144` — `itens/20.500.12156.1_11144/`
+- `20.500.12156.1/2123` — `itens/20.500.12156.1_2123/`
+- `20.500.12156.1/2122` — `itens/20.500.12156.1_2122/`
+- `20.500.12156.1/11098` — `itens/20.500.12156.1_11098/`
+- `20.500.12156.1/11103` — `itens/20.500.12156.1_11103/`
+- `20.500.12156.1/11145` — `itens/20.500.12156.1_11145/`
+
diff --git a/wordpress/26964-serie-1922-hoje-ha-100-anos-vi-e-serie-feministas-gracas-a-deus-xi-a-fundacao-da.md b/wordpress/26964-serie-1922-hoje-ha-100-anos-vi-e-serie-feministas-gracas-a-deus-xi-a-fundacao-da.md
new file mode 100644
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+++ b/wordpress/26964-serie-1922-hoje-ha-100-anos-vi-e-serie-feministas-gracas-a-deus-xi-a-fundacao-da.md
@@ -0,0 +1,141 @@
+---
+id: 26964
+url: "https://brasilianafotografica.bn.gov.br/?p=26964"
+titulo: "Série “1922 – Hoje, há 100 anos” VI e série “Feministas, graças a Deus!” XI – A fundação da Federação Brasileira pelo Progresso Feminino"
+autor: "Andrea Wanderley"
+data: "2022-08-09T09:12:28+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/4943", "20.500.12156.1/6581", "20.500.12156.1/5061", "20.500.12156.1/5030", "20.500.12156.1/6571"]
+fetched_at: "2026-09-10T10:09:40.948Z"
+---
+
+# Série “1922 – Hoje, há 100 anos” VI e série “Feministas, graças a Deus!” XI – A fundação da Federação Brasileira pelo Progresso Feminino
+
+O assunto do sexto artigo da Série 1922 – Hoje há 100 anos e do décimo primeiro artigo da série Feministas, graças a Deus, é a fundação, em 9 de agosto de 1922, da Federação Brasileira pelo Progresso Feminino (FBPF), iniciativa vinculada ao movimento sufragista internacional, principal objetivo do feminismo no início do século XX.
+ 
+Ata da primeira Reunião da Federação Brasileira pelo Progresso da Mulher, realizada em 14 de agosto de 1922
+ 
+As outras reivindicações feministas eram, em resumo, a igualdade entre os sexos e a independência da mulher. A existência da Federação Brasileira pelo Progresso Feminino foi fundamental para o processo de emancipação das mulheres no Brasil.
+ 
+Sócias da Federação Brasileira pelo Progresso Feminino em visita ao Instituto Osvaldo Cruz, 1921-1930. Rio de Janeiro, RJ / Acervo Arquivo Nacional
+ 
+Ainda em 1922, em dezembro, a FBPF promoveu o I Congresso Internacional Feminista no Rio de Janeiro e recebeu a medalha de ouro na Exposição Internacional do Centenário da Independência (Revista da Semana, 2 de julho de 1932). Bertha Lutz  (1894 – 1976), Carmen Portinho (1903 – 2001), Jeronyma Mesquita (1880 – 1972) e Stella de Carvalho Guerra Duval (1879 – 1971) foram algumas das fundadoras da entidade, que sucedeu a Liga pela Emancipação Intelectual da Mulher e a Liga pelo Progresso Feminino. Eram mulheres com excelente escolaridade e conheciam as direções dos movimentos feministas tanto na Europa como nos Estados Unidos.
+ 
+Acessando o link para as fotografias  relacionadas ao feminismo no Brasil disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Bertha Lutz, cuja biografia confunde-se com a história da FBPF, e Stella de Carvalho Guerra Duval foram designadas presidente e vice-presidente, respectivamente; a secretaria geral coube a Valentina Biosca (? -?) e a segunda secretaria a Esther Salgado Monteiro (?-?). A tesouraria ficou a cargo de Corina Barreiros (? -?) e a escritora Júlia Lopes de Almeida (1862 – 1934) foi eleita presidente de honra da federação.
+ 
+
+Revista da Semana, 2 de julho de 1932
+ 
+Em seu início, as reuniões da FBPF ocorriam nas residências das sócias, já que a entidade não tinha sede própria. Sua primeira sede ficava na avenida Rio Branco, 117 (Revista da Semana, 2 de julho de 1932).
+ 
+Banquete oferecido no Hotel Glória à Júlia Barbosa, primeira eleitora do Brasil, pela Federação Brasileira pelo Progresso Feminino, 23 de junho de 1928. Rio de Janeiro, RJ / Acervo Arquivo Nacional – Bertha Lutz está sentada com roupa clara e Carmen Portinho e Jerônima Mesquista são a segunda e a terceira, também sentadas, da esquerda para a direita, respectivamente
+ 
+No fim dos anos 20, a FBPF reunia várias associações profissionais de mulheres e possuía núcleos em vários estados, com destaque para os de Alagoas, sob a direção de Lili Lages (1907 – 2003), primeira mulher eleita deputada da Assembleia Legislativa de Alagoas, em 1934; da Bahia, dirigido por Maria Luísa Dória Bittencourt (1910 – 2001), primeira deputada estadual da Bahia, em 1935; de Minas Gerais, pela advogada Elvira Kommel (1906 – 1932); e de Pernambuco, por Nícia Sá Pereira.
+Houve, durante os cerca de 15 anos da entidade, uma cisão, em 1930, devido a divergências entre Bertha Lutz e a advogada gaúcha Natércia da Cunha Silveira (1905 – 1993) em relação a questões de engajamento partidário. Natércia saiu da Federação Brasileira pelo Progresso Feminino e fundou a Aliança Nacional de Mulheres, no Rio de Janeiro, em 30 de janeiro de 1931. A entidade era mobilizada pelo tema do trabalho e foi registrada em 7 de março do mesmo ano.
+ 
+Objetivos da Aliança Nacional de Mulheres / A Esquerda, 13 de março de 1931
+ 
+A FBPF liderou conquistas como a criação da União Universitária Feminina, em 13 de janeiro de 1929, sob a presidência de Carmen Portinho (1903 – 2001); as leis de proteção à mulher e à criança; o ingresso de meninas no Colégio Pedro II, a equiparação da Escola Normal aos cursos secundários oficiais e o voto feminino.
+ 
+
+ 
+O Decreto nº 21.076, de 24 de fevereiro de 1932 instituiu o Código Eleitoral Provisório e reconheceu o direito de voto às mulheres.
+ 
+Primeiras eleitoras do Brasil na cidade de Natal, 1928. Natal, Rio Grande do Norte / Acervo Arquivo Nacional
+ 
+Com a instauração do Estado Novo, em 10 de novembro de 1937, Bertha Lutz foi se afastando da FBPF e a entidade perdeu sua força. Em 1940, a escritora e declamadora Maria Sabina de Albuquerque (1898 – 1991) passou a presidi-la.
+ 
+A escritora e declamadora Maria Sabina de Albuquerque / Diário de Notícias, 5 de abril de 1933
+ 
+Correio da Manhã, 3 de agosto de 1972
+ 
+Pequeno perfil de algumas das fundadoras da Federação Brasileira pelo Progresso Feminino
+ 
+Bertha Lutz (1894 – 1976) foi um dos principais nomes do feminismo no Brasil. Em 1932,  foi uma das duas mulheres nomeadas para integrar a comissão para elaborar o ante-projeto da nova Constituição – a outra foi a advogada Natércia da Cunha Silveira (1905 – 1993).
+ 
+Bertha Lutz na cidade de Natal, um dos locais em que fez campanha pelo voto feminino, 1928. Natal, RN / Acervo Arquivo Nacional
+ 
+Em 1936, Bertha, bióloga por formação, assumiu o mandato de deputada na Câmara Federal. Sempre ocupou importantes cargos públicos, dentre eles a chefia do setor de Botânica do Museu Nacional, cargo no qual se aposentou em 1964. Em agosto de 1965, recebeu o título de professora emérita da Universidade Federal do Rio de Janeiro. Sua vida sempre esteve ligada à ciência e à luta pela emancipação da mulher. Nasceu em São Paulo, em 2 de agosto de 1894, filha da enfermeira inglesa Amy Marie Gertrude Fowler (1869 – 1922 ) e do cientista e pioneiro da Medicina Tropical, Adolpho Lutz (1855 – 1940). Faleceu no Rio de Janeiro, em 16 de setembro de 1976.
+ 
+Carmen Velasco Portinho (1903 – 2001) nasceu em Corumbá, no Mato Grosso, em 26 de janeiro de 1903, e foi uma militante das causas feministas como o sufrágio feminino, além de ativista pela educação das mulheres e pela valorização do trabalho feminino fora da esfera doméstica, tendo sido uma das primeiras mullheres a se formar em Engenheira Civil (1925) e a primeira a obter o título de urbanista (1939) no Brasil.
+ 
+Serviço Fotográfico de Vida Doméstica. Carmen Portinho, 1931. Rio de Janeiro, RJ / Acervo Arquivo Nacional
+ 
+Sempre na vanguarda, foi uma mulher graciosa, cheia de energia, culta, inteligente, dinâmica, tenaz, considerada simpática e afável. E, segundo a própria, apesar de ter tido uma vida de muito trabalho, sempre se divertiu. Viveu quase todo o século XX, tendo falecido em 25 de julho de 2001.
+ 
+A enfermeira Jerônima Mesquita (1880 – 1972) e Stella de Carvalho Guerra Duval (1879 – 1971) eram muito amigas e participaram juntas de diversos projetos além da FBPF.
+Jerônima era mineira de Leopoldina. Trabalhou como voluntária da Cruz Vermelha na França e na Suíça durante a Primeira Guerra Mundial. Durante a Gripe Espanhola, já de volta ao Brasil, como associada da entidade Damas da Cruz Verde, ao lado de sua mãe, a baronesa do Bonfim, e de sua amiga Stella de Carvalho Guerra Duval, coordenou a assistência às vítimas da pandemia, no Rio de Janeiro, improvisando enfermarias de emergências dentro dos hospitais cariocas. Cerca de 14 senhoras da sociedade carioca faziam parte do grupo Damas da Cruz Verde.
+Foi a partir dessa experiência que surgiu o projeto de criação da Pró-Matre, cuja fundação aconteceu na casa da família Duval, em 1º de abril de 1918, com a presença de Jerônima, da promotora cultural e feminista Laurinda Santos Lobo (1878 – 1946) e da escritora e também feminista Maria Eugênia Celso Carneiro de Mendonça (1886 – 1963), dentre outras mulheres, além do ginecologista e obstetra Fernando Magalhães (1871-1944) e do marido de Stella, o fotógrafo amador, barítono e poeta Fernando Guerra Duval (18? – 1959), com que havia se casado em 1º de dezembro de 1908. Formavam um casal muito popular e frequentavam os salões mais requintados e intelectualizados do Rio de Janeiro, além de terem sido festejados anfitriões de muitas festas e reuniões em seu palacete na rua Barão de Itambi, em Botafogo (O Imparcial, 31 de julho de 1935, terceira coluna; Illustração Brasileira, janeiro de 1939).
+ 
+Fernando Guerra Duval é o primeiro em pé, da esquerda pra a direita; e Stella está sentada com a mão no queixo / Fon Fon, 5 de agosto de 1916
+ 
+Voltando à Pró-Matre. A primeira maternidade foi inaugurada em 9 de fevereiro de 1919, em um casarão na avenida Venezuela, cedido por Venceslau Brás (1868 – 1966), presidente da República. Stella foi tesoureira da entidade por quase vinte anos e sua presidente perpétua (O Paiz, 4 de dezembro de 1908, segunda coluna; O Jornal, 5 de dezembro de 1951, segunda coluna; O Cruzeiro, 12 de novembro de 1955).
+ 
+Stella Duval / Arquivo Pró-Matre
+ 
+Em 1919, Jerônima e Stella com Bertha Lutz, a escritora Maria Eugênia Celso Carneiro de Mendonça (1886 – 1963), a educadora Maria Lacerda de Moura (1887 – 1945), Isabel Imbassahy Chermont, a escritora Júlia Lopes de Almeida (1862 – 1934), Valentina Biosca, Esther Salgado Monteiro e Corina Barreiros criaram a Liga para a Emancipação Intelectual da Mulher. Em 1922, foi substituída pela Federação Brasileira pelo Progresso Feminino.
+ 
+Jerônima Mesquista / Revista da Semana, 10 de julho de 1948
+ 
+Jerônima fundou, em 1920, a Federação das Bandeirantes do Brasil e foi sua primeira presidente, tendo, devido à sua dedicação, sido homenageada com o título de Chefe Fundadora do Movimento Bandeirante brasileiro. Participou também da fundação da Associação Brasileira de Educação (1924) e da criação do Conselho Nacional das Mulheres (1947). Foi uma das pioneiras na luta pelo direito ao voto feminino, participando ativamente do movimento sufragista de 1932.
+Em 1926, quando Madame Curie e sua filha, Irène Joliot-Curie (1897 – 1956) visitaram o Brasil, tanto Jerônima como Stella as receberam. Na ocasião, Jerônima presidia o Conselho Nacional de Mulheres (O Paiz, 31 de janeiro de 1926, quarta coluna). A cientista compareceu a uma reunião das senhoras da comissão de recepção organizada pela Federação Brasileira pelo Progresso Feminino, na casa da tesoureira da instituição, Stella de Carvalho Guerra Duval (1879 – 1971)(O Paiz, 11 de agosto de 1926, quarta coluna). Houve também uma recepção oferecida pela baronesa de Bonfim (1862-1953) e por Jerônima. Entre os presentes, os ministros Félix Pacheco (1879 – 1935), Miguel Calmon (1879 – 1935) e Edmundo da Veiga (1869 – 1946), o prefeito do Rio de Janeiro, Alaor Prata (1882 – 1964), além de embaixadores, diplomatas, acadêmicos, enfim personalidades importantes de diversos setores da sociedade ( O Paiz, 7 de agosto de 1926, quarta coluna e Revista da Semana, 7 de agosto de 1927). Lembramos que Carmen Portinho e Bertha Lutz eram integrantes da comissão de senhoras da Federação Brasileira pelo Progresso Feminino responsável pela programação da cientista e de sua filha, no Rio de Janeiro.
+Em homenagem a Jerônima, o dia 30 de abril, data de seu nascimento, em 1880, é o Dia Nacional da Mulher, instituído pela Lei nº 6.791, de 9 de junho de 1980. Faleceu, em 10 de dezembro de 1972, no Rio de Janeiro (Jornal do Brasil, 11 de dezembro de 1971).
+Stella de Carvalho Guerra Duval nasceu em 1º de dezembro de 1879 e faleceu em 2 de fevereiro de 1971, no Rio de Janeiro (Jornal do Brasil, 3 de fevereiro de 1971, última coluna).
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+BARRETO, Maria Renilda Nery. Pro Matre: arquivo e fontes para a história da maternidade no Rio de Janeiro, 2011.
+DEL PRIORE, Mary (Org.). História das mulheres no Brasil. Coordenação de textos de Carla Bassanesi. São Paulo: Contexto, 1997
+DEL PRIORI, Mary. História e conversas de mulher. São Paulo: Planeta Brasil, 2014
+Hemeroteca Digital da Biblioteca Nacional
+HEYNEMANN, Claudia; RAINHO, Maria do Carmo. Memória das lutas feministas in Brasiliana Fotográfica, 8 de agosto de 2017.
+PINTO, Celi Regina Jardim. Uma história do feminismo no Brasil. São Paulo: Editora Fundação Perseu Abramo (coleção história do povo brasileiro) 2003.
+SCHUMAHER, Schuma; BRAZIL, Erico Vital (organizadores). Dicionário mulheres do Brasil: de 1500 até a atualidade biográfico e ilustrado. Rio de Janeiro : Jorge Zahar Ed., 2000.
+Site Mulher 500 anos atrás dos panos
+ 
+Acesse aqui os outros artigos da Série “Feministas, graças a Deus!“
+
+Série “Feministas, graças a Deus!” I – Elvira Komel, a feminista mineira que passou como um meteoro, publicado em 25 de julho de 2020, de autoria da historiadora Maria Silvia Pereira Lavieri Gomes, do Instituto Moreira Salles, em parceria com Andrea C. T. Wanderley, editora e pesquisadora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” II  – Natércia da Cunha Silveira (1905 – 1993), o jequitibá da floresta, publicado em 20 de agosto de 2020, de autoria de Andrea C.T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” III  – Bertha Lutz e a campanha pelo voto feminino: Rio Grande do Norte, 1928, publicado em 29 de setembro de 2020, de autoria de Maria do Carmo Rainha, doutora em História e pesquisadora do Arquivo Nacional
+Série “Feministas, graças a Deus!” IV  – Uma sufragista na metrópole: Maria Prestia (? – 1988), publicado em 29 de outubro de 2020, de autoria de Claudia Heynemann, doutora em História e pesquisadora do Arquivo Nacional
+Série “Feministas, graças a Deus!” V – Feminista do Amazonas: Maria de Miranda Leão (1887 – 1976), publicado em 26 de novembro de 2020, de autoria de Maria Elizabeth Brêa Monteiro, mestre em História e pesquisadora do Arquivo Nacional
+Série “Feministas, graças a Deus!” VI – Júlia Augusta de Medeiros (1896 – 1972) fotografada por Louis Piereck (1880 – 1931), publicado em 9 de dezembro de 2020, de autoria de Andrea C.T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” VII – Almerinda Farias Gama (1899 – 1999), uma das pioneiras do feminismo no Brasil, publicado em 26 de fevereiro de 2021, de autoria de Andrea C.T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” VIII – A engenheira e urbanista Carmen Portinho (1903 – 2001), publicado em 6 de abril de 2021, de autoria de Andrea C. T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” IX – Mariana Coelho (1857 – 1954), a “Beauvoir tupiniquim”, publicado em 15 de junho de 2021, de autoria de Andrea C. T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” X – Maria Luiza Dória Bittencourt (1910 – 2001), a eloquente primeira deputada da Bahia, publicado em 25 de março de 2022, de autoria de Andrea C. T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” XII e série “1922 – Hoje, há 100 anos” XI – A 1ª Conferência para o Progresso Feminino, publicado em 19 de dezembro de 2022, de autoria de Maria Elizabeth Brêa Monteiro, historiadora do Arquivo Nacional
+Série “Feministas, graças a Deus!” XIII – E as mulheres conquistam o direito do voto no Brasil!, publicado em 24 de fevereiro de 2023, de autoria de Andrea C T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” XIV – No Dia Internacional da Mulher, Alzira Soriano, a primeira prefeita do Brasil e da América Latina, publicado em 8 de março de 2023, de autoria de Andrea C T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+
+Série “Feministas, graças a Deus!” XV – No Dia dos Povos Índígenas, Leolinda Daltro,”a precursora do feminismo indígena” e a “nossa Pankhurst, publicado em 19 de abril de 2023, de autoria de Andrea C T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” XVI – O I Salão Feminino de Arte, em 1931, no Rio de Janeiro, de autoria de Andrea C. T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica, publicado em 30 de junho de 2023
+Série “Feministas, graças a Deus!” XVII – Anna Amélia Carneiro de Mendonça e o Zeppelin, equipe de Documentação da Escola de Ciências Sociais FGV CPDOC, em parceira com Andrea C.T. Wanderley, publicado em 5 de janeiro de 2024
+Série “Feministas, graças a Deus!” XVIII – Júlia Lopes de Almeida (1862 – 1934), a “escritora da Belle Époque tropical”, de autoria de Andrea C. T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica, publicado em 5 de junho de 2024
+Links para os artigos já publicados da Série 1922 – Hoje, há 100 anos
+Série 1922 – Hoje, há 100 anos I – Os Batutas embarcam para Paris, de autoria de Andrea C.T. Wanderley, publicado em 29 de janeiro de 2022
+Série 1922 – Hoje, há 100 anos II- A Semana de Arte Moderna, de autoria de Andrea C.T. Wanderley, publicado em 13 de fevereiro de 2022, na Brasiliana Fotográfica
+Série 1922 – Hoje, há 100 anos III – A eleição de Artur Bernardes e a derrota de Nilo Peçanha, de autoria de Andrea C.T. Wanderley, publicado em 1º de março de 2022, na Brasiliana Fotográfica
+Série 1922 – Hoje, há 100 anos IV – A primeira travessia aérea do Atlântico Sul, realizada pelos aeronautas portugueses Gago Coutinho e Sacadura Cabral, de autoria de Andrea C. T. Wanderley, publicada em 17 de junho de 2022, na Brasiliana Fotográfica
+Série 1922 – Hoje, há 100 anos V – A Revolta do Forte de Copacabana, de autoria de Andrea C. T. Wanderley, publicada em 5 de julho de 2022, na Brasiliana Fotográfica
+Série 1922 – Hoje, há 100 anos VII – A morte de Gastão de Orleáns, o conde d´Eu (Neuilly-sur-Seine, 28/04/1842 – Oceano Atlântico 28/08/1922), de autoria de Andrea C. T. Wanderley, publicado em 28 de agosto de 2022, na Brasiliana Fotográfica.
+Série 1922 – Hoje, há 100 anos VIII – A abertura da Exposição Internacional do Centenário da Independência do Brasil e o centenário da primeira grande transmissão pública de rádio no país, de autoria de Andrea C. T. Wanderley, publicado em 7 de setembro de 2022, na Brasiliana Fotográfica.
+Série 1922 – Hoje, há 100 anos IX – O centenário do Museu Histórico Nacional, de autoria de Maria Isabel Lenzi, historiadora do Musseu Histórico Nacional, publicado em 12 de outubro de 2022, na Brasiliana Fotográfica.
+Série 1922 – Hoje, há 100 anos X –  A morte do escritor Lima Barreto (1881 – 1922), de autoria de Andrea C. T. Wanderley, publicado em 1º denovembro de 2022, na Brasiliana Fotográfica
+Série 1922 – Hoje, há 100 anos XI – 1ª Conferência pelo Progresso Feminino e o “bom” feminismo, de autoria de Maria Elizabeth Brêa Monteiro, antropóloga do Arquivo Nacional, publicado em 19 de dezembro de 2022, na Brasiliana Fotográfica.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/4943` — `itens/20.500.12156.1_4943/`
+- `20.500.12156.1/6581` — `itens/20.500.12156.1_6581/`
+- `20.500.12156.1/5061` — `itens/20.500.12156.1_5061/`
+- `20.500.12156.1/5030` — `itens/20.500.12156.1_5030/`
+- `20.500.12156.1/6571` — `itens/20.500.12156.1_6571/`
+
diff --git a/wordpress/26995-serie-avenidas-e-ruas-do-brasil-xv-misericordia-rua-largo-e-ladeira-no-rio-de-ja.md b/wordpress/26995-serie-avenidas-e-ruas-do-brasil-xv-misericordia-rua-largo-e-ladeira-no-rio-de-ja.md
new file mode 100644
index 0000000..fa55388
--- /dev/null
+++ b/wordpress/26995-serie-avenidas-e-ruas-do-brasil-xv-misericordia-rua-largo-e-ladeira-no-rio-de-ja.md
@@ -0,0 +1,85 @@
+---
+id: 26995
+url: "https://brasilianafotografica.bn.gov.br/?p=26995"
+titulo: "Série “Avenidas e ruas do Brasil” XV – Misericórdia: rua, largo e ladeira, no Rio de Janeiro, por Cássio Loredano"
+autor: "Andrea Wanderley"
+data: "2022-12-08T09:22:47+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/8140", "20.500.12156.1/8146", "20.500.12156.1/8142", "20.500.12156.1/10439", "20.500.12156.1/2785", "20.500.12156.1/8144"]
+fetched_at: "2026-09-10T10:09:44.343Z"
+---
+
+# Série “Avenidas e ruas do Brasil” XV – Misericórdia: rua, largo e ladeira, no Rio de Janeiro, por Cássio Loredano
+
+Série Avenidas e ruas do Brasil  XV – Misericórdia, rua, largo e ladeira, no Rio de Janeiro, por Cássio Loredano
+Na décima quinta publicação da série Avenidas e ruas do Brasil a Brasiliana Fotográfica traz para seus leitores o artigo Misericórdia: rua, largo e ladeira, escrito pelo caricaturista Cássio Loredano. É a terceira contribuição de Cássio no portal – já escreveu sobre a Igreja de Nossa Senhora da Glória do Outeiro e sobre a Rua da Carioca.
+ 
+Augusto Malta. Rua da Misericórdia, 14 de agosto de 1928. Rio de Janeiro, RJ / Acervo IMS
+ 
+Acessando o link para as imagens da rua da Misericórdia disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Misericórdia: rua, largo e ladeira, no Rio de Janeiro
+Cássio Loredano*
+ 
+Augusto Malta. Rua da Misericórida, maio de 1921. Rio de Janeiro, RJ / Acervo IMS
+ 
+No Guia Rex de 1993, um dos últimos guias de ruas do Rio de Janeiro a serem impressos em papel, a Rua da Misericórdia ainda é apenas um trecho mínimo, de uns trinta metros, entre a lateral esquerda do Forum e o Largo da Misericórdia. Quem hoje a procure caminhará sobre a bonita restauração ajardinada da Praça do Expedicionário, ao fundo da qual – e muito próximo de onde esteve a velha rua – está o imponente obelisco-monumento ao Barão do Rio Branco. Fazia de fato pena ver o herói durante anos em vergonhoso estado de abandono na praça cercada de horrendos tabiques de lata amarrotados e emporcalhados.
+ 
+Inauguração do monumento em homenagem ao Barão do Rio Branco, em setembro de 1943 . Projetado por Felix Charpentier, o monumento foi posteriormente reformulado por uma comissão da qual faziam parte o escultor Leão Veloso e o arquiteto Alcides Rocha Miranda / Acervo CPDOC/FGV
+ 
+A rua. (Esqueçamos régua e esquadro no traçado de ruas de cidades orgânicas.) A tirar do rabicho de rua do plano do guia um caminho mais ou menos direito rumo ao Paço Imperial, temos que chegaríamos, rasgando o prédio do Forum de fora a fora em diagonal, à esquina das atuais Rua Erasmo Braga e Avenida Presidente Antônio Carlos. Por ali cerca se dava o que Brasil Gerson, em sua História das Ruas do Rio, chama “o encontro” das ruas Direita e da Misericórdia. Esta, aberta para facilitar o acesso do cada vez mais importante centro administrativo e comercial da cidade a seu hospital, a Santa Casa da Misericórdia, na Praia de Santa Luzia, embrião da primeira faculdade de Medicina do Rio.
+ 
+Augusto Malta. Rua da Misericódia, 21 de agosto de 1928. Rio de Janeiro, RJ / Acervo IMS
+ 
+Da Misericórdia foi chamada por causa da Santa Casa e por passar, entre seu início no Paço e o hospital, pelo Largo da Misericórdia, com seu pequenino, lindo templo de Nossa Senhora do Bonsucesso, nos fundos da Santa Casa. E pelo início, aqui também à esquerda, da primeira rua da cidade, a Ladeira da Misericórdia.
+ 
+Ladeira e Rua da Misericórdia, s/d. Rio de Janeiro, RJ / História das ruas do Rio, por Brasil Gerson, página 13 da 6ª edição
+ 
+Este, a Ladeira, foi muito provavelmente o caminho que tomaram Natividade e Perpétua para subir ao Morro do Castelo na primeira cena de Esaú e Jacó, penúltimo romance de Machado de Assis.
+“Era a primeira vez que as duas iam ao Morro do Castelo. Começaram de subir pelo lado da rua do Carmo. Muita gente há no Rio de Janeiro que nunca lá foi, muita haverá morrido, muita mais nascerá e morrerá sem lá pôr os pés. Nem todos podem dizer que conhecem uma cidade inteira. Um velho inglês, que aliás andara terras e terras, confiavame há muitos anos em Londres que de Londres só conhecia bem o seu clube, e era o que lhe bastava da metrópole e do mundo. Natividade e Perpétua conheciam outras partes, além de Botafogo, mas o Morro do  Castelo, por mais que ouvissem falar dele e da cabocla que lá reinava em 1871, era-lhes tão estranho e remoto como o clube. O íngreme, o desigual, o mal calçado da ladeira mortificavam os pés às duas pobres donas. “
+O morro teve três ou quatro subidas. O escritor Gastão Cruls fala nessa quarta, uma Calçada da Sé, a partir do meio da Rua da Misericórdia, mas que nenhum outro historiador conhece e ela não está em nenhum dos mapas que às dezenas esquadrinharam aquele quadrilátero ao longo das décadas. Tais caminhos se fizeram necessários para dar à cidade que paulatinamente descia à várzea acesso ao que continuava no alto, a Catedral, que, com seu amplo adro de terra batida, atraía multidões para as grandes festas de São Sebastião, o Colégio dos Jesuítas, depois um quartel, um hospital militar e o observatório.
+ 
+Guilherme Santos. Arrasamento do Morro do Castelo, 1922. Rio de Janeiro, RJ / Acervo IMS
+ 
+O que faz supor que foi a Misericórdia que Natividade tomou com a irmã para o morro é Machado indicar que as duas “começaram a subir pelo lado da Rua do Carmo“, isto é, o lado da velha ladeira. E terem deixado o coupé esperando-as meio escondido também daquele lado, no espaço entre a Igreja de São José e a Assembleia, de onde saiu para apanhá-las na esquina de São José com a Rua da Misericórdia e levá-las de volta a Botafogo.
+E agora? Se já então constatava Machado que muito carioca nunca tinha estado no morro… E vaticinava, sem poder calcular o alcance do que dizia: “muita [gente] mais nascerá e morrerá sem lá por os pés.
+Agora, só guiados pela magia de um Gastão Cruls, de um Brasil Gerson, um Noronha Santos, um Vieira Fazenda, um Lima Barreto, um João do Rio; ou pela magia dele próprio, o “Bruxo do Cosme Velho”, como Machado de Assis ficou conhecido.
+ 
+Parte do mapa do Centro do Rio, 1906. Vê-se no centro o Morro de Santo Antônio, à direita o Morro do Castelo, e na extrema direita a Ponta do Calabouço com o Arsenal de Guerra e o Forte São Thiago. De lá saía em diagonal a extinta Rua da Misericórdia, indo até a Praça XV (Largo do Paço). no litoral na parte sul há uma área quadrada escura, o Mercado Municipal e logo ao norte o Hotel Pharoux / História e Monumentos
+ 
+Augusto Malta. Canteiro de obras próximo ao largo da Misericórdia, 1921. Rio de Janeiro, RJ / Acervo IMS
+ 
+Augusto Malta. Rua da Misericórida, 24 de abril de 1928. Rio de Janeiro, RJ / Acervo IMS
+ 
+* Cássio Loredano é jornalista e caricaturista. E, sobretudo, um apaixonado pelo Rio de Janeiro e suas histórias.
+ 
+Links para as outras publicações da série “Avenidas e ruas do Brasil”
+ Série “Avenidas e ruas do Brasil” I – Avenida Central, atual Rio Branco, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 7 de setembro de 2016
+Série “Avenidas e ruas do Brasil” II – A Rua do Imperador em Petrópolis por Klumb, Leuzinger e Stahl, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 26 de junho de 2020
+Série “Avenidas e ruas do Brasil” III – A Rua do Bom Jesus, no Recife, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 6 de agosto de 2020
+Série “Avenidas e ruas do Brasil” IV – A Rua 25 de Março, em São Paulo, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 1º de setembro de 2020
+Série “Avenidas e ruas do Brasil” V – A Rua Direita, a Rua das Mercês e a Rua Macau do Meio, em Diamantina, Minas Gerais, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 22 de outubro de 2020
+Série “Avenidas e ruas do Brasil” VI  – Rua Augusto Ribas e outras, em Ponta Grossa, no Paraná, pelo fotógrafo Luiz Bianchi, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 16 de novembro de 2020
+Série “Avenidas e ruas do Brasil” VII – A Avenida Atlântica, em Copacabana, no Rio de Janeiro, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 23 de dezembro de 2020
+Série “Avenidas e ruas do Brasil VIII – A Rua da Carioca por Cássio Loredano, de autoria de Cássio Loredano, publicada em 20 de janeiro de 2021
+Série “Avenidas e ruas do Brasil” IX – Ruas e panoramas do bairro do Catete, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 14 de julho de 2021
+Série “Avenidas e ruas do Brasil” X – A Rua da Ajuda, no Rio de Janeiro, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 9 de novembro de 2021
+Série “Avenidas e ruas do Brasil” XI – A Rua da Esperança, em São Paulo, por Vincenzo Pastore, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 14 de dezembro de 2021
+Série “Avenidas e ruas do Brasil” XII – A Avenida Paulista, o coração pulsante da metrópole, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 21 de janeiro de 2022
+Série “Avenidas e ruas do Brasil” XIII – A Rua Buenos Aires no Centro do Rio de Janeiro, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 19 de julho de 2022
+Série “Avenidas e ruas do Brasil” XIV – A Avenida Presidente Vargas,, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 31 de agosto de 2022
+Série “Avenidas e ruas do Brasil” XVI – “Alguma coisa acontece no meu coração”, a Avenida São João nos 469 anos de São Paulo, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 25 de janeiro de 2023
+Série “Avenidas e ruas do Brasil” XVII  e série “O Rio de Janeiro desaparecido” XXIII – A Praia e a Rua do Russel, na Glória, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 15 de maio de 2023
+Série “Avenidas e ruas do Brasil” XVIII – Avenida Beira-Mar, de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal, publicada em 22 de janeiro de 2024
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/8140` — `itens/20.500.12156.1_8140/`
+- `20.500.12156.1/8146` — `itens/20.500.12156.1_8146/`
+- `20.500.12156.1/8142` — `itens/20.500.12156.1_8142/`
+- `20.500.12156.1/10439` — `itens/20.500.12156.1_10439/`
+- `20.500.12156.1/2785` — `itens/20.500.12156.1_2785/`
+- `20.500.12156.1/8144` — `itens/20.500.12156.1_8144/`
+
diff --git a/wordpress/27031-serie-carnavais-de-antigamente-vi-baile-de-carnaval-em-santa-teresa-di-cavalcant.md b/wordpress/27031-serie-carnavais-de-antigamente-vi-baile-de-carnaval-em-santa-teresa-di-cavalcant.md
new file mode 100644
index 0000000..dd18a27
--- /dev/null
+++ b/wordpress/27031-serie-carnavais-de-antigamente-vi-baile-de-carnaval-em-santa-teresa-di-cavalcant.md
@@ -0,0 +1,42 @@
+---
+id: 27031
+url: "https://brasilianafotografica.bn.gov.br/?p=27031"
+titulo: "Série “Carnavais de antigamente” VI – Baile de Carnaval em Santa Teresa – Di Cavalcanti, Klixto e Helios Seelinger, na casa de Raul Pederneiras"
+autor: "Andrea Wanderley"
+data: "2022-02-25T01:14:36+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/10684"]
+fetched_at: "2026-09-10T10:09:47.860Z"
+---
+
+# Série “Carnavais de antigamente” VI – Baile de Carnaval em Santa Teresa – Di Cavalcanti, Klixto e Helios Seelinger, na casa de Raul Pederneiras
+
+Às vésperas do Carnaval de 2022, cancelado em quase todo o Brasil devido à pandemia do novo coronavírus, causador da Covid-19, a Brasiliana Fotográfica traz para seus leitores o registro de um baile de carnaval realizado há cerca de 100 anos, em torno de 1921, na casa do pintor, desenhista e caricaturista Raul Pederneiras (1874-1953), um dos gênios do humor gráfico brasileiro, no Largo das Neves, em Santa Teresa, bairro boêmio do Rio de Janeiro. Durante sua vida, Raul trabalhou em O Mercúrio, onde estreou como caricaturista/chargista em 1898, O Malho, Fon-Fon, Correio da Manhã, O Paiz, Jornal do Brasil e O GLOBO, entre outros.
+Na cena da folia, foi registrada a presença do dono da casa, bem no centro da fotografia ladeado por duas deusas, e dos também importantes pintores, desenhistas e caricaturistas Di Cavalcanti (1897 – 1976), Calisto Cordeiro, o Klixto (1877-1957), – o segundo e o terceiro da esquerda para a direita – e Helios Seelinger (1878 – 1975) – o último à direita-, dentre outros, com um grupo de músicos e algumas mulheres, uma delas identificada como Wanda, mulher de Pederneiras. O carnaval foi um tema recorrente na obra desses artistas.
+ 
+Baile de Carnaval, c. 1921. Santa Teresa, Rio de Janeiro / Acervo FBN
+ 
+A imagem destacada neste artigo, que com a utilização da ferramenta zoom fica ainda mais interessante, possibilitando a investigação e observação de cada um de seus detalhes, pertence ao Arquivo Brício de Abreu, da Fundação Biblioteca Nacional, uma das fundadoras do portal e, em seu verso, está escrito:
+Anotação manuscrito no verso da foto “63”: “baile de carnaval em casa de Raul no Largo dos Neves em Sta Tereza. Da esquerda: sentados (3) primeira fila: Di Cavalcanti, Amaro e Claudio Manuel da Costa – sentados (2ª fila) Luis Peixoto, Mario, Kalixto, Raul, o ator Brandão o popularíssimo, e Helios Seelinger. Em pé atraz: [sic] miranda, 3 deusas, Marques Pinheiro e outra deusa 1923″. – “mulher do Raul Pederneiras (Wanda)”
+Acessando o link para as fotografias de Carnaval disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas
+Acesse aqui todos os artigos da Série Carnavais de antigamente.
+Acesse aqui o artigo A amizade de Di Cavalcanti, de autoria de Guilherme Tauil, publicado no portal Crônica Brasileira, em 2 de março de 2023. Abaixo um trecho:
+ 
+
+ 
+Maria é o jornalista, compositor e cronista Antônio Maria (1921 – 1964), um dos grandes boêmios do Brasil.
+ 
+Capa desenhada por Di Cavalcanti / O Cruzeiro, 20 de abril de 1929
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+VALLE, Arthur. Baile à fantasia, de Rodolpho Chambelland: A figuração do frenesi
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/10684` — `itens/20.500.12156.1_10684/`
+
diff --git a/wordpress/27173-o-dia-internacional-das-mulheres.md b/wordpress/27173-o-dia-internacional-das-mulheres.md
new file mode 100644
index 0000000..2e08726
--- /dev/null
+++ b/wordpress/27173-o-dia-internacional-das-mulheres.md
@@ -0,0 +1,82 @@
+---
+id: 27173
+url: "https://brasilianafotografica.bn.gov.br/?p=27173"
+titulo: "O Dia Internacional das Mulheres"
+autor: "Andrea Wanderley"
+data: "2022-03-08T09:52:29+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/6473", "20.500.12156.1/6557", "20.500.12156.1/5030", "20.500.12156.1/6570", "20.500.12156.1/6577", "20.500.12156.1/6569", "20.500.12156.1/5028", "20.500.12156.1/6571", "20.500.12156.1/6578"]
+fetched_at: "2026-09-10T10:09:51.084Z"
+---
+
+# O Dia Internacional das Mulheres
+
+A Brasiliana Fotográfica celebra o Dia Internacional das Mulheres, 8 de março, data instituida, em 1975, pela Nações Unidas, elencando os artigos da Série Feministas, Graças a Deus, publicados no portal, sobre mulheres que se destacaram na luta pela emancipação feminina com a conquista do direito ao voto, de maiores oportunidades de trabalho e de maior acesso à educação. São elas: Almerinda Farias Gama, Bertha Lutz, Carmen Portinho, Elvira Komel, Júlia Augusta de Medeiros, Maria de Miranda Leão, Maria Prestia, Mariana Coelho e Natércia da Cunha Silveira.
+As fotografias são do acervo do Arquivo Nacional, uma das instituições parceiras do portal e seus autores foram J. Bonfioti, a Photo Skarke, a Fotografia Alemã, Louis Piereck (1880 – 1931), o Serviço Photographico de Vida Doméstica, além de fotógrafos ainda não identificados.
+Os artigos foram escritos pelas historiadoras e pesquisadoras do Arquivo Nacional Claudia Heynemann, Maria do Carmo Rainho e Maria Elizabeth Brêa Monteiro; e também por Maria Silvia Lavieri Gomes, historiadora do Instituto Moreira Salles, e por Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica. No final deste mês, será publicado o décimo artigo da série, sobre Maria Luisa Dória Bittencourt, a primeira deputada baiana.
+ 
+Série “Feministas, graças a Deus!”
+ 
+Série “Feministas, graças a Deus!” I – Elvira Komel, a feminista mineira que passou como um meteoro, publicado em 25 de julho de 2020, de autoria da historiadora Maria Silvia Pereira Lavieri Gomes, do Instituto Moreira Salles, em parceria com Andrea C. T. Wanderley, editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+J. Bonfioti. Elvira Komel, 1928. Belo Horizonte, MG / Acervo Arquivo Nacional
+ 
+ 
+Série “Feministas, graças a Deus!” II  – Natércia da Cunha Silveira (1905 – 1993), o jequitibá da floresta, publicado em 20 de agosto de 2020, de autoria de Andrea C.T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+ 
+Natércia da Cunha Silveira, a bordo do navio Almanzora, saúda Juvenal Lamartine de Faria, governador do Estado do Rio Grande do Norte e patrono do voto feminino, 5 de maior de 1928. Rio de Janeiro, RJ / Acervo Arquivo Nacional
+ 
+ 
+Série “Feministas, graças a Deus!” III  – Bertha Lutz e a campanha pelo voto feminino: Rio Grande do Norte, 1928, publicado em 29 de setembro de 2020, de autoria de Maria do Carmo Rainha, doutora em História e pesquisadora do Arquivo Nacional
+ 
+Bertha Lutz na cidade de Natal, um dos locais em que fez campanha pelo voto feminino, 1928. Natal, Rio Grande do Norte / Acervo Arquivo Nacional
+ 
+ 
+Série “Feministas, graças a Deus!” IV  – Uma sufragista na metrópole: Maria Prestia (? – 1988), publicado em 29 de outubro de 2020, de autoria de Claudia Heynemann, doutora em História e pesquisadora do Arquivo Nacional
+ 
+Photo Skarke. Maria Prestia, 1931. São Paulo / Acervo Arquivo Nacional
+ 
+ 
+Série “Feministas, graças a Deus!” V – Feminista do Amazonas: Maria de Miranda Leão (1887 – 1976), publicado em 26 de novembro de 2020, de autoria de Maria Elizabeth Brêa Monteiro, mestre em História e pesquisadora do Arquivo Nacional
+ 
+Fotografia Alemã. Maria de Miranda Leão, 1935. Manaus, Amazonas / Acervo Arquivo Nacional
+ 
+ 
+Série “Feministas, graças a Deus!” VI – Júlia Augusta de Medeiros (1896 – 1972) fotografada por Louis Piereck (1880 – 1931), publicado em 9 de dezembro de 2020, de autoria de Andrea C.T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+ 
+Louis Piereck. Julia Augusta de Medeiros, 1929. Pernambuco / Acervo Arquivo Nacional
+ 
+ 
+Série “Feministas, graças a Deus!” VII – Almerinda Farias Gama (1899 – 1999), uma das pioneiras do feminismo no Brasil, publicado em 26 de fevereiro de 2021, de autoria de Andrea C.T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+ 
+Almerinda Farias Gama (detalhe da foto anterior), 1931 / Acervo Arquivo Nacional
+ 
+ 
+Série “Feministas, graças a Deus!” VIII – A engenheira e urbanista Carmen Portinho (1903 – 2001), publicado em 6 de abril de 2021, de autoria de Andrea C. T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+ 
+Serviço Photographico de Vida Doméstica. Carmen Portinho, 1931. Rio de Janeiro, RJ / Acervo Arquivo Nacional
+ 
+ 
+Série “Feministas, graças a Deus!” IX – Mariana Coelho (1857 – 1954), a “Beauvoir tupiniquim”, publicado em 15 de junho de 2021, de autoria de Andrea C. T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+ 
+Mariana Carvalho, 1935. Paraná / Acervo Arquivo Nacional
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Link para uma entrevista realizada com Andrea C.T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, pelo grupo Mulheres de Luta, sobre as feministas brasileiras, em especial sobre Natércia da Cunha Silveira
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/6473` — `itens/20.500.12156.1_6473/`
+- `20.500.12156.1/6557` — `itens/20.500.12156.1_6557/`
+- `20.500.12156.1/5030` — `itens/20.500.12156.1_5030/`
+- `20.500.12156.1/6570` — `itens/20.500.12156.1_6570/`
+- `20.500.12156.1/6577` — `itens/20.500.12156.1_6577/`
+- `20.500.12156.1/6569` — `itens/20.500.12156.1_6569/`
+- `20.500.12156.1/5028` — `itens/20.500.12156.1_5028/`
+- `20.500.12156.1/6571` — `itens/20.500.12156.1_6571/`
+- `20.500.12156.1/6578` — `itens/20.500.12156.1_6578/`
+
diff --git a/wordpress/27299-aspectos-de-pocos-de-caldas-impressos-no-papel-fotografico-fabricado-pelo-pionei.md b/wordpress/27299-aspectos-de-pocos-de-caldas-impressos-no-papel-fotografico-fabricado-pelo-pionei.md
new file mode 100644
index 0000000..2e15f0b
--- /dev/null
+++ b/wordpress/27299-aspectos-de-pocos-de-caldas-impressos-no-papel-fotografico-fabricado-pelo-pionei.md
@@ -0,0 +1,205 @@
+---
+id: 27299
+url: "https://brasilianafotografica.bn.gov.br/?p=27299"
+titulo: "Aspectos de Poços de Caldas impressos no papel fotográfico fabricado pelo pioneiro Conrado Wessel (1891 – 1993)"
+autor: "Andrea Wanderley"
+data: "2022-04-07T12:15:37+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/10258", "20.500.12156.1/10251", "20.500.12156.1/2119", "20.500.12156.1/10256", "20.500.12156.1/10254", "20.500.12156.1/10252"]
+fetched_at: "2026-09-10T10:09:55.264Z"
+---
+
+# Aspectos de Poços de Caldas impressos no papel fotográfico fabricado pelo pioneiro Conrado Wessel (1891 – 1993)
+
+A Brasiliana Fotográfica destaca imagens de aspectos da cidade mineira de Poços de Caldas, impressas no papel fotográfico produzido pelo fotógrafo, inventor e empreendedor Conrado Wessel (1891 – 1993), pioneiro da indústria fotográfica no Brasil. Filho do fotógrafo argentino Guilherme Wessel (1862 – 1940), sua vida é um exemplo de desenvolvimento científico e inovação realizados no Brasil. As imagens pertencem ao acervo da Fundação Biblioteca Nacional, uma das fundadoras do portal, e, atrás de todas elas, produzidas em 1929, está escrita a marca do fabricante do papel no verso: “Wessel“. Também foram publicadas na seção “Cronologia de Fotógrafos”, as cronologias de Conrado e Guilherme, a 51ª e 52ª produzidas pelo portal.
+ 
+Acessando o link para as fotografias de Poços de Caldas impressas no papel fotográfico produzido por Conrado Wessel disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Vista parcial de Poços de Caldas, 1929. Poços de Caldas, Minas Gerais / Acervo FBN
+ 
+ 
+Cascata das Batas,1929. Poços de Caldas, Minas Gerais / Acervo FBN
+ 
+ 
+As trajetórias de Guilherme (1862 – 1940) e Conrado Wessel (1891 – 1993)
+ 
+Conrado Wessel / Fundação Conrado Wessel
+ 
+“Contribuiu decisivamente para a implantação da indústria fotográfica no país, pois fundou a primeira indústria de papel fotográfico no Brasil. Utilizou fórmulas e processos segundo sua concepção e auxiliou Valério Vieira na sensibilizaçaodo famoso painel “Panorama da Cidade de São Paulo. Introduziu o papel fotográfico tamanho postal, que se tornou conhecido por “Postaes Wessel Jardim” e que foram largamente consumido pelos lambe-lambe”. Sua indústria foi posteriormente adquirida pela Kodak e durante algum tempo lia-se nas casixas de papel fotográfico a sigla Kodak-Wessel”
+Boris Kossoy sobre Conrado Wessel, 1975
+ 
+O nome de batismo de  Conrado Wessel era Ubald Konrad August Wessel e ele nasceu em Buenos Aires, na Argentina, em 16 de fevereiro de 1891, filho do fotógrafo Guilherme Wessel (1862-1940), que havia nascido em Concepcion do Uruguai; e de Nicolina Krieger Wessel (1863 – 1956). Eles se casaram em 3 de março de 1887. A família Wessel, tradicional fabricante de chapéus em Hamburgo, na Alemanha, havia imigrado para a Argentina em meados do século XIX, provavelmente nos primeiros anos da década de 1860. Guilherme foi para Hamburgo onde formou-se em Física, e retornou à Argentina.
+Em 1892, Guilherme foi com a família – mulher e dois filhos, Georg Walter (1888 – 1908) e Conrado – para Sorocaba e, depois, para São Paulo, convidado para lecionar na Escola Politécnica, que viria a ser uma das unidades fundadoras da Universidade de São Paulo, em 1934.
+Ele abriu em sociedade com Carlos Norder, em 1900, um estabelecimento de artigos de fotografia e de laboratórios químicos, na rua São Bento, 41 A, no centro da capital, Aos Photograhos e Amadores da photographia. Oferecia gratuitamente aos amadores lições práticas e disponibilizavm para todos os fregueses um quarto escuro. Na mesma época, Guilherme Gaensly (1843 – 1928) tinha um ateliê fotográfico, na rua 15 de Novembro, 28 (O Estado de São Paulo, 3 de janeiro de 1900, página 2, sexta coluna; Correio Paulistano, 5 de janeiro de 1900; Almanak Laemmert, segunda coluna, 1901)
+ 
+Correio Paulistano, 5 de janeiro de 1900
+ 
+ 
+O Estado de São Paulo, 3 de janeiro de 1900
+ 
+Anunciava em dezembro de 1900 ter recebido grande sortimento de produtos: chapas Lumière, câmaras fotográficas e objetos para fotografia e distribuiu a seus fregueses, em dezembro do ano seguinte, uma carteira com espelho (O Commercio de São Paulo, 21 de dezembro de 1900; O Estado de São Paulo, 1º de janeiro de 1902, página 2, quarta coluna).
+ 
+O Commercio de São Paulo, 21 de dezembro de 1900
+ 
+Em 1901, Guilherme já prestava serviços fotográficos para as secretarias da Fazenda, do Interior e da Justiça de São Paulo (O Estado de São Paulo, 6 de março de 1901, página 1, penúltima coluna; Correio Paulistano, 7 e março, quinta coluna; 4 de setembro, segunda coluna, de 1903; Correio Paulistano, 22 de setembro de 1904, última coluna; Correio Paulistano, 6 de janeiro de 1905, sétima coluna). Também tinha uma Casa Importadora de Artigos para Photografia e Aparelhos de Eletricidade, na rua Direita, nº 20 (Almanak Laemmert, primeira coluna, 1903).
+ 
+Illustração Brasileira, 1905
+ 
+Em 1904, Guilherme foi um dos doadores para a quermesse em prol do Instituto Pasteur de São Paulo e do Conservatório Dramático Municipal (Correio Paulistano, 11 de março de 1904, primeira coluna). Neste mesmo ano promoveu uma exposição de fotografias no intuito de estimular os amadores (O Commercio de São Paulo, 9 de julho de 1904, primeira coluna).
+ 
+O Commercio Paulistano, 9 de julho de 1904
+ 
+Em 1907, Guilherme tinha uma loja de artigos fotográficos na rua Líbero Badaró, 48. Nessa mesma época, Valério Vieira (1862 – 1941) e Vincenzo Pastore (1865 – 1918) também possuiam estabelecimentos fotográficos em São Paulo.
+ 
+Almanak Henault, 1909
+ 
+O italiano Pastore, importante cronista visual de São Paulo da segunda metade do século XIX e do início do século XX, e Guilherme foram, provavelmente, amigos, já que Guilherme estava presente a seu enterro, em janeiro em 1918 (Almanak Laemmert, 1907, primeira coluna; Almanak Henault, 1909; Correio Paulistano, 19 de janeiro de 1918, terceira coluna).
+ 
+Vincenzo Pastore. Autorretrato de Vincenzo Pastore, c. 1910. São Paulo, SP / Acervo IMS
+ 
+Guilherme foi contratado pelo Jockey Club de São Paulo para inaugurar o serviço de fotografia de chegadas dos páreos (O Paiz, 23 de fevereiro de 1907, quarta coluna; Revista da Semana, 3 de março de 1907).
+ 
+
+O Paiz, 23 de fevereiro de 1907
+ 
+Trabalhava com seu filho mais velho Georg Walter, que faleceu de tifo, em 26 de dezembro de 1908, e foi enterrado no Cemitério dos Protestantes (Correio Paulistano, 2 de novembro de 1914, primeira coluna). Nesse mesmo ano, por cerca de seis meses, Conrado foi assistente de um cinegrafista da Gaumont, que havia vindo ao Brasil para filmar fazendas de café para a propaganda do produto na Europa, tornando-se um dos primeiros cinegrafistas do Brasil. Estava na folha de pagamentos da Secretaria da Fazenda de São Paulo (Correio Paulistano, 4 de novembro de 1908, sexta coluna).
+“O primeiro documento expedido no Brasil atestando a capacidade para o exercício da função de cinegrafista foi fornecido ao químico Conrado Wessel, em 1908, pela Gaumont Films, uma das produtoras mais antigas da França. Wessel (1891-1993) conta em sua carta autobiográfica que recebeu o atestado das mãos de um cinegrafista da Gaumont, Colliot, que veio ao país contratado pela Secretaria de Agricultura de São Paulo.
+Por mais de seis meses, ele foi intérprete e ajudante do cinegrafista francês e ambos filmaram várias fazendas de café, colhendo cenas para a propaganda do produto na Europa” (Ana Maria Guariglia, Folha de São Paulo, 2 de março de 1995).
+Guilherme fechou a loja e, em 1909, continuou a trabalhar fornecendo fotografias para a Secretaria da Agricultura. Em 1911, recebeu pagamento da secretaria por ter fornecido 20 fotografias ao poeta Olavo Bilac (1865 – 1918). Em 1920, forneceu à Diretoria de Indústria e Comércio uma fita cinematográfica e ampliações fotográficas para a Feira de Lyon (Correio Paulistano, 12 de outubro de 1909, última coluna; Correio Paulistano, 7 de junho de 1911, terceira coluna; Correio Paulistano, 20 de março de 1912, terceira coluna; O Paiz, 21 de agosto de 1912, quinta coluna; O Combate, 3 de dezembro de 1920, última coluna).
+ 
+O Paiz, 21 de agosto de 1912
+ 
+Conrado, que havia feito seus primeiros estudos na Escola Alemã daVila Mariana, participou de um concurso de fotografia, apresentando 25 fotografias em um pavilhão especialmente preparado para a exposição, no Posto Zootécnico de São Paulo (Correio Paulistano, 21 de outubro de 1906, quinta coluna). Já havia conquistado dois prêmios como fotógrafo quando, em 1911, foi para Viena, na Áustria.
+ 
+Diplomas de prêmios de fotografia conquistados por Conrado Wessel no início do século XX
+ 
+Além de estudar fotoquímica no K.K. Graphischen Lehr und Versuchsanstalt, entre julho de 1911 e dezembro de 1912 ,estagiou na Casa Beissner & Gottlieb, especializada na área gráfica e fotográfica, entre de 10 de julho de 1912 e 8 de fevereiro de 1913. Especializou-se em clichês para jornais e revistas.
+ 
+Conrado Wessel, provavelmente, em Viena / Fundação Conrado Wessel
+ 
+Abaixo, a reprodução do certificado da Casa Beissner & Gottlieb, de Viena, de 8 de fevereiro de 1913, documentando o estágio profissional obrigatório realizado por Conrado Wessel, na conclusão de seus estudos no Instituto K.K. Graphischen Lehr und Versuchsanstalt.
+ 
+Fundação Conrado Wessel
+ 
+Tradução: “Atestado: Viena, 8 de fevereiro de 1913. O sr. Conrado Wessel, após ter terminado os estudos gráficos da K.K. Graphischen Lehr & Versuchsanstalt, esteve em nosso instituto em atividades práticas desde 10 de julho de 1912 até hoje. Trabalhou em diferentes departamentos e obteve sucesso e muitos bons resultados. Nós atestamos portanto com satisfação que estamos contentes pelo seu desempenho em cada índice, com extremado respeito por suas realizações, e desejamos a ele o maior progresso no futuro”.
+Voltou para São Paulo, em 1913, com maquinário para a montagem de uma clicheria com o pai. Guilherme seguia trabalhando para a Secretaria da Fazenda e, em 1914, fez uma proposta para prorrogar por mais um ano o contrato que tinha de fornecimento de fotografias para a entidade (Correio Paulistano, 3 de fevereiro de 1914, quarta coluna; Correio Paulistano, 29 de julho de 1916, quarta coluna; Correio Paulistano, 13 de dezembro de 1917, terceira coluna; Correio Paulistano, 10 de janeiro de 1918, última coluna).
+Em 1914, Conrado fotografou o Salto do Paranapanema durante uma visita realizada pelo então secretário da Agricultura de São Paulo, Paulo de Moraes Barros, ao local, quando inaugurou o primeiro trecho do prolongamento da ferrovia Sorocabana Railway na direção do Porto Tibiriçá (Correio Paulistano, 16 de fevereiro de 1914, sexta coluna).
+Entre 1915 e 1919, foi aluno ouvinte na Escola Politécnica e também trabalhou como auxiliar no laboratório do professor de bioquímica, físico-química e eletroquímica Roberto Hottinger, no curso de Engenharia Química. Conrado queria criar um papel fotográfico de qualidade equivalente a dos importados – os usados eram da Kodak, da Agfa e da Gevaert – porém com um preço mais baixo.
+Segundo o próprio:
+“Durante quatro anos fiz de tudo ali. Desde a preparação do nitrato de prata até os estudos das diferentes qualidades de gelatinas. Da ação dos halogênios como o bromo, o cloro, e o iodo sobre o nitrato de prata ao brommeto de potássio. Cheguei à conclusão que a mistura de uma pequena dose de iodo ao bromo dava muito melhor resultado, assim como a adição do iodo ao cloro”.
+O entusiasmo de um inventor (2006)
+ 
+Em 1916, Guilherme seguia trabalhando para a Secretaria de Agricultura (A Gazeta (SP), 18 de janeiro de 1916, quarta coluna) e Conrado já estava desenvolvendo uma fórmula para banhar o papel que batizou de Postal Jardim, para atrair os lambe-lambes do Jardim da Luz. Em fevereiro, foi à inauguração da exposição de Levino Fanzeres (1884 – 1956), na rua Líbero Badaró, 66 (O Estado de São Paulo, 28 de fevereiro, página 2, última coluna).
+Em 10 de novembro de 1916, Guilherme consultou a empresa International Patent Agency, de Moura & Wilson, que eram agentes de privilégios sediados no Rio de Janeiro, com o objetivo de se informar quanto aos procedimentos de requerimento de uma patente. A empresa respondeu três dias depois, dispondo-se a providenciar a patente mediante ao fornecimento dos documentos necessários e ao pagamento de Rs 220$000.
+Em 1917, Guilherme Wessel possuia uma Oficina de Gravura, na Travessa Guaianazes, 155, na Barra Funda. em 1921, o Almanak Laemmert identificava no endereço um estabelecimento fotográfico (Almanak Laemmert, 1917 e 1921, última coluna). Em 1921, um dos funcionários da oficina sofreu um pequeno acidente (O Combate, 12 de maio de 1921, penútima coluna).
+ 
+Almanak Laemmert, 1917
+ 
+Em 1919, Conrado comprou uma casa na rua K , em Casa Verde (Correio Paulistano, 5 de fevereiro de 1919, quinta coluna).
+A fórmula de Conrado, patenteada no início em 1921, em documento assinado pelo presidente da República, Epitácio Pessoa (1865 – 1942), foi descrita como um “novo processo para fabricação de material photographico, sensível à luz, para o processo positivo e negativo, à base de emulsões de saes de prata ou gelatina, albumina ou collodio, servindo de supportes para estas emulsões papel, vidro, celluloide ou qualquer outro supporte que seja appropriado”.
+ 
+Carta patente da fórmula de Conrado Wessel / Fundação Conrado Wessel
+ 
+Fundação Conrado Wessel
+ 
+Em 1921, Conrado comprou do professor de Filosofia da Escola Normal, dr. Picarollo, e de seu filho o maquinário necessário, importou papel da Alemanha e começou a trabalhar em um pequeno prédio de seu pai, na Barra Funda. Enquanto aguardava a chegada do papel, um acaso o ajudou a criar uma forma de pendurar o papel emulsionado para a secagem, uma vez que dispunha de pouco espaço. Realizava um trabalho de propaganda para a Tapeçaria Schultz e observou o sistema de cortinas movimentadas por cordas. Achou que um processo semelhante poderia ser usado para secar metros e metros de papel. Mas a experiência foi um desastre. Nem 10 centímetros foram aproveitados dos 10 metros de papel emulsionados. Teria que encontrar outra solução.
+ 
+
+Especial Prêmio Conrado Wessel – Pesquisa Fapesp
+ 
+Surgia assim, em março de 1921, a primeira fábrica de papel fotográfico da América Latina, a Fábrica Privilegiada de Papéis Fotográficos Wessel, sediada na rua Lopes de Oliveira, em São Paulo.
+ 
+
+ 
+Apesar da qualidade do papel fotográfico e de ter melhor preço, os consumidores resistiam a utilizar um produto nacional e continuava a utilizar o postal da Ridax e da Gevaert. Foi nessa época que Wessel forjou o lema que o acompanharia por toda a vida: “Insista, não desista”.
+Em 1922, foi inaugurada a exposição provisória do Panorama de São Paulo, na rua São Bento, nº 24, do fotógrafo Valério Vieira (1862 – 1941), anunciada como a maior fotografia já realizada no mundo, com 16 metros (Correio Paulistano, 6 de setembro de 1922, na segunda coluna e 7 de setembro, na quarta coluna). O trabalho foi apresentado na Exposição do Centenário da Independência, no Rio de Janeiro, realizada entre 7 de setembro de 1922 e 24 de julho de 1923. Foi Conrado que possibilitou a impressão da foto em uma solução de brometo de sais de prata (O Estado de São Paulo, 13 de agosto de 1998).
+ 
+G 1, 16 de agosto de 2012
+ 
+Dois anos depois, um acontecimento histórico ajudou os negócios de Conrado: entre 5 e 28 de julho de 1924, São Paulo ficou sitiada devido à eclosão da Revolução dos Tenentes ou Revolta Paulista, liderada por Isidoro Dias Lopes (1865 – 1949) e motivada pelo descontentamento dos militares com a crise econômica e a concentração de poder nas mãos de políticos de Minas Gerais e de São Paulo. Devido ao violento conflito urbano, faltou papel importado para os fotógrafos que atuavam, principalmente, no Jardim da Luz, e eles passaram a comprar de Wessel. Quando a rebelião terminou, o fornecimento de papel importado foi restabelecido, mas Wessel já havia conquistado uma clientela fiel. Sua empresa começou a prosperar.
+Durante a década de 30, Conrado adquiriu vários imóveis e terrenos, dentre eles um terreno e um prédio na alameda Eduardo Prado, nº 18; o prédio da rua Santo Antônio, nº 89; o prédio da rua Anna Cintra, 34; um prédio na rua Lopes de Oliveira; e um prédio na Conselheiro Belisário, 96 (O Estado de São Paulo,12 de outubro de 1931, página 3, segunda coluna; 24 de junho de 1932, página 3, segunda coluna; 15 de agosto de 1934, página 3, quarta coluna; 5 de novembro de 1935, página 7; e 6 de maio de 1936, página 10, penúltima coluna; Correio Paulistano, 29 de setembro de 1934, sexta coluna; 6 de outubro, primeira coluna, de 1934; 23 de fevereiro de 1935, quinta coluna).
+Na revista O Malho, de 2 de janeiro de 1932, publicação de uma fotografia de autoria de Conrado Wessel.
+ 
+O Malho, 2 de janeiro de 1932
+ 
+No mesmo ano, o ministro interino do Trabalho declarou caduca a patente de Wessel (Jornal do Commercio, 18 de março de 1932, segunda coluna). Pelo o que se seguiu, tudo indica que essa decisão foi revogada.
+ 
+Jornal do Commercio, 18 de março de 1932
+ 
+A residência e a fábrica de Conrado ficavam na rua Lopes de Oliveira, 18. Foi roubado um pacote de papel de sua fabricação mas ele conseguiu encontrar o autor do furto (Correio de São Paulo, 30 de novembro de 1933, terceira coluna).
+Ainda na década de 30, foram as bobinas de papel produzidas pela firma de Conrado que alimentaram o sistema Photo Rotativo usado pelo fotógrafo Theodor Preising (1883 – 1962). Tratava-se de um mecanismo que produzia fotografias no formato postal e 18 x 24cm para álbuns a partir de até dois negativos.
+ 
+O fotógrafo Theodor Preising (1883 – 1962) 
+ 
+Falecimento de Guilherme Wessel, em 25 de janeiro de 1940 (O Estado de São Paulo, 26 de janeiro de 1940, página 4, quinta coluna).
+ 
+O Estado de São Paulo, 28 de janeiro de 1940
+ 
+Em setembro de 1954, conforme acordado, em 1949, tanto a fábrica, construída em Santo Amaro pela Kodak, quanto a patente de Conrado passou a pertencer à empresa norte-americana, na época líder do mercado fotográfico, denominand0-se Kodak – Wessel. Àquela altura, após décadas dirigindo seu negócio, Conrado já havia consolidado seu patrimônio.
+ 
+Fábrica Kodak – Wessel / Fundação Conrado Wessel
+ 
+Sua mãe, Nicolina Krieger Wessel, faleceu, em 7 de novembro de 1956, aos 93 anos, em São Paulo (O Estado de São Paulo, 8 de novembro de 1956, página 7, terceira coluna).
+ 
+O Estado de São Paulo, 8 de novembro de 1956
+ 
+No Suplemento Literário do O Estado de São Paulo, de 24 de novembro de 1974, foi publicado o artigo O fotógrafo ambulante – a história da fotografia nas praças de São Paulo, do professor Boris Kossoy (1941-), e a importância de Conrado foi destacada.
+Conrado Wessel  faleceu, em 23 de maio de 1993, sem herdeiros e em seu testamento, datado de 11 de maio de 1988, foi determinado que seus bens fossem destinados à criação da Fundação Conrado Wessel, fundada, em 20 de maio de 1994, para a difusão da arte, da ciência e da cultura. O primeiro diretor-presidente da fundação foi Antônio Valério Lorenzini, que havia, assim como seu pai, trabalhado anos com Conrado (O Estado de São Paulo, 29 de janeiro de 1999). Em 2003, A Fundação Conrado Wessel passou a distribuir, anualmente, prêmios nas categorias de Arte, Ciência, Cultura e Medicina.
+ Link para a Cronologia de Guilherme (1862 – 1940) e Conrado Wessel (1891 – 1993)
+ 
+Poços de Caldas
+ 
+Pedra Balão, 1929. Poços de Caldas, Minas Gerais / Acervo FBN
+ 
+Poços de Caldas, em Minas Gerais, foi fundada em 6 de novembro de 1872 e suas águas raras e com poderes de cura foram responsáveis pela prosperidade da cidade. Seu nome tem origem na cidade de Caldas da Rainha, importante terma em Portugal. Como as fontes eram poços usados por animais, o nome da cidade mineira ficou Poços de Caldas.
+Em 1886, funcionava em Poços um balneário voltado ao tratamento de doenças de pele, que utilizava as águas sulfurosas que eram captadas pela Fonte Pedro Botelho (O Paiz, 29 de setembro de 1886, quarta coluna).
+ 
+O Paiz, 29 de setembro de 1886
+ 
+Neste ano, foi visitado, em outubro, por Pedro II (1825 – 1891) e por dona Teresa Cristina (1822 – 1889), que ficaram em um chalé feito especialmente para receber o casal, no Hotel da Empreza – Empresa Balneária, que funcionou como concessionária das termas nos anos 1880-, pelo engenheiro alemão Carlos Alberto Maywald e pelo arquiteto italiano Giovanni Battista Pansini. O casal imperial estava na região devido à inauguração do ramal de Caldas da Estrada de Ferro Mogiana, em 22 de outubro de 1886 (O Paiz, 25 de outubro de 1886, sétima coluna).
+ 
+Georges Renouleau – Phot – S. Paulo” e “Deposito Casa Jules Martin, R. de São Bento, 61 / Memórias de Poços
+ 
+O balneário foi demolido nos anos 20 e substituído pelo conjunto arquitetônico de Eduardo Pederneiras, composto pelo Palace Hotel, de 1923 e reinaugurado em 1929; pelas Thermas Antônio Carlos e pelo Palace Cassino, inaugurados em 29 de março e 31 de março de 1931, respectivamente.
+ 
+Palace Hotel, 1929. Poços de Caldas, Minas Gerais / Acervo FBN
+ 
+ 
+Fonte dos Amores, 1929. Poços de Caldas, Minas Gerais / Acervo FBN
+As Thermas Antônio Carlos foi o primeiro estabelecimento termal do Brasil a oferecer uma série de serviços e tratamentos de saúde a partir do uso da água termal. Sua gestão é feita pelo governo de Minas Gerais desde 2018.
+O Palace Cassino fez muito sucesso e era frequentado pela aristocracia brasileira e lá aconteciam shows com artistas como Carmen Miranda, Sylvio Caldas e Orlando Silva. Com a assinatura do decreto-lei 9 215, de 30 de abril de 1946, pelo presidente Eurico Gaspar Dutra, determinando a proibição do jogo no país, o cassino fechou suas portas. Muitos anos depois foi restaurado tornando-se patrimônio histórico e arquitetônico da cidade que até hoje é um importante destino turístico.
+ 
+Bandeira de Poços de Caldas
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+Enciclopédia Itaú Cultural
+Especial Prêmio Conrado Wessel – Pesquisa Fapesp, 2004
+Folha de São Paulo, 6 de junho de 2004
+Fundação Conrado Wessel
+Hemeroteca Digital da Biblioteca Nacional
+KOSSOY, Boris. Dicionário histórico-fotográfico brasileiro: fotógrafos e ofício da fotografia no Brasil (1833-1910). São Paulo: Instituto Moreira Salles, 2002. 408 p., il. p&b.
+LEMOS, Eric Danze. Fotografia profissional, arquivo e circulação: a produção de Theodor Preising em São Paulo (1920 – 1940).  Dissertação apresentada ao programa de Pós-Graduação em História Social do Departamento de História da Faculdade de Filosofia, Letras e Ciências Humanas da Universidade de São Paulo, 2016
+MEGALE. Nilza Botelho. Memórias Históricas de Poços de Caldas. Minas Gerais : Gráfica Dom Bosco, 1990.
+MOURÃO, Mário. Poços de Caldas – Synthese Historica e Cronologica, 1933.
+Revista Pesquisa Fapesp – O entusiasmo de um inventor
+Revista Pesquisa Fapesp – Rumos de um inventor
+Revista Pesquisa Fapesp – Trajetória de um inventor
+Site Companhia de Desenvolvimento de Minas Gerais
+Site Memórias de Poços
+Site Palace Cassino
+Site Poços.com
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/10258` — `itens/20.500.12156.1_10258/`
+- `20.500.12156.1/10251` — `itens/20.500.12156.1_10251/`
+- `20.500.12156.1/2119` — `itens/20.500.12156.1_2119/`
+- `20.500.12156.1/10256` — `itens/20.500.12156.1_10256/`
+- `20.500.12156.1/10254` — `itens/20.500.12156.1_10254/`
+- `20.500.12156.1/10252` — `itens/20.500.12156.1_10252/`
+
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+---
+id: 27383
+url: "https://brasilianafotografica.bn.gov.br/?p=27383"
+titulo: "Cronologia de Guilherme (1862 – 1940) e Conrado Wessel (1891 – 1993), pai e filho"
+autor: "Andrea Wanderley"
+data: "2022-04-07T12:15:08+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/2119"]
+fetched_at: "2026-09-10T10:09:58.688Z"
+---
+
+# Cronologia de Guilherme (1862 – 1940) e Conrado Wessel (1891 – 1993), pai e filho
+
+Cronologia de Guilherme (1862 – 1940) e Conrado Wessel (1891 – 1993)
+ 
+Conrado Wessel / Fundação Conrado Wessel
+ 
+“Contribuiu decisivamente para a implantação da indústria fotográfica no país, pois fundou a primeira indústria de papel fotográfico no Brasil. Utilizou fórmulas e processos segundo sua concepção e auxiliou Valério Vieira na sensibilizaçaodo famoso painel “Panorama da Cidade de São Paulo. Introduziu o papel fotográfico tamanho postal, que se tornou conhecido por “Postaes Wessel Jardim” e que foram largamente consumido pelos lambe-lambe”. Sua indústria foi posteriormente adquirida pela Kodak e durante algum tempo lia-se nas casixas de papel fotográfico a sigla Kodak-Wessel”
+Boris Kossoy sobre Conrado Wessel, 1975
+ 
+c. 1860 – A família Wessel, tradicional fabricante de chapéus em Hamburgo, na Alemanha, imigrou para a Argentina
+1862 – Nascimento do fotógrafo Guilherme Wessel (1862 – 1940), em Concepcion do Uruguai, na Argentina.
+1870 – 1880 – Provavelmente, entre fins da década de 1870 e a década de 1880, Guilherme foi para Hamburgo, na Alemanha, onde formou-se em Física.
+1887 – Casamento de Guilherme Wessel com Nicolina Krieger Wessel (1863 – 1956).
+1888 – Em 10 de abril, nascimento do primeiro filho do casal, Georg Walter (1888 – 1908).
+1891 - Em 16 de fevereiro de 1891, em Buenos Aires, nascimento de Conrado Wessel cujo nome de batismo era Ubald Konrad August Wessel, segundo filho de Guilherme Wessel e de Nicolina Krieger Wessel (1863 – 1956).
+1892 – Guilherme foi com sua mulher e dois filhos para Sorocaba e, depois, para São Paulo, convidado para lecionar na Escola Politécnica, que viria a ser uma das unidades fundadoras da Universidade de São Paulo, em 1934.
+1900 – Guilherme abriu em sociedade com Carlos Norder um estabelecimento de artigos de fotografia e de laboratórios químicos, na rua São Bento, 41 A, no centro da capital, Aos Photograhos e Amadores da photographia. Oferecia gratuitamente aos amadores lições práticas e disponibilizavm para todos os fregueses um quarto escuro. Na mesma época, Guilherme Gaensly (1843 – 1928) tinha um ateliê fotográfico, na rua 15 de Novembro, 28 (O Estado de São Paulo, 3 de janeiro de 1900, página 2, sexta coluna; Correio Paulistano, 5 de janeiro de 1900; Almanak Laemmert, segunda coluna, 1901)
+ 
+Correio Paulistano, 5 de janeiro de 1900
+ 
+ 
+O Estado de São Paulo, 3 de janeiro de 1900
+ 
+Anunciava em dezembro de 1900 ter recebido grande sortimento de produtos: chapas Lumière, câmaras fotográficas e objetos para fotografia e distribuiu a seus fregueses, em dezembro do ano seguinte, uma carteira com espelho (O Commercio de São Paulo, 21 de dezembro de 1900; O Estado de São Paulo, 1º de janeiro de 1902, página 2, quarta coluna).
+ 
+O Commercio de São Paulo, 21 de dezembro de 1900
+ 
+1901 – Guilherme já prestava serviços fotográficos para as secretarias da Fazenda, do Interior e da Justiça de São Paulo (O Estado de São Paulo, 6 de março de 1901, página 1, penúltima coluna; Correio Paulistano, 7 e março, quinta coluna; 4 de setembro, segunda coluna, de 1903; Correio Paulistano, 22 de setembro de 1904, última coluna; Correio Paulistano, 6 de janeiro de 1905, sétima coluna). Também tinha uma Casa Importadora de Artigos para Photografia e Aparelhos de Eletricidade, na rua Direita, nº 20 (Almanak Laemmert, primeira coluna, 1903).
+1903 - Guilherme Wessel possuia uma Casa Importadora de todos os artigos para fotografia e aparelhos para eletricidade na rua Direira, nº 29 (Almanak Laemmert, 1903, primeira coluna). Conforme o Almanak Laemmert, seu estabelecimento de artigos de fotografia e de laboratórios químicos, na rua São Bento, 41 A, continuava a existir (Almanak Laemmert, 1903, última coluna).
+ 
+Illustração Brasileira, 1905
+ 
+1904 - Guilherme foi um dos doadores para a quermesse em prol do Instituto Pasteur de São Paulo e do Conservatório Dramático Municipal (Correio Paulistano, 11 de março de 1904, primeira coluna).
+Promoveu uma exposição de fotografias no intuito de estimular os amadores (O Commercio de São Paulo, 9 de julho de 1904, primeira coluna).
+ 
+O Commercio Paulistano, 9 de julho de 1904
+ 
+1906 – Conrado, que havia feito seus primeiros estudos na Escola Alemã daVila Mariana, participou de um concurso de fotografia, apresentando 25 fotografias em um pavilhão especialmente preparado para a exposição, no Posto Zootécnico de São Paulo (Correio Paulistano, 21 de outubro de 1906, quinta coluna).
+Pela última vez foi anunciada no Almanak Laemmert a loja de Guilherme na rua Direita, nº 20 (Almanak Laemmert, 1906, última coluna).
+1907 - Pela última vez foi anunciada no Almanak Laemmert a loja de Guilherme na rua São Bento 41 – A (Almanak Laemmert, 1907, última coluna).
+Guilherme tinha uma loja de artigos fotográficos na rua Líbero Badaró, 48. Nessa mesma época, Valério Vieira (1862 – 1941) e Vincenzo Pastore (1865 – 1918) também possuiam estabelecimentos fotográficos em São Paulo.
+ 
+Almanak Henault, 1909
+ 
+O italiano Pastore, importante cronista visual de São Paulo da segunda metade do século XIX e do início do século XX, e Guilherme foram, provavelmente, amigos, já que Guilherme estava presente a seu enterro, em janeiro em 1918 (Almanak Laemmert, 1907, primeira coluna; Almanak Henault, 1909; Correio Paulistano, 19 de janeiro de 1918, terceira coluna).
+ 
+Vincenzo Pastore. Autorretrato de Vincenzo Pastore, c. 1910. São Paulo, SP / Acervo IMS
+ 
+Guilherme foi contratado pelo Jockey Club de São Paulo para inaugurar o serviço de fotografia de chegadas dos páreos (O Paiz, 23 de fevereiro de 1907, quarta coluna; Revista da Semana, 3 de março de 1907).
+ 
+
+O Paiz, 23 de fevereiro de 1907
+ 
+1908 – Por cerca de seis meses, Conrado foi assistente de um cinegrafista da Gaumont, que havia vindo ao Brasil para filmar fazendas de café para a propaganda do produto na Europa, tornando-se um dos primeiros cinegrafistas do Brasil. Estava na folha de pagamentos da Secretaria da Fazenda de São Paulo (Correio Paulistano, 4 de novembro de 1908, sexta coluna).
+“O primeiro documento expedido no Brasil atestando a capacidade para o exercício da função de cinegrafista foi fornecido ao químico Conrado Wessel, em 1908, pela Gaumont Films, uma das produtoras mais antigas da França. Wessel (1891-1993) conta em sua carta autobiográfica que recebeu o atestado das mãos de um cinegrafista da Gaumont, Colliot, que veio ao país contratado pela Secretaria de Agricultura de São Paulo.
+Por mais de seis meses, ele foi intérprete e ajudante do cinegrafista francês e ambos filmaram várias fazendas de café, colhendo cenas para a propaganda do produto na Europa” (Ana Maria Guariglia, Folha de São Paulo, 2 de março de 1995).
+Trabalhava com seu filho mais velho Georg Walter, que faleceu de tifo, em 26 de dezembro de 1908, e foi enterrado no Cemitério dos Protestantes (Correio Paulistano, 2 de novembro de 1914, primeira coluna).
+1909 – Guilherme continuou a trabalhar fornecendo fotografias para a Secretaria da Agricultura (Correio Paulistano, 12 de outubro de 1909, última coluna). A loja da Líbero Badaró foi anunciada pela última vez no Almanak Laemmert (Almanak Laemmert, 1909, última coluna).
+1911 / 1913 – Guilherme recebeu pagamento da Secretaria da Agricultura por ter fornecido 20 fotografias ao poeta Olavo Bilac (1865 – 1918) (Correio Paulistano, 7 de junho de 1911, terceira coluna).
+ Conrado já havia conquistado dois prêmios como fotógrafo quando, em 1911, foi para Viena, na Áustria.
+ 
+Diplomas de prêmios de fotografia conquistados por Conrado Wessel no início do século XX
+ 
+Além de estudar fotoquímica no K.K. Graphischen Lehr und Versuchsanstalt, entre julho de 1911 e dezembro de 1912 ,estagiou na Casa Beissner & Gottlieb, especializada na área gráfica e fotográfica, entre de 10 de julho de 1912 e 8 de fevereiro de 1913. Especializou-se em clichês para jornais e revistas.
+ 
+Conrado Wessel, provavelmente, em Viena / Fundação Conrado Wessel
+ 
+ 
+Guilherme viajou com o secretário da Agricultura com destino à ponta dos trilhos da Noroeste do Brazil (O Paiz, 21 de agosto de 1912).
+ 
+O Paiz, 21 de agosto de 1912
+ 
+Abaixo, a reprodução do certificado da Casa Beissner & Gottlieb, de Viena, de 8 de fevereiro de 1913, documentando o estágio profissional obrigatório realizado por Conrado Wessel, na conclusão de seus estudos no Instituto K.K. Graphischen Lehr und Versuchsanstalt.
+ 
+Fundação Conrado Wessel
+ 
+Tradução: “Atestado: Viena, 8 de fevereiro de 1913. O sr. Conrado Wessel, após ter terminado os estudos gráficos da K.K. Graphischen Lehr & Versuchsanstalt, esteve em nosso instituto em atividades práticas desde 10 de julho de 1912 até hoje. Trabalhou em diferentes departamentos e obteve sucesso e muitos bons resultados. Nós atestamos portanto com satisfação que estamos contentes pelo seu desempenho em cada índice, com extremado respeito por suas realizações, e desejamos a ele o maior progresso no futuro”.
+Voltou para São Paulo, em 1913, com maquinário para a montagem de uma clicheria com o pai.
+1914 – Guilherme seguia trabalhando para a Secretaria da Fazenda e, em 1914, fez uma proposta para prorrogar por mais um ano o contrato que tinha de fornecimento de fotografias para a entidade (Correio Paulistano, 3 de fevereiro de 1914, quarta coluna; Correio Paulistano, 29 de julho de 1916, quarta coluna; Correio Paulistano, 13 de dezembro de 1917, terceira coluna; Correio Paulistano, 10 de janeiro de 1918, última coluna).
+Conrado fotografou o Salto do Paranapanema durante uma visita realizada pelo então secretário da Agricultura de São Paulo, Paulo de Moraes Barros, ao local, quando inaugurou o primeiro trecho do prolongamento da ferrovia Sorocabana Railway na direção do Porto Tibiriçá (Correio Paulistano, 16 de fevereiro de 1914, sexta coluna).
+1915 – Entre esse ano e 1919, Conrado foi aluno ouvinte na Escola Politécnica e também trabalhou como auxiliar no laboratório do professor de bioquímica, físico-química e eletroquímica Roberto Hottinger, no curso de Engenharia Química. Conrado queria criar um papel fotográfico de qualidade equivalente a dos importados – os usados eram da Kodak, da Agfa e da Gevaert – porém com um preço mais baixo.
+Segundo o próprio:
+“Durante quatro anos fiz de tudo ali. Desde a preparação do nitrato de prata até os estudos das diferentes qualidades de gelatinas. Da ação dos halogênios como o bromo, o cloro, e o iodo sobre o nitrato de prata ao brommeto de potássio. Cheguei à conclusão que a mistura de uma pequena dose de iodo ao bromo dava muito melhor resultado, assim como a adição do iodo ao cloro”.
+O entusiasmo de um inventor (2006)
+ 
+1916 - Guilherme seguia trabalhando para a Secretaria de Agricultura (A Gazeta (SP), 18 de janeiro de 1916, quarta coluna) e Conrado já estava desenvolvendo uma fórmula para banhar o papel que batizou de Postal Jardim, para atrair os lambe-lambes do Jardim da Luz.
+Em fevereiro, Conrado foi à inauguração da exposição de Levino Fanzeres (1884 – 1956), na rua Líbero Badaró, 66 (O Estado de São Paulo, 28 de fevereiro, página 2, última coluna).
+Em 10 de novembro de 1916, Guilherme consultou a empresa International Patent Agency, de Moura & Wilson, que eram agentes de privilégios sediados no Rio de Janeiro, com o objetivo de se informar quanto aos procedimentos de requerimento de uma patente. A empresa respondeu três dias depois, dispondo-se a providenciar a patente mediante ao fornecimento dos documentos necessários e ao pagamento de Rs 220$000.
+1917 – Guilherme Wessel possuia uma Oficina de Gravura, na Travessa Guayanazes, 155, na Barra Funda.
+ 
+Almanak Laemmert, 1917
+ 
+1918 – Guilherme foi ao enterro do fotógrafo italiano Vincenzo Pastore (1865 – 1918) Correio Paulistano, 19 de janeiro de 1918, terceira coluna).
+1919 - Conrado comprou uma casa na rua K , em Casa Verde (Correio Paulistano, 5 de fevereiro de 1919, quinta coluna).
+1920 - Guilherme forneceu à Diretoria de Indústria e Comércio uma fita cinematográfica e ampliações fotográficas para a Feira de Lyon (O Combate, 3 de dezembro de 1920, última coluna).
+1921 - Em 1921, o Almanak Laemmert identificava no endereço da oficina de gravuras de Guilherme Wessel também um estabelecimento fotográfico (Almanak Laemmert, 1921, última coluna).
+A fórmula de Conrado foi patenteada, no início em 1921, em documento assinado pelo presidente da República, Epitácio Pessoa (1865 – 1942). Foi descrita como um “novo processo para fabricação de material photographico, sensível à luz, para o processo positivo e negativo, à base de emulsões de saes de prata ou gelatina, albumina ou collodio, servindo de supportes para estas emulsões papel, vidro, celluloide ou qualquer outro supporte que seja appropriado”.
+ 
+Carta patente da fórmula de Conrado Wessel / Fundação Conrado Wessel
+ 
+Fundação Conrado Wessel
+ 
+Conrado comprou do professor de Filosofia da Escola Normal, dr. Picarollo, e de seu filho o maquinário necessário, importou papel da Alemanha e começou a trabalhar em um pequeno prédio de seu pai, na Barra Funda. Enquanto aguardava a chegada do papel, um acaso o ajudou a criar uma forma de pendurar o papel emulsionado para a secagem, uma vez que dispunha de pouco espaço. Realizava um trabalho de propaganda para a Tapeçaria Schultz e observou o sistema de cortinas movimentadas por cordas. Achou que um processo semelhante poderia ser usado para secar metros e metros de papel. Mas a experiência foi um desastre. Nem 10 centímetros foram aproveitados dos 10 metros de papel emulsionados. Teria que encontrar outra solução.
+ 
+
+Especial Prêmio Conrado Wessel – Pesquisa Fapesp
+ 
+Surgia assim, em março de 1921, a primeira fábrica de papel fotográfico da América Latina, a Fábrica Privilegiada de Papéis Fotográficos Wessel.
+ 
+
+ 
+Apesar da qualidade do papel fotográfico e de ter melhor preço, os consumidores resistiam a utilizar um produto nacional e continuava a utilizar o postal da Ridax e da Gevaert. Foi nessa época que Wessel forjou o lema que o acompanharia por toda a vida: “Insista, não desista”.
+Um dos funcionários do estabelecimento de Guilherme sofreu um pequeno acidente (O Combate, 12 de maio de 1921, penútima coluna).
+1922 – Pela última fez o estabelecimento de Guilherme foi identificado pelo Almanak Laemmert como uma oficina de gravuras e quadros (Almanak Laemmert, 1922, primeira coluna). Depois, até 1927, foi sempre identificado como uma estabelecimento fotográfico (Almanak Laemmert, 1927, primeira coluna).
+Inauguração da exposição provisória do Panorama de São Paulo, na rua São Bento, nº 24, do fotógrafo Valério Vieira (1862 – 1941), anunciada como a maior fotografia já realizada no mundo, com 16 metros (Correio Paulistano, 6 de setembro de 1922, na segunda coluna e 7 de setembro, na quarta coluna). O trabalho foi apresentado na Exposição do Centenário da Independência, no Rio de Janeiro, realizada entre 7 de setembro de 1922 e 24 de julho de 1923. Foi Conrado que possibilitou a impressão da foto em uma solução de brometo de sais de prata (O Estado de São Paulo, 13 de agosto de 1998).
+G 1, 16 de agosto de 2012
+1924 – Um acontecimento histórico ajudou os negócios de Conrado: entre 5 e 28 de julho de 1924, São Paulo ficou sitiada devido à eclosão da Revolução dos Tenentes, liderada por Isidoro Dias Lopes (1865 – 1949) e motivada pelo descontentamento dos militares com a crise econômica e a concentração de poder nas mãos de políticos de Minas Gerais e de São Paulo. Devido ao violento conflito urbano, faltou papel importado para os fotógrafos que atuavam, principalmente, no Jardim da Luz, e eles passaram a comprar de Wessel. Quando a rebelião terminou, o fornecimento de papel importado foi restabelecido, mas Wessel já havia conquistado uma clientela fiel. Sua empresa começou a prosperar.
+1927 - O estabelecimento fotográfico de Guilherme Wessel, na rua Guayanazes, 155, foi anunciado pela última vez (Almanak Laemmert, 1927, primeira coluna).
+Década de 30 – Nesse período, Conrado adquiriu vários imóveis e terrenos, dentre eles um terreno e um prédio na alameda Eduardo Prado, nº 18; o prédio da rua Santo Antônio, nº 89; o prédio da rua Anna Cintra, 34; um prédio na rua Lopes de Oliveira; e um prédio na Conselheiro Belisário, 96 (O Estado de São Paulo,12 de outubro de 1931, página 3, segunda coluna; 24 de junho de 1932, página 3, segunda coluna; 15 de agosto de 1934, página 3, quarta coluna; 5 de novembro de 1935, página 7; e 6 de maio de 1936, página 10, penúltima coluna; Correio Paulistano, 29 de setembro de 1934, sexta coluna; 6 de outubro, primeira coluna, de 1934; 23 de fevereiro de 1935, quinta coluna).
+Pela última vez o Almanak Laemmert anunciou o estabelecimento de Guilherme Wessel, na rua Guayanazes, nº 155 (Almanak Laemmert, 1931, última coluna).
+Na revista O Malho, de 2 de janeiro de 1932, publicação de uma fotografia de autoria de Conrado Wessel.
+ 
+O Malho, 2 de janeiro de 1932
+ 
+Em 1932, o ministro interino do Trabalho declarou caduca a patente de Wessel (Jornal do Commercio, 18 de março de 1932, segunda coluna). Pelo o que se seguiu, tudo indica que essa decisão foi revogada.
+ 
+Jornal do Commercio, 18 de março de 1932
+ 
+A residência e a fábrica de Conrado ficavam na rua Lopes de Oliveira, 18. Foi roubado um pacote de papel de sua fabricação mas ele conseguiu encontrar o autor do furto (Almanak Laemmert, 1931, primeira coluna; Correio de São Paulo, 30 de novembro de 1933, terceira coluna).
+Ainda na década de 30, foram as bobinas de papel produzidas pela firma de Conrado que alimentaram o sistema Photo Rotativo usado pelo fotógrafo Theodor Preising (1883 – 1962). Tratava-se de um mecanismo que produzia fotografias no formato postal e 18 x 24cm para álbuns a partir de até dois negativos.
+ 
+O fotógrafo Theodor Preising (1883 – 1962)
+ 
+1940 – Falecimento de Guilherme Wessel, em 25 de janeiro de 1940 (O Estado de São Paulo, 26 de janeiro de 1940, página 4, quinta coluna).
+ 
+O Estado de São Paulo, 28 de janeiro de 1940
+ 
+1949 – 1954 – Em setembro de 1954, conforme acordado, em 1949, tanto a fábrica, construída em Santo Amaro pela Kodak, quanto a patente de Conrado passaram a pertencer à empresa norte-americana, na época líder do mercado fotográfico, denominand0-se Kodak – Wessel. Àquela altura, após décadas dirigindo seu negócio, Conrado já havia consolidado seu patrimônio.
+ 
+Fábrica Kodak – Wessel / Fundação Conrado Wessel
+ 
+1956 - Sua mãe, Nicolina Krieger Wessel, faleceu, em 7 de novembro de 1956, aos 93 anos, em São Paulo (O Estado de São Paulo, 8 de novembro de 1956, página 7, terceira coluna).
+ 
+O Estado de São Paulo, 8 de novembro de 1956
+ 
+1974 - No Suplemento Literário do O Estado de São Paulo, de 24 de novembro de 1974, foi publicado o artigo O fotógrafo ambulante – a história da fotografia nas praças de São Paulo, do professor Boris Kossoy (1941-), e a importância de Conrado foi destacada.
+1988 – Conrado fez um testamento, datado de 11 de maio de 1988, determinando que seus bens fossem destinados à criação da Fundação Conrado Wessel.
+1993 – Conrado Wessel faleceu em 23 de maio de 1993, sem herdeiros.
+1994 – Criação da Fundação Conrado Wessel, fundada, em 20 de maio de 1994, para a difusão da arte, da ciência e da cultura; e também para a doação de recursos para entidades beneficiadas. O primeiro diretor-presidente da fundação foi Antônio Valério Lorenzini, que trabalhou anos com Conrado Wessel. Antes, seu pai já havia trabalhado com Wessel (O Estado de São Paulo, 29 de janeiro de 1999).
+2003 – A Fundação Conrado Wessel passou a distribuir, anualmente, prêmios nas categorias de Arte, Ciência, Cultura e Medicina.
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/2119` — `itens/20.500.12156.1_2119/`
+
diff --git a/wordpress/27390-serie-o-rio-de-janeiro-desaparecido-xviii-a-praca-onze.md b/wordpress/27390-serie-o-rio-de-janeiro-desaparecido-xviii-a-praca-onze.md
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+---
+id: 27390
+url: "https://brasilianafotografica.bn.gov.br/?p=27390"
+titulo: "Série “O Rio de Janeiro desaparecido” XVIII – A Praça Onze"
+autor: "Andrea Wanderley"
+data: "2022-04-20T14:09:19+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/9516", "20.500.12156.1/10831", "20.500.12156.1/10832", "20.500.12156.1/10636", "20.500.12156.1/7521", "20.500.12156.1/4795", "20.500.12156.1/3944", "20.500.12156.1/4220", "20.500.12156.1/5044", "20.500.12156.1/6206", "20.500.12156.1/10684"]
+fetched_at: "2026-09-10T10:10:02.160Z"
+---
+
+# Série “O Rio de Janeiro desaparecido” XVIII – A Praça Onze
+
+Devido à pandemia da Covid-19, o Carnaval carioca de 2022 foi adiado para abril e começa hoje. E a Praça Onze, um dos berços do samba, é o tema do 18º artigo da Série O Rio de Janeiro desaparecido com  imagens tanto do Instituto Moreira Salles como da Fundação Biblioteca Nacional, fundadoras da Brasiliana Fotográfica, além de uma foto aérea do local pertencente ao Museu Aeroespacial, instituição parceira do portal.
+ 
+Praça Onze de Junho; monumento em homenagem a Getúlio Vargas, c. 1940. Rio de Janeiro, RJ / Acervo IMS
+ 
+Três delas foram produzidas por fotógrafos ainda não identificados, duas pelo fotógrafo amador Guilherme Santos (1871 – 1966) – do chafariz e do monumento em homenagem a Getúlio Vargas -, e duas por Augusto Malta (1864 – 1957) – um panorama da praça e outra do cortejo fúnebre do prefeito Pereira Passos (1846 – 1913). Malta foi, de 1903 a 1936, o fotógrafo oficial da Prefeitura do Rio de Janeiro.
+ 
+Augusto Malta. Praça 11 de junho, 19?. Rio de Janeiro, RJ / Acervo FBN
+ 
+Acessando o link para as fotografias da Praça Onze disponíveis na Brasiliana Fotográfica, o leitor poderá visualizar e magnificar as imagens.
+ 
+Carnaval na Praça XI, c. 1937. Rio de Janeiro, RJ / Acervo FBN
+ 
+Conhecida como Praça Onze, seu nome oficial é Praça 11 de junho, uma homenagem à data em que foi travada a decisiva Batalha do Riachuelo, em 1865, na Argentina, durante a Guerra do Paraguai. Inicialmente, nas primeiras décadas do século XIX, em torno da época em que dom João VI chegou ao Brasil, era chamada de Largo do Rocio Pequeno.
+ 
+
+ 
+Em fins do século XIX, era o local da casa da lendária Tia Ciata (1854 – 1924), Hilária Batista de Almeida; na região da Pequena África do Brasil, expressão baseada numa afirmação do cantor e pintor Heitor dos Prazeres (1898 – 1966) se referindo à área que começava no Porto do Rio de Janeiro e abrangia os atuais bairros da Saúde, Estácio, Santo Cristo, Gamboa e Cidade Nova, até a Praça Onze de Junho. Foi lá que, a partir da década de 1870, a comunidade baiana se estabeleceu no Rio de Janeiro, fazendo da área um local de concentração de diversas manifestações da cultura afro-brasileira. Foi também na Pequena África que a Deixa Falar, considerada a primeira escola de samba, foi fundada, em 12 de agosto de 1928, pelos sambistas Bide, Mano Edgar, Brancura, Baiaco, dentre outros, além de Ismael Silva, que reivindicava a autoria da expressão escola de samba.
+O músico João da Baiana (1887 – 1974) era filho de Prisciliana Maria Constança, e o também músico Donga (1871 – 1974), era filho de Amélia Silvana de Araújo, tias baianas da Pequena África. Eras irmãs-de-santo de Tia Ciata, no terreiro de João Alabá, um dos principais babalorixás do candomblé  no Rio de Janeiro. Havia também as tias Bebiana, Carmen e Mônica, dentre outras, que fizeram de suas casas pontos de referência e de convívio, que garantiram a manutenção das tradições africanas na cidade. Nessas casas eram cultuadas a música e a religiosidade afro-brasileira. Essas casas, principalmente a de Tia Ciata, foram espaços fundamentais para o florescimento da música popular carioca. Segundo depoimento de João da Baiana: “os velhos ficavam na parte da frente cantando partido-alto…os jovens ficavam no quarto cantando samba corrido. E no terreiro ficava o pessoal que gostava de batucada”.
+Também no entorno da Praça Onze se instalaram imigrantes judeus – entre 1925 e 1935, principalmente – além de portugueses, espanhóis e italianos, tornando a região bastante cosmopolita.
+ 
+Guilherme Santos. Praça Onze de Junho – chafariz, 1929. Rio de Janeiro, RJ / Acervo IMS
+ 
+Obras de modernização realizadas na região pela Prefeitura do Rio de Janeiro, nos anos 30, reduziram muito a Praça Onze de Junho. Logo no início da década de 40, durante o Estado Novo, o então presidente Getúlio Vargas (1882 – 1954) decidiu construir a avenida Presidente Vargas e, pelo projeto, os quarteirões entre as ruas Visconde de Itaúna e Senador Eusébio desapareceriam para sua abertura (O Malho, dezembro de 1941). Começaram as demolições. Inúmeras famílias foram desalojadas, prédios foram derrubados, dentre eles algumas construções históricas, como a Igreja de São Pedro dos Clérigos, que já foi tema de um dos artigos da série O Rio de Janeiro desaparecido. O segundo trecho da nova avenida foi concluído em 10 de novembro de 1942; e, em 10 de novembro de 1943, foi batizada de Presidente Vargas. Finalmente, em 7 de setembro de 1944, foi inaugurada (O Malho, dezembro de 1942, abril de 1943, dezembro de 1943; O País, 10 de novembro de 1943; Jornal do Brasil, 8 de setembro de 1944).
+ 
+Acervo Arquivo Geral da Cidade do Rio de Janeiro
+ 
+Na época da demolição, a Praça Onze não era apenas um logradouro carioca, mas uma espécie de bairro, pois englobava todas as ruas das imediações. Hoje, esta importante referência na história da formação do Rio de Janeiro, da cultura brasileira e da criação do samba, não existe mais, porém sua região continua sendo importante para o samba: o Sambódromo e o Terreirão do Samba, inaugurados em 1984 e 1991, respectivamente, estão localizados na área. Da Praça Onze resta um pequeno jardim, onde foi instalado um monumento em homenagem a Zumbi, em 1986.
+ 
+Escola de Aeronáutica. Vista Aérea da Zona Central do Rio de Janeiro, 21 de novembro de 1941. Rio de Janeiro, RJ / Acervo Museu Aeroespacial
+
+ 
+Ouça aqui a música Praça Onze, de Herivelto Martins e Grande Otelo
+Praça Onze
+Herivelto Martins e Grande Otelo
+ Vão acabar com a Praça Onze
+ Não vai haver mais Escola de Samba, não vai
+Chora o tamborim
+ Chora o morro inteiro
+ Favela, Salgueiro
+ Mangueira, Estação Primeira
+ Guardai os vossos pandeiros, guardai
+ Porque a Escola de Samba não sai
+Adeus, minha Praça Onze, adeus
+ Já sabemos que vais desaparecer
+ Leva contigo a nossa recordação
+ Mas ficarás eternamente em nosso coração
+ E algum dia nova praça nós teremos
+ E o teu passado cantaremos
+ 
+Augusto Malta. Cortejo fúnebre do prefeito Pereira Passos, 31 de maio de 1913. Rio de Janeiro, RJ / Acervo IMS
+ 
+Acesse aqui o artigo Próxima parada: os primórdios do samba, de autoria do jornalista e pesquisador Pedro Paulo Malta, publicado em fevereiro de 2026, no blog da Editora Todavia.
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+ 
+BUENO, Eduardo. TIA CIATA E A PRAÇA ONZE: COMO SURGIRAM AS ESCOLAS DE SAMBA
+Diário do Rio – Avenida Presidente Vargas
+
+Diário do Ri0 – Praça Onze
+GERSON, Brasil. História das Ruas do Rio. Rio de Janeiro: Bem-Te-Vi, 2013.
+Hemeroteca Digital da Biblioteca Nacional
+www.letras.mus.br/
+MALAMUD, Samuel. Recordando a Praça Onze. 1ª edição, Rio de Janeiro, Editora Kosmos, 1988
+MOURA, Roberto. Tia Ciata e a pequena África no Rio de Janeiro. Rio de Janeiro: Funarte, 1983.
+SILVA, Beatriz Coelho. Negros e Judeus na Praça Onze. A História que não ficou na memória. Rio de Janeiro : Bookstart, 2015.
+Site Biblioteca Nacional
+Site MultiRio
+ 
+Links para os outros artigos da Série O Rio de Janeiro desaparecido
+ 
+Série O Rio de Janeiro desaparecido I - Salas de cinema do Rio de Janeiro do início do século XX, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 26 de fevereiro de 2016.
+Série O Rio de Janeiro desaparecido II – A Exposição Nacional de 1908 na Coleção Família Passos, de autoria de Carla Costa, historiadora do Museu da República, publicado na Brasiliana Fotográfica, em 5 de abril de 2018.
+Série O Rio de Janeiro desaparecido III – O Palácio Monroe, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica, em 9 de novembro de 2016.
+Série O Rio de Janeiro desaparecido IV - A via elevada da Perimetral, de autoria da historiadora Beatriz Kushnir, publicado na Brasiliana Fotográfica em 23 de junho de 2017.
+Série O Rio de Janeiro desaparecido V – O quiosque Chopp Berrante no Passeio Público, Ferrez, Malta e Charles Dunlop, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 20 de julho de 2018.
+Série O Rio de Janeiro desaparecido VI – O primeiro Palácio da Prefeitura Municipal do Rio de Janeiro, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 12 de setembro de 2018.
+Série O Rio de Janeiro desaparecido VII – O Morro de Santo Antônio na Casa de Oswaldo Cruz, de autoria de historiador Ricardo Augusto dos Santos da Casa de Oswaldo Cruz, publicado na Brasiliana Fotográfica em 5 de fevereiro de 2019.
+Série O Rio de Janeiro desaparecido VIII – A demolição do Morro do Castelo, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 30 de abril de 2019.
+Série O Rio de Janeiro desaparecido IX – Estrada de Ferro Central do Brasil: estação e trilhos, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 12 de novembro de 2019.
+Série O Rio de Janeiro desaparecido X – No Dia dos Namorados, um pouco da história do Pavilhão Mourisco em Botafogo, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 12 de junho de 2020.
+Série O Rio de Janeiro desaparecido XI – A Estrada de Ferro do Corcovado e o mirante Chapéu de Sol, de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 22 de julho de 2021.
+Série O Rio de Janeiro desaparecido XII – o Teatro Lírico (Theatro Lyrico), de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 15 de setembro de 2021.
+Série O Rio de Janeiro desaparecido XIII – O Convento da Ajuda, de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 12 de outubro de 2021.
+Série O Rio de Janeiro desaparecido XIV – O Conselho Municipal, de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 19 de novembro de 2021.
+Série O Rio de Janeiro desaparecido XV – A Praia de Santa Luzia no primeiro dia do verão, de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 21 de dezembro de 2021.
+Série O Rio de Janeiro desaparecido XVI – O prédio da Academia Imperial de Belas Artes, de autoria de Andrea C.T. Wanderley, publicado na Brasiliana Fotográfica em 13 de janeiro de 2022.
+Série O Rio de Janeiro desaparecido XVII – Igreja São Pedro dos Clérigos, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 18 de março de 2022.
+Série O Rio de Janeiro desaparecido XIX – A Igrejinha de Copacabana, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 23 de junho de 2022.
+Série O Rio de Janeiro desaparecido XX – O Pavilhão dos Estados, futuro prédio do Ministério da Agricultura, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 26 de julho de 2022.
+Série O Rio de Janeiro desaparecido XXI – O Chafariz do Largo da Carioca, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 19 de setembro de 2022. 
+Série O Rio de Janeiro desaparecido XXII – A Cadeia Velha que deu lugar ao Palácio Tiradentes, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 11 de abril de 2023
+Série O Rio de Janeiro desaparecido XXIII e Avenidas e ruas do Brasil XVII - A Praia e a Rua do Russel, na Glória, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 15 de maio de 2023
+Série O Rio de Janeiro desaparecido XXIV – O luxuoso Palace Hotel, na Avenida Rio Branco, uma referência da vanguarda artística no Rio de Janeiro, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 4 de julho de 2023
+Série O Rio de Janeiro desaparecido XXV – O Theatro Phenix, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 5 de setembro de 2023
+Série O Rio de Janeiro desaparecido XXVI – Conclusão do arrasamento do Morro do Castelo por Augusto Malta, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 14 de dezembro de 2023
+Série O Rio de Janeiro desaparecido XXVII e Série Os arquitetos do Rio de Janeiro V – O Jockey Club e o Derby Club, na Avenida Rio Branco e o arquiteto Heitor de Mello (1875 – 1920), de autoria de Andrea c. T. Wanderley, editora e pesquisadora do portal, em 15 de janeiro de 2024
+ 
+Links para artigos sobre carnaval já publicados na Brasiliana Fotográfica
+
+ 
+O carnaval nas primeiras décadas do século XX, publicado em 5 de fevereiro de 2016
+ 
+Augusto Malta. Grupo de homens fantasiados para o carnaval, As Marrequinhas, 1913. Rio de Janeiro, RJ / Acervo IMS
+ 
+O carnaval do Cordão da Bola Preta, publicado em 9 de fevereiro de 2018
+ 
+Anônimo. Salve! “Cordão da Bola Preta”, Penha de 1936, 1936. Rio de Janeiro, RJ / Acervo FBN
+ 
+As Camélias Japonesas no carnaval de Alagoas pelas lentes do fotógrafo amador Luiz Lavenère Wanderley (1868 – 1966, publicado em 21 de fevereiro de 2020
+ 
+L. Lavenère. Lembrança de Maceió /[Um clube carnavalesco], 1906. Maceió, Alagoas /Acervo Arquivo Nacional
+Cenas da folia em Manaus em 1913, publicado em 28 de fevereiro de 2020
+ 
+Carnaval, 1913. Manaus, Amazonas / Acervo Casa de Oswaldo Cruz
+ 
+Baile de Carnaval em Santa Teresa – Di Cavalcanti, Klixto e Helios Seelinger, na casa de Raul Pederneiras
+ 
+Baile de Carnaval, c. 1921. Santa Teresa, Rio de Janeiro / Acervo FBN
+ 
+Acessando o link para as fotografias de Carnaval disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/9516` — `itens/20.500.12156.1_9516/`
+- `20.500.12156.1/10831` — `itens/20.500.12156.1_10831/`
+- `20.500.12156.1/10832` — `itens/20.500.12156.1_10832/`
+- `20.500.12156.1/10636` — `itens/20.500.12156.1_10636/`
+- `20.500.12156.1/7521` — `itens/20.500.12156.1_7521/`
+- `20.500.12156.1/4795` — `itens/20.500.12156.1_4795/`
+- `20.500.12156.1/3944` — `itens/20.500.12156.1_3944/`
+- `20.500.12156.1/4220` — `itens/20.500.12156.1_4220/`
+- `20.500.12156.1/5044` — `itens/20.500.12156.1_5044/`
+- `20.500.12156.1/6206` — `itens/20.500.12156.1_6206/`
+- `20.500.12156.1/10684` — `itens/20.500.12156.1_10684/`
+
diff --git a/wordpress/27413-a-construcao-do-bondinho-do-pao-de-acucar-sob-as-lentes-de-therezio-mascarenhas.md b/wordpress/27413-a-construcao-do-bondinho-do-pao-de-acucar-sob-as-lentes-de-therezio-mascarenhas.md
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+++ b/wordpress/27413-a-construcao-do-bondinho-do-pao-de-acucar-sob-as-lentes-de-therezio-mascarenhas.md
@@ -0,0 +1,140 @@
+---
+id: 27413
+url: "https://brasilianafotografica.bn.gov.br/?p=27413"
+titulo: "A construção do Bondinho do Pão de Açúcar sob as lentes de Therezio Mascarenhas"
+autor: "Andrea Wanderley"
+data: "2022-10-27T11:25:20+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/9282", "20.500.12156.1/9285", "20.500.12156.1/9284", "20.500.12156.1/9280", "20.500.12156.1/9275", "20.500.12156.1/9283"]
+fetched_at: "2026-09-10T10:10:05.366Z"
+---
+
+# A construção do Bondinho do Pão de Açúcar sob as lentes de Therezio Mascarenhas
+
+A Brasiliana Fotográfica destaca imagens da construção do Bondinho do Pão de Açúcar realizadas pelo fotógrafo Therezio Mascarenhas (18? – 19?), cuja biografia ainda é pouco conhecida. Na primeira década do século XX, ele morava em Vitória e, provavelmente, conheceu o engenheiro civil Augusto Ferreira Ramos (1860 – 1939), criador e construtor do Bondinho do Pão de Açúcar, em torno de 1909, quando este estava fazendo obras de instalação de água, luz, força e tração, no Espírito Santo.
+ 
+Therezio Mascarenhas. Construção do Bondinho do Pão de Açúcar, c,.1910. Rio de Janeiro, RJ / Acervo IMS
+ 
+Acessando o link para as fotografias do Bondinho do Pão de Açúcar de autoria de Therezio Mascarenhas disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+O Pão de Açúcar com seu bondinho e o Cristo Redentor são os principais pontos turísticos do Brasil, segundo e primeiro  mais visitados do país, e marcas registradas do Rio de Janeiro, seus mais conhecidos cartões-postais.
+ 
+Therezio Mascarenhas. Construção do Bondinho do Pão de Açúcar, c. 1910. Rio de Janeiro, RJ / Acervo IMS
+ 
+O Bondinho do Pão de Açúcar já foi visitado por diversas celebridades, dentre elas o físico Albert Einstein (1879 – 1955), o cantor e compositor Bob Marley (1945-1981), o papa João Paulo II (1920 – 2005); em 1941, pelo futuro presidente dos Estados Unidos, John Kennedy (1917-1963); as atrizes Halle Berry (1966-) e Natalie Portman (1981-), o ator Robert de Niro (1943-), a cantora Tina Turner (1939-) e Malala Yousafzai (1997-), ganhadora do Prêmio Nobel da Paz em 2014. Em um dos bondinhos foram filmadas cenas de 007 Contra o Foguete da Morte (1979): em uma das sequências, o agente James Bond, na época interpretado pelo ator Roger Moore (1927 – 2017), se equilibrou, a mais de 500 metros de altura, em seus cabos de aço.
+ 
+Cena do filme 007 Contra o Foguete da Morte (1979)
+ 
+Um pouco da história do Bondinho do Pão de Açúcar
+ 
+O projeto do bondinho era ousado e grandioso e estava em consonância com as transformações urbanas realizadas no Rio de Janeiro, no começo do século XX, durante a gestão do prefeito Francisco Pereira Passos (1836 – 1913), entre 1903 e 1906. Para sanear e modernizar a cidade diversas demolições foram feitas. Era a política do “bota-abaixo”, como ficou popularmente conhecida, que contribuiu fortemente para o surgimento do Rio de Janeiro da Belle Époque. Essas transformações foram definidas por Alberto Figueiredo Pimentel (1869-1914), autor da seção “Binóculo”, da Gazeta de Notícias, com a máxima “O Rio civiliza-se”, que se tornou o slogan da reforma urbana carioca.
+ 
+Therezio Mascarenhas. Construção do Bondinho do Pão de Açúcar, c. 1910. Rio de Janeiro, RJ / Acervo IMS
+ 
+O criador do Bondinho do Pão de Açúcar, Augusto Ferreira Ramos, nascido em 22 de agosto de 1860, em Cantagalo, no estado do Rio, formou-se, em 1882, na Polytecnica do Império do Brasil, atual Faculdade de Engenharia da UFRJ, e tornou-se sócio do Clube de Engenharia, em 1894, por indicação de Conrado Jacob de Niemeyer (1831 – 1905). Faleceu em 28 de julho de 1939, em sua residência, na rua 5 de julho, nº 130, em Copacabana (O Globo, 29 de julho de 1939).
+ 
+Augusto Ferreira Ramos / O Globo, 29 de julho de 1939
+ 
+Visionário, ele teve a ideia da criação do bondinho, durante a Exposição Nacional de 1908, na região da Urca, no Rio de Janeiro, em comemoração ao centenário da Abertura dos Portos às Nações Amigas, inaugurada em 11 de agosto de 1908. Ramos foi um dos coordenadores do pavilhão do estado de São Paulo devido ao café, um dos assuntos de seu interesse, e sobre o qual escreveu tanto sobre o seu cultivo como sobre sua comercialização. O café era, na época, o principal produto da balança comercial do Brasil.
+A construção de um caminho aéreo entre os morros da Baía de Guanabara alavancaria o turismo na cidade. Conseguiu capital – entre os investidores estavam Eduardo Guinle (1846-1912), Candido Gaffrée (1845-1919) e Raymundo de Castro Maya (1894 – 1968) – apoio do governo e fundou a Cia Caminho Aéreo Pão de Açúcar.
+ 
+Gazeta de Notícias, 13 de junho de 1912
+ 
+As obras foram realizadas entre 1909 e 1912. O teleférico carioca, cujas duas linhas somam 1325 metros, superou os dois que existiam na época: o do Monte Ulia, na Espanha, com extensão de 280 metros; e o de Wetterhorn, na Suíça, com 560 metros. O empreendimento custou uma fortuna, dois milhões de contos de réis, e centenas de operários, além de alpinistas, trabalharam em sua construção.
+ 
+Therezio Mascarenhas. Construção do Bondinho do Pão de Açúcar, c,.1910. Rio de Janeiro, RJ / Acervo IMS
+ 
+Os bondinhos de madeira maciça foram trazidos da Alemanha e fixados nos cabos com o auxílio de guindastes. Foi contratada a empresa alemã J.Pohling, de Colônia, que fabricou e montou os equipamentos.
+ 
+Therezio Mascarenhas. Construção do Bondinho do Pão de Açúcar, c,.1910. Rio de Janeiro, RJ / Acervo IMS
+ 
+Finalmente, em 27 de outubro de 1912, foi inaugurado o caminho aéreo no Rio de Janeiro, entre a Praia Vermelha e o Morro da Urca, que se tornaria o mundialmente famoso Bondinho do Pão de Açúcar (Careta, 5 de outubro de 1912). Alguns dias antes, houve uma visita da imprensa às obras (Correio da Manhã, 10 de outubro de 1912). Em 1º de dezembro, foi inaugurada a iluminação elétrica no caminho aéreo (Jornal do Brasil, 1º de dezembro de 1912, na última coluna).
+ 
+Jornal do Brasil, 3 de novembro de 1912
+ 
+O bondinho no segundo trecho, entre o Morro da Urca e o Pão de Açúcar, numa extensão de 750 metros e 396 metros de altura, começou a funcionar no dia 18 de janeiro de 1913, completando a ligação até o alto do pico do Pão de Açúcar (O Paiz, 19 de janeiro de 1913, quarta coluna).
+ 
+Therezio Mascarenhas. Construção do bondinho do Pão de Açúcar, c. 1910. Rio de Janeiro, RJ / Acervo IMS
+ 
+Augusto Ferreira Ramos dirigiu a empresa até 1934, ano em que o industrial e banqueiro Carlos Pinto Monteiro assumiu a administração da Companhia Caminho Aéreo Pão de Açúcar até 1962, quando o engenheiro Christovam Leite de Castro (1904 – 2002) assumiu a direção. Durante sua gestão, em 1969, a Companhia do Pão de Açúcar obteve permissão para duplicar a linha e, após algumas reformas, passou a contar com quatro novos bondinhos, cada um com capacidade para transportar 75 passageiros. Os trabalhos foram completados em 29 de outubro de 1972.
+Em 1993, Christovam passou o cargo para sua filha, Maria Ercília Leite de Castro, mestre em Administração de Empresas pela COPPEAD. Em 2002, o bondinho passou por outra reforma com a substituição dos oito cabos de aço e na realização de melhorias como nova pintura, iluminação, equipamento de som e placas de sinalização. Foram gastos 852 mil dólares. Entre 2008, foram inaugurados quatro novos bondinhos e a operação do teleférico foi digitalizada.
+Em 2022, zerou suas emissões de carbono e ganhou uma nova marca e um novo lema: Parque Bondinho Pão de Açúcar, “Felicidade lá em cima”. Recebeu de presente, em homenagem aos seus 110 anos uma canção, O bondinho, de Roberto Menescal, Alex Moreira e Cris Delanno. É dirigido por Sandro Fernandes.
+ 
+Medalha de comemoração dos 100 anos do Bondinho do Pão de Açúcar
+ 
+Uma curiosidade: em novembro de 2021, Anna Caroline Boyd Martine entrou para a história do cartão postal carioca, tornando-se a primeira mulher a trabalhar como operadora de cabine do teleférico do Parque Bondinho Pão de Açúcar.
+ 
+Acesse aqui um artigo publicado na revista Brazil – Ferro – Carril, número 36, em 1912, onde o projeto do Bondinho do Pão de Açúcar é explicado detalhadamente.
+ 
+Estátua de Augusto Ferreira Ramos
+ 
+ 
+ 
+Pequeno perfil e cronologia de Therezio Mascarenhas (18? – 19?)
+ 
+Como já mencionado, pouco se sabe, até hoje, sobre a biografia do fotógrafo Therezio Mascarenhas. A partir da pesquisa na Hemeretoca Digital da Biblioteca Nacional, segue uma pequena cronologia de sua vida, que ajuda a traçar um pouco de seu perfil.
+ 
+Gazeta de Notícias, 13 de junho de 1912
+ 
+Detalhe da foto acima, onde aparece Therezio, identificado como ajudante do engenheiro / Gazeta de Notícias, 13 de junho de 1912
+ 
+1900 – Procedente do Rio de Janeiro, fazendo quarentena na Ilha Grande, chegada do vapor nacional Pernambuco , em Vitória. Therezio era um dos passageiros (O Estado do Espírito Santo: Ordem e Progresso, 24 de julho de 1900, última coluna).
+1908 – Foi um dos convidados de F. Clemetson, superintendente da Estrada de Ferro Sul do Espírito Santo, para viajar para Engenheiro Reeve com o cientista e ministro plenitenciário da França, Charles Wiener (1851–1913), nascido em Viena, que ficou bastante conhecido por suas viagens ao Peru (Diário da Manhã: Órgão do Partido Construtor (ES), 20 de fevereiro de 1908, quarta coluna).
+Fotografou indígenas do Rio Doce (Diário da Manhã: Órgão do Partido Conservador (ES), 20 de fevereiro de 1908, segunda coluna).
+Identificado como um ativo jovem, Therezio seguiu para o Rio de Janeiro, no paquete Maranhão, em 6 de junho, com a intenção de conversar com o diretor da Sociedade Nacional de Agricultura sobre a abertura de um estabelecimento de artigos e ferragens para a lavoura. Retornou em julho (Diário da Manhã: Órgão do Partido Construtor (ES), 7 de junho de 1908, quinta coluna; Commercio do Espírito Santo, 24 de julho de 1908, segunda coluna).
+Foi anunciado que ele abriria, na rua da Alfândega, em Vitória, um depósito para máquinas para a lavoura importados da Europa e da América do Norte (Cachoeirano, 20 de junho de 1908, terceira coluna).
+Publicação de uma poesia de sua autoria (O Malho, 8 de agosto de 1908).
+1909 - Ele e Casemiro Guimarães tiraram várias diversas fotográficas do piquenique dos sócios do Club de Regatas, realizado na Ilha do Boi, no Espírito Santo (Commercio do Espírito Santo, 22 de março de 1909, primeira coluna).
+O engenheiro Augusto Ferreira Ramos (1860 – 1939), criador e construtor do Bondinho do Pão de Açúcar, promoveu uma excursão durante a qual os aplicados amadores Paulo Motta e Therezio Mascarenhas tiraram várias fotografias (Diário da Manhã: Órgão do Partido Construtor (ES), 8 de abril de 1909, última coluna). Provavelmente, em torno deste ano, Augusto e Therezio se conheceram.
+Foi publicada na revista Fon-Fon uma fotografia do capor Queen Eleanor de sua autoria. Foi identificado como fotógrafo amador (Fon-Fon, 24 de abril de 1909).
+ 
+Fon-Fon, 24 de abril de 1909
+ 
+Praticava tiro ao alvo (Diário da Manhã: Órgão do Partido Construtor (ES), 4 de maio de 1909, primeira coluna).
+No Café Globo, em Vitória, houve uma exposição de fotografias de sua autoria dos serviços de abastecimento e luz realizados pelo engenheiro Augusto Ferreira Ramos. Foi identificado como amador e nesses registros Therezio revelava muito bom gosto pela arte (Diário da Manhã: Órgão do Partido Construtor (ES), 24 de maio de 1909, quinta coluna; Correio do Espírito Santo, 26 de maio de 1909, segunda coluna).
+Fazia parte da comitiva de Augusto Ferreira Ramos em visitas de obras hidráulicas realizadas pelo engenheiro  (Diário da Manhã: Órgão do Partido Construtor (ES), 10 de julho de 1909, segunda coluna; Diário da Manhã: Órgão do Partido Construtor (ES), 13 de julho de 1909, quinta coluna).
+Participou da homenagem realizada pelo governo do Espírito Santo ao presidente Afonso Pena (1847 – 1909), na Catedral de Vitória (Commercio do Espírito Santo, 13 de julho de 1909, última coluna).
+Foi noticiado seu aniversário, no dia 23 de agosto (Correio do Espírito Santo, 23 de agosto de 1909, primeira coluna).
+Produziu várias fotografias durante uma excursão ao Jucu promovida pelo engenheiro Augusto Ferreora Ramos, contratante dos serviços de água, luz e esgoto de Vitória, que ofereceu um piquenique à família do político capixaba Torquato Moreira e a outras distintas famílias (Commercio do Espírito Santo, 21 de setembro de 1909, segunda coluna).
+Esteve presente na missa de sétimo dia do prefeito de Vitória, Ceciliano Abel de Almeida (Commercio do Espírito Santo, 24 de novembro de 1909, quarta coluna).
+Fotografou as festas realizadas na Escola Aprendizes de Marinheiro e foi identificado como um hábil fotógrafo (Diário da Manhã: Órgão do Partido Construtor (ES), 23 de dezembro, segunda coluna).
+1910 – Possuia um estabelecimento fotográfico na Villa Moscoso, nº 16, em Vitória, no Espírito Santo (Diário da Manhã: Órgão do Partido Construtor (ES), 26 de fevereiro de 1910, segunda coluna; Almanak Laemmert, 1910, primeira coluna; Almanak Renault, 1912, última coluna).
+Estava vendendo artigos  fotográficos (Diário da Manhã: Órgão do Partido Construtor (ES), 10 de março de 1910, última coluna).
+ 
+Diário da Manhã: Órgão do Partido Construtor (ES), 10 de março de 1910
+ 
+1911 - Chegou no porto de Vitória, procedente do norte no paquete Sattelite (Diário da Manhã: Órgão do Partido Construtor (ES), 18 de outubro de 1911, segunda coluna).
+1916 - Seu estabelecimento fotográfico na Villa Moscoso, em Vitória, no Espírito Santo, foi anunciado pela última vez no Almanak Laemmert (Almanak Laemmert, 1916, última coluna).
+1927 - Ele e Augusto Ferreira Ramos foram alguns dos subscritores do abaixo-assinado feito por moradores e proprietários na Praia Vermelha, elogiando os melhoramentos realizados pelo prefeito do Rio de Janeiro, Antônio da Silva Prado Junior (1880 – 1955), na remodelação da principal artéria e nas cercanias da região, o que facilitaria a visita ao encantador passeio do Pão de Açúcar (O Paiz, 14 de dezembro de 1927, segunda coluna).
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+Diário do Rio
+Extra, 27 de outubro de 2022
+Correio Braziliense, 12 de junho de 2008
+Folha de São Paulo, 12 de fevereiro de 2022
+Hemeroteca Digital da Biblioteca Nacional
+Jackobson, Andrea. O bondinho do Pão de Açúcar. Rio de Janeiro : Editora Andrea Jackobson, 2018.
+O GLOBO, 13 de junho de 2011
+O GLOBO, 20 de outubro de 2012
+Portal Clube de Engenharia
+Rezende, Nilza. Pão de Açúcar – A Marca do Rio / Sugar Loaf – Rios Trademark.  Editora Clio.
+Revisa EDVD
+Serra News
+Site Bondinho do Pão de Açúcar
+Site Instituto Histórico Geográfico Brasileiro
+Superinteressante, 4 de julho de 2018
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/9282` — `itens/20.500.12156.1_9282/`
+- `20.500.12156.1/9285` — `itens/20.500.12156.1_9285/`
+- `20.500.12156.1/9284` — `itens/20.500.12156.1_9284/`
+- `20.500.12156.1/9280` — `itens/20.500.12156.1_9280/`
+- `20.500.12156.1/9275` — `itens/20.500.12156.1_9275/`
+- `20.500.12156.1/9283` — `itens/20.500.12156.1_9283/`
+
diff --git a/wordpress/27434-serie-1922-hoje-ha-100-anos-iv-a-primeira-travessia-aerea-do-atlantico-sul-reali.md b/wordpress/27434-serie-1922-hoje-ha-100-anos-iv-a-primeira-travessia-aerea-do-atlantico-sul-reali.md
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index 0000000..42e7f78
--- /dev/null
+++ b/wordpress/27434-serie-1922-hoje-ha-100-anos-iv-a-primeira-travessia-aerea-do-atlantico-sul-reali.md
@@ -0,0 +1,109 @@
+---
+id: 27434
+url: "https://brasilianafotografica.bn.gov.br/?p=27434"
+titulo: "Série “1922 – Hoje, há 100 anos” IV – A primeira travessia aérea do Atlântico Sul, realizada pelos aeronautas portugueses Gago Coutinho e Sacadura Cabral"
+autor: "Andrea Wanderley"
+data: "2022-06-17T11:45:53+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/9154", "20.500.12156.1/6092", "20.500.12156.1/6061", "20.500.12156.1/6060", "20.500.12156.1/6064", "20.500.12156.1/6059"]
+fetched_at: "2026-09-10T10:10:08.350Z"
+---
+
+# Série “1922 – Hoje, há 100 anos” IV – A primeira travessia aérea do Atlântico Sul, realizada pelos aeronautas portugueses Gago Coutinho e Sacadura Cabral
+
+No quarto artigo da Série 1922 – Hoje, há 100 anos, a Brasiliana Fotográfica republica o artigo sobre a primeira travessia aérea do Atlântico Sul, realizada pelos aeronautas portugueses Carlos Viegas Gago Coutinho (1869 -1959) e Artur de Sacadura Freire Cabral (1881 – 1924). Iniciaram a viagem em 30 de março de 1922, partindo de Lisboa, a bordo do hidroavião Lusitânia, com destino ao Rio de Janeiro (O Paiz, 31 de março de 1922). Após alguns contratempos e acidentes e escalas na Europa e em algumas cidades do Brasil, chegaram ao destino final, em 17 de junho de 1922, completando a travessia. A população da cidade fez a apoteose magnífica do heroismo, aclamando Gago Coutinho e Sacadura Cabral na mais espontânea, na mais eloquente, na mais grandiosa manifestação popular em que há memória no Brasil (O Paiz, 18 de junho de 1922).
+ 
+Jorge Kfuri. Recepção de Gago Coutinho e Sacadura Cabral, 1922. Rio de Janeiro, RJ / Acervo IMS
+ 
+Foram recepcionados com vários eventos, um deles a visita à Escola de Aviação Naval, na Ilha das Enxadas, em 26 de junho de 1922. São fotografias dessa homenagem e uma imagem produzida por Augusto Malta (1864 – 1957), alguns dias depois, que a Brasiliana Fotográfica traz hoje para seus leitores. Os registros pertencem à Diretoria do Patrimônio Histórico e Documentação da Marinha, uma das parceiras do portal. O portal pede a ajuda a seus leitores para a identificação da única mulher presente ao almoço oferecido pela Marinha do Brasil, no Rio de Janeiro, aos aeronautas portugueses.
+ 
+Augusto Malta. Gago Coutinho e Sacadura Cabral, 30 de junho de 1922. Rio de Janeiro, RJ / Acervo DPHDM
+ 
+Acessando o link para as fotografias de Gago Coutinho e Sacadura Cabral disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas. 
+ 
+Jorge Kfuri. Gago Coutinho e o Tenente Mario da Cunha Godinho, ao fundo, um hidroavião, na Escola de Aviação Naval, 26 de junho de 1922. Rio de Janeiro, RJ / Acervo DPHDM
+ 
+Jorge Kfuri. Grupo de Oficiais junto ao aviador Gago Coutinho à frente de um hidroavião na Escola de Aviação Naval , 26 de junho de 1922. Rio de Janeiro, RJ / Acervo DPHDM
+ 
+Nas duas fotografias abaixo há a presença de uma única mulher no almoço na Escola de Aviação Naval. Seria a aviadora Thereza de Marzo (1903 – 1986), pioneira da aviação no Brasil que participou das homenagens aos pilotos? (Jornal do Brasil, 21 de junho de 1922, quinta coluna; Jornal do Brasil, 22 de junho de 1922, quinta coluna; Jornal do Brasil, 23 de junho de 1922). A aviadora francesa Adrienne Bolland (1895 – 1975), primeira mulher que sobrevoou a Cordilheira dos Andes, que estava, na época, no Rio de Janeiro, tendo participado de eventos com os aviadores (O Paiz, 25 de junho de 1922, terceira coluna; Jornal do Brasil, 23 de junho de 1922)? Ou será a mulher de algum dos oficiais? Infelizmente nos registros do almoço na Escola de Aviação Naval não é mencionada nenhuma presença feminina (Jornal do Brasil, 27 de junho de 1922).
+ 
+Jorge Kfuri. Visita de Gago Coutinho e Sacadura Cabral à Escola de Aviação Naval,26 de junho de 1922. Rio de Janeiro, RJ / Acervo DPHDM
+
+Detalhe da foto
+
+Jorge Kfuri. Almoço na Escola de Aviação Naval em homenagem a Gago Coutinho e Sacadura Cabral, 26 de junho de 1922. Rio de Janeiro, RJ / Acervo DPHDM
+ 
+Cerca de dois anos após a travessia, em novembro de 1924, Sacadura Cabral faleceu quando pilotava um Fokker 4146, de Amsterdã para Lisboa. Santos Dumont (1873 – 1932) enviou uma pequena carta a Gago Coutinho (O Jornal, 18 de junho de 1969).
+ 
+Carta escrita por Santos Dumont para Gago Coutinho na ocasião da morte de Sacadura Cabral / O Jornal, 18 de junho de 1969.
+ 
+Etapas e resumo da Travessia
+Etapas da travessia
+ 
+
+ 
+ 
+Careta, 24 de junho de 1922
+ 
+
+ 
+ 
+
+ 
+ 
+
+ 
+Uma curiosidade: O repórter e fotógrafo de O Cruzeiro, Luciano Carneiro (1926 – 1959), cujo acervo fotográfico está sob a guarda do Instituto Moreira Salles, uma das instituições fundadoras da Brasiliana Fotográfica, foi premiado, em 1948, na Segunda Convenção dos Aviadores Civis, em Poços de Caldas, do qual também participou o aviador Gago Coutinho (1869 – 1959). O acontecimento foi documentado na reportagem O encontro das gerações, com texto de Ibiapaba de Oliveira Martins e fotos de Norberto Esteves (O Cruzeiro, 12 de junho de 1948).
+A Brasiliana Fotográfica faz um agradecimento especial à bibliotecária Marcia Prestes Taft, Encarregada da Seção de Documentos Iconográficos e Audiovisuais da Diretoria do Patrimônio Histórico e Documentação da Marinha, e ao arquiteto Bruno Buccalon, da equipe do IMS.
+ 
+Os aviadores visitando o Observatório Nacional / Careta, 1º de julho de 1922
+ 
+
+ 
+Revista da Semana, 2 de setembro de 1922
+ 
+Gago Coutinho, desenho do português Abílio Guimarães (? -19?) , 1922 / Real Gabinete de Leitura
+ 
+Sacadura Cabral, desenho do português Abílio Guimarães (? – 19?), 1922 / Real Gabinete de Leitura
+ 
+Capas da Revista da Semana alusivas à travessia realizada por Gago Coutinho e Sacadura Cabral
+ 
+Revista da Semana, 22 de abril de 1922
+ 
+Revista da Semana, 27 de maio de 1922
+ 
+Revista da Semana, 17 de junho de 1922
+ 
+Revista da Semana, 24 de junho de 1922
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+A primeira travessia aérea do Atlântico Sul – Texto apresentado pela delegação brasileira que compareceu ao XI Congresso Ibero-Americano de História Aeronáutica e Espacial realizado em Lisboa em outubro de 2008
+Hemeroteca Digital da Biblioteca Nacional
+Travessia aérea do Atlântico Sul – Filme da Ensina RTP
+ 
+Links para os artigos já publicados da Série 1922 – Hoje, há 100 anos
+Série 1922 – Hoje, há 100 anos I – Os Batutas embarcam para Paris, de autoria de Andrea C.T. Wanderley, publicado em 29 de janeiro de 2022
+Série 1922 – Hoje, há 100 anos II- A Semana de Arte Moderna, de autoria de Andrea C.T. Wanderley, publicado em 13 de fevereiro de 2022, na Brasiliana Fotográfica
+Série 1922 – Hoje, há 100 anos III – A eleição de Artur Bernardes e a derrota de Nilo Peçanha, de autoria de Andrea C.T. Wanderley, publicado em 1º de março de 2022, na Brasiliana Fotográfica
+Série 1922 – Hoje, há 100 anos V – A Revolta do Forte de Copacabana, de autoria de Andrea C. T. Wanderley, publicada em 5 de julho de 2022, na Brasiliana Fotográfica
+Série 1922 – Hoje, há 100 anos VI e série Feministas, graças a Deus XI – A fundação da Federação Brasileira para o Progresso Feminino, de autoria de Andrea C. T. Wanderley, publicado em 9 de agosto de 2022, na Brasiliana Fotográfica
+Série 1922 – Hoje, há 100 anos VII – A morte de Gastão de Orleáns, o conde d´Eu (Neuilly-sur-Seine, 28/04/1842 – Oceano Atlântico 28/08/1922), de autoria de Andrea C. T. Wanderley, publicado em 28 de agosto de 2022, na Brasiliana Fotográfica.
+Série 1922 – Hoje, há 100 anos VIII – A abertura da Exposição Internacional do Centenário da Independência do Brasil e o centenário da primeira grande transmissão pública de rádio no país, de autoria de Andrea C. T. Wanderley, publicado em 7 de setembro de 2022, na Brasiliana Fotográfica.
+Série 1922 – Hoje, há 100 anos IX – O centenário do Museu Histórico Nacional, de autoria de Maria Isabel Lenzi, historiadora do Musseu Histórico Nacional, publicado em 12 de outubro de 2022, na Brasiliana Fotográfica.
+Série 1922 – Hoje, há 100 anos X –  A morte do escritor Lima Barreto (1881 – 1922), de autoria de Andrea C. T. Wanderley, publicado em 1º denovembro de 2022, na Brasiliana Fotográfica
+Série 1922 – Hoje, há 100 anos XI e série Feministas, graças a Deus XII – 1ª Conferência pelo Progresso Feminino e o “bom” feminismo, de autoria de Maria Elizabeth Brêa Monteiro, antropóloga do Arquivo Nacional, publicado em 19 de dezembro de 2022, na Brasiliana Fotográfica.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/9154` — `itens/20.500.12156.1_9154/`
+- `20.500.12156.1/6092` — `itens/20.500.12156.1_6092/`
+- `20.500.12156.1/6061` — `itens/20.500.12156.1_6061/`
+- `20.500.12156.1/6060` — `itens/20.500.12156.1_6060/`
+- `20.500.12156.1/6064` — `itens/20.500.12156.1_6064/`
+- `20.500.12156.1/6059` — `itens/20.500.12156.1_6059/`
+
diff --git a/wordpress/27444-o-hipodromo-da-gavea-no-rio-de-janeiro.md b/wordpress/27444-o-hipodromo-da-gavea-no-rio-de-janeiro.md
new file mode 100644
index 0000000..35ed42c
--- /dev/null
+++ b/wordpress/27444-o-hipodromo-da-gavea-no-rio-de-janeiro.md
@@ -0,0 +1,69 @@
+---
+id: 27444
+url: "https://brasilianafotografica.bn.gov.br/?p=27444"
+titulo: "O Hipódromo da Gávea, no Rio de Janeiro"
+autor: "Andrea Wanderley"
+data: "2023-07-11T09:40:04+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/8188", "20.500.12156.1/8186", "20.500.12156.1/8187", "20.500.12156.1/10453", "20.500.12156.1/9810", "20.500.12156.1/14222"]
+fetched_at: "2026-09-10T10:10:11.576Z"
+---
+
+# O Hipódromo da Gávea, no Rio de Janeiro
+
+A Brasiliana Fotográfica destaca imagens produzidas pelo alagoano Augusto Malta (1864 – 1957), em 1926, ano da inauguração do Hipódromo do Jockey Club do Brasil (Jornal do Commercio, 26 de setembro de 1926, terceira coluna). Malta foi o fotógrafo oficial da prefeitura do Rio de Janeiro, de 1903 a 1936. Há também mais três registros do Hipódromo: uma foto aérea tomada do Cristo Redentor, de autoria de Alfredo Krausz (1902-1953); e da recepção ao príncipe de Gales, Eduardo VIII (1894 – 1972), feito pelo fotógrafo amador Guilherme Santos (1871 – 1966), ambos realizados no início da década de 30; além de uma fotografia aérea realizada pela Escola de Aviação Militar, em 12 de junho de 1933.
+ 
+Augusto Malta. Jockey Club, 15 de julho de 1926. Rio de Janeiro, RJ / Acervo IMS
+ 
+Acessando o link para as fotografias do Jockey Club Brasileiro disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Construído às margens da Lagoa Rodrigo de Freitas, sua pedra fundamental foi lançada pelo presidente Epitácio Pessoa (1865 – 1942), em 12 de novembro de 1922 (O Paiz, 12 de novembro de 1922, quinta coluna). Foi projetado pelos arquitetos cearense Archimedes Memória (1893 – 1960) e o franco-suíço Francisque Cuchet (18? – 19?), responsáveis também por outros importantes projetos como o do Palácio das Festas e do Palácio das Grandes Indústrias, na Exposição Internacional do Centenário da Independência (1922) e o do Palácio Tiradentes (1926). Eles se tornaram sócios do “Escriptorio Technico Heitor de Mello – A. Memória & F. Couchet, architectos”, após a morte de Heitor de Mello (1875 – 1920), em 14 de setembro de 1920. Originalmente´, os sócios do escritório eram Heitor e Cuchet.
+ 
+
+ 
+Sobre o Hipódromo da Gávea: O complexo é composto por cinco edificações projetadas sob inspiração neoclássica da escola francesa Luís XVI, cuja rígida simetria marca tanto as plantas quanto as fachadas (ALENCAR, 2010). Está integrado a uma área de 640 mil m² e conta com clube social, escola primária, escola de profissionais do turfe, restaurantes, além de ser palco de diversos eventos. Foi inaugurado, em 11 de julho de 1926, com excepcional brilhantismo (O Paiz, 12 e 13 de julho de 1926). Na época, o presidente de honra e efetivo do Jockey Club era Linneu de Paula Machado (1880 – 1942).
+ 
+O Paiz, 12 e 13 de julho de 1926
+ 
+Linneu de Paula Machado
+ 
+Segundo o arquiteto e historiador Paulo Santos (1904 – 1988), diante das arrojadas marquises de concreto armado engastadas na arquibancada Luís XVI, o renomado arquiteto norte-americano Frank Loyd Wright (1867 – 1959), em viagem pelo Brasil, em 1931, teria dito: É o futuro ancorado no passado. Loyd Wright estava no Brasil integrando o juri do concurso que escolheu o projeto para a construção do Farol de Colombo na entrada do porto de São Domingos, capital da República Dominicana (Revista da Semana, 24 de outubro de 1931). Também fez uma conferência na Escola Nacional de Belas Artes (Diário de Notícias, 21 de outubro 1931, sétima coluna).
+ 
+Augusto Malta. Jockey Club, 24 de junho de 1926. Rio de Janeiro, RJ / Acervo IMS
+ 
+Revista da Semana, 10 de julho de 1926
+ 
+O Hipódromo da Gávea, uma réplica do antigo Hipódromo de Longchamps no Bois de Boulogne, é o palco mais tradicional do turfe brasileiro e sede da maior corrida de cavalo nacional, o GP Brasil, disputado pela primeira vez no primeiro domingo de agosto de 1933, no dia 6, e vencido pelo cavalo brasileiro Mossoró, montado por Justiniano Mesquita (Fon-Fon, 12 de agosto de 1933).
+ 
+Augusto Malta. Jockey Club, c. 1926. Rio de Janeiro, RJ / Acervo IMS
+ 
+Guilherme Santos. Recepção ao príncipe de Gales, 1931. Rio de Janeiro, RJ / Acervo IMS
+ 
+Alfredo Krausz. Vista da cidade; tomada do Cristo Redentor, c. 1933. Rio de Janeiro, RJ / Acervo IMS
+ 
+Escola de Aviação Militar. Foto aérea do Jockey Club, 12 de junho de 1933. Gávea, Rio de Janeiro / Acervo Museu Aeroespacial
+ 
+ 
+Veja aqui um filme sobre a inauguração do Hipódromo da Gávea
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+ALENCAR, Aurélia Tâmisa Silvestre de. Archimedes Memória: o futuro ancorado no passado. Dissertação de Mestrado apresentada ao Programa de Pós-graduação em Arquitetura, da Universidade Federal do Rio de Janeiro, como parte dos requisitos necessários à obtenção do título de Mestre em Ciências da Arquitetura, Linha de pesquisa Teoria, História e Crítica, junho de 2010.
+Hemeroteca Digital da Biblioteca Nacional
+JB em Folhas
+Rio de Janeiro aqui
+SANTOS, Paulo. Quatro séculos de arquitetura. Rio de Janeiro: Instituto de Arquitetos do Brasil, 1981.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/8188` — `itens/20.500.12156.1_8188/`
+- `20.500.12156.1/8186` — `itens/20.500.12156.1_8186/`
+- `20.500.12156.1/8187` — `itens/20.500.12156.1_8187/`
+- `20.500.12156.1/10453` — `itens/20.500.12156.1_10453/`
+- `20.500.12156.1/9810` — `itens/20.500.12156.1_9810/`
+- `20.500.12156.1/14222` — `itens/20.500.12156.1_14222/`
+
diff --git a/wordpress/27486-no-dia-mundial-do-meio-ambiente-velas-abertas-na-baia-da-guanabara.md b/wordpress/27486-no-dia-mundial-do-meio-ambiente-velas-abertas-na-baia-da-guanabara.md
new file mode 100644
index 0000000..1845e63
--- /dev/null
+++ b/wordpress/27486-no-dia-mundial-do-meio-ambiente-velas-abertas-na-baia-da-guanabara.md
@@ -0,0 +1,49 @@
+---
+id: 27486
+url: "https://brasilianafotografica.bn.gov.br/?p=27486"
+titulo: "No Dia Mundial do Meio Ambiente, velas abertas na Baía da Guanabara"
+autor: "Andrea Wanderley"
+data: "2022-06-05T12:57:16+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/7179", "20.500.12156.1/10447", "20.500.12156.1/6730", "20.500.12156.1/10735", "20.500.12156.1/9678"]
+fetched_at: "2026-09-10T10:10:14.931Z"
+---
+
+# No Dia Mundial do Meio Ambiente, velas abertas na Baía da Guanabara
+
+No Dia Mundial do Meio Ambiente, a Brasiliana Fotográfica destaca belíssimas imagens de barcos com suas velas abertas na Baía de Guanabara, no Rio de Janeiro, produzidas entre as décadas de 1880 e 1930. Seu autores são os fotógrafos Alfredo Krausz (1902 – 1953), Guilherme Santos (1871 – 1966), Marc Ferrez (1843 – 1923) e Torres (18? -?) – provavelmente Eugenio Francisco Magarinos Torres. O portal lembra a seus leitores da ferramenta zoom. Com ela pode-se ver cada detalhe das fotografias, trazendo-as para mais perto e tendo acesso a uma diferente exploração e observação das imagens. Apreciem!
+ 
+
+ 
+Acessando o link para as fotografias de barcos com as velas abertas disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Guilherme Santos. Barco a vela na Baía de Guanabara, c. 1915. Baía de Guanabara, Rio de Janeiro / Acervo IMS
+ 
+Marc Ferrez. Barco a vela, c. 1885. Baía de Guanabara, Rio de Janeiro / Acervo IMS
+ 
+Torres. Docas do Mercado da Praia do Peixe, c. 1885. Rio de Janeiro, RJ / Acervo IMS
+ 
+ 
+Alfredo Krausz. Barcos na Baía de Guanabara; na região da Praça XV de Novembro, c. 1933. Rio de Janeiro, RJ / Acervo IMS
+ 
+Em dezembro de 1972, a Assembleia Geral da ONU designou o dia 5 de junho como Dia Mundial do Meio Ambiente, que foi  comemorado pela primeira vez em 1973, com o mote “Uma Só Terra”. A data foi escolhida em razão da primeira Conferência das Nações Unidas sobre o Meio Ambiente, realizada em Estocolmo, na Suécia, entre 5 e 16 de junho de 1972. Seu secretário-geral foi o canadense Maurice Strong (1929 – 2015). Considerada a iniciativa mais importante tomada até então no campo da conservação do meio ambiente e da luta contra a poluição, reuniu 1.200 delegados de 114 países e cerca de três mil observadores. Entre os acordos mais importantes selados durante a reunião estão a condenação das experiências nucleares, a proibição da pesca da baleia por dez anos e a redução da produção de materiais sintéticos aumentando paralelamente a manufatura de substitutivos degradáveis não poluentes (Site World Environment Day).
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Artigos publicados na Brasiliana Fotográfica no Dia Mundial do Meio Ambiente
+ 
+A Floresta da Tijuca no Dia Mundial do Meio Ambiente, publicado em 5 de junho de 2019
+Bambus, por Marc Ferrez, publicado em 5 de junho de 2020
+No Dia Mundial do Meio Ambiente, a potente imagem da Cachoeira de Paulo Afonso, por Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 5 de junho de 2023
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/7179` — `itens/20.500.12156.1_7179/`
+- `20.500.12156.1/10447` — `itens/20.500.12156.1_10447/`
+- `20.500.12156.1/6730` — `itens/20.500.12156.1_6730/`
+- `20.500.12156.1/10735` — `itens/20.500.12156.1_10735/`
+- `20.500.12156.1/9678` — `itens/20.500.12156.1_9678/`
+
diff --git a/wordpress/27500-no-ultimo-dia-do-verao-o-ceu-e-o-sol-do-rio-de-janeiro-por-guilherme-santos.md b/wordpress/27500-no-ultimo-dia-do-verao-o-ceu-e-o-sol-do-rio-de-janeiro-por-guilherme-santos.md
new file mode 100644
index 0000000..ee24ed6
--- /dev/null
+++ b/wordpress/27500-no-ultimo-dia-do-verao-o-ceu-e-o-sol-do-rio-de-janeiro-por-guilherme-santos.md
@@ -0,0 +1,50 @@
+---
+id: 27500
+url: "https://brasilianafotografica.bn.gov.br/?p=27500"
+titulo: "No último dia do verão, o céu e o sol do Rio de Janeiro por Guilherme Santos"
+autor: "Andrea Wanderley"
+data: "2024-03-20T00:27:21+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/10248"]
+fetched_at: "2026-09-10T10:10:18.074Z"
+---
+
+# No último dia do verão, o céu e o sol do Rio de Janeiro por Guilherme Santos
+
+A Brasiliana Fotográfica celebra o fim do verão, a estação do ano mais carioca, e o início do outono, destacando uma bela imagem do sol brilhando em um céu encoberto por nuvens, entre o Morro da Urca e o Pão de Açúcar, no Rio de Janeiro. A estereoscopia foi produzida pelo fotógrafo amador Guilherme Santos (1871 – 1966),  em torno de 1915.
+ 
+Guilherme Santos. Morro da Urca e Pão de Açúcar, c. 1915. Rio de Janeiro, RJ / Acervo IMS
+ 
+Guilherme Santos era um entusiasta da fotografia estereoscópica, tendo sido um dos pioneiros dessa técnica no Brasil, ao adquirir, em 1905, na França, o Verascope, um sistema de integração entre câmera e visor, que permitia ver imagens em 3D, produzidas a partir de duas fotos quase iguais, porém tiradas de ângulos um pouco diferentes. Eram impressas em uma placa de vidro e reproduziam a sensação de profundidade de maneira bem próxima da visão real. Antes dele, entre os anos de 1855 e 1862, o “Photographo da Casa Imperial”, Revert Henrique Klumb (1826 – c. 1886), favorito da imperatriz Teresa Christina e professor de fotografia da princesa Isabel, havia produzido vários registros utilizando a técnica da estereoscopia. A Casa Leuzinger também produziu fotografias estereoscópicas.
+ 
+“Photographia Estereoscópica”
+Por Guilherme A Santos
+Photo Revista do Brasil, vol 1, maio de 1925, pg 14
+“Confeccionar uma photographia é quasi sempre reconstruir uma recordação!
+Nenhuma outra photographia trabalhada pelos processos conhecidos, pôde dar-nos tamanha satisfação, produzir-nos impressão tão viva  e tão nitida daquilo que quizermos recordar como a photographia estereoscopica! Seja o retracto de um ente querido, seja uma paysagem, ou ainda uma reunião de família, cujo objecto exprima um momento feliz da nossa existencia!
+A sensação do relevo e da perspectiva que nos dá um positivo sobre vidro, copia de um cliche estereoscopico, introduzido no instrumento apropriado, é inegualavel! inconfundivel! incomparavel!
+Ao olhar, apresentam-se as imagens das creaturas, da Natureza ou dos objectos, com a expressão a mais perfeita e verdadeira , mostrando-nos em destaque todos os planos que as objectivas colheram na extensão do angulo focal!
+Como passa tempo, o que é possível de encontrar que seja mais agradável, mais divertido do que os positivos sobre vidro da photoestereoscopia!?
+Reunidos em família e acompanhados de bons amigos sentados em redor de uma mesa, passa-se de mão em mão o apparelho estereoscópicos exibindo as differentes séries de positivos! Algumas, despertando recordações aos que, num afogar de saudades revêem os bons momentos que passaram, contemplando imagens de creaturas que talvez nunca mais encontrem no caminho da vida e que fizeram a delícia daqueles momentos, em uma estação de águas, em uma excursão, em cidades de verão, a bordo de um transatlântico, na convivência íntima de uma longa viagem, etc.
+Outras séries apresentando o esplendor da Natureza em grandes quadros compostos com senso esthético, com observação artística que estasiam, que empolgam e que nunca cançaríamos de contemplar são photografias que provam como é impossível negar o extraordinário poder que tem a natureza, de impressionar e fazer vibrar a alma das creaturas com suas majestosas creações!
+Nesse particular a nossa terra recebeu do CREADOR um dote precioso, o qual infelizmente em vez de ser transportado para as chapas da photographia por meio das objectivas dos differentes apparelhos, tem o homem esbanjado e destruido quasi inconscientemente sem considerar o grande mal que causa ao bem commum e sem reflectir no crime que pratica!
+Disse PAULO MANTEGAZZA, capitulo IV no “O LIVRO DAS MELANCHOLIAS” de uma forma encantadora e com a alma amargurada: que se conhecesse DEUS, dir-khe-hia que na sua infinita misericordia, perdoasse todos os peccados dos homens e reservasse toda a sua ira, toda as suas vinganças, tododos seus raios, para o homem que destróe uma “FLORESTA”!!…
+Faço minhas as palavras do primoroso escriptor, mas accrescento que o homem que dedicar-se á photographia, de preferenciaa estereoscopica, no contacto intimo e constante que ele tiver com a NATUREZA, quando a tiver estudado bem, irá lentamente habituando-se a apreciar devidamente a sua obra grandiosa, sentirá despertar em sua alma, sentimentos delicadosque até então desconhecia e difficilmente será capaz de derrubar uma arvore ou consentir que alguem o faça em sua presença!
+A falta de amor e o abandono ás nossa bellezas naturaes é patente! Cito um exemplo mui recente:
+Por uma destas lindas manhãs de ABRIL (era dia feriado) percorremos uma parte da estrada que liga o ALTO DA BOA VISTA ao SUMARÉ.
+É uma das maravilhas da TIJUCA! A vegetação é abundante e variada e conta-se ás dezenas, arvores gigantescas cujas ramadas projectam sombras extensas sobre o caminho!
+O sol imprimia uma luz de oiro sobre o verde esmeralda do arvoredo e fazia pensar que foi a NATUREZA quem inspirou os nossos antepassados sobre a escolha das cores para a nossa bandeira!
+Caminhamos cerca de 6 kilometros ida e volta e gastamos cerca de 5 horas. Pois bem, nesse demorado percurso, cruzamos com 3 outros grupos de excursionistas, todos elles, compunham-se de estrangeiros!
+Nem um brasileiro! nem um amador da photographia! Digo, encontramos um brasileiro, que empunhando uma vara que tinha um sacco de gaze preso a uma das extremidades, caçava as lindas borboletas azues de grandes azas que faziam o encanto daquellas paragens! aquelle rapaz de 20 annos presumives, de bella estaturaphysica, fazia-o como meio de vida! Contamos estendidas sobre um jornal, 20 daquellas borboletas, apanhadas em menos de uma hora! Pobrezinhas! a  NATUREZA limitou-lhes curtíssima existência, nem mesmo a essas deixam viver!
+Creio ser o momento de ser transformada essa situação. A Photo-Revista vem preencher uma lacuna e acreditamos que uma campanha sustentada com perseverança por todos os seus collaboradores, daria bom resultado, no sentido de desenvolver o gosto dos brasileiros pela arte photographica: talvez conseguíssemos convence-los de trocar uma ou outra vez (às horas de ócio) os encantos do lar doméstico, pelos encantos naturaes, lembrando-lhes que em companhia de nossa família e em contacto com a floresta, também construímos lares provisorios sob a benção da mãe de tudo e de todos que é a NATUREZA!
+ 
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/10248` — `itens/20.500.12156.1_10248/`
+
diff --git a/wordpress/27521-o-edificio-martinelli-antigo-referencial-e-simbolo-de-sao-paulo.md b/wordpress/27521-o-edificio-martinelli-antigo-referencial-e-simbolo-de-sao-paulo.md
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+---
+id: 27521
+url: "https://brasilianafotografica.bn.gov.br/?p=27521"
+titulo: "O Edifício Martinelli, antigo referencial e símbolo de São Paulo"
+autor: "Andrea Wanderley"
+data: "2022-05-16T06:19:44+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/7002", "20.500.12156.1/7055", "20.500.12156.1/5598", "20.500.12156.1/7056"]
+fetched_at: "2026-09-10T10:10:21.122Z"
+---
+
+# O Edifício Martinelli, antigo referencial e símbolo de São Paulo
+
+A Brasiliana Fotográfica destaca quatro imagens do icônico Edifício Martinelli, símbolo do apogeu e do declínio do Centro velho de São Paulo. Uma delas foi produzida pelo francês Claude Lévi-Strauss (1908 – 2009), que esteve no Brasil entre 1935 e 1938, tendo sido professor de Sociologia na Universidade de São Paulo e que, nas horas vagas, fotografava a cidade. Sobre o edifício escreveu em Saudades de São Paulo:
+“Se coloquei o prédio Martinelli na abertura desta coletânea, é que em 1935 ele era ao mesmo tempo um referencial e um símbolo.
+Único arranha-céu de toda a cidade, aos olhos dos paulistanos simbolizava a ambição de que esta se tornasse a Chicago do hemisfério sul. Ambição que se realizou desde então, e foi além…
+O prédio Martinelli era também um referencial cuja silhueta dominava todos os outros prédios. Era visto de quase toda a parte, mesmo do fundo dos barrancos escarpados que desciam das elevações onde corria a avenida Paulista. Ainda entregues à natureza, esses barrancos abrigavam as habitações mais pobres, com os riachos, à guisa de esgotos, transformados em torrentes quando chovia.
+Mas o arranha-céu impunha sua presença majestosa sobretudo no início da avenida São João, artéria nova cuja abertura não estava ainda terminada. Descendo a pé a avenida em direção ao oeste, ficava-se obsedado por sua massa rosada que se percebia toda vez que se olhava para trás. Mesmo à distância, ela obstruia o horizonte, tanto de dia como ao anoitecer, quando as ornamentações feitas para o Carnaval se iluminavam“.
+ 
+Claude Lévi-Strauss. Edifício Martinelli, c. 1937. São Paulo, SP / Acervo IMS
+ 
+Há também uma fotografia aérea de autoria de Alfredo Krausz (? – 19?), uma de autoria de um fotógrafo ainda não identificado e, finalmente, um registro realizado por Edgard Egydio de Souza (1867 – 1956). Inicialmente, o Martinelli era dividido em três partes: na rua Líbero Badaró, a parte residencial do edifício; na rua São Bento, a área comercial; e, pela entrada da São João, estava o Hotel São Bento e os salões Verde e Mourisco, alguns dos destinos preferidos da alta sociedade paulistana. A pintura rosa dos detalhes esculpidos em suas paredes é uma de suas marcas registradas.
+ 
+Edifício Martinelli, c. 1928. São Paulo, SP / Acervo IMS
+ 
+
+Marco na verticalização de São Paulo, um de seus símbolos de progresso, da riqueza gerada pelo café, o Edifício Martinelli foi o primeiro arranha-céu de São Paulo e, como cenário urbano, traduzia o cosmopolitismo, que caracterizou o modernismo no Brasil. Abaixo, versos da revolucionária escritora Patrícia Galvão (1910 – 1962), a Pagu, participante do movimento modernista, onde o Edifício Martinelli é citado:
+ 
+
+ 
+O Edificio Martinelli foi idealizado pelo imigrante italiano Giuseppe Martinelli (1870-1946), que chegou ao Brasil em fins do século XIX e tornou-se um dos mais ricos empresários do país. O projeto do prédio foi de autoria do arquiteto húngaro William Fillinger (1888-1968), formado na Academia de Belas Artes de Viena, na Áustria. A fachada foi desenhada pelos Irmãos Lacombe, suas portas eram de madeira de lei, as escadas tinham mármore italiano e o cimento veio da Noruega e da Suécia. Foi inaugurado, em 1929, em um terreno entre as ruas São Bento, Libero Badaró e a Avenida São João. Era, na época, o maior prédio da América do Sul, com 105,65 metros de altura, e a maior obra de cimento armado do mundo (O Cruzeiro, 11 de maio de 1929).
+ 
+Comendador Giuseppe Martinelli (1870 – 1946)/ Frou-Frou, agosto de 1929
+ 
+
+Sua construção foi iniciada, em 1924, e, a princípio, o prédio teria 14 andares. Mais seis pavimentos foram adicionados à obra e, posteriormente, com a ajuda de seu sobrinho, o engenheiro calculista Ítalo Martinelli, o edifício passou para 24 andares. A obra foi embargada, sob denúncias de risco de desabamento da construção. Giuseppe revogou a decisão e ainda ergueu mais pavimentos (A Gazeta (SP), 23 de setembro de 1925, sexta coluna; A Gazeta (SP), 23 de janeiro de 1928, quinta coluna; Gazeta de Notícias, 25 de maio de 1928, última coluna; Gazeta de Notícias, 1º de junho, sexta coluna ; Correio da Manhã, 1º de junho de 1928, sétima coluna; Gazeta de Notícias, 17 de outubro de 1928, quinta coluna).
+ 
+Gazeta de Notícias, 17 de outubro de 1928
+ 
+Em 29 de março de 1928, o embaixador italiano, Bernardo Attolico, durante sua estadia em São Paulo, foi visitar as obras do edifício (Correio Paulistano, 30 de março de 1928).
+ 
+Correio Paulistano, 30 de março de 1928
+ 
+Em abril de 1929, 25 andares já estavam construídos (O Paiz, 21 de abril de 1929, quarta coluna). Foi visitado pelo governador de São Paulo, Julio Prestes (1882 – 1946).
+ 
+O Cruzeiro, 11 de maio de 1929
+ 
+O comendador Martinelli com o governador de São Paulo, Júlio Prestes /  Cruzeiro, 11 de maio de 1929
+ 
+Em novembro, o prédio já tinha 26 pavimentos (Jornal do Brasil, 26 de novembro de 1926, primeira coluna). No topo, foi construído um palacete, de cinco andares, onde Martinelli moraria. Mudou-se com a família para o prédio, em 1929. Porém, foi o italiano Arturo Patrizi, professor de dança, o primeiro morador do prédio. Mudou-se para lá em 1928, com o edifício ainda em obras, e abriu uma concorrida escola em uma das salas de sua casa, no quarto andar.  
+
+Em 2 de setembro de 1929, foi inaugurado, no prédio, o luxuoso Cinema Rosário, com a exibição do filme O Pagão. O evento foi considerado o maior acontecimento social do ano (A Gazeta (SP), 4 de setembro de 1929).
+ 
+A Gazeta (SP), 4 de setembro de 1929
+ 
+Salão dos Espelhos no Edifício Martinelli / Vida Doméstica, junho de 1930
+ 
+Acessando o link para as imagens do Edifício Martinelli disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Alfredo Krausz. Voo do dirigível Graf Zeppelin sobre o centro da cidade, destaque para o edifício Martinelli, c. 1935. São Paulo, SP / Acervo IMS
+ 
+“E o Zeppelin veio provar para São Tomé o sofisma gracioso de que uma casa dum andar pode ser mais alta que o Martinelli.” 
+Mário de Andrade, 1976
+ 
+Devido à quebra da Bolsa de Valores de Nova York, em 1929, o comendador Martinelli vendeu o prédio para o Instituto Nazionale di Credito per il Lavoro Italiano all´Estero. Os bens italianos foram confiscados pelo governo brasileiro durante a Segunda Guerra Mundial e o Edifício Martinelli passou para a administração federal, tendo sido, em seguida, leiloado. Foi comprado por Milton Pereira de Carvalho e Herbert Levy e pouco tempo depois passou a ter 103 proprietários, tornando-se o primeiro edifício do Brasil a se transformar em condomínio. Entrou em decadência até a reforma realizada durante a gestão do prefeito Olavo Setúbal (1923 – 2008), na década de 70, tendo sido reinaugurado, em 4 de maio de 1979 (Diário da Noite (SP), 1º de fevereiro de 1979).
+ 
+
+O Estado de São Paulo, 5 de maio de 1979
+ 
+O Martinelli foi o endereço da sucursal paulista da revista O Cruzeiro (O Cruzeiro, 20 de fevereiro de 1932), assim como dos partidos políticos Comunista, Integralista e também da União Democrática Nacional (UDN); do Palmeiras e da Portuguesa, do Club Republicano, da Ordem dos Músicos, da Federação Paulista de Medicina e do Instituto Médico Dante Alignieri.
+Em 2019, quando completou 90 anos, cerca de 70% do Edifício Martinelli estava ocupado por secretarias municipais e o restante estava distribuído entre a Caixa Econômica Federal, o Sindicato dos Bancários de São Paulo e 11 lojas.
+Uma curiosidade: Giuseppe Martinelli é avô da artista plástica Maria Bonomi (1935-).
+ 
+Edgard Egydio de Souza. Edifício Martinelli, à esquerda as torres do mosteiro de São Bento, década de 30. São Paulo, SP / Acervo IMS
+ 
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+Esquinas – Revista Digital Laboratório da Faculdade Casper Líbero, 11 de fevereiro de 2020
+Folha de São Paulo, 25 de janeiro de 1998
+Hemeroteca Digital da Biblioteca Nacional
+HOMEM, Maria Cecília Naclério. O Prédio Martinelli – A ascensão do imigrante e a verticalização de São Paulo. São Paulo : Editora Projeto, 1984.
+LEVI-STRAUSS, Claude. Saudades de São Paulo. São Paulo : Companhia das Letras, 1996.
+REBECHI JUNIOR, Arlindo. Pagu: poesia, militância e condição feminina. Revista da USP. Comunicação & Educação • Ano XXIII • número 1 • jan/jun 2018.
+São Paulo Antiga
+Site Prefeitura de São Paulo
+Site YOU, INC
+UOL
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/7002` — `itens/20.500.12156.1_7002/`
+- `20.500.12156.1/7055` — `itens/20.500.12156.1_7055/`
+- `20.500.12156.1/5598` — `itens/20.500.12156.1_5598/`
+- `20.500.12156.1/7056` — `itens/20.500.12156.1_7056/`
+
diff --git a/wordpress/27549-serie-o-rio-de-janeiro-desaparecido-xix-a-igrejinha-de-copacabana.md b/wordpress/27549-serie-o-rio-de-janeiro-desaparecido-xix-a-igrejinha-de-copacabana.md
new file mode 100644
index 0000000..a1d6072
--- /dev/null
+++ b/wordpress/27549-serie-o-rio-de-janeiro-desaparecido-xix-a-igrejinha-de-copacabana.md
@@ -0,0 +1,123 @@
+---
+id: 27549
+url: "https://brasilianafotografica.bn.gov.br/?p=27549"
+titulo: "Série “O Rio de Janeiro desaparecido” XIX – A Igrejinha de Copacabana"
+autor: "Andrea Wanderley"
+data: "2022-06-23T12:11:42+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/2638", "20.500.12156.1/2982"]
+fetched_at: "2026-09-10T10:10:24.537Z"
+---
+
+# Série “O Rio de Janeiro desaparecido” XIX – A Igrejinha de Copacabana
+
+o 19º artigo da Série O Rio de Janeiro desaparecido, o tema é a bucólica e bela Igrejinha de Copacabana, que ficava no topo de um morro no Posto 6, e deu nome a uma das mais famosas praias do mundo. Foi desapropriada e demolida, entre 1918 e 1919. As fotografias são de autoria do alagoano Augusto Malta (1864 – 1957) e de um fotógrafo ainda não identificado, que retratou o promontório em que ficava a igreja e onde atualmente se encontra o Forte de Copacabana. Mais uma vez, lembramos do zoom, ferramenta oferecida pelo portal, que proporciona ao leitor uma possibilidade de se aproximar da imagem e explorá-la mais detalhadamente.
+ 
+Morro da Igrejinha de Copacabana, 1907. Rio de Janeiro, RJ / Acervo IMS
+ 
+Acessando o link para as fotografias da Igrejinha de Copacabana disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Augusto Malta. A Igrejinha de Copacabana, 1905. Rio de Janeiro, RJ / Acervo FBN
+ 
+Sabe-se que a Igrejinha de Copacabana já existia na primeira metade do século XVIII. Segundo Charles Julius Dunlop (1908–1987), escritor e entusiasta do Rio Antigo, em 1746:
+“Regressava o bispo frei Antônio do Desterro de uma viagem a angola, quando, à entrada da baía, o nvaio que o conduzia, colhido por uma forte tempestade, foi impelido até fora da barra. No momento do perigo, vendo de longe a Igrejinha, em destroços, o bispo implorou o amparo de Nossa Senhora de Copacabana, prometendo restaurá-la se o mar enfurecido não o tragasse. Salvou-se e cumriu a promessa, reconstruindo o santuário.”
+ 
+Charles Julius Dunlop (1908–1987) / Editora Rio Antigo
+ 
+Na segunda metade do século XVIII, foi novamente restaurada e, no início do século XX, sua Missa do Galo era muito concorrida. Como já mencionado, a Igrejinha de Copacabana ficava no promontório onde hoje se encontra o Forte de Copacabana, cuja pedra fundamental foi lançada em 5 de janeiro de 1908, quando o presidente do Brasil era Afonso Pena (1847 – 1909) e o ministro da Guerra, o marechal Hermes da Fonseca (1855 – 1923), que já era o presidente da República na inauguração do Forte, em 28 de setembro de 1914 (Correio da Manhã, 6 de janeiro de 1908, terceira coluna; Correio da Manhã, 29 de setembro de 1914, quinta coluna) .
+Cerca de quatro anos depois da inauguração do Forte, a Igrejinha de Copacabana foi adquirida pelo Ministério da Guerra, conforme publicado no Decreto nº 12.924, de 20 de março de 1918, que a identificou como igreja de Ipanema. 
+ 
+Decreto nº 12.924, de 20 de março de 1918
+ 
+Abre ao Ministerio da Guerra o credito especial de 80:000$, para a acquisição da igreja de Ipanema, perto do forte de Copacabana.
+
+O Presidente da Republica dos Estados Unidos do Brasil, usando da autorização contida na alinea IX do art. 52 da lei n. 3.454, de 6 de janeiro do corrente anno, resolve abrir ao Ministerio da Guerra o credito especial de 80:000$, para a acquisição da igreja de Ipanema, perto do forte de Copacabana.
+Rio de Janeiro, 20 de março de 1918, 97º da Independencia e 30º da Republica.
+WENCESLAU BRAZ P. GOMES.
+José Caetano de Faria.
+ 
+Foi publicado que o Ministério da Guerra pretendia destruir o pequeno templo e fazer construir em seus terrenos uma fortificação militar (O Paiz, 9 de julho de 1918, segunda coluna). A Igrejinha de Copacabana foi demolida entre 1918 e 1919. Segundo Dunlop, a imagem de Nossa Senhora de Copacabana foi recolhida pela família Tefé e levada à sua residência em Corrêas, Petrópolis.
+ 
+O Paiz, 9 de julho de 1918
+
+ 
+Algumas imagens e um texto sobre a Igrejinha de Copacabana publicadas na imprensa do início do século XX
+ 
+A Igrejinha de Copacabana / O Malho, 31 de dezembro de 1904
+ 
+Sobre a imagem abaixo, o pesquisador Agenor Araújo Filho informou à Brasiliana Fotográfica ser de autoria do fotógrafo francês André-Charles Armeilla (c. 1853 – 1913). Encontra-se reproduzida na página 43 do livro Armeilla: um mestre esquecido da paisagem carioca. Armeilla chegou ao Brasil em torno de 1903, após trabalhar por cerca de 10 anos em Montevidéu, no Uruguai. No Rio de Janeiro, vendia fotos para a imprensa e foram publicadas em revistas como a Kosmos e a Careta. Algumas fotos de sua autoria da Biblioteca Nacional, do Jardim Botânico e do Teatro Municipal foram publicadas, em 1912, sem crédito, no livro Brasilien, Ein Land Der Zukunft (Brasil, Um País do Futuro). Segundo Agenor, no dia 15 de maio de 1913, o fotógrafofoi encontrado morto por um policial na rua Bento Lisboa, no Catete. Foi sepultado como indigente no cemitério de São Francisco Xavier, tendo morrido de uma moléstia não determinada. *
+ 
+Careta, 2 de abril de 1910
+ 
+ 
+Jornal do Commercio, 21 de maio de 1913, última coluna
+ 
+Fon-Fon, 2 de março de 1912
+ 
+Texto sobre a Igrejinha de Copacabana, de autoria de Alice Lassance (18? – 19?), segundo o qual a pompa solene das catedrais não é tão comovente nem tão enternecedora como a singela poesia dessa igreja de pescadores (O Copacabana, 4 de julho de  1909)
+ 
+ 
+
+ 
+ 
+ 
+ 
+ 
+ 
+ 
+ 
+ 
+ 
+ 
+ 
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+* Esse parágrafo foi acrescentado ao artigo em 2 de maio de 2023.
+ 
+Fontes:
+Dunlop, Charles Julius. Rio Antigo. Rio de Janeiro: Editora Rio Antigo, 1963.
+Editora Rio Antigo
+FAZENDA, José Vieira. A Igrejinha de Copacabana in Antiqualhas e Memórias do Rio de Janeiro. Rio de Janeiro: Revista do Instituto Histórico e Geográfico Brasileiro, 1919.
+Hemeroteca Digital da Biblioteca Nacional
+LAGO, Pedro Corrêa. Armeilla: um mestre esquecido da paisagem carioca. Rio de Janeiro : Capivara, 2020.
+MOTA, Isabela; PAMPLONA, Patricia. Vestígios da paisagem carioca: 50 lugares desaparecidos do Rio de Janeiro. Rio de Janeiro ; Mauad X, 2019.
+Site Ministério da Defesa – Exército Brasileiro
+ 
+Links para os outros artigos da Série O Rio de Janeiro desaparecido
+ 
+Série O Rio de Janeiro desaparecido I - Salas de cinema do Rio de Janeiro do início do século XX, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 26 de fevereiro de 2016.
+Série O Rio de Janeiro desaparecido II – A Exposição Nacional de 1908 na Coleção Família Passos, de autoria de Carla Costa, historiadora do Museu da República, publicado na Brasiliana Fotográfica, em 5 de abril de 2018.
+Série O Rio de Janeiro desaparecido III – O Palácio Monroe, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica, em 9 de novembro de 2016.
+Série O Rio de Janeiro desaparecido IV - A via elevada da Perimetral, de autoria da historiadora Beatriz Kushnir, publicado na Brasiliana Fotográfica em 23 de junho de 2017.
+Série O Rio de Janeiro desaparecido V – O quiosque Chopp Berrante no Passeio Público, Ferrez, Malta e Charles Dunlop, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 20 de julho de 2018.
+Série O Rio de Janeiro desaparecido VI – O primeiro Palácio da Prefeitura Municipal do Rio de Janeiro, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 12 de setembro de 2018.
+Série O Rio de Janeiro desaparecido VII – O Morro de Santo Antônio na Casa de Oswaldo Cruz, de autoria de historiador Ricardo Augusto dos Santos da Casa de Oswaldo Cruz, publicado na Brasiliana Fotográfica em 5 de fevereiro de 2019.
+Série O Rio de Janeiro desaparecido VIII – A demolição do Morro do Castelo, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 30 de abril de 2019.
+Série O Rio de Janeiro desaparecido IX – Estrada de Ferro Central do Brasil: estação e trilhos, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 12 de novembro de 2019.
+Série O Rio de Janeiro desaparecido X – No Dia dos Namorados, um pouco da história do Pavilhão Mourisco em Botafogo, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 12 de junho de 2020.
+Série O Rio de Janeiro desaparecido XI – A Estrada de Ferro do Corcovado e o mirante Chapéu de Sol, de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 22 de julho de 2021.
+Série O Rio de Janeiro desaparecido XII – o Teatro Lírico (Theatro Lyrico), de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 15 de setembro de 2021.
+Série O Rio de Janeiro desaparecido XIII – O Convento da Ajuda, de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 12 de outubro de 2021.
+Série O Rio de Janeiro desaparecido XIV – O Conselho Municipal, de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 19 de novembro de 2021.
+Série O Rio de Janeiro desaparecido XV – A Praia de Santa Luzia no primeiro dia do verão, de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 21 de dezembro de 2021.
+Série O Rio de Janeiro desaparecido XVI – O prédio da Academia Imperial de Belas Artes, de autoria de Andrea C.T. Wanderley, publicado na Brasiliana Fotográfica em 13 de janeiro de 2022.
+Série O Rio de Janeiro desaparecido XVII – Igreja São Pedro dos Clérigos, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 18 de março de 2022.
+Série O Rio de Janeiro desaparecido XVIII – A Praça Onze, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 20 de abril de 2022.
+Série O Rio de Janeiro desaparecido XX – O Pavilhão dos Estados, futuro prédio do Ministério da Agricultura, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 26 de julho de 2022.
+Série O Rio de Janeiro desaparecido XXI – O Chafariz do Largo da Carioca, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 19 de setembro de 2022. 
+Série O Rio de Janeiro desaparecido XXII – A Cadeia Velha que deu lugar ao Palácio Tiradentes, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 11 de abril de 2023
+Série O Rio de Janeiro desaparecido XXIII e Avenidas e ruas do Brasil XVII - A Praia e a Rua do Russel, na Glória, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 15 de maio de 2023
+Série O Rio de Janeiro desaparecido XXIV – O luxuoso Palace Hotel, na Avenida Rio Branco, uma referência da vanguarda artística no Rio de Janeiro, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 4 de julho de 2023
+Série O Rio de Janeiro desaparecido XXV – O Theatro Phenix, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 5 de setembro de 2023
+Série O Rio de Janeiro desaparecido XXVI – Conclusão do arrasamento do Morro do Castelo por Augusto Malta, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 14 de dezembro de 2023
+Série O Rio de Janeiro desaparecido XXVII e Série Os arquitetos do Rio de Janeiro V – O Jockey Club e o Derby Club, na Avenida Rio Branco e o arquiteto Heitor de Mello (1875 – 1920), de autoria de Andrea c. T. Wanderley, editora e pesquisadora do portal, em 15 de janeiro de 2024
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/2638` — `itens/20.500.12156.1_2638/`
+- `20.500.12156.1/2982` — `itens/20.500.12156.1_2982/`
+
diff --git a/wordpress/27585-a-estatua-do-pequeno-jornaleiro-por-alfredo-krausz.md b/wordpress/27585-a-estatua-do-pequeno-jornaleiro-por-alfredo-krausz.md
new file mode 100644
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--- /dev/null
+++ b/wordpress/27585-a-estatua-do-pequeno-jornaleiro-por-alfredo-krausz.md
@@ -0,0 +1,60 @@
+---
+id: 27585
+url: "https://brasilianafotografica.bn.gov.br/?p=27585"
+titulo: "A estátua do Pequeno Jornaleiro por Alfredo Krausz"
+autor: "Andrea Wanderley"
+data: "2022-09-30T09:22:56+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/9578"]
+fetched_at: "2026-09-10T10:10:27.788Z"
+---
+
+# A estátua do Pequeno Jornaleiro por Alfredo Krausz
+
+A Brasiliana Fotográfica, no Dia do Jornaleiro, destaca a imagem Estátua do Pequeno Jornaleiro de autoria de Alfredo Krausz (? – 19?). Pouco se sabe, até o momento, sobre este fotógrafo. Imagens produzidas por ele integraram a exposição São Paulo 450 Anos: a imagem e a memória da cidade no acervo do Instituto Moreira Salles, realizada no Centro Cultural Fiesp, entre 23 de janeiro e 27 de junho de 2004. No acervo fotográfico do portal, há 52 imagens, todas do Instituto Moreira Salles, produzidas por Krausz no Rio de Janeiro – registros da Baía de Guanabara, de avenidas e ruas, de cinemas, edifícios e monumentos, do Cristo Redentor, dos Arcos da Lapa, dentre outras – , e, em São Paulo, a de um Zepellin sobrevoando a cidade com destaque para o Edifício Martinelli.
+Acessando o link para as fotografias de Alfredo Krausz disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar a imagem e verificar todos os dados referentes a ela.
+ 
+Alfredo Krausz. O Pequeno Jornaleiro, c. 1938. Rio de Janeiro, RJ / Acervo IMS
+ 
+A Estátua do Pequeno Jornaleiro foi inaugurada na confluência das ruas Ouvidor e Miguel Couto junto à avenida Rio Branco, durante as festas do Mês da Cidade, em 1º de junho de 1933, por iniciativa do jornal A Noite. O discurso da inauguração foi feito pelo escritor Coelho Neto (1864 – 1934) (A Noite, 2 de junho de 1933). Um dos maiores incentivadores das festas foi Anísio Teixeira (1900 – 1971), então Diretor da Instrução Municipal do Rio de Janeiro e um dos mais importantes educadores do Brasil (A Noite, 22 de maio de 1933).
+A obra, do caricaturista Fritz, pseudônimo do carioca Anísio Oscar Mota (1895-1969), foi fundida em bronze na Zani Fundição Artística e Metalúrgica Ltda e foi o ponto de partida para a criação da Casa do Pequeno Jornaleiro, concretizada, em 1940, pela então primeira-dama Darcy Vargas (1895 – 1968). A estátua reproduz uma cena que era muito comum no Rio de Janeiro do início do século XX: um menino que vestindo roupas velhas e com jornais debaixo do braço gritava as últimas manchetes do dia para vender os exemplares de jornal que carregava.
+ 
+
+Fritz, pseudônimo de Anísio Oscar Mota (1895-1969), autor da estátua / Jornal do Brasil, 23 de agosto de 1961
+
+ 
+A inspiração de Fritz para a criação da estátua foi um dos meninos que vendia, durante a década de 20, jornais nas ruas do Rio de Janeiro. Chamava-se José Bento de Carvalho e era conhecido por sua agilidade em vender jornais saltando e apeando do estribo dos bondes em velocidade. Vivia na redação de O Malho, onde Fritz trabalhava como repórter, não tinha parentes e suas roupas eram quase o dobro de seu tamanho. Já havia sido, anteriormente, o inspirador do personagem Pirulito (Jornal do Brasil, 19 de setembro de 1963).
+ 
+
+Jornal do Brasil, 23 de agosto de 1961
+ 
+A Noite, 22 de maio de 1933
+ 
+Segundo o historiador da música popular brasileira Carlos Didier (1954-) que com João Máximo (1935 – ) escreveu o livro Noel Rosa – Uma biografia (1990), no dia da inauguração da estátua, no Programa Casé, o poeta e compositor Orestes Barbosa (1893 – 1966)  fez, tendo como fundo musical solos de violão de Noel Rosa (1910 – 1937), a seguinte saudação ao monumento: “Esse garoto, que está aí na avenida, é a rua. A rua é o aplauso sincero e a vaia justa“(O GLOBO, 11 de janeiro de 2016).
+ 
+Careta, 10 de junho de 1933
+ 
+Declaração de Herbert Moses (1884 – 1972), presidente da Associação Brasileira de Imprensa / A Noite, 23 de maio de 1933
+ 
+Entre 1996, durante o Projeto Rio Cidade, a estátua foi transferida para a calçada da Rua Sete de Setembro. Em  janeiro de 2016, o Pequeno Jornaleiro foi para o Parque Noronha Santos, devido às  obras do VLT  (O GLOBO, 11 de janeiro de 2016). Foi reinaugurado próxima a seu local original, na esquina das ruas do Ouvidor e Miguel Couto com a avenida Rio Branco, em 3 de outubro de 2019 (O GLOBO, 3 de outubro de 2019).  E assim o grito do Pequeno Jornaleiro voltou a ecoar no Centro do Rio de Janeiro.
+ 
+O Pequeno Jornaleiro por Cássio Loredano, publicado na quinta edição da revista eletrônica Pasmado, 8 de abril de 2026
+ 
+A ilustração acima foi inserida no artigo em 16 de abril de 2026.
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+Enciclopédia Itaú Cultural
+Hemeroteca Digital da Biblioteca Nacional
+Inventário dos Monumentos do Rio de Janeiro
+O GLOBO
+Site Senado Federal
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/9578` — `itens/20.500.12156.1_9578/`
+
diff --git a/wordpress/27603-a-serra-dos-orgaos-uma-foto-aerea-e-imagens-realizadas-pelos-mestres-ferrez-leuz.md b/wordpress/27603-a-serra-dos-orgaos-uma-foto-aerea-e-imagens-realizadas-pelos-mestres-ferrez-leuz.md
new file mode 100644
index 0000000..1a348f9
--- /dev/null
+++ b/wordpress/27603-a-serra-dos-orgaos-uma-foto-aerea-e-imagens-realizadas-pelos-mestres-ferrez-leuz.md
@@ -0,0 +1,107 @@
+---
+id: 27603
+url: "https://brasilianafotografica.bn.gov.br/?p=27603"
+titulo: "A Serra dos Órgãos: uma foto aérea e imagens realizadas pelos mestres Ferrez, Leuzinger e Klumb"
+autor: "Andrea Wanderley"
+data: "2022-06-30T10:36:48+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/10692", "20.500.12156.1/7042", "20.500.12156.1/2435", "20.500.12156.1/4442", "20.500.12156.1/6412", "20.500.12156.1/2434", "20.500.12156.1/2575"]
+fetched_at: "2026-09-10T10:10:31.068Z"
+---
+
+# A Serra dos Órgãos: uma foto aérea e imagens realizadas pelos mestres Ferrez, Leuzinger e Klumb
+
+A Serra dos Órgãos faz parte da Serra do Mar, na Região Serrana do Rio de Janeiro e sua beleza não passou despercebida por grandes fotógrafos do século XIX. A Brasiliana Fotográfica reuniu 16 imagens realizadas pelos europeus Georges Leuzinger (1813 – 1892) e Revert Henrique Klumb (c. 1826 – c. 1886); e pelo carioca filho de franceses Marc Ferrez (1843 – 1923)  Foram produzidas entre as décadas de 1860 e 1890 e pertencem aos acervos da Biblioteca Nacional e do Instituito Moreira Salles, instituições fundadoras do portal. Há ainda uma fotografia aérea, de 1935, do acervo do Museu Aeroespacial, uma de nossas instituições parceiras. Convidamos nossos leitores a um agradável passeio por essa exuberante paisagem cujo um dos principais monumentos geológicos é o Dedo de Deus, pico com 1.692 metros de altitude.
+ 
+Foto aérea da Serra dos Orgãos em Teresópolis, 20 de dezembro de 1935 / Acervo Museu Aeroespacial
+ 
+Acessando o link para as fotografias da Serra dos Órgãos de autoria de Ferrez, Leuzinger e Klumb disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Marc Ferrez. Serra dos Órgão e Dedo de Deus, c. 1890. Teresópolis, Rio de Janeiro / Acervo IMS
+ 
+Foi criado, em 30 de novembro de 1939, o Parque Nacional da Serra dos Órgãos (PARNASO), uma Unidade de Conservação Federal de Proteção Integral, subordinada ao Instituto Chico Mendes de Conservação da Biodiversidade (ICMBio) (Gazeta de Notícias, 22 de novembro, quarta coluna; e 8 de dezembro, penúltima coluna; de 1939). É o terceiro parque mais antigo do Brasil.  O grupo responsável por seu projeto e por seu decreto de criação era formado por Armando José Vieira, Edgar de Chagas Dória, pelos irmãos Arnaldo e Carlos Guinle, Hungria Machado, Franklin Sampaio, Egon Prates e pelo próprio presidente Getulio Vargas.
+ 
+Revert Henrique Klumb. Serra dos Órgaços, c. 1870. Petrópolis, RJ / Acervo IMS
+ 
+É considerado um dos melhores locais do país para a prática de esportes de montanha, além de abrigar cachoeiras. Tem a maior rede de trilhas do Brasil e entre as escaladas destacam-se o Dedo de Deus, considerado o marco inicial da escalada no país. São 20.024 hectares protegidos nos municípios de Teresópolis, Petrópolis, Magé e Guapimirim. Segundo o Site do Instituto Chico Mendes de Conservação da Biodiversidade: abriga mais de 2.800 espécies de plantas catalogadas pela ciência, 462 espécies de aves, 105 de mamíferos, 103 de anfíbios e 83 de répteis, incluindo 130 animais ameaçados de extinção e muitas espécies endêmicas.
+ 
+Uma curiosidade: a Serra dos Órgãos foi uma das paisagens que inspirou o grande músico brasileiro Heitor Villas-Lobos (1887-1959) a compor melodias para as montanhas brasileiras – A melodia das montanhas, por Julio Pires (O Cruzeiro, 4 de maio de 1940).
+ 
+O Cruzeiro, 4 de maio de 1940
+ 
+Georges Leuzinger (1813-1892) 
+ 
+Georges Leuzinger. O Dedo de Deus na Serra dos Órgãos, c. 1867. Serra dos Órgãos, Rio de Janeiro / Convênio Instituto Moreira Salles – Leibniz-Institut für Länderkunde
+ 
+Georges Leuzinger (1813-1892) nasceu em Mollis, cidade do cantão de Glarus, na Suíça, e foi um dos mais importantes fotógrafos e difusores para o mundo da fotografia sobre o Brasil no século XIX, além de pioneiro das artes gráficas no país. Grande empreendedor, montou um sofisticado e diversificado complexo editorial, a Casa Leuzinger, que se tornaria um polo de publicações e de produções fotográficas, alçando o Brasil ao mesmo nível da produção europeia do setor.
+A Casa Leuzinger era formada por oficinas de litografia, encadernação e fotografia, além de papelaria, tipografia e estamparia de livros e gravuras. Foi referência em artes gráficas, impressão e divulgação de gravuras e fotografias.  Além de produzir suas próprias imagens, o estabelecimento comercializava obras de fotógrafos como Marc Ferrez (1843 – 1923) e Albert Frisch (1840 – 1918) , entre outros.
+Como fotógrafo, Leuzinger realizou, durante a década de 1860, apenas cerca de 20 anos após a invenção da daguerreotipia, um importante e pioneiro trabalho de documentação do Rio de Janeiro, incluindo cenas urbanas, vistas de Niterói, da Serra dos Órgãos e de Teresópolis.
+ 
+Marc Ferrez (1843 – 1923)
+ 
+Marc Ferrez. Dedo de Deus – Serra dos Órgãos, c. 1890. Teresópolis, Rio de Janeiro / Acervo IMS
+ 
+Marc Ferrez (1843 – 1923) foi um brilhante cronista visual das paisagens e dos costumes cariocas da segunda metade do século XIX e do início do século XX. Sua vasta e abrangente obra iconográfica se equipara a dos maiores nomes da fotografia do mundo. Estabeleceu-se como fotógrafo com a firma Marc Ferrez & Cia, em 1867, na rua São José, nº 96, e logo se tornou o mais importante profissional da área no Rio de Janeiro. Cerca de metade da produção fotográfica de Ferrez foi realizada na cidade e em seus arredores, onde registrou, além do patrimônio construído, a exuberância das paisagens naturais.
+Outro segmento de sua obra iconográfica registrou as várias regiões do Brasil – ele foi o único fotógrafo do século XIX que percorreu todas as regiões do país, tendo sido, no referido século, o principal responsável pela divulgação da imagem do país no exterior. Em meados dos anos 1870, integrou a Comissão Geológica do Império. Tornou-se nos anos 1870 Fotógrafo da Marinha Imperial.
+ 
+Revert Henrique Klumb (c. 1826 – c. 1886)
+ 
+Revert Henrique Klumb. Serra dos Órgãos, c. 1870. Petrópolis, Rio de Janeiro / Acervo IMS
+ 
+Um dos primeiros fotógrafos estrangeiros a se estabelecer no Brasil, Revert Henrique Klumb (c. 1826 – c. 1886) foi o fotógrafo preferido da família imperial brasileira, tendo sido agraciado com o título de “Fotógrafo da Casa Imperial”, em 1861. Um dos pioneiros na produção comercial de imagens sobre papel fotográfico e uso de negativo de vidro em colódio no Brasil, inaugurou seu estabelecimento fotográfico em 1855 ( Correio Mercantil , de 4 de novembro de 1855, na última coluna ). Foi professor de fotografia da princesa Isabel e, provavelmente, o introdutor da técnica estereoscópica no Brasil, com a qual entre os anos de 1855 e 1862 produziu ampla documentação sobre o Rio de Janeiro.
+Foi também o autor do livro Doze horas em diligência. Guia do viajante de Petrópolis a Juiz de Fora, única obra do Brasil do século XIX a ser idealizada, fotografada, escrita e publicada por uma só pessoa. Também foi o primeiro livro de fotografia inteiramente litografado e produzido no país. Dois exemplares estão conservados na Divisão de Obras Raras da Biblioteca Nacional.
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Outros artigos publicados na Brasiliana Fotográfica em torno da obra de Revert Henrique Klumb:
+Revert Henrique Klumb, o fotógrafo da família real do Brasil, publicado em 31 de agosto de 2016
+As versões diurna e noturna na fotografia de Revert Henrique Klumb, 28 de dezembro de 2018
+Petrópolis, a Cidade Imperial, pelos fotógrafos Marc Ferrez e Revert Henrique Klumb, 16 de março de 2020
+“Doze horas em diligência”, o primeiro guia turístico do Brasil, por Revert Henrique Klumb (c. 1826 – c. 1886), 8 de maio de 2020
+Série “Avenidas e ruas do Brasil” II – A rua do Imperador em Petrópolis por Klumb, Leuzinger e Stahl, 16 de junho de 2020.
+O Hotel Pharoux por Revert Henrique Klumb, em 15 de junho de 2022
+ 
+Publicações da Brasiliana Fotográfica em torno da obra do fotógrafo Marc Ferrez 
+ 
+Marc Ferrez aos 33 anos, c. 1876. Rio de Janeiro, RJ / Acervo IMS
+O Rio de Janeiro de Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 30 de junho de 2015
+Obras para o abastecimento no Rio de Janeiro por Marc Ferrez , de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 25 de janeiro de 2016
+O brilhante cronista visual Marc Ferrez (7/12/1843 – 12/01/1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 7 de dezembro de 2016
+Do natural ao construído: O Rio de Janeiro na fotografia de Marc Ferrez, de autoria de Sérgio Burgi, um dos curadores da Brasiliana Fotográfica, publicada em 19 de dezembro de 2016
+No primeiro dia da primavera, as cores de Marc Ferrez (1843 – 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 22 de setembro de 2017
+Marc Ferrez , a Comissão Geológica do Império (1875 – 1878) e a Exposição Antropológica Brasileira no Museu Nacional (1882), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica,  publicada em 29 de junho de 2018
+Série “O Rio de Janeiro desaparecido” V – O quiosque Chopp Berrante no Passeio Público, Ferrez, Malta e Charles Dunlop, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 20 de julho de 2018
+Uma homenagem aos 175 anos de Marc Ferrez (7 de dezembro de 1843 – 12 de janeiro de 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 7 de dezembro de 2018 
+Pereira Passos e Marc Ferrez: engenharia e fotografia para o desenvolvimento das ferrovias, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 5 de abril de 2019
+Fotografia e ciência: eclipse solar, Marc Ferrez e Albert Einstein, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 24 de junho de 2019
+Os 180 anos da invenção do daguerreótipo – Os álbuns da Comissão Geológica do Império com fotografias de Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 19 de agosto de 2019
+Celebrando o fotógrafo Marc Ferrez (1843 – 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 4 de dezembro de 2019
+Uma homenagem da Casa Granado ao imperial sob as lentes de Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 7 de fevereiro de 2020
+Ressaca no Rio de Janeiro invade o porão da casa do fotógrafo Marc Ferrez, em 1913, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado 6 de março de 2020
+Petrópolis, a Cidade Imperial, pelos fotógrafos Marc Ferrez e Revert Henrique Klumb, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 16 de março de 2020
+Bambus, por Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 5 de junho de 2020
+O Baile da Ilha Fiscal: registro raro realizado por Marc Ferrez e retrato de Aurélio de Figueiredo diante de sua obra, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 9 de novembro de 2020
+O Palácio de Cristal fotografado por Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 2 de fevereiro de 2021
+A Estrada de Ferro do Paraná, de Paranaguá a Curitiba, pelos fotógrafos Arthur Wischral (1894 – 1982) e Marc Ferrez (1843 – 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 22 de março de 2021
+Dia dos Pais – Julio e Luciano, os filhos do fotógrafo Marc Ferrez, e outras famílias, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 6 de agosto de 2021
+No Dia da Árvore, mangueiras fotografadas por Ferrez e Leuzinger, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 21 de setembro de 2021
+Retratos de Pauline Caroline Lefebvre, sogra do fotógrafo Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 28 de abril de 2022
+O centenário da morte do fotógrafo Marc Ferrez (1843 – 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 12 de janeiro de 2023
+O Observatório Nacional pelas lentes de Marc Ferrez, amigo de vários cientistas, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 29 de maio de 2023
+No Dia Mundial do Meio Ambiente, a potente imagem da Cachoeira de Paulo Afonso, por Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 5 de junho de 2023
+A Fonte Adriano Ramos Pinto por Guilherme Santos e Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 18 de julho de 2023
+Os 180 anos de nascimento do fotógrafo Marc Ferrez (1843 – 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 7 de dezembro de 2023
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/10692` — `itens/20.500.12156.1_10692/`
+- `20.500.12156.1/7042` — `itens/20.500.12156.1_7042/`
+- `20.500.12156.1/2435` — `itens/20.500.12156.1_2435/`
+- `20.500.12156.1/4442` — `itens/20.500.12156.1_4442/`
+- `20.500.12156.1/6412` — `itens/20.500.12156.1_6412/`
+- `20.500.12156.1/2434` — `itens/20.500.12156.1_2434/`
+- `20.500.12156.1/2575` — `itens/20.500.12156.1_2575/`
+
diff --git a/wordpress/27622-serie-o-rio-de-janeiro-desaparecido-xx-o-pavilhao-dos-estados-futuro-predio-do-m.md b/wordpress/27622-serie-o-rio-de-janeiro-desaparecido-xx-o-pavilhao-dos-estados-futuro-predio-do-m.md
new file mode 100644
index 0000000..32c425c
--- /dev/null
+++ b/wordpress/27622-serie-o-rio-de-janeiro-desaparecido-xx-o-pavilhao-dos-estados-futuro-predio-do-m.md
@@ -0,0 +1,88 @@
+---
+id: 27622
+url: "https://brasilianafotografica.bn.gov.br/?p=27622"
+titulo: "Série “O Rio de Janeiro desaparecido” XX – O Pavilhão dos Estados, futuro prédio do Ministério da Agricultura"
+autor: "Andrea Wanderley"
+data: "2022-07-26T08:26:58+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/6072", "20.500.12156.1/2756"]
+fetched_at: "2026-09-10T10:10:34.300Z"
+---
+
+# Série “O Rio de Janeiro desaparecido” XX – O Pavilhão dos Estados, futuro prédio do Ministério da Agricultura
+
+No 20º artigo da Série O Rio de Janeiro desaparecido, o tema é o prédio que abrigou o Ministério da Agricultura, construído em 1922 para sediar o Pavilhão dos Estados, na Exposição Internacional do Centenário da Independência do Brasil, realizado no Rio de Janeiro. Localizava-se na Praça XV, ao lado do Museu Histórico Nacional, entre o Largo da Misericórdia e a Ladeira da Misericórdia. As fotografias são de Carlos Bippus (18? – 19?) e do alagoano Augusto Malta (1864 – 1957), que foi o fotógrafo oficial da Prefeitura do Rio de Janeiro entre 1903 e 1936.
+De traço eclético, o estilo do edifício foi inspirado na Renascença Francesa e seu projeto foi do escritório do arquiteto Hippolyto Pujol Júnior (1880 – 1952). Tinha cinco andares, uma área aproveitável de 6.192 metros quadrados para os expositores dos estados e uma torre de 45 metros, onde aconteceu uma exposição de jóias. Apesar de se chamar Pavilhão dos Estados, a maior parte dos produtos exibidos era procedente de São Paulo.  Na época de sua inauguração causou deslumbramento em seus visitantes (Jornal do Brasil, 22 de dezembro de 1921, sexta coluna;  Jornal do Commercio, 26 de outubro de 1922, quarta coluna).
+ 
+O Paiz, 18 de julho de 1922
+ 
+“…a atenção é despertada pelo belo edifício construido em alvenaria, sobre ossatura de cimento armado, destinado ao Palácio dos Estados: projeto e execução do conhecido arquiteto paulista H. Pujol Junior. É um edifício de linhas severas, obedecendo ao mesmo estilo antigo e que no conjunto dá no seu autor mais uma vitória na vida incerta do artista” (Jornal do Brasil, 13 de agosto de 1922, penúltima coluna).
+ 
+Photo Bippus. Centenário da Independência do Brasil : Pavilhão dos Estados, 1922/1923. Rio de Janeiro, RJ / Acervo FBN
+ 
+Um ano após a realização da exposição, o prédio foi cedido ao Ministério de Agricultura. Com a transferência, em 1960, da capital federal do Rio de Janeiro para Brasília, o edifício ficou cerca de 15 anos esquecido. Arquitetos modernistas, dentre eles Lucio Costa (1902 – 1998), se engajaram, na década de 1970, em uma campanha para a demolição de diversas edificações do Rio Antigo e o eifício do Ministério da Agricultura foi um dos alvos. Segundo um parecer de Lúcio Costa, de 1972, a demolição daquela almanjarra de concreto lhe seria do maior agrado. Em outro parecer, de 1978, afirmava que Por sua falta de estilo, por sua desproporção, por sua feiura congênita, já nasceu bastardo. Finalmente, em julho de 1978, o prédio começou a ser demolido (Revista Época, 2 de março de 2005; Jornal do Brasil, 6 de julho de 1978, última coluna).
+ 
+Augusto Malta. Exposição do Centenário da Independência de 1922 – Pavilhão dos Estados, posteriormente, Edifício do Ministério da Agricultura, c. 1922. Rio de Janeiro, RJ / Acervo IMS
+ 
+O arquiteto e engenheiro Hippolyto Gustavo Pujol Junior nasceu em 7 de maio de 1880, em Mendes, no estado do Rio, e formou-se na Escola Politécnica de São Paulo, aonde foi, posteriomente, professor.
+ 
+Hippolyto Pujol Junior (1880 – 1952) / Arquivo Arq
+ 
+Fundou com os engenheiros engenheiros Paulo Cavalheiro e Alcides Barbosa, em 24 de junho de 1899, um laboratório anexo à Escola Politécnica, que se tornaria o Instituto de Pesquisas Tecnológicas de São Paulo.
+ 
+Os jovens engenheiros Paulo Cavalheiro, Alcides Barbosa e Hippolyto Pujol realizavam um ensaio de tração em cimento. Eram os primeiros estudos realizados no Brasil sobre as características e resistência de diversos materiais utilizados na construção civil. Esses estudos dariam um apoio importante à urbanização do País / Site do IPT
+ 
+Participou da Revolução Constitucionalista de 1924. Faleceu em 26 de agosto de 1952 (O Estado de São Paulo, 2 de setembro de 1952, página 18; e 9 de julho de 1957, página 24).
+ 
+O Estado de São Paulo, 2 de setembro de 1952
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+Hemeroteca Digital da Biblioteca Nacional
+História dos Monumentos
+MEDEIROS, Luana Ladislau. A Exposição Internacional do Rio de Janeiro de 1922: José Mariano Filho e sua reinvenção das tradições. Universidade Federal Rural do Rio de Janeiro Instituto Multidisciplinar Departamento de História e Economia, 2014.
+O Estado de São Paulo
+Revista Época, 2 de março de 2005
+RIBEIRO, Fernanda Azevedo. A Exposição Internacional do Centenário da Independência de 1922: processo de modernização e legado para a cidade do Rio de Janeiro. Universidade Federal Fluminense– UFF Escola de Arquitetura e Urbanismo Programa de Pós-Graduação em Arquitetura e Urbanismo, 2014.
+Site Arquivo Arq
+Site Instituto de Pesquisas Tecnológicas
+Site Rio Memória
+ 
+Links para os outros artigos da Série O Rio de Janeiro desaparecido
+ 
+Série O Rio de Janeiro desaparecido I - Salas de cinema do Rio de Janeiro do início do século XX, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 26 de fevereiro de 2016.
+Série O Rio de Janeiro desaparecido II – A Exposição Nacional de 1908 na Coleção Família Passos, de autoria de Carla Costa, historiadora do Museu da República, publicado na Brasiliana Fotográfica, em 5 de abril de 2018.
+Série O Rio de Janeiro desaparecido III – O Palácio Monroe, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica, em 9 de novembro de 2016.
+Série O Rio de Janeiro desaparecido IV - A via elevada da Perimetral, de autoria da historiadora Beatriz Kushnir, publicado na Brasiliana Fotográfica em 23 de junho de 2017.
+Série O Rio de Janeiro desaparecido V – O quiosque Chopp Berrante no Passeio Público, Ferrez, Malta e Charles Dunlop, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 20 de julho de 2018.
+Série O Rio de Janeiro desaparecido VI – O primeiro Palácio da Prefeitura Municipal do Rio de Janeiro, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 12 de setembro de 2018.
+Série O Rio de Janeiro desaparecido VII – O Morro de Santo Antônio na Casa de Oswaldo Cruz, de autoria de historiador Ricardo Augusto dos Santos da Casa de Oswaldo Cruz, publicado na Brasiliana Fotográfica em 5 de fevereiro de 2019.
+Série O Rio de Janeiro desaparecido VIII – A demolição do Morro do Castelo, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 30 de abril de 2019.
+Série O Rio de Janeiro desaparecido IX – Estrada de Ferro Central do Brasil: estação e trilhos, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 12 de novembro de 2019.
+Série O Rio de Janeiro desaparecido X – No Dia dos Namorados, um pouco da história do Pavilhão Mourisco em Botafogo, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 12 de junho de 2020.
+Série O Rio de Janeiro desaparecido XI – A Estrada de Ferro do Corcovado e o mirante Chapéu de Sol, de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 22 de julho de 2021.
+Série O Rio de Janeiro desaparecido XII – o Teatro Lírico (Theatro Lyrico), de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 15 de setembro de 2021.
+Série O Rio de Janeiro desaparecido XIII – O Convento da Ajuda, de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 12 de outubro de 2021.
+Série O Rio de Janeiro desaparecido XIV – O Conselho Municipal, de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 19 de novembro de 2021.
+Série O Rio de Janeiro desaparecido XV – A Praia de Santa Luzia no primeiro dia do verão, de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 21 de dezembro de 2021.
+Série O Rio de Janeiro desaparecido XVI – O prédio da Academia Imperial de Belas Artes, de autoria de Andrea C.T. Wanderley, publicado na Brasiliana Fotográfica em 13 de janeiro de 2022.
+Série O Rio de Janeiro desaparecido XVII – Igreja São Pedro dos Clérigos, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 18 de março de 2022.
+Série O Rio de Janeiro desaparecido XVIII – A Praça Onze, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 20 de abril de 2022.
+Série O Rio de Janeiro desaparecido XIX – A Igrejinha de Copacabana, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 23 de junho de 2022.
+Série O Rio de Janeiro desaparecido XXI – O Chafariz do Largo da Carioca, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 19 de setembro de 2022. 
+Série O Rio de Janeiro desaparecido XXII – A Cadeia Velha que deu lugar ao Palácio Tiradentes, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 11 de abril de 2023
+Série O Rio de Janeiro desaparecido XXIII e Avenidas e ruas do Brasil XVII - A Praia e a Rua do Russel, na Glória, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 15 de maio de 2023
+Série O Rio de Janeiro desaparecido XXIV – O luxuoso Palace Hotel, na Avenida Rio Branco, uma referência da vanguarda artística no Rio de Janeiro, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 4 de julho de 2023
+Série O Rio de Janeiro desaparecido XXV – O Theatro Phenix, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 5 de setembro de 2023
+Série O Rio de Janeiro desaparecido XXVI – Conclusão do arrasamento do Morro do Castelo por Augusto Malta, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 14 de dezembro de 2023
+Série O Rio de Janeiro desaparecido XXVII e Série Os arquitetos do Rio de Janeiro V – O Jockey Club e o Derby Club, na Avenida Rio Branco e o arquiteto Heitor de Mello (1875 – 1920), de autoria de Andrea c. T. Wanderley, editora e pesquisadora do portal, em 15 de janeiro de 2024
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/6072` — `itens/20.500.12156.1_6072/`
+- `20.500.12156.1/2756` — `itens/20.500.12156.1_2756/`
+
diff --git a/wordpress/27652-a-reacao-republicana.md b/wordpress/27652-a-reacao-republicana.md
new file mode 100644
index 0000000..afe03da
--- /dev/null
+++ b/wordpress/27652-a-reacao-republicana.md
@@ -0,0 +1,75 @@
+---
+id: 27652
+url: "https://brasilianafotografica.bn.gov.br/?p=27652"
+titulo: "A Reação Republicana"
+autor: "Andrea Wanderley"
+data: "2022-05-05T08:55:21+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/10903", "20.500.12156.1/10900", "20.500.12156.1/10865", "20.500.12156.1/10872", "20.500.12156.1/10880", "20.500.12156.1/10941", "20.500.12156.1/10849", "20.500.12156.1/10853", "20.500.12156.1/10881", "20.500.12156.1/10930"]
+fetched_at: "2026-09-10T10:10:37.557Z"
+---
+
+# A Reação Republicana
+
+O artigo de hoje foi escrito pela historiadora Silvia Pinho, do Museu da República, uma das instituições parceiras da Brasiliana Fotográfica. É sobre a Reação Republicana, uma campanha política em torno da sucessão presidencial que mobilizou o Brasil, entre 1921 e 1922, cuja chapa oposicionista se opunha ao domínio de São Paulo e Minas Gerais na política nacional. Reuniu estados importantes – Rio de Janeiro, Pernambuco, Bahia e Rio Grande do Sul, mais o Distrito Federal – que queriam construir um eixo alternativo de poder.  Os candidatos à presidência e à vice-presidência da Reação eram o fluminense Nilo Peçanha (1867 – 1924) e o baiano J.J. Seabra (1855 – 1942). Nas eleições de 1º de março de 1922, foram derrotados pelo mineiro Artur Bernardes (1875 – 1955) e pelo maranhense Urbano Santos (1859 – 1922), que morreu antes de tomar posse. As fotografias são da Coleção Nilo Peçanha.
+ 
+O casal Nilo e Anita Peçanha a bordo do navio Íris, durante a campanha Reação Republicana, 1921 / Acervo Museu da República
+ 
+Acessando o link para as fotografias do Movimento Reação Republicana disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Multidão observa Nilo Peçanha durante a campanha Reação Republicana, 1921 / Acervo Museu da República
+ 
+A Reação Republicana
+Silvia Pinho*
+ 
+Nilo Peçanha e J. J. Seabra durante a campanha da Reação Republicana em Salvador, 1921. Bahia / Acervo Museu da República
+ 
+A eleição é um dos principais episódios da vida política de um país. Além de peça chave do sistema representativo, os momentos que a antecedem são marcados por debates que levantam questões de importância nacional. A forma como é realizada revela muito da organização social e política de uma sociedade. Nos anos de 1921 e 1922, uma campanha política em torno da sucessão presidencial mobilizou o país. Era a Reação Republicana, chapa oposicionista formada em reação ao domínio de São Paulo e Minas, reunindo estados importantes – Rio de Janeiro, Pernambuco, Bahia e Rio Grande do Sul, mais o Distrito Federal – que queriam maior participação na política do país, com o objetivo de construir um eixo alternativo de poder. A plataforma da Reação propunha mudanças na organização política e econômica do país, defendendo maior equilíbrio federativo, solução da crise financeira, diversificação agrícola, expansão da educação pública, incentivo ao desenvolvimento econômico e regeneração dos costumes políticos.
+ 
+Multidão reunida durante a campanha Reação Republicana, 1921 / Acervo Museu da República
+ 
+A Reação Republicana lançava como candidato à Presidência da República o político fluminense Nilo Peçanha, e como candidato a vice o governador da Bahia, J. J. Seabra. O então presidente Epitácio Pessoa apoiava a chapa oficial, formada pelo mineiro Artur Bernardes e pelo maranhense Urbano Santos. A disputa representava, sobretudo, uma fissura no pacto oligárquico que caracterizou a Primeira República, baseado na Política dos Governadores – o governo central apoiava os grupos dominantes nos estados, e estes, em troca, apoiavam a política do presidente da República – e na Política do Café com Leite, segundo a qual São Paulo e Minas Gerais decidiam quem seria o candidato oficial à Presidência da República (quase sempre vencedor) e traçavam o rumo das políticas nacionais.
+ 
+Plateia em comício de Nilo Peçanha no Teatro de Vitória, durante a campanha Reação Republicana. É possível notar a presença de mulheres, concentradas no balcão do 2º andar, 1921. Paraná / Acervo Museu da República
+ 
+A grande novidade da Reação Republicana foi sua campanha. Foi a primeira vez que se realizou uma campanha política para a Presidência da República de amplo alcance, sobretudo geográfico, com formação de comitês eleitorais nas mais diversas cidades do país. A bordo do Íris – navio fretado especialmente para esse fim –, Nilo Peçanha visitou vários estados brasileiros, fazendo comícios em praças e teatros, percorrendo as ruas, articulando alianças e conversando com as pessoas em busca de apoio.
+ 
+Nilo Peçanha, entre outros, no convés do navio Íris, durante a campanha Reação Republicana, 1921 / Acervo Museu da República
+ 
+Nilo Peçanha e J. J. Seabra sabiam que estavam em desvantagem em relação à chapa oficial, que dominava o jogo político na maior parte do país. Além disso, nessa época, o voto não era secreto e as fraudes eram prática comum. Porém, os membros da Reação pensavam ser possível reverter a diferença, assim como inibir as fraudes, mediante o convencimento da sociedade, trazendo-a para sua causa.
+ 
+Multidão recepciona Nilo Peçanha em sua chegada ao porto, durante a campanha Reação Republicana, 2 de outubro de 1921. Manaus, Amazonas / Acervo Museu da República
+ 
+A campanha da Reação começou em 24 de junho de 1921 e, enquanto J. J. Seabra visitava estados do Sul, Nilo Peçanha partiu em excursão pelo Norte e Nordeste. À bordo do Íris, ele visitou o Amazonas, Pará, Maranhão, Piauí, Ceará, Rio Grande do Norte, Pernambuco, Paraíba, Alagoas, Sergipe, Bahia, Espírito Santo e Distrito Federal. Em São Paulo, foi impedido pelo governo local de realizar seu comício, redigindo então um “Manifesto ao Povo Paulista”, no qual afirmava que a Reação era o “ideal renovador do Brasil e que varre a tutela usurpadora dos nossos direitos soberanos!”.
+ 
+Nilo Peçanha é recebido em loja maçônica durante a campanha Reação Republicana. Nilo era membro ativo da Maçonaria e chegou a ocupar a mais alta posição: grau 33, Grão-Mestre Geral do Grande Oriente do Brasil. A Maçonaria deu forte apoio à campanha, 1921 / Acervo Museu da República
+ 
+Embora fosse um movimento das elites políticas, a Reação atraiu a simpatia e conquistou a adesão de vários segmentos sociais insatisfeitos com o governo. Um dos mais importantes foi o grupo dos militares, cujo apoio foi fundamental para a força e a amplitude geográfica da campanha. A Reação Republicana também conquistou o apoio da maçonaria, de grupos feministas e de setores médios urbanos, além da participação efetiva da imprensa na promoção da campanha.
+Em 1º de março de 1922, sob forte tensão, ocorreu a eleição. O pleito foi marcado por denúncias de fraude generalizada e a vitória coube ao candidato oficial, Artur Bernardes. Nilo Peçanha e J.J. Seabra, contudo, não reconheceram o resultado e passaram a reivindicar a criação de um Tribunal de Honra, que arbitrasse o processo eleitoral. Como a posse de Bernardes só se daria em 15 de novembro, os membros da Reação continuaram engajados nos meses que se seguiram, tentando mobilizar a opinião pública e encontrar uma solução política que revertesse a situação. Nesse entremeio, no dia 5 de julho, jovens militares – grupo que apoiou a Reação, mas que tinha força, ideologia e demandas próprias – se rebelaram no Forte de Copacabana, em um levante que, embora reprimido, seria o marco inicial do movimento tenentista.
+ 
+Nilo Peçanha em comício no Teatro Santa Rosa durante a campanha Reação Republicana, 1921. João Pessoa, Paraiba / Acervo Museu da República
+ 
+Os esforços dos candidatos da Reação foram ineficazes e Artur Bernardes tomou posse no Palácio do Catete. Nilo Peçanha morreria pouco depois, em 1924. Em 1930, uma nova crise política, mais forte e ampla, irrompeu e reuniu novamente as oligarquias estaduais dissidentes, militares e setores urbanos, além de outros grupos insatisfeitos com o regime. Era a Revolução de 1930, que pôs fim àquele sistema político.
+A Reação Republicana demonstra a complexidade do jogo político na Primeira República, visto muitas vezes de forma simplista e unívoca. O que se desvela, entretanto, é uma trama política dinâmica e múltipla, repleta de conflitos, nuances e atores variados, de um período rico e diverso de nossa história republicana.
+ 
+Fotografia tirada do interior do navio Íris, durante a campanha Reação Republicana, 1921 / Acervo Museu da República
+ 
+A Coleção Nilo Peçanha, pertencente ao Arquivo Histórico e Institucional do Museu da República, é formada por cerca de 20 mil documentos, sobretudo textuais, sendo em sua maioria correspondências. O acervo foi formado, principalmente, através das doações feitas pela viúva Anita Peçanha em 1948 e por Armênia Peçanha, irmã do titular, em 1960. Constam da coleção também 547 fotografias, nas quais se destaca o conjunto de imagens que retrata a campanha Reação Republicana.
+ 
+*Silvia Pinho é historiadora do Arquivo Histórico e Institucional do Museu da República
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/10903` — `itens/20.500.12156.1_10903/`
+- `20.500.12156.1/10900` — `itens/20.500.12156.1_10900/`
+- `20.500.12156.1/10865` — `itens/20.500.12156.1_10865/`
+- `20.500.12156.1/10872` — `itens/20.500.12156.1_10872/`
+- `20.500.12156.1/10880` — `itens/20.500.12156.1_10880/`
+- `20.500.12156.1/10941` — `itens/20.500.12156.1_10941/`
+- `20.500.12156.1/10849` — `itens/20.500.12156.1_10849/`
+- `20.500.12156.1/10853` — `itens/20.500.12156.1_10853/`
+- `20.500.12156.1/10881` — `itens/20.500.12156.1_10881/`
+- `20.500.12156.1/10930` — `itens/20.500.12156.1_10930/`
+
diff --git a/wordpress/27660-serie-avenidas-e-ruas-do-brasil-xiii-a-rua-buenos-aires-no-rio-de-janeiro.md b/wordpress/27660-serie-avenidas-e-ruas-do-brasil-xiii-a-rua-buenos-aires-no-rio-de-janeiro.md
new file mode 100644
index 0000000..33ed590
--- /dev/null
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@@ -0,0 +1,69 @@
+---
+id: 27660
+url: "https://brasilianafotografica.bn.gov.br/?p=27660"
+titulo: "Série “Avenidas e ruas do Brasil” XIII – A Rua Buenos Aires no Rio de Janeiro"
+autor: "Andrea Wanderley"
+data: "2022-07-19T10:27:50+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/9867", "20.500.12156.1/2776", "20.500.12156.1/2773"]
+fetched_at: "2026-09-10T10:10:40.823Z"
+---
+
+# Série “Avenidas e ruas do Brasil” XIII – A Rua Buenos Aires no Rio de Janeiro
+
+Série “Avenidas e ruas do Brasil” XIII – A Rua Buenos Aires no Rio de Janeiro
+No 13º artigo da Série Avenidas e ruas do Brasil, a Brasiliana Fotográfica destaca a Rua Buenos Aires, antiga Rua do Hospício, no Centro do Rio de Janeiro. Os registros são de Augusto Malta (1864 – 1957), alagoano que foi o fotógrafo oficial da Prefeitura do Rio de Janeiro, entre 1903 e 1936, e de um fotógrafo ainda não identificado. Malta foi contratado pelo prefeito Pereira Passos (1836 – 1913) para documentar a radical mudança urbanística promovida por ele, período que ficou conhecido como o “bota-abaixo” e que contribuiu fortemente para o surgimento do Rio de Janeiro da Belle Époque.
+ 
+Acessando o link para as fotografias da rua Buenos Aires disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+A Rua Buenos Aires liga o Campo de Santana à rua 1º de Março e fica na região conhecida como Saara, caracterizada pela forte presença de lojas especializadas em artigos populares. Lembramos a nossos leitores que a utilização da ferramenta zoom possibilita a exploração mais aproximada de aspectos interessantes das fotografias. Por exemplo, na imagem abaixo, realizada por um fotógrafo ainda não identificado, que registrou a Rua Buenos Aires na direção da Avenida Passos, podem ser observados mais detalhadamente seu antigo casario, os pedestres, as fachadas das lojas e um bonde em seus trilhos.
+ 
+Vista da rua Buenos Aires, em direção à Avenida Passos, c. 1907. Rio de Janeiro, RJ / Acervo IMS
+ 
+No século XVIII, a Rua Buenos Aires era chamada de Rua Detrás do Hospício, apesar de não ter existido um hospício nela: a parte de trás da antiga Igreja do Hospício, localizada na Rua do Rosário, que tinha uma capela e um albergue, dava para a Buenos Aires. Conforme lembrado por Brasil Gerson (1904 – 1981), no livro História das Ruas do Rio: No português antigo, hospício era o mesmo que albergue e hospital. Ainda, segundo o mesmo autor, antes de ficar conhecida como Rua do Hospício, alguns de seus trechos tiveram outras denominações como Rua da Portuguesa, certamente por causa da portuguesa Margarida Soares, que nela morava quando ela não ia além do caminho para o Morro da Conceição; Rua do Sebastião Ferrão, que foi provavelmente um tabelião; Rua do Teixeira, que nela explorava uma casa de jogo de truque; Rua do Becão, famoso cirurgião da Santa Casa; e Rua do Alecrim.
+Passou a chamar-se Rua Buenos Aires, em 1915, durante a gestão do prefeiro Rivadávia da Cunha Correia (1866- 1920) (A Noite, 16 de novembro de 1915, quarta coluna; A Rua, 23 de novembro, segunda coluna).
+Abrigou alguns estabelecimentos importantes da cidade como, por volta de 1860, a empresa Mesquita e Moreira, de matérias fecais, que antes da instalação do serviço de esgoto no Rio de Janeiro recolhia os urinóis caseiros e jogava sua carga no mar; a redação do jornal O Jacobino, a primeira sede do Clube Ginástico Português, a companhia Mútua de Seguros de Vida de Escravos, em 1862; em 1880, o Grêmio dos Professores; e, em 1905, a Liga Metropolitana de Futebol. Já na década de 1930, tornou-se uma Ra cheia de sedes de jornais: lá estavam instalados, no quarteirão entre o Mercado das Flores e a Rua Uruguaiana, A Manhã, O Popular e  A Tarde.
+ 
+Augusto Malta. Rua do Hospício, atual Rua Buenos Aires, no Centro, c. 1906. Rio de Janeiro, RJ / Acervo IMS
+ 
+O registro abaixo, do Mercado das Flores, na Rua Buenos Aires, foi produzido por Malta. Foi inaugurado em 17 de abril de 1910 com a presença do então prefeito da cidade, Serzedelo Correia (1858 – 1932) e de Julio Furtado (1851 -1934), diretor das Matas e Jardins. Agora já pode o estrangeiro ir a um mercado de flores decente e digno de uma capital como a nossa (Correio da Manhã, 18 de abril de 1910, última coluna). Porém a construção não agradou a todos (Gazeta de Notícias, 18 de abril de 1910, segunda coluna). Foi o caso da escritora Julia Lopes de Almeida (1862 – 1934), que publicou uma crítica no jornal O Paiz, de 10 de maio de 1910. O Mercado das Flores, além de ser um polo de referência no comércio de flores, foi um ponto turístico da cidade, devido à exuberância de seus arranjos florais.
+ 
+Augusto Malta. Mercado de Flores, c. 1920. Rio de Janeiro, RJ / Acervo IMS
+ 
+A Rua Buenos Aires, que ainda se chamava Rua do Hospício, foi mencionada na crônica Vinte Anos! Vinte Anos!, de Machado de Assis (1839 – 1908).
+“…Depois de dizer o diabo do correspondente, de fazer e desfazer mil planos, Gonçalves assentou no que lhe pareceu melhor, que era ir à casa dele, na Rua do Hospício, descompô-lo, armado de bengala, e dar-lhe com ela, se ele replicasse alguma coisa. Era sumário, enérgico, um tanto fácil, e, segundo lhe dizia o coração, útil aos séculos…Eram os vinte anos que irrompiam cálidos, férvidos, incapazes de engolir a afronta e dissimular. Gonçalves foi por ali fora, Rua do Passeio, Rua da Ajuda, Rua dos Ourives, até à Rua do Ouvidor. Depois lembrou-se que a casa do correspondente, na Rua do Hospício, ficava entre as de Uruguaiana e dos Andradas; subiu, pois, a do Ouvidor para ir tomar a primeira destas. Não via ninguém, nem as moças bonitas que passavam, nem os sujeitos que lhe diziam adeus com a mão. Ia andando à maneira de touro. Antes de chegar à Rua de Uruguaiana, alguém chamou por ele.”
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+Diário do Rio
+GERSON, Brasil. História das Ruas do Rio. Rio de Janeiro: Bem-Te-Vi, 2013.
+Hemeroteca Digital da Biblioteca Nacional
+ 
+Links para as outras publicações da série “Avenidas e ruas do Brasil”
+ Série “Avenidas e ruas do Brasil” I – Avenida Central, atual Rio Branco, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 7 de setembro de 2016
+Série “Avenidas e ruas do Brasil” II – A Rua do Imperador em Petrópolis por Klumb, Leuzinger e Stahl, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 26 de junho de 2020
+Série “Avenidas e ruas do Brasil” III – A Rua do Bom Jesus, no Recife, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 6 de agosto de 2020
+Série “Avenidas e ruas do Brasil” IV – A Rua 25 de Março, em São Paulo, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 1º de setembro de 2020
+Série “Avenidas e ruas do Brasil” V – A Rua Direita, a Rua das Mercês e a Rua Macau do Meio, em Diamantina, Minas Gerais, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 22 de outubro de 2020
+Série “Avenidas e ruas do Brasil” VI  – Rua Augusto Ribas e outras, em Ponta Grossa, no Paraná, pelo fotógrafo Luiz Bianchi, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 16 de novembro de 2020
+Série “Avenidas e ruas do Brasil” VII – A Avenida Atlântica, em Copacabana, no Rio de Janeiro, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 23 de dezembro de 2020
+Série “Avenidas e ruas do Brasil VIII – A Rua da Carioca por Cássio Loredano, de autoria de Cássio Loredano, publicada em 20 de janeiro de 2021
+Série “Avenidas e ruas do Brasil” IX – Ruas e panoramas do bairro do Catete, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 14 de julho de 2021
+Série “Avenidas e ruas do Brasil” X – A Rua da Ajuda, no Rio de Janeiro, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 9 de novembro de 2021
+Série “Avenidas e ruas do Brasil” XI – A Rua da Esperança, em São Paulo, por Vincenzo Pastore, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 14 de dezembro de 2021
+Série “Avenidas e ruas do Brasil” XII – A Avenida Paulista, o coração pulsante da metrópole, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 21 de janeiro de 2022
+Série “Avenidas e ruas do Brasil” XIV – A Avenida Presidente Vargas,, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 31 de agosto de 2022
+Série “Avenidas e ruas do Brasil” XV – Misericórdia: rua, largo e ladeira, no Rio de Janeiro, por Cássio Loredano, de autoria de Cássio Loredano, publicada em 8 de dezembro de 2022
+Série “Avenidas e ruas do Brasil” XVI – “Alguma coisa acontece no meu coração”, a Avenida São João nos 469 anos de São Paulo, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 25 de janeiro de 2023
+Série “Avenidas e ruas do Brasil” XVII  e série “O Rio de Janeiro desaparecido” XXIII – A Praia e a Rua do Russel, na Glória, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 15 de maio de 2023
+Série “Avenidas e ruas do Brasil” XVIII – Avenida Beira-Mar, de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal, publicada em 22 de janeiro de 2024
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/9867` — `itens/20.500.12156.1_9867/`
+- `20.500.12156.1/2776` — `itens/20.500.12156.1_2776/`
+- `20.500.12156.1/2773` — `itens/20.500.12156.1_2773/`
+
diff --git a/wordpress/27670-serie-o-rio-de-janeiro-desaparecido-xxi-o-chafariz-do-largo-da-carioca.md b/wordpress/27670-serie-o-rio-de-janeiro-desaparecido-xxi-o-chafariz-do-largo-da-carioca.md
new file mode 100644
index 0000000..a13657b
--- /dev/null
+++ b/wordpress/27670-serie-o-rio-de-janeiro-desaparecido-xxi-o-chafariz-do-largo-da-carioca.md
@@ -0,0 +1,119 @@
+---
+id: 27670
+url: "https://brasilianafotografica.bn.gov.br/?p=27670"
+titulo: "Série “O Rio de Janeiro desaparecido” XXI – O Chafariz do Largo da Carioca"
+autor: "Andrea Wanderley"
+data: "2022-09-19T10:49:21+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/9207", "20.500.12156.1/6709", "20.500.12156.1/10415", "20.500.12156.1/2760", "20.500.12156.1/5005"]
+fetched_at: "2026-09-10T10:10:44.312Z"
+---
+
+# Série “O Rio de Janeiro desaparecido” XXI – O Chafariz do Largo da Carioca
+
+Marc Ferrez. Largo da Carioca, com chafariz de 35 bicas, c. 1900. Rio de Janeiro, RJ / Acervo IMS
+ 
+Com registros dos fotógrafos Augusto Malta (1864 – 1957), Guilherme Santos (1871 – 1966) e Marc Ferrez (1843 – 1923), o Chafariz do Largo da Carioca é o tema do 21º artigo da Série O Rio de Janeiro desaparecido. Teve sua pedra fundamental lançada em 5 de fevereiro de 1832 e começou a funcionar em 7 abril de 1834 (Brasil, Ministério do Império, 1833 e  1834; Jornal do Commercio, 8 de abril de 1834, última coluna). Seu projeto é quase sempre atribuido exclusivamente ao arquiteto francês Grandjean de Montigny (1776 – 1850), membro da Missão Artística Francesa. Porém, segundo Brasil Gerson, o autor principal do projeto do chafariz teria sido o coronel e engenheiro lisboeta Joaquim Cândido Guilhobel (1787 – 1859), que havia sido aluno de Montigny no curso de Arquitetura da Academia Imperial de Belas Artes e que, em 1831, tornou-se professor de Desenho da Academia Militar (Império do Brasil: Diário Fluminense, 31 de maio de 1931, última coluna).
+ 
+Grandjean de Montigny por Auguste Muller , c. 1843/ Wikipedia
+ 
+Jornal do Commercio, 8 de abril de 1834
+ 
+Tinha 35 bicas para o abastecimento de água da população, tanques para as lavadeiras e um bebedouro de animais. Foi demolido entre 1925 e 1926, na administração do prefeito Alaor Prata (1882 – 1964) (O Imparcial, 19 de agosto de 1925, terceira coluna).
+ 
+Gravura de Carlos Linde. Chafariz da Carioca e Convento de S. Antônio, 1860 / Acervo Coleção Brasiliana Itáu in Brasiliana Iconográfica
+ 
+Acessando o link para as fotografias do Chafariz do Largo da Carioca disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Marc Ferrez. Largo da Carioca, chafariz com 35 bicas, c. 1895. Rio de Janeiro, RJ / Acervo IMS
+ 
+Foi o terceiro chafariz do Largo da Carioca: o primeiro, com 12 bicas de bronze, foi inaugurado, em 1723, durante o governo de Aires de Saldanha e Albuquerque (1681 – 1756); e, o segundo, provisório e de madeira, com 40 bicas, em 1830 (Jornal do Commercio, 24 de maio de 1830, primeira coluna).
+ 
+Guilherme Santos. Chafariz colonial de 35 bicas no Largo da Carioca, 1914. Rio de Janeiro, RJ / Acervo IMS
+ 
+Sob a alegação de motivos de trânsito que determinariam a necessidade de alargamento do Largo da Carioca, foi realizada a demolição do Chafariz de Grandjean de Montigny, iniciada em 11 de setembro de 1925. Foi informado que o chafariz seria rearmado em um recanto da Quinta da Boa Vista de acordo com suas disposições antigas (O Imparcial, 12 de setembro de 1925, última coluna). A demolição começou sob a supervisão do engenheiro Ângelo Barata, da Prefeitura do Rio de Janeiro. Segundo artigo da advogada e jornalista feminista Orminda Ribeiro Bastos (1899 – 1971), publicado em O Paiz, de 28 de outubro de 1927, a demolição foi dirigida por Maria Esther Correia Ramalho, uma das primeiras engenheiras do Brasil, da turma de 1922 da Escola Politécnica da Universidade do Brasil.
+ 
+O Imparcial, 19 de agosto de 1925
+ 
+Houve reações contrárias como a do escritor e crítico de arte e arquitetura, José Marianno Filho (1881 – 1946), na época presidente da Associação Nacional de Belas Artes; e dos escritores Coelho Netto (1864 – 1934) e Escragnolle Doria (1869 – 1948). A demolição chegou a ser suspensa devido a uma ação impetrada pelos padres do Convento de Santo Antônio (O Imparcial, 20 de agosto, 21 de agosto, 26 de setembro, 9 de outubro de 1925; 2 de abril de 1926; O Paiz, 25 de outubro de 1925, sexta coluna; Correio da Manhã, 15 de janeiro de 1926, quarta coluna; Revista da Semana, 26 de setembro de 1925; Universal, 26 de agosto de 1925).
+ 
+“O passado é o pesadelo do presente. Os artistas de hoje temem-lhe o confronto”. 
+José Marianno Filho sobre a demolição do Chafariz do Largo da Carioca
+ 
+O Imparcial, 21 de agosto de 1925
+ 
+ 
+O Imparcial, 26 de setebro de 1925
+ 
+Gazeta de Notícias, 12 de setembro de 1925
+ 
+Augusto Malta. Demolição do Chafariz da Carioca, 13 de março de 1926. Rio de Janeiro, RJ / Acervo IMS
+ 
+Já o professor Raul Lessa de Saldanha da Gama (1882 – 1945), da Escola Nacional de Belas Artes, foi a favor da decisão do prefeito Alaor Prata (Gazeta de Notícias, 24 de novembro de 1925).
+ 
+Gazeta de Notícias, 24 de novembro de 1925
+ 
+Segundo editorial de O Imparcial, a demolição do chafariz não melhorou o trânsito no local e deixou uma área sem calçamento, inútil e horrivelmente feia (O Imparcial, 2 de abril de 1926).
+ 
+O Imparcial, 2 de abril de 1926
+ 
+Sua demolição causou falta de água para os trabalhadores (O Imparcial, 6 de março de 1927).
+ 
+O Imparcial, 6 de março de 1927
+ 
+Augusto Malta. Largo da Carioca, 1903. Rio de Janeiro, RJ / Acervo Museu da República
+ 
+ 
+Andrea C.T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+Blog As Histórias dos Monumentos do Rio
+Dunlop, Charles Julius. Rio Antigo. Rio de Janeiro: Editora Rio Antigo, 1963.
+GERSON, Brasil. História das Ruas do Rio. Rio de Janeiro: Bem-Te-Vi, 2013.
+Hemeroteca Digital da Biblioteca Nacional
+ROSA, Francisco Ferreira da. Rio de Janeiro em 1922-1924. Rio de Janeiro: Typographia do Annuario do Brasil (Almanak Laemmert), 1924. 222 p. (Coleção Memória do Rio 3 – Reprodução).
+Site Biblioteca do IBGE
+Site Enciclopédia Itaú Cultural
+Site Mulher 500 anos atrás dos panos
+Site Multirio
+ 
+Links para os outros artigos da Série O Rio de Janeiro desaparecido
+ 
+Série O Rio de Janeiro desaparecido I - Salas de cinema do Rio de Janeiro do início do século XX, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 26 de fevereiro de 2016.
+Série O Rio de Janeiro desaparecido II – A Exposição Nacional de 1908 na Coleção Família Passos, de autoria de Carla Costa, historiadora do Museu da República, publicado na Brasiliana Fotográfica, em 5 de abril de 2018.
+Série O Rio de Janeiro desaparecido III – O Palácio Monroe, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica, em 9 de novembro de 2016.
+Série O Rio de Janeiro desaparecido IV - A via elevada da Perimetral, de autoria da historiadora Beatriz Kushnir, publicado na Brasiliana Fotográfica em 23 de junho de 2017.
+Série O Rio de Janeiro desaparecido V – O quiosque Chopp Berrante no Passeio Público, Ferrez, Malta e Charles Dunlop, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 20 de julho de 2018.
+Série O Rio de Janeiro desaparecido VI – O primeiro Palácio da Prefeitura Municipal do Rio de Janeiro, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 12 de setembro de 2018.
+Série O Rio de Janeiro desaparecido VII – O Morro de Santo Antônio na Casa de Oswaldo Cruz, de autoria de historiador Ricardo Augusto dos Santos da Casa de Oswaldo Cruz, publicado na Brasiliana Fotográfica em 5 de fevereiro de 2019.
+Série O Rio de Janeiro desaparecido VIII – A demolição do Morro do Castelo, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 30 de abril de 2019.
+Série O Rio de Janeiro desaparecido IX – Estrada de Ferro Central do Brasil: estação e trilhos, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 12 de novembro de 2019.
+Série O Rio de Janeiro desaparecido X – No Dia dos Namorados, um pouco da história do Pavilhão Mourisco em Botafogo, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 12 de junho de 2020.
+Série O Rio de Janeiro desaparecido XI – A Estrada de Ferro do Corcovado e o mirante Chapéu de Sol, de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 22 de julho de 2021.
+Série O Rio de Janeiro desaparecido XII – o Teatro Lírico (Theatro Lyrico), de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 15 de setembro de 2021.
+Série O Rio de Janeiro desaparecido XIII – O Convento da Ajuda, de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 12 de outubro de 2021.
+Série O Rio de Janeiro desaparecido XIV – O Conselho Municipal, de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 19 de novembro de 2021.
+Série O Rio de Janeiro desaparecido XV – A Praia de Santa Luzia no primeiro dia do verão, de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 21 de dezembro de 2021.
+Série O Rio de Janeiro desaparecido XVI – O prédio da Academia Imperial de Belas Artes, de autoria de Andrea C.T. Wanderley, publicado na Brasiliana Fotográfica em 13 de janeiro de 2022.
+Série O Rio de Janeiro desaparecido XVII – Igreja São Pedro dos Clérigos, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 18 de março de 2022.
+Série O Rio de Janeiro desaparecido XVIII – A Praça Onze, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 20 de abril de 2022.
+Série O Rio de Janeiro desaparecido XIX – A Igrejinha de Copacabana, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 23 de junho de 2022.
+Série O Rio de Janeiro desaparecido XX – O Pavilhão dos Estados, futuro prédio do Ministério da Agricultura, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 26 de julho de 2022.
+Série O Rio de Janeiro desaparecido XXII – A Cadeia Velha que deu lugar ao Palácio Tiradentes, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 11 de abril de 2023
+Série O Rio de Janeiro desaparecido XXIII e Avenidas e ruas do Brasil XVII - A Praia e a Rua do Russel, na Glória, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 15 de maio de 2023
+Série O Rio de Janeiro desaparecido XXIV – O luxuoso Palace Hotel, na Avenida Rio Branco, uma referência da vanguarda artística no Rio de Janeiro, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 4 de julho de 2023
+Série O Rio de Janeiro desaparecido XXV – O Theatro Phenix, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 5 de setembro de 2023
+Série O Rio de Janeiro desaparecido XXVI – Conclusão do arrasamento do Morro do Castelo por Augusto Malta, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 14 de dezembro de 2023
+Série O Rio de Janeiro desaparecido XXVII e Série Os arquitetos do Rio de Janeiro V – O Jockey Club e o Derby Club, na Avenida Rio Branco e o arquiteto Heitor de Mello (1875 – 1920), de autoria de Andrea c. T. Wanderley, editora e pesquisadora do portal, em 15 de janeiro de 2024
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/9207` — `itens/20.500.12156.1_9207/`
+- `20.500.12156.1/6709` — `itens/20.500.12156.1_6709/`
+- `20.500.12156.1/10415` — `itens/20.500.12156.1_10415/`
+- `20.500.12156.1/2760` — `itens/20.500.12156.1_2760/`
+- `20.500.12156.1/5005` — `itens/20.500.12156.1_5005/`
+
diff --git a/wordpress/27704-a-plataforma-imaginerio.md b/wordpress/27704-a-plataforma-imaginerio.md
new file mode 100644
index 0000000..9faee3f
--- /dev/null
+++ b/wordpress/27704-a-plataforma-imaginerio.md
@@ -0,0 +1,99 @@
+---
+id: 27704
+url: "https://brasilianafotografica.bn.gov.br/?p=27704"
+titulo: "A plataforma imagineRio"
+autor: "Andrea Wanderley"
+data: "2022-05-27T13:23:08+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/3951", "20.500.12156.1/9258", "20.500.12156.1/9805", "20.500.12156.1/10962", "20.500.12156.1/2559", "20.500.12156.1/10957", "20.500.12156.1/4652", "20.500.12156.1/2718", "20.500.12156.1/10963"]
+fetched_at: "2026-09-10T10:10:47.677Z"
+---
+
+# A plataforma imagineRio
+
+A Brasiliana Fotográfica apresenta a seus leitores o imagineRio com um artigo escrito por Martim Passos, gerente do projeto de colaboração entre o IMS e a plataforma, contando a história, as possibilidades e as funcionalidades do novo site. O imagineRio é um atlas digital que pode ser pesquisado e mostra a evolução social e urbana do Rio de Janeiro ao longo de sua história. Vistas da cidade criadas por artistas ou produzidas por fotógrafos, mapas de cartógrafos e plantas de arquitetos e urbanistas estão localizados no tempo e no espaço.
+ 
+Guilherme Santos. Desfile de corsos durante o carnaval, c. 1927. Rio de Janerio, RJ / Acervo IMS
+ 
+Muitas fotografias presentes no acervo da Brasiliana Fotográfica também estão no acervo do imagineRio e destacamos hoje algumas imagens procedentes das duas instituições fundadoras do portal: a Fundação Biblioteca Nacional e o Instituto Moreira Salles. O Arquivo Nacional e o Arquivo Geral da Cidade do Rio de Janeiro, instituições parceiras da Brasiliana Fotográfica, também estão presentes no imagineRio com mapas de seus acervos.
+ 
+Luiz Musso. Exposição Nacional de 1908 – Palácio das Indústrias, 1908. Rio de Janeiro, RJ / Acervo IMS
+ 
+Acessando o link para algumas fotografias presentes na plataforma imagineRio e também disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas. 
+ 
+Alfredo Krausz. Cristo Redentor, c. 1933. Rio de Janeiro, RJ / Acervo IMS
+ 
+“Desenvolvido pelos professores Farès el-Dahdah e Alida C. Metcalf em colaboração com a Axis Maps, imagineRio conta com o apoio financeiro de uma bolsa de História da Arte Digital da Fundação Getty, que permitiu a integração com o importante acervo fotográfico do Instituto Moreira Salles. A plataforma não poderia ter sido desenvolvida sem o suporte técnico e financeiro da Rice University através do Laboratório de Estudos Espaciais, do Ken Kennedy Institute, do Fundo de Iniciativas do Corpo Docente, da Biblioteca Fondren, do Centro de Pesquisa em Humanidades, do Departamento de História e do Escritório de Estratégia Global e Digital, além do conteúdo disponibilizado pela Prefeitura do Rio de Janeiro, Arquivo Nacional, entre muitas outras instituições”.
+ 
+Luiz Musso. Praça da Glória, 191?. Rio de Janeiro, RJ / Acervo FBN
+ 
+Até maio de 2022, as seguintes instituições estão representadas no imagineRio:
+
+Akademie der Bildenden Künste, Wien [Kupferstichkabinett]
+Arquivo Geral da Cidade do Rio de Janeiro
+Arquivo Histórico do Exército, Rio de janeiro
+Arquivo Histórico Ultramarino, Lisboa
+Arquivo Nacional
+Arquivo Público Mineiro [Fundo Arthur da Silva Bernardes]
+Biblioteca Nacional (Brasil)
+Bibliothèque Nationale de France
+Casa de Lucio Costa
+Casa Geyer, Museu Imperial
+Coleção Maria Cecília e Candido Guinle de Paula Machado
+Fondren Library, Rice University
+Fundo Correio da Manhã, Arquivo Nacional, Brasil
+Imagens do Povo
+Library of Congress, Washington, D.C.
+Mapoteca do Itamaraty, Rio de Janeiro
+Oliveira Lima Library
+Prefeitura do Rio de Janeiro
+Woodson Research Center Special Collections & Archives
+Instituto Moreira Salles
+
+ 
+Marc Ferrez. Vista do Pão de Açúcar, c, 1885. Rio de Janeiro, RJ / Acervo IMS
+ 
+O site imagineRio
+Martim Passos*
+ 
+Luiz Musso, Avenida Beira-Mar, 191?. Rio de Janeiro, RJ / Acervo FBN
+ 
+Com milhares de fotografias, mapas e plantas do Rio de Janeiro vindas de instituições como o Instituto Moreira Salles e a Biblioteca Nacional, o site imagineRio é uma plataforma que permite ao usuário investigar, geográfica e visualmente, como a cidade se configurou ano a ano, do início da urbanização no Morro do Castelo ao seu recém-celebrado 457º aniversário. Idealizado por professores de Humanidades da Universidade de Rice, em Houston, Texas, a plataforma chega a sua terceira versão graças a um projeto de colaboração entre a instituição e o IMS financiado pela Fundação Getty.
+ 
+Fruto do casamento de mapas históricos com um amplo leque de representações – gravuras, aquarelas, fotografias – situadas no tempo e no espaço, o site oferece ferramentas poderosas para a pesquisa historiográfica e também para ser um passatempo inesgotável para os amantes da história carioca.
+ 
+Augusto Malta. Demolição do Morro do Castelo, 30 de agosto de 1922. Rio de Janeiro, RJ / Acervo IMS
+ 
+Escolhe-se uma data na linha do tempo e um mapa interativo se ajusta para refletir o Rio de Janeiro daquele ano. Em segundos, acessa-se um panorama de processos que aconteceram ao longo de séculos de intervenção: edifícios são construídos, modificados ou demolidos diacronicamente; ruas são abertas, desviadas ou estendidas; parques e jardins têm seus canteiros redesenhados, rios e mangues são aterrados, morros inteiros somem e a terra avança onde antes só havia mar. Tudo isso testemunhado pelas penas, lápis e lentes de artistas que registraram a cidade desde sua fundação e cujas obras tornaram-se evidências daquilo que o mapa mostra.
+ 
+
+ 
+ 
+O leitor pode ver o cotidiano de escravizados nas ruas do centro por Debret, as vistas secretas da Floresta da Tijuca capturadas em diversos formatos por Marc Ferrez, as primeiras tomadas aéreas da cidade realizadas pelo aviador pioneiro Jorge Kfuri, o movimento na Copacabana dos anos 20 nas estereoscopias de Guilherme Santos, o bota-abaixo da “Paris tropical” de Pereira Passos documentadas por Augusto Malta. A variada oferta de imagens é entregue em altíssima resolução, permitindo ao usuário mergulhar a fundo em cada uma e inspecionar detalhes longínquos, usando o painel cartográfico como apoio e vice-versa. No caso de objetos em domínio público, que configuram a grande maioria da coleção, também é possível baixar os arquivos originais para reuso livre.
+ 
+Augusto Malta. Vista de Botafogo e Pão de Açúcar, c. 1910. Rio de Janeiro, RJ / Acervo IMS
+ 
+ 
+Atrelada ao projeto está uma ferramenta de narrativas, voltada para a publicação de apresentações – criadas pelo público – aliando texto, imagens próprias e/ou publicadas no imagineRio e material cartográfico interativo. É possível anotar sobre o mapa, destacar pontos de interesse e animar transições entre diferentes áreas da cidade, contextualizando o leitor conforme avança na leitura. Mapear romances, esmiuçar grandes obras de engenharia e ilustrar processos e dinâmicas urbanas são alguns exemplos de uso empregados pelos primeiros usuários da plataforma.
+ 
+Para aproveitar o imagineRio ao máximo, assista a este pequeno tutorial em vídeo. Junte-se também ao fórum para participar de discussões, sugerir melhorias e acompanhar as novidades.
+ 
+Marc Ferrez. Rio, 190?. Rio de Janeiro, RJ / Acervo FBN
+ 
+*Martim Passos é o gerente do projeto Vistas Situadas do Rio de Janeiro e assistente técnico da Coordenadoria de Fotografia do Instituto Moreira Salles.
+Link para o site imagineRio.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/3951` — `itens/20.500.12156.1_3951/`
+- `20.500.12156.1/9258` — `itens/20.500.12156.1_9258/`
+- `20.500.12156.1/9805` — `itens/20.500.12156.1_9805/`
+- `20.500.12156.1/10962` — `itens/20.500.12156.1_10962/`
+- `20.500.12156.1/2559` — `itens/20.500.12156.1_2559/`
+- `20.500.12156.1/10957` — `itens/20.500.12156.1_10957/`
+- `20.500.12156.1/4652` — `itens/20.500.12156.1_4652/`
+- `20.500.12156.1/2718` — `itens/20.500.12156.1_2718/`
+- `20.500.12156.1/10963` — `itens/20.500.12156.1_10963/`
+
diff --git a/wordpress/27715-serie-1922-hoje-ha-100-anos-v-e-serie-conflitos-vi-a-revolta-do-forte-de-copacab.md b/wordpress/27715-serie-1922-hoje-ha-100-anos-v-e-serie-conflitos-vi-a-revolta-do-forte-de-copacab.md
new file mode 100644
index 0000000..6b257d9
--- /dev/null
+++ b/wordpress/27715-serie-1922-hoje-ha-100-anos-v-e-serie-conflitos-vi-a-revolta-do-forte-de-copacab.md
@@ -0,0 +1,123 @@
+---
+id: 27715
+url: "https://brasilianafotografica.bn.gov.br/?p=27715"
+titulo: "Série “1922 – Hoje, há 100 anos” V e Série “Conflitos” VI – A Revolta do Forte de Copacabana"
+autor: "Andrea Wanderley"
+data: "2022-07-05T12:30:40+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/10311"]
+fetched_at: "2026-09-10T10:10:51.153Z"
+---
+
+# Série “1922 – Hoje, há 100 anos” V e Série “Conflitos” VI – A Revolta do Forte de Copacabana
+
+Com uma imagem do acervo da Fundação Biblioteca Nacional, uma das instituições fundadoras da Brasiliana Fotográfica, produzida por um fotógrafo ainda não identificado, o portal publica o quinto artigo da Série 1922 – Hoje, há 100 anos, desta vez sobre o levante tenentista e a Revolta dos 18 do Forte de Copacabana, entre 5 e 6 de julho de 1922, na avenida Atlântica, no Rio de Janeiro. Com o episódio, o tenentismo ganhou impulso e foi um dos principais agentes históricos responsáveis pelo colapso da Primeira República do Brasil (O Paiz, 7 de julho de 1922; Gazeta de Notícias, 5 de julho de 1922; Beira-Mar, 3 de julho de 1927 e Beira-Mar, 3 de julho de 1927).
+ 
+Revolta do Forte de Copacabana, 6 de julho de 1922. Rio de Janeiro, RJ / Acervo FBN
+ 
+Mesmo se opondo aos objetivos do levante, o escritor Coelho Neto (1864 – 1934), em seu artigo Arrancada Radiante, que deveria ter sido publicado no Jornal do Brasil de 9 de julho de 1922, mas foi censurado, perguntou:
+“Que povo não se orgulharia de possuir na raça tais leões?”
+Embora rapidamente reprimida, a Revolta dos 18 do Forte de Copacabana foi importante historicamente, tendo sido a primeira manifestação do movimento tenentista, que buscava derrubar a República Velha e sua política, que ficou conhecida como Café com Leite, que alternava candidatos das oligarquias de São Paulo e Minas Gerais.
+O tenentismo, movimento que deu origem a outras revoltas como a Coluna Prestes (1924 a 1927), a Comuna de Manaus (1924) e a Revolta Paulista (1924), é considerado o embrião da Revolução de 1930.
+Segundo Nelson Werneck Sodré:
+“…o Tenentismo foi um episódio intimamente vinculado à mudança operada com a queda da República Velha e a implantação do regime subsequente, que poderia ser denominado de República Nova, embora esse título seja impróprio, de vez que não houve, entre uma e outra, a Velha e a Nova, diferenças essenciais”.
+“O extraordinário feito desse pequeno grupo, que se deslocou ao longo da praia de Copacabana, ao encontro das forças legais, tornou-se, com a ressonância que alcançou em todo o país, e com sua glorificação pela imprensa de oposição, uma das motivações fundamentais das ações que se  sucederiam ao longo dos anos”.
+A marcha dos 18 do Forte foi realizada provavelmente por cerca de 17 ou 18 militares e um civil – há controvérsias em relação a esse número.
+ 
+Gazeta de Notícias, 7 de julho de 1922
+ 
+A Marcha dos 18 do Forte / Atlas da Fundação Getulio Vargas
+ 
+Os praças Altino Gomes da Silva, Hildebrando da Silva Nunes, Manoel Ananias dos Santos, Manoel Antônio dos Reis; os soldados Benedito José do Nascimento, Francisco Ribeiro de Freitas, Heitor Ventura da Silva, João Anastácio Falcão de Melo; e o sargento José Pinto de Oliveira participaram da marcha e sobreviveram. Os tenentes Siqueira Campos (1898 – 1930) e Eduardo Gomes (1896 – 1981), futuro patrono da Força Aérea e candidato à Presidência da República em 1945 e em 1950, participaram e foram feridos. Os que morreram durante o combate foram o praça Hipólito José dos Santos, os tenentes Mario Carpenter, o soldado Pedro Ferreira de Melo, além do civil Otávio Correia. O tenente Newton Sizendando Prado (1897 – 1922) foi gravemente ferido e faleceu dias depois.
+ 
+O Paiz, 7 de julho de 1922
+ 
+Quando aconteceu a Revolta dos 18 do Forte de Copacabana, o mineiro Artur Bernardes (1875 – 1955), do Partido Republicano Mineiro, havia sido eleito presidente da República poucos meses antes, em março de 1922, fato abordado no terceiro artigo da Série Hoje, há 100 anos. Durante a campanha presidencial houve o episódio das cartas falsas: Bernardes foi acusado de ter escrito cartas ao senador Raul Soares (1877 – 1924), publicadas no jornal Correio da Manhã, atacando seu opositor, o fluminense Nilo Peçanha (1867 – 1924), candidato do Movimento Reação Republicana, chamado de moleque, e o marechal Hermes da Fonseca (1855 – 1923), referido como um sargentão sem compostura, o que acirrou os ânimos dos militares contra sua candidatura. Os jovens militares da Revolta dos 18 do Forte haviam apoiado a Reação Republicana. E antes, em 1919, o presidente Epitácio Pessoa (1865 – 1942) já havia nomeado o civil Pandiá Calógeras (1870 – 1934) para o Ministério da Guerra, causando mal estar entre os militares.
+Voltando para 1922: Epitácio interveio na eleição estadual de Pernambuco, ocorrida em 27 de maio, cuja campanha eleitoral entre o candidato ligado a Nilo Peçanha, o vencedor José Henrique Carneiro da Cunha, e o ligado a Artur Bernardes, o coronel Lima Castro, prefeito do Recife; havia sido muito agitada. As tropas federais patrulharam o Recife e apoiavam claramente os bernardistas (Diário de Pernambuco, 27 de maio de 1922). O marechal Hermes da Fonseca (1855 – 1923), então presidente do Clube Militar, reagiu criticando duramente o presidente, tendo enviado, em 29 de junho de 1922,  um telegrama ao coronel Jaime Pessoa, comandante da 7ª Região Militar, sediada no Recife:
+“O Clube Militar está contristado pela situação angustiosa em que se encontra o Estado de Pernambuco, narrada por fontes insuspeitas que dão ao nosso glorioso Exército a odiosa posição de algoz do povo pernambucano. Venho fraternalmente lembrar-vos que mediteis nos termos dos arts. 6.º e 14 da Constituição, para isentardes o vosso nome e o da nobre classe a que pertencemos da maldição de nossos patrícios. O apelo que ora dirijo ao ilustre consócio é para satisfazer os instantes pedidos de camaradas nossos daí, no sentido de apoiá-lo nessa crítica emergência, em que se procura desviar a força armada do seu alto destino. Confiando no vosso patriotismo e zelo pela perpetuidade do amor do Exército, ao povo de nossa terra, vos falo nesse grande momento. Não esqueçais que as instituições passam e o Exército fica. – Saudações – M.al Hermes da Fonseca.” (Correio da Manhã, 30 de junho de 1922, terceira coluna).
+Epitácio ordenou, em 2 de julho, a prisão do marechal  Hermes – que foi libertado no dia seguinte – e o fechamento do Clube Militar, três dias antes do levante do Forte de Copacabana. O capitão Euclides Hermes (1883 – 1962), filho de Hermes e comandante do Forte de Copacabana, em 4 de julho, conclamou seus comandados. Houve também levantes na Vila Militar e na Escola Militar do Realengo, no Rio de Janeiro, e ainda na guarnição de Mato Grosso. Devido à revolta, foi decretado o estado de sítio no Brasil. O governo federal reprimiu o movimento, prendendo vários oficiais, inclusive, novamente, Hermes da Fonseca, libertado em janeiro de 1923 (O Jornal, 2 de julho,primeira coluna; 4 de julho, primeira coluna; e 6 de julho de 1922; Gazeta de Notícias, 6 de julho de 1922; O Paiz, 7 de janeiro de 1923; Gazeta de Notícias, 7 de janeiro de 1923).
+ 
+Telegrama enviado pelo então presidente Epitácio Pessoa ao presidente eleito, Artur Bernardes, 5 de julho de 1922 / CPDOC
+ 
+“Na madrugada de 5 de julho, a crise culminou com uma série de levantes militares. Na capital federal, levantaram-se o forte de Copacabana, guarnições da Vila Militar, o forte do Vigia, a Escola Militar do Realengo e o 1° Batalhão de Engenharia; em Niterói, membros da Marinha e do Exército; em Mato Grosso, a 1ª Circunscrição Militar, comandada pelo general Clodoaldo da Fonseca, tio do marechal Hermes. No Rio de Janeiro, o movimento foi comandado pelos “tenentes”, uma vez que a maioria da alta oficialidade se recusou a participar do levante.
+Os rebeldes do forte de Copacabana dispararam seus canhões contra diversos redutos do Exército, forçando inclusive o comando militar a abandonar o Ministério da Guerra. As forças legais revidaram, e o forte sofreu sério bombardeio. O ministro da Guerra, Pandiá Calógeras, empreendeu em vão várias tentativas no sentido de obter a rendição dos rebeldes.
+Finalmente, no início da tarde do dia 6 de julho, ante a impossibilidade de prosseguir no movimento, os revoltosos que permaneciam firmes na decisão de não se renderem ao governo abandonaram o forte e marcharam pela avenida Atlântica de encontro às forças legalistas. A eles aderiu o civil Otávio Correia, até então mero espectador dos acontecimentos.
+Conhecidos como os 18 do Forte – embora haja controvérsias quanto a seu número, pois os depoimentos dos sobreviventes e as notícias da imprensa da época não coincidem -, os participantes da marcha travaram tiroteio com as forças legais. Os tenentes Siqueira Campos e Eduardo Gomes sobreviveram com graves ferimentos. Entre os mortos, estavam os tenentes Mário Carpenter e Newton Prado.”
+Site do CPDOC
+ 
+Segundo o historiador Hélio Silva:
+“Silenciado o último fuzil; mal pensadas as feridas sangrentas; jogada a pá de cal aos esquifes baixados às sepulturas, começaram as devassas. (…) (Instautou-se) um estado de sítio de quatro anos, sob um regime de prisões políticas, não só dos réus, mas também dos advogados e jornalistas, que os defendiam e, ainda, a ameaça de prisão para juízes e paralemntares, com a censura à imprensa e alguns jornais suspensos… O interrogatório dos indiciados faz surgir nos cabeçalhos dos diários os nomes que mais tarde iriam chefiar revoluções, dirigir ministérios, comandar exércitos: Eduardo Gomes, Juarez Távora, Ciro Cardoso, Odílio Denys.”
+ 
+
+Da esquerda para direita, tenentes Eduardo Gomes, Siqueira Campos, Nílton Prado e Otávio Correia/
+Beira-Mar, 3 de julho de 1927
+ 
+A icônica foto do episódio dos 18 do Forte, mostrada acima, não está creditada mas é de autoria do fotógrafo Zenóbio Rodrigues do Couto (1875 – 1931).
+ 
+ 
+Zenóbio Rodrigues do Couto (1875 – 1931) / O Cruzeiro, 3 de julho de 1974
+ 
+Houve inclusive uma polêmica em torno da veracidade e da autoria da imagem, considerada pelo O Cruzeiro, em 1931, um dos dois registros mais importantes da reportagem fotográfica brasileira até então. O outro seria o da saída do presidente Washington Luis (1869 – 1957) do Palácio da Guanabara, em 24 de outubro de 1930, produzida por Arnaldo Vieira (? – 1974), da Revista da Semana (O Cruzeiro, 26 de setembro de 1931, terceira coluna; O Cruzeiro, 3 de julho de 1974).
+Além da icônica imagem de Zenóbio, conhecida como Marcha da Morte, ele teria produzido duas outras do episódio: uma do tenente Newton Campos de pé sobre uns colchões em frente ao Forte de Copacabana e outra do cabo Manoel Antônio Reis, corneteiro do Forte. Teriam sido publicadas na edição de 15 de julho de 1922 da revista O Malho, que foi apreendida, motivo pelo qual não há um exemplar dessa edição na Hemeroteca Digital da Biblioteca Nacional. Porém, em O Jornal, de 18 de julho de 1922, há a transcrição de um artigo publicado na referida edição de O Malho sobre a revolta, a favor do presidente (O Jornal, 18 de julho de 1922, quarta coluna; Correio da Manhã, 3 de julho de 1963; História de Alagoas). Zenóbio e sua mulher suicidaram-se, em 1931 (O Malho, 12 de setembro de 1931).
+ 
+O Malho, 12 de setembro de 1931
+ 
+Link para fotografias do movimento revolucionário publicadas na Revista da Semana de 15 de julho de 1922: páginas 18, 19 e 20.
+ 
+Homenagem aos 18 do Forte
+ 
+Em 5 de dezembro de 1930, por decisão do interventor do Distrito Federal, Adolpho Bergamini (1886 – 1945), em homenagem aos 18 do Forte, a rua Barroso, em frente a qual se realizaram os combates na praia, foi batizada de rua Siqueira Campos. E a antiga rua Hermezilda passou a chamar-se 5 de julho, em 1931 (Beira-Mar, 11 de julho de 1931).
+ 
+Beira-Mar, 11 de julho de 1931
+ 
+Na edição da Beira-Mar, de 29 de junho de 1940, foi publicado um interessante relato de um repórter que presenciou a Revolta dos 18 do Forte.
+Foi inaugurado, em 5 de julho de 1974, com a presença do brigadeiro Eduardo Gomes, único sobrevivente do levante, o monumento Tenente Siqueira Campos – Ao Levante dos 18 do Forte, na avenida Atlântica, em frente à rua Siqueira Campos. A estátua em bronze representa Siqueira Campos no momento que foi atingido por um tiro (Jornal do Brasil, 5 de julho, última coluna; e 6 de julho, terceira coluna, de 1974).
+ 
+Jornal do Brasil, 4 de julho de 1974
+ 
+Quadro em homenagem aos 18 do Forte pintado por Manoel de Faria / Correio da Manhã, 25 de outubro de 1930
+ 
+ 
+Outra efeméride de 1922 – A fundação do Centro Dom Vital
+ 
+Também em 1922, em maio, cerca de dois meses antes do episódio dos 18 do Forte, foi fundado o Centro Dom Vital, criado pelo escritor Jackson de Figueiredo (1891 – 1928), convertido ao catolicismo, em 1918, influenciado por dom Sebastião Leme (1882 – 1942), arcebispo do Rio de Janeiro. A associação combatia os ideais dos tenentes, atacava o socialismo e um de seus objetivos mais importantes era formar uma “nova geração de intelectuais católicos”. Jackson usava a revista A Ordem, fundada por ele, em 1921, para repercutir os ideais do Centro Dom Vital, do qual fizeram parte como presidentes o escritor Alceu Amoroso Lima (1893 – 1983) e o jurista Heráclito Sobral Pinto (1893 – 1991), dentre outros.
+ 
+Jackson de Figueiredo (1891 – 1928)
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+Esse artigo passou a integrar a série Conflitos, em 20 de março de 2026.
+ 
+Fontes:
+CARVALHO, Claunisio Amorim. O insigne pavilhão: nação e nacionalismo na obra do escritor Coelho Neto. Dissertação apresentada ao Programa de Pós-Graduação em História Social – Mestrado Acadêmico da Universidade Federal do Maranhão, 2012.
+DÓRIA, Pedro. Tenentes: A guerra civil brasileira. Rio de Janeiro : Record, 2016.
+FORJAZ, Maria Cecilia Spina. A crise da república oligárquica no Brasil: as primeiras manifestações tenentistas. Dezembro de 1976.
+GERSON, Brasil. História das Ruas do Rio. Rio de Janeiro: Bem-Te-Vi, 2013.
+Hemeroteca Digital da Biblioteca Nacional
+Nosso Século 1910 – 1930. Rio de Janeiro : Editora Abril, 1980.
+Site Centro Dom Vital
+Site CPDOC – 18 do Forte e Centro Dom Vital
+Site História de Alagoas
+Site Inventário dos Monumentos RJ
+SILVA, Hélio. Sangue na areia de Copacabana. Rio de Janeiro : Civilização Brasileira, 1971.
+SODRÉ, Nelson Werneck. O Tenentismo. Porto Alegre : Editora Mercado Aberto, 1985.
+TORRES, Sergio Rubens de Araújo. A Revolução de 1922 – Os 18 do Forte
+ 
+Links para os artigos já publicados da Série 1922 – Hoje, há 100 anos
+Série 1922 – Hoje, há 100 anos I – Os Batutas embarcam para Paris, de autoria de Andrea C.T. Wanderley, publicado em 29 de janeiro de 2022
+Série 1922 – Hoje, há 100 anos II- A Semana de Arte Moderna, de autoria de Andrea C.T. Wanderley, publicado em 13 de fevereiro de 2022, na Brasiliana Fotográfica
+Série 1922 – Hoje, há 100 anos III – A eleição de Artur Bernardes e a derrota de Nilo Peçanha, de autoria de Andrea C.T. Wanderley, publicado em 1º de março de 2022, na Brasiliana Fotográfica
+Série 1922 – Hoje, há 100 anos IV – A primeira travessia aérea do Atlântico Sul, realizada pelos aeronautas portugueses Gago Coutinho e Sacadura Cabral, de autoria de Andrea C. T. Wanderley, publicada em 17 de junho de 2022, na Brasiliana Fotográfica
+Série 1922 – Hoje, há 100 anos VI e série Feministas, graças a Deus XI – A fundação da Federação Brasileira para o Progresso Feminino, de autoria de Andrea C. T. Wanderley, publicado em 9 de agosto de 2022, na Brasiliana Fotográfica
+Série 1922 – Hoje, há 100 anos VII – A morte de Gastão de Orleáns, o conde d´Eu (Neuilly-sur-Seine, 28/04/1842 – Oceano Atlântico 28/08/1922), de autoria de Andrea C. T. Wanderley, publicado em 28 de agosto de 2022, na Brasiliana Fotográfica.
+Série 1922 – Hoje, há 100 anos VIII – A abertura da Exposição Internacional do Centenário da Independência do Brasil e o centenário da primeira grande transmissão pública de rádio no país, de autoria de Andrea C. T. Wanderley, publicado em 7 de setembro de 2022, na Brasiliana Fotográfica.
+Série 1922 – Hoje, há 100 anos IX – O centenário do Museu Histórico Nacional, de autoria de Maria Isabel Lenzi, historiadora do Musseu Histórico Nacional, publicado em 12 de outubro de 2022, na Brasiliana Fotográfica.
+Série 1922 – Hoje, há 100 anos X –  A morte do escritor Lima Barreto (1881 – 1922), de autoria de Andrea C. T. Wanderley, publicado em 1º denovembro de 2022, na Brasiliana Fotográfica
+Série 1922 – Hoje, há 100 anos XI e série Feministas, graças a Deus XII – 1ª Conferência pelo Progresso Feminino e o “bom” feminismo, de autoria de Maria Elizabeth Brêa Monteiro, antropóloga do Arquivo Nacional, publicado em 19 de dezembro de 2022, na Brasiliana Fotográfica.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/10311` — `itens/20.500.12156.1_10311/`
+
diff --git a/wordpress/27766-cronologia-de-joaquim-antonio-correia-18.md b/wordpress/27766-cronologia-de-joaquim-antonio-correia-18.md
new file mode 100644
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--- /dev/null
+++ b/wordpress/27766-cronologia-de-joaquim-antonio-correia-18.md
@@ -0,0 +1,40 @@
+---
+id: 27766
+url: "https://brasilianafotografica.bn.gov.br/?p=27766"
+titulo: "Cronologia de Joaquim Antônio Correia (18? – ?)"
+autor: "Andrea Wanderley"
+data: "2022-05-05T08:59:08+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: []
+fetched_at: "2026-09-10T10:10:54.213Z"
+---
+
+# Cronologia de Joaquim Antônio Correia (18? – ?)
+
+Breve cronologia de Joaquim Antônio Correia (18? – ?)
+ 
+
+ 
+1874 – Até este ano, o nome de Joaquim Antônio Correia apareceia no cadastro de contribuintes como dono de uma casa comercial especializada em produtos manufaturados fora da província,que ficava na rua da Palma , nº 17.
+1877 - Estabeleceu como fotógrafo na rua Formosa, n° 31. Atuou como retratista por não menos de dez anos e foi contemporâneo de Agio Pio, do prussiano Carlos Frederico Johann Reeckell, do dinamarquês Niels Olsen (1843 – 1911) associado ao austríaco Constantino Barza, do francês Baubrier e de Francisco Brandão, dentre outros.
+ 
+O Cearense, 28 de janeiro de 1877
+ 
+ 
+1878 – Defendeu-se da acusação de comercializar indevidamente retratos que produzia de moças de família e ameaçou pendurar de cabeça para baixo os retratos de seus devedores (O Cearense, 12 de maio de 1878).
+Em maio, conheceu o escritor José do Patrocínio (1853 – 1905), que havia ido para o Ceará para conhecer mais de perto a tragédia da seca. Voltando para o Rio de Janeiro, publicou duas fotos da seca no Ceará de autoria de Correia, na revista O Besouro, de 20 de julho de 1878, do chargista português Rafael Bordallo Pinheiro (1846 – 1905). Foi uma das iniciativas pioneiras da imprensa brasileira na utilização de fotografias como documentos comprobatórios de um fato. Foi um marco na história do fotojornalismo brasileiro.
+A publicação da ilustração litográfica das duas fotos sendo seguradas por um esqueleto vestindo paletó, sob o título “Páginas tristes – Scenas e aspectos do Ceará (para S. Majestade, o Sr. Governo e os Senhores Fornecedores verem)”, tinha o objetivo de reforçar denúncias feitas por do Patrocínio em artigos publicados no periódico de texto Gazeta de Notícias. Patrocínio fazia, na época, a cobertura jornalística da seca com o principal objetivo de acompanhar a aplicação dos recursos governamentais em seu combate. Partiu em 10 de maio de 1878 e retornou ao Rio de Janeiro, em 12 de agosto do mesmo ano. As matérias foram publicadas, na coluna Folhetim, na primeira página da Gazeta de Notícias, sob o título “Viagem ao Norte”. Mas só o texto não era suficiente. Então, Patrocínio enviou as fotos para a redação da revista O Besouro, para a qual já havia mandado, antes da viagem, o artigo “Sermão de Lágrimas” (O Besouro, edição de 4 de maio de 1878 ), em que tratava, com preocupação, a seca e a situação dos retirantes.
+1881 – Seu estúdio fotográfico dispunha de um grande sortimento de quadros de gosto…máquinas de 4 objetivas…e tudo por preço tão diminuto que admira.
+ 
+O Cearense, 15 de março de 1881
+ 
+1883 / 1884 – Antes da assinatura da Lei Áurea, em 13 de maio de 1888, Fortaleza, em 24 de maio de 1883, tornou-se a primeira capital brasileira a libertar todos os escravizados. No ano seguinte, em 25 de março de 1884, o Ceará passou a ser o primeiro estado brasileiro a extinguir a escravidão. Correia documentou os líderes da luta escravagista em fotos chamadas de Retratos Libertadores e, em 1883, as comercializava.
+ 
+O Libertador,  9 de maio de 1883 / História da fotografia no Ceará do século XIX
+ 
+1885 – Correia anunciou que havia adquirido, em Paris, uma nova máquina para retratos instantâneos (O Cearense, de 28 de julho de 1885, última coluna).
+1886 – Anunciava que em seu estabelecimento fotográfico tirava-se retratos pelos processos mais aperfeiçoados (O Libertador, 8 de junho de 1886, última coluna).
+1892 – Provavelmente continuou trabalhando como fotógrafo até este ano.
+Em 29 de dezembro, inaugurou a primeira fábrica de louças do Ceará, no Boulevard da Conceição (A República, 28 de dezembro de 1892, quarta coluna).
+1893 – Anunciou a venda de seu estúdio fotográfico:
+“Joaquim Antonio Correia vende a sua fotografia constando de boas lentes, drogas, punsas, etc. A tratar: Rua Formosa, nº 31″ (A República, 30 de maio de 1893). Residia na rua Floriano Peixoto, nº 95.
diff --git a/wordpress/27822-serie-avenidas-e-ruas-do-brasil-xiv-a-avenida-presidente-vargas.md b/wordpress/27822-serie-avenidas-e-ruas-do-brasil-xiv-a-avenida-presidente-vargas.md
new file mode 100644
index 0000000..1e7e4d5
--- /dev/null
+++ b/wordpress/27822-serie-avenidas-e-ruas-do-brasil-xiv-a-avenida-presidente-vargas.md
@@ -0,0 +1,103 @@
+---
+id: 27822
+url: "https://brasilianafotografica.bn.gov.br/?p=27822"
+titulo: "Série “Avenidas e ruas do Brasil” XIV – A Avenida Presidente Vargas"
+autor: "Andrea Wanderley"
+data: "2022-08-26T07:38:18+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/1021", "20.500.12156.1/4603", "20.500.12156.1/9662", "20.500.12156.1/10803", "20.500.12156.1/9457"]
+fetched_at: "2026-09-10T10:10:57.406Z"
+---
+
+# Série “Avenidas e ruas do Brasil” XIV – A Avenida Presidente Vargas
+
+Série “Avenidas e ruas do Brasil” XIV – A Avenida Presidente Vargas
+O tema do 14º artigo da Série Avenidas e ruas do Brasil é a Avenida Presidente Vargas, no Centro do Rio de Janeiro. Foram selecionadas 19 fotografias da avenida em si e também de lugares que existiam antes de sua inauguração, na década de 40. São imagens produzidas por Alfredo Krausz (1902 – 1953), Antônio Caetano da Costa Ribeiro (18? – 19?), Augusto Malta (1864 – 1957), Guilherme Santos (1871 – 1966), Marc Ferrez (1843 – 1923), Revert Henrique Klumb (c. 1826 – c. 1886) e Uriel Malta (1910 – 1994). As mais antigas são da década de 1860, foram realizadas por Klumb e retratam o então Canal do Aterrado, o Canal do Mangue.
+A avenida Presidente Vargas liga o Largo da Candelária à Praça da Bandeira e tem quatro quilômetros de extensão e 80 metros de largura. É lá que acontecem as festas de 7 de setembro. Também já foi palco de manifestações populares que fazem parte da história do Brasil como a do movimento pelas Diretas Já.
+ 
+Revert Henrique Klumb. Vue génerale du Canal de l’Aterrado et la Serra da Tyjuca,, c. 1860. Rio de Janeiro, RJ / Acervo FBN
+ 
+Acessando o link para as fotografias da Avenida Presidente Vargas disponíveis na Brasiliana Fotográfica, o leitor poderá visualizar e magnificar as imagens.
+ 
+Uriel Malta. Avenida Presidente Vargas (Vista do Alto), 10 de novembro de 1941. Rio de Janeiro, RJ / Acervo AGCRJ
+ 
+Logo no início da década de 40, durante o Estado Novo, o então presidente Getulio Vargas (1882 – 1954) decidiu construir a Avenida Presidente Vargas e, pelo projeto, um trecho do Campo de Santana, partes da Praça Onze, além de ruas inteiras, como a General Câmara, a São Pedro, a Senador Eusébio e a Visconde de Itaúna teriam que ser destruídos (O Malho, dezembro de 1941). Começaram as demolições. Inúmeras famílias foram desalojadas, mais de 500 prédios foram derrubados, dentre eles a antiga sede da prefeitura, e algumas igrejas como a Igreja de São Pedro dos Clérigos, que já foram temas de artigos da série O Rio de Janeiro desaparecido. As igrejas do Bom Jesus do Calvário, de Nossa Senhora da Conceição e a Capela de São Domingos também foram demolidas. No traçado original, nem a Candelária resistiria, mas desistiram de demoli-la e construíram a Praça Pio XI para harmonizá-la com a nova avenida.
+ 
+Augusto Malta. Igreja de Santo Domingos, 1926. Rio de Janeiro, RJ / Acervo IMS
+ 
+O segundo trecho da nova avenida foi concluído em 10 de novembro de 1942; e, em 10 de novembro de 1943, foi batizada de Presidente Vargas. Finalmente, em 7 de setembro de 1944, foi inaugurada. A obra foi realizada durante a gestão dom prefeito Henrique Dodsworth (1895 – 1975) em apenas três anos (O Malho, dezembro de 1942, abril de 1943, dezembro de 1943; O País, 10 de novembro de 1943; Jornal do Brasil, 8 de setembro de 1944).
+ 
+Jornal do Brasil, 8 de setembro de 1944
+ 
+Parada militar de 7 de setembro na Avenida Presidente Vargas, c. 1945. Rio de Janeiro, RJ / Acervo IMS
+ 
+Guilherme Santos. Edifícios na Avenida Presidente Vargas, c. 1950. Rio de Janeiro, RJ / Acervo IMS
+ 
+Segundo o site MultiRio:
+“Muito embora a Presidente Vargas tenha cumprido, de imediato, o seu papel de corredor de transportes, dotando o Centro de melhor infraestrutura rodoviária, o crescimento imobiliário da via não cumpriu o roteiro programado, à exceção do trecho próximo à Avenida Rio Branco. Aos poucos, os empreendimentos se estenderam até o Campo de Santana, tornando-se, a partir daí, cada vez mais rarefeitos, fato que contribuiu para a decadência de toda a região da Cidade Nova.
+Segundo informações do Instituto Pereira Passos, a renovação dessa área só começou a acontecer na década de 1970, quando várias instituições públicas passaram a construir grandes prédios para ali se instalarem, a exemplo dos Correios, do Arquivo Público Nacional, do Centro Administrativo São Sebastião, do Centro de Convenções. O fato é que o espírito da cultura negra permanece mais vivo do que nunca no trecho da Avenida Presidente Vargas onde existia a antiga Praça Onze. É ali que fica o Monumento a Zumbi, o Terreirão do Samba, a armação do desfile das maiores escolas de samba da cidade”.
+ 
+Ouça aqui a música Bom dia, Avenida (1944), de Herivelto Martins e Grande Otelo.
+ 
+ Bom dia, Avenida (1944)
+Herivelto Martins e Grande Otelo
+Lá vem a nova avenida
+Remodelando a cidade
+Rompendo prédios e ruas
+Os nossos patrimônios da saudade
+É o progresso!
+E o progresso é natural
+Lá vem a nova avenida
+Dizer à sua rival:
+Bom dia Avenida Central!
+A União das Escolas de Samba
+Respeitosamente faz o seu apelo
+Três e duzentos de selo
+Requereu e quer saber
+Se quem viu a Praça Onze acabar
+Tem direito à Avenida
+Em primeiro lugar
+Nem que seja depois de inaugurar
+Nem que seja depois de inaugurar!
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+BORDE, Andrea de Lacerda Pessôa. Avenida Presidente Vargas: narrativas históricas. Revista do Arquivo Geral do Rio de Janeiro, nº 10, 2016.
+BUENO, Eduardo e TAITELBAUM, Paula. Avenida Presidente Vargas: um desfile pela história do Brasil. Rio de Janeiro: Arco, 2010.
+Diário do Rio
+GERSON, Brasil. História das Ruas do Rio. Rio de Janeiro: Bem-Te-Vi, 2013.
+Hemeroteca Digital da Biblioteca Nacional
+O GLOBO, 6 de setembro de 2019
+Site MultiRio
+ 
+Links para as outras publicações da série “Avenidas e ruas do Brasil”
+ Série “Avenidas e ruas do Brasil” I – Avenida Central, atual Rio Branco, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 7 de setembro de 2016
+Série “Avenidas e ruas do Brasil” II – A Rua do Imperador em Petrópolis por Klumb, Leuzinger e Stahl, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 26 de junho de 2020
+Série “Avenidas e ruas do Brasil” III – A Rua do Bom Jesus, no Recife, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 6 de agosto de 2020
+Série “Avenidas e ruas do Brasil” IV – A Rua 25 de Março, em São Paulo, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 1º de setembro de 2020
+Série “Avenidas e ruas do Brasil” V – A Rua Direita, a Rua das Mercês e a Rua Macau do Meio, em Diamantina, Minas Gerais, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 22 de outubro de 2020
+Série “Avenidas e ruas do Brasil” VI  – Rua Augusto Ribas e outras, em Ponta Grossa, no Paraná, pelo fotógrafo Luiz Bianchi, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 16 de novembro de 2020
+Série “Avenidas e ruas do Brasil” VII – A Avenida Atlântica, em Copacabana, no Rio de Janeiro, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 23 de dezembro de 2020
+Série “Avenidas e ruas do Brasil VIII – A Rua da Carioca por Cássio Loredano, de autoria de Cássio Loredano, publicada em 20 de janeiro de 2021
+Série “Avenidas e ruas do Brasil” IX – Ruas e panoramas do bairro do Catete, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 14 de julho de 2021
+Série “Avenidas e ruas do Brasil” X – A Rua da Ajuda, no Rio de Janeiro, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 9 de novembro de 2021
+Série “Avenidas e ruas do Brasil” XI – A Rua da Esperança, em São Paulo, por Vincenzo Pastore, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 14 de dezembro de 2021
+Série “Avenidas e ruas do Brasil” XII – A Avenida Paulista, o coração pulsante da metrópole, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 21 de janeiro de 2022
+Série “Avenidas e ruas do Brasil” XIII – A Rua Buenos Aires no Centro do Rio de Janeiro, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 19 de julho de 2022
+Série “Avenidas e ruas do Brasil” XV – Misericórdia: rua, largo e ladeira, no Rio de Janeiro, por Cássio Loredano, de autoria de Cássio Loredano, publicada em 8 de dezembro de 2022
+Série “Avenidas e ruas do Brasil” XVI – “Alguma coisa acontece no meu coração”, a Avenida São João nos 469 anos de São Paulo, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 25 de janeiro de 2023
+Série “Avenidas e ruas do Brasil” XVII  e série “O Rio de Janeiro desaparecido” XXIII – A Praia e a Rua do Russel, na Glória, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 15 de maio de 2023
+Série “Avenidas e ruas do Brasil” XVIII – Avenida Beira-Mar, de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal, publicada em 22 de janeiro de 2024
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/1021` — `itens/20.500.12156.1_1021/`
+- `20.500.12156.1/4603` — `itens/20.500.12156.1_4603/`
+- `20.500.12156.1/9662` — `itens/20.500.12156.1_9662/`
+- `20.500.12156.1/10803` — `itens/20.500.12156.1_10803/`
+- `20.500.12156.1/9457` — `itens/20.500.12156.1_9457/`
+
diff --git a/wordpress/27927-cronologia-de-hermina-de-carvalho-menna-da-costa-18.md b/wordpress/27927-cronologia-de-hermina-de-carvalho-menna-da-costa-18.md
new file mode 100644
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--- /dev/null
+++ b/wordpress/27927-cronologia-de-hermina-de-carvalho-menna-da-costa-18.md
@@ -0,0 +1,125 @@
+---
+id: 27927
+url: "https://brasilianafotografica.bn.gov.br/?p=27927"
+titulo: "Cronologia de Hermina de Carvalho Menna da Costa (18? – ?)"
+autor: "Andrea Wanderley"
+data: "2022-08-19T09:02:40+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/2655"]
+fetched_at: "2026-09-10T10:11:00.848Z"
+---
+
+# Cronologia de Hermina de Carvalho Menna da Costa (18? – ?)
+
+Cronologia de Hermina de Carvalho Menna da Costa (18? -?)
+
+1871 – Anunciado o casamento de Hermina Adelaide da Cunha Carvalho com Felippe Emilio Menna da Costa (c. 1853 – 1922) (Jornal do Recife, 14 de novembro de 1871, primeira coluna). Em fins da década de 1870, Felippe era o segundo escriturário do Corpo de Polícia (Jornal do Recife, 7 de maio de 1879, penúltima coluna). Em 1890, foi promovido a arquivista do Tesouro do Estado, onde já era escriturário (Jornal do Recife, 23 de abril de 1890, primeira coluna). Como chefe da terceira seção da Contadoria do Tesouro do Estado pediu, em 1893, aposentadoria (Jornal do Recife, 2 de março de 1893, primeira coluna). Em 1897, era inspetor literário (Jornal do Recife, 15 de dezembro de 1897, última coluna). Em 1904, foi identificado como casado e aposentado (Diário de Pernambuco, 7 de agosto de 1904, segunda coluna). Provavelmente, Elvira Carvalho Menna da Costa e Amelia Menna Marques de Oliveira eram filhas do casal (Diário de Pernambuco, 3 de julho de 1903, segunda coluna; Diário de Pernambuco, 15 de julho de 1924, quinta coluna).
+
+1875 – Manoel Inocencio Menna da Costa, cujo parentesco com Hermina não foi até hoje precisamente identificado e que já atuava como fotógrafo desde 1872 (O Paiz (MA), 11 de março de 1886, primeira coluna), embarcou no Rio de Janeiro, no paquete Pará, rumo a Pernambuco no mesmo navio em que estavam o geólogo canadense Charles Frederick Hartt (1840 – 1878), o engenheiro Elias Fausto Pacheco Jordão (1849 – 1901) e o fotógrafo Marc Ferrez (1843 – 1923), integrantes da Comissão Geológica do Império. Terá sido uma coincidência ou será que já conhecia o grupo, especialmente o fotógrafo Marc Ferrez? (O Globo, 10 de julho de 1875, última coluna). Era filho de Emília Fausta da Fonseca Menna da Costa, diretora do Colégio Nossa Senhora da Conceição, e tinha uma irmã chamada Emília. Qual seria seu parentesco com o marido de Hermina, Felippe Emilio Menna da Costa? (Jornal do Recife, 29 de abril de 1870, última coluna).
+
+Foi anunciado o ateliê fotográfico de Menna da Costa na Rua da Imperatriz, nº 48, no primeiro andar (Jornal do Recife, 11 de novembro de 1875).
+
+ 
+Jornal do Recife, 11 e novembro de 1875
+ 
+1880 / 1881 – Nestes anos, Hermina trabalhava na Rua da Imperatriz, nº 48, mesmo endereço de Manoel Inocêncio, porém no segundo andar. Fazia qualquer trabalho de cera, bandejas com bolos e dourava letreiros em fitas. Terá essa vizinhança influenciado o interesse de Hermina pela fotografia?
+ 
+Jornal do Recife, 2 de dezembro de 1880
+
+ 
+1883 - Em 21 de outubro, Hermina inaugurou, já com alguns trabalhos em exposição, o estabelecimento fotográfico Hermina Costa & C, na Rua Barão da Victoria, nº 14, no mesmo local onde antes se localizava o ateliê do francês Francisco (François) Labadie (? – 1883), falecido em fevereiro de 1883, vítima de gastro-hepatite. Labadie havia sido contratado, em 1876, para trabalhar na Photographia Imperial dos Srs. Lopes & C, a quem provavelmente sucedeu, pois, em 1879, sua Photographie Française era anunciada no mesmo endereço (Diário de Pernambuco, 11 de março de 1876, quarta coluna; 14 de fevereiro, quarta coluna; e  21 de outubro, segunda coluna, de 1883; Jornal do Recife, 19 de outubro de 1883, terceira coluna; Jornal do Recife, 20 de outubro de 1883, penúltima coluna).
+ 
+Diário de Pernambuco, 21 de outubro de 1883
+ 
+1884 – Hermina, Manoel Inocêncio Menna da Costa e o antiquário francês Alfred Ducasble (18? – 19?) formavam a comissão da Imperial Sociedade dos Artistas Mecânicos e Liberais para arrecadação dos impostos devidos por fotógrafos e retratistas (Jornal de Recife, 11 de julho de 1884, última coluna).
+1885 – No estabelecimento fotográfico de Hermina foi produzido o quadro dos formandos da Faculdade do Recife. A Rua Barão da Vitória já se chamava Rua Nova e o estabelecimento de Hermina ficava no nº 12, segundo andar.  (Jornal do Recife, 12 de setembro de 1885, coluna).
+ 
+Jornal do Recife, 10 de outubro de 1885
+ 
+Moritz Lamberg. Rua Nova (antiga Barão da Vitória e João Pessoa), c. 1880. Recife, Pernambuco / Acervo IMS
+ 
+Participou da quinta Exposição Artístico-Industrial do Liceu de Artes e Ofícios promovida pela Imperial Sociedade dos Artistas Mecânicos e Liberais, tendo recebido o Diploma de Mérito, fato que certamente aumentou sua visibilidade como fotógrafa. Na ocasião, Alfredo Ducasble ganhou o Diploma de Progresso (Diário de Pernambuco, 20 de dezembro de 1885).
+ 
+
+Diário de Pernambuco, 31 de dezembro de 1885
+
+1886 – Manoel Inocencio Menna Barreto foi trabalhar como fotógrafo no Maranhão. Estabeleceu-se na antiga Photographia Soares, na Rua do Sol, onde permaneceu até 27 de fevereiro de 1887. Informava, em anúncio, que havia trabalhado 14 anos como fotógrafo no Recife (O Paiz (MA), 11 de março de 1886, primeira coluna; A Pacotilha (MA), 13 de setembro de 1886, quarta coluna; 28 de fevereiro de 1887, terceira coluna; Diário do Maranhão, 18 de fevereiro de 1887, primeira coluna).
+ 
+Diário do Maranhão, 18 de fevereiro de 1887
+ 
+Hermina anunciou que o fotógrafo Flosculo de Magalhães não era mais sócio de seu estabelecimento desde o dia 6 de junho (Diário de Pernambuco, 24 de junho de 1886, quinta coluna).
+ 
+Diário de Pernambuco, 24 de junho de 1886
+ 
+1887 - Manoel Inocêncio Menna da Costa trabalhava em um estabelecimento na Rua da Imperatriz, nº 48 (Jornal do Recife, 27 de maio de 1877, quinta coluna). Acusou o fotógrafo Francisco (François) Labadie (? – 1883), proprietário da Photographie Française, de presunçoso por se intitular o primeiro fotógrafo do norte do Império a produzir retratos a carvão. Labadie respondeu às críticas e Manoel Inocêncio o chamou de pomadista e o acusou de charlatanismo (Jornal do Recife, 13 de julho de 1877, terceira coluna e Jornal do Recife, 20 de julho de 1877, terceira coluna; Jornal do Recife, 8 de agosto de 1877, terceira coluna).
+ 
+Jornal do Recife, 2 de outubro de 1877
+ 
+Hermina anunciou-se para o dia 1º de junho a abertura da Photographia Moderna, na Rua Primeiro de Março (antiga Rua do Crespo), nº 7. Trabalhavam com ela no novo estabelecimento os fotógrafos Joaquim Canellas de Castro e Manoel Inocêncio Menna da Costa, recém chegado do Maranhão (Jornal do Recife, 27 de outubro de 1887, primeira coluna).
+Flosculo de Magalhães voltou a trabalhar com Hermina no ateliê fotográfico da Rua Barão da Victoria.
+ 
+Diário de Pernambuco, 31 de maio de 1887
+ 
+Hermina oferecia em seu estabelecimento retratos a óleo (Jornal do Recife, 18 de novembro de 1887).
+ 
+Jornal do Recife, 18 de novembro de 1887
+ 
+1888 – O cuter Liberdade, que havia estado no porto do Recife, foi fotografado pela Photographia Moderna. Um exemplar da excelente fotografia foi ofertado ao Diário de Pernambuco (Diário de Pernambuco, 7 de setembro de 1888, última coluna).
+1889 – A Photographia Moderna, na Rua 1º de março, nº 7, anunciava retratos superiores aos americanos, o uso de molduras a ouro fino e a pintura sobre fotografias inalteráveis. Faziam retratos de todos os tamanhos e por diversos sistemas e o trabalho ficava exposto na entrada do estabelecimento e em diversas casa de negócio. O estabelecimento da Rua Barão da Victoria continuava a funcionar com bom ou mau tempo devido à boa luz do atelier.
+ 
+Jornal do Povo, 18 de janeiro de 1889
+ 
+ 
+Jornal do Recife, 27 de fevereiro de 1889
+ 
+Jornal do Recife, 4 de maio de 1889
+ 
+Participou com o austríaco Constantino Barza, identificado como sucessor de Alberto Henschel (1827 – 1892), e A. Ducasble, de uma concorrência para realizar o quadro de retratos dos formandos da Faculdade de Direito. Barza foi o vencedor (Jornal do Recife, 19 de julho de 1889).
+ 
+Jornal do Recife, 19 de julho de 1889
+ 
+Foram feitos elogios aos novos cartões, que está empregando a oficina fotográfica Hermina Costa (Jornal do Recife, 21 de setembro de 1889, penúltima coluna).
+
+ 
+Jornal do Recife, 21 de setembro de 1889
+ 
+
+1890 – Neste ano começou a ser anunciada a venda de uma tinta, denominada Negra Familiar, de Hermina Costa. Será a própria ou uma homônima? (A Província, 9 de abril de 1890).
+
+ 
+A Província (PE), 9 de abril de 1890
+ 
+
+1891 - Em 1891, venceu a concorrência para para realizar o quadro de retratos dos formandos da Faculdade de Direito (Diário de Pernambuco, 17 de julho de 1891, última coluna).
+
+1892 - Foi anunciado que a Photographia Moderna havia passado por uma grande reforma (Jornal do Recife, 22 de setembro de 1892).
+
+1894 – Seu estabelecimento, na Rua 15 de novembro, nº 7, estava listado no Almanak do Estado de Pernambuco.
+
+Almanak do Estado de Pernambuco, 1894
+ 
+
+1895 – Seu estabelecimento continuava a funcionar na Rua 15 de novembro, nº 7 (Diário de Pernambuco, 5 de fevereiro de 1895, segunda coluna).
+
+Em 29 de dezembro, foi publicado que algum pedido feito por ela à Prefeitura do Recife havia sido deferido (Jornal do Recife, 29 de dezembro de 1894, quarta coluna).
+
+1900 – Estava, assim como o fotógrafo Ludgero Jardim da Costa, em uma lista de pessoas que haviam saldado compras feitas a prestações em uma loja na Rua Nova, 45. O ateliê de Ludgero ficava nesta rua, a antiga Rua Barão da Vitória (A Província (PE), 15 de abril de 1900, segunda coluna).
+
+1901 – Era possuidora de uma apólice da dívida pública do estado de Pernambuco (Diário de Pernambuco, 4 de maio de 1901, segunda coluna).
+
+1904 - Hermina da Costa era tesoureira do clube carnavalesco das Pás dos Lenhadores. Será a própria ou uma homônima? (Diário de Pernambuco, 1º de março de 1904, segunda coluna).
+
+1914 - Neste ano, havia um estabelecimento denominado Photographia Moderna, na Rua da Imperatriz, nº 19, cujo proprietário era o fotógrafo Horacio Alvares ( Jornal do Recife, 4 de setembro de 1914, segunda coluna).
+
+2021 - O leiloeiro Alberto Lopes anunciava a venda de uma raridade: um retrato  executado no estabelecimento de Hermina Costa na Rua Barão da Vitória, nº 14.
+
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/2655` — `itens/20.500.12156.1_2655/`
+
diff --git a/wordpress/27938-cronologia-de-elvira-leopardi-pastore-1876-1972-e-vincenzo-pastore-1865-1918.md b/wordpress/27938-cronologia-de-elvira-leopardi-pastore-1876-1972-e-vincenzo-pastore-1865-1918.md
new file mode 100644
index 0000000..1d2b845
--- /dev/null
+++ b/wordpress/27938-cronologia-de-elvira-leopardi-pastore-1876-1972-e-vincenzo-pastore-1865-1918.md
@@ -0,0 +1,149 @@
+---
+id: 27938
+url: "https://brasilianafotografica.bn.gov.br/?p=27938"
+titulo: "Cronologia de Elvira Leopardi Pastore (1876 – 1972) e Vincenzo Pastore (1865 – 1918)"
+autor: "Andrea Wanderley"
+data: "2022-08-19T09:02:56+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/2119", "20.500.12156.1/2122", "20.500.12156.1/2079", "20.500.12156.1/2132", "20.500.12156.1/2093"]
+fetched_at: "2026-09-10T10:11:04.252Z"
+---
+
+# Cronologia de Elvira Leopardi Pastore (1876 – 1972) e Vincenzo Pastore (1865 – 1918)
+
+Cronologia de Elvira Leopardi Pastore (1876 – 1972) e Vincenzo Pastore (1865 – 1918)
+ 
+O casal Pastore, na capa do Álbum de Recordações Vicente e Elvira Pastore / Entre o estúdio e a rua: a trajetória de Vincenzo Pastore, fotógrafo do cotidiano, por Fabiana Beltramin, página 33 / Coelção Dante Pastore
+ 
+1865 – Em 5 de agosto, nascimento de Vincenzo Pastore, em Casamassima, na região de Puglia, na Itália, filho de Francesco Pastore e Costanza Massara.
+ 
+Autorretrato de Vincenzo Pastore, c. 1910. São Paulo, SP / Acervo IMS
+ 
+1876 – Nascimento de Elvira Teresa Angela Leopardi (1876-1972), futura mulher de Vincenzo Pastore, em Potenza, na região de Basilicata.
+Vincenzo Pastore. Elvira Leopardi Pastore e sua filha Maria Lúcia, c. 1908. São Paulo, SP / Acervo IMS
+ 
+1894 / 1895 – Pastore chegou ao Brasil, deembarcando no porto de Santos. Foi para São Paulo que recebia um grande fluxo de imigração de italianos em busca de novas oportunidades de trabalho. Nesta época a cidade crescia muito: em 1890 tinha 65 mil habitantes e apenas três anos depois, em 1893, esse número duplicou. Na virada dos século XIX para o XX, já havia 240 mil moradores na cidade, sendo que cerca de 40% eram italianos. Vincenzo iniciou suas atividades de fotógrafo e pela qualidade de seu trabalho conseguiu prestígio rapidamente.
+c. 1896 - Retornou à Itália.
+1897- Em Potenza, na região de Basilicata, na Itália, Vincenzo casou-se com Elvira Leopardi Pastore (1876-1972), em 6 de setembro de 1897. Tiveram 10 filhos: Costanza (1899-?), Beatriz (1902-?), Maria Lucia (1903-1988), Francisco (1905-1985), Pio Donato (1906-?), Leonor, às vezes chamada de Eleonora ( 1908-1990), Olga (1909-?), Carmelita (1910 -?), Dante (1912-?) e Redento (1915-1918).
+1898 – Vincenzo possuia um estabelecimento fotográfico, em Potenza, e a edição do jornal Il Lucano de 14 de outubro descrevia as habilidades de Vincenzo como fotógrafo.
+ 
+Do Centro de Ricerca Audiovisuale Universitá di Napoli Federico II / Entre o estúdio e a rua: a trajetória de Vincenzo Pastore, fotógrafo do cotidiano, por Fabiana Beltramin, página 108
+ 
+1899 -  Vincenzo voltou para São Paulo, desta vez já casado com Elvira, e instalou seu estabelecimento fotográfico na Rua da Assembleia, nº 12 (depois Rua Rodrigo Silva), onde o casal também passou a residir.
+ 
+O casal Pastore, possivelmente no jardim do estúdio na rua da Assembleia, nº 12, da Coleção Dante Pastore / Entre o estúdio e a rua: a trajetória de Vincenzo Pastore, fotógrafo do cotidiano, por Fabiana Beltramin, página 53 / Coleção Dante Pastore
+ 
+Elvira trabalhava no laboratório do estúdio e era a responsável pelos serviços de fotopintura e acabamento. Era ela, também, que registrava em um caderno de anotações, intitulado “A arte de fotografar e revelar”, o trabalho realizado no laboratório e as técnicas de fotopintura. Segundo relatos dos filhos mais velhos do casal, eles trabalhavam muitas horas juntos, às vezes, até de madrugada, para atender os prazos de entrega. Era dessa parceria que vinha a sobrevivência da família.
+Vincenzo recebeu uma carta protocolada do município de Potenza, transcrevendo carta do prefeito agradecendo pelo retrato do rei, que seria colocado na sala do Conselho Provincial.
+A primogênita do casal, Constanza, nasceu em 7 de novembro.
+1900 – Em nota no Estado de São Paulo, edições de 22 e 23 de outubro de 1900, anunciava: “Dá de presente aos seus clientes seis photographias / novo formato Elena, em elegantíssimos cartõezinhos ornados, só 4$500 e por poucos dias“.
+Desde essa época Pastore dominava o uso da goma-bicromatada, fotos em miniatura e platinotipias, e técnicas de fotopintura a óleo.
+1901 – Na época, também atuavam como fotógrafos, em São Paulo, Guilherme Gaensly (1843 – 1928), Guilherme Wessel (1862 – 1940), Otto Rudolf Quaas (c. 1862 – c. 1930) e Valério Vieira (1862 – 1941), dentre outros.
+ 
+Almanak Laemmert, 1901
+ 
+1904 – Um fotógrafo ainda não identificado produziu uma fotografia de Pastore com seus filhos e Elvira nos fundos da casa da Rua da Assembleia.
+ 
+A família Pastore, em 1904 / Da Coleção de Consanza Pastore / Entre o estúdio e a rua: a trajetória de Vincenzo Pastore, fotógrafo do cotidiano, por Fabiana Beltramin, página 51 / Coleção Constanza Pastore – Mosteiro de São Bento
+ 
+1905 – Vincenzo esteve na Europa para comprar material fotográfico. No anúncio, seu ateliê foi identificado como “a casa especial dos retratos Mimosos” (O Estado de São Paulo, 1º de setembro de 1905, página 3, terceira coluna).
+ 
+O Estado de São Paulo, 1º de setembro de 1905
+ 
+Vincenzo recebeu uma carta do Consulado Geral da Itália em São Paulo, transmitindo os agradecimentos do Ministro da Casa Real pelo envio de fotos de índios bororos.
+A Photographia Pastore anunciou que as pessoas que tirassem uma dúzia de Retratos Mimosos no dia 19 de novembro ganhariam uma cópia de um retrato mimoso colorido a aquarela (O Estado de São Paulo, 16 de novembro de 1905, página 4, terceira coluna). Os Retratos Mimosos foram inventados por Pastore e eram fotografias em formato retangular, prensadas em cartão com desenhos art noveau. Deram muito lucro a Pastore.
+ 
+O Estado de São Paulo, 16 de novembro de 1905
+ 
+Entre o estúdio e a rua: a trajetória de Vincenzo Pastore, fotógrafo do cotidiano, por Fabiana Beltramin, página 56
+ 
+1906 - Vincenzo recebeu uma carta de Giacomo della Chiesa (1854 – 1922), futuro papa Bento XV, agradecendo o envio de fotografias de índios bororós para o papa Pio X.
+1907 – Inauguração do novo estúdio do casal, na Rua Direita nº 24-A. Ocupava o segundo andar de um sobrado que abrigava no térreo a loja Au Bon Marché. No primeiro andar, ficava a casa da família e o laboratório fotográfico. Era um estabelecimento maior, mais elegante e contava com equipamentos modernos. Durante o evento, Pastore serviu champagne aos convidados e uma banda, a Ettore Fieramosca, se apresentou.
+ 
+Vincenzo Pastore. Procissão na rua Direita, c. 1910. São Paulo, SP / Acervo IMS
+ 
+José Victor de Mauro, a quem tinha ensinado fotografia e que era casado com uma das irmãs de Elvira, Adelina, ficou trabalhando no estúdio da Rua da Assembleia. Em 1910, o estabelecimento passou a chamar-se Photographia de Mauro.
+1908 – Vincenzo solicitou ao ministro da Justiça sua naturalização (O Commercio de São Paulo, 14 de janeiro de 1908, quarta coluna).
+Vincenzo participou da Exposição Nacional, realizada no Rio de Janeiro, em comemoração ao centenário da abertura dos portos no Brasil, com um conjunto de fotopinturas e trabalhos de grandes dimensões.
+ 
+Registro da participação de Pastore na Exposição Nacional de 1908, da Coleção de Dante Pastore / Entre o estúdio e a rua: a trajetória de Vincenzo Pastore, fotógrafo do cotidiano, por Fabiana Beltramin, página 148
+ 
+Vincenzo realizou também um concurso de beleza infantil, do dia 10 de maio a 10 de julho, em seu ateliê fotográfico de São Paulo. Cento e quarenta crianças foram fotografadas e a final da disputa aconteceu no salão /Steinway com a presença do cônsul da Itália. A cantora lírica Matilde Schiavinati se apresentou na festa. Produziu um álbum de retratos de meninas que participaram do concurso que foi enviado ao rei da Itália (O Paiz, edição de 8 de maio de 1908, última nota da primeira coluna).
+O estabelecimento fotográfico passou a funcionar na Rua Barão de Itapetininga.
+1908 /1909 / 1910 - Seu ateliê fotográfico foi anunciado com seu nome grafado erradamente: ao invés de Pastore, Tartore (Almanak Laemmert, 1908, 1909 e 1910).
+1911 – Vincenzo ganhou a medalha de bronze na Espozione Internazionale delle industrie e dell lavoro, em Turim, na Itália.
+1914 – O casal viajou com a família para a Europa. Embarcaram, em Santos, no navio Duca delle Abruzzi (Correio Paulistano, 10 de fevereiro de 1914, na terceira coluna, sob o título “Hóspedes e Viajantes”).
+ 
+Correio Paulistano, 10 de fevereiro de 1914
+ 
+Em novembro, o casal inaugurou com uma exposição o estabelecimento Fotografia Italo-Americana – ai Due Mondi, na Via Sparano, nº 117, em Bari, capital da Puglia, na Itália. Era a realização de um sonho e para tal os Pastore usaram todo o dinheiro economizado durante os anos de trabalho em São Paulo. A iniciativa foi acolhida com entusiasmo pelo público (Corriere Delle Puglie, 13 de dezembro de 1914). Segundo o Risveglio Commerciale – Bari, de 21 de novembro de 1914, a exposição com fotografias de temas variados mostravam os mais perfeitos e distintos processos da arte. Foi um acontecimento.
+Sobre a inauguração, Vincenzo escreveu para o Corriere della Puglie, de 17 de novembro de 1914 o artigo Dopo l´ inaugurazione della Fotografia Italo-americana. Seguem alguns trechos:
+“Agradeço de coração a todos os cidadãos, ao eleito grupo de senhores e jovens senhoras que com complacência visitaram a exposição no meu estabelecimento chamado pelo bispo Lamberti “templo da arte”, obrigado a todos. Mais uma vez obrigado a toda a população que com a sua ampla intervenção coroou a esplêndida festa bem sucedida…Durante minha estadia em Bari me pareceu muito difícil de conseguir abrir um estabelecimento fotográfico e já o meu pensamento era tomado pelo ceticismo. Mas o sucesso de ontem superou todas as minhas expectativas, a onda de louvor varreu todo o meu ceticismo, uma vez que é capaz de mostrar como o público desta cidade ama, aprecia e cultiva a arte”.
+ 
+Sobrado onde ficava o estúdio de Pastore, em Bari, 12 de abril de 1914, da Coleção Dante Pastore / Entre o estúdio e a rua: a trajetória de Vincenzo Pastore, fotógrafo do cotidiano, por Fabiana Beltramin, página 134
+ 
+O nome do estúdio italiano indicava sua condição de imigrante bem sucedido, que pertencia a dois mundos. Foi anunciado como uma sucursal do estúdio paulistano, o que não era verdade, já que este havia sido fechado. A rua onde se situava o estabelecimento italiano, a Via Sparano, era a principal via de ligação entre a estação de trem e a Cidade Velha, que concentrava o maior número de habitantes de Bari.
+ 
+Marcador impresso no cartão suporte das fotografias de Pastore, da Coleção Dante Pastore / Entre o estúdio e a rua: a trajetória de Vincenzo Pastore, fotógrafo do cotidiano, por Fabiana Beltramin, página 104
+ 
+“Bari inteira soube dar sua modesta homenagem de afeto e simpatia ao seu compatriota, um trabalhador que, depois de ter trazido o seu trabalho realizado longe de sua terra natal, depois de ter aperfeiçoado e obtido a aprovação da industriosa São Paulo, retorna à sua terra, coberto de louros e de um nome invejável”.
+Corriere Della Puglia, 22 de novembro de 1914
+ 
+Piso térreo do sobrado onde ficava o estúdio de Pastore, em Bari, c. 1914, da Coleção Dante Pastore. Nesta passagem, que levava ao 1º andar, Pastore organizou uma exposição permanente de retratos / Entre o estúdio e a rua: a trajetória de Vincenzo Pastore, fotógrafo do cotidiano, por Fabiana Beltramin, página 134
+ 
+Sala de espera do estúdio de Pastore, em Bari, c. 1914, da Coleção Dante Pastore. Nesta passagem, que levava ao 1º andar, Pastore organizou uma exposição permanente de retratos / Entre o estúdio e a rua: a trajetória de Vincenzo Pastore, fotógrafo do cotidiano, por Fabiana Beltramin, página 142
+ 
+Estúdio de Pastore, em Bari, c. 1914, fotografado por ele, da Coleção Dante Pastore / Entre o estúdio e a rua: a trajetória de Vincenzo Pastore, fotógrafo do cotidiano, por Fabiana Beltramin, página 144
+ 
+Em São Pauo, na vitrina da Casa Rocha, de calçados, exposição de uma fotografia de seu filho Dante dentro de um sapato. Vincenzo havia mandado confeccionar o sapato gigante para provocar o desejo de algum cliente de ter alguma criança retratada da mesma forma. Além disso, a exposição do retrato na vitrine foi uma propaganda da qualidade dos sapatos produzidos na loja.
+ 
+Vincenzo Pastore. Retrato de criança envolta em bandeira brasileira, dentro de enorme pé de sapato, 1914. São Paulo, SP / Acervo IMS
+ 
+Na capa da revista A Vida Moderna, de 3 de dezembro de 1914, publicação de uma fotografia de Anna Cândida Bueno, produzida por Pastore. Sobre a capa:
+“Do belo trabalho de arte fotográfica que ilustra a capa deste número incumbiu-se o sr. Pastore, que tem o seu “Atelier” à rua Direita n 24-A. Os trabalhos desse finíssimo artista recomendam-se pela beleza do seu efeito, pelos contrastes de luz e por essa “intenção”, que à maior parte dos fotógrafos passa despercebida. O sr. pastore faz da arte fotográfica uma arte de imaginação, pela porção de idealidade pessoal que lhe mistura. No trabalho que nos ofereceu para este número é tudo digno de atenção: a “pose”, a atitude melancólica, os efeitos de luz sobre os cabelos. A graça original do modelo nada perdeu, vista através da reprodução fotográfica”.
+1915 – Devido à Primeira Guerra Mundial, os Pastore encerraram as atividades na Itália e voltaram para São Paulo, tendo desembarcado no porto de Santos. Segundo Elvira, que ficou bastante desapontada e surpresa com o retorno ao Brasil, foi por um golpe de sorte que conseguiram se restabelecer no mesmo endereço, Rua Direita 24 A.
+ 
+Passaporte de Vincenzo Pastore, novembro de 1915, da Coleção Dante Pastore / Entre o estúdio e a rua: a trajetória de Vincenzo Pastore, fotógrafo do cotidiano, por Fabiana Beltramin, página 151
+ 
+Foi publicada uma carta de despedida de Vincenzo, no Corriere delle Puglie, de 27 de novembro de 1915:
+ 
+Entre o estúdio e a rua: a trajetória de Vincenzo Pastore, fotógrafo do cotidiano, por Fabiana Beltramin, página 150
+ 
+ 
+1916 - Sob os títulos Bellezas Paulistanas, Melancholia, Quem é a moça dos óculos pretos? e Oração, foram publicadas fotografias de autoria de Vincenzo Pastore, na revista A Cigarra, nas edições  de 31 de março,  30 de abril  , 17 de agosto, 14 de setembro e 26 de outubro.
+No dia 17 de junho, foi publicada no O Estado de São Paulo, a seguinte nota:
+“O Sr. Vincenzo Pastore, proprietario da Photographia Pastore, a rua Direita, recebeu communicação official, do sr. Giannetto Cavasola, ministro da Agricultura da Italia, e do prefeito da provincia de Bari, de que, a 4 de maio passado, foi nomeado pelo duque de Genova, principe regente, cavalheiro da Ordem da Corôa da Italia. O sr. Pastore é muito conhecido nesta capital, onde conta com muitas amizades. Em 1914, o sr. Pastore fez, em Bari, uma grande exposição italo-brasileira de photographias, que mereceu francos elogios da imprensa. Os seus esforços acabam de ser merecidamente recompensados“. Em 18 de dezembro, o prêmio foi concedido.
+ 
+Marcador impresso no cartão suporte das fotografias de Pastore, da Coleção Dante Pastore / Entre o estúdio e a rua: a trajetória de Vincenzo Pastore, fotógrafo do cotidiano, por Fabiana Beltramin, página 104
+ 
+No anúncio da edição da revista A Cigarra, foi noticiada a publicação de uma fotografia de Pastore (O Estado de São Paulo, 14 de setembro de 1916, página 9, quarta coluna).
+1917 - Vincenzo esteve presente a uma recepção do Consulado da Itália em São Paulo em comemoração à data da promulgação do Estatuto italiano (Correio Paulistano, 4 de junho de 1917, quarta coluna).
+1918 – Em 15 de janeiro, Pastore faleceu, no Hospital Humberto I, em São Paulo, devido a complicações após uma cirurgia de hérnia. Era alérgico e foi anestesiado com clorofórmio. Foi enterrado no Cemitério do Araçá e estiveram presentes na cerimônia Roque Vieira, representando seu pai, o fotógrafo Valério Vieira, os fotógrafos Guilherme e Conrado Wessel e Michelle (Miguel Rizzo), dentre outros (Correio Paulistano, 19 de janeiro de 1918, na terceira coluna).
+ 
+Correio Paulistano, 16 de janeiro de 1918
+ 
+Em seu diário, após ficar viúva, Elvira escreveu aos filhos:
+“O dia em que vocês mancharem, mesmo que só com uma mancha pouco perceptível, o nome que aquele anjo lhes deixou, eu os renegarei, eu não lhes darei mais a minha bênção, porque não serão mais dignos dela. Deus e a Voirgem do Carmo os ajudem a afastar essa desgraça e os abençoe”.
+Elvira tentou continuar com o estúdio, mas não foi possível. Para sustentar os 10 filhos, ela vendeu tudo, até os negativos de vidro e foi lecionar italiano no Colégio Dante Alighieri.
+Elvira passou a reunir, selecionar e organizar recordações da vida de Vincenzo que pudessem preservar a memória do marido. Havia um caderno pessoal, outro reunindo recortes de matérias de jornais do Brasil e da Itália e o Álbum de recordações Vicente e Elvira Pastore com documentos pessoais, boletins, cartas e fotografias.
+1944 – O caderno de recortes e o pessoal de Elvira, além do Álbum de Recordações Vicente e Elvira ficaram com o filho caçula do casal, Dante.
+1972 - Falecimento de Elvira Leopardi Pastore.
+1996 – O músico Flavio Varani, neto de Vincenzo e Elvira, filho de Leonor, às vezes chamada de Eleonora, conheceu o então diretor do IMS, Antonio Franceschi que, ao saber da existência de um acervo de fotos da cidade de São Paulo do início do século XX realizado por Pastore e guardado por Flavio em uma caixa de charutos para conservá-las, revelou interesse em conhecê-las. Foi então que Flavio, na época professor de piano na Universidade de Yale, nos Estados Unidos, doou 137  fotografias inéditas de autoria de Vincenzo ao Instituto Moreira Salles. Segundo Flavio, essas 137 fotos, que na época em que foram produzidas não tinha valor comercial, foram reveladas e reproduzidas por sua mãe em restos de papel fotográfico.
+1997 - No aniversário de São Paulo, realização de uma exposição de fotos de Pastore no Espaço Higienópolis, do Instituto Moreira Salles, em São Paulo.
+ 
+Vincenzo Pastore. Homens conversando em banco de praça, c. 1910. São Paulo, SP / Acervo IMS
+ 
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/2119` — `itens/20.500.12156.1_2119/`
+- `20.500.12156.1/2122` — `itens/20.500.12156.1_2122/`
+- `20.500.12156.1/2079` — `itens/20.500.12156.1_2079/`
+- `20.500.12156.1/2132` — `itens/20.500.12156.1_2132/`
+- `20.500.12156.1/2093` — `itens/20.500.12156.1_2093/`
+
diff --git a/wordpress/28058-um-aspecto-da-importancia-da-preservacao-digital-de-arquivos-fotograficos.md b/wordpress/28058-um-aspecto-da-importancia-da-preservacao-digital-de-arquivos-fotograficos.md
new file mode 100644
index 0000000..248f3b9
--- /dev/null
+++ b/wordpress/28058-um-aspecto-da-importancia-da-preservacao-digital-de-arquivos-fotograficos.md
@@ -0,0 +1,29 @@
+---
+id: 28058
+url: "https://brasilianafotografica.bn.gov.br/?p=28058"
+titulo: "Um aspecto da importância da preservação digital de arquivos fotográficos"
+autor: "Andrea Wanderley"
+data: "2026-01-29T16:29:20+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Preservação digital", "Convidados", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/5025"]
+fetched_at: "2026-09-10T10:11:07.558Z"
+---
+
+# Um aspecto da importância da preservação digital de arquivos fotográficos
+
+A imagem que hoje apresentamos pertence ao acervo do Arquivo Nacional, uma das instituições parceiras da Brasiliana Fotográfica, e foi publicada na revista Fon-Fon, de 10 de outubro de 1936, e mostra o então presidente do Brasil, Getúlio Vargas (1882-1954) em audiência com participantes do III Congresso Feminista, realizado no Rio de Janeiro. Pode ser encontrada a partir de uma pesquisa na Hemeroteca Digital da Biblioteca Nacional, a maior coleção de periódicos do Brasil, indispensável para os pesquisadores e uma das fontes mais frequentes e importantes para a realização de pesquisas e elaboração de artigos da Brasiliana Fotográfica. Lembramos ainda que a Fundação Biblioteca Nacional é uma das fundadoras do portal.
+Com esse artigo, destacamos um aspecto da importância da preservação digital de arquivos de fotografia, estabelecendo mais uma vez a relação entre uma imagem de um acervo fotográfico, no caso do Arquivo Nacional – uma das instituições parceiras da Brasiliana Fotográfica – com a forma e o contexto com que ela foi originalmente publicada, o que confere à Hemeroteca Digital da BN especial protagonismo. Mesmo que elas estejam conservadas em plataformas potentes como a Hemeroteca, sua preservação digital em outros arquivos é muito importante porque a partir de recursos tecnológicos como a digitalização e o zoom, passam a ter outra visibilidade e podem ser acessadas em sua qualidade plena.
+ 
+Fon-Fon, 10 de outubro de 1936
+ 
+Participantes do III Congresso Nacional Feminista em audiência com presidente Vargas, 1936. Rio de Janeiro, RJ / Acervo Arquivo Nacional
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/5025` — `itens/20.500.12156.1_5025/`
+
diff --git a/wordpress/28202-as-favelas-do-leblon.md b/wordpress/28202-as-favelas-do-leblon.md
new file mode 100644
index 0000000..ec82487
--- /dev/null
+++ b/wordpress/28202-as-favelas-do-leblon.md
@@ -0,0 +1,71 @@
+---
+id: 28202
+url: "https://brasilianafotografica.bn.gov.br/?p=28202"
+titulo: "As favelas do Leblon"
+autor: "Andrea Wanderley"
+data: "2022-07-11T11:25:11+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/10965", "20.500.12156.1/10975", "20.500.12156.1/10969", "20.500.12156.1/10948", "20.500.12156.1/10947", "20.500.12156.1/10974"]
+fetched_at: "2026-09-10T10:11:10.781Z"
+---
+
+# As favelas do Leblon
+
+Com fotografias do acervo do médico pernambucano Victor Tavares de Moura (1892-1960) que, em 1941, constituiu uma comissão para o estudo das favelas, tornando-se um dos responsáveis pela execução do projeto piloto dos Parques Proletários, o pesquisador Ricardo Augusto dos Santos, da Fiocruz, uma das instituições parceiras da Brasiliana Fotográfica, conta um pouco da história das favelas do Leblon, suas remoções e incêndios suspeitos ou oficiais como no caso da Favela do Largo da Memória, que foi realizado através de ato oficial, em 1942.  Seus residentes foram para o Parque Proletário Provisório da Gávea ou Parque Proletário nº 1, formado por imensos barracões erguidos pela Prefeitura na Rua Marquês de São Vicente, na Gávea, ao lado da Pontifícia Universidade Católica (PUC).
+ 
+Favelas do Leblon
+Ricardo Augusto dos Santos*
+ 
+Parque Proletário Provisório nº 3. Praia do Pinto., 194-. Rio de Janeiro, RJ / Acervvo Casa de Oswaldo Cruz
+ 
+Os atuais moradores do Leblon, bairro da Zona Sul do Rio de Janeiro, não devem conhecer, mas o bairro carrega marcas das lutas dos trabalhadores. Em esquina elegante, localizamos um pequeno comércio com o nome de Largo da Memória. Também encontramos uma praça com a mesma designação. Qual a origem dessas referências? Na região – Leblon e Gávea -, em torno da Lagoa Rodrigo de Freitas, existiram várias favelas. Não eram poucas as comunidades. Catacumba, Favela do Capinzal, Piraquê, Praia do Pinto. Esta última, possuía grande dimensão. Algumas delas chegavam a ocupar as águas da Lagoa. Por exemplo, a Favela da Ilha das Dragas localizava-se perto do Canal do Jardim de Alah, fronteira entre Ipanema e Leblon, e ocupava a ilha Caiçaras.
+ 
+Favela Largo da Memória, no Leblon, 194-. Rio de Janeiro, RJ / Acervo Casa de Oswaldo Cruz. Atualmente, parte desta área é ocupada pelo 23º Batalhão da Polícia Militar e Rua Bartolomeu Mitre.
+ 
+Favela Olaria ou Capinzal, no Leblon, 194-. Rio de Janeiro, RJ / Acervo Casa de Oswaldo Cruz
+ 
+Dominando uma extensa faixa de terra, situava-se a favela Largo da Memória. Sua origem está em antigo acesso à praia. Várias favelas da Zona Sul da cidade desaparecerem após incêndios de origem suspeita. Razões para essa suposição são abundantes. Um dos motivos para sustentar a hipótese criminosa está na rapidez com que, após a queima dos barracos, e consequente mudança dos habitantes para regiões distantes, acontecia a urbanização dos terrenos. Hoje, a região é área de residências de altíssimo valor.
+ 
+Acessando o link para as fotografias de favelas do Leblon disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+No entanto, curiosamente, a favela do Largo da Memória, removida na época do primeiro governo Vargas (1930-1945), foi incendiada através de ato oficial. O acontecimento representa um importante registro da política habitacional para os trabalhadores. Uma fogueira de quilômetros ardeu durante horas entre a Gávea e o Leblon. Este incêndio foi documentado e noticiado pela imprensa e o prefeito Henrique Dodsworth (1895-1975) participou do evento, ateando a chama original.
+ 
+Incêndio na Favela Largo da Memória, no Leblon, 24 de mai de 1942. Rio de Janeiro, RJ / Acervo Casa de Oswaldo Cruz
+ 
+No momento de sua destruição, a plateia formada por políticos, bombeiros, moradores e jornalistas assistia ao fato. A favela foi arrasada pelo projeto que criou os Parques Proletários Provisórios. Os residentes do Largo da Memória foram para o Parque Proletário Provisório da Gávea ou Parque Proletário nº 1, constituído por imensos barracões erguidos pela Prefeitura na Rua Marquês de São Vicente (Gávea), ao lado da Pontifícia Universidade Católica (PUC). Mas, as precárias habitações provisórias tornaram-se permanentes e acabaram se deteriorando em meio aos destroços que restavam do abandono. Em menor intensidade, isso aconteceu na Gávea. Mas, os barracões do Parque Proletário nº3 erguidos na Praia do Pinto – misturados aos antigos casebres – formaram o maior conjunto de moradias do lugar. Fontes indicam que, em finais da década de 1960, moravam na Praia do Pinto mais de 10.000 pessoas. O Parque Proletário Provisório nº2 localizava-se no Caju.
+ 
+A destruição foi efetuada de modo inédito na história da cidade. O próprio prefeito (à direita) da cidade ateando fogo na favela Largo da Memória / O Malho, julho de 1942.
+ 
+Encontramos fotos que documentam estes momentos no acervo do médico Victor Tavares de Moura (1892-1960). Nomeado pelo Prefeito Dodsworth para centralizar as ações de estudo e erradicação das favelas, Moura defendia que essas aglomerações urbanas deveriam ser objeto de intervenção. Reassentados nos parques provisórios, adultos e crianças receberiam atenção dos órgãos públicos. Originalmente, o programa possuía atendimento médico e social, mas as ações assistenciais não duraram muito tempo. No acervo fotográfico, várias imagens registram uma visita do presidente Getulio Vargas (1882-1954).
+ 
+Getulio Vargas no Parque Proletário Provisório n°1, 17 de julho de 1943. Rio de Janeiro, RJ / Acervo Casa de Oswaldo Cruz. A esquerda, ao lado de Vargas, Jesuíno Carlos de Albuquerque (1889-1960), Secretário-Geral de Saúde e Assistência do Rio de Janeiro durante a gestão do prefeito Henrique Dodsworth. Este órgão planejava e executava o projeto de construção dos parques proletários. A direita da foto, de bigode, Filinto Muller (1900-1973). Naquele período, Muller era oficial de gabinete do ministro da Guerra, Eurico Gaspar Dutra (1883-1974).
+ 
+Victor Tavares nasceu em 12 de abril de 1892, em Nazareth (PE), filho de João de Moura Vasconcelos e Davina de Moura Tavares. Em 1906, ingressou na Faculdade de Medicina da Bahia, concluindo o curso em 1913, no Rio de Janeiro. Entre 1916 e 1918, morou em Paris e Berlim, especializando-se em cirurgia. Em consequência da Primeira Guerra Mundial, regressou a Pernambuco, assumindo um cargo na Diretoria de Higiene e Saúde Pública. Em 1920, foi nomeado médico da prefeitura de Garanhuns. Dois anos depois, coordenaria uma campanha contra a peste bubônica. Em 1935, transferiu-se para o Rio de Janeiro para trabalhar como médico da prefeitura do Distrito Federal. Posteriormente, trabalhou na Diretoria-Geral de Assistência Municipal, no Instituto de Aposentadorias e Pensões dos Bancários (IAPB) e no IAP dos Comerciários. Em 1937, foi nomeado chefe do Albergue da Boa Vontade. Em virtude da Lei de Desacumulação, optou pelo cargo que ocupava na prefeitura, coordenando a comissão para o estudo das favelas, tornando-se responsável pelo planejamento dos Parques Proletários Provisórios. Faleceu em 3 de novembro de 1960.
+ 
+O médico Victor Tavares de Moura (1892 – 1960) / Fiocruz
+ 
+Muitas favelas foram incendiadas, provocando a movimentação involuntária das pessoas. Em 1967, às margens da Lagoa Rodrigo de Freitas, um incêndio destruiu parte da Favela da Catacumba (perto do Corte de Cantagalo), trazendo pânico e desabrigando milhares. Contudo, este não foi o único e, tampouco, o último fogo nas residências dos pobres. Esses acontecimentos se repetiram em várias favelas durante anos. Várias comunidades localizadas na Zona Sul foram removidas com o argumento de que o espaço seria organizado. Além disso, sustentavam que, após a transferência, os moradores viveriam em acomodações dignas. Entretanto, afastados das áreas valorizadas, os habitantes foram para conjuntos habitacionais longínquos e sem condições adequadas.
+ 
+Favela da Praia do Pinto, 194. Rio de Janeiro, FJ / Acervo Casa de Oswaldo Cruz. No início da década de 1940, foram construídos três parques proletários. Na Gávea, Caju e Praia do Pinto. Eram alojamentos provisórios para as famílias. Além dos barracões-residências, o projeto incluía a construção de escolas, creche, posto médico e delegacia policial. Com a chegada dos anos 60, a pressão dos empresários dos ramos construtor e imobiliário, a política habitacional para a classe trabalhadora foi alterada. Começou a transferência para os subúrbios.
+ 
+Em 1969, situada entre a Lagoa e a orla, um incêndio arrasou a favela da Praia do Pinto. O contínuo processo de valorização imobiliária provocava conflitos entre os trabalhadores e a população de alto poder aquisitivo que estava se estabelecendo no local. A partir do início da década de 1960, as políticas públicas em relação aos ocupantes das áreas cobiçadas pelos empresários dos ramos construtor e imobiliário possuíam como pressuposto o deslocamento para bairros afastados dos locais de trabalho dos moradores.
+ 
+*Ricardo Augusto dos Santos é Pesquisador Titular da Fundação Oswaldo Cruz
+ 
+Indicações Bibliográficas: 
+AMOROSO, Mauro; BRUM, Mario; GONÇALVES, Rafael Soares (Orgs.). Pensando as favelas cariocas: história e questões urbanas. Rio de Janeiro: Ed. PUC-Rio: Ed. Palas, 2021.
+PESTANA, Marco Marques. Remoções de Favelas no Rio de Janeiro. Empresários, Estado e movimento de favelados. 1957-1973. Rio de Janeiro: Arquivo Nacional, 2022.
+ 
+Link para o artigo A favela banida, publicado no portal de fotojornalismo Testemunha Ocular, em 2 de junho de 2022.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/10965` — `itens/20.500.12156.1_10965/`
+- `20.500.12156.1/10975` — `itens/20.500.12156.1_10975/`
+- `20.500.12156.1/10969` — `itens/20.500.12156.1_10969/`
+- `20.500.12156.1/10948` — `itens/20.500.12156.1_10948/`
+- `20.500.12156.1/10947` — `itens/20.500.12156.1_10947/`
+- `20.500.12156.1/10974` — `itens/20.500.12156.1_10974/`
+
diff --git a/wordpress/28263-serie-hoteis-do-brasil-iv-o-hotel-pharoux-por-revert-henrique-klumb.md b/wordpress/28263-serie-hoteis-do-brasil-iv-o-hotel-pharoux-por-revert-henrique-klumb.md
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+---
+id: 28263
+url: "https://brasilianafotografica.bn.gov.br/?p=28263"
+titulo: "Série “Hotéis do Brasil” IV – O Hotel Pharoux por Revert Henrique Klumb"
+autor: "Andrea Wanderley"
+data: "2022-06-15T11:51:50+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/598", "20.500.12156.1/4667"]
+fetched_at: "2026-09-10T10:11:14.295Z"
+---
+
+# Série “Hotéis do Brasil” IV – O Hotel Pharoux por Revert Henrique Klumb
+
+Motivada pela publicação do artigo Pharoux, o primeiro hotel de luxo do Brasil, publicado na Brasiliana Iconográfica, a Brasiliana Fotográfica destaca uma imagem do estabelecimento, o primeiro hotel de luxo do Brasil, produzida pelo francês Revert Henrique Klumb (c. 1826 – c. 1886), o fotógrafo da família real do Brasil. É o tema do quarto artigo da série Hotéis do Brasil e a imagem pertence ao acervo da Biblioteca Nacional, uma das instituições fundadoras da Brasiliana Fotográfica, segundo a qual:
+“Através de pesquisa nas obras “Origens e expansão da fotografia no Brasil : século XIX”, de Boris Kossoy, e “Imagem e letra : introdução à bibliologia brasileira”, de Orlando da Costa Ferreira, foi constatado que o endereço manuscrito no verso do cartão-suporte era o mesmo da “Officina de Paulo Robin”, dirigida por Klumb”.
+Klumb foi, provavelmente, o introdutor da técnica estereoscópica no Brasil – utilizada na foto destacada -, com a qual entre os anos de 1855 e 1862, aproximadamente, produziu ampla documentação sobre o Rio de Janeiro.
+ 
+Revert Henrique Klumb; Officina de Paulo Robin. L´Hotel Pharoux, entre 1855 e 1863. Rio de Janeiro, RJ / Acervo FBN
+ 
+O Hotel Pharoux foi fundado pelo francês de Marselha, Louis Dominique Pharoux (?- 1867), bonapartista que exilou-se no Brasil, em torno de 1816.
+“O hotel que levava seu nome inaugurou um novo padrão para as hospedarias da capital do Império, que até então só oferecia alojamentos bastante simples e, em geral, sujos”.
+Brasiliana Iconográfica
+ 
+Inicialmente, o Pharoux era uma hospedaria na rua da Quitanda, nº 99, e várias vezes anunciava no jornal oferecer sopa e bife de tartarugas (Jornal do Commercio, 23 de setembro de 1836, terceira coluna). Em 1838, transferiu-se para a rua Fresca, nº 3, esquina com o Largo do Paço, atual Praça XV, e uma de suas fachadas dava de frente para a Praia Dom Manuel (Jornal do Commercio, 12 de fevereiro de 1838, quarta coluna).
+ 
+Jornal do Commercio, 12 de fevereiro de 1838
+ 
+Era um edifício que, além do térreo, tinha três andares. Refinado e confortável, trouxe à corte um certo glamour europeu. Possuia uma  sala de jantar que comportava mais de oitenta pessoas, mobiliário de bom gosto e seus banhos eram um atrativo a mais, em uma cidade que oferecia até então somente hospedarias pouco confortáveis e uma mesa sem grandes variedades nas casas de pasto, que já se multiplicavam pelas ruas (Arqueologia Histórica no Rio de Janeiro; Jornal do Commercio, 12 de fevereiro de 1838, quarta coluna). As salas de banho tinham banheiras de metal e mármore com torneiras de água fria e quente. Toalhas brancas eram oferecidas. Um requinte na época. Utilizava-se água encanada vinda do chafariz do Largo do Paço.
+Desde o início, destacou-se também, como já mencionado, pelo esmero em sua gastronomia e por servir vinhos franceses.
+ 
+Jornal do Commercio, 19 de fevereiro de 1838
+ 
+Era também um ponto de convergência da sociedade de sua época e de viajantes (Jornal do Commercio, 19 de fevereiro de 1838, segunda coluna; 24 de abril de 1838, terceira coluna). Foi muitas vezes, o cenário de contos, como o publicado na A Semana Illustrada, de 11 de agosto de 1861.
+ 
+“O hotel Pharoux, tinha excelente frequência da sociedade local, frequentado também por muitos viajantes franceses, que junto ao seu bem humorado e cortês proprietário, passavam horas agradáveis lembrando a pátria. Construiu o cais que acabou levando seu nome, e fez desse magnífico e aprazível local um ponto de encontro para os que podiam usufruir do conforto de um bom vinho, e de uma boa mesa abençoados pelas brisas do mar”
+Arqueologia Histórica no Rio de Janeiro
+ 
+Marc Ferrez. Cais Pharoux e adjagências, c. 1880. Rio de Janeiro, RJ / Acervo IMS
+ 
+“…Velhos do meu tempo, acaso vos lembrais desse mestre cozinheiro do Hotel Pharoux, um sujeito que, segundo dizia o dono da casa, havia servido nos famosos Véry e Véfour, de Paris, e mais nos palácios do Conde Molé e do Duque de la Rochefoucauld? Era insigne. Entrou no Rio de Janeiro com a polca… A polca, M. Prudhon, o Tivoli, o baile dos estrangeiros, o Cassino, eis algumas das melhores recordações daquele tempo; mas sobretudo os acepipes do mestre eram deliciosos.”
+Memórias Póstumas de Brás Cubas por Machado de Assis
+ 
+Em 1860 era anunciada a venda do prédio do hotel, que passou a ter outro proprietário (Correio Mercantil, 12 de janeiro de 1860, segunda coluna; 20 de janeiro de 1860, quarta coluna; Courrier du Brésil, 1º de janeiro de 1860).
+ 
+Courrier du Brésil, 1º de janeiro de 1860
+ 
+Em 1861, seu dono era João Freichou ou Jean Frechon que, em 1862, reformou o hotel (Correio Mercantil, 22 de dezembro de 1861, terceira coluna; Courrier du Brésil, 31 de agosto de 1862). Em 1863, foi noticiada a falência fraudulenta do estabelecimento (Correio Mercantil, 25 de abril de 1863, última coluna).
+ 
+Correio Mercantil, 25 de abril de 1863
+ 
+Segundo a maioria das fontes, Luiz Pharoux retornou à França, em 1864.  Após abrigar a Casa de Saúde do dr. Antônio Marcolino Fragozo, a Casa de Saúde Nossa Senhora da Glória e a Casa de Saúde dos drs. Catta-Preta, Marinho e Werneck (Diário do Rio de Janeiro, 1º de fevereiro de 1864; Jornal do Commercio, 12 de junho de 1870, quarta coluna; e 13 de outubro de 1874), e, posteriormente outro hotel, o Real (Almanak Laemmert, 1927), o edifício do Hotel Pharoux foi demolido, em 1959, para a  construção da Perimetral.
+ 
+Jornal do Commercio, 13 de outubro de 1874
+ 
+O Hotel Pharoux e a história da fotografia no Brasil
+ 
+Sébastian Auguste Sisson. Hotel Pharoux. Acervo do Museu Histórico da Cidade do Rio de Janeiro
+ 
+Foi no Hotel Pharoux que o abade francês Louis Comte (1798 – 1868), que chegou ao Brasil trazendo o daguerreótipo, no  navio L´Oriental , que aportou no Rio de Janeiro em 23 de dezembro de 1939, fez o primeiro ensaio fotográfico no país. Leia essa história no artigo A chegada do daguerreótipo no Brasil – os primeiros registros no Rio de Janeiro, publicado em 16 de janeiro de 2020, aqui no portal.
+ 
+Jornal do Commercio, 17 de janeiro de 1840
+ 
+Foi lá que o retratista francês Abram-Louis Buvelot (1814 – 1888) se hospedou, quando chegou ao Rio de Janeiro, em outubro de 1840.
+ 
+M. Louis Buvelot. Xilografia publicada no Australasian Sketcher, em 12 de julho de 1888 / Acervo da Coleção La Trobe Picture
+ 
+Link para a Cronologia de Abram-Louis Buvelot (1814 – 1888). 
+ 
+Os norte-americanos Augustus Morand (c. 1818 – 1896) e J.E. Smith, dois pioneiros na comercialização da daguerreotipia no Brasil, chegaram ao Rio de Janeiro, vindos de Nova York, na galera C. Canckl, em 25 de novembro de 1842 (Diário do Rio de Janeiro, 26 de novembro de 1842, na última coluna). Observação: com as iniciais de Smith, J. E, acaba-se a dúvida que um outro Smith, mencionado por Boris Kossoy em seu livro Dicionário histórico-fotográfico brasileiro: fotógrafos e ofício da fotografia no Brasil (1833-1910), seja o mesmo que veio para o Brasil com Morand. No livro de Kossoy, as iniciais do “outro” Smith são T.O.
+ 
+Litografia retratando Augustus Morand publicada na capa do Ph0tographic Art Journal de abril de 1851 / Aug. Morand / ENGRAVED EXPRESSLY FOR THE PHOTOGRAPHIC ART JOURNAL / Lith. of F D’Avignon / 323 Broadway, NY
+ 
+Diário do Rio de Janeiro, 26 de novembro de 1842
+ 
+Na primeira página do Jornal do Commercio de 23 de dezembro de 1842, Morand foi saudado como uma celebridade: 
+ 
+Primeira página do Jornal do Commercio, 23 de dezembro de 1842
+ 
+Ainda nessa mesma edição, sob o título O daguerreótipo na sua perfeição, foi anunciado o estabelecimento do gabinete de Morand e Smith no Hotel Pharoux, salão n. 52, casa nova, 2º andar, no Rio de Janeiro (Jornal do Commercio, 23 de dezembro de 1842, na segunda coluna). O anúncio foi repetido algumas vezes em 1842 e em 1843.
+ 
+Jornal do Commercio, 23 de dezembro de 1842
+ 
+A bordo do navio norte-americano Susan, Morand deixou o Rio de Janeiro em direção a Nova York, em 13 de abril de 1843 (Jornal do Commercio, 14 e 15 de abril de 1843, na última coluna). Ele e Smith foram sucedidos por J. D. Davies, que comprou deles uma grande porção de lâminas, etc, convidou o público para visitar a oficina no Hotel Pharoux e, pouco depois, estabeleceu seu gabinete na rua do Ouvidor, 75 (Jornal do Commercio, 25 de abril de 1843, na segunda coluna, e 3 de maio de 1843, na terceira coluna). Algumas fontes levantam a possibilidade de Morand não ter retornado direto para Nova York e ter ficado trabalhando na América do Sul até 1844.
+ 
+Cronologia de Augustus Morand (c. 1818 – 1896)
+ 
+c. 1818 - Nascimento de Augustus Morand, em Nova York.
+1838 – Casamento com Caroline Kane (1821 – ?)
+1840 – Augustus Morand começou a trabalhar como daguerreotipista. Conheceu o pintor Henry Inman (1801 – 1846) e juntos fizeram experiências sobre o efeito da luz e da sombra.
+c. 1841 – Provavelmente seu estabelecimento fotográfico sucedeu o de Matthews D. Van Loan na esquina da Broadway com Chambers Street, em Nova York.
+1842 – Ao longo do ano, foram publicadas na revista U.S. Magazine and Democratic Review diversas gravuras baseadas em daguerreótipos produzidos por Morand: na edição de agosto, um retrato do político Thomas Wilson Door (1805 – 1854); na de setembro, de Churchill C. Cambreleng (1786 – 1862); e, na de novembro, do presidente John Tyler (1790 – 1862).
+ 
+Churchill C. Cambreleng, gravura baseada em daguerreótipo de Morand e publicada na edição de setembro de 1842 da The United States Democratic Review
+ 
+John Tyler, gravura baseada em daguerreótipo de Morand e publicada na edição de novembro de 1842 da The United States Democratic Review
+ 
+ 
+De 1842 a 1845, catálogos de Nova York informavam que o endereço de Morand era Suffock Street, 25.
+Por problemas de saúde, Morand foi aconselhado por médicos a viajar para os trópicos.
+Os norte-americanos Augustus Morand e J.E. Smith, dois pioneiros na comercialização da daguerreotipia no Brasil, chegaram ao Rio de Janeiro, vindos de Nova York, na galera C. Canckl, em 25 de novembro de 1842 (Diário do Rio de Janeiro, 26 de novembro de 1842, na última coluna). Observação: com as iniciais de Smith, J. E, acaba-se a dúvida que um outro Smith, mencionado por Boris Kossoy em seu livro Dicionário histórico-fotográfico brasileiro: fotógrafos e ofício da fotografia no Brasil (1833-1910), seja o mesmo que veio para o Brasil com Morand. No livro de Kossoy, as iniciais do “outro” Smith são T.O.
+ 
+Diário do Rio de Janeiro, 26 de novembro de 1842
+ 
+Na primeira página do Jornal do Commercio de 23 de dezembro de 1842, Morand foi saudado como uma celebridade: 
+ 
+Primeira página do Jornal do Commercio, 23 de dezembro de 1842
+ 
+Ainda nessa mesma edição, sob o título O daguerreótipo na sua perfeição, foi anunciado o estabelecimento do gabinete de Morand e Smith no Hotel Pharoux, salão n. 52, casa nova, 2º andar, no Rio de Janeiro (Jornal do Commercio, 23 de dezembro de 1842, na segunda coluna). O anúncio foi repetido algumas vezes em 1842 e em 1843.
+ 
+Jornal do Commercio, 23 de dezembro de 1842
+ 
+1843 – Morand trouxe cartas de recomendação para pessoas influentes no Brasil e logo foi apresentado a d. Pedro II.
+Os hábeis artistas do daguerreótipo Morand e Smith foram convidados para o paço imperial, onde produziram retratos do imperador Pedro II, das augustas princesas e algumas vistas da Quinta da Boavista. O público era convidado para admirar esses registros no gabinete dos fotógrafos, no Hotel Pharoux. Ainda foi informado que na câmara de Pedro II havia uma fotografia da autoria de Morand e Smith (Jornal do Commercio, 27 de janeiro de 1843, na segunda coluna).
+ 
+Jornal do Commercio, 27 de janeiro de 1843
+ 
+Nos cinco meses que esteve no Brasil, a presença de Morand era constantemente requisitada no palácio real de São Cristóvão, onde fotografou as vizinhanças, copiou quadros da Galeria Real de Pinturas e retratou membros da família imperial, além de dona Francisca, irmã caçula do imperador.
+Existe uma polêmica em torno da autoria de um dos três primeiros daguerreótipos produzidos no Brasil – até hoje conhecidos. São do Paço da Cidade, do Chafariz do Mestre Valentim e fachada do Mercado do Peixe; e do Mercado da Calendária. Alguns historiadores da fotografia consideram que foram de autoria do abade francês Louis Comte (1798 – 1868), que esteve no Rio de Janeiro, em 1840. Outros afirmam que um deles, o que retrata d. Pedro II (1825 – 1891) descendo de sua carruagem em frente ao Paço Imperial, seria de autoria de Morand.
+A bordo do navio norte-americano Susan, Morand deixou o Rio de Janeiro em direção a Nova York, em 13 de abril de 1843 (Jornal do Commercio, 14 e 15 de abril de 1843, na última coluna).
+Morand e Smith foram sucedidos por J. D. Davies, que comprou deles uma grande porção de lâminas, etc, convidou o público para visitar a oficina no Hotel Pharoux e, pouco depois, estabeleceu seu gabinete na rua do Ouvidor, 75 (Jornal do Commercio, 25 de abril de 1843, na segunda coluna, e 3 de maio de 1843, na terceira coluna). Algumas fontes levantam a possibilidade de Morand não ter retornado direto para Nova York.
+1843 – Nascimento de sua filha, Caroline Lydia Morand (1843 – 1902), em Nova York.
+1844 a 1846 – Catálogos de Nova York informavam que entre 1844 e 1846, o endereço do gabinete de daguerreotipia de Morand, em sociedade com George W. Morand, era Chambers Street, 73.
+c. 1846 – Em meados da década de 1840, Morand trabalhou como daguerreotipista em várias cidades do sul dos Estados Unidos.
+Nascimento de sua segunda filha, Mary (1846 – 1863).
+1847 – Morand trabalhava como daguerreotipista, em Saint Louis, na Morand and Company´s Gallery of Daguerreotype Portraits and Family Groups.
+Retornou a Nova York e abriu uma galeria na Chatham Street, 132, mesma rua em que morava.
+1851 – Morand foi eleito presidente da New York State Daguerreian Association.
+Fez parte do comitê que elaborou o estatuto da American Daguerre Association.
+Fez parte do comitê formado pela American Daguerre Association para investigar a autoria da invenção de um processo para produzir daguerreótipos coloridos reivindicado por Levi Hill (1816 – 1865).
+Foi publicado na edição de abril da revista Photographic Art-Journal, o artigo Augustus Morand the Daguerrean Art, sobre Augustus Morand, de autoria do reverendo Daniel Parish Kidder (1815 – 1891), teólogo e escritor que viveu entre 1837 e 1840 no Brasil. Uma curiosidade: em dezembro de 1839, Kidder embarcou em Salvador no mesmo navio que trouxe o abade Louis Comte para o Rio de Janeiro. Foi o abade que apresentou o daguerreótipo a d. Pedro II, em janeiro de 1840 (Jornal do Commercio de 17 de janeiro de 1840, na primeira coluna, e de 20 de janeiro de 1840, na terceira coluna). Kidder foi o autor dos livros Sketches of residence and travel in Brazil e Brazil and the brazilians, publicado em 1857.
+1852 – Morand estabeleceu uma nova galeria na Chatham Street, 65, em Nova York.
+1857 -1858 – Trabalhava como editor na Broadway, 379, em Nova York.
+1859 – Comprou a galeria de Alexander Becker, situada na Broadway, 411, em Nova York.
+1860 – Segundo catálogo de Nova York, Morand trabalhava como fotógrafo na Broadway, 379. Outras fontes indicam que nesse ano ainda possuía a galeria na Broadway, 411.
+1860 – 1862 – Augustus e George H. Morand estabeleceram uma galeria no Brooklyn.
+1863 – A filha de Morand, Mary, faleceu de doença cardíaca aos 17 anos. Na época, Morand residia na Washington Street, nº. 210, no Brooklyn (The New York Times, 24 de agosto de 1863).
+1896 – Falecimento de Morand, na Inglaterra.
+ 
+ 
+Andrea C.T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Link para o artigo Pharoux, o primeiro hotel de luxo do Brasil, publicado na Brasiliana Iconográfica, em 15 de junho de 2022.
+Este artigo foi ampliado em 20 de junho de 2022.
+ 
+Outros artigos publicados na Brasiliana Fotográfica em torno da obra de Revert Henrique Klumb:
+Revert Henrique Klumb, o fotógrafo da família real do Brasil, publicado em 31 de agosto de 2016
+As versões diurna e noturna na fotografia de Revert Henrique Klumb, 28 de dezembro de 2018
+Petrópolis, a Cidade Imperial, pelos fotógrafos Marc Ferrez e Revert Henrique Klumb, 16 de março de 2020
+“Doze horas em diligência”, o primeiro guia turístico do Brasil, por Revert Henrique Klumb (c. 1826 – c. 1886), 8 de maio de 2020
+Série “Avenidas e ruas do Brasil” II – A rua do Imperador em Petrópolis por Klumb, Leuzinger e Stahl, 16 de junho de 2020.
+ 
+Outros artigos publicados na Brasiliana Fotográfica sobre hotéis
+Hotéis do século XIX e do início do século XX no Brasil, publicado em 5 de novembro de 2015 , de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica.
+O Hotel Glória – antes e depois, publicado em 21 de dezembro de 2017, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica.
+Copacabana Palace, símbolo do glamour carioca, publicado em 13 de agosto de 2020, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica.
+Série O Rio de Janeiro desaparecido XXIV – O luxuoso Palace Hotel, na Avenida Rio Branco, uma referência da vanguarda artística no Rio de Janeiro, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 4 de julho de 2023.
+O centenário do Copacabana Palace, quintessência do “glamour” carioca, e seu criador, o arquiteto francês Joseph Gire, publicado em 13 de agosto de 2023, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica.
+ 
+ 
+Fontes:
+AULER, Guilherme. O Paisagista e Retratista Buvelot, Jornal do Brasil, 2 Junho de 1957, Rio de Janeiro.
+BERNIER, Celeste-Marie; STAUFFER, John; TRODD, Zoe. Picturing Frederick Douglass: An Illustrated Biography of the Nineteenth Century`s Most Phothographed American. New York: W W Norton & Company, Inc, 2015.
+GERSON, Brasil. História das Ruas do Rio. Rio de Janeiro: Bem-Te-Vi, 2013.
+COLMAN, Anne. Buvelot, the Migrant Artist. Interpreting New Worlds in Brazil and Australia. Austrália: La Trobe Journal, 2005.
+CRULS, Gastão. Aparência do Rio de Janeiro. Rio de Janeiro: Editora José Olympio, 1965.
+ERMAKOFF, George. Rio de Janeiro 1840 – 1900 – Uma crônica fotográfica. Rio de Janeiro: G. Ermakoff Casa Editorial, 2006.
+FERREZ, Gilberto. A fotografia no Brasil: 1840- 1900. Prefácio Pedro Karp Vasquez. 2. ed. Rio de Janeiro: Funarte, 1985.
+FERREZ, Gilberto. Origens e expansão da fotografia no Brasil Século XIX. Rio de Janeiro: Funarte, 1980.
+FERREZ, Gilberto; NAEF, Weston J. Pioneer photographers of Brazil : 1840 – 1920. New York: The Center for Inter-American Relations, 1976.
+FOREL, M. F. Louis Buvelot, Peintre Vaudois. Gazette de Lausanne, 31 de março de 1906.
+GERSON, Brasil. História das Ruas do Rio. Rio de Janeiro: Bem-Te-Vi, 2013.
+GRAY, J. R. Louis Buvelot His Life and Work. Tese de mestrado. Universidade de Melbourne, 1968.
+GURAN, Milton (organizador), TURAZZI, Maria Inez; VASQUEZ, Pedro Karp. Os daguerreótipos de Louis Comte no Rio de Janeiro – As primeiras fotografias feitas na América do Sul. Rio de Janeiro: Luz Tropical, 2016.
+Hemeroteca Digital da Biblioteca Nacional
+ibiblio- The Public’s Library and Digital Archive
+KAILBOURNE, Thomas R.; PALMQUIST, Peter E. Pioneer Photographers from the Mississippi to the Continental Divide: a Biographical Dictionary, 1839 – 1865. Stanford, Califonia:Stanford University Press, 2005.
+KIDDER, D. P. Augustus Morand the Daguerrean Art. Nova York: Photographic Art-Journal, abril de 1851
+KOSSOY, Boris. Dicionário histórico-fotográfico brasileiro: fotógrafos e ofício da fotografia no Brasil (1833-1910). São Paulo: Instituto Moreira Salles, 2002.
+KOSSOY, Boris. O mistério dos daguerreótipos do Largo do Paço in Revista da USP, n. 120, janeiro-março, 2019, pp.127-152.
+KOSSOY, Boris. Origens e expansão da fotografia no Brasil, século XIX. Rio de Janeiro: Funarte, 1980.
+LAGO, Pedro Corrêa do. Brasiliana Itaú: uma grande coleção dedicada ao Brasil / curadoria da coleção: Pedro Corrêa do Lago, Ruy Souza e Silva. Rio de Janeiro: Capivara, 2009.
+MELO JUNIOR, Donato. Buvelot no Brasil i (apontamentos 1963) e Buvelot no Brasil ii (novos apontamentos à guisa de adendo 1986). Boletim do Museu Nacional de Belas Artes. Rio de Janeiro, 5 (13–5): 9–15, jan.-dez. 1986. il.
+PÉNOCHON, Sylvie Pénochon. The History of the Daguerreotype in Brazil in Pittsburg: Daguerreian Annual 2002–2003 (Pittsburgh: The Daguerreian Society, 2004): 317–331.
+Pharoux, o primeiro hotel de luxo do Brasil, Brasiliana Iconográfica, 15 de junho de 2022.
+SANTOS, Fabíola Martins. Geografia das Redes Hoteleiras Mundo, Brasil e Santa Catarina. Tese de Doutorado da Universidade Federal de Santa Catarina – Centro de Filosofia e Ciências Humanas – Programa de Pós-Graduação em Geografia.
+TURAZZI, Maria Inez. Poses e trejeitos: a fotografia e as exposições na era do espetáculo: 1839/1889. Prefácio Pedro Karp Vasquez. Rio de Janeiro: Funarte. Rocco, 1995. 309 p., il. p&b. (Coleção Luz & Reflexão, 4). ISBN 85-85781-08-4.
+VASQUEZ, Pedro Karp. O Brasil na fotografia oitocentista. São Paulo: Metalivros, 2003.
+VASQUEZ, Pedro Karp. Dom Pedro II e a fotografia no Brasil. Rio de Janeiro: Fundação Roberto Marinho, 1985.
+Site Arqueologia Histórica no Rio de Janeiro
+Site Diário do Rio
+Site Enciclopédia Itaú Cultural
+Site História do Rio Para Todos
+Site The Williams Family Tree
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/598` — `itens/20.500.12156.1_598/`
+- `20.500.12156.1/4667` — `itens/20.500.12156.1_4667/`
+
diff --git a/wordpress/28318-cronologia-de-augustus-morand-c-1818-1896.md b/wordpress/28318-cronologia-de-augustus-morand-c-1818-1896.md
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+---
+id: 28318
+url: "https://brasilianafotografica.bn.gov.br/?p=28318"
+titulo: "Cronologia de Augustus Morand (c. 1818 – 1896)"
+autor: "Andrea Wanderley"
+data: "2022-06-23T12:07:47+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: []
+fetched_at: "2026-09-10T10:11:17.400Z"
+---
+
+# Cronologia de Augustus Morand (c. 1818 – 1896)
+
+Cronologia de Augustus Morand (c. 1818 – 1896)
+
+Litografia retratando Augustus Morand publicada na capa do Ph0tographic Art Journal de abril de 1851 / Aug. Morand / ENGRAVED EXPRESSLY FOR THE PHOTOGRAPHIC ART JOURNAL / Lith. of F D’Avignon / 323 Broadway, NY
+
+ 
+c. 1818 - Nascimento de Augustus Morand, em Nova York.
+1838 – Casamento com Caroline Kane (1821 – ?)
+1840 – Augustus Morand começou a trabalhar como daguerreotipista. Conheceu o pintor Henry Inman (1801 – 1846) e juntos fizeram experiências sobre o efeito da luz e da sombra.
+c. 1841 – Provavelmente seu estabelecimento fotográfico sucedeu o de Matthews D. Van Loan na esquina da Broadway com Chambers Street, em Nova York.
+1842 – Ao longo do ano, foram publicadas na revista U.S. Magazine and Democratic Review diversas gravuras baseadas em daguerreótipos produzidos por Morand: na edição de agosto, um retrato do político Thomas Wilson Door (1805 – 1854); na de setembro, de Churchill C. Cambreleng (1786 – 1862); e, na de novembro, do presidente John Tyler (1790 – 1862).
+ 
+Churchill C. Cambreleng, gravura baseada em daguerreótipo de Morand e publicada na edição de setembro de 1842 da The United States Democratic Review
+ 
+John Tyler, gravura baseada em daguerreótipo de Morand e publicada na edição de novembro de 1842 da The United States Democratic Review
+ 
+ 
+De 1842 a 1845, catálogos de Nova York informavam que o endereço de Morand era Suffock Street, 25.
+Por problemas de saúde, Morand foi aconselhado por médicos a viajar para os trópicos.
+Os norte-americanos Augustus Morand e J.E. Smith, dois pioneiros na comercialização da daguerreotipia no Brasil, chegaram ao Rio de Janeiro, vindos de Nova York, na galera C. Canckl, em 25 de novembro de 1842 (Diário do Rio de Janeiro, 26 de novembro de 1842, na última coluna). Observação: com as iniciais de Smith, J. E, acaba-se a dúvida que um outro Smith, mencionado por Boris Kossoy em seu livro Dicionário histórico-fotográfico brasileiro: fotógrafos e ofício da fotografia no Brasil (1833-1910), seja o mesmo que veio para o Brasil com Morand. No livro de Kossoy, as iniciais do “outro” Smith são T.O.
+ 
+Diário do Rio de Janeiro, 26 de novembro de 1842
+ 
+ 
+Na primeira página do Jornal do Commercio de 23 de dezembro de 1842, Morand foi saudado como uma celebridade: 
+ 
+Primeira página do Jornal do Commercio, 23 de dezembro de 1842
+ 
+Ainda nessa mesma edição, sob o título O daguerreótipo na sua perfeição, foi anunciado o estabelecimento do gabinete de Morand e Smith no Hotel Pharoux, no Rio de Janeiro (Jornal do Commercio, 23 de dezembro de 1842, na segunda coluna). O anúncio foi repetido algumas vezes em 1842 e em 1843. Na mesma época, a fotógrafa Mme. Lavenue também comercializava daguerreótipos. Ela atendia os fregueses no Hotel da Itália, localizado no Largo do Rocio. Era casada com o daguerreotipista francês Hippolyte Lavenue, que também consertava e afinava pianos com Louis Bayer (O Recreador Mineiro, 1º semestre de 1842).
+ 
+Jornal do Commercio, 23 de dezembro de 1842
+
+ 
+1843 – Morand trouxe cartas de recomendação para pessoas influentes no Brasil e logo foi apresentado a d. Pedro II.
+Os hábeis artistas do daguerreótipo Morand e Smith foram convidados para o paço imperial, onde produziram retratos do imperador Pedro II, das augustas princesas e algumas vistas da Quinta da Boavista. O público era convidado para admirar esses registros no gabinete dos fotógrafos, no Hotel Pharoux. Ainda foi informado que na câmara de Pedro II havia uma fotografia da autoria de Morand e Smith (Jornal do Commercio, 27 de janeiro de 1843, na segunda coluna).
+ 
+Jornal do Commercio, 27 de janeiro de 1843
+ 
+Nos cinco meses que esteve no Brasil, a presença de Morand era constantemente requisitada no palácio real de São Cristóvão, onde fotografou as vizinhanças, copiou quadros da Galeria Real de Pinturas e retratou membros da família imperial, além de dona Francisca, irmã caçula do imperador.
+Existe uma polêmica em torno da autoria de um dos três primeiros daguerreótipos produzidos no Brasil – até hoje conhecidos. São do Paço da Cidade, do Chafariz do Mestre Valentim e fachada do Mercado do Peixe; e do Mercado da Calendária. Alguns historiadores da fotografia consideram que foram de autoria do abade francês Louis Comte (1798 – 1868), que esteve no Rio de Janeiro, em 1840. Outros afirmam que um deles, o que retrata d. Pedro II (1825 – 1891) descendo de sua carruagem em frente ao Paço Imperial, seria de autoria de Morand.
+A bordo do navio norte-americano Susan, Morand deixou o Rio de Janeiro em direção a Nova York, em 13 de abril de 1843 (Jornal do Commercio, 14 e 15 de abril de 1843, na última coluna).
+Morand e Smith foram sucedidos por J. D. Davies, que comprou deles uma grande porção de lâminas, etc, convidou o público para visitar a oficina no Hotel Pharoux e, pouco depois, estabeleceu seu gabinete na rua do Ouvidor, 75 (Jornal do Commercio, 25 de abril de 1843, na segunda coluna, e 3 de maio de 1843, na terceira coluna). Algumas fontes levantam a possibilidade de Morand não ter retornado direto para Nova York.
+1843 – Nascimento de sua filha, Caroline Lydia Morand (1843 – 1902), em Nova York.
+1844 a 1846 – Catálogos de Nova York informavam que entre 1844 e 1846, o endereço do gabinete de daguerreotipia de Morand, em sociedade com George W. Morand, era Chambers Street, 73.
+c. 1846 – Em meados da década de 1840, Morand trabalhou como daguerreotipista em várias cidades do sul dos Estados Unidos.
+Nascimento de sua segunda filha, Mary (1846 – 1863).
+1847 – Morand trabalhava como daguerreotipista, em Saint Louis, na Morand and Company´s Gallery of Daguerreotype Portraits and Family Groups.
+Retornou a Nova York e abriu uma galeria na Chatham Street, 132, mesma rua em que morava.
+1851 – Morand foi eleito presidente da New York State Daguerreian Association.
+Fez parte do comitê que elaborou o estatuto da American Daguerre Association.
+Fez parte do comitê formado pela American Daguerre Association para investigar a autoria da invenção de um processo para produzir daguerreótipos coloridos reivindicado por Levi Hill (1816 – 1865).
+Foi publicado na edição de abril da revista Photographic Art-Journal, o artigo Augustus Morand the Daguerrean Art, sobre Augustus Morand, de autoria do reverendo Daniel Parish Kidder (1815 – 1891), teólogo e escritor que viveu entre 1837 e 1840 no Brasil. Uma curiosidade: em dezembro de 1839, Kidder embarcou em Salvador no mesmo navio que trouxe o abade Louis Comte para o Rio de Janeiro. Foi o abade que apresentou o daguerreótipo a d. Pedro II, em janeiro de 1840 (Jornal do Commercio de 17 de janeiro de 1840, na primeira coluna, e de 20 de janeiro de 1840, na terceira coluna). Kidder foi o autor dos livros Sketches of residence and travel in Brazil e Brazil and the brazilians, publicado em 1857.
+1852 – Morand estabeleceu uma nova galeria na Chatham Street, 65, em Nova York.
+1857 -1858 – Trabalhava como editor na Broadway, 379, em Nova York.
+1859 – Comprou a galeria de Alexander Becker, situada na Broadway, 411, em Nova York.
+1860 – Segundo catálogo de Nova York, Morand trabalhava como fotógrafo na Broadway, 379. Outras fontes indicam que nesse ano ainda possuía a galeria na Broadway, 411.
+1860 – 1862 – Augustus e George H. Morand estabeleceram uma galeria no Brooklyn.
+1863 – A filha de Morand, Mary, faleceu de doença cardíaca aos 17 anos. Na época, Morand residia na Washington Street, nº. 210, no Brooklyn (The New York Times, 24 de agosto de 1863).
+1896 – Falecimento de Morand, na Inglaterra.
+ 
+Andrea C.T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
diff --git a/wordpress/28555-serie-teatros-e-cinemas-do-brasil-viii-o-teatro-joao-caetano-no-rio-de-janeiro-n.md b/wordpress/28555-serie-teatros-e-cinemas-do-brasil-viii-o-teatro-joao-caetano-no-rio-de-janeiro-n.md
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@@ -0,0 +1,233 @@
+---
+id: 28555
+url: "https://brasilianafotografica.bn.gov.br/?p=28555"
+titulo: "Série “Teatros e cinemas do Brasil” VIII – O Teatro João Caetano, no Rio de Janeiro, no Dia Mundial do Teatro"
+autor: "Andrea Wanderley"
+data: "2023-03-27T12:18:07+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/9856", "20.500.12156.1/11121", "20.500.12156.1/14444", "20.500.12156.1/2142", "20.500.12156.1/9450", "20.500.12156.1/11122", "20.500.12156.1/11417", "20.500.12156.1/5467", "20.500.12156.1/8167"]
+fetched_at: "2026-09-10T10:11:20.993Z"
+---
+
+# Série “Teatros e cinemas do Brasil” VIII – O Teatro João Caetano, no Rio de Janeiro, no Dia Mundial do Teatro
+
+No Dia Mundial do Teatro, a Brasiliana Fotográfica traz para seus leitores registros da mais antiga casa de espetáculos do Rio de Janeiro, o Teatro João Caetano, na Praça Tiradentes, antigo Largo do Rocio, onde floresceu uma dramaturgia genuinamente brasileira, liderada pelo ator João Caetano (1808 – 1863), que dá nome ao teatro desde 1923. As imagens foram produzidas, já no século XX, por Augusto Malta (1864 – 1957), pelo fotógrafo amador Guilherme Santos (1871 – 1966) e por fotógrafos ainda não identificados. Não confundir nem com o Teatro João Caetano, construído na ocasião da Exposição Nacional de 1908, nem com o Teatro João Caetano de Niterói.
+Vários ícones da cultura brasileira já se apresentaram no palco do João Caetano, dentre eles, Chiquinha Gonzaga (1847-1935), Dercy Gonçalves (1907 – 2008), Dulcina de Moraes (1908 – 1996), Fernanda Montenegro (1929-), Fernanda Torres (1965-), Gal Costa (1945-), Grande Otelo (1915 – 1993), Maria Bethânia (1946-), Marco Nanini (1948-), Marilia Pera (1943- 2015), Paulo Autran (1922 – 2007), Paulo Gracindo (1911 – 1995) e Procópio Ferreira (1898 – 1979). Em seu palco também foram realizados shows históricos do Projeto Seis e Meia, idealizado por Albino Pinheiro (1934 – 1999), em 1976, além das séries de grandes musicais como Rua Azusa e Sassaricando.
+As fotos realizadas por Guilherme Santos são estereoscopias. Ele era um entusiasta desta técnica fotográfica, tornando-se um de seus pioneiros no Brasil, ao adquirir, em 1905, na França, o Verascope, um sistema de integração entre câmera e visor, que permitia ver imagens em 3D, produzidas a partir de duas fotos quase iguais, porém tiradas de ângulos um pouco diferentes. Eram impressas em uma placa de vidro e reproduziam a sensação de profundidade de maneira bem próxima da visão real. Antes dele, entre os anos de 1855 e 1862, o “Photographo da Casa Imperial”, Revert Henrique Klumb (1826 – c. 1886), favorito da imperatriz Teresa Christina e professor de fotografia da princesa Isabel, havia realizado vários registros utilizando a técnica da estereoscopia. A Casa Leuzinger também produziu fotografias estereoscópicas.
+ 
+Guilherme Santos. Fachada do Teatro João Caetano, c. 1927. Praça Tiradentes, Rio de Janeiro, RJ / Acervo IMS
+ 
+Acessando o link para as fotografias do Teatro João Caetano disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a ela. 
+ 
+O alagoano Augusto Malta (1864 – 1937) foi contratado, em 1903, pela Prefeitura do Rio de Janeiro como fotógrafo oficial, cargo criado para ele. Passou a documentar a radical mudança urbanística promovida pelo então prefeito da cidade, Francisco Pereira Passos (1836-1913), período que ficou conhecido como o “bota-abaixo”. Trabalhou na Prefeitura até 1936, quando se aposentou. Foi o mais importante cronista fotográfico do Rio de Janeiro das primeiras décadas do século XX, autor de um importante legado iconográfico.
+ 
+Augusto Malta. Teatro João Caetano, c. 1930. Rio de Janeiro, RJ / Acervo IMS
+ 
+O Dia Mundial do Teatro foi  instituido, em 1961, pelo Instituto Internacional do Teatro, organização não-governamental fundada pela UNESCO e por profissionais da dança e do teatro, em 1948.
+ 
+
+ 
+Um pouco da história do Teatro João Caetano
+ 
+O  Teatro João Caetano foi inaugurado, em 12 outubro de 1813, por dom João VI, com o nome de Real Theatro de São João, com a peça lírica O Juramento dos Nunes, de autoria do escritor e dramaturgo português dom Gastão Fausto da Câmara Coutinho (1772 – 1852), com música do também português Bernardo José de Souza e Queiroz (1865 – 1837), compositor oficial do teatro (O Patriota, outubro de 1813; Gazeta do Rio de Janeiro, 18 de janeiro de 1814). Suas bases foram alicerçadas com pedras destinadas à construção da catedral do Rio de Janeiro. Para os supersticiosos, isso foi a causa dos diversos incêndios ocorridos ao longo da existência do teatro.
+ 
+Teatro João Caetano no Carnaval de 1913, fevereiro de 1913. Rio de Janeiro, RJ / Acervo Casa de Oswaldo Cruz
+ 
+A construção do teatro foi determinada por um decreto, de 28 de maio de 1810, assinado por dom João VI (1767 – 1826):
+“Fazendo-se absolutamente necessario nesta Capital que se erija um Theatro decente, e proporcionado á população, e ao maior gráo de elevação e grandeza em que hoje se acha pela minha residencia nella, e pela concurrencia de estrangeiros, e de outras pessoas que vêm das extensas Provincias de todos os meus Estados: fui servido encarregar ao doutro Pau’o Fernandes Vianna, do Meu Conselho e Intendente Geral da Polícia, do cuidado e diligencia de promover todos os meios para elle se erigir, e conservar sem dispendio das rendas publicas, e sem ser por meio de alguma nova contribuição que grave maios ou meus fieis vassallos, a quem antes desejo alliviar de todas ellas; e havendo-me propsoto o mesmo Intendente que grande parte dos Meus vassallos residentes nesta Còrte me haviam já feito conhecer que por ser esta obra do meu real agrado, e de notoria necessidade, se prestavam de boa vontade e dar-me mais uma prova de seu amor, e distincta fidelidade, concorrendo por meio de acções a fazer o fundo conveniente, principalmente si eu houvesse por bem de tomar o dito Theatro debaixo de minha protecção, e de permittir que com realação ao meu real nome se denominasse Real Theatro de S. João (…)”..
+Foi edificado em um terreno adquirido por Fernando José de Almeida e o responsável pelo projeto, neoclássico, foi o engenheiro João Manuel da Silva. Sua fachada assemelhava-se a do Real Theatro de São Carlos, em Lisboa, de autoria de José da Costa e Silva (18? -1819), que teria vindo para o Rio de Janeiro, em 1812, e que, em agosto deste ano, havia sido empossado como Arquiteto Geral de todas as obras Reais no Brasil.
+“O projeto arquitetônico com sua volumetria dominava a paisagem e enobrecendo o Largo do Rossio, obedecendo ao estilo da cena italiana, seguia hierarquicamente os espaços internos do edifício teatral, separando os limites entre o palco e a plateia, com sua forma aproximada de ferradura, apresentava a curvatura dos balcões em forma de “U” alongado, definindo os foyers, o proscênio e o fosso da orquestra. Seguindo o modelo de arquitetura teatral europeia, o teatro possuía um pórtico ao corpo frontal do edifício, para proteção dos espectadores que chegavam de carruagem. Um estilo de fachada próprio para um teatro de grande importância cultural e social…Havia um terraço, ou varanda na frente do edifício que serviu de palco para importantes pronunciamentos históricos.”.
+José Dias em Teatros do Rio: do século XVIII ao século XX
+ 
+Dom João VI era um assíduo frequentador do teatro assim como pessoas de destaque da sociedade carioca, o que tornou o Real Teatro de São João, além de centro da vida artística da capital, o ponto de encontro da vida política e social da cidade.
+Cerca de um ano depois do casamento por procuração de dom Pedro I (1798 – 1834) com a arquiduquesa austríaca Leopoldina (1797 – 1926), realizado, em 13 de maio de 1817, o pintor francês Jean-Baptiste Debret (1768- 1848), um dos cenógrafos do Real Theatro de São João, criou um cenário povoado de figuras mitológicas e alegóricas, para um baile, que aconteceu no teatro, em 18 de maio de 1818. Posteriormente, foi o autor do pano de boca inaugurado nas festas de coroação de d. Pedro I, em 1822.
+ 
+Pintura de Debret, c. 1834
+ 
+Debret chegou ao Brasil, em 1816, integrando um grupo de artistas que ficou conhecido como Missão Artística Francesa, do qual faziam parte o arquiteto francês Grandjean de Montigny (1776 – 1850), o gravador suíço Charles Simon Pradier (1786 – 1947), entre outros, incluindo artesãos e o músico austríaco Sigismund von Neukomm (1778 – 1858), chefiados pelo intelectual e administrador francês Joachim Lebreton (1760 – 1819), que havia sido administrador das obras de arte do Museu do Louvre, em Paris, e secretário perpétuo da classe de Belas Artes do Institut de France. Foi demitido de suas funções, em 1815, devido a seu apoio a Napoleão (1769 – 1821) e também por seu discurso proferido no Institut contra o desmembramento das coleções do Louvre. Veio para o Brasil como exilado (Gazeta do Rio de Janeiro, 6 de abril de 1816, segunda coluna; Correio Official, 29 de dezembro de 1834, terceira coluna).
+Em 1821, foi feita uma reforma, o teatro foi pintado interna e externamente, forrados os camarotes, de cujos parapeitos pendiam sanefas de veludo e ouro, festões de flores, bandeiras e troféus; foi estendido um tablado que, encobrindo os camarotes da primeira ordem, corria até o soalho do proscênio. Do teto pendia grande quantidade de lustres de cristal, iluminados com velas de cera (José Dias, 2012).
+Alguns momentos importantes da história do Brasil aconteceram no teatro: a leitura, pelo futuro imperador D. Pedro I, do decreto de 24 de fevereiro de 1821, pelo qual D. João VI aprovava a Constituição elaborada pelas Cortes de Lisboa. Em 5 de junho do mesmo ano, também no teatro, reuniu-se a assembleia perante a qual D. Pedro jurou as bases da futura Constituição de Portugal. Ao retornar de São Paulo, em 15 de setembro de 1822, D. Pedro surgiu num dos camarotes do São João mostrando, no braço, uma faixa verde e amarela, onde estava escrito “Independência ou Morte”, sendo ovacionado pelo público e pela multidão que irrompeu a sala (José Dias, 2012).
+O Real Theatro de São João sofreu seu primeiro incêndio ao final da representação do drama sacro Vida de Santo Hermenegildo, em 25 de março de 1824, data em que se comemorava o juramento da Constituição do Império do Brasil. Aconteceu pouco depois que dom Pedro I havia deixado o recinto. O fogo se espalhou e o prédio ficou reduzido a quatro paredes (Diário do Rio de Janeiro, 24 de março de 1824, primeira coluna; Abelha do Itacolomy, 13 de abril de 1824; Diário do Rio de Janeiro, 20 de abril de 1824, primeira coluna).
+ 
+Juramento de D. Pedro I, Imperador do Brasil, à Constituição de 1824. Arquivo Nacional. Fundo Secretaria de Estado do Brasil
+ 
+
+Seu proprietário, Fernando José de Almeida, já mencionado, conseguiu um empréstimo no Banco do Brasil, estabeleceu acionistas de camarotes e obteve a concessão de loterias. Durante as obras de reconstrução, foi preparado em um salão da frente, junto à varanda, o Theatrinho Constitucional, inaugurado em 1º de dezembro de 1824, para festejar a coroação e sagração de D. Pedro I. Tinha um pequeno palco, 24 camarotes e uma plateia para 150 pessoas. Na estreia, apresentação do Hino, composto pelo Imperador e tocado pela orquestra; de um discurso recitado pela atriz Estela Joaquina de Moraes e da ópera de Rossini, O engano feliz.
+O teatro foi reedificado e reinaugurado com o nome de Imperial Theatro de São Pedro de Alcântara, com a ópera Tancredo, de Giochanino Rossini (1792 – 1868), em 22 de janeiro de 1826, data de aniversário da imperatriz dona Leopoldina (1797 – 1826) (O Spectador Brasileiro, 23 de janeiro de 1826, segunda coluna). Foi em seguida fechado para a conclusão da reforma e reaberto em 4 abril do mesmo ano, aniversário da princesa dona Maria da Glória (1819 – 1853) (O Spectador Brasileiro, 12 de abril de 1826, primeira coluna).
+ 
+“O Imperial Theatro de São Pedro de Alcântara conservou todas as características do projeto anterior (Real Theatro de São João, 1813).”  “O teatro possuía 100 camarotes, distribuídos em quatro ordens, com capacidade para umas 300 pessoas, separadas por um gradil dourado da platéia que acomodava aproximadamente 600 espectadores. Ao centro ficava o camarote imperial, ornado com o brasão do império, com lindos trabalhos de talha dourada e guarnecido de cortinas de seda azul, bordadas a ouro (essa decoração deve ter sido substituída por verde e ouro, cores a que se refere Carlos Seidler). A iluminação era feita por 220 velas de cera, resguardadas em mangas de vidro. A não ser no camarote imperial, onde havia um grande lustre e várias arandelas, do teto não pendia nenhum candelabro para não prejudicar a visão. O edifício era bastante arejado, atendendo aos rigores do clima. À entrada havia um buffet.”
+ Teatros do Centro Histórico do Rio de Janeiro
+ 
+O teatro ficou temporariamente fechado em 1831 e José Fernando de Almeida, filho do antigo proprietário, arrendou o teatro ao Banco do Brasil. Reabriu, no mesmo ano, em 3 de maio, com o nome de Theatro Constitucional Fluminense com a apresentação da peça Tolita ou O Império das Leis (Jornal do Commercio, 3 de junho de 1831, primeira coluna). Após o distúrbio ocorrido no teatro, em 28 de setembro de 1831, iniciado por uma briga entre o tenente brasileiro Antônio Caetano e o oficial português Paiva, do Estado-Maior do Exército, que tomou proporções maiores, deixando dois feridos e três mortos, o teatro foi novamente fechado (Distúrbios no Theatro Constitucional Fluminense; Jornal do Commercio, 1º de outubro de 1931, segunda coluna).
+Foi reaberto em 02 de dezembro de 1831, com a representação do drama O aldeão magistrado, encenado por uma companhia constituida pelo arrendatário do teatro. Em 3 de maio de 1832, foi encenado no teatro o drama A reconciliação das duas tribos pelo poder da inocência (Correio Mercantil, 2 de maio de 1832, segunda coluna). João Caetano dos Santos (1808 – 1863), o mais importante ator brasileiro do século XIX, fazia parte do elenco.
+ 
+O ator João Caetano (1808 – 1863)
+ 
+Para liquidação total da dívida, o Banco do Brasil, em 1838, levou o imóvel à praça, sendo arrematado por Manuel Maria Bregaro e Joaquim Valério Tavares que formaram uma sociedade por ações, composta por quarenta acionistas, um dos quais, o ator João Caetano dos Santos.
+A representação da tragédia Antônio José ou o Poeta e a Inquisição, de Gonçalves de Magalhães (1811-1882) , em 13 de março de 1838, no Teatro Constitucional Fluminense, é considerada fundamental para a definição individual do teatro brasileiro. O drama foi apresentado pela companhia de João Caetano, composta exclusivamente de atores brasileiros (Jornal do Commercio, 6 de março de 1838, primeira coluna).
+Em outubro de 1838,  foi novamente fechado, dessa vez para uma reforma, quando foi construído o segundo andar, o teto foi pintado pelo artista Olivier e, o pano de boca, pintado por Manuel Araújo Porto Alegre (1806-1879), discípulo do já mencionado Grandjean de Montigny. Em 7 de setembro de 1839, foi reaberto com seu antigo nome: Theatro de São Pedro de Alcântara. Em cena, João Caetano na peça Olgiato, de J. G. de Magalhães (Diário do Rio de Janeiro, 3 de setembro de 1839, primeira coluna).
+João Caetano tornou-se seu principal acionista, em 1843. No ano seguinte, a cantora lírica italiana Augusta Candiani (1820 – 1890) estreou no Brasil na ópera Norma, encenada do Theatro São Pedro de Alcântara (Diário do Rio de Janeiro, 15 de janeiro de 1844, penúltima coluna).
+O segundo incêndio no teatro aconteceu em 9 de agosto de 1851, após de uma representação de O cativo de Fez, de João Antônio da Costa.
+“Ardeu o arquivo das companhias líricas e dramáticas, avaliado em mais de 12.000$; vestimentas, cenário, instrumentos de música, tudo o fogo devorou. Salvaram-se somente os livros do escritório, uma mesa com algum dinheiro e os móveis da sala de entrada do camarote particular do Imperador”
+Henrique Marinho em O teatro brasileiro…(1904)
+ 
+João Caetano, então diretor e empresário do teatro, decidiu reconstrui-lo e o Theatro São Pedro de Alcântara foi reinaugurado, com a presença de dom Pedro II (1825 – 1891) e da imperatriz Teresa Cristina (1822 – 1889), em 18 de agosto de 1852, com o espetáculo O Livro Negro, protagonizado por João Caetano. Os arquitetos Olivier e Hosxe participaram da reconstrução e o cenógrafo Joaquim Lopes de Barros Cabral foi o responsável pela pintura (Diário do Rio de Janeiro, 20 de agosto, terceira coluna; 21 de agosto, primeira coluna; e 25 de agosto de 1852, penúltima coluna). 
+ 
+Diário do Rio de Janeiro, 14 de agosto de 1852
+ 
+Em 26 de janeiro de 1856, outro incêndio, ocorrido após a apresentação do drama de Mendes Leal, D. Maria de Alencastro, em benefício da atriz Isabel Maria Nunes, que reduziu a cinzas todo aquele edificio (Correio Mercantil, 27 de janeiro de 1856, última coluna). Cerca de um ano depois, em 3 de janeiro de 1857, foi, com a presença do imperador Pedro II (1825 – 1891), mais uma vez reinaugurado, com o drama Affonso Pietro, protagonizado por João Caetano, e o vaudeville Ketly ou A volta à Suiça. A reforma foi comandada pelo ator José Romualdo de Noronha, que idealizou um teatro com todas as características das salas de espetáculos da Europa. Entretanto, as condições técnicas ainda e a acústica eram insatisfatórias.
+ 
+
+Correio Mercantil, 2 de janeiro de 1857
+ 
+“O teatro com efeito corresponde à expectação de todos. Ornado com simplicidade e elegância, todo branco com flores de ouro, forrados os seus camarotes de papel azul e branco fabricados no país, apresenta algumas inovações muito bem entendidas. O fundo dos camarotes tem a forma circular aconselhada pelas leis da acústica; a quarta ordem apresenta um avarandado de muito bom gosto, a abóbada do forro em vez de começar na linha em que terminam os camarotes, começa na linha em que estes principiam, e assim erguendo- -se o forro, dá a essa quarta ordem uma elevação que perfeitamente contrasta com o acachapado das nossas torrinhas. Reduzindo a menores proporções a tribuna imperial, o construtor do teatro ganhou espaço para mais dois camarotes em cada ordem, ao mesmo tempo que estabelecendo a orquestra no vão por baixo do arco do proscênio deu mais extensão ao espaço destinado às cadeiras”.
+Jornal do Commercio, 5 de janeiro de 1857
+ 
+Mesmo com o falecimento de João Caetano, em 24 de agosto de 1863, o teatro continuou  a ser o mais frequentado da Corte.
+Na década de 1880, apresentaram-se em seu palco duas das maiores atrizes do século XIX: a italiana Eleonora Duse (1858 – 1924), em 1885; e a francesa Sarah Bernhartd (1844 – 1923), em 1886, quando sua atuação em Fedra, de Jean Racine (1639 – 1699) arrebatou a plateia (Jornal do Commercio, 29 de junho de 1885, última coluna; A Semana, 17 de julho de 1885; Diario do Brazil, 7 de agosto de 1885, primeira coluna; Gazeta de Notícias, 3 de junho de 1886, última coluna).
+Em 1885 foi feita realizada outra reforma desta vez por iniciativa dos diretores do Banco Industrial e Mercantil, que eram, na ocasião, proprietários do teatro. O projeto arquitetônico foi de Pedro Leonardo Lamberti. As condições de visibilidade e acústica foram melhoradas e a instalação da iluminção a gás foi supervisionada pelo próprio imperador Pedro II. A pintura das paredes se assemelhava à mármore e as cadeiras ficaram mais espaçosas. O pano de boca foi pintado pelo cenógrafo Rossi, baseado em uma ideia de Ângelo Agostini (1843 – 1910). Em 1888, foi novamente reformado.
+Com a Proclamação da República, o teatro foi atingido pela crise econômica que afetou atividades artísticas. Passou a abrigar companhias circenses e de variedades.
+Em 3 de maio de 1891, foi inaugurada numa praça que existia defronte ao edifício da antiga Academia Imperial de Belas-Artes, hoje Museu de Belas-Artes, uma estátua em tamanho natural de João Caetano como o protagonista da peça Oscar, filho de Ossion, de Antoine-Vincent Arnault (1766 – 1834), de autoria do escultor carioca Francisco Manuel Chaves Pinheiro (1822 – 1884) e fundida em Roma.
+ 
+Marc Ferrez. Escola Nacional de Belas Artes, c. 1895. Rio de Janeiro, RJ / Acervo IMS
+ 
+Por escritura pública datada de 14 de junho de 1898, passada no Cartório do Tabelião Evaristo, o Banco do Brasil, mais uma vez, passou a ser o proprietário do imóvel, por permuta feita com o Conde de Santa Marinha, Comendador Antônio Teixeira Rodrigues, e sua esposa.
+Em 1916, a estátua de João Caetano foi transladada do Campo de Santana – onde estava desde 1909 – para a Praça Tiradentes, diante do Teatro de São Pedro de Alcântara (O Paiz, 3 de setembro de 1909, primeira coluna; O Paiz, 20 de agosto de 1916, última coluna; O Paiz, 6 de outubro de 1916, segunda coluna).
+ 
+Guilherme Santos. Estátua em homenagem a João Caetano, c. 1920. Praça Tiradentes, Rio de Janeiro, RJ / Acervo IMS
+ 
+O Teatro de São Pedro de Alcântara foi remodelado, em dezembro de 1916. Custou mais de 300 contos ao Banco do Brasil e foi executada pelo engenhero Silveira da Mota com a firma construtora Andrade Lima & Cia. Os encarregados pela iluminação e pelos aparelhos elétricos, foi a firma F. R. Moreira & Cia e a decoração e o pano de boca foram realizados pelos irmãos Timóteo.
+Por escritura lavrada em Notas do 18º Ofício, Cartório do Tabelião Álvaro Borgert Teixeira, no Livro n. 23, folhas 2, em 22 de dezembro de 1920, o teatro tornou-se propriedade da Prefeitura do Distrito Federal.
+Finalmente, a partir de 24 de agosto de 1923, pelo Decreto nº 1891 do prefeito Alaor Prata (1882 – 1964), o teatro passou a chamar-se Teatro João Caetano, em homenagem ao ator, considerado o pai do teatro brasileiro (O Paiz, 25 de agosto de 1923, quarta coluna; Revista da Semana, 1º de setembro de 1923, primeira coluna). 
+Durante a gestão do prefeito Antônio da Silva Prado Junior (1880 – 1955), em 15 de junho de 1928, realizava-se o último espetáculo do antigo teatro pela companhia Margarida Max, com a revista Rio nu, de autoria de Moreira Sampaio. Foi demolido, reconstruído e o prédio atual foi inaugurado em 28 de junho de 1930, com a opereta Rose Marie, com música de Rudolf Friml (1879 – 1972) e Herbert Stothart (1885 – 1949), e livro e letra de Otto Harbach (1873 – 1963) e Oscar Hammerstein II (1895 – 1960), apresentado por uma companhia francesa do Morgadu, com Jane Marney como estrela. Devido à apresentação, as músicas da opereta, já conhecidas, voltaram a fazer muito sucesso (O Imparcial, 29 de novembro de 1928; O Paiz, 27 de junho de 1930; O Cruzeiro, 21 de junho de 1930; e O Malho, 19 de julho de 1930, coluna do meio). Foi essa obra que deu ao teatro a estrutura que mantém até os dias de hoje, sem o pórtico por onde passavam as carruagens (Correio da Manhã, 24 de junho e 20 de julho de 1930).
+ 
+O Paiz, 27 de junho de 1930
+ 
+Houve uma acirrada polêmica entre o arquiteto francês Joseph Gire (1872 – 1933) que tinha um projeto de remodelar e modernizar o Teatro João Caetano, mantendo a estrutura original e o urbanista francês Alfred Agache (1875 – 1959), convidado, em 1927, para trabalhar em um projeto de remodelação urbana do Rio de Janeiro a convite de Prado Júnior. Agache venceu e viabilizou a proposta do projeto de Alejandro Baldassini, que demoliu o imóvel. Nos primeiros anos da década de 1930, Baldassini foi editor da revista Forma juntamente com o engenheiro teuto brasileiro Emilio Baumgart, calculista de suas principais obras.
+O projeto e sua execução ficaram a cargo da empresa Gusmão, Dourado & Baldassini. Com uma fachada futurista e com sua volumetria purista, em um estilo bem moderno, o novo edifício, considerado um ícone art déco do Rio de Janeiro, não agradou a todos (Fon-Fon, 24 de maio de 1930; O Malho, 7 de junho de 1930; O Jornal, 13 de julho de 1930, penúltima coluna; O Cruzeiro, 9 de agosto de 1930; Jornal do Brasil, 21 de dezembro de 2008).
+ 
+Correio da Manhã, 24 de junho de 1930
+ 
+“Conquanto os principais teatros do mundo sejam considerados obras de arte do primeiro renascimento arquitetônico, o nosso é, no século atual, um monumento de época. Como construção, encarado sob o ponto de vista técnico, é a última palavra no arrojo a que tem chegado a engenharia moderna, utilizando-se do concreto armado, heterogêneo e monolítico. Assim, observa-se na estrutura óssea do novel edifício, como no indumento arquitetônico, a ausência absoluta de arcos. E as poucas vigas que se vêem apresentam originalidades de perfis. Os camarotes, balanceados em quase quatro metros, não são suportados por nenhuma coluna que embarace a vista nem vigas ou consolos, o que no campo da lógica dá  a pensar até onde chegaremos. A questão da acústica foi baseada nos métodos modernos análogos aos usados na construção do grande Salão de Música Pleyel, em Paris.”
+
+Teatros do Centro Histórico do Rio de Janeiro
+ 
+Artigo do arquiteto e construtor J. Cordeiro de Azeredo / Correio da Manhã, 20 de julho de 1930
+ 
+Os painéis de temática musical, Samba e Carnaval, que foram pintados a óleo diretamente sobre a parede do foyer superior do Teatro João Caetano são de autoria do pintor Emiliano Di Cavalcanti (1897 – 1976). Foram projetados em 1929.
+ 
+Di Cavalcanti pintando os painéis / Diário da Noite, 18 de março de 1930
+ 
+As datas 1931 e 1964 grafadas sob a assinatura do artista referem-se, respectivamente, ao ano da pintura e ao da intervenção feita pelo próprio artista. A obra é considerada o primeiro mural modernista brasileiro e foi tombada pelo Instituto Estadual do Patrimônio Cultural do Rio de Janeiro – Inepac -, em 27 de outubro de 1967.
+ 
+
+ 
+
+ 
+ 
+Augusto Malta. Teatro João Caetano – Interior, Painel Samba, de Di Cavalcanti, c. 1930. Praça Tiradentes, Rio de Janeiro, RJ / Acervo IMS
+ 
+Nas décadas de 40 e 50, o João Caetano foi o palco de diversas revistas musicais e também de bailes de carnaval como os registrados nas matérias Dalva, a rainha – Baile do Rádio – Texto de Josué Guimarães e fotos de José Medeiros e Flávio Damm (O Cruzeiro, 17 de fevereiro de 1951); Paz e alegria no Baile das Atrizes – Texto de Arlindo Silva e fotos de João Martins, Flávio Damm e Jorge Audi (O Cruzeiro, 13 de março de 1954), Rainha do Rádio – Texto de Ary Vasconcelos e fotos de Jorge Audi, Mário de Moraes e José Medeiros (O Cruzeiro, 25 de fevereiro de 1956), Baile das Atrizes – Texto de Mário de Moraes e fotos de Walter Luiz, Antônio Ronek, José Medeiros, Jorge Audi e Hélio Passos (O Cruzeiro, 25 de fevereiro de 1956).
+ 
+Jean Manzon. Carnaval antigo – a Rainha do Baile das Atrizes (Mara Rúbia) e o Rei Momo (Francisco de Moraes Cardoso), 28 de fevereiro de 1946. Teatro João Caetano, Rio de Janeiro / Diários Associados (RJ) – Acervo IMS
+ 
+Na década de 1960, durante três anos, no governo de Carlos Lacerda (1914 – 1977), foi realizada uma reforma no teatro, cujo responsável pelas obras foi o engenheiro Stélio de Morais, diretor do Departamento de Prédios e Aparelhamentos Escolares. O projeto foi de Roberto Thompson Motta e a inspeção da execução ficaram a cargo de Celso Torreão Campos.
+Sobre a reforma, João Bethencourt (1924 – 2006), então Diretor do Serviço de Teatro, comentou:
+“…além da nova pintura geral, assoalhos, ladrilhos, espelhos, lustres etc., as 650 poltronas da plateia serão estofadas; as frisas e camarotes terão novo acabamento; o palco, os camarins e os sanitários serão totalmente remodelados; além do pano de boca e das passadeiras. Só o pano de boca, em veludo, custou 4 milhões de cruzeiros e as obras totais custarão cerca de 30 milhões. É sabido que uma das muitas deficiências do Teatro João Caetano sempre foi a acústica, considerada péssima por quantos ali têm atuado. Sobre tal problema dos mais importantes, disse-nos o diretor do Serviço de Teatros que, segundo a opinião do engenheiro Piragibe, técnico no assunto, além de Administrador Regional do Centro, as pequenas reformas e melhoramentos por que está passando o teatro serão suficientes para modificar completamente a acústica da casa. Se, porém, tal não se der, o problema será atacado futuramente, com novas verbas especiais para atendê-lo, pois se trata de dispositivo caríssimo”.
+A Noite, 28 de janeiro de 1964
+ 
+O João Caetano reabriu suas portas em 7 de setembro de 1965. Na programação: execução do Hino Nacional; concerto da Orquestra Sinfônica Brasileira, regida pelo maestro Eleazar de Carvalho (1912 – 1996), apresentando a Sétima Sinfonia de Beethoven; os Choros nº 10 de Villa-Lobos e um concerto de Schumann (1810 – 1856), com a pianista Guiomar Novaes (1894 -1979) (Jornal do Brasil, 8 de setembro de 1965, penúltima coluna).
+Ainda nos anos 60, foram montados no João Caetano grandes musicais como, Hello Dolly! (1938), do escritor norte-americano Thornton Wilder (1897 – 1975), estrelado por Bibi Ferreira (1922 – 2019), que contracenou com o barítono Paulo Fortes (1923 – 1997) , em março de 1966. Também no elenco: Augusto César Vanucci (1934 – 1992), Lisia Demôro (19?- ?), Hilton Prado (1935 – 2021), Marly Tavares (1940-) e Milton Carneiro (1923 – 1999), entre outros (Jornal do Brasil, 2 de março de 1966, segunda coluna). Aliás, foi no Teatro João Caetano que Bibi esteve pela primeira vez em um palco: com apenas 24 dias de nascida entrou em cena no colo da mãe, a atriz espanhola Aida Izquierdo Ferreira (1903 – 1985).
+De março de 1978 até março de 1979, passou por uma nova remodelação. Adolfo Bloch era o presidente da Fundação dos Teatros do Rio e Rafael Peres foi o responsável pelo projeto arquitetônico. Roberto Thompson Motta ficou ccom o projeto acústico e Fernando Pamplona ficou encarregado parte cênica, de iluminação e mecânica do palco. A  supervisão foi do engenheiro Carlos Lafayette.
+ 
+Jornal do Brasil, 11 de março de 1979
+ 
+O Teatro João Caetano foi reinaugurado com a comédia protagonizada por Paulo Gracindo (1911 – 1995), O Rei de Ramos, de Dias Gomes (1922 – 1999), em 11 de março de 1979 (Jornal do Brasil, 11 de março de 1979). A direção foi de Flavio Rangel (1934 – 1988) e a música de Chico Buarque de Holanda (1944-) e Francis Hime (1939-).
+ 
+Jornal do Brasil, 14 de março de 1979
+ 
+Nas décadas de 1970 e 80, o João Caetano teve seu nome associado a shows musicais. Em 1980, o teatro vinculou-se à Funarj – Fundação Anita Mantuano de Artes do Estado do Rio de Janeiro ou Fundação de Artes do Estado do Rio de Janeiro.
+Em julho de 1989, o forro do telhado no segundo balcão do Teatro João Caetano caiu sobre as cadeiras durante um show do cantor Belchior (1946 – 2017). A causa do desabamento foi a infiltração generalizada no telhado e a má conservação do prédio (Jornal do Brasil, 15 de julho de 1989, quinta coluna).
+Em abril de 1992, o teatro entrou em uma nova reforma. Nesta ocasião, o painel Samba, pintado por Di Cavalcanti, foi restaurado (O Fluminense, 2 de abril de 1991, primeira coluna; Jornal do Commercio, 2 de abril de 1992, primeira coluna).
+Em 22 de abril de 1994, foi inaugurado o Sótão do Teatro João Caetano com a encenação da peça Casa de Prostituição Anaïs Nin, de Francisco Azevedo, dirigido por Ticiana Studart (Jornal do Brasil, 18 de abril de 1994, quarta coluna). A sala, por não ter tido uma boa aceitação, deixou de funcionar. No ano seguinte, o João Caetano passou por outra reforma.
+Em 2009, foram realizadas novas intervenções que incluíram a restauração dos dois painéis de Di Cavalcanti, tratamento cênico de Gringo Cardia (1957-) e reforma de foyers, plateia e balcões. Foram adquiridos um novo carpete e novas poltronas.
+Para comemorar seus 200 anos, em outubro de 2013, houve apresentações gratuitas do balé Nó, de Deborah Colker. A Orquestra Sinfônica, o Coro e Orquestra de Música Popular da Escola de Música Villa-Lobos, além do grupo Chorando Baixinho e da Banda Sinfônica do Corpo de Bombeiros, participaram da programação do aniversário realizada no Largo Albino Pinheiro, ao lado do teatro. Houve também um evento fechado para convidados, no dia 12 de outubro, quando foi lançada uma medalha comemorativa pela Casa da Moeda e realizada uma homenagem ao ator Rogério Fróes (1934-), representando a classe artística. No foyer do teatro, realização de uma exposição com peças raras da história do João Caetano como programas do século XIX e a ata de reinauguração do teatro, em 1930, com as assinaturas do presidente Washington Luís (1869 – 1957) e do prefeito do Distrito Federal, Prado Junior (1880 – 1955).
+ 
+Medalha comemorativa dos 200 anos do Teatro João Caetano
+ 
+Em 2022, os dois painéis, Samba e Carnaval, de Di Cavalcanti, foram restaurados por uma equipe de técnicos, alguns que haviam participado do restauro o mural Guerra e Paz, de Cândido Portinari (1903 – 1962), na sede da ONU. A equipe foi liderada pelo professor Edson Motta Júnior, da Escola de Belas Artes da Universidade Federal do Rio de Janeiro (O GLOBO, 16 de julho de 2022).
+ 
+
+ 
+O Teatro João Caetano da Exposição de 1908
+ 
+Em 1908, por ocasião da Exposição Nacional Comemorativa do 1º Centenário da Abertura dos Portos do Brasil, no Rio de Janeiro, o então Teatro Constitucional ergueu, no local do evento, um pavilhão temporário para apresentar peças e concertos para o público. Vários espetáculos foram montados num espaço confortável, batizado de Teatro João Caetano, organizado em platéia, galeria e camarotes.
+ 
+Augusto Malta. Exposição Nacional de 1908. Teatro João Caetano com escultura da alegoria da Dança na fachada superior, 1908. Rio de Janeiro, RJ / Acervo Museu da República
+ 
+A exposição foi inaugurada, em 11 de agosto de 1908, na região da Urca, no Rio de Janeiro, em comemoração ao centenário da Abertura dos Portos às Nações Amigas, decretada em 28 de janeiro de 1808, pelo então príncipe regente de Portugal, dom João de Bragança, futuro dom João VI (1767 – 1926)(O Paiz, 11 de agosto de 1908). A exposição exibiu um “inventário” do Brasil através de seus produtos industriais, agrícolas, pastoris e artísticos. Promovida pelo governo federal, apresentou a cidade do Rio de Janeiro, recém urbanizada e saneada pelo então prefeito Francisco Pereira Passos (1936 – 1913) e pelo cientista Oswaldo Cruz (1872 – 1917), respectivamente. O evento foi encerrado em 15 de novembro de 1908 (O Paiz, 16 de novembro de 1908, sexta coluna).
+ 
+Augusto Malta. Teatro João Caetano da Exposição Nacional de 1908. Urca, Rio de Janeiro / Acervo IMS
+ 
+Com projeto de Francisco Isidro Monteiro, o Teatro João Caetano da Exposição de 1908 foi construído em madeira revestida de estuque ocupando uma área de 870 m² com capacidade para 800 espectadores. A decoração interna em tons de verde e com capitéis dourados foi realizada pelo caricaturista Raul Pederneiras (1874 – 1953) e equipe.
+Foi inaugurado, em 12 de agosto de 1908, no dia seguinte à abertura da Exposição Nacional, com a apresentação das peças O Noviço, de Martins Penna (1815 – 1848); e Não consultes médico, de Machado de Assis (1839 – 1908) (O Paiz, 13 de agosto de 1908, terceira coluna). Nos meses da exposição, foram apresentadas diversas peças, dentre elas Vida e morte, de Artur Azevedo (1855 – 1908); e Romance de uma moça rica, de Pinheiro Guimarães (1832 – 1877) (Revista da Semana, 27 de setembo de 1908).
+ 
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+Arquivo Nacional e a história luso-brasileira
+CABOT, Roberto. Joseph Gire: a construção do Rio de Janeiro moderno/RobertoCabot, – 1. ed – Rio de Janeiro: Casa da Palavra, 2014.
+COSTA, Carla. Série “O Rio de Janeiro desaparecido” II – A Exposição Nacional de 1908 na Coleção Família Passos in Brasiliana Fotográfica, 5 de abril de 2018.
+DIAS, José da Silva Dias. Teatros do Rio: do século XVIII ao século XX. Fundação Nacional de Artes, FUNARTE, 2012, p. 87.
+Edarc – Arquivo Nacional
+Entretextos
+Facebook – Museu da Música Mariana
+GOUVEIA, Viviane. Vida artística no período joanino in O Arquivo Nacional e a História Luso Brasileira, agosto 2018.
+Hemeroteca Digital da Biblioteca Nacional
+LISBOA  JUNIOR, Luiz Américo. Teatro português no Brasil: do Império à Primeira República. Tese orientada pelo Prof. Doutor Jose Damião Rodrigues, especialmente elaborada para a obtenção do grau de Mestre em História. Especialidade em História e Cultura do Brasil. Universidade de Lisboa, Faculdade de Letras, 2020.
+MARINHO, Henrique. O teatro brasileiro… Rio de Janeiro: H. Garnier, 1904.
+O GLOBO, 5 de outubro de 2013 – João Caetano, uma história em cena há 200 anos, por Nani Rubin 
+PAIXÃO, Mucio da. O teatro no Brasil. Editora Brasília Rio. Rio de Janeiro, 1936.
+PRADO, Décio de Almeida. João Caetano: o ator, o empresário, o repertório. São Paulo : Perspectiva, Ed. da Universidade de São Paulo, 1972.
+Site As Histórias dos Monumentos do Rio
+Site Bolsa de Arte – Paralelo
+Site Elenco Brasileiro
+Site Funarj
+Site Inepac
+Site Jusbrasil
+Site Paulo Fortes
+Site Rio Memórias
+Site SP Escola de Teatro
+Site Teatros do Centro Histórico do Rio de Janeiro
+Site World Theatre Day
+Veja Rio, 26 de outubro de 2022
+ 
+Outros artigos publicados na Brasiliana Fotográfica sobre teatros e cinemas
+ 
+Série O Rio de Janeiro desaparecido I - Salas de cinema do Rio de Janeiro do início do século XX, publicado em 26 de fevereiro de 2016.
+Os teatros do Brasil, publicado em 21 de março de 2016
+A inauguração do Theatro Municipal do Rio de Janeiro, publicado em 14 de julho de 2017
+Cinema no Brasil – a primeira sessão e um pouco da história do Cinema Odeon, publicado em 8 de julho de 2021
+Série “O Rio de Janeiro desaparecido” XII – O Teatro Lírico (Theatro Lyrico), publicado em 16 de setembro de 2021
+O Theatro de Santa Isabel, publicado em 28 de outubro de 2021
+O Teatro Amazonas (Theatro Amazonas), em Manaus, a “Paris dos Trópicos”, publicado em 28 de dezembro de 2021
+Dia do Cinema Brasileiro, publicado em 19 de junho de 2023
+Série O Rio de Janeiro desaparecido XXV – O Theatro Phenix, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado em 5 de setembro de 2023
+O Theatro da Paz, em Belém do Pará, inaugurado em 15 de fevereiro de 1878, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado em 15 de fevereiro de 2024
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/9856` — `itens/20.500.12156.1_9856/`
+- `20.500.12156.1/11121` — `itens/20.500.12156.1_11121/`
+- `20.500.12156.1/14444` — `itens/20.500.12156.1_14444/`
+- `20.500.12156.1/2142` — `itens/20.500.12156.1_2142/`
+- `20.500.12156.1/9450` — `itens/20.500.12156.1_9450/`
+- `20.500.12156.1/11122` — `itens/20.500.12156.1_11122/`
+- `20.500.12156.1/11417` — `itens/20.500.12156.1_11417/`
+- `20.500.12156.1/5467` — `itens/20.500.12156.1_5467/`
+- `20.500.12156.1/8167` — `itens/20.500.12156.1_8167/`
+
diff --git a/wordpress/28615-cronologia-de-izabel-jacintha-cunha-reeckell-a-madame-reeckell-1837-19.md b/wordpress/28615-cronologia-de-izabel-jacintha-cunha-reeckell-a-madame-reeckell-1837-19.md
new file mode 100644
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@@ -0,0 +1,90 @@
+---
+id: 28615
+url: "https://brasilianafotografica.bn.gov.br/?p=28615"
+titulo: "Cronologia de Izabel Jacintha Cunha Reeckell, a Madame Reeckell (1837 – 19?)"
+autor: "Andrea Wanderley"
+data: "2022-08-19T09:02:07+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/11144", "20.500.12156.1/11145"]
+fetched_at: "2026-09-10T10:11:24.659Z"
+---
+
+# Cronologia de Izabel Jacintha Cunha Reeckell, a Madame Reeckell (1837 – 19?)
+
+Cronologia de Izabel Jacintha Cunha Reeckell, a Madame Reeckell (1837 – 19?)
+ 
+ 
+Izabel Jacintha Reeckell; Photographia Allemã; Madame Reeckell. Retrato de homem não identificado, c. 1876. Porto Alegre, RS / Acervo IMS
+ 
+Acima, uma carte de visite produzida na Photographia Allemã de Mme Reeckell. Por cima do endereço do ateliê, em Porto Alegre, está escrito outro endereço, Praia (?) de Santa Izabel, nº 86, Lisboa. Terá sido o endereço do primeiro ateliê de Madame Reeckell na cidade?
+1837 – Madame Reeckel, cujo nome de solteira era Izabel Jacintha da Cunha, nasceu no Arquipélago dos Açores, na Ilha de São Jorge, na Vila de Velas, em 23 de outubro de 1837, filha de Antônio Machado da Cunha (1799 – 18?) e Ana Jacintha Emília. Foi batizada dias depois, em 29 de outubro, e seu nome homenageava sua mãe, e sua madrinha, Izabel.
+1863 – O fotógrafo prussiano Carlos Frederico Johann Reeckel (18? – c. 189?), protestante luterano e futuro marido de Jacintha, chegou ao Rio de Janeiro no paquete Navarre, em 19 de março de 1863 (Diário Oficial do Império do Brasil, 20 de março de 1863).
+1865 - Carlos F. J. Reeckell tornou-se sócio de Bernardo Lopes Guimarães, o Lopes, em um estabelecimento na Rua do Hospício, futura Rua Buenos Aires, nº 104, no Rio de Janeiro, sob a firma Frederico & Lopes (Correio Mercantil, 11 de julho de 1865, sétima coluna).
+1867 / 1870 - Em julho de 1867, Reeckell anunciava-se como retratista em Vassouras e participava ao respeitável público, aos Srs. fazendeiros da regiaõ que havia aberto uma photographia volante na cidade. Já havia trabalhado em Valença e em Santa Teresa (Jornal do Commercio, 19 de julho de 1867, última coluna).
+ 
+Jornal do Commercio, 19 de julho de 1867
+ 
+Carlos e Izabel Jacintha se casaram, no Rio de Janeiro, em setembro de 1867. Ainda não se sabe, mas Izabel Jacintha havia migrado para o Brasil, possivemente com seus pais (O Apóstolo, 20 de outubro de 1867, terceira coluna).
+Provisão de casamento – 20 de setembro:
+ 
+O Apóstolo, 20 de outubro de 1867
+ 
+Partiram para a os Açores, rumo à Ilha Terceira, no patacho português Terceirense, em 22 de setembro do mesmo ano (Jornal do Commercio, 23 de setembro de 1867, última coluna).
+Carlos Reeckell trabalhou e teve ateliês fotográficos montados em três ilhas do arquipélago: São Miguel, Terceira e Faial. Anunciava-se como fotógrafo volante. Transmitiu seus conhecimentos a diversos fotográfos, dentre eles Antônio José Raposo (1848 – 19?), que adquiriu o ateliê e os clichês de Reeckell.
+1870 –  O casal veio para o Brasil e chegou ao Ceará, em 15 de julho de 1870, a bordo da barca portuguesa Amisade (A Constituição, 4 de agosto de 1870, primeira coluna; Pedro II, 2 de agosto de 1870, primeira coluna).
+ 
+Os nomes de Carlos Frederico John Reeckell e de dona Izabel Jacintha Reeckell estavam na lista de passageiros do novaivo Amisade / Pedro II, 2 de agosto de 1870
+ 
+História da fotografia no Ceará do século XIX, página 129
+ 
+Estabeleceram-se, em Fortaleza, na Praça Municipal, nº 40 (A Constituição, 20 de setembro de 1870, primeira coluna).
+ 
+Pedro II (CE), 14 de agosto de 1870
+ 
+1872 – Em julho, Carlos Reeckell voltou de uma temporada no sul do Brasil (Pedro II (CE), 12 de julho de 1872, terceira coluna). Em novembro do mesmo ano, seu ateliê fotográfico ficava na Rua do Cajueiro, nº 25, e ele anunciava sua sociedade com Francisco Cândido Pereira Lins (Pedro II (CE), 25 de setembro de 1872, primeira coluna; 6 de novembro de 1872, segunda coluna).
+ 
+Pedro II (CE), 6 de novembro de 1872
+ 
+Foi noticiado que iria ao Rio de Janeiro (Pedro II, 10 de novembro de 1872, última coluna). Não foi mencionado se a senhora Reeckell o acompanhou nessa viagem.
+1873 / 1874- O casal encontrava-se em Porto Alegre e o estabelecimento fotográfico de Carlos ficava na Rua dos Andradas, 14. Seu nome constava no Registro de Contribuintes de Imposto de Porto Alegre dos anos 1873-1874. Em torno desta época ele estava muito doente. Foi então que Madame Reeckell teria tomado a frente do negócio como administradora e fotógrafa no ateliê das Rua dos Andradas, 80 (Álbum do Domingo, 7 de abril de 1878, última  coluna).
+Em dezembro de 1874, foi anunciado que a Fotografia Alemã, de Madame Reeeckell havia sido reformada (Jornal do Commercio (RS), de 12 de dezembro de 1874).
+Fotografia Alemã
+A abaixo assinada participa ao público que tendo feito reforma no atelier que se achava muito devassado, de hoje em diante preta-se a tirar retratos em que nada incomode, em qualquer hra do dia, anda mesmo que chova.
+Chama a atenção do público para os retratos em porcelana de alto relevo (sic), abrilhantados, coloridos e também a óleo.
+Uma dúzia de retratos por 4$ooors. simples, iguais ou melhores aos vindos da Europa, assim como dá amostras.
+Rua dos Andradas, 80
+Mme REECKELL
+No Registro de Contribuintes de Imposto de Porto Alegre dos anos 1874-1875, o nome de Carlos foi lançado acompanhado com a observação que não mais existia.
+1875 – Em abril de 1875, foi inaugurada  a segunda Exposição Provincial do Rio Grande do Sul ou Exposição Commercial e Industrial, uma exposição de agricultura, indústria e comércio, realizada no Edifício do Atheneo Rio Grandense, em Porto Alegre. Segundo o historiador Athos Damasceno (1902 – 1975), foi Carlos von Koseritz (1830 – 1890), jornalista, poeta e importante personalidade da colônia alemã no sul do Brasil durante o Segundo Império, quem sugeriu a inclusão na exposição “de uma seção especial destinada a exibição de obras de arte, assim imprimindo no parque um cunho de sensibilidade e cultura…”(Relatórios dos Presidentes das Províncias Brasileiras: Império (RS), 11 de março de 1875).
+Dois fotógrafos apresentaram seus trabalhos nessa mostra: Madame Reeckell e o tradicional Luiz Terragno (c. 1831 – 1891), Fotógrafo da Casa Imperial, que possuía estabelecimentos fotográficos no Rio Grande do Sul e em Santa Catarina (O Despertador, 19 de novembro de 1875, primeira coluna). Na  Exposição Nacional de 1875, inaugurada em 12 de dezembro e finda em 16 de janeiro de 1876, Terragno recebeu uma Medalha de Mérito (Jornal do Commercio, 4 de fevereiro de 1876, segunda coluna).
+No estabelecimento de Mme. Reeckell, ela desenvolvia sua técnica da “luz tangente para fazer retratos nos dias sombrios (…) e mesmo nos chuvosos” (A Reforma, 30 de julho de 1875).
+Houve uma polêmica em torno deste sistema fotográfico entre Terragno e Madame Reeckell que no jornal A Reforma, de 4 de agosto de 1870, publicou:
+“Luz Tangente. O sr. Terragno, em a pedido inserto no Riograndense, tratando dos retratos à luz tangente, diz que os não tiro pelo mesmo sistema dos seus. Os retratos chamados pelo sr. Terragno de à luz tangente –  são na minha opinião iguais aos que tiro e tenho anunciado. Quem quiser convencer disso venha à minha casa para ver os retratos que tenho tirado e outros de fotógrafos do Rio de Janeiro, também do mesmo sistema, isto é, preferindo-se os dias escuros para o trabalho dessa qualidade de fotografias. O sr. Terragno é injusto quando atribui-me querer imitá-lo, dando o nome de retratos – à luz tangente – que só s.s. pode tirar, quando é certo que os tiro há muito tempo. Desafia-me a apresentar os aparelhos e ingredientes que são precisos. Poderá vê-los  quem quiser. O sistema é simples e não faço mistério para com as pessoas que, visitando a minha galeria, pedem par ver os aparelhos de que me sirvo. Quanto a supor que usei do emblema seu no meu anúncio publicado na Reforma, declaro que nada tenho com isso. E o sr. Terragno com aquela empresa deve entender-se a respeito. M Reeckell”.
+Na IV Exposição Nacional de 1875, inaugurada em 12 de dezembro e finda em 16
+Madame Reeckell, alegando estado de pobreza, requereu à Câmara Municipal de Porto Alegre ser aliviada do pagamento de imposto de sua casa de retratista (Atas da Câmara, 4ª sessão, 21 de outubro de 1875). Parece que seu pedido foi atendido já que o nome de Carlos deixou de aparecer no Registro de Contribuintes de Imposto de Porto Alegre de 1875-1876.
+1878 – A família de artistas Riosa, a quem Carlos Reeckell já havia ajudado no Ceará, reverteu à família Reeckell o valor que arrecadou em um dos espetáculos que realizou em Porto Alegre (Álbum do Domingo, 7 de abril de 1878, segunda coluna). A família Riosa, procedente da Ilha de São Miguel, nos Açores, composta por Bonifacio Riosa e seus filhos menores, esteve com o casal Reeckell em 1870, no Ceará. Eles haviam chegado em Fortaleza, em agosto de 1870, na embarcação Íris, cerca e um mês após à chegada dos Reeckell na cidade. Segundo Ary Bezerra Leite, autor do livro História da Fotografia no Ceará do século XIX (2019), eles já se conheciam dos Açores.
+ 
+Álbum do Domingo, 7 de abril de 1878
+ 
+Neste ano, a família Reeckell mudou-se para Portugal e inaugurou um ateliê em Lisboa conforme anunciado em uma propaganda do estabelecimento de 1897.
+1892 – Segundo a tese de Paula Cristina Viegas, segundo anuários portugueses, Carlos Reeckell havia se instalado em Lisboa, com um novo negócio, na Rua Saraiva de Carvalho, 86.
+1896 - Entre esse ano e 1898, a Photographia Allemã, situava-se na Rua Saraiva de Carvalho, sob a administração de Madame Reeckell, já viúva.
+1897 – A partir desse ano, o estabelecimento passou a existir em outros endereços, conforme anunciado:
+“Photographia Allemã 158, avenida da Liberdade 211, rua de S. José. Este atelier fundado em 1878, executa todos os trabalhos com a maior seriedade. Retratos até ao tamanho natural. Instantaneos de creanças. Incumbe-se trabalhos de photographos amadores”. 
+Mulheres Fotógrafas em Portugal (1844 – 1918)
+Maria E. R. Campos 1.ª Photographa Portugueza
+c. 1900 – Parece que a Viúva Reeckell ficou à frente da Photographia Allemã até os primeiros anos do século XX.
+ 
+Do livro Fotógrafos em Porto Alegre. Faça chuva ou faça sol / GZH Almanaque
+ 
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/11144` — `itens/20.500.12156.1_11144/`
+- `20.500.12156.1/11145` — `itens/20.500.12156.1_11145/`
+
diff --git a/wordpress/28648-cronologia-de-fanny-paul-volk-c-1867-1948.md b/wordpress/28648-cronologia-de-fanny-paul-volk-c-1867-1948.md
new file mode 100644
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--- /dev/null
+++ b/wordpress/28648-cronologia-de-fanny-paul-volk-c-1867-1948.md
@@ -0,0 +1,87 @@
+---
+id: 28648
+url: "https://brasilianafotografica.bn.gov.br/?p=28648"
+titulo: "Cronologia de Fanny Paul Volk (c. 1867 – 1948)"
+autor: "Andrea Wanderley"
+data: "2022-08-19T09:02:22+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: []
+fetched_at: "2026-09-10T10:11:28.014Z"
+---
+
+# Cronologia de Fanny Paul Volk (c. 1867 – 1948)
+
+Cronologia de Fanny Paul Volk (c. 1867 – 1948)
+ 
+Fanny Paul Volk : pioneira na fotografia de estúdio em Curitiba, por Giovanna Simão
+ 
+c. 1867 – Nascimento de Fanny Paul, em Leipa, na Alemanha, filha de Anton Paul (c. 1831 – 1891) e da austríaca Anna Paul (c. 1836 – 1902). Mãe e filha foram pioneiras da fotografia.
+1880 – Sua mãe e seu irmão, August, de 16 anos, que faleceu durante a viagem, vieram para o Brasil no navio Hamburg e conheceram o fotógrafo alemão de Munique, Adolpho Volk (18? – 1908), futuro marido de Fanny.
+1881 – Fanny e seu pai vieram para o Brasil.
+ 
+Fanny e sua mãe, Anne Paul / Casa da Memória. nº. de cadastro:FO:460,SN:50. Fotógrafo: Adolpho Volk/Estúdio Volk in Fanny Paul Volk : pioneira na fotografia de estúdio em Curitiba, por Giovanna Simão
+ 
+Adolpho abriu seu estabelecimento fotográfico, em Curitiba, na Travessa da Rua da Carioca (Dezenove de Dezembro, 19 de novembro, de 1881).
+1882 – O ateliê de Adolpho já estava situado na Rua da Imperatriz, 77 (Dezenove de Dezembro, de 1822, segunda coluna).
+ 
+Dezenove de Dezembro, 19 de novembro de 1881
+ 
+Globoplay
+ 
+1886 – Fanny casou-se com Adolpho, em janeiro de 1886, tornando-se Fanny Paul Volk. Trabalhava com a mãe e com seu marido na capital do Paraná. O trio superou a tendência da sociedade local a discriminar os imigrantes de origem alemã possivelmente porque traziam para a cidade a fotografia, um símbolo da modernidade e para isso divulgaram seu ofício a partir de anúncios em jornais e por seus clientes da comunidade alemã.
+ 
+Fanny Paul Volk : pioneira na fotografia de estúdio em Curitiba, por Giovanna Simão
+ 
+1888 / 1889 – O ateliê funcionou na Rua do Imperador, nº. 9, de 1888 a 1889 e na Rua Marechal Deodoro, números 9 e 10, de 1890 a 1902, com a participação de Adolpho, Fanny e Anna, que faleceu em 1902. Em 1903, o ateliê já se encontrava na Rua XV de Novembro, nº 54.
+1900 – Adolpho foi premiado com a medalha de ouro na Exposição Agrícola e Industrial do Paraná.
+1904 – O último anúncio do ateliê sob a gestão de Adolpho foi publicado, em 1904 (Diário do Paraná, 16 de janeiro de 1904).
+ 
+Diário do Paraná. 16 de janeiro de 1904
+ 
+Adolpho partiu para a Alemanha, deixando Fanny e a filha única do casal, Adolphine (1887 -19?), no Brasil. Fanny seguiu trabalhando na Photographia Volk.
+ 
+Fanny Paul Volk : pioneira na fotografia de estúdio em Curitiba, por Giovanna Simão
+ 
+Foi oferecido o aluguel de uma das portas do ateliê fotográfico na Rua XV de Novembro. Fanny tomou a frente dos negócios e, no ano seguinte, já anunciava novidades: Retratos do tamanho de selos próprios para cartões de visita e correspondência de cartões postais (Diário da Tarde (PR), 7 de julho de 1904, última coluna; Cartão Postal, julho de 1905).
+1906 – Foi realizada na vitrine do jornal A Notícia uma exposição com cartões postais luminosos produzidos na Photographia Volk (A Notícia, PR 17 de fevereiro de 1906, penúltima coluna).
+ 
+A Notícia (PR), 17 de fevereiro de 1906
+ 
+Foram expostos na Photographia Volk os retratos dos generais Carneiro e Benjamin Constant que seriam inaugurados no 2º Esquadão da Cavalaria (A Notícia, 13 de novembro de 1906, penúltima coluna).
+1907 - Os retratos que seriam inaugurados na Secretaria Estadual de Agricultura, em 1907, foram realizados pela Photographia Volk (Diário da Tarde (PR), 15 de abril de 1907, segunda coluna).
+1908 – A Phtographia Volk anunciava-se como o mais antigo estabelecimento fotográfico do Paraná e realizava fotografias e retratos de todos os gêneros e por todos os processos até hoje conhecidos, como sejam: aristotipia, platinotipia, pigment, bromuro, contact, etc (Almanak do Paraná, 1908).
+ 
+Almanak do Paraná, 1908
+ 
+Foi anunciado que seria na Photographia Volk que seriam produzidos os trabalhos do Primeiro Club de Retratos de Curitiba, organizado por Carlos de Andrade (O Commercio (PR), 8 de março de 1909, primeira coluna).
+ 
+A República (PR), 25 de dezembro de 1908
+ 
+Adolpho Volk, que havia constituido uma nova família, faleceu, na Alemanha (Diário do Paraná (PR), 28 de agosto de 1908, quarta coluna).
+1912 – Numa época em que os neném eram retratados muito vestidos, fotografou um bebê nu. Segundo Giovanna Simão, autora de Fanny Paul Volk : pioneira na fotografia de estúdio em Curitiba, esta teria sido uma das primeiras fotografias de um bebê nu produzidas no Brasil e no mundo. O bebê era Javita Egg.
+ 
+Fanny Paul Volk : pioneira na fotografia de estúdio em Curitiba, por Giovanna Simão
+ 
+1911 – Sua filha Adolphine, cujo apelido era Lilly, casou-se com Julio Leite, que aprendeu a fotografar com Fanny e trabalhou com ela após o matrimônio. Lilly e Julio tiveram cinco filhos: Rennée, Helvídia, Fanny, Marcel e Ritta. Neste mesmo ano, foi contratado pela Photographia Volk um hábil artista fotógrafo de Berlim, Hugo Schreiber (Diário da Tarde (PR), 10 de novembro de 1911, quinta coluna).
+ 
+O Olho da Rua (PR), 1911
+ 
+1913 – A Photographia Volk, que havia se mudado, provisoriamente, para a Rua Marechal Deodoro, nº 81, e Arthur Wischral (1894 – 1982) integravam a equipe de reportagem fotográfica da revista A Bomba (PR) (A República (PR), 14 de março de 1913, última coluna; Diário da Tarde(PR), 28 de março de 1913, terceira coluna; A Bomba (PR), 10 de setembro de 1913, segunda coluna). O estabelecimento já tinha estado neste mesmo endereço de 1890 a 1902. Na Photographia Volk passaram a ser comercializados terrenos (Diário da Tarde, 26 de abril de 1913, primeira coluna).
+ 
+A República (PR), 14 de março de 1913
+ 
+1914 – Voltou a funcionar na Rua XV de novembro, nº 72, em 5 de abril de 1914 (A República (PR), 3 de abril de 1914, penúltima coluna; Diário da Tarde(PR), 2 de maio de 1914).
+ 
+Diário da Tarde (PR), 2 de maio de 1914
+ 
+1915 – Fanny recebeu um pecúlio a que tinha direito, pago por um funcionário da Mutua Ideal, de São Paulo (Diário da Tarde (PR), 11 de março de 1915, terceira coluna).
+1918 – Bernardo Heisler comprou a Photographia Volk e manteve o nome, certamente pelo sucesso e prestígio do estabelecimento.
+ 
+Arquivo Casa da Memória / Fanny Paul Volk : pioneira na fotografia de estúdio em Curitiba, por Giovanna Simão
+ 
+1948 – Fanny faleceu, em Curitiba, em setembro de 1948 (Diário da Tarde (PR), 29 de setembro de 1948, segunda coluna). Foi uma pioneira e conseguiu atuar como fotógrafa durante cerca de 40 anos em um ambiente eminentemente machista.
+ 
+Diário da Tarde (PR), 29 de setembro de 1948
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
diff --git a/wordpress/28653-cronologia-de-gioconda-rizzo-1897-2004.md b/wordpress/28653-cronologia-de-gioconda-rizzo-1897-2004.md
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+---
+id: 28653
+url: "https://brasilianafotografica.bn.gov.br/?p=28653"
+titulo: "Cronologia de Gioconda Rizzo (1897 – 2004)"
+autor: "Andrea Wanderley"
+data: "2022-08-19T09:03:13+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: []
+fetched_at: "2026-09-10T10:11:31.382Z"
+---
+
+# Cronologia de Gioconda Rizzo (1897 – 2004)
+
+Cronologia de Gioconda Rizzo (1897 – 2004)
+ 
+Autorretrato de Gioconda Rizzo, 1913 / Acervo da Família Rizzo / As retratistas de uma época: fotógrafas de São Paulo na primeira metade do século, por Carla Ibrahim, página 35
+ 
+1897 – Nascimento da paulistana Gioconda Rizzo (1897 – 2004), neta do italiano Vincenzo Rizzo, que já se encontrava em São Paulo, em 1887, como fabricante de cerveja (L´Italia, 21 de maio de 1887, quarta coluna) e filha do fotógrafo italiano Michelle (Miguel) Rizzo (1869 – 1939), que abriu um ateliê fotográfico, em 10 de março de 1892, a Photographia Central, na Rua Direita nº 55, em São Paulo (O Estado de São Paulo, de 10 de março de 1892, página 1, antepenúltima coluna).
+ 
+O Estado de São Paulo, 10 de março de 1892
+ 
+O Estado de São Paulo, 15 de maio de 2012
+ 
+Em um anúncio veiculado pelo Fanfulla, de 8 de agosto de 1896, página 4, Michelle anunciava-se como proprietário da primeira photografia italiana no Brazil. Em 1906, estava na relação de fotógrafos italianos que atuavam em São Paulo (Il Brasile e gli Italiani, 1906, página 1165).
+ 
+Michelle Rizzo, do Acervo da Família Rizzo / As retratistas de uma época: fotógrafas de São Paulo na primeira metade do século, por Carla Ibrahim, página 36
+ 
+Foi com seu pai, seu grande incentivador, que Gioconda iniciou seus experimentos em fotografia.
+ 
+Cartão de Boas Festas do ateliê de Michelle Rizzo, 1906. São Paulo, SP / Entre o estúdio e a rua: a trajetória de Vincenzo Pastore, fotógrafo do cotidiano, por Fabiana Beltramin, página 86 / Coleção de Rubens Fernandes Junior
+ 
+1912 –  Aos 12 anos tirou um autorretrato e também fotografou uma amiga:
+ 
+Autorretrato de Gioconda Rizzo, 1912, do Acervo da Família Rizzo / As retratistas de uma época: fotógrafas de São Paulo na primeira metade do século, por Carla Ibrahim, página 39
+ 
+“Eu comecei a tirar foto de mim mesma… então meu pai quando viu aquela chapa… a primeira coisa que fiz… viu a chapa… disse: “Quem foi que fez isso?” “Fui eu papai”; ele disse: “Ihhhh! Esta vai me passar a perna!”
+ Depoimento de Gioconda Rizzo a Carla Ibrahim. São Paulo, setembro de 2002.
+c. 1914 - Michelle muitas vezes viajava para o interior, de onde enviava fotografias para processamento, retoque e finalização em São Paulo. Quando estava ausente, seu filho Armando (1894 – 19?) cuidava dos negócios. Gioconda trabalhava com o irmão e participava  na recepção e ambientação dos clientes no ateliê; e na revelação e acabamentos, como retoques e acondicionamento das fotos em álbuns, molduras ou estojos. Conhecia e dominava todas as etapas do processo fotográfico.
+Em 1914, Michelle abriu para Gioconda o ateliê Femina, também na Rua Direita, número 8A, perto do seu, que ficava, então, na mesma rua, no número 10 C. O Femina atendia somente crianças e mulheres, pois, na época, não era adequado que uma mulher ficasse sozinha na presença de homens. Mesmo com essa restrição, a mãe de Gioconda, Giuseppina, sempre a acompanhava em  suas sessões fotográficas.
+“Fui a primeira fotógrafa a se especializar em fotos assim. Fotografei, então, muitas mulheres de barões do café e muitas atrizes. Todas gostavam de minha maneira de fazer as fotos porque eu enfocava só meio corpo, realçando o rosto e usando tapetes nas paredes para servirem de fundo”.
+Gioconda Rizzo, Folha de São Paulo, 12 de abril de 1982
+ 
+Foto de autoria de Gioconda Rizzo, 19?. São Paulo, SP / Acervo IMS
+ 
+Ainda em 1914, na revista A Cigarra, edição de 31 de dezembro, na seção “A Formiga”, foi publicada uma fotografia de autoria de Gioconda Rizzo com a assinatura do ateliê Femina.
+ 
+Fotografia de Wanda Massucci (a maior), de autoria de Gioconda Rizzo / A Cigarra, 31 de dezembro de 1914
+ 
+Para criar diferentes figurinos e cenários, Gioconda possuia em seu estúdio almofadas, banquinhos, diversas cadeiras, colunas de mármore, estátuas de cães, laços, sombrinhas, véus, e outros objetos e adereços.
+1915 a 1918 - Gioconda criava poses que descontraissem suas clientes, que tinham uma tendência a ficar muito sérias na hora da foto. Buscava em seus retratos a beleza, a sensualidade. Criava uma atmosfera de sonho, romântica. Suas retratadas sorriam, deixavam ombros e colos muitas vezes desnudos e os cabelos soltos, sem chapéus, enfeitados com flores.
+Gioconda participou, trabalhando no pavilhão Gradisca, da quermesse realizada no parque da Avenida Paulista, promovido pela sub-comissão italiana do bairro da Consololação para socorrer as famílias dos reservistas que haviam partido para a Itália (Correio Paulistano, 19 de julho de 1915, segunda coluna).
+Em torno de 1916, Michelle trouxe da Itália o flash de magnésio que possibilitava a captação de poses mais rapidamente, o que facilitava enormemente fotografar crianças. Uma vez, Gioconda sofreu uma queimadura na mão direita quando utilizava a nova ferramenta.
+Seu irmão, Vicente, descobriu que o ateliê Femina recebia cortesãs francesas e polonesas e contou para Michelle, que decidiu fechá-lo. Gioconda voltou a trabalhar com seu pai e seu irmão, Armando Rizzo. Passaram a produzir fotografias coloridas a óleo e a fazer fundos de paisagens aplicadas nas chapas. Também produziam muitas fotos de formaturas de escolas e faculdades.
+1926 – Gioconda casou-se com o comerciante Onofre Pasqualucci (c. 1898 – 1935) e, no mesmo ano, nasceu sua única filha, Wanda Pasqualucci (1926-), que fotografou ainda bebê.
+ 
+Foto de Wanda Pasqualucci, 1926, do Acervo da Família Rizzo / As retratistas de uma época: fotógrafas de São Paulo na primeira metade do século, por Carla Ibrahim, página 46
+ 
+Em torno deste ano, ela aprendeu as técnicas de fotografias fundidas em esmalte para jóias com o fotógrafo espanhol Medina, estabelecido no Rio de Janeiro. Adaptou as técnicas à porcelana e passou a produzir fotojoias e decorações tumulares para o ateliê Photo do Carmo, do italiano Sestilio Fiorelli. Instalou em sua casa, no bairro do Cambuci, um ateliê e um forno para a produção das peças, que eram vitrificadas a uma temperatura de 1.000º C.
+ 
+“Essas fotos em porcelana dão muito trabalho e se desenvolvem em várias fases até que se consegue uma película aplicada sobre a louça. Queima-se então a uma temperatura de 1000 graus e está pronta”.
+Gioconda Rizzo, Folha de São Paulo, 12 de abril de 1982
+ 
+Foto de autoria de Gioconda Rizzo, 19?. São Paulo, SP / Acervo IMS
+ 
+1931 -  Devido à crise financeira deflagrada pela quebra da Bolsa de Valores de Nova York, a família Rizzo fechou, após cerca de 40 anos de funcionamento, o ateliê da Rua Direita, e abriu outro na Rua Líbero Badaró, 63, chefiado por Armando. Nesse mesmo ano, Gioconda fotografou a Miss Universo, Yolanda Pereira (1910 – 2001).
+ 
+A Miss Universo Yolanda Pereira fotografada por Gioconda, em 1931, do Acervo da Família Rizzo / As retratistas de uma época: fotógrafas de São Paulo na primeira metade do século, por Carla Ibrahim, página 69
+ 
+1935 – Em 14 de junho de 1935, Gioconda ficou viúva e foi com a fotografia em porcelana que sobreviveu com sua filha.
+ 
+O Estado de São Paulo, 15 de junho de 1935
+ 
+1939 - Falecimento de seu pai, Michelle (Miguel) Rizzo (Atestado de óbito – Family Search)*.
+ 
+Atestado de óbito de Michelle (Miguel) Rizzo
+ 
+Década de 1960 – Gioconda aposentou-se.
+ 
+Foto de autoria de Gioconda Rizzo, 19?. São Paulo, SP / Acervo IMS
+ 
+1979 –  A capa do livro Anarquistas, Graça a Deus, da escritora Zélia Gattai (1916 – 2008), foi ilustrada com uma foto da família Da Col – Gattai, de autoria de Gioconda.
+1982 – Entre 12 e 30 de abril de 1982, houve uma exposição de parte de sua obra na Galeria Fotoptica, em São Paulo: 20 fotos em papel, 15 em porcelana e algumas coloridas a óleo (Folha de São Paulo, 12 de abril de 1982).
+Publicação do texto O real e a representação nos retratos de Gioconda, de autoria da fotógrafa e crítica de arte Stefania Bril (1922 – 1992), publicado em O Estado de São Paulo, de 30 de abril de 1982:
+ 
+
+ 
+2004 – Faleceu em 22 de março de 2004, pouco antes de completar 107 anos, e foi sepultada no Cemitério da Consolação.
+ 
+Gioconda Rizzo fotografada por Maira Soares, em 2003 / Wikipedia
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+*A data de morte de Michelle (Miguel) Rizzo foi corrigida.
diff --git a/wordpress/28740-a-fundacao-da-academia-brasileira-de-letras.md b/wordpress/28740-a-fundacao-da-academia-brasileira-de-letras.md
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+---
+id: 28740
+url: "https://brasilianafotografica.bn.gov.br/?p=28740"
+titulo: "A fundação da Academia Brasileira de Letras"
+autor: "Andrea Wanderley"
+data: "2022-07-20T14:05:20+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/7759", "20.500.12156.1/953", "20.500.12156.1/9179", "20.500.12156.1/11089"]
+fetched_at: "2026-09-10T10:11:34.474Z"
+---
+
+# A fundação da Academia Brasileira de Letras
+
+Somente seis prédios da Exposição Internacional do Centenário da Independência, realizada em 1922, ainda existem e o da atual sede da Academia Brasileira de Letras, que hoje completa 125 anos, é um deles. É uma réplica do Petit Trianon, residência de campo da rainha da França, Maria Antonieta (1775 – 1793), em Versalhes, e abrigou, durante o evento, o Palácio da França (Fon Fon, 8 de julho e  23 de setembro de 1922). Foi edificado sob a chefia do arquiteto Emile Louis Viret (1882 – 1968). Seu adjunto era o também arquiteto Gabriel Marmorat (1882 – 1951). Para celebrar o aniversário da ABL que, segundo seu estatuto tem por fim a cultura da língua e da literatura nacional, a Brasiliana Fotográfica destaca uma fotografia produzida por Thiele & Kollien, do acervo do Instituto Moreira Salles, uma das instituições fundadoras do portal (*).
+ 
+Thiele & Kollien. Exposição Internacional do Centenário da Independência – Pavilhão França, atual sede da Academia Brasileira de Letras, 1922. Rio de Janeiro, RJ / Acervo IMS 
+ 
+Fon Fon, 23 de setembro de 1922
+ 
+A Exposição Internacional do Centenário da Independência, um dos maiores eventos internacionais já realizados no Brasil foi inaugurada no Rio de Janeiro em 7 de setembro de 1922 e terminou em 24 de julho do ano seguinte (O Paiz, 25 de julho de 1923). Seu fim estava previsto para março de 1923, mas, como algumas construções não estavam concluídas na data de sua inauguração, foi prorrogada até julho. Durante sua realização foi produzido o Álbum Internacional do Centenário da Independência  com fotografias de autoria de Carlos Bippus, Thiele & Kollien e Lopes.
+Além do edifício da ABL, cinco prédios da Exposição de 1922 ainda existem. No Rio de Janeiro, são o do Pavilhão da Administração e do Distrito Federal, atualmente uma das sedes do Museu da Imagem e do Som; o do Palácio das Indústrias, atual Museu Histórico Nacional;  o do Pavilhão de Estatística, órgão do Ministério da Saúde, e o do Pavilhão das Indústrias Particulares, o restaurante Albamar. Este último já existia antes da Exposição e abrigava o Mercado Municipal. O Pavilhão das Indústrias de Portugal, foi transferido para Lisboa e é o atual Pavilhão Carlos Lopes.
+ 
+Segundo o site da Academia Brasileira de Letras:
+“No fim do século XIX, Afonso Celso Júnior, ainda no Império, e Medeiros e Albuquerque, já na República, manifestaram-se a favor da criação de uma academia literária nacional, nos moldes da Academia Francesa. O êxito social e cultural da Revista Brasileira, de José Veríssimo, daria coesão a um grupo de escritores e, assim, possibilidade à idéia”.
+O escritor e poeta Lucio de Mendonça (1854 – 1909) teve a iniciativa de propor uma Academia de Letras, sob a égide do Estado. As primeiras notícias relativas à sua fundação foram divulgadas em novembro de 1896, pela Gazeta de Notícias e pelo Jornal do Commercio (Gazeta de Notícias, 10 de novembro de 1896, quarta coluna; Jornal do Commercio, 11 de novembro de 1896, segunda coluna).
+ 
+Gazeta de Notícias, 10 de novembro de 1896
+ 
+Até sua fundação, foram realizadas sete sessões preparatórias: a primeira em 15 de dezembro de 1896, e, a última, em 28 de janeiro de 1897, quando foi divulgado o estatuto da instituição. Ambas em uma sala da redação da Revista Brasileira, na Travessa do Ouvidor, nº 31 (Gazeta de Notícias, 16 de dezembro de 1896, quarta coluna; e Gazeta de Notícias, 29 de janeiro de 1897, terceira coluna).
+ 
+Gazeta de Notícias, 16 de dezembro de 1896
+ 
+ 
+Gazeta de Notícias, 29 de janeiro de 1897
+ 
+A Academia Brasileira de Letras (ABL), inspirada na Academia Francesa, foi, finalmente, fundada em 20 de julho de 1897 e em sua sessão inaugural estavam presentes 16 acadêmicos em uma sala do Museu Pedagogium, na rua do Passeio, Centro do Rio de Janeiro. Seu primeiro presidente foi o escritor Machado de Assis (1839 – 1908). Joaquim Nabuco (1849 – 1910) foi seu primeiro secretário-geral; Rodrigo Otávio (1866 – 1944), 1º secretário; Silva Ramos (1853 – 1930), 2º secretário; e Inglês de Sousa (1853 – 1918), tesoureiro. Desde o início tem 40 membros, os imortais.
+ 
+Joaquim Insley Pacheco; Marc Ferrez; Livraria Lombaerts & C. Galeria contemporanea do Brazil : Machado de Assis : [retrato], 1884. Rio de Janeiro, RJ / Acervo FBN
+ 
+Gazeta de Notícias, 22 de julho de 1897
+ 
+Nabuco pronunciou o discurso inaugural. A partir desta data, a Academia passou a realizar reuniões semanais no Pedagogium (Gazeta de Notícias, 22 de julho de 1897, sétima coluna).
+ 
+Maria Rita Passos, as senhoritas Teixeira Castro e Joaquim Nabuco em automóvel na Vista Chinesa, durante o passeio de Elihu Root à Floresta da Tijuca, 3 de agosto de 1906. Rio de Janeiro, RJ / Acervo Museu da República
+ 
+Entre 1905 e 1923, a ABL ocupou o prédio do Silogeu, onde também funcionavam o Instituto Histórico e Geográfico Brasileiro, a Academia de Medicina e o Instituto dos Advogados do Brasil e o Instituto Histórico. Este edifício foi construído durante as reformas do prefeito Pereira Passos (1836 – 1913) e foi demolido no início da década de 1970 para o alargamento da Rua Teixeira de Freitas.
+ 
+Prédio do Silogeu / Site da ABL
+ 
+Possivelmente o mais antigo registro fotográfico de uma sessão pública da Academia Brasileira, realizada no Silogeu, 1909 / Site da ABL
+ 
+Em 15 de dezembro de 1923, quando comemorava 27 anos de fundação, a ABL mudou-se para seu endereço atual e sua primeira sede própria, no Petit Trianon, doado pelo governo da França, localizado na avenida Presidente Wilson (Jornal do Brasil, 6 de julho de 1923, quinta coluna; 15 de dezembro de 1923, penúltima coluna).  No prédio são realizadas as reuniões regulares dos Acadêmicos e as Sessões Solenes comemorativas e de posse de seus novos membros.
+ 
+Jornal do Brasil, 15 de dezembro de 1923
+ 
+Neste mesmo ano, havia sido inaugurado, meses antes, um monumento em homenagem a Santos Dumont (1873 – 1932), no Petit Trianon (Jornal do Brasil, 13 de março de 1923).
+ 
+Alberto Santos Dumont em frente à réplica do monumento de Ícaro, 12 de março de 1923. Rio de Janeiro, RJ / Acervo IMS
+ 
+Em 20 de julho de 1979, foi inaugurado um edifício ao lado do Petit Trianon, batizado como Palácio Austregésilo de Athayde (1898 – 1993), Acadêmico que ocupou durante 35 anos, de 1958 até sua morte, em 1993, a presidência da instituição. O novo edifício tornou-se importante parte do patrimônio da ABL. A primeira mulher eleita Acadêmica foi a escritora cearense Rachel de Queiroz (1910 – 2003), em 4 de novembro de 1977. Em 1996, a escritora Nélida Piñon (1937 – 2022) foi eleita a primeira mulher presidente da instituição, que é atualmente presidida pelo jornalista Merval Pereira (1949-). Em 10 de julho de 2025, a escritora mineira Ana Maria Gonçalves (1970 -) tornou-se a primeira mulher negra eleita para a Academia Brasileira de Letras.
+ 
+ 
+
+ 
+ 
+ 
+Inauguração do terraço do Pavilhão da França, ainda em construção. Vários fotógrafos foram registrar o acontecimento. Atrás, o Morro do Pão de Açúcar / Fon-Fon, 29 de julho de 1922
+ 
+(*) Esse parágrafo foi alterado em 26 de julho de 2022.
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Este artigo foi atualizado em 10 de julho de 2025.
+ 
+Fontes:
+Blog Rio Curioso
+Cem Anos de Cultura Brasileira. Rio de Janeiro : Academia Brasileira de Letras, 2002
+Hemeroteca Digital da Biblioteca Nacional
+O Globo, 20 de julho de 2022
+PISA, Daniel. Academia Brasileira de Letras Histórias e Revelações. Editora Fine Books, 2013.
+Site Academia Brasileira de Letras
+Site Arquivo Arq
+Site Histórias e Monumentos
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/7759` — `itens/20.500.12156.1_7759/`
+- `20.500.12156.1/953` — `itens/20.500.12156.1_953/`
+- `20.500.12156.1/9179` — `itens/20.500.12156.1_9179/`
+- `20.500.12156.1/11089` — `itens/20.500.12156.1_11089/`
+
diff --git a/wordpress/28781-o-pavilhao-do-distrito-federal-atualmente-uma-das-sedes-do-museu-da-imagem-e-do-.md b/wordpress/28781-o-pavilhao-do-distrito-federal-atualmente-uma-das-sedes-do-museu-da-imagem-e-do-.md
new file mode 100644
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--- /dev/null
+++ b/wordpress/28781-o-pavilhao-do-distrito-federal-atualmente-uma-das-sedes-do-museu-da-imagem-e-do-.md
@@ -0,0 +1,48 @@
+---
+id: 28781
+url: "https://brasilianafotografica.bn.gov.br/?p=28781"
+titulo: "O Pavilhão do Distrito Federal, atualmente uma das sedes do Museu da Imagem e do Som"
+autor: "Andrea Wanderley"
+data: "2022-12-26T11:40:14+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/7759", "20.500.12156.1/7768", "20.500.12156.1/9303"]
+fetched_at: "2026-09-10T10:11:38.037Z"
+---
+
+# O Pavilhão do Distrito Federal, atualmente uma das sedes do Museu da Imagem e do Som
+
+Ao longo deste ano a Brasiliana Fotográfica publicou onze artigos na Série 1922, Hoje, há 100 anos, criada a partir dos centenários da Semana de Arte Moderna e da Exposição do Centenário da Independência do Brasil. Terminamos 2022 com um artigo relativo a essa última efeméride. É sobre o Pavilhão do Distrito Federal, atualmente uma das sedes do Museu da Imagem e do Som do Rio de Janeiro. Seu projeto foi do arquiteto italiano Sylvio Rebecchi (1882 – 1950). Aproveitamos para desejar um Feliz 2023!
+Além do edifício do MIS, cinco prédios da Exposição de 1922 ainda existem. No Rio de Janeiro, são o do Pavilhão da França, atualmente sede da Academia Brasileira de Letras; o do Palácio das Indústrias, atual Museu Histórico Nacional;  o do Pavilhão de Estatística, órgão do Ministério da Saúde; e o do Pavilhão das Indústrias Particulares, o restaurante Albamar. Este último já existia antes da Exposição e abrigava o Mercado Municipal. O Pavilhão das Indústrias de Portugal, foi transferido para Lisboa e é o atual Pavilhão Carlos Lopes.
+ 
+O Pavilhão do Distrito Federal, atualmente uma das sedes do Museu da Imagem e do Som
+ 
+Thiele & Kollien. Exposição Internacional do Centenário da Independência – Pavilhões Brasil, 1922. Rio de Janeiro, RJ / Acervo IMS
+ 
+Projetado pelo arquiteto italiano Sylvio Rebecchi (1882 – 1950) e construído para ser o Pavilhão do Distrito Federal durante a  Exposição do Centenário da Independência do Brasil de 1922, é, desde 1965, uma das sedes do Museu da Imagem e do Som (MIS-RJ), no Centro, na Praça XV.
+ 
+Architectura no Brasil, setembro de 1923
+ 
+ 
+O MIS-RJ foi inaugurado em 3 de setembro de 1965, como parte das comemorações do IV Centenário da cidade do Rio de Janeiro (Jornal do Brasil, 3 de setembro; 9 de setembro; e 15 de outubro de 1965). Lá se encontra o acervo iconográfico com as fotografias de autoria de Augusto Malta (1864 – 1957), fotógrafo oficial da Prefeitura entre 1903 e 1936, e do fotógrafo amador Guilherme Santos (1871 – 1966), além de boa parte das coleções de partituras de Jacob do Bandolim (1918 – 1969) e Almirante (1908 – 1980). Antes o edifício havia abrigado a administração do Instituto Médico Legal e do Serviço de Registro dos Estrangeiros.
+ 
+Pavilhão do Distrito Federal / Fon-Fon, 28 de outubro de 1922
+ 
+Sylvio Rebecchi compôs o júri que escolheu o Pavilhão do Brasil na Exposição de Filadélfia de 1926. O vencedor foi o então jovem arquiteto Lúcio Costa (Architectura no Brasil, novembro de 1925; Jornal do Brasil, 11 de novembro de 1925). Em 1926, Rebecchi foi eleito vice-presidente do Instituto Central dos Arquitetos (Architectura no Brasil, junho e julho de 1926). Faleceu em dezembro de 1950 (Tribuna da Imprensa, 7 de dezembro de 1950, última coluna).
+ 
+Sylvio Rebecchi é o número 5 / Revista da Semana, maio de 1941
+ 
+Uma curiosidade: o pai de Sylvio, o italiano comendador Raphael Rebecchi (1844 – 1922), fundador da empresa Rebecchi & Cia, havia sido o responsável, em fins do século XIX, pelo projeto e pela construção da residência de José Baptista Barreira Vianna (1860 – 1925), fotógrafo amador que já foi tema de um artigo da Brasiliana Fotográfica. Foi a primeira casa na praia e uma das primeiras de Ipanema. Barreira Vianna, no final da década de 1890, havia adquirido um terreno do loteamento de José Antônio Moreira Filho (1830-1899), o barão e conde de Ipanema, exatamente na esquina das atuais avenida Vieira Souto e rua Francisco Otaviano, ao lado de onde seria construído, mais tarde, o Colégio São Paulo. Raphael Rebecchi também venceu, em 1904, o concurso de fachadas da Avenida Central, cuja história foi tema de outro artigo do portal (Jornal do Brasil, 27 de março de 1904, sexta coluna; Architectura no Brasil, fevereiro de 1922).
+ 
+José Baptista Barreira Vianna. Residência da família Barreira Vianna; ao fundo, a Pedra do Arpoador e as Ilhas Cagarras, c. 1903. Rio de Janeiro, RJ / Acervo IMS
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/7759` — `itens/20.500.12156.1_7759/`
+- `20.500.12156.1/7768` — `itens/20.500.12156.1_7768/`
+- `20.500.12156.1/9303` — `itens/20.500.12156.1_9303/`
+
diff --git a/wordpress/28798-serie-1922-hoje-ha-100-anos-x-a-morte-do-escritor-lima-barreto-1881-1922.md b/wordpress/28798-serie-1922-hoje-ha-100-anos-x-a-morte-do-escritor-lima-barreto-1881-1922.md
new file mode 100644
index 0000000..13959e6
--- /dev/null
+++ b/wordpress/28798-serie-1922-hoje-ha-100-anos-x-a-morte-do-escritor-lima-barreto-1881-1922.md
@@ -0,0 +1,194 @@
+---
+id: 28798
+url: "https://brasilianafotografica.bn.gov.br/?p=28798"
+titulo: "Série “1922 – Hoje, há 100 anos” X –  A morte do escritor Lima Barreto (1881 – 1922)"
+autor: "Andrea Wanderley"
+data: "2022-11-01T12:23:59+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/10310", "20.500.12156.1/6963", "20.500.12156.1/1795"]
+fetched_at: "2026-09-10T10:11:41.596Z"
+---
+
+# Série “1922 – Hoje, há 100 anos” X –  A morte do escritor Lima Barreto (1881 – 1922)
+
+Com uma imagem do acervo da Fundação Biblioteca Nacional, uma das instituições fundadoras da Brasiliana Fotográfica, produzida por um fotógrafo ainda não identificado, o portal publica o décimo artigo da Série 1922 – Hoje, há 100 anos sobre a morte do jornalista e escritor Lima Barreto, em 1º de novembro de 1922, de gripe toráxica e colapso cardíaco, em sua casa, na rua Major Mascarenhas, 26, em Todos os Santos, no Rio de Janeiro. Faleceu lendo um exemplar da revista francesa Revue de Deux Mondes. Em setembro de 2024, sua obra foi reconhecida como Patrimônio Cultural Imaterial do Rio de Janeiro (O GLOBO, 5 de outubro de 2024). Lima Barreto foi, nas palavras do escritor Monteiro Lobato (1882 – 1948), “o criador de uma nova fórmula de romance. O romance de crítica social sem doutrinarismo dogmático”. *
+ 
+Lima Barreto, 19?. Rio de Janeiro, Rio de Janeiro, RJ / Acervo FBN
+ 
+A mesma foto destacada acima foi publicada na notícia de sua morte, na capa da edição do jornal A Noite, de 2 de novembro de 1922.
+ 
+A Noite, 2 de novembro de 1922
+ 
+Os dois centenários que inspiraram a Série 1922, Hoje, há 100 anos, cujos artigos têm sido publicados na Brasiliana Fotográfica ao longo de 2022, foram o da Semana de Arte Moderna, realizada em fevereiro de 1922; e o da Exposição Internacional do Centenário da Independência da República, inaugurada em setembro de 1922. E os dois eventos foram temas que interessaram Lima Barreto.
+Por exemplo, o escritor criticou a ligação dos intelectuais paulistas do Modernismo com o artista italiano Filippo Marinetti (1876 – 1944), em um texto publicado na revista Careta (Careta, 22 de julho de 1922). 
+ 
+Careta, 22 de julho de 1922
+ 
+Foi chamado de “escritor de bairro” na resposta à critica, publicada na coluna Luzes & Refrações, da revista Klaxon, divulgadora do Modernismo no Brasil, que foi editada entre 15 de maio de 1922 e janeiro de 1923 (Klaxon, 15 de agosto de 1922).
+ 
+Klaxon, 15 de agosto de 1922
+ 
+O último artigo de Lima Barreto publicado na revista Careta, após sua morte, na edição de 11 de novembro de 1922, foi justamente sobre a Exposição Internacional do Centenário da Independência da República: Uma sorpreza da exposição.
+ 
+Careta, 11 de novembro de 1922
+ 
+Também foi um crítico do desmonte do Morro do Castelo, realizado justamento devido à realização da Exposição do Centenário, e escreveu sobre o assunto. Destacamos aqui o artigo Megalomania (Careta, 28 de agosto de 1920). Em 1905, havia escrito a crônica O subterrâneo do Morro do Castelo (Correio da Manhã de 28 de abril de 1905, terceira coluna).
+ 
+Careta, 28 de agosto de 1920
+ 
+Sua preocupação com a destruição e o desrespeito pelo patrimônio histórico e pela cultura brasileira fica evidente em seu conto O Moleque, publicado no livro Histórias e Sonhos, em 1920, do qual destacamos um trecho:
+“Há, parece, na fatalidade destas terras, uma necessidade de não conservar impressões das sucessivas camadas de vida que elas deviam ter presenciado o desenvolvimento e o desaparecimento. Estes nomes tupaicos mesmo tendem a desaparecer, e todos sabem que, quando uma turma de trabalhadores, em escavações de qualquer natureza, encontra uma igaçaba, logo se apressam em parti-la, em destruí-la como coisa demoníaca ou indigna de ficar entre os de hoje. A pobre talha mortuária dos tamoios é sacrificada impiedosamente.
+Frágeis eram os artefatos dos índios e todas as suas outras obras; frágeis são também as nossas de hoje, tanto assim que os mais antigos monumentos do Rio são de século e meio; e a cidade vai já para o caminho dos quatrocentos anos.
+O nosso granito vetusto, tão velho quanto a terra, sobre o qual repousa a cidade, capricha em querer o frágil, o pouco duradouro. A sua grandeza e a sua antiguidade não admitem rivais.
+Ainda hoje esse espírito do lugar domina a construção dos nossos edifícios públicos e particulares, que estão a rachar e a desabar, a todo instante. E como se a terra não deseje que fiquem nela outras criações, outras vidas, senão as florestas que ela gera, e os animais que nestas vivem.
+Ela as faz brotar, apesar de tudo, para sustentar e ostentar um instante, vidas que devem desaparecer sem deixar vestígios. Estranho capricho…
+Quer ser um recolhimento, um lugar de repouso, de parada, para o turbilhão que arrasta a criação a constantes mudanças nos seres vivos; mas só isto, continuando ela firme, inabalável, gerando e recebendo vidas, mas de tal modo que as novas que vierem não possam saber quais foram as que lhes antecederam.
+Desde que as suas rochas surgiram, quantas formas de vida ela já viu? Inúmeras, milhares; mas de nenhuma quis guardar uma lembrança, uma relíquia, para que a Vida não acreditasse que podia rivalizar com a sua eternidade.
+Mesmo os nomes índios, como já foi observado, se apagam, vão se apagando, para dar lugar a nomes banais de figurões ainda mais banais, de forma que essa pequena antiguidade de quatro séculos desaparecerá em breve, as novas denominações talvez não durem tanto.
+Nenhum testemunho, dentro em pouco, haverá das almas que eles representam, dessas consciências tamoias que tentaram, com tais apelidos, macular a virgindade da incalculável duração da terra. Sapopemba é já um general qualquer, e tantos outros lugares do Rio de janeiro vão perdendo insensivelmente os seus nomes tupis”.
+ 
+Brevíssimo perfil de Lima Barreto (1881 – 1922)
+ 
+“Passemos além: mais do que nenhuma outra arte, mais fortemente possuindo essa capacidade de sugerir em nós o sentimento que agitou o autor ou que ele simplesmente descreve, a arte literária se apresenta com um verdadeiro poder de contágio que a faz facilmente passar de simples capricho individual, em traço de união, em força de ligação entre os homens, sendo capaz, portanto, de concorrer para o estabelecimento de uma harmonia entre eles, orientada para um ideal imenso em que se soldem as almas, aparentemente mais diferentes, reveladas, porém, por elas, como semelhantes no sofrimento da imensa dor de serem humanos”.
+O destino da literatura, por Lima Barreto,
+Revista Sousa Cruz, outubro e novembro de 1921
+ 
+Jornal do Brasil, 3 de novembro de 1922
+ 
+“Espírito forte, observador preciso, de estilo próprio, Lima Barreto tem o temperamento integral do artista”.
+Fon-Fon, 22 de janeiro de 1910
+ 
+Carioca, Afonso Henriques de Lima Barreto nasceu em 13 de maio de 1881, exatamente sete anos antes da assinatura da Lei Áurea. Filho do tipógrafo Joaquim Henriques de Lima Barreto (1853 – 1922) e da professora primária Amália Augusta (1862 – 1887), que haviam se casado em 1878.  O casal teve mais quatro filhos:  Nicomedes, que nasceu, em 1879, mas viveu apenas oito dias; Evangelina, nascida em 1882; Carlindo, em 1884; e Eliézer, em 1886. Foi afilhado do senador Afonso Celso (1836 – 1912), o Visconde de Ouro Preto.
+ 
+A mãe de Lima Barreto, Amália Augusta / Acervo Biblioteca Brasiliana Guita e José Mindlin. Reprodução de Lúcia Mindlin
+ 
+Lima Barreto era negro e neto de escravizados e sua vida foi fortemente marcada pelo preconceito racial, como fica evidenciado em sua crônica O Pecado (1904) (Revista Souza Cruz, agosto de 1924).
+ 
+Revista Souza Cruz, agosto de 1924
+ 
+Esteve presente, com seu pai, tanto no Largo do Paço para testemunhar a assinatura da Lei Áurea, em 13 de maio de 1888, como, alguns dias depois, em 17 de maio, na Missa Campal do Campo de São Cristóvão.
+Sobre o Dia da Abolição da da Missa Campal escreveu uma crônica, Maio, publicada na Gazeta da Tarde, de 4 de maio de 1911.
+ 
+Antonio Luiz Ferreira. Assinatura da Lei Áurea no Paço Imperial, 13 de maio de 1888. Rio de Janeiro, RJ / Acervo IMS
+ 
+Maio
+Estamos em maio, o mês das flores, o mês sagrado pela poesia. Não é sem emoção que o vejo entrar. Há em minha alma um renovamento; as ambições desabrocham de novo e, de novo, me chegam revoadas de sonhos. Nasci sob o seu signo, a treze, e creio que em sexta-feira; e, por isso, também à emoção que o mês sagrado me traz, se misturam recordações da minha meninice.
+Agora mesmo estou a lembrar-me que, em 1888, dias antes da data áurea, meu pai chegou em casa e disse-me: a lei da abolição vai passar no dia de teus anos. E de fato passou; e nós fomos esperar a assinatura no Largo do Paço.
+Na minha lembrança desses acontecimentos, o edifício do antigo paço, hoje repartição dos Telégrafos, fica muito alto, um sky-scraper; e lá de uma das janelas eu vejo um homem que acena para o povo.
+Não me recordo bem se ele falou e não sou capaz de afirmar se era mesmo o grande Patrocínio.
+Havia uma imensa multidão ansiosa, com o olhar preso às janelas do velho casarão. Afinal a lei foi assinada e, num segundo, todos aqueles milhares de pessoas o souberam. A princesa veio à janela. Foi uma ovação: palmas, acenos com lenço, vivas…
+Fazia sol e o dia estava claro. Jamais, na minha vida, vi tanta alegria. Era geral, era total; e os dias que se seguiram, dias de folganças e satisfação, deram-me uma visão da vida inteiramente festa e harmonia.
+Houve missa campal no Campo de São Cristóvão. Eu fui também com meu pai; mas pouco me recordo dela, a não ser lembrar-me que, ao assisti-la, me vinha aos olhos a “Primeira Missa”, de Vítor Meireles. Era como se o Brasil tivesse sido descoberto outra vez… Houve o barulho de bandas de música, de bombas e girândolas, indispensável aos nossos regozijos; e houve também préstitos cívicos. Anjos despedaçando grilhões, alegorias toscas passaram lentamente pelas ruas. Construíram-se estrados para bailes populares; houve desfile de batalhões escolares e eu me lembro que vi a princesa imperial, na porta da atual Prefeitura, cercada de filhos, assistindo àquela fieira de numerosos soldados desfiar devagar. Devia ser de tarde, ao anoitecer.
+Ela me parecia loura, muito loura, maternal, com um olhar doce e apiedado. Nunca mais a vi e o imperador nunca vi, mas me lembro dos seus carros, aqueles enormes carros dourados, puxados por quatro cavalos, com cocheiros montados e um criado à traseira.
+Eu tinha então sete anos e o cativeiro não me impressionava. Não lhe imaginava o horror; não conhecia a sua injustiça. Eu me recordo, nunca conheci uma pessoa escrava. Criado no Rio de Janeiro, na cidade, onde já os escravos rareavam, faltava-me o conhecimento direto da vexatória instituição, para lhe sentir bem os aspectos hediondos.
+Era bom saber se a alegria que trouxe à cidade a lei da abolição foi geral pelo país. Havia de ser, porque já tinha entrado na consciência de todos a injustiça originária da escravidão.
+Quando fui para o colégio, um colégio público, à rua do Resende, a alegria entre a criançada era grande. Nós não sabíamos o alcance da lei, mas a alegria ambiente nos tinha tomado.
+A professora, Dona Teresa Pimentel do Amaral, uma senhora muito inteligente, a quem muito deve o meu espírito, creio que nos explicou a significação da coisa; mas com aquele feitio mental de criança, só uma coisa me ficou: livre! livre!
+Julgava que podíamos fazer tudo que quiséssemos; que dali em diante não havia mais limitação aos propósitos da nossa fantasia.
+Parece que essa convicção era geral na meninada, porquanto um colega meu, depois de um castigo, me disse: “Vou dizer a papai que não quero voltar mais ao colégio. Não somos todos livres?”
+Mas como ainda estamos longe de ser livres! Como ainda nos enleamos nas teias dos preceitos, das regras e das leis!
+Dos jornais e folhetos distribuídos por aquela ocasião, eu me lembro de um pequeno jornal, publicado pelos tipógrafos da Casa Lombaerts. Estava bem impresso, tinha umas vinhetas elzevirianas, pequenos artigos e sonetos. Desses, dois eram dedicados a José do Patrocínio e o outro à princesa. Eu me lembro, foi a minha primeira emoção poética a leitura dele. Intitulava-se “Princesa e Mãe” e ainda tenho de memória um dos versos:
+“Houve um tempo, senhora, há muito já passado…”
+São boas essas recordações; elas têm um perfume de saudade e fazem com que sintamos a eternidade do tempo.
+Oh! O tempo! O inflexível tempo, que como o Amor, é também irmão da Morte, vai ceifando aspirações, tirando presunções, trazendo desalentos, e só nos deixa na alma essa saudade do passado às vezes composta de coisas fúteis, cujo relembrar, porém, traz sempre prazer.
+Quanta ambição ele não mata! Primeiro são os sonhos de posição: com os dias e as horas e, a pouco e pouco, a gente vai descendo de ministro a amanuense; depois são os do Amor – oh! como se desce nesses! Os de saber, de erudição, vão caindo até ficarem reduzidos ao bondoso Larousse. Viagens… Oh! As viagens! Ficamos a fazê-las nos nossos pobres quartos, com auxílio do Baedecker e outros livros complacentes.
+Obras, satisfações, glórias, tudo se esvai e se esbate. Pelos trinta anos, a gente que se julgava Shakespeare, está crente que não passa de um “Mal das Vinhas” qualquer; tenazmente, porém, ficamos a viver, esperando, esperando… o quê? O imprevisto, o que pode acontecer amanhã ou depois. Esperando os milagres do tempo e olhando o céu vazio de Deus ou deuses, mas sempre olhando para ele, como o filósofo Guyau.
+Esperando, quem sabe se a sorte grande ou um tesouro oculto no quintal?
+E maio volta… Há pelo ar blandícias e afagos; as coisas ligeiras têm mais poesia; os pássaros como que cantam melhor; o verde das encostas é mais macio; um forte flux de vida percorre e anima tudo…
+O mês augusto e sagrado pela poesia e pela arte, jungido eternamente à marcha da Terra, volta; e os galhos da nossa alma que tinham sido amputados – os sonhos, enchem-se de brotos muito verdes, de um claro e macio verde de pelúcia, reverdecem mais uma vez, para de novo perderem as folhas, secarem, antes mesmo de chegar o tórrido dezembro.
+E assim se faz a vida, com desalentos e esperanças, com recordações e saudades, com tolices e coisas sensatas, com baixezas e grandezas, à espera da morte, da doce morte, padroeira dos aflitos e desesperados…
+ 
+Antonio Luiz Ferreira. Missa campal celebrada em ação de graças pela Abolição da escravatura no Brasil, 17 de maio de 1888. Rio de Janeiro, RJ / Acervo IMS
+ 
+Lima Barreto frequentou a Escola Pública Municipal da rua do Rezende, o Liceu Popular Niteroiense, o Ginásio Nacional (antigo Colégio Pedro II) e o internato do Colégio Paula Freitas.
+ 
+Acervo da Fundação Biblioteca Nacional
+ 
+Ingressou na Escola Politécnica do Rio de Janeiro onde iniciou o curso de Engenharia, que teve que abandonar, em 1903, devido à necessidade de sustentar seus irmãos, já que seu pai teve um diagnóstico de neurastenia. No mesmo ano, passou no concurso de amanuense da Secretaria da Guerra.
+ 
+Lima Barreto na Escola Politécnica / Biblioteca Brasiliana Guita e José Mindlin. Reprodução de Lúcia Mindlin
+ 
+Boêmio, foi um crítico contundente da mentalidade burguesa de sua época. Amava e criticava o Rio de Janeiro, sua cidade natal, de onde nunca saiu. Segundo a crítica literária Beatriz Resente: “O Rio de Janeiro das crônicas de Lima Barreto é a cidade dos contrastes, das revoltas, das ruínas sob o vento do progresso, mas é também a expressão de uma paixão tão forte que a outras, mais humanas, não deixa espaço”.
+ 
+“Lima Barreto foi com efeito a figura mais original de boêmio que teve nos últimos tempos a intelectualidade carioca”.
+José Garcia Margiocco (18? – 1923), escritor e jornalista
+(Careta, 11 de novembro de 1922)
+ 
+Colaborou em diversos jornais e revistas, dentre eles Careta, Fon-Fon, Gazeta da Tarde e Floreal (dirigida por ele).
+ 
+Floreal: publicação bimensal de crítica e literatura / Acervo Fundação Biblioteca Nacional
+ 
+Seu romance de estreia foi Recordações do Escrivão Isaías Caminha, cujo personagem central foi inspirado em Edmundo Bittencourt (1866 – 1943), dono do Correio da Manhã (Careta, 5 de fevereiro de 1910). É considerada sua obra-prima o livro Triste Fim de Policarpo Quaresma (1915), publicado inicialmente em folhetins, entre agosto e outubro de 1911, na edição da tarde do Jornal do Commercio (Correio Paulistano, 29 de junho de 1916, primeira coluna; A Noite, 1º de outubro de 1916, primeira coluna). Outros de seus livros foram o Cemitério dos Vivos, Histórias e Sonhos, o último publicado enquanto estava vivo; Os Bruzundangas, Clara dos Anjos e Diário Íntimo. Seus temas, como a denúncia da discriminação racial, a defesa dos excluídos da sociedade, a luta pelos direitos civis e a crítica aos políticos, dentre outros, continuam muito atuais.
+Sobre Lima Barreto, o escritor Monteiro Lobato (1882 – 1948) escreveu, em 1º de outubro de 1916, numa carta para o também escritor Godofredo Rangel (1884 – 1851):
+“Conheces Lima Barreto? Li dele, na Águia, dois contos, e pelos jornais soube do triunfo do Policarpo Quaresma, cuja segunda edição já lá se foi. A ajuizar pelo que li, este sujeito me é romancista de deitar sombras em todos os seus colegas coevos e coelhos, inclusive o Neto. Facílimo na língua, engenhoso, fino, dá impressão de escrever sem torturamento – ao modo das torneiras que fluem uniformemente a sua corda-d’água”.
+Livraria da Universidade de Santa Maria
+ 
+Ao longo de sua vida, foi internado duas vezes no Hospício Nacional de Alienados, originalmente Hospício de Pedro II, devido ao alcoolismo: em 1914, quando ficou lá durante dois meses; e, no Natal de 1919 – ficou até fevereiro de 1920. Durante esta segunda internação começou a escrever o romance inacabado Cemitério dos Vivos.
+“Voltei para o pátio. Que coisa, meu Deus! Estava ali que nem um peru, no meio de muitos outros, pastoreado por um bom português, que tinha um ar rude, mas doce e compassivo, de camponês transmontano. Ele já me conhecia da outra vez. Chamava-me você e me deu cigarros. Da outra vez, fui para a casa-forte e ele me fez baldear a varanda, lavar o banheiro, onde me deu um excelente banho de ducha de chicote. Todos nós estávamos nus, as portas abertas, e eu tive muito pudor. Eu me lembrei do banho de vapor de Dostoiévski, na Casa dos Mortos. Quando baldeei, chorei; mas lembrei de Cervantes, do próprio Dostoiévski, que pior deviam ter sofrido em Argel e na Sibéria. Ah! A Literatura ou me mata ou me dá o que eu peço dela”.
+ 
+Lima Barreto, deetalhe da ficha da primeira internação manicomial, 1914 / Wikipedia
+ 
+Como já mencionado, Lima Barreto faleceu, em 1º de novembro de 1922, Dia de Todos os Santos (Jornal do Brasil, 3 de novembro de 1922).
+Poucos dias após sua morte, o escritor Coelho Neto (1864 – 1934) escreveu sobre ele na edição do Jornal do Brasil de 5 de novembro de 1922:
+ 
+Coelho Neto sobre Lima Barreto / Jornal do Brasil, 5 de novembro de 1922
+ 
+Na edição da revista Careta, de 11 de novembro de 1922, foi publicado o artigo O bohemio immortal, do jornalista e escritor gaúcho José Garcia Margiocco (18? – 1923).
+ 
+Início do artigo / Careta, 11 de novembro de 1922
+ 
+O escritor Enéas Ferraz (1896 – 1977), autor de A História de João Crispim, uma biografia romanceada de Lima Barreto, prestou uma homenagem ao escritor na crônica A Morte do Mestre (O Paiz, 20 de novembro de 1922). Sobre o livro de Ferraz, Lima Barreto havia escrito a crítica História de um Mulato, publicada em O Paiz, 17 de abril de 1922.
+Lima Barreto ficou invisibilizado durante décadas talvez devido à ascenção, no Brasil, da eugenia, uma espécie de racismo científico. Sobre o tema ele havia escrito a crônica Considerações Oportunas, publicada no ABC, em 16 de agosto de 1919. Dez anos depois, realizou-se o Primeiro Congresso Brasileiro de Eugenia, no Rio de Janeiro, entre 30 de junho e 7 de julho de 1929. O evento integrava as comemorações do centenário da Academia Nacional de Medicina (Correio da Manhã, 31 de maio, sétima coluna; e 2 de julho, primeira coluna; de 1929).
+A obra de Lima Barreto foi resgatada nos anos 50, quando foi publicado o livro A vida de Lima Barreto 1881-1922 (1952), de Francisco Assis Barbosa (1914 – 1991). Em 1953, foi inaugurada a Biblioteca Lima Barreto, em Madureira; e, em 1956, sob a organização de Assis Barbosa, foi iniciada a publicação, pela Editora Brasiliense, de sua obra completa, em 17 volumes. Em 1982, foi o homenageado pela Escola de Samba Unidos da Tijuca, cujo enredo foi Lima Barreto – Mulato, pobre, mas livre. Já no século XXI, o escritor foi o homenageado na Festa Literária Internacional de Paraty (Flip) de 2017.
+Em 25 de maio de 2023, a Universidade Federal do Rio de Janeiro (UFRJ) concedeu a ele, por sugestão da professora Beatriz Rezende, da Faculdade de Letras da instituição, o título de doutor honoris causa (Conexão UFRJ, 1° de junho de 2023).
+“Quer seja nas suas obras, crônicas ou contos, Lima Barreto explorou as injustiças sociais e as dificuldades das primeiras décadas da República. Foi um dos romancistas pioneiros na denúncia do racismo e dos preconceitos contra os negros no Brasil”
+Trecho do parecer do processo que concedeu a Lima Barreto o título e doutor honoris causa da UFRJ*
+Uma curiosidade: foi um dos 40 escritores que elegeu Olavo Bilac (165 – 1918) O Príncipe dos Poetas Brasileiros em um concurso promovido pela revista Fon-Fon, em 1913 (Fon-Fon, 4 de janeiro de 1919).
+ 
+Fon-Fon, 4 de janeiro de 1919
+ 
+Outra curiosidade: J. Caminha, Leitor, Aquele, Amil, Eran, Jonathan, Inácio Costa foram pseudônimos usados por Lima Barreto e identificados pelo pesquisador Felipe Botelho Corrêa, que resultou na descoberta de 164 textos inéditos em livro e que foram reunidos na obra Sátiras e outras subversões, publicado em 2016. Lima Barreto também usou os pseudônimos Alfa Z, Phileas Fogg, Puck, Rui de Pina e S. Holmes. 
+Uma última curiosidade: O jornalista Irineu Marinho (1876 – 1925), que foi colega de Lima no Liceu Niteroiense, batizou seu jornal, fundado em 1925, como O GLOBO, nome do jornal fictício criado pelo escritor no livro Recordações do Escrivão Isaías Caminha.
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Foi um dos jurados e votou pela condenação do alferes João Wanderley e de outros militares envolvidos na Primavera de Sangue, ocorrida no ano anterior quando estudantes da Politécnica e de outras faculdades participaram de um protesto e dois deles foram assassinados / Careta, 17 de setembro de 1910
+ 
+*Esse último par[agrafo foi inerido no artigo em 7 de fevereiro de 2025.
+Fontes:
+BARBOSA, Francisco de Assis. A vida de Lima Barreto (1881- 1922). São Paulo : Autêntica Editora, 2017.
+Blog Lobato com você
+Hemeroteca Digital da Biblioteca Nacional
+O GLOBO, 28 de julho de 2016
+RESENDE, Beatriz. Lima Barreto e o Rio de Janeiro em fragmentos. São Paulo : Autêntica Editora, 1993.
+SANTOS, André Luiz dos. Caminhos de alguns ficcionistas brasileiros após as Impressões de Leitura de Lima Barreto. Rio de Janeiro, 2007. Tese (Doutorado em Letras – Área de Concentração: Literatura Brasileira) – Faculdade de Letras. Universidade Federal do Rio de Janeiro, Rio de Janeiro, 2007.
+SCHWARCZ, Lilia. Lima Barreto, triste visionário. São Paulo : Companhia das Letras, 2017.
+Portal Literafro
+Portal O Tempo
+ 
+Ouça aqui o podcast lançado pela Rádio Batuta, do Instituto Moreira Salles, em comemoração ao centenário de morte do escritor: Lima Barreto: o negro é a cor mais cortante.
+ 
+Leia aqui o artigo A pena engajada de Lima Barreto, de Guilherme Tauil, publicado no portal Crônica Brasileira, do Instituto Moreira Salles.
+* O primeiro parágrafo do artigo foi modificado em 22 de outubro de 2024.
+ 
+Links para os artigos já publicados da Série 1922 – Hoje, há 100 anos
+Série 1922 – Hoje, há 100 anos I – Os Batutas embarcam para Paris, de autoria de Andrea C.T. Wanderley, publicado em 29 de janeiro de 2022
+Série 1922 – Hoje, há 100 anos II- A Semana de Arte Moderna, de autoria de Andrea C.T. Wanderley, publicado em 13 de fevereiro de 2022, na Brasiliana Fotográfica
+Série 1922 – Hoje, há 100 anos III – A eleição de Artur Bernardes e a derrota de Nilo Peçanha, de autoria de Andrea C.T. Wanderley, publicado em 1º de março de 2022, na Brasiliana Fotográfica
+Série 1922 – Hoje, há 100 anos IV – A primeira travessia aérea do Atlântico Sul, realizada pelos aeronautas portugueses Gago Coutinho e Sacadura Cabral, de autoria de Andrea C. T. Wanderley, publicada em 17 de junho de 2022, na Brasiliana Fotográfica
+Série 1922 – Hoje, há 100 anos V – A Revolta do Forte de Copacabana, de autoria de Andrea C. T. Wanderley, publicada em 5 de julho de 2022, na Brasiliana Fotográfica
+Série 1922 – Hoje, há 100 anos VI e série Feministas, graças a Deus XI – A fundação da Federação Brasileira para o Progresso Feminino, de autoria de Andrea C. T. Wanderley, publicado em 9 de agosto de 2022, na Brasiliana Fotográfica
+Série 1922 – Hoje, há 100 anos VII – A morte de Gastão de Orleáns, o conde d´Eu (Neuilly-sur-Seine, 28/04/1842 – Oceano Atlântico 28/08/1922), de autoria de Andrea C. T. Wanderley, publicado em 28 de agosto de 2022, na Brasiliana Fotográfica.
+Série 1922 – Hoje, há 100 anos VIII – A abertura da Exposição Internacional do Centenário da Independência do Brasil e o centenário da primeira grande transmissão pública de rádio no país, de autoria de Andrea C. T. Wanderley, publicado em 7 de setembro de 2022, na Brasiliana Fotográfica.
+Série 1922 – Hoje, há 100 anos IX – O centenário do Museu Histórico Nacional, de autoria de Maria Isabel Lenzi, historiadora do Musseu Histórico Nacional, publicado em 12 de outubro de 2022, na Brasiliana Fotográfica.
+Série 1922 – Hoje, há 100 anos XI e série Feministas, graças a Deus XII – 1ª Conferência pelo Progresso Feminino e o “bom” feminismo, de autoria de Maria Elizabeth Brêa Monteiro, antropóloga do Arquivo Nacional, publicado em 19 de dezembro de 2022, na Brasiliana Fotográfica.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/10310` — `itens/20.500.12156.1_10310/`
+- `20.500.12156.1/6963` — `itens/20.500.12156.1_6963/`
+- `20.500.12156.1/1795` — `itens/20.500.12156.1_1795/`
+
diff --git a/wordpress/28879-dom-pedro-ii-fotografado-pelo-italiano-luis-terragno-c-1831-1891-fotografo-da-ca.md b/wordpress/28879-dom-pedro-ii-fotografado-pelo-italiano-luis-terragno-c-1831-1891-fotografo-da-ca.md
new file mode 100644
index 0000000..5ddeff0
--- /dev/null
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@@ -0,0 +1,231 @@
+---
+id: 28879
+url: "https://brasilianafotografica.bn.gov.br/?p=28879"
+titulo: "Dom Pedro II fotografado pelo italiano Luis Terragno (c. 1831 – 1891), Fotógrafo da Casa Imperial"
+autor: "Andrea Wanderley"
+data: "2022-12-02T11:56:33+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/3983", "20.500.12156.1/11182", "20.500.12156.1/3790", "20.500.12156.1/11187", "20.500.12156.1/11186"]
+fetched_at: "2026-09-10T10:11:44.922Z"
+---
+
+# Dom Pedro II fotografado pelo italiano Luis Terragno (c. 1831 – 1891), Fotógrafo da Casa Imperial
+
+No dia do aniversário de dom Pedro II (1825 – 1891), um entusiasta da fotografia como mecenas e colecionador, a Brasiliana Fotográfica publica um retrato do imperador de autoria do italiano Luigi (Luis) Terragno (c. 1831 – 1891), nascido em Gênova, e um dos pioneiros da fotografia no Rio Grande do Sul, a quem o monarca outorgou o título de Fotógrafo da Casa Imperial. Terragno foi o fundador da Loja Maçônica Paz e Ordem, em Porto Alegre, e inventou o fixador à base de mandioca, a pistola Terragno, um aparelho para tirar fotografias instantâneas; o Sinete-Terragno e uma máquina para conservar carnes.
+A fotografia de Pedro II foi produzida quando ele estava no Rio Grande do Sul durante a Guerra do Paraguai (1864 – 1870). Esse registro é bastante diferente das fotografias que conhecemos do imperador. Nela, ele está sem as vestimentas reais, trajado como um gaúcho, localizado cultural e geograficamente no Brasil. Segundo a crônica O Velho Pinto, de Achylles Porto Alegre (1848 – 1926), no livro Serões de Inverno (1923), …Luiz Terragno, um fotógrafo de nomeada que tivermos aqui. Era realmente um bom artista, mas ficou muito vaidoso por haver retratado D. Pedro II, quando ele esteve aqui na sua ida para Uruguaiana…”
+ 
+Luis Terragno. [Pedro II, Imperador do Brasil : retrato], 1865. Porto Alegre, RS / Acervo FBN
+Terragno fotografou, entre 1865 e 1867, outros personagens envolvidos no conflito como o Duque de Saxe (1845 – 1907) e o Conde d´Eu (1842 – 1922) que em seu livro, Viagem Militar ao Rio Grande do Sul, assim se referiu ao fotógrafo, em 8 de agosto de 1865: A pedido do fotógrafo de Porto Alegre, um italiano, fui-me retratar de poncho e chapéu mole…
+Algumas dessas fotos e outras também de autoria de Terragno, de vistas de Porto Alegre, foram exibidas na Exposição de História do Brasil realizada pela Biblioteca Nacional e aberta por Pedro II, em 2 de dezembro de 1881, dia em que o monarca completava 56 anos. A exposição foi um dos mais importantes eventos da historiografia nacional.
+ 
+Luis Terragno. [Luis Augusto Maria Eudes de Saxe-Coburgo e Gotha, Duque de Saxe], 1865. RS / Acervo FBN
+Acessando o link para as fotografias de autoria de Luis Terragno disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Autorretrato de Luiz (Luigi) Terragno, fins de 1860
+ 
+No período em que atuou no Rio Grande do Sul, do início da década de 1850 a 1891, Luis Terragno testemunhou o crescimento e desenvolvimento de Porto Alegre que, entre 1820 e 1890, passou de cerca de 12 mil habitantes para pouco mais de 52 mil. Os colonos alemães começaram a chegar a partir de 1824 e, os italianos, a partir de 1875. Foi, no estado, contemporâneo dos fotógrafos Justiniano José de Barros (18? -?), de Madame Reeckel (1837 – 19?), de Rafael Ferrari (18? -?) e de Thomas King, dentre outros. Este último também foi agraciado com o título de Fotógrafo da Casa Imperial.
+Ao longo de sua carreira de fotógrafo, Terragno ofereceu diversos serviços e produtos como, por exemplo, cursos e câmeras para amadores, além de ter investido em técnicas como a estereoscopia e, depois, a impressão fotográfica sobre superfícies diversas – borracha, mármore, porcelana, tecido etc. Teve estabelecimentos fotográficos em diversos endereços de Porto Alegre.
+ 
+Faça Chuva ou Faça Sol: fotógrafos em Porto Alegre (1849 – 1909), página 353.
+ 
+Em 1850, já estava no Brasil e atuava como fotógrafo itinerante na cidade de Rio Grande, no Rio Grande do Sul. Em 1851, atuou em Pelotas. Retornou a Rio Grande, onde permaneceu entre agosto e novembro de 1853, tendo chegado, em Porto Alegre, provavelmente, pouco depois. Casou-se, em 28 de julho de 1855, na Freguesia do Rosário, com Balbina Rita Círio. Tiveram cinco filhos: Luiza (1858-?), Vitor (1861-?), Cândido (1863 – ?), Luís (1867 – ?), Antonio (1875 -?) e Olimpio (18? -?).
+ 
+Passaporte de Luis Terragno,  1852 / Acervo AHRS
+ 
+“Aos vinte e oito dias do mês de julho de mil oitocentos e cinquenta e cinco anos, na casa da residência de João Vicente Bartholomeu Cirio, sita na freguesia de Santa Ana do Rio dos Sinos, em Oratório aprovado para esse fim, pelas oito horaas da tarde, depois de feitas as diligências do estilo, e não havendo impedimento algum na forma do Sagrado Concílio Tridentino, e Cobnstituição do Bispado, por provisão do Excelentíssimo Senhor Cônego Provisor, Vigário Geral deste Bispado Thomé Luiz de Souza, perante mim e das testemunhas Patricio D´Azambuja Cidade, e Luiz Gambarro, se receberam em matrimônio com palavras de presente, e que expressaram no mútuo consentimento os contraentes Luiz Terragno, e D. Balbina Rita Ciro [sic], esta natural desta cidade, filha legítima de João Vicente Bartholomeu [sic], e Dona Rita Joaquina da Conceição, aquele natural da Itália, filho legítimo de Domingos Antônio Terragno, e Angela Maria Peligrinni; receberam as bençãos matrimoniais, e para constar mandei fazer esse termo que assino.
+O Vigário José Ignácio de Carvalho e Freitas”
+Livro 2º de Casamentos da Freguesia do Rosário (1844 – 1862), folha 16.
+Faça Chuva ou Faça Sol: fotógrafos em Porto Alegre (1849 – 1909)
+ 
+Inicialmente, Terragno teve, em Porto Alegre, um estabelecimento fotográfico na Rua do Rosário, esquina coma Rua da Alegria, com o pintor italiano Bernardo Grasselli (? – 1883) que, após passar alguns anos no Uruguai, foi, em 1853, morar, em Porto Alegre. Foi professor de artes e cenógrafo, além de ter colaborado na revista literária O Guaíba. A sociedade duraria cerca de um ano. Deixou de trabalhar com o daguerreótipo e passou a trabalhar com retratos de eletrótipo, um processo mais rápido que permitia fotografar crianças com facilidade.
+ 
+O Mercantil, 8 de abril de 1854
+ 
+Em 1855, seu estabelecimento ficava na Rua de Bragança, 208, atual Marechal Floriano.
+ 
+O Mercantil, 29 de novembro de 1855
+ 
+Em 1860, voltou a montar um ateliê onde se localizava seu primeiro estabelecimento. Ao longo dessa década, introduziu, em Porto Alegre, a fotografia estereoscópica.
+ 
+Ateliê de Terragno na Rua do Rosário esquina com Rua da Alegria, em Porto Alegre, 1862 / Acervo de Carlos Henrique Bertelli
+ 
+Neste mesmo ano, trabalhou na cidade de Rio Grande e também em Pelotas, em abril e maio, respectivamente (O Commercial, 4 de abril de 1860; Brado do Sul, 27 de maio de 1860).
+Em 1861, divulgou sua invenção: o fixador à base de mandioca. Em 1863, anunciava que em seu estabelecimento tiram-se retratos pelo novo sistema “Alabastrino” cujos retratos são de uma finura e delicadeza superior a tudo o que se tem feito até hoje (O Mercantil, 21 de agosto de 1863).
+ 
+Luis Terragno. [Procissão religiosa], entre 1865 e 1880. Porto Alegre, RS / Acervo FBN
+Terragno conquistou a segunda menção honrosa na II Exposição Nacional de 1866, realizada no Palácio da Moeda do Rio de Janeiro entre 19 de outubro e 16 de dezembro de 1866 (Correio Mercantil, 11 de fevereiro de 1867, quarta coluna). O pintor Victor Meirelles (1832 – 1903) foi jurado da seção “Fotografia” e, segundo Tadeu Chiarelli, com o texto que escreveu para o capítulo “Fotografia”, que constou no Relatório sobre exposição, o pintor traçou …aquela que talvez seja a primeira história da fotografia escrita no Brasil (talvez a primeira em língua portuguesa)…
+‘A descoberta da fotografia, importante auxiliar das artes e ciências, e que há mais de meio século preocupava o espírito de doutos tornando-se objeto de estudo de alguns sábios da Inglaterra e da França, só nesses últimos tempos atingiu ao grande aperfeiçoamento que apresenta e que bem pouco deixa a desejar’.
+O pintor deixou claro seu amplo conhecimento sobre o assunto, desde sua história até as peculiaridades dos processos fotográficos já desenvolvidos. Mostrou-se também entusiasmado com as aplicações da fotografia. Seu julgamento das obras expostas expressava rigor crítico e admiração. Usou em sua avaliação valores e parâmetros que eram, tradicionalmente, utilizados na crítica de pinturas como, por exemplo, os efeitos de luz e a nitidez das imagens. Com sua apreciação, Meirelles incentivou o diálogo entre a fotografia e a pintura.
+A classe de “Fotografia” foi dividida entre “panoramas”, “panoramas  diversos para álbuns”, “estereoscópios”, “álbuns” e “retratos”. Foram premiados com medalha de prata José Ferreira Guimarães (1841 – 1924), Joaquim Insley Pacheco (1830 – 1912), Carneiro & Gaspar, Augusto Stahl (1828 – 1877) & Germano Wanchaeffer (1832 – ?) e E.J. Van Nyvel; com medalha de bronze Christiano Junior (1832 – 1902), Modesto e Jacy Monteiro & Lobo. Finalmente, além de Terragno, obtiveram menções honrosas José de Melo Arguelles,  João Ferreira Villela (18? – ?) e Leon Chapelin (18? -?). Na categoria “Paisagem”, a medalha de prata foi obtida por Georges Leuzinger (1813 – 1892).
+ 
+Diário do Rio de Janeiro, 1º de fevereiro de 1867, última coluna
+ 
+Sobre Terragno, Meirelles escreveu:
+“Não são inteiramente privadas de merecimento as provas fotográficas enviadas por este senhor. Nota-se o retrato de uma senhora que foi também reproduzido sobre fino tecido de um lenço; bem como as outras provas, representando algumas vistas”.
+Terragno ofereceu uma doação em dinheiro aos enfermos vítimas da epidemia de cólera, em 1867 (Relatório dos Presidentes das Províncias Brasileiras : Império (RS), 1867). Neste mesmo ano, vendeu todo seu acervo e material, anunciando sua partida ao exterior mas, em 1868, voltou a Porto Alegre e abriu um novo estúdio, na Rua da Ponte, 237.
+Era maçom e foi um dos fundadores, em 24 de setembro de 1869, da Loja Luz e Ordem. Foi eleito seu primeiro administrador.
+Em 1870, abriu uma filial de seu estabelecimento fotográfico na rua dos Andradas, 433.
+Em 28 de setembro de 1872, foi solenizada a promulgação da lei de 28 de setembro de 1871 com uma festa imponente , em que pela primeira vez na província do Rio Grande do Sul se realizou a cerimônia do batismo maçônico conferido a 25 lowtons. O Irmão Luiz Terragno, venerável da Loja Luz e Ordem executou a liturgia e, em seguida, entregou a uma menina de 10 anos sua carta de liberdade (Boletim do Grande Oriente Unido e Supremo Conselho do Brazil : Jornal Offical da Maçonaria Brazileira (RJ), abril de 1872). Segundo a Grande Loja Maçônica da Cidade de São Paulo, Lowtons  são “filhos, enteados e netos (de ambos os sexos) de maçons desde que tenham idade entre sete e quatorze anos. Ao serem adotados por uma Loja Maçônica, através de uma cerimônia especial de adoção de Lowtons, a Loja contrai para com eles a obrigação de servir-lhe de tutor e guia na vida social”.
+ 
+Boletim do Grande Oriente Unido e Supremo Conselho do Brazil : Jornal Offical da Maçonaria Brazileira (RJ), abril de 1872
+ 
+ 
+Boletim do Grande Oriente Unido e Supremo Conselho do Brazil : Jornal Offical da Maçonaria Brazileira (RJ), fevereiro de 1873
+ 
+Esteve presente à celebração do padroeiro da Loja Maçônica Progresso e Humanidade, em Porto Alegre (Boletim do Grande Oriente Unido e Supremo Conselho do Brazil : Jornal Offical da Maçonaria Brazileira (RJ), abril a julho de 1874).
+ 
+Boletim do Grande Oriente Unido e Supremo Conselho do Brazil : Jornal Offical da Maçonaria Brazileira (RJ), janeiro a junho de 1874.
+ 
+Participou de uma cerimônia maçônica de juramento de adesão da Loja Luz e Ordem ao Grande Oriente Unido do Brasil, reconhecendo-a como a única potência macônica legítima do Império (O Maçon: órgão da maçonaria (RS), 15 de julho de 1874).
+ 
+O Maçon: órgão da maçonaria (RS), 15 de julho de 1874
+ 
+Foi citado no artigo A emigração para o Brasil, publicado no Giornalle delle Colonie, de Roma (A Nação, 24 de setembro de 1874).
+ 
+A Nação, 24 de setembro de 1874
+ 
+Como venerável da officina batizou quatro lowtons na celebração do padroeiro São João da Loja Maçônica Luz e Ordem (Boletim do Grande Oriente Unido e Supremo Conselho do Brazil : Jornal Offical da Maçonaria Brazileira (RJ), abril a agosto de 1875; Maçon: órgão da maçonaria (RS), 1º de julho de 1875, primeira coluna).
+Em abril de 1875, foi inaugurada  a segunda Exposição Provincial do Rio Grande do Sul ou Exposição Commercial e Industrial, uma mostra de agricultura, indústria e comércio, realizada no Edifício do Atheneo Rio Grandense, em Porto Alegre. Segundo o historiador Athos Damasceno (1902 – 1975), foi Carlos von Koseritz (1830 – 1890), jornalista, poeta e importante personalidade da colônia alemã no sul do Brasil durante o Segundo Império, quem sugeriu a inclusão na exposição “de uma seção especial destinada a exibição de obras de arte, assim imprimindo no parque um cunho de sensibilidade e cultura…”(Relatórios dos Presidentes das Províncias Brasileiras: Império (RS), 11 de março de 1875).
+Dois fotógrafos apresentaram seus trabalhos nesta exposição: Madame Reeckell (1837 – 19?) e Terragno (18? – 1891), que, a esta altura, possuía estabelecimentos fotográficos no Rio Grande do Sul e em Santa Catarina (O Despertador, 19 de novembro de 1875, primeira coluna).
+ 
+O Conservador (SC), 16 de outubro de 1875
+ 
+O Despertador (SC), 19 de novembro de 1875
+ 
+Houve uma polêmica em torno do sistema fotográfico  À luz tangente entre Terragno e a fotógrafa Madame Reeckell (1837 – 19?) que no jornal A Reforma, de 4 de agosto de 1870, publicou:
+“Luz Tangente. O sr. Terragno, em a pedido inserto no Riograndense, tratando dos retratos à luz tangente, diz que os não tiro pelo mesmo sistema dos seus. Os retratos chamados pelo sr. Terragno de à luz tangente –  são na minha opinião iguais aos que tiro e tenho anunciado. Quem quiser convencer disso venha à minha casa para ver os retratos que tenho tirado e outros de fotógrafos do Rio de Janeiro, também do mesmo sistema, isto é, preferindo-se os dias escuros para o trabalho dessa qualidade de fotografias. O sr. Terragno é injusto quando atribui-me querer imitá-lo, dando o nome de retratos – à luz tangente – que só s.s. pode tirar, quando é certo que os tiro há muito tempo. Desafia-me a apresentar os aparelhos e ingredientes que são precisos. Poderá vê-los  quem quiser. O sistema é simples e não faço mistério para com as pessoas que, visitando a minha galeria, pedem par ver os aparelhos de que me sirvo. Quanto a supor que usei do emblema seu no meu anúncio publicado na Reforma, declaro que nada tenho com isso. E o sr. Terragno com aquela empresa deve entender-se a respeito. M Reeckell”.
+Na IV Exposição Nacional de 1875, inaugurada em 12 de dezembro e finda em 16 de janeiro de 1876, Terragno recebeu uma Medalha de Mérito. Exibiu fotografias do mercado e da estação de bondes de Porto Alegre e quatro retratos no formato carte de visite. Indicando o espírito tecnológico dessa exposição, havia uma classe intitulada Aparelhos e métodos fotográficos, onde Terragno apresentou o fixador à base de mandioca que havia inventado.
+“O ácido da mandioca é um produto tóxico de um cheiro característico, e não consta que tenha sido analisado. Em 1861 extrai uma quantidade equivalente mais ou menos a duas onças, fiz algumas aplicações na fotografia e vi que substituía com grande vantagem o ácido acético e ainda o ácido fórmico.
+Se ao banho revelador de ferro se substituir o ácido acético pelo da mandioca, pode-se diminuir de metade a exposição (pose), e geralmente o negativo não necessita de reforço.
+Este ácido não ataca o ouro nem a prata; ataca porém energicamente o alumínio e o magnésio, e produz sais deliquescentes.
+Tendo preparado um sal de ferro, atacando este metal por uma mistura de 1 parte de ácido sulfúrico e dois partes de ácido de mandioca, a cujo sal dou o nome de sulfo-mandiocate de ferro, o qual emprego em lugar do sulfato de ferro: torna-se o revelador por excelência, porque não só permite diminuir muito a exposição, como acusa os mais pequenos (sic) detalhes, mesmo nos lugares em que a ação da luz for muito fraca.
+Quando o Sr. d´Ormano foi à Europa “incorporar a Companhia do gás” levou um frasquinho deste ácido para “mandar analisar em Paris”; em consequência da guerra franco-prussiana, e outros inconvenientes, resultou que o senhor d´Ormano na sua volta me devolvesse o ácido sem ter sido analisado.
+“As minhas ocupações”, e mesmo “a falta de certos recursos não me têm permitido fazer outras experiências”; creio, porém, que este ácido convenientemente analisado pode ter diversas aplicações nas artes e indústria e mesmo em medicina, e teria a vantagem de se aproveitar de um produto natural, que é deitado fora, pois que ele é extraído da água de mandioca. 
+O processo da extração não é difícil, bem que um tanto laborioso”. 
+Luis Terragno no Catálogo da Exposição de 1875
+ 
+Dentre outros, também participaram da exposição os fotógrafos Alberto Henschel (1827 – 1892), Augusto de Azevedo Militão (1837 – 1905), Felipe Augusto Fidanza (c. 1847 – 1903) e Georges Leuzinger (1813 – 1892) (Jornal do Commercio, 4 de fevereiro de 1876, segunda coluna; Diário do Rio de Janeiro, 4 de fevereiro de 1876, última coluna).
+Marc Ferrez (1843 – 1923) apresentou, na seção de Obras Públicas da IV Exposição Nacional, dois álbuns com imagens dos recifes de Pernambuco, do baixo São Francisco e da cachoeira de Paulo Afonso, além de registros de corais e madrepérolas. As imagens, produzidas durante a viagem da Comissão Geológica, foram projetadas por Ferrez durante uma conferência do professor Charles Frederick Hartt (1840 – 1878), chefe da comissão (Diário do Rio de Janeiro, 27 e 28 dezembro de 1875, primeira coluna; O Globo, 4 de janeiro de 1876, na penúltima coluna, e Diário do Rio de Janeiro, 3 de fevereiro de 1876, quarta coluna).
+Em um anúncio, Terragno informava que não produzia fotos de crianças aos domingos e em dias santos (O Despertador, 9 de novembro de 1875).
+ 
+O Despertador (SC), 9 de novembro de 1875
+ 
+A Grande Loja Maçônica Provincial de Porto Alegre havia sido regularizada em 14 de dezembro de 1875 por Terragno e outros maçons (Boletim do Genrande Oriente Unido e Supremo Conselho do Brazil : Jornal Offical da Maçonaria Brazileira (RJ), janeiro a abril de 1876). Ele era o segundo grande vigilante da Grande Loja Provincial de São Pedro do Rio Grande do Sul ao oriente de Porto Alegre; e também o athers da Loja Paz e Ordem (Boletim do Grande Oriente Unido e Supremo Conselho do Brazil : Jornal Offical da Maçonaria Brazileira (RJ), página 464 e página 495, maio a agosto de 1876).
+Em 1876, Terragno e os fotógrafos Marc Ferrez (1843 – 1923), Joaquim Insley Pacheco (1830 – 1912), e José Tomás Sabino (18? – c. 1881) participaram da Exposição Internacional da Filadélfia, nos Estados Unidos, aberta em 10 de maio. O New York Commercial Advertiser, de 29 de maio de 1876, publicou um artigo que informava que “riquíssimas fotografias da exploração geológica a cargo do professor Hartt” haviam sido apresentadas pelo Brasil na Exposição Universal da Filadélfia aberta em 10 de maio. Fotografias de Ferrez realizadas para a Comissão Geológica do Império foram premiadas com  medalha (The Rio News, 5 de agosto de 1879). Insley Pacheco também recebeu uma medalha por suas fotografias (O Liberal do Pará, 28 de novembro de 1876, na segunda coluna e Diário do Rio de Janeiro, 2 de dezembro de 1876, na sexta coluna). Uma curiosidade: a comissão de organização da Exposição da Filadéfia modificou as regras da premiação: os ganhadores receberiam um diploma, uma medalha de bronze e uma cópia certificada do parecer do júri, rompendo com o padrão de premiação hierárquica.
+Neste mesmo ano, Terragno anunciou a venda de aparelhos fotográficos para amadores. Segundo o anúncio, com essas máquinas qualquer pessoa pode se divertir a tirar retratos e vistas e que para sso bastariam poucas aulas (A Reforma, 24 de novembro de 1876).
+Em 1877, anunciou que só em seu estabelecimento, na Praça Conde d´Eu, se tiravam retratos com o novo e magnífico sistema non pareil que conferia à arte fotográfica beleza, delicadeza, suavidade, e o que é mais que tudo uma perfeita conservação, a qual garantimos (A Reforma, 7 de julho de 1877).
+Pediu e teve negado pelo presidente da Seção de Geologia Aplicada e Química do Governo Imperial, Antônio Correa de Souza Costa, em 31 de dezembro de 1878, o privilégio para fabricar álcool e um ácido sui generis extraido da mandioca (O Auxiliador da Indústria Nacional, janeiro de 1879; Jornal do Commercio, 30 de janeiro de 1879, segunda coluna).
+ 
+O Auxiliador da Indústria Nacional, janeiro de 1879
+ 
+Em 1881, anunciou que em seu ateliê, na Praça da Alfândega, 294, oferecia Retratos Victoria em quadros dourados, entregues 5 minutos depois de tirados (Jornal do Commercio (RS), 15 de novembro de 1881).
+No mesmo ano, participou da Exposição Provincial Brasileira-Alemã do Rio Grande do Sul. Havia inventado a pistola Terragno, um aparelho para tirar fotografias instantâneas (Gazeta de Notícias, 6 de dezembro de 1881, quarta coluna; A Pacotilha (MA), 25 de dezembro de 1881, segunda coluna).
+ 
+A Pacotilha (MA), 25 de dezembro de 1881
+ 
+Como já mencionado, em 1881, Terragno participou da Exposição de História do Brasil realizada pela Biblioteca Nacional, aberta em 2 de dezembro, quando Pedro II completava 56 anos. Foi organizada por Benjamin Franklin de Ramiz Galvão (1846 – 1938), diretor da Biblioteca Nacional de 1870 a 1882.
+“…a exposição buscou reunir uma grande massa de publicações sobre a história do país, tendo como objetivos, em primeiro lugar, recolher e localizar documentos que pudessem ajudar a compreender a história brasileira; em segundo lugar, favorecer a organização de um catálogo em que diversos tipos de documentos de vários momentos da história do país poderiam ser localizados, ordenados e divulgados aos estudiosos”.
+ Biblioteca Nacional
+Ramiz Galvão, diretor da Biblioteca Naciona l e primeiro reitor da Universidade do Rio de Janeiro
+ 
+Terragno expôs as seguintes fotografias:
+ 
+Anais da Biblioteca Nacional, 1881
+ 
+Anais da Biblioteca Nacional, 1881
+ 
+Anais da Biblioteca Nacional, 1881
+ 
+Anais da Biblioteca Nacional, 1881
+ 
+Anais da Biblioteca Nacional, 1881
+ 
+Luis Terragno. Gabino Flores, 27 de abril de 1867 / Acervo FBN
+ 
+ 
+Anais da Biblioteca Nacional, 1881 
+ 
+Luis Terragno. Antônio Gomes, soldado paraguaio, 27 de abril de 1867 / Acervvo FBN
+ 
+ 
+Anais da Biblioteca Nacional, 1881
+ 
+Anais da Biblioteca Nacional, 1881
+ 
+Anais da Biblioteca Nacional, 1881
+ 
+Também na Exposição de História do Brasil da Biblioteca Nacional foi apresentado o álbum Vistas fotográficas da Colônia Dona Francisca, importante conjunto iconográfico da colonização alemã no sul do Brasil, dedicado ao imperador dom Pedro II. As imagens foram produzidas, em 1866, por Johann Otto Louis Niemeyer, fotógrafo, provavelmente, de origem alemã. Imagens produzidas por Augusto Riedel (1836 – ?) também foram expostas (Catálogo da Exposição de História do Brasil 1881-2, vol.2, páginas 1415, 1416, 1422, 1456, 1508 e 1612).
+Em 1882, o estabelecimento de Terragno, em Porto Alegre, ficava na Praça da Alfândega.
+Em 29 de setembro de 1883, foi naturalizado brasileiro.
+Foi noticiado que ele estava no Rio de Janeiro e que havia inventado sinetes foto-metálicos, o Sinete-Terragno, que em vez da firma dão o retrato do dono. Foi concedido a ele, em 1º de setembro, o privilégio de invenção durante 15 anos (Revista de Engenharia, 1883, segunda coluna; Correio Paulistano, 6 de setembro de 1883, última coluna; Gazeta de Notícias, 5 de outubro de 1883, sexta coluna; A Federação, 24 de julho de 1884, terceira coluna).
+ 
+Gazeta de Notícias, 5 de outubro de 1883
+ 
+A Federação (RS), 24 de julho de 1884
+ 
+Gazeta de Porto Alegre, 27 de setembo de 1883
+Anunciou ter recebido dos Estados Unidos um novo aparelho, o Megapito, por meio do qual pode, com qualquer tempo, sem auxílio de luz solar, tirar retratos de tamanho natural (O Despertador, 12 de julho de 1884, primeira coluna).
+ 
+O Despertador (SC), 12 de julho de 1884
+ 
+Leiloou os móveis, livros e material fotográfico de sua moradia e ateliê, na Rua dos Andradas. Em 20 de março de 1885, partiu de Porto Alegre com sua família, a bordo do Victoria. Estabeleceu-se em Pelotas (A Federação (RS), 24 de fevereiro de 1885, última coluna; e A Federação (RS), 27 de fevereiro de 1885, última coluna; A Federação (RS), 21 de março de 1885, segunda coluna; Correio Mercantil, 12 de agosto de 1885).
+ 
+A Federação (RS). 24 de fevereiro de 1885
+ 
+Ainda neste ano, escreveu um perfil do jovem Fausto Werner (1863 – 1927), futuro constituinte de 1892 e deputado estadual de Santa Catarina (O Estudante (SC), 1º de outubro de 1885).
+Em janeiro de 1887, voltou a Porto Alegre, na Rua de Bragança (A Federação (RS), 4 de março de 1887, última coluna).
+Em 1888, um de seus filhos tornou-se seu sócio no estúdio fotográfico, que se mudou para a Rua do General Câmara, nº 46. Este foi,o último endereço de seu ateliê, fechado e vendido, em 1889 para o fotógrafo Ciro José Pedrosa.
+.
+ 
+Folha da Tarde (RS), 1888
+ 
+Inventou, em 1890, uma máquina para conservar carnes (A Federação: órgão do Partido Republicano (RS), 18 de junho de 1890, segunda coluna).
+ 
+A Federação (RS), 18 de junho de 1890
+ 
+Luis Terragno faleceu, em 16 de setembro de 1891, de angos pectoris (A Federação (RS), 19 de setembro de 1891, última coluna; Jornal do Commercio, 27 de setembro de 1891, última coluna).
+ 
+A Reforma, 22 de setembro de 1891
+ 
+Sua missa de um ano foi celebrada na Catedral de Porto Alegre (A Federação: órgão do Partido Republicano (RS), 13 de setembro de 1892, última coluna).
+ 
+A Federação(RS), 14 de setembro de 1892
+ 
+Fotos de autoria de Terragno integraram a exposição A Coleção do Imperador: fotografia brasileira e estrangeira no século XIX, no Centro Cultural do Banco do Brasil, entre 29 de janeiro e 23 de março de 1997. Outros fotógrafos da mostra foram Albert Frisch (1840 – 1918), Albert Richard Dietze (1838 – 1906), Augusto Riedel (1836-?), Benjamin Robert Mulock (1829 – 1863), Felipe Augusto Fidanza (c. 1847 – 1903), Franz Keller-Leuzinger (1835 – 1890), Georges Leuzinger (1813 – 1892), Henrique Rosen (1840 – 1892), Hercule Florence (1804 – 1879), Jean Victor Frond (1821 – 1881), Joaquim Insley Pacheco (1830 – 1912), Louis Niemeyer (18? – ?), Marc Ferrez (1843 – 1923) e Revert Henrique Klumb (c. 1826 – c. 1886), dentre outros. A exposição seguiu para a Pinacoteca de São Paulo (20 de abril a 25 de maio de 1997. Em 4 de julho de 1997, foi aberta no Museo Nacional de Bellas Artes, de Buenos Aires, na Argentina, onde ficou em cartaz até o dia 31 do mesmo mês. Entre 8 de junho e 30 de julho de 2000, a exposição foi apresentada no Centro Português de Fotografia, no Porto, em Portugal.
+Fotografias de Terragno foram expostas na mostra Retratos do Império e do Exílio, que ficou em cartaz, no Instituto Moreira Salles, no Rio de Janeiro, entre 22 de fevereiro e 29 de maio de 2011. Foi curada pelo fotógrafo dom João de Orleans e Bragança (1954-) e por Sérgio Burgi (1958 -), Coordenador de Fotografia do IMS e um dos curadores da Brasiliana Fotográfica. Outros fotógrafos da exposição foram  Albert Henschel (1827 – 1882), Joaquim Insley Pacheco (1830 – 1912), Félix Nadar (1820 – 1910), Otto Hees (1870 – 1941) e Revert Henrique Klumb (c. 1826 – c. 1886).
+ 
+Acessse aqui a Cronologia de Luis Terragno (c. 1831 – 1891)
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+ 
+ALEGRE, Achylles Porto. Serões de Inverno. Porto Alegre: Livraria Selbach, 1923.
+ALVES, Hélio Ricardo. A Fotografia em Porto Alegre: o século XIX. In: ACHUTTI, Luiz Eduardo (Org.). Ensaios (sobre o) Fotográfico. Porto Alegre: Unidade Editorial, 1998.
+BRACHER, Andréa; GONÇALVES, Sandra Maria Lucia Pereira. Luiz Terragno: o início da fotografia no Rio Grande do Sul  in Primórdios da Comunicação Midiática no Rio Grande do Sul. Florianópolis: Insular, 2021. 328 p. p. 63-91
+CASTRO, Danielle Ribeiro de . Photographos da Casa Imperial: A Nobreza da Fotografia no Brasil do Século XIX. IV Encontro Nacional de Estudos da Imagem e I Encontro Internacional de Estudos da Imagem.  Londrina, PR, 07 a 10 de maio de 2013.
+Conde d´Eu. Viagem Militar ao Rio Grande do Sul. Belo Horizonte : Editora Itatianai. São Paulo : Ed. da Universidade de São Paulo, 1981.
+DAMASCENO, Athos. Colóquios com a minha cidade. Porto Alegre : Globo, 1974.
+DUARTE, Miguel Antônio de Oliveira. Faça chuva ou faça sol: fotógrafos em Porto Alegre (1849-1909). Porto Alegre, RS, 2016.
+Enciclopédia Itaú Cultural – Bernardo Grasselli e Luis Terragno
+KOSSOY, Boris. Dicionário histórico-fotográfico brasileiro: fotógrafos e ofício da fotografia no Brasil (1833-1910). São Paulo: Instituto Moreira Salles, 2002. 408 p., il. p&b.
+LENZI, Teresa; MENESTRINO, Flávia. Pioneiros da fotografia em Rio Grande. Indícios de passagens e permanências. Relato de uma pesquisa histórica. Revista Memória em Rede, Pelotas, v.2, n.5, abr. / jul. 2011. 
+MELLO, Bruno Cesar Euphrasio de. A cidade de Porto Alegre entre 1820 e 1890: as transformações físicas da capital a partir das 89 impressões dos viajantes estrangeiros. Dissertação de Mestrado em Planejamento Urbano e Regional – Faculdade de Arquitetura, Universidade Federal do Rio Grande do Sul, Porto Alegre, 2010.
+Site Grande Loja Maçônica da Cidade de São Paulo
+Site Grande Loja Maçônica do Estado do Rio Grande do Sul
+STUMVOLL, Denise; SILVA, Wellington. Carte de Visite e outros Formatos: retratos no acervo fotográfico do Museu da Comunicação Hipólito José da Costa (1880-1920). Porto Alegre: Museu de Comunicação Social Hipólito José da Costa, 2019. I
+TURAZZI, Maria Inez. Poses e trejeitos: a fotografia e as exposições na era do espetáculo: 1839/1889. Prefácio Pedro Karp Vasquez. Rio de Janeiro: Funarte. Rocco, 1995. 309 p., il. p&b. (Coleção Luz & Reflexão, 4). ISBN 85-85781-08-4.
+VASQUEZ, Pedro Karp. Dom Pedro II e a fotografia no Brasil. Rio de Janeiro: Fundação Roberto Marinho, 1985.
+VASQUEZ, Pedro Karp. O Brasil na fotografia oitocentista. São Paulo: Metalivros, 2003.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/3983` — `itens/20.500.12156.1_3983/`
+- `20.500.12156.1/11182` — `itens/20.500.12156.1_11182/`
+- `20.500.12156.1/3790` — `itens/20.500.12156.1_3790/`
+- `20.500.12156.1/11187` — `itens/20.500.12156.1_11187/`
+- `20.500.12156.1/11186` — `itens/20.500.12156.1_11186/`
+
diff --git a/wordpress/29145-cronologia-de-luis-terragno-c-1831-1891.md b/wordpress/29145-cronologia-de-luis-terragno-c-1831-1891.md
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+++ b/wordpress/29145-cronologia-de-luis-terragno-c-1831-1891.md
@@ -0,0 +1,207 @@
+---
+id: 29145
+url: "https://brasilianafotografica.bn.gov.br/?p=29145"
+titulo: "Cronologia de Luis Terragno (c. 1831 – 1891)"
+autor: "Andrea Wanderley"
+data: "2022-12-02T11:52:08+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/3983", "20.500.12156.1/3790"]
+fetched_at: "2026-09-10T10:11:48.574Z"
+---
+
+# Cronologia de Luis Terragno (c. 1831 – 1891)
+
+Cronologia de Luis Terragno (c. 1831 – 1891)
+ 
+Autorretrato de Luis (Luigi) Terragno, fins de 1860
+ 
+c. 1831 – Nascimento de Luigi (Luis) Terragno, na Itália, filho de Domingos Antônio Terragno, e Angela Maria Peligrinni.
+ 
+Passaporte de Luis Terragno,  1852 / Acervo AHRS
+ 
+c. 1850 – Passou  por Paris, onde existem registros de suas fotografias.
+1850 - Já estava no Brasil e atuava como fotógrafo itinerante em Rio Grande, no Rio Grande do Sul.
+1851 – Atuava em Pelotas, também no Rio Grande do Sul.
+1853 - Retornou a Rio Grande e estabeleceu-se, na Rua do Pito, nº 59. O ateliê passou a se chamar Terragno e Cª. e ele permaneceu na cidade de agosto a novembro de 1853.
+Chegou em Porto Alegre, provavelmente, ainda em 1853.
+1854 – Inicialmente, Terragno teve, em Porto Alegre, um estabelecimento fotográfico na Rua do Rosário, esquina coma Rua da Alegria, com o pintor italiano Bernardo Grasselli (? – 1883) que, após passar alguns anos no Uruguai, foi, em 1853, morar, em Porto Alegre. Foi professor de artes e cenógrafo, além de ter colaborado na revista literária O Guaíba. A sociedade duraria cerca de um ano.
+Deixou de trabalhar com o daguerreótipo e passou a trabalhar com retratos de eletrótipo, um processo mais rápido que permitia fotografar crianças com facilidade. Deixou de trabalhar com o daguerreótipo e passou a trabalhar com retratos de eletrótipo, um processo mais rápido que permitia fotografar crianças com facilidade. Tornou-se o principal retratista da capital gaúcha.
+ 
+O Mercantil, 8 de abril de 1854
+ 
+1855 – Casou-se, em 28 de julho de 1855, na Freguesia do Rosário com Balbina Rita Círio. Tiveram cinco filhos: Luiza (1858-?), Vitor (1861-?), Cândido (1863 – ?), Luís (1867 – ?), Antonio (1875 -?) e Olimpio (18? -?).
+“Aos vinte e oito dias do mês de julho de mil oitocentos e cinquenta e cinco anos, na casa da residência de João Vicent Bartholomeu Cirio, sita na freguesia de Santa Ana do Rio dos Sinos, em Oratório aprovado para esse fim, pelas oito horaas da tarde, depois de feitas as diligências do estilo, e não havendo impedimento algum na forma do Sagrado Concílio Tridentino, e Cobnstituição do Bispado, por provisão do Excelentíssimo Senhor Cônego Provisor, Vigário Geral deste Bispado Thomé Luiz de Souza, perante mim e das testemunhas Patricio D´Azambuja Cidade, e Luiz Gambarro, se receberam em matrimônio com palavras de presente, e que expressaram no mútuo consentimento os contraentes Luiz Terragno, e D. Balbina Rita Ciro [sic], esta natural desta cidade, filha legítima de João Vicente Bartholomeu [sic], e Dona Rita Joaquina da Conceição, aquele natural da Itália, filho legítimo de Domingos Antônio Terragno, e Angela Maria Peligrinni; receberam as bençãos matrimoniais, e para constar mandei fazer esse termo que assino.
+O Vigário José Ignácio de Carvalho e Freitas”
+Seu estabelecimento ficava na Rua de Bragança, 208, atual Marechal Floriano. Além de produzir retratos, oferecia à clientela medalhas, alfinetes para senhoras e caixas, dentre outros produtos.
+ 
+O Mercantil, 29 de novembro de 1855
+ 
+1860 – Voltou a montar um ateliê onde se localizava seu primeiro estabelecimento, na Rua do Rosário, esquina com a Rua da Alegria. Oferecia retratos pelo novo sistema de ambrótipo, e retratos ditos em relevo com o sem paisagem; em fundo colorido, salientes, duplos ou de duas vistas, em oleados e em melanotipo. Fazia cartes de visite e participações de casamento onde o o nome da pessoa era substitído por uma fotografia. Vendia máquinas fotográficas e ensinava aos interessados como tirar retratos.
+ 
+Ateliê de Terragno na Rua do Rosário esquina com Rua da Alegria, em Porto Alegre, 1862 / Acervo de Carlos Henrique Bertelli
+ 
+Neste mesmo ano, trabalhou na cidade de Rio Grande e também em Pelotas, em abril e maio, respectivamente (O Commercial, 4 de abril de 1860; Brado do Sul, 27 de maio de 1860).
+Foi anunciada sua partida para o Rio de Janeiro e para Buenos Aires.
+1861 – Divulgou sua invenção: o fixador à base de mandioca.
+1862 – Introduziu, em Porto Alegre, a fotografia estereoscópica, produzindo vistas urbanas da cidade com essa técnica.
+1863 - Segundo o historiador Athos Damasceno (1902 – 1975), ao que parece estabeleceu-se, em Porto Alegre, na Rua Clara, 33 (Rua João Manuel).
+Anunciava que em seu estabelecimento tiram-se retratos pelo novo sistema “Alabastrino” cujos retratos são de uma finura e delicadeza superior a tudo o que se tem feito até hoje (O Mercantil, 21 de agosto de 1863).
+1865 / 1867 - Nesse período, Terragno fotografou dom Pedro II que havia ido para o Rio Grande do Sul devido à Guerra do Paraguai (1864 – 1870), além de outros personagens envolvidos no conflito como o Conde d´Eu (1842 – 1922) e o Duque de Saxe (1845 – 1907).
+ 
+Luis Terragno. [Pedro II, Imperador do Brasil : retrato], 1865. Uruguaiana, RS / Acervo FBN
+1866 – Terragno conquistou a segunda menção honrosa na II Exposição Nacional de 1866 realizada no Palácio da Moeda do Rio de Janeiro entre 19 de outubro e 16 de dezembro de 1866(Correio Mercantil, 11 de fevereiro de 1867, quarta coluna). O pintor Victor Meirelles (1832 – 1903) foi jurado da seção “Fotografia” e, segundo o professor Tadeu Chiarelli, com o texto que escreveu para o capítulo “Fotografia”, que constou no Relatório sobre exposição, o pintor traçou …aquela que talvez seja a primeira história da fotografia escrita no Brasil (talvez a primeira em língua portuguesa)…
+‘A descoberta da fotografia, importante auxiliar das artes e ciências, e que há mais de meio século preocupava o espírito de doutos tornando-se objeto de estudo de alguns sábios da Inglaterra e da França, só nesses últimos tempos atingiu ao grande aperfeiçoamento que apresenta e que bem pouco deixa a desejar’.
+O pintor deixou claro seu amplo conhecimento sobre o assunto, desde sua história até as peculiaridades dos processos fotográficos já desenvolvidos. Mostrou-se também entusiasmado com as aplicações da fotografia. Seu julgamento das obras expostas expressava rigor crítico e admiração. Usou em sua avaliação valores e parâmetros que eram, tradicionalmente, utilizados na crítica de pinturas como, por exemplo, os efeitos de luz e a nitidez das imagens. Com sua apreciação, Meirelles incentivou o diálogo entre a fotografia e a pintura.
+A classe de “Fotografia” foi dividida entre “panoramas”, “panoramas  diversos para álbuns”, “estereoscópios”, “álbuns” e “retratos”. Foram premiados com medalha de prata José Ferreira Guimarães (1841 – 1924), Joaquim Insley Pacheco (1830 – 1912), Carneiro & Gaspar, Augusto Stahl (1828 – 1877) & Germano Wanchaeffer (1832 – ?) e E.J. Van Nyvel; com medalha de bronze Christiano Junior (1832 – 1902), Modesto e Jacy Monteiro & Lobo. Finalmente, além de Terragno, obtiveram menções honrosas José de Melo Arguelles,  João Ferreira Villela (18? – ?) e Leon Chapelin (18? -?). Na categoria “Paisagem”, a medalha de prata foi obtida por Georges Leuzinger (1813 – 1892).
+ 
+Diário do Rio de Janeiro, 1º de fevereiro de 1867, última coluna
+ 
+Sobre Terragno, Meirelles escreveu:
+“Não são inteiramente privadas de merecimento as provas fotográficas enviadas por este senhor. Nota-se o retrato de uma senhora que foi também reproduzido sobre fino tecido de um lenço; bem como as outras provas, representando algumas vistas”.
+1867 / 1868 - Terragno ofereceu uma doação em dinheiro aos enfermos vítimas da epidemia de cólera, em 1867 (Relatório dos Presidentes das Províncias Brasileiras : Império (RS), 1867).
+Vendeu todo seu acervo e material, anunciando sua partida ao exterior mas, em 1868, voltou a Porto Alegre e abriu um novo estúdio, na Rua da Ponte, 237, atual Rua do Riachuelo, em frente a seu antigo estabelecimento. Oferecia um grande sortimento de objetos de fotografia e de álbuns, além de máquinas fotográficas para amadores.
+ 
+Luis Terragno. [Procissão religiosa], entre 1865 e 1880. Porto Alegre, RS / Acervo FBN
+1869 - Era maçom e foi um dos fundadores, em 24 de setembro de 1869, a Loja Luz e Ordem.
+1870 - Abriu uma filial de seu estabelecimento fotográfico na Rua dos Andradas, 433.
+Anunciou tirar retratos À luz tangente, segundo ele uma técnica muito superior a todas empregadas até então.
+1872 - Em 28 de setembro de 1872, foi solenizada a promulgação da lei de 28 de setembro de 1871 com uma festa imponente , em que pela primeira vez na província do Rio Grande do Sul se realizou a cerimônia do batismo maçônico conferido a 25 lowtons. O Irmão Luiz Terragno, venerável da Loja Luz e Ordem executou a liturgia e, em seguida, entregou a uma menina de 10 anos sua carta de liberdade (Boletim do Grande Oriente Unido e Supremo Conselho do Brazil : Jornal Offical da Maçonaria Brazileira (RJ), abril de 1872). Segundo a Grande Loja Maçônica da Cidade de São Paulo, lowtons  são “filhos, enteados e netos (de ambos os sexos) de maçons desde que tenham idade entre sete e quatorze anos. Ao serem adotados por uma Loja Maçônica, através de uma cerimônia especial de adoção de Lowtons, a Loja contrai para com eles a obrigação de servir-lhe de tutor e guia na vida social”.
+ 
+Boletim do Grande Oriente Unido e Supremo Conselho do Brazil : Jornal Offical da Maçonaria Brazileira (RJ), abril de 1872
+ 
+ 
+Boletim do Grande Oriente Unido e Supremo Conselho do Brazil : Jornal Offical da Maçonaria Brazileira (RJ), fevereiro de 1873
+ 
+1874 – Esteve presente à celebração do padroeiro da Loja Maçônica Progresso e Humanidade, em Porto Alegre (Boletim do Grande Oriente Unido e Supremo Conselho do Brazil : Jornal Offical da Maçonaria Brazileira (RJ), abril a julho de 1874).
+ 
+Boletim do Grande Oriente Unido e Supremo Conselho do Brazil : Jornal Offical da Maçonaria Brazileira (RJ), janeiro a junho de 1874.
+ 
+Participou de uma cerimônia maçônica de juramento de adesão da Loja Luz e Ordem ao Grande Oriente Unido do Brasil, reconhecendo-o como a única potência macônica legítima do Império (O Maçon: órgão da maçonaria (RS), 15 de julho de 1874).
+ 
+O Maçon: órgão da maçonaria (RS), 15 de julho de 1874
+ 
+Foi citado no artigo A emigração para o Brasil, publicado no Giornalle delle Colonie, de Roma (A Nação, 24 de setembro de 1874).
+ 
+A Nação, 24 de setembro de 1874
+ 
+1875 – Como venerável da officina batizou quatro lowtons na celebração do padroeiro São João da Loja Maçônica Luz e Ordem (Boletim do Grande Oriente Unido e Supremo Conselho do Brazil : Jornal Offical da Maçonaria Brazileira (RJ), abril a agosto de 1875; Maçon: órgão da maçonaria (RS), 1º de julho de 1875, primeira coluna).
+Em abril de 1875, foi inaugurada  a segunda Exposição Provincial do Rio Grande do Sul ou Exposição Commercial e Industrial, uma mostra de agricultura, indústria e comércio, realizada no Edifício do Atheneo Rio Grandense, em Porto Alegre. Segundo o historiador Athos Damasceno (1902 – 1975), foi Carlos von Koseritz (1830 – 1890), jornalista, poeta e importante personalidade da colônia alemã no sul do Brasil durante o Segundo Império, quem sugeriu a inclusão na exposição “de uma seção especial destinada a exibição de obras de arte, assim imprimindo no parque um cunho de sensibilidade e cultura…”(Relatórios dos Presidentes das Províncias Brasileiras: Império (RS), 11 de março de 1875).
+Dois fotógrafos apresentaram seus trabalhos nessa mostra: Madame Reeckell (1837 – 19?) e Terragno que, a esta altura, possuía estabelecimentos fotográficos no Rio Grande do Sul e em Santa Catarina (O Despertador, 19 de novembro de 1875, primeira coluna).
+ 
+O Conservador (SC), 16 de outubro de 1875
+ 
+O Despertador (SC), 19 de novembro de 1875
+ 
+Houve uma polêmica em torno do sistema fotográfico  À luz tangente entre Terragano e a fotógrafa Madame Reeckell (1837 – 19?) que no jornal A Reforma, de 4 de agosto de 1870, publicou:
+“Luz Tangente. O sr. Terragno, em a pedido inserto no Riograndense, tratando dos retratos à luz tangente, diz que os não tiro pelo mesmo sistema dos seus. Os retratos chamados pelo sr. Terragno de à luz tangente –  são na minha opinião iguais aos que tiro e tenho anunciado. Quem quiser convencer disso venha à minha casa para ver os retratos que tenho tirado e outros de fotógrafos do Rio de Janeiro, também do mesmo sistema, isto é, preferindo-se os dias escuros para o trabalho dessa qualidade de fotografias. O sr. Terragno é injusto quando atribui-me querer imitá-lo, dando o nome de retratos – à luz tangente – que só s.s. pode tirar, quando é certo que os tiro há muito tempo. Desafia-me a apresentar os aparelhos e ingredientes que são precisos. Poderá vê-los  quem quiser. O sistema é simples e não faço mistério para com as pessoas que, visitando a minha galeria, pedem par ver os aparelhos de que me sirvo. Quanto a supor que usei do emblema seu no meu anúncio publicado na Reforma, declaro que nada tenho com isso. E o sr. Terragno com aquela empresa deve entender-se a respeito. M Reeckell”.
+Na IV Exposição Nacional de 1875, inaugurada em 12 de dezembro e finda em 16 de janeiro de 1876, Terragno recebeu uma Medalha de Mérito. Exibiu fotografias do mercado e da estação de bondes de Porto Alegre e quatro retratos no formato carte de visite. Indicando o espírito tecnológico dessa exposição, havia uma classe intitulada Aparelhos e métodos fotográficos, onde Terragno apresentou o fixador à base de mandioca que havia inventado.
+“O ácido da mandioca é um produto tóxico de um cheiro característico, e não consta que tenha sido analisado. Em 1861 extrai uma quantidade equivalente mais ou menos a duas onças, fiz algumas aplicações na fotografia e vi que substituía com grande vantagem o ácido acético e ainda o ácido fórmico.
+Se ao banho revelador de ferro se substituir o ácido acético pelo da mandioca, pode-se diminuir de metade a exposição (pose), e geralmente o negativo não necessita de reforço.
+Este ácido não ataca o ouro nem a prata; ataca porém energicamente o alumínio e o magnésio, e produz sais deliquescentes.
+Tendo preparado um sal de ferro, atacando este metal por uma mistura de 1 parte de ácido sulfúrico e dois partes de ácido de mandioca, a cujo sal dou o nome de sulfo-mandiocate de ferro, o qual emprego em lugar do sulfato de ferro: torna-se o revelador por excelência, porque não só permite diminuir muito a exposição, como acusa os mais pequenos (sic) detalhes, mesmo nos lugares em que a ação da luz for muito fraca.
+Quando o Sr. d´Ormano foi à Europa “incorporar a Companhia do gás” levou um frasquinho deste ácido para “mandar analisar em Paris”; em consequência da guerra franco-prussiana, e outros inconvenientes, resultou que o senhor d´Ormano na sua volta me devolvesse o ácido sem ter sido analisado.
+“As minhas ocupações”, e mesmo “a falta de certos recursos não me têm permitido fazer outras experiências”; creio, porém, que este ácido convenientemente analisado pode ter diversas aplicações nas artes e indústria e mesmo em medicina, e teria a vantagem de se aproveitar de um produto natural, que é deitado fora, pois que ele é extraído da água de mandioca. 
+O processo da extração não é difícil, bem que um tanto laborioso”. 
+Luis Terragno no Catálogo da Exposição de 1875
+ 
+Dentre outros, também participaram da exposição os fotógrafos Alberto Henschel (1827 – 1892), Augusto de Azevedo Militão (1837 – 1905), Felipe Augusto Fidanza (c. 1847 – 1903) e Georges Leuzinger (1813 – 1892) (Jornal do Commercio, 4 de fevereiro de 1876, segunda coluna; Diário do Rio de Janeiro, 4 de fevereiro de 1876, última coluna).
+Marc Ferrez (1843 – 1923) apresentou na seção de Obras Públicas da IV Exposição Nacional, dois álbuns com imagens dos recifes de Pernambuco, do baixo São Francisco e da cachoeira de Paulo Afonso, além de registros de corais e madrepérolas. As imagens produzidas durante a viagem da Comissão Geológica foram projetadas por Ferrez durante uma conferência do professor Charles Frederick Hartt (1840 – 1878), chefe da comissão (Diário do Rio de Janeiro, 27 e 28 dezembro de 1875, primeira coluna; O Globo, 4 de janeiro de 1876, na penúltima coluna, e Diário do Rio de Janeiro, 3 de fevereiro de 1876, quarta coluna).
+Em um anúncio, Terragno informava que não produzia fotos de crianças aos domingos e em dias santos (O Despertador, 9 de novembro de 1875).
+ 
+O Despertador (SC), 9 de novembro de 1875
+ 
+A Grande Loja Maçônica Provincial de Porto Alegre havia sido regularizada em 14 de dezembro de 1875 por Terragno e outros maçons (Boletim do Grande Oriente Unido e Supremo Conselho do Brazil : Jornal Offical da Maçonaria Brazileira (RJ), janeiro a abril de 1876).
+1876 – Era o segundo grande vigilante da Grande Loja Provincial de São Pedro do Rio Grande do Sul ao oriente de Porto Alegre; e também o athers da Loja Paz e Ordem (Boletim do Genrande Oriente Unido e Supremo Conselho do Brazil : Jornal Offical da Maçonaria Brazileira (RJ), página 464  e página 495, maio a agosto de 1876).
+Terragno e os fotógrafos Marc Ferrez (1843 – 1923), Joaquim Insley Pacheco (1830 – 1912) e José Tomás Sabino (18? – c. 1881) participaram da Exposição Internacional da Filadélfia, nos Estados Unidos, aberta em 10 de maio. O New York Commercial Advertiser, de 29 de maio de 1876, publicou um artigo que informava que “riquíssimas fotografias da exploração geológica a cargo do professor Hartt” haviam sido apresentadas pelo Brasil na Exposição Universal da Filadélfia aberta em 10 de maio. Fotografias de Ferrez realizadas para a Comissão Geológica do Império foram premiadas com  medalha (The Rio News, 5 de agosto de 1879). Insley Pacheco também recebeu uma medalha por suas fotografias (O Liberal do Pará, 28 de novembro de 1876, na segunda coluna e Diário do Rio de Janeiro, 2 de dezembro de 1876, na sexta coluna). Uma curiosidade: a comissão de organização da Exposição da Filadéfia modificou as regras da premiação: os ganhadores receberiam um diploma, uma medalha de bronze e uma cópia certificada do parecer do júri, rompendo com o padrão de premiação hierárquica.
+Terragno anunciou a venda de aparelhos fotográficos para amadores. Segundo o anúncio, com essas máquinas qualquer pessoa pode se divertir a tirar retratos e vistas e que para sso bastariam poucas aulas (A Reforma, 24 de novembro de 1876).
+1877 – Anunciou que só em seu estabelecimento, na Praça Conde d´Eu, se tiravam retratos com o novo e magnífico sistema non pareil que conferia à arte fotográfica beleza, delicadeza, suavidade, e o que é mais que tudo uma perfeita conservação, a qual garantimos (A Reforma, 7 de julho de 1877).
+Expôs três retratos pelo sistema cromo-fotográfico na loja de Rosa & Filhos.
+1879 – Pediu e teve negado pelo presidente da Seção de Geologia Aplicada e Química do Governo Imperial, Antônio Correa de Souza Costa, em 31 de dezembro de 1878, o privilégio para fabricar álcool e um ácido sui generis extraido da mandioca (O Auxiliador da Indústria Nacional, janeiro de 1879; Jornal do Commercio, 30 de janeiro de 1879, segunda coluna).
+ 
+O Auxiliador da Indústria Nacional, janeiro de 1879
+ 
+1881 - Anunciou que em seu ateliê, na Praça da Alfândega, 294, oferecia Retratos Victoria em quadros dourados, entregues 5 minutos depois de tirados (Jornal do Commercio (RS), 15 de novembro de 1881).
+Terragno participou da Exposição Provincial Brasileira-Alemã do Rio Grande do Sul. Havia inventado a pistola Terragno, um aparelho para tirar fotografias instantâneas (Gazeta de Notícias, 6 de dezembro de 1881, quarta coluna; A Pacotilha (MA), 25 de dezembro de 1881, segunda coluna).
+ 
+A Pacotilha (MA), 25 de dezembro de 1881
+ 
+Algumas das fotos que Terragno produziu de personagens envolvidos na Guerra do Paraguai e outras, de vistas de Porto Alegre, foram exibidas na Exposição de História do Brasil realizada pela Biblioteca Nacional e aberta por Pedro II, em 2 de dezembro de 1881, no dia em que o monarca completava 56 anos. Foi um dos mais importantes eventos da historiografia nacional, tendo sido organizada por Benjamin Franklin de Ramiz Galvão (1846 – 1938), diretor da Biblioteca Nacional de 1870 a 1882.
+ 
+“…a exposição buscou reunir uma grande massa de publicações sobre a história do país, tendo como objetivos, em primeiro lugar, recolher e localizar documentos que pudessem ajudar a compreender a história brasileira; em segundo lugar, favorecer a organização de um catálogo em que diversos tipos de documentos de vários momentos da história do país poderiam ser localizados, ordenados e divulgados aos estudiosos”.
+ Biblioteca Nacional
+Ramiz Galvão, diretor da Biblioteca Naciona l e primeiro reitor da Universidade do Rio de Janeiro
+ 
+Terragno expôs as seguintes fotografias:
+ 
+Anais da Biblioteca Nacional, 1881
+ 
+Anais da Biblioteca Nacional, 1881
+ 
+Anais da Biblioteca Nacional, 1881
+ 
+Anais da Biblioteca Nacional, 1881
+ 
+Anais da Biblioteca Nacional, 1881
+ 
+Anais da Biblioteca Nacional, 1881
+ 
+Anais da Biblioteca Nacional, 1881
+ 
+Anais da Biblioteca Nacional, 1881
+ 
+Anais da Biblioteca Nacional, 1881
+ 
+Também na Exposição de História do Brasil da Biblioteca Nacional foi apresentado o álbum Vistas fotográficas da Colônia Dona Francisca, importante conjunto iconográfico da colonização alemã no sul do Brasil, dedicado ao imperador dom Pedro II. As imagens foram produzidas, em 1866, por Johann Otto Louis Niemeyer, fotógrafo, provavelmente, de origem alemã. Imagens produzidas por Augusto Riedel (1836 – ?) também foram expostas (Catálogo da Exposição de História do Brasil 1881-2, vol.2, páginas 1415, 1416, 1422, 1456, 1508 e 1612).
+ 
+1882 - O estabelecimento de Terragno, em Porto Alegre, ficava na Praça da Alfândega, 295. Anunciava retratos duplos, retratos inalteráveis ao carbono e, em fim de novembro, lançou um novo processo de seu invento – Cyanotipo – novo, surpreendene e maravilhoso processo, segundo o qual qualquer pessoa podia tirar seu próprio retrato tantas vezes quanto quisesse, em 5 minutos, sem emprego de drogas e apenas com um pouco d´água, 1 chapa, prensa e pael eerm o suficiente par 32 retratos!
+1883 – Foi noticiado que Terragno estava no Rio de Janeiro e que havia inventado sinetes foto-metálicos, o Sinete-Terragno, que em vez da firma dão o retrato do dono. Foi concedido a ele, em 1º de setembro, o privilégio de invenção durante 15 anos (Revista de Engenharia, 1883, segunda coluna; Correio Paulistano, 6 de setembro de 1883, última coluna; Gazeta de Notícias, 5 de outubro de 1883, sexta coluna; A Federação, 24 de julho de 1884, terceira coluna).
+Gazeta de Porto Alegre, 27 de setembo de 1883
+Gazeta de Notícias, 5 de outubro de 1883
+ 
+A Federação (RS), 24 de julho de 1884
+ 
+Foi naturalizado brasileiro, em 29 de setembro de 1883. Em sua carta de naturalização, declarava-se católico apostólico romano, natural de Villa Lotta.
+1884 – Anunciou ter recebido dos Estados Unidos um novo aparelho, o Megapito, por meio do qual pode, com qualquer tempo, sem auxílio de luz solar, tirar retratos de tamanho natural (O Despertador, 12 de julho de 1884, primeira coluna).
+Anunciou ter recebido dos Estados Unidos um novo aparelho, o Megapito, por m
+ 
+O Despertador (SC), 12 de julho de 1884
+ 
+1885 –  Leiloou os móveis, livros e material fotográfico de sua moradia e ateliê, na Rua dos Andradas. Em 20 de março de 1885,  partiu de Porto Alegre com sua família, a bordo do Victoria. Foram para Pelotas (A Federação (RS), 24 de fevereiro de 1885, última coluna; e A Federação (RS), 27 de fevereiro de 1885, última coluna; A Federação (RS), 21 de março de 1885, segunda coluna; Correio Mercantil, 12 de agosto de 1885).
+ 
+A Federação (RS). 24 de fevereiro de 1885
+ 
+Escreveu um perfil do jovem Fausto Werner (1863 – 1927), futuro constituinte de 1892 e deputado estadual de Santa Catarina (O Estudante (SC), 1º de outubro de 1885).
+1887 - Em janeiro,voltou a Porto Alegre, na Rua de Bragança, onde passaria a oferecer retratos pelo sistema de phototypia (A Federação (RS), 4 de março de 1887, última coluna).
+Encarregava-se de ilustrações de livros e de jornais e fazia retratos sobre cristal – christalografia.
+1888  -Um de seus filhos tornou-se seu sócio no estúdio fotográfico, que se mudou da Rua Bragança, 198 para a Rua do General Câmara, nº 46.
+ 
+Folha da Tarde (RS), 1888
+ 
+Ofereciam retratos pelo sistema Megatipo.
+1889 – Terragno & Filho encerraram suas atividades no ateliê da Rua General Câmara, 46, que foi vendido ao fotógrafo Ciro José Pedrosa.
+1890 – Inventou uma máquina para conservar carnes (A Federação: órgão do Partido Republicano (RS), 18 de junho de 1890, segunda coluna).
+ 
+A Federação (RS), 18 de junho de 1890
+ 
+1891 – Faleceu em 16 de setembro de 1891, de angorpectorio (A Federação (RS), 19 de setembro de 1891, última coluna; Jornal do Commercio, 27 de setembro de 1891, última coluna).
+ 
+A Reforma, 22 de setembro de 1891
+ 
+1892 - Sua missa de um ano foi celebrada na Catedral de Porto Alegre (A Federação: órgão do Partido Republicano (RS), 13 de setembro de 1892, última coluna).
+ 
+A Federação(RS), 14 de setembro de 1892
+ 
+1997 - Fotografias de Terragno integraram a exposição A Coleção do Imperador: fotografia brasileira e estrangeira no século XIX, no Centro Cultural do Banco do Brasil, entre 29 de janeiro e 23 de março de 1997. Outros fotógrafos da mostra foram Albert Frisch (1840 – 1918), Albert Richard Dietze (1838 – 1906), Augusto Riedel (1836-?), Benjamin Robert Mulock (1829 – 1863), Felipe Augusto Fidanza (c. 1847 – 1903), Franz Keller-Leuzinger (1835 – 1890), Georges Leuzinger (1813 – 1892), Henrique Rosen (1840 – 1892), Hercule Florence (1804 – 1879), Jean Victor Frond (1821 – 1881), Joaquim Insley Pacheco (1830 – 1912), Louis Niemeyer (18? – ?), Marc Ferrez (1843 – 1923) e Revert Henrique Klumb (c. 1826 – c. 1886), dentre outros. A exposição seguiu para a Pinacoteca de São Paulo (20 de abril a 25 de maio de 1997. Em 4 de julho de 1997, foi aberta no Museo Nacional de Bellas Artes, de Buenos Aires, na Argentina, onde ficou em cartaz até o dia 31 do mesmo mês.
+2000 – Entre 8 de junho e 30 de julho, a exposição A Coleção do Imperador: fotografia brasileira e estrangeira no século XIX foi apresentada  no Centro Português de Fotografia, no Porto, em Portugal.
+2011 – Fotografias de Terragno foram expostas na mostra Retratos do Império e do Exílio, que ficou em cartaz, no Instituto Moreira Salles, no Rio de Janeiro, entre 22 de fevereiro e 29 de maio de 2011. Foi curada pelo fotógrafo dom João de Orleans e Bragança (1954-) e por Sérgio Burgi (1958 -), Coordenador de Fotografia do IMS e um dos curadores da Brasiliana Fotográfica. Outros fotógrafos da exposição foram  Albert Henschel (1827 – 1882), Joaquim Insley Pacheco (1830 – 1912), Nadar (1820 – 1910), Otto Hees (1870 – 1941) e Revert Henrique Klumb (c. 1826 – c. 1886).
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/3983` — `itens/20.500.12156.1_3983/`
+- `20.500.12156.1/3790` — `itens/20.500.12156.1_3790/`
+
diff --git a/wordpress/29336-a-inauguracao-da-rotunda-de-victor-meirelles-no-rio-de-janeiro-em-3-de-janeiro-d.md b/wordpress/29336-a-inauguracao-da-rotunda-de-victor-meirelles-no-rio-de-janeiro-em-3-de-janeiro-d.md
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+---
+id: 29336
+url: "https://brasilianafotografica.bn.gov.br/?p=29336"
+titulo: "A inauguração da rotunda de Victor Meirelles no Rio de Janeiro, em 3 de janeiro de 1891"
+autor: "Andrea Wanderley"
+data: "2023-01-03T10:42:42+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/5054", "20.500.12156.1/2575", "20.500.12156.1/4676", "20.500.12156.1/6256", "20.500.12156.1/6277", "20.500.12156.1/5263", "20.500.12156.1/5279"]
+fetched_at: "2026-09-10T10:11:52.466Z"
+---
+
+# A inauguração da rotunda de Victor Meirelles no Rio de Janeiro, em 3 de janeiro de 1891
+
+A Brasiliana Fotográfica destaca quatro imagens da rotunda na Praça XV onde Victor Meirelles (1832 – 1903) expôs, no Rio de Janeiro, dois panoramas ao longo da década de 1890. Expôs um terceiro panorama, em 1900, porém em outra rotunda. São dois registros do fotógrafo Juan Gutierrez (c. 1860 – 1897), um dos Editores & propriedade de Rodrigues & Co. e um de Marc Ferrez (1843 – 1923). Victor Meirelles é considerado um dos mais importantes pintores brasileiros do século XIX (Jornal do Commercio, 23 de fevereiro de 1903, na terceira coluna). São de sua autoria quadros icônicos da história das artes plásticas no Brasil como A Primeira Missa no Brasil (1861),  Moema (1866), Juramento de Princesa Isabel (1875), Passagem do Humaitá (1869) e A Batalha dos Guararapes (1879).
+ 
+Editores & propriedade de Rodrigues & Co. Rua do Ouvidor, 57. [Panorama do Rio de Janeiro a partir do Morro do Castelo], 1890 – 1900 . Rio de Janeiro, RJ / Acervo Arquivo Nacional
+Um pouco sobre os fotógrafos que registraram a rotunda da Praça XV
+O espanhol Juan Gutierrez de Padilla nasceu, provavelmente, nas Antilhas, em torno de 1860, e foi um dos mais importantes fotógrafos paisagistas do século XIX, um dos maiores cronistas visuais do Rio de Janeiro, tendo registrado a transição da cidade imperial para a cidade republicana. Entre 1892 e 1896, a maior parte de suas fotografias foi de paisagens cariocas, que eram vendidas para estrangeiros que visitavam a cidade. Também registrou a a Revolta da Armada ( 1893 – 1894), tornando-se um dos pioneiros da fotografia dos conflitos armados no Brasil. Partiu para Canudos, em 1897, onde, em 28 de junho, foi mortalmente ferido. Sua trágica morte o tornou, talvez, o primeiro repórter fotográfico morto durante um trabalho de campo, no Brasil, apesar de, até hoje, não se conhecer nenhum registro fotográfico que ele tenha feito do conflito.
+ 
+Desenho retratando Juan Gutierrez publicado no jornal O Paiz, de 14 de julho de 1897, com um artigo de Luiz Murat
+ 
+O carioca Marc Ferrez (1843 – 1923) foi um brilhante cronista visual das paisagens e dos costumes cariocas da segunda metade do século XIX e do início do século XX. Sua vasta e abrangente obra iconográfica se equipara a dos maiores nomes da fotografia do mundo. Estabeleceu-se como fotógrafo com a firma Marc Ferrez & Cia, em 1867, na rua São José, nº 96, e logo se tornou o mais importante profissional da área no Rio de Janeiro. Cerca de metade da produção fotográfica de Ferrez foi realizada na cidade e em seus arredores, onde registrou, além do patrimônio construído, a exuberância das paisagens naturais.
+ 
+Marc Ferrez aos 33 anos de idade, c. 1876 / Acervo IMS
+ 
+A empresa Rodrigues & Co., estabelecida, em 1890, na rua dos Ourives, nº57,  produziu coleções significativas sobre o Rio de Janeiro, tendo realizado várias fotografias estereoscópicas.
+ 
+Acessando o link para as fotografias da rotunda de Victor Meirelles disponíveis na Brasiliana Fotográfica, o leitor poderá visualizar e magnificar as imagens.
+ 
+Os Panoramas e Victor Meirelles
+ 
+Marc Ferrez. Vista da praça XV de Novembro tomada do morro do Castelo, à direita, a Igreja de São José, c. 1895. Rio de Janeiro, RJ / Acervo IMS À esquerda da igreja, vê-se a Rotunda de Victor Meirelles
+ 
+Foi Victor Meirelles que introduziu no Brasil o panorama, uma das primeiras formas de difusão, para multidões, de entretenimento ligado à cultura. Havia sido inventado no final do século XVIII pelo pintor irlandês Robert Barker (1739 – 1806), que o patenteou em 19 de junho de 1787. Inicialmente, chamava-se la nature a coup d´oeil ou a natureza num golpe de vista. Foi Barker que cunhou a palavra panorama: do grego pan (“tudo”) horama (“vista”), para descrever suas pinturas.
+ 
+A primeira rotunda de Robert Barker / O Panorama: da representação pictórico-espaciais às experiências digitais, pág. 8, de Thomaz Leitão de Souza.
+ 
+“O cerne do espetáculo consistia nos efeitos ópticos provocados pela luz natural (ou artificial, conforme o caso), que atravessava a tela. As linhas de delimitação superior e inferior,na junção da tela com o edifício, eram mascaradas para dar a ilusão de uma paisagem real. Este era o objetivo. A confusão entre ilusão e realidade é a base do espetáculo…”
+Heloisa Barbuy (1994)
+ 
+Os panoramas ofereciam, para além da apreciação de uma pintura, uma nova experimentação espacial, uma fruição plástica numa espécie de imersão do observador. Era, segundo Eliane Considera, um novo meio de se representação da realidade, que utilizava uma nova visualidade. O gênero fez sucesso até 1830, saiu de moda, e foi mantido, principalmente pelo trabalho de Jean-Charles Langlois (1789 – 1870), um ex-combatente e pintor que retratava cenas de batalhas
+ 
+Jean-Charles Langlois (1789 – 1870)
+ 
+Os panoramas voltaram a ter popularidade, a partir da década de 1880, principalmente na França, tendo-se espalhado por países europeus como a Alemanha e a Bélgica. O sucesso culminou na Exposição Universal em 1889, em Paris, quando foram grandes atrações. As exposições universais – a primeira foi realizada em Londres, em 1851 -, eram eventos disseminadores da modernidade, dos avanços da indústria, do comércio e do cosmopolitismo.
+Os temas mais recorrentes dos panoramas eram batalhas, paisagens urbanas e temas religiosos. As rotundas foram especialmente projetadas para abrigá-los. Tinham uma arquitetura de interior redondo que possibilitava um tipo de observação onde o espectador podia se movimentar em várias direções, olhando do alto, a partir de um ponto central. O observador instalava-se no interior da pintura, ficando imerso na obra. Segundo o historiador Mario Cesar Coelho: Pintura e arquitetura faziam parte de um conjunto que associava ainda fotografia, figuras de cera e uma economia voltada para o entretenimento do público cada vez mais numeroso das grandes cidades. Porém, devido à invenção do cinema, o panorama entrou em decadência, em fins do século XIX, perdendo tanto o seu apelo comercial como sua atração como espetáculo.
+ 
+Fonte: Os Panoramas perdidos de Victor Meirelles: aventuras de um pintor acadêmico nos caminhos da modernidade, de Mario Cesar Coelho, página 30
+ 
+“O espectador é como um convidado a fruir, com seu olhar, essa variedade de sensações e passagens. Com sua técnica que tende a uma sensibilidade impressionista, Victor Meirelles pretendeu contestar o realismo visual da crescente fotografia”.
+Anna Maria Fausto Monteiro de Carvalho em O panorama no Brasil
+ 
+“…as imagens são mais vivas que no cinema, porque elas permitem ao olhar o repouso que (ela) tem na reaidade. O cinema empresta aos objetos que ele mostra a inquietude de seu movimento, a imobilidade do olhar me parece mais importante.”
+Franz Kafka (1883 – 1924), escritor tcheco, sobre o Kaiserpanorama,
+um meio de entretenimento estereoscópico,em Journal d´un Voyage a Friedland et Reichenberg (jan/fev 1911)
+ 
+Foi construída no centro do Rio de Janeiro, no antigo Largo do Paço Imperial, Praça XV de Novembro, perto do cais do porto, uma rotunda para a exibição dos panoramas de Victor Meirelles, com 36,66 metros de diâmetro, uma tela de de 115 metros de comprimento e 14,5 metros de altura.
+ 
+Mapa do Rio de Janeiro com a localização da rotunda na Praça XV, 1896 / Arquivo Geral da Cidade do Rio de Janeiro
+ 
+Foi aberta à imprensa, em 2 de janeiro, e inaugurada para o público, com a presença do presidente Deodoro da Fonseca (1827 – 1892), em 3 de janeiro de 1891, com a exibição do Panorama do Rio de Janeiro e, no primeiro ano, foi visitada por cerca de 80 mil pessoas, o que correspondia, aproximadamente, a 17 por cento da população carioca na época (Novidades, 3 de janeiro de 1891, penúltima coluna; Diário do Commercio, 4 de janeiro de 1891, segunda coluna; Gazeta de Notícias, 5 de janeiro de 1891, quarta coluna).
+ 
+Juan Gutierrez. Cais Pharoux e Mercado da Praia do Peixe, 189?. Rio de Janeiro, RJ / Acervo Museu Histórico Nacional
+ 
+Posteriormente, foram mostrados, no Rio de Janeiro, mais dois panoramas de autoria de Meirelles: em 1896, o Panorama da Entrada da Esquadra Legal na Revolta da Armada: Ruínas da Fortaleza de Villegaignon; e, em 1900, o Panorama do Descobrimento do Brasil. Este último foi exibido em outra rotunda, na Rua de Santa Luzia, nº 60, já que a Municipalidade da cidade ordenou que a rotunda original fosse retirada da Praça XV, em 1898 (Gazeta de Notícias, 19 de agosto de 1898, sexta coluna; e 12 de junho de 1900, última coluna).
+ 
+Juan Gutierrez. Panorama do centro da cidade, 189? . Rio de Janeiro, rJ / Acervo Museu Histórico Nacional
+ 
+
+O Panorama do Rio de Janeiro (1888 – 1896)
+Victor Meirelles e Henri Langerock
+
+Victor Meirelles conheceu o pintor belga Henri Charles Langerock (1830 – 1915) durante uma exposição do artista estrangeiro, no Rio de Janeiro, em 1885.
+ 
+Gazeta de Notícias, 5 de maio de 1885
+ 
+Em abril, foi noticiada a chegada de Langerock à cidade e também a exposição de dois quadros de sua autoria, O jogo de bola e A Pesca ou A Pescaria, na Casa Martins. Em junho, a exposição de três vistas da Europa e três do Rio de Janeiro realizadas pelo belga, na Academia Imperial de Belas Artes, foi visitada por Dom Pedro II (1825 – 1891). Pouco depois, na Glace Elegant, Langerock expôs dois quadros retratando os príncipes filhos da Princesa Isabel (1846 – 1921) e do Conde d´Eu (1842 – 1922), feitos a partir de fotografias de Marc Ferrez (1843 – 1923). Em 1886, deu aulas de pinturas, desenhos e aquarelas, na rua do Passeio, nº 36 (Gazeta de Notícias, 29 de abril de 1885, última coluna; Gazeta de Notícias, 5 de maio de 1885, segunda coluna; Jornal do Commercio, 20 de junho de 1885, última coluna; Jornal do Commercio, 24 de junho de 1885, quinta coluna; O Paiz, 4 de agosto de 1885, quarta coluna; Jornal do Commercio, 20 de agosto de 1885, primeira coluna; Jornal do Commercio, 19 de fevereiro de 1886, última coluna).
+Os estudos iniciais do Panorama do Rio de Janeiro foram feitos por Meirelles, entre 1885 e 1886 com a colaboração de Langerock, que se encantou com a natureza carioca. Dom Pedro II (1825 – 1891) chegou a apreciar os referidos estudos durante uma exposição no ateliê de Meirelles, na Rua do Sacramento.
+ 
+“Isto é o paraíso dos paisagistas”
+Henri Langerock, 1885
+Artigo do pintor e jornalista Joaquim José de França Júnior (1838 – 1890)
+O Paiz, 27 de julho de 1885, sexta coluna
+ 
+Victor Meirelles. Estudo para Panorama do Rio de Janeiro: Entrada da Barra , c. 1885 / Acervo Museu Nacional de Belas Artes
+ 
+Segundo Meirelles:“A vista foi tirada do morro de Santo Antônio…A cidade e a baía são representadas no panorama à hora do crepúsculo, o sol poente, em uma tarde do mês de Julho…”. 
+Fundaram a empresa Meirelles & Langerock, a Empreza do Panorama da Cidade do Rio de Janeiro, estabelecida, em torno de junho de 1886. Em 15 de junho de 1886, Meirelles encaminhou à Junta Comercial da Corte do Rio de Janeiro um documento para fundá-la com o objetivo de angariar fundos para a realização do Panorama da Cidade do Rio de Janeiro(Revista Illustrada, 11 de abril de 1885, primeira coluna; e 17 de outubro de 1885, primeira coluna; Jornal do Commercio, 20 de junho de 1885, última coluna; Jornal do Commercio, 24 de junho de 1885, quinta coluna; O Paiz, 21 de junho de 1885, quinta coluna; O Paiz, 4 de julho de 1886, antepenúltima coluna; Jornal do Commercio, 10 de julho de 1886, quinta coluna).
+ 
+O Paiz, 25 de setembro de 1886
+ 
+Langerock voltou para a Europa com sua mulher e dois filhos, em 6 de outubro de 1886, no paquete francês Gironde (Jornal do Commercio, 6 outubro de 1886, última coluna). Meirelles partiu para a Europa, em 24 de dezembro de 1886, um dia após seu casamento com Rosália Cândida Ferreira França (? – 1903) (Jornal do Commercio, 24 de dezembro de 1886, penúltima coluna; Diário de Notícias, 24 de dezembro de 1886, primeira coluna).
+ 
+Diário de Notícias, 25 de dezembro de 1886
+ 
+O Panorama do Rio de Janeiro na Bélgica e na França (1888 – 1889)
+Meirelles e Langerock executaram a pintura do panorama, provavelmente, entre 1887 e 1888, no ateliê do belga, em Ostende, na Bélgica. Tentaram expô-lo em Londres e Victor Meirelles tinha, inclusive, o dia 2 de dezembro de 1887 como possível data de inauguração do panorama na Inglaterra, mas não havia rotundas disponíveis na ocasião (Jornal do Commercio, 26 de julho de 1887, terceira coluna).
+Segundo uma Notícia explicativa, de março de 1888, que está na Biblioteca de Bruxelas, sobre o Panorama do Rio de Janeiro:
+O Panorama é obra de dois artistas; o lado oriental é pintado pelo Sr, Langerock; o lado ocidental é pintado pelo Sr. Meirelles, a partir da grande palmeira até o aqueduto. 
+ 
+Jornal do Commercio, 26 de julho de 1887
+ 
+O Panorama do Rio de Janeiro foi exibido em Bruxelas, entre abril e outubro de 1888, com uma visitação de aproximadamente 50 mil pessoas em uma rotunda localizada no antigo Boulevard du Hainault, atual Boulevard Lemmonier, no edifício da Sociedade Internacional dos Panoramas. Na inauguração, contou com a presença dos reis da Bélgica, Leopoldo II (1835 – 1909) e Maria Henriqueta Ana da Áustria (1836 – 1902).
+ 
+Gazeta de Notícias, 14 de abril de 1888
+ 
+O panorama “pode ser um grande elemento de propaganda em favor do Brasil, mais proveitoso do que os dinheiros que o governo imperial despende auxiliando agentes mais ou menos ostensivos, tendo quase sempre mais em vista os sentimentos filantrópicos dos seus ministros, do que os interesses nacionais” (Gazeta de Notícias, 14 de abril de 1888, sexta coluna; Jornal do Commercio, 26 de abril de 1888, última coluna).
+ 
+Gazeta de Notícias, 15 de junho de 1888
+ 
+Jornal do Commercio, 26 de abril de 1888
+ 
+O Panorama do Rio de Janeiro, após sua exibição na capital belga, seguiu para Paris, ficou depositado em uma contrução na Avenue de la Motte-Picquet e foi inaugurad0, em 14 de março de 1889, na Avenida Suffren, nº 80, próxima ao Campo de Marte, em frente ao Palácio de Máquinas. A data foi escolhida em homenagem ao aniversário da imperatriz Teresa Cristina (1822 – 1889). O panorama integrou a Exposição Universal de 1889, realizada entre 5 de maio e 31 de outubro de 1889. Nesta ocasião, Meirelles já havia desfeito sua sociedade com Langerock na Empresa Meirelles & Langerock. Segundo o pintor brasileiro, o belga queria receber mais do que havia sido especificado no contrato (Jornal do Commercio, 15 de março de 1889, terceira coluna).
+ 
+A seta aponta para a rotunda onde o Panorama do Rio de Janeiro foi exposto em Paris, em 1889 / Fonte: Mario Cesar Coelho
+ 
+Nos primeiros meses, a exposição do Panorama do Rio de Janeiro atingiu uma média de 200 a 500 pessoas por dia, mas, após a abertura oficial da Exposição Universal, a média de frequentadores caiu para cerca de 50 a 60 pessoas por dia. Lembramos que a rotunda onde era exibido o Panorama do Rio de Janeiro ficava perto, mas não dentro do espaço da exposição, fato que provavelmente prejudicou sua visitação.
+ 
+
+                                                     Jornal do Commercio, 14 de abril de 1889
+ 
+A Exposição Universal de 1889 foi realizada em uma superfície de 96 hectares envolvendo as regiões da Esplanada dos Inválidos e do Trocadero, além do Campo de Marte. Trinta e cinco países participaram da festa do progresso, que reuniu 61.722 expositores, atraindo aproximadamente 32 milhões de visitantes. Outros panoramas foram exibidos no evento, dentre eles o Panorama Transatlantique, do francês Théophile Poilpot (1848 – 1915), onde os visitantes eram recebidos por atores fantasiados de tripulantes de um navio; o Panorama a História do Século, do belga Alfred Stevens (1823 – 1906) e do francês Henri Gerveux (1852 – 1929), que narrava um século da história da França a partir da Revolução Francesa de 1789, o mais visitado da exposição; e o Panorama de Tout Paris, do belga Charles Castellani (1838 – 1913).
+Pelo Panorama do Rio de Janeiro, Meirelles e Langerock conquistaram a Medalha de Ouro na Exposição Universal de 1889.
+ 
+Fonte: Os Panoramas perdidos de Victor Meirelles: aventuras de um pintor acadêmico nos caminhos da modernidade, de Mario Cesar Coelho, página 118
+ 
+O jornalista, escritor e diplomata Domício da Gama (1862 – 1925) publicou um artigo sobre a exibição do Panorama do Rio de Janeiro na capital francesa (Gazeta de Notícias, 19 de abril de 1889, penúltima coluna).
+Tanto na Bélgica como na França o Panorama do Rio de Janeiro fez sucesso: era como se um pedaço da cidade, celebrada por sua beleza, estivesse ao alcance daqueles que o visitassem.
+Foi também na exposição universal de 1889 que foi apresentado o Album de vues du Brésil, considerada a última peça para a promoção do Brasil imperial, representando um resumo iconográfico do país e de suas riquezas. Foi um dos livros que inaugurou a ilustração fotográfica do Brasil e é considerado por muitos uma espécie de balanço final do período imperial. Nas palavras do Barão do Rio Branco (1845 – 1912), responsável pela publicação, o álbum pretendia mostrar a fisionomia atual das principais cidades do Brasil e seus arredores. Sob esse aspecto, a presente coleção é a mais completa publicada até hoje. Trazia fotografias produzidas por Augusto Riedel (1836 -?), Joaquim Insley Pacheco (1830 – 1912), Marc Ferrez (1843 – 1923) e Rodolpho Lindemann (c. 1852 – 19?), dentre outros. A Primeira Missa no Brasil, de Meirelles, integrava a obra. Fazia parte da segunda edição de Le Brésil, extrato da Grande Enciclopédia, trabalho dirigido pelo geógrafo Émile Levasseur  (1828-1911), para o qual o Rio Branco havia colaborado (Jornal do Commercio, 17 de março de 1889, segunda coluna; Gazeta de Notícias, 19 de março de 1889, quinta coluna; Jornal do Commercio, 22 de novembro de 1889, antepenúltima coluna).
+Os fotógrafos brasileiros ou que atuavam no Brasil Albert Richard Dietze (1838 – 1906), Alfredo Ducasble (18? – 19?), Felipe Augusto Fidanza (c. 1847 – 1903), Marc Ferrez (1843 – 1923), Rodolpho Lindemann (c. 1852 – ?), Nicholson & Ferreira (18? -?), José Thomaz Sabino (18? -?), Joaquim Insley Pacheco (1830 – 1912) e José Ferreira Guimarães (1841 – 1924) participaram da Exposição de 1889. Ducasble foi premiado com uma Medalha de Prata; Ferrez e Fidanza, com medalhas de bronze. Georges Leuzinger (1813 – 1892) esteve presente com impressos e livros e Paulo Robin & Cia com gravuras e litogravuras.
+ 
+ O Panorama no Rio de Janeiro (1890 – 1896)
+Victor Meirelles retornou ao Brasil com sua mulher, em 22 de agosto de 1889, no vapor francês Ville de Pernambuco (Gazeta de Notícias, 23 de agosto de 1889, última coluna) e em 10 de outubro requereu à prefeitura do Rio de Janeiro autorização para contruir uma rotunda. Voltou à Europa, em novembro, de onde viria com o Panorama do Rio de Janeiro (Gazeta de Noticias, 10 de novembro de 1889, terceira coluna; Novidades, 21 de março de 1890, terceira coluna).
+Em 1890, foi jubilado de seu cargo de pintor de paisagens da antiga Academia Imperial de Belas Artes, que, com a proclamação da República, passou a se chamar Escola Nacional de Belas Artes. Na época estava sob a direção do escultor Rodolfo Bernardelli (1852 – 1931). Meirelles era muito identificado com o Império tanto por suas bolsas de estudos e viagens assim como por encomendas feitas a ele pelo antigo regime.
+O Panorama do Rio de Janeiro ficou depositado no Arsenal de Guerra, onde sofreu avarias, tendo que ser novamente pintada nos pontos onde havia se deteriorado (O Paiz, 4 de setembro de 1890, quarta coluna).
+ 
+Novidades, 21 de março de 1890
+ 
+A rotunda da Praça XV foi inaugurada com o Panorama do Rio de Janeiro, em 3 de janeiro de 1891. Foi exibido até 1896 (Gazeta de Notícias, 5 de janeiro de 1896, terceira coluna).
+ 
+Jornal do Commercio, 26 de fevereiro de 1891
+ 
+A rotunda de Victor Meirelles no antigo Largo do Paço, c. 1895 / Detalhe de foto de autoria de Marc Ferrez / Acervo IMS
+ 
+Nele a exuberância da paisagem urbana do Rio de Janeiro era devolvida para seus habitantes como num espelho, porém sem os  problemas da cidade como as condições precárias de habitação, saúde e saneamento. O panorama propiciava ao espectador um passeio por um Rio de Janeiro bonito e civilizado, flanando seu olhar, por exemplo, pelo Pão de Açúcar, pela Baía de Guanabara, pela Candelária, pelo Teatro São Pedro de Alcântara, pelo Real Gabinete Português de Leitura e também pela Tijuca (Gazeta de Notícias, 5 de janeiro de 1891; Diário do Commercio, 17 de maio de 1891, última coluna).
+ 
+
+ 
+
+ Gazeta de Notícias, 5 de janeiro de 1891
+ 
+A popularidade da rotunda e de seu panorama era tão grande que nela foi ambientada a peça do importante dramaturgo Arthur Azevedo (1855 – 1908), O Tribofe, que estreou no Theatro Appolo, em 16 de junho de 1892 (O Paiz, 16 de junho de 1892, última coluna). Sob o pseudônimo de Elói, o herói, Arthur Azevedo deixou claro ser um entusiasta da realização do Panorama do Rio de Janeiro em um artigo publicado na Gazeta de Notícias, do dia 23 de outubro de 1885.
+ 
+O Paiz, 16 de junho de 1892
+ 
+ATO PRIMEIRO 
+QUADRO PRIMEIRO 
+O interior da rotunda em que se acha o panorama do Rio de Janeiro, na Praça 15 de Novembro. No centro, um duplo alçapão por onde os visitantes entram e saem. Um álbum, folhetos e binóculos. Cadeiras.
+ CENA PRIMEIRA 
+O Comendador, Eusébio, Dona Fortunata, Quinota, Benvinda, Juca, 1º visitante, 2º visitante, visitantes. 
+(Uns apreciam o panorama, outros conversam, outros escrevem as suas impressões no álbum dos visitantes. Cena muito animada.)
+ CORO
+ Oh! que belo panorama!
+Que trabalho! que primor!
+Ganhará dinheiro e fama
+O senhor comendador!
+Comendador
+Venham ver uma obra-prima
+Que louvores mil desperta!
+Ninguém dela se aproxima
+Sem ficar de boca aberta!
+ CORO
+ Vejam, vejam como é bela!
+Desde França, está provado
+Que defronte desta tela
+Fica tudo estatelado!
+ 
+Victor Meirelles franqueou a entrada de alunos de escolas municipais ao Panorama do Rio de Janeiro e reverteu a renda de dois dias de sua visitação para os familiares das vítimas do naugrágio do Solimões (Diário do Commercio, 31 de maio de 1892, quarta coluna).
+O maestro Electo Tavares (? – 1892) compôs a valsa Panorama do Rio de Janeiro, provavelmente em homenagem à obra de Meirelles. (O Paiz, 16 de fevereiro de 1894, segunda coluna).
+Sobre o Panorama do Rio de Janeiro:
+ 
+Novidades, 27 de dezembro de 1890
+ 
+Do Panorama do Rio de Janeiro existem somente seis estudos originais e eles representam seis pontos de vistas diferentes do Morro de Santo Antônio.
+Uma curiosidade: o Panorama do Rio de Janeiro de Victor Meirelles foi o terceiro de quatro panoramas cujo tema era a paisagem carioca. Em 1824, o primeiro foi exibido numa rotunda de Pierre Prévost (1764 – 1823), em Paris, realizado a partir de um desenho original de Félix Émile Taunay (1795 – 1881) (O Spectador Brasileiro, 23 de agosto de 1824, primeira coluna; e 29 de outubro de 1824, primeira coluna).
+ 
+Fonte: Os Panoramas perdidos de Victor Meirelles: aventuras de um pintor acadêmico nos caminhos da modernidade, de Mario Cesar Coelho, página 34
+ 
+As duas rotundas de Prévosta na Boulevard Montmartre, em Paris / O Panorama: da representação pictórico-espaciais às experiências digitais, pág. 10, de Thomaz Leitão de Souza.
+ 
+Em 1828, o segundo, chamado Panorama da Cidade de São Sebastião e a baía do Rio de Janeiro, do pintor inglês Robert Burford (1791 – 1861), foi apresentado em Leicester Square, em Londres, na dupla rotunda do já mencionado pintor irlandês Robert Barker (1739 – 1806). A Leicester Square Panorama foi a primeira construção com o objetivo de ser um panorama – foi inaugurada em 14 de maio de 1793  e exibiu, até seu encerramento, em 1864, 126 panoramas.
+ 
+Description of a view of the city of St. Sebastian, and the Bay of Rio Janeiro: now exhibiting in the Panorama, Leicester-Square; painted by the proprietor, Robert Burford, from drawings taken in the year 1823, London, Printed by J. and C. Adlard, 1828. Evening Mail. June 25th, 1827
+ 
+ 
+Dupla rotunda de Barker, em Londres / O Panorama: da representação pictórico-espaciais às experiências digitais, pág. 10, de Thomaz Leitão de Souza.
+ 
+O quarto, denominado Panorama da cidade e baía do Rio de Janeiro em 1910, de autoria do pintor francês Louis Jules Dumoulin (1860 – 1924), foi apresentado na Exposição Universal de Bruxelas, que ocorreu entre 23 de abril e 1º de novembro de 1910.
+ 
+Rotunda onde o Panorama da cidade e baía do Rio de Janeiro em 1910, de autoria do pintor francês Louis Jules Dumoulin foi exibido na Exposição Universal de Bruxelas de 1910 / Revista da Semana, 14 de agosto de 1910
+ 
+Panorama da Entrada da Esquadra Legal na Revolta da Armada: Ruínas da Fortaleza de Villegaignon ou Panorama da Revolta da Armada (1896 – 1898)
+ 
+Rotunda de Victor Meirelles no antigo Largo do Paço / Detalhe de foto de autoria de Juan Gutierrez, 189? / Acervo Museu Histórico Nacional
+ 
+No segundo panorama de Victor Meirelles exibido na rotunda carioca da Praça XV, o pintor retratou a Revolta da Armada, ocorrida entre 1892 e 1895, mais especificamente o episódio da entrada das Forças Legais na Baía de Guanabara, em 23 de junho de 1894. Registrava-se, então, um evento contemporâneo, ocorrido já durante a vigência da então jovem República brasileira.
+ 
+Victor Meirelles. Estudo para o Panorama da entrada da esquadra legal na Revolta da Armada: ruínas da Fortaleza de Villegaignon, Rio de Janeiro, 1895
+ 
+
+O Paiz, 21 de setembro de 1896
+ 
+O  Panorama da Entrada das Forças Legais na Revolta da Armada: ruínas da Fortaleza de Villegaignon foi inaugurado em 20 de setembro de 1896 (Jornal do Commercio, 17 de setembro de 1896, quinta coluna; O Paiz, 21 de setembro de 1896, primeira coluna). 
+ 
+Jornal do Commercio, 28 de novembro de 1896
+ 
+Note-se a semelhança de um dos estudos para a realização do panorama e de uma fotografia de autoria de Juan Gutierrez, evidenciando o uso de fotos para atingir-se o realismo nos panoramas. A fotografia era, de fato, um recurso explícito na elaboração dos panoramas.
+ 
+Victor Meirelles. Estudo para o Parnorama da Entrada a Esquadra Legal, c. 1894/1895
+ 
+Juan Gutierrez. Revolta da Armada – Ruínas de Villegaignon, c. 1893. Rio de Janeiro, RJ / Acervo IMS
+ 
+Este segundo panorama de Victor Meirelles ficou em exposição até 12 de setembro de 1898. Ele tentou que a obra fosse exibida na Exposição Universal de 1900, mas não teve sucesso.
+ 
+Gazeta de Notícias, 19 de agosto de 1898
+ 
+O Panorama do Descobrimento do Brasil (1900- 1902)
+ 
+O decreto nº 646, de 12 de dezembro de 1898 assinado pelo presidente do Conselho Municipal do Rio de Janeiro isentou de impostos o panorama que representaria a Descoberta do Brasil que integraria as comemorações do 4º centenário do evento histórico.
+ 
+Jornal do Commercio, 13 de dezembro de 1898
+ 
+A inspiração para o Panorama do Descobrimento do Brasil foi o quadro A Primeira Missa no Brasil, realizado por Meirelles em 1861, e considerado sua obra-prima.
+ 
+A Primeira Missa do Brasil (1861), óleo de Victor Meirelles / Acervo do Museu Nacional de Belas Artes
+ 
+Na coluna “Folhetim do Cruzeiro Notas Semanais”, Machado de Assis comentou sobre o quadro A Primeira Missa do Brasil (O Cruzeiro, 18 de agosto de 1878).
+ 
+O Cruzeiro, 18 de agosto de 1878
+ 
+ 
+A celebração religiosa fica no centro do panorama e a faixa de areia é cercada por mar dos dois lados. Assim como no quadro que inspirou o panorama, os índios aparecem contemplando a celebração como se aprovassem a integração entre os portugueses e os habitantes originais do Brasil. Meirelles relaciona, desta forma, a descoberta do Brasil a um ato religioso.
+ 
+Estudo para o Panorama do Descobrimento do Brasil, 1893. Museu Nacional de Belas Artes
+ 
+Estudo para o Panorama do Descobrimento do Brasil, 1893. Museu Nacional de Belas Artes
+ 
+Gazeta de Notícias, 17 de junho de 1900
+ 
+Foto da fachada de entrada para o Panorama do Descobrimento do Brasil / Fonte: Os Panoramas perdidos de Victor Meirelles: aventuras de um pintor acadêmico nos caminhos da modernidade, de Mario Cesar Coelho
+ 
+Com a presença do presidente Campos Salles (1841 – 1913), o Panorama do Descobrimento do Brasil foi inaugurado, em 11 de junho de 1900, dentro das comemorações do IV Centenário do Descobrimento do Brasil, em uma nova rotunda, também no centro da cidade, na Rua Santa Luzia, nº 60, perto do Morro do Castelo, com os fundos para o Convento do Carmo (Gazeta de Notícias, 12 de junho de 1900, última coluna). Lembramos que a Municipalidade havia ordenado, em 1898, a demolição da rotunda da Praça XV (Gazeta de Notícias, 19 de agosto de 1898, sexta coluna).
+ 
+
+ 
+Gazeta de Notícias, 12 de junho de 1900
+ 
+Este último panorama de Victor Meirelles ficou exposto até 4 de maio de 1902, sem obter muito sucesso como evidencia o artigo Abandonado!, de Carlos Nunes, que se referia tanto à pouca frenquência de visitantes ao panorama como à situação do pintor (Cidade do Rio, 8 de outubto de 1900; Jornal do Brasil, 4 de maio de 1902, sexta coluna).
+O Congresso Nacional concedeu ao artista 50 mil réis como auxílio a seu trabalho do Panorama do Descobrimento do Brasil (Jornal do Brasil, 7 de outubro de 1902, segunda coluna).
+ 
+Jornal do Brasil, 7 de outubro de 1902
+ 
+Meirelles doou os três panoramas ao governo, em 1902, com a promessa de que seriam eventualmente reexibidos, porém eles foram vistos, em 1910, pela última vez, abandonados no pátio do Museu Nacional, na Quinta da Boavista. Duarte Homem de Mattos pediu para expô-los por um período de cinco anos mas teve seu pedido indeferido pelo ministro do Interior (Jornal do Brasil, 18 de julho de 1902, terceira coluna; O Paiz, 24 de julho de 1910, quarta coluna).
+Há algumas cartas trocadas entre 26 de março e 31 de outubro de 1910 entre os diretores da Escola de Belas Artes e do Museu Nacional, o restaurador João José da Silva, o inspetor sanitário Luna Freire, Rodolpho Miranda, do Ministério da Agricultura, Indústria e Comércio; e Esmeraldino Olympio de Tores Bandeira, ministro da Justiça e Negócios Interiores; em que por acaso os panoramas voltaram a ser assunto porque durante as obras de embelezamento e reforma do Palácio e dos Jardins da Quinta da Boa Vista foram encontrados encaixotados e em péssimo estado. Atrapalhavam as obras!
+Segundo o pintor Manoel Santiago (1897 – 1987), apodreceram nos porões da Escola de Belas Artes (A Nação, 27 de agosto de 1933, quarta coluna). Não se sabe ao certo o que aconteceu aos panoramas, mas o fato é que foram perdidos (A Noticia (RJ), 29 e 30 de outubro de 1912, segunda coluna).
+Victor Meirelles faleceu, em 22 de fevereiro de 1903, num domingo de carnaval. Morreu na miséria, esquecido e marginalizado pela arte oficial. Foi um fim indigno para um dos maiores pintores brasileiros de todos os tempos (Jornal do Commercio, 23 de fevereiro, terceira coluna).
+ 
+O Paiz, 24 de fevereiro de 1903
+ 
+Victor Meirelles e a fotografia
+ 
+O Malho, 28 de fevereiro de 1903
+ 
+‘A descoberta da fotografia, importante auxiliar das artes e ciências, e que há mais de meio século preocupava o espírito de doutos tornando-se objeto de estudo de alguns sábios da Inglaterra e da França, só nesses últimos tempos atingiu ao grande aperfeiçoamento que apresenta e que bem pouco deixa a desejar’.
+Foi com essas palavras que o pintor Victor Meirelles iniciou o capítulo “Fotografia”, que constou no Relatório sobre a II Exposição Nacional de 1866, realizada no Palácio da Moeda do Rio de Janeiro entre 19 de outubro e 16 de dezembro de 1866. Segundo o professor Tadeu Chiarelli, com esse texto, o pintor traçou …aquela que talvez seja a primeira história da fotografia escrita no Brasil (talvez a primeira em língua portuguesa)…
+Victor Meirelles, jurado da seção “Fotografia”, da referida exposição, deixou claro seu amplo conhecimento sobre o assunto, desde sua história até as peculiaridades dos processos fotográficos já desenvolvidos. Mostrou-se também entusiasmado com as aplicações da fotografia. Seu julgamento das obras expostas expressava rigor crítico e admiração. Usou em sua avaliação valores e parâmetros que eram, tradicionalmente, utilizados na crítica de pinturas como, por exemplo, os efeitos de luz e a nitidez das imagens. Com sua apreciação, Meirelles incentivou o diálogo entre a fotografia e a pintura.
+ 
+Assista aqui Os Panoramas perdidos de Victor Meirelles – Por Mário César Coelho, programa realizado pelo Panorama Escola de Artes, em 26 de abril de 2022.
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+BARBUY, Heloisa. O Brasil vai a Paris em 1889: um lugar na Exposição Universal.
+BURGI, Sérgio; KOVENSKY, Julia; MARTINS, Carlos. Panoramas – A paisagem brasileira no acervo do Instituto Moreira Salles. IMS, 2012.
+CARVALHO, Anna Maria Fausto Monteiro de. O panorama no Brasil in O Brasil Redescoberto. Curador geral Carlos Martins. Rio de Janeiro : Paço Imperial / Minc IPHAN, 1999. Catálogo da exposição.
+CHIARELLI, Tadeu. Para ter algum merecimento: Victor Meirelles e a fotografia. Boletim (USP. Grupo de Estudos do Centro de Pesquisas em Arte & Fotografia do Departamento de Artes Plásticas), v. 1, p 14-23.
+COELHO, Mario Cesar. Os Panoramas perdidos de Victor Meirelles: aventuras de um pintor acadêmico nos caminhos da modernidade. Tese (doutorado) – Universidade Federal de Santa Catarina, Centro de Filosofia e Ciências Humanas. Programa de Pós-Graduação em História, 2007.
+COMMENT, Bernard. The Panorama. Londres : Reaktion Books, 2002.
+CONSIDERA, Eliane. Uma modernidade bem-comportada: O panorama da baía e da cidade do Rio de Janeiro de Vitor Meireles e Langerock in I Colóquio Internacional de História da Arte. Paisagem e arte a invenção da natureza, a evolução do olhar. Coordenação e edição Heliana Angotti Slagueiro. São Paulo: H. Angotti Salgueiro, 2000.
+DALTO, João José de Maracajá. Um estranho prédio redondo em pleno Largo do Paço. Universidade do Estado de Santa Catarina.
+Description of a view of the city of St. Sebastian, and the Bay of Rio Janeiro: now exhibiting in the Panorama, Leicester-Square; painted by the proprietor, Robert Burford, from drawings taken in the year 1823, London, Printed by J. and C. Adlard, 1828. 
+
+FRANZ, Teresinha Sueli. Victor Meirelles: Biografia e legado artístico. Florianópolis: Caminho de Dentro, 2014.
+
+GRAU, Oliver. Virtual Art: From Illusion to Immersion. Cambridge, MA: MIT Press/Leonardo Books, 2003.
+
+Google Arts and Culture
+Hemeroteca Digital da Biblioteca Nacional
+HERMANN, Carla Guimarães. Landscape and power: Taunay´s and Burford´s panoramas of Rio de Janeiro in Paris and London in the first half of the Nineteenth century. Open Editions Journals, 2017
+HERMANN, Carla Guimarães. O Rio de Janeiro para inglês ver: O panorama de Robert Burford em Londres, 1827. Tese de doutorado. Universidade Estadual do Rio de Janeiro, 2016.
+HEYNEMANN, Claudia Beatriz. Paris, 1889: o álbum da exposição universal. Brasiliana Fotográfica, 27 de julho de 2018
+KOSSOY, Boris. Dicionário Histórico-Fotográfico Brasileiro. Rio de Janeiro: IMS, 2002.
+LAGO, Bia Corrêa do;LAGO, Pedro Corrêa do. Coleção Princesa Isabel: fotografia do século XIX. Rio de Janeiro: Capivara, 2008.432p.:il., retrs.
+LAGO, Bia Corrêa do; LAGO, Pedro Corrêa do. Os Fotógrafos do Império. Rio de Janeiro: Capivara, 2005. 240p.:il
+LEITÃO DE SOUZA, Thiago. O Panorama: da representação pictórico-espaciais às experiências digitais. Dissertação – Mestrado em Urbanismo – Universidade Federal do Rio de Janeiro, 2009.
+LEITÃO DE SOUZA, Thiago. O panorama e a experiência mersiva: do espetáculo de entretenimento aos meios digitais. Rio de Janeiro: Universidade Federal do Rio de Janeiro / FAU, 2014. Tese de doutorado do Progrma de Pós-Graduação e Urbanismo, 2014.
+MEIRELLES, Victor. “Photographia” In BRASIL. Exposição Nacional. Relatório da Segunda Exposição Nacional de 1866, publicado […] pelo Dr. Antonio José de Souza Rego, 1º secretário da Comissão Diretora. Rio de Janeiro: Typ. Nacional, 1869, 2ª parte, pp. 158-170
+MEIRELLES, Victor. Relatório da II Exposição Nacional de 1866. Boletim (USP. Grupo de Estudos do Centro de Pesquisas em Arte & Fotografia do Departamento de Artes Plásticas), v. 1, p. 6-13.
+PARDIM, SONIA Lenon Chamon. Os panoramas de Victor Mierelles – um olhar em 360º. Revista Complexus – Instituto Superior De Engenharia Arquitetura E Design – Ceunsp, Salto-Sp, Ano. 1, N.2, P. 121-127 , Setembro de 2010.
+ROSA, Ângelo de Proença; MELLO JÚNIOR, Donato; PEIXOTO, Elza Ramos; SOUZA, Sara Regina Silveira. Victor Meirelles de Lima (1832 – 1903). Rio de Janeiro : Edições Pinakotheke, 1982.
+SILVA, Maria Antonia Couto da. As relações entre pintura e fotografia no Brasil do século XIX: considerações acerca do álbum Brasil Pitoresco de Charles Ribeyrolles e Victor Frond. Fênix : Revista de História e Estudos Culturais (Uberlândia), v. 04, p. 01-18, 2007.
+Site Enciclopédia Itaú Cultural
+Site Digital Library of Literature from Lusophone Countries
+Site Museu Histórico Nacional
+SOUZA, Thiago Leitão de. (2021). O panorama do Rio de Janeiro de Victor Meirelles de Lima e Henri Charles Langerock: da interpretação histórica à experiência imersiva virtual em 360°. Gestão & Tecnologia De Projetos, 17 (1), 255-274.
+TURAZZI, Maria Inez. Poses e trejeitos: a fotografia e as exposições na era do espetáculo: 1839/1889. Prefácio Pedro Karp Vasquez. Rio de Janeiro: Funarte. Rocco, 1995. 309 p., il. p&b. (Coleção Luz & Reflexão, 4). ISBN 85-85781-08-4.
+TURAZZI, Maria Inez (org). Victor Meirelles – Novas Leituras. Santa Catarina : Editora Museu Victor Meirelles, 2009.
+VASQUEZ, Pedro. Fotógrafos Pioneiros no Rio de Janeiro: V. Frond, G. Leuzinger, M. Ferrez e J. Gutierrez / por Pedro Vasquez. – Rio de Janeiro: Dazibao, 1990.
+XEXÉO, Monica. XEXEO, Monica. Victor Meirelles: um desenhista singular. In: TURAZZI, Maria Inez (org) Victor Meirelles: novas leituras. São Paulo: Studio Nobel, 2009.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/5054` — `itens/20.500.12156.1_5054/`
+- `20.500.12156.1/2575` — `itens/20.500.12156.1_2575/`
+- `20.500.12156.1/4676` — `itens/20.500.12156.1_4676/`
+- `20.500.12156.1/6256` — `itens/20.500.12156.1_6256/`
+- `20.500.12156.1/6277` — `itens/20.500.12156.1_6277/`
+- `20.500.12156.1/5263` — `itens/20.500.12156.1_5263/`
+- `20.500.12156.1/5279` — `itens/20.500.12156.1_5279/`
+
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+---
+id: 2945
+url: "https://brasilianafotografica.bn.gov.br/?p=2945"
+titulo: "Imagens do Espírito Santo por Albert Richard Dietze (Alemanha, 1838 – Brasil, 1906)"
+autor: "Andrea Wanderley"
+data: "2015-11-13T09:37:26+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/86"]
+fetched_at: "2026-09-10T10:11:56.000Z"
+---
+
+# Imagens do Espírito Santo por Albert Richard Dietze (Alemanha, 1838 – Brasil, 1906)
+
+Em 30 de junho de 1877, o alemão Albert Richard Dietze (1838-1906), considerado um dos maiores fotógrafos paisagistas que atuou no Brasil no século XIX, enviou para a imperatriz Teresa Cristina (1822-1889) uma série de 53 fotografias copiadas em papel albuminado numeradas, assinadas e datadas. Eram aspectos de Guarapari, de Vitória, da Colônia Santa Leopoldina, de Muquissaba, de Cachoeiro de Itapemirim e de outros locais, além de registros fotográficos de colonos, povoações, fazendas, sítios, casas, estabelecimentos comerciais, igrejas, escola, estação telegráfica e também de seu estúdio fotográfico. No verso dessas fotografias, Dietze solicitava a ajuda da monarca no sentido de publicar o folheto A Colônia de Santa Leopoldina, no Império do Brasil, Província do Espírito Santo, cujo objetivo era divulgar o Brasil no exterior para atrair imigrantes. Porém seu apelo não foi atendido pela imperatriz. Algumas fotografias da autoria de Dietze, intituladas Vues de l´interieur de la province de Espirito Santo, foram apresentadas na Exposição Universal de Paris de 1889 e integraram o Album de Vues du Brésil, editado por iniciativa de José Maria da Silva Paranhos Júnior, o Barão do Rio Branco (1845-1912).
+ 
+Albert Richard Dietze. Colônias de imigrantes europeus, 1868-1879. Espírito Santo / Acervo FBN
+ 
+Dietze é o autor do mais importante conjunto de imagens do Espírito Santo da segunda metade do século XIX. Suas paisagens mostram a terra trabalhada pelos colonos assim como as construções e modificações provenientes de sua ocupação. É também um dos pioneiros da cartografia no país: em 1889, organizou e editou uma série de cartões postais com fotografias de sua autoria. Além de registrar paisagens, fotografou escravos, músicos de bandas de congos e índios botocudos, o que o tornou, segundo a escritora Almerinda da Silva Lopes, ao que tudo indica, o primeiro fotógrafo a captar esse gênero de imagens capixabas.
+Antes de Dietze, o fotógrafo francês Jean Victor Frond (1821 – 1881) havia produzido, em 1860,  registros fotográficos do Espírito Santo, tanto de Vitória como das colônias agrícolas de imigrantes. Acompanhou a viagem do naturalista e explorador suíço Johan Jacob von Tschudi (1818 – 1889), que, em 1860, foi nomeado embaixador da Confederação Helvética no Brasil. Tschudi estudou os problemas dos imigrantes suíços em São Paulo, Santa Catarina, Rio Grande do Sul e Espírito Santo. De suas viagens a essas províncias, resultou o livro Viagens na América do Sul, obra publicada, em Leipzig, pela Editora Brockhaus, entre os anos de 1866 e 1869.
+ 
+Acessando o link para as fotografias de Albert Richard Dietze disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Breve Perfil  de Albert Richard Dietze (1838-1906)
+ 
+Albert Richard Dietze. Alberto Richard Dietze tocando concertina, c. 1879 / Acervo de Dolores Bucher
+ 
+Nascido em Kaja, na Saxônia, em 29 de dezembro de 1838, Dietze chegou ao Brasil, em 1862. Era fotógrafo, músico e já havia cursado Agronomia em seu país. Também já havia, em 1º de outubro de 1858, se alistado para servir no 12º Regimento de soldados do rei, em Magdebourg. Veio para o Brasil, atraído, provavelmente, pelas facilidades concedidas pelo governo imperial brasileiro para imigrantes como, por exemplo, adquirir lotes de terras devolutas nas incipientes colônias de imigração do país. Passou alguns meses em Santa Catarina e depois veio para o Rio de Janeiro, onde durante cerca de quatorze meses trabalhou com o francês Auguste François Marie Glaziou (1828 -1906), no Jardim Botânico da cidade. Posteriormente, abriu um estabelecimento denominado Photographia Allemã, e passou a fotografar imigrantes ilustres, aproveitando sua experiência na Alemanha como retratista de membros da elite, inclusive, segundo a pesquisadora e crítica de arte Almerinda da Silva Lopes, do próprio imperador alemão Guilherme I (1797 – 1888).
+Passou a viajar pelo interior do Rio de Janeiro e pelo Espírito Santo, onde se estabeleceu, em 1869, inicialmente, em Vitória, possivelmente logo após ter sido nomeado agente consular da Alemanha. Em 1870, sua chegada em Cachoeira do Itapemirim foi noticiada (O Estandarte, de 20 de março de 1870, na terceira coluna. Foi identificado como Ricardo A. Dietz). No O Estandarte, de 3 de abril de 1870, ofereceu seus serviços de fotógrafo, e no O Estandarte, de 27 de abril de 1870, anunciou sua iminente partida e cobrou dívidas de seus clientes. No mesmo ano, leiloou várias fotos de sua autoria para ajudar feridos, irmãos, viúvas e órfãos de alemães que haviam morrido na guerra contra os franceses (O Espirito-santense, de 24 de novembro de 1870, sob o título “Aos Alemmães”).
+Entre 1869 e 1878, registrou fotograficamente o início da colonização do Espírito Santo por seus compatriotas. Durante a década de 1870, fixou-se em Santa Leopoldina. Promoveu uma exposição com um “Viantoscopo”, em Vitória (Espirito-santense, de 22 de maio de 1873), e, em 12 de outubro de 1873, casou-se com Frederica Cristina Henrietta Sacht (? – 28/3/1908), com quem teve 9 filhos: Anna, Ricardo, Alberto, Maria, Gustavo, Charlotte, Otto, Pauline e Emma.
+Anunciou, alguns anos depois, a abertura de seu estabelecimento fotográfico, na rua General Osório, 22, em Vitória (O Espirito-santense, 7 de março de 1876, sob o título “Photographo”). Posteriormente, diversificou suas atividades e tornou-se também comerciante de secos e molhados, brinquedos e instrumentos musicais importados da Alemanha, além de produtor e exportador de café.
+Como um dos líderes de sua comunidade, foi nomeado para integrar a comissão que viria a elaborar o estatuto de uma associação auxiliar entre os colonos de Santa Leopoldina (Correio Paulista, de 17 de janeiro de 1877). Participou ativamente dos acontecimentos da cidade. Em 1º de outubro de 1885, cidadãos protestaram contra a decisão de Dietze em relação a uma mudança no trânsito (A Provincia do Espirito Santo, de 1º de outubro de 1885, primeira coluna sob o título “Santa Leopoldina”). Ele respondeu no mesmo jornal em 13 de outubro de 1885.
+Envolveu-se também em assuntos relativos à educação, tendo criado e mantido uma escola para o ensino de português e alemão (O Espirito-santense,de 13 de fevereiro de 1886, na quarta coluna). Convidou um professor alemão para lecionar para os filhos dos colonos (O Espirito-santense, de 23 de janeiro de 1886, sob o título “Professor Allemão” e de 7 de abril do mesmo ano, na primeira coluna). Também foi o fundador e diretor de uma orquestra familiar e participou ativamente da vida social de Santa Leopoldina.
+Dietze recebeu um prêmio, o grande diploma do mérito, em Berlim, em 1883 (O Horizonte, de 12 de maio de 1883, na primeira coluna sob o título “Exposição Brazileira em Berlim”). Enviou para a Sociedade de Geografia de Lisboa no Rio de Janeiro fotografias de paisagens e de um grupo de índios botocudos (A Provincia do Espirito Santo, de 15 de dezembro de 1883, sob o título “Offerta”, na quarta coluna). Em 30 de março de 1884, escreveu na primeira página do jornal A Provincia do Espirito Santo, sob o título “À Praça”, defendendo-se de ataques contra sua honestidade e fazendo cobranças. É noticiado que ele estava organizando um álbum fotográfico com vistas do Espírito Santo e foi mencionado o prêmio que ele havia recebido em Berlim (O Espirito-santense, de 7 de outubro de 1888). 
+Ao que parece, Dietze nunca deixou de se dedicar à fotografia e à sua comunidade: fotografou e deu uma festa por ocasião da inauguração de uma ponte em Santa Leopoldina(O Estado do Espirito Santo, 24 de julho de 1897, na última coluna); anunciou a venda de fotografias e de cartões postais (O Cachoeirano, de 4 de novembro de 1900, na primeira coluna); e O Estado do Espirito Santo, de 6 de junho de 1901, agradeceu a oferta de cartões postais feitas por Dietze ao periódico.
+Faleceu, em Santa Leopoldina, em 24 de agosto de 1906, de parada cardíaca.
+ 
+Albert Richard Dietze. Orquestra da família Dietze, c. 1890 / Site da cidade de Santa Leopoldina
+ 
+Acesse aqui a Cronologia de Albert Richard Dietze (1838-1906)
+Andrea C. T. Wanderley
+Editora-assistente e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+ANDRADE, Joaquim Marçal Ferreira de. A coleção do imperador. Fotografia brasileira e estrangeira no século XIX, Centro Cultural Banco do Brasil, Rio de Janeiro, 1997
+DREHER, Martin N. O suíço Johan Jacob von Tschudi (1818-1889) e suas leituras da América do Sul, 1980.
+Hemeroteca Digital da Biblioteca Nacional
+KOSSOY, Boris. Dicionário histórico-fotográfico brasileiro: fotógrafos e ofício da fotografia no Brasil (1833-1910). São Paulo: Instituto Moreira Salles, 2002. 408 p., il. p&b.
+LAGO, Bia Corrêa do;LAGO, Pedro Corrêa do. Os Fotógrafos do Império. Rio de Janeiro: Capivara, 2005. 240p.:il
+LOPES, Almerinda Silva. Alberto Richard Dietze: um artista-fotógrafo alemão no Brasil do século XIX. Vitória: Gráfica e Editoria A1.
+VASQUEZ, Pedro. Fotógrafos alemães no Brasil do século XIX. São Paulo: Metalivros, 2000.
+TRIBUNA DE VITÓRIA. Mestre de fotografia no estado, 15 de março de 2015.
+TSCHUDI, Johann Jakob von, 1818-1889. Viagem à província do Espírito Santo: imigração e colonização suíça 1860 / Johan Jacob von Tschudi; posfácio com fotografias inéditas de Victor Frond; [ coordenação editoral e posfácio de Cilmar Franceschetto}. – Vitória : Arquivo Público do Estado do Espírito Santo, 2004. 173 p.: il. – (Coleção Canaã; v.5)
+TURAZZI, Maria Inez. Poses e trejeitos. A fotografia e as exposições na era do espetáculo (1839-1889), Fundação Nacional de Arte & Rocco, Rio de Janeiro, 1995
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/86` — `itens/20.500.12156.1_86/`
+
diff --git a/wordpress/29493-a-fonte-adriano-ramos-pinto-por-guilherme-santos-e-marc-ferrez.md b/wordpress/29493-a-fonte-adriano-ramos-pinto-por-guilherme-santos-e-marc-ferrez.md
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+---
+id: 29493
+url: "https://brasilianafotografica.bn.gov.br/?p=29493"
+titulo: "A Fonte Adriano Ramos Pinto por Guilherme Santos e Marc Ferrez"
+autor: "Andrea Wanderley"
+data: "2023-07-18T09:21:58+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/10062", "20.500.12156.1/10615", "20.500.12156.1/10212", "20.500.12156.1/10096", "20.500.12156.1/2575"]
+fetched_at: "2026-09-10T10:11:59.378Z"
+---
+
+# A Fonte Adriano Ramos Pinto por Guilherme Santos e Marc Ferrez
+
+A Brasiliana Fotográfica destaca três fotografias estereoscópicas da Fonte Adriano Ramos Pinto – a Fonte da Juventude: uma produzida pelo fotógrafo amador Guilherme Santos (1871 – 1966) e duas por Marc Ferrez (1843 – 1923). A fonte foi inaugurada pelo presidente Rodrigues Alves (1848 – 1919), em 24 de fevereiro de 1906, no jardim da Glória (O Paiz, 25 de fevereiro de 1906, primeira coluna).
+ 
+Marc Ferrez. Fonte Adriano Ramos Pinto – Fonte da Juventude, c. 1912. Rio de Janeiro, RJ / Acervo IMS
+ 
+Gazeta de Notícias, 25 de fevereiro de 1906
+ 
+Estava localizada onde havia o Mercado da Glória, demolido em 1904 (Gazeta de Notícias, 7 de maio, quarta coluna).
+ 
+Torres. Demolição do mercado da Glória; ao fundo, o Outeiro da Glória, 1904. Rio de Janeiro, RJ / Acervo IMS
+ 
+Acessando o link para as fotografias estereoscópicas da Fonte Adriano Ramos Pinto disponíveis na Brasiliana Fotográfica, o leitor poderá visualizar e magnificar as imagens.
+ 
+“Objetivamente, a estereoscopia consiste em pares de imagens de uma mesma cena que, vistas simultaneamente num visor binocular – o estereoscópio-, produzem a ilusão de tridimensionalidade. As vistas estereoscópicas, também conhecidas como estereografias ou estereogramas, podem ser produzidas a partir de diferentes tipos de imagens como desenhos, gravuras ou fotografias, sendo esta última a forma que ganhou maior popularidade”.
+Maria Isabela Mendonça dos Santos
+ 
+Marc Ferrez (1843 – 1923) foi um brilhante cronista visual das paisagens e dos costumes cariocas da segunda metade do século XIX e do início do século XX. Sua vasta e abrangente obra iconográfica se equipara a dos maiores nomes da fotografia do mundo. Estabeleceu-se como fotógrafo com a firma Marc Ferrez & Cia, em 1867, na rua São José, nº 96, e logo se tornou o mais importante profissional da área no Rio de Janeiro. Cerca de metade da produção fotográfica de Ferrez foi realizada na cidade e em seus arredores, onde registrou, além do patrimônio construído, a exuberância das paisagens naturais.
+O fotógrafo amador Guilherme Antônio dos Santos (1871 – 1966) era um entusiasta da fotografia estereoscópica, tendo sido um dos pioneiros dessa técnica no Brasil, ao adquirir, em 1905, na França, o Verascope, um sistema de integração entre câmera e visor, que permitia ver imagens em 3D, produzidas a partir de duas fotos quase iguais, porém tiradas de ângulos um pouco diferentes. Eram impressas em uma placa de vidro e reproduziam a sensação de profundidade de maneira bem próxima da visão real. Guilherme Santos, cuja produção mais intensa ocorreu entre 1910 e 1958, registrou a paisagem, o cotidiano e os hábitos do carioca.
+ 
+Breve história da Fonte Adriano Ramos Pinto
+ 
+A inauguração da fonte que, como já mencionado, contou com a presença do presidente da República, Rodrigues Alves (1845 – 1919), aconteceu dentro do contexto da reforma urbana realizada no Rio de Janeiro pelo prefeito Francisco Pereira Passos (1848 – 1913) – também presente à cerimônia -, que contribuiu fortemente para o surgimento do Rio de Janeiro da Belle Époque. Para sanear e modernizar a cidade, Pereira Passos realizou diversas demolições, conhecidas popularmente como a política do “bota-abaixo”, além de diversas iniciativas de embelezamento. A Fonte Adriano Ramos Pinto foi uma contribuição a esse trabalho.
+ 
+Marc Ferrez. Fonte Adriano Ramos Pinto – Fonte da Juventude, c. 1912. Rio de Janeiro,RJ / Acervo IMS
+ 
+ 
+Detalhe da Fonte Adriano Ramos – Fonte da Juventude, por Marc Ferrez, c. 1912 / Acervo IMS
+ 
+Pereira Passos, um Haussman tropical por Jaime Larry Benchimol
+ 
+Foi doada ao Rio de Janeiro por Adriano e Antônio Ramos Pinto, proprietários da Casa Adriano Ramos Pinto, fundada em 1880, na cidade do Porto, em Portugal, e grande exportadora de vinhos para o Brasil no início do século XX. Foi o poeta Olavo Bilac (1865 – 1918) que fez o agradecimento ao senhor Ramos Pinto em nome da Prefeitura do Rio de Janeiro. O monumento foi encomendado ao escultor parisiense Eugène Thievier (1845 – 1920) e foi realizado, em cerca de nove meses, em uma peça de mármore carrara de 37 toneladas e 7 metros de altura. Nela, três jovens, que representam a Mocidade, aproximam-se de Cupido que está no alto do monumento, personificando o Amor. A montagem foi entregue à casa Jourdan de Paris, o arquiteto Baulain o adaptou às condições de fonte e ele foi  instalado por Franck Smithson. Em seu pedestal está inscrito:
+ 
+Ao Brazil, Adriano Ramos Pinto & Irmão.
+ 
+Correio da Manhã, 31 de março de 1935
+ 
+“Porque ofereço um monumento de arte ao Brasil?… Por um simples ato de agradecimento. Os meus vinhos têm naqueles mercados uma aceitação extraordinária e devo reconhecer que isso é mais a obra de simpatia do publico, cujas qualidades de coração admiro, do que dos esforços de minha propaganda. Daí querer eu corresponder a essa gentileza com um sinal bem público perdurável da minha gratidão, afirmando ao mesmo tempo o meu amor pelo Brasil”
+Do livro A Fonte Adriano Ramos Pinto, de Ana Filipa Correia
+ 
+Guilherme Santos. Fonte Adriano Ramos Pinto – Fonte da Juventude; ao fundo, Igreja de Nossa Senhora da Glória do Outeiro, c. 1917. Rio de Janeiro, RJ / Acervo IMS
+ 
+Houve protestos na ocasião de sua inauguração: alguns alegavam que não passava de uma propaganda para a Casa Adriano Ramos Pinto e outros achavam que os jovens eram apresentados em poses licenciosas (Leitura para Todos, junho de 1906, primeira coluna).
+ 
+Marc Ferrez. Fonte Adriano Ramos Pinto – Fonte da Juventude, c. 1912. Rio de Janeiro, RJ / Acervo IMS
+ 
+Encontra-se, desde 1935,  na entrada do Túnel Novo, no lado de Botafogo. Em 1983, a fonte teve sua água cortada. Foi vandalizada, em 2011, e sua restauração custou mais que 100 mil reais. Não foi a primeira vez que a fonte foi vítima de vandalismo (Correio da Manhã, 1º de outubro de 1966, última coluna).
+ 
+Correio de Manhã, 11 de março de 1956
+ 
+ 
+Publicações da Brasiliana Fotográfica em torno da obra do fotógrafo Marc Ferrez 
+ 
+Marc Ferrez aos 33 anos, c. 1876. Rio de Janeiro, RJ / Acervo IMS
+ 
+O Rio de Janeiro de Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 30 de junho de 2015
+Obras para o abastecimento no Rio de Janeiro por Marc Ferrez , de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 25 de janeiro de 2016
+O brilhante cronista visual Marc Ferrez (7/12/1843 – 12/01/1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 7 de dezembro de 2016
+Do natural ao construído: O Rio de Janeiro na fotografia de Marc Ferrez, de autoria de Sérgio Burgi, um dos curadores da Brasiliana Fotográfica, publicada em 19 de dezembro de 2016
+No primeiro dia da primavera, as cores de Marc Ferrez (1843 – 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 22 de setembro de 2017
+Marc Ferrez , a Comissão Geológica do Império (1875 – 1878) e a Exposição Antropológica Brasileira no Museu Nacional (1882), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica,  publicada em 29 de junho de 2018
+Série “O Rio de Janeiro desaparecido” V – O quiosque Chopp Berrante no Passeio Público, Ferrez, Malta e Charles Dunlop, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 20 de julho de 2018
+Uma homenagem aos 175 anos de Marc Ferrez (7 de dezembro de 1843 – 12 de janeiro de 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 7 de dezembro de 2018 
+Pereira Passos e Marc Ferrez: engenharia e fotografia para o desenvolvimento das ferrovias, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 5 de abril de 2019
+Fotografia e ciência: eclipse solar, Marc Ferrez e Albert Einstein, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 24 de junho de 2019
+Os 180 anos da invenção do daguerreótipo – Os álbuns da Comissão Geológica do Império com fotografias de Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 19 de agosto de 2019
+Celebrando o fotógrafo Marc Ferrez (1843 – 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 4 de dezembro de 2019
+Uma homenagem da Casa Granado ao imperial sob as lentes de Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 7 de fevereiro de 2020
+Ressaca no Rio de Janeiro invade o porão da casa do fotógrafo Marc Ferrez, em 1913, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado 6 de março de 2020
+Petrópolis, a Cidade Imperial, pelos fotógrafos Marc Ferrez e Revert Henrique Klumb, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 16 de março de 2020
+Bambus, por Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 5 de junho de 2020
+O Baile da Ilha Fiscal: registro raro realizado por Marc Ferrez e retrato de Aurélio de Figueiredo diante de sua obra, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 9 de novembro de 2020
+O Palácio de Cristal fotografado por Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 2 de fevereiro de 2021
+A Estrada de Ferro do Paraná, de Paranaguá a Curitiba, pelos fotógrafos Arthur Wischral (1894 – 1982) e Marc Ferrez (1843 – 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 22 de março de 2021
+Dia dos Pais – Julio e Luciano, os filhos do fotógrafo Marc Ferrez, e outras famílias, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 6 de agosto de 2021
+No Dia da Árvore, mangueiras fotografadas por Ferrez e Leuzinger, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 21 de setembro de 2021
+Retratos de Pauline Caroline Lefebvre, sogra do fotógrafo Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 28 de abril de 2022
+A Serra dos Órgãos: uma foto aérea e imagens realizadas pelos mestres Ferrez, Leuzinger e Klumb, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 30 de junho de 2022
+O centenário da morte do fotógrafo Marc Ferrez (1843 – 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 12 de janeiro de 2023
+O Observatório Nacional pelas lentes de Marc Ferrez, amigo de vários cientistas, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 29 de maio de 2023
+No Dia Mundial do Meio Ambiente, a potente imagem da Cachoeira de Paulo Afonso, por Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 5 de junho de 2023
+Os 180 anos de nascimento do fotógrafo Marc Ferrez (1843 – 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 7 de dezembro de 2023
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+BENCHIMOL, Jaime Larry. Pereira Passos: um Haussmann tropical. Rio de Janeiro, SMCTT, 1990.
+Biblioteca do IBGE
+Blog Histórias dos Monumentos do Rio de Janeiro
+CORREIA, Ana Felipa. A fonte Adriano Ramos Pinto: o Vinho do Porto e a arte da Belle Époque no Rio de Janeiro. Portugal : Editores Adriano Ramos Pinto, 2000.
+DEL BRENNA, Giovanna Rosso (org.). O Rio de Janeiro de Pereira Passos: Uma cidade em questão II. Rio de Janeiro:Index, 1985
+DE LOS RIOS FILHO, Adolfo Morales. Dois Notáveis Engenheiros: Pereira Passos e Vieira Souto. Rio de Janeiro: Edit
+Inventário dos Monumentos – RJ
+LENZI, Maria Isabel Ribeiro. Pereira Passos: Notas de Viagens. Rio de Janeiro:Editora Sextante, 2000.
+O GLOBO, 3 de novembro de 2011
+G1, 23 de outubro de 2012
+OLIVEIRA REIS, José de. O Rio de Janeiro e seus prefeitos, evolução urbanística da cidade. vol.3, Rio de Janeiro, Prefeitura da Cidade do Rio de Janeiro, 1977.
+PINHEIRO, Manoel Carlos; FIALHO JR, Renato. Pereira Passos: vida e obra in coleção Estudos Cariocas. Rio de Janeiro:IPP/Prefeitura da Cidade do Rio de Janeiro, 1996.
+Monumentos do Rio
+SANTOS, Maria Isabela Mendonça. A estereoscopia e o olhar da modernidade in Brasiliana Fotográfica, 29 de maio de 2019.
+Veja Rio, 27 de julho de 2016 e 9 de janeiro de 2017
+WANDERLEY, Andrea C.T. O brilhante cronista visual Marc Ferrez (RJ, 07/12/1843 – RJ, 12/01/1923) in Brasiliana Fotográfica, 7 de dezembro de 2016.
+WANDERLEY, Andrea C.T.O fotógrafo amador Guilherme Santos (1871 – 1966) in Brasiliana Fotográfica. 28 de julho de 2016.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/10062` — `itens/20.500.12156.1_10062/`
+- `20.500.12156.1/10615` — `itens/20.500.12156.1_10615/`
+- `20.500.12156.1/10212` — `itens/20.500.12156.1_10212/`
+- `20.500.12156.1/10096` — `itens/20.500.12156.1_10096/`
+- `20.500.12156.1/2575` — `itens/20.500.12156.1_2575/`
+
diff --git a/wordpress/2950-serie-hoteis-do-brasil-i-hoteis-do-seculo-xix-e-do-inicio-do-seculo-xx-no-brasil.md b/wordpress/2950-serie-hoteis-do-brasil-i-hoteis-do-seculo-xix-e-do-inicio-do-seculo-xx-no-brasil.md
new file mode 100644
index 0000000..6ae6591
--- /dev/null
+++ b/wordpress/2950-serie-hoteis-do-brasil-i-hoteis-do-seculo-xix-e-do-inicio-do-seculo-xx-no-brasil.md
@@ -0,0 +1,39 @@
+---
+id: 2950
+url: "https://brasilianafotografica.bn.gov.br/?p=2950"
+titulo: "Série “Hotéis do Brasil” I – Hotéis do século XIX e do início do século XX no Brasil"
+autor: "Andrea Wanderley"
+data: "2015-11-05T23:15:02+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/2226", "20.500.12156.1/7999"]
+fetched_at: "2026-09-10T10:12:02.668Z"
+---
+
+# Série “Hotéis do Brasil” I – Hotéis do século XIX e do início do século XX no Brasil
+
+Carlos Bippus. Hotel Central, c. 1920. Rio de Janeiro, RJ / Acervo IMS
+ 
+A Brasiliana Fotográfica oferece a seus leitores uma seleção de hotéis no Brasil do século XIX e das primeiras décadas do século XX. publicando o primeiro artigo da série Hotéis do Brasil. O fotógrafo Revert Henrique Klumb (c.1826 – c.1886) registrou o Hotel Pharoux e o Hotel Waltz, no centro do Rio de Janeiro, o Etablissement de Mr. Bennett, na Tijuca, além dos hotéis Anglais, Beresford e Bragança, em Petrópolis. Há também três fotografias de autoria de Augusto Malta (1864 – 1957) de hotéis cariocas: do Rio Palácio Hotel, do Hotel Glória e do Copacabana Palace. Ainda no Rio de Janeiro, há uma imagem do Hotel Central, produzida por Carlos Bippus (18? – 19?). Em São Paulo, Guilherme Gaensly (1843 – 1928)  fotografou o Largo São Bento, onde havia o Hotel Rebechino e o Grande Hotel Paulista. Em Nova Friburgo, Henschel & Benque fotografaram o Hotel Leuenroth e, em Blumenau, o Hotel Holetz foi registrado por um fotógrafo até aqui não identificado.
+ 
+Acessando o link para as fotografias de hotéis disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Marc Ferrez. Hotel Avenida, e o edifício da Imprensa Nacional em segundo plano, c. 1912. Rio de Janeiro, RJ / Acervo IMS
+ 
+Andrea C. T. Wanderley
+Editora-assistente e pesquisadora da Brasiliana Fotográfica
+ 
+Outros artigos publicados na Brasiliana Fotográfica sobre hotéis
+ 
+O Hotel Glória – antes e depois, publicado em 21 de dezembro de 2017, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica.
+Copacabana Palace, símbolo do glamour carioca, publicado em 13 de agosto de 2020, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica.
+O Hotel Pharoux por Revert Henrique Klumb, publicado em 15 de junho de 2022, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica.
+Série O Rio de Janeiro desaparecido XXIV – O luxuoso Palace Hotel, na Avenida Rio Branco, uma referência da vanguarda artística no Rio de Janeiro, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 4 de julho de 2023.
+O centenário do Copacabana Palace, quintessência do “glamour” carioca, e seu criador, o arquiteto francês Joseph Gire, publicado em 13 de agosto de 2023, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/2226` — `itens/20.500.12156.1_2226/`
+- `20.500.12156.1/7999` — `itens/20.500.12156.1_7999/`
+
diff --git a/wordpress/29549-gastao-de-orleans-o-conde-d-eu-neuilly-sur-seine-28-04-1842-oceano-atlantico-28-.md b/wordpress/29549-gastao-de-orleans-o-conde-d-eu-neuilly-sur-seine-28-04-1842-oceano-atlantico-28-.md
new file mode 100644
index 0000000..b1c6d4a
--- /dev/null
+++ b/wordpress/29549-gastao-de-orleans-o-conde-d-eu-neuilly-sur-seine-28-04-1842-oceano-atlantico-28-.md
@@ -0,0 +1,79 @@
+---
+id: 29549
+url: "https://brasilianafotografica.bn.gov.br/?p=29549"
+titulo: "Gastão de Orleáns, o conde d´Eu ( Neuilly-sur-Seine, 28/04/1842 – Oceano Atlântico 28/08/1922)"
+autor: "Andrea Wanderley"
+data: "2018-05-04T11:27:42+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/5514", "20.500.12156.1/50", "20.500.12156.1/617", "20.500.12156.1/1792", "20.500.12156.1/4154", "20.500.12156.1/1796", "20.500.12156.1/5523"]
+fetched_at: "2026-09-10T10:12:05.947Z"
+---
+
+# Gastão de Orleáns, o conde d´Eu ( Neuilly-sur-Seine, 28/04/1842 – Oceano Atlântico 28/08/1922)
+
+A Brasiliana Fotográfica apresenta uma seleção de registros de Gastão de Orleáns, o conde d´Eu. São imagens produzidas pelos fotógrafos Alberto Henschel (1827 – 1882), Arsênio da Silva, Christiano Jr. & Pacheco, Joaquim Insley Pacheco (1830 – 1912), Revert Henrique Klumb (c. 1826 – c. 1886) e por fotógrafos ainda não identificados. Neto do rei Luís Filipe I de França, Gastão de Orleáns, o conde d´Eu, tornou-se príncipe imperial consorte do Brasil quando casou-se com a princesa Isabel (1846 – 1921), filha de d. Pedro II (1825 – 1891) e dona Teresa Cristina (1822 – 1889). O Conde d’Eu e seu primo, o duque Luís Augusto de Saxe-Coburgo-Gota (1845 – 1907) desembarcaram no Rio de Janeiro em 2 de setembro de 1864 e hospedaram-se no paço da cidade (Diário do Rio de Janeiro, 3 de setembro de 1864, terceira coluna). Foram para o Palácio de São Cristóvão, residência da família imperial brasileira onde conheceram as princesas Isabel e Leopoldina (1847 – 1871). Os casais previamente idealizados seriam formados por d. Gastão e a princesa Leopoldina, e por seu primo e a princesa Isabel. Mas, após alguns dias, devido a afinidades, os casais se rearranjaram.
+ 
+Joaquim Insley Pacheco. Gastão de Orleans, o conde d’Eu, c. 1864. Rio de Janeiro, RJ / Acervo IMS
+ 
+Isabel e Gastão casaram-se em 15 de outubro de 1864, na Capela Imperial, no Rio de Janeiro, em cerimônia celebrada por D. Manoel Joaquim da Silveira, arcebispo da Bahia e primaz do Brasil (Diário do Rio de Janeiro, edição de 16 de outubro de 1864). O escritor Machado de Assis (1839 – 1908) escreveu na coluna Folhetim uma calorosa descrição do evento (Diário do Rio de Janeiro, edição de 17 de outubro de 1864). O casal passou a lua de mel em Petrópolis, de onde retornou no dia 24 de outubro. Devido à união, o conde d´Eu teve que renunciar aos seus direitos à linha da sucessão ao trono francês. Em 15 de dezembro, foi realizado o casamento da princesa Leopoldina com o duque de Saxe (Diário do Rio de Janeiro, de 16 de dezembro de 1864).
+ 
+Arsenio da Silva. Parada no Largo do Paço por ocasião do casamento da Princesa Isabel com o Conde d’Eu, 1864. Rio de Janeiro, RJ / Acervo FBN
+ 
+Acessando o link para as fotografias do conde d´Eu disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar a imagem e verificar todos os dados referentes a ela.
+ 
+Revert Henrique Klumb. Princesa Isabel e Conde d’Eu saindo de sua residência, 1855 – 1880. Petrópolis, Rio de Janeiro / Acervo FBN
+ 
+Juntos, Isabel e Gastão formaram uma coleção de fotografias que se encontra na Europa e representa um importante acervo iconográfico do oitocentos no Brasil. Fazem parte da coleção fotografias de Marc Ferrez (1843 – 1923), Alberto Henschel(1827 – 1882), Augusto Riedel (18? – ?), Augusto Stahl (1828 – 1877), George Leuzinger (1813 – 1892), e Victor Frond (1821 – 1881),  dentre outros, além de imagens das celebrações da abolição da escravatura, em 1888.
+Após cerca de 10 anos de casados, em 28 de julho de 1874, a princesa Isabel deu à luz a uma menina natimorta, Luísa Vitória de Orléans e Bragança (Diário do Rio de Janeiro, edição de 29 de julho de 1874, sob o título “Parte Official”). O casal teve o primeiro filho, Pedro de Orléans e Bragança (1875 – 1940), nascido em 15 de outubro de 1875, em Petrópolis (Diário do Rio de Janeiro, edição de 16 de outubro de 1875, sob o título “Diário do Rio”). O segundo filho, Luis Maria de Orléans e Bragança (1878 – 1920), também nasceu em Petrópolis, em 26 de janeiro de 1878  (Diário do Rio de Janeiro, edição de 27 de janeiro de 1878, na segunda coluna). Faleceu em Cannes, na França, em março de 1920. O último, Antonio Gastão de Orléans e Bragança (1881 – 1918), nasceu em Paris em 9 de agosto de 1881 (Gazeta de Notícias, edição de 10 de agosto de 1881, na primeira coluna) e faleceu em 29 de novembro de 1918, devido a um desastre de avião, em Londres.
+ 
+Alberto Henschel. Princesa Isabel, Conde D’Eu e os filhos D. Pedro de Alcântara, príncipe do Grão-Pará, D. Luís Maria e D. Antônio Gastão, c. 1884 / Acervo IMS
+ 
+O conde d´Eu participou da Guerra do Paraguai (1864 – 1870), tendo assumido o comando em chefe das forças nacionais em campanha, em 1869, substituindo Luis Alves de Lima e Silva, o Duque de Caxias (1803 – 1880). Retornou à corte em 29 de abril de 1870, após ter vencido as batalhas de Pirebebuy e Campo Grande.
+ 
+Anônimo. S. A. Real Conde d’Eu com seu estado maior em Lambaré, 1868. Lambaré, Paraguai / Acervo FBN
+ 
+Em 17 de novembro de 1889, dois dias após a proclamação da República, a família real partiu para o exílio, na Europa (Gazeta de Notícias, edição de 18 de novembro de 1889, sob o título “O Embarque do Imperador”, na segunda coluna). Isabel e Gastão foram morar na França. Em 3 de setembro de 1920, realizou-se no salão de despachos do palácio do Catete a assinatura do decreto que revogava o banimento da família imperial (O Paiz, 4 de setembro de 1920, quarta coluna; A Rua, 4 de setembro de 1920, primeira coluna). Em janeiro de 1921, chegaram no Rio de Janeiro os corpos de dom Pedro II e de dona Teresa Cristina, que estavam no Mosteiro de São Vicente de Fora, em Lisboa. Viajaram no encouraçado São Paulo, que havia transportado do Brasil à Europa os reis da Bélgica. O conde d´Eu (1842 – 1922), seu filho, o príncipe Dom Pedro (1875 – 1940), e o barão de Muritiba (1839 – 1922) acompanharam a viagem dos despojos (O Paiz, de 9 de janeiro de 1921; Careta, 15 de janeiro de 1921). A princesa Isabel não chegou a se beneficiar da revogação do banimento da família real do Brasil porque faleceu em 14 de novembro de 1921.
+ 
+Careta, 15 de janeiro de 1921
+ 
+Como já mencionado, o conde d´Eu faleceu, em 28 de agosto de 1922,  justamente quando voltava ao Brasil para celebrar o centenário da independência do país. Estava a bordo do navio Massilia (O Paiz, 29 de agosto de 1922, penúltima coluna).
+ 
+Careta, 9 de setembro de 1922
+ 
+Na celebração do cinquentenário da Lei Áurea, em 1938, um decreto presidencial autorizou o repatriamento dos restos mortais da Princesa Isabel e do Conde d´Eu (O Jornal, 13 de maio de 1938).
+ 
+O Jornal, 13 de maio de 1938
+ 
+Em 6 de julho de 1953, chegaram no Rio de Janeiro os restos mortais da princesa Isabel e do conde D’Eu (Correio da Manhã, edição de 7 de julho de 1953 e O Cruzeiro, 18 de julho de 1953), que foram transladados, em 1971, da Catedral Metropolitana do Rio de Janeiro para a igreja de Nossa Senhora do Rosário e São Benedito dos Homens Pretos (Correio da Manhã, edição de 11 de maio de 1971) e, finalmente, foram sepultados na Catedral de Petrópolis (Correio da Manhã, edição de 14 de maio de 1971).
+ 
+Joaquim Insley Pacheco. Conde d´Eu em uniforme militar, 1870. Rio de Janeiro, RJ / Acervo IMS
+ 
+Joaquim Insley Pacheco. Gastão de Orleans, o conde d’Eu, c. 1864. Rio de Janeiro, RJ / Acervo IMS
+ 
+*Esse artigo foi publicado em 4 de maio de 2018, teve sua introdução um pouco alterada, e passou a integrar a Série 1922, Hoje, há 100 anos com o título “Hoje, há 100 Anos” – A morte de Gastão de Orleáns, o conde d´Eu (Neuilly-sur-Seine, 28/04/1842 – Oceano Atlântico 28/08/1922).
+Andrea C. T. Wanderley
+Editora-assistente e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes
+BESOUCHET, Lídia. Exílio e morte do Imperador. Rio de Janeiro: Editora Nova Fronteira, 1975
+CARVALHO, José Murilo. Pedro II: ser ou não ser. São Paulo: Companhia das Letras, 2007.
+DEL PRIORI, Mary. O Castelo de papel. Rio de Janeiro: Rocco, 2013.
+DORATIOTO, Francisco Fernando Monteoliva. Maldita Guerra. São Paulo:Companhia das Letras, 2002.
+ECHEVERRIA, Regina. A História da Princesa Isabel – amor, liberdade e exílio. Rio de Janeiro: Versal Editores, 2014.
+Hemeroteca Digital da Biblioteca Nacional
+LIMA, Luiz Octavio de. A Guerra do Paraguai. São Paulo:Planeta do Brasil, 2016.
+SCHWARCZ, Lilia Moritz. As barbas do Imperador: D. Pedro II, um monarca nos trópicos. São Paulo: Companhia das Letras, 1998.
+Site do CPDOC
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/5514` — `itens/20.500.12156.1_5514/`
+- `20.500.12156.1/50` — `itens/20.500.12156.1_50/`
+- `20.500.12156.1/617` — `itens/20.500.12156.1_617/`
+- `20.500.12156.1/1792` — `itens/20.500.12156.1_1792/`
+- `20.500.12156.1/4154` — `itens/20.500.12156.1_4154/`
+- `20.500.12156.1/1796` — `itens/20.500.12156.1_1796/`
+- `20.500.12156.1/5523` — `itens/20.500.12156.1_5523/`
+
diff --git a/wordpress/29669-o-dia-do-compositor-brasileiro-uma-data-a-ser-festejada.md b/wordpress/29669-o-dia-do-compositor-brasileiro-uma-data-a-ser-festejada.md
new file mode 100644
index 0000000..cf1e658
--- /dev/null
+++ b/wordpress/29669-o-dia-do-compositor-brasileiro-uma-data-a-ser-festejada.md
@@ -0,0 +1,126 @@
+---
+id: 29669
+url: "https://brasilianafotografica.bn.gov.br/?p=29669"
+titulo: "O Dia do Compositor Brasileiro, uma data a ser festejada"
+autor: "Andrea Wanderley"
+data: "2022-10-07T22:44:56+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/13329", "20.500.12156.1/8909", "20.500.12156.1/8911", "20.500.12156.1/8908"]
+fetched_at: "2026-09-10T10:12:09.191Z"
+---
+
+# O Dia do Compositor Brasileiro, uma data a ser festejada
+
+A Brasiliana Fotográfica comemora o Dia do Compositor Brasileiro, criado em 7 de outubro de 1948, por iniciativa do cantor e compositor Herivelto Martins (1912 – 1992), com um artigo do jornalista André Luis Câmara. Quando criou esta data comemorativa, Herivelto estava em franca batalha pelo reconhecimento dos autores de música e letra, responsáveis por uma das expressões artísticas mais importantes e reconhecidas do país – a canção. O leitor poderá apreciar, ao longo da publicação, fotografias de Chiquinha Gonzaga, grande compositora, pianista e maestrina, além de um dos primeiros nomes na história da música popular brasileira a lutar pelos direitos autorais dos compositores, e do grande músico Pixinguinha, dentre outras.
+ 
+O Dia do Compositor Brasileiro, uma data a ser festejada
+André Luis Câmara*
+Desde 1948, a data de 7 de outubro marca a comemoração do Dia do Compositor Brasileiro. Foi uma iniciativa de Herivelto Martins, autor de clássicos da música popular, como “Segredo” e “Cabelos brancos”, ambos com Marino Pinto; “A Lapa”, com Benedito Lacerda; “Praza Onze”, com Grande Otelo; “Atiraste uma pedra”, com David Nasser, ou “Ave Maria no morro”. (Clique nos links, ao longo do texto, para acessar gravações da Discografia Brasileira do Instituto Moreira Salles).
+Sempre envolvido na luta pelo direito autoral, Herivelto Martins esteve à frente da União Brasileira de Compositores (UBC), criada em 1942, e acompanhou muitos colegas que deixaram essa entidade para fundar, em 1946, a Sociedade Brasileira de Autores, Compositores e Escritores de Música (Sbacem), da qual integrou o Conselho Deliberativo. Além disso, se tornou o primeiro presidente do Sindicato Nacional dos Compositores Musicais (Sindcom), em 1952.
+ 
+Carlos Moskovics. Linda Batista, Grande Otelo, Herivelto Martins e Ary Barroso ao piano, década de 40. Cassino da Urca, Rio de Janeiro / Acervo IMS
+ 
+Quando propôs que houvesse o Dia do Compositor Brasileiro, ele estava, portanto, em franca batalha pelo reconhecimento dos autores de música e letra, responsáveis por uma das expressões artísticas mais importantes e reconhecidas do país – a canção -, seja em ritmo de samba, samba-canção, modinha, marchinha, marcha-rancho, choro, bossa nova, baião, valsa, bolero, toada, balada, e por aí em diante.
+ 
+Chiquinha Gonzaga abre alas
+ 
+Chiquinha Gonzaga aos 29 anos, c. 1877 / Acervo IMS
+ 
+Se, entre profissionais da composição, e mesmo do canto, houve uma presença predominantemente masculina, pelo menos até a primeira metade do século XX, algumas mulheres conseguiram se contrapor a um universo machista, e se destacaram no panorama da música popular brasileira, a começar por Chiquinha Gonzaga.  Composta para o desfile do cordão Rosa de Ouro, em 1899, “Abre alas” se tornou um clássico do Carnaval. É inclusive, para o jornalista e letrista Nelson Motta, uma das “101 canções que tocaram o Brasil” (MOTTA: 2016).
+ 
+Acessando o link das fotografias de Chiquinha Gonzaga disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar a imagem e verificar todos os dados referentes a ela.
+ 
+Essa marcha-rancho seria gravada como um dobrado, em versão instrumental, em 1910, pela Banda da Casa Faulhaber. No ano seguinte, a gravação seria feita pela Banda da Casa Edison, registro lançado somente em 1913, e em cujo selo do disco Odeon R 120174/ 120323 aparece como parceiro de Chiquinha Gonzaga o instrumentista Santos Bocot, que foi professor do compositor e maestro Anacleto de Medeiros.
+Da lavra da compositora, podem ainda ser destacadas diversas outras canções, entre as centenas que compôs, como “Corta-jaca” ou “Lua branca”.
+ 
+ Chiquinha Gonzaga ao piano, 17 de outubro de 1932 / Acervo IMS
+ 
+Chiquinha Gonzaga não é somente lembrada como grande compositora, pianista e maestrina, é também um dos primeiros nomes na História da música popular brasileira a lutar pelos direitos autorais dos compositores e uma das fundadoras da Sociedade Brasileira de Autores Teatrais (Sbat), em 1917. No entanto, nessa entidade havia uma hierarquização que levaria, anos mais tarde, não só a descontentamentos, como à união de compositores em novas sociedades arrecadadoras. A primeira delas seria a Associação Brasileira de Compositores e Autores (ABCA), em 1938. Em seguida, viriam as já citadas UBC e Sbacem.
+ 
+O “pequeno direito”
+ 
+Embora a Sbat contasse com um setor para tratar especificamente dos compositores, priorizava os autores teatrais. Estes recebiam o “grande direito”; aqueles, o “pequeno”. É que, nesse sistema, os compositores foram inicialmente incluídos como autores de música para teatro, atividade muita em voga no meio artístico da época, quando fazia grande sucesso o chamado “teatro de revista”.
+Em espetáculos assim é que foi lançado o primeiro samba-canção, em 1928, “Linda flor”, com melodia de Henrique Vogeler e letra de Cândido Costa. No ano seguinte, recebeu nova letra de Freire Júnior e o título de “Meiga flor”. Meses depois, estreava na revista Miss Brasil, de Luiz Peixoto e Marques Porto, autores que lhe colocaram nova letra e o nome de “Iaiá”, para ser interpretado pela vedete Araci Cortes.
+ 
+Jornal do Brasil, 20 de dezembro de 1928
+ 
+Foi com a terceira e definitiva letra que esse samba-canção ganhou fama, sendo gravado pela própria Araci Cortes, em disco Parlophon nº12926, lançado em 1929. No selo fonográfico aparecia “canção brasileira”, com o título “Linda flor (Iaiá)”. Pouco mais tarde, ganharia popularidade com o nome derradeiro: “Ai, Ioiô”.
+O lançamento desse disco já acontece após o advento da gravação elétrica, feita com microfone, a partir de 1927. Até então, o processo de gravação de discos era mecânico. Grosso modo, funcionava assim: o cantor, acompanhado dos músicos, emitia sua voz
+por um cone do qual se captava o som, e uma agulha imprimia a gravação em um disco de zinco recoberto com cera. Dessa matriz se faziam as cópias.
+A gravação fonográfica no Brasil foi iniciada pela Casa Edison. Fundada em 1900 porFrederico Figner, comerciante de origem tcheca, durante os dois primeiros anos vendia fonogramas reproduzidos em cilindros para fonógrafo, aparelho sonoro ali também à
+venda, e que fora inventado por Thomas Edison, em 1877. A partir de 1902, esse estabelecimento, que funcionava na Rua do Ouvidor, no Rio de Janeiro, passou a gravar e a comercializar discos, ao mesmo tempo em que vendia o aparelho próprio para a reprodução do novo som: o gramofone. Tanto os discos quanto o gramofone são invenções do alemão Emil Berliner datadas de 1887. Os discos, de 78 rotações por minuto (rpm), vinham com duas músicas, uma de cada lado. [1]
+ 
+O Malho, 24 de janeiro de 1903
+ 
+O primeiro compositor a ser gravado em disco no Brasil foi Xisto Bahia. Seu lundu “Isto é bom” foi lançado pela Casa Edison, em 1902, com o selo Zon-o-phone nº 10001, na voz do cantor Baiano.
+ 
+Xisto Bahia / Acervo FBN
+ 
+Cantor Baiano, da Casa Edison, s/d / Acervo IMS
+ 
+Este seria também o intérprete da primeira gravação do samba “Pelo telefone”, lançada em janeiro de 1917, um marco da discografia nacional, cuja autoria atribuída exclusivamente a Donga e Mauro de Almeida é até hoje controversa.
+ 
+Capa da partitura do samba “Pelo telefone”, de Donga e Mauro de Almeida / Acervo IMS
+ 
+Discos em evidência
+ 
+A gravação de discos, tanto no período mecânico, quanto no do sistema elétrico, colocava em evidência não somente os cantores, mas também os compositores, muito embora, até fins dos anos 1920, um dos principais veículos de comercialização das canções fosse ainda a venda de partituras para piano (encontrado geralmente em casas abastadas) e os jornais de modinha (destinados a um público mais abrangente). Os discos passavam a ser cada vez mais procurados, antes ainda do auge da Era do Rádio.
+Um dos compositores que mais fez sucesso nas décadas de 1910 e 1920 foi Sinhô, que se tornou conhecido como “rei do samba”. Em outubro de 1919, durante a fase mecânica de gravação, Francisco Alves gravou para o Carnaval de 1920 a marcha “Pé de Anjo”.
+Quase dez anos depois, o mesmo Sinhô fez sucesso já no sistema elétrico de gravação quando, por seu intermédio, o cantor Mário Reis estreou, em 1928, com três discos 78 lançados em sequência, que traziam sambas de sua autoria. O que se tornou mais popular foi o Odeon 10278. De um lado, estava “Jura”; do outro, “Gosto que me enrosco”.[1]
+ 
+ Partitura do samba-canção “Jura”, de Sinhô / Acervo IMS
+ 
+Juntos, Francisco Alves e Mários Reis formaram uma das mais famosas duplas de cantores de samba, gravando 12 discos 78, entre o fim de 1930 e o início de 1933. Aos dois coube lançar sucessos dos chamados Bambas do Estácio, como “Se você jurar”, de Ismael Silva e Nílton Bastos. A dupla também cantou, em primeira mão, sambas de Noel Rosa, como “Fita amarela”.
+ 
+Mario Reis e Francisco Alves / Acervo IMS
+ 
+ 
+Com o crescente interesse do público pelo disco, principalmente depois da profissionalização do rádio, em 1932, quando a propaganda comercial radiofônica foi liberada,[2] a situação dos compositores que recebiam o “pequeno direito” instituído pela Sbat ficou cada vez mais incontornável.
+Um dos dirigentes dessa sociedade, o pianista e grande melodista Custódio Mesquita, parceiro de Mário Lago no clássico fox-canção “Nada além”, nunca conseguiu se livrar das contrariedades a que um cargo assim leva um artista. Como conta o historiador Orlando de Barros:
+“No período em que Custódio esteve na Sbat – quase toda sua vida profissional – ocorreram três momentos particularmente tumultuados. O primeiro se estendeu de cerca de 1930 até 1935, chegando ao auge em 1933, e consistiu na disputa pelo direito de execução das canções e peças de teatro no rádio emergente. O segundo, desde o fim de 1936 a 1937, decorreu do descontentamento da distribuição dos direitos de execução musical pela Sbat aos seus criadores. O terceiro, em pleno Estado Novo, se agudizou entre 1939 e 1942, ainda resultante das reclamações dos compositores populares, suscitando, dessa vez, o surgimento de outras entidades arrecadadoras” (BARROS: 2001, p. 288).
+ 
+Tempos de streaming
+ 
+Mesmo depois do surgimento de uma variedade de entidades arrecadadoras e da criação do Escritório Central de Arrecadação e Distribuição (Ecad), o direito autoral, na época atual do streaming, continua a ser uma luta para quem compõe canções. Essa atividade, ao longo do século XX, e no século XXI, passou a ser exercida mais fortemente por mulheres, a exemplo de cantoras e compositoras como Maysa e Dolores Duran, que criaram na década de 1950 diversos sucessos, entre eles “Ouça” e “A noite do meu bem”, respectivamente.
+Passados 74 anos desde que foi criada, a data de 7 de outubro nos lembra da importância desses e dessas que nos emprestam “sua testa/ construindo coisas pra se cantar”, como diz Caetano Veloso em “Festa imodesta”, lançada por Chico Buarque em 1974. Compositores e compositoras permanecem a brilhar, ao lado de Chiquinha Gonzaga e de outros ícones da música popular brasileira, como o imortal Pixinguinha, que com João de Barro, o Braguinha, é autor de “Carinhoso”, choro que tão bem expressa o lugar significativo que a canção ocupa na memória coletiva.
+ 
+Os Oito Batutas, 1919 / Acervo IMS. Pixinguinha é o primeiro à direita, segurando uma flauta.
+ 
+Acessando o link das fotografias de Pixinguinha disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar a imagem e verificar todos os dados referentes a ela.
+ 
+Parabéns aos compositores e compositoras, e um viva a Herivelto Martins. Feliz Dia do Compositor Brasileiro!
+ 
+[1] Em fins da década de 1950, a indústria do disco lançaria no Brasil o compacto simples, chamado de single nos países de língua inglesa, e que também apresentava uma faixa de cada lado, mas em 33 rotações por minuto. Era um disco em formato menor, com 7 polegadas, enquanto o 78 tinha 12.
+[2] Além dos três discos 78 com sambas de Sinhô, Mário Reis, em 1928, lança outros dois: um com sambas de Caninha e J.F. Freitas; outro, com sambas de Alfredo Dermeval e Ary Barroso.
+[3] Decreto nº 21.111, de 1º de março de 1932, assinado por Getúlio Vargas, então chefe do chamado Governo Provisório da República dos Estados Unidos do Brasil, aprova regulamento para os serviços de radiocomunicação no território nacional. Como deputado federal pelo Rio Grande do Sul, Vargas havia sido autor da lei do direito autoral, um dos motivos pelos quais contava com boa receptividade entre artistas. O Decreto nº 5.492, de 16/07/1928, conhecido como Lei Getúlio Vargas, durante o governo de Washington Luiz, regulou a organização das empresas de diversão e a locação de serviços teatrais, além de dispor sobre questões relacionadas ao cinema, ao rádio e à indústria do disco.
+ 
+*André Luís Câmara é jornalista, pesquisador, poeta, mestre e doutor em Letras pela PUC-Rio, bolsista do projeto Memória e História do Arquivo-Museu de Literatura Brasileira da Fundação Casa de Rui Barbosa (AMLB-FCRB).
+ 
+Fontes:
+BARROS, Orlando de. Custódio Mesquita: um compositor romântico no tempo de Vargas (1930-45). Rio de Janeiro: Eduerj, 2001.
+DICIONÁRIO Cravo Albin da música popular brasileira: https://dicionariompb.com.br/ Acesso em: 03/08/2022.
+DINIZ, Edinha. Chiquinha Gonzaga: história de uma vida. Rio de Janeiro: Jorge Zahar Editor, 2009.
+DISCOGRAFIA Brasileira do Instituto Moreira Salles: https://discografiabrasileira.com.br/ Acesso em 03/08/2022.
+FRANCESCHI, Humberto M. A Casa Edison e seu tempo. Rio de Janeiro: Sarapuí, 2002.
+MELLO, Zuza Homem; SEVERIANO, Jairo. A canção no tempo: 85 anos de música brasileira. V.1. São Paulo: Editora 34, 1997.
+MOTTA, Nelson. 101 canções que tocaram o Brasil. São Paulo: Estação Brasil, 2016.
+SEVERIANO, Jairo. Uma história da música popular brasileira: das origens à modernidade. 2ª ed. São Paulo: Editora 34, 2013.
+TINHORÃO, José Ramos. Música popular – do gramofone ao rádio e TV. 2ª ed. São Paulo: Editora 34, 2014.
+ 
+A Brasiliana Fotográfica agradece a colaboração de Isadora Cirne, assistente cultural do Departamento de Música do Instituto Moreira Salles.
+Acesse aqui os artigos E a primeira-dama Nair de Teffé leva a música de Chiquinha Gonzaga para o Palácio do Catete, em 1914 e Série “1922 – Hoje, há 100 anos” I – Os Batutas embarcam para Paris, em 29 de janeiro – Uma história de música e de racismo, ambos de autoria de Andrea C. T. Wanderley, publicados na Brasiliana Fotográfica em 5 de março de 2021 e em 29 de janeiro de 2022, respectivamente.
+Nota da editora:
+Segundo a União Brasileira dos Compositores:
+“Em 1983, o deputado Cunha Bueno apresentou o projeto de Lei 581/83, com o objetivo de oficializar o 7 de outubro de Herivelto como “o Dia do Compositor, a ser celebrado (…) em todo o território nacional”. De acordo com o documento, o dia foi festejado até 1980 apenas no Rio de Janeiro e, no ano seguinte, passou a ser celebrado também em São Paulo. A proposta do projeto era a de elevar essa comemoração a todo o país.
+O projeto foi arquivado em 1989, por conta da Resolução 6/89, da Câmara dos Deputados, que definiu a extinção das proposições anteriores à redemocratização e ainda em tramitação. Mas a celebração informal se manteve — afinal, nunca é demais homenagear aqueles que criam a nossa música, uma das manifestações culturais mais fortemente associadas ao Brasil”.
+Andrea C. T. Wanderley
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/13329` — `itens/20.500.12156.1_13329/`
+- `20.500.12156.1/8909` — `itens/20.500.12156.1_8909/`
+- `20.500.12156.1/8911` — `itens/20.500.12156.1_8911/`
+- `20.500.12156.1/8908` — `itens/20.500.12156.1_8908/`
+
diff --git a/wordpress/29732-os-bondes-do-rio-de-janeiro-de-antigamente.md b/wordpress/29732-os-bondes-do-rio-de-janeiro-de-antigamente.md
new file mode 100644
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--- /dev/null
+++ b/wordpress/29732-os-bondes-do-rio-de-janeiro-de-antigamente.md
@@ -0,0 +1,125 @@
+---
+id: 29732
+url: "https://brasilianafotografica.bn.gov.br/?p=29732"
+titulo: "Os bondes do Rio de Janeiro de antigamente"
+autor: "Andrea Wanderley"
+data: "2024-11-18T15:41:01+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/4643", "20.500.12156.1/11943", "20.500.12156.1/10457", "20.500.12156.1/7964", "20.500.12156.1/2782"]
+fetched_at: "2026-09-10T10:12:12.465Z"
+---
+
+# Os bondes do Rio de Janeiro de antigamente
+
+O Rio de Janeiro foi a primeira cidade da América do Sul a organizar um serviço de transportes coletivos sobre trilhos de ferro. Antes dos bondes elétricos, havia os bondes à tração animal e a vapor. Vamos passear pelas ruas cariocas entre o final do século XIX e as primeiras décadas do século XX a partir de uma seleção de imagens de bondes disponível no acervo fotográfico da Brasiliana Fotográfica? São registros realizados por fotógrafos ainda não identificados, por Augusto Malta (1864 – 1957), Guilherme Santos (1871 – 1966), José Baptista Barreira Vianna(1860-1925), Juan Gutierrez (c. 1860 – 1897) e Marc Ferrez (1843 – 1923), dentre  vários outros. Contamos também, no artigo, um pouco da história do surgimento e desenvolvimento deste meio de transporte na cidade.
+Acessando o link para uma seleção de fotografias de bondes do Rio de Janeiro de antigamente disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar a imagem e verificar todos os dados referentes a ela.
+ 
+“Na verdade, o bonde foi um elemento essencial para a expansão e organização do espaço urbano no Rio de Janeiro”
+ 
+Elisabeth von der Weid, historiadora
+ 
+Bondes de tração animal
+ 
+José Baptista Barreira Vianna. Bonde nas proximidades da Pedra do Arpoador, c. 1900. Rio de Janeiro, RJ / Acervo IMS
+ 
+A primeira concessão para implantar o serviço dos bondes sobre trilhos e os de tração animal no Rio de Janeiro foi dada em 1856 ao médico inglês Thomas Cochrane (1805-1873), sogro do escritor José de Alencar (1829-1877), que casou-se, em 1864, com a primogênita do médico, Georgiana Augusta (1946-1923) (Diário do Rio de Janeiro, 14 de abril de 1856, sexta coluna; Descendência de José de Alencar). O primeiro trajeto ligou o Rocio (hoje Praça Tiradentes) à Tijuca com carros puxados a cavalos.
+
+Diário do Rio de Janeiro, 14 de abril de 1856
+ 
+Ele formou a empresa Companhia de Carris de Ferro da Cidade à Boavista na Tijuca, mais conhecida como Companhia Ferro-Carril da Tijuca. Em janeiro de 1859, trafegou pela primeira vez no Rio de Janeiro um bonde puxado a burros (Jornal do Commercio, 15 de janeiro, quinta coluna; e 4 de fevereiro, segunda coluna, de 1859).
+ 
+Gravura do primeiro bonde a tração animal que circulou no Rio de Janeiro / Rio Antigo, de Charles Dunlop
+ 
+A primeira linha regular de bondes à tração animal foi inaugurada em 26 de março de 1859 pelo imperador Pedro II,  ligando o centro da cidade ao Alto da Boa Vista. A cerimônia de bênçãos ocorreu na estação central da Rua do Conde. A Família Real seguiu com membros do governo e com a família de Cochrane para o Andaraí. No outro carro seguiram diretores da companhia e alguns convidados. Foi servido um almoço a todos na chácara de F. A. Marques (Jornal do Commercio, 26 e 27 de março de 1859, segunda coluna). Havia dois veículos, importados da Inglaterra, que faziam as viagens pela manhã e pela tarde. Os carros eram puxados por burros e foram apelidados de maxambombas pelos cariocas, provavelmente por analogia aos trens da Estrada de Ferro D. Pedro II que iam até um engenho com este nome na zona rural (WEID). Em 1861, Irineu Evangelista de Souza, o Barão de Mauá (1813 – 1889), empresário pioneiro das estradas de ferro no país, assumiu a presidência da Companhia de Carris de Ferro da Cidade à Boavista, que mudou a tração animal para vapor. Em novembro de 1866, a empresa de carris da Tijuca, em dificuldades financeiras, suspendeu seus serviços e a concessão caducou em seguida, por interrupção de tráfego (WEID).
+ 
+Barão de Mauá (1813 – 1889) por Joaquim Insley Pacheco, c. 1870
+ 
+A partir do fim da década de 1860, os bondes, ainda movidos por tração animal, começaram a se multiplicar no Rio de Janeiro. Desde então, muitas empresas se constituíram para explorar o negócio. Em 1868, a Companhia Ferro-Carril do Jardim Botânico, organizada pelo Barão de Mauá, entrou em operação, com bondes puxados a burro. Mauá havia se associado ao banqueiro norte-americano Charles Bachus Greenough (1824 – 1880) que, em 1866 criou nos Estados Unidos a Botanical Garden Rail Road Company Ltd.
+ 
+Charles Bachus Greenough (1824 – 1880)
+ 
+O primeiro trecho, da rua do Ouvidor ao Largo do Machado, foi inaugurado em outubro de 1868. Ainda neste ano os trilhos chegaram a Botafogo. A estação do Jardim Botânico só foi inaugurada em 1871.
+ 
+Augusto Malta. Estação de bonde do Jardim Botânico, 1908. Rio de Janeiro, RJ / Acervo MHN
+ 
+Segundo o escritor e entusiasta do Rio Antigo Charles Julius Dunlop (1908–1987), em seu livro Apontamentos, foi nesta fase que começou a ser utilizado o termo bond para designar o novo tipo de transporte. A origem teria sido um sistema de bloco de cinco passagens instituído pela Botanical Garden. Os blocos eram comprados nas estações e as passagens tinham escrito em cima o nome da companhia, a palavra bond (título), o valor e um desenho do veículo. Em pouco tempo, o termo generalizou-se.
+Em 1880, os trilhos chegavam ao alto da Gávea.
+Em crônica publicada em 4 de julho de 1883, Machado de Assis (1839 – 1908) atesta o sucesso desse meio de transporte coletivo “essencialmente democrático”. Com sua inconfundível ironia, o cronista Machado, sob o pseudônimo Lélio, assinou a série coletiva “Balas de Estalo”, publicada na Gazeta de Notícias, entre os anos de 1883 e 1886. Na crônica sobre os bondes, ele divulgou, com sua fina ironia, dez de setenta artigos que regulamentariam o convívio entre os passageiros dos bondes.
+ 
+ Balas de estalo
+Ocorreu-me compor umas certas regras para uso dos que frequentam bondes. O desenvolvimento que tem tido entre nós esse meio de locomoção, essencialmente democrático, exige que ele não seja deixado ao puro capricho dos passageiros. Não posso dar aqui mais do que alguns extratos do meu trabalho; basta saber que tem nada menos de setenta artigos. Vão apenas dez.
+ART. I Dos encatarroados
+Os encatarroados podem entrar nos bondes com a condição de não tossirem mais de três vezes dentro de uma hora, e no caso de pigarro, quatro. Quando a tosse for tão teimosa, que não permita esta limitação, os encatarroados têm dois alvitres: — ou irem a pé, que é bom exercício, ou meterem-se na cama. Também podem ir tossir para o diabo que os carregue. Os encatarroados que estiverem nas extremidades dos bancos, devem escarrar para o lado da rua, em vez de o fazerem no próprio bonde, salvo caso de aposta, preceito religioso ou maçônico, vocação, etc., etc.
+ART. II Da posição das pernas
+As pernas devem trazer-se de modo que não constranjam os passageiros do mesmo banco. Não se proíbem formalmente as pernas abertas, mas com a condição de pagar os outros lugares, e fazê-los ocupar por meninas pobres ou viúvas desvalidas, mediante uma pequena gratificação.
+ART. III Da leitura dos jornais
+Cada vez que um passageiro abrir a folha que estiver lendo, terá o cuidado de não roçar as ventas dos vizinhos, nem levar-lhes os chapéus. Também não é bonito encostá-los no passageiro da frente.
+É permitido o uso dos quebra-queixos em duas circunstâncias: — a primeira quando não for ninguém no bonde, e a segunda ao descer.
+ART. IV Dos quebra-queixos
+É permitido o uso dos quebra-queixos em duas circunstâncias: — a primeira quando não for ninguém no bonde, e a segunda ao descer.
+ART. V Dos amoladores
+Toda a pessoa que sentir necessidade de contar os seus negócios íntimos, sem interesse para ninguém, deve primeiro indagar do passageiro escolhido para uma tal confidência, se ele é assaz cristão e resignado. No caso afirmativo, perguntarlhe-á se prefere a narração ou uma descarga de pontapés. Sendo provável que ele prefira os pontapés, a pessoa deve imediatamente pespegá-los. No caso, aliás extraordinário e quase absurdo, de que o passageiro prefira a narração, o proponente deve fazê-lo minuciosamente, carregando muito nas circunstâncias mais triviais, repetindo os ditos, pisando e repisando as coisas, de modo que o paciente jure aos seus deuses não cair em outra.
+ART. VI Dos perdigotos
+Reserva-se o banco da frente para a emissão dos perdigotos, salvo nas ocasiões em que a chuva obriga a mudar a posição do banco. Também podem emitir-se na plataforma de trás, indo o passageiro ao pé do condutor, e a cara para a rua.
+ART. VII Das conversas
+Quando duas pessoas, sentadas a distância, quiserem dizer alguma coisa em voz alta, terão cuidado de não gastar mais de quinze ou vinte palavras, e, em todo caso, sem alusões maliciosas, principalmente se houver senhoras.
+ART. VIII Das pessoas com morrinha
+As pessoas que tiverem morrinha, podem participar dos bondes indiretamente: ficando na calçada, e vendo-os passar de um lado para outro. Será melhor que morem em rua por onde eles passem, porque então podem vê-los mesmo da janela.
+ART. IX Da passagem às senhoras
+Quando alguma senhora entrar, o passageiro da ponta deve levantar-se e dar passagem, não só porque é incômodo para ele ficar sentado, apertando as pernas, como porque é uma grande má-criação.
+ART. X Do pagamento
+Quando o passageiro estiver ao pé de um conhecido, e, ao vir o condutor receber as passagens, notar que o conhecido procura o dinheiro com certa vagareza ou dificuldade, deve imediatamente pagar por ele: é evidente que, se ele quisesse pagar, teria tirado o dinheiro mais depressa.
+Os bondes deixaram as ruas na década de 1960, mas ainda frequentam o imaginário da cidade como um ícone do Rio antigo. Santa Teresa é o último bairro carioca entrecortado pelos trilhos.
+Gazeta de Notícias,  04/07/1883
+ 
+Marc Ferrez. Estrada de Ferro do Corcovado, Viaduto do Silvestre, Km 1 (aproximadamente), c. 1885. Rio de Janeiro, RJ / Acervo IMS
+ 
+Na cidade do Rio de Janeiro, em 8 de outubro de 1892, foi inaugurada a primeira linha de bonde elétrico da América do Sul, pela Companhia Ferro Carril do Jardim Botânico. O bonde partiu, sob aplausos do povo, da curva do antigo Teatro Lírico e foi até a estação do Largo do Machado, conduzindo o então vice-presidente da República em exercício na presidência, marechal Floriano Peixoto (1839 – 1895) e convidados. Houve quem temesse viajar nesse primeiro veículo elétrico e a empresa mandou pintar no encosto dos bancos o aviso “A corrente elétrica nenhum perigo oferece aos srs. passageiros“. Os carros abertos eram a marca registrada dos nossos bondes, devido ao calor da cidade.
+ 
+Marc Ferrez. Bonde com direção ao Silvestre, c. 1895. Rio de Janeiro, RJ / Acervo IMS
+ 
+ 
+Augusto Malta. Bonde elétrico, c. 1910. Rio de Janeiro, RJ / Acervo IMS
+ 
+ 
+O Paiz, 9 de outubro de 1892, terceira coluna
+ 
+Jornal do Commercio, 9 de outubro de 1892, sexta coluna
+ 
+Uma semana depois, o escritor Machado de Assis relatou suas impressões:
+“Não tendo assistido a inauguração dos bonds elétricos, deixei de falar neles. nem sequer entrei em algum, mais tarde, para receber as impressões da nova tração e contá-las. daí o meu silêncio da outra semana. anteontem, porém, indo pela praia da lapa, em um bond comum, encontrei um dos elétricos, que descia. era o primeiro que estes meus olhos viam andar…Em seguida, admirei a marcha serena do bond, deslizando como os barcos dos poetas, ao sopro da brisa invisível e amiga. mas, como íamos em sentido contrário, não tardou que nos perdêssemos de vista, dobrando ele para o largo da lapa e rua do passeio, e entrando eu na rua do catete. nem por isso o perdi de memória. a gente do meu bond ia saindo aqui e ali, outra gente entrava adiante e eu pensava no bond elétrico. assim fomos seguindo; até que, perto do fim da linha e já noite, éramos só três pessoas, o condutor, o cocheiro e eu. os dois cochilavam, eu pensava…”
+Gazeta de Notícias, 16 de outubro de 1892
+ 
+A ampliação do serviço de bondes garantia a circulação dos moradores, incentivando os negócios e a expansão da cidade. Seu papel como elemento propulsor de expansão urbana foi tão grande, que o ilustre jurista baiano Rui Barbosa (1849 – 1923) declarou, em 1898:
+“O bonde foi até certo ponto a salvação da cidade. Foi o grande instrumento, o agente incomparável do seu progresso material. Foi ele que dilatou a zona urbana, que arejou a cidade, desaglomerando a população, que tornou possível a moradia fora da região central, onde até então todos nos apinhávamos sem luz, sem ar, sem espaço. (…) O Rio é realmente a pátria adotiva do bonde, a sua pátria de eleição” .
+Em 1920, o bonde era o principal meio de transporte para 84% da população carioca. Segundo Ruy Castro, “…Caso se esticassem os quilômetros de trilhos da Light nas ruas do Rio, seria como ir de bonde da praça Mauá a São Paulo – eram 448 quilômetros de trilhos, com cerca de 480 carros cobrindo sessenta itinerários. Todos os usavam, dos escriturários e chapeleiras aos críticos de literatura e ministros do Supremo. Eram o veículo democrático por excelência”.
+Com exceção de dois bondes que ainda trafegam pelo bairro carioca de Santa Teresa, o sistema foi aposentado em 1967, quando a última linha no Alto da Boa Vista parou de circular. O VLT, que é o bonde moderno, começou a circular no Rio de Janeiro, em maio de 2016.
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+ABREU, Maurício de A. Evolução urbana do Rio de Janeiro. Rio de Janeiro, IPLANRIO/Zahar, 1987.
+AZEVEDO, Aroldo. Os Cochranes do Brasil. São Paulo : Companhia Editora Nacional, 1965.
+BARROS, Maria Pia Fontes Lins de; WANDERLEY, Andrea C. T. Agenda do Centro de Documentação da TV Globo
+BENCHIMOL, Jaime L. Pereira Passos, um Haussmann tropical. Rio de Janeiro, Secretaria Municipal de Cultura, Turismo e Esportes, 1990.
+CASTRO, Ruy. Metrópole à beira-mar. O Rio moderno dos anos 20. São Paulo : Companhia das Letras, 2019.
+DUNLOP, Charles. Rio Antigo, volume I. Rio de Janeiro : Editora Rio Antigo Ltda, 1958.
+Hemeroteca Digital da Biblioteca Nacional
+MORRISON, Alen. Rio de Janeiro - História dos bondes e 75 fotografias.
+MORRISON, Alen. The tramways of Brazil – a 130 years survey, 1989.
+O GLOBO, 15 de maio de 2016
+Portal MultiRio
+Site Rio Memórias
+WEID, Elisabeth von der. O bonde como elemento de expansão urbana no Rio de Janeiro. Fundação Casa de Rui Barbosa.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/4643` — `itens/20.500.12156.1_4643/`
+- `20.500.12156.1/11943` — `itens/20.500.12156.1_11943/`
+- `20.500.12156.1/10457` — `itens/20.500.12156.1_10457/`
+- `20.500.12156.1/7964` — `itens/20.500.12156.1_7964/`
+- `20.500.12156.1/2782` — `itens/20.500.12156.1_2782/`
+
diff --git a/wordpress/29820-serie-o-rio-de-janeiro-desaparecido-xxii-a-cadeia-velha-que-deu-lugar-ao-palacio.md b/wordpress/29820-serie-o-rio-de-janeiro-desaparecido-xxii-a-cadeia-velha-que-deu-lugar-ao-palacio.md
new file mode 100644
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@@ -0,0 +1,128 @@
+---
+id: 29820
+url: "https://brasilianafotografica.bn.gov.br/?p=29820"
+titulo: "Série “O Rio de Janeiro desaparecido” XXII – A Cadeia Velha, que deu lugar ao Palácio Tiradentes"
+autor: "Andrea Wanderley"
+data: "2023-04-11T09:29:35+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/11278", "20.500.12156.1/2774", "20.500.12156.1/11282", "20.500.12156.1/11058", "20.500.12156.1/2784", "20.500.12156.1/10232", "20.500.12156.1/9465"]
+fetched_at: "2026-09-10T10:12:16.079Z"
+---
+
+# Série “O Rio de Janeiro desaparecido” XXII – A Cadeia Velha, que deu lugar ao Palácio Tiradentes
+
+Em seu 22º artigo da Série O Rio de Janeiro desaparecido, a Brasiliana Fotográfica lembra a história da Cadeia Velha, demolida em 1922, que deu lugar ao Palácio Tiradentes, inaugurado, em 1926, com imagens de autoria de Augusto Malta (1864 – 1957), fotógrafo oficial da Prefeitura do Rio de Janeiro, entre 1903 e 1936; estereoscopias de Guilherme Santos (1871 – 1966) e registros realizados por  fotógrafos ainda não identificados.
+ 
+Augusto Malta. Câmara e Cadeia Velha, 1911. Rio de Janeiro, Rj / Acervo IMS
+ 
+Acessando o link para as fotografias da Cadeia Velha e do Palácio Tiradentes disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+O Palácio Tiradentes foi construído no local onde existia a Casa de Câmara e Cadeia, prédio erguido em torno de 1640, quando os membros do Senado e da Câmara do Rio de Janeiro solicitaram a construção de um edifício para abrigar os trabalhos do legislativo. ao longo de sua existência, abrigou a Cadeia pública; Casa de Vereança; Senado da Câmara; Tribunal da Relação e Câmara Imperial. No século XVII, usualmente, nas cidades coloniais da América portuguesa nesses mesmos prédios ficavam as prisões. Só em 1747 foi inaugurado o edifício colonial da Câmara e da Cadeia Velha, que, em 1752, passou a abrigar o Tribunal da Relação. Nele os desembargadores exerciam função judiciária para a parte sul do país. Os crimes da parte norte do país ficaram a cargo do Tribunal da Relação de Salvador.
+Quarenta anos depois, foi cárcere do alferes Joaquim José da Silva Xavier (1746-1792), o Tiradentes, um dos líderes da Inconfidência Mineira, nos últimos quatro dias de sua vida. Foi lá que, em 18 de abril de 1792, ouviu sua sentença, escrita por D. Maria I de Portugal (1734 – 1816): seria levado à forca pelo crime de lesa-majestade. Sua execução foi realizada no dia 21 de abril de 1792.
+Em 1808, com a chegada de d. João VI (1767 – 1826) ao Brasil, a Casa de Câmara e Cadeia serviu de moradia para os empregados da corte. Os antigos prisioneiros foram transferidos para a Cadeia do Aljube, na antiga Rua do Aljube (hoje rua Acre), no bairro da Saúde. A Casa de Câmara e Cadeia passou a ser chamada de Cadeia Velha.
+ 
+Augusto Malta. Cadeia Velha, deu lugar ao atual Palácio Tiradentes, 1919. Rio de Janeiro, RJ / Acervo IMS
+ 
+Abrigou a Assembleia Nacional Constituinte que tinha como missão elaborar a Constituição do Brasil recém liberto de Portugal, mas foi dissolvida pelo Exército por ordem de dom Pedro ( (1798 – 1834), que não aprovou o texto original do documento. Foi sede da Câmara dos Deputados, entre 1826 e 1914, exceto durante a Constituinte Republicana, quando a Inspetoria de Higiene funcionou no prédio da Cadeia Velha. Mas, em 18 de dezembro de 1891, a Câmara dos Deputados voltou para lá.
+ 
+Interior da Cadeia Velha, que abrigou a Constituinte de 1823, a primeira constituinte brasileira, e onde funcionou posteriormente a Câmara dos Deputados. Ilustração/Notices of Brazil in 1828 and 1829 / Fonte: Agência Câmara de Notícias
+ 
+Edifícios da Cadeia Velha, Palácio Monroe e Biblioteca Nacional, de Ramiro Berbert de Castro
+ 
+Em 1914, o prédio da Cadeia Velha se encontrava em péssimas condições e a Câmara foi transferida para o Palácio Monroe, no fim da rua do Passeio, na avenida Central, atual Rio Branco, ponto mais nobre da capital do Brasil, na Cinelândia.
+ 
+Cadeia Velha, atual Palácio Tiradentes, década de 1910. Rio de Janeiro, RJ / Acervo IMS
+ 
+Entre 1914 e sua demolição, a Cadeia Velha serviu como depósito. Em 25 de dezembro de 1921, foi aprovado um projeto dos arquitetos cearense Archimedes Memória (1893 – 1960) e do franco-suíço Francisque Couchet (18? – 19?) para a construção do Palácio Tiradentes, no local onde existia a Cadeia Velha (Architectura no Brasil, janeiro de 1922). Os arquitetos trabalhavam no Escritório Técnico Heitor de Mello (1875 – 1920), que havia falecido, em 1920. Memória e Couchet foram sócios até 1929. Segundo a revista Architectura no Brasil, de janeiro de 1922, o estilo do palácio é Luiz XVI, moderno.
+ 
+Projeto de Archimedes Memória e Francisco Couchet para o Palácio Tiradentes
+ 
+Archimedes e Couchet foram também responsáveis pelos projetos do Palácio das Festas e do Palácio das Grandes Indústrias, na Exposição Internacional do Centenário da Independência (1922), um dos maiores eventos internacionais já realizados no Brasil, inaugurada no Rio de Janeiro em 7 de setembro de 1922 e encerrada em 24 de julho do ano seguinte; além dos edifícios do Palácio Pedro Ernesto (1923), cujo projeto foi desenvolvido por eles, já que seu autor, Heitor Mello (1875 – 1920), faleceu em 1920; do Hotel Balneário da Urca (1925), futuro Cassino da Urca e sede da TV Tupi carioca; do Jockey Club Brasileiro, na Gávea (1926), e do Botafogo Futebol e Regatas (1928).
+ 
+Archimedes Memória / Academia Ipuense de Letras, Ciências e Arte
+ 
+Augusto Malta. Sentados, da esquerda para a direita: Nestor de Figueiredo, Adolpho Morales de los Rios (pai) e Francisque Cuchet. Em pé, na mesma ordem: Archimedes Memoria, Adolpho Morales de los Rios (filho), Celestino Severo de Juan e Edgar Viana, 7 de setembro de 1922. Rio de Janeiro, RJ / Rio Antigo, por Charles Dunlop.
+ 
+O prédio da Cadeia Velha foi demolido em 1922, quando foi lançada, com a presença do presidente da República, Epitácio Pessoa (1865 – 1942), a pedra fundamental do prédio da nova sede do Legislativo (O Combate, 19 de junho de 1922; Fon-Fon, 24 de junho de 1922).
+ 
+O Combate, 19 de junho de 1922
+ 
+Fon-Fon, 24 de junho de 1922
+ 
+ 
+Demolição do Morro do Castelo; ao fundo, a Ilha Fiscal e o Palácio Tiradentes em construção, c. 1922. Rio de Janeiro, RJ / Acervo IMS
+ 
+Detalhe da foto anterior com destaque para a construção do Palácio Tiradentes
+ 
+Em estilo eclético, inspirado no Grand Palais de Paris, o Palácio Tiradentes foi inaugurado em 6 de maio de 1926, no dia em que se completava Um século de vida legislativa no Brasil. Seu nome homenageia o já mencionado Joaquim José da Silva Xavier, o Tiradentes (1746 – 1792).
+Por ordem do então presidente da Câmara, Arnolfo de Azevedo (1868 – 1942), o Palácio Tiradentes foi construído com muita economia, tendo custado 15 contos de réis, metade do custo do Palácio Pedro Ernesto, inaugurado em 1923. Toda sua estrutura é de concreto e tijolo; as estátuas são de massa. Ricos cafeicultores e o estado de São Paulo foram responsáveis pela doação de vários móveis para a nova Câmara Federal, abrigada no Palácio Tiradentes. A Câmara Federal ali funcionou de 1926 até 1960 (Correio de Manhã, 7 de maio de 1926; O Paiz, 6 de maio e 7 de maio de 1926; Architectura no Brasil, junho/julho de 1926).
+
+ 
+O Paiz, 7 de maio de 1926
+ 
+Augusto Malta. Palácio Tiradentes, c. 1926. Rio de Janeiro, RJ / Acervo IMS
+ 
+O presidente dos Estados Unidos, Herbert Hoover (1874 – 1964), fez uma visita ao Palácio Tiradentes, em 22 de dezembro de 1928 (Fon-Fon, 29 de dezembro de 1928).
+ 
+Guilherme Santos. Herbert Clark Hoover, presidente dos Estados Unidos, durante visita à Câmara dos Deputados, 22 de dezembro de 1928. Rio de Janeiro, RJ / Acervo IMS
+ 
+Abaixo, um imagem de autoria do fotógrafo amador Guilherme Santos (1871 – 1966) no dia da Constituinte de 1934, em 16 de julho de 1934, com a cavalaria e civis diante do Palácio Tiradentes.
+ 
+Guilherme Santos. Cavalaria e civis em frente ao Palácio Tiradentes, no dia da Constituinte de 1934, 16 de julho de 1934. Rio de Janeiro, RJ / Acervo IMS
+ 
+O Parlamento foi fechado pelo presidente Getulio Vargas (1882 – 1954) no período do Estado Novo, de 1937 a 1945, e no Palácio Tiradentes passou a funcionar o Ministério da Justiça e o Departamento de Imprensa e Propaganda (DIP), órgão de censura do regime. Com a saída de Vargas, em 1945, o Palácio Tiradentes novamente abrigou uma Assembleia Constituinte.
+Quando Brasília tornou-se a capital do Brasil, em 1960, o Palácio Tiradentes passou a abrigar a Assembleia Legislativa do Estado da Guanabara (ALEG) que, com a fusão dos estados da Guanabara e do Rio de Janeiro, efetivada em 1975, passou a se chamar Assembleia Legislativa do Estado do Rio de Janeiro (ALERJ).
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+CASTRO, Ramiro Berbert de. Edifícios da Cadeia Velha, Palácio Monroe e Biblioteca Nacional. Rio de Janeiro : Empresa Brasil Editora, 1926.
+Diário do Rio
+Hemeroteca Digital da Biblioteca Nacional
+O GLOBO, 10 de novembro de 2011
+Site Academia Ipuense de Letras, Ciências e Artes
+Site Alerj
+Site Rio Memórias
+ 
+Links para os outros artigos da Série O Rio de Janeiro desaparecido
+ 
+Série O Rio de Janeiro desaparecido I - Salas de cinema do Rio de Janeiro do início do século XX, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 26 de fevereiro de 2016.
+Série O Rio de Janeiro desaparecido II – A Exposição Nacional de 1908 na Coleção Família Passos, de autoria de Carla Costa, historiadora do Museu da República, publicado na Brasiliana Fotográfica, em 5 de abril de 2018.
+Série O Rio de Janeiro desaparecido III – O Palácio Monroe, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica, em 9 de novembro de 2016.
+Série O Rio de Janeiro desaparecido IV - A via elevada da Perimetral, de autoria da historiadora Beatriz Kushnir, publicado na Brasiliana Fotográfica em 23 de junho de 2017.
+Série O Rio de Janeiro desaparecido V – O quiosque Chopp Berrante no Passeio Público, Ferrez, Malta e Charles Dunlop, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 20 de julho de 2018.
+Série O Rio de Janeiro desaparecido VI – O primeiro Palácio da Prefeitura Municipal do Rio de Janeiro, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 12 de setembro de 2018.
+Série O Rio de Janeiro desaparecido VII – O Morro de Santo Antônio na Casa de Oswaldo Cruz, de autoria de historiador Ricardo Augusto dos Santos da Casa de Oswaldo Cruz, publicado na Brasiliana Fotográfica em 5 de fevereiro de 2019.
+Série O Rio de Janeiro desaparecido VIII – A demolição do Morro do Castelo, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 30 de abril de 2019.
+Série O Rio de Janeiro desaparecido IX – Estrada de Ferro Central do Brasil: estação e trilhos, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 12 de novembro de 2019.
+Série O Rio de Janeiro desaparecido X – No Dia dos Namorados, um pouco da história do Pavilhão Mourisco em Botafogo, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 12 de junho de 2020.
+Série O Rio de Janeiro desaparecido XI – A Estrada de Ferro do Corcovado e o mirante Chapéu de Sol, de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 22 de julho de 2021.
+Série O Rio de Janeiro desaparecido XII – o Teatro Lírico (Theatro Lyrico), de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 15 de setembro de 2021.
+Série O Rio de Janeiro desaparecido XIII – O Convento da Ajuda, de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 12 de outubro de 2021.
+Série O Rio de Janeiro desaparecido XIV – O Conselho Municipal, de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 19 de novembro de 2021.
+Série O Rio de Janeiro desaparecido XV – A Praia de Santa Luzia no primeiro dia do verão, de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 21 de dezembro de 2021.
+Série O Rio de Janeiro desaparecido XVI – O prédio da Academia Imperial de Belas Artes, de autoria de Andrea C.T. Wanderley, publicado na Brasiliana Fotográfica em 13 de janeiro de 2022.
+Série O Rio de Janeiro desaparecido XVII – Igreja São Pedro dos Clérigos, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 18 de março de 2022.
+Série O Rio de Janeiro desaparecido XVIII – A Praça Onze, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 20 de abril de 2022.
+Série O Rio de Janeiro desaparecido XIX – A Igrejinha de Copacabana, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 23 de junho de 2022.
+Série O Rio de Janeiro desaparecido XX – O Pavilhão dos Estados, futuro prédio do Ministério da Agricultura, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 26 de julho de 2022.
+Série O Rio de Janeiro desaparecido XXI – O Chafariz do Largo da Carioca, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 19 de setembro de 2022. 
+Série O Rio de Janeiro desaparecido XXIII e Avenidas e ruas do Brasil XVII - A Praia e a Rua do Russel, na Glória, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 15 de maio de 2023
+Série O Rio de Janeiro desaparecido XXIV – O luxuoso Palace Hotel, na Avenida Rio Branco, uma referência da vanguarda artística no Rio de Janeiro, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 4 de julho de 2023
+Série O Rio de Janeiro desaparecido XXV – O Theatro Phenix, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 5 de setembro de 2023
+Série O Rio de Janeiro desaparecido XXVI – Conclusão do arrasamento do Morro do Castelo por Augusto Malta, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 14 de dezembro de 2023
+Série O Rio de Janeiro desaparecido XXVII e Série Os arquitetos do Rio de Janeiro V – O Jockey Club e o Derby Club, na Avenida Rio Branco e o arquiteto Heitor de Mello (1875 – 1920), de autoria de Andrea c. T. Wanderley, editora e pesquisadora do portal, em 15 de janeiro de 2024
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/11278` — `itens/20.500.12156.1_11278/`
+- `20.500.12156.1/2774` — `itens/20.500.12156.1_2774/`
+- `20.500.12156.1/11282` — `itens/20.500.12156.1_11282/`
+- `20.500.12156.1/11058` — `itens/20.500.12156.1_11058/`
+- `20.500.12156.1/2784` — `itens/20.500.12156.1_2784/`
+- `20.500.12156.1/10232` — `itens/20.500.12156.1_10232/`
+- `20.500.12156.1/9465` — `itens/20.500.12156.1_9465/`
+
diff --git a/wordpress/29862-serie-1922-hoje-ha-100-anos-ix-o-centenario-do-museu-historico-nacional.md b/wordpress/29862-serie-1922-hoje-ha-100-anos-ix-o-centenario-do-museu-historico-nacional.md
new file mode 100644
index 0000000..3838a71
--- /dev/null
+++ b/wordpress/29862-serie-1922-hoje-ha-100-anos-ix-o-centenario-do-museu-historico-nacional.md
@@ -0,0 +1,116 @@
+---
+id: 29862
+url: "https://brasilianafotografica.bn.gov.br/?p=29862"
+titulo: "Série “1922 – Hoje, há 100 anos” IX – O centenário do Museu Histórico Nacional"
+autor: "Andrea Wanderley"
+data: "2022-10-12T00:28:51+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/11245", "20.500.12156.1/6269", "20.500.12156.1/11243", "20.500.12156.1/11244", "20.500.12156.1/11246", "20.500.12156.1/11249", "20.500.12156.1/11259", "20.500.12156.1/11250", "20.500.12156.1/11248", "20.500.12156.1/11257", "20.500.12156.1/11258"]
+fetched_at: "2026-09-10T10:12:19.497Z"
+---
+
+# Série “1922 – Hoje, há 100 anos” IX – O centenário do Museu Histórico Nacional
+
+Publicamos o artigo Cem anos do Museu Histórico Nacional, de autoria da historiadora Maria Isabel Lenzi, o 9º da Série 1922 – Hoje, há 100 anos. O Museu Histórico Nacional é uma das instituições parceiras da Brasiliana Fotográfica e foi o primeiro museu voltado à história do país e também o primeiro a ter suas portas sempre abertas à visitação de qualquer pessoa, já que o Museu Nacional, mais antigo museu do Brasil, recebia somente pesquisadores agendados. Foi idealizado pelo escritor e jornalista Gustavo Barroso.
+ 
+Fon-Fon, 21 de outubro de 1922
+ 
+Acessando o link para as fotografias do Museu Histórico Nacional disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Cem anos do Museu Histórico Nacional 
+Maria Isabel Ribeiro Lenzi*
+ 
+Fachada do Museu Histórico Nacional, 1946. Rio de Janeiro, RJ / Acervo MHN
+ 
+Em 1922 o Brasil fazia 100 anos. Era preciso comemorar o centenário da nação e mostrar ao mundo civilizado a modernidade da Capital Federal que há alguns anos havia passado por grande reforma. Mas ainda havia um vestígio colonial que, na opinião dos que estavam no poder, deveria ser extirpado: o Morro do Castelo, outeiro que abrigava a cidadela fundadora do Rio de Janeiro. Assim se fez. Com terra arrancada da colina histórica, aterrou-se a ponta do Calabouço, no litoral do bairro da Misericórdia e, no local, foi estabelecida a Exposição Internacional de 1922, que celebrou o centenário da independência do Brasil.
+ 
+Juan Gutierrez. Morro do Castelo, 189?. Rio de Janeiro, RJ / Acervo MHN
+ 
+O antigo arsenal de guerra, a Casa do Trem e o Forte de Santiago, prédios coloniais, foram preservados da demolição e adaptados para receber o Palácio das Grandes Indústrias. Duas salas contíguas deste Palácio receberam o Museu Histórico Nacional que foi criado em 2 de agosto pelo decreto nº 15.596 do presidente Epitácio Pessoa e aberto ao público em 12 de outubro de 1922.
+ 
+Pavilhão das Grandes Indústrias da Exposição de 1922, atual Museu Histórico Nacional, 1922. Rio de Janeiro, RJ / Acervo MHN
+ 
+Na ocasião de sua inauguração, foram expostas 643 peças museológicas. Foi o primeiro museu voltado à história do país e também o primeiro a ter suas portas sempre abertas à visitação de qualquer pessoa, já que o Museu Nacional, mais antigo museu do Brasil, recebia somente pesquisadores agendados.
+ 
+Galeria de Exposições – vitrine “Aranha”, 1922. Rio de Janeiro, RJ / Acervo MHN
+ 
+O MHN foi idealizado por Gustavo Barroso, que preocupado com a reverência de um passado nacional, o idealizou baseado numa concepção monumental da história, na qual os grandes heróis e os grandes feitos coloniais e monárquicos seriam cultuados.  Gustavo Barroso dirigiu o MHN quase que ininterruptamente, até sua morte em 1959.  Em 1930 ele foi afastado do cargo por Getulio Vargas, mas retornou menos de dois anos depois.
+ 
+Gustavo Barroso (1898 – 1959) / Acervo Museu Histórico Nacional
+ 
+D. Quixote, 30 de agosto de 1922
+ 
+Com o final da Exposição Internacional, o MHN começou a se expandir. Em 1923, o estado adquire o primeiro núcleo da coleção J. J. Raposo, com 357 objetos. No ano seguinte, o museu recebeu de Guilherme Guinle o primeiro núcleo do que veio a compor a coleção Guinle.  Também neste ano, foi aberto o primeiro circuito de exposições de longa duração, com as mostras “Arqueologia e História” e “Numismática”. Com o objetivo de divulgar o acervo do museu foi publicado o “Catálogo Geral da Primeira Seção – Arqueologia e História”.
+Com a Revolução de 1930, Getulio Vargas nomeou Rodolfo Garcia para a direção do MHN. Neste ano, o museu passou por uma ampliação de sua área física e, em 1931, foi realizada a primeira exposição temporária: “Exposição Comemorativa do Centenário da Abdicação de D. Pedro I”.  Em 1932, estabeleceu-se, nas dependências do museu, o curso de Museus para formação de conservadores de museus, que em 1951 foi formalizado como curso universitário. Posteriormente, em 1979, é transferido para as Universidade Federal do Estado do Rio de Janeiro. Deste modo, o curso de Museologia que hoje está na Uni-Rio tem o MHN em sua origem.
+Gustavo Barroso retorna à direção em 1932 e dois anos depois é criada a Inspetoria de Monumentos Nacionais como um departamento do Museu Histórico Nacional – extinta em 1937 com a criação do Serviço de Patrimônio Histórico e Artístico Nacional (IPHAN).
+Em 1939, um importante acervo é adquirido pelo governo federal, a coleção Souza Lima, composta de 486 esculturas religiosas em marfim provenientes das índias portuguesas. Trata-se do maior conjunto deste gênero em uma instituição pública.
+A partir de 1940, anualmente, até 1975 foram editados os Anais do MHN, que se tornaram uma das principais revistas de divulgação científica em Museologia. Em 1995, os Anais são retomados e ainda hoje a publicação é uma referência nas áreas de Museologia, Patrimônio, Colecionismo e História.
+ 
+Sala da República no Museu Histórico Nacional, 1940. Rio de Janeiro, RJ / Acervo MHN
+ 
+Em 1941, o governo federal arrematou em leilão a coleção de arte Djalma da Fonseca Hermes, cujo tema é o Brasil. O conjunto foi distribuído entre o MHN, Museu Imperial e o Palácio Guanabara. Coube ao MHN 168 objetos. No final da década de 1940, sete carruagens – berlindas e traquitanas – foram doadas à instituição pelo cidadão português Joaquim Ferreira Alves.  Passaram por uma importante restauração e hoje fazem parte da exposição “Do móvel ao Automóvel: transitando pela história”.
+O MHN deu apoio técnico para a criação de importantes museus, como o Museu Imperial e o Museu da Inconfidência na década de 1940, o Museu do Folclore, o Museu Rodoviário de Paraibuna. Com o falecimento de Gustavo Barroso, em 1959, Josué Montello assumiu a direção do Museu e recebeu do presidente Juscelino Kubitschek o Palácio do Catete para que este viesse a abrigar o Museu da República como uma divisão do MHN. A partir de então, a maior parte do acervo referente à República foi transferido para o Museu da República. Inclusive o quarto onde ocorreu o suicídio do Getulio Vargas que até então estava montado no MHN. Em 1983, o Museu da República se desvinculou do MHN.
+Em 1968, a coleção Sophia Jobim entra no acervo do MHN através de doação de seu irmão Danton Jobim. Esta é uma das coleções mais consultadas por pesquisadores, com 656 objetos além dos documentos e da biblioteca da feminista e primeira professora de indumentária histórica na Escola de Belas Artes.
+ 
+Sala Pedro II no Museu Histórico Nacional, 1940. Rio de Janeiro, RJ / Acervo MHN
+ 
+Em 1969, novo circuito de exposição é inaugurado: doze salas com exposição organizada cronologicamente, de acordo com os regimes políticos de cada época. Neste ano, são iniciados os famosos cursos do MHN. Foram 21 realizados pela Sociedade de Desenvolvimento do MHN.
+Sob a direção de Gerardo Câmara, em 1971, teve início o “Programa de Exposições Itinerantes”, que levava o MHN para outros estados do Brasil. Em 1974, com Rui Mourão dirigindo o MHN, é inaugurada a Reserva Técnica, em termos de Museologia, uma iniciativa pioneira no Brasil.
+ 
+Sala Guilhermina Guinle no Museu Histórico Nacional, 1940. Rio de Janeiro, Rj / Acervo MHN
+ 
+De 1985 a 1988, Solange Godoy assume a direção do museu, período em que foi vinculado à Fundação Pró-Memória. Neste triênio, tiveram lugar importantes realizações: recuperação do Pátio Minerva; lançamento do “Thesauros para Acervos Museológicos”; inauguração do primeiro módulo “Colonização e Dependência” na exposição de longa duração; criação da Associação de Amigos do Museu Histórico Nacional; início da restauração do carro Protos, usado pelo Barão do Rio Branco; inauguração da primeira exposição temporária internacional “Peru Arqueológico”. Em 1995, o indigenista Luiz Felipe Figueiredo Cipré doou  ao MHN sua “Coleção Etnográfica”, com 358 peças de sociedades indígenas.
+Foi no período em que Heloísa Duncan estava na direção do museu (1989) que tiveram início as obras de restauração da Casa do Trem e que foi inaugurada a exposição “Farmácia Homeopática Teixeira Novaes”, doada ao MHN pela Fundação Roberto Marinho.
+ 
+Sala Almirante Barroso no Museu Histórico Nacional, 1940. Rio de Janeiro, RJ / Acervo MHN
+ 
+Os três anos da direção de Ecyla Brandão (1990 a 1993) foram marcados pela inauguração da exposição “Memória do Estado Imperial”; pela restauração e exposição da obra “Combate Naval do Riachuelo”, de Victor Meirelles; pela reforma do auditório e ampliação da Reserva Técnica do MHN.  Ainda em 1992, a instituição participou do evento internacional ECO 92 e abriu suas galerias para as exposições “Mestres do Ártico” e “Nossas Florestas, nossa herança”.
+Vera Lúcia Bottrel Tostes foi a diretora mais longeva depois de Gustavo Barroso. Vera, que já era servidora do MHN, assume a direção em 1994, onde permanece até 2014. Em sua gestão o museu passou por uma grande reformulação e modernização nas exposições e nos produtos oferecidos ao público. Em 1995, a edição dos Anais do Museu Histórico é retomada. Dois anos depois, é realizado o primeiro Seminário Internacional, evento que se tornou tradicional no mês de outubro. Em 1996, foi criado o primeiro site do MHN na internet.
+ 
+Sala Smith de Vasconcelos no Museu Histórico Nacional, 1940. Rio de Janeiro, RJ / Acervo MHN
+ 
+No ano 2000 o MHN participa ativamente das comemorações dos 500 anos da chegada dos portugueses à América com a exposição internacional “Carta de Caminha” e a inauguração do Centro de Referência Luso-Brasileira em parceria com o Ministério das Relações Exteriores de Portugal.
+Em 15 de março de 2008, o museu recebe os presidentes Luís Inácio Lula da Silva e Antônio Cavaco Silva, presidente de Portugal, para a inauguração da exposição “Um novo mundo, um novo império: a corte portuguesa no Brasil”. Naquele ano, o MHN coordenou as comemorações do bicentenário da chegada do príncipe regente D. João ao Brasil.
+Em seu aniversário de 90 anos, em 2012, o MHN é reconhecido como uma instituição com contribuições relevantes à cultura brasileira e recebe do Ministério da Cultura a Ordem de Mérito Cultural. Neste mesmo ano, ofereceu ao público uma exposição com sua trajetória: “Museu Histórico Nacional: 90 anos de Histórias”.
+ 
+Sala dos Vice Reis no Museu Histórico Nacional, 1940. Rio de Janeiro, RJ / Acervo MHN
+ 
+Com aposentadoria de Vera Tostes no final de 2014, Ruth Beatriz Caldeira de Andrada dirigiu o museu interinamente até outubro de 2015. Neste período, o MHN apresentou aos cariocas a exposição “Tão importante e tão esquecido, o bairro da Misericórdia” no contexto das comemorações dos 450 anos da cidade do Rio de Janeiro.
+O Professor Paulo Knauss foi o primeiro diretor a passar por concurso para o cargo. Sua gestão, de outubro de 2015 a 2019, foi marcada por importantes realizações, entre elas, a aprovação do regimento interno do museu; a implantação do Plano Anual de patrocínio cultural por meio da Lei de Incentivo à Cultura; a criação da sala Tiradentes no módulo Cidadania da exposição permanente; o envolvimento do MHN na Olimpíada, recebendo três exposições mexicanas; o desenvolvimento do Projeto Curadoria Compartilhada com representantes de grupos sociais específicos – movimento negro, feministas, judeus, comunidade da Vila Autódromo.
+Ainda neste quatriênio, pensando na formação de público, foi implementado o Programa Educativo-Cultural de visitação temática “Bonde da História” e “Bondinho da História”, além da criação do Centro de Referência de Educação Museal. Também na gestão de Paulo Knauss, a publicação dos Anais do MHN passou ao formato eletrônico. Outra realização relevante deste período foi a reforma da Reserva Técnica com aquisição de novos mobiliários, como estantes deslizantes ampliando a capacidade de armazenagem.
+ 
+Sala dos Ottoni no Museu Histórico Nacional, 1940. Rio de Janeiro, RJ / Acervo MHN
+ 
+De 2019 até a atualidade o MHN está com direção interina. Vânia Bonelli, de 1º de janeiro de 2020 a 8 fevereiro de 2022, e Aline Montenegro Magalhães, de 9 de fevereiro de 2022 a 25 de julho de 2022. Tempo duro de pandemia, mas o museu não parou. Foram realizadas diversas lives e exposições on line neste período.  Atualmente, é dirigido, ainda interinamente, por Fernanda Castro e oferece ao público a exposição Rio 1922, sobre o Rio de Janeiro no ano da comemoração do centenário da independência e de sua fundação.
+O Museu Histórico Nacional completa seu centenário em outubro de 2022. Nestes 100 anos muita coisa mudou na instituição.  Se, quando da sua fundação, o MHN se esmerava em guardar a cultura material da elite econômica e militar, a partir dos anos 80 com a entrada de artefatos indígenas, o acervo do MHN passou a representar outros segmentos sociais até que, em 1992, foi criada a Política de Aquisição de Acervo, para sistematizar esse esforço do MHN de representar efetivamente toda a sociedade.
+ 
+*Maria Isabel Ribeiro Lenzi é Doutora em História pela UFF e historiadora do Arquivo Histórico do Museu Histórico Nacional (IBRAM/MTur)
+ 
+Links para os artigos publicados da Série 1922 – Hoje, há 100 anos
+Série 1922 – Hoje, há 100 anos I – Os Batutas embarcam para Paris, de autoria de Andrea C.T. Wanderley, publicado em 29 de janeiro de 2022
+Série 1922 – Hoje, há 100 anos II- A Semana de Arte Moderna, de autoria de Andrea C.T. Wanderley, publicado em 13 de fevereiro de 2022, na Brasiliana Fotográfica
+Série 1922 – Hoje, há 100 anos III – A eleição de Artur Bernardes e a derrota de Nilo Peçanha, de autoria de Andrea C.T. Wanderley, publicado em 1º de março de 2022, na Brasiliana Fotográfica
+Série 1922 – Hoje, há 100 anos IV – A primeira travessia aérea do Atlântico Sul, realizada pelos aeronautas portugueses Gago Coutinho e Sacadura Cabral, de autoria de Andrea C. T. Wanderley, publicada em 17 de junho de 2022, na Brasiliana Fotográfica
+Série 1922 – Hoje, há 100 anos V – A Revolta do Forte de Copacabana, de autoria de Andrea C. T. Wanderley, publicada em 5 de julho de 2022, na Brasiliana Fotográfica
+Série 1922 – Hoje, há 100 anos VI e série Feministas, graças a Deus XI – A fundação da Federação Brasileira para o Progresso Feminino, de autoria de Andrea C. T. Wanderley, publicado em 9 de agosto de 2022, na Brasiliana Fotográfica
+Série 1922 – Hoje, há 100 anos VII – A morte de Gastão de Orleáns, o conde d´Eu (Neuilly-sur-Seine, 28/04/1842 – Oceano Atlântico 28/08/1922), de autoria de Andrea C. T. Wanderley, publicado em 28 de agosto de 2022, na Brasiliana Fotográfica.
+Série 1922 – Hoje, há 100 anos VIII – A abertura da Exposição Internacional do Centenário da Independência do Brasil e o centenário da primeira grande transmissão pública de rádio no país, de autoria de Andrea C. T. Wanderley, publicado em 7 de setembro de 2022, na Brasiliana Fotográfica.
+Série 1922 – Hoje, há 100 anos X –  A morte do escritor Lima Barreto (1881 – 1922), de autoria de Andrea C. T. Wanderley, publicado em 1º denovembro de 2022, na Brasiliana Fotográfica.
+Série 1922 – Hoje, há 100 anos XI e série Feministas, graças a Deus XII – 1ª Conferência pelo Progresso Feminino e o “bom” feminismo, de autoria de Maria Elizabeth Brêa Monteiro, antropóloga do Arquivo Nacional, publicado em 19 de dezembro de 2022, na Brasiliana Fotográfica.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/11245` — `itens/20.500.12156.1_11245/`
+- `20.500.12156.1/6269` — `itens/20.500.12156.1_6269/`
+- `20.500.12156.1/11243` — `itens/20.500.12156.1_11243/`
+- `20.500.12156.1/11244` — `itens/20.500.12156.1_11244/`
+- `20.500.12156.1/11246` — `itens/20.500.12156.1_11246/`
+- `20.500.12156.1/11249` — `itens/20.500.12156.1_11249/`
+- `20.500.12156.1/11259` — `itens/20.500.12156.1_11259/`
+- `20.500.12156.1/11250` — `itens/20.500.12156.1_11250/`
+- `20.500.12156.1/11248` — `itens/20.500.12156.1_11248/`
+- `20.500.12156.1/11257` — `itens/20.500.12156.1_11257/`
+- `20.500.12156.1/11258` — `itens/20.500.12156.1_11258/`
+
diff --git a/wordpress/29964-cronologia-de-therezio-mascarenhas-18-19.md b/wordpress/29964-cronologia-de-therezio-mascarenhas-18-19.md
new file mode 100644
index 0000000..2d9ced4
--- /dev/null
+++ b/wordpress/29964-cronologia-de-therezio-mascarenhas-18-19.md
@@ -0,0 +1,48 @@
+---
+id: 29964
+url: "https://brasilianafotografica.bn.gov.br/?p=29964"
+titulo: "Cronologia de Therezio Mascarenhas (18? – 19?)"
+autor: "Andrea Wanderley"
+data: "2022-10-27T11:24:46+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: []
+fetched_at: "2026-09-10T10:12:22.842Z"
+---
+
+# Cronologia de Therezio Mascarenhas (18? – 19?)
+
+Cronologia de Therezio Mascarenhas (18? – 19?)
+Pouco se sabe, até hoje, sobre a biografia do fotógrafo Therezio Mascarenhas. A partir da pesquisa na Hemeretoca Digital da Biblioteca Nacional, segue uma pequena cronologia de sua vida, que ajuda a traçar um pouco de seu perfil.
+ 
+Gazeta de Notícias, 13 de junho de 1912
+ 
+Detalhe da foto acima, onde aparece Therezio, identificado como ajudante do engenheiro / Gazeta de Notícias, 13 de junho de 1912
+ 
+1900 – Procedente do Rio de Janeiro, fazendo quarentena na Ilha Grande, chegada do vapor nacional Pernambuco , em Vitória. Therezio era um dos passageiros (O Estado do Espírito Santo: Ordem e Progresso, 24 de julho de 1900, última coluna).
+1908 – Foi um dos convidados de F. Clemetson, superintendente da Estrada de Ferro Sul do Espírito Santo, para viajar para Engenheiro Reeve com o cientista Charles Wiener (1851–1913), nascido em Viena, que ficou bastante conhecido por suas viagens ao Peru (Diário da Manhã: Órgão do Partido Construto (ES), 20 de fevereiro de 1908, quarta coluna).
+Fotografou indígenas do Rio Doce (Diário da Manhã: Órgão do Partido Conservador (ES), 20 de fevereiro de 1908, segunda coluna).
+Identificado como um ativo jovem, Therezio seguiu para o Rio de Janeiro, no paquete Maranhão, em 6 de junho, com a intenção de conversar com o diretor da Sociedade Nacional de Agricultura sobre a abertura de um estabelecimento de artigos e ferragens para a lavoura. Retornou em julho (Diário da Manhã: Órgão do Partido Construtor (ES), 7 de junho de 1908, quinta coluna; Commercio do Espírito Santo, 24 de julho de 1908, segunda coluna).
+Foi anunciado que ele abriria, na rua da Alfândega, em Vitória, um depósito para máquinas para a lavoura importados da Europa e da América do Norte (Cachoeirano, 20 de junho de 1908, terceira coluna).
+Publicação de uma poesia de sua autoria (O Malho, 8 de agosto de 1908).
+1909 - Ele e Casemiro Guimarães tiraram várias diversas fotográficas do piquenique dos sócios do Club de Regatas, realizado na Ilha do Boi, no Espírito Santo (Commercio do Espírito Santo, 22 de março de 1909, primeira coluna).
+O engenheiro Augusto Ferreira Ramos (1860 – 1939), criador e construtor do Bondinho do Pão de Açúcar, promoveu uma excursão durante a qual os aplicados amadores Paulo Motta e Therezio Mascarenhas tiraram várias fotografias (Diário da Manhã: Órgão do Partido Construtor (ES), 8 de abril de 1909, última coluna). Provavelmente, em torno deste ano, Augusto e Therezio se conheceram.
+Foi publicada na revista Fon-Fon uma fotografia de sua autoria (Fon-Fon, 24 de abril de 1909).
+ 
+Fon-Fon, 24 de abril de 1909
+ 
+Praticava tiro ao alvo (Diário da Manhã: Órgão do Partido Construtor (ES), 4 de maio de 1909, primeira coluna).
+No Café Globo, em Vitória, houve uma exposição de fotografias de sua autoria dos serviços de abastecimento e luz realizados pelo engenheiro Augusto Ferreira Ramos. Foi identificado como amador e nesses registros Therezio revelava muito bom gosto pela arte (Diário da Manhã: Órgão do Partido Construtor (ES), 24 de maio de 1909, quinta coluna; Correio do Espírito Santo, 26 de maio de 1909, segunda coluna).
+Fazia parte da comitiva de Augusto Ferreira Ramos em visitas de obras hidráulicas realizadas pelo engenheiro  (Diário da Manhã: Órgão do Partido Construtor (ES), 10 de julho de 1909, segunda coluna; Diário da Manhã: Órgão do Partido Construtor (ES), 13 de julho de 1909, quinta coluna).
+Participou da homenagem realizada pelo governo do Espírito Santo ao presidente Afonso Pena (1847 – 1909), na Catedral de Vitória (Commercio do Espírito Santo, 13 de julho de 1909, última coluna).
+Foi noticiado seu aniversário, no dia 23 de agosto (Correio do Espírito Santo, 23 de agosto de 1909, primeira coluna).
+Produziu várias fotografias durante uma excursão ao Jucu promovida pelo engenheiro Augusto Ferreora Ramos, contratante dos serviços de água, luz e esgoto de Vitória, que ofereceu um piquenique à família do político capixaba Torquato Moreira e a outras distintas famílias (Commercio do Espírito Santo, 21 de setembro de 1909, segunda coluna).
+Esteve presente na missa de sétimo dia do prefeito de Vitória, Ceciliano Abel de Almeida (Commercio do Espírito Santo, 24 de novembro de 1909, quarta coluna).
+Fotografou as festas realizadas na Escola Aprendizes de Marinheiro e foi identificado como um hábil fotógrafo (Diário da Manhã: Órgão do Partido Construtor (ES), 23 de dezembro, segunda coluna).
+1910 – Possuia um estabelecimento fotográfico na Villa Moscoso, nº 16, em Vitória, no Espírito Santo (Diário da Manhã: Órgão do Partido Construtor (ES), 26 de fevereiro de 1910, segunda coluna; Almanak Laemmert, 1910, primeira coluna; Almanak Renault, 1912, última coluna).
+Estava vendendo artigos  fotográficos (Diário da Manhã: Órgão do Partido Construtor (ES), 10 de março de 1910, última coluna).
+ 
+Diário da Manhã: Órgão do Partido Construtor (ES), 10 de março de 1910
+ 
+1911 - Chegou no porto de Vitória, procedente do norte no paquete Sattelite (Diário da Manhã: Órgão do Partido Construtor (ES), 18 de outubro de 1911, segunda coluna).
+1916 - Seu estabelecimento fotográfico na Villa Moscoso, em Vitória, no Espírito Santo, foi anunciado pela última vez no Almanak Laemmert (Almanak Laemmert, 1916, última coluna).
+1927 - Ele e Augusto Ferreira Ramos foram alguns dos subscritores do abaixo-assinado feito por moradores e proprietários na Praia Vermelha, elogiando os melhoramentos realizados pelo prefeito do Rio de Janeiro, Antônio da Silva Prado Junior (1880 – 1955), na remodelação da principal artéria e nas cercanias da região, o que facilitaria a visita ao encantador passeio do Pão de Açúcar (O Paiz, 14 de dezembro de 1927, segunda coluna).
diff --git a/wordpress/3002-serie-conflitos-ii-guerra-de-canudos-pelo-fotografo-flavio-de-barros.md b/wordpress/3002-serie-conflitos-ii-guerra-de-canudos-pelo-fotografo-flavio-de-barros.md
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+---
+id: 3002
+url: "https://brasilianafotografica.bn.gov.br/?p=3002"
+titulo: "Série “Conflitos” II – Guerra de Canudos pelo fotógrafo Flavio de Barros"
+autor: "Andrea Wanderley"
+data: "2015-10-05T12:22:12+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/4860", "20.500.12156.1/4798", "20.500.12156.1/4866", "20.500.12156.1/4863", "20.500.12156.1/4831", "20.500.12156.1/4862"]
+fetched_at: "2026-09-10T10:12:26.485Z"
+---
+
+# Série “Conflitos” II – Guerra de Canudos pelo fotógrafo Flavio de Barros
+
+Flavio de Barros. 400 jagunços prisioneiros, 2 de outubro de 1897. Canudos, Bahia / Acervo Museu da República / Imagem recuperada digitalmente pelo Instituto Moreira Salles
+ 
+400 jagunços prisioneiros
+Sergio Burgi*
+ 
+Esta fotografia de Flavio de Barros, feita no dia 2 de outubro de 1897, é uma dos registros mais emblemáticos dos conflitos e contradições da sociedade brasileira na passagem do Império para a República. Talvez uma das nossas mais expressivas fotografias de guerra, ela diverge radicalmente da maior parte dos registros realizados pelo fotógrafo, que estava em Canudos a serviço do Exército, durante a última expedição que, em 5 de outubro daquele ano, aniquilou definitivamente a resistência dos conselheiristas. A imagem registra o momento em que mulheres, feridos, velhos e crianças se entregam ao Exército, numa provável estratégia de resistência final dos poucos conselheiristas restantes, os quais permaneceram entrincheirados e em combate até o fim da guerra, como indica Euclides da Cunha (1866 – 1909) em um dos trechos da magistral obra Os Sertões. 
+ 
+Ao contrário das imagens oficiais e posadas de diversos destacamentos do Exército e de algumas cenas reencenadas de batalhas e confrontos entre soldados e jagunços, essa imagem é o registro de um evento não antecipado nem pelo Exército nem pelo fotógrafo Flavio de Barros. Sua força decorre de seu caráter essencialmente frontal e direto e seu valor histórico e documental se amplifica também em função do trágico desfecho desse momento da Guerra de Canudos: a chacina dessas mulheres, homens e crianças pelas forças regulares.
+O título “400 jagunços prisioneiros”, tal como figura nos álbuns de Flavio de Barros, busca atribuir àqueles desvalidos e indefesos uma ferocidade que a própria imagem desmente e que mesmo Euclides fez questão de corrigir, reintitulando-a “As prisioneiras”, buscando coerência com seu testemunho do evento. Foi uma das três imagens publicadas na primeira edição de Os Sertões.
+Do ponto de vista da história da fotografia no Brasil, esta imagem, suas circunstâncias e os diversos textos e relatos de época sobre o evento, constituem referências germinais para uma melhor compreensão do que viria a se constituir ao longo do século XX  no país como um fotojornalismo e uma fotografia de autor socialmente engajados e de forte vertente humanista.
+Artigo escrito por Favila Nunes na Gazeta de Notícias, de 17 de outubro de 1897, na segunda coluna, onde descreve a “procissão enorme da jagunçada…esqueletos humanos, com as mãos decepadas, ferimentos horríveis e asquerosos, alguns apodrecidos…”
+Impressão do tenente-coronel Dantas Barreto sobre os prisioneiros de Canudos, na página 66, da dissertação de mestrado de Vanessa Monteiro, intitulada “Canudos: as crianças do sertão como butim de guerra, de abril de 2007
+ 
+*Sergio Burgi é curador da Brasiliana Fotográfica e coordenador da área de Fotografia do Instituto Moreira Salles.
+ 
+Acessando o link para as fotografias de Flavio de Barros disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Flavio de Barros. Vista panorâmica de Canudos antes do assalto final (imagem formada a partir de duas fotos originais), 1897. Canudos, Bahia / Acervo Museu da República / Imagem recuperada digitalmente pelo Instituto Moreira Salles
+ 
+Todas as imagens de Flavio de Barros sobre a Guerra de Canudos disponibilizadas na Brasiliana Fotográfica são fruto de um projeto realizado pelo Instituto Moreira Salles, em 2002, de recuperação digital dos originais existentes nos acervos do Museu da República, no Rio de Janeiro, do Instituto Geográfico e Histórico da Bahia, em Salvador, e da Casa de Cultura Euclides da Cunha, em São José do Rio Pardo. Com a colaboração dessas instituições foi possível constituir um álbum canônico virtual gerado a partir do exemplar em melhor estado de conservação existente em cada uma das apenas setenta imagens conhecidas do evento. Um panorama formado digitalmente a partir da junção de duas imagens também integra o conjunto das fotografias de Canudos disponíveis no portal Brasiliana Fotográfica.
+ 
+Pequeno perfil de Flavio de Barros
+Andrea C.T. Wanderley**
+ 
+Flávio de Barros, fotógrafo expedicionário, 1897. Canudos, Bahia / Acervo Museu da República / Imagem recuperada digitalmente pelo Instituto Moreira Salles
+ 
+O fotógrafo Augusto Flavio de Barros notabilizou-se pela documentação que fez da Guerra de Canudos. Foi o autor dos únicos registros até hoje conhecidos do dia a dia das tropas, da rendição e destruição do arraial organizado por Antônio Conselheiro. Flavio de Barros criou um álbum de 70 fotografias do confronto, tendo registrado a paisagem árida do sertão baiano, a destruição do Arraial de Canudos, a imagem do corpo exumado de Conselheiro, grupos de oficiais e além de, segundo Boris Kossoy, “uma pretensa cena de ação montada onde se vê um grupo de jagunços sendo dominado pela cavalaria do Exército”. O fotógrafo havia sido contratado pelo Exército para registrar as ações militares, acompanhando a Divisão de Artilharia Canet, sob o comando do general Carlos Eugênio de Andrade Guimarães. Partiu de Salvador, em 30 de agosto de 1897, passou por Alagoinhas, Queimadas, Tanquinho, Cansanção, Quirinquinquá e Monte Santo. Chegou em Canudos, em 26 de setembro, onde ficou até, provavelmente, 12 de outubro.
+ 
+Flavio de Barros. Bom Jesus Antônio Conselheiro, depois de exumado, 1897. Canudos, Bahia / Acervo Museu da República / Imagem recuperada digitalmente pelo Instituto Moreira Salles
+ 
+Sobre a exumação de Antônio Conselheiro, ocorrida em 6 de outubro de 1897, e a fotografia tirada por Barros, há interessantes informações no jornal Gutemberg, de 24 de outubro de 1897, sob o título “Canudos”. No Paiz, de 30 de outubro do mesmo ano, sob o título “Vitória”, informava que o presidente da República, Prudente de Morais, havia felicitado o ministro da Guerra, marechal Carlos Machado de Bittencourt, pela vitória em Canudos. Em seguida, noticiava que Flávio de Barros tinha a intenção de fazer uma exposição com os registros fotográficos do conflito. Veio para o Rio de Janeiro, a bordo do vapor S. Salvador em 1897, trazendo nada menos que 65 clichês de fotografias tiradas em Canudos (Jornal do Brasil, 27 de outubro de 1897, quinta coluna). Em fins de 1897 e início de 1898, era noticiada a exibição por projeção elétrica das fotografias, na rua Gonçalves Dias, nº 46 (Jornal do Brasil, 24 de dezembro de 1897 e Gazeta de Notícias, de 2 de fevereiro de 1898).
+ 
+Gazeta de Notícias, 2 de fevereiro de 1898
+ 
+São poucos os dados biográficos sobre Flavio de Barros, mas se sabe que na última década do século XIX ele possuía um estúdio de retratos na cidade de Salvador na Rua do Lyceu, 3. No início do século XX, era proprietário do estabelecimento Photografia Americana, na rua da Misericórdia. Segundo o pesquisador Claude Santos, no artigo “A fotografia e Canudos”, de 1997, antes de ser fotógrafo, Flavio de Barros havia sido pintor.
+A fotografia “400 jagunços prisioneiros” destacada nesse post pode ser melhor investigada no portal a partir de sua magnificação, que destaca a tragédia dos fotografados, o que já foi feito no Cadernos de Fotografia Brasileira – Canudos, editado pelo Instituto Moreira Salles, em 2002.
+Uma curiosidade: o fotógrafo Juan Gutierrez de Padilla (c. 1860 – 1897), um dos fotógrafos da Revolta da Armada, que havia chegado em Canudos em abril de 1897, foi mortalmente ferido em 28 de junho do mesmo ano. Até hoje, não se conhece nenhum registro fotográfico que ele tenha feito do conflito. No livro Os Sertões, Euclides da Cunha referiu-se a ele como um “Oficial honorário, um artista que fora até lá atraído pela estética sombria das batalhas”. Sua morte foi noticiada no O Paiz, de 14 de julho de 1897, com fotografia na primeira página e um artigo de Luiz Murat.
+ 
+Pequeno resumo da Guerra de Canudos
+ 
+A Guerra de Canudos, no interior da Bahia, foi um conflito entre seguidores do carismático Antônio Vicente Mendes Maciel (1830 – 1897), que passou para a história como Antônio Conselheiro , “o peregrino”, e o Exército brasileiro, entre 21 de novembro de 1896 e 5 de outubro de 1897. O beato Conselheiro liderava um movimento messiânico de cunho social e religioso em uma região caracterizada por secas, desemprego e pela forte presença de latifúndios improdutivos. É assim que Euclides da Cunha o descreve no livro Os Sertões: “Espécie de grande homem pelo avesso, Antônio Conselheiro reunia no misticismo doentio todos os erros e superstições que formam o coeficiente doentio da nossa nacionalidade. Arrastava o povo sertanejo não porque dominasse, mas porque o dominavam as aberrações daquele. Favorecia-o o meio e ele realizava, às vezes, como vimos, o absurdo de ser útil”
+Sertanejos e ex-escravos foram para a cidadela de Canudos, erguida às margens do rio Vaza-Barris, ou Belo Monte, como o arraial era chamada por Antônio Conselheiro e  seus seguidores, sob a crença de que seriam poupados do clima e da miséria, além de salvarem suas almas. Conselheiro conseguiu implantar em Canudos um sistema de vida comunitária com autonomia econômica. Além disso, recusava-se a a respeitar as regras impostas pelo Estado e pelo clero. A República havia sido recém proclamada e os fazendeiros da região e a Igreja convenceram o governo de que Canudos se armava para reinstaurar a monarquia. Na coluna “A Semana”, Machado de Assis colocava em dúvida os temores em relação a Canudos (Gazeta de Notícias, de 22 de julho de 1894). Voltou a escrever sobre o assunto, protestando contra a perseguição ao grupo de Antônio Conselheiro: na Gazeta  de Notícias, de 13 de setembro de 1896, de 6 de dezembro de 1896 e de 31 de janeiro de 1897, sempre na coluna “A Semana”.
+ 
+Flavio de Barros. Vista parcial de Canudos ao sul, 1897. Canudos, Bahia / Acervo Museu da República / Imagem recuperada digitalmente pelo Instituto Moreira Salles
+ 
+Por ordem do arcebispo da Bahia, d. Jerônimo Tomé, em 1895, os freis capuchinhos italianos Caetano de Leo e João Evangelista de Monte Marciano vão a Canudos e, com o padre Vicente Sabino dos Santos, da cidade de Cumbe, atualmente Euclides da Cunha, tentam, sem sucesso, dispersar a comunidade. Um relatório elaborado pelo frei Marciano recomenda a intervenção do governo ( O Apóstolo, de 14 de julho de 1895,  de 17 de julho de 1895,  de 19 de julho de 1895, de 21 de julho de 1895 e de 24 de julho de 1895, sempre sob o título “Uma história curiosa”). Em 1896, estima-se que Canudos já contava com uma população entre 10 mil e 25 mil  habitantes. Nesse mesmo ano, Conselheiro encomenda uma remessa de madeira em Juazeiro para a construção de uma igreja. O juiz da cidade, Arlindo Leoni, alegando que a comunidade de Canudos estaria se preparando para invadir Juazeiro para retirar a madeira, pede ao governo o envio de tropas (Gazeta de Notícias, de 6 de novembro de 1896, na segunda coluna, sob o título “Bahia”).
+A partir daí, o Exército faz quatro expedições contra Canudos. Sai derrotado nas primeiras três. A primeira expedição, sob o comando do tenente Manuel da Silva Pires Ferreira, contava com três oficiais, 113 soldados, um médico, uma ambulância e dois guias. É atacada em 21 de novembro de 1896, em Uauá, a 50 quilômetros de Canudos, e recua (Gazeta de Notícias, de 4 de dezembro de 1896 e Gazeta de Notícias, de 23 de abril de 1897, na segunda coluna, sob o título “Sucessos da Bahia”). A segunda expedição começa em 25 de novembro de 1896 sob o comando do major Febrônio de Brito, que pede reforços e comenta que os bandidos de Canudos brigam fanaticamente (Gazeta de Notícias, de 28 de novembro de 1896, na segunda coluna, sob o título “Bahia”). Termina em 20 de janeiro de 1897 com a retirada das tropas do governo.
+ 
+Revista Illustrada, de janeiro de 1897
+ 
+
+Em fevereiro de 1897, o coronel Antônio Moreira César (1850–1897) embarca do Rio de Janeiro para comandar a terceira expedição, com 1.300 homens (Don Quixote, de 13 de fevereiro de 1897).  O primeiro assalto acontece em 2 de março, quando Moreira César é ferido, vindo a falecer no dia seguinte. As tropas legais começam a dispersar e o novo comandante, o coronel Pedro Nunes Tamarindo, também morre no dia 3 (O Paiz, de 8 de março de 1897, sob o título “Moreira César”, e Don Quixote, de 21 de março de 1897). É um dos maiores fracassos da história militar do Brasil e a opinião pública fica apavorada. Conselheiro e seus seguidores passam a ser considerados inimigos da República.
+ 
+Ilustração “Victimas do Dever”, da revista Don Quixote, de 21 de março de 1897
+ 
+Na quarta e última expedição, comandada pelo general Artur Oscar de Andrade Guimarães, havia seis brigadas, distribuídas em duas colunas, sob a liderança dos generais João da Silva Barbosa e Claudio do Amaral Savaget. Parte em junho de 1897.  Em 31 de julho, uma outra brigada com 68 oficiais e 1042 praças é formada, sob o comando do general Miguel Maria Girard. Até o ministro da Guerra, Carlos Machado de Bittencourt, vai a Canudos.
+A cidadela que, segundo o Exército, tinha 5.200 casebres, é incendiada e totalmente destruída. Cerca de 20 mil sertanejos são massacrados e prisioneiros de guerra, degolados. Além disso, estima-se que cerca de cinco mil militares morreram durante o conflito, que termina em 5 de outubro. O presidente Prudente de Morais elogia a campanha do Exército (Gazeta de Notícias, de 9 de outubro de 1897, na quarta coluna).
+ 
+Flavio de Barros. Ataque e incêndio em Canudos, 1897. Canudos, Bahia / Acervo Museu da República / Imagem recuperada digitalmente pelo Instituto Moreira Salles
+ 
+Sobre o fim da guerra, Euclides da Cunha escreve no livro Os Sertões (1902):
+ 
+“Canudos não se rendeu. Exemplo único em toda a história, resistiu até ao esgotamento completo. Expugnado palmo a palmo, na precisão integral do termo, caiu no dia 5, ao entardecer, quando caíram os seus últimos defensores, que todos morreram. Eram quatro apenas: um velho, dois homens feitos e uma criança, na frente dos quais rugiam raivosamente 5 mil soldados”.
+ 
+Euclides da Cunha / Fon-Fon, 21 de agosto de 1909
+ 
+No dia seguinte, o cadáver de Antônio Conselheiro, que havia morrido, em 22 de setembro, de disenteria, foi exumado. A Gazeta de Notícias, de 7 de outubro de 1897, noticia, na primeira página e com uma ilustração de Antônio Conselheiro, a vitória das forças do governo.
+ 
+Sobre o escritor Euclides da Cunha e a Guerra de Canudos
+ 
+O escritor Euclides da Cunha (1866-1909), após a derrota da terceira expedição do Exército, escreve para o jornal O Estado de São Paulo, na época Província de São Paulo, em 14 de março de 1897, o artigo “A nossa Vendéia”, no qual demonstra seu apoio à República e compara o conflito em Canudos com a sublevação católica, camponesa e monarquista, ocorrida durante a Revolução Francesa, no final do século XVIII.  Passa três semanas na Bahia como correspondente do citado jornal, durante a quarta expedição. Ali escreve também s2ua Caderneta de Campo, com o registro dos acontecimentos , anos depois transcrita por Olímpio de Souza Andrade e publicada pela Editora Cultrix (1975) e pela Biblioteca Nacional (2009). Euclides chega em Canudos em 16 de setembro de 1897, onde fica até 3 de outubro (íntegra de todos os artigos enviados pelo escritor e publicados na Província de São Paulo, no período de julho a outubro de 1897). Decepciona-se com o Exército e passa a ver o conflito de forma diferente. Escreve Os Sertões (1902), que imortalizou a Guerra de Canudos e é considerado uma obra-prima da literatura brasileira. O livro, que teve repercussão mundial, chamou a atenção para a dor e a miséria do sertão brasileiro. Na primeira edição, que chegou às livrarias, em 2 de dezembro de 1902, foram utilizadas três fotografias produzidas por Flavio de Barros: “Divisão Canet”, “7º Batalhão de Infantaria nas trincheiras” e “400 jagunços prisioneiros”, renomeadas por Euclides como “Monte Santo: Base das operações”, “Acampamento dentro de Canudos” e “As prisioneiras”, respectivamente.
+ 
+Link para Cadernos de Literatura Brasileira – Euclides da Cunha, publicado pelo Instituto Moreira Salles, em dezembro de 2002, em comemoração ao centenário de Os Sertões.
+ 
+Primeira edição do livro Os Sertões (1902), de Euclides da Cunha
+ 
+ 
+Links para outras publicações da Brasiliana Fotográfica sobre conflitos:
+A Revolta da Armada
+Lampião e outros cangaceiros sob as lentes de Benjamin Abrahão
+Registros da Guerra do Paraguai (1864 – 1870)
+ 
+Link para a cronologia da Guerra de Canudos publicada no site do Museu da República:
+Cronologia Resumida da Guerra de Canudos, pela historiadora Carla Costa, outubro de 2017
+ 
+Ouça aqui o podcast Sertões: história de Canudos, uma produção da Rádio Batuta, do Instituto Moreira Salles.
+ 
+**Andrea C. T. Wanderley
+Editora-assistente e pesquisadora do portal Brasiliana Fotográfica
+Esse artigo passou a integrar a série Conflitos, em 20 de março de 2026.
+ 
+Fontes:
+ALMEIDA, Cícero F. de Almeida. Canudos: imagens da guerra. Os últimos dias da Guerra de Canudos pelo fotógrafo expedicionário Flávio de Barros, Rio de Janeiro, Museu da República/Lacerda, 1997.
+Cadernos de Literatura Brasileira – Euclides da Cunha. Instituto Moreira Salles, 2002
+Cadernos de fotografia brasileira – Canudos. Instituto Moreira Salles, 2002
+Hemeroteca Digital da Biblioteca Nacional
+GALVÃO, Walnice Nogueira. Euclidiana – Ensaios sobre Euclides da Cunha. São Paulo: Companhia das Letras, 2009.
+KOSSOY, Boris. Dicionário histórico-fotográfico brasileiro: fotógrafos e ofício da fotografia no Brasil (1833-1910). São Paulo: Instituto Moreira Salles, 2002. 408 p., il. p&b.
+MONTEIRO, Vanessa Sattamini Varão. Canudos: as crianças do sertão como butim de guerra. Dissertação (Mestrado em História Social da Cultura) — Programa de Pós-graduação em História Social da Cultura, Departamento de História, Pontifícia Universidade Católica do Rio de Janeiro, 2007.
+O Cruzeiro, 19 de julho de 1947.
+– Homens errados, por Patricia de Queiroz
+– Canudos, por Austregésilo de Athayde
+– O princípio de Euclides, por Franklin de Oliveira
+– Roteiro de Canudos I – O reduto de Antônio Conselheiro – Fotos de Pierre Verger Texto de Odorico Tavares
+– Roteiro de Canudos II – O repórter Euclides da Cunha – Fotos de Pierre Verger Texto de Odorico Tavares
+– Roteiro de Canudos III – Depoimento dos sobreviventes – Fotos de Pierre Verger e Texto de Odorico Tavares
+– Jagunço, por Rachel de Queiroz
+Site da Enciclopédia do Itaú Cultural 
+Site Euclides da Cunha
+VENTURA, Roberto. Retrato Interrompido da Vida de Euclides da Cunha. São Paulo : Companhia das Letras, 2003.
+ZILLY, Berthold. Artigo Flavio de Barros, o ilustre cronista anônimo da guerra de Canudos, disponível na Revista da USP, volume 13, nº 36, de 1999
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/4860` — `itens/20.500.12156.1_4860/`
+- `20.500.12156.1/4798` — `itens/20.500.12156.1_4798/`
+- `20.500.12156.1/4866` — `itens/20.500.12156.1_4866/`
+- `20.500.12156.1/4863` — `itens/20.500.12156.1_4863/`
+- `20.500.12156.1/4831` — `itens/20.500.12156.1_4831/`
+- `20.500.12156.1/4862` — `itens/20.500.12156.1_4862/`
+
diff --git a/wordpress/30124-serie-avenidas-e-ruas-do-brasil-xvi-alguma-coisa-acontece-no-meu-coracao-a-aveni.md b/wordpress/30124-serie-avenidas-e-ruas-do-brasil-xvi-alguma-coisa-acontece-no-meu-coracao-a-aveni.md
new file mode 100644
index 0000000..b69fce1
--- /dev/null
+++ b/wordpress/30124-serie-avenidas-e-ruas-do-brasil-xvi-alguma-coisa-acontece-no-meu-coracao-a-aveni.md
@@ -0,0 +1,118 @@
+---
+id: 30124
+url: "https://brasilianafotografica.bn.gov.br/?p=30124"
+titulo: "Série “Avenidas e ruas do Brasil” XVI – “Alguma coisa acontece no meu coração”, a Avenida São João nos 469 anos de São Paulo"
+autor: "Andrea Wanderley"
+data: "2023-01-25T09:57:47+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/1903", "20.500.12156.1/10993", "20.500.12156.1/1892", "20.500.12156.1/979", "20.500.12156.1/962"]
+fetched_at: "2026-09-10T10:12:29.837Z"
+---
+
+# Série “Avenidas e ruas do Brasil” XVI – “Alguma coisa acontece no meu coração”, a Avenida São João nos 469 anos de São Paulo
+
+“Alguma coisa acontece no meu coração que só quando cruza a Ipiranga e a avenida São João”. Assim começa Sampa, do compositor Caetano Veloso, uma das mais belas canções sobre a São Paulo – foi lançada no álbum Muito – Dentro da Estrela Azulada, em 1978. Então, para homenagear os 469 anos de fundação da cidade, a Brasiliana Fotográfica destaca uma foto aérea da Avenida São João, do acervo do Museu Aeroespacial, uma de suas instituições parceiras, além de registros da cidade realizados por Militão Augusto de Azevedo (1837 – 1905) e Guilherme Gaensly (1843 – 1948) na publicação do 16º artigo da Série “Avenidas e ruas do Brasil”.
+Destacamos também artigos já publicados no portal sobre a cidade, que foi fundada em 25 de janeiro 1554 com a celebração de uma missa que oficializou a criação de um colégio jesuíta, no alto de uma colina entre os rios Anhangabaú e Tamanduateí, por 12 padres, dentre eles José de Anchieta (1834 – 1597) e Manoel da Nóbrega (1517 – 1590). É onde fica o Pátio do Colégio.
+ 
+Militão Augusto de Azevedo. Álbum comparativo da cidade de São Paulo 1862-1887 – Igreja e Convento do Colégio, c. 1862. São Paulo, SP / Acervo IMS
+ 
+São Paulo é o principal centro corporativo, financeiro e mercantil da América do Sul assim como a cidade mais populosa do Brasil.
+ 
+Foto aérea de São Paulo da Av. São João, 2 de abril de1936. São Paulo, SP / Acervo Museu Aeroespacial
+ 
+Muitos fotógrafos registraram diversos aspectos da cidade de São Paulo desde o século XIX, dentre eles Alfredo Krausz (1902 – 1953), Claude Lévi-Strauss (1908 – 2009), Edgard Egydio de Souza (1867 – 1956), Frédéric Manuel (1868-1961), Guilherme Gaensly (1843 – 1928), Marc Ferrez (1843 – 1923), Militão Augusto de Azevedo (1837 – 1905), Otto Rudolf Quaas (c. 1862 – c. 1930), Valério Vieira (1862 – 1941), Vincenzo Pastore (1865 – 1918) e fotógrafos ainda não identificados, cujas imagens podem ser apreciadas nos artigos listados a final desta publicação.
+Militão e Gaensly são considerados os fotógrafos que mais cultuaram São Paulo. Militão produziu o Álbum comparativo da cidade de São Paulo 1862-1887, sua obra-prima, que foi o primeiro realizado com o objetivo de mostrar as mudanças ocorridas na capital paulista, devido ao progresso. O álbum evidencia o valor que Militão dava à fotografia como documento de época inserido em projeto artístico que sugere um passeio pela cidade no período de 1862 a 1887. O trabalho do fotógrafo muito contribuiu para a formação da imagem moderna de São Paulo.
+ 
+Militão Augusto de Azevedo. Álbum Comparativo da Cidade de São Paulo, 1887. São Paulo / Acervo IMS
+ 
+Gaensly fotografou a cidade em plena transição para a modernidade, tendo registrado todos os aspectos urbanos da nova metrópole que surgia, como a inauguração dos bondes elétricos que substituíram as carroças, o Jardim da Luz, a agitação do comércio na região do entorno da Praça da Sé, o crescimento da Avenida Paulista, além de palacetes, chácaras, edifícios públicos, igrejas, escolas, teatros e hospitais. Essas vistas de São Paulo foram comercializadas em álbuns impressos na Suíça a partir de fotografias em papel albuminado e de colotipias. Fotografou também a chegada de imigrantes italianos em Santos e em São Paulo. Dentre os prêmios que recebeu, está uma medalha de prata conquistada na Exposição Universal de Saint Louis, em 1904.
+ 
+Guilherme Gaensly. Avenida Paulista, 1902?. São Paulo, SP / Acervo FBN
+ 
+Artigos sobre a cidade de São Paulo já publicados na Brasiliana Fotográfica
+ 
+Brasão da cidade de São Paulo
+ 
+Militão Augusto de Azevedo (1837 – 1905) e sua obra-prima, o “Álbum comparativo da cidade de São Paulo 1862-1887″, publicado em 24 de maio de 2015
+Vincenzo Pastore, um fotógrafo entre dois mundos (Casamassima, Itália 5 de agosto de 1865 – São Paulo, Brasil 15 de janeiro de 1918), publicado em 5 de agosto de 2015
+São Paulo sob as lentes do fotógrafo Guilherme Gaensly (1843 – 1928), publicado em 25 de janeiro de 2017
+Os trinta Valérios, uma fotografia bem-humorada de Valério Vieira (1862 – 1941), publicado em 21 de março de 2017
+O fotógrafo austríaco Otto Rudolf Quaas e o construtor Ramos de Azevedo, publicado em 28 de setembro de 2017
+Série “Avenidas e ruas do Brasil” IV – Rua 25 de março em São Paulo, publicado em 1º de setembro de 2020
+A cidade de São Paulo e Tebas (1721 – 1811), reconhecido como arquiteto, em 2018, mais de 100 anos após sua morte, pubicado em 25 de janeiro de 2021
+Série “Avenidas e ruas do Brasil” XI – A Rua da Esperança, em São Paulo, por Vincenzo Pastore, publicado em 14 de dezembro de 2021
+Série “Avenidas e ruas do Brasil” XII – A Avenida Paulista, o coração pulsante da metrópole, publicado em 21 de janeiro de 2022.
+Série “1922 – Hoje, há 100 anos” II – A Semana de Arte Moderna, publicado em 13 de fevereiro de 2022.
+O Edifício Martinelli, antigo referencial e símbolo de São Paulo, publicado em 16 de maio de 2022
+ 
+Guilherme Gaensly. Largo do Palácio – Pátio do Colégio, 1902(?). São Paulo, SP / Acervo FBN
+ 
+Assinaturas dos membros do 1º Governo de São Paulo, 1555 / São Paulo Antigo e São Paulo Moderno
+Sampa
+Caetano Veloso
+Alguma coisa acontece no meu coração
+Que só quando cruza a Ipiranga e a avenida São João
+É que quando eu cheguei por aqui eu nada entendi
+Da dura poesia concreta de tuas esquinas
+Da deselegância discreta de tuas meninas
+Ainda não havia para mim Rita Lee
+A tua mais completa tradução
+Alguma coisa acontece no meu coração
+Que só quando cruza a Ipiranga e a avenida São João
+Quando eu te encarei frente a frente não vi o meu rosto
+Chamei de mau gosto o que vi, de mau gosto, mau gosto
+É que Narciso acha feio o que não é espelho
+E à mente apavora o que ainda não é mesmo velho
+Nada do que não era antes quando não somos mutantes
+E foste um difícil começo
+Afasto o que não conheço
+E quem vende outro sonho feliz de cidade
+Aprende depressa a chamar-te de realidade
+Porque és o avesso do avesso do avesso do avesso
+Do povo oprimido nas filas, nas vilas, favelas
+Da força da grana que ergue e destrói coisas belas
+Da feia fumaça que sobe, apagando as estrelas
+Eu vejo surgir teus poetas de campos, espaços
+Tuas oficinas de florestas, teus deuses da chuva
+Pan-Américas de Áfricas utópicas, túmulo do samba
+Mais possível novo quilombo de Zumbi
+E os novos baianos passeiam na tua garoa
+E novos baianos te podem curtir numa boa
+ 
+Andrea C. T. Wanderley
+
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+Brasiliana Fotográfica
+São Paulo Antigo e São Paulo Moderno – 1554-1904. São Paulo : Editores Vanorden & Cia, 1905.
+ 
+Links para as outras publicações da série “Avenidas e ruas do Brasil”
+ Série “Avenidas e ruas do Brasil” I – Avenida Central, atual Rio Branco, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 7 de setembro de 2016
+Série “Avenidas e ruas do Brasil” II – A Rua do Imperador em Petrópolis por Klumb, Leuzinger e Stahl, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 26 de junho de 2020
+Série “Avenidas e ruas do Brasil” III – A Rua do Bom Jesus, no Recife, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 6 de agosto de 2020
+Série “Avenidas e ruas do Brasil” IV – A Rua 25 de Março, em São Paulo, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 1º de setembro de 2020
+Série “Avenidas e ruas do Brasil” V – A Rua Direita, a Rua das Mercês e a Rua Macau do Meio, em Diamantina, Minas Gerais, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 22 de outubro de 2020
+Série “Avenidas e ruas do Brasil” VI  – Rua Augusto Ribas e outras, em Ponta Grossa, no Paraná, pelo fotógrafo Luiz Bianchi, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 16 de novembro de 2020
+Série “Avenidas e ruas do Brasil” VII – A Avenida Atlântica, em Copacabana, no Rio de Janeiro, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 23 de dezembro de 2020
+Série “Avenidas e ruas do Brasil VIII – A Rua da Carioca por Cássio Loredano, de autoria de Cássio Loredano, publicada em 20 de janeiro de 2021
+Série “Avenidas e ruas do Brasil” IX – Ruas e panoramas do bairro do Catete, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 14 de julho de 2021
+Série “Avenidas e ruas do Brasil” X – A Rua da Ajuda, no Rio de Janeiro, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 9 de novembro de 2021
+Série “Avenidas e ruas do Brasil” XI – A Rua da Esperança, em São Paulo, por Vincenzo Pastore, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 14 de dezembro de 2021
+Série “Avenidas e ruas do Brasil” XII – A Avenida Paulista, o coração pulsante da metrópole, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 21 de janeiro de 2022
+Série “Avenidas e ruas do Brasil” XIII – A Rua Buenos Aires no Centro do Rio de Janeiro, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 19 de julho de 2022
+Série “Avenidas e ruas do Brasil” XIV – A Avenida Presidente Vargas,, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 31 de agosto de 2022
+Série “Avenidas e ruas do Brasil” XV – Misericórdia: rua, largo e ladeira, no Rio de Janeiro, por Cássio Loredano, de autoria de Cássio Loredano, publicada em 8 de dezembro de 2022
+Série “Avenidas e ruas do Brasil” XVII  e série “O Rio de Janeiro desaparecido” XXIII – A Praia e a Rua do Russel, na Glória, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 15 de maio de 2023
+Série “Avenidas e ruas do Brasil” XVIII – Avenida Beira-Mar, de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal, publicada em 22 de janeiro de 2024
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/1903` — `itens/20.500.12156.1_1903/`
+- `20.500.12156.1/10993` — `itens/20.500.12156.1_10993/`
+- `20.500.12156.1/1892` — `itens/20.500.12156.1_1892/`
+- `20.500.12156.1/979` — `itens/20.500.12156.1_979/`
+- `20.500.12156.1/962` — `itens/20.500.12156.1_962/`
+
diff --git a/wordpress/30157-uma-homenagem-aos-medicos.md b/wordpress/30157-uma-homenagem-aos-medicos.md
new file mode 100644
index 0000000..4077831
--- /dev/null
+++ b/wordpress/30157-uma-homenagem-aos-medicos.md
@@ -0,0 +1,57 @@
+---
+id: 30157
+url: "https://brasilianafotografica.bn.gov.br/?p=30157"
+titulo: "Uma homenagem aos médicos"
+autor: "Andrea Wanderley"
+data: "2022-10-18T17:04:52+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/5387", "20.500.12156.1/5094"]
+fetched_at: "2026-09-10T10:12:33.023Z"
+---
+
+# Uma homenagem aos médicos
+
+Hoje é Dia do Médico e a Brasiliana Fotográfica presta uma homenagem a esses imprescindíveis profissionais, destacando artigos já publicados no portal relativos à medicina  – como vacinação, criação de instituições, realização de expedições, de congressos – e a importantíssimos médicos brasileiros como Arthur Neiva (1880 – 1943), Belisário Penna (1868 – 1939), Carlos Chagas (1879 – 1934), Evandro Chagas (1905 – 1940), João Pedroso Barreto de Albuquerque (1869 – 1936), João Pedro de Albuquerque (1874 – 1934) e Oswaldo Cruz (1872 – 1917). A maioria dos artigos foi escrito por pesquisadores da Casa de Oswaldo Cruz / Fiocruz, uma das instituições parceiras do portal. A data escolhida para celebrar o Dia do Médico é referente a São Lucas, padroeiro da medicina. Viva os médicos e as médicas! Viva a ciência!
+ 
+Oswaldo Cruz em Petrópolis, 191?. RJ / Acervo Casa de Oswaldo Cruz
+ 
+Artigos publicados na Brasiliana Fotográfica relativos à medicina 
+ 
+O cientista Oswaldo Cruz (1872 – 1917), prefeito de Petrópolis – 18/12/2017 – Cristiane d’Avila com a colaboração de Ana Luce Girão,  Casa de Oswaldo Cruz / Fiocruz, em parceria com Andrea C. T. Wanderley
+Manguinhos e a cidade do Rio de Janeiro – 19/01/2018 - Equipe da Fiocruz – Casa de Oswaldo Cruz, Fiocruz.
+100 anos do Castelo da Fiocruz: a ocupação da Fazenda de Manguinhos – 28/02/2018 - Cristiane d´Avila, Casa de Oswaldo Cruz, Fiocruz.
+Febre amarela: imagens da produção da vacina no início do século XX – 23/03/2018 - Aline Lopes de Lacerda, Casa de Oswaldo Cruz, Fiocruz
+100 anos do Castelo da Fiocruz: os pedreiros do castelo da avenida Brasil – 12/04/2018 - Ricardo Augusto dos Santos, Casa de Oswaldo Cruz, Fiocruz.
+Os 100 anos do Castelo da Fiocruz: criador e criatura – 15 /05/ 2018 - Renato da Gama-Rosa Costa, Casa de Oswaldo Cruz, Fiocruz.
+Vacinação no Brasil, uma história centenária – 17/08/2018 – Cristiane d´Avila, Casa de Oswaldo Cruz, Fiocruz.
+O sanitarista Belisário Penna (1868-1939), um dos protagonistas da história da saúde pública no Brasil, 28/09/2018 – Ricardo Augusto dos Santos, da Casa de Oswaldo Cruz, Fiocruz.
+Instituto Nacional de Infectologia Evandro Chagas: 100 anos de pesquisa clínica – 26/10/2018 – Cristiane d´Avila, Casa de Oswaldo Cruz, Fiocruz.
+Instituto Nacional de Infectologia Evandro Chagas 100 anos: Carlos e Evandro Chagas em retratos de família,  – 27/11/2018 – Aline Lopes de Lacerda, Casa de Oswaldo Cruz, Fiocruz
+Instituto Nacional de Infectologia Evandro Chagas: centenário da construção da pesquisa clínica em Manguinho – 21/12/2018 – Dilene Raimundo do Nascimento, Casa de Oswaldo Cruz, Fiocruz.
+João Pedro ou João Pedroso? – 11/01/2019 – Ricardo Augusto dos Santos e Francisco dos Santos Lourenço, Casa de Oswaldo Cruz, Fiocruz
+As expedições do Instituto Oswaldo Cruz entre 1911 e 1913 – 14/03/2019 – Cristiane d´Avila, Casa de Oswaldo Cruz, Fiocruz.
+A descoberta da doença de Chagas – 14/06/2019 – Simone Petraglia Kropf, Casa de Oswaldo Cruz , Fiocruz, em parceria com Andrea C. T. Wanderley
+E o ex e futuro presidente do Brasil morreu de gripe…a Gripe Espanhola de 1918 – 23/03/2020 – Andrea C.T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica.
+As doenças do Rio de Janeiro no início do século XX e a Revolta da Vacina em 1904 – 05/04/2020 – Andrea C.T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica.
+A apresentação do Departamento Nacional de Saúde Pública na Exposição Internacional do Centenário da Independência – 13/04/2020 – Ricardo Augusto dos Santos, Casa de Oswaldo Cruz, Fiocruz.
+Nos passos de Oswaldo: imagens das expedições do IOC aos portos do Brasil em entre 1911 e 1913 – 25/05/2020 –  Cristiane d’Avila, Casa de Oswaldo Cruz, Fiocruz
+Curso de Aplicação no Instituto Oswaldo Cruz, 08/10/2020 – Ricardo Augusto dos Santos, Casa de Oswaldo Cruz, Fiocruz.
+Porto D´Ave e a moderna arquitetura hospitalar, 14/01/2021 – Cristiane d´Avila, Casa de Oswaldo Cruz / Fiocruz
+À mesa, os pioneiros da ciência brasileira, 07/06/2021 – Cristiane d´Avila, Casa de Oswaldo Cruz, Fiocruz
+Os “Instântaneos Cruéis” de Monteiro Lobato, 26/11/2021 – Ricardo Augustos dos Santos, Casa de Oswaldo Cruz, Fiocruz.
+A Exposição Internacional de Higiene de Dresden, na Alemanha, em 1911, 05/01/2022 – Cristiane d´Avila, Casa de Oswaldo Cruz, Fiocruz.
+Fotografias da Gripe Espanhola do fundo Moncorvo Filho, da Casa de Oswaldo Cruz, 11/03/2022 – Ricardo Augusto dos Santos, Felipe Almeida Vieira e Francisco dos Santos Lourenço,  Casa de Oswaldo Cruz, Fiocruz.
+ 
+José Teixeira. Expedição do Instituto Oswaldo Cruz ao Nordeste e Centro Oeste : acampamento dos membros da expedição, entre eles Belisário Penna e Arthur Neiva (2° e 3° à esquerda), 1912. Piauí / Acervo Casa de Oswaldo Cruz
+ 
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/5387` — `itens/20.500.12156.1_5387/`
+- `20.500.12156.1/5094` — `itens/20.500.12156.1_5094/`
+
diff --git a/wordpress/30166-uma-homenagem-aos-professores.md b/wordpress/30166-uma-homenagem-aos-professores.md
new file mode 100644
index 0000000..29ed302
--- /dev/null
+++ b/wordpress/30166-uma-homenagem-aos-professores.md
@@ -0,0 +1,46 @@
+---
+id: 30166
+url: "https://brasilianafotografica.bn.gov.br/?p=30166"
+titulo: "Uma homenagem aos professores"
+autor: "Andrea Wanderley"
+data: "2022-10-15T14:50:01+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/8911", "20.500.12156.1/6579", "20.500.12156.1/7909"]
+fetched_at: "2026-09-10T10:12:36.416Z"
+---
+
+# Uma homenagem aos professores
+
+No Dia do Professor, a Brasiliana Fotográfica homenageia esses profissionais tão importantes para a formação da sociedade, destacando artigos já publicados no portal sobre mulheres que foram professoras no Brasil ou no exterior, dentre elas a compositora Chiquinha Gonzaga (1847 – 1935), a advogada Maria Luiza Dória Bittencourt (1910 – 2001), a escritora Mariana Coelho (1857 – 1954) e a cientista francesa Marie Curie (1867 – 1934).
+ 
+Chiquinha Gonzaga ao piano, 17 de outubro de 1932. Rio de Janeiro, RJ/ Acervo IMS
+ 
+A data escolhida para celebrar os professores refere-se ao dia 15 de outubro de 1827, quando dom Pedro I (1798 – 1934), então imperador do Brasil, decretou uma Lei Imperial, criando as Escolas de Primeiras Letras. A partir desta norma, todas as cidades deveriam ter suas escolas de primeiro grau. O decreto também estabelecia o salário e a forma de contratação dos professores, além das matérias básicas a serem ensinadas (Império do Brasil, 1827, segunda coluna; Portal da Presidência da República – Casa Civil). O Dia do Professor tornou-se feriado escolar nacional através do Decreto Federal nº 52.682, de 14 de outubro de 1963 (Portal da Câmara dos Deputados). Viva os professores e as professoras! Viva a educação!
+ 
+Artigos publicados na Brasiliana Fotográfica sobre mulheres que foram professoras
+ 
+Maria Luisa Bittencourt, 1935. Bahia / Acervo Arquivo Nacional
+ 
+A cientista Marie Curie (1867 – 1934) no Museu Nacional, Rio de Janeiro, 1926 – 05/07/2018 – Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica.
+Série “Feministas, graças a Deus!” II – Natércia da Cunha Silveira (1905 – 1993), o jequitibá da floresta – 20/08/2020 – Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica.
+Série “Feministas, graças a Deus!” V – Feminista do Amazonas: Maria de Miranda Leão (1887 – 1976), 29/11/2020 – Maria Elizabeth Brêa Monteiro, Arquivo Nacional.
+Série “Feministas, graças a Deus!” VI – Júlia Augusta de Medeiros (1896 – 1972) fotografada por Louis Piereck (1880 – 1931) – 09/12/2020 – Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica.
+Série “Feministas, graças a Deus” VII – Almerinda Farias Gama (1899 – 1999), uma das pioneiras do feminismo no Brasil – 23/02/2021 – Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica.
+Série “Feministas, graças a Deus!” IX – Mariana Coelho (1857 – 1954), a “Beauvoir tupiniquim” – 15/06/2021 – Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica.
+E a primeira-dama Nair de Teffé leva a música de Chiquinha Gonzaga para o Palácio do Catete, em 1914 – 05/05/2021 – Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica.
+Série “Feministas, graças a Deus!” X – Maria Luiza Dória Bittencourt (1910 – 2001), a primeira deputada da Bahia – 25/03/2022 – Andrea C.T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica.
+ 
+Salão de aula primária. Uma lição de coisas. O relógio e a balança; – descrição intuitiva destes objetos e exercício para conhecer as horas e pesar em balanças comuns, 1910. Maceió, Alagoas / Acervo Museu da República
+ 
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/8911` — `itens/20.500.12156.1_8911/`
+- `20.500.12156.1/6579` — `itens/20.500.12156.1_6579/`
+- `20.500.12156.1/7909` — `itens/20.500.12156.1_7909/`
+
diff --git a/wordpress/30196-exercicios-da-esquadra-brasileira-no-centenario-da-independencia.md b/wordpress/30196-exercicios-da-esquadra-brasileira-no-centenario-da-independencia.md
new file mode 100644
index 0000000..bbc8e15
--- /dev/null
+++ b/wordpress/30196-exercicios-da-esquadra-brasileira-no-centenario-da-independencia.md
@@ -0,0 +1,106 @@
+---
+id: 30196
+url: "https://brasilianafotografica.bn.gov.br/?p=30196"
+titulo: "Exercícios da Esquadra Brasileira no Centenário da Independência"
+autor: "Andrea Wanderley"
+data: "2022-11-10T09:27:35+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/11307", "20.500.12156.1/11300", "20.500.12156.1/11285", "20.500.12156.1/11287", "20.500.12156.1/11292", "20.500.12156.1/11291", "20.500.12156.1/11294", "20.500.12156.1/4782", "20.500.12156.1/11297"]
+fetched_at: "2026-09-10T10:12:39.332Z"
+---
+
+# Exercícios da Esquadra Brasileira no Centenário da Independência
+
+A Esquadra Brasileira nasceu, em 10 de novembro de 1822, ano da Independência do Brasil. Para celebrar a data, a equipe do Departamento de História da Diretoria do Patrimônio Histórico e Documentação da Marinha, uma das instituições parceiras da Brasiliana Fotográfica, escreveu o artigo Exercícios da Esquadra Brasileira no Centenário da Independência sobre as manobras realizadas pela esquadra em 1922, ano em que foram comemorados os 100 anos da independência do país.
+ 
+O Presidente da República Epitácio Pessoa, o Ministro da Marinha Veiga Miranda, o Almirante Pedro de Frontin e outras autoridades observam os tiros a bordo do Encouraçado “Minas Gerais”, 21 de fevereiro de 1922. Rio de Janeiro, RJ / Acervo DPHDM
+ 
+Acessando o link para as fotografias dos exercícios da Esquadra Brasileira no Centenário da Independência disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+1ª Divisão demandando a zona de exercícios, 21 de fevereiro de 1922. Rio de Janeiro, RJ / Acervo DHPDM
+ 
+Segundo o Vice-Almirante José Carlos Mathias, Diretor do Patrimônio Histórico e Documentação da Marinha,“os bicentenários da Independência e da Esquadra são faces de uma mesma moeda; são histórias que se entrecruzam no mar e nele continuam e continuarão sendo escritas. Portanto, celebrar os 200 anos da Esquadra, é memorar e homenagear a rica história do Brasil”.
+ 
+ 
+Exercícios da Esquadra Brasileira no Centenário da Independência
+ Equipe do Departamento de História da Diretoria do Patrimônio Histórico e Documentação da Marinha
+ 
+O Encouraçado “Minas Gerais” saindo a barra durante os exercícios da Esquadra, 21 de fevereiro de 1922. Rio de Janeiro, RJ / Acervo DPHDM
+ 
+As manobras da Esquadra Brasileira de janeiro e fevereiro de 1922 ganharam um aparato especial naquele ano em que se comemorou o centenário da Independência do Brasil. Contaram, no seu encerramento, em 21 de fevereiro, com a presença do Presidente da República Epitácio Pessoa, que foi recebido, a bordo do navio capitania, o Encouraçado Minas Gerais, pelo Almirante Pedro Max Frontin, o então chefe do Estado-Maior da Armada, e pelo comandante do navio, o Capitão de Mar e Guerra Damião Pinto da Silva, reunindo-se aos demais convidados como o Ministro da Marinha Dr. Veiga Miranda e diversos representantes dos Poderes Executivo, Legislativo e Judiciário.
+ 
+Grupo de oficiais do Exército e da Armada a bordo do Encouraçado “Minas Gerais” durante os exercícios da Esquadra, 21 de fevereiro de 1922. Rio de Janeiro, RJ / Acervo DPHDM
+ 
+O início das manobras deu-se na altura das ilhas Maricás, com a participação do Minas Gerais, sendo acompanhado pelos Encouraçados São Paulo e Floriano e pelo Contratorpedeiro Pará, seguindo em coluna reta cruzando a barra da Baía de Guanabara. Aproximadamente às 13 horas do dia 21 de fevereiro de 1922, foram iniciados os exercícios de tiro em alvo flutuante com os disparos com os maiores canhões das torres dos encouraçados. Aos convidados a bordo foram distribuídos cópias do programa de exercícios.
+ 
+Convés do Encouraçado “Minas Gerais”, vendo-se o Encouraçado “Floriano” e o Encouraçado “São Paulo”, 21 de fevereiro de 1922. Rio de Janeiro, RJ / Acervo DPHDM
+ 
+ 
+CT “Pará” durante os exercícios da Esquadra, 21 de fevereiro de 1922. Rio de Janeiro, RJ / Acervo DHPDM
+ 
+De acordo com jornal O Paiz, de 22 de fevereiro de 1922, “foi grande a emoção que se apoderou dos convidados no momento em que se anunciou que o Minas ia romper o fogo com as torres. Todos colocaram algodões aos ouvidos e ficaram atentos para o alvo, que se achava a mais de 12 kilometros de distância“.[1]
+ 
+Fon-Fon, 25 de fevereiro de 1922
+ 
+Os disparos dos canhões de calibre 120 mm, feitos pelas baterias secundárias (de menor poder de fogo), dos Encouraçados São Paulo e Minas Gerais, embora não colocando a pique o alvo flutuante, foram considerados positivos como prática de enquadramento do alvo a grande distância, pois tais exercícios não eram realizados há muito tempo por falta de recursos.
+Curiosamente, o alvo utilizado foi o casco do desativado Paquete Alagoas, navio de transporte de passageiros da Companhia Brasileira de Navegação a Vapor, que foi empregado para transportar o imperador deposto d. Pedro II e sua família para o exílio na Europa em 1889.
+ 
+O alvo – ex Paquete “Alagoas” nos exercícios da Esquadra, 21 de fevereiro de 1922. Rio de Janeiro, RJ / Acervo DPHDM
+ 
+Posteriormente, incorporado à Marinha do Brasil, serviu por um período de quartel flutuante para a Escola de Aprendizes -Marinheiros do Rio de Janeiro até ser alocado para seu destino final como alvo para os exercícios de tiro da Esquadra. Mesmo não atingido pelos tiros dos encouraçados, o casco afundou no fim dos exercícios quando rebocado pelo Rebocador Laurindo Pitta.
+ 
+Fon-Fon, 25 de fevereiro de 1922
+ 
+Fato não menos importante foi a presença do Navio-Escola Benjamim Constant no local onde se realizaram os exercícios de tiro, a cujo bordo estavam os alunos da Escola Naval,  aspirantes a guarda-marinha, em viagem de treinamento. A tripulação do Benjamim Constant também honrou a grandeza do evento, prestando salvas e postos de continência ao pavilhão presidencial içado no Minas Gerais.
+ 
+H&J Tourte Éditeurs. Faina de arriar um escaler no Cruzador Benjamin Constant, 1906. Paris, França / Acervo DPHDM
+ 
+Os exercícios da Esquadra realizados eram muito esperados pelo Estado-Maior da Armada, contribuindo com o treinamento das tripulações em evoluções táticas e instrução de tiro com os diversos canhões que equipavam os navios. Durante praticamente um mês no início de 1922, tais exercícios envolveram diversos navios das duas divisões navais que compunham a Esquadra nacional, contribuindo para o treinamento de cerca de quatro mil militares da Marinha do Brasil.
+ 
+1ª Divisão demandando a zona de exercícios, 21 de fevereiro de 1922. Rio de Janeiro, RJ / Acervo DHPDM
+ 
+A presença do presidente da República demonstrou a importância do evento, sendo registrada por diversos jornais da época a robustez do poderio bélico da Esquadra e o aprestamento da marujada.
+ 
+Fon Fon, 25 de fevereiro de 1922
+ 
+ 
+[1] Jornal O Paiz, 22 de fevereiro de 1922, pág. 3-4.
+ 
+Um pouco da história do surgimento da primeira Esquadra brasileira
+ 
+Nau Pedro I, a primeira capitânea da Esquadra brasileira pelo italiano Edoardo Martino (1836 – 1912) / Portal Defesa.net
+ 
+Como já mencionado, em 10 de novembro de 1822, há exatos 200 anos, nascia a primeira Esquadra Brasileira, quando a bandeira nacional foi, pela primeira vez, içada em um navio de guerra brasileiro, a Nau Martim de Freitas, posteriormente, rebatizada de Nau Pedro I, o primeiro navio Capitânia da Esquadra, criada para combater as forças navais portuguesas que se opunham à Independência do Brasil.
+O primeiro ministro da Marinha, brasileiro nato, nomeado após a Proclamação da Independência do Brasil foi o então Capitão de Mar e Guerra Luís da Cunha Moreira, Visconde de Cabo Frio (1777 – 1865), que substituiu o almirante Manoel Antônio Farinha ( 17? – 1842), em 22 de outubro de 1822 (Gazeta do Rio, 7 de novembro de 1822, primeira coluna).
+Para o estabelecimento da Marinha Imperial os navios portugueses deixados nos portos foram incorporados a ela, dentre eles as fragatas Real Carolina, Sucesso e União, rebatizadas Paraguaçu, Niterói e Piranga, respectivamente. As corvetas Liberal e Maria da Glória também foram incorporadas assim como o Brigue Reino Unido, renomeado como Cacique. O governo adquiriu os brigues Maipu e Nightingale, rebatizados como Caboclo e Guarani. Formava-se, então, a primeira Esquadra Brasileira.
+De acordo com o Chefe do Departamento de História da Diretoria do Patrimônio Histórico e Documentação da Marinha, Capitão de Fragata (T) Carlos André Lopes da Silva, era pequeno número de militares de origem brasileira na ocasião e havia a necessidade de aumentar o efetivo militar. Houve então uma negociação: “Dentre os cerca de 160 oficiais da Marinha portuguesa servindo no Brasil, 94 declararam lealdade a Dom Pedro. No entanto, o que pode parecer uma extensa adesão, na prática, não forneceu oficiais suficientes para tripular os navios da nova Esquadra. Com isso, a contratação de europeus, sobretudo britânicos, foi a solução. Foram mais de 450 estrangeiros contratados, cerca de 30 deles exercendo a função de oficiais, inclusive o então Comandante em Chefe da incipiente Esquadra brasileira, o Almirante Thomas Cochrane”.
+ 
+Retrato de Lorde Cochrane (1775 – 1860), em 1807, por Peter Edward Stroehling.
+ 
+Andrea C.T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+Agência Marinha de Notícias
+Hemeroteca Digital da Biblioteca Nacional
+Portal Base Industrial de Defesa e Segurança
+Portal Defesa.net
+Portal Presidência da República
+Portal Poder Naval
+Portal Superior Tribunal Militar
+VIDIGAL, Amorim Ferreira. A evolução da Marinha Brasileira. Revista da Escola Superior de Guerra, 1997.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/11307` — `itens/20.500.12156.1_11307/`
+- `20.500.12156.1/11300` — `itens/20.500.12156.1_11300/`
+- `20.500.12156.1/11285` — `itens/20.500.12156.1_11285/`
+- `20.500.12156.1/11287` — `itens/20.500.12156.1_11287/`
+- `20.500.12156.1/11292` — `itens/20.500.12156.1_11292/`
+- `20.500.12156.1/11291` — `itens/20.500.12156.1_11291/`
+- `20.500.12156.1/11294` — `itens/20.500.12156.1_11294/`
+- `20.500.12156.1/4782` — `itens/20.500.12156.1_4782/`
+- `20.500.12156.1/11297` — `itens/20.500.12156.1_11297/`
+
diff --git a/wordpress/30342-no-dia-do-imigrante-italiano-a-trajetoria-do-fotografo-nicola-maria-parente-1847.md b/wordpress/30342-no-dia-do-imigrante-italiano-a-trajetoria-do-fotografo-nicola-maria-parente-1847.md
new file mode 100644
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--- /dev/null
+++ b/wordpress/30342-no-dia-do-imigrante-italiano-a-trajetoria-do-fotografo-nicola-maria-parente-1847.md
@@ -0,0 +1,103 @@
+---
+id: 30342
+url: "https://brasilianafotografica.bn.gov.br/?p=30342"
+titulo: "No Dia do Imigrante Italiano, a trajetória do fotógrafo Nicola Maria Parente (1847 – 1911) no Brasil"
+autor: "Andrea Wanderley"
+data: "2023-02-21T09:19:31+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/11395", "20.500.12156.1/11391", "20.500.12156.1/11313", "20.500.12156.1/3553", "20.500.12156.1/3554"]
+fetched_at: "2026-09-10T10:12:42.560Z"
+---
+
+# No Dia do Imigrante Italiano, a trajetória do fotógrafo Nicola Maria Parente (1847 – 1911) no Brasil
+
+Inspirada pela celebração do Dia Nacional do Imigrante Italiano e pela recente publicação do livro Italianos detrás da câmara: trajetórias e olhares marcantes no florescer da fotografia no Brasil, de autoria de Livia Raponi e Joaquim Marçal, um dos curadores da Brasiliana Fotográfica, escrevo sobre mais um importante fotógrafo italiano que atuou no Brasil no século XIX: Nicola Maria Parente (1847 – 1911), introdutor do cinematógrafo na Paraíba. Em destaque, imagens de sua autoria que pertencem à Fundação Biblioteca Nacional, uma das fundadoras da Brasiliana Fotográfica; e à Fundação Joaquim Nabuco e ao Museu Histórico Nacional, às instituições parceiras do portal.
+ 
+Nicola Maria Parente. Crianças não identificadas, s/d. Paraíba do Norte, PB / Acervo Fundaj
+ 
+Nicola Maria Parente se junta aos também italianos Camillo Vedani (18? – 1888), João Firpo (1839 – 1899) e Elvira (1876 – 1972) e Vincenzo Pastore (1930 – 1918), que já foram temas de artigos publicados no portal.
+ 
+Nicola Maria Parente. Maria de Freitas de Andrade Bezerra, esposa de José Bezerra Cavalcanti, advogado, s/d. Goiana, Pernambuco / Acervo Fundaj
+ 
+Acessando o link para as fotografias de autoria de Nicola Maria Parente disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Pela importância que a comunidade italiana tem na história do Brasil, a lei nº 11.687, de 2 de junho de 2008 instituiu oficialmente o Dia Nacional do Imigrante Italiano no calendário de todo o território nacional. O dia 21 de fevereiro foi escolhido devido à expedição que Pietro Tabacchi fez ao Espírito Santo, em 1874, marco do início do processo da migração em massa dos italianos para o Brasil. Estima-se que atualmente aproximadamente 30 milhões de descendentes de italianos vivam em terras brasileiras.
+ 
+Bandeira da Itália
+ 
+Breve perfil do fotógrafo italiano Nicola Maria Parente (1847 – 1911)
+ 
+
+ 
+A biografia de Nicola Maria Parente ainda tem diversas lacunas. Ele nasceu em Marsico Nuovo, província de Potenza, na região de Basilicata, em 13 de março de 1847, filho de Giovannantonio Parente e Maria Carmela Perci (Site Cápsula do Tempo). Relatos de seus familiares informam que ele teria participado nas lutas de Giuseppe Garibaldi (1807-1882) pela unificação da Itália, mas este fato ainda não foi confirmado.
+ 
+Nicola Maria Parente / História da Fotografia no Ceará no século XIX, pág 342
+ 
+Provavelmente veio para o Brasil, em 1865. Também de acordo com relatos de familiares, chegou com seu irmão Carmino, seus primos João, Georgina e Luigi; e com sua esposa Carolina Rotunda e seus filhos Galileu e Margarida. Durante a viagem Carolina teria dado à luz a Garibaldi e teria falecido logo depois do parto. No Porto de Santos, Nicola teria conhecido a italiana Giusephina Calliari, que viajava com dois filhos, Marcella e Giulio. Casaram-se e, posteriormente, tiveram uma filha, Carmelita. Há informações de que teriam se estabelecido em Taquari, no Rio Grande do Sul. Quanto à nacionalidade dos filhos há uma divergência ainda não resolvida pela pesquisa da vida de Nicola: no anúncio de sua morte é dito que todos nasceram no Brasil.
+Percorreu alguns estados do Brasil e, o que se sabe, é que, na década de 1880, estabeleceu-se em João Pessoa, que na época chamava-se Parahyba do Norte, onde abriu a Photographia Vesúvio, na rua d´Areia, 73.
+ 
+Nicola Maria Parente. Retrato de Zacarias Milhazes, 1886 / Acervo Museu Histórico Nacional
+ 
+Na Paraíba, foi contemporâneo do italiano João Firpo (1839 – 1899) e do alemão Bruno Bourgard (18? – 19?), dentre outros fotógrafos itinerantes, e da pioneira Roza Augusta (18? -19?).
+ 
+Bruno Bourgard
+ 
+O Parahybano, 5 de abril de 1892
+ 
+Também trabalhou como dentista.
+ 
+Almanak do Estado Paraíba, 1899
+ 
+Gênio de artista investigador, Nicola foi, além de fotógrafo e dentista, comerciante e inventor. Foi também ele que apresentou o cinematógrafo aos moradores de João Pessoa, na Paraíba, entre julho e agosto de 1897, durante a Festa das Neves, que homenageia a padroeira da cidade, Nossa Senhora das Neves, e que, na época, era o maior acontecimento social e religioso do estado. Em frente à Photographia Vesúvio, na rua Nova, nº 2, foi colocado um grande cartaz com frases em francês anunciando o espetáculo. Segundo anotações do fotógrafo, cineasta, diretor e pesquisador paraibano Walfredo Rodriguez (1893 – 1973), que estava presente ao acontecimento, em seu Roteiro Sentimental de uma Cidade:
+“O autor destas desativadas evocações, recorda-se, ainda, envoltas em névoas das imagens remotas, das fitas ali exibidas, numa Festa das Neves de 1897 – “Chegada de um trem a Gare de Lion”, Um macaco pulando um arco” e “Crianças jogando bolas de neve em Biarritz”.
+Parece que Nicola Parente conhecia os irmãos Louis e Auguste Lumière, franceses responsáveis pelo invento do cinematógrafo, cuja primeira exibição pública aconteceu em Paris, em 28 de dezembro de 1895. Em 1896, Parente viajou para a Europa e de lá trouxe a novidade. Segundo o bisneto de Nicola, o jornalista Pedro Parente, seu bisavô teria ido aFrança, em 1900, quando teria sido convidado pelos irmãos Lumière para a Exposição Universal de Paris.
+ 
+Os irmãos Lumière e o cinematógrafo
+ 
+Nicola itinerou com o cinematógrafo por diversos estados do Nordeste, como Bahia, Ceará, Pará e Rio Grande do Norte; e pelo interior de São Paulo. O organizador do livro A crítica de cinema em Belém, Pedro Veriano, aventa a possibilidade de Nicola ter sido o responsável  pelas primeiras filmagens no Pará, “mas não deixou provas concretas do trabalho” .
+ 
+Nicola Maria Parente. [Mulher : retrato]. João Pessoa, Paraíba / Acervo FBN
+Em 1899,  transferiu-se para Abaeté, atual Abaetetuba, no Pará, onde criou o estabelecimento comercial Casa Italiana, da firma Nicola Parente & Filhos. Também colaborou com o Jornal da Mata.
+Em 19 de maio de 1911, faleceu, vítima da explosão de um novo aparelho gerador de gás oxigênio que pretendia inventar em seu laboratório em Abaeté. De acordo com a notícia veiculada pelo Estado do Pará, era sócio de seu filho Garibaldi na firma comercial Parente & Cia.  Seu outro filho, Galileu, era jornalista, poeta e fotógrafo. Como já mencionado, tinha também duas filhas, Margarida e Carmelita. Foi identificado como muito estimado, honesto e caridoso (Estado do Pará, 29 de maio de 1911, última coluna).
+ 
+Nicola Maria Parente ; Photograhia Vesuvio de Nicola Maria Parente. [Homem : retrato]. João Pessoa, PB / Acervo FBN
+Acesse aqui a Cronologia de Nicola Maria Parente (1847 – 1911) 
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+ALIPRANDI, E.; MARTINI, V. (orgs.). Gli italiani nel nord del Brasile. Rassegna delle vite e delle opere della stirpe italica negli stati del nord brasiliano. Belém: Tip. da Livraria Gilet, 1932.
+BARRO, Máximo. Participação italiana no cinema brasileiro. São Paulo : SESI-SP Editora.
+Fotografia Paraibana Revista, 2012, pág 73
+Hemeroteca Digital da Biblioteca Nacional
+GOLZIO, Derval Gomes. Utilização Político-Ideológica da Fotografia: estudo das imagens publicadas no jornal A União durante a disputa política no Estado da Paraíba-1930. Dissertação de Mestrado em Multimedios, Unicamp, 1997.
+Italianos detrás das câmeras: trajetórias e olhares marcantes no florescer da fotografia no Brasil / Organizado por Joaquim Marçal, Livia Raponi, traduzido por Livia Raponi, Vittorio Cappelli. – São Paulo : Editora Unesp, 2022.
+KOSSOY, Boris. Dicionário histórico-fotográfico brasileiro: fotógrafos e ofício da fotografia no Brasil (1833-1910). São Paulo: Instituto Moreira Salles, 2002.
+LAPA, José Roberto do Amaral. A cidade: os cantos e os antros : Campinas, 1850-1900. São Paulo : Editora da Universidade de São Paulo, 1996.
+LEAL, Wills. O Discurso Cinematográfico dos Paraibanos: a história do cinema na/da Paraíba. João Pessoa: Ed. A União, 1989.
+LEITE, Ary Bezerra. Cidade de Fortaleza: 1897-1945: do Cinematógrafo aos Anos de Guerra.
+LEITE, Ari Bezerra. História da fotografia no Ceará do século XIX. Edição do autor, 2019.
+LEITE, Ary Bezerra. Memória do cinema: os ambulantes do Brasil (Cinema itinerante no Brasil: 1895 – 1914). Fortaleza : Premius, 2011.
+PETIT, Pere. Filmes, Cinemas e Documentários no fim da Belle Époque no Pará (1911-1914). Anais do XXVI Simpósio Nacional de História – ANPUH • São Paulo, julho 2011,
+VERIANO, Pedro (coord.). A crítica de cinema em Belém. Belém: Secult/PA, 1983.
+SANTOS, Alex. Cinema e Revisionismo. João Pessoa, SEC/PB, 1982.
+Site Cápsula do Tempo
+Site Centro de Pesquisadores do Cinema Brasileiro
+Site Crônicas Taipuenses
+Site Fatos e Fotos de Natal Antiga
+Site Fortaleza Nobre
+Site Italian Genealogy
+Site Paraíba Criativa
+Site Pró-Memória de Campinas – SP
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/11395` — `itens/20.500.12156.1_11395/`
+- `20.500.12156.1/11391` — `itens/20.500.12156.1_11391/`
+- `20.500.12156.1/11313` — `itens/20.500.12156.1_11313/`
+- `20.500.12156.1/3553` — `itens/20.500.12156.1_3553/`
+- `20.500.12156.1/3554` — `itens/20.500.12156.1_3554/`
+
diff --git a/wordpress/30422-serie-teatros-e-cinemas-do-brasil-ix-o-dia-do-cinema-brasileiro.md b/wordpress/30422-serie-teatros-e-cinemas-do-brasil-ix-o-dia-do-cinema-brasileiro.md
new file mode 100644
index 0000000..937ffda
--- /dev/null
+++ b/wordpress/30422-serie-teatros-e-cinemas-do-brasil-ix-o-dia-do-cinema-brasileiro.md
@@ -0,0 +1,97 @@
+---
+id: 30422
+url: "https://brasilianafotografica.bn.gov.br/?p=30422"
+titulo: "Série “Teatros e cinemas do Brasil” IX – O Dia do Cinema Brasileiro"
+autor: "Andrea Wanderley"
+data: "2023-06-19T11:28:35+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/5336", "20.500.12156.1/9817"]
+fetched_at: "2026-09-10T10:12:45.805Z"
+---
+
+# Série “Teatros e cinemas do Brasil” IX – O Dia do Cinema Brasileiro
+
+Para celebrar o Dia do Cinema Brasileiro, a Brasiliana Fotográfica destaca artigos já publicados no portal sobre Benjamin Abrahão Calil Botto (1901 – 1938), Jorge Kfuri (1893 – 1965), João Stamato (1886 – 1951), Nicola Parente (1847 – 1911), Marc Ferrez (1843 – 1923) e seus filhos; e Walter Garbe (18? – 19?), fotógrafos que fizeram parte da história do cinema no Brasil. Além disso, há ainda uma seleção de fotografias de salas de cinema disponíveis no acervo fotográfico do portal e um pequeno histórico da escolha do dia 19 de junho como Dia do Cinema Brasileiro.
+ 
+Marc Ferrez. Cine Pathé na Avenida Central, 116 (atual Avenida Rio Branco), circa 1912. Rio de Janeiro, RJ / Acervo IMS
+ 
+Acessando o link para as fotografias de salas de cinema disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Alfredo Krausz. Cine Parisiense, c. 1933. Rio de Janeiro, RJ / Acervo IMS
+ 
+Artigos sobre os fotógrafos que fizeram parte da história do cinema no Brasil:
+O brilhante cronista visual Marc Ferrez (RJ, 07/12/1843 – RJ, 12/01/1923), 7 de dezembro de 2016,  de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica
+Os índios sob as lentes de Walter Garbe, em 1909, publicado em 23 de maio de 2017, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica
+Lampião e outros cangaceiros sob as lentes de Benjamin Abrahão, publicado em 28 de julho de 2017, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica
+Jorge Kfuri (1893 – 1965), autor das primeiras fotografias aéreas do Rio de Janeiro, publicado em 26 de dezembro de 2019, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica
+João Stamato, um fotógrafo nos sertões, publicado em 9 de fevereiro de 2021, de autoria de Ricardo Augusto dos Santos
+O fotógrafo italiano Nicola Maria Parente (1847 – 1911) e sua trajetória no Brasil, publicado em 21 de fevereiro de 2023, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica
+ 
+Uma brevíssima história do início do cinema e da escolha do Dia do Cinema Brasileiro
+ 
+Affonso Segreto, pioneiro do cinema no Brasil e realizador do documentário A Praia de Santa Luzia, em 1898 / Wikipedia
+ 
+Os irmãos Lumière, Louis (1864 – 1948) e Auguste (1862 – 1954), mostraram, em 28 de dezembro de 1895,  pela primeira vez ao público sua invenção, o cinematógrafo, síntese de pesquisas realizadas por muitos cientistas durante o século XIX sobre imagens em movimento. A apresentação foi realizada no salão do Grand Café, no Boulevard des Capucines, em Paris, para um público de 33 pessoas. O sucesso foi tão grande que, em pouco tempo, os Lumière passaram a apresentar 20 sessões diárias de meia hora cada uma, com os filmes O Regador Regado e A Saída dos Operários da Fábrica Lumière. Começava assim o cinema.
+ 
+
+ 
+Alguns meses depois desta projeção inaugural, realizou-se a primeira sessão pública de cinema no Brasil, na Rua do Ouvidor, 57, em 8 de julho de 1896, às 14h, no Rio de Janeiro, em uma sala especialmente preparada para as projeções do omniógrafo. O invento foi descrito pelo Jornal do Commércio como um “aparelho que projeta sobre uma tela colocada ao fundo da sala diversos espetáculos e cenas animadas, por meio de uma série enorme de fotografias”.
+ 
+Jornal do Commercio, 9 de julho de 1896
+ 
+Em 31 de julho de 1897,  o pernambucano José Roberto Cunha Sales (1840- 1903) e Paschoal Segreto (1868 – 1920) inauguraram a primeira sala cinematográfica do Brasil, o Pariz no Rio Salão de Novidades, na Rua do Ouvidor, 141, que passou a ser um ponto de encontro da sociedade carioca (Gazeta de Notícias, 1º de agosto de 1897). Sales e Segreto romperam a sociedade ainda em 1897. 
+ 
+Gazeta de Notícias, 1º de agosto de 1897
+ 
+O estabelecimento pegou fogo em 8 de julho de 1898, mas foi reinaugurado em janeiro do ano seguinte (Gazeta de Notícias, 10 de agosto de 1898, sexta coluna; A Notícia, 5 e 6 de janeiro de 1899, primeira coluna) .
+ 
+O Animatographo, janeiro de 1899
+ 
+O Dia do Cinema Brasileiro é comemorado em 19 de junho, quando, em 1898, chegou ao Rio de Janeiro, vindo da Europa, o navio Paquebot Brésil. A bordo, encontrava-se o cinegrafista brasileiro de origem italiana Affonso Segreto (1875 – 1919), que retornava de uma viagem para comprar equipamentos de filmagens e conhecer novas técnicas cinematográficas em Nova York e em Paris, onde fez um curso na Pathé Films.
+Antes de desembarcar no Rio de Janeiro, Affonso filmou com uma câmara Lumière a entrada da enseada da Baía de Guanabara, as fortalezas e os navios ancorados (Gazeta de Notícias, 20 de junho de 1898, segunda coluna). Teria sido a primeira fita de cinema realizada no Brasil*. O acontecimento deu origem ao Dia do Cinema Brasileiro. Affonso Segreto filmou, posteriormente, aspectos do Rio de Janeiro, além de seus arredores, e também cerimônias e comícios.
+ 
+Gazeta de Notícias, 20 de junho de 1898
+ 
+Segundo relato de Domingos Segreto, fiho de Gaetano Segreto, em depoimento publicado no livro Palácios e poeiras, de Alice Gonzaga, ainda inexperiente, Affonso, na sessão marcada para a exibição das vistas, no já mencionado Salão Pariz no Rio, no dia 20 de junho de 1898, na Rua do Ouvidor, abriu erradamente a câmara e o filme foi danificado. Ele então exibiu vistas estrangeiras para o público. Foram convidados para o evento diversas autoridades, dentre elas o presidente da República, Prudente de Morais (1841 – 1902), e o jurista Rui Barbosa (1849 – 1923).
+ 
+“A data de 19 de junho é simbólica da dificuldade que se tem de fazer cinema no Brasil, porque marca um filme que não existiu. Mas também retrata a perseverança”.
+Hernani Heffner, Gerente da Cinemateca do MAM-RJ
+ 
+Affonso era irmão de Paschoal (1868 – 1920) e Gaetano Segreto (1866 – 1908), empresários italianos que haviam vindo para o Brasil, em 1883. Trouxeram Affonso para o Brasil na década de 1890. Paschoal tornou-se o ministro das diversões do Rio e Gaetano foi o distribuidor exclusivo do jornal A Notícia e fundou o jornal da comunidade italiana Il Bersagliere. Os irmãos Segreto foram pioneiros da indústria do entretenimento no Brasil, figuras destacadas na cena cultural da Belle Époque do Rio de Janeiro.
+ 
+*Existe uma polêmica em torno do assunto: alguns estudiosos consideram o primeiro filme brasileiro Chegada em Petrópolis devido a uma notícia divulgada pela Gazeta de Petrópolis convidando para uma sessão do filme no dia 1º de maio de 1897, no Theatro Cassino de Petrópolis, organizada pelo napolitano Vittorio di Maio (1852 – 1926). Posteriormente, di Maio vendeu seu projetor e acervo para Paschoal Segreto. Também é de 1897 a vista Ancoradouro de pescadores na Baía de Guanabara, do pernambucano José Roberto Cunha Sales (1840- 1903), porém sua nacionalidade brasileira é contestada por historiadores que acreditam que o cinegrafista recortou o filme de uma vista estrangeira. Ancoradouro de pescadores na Baía de Guanabara está acervado no Arquivo Nacional.
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+Agência Brasil
+GONZAGA, Alice. Palácios e Poeiras. Rio de Janeiro : Record, 1996.
+Hemeroteca Digital da Biblioteca Nacional
+MARTINS, William de Souza Nunes. Paschoal Segreto: “Ministro das Diversões” do Rio de Janeiro (1883 – 1920). Rio de Janeiro, 2004. Dissertação (Mestrado em História Social) – Universidade Federal do Rio de Janeiro, 2004.
+Site do Ministério das Relações Exteriores – Departamento Cultural
+MOURA, Roberto. Verbete Afonso Segreto. In: MIRANDA, Luiz Felipe e RAMOS, Fernão Pessoa (org). Enciclopédia do cinema brasileiro. São Paulo: Senac, 2000.
+O GLOBO, 18 de junho de 2023
+Salas de cinema de São Paulo
+Site Filmow
+ 
+Outros artigos publicados na Brasiliana Fotográfica sobre teatros e cinemas
+ 
+Série O Rio de Janeiro desaparecido I - Salas de cinema do Rio de Janeiro do início do século XX, publicado em 26 de fevereiro de 2016.
+Os teatros do Brasil, publicado em 21 de março de 2016
+A inauguração do Theatro Municipal do Rio de Janeiro, publicado em 14 de julho de 2017
+Cinema no Brasil – a primeira sessão e um pouco da história do Cinema Odeon, publicado em 8 de julho de 2021
+Série “O Rio de Janeiro desaparecido” XII – O Teatro Lírico (Theatro Lyrico), publicado em 16 de setembro de 2021
+O Theatro de Santa Isabel, publicado em 28 de outubro de 2021
+O Teatro Amazonas (Theatro Amazonas), em Manaus, a “Paris dos Trópicos”, publicado em 28 de dezembro de 2021
+O Teatro João Caetano, no Rio de Janeiro, no Dia Mundial do Teatro, publicado em 27 de março de 2023
+Série O Rio de Janeiro desaparecido XXV – O Theatro Phenix, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado em 5 de setembro de 2023
+O Theatro da Paz, em Belém do Pará, inaugurado em 15 de fevereiro de 1878, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado em 15 de fevereiro de 2024
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/5336` — `itens/20.500.12156.1_5336/`
+- `20.500.12156.1/9817` — `itens/20.500.12156.1_9817/`
+
diff --git a/wordpress/30425-o-fotografo-amador-pernambucano-henrique-martins-1864-1933.md b/wordpress/30425-o-fotografo-amador-pernambucano-henrique-martins-1864-1933.md
new file mode 100644
index 0000000..f65ca9f
--- /dev/null
+++ b/wordpress/30425-o-fotografo-amador-pernambucano-henrique-martins-1864-1933.md
@@ -0,0 +1,110 @@
+---
+id: 30425
+url: "https://brasilianafotografica.bn.gov.br/?p=30425"
+titulo: "O fotógrafo amador pernambucano Henrique Martins (1864 – 1933)"
+autor: "Andrea Wanderley"
+data: "2023-02-10T03:37:54+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/11478", "20.500.12156.1/11474", "20.500.12156.1/11482", "20.500.12156.1/11472", "20.500.12156.1/11481", "20.500.12156.1/11469", "20.500.12156.1/11488", "20.500.12156.1/11489", "20.500.12156.1/11490", "20.500.12156.1/11491", "20.500.12156.1/11484", "20.500.12156.1/11492", "20.500.12156.1/11473", "20.500.12156.1/11485", "20.500.12156.1/11487", "20.500.12156.1/11486", "20.500.12156.1/11471", "20.500.12156.1/11475", "20.500.12156.1/11476", "20.500.12156.1/11477", "20.500.12156.1/11483", "20.500.12156.1/11480"]
+fetched_at: "2026-09-10T10:12:48.866Z"
+---
+
+# O fotógrafo amador pernambucano Henrique Martins (1864 – 1933)
+
+O pesquisador Rodrigo Cantarelli, da equipe da Coordenação-Geral de Estudos da História Brasileira (CEHIBRA) da Fundação Joaquim Nabuco (Fundaj), uma das instituições parceiras da Brasiliana Fotográfica, recentemente identificou a autoria de algumas imagens produzidas por Henrique Martins, que atuou como fotógrafo amador nas primeiras décadas do século XX, em Pernambuco. Sua produção fotográfica está presente em duas coleções integrantes do acervo da Fundação Joaquim Nabuco: a Coleção Franklin Santiago Poggi de Figueiredo e a Coleção Josebias Bandeira. São imagens belíssimas do Recife, de Olinda e de Jaboatão dos Guararapes.
+Acessando o link para fotografias de autoria de Henrique Martins disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.  
+ 
+O fotógrafo amador pernambucano Henrique Martins (1864 – 1933)
+Rodrigo Cantarelli*
+Henrique Martins (1864 – 1933) foi um fotógrafo amador com atuação em Pernambuco nas primeiras décadas do século XX, sendo encontradas menções aos seus trabalhos, na imprensa recifense, a partir de 1903. Filho mais jovem de José Izidoro Martins e Francisca Emilia de Oliveira, Henrique Martins integrou uma família de intelectuais conhecidos no estado, sendo irmão do desembargador Samuel Martins (1862 – 1930) e do jurista Martins Júnior (1860 – 1904).
+Henrique Martins se graduou bacharel na Faculdade de Direito do Recife, em 1889, chegando a escrever sobre a utilização da fotografia em processos judiciais, no entanto, não seguiu uma carreira profissional nesse campo, tal qual seus irmãos, ocupando-se do cargo de Secretário da Faculdade de Direito e sócio responsável da empresa Martins & C., que comercializava material fotográfico na capital pernambucana. São encontradas algumas notícias na imprensa local relatando que a Martins & C. produziu pequenos filmes publicitários, com o intuito de serem projetados antes das sessões nos cinemas do Recife, a exemplo do Festival do Jornal do Recife, relatado na notícia de 18 de julho de 1915 do referido jornal, e o Festival d’A Província, também relatado pelo Jornal do Recife, em 17 de agosto do mesmo ano. Ainda são encontrados dois endereços, hoje não mais existentes, onde funcionou a Martins & C., sendo o primeiro na Rua Sigismundo Gonçalves (por vezes rua do Cabugá), n.º 3, 1º andar, e Rua das Laranjeiras, n.º 2, ambos logradouros situados no bairro de Santo Antônio.
+ 
+Henrique Martins. Rua Sigismundo Gonçalves, c. 1914. Recife, Pernambuco / Acervo Fundação Joaquim Nabuco
+ 
+A produção fotográfica de Henrique Martins está presente em duas coleções integrantes do acervo da Fundação Joaquim Nabuco. A primeira delas é a Coleção Franklin Santiago Poggi de Figueiredo, composta exclusivamente por negativos em acetato, datados do começo do século XX. Estes negativos estão quase todos identificados por um código numérico, elaborado pelo autor das imagens, bem como, em alguns casos, datados e com o título da imagem identificando o seu local. Além disso, alguns desses negativos ainda possuem as assinaturas “H.” ou “H.M.”. Não é possível afirmar que todas as imagens desta coleção, composta por 84 documentos, seja de autoria de Henrique Martins, entretanto, tanto a semelhança na caligrafia grafada nos documentos quanto a técnica e a temática dos negativos reforça essa possibilidade.
+ 
+Henrique Martins. Recife, Ponte da Boa Vista, c.1914. Recife, Pernambuco / Acervo Fundação Joaquim Nabuco
+ 
+Henrique Martins. Praça Arthur Oscar, c. 1914. Recife, Pernambuco / Acervo Fundação Joaquim Nabuco
+ 
+Henrique Martins. Margens da linha férrea, c. 1914, Afogados, Recife, Pernambuco / Acervo Fundação Joaquim Nabuco
+ 
+Henrique Martins. Inauguração dos bonde elétricos para Olinda, 12 de outubro de 1914. Olinda, Pernambuco / Acervo Fundaj
+ 
+Henrique Martins. Piedade: jangadas, c. 1914. Piedade, Jaboatão dos Guararapes, Pernambuco / Acervo Fundação Joaquim Nabuco
+ 
+Já a segunda coleção onde encontramos os trabalho de Henrique Martins é a Josebias Bandeira, composta, quase que exclusivamente, por cartões postais. São diversas as imagens do início do século passado onde, além das assinaturas “H.” e “H.M.” presentes nos negativos que deram origem aos cartões postais, ainda percebemos um pequeno carimbo circular onde lemos “H. Martins”.
+ 
+Henrique Martins. Cidade de Olinda, c. 1914. Olinda, Pernambuco / Acervo Fundação Joaquim Nabuco
+ 
+Henrique Martins. Ilha do Retiro, c. 1914. Recife, Pernambuco / Acervo Fundação Joaquim Nabuco
+ 
+Henrique Martins. Rua do Sol, c. 1914. Recife, Pernambuco / Acervo Fundação Joaquim Nabuco 
+ 
+Henrique Martins. Jaboatão, c. 1914. Jaboatão dos Guararapes, Pernambuco / Acervo Fundação Joaquim Nabuco
+ 
+Henrique Martins. Praça da Independência, c. 1914. Recife, Pernambuco / Acervo Fundação Joaquim Nabuco
+ 
+Henrique Martins. Ponte Santa Isabel, c. 1914. Recife, Pernambuco / Acervo Fundação Joaquim Nabuco
+ 
+É importante destacar que alguns dos negativos que deram origem aos postais encontrados na Coleção Josebias Bandeira, estão presentes na Coleção Franklin Santiago Poggi de Figueiredo. Um desses postais, que mostra a igreja Matriz da Boa Vista, no Recife, autentica a autoria da imagem do negativo da Coleção Franklin Poggi, visto que, quando comparamos as duas imagens, podemos perceber que negativo foi danificado e perdeu exatamente a parte da imagem com a assinatura “H.”.
+ 
+Henrique Martins. Matriz da Boa Vista, c. 1914. Recife, Pernambuco / Acervo Fundação Joaquim Nabuco
+ 
+ 
+Henrique Martins. Matriz da Boa Vista, c. 1914. Recife, Pernambuco / Acervo Fundação Joaquim Nabuco
+ 
+Henrique Martins. Estrada para Olinda, c. 1914. Olinda, Pernambuco / Acervo Fundação Joaquim Nabuco
+ 
+Henrique Martins. Praia de Olinda, c. 1914. Olinda, Pernambuco / Acervo Fundação Joaquim Nabuco
+ 
+Tais imagens foram expostas e comercializadas em lugares, na cidade do Recife, frequentados por uma elite intelectual pernambucana, a exemplo da Livraria Francesa, da Livraria Universal e da Fábrica da Lafayette. A imprensa local, em diversas ocasiões, ao comentar os trabalhos de Henrique Martins, nos permite reconstituir os mais diversos temas registrados por ele, seja o desembarque de personalidades no Porto do Recife, paisagens urbanas e até mesmo os mais diversos retratos, tendo ele registrado uma imagem do cangaceiro Antônio Silvino (esta, infelizmente não presente nas coleções da Fundação Joaquim Nabuco). No entanto, estes outros temas mencionados estão presentes também nas duas coleções, que mostram desde aspectos do Porto do Recife, sobrecarregado de embarcações em função da 1ª da Guerra Mundial; aos banhos de mar na cidade de Olinda; bem como as novas e as velhas edificações da capital pernambucana, e dos seus arredores, naquele início do século XX.
+ 
+Henrique Martins. O velho Forte do Buraco, c. 1914. Recife, Pernambuco / Acervo Fundação Joaquim Nabuco
+ 
+Henrique Martins. Faculdade de Direito, c. 1914. Recife, Pernambuco / Acervo Fundação Joaquim Nabuco
+ 
+Henrique Martins. River Plate Bank, c. 1918. Recife, Pernambuco / Acervo Fundação Joaquim Nabuco
+ 
+Henrique Martins. Praça Saldanha Marinho, c. 1914. Recife, Pernambuco / Acervo Fundação Joaquim Nabuco 
+ 
+Henrique Martins. Efeitos da Guerra: vapores asilados no Porto do Recife, c. 1914. Recife, Pernambuco / Acervo Fundação Joaquim Nabuco
+ 
+Henrique Martins. Praia de Olinda, c. 1914. Olinda, Pernambuco / Acervo Fundação Joaquim Nabuco
+ 
+ 
+Rodrigo Cantarelli é pesquisador da CEHIBRA – FUNDAJ.
+ 
+ 
+Fontes:
+DESEMBARGADOR Samuel Martins. Jornal Pequeno, Recife, 23 de abril 1930.
+MARTINS, Henrique. Lista geral dos bacharéis e doutores que tem obtido o respectivo grao na faculdade de direito do Recife desde sua fundação em Olinda, no anno de 1828, ate o anno de 1923. Recife, 1923.
+MARTINS, Henrique. Sobre a photographia judiciaria: seu historico e sua applicacao. A Cultura Academica, Recife. a.3, v.3, p.75-86, ago. 1906.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/11478` — `itens/20.500.12156.1_11478/`
+- `20.500.12156.1/11474` — `itens/20.500.12156.1_11474/`
+- `20.500.12156.1/11482` — `itens/20.500.12156.1_11482/`
+- `20.500.12156.1/11472` — `itens/20.500.12156.1_11472/`
+- `20.500.12156.1/11481` — `itens/20.500.12156.1_11481/`
+- `20.500.12156.1/11469` — `itens/20.500.12156.1_11469/`
+- `20.500.12156.1/11488` — `itens/20.500.12156.1_11488/`
+- `20.500.12156.1/11489` — `itens/20.500.12156.1_11489/`
+- `20.500.12156.1/11490` — `itens/20.500.12156.1_11490/`
+- `20.500.12156.1/11491` — `itens/20.500.12156.1_11491/`
+- `20.500.12156.1/11484` — `itens/20.500.12156.1_11484/`
+- `20.500.12156.1/11492` — `itens/20.500.12156.1_11492/`
+- `20.500.12156.1/11473` — `itens/20.500.12156.1_11473/`
+- `20.500.12156.1/11485` — `itens/20.500.12156.1_11485/`
+- `20.500.12156.1/11487` — `itens/20.500.12156.1_11487/`
+- `20.500.12156.1/11486` — `itens/20.500.12156.1_11486/`
+- `20.500.12156.1/11471` — `itens/20.500.12156.1_11471/`
+- `20.500.12156.1/11475` — `itens/20.500.12156.1_11475/`
+- `20.500.12156.1/11476` — `itens/20.500.12156.1_11476/`
+- `20.500.12156.1/11477` — `itens/20.500.12156.1_11477/`
+- `20.500.12156.1/11483` — `itens/20.500.12156.1_11483/`
+- `20.500.12156.1/11480` — `itens/20.500.12156.1_11480/`
+
diff --git a/wordpress/30440-dia-nacional-de-zumbi-e-da-consciencia-negra.md b/wordpress/30440-dia-nacional-de-zumbi-e-da-consciencia-negra.md
new file mode 100644
index 0000000..2ec0018
--- /dev/null
+++ b/wordpress/30440-dia-nacional-de-zumbi-e-da-consciencia-negra.md
@@ -0,0 +1,61 @@
+---
+id: 30440
+url: "https://brasilianafotografica.bn.gov.br/?p=30440"
+titulo: "Dia Nacional de Zumbi e da Consciência Negra"
+autor: "Andrea Wanderley"
+data: "2022-11-20T00:32:38+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/6847", "20.500.12156.1/10310", "20.500.12156.1/4484", "20.500.12156.1/6240"]
+fetched_at: "2026-09-10T10:12:52.319Z"
+---
+
+# Dia Nacional de Zumbi e da Consciência Negra
+
+Na data da celebração do Dia Nacional de Zumbi e da Consciência Negra a Brasiliana Fotográfica destaca alguns artigos publicados no portal. A data remete à morte de Zumbi de Palmares, em 20 de novembro de 1695, em Alagoas. Ele foi o líder do Quilombo dos Palmares, o maior do período colonial brasileiro, que localizava-se na região da Serra da Barriga, na Capitania de Pernambuco, atual região de União dos Palmares, em Alagoas. Traído por um dos seus principais comandantes, Antônio Soares, foi morto na serra de Dois Irmãos, local de seu esconderijo. Foi esquartejado e sua cabeça foi cortada e exposta na Praça do Carmo, em Recife.
+Em 9 de novembro de 1986, foi inaugurado, no Rio de Janeiro, um monumento em sua homenagem, por iniciativa do então secretário estadual de Cultura, Darcy Ribeiro (1922 – 1997). Localizado na Praça Onze de Junho, na Avenida Presidente Vargas, seu projeto foi do arquiteto João Filgueiras Lima e do engenheiro Humberto Moura. Foi inspirado na cabeça de um rei nigeriano do século XII, cujo original está no Museu Britânico.
+Depois de uma importante mobilização do movimento negro e a aprovação pelo Senado, a partir da sanção da Lei 10.639, de 2003, que determina o ensino de História e Cultura Afro-Brasileira nas escolas, o Dia da Consciência Negra entrou no calendário escolar. Cerca de oito anos depois, a então presidente Dilma Rousseff oficializou 20 de novembro como Dia Nacional de Zumbi e da Consciência Negra, com a lei nº 12.519, de novembro de 2011 (G1, 11 de novembro de 2011). Porém a data só é feriado em locais com leis municipais ou estaduais específicas. O senador Randolfe Rodrigues apresentou o Projeto de Lei do Senado, nº 482 de 2017, que torna o 20 de novembro feriado em todo o país. O texto avançou em 2021 e seguiu para a Câmara dos Deputados.
+“A data é marcada como feriado em apenas algumas partes do país, como Alagoas, Amazonas, Amapá, Mato Grosso e Rio de Janeiro. Também é feriado municipal em 1.260 cidades brasileiras. Como o Brasil tem 5.568 municípios, o Dia da Consciência Negra é, portanto, feriado em 29% das cidades do país” (O GLOBO, 20 de novembro de 2023). *
+O presidente Luiz Inácio Lula da Silva sancionou, em 21 de dezembro de 2023, o Projeto de Lei nº 3268/2021, que declara o Dia Nacional de Zumbi e da Consciência Negra feriado em todo o país. O texto do PL foi publicado no Diário Oficial da União do dia seguinte.**
+*Este parágrafo foi acrescentado em 20 de novembro de 2023.
+**Este parágrafo foi acrescentado em 22 de dezembro de 2023.
+ 
+Outras publicações na Brasiliana Fotográfica que se relacionam com a questão do racismo
+ 
+Zumbi dos Palmares (Alagoas,1655 – Alagoas, 20 de novembro de 1695), publicado em 20 de novembro de 2015
+ 
+Zumbi (1927), pintura de Antonio Parreiras (1860 – 1937) / Acervo do Museu Antonio Parreiras, Niterói
+ 
+A mulher de turbante, de Alberto Henschel, publicado em 13 de maio de 2020
+ 
+Alberto Henschel. Mulher de turbante, c. 1870. Rio de Janeiro, RJ / Acervo IMS
+ 
+Série “1922 – Hoje, há 100 anos” X – A morte do escritor Lima Barreto (1881 – 1922), publicado em 1º de novembro de 2022
+ 
+Lima Barreto, 19?. Rio de Janeiro, Rio de Janeiro, RJ / Acervo FBN
+ 
+O Dia Internacional de Luta pela Eliminação da Discriminação Racial, publicado em 21 de março de 2023**
+ 
+Alberto Henschel. Retrato, 1869. Recife, Pernambuco / Convênio Instituto Moreira Salles – Leibniz-Institut für Länderkunde
+ 
+Dia Internacional da Mulher Negra Latina Americana e Caribenha e o Dia Nacional de Tereza de Benguela e da Mulher Negr, publicado em 25 de julho de 2023
+ 
+Augusto Stahl. Mulher negra com manto, c. 1860. Recife, Pernambuco / Acervo IMS
+ 
+**Esses dois últimos artigos em destaque foram incluídos em 21 de setembro de 2023.
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+Fontes:
+Agência Senado
+Folha de São Paulo, 21 de novembro de 2005
+Hemeroteca Digital da Biblioteca Nacional
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/6847` — `itens/20.500.12156.1_6847/`
+- `20.500.12156.1/10310` — `itens/20.500.12156.1_10310/`
+- `20.500.12156.1/4484` — `itens/20.500.12156.1_4484/`
+- `20.500.12156.1/6240` — `itens/20.500.12156.1_6240/`
+
diff --git a/wordpress/30577-serie-carnavais-de-antigamente-viii-folioes-do-carnaval-de-diamantina-por-chichi.md b/wordpress/30577-serie-carnavais-de-antigamente-viii-folioes-do-carnaval-de-diamantina-por-chichi.md
new file mode 100644
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+++ b/wordpress/30577-serie-carnavais-de-antigamente-viii-folioes-do-carnaval-de-diamantina-por-chichi.md
@@ -0,0 +1,32 @@
+---
+id: 30577
+url: "https://brasilianafotografica.bn.gov.br/?p=30577"
+titulo: "Série “Carnavais de antigamente” VIII – Foliões do Carnaval de Diamantina por Chichico Alkmim"
+autor: "Andrea Wanderley"
+data: "2023-02-17T09:48:22+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/5236"]
+fetched_at: "2026-09-10T10:12:55.411Z"
+---
+
+# Série “Carnavais de antigamente” VIII – Foliões do Carnaval de Diamantina por Chichico Alkmim
+
+Para celebrar o Carnaval de 2023, a Brasiliana Fotográfica destaca uma das imagens mais líricas e belas já produzidas sobre o tema. Os personagens retratados nos seduzem com seus sorrisos, expressões, fantasias e poses, despertando nossa imaginação…É um convite para a festa, para a folia! A autoria da foto é de  Chichico Alkmim (1886 – 1978), fotógrafo mineiro, autodidata e pioneiro da fotografia de estúdio em Diamantina. Foi o primeiro cronista visual da cidade e atuou na profissão, que adotou em 1907, até 1955. Sua produção, que compreende registros da arquitetura diamantinense, sua religiosidade, costumes, ritos e retratos de seus habitantes, é uma das principais  da memória visual de Minas Gerais. A fotografia dos foliões do Carnaval de Diamantina emociona por sua poesia e beleza.
+ 
+Tudo tão antigo e tão recente esta gente de papel convida a esquecer o tempo – até que a voz de um galo nos acorde.
+Eucanaã Ferraz, poeta, sobre a obra de Chichico
+ 
+Chichico Alkmim. Carnaval, s/d. Diamantina, Minas Gerais / Acervo IMS
+ 
+Acessando o link para as fotografias de Carnaval disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+Acesse aqui todos os artigos da Série Carnavais de antigamente.
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/5236` — `itens/20.500.12156.1_5236/`
+
diff --git a/wordpress/30600-o-brasil-do-futebol-uma-paixao-nacional.md b/wordpress/30600-o-brasil-do-futebol-uma-paixao-nacional.md
new file mode 100644
index 0000000..ee575a4
--- /dev/null
+++ b/wordpress/30600-o-brasil-do-futebol-uma-paixao-nacional.md
@@ -0,0 +1,81 @@
+---
+id: 30600
+url: "https://brasilianafotografica.bn.gov.br/?p=30600"
+titulo: "O Brasil do futebol, uma paixão nacional"
+autor: "Andrea Wanderley"
+data: "2022-11-24T08:49:50+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/4589", "20.500.12156.1/8819", "20.500.12156.1/7900", "20.500.12156.1/4310"]
+fetched_at: "2026-09-10T10:12:58.303Z"
+---
+
+# O Brasil do futebol, uma paixão nacional
+
+Hoje a seleção brasileira de futebol estreia na Copa do Mundo do Catar jogando contra a Sérvia em busca do hexacampeonato e a Brasiliana Fotográfica traz para seus leitores fotografias dos estádios de futebol dos clubes cariocas Botafogo e Fluminense. Diversos jogadores que fizeram a glória do Brasil em copas do mundo e em outros campeonatos internacionais vieram destes dois times de futebol, dentre eles Amarildo (1939-), Castilho (1927 – 1987), Didi (1928 – 2001), Félix (1937 – 2012), Garrincha (1933 – 1983), Jairzinho (1944-), Marcos Carneiro de Mendonça (1894 – 1988), Nilton Santos (1925 – 2013), Paulo César (1949-) e Zagallo (1931-).
+A imagem do estádio do Botafogo foi produzida, em 1º de abril de 1941, por Uriel Malta (1910 – 1994), filho do alagoano Augusto Malta (1864 – 1957), que foi fotógrafo da prefeitura do Rio de Janeiro entre 1903 e 1936.
+ 
+Uriel Malta. Clube Botafogo de Futebol e Regatas, 1º de abril de 1941. Rio de Janeiro, RJ / Acervo AGCRJ
+ 
+Uma das fotos do Fluminense Football Club foi produzida, em torno de 1921, pelo autor das primeiras fotografias aéreas do Rio de Janeiro, Jorge Kfuri (1893 – 1965).
+ 
+Jorge Kfuri. Vista aérea do bairro de Laranjeiras; destaque para o Palácio Guanabara e para o Fluminense Futebol Clube, c. 1921. Rio de Janeiro, RJ / Acervo IMS
+ 
+A outra, de 19 de julho de 1935, foi produzida pela Escola de Aviação Militar, cujo setor responsável pela atividade de fotografar era a Seção Foto e estava vinculada às escolas de aviação que formavam pilotos e observadores aéreos, além de funcionar como uma “escola técnica de aviação” que formava também militares especializados em fotografia e em toda a técnica envolvida.
+ 
+Escola de Aviação Militar. Estádio do Fluminense Futebol Clube, 19 de julho de 1935. Rio de Janeiro, RJ / Acervo Museu Aeroespacial
+ 
+Breve história da chegada do futebol no Brasil
+ 
+Charles Miller, com 19 anos
+ 
+Foi o paulista Charles Miller (1874 – 1953) que trouxe o futebol para o Brasil. Filho de britânicos, após uma estadia na Inglaterra, de 1884 a 1894, retornou ao Brasil trazendo duas bolas de futebol, um livro de regras e dois jogos de uniformes. A primeira partida aconteceu em 14 de abril de 1895: uma disputa entre os funcionários da Companhia de Gás e da São Paulo Railway, na Várzea do Carmo, em São Paulo. A equipe de Miller, a São Paulo Railway, derrotou a adversária por 4 x 2. O pioneirismo de Miller é contestado por alguns historiadores que afirmam que o futebol já era praticado no Brasil na década de 1870.
+ 
+Retrospectiva dos campeões e da classificação do Brasil em Copas do Mundo
+ 
+
+ 
+O Brasil é o único país que participou de todas as edições de copas do mundo e já sediou duas delas, em 1950 e em 2014. Além disso é o maior vencedor da competição, com cinco títulos: 1958, 1962, 1970, 1994 e 2002.
+1930 – Copa do Mundo do Uruguai. Campeão: Uruguai. Brasil: 6º lugar
+1934 – Copa do Mundo da Itália. Campeão: Itália. Brasil: 14º lugar
+1938 – Copa do Mundo da França. Campeão: Itália. Brasil: 3º lugar
+1950 – Copa do Mundo do Brasil. Campeão: Uruguai. Brasil: vice-campeão
+1954 – Copa do Mundo da Suíça. Campeão: Alemanha. Brasil: 5º lugar
+1958 – Copa do Mundo da Suécia. Campeão: Brasil
+1962 - Copa do Mundo do Chile. Campeão: Brasil
+1966 - Copa do Mundo da Inglaterra. Campeão: Inglaterra. Brasil: 11º lugar
+1970 - Copa do Mundo do México. Campeão: Brasil.
+1974 - Copa do Mundo da Alemanha Ocidental. Campeão: Alemanha. Brasil: 4º lugar
+1978 – Copa do Mundo da Argentina. Campeão: Argentina. Brasil: 3º lugar
+1982 - Copa do Mundo da Espanha. Campeão: Itália. Brasil: 5º lugar
+1986 - Copa do Mundo do México. Campeão: Argentina. Brasil: 5º lugar
+1990 - Copa do Mundo da Itália. Campeão: Alemanha. Brasil: 9º lugar
+1994 - Copa do Mundo dos Estados Unidos. Campeão: Brasil
+1998 - Copa do Mundo da França. Campeão: França. Brasil: vice-campeão
+2002 - Copa do Mundo da Coreia do Sul e Japão. Campeão: Brasil
+2006 - Copa do Mundo da Alemanha. Campeão: Itália. Brasil: 5º lugar
+2010 - Copa do Mundo da África do Sul. Campeão: Espanha. Brasil: 6º lugar
+2014 – Copa do Mundo do Brasil. Campeão: Alemanha. Brasil: 4º lugar
+2018 -  Copa do Mundo da Rússia. Campeão: França. Brasil: 6º lugar
+2022 - Copa do Mundo do Catar. Campeão: ? Brasil: ?
+ 
+ 
+ 
+ 
+A Brasiliana Fotográfica agradece à colaboração do talentoso caricaturista Cássio Loredano, uma enciclopédia do futebol, para elencar os jogadores do Botafogo e do Fluminense.
+ 
+Andrea C.T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Link para o artigo Dia Nacional do Futebol, publicado na Brasiliana Fotográfica, em 19 de julho de 2016.
+ 
+Anônimo. O foot-ball na Escola de Aprendizes Marinheiros do Ceará, 1917. Fortaleza, Ceára / Acervo DPHDM
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/4589` — `itens/20.500.12156.1_4589/`
+- `20.500.12156.1/8819` — `itens/20.500.12156.1_8819/`
+- `20.500.12156.1/7900` — `itens/20.500.12156.1_7900/`
+- `20.500.12156.1/4310` — `itens/20.500.12156.1_4310/`
+
diff --git a/wordpress/30648-serie-os-diarios-associados-na-brasiliana-fotografica-iii-e-serie-carnavais-de-a.md b/wordpress/30648-serie-os-diarios-associados-na-brasiliana-fotografica-iii-e-serie-carnavais-de-a.md
new file mode 100644
index 0000000..68ae599
--- /dev/null
+++ b/wordpress/30648-serie-os-diarios-associados-na-brasiliana-fotografica-iii-e-serie-carnavais-de-a.md
@@ -0,0 +1,170 @@
+---
+id: 30648
+url: "https://brasilianafotografica.bn.gov.br/?p=30648"
+titulo: "Série “Os Diários Associados na Brasiliana Fotográfica” III e Série “Carnavais de antigamente” VII – O Rei Momo por Jean Manzon e por outros fotógrafos dos Diários Associados"
+autor: "Andrea Wanderley"
+data: "2023-02-03T11:31:18+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/11417", "20.500.12156.1/11419", "20.500.12156.1/11418", "20.500.12156.1/11421", "20.500.12156.1/11420"]
+fetched_at: "2026-09-10T10:13:01.562Z"
+---
+
+# Série “Os Diários Associados na Brasiliana Fotográfica” III e Série “Carnavais de antigamente” VII – O Rei Momo por Jean Manzon e por outros fotógrafos dos Diários Associados
+
+Neste artigo a Brasiliana Fotográfica vai contar um pouco da história do Rei Momo do carnaval carioca a partir de uma imagem produzida pelo importante fotógrafo francês Jean Manzon (1915 – 1990), responsável pela renovação do fotojornalismo brasileiro na década de 1940. A foto destacada foi publicada no Diário da Noite, de 31 de dezembro de 1948, na ocasião do falecimento do primeiro Rei Momo, Francisco de Moraes Cardoso (1893 – 1948). No registro, de 28 de fevereiro de 1946, ele está na coroação realizada, no Teatro João Caetano, da vedete Mara Rubia (1918 – 1991), eleita dias antes Rainha do Baile do Carnaval das Atrizes de 1946 (Diário da Noite, 21 de fevereiro de 1946, sétima coluna). Vamos também traçar um pequeno perfil de Manzon. Foi em 3 de fevereiro de 1934 que o carnaval carioca foi aberto pela primeira vez por um Rei Momo de carne e osso.
+ 
+Jean Manzon. Carnaval antigo – a Rainha do Baile das Atrizes (Mara Rúbia) e o Rei Momo (Francisco de Moraes Cardoso), 28 de fevereiro de 1946. Teatro João Caetano, Rio de Janeiro / Diários Associados (RJ) – Acervo IMS
+ 
+ 
+
+O Rei Momo, Francisco de Moraes Cardoso, que reinou entre 1934 e 1948, com a Rainha do Carnaval das Atrizes, Mara Rúbia. Foto de autoria de Jean Manzon produzida em 28 de fevereiro de 1946, no Teatro João Caetano / Diário da Noite, 31 de dezembro de 1948.
+ 
+ 
+Os Diários Associados e a importância da preservação de um arquivo fotográfico de imprensa
+ 
+Pela terceira vez uma imagem dos Diários Associados – Rio de Janeiro -, que foi incorporado, em 2016, ao acervo fotográfico de uma das instituições fundadoras da Brasiliana Fotográfica, o Instituto Moreira Salles (IMS), é o destaque de uma publicação do portal. Esse conjunto de fotos dos Diários Associados, que já foram o maior conglomerado de mídia do Brasil, possui cerca de 700 mil fotografias e 300 mil negativos com imagens produzidas para O Jornal, primeiro órgão dos Diários, comprado por Assis Chateaubriand (1892 – 1968), em 1924; para o Diário da Noite, fundado por ele, em 1929; e para o Jornal do Commercio, fundado, em 1827, e adquirido pelo grupo em 1959.
+Mais uma vez destacamos a relevância da preservação de um arquivo fotográfico de imprensa mesmo que as imagens estejam disponíveis em plataformas como a Hemeroteca Digital da Biblioteca Nacional, uma das mais importantes fontes de pesquisa do portal. Com a preservação, as fotografias podem, a partir de recursos tecnológicos, como a digitalização e o zoom, terem outra visibilidade e serem acessadas em sua qualidade plena.
+ 
+Acessando o link para as fotografias do Rei Momo publicados em jornais cariocas dos Diários Associados e disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Pequeno perfil de Jean Manzon (1915 – 1990)
+
+Jean Manzon / Arquivo Nacional
+ 
+O fotógrafo e cineasta Jean Manzon nasceu em Paris, em 2 de fevereiro de 1915. Começou sua carreira, aos 16 anos, no jornal L´Intransigeant. Depois trabalhou nas revistas ilustradas Vu e Match e no vespertino Paris Soir. Também trabalhou para o serviço cinematográfico da Marinha Francesa durante a Segunda Guerra Mundial. Veio para o Brasil, em agosto de 1940, e fixou-se no Rio de Janeiro.
+Nos primeiros anos da década de 1940, foi o encarregado pela organização do Setor de Fotografia do Departamento de Imprensa e Propaganda do Estado Novo do presidente Getulio Vargas (1882 – 1954). Manzon tinha a função de produzir material para a divulgação da imagem do Brasil no país e no exterior. Editou pela Força Expedicionária Brasileira a revista Brasil na Guerra.
+Atuou em diversas publicações dos Diários Associados, principalmente na revista O Cruzeiro, onde começou a trabalhar em 1943, a convite de Frederico Chateubriand (O Cruzeiro, 10 de julho de 1943), onde permanceu até 1951. Neste período produziu mais de 300 fotorreportagens cujos temas a professora e arquiteta Helouise Costa separou em quatro tópicos: política, personalidades, religião e realidade brasileira. Justamente nas décadas de 40 e 50 as matérias da revista tiveram um forte impacto na formação do imaginário brasileiro abordando, muitas vezes, pela primeira vez, alguns assuntos. Formou com David Nasser (1917 – 1980) uma das duplas mais importantes do jornalismo brasileiro. Juntos percorreram o Brasil de norte a sul e é deles, por exemplo, a matéria Enfrentando os chavantes, reportagem pioneira sobre índios brasileiros (O Cruzeiro, 24 de junho de 1944).
+Manzon foi o responsável pela renovação do fotojornalismo no Brasil, implantando em O Cruzeiro, a partir de sua experiência europeia, uma linguagem fotográfica que usava ângulos de baixo para cima e vice-versa, tomadas oblíquas, enfatizando detalhes expressivos e utilizando intencionalmente a cenografia, onde a imagem era meticulosamente arquitetada pelo fotógrafo que, desta forma, construia a imagem. Introduzia assim a fotorreportagem, onde a foto não se limitava a ilustrar o texto, mas transmitia um ponto de vista especificamente visual sobre os fatos e resultava, com o texto, uma narrativa estruturada.
+Manzon formou em O Cruzeiro uma equipe de fotógrafos que tornou-se pioneira do fotojornalismo moderno no país. Alguns deles foram Luciano Carneiro (1926 – 1959),  José Medeiros (1921- 1990) e Peter Scheier (1908 – 1979).
+Na década de 1950, passou a colaborar com a revista Paris Match. Colaborou também com o jornal Última Hora e com a revista Manchete, em cuja capa do primeiro exemplar, de 26 de agosto de 1952, há uma chamada para Uma grande reportagem de Jean Manzon, intitulada Nem tudo é sombra e água fresca, também se trabalha na Câmara dos Deputados.
+Ainda nos anos 50, fundou a empresa cinematográfica Jean Manzon Produções, que realizou mais de 900 documentários. Um deles, L´Amazone, foi premiado com o Leão de Ouro do Festival de Cinema de Veneza, Itália, em 1966. Retornou a Paris e, entre 1968 e 1972, assumiu a direção da Paris Match. É de sua autoria os livros Flagrantes do Brasil (1950) e Mergulho na Aventura (1950), este último em parceria com David Nasser; Brasil (1952) e Féerie Brésilienne (1957), entre outros.
+Ele se orgulhava de ser o maior propagandista brasileiro no exterior e acusado, muitas vezes, de não mostrar a realidade do Brasil em seus documentários, declarou, em entrevista no artigo de Sérgio Gomes, Profissão otimista, publicado na Folha de São Paulo de 17 de novembro de 1977:
+Folha de São Paulo, 17 de novembro de 1977
+Segundo o poeta Manuel Bandeira (1886 – 1968), na apresentação da segunda edição de Flagrantes do Brasil, a obra de Manzon seria como um retrato de “nossa terra, nossos homens e nossos costumes”. Seu acervo é um dos maiores patrimônios cinematográficos de preservação da história e da memória no Brasil e em toda América Latina produzido por um só artista.
+Em junho de 1990, em São Paulo, recebeu a Cruz de Oficial da Legião de Honra da França. Jean Manzon faleceu em Reguengos de Monsaraz, em Portugal, em 1º de julho de 1990, devido a um traumatismo craniano ocasionado por uma queda de uma escada (Jornal do Brasil, 5 de junho de 1990; e 3 de julho de 1990).
+ 
+Um pouco da história do Rei Momo I e Único do carnaval carioca
+Carnaval – Rei Momo (Francisco de Moraes Cardoso), janero de 1941. Rio de Janeiro, RJ / Diários Associados (RJ) – Acervo IMS
+ 
+O Rei Momo, Francisco de Moraes Cardoso, que reinou no carnaval carioca de 1934 a 1948 / Diário da Noite, 27 de janeiro de 1940
+ 
+Na Mitologia Grega, Momo era o deus da festividade, filho do Sono e da Noite. Por sua irreverência e sarcasmo foi expulso do Olimpo. Na Grécia, registros históricos revelam que os primeiros reis Momos até hoje conhecidos desfilavam em festas de orgia por volta dos séculos 5 ou 4 a.C. Já nas bacanais romanas, os participantes selecionavam um Rei Momo entre os soldados mais bonitos do exército e, ao final da festa, ele era sacrificado em honra do deus Saturno.
+A primeira representação do Rei Momo de que se tem notícia no Brasil foi feita pelo caricaturista alemão radicado no Brasil, Henrique Fleiuss (1824 – 1882), e publicada na Semana Illustrada, em 2 de março de 1862, primeira publicação humorística ilustrada da imprensa brasileira. Fundada por Fleiuss, existiu entre 1860 e 1876, e teve como colaboradores Joaquim Nabuco (1849 – 1910) e Machado de Assis (1839 – 1908), dentre outros.
+ 
+Rei Momo por Henrique Fleuiss / Semana Illustrada, 2 de março de 1862
+ 
+Até hoje, acredita-se que a primeira representação física do Rei Momo no país tenha acontecido em 21 de junho de 1910 durante a encenação da opereta Cupido no Oriente apresentada no Circo Spinelli. O famoso Benjamim de Oliveira (1870 – 1954), um dos autores da peça ao lado de David Carlos (18?-19?) e o primeiro palhaço negro do Brasil, interpretou Momo. O espetáculo contava com 28 músicas de autoria do maestro Paulino do Sacramento (1880 – 1926) e quatro atos.
+ 
+O Paiz, 21 de junho de 1910
+ 
+Souvenir de 1909, com alguns personagens. In: O circo no Brasil, de Antonio Torres, Funarte/SP, 1998
+ 
+O Paiz, 1º de fevereiro de 1910
+ 
+Em 1933, a Federação das Sociedades Carnavalescas do Rio de Janeiro, a Casa dos Artistas e a Empresa Beira-Mar Cassino organizaram a entrada triunfal do Rei Momo no Rio de Janeiro, que seria uma nota interessantíssima do carnaval. A programação foi apresentada por Cerqueira Lima, representante do Touring Club (A Noite, 20 de dezembro de 1932, penúltima coluna; A Noite, 28 de janeiro de 1933, quarta coluna; e 14 de fevereiro de 1933, terceira coluna).
+ 
+“Foi uma ideia feliz essa de se dar, assim, como uma apoteose ao deus da folia, abertura oficial aos folguedos de carnaval”.
+A Noite, 15 de fevereiro de 1933
+ 
+ 
+Croquis de Hipólito Colomb / A Noite, 15 de fevereiro de 1933
+ 
+E, em 18 de fevereiro de 1933, desembarcou na cidade um Rei Momo, porém de papelão. Foi esculpido pelo cenógrafo Hipólito Colomb que, com o decorador Jayme Silva, o vestiu. Momo chegou à Praça Mauá a bordo do Mocanguê. A alegoria media 13 metros e era iluminada por 800 lâmpadas elétricas. Houve um desfile na avenida Rio Branco e o rei da folia instalou-se no Cassino Beira-Mar. Foi a diretoria do Lloyd Club que promoveu a luxuosa cerimônia de chegada (A Noite, 15 de fevereiro; 18 de fevereiro, primeira coluna; 18 de fevereiro, quarta coluna; e 19 de fevereiro, de 1933; Diário da Noite, 18 de fevereiro; e 20 de fevereiro de 1933).
+ 
+Diário da Noite, 18 de fevereiro de 1933
+ 
+Como provado por fotos publicadas no jornal A Noite, de 21 de fevereiro de 1933, e na mesma data 3ª edição; e de 23 de fevereiro de 1933, já existia um  Rei Momo de carne e osso em 1933, criado por iniciativa dos jornalistas de A Noite Vasco Lima, Raymundo Magalhães Junior, Edgard Pilar Drummond, pseudônimo Palamenta, que integrava o Centro dos Cronistas Carnavalescos; e do caricaturista Fritz, pseudônimo de Anisio Mota. O escolhido para encarnar o soberano do carnaval carioca foi o cronista de turfe, que também trabalhava no jornal, o carioca Francisco Moraes de Cardoso (1893 – 1948), um tipo bonachão, alegre e com cara de glutão.
+ 
+Carnaval – Rei Momo (Francisco de Moraes Cardoso), janeiro de 1939. Rio de Janeiro, RJ / Diários Associados (RJ) – Acervo IMS
+ 
+Mas foi no ano seguinte, em 3 de fevereiro de 1934, que o Rei Momo de carne e osso abriu o carnaval do Rio de Janeiro. Chegou na Praça Mauá e seguiu pela Avenida Rio Branco até o Palácio das Festas, onde houve um baile em sua homenagem (A Noite, 13 de dezembro de 1933, terceira coluna; A Noite, 19 de fevereiro de 1934, primeira coluna; A Noite, 30 de janeiro de 1934, penúltima coluna; A Noite, 3 de fevereiro de 1934; A Noite, 4 de fevererio de 1934).
+ 
+
+ A Noite, 3 de fevereiro de 1934
+ 
+Foi vestido, por sugestão do maestro Silvio Piergilli (c.1888 – 1962), que trabalhava no Teatro Municipal e era amigo de Raymundo Magalhães Junior, com a roupa do duque de Mântua, personagem da ópera Rigoletto, de Giuseppe Verdi. Há uma outra versão na qual o caricaturista Fritz teria sido o desenhista da roupa, que teria sido executada por uma costureira do Teatro Municipal. Provavelmente, em 1933, Momo usou a fantasia do duque e, no ano seguinte, 1934, desfilou com a roupa desenhada por Fritz.
+ 
+A Noite, 21 de fevererio de 1933
+ 
+A Noite, 3 de fevereiro de 1934
+ 
+O jornal A Noite, de 9 de dezembro de 1948, resumiu assim a história do Rei Momo no carnaval do Rio de Janeiro:
+ 
+
+ 
+O fato é que durante 15 anos, de 1934 até sua morte, em 9 de dezembro de 1948, Moraes de Cardoso reinou no carnaval carioca (A Noite, 9 de dezembro de 1948; O Jornal, 10 de dezembro de 1948, primera coluna). Havia ingressado em A Noite em fins da década de 20, a convite de Adauto de Assis, que chefiava a seção esportiva do jornal. Antes, Moraes Cardoso trabalhava na papelaria Casa Cruz. Quando faleceu, além de repórter esportivo e comentarista de turfe, era Chefe da Seção de Circulação de A Noite.
+ 
+Francisco de Moraes Cardoso, Rei Momo de 1934 a 1948 / A Noite, 9 de dezembro de 1948
+ 
+Carnaval – Rei Momo (Francisco de Moraes Cardoso), fevereiro de 1941. Rio de Janeiro, RJ /Diários Associados (RJ) – Acervo IMS
+ 
+Retrospectiva do Rei Momo do carnaval carioca desde 1934
+ 
+Carnaval – Rei Momo (Francisco de Moraes Cardoso), fevereiro de 1941. Rio de Janeiro, RJ / Acervo Diários Associados (RJ) – IMS
+ 
+1934 a 1948 – Francisco Moraes Cardoso
+1949 – Gustavo Matos
+1950 – Jaime de Moraes
+1951 a 1957 – Nelson Nobre
+1958 a 1971 – Abrahão Reis
+1972 – Edson Seraphin de Santana
+1973 – Elson Macula
+1974 a 1982 – Edson Seraphin de Santana
+1983 – Paolo Vicente Paccelli
+1984 – Robertão
+1985 e 1986 – Elson Macula
+1987 a 1995 – Reynaldo Bola
+1996 – Paulo Cesar Braga
+1997 a 2003 –   Alex de Oliveira
+2004 – Wagner Monteiro
+2005 – Marcelo Reis
+2006 a 2008 – Alex de Oliveira
+2009 a 2013 – Milton Junior
+2014 a 2016– Wilson Dias da Costa Neto
+2017 – Fabio Damião
+2018 – Milton Junior
+2019 – Wilson Dias da Costa Neto
+2020 a 2021– Djeferson Mendes da Silva
+2022 – Wilson Dias da Costa Neto
+2023 – Djferson Mendes da Silva,
+ 
+Andrea C.T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+ABI – Boletim Informativo, 1990
+BURGI, Sérgio; COSTA, Helouise (org.). As origens do fotojornalismo no Brasil: um olhar sobre O Cruzeiro. São Paulo: Instituto Moreira Salles, 2012.
+CARDENUTO FILHO, Reinaldo. Discursos de intervenção: o cinema de propaganda ideológica para o CPC e o Ipês às vésperas do Golpe de 1964.  São Paulo, 2008. Tese (Mestrado) – Universidade de São Paulo. Escola de Comunicação e Artes.
+COELHO, M. Beatriz Ramos de Vasconcelos. A Construção da imagem da nação Brasileira pela fotodocumentação: 1940-1999. São Paulo, 2000. Tese (Doutorado) – Universidade de São Paulo. Faculdade de Filosofia, Letras e Ciências Humanas.
+COSTA, Haroldo. 100 anos de carnaval no Rio de Janeiro. Rio de Janeiro : Irmãos Vitale, 2001.
+COSTA, Helouise. Palco de uma história desejada: o retrato do Brasil por Jean Manzon em: Revista do Patrimônio, nº 27, 1998. Maria Inez Turazzi (org.). Brasília: IPHAN, 1998.
+COSTA, Helouise. Um olho que pensa: estética moderna e fotojornalismo. Tese de doutoramento. Faculdade de Arquitetura e Urbanismo da USP, 1998.
+Dicionário Cravo Albin da Música Popular Brasileira
+GOMES, Sérgio. Jean Manzon. Profissão: otimista, artigo publicado na Folha de São Paulo de 17 de novembro de 1977.
+Figuras e Coisas do Carnaval Carioca / Jota Efegê: apresentação de Artur da Távola. —2. ed. — Rio de Janeiro: Funarte, 2007.
+Hemeroteca Digital da Biblioteca Nacional
+MANZON, Jean. Flagrantes do Brasil. Rio de Janeiro: Ed. Bloch, 1950.
+MANZON, Jean. Memórias do Brasil. São Paulo: Cepar Consultoria e Participações, 2007.
+MANZON, Jean. Retrato vivo da grande aventura. São Paulo: Cepar Consultoria e Participações, 2006/2007.
+PEREGRINO, Nadja. O Cruzeiro: a revolução da fotoreportagem. Rio de Janeiro, Dazibao, 1991.
+PINHEIRO, Marlene M. Soares (1996), A Travessia do avesso: sob o signo do carnaval. São Paulo : Annablume, 1995.
+Memória do carnaval, Prefeitura da Cidade do Rio de Janeiro, 1991.
+Revista Superinteressante, 14 de fevereio de 2020
+Site Enciclopédia Itaú Cultural
+Site Fundaj
+Site MultiRio
+TACCA, Fernando de. O índio na fotografia brasileira: incursões sobre a imagem e o meio. História, ciências, saúde – Manguinhos – Vol. 18, nº 1, p.191-223. Rio de Janeiro., 2011
+TeatroBR Blogspot 
+ 
+Acessando o link para as fotografias de Carnaval disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/11417` — `itens/20.500.12156.1_11417/`
+- `20.500.12156.1/11419` — `itens/20.500.12156.1_11419/`
+- `20.500.12156.1/11418` — `itens/20.500.12156.1_11418/`
+- `20.500.12156.1/11421` — `itens/20.500.12156.1_11421/`
+- `20.500.12156.1/11420` — `itens/20.500.12156.1_11420/`
+
diff --git a/wordpress/30682-a-praca-paris-no-aniversario-do-rio-de-janeiro.md b/wordpress/30682-a-praca-paris-no-aniversario-do-rio-de-janeiro.md
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--- /dev/null
+++ b/wordpress/30682-a-praca-paris-no-aniversario-do-rio-de-janeiro.md
@@ -0,0 +1,60 @@
+---
+id: 30682
+url: "https://brasilianafotografica.bn.gov.br/?p=30682"
+titulo: "A Praça Paris no aniversário do Rio de Janeiro"
+autor: "Andrea Wanderley"
+data: "2023-03-01T08:10:38+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/10805", "20.500.12156.1/3717", "20.500.12156.1/7806", "20.500.12156.1/3716"]
+fetched_at: "2026-09-10T10:13:04.790Z"
+---
+
+# A Praça Paris no aniversário do Rio de Janeiro
+
+A Brasiliana Fotográfica celebra o aniversário de 458 anos do Rio de Janeiro com a publicação de um artigo sobre a Praça Paris, uma das mais belas da cidade, considerada uma obra prima dos últimos tempos da Belle Époque carioca, com imagens de autoria de fotógrafos ainda não identificados, da Escola de Aviação Militar, da Escola de Aeronáutica e do Instituto de Expansão Comercial.
+ 
+ Praça Paris, Outeiro da Glória e o Morro do Pão de Açúcar, c. 1940. Rio de Janeiro, RJ / Acervo IMS
+ 
+Erguida em um aterro feito em frente à antiga Praia da Glória, a Praça Paris foi projetada pelo urbanista francês Alfred Agache (1875 – 1959), que pretendia tornar o Rio de Janeiro uma Paris da América do Sul (Jornal do Brasil, 28 de janeiro de 1928, segunda coluna; Gazeta de Notícias, 31 de janeiro de 1928, penúltima coluna). Suas obras foram iniciadas em 1926 e finalizadas em 1929, durante a gestão do prefeito Antônio da Silva Prado Júnior (1880 – 1955). A ideia era reproduzir o traçado e a elegância de um jardim parisiense, abrigando em seus espaços grandes gramados, lago e chafariz, além de obras de arte e esculturas. Seria um oásis de beleza e tranquilidade no centro do Rio de Janeiro.
+ 
+Instituto de Expansão Comercial. Praça Paris, 193?. Rio de Janeiro, RJ / Acervo FBN
+ 
+Acessando o link para as fotografias da Praça Paris disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Escola de Aviação Militar. Vista aérea da Praça Paris. Rio de Janeiro, RJ / Acervo Museu Aeroespacial
+ 
+A Praça Paris teve partes destruídas devido às obras do metrô, iniciadas na década 1970. Foi restaurada e reinaugurada em 1992 e, após essa reforma, foi cercada por grades. Foi tombada, em 1995, pelo Departamento Geral de Patrimônio Cultural da Prefeitura da Cidade do Rio de Janeiro. Em 2012, quinze monumentos foram restaurados e 55 mil mudas de lírios-amarelos foram plantadas. Em 2021, a Fundação Parques e Jardins realizou ações do projeto de revitalização da Praça Paris.
+ 
+Instituto de Expansão Comercial. Praça Paris, 193?. Rio de Janeiro, RJ / Acervo FBN
+ 
+Uma curiosidade: enquanto temos uma Praça Paris no Rio de Janeiro, em Paris existe a Place Rio de Janeiro, próxima ao Parque Monceau, um dos pontos mais bonitos e visitados da capital francesa.
+ 
+Praça do Rio de Janeiro, Paris 8e. Entrada da Avenida Ruysdaël vista a partir da Rua de Monceau.
+ 
+ 
+Andrea C.T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Outros artigos publicados na Brasiliana Fotográfica em comemoração ao aniversário do Rio de Janeiro
+A fundação do Rio de Janeiro, publicado em 1º de março de 2016, de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal Brasiliana Fotográfica
+Uma homenagem aos 452 anos do Rio de Janeiro: o Corcovado e o Pão de Açúcar, publicado em 1º de março de 2017, de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal Brasiliana Fotográfica
+O Rio de Janeiro de Juan Gutierrez, publicado em 1º de março de 2019, de autoria de Maria Isabel Ribeiro Lenzi, Doutora em História pela UFF e historiadora do Arquivo Histórico do Museu Histórico Nacional ; e de Andrea C.T. Wanderley, editora e pesquisadora do portal Brasiliana Fotográfica
+O Rio de Janeiro nos cartões-postais da Papelaria e Typographia Botelho, publicado em 1° de março de 2024, de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+GERSON, Brasil. História das Ruas do Rio. Rio de Janeiro: Bem-Te-Vi, 2013.
+Hemeroteca Digital da Biblioteca Nacional
+O GLOBO, 21 de setembro de 2012
+Site Diário do Rio
+Site IPatrimônio
+Site Prefeitura do Rio de Janeiro
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/10805` — `itens/20.500.12156.1_10805/`
+- `20.500.12156.1/3717` — `itens/20.500.12156.1_3717/`
+- `20.500.12156.1/7806` — `itens/20.500.12156.1_7806/`
+- `20.500.12156.1/3716` — `itens/20.500.12156.1_3716/`
+
diff --git a/wordpress/30702-serie-1922-hoje-ha-100-anos-xi-e-serie-feministas-gracas-a-deus-xii-a-1a-confere.md b/wordpress/30702-serie-1922-hoje-ha-100-anos-xi-e-serie-feministas-gracas-a-deus-xii-a-1a-confere.md
new file mode 100644
index 0000000..5e3a683
--- /dev/null
+++ b/wordpress/30702-serie-1922-hoje-ha-100-anos-xi-e-serie-feministas-gracas-a-deus-xii-a-1a-confere.md
@@ -0,0 +1,149 @@
+---
+id: 30702
+url: "https://brasilianafotografica.bn.gov.br/?p=30702"
+titulo: "Série “1922 – Hoje, há 100 anos” XI e série “Feministas, graças a Deus!” XII – A 1ª Conferência pelo Progresso Feminino"
+autor: "Andrea Wanderley"
+data: "2022-12-19T09:38:33+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/11333", "20.500.12156.1/11342", "20.500.12156.1/5030", "20.500.12156.1/11341", "20.500.12156.1/11335", "20.500.12156.1/11337", "20.500.12156.1/11336", "20.500.12156.1/11332", "20.500.12156.1/11334", "20.500.12156.1/11340"]
+fetched_at: "2026-09-10T10:13:08.300Z"
+---
+
+# Série “1922 – Hoje, há 100 anos” XI e série “Feministas, graças a Deus!” XII – A 1ª Conferência pelo Progresso Feminino
+
+Hoje a Brasiliana Fotográfica encerra a série 1922, Hoje, há 100 anos com a publicação do artigo 1ª Conferência pelo Progresso Feminino e o “bom” feminismo, de autoria da antropóloga Maria Elizabeth Brêa Monteiro, do Arquivo Nacional, uma das instituições parceiras do portal.  A série surgiu ancorada em dois eventos: a Semana de Arte Moderna, em São Paulo; e a Exposição do Centenário da Independência do Brasil, no Rio de Janeiro. Ao longo de 2022, foram publicados 11 artigos abordando alguns dos mais significativos acontecimentos no país, que completaram 100 anos. O movimento feminista não poderia deixar de estar representado. A 1ª Conferência pelo Progresso Feminino aconteceu entre 19 e 23 de dezembro, no edifício Silogeu, do Instituto dos Advogados, no centro do Rio de Janeiro, e em Petrópolis. É também o décimo segundo artigo da série “Feministas, graças a Deus”.
+ 
+ I Conferência pelo Progresso Feminino, no Instituto dos Advogados, dezembro de 1922. Rio de Janeiro, RJ / Acervo Arquivo Nacional
+ 
+ 
+1ª Conferência pelo Progresso Feminino e o “bom” feminismo
+Maria Elizabeth Brêa Monteiro*
+ 
+As duas primeiras décadas do século XX foram marcadas, no Brasil e no mundo, por eventos decisivos que repercutem, de diferentes formas, nos dias de hoje. A 1ª Guerra Mundial, a Revolução Comunista e seus desdobramentos mudaram o curso da história e a forma como se passou a refletir sobre o futuro.
+No Brasil, o novo século se fez sentir pela busca de ares civilizados para uma República recente, ainda muito balizada por valores e traços escravagistas. Uma ampla reforma urbana foi iniciada com o objetivo de dar à capital do país uma nova imagem sintonizada com os valores europeus da Belle Époque. Velhos edifícios e cortiços foram demolidos afastando a população pobre do centro da cidade. Um extenso programa de alargamento das ruas na área central e a canalização de alguns dos principais rios compunham o programa de saneamento básico. Contudo, essas transformações urbanas não conseguiram alijar o caráter conservador de uma sociedade que se pretendia moderna sem renunciar a seus privilégios.
+ 
+Acessando o link para as imagens da 1ª Conferência pelo Progresso Feminino disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Nesse contexto, o ano de 1922 teve um caráter insigne. A par da realização da Semana de Arte Moderna, em São Paulo, foi organizada, no Rio de Janeiro, a Exposição do Centenário da Independência. A ideia de apresentar ao mundo uma nação moderna, respeitada entre as demais, com laços diplomáticos que se estendiam por todo o globo e integrada aos progressos e tecnologias de sua época, norteou as festas do Centenário da Independência do Brasil. Para a abertura da exposição, foram aceleradas as obras de desmonte do Morro do Castelo e do aterro da Praia de Santa Luzia, abrindo espaço para os palácios e pavilhões que apresentavam as vistosas construções e os avanços industriais do Brasil e de outras nações.[1]
+ 
+Luciano Ferrez. Pavilhões da Exposição Internacional de 1922. Rio de Janeiro, 1922 / Fundo Família Ferrez – Acervo Arquivo Nacional.
+ 
+Paralelamente, outros eventos, de natureza não tão comemorativa, ocorreram em 1922. O movimento tenentista e a fundação do Partido Comunista no Brasil acenavam para problemas políticos, para a constituição de um proletariado urbano e um adensamento da camada pobre da população que se apresentavam como novos atores da arena política.[2] O ano também foi pontuado pelo crescimento do feminismo e pela criação da Federação Brasileira pelo Progresso Feminino, entidade presidida por Bertha Lutz até 1942, tendo como principal bandeira de luta a conquista do sufrágio universal, bandeira esta apresentada desde a instauração da República, mas que foi negada pelo Congresso Constituinte em 1891.[3]
+ 
+Bertha Lutz (1894 – 1976) na cidade de Natal, um dos locais em que fez campanha pelo voto feminino, 1928. Natal, Rio Grande do Norte / Acervo Arquivo Nacional
+ 
+Durante a década de 1920 a reivindicação pelo voto feminino se intensificou. De acordo com June Edith Hahner:
+“Como o descontentamento político e os protestos contra a oligarquia arraigada cresciam, tornava-se maior a possibilidade de direito ao voto feminino encontrar seu lugar em meio às exigências de reforma eleitoral da classe média urbana.”[4]
+Após a participação de Bertha Lutz como delegada oficial do Brasil na I Conferência Panamericana de Mulheres, realizada em Baltimore, Estados Unidos, é fundada, a 19 de agosto de 1922, a Federação Brasileira das Ligas pelo Progresso Feminino que, dois anos depois, passou a se chamar Federação Brasileira pelo Progresso Feminino (FBPF), com sede no Rio de Janeiro.
+Bertha, em sua viagem aos Estados Unidos representava a Liga para a Emancipação Intelectual da Mulher (LEIM), concebida para estudar os diferentes aspectos do movimento feminista e lutar pelos direitos femininos. Cabe mencionar que a sua participação no evento norte-americano é considerada por alguns autores, como June Hahner, um novo rumo para o movimento feminista, abrindo espaço para temas como bem-estar das crianças, a questão do trabalho feminino nas indústrias, o tráfico de mulheres, a educação feminina e o estatuto político e civil das mulheres, o que ensejou a elaboração de um novo estatuto para a Liga cujos objetivos abarcaram a emancipação feminina em todos os níveis desde a promoção da educação até a proteção às mães e a infância; a proteção para o trabalho feminino; a orientação para profissões; a conquista de direitos civis e políticos e a manutenção da paz mundial.[5]
+Nessa conferência, quando se reuniram cerca de 2.000 mulheres, Bertha estreitou os laços com Carrie Chapman Catt, fundadora da Associação Nacional do Sufrágio Feminino dos Estados Unidos e presidente da recém-criada Associação Pan-Americana de Mulheres para a qual Bertha Lutz foi indicada vice-presidente.
+ 
+Líder feminista Carrie Chapman Catt (1859 – 1947) na I Conferência Panamericana de Mulheres, realizada em Baltimore, Estados Unidos, entre os dias 20 e 23 de julho de 1922 / Acervo Arquivo Nacional
+ 
+Carrie Catt, que visitava um país sul-americano pela primeira vez, foi a personalidade estrangeira mais prestigiada durante a I Conferência pelo Progresso Feminino, realizada de 19 a 23 de dezembro no edifício Silogeu, do Instituto dos Advogados, no centro do Rio de Janeiro e em Petrópolis. Bertha, em seu discurso de saudação, dirige-se a Carrie como a “valorosa pregoeira do sufrágio feminino” que vem ao Brasil para exortar a “união de todas as mulheres em prol de grandes ideaes que devem congregar-nos para o bem, senão para a salvação da humanidade.”[6] A conferência contou também com a participação da escritora, jornalista, iluminista, abolicionista, defensora da educação e das ideias feministas Julia Lopes de Almeida[7] como presidente de honra.
+ 
+Julia Lopes de Almeida (1862 – 1934)/ Fon Fon, 4 de agosto de 1923
+ 
+Como presidente da conferência Bertha enviou farta correspondência a autoridades estrangeiras e de instituições brasileiras no sentido de prestigiarem o evento destinado a “deliberar questões de ensino e instrução feminina, oportunidades de ação, condições de trabalho e carreiras abertas à mulher, métodos de evidenciar o seu desenvolvimento e progresso, assistência e proteção à mesma, bem como o seu papel como fator no lar e na comunidade, suas funções e responsabilidade na vida dos povos, na elevação dos ideais do mundo civilizado, na aproximação das nações e na manutenção da paz”.[8]
+A conferência contou com uma significativa delegação brasileira, representando Pernambuco, Paraíba, Bahia, Sergipe, Pará, Santa Catarina, Amazonas, Rio Grande do Sul, Espírito Santo e Paraná, além de entidades como a Cruzada Nacional contra a Tuberculose; o Centro Social Feminino; a Liga de Professores; a Cruz Vermelha; a Legião da Mulher Brasileira; a União dos Empregados do Comércio. Marcou presença também Nair Coimbra, filha do vice-presidente da República Estácio Coimbra, senadores, deputados, médicos e advogados. As representações estrangeiras emprestaram uma atenção especial da imprensa que noticiou praticamente todos os dias da conferência, informando sobre o programa a ser seguido, temas abordados e palestrantes das sessões.[9] Vieram ao Brasil para o evento, além de Carrie Chapman, Elisabeth Babcock e Anita van Lennep (EUA), Rosette Susana Anus (Holanda), Ana de Castro Osório (presidente da Associação Feminina de Portugal)[10], srta. Pidgeon (Departamento Nacional de Agricultura de Washington), sra. Abels (Liga pelas Relações Pacíficas Internacionais).
+ 
+Visita ao Instituto Histórico e Geográfico Brasileiro de Carrie Chapman Catt, acompanhada da feminista holandesa Rosette Manus (à direita), morta em campo de concentração alemão durante a 2ª Guerra Mundial, e da escritora portuguesa Ana de Castro Osório, dezembro de 1922. Rio de Janeiro, RJ / Acervo Arquivo Nacional
+ 
+Para a conferência, que buscava dar visibilidade internacional para o Brasil como um país afinado às formas progressistas e libertárias da modernidade, entre as quais poderiam ser enquadradas as recentes e tímidas demandas feministas da Federação, foram constituídas seis comissões, a saber: ensino e instrução; carreiras apropriadas à mulher; direito da mulher; indústria; comércio e profissões liberais; assistência às mães e à infância.[11]
+ 
+Participantes da I Conferência pelo Progresso Feminino. À frente encontram-se Julia Valentim da Silveira Lopes Almeida, Margarida Lopes de Almeida, Carrie Chapman Catt, Bertha Lutz, Rosette Susana Manus, Jerônima Mesquista, Vernon Morgan,1922. Rio de Janeiro, RJ / Acervo Arquivo Nacional
+ 
+A tese geral da conferência foi “a colaboração da Liga pelo Progresso Feminino na educação da mulher no bem social e aperfeiçoamentos humanos” e apresentava como um de seus objetivos “deliberar sobre questões práticas de ensino e instrução feminina”. Assim, o tema educação configurou-se como transversal da conferência. A inclusão social das mulheres no espaço público por meio da educação as tornava mais capazes de pleitear o direito ao voto, incrementava os direitos sociais e políticos de uma parcela significativa da população que havia sido historicamente excluída da esfera pública. [12] Da Comissão de Educação e Instrução foi integrante Carneiro Leão, diretor de Instrução Pública do Distrito Federal, Esther Pedreira de Mello; Benevenuta Ribeiro, diretora da Escola Profissional Feminina Rivadávia Correa; Maria Xaltrão Gaze, diretora da Escola de Aplicação; delegadas da Diretoria da Instrução Pública do Distrito Federal; Branca Canto de Mello pela Liga Paulista pelo Progresso Feminino e os deputados José Augusto e Tavares Cavalcante.[13] Os temas de discussão selecionados foram ensino primário; ensino profissional, doméstico e agrícola; educação cívica; ensino secundário e superior.
+Em seu discurso de 23 de dezembro de 1922, Anna Cesar, presidente da Legião da Mulher Brasileira destaca a instrução como “o principal veículo da propaganda feminista no Brasil, a fim de podermos vencer as barreiras dos mal-entendidos preconceitos e de outros prejuízos gerados da ignorância.”[14]
+ 
+Carrie Chapman ladeada por Bertha Lutz e Julia Lopes de Almeida, I Conferência pelo Progresso Feminino, 1922. Rio de Janeiro, RJ / AAcervo Arquivo Nacional
+ 
+Outros temas tiveram espaço durante a conferência, como assistência à infância, ensino doméstico que “compreende essencialmente, e sobretudo, a cozinha e o arranjo de casa, os cuidados com que as crianças devem ser tratadas assim como as pessoas de casa, e o conhecimento de tudo que pode tornar agradável e confortável o interior de uma casa”[15] ou questões de eugenia relativas ao casamento apresentadas pelo dr. Renato Kehl [16] Nos trabalhos sobre o papel da mulher no comércio, na indústria, na lavoura e no funcionalismo, o Jornal do Brasil, em sua edição de 22 de dezembro, noticia que “tomaram parte, com muito brilhantismo, as senhoritas Carmen Cunha e Nair Braga das casas A Pompéa e A Capital, como delegadas da União dos Empregados do Commercio do Rio de Janeiro, defendendo uma tese apresentada pela associação de classe.”
+O segundo dia da conferência teve como destaque a fundação da Aliança Brasileira pelo Sufrágio Feminino, na sessão Direitos da Mulher, com o intuito de se dedicar, unicamente, pela aprovação do voto feminino. O senador Justo Chermont, autor do projeto que estava sendo analisado no Senado em prol do sufrágio feminino, foi homenageado nessa sessão, inclusive por Carrie Chapman.[17]
+O dia 22 de dezembro concentrou as últimas reuniões dos grupos de trabalho. A última palestra intitulada “O papel da mulher na civilização” foi ministrada por Carrie Chapman Catt, em sessão presidida pelo senador Lauro Muller. Em sua palestra, Chapman lembrou que nas democracias o governo é do povo e o povo compreende também a mulher, ressaltando o papel desta na evolução social, defendendo a intervenção da mulher na vida pública e afirmando que seria o Brasil na América do Sul o primeiro país a conceder-lhe direito.[18]
+ 
+Carrie Chapman Catt discursa durante a I Conferência pelo Progresso Feminino, no Instituto dos Advogados, dezembro de 1922, Rio de Janeiro, RJ / Acervo Arquivo Nacional
+ 
+Ao longo da conferência uma série de eventos sociais recepcionaram participantes e organizadores. Aproveitando a realização da Exposição Internacional do Centenário da Independência, realizou-se uma visita ao pavilhão da Noruega. Um passeio a Teresópolis também foi oferecido.
+ 
+Almoço oferecido pelo embaixador dos Estados Unidos Edwin Morgan às participantes da I Conferência pelo Progresso Feminino e ao vice-presidente Estácio Coimbra e ao ministro do Exterior Félix Pacheco, 1922. Rio de Janeiro, RJ / Acerevo Arquivo Nacional
+ 
+No encerramento, foram proferidos discursos por Evaristo de Moraes, que pediu o auxílio da mulher na “propaganda humanitária e moral da sociedade com processos mais inteligentes que os que vigoram”, por Lopes Gonçalves, que falou longamente sobre a constitucionalidade do direito de voto da mulher e prometeu bater-se por ele, na tribuna popular, no jornalismo e no Parlamento; e por Lauro Müller, que aconselhou as entusiastas dos direitos políticos da mulher a conquistarem esses direitos pela ação e pelo trabalho, demonstrando aos homens que mereceriam esses direitos pela educação e “pelo seu próprio valor”.[19]
+ 
+Carrie Chapmann e Rosette Susana Manus visitam o mercado da Praça XV, 1922. Rio de Janeiro, RJ / Acervo Arquivo Nacional
+ 
+Mesmo com ambiguidades presentes no movimento feminista, também percebidos durante a I Conferência, as mulheres iam introduzindo mudanças nos mecanismos de conquista de direitos. Empunhando, assim, a bandeira do voto feminino, rumava-se, na estratégia de Bertha e suas companheiras de Federação, de maneira cordial para a defesa da emancipação da mulher e a conquista de direitos. Essa postura, identificada por alguns pesquisadores, com um “feminismo bem-comportado”[20], voltado para os anseios das mulheres das classes média e alta, de alguma forma se contrapunha ao feminismo sustentado por Maria Lacerda de Moura, tido como “mal-comportado” ao atentar para os direitos das trabalhadoras das classes baixas e para a liberdade sexual.[21]
+Os temas escolhidos para serem debatidos na conferência, isto é, a forma como a questão da emancipação feminina estava sendo pensada pelo grupo, expõem as estratégias utilizadas e que acabaram por consolidar a imagem de representantes no Brasil. Mudar a visão da sociedade brasileira em relação à mulher considerada a “rainha do lar”, debater sobre a formação do magistério, a nacionalização do ensino público, o acesso da mulher ao mercado de trabalho e igualdade salarial orientavam essa atuação. A questão da cidadania constituía-se no debate em torno de direitos civis, que englobava o acesso ao voto e ao divórcio, maternidade, igualdade salarial e proibição do trabalho noturno às mulheres, e se misturavam com perspectivas de proteção e de conquista de direitos.[22] As deliberações da conferência revelam uma estratégia conciliadora de assegurar um lugar no espaço público, sem afetar o papel da mulher no seio familiar. A tática era sensibilizar os homens nos cargos de poder a aceitarem suas demandas, denotando o “bom” feminismo.[23]
+ 
+* Maria Elizabeth Brêa Monteiro é antropóloga do Arquivo Nacional
+ 
+[1] Ver a exposição virtual “O Rio do morro ao mar” em http://exposicoesvirtuais.an.gov.br/index.php/galerias/10-exposicoes/178-o-rio-do-morro-ao-mar.html
+[2] Ver http://querepublicaeessa.an.gov.br/serie-especial-independencia/333-o-centenario-em-1922.html
+[3] Ver a matéria 1922 – hoje, há 100 anos – a fundação da Federação Brasileira pelo Progresso Feminino, de autoria de Andrea C.T. Wanderley, publicada no portal Brasiliana Fotográfica. Disponível em https://brasilianafotografica.bn.gov.br/?tag=federacao-brasileira-pelo-progresso-feminino
+[4] HAHNER, June Edith. Emancipação do sexo feminino: a luta pelos direitos da mulher no Brasil, 1850-1940. Florianópolis: Ed. Mulheres; Santa Cruz do Sul: EDUNISC, 2003. p.269.
+[5] KARAWEJCZYK, Monica. O Feminismo em Boa Marcha no Brasil! Bertha Lutz e a Conferência pelo Progresso Feminino. Revista Estudos Feministas, v. 26, núm. 2, 2018. Disponível em https://www.redalyc.org/jatsRepo/381/38156079025/html/index.html#B12
+[6] Ver BR_RJANRIO_Q0_ADM_EVE_CNF_TXT_0002_v_03_d0001, p.1.
+[7] Julia participou das primeiras reuniões para a fundação da Academia Brasileira de Letras. Apesar de sua importância como escritora, ela não pôde integrar a ABL uma vez que se optou por manter a Academia exclusivamente masculina, da mesma forma que a Academia Francesa, que serviu de modelo.
+[8] Essa correspondência está reunida em BR_RJANRIO_Q0_ADM_EVE_CNF_TXT_0002_v_06_d0001 e BR_RJANRIO_Q0_ADM_EVE_CNF_TXT_0002_v_07_d0001.
+[9] O Paiz, 16 dezembro 1922. P. 6
+[10] Considerações sobre projetos, redes de sociabilidade do feminismo foram objeto da correspondência entre Bertha e Ana Castro. Essas cartas, que compõem o fundo Federação Brasileira para o Progresso Feminino, do Arquivo Nacional, foram publicadas em “A propaganda feminista luso-brasileira: as cartas de Ana de Castro Osório a Bertha Lutz” de autoria de Eduardo da Cruz e Andreia Monteiro de Castro. Disponível em https://revistaseletronicas.pucrs.br/ojs/index.php/navegacoes/article/view/32139/17814. Ana de Castro Osório publicou, em 1905, Às Mulheres Portuguesas, o primeiro manifesto feminista português.
+[11] Ver Programa da Conferência pelo Progresso Feminino. Fundo FBPF, Arquivo Nacional. BR_RJANRIO_Q0_ADM_EVE_CNF_TXT_0002_v_01_d0001
+[12] Ver Relatório dos trabalhos realizados pela Comissão de educação e ensino. Fundo FBPF, Arquivo Nacional. BR_RJANRIO_Q0_ADM_EVE_CNF_TXT_0002_v_02_d0001
+[13] BONATO, Nailda Marinho da Costa. O Fundo Federação Brasileira pelo Progresso Feminino. Uma fonte múltipla para a história da educação das mulheres. Acervo, Rio de Janeiro, v. 18, n. 1-2, jan.-dez. 2005, p. 131-146. Disponível em https://revista.an.gov.br/index.php/revistaacervo/%20article/view/189
+[14] Ver BR_RJANRIO_Q0_ADM_EVE_CNF_TXT_0002_v_03_d0001, p.6.
+[15] A escola doméstica. Traduzido e compilado por Guilhermina Sassetti Noellner e dedicado a Lydia de Rezende. Fundo FBPF, Arquivo Nacional. BR_RJANRIO_Q0_ADM_EVE_CNF_TXT_0002_v_03_d0001, p. 59-72.
+[16] Ver BR_RJANRIO_Q0_ADM_EVE_CNF_TXT_0002_v_05_d0001, p. 24-33.
+[17] KARAWEJCZYK, Monica. O Feminismo em Boa Marcha no Brasil! Bertha Lutz e a Conferência pelo Progresso Feminino. Revista Estudos Feministas, vol. 26, núm. 2, 2018. Disponível em https://www.redalyc.org/jatsRepo/381/38156079025/html/index.html#B12
+[18] O Paiz, 24 de dezembro de 1922.
+[19] O Paiz, 24 de dezembro de 1992. P. 6
+[20] Rachel Soihet, em artigo publicado na Revista Brasileira de Educação, em 2000, emprega o termo “feminismo tático” para descrever a forma conciliadora de atuação das federalistas. Disponível em https://www.scielo.br/j/rbedu/a/mJxm348crdgLd4mgqnwMHcd/?format=pdf&lang=pt
+[21] Dultra, Eneida Vinhaes Bello. Direitos das mulheres na Constituinte de 1933-1934: disputas, ambiguidades e omissões. Tese em Direito, Estado e Constituição. UnB, 2018. Disponível em https://repositorio.unb.br/bitstream/10482/34535/1/2018_EneidaVinhaesBelloDultra.pdf
+[22] Fraccaro, Glaucia Cristina Candian. Uma história social do feminismo – Diálogos de um campo político brasileiro (1917-1937). Estudos Históricos. Rio de Janeiro, vol. 31, nº 63, p. 7-26, janeiro-abril 2018, p. 18. Disponível em http://bibliotecadigital.fgv.br/ojs/index.php/reh/article/view/71642
+[23] KARAWEJCZYK, Monica. O Feminismo em Boa Marcha no Brasil! Bertha Lutz e a Conferência pelo Progresso Feminino. Revista Estudos Feministas, vol. 26, núm. 2, 2018. Disponível em https://www.redalyc.org/jatsRepo/381/38156079025/html/index.html#B12
+ 
+Links para os artigos já publicados da Série 1922 – Hoje, há 100 anos
+Série 1922 – Hoje, há 100 anos I – Os Batutas embarcam para Paris, de autoria de Andrea C.T. Wanderley, publicado em 29 de janeiro de 2022
+Série 1922 – Hoje, há 100 anos II- A Semana de Arte Moderna, de autoria de Andrea C.T. Wanderley, publicado em 13 de fevereiro de 2022, na Brasiliana Fotográfica
+Série 1922 – Hoje, há 100 anos III – A eleição de Artur Bernardes e a derrota de Nilo Peçanha, de autoria de Andrea C.T. Wanderley, publicado em 1º de março de 2022, na Brasiliana Fotográfica
+Série 1922 – Hoje, há 100 anos IV – A primeira travessia aérea do Atlântico Sul, realizada pelos aeronautas portugueses Gago Coutinho e Sacadura Cabral, de autoria de Andrea C. T. Wanderley, publicada em 17 de junho de 2022, na Brasiliana Fotográfica
+Série 1922 – Hoje, há 100 anos V – A Revolta do Forte de Copacabana, de autoria de Andrea C. T. Wanderley, publicada em 5 de julho de 2022, na Brasiliana Fotográfica
+Série 1922 – Hoje, há 100 anos VI – A fundação da Federação Brasileira para o Progresso Feminino, de autoria de Andrea C. T. Wanderley, publicado em 9 de agosto de 2022, na Brasiliana Fotográfica
+Série 1922 – Hoje, há 100 anos VII – A morte de Gastão de Orleáns, o conde d´Eu (Neuilly-sur-Seine, 28/04/1842 – Oceano Atlântico 28/08/1922), de autoria de Andrea C. T. Wanderley, publicado em 28 de agosto de 2022, na Brasiliana Fotográfica.
+Série 1922 – Hoje, há 100 anos VIII – A abertura da Exposição Internacional do Centenário da Independência do Brasil e o centenário da primeira grande transmissão pública de rádio no país, de autoria de Andrea C. T. Wanderley, publicado em 7 de setembro de 2022, na Brasiliana Fotográfica.
+Série 1922 – Hoje, há 100 anos IX – O centenário do Museu Histórico Nacional, de autoria de Maria Isabel Lenzi, historiadora do Musseu Histórico Nacional, publicado em 12 de outubro de 2022, na Brasiliana Fotográfica.
+Série 1922 – Hoje, há 100 anos X – A morte do escritor Lima Barreto (1881 – 1922), de autoria de Andrea C.T. Wanderley, publicado em 1º de novembro de 2022, na Brasiliana Fotográfica.
+Acesse aqui os outros artigos da Série “Feministas, graças a Deus!“
+
+Série “Feministas, graças a Deus!” I – Elvira Komel, a feminista mineira que passou como um meteoro, publicado em 25 de julho de 2020, de autoria da historiadora Maria Silvia Pereira Lavieri Gomes, do Instituto Moreira Salles, em parceria com Andrea C. T. Wanderley, editora e pesquisadora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” II  – Natércia da Cunha Silveira (1905 – 1993), o jequitibá da floresta, publicado em 20 de agosto de 2020, de autoria de Andrea C.T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” III  – Bertha Lutz e a campanha pelo voto feminino: Rio Grande do Norte, 1928, publicado em 29 de setembro de 2020, de autoria de Maria do Carmo Rainha, doutora em História e pesquisadora do Arquivo Nacional
+Série “Feministas, graças a Deus!” IV  – Uma sufragista na metrópole: Maria Prestia (? – 1988), publicado em 29 de outubro de 2020, de autoria de Claudia Heynemann, doutora em História e pesquisadora do Arquivo Nacional
+Série “Feministas, graças a Deus!” V – Feminista do Amazonas: Maria de Miranda Leão (1887 – 1976), publicado em 26 de novembro de 2020, de autoria de Maria Elizabeth Brêa Monteiro, mestre em História e pesquisadora do Arquivo Nacional
+Série “Feministas, graças a Deus!” VI – Júlia Augusta de Medeiros (1896 – 1972) fotografada por Louis Piereck (1880 – 1931), publicado em 9 de dezembro de 2020, de autoria de Andrea C.T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” VII – Almerinda Farias Gama (1899 – 1999), uma das pioneiras do feminismo no Brasil, publicado em 26 de fevereiro de 2021, de autoria de Andrea C.T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” VIII – A engenheira e urbanista Carmen Portinho (1903 – 2001), publicado em 6 de abril de 2021, de autoria de Andrea C. T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” IX – Mariana Coelho (1857 – 1954), a “Beauvoir tupiniquim”, publicado em 15 de junho de 2021, de autoria de Andrea C. T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” X – Maria Luiza Dória Bittencourt (1910 – 2001), a eloquente primeira deputada da Bahia, publicado em 25 de março de 2022, de autoria de Andrea C. T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” XI e série “1922 – Hoje, há 100 anos” VI – A fundação da Federação Brasileira pelo Progresso Feminino, publicado em 9 de agosto de 2022, de autoria de Andrea C. T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” XIII – E as mulheres conquistam o direito do voto no Brasil!, publicado em 24 de fevereiro de 2023, de autoria de Andrea C T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” XIV – No Dia Internacional da Mulher, Alzira Soriano, a primeira prefeita do Brasil e da América Latina, publicado em 8 de março de 2023, de autoria de Andrea C T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” XV – No Dia dos Povos Índígenas, Leolinda Daltro,”a precursora do feminismo indígena” e a “nossa Pankhurst, publicado em 19 de abril de 2023, de autoria de Andrea C T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” XVI – O I Salão Feminino de Arte, em 1931, no Rio de Janeiro, de autoria de Andrea C. T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica, publicado em 30 de junho de 2023
+Série “Feministas, graças a Deus!” XVII – Anna Amélia Carneiro de Mendonça e o Zeppelin, equipe de Documentação da Escola de Ciências Sociais FGV CPDOC, em parceira com Andrea C.T. Wanderley, publicado em 5 de janeiro de 2024
+Série “Feministas, graças a Deus!” XVIII – Júlia Lopes de Almeida (1862 – 1934), a “escritora da Belle Époque tropical”, de autoria de Andrea C. T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica, publicado em 5 de junho de 2024
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/11333` — `itens/20.500.12156.1_11333/`
+- `20.500.12156.1/11342` — `itens/20.500.12156.1_11342/`
+- `20.500.12156.1/5030` — `itens/20.500.12156.1_5030/`
+- `20.500.12156.1/11341` — `itens/20.500.12156.1_11341/`
+- `20.500.12156.1/11335` — `itens/20.500.12156.1_11335/`
+- `20.500.12156.1/11337` — `itens/20.500.12156.1_11337/`
+- `20.500.12156.1/11336` — `itens/20.500.12156.1_11336/`
+- `20.500.12156.1/11332` — `itens/20.500.12156.1_11332/`
+- `20.500.12156.1/11334` — `itens/20.500.12156.1_11334/`
+- `20.500.12156.1/11340` — `itens/20.500.12156.1_11340/`
+
diff --git a/wordpress/30712-o-observatorio-nacional-pelas-lentes-de-marc-ferrez-amigo-de-varios-cientistas.md b/wordpress/30712-o-observatorio-nacional-pelas-lentes-de-marc-ferrez-amigo-de-varios-cientistas.md
new file mode 100644
index 0000000..890de1a
--- /dev/null
+++ b/wordpress/30712-o-observatorio-nacional-pelas-lentes-de-marc-ferrez-amigo-de-varios-cientistas.md
@@ -0,0 +1,134 @@
+---
+id: 30712
+url: "https://brasilianafotografica.bn.gov.br/?p=30712"
+titulo: "O Observatório Nacional pelas lentes de Marc Ferrez, amigo de vários cientistas"
+autor: "Andrea Wanderley"
+data: "2023-05-29T11:00:47+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/9780", "20.500.12156.1/11380", "20.500.12156.1/10170", "20.500.12156.1/9779", "20.500.12156.1/11379", "20.500.12156.1/4770", "20.500.12156.1/2575"]
+fetched_at: "2026-09-10T10:13:11.931Z"
+---
+
+# O Observatório Nacional pelas lentes de Marc Ferrez, amigo de vários cientistas
+
+Marc Ferrez (1843 – 1923) fotografou a sede do novo Observatório Nacional, no Morro de São Januário, em São Cristóvão. A ata de lançamento da pedra fundamental do edifício foi assinada em 28 de setembro de 1913 e as estereoscopias que Ferrez produziu das novas instalações mostram os prédios prontos. Ele esteve fora do Brasil entre abril de 1915 e fevereiro de 1920. Voltou à França em maio de 1921 e retornou ao Rio de Janeiro em 14 de agosto de 1922, onde faleceu em 12 de janeiro de 1923. Ou seja, ele pode ter retratado o Observatório entre fevereiro de 1920 e maio de 1921, período mais provável; ou no segundo semestre de 1922.
+ 
+Marc Ferrez. Observatório Nacional do Rio de Janeiro, c. 1920. Rio de Janeiro, RJ / Acervo IMS
+ 
+Como já mencionado em outros artigos da Brasiliana Fotográfica, a estereoscopia chegou ao Brasil, ainda no século XIX, e foi uma técnica utilizada por fotógrafos renomados como  Revert Henrique Klumb (c.1826 – c. 1886) e Georges Leuzinger (1813 – 1892), ambos europeus e radicados no país. Do século XX, temos em nosso acervo fotógrafico imagens realizadas pelos estereoscopistas amadores Guilherme Antônio dos Santos (187 1- 1966) e Archanjo Sobrinho (18? – 1941). Todos já foram temas de artigos publicados no portal.
+ 
+O Observatório Nacional 
+ 
+O Imperial Observatório do Rio de Janeiro foi criado por D. Pedro I em 15 de outubro de 1827, sendo uma das mais antigas instituições científicas brasileiras (Diário Fluminense, 11 de outubro de 1827, primeira coluna; e 22 de outubro de 1827, segunda coluna; Diário da Câmara dos Senadores do Império do Brasil, 27 de setembro de 1927, segunda coluna). Entre suas finalidades estava a orientação e estudos geográficos do território brasileiro e de ensino da navegação.
+ 
+Diário Fluminense, 2 de novembro de 1827
+ 
+Com a Proclamação da República, em 1889, o Imperial Observatório Astronômico passou a denominar-se Observatório Astronômico e, finalmente, ganhou o nome de Observatório Nacional, a partir do Decreto nº 7672, de 18 de novembro de 1909.
+Acessando o link para as fotografias do Observatório Nacional realizadas por Marc Ferrez disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+Inicialmente, funcionou numa das torres da Escola Militar e seu diretor, entre 1842 e 1844, foi Pedro de Alcântara Bellegarde (1842-1844). A partir de 1846, suas instalações foram transferidas para o prédio de uma antiga igreja jesuita do Morro do Castelo,  apesar da contrariedade de seu então diretor, o belga Eugênio Antônio Fernando Soulier de Sauve (? – 1850), que achava que “o observatório não teria a máxima imobilidade que lhe é necessária e porque, no Castelo, o observatório seria provisório, pois, segundo era corrente, havia projeto em arrasá-lo e, portanto, teria que ser abandonado, o que seria motivo de grandes despesas, razão esta, muito forte, para que não mais se pensasse no referido morro” . (SAUVE, S. de, apud MORIZE, 1987, p. 48).
+ 
+Augusto Malta. Igreja dos Jesuítas e Observatório Nacional, 1922. Morro do Castelo. Rio de Janeiro, RJ / Acervo IMS
+ 
+Detalhe da foto com destaque para a fachada do Observatório Nacional
+ 
+A inauguração do novo Observatório ocorreu durante a gestão do francês naturalizado brasileiro Henri Charles Morize ou Henrique Morize (1860 – 1930), engenheiro e astrônomo, que esteve à frente da instituição de 27 de junho de 1908 a 1927, quando se afastou da direção por motivos de saúde, tendo nomeado Alix de Lemos (1877–1957) diretor interino. Seu sucessor foi o paraense Sebastião Sodré da Gama (1883 – 1951) (O Paiz, 21 de abril de 1929, quinta coluna; O Malho, 29 de março de 1930).
+ 
+Henrique Morize / Acervo Museu de Astronomia e Ciências Afins
+
+Morize era discípulo do astrônomo belga Louis Ferdinand Cruls (1848 – 1908), a quem sucedeu na direção da instituição. Ambos eram muito amigos de Marc Ferrez, que se relacionou com diversos cientistas e pesquisadores no Brasil do século XIX e do início do século XX, dentre eles o geólogo norte-americano Charles Frederick Hartt (1840 – 1878), que chefiou a Comissão Geológica do Império (1875 – 1878), da qual fez parte; o médico Camillo Fonseca (18? – 1923), em cujo consultório foram realizadas experiências radiográficas nas gêmeas siamesas Rosalina e Maria Pinheiro, nascidas em 1893, no Espírito Santo; além dos já citados diretores do Observatório Nacional no Rio de Janeiro.
+ 
+Marc Ferrez. Observatório Nacional, c. 1920. Rio de Janeiro, RJ / Acervo IMS
+ 
+Uma das diretrizes da gestão de Morize era dotar o Observatório Nacional de instalações adequadas às suas atividades (Correio da Manhã, 20 de março de 1930).
+ 
+Henrique Morize / Fon-Fon, 18 de maio de 1912
+ 
+Em 28 de setembro de 1913, foi, como anteriormente mencionado, assinada a ata de lançamento da pedra fundamental do novo Observatório Nacional. Finalmente, em 1922, foi transferido do Morro do Castelo, atual Esplanada do Castelo, para o Morro de São Januário, onde permanece funcionando (Illustração Brasileira, 20 de janeiro de 1922).
+ 
+Marc Ferrez. Observatório Nacional, c. 1920. Rio de Janeiro, RJ / Acervo IMS
+ 
+O Malho, 10 de dezembro de 1921
+ 
+Visita de Albert Einstein, sentado ao centro, ao Observatório Nacional, 9 de maio de 1925 ( O Paiz, 10 de maio de 1925, última coluna). Morize está à direita de Einstein e Alix de Lemos à esquerda / Acervo Museu da Astronomia e Ciências Afins
+ 
+As relações entre o fotógrafo Marc Ferrez e os cientistas Henrique Morize, Louis Ferdinand Cruls e outros
+ 
+Marc Ferrez. Henrique Morize, c. 1896. Rio de Janeiro, RJ / Acervo IMS
+ 
+Desde a década de 1890, Morize e Ferrez se conheciam. Em 1891, a Casa Lombaerts & C incorporou-se à Casa Marc Ferrez, sob a firma Lombaerts, Marc Ferrez & C (Diário da Manhã, 9 de março de 1891, na terceira coluna). A firma publicou postais e, por encomenda da Inspetoria Geral da Instrução Primária e Secundária da Capital, publicou o álbum Quadros de história Pátria, com 21 fototipias, e o ensaio de Henrique Morize, intitulado Esboço de uma climatologia do Brasil. No mesmo ano, a sociedade de Lombaerts e Ferrez foi dissolvida (Diário de Notícias, 15 de dezembro de 1891, quarta coluna). Em torno de 1897, Ferrez realizava experiências no campo da imagem com Morize e com Tasso Fragoso (1869 – 1945), na época aluno da Escola Militar e, posteriormente, general.
+Em 1899, no gabinete dos doutores Camilo Fonseca e de Morize, foram realizadas experiências radiográficas nas gêmeas siamesas Rosalina e Maria Pinheiro, nascidas em 1893, no Espírito Santo, que chegaram ao Rio de Janeiro em junho (A Imprensa, 23 de junho de 1899, na terceira coluna). Elas foram fotografadas por Marc Ferrez em várias posições (O Cachoeirano, 2 de julho de 1899, na última coluna). A cirurgia para separá-las, realizada em 30 de maio de 1900, na Casa de Saúde São Sebastião, no Rio de Janeiro, pelo médico Eduardo Chapot Prevost (1864 – 1907), foi a primeira do gênero que foi bem sucedida em todo o mundo. Maria morreu cinco dias após a cirurgia devido a uma grave infecção e Rosalina viveu até pelo menos 75 anos, tendo casado e tido filhos (A Imprensa, 11 de agosto de 1900, na primeira coluna).
+Em 1902, o então capitão Tasso Fragoso realizou sua segunda conferência sobre artilharia de campanha de tiro rápido. Foram apresentadas fotografias de projéteis e canhões, expostas em uma lanterna de projeção manejada por Morize e Ferrez  (Jornal do Brasil, 26 de abril de 1902, nona coluna). Em 1912, Marc Ferrez era um dos integrantes da comitiva do presidente do Brasil, Marechal Hermes da Fonseca (1855 – 1923), que havia ido para Passa Quatro observar o eclipse solar ocorrido em 10 de outubro daquele ano. Também participaram do evento Morize, chefe da comissão brasileira; o diretor do Jardim Botânico, Graciano dos Santos Neves (1868 – 1922), e astrônomos ingleses, dentre outros (Gazeta de Notícias, 11 de outubro de 1912, na quinta coluna sob o título “Marechal Hermes e o eclipse“).
+Em 1919, Marc Ferrez morava na França e supõe-se que ele teria, por seu interesse no assunto e por sua proximidade com Henrique Morize, acompanhado à distância os trabalhos dos registros fotográficos do eclipse total do Sol, ocorrido em 29 de maio de 1919, realizados por astrônomos brasileiros do Observatório Nacional e também por cientistas de outros países, em Sobral, no Ceará. A equipe brasileira, liderada por Morize, era formada pelos astrônomos Domingos Fernandes da Costa (1882 – 1956), Allyrio Hugueney de Mattos (1889 – 1975) e Lélio Itapuambyra Gama (1892 – 1981), além do químico Theophilo Henry Lee (1873 – ?), do meteorologista Luís Rodrigues, do mecânico Arthur de Castro Almeida e do carpinteiro Primo Flores. Partiram do Rio de Janeiro no dia 25 de abril de 1919, a bordo do vapor João Alfredo (Jornal do Commercio, 23 de abril de 1919, última coluna). Em março de 1922, em Paris, Marc Ferrez recebeu a visita de Morize, em viagem para Europa em missão oficial do Observatório Nacional. Morize esteve presente à missa de sétimo dia de Ferrez, em janeiro de 1923 (O Paiz, 20 de janeiro de 1923, na última coluna).
+Como já mencionado, Morize sucedeu no Observatório Nacional o astrônomo Louis Ferdinand Cruls, que já conhecia Ferrez desde a década de 1880. Cruls dirigiu o Observatório entre 1891 e 1908. O retrato abaixo foi exposto, em 1884, na Notre Dame de Paris, e referido como um “trabalho artístico obtido pelo novo sistema de gelatino-bromureto, especialidade do sr. Marc Ferrez, clichê do sr. Insley Pacheco”(Jornal do Commercio, 4 de julho de 1884, na última coluna).
+ 
+Marc Ferrez. Luis Cruls, c. 1890. Rio de Janeiro, RJ / Acervo IMS
+ 
+Fotografias de Ferrez ilustraram a matéria escrita por Arthur Barreiros sobre Cruls, publicada na segunda edição da revista Galeria Contemporânea do Brasil (O Cearense, 29 de agosto de 1884, na terceira coluna). Em uma reunião da Sociedade Central de Immigração, da qual faziam parte, entre outros, Cruls, o pintor italiano Nicolau Facchinetti (1824 – 1900) e o político Alfredo d´Escragnolle Taunay (1843 – 1899), foram apresentadas por esse último, presidente da associação, fotografias da ferrovia do Paraná, de autoria de Ferrez (A Immigração, agosto de 1886). Em 1888, no Arsenal de Marinha, com as presenças de Suas Altezas, da baronesa de Loreto Maria Amanda Paranaguá Dória (1849 – 1931), do barão de Corumbá João Mendes Salgado (1832 – 1894), do marquês de Paranaguá João Lustosa da Cunha Paranaguá (1821 – 1912), e de Cruls (1848 – 1908), dentre outros, o meteorito de Bedengó foi coberto com ácido nítrico. Na matéria, foi mencionado que Ferrez fotografaria o meteorito (Gazeta de Notícias, 17 de agosto de 1888, na segunda coluna sob o título “Corte do Bendegó”).
+ 
+Um curiosidade: O daguerreótipo chegou ao Brasil no mesmo navio em que Soulier de Sauve (? – 1850), que dirigiu  Observatório Nacional entre 1845 e 1850, e sua esposa, Louise, vieram para o país, a corveta Oriental , que aportou no Rio de Janeiro, em 23 de dezembro de 1839. A embarcação foi identificada como um colégio boiante, um navio-escola que promovia uma expedição didática- científica (Jornal do Commercio, 25 de dezembro de 1839, terceira coluna e Jornal do Commercio, 28 de dezembro de 1839, terceira coluna). No navio havia marinheiros capazes e professores hábeis, reunidos pelo capitão para iniciar os alunos a bordo nas primeiras noções da marinha e do comércio. Dentre eles estava Francisco Sauvage, inventor do phisionotypo, um novo modo de suprir a escultura, Soulier de Sauve e e o abade francês Louis Comte (1798 – 1868) (Correio Mercantil (BA), 13 de dezembro de 1839, terceira coluna). A expedição naval trazia a bordo um daguerreótipo, aparelho capaz de  produzir as primeiras fotografias, cuja invenção devida a Louis Daguerre e Nicéphore Niépce, tinha sido anunciada ao mundo por François Arago na sessão da Academia de Ciências da França de 19 de agosto de 1839. O abade Comte, que havia aprendido com o próprio Daguerre a daguerreotipia, era o encarregado pela assistência intelectual e espiritual e pelo ensino de religião, música e canto durante a viagem. Produziu alguns daguerreótipos, em 16 de janeiro de 1840, no Rio de Janeiro e, alguns dias depois, apresentou o invento a dom Pedro II.
+ 
+Jornal do Commercio, 17 de janeiro de 1840
+ 
+A partir daí a fotografia tornou-se uma das paixões do futuro imperador. Em março do mesmo ano, d. Pedro II adquiriu um daguerreótipo, provavelmente o primeiro da América do Sul (Jornal do Commercio,  20 de janeiro de 1840, terceira coluna).
+ 
+Andrea C.T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+BARRETO, Luiz Muniz. Observatório Nacional: 160 anos de história. Academia brasileira de ciências, Secretaria de ciência e tecnologia do Estado do Rio de Janeiro, Rio de Janeiro, 1987.
+CAMPOS, J.A. Eclipse Solar de 31 de dezembro de 1842: Confronto entre Maximiano da Silva Leite e Soulier de Sauve. Universidade Federal do Rio de Janeiro, 2016.
+Eu sei tudo, janeiro de 1928
+Hemeroteca Digital da Biblioteca Nacional
+LUZ, Sabina Ferreira. Do Castelo ao Januário: o Observatório Nacional muda de morro. XXVIII Simpósio Nacional de História. Florianópolis, Santa Catarina. 21 a 31 de julho de 2015.
+MORIZE, Henrique. Observatório Astronômico, um século de história (1827-1927). Rio de Janeiro : Museu de Astronomia e Ciências afins : Salamandra, 1987.
+Portal da Academia Nacional de Engenharia
+Portal da Câmara dos Deputados
+ROBBA, Olivia R. Entre a prática de ensino e os afazeres militares: A construção do Imperial Observatório do Rio de Janeiro entre 1827 e 1870. Dissertação de mestrado, HCTE/UFRJ, 2011.
+
+TURAZZI, Maria Inez. A viagem do Oriental-Hydrographe (1839 – 1840) e a introdução da daguerreotipia no Brasil. Acervo; Revista do Arquivo Nacional, Rio de Janeiro, v.23, nº 1, p.45-62, jan-jun 2010.
+
+Site Ministério da Tecnologia
+ 
+Publicações da Brasiliana Fotográfica em torno da obra do fotógrafo Marc Ferrez 
+ 
+Marc Ferrez aos 33 anos, c. 1876. Rio de Janeiro, RJ / Acervo IMS
+O Rio de Janeiro de Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 30 de junho de 2015
+Obras para o abastecimento no Rio de Janeiro por Marc Ferrez , de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 25 de janeiro de 2016
+O brilhante cronista visual Marc Ferrez (7/12/1843 – 12/01/1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 7 de dezembro de 2016
+Do natural ao construído: O Rio de Janeiro na fotografia de Marc Ferrez, de autoria de Sérgio Burgi, um dos curadores da Brasiliana Fotográfica, publicada em 19 de dezembro de 2016
+No primeiro dia da primavera, as cores de Marc Ferrez (1843 – 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 22 de setembro de 2017
+Marc Ferrez , a Comissão Geológica do Império (1875 – 1878) e a Exposição Antropológica Brasileira no Museu Nacional (1882), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica,  publicada em 29 de junho de 2018
+Série “O Rio de Janeiro desaparecido” V – O quiosque Chopp Berrante no Passeio Público, Ferrez, Malta e Charles Dunlop, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 20 de julho de 2018
+Uma homenagem aos 175 anos de Marc Ferrez (7 de dezembro de 1843 – 12 de janeiro de 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 7 de dezembro de 2018 
+Pereira Passos e Marc Ferrez: engenharia e fotografia para o desenvolvimento das ferrovias, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 5 de abril de 2019
+Fotografia e ciência: eclipse solar, Marc Ferrez e Albert Einstein, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 24 de junho de 2019
+Os 180 anos da invenção do daguerreótipo – Os álbuns da Comissão Geológica do Império com fotografias de Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 19 de agosto de 2019
+Celebrando o fotógrafo Marc Ferrez (1843 – 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 4 de dezembro de 2019
+Uma homenagem da Casa Granado ao imperial sob as lentes de Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 7 de fevereiro de 2020
+Ressaca no Rio de Janeiro invade o porão da casa do fotógrafo Marc Ferrez, em 1913, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado 6 de março de 2020
+Petrópolis, a Cidade Imperial, pelos fotógrafos Marc Ferrez e Revert Henrique Klumb, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 16 de março de 2020
+Bambus, por Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 5 de junho de 2020
+O Baile da Ilha Fiscal: registro raro realizado por Marc Ferrez e retrato de Aurélio de Figueiredo diante de sua obra, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 9 de novembro de 2020
+O Palácio de Cristal fotografado por Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 2 de fevereiro de 2021
+A Estrada de Ferro do Paraná, de Paranaguá a Curitiba, pelos fotógrafos Arthur Wischral (1894 – 1982) e Marc Ferrez (1843 – 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 22 de março de 2021
+Dia dos Pais – Julio e Luciano, os filhos do fotógrafo Marc Ferrez, e outras famílias, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 6 de agosto de 2021
+No Dia da Árvore, mangueiras fotografadas por Ferrez e Leuzinger, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 21 de setembro de 2021
+Retratos de Pauline Caroline Lefebvre, sogra do fotógrafo Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 28 de abril de 2022
+A Serra dos Órgãos: uma foto aérea e imagens realizadas pelos mestres Ferrez, Leuzinger e Klumb, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 30 de junho de 2022
+O centenário da morte do fotógrafo Marc Ferrez (1843 – 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 12 de janeiro de 2023
+No Dia Mundial do Meio Ambiente, a potente imagem da Cachoeira de Paulo Afonso, por Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 5 de junho de 2023
+A Fonte Adriano Ramos Pinto por Guilherme Santos e Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 18 de julho de 2023
+Os 180 anos de nascimento do fotógrafo Marc Ferrez (1843 – 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 7 de dezembro de 2023
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/9780` — `itens/20.500.12156.1_9780/`
+- `20.500.12156.1/11380` — `itens/20.500.12156.1_11380/`
+- `20.500.12156.1/10170` — `itens/20.500.12156.1_10170/`
+- `20.500.12156.1/9779` — `itens/20.500.12156.1_9779/`
+- `20.500.12156.1/11379` — `itens/20.500.12156.1_11379/`
+- `20.500.12156.1/4770` — `itens/20.500.12156.1_4770/`
+- `20.500.12156.1/2575` — `itens/20.500.12156.1_2575/`
+
diff --git a/wordpress/30946-predios-da-exposicao-internacional-do-centenario-da-independencia-de-1922-que-ai.md b/wordpress/30946-predios-da-exposicao-internacional-do-centenario-da-independencia-de-1922-que-ai.md
new file mode 100644
index 0000000..c6467ae
--- /dev/null
+++ b/wordpress/30946-predios-da-exposicao-internacional-do-centenario-da-independencia-de-1922-que-ai.md
@@ -0,0 +1,66 @@
+---
+id: 30946
+url: "https://brasilianafotografica.bn.gov.br/?p=30946"
+titulo: "Prédios da Exposição Internacional do Centenário da Independência de 1922 que ainda existem"
+autor: "Andrea Wanderley"
+data: "2023-04-04T10:22:10+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/7759", "20.500.12156.1/11243", "20.500.12156.1/7768", "20.500.12156.1/9734"]
+fetched_at: "2026-09-10T10:13:15.383Z"
+---
+
+# Prédios da Exposição Internacional do Centenário da Independência de 1922 que ainda existem
+
+Ainda existem seis prédios que foram ocupados por atividades da Exposição Internacional do Centenário da Independência, realizada em 1922, no Rio de Janeiro. São eles o Petit Trianon, que abrigou o Pavilhão da França e é a atual sede da Academia Brasileira de Letras; o atual edifício do Museu Histórico Nacional, que foi ampliad e remodelado para abrigar o Pavilhão das Grandes Indústrias (O Paiz, 3 de outubro de 1922, terceira coluna; Exposição de 1922, dezembro de 1922); o Pavilhão da Estatística, atualmente o prédio do Centro Cultural do Ministério da Saúde (Fon-Fon, 28 de outubro de 1922); o de uma das atuais sedes do Museu da Imagem e do Som, que foi o Pavilhão da Administração e do Distrito Federal; e o prédio do Pavilhão das Indústrias Particulares, que depois sediou o restaurante Albamar, e que já existia antes da Exposição de 1922 e abrigava o Mercado Municipal. Em Lisboa, encontra-se o Pavilhão Carlos Lopes, que foi o Pavilhão das Indústrias de Portugal (Revista da Semana, 23 de maio de 1923).*
+A Exposição Internacional do Centenário da Independência, um dos maiores eventos internacionais já realizados no Brasil, foi inaugurada no Rio de Janeiro em 7 de setembro de 1922 e terminou em 24 de julho do ano seguinte (O Paiz, 25 de julho de 1923). Seu fim estava previsto para março de 1923, mas como algumas construções não estavam concluídas na data de sua inauguração, foi prorrogada até julho.
+ 
+Fotografias dos prédios construídos ou usados na Exposição Internacional do Centenário da Independência em 1922, que ainda existem
+ 
+Petit Trianon, que abrigou o Pavilhão da França, edificado sob a chefia do arquiteto Emile Louis Viret (1882 – 1968). Seu adjunto era o também arquiteto Gabriel Marmorat (1882 – 1951). É a atual sede da Academia Brasileira de Letras.
+ 
+Thiele e Kollien. Exposição Internacional do Centenário da Independência – Pavilhão França, 1922.. Rio de Janeiro, RJ / Acervo IMS
+ 
+Atual Museu Histórico Nacional, que abrigou o Pavilhão das Grandes Indústrias. Para integrar a Exposição de 1922, as edificações do antigo Arsenal de Guerra, a Casa do Trem e o Forte Santiago foram ampliadas e remodeladas, com uma decoração característica da arquitetura neocolonial.
+
+Lopes. Pavilhão das Grandes Indústrias, atual Museu Histórico Nacional, 1922. Rio de Janeiro, RJ / Acervo Museu Histórico Nacional
+ 
+Uma das atuais sedes do Museu da Imagem e do Som, que foi o Pavilhão da Administração e do Distrito Federal, projeto do arquiteto italiano Sylvio Rebecchi (1882 – 1950). 
+ 
+Thiele & Kollien. Exposição Internacional do Centenário da Independência – Pavilhões Brasil, 1922. Rio de Janeiro, RJ / Acervo IMS
+ 
+O Pavilhão de Estatística, projetado pelo professor da Escola Nacional de Belas Artes, Gastão da Cunha Bahiana (1879-1959), é atualmente o prédio do Centro Cultural do Ministério da Saúde. Gastão Bahiana escolheu para o edificio a sobriedade do estilo Luís XVI, prejudicada pela cúpula desenhada por seu sócio Nereu Sampaio. Em 1930, a cúpula, após insistência de Gastão Bahiana, foi retirada.
+ 
+Marc Ferrez. Exposição de 1922: Pavilhão de Estatística, c. 1922. Rio de Janeiro, RJ / Acervo IMS
+ 
+ Prédio do Pavilhão das Indústrias Particulares, no Mercado Municipal . As obras para a construção do novo Mercado Municipal, todo metálico e construído na Inglaterra e na Bélgica, começaram em 1903 e faziam parte do plano de roformas urbanas do prefeito Pereira Passos. Seu projeto foi do engenheiro português Alfredo Azevedo Marques (18? – 19?) e foi inaugurado, em 14 de dezembro de 1907 (Gazeta de Notícias, 15 de dezembro de 1907, primeira coluna). O material do mercado, feito de ferro, veio da Bélgica. Recebeu, em 1922, um revestimento provisório em estilo neocolonial para integrar a Exposição do Centenário da Independência. A partir de 1933, sediou o restaurante Albamar. Foi demolido em 1962, porém, no mesmo ano, a torre nordeste, onde está o Albamar, havia sido tombada.
+ 
+Fon Fon, 28 de outubro de 1922
+ 
+O Pavilhão das Indústrias de Portugal, atual Pavilhão Carlos Lopes, em Lisboa. Foi idealizado pelos arquitetos Guilherme (1891 – 1969) e Carlos Rebello de Andrade (1887 – 1971) e Alfredo Assunção Santos (? – 1968). Construído no Brasil para a Exposição de 1922, o pavilhão foi reinaugurado em Lisboa, em 3 de outubro de 1932, com a Grande Esposição Industrial Portuguesa e batizado de Palácio das Exposições. Passou a chamar-se Pavilhão Carlos Lopes, em 1984, em homenagem ao atleta português. Foi fechado em 2003 e reabriu, em 2017, depois de obras de remodelação.
+ 
+Pavilhão das Indústrias de Portugal / Vida Doméstica, 14 de julho de 1923
+ 
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+* Este parágrafo foi reescrito em 10 de abril de 2023.
+ 
+Fontes:
+Blog Histórias e Monumentos
+FRANÇA, Carolina Rebouças. O desaparecimento do Mercado Municipal Praça XV, fator na formação do espaço público da cidade do Rio de Janeiro. I Encontro Nacional da Associação Nacional e de Pesquisa e Pós-Graduação em Arquitetura e Urbanismo, 29 de novembro a 3 de dezembro de 2010.
+LEVY, Ruth. A exposição do centenário e o meio arquitetônico carioca no início dos anos 1920. Rio de Janeiro : EBA/UFRJ, 2010.
+Hemeroteca Digital da Biblioteca Nacional
+Site Centro Cultural Ministério da Saúde
+Site Museu Histórico Nacional
+Site Rio Memórias
+WANDERLEY, Andrea. Série 1922 – Hoje, há 100 anos” VIII – A abertura da Exposição Internacional do Centenário da Independência do Brasil e o centenário da primeira grande transmissão pública de rádio no país in Brasiliana Fotográfica, 7 de setembo de 2022.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/7759` — `itens/20.500.12156.1_7759/`
+- `20.500.12156.1/11243` — `itens/20.500.12156.1_11243/`
+- `20.500.12156.1/7768` — `itens/20.500.12156.1_7768/`
+- `20.500.12156.1/9734` — `itens/20.500.12156.1_9734/`
+
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+---
+id: 3098
+url: "https://brasilianafotografica.bn.gov.br/?p=3098"
+titulo: "Dom Pedro II ( RJ, 2/12/1825 – Paris, 5/12/1891), um entusiasta da fotografia"
+autor: "Andrea Wanderley"
+data: "2015-12-02T01:29:51+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/1794", "20.500.12156.1/2944", "20.500.12156.1/2951"]
+fetched_at: "2026-09-10T10:13:18.727Z"
+---
+
+# Dom Pedro II ( RJ, 2/12/1825 – Paris, 5/12/1891), um entusiasta da fotografia
+
+Alberto Henschel. A Família Imperial reunida. Da esquerda para a direita: d. Antônio, em pé, princesa Isabel, sentada, tendo à sua frente d. Luís, sentado, d. Pedro de Alcântara, príncipe do Grão-Pará, e d. Augusto Leopoldo, ambos em pé; d. Pedro II, sentado, segurando um guarda-chuva, conde d’Eu, em pé, d. Teresa Cristina e d. Pedro Augusto, ambos sentados, 1887. Rio de Janeiro, RJ / Acervo IMS
+ 
+Dom Pedro II ( RJ, 2/12/1825 – Paris, 5/12/1891), um entusiasta da fotografia*
+Dom Pedro II foi um entusiasta da fotografia, seja como mecenas seja colecionador. Foi o primeiro brasileiro a possuir um daguerreótipo, e, provavelmente, o primeiro fotógrafo nascido no Brasil. Devido ao seu interesse no assunto, implantou e ajudou decisivamente o desenvolvimento da fotografia no país. Sua filha, a princesa Isabel (1846-1921), foi, inclusive, aluna do fotógrafo alemão Revert Henrique Klumb (c. 1826- c. 1886). Ao ser banido do país, em 1889, pelos republicanos, Pedro II doou à Biblioteca Nacional a coleção de cerca de 25 mil fotografias, que então denominou, juntamente com a coleção de livros, de Coleção Dona Theresa Christina Maria.  Segundo Pedro Vasquez, essa coleção é, até hoje, “o mais diversificado e precioso acervo dos primórdios da fotografia brasileira jamais reunido por um particular, e tampouco por uma instituição pública”.
+A velocidade com que a notícia do invento do daguerreótipo chegou ao Brasil é curiosa: em 7 de janeiro de 1839, na Academia de Ciências da França, foi anunciada a descoberta da daguerreotipia, um processo fotográfico desenvolvido por Joseph Nicèphore Niépce (1765-1833) e Louis Jacques Mandé Daguerre (1787-1851); cerca de 4 meses depois, foi publicado no Jornal do Commercio, de 1º de maio de 1839, sob o título “Miscellanea”, na segunda coluna, um artigo sobre o assunto – apenas 10 dias após de ter sido o tema de uma carta do inventor norte-americano Samuel F. B. Morse (1791 – 1872), escrita em Paris em 9 de março de 1839, para o editor do New York Observer, que a publicou em 20 de abril de 1839.
+Acessando o link para as fotografias de dom Pedro II disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+O interesse de dom Pedro II pela fotografia teve quase a mesma idade do próprio daguerreótipo: menos de um ano após o anúncio oficial da invenção, feito por François Arago, em 19 de agosto de 1839, na França, ele, aos 14 anos, adquiriu o equipamento, em março de 1840, mesmo ano em que o abade francês Louis Comte (1798 – 1868) apresentou-lhe o invento, no Rio de Janeiro (Jornal do Commercio, de 17 de janeiro de 1840, na primeira coluna; e de 20 de janeiro de 1840, na terceira coluna).
+Por sediar o Império, o Rio de Janeiro foi a capital da fotografia no Brasil. O imperador foi retratado por diversos fotógrafos, dentre eles Marc Ferrez (1843-1923) e Joaquim Insley Pacheco (1830 – 1912), tendo conhecido praticamente o trabalho de todos eles. A fotografia passou a ser o instrumento de divulgação da imagem de dom Pedro II, “moderna como queria que fosse o reino”, segundo comenta Lilia Moritz Schwarcz no livro As barbas do Imperador: D. Pedro II, um monarca nos trópicos, e tornou-se também mais um símbolo de civilização e status.
+Foi um dos primeiros monarcas a oferecer seu real patrocínio a um fotógrafo, quando, em 1851, permitiu que Buvelot & Prat, que haviam realizado uma série de daguerreótipos de Petrópolis – todos desaparecidos – usassem as armas imperiais na fachada de seu estabelecimento fotográfico.
+Dom Pedro II governou o Brasil de 23 de julho de 1840 a 15 de novembro de 1889 e, segundo José Murilo de Carvalho, o fez “com os valores de um republicano, com a minúcia de um burocrata e com a paixão de um patriota. Foi respeitado por quase todos, não foi amado por quase ninguém”. Em seus quase 50 anos de governo, o tráfico de escravizados e a escravidão foram abolidos, a unidade do Brasil foi consolidada, as principais capitais brasileiras se modernizaram, a ciência e a cultura se desenvolveram. Sinais, sobretudo estes últimos, de um reinado que, não obstante o conservadorismo escravista dominante, perseguiu sempre uma pauta liberal, humanista e civilizatória.
+Em seu diário de 1862, Pedro II declarou: “Nasci para consagrar-me às letras e às ciências, e, a ocupar posição política, preferia a de presidente da República ou ministro a imperador”. De fato, no século XIX, muito do que se fez no Brasil nos campos das letras e das ciências deveu-se a ele, um dos monarcas mais eruditos de sua época.
+Lista dos Fotógrafos Imperiais, na ordem cronológica em que foram agraciados com este título, segundo Guilherme Auler (1914-1965), sob o pseudônimo de Ricardo Martim, em dois artigos publicados na Tribuna de Petrópolis, em 1º e 8 de abril de 1956, segundo o livro O Brasil na fotografia oitocentista, de Pedro Vasquez:
+Buvelot & Prat, título concedido em 8 de março de 1851 (província do Rio de Janeiro)
+Joaquim Insley Pacheco, título concedido em 22 de dezembro de 1855 (província do Rio de Janeiro)
+João Ferreira Villela, título concedido em 18 de setembro de 1860 (província de Pernambuco)
+Revert Henrique Klumb, título concedido em 24 de agosto de 1861 (província do Rio de Janeiro)
+Stahl & Wahnschaffe, título concedido em 21 de abril de 1862 (província do Rio de Janeiro)
+Diogo Luiz Cipriano, título concedido em 20 de setembro de 1864 (província do Rio de Janeiro)
+Antonio da Silva Lopes Cardoso, título concedido em 30 de novembro de 1864 (província da Bahia)
+Thomas King, título concedido em 18 de maio de 1866 (província do Rio Grande do Sul)
+José Ferreira Guimarães, título concedido em 13 de setembro de 1866 (província do Rio de Janeiro)
+José Tomás Sabino, título concedido em 13 de agosto de 1873 (província do Pará)
+Henschel & Benque, título concedido em 7 de dezembro de 1874 (província do Rio de Janeiro)
+Antonio Henrique da Silva Heitor, título concedido em 2 de março de 1885 (província do Rio de Janeiro)
+Fernando Skarke, título concedido em 14 de dezembro de 1886 (província de São Paulo)**
+Juan Gutierrez de Padilla, título concedido em 3 de agosto de 1889 (província do Rio de Janeiro)
+Ignácio Mendo, título concedido em 6 de agosto de 1889 (província da Bahia)
+Apesar de não estarem na lista de Auler, os fotógrafos Mangeon & Van Nyvel, radicados no Rio de Janeiro e Luiz Terragno (c.1831 – 1891), do Rio Grande do Sul, também anunciavam esse título e as armas imperiais no verso de suas fotografias. Já Marc Ferrez foi o único com a distinção de Fotógrafo da Marinha Imperial. Seis fotógrafos estrangeiros também foram agraciados com o título de fotógrafos imperiais: o francês Alphonse Liebert, o português Joaquim Coelho da Rocha, o austríaco Guilherme Perimutter, os tchecos Franz Piedrich e Charles Molock; e o italiano Francesco Pesce.
+Pedro Hees e Pedro Satyro da Silveira foram incluídos nessa lista desse artigo, em março de 2019. A inclusão foi baseada no trabalho Photographos da Casa Imperial: A Nobreza da Fotografia no Brasil do Século XIX, de Danielle Ribeiro de Castro.
+ 
+ 
+Cronologia de dom Pedro II 
+Alphonse Léon Nöel; Victor Frond. Dom Pedro II, 1861. Paris, França / Acervo FBN
+ 
+1825 – Em 2 de dezembro, nascimento de Pedro II, às 2h30 da manhã, no Paço de São Cristóvão, no Rio de Janeiro, filho mais novo do imperador dom Pedro I do Brasil (1798 – 1834) e da imperatriz dona Maria Leopoldina de Áustria (1797 – 1826) (Diário do Rio de Janeiro, de 5 de dezembro de 1825).
+Foi batizado, em 9 de dezembro, e seu nome completo era Pedro de Alcântara João Carlos Leopoldo Salvador Bibiano Francisco Xavier de Paula Leocádio Miguel Gabriel Rafael Gonzaga de Bragança e Bourbon (Império do Brasil: Diário Fluminense, de 10 de dezembro de 1825).
+1826 – Em agosto, foi oficialmente reconhecido como herdeiro do trono brasileiro com o título de príncipe imperial .
+Sua mãe, a imperatriz Leopoldina, faleceu em 11 de dezembro de 1826, poucos dias após dar a luz a um menino natimorto (Diário do Rio de Janeiro, de 15 de dezembro de 1826).
+1829 – O imperador Pedro I casou-se com a duquesa Amélia de Leuchtenberg (1812 – 1873), com quem, apesar de ter convivido pouco, o príncipe Pedro estabeleceu um relacionamento afetuoso (Imperio do Brasil: Diário Fluminense, de 8 de outubro de 1829, sob o título “Baviera”).
+1831 – Em 7 de abril, o imperador Pedro I abdicou (Aurora Fluminense, de 11 de abril de 1831). O príncipe imperial Pedro tornou-se “Dom Pedro II, Imperador Constitucional e Defensor Perpétuo do Brasil“, sendo aclamado por uma multidão. Dom Pedro I deixou seu filho aos cuidados do tutor José Bonifácio de Andrada (1763 – 1838), de dona Mariana Carlota de Verna Magalhães Coutinho (? – 1855), tornada condessa de Belmonte, em 5 de maio de 1844, aia de Pedro II desde seu nascimento, a quem ele chamava de Dadama; e de Rafael, que era um empregado do paço em quem Pedro I possuía grande confiança.
+No mesmo dia da abdicação, foi eleita, no Senado, a Regência Provisória, formada pelos senadores Nicolau do Campos Vergueiro (1788 – 1859), por José Joaquim de Campos (1768 – 1836), o Marquês de Caravelas, e pelo senador Francisco de Lima e Silva (1785 – 1853), pai de Luís Alves de Lima e Silva (1803 – 1880), o Duque de Caxias.
+Dom Pedro I partiu para a Europa com Dona Amélia, em 13 de abril (Diário do Rio de Janeiro, de 14 de abril de 1831). Links para as cartas de despedida de dona Amélia, disponível no Correio IMS, e de Pedro I, ambas para dom Pedro II.
+Em 17 de  junho, a Regência Trina Permanente foi eleita pela Assembleia Geral. Era composta pelo deputado da Bahia, José da Costa Carvalho (1796 – 1860), o Marquês de Monte Alegre; do Maranhão, João Bráulio Moniz (1796 – 1835), e pelo senador Francisco de Lima e Silva (1785 – 1853), do Rio de Janeiro (Aurora Fluminense, de 20 de junho de 1831, na primeira coluna, sob o título “Rio de Janeiro”).
+1833 - Em 15 de dezembro, José Bonifácio foi substituído pelo marquês de Itanhaém, Manuel Inácio de Andrada Souto Pinto Coelho (1782 – 1867), que passou a ser, por decreto, tutor de dom Pedro II (Jornal do Commercio, 17 de dezembro de 1833, na segunda coluna, sob o título “Rio de Janeiro”).
+1834 - Em 12 de agosto foi aprovado o Ato Adicional, que estipulou o fim da Regência Trina e alterou a Constituição de 1824, autorizando cada uma das províncias a criar uma Assembleia Legislativa. A situação política do país se acalmou.
+Em 24 de setembro, morreu, em Portugal, dom Pedro I (Diário do Rio de Janeiro, 4 de dezembro de 1834).
+1835 - Em 7 de janeiro, teve início a Cabanagem no Pará.
+Em abril, realizaram-se as eleições para a primeira Regência Una. Venceu o padre Diogo Antônio Feijó (1784 – 1843), um dos líderes progressistas e antigo ministro da Regência Trina Permanente.
+Em 20 de setembro, iniciou-se a revolta Farroupilha, no Rio Grande do Sul.
+Diogo Antônio Feijó (1784 – 1843) assumiu a Regência Una em outubro (Aurora Fluminense, de 12 de outubro de 1835).
+1837 - Para tentar acabar com o avanço da Cabanagem e da Farroupilha, movimentos revoltosos contra o governo, Feijó pediu a aprovação, pela Câmara dos Deputados, do aumento dos efetivos militares do governo. Seu pedido foi negado e ele renunciou. O presidente da Câmara dos Deputados e líder da facção regressista, o marquês de Olinda, Pedro Araújo Lima (1793 – 1870), assumiu provisioriamente a regência (Jornal do Commercio, de 25 de setembro de 1837, na primeira coluna).
+Em novembro, teve início a Sabinada, na Bahia.
+Em 2 de dezembro, por decreto, foi fundado o Colégio Pedro II.
+1838 – O senador Pedro Araújo Lima (1793 – 1870) foi eleito o novo regente, cujo mandato se prolongaria até 1842.
+Foi criado, em 21 de outubro, o Instituto Histórico e Geográfico Brasileiro (Jornal do Commercio, de 18 de outubro de 1838, na primeira coluna).
+Em 13 de dezembro, teve início a Balaiada no Maranhão.
+1839 – O Instituto Histórico e Geográfico Brasileiro recebeu o patronato do imperador dom Pedro II , que além de seu protetor, tornou-se um ativo membro, tendo presidido centenas de sessões.
+1840 – O abade francês Louis Comte (1798 – 1868), capelão da corveta L´Oriental-Hydrographe, fez na hospedaria Pharoux, a primeira apresentação do daguerreótipo no Brasil e na América Latina, realizando um ensaio fotográfico (Jornal do Commercio, de 17 de janeiro de 1840, na primeira coluna). Dias depois, apresentou o invento a dom Pedro II (Jornal do Commercio, de 20 de janeiro de 1840, na terceira coluna). Em março do mesmo ano, com menos de 15 anos, dom Pedro II adquiriu o equipamento, através do negociante Felício Luzaghy.
+O Brasil encontrava-se em uma situação delicada com as revoltas e dom Pedro II só poderia ser declarado maior com 18 anos de idade. Além disso, a Regência sempre motivaria conflitos políticos. Em abril, o senador do Partido Liberal, José Martiniano de Alencar (1794 – 1860), pai do romancista José de Alencar, propôs a criação da Sociedade Promotora da Maioridade, que passou a se chamar Clube da Maioridade. Seu presidente, Antônio Carlos de Andrada (1773 – 1845), levou a campanha para as ruas, conseguindo a adesão do povo.
+Em 23 de julho, dom Pedro II foi emancipado pela Assembleia Geral Legislativa do Brasil (Diário do Rio de Janeiro, de 27 de julho de 1840, sob o título “Rio de Janeiro”).
+1841 – Em 18 de julho, realização da sagração e da coroação de dom Pedro II, imperador do Brasil (Diário do Rio de Janeiro, de 19 de julho de 1941, Jornal do Commercio, de 18 e 19 de julho de 1941, na segunda coluna e de 20 de julho, com ilustração de dom Pedro II coroado e da varanda da coroação). A cidade do Rio de Janeiro foi embelezada para a cerimônia e as festas se estenderam até o dia 24 de julho, quando foi realizado um grande baile de gala no Paço da cidade.
+Terminou a revolta da Balaiada.
+1842 / 1843 – Entre dezembro de 1842 e princípio de 1843, d.Pedro II foi apresentado ao fotógrafo norte-americano Augustus Morand, que ficou no Rio de Janeiro até abril de 1843, tendo produzido daguerreótipos do monarca, da família imperial e vistas dos arredores do Palácio Real de São Cristóvão.
+1843 – Em 30 de maio, dom Pedro II e dona Teresa Cristina (1822 – 1889), princesa das Duas Sicílias, casaram-se por procuração, em Nápoles. Como eles eram primos, tiveram que obter licença de Roma. Em 3 de setembro, ela chegou ao Rio de Janeiro. Eles se encontraram pela primeira vez, a bordo da fragata Constituição (Jornal do Commercio, de 4 de setembro, na última coluna; e de 5 de setembro de 1843, na primeira coluna, ambas sob o título “Jornal do Commercio”). Dom Pedro II ficou muito decepcionado com a aparência de sua esposa .
+1845 – Em 23 de fevereiro, nasceu o primeiro filho do casal, dom Afonso (Diário de Rio de Janeiro, de 24 de fevereiro de 1845, sob o título “O Diário”).
+Em 1º de março, fim da Farroupilha.
+Em 6 de agosto, dom Pedro II viajou para o sul do Brasil e visitou as províncias de Santa Catarina, Rio Grande do Sul e São Paulo.
+1846 – Nasceu a primeira filha do casal real, a princesa Isabel, em 29 de julho (Diário do Rio de Janeiro, edição de 30 de julho de 1846, sob o título “Parte official”).
+1847 – Morreu dom Afonso, em 11 de junho (Diário do Rio de Janeiro, de 12 de junho de 1847) e nasceu a princesa Leopoldina, segunda filha do casal, em 13 de julho (Diário do Rio de Janeiro, de 14 de julho de 1847, sob o título “O Diário”). Dom Pedro II percorreu a província do Rio de Janeiro.
+1848 – Nasceu dom Pedro Afonso, segundo filho do casal, em 19 de julho (Diário do Rio de Janeiro, de 20 de julho de 1848).
+Teve início a Revolução Praieira, em Pernambuco. De caráter liberal e federalista, ganhou o nome de Praieira, pois a sede do jornal Diário Novo, comandado pelos revoltosos, ficava na rua da Praia.
+1849 – O primo de d. Pedro II, Henrique Guilherme Adalberto da Prússia (1811-1873), em seu diário sobre a visita que havia feito ao Brasil, comentou que d. Pedro II fazia experimentos com o daguerreótipo.
+1850 – Morreu dom Pedro Afonso, em 10 de janeiro (Diário do Rio de Janeiro, de 11 de janeiro de 1850). O túmulo dos únicos filhos homens de Dom Pedro II e Dona Teresa Cristina, os Príncipes Imperiais Afonso Pedro de Bragança (1845 – 1847) e Pedro Afonso de Bragança (1848 – 1850) estão no Mausoleu do Convento de Santo Antônio, no Rio de Janeiro.
+Foram promulgados o Código Comercial, baseado nos Códigos de Comércio de Portugal, França e Espanha; e a Lei de Terras,  que foi regulamentada em 1854. Esta lei estabelecia a compra como a única forma de acesso à terra e abolia, em definitivo, o regime de sesmarias.
+Fim da Revolução Praieira (O Brasil, de 16 de abril de 1850, sob o título “Notícias Provinciaes”, na primeira coluna).
+Em 4 de setembro, a Lei Eusébio de Queiroz pôs fim ao tráfico negreiro (Diário do Rio de Janeiro, de 5 de setembro de 1850).
+O governo brasileiro rompeu relações com a Confederação Argentina, governada por Juan Manuel de Rosas (1793 – 1877).
+1851 – Brasil, Uruguai e as províncias argentinas de Entre Ríos e Corrientes firmaram, em Montevidéu, uma aliança ofensiva e defensiva contra Rosas, que declarou guerra ao Império brasileiro.
+Tornou-se um dos primeiros monarcas a oferecer seu real patrocínio a um fotógrafo, juntamente com a rainha Vitória da Inglaterra (1819 – 1901), quando, em 8 de março de 1851, permitiu que Buvelot & Prat, que haviam realizado uma série de daguerreótipos de Petrópolis – todos desaparecidos – usassem as armas imperiais na fachada de seu estabelecimento fotográfico.
+1852 – Em fevereiro, Rosas foi derrotado pelo general Justo José de Urquiza (1801-1870) com o apoio do Brasil, na Batalha de Monte Caseros (Correio da Tarde, de 24 de fevereiro de 1952).
+Início da telegrafia elétrica no Brasil. Telegramas foram trocados entre o imperador, que se encontrava na Quinta de São Cristóvão, e o ministro da Justiça, Eusébio de Queiroz (1812 – 1868), e o professor Guilherme Schüch de Capanema (1824 – 1908), que estavam no Quartel General, no Campo da Aclamação, atual Campo de Santana.
+1854 – No Rio de Janeiro, instalação da iluminação à gás (Jornal do Commercio, de 25 de março de 1854, na penúltima coluna).
+Inauguração da estrada de ferro que ligava a Corte à Petrópolis (Jornal do Commercio, de 1º de maio de 1854, na última coluna).
+1855 - Em 17 de outubro, morte de Mariana Carlota de Verna Magalhães Coutinho (1779 – 1855), a Dadama, aia e governanta de dom Pedro II, vitimada pela cólera-morbo (Diário do Rio de Janeiro, 18 de outubro de 1855, na segunda coluna).
+1856 – Dom Pedro II conheceu a tutora de suas filhas, a condessa de Barral, Luisa Margarida Portugal de Barros (1816 – 1891), por quem se apaixonou e se correspondeu intensamente ao longo de 26 anos de relacionamento. Cartas trocadas entre os dois estão disponíveis no Correio IMS: em 12 de junho de 1876, em 15 de março de 1877, em 29 de março de 1877 e em 7 de junho de 1880.
+1857 – Foi criada a Imperial Academia de Música e a Ópera Nacional (Jornal do Commercio, de 7 de junho de 1857, sob o título “Publicações a pedido”).
+1859 – Publicação de um esboço biográfico de dom Pedro II, de autoria, segundo a historiadora Cristiane Garcia Teixeira, doutoranda do Programa de Pós-Graduação da Universidade Federal de Santa Catarina, de Machado de Assis (1839 – 1908) (O Espelho, 6 de novembro de 1859; Uol, 17 de setembro de 2020).
+Dom Pedro II viajou para as províncias do Espírito Santo, Bahia, Sergipe, Alagoas, Pernambuco e Paraíba. Quando visitou Recife, em outubro, o fotógrafo João Ferreira Villela (18? -?) ofereceu a ele seis molduras douradas com imagens obtidas sobre chapas metálicas: do Pavilhão construído a mando da Câmara Municipal para a recepção do imperador, do porto de desembarque do imperador com quiosque, dois barracões, chafariz e cais do Colégio; da continuação da citada vista com o mastro norte do pavilhão da Câmara e mosqueiro com todas as embarcações ali fundeadas; de uma marinha, do Templo dos Ingleses, na rua da Aurora; e do fim da rua da Cruz com o princípio do arsenal de Marinha. S. Majestade, com a bondade que todos conhecem, dignou-se receber o mimo, declarar que conhecia todas as vistas e achava bom o trabalho. Encomendou a Villela vistas de locais no interior de Pernambuco que havia conhecido. Ficou combinado que seriam remetidas para o Rio de Janeiro. É mais uma prova do quanto nosso adorado monarca aprecia e anima as artes assim como do valor e importância que dá ao que é nosso (Diário de Pernambuco, 26 de dezembro de 1859, quarta coluna).
+1861 - Início da Questão Christie, incidente diplomático envolvendo o Brasil Império e a Inglaterra.
+1863 - Brasil e Inglaterra romperam relações diplomáticas.
+1864 – Em 15 de outubro, casamento da princesa Isabel com o conde d´Eu (Diário do Rio de Janeiro, edição de 16 de outubro de 1864) e, em 15 de dezembro, casamento da princesa Leopoldina com o duque de Saxe (Diário do Rio de Janeiro, de 16 de dezembro de 1864). O conde d´Eu e o duque se Saxe eram primos.
+O Paraguai declarou guerra ao Brasil, em dezembro.
+1865 – Em 1º de maio, foi assinado o Tratado da Tríplice Aliança – Argentina, Brasil e Uruguai – contra o Paraguai.
+Em 10 de julho, dom Pedro II partiu para o Rio Grande do Sul, devido à Guerra do Paraguai (Correio Mercantil, 20 de julho de 1865, primeira coluna). Foi publicado o poema O Embarque de Sua Majestade Imperial para o Rio Grande do Sul, de Sanches de Frias (1845 – 1922) (Correio Mercantil, 19 de julho de 1865, quinta coluna).
+No Rio Grande do Sul, foi fotografado pelo italiano Luiz Terragno (c. 1831 – 1891).
+Em 23 de setembro, as relações diplomáticas entre o Brasil e a Inglaterra foram reatadas (Jornal do Commercio, de 5 de outubro de 1865, na sétima coluna, sob o título “27 de setembro”).
+1870 - Solano López morreu e a Guerra do Paraguai terminou (O Paiz, suplemento de 14 de abril de 1870).
+1871  – Em 7 de fevereiro de 1871, a filha de dom Pedro II, a princesa Leopoldina de Saxe-Coburgo faleceu, em Viena (Diário de Notícias, de 7 de março de 1871).
+Em 28 de de setembro de 1871, foi promulgada a Lei do Ventre Livre (Diário do Rio de Janeiro, edição de 30 de setembro de 1871).
+1871 / 1872 – Em 25 de maio de 1871, dom Pedro II viajou pela primeira vez para a Europa e para o Oriente Médio. A princesa Isabel tornou-se, pela primeira vez, regente provisória. Em Lisboa, seu primeiro destino, dom Pedro visitou dona Amélia (1812 – 1873), viúva de dom Pedro I (1798 – 1834), no palácio das Janelas Verdes. Conheceu diversos intelectuais portugueses, entre eles, Alexandre Herculano (1810 – 1877). Depois foi à Espanha, à França, onde encontrou a condessa de Barral (1816 – 1891) e o filósofo Arthur de Gobineau (1816 -1882); à Inglaterra, à Bélgica, à Alemanha, onde conheceu o compositor Richard Wagner (1813 – 1883); à Áustria, à Itália, ao Egito, à Creta e à Suíça. Em 31 de março de 1872, retornou ao Rio de Janeiro (Diário do Rio de Janeiro, 1º de abril de 1872), trazendo o duque de Saxe, viúvo de de sua filha Leopoldina, e seus dois netos, Pedro Augusto (1866 – 1934) e Augusto Leopoldo (1867 – 1922), que seriam educados no Brasil.
+1874 – Em 22 de junho, foi efetivada a ligação do Brasil a Portugal por telégrafo.
+Teve início a revolta do Quebra-Quilos, quando várias cidades do nordeste se rebelaram contra o decreto que impunha a implantação de um novo sistema métrico. No ano seguinte, com a forte repressão promovida pelo governo imperial, a região foi pacificada.
+1876 – Em março, dom Pedro II viajou para os Estados Unidos e para a Europa. Embarcou no Rio de Janeiro, no navio americano Hevelius, sob o comando do capitão Markwell (Diário do Rio de Janeiro, 26 de março de 1876, na terceira coluna). Acompanhando a comitiva real, estava o repórter J. O´Kelly, do jornal New York Herald. Chegou em Nova York, em 15 de abril (Diário do Rio de Janeiro, 20 de bril de 1876, segunda coluna). Visitou outras cidades como Boston, Chicago, Pittsburg e Washington. Em Boston, esteve com o missionário e pastor James Cooley Fletcher (1823-1901), foi com Daniel Parrish Kidder autor da obra “O Brasil e os brasileiros” (1857 ). Atuou no Brasil nas décadas de 1850 e 1860. Foi fotografado por Joaquim Insley Pacheco (1830 – 1912) (O Novo Mundo, periódico illustrado do Progresso da Edade (Nova Iorque, EUA), janeiro de 1879). O imperador inaugurou a Exposição da Filadélfia, que abriu ao lado do presidente Ulysses S. Grant (1822 – 1885), em 10 de maio, em meio a uma multidão de cerca de 200 mil pessoas. A cerimônia de abertura terminou no pavilhão de máquinas e equipamentos com Grant e Dom Pedro II acionando o motor a vapor Corliss Steam Engine (Diário do Rio de Janeiro, 12 de maio de 1876, primeira coluna).  Na exposição, esteve com os cientistas Thomas Edison (1847 – 1931) e Grahan Bell (1847 – 1922), que apresentou ao imperador sua invenção – o telefone. Foi também à Niagara Falls. Em 12 julho, partiu para a Europa no vapor Russia, da Cunard Line: foi a Londres e Bruxelas, onde encontrou o famoso médico francês Jean-Marie Charcot (1825 – 1893). Deixou a imperatriz Teresa Cristina em Gastein, na Áustria, para tratamento de saúde e partiu para a Grécia. No Oriente, a imperatriz e a condessa de Barral o encontraram. Foi à Roma, Viena e Paris, onde conheceu os intelectuais Jean Louis Quatrefages (1810 – 1892), Ernest Renan (1823 – 1892), Louis Pasteur (1822 – 1895) e Victor Hugo (1802 – 1885). Retornou em setembro.
+1877 – Por ordem de dom Pedro II, foram instaladas linhas telefônicas entre as residências dos ministros e o palácio da Quinta da Boa Vista.
+O New York Herald relembrou a visita de Pedro II aos Estados Unidos, e apresentou a seguinte proposta: “Para nossa chapa Centenária, indicamos Dom Pedro II e Charles Francis Adams, para presidente e vice-presidente. Estamos cansados de gente comum, e sentimo-nos dispostos a apoiar gente de estilo”. O advogado, político, diplomata e escritor americano Charles Frances Adams ( 1807 – 1886) era neto do presidente John Adams e filho do presidente John Quincy Adams. Dom Pedro II recebeu, na Filadélfia, mais de 4.000 votos espontâneos.
+1878 – Dom Pedro II viajou para a província de São Paulo.
+1879 – Inauguração da iluminação elétrica na Estação Central da Estrada de Ferro Dom Pedro II.
+Em 28 de dezembro de 1879, início no Rio de Janeiro da Revolta do Vintém, contra a cobrança de um tributo instituído pelo ministro da fazenda, o visconde de Ouro Preto, Afonso Celso de Assis Figueiredo (1836 – 1912), de vinte réis, ou seja, um vintém, nas passagens dos bondes. O ministério, desmoralizado, caiu no ano seguinte e o imposto foi revogado.
+1880 – Criação da Telephone Company of Brazil, primeira companhia telefônica nacional.
+Dom Pedro II viajou ao Paraná, onde participou do lançamento da pedra fundamental da estrada de ferro Paranaguá – Curitiba, a ferrovia do Paraná (Dezenove de Dezembro, 9 de junho de 1880).
+1881 – Em 9 de janeiro, aprovação da Lei Saraiva, que estabeleceu o voto direto e proibiu o voto dos analfabetos.
+Dom Pedro II viajou para Minas Gerais.
+1882 –  Caso do “Roubo das jóias da Coroa”: na madrugada de 17 para 18 de março de 1882, um ladrão invadiu o Palácio de São Cristóvão, residência da família imperial, e roubou  todas as jóias da imperatriz Teresa Cristina e da princesa Isabel. O tesouro foi avaliado em 400 contos de réis – verdadeira fortuna na época (Gazeta de Notícias, de 19 de março de 1882, na primeira coluna). As jóias foram encontradas dias depois na casa de um ex-empregado do palácio, Manuel de Paiva (Gazeta de Notícias, de 22 de março de 1882, na segunda coluna).
+1883 – A cidade de Campos (RJ) tornou-se o primeiro município da América do Sul a receber iluminação elétrica pública.
+Início da Questão Militar, uma série de conflitos entre autoridades da monarquia e os oficiais do Exército brasileiro, que fortaleceu a campanha republicana.
+1885 – Promulgação da Lei dos Sexagenários, em 28 de setembro.
+1886 – Dom Pedro II, dona Teresa Cristina e a comitiva imperial viajaram para a província de São Paulo entre outubro e novembro (Correio Paulistano, 19 de outubro e  20 de novembro de 1886).
+1887 / 1888 – Em 30 de junho de 1887, dom Pedro II viajou pela terceira vez para a Europa. Seu primeiro destino foi Portugal. De lá, seguiu para Paris. Aconselhado por médicos, seguiu para Baden-Baden, e retornou a Paris, onde visitou intelectuais, entre eles, Louis Pasteur. Fez um cruzeiro pela Riviera italiana e foi para a estação de cura de Aix-les-Bains, na França. Também visitou, atendendo a um desejo de sua esposa, dona Teresa Cristina Maria, as ruínas de Pompeia (Gazeta de Notícias, 17 de junho de 1888, quarta coluna). Em 22 de agosto de 1888, retornou ao Rio de Janeiro (Gazeta de Notícias, 23 de agosto de 1888, primeira coluna).
+1888 – Foi abolida a escravidão no Brasil, em 13 de maio de 1888 (O Paiz, de 14 de maio de 1888).
+1889 – Dom Pedro II (1825 – 1891) foi alvo de um atentado quando saía do Theatro Sant´Anna, no Rio de Janeiro, com alguns membros de sua família, em 15 de julho de 1889 (O Paiz, 16 de julho de 1889, sexta coluna).
+Em 9 de novembro, foi realizado o baile da Ilha Fiscal (Gazeta de Notícias, de 11 de novembro de 1889), que passou à história como o último baile da monarquia no Brasil. Reza a lenda que dom Pedro II, durante a festividade, teria tropeçado em um tapete e teria comentado: “O monarca tropeçou, mas a monarquia não caiu“. Ironia do destino?
+Em 15 de novembro, foi proclamada a República (Gazeta de Notícias, 16 de novembro de 1889). Quando foi deposto, dom Pedro II tinha governado por 49 anos, três meses e 22 dias.
+Em 17 de novembro, a família real partiu para o exílio, na Europa, a bordo do Alagoas (Gazeta de Notícias, edição de 18 de novembro de 1889, sob o título “O Embarque do Imperador”, na segunda coluna).
+Chegaram em Lisboa em 7 de dezembro. Visitaram Coimbra e o Porto, onde a imperatriz Teresa Cristina faleceu, em 28 de dezembro.
+1890 / 1891 – Pedro II passou esses anos entre Cannes, Vichy, Versalhes e Baden-Baden.
+1891 – Em 14 de janeiro, faleceu a Condessa de Barral, em Paris (Diário de Notícias, 16 de janeiro de 1891).
+Em 24 de outubro, dom Pedro II chegou em Paris, onde se hospedou no Hotel Bedford, número 17 da rua de l’Arcade.
+Em 5 de dezembro, faleceu, de pneumonia (O Paiz, de 6 de dezembro de 1891, e Gazeta de Notícias, de 6 de dezembro de 1891).
+ 
+Registro de morte de dom Pedro II
+Tradução do registro de morte do imperador:
+‘Nós, abaixo assinados, Professores da Faculdade de Medicina e doutores em medicina, certificamos que Dom Pedro II d’Alcantara morreu em 5 de Dezembro de 1891 à meia noite e 35 (da manhã) no hotel Bedford, 17 rue de l’Arcade, em Paris, em conseqüência de uma pneumonia aguda do pulmão esquerdo.
+Paris, 5 de dezembro de 1891
+J.M Charcot
+C. de Motta Maia Bouchard‘
+Link para o registro da morte de Pedro II.
+ 
+ 
+ 
+ 
+Quando seu corpo estava sendo preparado para o velório, foi encontrado um pacote lacrado nos aposentos do imperador com a mensagem: “É terra de meu país. Desejo que seja posta no meu caixão, se eu morrer fora de minha pátria”. Em seu leito de morte, um livro, simbolizando que sua mente descanava sobre o conhecimento, foi colocado sob sua cabeça.
+ 
+Nadar; Pacheco & Filho. Pedro II, Imperador do Brasil, 1891. Paris, França / Acervo FBN
+ 
+Ao final da tarde do dia 5, centenas de coroas de flores, uma delas enviada pela rainha Vitória , e mais de cinco mil telegramas já haviam chegado ao Hotel Bedford. O caixão foi coberto pela bandeira imperial e o presidente francês, Sadi Carnot (1837 – 1894), determinou honras militares, fatos que irritaram o governo brasileiro.
+Segundo o historiador José Murilo de Carvalho, a morte do imperador teve grande repercussão no Brasil “apesar dos esforços do governo para a abafar. Houve manifestações de pesar em todo o país: comércio fechado, bandeiras a meio pau, toques de finados, tarjas pretas nas roupas, ofícios religiosos“.
+Ao final da tarde do dia 5, centenas de coroas de flores, uma delas enviada pela rainha Vitória, e mais de cinco mil telegramas já haviam chegado ao Hotel Bedford. O caixão foi coberto pela bandeira imperial e o presidente francês, Sadi Carnot (1837 – 1894), determinou honras militares, fatos que irritaram o governo brasileiro. Na noite do dia 8, seu corpo, já embalsamado, foi levado, em cortejo oficial no mesmo carro usado nos funerais do ex-presidente Adolphe Thiers (1797 – 1877), para a igreja da Madeleine. No dia seguinte,  houve exéquias solenes com a presença de autoridades francesas e de outros países, além de personalidades como sua filha, a princesa Isabel; o escritor português Eça de Queirós (1845 – 1900) e o diplomata Joaquim Nabuco (1849 – 1910), na época correspondente do Jornal do Brasil na França, que escreveu:
+“Mais do que isso, infinitamente, D. Pedro II preferia ser enterrado entre nós, e por certo que o tocante simbolismo de fazerem o seu corpo descansar no ataúde sobre uma camada de terra do Brasil interpreta o seu mais ardente desejo. Ao brilhante cortejo de Paris ele teria preferido o modesto acompanhamento dos mais obscuros de seus patrícios, e daria bem a presença de um dos primeiros exércitos do mundo em troca de alguns soldados e marinheiros que lhe recordassem as gloriosas campanhas nas quais seu coração se enchera de todas as emoções nacionais. Mas foi a sua sorte morrer longe da Pátria. É uma consolação, para todos os brasileiros que veneram o seu nome, ver que ele, na sua posição de banido, recebeu da gloriosa nação francesa as supremas honras que ela pode tributar. No dia de hoje o coração brasileiro pulsa no peito da França.”
+Jornal do Brasil, 9 de dezembro de 1891, terceira coluna
+Da igreja partiu um imenso cortejo – calcula-se que cerca de 200 mil pessoas o acompanhou – e, ao som da Marcha Fúnebre de Frédéric Chopin (1810 – 1849), o corpo foi levado para a estação de Austerlitz, seguindo de trem para Portugal. No dia 12, foram realizados os funerais em São Vicente de Fora, nos arredores de Lisboa. O corpo de dom Pedro II foi colocado no jazigo da família Bragança, entre o de sua esposa, Teresa Cristina (1822 – 1889), e de sua madrasta, dona Amélia de Leuchtenberg (1812 – 1873).
+ 
+Os funerais do imperador do Brasil / Le Petit Journal, 26 de dezembro de 1891
+ 
+No New York Times, de 5 de dezembro, vários elogios foram feitos a dom Pedro II: havia sido o mais ilustrado monarca do século e havia tornado o Brasil tão livre quanto uma monarquia pode ser. A imprensa brasileira também manifestou-se, em sua maioria, elogiosamente a ele. A exceção foi o Diário de Notícias, e alguns clubes republicanos que protestaram contra as homenagens, vendo nelas, segundo o historiador José Murilo de Carvalho, “manobras monarquistas. Foram vozes isoladas“.
+Mesmo os republicanos como Quintino Bocaiuva (1836 – 1912) e José Veríssimo (1857 – 1916), seus adversários políticos, salientaram suas qualidades, dentre elas a simplicidade, o patriotismo, o espírito de justiça e liberdade.
+Sobre Pedro II, Quintino Bocaiuva declarou: “A república, que na hora do seu trinfo foi magnânima; hoje, no momento em que desaparece dentre os vivos o Sr. D. Pedro de Alcântara, só pode ter e só deve ter para com a sua memórioa o respeito devido a um brasileiro ilstre que, ao menos pelo seu carater e virtudes pessoais, não desonrou o Brasil e desempenhou, como pode, ou como soube, com boa intenção e ânimo reto, as altas funções de que foi investido como chefe supremo da nação brasileira ” (O Paiz, 6 de dezembro de 1891, penúltima coluna).
+Segundo Veríssimo em sua coluna “Às Segundas-feiras”, intitulada Pedro II, durante o governo do monarca: “Todos pensávamos como queríamos e dizíamos o que pensávamos. Eu não sei que maior elogio se possa fazer a um estadista” (Jornal do Brasil, 8 de dezembro de 1891, última coluna).
+1920 – O projeto do deputado mineiro Francisco Valadares (18? – 1933) requerendo a revogação do banimento da família imperial do Brasil, que havia sido apresentado em dezembro de 1919 e arquivado, recebeu em 1920 um parecer favorável da Comissão de Constituição e Justiça e foi rapidamente aprovado no Congresso. Em 3 de setembro de 1920, no Palácio do Catete, o presidente Epitácio Pessoa (1865 – 1942) assinou, com uma caneta de ouro adquirida a partir da arrecadação de dinheiro mediante subscrição pública promovida pelo jornal A Rua, o decreto que revogava o banimento da família imperial. A cerimônia foi realizada com a presença de comissões de instituições importantes como o Instituto Histórico Geográfico Brasileiro, a Academia Brasileira de Letras e a Associação Brasileira de Imprensa. O decreto também autorizava o Poder Executivo, mediante concordância da família do ex-imperador e do governo de Portugal, a trasladar para o Brasil os despojos mortais de dom Pedro II e de dona Teresa Christina (A Rua, 4 de setembro de 1920, primeira coluna).
+1921 - Chegaram no Rio de Janeiro os corpos de dom Pedro II e de dona Teresa Cristina, que estavam no Mosteiro de São Vicente de Fora, em Lisboa. Viajaram no encouraçado São Paulo, que havia transportado do Brasil à Europa os reis da Bélgica. O conde d´Eu (1842 – 1922), seu filho, o príncipe Dom Pedro (1875 – 1940), e o barão de Muritiba (1839 – 1922) acompanharam a viagem dos despojos (O Paiz, de 9 de janeiro de 1921; Careta, 15 de janeiro de 1921). A princesa Isabel não chegou a se beneficiar da revogação do banimento da família real do Brasil porque faleceu em 14 de novembro de 1921. Os corpos de dom Pedro II e de dona Teresa Cristina ficaram na Catedral Metropolitana.
+ 
+“A reprodução que damos aqui da veneranda figura do antigo monarca é histórica, por ser a última fotografia de Pedro II, no exílio. (Da preciosa pertencente à  coleção da Ex.ma Sra Baronesa de Loreto”  / Capa da Fon-Fon, 8 de janeiro de 1921
+ 
+Careta, 15 de janeiro de 1921
+ 
+1925 – Os  restos mortais dos monarcas foram para a Catedral de Petrópolis.
+Foi publicada em O Jornal, primeiro órgão de comunicação dos Diários Associados, uma edição comemorativa pelo centenário de nascimento de d. Pedro II, com um artigo escrito pelo proprietário do grupo, Assis Chateaubriand, intitulado “Professor de elites – A obra mais interessante de Pedro II consistiu na formação das elites no Brasil” (O Jornal, 2 de dezembro de 1925).
+1939 – Em 5 de dezembro, foram para o Mausoléu Imperial, uma capela localizada à direita da entrada da Catedral de Petrópolis, numa cerimônia na qual estava presente o presidente da República, Getulio Vargas (1882 – 1954). O túmulo foi esculpido em mármore de Carrara pelo francês Jean Magrou (1869 – 1945) e pelo brasileiro Hildegardo Leão Veloso (1899 – 1966) (Jornal do Brasil, de 6 de dezembro de 1939).
+Para a elaboração dessa cronologia, além da pesquisa em inúmeros jornais da Hemeroteca da Biblioteca Nacional, a Brasiliana Fotográfica também se valeu, principalmente, dos livros Pedro II: ser ou não ser, de José Murilo de Carvalho, e As barbas do Imperador: D. Pedro II, um monarca nos trópicos, de Lilia Moritz Schwarcz.
+ 
+Andrea C. T. Wanderley
+Editora-assistente e pesquisadora do portal Brasiliana Fotográfica
+ 
+*Esse artigo foi atualizado em 17 de setembro de 2020.
+**Essa data foi modificada em 27 de outubro de 2020, baseada no documento original enviado para a pesquisadora Andrea Wanderley pelo bisneto do fotógrafo, Luiz Pitombo.
+ 
+Fontes:
+BARMAN, Roderick J. Imperador cidadão: e a Construção do Brasil. São Paulo : Editora UNESP, 2012.
+BESOUCHET, Lídia. Exílio e morte do Imperador. Rio de Janeiro: Editora Nova Fronteira, 1975
+CARVALHO, José Murilo. Pedro II: ser ou não ser. São Paulo: Companhia das Letras, 2007.
+DIAS, Fabiana Rodrigues. Polifonia e consenso nas páginas da Revista do IHGB: a questão da mão de obra no processo de consolidação na nação, na revista História da Historiografia, de setembro de 2010.
+FLETCHER, James Cooley ; KIDDER, Daniel Parrish. O Brasil e os brasileiros. Brasil: Companhia Editora Nacional, 1941.
+HARING, Bertita. O Trono do Amazonas – a história dos Braganças no Brasil – José Olympio, RJ, 1944.
+Hemeroteca Digital da Biblioteca Nacional
+KHATLAB, Roberto. As viagens de D. Pedro II: Oriente médio e áfrica do norte, 1871 e 1876. São Paulo : Benvirá, 2015.
+PAGANO, Sebastião. Eduardo Prado e Sua Época – O Cetro, SP, 1960.
+REZUTTI, Paulo. D. Pedro II – A história não contada: O último imperador do Novo Mundo revelado por cartas e documentos inéditos. Portugal : Editora Leya, 2019.
+SCHWARCZ, Lilia Moritz. As barbas do Imperador: D. Pedro II, um monarca nos trópicos. São Paulo: Companhia das Letras, 1998.
+SEGALLA, Lygia: Victor Frond – Luzes sobre um Brasil pitoresco, 2007.
+SILVA, Mauro Costa; MOREIRA, Ildeu de Castro. A introdução da telegrafia elétrica no Brasil (1852-1870), publicado na Revista da SBHC, Rio de Janeiro, v. 5, n. 1, p. 47-62, jan | jul 2007
+Site Câmara dos Deputados
+Site Ministério das Relações Exteriores
+Site Museu Imperial
+Site MultiRio
+VASQUEZ, Pedro Karp. O Brasil na fotografia oitocentista. São Paulo: Metalivros, 2003.
+VASQUEZ, Pedro Karp. Dom Pedro II e a fotografia no Brasil. Rio de Janeiro: Fundação Roberto Marinho, 1985.
+WILLIAMS, Mary Wilhelmine. Dom Pedro the Magnanimous – the second emperor of Brazil. Oxon, Inglaterra: Frank Cass & Company Limited, 1966.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/1794` — `itens/20.500.12156.1_1794/`
+- `20.500.12156.1/2944` — `itens/20.500.12156.1_2944/`
+- `20.500.12156.1/2951` — `itens/20.500.12156.1_2951/`
+
diff --git a/wordpress/30997-cronologia-de-nicola-maria-parente-1847-1911.md b/wordpress/30997-cronologia-de-nicola-maria-parente-1847-1911.md
new file mode 100644
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--- /dev/null
+++ b/wordpress/30997-cronologia-de-nicola-maria-parente-1847-1911.md
@@ -0,0 +1,79 @@
+---
+id: 30997
+url: "https://brasilianafotografica.bn.gov.br/?p=30997"
+titulo: "Cronologia de Nicola Maria Parente (1847 – 1911)"
+autor: "Andrea Wanderley"
+data: "2023-02-21T09:19:14+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: []
+fetched_at: "2026-09-10T10:13:21.720Z"
+---
+
+# Cronologia de Nicola Maria Parente (1847 – 1911)
+
+Cronologia de Nicola Maria Parente (1847 – 1911) 
+ 
+Nicola Maria Parente / História da Fotografia no Ceará no século XIX, pág 342
+ 
+1847 –  Nicola Maria Parente nasceu em Marsico Nuovo, província de Potenza, na região de Basilicata, em 13 de março, filho de Giovannantonio Parente e Maria Carmela Perci  (Site Cápsula do Tempo).
+1865 – Provável ano de sua chegada ao Brasil com, segundo relatos de parentes, seu irmão Carmino, seus primos João, Georgina e Luigi; e com sua esposa Carolina Rotunda e seus filhos Galileu e Margarida. Durante a viagem, Carolina teve um filho, Garibaldi, e teria falecido logo depois do parto.
+No Porto de Santos, Nicola teria conhecido  a italiana Giusephina Calliari, que viajava com dois filhos, Marcella e Giulio. Casaram-se e, posteriormente, tiveram uma filha, Carmelita. Quanto à nacionalidade dos filhos há uma divergência ainda não resolvida pela pesquisa da vida de Nicola: no anúncio de sua morte é dito que todos nasceram no Brasil. Há informações de que teria se estabelecido em Taquari, no Rio Grande do Sul, com sua família.
+1871 – Chegou no Rio de Janeiro, no vapor italiano Expresso, que veio da Europa. Do Rio de Janeiro, seguiu para a Bahia no paquete Cruzeiro do Sul (Diário do Rio de Janeiro, 26 de março de 1871, quarta coluna; Diário do Rio de Janeiro, 15 de abril de 1871, primeira coluna).
+1886 - Já possuia a Photographia Vesúvio, na rua d´Areia, 73, em João Pessoa, na capital da Paraíba.
+1888 – Atuava como dentista em João Pessoa. Viajou para Pedras de Fogo, também na Paraíba; e para Goiana, em Pernambuco, mas retornaria à capital da Paraíba (Gazeta da Parahyba. 12 de outubro de 1888, última coluna).
+ 
+Gazeta da Parahyba. 12 de outubro de 1888
+ 
+1889 – Foi anunciado que ele iria para o sul do país. Na ocasião atuava na arte dentária e na fotografia (Gazeta da Parahyba, 12 de dezembro de 1889, última coluna).
+ 
+Gazeta da Parahyba, 12 de dezembro de 1889
+ 
+1895 - Na cidade de Goiana, em Pernambuco, fundou a Photograhia Ítalo-Brasileira, na rua Conde d´Eu, onde oferecia seus serviços como fotógrafo e também como protético.
+1896 – Já de volta à Paraíba, agradeceu às pessoas que estiveram presentes ao enterro de Francisco Jorge da S. Parente e convidou para a missa de sétimo dia (A União (PB), 19 de setembro de 1896, terceira coluna).
+Agradeceu às pessoas que estiveram presentes ao enterro de Anna Isabel do Sacramento e convidou para a missa de sétimo dia (A União (PB), 27 de setembro de 1896, segunda coluna).
+Em novembro, estava no Recife, da onde seguiu para a Paraíba, no vapor Maranhão (Jornal de Recife, 4 de novembro de 1896, terceira coluna).
+Viajou à Europa e, na França, adquiriu o cinematógrafo, inventado pelos irmãos Lumière, cuja primeira exibição pública aconteceu em Paris, em 28 de dezembro de 1895.
+1897 – Foi o responsável pela apresentação ao paraibanos do cinematógrafo durante a Festa das Neves, que homenageia a padroeira da cidade, Nossa Senhora das Neves (A União (PB), 5 de agosto de 1897, penúltima coluna; e 8 de agosto de 1897, última coluna; A Notícia, 9 de agosto de 1897, segunda coluna; A República (CE), 20 de setembro de 1897, terceira coluna).
+Em frente à Photographia Vesúvio, na rua Nova, nº 2, foi colocado um grande cartaz com frases em francês anunciando o espetáculo. Segundo anotações do fotógrafo, cineasta, diretor e pesquisador paraibano Walfredo Rodriguez (1893 – 1973), em seu Roteiro Sentimental de uma Cidade, que estava presente ao acontecimento:
+“O autor destas desativadas evocações, recorda-se, ainda, envoltas em névoas das imagens remotas, das fitas ali exibidas, numa Festa das Neves de 1897 – “Chegada de um Trem a Gare de Lion”, Um macaco pulando um arco” e “Crianças jogando bolas de neve em Biarritz”.
+ 
+A União (PB), 5 de agosto de 1897
+ 
+A União (PB), 8 de agosto de 1897
+ 
+Esteve em Belém, apresentando o cinematógrafo.
+Em novembro, apresentou o invento em Fortaleza, no Ceará (A República, 20 de novembro de 1897, quarta coluna).
+ 
+A República (CE), 20 de novembro de 1897
+ 
+1898 – A Photographia Vesúvio foi anunciada pelo filho de Nicola, Garibaldi (A União (PB), 15 de junho de 1898).
+ 
+A União (PB), 15 de junho de 1898
+ 
+O consultório dentário de Nocola ficava na rua General Osório, 2 (antiga rua Nova), mesmo local da Photographia Vesúvio, em João Pessoa.
+ 
+Almanak do Estado Paraíba, 1899
+ 
+Em abril, Nicola esteve em Natal, onde apresentou o cinematógrafo na rua do Comércio (A República, 19 de abril de 1898):
+“Sábado à noite o Sr. Nicolau Parente fez uma excelente exibição do cinematógrafo – mais uma das grandes aplicações da eletricidade, devida ao grande gênio de Edison. O trabalho agradou bastante e é uma das melhores diversões que temos gozado nesta capital”.
+Entre julho e outubro, Nicola esteve na Bahia apresentando o cinematógrafo, na rua Carlos Gomes, nº 26 (Jornal de Notícias (BA), 8 de julho de 1898, terceira coluna).
+ 
+Jornal de Notícias (BA), 8 de julho de 1898
+ 
+Em novembro, esteve em Bragança (SP) com o cinematógrafo.
+1899 – Em Campinas, exibição regular de sessões de cinema organizadas por Nicola no Cine Teatro Rink.
+ 
+Propaganda veiculada em 6 de dezembro de 1899 / A cidade: os cantos e os antros : Campinas, 1850-1900, página 31.
+ 
+Transferiu-se para Abaeté, atual Abaetetuba, no Pará, onde criou o estabelecimento comercial Casa Italiana, da firma Nicola Parente & Filhos. Também colaborou com o Jornal da Mata.
+1900 – Esteve apresentando o cinematógrafo em Manaus e também em Belém.
+Segundo seu bisneto, o jornalista Pedro Parente, viajou para a Europa como convidado especial dos irmãos Lumière para a Exposição Universal de Paris.
+1911 – Em 19 de maio, faleceu, vítima da explosão de um novo aparelho gerador de gás oxigênio que pretendia inventar em seu laboratório em Abaeté. De acordo com a notícia veiculada pelo Estado do Pará, era sócio de seu filho Garibaldi na firma comercial Parente & Cia.  Seu outro filho, Galileu, era jornalista, poeta e fotógrafo. Como já mencionado, tinha também duas filhas, Margarida e Carmelita. Foi identificado como muito estimado, honesto e caridoso (Estado do Pará, 29 de maio de 1911, última coluna).
+ 
+Estado do Pará, 29 de maio de 1911
+ 
+História da Fotografia no Ceará no século XIX
+ 
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
diff --git a/wordpress/31002-santuario-de-cristo-redentor-e-outras-fotos-do-morro-da-favela-atual-morro-da-pr.md b/wordpress/31002-santuario-de-cristo-redentor-e-outras-fotos-do-morro-da-favela-atual-morro-da-pr.md
new file mode 100644
index 0000000..a0ff49f
--- /dev/null
+++ b/wordpress/31002-santuario-de-cristo-redentor-e-outras-fotos-do-morro-da-favela-atual-morro-da-pr.md
@@ -0,0 +1,65 @@
+---
+id: 31002
+url: "https://brasilianafotografica.bn.gov.br/?p=31002"
+titulo: "Santuário de Cristo Redentor e outras fotos do Morro da Favela, atual Morro da Providência"
+autor: "Andrea Wanderley"
+data: "2025-11-04T10:07:18+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/3153", "20.500.12156.1/12765", "20.500.12156.1/4566", "20.500.12156.1/9359"]
+fetched_at: "2026-09-10T10:13:24.697Z"
+---
+
+# Santuário de Cristo Redentor e outras fotos do Morro da Favela, atual Morro da Providência
+
+Com a publicação de uma fotografia de autoria de Augusto Malta (1864 – 1957) do Santuário de Cristo Redentor no Morro da Favela, atual Morro da Providência, e de vistas deste mesmo morro produzidas também por Malta, por Jorge Kfuri (1893 – 1965) e pela Escola de Aviação Militar, celebramos o Dia da Favela, comemorado hoje, 4 de novembro, porque foi nesta data que, em 1900, o termo apareceu pela primeira vez em um documento público, quando o delegado da 10º Circunscrição e chefe da Polícia do Rio de Janeiro, Enéas Galvão, se referiu ao Morro da Providência, no bairro da Gamboa, no Rio de Janeiro, como favela. As imagens pertencem à Fundação Biblioteca Nacional e ao Instituto Moreira Salles, as instituições fundadoras da Brasiliana Fotográfica; ao Museu Aeroespacial e à Diretoria do Patrimônio Histórico e Documentação da Marinha, instituições parceiras do portal.
+ 
+Augusto Malta. [Santuário de Cristo Redentor (ainda existente) no Morro da Favela, atual Morro da Providência], s/d. Rio de Janeiro, RJ / Acervo FBN
+“…Todavia, a favela é também lugar de cultura e força simbólica positiva. Nela o povo negro construiu suas raízes junto com a história do Rio de Janeiro. A cultura do samba, do funk, da culinária afro, da moda, do passinho e tantas outras representações marcantes que são produto simbólico da favela no Brasil e no mundo. Neste sentido, faz-se premente nosso estado se alinhar a ações oficiais de homenagem, mobilização e conscientização por tudo que a favela tem a dizer e a mostrar”….Tal referência se inscreve na iniciativa de tomar a favela e seus habitantes em uma conotação positiva: não mais como um território estigmatizado, mas sim como um lugar de sociabilidades e produção de uma herança cultural”…
+Trechos do Projeto de Lei 2019/2023 que adicionou ao Calendário Oficial do Estado do Rio de Janeiro o Dia Estadual da Favela
+ 
+Em 2006, Celso Athayde (1963-), fundador da Central Única das Favelas (CUFA), teve a ideia de instituir o dia 4 de novembro como o Dia da Favela, projeto que foi oficializado pela Lei Municipal nº 4.383, de 28 de junho de 2006, no Rio de Janeiro. Desde o referido ano, a CUFA realiza ações no sentido de ressignificação do conceito de favela, tirando a potência desses territórios da invisibilidade. Outro estados também realizam atividades para visibilizar as favelas como fontes de criatividade, força e resiliência.
+ 
+Celso Athayde 
+ 
+“Quando, em 2006, propus a criação deste dia, não pensei em celebrar a carência, nem as faltas que só quem vive nas favelas conhece de verdade. Minha ideia foi estabelecer uma data para que, todos os anos, pudéssemos olhar para as necessidades como oportunidades de avançar e mostrar à sociedade e ao poder público que as favelas são formadas por pessoas. Pessoas que consomem, criam, empreendem e realizam”, relembra Celso Athayde, CEO da Favela Holding e fundador da CUFA.
+ 
+Escola de Aviação Militar. Vista Aérea do Morro da Providência – Rio de Janeiro, 22 de dezembro de 1938. Rio de Janeiro, RJ / Acervo Museu Aeroespacial
+ 
+No estado do Rio de Janeiro, o Dia da Favela é lei, desde 2019. Na capital paulista, a data havia entrado para o calendário oficial, alguns anos antes, em 2015.
+ 
+Jorge Kfuri, O Bairro do Santo Cristo e o Morro da Providência, s/d. Rio de Janeiro, RJ / Acervo DPHDM
+ 
+O Morro da Providência, no Rio de Janeiro, começou a ser ocupado no fim do século XIX, numa região já desvalorizada, perto de um cemitério, do porto e da linha férrea. A área já contava com diversos cortiços, que cresciam devido às leis que libertaram os filhos de escravizados e, depois, os próprios escravizados. Além disso, soldados egressos da Guerra de Canudos (1896-1897) não receberam o pagamento esperado pela vitória e começaram construir moradias no local, dando origem ao “Morro da Favela” – primeiro nome da comunidade, atribuído a um morro da região de Canudos, na Bahia, onde crescia uma planta chamada faveleira.
+ 
+Augusto Malta. Morro da Providência, c. 1920. Rio de Janeiro, RJ / Acervo IMS
+ 
+Segundo o Censo Demográfico 2022: Favelas e Comunidades Urbanas: Resultados do universo, divulgado, em 8 de novembro de 2024, pelo Instituto Brasileiro de Geografia e Estatística (IBGE), uma das instituições parceiras da Brasiliana Fotográfica, existiam, em 2022, no Brasil, 12.348 favelas e comunidades urbanas, onde viviam 16.390.815 pessoas, o que equivalia a 8,1% da população do país, tudo isso distribuído em 656 municípios. O Estado de São Paulo apresentava 3.123 favelas e comunidades urbanas, sendo a Unidade da Federação com o maior número desses recortes territoriais no Brasil, representando 25,3% do total. O Rio de Janeiro foi o segundo Estado no ranking, com 1.724 favelas e comunidades urbanas em seu território, significando 14,0% do total.
+ 
+Andrea C.T. Wanderley
+Editora e pesquisadora da Brasiliana Fotográfica
+ 
+Fontes:
+Agência Brasil
+Agência IBGE
+Arquivo Nacional
+Censo Demográfico 2022 : favelas e comunidades urbanas : resultados do universo / IBGE
+Exame
+Extra, 4 de novembro de 2022
+Site Câmara Municipal do Rio de Janeiro
+Site CNN Brasil
+
+Site Dia da Favela
+
+Site ExpoFavela
+
+Site Observatório de Favelas
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/3153` — `itens/20.500.12156.1_3153/`
+- `20.500.12156.1/12765` — `itens/20.500.12156.1_12765/`
+- `20.500.12156.1/4566` — `itens/20.500.12156.1_4566/`
+- `20.500.12156.1/9359` — `itens/20.500.12156.1_9359/`
+
diff --git a/wordpress/31026-o-dia-do-advogado-e-a-criacao-das-faculdades-de-direito-de-sao-paulo-e-do-recife.md b/wordpress/31026-o-dia-do-advogado-e-a-criacao-das-faculdades-de-direito-de-sao-paulo-e-do-recife.md
new file mode 100644
index 0000000..68df3ba
--- /dev/null
+++ b/wordpress/31026-o-dia-do-advogado-e-a-criacao-das-faculdades-de-direito-de-sao-paulo-e-do-recife.md
@@ -0,0 +1,107 @@
+---
+id: 31026
+url: "https://brasilianafotografica.bn.gov.br/?p=31026"
+titulo: "O Dia do Advogado e a criação das Faculdades de Direito de São Paulo e do Recife"
+autor: "Andrea Wanderley"
+data: "2023-08-11T00:16:45+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/1908", "20.500.12156.1/4199", "20.500.12156.1/11475"]
+fetched_at: "2026-09-10T10:13:27.933Z"
+---
+
+# O Dia do Advogado e a criação das Faculdades de Direito de São Paulo e do Recife
+
+O Dia do Advogado (1) é celebrado no dia da criação das duas primeiras faculdades de Direito do Brasil que, além de serem cursos jurídicos, foram também escolas de pensamento onde ideias em torno de temas como o abolicionismo, o conservadorismo e o republicanismo, por exemplo, eram discutidas. Até a década de 1930 o pensamento antropológico, jurídico, histórico, sociológico e a crítica cultural e política era derivada, no Brasil, principamente, dos bacharéis em Direito.
+ 
+Militão Augusto de Azevedo. Álbum comparativo da cidade de São Paulo – Academia de Direito , 1887. São Paulo, SP / Acervo IMS
+ 
+Em 11 de agosto de 1827, por iniciativa do então ministro da Justiça do Império, o santista José Feliciano Fernandes Pinheiro (1774 – 1847, o visconde de São Leopoldo, foram  criados os “Cursos de Sciencias Jurídicas e Sociaes” por Decreto Imperial de dom Pedro I (1798 – 1834). São as Faculdade de Direito de São Paulo, primeira instituição a integrar a Universidade de São Paulo no momento de sua criação, em 1934, a atual a atual Faculdade de Direito da Universidade de São Paulo (FDUSP), também conhecida por Faculdade de Direito do Largo de São Francisco; e a Faculdade de Olinda, transferida, em 1854, para Recife, a atual Faculdade de Direito do Recife da Universidade Federal de Pernambuco.
+ 
+Visconde de São Leopoldo retratado por Félix Émile Taunay
+ 
+Foram criadas em decorrência da proclamação da independência do Brasil, em 7 de setembro de 1822. As leis vigentes eram até então as leis portuguesas. Com o novo status, o país precisava desenvolver novas leis e ter profissionais que as estudassem.
+Registros da Faculdade de Direito da Universidade de São Paulo foram produzidos pelo fotógrafo carioca Militão Augusto de Azeredo (1837 – 1905) e por Frédéric Manoel (18? – ?), e pertencem,  respectivamente, aos acervos fotográficos do Instituto Moreira Salles e da Biblioteca Nacional, fundadoras da Brasiliana Fotográfica. A imagem da Faculdade de Direito, em Pernambuco, foi realizada pelo fotógrafo amador pernambucano Henrique Martins (1864 – 1933) e pertence à Fundação Joaquim Nabuco, parceira do portal.
+Militão e Henrique Martins já foram temas de artigos publicados na Brasiliana Fotográfica. Militão foi um dos precursores da documentação da cidade de São Paulo. O Álbum comparativo da cidade de São Paulo 1862-1887, sua obra-prima, foi o primeiro realizado com o objetivo de mostrar as mudanças ocorridas na capital paulista, devido ao progresso. A fotografia da Academia de São Paulo integra este álbum. O trabalho de Militão Augusto de Azevedo é precioso para o estudo da sociedade e da cidade de São Paulo no século XIX, uma referência para historiadores, fotógrafos e estudiosos. Henrique Martins (1864 – 1933) foi um fotógrafo amador com atuação em Pernambuco nas primeiras décadas do século XX, sendo encontradas menções aos seus trabalhos, na imprensa recifense, a partir de 1903.
+ 
+A Faculdade de Direito de São Paulo
+ 
+Frédéric Manoel. Largo de São-Francisco : [Faculdade de Direito e Igreja de São Francisco], 1906. São Paulo, SP / Acervo FBN
+A abertura do curso jurídico de São Paulo aconteceu em março de 1828 com o discurso do português naturalizado brasileiro José Maria de Avellar Brotero (1798 – 1873), primeiro professor da faculdade de direito em São Paulo, que lecionou direito natural, direito público, análise da constituição do império, direito das gentes, diplomacia, e a partir do segundo ano, direito eclesiástico (O Farol Paulistano, 8 de março de 1828).
+ 
+José Maria de Avelar Brotero
+ 
+A inauguração e as primeiras aulas aconteceram na antiga sacristia do convento dos Franciscanos que, em 8 de novembro do mesmo ano, entregaram voluntariamente todo o convento.
+ 
+O Farol Paulistano, 27 de fevereiro de 1828
+ 
+Seu primeiro diretor, que ocupou o cargo até 23 de agosto de 1833, foi o tenente-general José Arouche de Toledo Rendon (1756 – 1834), que cedeu seus vencimentos à Santa Casa de Misericórdia de São Paulo.
+ 
+Retrato de Marechal Arouche por Tarsila do Amaral, 1946 / Acervo do Museu Paulista da USP
+ 
+Assinaturas dos diretores da Faculdade de Direito de São Paulo de 1827 a 1905 / São Paulo Antigo e São Paulo Moderno
+ 
+A criação da Faculdade de Direito, que preparava burocratas e políticos para participar na vida pública do país, tornou a cidade de São Paulo em um centro da vida intelectual nacional, uma cidade acadêmica.
+
+Da esquerda para a direita: primeiro estandarte, estandarte em 1905 e estandarte do Antigo Curso Anexo / São Paulo Antigo e São Paulo Moderno
+ 
+
+“Da Faculdade de Direito do Largo de São Francisco partiram os principais movimentos políticos da História do Brasil, conduzidos por seus estudantes ou egressos, desde o Abolicionismo de Joaquim Nabuco, Pimenta Bueno e Perdigão Malheiro e do Movimento Republicano de Prudente de Moraes, Campos Salles e Bernardino de Campos até a mais recente campanha das Diretas Já!, com Ulysses Guimarães e André Franco Montoro. Ao longo do tempo, dela emergiram presidentes da República, governadores, prefeitos e outras incontáveis autoridades e representantes da Advocacia e da Cidadania.
+ 
+
+Na fervilhante vida cultural que a Faculdade de Direito introduziu na pequena São Paulo do Século XIX, foi também gestado um sem-número de periódicos, peças teatrais, obras literárias e poéticas, que representam fundamentos da vida intelectual nacional, condensados nas figuras de Álvares de Azevedo, Castro Alves e Fagundes Varella, poetas românticos cujos nomes, gravados em placas de mármore, encimam o portal de entrada da Faculdade”.
+
+Portal da Faculdade de Direito da USP
+
+ 
+Brasão da Faculdade de Direito de São Paulo. Ao fundo estão as arcadas do pátio do campus histórico. Sobre elas, um livro representando as 12 Tábuas, primeira codificação do Direito Romano; uma espada, representando a função jurisdicional do Estado; e uma balança em equilíbrio, representando a Justiça como finalidade da atividade jurídica / Wikipedia
+ 
+O convento que sediou a Faculdade de Direito foi construído por volta do ano de 1647 e sofreu um incêndio criminoso, em 1880. Foi remodelado em 1886. O prédio passou por uma grande reforma, na década de 1930, sendo mantida a arquitetura dos arcos em seu pátio central, o relógio e a sepultura do alemão Julius Frank (1808 – 1841), que foi professor do Curso Anexo, preparatório para ingresso na faculdade. Frank foi também o fundador, na década de 1830, da Burschenschaft Paulista, a Bucha, uma sociedade secreta, liberal e filantrópica que que defendia ideias liberais e republicanas da Faculdade de Direito de São Paulo. Alguns de seus participantes mais ilustres foram o Barão de Rio Branco (1845 – 1912) e Rui Barbosa (1849 – 1923), além de diversos presidentes da República, dentre eles Afonso Pena (1847 – 1909) e Rodrigues Alves (1848 – 1919).
+Voltando à reforma do prédio. O projeto, representante da própria criação do estilo neocolonial no Brasil, foi do arquiteto e engenheiro português Ricardo Severo da Fonseca e Costa (1869-1940), sucessor de Francisco de Paula Ramos de Azevedo (1851 – 1928). Lembramos aqui que Ramos de Azevedo, o grande construtor de São Paulo entre a virada do século XIX e as primeiras décadas do século XX, teve diversas de suas obras registradas pelo fotógrafo austríaco Otto Rudolf Quaas (c. 1862 – c. 1930).
+A trova mais conhecida dos alunos da faculdade é do sergipano Tobias Barreto de Menezes (1839-1889), jurista formado na Faculdade de Recife, e está gravada no Monumento Constitucionalista de 1932, que se encontra no Pateo das Arcadas:
+“…quando se sente bater, no peito heroica pancada, deixa-se a folha dobrada, enquanto se vai morrer…”
+ 
+Monumento Constitucionalista de 1932 / Arcadas.org.br
+ 
+A Faculdade de Direito do Recife
+ 
+Henrique Martins. Facudade de Direito, c. 1914. Recife, Pernambuco / Acervo Fundação Joaquim Nabuco
+ 
+O Curso Jurídico de Olinda originou a Faculdade de Direito do Recife e foi instalado no dia 15 de maio de 1828, no mosteiro de São Bento, funcionando em dependências cedidas pelos monges beneditinos. Quando foi inaugurado aconteceu uma grande solenidade com a presença de autoridades eclesiásicas e civis e a celebração de um Te-Deum em ação de graças. Olinda ficou iluminada durante três dias (Diário de Pernambuco, 31 de maio de 1828). As aulas começaram poucas semanas depois, em 2 de junho. A primeira turma tinha 41 alunos de diferentes estados do Brasil e também de Angola e Portugal. Formaram-se bacharéis em 1832 (Diário de Pernambuco, 2 de setembro de 1832, segunda coluna).
+Em 1852, o Curso foi transferido do mosteiro de São Bento para o palácio dos antigos governadores,no alto da Ladeira do Varadouro, em Olinda, que ficou conhecido pelo nome de Academia. Dois anos depois, transferiu-se para o Recife, onde ocupou um casarão na rua do Hospício. Pela inadequação do local, foi apelidado de Pardieiro. Finalmente, em 1912, mudou-se para a Praça Dr. Adolfo Cirne, no bairro da Boavista, onde funciona até hoje. O prédio foi projetado pelo arquiteto francês Gustave Varin (1865 – 1919) e foi construído por José de Almeida Pernambuco. Localiza-se no centro de uma area ajardinada e ocupa uma área de 3.600 metros. Sua pedra fundamental havia sido lançada, em 19 de agosto de 1889, pelo Conde d’Eu (1842 – 1922) (Diário de Pernambuco, 20 de agosto de 1889, penúltima coluna; Jornal de Recife, 21 de agosto de 1889, quarta coluna), e sua construção foi concluída em 1911, ano em que, em 11 de dezembro de 1911, o edifício foi inaugurado. É tombado pelo Instituto do Patrimônio Histórico e Artístico Nacional (IPHAN) e foi inscrito, em 06 agosto de 1980, no Livro do Tombo Histórico. Além de ser um centro de formação de bacharéis, sempre atuou como uma escola de Filosofia, Ciências e Letras, tornando-se célebre pelas discussões e polêmicas que empolgavam a sociedade da época. 
+“Nela nasceu e floresceu o movimento intelectual poético, crítico, filosófico, sociológico e jurídico conhecido como a Escola do Recife, também chamada de “Geração de 1871”, com grande repercussão no Império entre os anos de 1860 e 1880, tendo por líder incontestável o jurista sergipano Tobias Barreto. O movimento se notabilizou pela crítica devastadora ao clericalismo e ao neoescolasticismo vigente nos estudos jurídicos da época, bem como pela introdução da doutrina alemã no pensamento nacional, pela divulgação da obras de autores germânicos até então inéditos na vida intelectual brasileira, como Rudolf Von Jhering”.
+Encontra Recife
+ 
+
+ 
+Alguns de seus ex-alunos notáveis foram: o Barão do Rio Branco, pai da diplomacia brasileira; Joaquim Nabuco, um dos líderes da abolição da escravatura; os ex-presidentes da República Epitácio Pessoa e Nilo Peçanha; os juristas Clóvis Bevilaqua, Tobias Barreto e Ruy Barbosa; o filólogo Aurélio Buarque de Holanda; o jornalista Assis Chateaubriand; os poetas Augusto dos Anjos, Castro Alves, Fagundes Varella, Guimarães Júnior, Carlos Pena Filho e Mauro Mota; os escritores Ariano Suassuna, Franklin Távora, José Lins do Rego e Raul Pompeia; o filósofo Raimundo de Farias Brito; o educador Paulo Freire, os governadores João Pessoa, Marco Maciel e Miguel Arraes; os ensaistas Graça Aranha e Sílvio Romero; o folclorista Câmara Cascudo; o historiador Capistrano de Abreu; o músico Capiba; o crítico literário Álvaro Lins; e o líder revolucionário Francisco Julião.
+Em 20 de junho de 1946, foi criada a Universidade do Recife e a Faculdade de Direito e a Faculdade de Medicina do Recife, a Escola de Engenharia de Pernambuco, a Escola de Belas-Artes de Pernambuco e a Escola de Filosofia do Recife passaram a integrá-la (Diário de Pernambuco, 22 de junho de 1946, segunda coluna). Em 1965, a Universidade do Recife se tornaria a Universidade Federal de Pernambuco.
+(1) Também é comemorado o Dia do Pendura.
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+Arcadas.org.br
+BEVILAQUA, Clovis. História da Faculdade de Direito do Recife. 2.ed. Brasília: INL; Conselho Federal de Cultura, 1977.
+FERNANDES, Cláudio. 11 de agosto – Dia do Advogado; Brasil Escola. Disponível em: https://brasilescola.uol.com.br/datas-comemorativas/dia-advogado.htm. Acesso em 28 de dezembro de 2022.
+Ipatrimônio
+PINTO FERREIRA, Luiz. História da Faculdade de Direito do Recife. Recife: UFPE, Ed. Universitária, 1980.
+Portal da Câmara dos Deputados
+Portal da Faculdade de Direito da USP
+Portal da Faculdade Federal de Pernambuco – Centro de Ciências Jurídicas
+São Paulo Antigo e São Paulo Moderno – 1554-1904. São Paulo : Editores Vanorden & Cia, 1905.
+Site Encontra Recife
+Site Fundação Joaquim Nabuco
+SiteInfoEnem
+Site Projuris
+VIOTTI, Dario Abranches. Conselheiro José Maria de Avellar Brotero. Revista da Faculdade de Direito da Universidade de São Paulo, 1974.
+Wikipedia
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/1908` — `itens/20.500.12156.1_1908/`
+- `20.500.12156.1/4199` — `itens/20.500.12156.1_4199/`
+- `20.500.12156.1/11475` — `itens/20.500.12156.1_11475/`
+
diff --git a/wordpress/31068-hanseniase-em-jacarepagua.md b/wordpress/31068-hanseniase-em-jacarepagua.md
new file mode 100644
index 0000000..acda964
--- /dev/null
+++ b/wordpress/31068-hanseniase-em-jacarepagua.md
@@ -0,0 +1,71 @@
+---
+id: 31068
+url: "https://brasilianafotografica.bn.gov.br/?p=31068"
+titulo: "Hanseníase em Jacarepaguá"
+autor: "Andrea Wanderley"
+data: "2023-01-13T09:22:41+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/11262", "20.500.12156.1/11256", "20.500.12156.1/11261", "20.500.12156.1/6209", "20.500.12156.1/8426", "20.500.12156.1/11252", "20.500.12156.1/11251", "20.500.12156.1/11254"]
+fetched_at: "2026-09-10T10:13:31.126Z"
+---
+
+# Hanseníase em Jacarepaguá
+
+Ricardo Augusto dos Santos, pesquisador da Casa de Oswaldo Cruz / Fiocruz, uma das instituições parceiras da Brasiliana Fotográfica, é o autor do artigo Hanseníase em Jacarepaguá, no qual nos conta um pouco da história do Hospital Colônia de Curupaiti, inaugurado, em 1928, em Jacarepaguá, na Zona Oeste do Rio de Janeiro. Lá os portadores da doença conhecida popularmente como lepra, que era considerada um castigo divino, viviam afastados da sociedade. Na época, essa era considerada uma medida de obstáculo à propagação da doença e também um tratamento. O isolamento compulsório foi abolido em meados dos anos 1980.
+ 
+Secção Feminina do Hospital Colônia de Curupaiti, s/d. Jacarepaguá, Rio de Janeiro / Acervo Casa de Oswaldo Cruz
+ 
+Hanseníase em Jacarepaguá
+Ricardo Augusto dos Santos*
+ A doença conhecida popularmente como lepra, era considerada um castigo divino. Temida pelas populações, a hanseníase não inspirava nenhuma solidariedade. A internação compulsória e o isolamento foram práticas obrigatórias durante décadas. Encarcerados em hospitais, os doentes eram separados de suas famílias e amigos; o afastamento social era considerado tratamento e obstáculo à propagação da doença.
+Durante o século XX, hospitais colônias espalharam-se pelo Brasil, segregando as pessoas contaminadas. Era característico destes espaços o longo período de internação, resultando em separação perpétua da vida social. Estigmatizados, milhares de enfermos passaram vidas inteiras nos leprosários. Assim, aqueles que porventura saíam das colônias de hansenianos tornavam-se eternamente excluídos da sociedade.
+ 
+Hospital Colônia de Curupait, s/d. Jacarepaguá, Rio de Janeiro / Acervo Casa de Oswaldo Cruz
+ 
+No Brasil, inúmeros fugiram da hospitalização, mas muitos permaneceram confinados. Alguns ficaram enclausurados por mais de 60 anos. Mesmo após o término do isolamento compulsório, abolido em meados dos anos 1980, os pacientes – por vários motivos – continuaram nesses hospitais.
+Neste texto, apresentamos imagens do Hospital Colônia de Curupaiti. A pedra fundamental foi lançada em 1922 e a inauguração ocorreu somente em 1928. Localizado em Jacarepaguá, bairro da zona oeste da cidade do Rio de Janeiro, seus prédios foram projetados para o isolamento obrigatório dos portadores de hanseníase.
+ 
+Acessando o link para as imagens do Hospital Colônia de Curupaiti disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Lavanderia e Caixa d’Agua do Hospital Colônia de Curupaiti, s/d. Jacarepaguá, Rio de Janeiro / Acervo Casa de Oswaldo Cruz
+ 
+Desde meados do século XIX, a cidade do Rio de Janeiro vinha passando por uma série de transformações urbanísticas. Habitações coletivas dos pobres, os cortiços foram sendo demolidos, levando os habitantes a viverem em favelas próximas ao centro da cidade ou em zonas suburbanas afastadas do núcleo citadino. Funcionários públicos, comerciantes e militares começaram a construir suas residências na zona sul, distante das “classes perigosas” e suas doenças. Procurava-se produzir uma cidade organizada de acordo com as ideias hegemônicas no pensamento médico e social.
+No auge das demolições dos velhos prédios coloniais, intelectuais, políticos e médicos pensavam a futura “Cidade Maravilhosa” como um corpo doente que necessitava ser alvo de intervenção sanitarista/urbanística.
+Tratar as doenças em locais distantes dos bairros populosos fazia parte de uma estratégia sanitária. Logo, diversos argumentos foram utilizados para implantar um determinado modelo de cuidado clínico. Ao retirar os doentes do convívio social, a ciência pretendia proteger os sãos e os doentes, impedindo a circulação das pessoas. Construídos como conjuntos independentes dentro das cidades, os hospitais de isolamento possuíam cinemas, lojas e espaços para recreação. Havia acomodações para solteiros e habitações para casais doentes sem dificuldades de locomoção.
+ 
+Internos do Hospital Colônia de Curupaiti, s/d. Jacarepaguá, Rio de Janeiro / Acervo Casa de Oswaldo Cruz
+ 
+No Rio de Janeiro, Jacarepaguá, situado na zona rural do município e cercado por fazendas produtoras de alimentos, foi o local escolhido para a criação dos hospitais de isolamento para tratamento das doenças. Nesta região da cidade, foram erguidos hospitais para apartar da sociedade os atingidos pela tuberculose, lepra e doença mental.
+Nas primeiras décadas do século XX, a estação de trem mais próxima localizava-se em Cascadura, bairro da zona norte da cidade. Pensava-se que o exílio e o clima seriam adequados para a assistência necessária.
+Entre as décadas de 1920 e 1950, a construção dos prédios obedeceu a este critério: segregação para tratamento das doenças. As instituições de atendimento aos portadores de lepra, doença mental e tuberculose – Hospital Colônia de Curupaiti, Colônia Juliano Moreira e o Sanatório de Curicica – estavam de acordo com as premissas do conceito de Hospital-Colônia: terrenos de grande extensão territorial e afastados dos centros urbanos. Comércio, entretenimento e práticas de esportes faziam parte das atividades recomendadas. Além das terapias medicamentosas, deveria existir um espaço de sociabilidade controlado pela equipe médica.
+As fotografias que ilustram o presente artigo pertencem ao acervo do médico Heráclides César de Souza Araújo. Nascido em 24 de junho de 1886, em Imbituva (PR), era filho de Júlio César de Souza Araújo e Manoela Alves de Souza Araújo. Em 1912, concluiu o curso de farmácia pela Escola de Farmácia de Ouro Preto. No ano seguinte, transferiu-se e ingressou na Faculdade de Medicina do Rio de Janeiro e, depois, no Curso de Aplicação do Instituto Oswaldo Cruz (IOC), quando foi aluno de Adolpho Lutz (1855-1940) e trabalhou com doenças sexualmente transmissíveis.
+ 
+Heráclides César de Souza Araújo é o quarto, em pé, da esquerda para a direita. Curso de Aplicação do Instituto Oswaldo Cruz, 1912. Mangunhos, Rio de Janeiro / Acervo Casa de Oswaldo Cruz
+ 
+Nesse período, por indicação de Lutz, especializou-se em dermatologia na Universidade de Berlim, onde apresentou um trabalho sobre a lepra no Brasil. Em 1924, retornou ao IOC e ao grupo de pesquisa coordenado por Lutz, e no mesmo ano iniciou sua viagem de três anos por vários países. Na época, inaugurou o Laboratório de Leprologia, que dirigiu até sua aposentadoria em 1956.
+ 
+Laboratório do Hospital Colônia de Curupaiti, s/d. Jacarepaguá, Rio de Janeiro / Acervo Casa de Oswaldo Cruz
+ 
+Após a criação do Serviço Nacional de Lepra, em 1941, ministrou cursos para leprologistas pelo Departamento Nacional de Saúde. Entre 1941 e 1956, foi editor das Memórias do Instituto Oswaldo Cruz e exerceu a chefia da Seção de Bacteriologia e da Divisão de Microbiologia e Imunologia do IOC. No ano seguinte e até sua morte, foi perito da Organização Mundial da Saúde em leprologia. Participou de associações acadêmicas e profissionais em todo o mundo, tendo contribuído para a criação da Sociedade Internacional de Leprologia, em que ocupou o cargo de vice-presidente no período compreendido entre 1932 e 1956. Após a aposentadoria, continuou seu trabalho no IOC. Morreu em 10 de agosto de 1962, no Rio de Janeiro.
+ 
+Hospital Colônia de Curupaiti, s/d. Jacarepaguá, Rio de Janeiro / Acervo Casa de Oswaldo Cruz
+ 
+ 
+Hospital Colônia de Curupaiti, s/d. Jacarepaguá, Rio de Janeiro / Acervo Casa de Oswaldo Cruz
+ 
+ 
+*Ricardo Augusto dos Santos é Pesquisador Titular da Fundação Oswaldo Cruz
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/11262` — `itens/20.500.12156.1_11262/`
+- `20.500.12156.1/11256` — `itens/20.500.12156.1_11256/`
+- `20.500.12156.1/11261` — `itens/20.500.12156.1_11261/`
+- `20.500.12156.1/6209` — `itens/20.500.12156.1_6209/`
+- `20.500.12156.1/8426` — `itens/20.500.12156.1_8426/`
+- `20.500.12156.1/11252` — `itens/20.500.12156.1_11252/`
+- `20.500.12156.1/11251` — `itens/20.500.12156.1_11251/`
+- `20.500.12156.1/11254` — `itens/20.500.12156.1_11254/`
+
diff --git a/wordpress/31106-sao-sebastiao-o-santo-padroeiro-do-rio-de-janeiro.md b/wordpress/31106-sao-sebastiao-o-santo-padroeiro-do-rio-de-janeiro.md
new file mode 100644
index 0000000..9fce3c3
--- /dev/null
+++ b/wordpress/31106-sao-sebastiao-o-santo-padroeiro-do-rio-de-janeiro.md
@@ -0,0 +1,75 @@
+---
+id: 31106
+url: "https://brasilianafotografica.bn.gov.br/?p=31106"
+titulo: "São Sebastião, o santo padroeiro do Rio de Janeiro"
+autor: "Andrea Wanderley"
+data: "2023-01-20T01:11:39+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/3162", "20.500.12156.1/3646", "20.500.12156.1/6310", "20.500.12156.1/9515", "20.500.12156.1/10596", "20.500.12156.1/8226", "20.500.12156.1/4658", "20.500.12156.1/6380", "20.500.12156.1/8224", "20.500.12156.1/10597", "20.500.12156.1/2735"]
+fetched_at: "2026-09-10T10:13:34.504Z"
+---
+
+# São Sebastião, o santo padroeiro do Rio de Janeiro
+
+Augusto Malta. São Sebastião da Prefeitura do Distrito Federal, s/d. Rio de Janeiro, RJ / Acervo FBN
+ 
+Com uma seleção de registros realizados por Augusto Malta (1864 – 1957), Guilherme Santos (1871 – 1966), Juan Gutierrez (c. 1860 – 1897), Revert Henrique Klumb (c. 1826 – c. 1886) e também por fotógrafos ainda não identificados, a Brasiliana Fotográfica celebra o Dia de São Sebastião, o padroeiro da cidade do Rio de Janeiro. São fotos de uma imagem do próprio santo, de procissões, e do Largo, da Igreja e do Convento de São Sebastião ou Capuchinhos, no Morro do Castelo – a mais antiga, da década de 1860 e, a mais recente, de ruínas da igreja, demolida em 1922.  A maior parte das fotos selecionadas são de autoria do alagoano Augusto Malta, fotógrafo oficial da prefeitura do Rio de Janeiro entre 1903 e 1936, testemunha ocular da transformação urbana carioca nas primeiras décadas do século XX, período de grandes mudanças na cidade.
+ 
+Acessando o link para fotografias referentes a São Sebastião selecionadas e disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.  
+ 
+Revert Henrique Klumb; Paulo Robin; Officina de Paulo Robin; Photographia Brazileira. Couvent des Barbadinhos : (1º Eglise construite par les Portugais no Morro do Castello), c. 1860. Rio de Janeiro, RJ / Acervo FBN
+ 
+A Igreja de Sebastião foi a primeira catedral do Rio de Janeiro e começou a ser construída, em 1568, apenas três anos após a fundação da cidade, ocorrida em 1º de março de 1565.
+“Com a fundação da Cidade sob o Titulo de S, Sebastião do Rio de Janeiro, teve origem a do primeiro Templo dedicado ao mesmo Santo Mártir por Estacio de Sá, construindo-lhe na Villa Velha uma Casa de páo à pique, e coberta de palha, que Salvador Corrêa de Sá substituiu, levantando num monte da nova Cidade outro edifício mais decente, e de grossa taipa [“parede feita de terra piçarrenta, ou barro de certa qualidade calcado à piloens de ponta acunhada entre dous tabooens. parallelos, à cuja distancia he proporcionada a grossura da parede”], como permittiam as circunstancias do tempo, para se adorar alli o Supremo Autor das Conquistas, e ministrar os tantos Sacramentos aos povoadores portuguezes, cujo numero, à maneira de plantas novas, e bem cultivadas, crescia cada dia, e pulava com o dos Cathecumenos.” 
+José de Souza Azevedo Pizarro e Araújo (1820)
+ 
+Foi inaugurada, em 1583, e no mesmo ano os restos mortais de Estácio de Sá (1520 – 1567), fundador do Rio de Janeiro, foram trasladados para lá. Formava com o Convento dos Capuchinhos, o Colégio dos Jesuítas e outros prédios um importante conjunto arquitetônico, destruído, entre 1920 e 1922, com o arrasamento do Morro do Castelo. A última missa na Igreja de São Sebastião foi celebrada em 1º de novembro de 1921. Os restos mortais de Estácio de Sá foram transferidos para a Capela da Ajuda, residência provisória dos monges capuchinhos, na rua Conde de Bonfim, na Tijuca, em 20 de janeiro de 1922 e, desde 1931, estão na Igreja de São Sebastião dos Capuchinhos, na rua Haddock Lobo, também na Tijuca (O Jornal, 21 de janeiro de 1922; O Jornal, 18 de agosto de 1931).
+ 
+Juan Gutierrez. Morro do Castelo, c. 1890. Rio de Janeiro, RJ / Acervo MHN
+ 
+ 
+Guilherme Santos. Igreja de São Sebastião do Rio de Janeiro , c. 1917. Rio de Janeiro, RJ / Acervo IMS
+ 
+Igreja de São Sebastião dos Capuchinhos, c. 1920. Rio de Janeiro, RJ / Acervo IMS
+ 
+Augusto Malta. Largo da Igreja de São Sebastião do Rio de Janeiro, 31 de março de 1920. Rio de Janeiro, RJ / Acervo IMS
+ 
+Augusto Malta. Demolição do Morro do Castelo, no alto, à direita, Igreja de São Sebastião, 29 de outubro de 1921. Rio de Janeiro, RJ / Acervo IMS
+ 
+Augusto Malta. Festa de São Sebastião – Procissão à igreja do Castelo, 30 de outubro de 1921. Rio de Janeiro, RJ / Acervo AGCRJ
+ 
+Augusto Malta. Largo da Igreja de São Sebastião do Rio de Janeiro, no dia da realização de sua última missa, 1 º de novembro de 1921. Rio de Janeiro, RJ / Acervo IMS
+ 
+Morro do Castelo – Igreja de São Sebastião dos Capuchinhos; transladação dos restos mortais de Estácio de Sá, 20 de janeiro de 1922. Rio de Janeiro, RJ / Acervo IMS
+ 
+Augusto Malta, Demolição do morro do Castelo, no alto do morro, as ruínas da Igreja de São Sebastião, 4 de outubro de 1922. Rio de Janeiro, RJ / Acervo IMS
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+ARAÚJO. José de Souza Azevedo Pizarro e. Memórias Históricas do Rio de Janeiro e das Províncias anexas à Jurisdição do Vice-Rei do Estado do Brasil.  Imprensa Régia, 1820.
+BARROS, Paulo Cezar de. Onde nasceu a cidade do Rio de Janeiro? ( um pouco da história do Morro do Castelo). Revista geo-paisagem (online ) Vol. 1, número 2, julho/dezembro de 2002
+Arquivo Nacional
+Hemeroteca Digital da Biblioteca Nacional
+Histórias e Monumentos
+MENEZ, Alexssandro. Civilização versus barbárie: a destruição do Morro do Castelo no Rio de Janeiro (1905-1922). Revista Historiador Número 06. Ano 06. Janeiro de 2014.
+NONATO, José Antônio Era uma vez o Morro do Castelo. Rio de Janeiro: Casa da Palavra, 2000.
+Site MultiRio
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/3162` — `itens/20.500.12156.1_3162/`
+- `20.500.12156.1/3646` — `itens/20.500.12156.1_3646/`
+- `20.500.12156.1/6310` — `itens/20.500.12156.1_6310/`
+- `20.500.12156.1/9515` — `itens/20.500.12156.1_9515/`
+- `20.500.12156.1/10596` — `itens/20.500.12156.1_10596/`
+- `20.500.12156.1/8226` — `itens/20.500.12156.1_8226/`
+- `20.500.12156.1/4658` — `itens/20.500.12156.1_4658/`
+- `20.500.12156.1/6380` — `itens/20.500.12156.1_6380/`
+- `20.500.12156.1/8224` — `itens/20.500.12156.1_8224/`
+- `20.500.12156.1/10597` — `itens/20.500.12156.1_10597/`
+- `20.500.12156.1/2735` — `itens/20.500.12156.1_2735/`
+
diff --git a/wordpress/31131-serie-o-rio-de-janeiro-desaparecido-xxiii-e-serie-avenidas-e-ruas-do-brasil-xvii.md b/wordpress/31131-serie-o-rio-de-janeiro-desaparecido-xxiii-e-serie-avenidas-e-ruas-do-brasil-xvii.md
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@@ -0,0 +1,139 @@
+---
+id: 31131
+url: "https://brasilianafotografica.bn.gov.br/?p=31131"
+titulo: "Série “O Rio de Janeiro desaparecido” XXIII e Série “Avenidas e ruas do Brasil” XVII – A Praia e a Rua do Russel, na Glória"
+autor: "Andrea Wanderley"
+data: "2023-05-15T14:08:31+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/9119", "20.500.12156.1/6372", "20.500.12156.1/9704", "20.500.12156.1/9934", "20.500.12156.1/8501", "20.500.12156.1/4290", "20.500.12156.1/10225", "20.500.12156.1/9366"]
+fetched_at: "2026-09-10T10:13:37.986Z"
+---
+
+# Série “O Rio de Janeiro desaparecido” XXIII e Série “Avenidas e ruas do Brasil” XVII – A Praia e a Rua do Russel, na Glória
+
+A Brasiliana Fotográfica publica o 23º artigo da Série O Rio de Janeiro desaparecido e o 17º da série Avenidas e ruas do Brasil, com o tema Praia e Rua do Russel, na Glória. Grande parte da Praia do Russel foi aterrada, em meados da década de 1900, para a construção da Avenida Beira-Mar, inaugurada, em 1906, cuja abertura foi, assim como a execução da Avenida Central, uma das grandes obras realizadas durante a gestão do prefeito Francisco Pereira Passos (1836 – 1913) (Gazeta de Notícias, 13 de novembro de 1906). A Praia do Russel desapareceu completamente com a criação do Aterro do Flamengo, na década de 1960. A Rua do Russel será durante os próximos quatro anos o local da sede carioca do Instituto Moreira Salles, uma das instituições fundadoras do portal.
+ 
+Jorge Kfuri. Acampamento americano na Praia do Russel, c. 1921. Rio de Janeiro, RJ / Acervo IMS
+ 
+A publicação traz imagens produzidas pelos fotógrafos amadores Archanjo Sobrinho (18? – 19?) e Guilherme Santos (1871 – 1966), por Juan Gutierrez (c. 1860 – 1897), um dos mais importantes fotógrafos paisagistas dos oitocentos, no Brasil; pelo alagoano Augusto Malta (1864 – 1957), fotógrafo da Prefeitura do Rio de Janeiro entre 1903 e 1937; por Jorge Kfuri (1893 – 1965), autor das primeiras fotografias aéreas do Rio de Janeiro, por Georges Leuzinger (1813 – 1892), um dos mais importantes difusores para o mundo da fotografia sobre o Brasil no século XIX, além de pioneiro das artes gráficas no país; por Antônio Caetano da Costa Ribeiro (18? – 19?) e por Marc Ferrez (1843 – 1923), cuja vasta e abrangente obra iconográfica se equipara a dos maiores nomes da fotografia do mundo.
+ 
+“Russel, a praia é do Russel em nome, porque propriamente falando ela é de El-Rei, do seu povo e dos poetas que ali vão inspirar-se. é uma praia parnaso”.
+Diário do Rio de Janeiro, de 12 de setembro de 1871
+ 
+Juan Gutierrez. Praia do Russel, c. 189?. Rio de Janeiro, RJ / Acervo MHN
+ 
+O prefeito Pereira Passos promoveu uma significativa reforma urbana no Rio de Janeiro, realizando diversas demolições, conhecidas popularmente como a política do “bota-abaixo”, que contribuiu fortemente para o surgimento do Rio de Janeiro da Belle Époque. Essas transformações foram definidas por Alberto Figueiredo Pimentel (1869-1914), autor da seção “Binóculo”, da Gazeta de Notícias, com a máxima “O Rio civiliza-se”, que se tornou o slogan da reforma urbana carioca.
+ 
+Marc Ferrez. Avenida Beira-Mar – Cais da Glória, 1910. Rio de Janeiro, RJ / Acervo IMS
+ 
+Acessando o link para as fotografias da Praia do Russel selecionadas e disponíveis na Brasiliana Fotográfica, o leitor poderá visualizar e magnificar as imagens.
+ 
+Archanjo Sobrinho. Praia do Russel e Igreja de Nossa Senhora da Glória do Outeiro, c. 1895. Rio de Janeiro, RJ / Acervo IMS
+ 
+ 
+Voltando à Praia do Russel. Até os primeiros anos da década de 1860, chamava-se Praia de Pedro I, mas com o início das operações da primeira empresa responsável pelo tratamento do esgoto da cidade, a Rio de Janeiro City Improvements Limited, mudou de nome (Correio Mercantil, 30 de janeiro de 1863, terceira coluna; Diário do Rio de Janeiro, 13 de setembro de 1869, terceira coluna).
+ 
+“O leitor conhece a formosa praia que circunda a pitoresca colina da Glória; chamam-na praia do Russel. Aí se vai banhar crescido número de pessoas”. 
+Diário do Rio de Janeiro, 6 de abril de 1871
+ 
+A lei n. 719, de 28 de setembro de 1853, aprovada pelo decreto n. 1.929, de 29 de abril de 1857, autorizou o contrato estabelecido entre o governo imperial e os empresários Joaquim Pereira Viana de Lima Júnior e João Frederico Russell (18? – 1888), cujo sobrenome acabou dando nome à praia e a um pequeno bairro entre a Glória e o Flamengo. Ele era engenheiro, filho de ingleses, e morava numa casa, na Praia do Russel, demolida em 1920 para a construção do Hotel Glória, inaugurado em 15 de agosto de 1922. Russel foi o presidente da Companhia Melhoramentos da Cidade de Santos (Correio Mercantil, 30 de janeiro de 1863, terceira coluna).
+ 
+Almanak Administrativo, Mercantil e Comercial do Rio de Janeiro, 1878
+ 
+ 
+Georges Leuzinger. Praia do Flamengo, Rua do Russel e Glória, a partir da Ilha de Villegagnon, c. 1866. Rio de Janeiro, RJ / Acervo IMS
+ 
+Segundo o contrato, os empresários teriam a exclusividade, durante noventa anos, sobre o serviço de limpeza das casas e do esgoto das águas pluviais da cidade do Rio de Janeiro. A obras começaram em 1862, ano em que o Decreto n. 3.004, de 21 de novembro estabeleceu as condições para a execução de itens presentes no mencionado contrato de 1857, que admitiu a constituição de uma empresa fora do país para realizar as obras de implantação do sistema de esgotamento sanitário. Coube ao membro do Instituto de Engenheiros Civis de Londres, Eduardo Gotto, a elaboração do projeto do sistema contratado, bem como a constituição de uma empresa de capital inglês, a The Rio de Janeiro City Improvements Company Limited, conhecida depois como City, para a qual o contrato de Russel e Lima Junior foi transferido, em maio de 1863 (Correio da Manhã, 15 de novembro de 1940).
+ 
+Augusto Malta. Praia do Russel, 1905. Rio de Janeiro, RJ / Acervo AGCRJ
+ 
+A Rua do Russel teve aprovada essa denominação em 1868. Ficava no prolongamento da Praia do Flamengo e terminava junto às obras do esgoto (Correio Mercantil, 29 de janeiro de 1868, sexta coluna).
+ 
+Correio Mercantil, 29 de janeiro de 1868
+ 
+ 
+Diário do Rio de Janeiro, 3 de março de 1871
+ 
+Uma das primeiras casas construídas no local foi a do hotel-balneário Grand Chalet, do comendador Domingos Moitinho, importante industrial brasileiro (c. 1825 – 1895), que morava num casarão ao lado que foi, posteriorente, transformado no Hotel Russel.
+ 
+Gazeta de Notícias, 24 de junho de 1878
+ 
+Também moraram no Russel o poeta Francisco Otaviano (1825 – 1899) e Hugo A. Gruber, autor do livro Método de Ahn, ensino prático de aprender com facilidade a língua francesa (O Sexo Feminino, 6 de junho de 1874).
+ 
+Guilherme Santos. Sobrado na Gloria, c. 1925. Rio de Janeiro, RJ / Acervo IMS
+ 
+A. Ribeiro. Rua do Russel; Avenida Beira-Mar, c. 1918. Rio de Janeiro, RJ / Acervo IMS
+ 
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+Agenda Bafafá
+Arquivo Nacional
+GERSON, Brasil. História das Ruas do Rio. Rio de Janeiro: Bem-Te-Vi, 2013.
+Hemeroteca Digital da Biblioteca Nacional
+Portal da Cedae
+Revista de Engenharia, 14 de março de 1888
+ 
+Links para os outros artigos da Série O Rio de Janeiro desaparecido
+ 
+Série O Rio de Janeiro desaparecido I - Salas de cinema do Rio de Janeiro do início do século XX, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 26 de fevereiro de 2016.
+Série O Rio de Janeiro desaparecido II – A Exposição Nacional de 1908 na Coleção Família Passos, de autoria de Carla Costa, historiadora do Museu da República, publicado na Brasiliana Fotográfica, em 5 de abril de 2018.
+Série O Rio de Janeiro desaparecido III – O Palácio Monroe, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica, em 9 de novembro de 2016.
+Série O Rio de Janeiro desaparecido IV - A via elevada da Perimetral, de autoria da historiadora Beatriz Kushnir, publicado na Brasiliana Fotográfica em 23 de junho de 2017.
+Série O Rio de Janeiro desaparecido V – O quiosque Chopp Berrante no Passeio Público, Ferrez, Malta e Charles Dunlop, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 20 de julho de 2018.
+Série O Rio de Janeiro desaparecido VI – O primeiro Palácio da Prefeitura Municipal do Rio de Janeiro, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 12 de setembro de 2018.
+Série O Rio de Janeiro desaparecido VII – O Morro de Santo Antônio na Casa de Oswaldo Cruz, de autoria de historiador Ricardo Augusto dos Santos da Casa de Oswaldo Cruz, publicado na Brasiliana Fotográfica em 5 de fevereiro de 2019.
+Série O Rio de Janeiro desaparecido VIII – A demolição do Morro do Castelo, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 30 de abril de 2019.
+Série O Rio de Janeiro desaparecido IX – Estrada de Ferro Central do Brasil: estação e trilhos, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 12 de novembro de 2019.
+Série O Rio de Janeiro desaparecido X – No Dia dos Namorados, um pouco da história do Pavilhão Mourisco em Botafogo, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 12 de junho de 2020.
+Série O Rio de Janeiro desaparecido XI – A Estrada de Ferro do Corcovado e o mirante Chapéu de Sol, de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 22 de julho de 2021.
+Série O Rio de Janeiro desaparecido XII – o Teatro Lírico (Theatro Lyrico), de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 15 de setembro de 2021.
+Série O Rio de Janeiro desaparecido XIII – O Convento da Ajuda, de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 12 de outubro de 2021.
+Série O Rio de Janeiro desaparecido XIV – O Conselho Municipal, de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 19 de novembro de 2021.
+Série O Rio de Janeiro desaparecido XV – A Praia de Santa Luzia no primeiro dia do verão, de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 21 de dezembro de 2021.
+Série O Rio de Janeiro desaparecido XVI – O prédio da Academia Imperial de Belas Artes, de autoria de Andrea C.T. Wanderley, publicado na Brasiliana Fotográfica em 13 de janeiro de 2022.
+Série O Rio de Janeiro desaparecido XVII – Igreja São Pedro dos Clérigos, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 18 de março de 2022.
+Série O Rio de Janeiro desaparecido XVIII – A Praça Onze, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 20 de abril de 2022.
+Série O Rio de Janeiro desaparecido XIX – A Igrejinha de Copacabana, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 23 de junho de 2022.
+Série O Rio de Janeiro desaparecido XX – O Pavilhão dos Estados, futuro prédio do Ministério da Agricultura, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 26 de julho de 2022.
+Série O Rio de Janeiro desaparecido XXI – O Chafariz do Largo da Carioca, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 19 de setembro de 2022. 
+Série O Rio de Janeiro desaparecido XXII – A Cadeia Velha que deu lugar ao Palácio Tiradentes, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 11 de abril de 2023.
+Série O Rio de Janeiro desaparecido XXIV – O luxuoso Palace Hotel, na Avenida Rio Branco, uma referência da vanguarda artística no Rio de Janeiro, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 4 de julho de 2023
+Série O Rio de Janeiro desaparecido XXV – O Theatro Phenix, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 5 de setembro de 2023
+Série O Rio de Janeiro desaparecido XXVI – Conclusão do arrasamento do Morro do Castelo por Augusto Malta, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 14 de dezembro de 2023
+Série O Rio de Janeiro desaparecido XXVII e Série Os arquitetos do Rio de Janeiro V – O Jockey Club e o Derby Club, na Avenida Rio Branco e o arquiteto Heitor de Mello (1875 – 1920), de autoria de Andrea c. T. Wanderley, editora e pesquisadora do portal, em 15 de janeiro de 2024
+ 
+Links para as outras publicações da série “Avenidas e ruas do Brasil”
+ Série “Avenidas e ruas do Brasil” I – Avenida Central, atual Rio Branco, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 7 de setembro de 2016
+Série “Avenidas e ruas do Brasil” II – A Rua do Imperador em Petrópolis por Klumb, Leuzinger e Stahl, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 26 de junho de 2020
+Série “Avenidas e ruas do Brasil” III – A Rua do Bom Jesus, no Recife, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 6 de agosto de 2020
+Série “Avenidas e ruas do Brasil” IV – A Rua 25 de Março, em São Paulo, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 1º de setembro de 2020
+Série “Avenidas e ruas do Brasil” V – A Rua Direita, a Rua das Mercês e a Rua Macau do Meio, em Diamantina, Minas Gerais, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 22 de outubro de 2020
+Série “Avenidas e ruas do Brasil” VI  – Rua Augusto Ribas e outras, em Ponta Grossa, no Paraná, pelo fotógrafo Luiz Bianchi, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 16 de novembro de 2020
+Série “Avenidas e ruas do Brasil” VII – A Avenida Atlântica, em Copacabana, no Rio de Janeiro, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 23 de dezembro de 2020
+Série “Avenidas e ruas do Brasil VIII – A Rua da Carioca por Cássio Loredano, de autoria de Cássio Loredano, publicada em 20 de janeiro de 2021
+Série “Avenidas e ruas do Brasil” IX – Ruas e panoramas do bairro do Catete, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 14 de julho de 2021
+Série “Avenidas e ruas do Brasil” X – A Rua da Ajuda, no Rio de Janeiro, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 9 de novembro de 2021
+Série “Avenidas e ruas do Brasil” XI – A Rua da Esperança, em São Paulo, por Vincenzo Pastore, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 14 de dezembro de 2021
+Série “Avenidas e ruas do Brasil” XII – A Avenida Paulista, o coração pulsante da metrópole, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 21 de janeiro de 2022
+Série “Avenidas e ruas do Brasil” XIII – A Rua Buenos Aires no Centro do Rio de Janeiro, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 19 de julho de 2022
+Série “Avenidas e ruas do Brasil” XIV – A Avenida Presidente Vargas, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 31 de agosto de 2022
+Série “Avenidas e ruas do Brasil” XV – Misericórdia: rua, largo e ladeira, no Rio de Janeiro, por Cássio Loredano, de autoria de Cássio Loredano, publicada em 8 de dezembro de 2022
+Série “Avenidas e ruas do Brasil” XVI – Série “Avenidas e ruas do Brasil” XVI – Alguma coisa acontece no meu coração, a Avenida São João nos 469 anos de São Paulo, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 25 de janeiro de 2023
+Série “Avenidas e ruas do Brasil” XVIII – Avenida Beira-Mar, de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal, publicada em 22 de janeiro de 2024
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/9119` — `itens/20.500.12156.1_9119/`
+- `20.500.12156.1/6372` — `itens/20.500.12156.1_6372/`
+- `20.500.12156.1/9704` — `itens/20.500.12156.1_9704/`
+- `20.500.12156.1/9934` — `itens/20.500.12156.1_9934/`
+- `20.500.12156.1/8501` — `itens/20.500.12156.1_8501/`
+- `20.500.12156.1/4290` — `itens/20.500.12156.1_4290/`
+- `20.500.12156.1/10225` — `itens/20.500.12156.1_10225/`
+- `20.500.12156.1/9366` — `itens/20.500.12156.1_9366/`
+
diff --git a/wordpress/31202-o-centenario-da-morte-do-fotografo-marc-ferrez-1843-1923.md b/wordpress/31202-o-centenario-da-morte-do-fotografo-marc-ferrez-1843-1923.md
new file mode 100644
index 0000000..65361ce
--- /dev/null
+++ b/wordpress/31202-o-centenario-da-morte-do-fotografo-marc-ferrez-1843-1923.md
@@ -0,0 +1,66 @@
+---
+id: 31202
+url: "https://brasilianafotografica.bn.gov.br/?p=31202"
+titulo: "O centenário da morte do fotógrafo Marc Ferrez (1843 – 1923)"
+autor: "Andrea Wanderley"
+data: "2023-01-12T09:53:56+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/5345", "20.500.12156.1/2575"]
+fetched_at: "2026-09-10T10:13:41.171Z"
+---
+
+# O centenário da morte do fotógrafo Marc Ferrez (1843 – 1923)
+
+Hoje se completam 100 anos da morte do fotógrafo Marc Ferrez (1843 – 1923), que foi um brilhante cronista visual das paisagens e dos costumes cariocas da segunda metade do século XIX e do início do século XX. Sua vasta e abrangente obra iconográfica se equipara a dos maiores nomes da fotografia do mundo. Estabeleceu-se como fotógrafo com a firma Marc Ferrez & Cia, em 1867, na rua São José, nº 96, e logo se tornou o mais importante profissional da área no Rio de Janeiro. Cerca de metade da produção fotográfica de Ferrez foi realizada na cidade e em seus arredores, onde registrou, além do patrimônio construído, a exuberância das paisagens naturais. A Brasiliana Fotográfica destaca neste artigo as publicações no portal em torno da obra de Ferrez e as imagens de sua autoria disponíveis em seu acervo fotográfico.
+ 
+Marc Ferrez. Família Ferrez, c. 1912. Rio de Janeiro, RJ / Acervo IMS
+ 
+Acessando o link para as fotografias de Marc Ferrez disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Marc Ferrez faleceu em 12 de janeiro de 1923, na casa de seu filho Luciano e sua nora Malia Frucht Ferrez (1890 – 1953), no Rio de Janeiro, cidade que ele eternizou com sua arte. Residia na rua Joaquim Murtinho, 177, e foi enterrado no cemitério São João Batista (A Rua, 13 de janeiro de 1923, O Paiz, 14 de janeiro de 1923, última notícia da sexta coluna, Gazeta de Notícias, 16 de janeiro de 1923, na última coluna e Fon-Fon, 20 de janeiro de 1923).
+Sua missa de sétimo dia foi celebrada na Igreja São Francisco de Paula, em 19 de janeiro, foi muito concorrida e contou com a presença dos engenheiros André Gustavo Paulo de Frontin (1860 – 1933) e Alfredo de Paula Freitas (1855 – 1931); dos cientistas Henrique Morize (1860 – 1930), dos médicos Camillo Fonseca e Rodolpho e José Chapot-Prevost; artistas, como o escultores Benevenuto Berna (1865 – 1940) e Rodolpho Bernardelli (1852 – 1931), além de jornalistas, exibidores e donos das empresas cinematográficas (O Paiz, 20 de janeiro de 1923, na última coluna).
+ 
+O Paiz, 18 de janeiro de 1923
+ 
+Publicações da Brasiliana Fotográfica em torno da obra do fotógrafo Marc Ferrez 
+ 
+Marc Ferrez aos 33 anos, c. 1876. Rio de Janeiro, RJ / Acervo IMS
+O Rio de Janeiro de Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 30 de junho de 2015
+Obras para o abastecimento no Rio de Janeiro por Marc Ferrez , de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 25 de janeiro de 2016
+O brilhante cronista visual Marc Ferrez (7/12/1843 – 12/01/1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 7 de dezembro de 2016
+Do natural ao construído: O Rio de Janeiro na fotografia de Marc Ferrez, de autoria de Sérgio Burgi, um dos curadores da Brasiliana Fotográfica, publicada em 19 de dezembro de 2016
+No primeiro dia da primavera, as cores de Marc Ferrez (1843 – 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 22 de setembro de 2017
+Marc Ferrez , a Comissão Geológica do Império (1875 – 1878) e a Exposição Antropológica Brasileira no Museu Nacional (1882), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica,  publicada em 29 de junho de 2018
+Série “O Rio de Janeiro desaparecido” V – O quiosque Chopp Berrante no Passeio Público, Ferrez, Malta e Charles Dunlop, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 20 de julho de 2018
+Uma homenagem aos 175 anos de Marc Ferrez (7 de dezembro de 1843 – 12 de janeiro de 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 7 de dezembro de 2018 
+Pereira Passos e Marc Ferrez: engenharia e fotografia para o desenvolvimento das ferrovias, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 5 de abril de 2019
+Fotografia e ciência: eclipse solar, Marc Ferrez e Albert Einstein, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 24 de junho de 2019
+Os 180 anos da invenção do daguerreótipo – Os álbuns da Comissão Geológica do Império com fotografias de Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 19 de agosto de 2019
+Celebrando o fotógrafo Marc Ferrez (1843 – 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 4 de dezembro de 2019
+Uma homenagem da Casa Granado ao imperial sob as lentes de Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 7 de fevereiro de 2020
+Ressaca no Rio de Janeiro invade o porão da casa do fotógrafo Marc Ferrez, em 1913, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado 6 de março de 2020
+Petrópolis, a Cidade Imperial, pelos fotógrafos Marc Ferrez e Revert Henrique Klumb, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 16 de março de 2020
+Bambus, por Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 5 de junho de 2020
+O Baile da Ilha Fiscal: registro raro realizado por Marc Ferrez e retrato de Aurélio de Figueiredo diante de sua obra, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 9 de novembro de 2020
+O Palácio de Cristal fotografado por Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 2 de fevereiro de 2021
+A Estrada de Ferro do Paraná, de Paranaguá a Curitiba, pelos fotógrafos Arthur Wischral (1894 – 1982) e Marc Ferrez (1843 – 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 22 de março de 2021
+Dia dos Pais – Julio e Luciano, os filhos do fotógrafo Marc Ferrez, e outras famílias, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 6 de agosto de 2021
+No Dia da Árvore, mangueiras fotografadas por Ferrez e Leuzinger, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 21 de setembro de 2021
+Retratos de Pauline Caroline Lefebvre, sogra do fotógrafo Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 28 de abril de 2022
+A Serra dos Órgãos: uma foto aérea e imagens realizadas pelos mestres Ferrez, Leuzinger e Klumb, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 30 de junho de 2022
+O Observatório Nacional pelas lentes de Marc Ferrez, amigo de vários cientistas, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 29 de maio de 2023
+No Dia Mundial do Meio Ambiente, a potente imagem da Cachoeira de Paulo Afonso, por Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 5 de junho de 2023
+A Fonte Adriano Ramos Pinto por Guilherme Santos e Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 18 de julho de 2023
+Os 180 anos de nascimento do fotógrafo Marc Ferrez (1843 – 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 7 de dezembro de 2023
+ 
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/5345` — `itens/20.500.12156.1_5345/`
+- `20.500.12156.1/2575` — `itens/20.500.12156.1_2575/`
+
diff --git a/wordpress/31221-dia-nacional-da-consciencia-indigena.md b/wordpress/31221-dia-nacional-da-consciencia-indigena.md
new file mode 100644
index 0000000..fc73d0f
--- /dev/null
+++ b/wordpress/31221-dia-nacional-da-consciencia-indigena.md
@@ -0,0 +1,76 @@
+---
+id: 31221
+url: "https://brasilianafotografica.bn.gov.br/?p=31221"
+titulo: "Dia Nacional da Consciência Indígena"
+autor: "Andrea Wanderley"
+data: "2023-01-20T01:09:32+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/1785", "20.500.12156.1/4507", "20.500.12156.1/2130", "20.500.12156.1/765", "20.500.12156.1/381"]
+fetched_at: "2026-09-10T10:13:44.126Z"
+---
+
+# Dia Nacional da Consciência Indígena
+
+O Dia Nacional da Consciência Indígena é celebrado desde 20 de janeiro de 2013 e relembra a morte do cacique Aimberê (15? – 1567), considerado uma grande liderança da Confederação dos Tamoios ou Guerra dos Tamoios, ocorrida entre 1554 e 1567, no sul fluminense e no litoral norte do estado de São Paulo – um combate dos povos originários contra a colonização dos portugueses no Brasil. Em 20 de janeiro de 1567, aconteceu a Batalha de Uruçumirim, na atual região das praias do Flamengo e da Glória, que arrasou o reduto dos tamoios no Rio de Janeiro.
+ 
+Hercule Florence. Poligrafia: Índio Apiacá, 1841 / Acervo IMS
+ 
+A Brasiliana Fotográfica comemora a data com a publicação de uma seleção de imagens de indígenas presentes em seu acervo fotográfico. Os índios brasileiros foram retratados por diversos fotógrafos do século XIX, muitos representados no acervo do portal. Os identificados são todos não indígenas. São registros produzidos por Albert Frisch (1840 – 1918), Dana B. Merril (1887 – 19?), Felipe Augusto Fidanza (c.1847 – 1903), Franz Keller (1835 – 1890), Hercule Florence (1804 – 1879), Marc Ferrez (1843 – 1923), Vincenzo Pastore (1865 – 1918), Walter Garbe (18? – 19?) e também por fotógrafos ainda não identificados.
+É essencial que indígenas participem dos processos de catalogação, arquivamento e identificação das imagens dos acervos históricos de fotografias e também da forma de expô-las, criando novas narrativas para esses registros e gerando novos olhares sobre a história dos povos originários no Brasil. Nos últimos anos, este processo tem se intensificado significativamente.
+ 
+Albert Frisch. Índios Umauá na antiga Província do Alto Amazonas, região do rio Solimões (fotomontagem), c, 1867. Amazonas / Convênio Instituto Moreira Salles – Leibniz-Institut für Länderkunde
+ 
+Acessando o link para as fotografias de indígenas selecionadas e disponíveis na Brasiliana Fotográfica, o leitor poderá visualizar e magnificar as imagens.
+ 
+Vincenzo Pastore. Retrato de três índios com cocar e arco e flechas, c.1905. São Paulo, SP / Acervo IMS
+ 
+Foi em 20 de janeiro de 2013, em meio a uma polêmica em torno da demolição do antigo Museu do Índio, no Maracanã, (Jornal do Commercio, 17 de janeiro; 18,19 e 20 de janeiro; 29 de janeiro; 21 de fevereiro; 25 de março; 1 de agosto; 6 de agosto, 13 de agosto e 14 de agosto de 2013), no Rio de Janeiro  que os representantes indígenas da aldeia Maracanã, liderados por Carlos Tukano, lançam oficialmente o ” DIA NACIONAL DA CONSCIÊNCIA INDÍGENA’, depois de lerem um texto de Caetano Veloso em apoio à luta dos representantes dos povos Indígenas do Brasil, que querem construir uma Embaixada Indígena na Aldeia Maracanã no Rio de Janeiro (MamaPress).
+O prédio abrigou o Museu do Índio de 1953 a 1977, e, após a polêmica de 2013, foi tombado pelo Instituto Estadual do Patrimônio Cultural (INEPAC), em 13 de agosto de 2013.
+Assista aqui o vídeo do lançamento do Dia Nacional da Consciência Indígena:
+ 
+
+ 
+O GLOBO, 20 de janeiro de 2013
+ 
+A criação da data era uma idéia que estava germinando na cabeça de Marcos Terena desde 1985, quando subiu a Serra da Barriga, acompanhando o Movimento Negro Brasileiro, que comemorava o tombamento da montanha em que Zumbi dos Palmares enfrentou os colonialistas escravizadores e morreu defendendo a liberdade e igualdade de todos no Brasil (MamaPress).
+ 
+ 
+Trecho do Parque Theophilo Dantas, 1928. Aracaju, Sergipe / Acervo FBN
+ 
+No Censo 2010 do IBGE, 896.917 pessoas declararam-se indígenas, pertencentes a 305 etnias que falam 274 línguas diferentes, dos quais 572.083 viviam na zona rural e 324.834 habitavam as zonas urbanas brasileiras. Ainda segundo o Censo 2010, as comunidades indígenas estão presentes nas cinco regiões do Brasil, sendo que a Região Norte é aquela que concentra o maior número de indivíduos, 305.873 mil – aproximadamente 37,4% do total. Na Região Norte, o estado com o maior número de indígenas é o Amazonas, representando 55% do total. O conjunto dos 10 municípios com maior população indígena reúne 126,6 mil indígenas, correspondendo a 15,5% do total de indígenas do país, e metade possui população superior a 10 mil indígenas. À época, os cinco municípios mais populosos desse conjunto eram os seguintes: São Gabriel da Cachoeira (Amazonas), São Paulo de Olivença (Amazonas), Tabatinga (Amazonas), São Paulo e Santa Isabel do Rio Negro (Amazonas).
+ 
+Marc Ferrez. [Exposição Antropológica Brasileira : artefatos e aspectos da vida indígena], 1882 / Acervo FBN
+Uma curiosidade: o quadro abaixo, O Último Tamoio, foi pintado por Rodolfo Amoedo (1857 – 1941), em 1883, e retrata justamente o cacique Aimberê com o padre José de Anchieta (1534 – 1597). Foi pintado em Paris, onde participou da Exposição de Belas Arte (Ministério do Império, 1883). Foi exibida pela primeira vez ao público brasileiro em 1884, na Exposição Geral de Belas Artes no Rio de Janeiro (Gazeta de Notícias, 4 de setembro de 1884, quinta coluna). No catálogo distribuído pela Academia Imperial de Belas Artes foi descrito assim: “O padre Anchieta encontra em deserta praia o cadáver de Aimberê, o chefe dos Tamoios, e o contempla comovido antes de prestar-lhe os últimos deveres de sacerdote cristão”.
+ 
+O Último Tamoio, por Rodolfo Amoedo / Acervo do Museu Nacional de Belas Artes
+ 
+A Brasiliana Fotográfica agradece a colaboração de Sérgio Burgi, Coordenador de Fotografia do IMS, e um dos curadores do portal.
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+CAVALCANTI, Ana Maria Tavares. O último tamoio e o último romântico. In: Revista de História da Biblioteca Nacional. Nov.2007.
+Depoimento da jornalista Renata Tupinambá
+Hemeroteca Digital da Biblioteca Nacional
+História do Rio Para Todos
+O GLOBO
+Mamapress
+MultiRio
+Portal Câmara dos Deputados
+Portal Fundação Nacional dos Povos Indígenas
+Portal MultiRio
+Portal UOL
+Site Aldeia Maracanã
+Site Instituto Estadual do Patrimônio Cultural
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/1785` — `itens/20.500.12156.1_1785/`
+- `20.500.12156.1/4507` — `itens/20.500.12156.1_4507/`
+- `20.500.12156.1/2130` — `itens/20.500.12156.1_2130/`
+- `20.500.12156.1/765` — `itens/20.500.12156.1_765/`
+- `20.500.12156.1/381` — `itens/20.500.12156.1_381/`
+
diff --git a/wordpress/31236-serie-feministas-gracas-a-deus-xiii-e-as-mulheres-conquistam-o-direito-do-voto-n.md b/wordpress/31236-serie-feministas-gracas-a-deus-xiii-e-as-mulheres-conquistam-o-direito-do-voto-n.md
new file mode 100644
index 0000000..52f1d85
--- /dev/null
+++ b/wordpress/31236-serie-feministas-gracas-a-deus-xiii-e-as-mulheres-conquistam-o-direito-do-voto-n.md
@@ -0,0 +1,432 @@
+---
+id: 31236
+url: "https://brasilianafotografica.bn.gov.br/?p=31236"
+titulo: "Série “Feministas, graças a Deus!” XIII – E as mulheres conquistam o direito do voto no Brasil!"
+autor: "Andrea Wanderley"
+data: "2023-02-24T11:00:47+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/5061", "20.500.12156.1/5028", "20.500.12156.1/6472", "20.500.12156.1/6648", "20.500.12156.1/6581"]
+fetched_at: "2026-09-10T10:13:47.677Z"
+---
+
+# Série “Feministas, graças a Deus!” XIII – E as mulheres conquistam o direito do voto no Brasil!
+
+Com a publicação do 13º artigo da Série Feministas, graças a Deus!, a Brasiliana Fotográfica celebra a conquista do voto feminino no Brasil, a partir do Decreto nº 21.076, de 24 de fevereiro de 1932, que instituiu o Código Eleitoral Provisório, assinado pelo presidente Getulio Vargas (1882 – 1954), reconhecendo o direito de voto das mulheres.
+ 
+“Art. 2º É eleitor o cidadão maior de 21 anos, sem distinção de sexo, alistado na forma deste código”.
+Decreto nº 21.076, 24 de fevereiro de 1932
+ 
+A Constituição promulgada em 16 de julho de 1934 aprovou a igualdade de direitos políticos entre homens e mulheres, desde que maiores de 18 anos e alfabetizados:
+ 
+Art. 108. São eleitores os brasileiros de um e de outro sexo, maiores de 18 anos, que se alistarem na forma da lei. 
+Parágrafo único. Não se podem alistar eleitores: 
+a) os que não saibam ler e escrever; 
+b) os praças-de-pré, salvo os sargentos, do Exército e da Armada e das forças auxiliares do Exército, bem como os alunos das escolas militares de ensino superior e os aspirantes a oficial; 
+c) os mendigos; 
+d) os que estiverem, temporária ou definitivamente, privados dos direitos políticos. 
+ Art. 109. O alistamento e o voto são obrigatórios para os homens e para as mulheres, quando estas exerçam função pública remunerada, sob as sanções e salvas as exceções que a lei determinar.
+ 
+Era a vitória de décadas de mobilização em favor do sufrágio feminino no Brasil.
+ 
+Primeiras eleitoras do Brasil na cidade de Natal, 1928. Natal, Rio Grande do Norte / Acervo Arquivo Nacional
+ 
+No artigo de hoje, estão destacadas as imagens do acervo fotográfico do portal relativas às feministas e a suas pautas – os registros são do acervo do Arquivo Nacional, uma de nossas instituições parceiras, e seus autores foram J. Bonfioti, a Photo Skarke, a Fotografia Alemã, Louis Piereck (1880 – 1931), o Serviço Photographico de Vida Doméstica, além de fotógrafos ainda não identificados. Também publicamos breves perfis de sufragistas brasileiras importantes na luta pelo voto feminino.
+ 
+Acessando o link para as imagens relativas ao feminismo disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Charge mostra a resistência ao voto feminino / O Malho, 23 de junho de 1917
+ 
+A trajetória da conquista do voto feminino no Brasil, um marco fundamental na história da democratização do país, começou ainda no século XIX e tornou-se o principal tema do feminismo nas primeiras décadas do século XX, quando a feminista Bertha Lutz (1894 – 1976), fundadora da Federação Brasileira pelo Progresso Feminino, foi uma das mais importantes vozes na luta pela emancipação feminina, que também teve outras defensoras dedicadas e aguerridas.
+ 
+Nísia Floresta Brasileira Augusta (1810 – 1885), 
+ precursora dos ideais de igualdade e independência da mulher brasileira
+ 
+Nísia Floresta / Wikipedia
+ 
+“Nísia Floresta surgiu – repita-se–como uma exceção escandalosa. Verdadeira machona entre as sinhazinhas dengosas do meado do século XIX. No meio de homens a dominarem sozinhos todas as atividades extra domésticas, as próprias baronesas e viscondessas mal sabendo escrever, as senhoras mais finas soletrando apenas livros devotos e novelas que eram quase histórias do Trancoso. causa pasmo ver uma figura como a de Nísia”.
+Gilberto Freyre, Sobrados e Mocambos (1936)
+ 
+Ainda no Brasil Império, a escritora e educadora potiguar Nísia Floresta Brasileira Augusta (1810 – 1885), pseudônimo de Dionísia Gonçalves Pinto, foi a primeira mulher brasileira a defender o direito à educação científica para as meninas. A explicação do pseudônimo que criou para ela é a seguinte: “Nísia”, uma referência ao seu nome de batismo; depois, ao sítio Floresta onde nasceu; em seguida, ao seu país; e, finalmente, a Augusto, o nome do marido de quem ficou viúva. 
+Nasceu, em 12 de outubro de 1810, em Papari, no Rio Grande do Norte, onde casou-se com Manuel Alexandre Seabra de Melo. Tinha apenas 13 anos, mas ainda no primeiro ano do casamento voltou para a casa dos pais, o advogado português Dionísio Gonçalves Pinto (17? – 1828) e a brasileira Antônia Clara Freire (17? – 1855). Seus irmãos eram Clara e Joaquim. Mudou-se com a família para  Pernambuco, onde morou em Goiana, Recife e Olinda. 
+Em 1828, seu pai foi assassinado (Diário de Pernambuco, 22 de setembro de 1830, segunda coluna). No mesmo ano, Nísia passou a viver com Manoel Augusto de Faria Rocha, estudante de Direito da Faculdade de Olinda, natural de Goiana (Diário de Pernambuco, 16 de abril de 1829, segunda coluna), com quem teve três filhos na década de 1830: Lívia (1930-?), um filho, que viveu poucos meses (1831 – 1831 ou 1832); e Augusto Américo (1933-?). Era acusada de adúltera pelo ex-marido. 
+Iniciou sua carreira literária, em 1931, publicando, com o pseudônimo de Brasileira Livre, artigos sobre a condição feminina no jornal pernambucano Espelho das Brasileiras, que pertencia ao francês Adolphe Emile de Bois Garin (Espelho das Brasileiras, 13 de maio de 1931). A defesa dos direitos das mulheres e dos indígenas no Brasil, e a crítica à escravidão foram temas recorrentes em sua produção literária.
+ 
+“Esta foi, com certeza, uma das primeiras mulheres no Brasil a romper os limites do espaço privado e a publicar textos na grande imprensa, pois, desde 1830, seu nome era uma presença constante em periódicos nacionais, comentando questões polêmicas, como o direito das mulheres – e, também, dos índios e dos escravos – a uma vida digna e respeitável. Aliás, nesse gosto pela polêmica e no fato de viver sempre à frente de seu tempo, estariam, a nosso ver, também, traços de modernidade da autora”.
+ Constância Lima Duarte sobre Nísia em Feminismo e literatura no Brasil (2003)
+ 
+Em 1832, publicou, no Recife, o livro Direito das Mulheres e a Injustiça dos Homens, primeiro texto de uma brasileira a falar em direitos das mulheres. Existe uma polêmica em torno da autoria deste livro: alguns pesquisadores consideram o livro como uma tradução livre de A Vindication of the Rights of Woman, de Mary Wollstonecraft (1759-1797), e outros como a tradução de Woman not Inferior to Man, de Mary Wortley (1689-1762), que teria sido infuenciada pelo livro De l´egalité des deux sexes, de François Poullain de La Barre, publicado em 1673. 
+ 
+
+ 
+Em novembro de 1832, foi para o Rio Grande do Sul, com Lívia, sua filha; sua mãe viúva e com seu companheiro, Manoel Augusto, que, em agosto de 1833, poucos meses após o nascimento de Augusto Américo, em janeiro de 1833, faleceu. Manoel Augusto havia ocupado o cargo de juiz municipal de São Pedro do Rio Grande do Sul (Correio Official, 25 de outubro de 1833, primeira coluna). Ainda em 1833, Nísia publicou a segunda edição de Direito das Mulheres e a Injustiça dos Homens, em Porto Alegre, pela Typographia de V. F. Andrade. Escreveu para alguns jornais de Porto Alegre, dentre eles o Belano, que circulou entre 1832 e 1833. Entre 1834 e 1837, manteve uma escola. Segundo o professor Luis Carlos Freire, professor de Artes da Universidade Federal do Rio Grande do Norte e um dos maiores pesquisadores de Nísia, provavelmente ela ensinava em casa, como era costume na época. 
+Em 1837, foi para o Rio de Janeiro. Provavelmente, a tensão causada pela Guerra dos Farrapos contribuiu para essa mudança. Em 1838, fundou o Colégio Augusto, para meninas, que dirigiu com algumas interrupções até 1856. Posteriormente, o colégio, que existiu até 1894, foi dirigido por seu filho (Jornal do Commercio, 31 de janeiro de 1838, segunda coluna). Nísia tinha uma proposta de educação inclusiva para meninos e meninas, tanto na esfera pública, quanto na privada, e era influenciada pelo pensamento positivista do francês Auguste Comte (1798 – 1857), de quem era amiga. Em 1839, foi publicada, já no Rio de Janeiro, a terceira edição de Direito das Mulheres e a Injustiça dos Homens, pela Casa do Livro Azul.
+ 
+Almanak Laemmert, 1950
+ 
+Por ensinar Caligrafia, Dança, Desenho e Costura, Francês, Geografia, História, Inglês, Italiano, Latim, Matemática, Música, Português, Piano e Religião a suas alunas e não a fazer vestidos e camisas foi criticada (O Mercantil (MG), 17 de janeiro de 1947, primeira coluna).
+ 
+O Mercantil (MG), 17 de janeiro de 1847
+ 
+Publicou, em 1847, três obras de caráter pedagógico: Fany ou o modelo das donzelas; Discurso que às suas educandas dirigiu Nísia Floresta Brasileira Augusta, um breve texto de seis páginas; e Daciz ou a jovem completa. 
+Em 2 de novembro de 1849, acompanhada dos dois filhos, Nísia viajou pela primeira vez à Europa. Embarcaram, rumo a Havre, na galera francesa Ville de Paris. Ficou em Paris e em Lisboa, retornando ao Brasil em 1852 (Diário do Rio de Janeiro, 3 de novembro de 1849, última coluna). Nesse período, ela frequentou as conferências de Auguste Comte sobre História Geral da Humanidade no Palais Cardinal, em Paris. 
+Em 1853, lançou o Opúsculo Humanitário, que dedicou a seu irmão, Joaquim Pinto Brasil. Nele a autora nos conta a história do papel das mulheres nas sociedades ocidentais, dando exemplos e refletindo sobre a condição feminina. Antes da primeira impressão reunida, parte dos textos foi publicada nos jornais Diário do Rio de Janeiro, sob  pseudônimo B.A.
+“Dê-se ao sexo uma educação religiosamente moral, desvie-se dele todos os perniciosos exemplos que tendem a corromper-lhe, desde a infância, o espírito, em vez de formá-lo á virtude, adornem-lhe a inteligência de úteis conhecimentos, e a mulher será não somente o que ela deve ser — o modelo de família — mas ainda saberá conservar dignidade, em qualquer posição que porventura a sorte a colocar.”
+Nísia Floresta em O Opúsculo Humanitário, 1853
+ 
+Trabalhou como voluntária no combate a uma epidemia de cólera no Rio de Janeiro, em 1855 (Correio Mercantil, 4 de outubro de 1955, segunda coluna). Também entre este ano e 1856 publicou alguns artigos no Brasil Illustrado: Passeio ao Aqueduto Carioca, Páginas de Uma Vida Obscura, Um Improviso, na manhã de 1º do corrente, ao distinto literato e grande porta Antônio Castilho e O pranto Filial.
+O último registro do Almanak Laemmert de Nísia como diretora do Colégio Augusto é de 1855 (Almanak Laemmert, 1855). Em 10 de abril de 1856, Nísia viajou no paquete a vapor Cadix com sua filha para a Europa, onde permaneceu até 1871.  Em 1872, um retrato e um pequeno perfil dela foi publicado no jornal ilustrado brasileiro publicado em Nova York, O Novo Mundo, fundado por José Carlos Rodrigues (Diário do Rio de Janeiro, 10 de abril de 1856, quarta coluna; O Novo Mundo, 23 de maio de 1872). 
+ 
+Novo Mundo, 23 de maio de 1872
+ 
+Entre 1872 e 1875, Nísia esteve no Brasil. Retornou à Europa em 24 de março de 1875, rumo à Inglaterra, onde encontrou sua filha. Passaram um tempo em Londres e em Lisboa (Jornal do Commercio, 24 de março de 1875, terceira coluna). Em 1878, já morando na França, publicou seu último trabalho, Fragments d’un ouvrage inédit: Notes biographiques. Entre idas e vindas, Nísia morou na França e na Itália, visitando a Alemanha, Bélgica, Grécia, Inglaterra e Suíça. Enviava artigos para publicação em jornais cariocas (Correio do Brazil, 7 de janeiro de 1872, quinta coluna; Diário de S. Paulo, 11 de dezembro de 1875, última coluna; A Reforma, 31 de dezembro de 1875, última coluna). 
+Faleceu em 24 de abril de 1885, em Rouen, na França, de pneumonia. Foi enterrada no cemitério de Bonsecours (Jornal do Commercio, 26 de maio de 1885, quinta coluna; Novo e Completo Indice Chronologico da Historia do Brasil (RJ) – 1842 a 1889, 1885; Jornal do Commercio, 31 de maio de 1885, quinta coluna).
+ 
+Gazeta de Notícias, 29 de maio de 1885
+ 
+Jornal do Commercio, 24 de junho de 1885
+ 
+Sua cidade natal, Papari, foi rebatizada com a aprovação da Lei n° 146, de 23 de dezembro de 1948, como Nísia Floresta. Em 1954, o Estado do Rio Grande do Norte repatriou seus restos mortais para a cidade (O Poti (RN), 22 de agosto de 1954).
+ 
+Nísia Floresta / Geledés
+ 
+A quarta edição do livro Direito das Mulheres e a Injustiça dos Homens saiu apenas em 1989, pela Cortez, com introdução posfácio de Constância Lima Duarte. Em 2012, foi inaugurado o Museu Nísia Floresta, em sua cidade natal.
+Alguns de seus livros que não foram mencionados ao longo deste artigo são Conselhos a minha filha (1842), Lágrimas de um Caeté (1849) Itinerário de uma viagem à Alemanha (1857), Três anos na Itália, seguidos de uma viagem à Grécia (vol 1, em 1864, e vl 2, em 1872); e Cintilações de uma Alma Brasileira (1859). Publicou, ao todo, 15 livros.
+ 
+Maria Firmina dos Reis (1822- 1977)
+ 
+Imagem de Maria Firmina dos Reis recriada a partir de computação gráfica — Foto: Divulgação/Grupo de pesquisadores de Maria Firmina dos Reis
+ 
+A escritora e professora maranhense Maria Firmina dos Reis (1822-1917), nasceu, em 11 de março de 1822, que tornou-se o Dia da Mulher Maranhense*. Era filha de um homem branco, João Pedro Esteves, com uma ex-escravizada alforriada, Leonor Filipa. Foi a primeira romancista negra do Brasil e, provavelmente, a primeira mulher negra a publicar um romance na América Latina.  Era prima do gramático Sotero dos Reis (1800 – 1871). Tornou-se professora de escola primária em 1847, quando foi aprovada em um concurso público na cidade de Guimarães, no Maranhão.
+É a autora de Úrsula (1859), considerado o primeiro romance afro-brasileiro, pioneiro da literatura abolicionista e feminista no Brasil. O livro teve boa aceitação da crítica quando publicado, sob o pseudônimo de Uma Maranhense, mas acabou caindo no esquecimento. Seria redescoberto, em 1962, pelo historiador paraibano Horácio de Almeida (1896-1983) que encontrou, em um sebo carioca, uma edição do romance. Também é autora de Gupeva (1861), Cantos à beira-mar (1871) e A escrava (1887).
+ 
+
+ 
+Publicador Maranhense, 9 de agosto de 1860
+ 
+No início da década de 1880, Maria Firmina fundou o que seria a primeira escola gratuita e mista do Brasil, no povoado de Maçaricó, na cidade de Guimarães. Uma das lutas das feministas brasileiras desde o século XIX foi pela igualdade de ensino para as meninas. Pouco depois se aposentou. Em 1888, compôs a letra e a melodia do Hino da libertação dos escravos.
+Faleceu, em 11 de novembro de 1917. Não se identificou, até hoje, um retrato ou uma pintura de Maria Firmina.
+ 
+Busto que foi feito em homenagem a Maria Firmina e que teve como base os depoimentos de pessoas que foram próximas à escritora
+ 
+Em 2019, pela passagem de seu 194º aniversário foi homenageada com um doodle do Google. A ilustração foi criada pelo designer paulista Nik Neves.
+
+Em 2021, foi instituído pela Coordenadoria Estadual da Mulher em Situação de Violência Doméstica e Familiar do Tribunal de Justiça do Maranhão o Concurso Literário Maria Firmina dos Reis.
+Foi homenageada na 20ª edição da Flip (Festa Literária Internacional de Paraty), de 2022.
+*Até pouco tempo o dia 11 de outubro de 1825 era tido como o de seu nascimento. Porém, em 21 de julho de 1847, no ofício nº 45, o inspetor da Instrução Pública, declarou que a requerente ao concurso para a cadeira feminina da Vila de São José de Guimarães, Maria Firmina dos Reis, podia ser admitida ao concurso por ter provado ter nascido em 11 de março de 1822, sendo, portanto, maior de 25 anos, conforme a exigência para o exercício docente (CRUZ, 2018).
+ 
+Izabel de Souza Matos ou Izabel de Mattos Dillon (1861 – 1920)
+ 
+Izabel de Sousa Mattos ou Izabel de Mattos Dillon / A Rua, 20 de janeiro de 1917
+ 
+A sufragista Izabel de Souza Matos ou Izabel de Mattos Dillon (1861 – 1920) nasceu na Bahia, em 20 de janeiro de 1861 e concluiu o  curso de Cirurgia Dentária e Prótese pela Faculdade de Medicina do Rio de Janeiro, em maio de 1883 (Gazeta de Notícias, 1º de maio de 1883, sexta coluna). Exerceu a profissão de cirurgiã dentista na cidade de Pelotas, no Rio Grande do Sul, e participou de atividades abolicionistas no Rio Grande (Diário do Brazil, 21 de fevereiro de 1884, última coluna; A Federação, 4 de dezembro de 1884, última coluna). Casou-se, em fevereiro de 1885, com o também cirurgião-dentista Thomas Cantrell Dillon (1861 – 1933), futuro cônsul da Grã-Bretanha no Rio Grande do Sul (Almanak Laemmert, 1926). 
+ 
+Assinaturas de Isabel de Souza Mattos e Thomaz Cantrel Dillon na ocasião de seu casamento, em fevereiro de 1884
+ 
+Em 1886, quando ainda residia no Rio Grande do Sul, exigiu na Justiça o registro de eleitora, garantido pela Lei Saraiva a todos os brasileiros com título científico. Porém, José Vieira da Cunha, juiz municipal de Rio Grande, negou o pedido (Correio Paulistano, 21 de dezembro de 1886, terceira coluna). Segundo ela, posteriormente teve o título concedido e votou no candidato republicano Julio Mendonça Moreira (1853 -?), em São José do Norte, no Rio Grande do Sul. Ele havia sido promotor na comarca de Rio Grande e não foi eleito na ocasião – foi eleito deputado estadual de 1891 a 1895. O fato foi citado por Izabel em um artigo publicado no jornal A Rua, de 20 de janeiro de 1917; e também pelo deputado Mauricio de Lacerda (1888 – 1959), este último na sessão da Câmara de 22 de dezembro de 1916 e algumas outras vezes na imprensa (Diário Carioca, 18 de setembro de 1928, terceira coluna). Terá sido então Izabel Dillon, na verdade, a primeira eleitora do Brasil, ainda no século XIX?
+ 
+Maurício de Lacerda / Anais da Câmara, sessão de 22 de dezembro de 1916, página 205.
+ 
+Em 1888, anunciou que abriria um consultório de dentista no Rio de Janeiro, onde foi colaboradora das revistas O Corymbo e  A Família (A Verdade, 29 de novembro de 1888, segunda coluna).
+Em 1890, Izabel solicitou a transferência de seu título de eleitor para o Rio de Janeiro, onde voltara a residir, mas José Cesário de Faria Alvim (1839 – 1903), ministro do Interior, julgou improcedente seu pleito e assim como o de outras mulheres (A Ordem (MG), 2 de abril de 1890, última coluna).
+ 
+Revista Illustrada, 29 de março de 1890
+ 
+Ainda em 1890, Izabel concorreu a deputada pela Bahia, mas não se elegeu ( Gazeta de Notícias, 25 de agosto de 1890, terceira coluna; Pequeno Jornal (BA), 17 de setembro de 1890, segunda coluna; A Família, 18 de setembro de 1890, última coluna; A Lanterna, 22 de dezembro de 1916, segunda coluna; A Rua, 20 de janeiro de 1917).
+ 
+ 
+Gazeta de Notícias, 25 de agosto de 1890
+ 
+Era opositora de Floriano Peixoto (1839 – 1895), participou da Revolta da Armada e foi presa (A Rua, 20 de janeiro de 1917). Foi membro do Centro do Partido Operário, criado em 1890 por José Augusto Vinhais (1858 – 1941); e do Partido Republicano Feminino, fundado em 1910, por Leolinda Daltro (1859 – 1935).
+ 
+Izabel Dillon e Leolinda Daltro, secretária e presidente do Partido Republicano Feminino, respectivamente, com alunas da Escola Orsina da Fonseca / A Faceira, 16 de novembro de 1917
+ 
+Em 1913, sua única filha, Niobe Elisabeth Gonçalves (1893 – 1913) morreu, grávida de seu quarto filho com o cirurgião-dentista Basílio Gonçalves, seu marido. Houve uma investigação policial por suspeitas de aborto autoinduzido por medicamentos ingeridos por Niobe e também de imperícia médica. O caso repercutiu na imprensa do Rio de Janeiro e ficou conhecido como o Caso da Rua Paraná (O Século, 11 de fevereiro de 1913, quarta coluna; Correio da Manhã, 12 de fevereiro de 1913, quinta coluna; O Paiz, 25 de janeiro de 1913, quinta coluna). 
+ 
+Correio da Manhã, 14 de fevereiro de 1913
+ 
+Izabel faleceu em 19 de junho de 1920 e foi enterrada como indigente no Cemitério de Inhaúma, no Rio de Janeiro. A educadora Mariana Coelho (1857 – 1854) mencionou tanto Nísia Floresta como Izabel Dillon em seu artigo O feminismo no Brasil, publicado no Correio da Manhã, 3 de janeiro de 1937.
+ 
+Josephina Alvares de Azevedo (1851 – 1913),  fundadora do jornal A Família
+ 
+ 
+Josephina Alvares de Azevedo por Libânio do Amaral / A Família, número especial, 1889
+
+ 
+“O fundamento universal de todos os que opinam contra a nossa emancipação é esse — que a mulher não tem capacidade política. Porque? perguntamos nós, e a essa pergunta não nos dão resposta cabal. Em geral, os casos de incapacidade politica são estes — menoridade, demência, inhabilitações, restriccão de liberdade por pena cominada, etc. etc. A esses addusem os legisladores a «diferença de sexo». Mas em que essa diferença pode constituir razão de incapacidade eleitoral? A mulher educada, instruída, em perfeito uso de suas faculdades mentaes, exercendo com critério as suas funcções na sociedade, é uma personalidade equilibrada, apta para discernir e competente para escolher entre duas idéas aquella que melhor convém. Não pude por conseguinte estar em pé de igualdade com os dementes, com os menores, com os imbecis. Assim sendo, é absurdo o principio de sua incapacidade electiva.” 
+Josephina Alvares de Azevedo
+A Família, 21 de dezembro de 1889
+ 
+Também no século XIX, destacou-se na luta pela emancipação feminina a jornalista e literata pernambucana Josephina Alvares de Azevedo (1851 – 1913), nascida em 5 de maio de 1851, no Recife. Existem até hoje várias lacunas e dúvidas em relação a sua vida pessoal. O local e a data de seu nascimento – pode ter sido Paraíba, Recife, em Pernambuco, ou Itaboraí, no Rio de Janeiro – assim como seu grau de parentesco com o do poeta Manoel Antônio Alvares de Azevedo (1831-1852), ainda são incertos. De acordo com Augusto Victorino Blake, autor do Dicionário Bibliográfico Brasileiro, ela seria filha de Ignácio Manoel Alvares de Azevedo (?-1873) e, portanto, irmã, pelo lado paterno, do referido poeta. Porém em um artigo em A Família, de 23 de fevereiro de 1889, Josephina se refere ao poeta como primo. Sua mãe era Amália Alvares de Azevedo Cunha (? – 1896) e, sua avó materna, Emília Amália de Azevedo Coutinho (? – 1892) (Gazeta de Notícias, 29 de fevereiro de 1892, penúltima coluna; O Paiz, 16 de maio de 1896, quarta coluna).
+O dia, mês e ano de seu nascimento aqui publicados baseiam-se em uma noticia referente a seu aniversário e nas notícias de seu falecimento, em 1913, onde está indicado que ela tinha 62 anos na ocasião (Gazeta da Tarde, 5 de maio de 1890, quinta coluna; Diário de Notícias, 5 de maio de 1890, primeira coluna; A Família, 9 de maio de 1891, primeira coluna; A Época, 3 de setembro de 1913, segunda coluna; O Paiz, 5 de setembro de 1913, última coluna). Em relação ao local, acredito que ela tenha nascido no Recife, conforme seu próprio depoimento em A Família, 7 de dezembro de 1889, descrevendo seu retorno à sua terra natal em julho de 1889. Na ocasião foi à Photographia Ducasble, onde foi retratada. Ainda na cidade, publicou um número especial de A Família (Diário de Pernambuco, 23 de julho de 1889, penúltima coluna. De lá, seguiu para o Ceará, onde permaneceu cerca de 10 dias (A Família, 7 de dezembro de 1889, A Constituição (CE), 11 de agosto e 1891, segunda coluna).
+Josephina viveu até 1877, no Recife. Foi fundadora do jornal semanal A Família, em 1888 (A Família, 18 de novembro de 1888), cuja atuação na imprensa brasileira foi importante no período de transição entre o regime monárquico e a República no país. 
+ 
+A Família, 18 de novembro de 1888, primeiro número
+ 
+Inicialmente editado em São Paulo e impresso pela tipografia União- São Paulo, o periódico mudou-se para o Rio de Janeiro, em maio de 1889, e circulou ininterruptamente até 1897 – ficava na Travessa do Barbosa, nº 12 (A Família, 18 de maio de 1889; O Jacobino, 5 de junho de 1897, primeira coluna; Almanak Laemmert, 1898). Provavelmente, voltou a circular em 1898, mas logo deixou de existir (A Mensageira, 15 de maio de 1898). Entre as colaboradoras do jornal estavam a escritora baiana Ignez Sabino (1853 – 1911) e Izabel Dillon (1861 – 1920), além de estrangeiras como as feministas Guiomar Torrezão (1844-1898), escritora portuguesa; e a francesa Eugénie Potonié Pierre (1844 -1898), fundadora da Federação Francesa das Sociedades Feministas; que enviavam seus textos de seus respectivos países.
+ 
+A Família, 16 de janeiro de 1890
+ 
+Josephina escreveu para A Família diversos artigos em defesa da emancipação feminina a partir da educação, do trabalho, do voto feminino e pelo direito ao divórcio. Desde o início enfrentou resistência, inclusive de mulheres e de instituições católicas, como fica exemplificado na edição do periódico de 12 de janeiro de 1889; e também na notícia publicada pelo jornal O Apóstolo, 28 de março de 1890, primeira coluna.
+ 
+A Família, 12 de janeiro de 1889
+ 
+Destacamos os artigos O Direito ao Voto, publicado em 7 de dezembro de 1889, O Divórcio, de 2 de outubro de 1890; Emancipação da Mulher, de 18 de julho de 1891 e A Questão das Mulheres, de 30 de janeiro de 1892. Às vezes, os assinava como Zefa.
+ 
+Novidade, 17 de junho de 1890
+ 
+Com a Proclamação da República, em 15 de novembro de 1889, as mulheres vislumbraram a possibilidade de terem mais participação política. A própria Josephina escreveu no editorial de A Família, de 30 de novembro de 1889:
+ “No fundo escuro e triste do quadro de provações a que votaram a mulher na sociedade, brilhará, com a fulgente aurora da República Brasileira, a luz deslumbradora da nossa emancipação?…Queremos o direito de intervir nas eleições, de eleger e ser eleitas, como os homens, em igualdade de condições. Ou estaremos fora do regime das leis criadas pelos homens, ou teremos também o direito de legislar para todas. Fora disso, a igualdade é uma utopia, senão um sarcasmo atirado a todas nós…”
+Porém, em 1891, criticou muito o fato de que na primeira Constituição da República, promulgada em 24 de fevereiro de 1891, as mulheres continuarem sendo espectadoras da vida política do país (A Família, 5 de março de 1891), circunstância retratada no quadro Compromisso Constitucional de 1891 (1896), de Aurélio de Figueiredo (1854 – 1916), onde um grupo de mulheres aparece justamente nesta condição.
+ 
+Aurélio de Figueiredo: Compromisso Constitucional de 1891
+ 
+Em 1891, o jornal A Família passou a pertencer à Companhia Imprensa Familiar, mas Josephina permaneceu como sua diretora mental e redatora (A Família, 25 de abril de 1891; O Paiz, 11 de maio de 1891, penúltima coluna; Diário de Notícias, 19 de julho de 1891, última coluna).
+Foi homenageada com a publicação de seu retrato na primeira página de A Família, de 9 de maio de 1891.
+ 
+A Família, 9 de maio de 1891
+
+ 
+Foi autora da comédia O Voto Feminino, que estreou no Rio de Janeiro, em 26 de maio de 1890, no Theatro Recreio Dramático, enérgica e vibrante peça de combate em favor dos direitos políticos do bello sexo. Foi encenada pelos atores Antonio Pereira Fontana e Castro, português radicado no Brasil; Germano, Bragança e Pinto; e pelas atrizes Elisa de Castro, Isolina Monclar e Luisa. A peça foi inspirada pelas constantes recusas de alistamento eleitoral feminino, já exemplificado neste artigo pelo caso de Izabel Dillon (A Família, 31 de maio de 1890, primeira coluna).  O Voto Feminino é uma peça emblemática do sufragismo brasileiro em fins do século XIX.
+ 
+O Paiz, 26 de maio de 1890
+ 
+Também em 1890, foi encenada sua tradução livre da peça Os Companheiros do Sol, de Paul Jay (Gazeta de Notícias, 6 de agosto de 1890, penúltima coluna).
+A partir de 1892, o número de colaboradoras de A Família e os artigos escritos por Josephina diminuíram muito. Em 1893, foi noticiado que ela estava doente, vitimada pela terrível influenza (A Família, 17 de maio de 1893). Ela residia na rua da Quitanda (Almanak Laemmert, 1893).
+Em 1896, ofertou à biblioteca do Grêmio Dramático Arthur Azevedo, de São Paulo, 20 obras  (A Arte, 12 de outubro de 1896, segunda coluna).
+Em 1904, foi citada como uma distintíssima escritora brasileira em uma carta aberta da escritora espanhola Eva Canel (1857 – 1932), Em defesa da mulher brasileira, uma resposta a um artigo da escritora e jornalista argentina Conception Gimeno del Flaquer (1850 – 1919) (Il Bersagliere, 5 de maio de 1904, segunda coluna).
+Ao longo de sua vida, Josephina publicou três livros: Retalhos (1890), A Mulher Moderna: trabalhos de propaganda (1891), que dedicou em signal de admiração e respeito à Viscondessa de Leopoldina e à D. Maria José Paranhos Mayrink; e Galleria illustre (Mulheres célebres) (1897) (O Paiz, 2 de fevereiro de 1890, sexta coluna; Diário do Commercio, 9 de fevereiro de 1891, penúltima coluna).
+ 
+
+ 
+
+ 
+Josephina faleceu em 1º de setembro de 1913, viúva, de acordo com as notícias veiculadas na época, no Rio de Janeiro, e foi enterrada no Cemitério de São Francisco Xavier, em 2 de setembro de 1913. Sua irmã, Maria Amelia de Azevedo Costa, e seus filhos, Alfredo e Moacyr Alvares de Azevedo, convidaram para a missa de Sétimo Dia, realizada na Igreja de Nossa Senhora da Conceição e Dores, em São Cristóvão. Residia na rua Luiz Barbosa, número 102 (A Época, 3 de setembro de 1913, segunda coluna; O Paiz, 5 de setembro de 1913, última coluna).
+ 
+Jornal do Brasil, 8 de setembro de 1913
+ 
+Comentando sobre a conquista do direito ao voto pelas mulheres inglesas, Antenor Thibau lembrou, em um artigo no Jornal do Brasil, a atuação de Josephina em prol da emancipação feminina no Brasil (Jornal do Brasil, 27 de fevereiro de 1918, segunda coluna).
+ 
+Jornal do Brasil, 27 de fevereiro de 1918
+ 
+Leolinda Daltro (1859 – 1935), Mariana de Noronha Horta (18? – 19?) e Mietta Santiago (1903 – 1995)
+ 
+Outra sufragista importante foi a professora, feminista e indigenista baiana Leolinda Daltro (1859 – 1935), fundadora do Partido Republicano Feminino, em 1910. Ela será tema de um artigo futuro da Brasiliana Fotográfica.
+ 
+Leolinda de Figueiredo Daltro
+ 
+A professora de Belo Horizonte Mariana de Noronha Horta (18? – 19?) também teve um atuação relevante na luta pelo voto feminino: em agosto de 1916, encaminhou um requerimento pedindo aos deputados que aprovassem o sufrágio feminino. No acervo de documentos da Câmara Federal, esta é a primeira manifestação formal de uma mulher solicitando direitos políticos (Correio Paulistano, 17 de agosto de 1916; Site da Câmara dos Deputados).
+ 
+Correio Paulistano, 17 de agosto de 1916
+ 
+Eleitora pioneira em Minas Gerais, a escritora e advogada Mietta Santiago (1903 – 1995), como ficou conhecida Maria Ernestina Carneiro Santiago Manso Pereira, nasceu em Varginha, em 1903, e, aos 11 anos, foi viver na capital mineira, onde estudou na Escola Normal de Belo Horizonte. Casou-se, em 1923, após passar cerca de seis meses na Europa, com o médico João Manso Pereira.
+Com apenas 25 anos, em 1928, impetrou um mandado de segurança alegando que o veto ao voto das mulheres seria contrário ao artigo 70 da Constituição Brasileira de 24 de fevereiro 1891, então em vigor (O Paiz, 16 de setembro de 1928, quarta coluna; (Diário Carioca, 18 de setembro de 1928, terceira coluna; O Paiz, 23 de setembro de 1928).
+ 
+O Paiz, 16 de setembro de 1928
+ 
+Tornou-se eleitora e candidatou-se a deputada federal, mas não conseguiu se eleger. O fato, uma verdadeira audácia para a época, mereceu versos do poeta, também mineiro, Carlos Drummond de Andrade (1902 – 1987):
+ 
+
+ 
+Além disso, Mietta fundou a Liga de Eleitoras Mineiras. Era amiga de políticos como Getulio Vargas (1882 – 1954) e Tancredo Neves (1910 – 1985) e de escritores como o memorialista Pedro Nava (1903 – 1984) e o poeta Carlos Drummond de Andrade (1902 – 1987). Como escritora, publicou as obras Namorada da Deus (1936), Maria Ausência (1940); e, em 1981, Uma consciência unitária para a humanidade e As 7 poesias. Faleceu, em 1995, no Rio de Janeiro.
+Em 2017, foi instituída a Medalha Mietta Santiago, condecoração concedida anualmente pela Secretaria da Mulher e pela Presidência da Câmara de Deputados (Site da Câmara de Deputados).
+ 
+Outras sufragistas brasileiras de destaque
+ 
+Outras feministas destacadas na luta pelo voto feminino foram a urbanista, arquiteta e engenheira mato-grossense Carmen Portinho (1903 – 2001), a sindicalista alagoana Almerinda Farias Gama (1899 – 1999), a advogada mineira Elvira Komel (1906 – 1932), Maria Prestia (? – 1988), líder de um minoritário grupo de feministas de São Paulo; Júlia Augusta de Medeiros (1896 – 1972), uma das pioneiras no jornalismo, na educação e no feminismo no Rio Grande do Norte; e a advogada gaúcha Natércia da Cunha Silveira (1905 – 1993). Todas já foram temas de artigos publicados na Brasiliana Fotográfica.
+ 
+Excursão das participantes do II Congresso Internacional Feminista ao Recreio dos Bandeirantes no Rio de Janeiro, junho de 1931. Bertha Lutz está em pé e é a terceira, da direita para a esquerda. Carmen está sentada e é a terceira, também da direita para a esquerda. Almerinda Gama está sentada, a primeira da esquerda para a direita. Rio de Janeiro, RJ / Acervo Arquivo Nacional
+ 
+Elvira Komel / A Noite, 7 de outubro de 1931
+ 
+Maria Préstia / Correio Paulistano, 1º de julho de 1951
+ 
+Julia Medeiros votando em 5 de abril de 1928. Natal, Rio Grande do Norte / O Paiz, 4 de novembro de 1928
+ 
+Meses após à conquista do voto das mulheres no Brasil, ainda em 1932, Natércia e Bertha foram nomeadas para integrar a comissão para elaborar o anteprojeto da nova Constituição (Correio da Manhã, 14 de julho de 1932, terceira coluna; Correio da Manhã, 19 de julho de 1932, primeira coluna; Brasil Feminino, dezembro de 1932). Em 1934, o sufrágio feminino estava contemplado na Constituição Federal.
+ 
+Membros da Comissão Elaboradora do Anteprojeto da Constituição de 1934, 11 de setembro de 1932. Bertha Lutz, primeira mulher, da esquerda para a direita, e Natércia da Cunha Silveira. Rio de Janeiro, RJ / Acervo Arquivo Nacional
+ 
+Sobre a importância da conquista do sufrágio feminino, em entrevista, Carmen Portinho declarou que ela deveria ser um estímulo para outros avanços: “Obtivemos a nossa emancipação política, mas esse direito assim isolado, de que nos serve?” (A Noite, 17 de agosto de 1933, última coluna).
+Cerca de seis meses antes da assinatura do Decreto nº 21.076, o jornal A Batalha, de 13 de setembro de 1931, publicou uma reportagem intitulada A nova legislação eleitoral e o voto feminino, com a história do movimento feminista no Brasil, onde a Federação Brasileira pelo Progresso Feminino, dirigido por Bertha, a União Universitária Feminina, sob a direção de Carmen Portinho (1903 – 2001); e a Aliança Nacional de Mulheres, liderado por Natércia da Cunha Silveira (1905 – 1993), foram citadas como importantes iniciativas para a emancipação da mulher no país. Na matéria foi publicada também a lista dos países onde as mulheres já possuíam direito ao voto e comentada a liderança do Rio Grande do Norte na concessão de direitos políticos às mulheres, por intermédio do governador Juvenal Lamartine de Faria (1874 – 1956). Foi transcrito também o discurso proferido por Ruy Barbosa (1849 – 1923) no Teatro Lyrico em apoio à causa feminina (A Batalha, 13 de setembro de 1931).
+ 
+Capa do jornal A Batalha, 13 de setembro de 1931
+ 
+Em 1933, houve eleição para a Assembleia Nacional Constituinte, e as mulheres puderam votar e terem seus votos reconhecidos pela primeira vez. A primeira mulher eleita foi Carlota Pereira de Queiróz (1892 – 1992), em São Paulo.
+ 
+Carlota Pereira de Queiróz / A Noite Illustrada, 16 de fevereiro de 1935
+ 
+Outra pioneiras, eleitas deputadas um ano depois, em 1934, foram Antonieta de Barros (1901-1952), a primeira deputada negra do Brasil, em Santa Catarina; Bertha Lutz (1894 – 1976), no Rio de Janeiro; Zuleide Bogéa (1897 – 1984) e Hildenê Gusmão Castelo Branco (c. 1910 – ?), e Rosa Castro, cuja eleição foi impugnada, no Maranhão; Maria José Salgado Lages, conhecida como Lili Lages (1907-2003), em Alagoas, Maria do Céu Pereira Fernandes (1910 -2001), no Rio Grande do Norte; Maria Luiza Dória Bittencourt (1910 – 2001), na Bahia; Maria de Miranda Leão  (1887-1976), no Amazonas; Quintina Diniz de Oliveira Ribeiro (1878 – 1942), em Sergipe; Maria Theresa Nogueira de Azevedo (1889-1966), Maria Theresa Silveira de Barros Camargo (1894-1975), Alayde Pinheiro Borba (?-?), e Carlota Pereira de Queiróz (1892 – 1992) por São Paulo. 
+ 
+Zuleide Bogéa (1897 – 1984)
+ 
+Bertha Lutz / Revista da Semana, 27 de junho de 1931
+ 
+Maria Luiza Dória Bittencourt / A Noite Illustrada, 16 de fevereiro de 1935
+ 
+Lili Lages / A Noite Illustrada, 16 de fevereiro de 1935
+ 
+Quintina Diniz de Oliveira / A Noite Illustrada, 16 de fevereiro de 1935
+ 
+Maria de Miranda Leão / Beira-Mar, 31 de outubro de 1936
+ 
+Maria do Céu Fernandes/ Fundação José Augusto
+ 
+ 
+Alayde Borba / A Noite Illustrada, 16 de fevereiro de 1935
+ 
+Maria Teresa de Barros Camargo e Maria Theresa Nogueira de Azevedo
+ 
+A primeira deputada estadual negra do Brasil foi Antonieta de Barros (1901 – 1952), em Santa Catarina, em 1934 (República (SC), 17 de janeiro de 1935). Foi eleita como suplente do Partido Liberal Catarinense, mas como Leônidas Coelho de Souza não tomou posse por ter sido nomeado prefeito de Caçador, ela assumiu a titularidade do mandato entre 1935 e 1937. Filha de escrava liberta, jornalista e professora, Antonieta foi pioneira no combate à discriminação dos negros e das mulheres. Acreditava que a educação era a chave para a emancipação social. Em Santa Catarina, sua proposta de criação do Dia do Professor em 15 de outubro foi aprovada em 1948 e, posteriormente, em1963, foi estendida a todo o Brasil. Fundou e dirigiu o jornal A Semana entre os anos de 1922 e 1927. Dirigiu, em 1930, a revista quinzenal Vida Ilhoa e escrevia artigos para jornais. Com o pseudônimo de Maria da Ilha, escreveu, em 1937, Farrapos de Ideias. Em 5 de janeiro de 2023, o presidente Luiz Inácio Lula da Silva sancionou sua inclusão no Livro dos Heróis e Heroínas da Pátria.
+ 
+Antonieta de Barros (1901 – 1952)
+ 
+Nas eleições de outubro de 2022 no Brasil, o número de mulheres que tiveram suas candidaturas registradas junto à Justiça Eleitoral foi de 9.415, 33,28% do total de políticos elegíveis – 91 mulheres foram eleitas a deputadas federais e quatro para o Senado. As mulheres representavam 53% do eleitorado do país – 82 milhões de votantes. Há ainda um longo caminho a percorrer.
+ 
+O voto feminino no Brasil por Teresa Cristina de Novaes Marques
+ 
+ 
+O Rio Grande do Norte e a vanguarda do voto feminino
+ 
+Juvenal Lamartine de Faria, governador do Estado do Rio Grande do Norte, e sufragistas, 1928. Natal, Rio Grande do Norte / Acervo Arquivo Nacional 
+ 
+Em 1927, houve uma eleição no Rio Grande do Norte e Juvenal Lamartine de Faria (1874 – 1956), que havia renunciado ao Senado, concorreu ao governo de seu estado e venceu o pleito. Tomou posse em 1º de janeiro de 1928. Foi necessário realizar eleições complementares para a escolha de um novo senador. Juvenal apoiava a causa do voto das mulheres. Em 25 de outubro de 1927, ainda durante o governo de José Augusto Bezerra de Medeiros, passou a vigorar a Lei Estadual nº 660, com a emenda Regular o Serviço Eleitoral do Estado, que estabelecia a não distinção de sexo para o exercício do sufrágio e, tampouco, como condição básica de elegibilidade.
+Há uma polêmica em torno da primeira eleitora do Brasil na historiografia do feminismo no Brasil no século XX: a natalense e professora Júlia Alves Barbosa Cavalcanti (1898 – 1943) requereu seu alistamento eleitoral no dia 22 de novembro de 1927, porém, dada à sua condição de solteira, o juiz da 1ª vara da Capital retardou o deferimento de seu pleito, que só foi publicado, no Diário Oficial do Estado, no dia 1º de dezembro do mesmo ano. Em 25 de novembro de 1927, a professora Celina Guimarães Viana (1890 – 1972), de Mossoró, deu entrada em uma petição, requerendo sua inclusão na lista de eleitores, que foi aprovada rapidamente, pelo fato de ser casada com um advogado e professor (O Paiz, 2 de dezembro de 1927, primeira coluna). Reivindicando o voto das mulheres, a escritora cearense Rachel de Queiroz (1910 – 2003), com apenas 17 anos, escreveu o artigo Essa questão do voto feminino, publicado no jornal A Jandaia, em 14 de janeiro de 1928. As eleições municipais foram realizadas no dia 5 de abril de 1928, mas os votos das eleitoras foram anulados porque o Senado não reconheceu o direito de voto das mulheres.
+ 
+Celina Guimarães Viana votando em abril de 1928. Mossoró. Rio Grande do Norte 
+
+Júlia Alves Barbosa Cavalcanti foi eleita para a Câmara Municipal de Natal.
+ 
+Júlia Alves Barbosa Cavalcanti
+ 
+“Apesar de, do ponto de vista eleitoral, o estado do Rio Grande do Norte ter reconhecido esta igualdade, faltava, porém, a concretização do “voto de saias”, o que ocorreu nas eleições municipais realizadas no dia 05 de abril de 1928. Em Natal votaram Antônia Fontoura, Carolina Wanderley, Júlia Barbosa e Lourdes Lamartine. Em Mossoró, além de Celina Guimarães, votaram Beatriz Leite e Eliza da Rocha Gurgel. Em Apodi as primeiras eleitoras foram Maria Salomé Diógenes e Hilda Lopes de Oliveira. Em Pau dos Ferros, Carolina Fernandes Negreiros, Clotilde Ramalho, Francisca Dantas e Joana Cacilda Bessa. Ainda em Caicó e Acari, respectivamente, Júlia Medeiros e Martha Medeiros. Além de votar, algumas mulheres, a exemplo de Júlia Alves Barbosa em Natal e Joana Cacilda de Bessa em Pau dos Ferros,  foram também eleitas para o cargo de intendente municipal, equivalente a vereador atualmente.“
+Centro de Memória do Tribunal Regional Eleitoral do Rio Grande do Norte
+ 
+Banquete oferecido no Hotel Glória à Júlia Barbosa, pela Federação Brasileira pelo Progresso Feminino, 23 de junho de 1928. Rio de Janeiro, RJ / Acervo Arquivo Nacional
+ 
+ 
+Acesse aqui a linha do tempo da conquista do voto feminino publicada no portal da Câmara dos Deputados
+ 
+ 
+Alguns países e o ano da aprovação do voto feminino
+ 
+1893 – Nova Zelândia
+1902 – Austrália
+1906 – Finlândia
+1907 –  Noruega
+1915 - Dinamarca e Islândia
+1917 - Rússia
+1918 – Áustria, Alemanha, Polônia, Lituânia, Reino Unido e Irlanda
+1920 - Estados Unidos
+1929 – Equador
+1931 – Espanha e Portugal (com limitações). Na Espanha, o direito foi suspenso em 1936 e só voltou a vigorar em 1977.
+1932 – Brasil e Uruguai
+1934 - Turquia
+1944 - França
+1945 – Itália e Japão
+1947 - Argentina e Índia
+1952 – Grécia
+1953 - China e México
+1955 – Honduras
+1956 - Egito
+1962 - Bahamas e Mônaco
+1970 – Andorra
+1971 – Suíça
+1980 – Iraque
+1994 – Omã
+2015 – Arábia Saudita
+ 
+Andrea C. T. Wanderley
+
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Este artigo foi atualizado em 27 de março de 2025.
+Fontes:
+ARAÚJO, Rita de Cássia de. O voto de saias: a Constituinte de 1934 e a participação das mulheres na política. Mulher, mulheres • Estud. av. 17 (49) • Dez 2003
+BARBOSA, Lia Pinheiro; MAIA, Vinicius Madureira. Nísia Floresta e ainda a controvérsia da tradução de Direitos das mulheres e injustiça dos homens. Revista Estudos Feministas, 28 (2), 2020.
+BARP, Guilherme. A luta de Josefina Álvares de Azevedo pelos direitos das mulheres em A mulher moderna (1891). Nau Literária, Vol. 18, n. 01 (2022) – Dossiê: Racismo, sexismo e Direitos Humanos. Organizado pela Profa. Dra. Regina Zilberman (UFRGS), 5 de setembro de 2022.
+BBC News Brasil
+Cadernos do Mundo Inteiro
+CAMPOI, Isabela Candeloro. O livro “Direitos das mulheres e injustiça dos homens” de Nísia Floresta: literatura, mulheres e o Brasil do século XIX. História (São Paulo) v.30, n.2, p. 196-213, ago/dez 2011.
+Centro de Referências em Educação Integral
+COELHO, Catarina Alves. Direito das Mulheres e Injustiça dos Homens: a tradução utópico-feminista de Nísia Floresta. Dissertação (Mestrado) – Faculdade de filosifia, Letras e Ciências Humanas da Universidade de São Paulo, 2019.
+CORREA E SILVA, Laila. O direito ao voto feminino no século XIX brasileiro: a atuação política de Josephina Álvares de Azevedo (1851-1913). Aedos, Porto Alegre, v. 10, n. 23, p. 114-131, Dez. 2018.
+CRUZ, Marileia dos Santos; MATOS, Érica de Lima; SILVA, Ediane Holanda. “Exma. Sra. d. Maria Firmina dos Reis, distinta literária maranhense”: a notoriedade de uma professora afrodescendente no século XIX. Notandum 48 set-dez 2018 CEMOrOc-Feusp / Universidade Autônoma de Barcelona
+DUARTE, Constância Lima. As viagens e o discurso autobiográfico de Nísia Floresta. Matraga, Rio de Janeiro, v.16, n.25, jul./dez. 2009.
+DUARTE, Constância Lima. Imprensa feminina e feminista no Brasil: século XIX . Belo Horizonte: Autêntica, 2016.
+DUARTE, Constância Lima. Narrativas de viagem de Nísia Floresta. Via Atlântica, n. 2 jul. 1999.
+DUARTE, Constância Lima. Nísia Floresta: Incompreensão em relação à sua genialidade. Ciência & Trópico, Recife, v. 26, n. 2, p. 253-260,julho /dez, 1998. 
+DUARTE, Constância Lima. Nísia Floresta: a primeira feminista do Brasil. Florianópolis: Editora Mulheres, 2005.
+DUARTE, Constância Lima. Nísia Floresta: vida e obra. Natal: Editora Universitária/UFRN, 1995.  
+FLORESTA , Nísia. Opúsculo humanitário / Nísia Floresta ; prefácio Maria da Conceição Lima Alves ; notas Maria Helena de Almeida Freitas, Mônica Almeida Rizzo Soares. – Brasília : Senado Federal, 2019
+G1, 27 de outubro de 2022
+Guia do Estudante
+HAHNER, June E. A mulher brasileira e suas lutas sociais e políticas: 1850-1937. São Paulo: Brasiliense, 1981.
+HALLEWELL, Laurence. (2005). O livro no Brasil: sua historia. São Paulo : Edusp, 2055.
+Hemeroteca Digital da Biblioteca Nacional
+ITAQUI, Antônio Carlos de Oliveira. Nísia Floresta: ousadia de uma feminista no Brasil do século XIX. Trabalho de Conclusão de Curso apresentado como requisito parcial à obtenção do grau de Licenciatura Plena em História, do Departamento de Humanidades e Educação da Universidade Regional do Noroeste do Estado do Rio Grande do Sul, 2013.
+KARAWEJCZYK, Monica. Mulher Deve Votar? O Código Eleitoral de 1932 e a Conquista do Sufrágio Feminino através das páginas dos jornais Correio da Manhã e A Noite. São Paulo : Paco Editorial, 2019.
+LEMES, Camila Assis. O jornal Familia e o debate sobre o voto feminino nos primeiros anos da república brasileira. XIV Encontro Regional de História. UEPR, 2014.
+LUCA, Leonora de. A mensageira: uma revista de mulheres escritoras na modernização bra-sileira. 1999. 581 f. Dissertação (Mestrado em Sociologia) – Curso de Mestrado em Sociologia, Instituto de Filosofia e Ciências Sociais, Universidade Estadual de Campinas, Campinas, 1999.
+MARQUES, Teresa Cristina de Novaes. O voto feminino do Brasil. Brasília : Edições Câmara, 2019.
+MELO, Ezilda. Nísia Floresta: uma mulher à frente de seu tempo. Empório do Direito, 19 de novembro de 2015.
+Memorial Legislativo – Câmara Municipal de Natal
+MARRA, Laissa. A narrativa de Maria Firmina dos Reis: nação e colonialidade. Tese apresentada ao Programa de Pós-Graduação em Letras: Estudos Literários da Faculdade de Letras da Universidade Federal de Minas Gerais, como requisito parcial para obtenção do título de Doutora em Letras: Estudos Literários, 2020.
+MENDES, Algemira Macedo. Maria Firmina dos Reis e Amélia Beviláqua na história da literatura brasileira: representação, imagens e memórias nos séculos XIX e XX. Tese apresentada como requisito parcial para a obtenção do grau de Doutor em Letras, na área de concentração de Teoria da Literatura. Pontifícia Universidade Católica do Rio Grande do Sul.
+MUZART, Zahidé Lupinacci (Org.). Escritoras brasileiras do século XIX: antologia. 2. ed. vol. II. Florianópolis: Editora Mulheres; Santa Cruz do Sul: EDUNISC, 2000.
+OLIVEIRA, Ellen dos Santos (organizadora). 200 anos de Maria Firmina dos Reis, primeira educadora e escritora negra do Brasil. SERGIPE : J. Alves Editora e Livraria, 2022.
+PACHECO, Maria da Glória Costa. GÊNERO E POLÍTICA: conquista e repercussão do voto feminino no Maranhão (1900-1934). Outros Tempos, www.outrostempos.uema.br, ISSN 1808-8031, Vol. 1 esp., 2007, p. 46-63
+PALLARES-BURKE, Maria Lúcia Garcia. Pela liberdade das mulheres. Mais! Folha de São Paulo, 10 de setembro de 1995.
+Portal da Câmara dos Deputados
+Portal Geledés
+Portal Literafro
+Portal do Senado
+RIBEIRO, Antônio Sérgio. A mulher e o voto. São Paulo: ALESP, 2012.
+SABINO, Ignez. Mulheres Illustres do Brazil. Edição fac-similar. Florianópolis: Editora das Mulheres, 1996.
+SANTOS, Renata Carolina Pereira dos. “Às Urnas, Cidadãs”: O voto feminino nas páginas do Boletim da Federação Brasileira pelo Progresso Feminino (1934-1935). INSTITUTO LATINO-AMERICANO DE ARTE, CULTURA E HISTÓRIA (ILAACH), 2024.
+SCHUMAHER, Schuma; BRAZIL, Erico Vital (organizadores). Dicionário mulheres do Brasil: de 1500 até a atualidade biográfico e ilustrado. Rio de Janeiro : Jorge Zahar Ed., 2000.
+SCHUMAHER, Schuma; CERVA, Antonia Cerva. Mulheres no Poder – trajetórias políticas a partir da luta das sufragistas do Brasil.
+SOUZA DA SILVA, Ellen Carla. Uma voz feminina na luta antiescravista: Nísia Floresta. Nau Literária, Vol. 18, n. 01 (2022) – Dossiê: Racismo, sexismo e Direitos Humanos. Organizado pela Profa. Dra. Regina Zilberman (UFRGS), 5 de setembro de 2022.
+SILVA, Elizabeth Maria da. A Imprensa Pedagógica e Feminista no Brasil: Nísia Floresta e a Educação das Mulheres no século XIX. Tese de Doutorado. Universidade de Salamanca. Departamento de TEoria e História da Faculdade de Educação, 2018.
+Site Elas na Política
+Site Fundação José Augusto
+Site Fundação Perseu Abramo
+Site Geledés
+Site Insider
+Site Musica Brasilis
+Site Superior Tribunal Eleitoral
+Site Tribunal Regional Eleitoral do Rio Grande do Norte
+Site Uvesp
+SOUTO-MAIOR, Valéria Andrade. O florete e a máscara: Josephina Álvares de Azevedo, dramaturga do século XIX. Dissertação (Mestrado em Letras) – Curso de Pós-Graduação em Letras – Literatura Brasileira e Teoria Literária, Universidade Federal de Santa Catarina (UFSC), Florianópolis, 1995.
+TRINDADE, Hélgio; NOLL, Maria Izabel. Subisídios para a história do Parlamento Gaúcho (1890-1937). Porto Alegre : CORAG, 2005.
+Wikipedia
+ 
+Acesse aqui os outros artigos da Série “Feministas, graças a Deus!“
+
+Série “Feministas, graças a Deus!” I – Elvira Komel, a feminista mineira que passou como um meteoro, publicado em 25 de julho de 2020, de autoria da historiadora Maria Silvia Pereira Lavieri Gomes, do Instituto Moreira Salles, em parceria com Andrea C. T. Wanderley, editora e pesquisadora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” II  – Natércia da Cunha Silveira (1905 – 1993), o jequitibá da floresta, publicado em 20 de agosto de 2020, de autoria de Andrea C.T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” III  – Bertha Lutz e a campanha pelo voto feminino: Rio Grande do Norte, 1928, publicado em 29 de setembro de 2020, de autoria de Maria do Carmo Rainha, doutora em História e pesquisadora do Arquivo Nacional
+Série “Feministas, graças a Deus!” IV  – Uma sufragista na metrópole: Maria Prestia (? – 1988), publicado em 29 de outubro de 2020, de autoria de Claudia Heynemann, doutora em História e pesquisadora do Arquivo Nacional
+Série “Feministas, graças a Deus!” V – Feminista do Amazonas: Maria de Miranda Leão (1887 – 1976), publicado em 26 de novembro de 2020, de autoria de Maria Elizabeth Brêa Monteiro, mestre em História e pesquisadora do Arquivo Nacional
+Série “Feministas, graças a Deus!” VI – Júlia Augusta de Medeiros (1896 – 1972) fotografada por Louis Piereck (1880 – 1931), publicado em 9 de dezembro de 2020, de autoria de Andrea C.T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” VII – Almerinda Farias Gama (1899 – 1999), uma das pioneiras do feminismo no Brasil, publicado em 26 de fevereiro de 2021, de autoria de Andrea C.T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” VIII – A engenheira e urbanista Carmen Portinho (1903 – 2001), publicado em 6 de abril de 2021, de autoria de Andrea C. T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” IX – Mariana Coelho (1857 – 1954), a “Beauvoir tupiniquim”, publicado em 15 de junho de 2021, de autoria de Andrea C. T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” X – Maria Luiza Dória Bittencourt (1910 – 2001), a eloquente primeira deputada da Bahia, publicado em 25 de março de 2022, de autoria de Andrea C. T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” XI e série “1922 – Hoje, há 100 anos” VI – A fundação da Federação Brasileira pelo Progresso Feminino, publicado em 9 de agosto de 2022, de autoria de Andrea C. T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” XII e série “1922 – Hoje, há 100 anos” XI – A 1ª Conferência para o Progresso Feminino, publicado em 19 de dezembro de 2022, de autoria de Maria Elizabeth Brêa Monteiro, historiadora do Arquivo Nacional
+Série “Feministas, graças a Deus!” XIV – No Dia Internacional da Mulher, Alzira Soriano, a primeira prefeita do Brasil e da América Latina, publicado em 8 de março de 2023, de autoria de Andrea C T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” XV – No Dia dos Povos Índígenas, Leolinda Daltro,”a precursora do feminismo indígena” e a “nossa Pankhurst, publicado em 19 de abril de 2023, de autoria de Andrea C T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” XVI – O I Salão Feminino de Arte, em 1931, no Rio de Janeiro, de autoria de Andrea C. T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica, publicado em 30 de junho de 2023
+Série “Feministas, graças a Deus!” XVII – Anna Amélia Carneiro de Mendonça e o Zeppelin, equipe de Documentação da Escola de Ciências Sociais FGV CPDOC, em parceira com Andrea C.T. Wanderley, publicado em 5 de janeiro de 2024
+Série “Feministas, graças a Deus!” XVIII – Júlia Lopes de Almeida (1862 – 1934), a “escritora da Belle Époque tropical”, de autoria de Andrea C. T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica, publicado em 5 de junho de 2024
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/5061` — `itens/20.500.12156.1_5061/`
+- `20.500.12156.1/5028` — `itens/20.500.12156.1_5028/`
+- `20.500.12156.1/6472` — `itens/20.500.12156.1_6472/`
+- `20.500.12156.1/6648` — `itens/20.500.12156.1_6648/`
+- `20.500.12156.1/6581` — `itens/20.500.12156.1_6581/`
+
diff --git a/wordpress/31474-serie-feministas-gracas-a-deus-xiv-no-dia-internacional-da-mulher-alzira-soriano.md b/wordpress/31474-serie-feministas-gracas-a-deus-xiv-no-dia-internacional-da-mulher-alzira-soriano.md
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+---
+id: 31474
+url: "https://brasilianafotografica.bn.gov.br/?p=31474"
+titulo: "Série “Feministas, graças a Deus!” XIV – No Dia Internacional da Mulher, Alzira Soriano, a primeira prefeita do Brasil e da América Latina"
+autor: "Andrea Wanderley"
+data: "2023-03-08T13:11:30+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/6566"]
+fetched_at: "2026-09-10T10:13:51.132Z"
+---
+
+# Série “Feministas, graças a Deus!” XIV – No Dia Internacional da Mulher, Alzira Soriano, a primeira prefeita do Brasil e da América Latina
+
+No Dia Internacional da Mulher, a Brasiliana Fotográfica destaca, no 14º artigo da série Feministas, graças a Deus!, a eleição da potiguar Alzira Soriano (1897 – 1963), que se tornou, em 1928, a primeira prefeita do Brasil e da América Latina.  A conquista foi tema de uma das colunas “Turista Aprendiz”, do escritor Mário de Andrade (1893 – 1945). O portal também selecionou fotografias de feministas presentes em seu acervo fotográfico. A ideia da criação de um dia para celebrar a mulher remonta ao século XIX, mas foi, em 1975, que o dia 8 de março foi instituído pelas Nações Unidas como o Dia Internacional das Mulheres.
+Apesar dos avanços relativos à emancipação feminina, infelizmente, conforme pesquisa realizada pelo Fórum Brasileiro de Segurança Pública e divulgada há alguns dias, o Brasil está diante de um aumento de violência contra a mulher. De acordo com Samira Bueno, diretora executiva do Fórum: Foram mais de 18 milhões de mulheres vítimas de violência no último ano. São mais de 50 mil vítimas por dia, um estádio de futebol lotado. O estudo revela também que uma a cada três mulheres brasileiras (33,4%) com mais de 16 anos já sofreu violência física e/ou sexual de parceiros ou ex-parceiros.
+Acessando o link para fotografias de feministas selecionadas e disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Alzira Soriano (1897 – 1963) , a primeira prefeita do Brasil e da América Latina
+ 
+Posse de Alzira Soriano, primeira prefeita eleita do Brasil e da América do Sul, 1º de janeiro de 1929. Lajes, Rio Grande do Norte / Acervo Arquivo Nacional
+ 
+Foi no Rio Grande de Norte que Alzira Soriano (1897 – 1963) foi eleita, em 2 de setembro de 1928, para comandar a cidade de Lajes, com 60% dos votos, tornando-se a primeira prefeita do Brasil e da América do Sul, tendo tomado posse no cargo em 1º de janeiro de 1929 (O Paiz, 1º e 2 de outubro de 1928). Lembramos aqui que, justamente no estado referido, a Lei Estadual nº 660, com a emenda Regular o Serviço Eleitoral do Estado, que estabelecia a não distinção de sexo para o exercício do sufrágio e, tampouco, como condição básica de elegibilidade, passou a vigorar em 25 de outubro de 1927, durante o governo de  José Augusto Bezerra de Medeiros (1884 – 1971).
+Na edição de O Paiz, de 2 de dezembro de 1927, foi publicada uma pequena matéria com uma mensagem de Alzira:
+“Estão se mostrando animadores os primeiros resultados da instituição do voto feminino, no Rio Grande do Norte. Não obstante ser tão recente a introdução desta medida, já vem chegando as novas dos primeiros alistamentos. Há breves dias anunciava-se que a senhorita Julia Barbosa, catedrática de matemática na capital daquele estado, requerera alistamento eleitoral. Agora telegrama do anuncio de Mossoró afirma a inclusão do nome de uma senhora na lista eleitoral. Trata-se da Sra. Celina Vianna, casada, professora, com economia própria, que poderá vangloriar-se de ser a primeira eleitora do Brasil. Outro despacho telegráfico, de Jardim Angicos, vem assegurar ao senador Juvenal Lamartine, propulsor da ideia, e presidente eleito do Estado, o apreço e a solidariedade do futuro eleitorado feminino da sua terra. Transcrevemos a mensagem a seguir: “Orgulhosa pelo gesto da Assembleia Legislativa do nosso querido Estado, concedendo o direito ao voto feminino, em nome das mulheres de Lages, felicito V. EX. pela brilhante vitória e asseguro solidariedade política ao futuro governo. – Alzira Soriano”
+As eleições para a escolha de um novo senador para o Rio Grande do Norte foram realizadas no dia 5 de abril de 1928, mas os votos das eleitoras foram anulados porque o Senado não reconheceu o direito de voto das mulheres. Mas o voto feminino valeria nas eleições já mencionadas, de 2 de setembro de 1928, quando Alzira tornou-se a primeira prefeita do Brasil e da América do Sul. Ela enfrentou forte resistência de seus opositores, correligionários ao seu concorrente, Sérvulo Pires Neto Galvão, que não se conformavam em disputar a eleição com uma mulher (SOUZA, 1993). A notícia de sua eleição foi publicada na edição do dia 8 de setembro do jornal norte-americano New York Times com o título ’Americanized’ Town Elects Brazil’s First Woman Mayor – Cidade americanizada elege primeira prefeita mulher do Brasil. O artigo atribuia o fato à influência do movimento sufragista norte-americano no Brasil (Gazeta de Notícias, 7 de setembro de 1928, quarta coluna).
+Luiza Alzira Teixeira de Vasconcelos nasceu, em 29 de abril de 1897, em Jardim de Angicos, no Rio Grande do Norte, filha do coronel Miguel Teixeira de Vasconcelos e da dona Margarida Teixeira de Vasconcelos. Antes dela, haviam nascido duas meninas e um menino, que não sobreviveram às doenças da infância. O casal Miguel e Margarida teve 22 filhos, dos quais apenas sete mulheres e um homem se criaram. Seu pai detinha o poder político da região, que incluía os municípios de Lajes e Pedra Preta; e era o maior comerciante da cidade.
+Em 29 de abril de 1914, Alzira casou-se com Thomaz Soriano de Souza Filho (1889 – 1919), de uma tradicional família de Pernambuco. Foram morar em Ceará-Mirim, no Rio Grande do Norte, onde o marido trabalhava como promotor. Tiveram quatro filhas: Sonia, que nasceu em 25 de setembro de 1915; Ismênia, nascida em 4 de outubro de 1917; Maria do Céu, que nasceu em 1918, mas morreu de sarampo antes de completar um mês de vida; e Ivonilde, nascida em 25 de março de 1919. Meses antes, em 9 de janeiro de 1919, Thomaz faleceu de gripe espanhola (Diário de Pernambuco, 11 de janeiro de 1919, quinta coluna). Alzira voltou a morar em Jardim de Angicos, depois passou uma pequena temporada no Recife e, finalmente retornou à Jardim de Angicos, onde voltou à administração da Fazenda Primavera, de seu pai. A cidade passara a ser um distrito de Lajes.
+Voltando à carreira política de Alzira. A responsável pela indicação de Alzira como candidata à Prefeitura de Lajes pelo Partido Republicano foi Bertha Lutz (1894 – 1996), cuja atuação foi fundamental na luta pela emancipação da mulher no Brasil. Foi a fundadora da Federação Brasileira para o Progresso Feminino e foi uma figura central na luta pelo voto feminino no país, entidade da qual Alzira tornou-se conselheira (O Paiz, 8 de maio de 1930, última coluna). Bertha viajou ao Rio Grande do Norte, em 1928, em campanha pelo alistamento das mulheres. Na ocasião, foi almoçar com o então  governador do estado, Juvenal Lamartine  (1874 – 1956), na Fazenda Primavera, ocasião em que conheceu Alzira e se impressionou com sua determinação. Na época, Alzira participava ativamente da administração dos trabalhos na lavoura e pasto.
+ 
+Alzira Soriano / Revista da Semana, 27 de junho de 1931
+ 
+Enfrentou uma grande resistência de seus opositores, dos correligionários do outro candidato à prefeitura, Sérvulo Pires Neto Galvão. Eles não se conformavam com a candidatura de uma mulher. Alguns chegavam a afirmar que mulher pública era prostituta. O candidato derrotado, por ter se sentido humilhado por ter perdido para uma mulher, saiu da cidade.
+Enfim, sua eleição foi festejada na edição de A Noite, de 10 de setembro de 1928, primeira coluna; e em O Paiz, de 1º e 2 de outubro de 1928 com a publicação de um pequeno perfil da recém eleita prefeita e também de uma entrevista realizada por Amphiloquio Câmara, representante de O Paiz no Rio Grande do Norte.
+ 
+A Noite, 10 de setembro de 1928
+ 
+Alzira Soriano com suas filhas Sônia, Ismênia e Ivonilde / Paiz, 1º e 2 de outubro de 1928
+ 
+A declaração abaixo e outras feitas por Alzira na entrevista publicada na mesma edição de O Paiz deixa claro que ela seguia uma linha do feminismo, adotada pela grande maioria das mulheres que participavam da Federação Brasileira pelo Progresso Feminino, que não contestava a ordem patriarcal: as mulheres se colocavam como colaboradoras dos homens.
+ 
+
+ 
+Foi entrevistada pelo jornal A Noite, de 28 de setembro de 1928.
+Em dezembro de 1928, foi publicada uma mensagem enviada por ela a Bertha Lutz, cuja atuação considerava brilhante e decisiva (O Paiz, 16 de dezembro de 1928).
+ 
+O Paiz, 16 de dezembro de 1928
+ 
+Alzira tomou posse em 1º de janeiro de 1929 e, dias depois, em uma entrevista para o jornal A República (RN) declarou que sua gestão se alinharia a do governador Juvenal Lamartine (1874 – 1956), incansável em promover o bem estar coletivo. Ela já havia renovado o contrato de luz elétrica, começado a limpeza total e a edificação da cadeia de Lajes e que, em breve, as obras de construção de um campo de aviação na cidade se iniciariam (O Paiz, 21 e 22 de janeiro de 1929, quinta coluna).
+ 
+Equipe da Prefeitura de Lajes / Almanak Laemmert, 1929
+ 
+Trecho de seu dircurso de posse:
+…determinaram acontecimentos sociais do nosso querido Rio Grande do Norte, na sua constante evolução da democracia, que a mulher, esta doce colaboradora do lar, se voltasse também para colaborar com outra feição na sua obra políticoadministrativa. De outro modo não poderia se ser. As conquistas atuais, a evolução que ora se opera, abre uma clareira no convencionalismo, fazendo ressurgir nova faceta dos sagrados direitos da mulher. 
+Sua eleição foi tema de uma das colunas “Turista Aprendiz”, do escritor Mário de Andrade (1893 – 1945), datada de 4 de janeiro de 1929, e publicada no Diário Nacional: a democracia em marcha (SP), de 2 de fevereiro do mesmo ano. Mário de Andrade foi uma das figuras centrais do movimento modernista no Brasil. Ele e Oswald de Andrade (1890 – 1954) foram importantes participantes da Semana de Arte Moderna de 1922, mesmo ano em que Mário publicou Paulicéia Desvairada (1922), que introduziu, na poesia brasileira, temas e técnicas modernistas.
+ 
+Coluna “Turista Aprendiz”, de Mário de Andrade, publicada de 2 de fevereiro de 1929, comentando a eleição de Alzira Soriano
+ 
+Foi publicado um relatório com um balanço do governo de Alzira na Prefeitura de Lajes (O Paiz, 26 de março de 1930, quarta coluna; O Jornal, 4 de abril de 1930, penúltima coluna; O Malho, 27 de abril de 1930; O Paiz, 28 e 29 de abril de 1930, penúltima coluna). No artigo A mulher e o Estado, a gestão de Alzira foi elogiada (A Gazeta (SP), 23 de abril de 1930, última coluna).
+ 
+A Gazeta (SP), 23 de abril de 1930
+ 
+Com a Revolução de 30, que ocorreu em outubro de 1930, por não concordar com o governo de Getulio Vargas (1882 – 1954) – havia apoiado Júlio Prestes (1882 – 1946) à presidência da República – Alzira, apesar de convidada a permanecer no cargo como interventora, não aceitou (O Paiz, 29 de agosto de 1929, quinta coluna). Segunda uma de suas filhas, no último dia de sua gestão foi visitar seus correligionários e também seus opositores. Tendo sido insultada por um deles, Miguel da Silveira, reagiu cobrindo-0 de tapas.
+Mudou-se para Natal, onde permaneceu com as filhas até fins da década de 30, quando retornou ao comando da fazenda, com seus irmãos mais novos, devido ao falecimento de seu pai. Voltou à vida política somente em 1947, desta vez como vereadora da cidade de Lajes pela União Democrática Nacional – UDN. Reelegeu mais algumas vezes.
+Faleceu, de câncer, no dia 28 de maio de 1963, após cerca de dois anos do diagnóstico da doença, na casa da filha Ivonilde, em Natal, um dia depois de retornar do Rio e de São Paulo, onde esteve se tratando. Na ocasião, além de três filhas, tinha oito netos (Diário de Notícias, 31 de maio de 1963, segunda coluna).
+ 
+Alzira Soriano / O Paiz, 30 de dezembro de 1928
+ 
+Em sua homenagem, foi realizada, entre 24 e 29 de abril de 2018, no município de Lajes, a Semana Alzira Soriano, com a realização de atividades educacionais e culturais.
+ 
+
+ 
+Em Jardim de Angicos há um museu municipal em memória de Alzira Soriano. Guarda em seu acervo fotos e móveis antigos, reportagens de jornais e de revistas.
+ 
+
+ 
+Sua imagem está presente na bandeira de Jardim de Angicos, juntamente com a representação de alguns pontos turísticos naturais da cidade. Foi sancionada uma lei, em 28 de dezembro de 2018, instituindo o dia e mês do nascimento de Alzira Soriano, 29 de abril, como feriado municipal na cidade.
+ 
+
+ 
+Ainda em 2018, Alzira Soriano foi postumamente homenageada com o Diploma Mulher-Cidadã Carlota Pereira de Queirós, da Câmara dos Deputados. A homenagem, segundo a Câmara, é concedida a mulheres que tenham contribuído para o pleno exercício da cidadania e para a defesa dos direitos da mulher e das questões de gênero no Brasil.
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+Centro de Memória do Tribunal Regional Eleitoral do Rio Grande do Norte
+ENGLER, Isabel. A primeira prefeira brasileira Alzira Soriano: o poder político coronelístico, Lages/RN, 1928. Trabalho de conclusão de curso apresentado ao curso de Licenciatura em História da Universidade Federal da Fronteira Sul, como requisito para obtenção do título de licenciada em História. Universidade Federal da Frontiera Sul Campus Chapecó, 2019.
+Hemeroteca Digital da Biblioteca Nacional
+MARQUES, Teresa Cristina de Novaes. O voto feminino do Brasil. Brasília : Edições Câmara, 2019.
+Mulheres de Luta
+O GLOBO
+Portal BBC News Brasil
+Portal Câmara dos Deputados
+Portal UOL
+SCHUMAHER, Schuma; BRAZIL, Erico Vital (organizadores). Dicionário mulheres do Brasil: de 1500 até a atualidade biográfico e ilustrado. Rio de Janeiro : Jorge Zahar Ed., 2000.
+SOUZA, Heloísa Maria Galvão Pinheiro de. Luísa Alzira Teixeira Soriano: primeira mulher eleita prefeita na América do Sul. Natal: CCHLA, 1993.
+ 
+Acesse aqui os outros artigos da Série “Feministas, graças a Deus!“
+
+Série “Feministas, graças a Deus!” I – Elvira Komel, a feminista mineira que passou como um meteoro, publicado em 25 de julho de 2020, de autoria da historiadora Maria Silvia Pereira Lavieri Gomes, do Instituto Moreira Salles, em parceria com Andrea C. T. Wanderley, editora e pesquisadora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” II  – Natércia da Cunha Silveira (1905 – 1993), o jequitibá da floresta, publicado em 20 de agosto de 2020, de autoria de Andrea C.T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” III  – Bertha Lutz e a campanha pelo voto feminino: Rio Grande do Norte, 1928, publicado em 29 de setembro de 2020, de autoria de Maria do Carmo Rainha, doutora em História e pesquisadora do Arquivo Nacional
+Série “Feministas, graças a Deus!” IV  – Uma sufragista na metrópole: Maria Prestia (? – 1988), publicado em 29 de outubro de 2020, de autoria de Claudia Heynemann, doutora em História e pesquisadora do Arquivo Nacional
+Série “Feministas, graças a Deus!” V – Feminista do Amazonas: Maria de Miranda Leão (1887 – 1976), publicado em 26 de novembro de 2020, de autoria de Maria Elizabeth Brêa Monteiro, mestre em História e pesquisadora do Arquivo Nacional
+Série “Feministas, graças a Deus!” VI – Júlia Augusta de Medeiros (1896 – 1972) fotografada por Louis Piereck (1880 – 1931), publicado em 9 de dezembro de 2020, de autoria de Andrea C.T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” VII – Almerinda Farias Gama (1899 – 1999), uma das pioneiras do feminismo no Brasil, publicado em 26 de fevereiro de 2021, de autoria de Andrea C.T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” VIII – A engenheira e urbanista Carmen Portinho (1903 – 2001), publicado em 6 de abril de 2021, de autoria de Andrea C. T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” IX – Mariana Coelho (1857 – 1954), a “Beauvoir tupiniquim”, publicado em 15 de junho de 2021, de autoria de Andrea C. T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” X – Maria Luiza Dória Bittencourt (1910 – 2001), a eloquente primeira deputada da Bahia, publicado em 25 de março de 2022, de autoria de Andrea C. T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” XI e série “1922 – Hoje, há 100 anos” VI – A fundação da Federação Brasileira pelo Progresso Feminino, publicado em 9 de agosto de 2022, de autoria de Andrea C. T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” XII e série “1922 – Hoje, há 100 anos” XI – A 1ª Conferência para o Progresso Feminino, publicado em 19 de dezembro de 2022, de autoria de Maria Elizabeth Brêa Monteiro, historiadora do Arquivo Nacional
+Série “Feministas, graças a Deus!” XIII – E as mulheres conquistam o direito do voto no Brasil!, publicado em 24 de fevereiro de 2023, de autoria de Andrea C T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” XV – No Dia dos Povos Índígenas, Leolinda Daltro,”a precursora do feminismo indígena” e a “nossa Pankhurst, publicado em 19 de abril de 2023, de autoria de Andrea C T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” XVI – O I Salão Feminino de Arte, em 1931, no Rio de Janeiro, de autoria de Andrea C. T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica, publicado em 30 de junho de 2023
+Série “Feministas, graças a Deus!” XVII – Anna Amélia Carneiro de Mendonça e o Zeppelin, equipe de Documentação da Escola de Ciências Sociais FGV CPDOC, em parceira com Andrea C.T. Wanderley, publicado em 5 de janeiro de 2024
+Série “Feministas, graças a Deus!” XVIII – Júlia Lopes de Almeida (1862 – 1934), a “escritora da Belle Époque tropical”, de autoria de Andrea C. T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica, publicado em 5 de junho de 2024
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/6566` — `itens/20.500.12156.1_6566/`
+
diff --git a/wordpress/31815-o-centenario-da-morte-de-rui-barbosa-que-passou-a-historia-como-a-aguia-de-haia.md b/wordpress/31815-o-centenario-da-morte-de-rui-barbosa-que-passou-a-historia-como-a-aguia-de-haia.md
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@@ -0,0 +1,92 @@
+---
+id: 31815
+url: "https://brasilianafotografica.bn.gov.br/?p=31815"
+titulo: "O centenário da morte de Rui Barbosa, que passou à história como a “Águia de Haia”"
+autor: "Andrea Wanderley"
+data: "2023-03-01T11:28:32+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/10145", "20.500.12156.1/11606"]
+fetched_at: "2026-09-10T10:13:54.397Z"
+---
+
+# O centenário da morte de Rui Barbosa, que passou à história como a “Águia de Haia”
+
+“O direito dos mais miseráveis dos homens, o direito do mendigo, do escravo, do criminoso, não é menos sagrado, perante a justiça, que o do mais alto dos poderes. Antes, com os mais miseráveis é que a justiça deve ser mais atenta, e redobrar de escrúpulo; porque são os mais maldefendidos, os que suscitam menos interesse, e os contra cujo direito conspiram a inferioridade na condição com a míngua nos recursos”.
+Trecho de Oração aos Moços, de Rui Barbosa*
+ 
+Com duas imagens realizadas por fotógrafos ainda não identificados, a Brasiliana Fotográfica lembra o centenário da morte do baiano Rui Barbosa (1849 – 1923), abolicionista e um dos artífices da República brasileira, figura ilustre de nossa história (O Paiz, 2 de março e 3 de março de 1923). Uma das fotos, produzida em torno de 1918, o retrata ao lado do engenheiro Paulo de Frontin (1860 – 1933), diante de um navio, no Porto do Rio de Janeiro. A outra mostra seu cortejo fúnebre, realizado em 3 de março de 1923. Ambas pertencem ao acervo fotográfico do Instituto Moreira Salles, uma das instituições fundadoras do portal.
+ 
+Saída do cortejo fúnebre de Rui Barbosa, 3 de março de 1923. Rio de Janeiro, RJ / Acervo IMS
+ 
+O Paiz, 2 de março de 1923
+ 
+Revista da Semana, 10 de março de 1923, cobertura de sua mort e com diveresas fotografias
+ 
+O advogado, jurista e político Rui Barbosa nasceu em 5 de novembro de 1849, em Salvador, e faleceu em Petrópolis, em 1º de março de 1923. Foi um dos mais proeminentes intelectuais de seu tempo, tendo se destacado também como diplomata, escritor, jornalista, orador e tradutor. Foi um abolicionista atuante, tendo colaborado, assim como o também baiano Luis Gama (1830 – 1882), no periódico Radical Paulistano, em 1869 (Radical Paulistano, 19 de agosto de 1869, primeira coluna). Foi um dos autores da Constituição da Primeira República, de 1891, mas, por denunciar o autoritarismo de Floriano Peixoto (1839 – 1895) e apoiar a Revolta da Armada, exilou-se, em 1893, em Buenos Aires, da onde partiru para Lisboa, Madri, Paris e finalmente Londres. Retornou ao Brasil em 1895. Foi também membro fundador da Academia Brasileira de Letras, em 1897.
+ 
+Rui Barbosa, segundo presidente da Academia, lidera uma visita à casa do primeiro presidente, Machado de Assis, à rua Cosme Velho, 18 – hoje demolida – em 9 de outubro de 1910, dois anos após a morte daquele que era chamado de mestre até mesmo por seus colegas / Site da Academia Brasileira de Letras
+ 
+Defendeu as liberdades individuais, o federalismo, o ensino técnico e o acesso das mulheres às faculdades. Foi também admirador do pianista Ernesto Nazareth (1863 – 1934), que ia escutar na sala de espera do Cinema Odeon. Era também grande fã dos Batutas e presença frequente nas apresentações do grupo no Cine Palais.
+ 
+Rui Barbosa e Paulo de Frontin em meio à multidão em frente à navio, c. 1918. Porto do Rio de Janeiro / Acervo IMS
+ 
+Ganhou o cognome de Águia de Haia do Barão do Rio Branco (1845 – 1912), ministro das Relações Exteriores, por sua participação na II Conferência de Paz, realizada, entre 15 de junho e 18 de outubro de 1907, em Haia, na Holanda, quando fez uma notável defesa do princípio da igualdade dos Estados. Foi como Embaixador Extraordinário, Ministro Plenipotenciário e Delegado do Brasil, cuja nomeação havia sido realizada, em 29 de abril de 1907, por decreto do presidente Afonso Pena (1847 – 1909).
+ 
+O Malho, 11 de maio de 1907
+ 
+Ao longo de sua vida foi deputado, senador e ministro da Fazenda do governo de Deodoro da Fonseca (1827 – 1892), primeiro presidente do Brasil.
+ 
+“De tanto ver triunfar as nulidades; de tanto ver prosperar a desonra, de tanto ver crescer a injustiça. De tanto ver agigantarem-se os poderes nas mãos dos maus, o homem chega a desanimar-se da virtude, a rir-se da honra e a ter vergonha de ser honesto”.
+Trecho de discurso proferido por Rui Barbosa no Senado, em 1914
+ 
+Em 1910, foi candidato à Presidência da República, na chamada campanha civilista, mas foi vencido por Hermes da Fonseca (1855 – 1923).
+ 
+O Malho, 26 de março de 1910
+ 
+Rui Barbosa na Campanha Civilista, em 1909 / Acervo Fundação Casa de Rui Barbosa
+ 
+Foi eleito juiz da Corte Internacional de Justiça, em 14 de setembro de 1921. Em agosto de 1922, sofreu um edema pulmonar. Cerca de um mês depois, recebeu a Grã Cruz da Ordem de S. Tiago, de Antônio José de Almeida (1866 – 1929), presidente de Portugal, em visita oficial ao Brasil.
+Rui Barbosa faleceu, como já mencionado, em Petrópolis, em 1º de março de 1923, e foram-lhe concedidas honras de Chefe de Estado. Seu corpo foi velado na Biblioteca Nacional e enterrado no Cemitério de São João Batista, com grande acompanhamento popular, em 4 de março (O Paiz, 4 de março e 5 de março de 1923).
+ 
+Revista da Semana, 10 de março de 1923
+ 
+Em 1949, ano do centenário de seu nascimento, seus restos mortais foram transferidos para o Fórum Rui Barbosa, em Salvador, na Bahia (Correio da Manhã, 4 de novembro de 1949, primeira coluna; Diário de Notícias, 9 de novembro de 1949). Foi publicada uma matéria sobre a Casa de Rui Barbosa (Revista da Semana, 5 de novembro de 1949).
+ 
+Revista da Semana, 19 de novembro de 1949
+ 
+Em sua obra Ordem e Progresso (1974), Gilberto Freyre (1900 – 1987) o definiu como “o homem capaz de grandes façanhas e tremendas vitórias sobre gigantes luros e rosados; espécie de Davi brasileiro em face de Golias nórdicos ou germânicos”.
+ 
+“Rui Barbosa foi, entre nós, refletida ou espontaneamente, o ideólogo de uma reforma da sociedade. (…) essa reforma pode ser chamada, dentro dos limites que indicarei, a ascensão da classe média”.
+San Tiago Dantas (1911 – 1964) em Rui Barbosa e a Renovação da Sociedade
+ 
+“Hoje sabemos que mais do que o seu vernáculo, do que o seu purismo, o que fica de Rui é a capacidade de sacrifício. Ele soube sempre perder. (…) Como a semente do Evangelho que precisa morrer para frutificar, ele soube morrer pelo dia seguinte do Brasil”.
+Oswald de Andrade (1890 – 1954) em Rui e a árvore da liberdade
+ 
+“Rui foi um humanista, não só pelo culto apaixonado do verbo, aprendido para além de sua mera significação pragmática, mas também pelo grau de seu desapego à certeza do êxito, pela sua virtù do risco, pelo amor à nobreza do gesto de optar”.
+Miguel Reale (1910 – 2006) em Posição de Rui Barbosa no Mundo da Filosofia
+ 
+* O discurso Oração aos Moços, de Rui Barbosa, foi proferido na formatura da turma de 1920 da Faculdade de Direito de São Paulo, lido, em de 29 março de 1921, pelo catedrático de Direito Romano, Reinaldo Porchat (1868 – 1953), que viria a ser o primeiro reitor da Universidade de São Paulo.
+ 
+Acesse aqui a Cronologia da Vida e Obra de Rui Barbosa, preparada por Rejane M. Moreira de A. Magalhães, do Setor Ruiano, da Fundação Casa de Rui Barbosa.
+ 
+Andrea C.T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+BARBOSA, Ruy, 1849-1923. Oração aos moços / Rui Barbosa ; prefácios de senador Randolfe Rodrigues, Cristian Edward Cyril Lynch. – Brasília : Senado Federal, Conselho Editorial, 2019.
+CARDIM, Carlos Henrique. A raiz das coisas – Rui Barbosa: o Brasil no mundo. Civilização Brasileira, 2023.
+GABRIEL, Juan de Souza. Vitórias do pequeno Davi contra muitos Golias. O GLOBO, 1º de março de 2023.
+Hemeroteca Digital da Biblioteca Nacional
+SILVA, Leandro de Almeida. O discurso modernizador de Rui Barbosa (1879 – 1923). Dissertação de Mestrado. Minas Gerais: Universidade Federal de Juiz de Fora, 2009.
+Site Academia Brasileira de Letras
+Site Casa de Rui Barbosa
+Site JusBrasil
+Site Senado Federal
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/10145` — `itens/20.500.12156.1_10145/`
+- `20.500.12156.1/11606` — `itens/20.500.12156.1_11606/`
+
diff --git a/wordpress/31902-serie-feministas-gracas-a-deus-xv-no-dia-dos-povos-indigenas-leolinda-daltro-a-p.md b/wordpress/31902-serie-feministas-gracas-a-deus-xv-no-dia-dos-povos-indigenas-leolinda-daltro-a-p.md
new file mode 100644
index 0000000..e8879f7
--- /dev/null
+++ b/wordpress/31902-serie-feministas-gracas-a-deus-xv-no-dia-dos-povos-indigenas-leolinda-daltro-a-p.md
@@ -0,0 +1,522 @@
+---
+id: 31902
+url: "https://brasilianafotografica.bn.gov.br/?p=31902"
+titulo: "Série “Feministas, graças a Deus!” XV – No Dia dos Povos Índígenas, Leolinda Daltro,”a precursora do feminismo indígena” e a “nossa Pankhurst”"
+autor: "Andrea Wanderley"
+data: "2023-04-19T10:09:54+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/2127", "20.500.12156.1/2288", "20.500.12156.1/570"]
+fetched_at: "2026-09-10T10:13:58.002Z"
+---
+
+# Série “Feministas, graças a Deus!” XV – No Dia dos Povos Índígenas, Leolinda Daltro,”a precursora do feminismo indígena” e a “nossa Pankhurst”
+
+No Dia dos Povos Indígenas, a Brasiliana Fotográfica publica o décimo quinto artigo da série Feministas, graças a Deus com uma seleção de imagens produzidas por Alberto Frisch (1840 – 1918), Dana B. Merril (1887 – 19?), Felipe Augusto Fidanza (c.1847 – 1903), Franz Keller (1835 – 1890), Hercule Florence (1804 – 1879), Marc Ferrez (1843 – 1923), Vincenzo Pastore (1865 – 1918), Walter Garbe (18? – 19?) e também por fotógrafos ainda não identificados. O portal traz para seus leitores a história da origem da data e também o perfil de uma das primeiras e mais importantes feministas brasileiras, a baiana Leolinda Daltro (1859 – 1935), chamada de a precursora do feminismo indígena e também de a nossa Pankhurst, uma alusão à famosa e fundamental sufragista britânica Emmeline Pankhurst (1858 – 1928).
+ 
+Vincenzo Pastore. Retrato de indígena com arco e flechas, c. 1905. São Paulo, SP / Acervo IMS
+ 
+Acessando o link para as fotografias de indígenas selecionadas e disponíveis na Brasiliana Fotográfica, o leitor poderá visualizar e magnificar as imagens.
+ 
+Albert Frisch. Indígenas com zarabatana, c. 1867. Província do Alto Amazonas (atual região rio Solimões), Amazonas / Acervo IMS
+ 
+A origem do Dia dos Povos Indígenas
+ 
+Anteriormente chamado no Brasil de Dia do Índio, a data foi criada no Primeiro Congresso Indigenista Interamericano, realizado em Pátzcuaro, no México, entre 14 e 24 de abril de 1940, com a participação da grande maioria dos países americanos, exceto o Canadá, o Haiti e o Paraguai. Havia 55 delegações oficiais, 71 delegados independentes e 47 representantes de grupos indígenas de vários países. O representante brasileiro foi Edgar Roquette-Pinto (1884 – 1954), membro do Conselho Nacional do Serviço de Proteção ao Índio (SPI) (Correio da Manhã, 27 de abril de 1940, sexta coluna; Jornal do Brasil, 25 de maio de 1940, primeira coluna).
+Nem todos os países americanos adotaram a data como dia de celebração da cultura indígena. No Brasil, a data foi instituída pelo Decreto-Lei 5.540, de 1943, assinado pelo então presidente Getulio Vargas (1882 – 1954), convencido pelo marechal Cândido Rondon (1865 – 1958), primeiro diretor do Serviço de Proteção ao Índio, criado em 1910 e extinto em 1967, quando foi substituído pela Fundação Nacional do Índio, Funai (Correio da Manhã, 3 de junho de 1943, sexta coluna).
+ 
+Correio da Manhã, 3 de junho de 1943
+ 
+Passou a chamar-se oficialmente Dia dos Povos Indígenas a partir da Lei 14.402, promulgada em 8 de julho de 2022. A alteração ocorreu com a aprovação do PL 5.466/2019, que revogou o já mencionado decreto de 1943. A nova nomenclatura tem como objetivo explicitar a diversidade das culturas dos povos originários.
+ 
+Walter Garbe. Indígenas, 1909. Santa Leopoldina, Espírito Santo / Acervo FBN
+ 
+Breve perfil de Leolinda Daltro (1859 – 1935), “a precursora do feminismo indígena” e a “nossa Pankhurst”
+ 
+Revista da Semana, 11 de maio de 1935
+ 
+Baiana e importante ativista pela incorporação da população indígena brasileira à sociedade a partir da alfabetização laica e defensora da emancipação da mulher, Leolinda de Figueiredo Daltro nasceu em 14 de julho de 1859. De origem indígena, segundo a própria  descendente em linha reta quer pelo lado paterno quer pelo lado materno de duas tribos indígenas – Tymbira e Tupynamba, viveu a maior parte de sua vida no Rio de Janeiro e foi uma das precursoras do indigenismo e do feminismo no Brasil. Entusiasta do voto feminino, fundou o Partido Republicano Feminino (PRF), em 1910, e a Escola de Ciências, Artes e Profissões Orsina da Fonseca, em 1911.
+“Minei, pacientemente, o terreno, sem que os inimigos do voto feminino se apercebessem do meu verdadeiro objetivo”
+Leolinda Daltro,
+Jornal do Brasil, 18 de dezembro de 1927
+Abaixo, trecho do  artigo Mulher! Sempre a mulher, da poetisa gaúcha e ex-diretora da revista Brasil Feminino Iveta Ribeiro (1886 – 1962), publicado na revista O Malho, de 5 de abril de 1951. Nele, a autora escreve que Leolinda, por sua luta pelos ideais femininos, deveria ter um monumento em praça pública.
+ 
+O Malho, 5 de abril de 1951
+ 
+Leolinda foi casada duas vezes: a primeira com seu primo, Gustavo Pereira de Figueiredo, por volta de 1875; e, a segunda, com Appolonio de Castilho Daltro, em torno de 1883. Com Gustavo teve dois filhos: a futura professora Alcina de Figueiredo (1874 – 1948); e Alfredo Napoleão de Figueiredo (1877 -1931), futuro advogado e funcionário dos Correios. Com Appolonio, teve quatro: Oscar (188?- 1943), Leobino (1887-1959) – que se formaram no Mackenzie College de São Paulo em Direito e Engenharia, respectivamente -; a futura professora Áurea (1893 – 1924) e uma quarta criança, que faleceu ainda bebê.
+Veio para o Rio de Janeiro com a familia, por volta de 1888, e foi nomeada professora municipal. Segundo seu relato, quando dirigia a Escola Mista de Santa Isabel, no Matadouro de Santa Cruz, recebeu a visita da princesa Isabel (1846 – 1921) e de seu marido, o conde D´Eu (1842 – 1922), acompanhados do coronel Floriano Peixoto (1839 – 1905), futuro segundo presidente do Brasil; e de outros militares. Em 1893, Leolinda apoiou o movimento que ficou conhecido como a Segunda Revolta da Armada, quando militares da Marinha se revoltaram contra o governo de Floriano.
+Em 1896, Leolinda envolveu-se com a questão indígena quando um grupo de indígenas Xerente foi ao Rio de Janeiro para pedir proteção ao então presidente da República, Prudente de Moraes (1841 – 1902). Ela defendia a incorporação da população indígena brasileira à sociedade a partir da alfabetização laica – na época, o sistema vigente era a de catequização e conversão dos indígenas ao catolicismo. Para por sua ideia em prática, entre 1896 e início do século XX, percorreu o interior do país, atendendo a um pedido feito, em 1896, pelo indígena Sapé ao já citado presidente da República, para enviar pessoas capazes de instruir as crianças de sua aldeia, em Goiás. Leolinda atuou às margens do Rio Tocantins lecionando para os indígenas Xerente. Foi denominada Oaci-Zauré (estrela d’alva) pelos indígenas de Goiás. Por sua atuação junto a eles foi muitas vezes ridicularizada. Por exemplo, na peça O Filhote, de Vicente Reis, que estreou no Teatro Lucinda, em 11 de março de 1897, Leolinda era atrozmente insultada (O Paiz, 13 de março de 1897, sexta coluna).
+Na sede do Instituto Histórico Geográfico Brasileiro, foi instalado o Instituto de Protecão aos Indigenas Brasileiros, em 21 de outubro de 1902. Leolinda, cujo ativismo foi importante para a realização da iniciativa, foi, acompanhada de seu filho Alfredo Napoleão de Figueiredo, à primeira sessão ordinária, e agradeceu sua admissão como sócia benemérita. Em um breve relato de suas viagens, Leolinda afirmou que era “urgente a fundação de um núcleo de indigenas na margem do Araguaya”.
+Na década de 1900, hospedou diversas vezes indígenas em sua casa no Rio de Janeiro. Em outubro de 1908, fundou a Associação de Auxílio aos Silvícolas do Brasil e ofereceu ao governo seus serviços como coordenadora de uma equipe de educação voltada aos indígenas. Foi delegada do Primeiro Congresso Brasileiro de Geografia, que se realizou no Palácio Monroe, entre 7 e 15 de setembro de 1909. Na comissão de antropologia e etnografia apresentou uma Moção sobre os resultados de suas observações nos sertões de Goiás e Mato Grosso. Seu trabalho completo, intitulado Memória, foi incluído nos anais do evento e seu teor principal refere-se a convicção indigenista de Daltro: retirar da esfera religiosa o privilégio de civilizar os indígenas e transferi-lo para a instância governamental.
+Em 23 de dezembro de 1909, fundou a Junta Feminina Hermes – Venceslau, que apoiava Hermes da Fonseca (1855 – 1923) e Venceslau Brás (1868 – 1966) para a presidência e vice-presidência da República, respectivamente. Sob a presidência de Leolinda, a ata da nova associação expressava seu protagonismo como ativista política pelos direitos das mulheres. Em 1º de março de 1910, a chapa apoiada por ela venceu as eleições. Neste mesmo ano, como já citado, Leolinda fundou o Partido Republicano Feminino (PRF), cujo manifesto, de autoria de Gilka Costa de Melo Machado (1893 – 1980), foi publicado no jornal A República, de 10 de agosto de 1910*. Ela foi uma das 27 fundadoras do partido e, em 1933, ganhou um concurso da revista O Malho como maior poeta brasileira do século XX.
+ 
+A República, 10 de agosto de 1910
+ 
+ 
+Gilka da Costa Melo Machado / Jornal das Moças, 27 de setembro de 1917
+ 
+Em 17 de junho de 1911, Leolinda inaugurou a Escola de Ciências, Artes e Profissões Orsina da Fonseca, que fundou e dirigiu, com a presença da primeira-dama Orsina da Fonseca (1879 – 1912) e do presidente Hermes da Fonseca (1855 – 1923). O discurso de abertura foi feito por Gilka da Costa Melo Machado. Na escola, que era gratuita, eram ministradas aulas de alfaiataria, datilografia, enfermagem, tipografia e até tiro e esgrima. No mesmo ano, fundou a Linha de Tiro Rosa da Fonseca, nome da mãe do presidente Hermes da Fonseca. Posteriormente denominado batalhão feminino, era presença frequente nas festas cívicas do Rio de Janeiro.
+Leolinda declarou, em 1913, considerar-se a responsável pela semente da emancipação feminina no Brasil. Dois anos depois,´em 1915, já como professora catedrática, aposentou-se. Em 1916, sob sua direção foi lançado o primeiro número do periódico quinzenal A Tribuna Feminina. Ainda neste ano, em dezembro, Leolinda encaminhou à Câmara uma representação em nome do Partido Republicano Feminino, sobre o voto feminino:
+
+“A grande maioria do professorado municipal desta cidade é constituído por mulheres. São elas que dão instrução aos futuros cidadãos, que têm sobre os ombros a difícil tarefa de preparo das novas gerações. Se a lei lhes deu tão grande responsabilidade; se o Estado reconhece a sua capacidade para tão alta função, qual seja a de educar e instruir a mocidade; se a Escola Normal, Oficial, lhes conferiu um diploma que lhes habilita para esse espinhoso mister — como admitir que esse mesmo Estado possa negar-lhes capacidade para a simples escolha dos que devam ser os representantes do país nas assembleias legislativas e nos altos postos da administração pública? É o maior dos absurdos.”
+
+Em 1917, requereu seu alistamento eleitoral, mas seu pedido foi recusado. Cerca de um ano depois lançou o livro Início do Feminismo no Brazil – subsídios para a história. Também em 1918, ainda convalescendo da gripe espanhola, Leolinda ofereceu ao então prefeito do Rio de Janeiro, Amaro Cavalcanti (1849 – 1922), o edifício da Escola Orsina da Fonseca para tornar-se uma enfermaria de atendimento a mulheres e crianças desamparadas e o trabalho das 20 enfermeiras da instituição para ajudar no combate à epidemia.
+Em 1919, lançou sua candidatura ao cargo de intendente municipal pela cidade do Rio de Janeiro, mas não foi eleita. Em 1926, voltou a concorrer e não se eleger ao cargo.
+O voto feminino e Leolinda foram alvo de zombaria no desfile dos clubes do carnaval carioca de 1920. No fim deste ano, publicou o livro Da catequese dos índios do Brasil (notícias e documentos para a história). Leolinda justificou a publicação tardia de seus registros alegando que a idéia da educação laica dos indígenas fora recebida com indiferença e frieza e a tornara alvo de ridículo.
+Em 1926, inaugurou o Centro das Escoteiras da Redemptora, na Escola Orsina da Fonseca. Em seu discurso afirmou ter sido a primeira escoteira do Brasil. Em 1933,foi candidata pelo Partido Nacional do Trabalho para deputada constituinte, mas não se elegeu.
+ 
+
+ 
+Leolinda sobre a conquista do voto feminino (Revista da Semana, 20 de maio de 1933):
+ 
+Revista da Semana, 20 de maio de 1933
+ 
+Em 1934, integrava a comissão fiscal da Aliança Nacional das Mulheres, cuja fundadora e presidente era a advogada e feminista Natércia da Cunha Silveira (1905 – 1993).
+Em 30 de abril de 1935, foi atropelada por um automóvel quando atravessava a Praça da República. Após ficar internada por alguns dias na Casa de Saúde Pedro Ernesto, onde teve sua perna amputada, faleceu em 4 de maio. Foi enterrada no Cemitério São João Batista.
+ 
+Leolinda Figueiredo Daltro 
+Mamãe – nosso ourinho
+14/07/1859 04/05/1935
+Precursora do verdadeiro feminismo pátrio 
+Propugnadora da nobilitação dos humildes e humanização dos selvícolas
+Seu epitáfio no Cemitério Sao João Batista
+ 
+ 
+Em 2003, a Assembleia Legislativa do Estado do Rio de Janeiro aprovou a Resolução nº 233, que instituiu o Diploma Mulher Cidadã Leolinda de Figueiredo Daltro. A cada ano são escolhidas dez mulheres para receber a homenagem por seu destaque na vida pública e na defesa dos direitos femininos.
+ 
+Cronologia de Leolinda Daltro
+ 
+
+ 
+A Informação Goyana, maio de 1921
+ 
+1859 - Nasceu, em Nagé, na Bahia, em 14 de julho de 1859 – as fontes variam em relação ao ano, mas aqui consideraremos 1859 como o correto, já que é o que consta em seu epitáfio no Cemitério São João Batista, onde está enterrada.
+Filha de Alexandrina Tupinambá de Figueiredo e de Luiz Antonio de Figueiredo, em um discurso proferido, em 1926, por ocasião da inauguração do Centro das Escoteiras da Redemptora, Leolinda afirmou ser descendente em linha reta quer pelo lado paterno quer pelo lado materno de duas tribos indígenas – Tymbira e Tupynamba. Leolinda perdeu a mãe ainda na infância e foi criada pela avó, Joana Tupinambá de Sant´Anna Barauna (Gazeta de Notícias, 21 de janeiro de 1916, penúltima coluna; O Brasil, 24 de novembro de 1926, quarta coluna; Correio da Manhã, 5 de maio de 1935, sexta coluna; Diário de Notícias, 7 de novembro de 1948; Jornal do Brasil, 18 de março de 1956).
+c. 1871 – Foi internada no Colégio Colé, em Salvador.
+1873 – Seu pai, que havia lutado na Guerra do Paraguai, foi promovido a capitão.
+c. 1875 – Por volta deste ano Leolinda teria se casado com seu primo, Gustavo Pereira de Figueiredo, conforme declarou em juízo seu filho Alfredo Napoleão de Figueiredo. Desse casamento, cujo desfecho é, até o momento, desconhecido, ela teve dois filhos: a futura professora Alcina de Figueiredo (1874 – 1948); e o já citado Alfredo Napoleão de Figueiredo (1877 -1931), futuro advogado e funcionário dos Correios.
+c. 1883 – Casou-se com Appolonio de Castilho Daltro (? – 1943), com o qual teve quatro filhos: Oscar (188?- 1943), Leobino (1887-1959) – que se formaram no Mackenzie College de São Paulo em Direito e Engenharia, respectivamente -; a futura professora Áurea (1893 – 1924) e uma quarta criança, que faleceu ainda bebê.
+Uma curiosidade: a esposa de Leobino, Iracema Amazonas, era irmã de Oscar de Siqueira Amazonas, marido de Alcina. Oscar foi casado com a professora Joaquina Daltro e Áurea com Antônio Cardoso de Gusmão Junior. Alfredo Napoleão foi casado com Antonietta de Figueiredo.
+ 
+Áurea Daltro / Acervo de Leobino Daltro
+ 
+Oscar e Leobino, crianças e adultos / Acervo de Leobino Daltro
+ 
+Nesta década, Leolinda mudou-se com a família para o Rio de Janeiro. Segundo entrevista dada, em 17 de junho de 2011, por seu neto Othon de Castilho Daltro a Paulete Maria Cunha dos Santos, Appolonio era funcionário da Fazenda da Província da Bahia, em Salvador, e foi transferido para o Rio de Janeiro.
+1888 – Foi comunicado ao diretor das escolas suburbanas do Rio de Janeiro que Leolinda havia sido nomeada professora (Jornal do Commercio, 29 de outubro de 1888, segunda coluna; Jornal do Commercio, 7 de novembro de 1888, primeira coluna)
+c. 1888 – Segundo relato de Leolinda, quando dirigia a Escola Mista de Santa Isabel, no Matadouro de Santa Cruz, recebeu a visita da princesa Isabel (1846 – 1921) e de seu marido, o conde D´Eu (1842 – 1922), acompanhados do coronel Floriano Peixoto (1839 – 1905), futuro segundo presidente do Brasil; de outros militares e de outras pessoas gratas, que examinaram os trabalhos escolares, assistiram aos exercícios de ginástica e às aulas de artes e profissões, e a impressão recebida por esses altos personagens foi de tal ordem e tão favorável, que suas altezas, conde d’Eu e a princesa Isabel, mandaram-me um luxuoso livro que intitularam de Livro de Ouro, em cuja primeira página, que denominaram de Página de Honra, lançaram as suas ótimas impressões relativas a sua visita à minha tenda de trabalho. (DALTRO, 1918)
+ 
+Leolinda de Figueiredo Daltro
+ 
+1893 –  Leolinda Daltro apoiou o movimento que ficou conhecido como a Segunda Revolta da Armada, quando militares da Marinha se revoltaram contra o governo de Floriano Peixoto (1839-1895), acusando-o de desrespeitar a constituição já que após a renúncia do presidente da República, Deodoro da Fonseca, na condição de vice-presidente assumiu a presidência, sem convocar eleições presidenciais conforme previa a Constituição em vigor (Gazeta de Notícias, de 24 de novembro de 1891).
+Segundo relato de Leolinda: “Por ocasião da revolta de 6 de setembro de 1893, formado pela primeira vez, em frente da prefeitura, o Batalhão Patriótico Municipal, do qual o mais velho dos meus filhos, Alfredo Napoleão de Figueiredo (com 16 anos de idade), fazia parte como simples soldado, a minha escola apresentou-se com quatrocentos alunos, quase todos uniformizados (à minha custa), fazendo evoluções ginásticas e marchando militarmente entre um delírio de palmas e vivas de quantos assistiram à festa, colocando, uma das alunas, sobre a bandeira do batalhão uma rica coroa de flores douradas, depois de ser pronunciado pela menina Amélia Pessoa um patriótico e vibrante discurso. Todos os alunos foram abraçados com entusiasmo pelos intendentes”. (DALTRO, 1918).
+1894 - Seguia trabalhando como professora municipal no Rio de Janeiro (A Federação, 13 de fevereiro de 1894, quarta coluna).
+1896 – Leolinda envolveu-se com a questão indígena quando um grupo de indígenas Xerente foi ao Rio de Janeiro para pedir proteção ao então presidente da República, Prudente de Moraes (1841 – 1902). Houve denúncias de negligência que motivaram protestos e reações. Em novembro, Leoinda iniciou sua viagem por Goiás. Seu filho, Augusto Napoleão, havia ido antes. Uma campanha para angariar fundos para expedição foi lançada no Rio de Janeiro e em São Paulo. Leolinda era professora da rede pública do Distrito Federal e recebeu do Conselho Municipal um ano de licença com vencimentos, renovados em 1897 e 1898 e também nos anos seguintes, até 1900. Neste período, instruiu, às margens do Rio Tocantins (Gazeta de Notícias, 30 de julho de 1896, quinta coluna; Jornal do Commercio, 22 de agosto de 1896, terceira coluna; Gazeta de Notícias, 13 de novembro de 1896, quarta coluna; Jornal do Recife, 6 de agosto de 1897, quarta coluna;  Colecção de Leis Municipaes e Vetos, 1897 e 1898; Gazeta de Notícias, 25 de julho de 1896, quarta coluna; O Paiz, 19 de agosto de 1896, quarta coluna; A Notícia, 3 de outubro e 1896, segunda coluna; O Commercio de São Paulo, 24 de julho de 1896, quarta coluna; Gazeta de Notícias, 17 de setembro de 1902, quinta coluna).
+ 
+Cidade do Rio, 25 de julho de 1896
+ 
+1897 – Seu retrato foi publicado na Tarde Literária, publicação quinzenal redigida pelo boêmio Raphael Gondry (Gazeta da Tarde, 17 de janeiro de 1897, terceira coluna).
+Na peça O Filhote, de Vicente Reis, que estreou no Teatro Lucinda, em 11 de março de 1897, Leolinda era atrozmente insultada (O Paiz, 13 de março de 1897, sexta coluna).
+ 
+O Paiz, 13 de março de 1898
+ 
+Em torno deste ano, teria se separado de Appolonio.
+Foi noticiado que já havia partido de Goiás para um aldeamento indígena (Jornal do Recife, 6 de agosto de 1897, quarta coluna).
+Década de 1900 – Ao longo desta década tirou diversas licenças para tratar de sua saúde.
+1901 – Apresentou o mapa que organizou das aldeias que visitou em sua missão pelo estado de Goiás e no Mato Grosso (Jornal do Commercio, 18 de junho de 1901, terceira coluna).
+ 
+Jornal do Commercio, 18 de junho de 1901
+ 
+Pretendia fundar um centro agrícola, denominado Joaquim Murtinho, de 35 léguas de extensão, para onde várias tribos convergiriam.
+ 
+A República, 30 de agosto de 1901
+ 
+1902 – Prestou uma homenagem a Augusto Severo (1864 – 1902), que havia falecido, em 12 de maio de 1902, em Paris, numa explosão do dirigível Pax, inventado por ele (A República (RN), 8 de julho de 1902, terceira coluna).
+Leolinda hospedou em sua casa, na rua da Pedreira, em Cascadura, oito indígenas Pinagé que vieram ao Rio de Janeiro fazer reivindicações ao presidente da República, Campos Sales (1841-1913). Alguns estavam enfermos e, outros, amedrontados (Jornal do Brasil, 16 de setembro de 1902, penúltima coluna; Gazeta de Notícias, 17 de setembro de 1902, primeira coluna). Sua atuação foi comentada em uma crônica de Ferreiro-Mór, publicada em O Malho, de 18 de outubro de 1902. Um dos indígenas que hospedou, o Major Sabino, faleceu.
+Em uma sessão do Instituto Histórico e Geográfico do Brasil de 1902, foi discutida a proposta de um de seus conselheiros, Henrique Raffard, de criação de uma associação de proteção aos indígenas sob os aupícios da referida instituição (Jornal do Commercio, de outubro de 1902, antepenúltima coluna). Um de seus sócios correspondentes, Luiz de França Almeida e Sá (1847 – 1903), falou que um padre da região do Araguaia já havia ordenado o assassinato de Leolinda (Revista do Instituto Histórico e Geográfico do Brasil, 1903).
+ 
+O Malho, 18 de outubro de 1902
+ 
+Na sede do Instituto Histórico Geográfico Brasileiro, com o apoio do sócio comendador Julio Henrique Raffard (1851 – 1906) e do general Francisco Raphael de Mello Rego (18? – 1904) foi instalado o Instituto de Protecão aos Indigenas Brasileiros, em 21 de outubro. Leolinda, cujo ativismo foi importante para a realização da iniciativa, foi, acompanhada de seu filho Alfredo Napoleão de Figueiredo, à primeira sessão ordinária, e agradeceu sua admissão como sócia benemérita. Em um breve relato de suas viagens, Leolinda afirmou que era “urgente a fundação de um núcleo de indigenas na margem do Araguaya”.
+1904 – Participou de uma homenagem feita ao Barão do Rio Branco (1845 – 1912) (Jornal do Brasil, 20 de fevereiro de 1904, última coluna).
+Leu uma saudação durante uma homenagem ao coronel acriano Placido de Castro (1873 – 1908), na Pensão Beethoven, onde ele estava hospedado. Um dos líderes da Revolução Acriana, era presidente da República do Acre. Em 1906, Placido tornou-se o primeiro governador do território do Acre, cargo que ocupou até sua morte, em 1908 (Jornal do Brasil, 12 de maio de 1904, oitava coluna).
+1905 – Esteve no velório do escritor e jornalista José do Patrocínio ( 1853 – 1905), no Cemitério São Francisco Xavier (O Paiz, 4 de fevereiro de 1905, última coluna).
+Leolinda percorreu o acampamento de Santa Cruz com alguns indígenas Xerente e apresentou um deles, Oyama Prace,  ao presidente Hermes da Fonseca  (1855 – 1923). Oyama queria entrar para a Marinha (Jornal do Brasil, 9 de outubro de 1905, sétima coluna).
+ 
+O Malho, 20 de março de 1909
+ 
+1906 – Era muitas vezes ridicularizada devido à sua atuação junto aos indígenas.
+ 
+Gazeta de Notícias, 1 de junho de 1906
+ 
+Voltou a abrigar em sua casa indígenas dessa vez guaranis, que vieram ao Rio de Janeiro fazer reivindicações ao presidente da República. Muitas vezes era ridicularizada (Jornal do Brasil, 20 de junho de 1906, sétima coluna).
+Foi felicitada no dia do seu aniversário com uma mensagem no jornal (Gazeta de Notícias, 14 de julho de 1906, primeira coluna).
+Em 17 de julho, estava no Cais Pharoux participando da recepção ao diplomata Joaquim Nabuco (1849 – 1910), que chegava ao Rio. Na ocasião apresentou a ele três indígenas pinajés (A República, 20 de julho de 1906, primeira coluna; Revista da Semana, 29 de julho de 1906).
+ 
+Revista da Semana, 29 de julho de 1906
+ 
+Cerca de um mês depois, acompanhada de vários indígenas, entregou a ele uma mensagem pedindo garantias para a educação leiga dos indígenas das Américas. Na época acontecia no Rio de Janeiro o III Congresso Pan-americano. Nabuco disse que não poderia tratar do assunto porque o tema não fazia parte do evento, mas que imprimiria a mensagem e a distribuiria no Congresso (Correio da Manhã, 17 de agosto de 1906, segunda coluna; Jornal do Brasil, 17 de agosto de 1906, quinta coluna). O III Congresso Pan-americano aconteceu no então Pavilhão de São Luiz, futuro Palácio Monroe. Ele foi erguido no fim da rua do Passeio, na avenida Central, atual Rio Branco, ponto mais nobre da capital do Brasil. O congresso foi aberto em 23 de julho de 1906 e prolongou-se até o dia 27 de agosto de 1906.
+Quando ocorreram conflitos violentos entre os povos da etnia Kaingang e os trabalhadores da construção da estrada de ferro em Bauru, Leolinda enviou telegrama ao governador de São Paulo, Jorge Tibiriçá Piratininga (1855 – 1928), oferecendo sua colaboração.
+Organizou, em 1906, o Grêmio Patriótico Leolinda Daltro destinado à proteção dos indígenas (Jornal do Brasil, 2 de novembro de 1906, oitava coluna).
+1907 – Com o intuito de imprimir um cunho mais nacional ao préstito popular para o general argentino Julio Roca (1843 – 1914), no Rio de Janeiro, Leolinda quis juntar um grupo de indígenas ao festejo, mas o prefeito Francisco Marcelino de Sousa Aguiar (1855 – 1935) não autorizou a iniciativa (O Pharol (MG), 11 e 12 de março de 1907, segunda coluna).
+Foi uma das representantes do professorado municipal que entregou um presente a Leôncio Correia (1865 – 1950), diretor de Instrução Pública no dia de seu aniversário(Jornal do Brasil, 3 de setembro de 1907, sétima coluna).
+1908 – Foi aprovado pelo Conselho Municipal do Rio de Janeiro que o cálculo de tempo de serviço de Leolinda como professora contasse desde sua investidura no cargo de professora, em 1888, até 19 de dezembro de 1901, sem descontar o tempo que passou licenciada (Jornal do Brasil, 13 de junho de 1888, quarta coluna; Jornal do Brasil, 30 de dezembro de 1908, última coluna).
+ 
+O Paiz, 16 de junho de 1908
+ 
+Fundou, em outubro, a Associação de Auxílio aos Silvícolas do Brasil e ofereceu ao governo seus serviços como coordenadora de uma equipe de educação voltada aos indígenas. Adolpho Gomes de Albuquerque era o presidente da instituição, Leolinda de Figueiredo Daltro, vice-presidente, e seu filho Leobino Castilho Daltro, secretário. A criação da nova associação, que defendia o ensino laico para indígenas e a integração desses povos por vias pacíficas, foi estimulada por um fato ocorrido em 14 de setembro, quando o cientista tcheco Alberto Vojtěch Frič (1882 – 1944) denunciou o extermínio do povo Kaingang em Santa Catarina, no XVI Congresso de Americanistas, em Viena; e pela publicação, na segunda quinzena do mesmo mês de setembro de um artigo do então diretor do Museu Paulista, Hermann von Ihering (1850 – 1930), na Revista do Museu Paulista defendendo o extermínio dos indígenas (Origem e Fundação do Serviço de Proteção aos Índios (III)).
+“Os actuaes índios do Estado de S. Paulo não representam um elemento de trabalho e de progresso. Como também nos outros Estados do Brazil, não se póde esperar trabalho sério e continuado dos índios civilizados e como os Caingang selvagens são um impecilio para a colonização das regiões do sertão que habitam, parece que não há outro meio, de que se possa lançar mão, senão o seu extermínio”. 
+1909 – Indígenas Xerente foram à redação do jornal O Paiz pedindo ajuda para seu aldeamento às margens do Tocantins, onde são escorraçados pelas legiões de missionários. Uma das reivindicações dos indígenas era a presença de Leolinda para lhes dar instrução e os guiar na organização e na defesa de seu aldeamento (O Paiz, 29 de janeiro de 1909, sexta coluna; A Imprensa, 11 de fevereiro de 1909, quarta coluna). Ela então enviou para o ministro Miguel Calmon (1879 – 1935), Ministro e Secretário de Estado dos Negócios da Indústria, Viação e Obras Públicas, o pedido para ser nomeada missionária civilizadora dos indígenas de Goiás. A resposta foi a seguinte:
+ 
+O Paiz, 6 de março de 1909
+ 
+Os indígenas Xerente pediram que Leolinda fosse aposentada para que pudesse ir com eles para a aldeia (O Malho, 13 de março de 1909).
+ 
+Charge debochando da atuação de Leolinda junto aos indígenas / O Malho, 13 de março de 1909
+ 
+O Malho, 13 de março de 1909
+ 
+Leolinda ladeada por indígenas Xerente / O Malho, 13 de março de 1909
+ 
+Foi delegada do Primeiro Congresso Brasileiro de Geografia, que se realizou no Palácio Monroe, entre 7 e 15 de setembro. Na comissão de antropologia e etnografia apresentou uma Moção sobre os resultados de suas observações nos sertões de Goiás e Mato Grosso. Seu trabalho completo, intitulado Memória, foi incluído nos anais do evento e seu teor principal refere-se a convicção indigenista de Daltro: retirar da esfera religiosa o privilégio de civilizar os indígenas e transferi-lo para a instância governamental. Foi instalada a Associação e Proteção e Auxílios aos Silvículas do Brasil e Leolinda tornou-se a segunda secretária da instituição (O Paiz, 7 de setembro de 1909, segunda coluna; O Paiz, 14 de setembro de 1909, última coluna; Gazeta de Notícias, 15 de setembro de 1909, segunda coluna; Gazeta de Notícias, 18 de setembro de 1909, quinta coluna).
+ 
+Gazeta de Notícias, 17 de setembro de 1909
+ 
+O então prefeito do Distrito Federal, Inocêncio Serzedelo Correia (1858 – 1932) abriu um crédito especial para pagamento de diferença de vencimentos a Leolinda (O Magistério, 30 de novembro de 1909).
+ 
+O Magistério, 30 de nvembro de 1909
+ 
+Em 23 de dezembro, fundou a Junta Feminina Hermes – Venceslau, que apoiava Hermes da Fonseca (1855 – 1923) e Venceslau Brás (1868 – 1966) para a presidência e vice-presidência da República, respectivamente. Sob a presidência de Leolinda, a ata da nova associação expressava seu protagonismo como ativista política pelos direitos das mulheres (A Imprensa, 25 de fevereiro de 1910, quarta coluna; O Paiz, 27 de fevereiro de 1910, primeira coluna; Gazeta de Notícias, 18 de setembro de 1918, terceira coluna).
+1910 -  Em 1º de março, realização das eleições em que a chapa de Hermes da Fonseca e Venceslau Brás venceu a de Rui Barbosa (1849 – 1923) e Albuquerque Lins (1852 – 1926).
+ 
+O Paiz, 15 de janeiro de 1910
+ 
+Participou da recepção ao marechal Hermes da Fonseca, que voltava ao Rio de Janeiro, vindo do Rio Grande do Sul (A Imprensa, 16 de março de 1910, primeira coluna).
+Participou do préstito que levou o busto de Washington, adquirido por subscrição popular, ao Teatro Municipal. O recém eleitro presidente da República, Hermes da Fonseca, estava presente (Jornal do Brasil, 4 de abril de 1910, antepenúltima coluna).
+Leolinda recebeu da Prefeitura do Rio de Janeiro uma gratificação adicional sobre seus vencimentos de professora. Houve uma polêmica a respeito deste assunto envolvendo o marechal Hermes da Fonseca e um funcionário da prefeitura do Rio de Janeiro (O Paiz, 19 de abril de 1910; O Paiz, 22 de abril de 1910, quinta coluna; O Século, 22 de abril de 1910, primeira coluna).
+Enviou à jornalista e escritora Camen Dolores (1852 – 1910), pseudônimo de Emília Moncorvo Bandeira de Melo, um exemplar do periódico A Política. Em resposta Carmen Dolores declarou que nem era republicana nem feminista (O Paiz, 19 de junho de 1910, segunda coluna). Carmen Dolores faleceu poucos meses depois, em 16 de agosto de 1910. Foi uma das mais influentes literatas dos primeiros anos do século XX, tendo começado a escrever ao ficar viúva. Escreveu entre 1905 e 1910, a coluna “A Semana”, no jornal O Paiz. Quando faleceu, foi substituída por Gilberto Amado. Foi a primeira brasileira a ter a distinção de literata em sua certidão de óbito a  (Fon-Fon, 26 de junho de 1915, segunda coluna).
+Apesar de ter declarado não ser feminista a Leolinda, abordou temas bastante incendiários, que tratavam da emancipação da mulher: o direito ao divórcio à educação e à igualdade no trabalho. De fato não atuou na luta pelo voto feminino.
+ 
+Fon-Fon, 27 de agosto de 1910
+ 
+Por serviços prestados à educação de indígenas no Brasil foi proposto que Leolinda tornasse-se diretora honorária da União Cívica Brasileira (O Paiz, 5 de agosto de 1910, segunda coluna).
+O conferencista português João Rodrigues Moreira realizou a palestra Mulheres ilustres brasileiras e uma delas era Leolinda Daltro (A Imprensa, 1º de setembro de 1910, terceira coluna).
+Anunciou a fundação da revista Tribuna Feminina, que só seria lançada em 1916 (A Imprensa, 11 de outubro de 1910, primeira coluna).
+Fez um discurso em homenagem à primeira-dama do Brasil, Orsina da Fonseca (1879 – 1912), de quem era grande amiga (O Paiz, 19 de outubro de 1910, primeira coluna).
+O recém criado Partido Republicano Feminino participou do préstito que acompanhou Hermes da Fonseca do Arsenal de Marinha à sua residência, onde Leolinda leu um soneto em homenagem ao marechal (A Imprensa, 26 de outubro de 1910, primeira coluna; Jornal do Brasil, 27 de outubro de 1910, sexta coluna).
+ 
+A Imprensa, 26 de outubro de 1910
+ 
+Era uma das personalidades retratadas no Álbum Republicano, uma homenagem da Junta Republicana Hermes- Venceslau ao presidente da República, Hermes da Fonseca, ofertado a ele (O Paiz, 12 de novembro de 1910, primeira coluna).
+Em 17 de dezembro, foi publicado no Diário Oficial o texto do estatuto do Partido Republicano Feminino (PRF), fundado para mobilizar as mulheres em torno do direito ao voto feminino e Leolinda passou a presidi-lo. Sua sede ficava na rua General Câmara, 387, e o prédio foi cedido pelo então prefeito do Rio de Janeiro, Serzedelo Corrêa (1858 – 1932)  (Jornal do Brasil, 27 de outubro de 1910, sexta coluna). No dia 18 de agosto de 1911, o partido recebeu o registro oficial, depositado no 1º Ofício de Títulos e Documentos do Distrito Federal.
+No mês de dezembro de 1910, reuniram-se assim na cidade do Rio de Janeiro professoras, escritoras e donas de casa, somando ao todo 27 mulheres, que concordaram em assinar a ata de fundação de um partido político que tinha como objetivo integrá-las na sociedade política. O grupo buscava representar as mulheres brasileiras na capital federal e em todos os estados do Brasil, promovendo a cooperação entre elas na defesa das causas relativas ao progresso do país e de sua cidadania. Assim, o programa do partido destacava a luta pelo sufrágio feminino como primeiro passo para a plena incorporação das mulheres ao mundo público. 
+CPDOC
+Assim era composta sua primeira diretoria: presidente, como já mencionado, Leolinda de Figueiredo Daltro; primeira vice-presidente, Maria Carlota Vaz de Albuquerque; segunda vice-presidente, Emília Torterolli Araldo; primeira-secretária, Hermelinda Fonseca da Cunha e Silva; segunda-secretária, Gilka da Costa Melo Machado; tesoureira, Goldemira Moreira dos Anjos; arquivista, Áurea Daltro; procuradora, Alice Esperança Arnosa; zeladora, Vitalina Faria Sena.
+1911 - Em 17 de junho, inaugurou a Escola de Ciências, Artes e Profissões Orsina da Fonseca, que fundou e dirigiu, com a presença da primeira-dama Orsina da Fonseca (1879 – 1912) e do presidente Hermes da Fonseca (1855 – 1923). O discurso de abertura foi feito pela poeta e ativista Gilka da Costa Melo Machado. Na escola, que era gratuita, eram ministradas aulas de alfaiataria, datilografia, enfermagem, tipografia e até tiro e esgrima (Jornal do Brasil, 15 de outubro de 1910, última coluna; O Paiz, 17 de junho de 1911, penúltima coluna; A Imprensa, 17 de junho de 1911, terceira coluna; O Paiz, 19 de junho de 1911, segunda coluna).
+ 
+A Faceira, outubro e novembro de 1918k
+ 
+Em 1918, foi dada à instituição uma subvenção anual (Collecção de Leis Municipaes, 1918).
+ 
+O Malho, 24 de junho de 1911
+ 
+No livro A Vida Vertiginosa, seu autor, João do Rio, citou Leolinda na crônica As impressões dos Bororos:
+“Como nunca tive a coragem civilisadora da professora Daltro, só consigo approximar-me dos authenticos proprietários deste paiz, quando por cá apparece alguma caravana de sujeitos de nariz esborrachado, a pedir ao Papae Grande instrumentos agrários“.
+Fundou a Linha de Tiro Rosa da Fonseca, nome da mãe do presidente Hermes da Fonseca. Posteriormente denominado batalhão feminino, era presença frequente nas festas cívicas do Rio de Janeiro (A Imprensa, 20 de outubro de 1911, quinta coluna).
+Teve concedida pela Prefeitura do Rio de Janeiro licenças de saúde neste ano, no seguinte e em 1915 (O Paiz, 7 de setembro de 1911, primeira coluna; O Paiz, 23 de junho de 1912; O Paiz, 10 de abril de 1915, penúltima coluna).
+Para comemorar a entrada da primavera organizou um préstito com alunas da Escola Orsina da Fonseca, que foi até o Palácio do Catete, onde foram recebidas pelo presidente e pela primeira-dama. O colégio já contava com mais de mil alunas (O Paiz, 23 de setembro de 1911, quinta coluna; Jornal do Brasil, 23 de setembro de 1911, primeira coluna).
+ 
+Jornal do Brasil, 23 de setembro de 1911
+ 
+O Partido Republicano Feminino dedicava-se à realização de atividades de cultura física e também científica – organizou uma escola de enfermeiras  (O Paiz, 21 de outubro de 1911, segunda coluna; O Paiz, 25 de outubro de 1911, segunda coluna).
+1912 - Em janeiro, exposição de trabalhos realizados pelas aluna da Escola Orsina da Fonseca em 1911, Na ocasião, o general Serzedelo Corrêa (1858 – 1932) elogiou a gestão de Leolinda (A Imprensa, 14 de janeiro de 1912).
+ 
+Jornal do Brasil, 15 de janeiro de 1912
+ 
+Lecionava em uma escola municipal que ficava na rua Coronel Cabrita, nº 6, no bairro de São Cristóvão. Teve aprovada pela Prefeitura verba adicional ao seus vencimentos (O Paiz, 15 de fevereiro de 1912; O Paiz, 22 de março de 1912, quinta coluna).
+Com a presença de mais de 100 sócias foi realizada, na Escola Orsina da Fonseca, uma assembleia para alterar os estatutos do Partido Republicano Feminino, cuja secretária-geral era a poetisa Gilka da Costa Melo Machado (O Paiz, 22 de junho de 1912, penúltima coluna).
+Com cerca de 80 senhoras do Partido Republicano Feminino, Leolinda foi ao Cemitério de Jacarepaguá prestar uma homenagem fúnebre ao político e jornalista republicano Quintino Bocaiuva (1836 – 1912), seu amigo e padrinho de sua filha Áurea. Na ocasião, discursou (O Paiz, 19 de julho de 1912, terceira coluna).
+ Em 30 de novembro, falecimento da primeira-dama e grande amiga de Leolinda, Orsina da Fonseca (Jornal do Brasil, 5 de dezembro de 1912, terceira coluna).
+1913 –  Sua filha, Áurea Daltro, fazia parte do corpo docente da Escola Orsina da Fonseca (O Paiz, 25 de maio de 1913, quarta coluna).
+Fez um pequeno reparo ao artigo escrito por Gilka Melo da Costa Machado publicado na edição de A Faceira, outubro e novembro de 1913. Segundo Leolinda, que não foi citada no referido artigo, ela teria sido a responsável pela semente da emancipação feminina no Brasil (A Faceira, outubro e novembro de 1913; A Faceira, dezembro de 1913, segunda coluna).
+Foi, com alunas da Escola Orsina da Fonseca, ao Cemitério de Jacarepaguá, prestar uma homenagem a Orsina da Fonseca, que havia falecido em de 1912 (O Paiz, 3 de novembro de 1913, penúltima coluna).
+ 
+Trecho do dircurso de Leolinda em homenagem a Orsina da Fonseca / O Paiz, 3 de novembro de 1913
+ 
+1914 – Leolinda estava presente na inauguração da Escola Prática e Profissional em uma das salas da Imprensa Nacional (A Época, 7 de janeiro de 1914, quinta coluna).
+O Partido Republicano Feminino tinha cerca de duas mil associadas (Jornal do Brasil, 4 de junho de 1914, terceira coluna).
+1915 – Envolveu-se numa confusão com um recebedor dos bondes da Light (Gazeta de Notícias, 19 de julho de 1915, última coluna).
+Leolinda aposentou-se como professora catedrática (A Noite, 24 de julho de 1915, quarta coluna; O Paiz, 6 de agosto de 1915, segunda coluna).
+O Partido Republicano Feminino, sob a presidência de Leolinda, inaugurou a Escola Cívica Pinheiro Machado para adultos do sexo masculino, que funcionaria todas as noites e provisoriamente na Escola Orsina da Fonseca. Contava no início com 25 alunos que após a preleção inaugural decidiram fundar o jornal Atalaia e também uma linha de tiro (O Paiz, 8 de outubro de 1915, última coluna).
+1916 - A Prefeitura do Rio de Janeiro anunciou que despejaria judicialmente a Escola Orsina da Fonseca, que ocupava um prédio na rua General Câmara, que pertencia à Municipalidade. Mas o despejo não se cumpriu (O Paiz, 20 de janeiro de 1916, quarta coluna;  Almanak Laemmert, 1926).
+Em entrevista à Gazeta de Notícias, de 21 de janeiro, de 1916, falou sobre sua vida, sobre a fundação da Escola Orsina da Fonseca que, segundo ela, ensinava dentre vários ofícios, a fotografia (Gazeta de Notícias, 21 de janeiro de 1916 ).
+ 
+Gazeta de Notícias, 21 de janeiro de 1916
+ 
+Leolinda, à frente do Partido Republicano Feminino, propôs a criação do donativo patriótico, com o qual todo o funcionalismo público seria conservado com os vencimentos atuais (A Lanterna, 28 de novembro de 1916; Jornal do Brasil, 19 de novembro de 1931, terceira coluna).
+Lançamento do primeiro número do periódico quinzenal A Tribuna Feminina, dirigido por Leolinda (A Faceira, 1º de dezembro de 1916, última coluna; A Federação, 7 de dezembro de 1916, quarta coluna).
+ 
+Trecho do artigo de apresentação da Tribuna Feminina publicado em A Faceira, 1º de dezembro de 1916
+ 
+Em dezembro, Leolinda encaminhou à Câmara uma representação em nome do Partido Republicano Feminino, sobre o voto feminino:
+
+“A grande maioria do professorado municipal desta cidade é constituído por mulheres. São elas que dão instrução aos futuros cidadãos, que têm sobre os ombros a difícil tarefa de preparo das novas gerações. Se a lei lhes deu tão grande responsabilidade; se o Estado reconhece a sua capacidade para tão alta função, qual seja a de educar e instruir a mocidade; se a Escola Normal, Oficial, lhes conferiu um diploma que lhes habilita para esse espinhoso mister — como admitir que esse mesmo Estado possa negar-lhes capacidade para a simples escolha dos que devam ser os representantes do país nas assembleias legislativas e nos altos postos da administração pública? É o maior dos absurdos.”
+
+ 
+Annaes da Câmara, sessão de 22 de dezembro de 1916
+ 
+A Lanterna, 22 de dezembro de 1916
+ 
+1917 - O Partido Republicano Feminino apoiou o rompimento das relações diplomáticas do governo brasileiro com a Alemanha (A Época, 28 de abril de 1917, primeira coluna; Gazeta de Notícias, 28 de abril de 1917).
+ 
+A Época, 28 de abril de 1917
+ 
+Requereu seu alistamento eleitoral, mas seu pedido foi recusado (O Imparcial, 10 de fevereiro de 1917, última coluna; A República, 13 de fevereiro de 1917, segunda coluna; Jornal do Brasil, 23 de agosto de 1919, terceira coluna).
+Carlos Rubens publicou um artigo exaltando a atuação da professora Leolinda Daltro (A Faceira, 1º de agosto de 1917).
+O deputado Mauricio de Lacerda (1888 – 1959) propôs uma emenda à lei eleitoral para estender o alistamento eleitoral para as brasileiras maiores de 21 anos. Foi rejeitada pela Comissão de Constituição e Justiça. Tal atitude da comissão parece ter inspirado uma reação por parte do PRF, através de uma passeata de mulheres pelas ruas do Rio de Janeiro, em novembro de 1917, como uma resposta ao repúdio à proposta de Lacerda. Seguindo o exemplo das feministas de outros países as partidárias do PRF foram convocadas para participar de uma nova manifestação pública, na qual cerca de 84 mulheres foram para as ruas protestar (KARAWEJCZYK, 2014).
+O Partido Republicano Feminino manifestou-se, oferecendo os serviços de suas associadas em solidariedade à participação do Brasil na Primeira Guerra Mundial (O Dia, 20 de novembro de 1917). A delegação do Tiro Feminino, às vezes identificado como batalhão feminino, era formado por 89 soldadas do Tiro Feminino, alunas da Escola Orsina da Fonseca. Elas usavam uniforme militar e faziam treinamento em praças públicas do Rio de Janeiro. A iniciativa foi muito criticada e ridicularizada. Em 1920, o batalhão feminino foi rebatizado como Legionárias da Paz.
+ 
+Gazeta de Notícias, 20 de novembro de 1917
+ 
+1918 - Inauguração, no Campo de Santana, da primeira Escola Popular, uma iniciativa do Partido Republicano Feminino (Correio da Manhã, 14 de julho de 1918, sétima coluna).
+Lançou o livro Início do Feminismo no Brazil – subsídios para a história (Gazeta de Notícias, 18 de setembro de 1918, terceira coluna).
+ 
+
+ 
+Visitou a redação do jornal A Época com Izabel de Souza Matos ou Izabel de Mattos Dillon (1861 – 1920), identificada no artigo publicado no referido periódico, em 24 de setembro de 1918, como a primeira eleitora do Brasil. Leolinda se queixou da falta de atenção da imprensa na divulgação do trabalho dela e do Partido Republicano Feminino em prol do feminismo no Brasil (A Época, 24 de setembro de 1918).
+ 
+A Época, 24 de setembro de 1918
+ 
+A Época, 24 de setembro de 1918
+ 
+O Partido Republicano Feminino celebrou a posição do presidente dos Estados Unidos, Woodrow Wilson (1913-1921), pedindo ao legislativo de seu país a aprovação do voto feminino (A Época, 2 de outubro de 1918).
+ 
+A Época, 3 de outubro de 1918
+ 
+Ainda convalescendo da gripe espanhola, Leolinda ofereceu ao prefeito do Rio de Janeiro, Amaro Cavalcanti (1849 – 1922), o edifício da Escola Orsina da Fonseca para tornar-se uma enfermaria de atendimento a mulheres e crianças desamparadas e o trabalo das 20 enfermeiras da instituição para ajudar no combate à epidemia. Na carta ao prefeito revelou que, além dela, 14 membros de sua família tinham contraído a gripe (A Época, 28 de outubro de 1918, quarta coluna; Correio da Manhã, 11 de novembro, sétima coluna).
+ 
+Gazeta de Notícias, 29 de outubro de 1918
+ 
+1919 – Lançou o opúsculo Pela Velhice (A Noite, 8 de janeiro de 1919, segunda coluna).
+O ministro da Guerra, Alberto Cardoso de Aguiar (1864 – 1935) atendeu à solicitação de Leolinda no sentido de oferecer aulas de instrução militar às alunas da Escola Orsina da Fonseca (Jornal do Brasil, 11 de julho de 1919, sexta coluna).
+Participou de uma manifestação a favor do prefeito do Rio de Janeiro, Paulo de Frontin (1860 – 1933) (A Razão, 29 de julho de 1919, quarta coluna).
+Foi noticiado que Leolinda havia sido escolhida para representar as classes trabalhadoras na Conferência Trabalhista de Washington, em outubro de 1919 (Jornal do Brasil, 26 de setembro de 1919, penúltima coluna).
+Lançou sua candidatura ao cargo de intendente municipal pela cidade do Rio de Janeiro. Não foi eleita (A Noite, 24 de setembro de 1919, primeira coluna; A Época, 7 de outubro de 1919, quarta coluna; Revista Feminina, outubro de 1919; O Paiz, 22 de outubro de 1919, terceira coluna; Gil Blas, 13 de novembro de 1919; Jornal do Brasil, 8 de dezembro de 1919, última coluna).
+ 
+A Noite, 24 de setembro de 1919
+“Como mulher que sou, com um sentido superior de altruísmo, tenho me preocupado com a necessidade de minorar o sofrimento humano e de se atingir uma melhor distribuição da Justiça.”
+Revista Feminina, outubro de 1919
+ 
+O Jornal, 26 de outubro de 1919
+ 
+1920 – Leolinda negava sua participação e a do Batalhão do Partido Republicano Feminino em um homenagem ao novo prefeito, Sá Freire (1870 – 1947) (Gazeta de Notícias, 24 de janeiro de 1920, quarta coluna).
+ 
+Gazeta de Notícias, 24 de janeiro de 1920
+ 
+O voto feminino e Leolinda foram alvo de zombaria no desfile dos clubes do carnaval carioca (Jornal do Brasil, 20 de fevereiro de 1920, última coluna).
+Em entrevista publicada na capa da Gazeta de Notícias, Leolinda anuncia a adoção de um novo sistema, norte-americano, de ensino prático intuitivo na Escola Orsina da Fonseca e queixa-se do tratamento da imprensa e das autoridades em relação a seu trabalho. comenta a iminente visita dos reis belgas ao Brasil e também sobre a comemoração do centenário da Independência(Gazeta de Notícias, 22 de março de 1920, quarta coluna).
+Leolinda havia perdido um memorial que havia dirigido ao Congresso Pan-americano (Jornal do Brasil, 4 de junho de 1920, quinta coluna).
+Foi com alunas da Escola Orsina da Fonseca saudar o novo prefeito do Rio de Janeiro, Carlos Sampaio (1861 – 1930) (Jornal do Brasil, 10 de junho de 1920, última coluna).
+Leolinda apresentou um requerimento ao prefeito pedindo para ser nomeada despachante municipal (Gazeta de Notícias, 31 de julho de 1920, quarta coluna; O Paiz, 31 de julho de 1920, sexta coluna).
+À frente de um grupo de feministas, Leolinda fez uma consulta acerca do conceito de cidadão a renomados juristas, dentre eles Clóvis Bevilacqua (1859 – 1944) e Rui Barbosa (1849 – 1923), (O Norte (PB), 10 de setembro de 1920, quarta coluna; Revista Feminina, outubro de 1920).
+A possível participação do Batalhão Feminino do Brasil sob o comando de Leolinda na recepção aos reis da Bélgicas que visitariam o Brasil, entre 19 de setembro e 15 de outubro de 1920, foi criticada (D. Quixote, 15 de setembro de 1920).
+ 
+D. Quixote, 15 de setembro de 1920
+ 
+Publicação do artigo O voto às brasileiras, no qual Leolinda é citada (Revista Feminina, outubro de 1920).
+Em nome do Partido Republicano Feminino, que ainda presidia, convidou a Rainha Elizabeth da Bélgica (1876 – 1965), em visita com seu marido o Rei Alberto I, ao Brasil, para um piquenique em Paquetá. Por falta de espaço na agenda, a soberana declinou do convite (Jornal do Brasil, 7 de outubro de 1920, terceira coluna).
+Publicou o livro Da catequese dos índios do Brasil (notícias e documentos para a história). Leolinda justificou a publicação tardia de seus registros alegando que a idéia da educação laica dos indígenas fora recebida com indiferença e frieza e a tornara alvo de ridículo (Jornal do Brasil, 9 de dezembro de 1920, quinta coluna; Gazeta Suburbana, 25 de dezembro de 1920, primeira coluna; Vida Carioca, 6 de janeiro de 1921).
+ 
+O Malho, 25 de dezembro de 1920
+ 
+O Combate, 14 de dezembro de 1920
+ 
+ 
+
+ 
+1921 – Publicação de um artigo exaltando a atuação de Leolinda e também sua conduta pessoal (Vida Carioca, 6 de janeiro de 1921).
+ 
+Vida Carioca, 6 de janeiro de 1921
+ 
+Na edição de maio de A Informação Goyana, a vida de Leolinda foi exaltada.
+ 
+A Informação Goyana, maio de 1921
+ 
+Na coluna “Eleganpcias”, Leolinda revelou seus livros de cabeceira - Justiça e Assistência, de Ataulfo de Paiva (1867 – 1955); e o primeiro volume de versos de Alberto de Oliveira (1857 – 1937), cujo poema Borboleta Azul (Sonetos e Poemas, página 33), havia sido, segundo Leolinda, inspirado nela (D. Quixote, 1º de junho de 1921, segunda coluna). Na edição de junho da mesma revista, numa enquete realizada entre acadêmicos diante da discussão da entrada de mulheres na Academia Brasileira de Letras, Rui Barbosa (1849 – 1923) declarou que seu voto seria pelo ingresso de Leolinda Daltro.
+Foi entrevistada: em pauta o direito do voto feminino (Gazeta de Notícias, 4 de junho de 1921, terceira coluna).
+ 
+Gazeta de Notícias, 4 de junho de 1921
+ 
+Recebeu na Escola Orsina da Fonseca os intendentes argentinos que faziam parte do Conselho Deliberante de Buenos Aires, em visita ao Brasil (Jornal do Brasil, 14 de setembro de 1921, primeira coluna).
+Na Escola Orsina da Fonseca, inauguração da Escola Noturna Dr. Nascimento Silva destinada ao combate ao analfabetismo (Jornal do Brasil, 17 de novembro de 1921, quinta coluna; Jornal do Brasil, 21 de setembro de 1922, quarta coluna).
+1922 – O nome de Leolinda foi lembrado para ser uma das representantes do Brasil na I Conferência Pan-americana de Mulheres, que se realizaria, em Baltimore, nos Estados Unidos, entre os dias 20 a 23 de julho, patrocinado pela National League of Women Voters, uma divisão da National Woman Suffrage Association (NAWSA), associação norte-americana vinculada ao movimento abolicionista e sufragista, fundada em 1868, em Nova York.  A também feminista Bertha Lutz (1894 – 1976) foi a escolhida como a representante oficial do governo brasileiro (O Combate, 5 de janeiro de 1922, segunda coluna).
+Em carta para o jornal A Noite negou que houvesse recebido uma quantia de dinheiro do Banco Nacional Brasileiro para patrocinar a campanha do senador Nilo Peçanha (1867 – 1924) à presidência do Brasil (Diário de Notícias, 19 de março de 1922, quarta coluna; A Noite, 22 de março de 1922, última coluna).
+Foi receber o marechal Hermes da Fonseca (1855 – 1923) no Palace Hotel. Ele havia sido preso no dia 2 de julho. Este foi um dos eventos que antecederam a Revolta do Forte de Copacabana. O marechal Hermes foi de novo preso e só foi solto, em janeiro de 1923 (O Imparcial, 4 de julho de 1922; O Combate, 5 de julho de 1922, primeira coluna).
+A ideia da construção de um monumento em homenagem à Princesa Isabel foi do Partido Republicano Feminino, em dezembro de 1921. Leolinda pedia que fosse aberta uma subscrição popular para financiamento do monumento e colocava para venda durante a Exposiçao de 1922 exemplares de seu livro, Da catequese dos índios do Brasil, cuja renda reverteria para esta causa. Esteve presente ao lançamento da pedra fundamental do monumento, na Praça XV, em 28 de setembro de 1922, quando leu a ata inaugural (O Jornal, 14 de dezembro de 1921, quinta coluna; Jornal do Commercio, 29 de setembro de 1922, quinta coluna; O Jornal, 29 de setembro de 1922, primeira coluna; Jornal do Brasil, 22 de outubro de 1922, sétima coluna).
+1923 – Foi destinado pelo governo à Escola Orsina da Fonseca uma quantia para a reforma de seu mpbiliário, mas até o momento o dinheiro ainda não havia sido dosponibilizado. No artigo, destacam-se os esforços pessoais de Leolinda para manter a instituição (O Paiz, 13 de junho de 1923, última coluna).
+Alunas se formaram em radiotelegrafia na Escola Orsina da Fonseca (Jornal do Brasil, 15 de novembro de 1923).
+1924 – Em 15 de abril, falecimento de Áurea Daltro Cardoso de Gusmão, filha caçula de Leolinda (Jornal do Brasil, 17 de abril de 1924, quarta coluna; Jornal do Brasil, 22 de abril de 1924, última coluna).
+1925 – Foi muito elogiada a exposição dos trabalhos das alunas da Escola Orsina da Fonseca, que Leolinda seguia dirigindo (Jornal do Brasil, 5 de agosto de 1925, primeira coluna).
+Apoiava a chapa formada por Luis Gonçalves Nogueira e Fortunato Campos de Medeiros para o Conselho de Serventuários Municipais (O Brasil, 18 de outubro de 1925, segunda coluna).
+Tendo à frente Leolinda, o Partido Republicano Feminino e a Escola Orsina da Fonseca estiveram presentes, com seus estandartes, ao desembarque, do engenheiro e ex-prefeito do Rio de Janeiro, Paulo de Frontin (1860 – 1933), no Rio de Janeiro (Annuario das Estações Sportivas: Derby Club, 1925).
+1926 – Em um artigo sobre a história da luta pela emancipação feminina e pelo voto feminino no Brasil a liderança de Leolinda foi adjetivada de pitoresca (Frou-Frou, fevereiro de 1926).
+Concorreu ao cargo de intendente do Rio de Janeiro (Gazeta de Notícias, 2 de março de 1926, segunda coluna).
+Com a presença do prefeito Antônio da Silva Prado Júnior (1880 – 1955), foi inaugurado o Centro das Escoteiras da Redemptora, na Escola Orsina da Fonseca. Em seu discurso afirma ter sido a primeira escoteira do Brasil (Jornal do Brasil, 10 de agosto de 1926, primeira coluna; O Paiz, 21 de novembro de 1926, quinta coluna; O Brasil, 24 de novembro de 1926, quarta coluna; Jornal do Brasil, 9 de abril de 1927).
+ 
+Jornal do Brasil, 20 de novembro de 1926
+ 
+1927 – A escritora Rachel Prado (1891 – 1943), em entrevista ao jornal Correio da Manhã, referiu-se a Leolinda como a pioneira no Brasil na luta pelo voto feminino, como a nossa Pankhurst, aludindo à famosa e fundamental sufragista britânica Emmeline Pankhurst (1858 – 1928) (Correio da Manhã, 6 de dezembro de 1927). No jornal A Manhã, de 30 de novembro de 1928, a escritora de novo exaltou a atuação de Leolinda como precursora do feminismo e referiu-se a um artigo escrito por Agrippino Nazareth em que ele também elogiava a veneranda educadora (A Manhã, 30 de novembro de 1928, quarta coluna).
+Leolinda declarou em entrevista que o voto feminino era seu verdadeiro objetivo (Jornal do Brasil, 18 de dezembro de 1927).
+ 
+Jornal do Brasil, 18 de dezembro de 1927
+ 
+“O preparo do terreno para a conquista de hoje foi feito por mim, à custa de muito humorismo grosseiro, de muita chacota, de muitas descomposturas! Houve uma época em que durante anos seguidos eu era figura obrigatória em carros carnavalescos, num ridículo medonho!”
+Leolinda sobre o voto feminino no Jornal do Brasil, 18 de dezembro de 1927
+1928 – O orçamento municipal destinou uma quantia para a aquisição de material para a Escola Orsina da Fonseca. Na época, o prefeito do Rio de Janeiro ainda era Antônio da Silva Prado Junior (1880 – 1955) (O Paiz, 14 de janeiro de 1928, quinta coluna).
+1929 - Reivindicava para si a primeira iniciativa de estender o escotismo às mulheres (Diário Carioca, 27 de abril de 1929).
+ 
+Diário Carioca, 27 de abril de 1929
+ 
+Leolinda foi homenageada na Escola Orsina da Fonseca, que ainda dirigia, pelas Escoteiras da Redemptora (Jornal do Brasil, 17 de julho de 1929, antepenúltima coluna).
+1930 – Foi homenageada pelo Conselho Metropolitano de Escoteiros (Diário Carioca, 12 de julho de 1930, primeira coluna; Correio da Manhã, 17 de julho de 1930, penúltima coluna).
+Leolinda é a protagonista do artigo A Pioneira do Feminismo (Diário Carioca, 18 de julho de 1930, última coluna).
+No artigo Justiça Tardia, a escritora  Iveta Ribeiro (1886 – 1962) chama atenção para a importância da atuação de Leolinda ao longo de sua vida (Correio da Manhã, 20 de julho de 1930).
+ 
+Correio da Manhã, 20 de julho de 1930
+ 
+Leolinda foi homenageada na coluna “A esmo…”, escrita pela poetisa e jornalista Rosalina Coelho Lisboa (1900 – 1975) e também no artigo A professora Daltro, escrito pelo jornalista Benjamin Costallat (1897 – 1961) (A Pacotilha(MA), 18 de agosto de 1930, penúltima coluna; A Pacotilha (MA), 2 de setembro de 1930, penúltima coluna).
+Apoiou a Revolução de 30 (A Batalha, 1º de novembro de 1930, primeira coluna).
+Sofreu um acidente de carro (Correio da Manhã, 12 de novembro de 1930, sétima coluna).
+1931 – Com a presença de Leolinda, cujo trabalho foi considerado uma obra de esforço e abnegação, exposição de trabalhos realizados na Escola Orsina da Fonseca (Jornal do Brasil, 6 de março de 1931; Jornal do Brasil, 3 de fevereiro de 1932).
+Em entrevista, Leolinda contou porque se tornou feminista (A Batalha, 2 de abril de 1931).
+ 
+A Batalha, 2 de abril de 1931
+Falecimento de seu filho, Alfredo Napoleão de Figueiredo (Diário de Noticias, 9 de maio de 1931, quinta coluna).
+Publicação de uma carta da escritora Maria Lacerda de Moura (1887 – 1945) a também escritora Rachel Prado, onde comenta aspectos do II Congresso Internacional Feminista e a polêmica em torno de uma homenagem que Rachel queria fazer a Leolinda Daltro como pioneira do feminismo no Brasil que foi  como dito no artigo Phosphoros Femininos, escrito por Victoria Regia, abruptamente negada. Segundo o artigo, Daltro foi discriminada por ser pobre, idosa, viúva e por não ter a cultura das feministas da atualidade, que não tiraria o valor da luta inicial pelos direitos da mulher empreendida pela professora  (Diário Carioca, 7 de julho de 1931; Diário Carioca, 21 de julho de 1931, segunda coluna).
+ 
+Diário Carioca, 7 de julho de 1931
+ 
+Diário Carioca, 21 de julho de 1931
+ 
+Algumas participantes do II Congresso Internacional Feminista foram fazer uma visita a Leolinda (Fon-Fon, 11 de julho de 1931).
+1932 - Com a presença da primeira-dama Darcy Vargas (1895 – 1968), realização da exposição de trabalhos da Escola Orsina da Fonseca, quando Leolinda falou sobre a fundação do estabelecimento (Diário Carioca, 23 de janeiro de 1932).
+Foi publicada uma fotografia de uma homenagem das Escoteiras da Redemptora ao príncipe dom Pedro de Orleans (1875-1940), em 1930 (Brasil Feminino, maio de 1932).
+ 
+Brasil Feminino, maio de 1932
+No dia do aniversário de Leolinda, 14 de julho, o Jornal do Brasil publicou um artigo em sua homenagem onde elencou os principais feitos dela, dentre eles a fundação da Escola Orsina da Fonseca e do Partido Republicano Feminino, iniciativa que relacionou à recente nomeação de duas mulheres, Bertha Lutz (1894 – 1976) e Natércia da Cunha Silveira (1905 – 1993), para participar da elaboração do ante-projeto da nova Constituição. Foram também lembradas outras iniciativas de Leolinda como a criação da Escola de Enfermeiras e da Linha de Tiro Rosa da Fonseca (Jornal do Brasil, 14 de julho de 1932, sexta coluna).
+Leolinda enviou a Benevenuto Berna (1865 – 1940), presidente do Centro Carioca uma carta confiando à instituição a tarefa de perseverar na campanha para erigir um monumento em homenagem à Princesa Isabel, uma iniciativa tomada por ela em dezembro de 1921. A pedra fundamental da estátua foi lançada em 1922, mas a obra não foi adiante. Alegou que seu estado de saúde precário e abatimento pela morte de seus filhos Áurea, em 1924, e Alfredo, em 1931, a impediam de prosseguir na luta por este ideal. Em artigo de 13 de maio de 1938, a escritora Rachel Prado (1891 – 1943) cobrava a construção da estátua (Jornal do Brasil, 23 de agosto de 1932, terceira coluna; Correio da Manhã, 14 de outbro de 1932, antepenúltima coluna; Correio da Manhã, 4 de novembro de 1932, primeira coluna; Jornal do Brasil, 13 de maio de 1938, terceira coluna).
+Fazia parte de uma comissão da Aliança Nacional de Mulheres, dirigida por Natércia da Cunha Silbeira (1905 – 1993) e foi homenageada pela instituição (Jornal do Brasil, 31 de janeiro de 1932, quarta coluna; Jornal do Brasil, 31 de dezembro de 1932).
+ 
+Jornal do Brasil, 31 de dezembro de 1932
+ 
+1933 – Uma comissão formada por alunas da Escola Orsina da Fonseca participou do cortejo fúnebre do ex-prefeito Paulo de Frontin (1860 – 1933), que sempre apoiou o referido colégio (Jornal do Brasil, 17 de fevereiro de 1933, quinta coluna).
+Foi candidata pelo Partido Nacional do Trabalho para deputada constituinte, mas não se elegeu (A Noite, 1º de maio de 1933; Revista da Semana, 20 de maio de 1933; Jornal do Brasil, 31 de maio de 1933, penúltima coluna).
+ 
+
+ 
+Leolinda sobre a conquista do voto feminino (Revista da Semana, 20 de maio de 1933):
+ 
+Revista da Semana, 20 de maio de 1933
+ 
+Jornal do Brasil, 31 de dezembro de 1933
+ 
+1934 – Integrava a comissão fiscal da Aliança Nacional das Mulheres (Jornal do Commercio, 24 de janeiro de 1934, quinta coluna).
+Deu um entrevista para o jornal A Noite, quando elencou a criação da Escola Orsina da Fonseca e a fundação do Partido Republicano Feminino como suas maiores realizações. Revelou que o PRF estava alistando mulheres para votar no Colégio Amazonas, na rua Barão de Mesquita, dirigido por sua filha, a professora Alcina de Figueiredo Siqueira Amazonas (A Noite, 3 de agosto de 1934).
+ 
+A Noite, 3 de agosto de 1934
+ 
+A Noite, 3 de agosto de 1934
+ 
+No artigo Uma heroína, Floriano de Lemos (1885 – 1968) exaltou as iniciativas de Leolinda e os obstáculos que ela enfrentou por seu pioneirismo (Correio da Manhã, 27 de setembro de 1934, primeira coluna).
+1935 - Em 30 de abril foi atropelada por um automóvel quando atravessava a Praça da República. Após ficar internada por alguns dias na Casa de Saúde Pedro Ernesto, onde teve sua perna amputada, faleceu em 4 de maio. Foi enterrada no Cemitério São João Batista. Seus filhos vivos eram, na ocasião, o advogado Oscar Daltro e o engenheiro Leobino Daltro e a professora Alcina Siqueira Amazonas.
+ 
+O Jornal, 5 de maio de 1935
+ 
+
+ 
+Illustração Brasileira, junho de 1935
+ 
+A advogada e feminista Natércia da Cunha Silveira (1905 – 1993) manifestou-se no enterro de Leolinda, que fazia parte da comissão fiscal da Aliança Nacional de Mulheres, presidida por ela (Jornal do Brasil, 3 de maio de 1935, primeira coluna; Diário Carioca, 4 de maio, quinta coluna; Jornal do Brasil, 4 de maio de 1935, quarta coluna; A Nação, 5 de maio de 1935; Correio da Manhã, 5 de maio de 1935, sexta coluna; Jornal do Commercio, 6 e 7 de maio de 1935, quarta coluna; Jornal do Brasil, 8 de maio de 1935, quarta coluna, O Malho, 9 de maio de 1935; Revista da Semana, 11 de maio de 1935; Jornal do Brasil, 15 de maio de 1935, quarta coluna).
+Seu epitáfio do cemitério São João Batista:
+Leolinda Figueiredo Daltro 
+Mamãe – nosso ourinho 
+14/07/1859 04/05/1935 
+Precursora do verdadeiro feminismo pátrio 
+Propugnadora da nobilitação dos humildes e humanização dos selvícolas
+ 
+Na Câmara dos Deputados no Rio de Janeiro foi aprovado um requerimento de pesar da deputada Carlota Pereira de Queirós (1892- 1982) pelo falecimento de Leolinda. A Assembleia Constituinte da Bahia inseriu em sua ata uma nota de pesar pelo falecimento da professora Daltro (Correio Paulistano, 7 de maio de 1935, quarta coluna; A Noite, 18 de maio de 1935, terceira coluna).
+Foi sucedida, na direção da Escola Orsina da Fonseca por sua filha, Alcina Amazonas (1874 – 1948), que foi sucedida por seu filho, Djalma Amazonas (A Noite, 6 de maio de 1937; Jornal do Brasil, 9 de maio de 1939, quinta coluna; Jornal do Brasil, 30 de outubro de 1941, terceira coluna; O Jornal, 24 de março de 1948, segunda coluna).
+1936 – O Grêmio Literário Leolinda Daltro, promovia um festival dançante (Jornal do Brasil, 16 de agosto de 1936, última coluna).
+Em seu artigo Mulheres na Academia, Modesto de Abreu (1901 – 1996) comentando acerca da polêmica sobre o ingresso de mulheres na Academia Brasileira de Letras, propõe a criação de uma Academia Feminina e cita Leolinda Daltro como um ótimo nome para ser patrona de uma de suas cadeiras (Jornal do Brasil, 30 de agosto de 1936, segunda coluna).
+O então prefeito do Rio de Janeiro, Henrique Dodsworth (1895 – 1975), na comemoração dos 50 anos  da abolição da escravatura do Brasil, inaugurou um marco na Praça XV indicando o local onde uma estátua da Princesa Isabel seria erigida, uma iniciativa tomada por Leolinda em dezembro de 1921. Em artigo, no Correio da Manhã, de 13 de maio de 1938, a escritora Rachel Prado (1891 – 1943) cobrava a construção da estátua. No artigo Monumento à Princesa Isabel, assinado pela escritora Maria Eugênia Celso (1886 – 1963), publicado no mesmo jornal, em 20 de maio, Leolinda foi outra vez lembrada como a idealizadora do projeto  (Jornal do Brasil, 13 de maio de 1938, terceira coluna; Correio da Manhã, 13 de maio de 1938, quinta coluna; Correio da Manhã, 20 de maio de 1938, penúltima coluna; Jornal do Brasil, 28 de setembro de 1947, primeira coluna).
+1943 – Era a patrona da cadeira 27 da recém criada Academia Feminina sob a presidência de Adalzira Bittencourt (1904 – 1976)(Revista da Semana, maio de 1943, segunda coluna).
+1944 - Foi inaugurada na sede da Organização Jurídica, dirigida por seu filho Leobino Daltro, um retrato de Leolinda e um de Oscar Daltro, seu filho já falecido (Nação Brasileira, agosto de 1944, última coluna).
+1951 – Publicação da história da Escola Orsina da Fonseca, 1ª Escola Técnico-Profissional da América do Sul (Jornal do Brasil, 11 de março de 1951, primeira coluna).
+1956 – Publicação de um artigo sobre Leolinda Daltro (Jornal do Brasil, 18 de março, quarta coluna e 25 de março, quinta coluna, de 1956).
+2003 - A Assembleia Legislativa do Estado do Rio de Janeiro aprovou a Resolução nº 233, que instituiu o Diploma Mulher Cidadã Leolinda de Figueiredo Daltro. A cada ano são escolhidas dez mulheres para receber a homenagem por seu destaque na vida pública e na defesa dos direitos femininos.
+ 
+Assista aqui o vídeo Leolinda e a luta pelo voto feminino, por Mônica Karawejczyk, pesquisadora da Fundação Biblioteca Nacional.
+ 
+*Essa informação foi uma descoberta da pesquisa realizada pelo jornalista Rafael Sento Sé para seu livro A poeta da Cidade Maravilhosa: Jane Catulle Mendès e a viagem que criou o sonho de um Rio de Janeiro na Belle Époque (2025), e foi acrescentada ao artigo em 6 de março de 2026.
+ 
+Andrea C. T. Wanderley
+
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+Centro de Memória do Tribunal Regional Eleitoral do Rio Grande do Norte
+CORRÊA, Marisa. Os índios do Brasil elegante e a professora Leolinda Daltro. São Paulo : Revista Brasileira de História, vol 9, nº 18, agos a setembro de 1989.
+DALTRO, Leolinda. Da catequese dos índios no Brasil. Notícias e documentos para a História (1896-1911). Rio de Janeiro: Typografia da Escola Orsina da Fonseca, 1920.
+DALTRO, Leolinda. O início do feminismo no Brasil. [recurso eletrônico] : subsídios para história / Leolinda Daltro ; introdução, notas e posfácio de Elaine Pereira Rocha. — Brasília : Câmara dos Deputados, Edições Câmara, 2021. – (Coleção vozes femininas).
+FGV CPDOC – Leolinda Daltro
+FGV CPDOC – Partido Republicano Feminino
+GIRAUDO, Laura. (2017). Homenagear os índios, defender o indigenismo: o “Dia do Índio” e o Instituto Indigenista Interamericano. Estudos Ibero-Americanos, 43(1), 81–96. https://doi.org/10.15448/1980-864X.2017.1.24069
+HELLMANN, Risolete Maria. Carmen Dolores, escritora e cronista: Uma intelectual feminista da Belle Époque. 2015. Tese (Doutorado em Literatura) – Universidade Federal de Santa Catarina, Florianópolis, 2015.
+Hemeroteca Digital da Biblioteca Nacional
+JARDILINO, José Rubens Lima. Educadora, Feminista, Indigenista: Leolinda Figueiredo Daltro, uma “Dama” da educação brasileira no final do século XIX. Universidad Pedagógica y Tecnológica de Colombia. Revista Historia de la Educación Latinoamericana, vol. 18, núm. 26, pp. 7-11, 2016.
+KARAWEJCZYK, Mônica. Os primórdios do movimento sufragista no Brasil: o feminismo “pátrio” de Leolinda Figueiredo Daltro. Estudos Ibero-Americanos, PUCRS, v. 40, n. 1, p. 64-84, jan.-jun. 2014
+MARQUES, Teresa Cristina de Novaes. O voto feminino do Brasil. Brasília : Edições Câmara, 2019.
+MELO, Hildete Pereira de; MARQUES, Teresa Cristina de Novaes. Partido Republicano Feminino. Rev. hist.edu.latinoam – Vol. 18 No. 26, enero – junio 2016 – ISSN: 0122-7238 – pp. 311 – 326.
+Mulheres de Luta
+Observatório do Terceiro Setor
+PETSCHELIES, Erik. O Museu Paulista, Hermann von Ihering (1850-1930) e os ameríndios. São Paulo : Revista de Antropologia, nº 66, 2023.
+Portal da BBC
+Portal do Senado Federal
+ROCHA, Elaine Pereira. Entre a pena e a espada: a trajetória de Leolinda Daltro (1859-1935)- patriotismo, indigenismo e feminismo. 2002. Tese (Doutorado) – Universidade de São Paulo, São Paulo, 2002.
+SANTOS, Paulete Cunha dos. Leolinda Daltro – a Oaci-zauré – relato de sua experiência de proposta laica de educação para os povos indígenas no Brasil central. Universidad Pedagógica y Tecnológica de Colombia. Revista Historia de la Educación Latinoamericana, vol. 18, núm. 26, pp. 15-46, 2016.
+SANTOS, Paulete Cunha dos. Leolinda Daltro – a caminhante do futuro: uma análise de sua trajetória de catequista a feminista (Rio de Janeiro/Goiás – 1896 – 1920). Tese de Doutorado. Universidade do Rio dos Sinos, São Leopoldo, Rio Grande do Sul, 2014.
+SCHUMAHER, Schuma; BRAZIL, Erico Vital (organizadores). Dicionário mulheres do Brasil: de 1500 até a atualidade biográfico e ilustrado. Rio de Janeiro : Jorge Zahar Ed., 2000.
+SÉ, Rafael Sento. A poeta da Cidade Maravilhosa: Jane Catulle Mendès e a viagem que criou o sonho de um Rio de Janeiro na Belle Époque. Belo Horizonte (MG) : Autêntica Editora, 2025.
+Site Instituto Histórico Geográfico Brasileiro
+Site Memória da Administração Pública Brasileira – Arquivo Nacional
+Site Memória Política do México
+Site Povos Indígenas no Brasil
+STAUFFER, David Hall. Origem e Fundação do Serviço de Proteção aos Índios (III). Revista de História, [S. l.], v. 21, n. 43, p. 165-183, 1960. DOI: 10.11606/issn.2316-9141.rh.1960.120126. Disponível em: https://www.revistas.usp.br/revhistoria/article/view/120126. Acesso em: 24 fev. 2023.
+ 
+Acesse aqui os outros artigos da Série “Feministas, graças a Deus!“
+
+Série “Feministas, graças a Deus!” I – Elvira Komel, a feminista mineira que passou como um meteoro, publicado em 25 de julho de 2020, de autoria da historiadora Maria Silvia Pereira Lavieri Gomes, do Instituto Moreira Salles, em parceria com Andrea C. T. Wanderley, editora e pesquisadora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” II  – Natércia da Cunha Silveira (1905 – 1993), o jequitibá da floresta, publicado em 20 de agosto de 2020, de autoria de Andrea C.T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” III  – Bertha Lutz e a campanha pelo voto feminino: Rio Grande do Norte, 1928, publicado em 29 de setembro de 2020, de autoria de Maria do Carmo Rainha, doutora em História e pesquisadora do Arquivo Nacional
+Série “Feministas, graças a Deus!” IV  – Uma sufragista na metrópole: Maria Prestia (? – 1988), publicado em 29 de outubro de 2020, de autoria de Claudia Heynemann, doutora em História e pesquisadora do Arquivo Nacional
+Série “Feministas, graças a Deus!” V – Feminista do Amazonas: Maria de Miranda Leão (1887 – 1976), publicado em 26 de novembro de 2020, de autoria de Maria Elizabeth Brêa Monteiro, mestre em História e pesquisadora do Arquivo Nacional
+Série “Feministas, graças a Deus!” VI – Júlia Augusta de Medeiros (1896 – 1972) fotografada por Louis Piereck (1880 – 1931), publicado em 9 de dezembro de 2020, de autoria de Andrea C.T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” VII – Almerinda Farias Gama (1899 – 1999), uma das pioneiras do feminismo no Brasil, publicado em 26 de fevereiro de 2021, de autoria de Andrea C.T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” VIII – A engenheira e urbanista Carmen Portinho (1903 – 2001), publicado em 6 de abril de 2021, de autoria de Andrea C. T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” IX – Mariana Coelho (1857 – 1954), a “Beauvoir tupiniquim”, publicado em 15 de junho de 2021, de autoria de Andrea C. T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” X – Maria Luiza Dória Bittencourt (1910 – 2001), a eloquente primeira deputada da Bahia, publicado em 25 de março de 2022, de autoria de Andrea C. T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” XI e série “1922 – Hoje, há 100 anos” VI – A fundação da Federação Brasileira pelo Progresso Feminino, publicado em 9 de agosto de 2022, de autoria de Andrea C. T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” XII e série “1922 – Hoje, há 100 anos” XI – A 1ª Conferência para o Progresso Feminino, publicado em 19 de dezembro de 2022, de autoria de Maria Elizabeth Brêa Monteiro, historiadora do Arquivo Nacional
+Série “Feministas, graças a Deus!” XIII – E as mulheres conquistam o direito do voto no Brasil!, publicado em 24 de fevereiro de 2023, de autoria de Andrea C T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” XIV – No Dia Internacional da Mulher, Alzira Soriano, a primeira prefeita do Brasil e da América do Sul, publicado em 8 de março de 2023, de autoria de Andrea C T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” XVI – O I Salão Feminino de Arte, em 1931, no Rio de Janeiro, de autoria de Andrea C. T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica, publicado em 30 de junho de 2023
+Série “Feministas, graças a Deus!” XVII – Anna Amélia Carneiro de Mendonça e o Zeppelin, equipe de Documentação da Escola de Ciências Sociais FGV CPDOC, em parceira com Andrea C.T. Wanderley, publicado em 5 de janeiro de 2024
+Série “Feministas, graças a Deus!” XVIII – Júlia Lopes de Almeida (1862 – 1934), a “escritora da Belle Époque tropical”, de autoria de Andrea C. T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica, publicado em 5 de junho de 2024
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/2127` — `itens/20.500.12156.1_2127/`
+- `20.500.12156.1/2288` — `itens/20.500.12156.1_2288/`
+- `20.500.12156.1/570` — `itens/20.500.12156.1_570/`
+
diff --git a/wordpress/31944-o-dia-mundial-da-educacao.md b/wordpress/31944-o-dia-mundial-da-educacao.md
new file mode 100644
index 0000000..66b8bbe
--- /dev/null
+++ b/wordpress/31944-o-dia-mundial-da-educacao.md
@@ -0,0 +1,38 @@
+---
+id: 31944
+url: "https://brasilianafotografica.bn.gov.br/?p=31944"
+titulo: "O Dia Mundial da Educação"
+autor: "Andrea Wanderley"
+data: "2023-04-28T09:07:00+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/7909"]
+fetched_at: "2026-09-10T10:14:01.118Z"
+---
+
+# O Dia Mundial da Educação
+
+Para celebrar o Dia Mundial da Educação, a Brasiliana Fotográfica destaca uma imagem do acervo do Museu da República, uma das instituições parceiras do portal. O registro é de 1910 e foi realizado em uma sala de aula d0 curso da Escola de Aprendizes e Artífices, em Maceió, em Alagoas. As Escolas de Aprendizes e Artífices foram criadas, em 1909, durante o governo do presidente Nilo Peçanha (1867  – 1924). Ofereciam ensino primário e profissional para menores de idade pobres, com a finalidade de formá-los em operários e contramestres para a indústria.
+ 
+Salão de aula primária. Uma lição de coisas. O relógio e a balança; – descrição intuitiva destes objetos e exercício para conhecer as horas e pesar em balanças comuns, 1910. Maceió, Alagoas / Acervo Museu da República
+ 
+O Dia Mundial da Educação foi estabelecido durante o Fórum Mundial da Educação, organizado pela Organização das Nações Unidas para a Educação, Ciência e Cultura (UNESCO), que aconteceu em Dacar, capital do Senegal, entre 26 e 28 de abril de 2000, com a participação de cerca de mil representantes de 181 países. A representante do Brasil foi Maria Helena Guimarães de Castro. A Declaração de Dacar, firmada no último dia do fórum, estabeleceu um pacto pelo desenvolvimento e pela implementação de medidas para garantir que toda criança e adolescente tivesse acesso à Educação Básica e Secundária.
+A data celebrada hoje é um “marco simbólico”, pois nunca foi devidamente aprovada como data oficial, seguindo os trâmites regimentais da ONU –  Organização das Nações Unidas -, que escolheu, após uma assembleia realizada em 3 de dezembro de 2018, o dia 24 de janeiro como o Dia Internacional da Educação.
+ 
+Andrea C. T. Wanderley
+Pesquisadora e editora da Brasiliana Fotográfica
+ 
+Fontes:
+Blog UNINASSAU
+CORRÊA, Paulo Celso. Escola de Aprendizes e Artífices de Alagoas, 1910 in Brasiliana Fotorgráfica, 26 de março de 2020.
+Fundacred
+Hemeroteca Digital da Biblioteca Nacional
+O Estado de São Paulo, 27 e 29 de abril de 2000
+Portal do Ministério da Educação
+Portal UOL
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/7909` — `itens/20.500.12156.1_7909/`
+
diff --git a/wordpress/31955-o-dia-internacional-de-luta-pela-eliminacao-da-discriminacao-racial.md b/wordpress/31955-o-dia-internacional-de-luta-pela-eliminacao-da-discriminacao-racial.md
new file mode 100644
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--- /dev/null
+++ b/wordpress/31955-o-dia-internacional-de-luta-pela-eliminacao-da-discriminacao-racial.md
@@ -0,0 +1,73 @@
+---
+id: 31955
+url: "https://brasilianafotografica.bn.gov.br/?p=31955"
+titulo: "O Dia Internacional de Luta pela Eliminação da Discriminação Racial"
+autor: "Andrea Wanderley"
+data: "2023-03-21T11:29:39+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Preservação digital", "Convidados", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/4484", "20.500.12156.1/5034", "20.500.12156.1/4380"]
+fetched_at: "2026-09-10T10:14:04.464Z"
+---
+
+# O Dia Internacional de Luta pela Eliminação da Discriminação Racial
+
+Com a publicação de fotografias de crianças de diferentes etnias, a Brasiliana Fotográfica celebra o Dia Internacional de Luta pela Eliminação da Discriminação Racial. As imagens escolhidas são de autoria do berlinense Alberto Henschel (1827 – 1892) e do português Felipe Augusto Fidanza (1844 – 1903). Pertencem ao Arquivo Nacional e ao Leibniz-Institut für Länderkunde, ambas instituições parceiras do portal.
+“O racismo continua a envenenar instituições, estruturas sociais e o cotidiano de toda a sociedade”. 
+António Guterres (1949-), secretário-geral da ONU, em 21 de março de 2022
+ 
+Henschel foi um dos mais importantes fotógrafos que atuaram no Brasil na segunda metade do século XIX. Chegou no Recife, em 1866, e, ao longo de 16 anos, teve uma intensa atividade no país. Segundo o historiador Boris Kossoy (1941 – ), Henschel pode ser considerado pioneiro no Brasil como empresário da fotografia, pois chegou a ter quatro estabelecimentos: o primeiro no Recife (1866), o segundo em Salvador (provavelmente em 1868) e os últimos no Rio de Janeiro (1870) e em São Paulo (1882).
+ 
+Alberto Henschel. Retrato, 1869. Recife, Pernambuco / Convênio Instituto Moreira Salles – Leibniz-Institut für Länderkunde
+ 
+Alberto Henschel. Retrato de meninos, 1870-1874. Salvador, Bahia / Acervo Arquivo Nacional
+ 
+Fidanza foi também fotógrafo de destaque, tendo trabalhado no norte do Brasil no século XIX e no início do século XX. Chegou ao  país em fins da década de 1860 e, em seu estúdio, retratou tipos diversos no formato carte de visite. Para tornar essas fotografias, que vendia, exóticas, utilizava adereços e construía cenários. Além de produzir estes retratos, registrou as paisagens e documentou o início do desenvolvimento urbano de Belém e de Manaus, ocasionado pela riqueza do ciclo da borracha.
+ 
+Felipe Augusto Fidanza. Menina indígena comendo, c. 1873. Pará / Convênio Instituto Moreira Salles – Leibniz-Institut für Länderkunde
+ 
+Breve história do Dia Internacional de Luta pela Eliminação da Discriminação Racial 
+ 
+“Discriminação Racial significa qualquer distinção, exclusão, restrição ou preferência baseada na raça, cor, ascendência, origem étnica ou nacional com a finalidade ou o efeito de impedir ou dificultar o reconhecimento e exercício, em bases de igualdade, aos direitos humanos e liberdades fundamentais nos campos político, econômico, social, cultural ou qualquer outra área da vida pública”
+ Artigo I da Declaração das Nações Unidas sobre a Eliminação de Todas as Formas de Discriminação Racial,
+ 20 de novembro de 1963
+ 
+O Dia Internacional de Luta pela Eliminação da Discriminação Racial foi criado pela Organização das Nações Unidas, ONU, em 26 de outubro de 1966 (Portal da UNESCO). É uma referência ao Massacre de Sharperville, ocorrido em 21 de março de 1960, em Joanesburgo, na África do Sul. Neste dia, milhares de pessoas faziam um protesto pacífico contra a Lei do Passe, que obrigava a população negra a portar um cartão que continha seus dados pessoais e os locais onde era permitida sua circulação. A polícia do regime do apartheid atacou os manifestantes, matando 69 e deixando cerca de 180 feridos (Correio da Manhã, 22 de março de 1960; Jornal do  Brasil, 23 de março de 1960).
+ 
+Jornal do Brasil, 23 de março de 1960
+ 
+Segundo pesquisa divulgada pelo IBGE – Instituto Brasileiro de Geografia e Estatística -, no dia 22 de julho de 2022, cujos dados integram a Pesquisa Nacional por Amostra de Domicílios – Características Gerais dos Moradores 2021, o perfil da população brasileira  de acordo com cor ou raça é a seguinte: 99,90 milhões de pardos, 91,47 milhões de brancos, 19,30 milhões de negros e 1,98 de indígenas, amarelos ou sem declaração (Folha de São Paulo, 22 de julho de 2022). No Brasil, o crime de racismo está previsto na Constituição Federal, é inafiançável e imprescritível. A Lei n° 7.716/1989 tipifica a discriminação racial como crime.
+O Brasil é um dos países signatários do acordo que a ONU que estabeleceu os anos entre 1º de janeiro de 2015 e 31 de dezembro de 2024 como a Década Internacional das Pessoas Afrodescentes com o objetivo de reduzir as desigualdades e exclusões as quais eles estão submetidos (Portal da ONU; Americas Quarterly).
+ 
+
+ 
+“Africanos e pessoas afrodescendentes, asiáticos e pessoas de descendência asiática, comunidades minoritárias, pessoas indígenas, migrantes, refugiados e tantos outros – todos continuam a enfrentar estigmatização, culpabilização, discriminação e violência”.
+Acesse aqui o discurso de António Guterres, secretário-geral da ONU, proferido no Dia Internacional de Luta pela Eliminação da Discriminação Racial.em 21 de março de 2022.
+Em 2023,  o tema da ONU do Dia Internacional de Luta pela Eliminação da Discriminação Racial é o foco na urgência no combate ao racismo e à discriinação racial 75 anos após a adoção da Declaração Universal dos Direitos Humanos (Portal da ONU).
+ 
+Dia Nacional das Tradições das Raízes de Matrizes Africanas e Nações do Candomblé
+ 
+Em 6 de janeiro de 2023, foi sancionada a Lei 14.519/2023, que instituiu o Dia Nacional das Tradições das Raízes de Matrizes Africanas e Nações do Candomblé, que será celebrado anualmente também no dia 21 de março.
+Lembramos aqui a reportagem As noivas dos deuses sanguinários sobre o candomblé, que tornou-se histórica. Foi realizada pelo repórter Arlindo Silva (1924 – 2011) e pelo fotógrafo José Medeiros (1921 – 1990) e publicada na revista O Cruzeiro, de 15 de setembro de 1951. Tratava-se de uma documentação fotográfica inédita e foi uma resposta à publicação na revista Paris-Match, de 15 de maio de 1951, da matéria Les possédées de Bahia, com fotografias produzidas pelo cineasta francês Henri Georges-Clouzot (1907 – 1977) e escrita na terceira pessoa. A reportagem foi considerada etnocêntrica e arrogante.
+Com a ajuda de um motorista de táxi de Salvador, o fotógrafo Medeiros localizou um terreiro e pagou pelos animais que seriam sacrificados no ritual. Na hora da realização da reportagem, o cabo do sincronismo do flash se rompeu e ele teve de ajustar o anel do obturador de sua Rolleiflex para enfrentar a escuridão do terreiro. A reprodução total ou parcial da matéria publicada no Cruzeiro era absolutamente interdita. O tom sensacionalista da reportagem foi criticado. Seis anos depois, Medeiros relançou as fotografias no livro Candomblé, primeiro sobre essa religião no Brasil e o material passou a ser considerado importante do ponto de vista etnográfico. O Instituto Moreira Salles, que em agosto de 2005 adquiriu sua obra completa com aproximadamente 20 mil negativos, relançou o livro em 2011.
+ 
+Andrea C. T. Wanderley
+Pesquisadora e editora da Brasiliana Fotográfica
+ 
+Fontes:
+Folha de São Paulo
+Hemeroteca Digital da Biblioteca Nacional
+Portal da BBC
+Portal da ONU
+Portal da ONU – Direitos Humanos
+Portal da Presidência da República – Casa Civil – Subchefia para Assuntos Jurídicos
+Portal do Senado Federal
+WorldLII
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/4484` — `itens/20.500.12156.1_4484/`
+- `20.500.12156.1/5034` — `itens/20.500.12156.1_5034/`
+- `20.500.12156.1/4380` — `itens/20.500.12156.1_4380/`
+
diff --git a/wordpress/32049-no-dia-mundial-do-meio-ambiente-a-potente-imagem-da-cachoeira-de-paulo-afonso-po.md b/wordpress/32049-no-dia-mundial-do-meio-ambiente-a-potente-imagem-da-cachoeira-de-paulo-afonso-po.md
new file mode 100644
index 0000000..d36acf6
--- /dev/null
+++ b/wordpress/32049-no-dia-mundial-do-meio-ambiente-a-potente-imagem-da-cachoeira-de-paulo-afonso-po.md
@@ -0,0 +1,77 @@
+---
+id: 32049
+url: "https://brasilianafotografica.bn.gov.br/?p=32049"
+titulo: "No Dia Mundial do Meio Ambiente, a potente imagem da Cachoeira de Paulo Afonso, por Marc Ferrez"
+autor: "Andrea Wanderley"
+data: "2023-06-05T12:52:46+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/4405", "20.500.12156.1/2575"]
+fetched_at: "2026-09-10T10:14:07.938Z"
+---
+
+# No Dia Mundial do Meio Ambiente, a potente imagem da Cachoeira de Paulo Afonso, por Marc Ferrez
+
+A exuberante natureza do Brasil não passou despercebida por diversos fotógrafos do século XIX e foi retratada por muitos deles. Hoje, data do cinquentenário do estabelecimento do Dia Mundial do Meio Ambiente, a Brasiliana Fotográfica destaca uma poderosa e linda imagem da Cachoeira de Paulo Afonso, realizada por Marc Ferrez (1843 – 1923), em torno de 1875, ano em ele começou a trabalhar como fotógrafo da Comissão Geológica do Império, chefiada pelo norte-americano Charles Frederick Hartt (1840 – 1878), que se tornaria diretor da Seção de Geologia do Museu Nacional, em 1876.
+Ferrez percorreu como membro da Comissão Geológica os atuais estados de Alagoas, Bahia, Pernambuco e parte da região amazônica numa importante missão científica realizada no Brasil sob os auspícios do governo imperial, que gerou a primeira grande representação fotográfica de diversas regiões do território brasileiro. A fotografia em destaque, realizada no Rio São Francisco, na Bahia, pertence ao acervo Leibniz-Institut fuer Laenderkunde, uma das instituições parceiras do portal. A grandiosidade da cachoeira tem especial destaque a partir da presença de pessoas, cujas dimensões contrastam com sua extensão e potência.
+ 
+Marc Ferrez. Cachoeira de Paulo Afonso, c. 1875. Rio São Francisco, Bahia / Convênio Instituto Moreira Salles – Leibniz-Institut für Länderkunde
+ 
+O carioca Marc Ferrez, filho de franceses, foi um brilhante cronista visual das paisagens e dos costumes cariocas da segunda metade do século XIX e do início do século XX. Sua vasta e abrangente obra iconográfica se equipara a dos maiores nomes da fotografia do mundo. Estabeleceu-se como fotógrafo com a firma Marc Ferrez & Cia, em 1867, na rua São José, nº 96, e logo se tornou o mais importante profissional da área no Rio de Janeiro. Cerca de metade da produção fotográfica de Ferrez foi realizada na cidade e em seus arredores, onde registrou, além do patrimônio construído, a exuberância das paisagens naturais.
+ 
+Brevíssimo histórico do estabelecimento do Dia Mundial do Meio Ambiente
+ 
+Em dezembro de 1972 a Assembleia Geral da ONU designou o dia 5 de junho como Dia Mundial do Meio Ambiente, que foi  comemorado pela primeira vez em 1973, com o mote “Uma Só Terra”. A data foi escolhida em razão da primeira Conferência das Nações Unidas sobre o Meio Ambiente, realizada em Estocolmo, na Suécia, entre 5 e 16 de junho de 1972. Seu secretário-geral foi o canadense Maurice Strong (1929 – 2015). Considerada a iniciativa mais importante tomada até então no campo da conservação do meio ambiente e da luta contra a poluição, reuniu 1.200 delegados de 114 países e cerca de três mil observadores. Entre os acordos mais importantes selados durante a reunião estão a condenação das experiências nucleares, a proibição da pesca da baleia por dez anos e a redução da produção de materiais sintéticos aumentando paralelamente a manufatura de substitutivos degradáveis não poluentes.
+“Desde a primeira vez em que foi celebrado, em 1973, o Dia Mundial do Meio Ambiente se desenvolveu como uma plataforma global de sensibilização e ação para questões urgentes.
+Liderado pelo Programa das Nações Unidas para o Meio Ambiente (PNUMA), nas últimas cinco décadas milhões de pessoas participaram dos Dias Mundiais do Meio Ambiente, ajudando a impulsionar mudanças e a motivar a política ambiental nacional e internacional. Cada comemoração se concentra em um tema específico, que abrange questões como poluição marinha, aquecimento global, consumo sustentável e crimes contra a vida selvagem”.
+ Site World Environment Day
+ 
+ 
+Artigos publicados na Brasiliana Fotográfica no Dia Mundial do Meio Ambiente
+ 
+A Floresta da Tijuca no Dia Mundial do Meio Ambiente, publicado em 5 de junho de 2019
+Bambus, por Marc Ferrez, publicado em 5 de junho de 2020
+No Dia Mundial do Meio Ambiente, velas abertas na Baía da Guanabara, publicado em 5 de junho de 2022
+ 
+Leia também o artigo Os Augustos, Stahl e Riedel, e a imagem da cachoeira de Paulo Afonso, de minha autoria, publicado na Brasiliana Fotográfica em 13 de dezembro de 2019.
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Publicações da Brasiliana Fotográfica em torno da obra do fotógrafo Marc Ferrez 
+ 
+Marc Ferrez aos 33 anos, c. 1876. Rio de Janeiro, RJ / Acervo IMS
+O Rio de Janeiro de Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 30 de junho de 2015
+Obras para o abastecimento no Rio de Janeiro por Marc Ferrez , de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 25 de janeiro de 2016
+O brilhante cronista visual Marc Ferrez (7/12/1843 – 12/01/1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 7 de dezembro de 2016
+Do natural ao construído: O Rio de Janeiro na fotografia de Marc Ferrez, de autoria de Sérgio Burgi, um dos curadores da Brasiliana Fotográfica, publicada em 19 de dezembro de 2016
+No primeiro dia da primavera, as cores de Marc Ferrez (1843 – 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 22 de setembro de 2017
+Marc Ferrez , a Comissão Geológica do Império (1875 – 1878) e a Exposição Antropológica Brasileira no Museu Nacional (1882), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica,  publicada em 29 de junho de 2018
+Série “O Rio de Janeiro desaparecido” V – O quiosque Chopp Berrante no Passeio Público, Ferrez, Malta e Charles Dunlop, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 20 de julho de 2018
+Uma homenagem aos 175 anos de Marc Ferrez (7 de dezembro de 1843 – 12 de janeiro de 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 7 de dezembro de 2018 
+Pereira Passos e Marc Ferrez: engenharia e fotografia para o desenvolvimento das ferrovias, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 5 de abril de 2019
+Fotografia e ciência: eclipse solar, Marc Ferrez e Albert Einstein, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 24 de junho de 2019
+Os 180 anos da invenção do daguerreótipo – Os álbuns da Comissão Geológica do Império com fotografias de Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 19 de agosto de 2019
+Celebrando o fotógrafo Marc Ferrez (1843 – 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 4 de dezembro de 2019
+Uma homenagem da Casa Granado ao imperial sob as lentes de Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 7 de fevereiro de 2020
+Ressaca no Rio de Janeiro invade o porão da casa do fotógrafo Marc Ferrez, em 1913, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado 6 de março de 2020
+Petrópolis, a Cidade Imperial, pelos fotógrafos Marc Ferrez e Revert Henrique Klumb, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 16 de março de 2020
+Bambus, por Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 5 de junho de 2020
+O Baile da Ilha Fiscal: registro raro realizado por Marc Ferrez e retrato de Aurélio de Figueiredo diante de sua obra, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 9 de novembro de 2020
+O Palácio de Cristal fotografado por Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 2 de fevereiro de 2021
+A Estrada de Ferro do Paraná, de Paranaguá a Curitiba, pelos fotógrafos Arthur Wischral (1894 – 1982) e Marc Ferrez (1843 – 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 22 de março de 2021
+Dia dos Pais – Julio e Luciano, os filhos do fotógrafo Marc Ferrez, e outras famílias, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 6 de agosto de 2021
+No Dia da Árvore, mangueiras fotografadas por Ferrez e Leuzinger, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 21 de setembro de 2021
+Retratos de Pauline Caroline Lefebvre, sogra do fotógrafo Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 28 de abril de 2022
+A Serra dos Órgãos: uma foto aérea e imagens realizadas pelos mestres Ferrez, Leuzinger e Klumb, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 30 de junho de 2022
+O centenário da morte do fotógrafo Marc Ferrez (1843 – 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 12 de janeiro de 2023
+O Observatório Nacional pelas lentes de Marc Ferrez, amigo de vários cientistas, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 29 de maio de 2023
+A Fonte Adriano Ramos Pinto por Guilherme Santos e Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 18 de julho de 2023
+Os 180 anos de nascimento do fotógrafo Marc Ferrez (1843 – 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 7 de dezembro de 2023
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/4405` — `itens/20.500.12156.1_4405/`
+- `20.500.12156.1/2575` — `itens/20.500.12156.1_2575/`
+
diff --git a/wordpress/32074-no-dia-dos-namorados-o-album-vistas-de-petropolis-e-o-fotografo-alemao-pedro-hee.md b/wordpress/32074-no-dia-dos-namorados-o-album-vistas-de-petropolis-e-o-fotografo-alemao-pedro-hee.md
new file mode 100644
index 0000000..634029a
--- /dev/null
+++ b/wordpress/32074-no-dia-dos-namorados-o-album-vistas-de-petropolis-e-o-fotografo-alemao-pedro-hee.md
@@ -0,0 +1,112 @@
+---
+id: 32074
+url: "https://brasilianafotografica.bn.gov.br/?p=32074"
+titulo: "No Dia dos Namorados, o álbum “Vistas de Petrópolis” e o fotógrafo alemão Pedro Hees (1841-1880)"
+autor: "Andrea Wanderley"
+data: "2023-06-12T12:46:58+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/11717", "20.500.12156.1/11714", "20.500.12156.1/2952", "20.500.12156.1/2289", "20.500.12156.1/2160", "20.500.12156.1/7702", "20.500.12156.1/11702", "20.500.12156.1/11707", "20.500.12156.1/11709"]
+fetched_at: "2026-09-10T10:14:11.489Z"
+---
+
+# No Dia dos Namorados, o álbum “Vistas de Petrópolis” e o fotógrafo alemão Pedro Hees (1841-1880)
+
+No Dia dos Namorados, a Brasiliana Fotográfica traz para seus leitores imagens da bela e romântica Petrópolis, a cidade imperial. Nos últimos anos da década de 1860, o alemão Phillip Peter Hees, que ficou conhecido como Pedro Hees (1841 – 1880), produziu o álbum Vistas de Petrópolis, que pertence à Coleção Thereza Christina, da Biblioteca Nacional, uma das instituições fundadoras do portal. O álbum possui 15 fotografias em papel albuminado que mostram aspectos da cidade, sua ocupação e registros de suas construções e natureza. São fotos do Palácio Imperial, da Igreja da Matriz, do cemitério, da Cascata do Itamaraty, da Cascatinha do Retiro e de diversas ruas, dentre elas a rua do Imperador, que foi o tema do segundo artigo da série Avenidas e ruas do Brasil, publicada pelo portal.
+ 
+Pedro Hees. Vistas de Petrópolis, 1860 – 1870. Petrópolis, Rio de Janeiro / Acervo FBN
+ 
+Acessando o link para as fotografias do álbum Vistas de Petrópolis, de autoria de Pedro Hees disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Pedro Hees. Cascata do Itamaraty, 1860-1870. Petrópolis, Rio de Janeiro / Acervo FBN
+ 
+É de sua autoria um retrato do imperador Pedro II (1825 – 1891), destacado abaixo, que não faz parte do álbum.
+ 
+Pedro Hees. Pedro II, Imperador do Brasil] : retrato, 18?. / Acervo FBN
+ 
+Mas as belezas de Petrópolis também foram retratadas por outros importantes fotógrafos do sécculo XIX.
+Entre 1864 e 1865 foi residir na cidade o francês Revert Henrique Klumb ( c.1826 – c.1886), na rua dos Artistas. Ele havia sido agraciado com o título de Fotógrafo da Casa Imperial, em 1861. Fotografou ruas como a do Imperador, a Tereza e a Joinville; o interior e o exterior do Palácio Imperial, os hotéis Beresford, Brangança e Inglês, o Retiro da Cascatinha, o rio Quitandinha, palacetes e casas, a princesa Isabel (1846 – 1921) e o conde D´Eu (1842 – 1922), além de vistas gerais.  Também fotografou a paisagem urbana de Petrópolis, acrescentando efeitos noturnos, uma importante inovação. Essa série é considerada extremamente significativa do ponto de vista estético, formal e dos limites da linguagem na época. Foi o autor do livro Doze horas em diligência. Guia do viajante de Petrópolis a Juiz de Fora, publicado em 1872, única obra do Brasil do século XIX a ser idealizada, fotografada, escrita e publicada por uma só pessoa. Foi o primeiro livro de fotografia inteiramente litografado e produzido no país. Pedro Hees era considerado seu maior concorrente.
+ 
+Jornal do Commercio, 26 de julho de 1873
+ 
+Ainda em Petrópolis, foram contemporâneos de Klumb e de Hees, na década de 1860, João Meyer Filho e João Nogueira de Sousa (Almanak Administrativo, Mercantil e Industrial do Rio de Janeiro, 1865, segunda coluna).
+O fotógrafo e editor suíço Georges Leuzinger (1813 – 1892) também retratou Petrópolis. Em 1865, foi aberto o ateliê de fotografia da Casa Leuzinger, no Rio de Janeiro, especializado em “vistas da cidade, Tijuca, Petrópolis, Teresópolis e rio Amazonas”, como se lê no verso de uma de suas cartes de visite.
+“Em 1865 montou então Georges Leuzinger um completo ateliê fotográfico, com todos os aparelhos necessários para viagens para o interior do Brasil, tendo para esse fim contratado um habilíssimo artista fotógrafo para dirigi-lo, que em companhia de vários auxiliares fizeram excursões por essa capital, Petrópolis, Teresópolis, etc., tirando fotografias de tudo o que de mais interessante se encontra na pujante natureza daquelas belíssimas regiões“.
+Ernesto Senna em O Velho Comércio do Rio de Janeiro
+ 
+Georges Leuzinger. Rua do Imperador, c. 1870. Petrópolis, RJ / Acervo IMS
+ 
+Outro importante fotógrafo que realizou registros de Petrópolis foi Augusto Stahl (1828 – 1877), também agraciado com o título de Fotógrafo da Casa Imperial, em 21 de abril de 1862. Entre 1863 e 1870, seu estabelecimento fotográfico ficava no Rio de Janeiro.
+ 
+Augusto Stahl. A rua do Imperador, 1863. Petrópolis, RJ / Acervo IMS
+ 
+Lembramos que, em torno de 1885, o brasileiro e filho de franceses Marc Ferrez (1843 – 1923) realizou o Álbum Vistas de Petrópolis e Rio de Janeiro, com 30 imagens de Petrópolis seus canais, casarões, escolas, estação de trem, fábricas, jardins, paisagens, palacetes e ruas, além de imagens do Palácio de Cristal, do Palácio do Grão-Pará, da avenida Koeller e da construção de uma ferrovia.
+ 
+Marc Ferrez. Palácio de Cristal, c. 1885. Petrópolis, Rio de Janeiro / Acervo IMS
+ 
+ Breve perfil de Pedro Hees (1841 – 1880)
+ 
+Nascido na região de Hunsruek, na Alemanha, em 1841, Pedro Hees chegou em Petrópolis com 4 anos de idade, em 1845, com sua mãe, Anne Catharine Michel, e com seu pai, o colono alemão Christian Sebastian Hees, marceneiro e entalhador, que trabalhou na construção do Palácio Imperial da cidade, iniciada em 1845 e concluída em 1862. Eles integraram a primeira leva de colonos alemães que chegaram a Petrópolis.
+ 
+Pedro Hees. Palácio Imperial e adjacências, 1860-1870. Petrópolis, Rio de Janeiro / Acervo FBN
+ 
+Pedro casou-se com a alemã Maria Glasow Hees (1843 – 1928), em 22 de janeiro de 1861, e tiveram 11 filhos: Ana Catarina Hees (1861-1944), Edmundo Frederico Nicolau Hees (1862-1944), Fernando Jacob Hees (1865-1866), Fernando Mauricio Hees (1867-1893), João Batista Hees (1868-1876), Otto Hees (1870-1941), Elisa Matilde Hees (1872-1932), Maria Olga Hees (1872-1958), Joana Teresa Hees (1874-1900), Numa Augusto Hees (1877-1961) e Isabel Emma Hees (1878-1943). No site Sou Petrópolis há uma foto de Maria, realizada em 12 de setembro de 1915, com 27 netos (A Noite, 23 de junho de 1922, quarta coluna; Sou Petrópolis e Geneanet).
+ 
+Viúva do fotógrafo Pedro Hees, Maria Glasow Hees, com seus 27 netos, 12 de setembro de 1915. Petrópolis, Rio de Janeiro / Site Sou Petrópolis
+ 
+Antes de se interessar por fotografia, o que aconteceu em meados da década de 1860, Pedro trabalhou no comércio como sapateiro, na rua do Bourbon e na rua dom Affonso. Ambas foram fotografadas por ele e fazem parte do álbum Vistas de Petrópolis (Almanak Administrativo, Mercantil e Industrial do Rio de Janeiro, 1962, primeira coluna; Almanak Administrativo, Mercantil e Industrial do Rio de Janeiro, 1964, segunda coluna; Almanak Administrativo, Mercantil e Industrial do Rio de Janeiro, 1965, segunda coluna). Na mesma rua dom Afonso, passou a ter uma ferraria, em 1866 (Almanak Administrativo, Mercantil e Industrial do Rio de Janeiro, 1866, segunda coluna).
+ 
+Pedro Hees. Rua de Bourbon, 1860-1870. Petrópolis, Rio de Janeiro / Acervo FBN
+ 
+ 
+Pedro Hees. Rua Dom de Affonso, 1860-1870. Petrópolis, Rio de Janeiro / Acervo FBN
+ 
+Em 1868,  já possuía um estúdio fotográfico, a Photographia Popular, na Praça Dom Afonso, atual Praça da Liberdade, que tornou-se bastante conhecido e era frequentado pela nobreza, por políticos, diplomatas e também por comerciantes e artesãos imigrantes. Petrópolis era, na época, muito frequentada pela família imperial (Almanak Administrativo, Mercantil e Industrial do Rio de Janeiro, 1868, segunda coluna).
+ 
+Almanak Administrativo, Mercantil e Industrial do Rio de Janeiro, 1868
+ 
+Em 1870, Pedro Hees era o secretário da Sociedade Alemã de Beneficência Bruderbund (Almanak Administrativo, Mercantil e Industrial do Rio de Janeiro, 1868, segunda coluna).
+Em março de 1876, faleceu seu filho João Baptista Numa Hees, aos 7 anos, de pleuro-pneumonia (O Mercantil, 29 de março de 1876, terceira coluna). Em 16 de agosto do mesmo ano, tornou-se Fotógrafo da Casa Imperial. Segundo Boris Kossoy, recebeu do conde e da condessa d´Eu “a graça de usar o título de Photographo de sua Imperial Caza e de collocar na porta do seu estabelecimemnto as respectivas armas”. O documento foi assinado por Benedicto Torres, mordomo do conde d’Eu e da princesa Isabel.
+Faleceu jovem, aos 39 anos, de entero-mezenterite (O Mercantil, 14 de agosto de 1880, última coluna). Seu estabelecimento fotográfico foi arrendado ao fotógrafo Antonio Henrique da Silva Heitor (18?-?), que, posteriormente, recebeu o título de Fotógrafo da Casa Imperial em 2 de março de 1885, outorgado por dom Pedro II. Sob o nome de Hees & Irmãos, o estúdio foi assumido pelos filhos de Pedro Hees – Numa Augusto  e Otto -, em torno de 1890. Existiu até 1915. Otto foi o autor de uma importante fotografia que tudo indica ter sido o último registro da família imperial antes da proclamação da República, em 15 de novembro de 1889. Também fotografou a assinatura do Tratado de Petrópolis, na residência do Barão do Rio Branco, em 1903; e os netos de Pedro II.
+ 
+A família imperial brasileira fotografada por Otto Hees em 23 de maio de 1889, na varanda da casa da princesa Isabel, em Petrópolis. Da esquerda para a direita: a imperatriz Dona Teresa Cristina, D. Antônio, a princesa Isabel, o imperador, D. Pedro Augusto (filho da irmã da princesa Isabel, d. Leopoldina, duquesa de Saxe), D. Luís, o conde d’Eu e D. Pedro de Alcântara (príncipe do Grão-Pará) / Acervo Museu Imperial / Wikipedia *
+ 
+ Acesse aqui a Cronologia de Pedro Hees (1841 – 1880).
+ 
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+CARMONA, João Sêco. Iconografia do Brasil Imperial. Génese do Museu Imperial de Petrópolis e os registos fotográficos. Anais do 5º Seminário Internacional Museografia e Arquitetura de Museus Fotografia e Memória, 2016.
+Enciclopédia Itaú Cultural
+FERREZ, Gilberto. A fotografia no Brasil: 1840- 1900. Prefácio Pedro Karp Vasquez. 2. ed. Rio de Janeiro: Funarte, 1985.
+FERREZ, Gilberto. Um passeio a Petrópolis em companhia do fotógrafo Marc Ferrez. Separata do Anuário do Museu Imperial – 1948.
+Google Arts & Culture
+Hemeroteca Digital da Biblioteca Nacional
+KOSSOY, Boris. Dicionário histórico-fotográfico brasileiro: fotógrafos e ofício da fotografia no Brasil (1833-1910). São Paulo: Instituto Moreira Salles, 2002.
+LAGO, Bia Corrêa do. Os fotógrafos do Império: a fotografia brasileira no Século XIX. Rio de Janeiro: Capivara, 2005.
+Site Geneanet
+Site Library of Congress
+Site Museu Imperial de Petrópolis
+Tribuna de Petrópolis, 1º de julho de 2016
+VASQUEZ, Pedro Karp. Dom Pedro II e a fotografia no Brasil. Rio de Janeiro: Fundação Roberto Marinho, 1985.
+Wikipedia
+ 
+Outras publicações da Brasiliana Fotográfica no Dia dos Namorados:
+Fotografia e namoro, de autoria de Elvia Bezerra, publicado, em 12 de junho de 2018 .
+Série “O Rio de Janeiro desaparecido” X – No Dia dos Namorados, um pouco da história do Pavilhão Mourisco em Botafogo, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 12 de junho de 2020.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/11717` — `itens/20.500.12156.1_11717/`
+- `20.500.12156.1/11714` — `itens/20.500.12156.1_11714/`
+- `20.500.12156.1/2952` — `itens/20.500.12156.1_2952/`
+- `20.500.12156.1/2289` — `itens/20.500.12156.1_2289/`
+- `20.500.12156.1/2160` — `itens/20.500.12156.1_2160/`
+- `20.500.12156.1/7702` — `itens/20.500.12156.1_7702/`
+- `20.500.12156.1/11702` — `itens/20.500.12156.1_11702/`
+- `20.500.12156.1/11707` — `itens/20.500.12156.1_11707/`
+- `20.500.12156.1/11709` — `itens/20.500.12156.1_11709/`
+
diff --git a/wordpress/32106-dia-nacional-de-luta-da-pessoa-com-deficiencia.md b/wordpress/32106-dia-nacional-de-luta-da-pessoa-com-deficiencia.md
new file mode 100644
index 0000000..f3ac25f
--- /dev/null
+++ b/wordpress/32106-dia-nacional-de-luta-da-pessoa-com-deficiencia.md
@@ -0,0 +1,97 @@
+---
+id: 32106
+url: "https://brasilianafotografica.bn.gov.br/?p=32106"
+titulo: "Dia Nacional de Luta da Pessoa com Deficiência"
+autor: "Andrea Wanderley"
+data: "2023-09-21T10:27:37+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/371", "20.500.12156.1/373", "20.500.12156.1/372"]
+fetched_at: "2026-09-10T10:14:14.876Z"
+---
+
+# Dia Nacional de Luta da Pessoa com Deficiência
+
+Com fotografias em formato cabinet*  de autoria de João Xavier de Oliveira Menezes, o J. Menezes (18? – 19?), pertencentes ao acervo da Fundação Biblioteca Nacional, uma das instituições fundadoras da Brasiliana Fotográfica; e com um pequeno histórico do Dia Nacional de Luta da Pessoa com Deficiência, o portal celebra esta data.
+ 
+J. Menezes. Homens com deformidades nos membros inferiores e posterior recuperação : portrait 11 : retratos, 188? / Acervo FBN
+ 
+ 
+Pequeno histórico do Dia Nacional de Luta da Pessoa com Deficiência
+ 
+O Dia Nacional de Luta da Pessoa com Deficiência, que coincide com o início da primavera, dia 21 de setembro, e simboliza o nascimento e a renovação do movimento das pessoas com deficiência, foi instituído pela Lei nº 11.133/2005, de 14 de julho de 2015. Seu objetivo é a conscientização da população brasileira de que pessoas com deficiência devem ter seus direitos respeitados e devem ser integradas à sociedade sem preconceitos, de forma igualitária. De acordo com o IBGE, no Brasil, 17,3 milhões de pessoas com dois anos ou mais de idade – o que representa 8,4% da população – possuem algum tipo de deficiência.
+ 
+J. Menezes. Homens com deformidades nos membros inferiores e posterior recuperação, : retratos, 188?. / Acervo FBN
+ 
+Segundo a Lei Brasileira de Inclusão de Pessoa com Deficiência, também conhecida como Estatuto da Pessoa com Deficiência, de 2015, a pessoa com deficiência é aquela que tem impedimento de longo prazo de natureza física, mental, intelectual ou sensorial, o qual, em interação com uma ou mais barreiras, pode obstruir sua participação plena e efetiva na sociedade em igualdade de condições com as demais pessoas. 
+Existe, há relativamente pouco tempo, o conceito de capacitismo, sobre a discriminação em relação a pessoas com deficiência, a partir da subestimação da capacidade e aptidão dessas pessoas devido a suas deficiências, o que se traduz como um obstáculo à inclusão desses indivíduos à sociedade. Além disso, cada vez mais pessoas com deficiência trazem à sociedade um questionamento: seriam elas deficientes ou seria deficiente a sociedade que não satisfaz às necessidades de todas as pessoas que a formam?
+O Dia Nacional de Luta da Pessoa com Deficiência foi oficializado, como já mencionado, em 2005, porém a data já era celebrada desde 1982 por iniciativa do Movimento pelos Direitos das Pessoas com Deficiência. O grupo começou a se organizar em fins de 1979 para reivindicar direitos e melhorias para a vida das pessoas com deficiência.
+ 
+Biblioteca Virtual em Saúde / Ministério da Saúde
+ 
+Legislação brasileira em relação a pessoas com deficiência:
+Lei n° 7.713/1998: garante a dedução do Imposto de Renda para pessoas com deficiência.
+Lei nº 7.853/1989: dispõe sobre o apoio às pessoas com deficiência e sua efetiva integração social.
+Lei nº 8.213/1991: ordena que, a partir de 100 empregados, a empresa deve reservar de 2% a 5% de vagas para pessoas com deficiência.
+Lei nº 8.899/1994: a Lei do Passe Livre prevê que toda pessoa com deficiência tenha direito ao transporte coletivo interestadual gratuito, e que cabe a cada estado ou município implantar programas similares ao Passe Livre para os transportes municipais e estaduais.
+Lei nº 8.989/1995: promove a isenção do imposto sobre produtos industrializados – IPI, na aquisição de automóveis para utilização no transporte autônomo de passageiros, bem como conduzidos pelas próprias pessoas com deficiência física, e dá outras providências. (Redação dada pela Lei Nº 10.754, de 31.10.2003).
+Lei nº 9.394/1996: Diretrizes e Bases da Educação Nacional (LDB) – Determina que “haverá, quando necessário, serviços de apoio especializado, na escola regular, para atender às peculiaridades da clientela de educação especial e que o atendimento educacional será feito em classes, escolas ou serviços especializados, sempre que, em função das condições específicas dos alunos, não for possível a sua integração nas classes comuns de ensino regular”. A legislação brasileira também prevê o acesso a livros em Braille, de uso exclusivo das pessoas com deficiência visual.
+Lei nº 10.098/2000: normatiza as condições de acessibilidade.
+Lei nº 10.436/2002: reconhece a Língua Brasileira da Sinais (LIBRAS) para os surdos.
+Lei nº 10.754/2003: altera a Lei Nº 8.989, de 24 de fevereiro de 1995 que “dispõe sobre a isenção do Imposto Sobre Produtos Industrializados – IPI, na aquisição de automóveis para utilização no transporte autônomo de passageiros, bem como por pessoas com deficiência física e aos destinados ao transporte escolar.
+Lei nº 11.126/2005: garante o direito da pessoa com deficiência visual de ingressar e permanecer em ambientes de uso coletivo acompanhado de cão-guia.
+Lei nº 12.319/2010: regulamenta a profissão de Tradutor e Intérprete da Língua Brasileira de Sinais – LIBRAS.
+Lei 13.146/2015: a Lei Brasileira de Inclusão de Pessoa com Deficiência, também conhecida como Estatuto da Pessoa com Deficiência, incorporou os princípios da Convenção Internacional sobre os Direitos das Pessoas com Deficiência, realizada em 2006, pela Organização das Nações Unidas (ONU) e ratificada pelo país em 2008.
+ 
+Pequeno perfil de João Xavier de Oliveira Menezes, o J. Menezes (18? – 19?)
+ 
+Apesar de não sabermos onde e quando João Xavier de Oliveira Menezes, o J. Menezes, nasceu e faleceu, há registros de sua atuação como fotógrafo a partir de 1875, no Rio de Janeiro, na rua da Quitanda, nº 39. Era filho do comendador Thomaz Xavier Ferreira de Menezes e seus irmãos eram Francisco, Eurydice, Thomaz e Carlos Xavier de Oliveira Menezes; e Rita Augusta de Menezes Pinho (Jornal do Commercio, 2 de novembro de 1891, sexta coluna; O Paiz, 13 de setembro de 1896, sexta coluna).
+ 
+Acervo IMS
+ 
+Em 1876, foram realizadas obras em seu estúdio fotográfico e anunciado que já estava a disposição de nosso amigos e fregueses (Gazeta de Notícias, 27 de agosto de 1876).
+ 
+Gazeta de Notícias, 6 de agosto de 1875
+ 
+Até 1882, foi associado, na firma Pacheco, Menezes & Irmão, a seu irmão, Carlos e a Bernardo José Pacheco (18? -?), que havia sido, entre 1866 e 1874, associado ao fotógrafo açoriano Christiano Junior (1802 – 1902). Apresentavam-se como sucessores de Christiano Junior & Pacheco e ofereciam retratos em todos os systemas (Jornal do Commercio, 3 de dezembro de 1866; Gazeta de Notícias, 8 de agosto de 1875; Diário do Rio de Janeiro, 9 de novembro de 1875, sexta coluna; Almanak Administrativo, Mercantil e Industrial do Rio de Janeiro, 1875,  1876; 1877, 1878, 1879, 1880, 1881, 1882). Lembramos que Christiano Jr. foi o autor da série Elephansiasis, realizada na década de 1860. Como já indagado no artigo, Para uma história da fotografia médica, no Brasil, de autoria de Joaquim Marçal Ferreira de Andrade, um dos curadores da Brasiliana Fotográfica, teria sido J. Menezes o sucessor de Christiano Junior no atendimento à classe médica da corte?
+ 
+Acessando o link para as fotografias de autoria de J. Menezes disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas. 
+ 
+O estabelecimento passou a chamar-se Menezes & Irmão (Gazeta de Notícias, 13 de junho de 1882, última coluna; Almanak Administrativo, Mercantil e Industrial do Rio de Janeiro, 1884).
+ 
+Jornal do Commercio, 30 de abril de 1882
+ 
+Ainda em 1882, anunciavam Photographia e Pintura e, em 1883, anunciavam uma Grande Novidade:
+ 
+Jornal do Commercio, 12 de novembro de 1882
+ 
+Gazeta da Tarde, 5 de junho de 1883
+ 
+Em 1883,  foram lidas proclamas de seu casamento com Virgilia Adelaide Mendes Calaza (Gazeta de Notícias, 29 de dezembro de 1893, terceira coluna). Em 1884, com o falecimento de seu irmão e sócio Carlos, foi extinta a firma Menezes & Irmão e J. Menezes passou a atuar por conta própria, ainda na Rua da Quitanda, nº 39 (Jornal do Commercio, 26 de agosto de 1884, sétima coluna; Jornal do Commercio, 3 de outubro de 1884, última coluna). Residia na Rua do Souto, 16.
+Foi na década de 1880, que J. Menezes produziu as fotos de pessoas com deficiência exibidas neste artigo.
+Nos primeiros anos da década de 1890, seu estabelecimento fotográfico ficava na rua Marquês de Paraná, 1. O último registro de sua atividade como fotógrafo encontrada pela minha pesquisa data de 1902 (Gazeta de Notícias, 13 de junho de 1884, terceira coluna; Jornal do Commercio, 3 de outubro de 1884, última coluna; Almanak Administrativo, Mercantil e Industrial do Rio de Janeiro, 1885, 1891, 1892, 1898, 1900, 1901, 1902).
+Em 1902, seu filho Augusto (1901 – 1902) faleceu (Jornal do Commercio, 10 de julho de 1902, sexta coluna).
+ 
+J. Menezes. Homens com deformidades nos membros inferiores e posterior recuperação: portrait 9 : retratos, 188? / Acervo FBN
+ 
+*Formato de apresentação de fotografias sobre papel que surgiu na Inglaterra em 1866 como uma evolução do formato cartão de visita, tendo portanto o mesmo tipo de apresentação, mas num tamanho maior, razão pela qual era dito de cabinet, de gabinete. Outra denominação empregada para esse formato, inclusive aqui no Brasil, era carte boudoir, em referência àquelas salas íntimas de uso feminino características das residências oitocentistas. Muito utilizado até fins do século passado, esse formato apresentava fotografias de cerca de 9,5 x 14cm montadas sobre cartões rígidos de cerca de 11 x 16,5 cm (Enciclopédia Itaú Cultural).
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+ANDRADE, Joaquim Marçal Ferreira de. Para uma história da Fotografia Médica, no Brasil. Brasiliana Fotográfica, 23 de outubro de 2016
+Câmara Paulista para Inclusão da Pessoa Deficiente
+Hemeroteca Digital da Biblioteca Nacional
+KOUTSOUKOS, Sandra Sophia Machado.  O retratado era “diferente”. Rio de Janeiro, c. 1865. Anais do XXVI Simpósio Nacional de História – ANPUH • São Paulo, julho 2011.
+Ministério da Saúde – Biblioteca Virtual em Saúde
+Portal UOL
+Site Câmara dos Deputados
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/371` — `itens/20.500.12156.1_371/`
+- `20.500.12156.1/373` — `itens/20.500.12156.1_373/`
+- `20.500.12156.1/372` — `itens/20.500.12156.1_372/`
+
diff --git a/wordpress/32154-o-dia-do-trabalho.md b/wordpress/32154-o-dia-do-trabalho.md
new file mode 100644
index 0000000..c2f8880
--- /dev/null
+++ b/wordpress/32154-o-dia-do-trabalho.md
@@ -0,0 +1,67 @@
+---
+id: 32154
+url: "https://brasilianafotografica.bn.gov.br/?p=32154"
+titulo: "O Dia do Trabalho"
+autor: "Andrea Wanderley"
+data: "2023-05-01T00:03:26+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/2106", "20.500.12156.1/2512", "20.500.12156.1/6418", "20.500.12156.1/2100", "20.500.12156.1/10745"]
+fetched_at: "2026-09-10T10:14:18.079Z"
+---
+
+# O Dia do Trabalho
+
+Para celebrar o Dia do Trabalho a Brasiliana Fotográfica destaca diversos registros de trabalhadores no Brasil do século XIX e do início do século XX. São imagens produzidas por Albert Frisch (1840 – 1918), Augusto Malta (1864 – 1957), Christiano Junior (1832 – 1902), Georges Leuzinger (1813 – 1892), Gomes Junior (18? – 19?), Guilherme Gaensly (1843 – 1928),  J. Pinto (1884 – 1951), Jorge Kfuri (1893 – 1965), Marc Ferrez (1843 – 1923), Militão Augusto de Azevedo (1837 – 1905), Revert Henrique Klumb (c. 1826 – c. 1886), Therezio Mascarenhas (18? – 19?), Torres (18? – 19?) e Vincenzo Pastore (1865 – 1918),  dentre outros, além de registros realizados por  fotógrafos até hoje não identificados.
+ 
+Álbum Cia. Docas de Santos – Perfuradoras, c. 1901. Santos, São Paulo / Acervo IMS
+ 
+A galeria contempla trabalhadores rurais e urbanos, e escravizados, trazendo, por um lado, um pouco da história cotidiana brasileira e, por outro, imagens do mundo do trabalho na segunda metade do século XIX e primeiras décadas do século XX que ajudam a contextualizar as transformações objetivas e subjetivas que modificaram significativamente as relações sociais, econômicas e políticas no país no período.
+Acessando o link para as fotografias selecionadas e relativas ao tema trabalho disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a ela.
+ 
+Gomes Junior. Jornaleiros, c. 1899. Rio de Janeiro, RJ / Acervo IMS
+ 
+Na seleção feita no acervo fotográfico do portal, há 45 imagens, mas existem mais de 100 relativas ao tema. A Brasiliana Fotográfica convida você, leitor, a fazer sua própria seleção. Basta entrar na página de abertura do portal, selecionar a aba “Acervo” e depois navegar na aba “Assunto”. Aí, colocar no local indicado a palavra-chave “trabalho“, “trabalhadores” e “operário“, por exemplo.
+ 
+Marc Ferrez. Pary – grupo de mineiros, c. 1885. Minas Gerais / Acervo IMS
+ 
+A primeira comemoração da data que se tem registro no Brasil aconteceu, em 1895, no salão do Partido Operário, em Santos, por iniciativa do Centro Socialista de Santos, em São Paulo, fundado pelo médico e líder social sergipano Silvério Martins Fontes (1858-1928), também fundador do jornal A Questão Social, órgão divulgador do socialismo no Brasil, e autor do Manifesto Socialista. Seu filho foi o poeta José Martins Fontes (1884 – 1937).
+ 
+Commercio de São Paulo, 3 de maio de 1895
+ 
+Mas a celebração da data só foi oficializada pelo governo brasileiro, em 26 de setembro de 1924, a partir do Decreto nº 4.859, sancionado pelo então presidente Arthur Bernardes (1875-1955).  Em seu artigo único declarava “feriado nacional o dia 1 de maio, consagrado à confraternidade universal das classes operárias e à comemoração dos mártires do trabalho; revogadas as disposições em contrário”.
+ 
+O Jornal, 2 de maio de 1925
+ 
+Fon-Fon, 16 de maio de 1925
+ 
+O Dia do Trabalho tem sua origem numa homenagem aos trabalhadores de Chicago, nos Estados Unidos, que, em 1º de maio de 1886, iniciaram uma série de manifestações por melhores condições de trabalho e especialmente por uma jornada de trabalho de 8 horas. Em 1889, durante uma reunião da Segunda Internacional Socialista, em Paris, a data foi estabelecida.
+ 
+Vincenzo Pastore. Vendedora de galinha, c. 1910. São Paulo, SP / Acervo IMS
+ 
+Links para as notícias da comemoração do primeiro feriado de 1º de maio no Brasil:
+O Paiz – Edição de 02/05/1925
+Jornal do Brasil – Edição de 02/05/1925
+ 
+Torres. Avenida do Mangue – demolição de antigas pontes, 2 de abril de 1904. Rio de Janeiro, RJ / Acervo IMS
+ 
+Acesse aqui o outro artigo publicado na Brasiliana Fotográfica sobre o Dia do Trabalho.
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+Fontes:
+COGGIOLA, Osvaldo. Origens do movimento operário e do socialismo no Brasil. Germinal: Marxismo e Educação em Debate, Salvador, v. 7, n. 2, p. 51-91, dez. 2015.
+Hemeroteca Digital da Biblioteca Nacional
+Site BBC
+Site Chicago Detours
+Site Novo Milênio
+Site Time Magazine
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/2106` — `itens/20.500.12156.1_2106/`
+- `20.500.12156.1/2512` — `itens/20.500.12156.1_2512/`
+- `20.500.12156.1/6418` — `itens/20.500.12156.1_6418/`
+- `20.500.12156.1/2100` — `itens/20.500.12156.1_2100/`
+- `20.500.12156.1/10745` — `itens/20.500.12156.1_10745/`
+
diff --git a/wordpress/32203-serie-hoteis-do-brasil-v-e-serie-os-arquitetos-do-rio-de-janeiro-iii-o-centenari.md b/wordpress/32203-serie-hoteis-do-brasil-v-e-serie-os-arquitetos-do-rio-de-janeiro-iii-o-centenari.md
new file mode 100644
index 0000000..3c4904f
--- /dev/null
+++ b/wordpress/32203-serie-hoteis-do-brasil-v-e-serie-os-arquitetos-do-rio-de-janeiro-iii-o-centenari.md
@@ -0,0 +1,210 @@
+---
+id: 32203
+url: "https://brasilianafotografica.bn.gov.br/?p=32203"
+titulo: "Série “Hotéis do Brasil” V e Série “Os arquitetos do Rio de Janeiro” III – O centenário do Copacabana Palace, quintessência do “glamour” carioca, e seu criador, o arquiteto francês Joseph Gire"
+autor: "Andrea Wanderley"
+data: "2023-08-13T00:20:50+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/11718", "20.500.12156.1/8285", "20.500.12156.1/6144", "20.500.12156.1/3168", "20.500.12156.1/10709", "20.500.12156.1/9363"]
+fetched_at: "2026-09-10T10:14:21.163Z"
+---
+
+# Série “Hotéis do Brasil” V e Série “Os arquitetos do Rio de Janeiro” III – O centenário do Copacabana Palace, quintessência do “glamour” carioca, e seu criador, o arquiteto francês Joseph Gire
+
+A Brasiliana Fotográfica publica o terceiro artigo da série Os arquitetos do Rio de Janeiro e a quinta da série Hotéis do Brasil que celebra o centenário do Copacabana Palace e também sobre seu arquiteto, o francês Joseph Gire (1872 – 1933).
+ 
+Thiele. Leme e Copacabana, em destaque o Hotel Copacabana Palace, . 1928. Rio de Janeiro, RJ / Acervo IMS
+ 
+O Copacabana Palace, símbolo do glamour carioca e um ícone da arquitetura do Rio de Janeiro, completa hoje 100 anos e volta a ser tema da Brasiliana Fotográfica. Era, na época de sua inauguração, o maior hotel da América Latina e representava a modernidade da cidade, ocupando um lugar importante em sua memória. O Copa, apelido pelo qual ficou conhecido, foi criado pelo arquiteto francês Joseph Gire (1872 – 1933) e teve seu batismo oficial realizado, em 13 de agosto de 1923, com a visita do então presidente da República, Artur Bernardes (1875 – 1955), em companhia de outras autoridades, dentre elas o prefeito do Rio de Janeiro, Alaor Prata (1882 – 1964). Foram recebidos por Octávio Guinle (1886 – 1968). No dia seguinte, o hotel começou a receber hóspedes, distintos turistas e brasileiros da melhor sociedade (Gazeta de Notícias, 8 de agosto de 1923; O Paiz, 14 de agosto de 1923, segunda coluna; e Beira-Mar, 19 de agosto de 1923).
+ 
+Destacamos registros do hotel produzidos por Augusto Malta (1864 – 1957) que, entre 1903 e 1936, foi o fotógrafo oficial da Prefeitura do então Distrito Federal, por Thiele (? – 19?) e imagens realizadas por um fotógrafo ainda não identificado.
+ 
+Acessando o link para as fotografias do Hotel Copacabana Palace disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Augusto Malta. Fachado do Hotel Copacabana Palace, 5 de julho de 1925. Rio de Janeiro, RJ / Acervo IMS
+ 
+Um pouco da história do Copacabana Palace
+ 
+“Contar a história do hotel é contar a história da cidade e do país”
+O jornalista Ricardo Boechat (1952 – 2019)
+sobre o Copacabana Palace
+Inspirado nos hotéis Negresco, em Nice, e no Carlton, em Cannes – ambos na França – e situado na Avenida Atlântica 1.702, o Copacabana Palace é um marco na ocupação e na paisagem de Copacabana e contribuiu para a projeção internacional do Rio de Janeiro. Seu arquiteto foi, como já mencionado, o francês Joseph Gire (1872 – 1933). O engenheiro responsável pela obra do Copa foi Cesar de Mello e Cunha (1898 – 1991). O hotel  foi construído com cimento alemão, mármore de Carrara, e adornado com vidros e lustres da Tchecoslováquia, móveis franceses, tapetes ingleses e cristais da Boêmia. Suas porcelanas eram Limoges. Surgia então um monumento à elegância.
+ 
+COPACABANA PALACE – FACHADA PRINCIPAL No HOTEL sobre a AVENIDA ATLÂNTICA / Joseph Gire architeto – Escala 100
+ 
+A construção de um hotel de luxo na avenida Atlântica, recém duplicada e iluminada pelo prefeito Paulo de Frontin (1860 – 1933), em Copacabana, bairro que concentrava a aristocracia moderna do Rio de Janeiro, fazia parte dos preparativos  para a celebração do centenário da independência do Brasil, em 1922. Determinado a propagar as belezas do Brasil no exterior, o presidente Epitácio Pessoa (1865 – 1942) submeteu o projeto ao empresário Octávio Guinle (1886 – 1968), membro de uma das mais ricas e tradicionais famílias do Brasil e dono do Palace Hotel, no Rio de Janeiro, e do Hotel Esplanada, em São Paulo. Ele aceitou o desafio. Porém o Copacabana Palace só ficou pronto, em 1923, quando a Exposição Internacional do Centenário da Independência, aberta em 7 de setembro de 1922, já havia sido encerrada, em 24 de julho de 1923.
+ 
+Beira-Mar, 19 de agosto de 1923
+ 
+Sobre a localização do novo hotel, Epitácio fazia questão que fosse construído na Praia de Copacabana, uma descoberta recente dos cariocas. Segundo o jornalista Maneco Müller (1923 – 2005), cujo pseudônimo era Jacinto de Thormes, A cidade dava as costas para o mar, a paisagem. A maneira de ser do carioca só nasceu quando fizeram o túnel em direção ao areal. 
+Ao longo de sua existência o hotel foi visitado ou hospedou artistas, atletas, cientistas, intelectuais, nobres e políticos como Albert Einstein(1879 – 1955), Ava Gardner (1922 – 1990), Emerson Fittipaldi (1946 -), Janis Joplin (1943 – 1970), Hebe Camargo (1929 – 2012), Lady Di (1961 – 1997) e Príncipe Charles (1948 – ), Mick Jagger (1943 – ), Nelson Mandela (1918 – 2013), Orson Welles (1915 – 1985), Paul McCartney (1942 – ), Pelé (1940 – 2022),  Roberto Carlos (1941 -), Santos Dumont (1873 – 1932), Tom Jobim (1927 – 1994), Walt Disney (1901 – 1966), Washington Luís (1869 – 1957) e os futuros reis Edward VIII (1894 – 1972) e George VI (1895 – 1952). Uma curiosidade: na ocasião de sua visita ao Brasil, Edward, então Príncipe de Gales, teve um tórrido romance com a uruguaia Negra Bernardez, cujo um dos filhos era o já mencionado Maneco Muller. Segundo Ricardo Boechat, autor do livro Copacabana Palace – Um Hotel e Sua História, foi a história mais bonita do Copa. Tem renúncia, tristeza, amor e glamour.
+ 
+Copacabana Palace, c. 1930. Rio de Janeiro, RJ / Acervo AGCRJ
+ 
+ 
+O Paiz, 12 de agosto de 1923
+ 
+O Copa, apelido pelo qual ficou conhecido, teve seu batismo oficial realizado em 13 de agosto de 1923 com a visita do presidente da República, Artur Bernardes (1875 – 1955), em companhia de outras autoridades, dentre elas o prefeito do Rio de Janeiro, Alaor Prata (1882 – 1964). Foram recebidos por Octávio Guinle. No dia seguinte o hotel começou a receber hóspedes, distintos turistas e brasileiros da melhor sociedade (Gazeta de Notícias, 8 de agosto de 1923; O Paiz, 14 de agosto de 1923, segunda coluna; e Beira-Mar, 19 de agosto de 1923).
+Em sua abertura, só seis apartamentos estavam ocupados, mas sua equipe já contava com cerca de mil funcionários. As diárias custavam menos de 10 dólares e davam direito a pensão completa e transporte para o Centro da cidade. Desde o início sua marca era o requinte, a sofisticação e em um artigo publicado no mês seguinte a sua inauguração, a iniciativa foi muito elogiada (O Paiz, 9 de agosto de 1923).
+ 
+O Paiz, 9 de agosto de 1923
+ 
+Para o comando gastronômico do Copacabana Palace, foi contratado por Octávio o chef Auguste Escoffier, trazido do Hotel Savoy, de Londres. Em 1930, com a contratação do chef tcheco Fery Wunsch como maitre sênior a cozinha do hotel se consagrou.
+Rigoroso em relação a protocolos e etiquetas, Octávio criou o Código de Empregados da Companhia Copacabana Palace onde detalhava, em 18 itens, a conduta de seus funcionários. Para supervisionar o hotel, possuía, em seu quarto, a suíte B, um sistema de escuta que possibilitava que ele soubesse de tudo o que se passava no Copa.
+ 
+O Paiz, 25 de agosto de 1923
+ 
+A principal atração de seu baile de inauguração, que contou com figuras importantes da República, era a dançarina francesa Mistinguett (1875 – 1956), mas o show foi cancelado na véspera por seus empresários. Mesmo assim o evento foi um sucesso (Gazeta de Notícias, 1º de setembro de 1923, quarta coluna; e O Paiz, 31 de agosto de 1923, primeira coluna; O Paiz, 1º de setembro de 1923, primeira coluna).
+ 
+Revista da Semana, 1º de setembro de 1923
+ 
+Registro do Príncipe de Gales no Copacabana Palace / Revista da Semana, 18 de abril de 1931
+ 
+Foi ambientado no Copa o filme Voando para o Rio (1933), estrelado por Fred Astaire (1899 – 1987) e Ginger Rogers (1911 – 1995) – no qual pela primeira vez apareceram dançando juntos -, Dolores del Rio (1904 – 1983) e Gene Raymond (1908 – 1998).
+ 
+Cartaz do filme Voando para o Rio
+ 
+De 1924 a 1946, o Copa abrigou o Cassino Copacabana – nesse período ficou um tempo fechado e foi reaberto em maio de 1933 (Fon-Fon, 26 de janeiro de 1924; Beira-Mar, 13 de maio de 1933, primeira coluna).
+ 
+Fon-Fon, 26 de janeiro de 1924
+ 
+Abaixo, uma imagem aérea de autoria do fotógrafo e aviador britânico S.H. Holland (1883 – 1936) da chegada das misses ao Copacabana Palace para a eleição de Miss Universo feita exclusivamente para a revista O Cruzeiro. O concurso foi conquistado pela gaúcha Yolanda Maria Sabage Pereira (1910 – 2001).
+ 
+Em 1930, a chegada das misses no Copacabana Palace para a eleição de Miss Universo por S.H. Holland (1883 – 1936) / O Cruzeiro, 13 de setembro de 1930
+ 
+Diversos artistas nacionais e internacionais apresentaram-se em seu lendário Golden Room, inaugurado em 26 de dezembro de 1940 (Diário Carioca, 28 de dezembro de 1940), dentre eles Carmen Miranda (1909 – 1955), Charles Aznavour (1924 – 2018), Edith Piaf(1915 – 1963), Ella Fitzgerald (1917 – 1996), Josephine Baker (1906 – 1975), Marlene Dietrich (1901 – 1992), Maurice Chevalier (1888 – 1972), Nat King Cole (1919 – 1965), Ray Charles (1930 – 2004) e Yves Montand (1921 – 1991). No Golden Room também eram realizados bailes (Careta, 21 de julho de 1951).
+ 
+Correio da Manhã, 22 de dezembro de 1940
+ 
+O antigo restaurante do hotel, o Bife de Ouro, e sua piscina eram muito frequentados pelos granfinos e foram pontos de encontro da sociedade carioca e de políticos de todo o Brasil (Beira-Mar, 20 de fevereiro de 1943; O Cruzeiro, 10 de dezembro de 1949; Careta, 26 de maio de 1951) ). Foi no Bife de Ouro  que, em março de 1954, ocorreu uma briga entre o jornalista Carlos Lacerda (1914 – 1977) e Euclides Aranha, filho do então ministro da Fazenda, Oswaldo Aranha (1894 – 1960), noticiada no jornal O Globo, de 24 de março de 1954:
+Lacerda e filho de Aranha trocam socos
+Principiando por uma altercação seguida de luta corporal entre o Sr. Euclides Aranha e o jornalista Carlos Lacerda, um incidente que se prolongaria até a meia-noite, resultando, inclusive, em congestionamento do tráfego da Avenida Atlântica e interdição do local por autoridades policiais, perturbou na noite de ontem o jantar no Bife de Ouro, o restaurante do Copacabana palace Hotel. Achavam-se reunidos na mesma mesa o ministro João Cleophas, o deputado Edilberto Ribeiro, o Sr. Manuel Ferreira e Carlos Lacerda, diretor da “Tribuna da Imprensa”, num jantar promovido pelo deputado. De outra mesa, o Sr. Euclides Aranha, filho do ministro Oswaldo Aranha, jantava com a esposa, levantou-se, fisionomia transtornada, dirigiu-se à mesa onde se encontrava o referido grupo, deteve-se junto à cadeira do jornalista e interpelou-o sobre ataques dirigidos a seu pai na “Tribuna da Imprensa”. À interpelação seguiu-se áspera troca de palavras, tendo o jornalista se levantado, entrando em luta com o filho do ministro da Fazenda. Segundo as testemunhas, os dois trocaram socos por algum tempo, até que amigos comuns se interpuseram e os separaram. Às 23h, o próprio ministro Oswaldo Aranha compareceu ao restaurante para ver o que ocorrera. Pouco depois, simultâneamente, por portas diferentes, os Srs. Euclides Aranha e Carlos Lacerda abandonaram o Bife de Ouro.
+Existe no Copacabana Palace o Teatro Copacabana, remodelado e reinaugurado em 9 de setembro de 1949, com a peça A Mulher do Próximo, de Abilio Pereira de Almeida, apresentada pelo Grupo de Teatro Experimental de São Paulo. Foi fechado em 1994 e reaberto em 2021, com a encenação de Copacabana Palace – O Musical, com texto de Ana Velloso e Vera Novello e direção de Gustavo Wabner e Sergio Módena (O Jornal, 9 de setembro de 1949; A Scena Muda, 20 de setembro de 1949; A Cigarra (SP), novembro de 1949; Diário do Rio, 21 de dezembro de 2021). Foi lá que a atriz Fernanda Montenegro fez sua estreia profissional nos palcos, na peça Alegres Canções na Montanha, em 1950.
+ 
+Correio da Manhã, 8 de dezembro de 1950.
+ 
+Os salões do hotel eram palcos de chás elegantes e de desfiles, bailes, concursos de beleza, exposições de arte e homenagens (Careta, 5 de agosto de 1950, 9 de junho de 1951, 28 de julho de 1951;27 de outubro de 1951; 18 de outubro de 1952; 1º de agosto de 1953; 29 de maio de 1954). Também eram muito concorridos seus bailes de carnaval (O Cruzeiro, 11 de março de 1950; 16 de março de 1957).
+Houve um incêndio no hotel, em 10 de agosto de 1953, que atingiu o teatro, o Golden Room e parte da Boate Meia Noite (Correio da Manhã, 11 de agosto de 1953).
+Em 1989, a família Guinle vendeu o Copacabana Palace para o grupo Orient-Express, posteriormente, Belmond, que foi vendido para o grupo francês LVMH, em dezembro de 2018. O hotel, patrimônio histórico, é tombado em nível federal, estadual e municipal.
+ 
+
+ 
+Devido à pandemia do coronavírus, pela primeira vez desde sua inauguração o hotel foi fechado, em 10 de abril de 2020. Andrea Natal, na época diretora geral do Grupo Belmond do Brasil, que administra o estabelecimento, e o cantor e compositor Jorge Ben Jor (1945 -), que vive lá desde 2018, foram os únicos que continuaram no hotel. Foi reaberto em 20 de agosto de 2020.
+ 
+Augusto Malta. Praia de Copacabana vista do pátio do Copacabana Palace Hotel, 19?. Rio de Janeiro, RJ / Acervo FBN
+ 
+Pequeno perfil do arquiteto francês Joseph Gire
+ 
+Joseph Gire no lobby do Palace Hotel, 1922 / Acervo da família, publicada no livro Joseph Gire: a construção do Rio de Janeiro moderno
+ 
+Gire nasceu, em 12 de janeiro de 1872, em Yssingeaux, na região do Velay, na França.  Estudou no liceu de Puy e acompanhava as aulas de desenho ministradas por seu pai, Jules Gire (1850 -?) na escola municipal chamada de “Belas-Artes e da Indústria”. Em 1896, ganhou um concurso para um monumento em homenagem à Charles Crozatier, escultor da cidade de Puy-en-Velay. Estudou na École des Beaux Arts de Paris, à qual teve sua candidatura de admissão apresentada pelo arquiteto Georges Debrie (1856 – 1910).
+Em 1900, casou-se com Pauline Duparchy (18? -19?), com quem teve as filhas Renée e Antoinette; foi nomeado arquiteto-inspetor da Exposição Universal de Paris e passou a trabalhar no prestigioso escritório dos arquitetos Lucien e Henri Grandpierre, quando projetou o palácio Singer-Polignac. Quando os Grandpierre se aposentaram, em 1906, Gire e seu colega, Jamin, assumiram a direção da firma. Entre 1908 e 1909, estabeleceu-se em Buenos Aires, capital da Argentina, na rua Paraná, 1261.
+ 
+
+ 
+Na ocasião, associou-se ao engenheiro Juan Molina Civit. Também possuiu um escritorio em Montevidéu, no Uruguai, na rua Zabala, 1441.
+ 
+Joseph Gire e sua mulher, Pauline Deparchy, no Palace Hotel, em 1924 / Acervo da família publicada em O Globo de 25 de abril de 2010
+ 
+Em 1916, desembarcou no Rio de Janeiro, no auge da Belle Époque carioca, a convite da abastada e influente família Guinle, cuja origem da riqueza foi a sociedade que o patriarca Eduardo Eduardo Palassin Guinle (1846 – 1912) manteve por toda a vida com Cândido Gaffrée (1856 – 1919), com quem fundou a Companhia Docas de Santos e a Companhia Brasileira de Energia Elétrica. Em 1918, Gire voltou à cidade, desta vez a convite da companhia dos hotéis Carlton Ritz (O Paiz, 1º de outubro de 1918, primeira coluna).
+Já havia, entre 1909 e 1914, realizado com Armando Silva Telles a residência de Eduardo Guinle (1878 – 1941) que, em 1946, foi comprada pelo governo federal durante a presidência do General Eurico Gaspar Dutra (1883 – 1974) – o Palácio das Laranjeiras, desde 1975 o endereço oficial dos governadores do estado do Rio de Janeiro; e o Palacete Guinle (1913), que foi residência de Carlos Guinle (1883 – 1969) e, posteriormente, sediou a Embaixada da Argentina. Eduardo e Carlos eram filhos do casal Eduardo Palassin Guinle e Guilhermina Coutinho Guinle (1854-1925).
+Gire fundou um escritório na cidade e teve forte influência na transformação de sua paisagem arquitetônica e urbana, na verticalização da Praia de Copacabana, da Praia do Flamengo e da Glória. Morou com sua família, no Palace Hotel, localizado na avenida Rio Branco, 185; na Rua Voluntários da Pátria, 104; e na Rua das Laranjeiras, 452 (Correio da Manhã, 17 de abril de 1920, quarta coluna; O Paiz, 2 de abril de 1924, segunda coluna; Jornal do Brasil, 25 de janeiro de 1925, quarta coluna).
+Também realizou, durante a década de 1920, dentre vários outros projetos, o do Hotel Glória, inaugurado em 15 de agosto de 1922, com uma bênção realizada pelo arcebispo D. Sebastião Leme (O Paiz, 16 de agosto de 1922). Foi o primeiro cinco estrelas do Brasil e também o primeiro prédio em concreto armado da América do Sul. Sua construção, motivada pelas festas do primeiro centenário da Independência do Brasil, foi uma iniciativa da firma Rocha Miranda & Filhos.
+ 
+O Jornal, 21 de julho de 1919
+ 
+Também projetou o Esplanada Hotel, em São Paulo (O Paiz, 28 de junho de 1921, penúltima coluna), que ficava próximo ao Teatro Municipal de São Paulo e foi inaugurado em março de 1923. Um de seus frequentadores foi o escritor Oswald de Andrade (1890 – 1954), um dos maiores representantes do Modernismo no Brasil que, em seu poema, Balada do Esplanada, publicado, em 1927, no Primeiro caderno do aluno de poesia Oswald de Andrade, homenageou o hotel. Em 1987, musicada pelo cantor Cazuza (1958 – 1990), o poema foi uma das faixas do LP Só se for a dois.
+ 
+Correio Paulistano, 28 de fevereiro de 1923
+Balada do Esplanada
+Ontem de noite eu resolvi
+ Ver se aprendia como é que se fazia
+ Uma balada, antes de ir pro meu hotel
+É que esse coração
+ Já se cansou de viver só
+ E quer então
+ Morar contigo no Esplanada
+ Contigo no Esplanada
+Pra respirar
+ Abro a janela
+ Como um jornal
+ Eu vou fazer a balada
+ Fazer a balada
+ Do Esplanada e ficar sendo o menestral
+ E fico sendo
+ O menestrel do meu hotel
+ Do meu hotel
+Mas não há poesia num hotel
+ Nem mesmo sendo
+ O Esplanada um grande hotel
+ Há poesia na dor, na flor, no beija-flor
+ Na dor, na flor, no beija-flor
+ Na dor, na flor, no beija-flor, no elevador
+ No elevador
+
+Correio Paulistano, 6 de março de 1923
+
+ 
+Outros projetos de sua autoria foram o do Edifício Praia do Flamengo (1925) (Diário do  Rio, 22 de agosto de 2021), conhecido como Palacete de Areia, primeiro prédio de apartamentos no Flamengo; a da antiga sede da Sul América, no Centro, em parceria com o arquiteto escocês Robert Russell Prentice (1883 – 1960); o Edifício Touring, na Praça Mauá; e a do Edifício Joseph Gire (1929), em estilo art déco, primeiro arranha-céu do Rio de Janeiro, que ficou conhecido como Edifício A Noite, na época o mais alto da América do Sul (Jornal das Moças, 12 de setembro de 1929). Gire era um entusiasta dos arranha-céus (O Paiz, 24 de junho de 1928). É do início da década de 1930, seu projeto do palácio da Ilha de Brocoió, para outro filho de Eduardo Guinle, Octávio (1886 – 1968). É atualmente o palácio de férias do governador do Estado do Rio de Janeiro. Ainda na mesma década, projetou os edifícios Paraopeba e São João Marcos.
+ 
+Foto aérea da Baía de Guanabara, edifício “A Noite”, 25 de outubro de 1934. Rio de Janeiro, RJ / Acervo Museu Aeroespacial
+ 
+Foi o responsável pela reforma do prédio do Automóvel Club (Automóvel Club – RJ, dezembro de 1925) e do Palácio do Itamaraty (Relatório do Ministério das Relações Exteriores, 1929), além de ter contribuido como consultor em inúmeras obras como a da construção do Hipódromo da Gávea. Foi também membro do conselho de embelezamento da cidade de São Paulo e da Comissão Executiva do Centenário da Independência, em 1922.
+Ficou fora do Brasil entre 1930 e 1932 (Correio da Manhã, 21 de agosto de 1932, sétima coluna). Faleceu em 5 de outubro de 1933, em Arberáts, no País Basco francês (Correio da Manhã, 7 de novembro de 1933, sexta coluna; 10 de novembro de 1933, última coluna).
+ 
+Hotel Copacabana Palace, c. 1930. Rio de Janeiro, RJ / Acervo IMS
+ 
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Em 29 de outubro de 2023, o título deste artigo foi alterado para Série “Os arquitetos do Rio de Janeiro” III – O centenário do Copacabana Palace, quintessência do “glamour” carioca, e seu criador, o arquiteto francês Joseph Gire.
+ 
+Fontes:
+A Casa Senhorial
+BOECHAT, Ricardo. Copacabana Palace: um hotel e sua história. São Paulo: DBA, 1998.
+CABOT, Roberto. Joseph Gire: a construção do Rio de Janeiro moderno/RobertoCabot, – 1. ed – Rio de Janeiro: Casa da Palavra, 2014.
+CABRAL, Maria Cristina. Arquitetos franceses no Rio de Janeiro nas primeiras décadas do século XX. III Encontro da Associação Nacional de Pesquisa e Pós-graduação em Arquitetura e Urbanismo arquitetura, cidade e projeto: uma construção coletiva São Paulo, 2014
+Casa Cor
+Folha de São Paulo, 16 de setembro de 2015
+G1
+Hemeroteca Digital da Biblioteca Nacional
+IstoÉ, 17 de dezembro de 2018
+O’DONNELL, Julia. A invenção de Copacabana: culturas urbanas e estilos de vida no Rio de Janeiro. Rio de Janeiro: Zahar, 2013.
+O Globo, 13 de agosto de 2008
+O Globo, 25 de abril de 2010
+Portal Iphan
+Revista Época, 13 de dezembro de 2010
+Site Arquivo Arq
+Site  Bafafá
+Site I-Patrimônio – Edifício Praia do Flamengo 
+Site I-Patrimônio – Tombamento
+Site Rio Memórias
+UOL Notícias, 30 de outubro de 2008
+Uol Notícias, 2 de julho de 2020
+ 
+Outros artigos da série Os arquitetos do Rio de Janeiro
+Série “Os arquitetos do Rio de Janeiro” I – Porto D´Ave e a moderna arquitetura hospitalar, de autoria de Cristiane d´Avila – Casa de Oswaldo Cruz / Fiocruz, publicado em 14 de janeiro de 2021.
+Série “Os arquitetos do Rio” II – No Dia Nacional da Saúde, o Desinfetório de Botafogo e um breve perfil do arquiteto português Luiz de Moraes Junior, responsável pelo projeto, de autoria de Cristiane d´Avila, Casa de Oswaldo Cruz, Fiocruz, em parceria com Andrea C. T. Wanderley, publicado em 5 de agosto de 2023
+Série “Os arquitetos do Rio de Janeiro” IV – Archimedes Memória (1893 – 1960), o último dos ecléticos, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 1º de dezembro de 2023
+Série “O Rio de Janeiro desaparecido“ XXVII e “Os arquitetos do Rio” V – O Jockey Club e o Derby Club, na Avenida Rio Branco e o arquiteto Heitor de Mello (1875 – 1920), de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 15 de janeiro de 2024
+Série “Os arquitetos do Rio de Janeiro” VI – O Clube Naval e os arquitetos Tommaso G. Bezzi (1844 – 1915) e Heitor de Mello (1875 – 1920), de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal, publicada em 6 de maio de 2024
+ 
+Outros artigos publicados na Brasiliana Fotográfica sobre hotéis
+Hotéis do século XIX e do início do século XX no Brasil, publicado em 5 de novembro de 2015 , de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica.
+O Hotel Glória – antes e depois, publicado em 21 de dezembro de 2017, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica.
+Copacabana Palace, símbolo do glamour carioca, publicado em 13 de agosto de 2020, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica.
+O Hotel Pharoux por Revert Henrique Klumb, publicado em 15 de junho de 2022, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica.
+Série O Rio de Janeiro desaparecido XXIV – O luxuoso Palace Hotel, na Avenida Rio Branco, uma referência da vanguarda artística no Rio de Janeiro, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 4 de julho de 2023.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/11718` — `itens/20.500.12156.1_11718/`
+- `20.500.12156.1/8285` — `itens/20.500.12156.1_8285/`
+- `20.500.12156.1/6144` — `itens/20.500.12156.1_6144/`
+- `20.500.12156.1/3168` — `itens/20.500.12156.1_3168/`
+- `20.500.12156.1/10709` — `itens/20.500.12156.1_10709/`
+- `20.500.12156.1/9363` — `itens/20.500.12156.1_9363/`
+
diff --git a/wordpress/32291-serie-o-rio-de-janeiro-desaparecido-xxiv-e-serie-hoteis-do-brasil-vi-o-luxuoso-p.md b/wordpress/32291-serie-o-rio-de-janeiro-desaparecido-xxiv-e-serie-hoteis-do-brasil-vi-o-luxuoso-p.md
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@@ -0,0 +1,251 @@
+---
+id: 32291
+url: "https://brasilianafotografica.bn.gov.br/?p=32291"
+titulo: "Série “O Rio de Janeiro desaparecido” XXIV e série “Hotéis do Brasil” VI – O luxuoso Palace Hotel, na Avenida Rio Branco, uma referência da vanguarda artística no Rio de Janeiro"
+autor: "Andrea Wanderley"
+data: "2023-07-04T09:48:56+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/9365", "20.500.12156.1/9416", "20.500.12156.1/9295", "20.500.12156.1/11072", "20.500.12156.1/9261"]
+fetched_at: "2026-09-10T10:14:24.687Z"
+---
+
+# Série “O Rio de Janeiro desaparecido” XXIV e série “Hotéis do Brasil” VI – O luxuoso Palace Hotel, na Avenida Rio Branco, uma referência da vanguarda artística no Rio de Janeiro
+
+Com imagens produzidas por Antônio Caetano da Costa Ribeiro (18? – 19?), Augusto Malta (1864 – 1957), Guilherme Santos (1871 – 1966) e por um fotógrafo ainda não identificado, a Brasiliana Fotográfica conta um pouco da história do luxuoso Palace Hotel, tema do 24º artigo da Série O Rio de Janeiro desaparecido e o sexto da série Hotéis do Brasil. Diversas exposições de fotografia e de pintura foram realizadas no Palace, tornando-o um pólo da vanguarda artística do Brasil, tema da poesia Rondó do Palace Hotel, de Manuel Bandeira (1886 – 1968).  O escritório Januzzi e Irmão foi responsável por seu projeto e também pelo do Teatro Phenix – aprovado em 14 de novembro de 1906 -, dois empreendimentos da família Guinle. O Teatro Phenix, contiguo ao Palace, será tema de um futuro artigo do portal.
+ 
+A. Ribeiro, Maison Chic. Avenida Rio Branco;Palace Hotel, c. 1919. Rio de Janeiro, RJ / Acervo IMS
+ 
+Convidamos nossos leitores a explorar as fotografias com a ferramenta zoom e, a partir daí, fazer um passeio pelo Rio de Janeiro nas primeiras décadas do século XX, observando mais de perto a paisagem urbana carioca e seus personagens.
+Acessando o link para as fotografias do Palace Hotel, na avenida Rio Branco, disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Um pouco da história do Palace Hotel
+ 
+Guilherme Santos. Visita dos reis da Bélgica; em frente ao Palace Hotel, 1920. Rio de Janeiro, RJ / Acervo IMS
+ 
+Localizado na Avenida Central , número 185, esquina com a rua Almirante Barroso, o Palace Hotel ficava na espinha dorsal do mundo das compras e do lazer dos elegantes, dos negócios e da cultura da então capital federal. Ficava no ponto mais nobre da avenida, onde também estavam situados os prédios do Jockey Club, projeto do arquiteto Heitor de Mello (1875 – 1920), inaugurado em 1913 e demolido na década de 1970; e do Clube Naval, projetado pelo italiano Tommaso Bezzi (1844 – 1915), executado por Heitor de Mello, inaugurado em 1910, e tombado em 1987 pelo Instituto Estadual do Patrimônio Cultural.
+A linha central da avenida havia sido inaugurada pelo presidente Rodrigues Alves (1848 – 1919), em 7 de setembro de 1904 (O Paiz, 8 de setembro de 1904, na sexta coluna, sob o título “Avenida Central” e Gazeta de Notícias, de 8 de setembro de 1904, na última coluna). No ano seguinte, 1905, sob um temporal, a avenida foi aberta oficialmente, em 15 de novembro (O Paiz, 16 de novembro de 1905, na quinta coluna, sob o título “15 de Novembro”).
+ 
+Augusto Malta. Palace Hotel, conhecido como Hotel Guinle, c. 1921. Rio de Janeiro, RJ / Acervo IMS
+ 
+A abertura da avenida foi uma das principais marcas da reforma urbana realizada por Francisco Pereira Passos (1836 – 1913), o bota-abaixo, entre 1902 e 1906, período em que foi prefeito do Rio de Janeiro. Essas transformações foram definidas por Alberto Figueiredo Pimentel (1869-1914), autor da seção “Binóculo”, da Gazeta de Notícias, com a máxima “O Rio civiliza-se”, que se tornou o slogan da reforma urbana carioca, que tornou o Rio uma cidade cosmopolita, moderna. A Avenida Central inaugurou um novo eixo da cidade em direção ao mar, a orla foi embelezada com a Avenida Beira-Mar, aberta em 1906, e a cidade, antes portuária, incorporou à sua vida urbana as praias de Copacabana, Ipanema e Leblon.
+ 
+Avenida Almirante Barroso; Palace Hotel e o prédio do Jockey Club, c. 1922. Rio de Janeiro, RJ / Acervo IMS
+ 
+O nome da Avenida Central foi mudado, por decreto, em 15 de fevereiro de 1912, para Avenida Rio Branco, uma homenagem ao diplomata e ministro das Relações Exteriores do Brasil, o barão de Rio Branco ( 1845 – 1912), que havia falecido cinco dias antes (O Paiz, 16 de fevereiro de 1912, sob o título “Barão do Rio Branco”).
+No Álbum da Avenida Central, lançado em 1907 pelo fotógrafo Marc Ferrez (1843 – 1923), havia desenhos das fachadas do Palace, que ficava na avenida, e do Teatro Phenix, contiguo ao hotel, na Almirante Barroso, ainda Barão de São Gonçalo. Tanto o hotel como o teatro chamavam-se Avenida e fazian m parte do prédio 1885-187-189-191. Nenhum dos dois estava construído quando o álbum foi produzido, portanto não puderam ser fotografados. Quando foram construídos passaram a chamar-se Palace Hotel e Theatro Phenix. Esse álbum é um importante registro da reforma da principal via da então capital federal, onde ele contrapôs reproduções das plantas às fotografias das fachadas de cada edifício documentado. Esse tipo de fotografia foi fundamental para a construção e para a difusão de uma nova imagem do Rio de Janeiro, uma imagem associada aos ideais de civilização e progresso.
+ 
+Hotel e Theatro Avenida,  futuros Palace Hotel e Teatro Phenix / Álbum Avenida Central, página 61
+ 
+Theatro Avenida, futuro Teatro Phenix / Álbum Avenida Central, página 68
+ 
+O Palace Hotel pertencia a Eduardo Palassin Guinle (1846 – 1912), patriarca de sua influente e abastada família. As obras do hotel foram concluídas em torno de 1915 e ele foi inaugurado, em julho de 1919. Foi o ponto de encontro da elite carioca, de celebridades nacionais e internacionais, além de ter sido o palco de diversos e importantes eventos culturais e mundanos. Na época, o Rio de Janeiro era tanto pólo de atração como modelo para as capitais estaduais.
+ 
+O casal Guilhermina e Eduardo Guinle, 1880 / Wikipedia
+ 
+Foi o primeiro empreendimento da família Guinle gerenciado pelo empresário Octávio Guinle (1886 – 1968), filho de Eduardo. O negócio contava com a sociedade do barão de Saavedra (1890 – 1956) e de Francisco Castro e Silva (18? – 19? que juntos comandavam a Companhia Hotéis Palace, fundada em 1919, mesmo ano da inauguração do Palace. Marcou o início de uma nova fase da indústria hoteleira no Rio de Janeiro. Eles também construíram o Copacabana Palace Hotel, quintessência do glamour carioca, inaugurado em 13 de agosto de 1923.
+ 
+Octávio Guinle / Academia Brasileira de Eventos e Turismo
+ 
+Pouco depois da inauguração do Palace Hotel foi realizado um grande banquete em um dos seus salões para autoridades que estavam no Rio de Janeiro para a posse do presidente Epitácio Pessoa (1865 – 1942) (O Paiz, 11 de julho de 1919, primeira coluna; 20 de julho de 1919, segunda coluna; Correio da Manhã, 30 de julho de 1919, antepenúltima coluna). Antes de se instalarem no Palácio do Catete, muitos  presidentes da República eleitos se hospedavam lá até o dia da posse. Washington Luis (1896 – 1957) esteve, em 1926, no quarto 309, e para o mesmo quarto voltou depois de seu exílio, 15 anos depois.
+O Palace possuía 8 andares, servidos por seis elevadores, com 250 quartos de dormir. Sua imagem está mais próxima dos modelos dos palácios urbanos italianos, do barroco ou mesmo de exemplos maneiristas, inspirados na matriz renascentista de Florença. Sofreu uma intervenção do arquiteto francês Joseph Gire (1872 – 1933), provavelmente durante a década de 20. Gire foi o responsável pelos projetos dos hoteis Gloria (1922) e Copacabana Palace (1923), dentre vários outros emprendimentos no Rio de Janeiro.
+ 
+A.C. da Costa Ribeiro. Palace Hotel, à direita, na Rua Almirante Barroso, o Teatro Phenix e, ao fundo, parte do Morro do Castelo, c. 1919. Rio de Janeiro, RJ / Acervo IMS
+ 
+“Todos os quartos tem água quente e fria e o estylo do mobiliário é de muito bom gosto. A Empresa fez ligar para todos os quartos 10 linhas principaes de telephones. A sala de jantar, situada no sétimo andar, esta ricamente decorada, podendo conter 500 pessoas. As suas grandes janellas de sacada conduzem a grandes terraços com vista para a cidade e Bahia, tocando durante todas as refeições uma orchestra de primeira classe. O estabelecimento é dirigido segundo systema europeu, e tem serviço de cozinha irreprehnsível. O hotel tem ainda espaçosos salões de leitura, de visitas, recepção, baile, sala de concertos, bibliotheca, barbeiro, etc., etc. Na cave do edifício há grande stocks dos melhores vinhos. A Companhia emprega 230 pessoas. Todo o pessoal em contacto com os hospedes falla portuguez, inglez, francez, italiano, espanhol e allemão. Para o serviço de cosinha emprega 60 cosinheiros. A direção do hotel está entregue ao Snr. Jean Paul, da Dinamarca, tendo este senhor uma larga experiência nos hotéis das principaes cidades de Europa e dos Estados Unidos da América do Norte”.
+Enciclopédia Comercial, Globe Encyclopedia Company, 1924, London.
+ 
+Segundo o diplomata Maurício Nabuco (1891 – 1979) em seu livro Reflexões e reminiscências, o Palace Hotel teria sido a primeira grande hospedaria do Brasil e se tornado o centro de jovens casais. Em seu bar teria nascido o hábito de se tomar um aperitivo elegante à hora do jantar.  Ainda sobre o bar: sua entrada independente teria atraido, segundo Lucia Meira Lima, as mais formosas “francesas” que aqui aportaram e despertavam paixões entre a jeunesse dorée e os balzaqueanos das décadas de 1920 e 1930. Outros ambientes requintados do hotel eram o Salão Nobre, o Salão de Leitura e o Jardim de Inverno, que antecedia o salão que mais tarde abrigaria as exposições promovidas pela Associação dos Artistas Brasileiros (AAB), localizado ao fundo.
+Várias homenagens, chás dançantes, recitais, almoços e jantares, bailes de carnaval eram realizados em seus salões. Foi no Palace Hotel que a poetisa gaúcha Iveta Ribeiro  (1886 – 1962) apresentou a revista Brasil Feminino, que dirigia (Revista da Semana, 6 de fevereiro de 1932).
+ 
+Iveta Ribeiro (1886 – 1962) / O Malho, 14 de janeiro de 1937
+ 
+Almoço oferecido a Lucio Costa , diretor da Escola de Belas Artes / Revista da Semana, 15 de agosto de 1931
+ 
+Almoço do Rotary Club / Revista da Semana, 7 de novembro de 1931
+ 
+Chá no Palace Hotel em benefício dos Pobres Doentes de Botafaogo / Revista da Semana, 14 de novembro de 1931
+ 
+Realização do 1º Salão do Livro, no Palace Hotel / Revista da Semana, 12 de novembro de 1932
+ 
+Baile dos Artistas no Palace Hotel / Revista da Semana, 6 de fevereiro de 1937
+ 
+Funcionou até 15 de setembro de 1950, quando o gerente sr. Rubens Bokel de Freitas mandou que fosse cerrada em definitivo a porta principal daquele estabelecimento, conforme informado no artigo O fim de uma época, de João Martins, publicado na revista O Cruzeiro, 7 de outubro de 1950. Teve seus bens leiloados. Foi demolido entre 1950 e 1951 (O Jornal, 17 de setembro de 1950, primeira coluna; Jornal do Brasil, 24 de setembro de 1950; Jornal do Brasil, 5 de novembro de 1950, penúltima coluna; Jornal do Brasil, 20 de janeiro de 1951).
+ 
+Jornal do Brasil, 20 de janeiro de 1951
+ 
+Em seu lugar foi erguido o Edifício Condomínio Marquês do Herval, projeto do escritório MMM Roberto, dos irmãos arquitetos Maurício, Marcelo e Milton; e uma das principais construções de arquitetura modernista do Rio de Janeiro. Foi inaugurado, em 1956,  com 36 andares, 35 mil metros quadrados de área construída e 600 unidades, incluindo as lojas e sobrelojas.
+ 
+Edifício Marquês do Herval
+ 
+ 
+O Palace Hotel como referência de vanguarda artística
+ 
+Foi uma referência da vanguarda artística desde os primeiros anos da década de 1920. Diversas exposições de pintura e fotografia aconteceram em seus salões.
+ 
+Algumas exposições de fotografia realizadas no Palace Hotel
+ 
+Algumas importantes exposições de fotografia aconteceram no Palace Hotel, dentre elas, o Salão do Branco e Preto, e uma de águas- fortes photographicas de Fernando Guerra Duval (18? – 1959), em outubro de 1932 (Revista da Semana, 8 de outubro de 1932; O Malho, 15 de outubro de 1932).
+ 
+Revista da Semana, 8 de outubro de 1932
+ 
+O Malho, 15 de outubro de 1932
+ 
+Em outubro de 1933, realizou-se outra exposição de Fernando Guerra Duval (18? – 1959), um dos fundadores, em 1923, do Photo Club Brasileiro, uma associação de fotógrafos, no Rio de Janeiro, formada pelos associados do Photo Club do Rio de Janeiro, fundado em 1910, que se juntaram a fotógrafos de arte para debater as relações entre fotografia e arte. O Photo Club Brasileiro promovia cursos, concursos, exposições e excursões. Publicou as revistas Photo Revista do Brasil (1925 – 1926) e Photogramma (1926 – 1931). Também organizava salões anuais, o primeiro deles inaugurado em 4 de julho de 1924, no Liceu de Artes e Ofícios (Artigo de Fernando Guerra Duval, na Gazeta de Notícias, 9 de julho de 1924), além de divulgar novas técnicas e estéticas, mantendo correspondência com sociedades internacionais de fotografia. Até o fim da década de 1940, foi uma instituição fundamental na difusão da ideia da fotografia como arte. Uma matéria da revista Para Todos, de 17 de setembro de 1927, sobre a quarta exposição anual do Photo Club, ilustrava essa função primordial da associação. Alguns de seus membros de destaque foram Alberto Friedmann, Barroso Neto, Herminia Borges, João Nogueira Borges, Oscar de Teffé e Silvio Bevilacqua. Foi um reduto do pictorialismo.
+ 
+Revista da Semana, 28 de outubro de 1933
+ 
+Fernando, símbolo de elegância e frequentador dos mais requintados e intelectualizados salões cariocas desde as primeiras décadas do século XX, foi também poeta, ator e barítono. Foi casado com Stella de Carvalho Guerra Duval (1879 – 1971), fundadora da Pró-Matre e também da Federação Brasileira pelo Progresso Feminino, ao lado de Bertha Lutz  (1894 – 1976) e Jerônima Mesquita (1880 – 1972), dentre outras. Em 1939, era o presidente da Associação dos Artistas Brasileiros, cuja sede era o Palace Hotel. Em 1942, era seu coordenador-geral. Faleceu em novembro de 1959 (A Rua, 25 de outubro de 1916, última coluna; Vida Doméstica, junho de 1927; O Paiz, 22 e 23 de setembro de 1930, penúltima coluna; Revista da Semana, 7 de outubro de 1933; O Imparcial, 31 de julho de 1935, terceira coluna; Fon Fon, 2 de dezembro de 1939; O Malho, novembro de 1942; Correio da Manhã, 5 de dezembro de 1959, penúltima coluna).
+ 
+Fernando Guerra Duval é o primeiro em pé, da esquerda pra a direita; e Stella está sentada com a mão no queixo / Fon Fon, 5 de agosto de 1916
+ 
+Em 1935, foi realizada a Exposição Fotográfica do Touring Club do Brasil (Revista da Semana, 14 de dezembro de 1935).
+ 
+Revista da Semana, 14 de dezembro de 1935
+ 
+Em 1937, realizou-se o Salão Pinturial Fotográfico (Revista da Semana, 30 de outubro 1937).
+ 
+Revista da Semana, 30 de outubro 1937
+ 
+Em 1938, foram as seguintes as exposições de fotografia no Palace:
+ 
+Anuário Brasileiro de Literatura, 1939
+ 
+Em outubro de 1939, realização de mais um Salão em Preto e Branco.
+ 
+Revista da Semana, 28 de outubro de 1939
+ 
+No mês seguinte, no dia 4, foi inaugurada a exposição fotográfica de Jorge de Castro (? – 19?) intitulada Clichês, no Palace Hotel.  Foram exibidas imagens de paisagens rurais, de árvores, de habitações, de recantos poéticos do Rio de Janeiro, além de retratos de pessoas anônimas e também de registros do maestro Villa-Lobos, dos poetas Carlos Drummond de Andrade, Manuel Bandeira, Murilo Nery e Oswald de Andrade;, dos escritores Anibal Machado, Jorge Amado e José Lins do Rego; da pintora Adagisa Nery, do ministro Gustavo Capanema, dentre outros (Correio da Manhã, 4 de novembro de 1939, primeira coluna; Revista da Semana, 18 de novembro de 1939).
+ 
+Revista da Semana, 18 de novembro de 1939
+ 
+“Fundamentalmente realista, amando as visões da vida, ele as interpreta, porém, captando o momento e o ângulo rico ou compondo o ambiente em que a realidade capitula diante da luz e se converte numa expressão sugestiva e bela”.
+Mário de Andrade sobre Jorge de Castro na crônica O homem que se achou,
+1940
+ 
+Algumas exposições de pinturas realizadas no Palace Hotel
+ 
+Revista da Semmana, 24 de julho de 1926
+ 
+… como a de artistas da Escola de Paris, trazida ao Brasil, em 1930 por Vicente do Rego Monteiro e Géo-Charle; a exposição de Arquitetura Tropical, em 1933; o Salão dos Novos, em 1926; o Salão de Maio, em 1936; Além das primeiras individuais de Cícero Dias, em 1928; Ismael Nery, Portinari e Tarcila do Amaral, em 1929; Bruno Lechovski, em 1931; e outras de Scliar, Segall, Armando Viana, Waldemar da Costa, Kaminagai, Nivouliés de Pierrefort, Manuel Constantino, Colette Pujol, Dimitri Ismailovitch etc. Na década de 50, o Palace Hotel seguia realizando exposições, porém menos significativas e provavelmente sem o aval da Associação dos Artistas Brasileiros.
+Cronologia das Artes Plásticas no Brasil 1816-1994
+ 
+ 
+De Ismael Nery, Exposição Foujita no Palace Hotel – 1931
+ 
+O primeiro registro de uma exposição realizada no Palace é de 1923 quando Sylvia Meyer (1889 – 1955) mostrou, em um de seus salões, retratos em pastel que foram muito bem recebidos pela crítica e pelo público. Foi sua primeira exposição individual. Voltou a expor no Palace Hotel, em 1932, e a poetisa e feminista Anna Amélia Carneiro de Mendonça (1896 – 1971), uma das organizadoras do I Salão de Arte Feminina, em 1931, escreveu uma crítica muito favorável à artista (Diário de Notícias, 9 de outubro de 1932, primeira coluna).
+ 
+Exposição de Sylvia Meyer, em 1932 / Revista da Semana, 8 de outubro de 1932
+ 
+A partir de 1929, o Palace Hotel sediou muitas exposições sob o patrocínio da Associação dos Artistas Brasileiros (AAB), fundada por iniciativa dos artistas plásticos e irmãos Armando e Mário Navarro Costa, e pelo jornalista, escritor, dramaturgo, professor, historiador e crítico de arte Celso Kelly (1906 – 1979). A Associação dos Artistas Brasileiros surgiu a partir do convívio de artistas plásticos dos mais variados ramos durante o 1º Salão dos Artistas Brasileiros, sediado no salão nobre da Biblioteca Nacional, em 1928. Sua sede, após passar pelo Liceu e Artes e Ofícios e pelo Teatro Cassino, passou a ser, em fins de 1929, o Palace Hotel, onde promoveu exposições antológicas.
+Além das já citadas exposições, o Palace Hotel também recebeu, em 1927, uma exposição conjunta de Oswaldo Goeldi (1895 – 1961) com o príncipe russo Paulo Gagarin (1885 – 1980); de Tarsila do Amaral (1886 – 1973), em 1929; de Gilberto Trompovski (1908 – 1982), em 1930; de Levino Fânzeres (1884 – 1956), em 1931; de Haydéa (1896 – 1980) e Manoel Santiago (1897 – 1987) e de Eugenio Latour (1874 – 1942), em 1932; de Hernani do Irajá (1895 – 1969), de Georgina de Albuquerque (1895 – 1962), de Olga Mary (1891 – 1963) e Raul Pedrosa (1892 – 1962), de Oswaldo Teixeira (1905 – 1974) e do francês Marcel Féguide (1888 – 1968), em 1933; do retratista português Henrique Medina (1901 – 1988), do polonês Konstanty Brandel (1880 – 1970), do italiano José Boscagly (1862 – 1945), em 1935; de alunos de Cândido Portinari (1903 – 1962), em 1936; de Alberto da Veiga Guignard (1896 – 1962), de Sarah Villela de Figueiredo (1903 – 1958), em 1938; dentre inúmeras outras.
+ 
+Retrato de Tarsila do Amaral por ela mesma, que ilustrou a capa do catálogo de sua exposição realizada entre 20 e 30 de julho de 1929, no Palace Hotel / Paratodos, 11 de agosto de 1928
+ 
+A já mencionada exposição organizada por Vicente do Rego Monteiro (1899 – 1970), foi a primeira mostra de arte moderna europeia na América do Sul e congregou obras de artistas do calibre de Fernand Léger (1881 – 1955), Georges Braque (1882 – 1963), Pablo Picasso (1881 – 1973) e Raoul Dufy (1877 – 1953).
+ 
+Exposição de Haydéa e Manoel Santiago no Palace Hotel / Revista da Semana, 16 de abril de 1932
+ 
+ 
+Exposição de Eugenio Latour no Palace Hotel / Revista da Semana, 18 de junho de 1932
+ 
+Foi também no Palace Hotel que o mundialmente famoso arquiteto norte-americano Frank Lloyd Wright (1867 – 1959) proferiu sua  última palestra da temporada que passou no Rio de Janeiro, entre 2 e 24 de outubro de 1931.
+Segundo Adriana Marta Irigoyen de Toucedo:
+
+ 
+O Palace Hotel foi personagem de uma das poesias do grande Manuel Bandeira que revelou, em uma entrevista ao cronista Paulo Mendes Campos (1922 – 1991), publicada na Revista Província de São Pedro, em 1949, que ela referia-se à Lembrança de uma farra de Carnaval com Cícero Dias no saguão do Palace Hotel. Rondó do Palace Hotel foi publicada no livro Estrela da Manhã (1936).
+ 
+Cândido Portinari, Antônio Bento, Mário de Andrade e Rodrigo Mello Franco de Andrade na exposição de Portinari no Palace Hotel, década de 1930 / Acervo Projeto Portinari
+ 
+ 
+Rondó do Palace Hotel
+por Manuel Bandeira
+No hall do Palace o pintor
+ Cícero Dias entre o Pão
+ De Açúcar e um caixão de enterro
+ (É um rei andrógino que enterram?)
+ Toca um jazz de pandeiro com a mão que o Blaise Cendrars perdeu na guerra.
+Deus do céu, que alucinação!
+ Há uma criatura tão bonita
+ Que até os olhos parecem nus:
+ Nossa Senhora da Prostituição!
+ -“Garçom, cinco martínis!” Os
+ Adolescentes cheiram éter
+ No hall do Palace.
+Aqui ninguém dá atenção aos préstitos
+ (Passa um clangor de clubes lá fora):
+ Aqui dança-se, canta-se, fala-se
+ E bebe-se incessantemente
+ Para esquecer a dor daquilo
+ Por alguém que não está presente
+ No hall do Palace.
+ 
+ 
+ 
+Andrea C.T. Wanderley
+Editora e Pesquisadora da Brasiliana Fotográfica
+ 
+Fontes:
+ 
+BULCÃO, Clóvis. Os Guinle: a história de uma dinastia. Rio de Janeiro : Intrínseca, 2015.
+BATISTA, Antonio José de Sena. Arquitetos sem halo: a ação dos escritórios M.M.M.Roberto e Henrique Mindlin Arquitetos Associados. Tese apresentada ao Programa de Pós-graduação em História Social da Cultura, do Departamento de História da PUC-Rio, como requisito parcial para obtenção do título de Doutor em História, março de 2013.
+CATTAN, Roberto Correia de Mello. A Família Guinle e a Arquitetura do Rio de Janeiro Um capítulo do ecletismo carioca nas duas primeiras décadas do novecentos. Dissertação apresentada como requisito parcial para obtenção do grau de Mestre pelo Programa de Pós-Graduação em História do Departamento de História da PUC-Rio, novembro de 2013.
+CAVALCANTI, Lauro, org., Quando o Brasil Era Moderno Artes plásticas no Rio de Janeiro 1905-1960, Rio de Janeiro : Aeroplano Editora, 2001.
+COSTA, Helouise. Pictorialismo e Imprensa: O Caso da Revista O Cruzeiro (1928-1932). In: FABRIS, Annateresa (org.). Fotografia:  Usos e Funções no Século XIX. 2 ed. São Paulo: Editora da Universidade de São Paulo, 2008. (Texto & Arte, 3).
+Hemeroteca Digital da Biblioteca Nacional
+MARCHESAN, Luiz Gonzaga. Antonio Cândido na revista Texto.
+MENDES, Ricardo org. Pensamento crítico em fotografia – Antologia Brasil – 1890 – 1930. FUNARTE, 2013.
+MORAES, Frederico. Cronologia das Artes Plásticas no Brasil 1816-1994. Rio de Janeiro : Topbooks, 2001.
+Site Clube Naval
+Site Estilos Arquitetônicos
+Site Inepac
+SOARES, Débora Poncio. ENTRE APAGAMENTOS E LEMBRANÇAS: A artista Sylvia Meyer (1889 – 1955). Trabalho de Conclusão de Curso apresentado à Escola de Belas Artes da Universidade Federal do Rio de Janeiro, como parte dos requisitos necessários à obtenção do grau de bacharel em História da Arte, 2021.
+TOUCEDO, Adriana Marta Irigoyen de. Frank Lloyd Wright e o Brasil.  Dissertação de Mestrado – Escola de Engenharia de São Carlos – Universidade de São Paulo, 2000.
+XAVIER, Roger Ferreira. Os comediantes: da gênese à formulação do teatro do futuro (1938-1942). Dissertação apresentada ao Programa de Pós-Graduação em Artes Cênicas da Universidade Federal do Estado do Rio de Janeiro, como parte dos requisitos necessários para a obtenção do Título de Mestre em Artes Cênicas. Linha de Pesquisa: História e Historiografia do Teatro e das Artes
+Youtube – O LUXUOSO PALACE HOTEL DOS PRESIDENTES E ARTISTAS MODERNISTAS
+ 
+Links para os outros artigos da Série O Rio de Janeiro desaparecido
+ 
+Série O Rio de Janeiro desaparecido I - Salas de cinema do Rio de Janeiro do início do século XX, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 26 de fevereiro de 2016.
+Série O Rio de Janeiro desaparecido II – A Exposição Nacional de 1908 na Coleção Família Passos, de autoria de Carla Costa, historiadora do Museu da República, publicado na Brasiliana Fotográfica, em 5 de abril de 2018.
+Série O Rio de Janeiro desaparecido III – O Palácio Monroe, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica, em 9 de novembro de 2016.
+Série O Rio de Janeiro desaparecido IV - A via elevada da Perimetral, de autoria da historiadora Beatriz Kushnir, publicado na Brasiliana Fotográfica em 23 de junho de 2017.
+Série O Rio de Janeiro desaparecido V – O quiosque Chopp Berrante no Passeio Público, Ferrez, Malta e Charles Dunlop, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 20 de julho de 2018.
+Série O Rio de Janeiro desaparecido VI – O primeiro Palácio da Prefeitura Municipal do Rio de Janeiro, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 12 de setembro de 2018.
+Série O Rio de Janeiro desaparecido VII – O Morro de Santo Antônio na Casa de Oswaldo Cruz, de autoria de historiador Ricardo Augusto dos Santos da Casa de Oswaldo Cruz, publicado na Brasiliana Fotográfica em 5 de fevereiro de 2019.
+Série O Rio de Janeiro desaparecido VIII – A demolição do Morro do Castelo, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 30 de abril de 2019.
+Série O Rio de Janeiro desaparecido IX – Estrada de Ferro Central do Brasil: estação e trilhos, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 12 de novembro de 2019.
+Série O Rio de Janeiro desaparecido X – No Dia dos Namorados, um pouco da história do Pavilhão Mourisco em Botafogo, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 12 de junho de 2020.
+Série O Rio de Janeiro desaparecido XI – A Estrada de Ferro do Corcovado e o mirante Chapéu de Sol, de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 22 de julho de 2021.
+Série O Rio de Janeiro desaparecido XII – o Teatro Lírico (Theatro Lyrico), de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 15 de setembro de 2021.
+Série O Rio de Janeiro desaparecido XIII – O Convento da Ajuda, de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 12 de outubro de 2021.
+Série O Rio de Janeiro desaparecido XIV – O Conselho Municipal, de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 19 de novembro de 2021.
+Série O Rio de Janeiro desaparecido XV – A Praia de Santa Luzia no primeiro dia do verão, de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 21 de dezembro de 2021.
+Série O Rio de Janeiro desaparecido XVI – O prédio da Academia Imperial de Belas Artes, de autoria de Andrea C.T. Wanderley, publicado na Brasiliana Fotográfica em 13 de janeiro de 2022.
+Série O Rio de Janeiro desaparecido XVII – Igreja São Pedro dos Clérigos, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 18 de março de 2022.
+Série O Rio de Janeiro desaparecido XVIII – A Praça Onze, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 20 de abril de 2022.
+Série O Rio de Janeiro desaparecido XIX – A Igrejinha de Copacabana, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 23 de junho de 2022.
+Série O Rio de Janeiro desaparecido XX – O Pavilhão dos Estados, futuro prédio do Ministério da Agricultura, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 26 de julho de 2022.
+Série O Rio de Janeiro desaparecido XXI – O Chafariz do Largo da Carioca, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 19 de setembro de 2022. 
+Série O Rio de Janeiro desaparecido XXII – A Cadeia Velha que deu lugar ao Palácio Tiradentes, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 11 de abril de 2023
+Série O Rio de Janeiro desaparecido XXIII e Avenidas e ruas do Brasil XVII - A Praia e a Rua do Russel, na Glória, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 15 de maio de 2023
+Série O Rio de Janeiro desaparecido XXVI – Conclusão do arrasamento do Morro do Castelo por Augusto Malta, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 14 de dezembro de 2023
+Série O Rio de Janeiro desaparecido XXVII e Série Os arquitetos do Rio de Janeiro V – O Jockey Club e o Derby Club, na Avenida Rio Branco e o arquiteto Heitor de Mello (1875 – 1920), de autoria de Andrea c. T. Wanderley, editora e pesquisadora do portal, em 15 de janeiro de 2024
+ 
+Outros artigos publicados na Brasiliana Fotográfica sobre hotéis
+ 
+Hotéis do século XIX e do início do século XX no Brasil, publicado em 5 de novembro de 2015 , de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica.
+O Hotel Glória – antes e depois, publicado em 21 de dezembro de 2017, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica.
+Copacabana Palace, símbolo do glamour carioca, publicado em 13 de agosto de 2020, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica.
+O Hotel Pharoux por Revert Henrique Klumb, publicado em 15 de junho de 2022, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica.
+O centenário do Copacabana Palace, quintessência do “glamour” carioca, e seu criador, o arquiteto francês Joseph Gire, publicado em 13 de agosto de 2023, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/9365` — `itens/20.500.12156.1_9365/`
+- `20.500.12156.1/9416` — `itens/20.500.12156.1_9416/`
+- `20.500.12156.1/9295` — `itens/20.500.12156.1_9295/`
+- `20.500.12156.1/11072` — `itens/20.500.12156.1_11072/`
+- `20.500.12156.1/9261` — `itens/20.500.12156.1_9261/`
+
diff --git a/wordpress/32431-serie-o-rio-de-janeiro-desaparecido-xxvii-e-serie-os-arquitetos-do-rio-de-janeir.md b/wordpress/32431-serie-o-rio-de-janeiro-desaparecido-xxvii-e-serie-os-arquitetos-do-rio-de-janeir.md
new file mode 100644
index 0000000..9fd69e9
--- /dev/null
+++ b/wordpress/32431-serie-o-rio-de-janeiro-desaparecido-xxvii-e-serie-os-arquitetos-do-rio-de-janeir.md
@@ -0,0 +1,337 @@
+---
+id: 32431
+url: "https://brasilianafotografica.bn.gov.br/?p=32431"
+titulo: "Série “O Rio de Janeiro desaparecido XXVII e Série “Os arquitetos do Rio de Janeiro” V – O Jockey Club e o Derby Club, na Avenida Rio Branco e o arquiteto Heitor de Mello (1875 – 1920)"
+autor: "Andrea Wanderley"
+data: "2024-01-15T10:12:40+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/9509", "20.500.12156.1/11072", "20.500.12156.1/2432", "20.500.12156.1/4718", "20.500.12156.1/10917"]
+fetched_at: "2026-09-10T10:14:28.335Z"
+---
+
+# Série “O Rio de Janeiro desaparecido XXVII e Série “Os arquitetos do Rio de Janeiro” V – O Jockey Club e o Derby Club, na Avenida Rio Branco e o arquiteto Heitor de Mello (1875 – 1920)
+
+A Brasiliana Fotográfica publica hoje o 27º artigo da série O Rio de Janeiro desaparecido, sobre os prédios do Jockey Club e do Derby Club, na Avenida Rio Branco, demolidos na década de 1970; e o 5º da série Os arquitetos do Rio de Janeiro, sobre Heitor de Mello (1875 – 1920), autor do projeto dos dois edifícios. Com um registro de autoria de um fotógrafo ainda não identificado e duas estereoscopias de Guilherme Santos (1871 – 1966), o portal vai contar um pouco da história destas construções e de seu arquiteto, além de traçar um pequeno histórico dos dois clubes e do início do turfe no Brasil.
+ 
+Retrato do fotógrafo amador Guilherme Santos / O Malho, setembro de 1951
+ 
+O fotógrafo amador Guilherme Santos (1871 – 1896) foi um entusiasta da fotografia estereoscópica, tendo sido um dos pioneiros dessa técnica no Brasil, ao adquirir, em 1905, na França, o Verascope, um sistema de integração entre câmera e visor, que permitia ver imagens em 3D, produzidas a partir de duas fotos quase iguais, porém tiradas de ângulos um pouco diferentes. Eram impressas em uma placa de vidro e reproduziam a sensação de profundidade de maneira bem próxima da visão real. Antes dele, entre os anos de 1855 e 1862, o “Photographo da Casa Imperial”, Revert Henrique Klumb (1826 – c. 1886), favorito da imperatriz Teresa Christina (1822 – 1889) e professor de fotografia da princesa Isabel (1846 – 1921), havia produzido vários registros utilizando a técnica da estereoscopia. A Casa Leuzinger também produziu fotografias estereoscópicas.
+ 
+Acessando o link para as fotografias do edifício do Jockey Club e do Derby Club, na Avenida Rio Branco, no Rio de Janeiro disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas
+ 
+As sedes do Jockey Club e do Derby Club
+ 
+Guilherme Santos. Os edifícios do Jockey Club e do Derby Club, c. 1915. Avenida Rio Branco, Rio de Janeiro, RJ / Acervo IMS
+ 
+O Jockey Club foi fundado, em 16 de julho de 1868, nos salões da Sociedade Auxiliadora da Indústria Nacional com o fim de dar corridas de cavallo no Prado Fluminense. Seu primeiro presidente foi o comendador Mariano Procopio Ferreira Lage (1821 – 1872), empresário mineiro e diretor da Companhia União e Indústria.
+ 
+Mariano Procópio (1821 – 1872)
+ 
+Diário do Rio de Janeiro, 17 de julho de 1868
+ 
+Em 1911, foi iniciada a construção de seu edifício-sede, na Avenida Rio Branco, nº 193,  inaugurado em 1913. A festa dos 45 anos do Jockey Club foi realizada, em 16 de julho de 1913, já na nova sede. Seu projeto foi do arquiteto Heitor de Mello (1875 – 1920). Como construtores, destacaram-se os engenheiros João Pradatzky e Francisco Peixoto. Foi durante décadas o ponto de encontro do mundanismo elegante e sofisticado da cidade.
+O Derby Club, clube de turfe, esportes equestres e atividades sociais, foi fundado, em 6 de março de 1885, sob a organização do engenheiro Paulo de Frontin (1860 – 1933).
+ 
+Gazeta de Notícias, 7 de março de 1885
+ 
+Paulo de Frontin (1860 – 1933)
+ 
+Seu hipódromo era o Prado do Itamaraty, onde hoje encontra-se o Estádio do Maracanã. 
+ 
+Localização dos antigos prados do Derby Club e do Jockey Club
+ 
+Lançamento da pedra fundamental da sede do Derby Club, na Avenida Rio Branco, com as presenças de Paulo de Frontin e de Heitor de Mello / Fon-Fon, 15 de março de 1913
+ 
+Em 6 de março de 1916, foi dada uma bênção ao segundo edifício-sede do Derby Club, também na Avenida Rio Branco e também projeto de Heitor de Mello. Ficava ao lado do prédio do Jockey Club (O Paiz, 7 de março de 1916, penúltima coluna).
+ 
+A fusão do Jockey e do Derby originando o Jockey Club Brasileiro
+
+ 
+Em 1932, os dois principais clubes turfísticos da cidade do Rio de Janeiro, o Jockey e o Derby, fundiram-se, constituindo o Jockey Club Brasileiro. O conjunto dos dois imóveis na Avenida Rio Branco transformou-se na sede da nova entidade (Jornal dos Sports, 6 de fevereiro de 1932, sexta coluna).
+ 
+ 
+Jornal dos Sports, 5 de fevereiro de 1932
+ 
+No ano seguinte, o Hipódromo da Gávea, que havia sido inaugurado pelo Jockey Club, em 11 de julho de 1926, uma réplica do antigo Hipódromo de Longchamps no Bois de Boulogne e o palco mais tradicional do turfe brasileiro, sediou pela primeira vez a maior corrida de cavalo nacional, o GP Brasil, sacramentando a união das duas instituições. Foi disputado no primeiro domingo de agosto de 1933, no dia 6, e vencido pelo cavalo brasileiro Mossoró, montado por Justiniano Mesquita (Fon-Fon, 12 de agosto de 1933).
+ 
+Fon-Fon!, 12 de agosto de 1933
+ 
+A atual sede social do Jockey Club Brasileiro ocupa um quarteirão formado pela Avenida Amtônio Carlos, Nilo Peçanha, Almirante Barroso e Rua Debret, no Centro da cidade, e foi inaugurada em 16 de julho de 1974. Seu projeto foi justamente do arquiteto Lúcio Costa (1902 – 1998), um dos principais defensores da demolição dos antigos prédios do Jockey e do Derby na Avenida Rio Branco (Manchete, edição especial, 1974; Diário de Notícias, 16 de julho de 1974).
+ 
+Sede do Jockey Club Brasileiro no Centro do Rio de Janeiro
+ 
+Pequeno histórico da demolição
+ 
+Em julho de 1972, o Instituto de Arquitetos do Brasil (IAB) propôs ao Instituto do Patrimônio Histórico Nacional (IPHAN) o tombamento do conjunto arquitetônico remanescente da antiga Avenida Central, atual Rio Branco, composto pelo Obelisco, pelo Tribunal de Justiça, pela Biblioteca Nacional, pela Escola Nacional de Belas Artes, pelo Derby Clube, pelo Jockey Club, pelo Clube Naval, pelo Teatro Municipal, pelo Palácio Monroe e pela Assembleia. O parecer do relator do processo, o arquiteto Paulo Santos (1904 – 1988), foi favorável à preservação. Cerca de dois meses depois, o arquiteto e urbanista Lúcio Costa, que havia sido estagiário de Heitor de Mello, apresentou ao IPHAN, de onde era aposentado, o texto Problema Mal Posto, rebatendo o parecer de Paulo Santos, por não reconhecer mérito artístico nestes prédios. Em fevereiro de 1973,  o conselho superior do IPHAN realizou a sessão final sobre o processo de tombamento, quando a proposta de Lúcio Costa de avaliar, em separado, os prédios foi aprovada. Não entraram no livro de tombamento o Jockey Club, o Derby Club e o Palácio Monroe, todos demolidos ao longo da década de 1970. No lugar dos prédios do Jockey e do Derby foi erguido um edifício de 40 pavimentos. No lugar do Palácio Monroe, existe hoje o maior chafariz do Rio de Janeiro – com 10 metros de altura -, comprado na Áustria pelo governo imperial brasileiro, em 1878.  Em homenagem ao palácio, é chamado de Chafariz do Monroe. No estilo Napoleão III,  é uma obra de Mathurin Moreau, que foi executada na fundição francesa Societé Anonyme des Hauts-Fourneaux & Fonderies du Val d’Osne.
+Curiosamente, Lúcio Costa, no artigo Muita construção, alguma arquitetura e um milagre, de 1951, declarou a respeito da arquitetura brasileira do período entre final do novecentos e início do século XX (Correio da Manhã, de 15 de junho de 1951, segunda coluna):
+ 
+Correio da Manhã, 15 de junho de 1951
+ 
+ 
+Breve perfil do arquiteto Heitor de Mello (1875 – 1920)
+ 
+“Não podemos deixar, neste primeiro número da revista “Architectura no Brasil”, de rendermos a nossa homenagem à memória desse ilustre e inolvidável cultor da architectura pátria. A ele devemos sem dúvida os primeiros passos para o embelezamento de nossa cidade, que estão sendo brilhantemente continuados pela pleiade de artistas que ele preparou”. Assim começava o artigo, publicado em outubro de 1921,  que lembrava o primeiro ano de morte do arquiteto Heitor de Mello (1875 – 1920).
+ 
+Heitor de Mello (1875 – 1920) / Arquitetura no Brasil, outubro de 1921
+ 
+Heitor de Mello foi um destacado arquiteto da segunda fase do ecletismo carioca, influenciado predominantemente pela École des Beaux Arts de Paris, via Escola de Belas Artes do Rio do Janeiro. Segundo Maria Lúcia Pinheiro Ramalho: Heitor de Mello especializou-se no emprego dos estilos classicizantes da renascença francesa, utilizando-os de acordo com a função do edifício, numa forma bastante personalista do ecletismo tipológico. 
+ 
+Assinatura do arquiteto Heitor de Mello
+ 
+Nasceu no Rio de Janeiro, em 12 de setembro de 1875, filho do almirante Custódio de Mello (1840 – 1902), um dos líderes da Revolta da Armada e, posteriormente, ministro da Marinha, da Guerra, e ministro interino das Relações Exteriores do governo do presidente Floriano Peixoto (1839 – 1895); e de Edelvira Pereira Pinto de Mello. Casou-se com Silvia Peixoto de Mello e tiveram duas filhas: Maria Cecília Mello Freeman e Maria Luiza Mello Sertório.
+Segundo o crítico de arte José Mariano Carneiro da Cunha Filho (1881 – 1946): não era um caçador de amigos, voluntarioso, áspero, incisivo, não poupava os medíocres, nem se apiedava dos incapazes. Combatido não deu trégua aos invejosos. Os inimigos temiam-lhe os epigramas, os invejosos a elegância de maneiras, as boas roupas talhadas nos alfaiates de Londres.
+ 
+O arquiteto Heitor de Mello (1875 – 1920)
+ 
+Iniciou seus estudos no Rio de Janeiro e passou um período na Europa. Heitor formou-se em Arquitetura pela Escola Nacional de Belas Artes (ENBA), onde estudou entre 1895 e 1900, sob a direção do escultor Rodolfo Bernadelli (1851-1931). Foi aluno de Adolfo Morales de Los Rios (1858 – 1928) e de Ernesto da Cunha de Araújo Vianna (1852-1920) e contemporâneo dos pintores Lucilio de Albuquerque (1877 – 1939), Theodoro Braga (1872 – 1953) e João Timotheo da Costa (1878 – 1932), do escultor José Otávio Correa Lima (1878 – 1974) e do arquiteto Aluisio Stahlembrecher (18? – 19?), dentre outros (Gazeta de Notícias, 23 de junho de 1899, penúltima coluna; O Paiz, 18 de janeiro de 1900, última coluna).
+ 
+O Paiz, 18 de janeiro de 1900
+ 
+Em 1900, participou da exposição da Escola Nacional de Belas Artes (O Paiz, 2 de setembro de 1900, penúltima coluna). Mais tarde, em 1913, Heitor tornou-se professor da instituição e lecionava Composições de Arquitetura, seu Desenho e Orçamentos. Em 1918, passou a professor catedrático.
+ 
+Adalberto de Mattos sobre Heitor de Mello / Illustração Brasileira, março de 1921
+ 
+A importância da ENBA e de Heitor de Mello na formação de arquitetos foi ressaltada no artigo O renascimento da Architectura no Brasil (Architectura no Brasil, outubro de 1921):
+“Inaugurada a nova Escola Nacional de Bellas Artes. Formaram-se os primeiros arquitetos brasileiros tendo à frente Heitor de Mello. Daí para cá, todos os anos, têm-se sucedido novas turmas de jovens artistas, os pugnadores do ressurgimento arquitetonico do Brasil. Até hoje, todavia, eles não puderam ainda ser compreendidos, ou talvez não tivessem ainda número suficiente para vencer a onda invasora dos deturpadores da estética das nossas cidades. Heitor de Mello, entretanto impôs-se, nesse meio árido, pelo seu talento, sua cultura artística e sua coragem. Os que o acompanharam, os que souberam aproveitar as suas lições, tornaram-se grandes arquitectos, e, assim, possui, hoje o Rio de Janeiro, um grupo já numeroso, que assombrosamente vem se impondo á admiração do governo e do povo”.
+Em 1º de julho de 1901, Heitor foi admitido como sócio do Club de Engenharia. Ainda na década de 1910, recebeu o Grande Prêmio de Arquitetura da Exposição Nacional de 1908, da qual foi responsável pela perspectiva.
+ 
+Illustração Brasileira, março de 1921
+ 
+Segundo o historiador da arquitetura Yves Bruand (1926 – 2011), o Escritório Técnico Heitor de Mello, fundado em 1898, foi a primeira organização comercial de arquitetura no Brasil dedicada ao desenvolvimento de projetos, acompanhamento e fiscalização de obras. 
+Em 1905, a autoria de um de seus projetos, uma construção na Avenida Central, estava sendo atribuida a outro arquiteto. Heitor de Mello prontamente reagiu. A abertura da avenida foi uma das principais marcas da reforma urbana realizada por Francisco Pereira Passos (1836 – 1913), o bota-abaixo, entre 1902 e 1906, período em que foi prefeito do Rio de Janeiro. Essas transformações foram definidas por Alberto Figueiredo Pimentel (1869-1914), autor da seção “Binóculo”, da Gazeta de Notícias, com a máxima “O Rio civiliza-se”, que se tornou o slogan da reforma urbana carioca. Sob um temporal, a avenida foi aberta oficialmente, em 15 de novembro de 1905 (O Paiz, 16 de novembro de 1905, na quinta coluna, sob o título “15 de Novembro”).
+ 
+O Paiz, 28 de dezembro de 1905
+ 
+Em 1906, o edifício do Club de Engenharia, projeto de Raphael Rebecchi (1844 – 1922), que estava em construção na Avenida Central, sob a responsabilidade de Heitor de Mello, desabou causando a morte de dois operários, mas ele foi impronunciado pela Justiça (O Paiz, 15 de fevereiro de 1906; O Paiz, 7 de junho de 1908, quarta coluna). Cerca de um ano depois, participou da Exposição da Escola Nacional de Belas Artes com a exibição do projeto dele e de Francisco de Oliveira Passos (1878 – 1958), filho do ex-prefeito do Rio de Janeiro, Francisco Pereira Passos (1836 – 1913), para o novo prédio do Congresso Nacional (O Paiz, 31 de agosto de 1907, primeira coluna).
+Em 1908, casou-se com Sylvia Rodrigues Peixoto (O Paiz, 25 de junho de 1908, última coluna).
+Quando Heitor de Mello faleceu, em 15 de agosto de 1920, aos 44 anos, de uma nevrite cardíaca (Gazeta de Notícias, 16 de agosto de 1920, quarta coluna), Archimedes Memória (1893 – 1960), um de seus discípulos, que já trabalhava com ele desde 1918, passou a ser sócio do escritório com o franco-suíço Francisque Couchet (18? – 19?). Memória também, em 1920, sucedeu Heitor como professor de desenho de ornatos e elementos de arquitetura e composição de arquitetura da Escola Nacional de Belas Artes. Em um artigo publicado em 1924, Memória e Cuchet referiram-se a Heitor de Mello como …Genuíno gênio nacional que foi o arquiteto Heitor de Mello cuja atividade e proficiência dotaram o Rio de Janeiro de belos e grandiosos edifícios como o Jockey Club, Derby Club...(Correio da Manhã, 13 de janeiro de 1924, quarta coluna).
+ 
+Correio da Manhã, 14 de setembro de 1920
+ 
+Por iniciativa do já mencionado José Mariano Carneiro da Cunha Filho foi instituído, em 1921, o Prêmio Heitor de Mello, que seria anual, conferido em concurso público e julgado pelo Instituto Brasileiro de Arquitetos (Architectura Brasileira, outubro de 1921, segunda coluna).
+Em 18 de dezembro, foi aberta na Escola Nacional de Belas Artes uma exposição com os trabalhos realizados por Heitor de Mello (Correio da Manhã, 16 de dezembro de 1920, penúltima coluna).
+ 
+Na Academia de Belas Artes, exposição dos trabahos de Heitor de Mello / Careta, 25 de dezembro de 1920
+ 
+No artigo Um archictecto, de Adalberto Mattos, publicado, em março de 1921, na Illustração Brasileira, várias imagens de projetos de Heitor de Mello foram publicadas.
+ 
+
+ 
+Lista dos principais trabalhos realizados por Heitor de Mello ao longo de 22 anos de vida profissional:
+ 
+
+ 
+Errata da listagem publicada no número seguinte da revista: o projeto do prédio de Antônio Maria da Costa, à Avenida Rio Branco, é de Morales de los Rios. A execução foi de Heitor de Mello (Illustração Brasileira, março de 1921; Archictectura no Brasil, novembro de 1921, segunda coluna).
+A Brasiliana Fotográfica já publicou dois artigos sobre projetos de Heitor de Mello:
+Série “O Rio de Janeiro desaparecido” XXIV – O luxuoso Palace Hotel, na Avenida Rio Branco, uma referência da vanguarda artística no Rio de Janeiro, de autoria da pesquisadora e editora do portal, Andrea C. T. Wanderley, publicado em 4 de julho de 2023
+O centenário do Palácio Pedro Ernesto, de autoria da pesquisadora e editora do portal, Andrea C. T. Wanderley, publicado em 21 de julho de 2023
+ 
+O início do turfe do Brasil e pequeno histórico do Jockey Club e do Derby Club
+Início do turfe no Brasil 
+
+ 
+O mais antigo registro da realização de corridas de cavalo no Rio de Janeiro é de 25 de maio de 1814 e foi publicado na Gazeta do Rio de Janeiro. As carreiras aconteciam na Praia de Botafogo e eram organizadas por um grupo de comerciantes ingleses estabelecidos na cidade.
+ 
+Gazeta do Rio de Janeiro, 25 de maio de 1813
+ 
+Há o registro das presenças de dom Pedro I (1798 – 1934) e de dona Leopoldina (1797 – 1924) em uma dessas corridas, realizada no dia 31 de julho de 1825, na Praia de Botafogo (Diário Fluminense, 2 de agosto de 1925, primeira coluna).
+ 
+Diário Fluminense, 2 de agosto de 1825
+ 
+No dia 6 de março de 1847, foi publicado no Jornal do Commercio, um tipo de convocação para a instituição mais regular das atividades turfísticas no Brasil, origem da fundação do Club de Corridas, uma sociedade anônima. Os subscritores da iniciativa foram convidados para uma reunião no dia 15 de julho do mesmo ano, em uma sala da assembleia do Cassino, defronte do Passeio Público, quando foi instalada a associação, discutido seus estatutos e eleita sua diretoria (Jornal do Commercio, 6 de março de 1847, segunda coluna; e 14 de julho de 1847, segunda coluna). O grupo do Club de Corridas era formado por Luis Alves de Lima e Silva (1803 – 1880), futuro Duque de Caxias, o coronel Polidoro da Fonseca Quintanilha Jordão (1802 – 1879), o cirurgião Antonio da Costa, o corretor de fundos Henry Harper, o agricultor e capitalista comendador Teles, o major João Guilherme Suckow, Alexander Reed e o Barão do Rio Bonito. O secretário da nova sociedade, João Pereira Darrigue Faro (1803 – 1856), segundo barão e primeiro visconde  do Rio Bonito, em nome de seu primeiro presidente, Luís Alves de Lima e Silva (1803 – 1880), futuro Duque de Caxias, convocou os diretores do Club de Corridas à uma reunião, no dia 6 de dezembro, para tratar-se da comprar de um terreno (Jornal do Commercio, 5 de dezembro de 1847, primeira coluna).
+ 
+O Duque de Caxias, aos 42 anos
+ 
+João Pereira Darrigue de Faro / Arquivo Histórico do Senado Federal
+ 
+Reuniram-se em maio de 1848 para discutir seus estatutos e deliberar mais uma vez sobre a compra de um terreno (Correio Mercantil, 26 de maio de 1848, última coluna).
+Em  janeiro de 1849, foi eleita uma nova diretoria para o Club de Corridas, sob a presidência do Barão do Rio Bonito. O secretário era Marianno Procópio Ferreira Lage (1821 – 1872), que veio a ser, como já mencionado, o primeiro presidente do Jockey Club. Tomaram posse em 5 de fevereiro  de 1849 (Jornal do Commercio, 10 de junho de 1849, primeira coluna).
+ 
+Jornal do Commercio, 10 de junho de 1849
+ 
+Começaram a construir  um prado em São Francisco Xavier, o Prado Fluminense, que ficava na área onde hoje se encontra a UERJ. Em 1º de novembro de 1850, foi realizada a única corrida no Prado Fluminense patrocinada pelo Club de Corridas. Curiosamente, um dos regulamentos da prova era: matar-se-ha qualquer cachorro que ali apparecer. O primeiro páreo disputado foi vencido pelo cavalo Malacarinha, propriedade de Manoel Rocha Maia, montado pelo jóckei D. Thomaz (Jornal do Commercio, 21 de outubro de 1850, última coluna; 1º de novembro de 1850, penúltima coluna).
+ 
+Correio Mercantil, 18 de outubro de 1850
+ 
+Ainda em 1850,  uma nova reunião foi convocada pelo Club de Corridas para que fosse realizada a revisão dos estatutos e a tomada de decisão sobre a melhor forma de levantar-se recursos para a conclusão das obras do Prado Fluminense. Decidiu-se pelo arrendamento (Correio Mercantil, 19 de novembro de 1950, terceira coluna; 29 de novembro de 1950, quarta coluna).
+ 
+Correio Mercantil, 19 de novembro de 1849
+ 
+Em 3 de fevereiro de 1851, o major alemão João Guilherme Suckow (1797 – 1869) e David Stevenson foram formalizados como os  arrendatários do prado (Correio Mercantil, 1º de abril de 1951, primeira coluna).
+ 
+Correio Mercantil, 1º de abril de 1951
+ 
+O Prado Fluminense tinha 1.056 metros e tinha o formato de uma ferradura. Ao seu lado foi construída uma arquibancada para 800 pessoas e um pavilhão destinado à família imperial. Em 13 de junho de 1851, foi inaugurado (Jornal do Commercio, 13 de junho de 1851, última coluna; 14 de março de 1851, quarta coluna). Foi um evento de sucesso com o comparecimento de cerca de quatro mil pessoas, dentre eles dom Pedro II e dona Teresa Cristina, que foram recebidos com a execução do Hino Nacional. Os páreos foram vencidos pelos cavalos Orestes, Neptuno, Malacarinha, Sultão, Loteria e Kaleb (Jornal do Comercio, 15 de junho de 1851, terceira coluna; A Marmota na Corte, 17 de junho de 1851). 
+ 
+Jornal do Commercio, 14 de junho de 1851
+ 
+A segunda corrida aconteceu em 14 de setembro do mesmo ano e também contou com a presença de Pedro II (A Marmota na Corte, 16 de setembro de 1851, segunda coluna; O Liberal, 24 de setembro de 1851, primeira coluna).
+As corridas prosseguiram sem interrupção até 1854, ano em que um dos empregados de Suckow ateou fogo à arquibancada, destruindo-a. Este fato somado ao prejuízo causado pela última corrida realizada no prado levou à liquidação do Jockey Club Fluminense e à decretação de venda em hasta pública de todos do seus bens móveis e imóveis, só concluída em 1865.
+ 
+Major Suckow (1797 – 1869)) pintado por Henrique Bernardelli
+ 
+Como Suckov não podia mais arcar sozinho com os custos do Prado Fluminense, em 9 de junho de  1854, foi fundado o Jockey Club Fluminense, segunda entidade dedicada ao turfe no Rio de Janeiro, sob a presidência do general Polydoro da Fonseca Quintanilha Jordão (1802 – 1879), futuro Visconde de Santa Thereza.  Entre 1854 e 1865, Suckow tornou-se um dos três acionistas do Jockey Club Fluminense e em 7 de setembro de 1865 tornou-se o dono de toda a propriedade. Mudou o traçado do Prado Fluminense, construiu uma nova arquibancada e começaram a se realizar corridas de cavalos, principalmente, de amadores (Gazeta de Notícias, 17 de julho de 1904).
+ 
+General Polydoro da Fonseca Quintanilha Jordão / Arquivo Nacional
+ 
+Jornal do Commercio, 11 de junho de 1854
+ 
+Polydoro da Fonseca Quintanilha Jordão havia sido um dos fundadores do Club de Corridas e esteve, em 1868, presente à assembleia de inauguração do Jockey Club. Foi condecorado por mérito e bravura por sua participação na Guerra do Paraguai. Foi ministro da Guerra, em 1862. A primeira corrida promovida pela nova associação, no Prado Fluminense, aconteceu em 17 de setembro de 1854 com a presença de dom Pedro II (1825 – 1891) e cerca de 1500 pessoas. As corridas foram vencidas pelos cavalos Bonjardim e Hummel. O evento foi um dos temas do Folhetim do Jornal do Commercio e também da crônica Ao correr da Penna, da Gazeta Mercantil (Jornal do Commercio, 31 de agosto de 1854, última coluna; 18 de setembro de 1854, penúltima coluna; 24 de setembro de 1854; Correio Mercantil, 24 de setembro de 1854, primeira coluna).
+ 
+Correio Mercantil, de 24 de setembro de 1854
+ 
+Os prejuízos acumulados e a queda do interesse do público levaram à extinção do Jockey Club Fluminense após ter sido realizado esse único evento (Correio Mercantil, 18 de fevereiro de 1855, última coluna; Diário do Rio de Janeiro, 2 de junho de 1856, última coluna).
+Em 23 de agosto de 1957, foram realizadas as primeiras corridas de cavalos promovidas pelo Jockey Club de Petrópolis, no Prado do Fragoso, construído com 500 braças de extensão, no fim da Estrada de Ferro de Mauá. Não foram muito concorridas. Os cavalos ganhadores foram Tebiriça, de José Basílio Teixeira Pires; Crioulo, de Luiz Pinheiro de Siqueira;  Malcreado, de Guilherme de Suckov; Locomotiva, do Barão de Mauá; Fulminante, de Antônio Fernando da Piedade; e Relâmpago, montado por seu proprietário, Manuel da Silva Torres (Correio Mercantil, 23 de julho de 1857, terceiro coluna; Diário do Rio de Janeiro, 6 de agosto de 1857, quinta coluna; 16 e 17 de agosto de 1857, penúltima coluna; 24 de agosto de 1857, segunda coluna; 30 de agosto de 1857, primeira coluna; e A Pátria, 6 de agosto de 1857, terceira coluna).
+Em Pernambuco, no Hotel Inglez, no Recife, em 12 de novembro, foi instalada uma sociedade denominada Jockey Club (Correio Mercantil, 26 de novembro de 1859, quarta coluna).
+Em 27 de maio de 1866, foi fundado, no Rio de Janeiro, o Club Jacome, no picadeiro da rua do Areal. O nome foi uma homenagem ao mestre de equitação Luiz Jacome de Abreu Souza (1828 – 1903). Ele havia promovido, com grande sucesso, no ano anterior, em 26 de novembro de 1865, a primeira corrida de Stepple-Chase – cavalos com obstáculos -, realizada no Brasil. Aconteceu no Campo de São Cristóvão, no Rio de Janeiro. Foram incumbidos pela organização dos estatutos do Club Jacome, além do próprio Jacome, Francisco da Costa Ferraz, Joaquim José da França Junior, Pedro Dias Gordilles Paes Leme e Manoel da Motta Teixeira. Os estatutos foram aprovados pelo governo em 28 de janeiro de 1867 e o Decreto 3.794, de 30 de janeiro de 1867, autorizou a organização da nova entidade (Diário das Leis). Este foi o primeiro ato público relativo a corridas de cavalos no Brasil.
+O Clube Jacome chegou a comemorar um ano de existência com a realização de um segundo Stepple-Chase, mas logo desapareceu devido a divergências em relação à localização de seu prado (Novo e Completo Índice Chronologico da História do Brasil, 1854 e 1866; Correio Mercantil, 28 de maio de 1866, primeira coluna; Bazar Volante, 11 de novembro de 1867; Gazeta de Notícias, 17 de julho de 1904; A Noite, 21 de julho de 1951). Foi o tema da comédia teatral escrita por França Júnior, Entrei para o Clube Jacome, que estreou em 12 de janeiro de 1867, no Theatro Gymnasio (Diário do Rio de Janeiro, 12 de janeiro de 1867, última coluna). Luiz Jacome escreveu cinco livros sobre hipologia, tornou-se sócio honorário do Jockey Club, em 1875, e foi o idealizador do que hoje conhecemos como photochart.
+ 
+Novo e Completo Índice Chronologico da História do Brasil, 1866
+ 
+O Arlequim, 15 de setembro de 1867
+ 
+Em 15 de julho de 1861, no Rio de Janeiro, uma sociedade denominada Jockey Club promoveu suas primeiras corridas de cavalos na Praia Vermelha (Correio Mercantil, 17 de julho de 1861, terceira coluna).
+ 
+Pequeno histórico do Jockey Club
+
+ 
+ 
+Avenida Almirante Barroso; Palace Hotel e o prédio do Jockey Club, c. 1922. Rio de Janeiro, RJ / Acervo IMS
+ 
+O novo Jockey Club foi fundado em 16 de julho de 1868, nos salões da Sociedade Auxiliadora da Indústria Nacional com o fim de dar corridas de cavallo no Prado Fluminense, sob a presidência do comendador Mariano Procopio Ferreira Lage (1821 – 1872), empresário mineiro e diretor da Companhia União e Indústria.
+ 
+Revert Henrique Klumb. Vista geral da quinta de Mariano Procópio Ferreira Lage, c. 1860. Juiz de Fora, Minas Gerais / Acervo IMS
+ 
+A decisão de fundação da nova entidade foi tomada em duas reuniões.
+ 
+Modelo dos primeiros títulos de sócio emitidos pelo Jockey Club
+ 
+A primeira foi realizada, em 7 de junho de 1868, na casa do Conde de Herzberg (1822 – 1899), sita no Prado Fluminense. Ele era um capitão reformado do exército prussiano e marido de Leopoldine, filha do major Suckow. Compareceram a esse encontro aqueles que são considerados os dez sócios fundadores do Jockey Club: além do anfitrião, estavam presentes Felisberto Paes Leme (1794 -1887), João Guilherme Suckow (1797 – 1869), Joaquim José Teixeira (1811 – 1885), Henrique Germarck Possolo (18?-1903), Henrique José Teixeira (? -?), Henrique Lambert (?-?), Henrique Moller  (?-?), Luiz de Suckow (1845 – 1878) e Fernando Francisco da Costa Ferraz  (1838 – 1907). À segunda, realizada em 20 de junho, na rua do Conde, nº 37, na casa de Costa Ferraz, médico mineiro, antigo secretário do Club Jacome, que tornou-se um dos diretores do Jockey Club e foi seu presidente entre 1899 e 1903, compareceram 17 pessoas (Revista da Sociedade Jockey Club, 1870).
+Na época, o Prado Fluminense pertencia ao major Suckow, um dos fundadores do extinto Jockey Club Fluminense. Foi arrendado pela diretoria do Jockey Club que, em 16 de junho de 1873, sob a presidência de Felisberto Caldeira Brant Potes, o Visconde de Barbacena, adquiriu dos herdeiros de Suckow a propriedade do terreno e das benfeitorias (Diário do Rio de Janeiro, 17 de julho de 1868, segunda coluna).
+ 
+Diário do Rio de Janeiro, 17 de julho de 1868
+ 
+Imagens de alguns dos fundadores do Jockey Club
+ 
+Conde de Herzberg (1822 -1899)
+ 
+Fernando Francisco da Costa Ferraz (1838 – 1907)
+ 
+Henrique Germack Possol (18? – 1903)
+ 
+Joaquim José Teixeira (1811 – 1885)
+ 
+Houve uma tentativa de fusão entre o Club Jacome e o novo Jockey Club , porém houve divergências. Na ocasião, o presidente honorário do Club Jacome era o conde d´Eu (1842 – 1922), marido da princesa Isabel (1846 – 1921). Na ata da 2ª sessão da Assembleia do Jockey Club, realizada em 30 de janeiro de 1869, foram relatados os procedimentos da tentativa de fusão do Club Jacome, extinto nos primeiros anos da década de 1870 e refundado em novembro de 1909. Nesta mesma assembleia, o Conde d´Eu tornou-se o primeiro agraciado com o título de sócio honorário do Jockey Club (Jornal do Commercio, 27 de setembro de 1868, penúltima coluna; A Vida Fluminense, 3 de outubro de 1868; Jornal do Commercio, 31 de outubro de 1868, penúltima coluna; Semana Illustrada, 8 de novembro de 1868, segunda coluna; Revista da Sociedade do Jockey Club, 1870; Correio da Manhã, 24 de novembro de 1909, terceira coluna).
+ 
+Semana Illustrada, 8 de novembro de 1868
+ 
+A Vida Fluminense, 3 de outubro de 1868
+ 
+No ano seguinte, em 19 de janeiro de 1869, foi outorgado o Decreto nº 4.323, autorizando a incorporação do Jockey Club e aprovando os estatutos. Em 16 de maio de 1869, foi realizada, com a presença de  d. Pedro II (1825 – 1891) e dona Teresa Cristina (1822 – 1889), a primeira corrida do Jockey Club, no Prado Fluminense (Novo e Completo Índice Chronologico da História do Brasil, 1869). A presença constante da família imperial nas corridas foi fundamental para atrair a sociedade chique e elegante para os páreos.
+ 
+Diário do Rio de Janiero, 17 e 18 de maio de 1869
+ 
+Programa das corridas do dia 16 de maio de 1869
+ 
+Em 20 de maio de 1911, foi lançada a pedra fundamental do edifício-sede do Jockey Club, foi inaugurado em 1913,  projeto do arquiteto Heitor de Mello. Ficava na esquina das avenidas Rio Branco e Almirante Barroso e foi um dos centros político e mundano do Rio de Janeiro por mais de 60 anos.
+ 
+ 
+Pequeno histórico do Derby Club
+
+ 
+Guilherme Santos. Alberto I, rei da Bélgica, durante o Grande Prêmio no Derby Club, 26 de setembro 1920. Rio de Janeiro, RJ / Acervo IMS Com a presença de Epitácio Pessoa e do casal real, realização no Derby Club de um páreo com o nome de Alberto I (O Paiz, 27 de setembro de 1920).
+ 
+A origem do Derby Club é o Club de Corridas Villa Isabel, cujo hipódromo, o segundo do Rio de Janeiro, foi erguido por moradores do bairro de Vila Isabel em terrenos cedidos pela Cia. Architectônica, do Barão de Drummond (1825-1897), que havia sido presidente do Jockey Club, em 1874.
+ 
+Barão de Drummond pelo Estabelecimento Photographico A. Faria Antiga Caza Modesto R. Ourives, nº69 – Rio de Janeiro, 24 de janeiro de 1890
+ 
+A corrida inaugural aconteceu em 22 de maio de 1884 (Gazeta da Tarde, 23 de maio de 1884, terceira coluna). Em 17 de outubro do mesmo ano, o Club de Corridas Villa Isabel passou a se denominar Derby Fluminense (Gazeta da Tarde, 24 de outubro de 1884, quinta coluna). Sob a presidência do engenheiro Paulo de Frontin  (1860 – 1933) e, sob esta nova razão social, a entidade patrocinou apenas quatro reuniões, entre novembro e dezembro de 1884.
+ 
+ 
+Gazeta da Tarde, 27 de outubro de 1884
+ 
+O Derby Fluminense foi liquidado e seu acervo foi rateado. Os 242 membros que acompanharam o presidente na fundação do Derby Club utilizaram o valor de 56 mil réis, que coube a cada membro do extinto Derby Fluminense, e a isso acrescentaram uma jóia de 100 mil réis para a subscrição de suas respectivas cotas na nova sociedade (Gazeta de Notícias, 2 de março de 1885, terceira coluna; 15 de março de 1885, última coluna).
+Surgia, assim, o Derby Clube, clube de turfe, esportes equestres e atividades sociais da cidade do Rio de Janeiro, foi, como já mencionado, fundado em 6 de março de 1885,  sob a organização de Paulo de Frontin (O Paiz, 7 de março de 1885, primeira coluna).
+ 
+Placa comemorativa da inauguração do Derby Club, que ficava no pavilhão central do Prado do Itamaraty / Jockey Club Brasileiro 130 anos
+ 
+ 
+
+Annuarios das Estações Sportivas de 1885 a 1890: Derby Club
+ 
+Sua corrida inaugural aconteceu em 2 de agosto de 1885, com 82 animais inscritos em nove páreos. Foi o grande acontecimento social do ano e a ele estiveram presentes Suas Majestades Imperiais, dom Pedro II e dona Thereza Christina e mais 10.000 pessoas, aproximadamente. O cavalo Aymoré, de propriedade da Coudelaria Aliança e montado por Arthur Oliveira foi o vencedor da primeira prova disputada no Derby Club. Os outros páreos foram vencidos pelos cavalos Cosmos, Progresso, Excelsior, Rio de Janeiro, Seis de Março, Derby Club, Lemgruber e 26 de Julho. Inovador e à frente do seu tempo, logo em sua primeira corrida fez funcionar um cronógrafo elétrico, destinado a marcar com precisão o tempo de cada páreo (Diário do Rio de Janeiro, 3 de agosto de 1885, quarta coluna; 4 de agosto de 1885, segunda coluna).
+ 
+Annuarios das Estações Sportivas de 1885 a 1890: Derby Club
+ 
+Seu hipódromo era o Prado Itamaraty, onde fica atualmente o Estádio do Maracanã (Annuario das estações Sportivas, 1885 – 1890).
+ 
+Foto aérea do Prado do Derby Club, 20 de fevereiro de 1936. Rio de Janeiro, RJ / Acervo Museu Aeroespacial
+ 
+Sua primeira sede foi inaugurada em junho de 1889, na Praça da Constituição, atual Praça Tiradentes.  Em 6 de março de 1916, foi inaugurado seu segundo edifício-sede, na avenida Rio Branco.
+ 
+ 
+Andrea C. T. Wanderley
+Pesquisadora e editora da Brasiliana Fotográfica
+ 
+Fontes:
+Facebook
+FERNANDES, Neusa; COELHO,Olino Gomes P. Efemérides Cariocas. Rio de Janeiro, 2016.
+Hemeroteca Digital da Biblioteca Nacional
+MATTOS, Adalberto. Um archicteto. Ilustração Brasileira, março 1921.
+MELO, Victor Andrade. “Temos apaixonados para o mar e para a terra”: representações do esporte nos folhetins (Rio de Janeiro; 1851-1855).  Rev Bras Educ Fís Esporte, (São Paulo) 2013, Out-Dez.
+Portal Clube de Engenharia
+Portal Domínio Público
+RAMALHO, Maria Lúcia Pinheiro. Da beaux-arts ao bungalow: uma amostragem da arquitetura eclética no Rio de Janeiro e em São Paulo, 1989. Dissertação (Mestrado) – Faculdade de Arquitetura e Urbanismo da Universidade de São Paulo. São Paulo.
+Site Academia Nacional de Medicina
+Site Arch Daily
+Site Estilos arquitetônicos
+TERRA, Alcione. HEITOR DE MELLO: Trajetória e Contribuição Profissional na cidade do Rio de Janeiro no período da Primeira República. Dissertação de Mestrado. Universidade Federal do Rio de Janeiro – Faculdade de Arquitetura e Urbanismo, 2004.
+WANDERLEY, Andrea C. T. O fotógrafo amador Guilherme Santos (1871 – 1965) in Brasiliana Fotográfica, de 28 de julho de 2016.
+ 
+Outros artigos da série Os arquitetos do Rio de Janeiro
+Série “Os arquitetos do Rio de Janeiro” I – Porto D´Ave e a moderna arquitetura hospitalar, de autoria de Cristiane d´Avila – Casa de Oswaldo Cruz / Fiocruz, publicado em 14 de janeiro de 2021.
+Série “Os arquitetos do Rio” II – No Dia Nacional da Saúde, o Desinfetório de Botafogo e um breve perfil do arquiteto português Luiz de Moraes Junior, responsável pelo projeto, de autoria de Cristiane d´Avila, Casa de Oswaldo Cruz, Fiocruz, em parceria com Andrea C. T. Wanderley, publicado em 5 de agosto de 2023
+Série “Os arquitetos do Rio de Janeiro” III – O centenário do Copacabana Palace, quintessência do “glamour” carioca, e seu criador, o arquiteto francês Joseph Gire, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado em 13 de agosto de 2023
+Série “Os arquitetos do Rio de Janeiro” IV – Archimedes Memória (1893 – 1960), o último dos ecléticos, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 1º de dezembro de 202
+Série “Os arquitetos do Rio de Janeiro” VI – O Clube Naval e os arquitetos Tommaso G. Bezzi (1844 – 1915) e Heitor de Mello (1875 – 1920), de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal, publicada em 6 de maio de 2024
+ 
+ 
+Links para os outros artigos da Série O Rio de Janeiro desaparecido
+ 
+Série O Rio de Janeiro desaparecido I - Salas de cinema do Rio de Janeiro do início do século XX, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 26 de fevereiro de 2016.
+Série O Rio de Janeiro desaparecido II – A Exposição Nacional de 1908 na Coleção Família Passos, de autoria de Carla Costa, historiadora do Museu da República, publicado na Brasiliana Fotográfica, em 5 de abril de 2018.
+Série O Rio de Janeiro desaparecido III – O Palácio Monroe, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica, em 9 de novembro de 2016.
+Série O Rio de Janeiro desaparecido IV - A via elevada da Perimetral, de autoria da historiadora Beatriz Kushnir, publicado na Brasiliana Fotográfica em 23 de junho de 2017.
+Série O Rio de Janeiro desaparecido V – O quiosque Chopp Berrante no Passeio Público, Ferrez, Malta e Charles Dunlop, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 20 de julho de 2018.
+Série O Rio de Janeiro desaparecido VI – O primeiro Palácio da Prefeitura Municipal do Rio de Janeiro, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 12 de setembro de 2018.
+Série O Rio de Janeiro desaparecido VII – O Morro de Santo Antônio na Casa de Oswaldo Cruz, de autoria de historiador Ricardo Augusto dos Santos da Casa de Oswaldo Cruz, publicado na Brasiliana Fotográfica em 5 de fevereiro de 2019.
+Série O Rio de Janeiro desaparecido VIII – A demolição do Morro do Castelo, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 30 de abril de 2019.
+Série O Rio de Janeiro desaparecido IX – Estrada de Ferro Central do Brasil: estação e trilhos, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 12 de novembro de 2019.
+Série O Rio de Janeiro desaparecido X – No Dia dos Namorados, um pouco da história do Pavilhão Mourisco em Botafogo, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 12 de junho de 2020.
+Série O Rio de Janeiro desaparecido XI – A Estrada de Ferro do Corcovado e o mirante Chapéu de Sol, de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 22 de julho de 2021.
+Série O Rio de Janeiro desaparecido XII – o Teatro Lírico (Theatro Lyrico), de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 15 de setembro de 2021.
+Série O Rio de Janeiro desaparecido XIII – O Convento da Ajuda, de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 12 de outubro de 2021.
+Série O Rio de Janeiro desaparecido XIV – O Conselho Municipal, de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 19 de novembro de 2021.
+Série O Rio de Janeiro desaparecido XV – A Praia de Santa Luzia no primeiro dia do verão, de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 21 de dezembro de 2021.
+Série O Rio de Janeiro desaparecido XVI – O prédio da Academia Imperial de Belas Artes, de autoria de Andrea C.T. Wanderley, publicado na Brasiliana Fotográfica em 13 de janeiro de 2022.
+Série O Rio de Janeiro desaparecido XVII – Igreja São Pedro dos Clérigos, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 18 de março de 2022.
+Série O Rio de Janeiro desaparecido XVIII – A Praça Onze, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 20 de abril de 2022.
+Série O Rio de Janeiro desaparecido XIX – A Igrejinha de Copacabana, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 23 de junho de 2022.
+Série O Rio de Janeiro desaparecido XX – O Pavilhão dos Estados, futuro prédio do Ministério da Agricultura, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 26 de julho de 2022.
+Série O Rio de Janeiro desaparecido XXI – O Chafariz do Largo da Carioca, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 19 de setembro de 2022. 
+Série O Rio de Janeiro desaparecido XXII – A Cadeia Velha que deu lugar ao Palácio Tiradentes, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 11 de abril de 2023
+Série O Rio de Janeiro desaparecido XXIII e Avenidas e ruas do Brasil XVII - A Praia e a Rua do Russel, na Glória, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 15 de maio de 2023
+Série O Rio de Janeiro desaparecido XXIV – O luxuoso Palace Hotel, na Avenida Rio Branco, uma referência da vanguarda artística no Rio de Janeiro, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 4 de julho de 2023
+Série O Rio de Janeiro desaparecido XXV – O Theatro Phenix, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 5 de setembro de 2023
+Série O Rio de Janeiro desaparecido XXVI – Conclusão do arrasamento do Morro do Castelo por Augusto Malta, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 14 de dezembro de 2023
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/9509` — `itens/20.500.12156.1_9509/`
+- `20.500.12156.1/11072` — `itens/20.500.12156.1_11072/`
+- `20.500.12156.1/2432` — `itens/20.500.12156.1_2432/`
+- `20.500.12156.1/4718` — `itens/20.500.12156.1_4718/`
+- `20.500.12156.1/10917` — `itens/20.500.12156.1_10917/`
+
diff --git a/wordpress/32451-serie-teatros-e-cinemas-do-brasil-x-e-serie-o-rio-de-janeiro-desaparecido-xxv-o-.md b/wordpress/32451-serie-teatros-e-cinemas-do-brasil-x-e-serie-o-rio-de-janeiro-desaparecido-xxv-o-.md
new file mode 100644
index 0000000..e46df40
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@@ -0,0 +1,163 @@
+---
+id: 32451
+url: "https://brasilianafotografica.bn.gov.br/?p=32451"
+titulo: "Série “Teatros e cinemas do Brasil” X e Série “O Rio de Janeiro desaparecido” XXV – O Theatro Phenix"
+autor: "Andrea Wanderley"
+data: "2023-09-05T11:27:21+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/11719", "20.500.12156.1/11677"]
+fetched_at: "2026-09-10T10:14:31.773Z"
+---
+
+# Série “Teatros e cinemas do Brasil” X e Série “O Rio de Janeiro desaparecido” XXV – O Theatro Phenix
+
+Com imagens produzidas por um fotógrafo ainda não identificado e por N. Viggiani, a Brasiliana Fotográfica conta um pouco da história do Theatro Phenix, tema do 25º artigo da série O Rio de Janeiro desaparecido. O escritório Januzzi e Irmão foi responsável pelo projeto aprovado, em 14 de novembro de 1906, do Palace Hotel, que já foi tema de um artigo do portal; e do Theatro Phenix – ambos empreendimentos da família Guinle. Mais uma vez convidamos nossos leitores a explorar as fotografias com a ferramenta zoom e, a partir daí, fazer um passeio pela cidade nas primeiras décadas do século XX, observando mais de perto a paisagem urbana carioca e seus personagens.
+ 
+N. Viggiani. Teatro Phenix, c. 1923. Rio de Janeiro, RJ / Acervo IMS
+ 
+No Álbum da Avenida Central, lançado, em 1907, pelo fotógrafo Marc Ferrez (1843 – 1923), havia desenhos das fachadas do Palace Hotel, que ficava na Avenida Central, e do Teatro Phenix, contiguo ao hotel, na Rua Barão de São Gonçalo, posteriormente rebatizada como Avenida Almirante Barroso. Nenhum dos dois estava construído quando o álbum foi produzido, portanto, logicamente, não puderam ser fotografados. Esse álbum é um importante registro da reforma da principal via da então capital federal, onde ele contrapôs reproduções das plantas às fotografias das fachadas de cada edifício documentado. Esse tipo de fotografia foi fundamental para a construção e para a difusão de uma nova imagem do Rio de Janeiro, uma imagem associada aos ideais de civilização e progresso.
+ 
+Um pouco da história do Theatro Phenix
+ 
+Teatro Phenix, c. 1922. Rio de Janeiro, RJ / Acervo IMS
+ 
+O nome do Theatro Phenix foi uma homenagem ao Theatro Phenix Dramática, que existia nos jardins do Hotel Brissac. Eduardo Balassin Guinle (1846 – 1912), patriarca de sua abastada e influente família, foi obrigado a construí-lo. A Prefeitura do Rio de Janeiro, sob a gestão de Francisco Pereira Passos (1836 – 1913)  desapropriou, demoliu e reurbanizou a área onde ficava o Phenix Dramática, localizado na Rua da Ajuda, nº 57, no processo da construção da Avenida Central, em 1904. Ele havia sido inaugurado, em 1863, com o nome de El Dorado. Foi renomeado Phenix Dramática, em 1868. Bem, o terreno foi adquirido pelo empresário Eduardo Guinle e, segundo a lei, seria obrigatória a construção de um novo teatro no lugar do demolido. Num gesto de afirmação cultural, ele ofereceu ao Rio de Janeiro uma sala de espetáculos imponente com capacidade para 1200 espectadores, cuja natureza e dimensões só eram comparáveis aos teatros Municipal e de São Pedro. Seu projeto seguia o modelo clássico dos teatros italianos com a platéia rodeada por camarotes (Última Hora, 28 de fevereiro de 1955, primeira coluna).
+Segundo Augusto Mauricio:
+“…e essa casa de espetáculos, que é uma das que melhor possui o Rio de Janeiro quer como platéia, camarotes, mobiliário confortável com cadeiras estofadas, sala suntuosa, e corredores amplos, revestido todo de mármore trabalhado de diversas cores, colunas de diferentes ordens, grandes espelhos e ainda instalações internas para os artistas, que contam com camarotes magníficos – custou ao proprietário àquele recuado tempo, pouco mais de dois mil contos de réis”.
+O novo Teatro Phenix,  cuja construção terminou em 1908, 1912 ou 1913 –  as fontes variam -, ficava na Rua Barão de São Gonçalo, logo transformada em Avenida Almirante Barroso, em um terreno contíguo ao Palace Hotel. Sua fachada foi inspirada na Ópera Garnier, em Paris.
+Desde o início foi arrendado a terceiros – o primeiro foi Angelo Balloni, principal sócio da H. Balloni e Cia, que concedeu uma entrevista ao jornal Imparcial de 26 de fevereiro de 1914, data da inauguração do teatro. Na reportagem, é ressaltado o aspecto mais inclusivo do teatro, comparando-o ao Theatro Municipal: “No Phenix achar-se-á bem instalada tanto a sociedade chic como a classe operária. É que seu ambiente é artístico sem ser solene. Nele há um único atrativo, a simplicidade artística, cuja ação se estende por todas as pessoas, sejam elas quais forem, Isso, aliás, é pouco comum em nosso meio. Haja vista, por exemplo, o Municipal” (O Imparcial, 26 de fevereiro de 1914, antepenúltima coluna).
+ 
+O Imparcial, 26 de fevereiro de 1914
+ 
+Anunciado como a mais ampla e luxuosa sala de espetáculos da América do Sul, antes de sua inauguração oficial, lá foram realizados bailes de carnaval nos dias 21, 22, 23 e 24 de fevereiro de 1914 (Correio da Manhã, 23 de fevereiro de 1914, primeira coluna; O Paiz, 19 de fevereiro de 1914, sexta coluna; O Paiz, 23 de fevereiro de 1914, primeira coluna; O Paiz, 9 de março de 1914).
+ 
+O Paiz, 19 de fevereiro de 1914
+ 
+Correio da Manhã, 24 de fevereiro de 1914
+ 
+ 
+O Paiz, 19 de fevereiro de 1914
+ 
+Foi reaberto como teatro, arrendado a Luiz Alonso, em novembro de 1915, com a peça Champignol à força, um vaudeville em três atos dos dramaturgos franceses Georges Feydeau (1862 – 1921) e Maurice Desvallières (1857 – 1926), encenada pela Companhia Leopoldo Froes e estrelada pela atriz Lucilia Peres (1881 – 1962) (O Paiz, 3 de novembro de 1915).
+ 
+Theatro e Sport, 16 de outubro de 1915
+ 
+Funcionou também como teatro, cinema, cassino e dancing, quando o arrendatário era, desde 1916, Djalma Moreira.  Em 1921, a Casa dos Artistas protestou contra a transformação do Theatro Phenix em tavolagem. Provavelmente, Djalma arrendou o teatro até 1923 (Correio da Manhã, 27 de outubro de 1916, penúltima coluna; O Jornal, 4 de abril de 1920; Revista da Semana, 31 de dezembro de 1921, primeira coluna; O Jornal, 4 de abril de 1922, terceira coluna; A Noite, 15 de fevereiro de 1923, primeira coluna; Crítica, 2 de dezembro de 1928, segunda coluna).
+ 
+O Paiz, 21 de maio de 1917
+ 
+Baile no Cassino Theatro Phenix / Revista da Semana, 7 de janeiro de 1922
+ 
+Voltou a ser um teatro, arrendado pelo calabrês Jácomo Rosário Staffa (c. 1867 – 1927), e foi reinaugurado em 30 de abril de 1926 com a revista Excelsior, do pernambucano Manuel Bastos Tigre (1882 – 1957). Uma curiosidade: Bastos Tigre era cunhado do fotógrafo Louis Piereck (1880 – 1931) e foi o responsável pelo slogan da Bayer que se tornou famoso em todo o mundo: “Se é Bayer é bom“. É também o autor da letra da música Chopp em Garrafa, com música de Ary Barroso (1903 – 1964), que foi interpretada por Orlando Silva (1915 – 1978). Foi inspirada no produto que a Brahma passou a engarrafar. Sucesso do carnaval de 1934, é considerado o primeiro jingle  publicitário do Brasil. Foi também o autor do livro Meu Bebê: livro das mamães para anotações sobre o bebê desde seu nascimento. O Dia do Bibliotecário, 12 de março, dia de seu nascimento, foi instituído, em 1980, em sua homenagem. (Correio da Manhã, 12 de julho de 1925, quinta coluna; Correio da Manhã, 10 de fevereiro de 1926, quinta coluna; Correio da Manhã, 16 de abril de 1926, antepenúltima coluna; Correio da Manhã, 30 de abril de 1926).
+ 
+A reabertura do Phenix / Correio da Manhã, 30 de abril de 1926
+ 
+Voltando ao Phenix. Lembramos aqui que Staffa era o proprietário do Grande Cinematographo Pariziense, o segundo cinema do Rio de Janeiro, inaugurado em 9 de agosto de 1907. O primeiro foi o Chic, inaugurado em 1º de agosto do mesmo ano. O terceiro foi o cinema Pathé, do fotógrafo Marc Ferrez e Arnaldo Gomes de Souza. A firma de Arnaldo e Ferrez chamava-se Arnaldo & Cia, omitindo a participação de Ferrez, porque Charles Pathé (1863 – 1957), um dos proprietários da Pathé Frères, proibia que seus distribuidores e representantes possuíssem cinematógrafos e Ferrez era um de seus representantes. Staffa denunciou o fato em 1908. Foi também o proprietário do Palace Hotel de Caxambu (Correio da Manhã, 8 de maio de 1926, segunda coluna).
+ 
+Correio da Manhã, 15 de abril de 1926
+ 
+O Phenix foi palco de muitas peças e bailados, esses últimos criações da coreógrafa e bailarina russa Maria Oleneva (1896 – 1985) que, posteriomente, foi uma das fundadoras da Escola de Dança do Teatro Municipal.
+Em seu prédio foi sediado, na década de 1920, o Partido Democrático (Correio da Manhã, 24 de julho de 1927, quarta coluna; Crítica, 7 de dezembro de 1928, última coluna).
+Em 1929, passou a exibir quadros de Nu Artístico e era proibida a entrada de menores e de senhoritas (Crítica, 18 de abril, 23 de abril, 18 de maio de 1929).
+ 
+Crítica, 18 de abril de 1929
+ 
+Em 31 de maio, estreia do vaudeville musicado A Ilha dos Prazeres, uma peça do gênero livre com quadros de nu artístico, tendo como estrela a atriz  Theda Diamant (Crítica, 31 de maio de 1929, segunda coluna).
+ 
+Theda Diamant
+ 
+Em junho, Carlos Machado (1908 – 1992), que ficou conhecido como o Rei da Noite, foi anunciado diretor artístico do Phenix (Crítica, 21 de junho de 1929, terceira coluna). Ainda em 1929, foi o palco da temporada das Operetas Vienenses e voltou a exibir filmes(Crítica, 21 de julho de 1929; Crítica, 12 de setembro de 1929, terceira coluna).
+Ficou fechado por um breve período, tendo sido reaberto, após uma reforma, em janeiro de 1930, como Cine Theatro Phenix , sob a direção da Empresa S. Kauffman apresentando espetáculos puramente familiares (Crítica, 26 de dezembro de 1929). Passou a ter “uma orquestra de 30 professores que darão vida e palavras às cintas mudas por intermédio da linguagem universal – a Música”. Lembramos aqui que o cinema sonoro estava ocupando o lugar dos filmes silenciosos (Correio da Manhã, 27 de dezembro de 1929, terceira coluna; O Paiz, 29 de dezembro de 1929, quinta coluna; Jornal do Brasil, 9 de janeiro de 1930 e O Imparcial (MA), 17 de janeiro de 1930, quarta coluna).
+ 
+Correio da Manhã, 22 de dezembro de 1929
+ 
+Crítica, 2 de janeiro de 1930
+ 
+Entre as décadas de 1930 e 1940, voltou a funcionar ora como teatro ora como cinema. Abrigou também conferências, bailes de carnaval e recitais de música. Pelo teor dos filmes lá exibidos, “verdadeiros atentados à moral e ao decoro públicos”, foi censurado (A Batalha, 17 de março 1931, terceira coluna).
+ 
+A Noite, 17 de março de 1931
+ 
+Em 1937, arrendado por Vital Ramos de Castro (1879 – 1958), cineasta e empresário do ramo cinematográfico, o Phenix foi inaugurado como Ópera, uma nova casa de diversões. Ainda em 1937 passou a chamar-se Cine Theatro Ópera (Correio da Manhã, 15 de junho de 1937, penúltima coluna; Beira- Mar, 14 de agosto de 1937; Diário Carioca, 19 de setembro de 1937, antepenúltima coluna; penúltima coluna; A Nação, 9 de outubro de 1937, segunda coluna; Correio da Manhã, 27 de março de 1938). Não seria a primeira vez que os caminhos de Vital e Staffa se encontravam: em 1927, o Cine Parisiense, que era, como já mencionado, de Staffa, foi comprado por ele.
+ 
+Vital Ramos de Castro / Correio da Manhã, 27 de março de 1938
+ 
+Vital foi o proprietário do Circuito independente Vital Ramos de Castro,  que chegou a ter vinte salas de cinema no Rio de Janeiro, entre eles o Cine Plaza, na Cinelândia, o Cinema Olinda, na Praça Sans Penha, que foi a maior sala de cinema que já existiu no Rio de Janeiro; o Cinema Colonial, futura Sala de Teatro Cecília Meirelles e o Cine Ritz, em Copacabana.
+ 
+Correio da Manhã, 30 de junho de  1937
+ 
+Em 1944, com o apoio do então prefeito do Rio de Janeiro, Henrique Dodsworth (1895 – 1975), voltou a ser teatro e foi reaberto com a encenação pela companhia de Bibi Ferreira (1922 – 2019) da peça Sétimo Céu, do dramaturgo norte-americano Austin Stroug (1881 – 1952) (Gazeta da Manhã, 15 de abril de 1943, quarta coluna; Jornal do Commercio, 20 de maio de 1944, terceira coluna; Gazeta da Manhã, 15 de julho de 1944, penúltima coluna; Jornal do Commercio, 17 e 18 de julho de 1944, quarta coluna; Jornal do Commercio, 20 de de julho de 1944). Nele se apresentaram, dentre outros, o Teatro do Estudante, de Paschoal Carlos Magno (1906 – 1980); Sandro Apolônio (1921 – 1995), Maria Della Costa (1926 – 2015) e Henriette Morineau (1908 – 1990).
+Em 1948, Vital Ramos de Castro entrou com uma ação de despejo contra o grupo teatral de Sandro Apolônio que se apresentava no Phenix com a peça Estrada do Tabaco (A Scena Muda, 15 de junho de 1948, página 3 e página 24; A Scena Muda, 8 de março de 1949).
+ 
+A Scena Muda, 8 de março de 1949
+ 
+Foi fechado, em 1951, e totalmente demolido entre 1957 e 1958. Assim se encerrava um capítulo da história do teatro no Rio de Janeiro (Jornal, 2 de dezembro de 1950, segunda coluna; Jornal do Commercio, 15 e 16 de janeiro de 1951, penúltima coluna; Jornal, 2 de dezembro de 1950, segunda coluna; Correio da Manhã, 6 de dezembro de 1957, quarta coluna; Jornal do Commercio, 27 de dezembro de 1957, sétima coluna; Correio da Manhã, 8 de julho de 1958, última coluna).
+ 
+Correio da Manhã, 6 de dezembro de 1957
+ 
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+BULCÃO, Clóvis. Os Guinle: a história de uma dinastia. Rio de Janeiro : Intrínseca, 2015.
+BATISTA, Antonio José de Sena. Arquitetos sem halo: a ação dos escritórios M.M.M.Roberto e Henrique Mindlin Arquitetos Associados. Tese apresentada ao Programa de Pós-graduação em História Social da Cultura, do Departamento de História da PUC-Rio, como requisito parcial para obtenção do título de Doutor em História, março de 2013.
+CATTAN, Roberto Correia de Mello. A Família Guinle e a Arquitetura do Rio de Janeiro Um capítulo do ecletismo carioca nas duas primeiras décadas do novecentos. Dissertação apresentada como requisito parcial para obtenção do grau de Mestre pelo Programa de Pós-Graduação em História do Departamento de História da PUC-Rio, novembro de 2013.
+CAVALCANTI, Lauro, org., Quando o Brasil Era Moderno Artes plásticas no Rio de Janeiro 1905-1960, Rio de Janeiro : Aeroplano Editora, 2001.
+Hemeroteca Digital da Biblioteca Nacional
+MARCHESAN, Luiz Gonzaga. Antonio Cândido na revista Texto.
+MORAES, Frederico. Cronologia das Artes Plásticas no Brasil 1816-1994. Rio de Janeiro : Topbooks, 2001.
+Site Clube Naval
+Site Estilos Arquitetônicos
+Site Inepac
+Veja Rio
+Youtube – O LUXUOSO PALACE HOTEL DOS PRESIDENTES E ARTISTAS MODERNISTAS
+ 
+Links para os outros artigos da Série O Rio de Janeiro desaparecido
+ 
+Série O Rio de Janeiro desaparecido I - Salas de cinema do Rio de Janeiro do início do século XX, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 26 de fevereiro de 2016.
+Série O Rio de Janeiro desaparecido II – A Exposição Nacional de 1908 na Coleção Família Passos, de autoria de Carla Costa, historiadora do Museu da República, publicado na Brasiliana Fotográfica, em 5 de abril de 2018.
+Série O Rio de Janeiro desaparecido III – O Palácio Monroe, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica, em 9 de novembro de 2016.
+Série O Rio de Janeiro desaparecido IV - A via elevada da Perimetral, de autoria da historiadora Beatriz Kushnir, publicado na Brasiliana Fotográfica em 23 de junho de 2017.
+Série O Rio de Janeiro desaparecido V – O quiosque Chopp Berrante no Passeio Público, Ferrez, Malta e Charles Dunlop, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 20 de julho de 2018.
+Série O Rio de Janeiro desaparecido VI – O primeiro Palácio da Prefeitura Municipal do Rio de Janeiro, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 12 de setembro de 2018.
+Série O Rio de Janeiro desaparecido VII – O Morro de Santo Antônio na Casa de Oswaldo Cruz, de autoria de historiador Ricardo Augusto dos Santos da Casa de Oswaldo Cruz, publicado na Brasiliana Fotográfica em 5 de fevereiro de 2019.
+Série O Rio de Janeiro desaparecido VIII – A demolição do Morro do Castelo, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 30 de abril de 2019.
+Série O Rio de Janeiro desaparecido IX – Estrada de Ferro Central do Brasil: estação e trilhos, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 12 de novembro de 2019.
+Série O Rio de Janeiro desaparecido X – No Dia dos Namorados, um pouco da história do Pavilhão Mourisco em Botafogo, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 12 de junho de 2020.
+Série O Rio de Janeiro desaparecido XI – A Estrada de Ferro do Corcovado e o mirante Chapéu de Sol, de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 22 de julho de 2021.
+Série O Rio de Janeiro desaparecido XII – o Teatro Lírico (Theatro Lyrico), de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 15 de setembro de 2021.
+Série O Rio de Janeiro desaparecido XIII – O Convento da Ajuda, de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 12 de outubro de 2021.
+Série O Rio de Janeiro desaparecido XIV – O Conselho Municipal, de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 19 de novembro de 2021.
+Série O Rio de Janeiro desaparecido XV – A Praia de Santa Luzia no primeiro dia do verão, de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 21 de dezembro de 2021.
+Série O Rio de Janeiro desaparecido XVI – O prédio da Academia Imperial de Belas Artes, de autoria de Andrea C.T. Wanderley, publicado na Brasiliana Fotográfica em 13 de janeiro de 2022.
+Série O Rio de Janeiro desaparecido XVII – Igreja São Pedro dos Clérigos, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 18 de março de 2022.
+Série O Rio de Janeiro desaparecido XVIII – A Praça Onze, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 20 de abril de 2022.
+Série O Rio de Janeiro desaparecido XIX – A Igrejinha de Copacabana, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 23 de junho de 2022.
+Série O Rio de Janeiro desaparecido XX – O Pavilhão dos Estados, futuro prédio do Ministério da Agricultura, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 26 de julho de 2022.
+Série O Rio de Janeiro desaparecido XXI – O Chafariz do Largo da Carioca, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 19 de setembro de 2022. 
+Série O Rio de Janeiro desaparecido XXII – A Cadeia Velha que deu lugar ao Palácio Tiradentes, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 11 de abril de 2023
+Série O Rio de Janeiro desaparecido XXIII e Avenidas e ruas do Brasil XVII - A Praia e a Rua do Russel, na Glória, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 15 de maio de 2023
+Série O Rio de Janeiro desaparecido XXIV – O luxuoso Palace Hotel, na Avenida Rio Branco, uma referência da vanguarda artística no Rio de Janeiro, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 4 de julho de 2023
+Série O Rio de Janeiro desaparecido XXVI – Conclusão do arrasamento do Morro do Castelo por Augusto Malta, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 14 de dezembro de 2023
+Série O Rio de Janeiro desaparecido XXVII e Série Os arquitetos do Rio de Janeiro V – O Jockey Club e o Derby Club, na Avenida Rio Branco e o arquiteto Heitor de Mello (1875 – 1920), de autoria de Andrea c. T. Wanderley, editora e pesquisadora do portal, em 15 de janeiro de 2024
+ 
+Outros artigos publicados na Brasiliana Fotográfica sobre teatros e cinemas
+ 
+Série O Rio de Janeiro desaparecido I - Salas de cinema do Rio de Janeiro do início do século XX, publicado em 26 de fevereiro de 2016.
+Os teatros do Brasil, publicado em 21 de março de 2016
+A inauguração do Theatro Municipal do Rio de Janeiro, publicado em 14 de julho de 2017
+Cinema no Brasil – a primeira sessão e um pouco da história do Cinema Odeon, publicado em 8 de julho de 2021
+Série “O Rio de Janeiro desaparecido” XII – O Teatro Lírico (Theatro Lyrico), publicado em 16 de setembro de 2021
+O Theatro de Santa Isabel, publicado em 28 de outubro de 2021
+O Teatro Amazonas (Theatro Amazonas), em Manaus, a “Paris dos Trópicos”, publicado em 28 de dezembro de 2021
+O Teatro João Caetano, no Rio de Janeiro, no Dia Mundial do Teatro, publicado em 27 de março de 2023
+Dia do Cinema Brasileiro, publicado em 19 de junho de 2023
+O Theatro da Paz, em Belém do Pará, inaugurado em 15 de fevereiro de 1878, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado em 15 de fevereiro de 2024
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/11719` — `itens/20.500.12156.1_11719/`
+- `20.500.12156.1/11677` — `itens/20.500.12156.1_11677/`
+
diff --git a/wordpress/32513-serie-feministas-gracas-a-deus-xvi-o-i-salao-feminino-de-arte-em-1931-no-rio-de-.md b/wordpress/32513-serie-feministas-gracas-a-deus-xvi-o-i-salao-feminino-de-arte-em-1931-no-rio-de-.md
new file mode 100644
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+++ b/wordpress/32513-serie-feministas-gracas-a-deus-xvi-o-i-salao-feminino-de-arte-em-1931-no-rio-de-.md
@@ -0,0 +1,168 @@
+---
+id: 32513
+url: "https://brasilianafotografica.bn.gov.br/?p=32513"
+titulo: "Série “Feministas, graças a Deus!” XVI – O I Salão Feminino de Arte, em 1931, no Rio de Janeiro"
+autor: "Andrea Wanderley"
+data: "2023-06-30T08:00:03+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/11742", "20.500.12156.1/11730", "20.500.12156.1/11724", "20.500.12156.1/11723", "20.500.12156.1/11725", "20.500.12156.1/11731"]
+fetched_at: "2026-09-10T10:14:35.275Z"
+---
+
+# Série “Feministas, graças a Deus!” XVI – O I Salão Feminino de Arte, em 1931, no Rio de Janeiro
+
+Entre 6 e 30 de junho de 1931, aconteceu, no Rio de Janeiro, o I Salão Feminino de Arte, em um dos salões da Escola Nacional de Belas Artes.  Foi um dos muitos eventos importantes da história das artes plásticas no Brasil ocorridos na cidade durante o referido ano e é o tema do décimo sexto artigo da série Feministas, graças a Deus!. O Salão Feminino é considerado, até hoje, a primeira exposição realizada no país com a participação exclusiva de mulheres nas áreas de arquitetura, artes aplicadas, escultura, gravura e pintura. Fotografias das pintoras Georgina Albuquerque (1885 – 1962) e Sylvia Meyer (1889-1955); e da escultora Nicolina Vaz de Assis Pinto do Couto (1874 – 1941), integrantes da mostra de 1931, fazem parte do Álbum de artistas doado, em 1932, pelo escritor M. Nogueira da Silva (1880 – 1943), à Seção de Estampas da Fundação Biblioteca Nacional, uma das instituições fundadoras da Brasiliana Fotográfica.
+As imagens de Nicolina Pinto do Couto são das décadas de 10 e de 20 e, em algumas, ela está acompanhada de seu marido, o escultor português Rodolfo Pinto do Couto (1888 – 1945). Há ainda um registro de Nicolina com um grupo de artistas no Salão Nacional de 1913.
+ 
+O Salão Nacional de 1913, 1913. Rio de Janeiro, RJ / Acervo FBN
+ 
+Acessando o link para as fotografias de mulheres do Álbum de Artistas disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+As fotografias de Silvia Meyer são de 1912: de aulas de pintura ao ar livre e de uma cena do concurso de fim de ano na Escola Nacional de Belas Artes.
+ 
+Aula de pintura ao ar livre, 1912. Rio de Janeiro, RJ / Acervo FBN. A mulher na fotografia é Silvia Meyer.
+ 
+Os registros de Georgina Albuquerque são da década de 1910: em um deles ela está com sua família, filhos e marido, o também pintor Lucilio de Albuquerque (1877 – 1939) e, em outro, ela está com seus filhos.
+ 
+Lucilio e Georgina de Albuquerque, pintores, 191?. / Acervo FBN
+ 
+No Álbum dos artistas, vale ressaltar que, dentre imagens de dezenas de artistas, existem apenas fotos de cinco mulheres. Além das já citadas, imagens da arquiteta Arinda Sobral (1883 – 1981) e da pintora Angelina Agostini (1888 – 1973).
+O I Salão Feminino de Arte foi promovido pela Sociedade Brasileira de Belas Artes, dirigida por Augusto José Marques Junior (1887 – 1960), em colaboração com a Associação de Artistas Brasileiros. A iniciativa foi apoiada pela Federação Brasileira pelo Progresso Feminino (FBPF), que se propôs a envidar esforços para que o evento fosse exitoso, revelando que, naquele momento do feminismo brasileiro, a organização de uma mostra com participação exclusiva de mulheres foi um fato importante para o movimento.
+Em um artigo de Conceição Andrade de Arroxelas Brandão, publicado no Diário de Notícias, de 1º de fevereiro de 1931, fica evidente o entusiasmo da FBPF pela realização do I Salão Feminino de Arte (Diário de Notícias, 1º de fevereiro de 1931, última coluna).
+ 
+Diário de Notícias, 1º de fevereiro de 1931
+ 
+Lembramos que, em torno de 1931, a busca pela emancipação da mulher no Brasil, principalmente a partir da luta pelo voto feminino, estava em alta e contava com feministas como Bertha Lutz  (1894 – 1976), fundadora de FBPF, em 1922; Natércia Cunha Silveira (1905 – 1993), fundadora da Aliança Nacional de Mulheres, em 1931, Elvira Komel (1906 – 1932) e  Carmen Portinho (1903 – 2001), fundadora da União Universitária Feminina, em 1929, dentre várias outras.  No mesmo mês da abertura do salão, sob a orientação de Bertha Lutz, foi promovido o Segundo Congresso Internacional Feminista. Finalmente, menos de um ano depois da realização da exposição, o Decreto nº 21.076, de 24 de fevereiro de 1932, instituiu o Código Eleitoral Provisório e reconheceu o direito de voto às mulheres.
+Além da efervescência de acontecimentos em prol da emancipação feminina na época, outro fato que liga o feminismo à realização deste evento artístico é a presença, na comissão organizadora do Salão, da escritora e feminista atuante, Anna Amélia Carneiro de Mendonça (1896 – 1971), presidente da Casa do Estudante do Brasil, fundada em 1929.
+ 
+Revista da Semana, 27 de junho de 1931
+ 
+A exposição contou com 63 artistas, 172 pinturas, 17 esculturas, 1 gravura e 3 de artes aplicadas, todas obras assinadas individualmente, e mais outras dessas últimas artes, com a assinatura coletiva da Escola Profissional Orsina da Fonseca e da Escola Profissional Paulo de Frontin (Fon-Fon, 27 de junho de 1931). A diretora da Orsina da Fonseca era a feminista e professora Leolinda Daltro (1859 – 1935), que foi tema do décimo quinto artigo da série Feministas, graças a Deus!, publicado em 19 de abril dde 2023.
+ 
+D. Georgina de Albuquerque, pintora, 191? / Acervo FBN
+ 
+D. Nicolina Vaz P. do C., esculpt., 1913. Rio de Janeiro, RJ / Acervo FBN
+ 
+Aula de pintura ao ar livre, 1912. Rio de Janeiro, RJ / Acervo FBN A mulher é a pintora Sylvia Meyer
+ 
+Algumas das artistas que participaram da exposição foram, além das já mencionadas, as pintoras Camilla Alvares de Azevedo, Cândida de Gusmão Cerqueira, Francisca Leão, Haydéa Santiago, Helvia Barbosa Lima, Ignez Corrêa de Castro, Isabel Teixeira de Mello Julieta Bicalho, Katarina Gesnesha, Maria Francelina Barreto Falcão (1897-1979), Moema Machado Vieira, Nativa Tinoco, Nieta Gomes, Odelli Castello Branco, Palmyra Pedra Domeneck, Regina Veiga, Ruth de Almeida, Sarah Vilela de Figueiredo, Solange Frontin Hess, Suzanna Mesquita, Wanda Turatti e Yvonne Visconti. A gravurista Lucilia Ferreira e as escultoras Celita Vaccani ((1913 – 2000), Rosalina Candido Mendes e Zelia Ferreira.
+Chama atenção a ausência das modernistas Tarsila do Amaral (1886 – 1973) e Anita Malfatti (1889 – 1964). Terá sido devido à divisão entre acadêmicos e modernos, já que todas as obras expostas no I Salão Feminino de Arte tinham caráter acadêmico? Ou terá sido falta de interesse delas, já artistas consagradas, em participarem da mostra?
+Segundo uma de suas organizadoras, a pintora Cândida de Gusmão Cerqueira:
+ 
+
+Diário de Notícias, 4 de junho de 1931
+ 
+Inicialmente, a inauguração do salão seria na primeira quinzena de maio, mas foi adiada para junho (A Noite, 27 de abril de 1931, penúltima coluna; Jornal do Commercio, 7 de junho de 1931, última coluna).
+ 
+A Noite, 17 de abril de 1931
+ 
+Sua vernissage aconteceu em 5 de junho e, a abertura para o público, no dia seguinte.
+ 
+Diário Carioca, 6 de junho de 1931
+ 
+Sob o patrocínio da comissão organizadora do evento, o jornalista, pintor e intelectual Celso Kelly (1906 – 1979) proferiu uma conferência sobre a arte brasileira (A Noite, 10 de junho de 1931, penúltima coluna). Ele havia sido, em 1928, o organizador de um mostra livre de arte, na Biblioteca Nacional, que reuniu 300 trabalhos de 120 artistas, e que resultou na criação por ele e pelos irmãos Armando e Mário Navarro da Costa (1883 – 1931) da Associação Brasileira de Artistas, uma das promotoras do I Salão Feminino de Arte.
+ 
+Diário de Notícias, 11 de junho de 1931
+ 
+Em 12 de junho, o Diário de Notícias publicou uma reportagem especial sobre o evento:
+ 
+Diário de Notícias, 12 de junho de 1931
+ 
+ 
+Diário de Notícias, 12 de junho de 1931 
+ 
+O Cruzeiro, 13 de junho de 1931
+ 
+Terra de Senna, pseudônimo do jornalista, escritor, humorista, poeta e dramaturgo Lauro Nunes (1896-1972), publicou uma crítica sobre o salão e comentou se tratar de um esforço digno dos maiores incentivos, porém lamentou seu caráter de exposição retrospectiva (Diário Carioca, 17 de junho de 1931, segunda coluna).
+Em 22 de junho, a poetisa Anna Amélia Carneiro de Mendonça fez uma palestra intitulada Um salto de cinquenta anos (Jornal do Brasil, 23 de junho de 1931, quinta coluna).
+ 
+Jornal do Brasil, 23 de junho de 1931
+ 
+A exposição foi encerrada com a palestra Príncipe Raul de Leoni, de Paschoal Carlos Magno (1906 – 1980) (A Noite, 29 de junho de 1931, segunda coluna). Publicação de uma crítica (O Jornal, 5 de julho de 1931).
+ 
+Correio da Manhã, 1º de julho de 1931
+ 
+O II Salão Feminino de Arte promovido pela Sociedade Brasileira de Belas Artes foi realizado muitos anos depois, em 1939, na Associação Cristã dos Moços. Algumas artistas que participaram do evento, em 1931, como Celita Vaccani, Georgina de Albuquerque e Regina Veira apoiavam a realização da segunda edição do evento (Diário de Notícias 15 de junho de 1939, terceira coluna; O Jornal, 15 de junho de 1939, primeira coluna; e 23 de julho de 1939, quarta coluna).
+ 
+Brevíssimo resumo de outros importantes eventos artísticos ocorridos no Rio de Janeiro em 1931
+ 
+Movimento Artístico Brasileiro
+ 
+Diário de Notícias, 4 de junho de 1931
+ 
+Conforme mencionamos no início do artigo, em 1931, ocorreram no Rio de Janeiro outros importantes eventos da história das artes plásticas no Brasil. Um deles foi a criação do Movimento Artístico Brasileiro no Salão Essenfelder, no Studio Nicolas, que ficava localizado na Praça Marechal Floriano e pertencia ao fotógrafo romeno Nicolas Alagemovitz (1893 – 1940), um musicista que se fez mago da arte fotográfica, que era sócio do Photo Club Brasileiro. De acordo com o estatuto da nova associação, o Movimento foi organizado por uma comissão formada por Affonso de Carvalho, Nicolas Alagemovits, Fritz, Martha Silva Gomes, Henrique Pongetti, Bandeira Duarte e João Ribeiro Pinheiro.
+“O “Movimento Artístico Brasileiro” começou pelo princípio: a sua sala no andar ocupado pelo fotógrafo Nicolas, num dos mais belos arranha céus da Cinelândia, dispõe de duzentas confortáveis cadeiras, de um palco para teatro, concertos e conferências e supera em elegância muitas das famosas “boîtes” espirituais de Paris, pequenas colmeias de homem de talento”.
+ 
+O escritor Henrique Pongetti (1898 – 1979) em entrevista para o
+Jornal do Brasil, 3 de junho de 1931
+ 
+ 
+Segundo Nicolas, o Movimento Artístico Brasileiro é exclusivamente um centro de cultura, de arte e de pensamento e cuja atividade é dirigida no sentido de propagar todas as manifestações estéticas e congregar os seus criadores. José Siqueira, em artigo publicado, na Revista da Semana, de 19 de fevereiro de 1939, destacou que o Movimento vinha realizando uma série de conferências, concertos, recitais e exposições de pintura, em que tomaram parte grandes vultos da arte nacional e estrangeira. Essa instituição que é de todos os artistas, tem por fim congregá-los, para que dessa estreita união a Arte venha a ser amplamente beneficiada  (Diário de Notícias, 4 de junho de 1931; Revista da Semana, 27 de junho de 1931, última coluna; Diário de Notícias, 22 de janeiro de 1932; Revista da Semana, 19 de fevereiro de 1938).
+ 
+
+ 
+Com a morte de Nicolas, em 27 de setembro de 1940, apesar de continuar existindo, o Movimento foi perdendo vigor e as notícias a seu respeito foram diminuindo na imprensa carioca nos anos que se seguiram (Correio da Manhã, 28 de setembro de 1940, última coluna).
+ 
+Núcleo Bernardelli
+ 
+O Malho, 28 de novembro de 1931
+ 
+Ainda em junho, no dia 12 , foi criado o Núcleo Bernardelli, formado por um grupo,  liderado por Edson Motta (1910 – 1981), de pintores insatisfeitos com o ensino artístico da Escola Nacional de Belas Artes do Rio de Janeiro (ENBA). Buscavam democratizar o ensino de arte e conseguir o acesso dos artistas modernos ao prêmio de viagens ao exterior e ao Salão Nacional de Belas Artes. O nome é uma homenagem a dois professores da ENBA, os irmãos Henrique Bernardelli (1858-1936) e Rodolfo Bernardelli (1852-1931).
+Alguns dos integrantes do grupo foram Bustamante de Sá (1907 – 1988), José Pancetti (1902 – 1958), Manoel Santiago (1897 – 1987) e Milton Dacosta (1915 – 1988) (Diário de Notícias, 12 de junho de 1931, quarta coluna). Sua primeira sede foi o já citado Studio Nicolas. Depois o grupo se transferiu para os porões da Escola Nacional de Belas Artes, onde permaneceu até 1936, quando foi para a Rua São José e, depois, para a Praça Tiradentes, n. 85, até 1941, quando foi extinto.
+ 
+Exposição Geral de Belas Artes de 1931, que ficou conhecido como Salão Revolucionário
+ 
+O Jornal, 2 de setembro de 1931
+ 
+Meses depois, em 1º de setembro, foi aberto a Exposição Geral de Belas Artes de 1931, que ficou conhecido como Salão Revolucionário, sob a organização do então diretor da instituição, Lúcio Costa (1902-1998). Foi um marco na história da arte no Brasil. A participação dos artistas modernos foi maciça e por decisão do júri do evento todos os trabalhos inscritos foram aceitos. Participaram da exposição Alfredo da Veiga Guignard (1896 – 1962), Cândido Portinari (1903 – 1962), Di Cavalcanti (1897 – 1976), Ismael Nery (1900 – 1934) e Pedro Correia de Araújo (1874 – 1955), dentre vários outros. Um dos destaques do salão foi o quadro Eu vi  mundo…ele começa no Recife, de Cícero Dias (1907 – 2003) (O Jornal, 2 de setembro de 1931). Foi chamado pelo poeta Manuel Bandeira de Salão dos Tenentes pela participação de diversos modernistas que se opunham aos generais da arte, os acadêmicos.
+Abaixo, o artigo O “Salão dos Tenentes”, de Bandeira, publicado no Diário Nacional, de São Paulo, em 5 de setembro de 1931:
+ 
+
+ 
+
+ 
+O Jornal, 12 de setembro de 1931
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+BANDEIRA, Manuel. O salão dos tenentes. VIEIRA, Lucia Gouveia. Salão de 31. Rio de Janeiro: Funarte, 1984. p.93-94.
+Enciclopédia ItaúCultural
+HARTWIG, Nathalia Lange. O Movimento Artístico Brasileiro (1931-1940) no cenário musical carioca dos anos 1930. XXVIII Congresso da Associação Nacional de Pesquisa e Pós-Graduação em Música – Manaus – 2018.
+HARTWIG, Nathalia Lange. Salão Essenfelder: descobertas por meio da Imprensamusical do Rio de Janeiro da década de 1930. UFPR. ANAIS DO IV SIMPOM 2016  -SIMPÓSIO BRASILEIRO DE PÓS-GRADUANDOS EM MÚSICA.
+Hemeroteca Digital da Biblioteca Nacional
+MORAES, Frederico. Cronologia das Artes Plásticas no Brasil 1816-1994. Rio de Janeiro : Topbooks, 2001.
+SILVA, Tahis Canfield. Um olhar sobre o I Salão Feminino de Arte de 1931. XIII Encontro de História da Arte. Arte em confronto: embates em torno da história da arte, 2018..
+ 
+Acesse aqui os outros artigos da Série “Feministas, graças a Deus!“
+
+Série “Feministas, graças a Deus!” I – Elvira Komel, a feminista mineira que passou como um meteoro, publicado em 25 de julho de 2020, de autoria da historiadora Maria Silvia Pereira Lavieri Gomes, do Instituto Moreira Salles, em parceria com Andrea C. T. Wanderley, editora e pesquisadora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” II  – Natércia da Cunha Silveira (1905 – 1993), o jequitibá da floresta, publicado em 20 de agosto de 2020, de autoria de Andrea C.T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” III  – Bertha Lutz e a campanha pelo voto feminino: Rio Grande do Norte, 1928, publicado em 29 de setembro de 2020, de autoria de Maria do Carmo Rainha, doutora em História e pesquisadora do Arquivo Nacional
+Série “Feministas, graças a Deus!” IV  – Uma sufragista na metrópole: Maria Prestia (? – 1988), publicado em 29 de outubro de 2020, de autoria de Claudia Heynemann, doutora em História e pesquisadora do Arquivo Nacional
+Série “Feministas, graças a Deus!” V – Feminista do Amazonas: Maria de Miranda Leão (1887 – 1976), publicado em 26 de novembro de 2020, de autoria de Maria Elizabeth Brêa Monteiro, mestre em História e pesquisadora do Arquivo Nacional
+Série “Feministas, graças a Deus!” VI – Júlia Augusta de Medeiros (1896 – 1972) fotografada por Louis Piereck (1880 – 1931), publicado em 9 de dezembro de 2020, de autoria de Andrea C.T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” VII – Almerinda Farias Gama (1899 – 1999), uma das pioneiras do feminismo no Brasil, publicado em 26 de fevereiro de 2021, de autoria de Andrea C.T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” VIII – A engenheira e urbanista Carmen Portinho (1903 – 2001), publicado em 6 de abril de 2021, de autoria de Andrea C. T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” IX – Mariana Coelho (1857 – 1954), a “Beauvoir tupiniquim”, publicado em 15 de junho de 2021, de autoria de Andrea C. T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” X – Maria Luiza Dória Bittencourt (1910 – 2001), a eloquente primeira deputada da Bahia, publicado em 25 de março de 2022, de autoria de Andrea C. T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” XI e série “1922 – Hoje, há 100 anos” VI – A fundação da Federação Brasileira pelo Progresso Feminino, publicado em 9 de agosto de 2022, de autoria de Andrea C. T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” XII e série “1922 – Hoje, há 100 anos” XI – A 1ª Conferência para o Progresso Feminino, publicado em 19 de dezembro de 2022, de autoria de Maria Elizabeth Brêa Monteiro, historiadora do Arquivo Nacional
+Série “Feministas, graças a Deus!” XIII – E as mulheres conquistam o direito do voto no Brasil!, publicado em 24 de fevereiro de 2023, de autoria de Andrea C T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” XIV – No Dia Internacional da Mulher, Alzira Soriano, a primeira prefeita do Brasil e da América do Sul, publicado em 8 de março de 2023, de autoria de Andrea C T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” XV – No Dia dos Povos Índígenas, Leolinda Daltro,”a precursora do feminismo indígena” e a “nossa Pankhurst, publicado em 19 de abril de 2023, de autoria de Andrea C T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” XVII – Anna Amélia Carneiro de Mendonça e o Zeppelin, equipe de Documentação da Escola de Ciências Sociais FGV CPDOC, em parceira com Andrea C.T. Wanderley, publicado em 5 de janeiro de 2024
+Série “Feministas, graças a Deus!” XVIII – Júlia Lopes de Almeida (1862 – 1934), a “escritora da Belle Époque tropical”, de autoria de Andrea C. T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica, publicado em 5 de junho de 2024
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/11742` — `itens/20.500.12156.1_11742/`
+- `20.500.12156.1/11730` — `itens/20.500.12156.1_11730/`
+- `20.500.12156.1/11724` — `itens/20.500.12156.1_11724/`
+- `20.500.12156.1/11723` — `itens/20.500.12156.1_11723/`
+- `20.500.12156.1/11725` — `itens/20.500.12156.1_11725/`
+- `20.500.12156.1/11731` — `itens/20.500.12156.1_11731/`
+
diff --git a/wordpress/32714-serie-os-arquitetos-do-rio-de-janeiro-ii-no-dia-nacional-da-saude-o-desinfetorio.md b/wordpress/32714-serie-os-arquitetos-do-rio-de-janeiro-ii-no-dia-nacional-da-saude-o-desinfetorio.md
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+++ b/wordpress/32714-serie-os-arquitetos-do-rio-de-janeiro-ii-no-dia-nacional-da-saude-o-desinfetorio.md
@@ -0,0 +1,178 @@
+---
+id: 32714
+url: "https://brasilianafotografica.bn.gov.br/?p=32714"
+titulo: "Série “Os arquitetos do Rio de Janeiro” II – No Dia Nacional da Saúde, o Desinfetório de Botafogo e um breve perfil do arquiteto português Luiz de Moraes Junior, responsável pelo projeto"
+autor: "Andrea Wanderley"
+data: "2023-08-05T00:02:23+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/5384", "20.500.12156.1/11775", "20.500.12156.1/5579", "20.500.12156.1/5578", "20.500.12156.1/5146", "20.500.12156.1/6215", "20.500.12156.1/9187", "20.500.12156.1/10273"]
+fetched_at: "2026-09-10T10:14:38.552Z"
+---
+
+# Série “Os arquitetos do Rio de Janeiro” II – No Dia Nacional da Saúde, o Desinfetório de Botafogo e um breve perfil do arquiteto português Luiz de Moraes Junior, responsável pelo projeto
+
+Hoje é celebrado o Dia Nacional da Saúde, uma homenagem à data de nascimento do médico sanitarista Oswaldo Cruz, em 5 de agosto de 1872. Com uma fotografia produzida por Joaquim Pinto da Silva (1884 – 1951), conhecido como J. Pinto, responsável pela produção de milhares de imagens do acervo da Casa de Oswaldo Cruz, instituição parceira da Brasiliana Fotográfica, a jornalista Cristiane d´Avila conta um pouco da história da era das desinfecções e do Desinfetório de Botafogo, baseada no livro Dos micróbios aos mosquitos: febre amarela e a revolução pasteuriana no Brasil (1999), do historiador Jaime Larry Benchimol. Na obra, ele descreve a atuação dos bacteriologistas que precederam Oswaldo Cruz e sua geração, detalhando as estratégias empregadas pelos cientistas e médicos para debelar as epidemias de cólera e febre amarela, ocorridas no Brasil no final do século XIX e início do XX. É o segundo artigo da série Os arquitetos do Rio de Janeiro.
+ 
+J. Pinto jardineiro, 192?. Rio de Janeiro, RJ / Acervo Casa de Oswaldo Cruz
+ 
+Ao final do artigo, os leitores poderão ler um breve perfil do arquiteto português Luiz de Moraes Junior (1868 – 1955), responsável pelo projeto do Desinfetório de Botafogo, de autoria da pesquisadora e editoral do portal, Andrea C. T. Wanderley.
+ 
+O Jornal, 16 de julho de 1955
+ 
+Sobre Luiz Moraes Junior / Jornal do Brasil, 29 de agosto de 1934
+ 
+O desinfetório de Botafogo
+Cristiane d´Avila*
+J. Pinto. Desinfetório de Botafogo, 1905. Rio de Janeiro, RJ / Acervo Casa de Oswaldo Cruz 
+ 
+Na extensa obra Dos micróbios aos mosquitos: febre amarela e a revolução pasteuriana no Brasil, o historiador Jaime Larry Benchimol descreve a atuação dos bacteriologistas que precederam Oswaldo Cruz e sua geração e dedica um capítulo à ‘era das desinfecções’. Nele, o pesquisador detalha as estratégias empregadas pelos cientistas e médicos para debelar as epidemias de cólera e febre amarela, flagelos que ceifaram milhares de vidas brasileiras no final do século XIX e início do XX.
+“A epidemia de cólera (1894-1895) é um dos episódios que inauguram as lutas protagonizadas por esses bacteriologistas” (1) , explica Benchimol no referido capítulo. A luta a que se refere o historiador representou o que ele classifica como um novo paradigma na saúde pública: à luz da teoria de Pasteur, jovens médicos do Rio de Janeiro passaram a realizar, inicialmente em pequenos laboratórios instalados em suas próprias casas, análises químicas e bacteriológicas de amostras de enfermos, a fim de auxiliar o diagnóstico clínico e reorientar as ações higienistas.
+A bacteriologia, incipiente, ainda não havia remodelado os serviços de higiene. Naquele fim de século, a defesa sanitária de cidades, domicílios, vias, veículos de transporte e mesmo indivíduos era realizada pela desinfecção por vapor, calor e, sobretudo, uso de líquidos germicidas. “Os anos 1890 marcam, com certeza, o auge da mania por estes agentes físicos e estas substâncias químicas dotadas do poder de destruir micróbios fora e dentro das pessoas, e, se bobeassem, de intoxicar ou matar os próprios viventes parasitados”(2) , ressalta Benchimol.
+As medidas preventivas para o enfrentamento de surtos epidêmicos de doenças infectocontagiosas incluíam, além do emprego de cordões sanitários para isolar vias e cidades atingidas por surtos, a construção de desinfetórios públicos, erguidos segundo normas rígidas de higiene. Tais edificações eram munidas “com estufas a vapor sob pressão, pulverizadores a vapor e de mão e outros itens para o expurgo de passageiros, bagagens e objetos suscetíveis de contaminação pelo germe do cólera” (3) , descreve o pesquisador.
+Rastrear a movimentação humana motivada pelo comércio efervescente entre os portos das cidades litorâneas e o interior do país era praticamente impossível. Tal circulação levou ao alastramento do cólera aos estados de São Paulo, Minas Gerais e Rio de Janeiro, atingindo a capital da República. Na ânsia de frear o avanço da epidemia, das vias terrestres e estações ferroviárias a inspeção sanitária partiu para os domicílios urbanos.
+“Podemos imaginar quão difícil era implementar num cortiço, numa estalagem, num velho sobrado (…) as meticulosas instruções relativas à desinfecção do lugar em que residia o colérico, fosse qual fosse o desfecho do caso” (4) , conta Benchimol. Cartazes com carimbo da diretoria sanitária e o dizer ‘Infeccionado’ eram afixados nas portas das residências, então interditadas até que o local fosse desinfetado. Objetos que podiam ser aproveitados, como colchões, travesseiros e cobertores, eram levados pelos agentes para expurgo, por vapor ou pressão, nos desinfetórios municipais.
+Por lei, o médico era multado se não notificasse às autoridades os casos de febre amarela, varíola, sarampão, escarlatina, cólera-morbo, peste e difteria. “Na ausência do médico, cabia ao chefe da família, ao administrador, proprietário ou arrendatário do estabelecimento comercial ou habitação coletiva notificar o serviço municipal de saúde, que enclausurava o doente no sistema de vigilância domiciliar ou pública” (5) , detalha o historiador. Entre as recomendações médicas, “as pessoas deviam evitar bebidas alcoólicas, frutas verdes e alimentos crus (…) beber limonadas ácidas, conservar o asseio do corpo e das roupas e lavar as mãos com soluções desinfetantes de ácido fênico, ácido bórico ou sulfato de cobre” (6) .
+Segundo Benchimol, a Inspetoria do Serviço de Isolamento e Desinfecção, vinculada à Diretoria de Higiene e Assistência Pública Municipal, inaugurou na cidade do Rio de Janeiro, em 1890, o Desinfetório Central, próximo à Praça Quinze de Novembro. No ano seguinte, foram construídos dois outros – um no Engenho Velho, atual Praça da Bandeira, e outro na Rua da Relação, distrito de Santo Antônio.
+Em 1904, Oswaldo Cruz, então à frente da Direção Geral de Saúde Pública, conseguiu prover a capital da República de mais um desinfetório. Construído na Rua General Severiano, em Botafogo, Zona Sul da cidade, foi projetado por Luiz de Moraes Junior, autor do projeto do Castelo Mourisco, sede da Fiocruz em Manguinhos. Em 8 de agosto de 1905, o jornal carioca A Notícia publicou, em sua primeira página, uma extensa reportagem sobre o novo edifício, incluindo detalhes sobre a arquitetura e os equipamentos de higienização ali instalados. Atualmente, o prédio histórico, anexo ao Hospital Rocha Maia, abriga o Super Centro Carioca de Vacinação da prefeitura do Rio de Janeiro.
+ 
+O novo desinfetório**
+ 
+“Entre os estabelecimentos visitados hoje pelos delegados do Congresso Científico Latino-Americano figuram os desinfetórios pertencentes à Diretoria Geral de Saúde Pública. 
+De acordo com a última reforma feita nos serviços de higiene, foram mandados construir, além do desinfetório central, dois distritais, que atenderão às zonas de Botafogo e do Engenho de Dentro.
+O de Botafogo, que já está concluído, não obstante não estar ainda oficialmente inaugurado, recebeu a honrosa visita dos delegados do Congresso.
+Fica ele situado na rua General Severiano na parte dos terrenos em que ia ser construída a Universidade, abrangendo uma área de 4.063 metros.
+O engenheiro da Diretoria Geral de Saúde Publica, o Sr. Luiz de Moraes Junior, observou nessa esplêndida construção todos os preceitos recomendados pela higiene, e bem assim atendeu a todos os melhoramentos usados nos países estrangeiros, em
+ estabelecimentos congêneres. 
+Desse modo, foi observada a parte mais recomendada nos desinfetórios, e que é o evitar-se o absoluto contacto entre as pessoas, os objetos e o material, antes de ser desinfectados com os que já estiveram. 
+Por esse motivo, todo o lado esquerdo do edifício foi destinado à parte impura e o lado direito à parte pura. 
+Pela parte impura entram os doentes, pessoal, objetos pertencentes a casa em que esteve o enfermo e o respectivo material. Ali sofrem rigoroso expurgo, por meio de estufas e câmaras de formol e enxofre. Terminado esse serviço, sem poder haver a menor comunicação entre o pessoal, são transferidos, por pequenas janelas, para o lado puro, todos os objetos já desinfectados. 
+O mais curioso em todo esse serviço é que desde a entrada do pessoal e material para a parte impura, são dados sinais elétricos consecutivos na sala da administração até ficar completamente feita a desinfecção. 
+A construção de todo o edifício obedeceu a um estilo leve e moderno, tendo a forma retangular, fazendo três corpos, tendo 27 metros e 90 centímetros de comprimento por 16 metros e 40 centímetros de largura. 
+No centro do edifício existe uma área medindo 6 metros por 3 metros e 80 centímetros, sendo a superfície geral de 567 metros quadrados. 
+A entrada principal de ingresso para a sala de espera, tendo esta de um lado, o gabinete do inspector e do outro lado a sala de administração. 
+De um e de outro lado do edifício ficam situados a portaria, gabinete médico, sala de escritório, sala de depósito de desinfetantes e de limpeza de empregados, sala de espera para as pessoas que desejarem tomar banho de desinfecção, sala para recepções de bagagens, roupas e mais objetos sujeitos à desinfecção, sala para recepção das roupas desinfectadas. 
+Fora desse edifício, no pátio foi construído um outro menor, medindo seis metros por dez. Tem ele duas portas, uma para o lado impuro por onde entram os carros e outra para o lado puro, por onde saem já desinfectados. 
+Ainda existem, perfeitamente construídos, a casa do guarda, as cocheiras com uma área de 225 metros para comportar 40 animais e finalmente um reservatório para 18.000 litros d’água. 
+O edifício principal do desinfetório tem os alicerces de concreto, ferro e alvenaria. As paredes externas do edifício são de tijolos polidos franceses e as internas são de tijolos furados. 
+Os soalhos das três salas da frente são de massaranduba e peroba e o revestimento das paredes e tetos são de estuque fino. 
+As portas externas são de massaranduba e as das salas de peroba. 
+Em cada lado do edifício foi colocada uma marquise de ferro forjado suspensa em consolos de ferro, estando as mesmas cobertas com vidros de cores. 
+O desinfetório está preparado para funcionar desde já, tendo todo o material necessário inclusive estufas Genester-Hereher, câmaras de formol e enxofre, fornos de incineração, aparelhos de lavar roupas, gerador a vapor e um belo aparelho centrífugo com um movimento de 1.200 rotações por segundo para secar roupas e movido a eletricidade. 
+Esse desinfetório servirá para todo o serviço central, enquanto não estiver concluído o que vai ser construído na rua do Rezende”. 
+A Notícia, 08 de agosto de 1905
+ 
+(1) Benchimol, 1999, p.250.
+(2) Idem, p.271.
+(3) Idem, p.258.
+(4)Idem, p.272.
+(5)Idem, p.292.
+(6) Idem, p.293.
+ 
+*Cristiane d´Avila é jornalista do Departamento de Arquivo e Documentação Casa de Oswaldo Cruz/Fiocruz
+**Grafia atualizada. Fonte: Jornal A Notícia, 08 de agosto de 1905, edição 191. Biblioteca Nacional. Hemeroteca Digital. Disponível em: http://memoria.bn.br/DocReader/830380/11799
+Transcrição disponível em: https://oticsrio.com.br/2023/01/23/do-desinfectorio-de-botafogo-ao-hospital-rocha-maia-118-anos-de-historia/
+ 
+Fontes:
+BENCHIMOL, Jaime Larry. Dos micróbios aos mosquitos: febre amarela e revolução pasteuriana no Brasil. Rio de Janeiro: Editora Fiocruz/Editora UFRJ, 1999. E-book.
+ 
+Breve perfil do arquiteto português Luiz de Moraes Junior (1868 – 1955)
+ Andrea C. T. Wanderley**
+ 
+O arquiteto português Luiz Moraes Junior (1868 – 1955) / Portal da Fiocruz
+ 
+O Desinfetório de Botafogo foi projetado pelo arquiteto português Luiz de Moraes Junior, que nasceu em 28 de janeiro de 1868, e passou sua infância e a adolescência, na cidade de Faro, cidade onde nasceu e capital do Algarve. Formado pela Universidade de Lisboa, iniciou sua carreira como engenheiro ferroviário. Casou e teve duas filhas. Em 1900, sem sua família, veio para o Brasil como técnico de uma grande firma alemã. No Rio de Janeiro, fiscalizou os imóveis do Mosteiro de São Bento e das Ordens Religiosas e, a convite do padre Ricardo, vigário-geral da Igreja da Penha, deu início às obras de restauração da fachada desta igreja. Em 1901, residia na Rua General Câmara , 64 (Almanak Laemmert, 1902, primeira coluna; A Notícia, 31 de julho de 1904, quarta coluna; A Notícia, 5 e 6 de outubro de 1907, terceira coluna).
+Foi durante o trajeto de trem para o trabalho que conheceu Oswaldo Cruz, que fazia o mesmo percurso até Manguinhos. Ficaram amigos e Oswaldo Cruz o convidou para realizar o Castelo Mourisco, sede da Fiocruz em Manguinhos, construído entre 1905 e 1918, e símbolo da instituição (Jornal do Brasil, 14 de agosto de 1905, terceira coluna).
+Foi durante o trajeto de trem para o trabalho que conheceu Oswaldo Cruz, que fazia o mesmo percurso até Manguinhos. Ficaram amigos e Oswaldo Cruz o convidou para realizar o Castelo Mourisco, sede da Fiocruz em Manguinhos, construído entre 1905 e 1918, e símbolo da instituição (Jornal do Brasil, 14 de agosto de 1905, terceira coluna).
+ 
+Vista do Castelo da Fiocruz antes da abertura da Avenida Brasil, s/d. Rio de Janeiro, RJ / Acervo Casa de Oswaldo Cruz
+ 
+Também executou os projetos de instalações que, atualmente, formam o Núcleo Arquitetônico Histórico de Manguinhos (NAHM), composto pelo Pavilhão do Relógio ou da Peste; a Cavalariça; o Quinino ou Pavilhão Figueiredo Vasconcellos; o Pombal ou Biotério para Pequenos Animais; o Hospital Evandro Chagas; e a Casa de Chá.
+ 
+Vista das antigas instalações da Fazenda de Manguinhos. Ao fundo, em construção, o edifício que abrigaria a Cavalariça e o Pavilhão do Relógio ou Pavilhão da Peste, s/d. Rio de Janeiro, RJ / Acervo Casa de Oswaldo Cfruz
+ 
+ 
+J. Pinto. Biotério para pequenos animais. Conhecido com “Pombal”, 1910. Rio de Janeiro, RJ / Acervo Casa de Oswaldo Cruz
+ 
+ 
+J. Pinto. Hospital de Manguinhos é rebatizado como Hospital Evandro Chagas após a morte do cientista, em 1940. Rio de Janeiro, RJ / Acervo Casa de Oswaldo Cruz
+ 
+ 
+Interior da casa de Chá: Henrique Aragão e Gustav Giemsa; 2º mesa: S. Von Prowazek e Oswaldo Cruz, 1908? . Rio de Janeiro, RJ / Acervo Casa de Oswaldo Cruz
+ 
+Participou de todas as obras sanitárias realizadas por Oswaldo Cruz em combate à febre amarela e à peste organizadas pela Diretoria Geral de Saúde Pública com o objetivo de higienizar o Rio de Janeiro. Em 1910, foi um dos promotores de uma homenagem a Oswaldo Cruz, o ilustre cientista brasileiro a quem o Rio de Janeiro deve a prodigiosa obra do seu saneamento e o Brasil o brilho de uma representação científica das mais gloriosas no estrangeiro, realizada no Palácio Monroe (A Notícia, 31 de agosto e 1º de setembro de 1910, penúltima coluna; Correio da Manhã, 4 de setembro de 1910, primeira coluna).
+No campo da arquitetura hospitalar, sanitária e médico-experimental, Moraes Junior desenvolveu diversos outros empreendimentos, dentre eles a sede da Policlínica do Rio de Janeiro, na antiga Avenida Central, atual Rio Branco (Gazeta de Notícias,4 de março de 1909, penúltima coluna); os Dispensários da Fundação Gaffré Guinle; e a reforma do Hospital do Engenho de Dentro e da Beneficência Portuguesa do Rio de Janeiro. Foi o realizador prático do projeto de Assepsia Integral do médico Mauricio Gudin (1883 – 1959), construindo na Beneficência Portuguesa e no Hospital-Escola de Niterói os blocos que tornaram realidade o processo concebido por Gudin (O Paiz, 7 de novembro de 1923, segunda coluna). Foi também autor do projeto do edifício da Escola Nacional de Medicina, cuja pedra fundamental foi assentada em 22 de maio de 1916 (Correio da Manhã, 23 de maio de 1916, segunda coluna).
+Também atuou em outras áreas da arquitetura, tendo construído a casa da família de Oswaldo Cruz, na Praia de Botafogo, e do túmulo do cientista, no Cemitério São João Batista.
+ 
+Túmulo de Oswaldo Cruz no Cemitério São João Batista / Acervo Casa de Oswaldo Cruz
+ 
+Em Petrópolis, foi o responsável pelo Grande Hotel e pelo prédio do jornal Tribuna de Petrópolis. Na Alemanha, participou do projeto de construção e decoração do Pavilhão do Brasil na Exposição Internacinal de Higiene de Dresden, realizada em 1911 (Correio da Manhã, 11 de junho de 1917, terceira coluna).
+ 
+Exposição Internacional de Higiene e Demografia em Dresden, 1911. Dresden, Alemanha / Acervo Casa de Oswaldo Cruz
+ 
+Foi amigo dos presidente do Brasil, Nilo Peçanha (1867 – 1924) e Rodrigues Alves (1848 – 1919) e de diversos outros políticos e empresários de destaque no Brasil. Foi nomeado Cônsul Geral do Haiti no Rio de Janeiro, em 18 de junho de 1919, cargo que exerceu durante toda sua vida.  Tornou-se Comendador da Ordem Nacional do Haiti Honneur et Merite, em 1933; e da Ordem Nacional do Cruzeiro do Sul, do Brasil, em 1937. Foi membro do Instituto de Engenharia (Correio Paulistano, 24 de junho de 1919, quinta coluna; Almanak Laemmert, 1927, última coluna; Jornal do Brasil, 15 de julho de 1927, primeira coluna; Correio da Manhã, 13 de abril de 1933, segunda coluna; O Jornal, 5 de fevereiro de 1937, quinta coluna; Relatórios do Ministério das Relações Exteriores, 1940).
+Desportista, em 1907, foi o tesoureiro da primeira diretoria do Automóvel Club do Brasil, do qual foi um dos fundadores. Durante décadas seguiu fazendo parte da instituição. Em 1928, dirigiu as obras de renovação do interior do prédio, na Rua do Passseio (O Jornal, 8 de julho de 1928, terceira coluna). Em 1939, tornou-se seu sócio benemérito (Jornal do Commercio, 31 de maio de 1939, segunda coluna).
+ 
+Brasil Sport, 16-28 de fevereiro de 1907
+ 
+Ainda em 1907 foi juiz de chegada de uma corrida de automóveis realizada na Avenida Beira-Mar, em Botafogo. Em 1908 e 1909, foi um dos promotores de corridas de automóveis partindo de Niterói e percorrendo diversas cidades fluminenses. Foi admitido como membro do Jockey Club, em 1908 (Gazeta de Notícias, 15 de março de 1907, quinta coluna; A Imprensa, 14 de julho de 1908, última coluna; O Fluminense, 25 de setembro de 1908, quarta coluna; O Fluminense, 2 de junho de 1909,quarta coluna).
+Na Exposição Nacional de 1908, ganhou a Medalha de Ouro na categoria de Arquitetura (Jornal do Brasil, 21 de novembro de 1908, terceira coluna). No ano seguinte,conquistou outra Medalha de Ouro, desta vez pelo plano e projeto de um hospital moderno, na Exposição Internacional de Higiene do Rio de Janeiro (Correio da Manhã, 24 de outubro de 1909, quarta coluna).
+Em 1910, integrou o júri, presidido por Marciano Aguiar Moreira, presidente do Jockey Club, que julgou o projeto da nova sede social da instituição, na então Avenida Central, atual Rio Branco. Os outros jurados foram Domingos Cunha, Francisco de Oliveira Passos (1878 – 1958), engenheiro civil e filho do prefeito do Rio de Janeiro, Francisco Pereira Passos (1836 – 1913), entre 1902 e 1906; e o professor e escultor Rodolpho Bernardelli (1852 – 1931). Venceu o projeto de Heitor de Mello (1875 – 1920) (O Paiz, 11 de agosto de 1910, terceira coluna; Jornal do Commercio, 2 de setembro de 1913, sexta coluna; Correio da Manhã, 6 de setembro de 1913, sexta coluna). Ainda em 1910, foi premiado na categoria Escola Profissional em um concruso para prédios escolares promovidos pelo Serviço de Inspeção Sanitária Escolar (Correio da Manhã, 28 de novembro de 1910, segunda coluna).
+Era zelador da Venerável Irmandade de Nossa Senhora da Penha no Irajá (O Paiz, 7 de outubro de 1913, penúltima coluna). Em 1920, participou do Congresso Brasileiro de Proteção à Infância (O Paiz, 2 de dezembro de 1919, última coluna). Em 1915, integrava a comissão organizadora de um evento carnavalesco, o Garden Tea Dansant Masque (Correio da Manhã, 14 de fevereiro de 1915, segunda coluna).
+Em 1921, aderiu a uma homenagem ao professor Carlos Chagas (1878 – 1934), na sede do Club dos Diários, do qual era tesoureiro (O Paiz, 14 de agosto de 1921, segunda coluna; O Paiz, 30 de abril de 1924, penúltima coluna). Foi um dos supervisores da construção da  estrada Rio-Petrópolis, inaugurada em 1928, da qual foi um dos subscritores (O Paiz, 29 de janeiro de 1923, segunda coluna; Automóvel-Club, maio de 1926; O Jornal, 6 de setembro de 1928, sexta coluna).
+ 
+Automóvel-Club, maio de 1926
+ 
+Trecho da estrada Rio-Petrópolis / Automóvel-Club, fevereiro de 1927
+ 
+Em 1923, recebeu um título honorífico do Real Gabinete Português de Leitura, do qual era sócio (O Brasil, 15 de maio de 1923, terceira coluna).
+Em 1925, sofreu um acidente de carro, na Avenida Beira-Mar, perto da Rua do Russel. Ele residia na rua Assunção, nº 65 (Correio a Manhã, 24 de setembro de 1925, terceira coluna). Fez parte da comissão da 1ª Exposição de Automobilismo, Autopropulsão e Estradas de Rodagem (O Paiz, 26 de agosto de 1925, última coluna;  O Paiz, 25 de outubro de 1925, quarta coluna; Automovel-Club, setembro 1925).
+ 
+Automóvel-Club, julho de 1925
+ 
+Em 1926, a convite da Sociedade Interamericana de Mulheres, as cientistas Marie Curie (1867 – 1934) e Irène Joliot-Curie (1897 – 1956), mãe e filha, em visita ao Brasil, foram a Petrópolis acompanhadas por Bertha Lutz, pela embaixatriz da França e pela sra. Paul Hazard, e por Luiz Moraes Junior e Armando Godoy, ambos da diretoria do Automóvel Clube do Brasil, que forneceu os carros usados no trajeto. Foram recebidas pelo prefeito da cidade, Francisco de Avelar Figueira de Melo (1883 – 1938), e o senador Joaquim Moreira (1853 – 1929) ofereceu um almoço ao grupo (O Paiz, 6 de agosto de 1926, quarta coluna).
+Em 1929, participou, como Cônsul do Haiti, do 2º Congresso Pan-americano de Estradas de Rodagem, quando proferiu um discurso (Automóvel-Club, agosto/setembro de 1929).
+Integrou a primeira diretoria, como suplente, de uma a associação de turismo, a Rio Turing S.A (O Paiz, 7 de dezembro de 1933, terceira quarta coluna).
+Participou, em 1934, de uma inspeção nas obras realizadas no Circuito da Gávea de automobilismo (Jornal do Commercio, 19 de setembro 1934, quarta coluna). Integrava a comissão técnica das corridas internacionais de automóveis (Correio da Manhã, 30 de setembro de 1934, penúltima coluna).
+ 
+Correio da Manhã, 2 de junho de 1935
+ 
+Durante a gestão do prefeito Pedro Ernesto (1884 – 1942), construiu vários hospitais no Rio de Janeiro. Houve uma polêmica em torno de sua indicação sem a realização de uma concorrência pública (Correio da Manhã, 26 de agosto de 1934; Jornal do Brasil, 29 de agosto de 1934, primeira coluna).
+Foi membro da Sociedade Filatélica Brasileira e possuía uma das coleções de selos mais valiosas do Brasil. Participou, em 1934, da Exposição Filatélica Nacional, realizada no Palácio das Festas, na Feira Internacional de Amostras. Em 1938, foi um dos patronos da Exposição Filatélica Internacional, na Escola de Belas Artes. Possuia um par de selos olho de boi dos valores de 30 e 90, unidos – uma raridade (D. Quixote, 20 de maio de 1925, primeira coluna; D. Quixote, 1º de julho de 1925, primeira coluna; Jornal do Commercio, 26 de setembro de 1934, terceira coluna; O Carioca, 9 de novembro de 1935, segunda coluna; Jornal do Commercio, 15 de junho de 1938, segunda coluna; A Noite, 24 de outubro de 1938, segunda coluna; O Cruzeiro, 19 de novembro de 1938).
+Uma apólice mineira sorteada com mil contos foi vendida pelo corretor a Luiz Moraes Junior e ao deputado Augusto Cursino (Diário da Noite, 4 de janeiro de 1935).
+Em 1942, participou da X Conferência Sanitária Panamericana, no Palácio Tiradentes, no Rio de Janeiro (Gazeta de Notícias, 2 de setembro de 1942).
+Em 1953, era o tesoureiro do Petrópolis Country Club (Jornal do Brasil, 22 de fevereiro de 1907, quarta coluna; Jornal do Brasil, 19 de março de 1953, terceira coluna; Jornal do Brasil, 24 de setembro de 1953, sexta coluna; O Jornal, 16 de julho de 1955; O Jornal, 22 de setembro de 1957).
+Faleceu em 15 de julho de 1955, na Beneficência Portuguesa, de onde era sócio graduado, no Rio de Janeiro. Era casado, em segunda núpcias com Gelmina Fazzioni de Moraes. O casal não teve filhos (Jornal do Brasil, 16 de julho de 1955).
+ 
+Correio da Manhã, 19 de julho de 1955
+ 
+Automóvel-Club, janeiro de 1927. Luiz Moraes Junior está em pé, à direita.
+ 
+Outras de suas realizações foram o Palacete Seabra, no Flamengo e o Rio Hotel, na Praça Tiradentes, além do Grande Hotel e da sua residência localizada em Petrópolis.
+ 
+***Andrea C. T. Wanderley é pesquisadora e editora do portal Brasiliana Fotográfica
+Em 29 de outubro de 2023, o título deste artigo foi alterado para Série “Os arquitetos do Rio de Janeiro” II – No Dia Nacional da Saúde, o Desinfetório de Botafogo e um breve perfil do arquiteto português Luiz de Moraes Junior, responsável pelo projeto.
+Fontes:
+Biblioteca Virtual Oswaldo Cruz
+Hemeroteca Digital da Biblioteca Nacional
+Portal da Fiocruz
+ 
+Outros artigos da série Os arquitetos do Rio de Janeiro
+Série “Os arquitetos do Rio de Janeiro” I – Porto D´Ave e a moderna arquitetura hospitalar, de autoria de Cristiane d´Avila – Casa de Oswaldo Cruz / Fiocruz, publicado em 14 de janeiro de 2021.
+Série “Os arquitetos do Rio de Janeiro” III – O centenário do Copacabana Palace, quintessência do “glamour” carioca, e seu criador, o arquiteto francês Joseph Gire, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado em 13 de agosto de 2023
+Série “Os arquitetos do Rio de Janeiro” IV – Archimedes Memória (1893 – 1960), o último dos ecléticos, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 1º de dezembro de 2023
+Série “O Rio de Janeiro desaparecido“ XXVII e “Os arquitetos do Rio” V – O Jockey Club e o Derby Club, na Avenida Rio Branco e o arquiteto Heitor de Mello (1875 – 1920), de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 15 de janeiro de 2024
+Série “Os arquitetos do Rio de Janeiro” VI – O Clube Naval e os arquitetos Tommaso G. Bezzi (1844 – 1915) e Heitor de Mello (1875 – 1920), de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal, publicada em 6 de maio de 2024
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/5384` — `itens/20.500.12156.1_5384/`
+- `20.500.12156.1/11775` — `itens/20.500.12156.1_11775/`
+- `20.500.12156.1/5579` — `itens/20.500.12156.1_5579/`
+- `20.500.12156.1/5578` — `itens/20.500.12156.1_5578/`
+- `20.500.12156.1/5146` — `itens/20.500.12156.1_5146/`
+- `20.500.12156.1/6215` — `itens/20.500.12156.1_6215/`
+- `20.500.12156.1/9187` — `itens/20.500.12156.1_9187/`
+- `20.500.12156.1/10273` — `itens/20.500.12156.1_10273/`
+
diff --git a/wordpress/32813-cronologia-de-archanjo-sobrinho-18-1941.md b/wordpress/32813-cronologia-de-archanjo-sobrinho-18-1941.md
new file mode 100644
index 0000000..bdc12db
--- /dev/null
+++ b/wordpress/32813-cronologia-de-archanjo-sobrinho-18-1941.md
@@ -0,0 +1,84 @@
+---
+id: 32813
+url: "https://brasilianafotografica.bn.gov.br/?p=32813"
+titulo: "Cronologia de Archanjo Sobrinho (18? – 1941)"
+autor: "Andrea Wanderley"
+data: "2023-05-23T19:18:16+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/9923", "20.500.12156.1/9934"]
+fetched_at: "2026-09-10T10:14:41.874Z"
+---
+
+# Cronologia de Archanjo Sobrinho (18? – 1941)
+
+Cronologia de Archanjo Sobrinho (18? – 1941)
+A partir de uma busca na Hemereoteca Digital da Biblioteca Nacional, uma das mais importantes fontes de pesquisa do portal, “descobri” alguns fatos sobre a vida de Archanjo, que partilho com vocês na esperança de que algum ou alguns leitores possam contribuir para adensar o perfil deste fotógrafo tão pouco conhecido até o momento. Infelizmente, ao longo da pesquisa na Hemeroteca, da década de 1880 até a de 1940, já que ele faleceu em 1941, só há duas referências a sua atividade de fotógrafo amador. Mas surgiram diversas informações acerca de sua vida.
+ 
+Archanjo Sobrinho / A Época, 24 de junho de 1914
+ 
+18? - Archanjo Correia de Mello Sobrinho nasceu em 24 de junho, no século XIX, em ano ainda desconhecido (Gazeta de Notícias, 24 de junho de 1898, última coluna; O Paiz, 24 de junho de 1900, sexta coluna; O Cruzeiro, 22 de junho de 1929).
+1890 - Ofereceu uma bolsa de malha de prata com 10 libras esterlinas para o artista Peixoto (? – 1910) que havia se apresentado na peça Mimi Bilonira, encenada no Theatro Variedades. Esteve na missa pela morte do ator, em 1910  (Gazeta de Notícias, 15 de setembro de 1890, penúltima coluna; A Imprensa, 4 de março de 1910, penúltima coluna).
+ 
+Archanjo Sobrinho. Enseada da Lapa; a partir do adro da igreja de Nossa Senhora da Glória do Outeiro, c. 1895. Rio de Janeiro, RJ / Acervo IMS
+ 
+ 
+1894 a 1901 – Estava na lista de guarda-livros – contador – do Almanak Laemmert e morava na Rua da Misericóridia, nº 80 (Almanak Laemmert, 1894, 1895, 1896, 1897, 1898, 1899, 1900 e 1901). Em 1900, foi noticiado que era proprietário da Papelaria União.
+ 
+O Paiz, 24 de junho de 1900
+ 
+1901 – O jornal A Imprensa publicou uma trova na coluna”Ineditoriais”, de Felizardo Ventura, na qual ele era um dos personagens (A Imprensa, 5 de janeiro de 1901).
+ 
+A Imprensa, 5 de janeiro de 1901
+ 
+1902 / 1903 – Era sócio da firma Fernando Freire e Cia (Correio da Manhã, 24 de junho de 1902, penúltima coluna). A notícia abaixo, de 1903, confirma tratar-se do Anchanjo Sobrinho fotógrafo amador e não um possível homônimo. Também se refere jocosamente a suas dificuldades no início de suas atividades de fotógrafo e informa que ele já havia sido barbeiro e dentista. Parece que gostava de beber e era um ótimo amigo, muito relacionado no Rio de Janeiro. De acordo com o texto, na época, já possuia uma papelaria.
+ 
+
+O Rio-Nú, 31 de outubro de 1903
+ 
+ 
+Nasceu, em 1903, Ari, seu filho com Jovina Muniz Barreto Correia de Mello (Jornal do Brasil, 3 de março de 1903, quinta coluna). Em 1906, já tinha também uma filha (Jornal do Brasil, 9 de fevereiro de 1906, penúltima coluna). Suas filhas chamavam-se Semiramis, futura professora municipal; Oswaldina (1892 -?) e Inah (A Tribuna, 21 de setembro de 1911, segunda coluna; O Paiz, 19 de abril de 1917, última coluna; 13 de maio de 1917, quinta coluna; A Razão, 16 de agosto de 1919, sexta coluna).
+1904 – Fez parte da primeira diretoria do Retiro Dramático Fluminense, uma agremiação de atores amadores. A festa inaugural aconteceu no Teatro Lucinda com a encenação da peça O Médico das Crianças, protagonizada por Eugênio de Magalhães. Archanjo estava presente (Jornal do Commercio, 1º de setembro de 1904, sexta coluna; Jornal do Brasil, 16 de setembro de 1904, terceira coluna; Jornal do Brasil, 20 de setembro de 1904, segunda coluna).
+1910 – Ficou ferido em um descarrilamento do bonde onde estava. Morava na rua Visconde de Sapucai (Correio da Manhã, 8 de maio de 1910, penúltima coluna). Foi um dos jurados do julgameno de Nathalino Paes de Barros, que havia assasinado sua mulher. Georgina Reid Paes de Barros (O Paiz, 3 de agosto de 1910, última coluna).
+ 
+Archanjo Sobrinho. Praia do Russel e igreja de Nossa Senhora da Glória do Outeiro, c. 1895. Rio de Janeiro, RJ / Acervo IMS
+ 
+ 
+1911 - Esteve presente à encenação da comédia O Diretor, no Teatro Fluminense, no Campo de São Cristóvão (Gazeta de Notícias, 24 de maio de 1911, quarta coluna).
+1912 - Constituiu a firma Archanjo e Sobrinho & Cia para explorar a Papelaria Moderna (O Paiz, 13 de janeiro de 1912, quinta coluna).
+ 
+Correio da Manhã, 15 de junho de 1912
+ 
+Em dezembro, a Papelaria Moderna, que ficava na Rua Marechal Floriano, nº 21, vizinha do Cinema Brasileiro, que sofreu um incêndio, teve alguns prejuízos devido ao acidente (A Imprensa, 9 de dezembro dde 1912, penúltima coluna).
+1913 – No ano seguinte, no Almanak Laemmert, a empresa Archanjo Sobrinho & Cia foi noticiada pela primeira vez, listada na seção de “Litografias e Estamparias”, na de “Papelarias”- a dele seria a Papelaria Moderna; e na de “Tipografias”. Ficava na Marechal Floriano, nº 21. Seus sócios eram Manoel Joaquim P. da Fonseca e José Ferreira da Silva. Seguiu, em 1914, na lista de “Litografias e Estamparias” e de “Tipografias”. Residia na Rua Conde de Leopoldina, 85, e a Papelaria Moderna seguiu na Marechal Floriano, 21, até 1918. Em 1922, 1924, 1925 e 1926 foi listada a tipografia Archanjo Sobrinho & Lobosco, na rua Jorge Rudge, nº 38. Em 1922, a Papelaria Moderna existia ainda na rua Marechal Floriano, mas no número 168. Em 1927, estava listada a tipografia Archanjo Sobrinho & Cia, na Rua da Misericórdia, 59. Neste mesmo endereço, em 1929, estava listada uma papelaria e uma tipografia em seu nome. Também em 1929, estava listada a tipografia Archanjo Sobrinho & Maciel Artes Gráficas, na Rua São Pedro, 21. No ano seguinte e em 1934, estava na mesma Rua São Pedro, mas no número 281 e 269, respectivamente (Almanak Laemmert, 1913, 1913, 1913, 1913, 1913, 1914, 1914, 1914, 1915, 1916, 1918, 1922, 1922, 1924, 1924, 1925, 1926, 1927, 1929, 1929, 1929, 1930 e 1934).
+ 
+Almanak Laemmert, 1913
+ 
+1914 – Era também gerente do jornal A Época e sua Papelaria Moderna contribuiu com brindes, cartões de visita com impecável impressão, no concurso promovido pelo jornal. Deixou o cargo em 1915 (A Época, 24 de junho de 1914; 28 de julho de 1914, terceira coluna; 18 de agosto de 1915, quarta coluna).
+1917 e 1919 - Houve greves dos gráficos e os funcionários da oficina de Archanjo aderiram ao movimento. Na mesma época da greve de 1919, a gráfica de Archanjo foi roubada (O Paiz, 4 de setembro de 1917, última coluna; Gazeta de Notícias, 3 de setembro de 1919, terceira coluna; Correio da Manhã, 9 de setembro de 1919, quarta coluna). Participou das comemorações do jubileu da vida intelectual do então senador Rui Barbosa (1849 – 1923) (O Paiz, 10 de agosto fe 1918, última coluna).
+1919 – Doou uma fotografia da Rua 1º de março, produzida em 1893, para ajudar os flagelados da seca nordestina. Será de sua autoria? É da mesma década de 1890 das fotografias que estão exibidas neste artigo e que pertence ao acervo do Instituto Moreira Salles, uma das instuições fundadoras da Brasiliana Fotográfica.
+ 
+A Noite, 31 de maio de 1919
+ 
+1920 – Retirou-se da sociedade da firma Archanjo Sobrinho & Cia.
+ 
+O Jornal, 25 de abril de 1920
+ 
+1922 a 1926 – Contribuiu para a Obra de Assistência aos Portugueses Desamparados (A Noite, 25 de junho de 1922, terceira coluna). Em 1925, residia na rua Barata Ribeiro, nº 417; e depois na Rua Teófilo Otoni, 118 (A Noite, 16 de abril de 1925, terceira coluna; O Paiz, 4 de setembro de 1925, última coluna). No primeiro dia de 1926 foi publicada uma propaganda da Artes Gráficas – Archanjo Sobrinho & Gumarães, na Rua da Misericórdia, nº 59.
+ 
+Correio da Manhã, 1º de janeiro de 1926
+ 
+1929 – Retirou-se da sociedade Archanjo Sobrinho & Maciel Artes Gráficas (A Manhã, 25 de julho de 1929, quarta coluna).
+1941 – Faleceu, em agosto, no Hospital a Ordem Terceira da Penitência e foi enterrado no cemitério da referida ordem (A Noite, 2 de agosto de 1941).
+ 
+A Noite, 2 de agosto de 1941
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/9923` — `itens/20.500.12156.1_9923/`
+- `20.500.12156.1/9934` — `itens/20.500.12156.1_9934/`
+
diff --git a/wordpress/32820-o-fotografo-amador-archanjo-sobrinho-18-1941.md b/wordpress/32820-o-fotografo-amador-archanjo-sobrinho-18-1941.md
new file mode 100644
index 0000000..e3cb560
--- /dev/null
+++ b/wordpress/32820-o-fotografo-amador-archanjo-sobrinho-18-1941.md
@@ -0,0 +1,92 @@
+---
+id: 32820
+url: "https://brasilianafotografica.bn.gov.br/?p=32820"
+titulo: "O fotógrafo amador Archanjo Sobrinho (18? – 1941)"
+autor: "Andrea Wanderley"
+data: "2023-05-23T19:31:05+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/9945", "20.500.12156.1/9923", "20.500.12156.1/9934"]
+fetched_at: "2026-09-10T10:14:44.929Z"
+---
+
+# O fotógrafo amador Archanjo Sobrinho (18? – 1941)
+
+Pesquisando para escrever sobre a Praia do Russel, tema do 23º artigo da série O Rio de Janeiro desaparecido, publicado em 15 de maio de 2023, aqui na Brasiliana Fotográfica, me deparei com três imagens produzidas, no Rio de Janeiro, durante a década de 1890, por Archanjo Sobrinho. São estereoscopias da já mencionada Praia do Russel, da Enseada da Lapa a partir de adro na Igreja de Nossa Senhora da Glória; e da aléia de palmeiras da Rua Paissandu, no bairro do Flamengo. Muito pouco se sabe até hoje sobre este fotógrafo amador, qualificação que consta em suas imagens.
+ 
+Archanjo Sobrinho. Rua Paissandu – aléia das Palmeiras c, 1895. Rio de Janeiro, RJ / Acervo IMS
+ 
+A estereoscopia chegou ao Brasil, ainda no século XIX, e foi uma técnica utilizada por fotógrafos renomados como  Revert Henrique Klumb (c.1826 – c. 1886) e Georges Leuzinger (1813 – 1892), ambos europeus e radicados no país. No século XX, destacou-se o estereoscopista amador carioca Guilherme Antônio dos Santos (1871-1966).
+ 
+Acessando o link para as fotografias de Archanjo Sobrinho disponíveis na Brasiliana Fotográfica, o leitor poderá visualizar e magnificar as imagens.
+ 
+A partir de uma busca na Hemereoteca Digital da Biblioteca Nacional, uma das mais importantes fontes de pesquisa do portal, “descobri” alguns fatos sobre a vida de Archanjo, que partilho com vocês na esperança de que algum ou alguns leitores possam contribuir para adensar o perfil deste fotógrafo tão pouco conhecido até o momento. Infelizmente, ao longo da pesquisa na Hemeroteca, da década de 1880 até a de 1940, já que ele faleceu em 1941, só há duas referências a sua atividade de fotógrafo amador. Mas surgiram diversas informações acerca de sua vida.
+ 
+Cronologia de Archanjo Sobrinho (18? – 1941)
+ 
+Archanjo Sobrinho / A Época, 24 de junho de 1914
+ 
+18? - Archanjo Correia de Mello Sobrinho nasceu em 24 de junho, no século XIX, em ano ainda desconhecido (Gazeta de Notícias, 24 de junho de 1898, última coluna; O Paiz, 24 de junho de 1900, sexta coluna; O Cruzeiro, 22 de junho de 1929).
+1890 - Ofereceu uma bolsa de malha de prata com 10 libras esterlinas para o artista Peixoto (? – 1910) que havia se apresentado na peça Mimi Bilonira, encenada no Theatro Variedades. Esteve na missa pela morte do ator, em 1910  (Gazeta de Notícias, 15 de setembro de 1890, penúltima coluna; A Imprensa, 4 de março de 1910, penúltima coluna).
+ 
+Archanjo Sobrinho. Enseada da Lapa; a partir do adro da igreja de Nossa Senhora da Glória do Outeiro, c. 1895. Rio de Janeiro, RJ / Acervo IMS
+ 
+ 
+1894 a 1901 – Estava na lista de guarda-livros – contador – do Almanak Laemmert e morava na Rua da Misericóridia, nº 80 (Almanak Laemmert, 1894, 1895, 1896, 1897, 1898, 1899, 1900 e 1901). Em 1900, foi noticiado que era proprietário da Papelaria União.
+ 
+O Paiz, 24 de junho de 1900
+1901 – O jornal A Imprensa publicou uma trova na coluna”Ineditoriais”, de Felizardo Ventura, na qual ele era um dos personagens (A Imprensa, 5 de janeiro de 1901).
+ 
+A Imprensa, 5 de janeiro de 1901
+ 
+1902 / 1903 – Era sócio da firma Fernando Freire e Cia (Correio da Manhã, 24 de junho de 1902, penúltima coluna). A notícia abaixo, de 1903, confirma tratar-se do Anchanjo Sobrinho fotógrafo amador e não um possível homônimo. Também se refere jocosamente a suas dificuldades no início de suas atividades de fotógrafo e informa que ele já havia sido barbeiro e dentista. Parece que gostava de beber e era um ótimo amigo, muito relacionado no Rio de Janeiro. De acordo com o texto, na época, já possuia uma papelaria.
+ 
+
+O Rio-Nú, 31 de outubro de 1903
+ 
+Nasceu, em 1903, Ari, seu filho com Jovina Muniz Barreto Correia de Mello (Jornal do Brasil, 3 de março de 1903, quinta coluna). Em 1906, já tinha também uma filha (Jornal do Brasil, 9 de fevereiro de 1906, penúltima coluna). Suas filhas chamavam-se Semiramis, futura professora municipal; Oswaldina (1892 -?) e Inah (A Tribuna, 21 de setembro de 1911, segunda coluna; O Paiz, 19 de abril de 1917, última coluna; 13 de maio de 1917, quinta coluna; A Razão, 16 de agosto de 1919, sexta coluna).
+1904 – Fez parte da primeira diretoria do Retiro Dramático Fluminense, uma agremiação de atores amadores. A festa inaugural aconteceu no Teatro Lucinda com a encenação da peça O Médico das Crianças, protagonizada por Eugênio de Magalhães. Archanjo estava presente (Jornal do Commercio, 1º de setembro de 1904, sexta coluna; Jornal do Brasil, 16 de setembro de 1904, terceira coluna; Jornal do Brasil, 20 de setembro de 1904, segunda coluna).
+1910 – Ficou ferido em um descarrilamento do bonde onde estava. Morava na rua Visconde de Sapucai (Correio da Manhã, 8 de maio de 1910, penúltima coluna). Foi um dos jurados do julgameno de Nathalino Paes de Barros, que havia assasinado sua mulher. Georgina Reid Paes de Barros (O Paiz, 3 de agosto de 1910, última coluna).
+ 
+Archanjo Sobrinho. Praia do Russel e igreja de Nossa Senhora da Glória do Outeiro, c. 1895. Rio de Janeiro, RJ / Acervo IMS
+ 
+ 
+1911 - Esteve presente à encenação da comédia O Diretor, no Teatro Fluminense, no Campo de São Cristóvão (Gazeta de Notícias, 24 de maio de 1911, quarta coluna).
+1912 - Constituiu a firma Archanjo e Sobrinho & Cia para explorar a Papelaria Moderna (O Paiz, 13 de janeiro de 1912, quinta coluna).
+ 
+Correio da Manhã, 15 de junho de 1912
+ 
+Em dezembro, a Papelaria Moderna, que ficava na Rua Marechal Floriano, nº 21, vizinha do Cinema Brasileiro, que sofreu um incêndio, teve alguns prejuízos devido ao acidente (A Imprensa, 9 de dezembro dde 1912, penúltima coluna).
+1913 – No ano seguinte, no Almanak Laemmert, a empresa Archanjo Sobrinho & Cia foi noticiada pela primeira vez, listada na seção de “Litografias e Estamparias”, na de “Papelarias”- a dele seria a Papelaria Moderna; e na de “Tipografias”. Ficava na Marechal Floriano, nº 21. Seus sócios eram Manoel Joaquim P. da Fonseca e José Ferreira da Silva. Seguiu, em 1914, na lista de “Litografias e Estamparias” e de “Tipografias”. Residia na Rua Conde de Leopoldina, 85, e a Papelaria Moderna seguiu na Marechal Floriano, 21, até 1918. Em 1922, 1924, 1925 e 1926 foi listada a tipografia Archanjo Sobrinho & Lobosco, na rua Jorge Rudge, nº 38. Em 1922, a Papelaria Moderna existia ainda na rua Marechal Floriano, mas no número 168. Em 1927, estava listada a tipografia Archanjo Sobrinho & Cia, na Rua da Misericórdia, 59. Neste mesmo endereço, em 1929, estava listada uma papelaria e uma tipografia em seu nome. Também em 1929, estava listada a tipografia Archanjo Sobrinho & Maciel Artes Gráficas, na Rua São Pedro, 21. No ano seguinte e em 1934, estava na mesma Rua São Pedro, mas no número 281 e 269, respectivamente (Almanak Laemmert, 1913, 1913, 1913, 1913, 1913, 1914, 1914, 1914, 1915, 1916, 1918, 1922, 1922, 1924, 1924, 1925, 1926, 1927, 1929, 1929, 1929, 1930 e 1934).
+ 
+Almanak Laemmert, 1913
+ 
+1914 – Era também gerente do jornal A Época e sua Papelaria Moderna contribuiu com brindes, cartões de visita com impecável impressão, no concurso promovido pelo jornal. Deixou o cargo em 1915 (A Época, 24 de junho de 1914; 28 de julho de 1914, terceira coluna; 18 de agosto de 1915, quarta coluna).
+1917 e 1919 - Houve greves dos gráficos e os funcionários da oficina de Archanjo aderiram ao movimento. Na mesma época da greve de 1919, a gráfica de Archanjo foi roubada (O Paiz, 4 de setembro de 1917, última coluna; Gazeta de Notícias, 3 de setembro de 1919, terceira coluna; Correio da Manhã, 9 de setembro de 1919, quarta coluna). Participou das comemorações do jubileu da vida intelectual do então senador Rui Barbosa (1849 – 1923) (O Paiz, 10 de agosto fe 1918, última coluna).
+1919 – Doou uma fotografia da Rua 1º de março, produzida em 1893, para ajudar os flagelados da seca nordestina. Será de sua autoria? É da mesma década de 1890 das fotografias que estão exibidas neste artigo e que pertence ao acervo do Instituto Moreira Salles, uma das instuições fundadoras da Brasiliana Fotográfica.
+ 
+A Noite, 31 de maio de 1919
+ 
+1920 – Retirou-se da sociedade da firma Archanjo Sobrinho & Cia.
+ 
+O Jornal, 25 de abril de 1920
+ 
+1922 a 1926 – Contribuiu para a Obra de Assistência aos Portugueses Desamparados (A Noite, 25 de junho de 1922, terceira coluna). Em 1925, residia na rua Barata Ribeiro, nº 417; e depois na Rua Teófilo Otoni, 118 (A Noite, 16 de abril de 1925, terceira coluna; O Paiz, 4 de setembro de 1925, última coluna). No primeiro dia de 1926 foi publicada uma propaganda da Artes Gráficas – Archanjo Sobrinho & Gumarães, na Rua da Misericórdia, nº 59.
+ 
+Correio da Manhã, 1º de janeiro de 1926
+ 
+1929 – Retirou-se da sociedade Archanjo Sobrinho & Maciel Artes Gráficas (A Manhã, 25 de julho de 1929, quarta coluna).
+1941 – Faleceu, em agosto, no Hospital a Ordem Terceira da Penitência e foi enterrado no cemitério da referida ordem (A Noite, 2 de agosto de 1941).
+ 
+A Noite, 2 de agosto de 1941
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/9945` — `itens/20.500.12156.1_9945/`
+- `20.500.12156.1/9923` — `itens/20.500.12156.1_9923/`
+- `20.500.12156.1/9934` — `itens/20.500.12156.1_9934/`
+
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+---
+id: 32835
+url: "https://brasilianafotografica.bn.gov.br/?p=32835"
+titulo: "Os registros do fotógrafo e pintor italiano José Boscagli (1862 – 1945)"
+autor: "Andrea Wanderley"
+data: "2023-11-27T01:35:54+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/11810", "20.500.12156.1/11824", "20.500.12156.1/11778", "20.500.12156.1/11777"]
+fetched_at: "2026-09-10T10:14:48.657Z"
+---
+
+# Os registros do fotógrafo e pintor italiano José Boscagli (1862 – 1945)
+
+Em agosto deste ano, 2023, foi publicado na Brasiliana Fotográfica o artigo A Exposição Nacional de 1908 no Museu Histórico Nacional, de Maria Isabel Lenzi, historiadora do Museu Histórico Nacional, uma das instituições parceiras do portal. Nele três álbuns fotográficos foram destacados: os dos fotógrafos Augusto Malta (1864 – 1957), José Boscagli (1862 – 1945) e Luis Musso (18? – 19?).  A partir desta publicação, comecei a pesquisar sobre a vida de Boscagli, cujo álbum, com 54 fotos de sua autoria e uma de Augusto Malta, retratou a mostra do Rio Grande do Sul na Exposição Nacional.
+ 
+José Boscagli. [Mostra da indústria alimentícia com destaque para os biscoitos Leal Santos, compotas e vinhos.], 1908. Rio de Janeiro, RJ / Acervo Museu Histórico Nacional
+Na maior parte de sua vida foi pintor e desenhista, mas foi também fotógrafo, tendo trabalhado no ateliê de Jacintho Ferrari (18? – 1935), filho do italiano Rafael Ferrari, um dos fotógrafos pioneiros de Porto Alegre. Foi o pintor oficial nas expedições do Marechal Rondon pelo interior do país. Retratou aspectos da fauna, flora, população e costumes locais, destacando-se, especialmente, as representações dos indígenas e aspectos de sua cultura.
+ 
+José Boscagli. [Facas, instrumentos musicais e artigos de couro para viagem, montaria e caça fabricados no Rio Grande do Sul], 1908. Rio de Janeiro, RJ / Acervo Museu Histórico Nacional
+Acessando o link para as fotografias de José Boscagli disponíveis na Brasiliana Fotográfica, o leitor poderá visualizar e magnificar as imagens.
+ 
+José Boscagli. [Estátua feminina na abertura da amostra dos produtos do Rio Grande do Sul.], 1908. Rio de Janeiro, RJ / Acervo Museu Histórico Nacional
+ 
+ 
+Cronologia de José Boscagli (1862 – 1945)
+ 
+O José Boscagli / Walkyrias, dezembro de 1938
+ 
+1862 - Giuseppe (José) Boscagli nasceu em Florença, na Itália. Algumas fontes indicam que ele teria nascido em Siena, cidade italiana também localizada na Toscana. Em um artigo de O GLOBO, de 31 de maio de 1945, foi informado que ele descenderia de um dos doges de Veneza.
+Década de 1870 – Desde os tempos de colégio, compunha paisagens e retratos coloridos a partir de pigmentos de flores. Apesar do desejo de sua família para que ele se tornasse engenheiro e arquiteto, matriculou-se na Academia de Belas Artes de Florença, onde foi influenciado por Pisani, um de seus professores. Ainda na Itália, conheceu os pintores brasileiros Pedro Américo (1843 – 1905) e Décio Villares (1851 – 1931). Teria, na companhia de Villares, visto Pedro Américo pintando a Batalha do Avaí, um dos mais importantes quadros brasileiros do século XIX, que retrata um episódio da Guerra do Paraguai. A obra foi realizada no ateliê de Pedro Américo, em Florença, e ficou pronta em 1877.
+ 
+Carioca, 19 de maio de 1945
+ 
+1888 – Casou-se com Luiza Luraschi (O GLOBO, 31 de maio de 1945).
+c. 1897 – Passou a morar, em Porto Alegre, no Rio Grande do Sul.
+Realiza retratos a óleo, aquarela e crayon, copiados de fotografia, para a Sociedade de Artes de Buenos Aires, que mantinha uma agência em Porto Alegre.
+Iniciou sua carreira de pintor paisagista e fotógrafo no ateliê de Jacintho Ferrari (18? – 1935), filho do italiano Rafael Ferrari, um dos fotógrafos pioneiros de Porto Alegre. Jacintho e seu irmão Carlos (18? – 1942) sucederam o pai, em 1885 e, entre 1895 e 1901, Rafael (1880 – 1961), o irmão caçula, também colaborou no estabelecimento.
+Produziu um retrato a óleo de Julio de Castilhos (1860 – 1903), cuja inauguração aconteceu em 15 de novembro de 1899, no Conselho Municipal de Porto Alegre, em comemoração à Proclamação da República.
+ 
+Júlio de Castilho por Giuseppe (José) Boscagli, c. 1897 / Acervo Artístico de Porto Alegre
+ 
+1900 - Um lindíssimo e fino quadro a óleo executado por Boscagli, retratando Adelina Vizeu Marques, encontrava-se na vitrine do ateliê de Jacintho Ferrari (A Federação (RS), 7 de fevereiro de 1900, quinta coluna).
+Participou com quatro quadros da Exposição Estadual de 15 de Novembro (A Federação (RS), 26 de julho de 1900, primeira coluna).
+1901 / 1902 - Nesse período, encontrava-se em Bento Gonçalves e participou, em Porto Alegre, de uma exposição com um retrato a óleo, tendo recebido uma menção honrosa (A Federação (RS), 27 de março de 1901, primeira coluna; A Federação (RS), 28 de maio de 1901, última coluna; Folha de Hoje (Prefeitura de Caxias do Sul), 26 de outubro de 1991, primeira coluna).
+1903 - No ateliê do também italiano Virgilio Calegari (1868 – 1937), importante fotógrafo do sul do Brasil, em fins do século XIX e início do XX, expôs um retrato a óleo do desembargador Epaminondas Ferreira (A Federação (RS), 8 de junho de 1903, terceira coluna).
+Em companhia de sua esposa, Luiza, e da filha única do casal, Ignez, chegou em Porto Alegre, a bordo do paquete Rio Pardo (A Federação (RS), 26 de agosto de 1903, segunda coluna).
+1906 - Um retrato a óleo, executado por ele, de Carlos Barbosa Gonçalves, presidente da Assembléia de Representantes do Estado, estava exposto na Drogaria Ingleza, em Poro Alegre (A Federação (RS), 25 de abril de 1906, quinta coluna).
+Sucedeu J. Antonio Iglesias no estabelecimento fotográfico da rua do Riachuelo, 220, em Porto Alegre, que passou a chamar-se Photographia -Artística-Boscagli.
+ 
+A Federação (RS), 16 de novembro de 1906
+ 
+1908 – Fotografou um evento social em Canoas e seus registros foram expostos na vitrine da Casa Barreto, em Porto Alegre (A Federação (RS), 9 de janeiro de 1908, quinta coluna).
+Foi morar no Rio de Janeiro, onde se anunciava como artista pintor e oferecia serviços fotográficos gratuitos (O Paiz, 21 de maio de 1908).
+ 
+O Paiz, 21 de maio de 1908
+ 
+Fotografou a mostra do Rio Grande do Sul na Exposição Nacional de 1908.
+ 
+José Boscagli. [Planta das seções, organização e distribuição dos produtos apresentados pelo Rio Grande do Sul.], 1908. Rio de Janeiro, RJ / Acervo Museu Histórico Nacional
+1909 - Anunciou a venda de um equipamento de fotografia, oferecendo-se a ensinar ao comprador como operá-lo (Jornal do Brasil, 25 de outubro de 1909, primeira coluna).
+ 
+Jornal do Brasil, 25 de outubro de 1909
+ 
+Incorporou-se às expedições de Cândido Rondon ao Mato Grosso e a Goiás, onde retratou os indígenas da região. Foi por intermédio de seu genro, o major Luiz Thomaz Reis (1878 – 1940), o cineasta de Rondon, que conheceu a Comissão Rondon. Reis era o encarregado de cinematografia e fotos do Escritório Central da Comissão. Boscagli passou a ser o pintor oficial de Rondon (Correio da Manhã, 16 de outubro de 1940, sétima coluna; Carioca, 19 de maio de 1945; Enciclopédia Itaú Cultural).
+ 
+Correio da Manhã, 16 de outubro de 1937, sétima coluna)
+ 
+1910 – Seu genro, o major Reis, tornou-se o chefe da recém criada Seção de Fotografia e Cinematografia do Escritório Central da Comissão Rondon.
+1910 / 1911 – O estabelecimento fotográfico José Boscagli, em Porto Alegre, foi anunciado no Almanaque Henault e também no Almanak Laemmert, 1910 e 1911.
+ 
+Almanaque Henault, 1910
+ 
+1910 - Em um artigo, Boscagli é identificado como um cavalheiro de trato delicado e gentil. Ainda segundo o artigo, ele havia vivido muitos anos no Rio Grande do Sul e havia passado pelo Rio de Janeiro. Realizou uma exposição na casa Resemini & Leone, em Vitória, no Espírito Santo (Commercio do Espírito Santo, 21 de fevereiro de 1910, terceira coluna; Diário da Manhã, 22 de fevereiro de 1910, última coluna).
+ 
+Commercio do Espírito Santo, 21 de fevereiro de 1910
+ 
+Exposição de um retrato a óleo do presidente da República eleito, marechal Hermes da Fonseca (1855 – 1923), na vitrine da loja Primavera, acreditado e popular estabelecimento do Climaco Sales, em Vitória, no Espírito Santo. Foi também exposto um retrato do então governador do Espírito Santo, Jerônimo Monteiro (1870 – 1933), e do coronel Henrique Coutinho (1845 – 1915), ex-governador do estado. Todos  de autoria de Boscagli, que ficou um período na cidade, quando trabalhou no estúdio do italiano Alberto Lucarelli (1884 – 1967), então fotógrafo oficial do governador do Espírito Santo. Boscagli voltou para o Rio de Janeiro a bordo do paquete Olinda, em 10 de junho de 1910, após permancer meses em Vitória. Foi tambem exposta na loja Primavera uma paisagem de sua autoria (Diário da Manhã (ES), 29 de março de 1910, quarta coluna; Diário da Manhã (ES), 24 de abril de 1910, segunda coluna; Commercio do Espírito Santo, 25 de abril de 1910, quinta coluna; O Estado do Espírito Santo, 11 de junho de 1910, primeira coluna; Diário da Manhã (ES), 11 de junho de 1910, terceira coluna; Diário da Manhã (ES), 19 de agosto de 1910, terceira coluna; Diário da Manhã (ES), 28 de outubro de 1910, penúltima coluna).
+ 
+Diário da Manhã (ES), 28 de outubro de 1910
+ 
+1911 -  Seu genro, o major Reis, participou da expedição da Comissão Rondon, assim como o etnólogo e antropólogo Edgard Roquette- Pinto (1884 – 1954), especialista em áudio e futuro pai da radiodifusão no Brasil e diretor do Museu Nacional.
+1912 – Boscagli expôs retratos a óleo na Casa London, na rua Bahia, em Belo Horizonte, em Minas Gerais (O Paiz, 12 de setembro de 1912, primeira coluna).
+O quadro do Conselheiro José Antônio de Azevedo Castro (1839 – 1911), de autoria de Boscagli, passou a integrar a Galeria dos Benfeitores da Biblioteca Nacional (Anais da Biblioteca Nacional, 1912).
+ 
+Anais da Biblioteca Nacional, 1912
+ 
+1913 - No Rio de Janeiro, seu ateliê ficava na Rua Barão de Guaratiba, nº 130. Também era identificado como decorador (Almanak Laemmert, 1913, segunda coluna). Mantinha seu ateliê fotográfico em Porto Alegre (Almanak Laemmert, 1913, primeira coluna).
+Em Belo Horizonte, na Photographia Antenor Campos, exposição dos retratos a óleo de José de Campos Seraphino e de José Maria Pinto Leite, de autoria de Boscagli (O Pharol, 29 de março de 1913, coluna).
+Seu genro, o major Reis,  participou da Expedição Científica Rondon-Roosevelt, ocorrida entre 1913 e 1914.
+1914 - No Rio de Janeiro, seu ateliê ficava na Rua Barão de Guaratiba, nº 130 (Almanak Laemmert, 1914, primeira coluna). Anúncio do ateliê fotográfico José Boscagli, em Porto Alegre (Almanak Laemmert, 1914, segunda coluna).
+1915 – Anúncio do ateliê fotográfico José Boscagli, em Porto Alegre (Almanak Laemmert, 1915, última coluna).
+Exposição na entrada da Associação dos Empregados do Comércio, na Avenida Rio Branco, de um retrato a óleo do futuro Marechal Cândido Rondon (1865 – 1958), ainda coronel, produzido por Boscagli a partir de uma fotografia também produzida por ele. Boscagli era um admirador do trabalho de Rondon. Poucos meses depois, em 5 de outubro, realização de uma festa em homenagem a Rondon no Teatro Phênix, promovida pela Sociedade de Geografia do Rio de Janeiro e presidida pelo general Thaumaturgo de Oliveira, quando foi inaugurado solenemente o referido retrato de Rondon realizado por Boscagli, que passou a ornar uma das paredes da Sociedade de Geografia do Rio de Janeiro (Gazeta de Notícias, 23 de abril de 1915; O Paiz, 23 de abril de 1915; O Paiz, 27 de abril de 1915, quarta coluna; Correio da Manhã, 5 de outubro de 1915, quinta coluna; Correio da Manhã, 6 de outubro de 1915; Revista da Semana, 9 de outubro de 1915, quinta coluna).
+ 
+Coronel Rondon, no Juruema, por Boscagli / O Paiz, 23 de abril de 1915
+ 
+O Paiz, 23 de abril de 1915
+ 
+Inauguração, na Sociedade Sul Riograndense, na Avenida Rio Branco,  de uma exposição de trabalhos de Boscagli, representando os indígenas de Mato Grosso, com a presença de Rondon e do professor Roquette-Pinto (1884 – 1954). Foi visitada pelo professor e escultor Rodolfo Bernardelli (1852 – 1931), que elogiou muito a mostra, dizendo que o governo deveria auxiliá-lo a adquirir algumas obras. Ele havia colhido os principais elementos para seus quadros nas expedições do coronel Rondon. Um grupo de oficiais do Exército ofertou ao coronel Rondon a tela Índia Pareci em repouso (Jornal do Commercio, 3 de outubro de 1915, penúltima coluna; O Paiz, 3 de outubro de 1915, terceira coluna; A Época, 5 de outubro de 1915, quinta coluna; O Paiz, 8 de outubro de 1915, penúltima coluna; Annaes da Câmara dos Deputados, 31 de dezembro de 1915).
+ 
+O Paiz, 3 de outubro de 1915
+ 
+Correio da Manhã, 3 de outubro de 1915
+ 
+O Imparcial, 5 de outubro de 1915
+ 
+Na Sociedade Riograndense, também de autoria de Boscagli, exposição do retrato a óleo do general Pinheiro Machado (1851 – 1915) (O Paiz, 24 de outubro de 1915, quinta coluna).
+Um retrato do coronel Marcondes Alves de Souza (1868 – 1938), governador do Espírito Santo, foi oferecido a ele por seu amigos. A autoria era de Boscagli (O Paiz, 29 de novembro de 1915, segunda coluna).
+1916 - Anúncio de seu ateliê fotográfico em Porto Alegre (Almanak Laemmert, 1916, segunda coluna).
+Foi noticiado que embarcou em Vitória, no Espírito Santo, rumo ao Rio de Janeiro, de onde retornaria em um mês (Diário da Manhã (ES), 28 de janeiro de 1916, terceira coluna).
+Um belo quadro a óleo realizado por Boscagli, cópia do original de Pompeia, foi colocado no altar em homenagem a Nossa Senhora de Pompéia, construído na paróquia de Jacarepaguá, como o pagamento de uma promessa feita pelo padre Magaldi (A União, 8 de outubro de 1916, quinta coluna).
+1917 - Anúncio do ateliê fotográfico José Boscagli, em Porto Alegre (Almanak Laemmert, 1917, segunda coluna).
+1918 – Anúncio do ateliê fotográfico José Boscagli, em Porto Alegre (Almanak Laemmert, 1918, primeira coluna).
+Ele e o também italiano Taquino realizaram uma exposição na Sociedade Riograndense. Tarquino havia trabalhado muito tempo para a revista Fon-Fon. Várias telas de Boscagli foram vendidas (O Imparcial, 12 de junho de 1918, terceira coluna; O Paiz, 15 de junho de 1918, penúltima coluna; A Época, 29 de junho de 1918, quarta coluna).
+ 
+O Imparcial, 12 de junho de 1918
+ 
+Fon-Fon, 15 de junho de 1918
+ 
+D. Quixote, 26 de junho de 1918
+ 
+Um retrato do então governador do Rio Grande do Sul, Borges de Medeiros (1863 – 1961), prontificado por Boscagli foi enviado pelo deputado federal João Simplício a Porto Alegre (A Federação (RS), 2 de setembro de 1918, primeira coluna).
+1919 – Anúncio do ateliê fotográfico José Boscagli, em Porto Alegre (Almanak Laemmert, 1919, última coluna).
+Ele e Tarquini eram os diretores artísticos do Rio Studio, na Rua Uruguaiana, nº 62, inaugurado em 4 de abril (A Noite, de 1919, penúltima coluna).
+ 
+Fon-Fon, 31 de maio de 1919
+ 
+Na Confeitaria Renaissance, no Rio de Janeiro, inauguração do mostruário de fotografias do ateliê fotográfico de propriedade da firma Boscagli & Comp (Correio da Manhã, 15 de junho de 1919).
+ 
+Correio da Manhã, 15 de junho de 1919
+ 
+A capa da revista A Epocha trazia uma fotografia de Cândido Rondon, de autoria de Boscagli (A Epocha, 31 de outubro de 1919).
+ 
+A Epocha, 31 de outubro de 1919
+ 
+1920 – Cândido Rondon ofertou ao Museu Nacional três quadros de autoria de Boscagli retratando indígenas: Nenê, Cavagnac e Capitão Chiquinho (Gazeta de Notícias, 9 de janeiro de 1920, quarta coluna).
+ 
+A Noite, 4 de janeiro de 1920
+ 
+Exposição no Ponto Chic de um retrato a óleo do rei Alberto I da Bélgica (1875 – 1934), de autoria de Boscagli (A Rua, 18 de setembro de 1920, penúltima coluna).
+Um álbum de mais de 200 fotografias artisticamente organizado pela casa Rio-Studio (artista Boscagli) foi ofertado pela Comissão Rondon aos reis da Bélgica durante a visita dos monarcas ao Brasil, realizada entre  entre 19 de setembro e 15 de outubro de 1920. Foi a primeira viagem realizada por uma monarca europeu à América do Sul (O Paiz, 17 de outubro de 1920, primeira coluna).
+ 
+O Paiz, 17 de outubro de 1920
+ 
+1921 – A fotografia de Maria Joaquina Botelho de Magalhães em seu leito de morte foi produzida por Boscagli & C, no Rio Studio. Ela era viúva do general Benjamin Constant (1836 – 1891), cujo sobrinho, Amilcar Armando Botelho de Magalhães (1880 – 1959), que havia se juntado à Comissão Rondon, em 1908, e se tornado diretor de seu Escritório Central, em 1910 (O Paiz, 3 de abril de 1921, quinta coluna).
+ 
+Boscagli & C. Maria Joaquina Botelho de Magalhães em seu leito de morte, 1921 / Acervo Museu Casa Benjamin Constant, Ibram / MinC
+ 
+Também registrou a sepultura de Benjamin Constant e Maria Joaquina.
+ 
+Boscagli & C. Sepultura de Benjamin Constant e Maria Joaquina, 1921 / Acervo Museu Casa Benjamin Constant, Ibram / MinC
+ 
+1924 – Participou da 31ª Exposição Geral de Belas Artes.
+1925 - Anúncio de seu ateliê fotográfico, na rua Uruguaiana, nº 82, no Rio de Janeiro (Almanak Laemmert, 1925, segunda coluna).
+1926 - Anúncio de seu ateiê fotográfico, na rua Uruguaiana, nº 82, no Rio de Janeiro (Almanak Laemmert, 1926, segunda coluna).
+Realizou uma exposição em Porto Alegre com retratos a óleo, dentre eles do Marechal Cândido Rondon (1865 – 1958) e do general Firmino Paim Filho (1884 – 1971) (A Federação (RS), 15 de março de 1926, penúltima coluna).
+Esteve em Bento Gonçalves e voltou para o Rio de Janeiro (A Federação (RS), 30 de junho de 1926, última coluna).
+1927 - Estava em Juiz de Fora, onde um retrato de sua autoria do general João Nepomuceno da Costa (1870 – 1943) foi oferecido por amigos ao militar (Jornal do Brasil, 6 de outubro de 1927, sexta coluna).
+1928 – Esteve em Belo Horizonte (Jornal do Commercio, 25 e 26 de junho de 1928, última coluna).
+1929 - Falecimento de Rubens Boscagli Reis, seu neto, filho de Ignez (? – 1939). Era irmão de Argentina (? – 1983), Américo (? – 20?), futuro fiscal do Banco do Brasil; e Tiziano (? – 1983), futuro funcionário do Ministério da Agricultura. Desde a década de 1900, Ignez era casada com o major Luiz Thomaz Reis (1878 – 1940), que foi o responsável por inúmeros filmes cinematográficos realizados quando integrou a Comissão Rondon (Correio da Manhã, 14 de maio de 1929, quinta coluna; O Paiz, 15 de maio de 1929, terceira coluna; A Noite, 25 de julho de 1931, quarta coluna; A Noite, 19 de junho de 1939, penúltima coluna; Correio da Manhã, 3 de dezembro de 1940, quarta coluna).
+ 
+Correio da Manhã, 19 de maio de 1929
+ 
+1930 - Com o pintor Rodolfo Amoedo (1857 – 1941) e outros, fez parte da banca examinadora de modelagem e escultura do curso geral superior do Departamento Feminino do Instituto La-Fayette (A Noite, 13 de novembro de 1930, segunda coluna).
+Participou da exposição da Sociedade Brasileira de Belas Artes (Jornal do Brasil, 13 de dezembro de 1930, penúltima coluna).
+1931 – Sua neta, Argentina, ficou noiva de Isaias Rosa, secretário do Jornal dos Sports e diretor da revista Medicina para todos (O Jornal, 26 de julho de 1931, segunda coluna).
+Foi um dos ilustradores do livro Morfologia da mulher, de Hernani de Irajá (Jornal do Commercio, 30 de agosto de 1931, primeira coluna).
+1933 - Foram inaugurados os retratos a óleo dos falecidos monsenhores João Pires de Amorim e José Francisco de Moura Guimarães, na Arquidiocese do Rio de Janeiro, ambos de autoria de Boscagli. O retrato do cardeal dom Sebastião, que se encontrava na sacristia da catedral, também era de autoria do pintor (A Cruz, 19 de março de 1933, quarta coluna).
+1934 - Reproduziu o quadro da Sagrada Família, do pintor barroco espanhol Murillo (1617 – 1682), no estandarte-chefe da Liga Católica Jesus Maria José de Olaria (Jornal do Brasil, 24 de janeiro de 1934, penúltima coluna).
+1935 - Realização, entre 9 e 26 de outubro, de uma exposição de obras de Boscagli no Palace Hotel. Ele dedicou a mostra à Associação Brasileira de Imprensa (A Noite, 8 de outubro de 1935, primeira coluna).
+ 
+O GLOBO, 8 de outubro de 1935
+ 
+O GLOBO, 12 de outubro de 1935
+ 
+Diário Carioca, 15 de outubro de 1935
+ 
+1936 - Tornou-se sócio da Associação dos Artistas Brasileiros (Correio da Manhã, 12 de janeiro de 1936, primeira coluna).
+Com o também pintor italiano Alfredo Norfini (1867 – 1944), realizou uma exposição em São Paulo, no Salão de Chá da Casa Allemã (Diário Carioca, 9 de outubro de 1936; Correio de São Paulo, 20 de outubro de 1936, terceira coluna).
+ 
+ 
+Diário Carioca, 9 de outubro de 1936
+ 
+O Estado de São Paulo, 22 de outubro de 1936
+ 
+1937 – Participou do 9º Salão da Associação de Artistas Brasileiros, no Palace Hotel. Seu quadro e a de outros artistas expositores foram adquiridos pelo presidente Getúlio Vargas (A Noite, 13 de junho de 1937, segunda coluna; Correio da Manhã, 15 de junho de 1937, segunda coluna; A Noite, 17 de junho de 1937, penúltima coluna).
+ 
+Índios da Goyana Ingleza, de Boscagli / Vida Doméstica, agosto de 1937
+ 
+Na Nova Galeria de Arte, filial da Galeria Henberger, na rua Buenos Aires, nº 79, inauguração de uma exposição de Boscagli e de Manoel Pastana (1888 – 1984) (Diário Carioca, 16 de setembro de 1937, segunda coluna; O Jornal, 19 de setembro de 1937, terceira coluna; Jornal do Brasil, 19 de setembro de 1937, terceira coluna).
+ 
+Convite para a exposição / Acervo de Renata de Fátima da Costa Maués
+ 
+Diário Carioca, 19 de setembro de 1937
+ 
+O Malho, 30 de setembro de 1937
+ 
+Illustração Brasileira, novembro de 1937
+ 
+Participou, também no Palace Hotel, do Salão de Natal de 1937 (A Noite, 22 de dezembro de 1937, quinta coluna).
+1938 - Participou do II Salão de Belas Artes promovido pela prefeitura de Belo Horizonte com um quadro de uma paisagem, da coleção de Celso Werneck (Salão de Belas Artes: Anais, 1938)
+Realização de uma exposição de obras de Boscagli no Palace Hotel (A Noite, 23 de novembro de 1938, sexta coluna; Illustração Brasileira, dezembro de 1938).
+ 
+O GLOBO, 16 de novembro de 1938
+ 
+Diário Carioca, 18 de novembro de 1938
+ 
+Revista da Semana, 26 de novembro de 1938
+ 
+Walkyrias, dezembro de 1938
+ 
+Flagrante da inauguração de sua exposição no Palace Hotel / Walkyrias, dezembro de 1938
+ 
+No artigo O indianismo na pintura, a obra de Boscagli é abordada (Careta, 3 de dezembro de 1938).
+Participou, também no Palace Hotel, do Salão de Natal de 1938 (A Noite, 16 de dezembro de 1938, quinta coluna).
+1939 - Publicação do artigo O índio na pintura brasileira sobre a obra etnográfica de Boscagli (O Malho, 19 de janeiro de 1939).
+ 
+O Malho, 19 de janeiro de 1939
+ 
+Falecimento de sua filha, Ignez Boscagli Reis (A Noite, 19 de junho de 1939, oitava coluna; Jornal do Brasil, 25 de junho de 1939, terceira coluna).
+O desenho O retrato do Sr. Bocagli, do ucraniano Dimitri Ismailovitch (1890 – 1976), foi exposto no Salão de Belas Artes (Carioca, 23 de setembro de 1939, segunda coluna).
+1940 - Inauguração de uma exposição de cerca de 60 obras de Boscagli, no Palace Hotel, entre paisagens do sertão do Brasil e de indígenas e seus costumes (Correio da Manhã, 5 de outubro de 1940, primeira coluna; Correio da Manhã, 17 de outubro de 1940, sétima coluna).
+ 
+Diário da Noite, 12 de outubro de 1940
+ 
+Gazeta de Notícias, 13 de outubro de 1940
+ 
+O major Luiz Thomaz Reis (1878 – 1940), genro de Boscagli, viúvo de Ignez (? – 1939), faleceu cerca de um mês após ter sofrido um acidente, quando filmava a construção do novo quartel general do Exército no Rio de Janeiro (Correio da Manhã, 3 de dezembro de 1940, quarta coluna).
+Quadros de autoria de Boscagli foram expostos na Exposição Retrospectiva do Exército (Boletim da Sociedade Geográfica do Rio de Janeiro, 1940).
+1941 - Identificado como nosso melhor indianista, integrou o Salão de Belas Artes (Gazeta de Notícias, 21 de setembro de 1941, segunda coluna).
+ 
+Gazeta de Notícias, 21 de setembro de 1941
+ 
+Foi noticiado que o Conselho do Serviço de Proteção aos Índios iria começar a tomar providências no sentido de adquirir várias telas de autoria de José Boscagli, o único artista que acompanhou a Expedição Rondon e pintou os tipos e costumes dos indígenas nacionais. Os quadros integrariam a galeria artística da futura Casa do Índio (Diário de Notícias, 28 de setembro de 1941; O Jornal, 1º de novembro de 1941, quinta coluna).
+ 
+Diário de Notícias, 28 de setembro de 1941
+ 
+1945 - Dias antes de seu falecimento, publicação do artigo Boscagli, de autoria de Carlos Rubens, sobre a vida do pintor (Carioca, 19 de maio de 1945).
+José Boscagli faleceu em 30 de maio e foi sepultado no Cemitério São João Batista. Sua missa de Sétimo Dia foi realizada na Igreja da Candelária, em 6 de maio. Quando faleceu, ainda residia na Rua Barão de Guaratiba, nº 132 (Carioca, 19 de maio de 1945; Correio da Manhã, 31 de maio de 1945, primeira coluna; Jornal do Commercio, 6 de junho de 1945).
+ 
+Correio da Manhã, 31 de maio de 1940
+ 
+1946 – Obras de Boscagli integraram a Exposição Foto-Etnográfica, comemorativa do Dia do Índio, realizada no hall do Ministério da Educação, no Rio de Janeiro (Correio da Manhã, 21 de abril de 1946, penúltima coluna).
+1956 – Publicação de um artigo sobre a escritora, jornalista e feminista Jenny Pimentel de Borba (1906 – 1984), onde aparece um retrato dela pintado por Boscagli (Walkyrias, janeiro de 1956).
+1974 - Um de seus quadros, Cidade Marítima, foi leiloado no Grande Leilão de Inverno, de Ernani Thompson Mello (Jornal do Commercio, 15 de setembro  de 1974).
+1976 - Foi citado no artigo Um poema de amor e trabalho, sobre a presença de estrangeiros no Rio Grande do Sul, de Antonio Bresolim (O Pioneiro (RS), 17 de junho de 1976, segunda coluna).
+1979 - Seu quadro Ancião na Beira do Riacho integrou o leilão de Sebastião Barreto, em Petrópolis (Jornal do Commercio, 11 e 12 de fevereiro de 1979, quarta coluna).
+1982 – Integrou a exposição Pintores Italianos no Brasil, realizada no Museu de Arte Moderna de São Paulo, promovida pela Sociarte de São Paulo em colaboração com a Secretaria de Estado da Cultura. Lançamento de um catálogo homônimo, apresentado por Augusto Carlos Veloso (Manchete, 29 de maio de 1982; Jornal do Commercio, 6 e 7 de jullho de 2003, terceira coluna).
+2007 – Um de seus quadros foi leiloado pela Century´s, no Rio de Janeiro (O GLOBO, 24 de março de 2007, primeira coluna).
+ 2015 - Integrou a exposição Mater Fecunda a Pinacoteca Aldo Locatelli de 1884 a 1943, na Pinacoteca Aldo Locatelli, em Porto Alegre, realizada entre 22 de março e 29 de maio de 2015.
+2018 - No Museu do Imigrante, em Bento Gonçalves, realização da exposição I Pittori Dei Nonni: Boscagli e Bertoni, entre 8 de outubro e 19 de novembro de 2018, com a curadoria de Luiz Pasquali. Bertoni é o pintor italiano Walter Angelo Bertoni (1854 – 1952) (Jornal Semanário, 17 de outubro de 2018).
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+DAMASCENO, Athos. Artes Plásticas no Rio Grande do Sul. Porto Alegre : Globo, 1971.
+DAMASCENO, Athos. Colóquios em minha cidade. Porto Alegre : Globo, 1974.
+Dicionário Fotográfico Capixaba
+Enciclopedia Itaú Cultural
+FROZZA, Marilia de Oliveira. Os retratos de militares e políticos na Pinacoteca Municipal Aldo Locatelli: herança da Câmara de Vereadores de Porto Alegre. Porto Alegre : Universidade Federal do Rio Grande do Sul, 2014.
+Hemeroteca Digital da Biblioteca Nacional
+KOSSOY, Boris. Dicionário histórico-fotográfico brasileiro: fotógrafos e ofício da fotografia no Brasil (1833-1910). São Paulo: Instituto Moreira Salles, 2002. 408 p., il. p&b.
+LOPES, Marcos Felipe de Brum. Migrantes e fantasmas: imagens e figuras de Benjamin Constant. Estudos Ibero-Americanos, Porto Alegre, v. 44, n. 1, p. 76-92, jan.-abr. 2018.
+MAUÉS, Renata de Fátima da Costa. O álbum do artista Manoel Pastana: memórias em recortes. Revista Arteriais, Universidade Federal do Pará, junho de 2021.
+O GLOBO, 31 de maio de 1945.
+RUBENS, Carlos. Pequena história das artes plásticas no Brasil. São Paulo: Nacional, 1941.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/11810` — `itens/20.500.12156.1_11810/`
+- `20.500.12156.1/11824` — `itens/20.500.12156.1_11824/`
+- `20.500.12156.1/11778` — `itens/20.500.12156.1_11778/`
+- `20.500.12156.1/11777` — `itens/20.500.12156.1_11777/`
+
diff --git a/wordpress/32846-serie-conflitos-vii-novos-acervos-escola-de-ciencias-sociais-fgv-cpdoc.md b/wordpress/32846-serie-conflitos-vii-novos-acervos-escola-de-ciencias-sociais-fgv-cpdoc.md
new file mode 100644
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@@ -0,0 +1,143 @@
+---
+id: 32846
+url: "https://brasilianafotografica.bn.gov.br/?p=32846"
+titulo: "Série “Conflitos” VII – Novos acervos: Escola de Ciências Sociais FGV CPDOC"
+autor: "Andrea Wanderley"
+data: "2023-06-25T12:11:31+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/11931", "20.500.12156.1/11882", "20.500.12156.1/11880", "20.500.12156.1/11881", "20.500.12156.1/11913", "20.500.12156.1/11888", "20.500.12156.1/11916", "20.500.12156.1/11918", "20.500.12156.1/11894", "20.500.12156.1/11928", "20.500.12156.1/11933", "20.500.12156.1/11934", "20.500.12156.1/11935"]
+fetched_at: "2026-09-10T10:14:51.919Z"
+---
+
+# Série “Conflitos” VII – Novos acervos: Escola de Ciências Sociais FGV CPDOC
+
+Com muito entusiasmo a Brasiliana Fotográfica em seu oitavo ano de existência – foi criada em 17 de abril de 2015 pela Fundação Biblioteca Nacional e pelo Instituto Moreira Salles – anuncia a entrada em seu acervo fotográfico de uma nova instituição parceira: a Escola de Ciências Sociais FGV CPDOC. É mais um passo importante para a preservação da memória da história do Brasil e da fotografia. Com imagens de diversos arquivos pessoais, dentre eles os de Getulio Vargas e de Oswaldo Aranha, o artigo de estreia da Escola de Ciências Sociais FGV CPDOC foi escrito por sua Equipe de Documentação e é sobre a Revolução de 1930, marco inicial da Segunda República no Brasil. A FGV CPDOC completa hoje 50 anos. Feliz aniversário e parabéns por todas as valiosas realizações! Seja muito bem-vinda à Brasiliana Fotográfica!
+
+Além das já mencionadas instituições fundadoras e da nova parceira, integram também o portal o Acervo Geral da Cidade do Rio de Janeiro, o Arquivo Nacional, a Diretoria do Patrimônio Histórico e Documentação da Marinha, a Fiocruz, a Fundação Joaquim Nabuco, o Leibniz-Institut fuer Laenderkunde, o Museu Aeroespacial, o Museu da República e o Museu Histórico Nacional.
+ 
+CPDOC 50 ANOS integra-se à Brasiliana Fotográfica
+Equipe de Documentação da Escola de Ciências Sociais FGV CPDOC
+ 
+No ano em que comemora 50 anos de criação, o CPDOC se integra à Brasiliana Fotográfica, participando de uma rede de instituições parceiras, relevantes para a preservação da memória histórica brasileira. Ao longo dos anos, o Centro sempre priorizou o tratamento, a preservação e a consulta a seu acervo – textual, visual, sonoro e audiovisual. Participar da Brasiliana potencializa a visualização e o acesso público a seus registros visuais. Para essa primeira postagem, foram eleitas as fotografias que retratam a Revolução de 1930. A escolha desse conjunto de imagens foi definida por corresponder ao recorte histórico do CPDOC – história contemporânea do Brasil.  A Revolução de 1930, comandada por Getulio Vargas, instala a nova república no país. As fotografias que compõem esse dossiê integram os arquivos pessoais de Getulio Vargas (GV), Antunes Maciel (AM), Cordeiro de Farias (CFa), Cristiano Machado (CM), Epitácio Cavalcanti Albuquerque (ECA), Geraldo Rocha (GR), Haroldo Pereira (HP), João Antonio Mesplé (JAM), João Batista Pereira (JBP), Luiz Simões Lopes (LSL), Mena Barreto (MBM), Oswaldo Aranha (OA), e Pedro Ernesto Batista (PEB). 
+ 
+Benjamin Vernaut. Incêndio do jornal governista A Noite, após vitória da Revolução de 1930, outubro de 1930. Rio de Janeiro, RJ / Acervo FGV CPDOC
+ 
+Acessando o link para as fotografias acerca da Revolução de 1930 pertencentes à Escola de Ciências Sociais FGV CPDOC disponíveis na Brasiliana Fotográfica, o leitor poderá visualizar e magnificar as imagens.
+ 
+A Revolução de 1930
+ 
+Movimento armado, iniciado em 3 de outubro de 1930, com o objetivo imediato de derrubar o governo Washington Luís e impedir a posse de Júlio Prestes, eleito presidente da República em 1º de março de 1930. O movimento tornou-se vitorioso em 24 de outubro e Getulio Vargas assumiu o cargo de presidente provisório no dia 3 de novembro. As mudanças políticas, sociais e econômicas que tiveram lugar na sociedade brasileira no pós-1930 fizeram com que esse movimento revolucionário fosse considerado o marco inicial da Segunda República no Brasil.
+ 
+Estado-Maior da Legião Oswaldo Aranha, outubro de 1930. Rio Grande do Sul / Acervo FGV CPDOC
+ 
+As origens do movimento revolucionário 
+ 
+A oposição dos jovens oficiais do Exército — os “tenentes” — ao sistema político manifestou-se desde a década de 1920. Nas revoltas dos 18 do Forte (1922), de São Paulo e Rio Grande do Sul (1924), e na Coluna Prestes (1925-1927), os “tenentes” defendiam o equilíbrio entre os três poderes – Executivo, Legislativo e Judiciário -, pleiteavam um nacionalismo econômico e a modernização da sociedade.
+ 
+A Aliança Liberal
+ 
+Rompendo com a política do Café com leite, segunda a qual Minas Gerais e São Paulo se revezavam no governo da República, a partir de 1928, o presidente Washington Luís passou a apoiar ostensivamente a candidatura de outro paulista – Júlio Prestes – à sua sucessão. Os presidentes dos estados de Minas Gerais e Rio Grande do Sul opunham-se à candidatura de Júlio Prestes e lançaram os nomes de Getulio Vargas, presidente do Rio Grande do Sul, e João Pessoa, presidente da Paraíba, respectivamente à presidência e à vice-presidência da República.
+ 
+Careta, 10 de agosto de 1929
+ 
+No início de agosto de 1929, formou-se a Aliança Liberal. Em 12 de setembro, uma convenção dos partidos dominantes de 17 estados, liderados por São Paulo, homologou as candidaturas de Júlio Prestes e Vital Soares à presidência e vice-presidência da República. Pouco depois, em 20 de setembro, a Aliança Liberal aprovou a chapa Vargas-João Pessoa.
+ 
+O Paiz, 13 de setembro de 1929
+ 
+O Paiz, 21 de setembro de 1929
+ 
+Ainda em 1929, a corrente mais radical da Aliança Liberal passou a admitir a hipótese de um movimento armado em caso de derrota nas urnas. Buscou a colaboração dos “tenentes” pelo passado revolucionário, a experiência militar e o prestígio no interior do Exército. Entretanto, os “tenentes” não tinham uma posição homogênea. Juarez Távora, João Alberto Lins de Barros e Antônio de Siqueira Campos aderiram à ideia de colaborar com a Aliança Liberal, enquanto Luís Carlos Prestes mostrava reservas quanto ao movimento.
+ 
+Manifestação popular em apoio à campanha da Aliança Liberal, em frente ao Teatro Municipal, na Cinelândia, setembro de 1929. Rio de Janeiro, RJ / Acervo FGV CPDOC
+ 
+Com a campanha eleitoral em andamento, Getulio Vargas, pouco seguro da vitória, estabeleceu um acordo com o presidente Washington Luís estabelecendo, entre outros entendimentos, que, caso derrotado nas eleições, acataria o resultado e passaria a apoiar o governo constituído. Em contrapartida, Washington Luís e Júlio Prestes se comprometiam a não apoiar elementos divergentes da situação no Rio Grande do Sul. Vargas munia-se assim de um instrumento que lhe permitiria uma saída, qualquer que fosse o resultado eleitoral. Em 2 de janeiro de 1930, ao lado de João Pessoa, Vargas lançou sua plataforma de governo, para uma grande multidão concentrada na Esplanada do Castelo, no Rio de Janeiro.
+ 
+O Jornal, 3 de janeiro de 1930
+ 
+Desenho feito pelo ilustrador Cavallero / O Jornal, 3 de janeiro de 1930
+ 
+Convite de almoço oferecido pela Aliança Liberal aos candidatos Getulio Vargas e João Pessoa, 2 de janeiro de 1930. Rio de Janeiro, RJ / Acervo FGV CPDOC
+ 
+O resultado das eleições em 1º de março de 1930 deu a vitória a Júlio Prestes e Vital Soares, eleitos com 57,7% dos votos, e foi contestado por suspeita de fraude.
+ 
+O movimento eclode
+ 
+Em 19 de março de 1930, o gaúcho Borges de Medeiros, em entrevista publicada no jornal A Noite, reconheceu enfaticamente a vitória de Júlio Prestes. A entrevista provocou forte reação e as articulações para um movimento revolucionário foram retomadas.
+ 
+A Noite, 19 de março de 1930
+ 
+O movimento deveria contar com o apoio de três estados – Rio Grande do Sul, Minas Gerais e Paraíba – e eclodir simultaneamente em todo o Brasil. Em fins de maio, o Congresso aprovou os resultados das eleições, declarando Júlio Prestes presidente eleito. Três momentos impulsionaram o ânimo revolucionário – ainda em maio, a morte em acidente aéreo do ‘tenente’ Siqueira Campos; em junho, o manifesto de Vargas pelos jornais condenando as fraudes eleitorais e as violências pelo governo federal e pelos governos estaduais contra os aliancistas, e o assassinato de João Pessoa em Recife por João Dantas, apoiador do governo federal. Os preparativos militares se aceleraram e a pressão sobre os chefes do movimento.
+ 
+O Jornal, 11 de maio de 1930
+ 
+Diário Nacional, 1º de junho de 1930
+ 
+Aspecto do funeral de João Pessoa no Rio de Janeiro, 6 e 7 de agosto de 1930. Rio de Janeiro, RJ / Acervo FGV CPDOC
+ 
+A posição de Vargas, de aparente alheamento ao movimento e muitas vezes contrária à sua deflagração, pode ser interpretada como uma tentativa de não despertar a desconfiança do governo federal. Foi isso exatamente o que ocorreu. O Rio Grande teve condições de preparar o movimento com a quase ignorância do governo federal. Em 25 de setembro, Vargas e Oswaldo Aranha decidiram desencadear a revolução no dia 3 de outubro. Segundo o plano adotado, o movimento deveria irromper simultaneamente no Rio Grande do Sul, Minas e estados do Nordeste. A ação deveria ter início, por escolha de Osvaldo Aranha, às 17h30, no fim do expediente nos quartéis, o que facilitaria a ação militar e a prisão dos oficiais em suas casas.
+ 
+Bilhete marcando dia e hora da eclosão do movimento revolucionário, assinado por Lindolfo Collor e Oswaldo Aranha. Porto Alegre (RS), 25 de setembro de 1930 / Acervo FGV CPDOC
+ 
+Efetivamente, a revolução eclodiu nesse horário no Rio Grande do Sul com ataque a posições militares de Porto Alegre e avançando pelos demais estados do Sul.
+ 
+Góis Monteiro (sentado ao centro) e o Estado-Maior do Exército Revolucionário do Rio Grande do Sul, outubro de 1930. Porto Alegre, RS / Acervo FGV CPDOC
+ 
+Em Belo Horizonte, a revolução eclodiu, no mesmo dia e na mesma hora, e boa parte de sua população aderiu aos batalhões de voluntários que logo se formaram em diversas cidades mineiras. O Norte e o Nordeste do país tiveram a Paraíba como sede do movimento revolucionário, mas o movimento eclodiu na madrugada do dia 4 e se alastrou, pelos outros estados, madrugada adentro.
+ 
+Polícia mineira, outubro de 1930. Belo Horizonte, MG / Acervo FGV CPDOC
+ 
+Aspecto do movimento revolucionário nas ruas de Belo Horizonte, outubro de 1930. Belo Horizonte, MG / Acervo FGV CPDOC
+ 
+A 11 de outubro, acompanhados de todo o estado-maior civil e militar da revolução, Getulio Vargas e Góis Monteiro seguiram de trem com destino ao norte do Paraná, prevendo choques violentos com as tropas legalistas. O comboio revolucionário estacionou em Ponta Grossa. Vargas e sua comitiva permaneceram em um dos vagões da composição ferroviária.
+ 
+Photo Weiss. Getulio Vargas e comitiva chegando em Ponta Grossa, 17 de outubro de 1930. Ponta Grossa, Paraná / Acervo FGV CPDOC
+ 
+Góis montou seu quartel-general numa das dependências do grupo escolar da cidade, planejou o ataque a ser desfechado sobre São Paulo e foi informado sobre as ações exigindo a renúncia do presidente Washington Luís. Ante a negativa deste, no dia 24 de outubro, os militares determinaram o cerco ao Palácio Guanabara e sua prisão.
+ 
+O presidente deposto, Washington Luís, acompanhado pelo cardeal Dom Sebastião Leme, deixa o Palácio Guanabara, em direção ao Forte Copacabana, onde permaneceu detido até seguir viagem para os Estados Unidos, 24 de outubro de 1930. Rio de Janeiro, RJ / Acervo FGV CPDOC
+ 
+Movimento vitorioso
+ 
+Deposto Washington Luis, assume o governo uma Junta Governativa Provisória composta pelos generais Tasso Fragoso e João de Deus Mena Barreto, e pelo almirante Isaías de Noronha. Com a situação na capital sob controle, a Junta enviou telegramas a Vargas propondo a suspensão total das hostilidades em todo o país. Em 28 de outubro, em proclamação ao país, a Junta Governativa comunicou a decisão de transmitir o poder a Vargas.
+ 
+Oswaldo Aranha, membros da Junta Governativa e outros – João Carlos Barreto, Mário Mariante, Augusto de Tasso Fragoso, Pedro Ernesto, João de Deus Mena Barreto, Oswaldo Aranha, Isaias de Noronha, Afrânio de Melo Franco, Sadock de Sá e Bruno Lobo, 28 de outubro de 1930. Rio de Janeiro, RJ / Acervo FGV CPDOC
+ 
+Em 31 de outubro, precedido por três mil soldados gaúchos, Vargas desembarcou no Rio de Janeiro (Distrito Federal), sendo recebido por uma manifestação apoteótica de apoio.
+ 
+Oswaldo Aranha e Getulio Vargas na sacada do Palácio do Catete, 31 de outubro de 1930. Rio de Janeiro, RJ / Acervo FGV – CPDOC(1)
+ 
+Finalmente, em 3 de novembro de 1930, Vargas tomou posse como chefe do Governo Provisório e governou o país por 15 anos até ser deposto em 1945.
+ 
+Getulio Vargas e seu ministério no Palácio do Catete – Isaias Noronha, José Américo, Afrânio de Melo, Getulio Vargas, Assis Brasil, Francisco Campos, Lindolfo Collor e José Fernandes, 3 de novembro de 1930. Rio de Janeiro, RJ / Acervo FGV CPDOC
+ 
+ 
+O Jornal, 4 de novembro de 1930
+ 
+(1) Nota da Editora: Esta mesma foto foi publicada no Correio da Manhã, em 1º de novembro de 1930.
+ 
+Correio da Manhã, 1º de novembro de 1930
+ 
+Acesse aqui o vídeo da Sessão Solene em homenagem aos 50 anos do CPDOC, realizada em 21 de junho de 202, no plenário da Câmara dos Deputados, em Brasília.
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora da Brasiliana Fotográfica
+Esse artigo passou a integrar a série Conflitos, em 20 de março de 2026.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/11931` — `itens/20.500.12156.1_11931/`
+- `20.500.12156.1/11882` — `itens/20.500.12156.1_11882/`
+- `20.500.12156.1/11880` — `itens/20.500.12156.1_11880/`
+- `20.500.12156.1/11881` — `itens/20.500.12156.1_11881/`
+- `20.500.12156.1/11913` — `itens/20.500.12156.1_11913/`
+- `20.500.12156.1/11888` — `itens/20.500.12156.1_11888/`
+- `20.500.12156.1/11916` — `itens/20.500.12156.1_11916/`
+- `20.500.12156.1/11918` — `itens/20.500.12156.1_11918/`
+- `20.500.12156.1/11894` — `itens/20.500.12156.1_11894/`
+- `20.500.12156.1/11928` — `itens/20.500.12156.1_11928/`
+- `20.500.12156.1/11933` — `itens/20.500.12156.1_11933/`
+- `20.500.12156.1/11934` — `itens/20.500.12156.1_11934/`
+- `20.500.12156.1/11935` — `itens/20.500.12156.1_11935/`
+
diff --git a/wordpress/32975-serie-avenidas-e-ruas-do-brasil-xviii-avenida-beira-mar.md b/wordpress/32975-serie-avenidas-e-ruas-do-brasil-xviii-avenida-beira-mar.md
new file mode 100644
index 0000000..ff16de8
--- /dev/null
+++ b/wordpress/32975-serie-avenidas-e-ruas-do-brasil-xviii-avenida-beira-mar.md
@@ -0,0 +1,89 @@
+---
+id: 32975
+url: "https://brasilianafotografica.bn.gov.br/?p=32975"
+titulo: "Série “Avenidas e ruas do Brasil” XVIII – Avenida Beira-Mar"
+autor: "Andrea Wanderley"
+data: "2024-01-22T15:09:50+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/2453", "20.500.12156.1/2277", "20.500.12156.1/4054", "20.500.12156.1/10620", "20.500.12156.1/10437"]
+fetched_at: "2026-09-10T10:14:54.926Z"
+---
+
+# Série “Avenidas e ruas do Brasil” XVIII – Avenida Beira-Mar
+
+Hoje publicamos o 18º artigo da série Avenidas e ruas do Brasil, sobre a Avenida Beira-Mar, considerada a mais bela via corso do mundo. Após cerca de dois anos de obras, sob a direção do engenheiro Mário Roxo, seu primeiro trecho foi inaugurado, em 12 de novembro de 1906, pelo presidente da República, Rodrigues Alves (1848 – 1919), cujo mandato terminou três dias depois; e pelo prefeito do Rio de Janeiro, Francisco Pereira Passos (1836 – 1913). Foi o engenheiro André Rebouças (1838 – 1898) que, ainda no século XIX , projetou  a construção de uma avenida monumental à beira-mar, do Passeio Público até a Praia da Saudade, atual Praia Vermelha. O diretor-geral de Obras Municipais, Luiz Rafael Vieira Souto (1849 – 1922), em 1894, relembrou a ideia a Henrique Valadares (1852 – 1930), então prefeito do Rio de Janeiro. Em 7 de setembro do mesmo ano, as obras foram iniciadas, porém, com a saída de Vieira Souto e de Valadares de seus cargos, foram interrompidas, em 31 de dezembro de 1894.
+ 
+Augusto Malta. Prefeito Inspecionando as Obras da Avenida Beira Mar, 27 de abril de 1906. Rio de Janeiro, RJ / Acervo IMS
+ 
+O portal convida o leitor a uma passeio pela avenida a partir de imagens produzidas por fotógrafos ainda não identificados, por Antônio Caetano da Costa Ribeiro (18? – 19?), Augusto (1864 – 1957) e Aristógeton Malta (1904 – 1954), pai e filho, respectivamente; Carlos Bippus (18? – 19?), Felipe Augusto Fidanza (1844 – 1903), Guilherme Santos (1871 – 1966), Jorge Kfuri (1893 – 1965), Leonar (18? – 19?), Luiz Musso (18? -1908), Marc Ferrez (1843 – 1923) e Torres (18? – 19?). São cenas de sua bela paisagem da Avenida Beira-Mar, de ressacas, de suas obras, de pessoas passeando ou aguardando a passagem de visitas ilustres; de construções em suas proximidades e da inauguração de monumentos, dentre outras.
+Acessando o link para as fotografias da Avenida Beira-Mar disponíveis na Brasiliana Fotográfica, o leitor poderá visualizar e magnificar as imagens.
+ 
+Marc Ferrez. Avenida Beira-Mar, c. 1907. Rio de Janeiro, RJ / Acervo IMS
+ 
+“A primeira vez que vi o mar, fiquei besta. Quando o táxi me levava a Botafogo, entrou na Avenida Beira-Mar, meus olhos de treze anos quase choraram, esse quase-lágrimas que é uma das mais deslumbrantes e plenas sensações de viver”
+Paulo Mendes Campos (1922 – 1991), escritor mineiro/
+ A primeira vez…, in Diário Carioca, 10 de janeiro de 1954
+ 
+O primeiro trecho tinha aproximadamente três quilômetros, partindo da Avenida Central, atual Rio Branco, e indo até Botafogo (Gazeta de Notícias, 13 de novembro de 1906). Foi construído pela Construtora da Avenida Central e pela Empresa Construtora da Avenida Beira-Mar, sob a direção técnica do já citado Mário Roxo, auxiliado pelos engenheiros Adolfo Costa da Cunha Lima, Antônio de Barros Vieira Cavalcante e José Inácio da Rocha Werneck. As aberturas das duas avenidas, a Beira-Mar e a Central, que havia sido inaugurada, em 7 de setembro de 1904, foram destaques na reforma urbana realizada por Pereira Passos, que ficou popularmente conhecida como o bota-abaixo, entre 1902 e 1906, período em que foi prefeito do Rio de Janeiro.
+ 
+Gazeta de Notícias, 13 de novembro de 1906
+ 
+“No curto prazo de 23 meses foi construído em terreno quase exclusivamente conquistado ao mar um dos mais extenso e lindos passeios do mundo”
+Gazeta de Notícias, 13 de novembro de 1906
+ 
+Antônio Caetano da Costa Ribeiro. Avenida Beira-Mar, Botafogo, c. 1914. Rio de Janeiro, RJ / Acervo FBN
+ 
+“Em toda a extensão do cais, formado de oito fiadas de cantaria, emregaram-se pedras de mais de quatro toneladas, num total de 1.000.000 de metros cúbicos de alvenaria. O consumo de cimento foi de 25.000 barricas de 180 quilos, e o aterro atingiu a 3.000.000 de metros cúbicos. Custou a Avenida Beira-Mar, inclusive o enrocamento do cais, cerca de oito mil contos de réis”
+Charles Julius Dunlop
+ 
+Carlos Bippus. Avenida Beira-Mar iluminada; ao fundo, o Outeiro da Glória, c. 1915. Rio de Janeiro, RJ / Acervo IMS
+ 
+Foi finalizada em outubro de 1907. Contornava a orla desde a antiga Praia de Santa Luzia, passando em frente à Cinelândia (antiga Praia da Ajuda), Praia do Boqueirão (em frente ao Passeio Público), Lapa, Glória, Russel e Flamengo, até chegar em Botafogo. Estas praias foram aterradas para sua construção. Uma estreita faixa de areia continuou a existir no Flamengo, permitindo o banho de mar.
+ 
+Guilherme Santos. Ressaca marítima na Avenida Beira-Mar; ao fundo, o Morro do Pão de Açúcar, juho de 1921. Rio de Janeiro, RJ / Acervo IMS
+ 
+Uma fotografia de Augusto Malta da Avenida Beira-Mar, em 1906 ilustrou a coluna “Rio Antigo”, de Charles Julius Dunlop (1908 – 1987), publicada em, 6 de agosto de 1954, no Correio da Manhã.
+ 
+A Avenida Beira-Mar por Augusto Malta, em 1906 / Correio da Manhã, 6 de agosto de 1954
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+Dunlop, Charles Julius. Rio Antigo. Rio de Janeiro: Editora Rio Antigo, 1963.
+FERNANDES, Neusa; COELHO,Olino Gomes P. Efemérides Cariocas. Rio de Janeiro, 2016.
+Hemeroteca Digital da Biblioteca Nacional
+Site IHGB
+Site MultiRio
+Site Passeio Público
+Site Rio de Janeiro aqui
+ 
+Links para as outras publicações da série “Avenidas e ruas do Brasil”
+Série “Avenidas e ruas do Brasil” I– A Avenida Central, atual Rio Branco, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 7 de setembro de 2016
+Série “Avenidas e ruas do Brasil” II – A Rua do Imperador em Petrópolis por Klumb, Leuzinger e Stahl, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 26 de junho de 2020
+Série “Avenidas e ruas do Brasil” III – A Rua do Bom Jesus, no Recife, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 6 de agosto de 2020
+Série “Avenidas e ruas do Brasil” IV – A Rua 25 de Março, em São Paulo, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 1º de setembro de 2020
+Série “Avenidas e ruas do Brasil” V – A Rua Direita, a Rua das Mercês e a Rua Macau do Meio, em Diamantina, Minas Gerais, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 22 de outubro de 2020
+Série “Avenidas e ruas do Brasil” VI  – Rua Augusto Ribas e outras, em Ponta Grossa, no Paraná, pelo fotógrafo Luiz Bianchi, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 16 de novembro de 2020
+Série “Avenidas e ruas do Brasil” VII – A Avenida Atlântica, em Copacabana, no Rio de Janeiro, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 23 de dezembro de 2020
+Série “Avenidas e ruas do Brasil VIII – A Rua da Carioca por Cássio Loredano, de autoria de Cássio Loredano, publicada em 20 de janeiro de 2021
+Série “Avenidas e ruas do Brasil” IX – Ruas e panoramas do bairro do Catete, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 14 de julho de 2021
+Série “Avenidas e ruas do Brasil” X – A Rua da Ajuda, no Rio de Janeiro, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 9 de novembro de 2021
+Série “Avenidas e ruas do Brasil” XI – A Rua da Esperança, em São Paulo, por Vincenzo Pastore, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 14 de dezembro de 2021
+Série “Avenidas e ruas do Brasil” XII – A Avenida Paulista, o coração pulsante da metrópole, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 21 de janeiro de 2022
+Série “Avenidas e ruas do Brasil” XIII – A Rua Buenos Aires no Centro do Rio de Janeiro, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 19 de julho de 2022
+Série “Avenidas e ruas do Brasil” XIV – A Avenida Presidente Vargas,, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 31 de agosto de 2022
+Série “Avenidas e ruas do Brasil” XV – Misericórdia: rua, largo e ladeira, no Rio de Janeiro, por Cássio Loredano, de autoria de Cássio Loredano, publicada em 8 de dezembro de 2022
+Série “Avenidas e ruas do Brasil” XVI – “Alguma coisa acontece no meu coração”, a Avenida São João nos 469 anos de São Paulo, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 25 de janeiro de 2023
+Série “Avenidas e ruas do Brasil” XVII  e série “O Rio de Janeiro desaparecido” XXIII – A Praia e a Rua do Russel, na Glória, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 15 de maio de 2023
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/2453` — `itens/20.500.12156.1_2453/`
+- `20.500.12156.1/2277` — `itens/20.500.12156.1_2277/`
+- `20.500.12156.1/4054` — `itens/20.500.12156.1_4054/`
+- `20.500.12156.1/10620` — `itens/20.500.12156.1_10620/`
+- `20.500.12156.1/10437` — `itens/20.500.12156.1_10437/`
+
diff --git a/wordpress/33098-cronologia-de-pedro-hees-1841-1880.md b/wordpress/33098-cronologia-de-pedro-hees-1841-1880.md
new file mode 100644
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+++ b/wordpress/33098-cronologia-de-pedro-hees-1841-1880.md
@@ -0,0 +1,46 @@
+---
+id: 33098
+url: "https://brasilianafotografica.bn.gov.br/?p=33098"
+titulo: "Cronologia de Pedro Hees (1841 – 1880)"
+autor: "Andrea Wanderley"
+data: "2023-06-12T12:41:14+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/11702"]
+fetched_at: "2026-09-10T10:14:58.260Z"
+---
+
+# Cronologia de Pedro Hees (1841 – 1880)
+
+Cronologia de Pedro Hees (1841 – 1880)
+ 
+1841 – Nascimento de Phillip Peter Hees, que ficou conhecido como Pedro Hees, na região de Hunsruek, na Alemanha, filho de Anne Catharine Michel e Christian Sebastian Hees, marceneiro e entalhador.
+1845 – Chega a Petrópolis com sua família. Seu pai trabalhou na construção do Palácio Imperial, iniciada justamente em 1845 e concluída em 1862 . Foi o palácio de verão de d. Pedro II (1825 – 1891), hoje Museu Imperial, e a residência predileta do imperador. Foi construído por determinação do monarca e às expensas de sua dotação pessoal. Para dar início à construção, d. Pedro II havia assinado, dois anos antes, um decreto em 16 de março de 1843, criando Petrópolis. Uma grande leva de imigrantes europeus, principalmente alemães, sob o comando do engenheiro e superintendente da Fazenda Imperial, major Julius Friedrich Koeler (1804 – 1847), foi incumbida de levantar a cidade, construir o palácio e colonizar a região. A família Hees integrava a primeira leva de colonos alemães que chegaram à cidade.
+ 
+Pedro Hees. Palácio Imperial e adjacência, 1860 – 1870. Petrópolis, RJ / Acervo FBN
+ 
+Década de 1860 – Pedro trabalhou no comércio como sapateiro, na rua do Bourbon e na rua dom Affonso. Ambas foram fotografadas por ele e fazem parte do álbum Vistas de Petrópolis (Almanak Administrativo, Mercantil e Industrial do Rio de Janeiro, 1962, primeira coluna; Almanak Administrativo, Mercantil e Industrial do Rio de Janeiro, 1964, segunda coluna; Almanak Administrativo, Mercantil e Industrial do Rio de Janeiro, 1965, segunda coluna). Na mesma rua dom Afonso, passou a ter uma ferraria, em 1866 (Almanak Administrativo, Mercantil e Industrial do Rio de Janeiro, 1866, segunda coluna).
+1861 –  Pedro casou-se com a alemã Maria Glasow Hees (1843 – 1928), em 22 de janeiro de 1861, e tiveram 11 filhos: Ana Catarina Hees (1861-1944), Edmundo Frederico Nicolau Hees (1862-1944), Fernando Jacob Hees (1865-1866), Fernando Mauricio Hees (1867-1893), João Batista Hees (1868-1876), Otto Hees (1870-1941), Elisa Matilde Hees (1872-1932), Maria Olga Hees (1872-1958), Joana Teresa Hees (1874-1900), Numa Augusto Hees (1877-1961) e Isabel Emma Hees (1878-1943). No site Sou Petrópolis há uma foto de Maria, realizada em 12 de setembro de 1915, com 27 netos (A Noite, 23 de junho de 1922, quarta coluna; Sou Petrópolis e Geneanet).
+ 
+Viúva do fotógrafo Pedro Hees, Maria Glasow Hees, com seus 27 netos, 12 de setembro de 1915. Petrópolis, Rio de Janeiro / Site Sou Petrópolis
+ 
+Meados da década – Passou a se interessar por fotografia.
+1868 - Possuía um estúdio fotográfico, a Photographia Popular, na Praça Dom Afonso, atual Praça da Liberdade, que tornou-se bastante conhecido e era frequentado pela nobreza, por políticos, diplomatas e também por comerciantes e artesãos imigrantes. Petrópolis era, na época, muito frequentada pela família imperial (Almanak Administrativo, Mercantil e Industrial do Rio de Janeiro, 1868, segunda coluna).
+ 
+Almanak Administrativo, Mercantil e Industrial do Rio de Janeiro, 1868
+ 
+Últimos anos da década – Produziu o álbum Vistas de Petrópolis, que pertence à Coleção Thereza Christina, da Biblioteca Nacional, uma das instituições fundadoras da Brasiliana Fotográfica. O álbum possui 15 fotografias em papel albuminado que mostram aspectos da cidade, sua ocupação e registros de suas construções e natureza.
+1870 – Pedro Hees era o secretário da Sociedade Alemã de Beneficência Bruderbund (Almanak Administrativo, Mercantil e Industrial do Rio de Janeiro, 1868, segunda coluna).
+1876 - Em março, falecimento de seu filho João Baptista Numa Hees, aos 7 anos, de pleuro-pneumonia (O Mercantil, 29 de março de 1876, terceira coluna).
+Em 16 de agosto, tornou-se Fotógrafo da Casa Imperial. Segundo Boris Kossoy, recebeu do conde e da condessa d´Eu “a graça de usar o título de Photographo de sua Imperial Caza e de collocar na porta do seu estabelecimemnto as respectivas armas”. O documento foi assinado por Benedicto Torres, mordomo do conde d’Eu e da princesa Isabel.
+1880 – Faleceu jovem, aos 39 anos, de entero-mezenterite (O Mercantil, 14 de agosto de 1880, última coluna). Seu estabelecimento fotográfico foi arrendado ao fotógrafo Antonio Henrique da Silva Heitor (18?-?), que, posteriormente, recebeu o título de Fotógrafo da Casa Imperial em 2 de março de 1885, outorgado por dom Pedro II.
+c. 1890 – Sob o nome de Hees & Irmãos, o estúdio foi assumido pelos filhos de Pedro Hees – Numa Augusto  e Otto. Existiu até 1915. Otto foi o autor de uma importante fotografia que tudo indica ter sido o último registro da família imperial antes da proclamação da República, em 15 de novembro de 1889. Também fotografou a assinatura do Tratado de Petrópolis, na residência do Barão do Rio Branco, em 1903; e os netos de Pedro II.
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/11702` — `itens/20.500.12156.1_11702/`
+
diff --git a/wordpress/33264-serie-exposicoes-xi-tres-albuns-fotograficos-da-exposicao-nacional-de-1908-no-mu.md b/wordpress/33264-serie-exposicoes-xi-tres-albuns-fotograficos-da-exposicao-nacional-de-1908-no-mu.md
new file mode 100644
index 0000000..e1ddd11
--- /dev/null
+++ b/wordpress/33264-serie-exposicoes-xi-tres-albuns-fotograficos-da-exposicao-nacional-de-1908-no-mu.md
@@ -0,0 +1,142 @@
+---
+id: 33264
+url: "https://brasilianafotografica.bn.gov.br/?p=33264"
+titulo: "Série “Exposições” XI – Três álbuns fotográficos da Exposição Nacional de 1908 no Museu Histórico Nacional: Boscagli, Malta e Musso"
+autor: "Andrea Wanderley"
+data: "2023-08-25T11:03:19+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/11959", "20.500.12156.1/11785", "20.500.12156.1/11851", "20.500.12156.1/11901", "20.500.12156.1/11845", "20.500.12156.1/11874", "20.500.12156.1/11866", "20.500.12156.1/11960", "20.500.12156.1/11872", "20.500.12156.1/11844", "20.500.12156.1/11898", "20.500.12156.1/11852", "20.500.12156.1/11793", "20.500.12156.1/11796", "20.500.12156.1/6165"]
+fetched_at: "2026-09-10T10:15:01.645Z"
+---
+
+# Série “Exposições” XI – Três álbuns fotográficos da Exposição Nacional de 1908 no Museu Histórico Nacional: Boscagli, Malta e Musso
+
+No mês em que a Exposição Nacional de 1908 completa 115 anos – foi inaugurada em 11 de agosto e encerrada em 15 de novembro de 1908 -, a Brasiliana Fotográfica publica o artigo A Exposição Nacional de 1908 no Museu Histórico Nacional, de autoria da historiadora Maria Isabel Ribeiro Lenzi, do Arquivo Histórico do Museu Histórico Nacional, uma das instituições parceiras do portal, com três álbuns fotográficos produzidos na ocasião pelos fotógrafos Augusto Malta (1864 – 1957), José Boscagli (1862 – 1945) e Luis Musso (18? – 19?). Cada álbum tem sua característica: o de Malta parece ter sido realizado especialmente para presentear o seu amigo, o ministro Miguel de Calmon; o de Boscagli retratou a mostra do Rio Grande do Sul; e, finalmente, tudo indica que o produzido por Musso tenha sido encomendado pelo governo federal para o registro oficial do evento.
+ 
+Acessando o link para as fotografias do álbum de autoria de Augusto Malta sobre a Exposição Nacional de 1908 pertencentes ao Museu Histórico Nacional disponíveis na Brasiliana Fotográfica, o leitor poderá visualizar e magnificar as imagens.
+ 
+Augusto Malta. Visitantes da Exposição Nacional de 1908, 1908. Rio de Janeiro, RJ / Acervo Museu Histórico Nacional
+ 
+Acessando o link para as fotografias do álbum de autoria de José Boscagli sobre a Exposição Nacional de 1908 pertencentes ao Museu Histórico Nacional disponíveis na Brasiliana Fotográfica, o leitor poderá visualizar e magnificar as imagens.
+ 
+José Boscagli. Retratos de cidades e personalidades gaúchas, 1908. Rio de Janeiro, RJ / Acervo Museu Histórico Nacional
+ 
+Acessando o link para as fotografias do álbum de autoria de Luis Musso sobre a Exposição Nacional de 1908 pertencentes ao Museu Histórico Nacional disponíveis na Brasiliana Fotográfica, o leitor poderá visualizar e magnificar as imagens.
+ 
+Musso & Cia. Exposição do Jardim Botânico, Inspetoria de Matas e Jardins, Caça e Pesca, Pavilhão da Fábrica de Bangu, Pavilhão das Indústrias, Pavilhão do Distrito Federal, 1908. Rio de Janeiro, RJ / Acervo Museu Histórico Nacional
+ 
+A Exposição Nacional de 1908 no Museu Histórico Nacional
+Maria Isabel Ribeiro Lenzi*
+ 
+Augusto Malta. Entrada da Exposição Nacional de 1908, 1908. Rio de Janeiro, RJ / Acervo Museu Histórico Nacional
+ 
+Era 1907. O Rio de Janeiro, então Distrito Federal, acabara de ser remodelado ao gosto das nações ditas civilizadas, pelo governo de Rodrigues Alves com a participação do prefeito Pereira Passos e do sanitarista Oswaldo Cruz. No ano seguinte, faria 100 anos que o Brasil abrira seus portos às nações amigas. Foi esse o mote para que fosse organizada a Exposição Nacional de 1908, oportunidade de o país exibir sua produção a si próprio.  A ideia havia sido lançada pela Associação Comercial, apoiada pela imprensa e acatada pelo Congresso Nacional, que votou em 1907 orçamento para promover, no ano seguinte, o evento destinado a ser um panorama da agricultura, da indústria, da pecuária e das artes liberais desenvolvidas no país.
+ 
+Revista da Semana, 16 de agosto de 1908
+ 
+Depois de muito debate, foi escolhida a várzea entre as praias da Saudade e Vermelha, no vale formado entre os morros da Urca, Pão de Açúcar e Babilônia, para a construção do que viria a ser a Exposição Nacional de 1908.  O país promovera anteriormente exposições nacionais, mas aquela foi a primeira em que foram construídos pavilhões especialmente para a ocasião. O lugar escolhido, além de apresentar uma bonita paisagem, tinha a vantagem de já abrigar dois edifícios públicos – a antiga Escola Militar e a fundação do prédio para a Universidade do Brasil – que poderiam ser aproveitados depois de reforma.  O presidente da República era Afonso Penna. Seu Ministro da Indústria, Viação e Obras Públicas, Miguel Calmon Du Pin e Almeida, nomeou o engenheiro José Mattoso Sampaio Corrêa para chefiar a comissão construtora que estaria encarregada de produzir uma “pequenina cidade de palacetes no areal da Urca”,[1] onde se faria um inventário do Brasil com função pedagógica, para que os próprios brasileiros conhecessem o país. O cronista João do Rio fala sobre isso:
+ 
+A exposição vai abrir-se. É a grande mostra do Brasil. Cada estado expõe suas riquezas… e os tentamens da sua indústria o estrangeiro admirará, aproveitará… o brasileiro descobrirá. Estou a ver o pasmo… dos cariocas diante do ouro, das pedras, das madeiras, dos tecidos e dos aproveitamentos da natureza assombrosa pelo homem vagaroso. Isso é Paraná?… Isso é Amazonas? Ora, diga-me, onde fica o Mato Grosso? Quando o brasileiro descobrirá o Brasil?[2]
+ 
+A exposição, inaugurada no dia 11 de agosto, ficou aberta até 15 de novembro de 1908. De janeiro a junho, a área que hoje corresponde à Praia Vermelha e parte da Av. Pasteur era um canteiro de obras com muitos operários que fizeram surgir aqueles palácios em arquitetura efêmera que logo desapareceriam da vida carioca. Era como um sonho aquela cidadela iluminada pela luz elétrica, mas, como nos sonhos, uma alegria fugaz.
+O edifício da Universidade do Brasil foi adaptado para abrigar o Palácio dos Estados e a Escola Militar, depois da reforma, se transformou no Palácio das Indústrias, com um grande chafariz em sua fachada – o Chateau d’Eau.  Quatro estados e o Distrito Federal construíram seus próprios pavilhões. Os de Minas Gerais, de São Paulo, da Bahia e do Distrito Federal, opulentos, simbolizando o poder de suas elites, contrastavam com a simplicidade do Pavilhão de Santa Catariana, que apresentou aos visitantes uma casa de colono feita de madeira e em seu interior, 150 tábuas de diferentes espécies de árvores catarinenses.
+ 
+Musso & Cia. Pavilhão de Minas Gerais, Pavilhão da Bahia, Pavilhão de São Paulo, Pavilhão das Indústrias, Morro da Urca, Morro da Babilônia, 1908. Rio de Janeiro, RJ / Acervo Museu Histórico Nacional
+ 
+As demais unidades da federação ocuparam o Palácio dos Estados com seus produtos.  Portugal foi o único país estrangeiro a participar do certame com um pavilhão em estilo manuelino oferecido pelo governo brasileiro àquele país. Porém, os produtos portugueses excederam aquele espaço e Portugal construiu, então, um anexo a seu pavilhão onde foram expostas telas e esculturas de seus artistas.
+ 
+Musso & Cia. Pavilhão de Portugal, 1908. Rio de Janeiro, RJ / Acervo Museu Histórico Nacional
+ 
+ 
+Revista Kosmos, julho de 1908
+ 
+Algumas instituições também se fizeram representar, como a Fábrica de Tecidos Bangu, com seu pavilhão, à época descrito como “uma pequena mesquita mourisca”; a Sociedade Nacional de Agricultura com pavilhão em estilo renascença; a Fábrica de Chocolate Bhering, com o Pavilhão Café e Cacau. O Jardim Botânico participou com uma estufa envidraçada onde o público podia admirar várias espécies de plantas e ao seu redor, muitas mudas que, provavelmente, o público poderia adquirir.
+ 
+Musso & Cia. Pavilhão da Fábrica Bangu, 1908. Rio de Janeiro, RJ / Acervo Museu Histórico Nacional
+ 
+Os divertimentos não faltavam na exposição. Para quem gostava da arte dramática, havia dois teatros. O Teatro João Caetano, grande, inspirado no Teatro Municipal que estava prestes a ser inaugurado, era dirigido por Artur Azevedo. Havia também, por iniciativa do empresário Paschoal Segreto, um pequeno teatro de variedades, um cinematógrafo e uma pista de patinação. Pinturas, esculturas, desenhos de artistas nacionais foram expostos no Pavilhão das Artes Liberais.
+ 
+Augusto Malta. Theatro João Caetano, 1908. Rio de Janeiro, RJ / Acervo Museu Histórico Nacional
+ 
+Os amantes da música podiam assistir a concertos no Pavilhão Egípcio – nome este devido à estética egípcia daquele espaço dedicado às apresentações das orquestras. E para abrigar as bandas militares e civis, diversos coretos foram distribuídos pela exposição.
+ 
+Musso & Cia. Pavilhão Egípcio, 1908. Rio de Janeiro, RJ / Acervo Museu Histórico Nacional
+ 
+Os visitantes entravam na Exposição pela Porta Monumental.  Muito deles vindos de barca que saía do Cais Pharoux para o ancoradouro construído especialmente para recebê-los. Alguns serviços eram oferecidos nos pavilhões dos Correios e Telégrafo, da Assistência Municipal, da Imprensa e dos Bombeiros. O visitante também contava com opções entre quiosques de cerveja e de refrescos, além de cafés e restaurantes.
+No Pavilhão da Imprensa, Olavo Bilac editava o Jornal da Exposição, onde se encontrava a programação e as notícias do evento. Em suas crônicas, Bilac fazia críticas e elogios à exposição. Ele lembra em um de seus textos que sem a “fada de eletricidade”, as noites não seriam tão espetaculares!
+ 
+Musso & Cia. Jornal da Exposição, 1908. Rio de Janeiro, RJ / Acervo Museu Histórico Nacional
+ 
+Muitos fotógrafos registraram esse evento do início do século XX. Certamente, diversos visitantes levavam sua Kodak na bolsa, mas foi o trabalho de profissionais que chegou até os nossos dias, nos dando uma ideia do que foi a comemoração do centenário da abertura dos portos brasileiros às nações amigas.
+Na coleção Miguel Calmon do Museu Histórico Nacional, existem três álbuns da Exposição Nacional de 1908.  Um deles é do fotógrafo Augusto Malta, que parece feito especialmente para presentear o ministro Miguel de Calmon. Nele, temos acesso à imagem da área antes da construção dos pavilhões, mas a maioria das fotografias nos mostra a exposição em seu auge, com muita gente perambulando entre os edifícios. É visível o caráter único deste álbum, pois Augusto Malta recortou algumas fotografias em formas inusuais, muitas vezes privilegiando retratar o ministro Calmon e o presidente Afonso Pena.  Destacamos o balão que Augusto Malta clica com sua lente na hora em que ele é lançado do Pavilhão de São Paulo, bem como as fotografias noturnas nas quais a luz elétrica protagoniza as imagens…
+ 
+Augusto Malta. Vista geral da Exposição Nacional de 1908, 1908. Rio de Jsnrio, RJ / Acervo Museu Histórico Nacional
+ 
+O álbum de Luis Musso nos parece um trabalho encomendado pelo governo federal para o registro oficial do evento. As fotografias são todas da mesma dimensão e com muito poucas pessoas no entorno. São retratos dos prédios, como se o fotógrafo quisesse catalogar a arquitetura do evento. A capa traz o brasão da República, o que nos sugere seu caráter oficial.
+ 
+Musso & Cia. Exposição Nacional de 1908, 1908. Rio de Janeiro, RJ / Acervo Museu Histórico Nacional
+ 
+Revista Kosmos, julho de 1908
+ 
+Por fim, temos um álbum produzido pelo governo do Rio Grande do Sul, onde é possível ver os produtos exibidos por este estado.  A maioria absoluta das fotografias é de autoria de José Boscagli (com exceção da primeira foto, que é de Augusto Malta e apresenta o Palácio dos Estados, onde o Rio Grande do Sul expunha seus produtos). A importância deste álbum está na possibilidade dele nos oferecer uma ideia de como eram expostos os produtos na mostra.
+ 
+José Boscagli. Mostra da indústria agropecuária gaúcha. Destaca-se a indústria vinícola, de grãos e de conserva, 1908. Rio de Janeiro, RJ / Acervo Museu Histórico Nacional
+ 
+José Boscagli. Mostra da indústria de chapéus do Rio Grande do Sul. Destaque para a F. Rheingantz & Cia, 1908. Rio de Janeiro, RJ / Acervo Museu Histórico Nacional
+ 
+ 
+Cabe lembrar ainda fato curioso ocorrido na exposição, embora não registrado por nenhum fotógrafo: a visita da banda de música dos indígenas Bororo. Eles lá estiveram, tocaram no Pavilhão de São Paulo e no Teatro João Caetano. Mas não chegou até nós nenhuma imagem deles no evento. Quem quiser saber mais sobre o assunto, veja a postagem da Brasiliana Fotográfica: Novos acervos: Museu Histórico Nacional .
+ 
+A banda de música. No fundo à direita avista-se a estação Meteorológica, 1908. Mato Grosso / Acervo Museu Histórico Nacional
+ 
+*Maria Isabel Ribeiro Lenzi é Doutora em História pela UFF e historiadora do Arquivo Histórico do Museu Histórico Nacional (IBRAM/MTur)
+Nota da editora: esse artigo passou a integrar uma série e mudou de título em 1º de dezembro de 2025.
+ 
+Fontes:
+Levy, Ruth. Entre Palácios e Pavilhões. A arquitetura efêmera da Exposição Nacional de 1908. Rio de Janeiro: EBA Publicações, 2008.
+Neves, Margarida de Souza. As vitrines do progresso. Rio de Janeiro: PUC-RIo, FINEP, PNPq, 1986
+Pereira, Margareth da Silva. A Exposição Nacional de 1908 ou O Brasil visto por dentro. In: Pereira, Margareth da Silva (org). 1908, um Brasil em exposição. São Paulo: Caixa Cultural, 2011
+Mariani, Luiza Helena. Bilac, João do Rio e a Exposição Nacional de 1908. In: Pereira, Margareth da Silva (org). 1908, um Brasil em exposição. São Paulo: Caixa Cultural, 2011
+Revista Kosmos. Ano V, julho de 1908, nº 7
+ 
+[1] Revista Kosmos, ano  V, nº7, julho de 1908, p.1
+[2] Apud:  Levy  Ruth, Palácios e Pavilhões. A arquitetura efêmera da Exposição Nacional de  1908. p.73
+ 
+Nota da editora:
+Uma curiosidade: foi durante a Exposição Nacional de 1908 que o engenheiro fluminense Augusto Ferreira Ramos (1860 – 1939), um dos coordenadores do Pavilhão de São Paulo, teve a ideia de construir o Bondinho do Pão de Açúcar. Para saber mais sobre essa história, acesse o artigo A construção do Bondinho do Pão de Açúcar sob as lentes de Theresio Mascarenhas, de minha autoria, publicado na Brasiliana Fotográfica, em 27 de outubro de 2022.
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Links para os artigos sobre exposições nacionais ou internacionais publicados na Brasiliana Fotográfica
+O pintor Victor Meirelles e a fotografia na II Exposição Nacional de 1866, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 17 de agosto de 2017.Motr
+A festa do progresso: o Brasil na Exposição Continental, Buenos Aires, 1882, de autoria de Maria do Carmo Rainho, Arquivo Nacional, publicado em 29 de março de 2018.
+Série “O Rio de Janeiro desaparecido” II – A Exposição Nacional de 1908 na Coleção Família Passos, de autoria de Carla Costa, Museu da República, publicado em 5 de abril de 2018.
+Marc Ferrez, a Comissão Geológica do Império (1875 – 1878) e a Exposição Antropológica Brasileira no Museu Nacional (1882), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 29 de junho de 2018.
+Paris, 1889: o álbum da exposição universal, de autoria de Claudia B. Heynemann, Arquivo Nacional,publicado em 27 de julho de 2018.
+Café Brasil: o Império na Exposição Internacional de Filadélfia, de autoria de Claudia B. Heynemann, Arquivo Nacional, publicada em 4 de dezembro de 2019.
+Festa das Artes e da Indústria Segunda Exposição Nacional, 1866, de autoria de Claudia Beatriz Heynemann e Maria Elizabeth Brêa Monteiro, Arquivo Nacional, em 5 de abril de 2020.
+A apresentação do Departamento Nacional de Saúde Pública na Exposição Internacional do Centenário da Independência, de Ricardo Augusto dos Santos, Fiocruz, publicado em 13 de abril de 2020.
+A Exposição Internacional de Higiene de Dresden, de Cristiane d´Avila, Fiocruz, publicado em 5 de janeiro de 2022.
+Série 1922 – Hoje, há 100 anos VIII – A abertura da Exposição Internacional do Centenário da Independência do Brasil e o centenário da primeira grande transmissão pública de rádio no país, de autoria de Andrea C. T. Wanderley, publicado em 7 de setembro de 2022, na Brasiliana Fotográfica.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/11959` — `itens/20.500.12156.1_11959/`
+- `20.500.12156.1/11785` — `itens/20.500.12156.1_11785/`
+- `20.500.12156.1/11851` — `itens/20.500.12156.1_11851/`
+- `20.500.12156.1/11901` — `itens/20.500.12156.1_11901/`
+- `20.500.12156.1/11845` — `itens/20.500.12156.1_11845/`
+- `20.500.12156.1/11874` — `itens/20.500.12156.1_11874/`
+- `20.500.12156.1/11866` — `itens/20.500.12156.1_11866/`
+- `20.500.12156.1/11960` — `itens/20.500.12156.1_11960/`
+- `20.500.12156.1/11872` — `itens/20.500.12156.1_11872/`
+- `20.500.12156.1/11844` — `itens/20.500.12156.1_11844/`
+- `20.500.12156.1/11898` — `itens/20.500.12156.1_11898/`
+- `20.500.12156.1/11852` — `itens/20.500.12156.1_11852/`
+- `20.500.12156.1/11793` — `itens/20.500.12156.1_11793/`
+- `20.500.12156.1/11796` — `itens/20.500.12156.1_11796/`
+- `20.500.12156.1/6165` — `itens/20.500.12156.1_6165/`
+
diff --git a/wordpress/33291-dia-internacional-da-mulher-negra-latina-americana-e-caribenha-e-dia-nacional-de.md b/wordpress/33291-dia-internacional-da-mulher-negra-latina-americana-e-caribenha-e-dia-nacional-de.md
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+---
+id: 33291
+url: "https://brasilianafotografica.bn.gov.br/?p=33291"
+titulo: "Dia Internacional da Mulher Negra Latina Americana e Caribenha e Dia Nacional de Tereza de Benguela e da Mulher Negra"
+autor: "Andrea Wanderley"
+data: "2023-07-25T09:52:06+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/6240", "20.500.12156.1/4489", "20.500.12156.1/5154", "20.500.12156.1/6847"]
+fetched_at: "2026-09-10T10:15:04.761Z"
+---
+
+# Dia Internacional da Mulher Negra Latina Americana e Caribenha e Dia Nacional de Tereza de Benguela e da Mulher Negra
+
+A Brasiliana Fotográfica celebra o Dia Internacional da Mulher Negra Latina Americana e Caribenha e o Dia Nacional de Tereza de Benguela e da Mulher Negra com uma seleção de imagens de mulheres produzidas por Alberto Henschel (1827 – 1882), Antônio Lopes Cardoso (18? – ?), Augusto Stahl (1828 – 1877), Carneiro & Gaspar (Joaquim Feliciano Alves Carneiro (18? – 1887) e Gaspar Antonio da Silva Guimarães (18? – 1874) ), Felipe Augusto Fidanza (1844 – 1903), João Goston (18? – ?), Marc Ferrez (1843 – 1923), José Christiano Junior (1832 – 1902) e por fotógrafos ainda não identificados.
+Foi no encontro de Mulheres Negras Latino-Americanas e Caribenhas, realizado em Santo Domingo, na República Dominicana, em 1992, cujo objetivo era propor a união entre essas mulheres e denunciar o machismo e o racismo, que nasceu o Dia Internacional da Mulher Negra Latina Americana e Caribenha, reconhecido pela ONU no mesmo ano. Também durante o encontro foi estabelecida a criação da Rede de Mulheres Afro-latino-americanas, Afro-caribenhas e da Diáspora.
+ 
+Augusto Stahl. Mulher negra com manto, c. 1860. Recife, Pernambuco / Acervo IMS
+ 
+Acessando o link para a seleção de fotografias que foram selecionadas para homenagear o Dia Internacional da Mulher Negra Latina Americana e Caribenha e o Dia Nacional de Tereza de Benguela e da Mulher Negra disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Alberto Henschel. Mulher negra da Bahia, c. 1869. Salvador, Bahia / Convênio Instituto Moreira Salles – Leibniz-Institut für Länderkunde
+ 
+No Brasil, cerca de 22 anos depois, em 2 de junho de 2014, a Lei 12.987/2014, estabeleceu o dia 25 de julho como o Dia Nacional de Tereza de Benguela e da Mulher Negra. A partir da figura da matriarca quilombola Tereza de Benguela, a data tem o propósito de dar visibilidade ao papel da mulher negra na história brasileira. Tereza de Benguela viveu no século XVIII e foi escravizada pelo capitão Timóteo Pereira Gomes. Foi casada com José Piolho, que era o chefe do Quilombo Quariterê ou Quilombo do Piolho, na fronteira de Mato Grosso com a Bolívia, até ser assassinado por soldados do Estado. A partir de sua morte, a Rainha Tereza, como era chamada, assumiu a chefia do quilombo, que liderou por cerca de 20 anos, resistindo contra o governo escravocrata.
+Segundo os anais de Vila Bela da Santíssima Trindade, Tereza:
+Governava esse quilombo a modo de parlamento, tendo para o conselho uma casa destinada, para a qual, em dias assinalados de todas as semanas, entravam os deputados, sendo o de maior autoridade, tido por conselheiro, José Piolho, escravo da herança do defunto Antônio Pacheco de Morais. Isso faziam, tanto que eram chamados pela rainha, que era a que presidia e que naquele negral Senado se assentava, e se executavam à risca, sem apelação nem agravo.
+ 
+ Carneiro & Gaspar. Glicéria da Conceição Ferreira, 1870-1872 / Acervo Arquivo Nacional
+ 
+ 
+O GLOBO, 23 de julho de 2014
+ 
+Antes de ser homenageada com a criação da data, Tereza de Benguela já havia sido, no carnaval de 1994, tema do enredo Tereza de Benguela – Uma Rainha Negra no Pantanal. da Escola de Samba Unidos do Viradouro.
+ 
+
+Amor, amor, amor…
+Sou a viola de cocho dolente
+Vim da Pérsia, no Oriente
+Para chegar ao Pantanal
+Pela Mongólia eu passei
+Atravessei a Europa medieval
+Nos meus acordes vou contar
+A saga de Tereza de Benguela
+Uma rainha africana
+Escravizada em Vila Bela
+O ciclo do ouro iniciava
+No cativeiro, sofrimento e agonia
+A rebeldia, acendeu a chama da liberdade
+No Quilombo, o sonho de felicidade
+Ilê Ayê, Ara Ayê Ilu Ayê
+Um grito forte ecoou (bis)
+A esperança, no quariterê
+O negro abraçou
+No seio de Mato Grosso, a festança começava
+Com o parlamento, a rainha negra governava
+Índios, caboclos e mestiços, numa civilização
+O sangue latino vem na miscigenação
+A invasão gananciosa, um ideal aniquilava
+A rainha enlouqueceu, foi sacrificada
+Quando a maldição, a opressão exterminou
+No infinito uma estrela cintilou
+Vai clarear, oi vai clarear
+Um Sol dourado de Quimera (bis)
+A luz de Tereza não apagará
+E a Viradouro brilhará na nova era
+ 
+Esta ilustração do século 19 foi adotada por várias organizações do movimento negro para representar Tereza de Benguela
+ 
+Voltou a ser homenageada por uma escola de samba, a Barroca Zona Sul, de São Paulo, desta vez em 2020, com o enredo Benguela… A Barroca Clama a Ti, Tereza.
+ 
+
+Axé, Tereza
+Divina alteza, meu tambor foi te chamar
+Sua luz nessa avenida
+Incorpora a chama, Yabá
+Da magia irmanada por Odé
+Não sucumbe a fé, traz a luta de Angola
+E a corrente arrastou pro sofrimento
+Um sentimento, valentia quilombola
+Reluz o ouro que brota em seu chão
+Desperta ambição, mas há de raiar o dia
+Do Guaporé, ser voz de preservação
+Em plena floresta, auê, auê!
+Resistência na aldeia, Quariterê!
+Na mata, sou mestiço, guardião
+O meu grito de guerra é por libertação!
+O nosso canto não é apenas um lamento
+A coragem vem da alma de quem ergueu o parlamento
+Do castigo na senzala à miséria da favela
+O povo não se cala, ó Tereza de Benguela!
+Vem plantar a paz por essa terra
+A emoção que se liberta
+E a pele negra faz a gente refletir
+Nossa força, nossa luta
+De tantas Terezas por aí!
+No caminho do amanhã, Obatalá!
+É a luz que vem do céu, clareia!
+Vem de Benguela o clamor de liberdade
+Barroca pede tolerância e igualdade!
+ 
+Uma curiosidade: assim como a ilutração acima foi adotada para representar Tereza de Benguela, a fotografia abaixo, produzida por Alberto Henschel, em torno de 1870, é frequentemente associada a Luiza Mahin (18? – 18?), que viveu no século XIX e foi mãe do poeta, advogado e abolicionista Luís Gama (1831 – 1882), e liderança da Revolta dos Malês, um dos maiores levantes de escravizados promovidos no Brasil, em Salvador, em 1835. Para saber mais sobre essa história, acesse o artigo A mulher negra de turbante, de Alberto Henschel, de autoria de Aline Montenegro Magalhães e Maria do Carmo Rainho, publicada na Brasiliana Fotográfica, em 13 de maio de 2020.
+ 
+Alberto Henschel. Mulher de turbante, c. 1870. Rio de Janeiro, RJ / Acervo IMS
+ 
+Acesse aqui a pesquisa Visível e Invisível: A Vitimização de Mulheres no Brasil, realizado pelo Datafolha a pedido do Fórum Brasileiro de Segurança Pública e divulgada em 2 de março de 2023.
+ 
+Montagem feita por Januário Garcia (1943 – 2021) com fotos de sua autoria para o Dia Internacional da Mulher Negra Latina Americana e Caribenha de 2015
+ 
+
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+
+Fontes:
+BANDEIRA, Maria de Lourdes. Território Negro Em Espaço Branco. São Paulo : Brasiliense, 1988.
+LACERDA, Thays de Campos. Tereza de Benguela: identidade e representatividade negra. Revista de Estudos Acadêmicos de Letras.
+NUNES, Dimalice. Teresa de Benguela: a heroica rainha do Quilombo Quariterê. Aventura da História, 20 de novembro de 2019.
+O GLOBO
+Portal Geledés
+Site Fiocruz
+Site ONU Mulheres
+Site Senado Federal
+Site Sipad
+Site Universidade Federal do Recôncavo Baiano
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/6240` — `itens/20.500.12156.1_6240/`
+- `20.500.12156.1/4489` — `itens/20.500.12156.1_4489/`
+- `20.500.12156.1/5154` — `itens/20.500.12156.1_5154/`
+- `20.500.12156.1/6847` — `itens/20.500.12156.1_6847/`
+
diff --git a/wordpress/33333-o-automovel-club-do-brasil.md b/wordpress/33333-o-automovel-club-do-brasil.md
new file mode 100644
index 0000000..e0f8d59
--- /dev/null
+++ b/wordpress/33333-o-automovel-club-do-brasil.md
@@ -0,0 +1,69 @@
+---
+id: 33333
+url: "https://brasilianafotografica.bn.gov.br/?p=33333"
+titulo: "O Automóvel Club do Brasil"
+autor: "Andrea Wanderley"
+data: "2024-09-16T10:39:25+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/11569"]
+fetched_at: "2026-09-10T10:15:08.046Z"
+---
+
+# O Automóvel Club do Brasil
+
+O Automóvel Club do Brasil 
+ 
+Rua do Passeio; ao centro, o edifício do Automóvel Club, c. 1925. Rio de Janeiro, RJ / Acervo IMS
+ 
+O prédio do Automóvel Club do Brasil, localizado na Rua do Passeio, nº 90, no Centro do Rio de Janeiro, foi originalmente projetado, em meados do século XIX, por Manuel de Araújo Porto-Alegre (1806 – 1879), para ser uma residência.
+ 
+Manuel de Araújo Porto-Alegre
+ 
+Em 1845, o prédio foi alugado para abrigar o recém criado Cassino Fluminense, um dos mais importantes salões da capital do Império, palco dos principais bailes de corte (Diário do Rio de Janeiro, 24 de outubro de 1845, segunda coluna; Diário do Rio de Janeiro, 27 de maio de 1846, terceira coluna). Com o sucesso do empreendimento, em 1854, o imóvel foi comprado em definitivo, passando por uma reforma realizada pelo arquiteto Luís Hoske (? – ?), que a dotou de dois pavimentos, com linhas neoclássicas (Jornal do Commercio, 30 de janeiro de 1855, sexta coluna).
+ 
+Ação do Cassino Fluminense
+ 
+O baile inaugural do Cassino Fluminense, realizado em 12 de setembro de 1860, contou com a presença de dom Pedro II (1825 – 1891).
+ 
+Baile inaugural do Cassino Fluminense realizado em 12 de setembro de 1860 / Novo e completo índice cronológico da História do Brasil, 1857
+ 
+Cerca de um ano após a Proclamação da República, ocorrida em 15 de novembro de 1889, o Congresso, durante as sessões preparatórias da Assembleia Constituinte Republicana, se instalou no Cassino Fluminense.
+Em 1900, o imóvel passou a sediar o Club dos Diários, formado pelos pouquíssimos proprietários de carros do Rio de Janeiro. Em 1910, iniciou-se uma reforma sob o comando do arquiteto francês Joseph Gire (1872 – 1933), executada pela construtora Januzzi, responsável tanto pela instalação da port-couche metálica na portada principal assim como pela ornamentação de estilo eclético.
+Em 1907, foi fundado o Automóvel Club do Brasil,  instalado no antigo Clube Guanabara, na Praia de Botafogo. Era presidido por Fernando Mendes de Almeida (1845 – 1921), redator-chefe do Jornal do Brasil (Jornal do Brasil, 22 de maio de 1907, segunda coluna).
+ 
+Fon-Fon, 1°de junho de 1907
+ 
+Em 1924, o Club dos Diários se fundiu com o Automóvel Club do Brasil (O Paiz, 9 de setembro de 1924, primeira coluna). Novas reformas foram realizadas por Gire no prédio da Rua do Passeio – a construção do Jardim de Inverno e seus salões laterais (Automóvel Club – RJ, dezembro de 1925). E o edifício passou a sediar o Automóvel Club do Brasil.
+O prédio foi palco do último comício do ex-presidente João Goulart (1919 – 1976), em 30 de março de 1964, considerado por historiadores como um dos estopins do golpe militar (Jornal do Brasil, 31 de março de 1964). Por sua importância arquitetônica, cultural e histórica, foi tombado pelo Instituto Estadual do Patrimônio Cultural, em 24 de julho de 1965.
+Durante os anos 1990 ainda assumiu a função de posto do Detran-RJ. Em 1994, foi alugado para a instalação, no imóvel, do Bingo Imperial (Jornal do Brasil, 17 de dezembro de 1994). A população protestou e o imóvel e seu patrimônio móvel foram leiloados e arrematados pelo município do Rio de Janeiro que, em 2003, desativou o bingo e o imóvel voltou a ser administrado pelo Automóvel Club do Brasil. No ano seguinte, o edifício foi esvaziado e desde então encontra-se fechado.
+ 
+Automóvel-Club, abril de 1925
+ 
+Em 2023, foi anunciado que em parceria com a prefeitura do Rio, o Instituto Alberto Luiz Coimbra de Pós-Graduação e Pesquisa de Engenharia (Coppe), da UFRJ, vai instalar no histórico Automóvel Club do Brasil, na Lapa, um projeto sobre o tema do momento: a inteligência artificial (O GLOBO, 16 de julho de 2023).
+O prédio do Automóvel Club está passando por uma  reforma de revitalização de suas instalações desde 2023 e segundo o secretário municipal de Desenvolvimento Urbano e Econômico, Chicão Bulhões, há negociações avançadas para que o edifício sedie a nova Bolda de Valores do Rio de Janeiro (Diário do Rio, 3 de julho de 2024).
+ 
+Veja aqui diversas fotos do interior do Automóvel Club do Brasil.
+ 
+ 
+
+ 
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes: 
+Diário do Rio
+Hemeroteca Digital da Biblioteca Nacional
+Jornal Extra, 15 de julho de 2021
+Site Cointelegraph Brasil
+Site Governo do Rio de Janeiro – Patrimônio
+Site Inepac
+Site Instituto Rio Patrimônio da Humanidade
+Site Urbe Carioca
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/11569` — `itens/20.500.12156.1_11569/`
+
diff --git a/wordpress/33397-dia-internacional-das-pessoas-idosas-e-dia-nacional-do-idoso.md b/wordpress/33397-dia-internacional-das-pessoas-idosas-e-dia-nacional-do-idoso.md
new file mode 100644
index 0000000..3baae74
--- /dev/null
+++ b/wordpress/33397-dia-internacional-das-pessoas-idosas-e-dia-nacional-do-idoso.md
@@ -0,0 +1,61 @@
+---
+id: 33397
+url: "https://brasilianafotografica.bn.gov.br/?p=33397"
+titulo: "Dia Internacional das Pessoas Idosas e Dia Nacional do Idoso"
+autor: "Andrea Wanderley"
+data: "2023-10-01T10:59:51+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/5620"]
+fetched_at: "2026-09-10T10:15:11.223Z"
+---
+
+# Dia Internacional das Pessoas Idosas e Dia Nacional do Idoso
+
+O dia 1º de outubro é o Dia Internacional das Pessoas Idosas e também o Dia Nacional do Idoso. Para homenagear as datas, a Brasiliana Fotográfica destaca a imagem As cantigas do vovô, produzida, em torno de 1900, pelo fotógrafo amador e fotoclubista gaúcho Lunara (1864 – 1937). O registro mostra um idoso cantando e tocando violão alegremente para duas crianças, que o olham com admiração e atenção. A foto exprime a ternura de um momento de interação entre um vovô e seus netos, entre a terceira idade e a infância, nos envolvendo numa atmosfera amorosa, respeitosa e, até, nostálgica.
+ 
+Lunara, As cantigas do vovô, c. 1900. Porto Alegre, Rio Grande do Sul / Acervo IMS
+ 
+A fotografia faz parte do álbum Vistas de Porto Alegre – Fotografias Artísticas, produzido pelos Editores Krahe & Cia com 20 imagens assinadas por Lunara, um dos pseudônimos de Luiz Nascimento Ramos – formado a partir das primeiras sílabas de seus três nomes e que ele usava para expor suas fotos e também para participar de concursos fotográficos. Ele foi um participante ativo da vida cultural e econômica de Porto Alegre e adotou a fotografia como um hobby.
+As imagens deste álbum fotográfico nos revelam uma Porto Alegre bucólica de fins do século XIX, início do século XX. Segundo  Denise Burges Stumvoll, mestre em Artes Visuais pela Universidade Federal do Rio Grande do Sul e autora da dissertação Fotografia e aproximações com a arte no início do século xx : um olhar para as narrativas visuais de Lunara, o álbum Vistas de Porto Alegre:
+…propõe um percurso realizado pelo fotógrafo, em que somos conduzidos pelas bordas e margens da cidade, bem como aos lugares e às pessoas que ali viveram, como se interessasse, ao autor das imagens, produzir uma metáfora da marginalidade, social e cultural, revelando o que geralmente ficava à sombra da memória visual sobre a modernidade na paisagem urbana.
+ 
+Acessando o link para as fotografias de Lunara disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas. 
+ 
+Alguns dos temas mais abordados nas fotografias de Lunara foram os ex-escravizados, cenas de família, os carreteiros, as aguadeiras e os viajantes. Seus registros eram influenciados pelo movimento pictorialista internacional, movimento que se desenvolveu a partir do surgimento dos fotoclubes e que caracterizava-se pelo resultado da fotografia, que se aproximava da pintura. Em suas imagens, Lunara, com um olhar artístico que acentuava aspectos bucólicos, mostrava seu universo familiar com sensibilidade e humor.
+ 
+Um pouco sobre o Dia Internacional das Pessoas Idosas e do Dia Nacional do Idoso
+ 
+O dia 1º de outubro foi designado como o Dia Internacional das Pessoas Idosas pela Assembleia das Nações Unidas, em 14 de dezembro de 1990. Isso foi precedido por iniciativas como o Plano de Ação Internacional de Viena sobre o Envelhecimento, que foi adotado pela Assembleia Mundial sobre o Envelhecimento de 1982 e endossado mais tarde naquele ano pela Assembleia Geral da ONU. Em 1991, a Assembléia Geral adotou os Princípios das Nações Unidas para Pessoas Idosas (resolução 46/91). Em 2002, a Segunda Assembleia Mundial sobre o Envelhecimento adotou o Plano de Ação Internacional de Madri sobre o Envelhecimento, para responder às oportunidades e desafios do envelhecimento da população no século XXI e promover o desenvolvimento de uma sociedade para todas as idades (Site da ONU).
+Em 1º de outubro de  2003, foi criado, no Brasil, o Estatuto do Idoso, pela Lei nº 10.741 para viabilizar políticas públicas às pessoas idosas. Três anos depois, em 2006, a Lei nº 11.433 instituiu, no país, o Dia Nacional do Idoso. Anteriormente, a data, estabelecida, em 1999, pela Comissão pela Educação, do Senado Federal, era comemorada no dia 27 de setembro.
+ 
+Art. 1º Fica instituído o Dia Nacional do Idoso, a ser celebrado no dia 1º de outubro de cada ano.
+Parágrafo único. Os órgãos públicos responsáveis pela coordenação e implementação da Política Nacional do Idoso ficam incumbidos de promover a realização e divulgação de eventos que valorizem a pessoa do idoso na sociedade.
+Art. 2º Esta Lei entra em vigor na data de sua publicação.
+Brasília, 28 de dezembro de 2006; 185º da Independência e 118º da República.
+ 
+A Assembleia Geral da ONU proclamou, em 14 de dezembro de 2020, os anos entre 2021 e 2030 como a Década do Envelhecimento Saudável das Nações Unidas, uma colaboração global, alinhada aos Objetivos de Desenvolvimento Sustentável, que reúne governos, sociedade civil, agências internacionais, profissionais, academia, mídia e iniciativa privada, em prol de melhorias para a vida dos idosos, de suas famílias e das comunidades onde vivem (Biblioteca Virtual em Saúde).
+A composição da população mundial mudou significativaamente nas últimas décadas e a expectativa de vida em todo o mundo subiu de 46 para 68 anos. Mais de 8% da população tinha 65 anos ou mais em 2020. Em 2050, a população de idosos deverá atingir mais de 1,5 bilhão de pessoas, sendo que 80% delas viverão em países de baixa e média renda. O Dia Internacional das Pessoas Idosas tem como objetivo prestar uma homenagem aos idosos e também conscientizar e sensibilizar a sociedade sobre as necessidades destas pessoas.
+Esta foi a mensagem do secretário-geral das Nações Unidas, o português António Manuel de Oliveira Guterres (1947-) na última celebração do Dia Internacional de Pessoas Idosas, em 1º de outubro de 2022:
+Neste Dia Internacional das Pessoas Idosas, focamos a atenção na resiliência de mais de mil milhões de mulheres e homens idosos num mundo em mudança.
+Os últimos anos testemunharam reviravoltas dramáticas – e as pessoas idosas estão muitas vezes no epicentro das crises. Eles são particularmente vulneráveis ​​a uma série de desafios, incluindo a pandemia da Covid -19, o agravamento da crise climática, a proliferação de conflitos e a pobreza crescente.
+No entanto, perante estas ameaças, os idosos inspiraram-nos com a sua notável resiliência. Em 2030, 1,4 mil milhões de pessoas terão pelo menos 60 anos.
+A nossa tarefa enquanto sociedades e enquanto comunidade global é enfrentar os desafios da longevidade – e promover o seu potencial. Devemos promover a inclusão social, económica e política de todas as pessoas em todas as idades.
+Esta promessa está consagrada nos Objetivos de Desenvolvimento Sustentável. Aprendizagem ao longo da vida, proteção social forte, cuidados de saúde a longo prazo acessíveis e de qualidade, redução do fosso digital, apoio intergeracional, dignidade e respeito são essenciais.
+Os idosos são uma tremenda fonte de conhecimento e de experiência. Devemo-nos esforçar para garantir o seu envolvimento ativo, participação plena e contribuições essenciais.
+Juntos, vamos construir sociedades mais inclusivas e amigas dos idosos e um mundo mais resiliente.
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+Site Biblioteca Virtual em Saúde – Ministério da Saúde
+Site ONU
+Site Organização Pan-Americana da Saúde – Opas
+WANDERLEY, Andrea. Lunara (1864 – 1937), um fotógrafo amador e fotoclubista de Porto Alegre in Brasiliana Fotográfica, 5 de setembro de 2018.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/5620` — `itens/20.500.12156.1_5620/`
+
diff --git a/wordpress/33411-o-dia-internacional-da-menina-com-registros-de-chichico-alkmin-e-felipe-augusto-.md b/wordpress/33411-o-dia-internacional-da-menina-com-registros-de-chichico-alkmin-e-felipe-augusto-.md
new file mode 100644
index 0000000..a654f78
--- /dev/null
+++ b/wordpress/33411-o-dia-internacional-da-menina-com-registros-de-chichico-alkmin-e-felipe-augusto-.md
@@ -0,0 +1,87 @@
+---
+id: 33411
+url: "https://brasilianafotografica.bn.gov.br/?p=33411"
+titulo: "O Dia Internacional da Menina com registros de Chichico Alkmin e Felipe Augusto Fidanza"
+autor: "Andrea Wanderley"
+data: "2023-10-11T01:48:11+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/5228", "20.500.12156.1/5230", "20.500.12156.1/4380"]
+fetched_at: "2026-09-10T10:15:14.773Z"
+---
+
+# O Dia Internacional da Menina com registros de Chichico Alkmin e Felipe Augusto Fidanza
+
+Para celebrar o Dia Internacional da Menina, declarada pela Assembleia das Nações Unidas, em 19 de dezembro de 2011, a partir da Resolução 66/170, e comemorada pela primeira vez, em 11 de outubro de 2012, a Brasiliana Fotográfica selecionou três imagens. Duas foram produzidas pelo fotógrafo mineiro Chichico Alkmin (1886 – 1978) e uma é de autoria do português Felipe Augusto Fidanza (1844 – 1903).
+ 
+Chichico Alkmin (1886 – 1978)
+ 
+Chichico Alkmin. Ceci Moreira da Silva, c, 1920. Diamantina, MG / Acervo IMS
+ 
+Autodidata, Chichico Alkmin (1886 – 1978) foi o primeiro cronista visual de Diamantina, em Minas Gerais,  pioneiro da fotografia de estúdio na cidade. Atuou na profissão, que adotou em 1907, até 1955. Seu primeiro ateliê foi inaugurado em 1912. A obra de Chichico, que compreende imagens da arquitetura diamantinense, sua religiosidade, costumes, ritos e retratos de seus habitantes, é uma das principais referências da memória visual de Minas Gerais.
+Chichico retratou a burguesia e também os trabalhadores ligados ao pequeno garimpo, ao comércio e à indústria. Produziu imagens de casamentos, batizados, funerais, festas populares e religiosas, paisagens e cenas de rua. De 1955, quando parou de  fotografar, até 1978, ano de sua morte, continuou cuidando de seu acervo, que guardava no porão de sua casa.
+ 
+Detalhe da foto Retrato de família s/d, de Chichico Alkmin. Diamantina, MG / Acervo IMS
+ 
+Felipe Augusto Fidanza (1844 – 1903)
+ 
+Até hoje pouco se sabe da vida de Felipe Augusto Fidanza (1844 – 1903) antes de sua chegada ao Brasil, em fins da década de 1860. Filho de Fernando Gabriel Fidanza e Maria de Jesus Fidanza, nasceu em 4 de setembro de 1844, em Lisboa. Foi batizado em 5 de outubro de 1844, na paróquia/freguesia de São José, em Lisboa. Era bisneto e neto dos atores italianos Raimondo e Giulio Fidanza, respectivamente, que participaram da cena teatral de Portugal. Raimondo, que também era bailarino, foi empresário teatral na Ilha da Madeira.
+Em 1º de janeiro de 1867, o Diario do Gram-Pará publicou o anúncio : “PHOTOGRAPHIA, ao largo das Mercez , nº. 5, Fidanza & Com”, o que prova que nessa época ele já estava estabelecido no Pará. Ainda em 1867, Fidanza realizou seu primeiro trabalho de importância nacional: o registro dos preparativos para a recepção da comitiva de dom Pedro II (1825 – 1891). O imperador foi ao Pará para participar das solenidades da abertura dos portos da Amazônia ao comércio exterior. Segundo o pesquisador Pedro Vasquez, com esse trabalho, Fidanza documentou de forma inovadora e antecipatória o espírito jornalístico.
+Destacou-se por sua produção de retratos e também pelo registro das paisagens e documentações do início do desenvolvimento urbano de Belém e de Manaus, ocasionado pela riqueza do ciclo da borracha.  Essas imagens de paisagens urbanas foram divulgadas por álbuns fotográficos encomendados pelos governos do Pará e do Amazonas. A modernização de Belém e do Pará foram registradas nas coleções Álbum do Pará (1899) e Álbum de Belém. O Álbum do Amazonas (1902), cujo contrato havia sido assinado por Fidanza para o fornecimento de 6 mil álbuns ilustrados destinados à propaganda para o desenvolvimento daquele estado, foi impresso em Paris sem a supervisão do fotógrafo e continha várias imperfeições, o que gerou uma série de comentários negativos sobre seu caráter. Aparentemente este fato pode ter sido uma das causas de seu suicídio, noticiado pelo Jornal do Brasil de 31 de janeiro de 1903 : Atirou-se ao mar, de bordo do vapor Christiannia, em viagem de Lisboa para esta capital (Belém), o conhecido photographo Felippe Fidanza ( Jornal do Brasil, 31 de janeiro de 1903, na primeira coluna ). Ele havia se jogado ao mar na altura da ilha da Madeira quando retornava de Portugal com a mulher e os filhos.
+ 
+Felipe Augusto Fidanza. Menina indígena de povo não identificado, c. 1873. Pará / Convênio Instituto Moreira Salles – Leibniz-Institut für Länderkunde
+ 
+O Dia Internacional da Menina
+ 
+Como já mencionado, o Dia Internacional da Menina foi declarado pela Assembleia das Nações Unidas, em 19 de dezembro de 2011, e comemorado pela primeira vez, em 11 de outubro de 2012. Tem a intenção de chamar a atenção para as demandas e necessidades de meninas em diferentes países e de defender que elas tenham assegurados seus direitos de desenvolvimento, além de contribuir para a realização das mudanças necessárias para que elas vivam suas infâncias em igualdade com os meninos, focando no enfrentamento de desafios e na promoção de sua emancipação.
+Dois dias antes da primeira celebração do Dia Internacional da Menina, a menina paquistanesa Malala Yousafzai (1997-) sofreu uma tentativa de assassinato por seu ativismo na defesa dos direitos humanos das mulheres e do acesso à educação no nordeste do Paquistão, onde os talibãs impedem que as jovens frequentem escolas. O atentado provocou um movimento de apoio nacional e internacional  à causa de Malala. No ano seguinte, em 11 de outubro de 2013, ela participou de uma cerimônia de celebração do Dia Internacional da Menina, em Washington D.C., capital dos Estados Unidos (Correio Braziliense, 12 de outubro de 2013). Malala tornou-se a mais jovem ganhadora do Prêmio Nobel, quando, em 2014, conquistou o da Paz.
+
+ 
+A menina Malala Yousafzai, uma das 100 personalidades mais influentes do mundo / Time, 29 de abril de 2013
+ 
+Dados levantados pelo Fundo das Nações Unidas para a Infância (UNICEF) apontam que meninas de 5 a 14 anos passam 160 milhões de horas por dia a mais em atividades domésticas não remuneradas em comparação a meninos na mesma faixa etária.
+Site Nações Unidas Brasil
+ 
+Assista aqui a mensagem do secretário-geral da ONU, o português António Manuel de Oliveira Guterres (1949-), no Dia Internacional das Meninas, em 2022.
+ 
+
+ 
+Você sabia?
+Quase 1 em cada 5 meninas ainda não conclui o ensino secundário inferior e quase 4 em cada 10 meninas não
+conclui o ensino secundário. 
+
+Cerca de 90 por cento das meninas adolescentes e mulheres jovens não utilizam a Internet nos países de baixos
+rendimentos, enquanto os seus pares do sexo masculino têm duas vezes mais probabilidades de estarem online. 
+
+Globalmente, as meninas entre os 5 e os 14 anos gastam 160 milhões de horas a mais todos os dias em cuidados
+não remunerados e trabalho doméstico do que os rapazes da mesma idade. 
+
+As meninas adolescentes continuam a ser responsáveis ​​por 3 em cada 4 novas infecções por HIV 
+entre adolescentes. 
+
+Quase 1 em cada 4 meninas adolescentes casadas/em união de fato com idades compreendidas entre os 15 e os 19
+anos sofreu violência física ou sexual por parte de um parceiro íntimo pelo menos uma vez na vida. 
+
+Mesmo antes da pandemia da COVID-19, 100 milhões de meninas corriam o risco de casamento infantil na próxima
+década. E agora, nos próximos dez anos, mais 10 milhões de meninas em todo o mundo correrão o risco de casar
+ainda crianças devido à pandemia da COVID-19.
+Site United Nations
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+FERRAZ, Eucanaã; WANDERLEY, Andrea. O cronista visual de Diamantina: Chichico Alkmim, fotógrafo (1886 – 1978) in Brasiliana Fotográfica, 22 de agosto de 2017.
+Hemeroteca Digital da Biblioteca Nacional
+Site Lunetas
+Site Nações Unidas Brasil
+Site United Nations
+WANDERLEY, Andrea. O suicídio do fotógrafo Felipe Augusto Fidanza (1844 – 1903) in Brasiliana Fotográfica, 31 de janeiro de 2016.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/5228` — `itens/20.500.12156.1_5228/`
+- `20.500.12156.1/5230` — `itens/20.500.12156.1_5230/`
+- `20.500.12156.1/4380` — `itens/20.500.12156.1_4380/`
+
diff --git a/wordpress/33447-serie-os-arquitetos-do-rio-de-janeiro-vi-o-clube-naval-e-os-arquitetos-tommaso-g.md b/wordpress/33447-serie-os-arquitetos-do-rio-de-janeiro-vi-o-clube-naval-e-os-arquitetos-tommaso-g.md
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+---
+id: 33447
+url: "https://brasilianafotografica.bn.gov.br/?p=33447"
+titulo: "Série “Os arquitetos do Rio de Janeiro” VI – O Clube Naval e os arquitetos Tommaso G. Bezzi (1844 – 1915) e Heitor de Mello (1875 – 1920)"
+autor: "Andrea Wanderley"
+data: "2024-05-06T08:45:28+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/10527"]
+fetched_at: "2026-09-10T10:15:18.374Z"
+---
+
+# Série “Os arquitetos do Rio de Janeiro” VI – O Clube Naval e os arquitetos Tommaso G. Bezzi (1844 – 1915) e Heitor de Mello (1875 – 1920)
+
+A partir de uma imagem produzida pelo fotógrafo Marc Ferrez (1843 – 1923), em torno de 1910, a Brasiliana Fotográfica vai contar um pouco da história do Clube Naval e traçar um pequeno perfil do arquiteto italiano Tommaso Gaudenzio Bezzi (1844 – 1915), autor do projeto de sua sede atual. É o sexto artigo da série Os arquitetos do Rio de Janeiro. O Clube Naval foi fundado, em 12 de abril de 1884, pelo então capitão de fragata e futuro almirante Luiz Philippe Saldanha da Gama (1846 – 1895), que foi seu primeiro presidente. Sua primeira sede ficava na rua da Misericórdia, nº 35 (Gazeta de Notícias, 20 de março de 1884, primeira coluna; Gazeta de Notícias, 15 de abril de 1884, segunda coluna).
+ 
+O GLOBO, 11 de junho de 1984
+ 
+Em 11 de junho de 1900, a sede foi transferida para a Rua D. Manuel, nº 15, na Praça XV, em um terreno que havia sido doado pelo presidente Deodoro da Fonseca (1827 – 1892) (O Paiz, 12 de junho de 1900, quarta coluna).
+ 
+Revista da Semana, 17 de junho de 1900
+ 
+Por ocasião da abertura da Avenida Central, hoje Rio Branco, o Governo Federal doou um terreno para a construção da atual sede do Clube Naval. Sua pedra fundamental foi lançada em 1905 e ela foi inaugurada, em 11 de junho de 1910, na Avenida Rio Branco, nº 180, na esquina com a Avenida Almirante Barroso, endereço nobre e tradicional do Centro do Rio de Janeiro. Em estilo neo-clássico, o prédio integra o corredor cultural da cidade e foi tombado definitivamente pelo Instituto Estadual do Patrimônio Cultural, em 18 de novembro de 1987. É, com os prédios do Theatro Municipal, do antigo antigo Supremo Tribunal Federal, do Museu de Belas Artes e da Biblioteca Nacional, uma das edificações, na Avenida Rio Branco, remanescentes do início do século XX.
+
+Marc Ferrez. Clube Naval; à esquerda, os fundos do Teatro Municipal e, ao fundo, o Morro de Santo Antônio, c. 1910. Rio de Janeiro, RJ / Acervo IMS
+ 
+
+O engenheiro e arquiteto responsável pela construção do novo edifício do Clube Naval foi Heitor de Mello (1875 – 1920), inicialmente de acordo com a planta projetada pelo italiano Tommaso Gaudenzio Bezzi (1844 – 1915) (O Paiz, 14 de fevereiro de 1907, quarta coluna). Heitor já foi tema do artigo Série O Rio de Janeiro desaparecido XXVII e Série Os arquitetos do Rio de Janeiro V – O Jockey Club e o Derby Club, na Avenida Rio Branco e o arquiteto Heitor de Mello (1875 – 1920), publicada no portal em 15 de janeiro de 2024.
+ 
+ 
+Tommaso Bezzi por José Canella Filho / Museu Paulista da USP
+ 
+Heitor de Mello (1875 – 1920) / Arquitetura no Brasil
+ 
+Ao longo da construção, os dois arquitetos se desentenderam. Bezzo acusou Heitor de alterar seu projeto, do qual seria apenas o empreiteiro. Heitor de Mello respondeu ressaltando que, pelo contrato, além de empreiteiro, ele seria o responsável pela ornamentação da fachada. No artigo da Gazeta de Notícias sobre a inauguração, foi mencionada a realização de um concurso de projetos que teria sido vencido por Heitor (O Paiz, 9 de novembro de 1909; O Paiz, 11 de novembro de 1909; Gazeta de Notícias, 11 de junho de 1910).  Helios Seelinger (1878 – 1965) é o autor de pinturas nas paredes do Salão Nobre, decorado em estilo Luis XV. No teto, encontra-se um belo vitral da Casa Formenti.
+ 
+ 
+Gazeta de Notícias, 11 de junho de 1910
+ 
+Inauguração da atual sede do  Clube Naval, em 11 de junho de 1910 / Fon-Fon!, 18 de junho de 1910
+ 
+Em 1928, um quinto andar foi acrescido à edificação e, em 1939, o sexto andar foi concluído. Em todos os andares do Club Naval encontram-se obras de arte e um importante acervo de móveis e objetos.
+ 
+Breve perfil de Tommaso Gaudenzio Bezzi (1844 – 1915)
+ 
+O tenente-coronel, engenheiro e arquiteto Tommaso Gaudenzio Bezzi / Fon-Fon!, 29 de maio de 1915
+ 
+Bezzi formou-se engenheiro, em Turim, onde nasceu em 18 de janeiro de 1844. Foi voluntário, nas campanhas de Giuseppe Garibaldi (1807 – 1882) para a unificação italiana. Também serviu como oficial do regimento de cavalaria do exército regular, comandado pelo Duque D’Aosta (1845 – 1890), tendo se destacado na Batalha de Custosa contra os austríacos. Foi ferido em combate diversas vezes e foi condecorado com medalhas pelas campanhas da Itália de 1860-1861-1866. Foi condecorado por bravura com uma medalha de prata. Em 1868, viajou para o Uruguai e Argentina.
+Seu primeiro projeto no Brasil, para onde veio, na década de 1870, foi o edifício da alfândega de Fortaleza, realizado a pedido do governo imperial, em 1874 (Diário do Rio de Janeiro, 14 de abril de 1874, primeira coluna; Jornal do Commercio, 19 de julho de 1877, quarta coluna; A Constituição (CE), 20 de novembro de 1874, penúltima coluna). Começou a trabalhar como engenheiro-arquiteto no Rio de Janeiro, onde, inicialmente, ficou hospedado na casa do Visconde do Rio Branco (1819 – 1880). Casou-se, em 26 de janeiro de 1876,  com Dona Francisca Nogueira da Gama Carneiro de Bellens, de uma nobre família brasileira (Diário do Rio de Janeiro, 10 de fevereiro de 1876, quinta coluna). A partir dessas relações entrou para o círculo íntimo do imperador Pedro II. O casal residia na Rua Bambina, em Botafogo.
+Em 1876, foi designado para fiscalizar as obras da ponte da alfândega de Belém do Pará (A Constituição (PA), 19 de agosto de 1876, última coluna).
+Na Exposição Antropológica Brasileira, inaugurada em 29 de julho de 1882, no Museu Nacional, no Rio de Janeiro, na Sala Gabriel Soares, antropológica e arqueológica, exposição de  produtos da arte plumária brasileira, adornos, tecidos e vestes de muitas tribos do Brasil, além das coleções arqueolíticas do Museu Nacional, de Amália Machado Cavalcanti de Albuquerque e dos senhores  Joaquim Monteiro Caminhoá (1836 – 1896), João Barbosa Rodrigues (1842 – 1909) e Tommaso G. Bezzi (1844 – 1915) (A Constituição (PA), 16 de agosto de 1882, terceira coluna). A mostra durou três meses e teve muito sucesso, com um público de mais de mil visitantes. O fotógrafo Marc Ferrez (1843 – 1923), autor da imagem do Clube Naval publicada neste artigo, produziu uma série de registros de objetos e aspectos da vida indígena durante a exposição e algumas fotografias de sua autoria, realizadas quando ele integrou a Comissão Geológica do Império (1875 – 1878), chefiada pelo geólogo canadense Charles Frederick Hartt (1840 – 1878), foram expostas.
+Ainda em 1882, a Comissão para o Monumento à Independência Brasileira, futuro Museu Ipiranga, sede do Museu Paulista, cujo projeto vencedor foi o de Bezzi, o qualificou como arquiteto residente na Corte de reconhecido merecimento artístico (Correio Paulistano, 11 de dezembro de 1882, terceira coluna). Em 1883, passou a residir em São Paulo, na rua do Senador Florencio de Abreu, 43 (Correio Paulistano, 6 de julho de 1883, última coluna). Também em São Paulo, projetou o ajardinamento da Praça da República, realizado entre 1902 e 1904 (Arquivo Histórico de São Paulo); e o Velódromo de São Paulo, inaugurado na década de 1890.
+No Rio de Janeiro, além do Clube Naval, Bezzi projetou diversos prédios e residências, dentre eles o antigo Banco do Comércio, na Rua 1º de Março, e reformou o Edifício Itamarati, antiga sede do Ministério das Relações Exteriores, tendo construído sua ala esquerda.
+Bezzi fundou algumas associações de fundo patriótico ligadas à Itália, dentre elas a Sociedade dos Combatentes Italianos pela unidade e pela independência da Itália, a Societa Veterani e Reduci e a Sociedade União Beneficente. Foi eleito membro honorário do Instituto de Engenheiros Civis de Londres, agraciado como Oficial da Legião de Honra da França e com o Hábito da Ordem Militar de São Maurício e São Lázaro, pelo governo da Itália. Era Comendador da Coroa Italiana e o representante no Brasil da Cruz Vermelha italiana (Jornal do Brasil, 30 de maio de 1915, sexta coluna).
+Faleceu em 23 de maio de 1915, no Rio de Janeiro. Residia na Rua Cosme Velho, 57 (O Paiz, 24 de maio de 1915, terceira coluna; Correio da Manhã, de maio de 1915, penúltima coluna).
+ 
+O Paiz, 28 de maio de 1915
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+BRUNA, Paulo. Museu Paulista: um restauro complexo. Sessão Temática: novas fronteiras e novos pactos para pesquisas e projetos situados em áreas de preservação e patrimônio Cultural. Encontro da Associação Nacional de Pesquisa e Pós-Graduação em Arquitetura e Urbanismo Porto Alegre, 25 a 29 de julho de 2016.
+Hemeroteca Digital da Biblioteca Nacional
+Ipatrimônio
+PARETO JUNIOR, Lindener. O cotidiano em construção: os “práticos licenciados” em São Paulo (1893-1933). 2011. Dissertação (Mestrado em História e Fundamentos da Arquitetura e do Urbanismo) – Faculdade de Arquitetura e Urbanismo, Universidade de São Paulo, São Paulo, 2011.
+Revista do Clube Naval, jan/fev/mar de 2022, nº 401, página 7
+SALMONI, Anita; DEBENEDETTI, Emma. Arquitetura Italiana em São Paulo. São Paulo: Perspectiva, 2007.
+Site Arquitetura Italiana no Estado de São Paulo
+Site da Enciclopédia Treccani
+Site Clube Naval
+ 
+Outros artigos da série Os arquitetos do Rio de Janeiro
+ 
+Série “Os arquitetos do Rio de Janeiro” I – Porto D´Ave e a moderna arquitetura hospitalar, de autoria de Cristiane d´Avila – Casa de Oswaldo Cruz / Fiocruz, publicado em 14 de janeiro de 2021.
+Série “Os arquitetos do Rio” II – No Dia Nacional da Saúde, o Desinfetório de Botafogo e um breve perfil do arquiteto português Luiz de Moraes Junior, responsável pelo projeto, de autoria de Cristiane d´Avila, Casa de Oswaldo Cruz, Fiocruz, em parceria com Andrea C. T. Wanderley, publicado em 5 de agosto de 2023
+Série ”Os arquitetos do Rio de Janeiro” III – O centenário do Copacabana Palace, quintessência do “glamour” carioca, e seu criador, o arquiteto francês Joseph Gire, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado em 13 de agosto de 2023
+Série “Os arquitetos do Rio de Janeiro” IV – Archimedes Memória (1893 – 1960), o último dos ecléticos, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 1º de dezembro de 2023
+Série “O Rio de Janeiro desaparecido” XXVII  e “Os arquitetos do Rio de Janeiro ” V – O Jockey Club e o Derby Club, na Avenida Rio Branco e o arquiteto Heitor de Mello (1875 – 1920), de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado em 15 de janeiro de  2024
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/10527` — `itens/20.500.12156.1_10527/`
+
diff --git a/wordpress/33476-o-centenario-do-palacio-pedro-ernesto.md b/wordpress/33476-o-centenario-do-palacio-pedro-ernesto.md
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@@ -0,0 +1,55 @@
+---
+id: 33476
+url: "https://brasilianafotografica.bn.gov.br/?p=33476"
+titulo: "O centenário do Palácio Pedro Ernesto"
+autor: "Andrea Wanderley"
+data: "2023-07-21T10:09:11+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/11077", "20.500.12156.1/10817"]
+fetched_at: "2026-09-10T10:15:21.698Z"
+---
+
+# O centenário do Palácio Pedro Ernesto
+
+No dia do centenário do atual Palácio Pedro Ernesto, a Brasiliana Fotográfica destaca duas imagens: uma realizada por um fotógrafo ainda não identificado, em torno de 1925, e outra, realizada por Theodor Preising (1883 – 1962), em torno de 1940. Em 1918, o edifício do Conselho Municipal do Rio de Janeiro, que foi o tema do 14º artigo da série O Rio de Janeiro desaparecido, publicado em 19 de novembro de 2021, foi demolido para dar lugar ao prédio atual, inaugurado em 21 de julho de 1923, com a presença do então prefeito da cidade, Alaor Prata (1882 – 1964) (Jornal do Brasil, 21 de julho de 1923). É a sede da Câmara dos Vereadores do Rio de Janeiro.
+ 
+ 
+Jornal do Brasil, 21 de julho de 1923
+ 
+Foi denominado, em 1951, de Palácio Pedro Ernesto (1884-1942), em homenagem ao ex-prefeito do Rio, que havia governado a cidade durante dois períodos: como interventor entre 1931 e 1934; e, entre 1935 e 1936, como prefeito eleito indiretamente. A iniciativa da nova denominação foi do vereador Índio do Brasil e foi aprovada em 24 de julho de 1951.
+ 
+Construção da Cinelândia (Praça Marechal Floriano); e, ao fundo, os prédios do Conselho Municipal (atual Palácio Pedro Ernesto) e do Teatro Municipal, c. 1925. Rio de Janeiro, RJ / Acervo IMS
+ 
+O edificio foi projetado por Heitor de Mello (1875 – 1920), porém ele faleceu em 14 de setembro de 1920.
+ 
+Heitor de Mello / Jornal do Brasil, 21 de julho de 1923
+ 
+Na época, seu sócio era o franco-suíço Francisque Cuchet (18? – 19?). Com sua morte, o arquiteto cearense Archimedes Memória (1893 – 1960) e Cuchet estabeleceram contrato de sociedade em partes iguais do “Escriptorio Technico Heitor de Mello – A. Memória & F. Couchet, architectos”. Foram  eles que deram continuidade ao projeto do Palácio Pedro Ernesto, iniciado por Heitor de Mello (Vida Doméstica, 21 de julho de 1923). O prédio ganhou o apelido de Gaiola de Ouro, por ter custado aos cofres públicos o dobro do seu vizinho, o Theatro Municipal do Rio de Janeiro, inaugurado, em 1909.
+ 
+Theodor Preising; Photo Rotativo. Avenida Rio Branco; na altura da Cinelândia. O Palácio Pedro Ernesto é o prédio mais baixo, c. 1940. Rio de Janeiro, RJ / Acervo IMS
+ 
+Seu interior conta com diversas obras de arte, revestimento de mármore italiano rosa e grego verde, além de belas esculturas de José Otávio Corrêa Lima (1878 – 1974), pinturas de Eliseu Visconti (1866 – 1944) e mobiliário de época com destaque para a Sala Inglesa, toda revestida em madeira de lei. O plenário é coberto por um vitral de Rodolpho Chambelland (1879 – 1967) e uma pintura central inspirada na fundação do Rio de Janeiro. Além desses renomados artistas, também participaram do projeto, pintores e escultores como Álvaro Teixeira, Candido Caetano de Almeida, Carlos Chambelland, Carlos Oswald, Décio Villares, Eduardo de Sá, Gustavo dall’Ara, Helios Seelinger, Honório Peçanha, J. Batista, Lucílio de Albuquerque, Oscar Pereira da Silva, Petrus Verdié, Rodolfo Amoedo, Sebastião Vieira da Silva e Timóteo da Rocha.
+Antes de voltar a abrigar a Câmara dos Vereadores, em 1º de fevereiro de 1977, quando 21 vereadores tomaram posse, após a fusão da Guanabara com o Estado do Rio de Janeiro, ocorrida dois anos antes; o edifício sediou o antigo Conselho Municipal, a Prefeitura, o Ministério da Educação e a Assembleia Legislativa da Guanabara. Faz parte da história do Brasil e em suas escadarias que se assistiu à derrocada do estado Novo de Getúlio Vargas. Em 1952, emocionou o público com o velório do cantor Francisco Alves e, em 1968, a morte do estudante Édson Luis fez do prédio um símbolo de resistência política contra o regime militar. Mais recentemente, em 2013, as escadarias do palácio serviram de ponto de encontro para a juventude em suas manifestações por moralidade política, que ficaram conhecidas como Jornadas de Junho (Site da Câmara Municipal do Rio de Janeiro).
+O prédio foi tombado definitivamente, em 1988, pelo Instituto Estadual do Patrimônio Cultural e, após sua transferência da Câmara Municipal para o Edifício Serrador, que está prevista para o segundo semestre de 2024, ele passará a ser um museu.
+ 
+Acompanhe aqui a Linha do Tempo do Palácio Pedro Ernesto.
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+BOKOR, Rafael. Rio Antigo, por Rafael Bokor: O Palácio Pedro Ernesto, no Centro, completou 99 anos in blog Lu Lacerda.
+FERNANDES, Neusa; COELHO,Olino Gomes P. Efemérides Cariocas. Rio de Janeiro, 2016.
+Hemeroteca Digital da Biblioteca Nacional
+O GLOBO, 15 de julho de 2023
+Site Agência Brasil EBC
+Site Inepac
+WANDERLEY, Andrea C.T.: Série “O Rio de Janeiro desaparecido” XIV – O Conselho Municipal do Rio de Janeiro in Brasiliana Fotográfica, 19 de novembro de 2021
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/11077` — `itens/20.500.12156.1_11077/`
+- `20.500.12156.1/10817` — `itens/20.500.12156.1_10817/`
+
diff --git a/wordpress/33493-no-dia-do-historiador-um-artigo-sobre-o-oficio.md b/wordpress/33493-no-dia-do-historiador-um-artigo-sobre-o-oficio.md
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+++ b/wordpress/33493-no-dia-do-historiador-um-artigo-sobre-o-oficio.md
@@ -0,0 +1,82 @@
+---
+id: 33493
+url: "https://brasilianafotografica.bn.gov.br/?p=33493"
+titulo: "No Dia do Historiador, um artigo sobre o ofício"
+autor: "Andrea Wanderley"
+data: "2023-08-19T19:01:18+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/5710", "20.500.12156.1/11936", "20.500.12156.1/7955"]
+fetched_at: "2026-09-10T10:15:24.628Z"
+---
+
+# No Dia do Historiador, um artigo sobre o ofício
+
+No Dia do Historiador, a Brasiliana Fotográfica publica o artigo O Ofício do Historiador, de Ricardo Augusto dos Santos, pesquisador titular da Fundação Oswaldo Cruz, parceira do portal desde agosto de 2017. Nele o autor nos revela o trabalho realizado por pesquisadores da instituição, que seguem rotinas para organizar e identificar documentos, sejam eles relatórios, manuscritos ou fotografias. Também dá exemplos de algumas descobertas feitas por historiadores a partir de entrevistas e de pesquisas objetivas ou não. Destaca os acervos, abertos a consulta, dos médicos Belisário Penna (1868 – 1939) e Renato Kehl (1889 – 1978), “descobertos” sogro e genro a partir de uma entrevista com uma das filhas de Belisário.
+O Dia do Historiador foi instituído, no Brasil, pela  Lei nº 12.130/2009, de 17 de dezembro de 2019, em homenagem ao nascimento do diplomata e escritor pernambucano Joaquim Nabuco (1849-1910). É comemorado, desde 2010, no dia 19 de agosto. No última dia 14 de agosto, a Brasiliana Fotográfica publicou o artigo Uma homenagem ao historiador José Murilo de Carvalho (1939 – 2023), sobre ele, que foi um dos maiores historiadores do Brasil.
+O ofício de historiador também foi tema de uma poesia do grande poeta Carlos Drummond de Andrade (1902 – 1987).
+ 
+Historiador 
+Veio para ressuscitar o tempo 
+ e escalpelar os mortos, 
+ as condecorações, as liturgias, as espadas,
+ o espectro das fazendas submergidas,
+ o muro de pedra entre membros da família, 
+ o ardido queixume das solteironas, 
+ os negócios de trapaça, 
+as ilusões jamais confirmadas nem desfeitas. 
+Veio para contar 
+ o que não faz jus a ser glorificado 
+ e se deposita, grânulo, 
+ no poço vazio da memória. 
+ É importuno, 
+ sabe-se importuno e insiste,
+ rancoroso, fiel.
+ 
+Carlos Drummond de Andrade, in Paixão Medida
+ 
+O Ofício do Historiador 
+ Ricardo Augusto dos Santos*
+ 
+O ofício do historiador apresenta afinidade com a ciência que estuda vestígios materiais da presença humana. Munidos de instrumentos adequados, historiadores e arqueólogos realizam suas investigações, revelando fontes inexploradas. Nestas disciplinas, a busca de objetos soterrados pelo tempo, vestígios do cotidiano, alcançam novas dimensões, indicando aspectos desconhecidos sobre as sociedades, surgindo um manancial de informações, tornando acessível o conhecimento.
+Pacientemente, são retiradas camadas de terra acumuladas pelos homens, recuperando práticas e ideias. O trabalho historiográfico, além das semelhanças com uma arqueologia documental, é igualmente marcado pela ideia do resgate. Sem dúvida, a similitude da prática historiográfica com a pesquisa arqueológica é atraente.
+O ofício historiográfico realiza-se em estreita relação e, simultaneamente, à descoberta, organização e divulgação dos documentos encontrados. Vamos falar de alguns exemplos.
+No início da década de 1990, pesquisadores da Casa de Oswaldo Cruz entrevistaram Maria Penna, a última filha viva de Belisário Penna (1868-1939). Em meio às perguntas, a gentil senhora exclamou: Vocês deveriam fazer essas perguntas a minha irmã, a Eunice. Mas, infelizmente, ela morreu. Ela foi casada com Renato Kehl.
+ 
+Belisário Penna (1868 – 1939) na posse no Ministério da Educação e Saúde Pública, 1º de setembro de 1931. Rio de Janeiro, RJ / Acervo Casa de Oswaldo Cruz
+ 
+Naquela época, não possuíamos conhecimento do parentesco unindo estes dois intelectuais. Após a entrevista, dias depois, determinei tarefas a uma estagiária. Seria sua responsabilidade a pesquisa sobre Renato Kehl (1889-1974). Em pouco tempo, a aprendiz de pesquisadora, mencionou a novidade: seu pai conhecia Sergio Kehl, filho de Renato e, portanto, neto de Belisário. Contactado, Sérgio estava doente e desejava doar rapidamente o acervo do famoso eugenista. Assim foi feito. Os documentos de Kehl foram incorporados ao Departamento de Arquivo e Documentação da Casa de Oswaldo Cruz.
+ 
+Renato Kehl (1889 – 1978)
+ 
+Os importantes acervos dos intelectuais Belisário Penna e Renato Kehl estão sob a guarda da COC/FIOCRUZ e estão abertos a consulta. São textos, fotos, relatórios e recortes de jornais que registram a presença das ideias eugênicas e sanitaristas no Brasil.
+ 
+Acessando o link para as fotografias do acervo de Renato Kehl disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+Acessando o link para as fotografias do acervo de Belisário Penna disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Na época da citada entrevista, ainda se tinha uma visão embaçada sobre a trajetória de Belisário. Por exemplo, pensava-se que ele fosse primo de Affonso Penna, presidente do Brasil entre 1906 e 1909. Entretanto, investigando os documentos, apuramos que Maria Guilhermina de Oliveira Penna, nascida em Barbacena (1857-1929), irmã de Belisário, casou-se em 23 de janeiro de 1875 com Affonso Augusto Moreira Penna (1847-1909) que exerceria a presidência da República e faleceu durante seu mandato. Portanto, Belisário era cunhado do presidente.
+Entretanto, outros laços familiares se revelaram. Eunice Penna, filha de Belisário, como já mencionado, casou-se com Renato Kehl. Além desta união, outro casamento consolidou os laços entre as famílias Penna e Kehl. João Fernandes de Oliveira Penna, filho de Belisário, uniu-se com a irmã de Kehl, Cecília Ferraz Kehl.
+Mas, um outro fato interessante que ilustra a atividade historiográfica merece destaque. Uma característica da profissão é a existência de rotinas de pesquisa, além de uma perseverança quase sem limite. Os profissionais que trabalham na organização de fontes, não ignoram que determinados itens, ao final da organização dos fundos documentais e inserção de dados nas bases, permanecem algum tempo sem identificação, dificultando sua inclusão nas séries documentais. Temporariamente,  o documento (relatório, manuscrito, foto), poderá ficar fora do arranjo. O processo de identificação irá demandar mais investimento, mas esse obstáculo é superado.
+Entre os documentos do acervo de Renato Kehl, destaca-se um pequeno conjunto de fotografias. Uma foto deste arquivo permanecia desconhecida. Não havia anotação em seu verso. Aparentemente, nenhuma fotografia do acervo estava relacionada. Mas, eu conservava a sensação de que conhecia o lugar. Que já havia visto a cena. Assistindo a um documentário sobre a cidade do Rio de Janeiro, fartamente acompanhado de imagens do início do século XX, identifiquei o local da fotografia. Trata-se do monumental Palácio das Festas. Um prédio edificado no Rio de Janeiro para a Exposição Internacional do Centenário da Independência em 1922. O edifício foi considerado uma das obras mais belas da exposição e contava com obras de arte para ornamentá-lo. Assim como a maioria das construções, o Pavilhão de Festas foi demolido após o fim da comemoração. A obra possuía salas para mostras. A entrada do palácio era decorada com motivos relacionados à natureza brasileira.
+ 
+Palácio das Festas, 1922. Rio de Janeiro, RJ / Acervo Casa de Oswaldo Cruz – Fundo Renato Kehl
+ 
+Uma das apresentações montadas no local foi preparada pelo recém-criado Departamento Nacional de Saúde Pública (DNSP). Esse órgão administrativo da saúde pública era uma antiga reivindicação dos intelectuais sanitaristas, que acreditavam que somente uma organização nacional resolveria os graves problemas de saúde no Brasil. A instalação dessa apresentação de fotos e maquetes realizada pelo DNSP obteve ampla repercussão, sendo saudada pela imprensa como um momento vital para a salvação do país. O médico Renato Kehl, funcionário do DNSP, trabalhou na produção.
+Em seu arquivo pessoal, Renato Kehl guardou dezenas de imagens fotográficas desta mostra. Podemos averiguar que o objetivo da exposição do DNSP era colaborar para a educação higiênica das populações rurais e urbanas. Os objetos e fotografias, reunidas no trabalho, realçam o valor dos ensinamentos da higiene. As imagens são um fragmento da campanha educativa e sanitária que deveria ser instalada no Brasil. São imagens das habitações típicas das áreas rurais, infestadas de insetos transmissores de doenças. Também eram apresentados os modelos corretos de casas rurais que os camponeses deveriam construir.(1)
+ 
+Aspectos da Mostra de Saúde Pública do DNSP na Exposição do Centenário em 1922, 1922. Rio de Janeiro, RJ / Acervo Casa de Oswaldo Cruz – Fundo Renato Kehl
+ 
+ 
+(1) Sobre a exposição do DNSP, ver https://brasilianafotografica.bn.gov.br/?p=18805
+ 
+*Ricardo Augusto dos Santos é Pesquisador Titular da Fundação Oswaldo Cruz
+Fontes:
+ALVES, Fernando Antônio Pires; SANTOS, Ricardo Augusto dos; HAMILTON, Wanda Suzana. Acervo da Casa de Oswaldo Cruz. História, Ciências, Saúde- Manguinhos.  Outubro 1994, Volume 1, nº 1, Págs.. 145-152.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/5710` — `itens/20.500.12156.1_5710/`
+- `20.500.12156.1/11936` — `itens/20.500.12156.1_11936/`
+- `20.500.12156.1/7955` — `itens/20.500.12156.1_7955/`
+
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+---
+id: 33558
+url: "https://brasilianafotografica.bn.gov.br/?p=33558"
+titulo: "A Rádio Nacional do Rio de Janeiro, marco da “Era do Rádio” no Brasil"
+autor: "Andrea Wanderley"
+data: "2023-09-12T17:02:32+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/12043", "20.500.12156.1/11090", "20.500.12156.1/12042", "20.500.12156.1/12041"]
+fetched_at: "2026-09-10T10:15:28.220Z"
+---
+
+# A Rádio Nacional do Rio de Janeiro, marco da “Era do Rádio” no Brasil
+
+Alô! Alô! Brasil! Aqui fala a Rádio Nacional do Rio de Janeiro! Com essa frase o locutor paulista Celso Guimarães (1907 – 1996) inaugurou a PRE-8, a Rádio Nacional, às 21h, do dia 12 de setembro de 1936. Presente na memória afetiva dos brasileiros e um marco na Era do Rádio no país, foi um veículo de massa de grande influência em sua época e é, assim como a revista O Cruzeiro e a TV Globo, um dos maiores fenômenos de comunicação do Brasil. Uma referência de programação popular e diversificada, a Rádio Nacional marcou a história da radiodifusão e da própria cultura brasileira.
+Ela é, na realidade, responsável pelas matrizes que formam hoje o Rádio brasileiro: a música, a informação, o humor, a dramaturgia, o esporte e os programas de auditório.
+Site da Rádio Nacional
+ 
+Orquestra da Rádio Nacional, s/d. Rio de Janeiro, RJ / Acervo IMS
+ 
+“É preciso que se diga que, desde a revolução de 30 – ou, como sugere Diegues, referindo-se aos pontos extremos de seu filme (Joana Francesa): de Carmen Miranda a Brasília, de Getúlio Vargas à televisão ou de Francisco Alves a Caetano Veloso – a Radio Nacional foio canal exlusivo de informação e formação cultural do povo brasileiro, fazendo deste vazio tropical a primeira grande “aldeia global” dos gtempos modernos”
+Tristes Tropiques, por Sérgio Augusto,
+Pasquim, 14 a 20 de agosto de 1973
+ 
+Com fotografias do Instituto Moreira Salles e do Museu Aeroespacial,  instituições fundadora e parceira do portal, respectivamente, a Brasiliana Fotográfica, conta um pouco desta história. As fotos do IMS são de sua Coordenadoria de Música e pertencem à Coleção José Ramos Tinhorão e ao Arquivo Walter Silva.
+ 
+Acessando o link para as fotografias da Rádio Nacional disponíveis na Brasiliana Fotográfica, o leitor poderá visualizar e magnificar as imagens.
+ 
+Bandeira Escola de Samba da Rádio Nacional por Heitor dos Prazeres, s/d. Coleção Família Heitor dos Prazeres
+ 
+Nos anos 20, quando houve a primeira grande transmissão de rádio no Brasil, os aparelhos eram caros e seu proprietários tinham que pagar uma taxa para acessar o receptor. Além disso, a programação concentrava-se na transmisssão de música clássica e de óperas. Foi na década de 30, quando Getúlio Vargas (1882 – 1954) assumiu a presidência do Brasil, que a rádio entrou numa nova fase no país. O governo iniciou, em 1931, a regulamentação da radiodifusão e aboliu as já mencionadas taxas. Em 1932, a veiculação de anúncios comerciais foi liberada no rádio e assim as emissoras foram se popularizando. De 1932 a 1937, foram inauguradas 42 novas estações de rádio, passando o país a possuir 63, quantidade que pulou para 111 em 1945, ano do fim o Estado Novo.
+ 
+
+ 
+Foi neste cenário que surgiu, no dia 12 de setembro de 1936, a Rádio Nacional, na freqüência da antiga rádio Philips. Foi criada pelo grupo A Noite, que teve como proprietário, no final dos anos 20, o empresário Geraldo Rocha. Devido a maus negócios e a suas divergências com o governo federal, ele buscou financiamento com grupos estrangeiros. A Brazil Railway Company, proprietária da Companhia Estrada de Ferro São Paulo-Rio Grande, que pertencia ao polêmico empresário norte-americano Percival Farquhar (1864 – 1953)*, incorporou os jornais A Noite e A Manhã (SP) e as revistas Noite Ilustrada, Carioca e Vamos Ler. Comprou o sinal da antiga Rádio Philips e batizou a sua estação de rádio de Sociedade Civil Brasileira Rádio Nacional (O Jornal, 24 de setembro de 1936, terceira coluna).
+ 
+A Noite, 12 de setembro de 1936
+ 
+O locutor Celso Guimarães entre figuras do cast feminino da Rádio Nacional / A Noite, 14 de setembro de 1936
+ 
+A nova emissora radiofônica foi  instalada no prédio do jornal A Noite, o primeiro arranha-céu carioca e, então, o mais alto da América Latina, que havia sido inaugurado anos antes, em 1929, projetado pelo arquiteto francês Joseph Gire (1872 – 1933).
+ 
+Escola de Aviação Militar. Edifício “A Noite”, 24 de janeiro de 1936. Rio de Janeiro, RJ / Acervo Museu Aeroespacial 
+ 
+ 
+O Jornal, 16 de setembro de 1936
+ 
+Após a já mencionada saudação de Celso Guimarães (1907 – 1996), Alô! Alô! Brasil! Aqui fala a Rádio Nacional do Rio de Janeiro!, a Orquestra do Teatro Municipal executou o Hino Nacional. Então o primeiro presidente da Sociedade Rádio Nacional, Cauby de Araújo, após um pequeno pronunciamento, convidou o presidente do Senado, Medeiros Netto (1887 – 1948), que inaugurou a nova emissora:
+“Aqui se levanta mais uma voz pela paz e pela defesa de todos quantos souberem, nesta hora terível para a humanidade, compreender que ela é mais uma garantia de que, na nossa pátria, a liberdade terá sempre um culto. A estação que neste momento se inaugura nasce sob a proteção de uma empresa que em todos os tempos tem sido arauto das grandes aspirações do povo – A Noite. Está inaugurada a grande estação da Sociedade Rádio Nacional”.
+Em seguida, do Palácio São Joaquim, na Glória, o cardeal do Rio de Janeiro, dom Sebastião Leme (1882 – 1942), abençoou a emissora, protagonizando a primeira transmissão externa da Rádio Nacional.
+Seguiram-se, diretamente do estúdio da nova emissora, diversos pronunciamentos, dentre eles o dos embaixadores de Portugal, da França e do Japão, do ministro da Educação, Gustavo Capanema (1900 – 1985); de Nelson Dantas, presidente da Confederação Brasileira de Radiodifusão; Herbert Moses (1884 – 1972), presidente da Associação Brasileira de Imprensa; e de Castelar de Carvalho, que falou em nome de A Noite; e, finalmente de Cauby Araújo. Também estavam presentes na inauguração outras autoridades como o presidente da Câmara Municipal, Ernani Cardoso (1888 – 1950); Lourival Fontes (1899 – 1967), então diretor do Departamento de Propaganda e Difusão Cultural, futuro Departamento de Imprensa e Propaganda (DIP), representando o prefeito do Distrito Federal; e Agamenon Magalhães (1893 – 1952), ministro do Trabalho. O técnico responsável pela instalaçao da emissora foi Armando Langoni.
+ 
+Fon Fon, 19 de setembro de 1936
+ 
+Foi estatizada, assim como as outras empresas do grupo A Noite, pelo governo federal, em 8 de março de 1940, pelo Decreto-Lei nº 2.073, sob a justificativa de dívidas contraídas junto ao Patrimônio Nacional. O coronel Luiz Carlos da Costa Netto foi designado Superintendente das Empresas Incorporadas ao Patrimônio. Para a direção da Rádio Nacional foi nomeado Gilberto de Andrade (1894 – 1949), que a dirigiu até 1946. Segundo Paulo Tapajós, ali Gilberto, que era promotor do Tribunal de Segurança, ex-diretor das revistas Sintonia e A Voz do Rádio, além de organizador da censura ao teatro, apesar de já ter escrito 23 peças encenadas, iniciou a escalada rumo ao Himalaia dos índices de audiência.
+Com a aquisição da Rádio Nacional, o governo passou a ter a seu serviço um veículo de grande penetração popular no país, fortalecendo ainda mais o elo com a população…Todo o faturamento comercial era reinvestido na própria emissora. É que apesar de transformá-la numa empresa estatal, com verbas e benefícios da máquina do Estado Novo, a emissora manteve a atuação na esfera comercial, com direito a continuar vendendo anúncios, somando assim fontes de captação na receita da empresa, como descreve Luiz Mendes (2005). 
+A Nacional, ao contrário das privadas, não precisava sobreviver de sua receita. Vivia de verba pública. Com isso, tudo o que faturava – e olha que era a que mais faturava – era investido nela própria, já que o governo não fazia retirada do lucro. 
+Luiz André Ferreira de Oliveira
+in Getúlio Vargas e o desenvolvimento do rádio no país: um estudo do rádio de 1930 a 1945.
+ 
+Tornou-se a principal emissora da América Latina e uma das cinco melhores do mundo. Em 1942, ano em que passou por uma reforma, era a líder absoluta de audiência. Seu auditório, localizado no topo do edifício mais alto do país, passou a ter 600 lugares e o local passou a ser um dos cartões-postais do Rio de Janeiro. Ainda neste ano, em 15 de novembro, seus transmissores foram transferidos para o bairro de Parada de Lucas, melhorando a qualidade das transmissões. Em 31 de dezembro, a emissora inaugurou um transmissor de ondas curtas RCA Victor de 50kw e um sistema de cinco antenas direcionais, que deveriam transmitir para a América, Ásia, África e Europa e para todo o território brasileiro.
+A Rádio Nacional contava com um elenco de importantes locutores como Aurélio de Andrade (1917 – 1997) e Oduvaldo Cozzi (1915 – 1978), compositores do calibre de Lamartine Babo (1904 – 1963) e Heitor dos Prazeres (1898 – 1966), maestros como Radamés Gnatalli (1906 – 1988) e cantores como Aracy de Almeida (1914- 1988), Carlos Galhardo (1913 – 1985), Francisco Alves (1898 – 1952), Orlando Silva (1915 – 1978) e Silvio Caldas (1908 – 1998). Oito diretores comandavam cerca de 240 funcionários.
+ 
+Lamartine Babo ao microfone, c. 1938. Rádio Nacional, Rio de Janeiro, RJ / Acervo IMS
+ 
+A Rádio Nacional foi responsável direta ou indiretamente pelo lançamento de ídolos nacionais como Ângela Maria (1929 – 2018), Cauby Peixoto (1931- 2016), Ivon Curi (1928 – 1995), Emilinha Borba (1923 – 2005) e Marlene (1922 – 2014). Essas duas últimas protagonizaram uma guerra entre fãs clubes, na década de 50.
+ 
+Emilinha e Marlene na capa da Revista do Rádio, 25 de junho de 1955
+ 
+Apresentou programas de sucesso em torno de música, informação, humor, dramaturgia, esporte. Alguns exemplos são o Repórter Esso, Piadas do Manduca, Um Milhão de Melodias, PRK-30, Balança mas não cai, Curiosidades Musicais, o programa de calouros, Papel Carbono, de Renato Murce, o Programa Paulo Gracindo e Programa César de Alencar, segundo o próprio, possivelmente o primeiro programa de auditório do Brasil, organizado com princípio, meio e fim. 
+ 
+Abertura do Programa César de Alencar
+Esta canção nasceu para quem quiser cantar
+Canta você, cantamos nós, até cansar
+Até bater
+E decorar
+Pra recordar vou repetir o seu refrão
+Prepara a mão
+Bate outra vez
+Este programa pertence a vocês
+ 
+Pioneira, transmitiu, a primeira radionovela brasileira, Em busca da Felicidade, escrita pelo cubano Leandro Blanco e adaptada por Gilberto Martins, que atingiu altos índices de audiência e durou cerca de 2 anos.
+Sua estreia foi anunciada, em 5 de junho de 1941, por Aurélio Andrade:
+Senhoras e Senhores, o famoso Creme Dental Colgate apresenta… o primeiro capítulo da empolgante novela de Leandro Blanco, em adaptação de Gilberto Martins… Em busca da felicidade.
+Era irradiada às segundas, quartas e sextas-feiras, às 10:30. Foi dirigida por Victor Costa (1907 – 1959) e Maria Helena era a locutora e narradora que resumia os principais acontecimentos dos capítulos anteriores. No elenco, Rodolfo Mayer 91910 – 1985) , Zezé Fonseca (1915 – 1962), Floriano Faissal (1907 – 1986), Lourdes Mayer (1920 – 1998), Brandão Filho (1910 – 1998) e Yara Salles, dentre outros.
+ 
+Yara Salles, s/d. Rádio Nacional, Rio de Janeiro, RJ / Acervo IMS
+ 
+A radionovela mais famosa estreou também na Rádio Nacional, em 8 de janeiro de 1951. Irradiada às segundas, quartas e sextas-feiras, no horário de 20 horas às 20:25h, O direito de nascer ficou em cartaz até setembro de 1952.
+Em 28 de agosto de 1941, foi de novo pioneira, desta vez no radiojornalismo, com a estreia, às 12:45, do Repórter Esso, ícone do radiojornalismo nacional. O locutor Romeu Fernandes anunciou o ataque aéreo da Alemanha na Normandia, durante a Segunda Guerra Mundial. Pela primeira vez um noticiário de rádio não era feito a partir da leitura de notícias recortadas dos jornais. As matérias eram produzidas pela agência internacional de notícias United Press Associations (UPA) e seu conteúdo era supervisionado pela agência de publicidade McCann-Erickson. O Repórter Esso foi produto de comunicação da Standart Oil Company of Brazil, companhia norte-americana de petróleo que dava nome ao radiojornal. Seus slogans mais famosos foram O Primeiro a Dar as Últimas e Testemunha Ocular da História. O Repórter Esso terminou suas transmissões em 31 de dezembro de 1968.
+ 
+Cena de transmissão do Repórter Esso / Acervo da Rádio Nacional
+ 
+Ainda em 1941, quando comemorava seu quinto aniversário, a Rádio Nacional lançou um concurso para selecionar para a canção Happy Birthday to You uma letra brasileira. Parabéns pra você , letra de Berta Celeste Homem de Melo, cujo pseudônimo era Léa Magalhães, a vencedora do concurso, foi apresentada pela primeira vez em um programa de Almirante (1908 – 1980), regida por Radamés Gnatalli.
+Em 1956, quando completou 20 anos, a Rádio Nacional ocupava os quatro últimos andares do Edifício A Noite, tinha seis estúdios e um auditório com 496 lugares no 21º andar.
+Na década de 60, o impacto do crescimento da televisão no Brasil fez com que o rádio entrasse em declínio e o sucesso da Rádio Nacional diminuiu consideravelmente. Em 1972, todo o seu acervo estava abandonado no terraço do prédio. Por iniciativa da professora Neusa Fernandes, diretora do Museu da Imagem e do Som, o acervo foi transferido para esta instituição e totalmente organizado: são 383 discos, 357. 985 partituras e 1.312 scripts de diversos programas da Rádio Nacional.
+Atualmente, a Rádio Nacional faz parte das emissoras da Empresa Brasil de Comunicação (EBC), tem emissoras e transmite para Belo Horizonte, São Paulo, Rio de Janeiro, Brasília, Tabatinga, São Luís do Maranhão, Recife e Amazônia, e mantém uma programação dedicada ao jornalismo, ao esporte e à música popular brasileira.
+Em 3 de agosto de 2021, foi inaugurado o Museu da Rádio Nacional, na Lapa, no Rio de Janeiro.
+ 
+
+ 
+Uma história contada pelo jornalista Sérgio Cabral (1937-), publicada em seu livro A Rádio Nacional…, ilustra o poder desta emissora radiofônica nos anos de seu sucesso:
+Em 1951, a tripulação de um avião da Força Aérea Brasileira, daqueles que eram chamados de “fortaleza voadora”, dava início às providências para a aterrissagem na cidade de Campo Grande, quando foi surpreendida por um “apagão”no aeroporto local. Voando desde Manaus, a tripulação sabia que a reserva de combustível não era suficiente nem para pro curar o aeroporto mais próximo (situado a centenas de quilômetros de distância) nem para esperar muito tempo pela volta da luz. O comandante do avião comunicou-se com o responsável pela unidade da FAB de Campo Grande, a quem transmitiu o drama que estava vivendo. A comunicação seguinte foi feita de Campo Grande para a Base Aérea de Santa Cruz, no Rio de Janeiro, que, por sua vez, entrou em contato com a Rádio Nacional, situada na Praça Mauá, no Centro do Rio, para pedir ajuda. Minutos depois, um locutor transmitia aos ouvintes de Campo Grande – portanto, a mais de dois mil quilômetros de distância – a seguinte mensagem.
+“Atenção, Campo Grande, Mato Grosso! Uma fortaleza voadora da FAB precisa aterrissar e o campo de pouso está às escuras. Apelamos aos proprietários de automóveis que se desloquem imediatamente para o aeroporto a fim de que a pista de aterrissagem seja iluminada pelos faróis dos seus automóveis.”
+O apelo foi repetido várias vezes, até que a Rádio Nacional foi informada de que o problema estava resolvido. Às 23h45, o avião pousava no aeroporto de Campo Grande iluminado pelos faróis de centenas de automóveis.
+ 
+Os primórdios do rádio no Brasil, a primeira grande transmissão pública no país, em 1922, e a Rádio Sociedade do Rio de Janeiro, considerada a primeira emissora radiofônica brasileira, cujo centenário celebra-se em 2023
+ 
+Instalada pela Western Electric no pavilhão da antiga Repartição Geral dos Telégrafos, na Praia Vermelha, esta emissora, junto com a estação Westinghouse, do Corcovado, inaugurou no Brasil o serviço de Radiodifusão, durante a Exposição de 1922. Ao centro, o engenheiro José Neves, o telegrafista Manoel Antonio de souza, à direita; e o servente da estação, Joaquim Pereira, à esquerda / Acervo O GLOBO
+ 
+Na abertura da Exposição Internacional do Centenário da Independência, foi realizada a primeira grande transmissão pública de rádio do Brasil. Outras transmissões radiofônicas já haviam sido realizadas no país – pelo padre gaúcho Roberto Landell de Moura (1861 – 1928), em 16 de julho de 1899, em São Paulo (Commercio de São Paulo, 17 de julho de 1899, terceira coluna); e pela Rádio Clube de Pernambuco, fundada em 6 de abril de 1919 (Jornal do Recife, 25 de abril de 1919, última coluna).
+ 
+Commercio de São Paulo, 17 de julho de 1899
+ 
+Jornal do Recife, 25 de abril de 1919
+ 
+Mas esta, realizada em 7 de setembro de 1922, é considerada a primeira transmissão radiofônica oficial brasileira.
+Em maio de 1922, a Delegação dos Estados Unidos para a Exposição de 1922 já anunciava as demonstrações que seriam realizadas por empresas norte-americanas (A Noite, 20 de maio de 1922, terceira coluna). Uma estação de 500 watts, montada no alto do Corcovado pela Westinghouse Eletric International em combinação com a Companhia Telefônica Brasileira, irradiou o discurso do presidente Epitácio Pessoa  (1865 – 1942), surpreendendo os visitantes da Exposição Internacional do Rio de Janeiro, através de 80 receptores vindos dos Estados Unidos, instalados em pontos centrais da cidade. A transmissão também foi realizada para Niterói, Petrópolis e São Paulo. Pelo mesmo sistema, à noite, a ópera O Guarany, de Carlos Gomes, encenada no Teatro Municipal, também foi irradiada (Correio da Manhã, 8 de setembro de 1922, quinta coluna; A União (RJ), 14 de setembro de 1922, quarta coluna).
+ 
+O Jornal, 8 de setembro de 1922
+ 
+A Western Electric Company em colaboração com a Companhia Telefônica também esteve presente à exposição onde fez demonstrações do telefone Alto-Falante que funcionando em comum com a radiofonia possibilitava ouvir-se trechos de música e de óperas executados a considerável distância (Jornal do Brasil, 16 de setembro de 1922, sexta coluna).
+ 
+Jornal do Brasil, 16 de setembro de 1922
+ 
+Segundo Edgar Roquette-Pinto (1884 – 1954), considerado o pai da radiofusão no Brasil, durante a Exposição de 1922:
+“… muito pouca gente se interessou pelas demonstrações experimentais de radiotelefonia então realizadas pelas companhias norte-americanas Westinghouse, na estação do Corcovado, e Western Electric, na Praia Vermelha. […]. Creio que a causa desse desinteresse foram os alto-falantes instalados na exposição. Ouvindo discurso e música reproduzidos no meio de um barulho infernal, tudo distorcido, arranhando os ouvidos, era uma curiosidade sem maiores consequências”. (BBC, 1988).
+ 
+D. Quixote, 13 de setembro de 1922
+ 
+O fato é que no ano seguinte foi fundada, em 20 de abril de 1923, aquela que é considerada a primeira emissora radiofônica do Brasil, a Rádio Sociedade do Rio de Janeiro, por inúmeros associados influenciados pelo engenheiro e astrônomo Henrique Morize (1860 -1930), com quem o fotógrafo Marc Ferrez (1843 – 1923) havia no final do século XIX realizado experiências cinematográficas e radiográficas; e por seu principal idealizador, justamente Edgar Roquette-Pinto. Seu o slogan era “Trabalhar pela cultura dos que vivem em nossa terra e pelo progresso do Brasil”. Em caráter experimental, a primeira transmissão da Rádio Sociedade aconteceu em 1º de maio de 1923, Dia do Trabalho, utilizando o prefixo PR1– A e, após, PRA-A e PRA-2. Em 1936, foi doada ao governo por Roquette-Pinto e, em 1953, virou Rádio Ministério da Educação, com a criação da pasta. Referência em programação cultural a Rádio MEC está, desde 1983, também na banda FM. Ao longo de sua existência, formou, segundo seu atual gerente executivo Thiago Regotto, gerações de ouvintes oferecendo não só música clássica, mas ciência, literatura, dramaturgia, jazz, o conceito dos Concertos para a Juventude – que eram transmitidos do Cinema Rex, com a Sinfônica Brasileira –, a manutenção de grupos musicais e da Orquestra criada em 1961 por Edino Krieger. Isso sem falar na colaboração de nomes da arte, desde Pixinguinha, nos anos 1940, Jacob do Bandolim, na década de 1970, Altamiro Carrinho nos 2000, até Fernanda Montenegro.
+ 
+O Malho, 24 de janeiro de 1925
+ 
+“É surpreendente descobrir que o cineasta Humberto Mauro fez programas radiofônicos sobre cinema em 1943; que Otto Maria Carpeaux produzia Vida e Romance – encontro com a Literatura; ou que o programa Quadrante trazia crônicas especialmente escritas por Carlos Drummond de Andrade, Cecília Meireles, Dinah Silveira de Queiróz, Fernando Sabino, Manuel Bandeira e Rubem Braga. Ou ainda que Música Viva apresentava primeiras audições brasileiras de obras de compositores do século XX“.
+Luciana Medeiros, no artigo
+Rádio MEC completa 100 anos com programação especial de aniversário
+ 
+*Além da ferrovia Madeira-Mamoré (The Brazilian Review, 18 de julho de 1911), o empresário Percival Farquhar foi responsável pelo arrendamento da ferrovia Sorocabana (Correio Paulistano, 17 de agosto de 1907, quarta coluna), pela criação da Sorocabana Railway Company (The Brazilian Review, 30 de julho de 1907) e pela construção do porto de Belém (Relatório do Ministério da Agricultura, 1907 e The Brazilian Review, 27 de outubro de 1908), e pelo controle da Companhia de Estrada de Ferro São Paulo-Rio Grande (O Século, 28 de fevereiro de 1907, penúltima coluna), entre outros empreendimentos. Foi presidente da Rio de Janeiro Trampway Light Power Company (Almanaque Garnier, 1908) e fez parte da diretoria da Brazil Railways Company (The Brazilian Review, 15 de fevereiro de 1910). Segundo o New York Times, 22 de setembro de 1912, no artigo Two New Yorkers Try to ‘Harrimanize’ South America, o sonho de Farquhar era dominar todo o transporte ferroviário da América Latina. Ele nasceu em York, na Pensilvânia, em 1864, e faleceu em Nova York, em 4 de agosto de 1953. Uma curiosidade: Farquhar morou na cobertura do Edifíco Biarritz, uma das mais belas edificações art decó do Rio de Janeiro, no bairro do Flamengo, que, assim como o Edifício A Noite, foi projetado pelo francês Joseph Gire.
+ 
+ *
+ 
+A Brasililiana Fotográfica agradece a colaboração de Bia Paes Leme, coordenadora de Música do Instituto Moreira Salles, e a de Euler Gouvêa, músico e assistente da Coordenadoria de Música do Instituto Moreira Salles, para a publicação desse artigo.
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+Agência Brasil
+CABRAL, Sérgio. A Rádio Nacional…
+Dicionário de Verbetes do Arquivo Geral da Cidade do Rio de Janeiro
+Hemeroteca Digital da Biblioteca Nacional
+OLIVEIRA, Luiz André Ferreira de. Getúlio Vargas e o desenvolvimento do rádio no país: um estudo do rádio de 1930 a 1945. Dissertação (Mestrado Profissional em Bens Culturais e Projetos Sociais) – FGV – Fundação Getúlio Vargas, Rio de Janeiro, 2006.
+MELLO, Zuza Homem de. Enciclopédia da Música Brasileira. São Paulo: Publifolha, 2000.
+PINHEIRO, Claudia. A Rádio Nacional. Rio de Janeiro : Editora Nova Fronteira, 2005.
+SAROLDI, Luiz Carlos; MOREIRA, Sonia Virgínia. Rádio Nacional o Brasil em Sintonia. Rio de Janeiro : Editora Zahar, 2015.
+Site A Crítica
+Site Câmara dos Deputados
+Site Elenco Brasileiro
+Site Rádio Nacional
+Wikipedia
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/12043` — `itens/20.500.12156.1_12043/`
+- `20.500.12156.1/11090` — `itens/20.500.12156.1_11090/`
+- `20.500.12156.1/12042` — `itens/20.500.12156.1_12042/`
+- `20.500.12156.1/12041` — `itens/20.500.12156.1_12041/`
+
diff --git a/wordpress/33701-uma-homenagem-ao-historiador-jose-murilo-de-carvalho-1939-2023.md b/wordpress/33701-uma-homenagem-ao-historiador-jose-murilo-de-carvalho-1939-2023.md
new file mode 100644
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--- /dev/null
+++ b/wordpress/33701-uma-homenagem-ao-historiador-jose-murilo-de-carvalho-1939-2023.md
@@ -0,0 +1,75 @@
+---
+id: 33701
+url: "https://brasilianafotografica.bn.gov.br/?p=33701"
+titulo: "Uma homenagem ao historiador José Murilo de Carvalho (1939 – 2023)"
+autor: "Andrea Wanderley"
+data: "2023-08-14T09:52:48+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/1084", "20.500.12156.1/1795"]
+fetched_at: "2026-09-10T10:15:31.541Z"
+---
+
+# Uma homenagem ao historiador José Murilo de Carvalho (1939 – 2023)
+
+No primeiro parágrafo do artigo Machado de Assis vai à missa, escrito para a Brasiliana Fotográfica por José Murilo de Carvalho, um dos mais importantes historiadores do Brasil, fica evidente sua generosidade e grandeza de espírito na saudação inicial que fez a mim e à minha então recente descoberta da presença de Machado de Assis na fotografia de Antonio Luiz Ferreira da missa de ação de graças pela abolição da escravatura celebrada em 17 de maio de 1888, no Campo de São Cristóvão.
+O professor José Murilo de Carvalho havia sido o orientador da tese de doutorado A “Semana Illustrada” e a guerra contra o Paraguai : primórdios da fotorreportagem no Brasil, de Joaquim Marçal Andrade, um dos curadores da Brasiliana Fotográfica, que teve a ideia de convidá-lo para escrever o artigo e que me apresentou a ele. O professor José Murilo se mostrou extremamente solícito e entusiasmado desde o primeiro contato que fiz com ele para colaborar com o portal, naquele momento ainda em seus primeiros meses de atividades.
+A Brasiliana Fotográfica se soma às muitas e merecidas homenagens já recebidas e às muitas que ele ainda receberá republicando o referido artigo de 29 de maio de 2015, importante e generosa contribuição de um emérito historiador para a consolidação de um projeto voltado para a pesquisa e reflexão sobre a fotografia como fonte primária e essencial para a escrita da nossa história.
+ 
+José Murilo de Carvalho / Site Academia Brasileira de Letras
+ 
+Brevíssimo perfil de José Murilo de Carvalho (1939 – 2023)
+ 
+Nascido em Andrelândia, Minas Gerais, em 8 de setembro de 1939, José Murilo de Carvalho é bacharel em Sociologia e Política (Universidade Federal de Minas Gerais) e doutor em Ciência Política (Stanford University). Foi professor na UFMG e na Universidade Federal do Rio de Janeiro e  professor visitante nas universidades de Stanford, California-Irvine, Notre Dame (Estados Unidos), Leiden (Holanda), London e Oxford (Inglaterra) e maître de conférence na École des Hautes Études en Sciences Sociales (França). Foi pesquisador visitante do Institute for Advanced Study de Princeton. É professor emérito da Universidade Federal do Rio de Janeiro, pesquisador emérito do CNPq, membro da Academia Brasileira de Ciências e da Academia Brasileira de Letras. Em 2015, recebeu o título de Doutor Honoris Causa da Universidade de Coimbra. É autor de vários livros, entre os quais A construção da ordem e Teatro de sombras (Civilização Brasileira, 2003); Os bestializados: o Rio de Janeiro e a República que não foi (Cia. das Letras, 1987); A formação das almas: o imaginário da República (Cia. das Letras, 1990); Cidadania no Brasil: o longo caminho (Civilização Brasileira, 2001, 2013) e D. Pedro II, ser ou não ser (Cia. das Letras, 2oo7). Faleceu, no Rio de Janeiro, em 13 de agosto de 2023, após complicações de uma infecção por Covid-19.
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Machado de Assis vai à missa
+29 de maio de 2015
+Machado de Assis fotografado por Joaquim Insley Pacheco, em 1884, no Rio de Janeiro. Cópia fotográfica de Marc Ferrez. / Acervo FBN
+José Murilo de Carvalho
+Bendito o olhar de lince de Andrea Wanderley, que identificou o rosto de Machado de Assis na foto de Antonio Luiz Ferreira da missa celebrada em 17 de maio de 1888, no Campo de São Cristóvão, em ação de graças pela passagem da lei do dia 13 desse mês que abolira a escravidão no Brasil.
+A foto está disponível no portal Brasiliana Fotográfica, fantástica iniciativa da Biblioteca Nacional em parceria com o Instituto Moreira Salles. Outras figuras são identificáveis, além, naturalmente, da princesa Isabel e do conde d’Eu. O presidente do Conselho de Ministros do Gabinete conservador que fez passar a lei, João Alfredo Correia de Oliveira, está à direita de Isabel, um pouco abaixo.
+Os responsáveis pelo portal veem José do Patrocínio à frente do grupo, segurando a mão do filho. Ampliando o foco, deverão aparecer outros políticos e outros militantes da causa abolicionista. Nabuco não foi à missa, mas André Rebouças, quase íntimo da família imperial, estava lá. Também certamente estavam seus companheiros da Confederação Abolicionista, com quem se fizera fotografar na véspera, acompanhados de Ângelo Agostini, João Clapp, presidente da Confederação, Taunay,  grande amigo de Rebouças, Silveira da Mota, filho, Quintino Bocaiúva… Dezenas de outros certamente também estavam presentes e podem ser, eventualmente, identificados.
+A escravidão no Brasil foi bastante fotografada, mas a abolição, sobretudo a semana de 13 a 20 de maio, nem tanto, mesmo na capital onde havia muitos fotógrafos.  A razão disso não sei. É quase total a ausência de fotos fora da Corte (há apenas duas), quando se sabe que as festividades ganharam todo o país. Mas a consequência disso é que os poucos registros até agora descobertos, umas 25 fotos, ganham extraordinária importância. E o destaque vai todo para Antônio Luiz Ferreira, autor das 15 fotos com que presenteou Isabel. Sua foto mais espetacular é, sem dúvida, a da sessão da Câmara do dia 10 de maio, quando foi aprovado o projeto da abolição. A foto mais curiosa é a de Luís Stigaard, tirada na colônia Isabel, no Rio Grande do Sul. Retrata dezenas de colonos, imigrantes europeus, disciplinadamente organizados em filas, comemorando a abolição, em contraste com a exuberância das celebrações na capital do Império.
+Mas o registro importante hoje é a descoberta de que Machado foi à missa. Não era pessoa de frequentar igrejas. Também não apreciava manifestações multitudinárias. Mas a essa missa, a esse ajuntamento de milhares de pessoas, ele compareceu e fica claro na foto seu esforço para aparecer, prensado entre duas robustas figuras uniformizadas. Anos depois, em crônica (Gazeta de Notícias, 14/5/1893), ele anotou sobre o 13 de maio,  “Verdadeiramente, foi o único dia de delírio público que me lembra ter visto”. A missa foi continuação do delírio e é muito bom saber que o tímido, circunspecto e cético Machado estava lá.
+[Ver sobre o assunto, Pedro e Bia Corrêa do Lago, Coleção Princesa Isabel. Fotografia do Século XIX. Rio de Janeiro: Capivara, 2008.]
+ 
+Antonio Luiz Ferreira. Missa campal celebrada em ação de graças pela Abolição da escravatura no Brasil, 17 de maio de 1888. Rio de Janeiro, RJ / Acervo IMS
+ 
+Acessando o link para a fotografia Missa campal celebrada em ação de graças pela Abolição da Escravatura no Brasil produzida  Antonio Luiz Ferreira,  disponível na Brasiliana Fotográfica, o leitor poderá magnificar a imagem e verificar todos os dados referentes a ela.
+ 
+Acadêmicos lamentam a morte de Jose Murilo de Carvalho
+(transcrito do site da Academia Brasileira de Letras)
+13/08/2023
+Arno Wehling- José Murilo deixa uma obra importante para a compreensão do Brasil. Há temas da história do Império e da República, como o papel das elites, a cultura política e a cidadania para os quais deu contribuições que se incorporaram, definitivamente, à nossa maneira de ver a formação brasileira.
+Como pesquisador, além dos trabalhos individuais, soube atuar em equipe e liderar exemplarmente.
+Como acadêmico, foi dos mais preocupados com o papel institucional da Academia Brasileira de Letras e com a sua memória, que ele cultivava carinhosa e zelosamente, como diretor do arquivo.
+Perdi um amigo que admirava e um convívio intelectual que sempre enriquecia. A Academia perdeu um membro que vivenciava como poucos o seu espírito. E o país perdeu um grande brasileiro. Nos consola o fato de que José Murilo será, cada vez mais, referência para quem quiser entender nossa cultura e nosso modo particular de existir.
+Merval Pereira – José Murilo de Carvalho era dos nossos maiores historiadores, que explicou nosso passado desde o Império e, a partir desse conhecimento, analisava a política brasileira recente com requintes históricos que ajudavam a antever o futuro, do qual se desiludiu nos últimos anos. É uma perda não apenas para a ABL, onde tinha sob seus cuidados nossos arquivos, mas para a cultura brasileira.
+Cacá Diegues – José Murilo de Carvalho foi um brasileiro inesquecível. Ele nos ensinou o que foi este país e a ficarmos ligados a seu futuro. Ele vai fazer muita falta a ABL.
+Arnaldo Niskier – Sou testemunha do quanto o acadêmico José Murilo de Carvalho trabalhou pela cultura do nosso país, como historiador excepcional que foi, mas também no âmbito da Academia Brasileira de Letras, o quanto ele coordenou, com paixão, o nosso arquivo.
+Ele deu vida ao arquivo da Academia Brasileira de Letras e, sempre presente, emprestou o brilho da sua inteligência e da sua cultura à casa de Machado de Assis.  Nós estamos sofrendo muito a perda dele, ele na verdade é insubstituível.
+Rosiska Darcy de Oliveira – O Acadêmico José Murilo de Carvalho cumpriu com excelência não só sua reconhecida carreira de Historiador . Foi igualmente exemplar na gestão dos Arquivos da ABL, nos anos em que ocupou a Diretoria desse setor responsável pela  preservação da memória da Casa. Nossa gratidão a ele por essa dupla contribuição à Cultura Brasileira
+Godofredo de Oliveira Neto - Minha referência nos estudos históricos e meu companheiro de tertúlias pelo nosso bairro do Flamengo se foi. Um grande vazio se abre.Historiador 5 estrelas.Entendi o ambiente machadiano quando li Zé Murilo no início da graduação
+Jorge Caldeira – O Brasil perde um de seus maiores historiadores. A ABL, entre outras coisas, uma autoridade em arquivos sem par. Este acadêmico reverencia seu mestre: quando era jovem doutor e José Murilo já titular consagrado, ele aceitou colaborar num projeto que eu dirigia, a coleção Formadores do Brasil. A gigantesca qualidade de seu trabalho em equipe fez toda a diferença. Todos deveram muito a ele – especialmente o jovem diretor. Foi uma honra ser seu par, ainda que por pouco tempo. Com esse pequeno depoimento começo a cumprir a missão acadêmica de preservar a memória
+Domício Proença Filho – Foi um privilégio conviver com José Murilo. Deixa um profundo vazio no nosso convívio e na cultura brasileira.
+Ricardo Cavaliere – Lamento muito, perdemos um de nossos mais prestigiados historiadores. RIP
+Edmar Lisboa Bacha -Com seu enorme cabedal em ciência política e sociologia, José Murilo foi um dos maiores historiadores que o país jamais teve. Revelou as entranhas do Império, fez o elogio a Dom Pedro II, estabeleceu as limitações da República, esclareceu o papel central dos militares na história política do país, entre outros temas. Preocupava-o enormemente a enorme desigualdade social do país que, entranhada, o fazia descrer do futuro do Brasil. Esperemos que não seja assim. Perdem seus amigos, perde a Academia, perde o Brasil. Só nos resta pranteá-lo e homenageá-lo
+Ruy Castro – Não apenas nós, seus confrades, perdemos. O Brasil perdeu.
+Marco Lucchesi – Jose Murilo, um dos grandes intérpretes do Brasil. Renovou a historiografia a partir da segunda metade do século XX, com livros fundamentais que ocupam espaços assegurados, que nasceram clássicos como “A Formação das Almas”, “Os bestializados”, “A construção da ordem”, e outros livros diversos como “Forças Armadas e Política”, tão atual, como a biografia de D. Pedro II. Realmente aprofundando a históriapolítica do século XIX, compreendeu a formação do século XX, a proclamação da República e todos os defeitos do que ainda resta e dos mecanismo para republicanizar a República para lhe emprestar um conteúdo mais cidadão. Foi das pessoas mais probas, corretas e honestas que jamais conheci na minha vida. Tinha um compromisso ético de que não abria mão. Severo, atento, responsabilíssimo, homem de grande coração. Um homem de grande coração, com grandes saudades me despeço de você, com um abraço muito fraterno e amoroso.
+Antonio Torres – Foi muito enriquecedor conviver com José Murilo nestes meus anos de ABL. Para além de seus vastos conhecimentos, adorava o seu bom humor. Sua falta será imensa.
+Heloisa Teixeira – Eu não cheguei a conviver muito com ele na ABL mas era uma fidelíssima admiradora de sua obra . Perda enorme essa.
+Jose Paulo Cavalcanti – O Brasil perde com essa ausência. Viva José Murilo!
+Ana Maria Machado – É uma perda imensa – para o país, para a ABL, para os amigos. Um modelo de historiador e intelectual rigoroso, preparadíssimo, atento a tudo, original, leitor sensível.  Um sábio. Um homem íntegro em que se podia confiar sempre, capaz de somar o senso de humor apurado a uma exigente consciência cidadã, republicana, democrática.  E pessoalmente, fiquei muito abalada. Vou sentir muita falta do amigo, de quem eu gostava muito.
+Antônio Carlos Secchin: Uma lástima! Além de grande historiador, um homem leal, ético e corajoso.
+Leslie Bethell: Uma grande perda para a ABL, para a historiografia brasileira e para mim pessoalmente. Murilo e eu fomos amigos, colegas e co-autores durante mais de 50 anos.
+Geraldo Carneiro: Além de intelectual de primeira linha, José Murilo era uma pessoa encantadora, dono de uma ironia sempre pronta para desmontar qualquer ameaça de solenidade. O Brasil vai sentir falta de sua inteligência e de seu senso de humor.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/1084` — `itens/20.500.12156.1_1084/`
+- `20.500.12156.1/1795` — `itens/20.500.12156.1_1795/`
+
diff --git a/wordpress/33789-dia-mundial-da-fotografia-uma-retrospectiva-de-artigos.md b/wordpress/33789-dia-mundial-da-fotografia-uma-retrospectiva-de-artigos.md
new file mode 100644
index 0000000..bb68142
--- /dev/null
+++ b/wordpress/33789-dia-mundial-da-fotografia-uma-retrospectiva-de-artigos.md
@@ -0,0 +1,49 @@
+---
+id: 33789
+url: "https://brasilianafotografica.bn.gov.br/?p=33789"
+titulo: "Dia Mundial da Fotografia, uma retrospectiva de artigos"
+autor: "Andrea Wanderley"
+data: "2023-08-19T20:37:31+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/6658"]
+fetched_at: "2026-09-10T10:15:34.935Z"
+---
+
+# Dia Mundial da Fotografia, uma retrospectiva de artigos
+
+A invenção do daguerreótipo e seu anúncio, em 1839, transformou de forma definitiva e radical a linguagem e a cultura visual nestes últimos 184 anos. Com a publicação de uma imagem do fotógrafo Augusto Malta (1864 – 1957), do acervo do Arquivo Geral da Cidade do Rio de Janeiro, e também com uma retrospectiva dos artigos já publicados na Brasiliana Fotográfica sobre o Dia Mundial nda Fotografia, o portal, voltado para a pesquisa e reflexão sobre a fotografia como fonte primária e essencial para a escrita da nossa história, homenageia mais uma vez a data comemorativa.
+ 
+Augusto Malta (1864 – 1957), s/d. Rio de Janeiro, RJ / Acervo AGCRJ
+ 
+Em 1903, Malta foi contratado pela Prefeitura do Rio de Janeiro como fotógrafo oficial, cargo criado para ele. Passou a documentar a radical mudança urbanística promovida pelo então prefeito da cidade, Francisco Pereira Passos (1836-1913), período que ficou conhecido como o “bota-abaixo”. Augusto Malta trabalhou na Prefeitura até 1936, quando se aposentou.
+ 
+O Dia Mundial da Fotografia
+
+Câmara de daguerreótipo Succe Frères, de 1839 / Westlicht Photography Museum, em Viena, na Áustria
+
+ 
+A data escolhida para a comemoração do Dia Mundial da Fotografia tem sua origem no ano de 1839, quando, em 7 de janeiro, na Academia de Ciências da França, foi anunciada a descoberta da daguerreotipia, um processo fotográfico desenvolvido por Joseph Nicèphore Niépce (1765-1833) e Louis Jacques Mandé Daguerre (1787-1851). Cerca de sete meses depois, em 19 de agosto, durante um encontro realizado no Instituto da França, em Paris, com a presença de membros da Academia de Ciências e da Academia de Belas-Artes, o cientista François Arago, secretário da Academia de Ciências, explicou o processo e comunicou que o governo francês havia adquirido o invento, colocando-o em domínio público e, dessa forma, fazendo com que o “mundo inteiro” tivesse acesso à invenção. Em troca, Louis Daguerre e o filho de Joseph Niépce, Isidore, passaram a receber uma pensão anual vitalícia do governo da França, de seis mil e quatro mil francos, respectivamente.
+A velocidade com que a notícia do invento do daguerreótipo chegou ao Brasil é curiosa: cerca de 4 meses depois do anúncio da descoberta, foi publicado no Jornal do Commercio, de 1º de maio de 1839, sob o título “Miscellanea”, na segunda coluna, um artigo sobre o assunto – apenas 10 dias após de ter sido o tema de uma carta do inventor norte-americano Samuel F. B. Morse (1791 – 1872), escrita em Paris em 9 de março de 1839, para o editor do New York Observer, que a publicou em 20 de abril de 1839.
+O Dia Mundial da Fotografia foi instituído em 1991. Com o incentivo do fotógrafo indiano O.P. Sharma (1937-), a Sociedade de Fotógrafos de Mídia da América (American Society of Media Photographers – ASMP) e A Sociedade Real Fotográfica (The Royal Photographic Society – RPS) declararam o Dia Mundial da Fotografia na data de 19 de agosto.
+ 
+Leia aqui os artigos já publicados na Brasiliana Fotográfica sobre o Dia Mundial da Fotografia:
+ 
+Dia Mundial da Fotografia – 19 de agosto, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 19 de agosto de 2015
+Os 180 anos da invenção do daguerreótipo – Pequeno histórico e sua chegada no Brasil, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 19 de agosto de 2019
+Os 180 anos da invenção do daguerreótipo – Os álbuns da Comissão Geológica do Império com fotografias de Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 19 de agosto de 2019
+Autorretratos de fotógrafos – Uma homenagem no Dia Mundial da Fotografia, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 19 de agosto de 2021
+No Dia Internacional da Fotografia, fotógrafas pioneiras no Brasil, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 19 de agosto de 2022
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+Digital Camera World
+Foto em Foco
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/6658` — `itens/20.500.12156.1_6658/`
+
diff --git a/wordpress/33938-no-dia-do-reporter-fotografico-destaque-para-o-marco-no-fotojornalimo-brasileiro.md b/wordpress/33938-no-dia-do-reporter-fotografico-destaque-para-o-marco-no-fotojornalimo-brasileiro.md
new file mode 100644
index 0000000..1541c46
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+++ b/wordpress/33938-no-dia-do-reporter-fotografico-destaque-para-o-marco-no-fotojornalimo-brasileiro.md
@@ -0,0 +1,99 @@
+---
+id: 33938
+url: "https://brasilianafotografica.bn.gov.br/?p=33938"
+titulo: "No Dia do Repórter Fotográfico, destaque para o “Marco no fotojornalimo brasileiro: a seca no Ceará é documentada com fotografias”"
+autor: "Andrea Wanderley"
+data: "2023-09-02T10:56:37+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/496"]
+fetched_at: "2026-09-10T10:15:38.148Z"
+---
+
+# No Dia do Repórter Fotográfico, destaque para o “Marco no fotojornalimo brasileiro: a seca no Ceará é documentada com fotografias”
+
+No Dia do Repórter Fotográfico, a Brasiliana Fotográfica republica o Marco no fotojornalimo brasileiro: a seca no Ceará é documentada com fotografias. O assunto do artigo, originalmente publicado no portal em 12 de julho de 2015, é a veiculação de duas fotos de vítimas da maior seca nordestina do século XIX, na revista O Besouro, uma das iniciativas pioneiras da imprensa brasileira na utilização de fotografias como documentos comprobatórios de um fato, estabelecendo uma relação entre a narrativa escrita e o registro fotográfico. O autor das imagens, pertencentes ao acervo da Biblioteca Nacional, uma das instituições fundadoras do portal, foi Joaquim Antônio Correia, cujo ateliê ficava em Fortaleza, no Ceará.
+Para os leitores interessados em fotojornalismo, destacamos o portal Testemunha Ocular, uma iniciativa do Instituto Moreira Salles, instituição fundadora da Brasiliana Fotográfica, para preservar e difundir o passado e o presente do Fotojornalismo brasileiro; e também a exposição Evandro Teixeira. Chile 1973, em cartaz até 13 de novembro de 2023, no Centro Cultural Banco do Brasil, no Rio de Janeiro.
+ 
+Marco no fotojornalimo brasileiro: a seca no Ceará é documentada com fotografias
+ 
+J.A. Correia. Secca de 1877-78, 1877-1878. Ceará / Acervo FBN
+ 
+Segundo o trabalho “Imagens da Seca de 1877-78 – Uma contribuição para o conhecimento do fotojornalismo na imprensa brasileira”, dos pesquisadores Joaquim Marçal Ferreira de Andrade e Rosângela Logatto, a publicação de fotos de vítimas da maior seca nordestina do século XIX foi uma das iniciativas pioneiras da imprensa brasileira na utilização de fotografias como documentos comprobatórios de um fato (Anais da Biblioteca Nacional, vol 114, de 1994, p.71-83).
+Para denunciar a tragédia, o chargista português Rafael Bordalo Pinheiro (1846 – 1905) publicou, em 20 de julho de 1878, em uma ilustração da revista O Besouro, duas fotos que fazem parte de um conjunto de 14 registros fotográficos de vítimas da seca ocorrida entre 1877 e 1878. Porém, não foi dado crédito para o autor das fotos, Joaquim Antônio Correia, cujo ateliê ficava em Fortaleza, no Ceará.
+Link para O Besouro de 20 de julho de 1878, ano I, n.16
+Esse conjunto de fotografias pertence, atualmente, ao acervo da Biblioteca Nacional.  São imagens chocantes, em formato de cartes de visite, e retratam crianças, homens e mulheres desnutridos e maltrapilhos, de aparência doentia, e, muitas vezes, as fotos, feitas em estúdio, trazem textos rimados que se referem à miséria.
+ 
+Acessando o link para as fotografias de Joaquim Antônio Correia sobre a seca nordestina de 1877/1878 disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+A publicação da ilustração litográfica das duas fotos sendo seguradas por um esqueleto vestindo paletó, sob o título “Páginas tristes – Scenas e aspectos do Ceará (para S. Majestade, o Sr. Governo e os Senhores Fornecedores verem)”, tinha o objetivo de reforçar denúncias feitas pelo escritor e jornalista José do Patrocínio (1853 – 1905) em artigos publicados no periódico de texto Gazeta de Notícias. Patrocínio fazia, na época, a cobertura jornalística da seca com o principal objetivo de acompanhar a aplicação dos recursos governamentais em seu combate. Partiu em 10 de maio de 1878 e retornou ao Rio de Janeiro, em 12 de agosto do mesmo ano. As matérias foram publicadas, na coluna Folhetim, na primeira página da Gazeta de Notícias, sob o título “Viagem ao Norte” (1).
+Mas só o texto não era suficiente. Então, Patrocínio enviou as fotos para a redação da revista O Besouro, para a qual já havia mandado, antes da viagem, o artigo “Sermão de Lágrimas” (O Besouro, edição de 4 de maio de 1878 ), em que tratava, com preocupação, a seca e a situação dos retirantes.
+A publicação da ilustração com as fotos de Joaquim Antônio Correia, na revista O Besouro, foi um verdadeiro “anticartão de visita, veemente panfleto que denuncia uma realidade que muitos membros da corte se negavam a enxergar”(“Imagens da Seca de 1877-78 – Uma contribuição para o conhecimento do fotojornalismo na imprensa brasileira”).
+Abaixo, está reproduzido o texto publicado no O Besouro, na página seguinte à ilustração com as fotografias:
+“O Ceará
+O nosso amigo José do Patrocínio, em viagem por aquela provincia, enviou-nos as duas photographias por que foram feitos os desenhos da nossa primeira página.
+São dois verdadeiros quadros de fome e miséria. E´ n´aquelle estado que os retirantes chegam á capital, aonde quasi sempre morrem, apezar dos apregoados soccorros, que segundo informações exactas são distribuídos de maneira improficua.
+A nossa estampa da primeira pagina é uma prova cabal áquelles que accusavam de exageração, a pintura que se fazia do estado da infeliz província.
+Repare o governo e repare o povo, na nossa estampa, que é a cópia fiel da desgraça da população cearense.
+Continuaremos a reproduzir o que o nosso distincto collega nos enviar a tal respeito.”
+Uma curiosidade: também dessa viagem ao norte do país originou-se o romance de José do Patrocinio, Os Retirantes, publicado na Gazeta de Notícias, em estilo de folhetim, entre 29 de junho e 10 de dezembro de 1879.
+ 
+(1) – Links para os artigos escritos por José do Patrocínio sob o título “Viagem ao Norte”.
+Coluna Folhetim, “Viagem ao Norte”, Gazeta de Notícias, edição de 1º de junho de 1878.
+Coluna Folhetim, “Viagem ao Norte”, Gazeta de Notícias, edição de 6 de junho de 1878.
+Coluna Folhetim, “Viagem ao Norte”, Gazeta de Notícias, edição de 20 de julho de 1878.
+Coluna Folhetim, “Viagem ao Norte”, Gazeta de Notícias, edição de 23 de julho de 1878.
+Coluna Folhetim, “Viagem ao Norte”, Gazeta de Notícias, edição de 3 de agosto de 1878.
+Coluna Folhetim, “Viagem ao Norte”, Gazeta de Notícias, edição de 15 de agosto de 1878.
+Coluna Folhetim, “Viagem ao Norte”, Gazeta de Notícias, edição de 22 de agosto de 1878.
+Coluna Folhetim, “Viagem ao Norte”, Gazeta de Notícias, edição de 30 de agosto de 1878.
+Coluna Folhetim, “Viagem ao Norte”, Gazeta de Notícias, edição de 7 de setembro de 1878.
+Coluna Folhetim, “Viagem ao Norte”, Gazeta de Notícias, edição de 12 de setembro de 1878.
+ 
+Breve cronologia de Joaquim Antônio Correia (18? – ?)
+ 
+
+ 
+1874 – Até este ano, o nome de Joaquim Antônio Correia apareceia no cadastro de contribuintes como dono de uma casa comercial especializada em produtos manufaturados fora da província,que ficava na rua da Palma , nº 17.
+1877 - Estabeleceu como fotógrafo na rua Formosa, n° 31. Atuou como retratista por não menos de dez anos e foi contemporâneo de Agio Pio, do prussiano Carlos Frederico Johann Reeckell, do dinamarquês Niels Olsen (1843 – 1911) associado ao austríaco Constantino Barza, do francês Baubrier e de Francisco Brandão, dentre outros.
+ 
+O Cearense, 28 de janeiro de 1877
+ 
+1878 – Defendeu-se da acusação de comercializar indevidamente retratos que produzia de moças de família e ameaçou pendurar de cabeça para baixo os retratos de seus devedores (O Cearense, 12 de maio de 1878).
+Em maio, conheceu o escritor José do Patrocínio (1853 – 1905), que havia ido para o Ceará para conhecer mais de perto a tragédia da seca. Voltando para o Rio de Janeiro, publicou duas fotos da seca no Ceará de autoria de Correia, na revista O Besouro, de 20 de julho de 1878, do chargista português Rafael Bordallo Pinheiro (1846 – 1905). Foi uma das iniciativas pioneiras da imprensa brasileira na utilização de fotografias como documentos comprobatórios de um fato. Foi um marco na história do fotojornalismo brasileiro.
+A publicação da ilustração litográfica das duas fotos sendo seguradas por um esqueleto vestindo paletó, sob o título “Páginas tristes – Scenas e aspectos do Ceará (para S. Majestade, o Sr. Governo e os Senhores Fornecedores verem)”, tinha o objetivo de reforçar denúncias feitas por do Patrocínio em artigos publicados no periódico de texto Gazeta de Notícias. Patrocínio fazia, na época, a cobertura jornalística da seca com o principal objetivo de acompanhar a aplicação dos recursos governamentais em seu combate. Partiu em 10 de maio de 1878 e retornou ao Rio de Janeiro, em 12 de agosto do mesmo ano. As matérias foram publicadas, na coluna Folhetim, na primeira página da Gazeta de Notícias, sob o título “Viagem ao Norte”. Mas só o texto não era suficiente. Então, Patrocínio enviou as fotos para a redação da revista O Besouro, para a qual já havia mandado, antes da viagem, o artigo “Sermão de Lágrimas” (O Besouro, edição de 4 de maio de 1878 ), em que tratava, com preocupação, a seca e a situação dos retirantes.
+1881 – Seu estúdio fotográfico dispunha de um grande sortimento de quadros de gosto…máquinas de 4 objetivas…e tudo por preço tão diminuto que admira.
+ 
+O Cearense, 15 de março de 1881
+ 
+1883 / 1884 – Antes da assinatura da Lei Áurea, em 13 de maio de 1888, Fortaleza, em 24 de maio de 1883, tornou-se a primeira capital brasileira a libertar todos os escravizados. No ano seguinte, em 25 de março de 1884, o Ceará passou a ser o primeiro estado brasileiro a extinguir a escravidão. Correia documentou os líderes da luta escravagista em fotos chamadas de Retratos Libertadores e, em 1883, as comercializava.
+ 
+O Libertador,  9 de maio de 1883 / História da fotografia no Ceará do século XIX
+ 
+1885 – Correia anunciou que havia adquirido, em Paris, uma nova máquina para retratos instantâneos (O Cearense, de 28 de julho de 1885, última coluna).
+1886 – Anunciava que em seu estabelecimento fotográfico tirava-se retratos pelos processos mais aperfeiçoados (O Libertador, 8 de junho de 1886, última coluna).
+1892 – Provavelmente continuou trabalhando como fotógrafo até este ano.
+Em 29 de dezembro, inaugurou a primeira fábrica de louças do Ceará, no Boulevard da Conceição (A República, 28 de dezembro de 1892, quarta coluna).
+1893 – Anunciou a venda de seu estúdio fotográfico:
+“Joaquim Antonio Correia vende a sua fotografia constando de boas lentes, drogas, punsas, etc. A tratar: Rua Formosa, nº 31″ (A República, 30 de maio de 1893). Residia na rua Floriano Peixoto, nº 95.
+ 
+ 
+Andrea C. T. Wanderley
+Editora-assistente e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+ANDRADE, Joaquim Marçal Ferreira de; LOGATTO, Rosângela. Imagens da Seca de 1877-78 – Uma contribuição para o conhecimento do fotojornalismo na imprensa brasileira.  Anais da Biblioteca Nacional, vol 114, de 1994, p. 71-83.
+BEZERRA, Ari Leite. História da fotografia no Ceará do século XIX. Edição do autor, 2019.
+Fundação Palmares
+Hemeroteca Digital da Biblioteca Nacional
+KOSSOY, Boris. Dicionário histórico-fotográfico brasileiro: fotógrafos e ofício da fotografia no Brasil (1833-1910). São Paulo: Instituto Moreira Salles, 2002. 408 p., il. p&b.
+Link para o artigo 500 mil mortos: a tragédia esquecida que dizimou brasileiros durante 3 anos no século 19, de Camilla Veras Mota, Camila Costa e Cecilia Tombesi publicada no site da BBC, em 18 de junho de 2021, com as fotografias de Joaquim Antonio Corrêa.*
+ 
+*Esse link foi acrescentado no artigo em 19 de junho de 2021.
+**Essa breve cronologia foi inserida em 19 de abril de 2022.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/496` — `itens/20.500.12156.1_496/`
+
diff --git a/wordpress/34024-o-dr-photographo-oswaldo-cruz.md b/wordpress/34024-o-dr-photographo-oswaldo-cruz.md
new file mode 100644
index 0000000..55bd554
--- /dev/null
+++ b/wordpress/34024-o-dr-photographo-oswaldo-cruz.md
@@ -0,0 +1,276 @@
+---
+id: 34024
+url: "https://brasilianafotografica.bn.gov.br/?p=34024"
+titulo: "O “Dr. Photographo” Oswaldo Cruz"
+autor: "Andrea Wanderley"
+data: "2023-10-31T09:50:38+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/11993", "20.500.12156.1/12044", "20.500.12156.1/12080", "20.500.12156.1/12052", "20.500.12156.1/12049", "20.500.12156.1/12050", "20.500.12156.1/12005", "20.500.12156.1/12045", "20.500.12156.1/12081", "20.500.12156.1/12055", "20.500.12156.1/12048", "20.500.12156.1/11979", "20.500.12156.1/11980", "20.500.12156.1/12046", "20.500.12156.1/12079", "20.500.12156.1/11992", "20.500.12156.1/12047", "20.500.12156.1/11953", "20.500.12156.1/12053", "20.500.12156.1/12051", "20.500.12156.1/12054", "20.500.12156.1/11994", "20.500.12156.1/11962"]
+fetched_at: "2026-09-10T10:15:41.346Z"
+---
+
+# O “Dr. Photographo” Oswaldo Cruz
+
+Ricardo Augusto dos Santos, Felipe Almeida Vieira e Francisco dos Santos Lourenço, pesquisadores da Fiocruz, uma das instituições parceiras da Brasiliana Fotográfica, são os autores do artigo O “Dr. Photographo” Oswaldo Cruz, que traz para os leitores do portal uma faceta pouquíssimo conhecida do cientista: ele era um entusiasta da fotografia e este interesse ocupou um lugar importante tanto em sua vida privada como na profissional. Atuou muitas vezes como fotógrafo e foi personagem central de inúmeras fotografias ao longo de sua vida. Com a publicação de registros realizados por ele próprio, por fotógrafos ainda não identificados, pelo fotógrafo português José Ferreira Guimarães (1841 – 1924) e por J. Pinto (1884 – 1951), fotógrafo baiano que atuou muitos anos na Fundação Oswaldo Cruz, vamos conhecer um pouco desta história.
+ 
+Oswaldo Cruz com 20 anos, 1892 / Acervo Casa de Oswaldo Cruz
+ 
+Acessando o link para as fotografias relativas a este artigo disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+O “Dr. Photographo” Oswaldo Cruz
+ 
+Ricardo Augusto dos Santos, Felipe Almeida Vieira e Francisco dos Santos Lourenço*
+ 
+Oswaldo Gonçalves Cruz (1872 – 1917) era um apaixonado pela fotografia. O interesse na criação de imagens em suporte sensível ocupou um lugar de destaque em sua vida privada e no mundo do trabalho. Ele próprio atuou como fotógrafo e foi personagem central de inúmeras fotografias de conteúdos distintos ao longo de sua gloriosa existência.
+ 
+Photographia Guimarães. Oswaldo Cruz, s/d. Rio de Janeiro, RJ / Acervo Casa de Oswaldo Cruz
+ 
+Anúncio da Photographia Guimarães sobre a exibição de fotografia de Oswaldo Cruz / Gazeta de Notícias, 13 de abril de 1905
+ 
+É importante registrar que nem sempre foi possível a identificação dos profissionais que contribuíram para eternizar a imagem de Oswaldo Cruz com suas lentes, já que a maioria de seus nomes se perdeu no tempo. Nessa perspectiva, até mesmo as fotografias atribuídas a Oswaldo Cruz apresentam um quantitativo subestimado em virtude da carência de elementos descritivos, como datas, nomes e locais, que comprovem a sua autoria.
+As raras fontes existentes indicam que Oswaldo Cruz demonstrou interesse pela fotografia quando morou em Paris, na França, com a família, entre 1897 e 1899, a fim de aprimorar seus conhecimentos médico-científicos. Em carta a Emília da Fonseca Cruz, a Miloca (1873 – 1952), sua esposa, retornando da Exposição Internacional de Higiene de Dresden, na Alemanha, em 1911, fez menção a um passeio turístico para Fontainebleau, em 1897. Nessa ocasião, retratou a esposa, filhos e monumentos históricos.
+ 
+Oswaldo Cruz. Emília Cruz com os filhos Bento e Elisa, a Liseta, no Jardim dos Ingleses do Palácio de Fontainebleau, 1897. Fontainebleau, França / Acervo Casa de Oswaldo Cruz.
+ 
+De acordo com Ezequiel Dias (1880 – 1922), cientista e cunhado de Oswaldo, este se dedicava tanto à fotografia que se tornou um perito na arte, passando os domingos envolvido com a prática. Essa narrativa também foi compartilhada nas memórias afetivas do professor Eduardo Oswaldo Cruz (1933 – 2015), que herdou verdadeiras “preciosidades documentais” deixadas por seu ilustre avô. O material encontra-se sob a guarda da Casa de Oswaldo Cruz.
+“O interesse de Oswaldo pela fotografia é evidente pela presença em sua casa da Praia de Botafogo, número 406, de uma câmara escura, localizada ao lado de sua sala de estudo (que ele denominava ‘meu Palácio de Cristal’), o que assegurava condições ideais para seu entretenimento. Sabemos que o próprio executava todas as manipulações necessárias, incluindo a sensibilização das placas, sua revelação e preparo dos positivos”.
+Eduardo Oswaldo Cruz. Anaglyphos, s.d.
+ 
+Oswaldo Cruz. Casa da família Oswaldo Cruz na praia de Botafogo, 190?. Rio de Janeiro, RJ / Acervo Casa de Oswaldo Cruz
+ 
+Casa de Oswaldo Cruz, acima, segunda à esquerda, projetada pelo arquiteto Luiz de Moraes Júnior, o mesmo dos prédios históricos de Manguinhos / Revista da Semana, 12 de fevereiro de 1916
+ 
+Porém, segundo a inscrição contida na imagem a seguir, Oswaldo Cruz possuía também em sua anterior residência, na rua Voluntários da Pátria, número 128, em Botafogo, um espaço para exercitar seu passatempo predileto, a fotografia. Em ambos os endereços registrou cenas do cotidiano familiar.
+ 
+Oswaldo Cruz. Sala de estudos de Oswaldo Cruz, na casa da rua Voluntários da Pátria, onde se observa, ao centro, um Taxiphote Richard, aparelho estereoscópico de visão múltipla, novembro de 1906. Rio de Janeiro, RJ / Acervo Casa de Oswaldo Cruz.
+ 
+Taxiphote, aparelho similar ao pertencente a Oswaldo Cruz / stereoscopyhistory.net
+ 
+Para embasar da melhor forma possível a execução de seu hobby, Oswaldo Cruz cercou-se de publicações sobre teoria e técnica fotográficas. Entre os títulos em alemão, francês e italiano da antiga biblioteca do cientista, hoje preservados no acervo da Casa de Oswaldo Cruz, destacam-se La fotografia industriale. Fotocalchi economici per le riproduzioni di disegni, piani, carte, musica, negative fotografiche, ecc. e Les nouveautés photographiques, années 1904 et 1905. Complément annuel à la théorie, la pratique et l’art en photographie.
+ 
+Coleção Bibliográfica Oswaldo Cruz / Acervo Casa de Oswaldo Cruz
+ 
+As câmeras utilizadas por Oswaldo Cruz, que teriam sido adquiridas em Paris, foram a Kodak Folding Pocket, que empregava Roll Film tamanho 118, e a Vérascope Richard, a sua favorita, que produzia fotografias estereoscópicas.
+ 
+“Ainda que em alguns sentidos guarde semelhanças à prática amadora da fotografia plana, o amadorismo estereoscópico tem também suas especificidades, sobretudo no que diz respeito à sua capilarização. Estendendo-se pouco, ou quase nada, para além das elites, podemos perceber um perfil padrão dos fotógrafos amadores: profissionais liberais herdeiros de abastadas famílias brasileiras, homens de posses e/ou ocupantes de altos cargos da administração pública e sediado nos grandes centros urbanos”.
+Maria Isabela Mendonça dos Santos.
+A estereoscopia e o olhar da modernidade, 2019.
+ 
+ 
+Oswaldo Cruz. Elisa e Bento, filhos do cientista, na casa da rua Voluntários da Pátria, 190?. Rio de Janeiro, RJ / Acervo Casa de Oswaldo Cruz
+ 
+Entre as clássicas denominações atribuídas a Oswaldo Cruz – “mito na ciência brasileira”, “saneador do Rio de Janeiro” e “fundador da medicina experimental no Brasil” – houve uma de procedência totalmente informal, e que serviu de fio condutor para a concepção deste artigo. Sua origem se deu a partir de um episódio pitoresco envolvendo a figura de Oswaldo Cruz, que na ocasião foi chamado de “Dr. Photographo” por estudantes da Faculdade de Medicina do Rio de Janeiro.
+ 
+Ezequiel Caetano Dias. Traços biográficos de Oswaldo Cruz, 1922
+ 
+As imagens que apresentamos no presente artigo pertencem à Coleção Família Oswaldo Cruz. Nela encontram-se, entre outras “preciosidades documentais”, fotografias, cartas e álbuns, de natureza e suportes diversos, que revelam aspectos até então desconhecidos da vida privada e da trajetória de Oswaldo Cruz como médico, cientista, sanitarista e administrador de instituições de ciência e saúde pública. Dito isso, vamos conhecer um pouco mais a respeito do nosso “Dr. Photographo”.
+ 
+ Oswaldo Cruz, a Saga de Um Herói Brasileiro
+Samba-enredo da Escola de Samba Em Cima da Hora, no carnaval de 2000.
+ 
+“De São Luiz do Paraitinga
+A saga de um herói vamos contar
+Grande gênio da ciência
+Trouxe a experiência da Cidade-Luz
+No Brasil está vivo na memória
+Um carnaval de epidemias combateu
+Saneando a cidade, o meu Rio tropical
+Foi espelho de Paris
+Botaram abaixo o antigo
+Construindo um ideal e assim remodelaram a capital
+ 
+Com seus feitos, muitas vidas preservou
+Foram ideias geniais e amor
+Diretor pela saúde se tornou
+Nos anais da nossa história o seu nome consagrou
+ 
+Mas nem tudo eram flores
+E houve dissabores com a vacinação
+E aí a imprensa com humor, malhou, malhou
+Em meio a tanta dor
+ 
+Lá no Pará,
+Terra de Tapajós e Apiacás
+Com muita força e fé, livrou do mal
+Operários da Madeira-Mamoré
+Pesquisador, tornou-se imortal
+Prefeito da Cidade Imperial
+ 
+Oswaldo Cruz, a Fundação é você
+Batam palmas, eu quero ver
+Parabéns ao centenário
+Muito fez por merecer”
+ 
+Natural de São Luiz do Paraitinga, cidade histórica do interior paulista, Oswaldo Cruz nasceu no dia 5 de agosto de 1872, filho do médico Bento Gonçalves Cruz (1845 – 1892) e Amália Taborda de Bulhões Cruz (1851 – 1921). Em 1877, quando Oswaldo tinha cinco anos de idade, sua família se transferiu para a capital do Império, a cidade do Rio de Janeiro.
+ 
+Oswaldo Cruz com um ano de idade (ambrótipo), 1873-1874. São Luiz do Paraitinga, SP / Acervo Casa de Oswaldo Cruz
+ 
+Em 1889, ingressou na Faculdade de Medicina do Rio de Janeiro, onde se formou em 1892, aos vinte anos. Em relação ao período que Oswaldo Cruz realizou sua graduação, é necessária uma correção. A partir da consulta aos documentos sobre a vida estudantil do cientista na Faculdade de Medicina, verificamos ser 1889 o ano correto para a sua entrada no curso médico – e não 1887, como foi difundido por seus primeiros biógrafos.
+ 
+Certificado de provas da primeira série do curso médico, 9 de abril de 1889 / Acervo do Centro de Ciências da Saúde/UFRJ.
+ 
+Em 1893, casou-se com Emília, com que teve seis filhos: Elisa (1894 – 1965), Bento (1895 – 1941), Hercília (1898 – 1968), Oswaldo (1903 – 1977), Zahra (1907 – 1908) e Walter (1910 – 1967). Ainda nesse ano, Oswaldo Cruz montou um laboratório de análises clínicas em sua casa e deu início a uma diversificada atuação como médico no consultório que herdara de seu pai, na Fábrica de Tecidos Corcovado e na Policlínica Geral do Rio de Janeiro. Além disso, auxiliou o Instituto Sanitário Federal no diagnóstico da epidemia de cólera que grassava no Vale do Paraíba.
+ 
+Oswaldo Cruz. Fábrica de Tecidos Corcovado, às margens da lagoa Rodrigo de Freitas, no bairro do Jardim Botânico, 190?. Rio de Janeiro, RJ / Acervo Casa de Oswaldo Cruz
+ 
+Entre 1897 e 1899, conforme citado anteriormente, Oswaldo Cruz esteve em Paris estudando microbiologia, soroterapia e imunologia no Instituto Pasteur e medicina legal no Instituto de Toxicologia. Sua estadia com a família na “cidade-luz” foi financiada pelo sogro, o abastado comerciante português Manuel José da Fonseca (1842 – 1912).
+ 
+Oswaldo Cruz. Filhos de Oswaldo Cruz, Bento e Elisa. 1899 Paris, França / Acervo Casa de Oswaldo Cruz
+ 
+Photographia Guimarães. Comendador Manuel José da Fonseca, sogro de Oswaldo Cruz, s.d. Rio de Janeiro, RJ / Acervo Casa de Oswaldo Cruz
+ 
+De volta ao Rio de Janeiro, Oswaldo Cruz retomou suas funções como médico e fez parte da comissão que averiguou a crise de peste bubônica na cidade de Santos. Em seguida, recebeu o convite para exercer a direção técnica do Instituto Soroterápico Federal, que estava sendo criado na Fazenda de Manguinhos, localizada à beira mar, no subúrbio carioca. Seu funcionamento teve início em 1900, sob o comando do barão de Pedro Affonso (1845 – 1920). Dois anos depois, o barão foi destituído do cargo. Oswaldo Cruz, então, passou a dirigir sozinho os destinos do instituto – “célula mater” do que é, hoje, a Fundação Oswaldo Cruz (Fiocruz).
+“Embora as verbas permanecessem escassas, o Instituto, sob a direção exclusiva de Oswaldo, foi tendo maiores facilidades para a realização de pesquisas. Trabalhava-se o mais que se podia, despreocupadamente, com satisfação, com muito interesse pelas pesquisas científicas e com liberdade para investigar sobre os mais variados assuntos com aprovação ampla de Oswaldo, cujo maior objetivo era alargar o âmbito das atividades praticadas no Instituto”.
+Henrique de Beaurepaire Aragão.
+Notícia histórica sobre a fundação do Instituto Oswaldo Cruz (Instituto de Manguinhos), 1950.
+ 
+Sobre os primeiros tempos do Instituto Soroterápico Federal existem relatos de que o próprio Oswaldo Cruz documentou fotograficamente as atividades desenvolvidas nos improvisados ambientes de pesquisa e de preparo de soros e vacinas.
+ 
+Oswaldo Cruz. Primórdios do Instituto Soroterápico Federal . Cientista Henrique de Figueiredo Vasconcellos, 190?. Rio de Janeiro, RJ / Acervo Casa de Oswaldo Cruz
+ 
+Em 1903, a partir da contratação do exímio e criativo fotógrafo Joaquim Pinto da Silva, o J. Pinto (1884 – 1951), foram ampliados os registros referentes aos funcionários, estudantes, eventos, expedições científicas, campanhas sanitárias e instalações físicas do que viria a ser, dentro de poucos anos, um dos principais centros de ciências biomédicas e saúde do país. As fotografias produzidas por J. Pinto e outros fotógrafos que serviram na instituição ao longo de sua história, também estão reunidas no acervo da Casa de Oswaldo Cruz. Muitas delas, inclusive, foram apresentadas como tema de artigos na própria Brasiliana Fotográfica.
+ 
+J. Pinto. Os cientistas de Manguinhos fotografados no dia do aniversário de Oswaldo Cruz. Em cima da árvore: Paulo Parreiras Horta, Henrique da Rocha Lima e Henrique Aragão. Sentados: Ezequiel Dias, Alcides Godoy, Rodolpho de Abreu Filho, Eduardo Borges Ribeiro da Costa e Affonso Mac-Dowell, 5 de agosto de 1904. Rio de Janeiro, RJ / Acervo Casa de Oswaldo Cruz
+ 
+J. Pinto. Sessão científica do Instituto Soroterápico Federal no barracão que servia de biblioteca e sala de leitura e reuniões. Da esquerda para a direita: Affonso Mac-Dowell, Henrique Aragão, Paulo Parreiras Horta, Eduardo Borges Ribeiro da Costa, Rodolpho de Abreu Filho, Ezequiel Dias, Carlos Chagas, Alcides Godoy, Henrique Marques Lisboa, Oswaldo Cruz, Henrique da Rocha Lima e Antônio Cardoso Fontes, 1904. Rio de Janeiro, RJ / Acervo Casa de Oswaldo Cruz
+ 
+ 
+Oswaldo Cruz, de costas, à esquerda, reunido com seus discípulos no Pavilhão do Relógio em Manguinhos, entre eles Arthur Neiva, Carlos Chagas e Alcides Godoy, 190?. / Ciência e Cultura, janeiro e abril 1952
+ 
+Mesmo após a chegada de um fotógrafo profissional, Oswaldo Cruz continuou produzindo fotografias sobre o dia a dia de Manguinhos, bem como de suas viagens a trabalho dentro e fora do país. No edifício símbolo da instituição, o Pavilhão Mourisco, mandou instalar um moderno Gabinete Fotográfico. Essa iniciativa, inovadora para os padrões da época, vem comprovar o grande apreço que o cientista tinha pela elaboração de imagens, não somente fixas, mas também em movimento.
+“Entre o 3° e o 4° andar estão os gabinetes de macro e microfotografia, cinematografia etc., onde são executados por profissional de real competência – o Snr. Pinto – todos os trabalhos desse gênero. Ao lado, se acha uma copiosa coleção catalogada de fotografias e microfotografias, todas elas referentes a estudos realizados pelo pessoal do Instituto”. 
+Ezequiel Caetano Dias. O Instituto Oswaldo Cruz: resumo histórico (1899-1918), 1918.
+ 
+Oswaldo Cruz. Aspectos do campus de Manguinhos, tendo ao fundo as torres do Aquário e do Pavilhão do Relógio e partes da Cavalariça e do Pavilhão Mourisco, 191?. Rio de Janeiro, RJ / Acervo Casa de Oswaldo Cruz.
+ 
+Oswaldo Cruz. Edificações do Instituto Oswaldo Cruz. Pavilhão Mourisco e Cavalariça, 191?. Rio de Janeiro, RJ / Acervo Casa de Oswaldo Cruz
+ 
+A partir de 1903, Oswaldo Cruz também comandou a Diretoria Geral de Saúde Pública (DGSP), tendo como desafio empreender uma campanha sanitária para debelar as principais doenças que assolavam o Rio de Janeiro: febre amarela, peste bubônica e varíola. Essa árdua tarefa se desenvolveu no contexto da reforma urbana orquestrada pelo prefeito Francisco Pereira Passos (1836 – 1913), que recebeu plenos poderes do presidente Francisco de Paula Rodrigues Alves (1848 – 1919) para transformar a capital da República em uma metrópole tropical com ares parisienses.
+Cabe ressaltar aqui o papel desempenhado pela fotografia no período da Primeira República ou República Velha. Graças a difusão da técnica, um farto material iconográfico foi publicado na imprensa brasileira. Consultando revistas ilustradas e jornais diários, encontramos fotografias – além de charges e caricaturas – que foram utilizadas para enaltecer ou criticar as campanhas sanitárias e atividades científicas sob a responsabilidade de Oswaldo Cruz.
+ 
+Membros do Instituto Pasteur e integrantes da campanha contra a febre amarela no Rio de Janeiro (fotografia com pintura). Primeira fila, da esquerda para a direita: médicos Henrique de Figueiredo Vasconcellos, Henrique da Rocha Lima, Émile Marchoux, Oswaldo Cruz, Paul Louis-Simond, Francisco Fajardo e Alberto Vieira da Cunha. Segunda fila: Zeferino Justino da Silva Meirelles, engenheiro Luiz de Moraes Júnior, Antonino Augusto Ferrari, Jayme Aben-Athar, Júlio José Monteiro, João Pedro Leão de Aquino, Carlos Seidl e os internos Américo Oberlaender, Octavio Lobato Ayres e Joaquim Francisco Torres Vianna. Terceira fila: interno Mario Piragibe, escrivão Raul Mendonça e ajudante Eduardo Aguiar. Na janela: farmacêuticos Martins e Imbús, 1905. Hospital de São Sebastião, Rio de Janeiro, RJ / Acervo Casa de Oswaldo Cruz 
+ 
+Os métodos empregados pelo diretor da DGSP para combater as epidemias de febre amarela e peste bubônica abordaram o isolamento dos doentes, a eliminação de mosquitos e ratos, a notificação compulsória dos casos positivos e a desinfecção de imóveis e ruas. Esses métodos, embora eficazes, não foram bem recebidos por vários segmentos da população, que desconfiavam da sua validade.
+ 
+Charge sobre a “boa” relação de Oswaldo Cruz com Rodrigues Alves / Tagarela, 22 de outubro de 1903
+ 
+ 
+Tagarela, 15 de setembro de 1904
+ 
+O combate à varíola, por sua vez, não saiu conforme o planejado por Oswaldo Cruz. Em 1904, depois da aprovação da polêmica lei que tornou obrigatória a vacinação contra a varíola em todo o Brasil, eclodiu uma revolta popular, seguida da tentativa de golpe militar: a Revolta da Vacina. Ela durou sete dias e foi reprimida severamente pelo governo de Rodrigues Alves, que acabou suspendendo a obrigatoriedade da vacinação.
+ 
+O Malho, 19 de novembro de 1904
+ 
+De 1905 a 1906, ainda como parte das atribuições da DGSP, Oswaldo Cruz realizou uma viagem a diversos portos marítimos e fluviais de norte a sul do Brasil em companhia de seu secretário, o médico João Pedroso Barreto de Albuquerque (1869 – 1936). O objetivo da viagem era estabelecer um código sanitário para o país de acordo com as normas internacionais. Por esse novo empreendimento, Oswaldo Cruz foi mais uma vez incompreendido e atacado pela imprensa.
+ 
+Comentário crítico sobre a viagem aos portos marítimos e fluviais do Brasil / O Malho, 7 de outubro de 1905
+ 
+ 
+Oswaldo Cruz. Viagem aos portos marítimos e fluviais de Norte ao Sul do Brasil. Capitão de corveta Alberto Álvaro da Silva e João Pedroso Barreto de Albuquerque, 13 de fevereiro de 1906 / Acervo Casa de Oswaldo Cruz
+ 
+Em 1907, durante o XIV Congresso Internacional de Higiene e Demografia de Berlim (Alemanha), Oswaldo Cruz recebeu da imperatriz Augusta Vitória (1858 – 1921) a medalha de ouro em nome da seção brasileira presente na Exposição Internacional de Higiene. No evento foram exibidos os produtos e documentos referentes às ações do Instituto Soroterápico Federal e da DGSP, como, por exemplo, vacinas e soros, peças anatomopatológicas, coleções zoológicas, gráficos e fotografias de campanhas sanitárias e maquetes dos edifícios construídos para o instituto e a saúde pública no Rio de Janeiro. Quando ainda se encontrava no exterior, o governo brasileiro transformou o Instituto Soroterápico Federal em Instituto de Patologia Experimental de Manguinhos, um antigo anseio do cientista. Ao regressar ao Rio de Janeiro, em 1908, Oswaldo Cruz foi festivamente recebido como herói nacional após o retumbante sucesso alcançado pelo Brasil no evento de Berlim, que consagrou os trabalhos realizados sob seu comando em Manguinhos e contra as epidemias na capital federal, sobretudo a de febre amarela. A partir desse episódio, o comportamento da impressa em relação às atividades de Oswaldo Cruz se modificou, e as homenagens ao homem público, antes tão criticado, se tornaram rotineiras.
+ 
+Charge alusiva à conquista da medalha de ouro em Berlim / Edgard de Cerqueira Falcão. Oswaldo Cruz monumenta histórica, 1971
+ 
+Com o desenvolvimento e transformação do “Instituto de Manguinhos” no arrojado Instituto Oswaldo Cruz (IOC), assim batizado em 1908 para homenagear os feitos do cientista, fotografia e desenho passaram a ser serviços complementares indispensáveis às atividades de ensino e pesquisa. Os sucessores de Oswaldo na gestão do instituto continuaram a dedicar atenção a essas práticas.
+ 
+Fotomontagem por J.Pinto. Lembrança de J. Pinto – imagem satírica do fotógrafo dançando com anfíbios, 1927. Rio de Janeiro, RJ / Acervo Casa de Oswaldo Cruz
+ 
+Oswaldo Cruz pediu exoneração da DGSP em 1909 e voltou a se dedicar exclusivamente ao seu instituto. Entre outras ações, promoveu o inventário das condições sanitárias do interior do Brasil através de expedições formadas por cientistas do IOC e médicos da DGSP. De 1910 a 1911, liderou importantes missões de combate à malária durante a construção da Ferrovia Madeira-Mamoré, a “ferrovia do diabo”, em Porto Velho, Rondônia, e à febre amarela em Belém, a convite do governador paraense João Coelho (1852 – 1926).
+ 
+Oswaldo Cruz no Forte do Presépio com sua inseparável pasta de couro, no período de preparação da campanha de combate à febre amarela, 1910. Belém, Pará / Acervo Casa de Oswaldo Cruz
+ 
+Oswaldo Cruz. Expurgo de imóveis em Belém durante o combate à febre amarela, 1910 – 1911. Belém, Pará / Acervo Casa de Oswaldo Cruz
+Nas duas ocasiões em que regressou ao Rio de Janeiro proveniente da região Norte do país, Oswaldo Cruz foi calorosamente recepcionado no Cais Pharoux, atual Praça XV, por autoridades, amigos e admiradores, que se deslocaram até o local para parabenizá-lo pela excelente condução dos trabalhos de saúde pública realizados no Pará e Rondônia.
+ 
+Oswaldo Cruz, de chapéu branco, sendo calorosamente recebido no Cais Pharoux após a conclusão dos trabalhos na Madeira-Mamoré / Careta, 3 de setembro de 1910
+ 
+O Malho, 11 de novembro de 1911
+ 
+Retornou à Alemanha em 1911 para participar da Exposição Internacional de Higiene de Dresden. O destaque da presença brasileira no evento foi, sem dúvida, a apresentação de peças anatomopatológicas, fotografias, moldes e bustos em gesso de doentes, entre outros itens, sobre a descoberta de Carlos Chagas (1879 – 1940), cientista do IOC, em 1909, da doença transmitida pelo barbeiro, a tripanossomíase americana ou doença de Chagas. A exibição dos filmes que documentam essa descoberta e as ações de combate à febre amarela no Rio de Janeiro também tiveram excelente aceitação entre os participantes da exposição. Muito provavelmente, o fotógrafo J. Pinto foi o responsável pelo filme Chagas em Lassance, o primeiro de caráter científico realizado no Brasil.
+ 
+Oswaldo Cruz em frente ao belo Pavilhão Brasileiro na Exposição Internacional de Higiene de Dresden, 1911. Dresden, Alemanha / Acervo Casa de Oswaldo Cruz
+ 
+Em carta ao fiel escudeiro João Pedroso, que ficou em seu lugar chefiando os trabalhos de combate à febre amarela em Belém, Oswaldo Cruz resumiu com alegria mais um triunfo da ciência brasileira em solo alemão:
+ 
+“Berlim, 28 de julho de 1911.
+Caro Pedroso.
+De passagem por aqui, de volta de Dresden e a caminho de Paris não quis deixar de te mandar algumas linhas, informando-te dos resultados de nossa Exposição. Quando o Vasconcelos me escrevia cheio de entusiasmo, julgava eu que era vibração exagerada de patriotismo hipertrofiado pelos ares estrangeiros; mas, felizmente, tive ocasião de verificar a realidade do fato: É um sucesso completo, no ponto de vista, que eu o encaro, i. é. como meio de tornar conhecido o Brasil científico. Com efeito, a Exposição tem tido uma verdadeira romaria de sábios de toda a Alemanha. Quando aqui se reuniu o Congresso de Microbiologia foram todos os membros à nossa Exposição, espontaneamente e sem prévio convite; examinaram cuidadosamente tudo e ficaram todos encantados pelos estudos do Chagas. Quando no cinematógrafo viram a fita dos doentes do Chagas, não se puderam conter e irromperam em palmas e vivas! […] Os resultados da campanha do Pará têm pasmado a todos e com um interesse admirável estudam cuidadosamente os gráficos e mapas. Não havia, pois, exagero, e nossa reputação, já adquirida, de país civilizado que caminha na vanguarda do progresso científico, teve mais uma eloquente sanção, e vocês todos contribuíram para isso com enorme contingente, pelo que vivamente os felicito.
+E Sales Guerra. Osvaldo Cruz, 1940.
+Em 1912, o cientista foi eleito “imortal” da Academia Brasileira de Letras na vaga do poeta Raimundo Correia (1859 – 1911). Em 1914, recebeu a condecoração de oficial da Ordem Nacional da Legião de Honra da França.
+ 
+Revista da Semana, 8 de junho de 1912
+ 
+ 
+Oswaldo Cruz recebendo Theodore Roosevelt, ex-presidente dos Estados Unidos, no Instituto Oswaldo Cruz, 23 de outubro de 1913. Rio de Janeiro, Rj / Acervo Casa de Oswaldo Cruz
+ 
+Ainda em 1914, Oswaldo Cruz presidiu a Conferência Sanitária realizada em Montevidéu (Uruguai), que contou com a participação de representantes da Argentina, Brasil, Paraguai e do país anfitrião. O objetivo da conferência foi a elaboração de uma nova Convenção Sanitária para a região. Antes de voltar ao Rio de Janeiro, esteve na capital argentina visitando estabelecimentos científicos e de ensino superior. Na ocasião, recebeu o diploma de membro honorário da Academia de Medicina da Universidade Nacional de Buenos Aires.
+ 
+Fon-Fon, 16 de maio de 1914
+ 
+Oswaldo Cruz por ocasião do regresso de Buenos Aires na companhia de João Pedroso, Henrique de Figueiredo Vasconcellos, Arthur Neiva, entre outros / Careta, 9 de maio de 1914
+ 
+Revista da Semana, 20 de junho de 1914 
+ 
+Em 1916, por motivos de saúde, deixou a direção do IOC e foi morar em Petrópolis, região serrana fluminense. Lá, durante poucos meses, ocupou o cargo de primeiro prefeito da cidade, por nomeação de Nilo Peçanha (1867 – 1924), presidente do estado do Rio de Janeiro. No dia 11 de fevereiro de 1917, durante os festejos de Momo, Oswaldo Cruz morreu em sua casa, na rua Montecaseros, aos 44 anos, cercado por familiares e amigos. Seu enterro, realizado no dia seguinte, no Cemitério de São João Batista, Rio de Janeiro, reuniu representantes de todas as camadas sociais, que formaram um cortejo solene para dar o último adeus ao grande cientista brasileiro – o “Dr. Photographo” Oswaldo Cruz –, que se tornou símbolo da ciência nacional e da saúde pública.
+ 
+Oswaldo Cruz, s/d. Rio de Janeiro, RJ / Acervo Casa de Oswaldo Cruz
+ 
+* Ricardo Augusto dos Santos é Pesquisador Titular da Fundação Oswaldo Cruz. Felipe Almeida Vieira e Francisco dos Santos Lourenço são pesquisadores do Departamento de Arquivo e Documentação da Casa de Oswaldo Cruz.
+ 
+Fontes:
+ARAGÃO, Henrique de Beaurepaire. Notícia histórica sobre a fundação do Instituto Oswaldo Cruz (Instituto de Manguinhos). Memórias do Instituto Oswaldo Cruz, Rio de Janeiro, v. 48, p. 1-75, 1950.
+BENCHIMOL, Jaime Larry (coord.). Manguinhos do sonho à vida: a ciência na belle époque. Rio de Janeiro: Casa de Oswaldo Cruz, 1990.
+BRITTO, Nara. Oswaldo Cruz: a construção de um mito na ciência brasileira. Rio de Janeiro: Editora Fiocruz, 2006.
+D’AVILA, Cristiane. A Exposição Internacional de Higiene de Dresden, na Alemanha, em 1911. Brasiliana Fotográfica, Rio de Janeiro, 5 jan. 2022.
+DIAS, Ezequiel Caetano. O Instituto Oswaldo Cruz: resumo histórico (1899-1918). Rio de Janeiro: Instituto Oswaldo Cruz, 1918.
+DIAS, Ezequiel Caetano. Traços biográficos de Oswaldo Cruz. Memórias do Instituto Oswaldo Cruz, Rio de Janeiro, v. 15, n. 1, p. 1-79, 1922.
+FALCÃO, Edgard de Cerqueira (org.). Oswaldo Cruz monumenta histórica. A incompreensão de uma época. Oswaldo Cruz e a caricatura. São Paulo: Revista dos Tribunais, 1971. tomo 1.
+FONSECA FILHO, Olympio da. A escola de Manguinhos: contribuição para o estudo do desenvolvimento da medicina experimental no Brasil. São Paulo: EGTR, 1974.
+FRAIHA NETO, Habib. Oswaldo Cruz e a febre amarela no Pará. 2 ed., rev. e ampl. Ananindeua: Instituto Evandro Chagas, 2012.
+FRAGA, Clementina. Vida e obra de Oswaldo Cruz. 2 ed. Rio de Janeiro: Ed. Fiocruz, 2005.
+GUERRA, E. Sales. Osvaldo Cruz. Rio de Janeiro: Vecchi, 1940.
+Hemeroteca Digital da Biblioteca Nacional.
+LIMA, Ana Luce Girão Soares de. A bordo do República: diário pessoal da expedição de Oswaldo Cruz aos portos marítimos a fluviais do Brasil. História, Ciências, Saúde – Manguinhos, Rio de Janeiro, v. 4, n. 1, p. 158-167, 1997.
+LIMA, Nísia Trindade; MARCHAND, Marie-Hélène (org.). Louis Pasteur & Oswaldo Cruz. Rio de Janeiro: Ed. Fiocruz; Banco BNP Paribas Brasil S.A., 2005.
+LOPES, Myriam Bahia. Corpos ultrajados: quando a medicina e a caricatura se encontram. História, Ciências, Saúde – Manguinhos, Rio de Janeiro, v. 6, n. 2, p. 257-275, 1999.
+LOURENÇO-DE-OLIVEIRA, Ricardo; LOURENÇO, Francisco dos Santos. Antonio Gonçalves Peryassú e o estudo dos mosquitos para sanear o Brasil: uma resenha biográfica. Revista Pan-Amazônica de Saúde, Ananindeua, v. 13, p. 1-13, 2022.
+Oswaldo Cruz: o médico do Brasil. São Paulo: Fundação Odebrecht; Brasília: Fundação Banco do Brasil, 2003.
+OSWALDO CRUZ, Eduardo. Anaglyphos: Oswaldo Cruz como fotógrafo. Inglaterra, s.d.
+ROCHA LIMA, Henrique da. Com Oswaldo Cruz em Manguinhos. Ciência e Cultura, São Paulo, v. 4, n. 1/2, p. 15-38, 1952.
+SANTOS, Maria Isabela Mendonça dos. A estereoscopia e o olhar da modernidade. Brasiliana Fotográfica, Rio de Janeiro, 29 maio 2019.
+SANTOS, Ricardo Augusto dos. O fotógrafo Joaquim Pinto da Silva, o J. Pinto (1884 – 1951) e a Fundação Oswaldo Cruz. Brasiliana Fotográfica, Rio de Janeiro, 16 nov. 2017.
+SANTOS, Ricardo Augusto dos; LOURENÇO, Francisco dos Santos. João Pedro ou João Pedroso?. Brasiliana Fotográfica, Rio de Janeiro, 11 jan. 2019.
+SERPA, Phocion. A vida gloriosa de Osvaldo Cruz. Rio de Janeiro, 1937.
+THIELEN, Eduardo Vilela et al. A ciência a caminho da roça: imagens das expedições científicas do Instituto Oswaldo Cruz em 1911 e 1912. Rio de Janeiro: Casa de Oswaldo Cruz, 1991.
+THIELEN, Eduardo Vilela. Imagens da saúde do Brasil: a fotografia na institucionalização da saúde pública. Dissertação (Mestrado em História) – Pontifícia Universidade Católica, São Paulo, 1992.
+WANDERLEY, Andrea C. T. Breve perfil e cronologia do fotógrafo português José Ferreira Guimarães (1841 – 30/01/1924). Brasiliana Fotográfica, Rio de Janeiro, 30 nov. 2017.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/11993` — `itens/20.500.12156.1_11993/`
+- `20.500.12156.1/12044` — `itens/20.500.12156.1_12044/`
+- `20.500.12156.1/12080` — `itens/20.500.12156.1_12080/`
+- `20.500.12156.1/12052` — `itens/20.500.12156.1_12052/`
+- `20.500.12156.1/12049` — `itens/20.500.12156.1_12049/`
+- `20.500.12156.1/12050` — `itens/20.500.12156.1_12050/`
+- `20.500.12156.1/12005` — `itens/20.500.12156.1_12005/`
+- `20.500.12156.1/12045` — `itens/20.500.12156.1_12045/`
+- `20.500.12156.1/12081` — `itens/20.500.12156.1_12081/`
+- `20.500.12156.1/12055` — `itens/20.500.12156.1_12055/`
+- `20.500.12156.1/12048` — `itens/20.500.12156.1_12048/`
+- `20.500.12156.1/11979` — `itens/20.500.12156.1_11979/`
+- `20.500.12156.1/11980` — `itens/20.500.12156.1_11980/`
+- `20.500.12156.1/12046` — `itens/20.500.12156.1_12046/`
+- `20.500.12156.1/12079` — `itens/20.500.12156.1_12079/`
+- `20.500.12156.1/11992` — `itens/20.500.12156.1_11992/`
+- `20.500.12156.1/12047` — `itens/20.500.12156.1_12047/`
+- `20.500.12156.1/11953` — `itens/20.500.12156.1_11953/`
+- `20.500.12156.1/12053` — `itens/20.500.12156.1_12053/`
+- `20.500.12156.1/12051` — `itens/20.500.12156.1_12051/`
+- `20.500.12156.1/12054` — `itens/20.500.12156.1_12054/`
+- `20.500.12156.1/11994` — `itens/20.500.12156.1_11994/`
+- `20.500.12156.1/11962` — `itens/20.500.12156.1_11962/`
+
diff --git a/wordpress/34073-serie-os-arquitetos-do-rio-de-janeiro-iv-archimedes-memoria-1893-1960-o-ultimo-d.md b/wordpress/34073-serie-os-arquitetos-do-rio-de-janeiro-iv-archimedes-memoria-1893-1960-o-ultimo-d.md
new file mode 100644
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+++ b/wordpress/34073-serie-os-arquitetos-do-rio-de-janeiro-iv-archimedes-memoria-1893-1960-o-ultimo-d.md
@@ -0,0 +1,107 @@
+---
+id: 34073
+url: "https://brasilianafotografica.bn.gov.br/?p=34073"
+titulo: "Série “Os arquitetos do Rio de Janeiro” IV – Archimedes Memória (1893 – 1960), o último dos ecléticos"
+autor: "Andrea Wanderley"
+data: "2023-12-01T09:57:06+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/12489", "20.500.12156.1/7776", "20.500.12156.1/2784", "20.500.12156.1/8188", "20.500.12156.1/10817", "20.500.12156.1/4589", "20.500.12156.1/4653"]
+fetched_at: "2026-09-10T10:15:44.767Z"
+---
+
+# Série “Os arquitetos do Rio de Janeiro” IV – Archimedes Memória (1893 – 1960), o último dos ecléticos
+
+O cearense Archimedes Memória (1893 – 1960), considerado o último dos ecléticos e um dos maiores expoentes da arquitetura brasileira, e suas construções no Rio de Janeiro são o tema do quarto artigo da série Os arquitetos do Rio de Janeiro. Já foram publicados na Brasiliana Fotográfica artigos sobre algumas de suas mais importantes realizações: a Esplanada no Castelo e alguns dos pavilhões contruídos para a Exposição Internacional do Centenário da Independência; o Hipódromo da Gávea, o Palácio Pedro Ernesto e o Palácio Tiradentes. Nessas publicações, que destacaremos aqui, há fotografias produzidas por diversos fotógrafos, dentre eles Augusto Malta (1864 – 1957), Theodor Preising (1883 – 1962) e fotógrafos ainda não identificados. Há ainda uma fotografia de autoria de Marc Ferrez (1843 – 1923), do acervo do Instituto Moreira Salles, uma das instituições fundadoras da Brasiliana Fotográfica, recém acrescentada no acervo do portal.
+ 
+Marc Ferrez. Exposição de 1922 – Pavilhão das Festas, 1922. Rio de Janeiro, RJ / Acervo IMS
+ 
+ 
+Seguem os links dos artigos já publicados na Brasiliana Fotográfica sobre construções de Archimedes Memória:
+ 
+Série “1922 – Hoje, há 100 anos” VIII – A abertura da Exposição Internacional do Centenário da Independência do Brasil e o centenário da primeira grande transmissão pública de rádio no país, publicado em 7 de setembro de 1922
+Photo Bippus Rio. Exposição Internacional do Centenário da Independência – Palácio das Festas, 1922. Rio de Janeiro, RJ / Acervo IMS
+ 
+ 
+Série “O Rio de Janeiro desaparecido” XXII – A Cadeia Velha, que deu lugar ao Palácio Tiradentes publicado em 11 de abril de 2023
+ 
+Augusto Malta. Palácio Tiradentes, c. 1926. Rio de Janeiro, RJ / Acervo IMS
+ 
+O Hipódromo da Gávea, no Rio de Janeiro, publicado em 11 de julho de 2023
+Augusto Malta. Jockey Club, 15 de julho de 1926. Rio de Janeiro, RJ / Acervo IMS
+ 
+O centenário do Palácio Pedro Ernesto, publicado em 21 de julho de 2023
+ 
+Theodor Preising; Photo Rotativo. Avenida Rio Branco; na altura da Cinelândia. O Palácio Pedro Ernesto é o prédio mais baixo, c. 1940. Rio de Janeiro, RJ / Acervo IMS
+ 
+ 
+Breve perfil do arquiteto cearense Archimedes Memória (1893 – 1960)
+ 
+Archimedes Memória (1893 – 1960) /Academia Ipuense de Letras, Ciências e Artes
+ 
+Nascido em 7 de março de 1893, no sítio Gameleira, próximo da atual Várzea do Jiló, em Ipu, o cearense Archimedes Memória chegou ao Rio de Janeiro por volta de 1910 para estudar desenho na Escola Nacional de Belas Artes (Enba). Logo entrou para o Botafogo Clube de Regatas, onde se tornou campeão de remo. Transferiu-se para o curso de Arquitetura, formando-se em 1917. Como estudante, morava com outros companheiros no Largo da Lapa  (Correio da Manhã, 27 de setembro de 1960, antepenúltima coluna).
+Foi um dos discípulos prediletos de Heitor de Mello (1875 – 1920), seu mestre, para quem começou a trabalhar, no Escritório Técnico Heitor de Mello, em 1918. Segundo o historiador da arquitetura Yves Bruand (1926 – 2011), este escritório foi a primeira organização comercial de arquitetura no Brasil dedicada ao desenvolvimento de projetos, acompanhamento e fiscalização de obras. Quando Heitor de Mello faleceu, em 1920, Archimedes passou a ser sócio do escritório com o franco-suíço Francisque Couchet (18? – 19?). Também, em 1920, sucedeu Heitor como professor de desenho de ornatos e elementos de arquitetura e composição de arquitetura da Enba. Em 1931, passou a dirigir a escola, sucedendo Lúcio Costa (1902 – 1998), que havia feito uma reforma no ensino da instituição, que desagradou a maioria dos professores. Archimedes ficou no cargo até 1934, tendo sido reconduzido em 1938.
+ 
+Augusto Malta. Sentados, da esquerda para a direita: Nestor de Figueiredo, Adolpho Morales de los Rios (pai) e Francisque Cuchet. Em pé, na mesma ordem: Archimedes Memoria, Adolpho Morales de los Rios (filho), Celestino Severo de Juan e Edgar Viana, 7 de setembro de 1922. Rio de Janeiro, RJ / Rio Antigo, por Charles Dunlop.
+ 
+Ele e Francisque Couchet foram sócios até 1929 e responsáveis pelos projetos do Palácio das Festas e do Palácio das Grandes Indústrias, na Exposição Internacional do Centenário da Independência (1922), um dos maiores eventos internacionais já realizados no Brasil, inaugurada no Rio de Janeiro em 7 de setembro de 1922 e encerrada em 24 de julho do ano seguinte; além dos edifícios do Palácio Pedro Ernesto (1923), cujo projeto foi desenvolvido por eles, já que seu autor, Heitor Mello (1875 – 1920), faleceu em 1920; do Hotel Balneário da Urca (1925), futuro Cassino da Urca e sede da TV Tupi carioca; do Hipódromo da Gávea (1926), do Palácio do Comércio (1927) e do Botafogo Futebol e Regatas (1928). Na década de 1930, o arquiteto se aproximou do art déco. Projetou a agência dos Correios & Telégrafos, em Belém, e a Capela Santa Terezinha (1935), na saída do Túnel Novo, no Rio de Janeiro, em 1935. Foi também o responsável, entre 1927 e 1928, pela remodelação do altar-mor da Igreja da Candelária, inspirado no altar da igreja de Saint Gervais, em Paris.
+ 
+Cassino da Urca/ Diário do Rio
+ 
+Uriel Malta. Clube Botafogo de Futebol e Regatas com a Igreja de Santa Terezinha ao fundo, 1º de abril de 1941. Rio de Janeiro, RJ / Acervo AGCRJ
+ 
+Palácio do Comércio e Agência dos Correios em Belém / Archimedes memória: “o futuro ancorado no passado”
+ 
+Linha do tempo de Archimedes Memória / Archimedes memória: “o futuro ancorado no passado”
+ 
+Memória permaneceu na direção do escritório até 1935, mesmo ano em que protagonizou um dos acontecimentos mais importantes na história da disputa do domínio da cena arquitetônica na década de 1930, no Brasil. Venceu o concurso nacional de anteprojetos para o Ministério da Educação e Saúde, cujo titular era Gustavo Capanema (1900 – 1985). Foi premiado mas seu projeto foi preterido.
+ 
+Projeto Pax, de Archimedes Memória, para a sede do Ministério da Educação e Saúde, no Rio de Janeiro / Archimedes memória: “o futuro ancorado no passado”
+ 
+“O projeto vencedor, de Memória, é marcado pela simetria, composição em planos escalonados, contraste entre linhas horizontais e verticais, com ênfase nestas últimas, predominância de cheios sobre vazios e a utilização de elementos decorativos inspirados nos motivos geométricos da cerâmica indígena da Ilha de Marajó. O projeto, entretanto, realizado num concurso cujo objetivo é dar forma à ação civilizadora daquele ministério não entusiasma alguns membros do júri, entre eles Batalha e Palladini, que o consideram inadequado para o programa a que se destina. Capanema, por sua vez, decepcionado com o resultado encomenda pareceres sobre o projeto ao ministro Maurício Nabuco (1881 – 1979), ao engenheiro Fernando Saturnino de Brito (1914 – 196-) e ao inspetor de engenharia sanitária do MES, Domingos da Silva Cunha, que também o desaprovam. Fundamentado nesses pareceres, Capanema paga a premiação a Memória e solicita uma autorização ao presidente Getúlio Vargas (1882 – 1954) para contratar Lucio Costa para o desenvolvimento de um novo projeto, que é realizado por Carlos Leão, Reidy, Jorge Moreira, Ernani Vasconcellos (1909 – 1988) e Oscar Niemeyer (1907 – 2012), com a colaboração de Le Corbusier (1887 – 1965). Diante dessa reviravolta, Memória escreve, em vão, uma carta ao presidente Vargas, acusando de comunistas esse arquitetos, que afinal conseguem vincular suas propostas ao governo, naquele que é o principal responsável por traçar as novas diretrizes culturais da nação, o Ministério da Educação e Saúde” (Enciclopédia Itáu Cultural).
+A carta escrita por Memória está transcrita no artigo O ministro que desprezou a rotina, do poeta Carlos Drummond de Andrade (1902 – 1987), publicado na Revista Módulo, setembro de 1975. Sobre o episódio, escreveu: Pagando a seu autor o prêmio devido, e obtendo do presidente da República a anulação do concurso que aprovara tal projeto, Capanema partiu corajosamente para a solução revolucionária: encomendou a jovens arquitetos, imbuídos de idéias novas, o projeto que viria a concretizar-se na obra hoje reverenciada pelos mestres da arquitetura universal.
+ 
+Augusto Malta. Demolição do Morro do Castelo. Quarteirão onde hoje fica o prédio do Ministério da Educação e Cultura, 31 de agosto de 1922. Rio de Janeiro, RJ / Acervo IMS
+ 
+O projeto do prédio do Ministério da Educação, o Palácio Capanema, encomendado aos já citados jovens arquitetos, substituindo o projeto de Archimedes, tornou-se um marco da arquitetura mundial. Contou com uma fachada envidraçada (curtain wall), das lâminas horizontais móveis (brise-soleil), criadas por Le Corbusier, do térreo com pilotis e da criação dos terraços-jardins, além do paisagismo de Roberto Burle Marx (1909 – 1994), dos afrescos de Cândido Portinari (1903 – 1962) e das esculturas de Adriana Janacópulos (1897 – 1978), Bruno Giorgi (1905 – 1993) e Celso Antônio de Menezes (1896 – 1984).
+ 
+Marcel Gautherot. Edifício Gustavo Capanema, sede do Ministério da Educação e Saúde, c.1955. Rio de Janeiro, RJ / Acervo IMS
+ 
+Archimedes Memória faleceu em 20 de setembro de 1960, aos 67 anos, de repente. Estava fazendo ginástica em casa, quando passou mal e faleceu, apesar de ser um homem de hábitos saudáveis: Era um homem de compleição sólida, esportista habitual, grande resistência física, saúde perfeita, não fumava, não bebia, não jogava. Na ocasião era Decano da Faculdade Nacional de Arquitetura, aonde existe um pavilhão com o seu nome. Foi o último representante da geração de arquitetos que foi sucedida por modernos como Affonso Eduardo Reidey (1909 – 1964), Lúcio Costa (1902 – 1998), Oscar Niemeyer (1907 – 2012) e Sérgio Bernardes (1919 – 2002) (Correio da Manhã, 22 de setembro de 1960, antepenúltima coluna; Correio da Manhã, 27 de setembro de 1960, antepenúltima coluna; Diário de Notícias, 2 de outubro de 1960, terceira coluna).
+ 
+Correio da Manhã, 21 de setembro de 1960
+ 
+Foi postumamente homenageado com a medalha do Mérito da Engenharia e da Arquitetura, concedida pelo Conselho Federal de Engenharia e Arquitetura; e na comemoração do 18º ano da Faculdade Nacional de Arquitetura, foi inaugurado o medalhão de Archimedes Memória, de autoria de Carlos del Negro (Correio da Manhã, 14 de dezembro de 1960, última coluna; e Correio da Manhã, 25 de agosto de 1963, quinta coluna). Foi membro da Sociedade Pan-Americana de Arquitetos, sócio-fundador da Sociedade Central de Arquitetos e do Instituto de Arquitetos do Brasil e participou ativamente do movimento integralista com o cargo de Coordenador de Artes Plásticas na Câmara dos Quarenta, órgão máximo do Partido Integralista. De acordo com Aurélia Tâmisa Silvestre de Alencar, pesquisadora da Universidade Federal do Rio de Janeiro:
+Mesmo com uma envergadura profissional inquestionável, suas inclinações políticas de caráter reacionário e fascista lhe afastaram da maré que se consagraria e lhe custaram o ônus do esquecimento. Foi o que pudemos constatar durante a pesquisa bibliografia com a superficialidade e até mesmo escassez de informações a respeito do arquiteto.
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora da Brasiliana Fotográfica
+ 
+Fontes:
+ALENCAR, Aurélia Tâmisa Silvestre de. Archimedes memória: “o futuro ancorado no passado”. 9º Seminário Docomomo Brasil Interdisciplinaridade e Experiências em Documentação e Preservação do Patrimônio Recente. Brasília, junho de 2011
+Enciclopédia Itáu Cultural
+Hemeroteca Digital da Biblioteca Nacional
+LISSOVSKY, Mauricio; SÁ, Paulo Sergio Moraes de. Colunas da educação. A construção do Ministério de Educação e Saúde (1935-1945). Rio de Janeiro: Edições do Patrimônio, IPHAN, Ministério da Cultura, Fundação Getúlio Vargas, 1996.
+MEMÓRIA FILHO, Péricles. Archimedes Memória: o último dos ecléticos. Rio de Janeiro: Interage, 2008.
+MOURÃO, Sebastião Valdemir et al (Org.). Livro dos Patronos da Academia Ipuense de Letras, Ciências e Artes. Fortaleza: Premius, 2010.
+ROCHA-PEIXOTO, Gustavo. O ecletismo e seus contemporâneos na arquitetura do Rio de Janeiro. In: CZAJKOWSKI, Jorge (org.). Guia da arquitetura eclética no Rio de Janeiro. Rio de Janeiro: Centro de Arquitetura e Urbanismo, 2000
+Site Rio Memórias
+ 
+Outros artigos da série Os arquitetos do Rio de Janeiro
+Série “Os arquitetos do Rio de Janeiro” I – Porto D´Ave e a moderna arquitetura hospitalar, 14/01/2021 – Cristiane d´Avila – Casa de Oswaldo Cruz / Fiocruz
+Série “Os arquitetos do Rio” II – No Dia Nacional da Saúde, o Desinfetório de Botafogo e um breve perfil do arquiteto português Luiz de Moraes Junior, responsável pelo projeto, 05/08/2023 – Cristiane d´Avila, Casa de Oswaldo Cruz, Fiocruz em parceria com Andrea C. T. Wanderley
+Série “Os arquitetos do Rio de Janeiro” III – O centenário do Copacabana Palace, quintessência do “glamour” carioca, e seu criador, o arquiteto francês Joseph Gire, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 13 de agosto de 2023
+Série “O Rio de Janeiro desaparecido“ XXVII e “Os arquitetos do Rio” V – O Jockey Club e o Derby Club, na Avenida Rio Branco e o arquiteto Heitor de Mello (1875 – 1920), de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 15 de janeiro de 2024
+Série “Os arquitetos do Rio de Janeiro” VI – O Clube Naval e os arquitetos Tommaso G. Bezzi (1844 – 1915) e Heitor de Mello (1875 – 1920), de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal, publicada em 6 de maio de 2024
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/12489` — `itens/20.500.12156.1_12489/`
+- `20.500.12156.1/7776` — `itens/20.500.12156.1_7776/`
+- `20.500.12156.1/2784` — `itens/20.500.12156.1_2784/`
+- `20.500.12156.1/8188` — `itens/20.500.12156.1_8188/`
+- `20.500.12156.1/10817` — `itens/20.500.12156.1_10817/`
+- `20.500.12156.1/4589` — `itens/20.500.12156.1_4589/`
+- `20.500.12156.1/4653` — `itens/20.500.12156.1_4653/`
+
diff --git a/wordpress/34131-cronologia-de-jose-boscagli-1862-1945.md b/wordpress/34131-cronologia-de-jose-boscagli-1862-1945.md
new file mode 100644
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--- /dev/null
+++ b/wordpress/34131-cronologia-de-jose-boscagli-1862-1945.md
@@ -0,0 +1,249 @@
+---
+id: 34131
+url: "https://brasilianafotografica.bn.gov.br/?p=34131"
+titulo: "Cronologia de José Boscagli (1862 – 1945)"
+autor: "Andrea Wanderley"
+data: "2023-11-27T01:35:34+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/11777"]
+fetched_at: "2026-09-10T10:15:48.307Z"
+---
+
+# Cronologia de José Boscagli (1862 – 1945)
+
+Cronologia de José Boscagli (1862 – 1945)
+ 
+O José Boscagli / Walkyrias, dezembro de 1938
+ 
+1862 - Giuseppe (José) Boscagli nasceu em Florença, na Itália. Algumas fontes indicam que ele teria nascido em Siena, cidade italiana também localizada na Toscana. Em um artigo de O GLOBO, de 31 de maio de 1945, foi informado que ele descenderia de um dos doges de Veneza.
+Década de 1870 – Desde os tempos de colégio, compunha paisagens e retratos coloridos a partir de pigmentos de flores. Apesar do desejo de sua família para que ele se tornasse engenheiro e arquiteto, matriculou-se na Academia de Belas Artes de Florença, onde foi influenciado por Pisani, um de seus professores. Ainda na Itália, conheceu os pintores brasileiros Pedro Américo (1843 – 1905) e Décio Villares (1851 – 1931). Teria, na companhia de Villares, visto Pedro Américo pintando a Batalha do Avaí, um dos mais importantes quadros brasileiros do século XIX, que retrata um episódio da Guerra do Paraguai. A obra foi realizada no ateliê de Pedro Américo, em Florença, e ficou pronta em 1877.
+ 
+Carioca, 19 de maio de 1945
+ 
+1888 – Casou-se com Luiza Luraschi (O GLOBO, 31 de maio de 1945).
+c. 1897 – Passou a morar, em Porto Alegre, no Rio Grande do Sul.
+Realiza retratos a óleo, aquarela e crayon, copiados de fotografia, para a Sociedade de Artes de Buenos Aires, que mantinha uma agência em Porto Alegre.
+Iniciou sua carreira de pintor paisagista e fotógrafo no ateliê de Jacintho Ferrari (18? – 1935), filho do italiano Rafael Ferrari, um dos fotógrafos pioneiros de Porto Alegre. Jacintho e seu irmão Carlos (18? – 1942) sucederam o pai, em 1885 e, entre 1895 e 1901, Rafael (1880 – 1961), o irmão caçula, também colaborou no estabelecimento.
+Produziu um retrato a óleo de Julio de Castilhos (1860 – 1903), cuja inauguração aconteceu em 15 de novembro de 1899, no Conselho Municipal de Porto Alegre, em comemoração à Proclamação da República.
+ 
+Júlio de Castilho por Giuseppe (José) Boscagli, c. 1897 / Acervo Artístico de Porto Alegre
+ 
+1900 - Um lindíssimo e fino quadro a óleo executado por Boscagli, retratando Adelina Vizeu Marques, encontrava-se na vitrine do ateliê de Jacintho Ferrari (A Federação (RS), 7 de fevereiro de 1900, quinta coluna).
+Participou com quatro quadros da Exposição Estadual de 15 de Novembro (A Federação (RS), 26 de julho de 1900, primeira coluna).
+1901 / 1902 - Nesse período, encontrava-se em Bento Gonçalves e participou, em Porto Alegre, de uma exposição com um retrato a óleo, tendo recebido uma menção honrosa (A Federação (RS), 27 de março de 1901, primeira coluna; A Federação (RS), 28 de maio de 1901, última coluna; Folha de Hoje (Prefeitura de Caxias do Sul), 26 de outubro de 1991, primeira coluna).
+1903 - No ateliê do também italiano Virgilio Calegari (1868 – 1937), importante fotógrafo do sul do Brasil, em fins do século XIX e início do XX, expôs um retrato a óleo do desembargador Epaminondas Ferreira (A Federação (RS), 8 de junho de 1903, terceira coluna).
+Em companhia de sua esposa, Luiza, e da filha única do casal, Ignez, chegou em Porto Alegre, a bordo do paquete Rio Pardo (A Federação (RS), 26 de agosto de 1903, segunda coluna).
+1906 - Um retrato a óleo, executado por ele, de Carlos Barbosa Gonçalves, presidente da Assembléia de Representantes do Estado, estava exposto na Drogaria Ingleza, em Poro Alegre (A Federação (RS), 25 de abril de 1906, quinta coluna).
+Sucedeu J. Antonio Iglesias no estabelecimento fotográfico da rua do Riachuelo, 220, em Porto Alegre, que passou a chamar-se Photographia -Artística-Boscagli.
+ 
+A Federação (RS), 16 de novembro de 1906
+ 
+1908 – Fotografou um evento social em Canoas e seus registros foram expostos na vitrine da Casa Barreto, em Porto Alegre (A Federação (RS), 9 de janeiro de 1908, quinta coluna).
+Foi morar no Rio de Janeiro, onde se anunciava como artista pintor e oferecia serviços fotográficos gratuitos (O Paiz, 21 de maio de 1908).
+ 
+O Paiz, 21 de maio de 1908
+ 
+Fotografou a mostra do Rio Grande do Sul na Exposição Nacional de 1908.
+ 
+José Boscagli. [Planta das seções, organização e distribuição dos produtos apresentados pelo Rio Grande do Sul.], 1908. Rio de Janeiro, RJ / Acervo Museu Histórico Nacional
+1909 - Anunciou a venda de um equipamento de fotografia, oferecendo-se a ensinar ao comprador como operá-lo (Jornal do Brasil, 25 de outubro de 1909, primeira coluna).
+ 
+Jornal do Brasil, 25 de outubro de 1909
+ 
+Incorporou-se às expedições de Cândido Rondon ao Mato Grosso e a Goiás, onde retratou os indígenas da região. Foi por intermédio de seu genro, o major Luiz Thomaz Reis (1878 – 1940), o cineasta de Rondon, que conheceu a Comissão Rondon. Reis era o encarregado de cinematografia e fotos do Escritório Central da Comissão. Boscagli passou a ser o pintor oficial de Rondon (Correio da Manhã, 16 de outubro de 1940, sétima coluna; Carioca, 19 de maio de 1945; Enciclopédia Itaú Cultural).
+ 
+Correio da Manhã, 16 de outubro de 1937, sétima coluna)
+ 
+1910 – Seu genro, o major Reis, tornou-se o chefe da recém criada Seção de Fotografia e Cinematografia do Escritório Central da Comissão Rondon.
+1910 / 1911 – O estabelecimento fotográfico José Boscagli, em Porto Alegre, foi anunciado no Almanaque Henault e também no Almanak Laemmert, 1910 e 1911.
+ 
+Almanaque Henault, 1910
+ 
+1910 - Em um artigo, Boscagli é identificado como um cavalheiro de trato delicado e gentil. Ainda segundo o artigo, ele havia vivido muitos anos no Rio Grande do Sul e havia passado pelo Rio de Janeiro. Realizou uma exposição na casa Resemini & Leone, em Vitória, no Espírito Santo (Commercio do Espírito Santo, 21 de fevereiro de 1910, terceira coluna; Diário da Manhã, 22 de fevereiro de 1910, última coluna).
+ 
+Commercio do Espírito Santo, 21 de fevereiro de 1910
+ 
+Exposição de um retrato a óleo do presidente da República eleito, marechal Hermes da Fonseca (1855 – 1923), na vitrine da loja Primavera, acreditado e popular estabelecimento do Climaco Sales, em Vitória, no Espírito Santo. Foi também exposto um retrato do então governador do Espírito Santo, Jerônimo Monteiro (1870 – 1933), e do coronel Henrique Coutinho (1845 – 1915), ex-governador do estado. Todos  de autoria de Boscagli, que ficou um período na cidade, quando trabalhou no estúdio do italiano Alberto Lucarelli (1884 – 1967), então fotógrafo oficial do governador do Espírito Santo. Boscagli voltou para o Rio de Janeiro a bordo do paquete Olinda, em 10 de junho de 1910, após permancer meses em Vitória. Foi tambem exposta na loja Primavera uma paisagem de sua autoria (Diário da Manhã (ES), 29 de março de 1910, quarta coluna; Diário da Manhã (ES), 24 de abril de 1910, segunda coluna; Commercio do Espírito Santo, 25 de abril de 1910, quinta coluna; O Estado do Espírito Santo, 11 de junho de 1910, primeira coluna; Diário da Manhã (ES), 11 de junho de 1910, terceira coluna; Diário da Manhã (ES), 19 de agosto de 1910, terceira coluna; Diário da Manhã (ES), 28 de outubro de 1910, penúltima coluna).
+ 
+Diário da Manhã (ES), 28 de outubro de 1910
+ 
+1911 -  Seu genro, o major Reis, participou da expedição da Comissão Rondon, assim como o etnólogo e antropólogo Edgard Roquette- Pinto (1884 – 1954), especialista em áudio e futuro pai da radiodifusão no Brasil e diretor do Museu Nacional.
+1912 – Boscagli expôs retratos a óleo na Casa London, na rua Bahia, em Belo Horizonte, em Minas Gerais (O Paiz, 12 de setembro de 1912, primeira coluna).
+O quadro do Conselheiro José Antônio de Azevedo Castro (1839 – 1911), de autoria de Boscagli, passou a integrar a Galeria dos Benfeitores da Biblioteca Nacional (Anais da Biblioteca Nacional, 1912).
+ 
+Anais da Biblioteca Nacional, 1912
+ 
+1913 - No Rio de Janeiro, seu ateliê ficava na Rua Barão de Guaratiba, nº 130. Também era identificado como decorador (Almanak Laemmert, 1913, segunda coluna). Mantinha seu ateliê fotográfico em Porto Alegre (Almanak Laemmert, 1913, primeira coluna).
+Em Belo Horizonte, na Photographia Antenor Campos, exposição dos retratos a óleo de José de Campos Seraphino e de José Maria Pinto Leite, de autoria de Boscagli (O Pharol, 29 de março de 1913, coluna).
+Seu genro, o major Reis,  participou da Expedição Científica Rondon-Roosevelt, ocorrida entre 1913 e 1914.
+1914 - No Rio de Janeiro, seu ateliê ficava na Rua Barão de Guaratiba, nº 130 (Almanak Laemmert, 1914, primeira coluna). Anúncio do ateliê fotográfico José Boscagli, em Porto Alegre (Almanak Laemmert, 1914, segunda coluna).
+1915 – Anúncio do ateliê fotográfico José Boscagli, em Porto Alegre (Almanak Laemmert, 1915, última coluna).
+Exposição na entrada da Associação dos Empregados do Comércio, na Avenida Rio Branco, de um retrato a óleo do futuro Marechal Cândido Rondon (1865 – 1958), ainda coronel, produzido por Boscagli a partir de uma fotografia também produzida por ele. Boscagli era um admirador do trabalho de Rondon. Poucos meses depois, em 5 de outubro, realização de uma festa em homenagem a Rondon no Teatro Phênix, promovida pela Sociedade de Geografia do Rio de Janeiro e presidida pelo general Thaumaturgo de Oliveira, quando foi inaugurado solenemente o referido retrato de Rondon realizado por Boscagli, que passou a ornar uma das paredes da Sociedade de Geografia do Rio de Janeiro (Gazeta de Notícias, 23 de abril de 1915; O Paiz, 23 de abril de 1915; O Paiz, 27 de abril de 1915, quarta coluna; Correio da Manhã, 5 de outubro de 1915, quinta coluna; Correio da Manhã, 6 de outubro de 1915; Revista da Semana, 9 de outubro de 1915, quinta coluna).
+ 
+Coronel Rondon, no Juruema, por Boscagli / O Paiz, 23 de abril de 1915
+ 
+O Paiz, 23 de abril de 1915
+ 
+Inauguração, na Sociedade Sul Riograndense, na Avenida Rio Branco,  de uma exposição de trabalhos de Boscagli, representando os indígenas de Mato Grosso, com a presença de Rondon e do professor Roquette-Pinto (1884 – 1954). Foi visitada pelo professor e escultor Rodolfo Bernardelli (1852 – 1931), que elogiou muito a mostra, dizendo que o governo deveria auxiliá-lo a adquirir algumas obras. Ele havia colhido os principais elementos para seus quadros nas expedições do coronel Rondon. Um grupo de oficiais do Exército ofertou ao coronel Rondon a tela Índia Pareci em repouso (Jornal do Commercio, 3 de outubro de 1915, penúltima coluna; O Paiz, 3 de outubro de 1915, terceira coluna; A Época, 5 de outubro de 1915, quinta coluna; O Paiz, 8 de outubro de 1915, penúltima coluna; Annaes da Câmara dos Deputados, 31 de dezembro de 1915).
+ 
+O Paiz, 3 de outubro de 1915
+ 
+Correio da Manhã, 3 de outubro de 1915
+ 
+O Imparcial, 5 de outubro de 1915
+ 
+Na Sociedade Riograndense, também de autoria de Boscagli, exposição do retrato a óleo do general Pinheiro Machado (1851 – 1915) (O Paiz, 24 de outubro de 1915, quinta coluna).
+Um retrato do coronel Marcondes Alves de Souza (1868 – 1938), governador do Espírito Santo, foi oferecido a ele por seu amigos. A autoria era de Boscagli (O Paiz, 29 de novembro de 1915, segunda coluna).
+1916 - Anúncio de seu ateliê fotográfico em Porto Alegre (Almanak Laemmert, 1916, segunda coluna).
+Foi noticiado que embarcou em Vitória, no Espírito Santo, rumo ao Rio de Janeiro, de onde retornaria em um mês (Diário da Manhã (ES), 28 de janeiro de 1916, terceira coluna).
+Um belo quadro a óleo realizado por Boscagli, cópia do original de Pompeia, foi colocado no altar em homenagem a Nossa Senhora de Pompéia, construído na paróquia de Jacarepaguá, como o pagamento de uma promessa feita pelo padre Magaldi (A União, 8 de outubro de 1916, quinta coluna).
+1917 - Anúncio do ateliê fotográfico José Boscagli, em Porto Alegre (Almanak Laemmert, 1917, segunda coluna).
+1918 – Anúncio do ateliê fotográfico José Boscagli, em Porto Alegre (Almanak Laemmert, 1918, primeira coluna).
+Ele e o também italiano Taquino realizaram uma exposição na Sociedade Riograndense. Tarquino havia trabalhado muito tempo para a revista Fon-Fon. Várias telas de Boscagli foram vendidas (O Imparcial, 12 de junho de 1918, terceira coluna; O Paiz, 15 de junho de 1918, penúltima coluna; A Época, 29 de junho de 1918, quarta coluna).
+ 
+O Imparcial, 12 de junho de 1918
+ 
+Fon-Fon, 15 de junho de 1918
+ 
+D. Quixote, 26 de junho de 1918
+ 
+Um retrato do então governador do Rio Grande do Sul, Borges de Medeiros (1863 – 1961), prontificado por Boscagli foi enviado pelo deputado federal João Simplício a Porto Alegre (A Federação (RS), 2 de setembro de 1918, primeira coluna).
+1919 – Anúncio do ateliê fotográfico José Boscagli, em Porto Alegre (Almanak Laemmert, 1919, última coluna).
+Ele e Tarquini eram os diretores artísticos do Rio Studio, na Rua Uruguaiana, nº 62, inaugurado em 4 de abril (A Noite, de 1919, penúltima coluna).
+ 
+Fon-Fon, 31 de maio de 1919
+ 
+Na Confeitaria Renaissance, no Rio de Janeiro, inauguração do mostruário de fotografias do ateliê fotográfico de propriedade da firma Boscagli & Comp (Correio da Manhã, 15 de junho de 1919).
+ 
+Correio da Manhã, 15 de junho de 1919
+ 
+A capa da revista A Epocha trazia uma fotografia de Cândido Rondon, de autoria de Boscagli (A Epocha, 31 de outubro de 1919).
+ 
+A Epocha, 31 de outubro de 1919
+ 
+1920 – Cândido Rondon ofertou ao Museu Nacional três quadros de autoria de Boscagli retratando indígenas: Nenê, Cavagnac e Capitão Chiquinho (Gazeta de Notícias, 9 de janeiro de 1920, quarta coluna).
+ 
+A Noite, 4 de janeiro de 1920
+ 
+Exposição no Ponto Chic de um retrato a óleo do rei Alberto I da Bélgica (1875 – 1934), de autoria de Boscagli (A Rua, 18 de setembro de 1920, penúltima coluna).
+Um álbum de mais de 200 fotografias artisticamente organizado pela casa Rio-Studio (artista Boscagli) foi ofertado pela Comissão Rondon aos reis da Bélgica durante a visita dos monarcas ao Brasil, realizada entre  entre 19 de setembro e 15 de outubro de 1920. Foi a primeira viagem realizada por uma monarca europeu à América do Sul (O Paiz, 17 de outubro de 1920, primeira coluna).
+ 
+O Paiz, 17 de outubro de 1920
+ 
+1921 – A fotografia de Maria Joaquina Botelho de Magalhães em seu leito de morte foi produzida por Boscagli & C, no Rio Studio. Ela era viúva do general Benjamin Constant (1836 – 1891), cujo sobrinho, Amilcar Armando Botelho de Magalhães (1880 – 1959), que havia se juntado à Comissão Rondon, em 1908, e se tornado diretor de seu Escritório Central, em 1910 (O Paiz, 3 de abril de 1921, quinta coluna).
+ 
+Boscagli & C. Maria Joaquina Botelho de Magalhães em seu leito de morte, 1921 / Acervo Museu Casa Benjamin Constant, Ibram / MinC
+ 
+Também registrou a sepultura de Benjamin Constant e Maria Joaquina.
+ 
+Boscagli & C. Sepultura de Benjamin Constant e Maria Joaquina, 1921 / Acervo Museu Casa Benjamin Constant, Ibram / MinC
+ 
+1924 – Participou da 31ª Exposição Geral de Belas Artes.
+1925 - Anúncio de seu ateliê fotográfico, na rua Uruguaiana, nº 82, no Rio de Janeiro (Almanak Laemmert, 1925, segunda coluna).
+1926 - Anúncio de seu ateiê fotográfico, na rua Uruguaiana, nº 82, no Rio de Janeiro (Almanak Laemmert, 1926, segunda coluna).
+Realizou uma exposição em Porto Alegre com retratos a óleo, dentre eles do Marechal Cândido Rondon (1865 – 1958) e do general Firmino Paim Filho (1884 – 1971) (A Federação (RS), 15 de março de 1926, penúltima coluna).
+Esteve em Bento Gonçalves e voltou para o Rio de Janeiro (A Federação (RS), 30 de junho de 1926, última coluna).
+1927 - Estava em Juiz de Fora, onde um retrato de sua autoria do general João Nepomuceno da Costa (1870 – 1943) foi oferecido por amigos ao militar (Jornal do Brasil, 6 de outubro de 1927, sexta coluna).
+1928 – Esteve em Belo Horizonte (Jornal do Commercio, 25 e 26 de junho de 1928, última coluna).
+1929 - Falecimento de Rubens Boscagli Reis, seu neto, filho de Ignez (? – 1939). Era irmão de Argentina (? – 1983), Américo (? – 20?), futuro fiscal do Banco do Brasil; e Tiziano (? – 1983), futuro funcionário do Ministério da Agricultura. Desde a década de 1900, Ignez era casada com o major Luiz Thomaz Reis (1878 – 1940), que foi o responsável por inúmeros filmes cinematográficos realizados quando integrou a Comissão Rondon (Correio da Manhã, 14 de maio de 1929, quinta coluna; O Paiz, 15 de maio de 1929, terceira coluna; A Noite, 25 de julho de 1931, quarta coluna; A Noite, 19 de junho de 1939, penúltima coluna; Correio da Manhã, 3 de dezembro de 1940, quarta coluna).
+ 
+Correio da Manhã, 19 de maio de 1929
+ 
+1930 - Com o pintor Rodolfo Amoedo (1857 – 1941) e outros, fez parte da banca examinadora de modelagem e escultura do curso geral superior do Departamento Feminino do Instituto La-Fayette (A Noite, 13 de novembro de 1930, segunda coluna).
+Participou da exposição da Sociedade Brasileira de Belas Artes (Jornal do Brasil, 13 de dezembro de 1930, penúltima coluna).
+1931 – Sua neta, Argentina, ficou noiva de Isaias Rosa, secretário do Jornal dos Sports e diretor da revista Medicina para todos (O Jornal, 26 de julho de 1931, segunda coluna).
+Foi um dos ilustradores do livro Morfologia da mulher, de Hernani de Irajá (Jornal do Commercio, 30 de agosto de 1931, primeira coluna).
+1933 - Foram inaugurados os retratos a óleo dos falecidos monsenhores João Pires de Amorim e José Francisco de Moura Guimarães, na Arquidiocese do Rio de Janeiro, ambos de autoria de Boscagli. O retrato do cardeal dom Sebastião, que se encontrava na sacristia da catedral, também era de autoria do pintor (A Cruz, 19 de março de 1933, quarta coluna).
+1934 - Reproduziu o quadro da Sagrada Família, do pintor barroco espanhol Murillo (1617 – 1682), no estandarte-chefe da Liga Católica Jesus Maria José de Olaria (Jornal do Brasil, 24 de janeiro de 1934, penúltima coluna).
+1935 - Realização, entre 9 e 26 de outubro, de uma exposição de obras de Boscagli no Palace Hotel. Ele dedicou a mostra à Associação Brasileira de Imprensa (A Noite, 8 de outubro de 1935, primeira coluna).
+ 
+O GLOBO, 8 de outubro de 1935
+ 
+O GLOBO, 12 de outubro de 1935
+ 
+Diário Carioca, 15 de outubro de 1935
+ 
+1936 - Tornou-se sócio da Associação dos Artistas Brasileiros (Correio da Manhã, 12 de janeiro de 1936, primeira coluna).
+Com o também pintor italiano Alfredo Norfini (1867 – 1944), realizou uma exposição em São Paulo, no Salão de Chá da Casa Allemã (Diário Carioca, 9 de outubro de 1936; Correio de São Paulo, 20 de outubro de 1936, terceira coluna).
+ 
+ 
+Diário Carioca, 9 de outubro de 1936
+ 
+O Estado de São Paulo, 22 de outubro de 1936
+ 
+1937 – Participou do 9º Salão da Associação de Artistas Brasileiros, no Palace Hotel. Seu quadro e a de outros artistas expositores foram adquiridos pelo presidente Getúlio Vargas (A Noite, 13 de junho de 1937, segunda coluna; Correio da Manhã, 15 de junho de 1937, segunda coluna; A Noite, 17 de junho de 1937, penúltima coluna).
+ 
+Índios da Goyana Ingleza, de Boscagli / Vida Doméstica, agosto de 1937
+ 
+Na Nova Galeria de Arte, filial da Galeria Henberger, na rua Buenos Aires, nº 79, inauguração de uma exposição de Boscagli e de Manoel Pastana (1888 – 1984) (Diário Carioca, 16 de setembro de 1937, segunda coluna; O Jornal, 19 de setembro de 1937, terceira coluna; Jornal do Brasil, 19 de setembro de 1937, terceira coluna).
+ 
+Convite para a exposição / Acervo de Renata de Fátima da Costa Maués
+ 
+Diário Carioca, 19 de setembro de 1937
+ 
+O Malho, 30 de setembro de 1937
+ 
+Illustração Brasileira, novembro de 1937
+ 
+Participou, também no Palace Hotel, do Salão de Natal de 1937 (A Noite, 22 de dezembro de 1937, quinta coluna).
+1938 - Participou do II Salão de Belas Artes promovido pela prefeitura de Belo Horizonte com um quadro de uma paisagem, da coleção de Celso Werneck (Salão de Belas Artes: Anais, 1938)
+Realização de uma exposição de obras de Boscagli no Palace Hotel (A Noite, 23 de novembro de 1938, sexta coluna; Illustração Brasileira, dezembro de 1938).
+ 
+O GLOBO, 16 de novembro de 1938
+ 
+Diário Carioca, 18 de novembro de 1938
+ 
+Revista da Semana, 26 de novembro de 1938
+ 
+Walkyrias, dezembro de 1938
+ 
+Flagrante da inauguração de sua exposição no Palace Hotel / Walkyrias, dezembro de 1938
+ 
+No artigo O indianismo na pintura, a obra de Boscagli é abordada (Careta, 3 de dezembro de 1938).
+Participou, também no Palace Hotel, do Salão de Natal de 1938 (A Noite, 16 de dezembro de 1938, quinta coluna).
+1939 - Publicação do artigo O índio na pintura brasileira sobre a obra etnográfica de Boscagli (O Malho, 19 de janeiro de 1939).
+ 
+O Malho, 19 de janeiro de 1939
+ 
+Falecimento de sua filha, Ignez Boscagli Reis (A Noite, 19 de junho de 1939, oitava coluna; Jornal do Brasil, 25 de junho de 1939, terceira coluna).
+O desenho O retrato do Sr. Bocagli, do ucraniano Dimitri Ismailovitch (1890 – 1976), foi exposto no Salão de Belas Artes (Carioca, 23 de setembro de 1939, segunda coluna).
+1940 - Inauguração de uma exposição de cerca de 60 obras de Boscagli, no Palace Hotel, entre paisagens do sertão do Brasil e de indígenas e seus costumes (Correio da Manhã, 5 de outubro de 1940, primeira coluna; Correio da Manhã, 17 de outubro de 1940, sétima coluna).
+ 
+Diário da Noite, 12 de outubro de 1940
+ 
+Gazeta de Notícias, 13 de outubro de 1940
+ 
+O major Luiz Thomaz Reis (1878 – 1940), genro de Boscagli, viúvo de Ignez (? – 1939), faleceu cerca de um mês após ter sofrido um acidente, quando filmava a construção do novo quartel general do Exército no Rio de Janeiro (Correio da Manhã, 3 de dezembro de 1940, quarta coluna).
+Quadros de autoria de Boscagli foram expostos na Exposição Retrospectiva do Exército (Boletim da Sociedade Geográfica do Rio de Janeiro, 1940).
+1941 - Identificado como nosso melhor indianista, integrou o Salão de Belas Artes (Gazeta de Notícias, 21 de setembro de 1941, segunda coluna).
+ 
+Gazeta de Notícias, 21 de setembro de 1941
+ 
+Foi noticiado que o Conselho do Serviço de Proteção aos Índios iria começar a tomar providências no sentido de adquirir várias telas de autoria de José Boscagli, o único artista que acompanhou a Expedição Rondon e pintou os tipos e costumes dos indígenas nacionais. Os quadros integrariam a galeria artística da futura Casa do Índio (Diário de Notícias, 28 de setembro de 1941; O Jornal, 1º de novembro de 1941, quinta coluna).
+ 
+Diário de Notícias, 28 de setembro de 1941
+ 
+1945 - Dias antes de seu falecimento, publicação do artigo Boscagli, de autoria de Carlos Rubens, sobre a vida do pintor (Carioca, 19 de maio de 1945).
+José Boscagli faleceu em 30 de maio e foi sepultado no Cemitério São João Batista. Sua missa de Sétimo Dia foi realizada na Igreja da Candelária, em 6 de maio. Quando faleceu, ainda residia na Rua Barão de Guaratiba, nº 132 (Carioca, 19 de maio de 1945; Correio da Manhã, 31 de maio de 1945, primeira coluna; Jornal do Commercio, 6 de junho de 1945).
+ 
+Correio da Manhã, 31 de maio de 1940
+ 
+1946 – Obras de Boscagli integraram a Exposição Foto-Etnográfica, comemorativa do Dia do Índio, realizada no hall do Ministério da Educação, no Rio de Janeiro (Correio da Manhã, 21 de abril de 1946, penúltima coluna).
+1956 – Publicação de um artigo sobre a escritora, jornalista e feminista Jenny Pimentel de Borba (1906 – 1984), onde aparece um retrato dela pintado por Boscagli (Walkyrias, janeiro de 1956).
+1974 - Um de seus quadros, Cidade Marítima, foi leiloado no Grande Leilão de Inverno, de Ernani Thompson Mello (Jornal do Commercio, 15 de setembro  de 1974).
+1976 - Foi citado no artigo Um poema de amor e trabalho, sobre a presença de estrangeiros no Rio Grande do Sul, de Antonio Bresolim (O Pioneiro (RS), 17 de junho de 1976, segunda coluna).
+1979 - Seu quadro Ancião na Beira do Riacho integrou o leilão de Sebastião Barreto, em Petrópolis (Jornal do Commercio, 11 e 12 de fevereiro de 1979, quarta coluna).
+1982 – Integrou a exposição Pintores Italianos no Brasil, realizada no Museu de Arte Moderna de São Paulo, promovida pela Sociarte de São Paulo em colaboração com a Secretaria de Estado da Cultura. Lançamento de um catálogo homônimo, apresentado por Augusto Carlos Veloso (Manchete, 29 de maio de 1982; Jornal do Commercio, 6 e 7 de jullho de 2003, terceira coluna).
+2007 – Um de seus quadros foi leiloado pela Century´s, no Rio de Janeiro (O GLOBO, 24 de março de 2007, primeira coluna).
+ 2015 - Integrou a exposição Mater Fecunda a Pinacoteca Aldo Locatelli de 1884 a 1943, na Pinacoteca Aldo Locatelli, em Porto Alegre, realizada entre 22 de março e 29 de maio de 2015.
+2018 - No Museu do Imigrante, em Bento Gonçalves, realização da exposição I Pittori Dei Nonni: Boscagli e Bertoni, entre 8 de outubro e 19 de novembro de 2018, com a curadoria de Luiz Pasquali. Bertoni é o pintor italiano Walter Angelo Bertoni (1854 – 1952) (Jornal Semanário, 17 de outubro de 2018).
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/11777` — `itens/20.500.12156.1_11777/`
+
diff --git a/wordpress/34134-os-180-anos-de-nascimento-do-fotografo-marc-ferrez-1843-1923.md b/wordpress/34134-os-180-anos-de-nascimento-do-fotografo-marc-ferrez-1843-1923.md
new file mode 100644
index 0000000..97b3a99
--- /dev/null
+++ b/wordpress/34134-os-180-anos-de-nascimento-do-fotografo-marc-ferrez-1843-1923.md
@@ -0,0 +1,86 @@
+---
+id: 34134
+url: "https://brasilianafotografica.bn.gov.br/?p=34134"
+titulo: "Os 180 anos de nascimento do fotógrafo Marc Ferrez (1843 – 1923)"
+autor: "Andrea Wanderley"
+data: "2023-12-07T02:15:08+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/11658", "20.500.12156.1/5345", "20.500.12156.1/8356", "20.500.12156.1/2575"]
+fetched_at: "2026-09-10T10:15:51.495Z"
+---
+
+# Os 180 anos de nascimento do fotógrafo Marc Ferrez (1843 – 1923)
+
+No dia do aniversário de 180 anos de Marc Ferrez (1843 – 1923), a Brasiliana Fotográfica destaca os 27 artigos já publicados no portal em torno da obra do fotógrafo. Ferrez teve uma trajetória singular na história da fotografia no Brasil, tendo se estabelecido, inicialmente, em 1867, na Rua São José, nº 96, no Rio de Janeiro, tornando-se logo o mais importante profissional da área na cidade. Foi no Rio de Janeiro e em seus arredores que ele realizou cerca da metade de sua produção fotográfica, registrando, além do patrimônio construído, a exuberância das paisagens naturais.
+
+Marc Ferrez. Homem no alto do Morro do Pão de Açúcar, c, 1912. Rio de Janeiro, RJ / Acervo IMS
+ 
+Foi o único fotógrafo do século XIX que percorreu todas as regiões do Brasil, tendo sido, no referido século, o principal responsável pela divulgação da imagem do país no exterior. Nos anos 1870, integrou a Comissão Geológica do Império e tornou-se Fotógrafo da Marinha Imperial. Participou e foi premiado em diversas exposições nacionais e internacionais.
+ 
+Carimbo de Marc Ferrez, c. 1875. Rio de Janeiro, RJ / Acervo IMS.
+ 
+Acessando o link para as fotografias de Marc Ferrez disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Marc Ferrez nasceu no Rio de Janeiro, em 7 de dezembro de 1843, cerca de quatro após o anúncio da invenção do daguerreótipo por François Arago (1786 – 1853), secretário da Academia de Ciências da França, em 19 de agosto de 1839. O daguerreótipo, processo fotográfico desenvolvido por Joseph Nicèphore Niépce (1765-1833) e Louis Jacques Mandé Daguerre (1787-1851), revolucionou em pouco tempo e para sempre a forma do registro do mundo e de seus habitantes, inundando nosso planeta de imagens fotográficas. A invenção chegou ao Brasil em 1840 e dom Pedro II (1825 – 1891) foi um grande entusiasta da fotografia.
+ 
+Câmara de daguerreótipo Succe Frères, de 1939 / Westlicht Photography Museum, em Viena, na Áustria
+ 
+Voltando a Marc Ferrez. Ele era filho de Zépherin (Zeferino) Ferrez (1797 – 1851) e Alexandrine Caroline Chevalier (18? – 1851). Seu pai, um escultor e gravador francês, havia chegado com o irmão Marc (Marcos), no Rio de Janeiro, em 1817. Os dois passaram a integrar a Missão Francesa, que havia se instalado na cidade no ano anterior. Após passar alguns anos em Paris, Marc Ferrez retornou ao Rio de Janeiro em torno de 1863. Casou-se com a francesa Marie Lefebvre (c. 1849 – 1914) em 16 de agosto de 1873. Tiveram dois filhos: Julio Marc (1881 – 1946) e Luciano José André (1884 – 1955).
+ 
+Marc Ferrez. Família Ferrez, c. 1912. Rio de Janeiro, RJ / Acervo IMS
+ 
+Sua trajetória profissional foi marcada por uma forte ligação com atividades culturais e científicas e também por um contato permanente com os principais desenvolvimentos tecnológicos de sua época. Produziu magistrais fotografias de arquitetura durante a construção da Avenida Central, no Rio de Janeiro.
+ 
+Marc Ferrez. Avenida Central, c. 1908. Rio de Janeiro, RJ / Acervo IMS
+ 
+Também participou da introdução do cinema e da fotografia estereoscópica em cores no Brasil, no início do século XX. Em 1905, obteve a representação da firma francesa Pathé Frères no Brasil. A firma era a maior e melhor fábrica de aparelhos e filmes cinematográficos da Europa. Faleceu em 12 de janeiro de 1923, no Rio de Janeiro.
+ 
+“Há nas suas paisagens…uma nota artística sempre: a escolha do ponto de vista denotava no fotógrafo a existência daquela divina centelha de arte que dá o toque de poesia às frias imagens que a objetiva mecanicamente registra”.
+Para Todos, 20 de janeiro de 1923
+ 
+Publicações da Brasiliana Fotográfica em torno da obra do fotógrafo Marc Ferrez 
+ 
+Marc Ferrez aos 33 anos, c. 1876. Rio de Janeiro, RJ / Acervo IMS
+ 
+O Rio de Janeiro de Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 30 de junho de 2015
+Obras para o abastecimento no Rio de Janeiro por Marc Ferrez , de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 25 de janeiro de 2016
+O brilhante cronista visual Marc Ferrez (7/12/1843 – 12/01/1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 7 de dezembro de 2016
+Do natural ao construído: O Rio de Janeiro na fotografia de Marc Ferrez, de autoria de Sérgio Burgi, um dos curadores da Brasiliana Fotográfica, publicada em 19 de dezembro de 2016
+No primeiro dia da primavera, as cores de Marc Ferrez (1843 – 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 22 de setembro de 2017
+Marc Ferrez , a Comissão Geológica do Império (1875 – 1878) e a Exposição Antropológica Brasileira no Museu Nacional (1882), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica,  publicada em 29 de junho de 2018
+Série “O Rio de Janeiro desaparecido” V – O quiosque Chopp Berrante no Passeio Público, Ferrez, Malta e Charles Dunlop, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 20 de julho de 2018
+Uma homenagem aos 175 anos de Marc Ferrez (7 de dezembro de 1843 – 12 de janeiro de 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 7 de dezembro de 2018 
+Pereira Passos e Marc Ferrez: engenharia e fotografia para o desenvolvimento das ferrovias, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 5 de abril de 2019
+Fotografia e ciência: eclipse solar, Marc Ferrez e Albert Einstein, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 24 de junho de 2019
+Os 180 anos da invenção do daguerreótipo – Os álbuns da Comissão Geológica do Império com fotografias de Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 19 de agosto de 2019
+Celebrando o fotógrafo Marc Ferrez (1843 – 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 4 de dezembro de 2019
+Uma homenagem da Casa Granado ao imperial sob as lentes de Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 7 de fevereiro de 2020
+Ressaca no Rio de Janeiro invade o porão da casa do fotógrafo Marc Ferrez, em 1913, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado 6 de março de 2020
+Petrópolis, a Cidade Imperial, pelos fotógrafos Marc Ferrez e Revert Henrique Klumb, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 16 de março de 2020
+Bambus, por Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 5 de junho de 2020
+O Baile da Ilha Fiscal: registro raro realizado por Marc Ferrez e retrato de Aurélio de Figueiredo diante de sua obra, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 9 de novembro de 2020
+O Palácio de Cristal fotografado por Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 2 de fevereiro de 2021
+A Estrada de Ferro do Paraná, de Paranaguá a Curitiba, pelos fotógrafos Arthur Wischral (1894 – 1982) e Marc Ferrez (1843 – 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 22 de março de 2021
+Dia dos Pais – Julio e Luciano, os filhos do fotógrafo Marc Ferrez, e outras famílias, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 6 de agosto de 2021
+No Dia da Árvore, mangueiras fotografadas por Ferrez e Leuzinger, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 21 de setembro de 2021
+Retratos de Pauline Caroline Lefebvre, sogra do fotógrafo Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 28 de abril de 2022
+A Serra dos Órgãos: uma foto aérea e imagens realizadas pelos mestres Ferrez, Leuzinger e Klumb, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 30 de junho de 2022
+O centenário da morte do fotógrafo Marc Ferrez (1843 – 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 12 de janeiro de 2023
+O Observatório Nacional pelas lentes de Marc Ferrez, amigo de vários cientistas, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 29 de maio de 2023
+No Dia Mundial do Meio Ambiente, a potente imagem da Cachoeira de Paulo Afonso, por Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 5 de junho de 2023
+A Fonte Adriano Ramos Pinto por Guilherme Santos e Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 18 de julho de 2023
+ 
+Acesse aqui a Acervo, Revista do Arquivo Nacional, com o tema Marc Ferrez: a fotografia como experiência, volume 36, nº2 maio/agosto 2023, que traz artigos de algumas parceiras – Maria do Carmo Rainho (Arquivo Nacional) e Maria Isabel Lenzi (Museu Histórico Nacional –  e também de algumas colaboradoras – Ana Maria Mauad e Maria Isabela Mendonça dos Santos – da Brasiliana Fotográfica.
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/11658` — `itens/20.500.12156.1_11658/`
+- `20.500.12156.1/5345` — `itens/20.500.12156.1_5345/`
+- `20.500.12156.1/8356` — `itens/20.500.12156.1_8356/`
+- `20.500.12156.1/2575` — `itens/20.500.12156.1_2575/`
+
diff --git a/wordpress/34194-dia-dos-direitos-das-criancas.md b/wordpress/34194-dia-dos-direitos-das-criancas.md
new file mode 100644
index 0000000..8bef784
--- /dev/null
+++ b/wordpress/34194-dia-dos-direitos-das-criancas.md
@@ -0,0 +1,32 @@
+---
+id: 34194
+url: "https://brasilianafotografica.bn.gov.br/?p=34194"
+titulo: "Dia dos Direitos das Crianças"
+autor: "Andrea Wanderley"
+data: "2023-11-20T09:57:38+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/6998", "20.500.12156.1/5563"]
+fetched_at: "2026-09-10T10:15:54.695Z"
+---
+
+# Dia dos Direitos das Crianças
+
+Com as fotografias Festa popular, realizada, em 1911, em Pernambuco; e Posto Antonio Paulo, crianças Parintintin ouvindo gramofone, produzida, em 1926, no Amazonas, pertencentes, respectivamente, aos acervos da Fundação Joaquim Nabuco e do Arquivo Nacional, ambas instituições parceiras da Brasiliana Fotográfica, o portal celebra o Dia dos Direitos das Crianças. Os dois registros são de autoria de fotógrafos ainda não identificados. Hoje também é celebrado o Dia Nacional de Zumbi e da Consciência Negra, que já foi o tema de artigos do portal.
+ 
+Festa popular, 1911. Pernambuco / Acervo Fundaj
+ 
+O Dia dos Direitos das Crianças é comemorado em 20 de novembro porque nesta data, em 1959, foi proclamada a Declaração dos Direitos da Criança e, em 1989, a Convenção sobre os Direitos da Criança foi adotada pela Assembleia Geral das Nações Unidas.
+ 
+Posto Antonio Paulo, crianças Parintintin ouvindo gramofone, 1926. Amazônia / Acervo Arquivo Nacional
+ 
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/6998` — `itens/20.500.12156.1_6998/`
+- `20.500.12156.1/5563` — `itens/20.500.12156.1_5563/`
+
diff --git a/wordpress/34201-vem-chegando-o-verao-e-os-banhistas-do-fotografo-amador-guilherme-santos-1871-19.md b/wordpress/34201-vem-chegando-o-verao-e-os-banhistas-do-fotografo-amador-guilherme-santos-1871-19.md
new file mode 100644
index 0000000..8594242
--- /dev/null
+++ b/wordpress/34201-vem-chegando-o-verao-e-os-banhistas-do-fotografo-amador-guilherme-santos-1871-19.md
@@ -0,0 +1,63 @@
+---
+id: 34201
+url: "https://brasilianafotografica.bn.gov.br/?p=34201"
+titulo: "Vem chegando o verão…e os banhistas do fotógrafo amador Guilherme Santos (1871 – 1966)"
+autor: "Andrea Wanderley"
+data: "2023-12-22T00:33:04+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/9553", "20.500.12156.1/9517", "20.500.12156.1/9554", "20.500.12156.1/10240"]
+fetched_at: "2026-09-10T10:15:57.804Z"
+---
+
+# Vem chegando o verão…e os banhistas do fotógrafo amador Guilherme Santos (1871 – 1966)
+
+A Brasiliana Fotográfica celebra a chegada do verão destacando 14 imagens de banhistas nas praias de Copacabana e do Flamengo, produzidas, entre as décadas de 20 e 30, pelo fotógrafo amador carioca Guilherme Santos (1871 – 1966). São estereoscopias e pertencem ao acervo do Instituto Moreira Salles, uma das instituições fundadoras do portal. Mostram a beleza das praias do Rio de Janeiro e traduzem a alegria da estação. São lúdicas e divertidas! Como o verão!
+ 
+
+ 
+Guilherme Santos. Banhistas na Praia de Copacabana, c. 1930. Rio de Janeiro, RJ / Acervo IMS
+ 
+ 
+Guilherme Santos. Banhistas na Praia do Flamengo, c. 1920. Rio de Janeiro, RJ / Acervo IMS
+ 
+Acessando o link para as fotografias de banhistas produzidas por Guilherme Santos disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas. 
+ 
+Guilherme Santos. Banhistas na Praia de Copacabana, c. 1930. Rio de Janeiro, RJ / Acervo IMS
+ 
+ 
+Guilherme Santos. Banhistas na praia do Flamengo; ao fundo, o Morro do Pão de Açúcar, década de 20. Rio de Janeiro, RJ / Acervo IMS
+ 
+Guilherme Antônio dos Santos (1871 – 1966) era um entusiasta da fotografia estereoscópica, tendo sido um dos pioneiros dessa  técnica no Brasil, ao adquirir, em 1905, na França, o Verascope, um sistema de integração entre câmera e visor, que permitia ver imagens em 3D, produzidas a partir de duas fotos quase iguais, porém tiradas de ângulos um pouco diferentes. Eram impressas em uma placa de vidro e reproduziam a sensação de profundidade de maneira bem próxima da visão real.
+ 
+Verascope Richard, c. 1905
+ 
+Antes dele, entre os anos de 1855 e 1862, o “Photographo da Casa Imperial”, Revert Henrique Klumb (1826 – c. 1886), favorito da imperatriz Teresa Christina (1822 – 1889) e professor de fotografia da princesa Isabel (1846 – 1921), havia produzido vários registros utilizando a técnica da estereoscopia. A Casa Leuzinger também produziu fotografias estereoscópicas.
+ 
+Retrato do fotógrafo amador Guilherme Santos, publicado em O Malho, setembro de 1951
+ 
+“Tendo viajado à Europa em 1905 e verificado a maneira deprimente como era julgado e apresentado o Brasil em certas fotografias e, coincidindo com o interesse que então me despertava a arte fotográfica, um ideal dominou o meu sentimento de brasileiro: fazer um arquivo de fotografias que um dia provasse que o Brasil não era aquilo que estava sendo apresentado; minhas criações fotográficas mostrariam em quadros, com expressão artística, um Brasil adiantado e cheio de atrações, civilizado, habitado por uma raça superior e, não olhando sacrifícios, nem gastos, vencendo obstáculos e suportando e prejudicando interesses, em atividade constante nestes últimos quarenta e dois anos, consegui reunir o arquivo que está em condições de ter aproveitamento para a educação, cultura do povo e propaganda do Brasil”.
+Guilherme Santos, Noite Ilustrada, 1º de agosto de 1950
+ 
+O Malho, setembro de 1951
+ 
+Cruzeiro, 15 de dezembro de 1928
+Acesse aqui uma edição especial da revista Cruzeiro, de 15 de dezembro de 1928, sobre as Praias de Banho no Rio de Janeiro, em Paquetá e em Niterói.
+Nesta edição, O Cruzeiro  divulgou os resultados do primeiro concurso de fotografia promovido pela revista (páginas 33 e 34), cujo tema foi “a vida das praias”.
+Há ainda artigos sobre o verão, fotografias e caricaturas de banhistas em diversas praias como Copacabana, Flamengo e Urca; e anúncios de roupas para banho de mar. Uma das matérias da revista é sobre estrelas de cinema internacionais fotografadas com roupas de praia. Outra, intitulada Em louvor das praias, foi escrita pela então Rainha dos Estudantes, Anna Amélia Carneiro de Mendonça (1896 -1971).
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Acesse aqui:
+VERÃO PARA OUVIR: BEDUÍNOS, PAQUERAS, TENDÊNCIAS DA MODA E CALORES EM 78 RPM, de Pedro Paulo Malta
+Crônicas em torno do tema verão publicadas no portal da Crônica Brasileira
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/9553` — `itens/20.500.12156.1_9553/`
+- `20.500.12156.1/9517` — `itens/20.500.12156.1_9517/`
+- `20.500.12156.1/9554` — `itens/20.500.12156.1_9554/`
+- `20.500.12156.1/10240` — `itens/20.500.12156.1_10240/`
+
diff --git a/wordpress/34244-cronologia-de-joao-xavier-de-oliveira-menezes-o-j-menezes-18-19.md b/wordpress/34244-cronologia-de-joao-xavier-de-oliveira-menezes-o-j-menezes-18-19.md
new file mode 100644
index 0000000..e9028eb
--- /dev/null
+++ b/wordpress/34244-cronologia-de-joao-xavier-de-oliveira-menezes-o-j-menezes-18-19.md
@@ -0,0 +1,44 @@
+---
+id: 34244
+url: "https://brasilianafotografica.bn.gov.br/?p=34244"
+titulo: "Cronologia de João Xavier de Oliveira Menezes, o J. Menezes (18? – 19?)"
+autor: "Andrea Wanderley"
+data: "2023-09-21T10:15:01+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: []
+fetched_at: "2026-09-10T10:16:01.020Z"
+---
+
+# Cronologia de João Xavier de Oliveira Menezes, o J. Menezes (18? – 19?)
+
+Cronologia de João Xavier de Oliveira Menezes, o J. Menezes (18? – 19?)
+ 
+1875 – Apesar de não sabermos, até o momento, onde e quando João Xavier de Oliveira Menezes, o J. Menezes, nasceu e faleceu, há registros de sua atuação como fotógrafo a partir de 1875, no Rio de Janeiro, na rua da Quitanda, nº 39. Era filho do comendador Thomaz Xavier Ferreira de Menezes e seus irmãos eram Francisco, Eurydice, Thomaz e Carlos Xavier de Oliveira Menezes; e Rita Augusta de Menezes Pinho (Jornal do Commercio, 2 de novembro de 1891, sexta coluna; O Paiz, 13 de setembro de 1896, sexta coluna).
+ 
+Acervo IMS
+ 
+1876 – Realização de obras em seu estúdio fotográfico e anunciado que já estava a disposição de nosso amigos e fregueses (Gazeta de Notícias, 27 de agosto de 1876).
+ 
+Gazeta de Notícias, 6 de agosto de 1875
+ 
+Década de 1880 – Foi nesta década que J. Menezes produziu fotos de pessoas com deficiência.
+1882 - Fim de sua associação, na firma Pacheco, Menezes & Irmão, a seu irmão, Carlos e a Bernardo José Pacheco (18? -?), que havia sido, entre 1866 e 1874, associado ao fotógrafo açoriano Christiano Junior (1802 – 1902). Apresentavam-se como sucessores de Christiano Junior & Pacheco e ofereciam retratos em todos os systemas (Jornal do Commercio, 3 de dezembro de 1866; Gazeta de Notícias, 8 de agosto de 1875; Diário do Rio de Janeiro, 9 de novembro de 1875, sexta coluna; Almanak Administrativo, Mercantil e Industrial do Rio de Janeiro, 1875,  1876; 1877, 1878, 1879, 1880, 1881, 1882). Lembramos que Christiano Jr. foi o autor da série Elephansiasis, realizada na década de 1860. Como já indagado no artigo, Para uma história da fotografia médica, no Brasil, de autoria de Joaquim Marçal Ferreira de Andrade, um dos curadores da Brasiliana Fotográfica, teria sido J. Menezes o sucessor de Christiano Junior no atendimento à classe médica da corte?
+O estabelecimento passou a chamar-se Menezes & Irmão (Gazeta de Notícias, 13 de junho de 1882, última coluna; Almanak Administrativo, Mercantil e Industrial do Rio de Janeiro, 1884).
+ 
+Jornal do Commercio, 30 de abril de 1882
+ 
+Anunciavam Photographia e Pintura.
+ 
+Jornal do Commercio, 12 de novembro de 1882
+ 
+1883 -  Anunciavam uma Grande Novidade:
+ 
+Gazeta da Tarde, 5 de junho de 1883
+ 
+Foram lidas proclamas de seu casamento com Virgilia Adelaide Mendes Calaza (Gazeta de Notícias, 29 de dezembro de 1893, terceira coluna).
+1884 - Com o falecimento de seu irmão e sócio Carlos, foi extinta a firma Menezes & Irmão e J. Menezes passou a atuar por conta própria, ainda na Rua da Quitanda, nº 39 (Jornal do Commercio, 26 de agosto de 1884, sétima coluna; Jornal do Commercio, 3 de outubro de 1884, última coluna). Residia na Rua do Souto, 16.
+Década de 1890 – Nos primeiros anos desta década, seu estabelecimento fotográfico ficava na rua Marquês de Paraná, 1. O último registro de sua atividade como fotógrafo encontrada pela minha pesquisa data de 1902 (Gazeta de Notícias, 13 de junho de 1884, terceira coluna; Jornal do Commercio, 3 de outubro de 1884, última coluna; Almanak Administrativo, Mercantil e Industrial do Rio de Janeiro, 1885, 1891, 1892, 1898, 1900, 1901, 1902).
+1902 –  Seu filho Augusto (1901 – 1902) faleceu (Jornal do Commercio, 10 de julho de 1902, sexta coluna).
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
diff --git a/wordpress/34248-o-fotografo-paul-erbe.md b/wordpress/34248-o-fotografo-paul-erbe.md
new file mode 100644
index 0000000..b12ceaf
--- /dev/null
+++ b/wordpress/34248-o-fotografo-paul-erbe.md
@@ -0,0 +1,136 @@
+---
+id: 34248
+url: "https://brasilianafotografica.bn.gov.br/?p=34248"
+titulo: "O fotógrafo Paul Erbe"
+autor: "Andrea Wanderley"
+data: "2023-11-13T09:27:21+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/12065", "20.500.12156.1/12073", "20.500.12156.1/12069", "20.500.12156.1/12064", "20.500.12156.1/12078", "20.500.12156.1/12072", "20.500.12156.1/12074", "20.500.12156.1/12087", "20.500.12156.1/12084", "20.500.12156.1/12077", "20.500.12156.1/12076", "20.500.12156.1/12108"]
+fetched_at: "2026-09-10T10:16:04.324Z"
+---
+
+# O fotógrafo Paul Erbe
+
+A arquivista Daniella Gomes dos Santos e a doutora em História Maria Isabel Lenzi, ambas do Museu Histórico Nacional, uma das instituições parceiras da Brasiliana Fotográfica, nos contam sobre o trabalho de pesquisa que realizaram em busca de informações sobre um fotógrafo chamado Paul Erbe, que atuou no Rio de Janeiro nas primeiras décadas do século XX. O Museu Histórico Nacional possui dois álbuns fotográficos de Erbe, além de três retratos realizados por ele na década de 20. Um dos álbuns, com 11 paisagens do Rio de Janeiro produzidas na década de 10, pertenceu ao alemão Karlheinz Klintworth e foi adquirido em 1998. O outro tem 20 imagens do Mosteiro de São Bento realizadas nos anos 20.
+ 
+O fotógrafo Paul Erbe
+Daniella Gomes dos Santos e Maria Isabel Ribeiro Lenzi*
+Neste artigo relatamos o trabalho de pesquisa em busca de informações sobre um fotógrafo chamado Paul Erbe.
+ 
+Fon-Fon!, 7 de outubro de 1916
+ 
+A investigação iniciou-se após revisão de dados em diversos inventários das coleções sob a guarda do Arquivo Histórico do Museu Histórico Nacional – MHN. Uma das atualizações feitas foi a de um álbum contendo onze fotografias com imagens do Rio de Janeiro, da década de 1910, com a identificação do fotógrafo Paul Erbe, que nós desconhecíamos.
+ 
+Paul Erbe. Lagoa Rodrigo de Freitas, 191?. Rio de Janeiro, RJ / Acervo Museu Histórico Nacional
+ 
+Acessando o link para as 11 fotografias em sépia do álbum que pertenceu a Karlheinz Klintworth com fotografias de autoria de Paul Erbe do acervo do Museu Histórico Nacional e disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Paul Erbe. Canal do Mangue, 191. Rio de Janeiro, RJ / Acervo Museu Histórico Nacional
+ 
+Esse álbum pertenceu a Karlheinz Klintworth, cidadão alemão, que viveu no Brasil no período de 1957 a 1970 e foi oferecido ao MHN como sendo uma preciosidade. Após trocas de correspondências entre a direção do Museu e o proprietário das fotografias, foi verificada a relevância do material e a compra foi realizada através da Associação de Amigos do Museu Histórico Nacional no ano de 1998.
+ 
+Paul Erbe. Vista panorâmica do Arpoador, 191?. Rio de Janeiro, RJ / Acervo Museu Histórico Nacional.
+ 
+Notícia no Jornal do Brasil sobre a compra do álbum:
+ 
+Jornal do Brasil, 17 de julho de 1997
+ 
+Paul Erbe. Praia de São Conrado, 191?. Rio de Janeiro, RJ / Acervo Museu Histórico Nacional
+ 
+Buscamos informações sobre Erbe no Dicionário Histórico-Fotográfico Brasileiro de Boris Kossoy, em que foi compilada a trajetória de fotógrafos e retratistas que documentaram o Brasil entre 1833 e 1910, mas não constam nessa obra informações sobre o fotógrafo.
+Pesquisando na Hemeroteca Digital da Biblioteca Nacional, encontramos notícia de agosto de 1917, em que vários jornais, como O Paiz, Gazeta de Notícias, Jornal do Commercio e Jornal do Brasil, relatam um incêndio de grandes proporções que destruiu grande parte do edifício em que funcionava a redação do jornal O Paiz, na Avenida Branco, esquina com rua Sete de Setembro, no centro do Rio de Janeiro. Ocorre que, o ateliê fotográfico de Huebner Amaral, de quem Paul Erbe era sócio, também funcionava no prédio em que aconteceu o sinistro.
+ 
+Jornal do Brasil, 7 de agosto de 1917
+ 
+Jornal do Commercio, 31 de outubto de 1917
+ 
+Gazeta de Notícias, 7 de agosto de 1917
+ 
+Demos prosseguimento à pesquisa em sítios eletrônicos e encontramos um artigo de Mateus Duarte, tendo como objeto de estudo um álbum com fotografias de 1921 a 1936, produzidas por Paul Erbe. O álbum foi doado e dedicado à John Raschle pela diretoria da indústria como prova reconhecimento à sua collaboração como director gerente nos dois primeiros anos da sociedade e como constante lembrança da sua pêssoa , conforme escrito na dedicatória do dia 26 de novembro de 1936.
+ 
+Álbum S.A. Cotonifício Gávea / Mapeamento sócio técnico e cultural da Gávea: o álbum de fotografia da S.A Cotonifício Gávea, página 10.
+ 
+ 
+São 45 fotografias de uma pequena fábrica localizada na Gávea, Rio de Janeiro. O autor relata em seu texto que não conseguiu muita informação sobre o fotógrafo e faz referência ao Almanak Laemmert: Administrativo Mercantil e Industrial (RJ) e ao Jornal do Comércio como fonte de pesquisa. Na edição de 1919 do Jornal do Commercio é noticiada a dissolução da sociedade com George Huebner (1862-1935). Paul Erbe, citado na matéria como Paulo Erbe, era sócio-gerente desde 1912, ficando como único proprietário do ateliê fotográfico, localizado na rua da Assembleia nº 100, a partir da interrupção da parceria. Presumimos que a ruptura da sociedade e a mudança de endereço tenha relação com o incêndio de 1917.
+ 
+O Paiz, 23 de novembro de 1919
+ 
+Almanak Laemmert, 1922
+ 
+Paul Erbe permaneceu na rua da Assembleia nº 100 até o final da década de 1920.  Ao longo deste decênio, grande parte de seus anúncios ofereciam ao público seu trabalho neste endereço no centro da cidade.
+ 
+Propaganda do fotógrafo Paul Erbe, 1920.
+ 
+Todavia, no final da década, o fotógrafo faz o movimento rumo ao bairro que estava em franco crescimento: Copacabana. Encontramos, em 1929, no Almanak Laemmert, sua nova direção à rua República do Peru nº 100.
+ 
+Almanak Laemmert, 1929
+ 
+A partir de 1923, aparecem diversos anúncios em que se faz referência ao trabalho de Paul Erbe em peças teatrais, cujos artistas tinham os retratos expostos nos saguões do teatro e no “estúdio Erbe”. Eram disponibilizados aos assinantes de frisas e camarotes, fotografias dos principais artistas das Companhias, produzidas pelo “magnífico trabalho da acreditada Photographia ERBE, Rua da Assembleia n.100”(Correio da Manhã, 2 de outubro de 1923; O Jornal, 15 de abril de 1924).
+ 
+Correio da Manhã, 2 de outubro de 1923
+ 
+A única imagem que conseguimos encontrar do fotógrafo está na Revista Fon-Fon! - importante periódico que circulou nas primeiras décadas do século XX – é a que está publicada no início deste artigo. A Fon-Fon! apresentava a vida privada da sociedade burguesa e foi grande influenciadora do comportamento da elite carioca (Fon-Fon!, 7 de outubro de 1916).
+Nas buscas por mais informações, nos deparamos com trabalhos de Erbe em sites de leilões eletrônicos: fotografias de famílias e paisagens do Rio de Janeiro.
+Mas voltando ao álbum, verificamos que aparece na capa o endereço do centro – rua da Assembleia, 100.  Deste modo, deduzimos que ele deve ter sido feito a partir de 1919, talvez na década de 1920. Porém, observando algumas fotografias, percebemos que são imagens da década de 1910. Em duas fotos, o Pão-de-Açúcar aparece sem os cabos que sustentam o bondinho.  Conseguimos visualizar as construções que estavam sendo feitas no alto dos morros da Urca e do Pão-de-Açúcar, mas ainda sem o bondinho que pouco depois levaria turistas para contemplar a paisagem carioca. Sabemos que a primeira parte do Caminho Aéreo do Pão-de-Açúcar foi inaugurado em 1912, de modo que provavelmente essas imagens são anteriores a este ano. Todavia, a montagem do álbum provavelmente é da década de 1920.
+ 
+Paul Erbe. Vista panorâmica da Baía de Guanabara, c. 191?. Rio de Janeiro, RJ / Acervo Museu Histórico Nacional
+ 
+Consta no processo de compra do álbum que um perito do arquivo histórico da Companhia de Navegação Hamburg-Sud, de Hamburgo, apontou que há uma imagem de um navio da referida companhia, que só trafegou na Baía da Guanabara em alguns meses no ano de 1914.  Nesta fotografia em que aparece o navio, o Pão-de-Açúcar fica bem visível sem o cabo do bondinho, de modo que constatamos um equívoco do perito nesta datação, a julgar pelo exposto acima.
+O fato de o Morro do Castelo aparecer em uma das fotos corrobora a tese de que as fotografias são da década de 1910. Sabemos que aquele outeiro foi demolido em início dos anos de 1920 e o álbum traz uma fotografia em que o outeiro está intacto.  Então acreditamos que essas imagens são mesmo dos anos 1910, mas foram reunidas em álbum na década seguinte.
+ 
+Paul Erbe. Vista do Centro do Rio de Janeiro do alto do Morro do Castelo, 191?. Rio de Janeiro, RJ / Acervo Museu Histórico Nacional
+ 
+Além do álbum citado neste artigo, o Arquivo Histórico do MHN preserva outro, contendo vinte fotografias com imagens do Mosteiro de São Bento do Rio de Janeiro, além de três retratos da década de 1920, todos produzidos por Paul Erbe.
+ 
+Acessando o link para as fotografias do outro álbum de fotografias de autoria de Paul Erbe com imagens do Mosteiro de São Bento e de três retratos também produzidos por ele pertencentes ao acervo do Museu Histórico Nacional e disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Paul Erbe. Interior da Egreja (vista geral), 192?. Rio de Janeiro, RJ / Acervo Museu Histórico Nacional
+ 
+Paul Erbe. Egreja Abbacial de São Bento, 192?. Rio de Janeiro, RJ / Acervo Museu Histórico Nacional
+ 
+Não localizamos a quem pertenceu este outro álbum e um dos retratos. Já as outras duas fotografias constam a informação de seus doadores: uma foi doada em 1993 por Yeda Telles de Menezes, e é de um familiar da doadora; e a outra, doada em 1998, por José Pinto de Lima, é do próprio doador.
+ 
+Paul Erbe. Retrato de Julieta França Telles de Menezes, julho de 1920. Rio de Janeiro, RJ / Acervo Museu Histórico Nacional
+ 
+ 
+Paul Erbe. Retrato de José Pinto de Lima, 13 de setembro de 1923. Rio de Janeiro, RJ / Acervo Museu Histórico Nacional
+ 
+A terceira é do engenheiro e político Miguel Calmon (1879 – 1935), que foi ministro e secretário de Estado dos Negócios da Indústria, Viação e Obras Públicas durante a presidência de Afonso Pena (1847 – 1909) e de Nilo Peçanha (1867 – 1924); e também da Agricultura, Indústria e Comércio, do governo de Artur Bernardes (1875 – 1955).
+ 
+Paul Erbe. Miguel Calmon, 192?. Rio de Janeiro, RJ / Acervo Museu Histórico Nacional
+ 
+ 
+*Daniella Gomes dos Santos é graduada em Arquivologia pela Unirio e arquivista do Arquivo Histórico do Museu Histórico Nacional (IBRAM/MinC)
+Maria Isabel Ribeiro Lenzi é doutora em História pela UFF e historiadora do Arquivo Histórico do Museu Histórico Nacional (IBRAM/MinC)
+ 
+Fontes:
+DUARTE, Mateus Sanches. Mapeamento sócio técnico e cultural da Gávea: o álbum de fotografia da S.A Cotonifício Gávea.  Disponível em: https://www.puc-rio.br/ensinopesq/ccpg/pibic/relatorio_resumo2019/download/relatorios/CCS/CSOC/CSOC-
+Mateus%20Sanches%20Duarte.pdf . Acesso em 11 de agosto de 2023.Acesso em 11 de agosto de 2023.
+Hemeroteca Digital da Biblioteca Nacional
+KOSSOY, Boris. Dicionário Histórico-Fotográfico Brasileiro. São Paulo: Instituto Moreira Salles, 2002.
+ZANON, Marilia Cecilia. A sociedade carioca da Belle Époque nas páginas do Fon Fon!  Patrimônio e Memória, v.4, n. 2, p. 217-235. Disponível em: https://repositorio.unesp.br/handle/11449/108024. Acesso em 10 de agosto de 2023.
+ 
+ 
+Nota da editora:
+No catálogo dos quadros do Instituto Histórico e Geográfico Brasileiro, publicado, em 1948, na revista do referido instituto, está listada uma ampliação fotográfica realizada por Paul Erbe do historiador, professor e jornalista Max Fleiuss(1868 – 1943) (Revista do  Instituto Histórico e Geográfico Brasileiro, outubro / dezembro de 1948, segunda coluna).
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/12065` — `itens/20.500.12156.1_12065/`
+- `20.500.12156.1/12073` — `itens/20.500.12156.1_12073/`
+- `20.500.12156.1/12069` — `itens/20.500.12156.1_12069/`
+- `20.500.12156.1/12064` — `itens/20.500.12156.1_12064/`
+- `20.500.12156.1/12078` — `itens/20.500.12156.1_12078/`
+- `20.500.12156.1/12072` — `itens/20.500.12156.1_12072/`
+- `20.500.12156.1/12074` — `itens/20.500.12156.1_12074/`
+- `20.500.12156.1/12087` — `itens/20.500.12156.1_12087/`
+- `20.500.12156.1/12084` — `itens/20.500.12156.1_12084/`
+- `20.500.12156.1/12077` — `itens/20.500.12156.1_12077/`
+- `20.500.12156.1/12076` — `itens/20.500.12156.1_12076/`
+- `20.500.12156.1/12108` — `itens/20.500.12156.1_12108/`
+
diff --git a/wordpress/34365-serie-o-rio-de-janeiro-desaparecido-xxvi-conclusao-do-arrasamento-do-morro-do-ca.md b/wordpress/34365-serie-o-rio-de-janeiro-desaparecido-xxvi-conclusao-do-arrasamento-do-morro-do-ca.md
new file mode 100644
index 0000000..d6a1f72
--- /dev/null
+++ b/wordpress/34365-serie-o-rio-de-janeiro-desaparecido-xxvi-conclusao-do-arrasamento-do-morro-do-ca.md
@@ -0,0 +1,96 @@
+---
+id: 34365
+url: "https://brasilianafotografica.bn.gov.br/?p=34365"
+titulo: "Série “O Rio de Janeiro desaparecido” XXVI – Conclusão do arrasamento do Morro do Castelo por Augusto Malta"
+autor: "Andrea Wanderley"
+data: "2023-12-14T12:44:19+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/12443", "20.500.12156.1/12458", "20.500.12156.1/11553", "20.500.12156.1/12445", "20.500.12156.1/12461"]
+fetched_at: "2026-09-10T10:16:07.485Z"
+---
+
+# Série “O Rio de Janeiro desaparecido” XXVI – Conclusão do arrasamento do Morro do Castelo por Augusto Malta
+
+O Morro do Castelo já foi tema de um artigo da Brasiliana Fotográfica, publicado em 30 de abril de 2019, Série “O Rio de Janeiro desaparecido” VIII – A demolição do Morro do Castelo. Hoje o portal volta ao assunto com a publicação de 18 fotografias, recentemente inseridas no nosso acervo fotográfico, da conclusão do arrasamento do Morro do Castelo produzidas pelo alagoano Augusto Malta (1864 – 1957), que foi o fotógrafo oficial da prefeitura do Rio de Janeiro, de 1903 a 1936, e o principal fotógrafo da transformação urbana carioca nas primeiras décadas do século XX, período de grandes mudanças na cidade, dentre elas uma importante intervenção na paisagem natural carioca: justamente a demolição do Morro do Castelo.
+ 
+Augusto Malta. Conclusão do arrasamento do Morro do Castelo, 1928. Rio de Janeiro, RJ / Acervo IMS
+ 
+O Morro do Castelo representava o passado colonial do Rio de Janeiro e era parte da história de sua própria fundação, ocorrida em 1565, no Morro Cara de Cão. A cidade foi reinstalada, dois anos depois, no Morro do Castelo, então denominado Morro do Descanso. A escolha do ponto, da onde se via a Baía de Guanabara, sua porta de entrada, foi estratégico para a defesa da cidade em caso de possíveis futuros ataques. Murado e fortificado, o Rio de Janeiro no Morro do Castelo passou a abrigar a Casa do Governador, a Casa da Câmara, a Cadeia, o Colégio dos Jesuítas, o Convento dos Capuchinhos, armazéns e igrejas, dentre elas a Igreja de São Sebastião, inaugurada, em 1583, mesmo ano em que os restos mortais de Estácio de Sá (1520 – 1567), fundador do Rio de Janeiro, foram trasladados para lá. A última missa na Igreja de São Sebastião foi celebrada em 1º de novembro de 1921. Esses prédios formavam um importante conjunto arquitetônico, destruído, entre 1921 e 1922, com o arrasamento do Morro do Castelo. O acesso ao morro era feito a partir da Ladeira da Misericórdia.
+ 
+Diário do Rio
+ 
+Augusto Malta. Conclusão do arrasamento do Morro do Castelo, 1928. Rio de Janeiro, RJ / Acervo IMS
+ 
+Acessando o link para as fotografias da conclusão do arrasamento do Morro do Castelo produzidas por Augusto Malta e disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Augusto Malta. Prado Junior (prefeito do Rio de Janeiro), sentado ao centro em seu gabinete, durante reunião sobre a conclusão do arrasamento do Morro do Castelo e remodelação da cidade, 23 de junho de 1928. Rio de Janeiro, RJ / Acervo IMS
+ 
+Augusto Malta. Conclusão do arrasamento do Morro do Castelo – presença do Prefeito Prado Júnior, no alto da colina, 3 de setembro de 1928. Rio de Janeiro, RJ / Acervo IMS
+ 
+O Morro do Castelo tinha 63 metros de altura, ocupava uma área de cento e oitenta e quatro mil metros quadrados e seus limites eram as atuais avenida Rio Branco (antiga avenida Central), as ruas Santa Luzia, Misericórdia e São José.
+Já em 1838, os engenheiros militares Conrado Niemeyer (1831 – 1905) e Pedro Bellegarde (1807 – 1864) defendiam em um projeto o desmonte do Morro: “Edifícios nobres deverão um dia substituir aquele morro; e o navegante que demandar o importante porto capital do Brasil receberá na sua entrada a agradável impressão da vista de toda a cidade, até hoje encoberta a seus olhos pela massa informe do mesmo morro”.
+Mas foi em 1904 que parte do Morro do Castelo foi demolida para a construção da Avenida Central, cuja abertura foi uma das principais marcas da reforma urbana realizada por Francisco Pereira Passos (1836 – 1913), o bota-abaixo, entre 1902 e 1906, período em que foi prefeito do Rio de Janeiro. Essas transformações foram definidas por Alberto Figueiredo Pimentel (1869-1914), autor da seção “Binóculo”, da Gazeta de Notícias, com a máxima “O Rio civiliza-se”, que se tornou o slogan da reforma urbana carioca. O morro passou a ter como limites os fundos da Biblioteca Nacional e a Escola de Belas Artes. Quando estavam se realizando as obras para a abertura da avenida, uma galeria foi descoberta e por ela se chegaria a túneis subterrâneos, onde os jesuítas, quando expulsos, em 1759, pelo Marques de Pombal (1699 – 1782), teriam escondido suas riquezas. Essa crença passou a existir no imaginário urbano do Rio de Janeiro, e seus habitantes passaram a temer que a demolição do morro dificultasse a descoberta desses supostos tesouros.
+A segunda etapa de sua demolição foi determinada pelo prefeito Carlos Sampaio (1861 – 1930), em 17 de agosto de 1920, quando assinou um decreto que autorizava seu desmonte (Jornal do Brasil, 18 de agosto, quinta coluna). A decisão foi baseada, segundo o governo, na necessidade de higienização e modernização da cidade. O morro foi literalmente por água abaixo, demolido por incessantes jatos d´água. A terra do morro foi usada no aterro da Avenida Beira-Mar, levado até a Ilha de Villegaignon, onde depois foi construído o Aeroporto Santos Dumont; da Lagoa Rodrigo de Freitas e no aterro dos charcos e pântanos do Jardim Botânico.
+ 
+Augusto Malta. Conclusão do arrasamento do Morro do Castelo, 1928. Rio de Janeiro, RJ / Acervo IMS
+ 
+A derrubada causou muita polêmica, tendo sido criticada por vários intelectuais como Monteiro Lobato (1882 – 1948) e Lima Barreto (1881 – 1922), porém saudada por personalidades importantes como o sanitarista Belisário Pena (1868 – 1939). Na área deixada por seu desmonte foram construídos pavilhões da Exposição Internacional do Centenário da Independência, aberta em 7 de setembro de 1922. Em setembro de 1921, havia no morro 4200 moradores distribuídos em 408 prédios. Eram trabalhadores e pobres e seriam instalados, inicialmente, em barracos na Praça da Bandeira.
+ 
+Careta, 15 de outubro de 1921
+ 
+Augusto Malta. Conclusão do arrasamento do Morro do Castelo – visita de comitiva, 11 de novembro de 1928. Rio de Janeiro, RJ / Acervo IMS
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+BARROS, Paulo Cezar de. Onde nasceu a cidade do Rio de Janeiro? ( um pouco da história do Morro do Castelo). Revista geo-paisagem (online ) Vol. 1, número 2, julho/dezembro de 2002
+Blog do Jornal do Brasil, 9 de março de 2011
+Hemeroteca Digital da Biblioteca Nacional
+LOBATO, Monteiro. Onda Verde. São Paulo: Monteiro Lobato e C., 1921.
+MENEZ, Alexssandro. Civilização versus barbárie: a destruição do Morro do Castelo no Rio de Janeiro (1905-1922). Revista Historiador Número 06. Ano 06. Janeiro de 2014.
+MOTTA, Marly Silva da. A nação faz cem anos: a questão nacional no centenário da independência. Rio de Janeiro: Editora FGV: CPDOC, 1992.
+NONATO, José Antônio Era uma vez o Morro do Castelo. Rio de Janeiro: Casa da Palavra, 2000.
+PAIXÃO, Cláudia Míriam Quelhas. O Rio de Janeiro e o morro do Castelo: populares, estratégias de vida e hierarquias sociais (1904-1922). Dissertação de mestrado. Niterói: UFF, 2008.
+Site do Diário do Rio
+Site do CPDOC
+ 
+Links para os outros artigos da Série O Rio de Janeiro desaparecido
+ 
+Série O Rio de Janeiro desaparecido I - Salas de cinema do Rio de Janeiro do início do século XX, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 26 de fevereiro de 2016.
+Série O Rio de Janeiro desaparecido II – A Exposição Nacional de 1908 na Coleção Família Passos, de autoria de Carla Costa, historiadora do Museu da República, publicado na Brasiliana Fotográfica, em 5 de abril de 2018.
+Série O Rio de Janeiro desaparecido III – O Palácio Monroe, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica, em 9 de novembro de 2016.
+Série O Rio de Janeiro desaparecido IV - A via elevada da Perimetral, de autoria da historiadora Beatriz Kushnir, publicado na Brasiliana Fotográfica em 23 de junho de 2017.
+Série O Rio de Janeiro desaparecido V – O quiosque Chopp Berrante no Passeio Público, Ferrez, Malta e Charles Dunlop, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 20 de julho de 2018.
+Série O Rio de Janeiro desaparecido VI – O primeiro Palácio da Prefeitura Municipal do Rio de Janeiro, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 12 de setembro de 2018.
+Série O Rio de Janeiro desaparecido VII – O Morro de Santo Antônio na Casa de Oswaldo Cruz, de autoria de historiador Ricardo Augusto dos Santos da Casa de Oswaldo Cruz, publicado na Brasiliana Fotográfica em 5 de fevereiro de 2019.
+Série O Rio de Janeiro desaparecido VIII – A demolição do Morro do Castelo, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 30 de abril de 2019.
+Série O Rio de Janeiro desaparecido IX – Estrada de Ferro Central do Brasil: estação e trilhos, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 12 de novembro de 2019.
+Série O Rio de Janeiro desaparecido X – No Dia dos Namorados, um pouco da história do Pavilhão Mourisco em Botafogo, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 12 de junho de 2020.
+Série O Rio de Janeiro desaparecido XI – A Estrada de Ferro do Corcovado e o mirante Chapéu de Sol, de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 22 de julho de 2021.
+Série O Rio de Janeiro desaparecido XII – o Teatro Lírico (Theatro Lyrico), de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 15 de setembro de 2021.
+Série O Rio de Janeiro desaparecido XIII – O Convento da Ajuda, de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 12 de outubro de 2021.
+Série O Rio de Janeiro desaparecido XIV – O Conselho Municipal, de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 19 de novembro de 2021.
+Série O Rio de Janeiro desaparecido XV – A Praia de Santa Luzia no primeiro dia do verão, de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 21 de dezembro de 2021.
+Série O Rio de Janeiro desaparecido XVI – O prédio da Academia Imperial de Belas Artes, de autoria de Andrea C.T. Wanderley, publicado na Brasiliana Fotográfica em 13 de janeiro de 2022.
+Série O Rio de Janeiro desaparecido XVII – Igreja São Pedro dos Clérigos, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 18 de março de 2022.
+Série O Rio de Janeiro desaparecido XVIII – A Praça Onze, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 20 de abril de 2022.
+Série O Rio de Janeiro desaparecido XIX – A Igrejinha de Copacabana, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 23 de junho de 2022.
+Série O Rio de Janeiro desaparecido XX – O Pavilhão dos Estados, futuro prédio do Ministério da Agricultura, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 26 de julho de 2022.
+Série O Rio de Janeiro desaparecido XXI – O Chafariz do Largo da Carioca, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 19 de setembro de 2022. 
+Série O Rio de Janeiro desaparecido XXII – A Cadeia Velha que deu lugar ao Palácio Tiradentes, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 11 de abril de 2023
+Série O Rio de Janeiro desaparecido XXIII e Avenidas e ruas do Brasil XVII - A Praia e a Rua do Russel, na Glória, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 15 de maio de 2023
+Série O Rio de Janeiro desaparecido XXIV – O luxuoso Palace Hotel, na Avenida Rio Branco, uma referência da vanguarda artística no Rio de Janeiro, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 4 de julho de 2023
+Série O Rio de Janeiro desaparecido XXV – O Theatro Phenix, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 5 de setembro de 2023
+Série O Rio de Janeiro desaparecido XXVII e Série Os arquitetos do Rio de Janeiro V – O Jockey Club e o Derby Club, na Avenida Rio Branco e o arquiteto Heitor de Mello (1875 – 1920), de autoria de Andrea c. T. Wanderley, editora e pesquisadora do portal, em 15 de janeiro de 2024
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/12443` — `itens/20.500.12156.1_12443/`
+- `20.500.12156.1/12458` — `itens/20.500.12156.1_12458/`
+- `20.500.12156.1/11553` — `itens/20.500.12156.1_11553/`
+- `20.500.12156.1/12445` — `itens/20.500.12156.1_12445/`
+- `20.500.12156.1/12461` — `itens/20.500.12156.1_12461/`
+
diff --git a/wordpress/34603-serie-o-rio-de-janeiro-desaparecido-xxix-o-cabare-e-restaurante-mere-louise-e-o-.md b/wordpress/34603-serie-o-rio-de-janeiro-desaparecido-xxix-o-cabare-e-restaurante-mere-louise-e-o-.md
new file mode 100644
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+++ b/wordpress/34603-serie-o-rio-de-janeiro-desaparecido-xxix-o-cabare-e-restaurante-mere-louise-e-o-.md
@@ -0,0 +1,97 @@
+---
+id: 34603
+url: "https://brasilianafotografica.bn.gov.br/?p=34603"
+titulo: "Série “O Rio de Janeiro desaparecido” XXIX – O cabaré e restaurante “Mère Louise” e o Casino Balneario Atlantico"
+autor: "Andrea Wanderley"
+data: "2024-11-01T09:49:58+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/10742", "20.500.12156.1/12061"]
+fetched_at: "2026-09-10T10:16:10.616Z"
+---
+
+# Série “O Rio de Janeiro desaparecido” XXIX – O cabaré e restaurante “Mère Louise” e o Casino Balneario Atlantico
+
+Com fotografias produzidas por Augusto Malta (1864-1957), por Torres (18?-19?) e pela Escola de Aeronáutica Militar, a Brasiliana Fotográfica conta um pouco da história do restaurante e cabaré Mère Louise, que existiu entre os primeiros anos do século XX e 1934, quando foi demolido para dar lugar ao Casino Balneario Atlantico, inaugurado, em 1935, e demolido na década de 1970. Ficavam na Avenida Atlântica, na altura do Posto 6 e são o assunto do 29º artigo da série O Rio de Janeiro desaparecido. As duas construções marcaram a história do Rio de Janeiro de antigamente.
+ 
+Acessando o link para as fotografias deste artigo produzidas por Augusto Malta, pela Escola de Aeronáutica Militar e por Torres disponíveis na Brasiliana Fotográfica, o leitor poderá visualizar e magnificar as imagens.
+ 
+Na esquina da rua da Igrejinha de Copacabana, atual Rua Francisco Otaviano, com a Avenida Atlântica, no Posto 6, em Copacabana, conhecido como o cantinho da alegria, onde os pescadores se misturavam aos romeiros que iam a já mencionada igrejinha, havia uma casa cujo dono era, pelo menos desde 1902, Edmundo Bittencourt (1886 – 1943), proprietário do jornal Correio da Manhã. Ele a alugou para a francesa Mme. Louise Chabas, (1843 – 1918), que abriu o restaurante Mère Louise, em torno de 1903, conforme noticiado pelo semanário Rua do Ouvidor, de 10 de janeiro de 1903. Foi muito elogiado por sua gastronomia. Na referida edição era sugerido: um passeio a Copacabana e comer no restaurante de Mme . Louise Chabas, perto da igrejinha, dirigido pelo sr. August Castella onde encontrarão boas iguarias e preços cômodos. Era também um hotel.
+ 
+Torres. Copacabana na altura do Posto 6, c. 1907. Rio de Janeiro, RJ / Acervo IMS. O Mère Louise funcionava na primeira casa à direita, na esquina.
+ 
+O restaurante de Mme. Chabas passou a ser, em 1907,  também o cabaré Mère Louise, que se tornou um dos cabarés mais famosos do Brasil, à maneira do de Montmartre, em Paris, onde quem saiba fazer algo sobe ao palco e… faz o que sabe!”.  Segundo o escritor Ruy Castro (1948-), no livro A Noite do Meu Bem, o estabelecimento funcionava ao estilo de um saloon do Oeste americano, com varanda, portas em vaivém dando para o salão, piano, balcão, espelho e mesas, tudo em torno de uma cadeira de balanço da qual Madame Louise controlava o movimento. Apesar do ambiente mais propício a vaqueiros, seus clientes eram a nata letrada e boêmia do Rio: políticos, ministros de Estado, diplomatas, artistas e jornalistas, alguns acompanhados de ‘amigas’ ou admiradoras. Ainda segundo Castro: Louise conhecia a todos pelo nome e ia de mesa em mesa, falando com cada um. Tal intimidade tornava natural que, em emergências, ela cedesse – pela escorchante diária de 6 mil-réis – discretos aposentos nos fundos para quem precisasse ‘repousar‘.
+ 
+Jornal do Brasil, 23 de abril de 1907
+ 
+Almoço no Mère Louise / Fon-Fon, 8 de maio de 1909
+ 
+Mme. Chabas vendeu o estabelecimento, em torno de 1911, para a Companhia Cervejaria Brahma e continuou funcionando como Mère Louise, onde era oferecido não somente roleta a dez tostões, mas colos e pernas nuas como atrativo estonteante e embriagador de muita alma nova que se corrompe, de muito talento em flor que se esteriliza, de muita promissora atividade que se estiola (Gazeta de Notícias, 2 de março de 1911, terceira coluna; Gazeta de Notícias, 22 de novembro de 1911, segunda coluna; Gazeta de Notícias, 15 de junho de 2014, penúltima coluna). Ela teria então pago suas dívidas com o dinheiro da venda e anunciado que se recolheria ao Asilo da Velhice Desamparada (Fon-Fon, 26 de abril de 1913, segunda coluna; e 3 de maio de 1913). Em 1913, trabalhava no Beco das Carmelitas (O Paiz, 2 de outubro de 1913, penúltima coluna). Em 1914, foi anunciado que ela dirigiria o Recreio Ipanema, uma casa no estilo da antiga Igrejinha no fim da linha de Ipanema (Gazeta de Notícias, 30 de maio de 1914, última coluna). Foi noticiado que ela estava doente, agonizando. Na mesma reportagem, foi revelado seu verdadeiro nome: Benoit Dubieff. Na época, além do restaurante de Ipanema, possuía duas propriedades na rua Santa Clara (Correio da Manhã, 12 de novembro de 1914, quarta coluna). Neste mesmo ano, foi acionada por Joseph Espoleli, com quem havia sido casada por cerca de três meses, entre 4 de dezembro de 1905 e 7 de março de 1906, que alegava que Mme. Chabas havia vendido o Mère Louise, que não pertenceria a ela, mas aos dois (Correio da Manhã, 26 de junho de 1914, primeira coluna).
+ 
+Correio da Manhã, 26 de junho de 1914
+ 
+Em 1917, dirigia o Café Belevue e um hotel no Leme (Gazeta de Notícias, 21 de julho de 1917, última coluna; A Noite, 2 de maio de 1917, terceira coluna). Faleceu, pobre, em 19 de maio de 1918 e foi sepultada no dia seguinte, no Cemitério São Joao Batista (A Noite, 19 de maio de 1918, última coluna; Gazeta de Notícias, 20 de maio de 1918, quarta coluna; Correio da Manhã, 20 de maio de 1918, terceira coluna).
+Voltando ao Mère Louise. No Carnaval de 1914, gentis senhoritas promoveram batalhas noturnas de confete e lança-perfume em frente ao restaurante. Nos fins de tarde, um aviador francês, Lucien Deneau, iniciava as batalhas de seu Bleriot. O hangar do aviador ficava em frente ao Mère Louise (O Paiz, 17 de julho de 1913, última coluna; A Noite, 7 de fevereiro de 1914, primeira coluna).
+Na tarde do dia 5 de julho de 1922, em que dezoito oficiais e soldados rebeldes deixaram o Forte de Copacabana para se bater até a morte contra as forças do governo de Epitácio Pessoa — os “18 do Forte” —, o Mère Louise não tinha por que se meter. Aliás, tudo recomendava a neutralidade. Mas, quando os militares passaram pela sua porta, um de seus clientes, o gaúcho Otavio Corrêa, veio lá de dentro, chegou à calçada e lhes fez um aceno. Estava aderindo à rebelião e queria uma arma. O tenente Newton Prado acedeu e entregou-lhe um fuzil Mauser. Corrêa juntou-se a eles e, na mais famosa foto que se fez da marcha, pode-se vê-lo de terno escuro e chapéu-chile — o único civil da foto —, na primeira fila. Talvez por isso tenha sido um dos primeiros a ser abatido, antes mesmo que chegassem à rua Bolívar. Com isso, o Mère Louise tinha agora um mártir (CASTRO, Ruy, 2015).
+Em 1930, o Mère Louise ou Restaurante Igrejinha estava decadente, tendo sido cenário de assassinato, morte suspeita, tentativa de suicídio e outros episódios de violência. Uma curiosidade: era com a comida do Mère Louise que o então ex-presidente Washington Luís (1869 – 1957), deposto e preso no Forte de Copacabana devido à Revolução de 30, se alimentava. Em 1931, o Mère Louise quase foi fechado por autoridades do 30° distrito. No mesmo ano, em setembro, o juiz da Primeira Vara Cível deferiu o requerimento de leilão dos bens da massa falida de José Caulino, o restaurante e bar Igrejinha (Mère Louise). Foi demolido em 1934 (Correio da Manhã, 15 de setembro de 1904, quinta coluna; Jornal do Brasil, 23 de abril de 1907, segunda coluna; Jornal do Brasil, 15 de julho de 1907, oitava coluna; O Jornal, 6 de fevereiro de 1930, sexta coluna; O Jornal, 11 de março de 1930, sexta coluna; O Jornal, 30 de outubro de 1930, penúltima coluna; O Jornal, 16 de novembro de 1930, segunda coluna; O Jornal, 3 de dezembro de 1930, penúltima coluna; A Batalha, 27 de janeiro de 1931, primeira coluna; A Batalha, 28 de maio de 1931 penúltima coluna; O Jornal, 17 de junho de 1931, primeira coluna; A Batalha, 26 de setembro de 1931, quarta coluna; Jornal do Brasil, 1° de fevereiro de 1934, sexta coluna).
+ 
+Em seu lugar, foi inaugurado, em 20 de março de 1935, o Casino Balneario Atlantico, belo prédio em estilo art decó. Anunciado como o Palácio encantado do Posto VI. Sonho maravilhoso dos contos de Sherehazade, viria a preencher uma lacuna existente na mais bela praia do mundo: Copacabana. Foi construído pela Comp. Melhoramentos e Construcções e seu proprietário era Alberto Quatrini Bianchi  (1892 – 19?).
+ 
+Escola de Aeronáutica Militar. Vista Aérea do Casino Balneário Atlântico, 10 de outubro de 1935. Rio de Janeiro, RJ / Acervo Museu da Aeroespacial
+ 
+Antes da inauguração oficial, foi realizado no cassino um baile de carnaval, em 23 de fevereiro de 1935 (Beira-Mar, 16 de fevereiro de 1935; Correio da Manhã, 19 de março de 1935, sétima coluna;  A Noite, 21 de março de 1935, quarta coluna; Beira-Mar, 30 de março de 1935; Fon-Fon, 9 de abril e 13 de abril de 1935).
+O baile inaugural do Casino Balneario Atlantico foi a nota carnavalesca de sabbado passado. Todo o Rio elegante compareceu, por assim dizer, á festa sumptuosa que mobilizou os círculos sociaes da metrópole para o primeiro grande baile do Carnaval de 1935. Luxo. Alegria. Deslumbramento. Delírio. Nos salões do novo centro da elegância, em Copacabana, decorados pelos 96 artistas Gilberto Trompowisky e Luiz de Barros, movimentaram-se as figuras mais expressivas do nosso mundanismo. Focaliza esta pagina alguns detalhes photographicos da grande festa do Casino Balneario Atlantico, que annuncia para os quatro dias de Carnaval outros bailes igualmente sumptuosos (Fon-Fon, 9 de março de 1935).
+ 
+Fon-Fon, 9 de março de 1935
+ 
+Fon-Fon, 16 de março de 1935
+ 
+Com o Cassino Copacabana Palace, oficialmente denominado Copacabana Casino-Theatro, inaugurado em 1932; e o Cassino da Urca – Casino Balneário da Urca -, inaugurado em 1933, formava o Trio de Luxo das casa de jogos do Rio de Janeiro  Neles circulavam jogadores, artistas brasileiros e estrangeiros, políticos e personalidades ilustres da sociedade.
+ 
+A imponente fachada do Casino Balneario Atlantico que vai ser o centro máximo de diversões no Posto VI / Beira-Mar, 16 de fevereiro de 1935
+ 
+Beira-Mar, 16 de fevereiro de 1935
+ 
+Beira-Mar, 16 de fevereiro de 1935
+ 
+No mesmo ano de sua inauguração, 1935, o Cine-Varieté, no Casino Balneário Atlântico, passou a receber o público, tornando-se um dos mais chiques e elegantes locais da Avenida Atlântica. Apresentava produções internacionais e nacionais e realizava matinés infantis. Aos domingos eram distribuídos brinquedos para as crianças (Beira-Mar, 9 de novembro de 1935).
+ 
+
+ 
+O presidente Eurico Gaspar Dutra (1883 – 1974) através do Decreto-Lei 9.215 proibiu o  jogo no Brasil, em 30 de abril de 1946, e os cassinos fecharam suas portas.  O Botafogo Futebol e Regatas inaugurou onde havia funcionado o Casino Balneario Atlantico, seu Departamento do Posto 6, em 25 de janeiro de 1947. Funcionava também no antigo cassino uma boate e salões do Dinner Club (Correio da Manhã, 23 de janeiro de 1947, segunda coluna; Correio da Manhã, 12 de fevereiro de 1947, sexta coluna; Correio da Manhã, 9 de maio de 1947, quarta coluna).
+Em 1955, a TV Rio foi inaugurada onde antes funcionava o Casino Atlântico (Tribuna da Imprensa, 1° de fevereiro de 1955, sétima coluna; Tribuna da Imprensa, 13 de julho de 1955, quarta coluna; Correio da Manhã, 4 de maio de 1956, primeira coluna). Por ter criado na população o hábito de ver televisão, a emissora foi carinhosamente apelidada de A Carioquinha.
+ 
+
+ 
+No início da década de 1970 foi despejada e o Casino Atlantico voltou à posse de seus antigos proprietários, a família Bittencourt (Jornal do Brasil, 5 de agosto de 1970, quinta coluna).
+Em setembro de 1971, na maior transação imobiliária realizada no Rio, o quarteirão onde ficava o antigo Cassino foi vendido à firma H. C. Cordeiro Guerra (Jornal do Brasil, 4 de setembro de 1971, sexta coluna).
+ 
+Jornal do Brasil, 4 de setembro de 1971
+ 
+Em 1972, o prédio foi demolido e, em 1974, foi lançado o Shopping Cassino Atlântico e um hotel (Jornal do Brasil, 17 de março de 1972; Jornal do Brasil, 21 de abril de 1974; Jornal do Brasil, 2 de maio de 1974).
+ 
+Jornal do Brasil, 17 de março de 1972
+ 
+O Shopping Cassino Atlântico segue em funcionamento. O Hotel Rio Palace foi inaugurado, em 1979, e, no dia 22 de janeiro de 1980, o célebre cantor norte-americano Frank Sinatra (1915-1998) realizou no hotel seu primeiro show no Rio de Janeiro para o lançamento oficial do prédio. Foi uma apresentação para 600 pessoas.
+Entre 1996 e 2017, foi arrendado pelo Grupo Accor, dono da marca Sofitel. Um retrofit, iniciado em 2017, mudou totalmente seu interior e o Hotel Fairmont Copacabana substituiu o Sofitel, tendo sido aberto em 5 de agosto de 2019.
+ 
+Fontes:
+Agenda Bafafá
+Associação de Moradores de Copacabana
+CABRAL, Sérgio. No tempo de Ary Barroso. São Paulo : Lazuli Editora, 2016.
+CASTRO, Ruy. A noite do meu bem. São Paulo : Companhia das Letras, 2015.
+Hemeroteca Digital da Biblioteca Nacional
+MOTA, Isabela; PAMPLONA, Patricia. Vestígios da paisagem carioca: 50 lugares desaparecidos do Rio de Janeiro. Rio de Janeiro ; Mauad X, 2019.
+Site Museu da TV
+Site Os Divergentes
+Site Posto Seis
+VIEIRA, Antônio Tostes Baetas. Os cassinos trio de luxo do Rio de Janeiro: Atlântico, Copacabana e Urca. Dissertação apresentada ao Programa de PósGraduação em Memória Social da Universidade Federal do Estado do Rio de Janeiro como requisito parcial para a obtenção do título de Mestre em Memória Social, novembro de 2013.
+WANDERLEY, Andrea C.T. Série A fundação de Copacabana in Brasiliana Fotográfica, 6 de julho de 2016.
+WANDERLEY, Andrea C.T. Série “Avenidas e ruas do Brasil” VII – A Avenida Atlântica, em Copacabana, no Rio de Janeiro in Brasiliana Fotográfica, 23 de dezembro de 2020.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/10742` — `itens/20.500.12156.1_10742/`
+- `20.500.12156.1/12061` — `itens/20.500.12156.1_12061/`
+
diff --git a/wordpress/34609-aniversario-de-pocos-de-caldas.md b/wordpress/34609-aniversario-de-pocos-de-caldas.md
new file mode 100644
index 0000000..673f890
--- /dev/null
+++ b/wordpress/34609-aniversario-de-pocos-de-caldas.md
@@ -0,0 +1,219 @@
+---
+id: 34609
+url: "https://brasilianafotografica.bn.gov.br/?p=34609"
+titulo: "Aniversário de Poços de Caldas"
+autor: "Andrea Wanderley"
+data: "2023-11-06T18:24:00+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/10725", "20.500.12156.1/10258", "20.500.12156.1/10251", "20.500.12156.1/2119", "20.500.12156.1/10256", "20.500.12156.1/10254", "20.500.12156.1/10252"]
+fetched_at: "2026-09-10T10:16:13.929Z"
+---
+
+# Aniversário de Poços de Caldas
+
+Homenageando os 151 anos de Poços de Caldas, cidade mineira fundada em 6 de novembro de 1872, que recebeu o primeiro centro cultural do Instituto Moreira Salles – uma das instituições fundadoras da Brasiliana Fotográfia -, inaugurado em  agosto de 1992, o portal republica o artigo Aspectos de Poços de Caldas impressos no papel fotográfico fabricado pelo pioneiro Conrado Wessel (1891 – 1993). Filho do fotógrafo argentino Guilherme Wessel (1862 – 1940), a vida de Conrado Wessel é um exemplo de desenvolvimento científico e inovação realizados no Brasil.
+Nesta publicação, foram acrescentadas quatro fotos aéreas da cidade, pertencentes ao Museu Aeroespacial, uma das instituições colaboradoras do portal.
+ 
+Foto aérea de Poços de Caldas, 6 de fevereiro de 1935 . Poços de Caldas, MG / Acervo Museu Aeroespacial
+ 
+Acessando o link para as fotografias aéreas de Poços de Caldas pertencentes ao Museu Aeroespacial e disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Poços de Caldas foi escolhida para sediar o primeiro centro cultural do IMS pelo próprio Walther Moreira Salles (1912 – 2001) como uma homenagem à região onde sua família se estabeleceu em 1918. O IMS Poços é composto pelo Chalé Cristiano Osório, projetado e construído por Giovanni Battista Pansini, em 1894, e adquirido pelo IMS, em 1989; e por um centro cultural com mais de 1000 m² de área expositiva, distribuída em dois pavimentos, projetado pelo arquiteto mexicano Aurélio Martinez Flores (1929 – 2015). O IMS-Poços está temporariamente fechado para reforma.
+ 
+Brasão de Armas de Poços de Caldas
+ 
+Aspectos de Poços de Caldas impressos no papel fotográfico fabricado pelo pioneiro Conrado Wessel (1891 – 1993)
+ 
+A Brasiliana Fotográfica destaca imagens de aspectos da cidade mineira de Poços de Caldas, impressas no papel fotográfico produzido pelo fotógrafo, inventor e empreendedor Conrado Wessel (1891 – 1993), pioneiro da indústria fotográfica no Brasil. Filho do fotógrafo argentino Guilherme Wessel (1862 – 1940), sua vida é um exemplo de desenvolvimento científico e inovação realizados no Brasil. As imagens pertencem ao acervo da Fundação Biblioteca Nacional, uma das fundadoras do portal, e, atrás de todas elas, produzidas em 1929, está escrita a marca do fabricante do papel no verso: “Wessel“. Também foram publicadas na seção “Cronologia de Fotógrafos”, as cronologias de Conrado e Guilherme, a 51ª e 52ª produzidas pelo portal.
+ 
+Acessando o link para as fotografias de Poços de Caldas impressas no papel fotográfico produzido por Conrado Wessel disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Vista parcial de Poços de Caldas, 1929. Poços de Caldas, Minas Gerais / Acervo FBN
+ 
+ 
+Cascata das Batas,1929. Poços de Caldas, Minas Gerais / Acervo FBN
+ 
+ 
+As trajetórias de Guilherme (1862 – 1940) e Conrado Wessel (1891 – 1993)
+ 
+Conrado Wessel / Fundação Conrado Wessel
+ 
+“Contribuiu decisivamente para a implantação da indústria fotográfica no país, pois fundou a primeira indústria de papel fotográfico no Brasil. Utilizou fórmulas e processos segundo sua concepção e auxiliou Valério Vieira na sensibilizaçaodo famoso painel “Panorama da Cidade de São Paulo. Introduziu o papel fotográfico tamanho postal, que se tornou conhecido por “Postaes Wessel Jardim” e que foram largamente consumido pelos lambe-lambe”. Sua indústria foi posteriormente adquirida pela Kodak e durante algum tempo lia-se nas casixas de papel fotográfico a sigla Kodak-Wessel”
+Boris Kossoy sobre Conrado Wessel, 1975
+ 
+O nome de batismo de  Conrado Wessel era Ubald Konrad August Wessel e ele nasceu em Buenos Aires, na Argentina, em 16 de fevereiro de 1891, filho do fotógrafo Guilherme Wessel (1862-1940), que havia nascido em Concepcion do Uruguai; e de Nicolina Krieger Wessel (1863 – 1956). Eles se casaram em 3 de março de 1887. A família Wessel, tradicional fabricante de chapéus em Hamburgo, na Alemanha, havia imigrado para a Argentina em meados do século XIX, provavelmente nos primeiros anos da década de 1860. Guilherme foi para Hamburgo onde formou-se em Física, e retornou à Argentina.
+Em 1892, Guilherme foi com a família – mulher e dois filhos, Georg Walter (1888 – 1908) e Conrado – para Sorocaba e, depois, para São Paulo, convidado para lecionar na Escola Politécnica, que viria a ser uma das unidades fundadoras da Universidade de São Paulo, em 1934.
+Ele abriu em sociedade com Carlos Norder, em 1900, um estabelecimento de artigos de fotografia e de laboratórios químicos, na rua São Bento, 41 A, no centro da capital, Aos Photograhos e Amadores da photographia. Oferecia gratuitamente aos amadores lições práticas e disponibilizavm para todos os fregueses um quarto escuro. Na mesma época, Guilherme Gaensly (1843 – 1928) tinha um ateliê fotográfico, na rua 15 de Novembro, 28 (O Estado de São Paulo, 3 de janeiro de 1900, página 2, sexta coluna; Correio Paulistano, 5 de janeiro de 1900; Almanak Laemmert, segunda coluna, 1901)
+ 
+Correio Paulistano, 5 de janeiro de 1900
+ 
+ 
+O Estado de São Paulo, 3 de janeiro de 1900
+ 
+Anunciava em dezembro de 1900 ter recebido grande sortimento de produtos: chapas Lumière, câmaras fotográficas e objetos para fotografia e distribuiu a seus fregueses, em dezembro do ano seguinte, uma carteira com espelho (O Commercio de São Paulo, 21 de dezembro de 1900; O Estado de São Paulo, 1º de janeiro de 1902, página 2, quarta coluna).
+ 
+O Commercio de São Paulo, 21 de dezembro de 1900
+ 
+Em 1901, Guilherme já prestava serviços fotográficos para as secretarias da Fazenda, do Interior e da Justiça de São Paulo (O Estado de São Paulo, 6 de março de 1901, página 1, penúltima coluna; Correio Paulistano, 7 e março, quinta coluna; 4 de setembro, segunda coluna, de 1903; Correio Paulistano, 22 de setembro de 1904, última coluna; Correio Paulistano, 6 de janeiro de 1905, sétima coluna). Também tinha uma Casa Importadora de Artigos para Photografia e Aparelhos de Eletricidade, na rua Direita, nº 20 (Almanak Laemmert, primeira coluna, 1903).
+ 
+Illustração Brasileira, 1905
+ 
+Em 1904, Guilherme foi um dos doadores para a quermesse em prol do Instituto Pasteur de São Paulo e do Conservatório Dramático Municipal (Correio Paulistano, 11 de março de 1904, primeira coluna). Neste mesmo ano promoveu uma exposição de fotografias no intuito de estimular os amadores (O Commercio de São Paulo, 9 de julho de 1904, primeira coluna).
+ 
+O Commercio Paulistano, 9 de julho de 1904
+ 
+Em 1907, Guilherme tinha uma loja de artigos fotográficos na rua Líbero Badaró, 48. Nessa mesma época, Valério Vieira (1862 – 1941) e Vincenzo Pastore (1865 – 1918) também possuiam estabelecimentos fotográficos em São Paulo.
+ 
+Almanak Henault, 1909
+ 
+O italiano Pastore, importante cronista visual de São Paulo da segunda metade do século XIX e do início do século XX, e Guilherme foram, provavelmente, amigos, já que Guilherme estava presente a seu enterro, em janeiro em 1918 (Almanak Laemmert, 1907, primeira coluna; Almanak Henault, 1909; Correio Paulistano, 19 de janeiro de 1918, terceira coluna).
+ 
+Vincenzo Pastore. Autorretrato de Vincenzo Pastore, c. 1910. São Paulo, SP / Acervo IMS
+ 
+Guilherme foi contratado pelo Jockey Club de São Paulo para inaugurar o serviço de fotografia de chegadas dos páreos (O Paiz, 23 de fevereiro de 1907, quarta coluna; Revista da Semana, 3 de março de 1907).
+ 
+
+O Paiz, 23 de fevereiro de 1907
+ 
+Trabalhava com seu filho mais velho Georg Walter, que faleceu de tifo, em 26 de dezembro de 1908, e foi enterrado no Cemitério dos Protestantes (Correio Paulistano, 2 de novembro de 1914, primeira coluna). Nesse mesmo ano, por cerca de seis meses, Conrado foi assistente de um cinegrafista da Gaumont, que havia vindo ao Brasil para filmar fazendas de café para a propaganda do produto na Europa, tornando-se um dos primeiros cinegrafistas do Brasil. Estava na folha de pagamentos da Secretaria da Fazenda de São Paulo (Correio Paulistano, 4 de novembro de 1908, sexta coluna).
+“O primeiro documento expedido no Brasil atestando a capacidade para o exercício da função de cinegrafista foi fornecido ao químico Conrado Wessel, em 1908, pela Gaumont Films, uma das produtoras mais antigas da França. Wessel (1891-1993) conta em sua carta autobiográfica que recebeu o atestado das mãos de um cinegrafista da Gaumont, Colliot, que veio ao país contratado pela Secretaria de Agricultura de São Paulo.
+Por mais de seis meses, ele foi intérprete e ajudante do cinegrafista francês e ambos filmaram várias fazendas de café, colhendo cenas para a propaganda do produto na Europa” (Ana Maria Guariglia, Folha de São Paulo, 2 de março de 1995).
+Guilherme fechou a loja e, em 1909, continuou a trabalhar fornecendo fotografias para a Secretaria da Agricultura. Em 1911, recebeu pagamento da secretaria por ter fornecido 20 fotografias ao poeta Olavo Bilac (1865 – 1918). Em 1920, forneceu à Diretoria de Indústria e Comércio uma fita cinematográfica e ampliações fotográficas para a Feira de Lyon (Correio Paulistano, 12 de outubro de 1909, última coluna; Correio Paulistano, 7 de junho de 1911, terceira coluna; Correio Paulistano, 20 de março de 1912, terceira coluna; O Paiz, 21 de agosto de 1912, quinta coluna; O Combate, 3 de dezembro de 1920, última coluna).
+ 
+O Paiz, 21 de agosto de 1912
+ 
+Conrado, que havia feito seus primeiros estudos na Escola Alemã daVila Mariana, participou de um concurso de fotografia, apresentando 25 fotografias em um pavilhão especialmente preparado para a exposição, no Posto Zootécnico de São Paulo (Correio Paulistano, 21 de outubro de 1906, quinta coluna). Já havia conquistado dois prêmios como fotógrafo quando, em 1911, foi para Viena, na Áustria.
+ 
+Diplomas de prêmios de fotografia conquistados por Conrado Wessel no início do século XX
+ 
+Além de estudar fotoquímica no K.K. Graphischen Lehr und Versuchsanstalt, entre julho de 1911 e dezembro de 1912 ,estagiou na Casa Beissner & Gottlieb, especializada na área gráfica e fotográfica, entre de 10 de julho de 1912 e 8 de fevereiro de 1913. Especializou-se em clichês para jornais e revistas.
+ 
+Conrado Wessel, provavelmente, em Viena / Fundação Conrado Wessel
+ 
+Abaixo, a reprodução do certificado da Casa Beissner & Gottlieb, de Viena, de 8 de fevereiro de 1913, documentando o estágio profissional obrigatório realizado por Conrado Wessel, na conclusão de seus estudos no Instituto K.K. Graphischen Lehr und Versuchsanstalt.
+ 
+Fundação Conrado Wessel
+ 
+Tradução: “Atestado: Viena, 8 de fevereiro de 1913. O sr. Conrado Wessel, após ter terminado os estudos gráficos da K.K. Graphischen Lehr & Versuchsanstalt, esteve em nosso instituto em atividades práticas desde 10 de julho de 1912 até hoje. Trabalhou em diferentes departamentos e obteve sucesso e muitos bons resultados. Nós atestamos portanto com satisfação que estamos contentes pelo seu desempenho em cada índice, com extremado respeito por suas realizações, e desejamos a ele o maior progresso no futuro”.
+Voltou para São Paulo, em 1913, com maquinário para a montagem de uma clicheria com o pai. Guilherme seguia trabalhando para a Secretaria da Fazenda e, em 1914, fez uma proposta para prorrogar por mais um ano o contrato que tinha de fornecimento de fotografias para a entidade (Correio Paulistano, 3 de fevereiro de 1914, quarta coluna; Correio Paulistano, 29 de julho de 1916, quarta coluna; Correio Paulistano, 13 de dezembro de 1917, terceira coluna; Correio Paulistano, 10 de janeiro de 1918, última coluna).
+Em 1914, Conrado fotografou o Salto do Paranapanema durante uma visita realizada pelo então secretário da Agricultura de São Paulo, Paulo de Moraes Barros, ao local, quando inaugurou o primeiro trecho do prolongamento da ferrovia Sorocabana Railway na direção do Porto Tibiriçá (Correio Paulistano, 16 de fevereiro de 1914, sexta coluna).
+Entre 1915 e 1919, foi aluno ouvinte na Escola Politécnica e também trabalhou como auxiliar no laboratório do professor de bioquímica, físico-química e eletroquímica Roberto Hottinger, no curso de Engenharia Química. Conrado queria criar um papel fotográfico de qualidade equivalente a dos importados – os usados eram da Kodak, da Agfa e da Gevaert – porém com um preço mais baixo.
+Segundo o próprio:
+“Durante quatro anos fiz de tudo ali. Desde a preparação do nitrato de prata até os estudos das diferentes qualidades de gelatinas. Da ação dos halogênios como o bromo, o cloro, e o iodo sobre o nitrato de prata ao brommeto de potássio. Cheguei à conclusão que a mistura de uma pequena dose de iodo ao bromo dava muito melhor resultado, assim como a adição do iodo ao cloro”.
+O entusiasmo de um inventor (2006)
+ 
+Em 1916, Guilherme seguia trabalhando para a Secretaria de Agricultura (A Gazeta (SP), 18 de janeiro de 1916, quarta coluna) e Conrado já estava desenvolvendo uma fórmula para banhar o papel que batizou de Postal Jardim, para atrair os lambe-lambes do Jardim da Luz. Em fevereiro, foi à inauguração da exposição de Levino Fanzeres (1884 – 1956), na rua Líbero Badaró, 66 (O Estado de São Paulo, 28 de fevereiro, página 2, última coluna).
+Em 10 de novembro de 1916, Guilherme consultou a empresa International Patent Agency, de Moura & Wilson, que eram agentes de privilégios sediados no Rio de Janeiro, com o objetivo de se informar quanto aos procedimentos de requerimento de uma patente. A empresa respondeu três dias depois, dispondo-se a providenciar a patente mediante ao fornecimento dos documentos necessários e ao pagamento de Rs 220$000.
+Em 1917, Guilherme Wessel possuia uma Oficina de Gravura, na Travessa Guaianazes, 155, na Barra Funda. em 1921, o Almanak Laemmert identificava no endereço um estabelecimento fotográfico (Almanak Laemmert, 1917 e 1921, última coluna). Em 1921, um dos funcionários da oficina sofreu um pequeno acidente (O Combate, 12 de maio de 1921, penútima coluna).
+ 
+Almanak Laemmert, 1917
+ 
+Em 1919, Conrado comprou uma casa na rua K , em Casa Verde (Correio Paulistano, 5 de fevereiro de 1919, quinta coluna).
+A fórmula de Conrado, patenteada no início em 1921, em documento assinado pelo presidente da República, Epitácio Pessoa (1865 – 1942), foi descrita como um “novo processo para fabricação de material photographico, sensível à luz, para o processo positivo e negativo, à base de emulsões de saes de prata ou gelatina, albumina ou collodio, servindo de supportes para estas emulsões papel, vidro, celluloide ou qualquer outro supporte que seja appropriado”.
+ 
+Carta patente da fórmula de Conrado Wessel / Fundação Conrado Wessel
+ 
+Fundação Conrado Wessel
+ 
+Em 1921, Conrado comprou do professor de Filosofia da Escola Normal, dr. Picarollo, e de seu filho o maquinário necessário, importou papel da Alemanha e começou a trabalhar em um pequeno prédio de seu pai, na Barra Funda. Enquanto aguardava a chegada do papel, um acaso o ajudou a criar uma forma de pendurar o papel emulsionado para a secagem, uma vez que dispunha de pouco espaço. Realizava um trabalho de propaganda para a Tapeçaria Schultz e observou o sistema de cortinas movimentadas por cordas. Achou que um processo semelhante poderia ser usado para secar metros e metros de papel. Mas a experiência foi um desastre. Nem 10 centímetros foram aproveitados dos 10 metros de papel emulsionados. Teria que encontrar outra solução.
+ 
+
+Especial Prêmio Conrado Wessel – Pesquisa Fapesp
+ 
+Surgia assim, em março de 1921, a primeira fábrica de papel fotográfico da América Latina, a Fábrica Privilegiada de Papéis Fotográficos Wessel, sediada na rua Lopes de Oliveira, em São Paulo.
+ 
+
+ 
+Apesar da qualidade do papel fotográfico e de ter melhor preço, os consumidores resistiam a utilizar um produto nacional e continuava a utilizar o postal da Ridax e da Gevaert. Foi nessa época que Wessel forjou o lema que o acompanharia por toda a vida: “Insista, não desista”.
+Em 1922, foi inaugurada a exposição provisória do Panorama de São Paulo, na rua São Bento, nº 24, do fotógrafo Valério Vieira (1862 – 1941), anunciada como a maior fotografia já realizada no mundo, com 16 metros (Correio Paulistano, 6 de setembro de 1922, na segunda coluna e 7 de setembro, na quarta coluna). O trabalho foi apresentado na Exposição do Centenário da Independência, no Rio de Janeiro, realizada entre 7 de setembro de 1922 e 24 de julho de 1923. Foi Conrado que possibilitou a impressão da foto em uma solução de brometo de sais de prata (O Estado de São Paulo, 13 de agosto de 1998).
+ 
+G 1, 16 de agosto de 2012
+ 
+Dois anos depois, um acontecimento histórico ajudou os negócios de Conrado: entre 5 e 28 de julho de 1924, São Paulo ficou sitiada devido à eclosão da Revolução dos Tenentes, liderada por Isidoro Dias Lopes (1865 – 1949) e motivada pelo descontentamento dos militares com a crise econômica e a concentração de poder nas mãos de políticos de Minas Gerais e de São Paulo. Devido ao violento conflito urbano, faltou papel importado para os fotógrafos que atuavam, principalmente, no Jardim da Luz, e eles passaram a comprar de Wessel. Quando a rebelião terminou, o fornecimento de papel importado foi restabelecido, mas Wessel já havia conquistado uma clientela fiel. Sua empresa começou a prosperar.
+Durante a década de 30, Conrado adquiriu vários imóveis e terrenos, dentre eles um terreno e um prédio na alameda Eduardo Prado, nº 18; o prédio da rua Santo Antônio, nº 89; o prédio da rua Anna Cintra, 34; um prédio na rua Lopes de Oliveira; e um prédio na Conselheiro Belisário, 96 (O Estado de São Paulo,12 de outubro de 1931, página 3, segunda coluna; 24 de junho de 1932, página 3, segunda coluna; 15 de agosto de 1934, página 3, quarta coluna; 5 de novembro de 1935, página 7; e 6 de maio de 1936, página 10, penúltima coluna; Correio Paulistano, 29 de setembro de 1934, sexta coluna; 6 de outubro, primeira coluna, de 1934; 23 de fevereiro de 1935, quinta coluna).
+Na revista O Malho, de 2 de janeiro de 1932, publicação de uma fotografia de autoria de Conrado Wessel.
+ 
+O Malho, 2 de janeiro de 1932
+ 
+No mesmo ano, o ministro interino do Trabalho declarou caduca a patente de Wessel (Jornal do Commercio, 18 de março de 1932, segunda coluna). Pelo o que se seguiu, tudo indica que essa decisão foi revogada.
+ 
+Jornal do Commercio, 18 de março de 1932
+ 
+A residência e a fábrica de Conrado ficavam na rua Lopes de Oliveira, 18. Foi roubado um pacote de papel de sua fabricação mas ele conseguiu encontrar o autor do furto (Correio de São Paulo, 30 de novembro de 1933, terceira coluna).
+Ainda na década de 30, foram as bobinas de papel produzidas pela firma de Conrado que alimentaram o sistema Photo Rotativo usado pelo fotógrafo Theodor Preising (1883 – 1962). Tratava-se de um mecanismo que produzia fotografias no formato postal e 18 x 24cm para álbuns a partir de até dois negativos.
+ 
+O fotógrafo Theodor Preising (1883 – 1962)
+ 
+Falecimento de Guilherme Wessel, em 25 de janeiro de 1940 (O Estado de São Paulo, 26 de janeiro de 1940, página 4, quinta coluna).
+ 
+O Estado de São Paulo, 28 de janeiro de 1940
+ 
+Em setembro de 1954, conforme acordado, em 1949, tanto a fábrica, construída em Santo Amaro pela Kodak, quanto a patente de Conrado passou a pertencer à empresa norte-americana, na época líder do mercado fotográfico, denominand0-se Kodak – Wessel. Àquela altura, após décadas dirigindo seu negócio, Conrado já havia consolidado seu patrimônio.
+ 
+Fábrica Kodak – Wessel / Fundação Conrado Wessel
+ 
+Sua mãe, Nicolina Krieger Wessel, faleceu, em 7 de novembro de 1956, aos 93 anos, em São Paulo (O Estado de São Paulo, 8 de novembro de 1956, página 7, terceira coluna).
+ 
+O Estado de São Paulo, 8 de novembro de 1956
+ 
+No Suplemento Literário do O Estado de São Paulo, de 24 de novembro de 1974, foi publicado o artigo O fotógrafo ambulante – a história da fotografia nas praças de São Paulo, do professor Boris Kossoy (1941-), e a importância de Conrado foi destacada.
+Conrado Wessel  faleceu, em 23 de maio de 1993, sem herdeiros e em seu testamento, datado de 11 de maio de 1988, foi determinado que seus bens fossem destinados à criação da Fundação Conrado Wessel, fundada, em 20 de maio de 1994, para a difusão da arte, da ciência e da cultura. O primeiro diretor-presidente da fundação foi Antônio Valério Lorenzini, que havia, assim como seu pai, trabalhado anos com Conrado (O Estado de São Paulo, 29 de janeiro de 1999). Em 2003, A Fundação Conrado Wessel passou a distribuir, anualmente, prêmios nas categorias de Arte, Ciência, Cultura e Medicina.
+ Link para a Cronologia de Guilherme (1862 – 1940) e Conrado Wessel (1891 – 1993)
+ 
+Poços de Caldas
+ 
+Pedra Balão, 1929. Poços de Caldas, Minas Gerais / Acervo FBN
+ 
+Poços de Caldas, em Minas Gerais, foi fundada em 6 de novembro de 1872 e suas águas raras e com poderes de cura foram responsáveis pela prosperidade da cidade. Seu nome tem origem na cidade de Caldas da Rainha, importante terma em Portugal. Como as fontes eram poços usados por animais, o nome da cidade mineira ficou Poços de Caldas.
+Em 1886, funcionava em Poços um balneário voltado ao tratamento de doenças de pele, que utilizava as águas sulfurosas que eram captadas pela Fonte Pedro Botelho (O Paiz, 29 de setembro de 1886, quarta coluna).
+ 
+O Paiz, 29 de setembro de 1886
+ 
+Neste ano, foi visitado, em outubro, por Pedro II (1825 – 1891) e por dona Teresa Cristina (1822 – 1889), que ficaram em um chalé feito especialmente para receber o casal, no Hotel da Empreza – Empresa Balneária, que funcionou como concessionária das termas nos anos 1880-, pelo engenheiro alemão Carlos Alberto Maywald e pelo arquiteto italiano Giovanni Battista Pansini. O casal imperial estava na região devido à inauguração do ramal de Caldas da Estrada de Ferro Mogiana, em 22 de outubro de 1886 (O Paiz, 25 de outubro de 1886, sétima coluna).
+ 
+Georges Renouleau – Phot – S. Paulo” e “Deposito Casa Jules Martin, R. de São Bento, 61 / Memórias de Poços
+ 
+O balneário foi demolido nos anos 20 e substituído pelo conjunto arquitetônico de Eduardo Pederneiras, composto pelo Palace Hotel, de 1923 e reinaugurado em 1929; pelas Thermas Antônio Carlos e pelo Palace Cassino, inaugurados em 29 de março e 31 de março de 1931, respectivamente.
+ 
+Palace Hotel, 1929. Poços de Caldas, Minas Gerais / Acervo FBN
+ 
+ 
+Fonte dos Amores, 1929. Poços de Caldas, Minas Gerais / Acervo FBN
+As Thermas Antônio Carlos foi o primeiro estabelecimento termal do Brasil a oferecer uma série de serviços e tratamentos de saúde a partir do uso da água termal. Sua gestão é feita pelo governo de Minas Gerais desde 2018.
+O Palace Cassino fez muito sucesso e era frequentado pela aristocracia brasileira e lá aconteciam shows com artistas como Carmen Miranda, Sylvio Caldas e Orlando Silva. Com a assinatura do decreto-lei 9 215, de 30 de abril de 1946, pelo presidente Eurico Gaspar Dutra, determinando a proibição do jogo no país, o cassino fechou suas portas. Muitos anos depois foi restaurado tornando-se patrimônio histórico e arquitetônico da cidade que até hoje é um importante destino turístico.
+ 
+Bandeira de Poços de Caldas
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+Enciclopédia Itaú Cultural
+Especial Prêmio Conrado Wessel – Pesquisa Fapesp, 2004
+Folha de São Paulo, 6 de junho de 2004
+Fundação Conrado Wessel
+Hemeroteca Digital da Biblioteca Nacional
+KOSSOY, Boris. Dicionário histórico-fotográfico brasileiro: fotógrafos e ofício da fotografia no Brasil (1833-1910). São Paulo: Instituto Moreira Salles, 2002. 408 p., il. p&b.
+LEMOS, Eric Danze. Fotografia profissional, arquivo e circulação: a produção de Theodor Preising em São Paulo (1920 – 1940).  Dissertação apresentada ao programa de Pós-Graduação em História Social do Departamento de História da Faculdade de Filosofia, Letras e Ciências Humanas da Universidade de São Paulo, 2016
+MEGALE. Nilza Botelho. Memórias Históricas de Poços de Caldas. Minas Gerais : Gráfica Dom Bosco, 1990.
+MOURÃO, Mário. Poços de Caldas – Synthese Historica e Cronologica, 1933.
+Revista Pesquisa Fapesp – O entusiasmo de um inventor
+Revista Pesquisa Fapesp – Rumos de um inventor
+Revista Pesquisa Fapesp – Trajetória de um inventor
+Site Companhia de Desenvolvimento de Minas Gerais
+Site Memórias de Poços
+Site Palace Cassino
+Site Poços.com
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/10725` — `itens/20.500.12156.1_10725/`
+- `20.500.12156.1/10258` — `itens/20.500.12156.1_10258/`
+- `20.500.12156.1/10251` — `itens/20.500.12156.1_10251/`
+- `20.500.12156.1/2119` — `itens/20.500.12156.1_2119/`
+- `20.500.12156.1/10256` — `itens/20.500.12156.1_10256/`
+- `20.500.12156.1/10254` — `itens/20.500.12156.1_10254/`
+- `20.500.12156.1/10252` — `itens/20.500.12156.1_10252/`
+
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+---
+id: 34735
+url: "https://brasilianafotografica.bn.gov.br/?p=34735"
+titulo: "O fotógrafo alemão Theodor Preising (1883 – 1962), “o viajante incansável”"
+autor: "Andrea Wanderley"
+data: "2024-02-01T11:25:15+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/11037", "20.500.12156.1/12350", "20.500.12156.1/7944", "20.500.12156.1/10814"]
+fetched_at: "2026-09-10T10:16:17.645Z"
+---
+
+# O fotógrafo alemão Theodor Preising (1883 – 1962), “o viajante incansável”
+
+Destacando imagens produzidas por Theodor Preising (1883 – 1962) do Rio de Janeiro, que se encontram no acervo fotográfico da Brasiliana Fotográfica, este artigo vai contar um pouco da trajetória deste fotógrafo alemão que chegou ao Brasil, em 1923, e, inicialmente, fixou-se no Guarujá e depois seguiu para São Paulo. Foi um dos pioneiros no país na utilização de câmeras pequenas como a Leica e a Contax. Viajante incansável, como o denominou Kariny Grativol em sua Dissertação de Mestrado, Preising com apurado senso estético e grande domínio técnico fotografou diversas regiões do Brasil e produziu álbuns e cartões postais voltados para o turismo.
+Tinha um espírito aventureiro, próprio dos fotojornalistas. Considerava-se um repórter fotográfico tanto que se associou, em 1937, ao Sindicato de Jornalistas de São Paulo. Com a divulgação de seu trabalho fotográfico em publicações como a Revista S. Paulo, o jornal Brasil Novo e a revista Travel in Brazil, que visavam tanto ao público nacional como ao estrangeiro, Preising contribuiu para a formação de uma imagem do país. Trabalhou como fotógrafo no Touring Club do Brasil e também no Departamento de Imprensa e Propaganda de São Paulo. Ao final do artigo, está publicada uma cronologia do fotógrafo, a 66ª produzida pelo portal.
+ 
+“Enfim, vejo no trabalho de Theodor Preising mais diversidade imagética e uma estética diferenciada, pois seu compromisso maior era produzir e distribuir uma fotografia que fosse encantadora e sintetizasse a cidade de São Paulo, mesmo que de forma fragmentada, para o cidadão, os visitantes e os turistas que por aqui passavam. Sua obra ainda permanece pouco conhecida, mas seus cartões postais e seus álbuns entraram para história da iconografia paulistana. Podemos ainda ampliar para todo o Brasil, já que Preising registrou diversas cidades brasileiras com a mesma intenção de sensibilizar o cidadão e o turista diante de tanta beleza natural e arquitetônica”.
+Rubens Fernandes Jr, pesquisador, curador e crítico de fotografia
+ Revista Zum, 16 de fevereiro de 2018
+ 
+Encontram-se no acervo fotográfico da Brasiliana Fotográfica os seguintes registros produzidos por Theodor Preising: da Avenida Rio Branco, do Corcovado, do Pão de Açúcar, do Jardim Botânico, da Praia de Copacabana, além de belas vistas de paisagens cariocas. Há ainda uma fotografia da Basílica de São Bento, em São Paulo. Mais uma vez recomendamos que
+ 
+Theodor Preising. Praia do Arpoador, Morro Dois Irmãos e Pedra da Gávea, 1926. Rio de Janeiro, RJ / Acervo IMS
+ 
+Acessando o link para as fotografias de autoria de Theodor Preising disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas. 
+ 
+Theodor Presing. Avenida Rio Branco entre as Ruas São Bento e Acre, 1926. Rio de Janeiro, RJ / Acervo IMS
+ 
+ 
+Theodor Preising. Basílica de São Bento, década de 1920. São Paulo, SP / Acervo IMS
+ 
+Theodor Preising; Photo Rotativo. Praia de Copacabana; vista do Morro da Babilônia. década de 30. Rio de Janeiro, RJ / Acervo IMS
+ 
+ 
+Breve perfil do fotógrafo alemão Theodor Preising (1883 – 1962)
+
+ 
+Theodor Preising (1883 – 1962) / Site Theodor Preising
+ 
+Nascido em Hildeshein, na Alemanha, em 3 de janeiro de 1883, Theodor Preising era filho de Fridrich e Maria Preising. Seu interesse por fotografia e turismo surgiu a partir de viagens que fazia com seu pai, que era maquinista de trem. Em 1908, casou-se com Elizabeth Elfriede Koesewitz (1874 – 1956) com quem teve três filhos: Úrsula, Carlos Frederico e Sibylle.
+ 
+Casamento de Preising / Site Theodor Preising
+ 
+Possuía um estabelecimento fotográfico na Alemanha , quando foi convocado para atuar como fotógrafo no front da Primeira Guerra Mundial. Em 1916, tornou-se proprietário de uma filial da empresa Samson & Co., em Berlim, rede que possuía estabelecimentos fotográficos na Alemanha e em outros países da Europa.
+ 
+ 
+Preising com familiares em frente a seu ateliê , em Berlim / Site Theodor Preising
+ 
+ 
+Para fugir do caos da Alemanha do pós-guerra, decidiu emigrar e foi, primeiramente, entre março e abril de 1923, para a Argentina Em dezembro do mesmo ano, aportou em Santos, no dia 23, a bordo do navio Cap Polônio.
+Inicialmente, fixou no Guarujá e comercializava materiais fotográficos como as câmeras Zeiss Ikon e Agfa; além de cartões postais, no Grande Hotel. Produziu cartões postais até o início da Segunda Guerra Mundial, quando estrangeiros de países do Eixo foram proibidos de fotografar externamente as cidades.
+Em 1924, ele se transferiu para São Paulo, onde se estabeleceu na Rua Augusto Tolle, 2, com sua família que já se encontrava Brasil. Seus filhos passaram a auxiliá-lo no laboratório que ele havia montado e onde ele editava e produzia seus próprios cartões postais e álbuns de fotografia. Os textos dos cartões postais eram escritos por sua filha, Sibile. Vendia suas imagens para papelarias e casas fotográficas, como a Fotóptica, fundada pelo pai do fotógrafo Thomaz Farkas (1924 – 2011). Registrou a chegada de imigrantes à cidade, seu carnaval de rua, o dia a dia dos cafezais no interior do estado e a vida praiana de cidades litorâneas como o já mencionado Guarujá e Santos.
+Em 11 de março 1927, abriu seu ateliê em São Paulo, na Rua Voluntários da Pátria, nº506, em Santana, na zona norte da cidade (Almanak Laemmert, 1931, segunda coluna).
+Preising expôs, na Casa Rosenhain, na Rua de São Bento, álbuns e folhinhas com aspectos da vida paulista, principalmente (Correio Paulistano, 10 de outubro de 1928, terceira coluna).
+Correio Paulistano, 10 de outubro de 1928
+ 
+Entre 1928 e 1940, realizou diversos trabalhos fotográficos para a Secretaria da Agricultura do Estado de São Paulo, registrando fazendas no interior do Estado.
+ 
+Theodor Preising. Imigrante na colheita do café, c. 1940 / Publicado na Revista Zum, de 27 de fevereiro de 2018
+ 
+Na década de 1930, colaborou com o jornal O Estado de São Paulo, que então publicava um suplemento em rotogravura.
+Em 1930, uma fotografia da Rua XV de Novembro de sua autoria foi publicada no artigo Gigantic Brazil and its Glittering Capital, na edição de julho/dezembro da National Geographic Magazine.
+ 
+National Geographic Magazine, julho/dezembro de 1930
+ 
+Em 1930, voltou a expor na Casa Rosenhein. Referido como o proprietário da Photo Rotativo de São Paulo, foi elogiado seu amor e admiração pela natureza americana e suas fotos das cataratas do Iguaçu foram consideradas empolgantes (A Gazeta (SP), 20 de novembro de 1930, primeira coluna).
+ 
+A Gazeta (SP), 20 de novembro de 1930
+ 
+É de 1930 o registro abaixo de autoria de Preising, Chegada de imigrantes asiáticos.
+ 
+Theodor Preising. Chegada de imigrantes asiáticos, 1930. Santos, São Paulo / Publicado na Revista Zum, 16 de fevereiro de 2018
+ 
+Entre esse ano e 1931, documentou a colonização de Londrina, no Paraná, contratado pela Companhia Terras Norte do Paraná. Em 1933, esteve no Paraná fotografando vários aspectos do estado (O Dia (PR), 5 de maio de 1933, última coluna). Ainda neste ano, seis fotografias de sua autoria foram mostradas na A Capital de S. Paulo, publicação distribuída pela Secretaria de Agricultura.
+ 
+“Propaganda pelo turismo para o Brasil”
+Slogan escrito em seus álbuns de fotografia
+ 
+Em 1934, a bordo do navio Almirante Jaceguai, participou do Segundo Cruzeiro Econômico Turístico do Touring Club do Brasil, empresa para a qual então trabalhava. Produziu, além de registros dos sócios do Touring durante a viagem, uma grande documentação fotográfica, a partir de viagens para o Norte e para o Nordeste (Diário da Manhã (PE), 16 de maio de 1934, quinta coluna; Diário de Pernambuco, 20 de maio de 1934, penúltima coluna).
+Ele e o fotógrafo Benedito Junqueira Duarte, conhecido como B.J. Duarte (1910 – 1995), pseudônimo Vamp, eram os fotógrafos da Revista S. Paulo. Segundo Junqueira, apesar de Preising ser bem mais velho que ele, tinha um espírito de moço e uma agilidade profissional de adolescente. A publicação mensal foi lançada em 31 de dezembro de 1935 e fazia propaganda do governo de Armando de Sales Oliveira (1887 – 1945), em São Paulo. Seu projeto gráfico articulava imagem e texto de modo inovador. Foi a primeira revista paulistana a ser feita em rotogravura, o que conferia uma maior qualidade à reprodução dos registros fotográficos. A publicação privilegiava a imagem sobre o texto. (Correio Paulistano, 1º de janeiro de 1936, quarta coluna; O Estado de São Paulo, 18 de março de 1978, segunda coluna).
+ 
+Capa da primeira edição da Revista S. Paulo, janeiro de 1936
+ 
+Era dirigida por Cassiano Ricardo (1895 – 1974), Leven Vampré (c. 1891 – 1956) e Menotti Del Picchia (1892 – 1988). Os livros de memórias de Cassiano, Menotti e Benedito mencionam a presença de Livio Abramo (1903-1992) como ilustrador da revista. Apenas o primeiro, identifica-o como “mestre da gravura, da fotomontagem e das estatísticas ilustradas a rigor…” (A revista S.PAULO: a cidade nas bancas por Ricardo Mendes). A revista S. Paulo circulou em 1936: sua periodicidade foi mensal até o oitavo número, passando a ser bimestral nos dois últimos. Neste mesmo ano, ele entrou com o pedido de sua naturalização como brasileiro.
+ 
+Benedito Junqueira Duarte / História do Jabaquara
+ 
+Revista São Paulo, 1º de janeiro de 1936
+ 
+Links para todas as edições da Revista S. Paulo (1936):
+Janeiro / Fevereiro / Março / Abril / Maio / Junho / Julho / Agosto / Setembro e Outubro / Novembro e Dezembro
+Neste ano, fotografou o carnaval de rua paulistano e um zeppelin que sobrevoou São Paulo,o dirigível Hindenburg .
+ 
+Theodor Preising. Carnaval na Av. São João, 1936. São Paulo, SP / Publicado na Revista Zum, 16 de fevereiro de 2018
+ 
+Theodor Preising. Passeio do dirigível Hindenburg pelo centro de São Paulo, 1936. São Paulo, SP / Foto publicada em O Estado de São Paulo, 26 de janeiro de 2018
+ 
+Em 1937, aderiu ao Sindicato dos Jornalistas Profissionais no Estado de São Paulo e enviou uma solicitação para que seu nome passasse a constar do quadro social da entidade (Correio Paulistano, 14 de maio de 1937, quinta coluna).
+ 
+Carteira do Sindicato dos Jornalistas de São Paulo de Theodor Preising, matrícula 162 / Publicada em O Viajante incansável – trajetória e obra fotográfica de Theodor Preising
+ 
+Também neste ano, expôs fotografias no Pavilhão Brasileiro, na Exposição Universal de Paris de 1937, realizada entre 25 de maio e 25 de novembro de 1937. Contou com a participação de 44 países e foi visitada por cerca de 31 milhões de pessoas.
+No ano seguinte, em setembro de 1938, a Bolsa de Mercadorias de São Paulo realizou uma exposição sobre a cultura do algodão com imagens produzidas por ele. As fotos expostas foram publicadas em um número especial do Suplemento em Rotogravura do jornal, em março de 1939.
+ 
+O Estado de São Paulo, 6 de setembro de 1938
+ 
+Em 6 de novembro de 1938, entrou para o serviço público tendo sido nomeado fotógrafo do Departamento de Propaganda e Publicidade (DPP), criado pouco antes como Serviço de Publicidade e Propaganda do Estado de São Paulo, dirigido por Menotti del Picchia.
+Em 1939, Preising mudou-se com a família para a Rua Cedro, em Jabaquara, vizinho do amigo Benedito Junqueira Duarte, e passou a trabalhar na revista Brasil Novo, criada por Cassiano Ricardo e lançada em 1º de junho do mesmo ano. Também em 1939, aproximadamente 20 fotografias de sua autoria foram publicadas no livro Travel in Brazil, Brazilian representation New York’s World Fair, lançada durante a Feira Mundial de Nova York, que tinha o tema Construindo o mundo de amanhã. O pavilhão brasileiro foi projetado pelos arquitetos Oscar Niemeyer (1907 – 2012) e Lúcio Costa (1902 – 1998). Preising foi um dos fotógrafos cujas obras foram expostas em fotomurais do Departamento Nacional do Café e numa mostra de paisagens brasileiras ao lado de registros realizados por Erich Hess (1911 – 1995), Fernando Guerra Duval  (18? – 1959), Max Rosenfeld (? – 1962), Paulino Botelho (1879 – 1948), Renato G. Palmeira (? -?) e pelo Studio Rembrandt. Por sua participação Preising recebeu um diploma conferido pela direção do evento entregue pela Secretaria de Governo de São Paulo (Correio Paulistano, 3 de novembro de 1940, quinta coluna).
+Ainda em 1939, foi criado do Departamento de Imprensa e Propaganda (DIP) e, pouco depois, cada estado possuía um Departamento Estadual de Imprensa e Propaganda (DEIP). Em São Paulo, o DEIP incorporou o Departamento de Publicidade e Propaganda, onde Preising trabalhava. Ele atuou na Divisão de Turismo e Diversões Públicas e na Divisão de Divulgação para o serviço de reportagem da Agência Nacional.
+Em 1940, produziu esse belo registro do Parque do Anhangabaú e do Viaduto do Chá.
+Theodor Preising. Parque Anhangabaú e o novo Viaduto do Chá, 1940. São Paulo, SP / Publicado na Revista Zum, 27 de fevereiro de 2018
+Naturalizou-se brasileiro em janeiro de 1941. Certamente o fato de ser um servidor público e o envio de uma carta de Menotti del Picchia, em papel timbrado da Diretoria de Propaganda e Publicidade do Palácio do Governo de São Paulo , a qual dirigia na ocasião, ao ministro da Justiça e Negócios Interiores, Francisco Campos (1891 – 1968), em 5 de agosto de 1939, influenciaram na obtenção de sua naturalização (A Batalha, 7 de janeiro de 1941, penúltima coluna).
+“Tenho a honra de enviar a Vossa Excelência, para os devido fins, o requerimento em que THEODOR PREISING, de nacionalidade alemã, fotógrafo desta Diretoria de Propaganda e Publicidade do Palácio do Governo de São Paulo, nomeado por ato de 6 de Novembro de 1938, solicita de Vossa Excelência a sua naturalização como cidadão brasileiro, nos termos do artigo 40, parágrafo 3º, do Decreto-lei 1.202, de 8 de Abril de 1939 e de conformidade com a portaria 2.108, de 6 de Julho último, desse Ministério.
+Peço vênia a Vossa Excelência para esclarecer que o interessado já tem o seu pedido de naturalização encaminhado a esse Ministério, desde 1936.
+Com as minhas expressões de respeito e simpatia, subscrevo-me de Vossa Excelência, admirador obrdo.
+Menotti del Picchia
+DIRETOR”
+Entre 1941 e 1942, diversas fotos de sua autoria foram publicadas na revista Travel in Brazil. 
+ 
+Revista Travel in Brazil, 1941, volume 1 do Ano I
+Na primeira edição da revista, em janeiro de 1941, publicação de foto de Preising no artigo Brazil, this wonderful land, de Cecília Meirelles (1901 – 1964).
+Brazil Travels, janeiro de 1941 / Foto de Preising
+Na segunda edição, de fevereiro de 1941, publicação de fotos nos artigos The jewel of plant life: the orchid e Curitiba and the Paraná railway.
+ 
+Brazil Travels, fevereiro de 1941 / Fotos de Preising
+ 
+
+ 
+Brazil Travels, fevereiro de 1941 / Fotos de Preising
+ 
+Na edição de março de 1941, registros realizados por ele foram publicados no artigo São Paulo:  city of tourists, de Menotti del Picchia (1892 – 1988) e Petrópolis: summer capital of Brazil, de Vera Kelsey (1892 – 1961); na edição de abril de 1941, 11 fotos no artigo Ouro Preto: the old Villa Rica, de Manuel Bandeira (1886 – 1968); e, na edição de janeiro de 1942, as fotos do artigo Poços de Caldas e  Wings over Brazil, de Henry Albert Phillips (1880 – 1951). A revista era publicada mensalmente e editada pelo Departamento de Imprensa e Propaganda do Rio de Janeiro.
+Em 6 fevereiro de 1942, esteve presente ao enterro da mãe de Cassiano Ricardo (1895 – 1974), realizado no Rio de Janeiro (A Manhã, 7 de fevereiro de 1942, penúltima coluna). Em torno deste ano, associou-se ao Foto Cine Clube Bandeirante (FCCB) – fundado em 1939 e celeiro da fotografia moderna no Brasil – e participou de vários Salões de Fotografia, nacionais e internacionais.
+Em 1943, sua fotografia Força da Natureza, ganhou, na categoria Paisagem, o 4º prêmio no II Salão Paulista de Arte Fotográfica do Foto Clube Bandeirante. O fotógrafo Thomas Farkas (1924 – 2011) ganhou o primeiro lugar na categoria Arquitetura e recebeu um menção honrosa na categoria Composição. Preising foi o organizador, pelo Departamento Estadual de Imprensa e Publicidade, de  um estande de fotografias documentais do progresso de São Paulo, em um anexo ao Salão (Correio Paulistano, 31 de agosto de 1943, primeira coluna; Correio Paulistano, 28 de setembro de 1943, terceira coluna).
+Correio Paulistano, 31 de agosto de 1943
+ 
+
+ 
+Ainda em 1943,  participou de uma exposição na Galeria Prestes Maia com as fotos Força da Natureza, Refúgio das Almas, Silêncio, Sombra e Luz e Vida do Mar. Esta última representou o Foto Clube Bandeirante no Salão de Londres em 1944. Também em 1944, fotos de sua autoria foram publicadas na Revista Industrial de São Paulo, dirigida por Honório de Sylos (1901 – 1993) e no Observador Econômico e Financeiro do Rio de Janeiro – registros de São Paulo, do porto de Santos, de cafezal, de agricultora e de bambuzal (Observador Econômico e Financeiro, janeiro de 1944 , janeiro de 1944, maio de 1944, maio de 1944, junho de 1944, junho de 1944, junho de 1944).
+Em 1945, com o fim do Estado Novo o DEIP passou a chamar-se Departamento Estadual de Informações (DEI) e a a Divisão de Turismo e Diversões Públicas passou a chamar-se Divisão de Turismo e Expansão Social. A Divisão de Divulgação manteve o nome.
+Preising participou do IV Salão Paulista de Arte Fotográfica do Foto Clube Bandeirante, realizado entre novembro e dezembro de 1945, na Galeria Prestes Maia – primeira edição internacional -, com seis fotografias: Bicho de Seda, Contra Luz, Faíscas, Fornalha, Metal Líquido e Tropical. Seu ensaio fotográfico Jabaquara, com sete imagens, ficou entre os finalistas do 2º Prêmio Anchieta. (Correio Paulistano, 10 de outubro de 1945, quinta coluna).
+Na publicação São Paulo, realizada pelo DEI, em 1946, fotos de sua autoria não creditadas foram publicadas.
+Em 1946 e 1947, respectivamente, suas fotografias Silêncio, Sombra e Luz e Minha Terra tem Palmeiras representaram o FCCB. A primeira no V Salão de Santa Fé, na Argentina; e a segunda, no VI Salão de Barcelona, na Espanha.
+No livro Gente e Terra do Brasil, documentário fotográfico organizado pelo livreiro austríaco naturalizado brasileiro Erich Eichner (1906 – 1974), quinto volume da Coleção de Temas Brasileiros da Livraria Kosmos Editora, lançado, provavelmente, em 1947, com síntese histórica e econômica de John Knox (? – ?) e prefácio do jornalista, político, professor e pesquisador Carlos Rizzini (1898 – 1972), das 128 imagens publicadas, 30 eram de autoria de Preising. Havia também fotos de Carlos Moskovics (1916 – 1988), Erich Hess (1911 – 1995), Hans Gunter Flieg (1923-2024), Hildegard Rosenthal (1913 – 1990), José Medeiros (1921 – 1990), Peter Scheier (1908 – 1979) e Thomaz Farkas (1924 – 2011), dentre outros. Algumas imagens eram provenientes do arquivo da Panair. O livro era traduzido para o inglês, francês e espanhol (Correio da Manhã, 2 de dezembro de 1947, quinta coluna).
+ 
+
+ 
+Foto de Itaipava de autoria de Theodor Preising publicada no livro Gente e Terra do Brasil
+ 
+Foram de sua autoria as fotografias dos cadernos de turismo sobre Campos do Jordão, de 1947, e sobre Itanhaem, de 1948, produzidos por intermédio da Divisão de Turismo e Expansão Cultural do Departamento de Imprensa e Propaganda de São Paulo. Os textos eram do jornalista e folclorista Helio Damante (1919 – 2002 ) e as ilustrações de Aldemir Martins (1922 – 2006), no de Campos do Jordão;  de Tarsila do Amaral (1883 – 1976), no de Itanhaem (Jornal de Notícias, 12 de novembro de 1947, quinta coluna). A reprodução desses dois álbuns está publicada entre as páginas 133 e 144 da dissertação Viajante Incansável – trajetória e obra fotográfica de Theodor Preising, de c.
+
+ 
+
+Em 1948, o DEI foi extinto e ele passou a ser o fotógrafo titular da Secretaria Estadual dos Negócios do Governo de São Paulo. Em torno deste ano começou a tirar licenças médicas devido ao Mal de Parkinson, que deu seus primeiros sinais em torno de 1945.
+Foi nomeado, em maio de 1949, para trabalhar no Laboratório de Polícia Técnica da Secretaria de Estado dos Negócios da Segurança Pública. Ainda neste ano foi trabalhar como fotógrafo do Departamento de Cultura e Ação Social da Reitoria da Universidade de São Paulo. Aposentou-se do serviço público estadual em 1954.
+Nos álbuns de fotografias Isto é o Rio de Janeiro e Isto é a Bahia, ambos da Editora Melhoramentos e publicados em 1955, com textos em inglês, francês, português, italiano e alemão, fotos de sua autoria assim como de Alice Brill (1920 – 2013), dentre outros, foram publicadas (O Estado de São Paulo, 17 de julho de 1955; Diário de Notícias, 11 de agosto de 1955, segunda coluna).
+ 
+O Estado de São Paulo, 17 de julho de 1955
+ 
+Faleceu em 24 de julho de 1962, em sua casa, em São Paulo.
+Em 2003, fotografias de sua autoria foram publicadas no livro Rio de Janeiro 1900 – 1930: uma crônica fotográfica, de George Ermakoff, G. Ermakoff Casa Editorial, Rio de Janeiro.
+
+No ano seguinte, integrou a exposição São Paulo 450 anos: a imagem e a memória da cidade no acervo do Instituto Moreira Salles, realizada entre 23 de janeiro e 27 de junho de 2004, no Centro Cultural da Fiesp, em São Paulo, e teve fotos de sua autoria publicadas no Cadernos de Fotografia Brasileira São Paulo 450 anos, editado pelo IMS.
+
+Também em 2004, integrou a Coleção Pirelli-Masp de Fotografia, 13˚ edição, com sete fotografias, que foram incorporadas ao Acervo do Museu de Arte de São Paulo Assis Chateaubriand, o Masp (O Estado de São Paulo, 16 de novembro de 2004).
+Em Uruguaiana, no Rio Grande do Sul, em 2008, realização da exposição individual Uruguaiana de 1932 de Theodor Preising, no Centro Cultural Dr. Pedro Marini, com a curadoria de Douglas Aptekmann, seu bisneto.
+Em 2010, no Museu Afro Brasil, no Parque do Ibirapuera, em São Paulo, com curadoria de Emanoel Araújo (1940 – 2022), realização da exposição São Paulo, Terra, Alma e Memória com fotos de Preising e de Guilherme Gaesnly (1843 – 1928) em comemoração ao aniversário de São Paulo (O Estado de São Paulo, 19 de março de 2010).
+Em 2011, foi o tema da Dissertação de Mestrado Viajante Incansável – trajetória e obra fotográfica de Theodor Preising, de Kariny Grativol, orientada pelo professor Boris Kossoy, na Universidade de São Paulo. Voltou, em 2016, a ser tema de uma Dissertação de Mestrado realizada na USP, Fotografia Profissional, arquivo e circulação: a produção de Theodor Preising em São Paulo (1920 – 1940), de Eric Danzi Lemos, orientado pela professora Solange Ferraz de Lima. Estes trabalhos foram importantes fontes de pesquisa para a elaboração deste artigo.
+Entre 8 de outubro de 2011 e 11 de março de 2012, foi um dos fotógrafos cujos trabalhos foram exibidos na exposição Percursos e Afetos. Fotografias 1928-2011 – Coleção Rubens Fernandes Junior, na Pinacoteca do Estado de São Paulo, com a curadoria de Diógenes Moura (19?-).
+No Instituto Tomie Ohtake, em São Paulo, em 2012, Preising foi um dos integrantes da exposição coletiva Um olhar sobre o Brasil a fotografia na construção da imagem da Nação 1833-2003 com curadoria de Boris Kossoy (1941-) e Lilia Schwarcz (1957-). Uma foto de sua autoria foi publicada no livro homônimo, editado pela Fundación Mafre, de Madrid; e pela Objetiva, do Rio de Janeiro.
+ 
+
+ 
+Com curadoria de Paulo Herkenhoff, realização, na OCA, em São Paulo, da exposição Modos de ver o Brasil: Itaú Cultural 30 anos, entre 25 de maio e 13 de agosto de 2017, com a participação de Preising. Outros conjuntos de fotografias expostos foram de Claudio Edinger (1952-), Cristiano Mascaro (1944-) e German Lorca (1922 – 2021). Também neste ano, fotos de sua autoria foram publicadas no livro História do Brasil em 100 fotografias, organizado por Ana Cecília Impellizieri (1978-) e editado pela Bazar do Tempo.
+
+Entre 25 de janeiro e 25 de março de 2018, realização da exposição São Paulo: sinfonia de uma metrópole, com fotos de Theodor Preising, na Galeria de Fotos do Centro Cultural da Fiesp, sob a curadoria de Rubens Fernandes Jr. (1949-). O título da exposição é homônimo ao documentário dos húngaros Adalberto Kemeny (1901 – 1969) e Rudolf Lustig (1901 – 1970), de 1929, exibido durante a mostra, sobre o processo de modernização da paisagem social e urbana da capital paulistana, que tem como referência o filme Berlim – sinfonia da metrópole (1927), de Walter Ruttman (1887 – 1941) (O Estado de São Paulo, 26 de janeiro de 2018).
+Em 2021, realização de duas exposições em torno da obra de Preising, ambas curadas por Rubens Fernandes Junior: entre 27 de julho e 28 de agosto, Theodor Preising Um Olhar Moderno – São Paulo, na Unibes Cultural, em São Paulo; entre 14 de agosto e 19 de setembro, Theodor Preising Um Olhar Moderno – Santos, na Pinacoteca Benedito Calixto, em Santos.
+A parte mais importante da obra de Preising, cerca de 15 mil fotografias, encontra-se sob a guarda de seu bisneto Douglas Aptekmann e Lucia Aptekmann. Um levantamento preliminar deste acervo está publicado na dissertação Viajante Incansável – trajetória e obra fotográfica de Theodor Preising, de Kariny Grativol, entre as páginas 120 e 126.
+Há também fotos de sua autoria nos acervos do Museu Paulista da Universidade de São Paulo, no Museu do Café, em Santos; em arquivos públicos de Cambé e Londrina, no Paraná, e Ribeirão Preto, em São Paulo; no Masp, e na Biblioteca Nacional, no Instituto Moreira Salles e na FGV CPDOC, no Rio de Janeiro.
+Acesse aqui a Cronologia de Theodor Preising (1883 – 1962).
+ 
+Preising no Guarujá / Viajante Incansável – trajetória e obra fotográfica de Theodor Preising
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+Fontes:
+Enciclopédia Itaú Cultural
+FERNANDES JR, Rubens. Rubens Fernandes Jr, curador da exposição São Paulo: Sinfonia de uma metrópole, comenta a obra do fotógrafo Theodor Preising. Revista Zum, 27 de fevereiro de 2018.
+GRATIVOL, Kariny. Viajante Incansável – trajetória e obra fotográfica de Theodor Preising. Dissertação apresentada ao Programa de Pós-Graduação em Ciências da Comunicação da Escola de Comunicações e Artes da Universidade de São Paulo.
+Hemeroteca Digital da Biblioteca Nacional
+MENDES, Ricardo .A revista S. Paulo: a cidade nas bancas. IMAGENS, Unicamp, dezembro de 1994 (a partir de trabalho apresentado no V Congresso Brasileiro de História da Arte, 1993).
+LEMOS, Eric Danzi. Fotografia profissional, arquivo e circulação: a produção de Theodor Preising em São Paulo (1920-1940). 2016. Dissertação (Mestrado) – Universidade de São Paulo, São Paulo, 2016.
+O Estado de São Paulo
+Site Theodor Preising
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/11037` — `itens/20.500.12156.1_11037/`
+- `20.500.12156.1/12350` — `itens/20.500.12156.1_12350/`
+- `20.500.12156.1/7944` — `itens/20.500.12156.1_7944/`
+- `20.500.12156.1/10814` — `itens/20.500.12156.1_10814/`
+
diff --git a/wordpress/34804-serie-feministas-gracas-a-deus-xvii-anna-amelia-carneiro-de-mendonca-e-o-zeppeli.md b/wordpress/34804-serie-feministas-gracas-a-deus-xvii-anna-amelia-carneiro-de-mendonca-e-o-zeppeli.md
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@@ -0,0 +1,243 @@
+---
+id: 34804
+url: "https://brasilianafotografica.bn.gov.br/?p=34804"
+titulo: "Série “Feministas, graças a Deus!” XVII – Anna Amélia Carneiro de Mendonça e o Zeppelin"
+autor: "Andrea Wanderley"
+data: "2024-01-05T00:18:50+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/12641", "20.500.12156.1/12625", "20.500.12156.1/12627", "20.500.12156.1/12628", "20.500.12156.1/12629", "20.500.12156.1/12630", "20.500.12156.1/12631", "20.500.12156.1/12632", "20.500.12156.1/12633", "20.500.12156.1/12634", "20.500.12156.1/12635", "20.500.12156.1/12636", "20.500.12156.1/12637", "20.500.12156.1/12638", "20.500.12156.1/12639", "20.500.12156.1/12640"]
+fetched_at: "2026-09-10T10:16:21.021Z"
+---
+
+# Série “Feministas, graças a Deus!” XVII – Anna Amélia Carneiro de Mendonça e o Zeppelin
+
+No 17º artigo da série Feministas, graças a Deus! a equipe de Documentação da Escola de Ciências Sociais FGV CPDOC, instituição parceira da Brasiliana Fotográfica, traz para nossos leitores um pouco da história da poeta e feminista carioca Anna Amélia de Queiroz Carneiro de Mendonça (1896 – 1971) com fotos dela no Rio de Janeiro e também de uma viagem que realizou para Istambul, que sediou, no mês de abril de 1935, o XII Congresso da Aliança Internacional de Mulheres pelo Sufrágio e Igualdade de Cidadania, e para outros países da Europa. Ela foi a representante do Brasil no evento e a engenheira Carmen Portinho (1903 – 2001) e Edith Fraenkel (1889 – 1969), que foi a primeira presidente eleita da Associação Brasileira de Enfermagem e uma de suas fundadoras, foram como suplentes. Durante sua vida, Anna Amélia sempre esteve engajada na defesa dos direitos das mulheres, apoiando as iniciativas promovidas pela Federação Brasileira pelo Progresso Feminino, onde foi vice-presidente e lutou pelo voto feminino. Ao final do artigo, está publicado um brevíssimo perfil de Anna Amélia, escrito por Andrea C. T. Wanderley, editora e pesquisadora do portal. Feliz 2024!
+ 
+Retrato de Anna Amélia de Queiroz Carneiro de Mendonça, 1935/ Acervo FGV CPDOC
+ 
+Acessando o link para as fotografias relativas à Anna Amélia Queiroz Carneiro de Mendonça do acervo da FGV CPDOC disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Jornal do Brasil, 11 de abril de 1935
+ 
+Revista da Semana, 20 de abril de 1935
+ 
+ANNA AMÉLIA E O ZEPPELIN
+Equipe de Documentação da Escola de Ciências Sociais FGV CPDOC
+ 
+O MOTIVO
+ 
+O XII Congresso da Aliança Internacional de Mulheres pelo Sufrágio e Igualdade de Cidadania aconteceu em Istambul, entre 18 e 25 de abril de 1935. Até essa data, os congressos da Aliança (International Alliance of Women for Suffrage and Equal Citizenship) eram, majoritariamente, centrados na Europa. A partir de então, a organização procura se aproximar e concentrar suas reuniões em nações do Oriente e da América Latina. Nesse contexto, o décimo segundo congresso acontece, pela primeira vez, fora do eixo europeu, como forma de comemorar junto a movimentos feministas locais e ao governo a recente introdução do direito a voto e outras garantias de igualdade política femininas na Turquia. A delegação brasileira também comemorava o direito ao voto da mulher, recém conquistado em 1932 com a promulgação do novo Código Eleitoral. As delegadas brasileiras foram a engenheira Carmen Portinho (1903 – 2001), a enfermeira Edith Fraenkel (1889 – 1969) e a poetisa Anna Amélia Carneiro de Mendonça (1896 – 1971).
+ 
+Programa do XII Congresso da Aliança Internacional de Mulheres pelo Sufrágio e Igualdade de Cidadania / Acervo FGV CPDOC
+ 
+Anna Amélia, poeta, tradutora, ativista feminista e estudantil, nasceu em 17 de agosto de 1896, na cidade do Rio de Janeiro. Como outras mulheres de sua época, não foi matriculada em nenhuma instituição de ensino formal, e recebeu educação em seu lar, sendo instruída nos idiomas português, inglês, francês e alemão. Em 1911, com 14 anos de idade, publica seu primeiro livro de poesias – Esperança.
+A participação política de Anna Amélia começa a ganhar destaque quando, em 1929, junto a estudantes universitários e representantes da Escola Naval e da Escola Militar, funda a Casa do Estudante Brasileiro (CEB) e se torna a primeira presidente da instituição. Sua atuação estava voltada para a promoção do intercâmbio cultural entre os estudantes e para a interação entre empresas e alunos, visando auxiliar na busca por empregos e garantindo a compatibilidade com os horários das aulas. Vale ressaltar, que nesse momento surge o primeiro bandejão universitário.
+ 
+Anna Amélia coroada Rainha dos Estudantes do Brasil. Rio de Janeiro (DF), 1929 / Acervo FGV CPDOC
+ 
+Anna Amélia desempenhou relevante papel no movimento feminista brasileiro. Em 1931, participou do II Congresso Internacional Feminista, organizado pela Federação Brasileira pelo Progresso Feminino (FBPF), tendo apresentado a tese – O problema da habitação para moças-estudantes e o projeto de uma casa para a estudante brasileira na organização da Casa do Estudante do Brasil  – associando seu ativismo estudantil com a situação feminina, e reivindicando o aumento de mulheres no ensino superior brasileiro. A partir desse momento, ganhou destaque entre as organizações feministas do país, chegando a assumir a vice-presidência da Federação Brasileira pelo Progresso Feminino.
+Tornou-se a primeira mulher a integrar a equipe de apuração de votos no Tribunal Superior Eleitoral, fazendo parte da mesa apuradora das eleições. Sua contribuição foi destacada na edição de fevereiro de 1935 do Boletim da Federação Brasileira Pelo Progresso Feminino, onde foi reconhecida como uma das figuras proeminentes que lutaram pelos direitos das mulheres durante a Assembleia Nacional Constituinte de 1934.
+Representante escolhida pela Federação Brasileira pelo Progresso Feminino, em 10 de abril de 1935, Anna Amélia é confirmada, pelo presidente Getúlio Vargas, porta-voz da delegação brasileira no XII Congresso da Aliança Internacional de Mulheres pelo Sufrágio e Igualdade de Cidadania. No dia 11, parte para a Turquia.
+ 
+Passaporte de Anna Amélia / Acervo FGV CPDOC
+ 
+VOANDO NO ZEPPELIN
+ 
+Anna Amélia, acompanhada do marido, Marcos Carneiro de Mendonça (1894 – 1988), historiador e goleiro do Fluminense, e da filha mais velha, Marcia Cláudia, embarca no dia 11 de abril, no Rio de Janeiro.
+ 
+Anna Amélia, ladeada por Marcia Cláudia e Marcos Carneiro de Mendonça, durante a viagem de 1935 / Acervo FGV CPDOC
+ 
+A viagem, a bordo do Zeppelin, teve uma escala em Recife  e durou cinco dias, seguindo pelo mar e pela costa da África e da Europa até seu ponto final, a cidade alemã de Friedrichshafen.
+ 
+Comandante do Zeppelin, 1935 / Acervo FGV CPDOC
+ 
+ 
+Cabine de controle do Zeppelin, 1935 / Acervo FGV CPDOC
+ 
+Quarto de passageiros do Zeppelin, 1935 / Acervo FGV CPDOC
+ 
+ 
+Salão de refeições do Zeppelin, 1935 / Acervo FGV CPDOC 
+ 
+Anna Amélia escreve em seu diário sobre o “monstro flutuante”:
+“Deixando a longe o tapete mágico do litoral brasileiro o Zeppelin conquista o mar alto e o céu amplo. Azul transparente e fluido sobre a nossa cabeça; azul compacto e forte abaixo de nós. Um dia só entre os dois abismos e o monstro flutuante está sobre Marrocos, dominando as cidades alvas que se recortam lá embaixo como detalhadas maquetes de gesso. Depois Gibraltar à espreita, e a Europa que se esforça com as plantas levadas das cordilheiras” (AACM lit 1972.07.15)
+ 
+Mapa da viagem, ressaltando o trajeto através do Oceano Atlântico / Acervo FGV CPDOC
+ 
+O “azul compacto” do mar, 1935 / Acervo FGV CPDOC
+ 
+O voo chegou à Friedrichshafen, no dia 16 de abril e o Zeppelin sobrevoa a cidade, antes de pousar. Friedrichshafen fica no extremo-sul da Alemanha constituída por pequenas casas, campos de plantação e grandes hangares de estacionamento e construção de dirigíveis.
+ 
+Sobrevoando Friedrichshafen, 1935. Alemanha / Acervo FGV CPDOC
+ 
+ 
+O porto de Friedrichshafen e os galpões da Luftschiffbau-Zeppelin GmbH, 1935. Alemanha / Acervo FGV CPDOC
+ 
+ 
+Pousado em Friedrichshafen, 1935. Alemanha / Acervo FGV CPDOC
+ 
+ 
+No hangar, 1935. Friedrichshafen, Alemanha/ Acervo FGV CPDOC
+ 
+De Friedrichshafen, Anna Amélia segue de trem para a Turquia, chegando a Istambul dia 20, e se hospeda no Hotel Continental durante o Congresso.
+ 
+Istambul, Turquia, 1935 / Acervo FGV CPDOC
+ 
+ 
+ Istambul, Turquia, 1935 / Acervo FGV CPDOC
+ 
+Anna Amélia escreve em seu diário:
+Istambul… Fica nos meus olhos o encantamento de uma tarde. Os minaretes da cidade velha são braços de ouro sobre a gama do horizonte. Uma voz mágica chama para a prece. E neste momento Istambul é bem o Oriente, e é toda a poesia que eu fui buscar. (AACM lit 1972.07.15. p.5)
+Anna Amélia se surpreende com o crescente avanço progressista que marcava o país, principalmente, nas questões das mulheres. Ela registra que as mulheres turcas não estavam mais com os “rostos velados por véus negros” ou “encarceradas em harens“, vivendo em condições cada vez mais igualitárias, ocupando as faculdades – medicina, direito, jornalismo – e atuando na política, como deputadas na Assembleia Nacional.
+É nessa oportunidade de mostrar a modernidade da nova sociedade turca que o governo do país se organiza junto a seu movimento feminista para receber o XII Congresso da Aliança Internacional de Mulheres pelo Sufrágio e Igualdade de Cidadania.
+Além de participar de conferências e votações, Anna Amélia apresenta a candidatura da então presidente da Federação Brasileira pelo Progresso Feminino, a ativista Bertha Lutz (1894 – 1976), para a Comissão Executiva da  International Alliance of Women for Suffrage and Equal Citizenship. Esse momento de congregação foi também a oportunidade de se aproximar de outras lideranças feministas, como Latife Bekir, política turca, e outros grandes nomes como Nancy Astor e Margery Corbett Ashby.
+O ponto alto do evento foi sua palestra no Teatro Municipal de Istambul. Com o discurso “A Mulher Cidadã”, Anna discursa sobre o movimento feminino no Brasil, o dever da mulher cidadã e, principalmente, seu trabalho pela paz universal. Além da oportunidade de se expressar, o congresso foi um momento de aprender, com influências em seu trabalho e ativismo que serão vistos em textos e discursos posteriores.
+ 
+Anna Amélia (a esquerda na segunda fileira) e outras ativistas femininas e convidados, durante o congresso em Istambul. Na terceira fileira, de chapéu preto, Margery Corbett Ashby, famosa ativista e delegada da Grã Bretanha no evento, 1935. Istambul, Turquia / Acervo FGV CPDOC
+ 
+Ativistas presentes no congresso. Destaque para a diversidade de etnias e vestimenta, 1935. Istambul, Turquia / Acervo FGV CPDOC
+ 
+A viagem de Anna Amélia e sua família seguiria ainda por outros países da Europa: Hungria, Áustria, Alemanha, Bélgica, França, Inglaterra, Luxemburgo, Suíça, Itália, Mônaco, Espanha e Portugal. Ela retorna ao Rio de Janeiro, de navio, no dia 15 de agosto de 1935, após 95 dias de viagem.
+Em 15 de abril de 1936, um ano após a viagem, Anna Amélia dá uma entrevista a uma rádio e afirma:
+Entreguem às mulheres a solução dos desentendimentos internacionais, e verão como se ensina os povos, a tolerância e o bom senso. Nada de canhões atroadores, gases asfixiantes, bombardeios aéreos. Mas palavras sinceras, corações abertos, mãos leais abertas para um gesto fraternal. A mulher quer a paz. E a sua tenacidade provará ao mundo que esse lindo sonho de hoje pode vir a ser a ventura dos homens de amanhã. (AACM mf 1936.03.11, 1A)
+Em 1976, foi lançado seu diário de viagem, Quatro Pedaços do Planeta no Tempo do Zeppelin.
+ 
+
+ 
+Fontes:
+ANNA AMÉLIA: Feminismo no tempo do Zeppelin. Direção: Tarcila Soares Formiga. Rio de Janeiro, 2019. (10min39). Disponível em: https://youtu.be/l3yvqyO33hg?si=gW_-_8j-PLElZxiO
+Arquivo pessoal Anna Amélia Carneiro de Mendonça (FGV CPDOC)
+https://docvirt.com/docreader.net/DocReader.aspx?bib=AACM_mf&hf=www18.fgv.br&pagfis=180
+GLEW, Helen. Embracing the language of human rights: International women’s organizations, feminism and campaigns against the marriage bar, c.1919–1960. Gender & History, Londres, v.35,  p.(780–794), 2023. Disponível em: https://onlinelibrary.wiley.com/journal/14680424
+RUPP, Leila J. Worlds of Women: The Making of an International Women’s Movement. Princeton: Princeton University Press, 1998.
+ 
+Brevíssimo perfil de Anna Amélia de Queiroz Carneiro de Mendonça (1896 – 1971)
+Andrea C.T. Wanderley*
+ 
+Anna Amélia de Queiroz Carneiro de Mendonça, nascida em 17 de agosto de 1896, no Rio de Janeiro, era filha de José Joaquim de Queiroz Jr (1870 – 1919) e de Laura Palhares Machado (1874 – 1941); e irmã de Laura Margarida (1898 – 1995) e Maria José (1911 – 1984). Esta última foi casada com o jornalista e professor Austregésilo de Athayde (1898 – 1993), que foi durante muitos anos, entre 1958 e 1993, presidente da Academia Brasileira de Letras.
+Viveu em Minas Gerais até 1911, quando sua família retornou ao Rio de Janeiro. Sua formação primária e secundária foi proporcionada por diversas preceptoras estrangeiras que se sucederam em sua casa. Ela e suas irmãs aprenderam a falar fluentemente alemão, francês e inglês, e tiveram aulas de Botânica, Geografia, História, Matemática, Música e Pintura.
+Casou-se, em 17 de dezembro de 1917, com o mineiro Marcos Carneiro de Mendonça (1894 – 1988), goleiro do Fluminense e o primeiro goleiro da seleção brasileira, considerado o primeiro ídolo do futebol no Brasil (O Paiz, 17 de dezembro de 1917, quarta coluna), tendo sido presidente do Fluminense Football Club, entre 1941 e 1943. Foi também historiador e escritor. Anna Amélia apaixonou-se por ele, em torno de 1913, quando assistiu a uma partida do América Football Club. Sobre essa paixão, escreveu um poema:
+ 
+
+“Foi sob um céu azul, ao louro sol de maio,
+Que um dia eu te encontrei formoso como Apolo,
+E meu amor nasceu num luminoso raio,
+Como brota a semente à umidade do solo.
+Havia tanta vida. Era tão verde o campo.
+E eu senti-me envolver num clarão muito doce,
+Esse clarão cresceu, cresceu e acentuou-se
+Como o sol ao raiar pelo horizonte escampo.
+E eu te amei… Foi assim–verdes frondes, contai-o
+Que, banhado de luz, entre os beijos de Eolo,
+Sob um céu muito azul, ao louro sol de maio,
+Um dia te encontrei formoso como Apolo”. 
+ 
+Anna Amélia e Marcos tiveram quatro filhos: Márcia Claudia (1918 – 2012), Eliana Laura (1920 – 1920), José Joaquim (1921 – 1999) e Bárbara Heliodora (1923 – 2015). A partir de 1944, o casal passou a morar no Solar dos Abacaxis, como era conhecido um palacete do século 19 no bairro do Cosme Velho, projeto do arquiteto José Maria Jacinto Rabelo  (1821 – 1871), discípulo do arquiteto Grandjean de Montigny (1776 – 1850). Havia sido construído, em 1843, pelo comendador Borges da Costa, bisavô de Anna Amélia. Deve seu nome aos abacaxis de ferro que enfeitam suas sacadas. Anna Amélia e Marcos foram anfitriões, na mansão, de inúmeras festas e saraus que reuniam artistas, diplomatas, empresários, escritores, estudantes, intelectuais, políticos e personalidades da elite carioca.
+ 
+Solar dos Abacaxis / O Guia Legal
+ 
+Anna Amélia traduziu para o português Hamlet, além de outras obras de autoria de William Shakespeare (1564 – 1616), poeta e dramaturgo inglês, e a caçula do casal, Bárbara Heliodora, foi uma das maiores especialistas, no Brasil, em Shakespeare, além de uma importante crítica teatral.
+ 
+Anna Amélia e Marcos Carneiro de Mendonça, 1918 / Memória de Família 
+ 
+Anna Amélia foi pioneira na introdução do tema do futebol na literatura brasileira com a poesia O Salto, publicada no livro Alma (1922). Seu encantamento com o esporte surgiu de sua convivência com os empregados da Usina Esperança, em Itabirito, em Minas Gerais, de propriedade de seu pai. Segundo Bernardo Buarque de Hollanda (1974-), o poema teria sido composto na casa de Coelho Neto (1864 – 1934), durante um dos saraus dominicais entre jogadores do Fluminense da década de 1910 e 1920:
+O Salto
+ Ao ver-te hoje saltar para um torneio atlético,
+
+Sereno, forte, audaz, como um vulto da Ilíada,
+
+Todo o meu ser vibrou num ímpeto frenético,
+
+Como diante de um grego, herói de uma Olimpíada.
+
+Estremeci fitando esse teu porte estético,
+
+Como diante de Apolo estremecera a dríada.
+
+Era um conjunto de arte esplendoroso e poético
+
+Enredo e inspiração para uma helioconíada
+
+No cenário sem par de um pálido crepúsculo
+
+Tu te lançaste no ar, vibrando em cada músculo
+
+Por entre as aclamações da massa estusiástica
+
+Como um deus a baixar o Olimpo, airoso e lépido
+
+Tocaste o solo, enfim, glorioso ardente, intrépido,
+
+Belo na perfeição da grega e antiga plástica”.
+ 
+Outros livros de sua autoria foram Esperanças (1911), Ansiedade (1926), A Harmonia das coisas e dos seres (1936), Versos que eu digo (1937), Mal de amor (1939), Castro Alves, um estudante apenas (1950), Poemas (1951), 50 poemas de Ana Amélia (1957) e Todo mundo (1959).
+Foi uma das fundadoras, com o teatrólogo Paschoal Carlos Magno  (1906 – 1980) e com a advogada e feminista Maria Luiza Dória Bittencourt (1910 – 2001), entre outros, da Casa do Estudante Brasileiro (CEB), em 13 de agosto de 1929. Foi sua primeira presidente, tornando-se vitalícia no cargo. A CEB foi importante no surgimento do Teatro do Estudante, criado, em 1938, por Paschoal Carlos Magno; e do Teatro Experimental do Negro, de Abdias do Nascimento (1914 – 2011), fundado em 1944.
+ 
+Na foto da direita, embaixo, Anna Amélia e Paschoal estão ladeando Gabriela Besanzoni em um evento em prol da Casa do Estudante/ Revista da Semana, 5 de outubro de 1929
+ 
+Seus poemas e crônicas foram publicados em importantes jornais do país como O Globo, O Jornal, A Noite e nas revistas O Cruzeiro, Fon-Fon e Careta, dentre outras.
+Um dos artigos da edição especial da revista Cruzeiro, de 15 de dezembro de 1928, sobre as Praias de Banho no Rio de Janeiro, em Paquetá e em Niterói, intitulado Em louvor das praias, foi escrito por Anna Amélia, então Rainha dos Estudantes, coroada no Teatro Municipal do Rio de Janeiro, em 26 de setembro de 1928 (O Paiz, 26 de setembro de 1928, penúltima coluna).
+Foi diretora no suplemento feminino do Diário de Notícias e, como já mencionado, a primeira mulher a integrar o Tribunal Superior Eleitoral, fazendo parte da mesa apuradora das eleições de 1934. Foi secretária do Hospital Pró-Matre e presidenta da Associação Brasileira de Educação entre 1941 e 1942.  Em 1942, foi escolhida como representante do Brasil na Comissão Internacional de Mulheres, com sede na União Pan-Americana em Washington, posição que ocupou durante três anos; e, em 1967, foi a convidada do governo de Israel como representante da mulher brasileira no Congresso Internacional Feminino pela Paz e Desenvolvimento.
+Faleceu no Rio de Janeiro, em 31 de março de 1971, de ataque cardíaco (O Jornal, 2 de abril de 1971; Manchete, 24 de abril de 1971).
+ 
+Jornal do Brasil, 13 de abril de 1971
+ 
+Pouco mais de um ano depois de sua morte, foi publicado um depoimento do jornalista, crítico de arte e  professor Mário Barata (1921 – 2007) sobre ela, a brasileira perfeita…síntese feminina de quatro séculos e meio de caminho para a civilização, de origem lusa, nos trópicos (Jornal do Commercio, 24 de março de 1972, terceira coluna).
+ 
+Anna Amélia / Manchete, 24 de abril de 1971
+ 
+Em 1976, quase cinco após seu falecimento, foi lançado seu diário de viagem, Quatro Pedaços do Planeta no Tempo do Zeppelin, pela Archimedes Edições (Jornal do Commercio, 4 de janeiro de 1976).
+Assista aqui  Anna Amélia – Feminismo no tempo do Zeppelin, dirigido e roteirizado por Tarsila Soares Formiga, produzido na Oficina de Audiovisual em Sala de Aula, ofertada pelo Núcleo de Audiovisual e Documentário da FGV CPDOC em 2019.
+ 
+*Andrea C.T. Wanderley é editora e pesquisadora do portal Brasiliana Fotográfica.
+ 
+Fontes:
+ARAÚJO, D. Anna Amélia de Queiroz Carneiro de Mendonça: a introdução do futebol na poesia do Brasil. FuLiA/UFMG [revista sobre Futebol, Linguagem, Artes e outros Esportes], [S. l.], v. 7, n. 3, p. 16–39, 2023. DOI: 10.35699/2526-4494.2022.38766. Disponível em: https://periodicos.ufmg.br/index.php/fulia/article/view/38766.
+DUARTE, Constância Lima. Anna Amélia: militância e paixão. Interdisciplinar v. 3, n. 3, p. 22-30 – jan/jun de 2007
+Hemeroteca Digital da Biblioteca Nacional
+MONTEIRO, Alessandra Nóbrega; COSTA, Anna Beatriz Oliveira Menezes. Anna Amélia: feminismo brasileiro à luz de um arquivo pessoal. Revista Discente Ofícios de Clio, Pelotas, vol. 6, n° 10 | janeiro – junho de 2021.
+SCHUMAHER, Schuma; BRAZIL, Erico Vital (organizadores). Dicionário mulheres do Brasil: de 1500 até a atualidade biográfico e ilustrado. Rio de Janeiro : Jorge Zahar Ed., 2000.
+Site Associação Brasileira de Educação
+Site Memória de Família
+ 
+Acesse aqui os outros artigos da Série “Feministas, graças a Deus!”
+
+Série “Feministas, graças a Deus!” I – Elvira Komel, a feminista mineira que passou como um meteoro, publicado em 25 de julho de 2020, de autoria da historiadora Maria Silvia Pereira Lavieri Gomes, do Instituto Moreira Salles, em parceria com Andrea C. T. Wanderley, editora e pesquisadora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” II  – Natércia da Cunha Silveira (1905 – 1993), o jequitibá da floresta, publicado em 20 de agosto de 2020, de autoria de Andrea C.T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” III  – Bertha Lutz e a campanha pelo voto feminino: Rio Grande do Norte, 1928, publicado em 29 de setembro de 2020, de autoria de Maria do Carmo Rainha, doutora em História e pesquisadora do Arquivo Nacional
+Série “Feministas, graças a Deus!” IV  – Uma sufragista na metrópole: Maria Prestia (? – 1988), publicado em 29 de outubro de 2020, de autoria de Claudia Heynemann, doutora em História e pesquisadora do Arquivo Nacional
+Série “Feministas, graças a Deus!” V – Feminista do Amazonas: Maria de Miranda Leão (1887 – 1976), publicado em 26 de novembro de 2020, de autoria de Maria Elizabeth Brêa Monteiro, mestre em História e pesquisadora do Arquivo Nacional
+Série “Feministas, graças a Deus!” VI – Júlia Augusta de Medeiros (1896 – 1972) fotografada por Louis Piereck (1880 – 1931), publicado em 9 de dezembro de 2020, de autoria de Andrea C.T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” VII – Almerinda Farias Gama (1899 – 1999), uma das pioneiras do feminismo no Brasil, publicado em 26 de fevereiro de 2021, de autoria de Andrea C.T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” VIII – A engenheira e urbanista Carmen Portinho (1903 – 2001), publicado em 6 de abril de 2021, de autoria de Andrea C. T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” IX – Mariana Coelho (1857 – 1954), a “Beauvoir tupiniquim”, publicado em 15 de junho de 2021, de autoria de Andrea C. T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” X – Maria Luiza Dória Bittencourt (1910 – 2001), a eloquente primeira deputada da Bahia, publicado em 25 de março de 2022, de autoria de Andrea C. T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” XI e série “1922 – Hoje, há 100 anos” VI – A fundação da Federação Brasileira pelo Progresso Feminino, publicado em 9 de agosto de 2022, de autoria de Andrea C. T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” XII e série “1922 – Hoje, há 100 anos” XI – A 1ª Conferência para o Progresso Feminino, publicado em 19 de dezembro de 2022, de autoria de Maria Elizabeth Brêa Monteiro, historiadora do Arquivo Nacional
+Série “Feministas, graças a Deus!” XIII – E as mulheres conquistam o direito do voto no Brasil!, publicado em 24 de fevereiro de 2023, de autoria de Andrea C T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” XIV – No Dia Internacional da Mulher, Alzira Soriano, a primeira prefeita do Brasil e da América Latina, publicado em 8 de março de 2023, de autoria de Andrea C T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” XV – No Dia dos Povos Índígenas, Leolinda Daltro,”a precursora do feminismo indígena” e a “nossa Pankhurst, publicado em 19 de abril de 2023, de autoria de Andrea C T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” XVI – O I Salão Feminino de Arte, em 1931, no Rio de Janeiro, de autoria de Andrea C. T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica, publicado em 30 de junho de 2023
+ Série “Feministas, graças a Deus!” XVIII – Júlia Lopes de Almeida (1862 – 1934), a “escritora da Belle Époque tropical”, de autoria de Andrea C. T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica, publicado em 5 de junho de 2024
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/12641` — `itens/20.500.12156.1_12641/`
+- `20.500.12156.1/12625` — `itens/20.500.12156.1_12625/`
+- `20.500.12156.1/12627` — `itens/20.500.12156.1_12627/`
+- `20.500.12156.1/12628` — `itens/20.500.12156.1_12628/`
+- `20.500.12156.1/12629` — `itens/20.500.12156.1_12629/`
+- `20.500.12156.1/12630` — `itens/20.500.12156.1_12630/`
+- `20.500.12156.1/12631` — `itens/20.500.12156.1_12631/`
+- `20.500.12156.1/12632` — `itens/20.500.12156.1_12632/`
+- `20.500.12156.1/12633` — `itens/20.500.12156.1_12633/`
+- `20.500.12156.1/12634` — `itens/20.500.12156.1_12634/`
+- `20.500.12156.1/12635` — `itens/20.500.12156.1_12635/`
+- `20.500.12156.1/12636` — `itens/20.500.12156.1_12636/`
+- `20.500.12156.1/12637` — `itens/20.500.12156.1_12637/`
+- `20.500.12156.1/12638` — `itens/20.500.12156.1_12638/`
+- `20.500.12156.1/12639` — `itens/20.500.12156.1_12639/`
+- `20.500.12156.1/12640` — `itens/20.500.12156.1_12640/`
+
diff --git a/wordpress/34903-serie-o-rio-de-janeiro-desaparecido-xxviii-o-jardim-zoologico-de-vila-isabel-o-p.md b/wordpress/34903-serie-o-rio-de-janeiro-desaparecido-xxviii-o-jardim-zoologico-de-vila-isabel-o-p.md
new file mode 100644
index 0000000..40e3b53
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+++ b/wordpress/34903-serie-o-rio-de-janeiro-desaparecido-xxviii-o-jardim-zoologico-de-vila-isabel-o-p.md
@@ -0,0 +1,137 @@
+---
+id: 34903
+url: "https://brasilianafotografica.bn.gov.br/?p=34903"
+titulo: "Série “O Rio de Janeiro desaparecido” XXVIII – O Jardim Zoológico de Vila Isabel, o primeiro do Brasil, origem do Jogo do Bicho"
+autor: "Andrea Wanderley"
+data: "2024-08-05T11:40:24+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/11582", "20.500.12156.1/11040", "20.500.12156.1/12599"]
+fetched_at: "2026-09-10T10:16:24.397Z"
+---
+
+# Série “O Rio de Janeiro desaparecido” XXVIII – O Jardim Zoológico de Vila Isabel, o primeiro do Brasil, origem do Jogo do Bicho
+
+Para contar a história do Jardim Zoológico de Vila Isabel, publicamos o 28º artigo da série O Rio de Janeiro desaparecido, destacando três imagens – uma estereoscopia realizada pelo fotógrafo amador Guilherme Santos (1871 – 1966), em maio de 1913; uma fotografia realizada por Augusto Malta (1864-1957), em torno de 1920; e um registro feito, por volta de 1915, por um fotógrafo ainda não identificado.
+ 
+Entrada do Jardim Zoológico de Vila Isabel, c. 1915. Rio de Janeiro, RJ / Acervo IMS
+ 
+Vamos também contar um pouco da história de seu criador, o empresário e abolicionista mineiro João Batista Viana Drummond (1825 – 1897), primeiro e único Barão de Drummond, nascido em 1º de maio de 1825, em Itabira. Era primo do poeta Carlos Drummond de Andrade (1902 – 1987), que escreveu uma crônica a seu respeito, publicada no Jornal do Brasil, de 1º de maio de 1975, transcrita ao final deste artigo.
+ 
+Barão de Drummond pelo Estabelecimento Photographico A. Faria Antiga Caza Modesto R. Ourives, nº69 – Rio de Janeiro, 24 de janeiro de 1890
+ 
+O Barão de Drummond foi para o Rio de Janeiro com cerca de 20 anos e foi o administrador da Estrada de Ferro Dom Pedro II . Em 29 de julho de 1855, quando a princesa Isabel (1846 – 1921) completava 9 anos, foi realizada na quinta de dona Januária (1822 – 1901), irmã de dom Pedro II, a cerimônia de lançamento da pedra fundamental da Estrada de Ferro Pedro II com a presença do imperador (Diário do Rio de Janeiro, 30 de julho de 1855, primeira coluna). Foi a terceira ferrovia brasileira – as anteriores foram a Estrada de Ferro Mauá (1854) e a Estrada de Ferro do Recife ao Cabo (1858) – e sua construção está ligada às famílias Teixeira Leite e Ottoni, grandes produtoras de café da região de Vassouras, no estado do Rio. Foi da Estação da Estrada de Ferro Central do Brasil que saíram as três locomotivas que inauguraram a primeira sessão da Estrada de Ferro Pedro II, em 29 de março de 1858, pela manhã, quando a locomotiva Imperador levou dom Pedro II (1825 – 1891), sua corte e ministério até Pouso dos Queimados. As outras  chamavam-se Brazil e Imperatriz (Correio Mercantil, 24 de março de 1858, terceira coluna; Correio Mercantil, 30 de março de 1858, segunda coluna; e Diário do Rio de Janeiro, 30 de março de 1858, segunda coluna). Antes das partidas das locomotivas, houve as bênçãos do bispo, a saudação de Christiano Benedicto Ottoni (1811 – 1896), diretor da Companhia da Estrada de Ferro Dom Pedro II, e uma resposta do imperador (Diário do Rio de Janeiro, 30 de março de 1858).
+Drummond tornou-se amigo de dom Pedro II (1825 – 1891)  e adquiriu, por 120 contos de réis, as terras da Imperial Quinta do Macaco, vale adjacente ao Morro dos Macacos, da Princesa Isabel. Em uma viagem a Paris, impressionou-se com a arquitetura da cidade e decidiu urbanizar a área, tendo inclusive aberto um boulevard. Fundou o bairro de Vila Isabel, em 3 de janeiro de 1872. Criou também o serviço de bonde que ligava a região de Vila Isabel à Praça da Constituição, atual Praça Tiradentes. Em 1874, foi presidente do Jockey Club.
+ 
+Augusto Malta. Boulevard Vinte e Oito de Setembro, c. 1920. Vila Isabel, Rio de Janeiro, RJ / Acervo IMS
+ 
+Ele gostava muito de animais, tinha permissão para importá-los e decidiu criar um zoológico. Ao longo de 1887, foi noticiado o oferecimento de diversos animais para o futuro zoológico: um peixe elétrico do Pará; uma gralha, uma onça sussurana; capivaras, pacas, porquinhos da Índia, cachorros de mata virgem, uma tartaruga, corvos , macaco, cágados da Amazônia, e vários outros bichos (Jornal do Commercio, 25 de janeiro de 1887, penúltima coluna; 13 de fevereiro de 1887, quinta coluna; 17 de fevereiro de 1887, quinta coluna; 1º de março de 1887, sétima coluna; 20 de março de 1887, primeira coluna; 7 de abril, sexta coluna; 17 de abril, segunda coluna; 31 de maio de 1887, quinta coluna).
+Foi organizada uma sociedade anônima para criar e manter o jardim zoológico semelhante aos que possuem todas as grandes capitais que solicitou ao governo ajuda no sentido de que os delegados nas províncias enviassem exemplares de nossa fauna, uma das mais ricas do mundo (Jornal do Commercio, 17 de setembro de 1887, terceira coluna; Cidade do Rio, 18 de novembro de 1887).
+ 
+Cidade do Rio, 18 de novembro de 1887
+ 
+O Jardim Zoológico de Vila Isabel foi aberto em 6 de janeiro de 1888, mas sua inauguração oficial ocorreu em julho do mesmo ano.
+ 
+Jornal do Commercio, 3 de janeiro de 1888
+ 
+ 
+Guilherme Santos. Jardim Zoológico de Vila Isabel, maio de 1913. Rio de Janeiro, RJ / Acervo IMS
+ 
+No dia de sua abertura, o zoológico recebeu a visita de “809 pessoas a pé e 15 a cavalo”, um sucesso, tanto que a Companhia Ferro Carril Vila Isabel em vista da grande concurrência para o jardim passou a ter carros extraordinários todos os domingos (Gazeta de Notícias, 7 de janeiro de 1888, segunda coluna; 14 de janeiro de 1888, última coluna). Em 29 de janeiro, foi anunciado que estaria aberto todos os dias das 6 horas da manhã às 7 da tarde (Gazeta de Notícias, 29 de janeiro de 1888, quinta coluna). Dentre as atrações apresentadas, estavam duas seriemas doadas por Rui Barbosa (1849 – 1923) e uma lhama doada pela  princesa Isabel (1846 – 1921), além de elefantes, girafas, tigres e outros animais. Havia também, no zoológico, muitas apresentações de bandas de música. Os filhos da princesa Isabel fizeram uma visita ao zoológico acompanhados de seu preceptor, Ramiz Galvão (1846 – 1938), em 8 de julho de 1888 (Gazeta de Notícias, 9 de julho de 1888, quarta coluna).
+ 
+Gazeta de Notícias, 29 de julho de 1888
+ 
+No dia 1° de julho de 1888, foi inaugurado o restaurante do Zoológico.
+ 
+Gazeta de Notícias, 4 de julho de 1888
+ 
+Neste mesmo ano, 1888, em 19 de agosto, Drummond recebeu o título de Barão.
+
+O barão criou e inaugurou, em 3 de julho de 1892, um jogo para financiar suas atividades: o Jogo do Bicho (Jornal do Brasil, 4 de julho de 1892).
+ 
+
+Jornal do Brasil, 4 de julho de 1892
+ 
+
+“Ao comprar o ingresso de entrada para o Jardim Zoológico, o visitante passaria a receber um ticket. No bilhete estaria impressa a figura de um animal. Pendurada num poste a cerca de três metros de altura, próxima ao portão de entrada do parque, havia uma caixa de madeira. Dentro desta ficava escondida a gravura de um animal, escolhida pelo barão em uma lista de 25 bichos que ia de avestruz a vaca, passando por borboleta e jacaré. Nesse domingo, às cinco horas da tarde, a caixa seria aberta pela primeira vez, e o público presente poderia, afinal, descobrir o animal encaixotado e saber se teria direito ao prometido prêmio de 20$000, 20 vezes o valor gasto com a entrada para o zoo. Na hora marcada, o barão dirigiu-se até o poste, revelou a avestruz e fez a alegria de 23 sortudos visitantes”.
+Felipe Magalhães,
+ 
+Capa do livro Ganhou, leva!” – O Jogo do Bicho no Rio de janeiro (1890-1960), de Felipe Magalhães
+ 
+A maior parte das versões sobre a motivação do Barão de Drummond para criar o jogo do bicho se refere ao corte da subvenção anual de dez contos de réis que o Governo Imperial fazia ao Jardim Zoológico. A República havia sido proclamada em 1889. Segundo Felipe Magalhães, a partir de uma pesquisa em documentos do Arquivo Geral da Cidade do Rio de Janeiro:
+“Numa petição enviada à Intendência Municipal da Capital Federal em 18 de setembro de 1890, o Barão de Drummond tinha a pretensão de transformar o Jardim zoológico em “Jardim de Aclimação não só de animais como de plantas exóticas e indígenas”… o Barão, argumentava que: 
+“Esta empresa (…) tem sido julgada por homens do país, eminentes na ciência como necessidade agradável e útil à Capital Federal, já pela concorrência à distração dos seus habitantes, como fonte indispensável de estudos para a mocidade; e que em outros países é largamente subvencionada pelos respectivos governos ou por eles criada e mantida, é apenas entre nós auxiliada com a diminuta soma de dez contos de réis anual.26 Apelando para o espírito público da Intendência Municipal, Drummond afirmava que o valor da subvenção anual não era suficiente para fazer face às despesas do zoológico. Afirmava ainda a incapacidade dos acionistas do empreendimento em reaver seus investimentos, pois o dinheiro percebido com as entradas somado aos dez contos de réis, não seria suficiente para sustentar os animais. Deste modo se dirigia mais uma vez aos representantes do povo no sentido de pedir um auxílio, não em forma de mais dinheiro público, mas na forma da exploração de jogos lícitos dentro do Jardim. Na parte final da petição, tem-se que: para consecução de tamanhos benefícios públicos a diretoria [do Jardim zoológico] recorre à ilustre Intendência Municipal da capital federal e pede: 
+I – Direito de estabelecer, pelo prazo de seu privilégio, jogos públicos, mediante módica contribuição, a fim de poder manter-se a empresa e grandemente desenvolver o estabelecimento Jardim Zoológico tornando-o um dos melhores do mundo. 
+II – Estes divertimentos, como existem em outros países, sob a imediata fiscalização da polícia, tornar-se-ão atrativos para o público. 
+III – Auxiliará o público o desenvolvimento de tão útil instituição, tendo como recreio jogos que, bem fiscalizados e moralizados resultaram em proveito da comunidade sem os incovenientes tão nefastos que acarretam, por exemplo, as loterias, os jogos de corridas, onde ele é tão defraudado, e a multiplicidade de casas de tavolagem que empestam esta cidade. […] Em um país novo como o nosso faz-se preciso que empresas como esta encontrem na pública administração a coragem para que possam vingar. Nestes termos a peticionária pede benévolo deferimento. 
+Rio, 18 de setembro de 1890 Barão de Drummond Diretor do Jardim”
+O Jogo do Bicho fez muito sucesso, os bilhetes começaram a ser comercializados fora do zoológico e pessoas de todas as classes sociais participavam da disputa, cujo resultado passou a ser divulgado pelos jornais. O Jogo do  Bicho é uma contravenção no Brasil (Decreto-lei 3.688, de 3 de outubro de 1941, artigo  58 da Lei de Contravenções Penais)
+ 
+Rio Memórias
+
+ 
+Diário do Rio
+ 
+ 
+Ainda na década de 1890, o empreendimento enfrentou uma nova crise e o Barão de Drummond decidiu passar o negócio adiante. Após sua morte, em 7 de agosto de 1897 (Jornal do Commercio, 9 de agosto de 1897, sétima coluna), o zoológico foi assumido por seu sobrinho, Carlos Drummond Franklin, que investiu em infraestrutura para a realização de torneios atléticos. Em dezembro de 1939, após inúmeras crises, o Zoológico de Vila Isabel foi fechado (A Noite, 20 de dezembro de 1939; 23 de dezembro de 1939; Correio da Manhã, 23 de dezembro de 1939, primeira coluna; Diário de Notícias, 22 de março de 1940, terceira coluna).
+ 
+Aniversário do Barão
+Carlos Drummond de Andrade
+“Na íngreme Rua de Santana, de Itabira, onde nasceu em primeiro de maio de 1825, o garoto João Batista, filho. De João Batista e de Maria do Carmo, ficou sendo, para toda gente, o Batistinha. Mas o diminutivo não lhe conviria no decorrer do tempo, e ao morrer no Rio de Janeiro em sete de Agosto de 1897, era Barão.
+Entre uma data ou outra, João Batista fez coisas, muitas e determinadas de outras coisas, que influíram na vida de uma cidade, do Rio, e até no país. Não foi à toa que se ligou ao Mauá, em empreendimento como a estrada de ferro hoje chamada Central do Brasil. Seu espírito ávido de criação afastou-o cedo da Rua Santana e do pequeno meio paroquial, levando-o a Capital do Império. Na Corte, João Batista sentiu-se a vontade para planejar, fazer e acontecer.
+Fez um bairro inteiro, onde havia o matagal da Fazenda do Macaco e onde hoje se refugiam os últimos traços do espírito genuinamente carioca: Vila Isabel. Abriu nele uma larga avenida, antecipadora das modernas vias de circulação urbana. E para que a vida nesse bairro não fosse uma sucessão escura de bocejos, presenteou-o com um parque de 300 mil metros quadrados, onde plantas e animais nativos e exóticos poderiam ser apreciados e se fariam estudos práticos de zoologia e zootécnica.
+A certa altura, o jardim zoológico dava prejuízo. Teve que requer a ilustríssima Câmara Municipal (por que não são mais ilustríssimas é uma pena?) licença para estabelecer lá dentro jogos públicos sob fiscalização policial, a fim de honrar as despesas com a manutenção e desenvolvimento da iniciativa, nasceu ai o jogo do bicho, instituição nacional, trazida por um mexicano um tal Zevada, a principio mero atrativo para a freqüência do Zôo. Mas a coisa era tão bem bolada que acabou se espalhando fora dos portões do estabelecimento, e hoje cobre o país inteiro. João Batista não tem culpa nisso. Talvez seja mais correto dizer: Não tem glória nisso. Pois enfim, o jogo do bicho, rotulado de contravenção penal, é tão querido do povo e tão radicado como habito brasileiro, que o Governo se apresenta para oficializá-lo, sob o título de Zooteca. (Tirando-lhe possivelmente o encanto do jogo espontâneo, livre, baseado na confiança que inspirem banqueiros e bicheiros).
+Todos os biógrafos de João Batista fazem questão de lembrar que ele não foi banqueiro de bicho nem inventor desse jogo imaginoso. Certíssimo. Mas se fosse o inventor, que mal haveria nisso? A inteligência criadora não precisa arrepender-se de uma concepção que dá alegria, dinheiro, e esperança a muita gente, e que não é responsável pelos crimes derivados pela sua prática. Vamos amaldiçoar o vinho, vamos proibir a uva porque muitos bêbados se arruinaram e às suas famílias? Crimes e erros cometem-se à margem de qualquer instituição, respeitáveis ou anódinas, e não bastam para condená-las; elas devem ser julgadas em si. O jogo inocente, que conquistou a simpatia de toda população, merece pelo menos indulgência, em vez de ser julgado por um moralismo hipócrita, cuja defesa se associam veladamente à sua exploração.
+Mas deixamos de lado os bichos do Barão, hoje espalhados sobre o território pátrio. João foi também partidário da Abolição, e deu exemplo em casa, alforriando os seus escravos.
+Desculpem-me a modéstia de lembrar que hoje o meu ilustre primo-longe João Batista Viana Drummond, fundador da Vila Isabel de Noel Rosa e Marque Rabelo, está completando, lá no sem fim, 150 anos de nascimento. Ter um primo Barão cutuca a vaidade do clã. Os velhinhos da Rua de Santana se fossem eternos, esta hora estariam exclamando, embevecidos:
+-Sim Senhor Batistinha, hein? Como subiu!”
+Jornal do Brasil, 1º de maio de 1975
+ 
+Andrea C. T. Wanderley
+Pesquisadora e editora da Brasiliana Fotográfica
+ 
+Fontes:
+MAGALHÃES, Felipe. E O RIO NÃO CIVILIZA-SE… O JARDIM ZOOLÓGICO E O JOGO DO BICHO NO RIO DE JANEIRO, 2009.
+MAGALHÃES, Felipe. Ganhou, leva, o Jogo do Bicho no Rio de Janeiro (1890 – 1960), 2011. Rio de Janeiro : Editora FGV
+Hemeroteca Digital da Biblioteca Nacional
+Site Diário do Rio
+Site Rio Memórias
+WANDERLEY, Andrea C. T. Série “O Rio de Janeiro desaparecido” IX – Estrada de Ferro Central do Brasil: estação e trilhos in Brasiliana Fotográfica, 12 de novembro de 2019.
+ 
+Links para os outros artigos da Série O Rio de Janeiro desaparecido
+ 
+Série O Rio de Janeiro desaparecido I - Salas de cinema do Rio de Janeiro do início do século XX, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 26 de fevereiro de 2016.
+Série O Rio de Janeiro desaparecido II – A Exposição Nacional de 1908 na Coleção Família Passos, de autoria de Carla Costa, historiadora do Museu da República, publicado na Brasiliana Fotográfica, em 5 de abril de 2018.
+Série O Rio de Janeiro desaparecido III – O Palácio Monroe, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica, em 9 de novembro de 2016.
+Série O Rio de Janeiro desaparecido IV - A via elevada da Perimetral, de autoria da historiadora Beatriz Kushnir, publicado na Brasiliana Fotográfica em 23 de junho de 2017.
+Série O Rio de Janeiro desaparecido V – O quiosque Chopp Berrante no Passeio Público, Ferrez, Malta e Charles Dunlop, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 20 de julho de 2018.
+Série O Rio de Janeiro desaparecido VI – O primeiro Palácio da Prefeitura Municipal do Rio de Janeiro, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 12 de setembro de 2018.
+Série O Rio de Janeiro desaparecido VII – O Morro de Santo Antônio na Casa de Oswaldo Cruz, de autoria de historiador Ricardo Augusto dos Santos da Casa de Oswaldo Cruz, publicado na Brasiliana Fotográfica em 5 de fevereiro de 2019.
+Série O Rio de Janeiro desaparecido VIII – A demolição do Morro do Castelo, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 30 de abril de 2019.
+Série O Rio de Janeiro desaparecido IX – Estrada de Ferro Central do Brasil: estação e trilhos, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 12 de novembro de 2019.
+Série O Rio de Janeiro desaparecido X – No Dia dos Namorados, um pouco da história do Pavilhão Mourisco em Botafogo, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 12 de junho de 2020.
+Série O Rio de Janeiro desaparecido XI – A Estrada de Ferro do Corcovado e o mirante Chapéu de Sol, de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 22 de julho de 2021.
+Série O Rio de Janeiro desaparecido XII – o Teatro Lírico (Theatro Lyrico), de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 15 de setembro de 2021.
+Série O Rio de Janeiro desaparecido XIII – O Convento da Ajuda, de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 12 de outubro de 2021.
+Série O Rio de Janeiro desaparecido XIV – O Conselho Municipal, de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 19 de novembro de 2021.
+Série O Rio de Janeiro desaparecido XV – A Praia de Santa Luzia no primeiro dia do verão, de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 21 de dezembro de 2021.
+Série O Rio de Janeiro desaparecido XVI – O prédio da Academia Imperial de Belas Artes, de autoria de Andrea C.T. Wanderley, publicado na Brasiliana Fotográfica em 13 de janeiro de 2022.
+Série O Rio de Janeiro desaparecido XVII – Igreja São Pedro dos Clérigos, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 18 de março de 2022.
+Série O Rio de Janeiro desaparecido XVIII – A Praça Onze, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 20 de abril de 2022.
+Série O Rio de Janeiro desaparecido XIX – A Igrejinha de Copacabana, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 23 de junho de 2022.
+Série O Rio de Janeiro desaparecido XX – O Pavilhão dos Estados, futuro prédio do Ministério da Agricultura, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 26 de julho de 2022.
+Série O Rio de Janeiro desaparecido XXI – O Chafariz do Largo da Carioca, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 19 de setembro de 2022. 
+Série O Rio de Janeiro desaparecido XXII – A Cadeia Velha que deu lugar ao Palácio Tiradentes, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 11 de abril de 2023
+Série O Rio de Janeiro desaparecido XXIII e Avenidas e ruas do Brasil XVII - A Praia e a Rua do Russel, na Glória, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 15 de maio de 2023
+Série O Rio de Janeiro desaparecido XXIV – O luxuoso Palace Hotel, na Avenida Rio Branco, uma referência da vanguarda artística no Rio de Janeiro, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 4 de julho de 2023
+Série O Rio de Janeiro desaparecido XXV – O Theatro Phenix, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 5 de setembro de 2023
+Série O Rio de Janeiro desaparecido XXVI – Conclusão do arrasamento do Morro do Castelo por Augusto Malta, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 14 de dezembro de 2023
+Série O Rio de Janeiro desaparecido XXVII e Série Os arquitetos do Rio de Janeiro V – O Jockey Club e o Derby Club, na Avenida Rio Branco e o arquiteto Heitor de Mello (1875 – 1920), de autoria de Andrea c. T. Wanderley, editora e pesquisadora do portal, em 15 de janeiro de 2024
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/11582` — `itens/20.500.12156.1_11582/`
+- `20.500.12156.1/11040` — `itens/20.500.12156.1_11040/`
+- `20.500.12156.1/12599` — `itens/20.500.12156.1_12599/`
+
diff --git a/wordpress/34913-serie-carnavais-de-antigamente-ix-criancas-no-carnaval-carioca-de-1933-por-guilh.md b/wordpress/34913-serie-carnavais-de-antigamente-ix-criancas-no-carnaval-carioca-de-1933-por-guilh.md
new file mode 100644
index 0000000..899b3b5
--- /dev/null
+++ b/wordpress/34913-serie-carnavais-de-antigamente-ix-criancas-no-carnaval-carioca-de-1933-por-guilh.md
@@ -0,0 +1,32 @@
+---
+id: 34913
+url: "https://brasilianafotografica.bn.gov.br/?p=34913"
+titulo: "Série “Carnavais de antigamente” IX – Crianças no carnaval carioca de 1933 por Guilherme Santos"
+autor: "Andrea Wanderley"
+data: "2024-02-08T11:02:26+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/12600"]
+fetched_at: "2026-09-10T10:16:27.574Z"
+---
+
+# Série “Carnavais de antigamente” IX – Crianças no carnaval carioca de 1933 por Guilherme Santos
+
+Com uma estereoscopia divertida de crianças fantasiadas no carnaval carioca de 1933, produzida pelo fotógrafo amador Guilherme Santos (1871 – 1966), a Brasiliana Fotográfica celebra a folia momesca e elenca para seus leitores sete artigos já publicados no portal sobre a festa, que é considerada, por muitos, como o maior show da Terra. Nos artigos, estão publicadas cenas de carnaval com imagens de foliões de diferentes décadas e estados do Brasil registrados por fotógrafos ainda não identificados, por Augusto Malta (1864 – 1957), Chichico Alkmin (1886 – 1978), Jean Manzon (1915 – 1990) e Luiz Lavenère Wanderley (1868 – 1966). Evoé Momo! Salve o Carnaval!
+ 
+Guilherme Santos. Carnaval – crianças fantasiadas, 1933. Rio de Janeiro, RJ / Acervo IMS
+ 
+Fotógrafo amador e colecionador, Guilherme Santos produziu mais de 20 mil imagens estereoscópicas entre os anos de 1906 e 1957, utilizando-se exclusivamente do sistema Verascope, um sistema de integração entre câmera e visor, que permitia ver imagens em 3D, produzidas a partir de duas fotos quase iguais, porém tiradas de ângulos um pouco diferentes. Eram impressas em uma placa de vidro e reproduziam a sensação de profundidade de maneira bem próxima da visão real. Antes dele, entre os anos de 1855 e 1862, o “Photographo da Casa Imperial”, Revert Henrique Klumb (1826 – c. 1886), favorito da imperatriz Teresa Christina e professor de fotografia da princesa Isabel, havia produzido vários registros utilizando a técnica da estereoscopia. A Casa Leuzinger também produziu fotografias estereoscópicas.
+ 
+Acessando o link para as fotografias de Carnaval disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+Acesse aqui todos os artigos da Série Carnavais de antigamente.
+Leia aqui Carnavais de outrora, de Guilherme Tauil, publicado no Portal da Crônica Brasileira em 15 de fevereiro de 2024
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/12600` — `itens/20.500.12156.1_12600/`
+
diff --git a/wordpress/35032-uma-das-ultimas-fotos-ou-a-ultima-foto-da-familia-imperial-no-brasil-e-seu-autor.md b/wordpress/35032-uma-das-ultimas-fotos-ou-a-ultima-foto-da-familia-imperial-no-brasil-e-seu-autor.md
new file mode 100644
index 0000000..4ee964d
--- /dev/null
+++ b/wordpress/35032-uma-das-ultimas-fotos-ou-a-ultima-foto-da-familia-imperial-no-brasil-e-seu-autor.md
@@ -0,0 +1,72 @@
+---
+id: 35032
+url: "https://brasilianafotografica.bn.gov.br/?p=35032"
+titulo: "Uma das últimas fotos ou a última foto da Família Imperial no Brasil e seu autor, Otto Hees (1870 – 1941)"
+autor: "Andrea Wanderley"
+data: "2024-05-23T10:11:29+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/12495"]
+fetched_at: "2026-09-10T10:16:30.829Z"
+---
+
+# Uma das últimas fotos ou a última foto da Família Imperial no Brasil e seu autor, Otto Hees (1870 – 1941)
+
+A Brasiliana Fotográfica destaca uma fotografia de autoria de Otto Rees (1870-1941), considerada um dos últimos registros ou mesmo o último da Família Imperial no Brasil, produzida em 23 de maio de 1889, pelo fotógrafo Otto Hees (1870 -1941), no Palácio Isabel, atual Grão-Pará, em Petrópolis. Estão na imagem dom Pedro II (1825 – 1891),  dona Teresa Cristina (1822 – 1889), a princesa Isabel (1846 – 1921), o conde d’Eu (1842 – 1922) e os filhos do casal – dom Pedro de Alcântara, com dom Luís e dom Antônio – e o filho da princesa Leopoldina, dom Pedro Augusto. É um retrato externo e diurno, onde todos, à exceção do conde d´Eu, olham fixamente para a câmera.
+ 
+Otto Rees. Família Imperial, 25 de maio de 1889. Da esquerda para a direita: a imperatriz dona Teresa Cristina, dom Antônio, a princesa Isabel, o imperador, dom Pedro Augusto (filho da irmã da princesa Isabel, dona Leopoldina, duquesa de Saxe), d. Luís, o conde d’Eu e dom Pedro de Alcântara. Palácio Isabel, atual Grão-Pará, Petrópolis, RJ / Acervo Museu Histórico Nacional
+ 
+Em 15 de novembro do mesmo ano da foto destacada, 1889, foi proclamada a República e, dois dias depois, eles partiram para o exílio, na Europa, a bordo do Alagoas (Gazeta de Notícias, edição de 18 de novembro de 1889, sob o título “O Embarque do Imperador”, na segunda coluna). Quando foi deposto, dom Pedro II tinha governado por 49 anos, três meses e 22 dias. Chegaram em Lisboa em 7 de dezembro. Visitaram Coimbra e o Porto, onde a imperatriz Teresa Cristina faleceu, em 28 de dezembro.
+Entre 1890 e 1891, Pedro II viveu entre Cannes, Vichy, Versalhes e Baden-Baden. Em 24 de outubro de 1891, chegou em Paris, onde se hospedou no Hotel Bedford, número 17 da rua de l’Arcade. Em 5 de dezembro, faleceu de pneumonia (O Paiz, de 6 de dezembro de 1891, e Gazeta de Notícias, de 6 de dezembro de 1891). Ao final da tarde do dia 5, centenas de coroas de flores, uma delas enviada pela rainha Vitória , e mais de cinco mil telegramas já haviam chegado ao Hotel Bedford. O caixão foi coberto pela bandeira imperial e o presidente francês, Sadi Carnot (1837 – 1894), determinou honras militares, fatos que irritaram o governo brasileiro.
+Segundo o historiador José Murilo de Carvalho, a morte do imperador teve grande repercussão no Brasil “apesar dos esforços do governo para a abafar. Houve manifestações de pesar em todo o país: comércio fechado, bandeiras a meio pau, toques de finados, tarjas pretas nas roupas, ofícios religiosos“.
+Na noite do dia 8, seu corpo, já embalsamado, foi levado, em cortejo oficial no mesmo carro usado nos funerais do ex-presidente Adolphe Thiers (1797 – 1877), para a igreja da Madeleine. No dia seguinte,  houve exéquias solenes com a presença de autoridades francesas e de outros países, além de personalidades como sua filha, a princesa Isabel; o escritor português Eça de Queirós (1845 – 1900) e o diplomata Joaquim Nabuco (1849 – 1910).
+Em 1921, chegaram no Rio de Janeiro os corpos de dom Pedro II e de dona Teresa Cristina, que estavam no Mosteiro de São Vicente de Fora, em Lisboa. Viajaram no encouraçado São Paulo, que havia transportado do Brasil à Europa os reis da Bélgica. O conde d´Eu (1842 – 1922), seu filho, o príncipe Dom Pedro (1875 – 1940), e o barão de Muritiba (1839 – 1922) acompanharam a viagem dos despojos (O Paiz, de 9 de janeiro de 1921; Careta, 15 de janeiro de 1921). A princesa Isabel não chegou a se beneficiar da revogação do banimento da família real do Brasil porque faleceu em 14 de novembro de 1921. Os corpos de dom Pedro II e de dona Teresa Cristina ficaram na Catedral Metropolitana. Em 1925, os  restos mortais dos monarcas foram para a Catedral de Petrópolis e, finalmente, em 5 de dezembro de 1939, foram para o Mausoléu Imperial, uma capela localizada à direita da entrada da Catedral de Petrópolis, numa cerimônia na qual estava presente o então presidente da República, Getulio Vargas (1882 – 1954). O túmulo foi esculpido em mármore de Carrara pelo francês Jean Magrou (1869 – 1945) e pelo brasileiro Hildegardo Leão Veloso (1899 – 1966) (Jornal do Brasil, de 6 de dezembro de 1939).
+ 
+Pequeno perfil do fotógrafo Otto Hees (1870 – 1941)
+ 
+Otto Friedrich Wilhelm Karl Hees era um dos 11 filhos do fotógrafo alemão Pedro Hees (1841 – 1880) com Maria Glasow Hees (1843 – 1928). Seus irmão eram Ana Catarina Hees (1861-1944), Edmundo Frederico Nicolau Hees (1862-1944), Fernando Jacob Hees (1865-1866), Fernando Mauricio Hees (1867-1893), João Batista Hees (1868-1876), Elisa Matilde Hees (1872-1932), Maria Olga Hees (1872-1958), Joana Teresa Hees (1874-1900), Numa Augusto Hees (1877-1961) e Isabel Emma Hees (1878-1943). Nasceu em Petrópolis, em 4 de setembro de 1870.
+Seu pai, o já mencionado Pedro Hees, em 16 de agosto de 1876, tornou-se Fotógrafo da Casa Imperial. Segundo Boris Kossoy, recebeu do conde e da condessa d´Eu “a graça de usar o título de Photographo de sua Imperial Caza e de collocar na porta do seu estabelecimemnto as respectivas armas”. O documento foi assinado por Benedicto Torres, mordomo do conde d’Eu e da princesa Isabel.
+Otto iniciou seus estudos no Colégio Alemão, em Petrópolis, e, em dezembro de 1882, foi premiado (O Mercantil, 20 de dezembro de 1882, quarta coluna). Aprendeu fotografia com seu pai, que faleceu, em julho de 1880,  quando ele tinha apenas 10 anos. O estabelecimento fotográfico de Pedro Hees foi arrendado ao fotógrafo Antonio Henrique da Silva Heitor (18?-?), que recebeu o título de Fotógrafo da Casa Imperial, em 2 de março de 1885, outorgado por dom Pedro II.
+Em março de 1888, Otto já havia assumido o estúdio (Alggemeine Deutsche Zeitung, 31 de março de 1888, última coluna).
+Em 23 maio de 1889, produziu a fotografia da Família Imperial em destaque nesta publicação da Brasiliana Fotográfica. A imagem foi reproduzida no artigo Isabel, a Redentora, publicado em A Noite, de 30 de julho de 1946. É referida como o último flagrante de parte da família Imperial no Brasil.
+ 
+
+A Noite, 30 de julho de 1946
+ 
+Em outubro de 1889, Otto abriu um estúdio em Juiz de Fora, Minas Gerais, e retornou a Petrópolis no mês seguinte (O Mercantil, 20 de novembro de 1889, última coluna).
+ 
+O Pharol, 13 de outubro de 1889
+ 
+Mercantil, 20 de novembro de 1889
+ 
+Em 1º de fevereiro de 1890, o estabelecimento passou a chamar-se Hees & Irmãos, de Numa Augusto e Otto.
+ 
+Mercantil, 5 de fevereiro de 1890
+ 
+Em 1892, alistou-se no exército, seguindo também a carreira militar.
+Em abril de 1895, fazia parte da administração do Asilo de Caridade de Petrópolis (Boletim do Grande Oriente do Brasil, Jornal Oficial da Maçonaria, abril de 1895).
+Em maio de 1895, tornou-se um dos primeiros ciclistas a efetuar o trajeto Petrópolis-Juiz de Fora. Foi um dos fundadores do Clube Alemão e, ainda nessa década ficou conhecido em Petrópolis por ter organizados muitas festas. Em 1900, foi candidato a vereador geral e a juiz de paz em Petrópolis, cargo pelo qual foi empossado, em 1901, pelo biênio seguinte. Também em 1901, quando era tenente, produziu fotografias de ladrões para arquivamento da polícia.
+Em 1902, trabalhou na Sul América Seguros e, no ano seguinte, fotografou o barão do Rio Branco (1845 – 1912) e outras personalidades, em 17 de novembro de 1903, logo após a assinatura do Tratado de Petrópolis, que incorporou o território correspondente ao Acre ao Brasil.
+ 
+ 
+Grupo de negociadores do Tratado de Petrópolis, 17 de novembro de 1903. Petrópolis, RJ / Acervo Museu Imperial
+ 
+Foi reeleito para o cargo de juiz de paz para o biênio 1904-1905. Em 1910, foi eleito vereador por Petrópolis. Já era major. Nas décadas seguintes, afastado comercialmente da fotografia, exerce os cargos de secretário executivo e delegado de polícia na sua cidade natal (Enciclopédia Itaú Cultural). Faleceu na mesma cidade, em setembro de 1941 (Jornal do Brasil, 17 de setembro de 1941, quarta coluna).
+ 
+Leia aqui a Cronologia de Otto Hees (1870 – 1941)
+Fontes:
+FERREZ, Gilberto. A fotografia no Brasil: 1840- 1900. Prefácio Pedro Karp Vasquez. 2. ed. Rio de Janeiro: Funarte, 1985.
+FERREZ, Gilberto; NAEF, Weston J. Pioneer photographers of Brazil : 1840 – 1920. New York: The Center for Inter-American Relations, 1976.
+Hemeroteca Digital da Biblioteca Nacional
+KOSSOY, Boris. Dicionário Histórico-Fotográfico Brasileiro: fotógrafos e ofício da fotografia no Brasil (1833-1910). São Paulo: Instituto Moreira Salles, 2002.
+LAGO, Bia Corrêa do. Os fotógrafos do Império: a fotografia brasileira no Século XIX. Rio de Janeiro: Capivara, 2005.
+LAGO, Bia Corrêa do; LAGO, Pedro Corrêa do. Coleção Princesa Isabel: fotografia do século XIX. Rio de Janeiro: Capivara, 2008.432p.:il., retrs.
+TURAZZI, Maria Inez. Poses e trejeitos: a fotografia e as exposições na era do espetáculo: 1839/1889. Prefácio Pedro Karp Vasquez. Rio de Janeiro: Funarte. Rocco, 1995. 309 p., il. p&b. (Coleção Luz & Reflexão, 4). ISBN 85-85781-08-4.
+VASQUEZ, Pedro Karp. Dom Pedro II e a fotografia no Brasil. Rio de Janeiro: Fundação Roberto Marinho, 1985.
+VASQUEZ, Pedro Karp. Fotógrafos Alemães no Brasil do Século XIX. São Paulo: Metalivros, 2000.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/12495` — `itens/20.500.12156.1_12495/`
+
diff --git a/wordpress/35099-serie-conflitos-ix-os-120-anos-da-revolta-da-vacina.md b/wordpress/35099-serie-conflitos-ix-os-120-anos-da-revolta-da-vacina.md
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+---
+id: 35099
+url: "https://brasilianafotografica.bn.gov.br/?p=35099"
+titulo: "Série “Conflitos” IX – Os 120 anos da Revolta da Vacina"
+autor: "Andrea Wanderley"
+data: "2024-11-10T11:30:14+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/12670"]
+fetched_at: "2026-09-10T10:16:34.418Z"
+---
+
+# Série “Conflitos” IX – Os 120 anos da Revolta da Vacina
+
+A Revolta da Vacina, cujo início aconteceu há 120 anos, volta a ser tema da Brasiliana Fotográfica. Foram dias, em 1904, de 10 a 16 de novembro, muito marcantes na história da saúde pública no Brasil. Foi, na época, a maior revolta urbana ocorrida no Rio de Janeiro, onde, só em 1904, cerca de 3.500 pessoas haviam morrido vitimadas pela varíola. O estopim do protesto popular foi a promulgação, em 31 de outubro de 1904, e a regulamentação, em 9 de novembro do mesmo ano, da Lei nº 1261, que tornava obrigatória a vacinação em massa contra a varíola. A lei foi colocada em prática pelo então Diretor Geral de Saúde Pública, Oswaldo Cruz (1872 – 1917).
+ 
+Oswaldo Cruz ao microscópio em laboratório de Manguinhos, observado por seu filho Bento Oswaldo Cruz e por Burle de Figueiredo, 1910. Rio de Janeiro, RJ / Acervo Casa de Oswaldo Cruz
+ 
+Ele foi contratado para o cargo para combater tanto a varíola como a peste bubônica e a febre amarela, que grassavam na capital da República e que fizeram com que o Rio de Janeiro recebesse o apelido de túmulo dos estrangeiros. O prefeito do Rio de Janeiro era Francisco Pereira Passos (1836 – 1913) e, o presidente do Brasil, Rodrigues Alves (1848 – 1919), que faleceu, no final da década seguinte, durante a pandemia da gripe espanhola. O Rio de Janeiro era a maior cidade do Brasil, com cerca de 800 mil habitantes, e a questão sanitária era um grande problema: as redes de esgoto e água eram precárias e não havia coleta de lixo. A campanha pelo saneamento e de combate às doenças fazia parte de um plano de governo para mudar a imagem do Brasil no exterior, que passava pela mudança da imagem da capital federal.
+ 
+O Malho, 8 de outubro de 1904
+ 
+Oswaldo Cruz foi chamado de Napoleão da seringa e lanceta (O Malho, 29 de outubro de 1904).
+ 
+O Malho, 29 de outubro de 1904
+ 
+Paralelamente à revolta popular, aconteceu um movimento militar orquestrado pelos generais Silvestre Travassos (1848 – 1904) e Olímpio da Silveira (1887 – 1935), Lauro Sodré (1858-1944), Barbosa Lima (1862-1931), o major Gomes de Castro (1836-1909) e o capitão Augusto Mendes de Moraes (18?-19?), que se reuniram no dia 14 de novembro de 1904, no Clube Militar. Tinham por objetivo derrubar o governo de Rodrigues Alves, que foi aconselhado a ir para um navio de guerra, onde teria mais segurança. Ele recusou. Silvestre Travassos foi atingido por um tiro durante os confrontos e faleceu em 22 de novembro.
+ 
+O Malho, 26 de novembro de 1904
+ 
+No dia 16 de novembro, foi decretado o estado de sítio e revogada a obrigatoriedade da vacinação. Com isso, o movimento popular arrefeceu, os serviços voltaram a funcionar e a cidade se apaziguou. Saldo do movimento: 945 prisões, 461 deportações, 110 feridos e 30 mortos (Gazeta de Notícias, 17 de novembro de 1904 e 18 de novembro de 1904).
+ 
+O Malho, 26 de novembro de 1904 – a referência a Porto Arthur é uma alusão à guerra entre a Rússia e o Japão
+ 
+“A vacina antivariólica já havia sido desenvolvida em 1796, pelo médico Edward Jenner, na Inglaterra. No Rio de Janeiro, a vacinação da doença era obrigatória para crianças desde 1837 e para adultos desde 1846, conforme o Código de Posturas do Município. No entanto, a regra não era cumprida porque a produção de vacinas era pequena, tendo alcançado escala comercial apenas em 1884. O imunizante também não era bem aceito pelo povo, ainda desacostumado com a própria ideia da vacinação, e diferentes boatos corriam na época, como o de quem se vacinava ganhava feições bovinas”(Portal Fiocruz).
+A rejeição à vacina ocasionou uma nova epidemia de varíola no Rio de Janeiro, em 1908, com, de acordo com a Casa de Oswaldo Cruz, mais de 6.500 casos da doença. Só nesta época a população começou a procurar voluntariamente a vacina nos postos de saúde.
+O Brasil só erradicou a varíola na década de 1970. O último caso de varíola humana do país foi registrado no Rio de Janeiro em 1971. E, em 1973,o Brasil recebeu o certificado da OMS de erradicação da doença (Site Invivo).
+ 
+Leia aqui As doenças do Rio de Janeiro no início do século XX e a Revolta da Vacina em 1904, de autoria de Andrea C.T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 5 de abril de 2020.
+ 
+Marianno da Silva. Aspecto da Praça da República no dia 14 de novembro de 1904 / Acervo Fiocruz
+ 
+Veja aqui um documentário produzido pela Casa de Oswaldo Cruz sobre a história da varíola, de sua vacina e da Revolta da Vacina.
+A vacinação é até hoje reconhecida como uma estratégia eficaz no fortalecimento de uma sociedade saudável e na preservação da saúde da população.
+“A política de vacinação é responsabilidade do Programa Nacional de Imunizações (PNI) do Ministério da Saúde. Estabelecido em 1973, o PNI desempenha um papel fundamental na promoção da saúde da população brasileira. Por meio do programa, o governo federal disponibiliza gratuitamente no Sistema Único de Saúde – SUS 48 imunobiológicos: 31 vacinas, 13 soros e 4 imunoglobulinas. Essas vacinas incluem tanto as presentes no calendário nacional de vacinação quanto as indicadas para grupos em condições clínicas especiais, como pessoas com HIV ou indivíduos em tratamento de algumas doenças (câncer, insuficiência renal, entre outras), aplicadas nos Centros de Referência para Imunobiológicos Especiais (CRIE), e inclui também as vacinas COVID-19 e outras administradas em situações específicas”.
+ Portal do Ministério da Saúde
+Andrea C.T. Wanderley
+Editora e pesquisadora da Brasiliana Fotográfica
+Esse artigo passou a integrar a série Conflitos, em 20 de março de 2026.
+Fontes:
+BENCHIMOL, Jaime Larry. Pereira Passos: um Haussmann Tropical. A renovação urbana na cidade do Rio de Janeiro no início do século XX. Rio de Janeiro: Secretaria Municipal de Cultura, Departamento Geral de Documentação e Informação Cultural, 1992.
+BENCHIMOL, Jaime Larry. Reforma urbana e Revolta da Vacina na cidade do Rio de Janeiro. In: Jorge Ferreira e Lucilia de Almeida Neves Delgado (org.) O Brasil Republicano. O tempo do liberalismo excludente. Da proclamação da República à Revolução de 1930. 3. ed. Rio de Janeiro: Civilização Brasileira, 2008.
+BENTO, Claudio Moreira. A revolta da vacina obrigatória na Escola a Praia Vermelha e na Escola Preparatória e Tática de Realengo.
+BIBEL, David J.; CHEN, T.H. Diagnosis of Plague: an Analysis of the Yersin-Kitasato Controversy. American Society for Microbiology, 1976.
+Biblioteca Virtual Oswaldo Cruz
+BRASIL. Ministério da Justiça. Relatório 1904 – 1905. Imprensa Nacional, Rio de Janeiro, 1905.
+CARVALHO, José Murilo de: Os Bestializados – O Rio de Janeiro e a República que não foi. São Paulo : Companhia das Letras, 1987.
+COSTA, Zouraide; ELKHOURY, Ana; FLANNERY, Brendan; ROMANO, Alessandro. Evolução histórica da vigilância epidemiológica e do controle da febre amarela no Brasil, 2011.
+CURY, Bruno da Silva Mussa. Combatendo ratos, mosquitos e pessoas: Oswaldo Cruz e a saúde pública na reforma da capital do Brasil (1902-1904). / Bruno da Silva Mussa Curry. – 2012. 160 f. Dissertação (Mestrado em História) – Universidade Federal do Estado do Rio de Janeiro, Programa de Pós-graduação em História, Rio de Janeiro, 2012.
+Dicionário Cravo Alvim
+Hemeroteca Digital da Biblioteca Nacional
+Ministério da Saúde
+MOURELLE, Thiago. A revolta da vacina. Arquivo Nacional: Que República é essa?, 21 de janeiro de 2020.
+Nosso Século. São Paulo : Abril Cultural, 1980.
+Portal Fiocruz – A trajetória do médico dedicado à ciência
+Portal Fiocruz  – A Revolta da Vacina
+Projeto Memória – Fundação Banco do Brasil
+Revista da Vacina – Ministério da Saúde – Centro Cultural da Saúde
+ROCHA, Oswaldo; CARVALHO, Lia de Aquino. A era das demolições Habitações Populares. Rio de Janeiro : Biblioteca Carioca, 1986
+SEVCENKO, Nicolau. A Revolta da Vacina: mentes insanas em corpos rebeldes. São Paulo: Cosac Naify, 2010.
+Site BBC
+Site Butantã
+Site CPDOC
+Site Multirio
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/12670` — `itens/20.500.12156.1_12670/`
+
diff --git a/wordpress/3515-igrejas-no-brasil.md b/wordpress/3515-igrejas-no-brasil.md
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+---
+id: 3515
+url: "https://brasilianafotografica.bn.gov.br/?p=3515"
+titulo: "Igrejas no Brasil"
+autor: "Andrea Wanderley"
+data: "2015-12-28T00:02:44+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/584"]
+fetched_at: "2026-09-10T10:16:37.845Z"
+---
+
+# Igrejas no Brasil
+
+A Brasiliana Fotográfica oferece a seus leitores uma seleção de fotografias de igrejas católicas em algumas das principais cidades do Brasil. Durante a maior parte da história do país, as igrejas foram um dos maiores símbolos das nossas riquezas e muitas cidades brasileiras cresceram em torno delas. No tempo em que as missas não eram celebradas em português, mas em latim, ser brasileiro era quase sinônimo de ser católico.
+ 
+Revert Henrique Klumb. La Chapelle Impériale et l’Eglise des Carmes, c. 1860. Rio de Janeiro, RJ / Acervo FBN
+ 
+No primeiro censo, em 1872, o catolicismo, religião oficial do país, era seguida por 99,7% da população. O último censo do IBGE, Instituto Brasileiro de Geografia, de 2010, divulgado em 29 de junho de 2012, revelou que o Brasil continua sendo o maior país católico do mundo, mesmo com a redução no número de fiéis ao longo das últimas décadas. Nas estatísticas, há 123 milhões de católicos no país, que representam 64,6% da população. O estado do Piauí tem o maior percentual de católicos e o Rio de Janeiro, o menor.
+As igrejas são, independentemente do significado religioso, importantes marcos da construção do patrimônio histórico e cultural do Brasil.
+
+Link para as fotografias de igrejas disponíveis na Brasiliana Fotográfica
+ 
+Andrea C. T. Wanderley
+Editora-assistente e pesquisadora da Brasiliana Fotográfica
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/584` — `itens/20.500.12156.1_584/`
+
diff --git a/wordpress/35177-serie-teatros-e-cinemas-do-brasil-xi-o-theatro-da-paz-em-belem-do-para-inaugurad.md b/wordpress/35177-serie-teatros-e-cinemas-do-brasil-xi-o-theatro-da-paz-em-belem-do-para-inaugurad.md
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@@ -0,0 +1,159 @@
+---
+id: 35177
+url: "https://brasilianafotografica.bn.gov.br/?p=35177"
+titulo: "Série “Teatros e cinemas do Brasil” XI – O Theatro da Paz, em Belém do Pará, inaugurado em 15 de fevereiro de 1878"
+autor: "Andrea Wanderley"
+data: "2024-02-15T14:10:18+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/2525", "20.500.12156.1/10883"]
+fetched_at: "2026-09-10T10:16:41.077Z"
+---
+
+# Série “Teatros e cinemas do Brasil” XI – O Theatro da Paz, em Belém do Pará, inaugurado em 15 de fevereiro de 1878
+
+Com uma fotografia produzida pelo português Felipe Augusto Fidanza (1844 – 1903), um dos mais importantes fotógrafos que atuaram no norte do Brasil no século XIX e no início do século XX, e com uma de autoria de um fotógrafo ainda não identificado, o portal conta um pouco da história do Theatro da Paz, primeira casa de espetáculos construída na Amazônia e um dos mais representativos exemplares da arquitetura neoclássica no Brasil. É um dos teatros-monumentos do país. Não deixem de usar a ferramenta zoom para apreciar os detalhes da edificação e espiar uma pessoa que passava na frente do prédio.
+ 
+“No romance Chove nos Campos de Cachoeira (1941), do escritor paraense Dalcídio Jurandir, o menino Alfredo sonha em partir da pequena Cachoeira do Arari, na ilha do Marajó, para ir estudar na capital do Pará. Alfredo cria uma Belém particular, na medida do seu desejo, e, para isso, muito contribuem as histórias contadas pela vizinha Rosália, que todos os meses ia à capital receber seu montepio. Ela havia trabalhado no Teatro da Paz, seu orgulho: “Eu, eu vesti muita artista. Cada roupagem! Era ver uma princesa. fui camareira do Teatro da Paz!”, dizia, para a desconfiança de todos. “Camareira do Teatro da Paz! pasmava Cachoeira. Os conterrâneos de Rosália achavam demasiado, até mesmo irritante, que ela chegasse a ser camareira do maior teatro do norte do Brasil!”
+A ficção dimensiona o real significado do Teatro da Paz para os nortistas”.
+Roseane Silveira de Souza
+ 
+A construção e fundação do Theatro da Paz, em 15 de fevereiro de 1878, foi uma das consequências do enorme crescimento econômico que Belém, capital do Pará, experimentou na segunda metade do século XIX devido ao ciclo da borracha. Surgia então uma nova elite econômica, a dos seringalistas, que começou a transformar a cidade em um centro de divertimento, consumo e luxo. Belém, a Capital da Borracha, foi modernizada e quase toda a produção da Amazônia era escoada por seu porto.
+ 
+Felipe Augusto Fidanza. Theatro da Paz, c.1875. Belém, Pará / Acervo IMS
+ 
+Até hoje pouco se sabe da vida de Fidanza, autor da foto acima do Theatro da Paz, antes de sua chegada ao Brasil, em fins da década de 1860. Em 1º de janeiro de 1867, o Diario do Gram-Pará publicou o anúncio : “PHOTOGRAPHIA, ao largo das Mercez , nº. 5, Fidanza & Com”, o que prova que nessa época ele já estava estabelecido no Pará. A modernização de Belém e do Pará foram registradas nas coleções Álbum do Pará (1899) e Álbum de Belém (Correio da Manhã, de 22 de outubro de 1903, na quarta coluna sob o título “Intendência Municipal de Belém”). Fidanza não teve um final feliz.
+ 
+Reprodução do retrato de Fidanza, Álbum do Pará em 1899
+ 
+O Jornal do Brasil de 31 de janeiro de 1903 noticiou seu suicídio: “Atirou-se ao mar, de bordo do vapor Christiannia, em viagem de Lisboa para esta capital (Belém), o conhecido photographo Felippe Fidanza” ( Jornal do Brasil, 31 de janeiro de 1903, na primeira coluna ). Ele havia se jogado ao mar na altura da ilha da Madeira quando retornava de Portugal com a mulher e os filhos. Havia viajado para cuidar de uma encomenda dos governos do Pará e do Amazonas de 10 mil álbuns de vistas destes estados. Parece que foi mal sucedido e já havia, inclusive, tentado se matar em Lisboa ( O Pharol, 6 de março de 1903, na quinta coluna).
+A fotografia do Theatro da Paz produzida por um fotógrafo ainda não identificado pertence ao acervo do Museu da República, uma das instituições parceiras da Brasiliana Fotográfica. A imagem é de Nilo Peçanha (1867 – 1924), então candidato à presidência da República, discursando, em 1921, durante a  Reação Republicana, uma campanha política em torno da sucessão presidencial que mobilizou o Brasil, entre 1921 e 1922, cuja chapa oposicionista se opunha ao domínio de São Paulo e Minas Gerais na política nacional. Reuniu estados importantes – Rio de Janeiro, Pernambuco, Bahia e Rio Grande do Sul, mais o Distrito Federal – que queriam construir um eixo alternativo de poder.  Os candidatos à presidência e à vice-presidência da Reação eram justamente o fluminense Nilo Peçanha e o baiano J.J. Seabra (1855 – 1942). Nas eleições de 1º de março de 1922, foram derrotados pelo mineiro Artur Bernardes (1875 – 1955) e pelo maranhense Urbano Santos (1859 – 1922), que morreu antes de tomar posse.
+ 
+Nilo Peçanha discursa no Teatro da Paz durante a campanha Reação Republicana, 1921. Belém, Pará / Acervo Museu da República
+ 
+Voltando à história do Theatro da Paz. Em 1863, após a aprovação da Assembleia Provincial, o então presidente da província do Pará, Francisco de Araújo Brusque (1822 – 1886), sancionou a lei que autorizava a construção do teatro. Só cinco anos depois, em 1868, já na gestão de José Bento da Cunha Figueiredo (1818 – 1891), foi liberada a despesa para a obra. Inicialmente, por sugestão de dom Antônio de Macedo Costa (1830 – 1891), que lançou sua pedra fundamental, em 3 de março de 1869, se chamava Theatro Nossa Senhora da Paz, em referência à expectativa de término da Guerra do Paraguai, mas teve seu nome modificado, pois abrigaria apresentações mundanas (Diário de Belém, 4 de março de 1869, última coluna; Diário do Rio de Janeiro, 16 de março de 1869, segunda coluna; Diário de Pernambuco, 16 de março de 1869, quarta coluna).
+O governo da província contratou o engenheiro militar pernambucano José Tibúrcio Pereira de Magalhães (1831 – 1886) para projetá-lo – foi inspirado no Teatro Scala de Milão – e para começar a construi-lo (Diário de Pernambuco, 16 de março de 1869, quarta coluna). Posteriormente, o engenheiro Antônio Augusto Calandrini de Chermont (1847 – 1907) fez alterações na planta e assumiu a obra. Foi construído, na Praça Pedro II, atual Praça da República, e devido a diversas brigas entre o governo e o arrematante das obras, o empresário português João Francisco Fernandes, só foi aberto em 1878, quando foi entregue apenas dois dias antes de sua inauguração, em 13 de fevereiro de 1878.
+
+No período áureo do Ciclo da Borracha, o Theatro da Paz foi, finalmente, inaugurado, em 15 de fevereiro de 1878. A classe alta de Belém, referida pela imprensa da cidade como a gente escolhida, compareceu em peso ao evento. O povo ficou ao redor do teatro vendo a chegada dos convidados e o presidente da província, João Capistrano Bandeira de Melo Filho (1836 – 1905), foi saudado por uma banda de música e com foguetes. Dentro do teatro, a abertura aconteceu com a execução do Hino Nacional e da marcha Gram-Pará, de autoria do maestro maranhense Francisco Libânio Colás (c. 1831 – 1885). Foi apresentada a peça ópera As duas órfãs, do dramaturgo francês Adolphe d´Ennery (1811 – 1899), encenada pela companhia do pernambucano Vicente Pontes de Oliveira que teve até 1880 o monopólio da programação do Theatro da Paz. No palco: Manuela Lucci, Emília Câmara, Maria Bahia, Vicente Pontes de Oliveira, Joaquim Infante da Câmara, Xisto Bahia e Júlio Xavier de Oliveira, também ensaiador.
+ 
+
+Francisco Libânio Colás / Arquivo Público do Maranhão
+ 
+O Liberal do Pará, 15 de fevereiro de 1878
+ 
+Possuía 1.100 lugares (hoje com 900), acústica perfeita, lustres de cristal, piso em mosaico de madeiras nobres, afrescos nas paredes e teto, dezenas de obras de arte, gradis e outros elementos decorativos revestidos com folhas de ouro (Site do Theatro da Paz).
+
+O jornalista e escritor José Veríssimo (1857 – 1916), um dos mais importantes idealizadores da Academia Brasileira de Letras, dedicou sua coluna do dia 17 de fevereiro no jornal O Liberal do Pará à inauguração do teatro (O Liberal do Pará, 15 de fevereiro, última coluna; coluna “Folhetim”, de José Veríssimo, 17 de fevereiro de 1878; Publicador Maranhense, 22 de fevereiro de 1878, terceira coluna).
+ 
+José Veríssimo / Wikipedia
+ 
+Início da coluna “Folhetim”, de José Veríssimo (1857 – 1916) / O Liberal do Pará, 17 de fevereiro de 1878
+ 
+Em 7 de agosto de 1880, estreia da primeira temporada de ópera do Theatro da Paz, com a Companhia Lírica Italiana, dirigida pelo empresário Tomas Passini, com a apresentação de Ernani, de Giuseppe Verdi (1813 – 1901), trazendo a soprano Filomena Savio (18? – ?), estrela da companhia (O Liberal do Pará, 6 de agosto, segunda coluna; coluna “Folhetim”, 7 de agosto de 1880).
+
+ 
+O Liberal do Pará, 7 de agosto de 1880
+ 
+Outras temporadas de ópera se seguiram, alternando-se com apresentações dramáticas, estações carnavalescas, números circenses e eventos políticos. Em 1882, a temporada lírica teve como convidado de honra o compositor e maestro Carlos Gomes, no auge da fama (Roseane Silveira de Souza, 2011). Carlos Gomes (1836 – 1996) foi o maior nome da música brasileira do Segundo Reinado. Chegou a Belém, em 24 de julho de 1882 (O Liberal do Pará, 25 de julho de 1882, penúltima coluna; 27 de julho de 1882, quarta coluna). Estreou no Theatro da Paz  regendo a abertura da ópera O Guarani, de sua autoria (O Liberal do Pará, 3 de agosto de 1882, primeira coluna). Alguns dias depois, apresentação da ópera O Salvador Rosa, também de sua autoria e ensaiada por ele (O Liberal do Pará, 10 de agosto de 1882, quinta coluna). A Companhia Lírica Italiana de Tomás Passini havia sido contratada pelo maestro paraense José Cândido da Gama Malcher (1853 – 1921). A presença de Carlos Gomes na cidade foi um acontecimento marcado por diversas homenagens e eventos sociais (O Liberal do Pará, 6 de agosto, quarta coluna).
+O Theatro da Paz era considerado feio e foi assim descrito pelo jornalista José Veríssimo em sua noite de inauguração: No meio d’aquelle luxo, d’aquelle explendor, só uma cousa era feia, o theatro. Se exteriormente o theatro da Paz é desgeitoso e em contrario a todas as regras da architectura, interiormente é nú, sem arte, sem gosto, sem riquezas, sem luxo”. Uma reforma realizada no teatro entre 1887 e 1890, trouxe arte e beleza a seu interior. O versátil artista pernambucano Crispim do Amaral (1858 – 1911) e o pintor italiano Domenico De Angelis (c. 1852 – 1900) foram responsáveis pela decoração interna do edifício.
+O pano de boca de cena, intitulado Alegoria da República, é de autoria de Crispim. Sua autoria é muitas vezes atribuída, erroneamente, ao cenógrafo francês Eugène Carpezat (1833 – 1912), que Crispim havia conhecido na França e em cujo ateliê parisiense o trabalho foi realizado.
+ 
+“A alegoria do pano de boca reúne a figura de Marianne, uma síntese das representações de 1789 e 1848, ladeada por personagens da mitologia greco-romana, de elementos indígenas e caboclos, em meio a oficiais participantes do movimento republicano. Estudioso das representações republicanas, o historiador José Murilo de Carvalho ressalta que o baiano Manuel Lopes Rodrigues, autor de uma Alegoria da República, de 1896, só poderia tê-la concebido com os atributos da Segunda República porque vivia na Europa, onde esses elementos já haviam sido apropriados. Para ele, talvez não haja outra pintura de igualvalor. É lícito incluir Amaral nessa lista, pois sua pintura, além da qualidade estética, é a primeira representação republicana concebida no Pará e, provavelmente, no Brasil, além de integrar-se a um teatro-monumento”.
+ 
+Nascido em Olinda, Crispim do Amaral (1858 – 1911), era pintor, caricaturista, decorador, ilustrador e cenógrafo e havia estudado no Recife com o pintor e cenógrafo francês Leon Chapelin, que possuia um estúdio fotográfico na cidade (Diário de Pernambuco, 23 de abril de 1867).  Em 1876, Crispim havia se fixado em Belém. Tudo indica que foi discípulo do também pernambucano Vicente Pontes de Oliveira que, além de ator, era decorador e cenógrafo. Crispim foi agraciado, por intermédio de De Angelis, em 1888, com uma bolsa de estudos do governo paraense para aperfeiçoar-se em pintura na Academia de San Luca, e provavelmente, entre alguns anos da década de 1880 e 1893, viveu entre a França e a Itália. Na Itália, teria se formado pela Academia San Lucca. Na França, colaborou em vários periódicos, dentre eles o Le Rire, e trabalhou como cenógrafo da Comedie Française. Trabalhou também no Teatro Amazonas, inaugurado, em Manaus, na virada do ano de 1896 para 1897. Foi morar no Rio de Janeiro em fins do século XIX. Ao longo de sua vida, editou e ilustrou o jornal O Estafeta (1879), sob o pseudônimo Puck, trabalhou na revista A Semana Illustrada (1887), foi o primeiro diretor artístico da revista O Malho (1902), e o fundador das revistas A Avenida (1903) e O Pau (1905). Trabalhava como caricaturista na revista O Século quando faleceu, em 1911. Era irmão de Libânio do Amaral (? – 19?), que foi um dos sócios com Paul Erbe (? -19?) e George Huebner (1862-1935) da firma G. Huebner, Amaral e C, cujo ateliê fotográfico, durante a década de 1910, ficava na rua da Assembleia nº 100, no Rio de Janeiro. A sociedade foi dissolvida, em 1919 (Gazeta de Notícias, 18 de dezembro de 1911, quarta coluna; O Paiz, 23 de novembro de 1919).
+ 
+O artista Crispim do Amaral (1858 –  1911)
+ 
+
+O plafond (teto) e as pinturas decorativas das dependências da plateia são de autoria de Angelis.
+“A obra de De Angelis no plafond é uma reunião de personagens mitológicos, a começar pelo deus Apolo, em uma versão multifacetada, com atributos greco-romanos e celtas. Ele abre caminho para as musas, representadas em três nichos da pintura elíptica. Essas figuras são entremeadas por representações indígenas e tapuias, sinalizando a natureza e a cultura da região amazônica, embora claramente o conjunto pictórico reitere a supremacia europeia sobre aquele mundo novo, desconhecido e exótico”.
+Roseane Silveira de Souza, 2010
+ 
+A pintura do teto do foyer do Theatro da Paz foi realizada no período desta reforma, mas foi perdida em um desabamento do teto na década de 30. Em uma das outras reformas realizadas no teatro, na década de 1960, uma nova pintura do teto do foyer, com temática amazônica, foi feita pelo artista Armando Ballon.
+De Angelis havia chegado em Belém com seu sócio, o também italiano Giovanni Capranesi (1852 – 1921) e com o também pintor Sperindio Aliverti, em 1881, para trabalhar nas pinturas decorativas da Catedral de Belém.
+ 
+Domenico de Angelis (c. 1852 – 1900) / Oriundi Brasile
+ 
+Os artistas Adalberto de Andreis, Francesco Alegiani, Silvio Centofanti e José Gomes Corrêa de Faria colaboraram nesta reforma do teatro. Esses três primeiros trabalharam na decoração interna do Theatro Amazonas, de novo com Crispim e de Angelis, inaugurado na virada de 1896 para 1897.
+O Theatro da Paz foi reinaugurado em 2 de julho de 1890 com a apresentação da ópera A Sonâmbula, de Vicenzo Bellini, encenada pela Companhia Lírica Italiana, empresariada pelo maestro Gama Malcher (Diário do Notícias (PA), 2 de julho de 1890, quarta coluna).
+Durante a gestão do governador Augusto Montenegro (1867 – 1915), foi realizada uma nova reforma no teatro, entre 1904 e 1905. Foi reaberto em 3 de maio de 1905, com a estreia da Companhia Lírica Italiana, de Donato Rotolli, com a ópera Tosca, pela primeira vez executada no Pará.  Em 1918, na segunda quinzena de março, foi apresentada no Theatro da Paz espetáculos da companhia de balé da grande bailarina russa Anna Pavlova (1881 – 1931) (Estado do Pará, 16 de março de 1918, segunda coluna).
+ 
+
+ 
+Em 21 de junho de 1963, o Theatro da Paz foi tombado pelo serviço do Patrimônio Histórico e Artístico Nacional (IPHAN), que o considera um dos teatros-monumentos do Brasil.
+Na década de 1970, passou por uma nova reforma, tendo sido reaberto, em 15 de fevereiro de 1975, com a comemoração dos 70 anos do maestro paraense Waldemar Henrique (1905 – 1995), que dirigiu o teatro por mais de 10 anos entre as décadas 60 e 70. Em 1977, foi de novo fechado para restauro e sua reabertura aconteceu em 15 de fevereiro de 1978, data de seu centenário, com a apresentação do coral Ettore Bosio (Correio Braziliense, 5 de fevereiro de 1978).
+ 
+Selo postal comemorativo do centenário do Theatro da Paz
+ 
+Durante as décadas de 80 e 90, foram realizados vários melhoramentos. Em 1996, foi formada a Orquestra Sinfônica do Theatro da Paz.
+Passou, durante dois anos, por uma meticulosa restauração, tendo sido reaberto em abril de 2002 com a realização do 1º Festival de Ópera do Theatro da Paz. Ganhou dois pianos novos – um Yamaha Grand Konzert e um Steinway – e seu palco tornou-se desmontável para atender a diferentes tipos de espetáculo (Folha de São Paulo, de 19 de agosto de 2002).
+Ao longo de seus mais de 100 anos de existência, já passaram por seu palco, dentre várias outras atrações, Arnaldo Cohen, Arthur Moreira Lima, Bibi Ferreira, Bidu Sayão, Cacilda Becker, Fernanda Montenegro, Francisco Mignoni, Glauce Rocha, Guiomar Novaes, Henritte Morineau, Margarida Lopes de Almeida, Maria Della Costa, Maria Lucia Godoy, Miguel Proença, Natalia Thimberg, Nelson Freire, Paulo Autran, Procópio Ferreira, Renato Vianna, Tamara Taumonova, Tito Schipa, Tonia Carrero, Waldemar Henrique, além do corpo de baile do Teatro Municipal do Rio de Janeiro, do Ballet Kirov, dos Les Etoilles de l’Opera de Paris e do Ballet Stagium.
+Em 27 de julho de 2026, o Teatro Amazonas, em Manaus, e o Theatro da Paz foram reconhecidos como Patrimônio Cultural do Mundo, de acordo com a Unesco – Organização das Nações Unidas para a Educação, a Ciência e a Cultura, e passam a figurar conjuntamente na lista da referida agência da ONU sob a denominação Teatros da Amazônia. Ao todo, o Brasil passa a contar com 26 sítios inscritos como Patrimônio Mundial: 16 culturais, nove naturais e um misto*:
+Bens culturais: são obras feitas pelo homem.
+1980: Cidade Histórica de Ouro Preto
+1982: Centro Histórico de Olinda
+1983: Ruínas de São Miguel das Missões
+1985: Centro Histórico de Salvador
+1985: Santuário do Bom Jesus do Congonhas
+1987: Brasília
+1991: Parque Nacional Serra da Capivara
+1997: Centro Histórico de São Luís
+1999: Centro Histórico de Diamantina
+2001: Centro Histórico da Cidade de Goiás
+2010: Praça de São Francisco na Cidade de São Cristóvão
+2012: Rio de Janeiro: Paisagens Cariocas entre a Montanha e o Mar
+2016: Conjunto Moderno da Pampulha
+2017: Sítio Arqueológico do Cais de Valongo
+2021: Sítio Roberto Burle Marx
+2026: Teatros da Amazônia
+Bens naturais: são áreas da natureza de grande valor científico ou ecológico.
+1986: Parque Nacional do Iguaçu
+1999: Reservas da Mata Atlântica do Sudeste
+1999: Reservas da Mata Atlântica da Costa da Descoberta
+2000: Área de Conservação do Pantanal
+2000: Complexo de Conservação da Amazônia Central
+2001: Ilhas Atlânticas Brasileiras: Reservas Fernando de Noronha e Atol das Rocas
+2001: Unidades de Conservação do Cerrado: Parques Nacionais Chapada dos Veadeiros e Emas
+2024: Parque Nacional dos Lençóis Maranhenses
+2025: Cânion do Rio Peruaçu
+Bens mistos: juntam as duas características em um só lugar.
+2025: Paraty e Ilha Grande – Cultura e Biodiversidade
+*Esse parágrafo e a lista com os 26 sítios localizados no Brasil inscritos na Unesco como Patrimônio Mundial foram inseridos em 27 de julho de 2026.
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+Arquivo Público do Estado do Maranhão
+BRITO, Maria. Arte no Theatro da Paz.
+CABRAL, Luisa. Theatro da Paz e Waldemar Henrique. Portal LIV – Arte e Cultural, 15 de fevereiro de 2011.
+Biblioteca do IBGE
+Guia das Artes de Belém do Pará
+Hemeroteca Digital da Biblioteca Nacional
+SALLES, Vicente. A música e o tempo no Grão Pará. Belém: Cons. Est. de Cultura, 1980
+SALLES, Vicente. Theatro da Paz – tempo e gente.
+SILVA, Aline Costa da. José Veríssimo: seus anos de formação (1877 – 1891). Tese apresentada ao Programa de Pós-Graduação em Letras do Instituto de Letras e Comunicação da Universidade Federal do Pará, para obtenção do grau de Doutorado em Letras (Área de Concentração: Estudos Literários), 2021.
+SOUZA, Roseane Silveira de. Teatro da Paz: histórias invisíveis em Belém do grão-Pará. Anais do Museu Paulista: História e Cultura Material, dezembro de 2010.
+Site Fragmentos de Belém
+Site IPatrimônio
+Site Theatro da Paz
+ 
+Outros artigos publicados na Brasiliana Fotográfica sobre teatros e cinemas 
+ 
+Série O Rio de Janeiro desaparecido I - Salas de cinema do Rio de Janeiro do início do século XX, publicado em 26 de fevereiro de 2016.
+Os teatros do Brasil, publicado em 21 de março de 2016
+A inauguração do Theatro Municipal do Rio de Janeiro, publicado em 14 de julho de 2017
+Cinema no Brasil – a primeira sessão e um pouco da história do Cinema Odeon, publicado em 8 de julho de 1921
+Série “O Rio de Janeiro desaparecido” XII – O Teatro Lírico (Theatro Lyrico), publicado em 16 de setembro de 2021
+O Theatro de Santa Isabel, publicado em 28 de outubro de 2021
+O Teatro Amazonas (Theatro Amazonas), em Manaus, a “Paris dos Trópicos”, publicado em 28 de dezembro de 2021
+O Teatro João Caetano, no Rio de Janeiro, no Dia Mundial do Teatro, publicado em 27 de março de 2023
+Dia do Cinema Brasileiro, publicado em 19 de junho de 2023
+Série O Rio de Janeiro desaparecido XXV – O Theatro Phenix, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado em 5 de setembro de 2023
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/2525` — `itens/20.500.12156.1_2525/`
+- `20.500.12156.1/10883` — `itens/20.500.12156.1_10883/`
+
diff --git a/wordpress/35197-o-rio-de-janeiro-nos-cartoes-postais-da-papelaria-e-typographia-botelho.md b/wordpress/35197-o-rio-de-janeiro-nos-cartoes-postais-da-papelaria-e-typographia-botelho.md
new file mode 100644
index 0000000..b621a94
--- /dev/null
+++ b/wordpress/35197-o-rio-de-janeiro-nos-cartoes-postais-da-papelaria-e-typographia-botelho.md
@@ -0,0 +1,63 @@
+---
+id: 35197
+url: "https://brasilianafotografica.bn.gov.br/?p=35197"
+titulo: "O Rio de Janeiro nos cartões-postais da Papelaria e Typographia Botelho"
+autor: "Andrea Wanderley"
+data: "2024-03-01T12:06:59+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/12424", "20.500.12156.1/12135", "20.500.12156.1/12435"]
+fetched_at: "2026-09-10T10:16:44.433Z"
+---
+
+# O Rio de Janeiro nos cartões-postais da Papelaria e Typographia Botelho
+
+Em comemoração aos 459 anos do Rio de Janeiro, a Brasiliana Fotográfica destaca cinco cartões-postais editados pela Papelaria e Typographia Botelho. São registros coloridos da Avenida Rio Branco, do Palácio Monroe, do Passeio Público e do Theatro Municipal. Foram produzidos, em torno de 1912, e pertencem ao Instituto Moreira Salles, uma das instituições fundadoras do portal. Em seu livro Alhos e bugalhos: ensaios sobre temas contraditórios, de Joyce à cachaça; de José Lins do Rego ao cartão postal (1978), o sociólogo pernambucano Gilberto Freyre (1900 – 1987) escreveu que o cartão-postal “às vezes ilustrado a cores – brilhante de cores até – correspondeu a uma época de euforia e de extroversão na vida nacional”, o início do século XX. Populares desde fins do século XIX, eram usados tanto para o envio de correspondência como para viajar sem sair de casa. Apesar de seu formato pequeno, os cartões-postais acendem, iluminam, valorizam as imagens neles impressas. Bom passeio pelas imagens do Rio de Janeiro, aniversariante do dia!
+ 
+Papelaria e Typographia Botelho. Passeio Público, c. 1912. Rio de Janeiro, RJ / Acervo IMS
+ 
+ 
+Acessando o link para as fotografias da Papelaria e Typographia Botelho disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas. 
+ 
+A invenção do cartão-postal relaciona-se com inovações em processos gráficos de reprodução de imagens ocasionadas pelo desenvolvimento da fotografia, descoberta anunciada em 7 de janeiro de 1839, na Academia de Ciências da França. Cerca de sete meses depois, em 19 de agosto, no Instituto da França, em Paris, o cientista François Arago (1786 -1853), secretário da Academia de Ciências, explicou o processo e comunicou que o governo francês havia adquirido o invento, colocando-o em domínio público. A notícia da invenção do daguerreótipo chegou ao Brasil muito rapidamente com a publicação de um artigo no “Jornal do Commercio”, de 1º de maio de 1839, sob o título “Miscellanea”. A invenção do daguerreótipo, desde sua descoberta, transformou de forma definitiva e radical a linguagem e a cultura visual.
+ 
+Papelaria e Typographia Botelho. Avenida Rio Branco, c, 1912. Rio de Janeiro, RJ / Acervo IMS
+ 
+Careta, 4 de junho de 1910
+ 
+Voltando aos cartões-postais. Com o fim do monopólio do Império, gráficas particulares passaram a produzir postais e foram elas que introduziram a impressão em uma das faces. Os cartões-postais tornaram-se objetos de colecionismo e a cartofilia incrementou os negócios de fotógrafos, de gráficas e de editores, como a Papelaria e Typographia Botelho, localizada na Rua do Ouvidor, 65, esquina com Rua do Carmo, que pertencia a Botelho & C.. Produziam cartões de visita, participações de casamento, convites, menus, álbuns e quadros com vistas do Rio de Janeiro; e cartões-postais (Gazeta de Notícias , 15 de maio de 1911, sexta coluna; Almanak Laemmert, 1915, primeira coluna).
+ 
+Jornal do Commercio Edição da Tarde, 25 de março de 1913
+ 
+Em 1913, a Papelaria e Typographia Botelho anunciava a chegada de uma grande e variada coleção de cartões-postais. Será que os publicados neste artigo estariam entre eles? (Jornal do Commercio Edição da Tarde, 16 de dezembro de 1913).
+ 
+Jornal do Commercio Edição da Tarde, 16 de dezembro de 1913
+ 
+O último registro da Papelaria e Typographia Botelho no Almanak Laemmert é de 1935. Pertencia, então, a Heitor Coupé & C. e anunciava livros para escrituração e artigos para escritório (Almanak Laemmert, 1935,  segunda coluna).
+ 
+Papelaria e Typographia Botelho. Teatro Municipal, c. 1912. Rio de Janeiro, RJ / Acervo IMS
+ 
+Andrea C.T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+FREYRE, Gilberto. Informação, comunicação e cartão postal. In: Freyre, Gilberto. Alhos e bugalhos: ensaios sobre temas contraditórios, de Joyce à cachaça; de José Lins do Rego ao cartão postal. Rio de Janeiro: Nova Fronteira. 1978.
+RAMOS, Clarice. Postais para ver: cartofilia no Brasil na primeira metade do século XX na coleção de Estella Bustamante. Dissertação de Mestrado – Instituto de História, Universidade Federal Fluminense, Niterói. 2018.
+KOSSOY, Boris. Origens e expansão da fotografia no Brasil. Rio de Janeiro: Funarte. 1980.
+NEGRO, Antonio Luigi. O cartão-postal no Brasil do início do século XX: suporte para o encontro entre imagem e ação. Hist. cienc. saúde-Manguinhos 27 (3). Jul-Sep 2020.
+SCHAPOCHNIK, Nelson. Cartões-postais, álbuns de família e ícones de intimidade. História da vida privada no Brasil: República: da Belle Époque à Era do Rádio. São Paulo: Companhia das Letras, 2001.
+VASQUEZ, Pedro Karp. Postais do Brasil (1893-1930). São Paulo: Metalivros, 2002.
+ 
+Outros artigos publicados na Brasiliana Fotográfica em comemoração ao aniversário do Rio de Janeiro
+A fundação do Rio de Janeiro, publicado em 1º de março de 2016, de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal Brasiliana Fotográfica
+Uma homenagem aos 452 anos do Rio de Janeiro: o Corcovado e o Pão de Açúcar, publicado em 1º de março de 2017, de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal Brasiliana Fotográfica
+O Rio de Janeiro de Juan Gutierrez, publicado em 1º de março de 2019, de autoria de Maria Isabel Ribeiro Lenzi, Doutora em História pela UFF e historiadora do Arquivo Histórico do Museu Histórico Nacional ; e de Andrea C.T. Wanderley, editora e pesquisadora do portal Brasiliana Fotográfica
+A Praça Paris no aniversário do Rio de Janeiro, publicado em 1° de março de 2023, de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal Brasiliana Fotográfica
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/12424` — `itens/20.500.12156.1_12424/`
+- `20.500.12156.1/12135` — `itens/20.500.12156.1_12135/`
+- `20.500.12156.1/12435` — `itens/20.500.12156.1_12435/`
+
diff --git a/wordpress/35247-o-aniversario-de-sao-paulo-na-brasiliana-fotografica.md b/wordpress/35247-o-aniversario-de-sao-paulo-na-brasiliana-fotografica.md
new file mode 100644
index 0000000..3f14893
--- /dev/null
+++ b/wordpress/35247-o-aniversario-de-sao-paulo-na-brasiliana-fotografica.md
@@ -0,0 +1,46 @@
+---
+id: 35247
+url: "https://brasilianafotografica.bn.gov.br/?p=35247"
+titulo: "O aniversário de São Paulo na Brasiliana Fotográfica"
+autor: "Andrea Wanderley"
+data: "2024-01-25T14:28:02+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/2088", "20.500.12156.1/7056", "20.500.12156.1/957"]
+fetched_at: "2026-09-10T10:16:47.848Z"
+---
+
+# O aniversário de São Paulo na Brasiliana Fotográfica
+
+Para celebrar os 470 anos da cidade de São Paulo, a Brasiliana Fotográfica selecionou alguns artigos cuja personagem principal é justamente a cidade. O portal convida seus leitores a um passeio pela metrópole, que é o maior centro financeiro da América do Sul e uma das mais populosas do mundo, retratada por diversos fotógrafos presentes no acervo fotográfico da Brasiliana Fotográfica, dentre eles Alfredo Krausz (1902-1953), Claude Lévi-Strauss (1908 – 2009), Edgard Egydio de Souza (1876 – 1956), Frédéric Manuel  (1868-1961), Guilherme Gaensly (1843 – 1928), Militão Augusto de Azevedo (1837 – 1905) e Vincenzo Pastore (1865 – 1918), além de fotógrafos ainda não identificados. Não deixem de usar a ferramenta zoom para percorrer as ruas, visitar os monumentos e observar o movimento das pessoas e  também as paisagens e edificações da cidade. As imagens são da segunda metade do século XIX até as primeiras décadas do século XX. Feliz aniversário, São Paulo!
+ 
+Vincenzo Pastore. Garotos engraxates, 1910 circa. São Paulo, SP / Acervo IMS
+ 
+Edgard Egydio de Suza. Edifício Martinelli, à esquerda as torres do mosteiro de São Bento, década de 30. São Paulo, SP / Acervo IMS
+ 
+ 
+Lista de artigos publicados na Brasiliana Fotográfica cuja personagem principal é a cidade de São Paulo
+ 
+Brasão da cidade de São Paulo onde está escrito em latim NON DYCOR DVCO, que quer dizer “Não sou conduzido, conduzo”
+ 
+Militão Augusto de Azevedo (1837 – 1905) e sua obra-prima, o “Álbum comparativo da cidade de São Paulo 1862-1887″, de autoria de Andrea C.T. Wanderley, pesquisadora e editora da Brasiliana Fotográfica, publicado em 24 de maio de 2015
+Vincenzo Pastore, um fotógrafo entre dois mundos (Casamassima, Itália 5 de agosto de 1865 – São Paulo, Brasil 15 de janeiro de 1918), de autoria de Andrea C.T. Wanderley, pesquisadora e editora da Brasiliana Fotográfica, publicado em 5 de agosto de 2015
+São Paulo sob as lentes do fotógrafo Guilherme Gaensly (1843 – 1928), de autoria de Andrea C.T. Wanderley, pesquisadora e editora da Brasiliana Fotográfica, publicado em 25 de janeiro de 2017
+Série “Avenidas e ruas do Brasil” IV – Rua 25 de março em São Paulo, de autoria de Andrea C.T. Wanderley, pesquisadora e editora da Brasiliana Fotográfica, publicado em 1º de setembro de 2020
+A cidade de São Paulo e Tebas (1721 – 1811), reconhecido como arquiteto, em 2018, mais de 100 anos após sua morte, de autoria de Andrea C.T. Wanderley, pesquisadora e editora da Brasiliana Fotográfica, publicado em 25 de janeiro de 2021
+Série “Avenidas e ruas do Brasil” XI – A Rua da Esperança, em São Paulo, por Vincenzo Pastore, de autoria de Andrea C.T. Wanderley, pesquisadora e editora da Brasiliana Fotográfica, publicado em 14 de dezembro de 2021
+Série “Avenidas e ruas do Brasil” XII – A Avenida Paulista, o coração pulsante da metrópole, de autoria de Andrea C.T. Wanderley, pesquisadora e editora da Brasiliana Fotográfica, publicado em 21 de janeiro de 2022
+O Edifício Martinelli, antigo referencial e símbolo de São Paulo, de autoria de Andrea C.T. Wanderley, pesquisadora e editora da Brasiliana Fotográfica, publicado em 16 de maio de 2022
+Série “Avenidas e ruas do Brasil” XVI – “Alguma coisa acontece no meu coração”, a Avenida São João nos 469 anos de São Paulo, de autoria de Andrea C.T. Wanderley, pesquisadora e editora da Brasiliana Fotográfica, publicado em 25 de janeiro de 2023 
+O Dia do Advogado e a criação das Faculdades de Direito de São Paulo e do Recife, de autoria de Andrea C.T. Wanderley, pesquisadora e editora da Brasiliana Fotográfica, publicado em 11 de agosto de 2023. 
+ 
+ 
+Guilherme Gaensly, P. R. Estação da Luz, 1902?. São Paulo, SP / Acervo FBN
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/2088` — `itens/20.500.12156.1_2088/`
+- `20.500.12156.1/7056` — `itens/20.500.12156.1_7056/`
+- `20.500.12156.1/957` — `itens/20.500.12156.1_957/`
+
diff --git a/wordpress/3527-obras-para-o-abastecimento-de-agua-no-rio-de-janeiro-por-marc-ferrez.md b/wordpress/3527-obras-para-o-abastecimento-de-agua-no-rio-de-janeiro-por-marc-ferrez.md
new file mode 100644
index 0000000..c774c88
--- /dev/null
+++ b/wordpress/3527-obras-para-o-abastecimento-de-agua-no-rio-de-janeiro-por-marc-ferrez.md
@@ -0,0 +1,82 @@
+---
+id: 3527
+url: "https://brasilianafotografica.bn.gov.br/?p=3527"
+titulo: "Obras para o abastecimento de água no Rio de Janeiro por Marc Ferrez"
+autor: "Andrea Wanderley"
+data: "2016-01-25T11:37:30+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/214", "20.500.12156.1/2575"]
+fetched_at: "2026-09-10T10:16:50.994Z"
+---
+
+# Obras para o abastecimento de água no Rio de Janeiro por Marc Ferrez
+
+De 1877 até o final da década de 1880, o fotógrafo Marc Ferrez (1843-1923) foi o responsável pela produção da documentação  fotográfica das obras destinadas a melhorar o abastecimento de água no Rio de Janeiro (Gazeta de Notícias, de 28 de junho de 1889, na segunda coluna, sob o título “Águas do rio S. Pedro”). Neste artigo, a Brasiliana Fotográfica destaca registros realizados por Ferrez que integram o álbum Obras do abastecimento d´água do Rio de Janeiro, da Empresa A. Gabrielli, pertencente à Biblioteca Nacional, uma das instituições fundadoras do portal.
+Quase metade de toda a produção fotográfica de Ferrez foi realizada na cidade do Rio de Janeiro e em seu entorno. A outra parte registrou as regiões do Brasil que ele regularmente percorreu em seus diversos trabalhos comissionados, tanto como fotógrafo da Comissão Geológica do Império, em meados dos anos 1870, quanto como fotógrafo das construções ferroviárias no Brasil, especialmente entre 1880 e 1890, quando produziu um grande panorama da paisagem brasileira de sua época.
+Sempre atento às inovações tecnológicas, Marc Ferrez aumentou suas possibilidades de fotografar paisagens com a câmera Brandon, equipamento de fotografia panorâmica de varredura, tendo sido o único fotógrafo da década de 1880 a fazer esse tipo de registro em grande formato no Brasil. Fato que o levou, mais tarde, a suas magistrais fotografias de arquitetura produzidas durante a construção da avenida Central, no Rio de Janeiro, e também a seu envolvimento com a introdução do cinema e da fotografia estereoscópica em cores no Brasil, no início do século XX.
+ 
+Marc Ferrez. Tunnel conduzindo as aguas do Rio de Sto. Antonio para o Valle do Rio do Ouro [1], 1877-1882. Rio de Janeiro, RJ / Acervo FBN
+ 
+Em suas fotografias da cidade, além do espaço construído, registrou a exuberância da natureza que a envolvia. Particularmente na documentação das obras de abastecimento de água, Ferrez percorreu os arredores da cidade, onde documentou os trabalhos técnicos de captação e distribuição, ao mesmo tempo em que construiu, com estas mesmas imagens, significativa parte de sua visão poética e autoral sobre a cidade onde vivia, estruturada em torno das áreas de fronteira entre o natural e o construído, que até hoje caracterizam o Rio de Janeiro.
+O trabalho comissionado de Marc Ferrez sobre as obras de abastecimento de água no Rio de Janeiro resultou em álbuns fotográficos. Três deles foram presenteados a dom Pedro II, em 1889, último ano do regime imperial no Brasil. Outros três foram dados ao engenheiro Francisco de Paula Bicalho (1847-1919), diretor das Águas da Corte.
+Porém, apesar dessas obras, em 1889, uma grave crise hídrica atingiu o Rio de Janeiro. Já em fevereiro, a Revista Illustrada denunciava a situação (Revista Illustrada, de 2 de fevereiro, sob o título “Medidas Sanitárias”, e de 9 de fevereiro de 1889). Uma grande polêmica em torno do tema se instalou entre os jornais, principalmente entre o governista Cidade do Rio, de José do Patrocínio (Cidade do Rio, de 9 de março de 1889, na segunda coluna sob o título “Cousas do Dia”), e o de críticos do regime imperial como o Diário de Notícias, dirigido por Rui Barbosa (1849 – 1923) (Diário de Notícias, de 10 de março de 1889, sob o título “O Terror”). Em 12 de março cerca de duas mil pessoas foram às ruas para protestar pedindo por água, mesmo dia em que os engenheiros José Américo dos Santos e de Luís Carlos Barbosa de Oliveira propuseram acabar com o problema em 40 dias (Gazeta de Notícias, de 13 de março de 1889, na segunda coluna).
+ 
+Acessando o link para fotografias de Marc Ferrez produzidas para o álbum Obras do abastecimento d´água do Rio de Janeiro, da Empresa A. Gabrielli, pertencentes ao acervo da Biblioteca Nacional e disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar e verificar todos os dados referentes a elas.
+ 
+Finalmente, sob o título “Água em seis dias”, foi publicada uma carta assinada pelo jovem engenheiro e professor da Escola Politécnica do Rio de Janeiro, Paulo de Frontin (1860 – 1933) (Diário de Notícias, 16 de março de 1889, na segunda coluna). Ele propunha aumentar o abastecimento de água da cidade em 15 milhões de litros diários. Dom Pedro II pediu que o ministro da Agricultura, Rodrigo Silva, analisasse a proposta. O engenheiro foi contratado e teve êxito: no dia 23 de março a cidade já contava com mais cerca de 17 milhões de litros diários de água (Diário de Notícias, de 24 de março, na quinta coluna; e de 25 de março, na sexta coluna, ambas de 1889 e sob o título “Commissão Frontin”).
+ Em uma charge, publicada por Angelo Agostini (1843 – 1910) na Revista Illustrada, de 30 de março de 1889, o episódio foi resumido: as eficientes obras hídricas de Frontin arrastaram com torrentes de água a ineficácia do governo no assunto.
+ 
+
+Revista Illustrada, de 30 de março de 1889, páginas 4 e 5.
+ 
+Andrea C. T. Wanderley
+Editora-assistente e pesquisadora da Brasiliana Fotográfica
+ 
+Publicações da Brasiliana Fotográfica em torno da obra do fotógrafo Marc Ferrez 
+ 
+Marc Ferrez aos 33 anos, c. 1876. Rio de Janeiro, RJ / Acervo IMS
+O Rio de Janeiro de Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 30 de junho de 2015
+O brilhante cronista visual Marc Ferrez (7/12/1843 – 12/01/1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 7 de dezembro de 2016
+Do natural ao construído: O Rio de Janeiro na fotografia de Marc Ferrez, de autoria de Sérgio Burgi, um dos curadores da Brasiliana Fotográfica, publicada em 19 de dezembro de 2016
+No primeiro dia da primavera, as cores de Marc Ferrez (1843 – 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 22 de setembro de 2017
+Marc Ferrez , a Comissão Geológica do Império (1875 – 1878) e a Exposição Antropológica Brasileira no Museu Nacional (1882), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica,  publicada em 29 de junho de 2018
+Série “O Rio de Janeiro desaparecido” V – O quiosque Chopp Berrante no Passeio Público, Ferrez, Malta e Charles Dunlop, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 20 de julho de 2018
+Uma homenagem aos 175 anos de Marc Ferrez (7 de dezembro de 1843 – 12 de janeiro de 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 7 de dezembro de 2018 
+Pereira Passos e Marc Ferrez: engenharia e fotografia para o desenvolvimento das ferrovias, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 5 de abril de 2019
+Fotografia e ciência: eclipse solar, Marc Ferrez e Albert Einstein, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 24 de junho de 2019
+Os 180 anos da invenção do daguerreótipo – Os álbuns da Comissão Geológica do Império com fotografias de Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 19 de agosto de 2019
+Celebrando o fotógrafo Marc Ferrez (1843 – 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 4 de dezembro de 2019
+Uma homenagem da Casa Granado ao imperial sob as lentes de Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 7 de fevereiro de 2020
+Ressaca no Rio de Janeiro invade o porão da casa do fotógrafo Marc Ferrez, em 1913, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado 6 de março de 2020
+Petrópolis, a Cidade Imperial, pelos fotógrafos Marc Ferrez e Revert Henrique Klumb, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 16 de março de 2020
+Bambus, por Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 5 de junho de 2020
+O Baile da Ilha Fiscal: registro raro realizado por Marc Ferrez e retrato de Aurélio de Figueiredo diante de sua obra, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 9 de novembro de 2020
+O Palácio de Cristal fotografado por Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 2 de fevereiro de 2021
+A Estrada de Ferro do Paraná, de Paranaguá a Curitiba, pelos fotógrafos Arthur Wischral (1894 – 1982) e Marc Ferrez (1843 – 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 22 de março de 2021
+Dia dos Pais – Julio e Luciano, os filhos do fotógrafo Marc Ferrez, e outras famílias, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 6 de agosto de 2021
+No Dia da Árvore, mangueiras fotografadas por Ferrez e Leuzinger, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 21 de setembro de 2021
+Retratos de Pauline Caroline Lefebvre, sogra do fotógrafo Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 28 de abril de 2022
+A Serra dos Órgãos: uma foto aérea e imagens realizadas pelos mestres Ferrez, Leuzinger e Klumb, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 30 de junho de 2022
+O centenário da morte do fotógrafo Marc Ferrez (1843 – 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 12 de janeiro de 2023
+O Observatório Nacional pelas lentes de Marc Ferrez, amigo de vários cientistas, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 29 de maio de 2023
+No Dia Mundial do Meio Ambiente, a potente imagem da Cachoeira de Paulo Afonso, por Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 5 de junho de 2023
+A Fonte Adriano Ramos Pinto por Guilherme Santos e Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 18 de julho de 2023
+Os 180 anos de nascimento do fotógrafo Marc Ferrez (1843 – 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 7 de dezembro de 2023
+ 
+Andrea C. T. Wanderley
+Editora-assistente e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+ELIAS, Rodrigo; SCARRONE, Marcello. “Quando o Império morreu de sede”. Revista de História . Rio de Janeiro, 3 de fevereiro de 2015.
+KOSSOY, Boris. Dicionário histórico-fotográfico brasileiro: fotógrafos e ofício da fotografia no Brasil (1833-1910). São Paulo: Instituto Moreira Salles, 2002. 408 p., il. p&b.
+O Brasil de Marc Ferrez – São Paulo : Instituto Moreira Salles, 2005.
+Rio / Marc Ferrez – São Paulo : IMS; Göttingen: Steidl, 2015
+Site do Instituto Moreira Salles
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/214` — `itens/20.500.12156.1_214/`
+- `20.500.12156.1/2575` — `itens/20.500.12156.1_2575/`
+
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+---
+id: 35339
+url: "https://brasilianafotografica.bn.gov.br/?p=35339"
+titulo: "Cronologia de Theodor Preising (1883 – 1962)"
+autor: "Andrea Wanderley"
+data: "2024-02-01T11:22:14+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: []
+fetched_at: "2026-09-10T10:16:54.291Z"
+---
+
+# Cronologia de Theodor Preising (1883 – 1962)
+
+Cronologia de Theodor Preising (1883 – 1962)
+ 
+
+ 
+Theodor Preising (1883 – 1962)
+ 
+1883 - Theodor Preising nasceu em 3 de janeiro, em em Hildeshein, na Alemanha, filho de Fridrich e Maria Preising. Seu interesse por fotografia e turismo surgiu a partir de viagens que fazia com seu pai, que era maquinista de trem.
+1908 – Casou-se com Elizabeth Elfriede Koesewitz (1874 – 1956) com quem teve três filhos: Úrsula, Carlos Frederico e Sibylle.
+ 
+Casamento de Preising / Site Theodor Preising
+ 
+c. 1914 – Possuía um estabelecimento fotográfico na Alemanha , quando foi convocado para atuar como fotógrafo no front da Primeira Guerra Mundial.
+1916 –  Tornou-se proprietário de uma filial da empresa Samson & Co., em Berlim, rede que possuía estabelecimentos fotográficos na Alemanha e em outros países da Europa.
+ 
+Preising com familiares em frente a seu ateliê , em Berlim / Site Theodor Preising
+ 
+1923 -  Para fugir do caos da Alemanha do pós-guerra, decidiu emigrar e foi, primeiramente, entre março e abril, para a Argentina. Em dezembro, no dia 23, aportou em Santos, a bordo do navio Cap Polônio.
+Inicialmente, fixou no Guarujá e comercializava materiais fotográficos como as câmeras Zeiss Ikon e Agfa; além de cartões postais, no Grande Hotel. Produziu cartões postais até o início da Segunda Guerra Mundial, quando estrangeiros de países do Eixo foram proibidos de fotografar externamente as cidades.
+1924 – Transferiu-se para São Paulo, onde se estabeleceu na Rua Augusto Tolle, 2, com sua família que já se encontrava Brasil. Seus filhos passaram a auxiliá-lo no laboratório que ele havia montado e onde ele editava e produzia seus próprios cartões postais e álbuns de fotografia. Os textos dos cartões postais eram escritos por sua filha, Sibile. Vendia suas imagens para papelarias e casas fotográficas, como a Fotóptica, fundada pelo pai do fotógrafo Thomaz Farkas (1924 – 2011). Registrou a chegada de imigrantes à cidade, seu carnaval de rua, o dia a dia dos cafezais no interior do estado e a vida praiana de cidades litorâneas como o já mencionado Guarujá e Santos.
+1927 – Abriu seu ateliê em São Paulo, na Rua Voluntários da Pátria, nº506, em Santana, na zona norte da cidade (Almanak Laemmert, 1931, segunda coluna).
+1928 – Preising expôs, na Casa Rosenhain, na Rua de São Bento, álbuns e folhinhas com aspectos da vida paulista, principalmente (Correio Paulistano, 10 de outubro de 1928, terceira coluna).
+ 
+Correio Paulistano, 10 de outubro de 1928
+ 
+Entre este ano e 1940, realizou diversos trabalhos fotográficos para a Secretaria da Agricultura do Estado de São Paulo, registrando fazendas no interior do Estado.
+ 
+Theodor Preising. Imigrante na colheita do café, c. 1940 / Publicado na Revista Zum, de 27 de fevereiro de 2018
+ 
+Década de 1930 – Colaborou com o jornal O Estado de São Paulo, que então publicava um suplemento em rotogravura.
+1930 - Uma fotografia da Rua XV de Novembro de sua autoria foi publicada no artigo Gigantic Brazil and its Glittering Capital, na edição de julho/dezembro da National Geographic Magazine.
+ 
+National Geographic Magazine, julho/dezembro de 1930
+ 
+Voltou a expor na Casa Rosenhein. Referido como o proprietário da Photo Rotativo de São Paulo, foi elogiado seu amor e admiração pela natureza americana e suas fotos das cataratas do Iguaçu foram consideradas empolgantes (A Gazeta (SP), 20 de novembro de 1930, primeira coluna).
+ 
+A Gazeta (SP), 20 de novembro de 1930
+ 
+É também deste ano o registro abaixo de autoria de Preising, Chegada de imigrantes asiáticos.
+ 
+Theodor Preising. Chegada de imigrantes asiáticos, 1930. Santos, São Paulo / Publicado na Revista Zum, 16 de fevereiro de 2018
+ 
+Seis fotografias de sua autoria foram mostradas na A Capital de S. Paulo, publicação distribuída pela Secretaria de Agricultura.
+Entre 1930 e 1931, documentou a colonização de Londrina, no Paraná, contratado pela Companhia Terras Norte do Paraná. Em 1933, esteve no Paraná fotografando vários aspectos do estado (O Dia (PR), 5 de maio de 1933, última coluna)
+1934 - A bordo do navio Almirante Jaceguai, participou do Segundo Cruzeiro Econômico Turístico do Touring Club do Brasil, empresa para a qual então trabalhava. Produziu, além de registros dos sócios do Touring durante a viagem, uma grande documentação fotográfica, a partir de viagens para o Norte e para o Nordeste (Diário da Manhã (PE), 16 de maio de 1934, quinta coluna; Diário de Pernambuco, 20 de maio de 1934, penúltima coluna).
+1936 – Ele e o fotógrafo Benedito Junqueira Duarte, conhecido como B.J. Duarte (1910 – 1995), pseudônimo Vamp, eram os fotógrafos da Revista S. Paulo. Segundo Junqueira, apesar de Preising ser bem mais velho que ele, tinha um espírito de moço e uma agilidade profissional de adolescente. A publicação mensal foi lançada em 31 de dezembro de 1935 e fazia propaganda do governo de Armando de Sales Oliveira (1887 – 1945), em São Paulo. Seu projeto gráfico articulava imagem e texto de modo inovador. Foi a primeira revista paulistana a ser feita em rotogravura, o que conferia uma maior qualidade à reprodução dos registros fotográficos. A publicação privilegiava a imagem sobre o texto. (Correio Paulistano, 1º de janeiro de 1936, quarta coluna; O Estado de São Paulo, 18 de março de 1978, segunda coluna).
+ 
+Capa da primeira edição da Revista S. Paulo, janeiro de 1936
+ 
+Era dirigida por Cassiano Ricardo (1895 – 1974), Leven Vampré (c. 1891 – 1956) e Menotti Del Picchia (1892 – 1988). Os livros de memórias de Cassiano, Menotti e Benedito mencionam a presença de Livio Abramo (1903-1992) como ilustrador da revista. Apenas o primeiro, identifica-o como “mestre da gravura, da fotomontagem e das estatísticas ilustradas a rigor…” (A revista S.PAULO: a cidade nas bancas por Ricardo Mendes). A revista S. Paulo circulou em 1936: sua periodicidade foi mensal até o oitavo número, passando a ser bimestral nos dois últimos. Neste mesmo ano, ele entrou com o pedido de sua naturalização como brasileiro.
+ 
+Benedito Junqueira Duarte / História do Jabaquara
+ 
+Revista São Paulo, 1º de janeiro de 1936
+ 
+Links para todas as edições da Revista S. Paulo (1936):
+Janeiro / Fevereiro / Março / Abril / Maio / Junho / Julho / Agosto / Setembro e Outubro / Novembro e Dezembro
+Fotografou o carnaval de rua paulistano e um zeppelin que sobrevoou São Paulo,o dirigível Hindenburg .
+ 
+Theodor Preising. Carnaval na Av. São João, 1936. São Paulo, SP / Publicado na Revista Zum, 16 de fevereiro de 2018
+ 
+Theodor Preising. Passeio do dirigível Hindenburg pelo centro de São Paulo, 1936. São Paulo, SP / Foto publicada em O Estado de São Paulo, 26 de janeiro de 2018
+ 
+1937 – Aderiu ao Sindicato dos Jornalistas Profissionais no Estado de São Paulo e enviou uma solicitação para que seu nome passasse a constar do quadro social da entidade (Correio Paulistano, 14 de maio de 1937, quinta coluna).
+ 
+Carteira do Sindicato dos Jornalistas de São Paulo de Theodor Preising, matrícula 162 / Publicada em O Viajante incansável – trajetória e obra fotográfica de Theodor Preising
+ 
+Expôs fotografias no Pavilhão Brasileiro, na Exposição Universal de Paris de 1937, realizada entre 25 de maio e 25 de novembro de 1937. Contou com a participação de 44 países e foi visitada por cerca de 31 milhões de pessoas.
+1938 – Em setembro, a Bolsa de Mercadorias de São Paulo realizou uma exposição sobre a cultura do algodão com imagens produzidas por ele. As fotos expostas foram publicadas em um número especial do Suplemento em Rotogravura do jornal, em março de 1939.
+ 
+O Estado de São Paulo, 6 de setembro de 1938
+ 
+Em 6 de novembro, entrou para o serviço público tendo sido nomeado fotógrafo do Departamento de Propaganda e Publicidade (DPP), criado pouco antes como Serviço de Publicidade e Propaganda do Estado de São Paulo, dirigido por Menotti del Picchia.
+1939 - Preising mudou-se com a família para a Rua Cedro, em Jabaquara, vizinho do amigo Benedito Junqueira Duarte.
+Passou a trabalhar na revista Brasil Novo, criada por Cassiano Ricardo e lançada em 1º de junho do mesmo ano.
+Aproximadamente 20 fotografias de sua autoria foram publicadas no livro Travel in Brazil, Brazilian representation New York’s World Fair, lançada durante a Feira Mundial de Nova York, que tinha o tema Construindo o mundo de amanhã. O pavilhão brasileiro foi projetado pelos arquitetos Oscar Niemeyer (1907 – 2012) e Lúcio Costa (1902 – 1998). Preising foi um dos fotógrafos cujas obras foram expostas em fotomurais do Departamento Nacional do Café e numa mostra de paisagens brasileiras ao lado de registros realizados por Erich Hess (1911 – 1995), Fernando Guerra Duval  (18? – 1959), Max Rosenfeld (? – 1962), Paulino Botelho (1879 – 1948), Renato G. Palmeira (? -?) e pelo Studio Rembrandt. Por sua participação Preising recebeu um diploma conferido pela direção do evento entregue pela Secretaria de Governo de São Paulo (Correio Paulistano, 3 de novembro de 1940, quinta coluna).
+Foi criado do Departamento de Imprensa e Propaganda (DIP) e, pouco depois, cada estado possuía um Departamento Estadual de Imprensa e Propaganda (DEIP). Em São Paulo, o DEIP incorporou o Departamento de Publicidade e Propaganda, onde Preising trabalhava. Ele atuou na Divisão de Turismo e Diversões Públicas e na Divisão de Divulgação para o serviço de reportagem da Agência Nacional.
+1940 - Produziu esse belo registro do Parque do Anhangabaú e do Viaduto do Chá.
+ 
+Theodor Preising. Parque Anhangabaú e o novo Viaduto do Chá, 1940. São Paulo, SP / Publicado na Revista Zum, 27 de fevereiro de 2018
+ 
+1941 - Naturalizou-se brasileiro em janeiro. Certamente o fato de ser um servidor público e o envio de uma carta de Menotti del Picchia, em papel timbrado da Diretoria de Propaganda e Publicidade do Palácio do Governo de São Paulo , a qual dirigia na ocasião, ao ministro da Justiça e Negócios Interiores, Francisco Campos (1891 – 1968), em 5 de agosto de 1939, influenciaram na obtenção de sua naturalização (A Batalha, 7 de janeiro de 1941, penúltima coluna).
+ 
+“Tenho a honra de enviar a Vossa Excelência, para os devido fins, o requerimento em que THEODOR PREISING, de nacionalidade alemã, fotógrafo desta Diretoria de Propaganda e Publicidade do Palácio do Governo de São Paulo, nomeado por ato de 6 de Novembro de 1938, solicita de Vossa Excelência a sua naturalização como cidadão brasileiro, nos termos do artigo 40, parágrafo 3º, do Decreto-lei 1.202, de 8 de Abril de 1939 e de conformidade com a portaria 2.108, de 6 de Julho último, desse Ministério.
+Peço vênia a Vossa Excelência para esclarecer que o interessado já tem o seu pedido de naturalização encaminhado a esse Ministério, desde 1936.
+Com as minhas expressões de respeito e simpatia, subscrevo-me de Vossa Excelência, admirador obrdo.
+Menotti del Picchia
+DIRETOR”
+ 
+1941 / 1942 –  Diversas fotos de sua autoria foram publicadas na revista Travel in Brazil. 
+ 
+Revista Travel in Brazil, 1941, volume 1 do Ano I
+ 
+Na primeira edição da revista, em janeiro de 1941, publicação de foto de Preising no artigo Brazil, this wonderful land, de Cecília Meirelles (1901 – 1964).
+ 
+Brazil Travels, janeiro de 1941 / Foto de Preising
+ 
+Na segunda edição, de fevereiro de 1941, publicação de fotos nos artigos The jewel of plant life: the orchid e Curitiba and the Paraná railway.
+ 
+Brazil Travels, fevereiro de 1941 / Fotos de Preising
+ 
+
+ 
+Brazil Travels, fevereiro de 1941 / Fotos de Preising
+ 
+Na edição de março de 1941, registros realizados por ele foram publicados no artigo São Paulo:  city of tourists, de Menotti del Picchia (1892 – 1988) e Petrópolis: summer capital of Brazil, de Vera Kelsey (1892 – 1961); na edição de abril de 1941, 11 fotos no artigo Ouro Preto: the old Villa Rica, de Manuel Bandeira (1886 – 1968); e, na edição de janeiro de 1942, as fotos do artigo Poços de Caldas e  Wings over Brazil, de Henry Albert Phillips (1880 – 1951). A revista era publicada mensalmente e editada pelo Departamento de Imprensa e Propaganda do Rio de Janeiro.
+Em 6 fevereiro de 1942, esteve presente ao enterro da mãe de Cassiano Ricardo (1895 – 1974), realizado no Rio de Janeiro (A Manhã, 7 de fevereiro de 1942, penúltima coluna). Em torno deste ano, associou-se ao Foto Cine Clube Bandeirante (FCCB) – fundado em 1939 e celeiro da fotografia moderna no Brasil – e participou de vários Salões de Fotografia, nacionais e internacionais.
+1943 – Sua fotografia Força da Natureza, ganhou, na categoria Paisagem, o 4º prêmio no II Salão Paulista de Arte Fotográfica do Foto Clube Bandeirante (FCCB). O fotógrafo Thomas Farkas (1924 – 2011) ganhou o primeiro lugar na categoria Arquitetura e recebeu um menção honrosa na categoria Composição. Preising foi o organizador, pelo Departamento Estadual de Imprensa e Publicidade, de  um estande de fotografias documentais do progresso de São Paulo, em um anexo ao Salão (Correio Paulistano, 31 de agosto de 1943, primeira coluna; Correio Paulistano, 28 de setembro de 1943, terceira coluna).
+ 
+Correio Paulistano, 31 de agosto de 1943
+ 
+
+ 
+Participou de uma exposição na Galeria Prestes Maia com as fotos Força da Natureza, Refúgio das Almas, Silêncio, Sombra e Luz e Vida do Mar. Esta última representou o Foto Clube Bandeirante no Salão de Londres em 1944.
+Fotos de sua autoria foram publicadas na Revista Industrial de São Paulo, dirigida por Honório de Sylos (1901 – 1993) e no Observador Econômico e Financeiro do Rio de Janeiro – registros de São Paulo, do porto de Santos, de cafezal, de agricultora e de bambuzal (Observador Econômico e Financeiro, janeiro de 1944 , janeiro de 1944, maio de 1944, maio de 1944, junho de 1944, junho de 1944, junho de 1944).
+1945 – Com o fim do Estado Novo o DEIP passou a chamar-se Departamento Estadual de Informações (DEI) e a a Divisão de Turismo e Diversões Públicas passou a chamar-se Divisão de Turismo e Expansão Social. A Divisão de Divulgação manteve o nome.
+Preising participou do IV Salão Paulista de Arte Fotográfica do Foto Clube Bandeirante, realizado entre novembro e dezembro de 1945, na Galeria Prestes Maia – primeira edição internacional -, com seis fotografias: Bicho de Seda, Contra Luz, Faíscas, Fornalha,  Metal Líquido e Tropical (Correio Paulistano, 10 de outubro de 1945, quinta coluna).
+Seu ensaio fotográfico Jabaquara, com sete imagens, ficou entre os finalistas do 2º Prêmio Anchieta.
+1946 – Na publicação São Paulo, realizada pelo DEI, fotos de sua autoria não creditadas foram publicadas.
+Sua fotografia Silêncio, Sombra e Luz representou o FCCB no V Salão de Santa Fé na Argentina.
+1947 – Sua fotografia Minha Terra tem Palmeiras representou o FCCB, no VI Salão de Barcelona, na Espanha.
+c. 1947 - No livro Gente e Terra do Brasil, documentário fotográfico organizado pelo livreiro austríaco naturalizado brasileiro Erich Eichner (1906 – 1974), quinto volume da Coleção de Temas Brasileiros da Livraria Kosmos Editora, lançado, provavelmente, em 1947, com síntese histórica e econômica de John Knox (? – ?) e prefácio do jornalista, político, professor e pesquisador Carlos Rizzini (1898 – 1972), das 128 imagens publicadas, 30 eram de autoria de Preising. Havia também fotos de Carlos Moskovics (1916 – 1988), Erich Hess (1911 – 1995), Hans Gunter Flieg (1923-2024), Hildegard Rosenthal (1913 – 1990), José Medeiros (1921 – 1990), Peter Scheier (1908 – 1979) e Thomaz Farkas (1924 – 2011), dentre outros. Algumas imagens eram provenientes do arquivo da Panair. O livro era traduzido para o inglês, francês e espanhol (Correio da Manhã, 2 de dezembro de 1947, quinta coluna).
+ 
+
+ 
+Foto de Itaipava de autoria de Theodor Preising publicada no livro Gente e Terra do Brasil
+ 
+Foram de sua autoria as fotografias dos cadernos de turismo sobre Campos do Jordão, de 1947, e sobre Itanhaem, de 1948, produzidos por intermédio da Divisão de Turismo e Expansão Cultural do Departamento de Imprensa e Propaganda de São Paulo. Os textos eram do jornalista e folclorista Helio Damante (1919 – 2002 ) e as ilustrações de Aldemir Martins (1922 – 2006), no de Campos do Jordão;  de Tarsila do Amaral (1883 – 1976), no de Itanhaem (Jornal de Notícias, 12 de novembro de 1947, quinta coluna). A reprodução desses dois álbuns está publicada entre as páginas 133 e 144 da dissertação Viajante Incansável – trajetória e obra fotográfica de Theodor Preising, de c.
+ 
+
+ 
+
+1948 – O DEI foi extinto e ele passou a ser o fotógrafo titular da Secretaria Estadual dos Negócios do Governo de São Paulo. Em torno deste ano começou a tirar licenças médicas devido ao Mal de Parkinson, que deu seus primeiros sinais em torno de 1945.
+1949 - Em maio foi nomeado para trabalhar no Laboratório de Polícia Técnica da Secretaria de Estado dos Negócios da Segurança Pública. Ainda neste ano foi trabalhar como fotógrafo do Departamento de Cultura e Ação Social da Reitoria da Universidade de São Paulo.
+1954 – Aposentou-se do serviço público estadual.
+1955 – Nos álbuns de fotografias Isto é o Rio de Janeiro e Isto é a Bahia, ambos da Editora Melhoramentos com textos em inglês, francês, português, italiano e alemão, fotos de sua autoria assim como de Alice Brill (1920 – 2013), dentre outros, foram publicadas (O Estado de São Paulo, 17 de julho de 1955; Diário de Notícias, 11 de agosto de 1955, segunda coluna).
+ 
+O Estado de São Paulo, 17 de julho de 1955
+ 
+1962 - Faleceu em 24 de julho, em sua casa, em São Paulo.
+2003 - Fotografias de sua autoria foram publicadas no livro Rio de Janeiro 1900 – 1930: uma crônica fotográfica, de George Ermakoff, G. Ermakoff Casa Editorial, Rio de Janeiro.
+ 
+
+ 
+ 2004 - Integrou a exposição São Paulo 450 anos: a imagem e a memória da cidade no acervo do Instituto Moreira Salles, realizada entre 23 de janeiro e 27 de junho de 2004, no Centro Cultural da Fiesp, em São Paulo, e teve fotos de sua autoria publicadas no Cadernos de Fotografia Brasileira São Paulo 450 anos, editado pelo IMS.
+
+ 
+Integrou a Coleção Pirelli-Masp de Fotografia, 13˚ edição, com sete fotografias, que foram incorporadas ao Acervo do Museu de Arte de São Paulo Assis Chateaubriand, o Masp (O Estado de São Paulo, 16 de novembro de 2004).
+2008 – Em Uruguaiana, no Rio Grande do Sul, realização da exposição individual Uruguaiana de 1932 de Theodor Preising, no Centro Cultural Dr. Pedro Marini, com a curadoria de Douglas Aptekmann, seu bisneto.
+2010 – No Museu Afro Brasil, no Parque do Ibirapuera, em São Paulo, com curadoria de Emanoel Araújo (1940 – 2022), realização da exposição São Paulo, Terra, Alma e Memória com fotos de Preising e de Guilherme Gaesnly (1843 – 1928) em comemoração ao aniversário de São Paulo (O Estado de São Paulo, 19 de março de 2010).
+2011 - Foi o tema da Dissertação de Mestrado Viajante Incansável – trajetória e obra fotográfica de Theodor Preising, de Kariny Grativol, orientada pelo professor Boris Kossoy, na Universidade de São Paulo.
+Entre 8 de outubro de 2011 e 11 de março de 2012, foi um dos fotógrafos cujos trabalhos foram exibidos na exposição Percursos e Afetos. Fotografias 1928-2011 – Coleção Rubens Fernandes Junior, na Pinacoteca do Estado de São Paulo, com a curadoria de Diógenes Moura (19?-).
+2012 - No Instituto Tomie Ohtake, em São Paulo, Preising foi um dos integrantes da exposição coletiva Um olhar sobre o Brasil a fotografia na construção da imagem da Nação 1833-2003 com curadoria de Boris Kossoy (1941-) e Lilia Schwarcz (1957-). Uma foto de sua autoria foi publicada no livro homônimo, editado pela Fundación Mafre, de Madrid; e pela Objetiva, do Rio de Janeiro.
+ 
+
+ 
+2016 – Foi o tema de uma Dissertação de Mestrado realizada na USP, Fotografia Profissional, arquivo e circulação: a produção de Theodor Preising em São Paulo (1920 – 1940), de Eric Danzi Lemos, orientado pela professora Solange Ferraz de Lima.
+2017 - Com curadoria de Paulo Herkenhoff, realização, na OCA, em São Paulo, da exposição Modos de ver o Brasil: Itaú Cultural 30 anos, entre 25 de maio e 13 de agosto, com a participação de Preising. Outros conjuntos de fotografias expostos foram de Claudio Edinger (1952-), Cristiano Mascaro (1944-) e German Lorca (1922 – 2021). Também neste ano, fotos de sua autoria foram publicadas no livro História do Brasil em 100 fotografias, organizado por Ana Cecília Impellizieri (1978-) e editado pela Bazar do Tempo.
+
+2018 - Entre 25 de janeiro e 25 de março, realização da exposição São Paulo: sinfonia de uma metrópole, com fotos de Theodor Preising, na Galeria de Fotos do Centro Cultural da Fiesp, sob a curadoria de Rubens Fernandes Jr. (1949-). O título da exposição é homônimo ao documentário dos húngaros Adalberto Kemeny (1901 – 1969) e Rudolf Lustig (1901 – 1970), de 1929, exibido durante a mostra, sobre o processo de modernização da paisagem social e urbana da capital paulistana, que tem como referência o filme Berlim – sinfonia da metrópole (1927), de Walter Ruttman (1887 – 1941) (O Estado de São Paulo, 26 de janeiro de 2018).
+2021 – Realização de duas exposições em torno da obra de Preising, ambas curadas por Rubens Fernandes Junior: entre 27 de julho e 28 de agosto, Theodor Preising Um Olhar Moderno – São Paulo, na Unibes Cultural, em São Paulo; entre 14 de agosto e 19 de setembro, Theodor Preising Um Olhar Moderno – Santos, na Pinacoteca Benedito Calixto, em Santos.
+ 
+Preising no Guarujá / Viajante Incansável – trajetória e obra fotográfica de Theodor Preising
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
diff --git a/wordpress/35436-dia-do-bibliotecario.md b/wordpress/35436-dia-do-bibliotecario.md
new file mode 100644
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+---
+id: 35436
+url: "https://brasilianafotografica.bn.gov.br/?p=35436"
+titulo: "Dia do Bibliotecário"
+autor: "Andrea Wanderley"
+data: "2024-03-12T10:34:02+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/3286", "20.500.12156.1/3288", "20.500.12156.1/3581", "20.500.12156.1/9718"]
+fetched_at: "2026-09-10T10:16:57.405Z"
+---
+
+# Dia do Bibliotecário
+
+Com quatro imagens do acervo fotográfico da Fundação Biblioteca Nacional, uma das instituições fundadoras da Brasiliana Fotográfica, o portal celebra o Dia do Bibliotecário. Dois registros são do prédio na Rua do Passeio que sediou a Biblioteca Nacional, entre 1858 e 1910, e foram produzidos por um fotógrafo ainda não identificado e por Antonio Luiz Ferreira (18? – 19?). A foto de autoria de Ferreira faz parte do Album de vistas da Bibliotheca Nacional, de 1902.
+ 
+[Antigo prédio da Biblioteca Nacional à Rua do Passeio], 1916. Rio de Janeiro, RJ / Acervo FBN
+Antonio Luiz Ferreira. Fachada, 1902. Rio de Janeiro, RJ / Acervo FBN
+ 
+As imagens do prédio atual da Biblioteca Nacional, na Avenida Rio Branco, foram produzidas por um fotógrafo ainda não identificado e por Marc Ferrez (1843 – 1923). A de autoria de Ferrez é uma estereografia colorida.
+ 
+[Biblioteca Nacional : fachada], 1910?. Rio de Janeiro, RJ / Acervo FBN
+Marc Ferrez. Biblioteca Nacional, c. 1912. Rio de Janeiro, RJ / Acervo IMS
+ 
+Acessando o link para as fotografias da Biblioteca Nacional selecionadas e disponíveis na Brasiliana Fotográfica, o leitor poderá visualizar e magnificar as imagens.
+ 
+Manuel Bastos Tigre e a origem do Dia do Bibliotecário
+ 
+“Como bibliotecário, Bastos Tigre se preocupou não só em fomentar positivamente a profissão, como contribuiu intelectualmente para área com sua principal preocupação: a organização do conhecimento”.
+Débora Melo in A importância do discurso da ética na biblioteconomia: 
+Bastos Tigre, um exemplo de ética profissional, 2012
+ 
+Foi em homenagem à data de nascimento do bibliotecário, engenheiro, jornalista, poeta, publicitário e teatrólogo pernambucano Manuel Bastos Tigre (1882 – 1957), 12 de março, que foi instituído, pelo Decreto nº 84.631, de 9 de abril de 1980 com efeitos em todo o território nacional, o Dia do Bibliotecário. Bastos Tigre era filho do negociante Delfino Tigre (18? – 1932) e de Maria Leontina Bastos Tigre (18? – 1926); e irmão de Hermínia Bastos Tigre, que foi casada com o fotógrafo Louis Piereck (1880 – 1931).
+ 
+“Bastos Tigre foi um espírito alegre, que soube representar a pleno a alma do brasileiro cosmopolita do seu tempo, introduzido que fora, bem moço ainda, no mais significativo da boemia do seu tempo (…) folião poeta (…) sempre jovial, o Bastos Tigre, poeta satírico, irrefreável”.
+Otacílio Colares in Bastos Tigre: bibliotecário e poeta da Belle Époque, 1982
+ 
+Boêmio e dono de um humor fino, Bastos Tigre veio para o Rio de Janeiro com cerca de 17 anos e tornou-se uma figura conhecida da Belle Époque carioca. Em 1915, passou em primeiro lugar no primeiro concurso público para o cargo de bibliotecário – do Museu Nacional -, apresentando a tese Sobre a aplicação do Sistema de Classificação Decimal, na organização lógica dos conhecimentos, em trabalhos de bibliografia e Biblioteconomia. Ele havia conhecido esta técnica a partir de um contato com o bibliotecário Melvim Dewey, criador do sistema, que conheceu quando esteve nos Estados Unidos, entre 1906 e 1909, estudando Engenharia, na Bliss School, em Washington. Sua tese foi um marco importante na biblioteconomia brasileira, tendo sido a primeira sobre o assunto elaborada no país.
+Foi bibliotecário por 40 anos, tendo trabalhado no Museu Nacional, na Biblioteca Nacional, na Biblioteca da Associação Brasileira de Imprensa e na Biblioteca Central da Universidade do Brasil, aonde foi homenageado após sua morte com uma placa (Diário de Notícias, 12 de março de 1958, penúltima coluna).
+ 
+“É o livro amigo mudo que, calado, nos diz tudo.”
+ 
+Manoel Bastos Tigre fotografado por seu cunhado, o fotógrafo Louis Piereck, em 1915, Recife, PE. Retrato reproduzido do livro de memórias Reminiscências (Brasília: Thesaurus, 1992), do acervo da Biblioteca Nacional.
+  
+“A leitura de um bom livro afasta o tédio e estimula o pensamento.” 
+ 
+Bastos Tigre foi o responsável pelo slogan da Bayer que se tornou famoso em todo o mundo: “Se é Bayer é bom“. É também o autor da letra da música Chopp em Garrafa, com música de Ary Barroso (1903 – 1964), que foi interpretada por Orlando Silva (1915 – 1978). Foi inspirada no produto que a Brahma passou a engarrafar. Sucesso do carnaval de 1934, é considerado o primeiro jingle publicitário do Brasil. Foi também o autor do livro Meu Bebê: livro das mamães para anotações sobre o bebê desde seu nascimento. Escreveu 17 livros, o primeiro, Saguão da Posteridade, editado pela Tipografia Altina, em 1902; além de 12 peças de teatro – a primeira, a revista musical Maxixe, estreou em 30 de março de 1906, no Teatro Carlos Gomes (Gazeta de Notícias, 30 de março de 1906, última coluna). Em 1917, fundou a Sociedade Brasileira de Autores Teatrais, a SBAT.
+Cronista e articulista, trabalhou em inúmeros jornais como Correio da Manhã, onde por anos assinou a seção humorística “Pingos & Respingos” com o pseudônimo Cyrano & Cia, onde com humor comentava a vida cotidiana carioca, alcançando grande popularidade. Colaborou também com A Época, A Gazeta, A Notícia, Gazeta de Notícias, Lanterna, O Filhote da Gazeta, O Globo, O Jornal,  O Malho e Rua. Em 1917, fundou a revista humorística Dom Quixote. Ele usava o pseudônimo “D. Xicote”. A revista circulou até 1927.
+Faleceu em agosto de 1957, em sua casa, à rua Senador Vergueiro, 192, apartamento 12.
+ 
+Bastos Tigre, em 1892 / O Cruzeiro, 28 de dezembro de 1957
+ 
+O primeiro curso de Biblioteconomia da América Latina, na Biblioteca Nacional
+ 
+Inauguração do Curso de Biblioteconomia na Biblioteca Nacional: João Gomes do Rego, sub-bibliotecário diretor da seção de numismática; Constâncio Alves, bibliotecário diretor da 1ª seção; Rui Barbosa, então conselheiro; Manoel Cícero Peregrino da Silva, diretor da BN; Ancelmo Lopes de Souza, bibliotecário diretor da 3ª seção; e Alfredo Mariano de Oliveira, secretário da Biblioteca Nacional, 10 de abril de 1915 / Blog da BN
+ 
+Foi instituído, em 11 de julho de 1911, por iniciativa de seu então diretor, o pernambucano Manuel Cícero Peregrino da Silva (18 – 1956), nos moldes da École de Chartres, o primeiro curso de Biblioteconomia da América Latina e o terceiro no mundo – os dois primeiros foram os da Universidade de Göttingen, na Alemanha, criado em 1886; e o do Columbia College, nos Estados Unidos, criado por iniciativa do bibliotecário norte-americano Melvin Dewey  (1851 – 1931), em 1887 (Anais da Biblioteca Nacional, 1916). Já existia desde 1821, a École des Chartes, na França, criada com a missão de formar futuros curadores patrimoniais, especialmente para bibliotecas, sem, entretanto, se constituir em curso de Biblioteconomia (Origens do ensino de biblioteconomia no Brasil, 2021).
+O objetivo de Peregrino da Silva foi dar uma formação ao quadro de funcionários da instituição, que dirigiu entre 1900 e 1924. As matérias do curso eram Bibliografia, que abrangia História do Livro, Administração de Bibliotecas e Catalogação; Iconografia e Numismática; e Paleografia e Diplomática. O ensino era teórico e prático e este último era realizado na própria Biblioteca Nacional, usando seus serviços, considerados padrão.
+A primeira turma foi formada em 1915 e o curso regular começou em 12 de abril com 27 alunos, sendo 12 funcionários da casa. Dois dias antes, em 10 de abril foi proferida a aula inaugural com a conferência A função do bibliotecário, realizada por Constâncio Antonio Alves (Correio da Manhã, 10 de abril de 1915, segunda coluna; Anais da Biblioteca Nacional, 1916). Ao longo dos anos, foram professores do curso Afrânio Coutinho (1911 – 2000), Cecília Meireles (1901 – 1964) e Sérgio Buarque de Hollanda (1902 – 1982), dentre vários outros. O curso, uma referência na formação em biblioteconomia, funcionou na Biblioteca Nacional até 1969, quando foi transferido para a Unirio.
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora da Brasiliana Fotográfica
+ 
+Fontes:
+ANDRADE, Joaquim Marçal Ferreira de. Complemento indispensável…in Brasiliana Fotográfica, 29 de outubro de 2015.
+BALABAN, Marcelo. Estilo Moderno: Humor, Literatura e Publicidade em Bastos Tigre. São Paulo : Editora da Unicamp, 2017.
+BNDigital
+FERNANDES, Daniel. BIBLIOTECONOMIA | MANUEL BASTOS TIGRE, UM BIBLIOTECÁRIO CHEIO DE HUMOR. BNDigital, 31 de março de 2022
+Hemeroteca Digital da Biblioteca Nacional
+Hubner, M. L. F., Silva, J. F. M., & Atti, A. (2021). Origens do ensino de biblioteconomia no Brasil. BIBLOS, 35(1). https://doi.org/10.14295/biblos.v35i1.12105
+TIGRE, Sylvia Bastos (Org.). Bastos Tigre: notas biográficas. Brasília, 1982
+Site Biblioo
+WANDERLEY, Andrea C. T. O “artista fotógrafo”Louis Piereck (1880 – 1931) in Brasiliana Fotográfica, 15 de dezembro de 2020.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/3286` — `itens/20.500.12156.1_3286/`
+- `20.500.12156.1/3288` — `itens/20.500.12156.1_3288/`
+- `20.500.12156.1/3581` — `itens/20.500.12156.1_3581/`
+- `20.500.12156.1/9718` — `itens/20.500.12156.1_9718/`
+
diff --git a/wordpress/35497-uma-homenagem-aos-150-anos-da-imigracao-italiana-para-o-brasil.md b/wordpress/35497-uma-homenagem-aos-150-anos-da-imigracao-italiana-para-o-brasil.md
new file mode 100644
index 0000000..7392061
--- /dev/null
+++ b/wordpress/35497-uma-homenagem-aos-150-anos-da-imigracao-italiana-para-o-brasil.md
@@ -0,0 +1,67 @@
+---
+id: 35497
+url: "https://brasilianafotografica.bn.gov.br/?p=35497"
+titulo: "Uma homenagem aos 150 anos da imigração italiana para o Brasil"
+autor: "Andrea Wanderley"
+data: "2024-02-21T13:30:17+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/11810", "20.500.12156.1/3983"]
+fetched_at: "2026-09-10T10:17:00.620Z"
+---
+
+# Uma homenagem aos 150 anos da imigração italiana para o Brasil
+
+Para celebrar o Dia Nacional do Imigrante Italiano, a Brasiliana Fotográfica já homenageou essa comunidade e seus descendentes destacando a obra de três talentosos fotógrafos italianos que atuaram no Brasil no século XIX e nas primeiras décadas do século XX: Camillo Vedani (18? – c. 1888), Nicola Maria Parente (1847 – 1911) e Vincenzo Pastore (1865 – 1918), que já foram temas de publicações do portal. Neste artigo, destacaremos as obras dos fotógrafos, também italianos, José Boscagli (1862 -1945) e Luis Terragno (c. 1831 – 1891). 
+ 
+Bandeira da Itália
+ 
+ 
+José Boscagli (1862 – 1945)
+Na maior parte de sua vida, o italiano José Boscagli, nascido em Florença ou em Siena (as fontes variam), foi pintor e desenhista, mas foi também fotógrafo, tendo trabalhado no ateliê de Jacintho Ferrari (18? – 1935), filho do italiano Rafael Ferrari, um dos fotógrafos pioneiros de Porto Alegre, onde passou a morar em torno de 1897. Foi o pintor oficial nas expedições do Marechal Rondon pelo interior do país. Retratou aspectos da fauna, flora, população e costumes locais, destacando-se, especialmente, as representações dos indígenas e aspectos de sua cultura.
+ 
+José Boscagli. [Mostra da indústria alimentícia com destaque para os biscoitos Leal Santos, compotas e vinhos.], 1908. Rio de Janeiro, RJ / Acervo Museu Histórico NacionalAcessando o link para as fotografias de José Boscagli disponíveis na Brasiliana Fotográfica, o leitor poderá visualizar e magnificar as imagens.
+ 
+Luis Terragno (c. 1831 – 1891)
+Nascido em Gênova, Luis Terragno foi um dos pioneiros da fotografia no Rio Grande do Sul, onde já encontrava em torno de 1850. Dom Pedro II (1825 – 1891), fotografado por ele, outorgou a Terragno o título de Fotógrafo da Casa Imperial. Foi o fundador da Loja Maçônica Paz e Ordem, em Porto Alegre, e inventou o fixador à base de mandioca, a pistola Terragno, um aparelho para tirar fotografias instantâneas; o Sinete-Terragno e uma máquina para conservar carnes. No período em que atuou no Rio Grande do Sul, do início da década de 1850 a 1891, Luis Terragno testemunhou o crescimento e desenvolvimento de Porto Alegre que, entre 1820 e 1890, passou de cerca de 12 mil habitantes para pouco mais de 52 mil. Os colonos alemães começaram a chegar a partir de 1824 e, os italianos, a partir de 1875. Foi, no estado, contemporâneo dos fotógrafos Justiniano José de Barros (18? -?), de Madame Reeckel (1837 – 19?), de Rafael Ferrari (18? -?) e de Thomas King, dentre outros. Este último também foi agraciado com o título de Fotógrafo da Casa Imperial. Ao longo de sua carreira de fotógrafo, Terragno ofereceu diversos serviços e produtos como, por exemplo, cursos e câmeras para amadores, além de ter investido em técnicas como a estereoscopia e, depois, a impressão fotográfica sobre superfícies diversas – borracha, mármore, porcelana, tecido etc. Teve estabelecimentos fotográficos em diversos endereços de Porto Alegre.
+ 
+Luis Terragno. [Pedro II, Imperador do Brasil : retrato], 1865. Porto Alegre, RS / Acervo FBNAcessando o link para as fotografias de autoria de Luis Terragno disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Dia Nacional do Imigrante Italiano
+O La Sofia chegou ao Porto de Vitória, no Espírito Santo, no dia 17 de fevereiro de 1874 / Arquivo Público do Espírito Santo
+ 
+A data remete à chegada ao Porto de Vitória, na então província do Espírito Santo, em 17 de fevereiro de 1874, do brigue barca La Sofia, trazendo, a bordo, 388 pessoas oriundas da península itálica, na maioria das regiões do Vêneto e de Trento, esta última ainda sob o domínio austro-húngaro. A La Sofia havia partido de Gênova, em 3 de janeiro de 1874. O desembarque aconteceu, em 21 de fevereiro que, pela  Lei nº 11.687, de 2 de junho de 2008, tornou-se a data oficial, no Brasil, do Dia Nacional do Imigrante Italiano.
+ 
+O Espírito-Santense, 24 de fevereiro de 1874
+ 
+A imigração, após as primeiras leis abolicionistas, tornou-se uma saída para suprir a falta de mão de obra barata. Certamente, esta decisão impactou fortemente o destino dos escravizados no Brasil. Esta expedição, trazendo trabalhadores para substituir a mão de obra escravizada, foi organizada pelo italiano Pietro Tabacchi (? – 1874), que já vivia no país, é considerada o marco do início do processo da migração em massa dos italianos para o Brasil. Foi um empreendimento privado estabelecido a partir de um acordo entre Tabacchi e o Ministério da Agricultura (O Espírito-Santense, 7 de janeiro de 1873, segunda coluna). Inicialmente os colonos trabalharam nas terras de Tabacchi, na colônia de Nova Trento, atual município de Santa Cruz, mas logo houve uma rebelião. Segundo eles, as condições de trabalho eram muito diferentes das combinadas (O Espírito-Santense, 7 de maio de 1874, primeira coluna; e 7 de maio de 1874, segunda coluna).
+ 
+Pietro Tabacchi (? – 1874)
+ 
+Um grupo seguiu para as colônias do Sul do país. Outro, formado por 145 italianos, se instalou na Colônia Imperial de Santa Leopoldina. Chegando à colônia, foram para o Núcleo do Timbuy, hoje Santa Teresa, primeiro município fundado por italianos, na Região Serrana do Espírito Santo.
+ 
+
+ 
+ 
+
+Estima-se que, atualmente, aproximadamente 35 milhões de descendentes de italianos vivam no Brasil.
+Uma curiosidade: A Hospedaria de Imigrantes do Brás, em São Paulo, inaugurada em 1887, e, desde 1993, local do Museu da Imigração, acolheu cerca de 800 mil imigrantes italianos durante o final do século XIX e início do século XX.
+
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+Brasiliana Fotográfica
+Folha de São Paulo
+G1
+Hemeroteca Digital da Biblioteca Nacional
+Site DW
+Site Museu da Imigração
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/11810` — `itens/20.500.12156.1_11810/`
+- `20.500.12156.1/3983` — `itens/20.500.12156.1_3983/`
+
diff --git a/wordpress/35571-os-9-anos-da-brasiliana-fotografica.md b/wordpress/35571-os-9-anos-da-brasiliana-fotografica.md
new file mode 100644
index 0000000..e2d076b
--- /dev/null
+++ b/wordpress/35571-os-9-anos-da-brasiliana-fotografica.md
@@ -0,0 +1,65 @@
+---
+id: 35571
+url: "https://brasilianafotografica.bn.gov.br/?p=35571"
+titulo: "Os 9 anos da Brasiliana Fotográfica"
+autor: "Andrea Wanderley"
+data: "2024-04-02T07:56:11+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Sem categoria", "Convidados", "Preservação digital"]
+handles_referenciados: ["20.500.12156.1/2081"]
+fetched_at: "2026-09-10T10:17:03.778Z"
+---
+
+# Os 9 anos da Brasiliana Fotográfica
+
+Neste mês a Brasiliana Fotográfica celebra seus nove anos de existência. Foi fundada em 17 de abril de 2015 pela Fundação Biblioteca Nacional e pelo Instituto Moreira Salles. Para marcar seu aniversário, o portal promove um seminário, no Auditório Machado de Assis, na Biblioteca Nacional, hoje, a partir das 14h. Aproveitamos para agradecer a nossos usuários e para divulgar alguns de nossos números: 72.473.810 visualizações, 11.019 imagens disponíveis em nosso acervo fotográfico, 506 artigos publicados e, além da participação das já mencionadas instituições fundadoras, a de 10 instituições parceiras: Arquivo Geral da Cidade do Rio de Janeiro, Arquivo Nacional, Diretoria do Patrimônio Histórico e Documentação da Marinha, Escola de Ciências Sociais (FGV CPDOC), Fiocruz, Fundação Joaquim Nabuco, Leibniz-Institut fuer Laenderkunde, Leipzig; Museu Aeroespacial, Museu da República e Museu Histórico Nacional. Durante o evento, o Instituto Histórico e Geográfico Brasileiro passará a integrar o portal. Vida longa à Brasiliana Fotográfica!
+ 
+
+O evento será aberto por Marco Lucchesi, presidente da Fundação Biblioteca Nacional, e por Marcelo Araújo, diretor do Instituto Moreira Salles. O tema da primeira mesa será “Brasiliana Fotográfica: novas parcerias”, com Paulo Knauss e Carolina Alves. O da segunda mesa, “Brasiliana Fotográfica: acervo e acesso”, será apresentado por Diana Ramos e por mim, Andrea Wanderley. Após um rápido intervalo, Ana Maria Mauad e Amanda Farah serão as palestrantes da mesa “Brasiliana Fotográfica: pesquisa e difusão”. O encerramento será realizado pelos curadores do portal, Joaquim Marçal e Sérgio Burgi.
+ 
+A imagem escolhida para ilustrar o convite para o evento é de autoria do fotógrafo italiano Vincenzo Pastore (1865 – 1918) e foi produzida em São Paulo, em torno de 1910.
+ 
+Vincenzo Pastore. Grupo de pessoas ao redor de realejo, na praça da República, c. 1910, São Paulo, SP / Acervo IMS
+ 
+Pastore, um fotógrafo entre dois mundos, foi um importante cronista visual de São Paulo da segunda metade do século XIX e do início do século XX. Com sua câmara ele capturava tipos e costumes de um cotidiano ainda pacato de São Paulo, uma cidade que logo, com o desenvolvimento econômico, mudaria de perfil. Captava as transformações urbanas e humanas da cidade, que passava a ser a metrópole do café. Com seu olhar sensível, o bem sucedido imigrante italiano flagrava trabalhadores de rua como, por exemplo, feirantes, engraxates, vassoureiros e jornaleiros, além de conversas entre mulheres e brincadeiras de crianças. Pastore, ao retratar pessoas simples do povo, realizou, na época, um trabalho inédito na história da fotografia paulistana.
+ 
+Os 9 anos da Brasiliana Fotográfica*
+Andrea C. T. Wanderley
+Boa tarde! É um prazer estar aqui com vocês, apesar do frio na barriga… Vou tentar, a partir de minha experiência como editora e pesquisadora da Brasiliana Fotográfica fazer uma resumida radiografia da história, do funcionamento e do que já foi realizado ao longo desses nove anos no portal apresentando, também, seus dados estatísticos. Como tenho muito a contar achei melhor escrever um texto e lê-lo pra vocês.
+Quando me convidaram para participar deste seminário me lembrei do dia em que neste mesmo local a Brasiliana Fotográfica foi lançada. Dia 17 de abril de 2015. Já contratada como pesquisadora do portal, estava neste auditório ouvindo os idealizadores, os criadores da plataforma, Renato Lessa, então presidente da Biblioteca Nacional e Flavio Pinheiro, então diretor do Instituto Moreira Salles, quando, pela primeira vez, vi a imagem produzida pelo fotógrafo Antonio Luis Ferreira da Missa Campal celebrada em Ação de Graças pela abolição da escravatura no Brasil, realizada em 17 de maio de 1888, no Rio de Janeiro. Fiquei fascinada pela foto. Ali surgia a minha primeira ideia de pauta para a Brasiliana Fotográfica. Mas antes de publicar o artigo sobre ela, publiquei dois – sobre o Dia do Trabalho e sobre o Dia da Abolição da Escravatura.
+Comecei a pesquisar sobre a imagem da missa campal e identifiquei a presença do escritor Machado de Assis na fotografia. Chamei a Elvia Bezerra, então Coordenadora de Literatura do IMS, mostrei a foto com zoom para os curadores do portal, Joaquim Marçal e Sérgio Burgi, e todos concordaram: era mesmo o Machado de Assis. Confirmei, por sugestão de Joaquim Marçal, com Eduardo Assis Duarte, professor da Faculdade de Letras da Universidade Federal de Minas Gerais, que considerou a descoberta significativa e, a fotografia, um documento histórico da maior importância. Foi então publicado, em 17 de maio de 2015 o artigo Missa Campal de 17 de maio de 1888. Pronto! Foi o primeiro furo da Brasiliana Fotográfica! Deu primeira página da Folha de São Paulo e foi notícia no Jornal Nacional! Foram tantos os acessos ao portal que o sistema foi derrubado e, graças à eficiente ação dos profissionais da BN Digital, logo recuperado! A descoberta também foi saudada pelo imenso historiador José Murilo de Carvalho que escreveu o artigo, Machado de Assis vai à missa, publicado no portal ainda em maio de 2015.
+O futuro prometia! Acho que nossa equipe, que cresceu muito desde então, tem cumprido a promessa de, ao longo desses 9 anos, aumentar o repositório on-line de imagens do portal e levar a nossos usuários artigos relevantes a partir do destaque de imagens ainda mais relevantes.
+Sobre nossos leais usuários falarei um pouco adiante.
+Crescemos mesmo. No início, o acervo da Brasiliana Fotográfica contava com 2.393 imagens de suas duas instituições fundadoras. Hoje temos 11.019 imagens! São fotografias do século XIX e das três primeiras décadas do século XX. E agora, além das instituições fundadoras, são nossas parceiras, vou falar aqui em ordem de chegada:
+O Leibniz-Institut fuer Laenderkunde, Leipzig, na Alemanha; o Arquivo Geral da Cidade do Rio de Janeiro, a Diretoria do Patrimônio Histórico e Documentação da Marinha, que entraram em 2016.
+O Arquivo Nacional, a Casa de Oswaldo Cruz/Fiocruz e o Museu da República que entraram em 2017.
+Em 2018, foi a vez do Museu Histórico Nacional. No ano seguinte, a Fundação Joaquim Nabuco aderiu e, em 2020, o Museu Aeroespacial. Ano passado, a Escola de Ciências Sociais FGV CPDOC passou a integrar o portal.
+E hoje, o Instituto Histórico e Geográfico Brasileiro se tornou parceiro da Brasiliana Fotográfica. Uma grande alegria que dá um brilho especial à essa comemoração de aniversário! E a perspectiva é que muitas outras instituições passem a integrar o portal nos próximos anos!
+O acervo da Brasiliana Fotográfica é formado por imagens destas 12, em pouco tempo, com a entrada do IHGB, de 13 instituições importantíssimas nacional e internacionalmente. Como editora e pesquisadora da Brasiliana Fotográfica me relaciono com profissionais de todas elas e saúdo a colaboração sempre eficiente e talentosa de vocês, a troca de idéias, de conhecimento e a amizade que se criou entre nós. Acredito que este ambiente de união e respeito, sem disputas, todos trabalhando na direção da excelência, seja, certamente, um dos fatores mais importantes do sucesso do nosso portal!
+E vamos aqui dar uma definição objetiva do portal: a Brasiliana Fotográfica é um espaço para dar visibilidade, fomentar o debate e a reflexão sobre os acervos deste gênero documental, abordando-os enquanto fonte primária mas também enquanto patrimônio digital a ser preservado. É uma plataforma de difusão de conhecimento imagético e textual. Um de seus principais atrativos é a ferramenta de zoom, que permite a realização de verdadeiros passeios por suas imagens. Também é possível, registrando-se no site, selecionar imagens e direcioná-las para grupos que o próprio usuário cria, compartilhando as seleções com outras pessoas. Assim sendo, a Brasiliana Fotográfica amplia as possibilidades de pesquisa, sobretudo à distância, sem que o interessado de outras cidades precise, necessariamente, deslocar-se até o Rio de Janeiro.
+Ao longo destes 9 anos, publicamos 506 artigos no portal, 122 escritos pelos parceiros ou por convidados externos e 400 por mim, sendo 26 em parceria com profissionais das instituições anteriormente mencionadas. Uma média de um artigo por semana. Durante 9 anos só interrompidos entre 11 de abril e 7 de junho de 2021 por um ataque cibernético. Acredito que a regularidade nas publicações seja outro fator definitivo no alcance da Brasiliana Fotográfica. Integrantes de todas as suas instituições formadoras já tiveram seus artigos publicados no portal. Como são muitos, não vou citá-los nominalmente.
+Como convidados externos, destaco aqui, além da contribuição já mencionada de José Murilo de Carvalho, as participações da antropóloga Lylia Schwartz, recém eleita para a Academia Brasileira de Letras, da historiadora Ana Maria Mauad, fã do portal e uma das palestrantes de hoje, do jornalista Cássio Loredano, da doutora em Literatura Elvia Bezerra, do fotógrafo e educador Millard Schisler e da historiadora Maria Isabella Mendonça dos Santos, dentre vários outros. Todos estão listados na aba do portal CURADORES CONVIDADOS.
+Então, são centenas de artigos! E como eles surgem? Essa é uma pergunta que me fazem recorrentemente. Bem, as pautas surgem de várias formas: a partir de uma fotografia ou de um grupo delas, por exemplo. Fico navegando no acervo fotográfico e as inspirações aparecem! Às vezes, pela beleza da imagem, às vezes pela importância do que é retratado ou por remeter a algum assunto interessante. Um exemplo bem atual é o artigo No último dia do verão, o céu e o sol do Rio de Janeiro por Guilherme Santos, com a imagem produzida por Guilherme Santos. Passeando pelo acervo me deparei com essa imagem belíssima. Ah, eu tinha que dar um destaque a ela. Queria que nossos usuários a vissem…Fiquei pensando e daí surgiu a ideia de colocá-la em um artigo sobre o fim do verão.
+Outra linha de pesquisa é a das efemérides: pode ser a celebração de uma data ou de um evento histórico. Temos recentemente a publicação de um artigo sobre o Dia do Bibliotecário. Cidades, bairros, ruas, monumentos, a história da fotografia e das técnicas fotográficas são frequentemente assuntos de nossos artigos. Notícias atuais também podem render idéias e publicações. Por exemplo, em fevereiro li que o choro foi declarado patrimônio cultural imaterial. Agora em abril, spoiler!!!, será publicado um artigo no Dia Nacional do Choro.
+Os parceiros muitas vezes propõe as pautas ou eu as proponho a eles. Tem dado certo! Foi o que aconteceu no artigo Foto icônica do arquivo histórico da Fiocruz ilustrará exposição em Lyon, França. A jornalista Cristiane d’ Ávila, da Casa de Oswaldo Cruz propôs o tema, enviou o texto com a foto, eu editei e o artigo foi publicado.
+Motivada e inspirada pelo livro Dicionário Histórico-Fotográfico Brasileiro, em que foi compilada a trajetória de fotógrafos e retratistas que documentaram o Brasil entre 1833 e 1910 e uma de minhas fontes de pesquisa mais frequentes, de autoria do professor Boris Kossoy, grande nome da fotografia e um entusiasta do portal, escrevi o perfil com cronologia de 66 fotógrafos e fotógrafas que atuaram no Brasil no século XIX até as primeiras décadas do XX. A primeira foi Militão Augusto de Azevedo (1837 – 1905) e sua obra-prima, o “Álbum comparativo da cidade de São Paulo 1862-1887″, ainda em maio de 2015 e, a última, em fevereiro deste ano sobre O fotógrafo alemão Theodor Preising (1883 – 1962), “o viajante incansável”. Por ideia do curador Joaquim Marçal, foi criada a aba do portal CRONOLOGIA DE FOTÓGRAFOS, onde todas as cronologias estão reunidas. Acredito que essa seja uma contribuição importante para a historiografia da fotografia no Brasil.
+Já temos também publicações reunidas em cinco séries: Avenidas e ruas, com 18 artigos que proporcionam aos usuários verdadeiras caminhadas em cidades de todo o Brasil; Os arquitetos do Rio de Janeiro, com 5 artigos e O Rio de Janeiro desaparecido, com 27, que mostram, a partir dos registros como diversos fotógrafos viam a cidade, suas mudanças urbanas e seu desenho. Temos ainda a série Feministas, graças a Deus, com 17 artigos baseados em fotografias do acervo do Arquivo Nacional, que traz a história do começo do movimento feminista brasileiro e o perfil de várias feministas do início do século XX, dentre elas Bertha Lutz e Carmen Portinho. Finalmente, a série 1922 – Hoje, há 100 anos, com 11 artigos que pontuam alguns dos mais importantes acontecimentos ocorridos no referido ano, que foi marcante na história do Brasil. Acho, inclusive, que precisamos abrir uma nova aba reunindo todas estas séries.
+Um das diversas consequências da difusão de fotografias com a produção de artigos em torno delas é a possibilidade de ampliação do conhecimento. Por exemplo, em 30 de outubro de 2017, foi publicado o artigo O fotógrafo português Francisco du Bocage (14/04/1860 – 22/10/1919). Em 2018, um de seus bisnetos, Sergio Du Bocage, entrou em contato conosco e agendamos um encontro. Ele trouxe documentos do fotógrafo que foram incorporados à nossa publicação.
+Abre aspas: “Segundo um documento de identificação expedido em 10 de abril de 1918, no Recife, Bocage era português, naturalizado brasileiro, casado, tinha 1m68 de altura, olhos castanhos escuros, cabelos grisalhos, bigodes brancos, barba raspada e sua profissão era comerciante. Traz ainda uma imagem e a assinatura do fotógrafo”. Fecha aspas.
+Outra contribuição interessante dos usuários surgiu de uma ideia do curador Sérgio Burgi. Convidamos os leitores a nos ajudar na identificação de outras pessoas que estavam na foto da missa campal de 1888. Desta forma, além de termos criado um vínculo mais próximo entre os usuários e o portal, conseguimos nomear vários personagens presentes no registro e dois artigos foram publicados com as novas “descobertas”.
+Bem, a visão é escrever de modo claro sobre assuntos interessantes ancorados em imagens relevantes e numa pesquisa rigorosa e extensa. Aqui destaco a gloriosa Hemeroteca Digital da Biblioteca Nacional, uma fonte de informação absolutamente genial. Em cerca de 90 por cento do que escrevo a hemeroteca é uma das referências mais importantes.
+Uma preocupação do portal é divulgar fotografias de todas as regiões do Brasil. Até hoje, no escopo do período abordado pela Brasiliana, são mais conhecidos fotógrafos que atuaram no Rio de Janeiro, em São Paulo, na Bahia e em Pernambuco, mas, nos nossos artigos, imagens de todas as regiões do país já foram destacadas.
+Agora o leitor de imagens e de textos, para quem todo esse trabalho é realizado! Este usuário que não conhecemos, que pode ser uma criança, um adulto, um aluno dos graus mais variados, um professor, um curioso. Vocês são responsáveis por 72.473.810 visualizações em nosso portal!!! É uma honra, um privilégio e uma enorme responsabilidade produzir para vocês!!! Usuários, em nome de toda a equipe da Brasiliana Fotográfica, muito obrigada pela audiência e prestígio que vocês dão ao nosso portal!!! Esta é, na verdade, a grande parceria, a grande e almejada interação: a das instituições formadoras da Brasiliana Fotográfica com vocês!!! Vamos em frente!!!
+Então, resumindo a Brasiliana em números nestes 9 anos: temos em nosso acervo fotográfico 11.019 imagens de 12 instituições. Já publicamos 506 artigos e tivemos 72.473.810 visualizações.
+Saúdo especialmente dois colaboradores imprescindíveis no dia a dia da Brasiliana Fotográfica: os gestores de conteúdo Roberta Zanatta, do Instituto Moreira Salles, e Vinícius Martins, da Fundação Biblioteca Nacional. Colegas de trabalho que se tornaram amigos!
+Me despeço, agradecendo à confiança das instituições fundadoras e parceiras do portal e de seus curadores, Sérgio Burgi e Joaquim Marçal. Podem ter certeza que trabalho com o máximo de seriedade e comprometimento. E também com muita alegria e entusiasmo!
+Acredito que juntos realizamos um trabalho importante voltado ao desenvolvimento da educação e da cultura de nosso país, fazendo com que a história da fotografia, a memória e a própria História do Brasil estejam cada vez mais ao alcance da população. Viva a Brasiliana Fotográfica! Vida longa à Brasiliana Fotográfica!
+Muito obrigada!
+ 
+*Palestra realizada por Andrea C.T. Wanderley, editora e pesquisadora do portal Brasiliana Fotográfica, durante o evento sobre os 9 anos de aniversário da Brasiliana Fotográfica, realizado, em 2 de abril de 2024, no Auditório Machado de Assis, na Biblioteca Nacional.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/2081` — `itens/20.500.12156.1_2081/`
+
diff --git a/wordpress/35590-a-frente-negra-brasileira.md b/wordpress/35590-a-frente-negra-brasileira.md
new file mode 100644
index 0000000..ac16afa
--- /dev/null
+++ b/wordpress/35590-a-frente-negra-brasileira.md
@@ -0,0 +1,352 @@
+---
+id: 35590
+url: "https://brasilianafotografica.bn.gov.br/?p=35590"
+titulo: "A Frente Negra Brasileira"
+autor: "Roberta Zanatta"
+data: "2024-05-13T14:46:15+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/12652", "20.500.12156.1/12655", "20.500.12156.1/12654", "20.500.12156.1/12651", "20.500.12156.1/12653"]
+fetched_at: "2026-09-10T10:17:07.276Z"
+---
+
+# A Frente Negra Brasileira
+
+“O preconceito da cor no Brasil só nós os negros podemos sentir”
+ Isaltino Veiga dos Santos (1901 – 1966)
+ 
+Capa da 1ª edição do jornal A Voz da Raça, 18 de março de 1933
+ 
+Com a publicação de fotografias da Frente Negra Brasileira pertencentes à Fundação Biblioteca Nacional, uma das instituições fundadoras da Brasiliana Fotográfica, contamos neste artigo um pouco da história desta associação, fundada em São Paulo, em 16 de setembro de 1931, que foi, depois da Abolição da Escravatura no Brasil, ocorrida há exatos 136 anos, como movimento de massas, a mais importante organização que os negros lograram, segundo Abdias do Nascimento (1914 – 2011), importante voz do ativismo do Movimento Negro no Brasil.
+ 
+“Minhas primeiras experiências de luta foram na Frente Negra Brasileira. Alguns dos dirigentes da FNB desde a década de vinte se esforçavam tentando articular um movimento. Houve, assim, um projeto de reunir o Congresso da Mocidade Negra, em 1928, em São Paulo, o que não chegou a se concretizar. Somente em 1938 eu e outros cinco jovens negros realizamos o I Congresso Afro-Campineiro e, em 1950, o Teatro Experimental do Negro promoveu o I Congresso do Negro Brasileiro, no Rio de Janeiro.
+As pessoas e as idéias já vinham de antes, mas foi nos inícios dos anos trinta que o movimento se institucionalizou na forma da Frente Negra Brasileira. Entre seus fundadores estavam Arlindo Veiga dos Santos e José Correia Leite e, como movimento de massas, foi a mais importante organização que os negros lograram após a abolição da escravatura em 1888.
+A Frente fazia protestos contra a discriminação racial e de cor em lugares públicos… sob a perspectiva de integrar os negros na sociedade nacional. Dessa forma combatia a FNB os hotéis, bares, barbeiros, clubes, guarda-civil, departamentos de polícia, etc. que vetavam a entrada ao negro, o que lembrava muito o movimento pelos direitos civis dos negros norte-americanos.
+Uma perspectiva que eu hoje critico. Minhas lembranças não são muito seguras, mas acho que o movimento ia além das reivindicações citadas. Eu não podia me envolver profundamente na ação, pois estava servindo o exército, cujo regulamento disciplinar proibia qualquer participação em atividades sociais e políticas. Assim minha participação era mais simbólica e espiritual.
+Mas me lembro de O Clarim da Alvorada, o jornal que transcrevia notícias e artigos do movimento que Marcus Garvey, o grande negro jamaicano, desencadeara nos Estados Unidos sob o lema da Volta à África. Apesar da barreira da língua, da pobreza dos meios de comunicação, a FNB permanecia alerta a todos os gestos emancipacionistas acontecidos em outros países.
+Foi uma vanguarda com o objetivo de preparar o negro para assumir uma posição política e econômica na representação do povo brasileiro ao Congresso Nacional. E o movimento se espalhou de São Paulo para outros Estados com significativa população negra: Bahia, Pernambuco, Rio Grande do Sul, Rio de Janeiro, Minas Gerais, Maranhão… O chamado Estado Novo ou a ditadura de Getúlio Vargas, instaurada em 1937, fechou a FNB juntamente com todos os partidos políticos então existentes.
+A Frente, como qualquer outra instituição de massas, teve seus problemas internos de orientação e liderança, o que aliás é um bom índice da sua vitalidade. O dirigente Arlindo Veiga dos Santos se achava ligado ao Movimento Patrianovista, de orientação de direita, enquanto José Correia Leite se filiava ao pensamento socialista. Tal polarização levaria inevitavelmente ao fracionamento que ocorreu. Entretanto, não creio que o fato teve qualquer ligação ou influência com o Partido Comunista”.
+ 
+Abdias do Nascimento em Memórias do Exílio (1976)
+ 
+Aniversário de fundação da Frente Negra Brasileira : uma parte da assistência, 16 de setembro de 1935. São Paulo, SP / Acervo FBN
+ 
+Acessando o link para as fotografias da Frente Negra Brasileira disponíveis na Brasiliana Fotográfica, o leitor poderá visualizar e magnificar as imagens.
+ 
+Por cerca de 350 anos, o Brasil – destino de cerca de 4,5 milhões de escravizados africanos – foi o maior território escravagista do Ocidente, mantendo este sistema tanto no campo como na cidade. O lugar de trabalho era o lugar do escravizado. A escravidão foi abolida, em 13 de maio de 1888, após seis dias de votações e debates no Congresso, quando a princesa Isabel (1846 – 1921) assinou a Lei Áurea, que decretava a libertação dos escravizados no país (O Paiz, 14 de maio de 1888 e A Gazeta de Notícias, 14 de maio de 1888).
+ 
+“A escravidão foi o processo mais violento, mais cruel, mas mais eficiente de obter, conservar, preservar e explorar o trabalho alheio. Ele não via em quem ele escravizava um semelhante, mas via um adversário e um ser inferior a ele.”
+Alberto da Costa e Silva, diplomata, escritor e africanólogo
+ 
+Grupo tirado em frente da sede da Delegação da F. N. B. [Frente Negra Brasileira], 1931-1937. São Paulo, SP / Acervo FBN
+ 
+O propósito fundamental da Frente Negra Brasileira era discutir a questão do racismo, promover melhores condições de vida e a união política e social da “gente negra nacional”.  Teve filiais em diversas cidades paulistas e nos estados da Bahia, Espírito Santo, Minas Gerais, Pernambuco, Rio de Janeiro e Rio Grande do Sul. Segundo uma nota escrita por Isaltino Veiga dos Santos (1901 – 1966), então secretário-geral da associação, em 1932, a FNB tinha 45 mil associados (A Gazeta, 16 de julho de 1932, segunda coluna). No site do ,IpeAfro, fala-se em cerca de 100 mil associados (Site IpeAfro).
+Sob a liderança de Arlindo Veiga dos Santos (1902 – 1978), José Correia Leite (1909 – 1989), Aristides Barbosa (1920 -?) e Francisco Lucrécio (1909 – 2001), dentre outros, a FNB desenvolvia diversas atividades de caráter cultural, educacional, político e social para os seus associados. Promovia bailes, cursos de alfabetização, festas, festivais musicais e literários, oficinas de costuras, palestras e seminários.
+Foi presidida por Arlindo Veiga dos Santos até 1934. Ele foi sucedido por Justiniano Costa, que ocupou o cargo até a extinção da FNB, em 1937.
+Inicialmente, a sede da associação ficava em uma sala do Palacete Santa Helena, mas em março de 1932, cerca de seis meses após sua fundação, devido ao crescimento do número de filiados, mudou-se para a Rua da Liberdade, n° 196.
+ 
+“A Frente Negra Brasileira foi a primeira organização no país a falar que o então chamado ‘preconceito de cor’ era um problema nacional e estrutural. Hoje isso é consenso, mas nos anos 1930 não era”.
+Petrônio Domingues, historiador e
+autor de livros sobre questões raciais, como Protagonismo Negro em São Paulo
+ 
+A FNB se organizou, em 1935, como partido político. Foi o primeiro e único partido negro da história do país, mas não participou de nenhuma eleição. Em novembro de 1937, o Estado Novo do presidente Getúlio Vargas (1882 – 1954) fechou todos as associações e partidos políticos. A Frente Negra Brasileira, declarada ilegal, foi dissolvida.
+ 
+Banda Musical da Delegação da F. N. B. [Frente Negra Brasileira], 1931-1937. São Paulo, SP / Acervo FBN
+ 
+Aniversário de fundação da Frente Negra Brasileira : mesa que presidiu os trabalhos, 16 de setembro de 1935. São Paulo, SP / Acervo FBN
+ 
+A Frente Negra Brasileira – Breve cronologia de 1931 a 1938
+ 
+Aniversário de fundação da Frente Negra Brasileira : outra parte da assistência, 16 de setembro de 1935. São Paulo, SP / Acervo FBN
+ 
+1931
+ 
+No salão da Associação das Classes Laboriosas, em São Paulo, fundação, em 16 de setembro de 1931, da Frente Negra Brasileira, sob a presidência de Arlindo da Veiga Santos (1902 – 1978), que dirigiu os trabalhos da assembleia. Estavam presentes: Alfredo Eugenio da Silva, Ari Cananéa da Silva, Cantidio Alexandre, Constantino Nóbrega, David Soares, Francisco Costa Santos, Gervásio de Moraes, Horácio Arruda, Isaltino Veiga dos Santos, João Francisco de Araújo, Jorge Rafael, José Benedito Ferraz, Justiniano Costa, Leopoldo de Oliveira, Lindolfo Claudino, Messias Marques do Nascimento, Olavo Luciano Nardy, Oscar de Barros Leite, Raul de Moraes, Raul Joviano do Amaral (1914 – 1988), Roque Antonio dos Santos e Vitor de Sousa. Durante a fundação, falaram o professor Christiano Brasil e Alberto Orlando. Adalgisa Correa Lobo leu uma mensagem às mulheres negras brasileiras (Diário Nacional, 17 de setembro de 1931, última coluna; Diário da Noite, 18 de setembro de 1931, quarta coluna; Jornal do Brasil, 30 de setembro de 1931, terceira coluna).
+ 
+Diário Nacional, 17 de setembro de 1931
+ 
+Arlindo Veiga dos Santos (1902 – 1978), primeiro presidente da Frente Negra Brasileira
+ 
+Em outubro, foi anunciado que sua primeira sede havia sido instalada na sala 127 do primeiro andar do Palacete Santa Helena, localizado na Praça da Sé, e projetado pelos arquitetos italianos Giacomo Corberi e Giuseppe Sacchetti (1874 – 1955), em 1925. O edifício foi demolido em 1971 (Diário Nacional, 5 de outubro de 1931, segunda coluna).
+ 
+Palacete Santa Helena
+ 
+Realização da primeira reunião do Grande Conselho da Frente Negra Brasileira quando o conselho diretor da associação tomou posse sob a presidência de Arlindo da Veiga Santos. O secretário da FNB era Isaltino Veiga dos Santos, irmão de Arlindo (Jornal do Brasil, 16 de outubro de 1931, última coluna; Diário Nacional, 18 de outubro de 1931, segunda coluna).
+Realização da quarta e última reunião de arregimentação da Frente Negra Brasileira que iniciaria agora sua ação (Diário Nacional, 20 de outubro de 1931, primeira coluna).
+Em uma reunião da FNB, inauguração do Minuto Literário em homenagem a Ventura da Silva, autor do livro O Encarcerado. Houve também a apresentação da orquestra do professor João de Deus Conegundes, que executou várias peças, dentre elas o Hino da Gente Negra Brasileira e a marcha Palmares (Diário Nacional, 15 de novembro de 1931, terceira coluna).
+A FNB fez um comunicado à imprensa protestando contra o ato racista de proprietários de rinks de patinação, proibindo a entrada de negros em seus estabelecimentos (Jornal do Brasil, 8 de dezembro de 1931, quinta coluna).
+O interventor de São Paulo, Manuel Rabelo (1873 – 1945), enviou um telegrama à Frente Negra Brasileira prestando solidariedade à associação (Jornal do Brasil, 22 de dezembro de 1931, penúltima coluna).
+José Correia Leite (1900 – 1989), um dos fundadores da FNB, rompeu com a entidade devido a conflitos políticos e ideológicos.
+“Em 23 de dezembro de 1931, ele enviou uma carta aos membros do Conselho daquela entidade solicitando seu desligamento do colegiado. Nesse documento, Correia Leite apontava como causa do pedido de afastamento sua “incompatibilidade com o personalismo, clericalismo”, monarquismo e posições políticas “ultranacionalistas” do presidente da FNB. Além disso, esse dissidente fazia questão de declarar que condenava a monarquia, a religião cristã e a “república aristocrática”, tendo como sonho a construção do “socialismo democrático”. Apesar de sua defecção do cargo de direção, Leite escrevia que ainda se dispunha a continuar nas “fileiras” da organização como “soldado” (DOMINGUES, 2004).
+Passou a fazer oposição à FNB, tendo fundado o Clube Negro de Cultura Social, idealizado com José de Assis Barbosa Leite. Em 6 de janeiro de 1924, juntamente com Jayme de Aguiar, Correia Leite havia fundado o Clarim, jornal renomeado como O Clarim da Alvorada, publicado até 13 de maio de 1932. Houve uma edição em 1940 (Clarim da Alvorada, 28 de setembro de 1940). Este jornal foi fundamental para fortalecer o incipiente movimento da cultura negra no Brasil e também para a formação da Frente Negra Brasileira.
+ 
+José Correia Leite (1900 – 1989) / Site Literafro
+ 
+Primeira edição do jornal O Clarim, 6 de janeiro de 1924
+ 
+1932
+ 
+Isaltino Veiga dos Santos enviou ao interventor de São Paulo, coronel Manuel Rabelo (1878 – 1945), um ofício em nome da Frente Negra Brasileira protestando contra o não cumprimento do decreto que se refere à preferência que devem merecer em todas as colocações os brasileiros natos (Diário Nacional, 8 de janeiro de 1932, última coluna).
+A FNB promoveu uma reunião durante a qual o poeta e escritor Joaquim Dutra da Silva proferiu a palestra Educação. Também foi realizada a apresentação da orquestra do professor João de Deus Conegundes*. Foram convidados para o evento o interventor de São Paulo, coronel Manuel Rabelo (1878 – 1945) e o chefe da Polícia, Oswaldo Cordeiro de Farias (1901 – 181), além da imprensa (Diário Nacional, 10 de janeiro de 1932, segunda coluna).
+Houve um desentendimento entre Augusto Euzébio Oliveira e a direção da Frente Negra Brasileira (Diário Nacional, 23 de janeiro de 1932, quarta coluna; 24 de janeiro de 1932, quarta coluna).
+Publicação do poema Preconceito, de Deocleciano Nascimento (? – 1967), dedicado à Frente Negra Brasileira (O Malho, 6 de fevereiro de 1932).
+ 
+ 
+O Malho, 6 de fevereiro de 1932
+ 
+Na coluna “Actualidades”, a Frente Negra Brasileira foi criticada por inventar um problema: o conflito de raças (Diário Nacional, 13 de fevereiro de 1932, segunda coluna).
+Publicação de um artigo sobre a história da FNB, suas delegações e estatuto (Correio da Manhã, 13 de fevereiro de 1932, quinta coluna)
+Duas delegações da Frente Negra Brasileira foram instaladas no Rio de Janeiro (Diário de Notícias, 16 de fevereiro de 1932, primeira coluna; Jornal do Brasil, 23 de fevereiro de 1932, antepenúltima coluna).
+Publicação de um artigo de Austregésilo de Athayde (1898 – 1993) contra a Frente Negra Brasileira (Diário da Noite, 25 de fevereiro de 1932, primeira coluna).
+A sede da FNB foi transferida do Palacete Santa Helena para a Rua da Liberdade, 196 (Diário Nacional, 4 de março de 1932, sexta coluna).
+ 
+Diário Nacional, 4 de março de 1932
+ 
+A redação do jornal Chibata, que fazia várias críticas à FNB, foi empastelado. Suspeitou-se que a ação tivesse sido feita por filiados à associação (Diário Nacional, 20 de março de 1932, terceira coluna).
+A Frente Negra Brasileira aderiu ao Club 3 de Outubro, organização política fundada, no Rio de Janeiro, em 1931, por pessoas vinculadas ao movimento tenentista, em apoio ao Governo Provisório de Getúlio Vargas (Jornal do Commercio, 30 de março de 1932, quinta coluna).
+Estavam abertas na sede da FNB a matrícula para o Tiro de Guerra. Já estavam em funcionamento o consultório dentário e o salão de barbeiro (Diário Nacional, 7 de abril de 1932, penúltima coluna).
+A FNB promoveu um festival artístico com a representação da comédia Contra-Veneno, de Isaltino Veiga dos Santos, e com a apresentação da palestra O negro e o momento pelo advogado baiano Joaquim Guaraná de Santana. A renda do evento seria revertida para o Departamento de Educação Frentenegrino (Diário Nacional, 20 de abril de 1932, penúltima coluna).
+Estavam abertas as matrículas para os cursos primário, ginasial e técnico da escola fundada pela Frente Negra Brasileira (Diário Nacional, 6 de maio de 1932, quinta coluna).
+A FNB inaugurou uma sub sede em Barra Funda e também o Departamento de Arte Culinária. Posteriomente, passaram a funcionar na sub sede os departamentos de comércio, desenho, mecânicos, motoristas, pedreiros e de pintura (Diário Nacional, 10 de maio de 1932, terceira coluna; Diário Nacional, 24 de maio de 1932, primeira coluna).
+Para marcar o dia 13 de maio, a Frente Negra Brasileira promoveu a realização de uma missa na Igreja Nossa Senhora dos Remédios e uma passeata. Quando chegaram ao Largo do Arouche, onde fica a herma do advogado Luiz Gama (1830 – 1882) – concebida por Yolando Mallozzi e inaugurada em 1931 -, foi feita uma parada e o presidente da FNB, Arlindo Veiga dos Santos, e o orador Vicente Ferreira (? – 1934) fizeram discursos em homenagem ao grande patrono da raça. A campanha pela construção da herma de Luis Gama foi  liderada pelo jornal Progresso, representante da imprensa negra.
+ 
+ Herma de Luiz Gama, Largo do Arouche, SP
+ 
+Desenho de Luiz Gama em Sonetos brasileiros: desenhos dos sonetos, de M.J. Garnier, p. 46/ Acervo FBN
+ 
+O préstito seguiu para o Cemitério da Consolação onde o túmulo de Luiz Gama e de outros abolicionistas foram visitados. À noite, na sede da FNB, foi inaugurado um retrato do jornalista e abolicionista José do Patrocínio (1853 – 1905), de autoria de Olavo Xavier (Diário Nacional, 14 de maio de 1932).
+ 
+Diário Nacional, 14 de maio de 1932
+ 
+A Frente Negra Brasileira promoveu um jogo de futebol entre os selecionados “preto” e “branco”, no campo do São Paulo Futebol Clube (Diário Nacional, 26 de maio de 1932, sexta coluna; Correio Paulistano, 28 de novembro de 1934, última coluna).
+Foi anunciada a comemoração pelo primeiro ano da fundação da FNB, que ocorreria em sua sede em 16 de setembro (Correio de S. Paulo, 29 de junho de 1932, quinta coluna; Diário Nacional, 29 de junho de 1932, segunda coluna).
+Nos salões da Lega Lombarda, sociedade italiana fundada em São Paulo, em 1897, realização de um festival de artes promovido pela FNB, em 7 de julho, no Largo São Paulo, n° 18 (Correio de S. Paulo, 4 de julho de 1932, quinta coluna).
+A Revolução Constitucionalista de 1932, movimento armado liderado por São Paulo contra o governo provisório de Getúlio Vargas e pela defesa de uma nova Constituição para o Brasil, eclodiu em 9 de julho. A Frente Negra Brasileira, que sempre apoiou Getúlio mas tinha sua sede em São Paulo, divulgou uma nota pública se dizendo neutra no conflito.
+A Frente Negra Brasileira, União Político-Social da Raça, com a finalidade dupla de lutar pela grandeza da Pátria unida e de trabalhar, sem esmorecimento, pelo alevantamento moral e intelectual do negro no Brasil, pela primeira vez, depois do movimento armado, que se acha de pé e em cuja vanguarda se encontra o grande Estado de São Paulo, […] declara que todos os Frentenegrinos, residentes nesta Capital, no Interior do Estado; já foram cientificados de que a sua liberdade de pensar e agir não está, absolutamente, sujeita a quaisquer imposições da Frente Negra Brasileira, neste momento, mesmo porque não tem ela a mínima ligação com este ou aquele partido político, seja de civis ou militares, estando, porém, sempre solidária com as grandes causas, que venham ao encontro das aspirações nacionais.
+A Gazeta, 16 de julho de 1932
+ 
+Parte dos militantes ficou indignada com a posição, rompeu com a FNB e formou a chamada Legião Negra, em 14 de julho. A nova entidade era liderada pelo advogado baiano Joaquim Guaraná Santana e pelo capitão Gastão Goulart. Foi lançada uma “Proclamação a todos os negros do Brasil”. Estima-se que a Legião Negra tenha enviado cerca de 2 mil homens  à guerra. Ficaram conhecidos como os Pérolas Negras. O conflito terminou, em 2 de outubro de 1932, com a rendição do Exército Constitucionalista (A Gazeta, 23 de julho de 1932).
+Arlindo Veiga dos Santos, presidente da FNB, os cabos Isaltino Veiga dos Santos e Mario Silva Junior; e o conselheiro Inacio Braga participaram do Congresso Revolucionário, no Rio de Janeiro, promovido pela Legião Cívica 5 de julho. Durante o evento, a Frente Negra Brasileira foi acusada de ter ligações com a Ação Integralista Brasileira e com a Ação Patrianovista. Isaltino Veiga dos Santos afirmou que a FNB tinha aliança unicamente com o Clube 3 de Outubro  (Correio de S. Paulo, 15 de novembro de 1932, quarta coluna; O Radical, 15 de novembro de 1932; O Radical, de 15 novembro de 1932, quinta coluna; O Radical, 22 de novembro de 1932, quinta coluna).
+ 
+ 
+O Radical, 15 de novembro de 1932
+ 
+Isaltino Veiga dos Santos, secretário-geral da FNB,  enviou ao interventor de São Paulo, Waldomiro Lima (1873 – 1938), e ao presidente do Brasil, Getúlio Vargas (1882 – 1954), cartas explicando o posicionamento da Frente Negra Brasileira em relação à Revolução Constitucionalista de 1932, em São Paulo (O Radical, 25 de outubro de 1932; O Radical, 18 de novembro de 1932, primeira coluna).
+Isaltino enviou também uma mensagem aos operários associando-se ao movimento de solidariedade trabalhista ao Governo Provisório (O Radical, 29 de outubro de 1932, terceira coluna).
+Publicação de uma entrevista com Sebastião Schiffini, delegado da FNB e futuro diretor da Frente Negra Brasileira Socialista, fundada em março do ano seguinte (O Radical, 31 de outubro de 1932, terceira coluna).
+Publicação de uma entrevista com Arlindo Veiga dos Santos, presidente da FNB, onde ele explica os pontos de vista da Frente Negra Brasileira de S. Paulo em face do atual momento nacional  (A Batalha, 12 de dezembro de 1932, antepenúltima coluna).
+ 
+A Batalha, 12 de dezembro de 1932
+ 
+Foi anunciada a realização de uma parada cívica promovida pela FNB em 1°de janeiro de 1933 (Correio de S. Paulo, 24 de dezembro de 1932, terceira coluna).
+Atendendo a um pedido da Frente Negra Brasileira, o coronel Waldomiro Lima (1873- 1938), interventor em São Paulo, admitiu na Guarda Civil  50 homens filiados à agremiação (O Radical, 26 de dezembro de 1932, penúltima coluna).
+ 
+1933
+ 
+A FNB se pronunciou sobre um caso de racismo ocorrido no Rio de Janeiro. O acadêmico, sibarita deflorador João Abrão havia sido absolvido, atendendo à razão absurda de ser a vítima negra e humilde (Correio de S. Paulo, 16 de janeiro de 1933, terceira coluna).
+Filena Veiga dos Santos, esposa de Isaltino Veiga dos Santos, enviou uma mensagem de agradecimento à primeira-dama Darci Vargas (1895 – 1968) em nome das mulheres da Gente Negra de São Paulo. Foi mencionado que Isaltino havia sido recebido por Getúlio Vargas no Palácio Rio Negro, em Petrópolis, e que ele teria atendido às reivindicações feitas por Isaltino em relação ao favorecimento de estrangeiros em detrimento da população negra (Diário de Notícias, 9 de fevereiro de 1933, quinta coluna).
+Em 10 de fevereiro, falecimento de Francisco Costa Santos (? – 1933), um dos fundadores da Frente Negra Brasileira (A Voz da Raça, 17 de fevereiro de 1934, segunda coluna).
+Foi noticiado o apoio da FNB à Ação Integralista Brasileira na disputa das eleições constituintes (Correio de S. Paulo, 14 de fevereiro de 1933, última coluna).
+
+“O integralismo tinha um apelo por conta de sua narrativa de inclusão da população negra. Essas ideologias estavam circulando por aqui e influenciando diversos grupos”, explicou o cientista social Márcio Macedo, coordenador de diversidade da Escola de Administração de Empresas da Fundação Getúlio Vargas, em entrevista recente à BBC News Brasil.
+
+“Uma ideia que nasce com os integralistas, e que foi cara à FNB, era o conceito de segunda abolição. Isso significa que a abolição da escravatura não havia sido completa, porque não se pensou em políticas de integração e de auxílio à população que fora liberta. Seria necessária uma segunda abolição para que essas medidas fossem implementadas.”
+Site da BBC, 13 de junho de 2020
+
+ 
+Foi publicada uma entrevista com Isaltino Veiga dos Santos, secretário-geral da FNB, sobre o posicionamento político e também sobre o funcionamento do posto de alistamento eleitoral na sede da Frente Negra Brasileira, referida na reportagem como uma das mais perfeitas organizações sociais aparecidas nestes últimos tempos (Correio de S. Paulo, 17 de fevereiro de 1933, primeira coluna).
+ 
+Correio de S. Paulo, 17 de fevereiro de 1933
+ 
+Foi anunciada a criação do Liceu Palmares, sob a direção de Arlindo Veiga dos Santos destinado a desenvolver a cultura intelectual dos nossos patrícios. O Liceu Palmares aceita alunos, mesmo que não sejam sócios da FNB, assim como brancos, brasileiros ou não. O nome do instituto de ensino foi proposto por Isaltino Veiga dos Santos (Correio de S. Paulo, 7 de março de 1933, terceira coluna; A Voz da Raça, 25 de março de 1933, terceira coluna).).
+Publicação da primeira edição do jornal A Voz da Raça, em 18 de março de 1933, semanário órgão oficial da Frente Negra Brasileira. O redator era Deocleciano Nascimento (? – 1967); seu secretário, Pedro Paulo Barbosa e A. de Campos era o gerente. Na edição foi publicada o quadro demonstrativo de receitas e despesas da FNB, de outubro de 1931 a setembro de 1932. Na época, Justiniano Costa era o tesoureiro e Deocleciano Nascimento, o guarda-livros da associação (A Voz da Raça, 18 de março de 1933).
+ 
+Editorial do primeiro número do jornal A Voz da Raça, 18 de março de 1933
+ 
+A Secretaria Geral da FNB informava que em sua sede estava em funcionamento a Escola de Alfabetização para ministrar instrução aos negros de ambos os sexos; o departamento de musical, de costura e de alistamento eleitoral (A Voz da Raça, 25 de março de 1933, última coluna; A Voz da Raça, 25 de março de 1933, terceira coluna).
+ 
+Crianças na escola da Frente Negra Brasileira / Arquivo de Márcio Barbosa
+ 
+Arlindo Veiga dos Santos comentou sobre a alegação de que a FNB teria um objetivo puramente monárquico. Arlindo havia sido o fundador, em 1932, da Ação Imperial Patrianovista Brasileira, que pregava o retorno dos moldes monárquicos e a valorização do catolicismo (A Voz da Raça, 1º de abril de 1933, terceira coluna).
+ 
+Símbolo da Ação Imperial Patrianovista Brasileira
+ 
+Deocleciano Nascimento (? – 1967), que foi o criador do jornal O Menelik, em 1915, fez uma doação de livros, na maioria clássicos nas línguas francesa, inglesa e portuguesa, para a Biblioteca da FNB (A Voz da Raça, 8 de abril de 1933, última coluna).
+A FNB publicou um chamado ao Patrício Negro (A Voz da Raça, 8 de abril de 1933, quarta coluna).
+ 
+A Voz da Raça, 8 de abril de 1933
+ 
+Foram publicadas informações sobre a Caixa Beneficente da FNB (A Voz da Raça, 8 de abril de 1933, segunda coluna).
+Publicação de um protesto dos Frentenegrinos contra ingratos que eram opositores da direção dos irmãos Veiga dos Santos e de outros diretores à frente da FNB (A Voz da Raça, 8 de abril de 1933)
+Em um artigo de Henrique Dias, a fundação da FNB é citada como uma iniciativa poderosa para a construção do Brasil-Nação. A FNB é uma pequena mostra de brasilidade, de patriotismo! De novo, foi publicado um protesto dos Frentenegrinos contra ingratos que eram opositores da direção dos irmãos Veiga dos Santos e de outros diretores à frente da FNB (A Voz da Raça, 15 de abril de 1933, segunda coluna).
+Publicação dos estatutos da Frente Negra Brasileira (A Voz da Raça, 15 de abril de 1933, primeira coluna).
+O Partido Socialista Brasileiro de São Paulo apresentou franca solidariedade à Ala Socialista da Frente Negra Brasileira (Correio de S. Paulo, 20 de abril de 1933, segunda coluna).
+Publicação do artigo A União faz a Força, de José Bueno Feliciano, sobre as divergências de grupos dentro da FNB (A Voz da Raça, 22 de abril de 1933, terceira coluna).
+Foi publicado que no carnaval de 1933 a FNB havia oferecido a Taça Arthur Friedenreiche aos Cordões Carnavalescos das Gente Negra Paulista (A Voz da Raça, 22 de abril de 1933, quarta coluna).
+Publicação de uma reportagem sobre o livro Canto da Raça Negra, de Isaltino Veiga dos Santos (1901 – 1966), um dos fundadores da FNB (A Voz da Raça, 22 de abril de 1933, quarta coluna).
+O presidente da FNB, Arlindo Veiga dos Santos, lançou-se candidato avulso à Constituinte. Resumiu seu programa com as seguintes palavras: a Terra, o Sangue, o Trabalho, o Espírito (A Voz da Raça, 29 de abril de 1933; Correio de S. Paulo, 1º de maio de 1933; Correio de S. Paulo, 2 de maio de 1933, primeira coluna).
+ 
+ 
+Correio de S. Paulo, 1º de maio de 1933
+ 
+Publicação da cópia do registro da Fundação Negra Brasileira (A Voz da Raça, 29 de abril de 1933, penúltima coluna).
+Foi mencionada no artigo Milicianos de Fé, de Olavo Xavier, a criação de uma milícia da Frente Negra Brasileira (A Voz da Raça, 29 de abril de 1933, penúltima coluna).
+A FNB celebrou com diversos eventos o 13 de maio, um deles foi a promoção de um festival literário e musical no Cine no Theatro Roma, com a apresentação do espetáculo Marietta, a heroína, em 6 de maio (Correio de S. Paulo, 13 de maio de 1933, quinta coluna; A Voz da Raça, 20 de maio de 1933, segunda coluna).
+A vitória moral do candidato Arlindo Veiga dos Santos à eleição constituinte foi celebrada na primeira página de A Voz da Raça de 6 de maio de 1933.
+ 
+A Voz da Raça, 6 de maio de 1933
+ 
+Publicação do artigo A espiritualidade Frentenegrina, de João B. Mariano (A Voz da Raça, 6 de maio de 1933).
+Publicação do artigo Liberdade Utópica, de Isaltino Veiga dos Santos, identificado como o Gandhi brasileiro,  onde a FNB é citada (A Voz da Raça, 13 de maio de 1933).
+ 
+A Voz da Raça, 13 de maio de 1933
+ 
+Foi noticiado que a FNB tinha um corpo cênico (A Voz da Raça, 3 de junho de 1933, última coluna).
+Na sede da Frente Negra Brasileira funcionavam uma seção de proteção jurídico-social, curso de alfabetização, caixa beneficente, clínica dentária, barbearia, cabeleireiro, departamento teatral, musical e festivo, oficina de costura, sessões instrutivas de educação moral e cívica, domingueiras, etc (A Voz da Raça, 10 de junho de 1933, penúltima coluna)
+Foi publicado um chamado para a Milícia Frentenegrina (A Voz da Raça, 17 de junho de 1933)
+ 
+A Voz da Raça, 17 de junho de 1933
+ 
+No artigo A vitória do negro está no livro, João B. Mariano afirmou que para a vitória final da raça negra no Brasil duas coisas são indispensáveis  O LIVRO e a UNIÃO (A Voz da Raça, 17 de junho de 1933, última coluna).
+A Frente Negra Brasileira Socialista, formada por dissidentes da FNB, realizou, em 26 de junho, eleições para seu diretório e conselho fiscal, na sede do Partido Socialista Brasileiro de São Paulo. Manoel dos Passos era o presidente da FNBS (A Noite, 2 de junho de 1933, primeira coluna; Correio de S. Paulo, 26 de junho de 1933, penúltima coluna; Correio de S. Paulo, 5 de julho de 1933, terceira coluna).
+Foi denunciado que pessoas da Frente Negra Brasileira Socialista, ao realizar cobranças, diziam que a citada entidade era filiada à Frente Negra Brasileira (A Voz da Raça, 1° de julho de 1933, segunda coluna).
+Mais uma vez, publicação de artigos, abordando divergências na Frente Negra Brasileira (A Voz da Raça, 15 de julho de 1933, primeira coluna; 2 de setembro de 1933).
+O comitê organizador da Associação de Ex-Combatentes de São Paulo enviou um ofício à Frente Negra Brasileira prestando uma homenagem à raça preta, salientando o papel importante que ela sempre ocupou nos grandes feitos da nacionalidade, inclusive no movimento paulista de 1932 (Correio de S. Paulo, 21 de julho de 1933, terceira coluna).
+A Frente Negra Brasileira iniciou uma campanha para a compra de uma sede própria (A Voz da Raça, 28 de outubro de 1933).
+Em 18 de novembro, no Salão da Lega Lombarda, no Largo São Paulo, 14, apresentação de um grupo sertanejo com acompanhamento de cavacos e de violões organizado pelo Corpo Cênico da Frente Negra Brasileira (A Voz da Raça, 11 de novembro de 1933).
+A FNB enviou ao presidente Getúlio Vargas (1882 – 1954) um protesto contra a contínua entrada de imigrantes estrangeiros quando nada se faz para melhorar a situação da infinidade de negros desempregados (Correio de S.  Paulo, 25 de dezembro de 1933, terceira coluna).
+ 
+1934
+ 
+A Frente Negra Brasileira realizou a Grande Reunião de Unificação da Raça, em sua sede paulistana (Correio de S. Paulo, 1º de janeiro de 1934, segunda coluna).
+A Frente Negra Brasileira desmentiu que houvesse enviado um representante ao Congresso do Partido Socialista. Publicação no jornal A Voz da Raça de um artigo sobre a Frente Negra Brasileira Socialista (Correio de S. Paulo, 12 de janeiro de 1934, terceira coluna; A Voz da Raça, 20 de janeiro de 1934, primeira coluna; A Voz da Raça, 20 de janeiro de 1934, primeira coluna).
+O primeiro ano de existência do jornal A Voz da Raça foi comemorado com um Festival Lítero-Dramático-Dançante, na Lega Lombarda. Amadores do Corpo Cênico da Frente Negra Brasileira participaram do evento (A Voz da Raça, 17 de fevereiro de 1934).
+A Frente Negra Brasileira estava empenhada em construir uma casa própria: a Casa do Negro (A Voz da Raça, 17 de fevereiro de 1934, primeira coluna).
+O conselheiro da FNB, Roque Antonio dos Santos, foi nomeado Comissário dos Cabos da Associação substituindo Mario da Silva Junior, que passou a ser Visitador das Delegações (Correio de S. Paulo, 19 de fevereiro de 1934, última coluna). 
+Em 7 de abril, realização de um Grande Festival Dançante, na Lega Lombarda, para a entrega das Taças e Medalhas para os Cordões Carnavalescos Negros do Concurso da Frente Negra Brasileira no Carnaval de 1934 (A Voz da Raça, 31 de março de 1934, primeira coluna).
+O curso de alfabetização da FNB contava com cerca de 70 alunos frequentes (Correio de S. Paulo, 22 de maio de 1934, primeira coluna).
+Arlindo Veiga dos Santos deixou a presidência da Frente Negra Brasileira e passou a integrar o Grande Conselho Frentenegrino com o cargo de consultor jurídico. Justiniano Costa assumiu a presidência e Francisco Lucrécio (1909 – 2001) tornou-se  primeiro secretário. Justiniano havia sido o primeiro tesoureiro da FNB e pertencia à Irmandade de Nossa Senhora do Rosário dos Homens Pretos. Era também funcionário público. Lucrécio havia migrado de Campinas para São Paulo para cursar a Escola Livre de Odontologia, em 1931. Foi morar com seus tios que eram ligados à FNB e logo começou a participar da entidade, tornando-se uma de suas lideranças (Correio Paulistano, 3 de julho de 1934, última coluna; Correio Paulistano, 4 de dezembro de 1934, última coluna).
+ 
+Correio Paulistano, 3 de julho de 1934
+ 
+Anúncio do funcionamento de um posto de alistamento eleitoral na sede da Frente Negra Brasileira (Correio de S. Paulo, 6 de julho de 1934, quinta coluna).
+A FNB promoveu um festival dramático dançante com a apresentação pelo Grupo Rosas Negras do esquete Quasi Tragédia e da comédia Almas do outro mundo, e com a realização de um baile (Correio de S. Paulo, 11 de julho de 1934, quarta coluna).
+ 
+Grupo Rosas Negras/ Arquivo pessoal de Marcio Barbosa
+ 
+A Frente Negra Brasileira protestou contra mais um caso de racismo: uma moça negra de 22 anos havia sido laçada em uma rua de São Paulo por um jovem branco da mesma idade que passava em um caminhão. Ela foi arrastada pelos paralelepípedos, perdendo os sentidos (Correio de S. Paulo, 11 de agosto de 1934, sexta coluna).
+ 
+Correio de S. Paulo, 11 de agosto de 1934
+ 
+Realização na sede da FNB de uma festa de Natal das Crianças (Correio de S. Paulo, 22 de dezembro de 1934, quarta coluna)
+ 
+1935
+ 
+O Grupo das “Rosas Negras”, o Departamento de Festas da FBN, realizou nos salões da Lega Lombarda, em 3, 4 e 5 de março, bailes de carnaval, cuja renda foi revertida para as Escola Frentenegrinas (Correio Paulistano, 24 de fevereiro de 1935, penúltima coluna; Correio Paulistano, 2 de março de 1935, terceira coluna).
+O Grande Conselho da Frente Negra Brasileira, presidido por Justiniano Costa, enviou ao presidente da Câmara de Deputados uma representação no sentido de tornar o dia 13 de maio, data da Abolição da Escravatura no Brasil,  feriado nacional (Correio de S. Paulo, 8 de maio de 1935, terceira coluna).
+Comemoração, na sede da FNB, do dia 13 de maio, com a realização de palestras e de apresentação de números musicais e literários (Correio de S. Paulo, 13 de maio de 1935, segunda coluna).
+Foi anunciada a inauguração do Departamento de Música, n FNB, sob a direção de Maurício P. de Queiroz. O Departamento da Cruz Feminina foi elogiado (Correio Paulistano, 21 de julho, quinta coluna).
+Publicação de uma entrevista com Antônio Francisco Napoleão, delegado da FNB no Rio de Janeiro (Diário da Noite, 5 de setembro de 1935, primeira coluna).
+ 
+Diário da Noite, 5 de setembro de 1935
+ 
+A Companhia Miramar, de teatro, comemorando 150 apresentações consecutivas no Teatro Colombo, encenou a comédia Mãe Preta, de Paulo de Magalhães (1900 – 1972), em homenagem à Frente Negra Brasileira (Correio Paulistano, 10 de setembro de 1935, última coluna).
+A Frente Negra Brasileira foi inscrita como partido politico de caráter nacional pelo Tribunal Superior de Justiça Eleitoral (A Noite, 11 de setembro de 1935, quarta coluna).
+A FNB comemorou os quatro anos de sua fundação nos dias 21 e 22 de setembro. No Salão Lyra, na rua São Joaquim, 329, Arlindo Veiga dos Santos fez o discurso oficial, seguido da leitura de uma mensagem e da apresentação dos delegados da associação (Correio de S. Paulo, 17 de setembro de 1935, quinta coluna).
+ 
+Correio de S. Paulo, 17 de setembro de 1935
+ 
+O major José da Silva, comandante da Guarda Civil, contestou a acusação feita por um diretor da FNB de que ele perseguia elementos da raça negra dentro da referida corporação (Jornal do Commercio, 16 e 17 de setembro de 1935, terceira coluna).
+ 
+1936
+ 
+Foi realizada uma quermesse em prol da Frente Negra Brasileira, no Largo do Mercado (Correio Paulistano, 9 de janeiro de 1936, última coluna).
+Publicação dos eventos promovidos pela FNB para celebrar o 13 de maio (Correio Paulistano, 10 de maio de 1936, última coluna).
+Comemoração dos 5 anos da fundação da Frente Negra Brasileira com a realização de diversos eventos, nos dias 19 e 20 de setembro (Correio Paulistano, 22 de setembro de 1936).
+ 
+Aspectos  da comemoração e Justiniano Costa discursando / Correio Paulistano, 22 de setembro de 1936
+ 
+1937
+ 
+A FNB prestou solidariedade ao então Ministro do Trabalho e interino da Justiça, Agamenon Magalhães (1892 – 1952) (A Noite, 25 de janeiro de 1937, terceira coluna).
+Justiniano Costa, em nome da diretoria da FNB, prestou condolências na ocasião da morte do conde Francisco Matarazzo (1854 – 1937) (Correio Paulistano, 14 de fevereiro de 1937, antepenúltima coluna).
+A FNB foi uma das associações promotoras de uma sessão cívica em homenagem aos 90 anos do nascimento do poeta baiano Castro Alves (1847 – 1871), em 14 de março, no Teatro Municipal de São Paulo  (Correio de S. Paulo, 13 de março de 1937, quinta coluna).
+A FNB participou de uma homenagem à memória de Tiradentes (1746 – 1792) (Correio de S. Paulo, 13 de abril de 1937, quarta coluna).
+Publicação do artigo O dever do negro, de João Cândido (1880 – 1969) na edição de abril de A Voz da Raça.
+Justiniano Costa, por sua atuação como presidente da FNB, foi homenageado com um almoço na Gruta Baiana, em 21 de abril (Correio de S. Paulo, 22 de abril de 1937, quinta coluna; edição de abril de A Voz da Raça).
+A FBN promoveu uma série de eventos comemorativos do 13 de maio (Correio de S. Paulo, 13 de maio de 1937, terceira coluna; Correio Paulistano, 14 de maio de 1937, penúltima coluna; Correio Paulistano, 15 de maio de 1937, quarta coluna).
+A cantora e estrela da ópera, a norte-americana Marian Anderson (1897 – 1993), foi homenageada pela Frente Negra Brasileira e visitou a sede da associação (A Voz da Raça, junho de 1937; Correio Paulistano, 23 de junho de 1937,última coluna).
+ 
+Marian Anderson (1897 – 1993)
+ 
+A FNB prestou uma homenagem ao poeta Ciro Costa (1879 – 1937) (A Voz da Raça, julho de 1937).
+Publicação de um pequeno artigo sobre o sucesso do Conjunto de Músicas Regionais da Frente Negra Brasileira (A Voz da Raça, julho de 1937).
+A Frente Negra Brasileira aderiu ao Partido Republicano Brasileiro (Correio Paulistano, 25 de julho de 1937, primeira coluna).
+A Frente Negra Brasileira estava organizando um grande congresso em São Paulo que seria realizado em outubro. Seriam discutidos os problemas econômicos, sociais e culturais da raça negra. Em setembro, seria realizado um congresso político, quando a associação se definiria quanto à sucessão presidencial (A Voz da Raça, agosto de 1937, segunda coluna).
+Luiz Costa era o delegado da FNB no Rio de Janeiro (A Noite, 25 de agosto de 1937, quinta coluna).
+ 
+Luiz Costa / A Noite, 25 de agosto de 1937
+ 
+Publicação da programação das festividades do sexto ano da fundação da FNB (Correio Paulistano, 15 de setembro de 1937, segunda coluna; A Voz da Raça, 16 de setembro de 1937).
+ 
+A Voz da Raça, 16 de setembro de 1937
+ 
+A Frente Negra Brasileira apoiava a candidatura de Jose Américo de Almeida (1887 – 1980), pré-candidato à Presidência da República (Correio Paulistano, 23 de outubro de 1937, quinta coluna)
+Em 10 de novembro de 1937, decretação pelo presidente Getúlio Vargas (1882 – 1954) do Estado Novo que fechou, pouco depois, todos as associações e partidos políticos (Correio da Manhã, 11 de novembro de 1937).
+A Frente Negra Brasileira participou das comemorações do Dia da Bandeira (Correio Paulistano, 18 de novembro de 1937, última coluna).
+Em novembro, publicação da última edição de A Voz da Raça.
+A Frente Negra Brasileira, assim como todos as associações e partidos políticos, foi dissolvida (Jornal do Brasil, 5 de dezembro de 1937, sexta coluna).
+ 
+1938
+ 
+A Frente Negra Brasileira, que havia sobrevivido com o nome União Negra Brasileira,  sob a a presidência do advogado, historiador e jornalista Raul Joviano do Amaral (1914 – 1988), foi extinta em maio de 1938.
+ 
+Raul Joviano do Amaral (1914 – 1988)
+
+“Nós, da velha militância, estamos transferindo à mocidade inteligente, culta, laboriosa de hoje, o lábaro que a imprensa negra elevou bem
+alto. Mas não só a imprensa negra, a imprensa branca também precisa colaborar porquê, se nós procuramos a confraternização em termos de
+respeito, de compreensão, de amor, não só o negro precisa trabalhar em favor dessa compreensão, mas a sociedade brasileira precisa ter
+presente que o negro na atualidade, como anteriormente, sempre se esforçou para conquistar o seu espaço; sempre lhe foi negada essa
+oportunidade e agora o negro, mais adiantado, mais evoluído, mais coerente, mais consciente das suas necessidades, pode, deve, sem
+paternalismo, sem tutela, alcançar esse lugar, conquistando-o”.
+Raul Joviano do Amaral, programa da TV Cultura, em 1984
+ 
+Assista aqui o programa CULTNE – Frente Negra Brasileira – 1985 – Parte 1; CULTNE – Frente Negra Brasileira – 1985 – Parte 2 e CULTNE – Frente Negra Brasileira – Parte 3.
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+ASSUNÇÃO, Nádia Cecília Augusto; RIBEIRO, Edméia Aparecida. A Frente Negra Brasileira – 1931 – 1937. Os desafios da escola pública paranaense. Governo do Paraná.
+CAVALCANTI, Pedro Celso Uchôa; RAMOS, Jovelino. Memórias do Exílio, Brasil 1964-19??. Editora e Livraria Livramento, 1978.
+DOMINGUES, Petrônio José. O “messias” negro? Arlindo Veiga dos Santos (1902-1978): “Viva a nova monarquia brasileira; Viva Dom Pedro III!”. Varia história, vol.22, nº 36 Belo Horizonte, Dez/2006.
+DOMINGUES, Petrônio. Paladinos da liberdade: A experiência do Clube Negro de Cultura Social em São Paulo (1932-1938). Revista de História, nú 150, julho, 2004, pp. 57-79. Universidade de São Paulo São Paulo, Brasil
+DOMINGUES, Petrônio. Um “templo de luz”: Frente Negra Brasileira (1931-1937) e a questão da educação. Rev. Bras. Educ. 13 (39) • Dez 2008
+FERREIRA, Maria Claudia Cardoso. Representações Sociais e Práticas Políticas do Movimento Negro Paulistano: as trajetórias de Correia Leite e Veiga dos Santos (1928-1937), Dissertação de Mestrado – UERJ, 2005.
+Frente Negra Brasileira – Depoimentos: Entrevistas e textos: Márcio Barbosa. São Paulo : Editora Quilombhoje, 1998.
+GOMES, Flavio. Negros e Política: 1888-1937. Rio de Janeiro : Jorge Zahar Editor, 2005.
+Hemeroteca Digital da Biblioteca Nacional
+LEITE, Carlos Roberto Saraiva da Costa. A Frente Negra Brasileira. Portal Geledés, 14 de dezembro de 2017.
+MALATIAN, Teresa. Memória e contra-memória da Frente Negra Brasileira.
+MALATIAN, Teresa. O cavaleiro negro. São Paulo : Editora Alameda, 2015.
+MARTINS, Ana. Frente Negra Brasileira (1931 – 1938). Black Past Organization.
+RAMATIS, Jacino. Frente Negra, Ação Integralista e conservadorismo como estratégico de enfrentamento ao racismo – 1930 -1937. Rev. Hist. (São Paulo) (181), 2022.
+SCHWARCZ, Lilia Moritz. O espetáculo das raças: cientistas, instituições e questão racial no Brasil –1870-1930. São Paulo: Companhia das Letras, 1993.
+Site BBC
+Site Fundação Palmares – Frente Negra Brasileira
+Site Fundação Palmares – Aristides Barbosa
+Site Imprensa Negra
+Site IpeAfro
+Site Literafro
+SOTERO, Edilza Correia. Representação Política Negra no Brasil pós Estado Novo. Tese apresentada ao Programa de Pós-Graduação em Sociologia da Faculdade de Filosofia, Letras e Ciências Humanas da Universidade de São Paulo como parte dos requisitos para a obtenção do título de doutor em Sociologia, junho de 2015.
+VIEIRA, Flavia Maria Silva. Resistência e luta do Movimento Negro no Brasil: da rebeldia anônima na sociedade escravocrata ao enfrentamento político na sociedade de classes. Revista da ABPN, v. 8, n. 20, jul. 2016 – out. 2016.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/12652` — `itens/20.500.12156.1_12652/`
+- `20.500.12156.1/12655` — `itens/20.500.12156.1_12655/`
+- `20.500.12156.1/12654` — `itens/20.500.12156.1_12654/`
+- `20.500.12156.1/12651` — `itens/20.500.12156.1_12651/`
+- `20.500.12156.1/12653` — `itens/20.500.12156.1_12653/`
+
diff --git a/wordpress/35656-e-o-choro-tornou-se-patrimonio-cultural-imaterial-brasileiro.md b/wordpress/35656-e-o-choro-tornou-se-patrimonio-cultural-imaterial-brasileiro.md
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@@ -0,0 +1,78 @@
+---
+id: 35656
+url: "https://brasilianafotografica.bn.gov.br/?p=35656"
+titulo: "E o choro tornou-se Patrimônio Cultural Imaterial Brasileiro!"
+autor: "Andrea Wanderley"
+data: "2024-04-23T11:11:03+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/8907"]
+fetched_at: "2026-09-10T10:17:10.523Z"
+---
+
+# E o choro tornou-se Patrimônio Cultural Imaterial Brasileiro!
+
+No Dia Nacional do Choro, com a publicação de fotos do conjunto musical Os Batutas, do qual 0 flautista, saxofonista, compositor e arranjador Pixinguinha (1897 – 1973) fazia parte, a Brasiliana Fotográfica celebra a declaração pelo IPHAN -Instituto do Patrimônio Histórico e Artístico Nacional – do gênero musical choro, que nasceu no Rio de Janeiro na segunda metade do século XIX, como Patrimônio Cultural Imaterial Brasileiro. Pixinguinha, pseudônimo do carioca Alfredo da Rocha Viana Filho, é considerado um dos maiores compositores da música popular brasileira e contribuiu diretamente para que o choro encontrasse uma forma musical definitiva (Site do IMS). A comemoração do Dia Nacional do Choro, iniciada em 2005 pela Comunidade de Prática da Música – Incubadora Cultural Gênesis PUC-Rio, é realizada em 23 de abril, em homenagem à data de nascimento de Pixinguinha.
+ 
+Os Batutas. c. 1923. Sebastião Cirino (trompete/piston), Euclides Virgulino (bateria), Pixinguinha (saxofone), Fausto Mozart Corrêa (piano), José Monteiro (violão e banjo), José Batista Paraíso (saxofone) e Esmerino Cardoso (trombone de vara) / Acervo IMS
+ 
+Acessando o link para as imagens dos Batutas disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+A decisão de tornar o choro ou chorinho Patrimônio Cultural Imaterial Brasileiro foi tomada, no dia 29 de fevereiro de 2024, no último dia da 103ª reunião do Conselho Consultivo do IPHAN, em Brasília, com aprovação unânime. O parecer foi da historiadora Marcia Chuva, conselheira do IPHAN. O pedido de registro do gênero musical como Patrimônio Cultural Imaterial Brasileiro foi feito pelo Clube do Choro de Brasília, pela Casa do Choro do Rio de Janeiro, pelo Clube do Choro de Santos e por diversos chorões e choronas de todo o Brasil a partir de abaixo-assinados.
+Com a decisão, o IPHAN e os detentores do bem cultural passam a desenvolver políticas públicas de salvaguarda, resgate histórico e promoção do choro em todo o país. Segundo o  presidente do Iphan e do Conselho Consultivo do Patrimônio Cultural, Leandro Grass, o choro passa a ser objeto da Política do Patrimônio Cultural brasileiro. Nosso compromisso agora é torná-lo ainda mais conhecido e amado, para que possa também ser um instrumento de Educação Patrimonial.
+ 
+
+ 
+Também no dia 29, o Terreiro Ilê Axé Icimimó Aganju Didè, em Cachoeira, na Bahia, foi tombado como Patrimônio Cultural Brasileiro. No primeiro dia da reunião do IPHAN, ocorrido na véspera, dia 28 de fevereiro, o Conjunto da Estação Julio Prestes, em São Paulo, também havia sido tombado.
+ 
+“Ainda em vida, Pixinguinha tornou-se um clássico. Definido e definitivo. Para aqueles que o conheceram e com ele trabalharam, foi um dos mais estupendos exemplares da espécie humana”.
+Carlos Heitor Cony (1926 – 2018)
+ 
+Pixinguinha. Detalhe da foto, c. 1923 / Acervo IMS
+ 
+Pixinguinha – Um choro de saudade
+Carlos Heitor Cony
+Não sei se ainda há. Mas havia uma lei que proibia dar o nome de pessoas vivas a ruas, praças, becos, pontes, viadutos e demais logradouros públicos. Como se tratava de uma lei brasileira -e mais do que isso, de uma lei carioca-, tinha mais exceções do que regras. E uma dessas exceções, a mais justificada talvez, estava situada num distante subúrbio da cidade: rua Pixinguinha. Ele ainda estava vivo, e como.
+A placa é azul, com letras brancas, mas tem um palavrão embaixo que procura explicar o homenageado: “musicólogo”. Para um homem que amava a música, a classificação é quase ofensiva. Pixinguinha nem sequer era músico. Era música -e essa seria a melhor palavra para defini-lo, explicá-lo e amá-lo.
+Foi Negrão de Lima, então governador da Guanabara, quem oficializou o nome da rua. Negrão aprendeu a amar Pixinguinha por influência de Paulo Bittencourt, dono do “Correio da Manhã”, homem a quem custava admirar alguém, mas, quando admirava, era para valer. Antes dos dois, um outro homem de bom gosto já apostava no rapazinho que tocava flauta: Arnaldo Guinle financiou a viagem dos Oito Batutas à Europa, em 1921, naquela que seria a nossa primeira caravana realmente cultural.
+Citando o governador Negrão de Lima, o jornalista Paulo Bittencourt e o milionário Arnaldo Guinle, pode-se supor que a glória de Pixinguinha tenha sido imposta de cima para baixo, o que não é verdade. Tampouco se tratou de um dos muitos exemplos em que a fama percorreu o tradicional caminho da arte popular: subiu de baixo para cima, como no caso de Pelé.
+Com Pixinguinha, a glória foi total, o amor e a admiração que soube provocar vinham de todos os lados: era o artista de gênio, o homem simples, o papo perfeito, a vida repartida com todos. Quem não gostava dele só podia ser mau-caráter, pois o velho Pixinga realizou, dentro e fora da música, uma das mais doces e gratificantes trajetórias de homem.
+Sua personalidade pode ser abordada de diversos modos. A começar pelo seu estranho apelido, feito do carinho de sua avó africana (“pizim dim” significa menino bom) e da gozação carioca de sua moléstia deformadora, bexiga, que, no caso dele, recebia o tratamento carinhoso de bexiguinha. Aceitando os dois apelidos -que mais tarde seriam fundidos em “Pixinguinha”-, ele assumia com humor e consciência a sua raça e a sua circunstância.
+Era um negro e era um carioca, como Machado de Assis, Lima Barreto e o padre José Maurício. Um carioca genuíno que não se deixou prostituir nem se avacalhar, emigrando para a zona sul: viveu agarrado aos subúrbios, aos bares que nunca estão na moda e, por isso, se tornam eternos enquanto duram. Agarrou-se também a um feitio de vida sem rancor e sem glória, ao pijama caseiro, à tradição das grandes comilanças dominicais, quando o angu ou a feijoada são para “durar três dias”.
+Carioca até na morte: o coração ameaçou falhar diversas vezes, mas só foi parar na sacristia de uma igreja em Ipanema, durante um batizado, quase sem agonia e sem escândalo. Só uma coisa faz um carioca do subúrbio ir parar em Ipanema (e vice-versa): batizado ou enterro.
+Como carioca, ele teria de se juntar vida afora com outros cariocas: Di Cavalcanti, Villa-Lobos, Vinicius de Morais, Orlando Silva, que foi, de longe, o seu melhor intérprete (“Rosa” e “Carinhoso”). Isso sem falar na turma da pesada, os antológicos do samba, que constituiriam a velha-guarda, em natural fase de extinção.
+Além de carioca, Pixinguinha foi flautista, antes mesmo de ser músico. E adotou a forma mais carioca da música: o chorinho, ao qual, mais tarde, daria uma dimensão bachiana. Como instrumentista, pertence à categoria de nossos poucos virtuoses, ao lado de Benedito Lacerda, Jacó do Bandolim e Baden Powell. Anos depois, seria virtuose em outro instrumento: o sax tenor. Mas, para ganhar dinheiro como orquestrador, curtia o seu piano e foi com ele que tornou lendária a sua capacidade de orquestrar ou arranjar qualquer loucura que lhe entregavam.
+Muitos desses arranjos são hoje de domínio público, ou seja, todos cantam e ninguém sabe quem fez, parecendo ter brotado por geração espontânea. É o caso, por exemplo, da introdução de “O Teu Cabelo Não Nega”, a marchinha dos irmãos Valença que Lamartine Babo requentou, Castro Barbosa gravou e Eleazar de Carvalho, então fuzileiro naval, fez a tuba dar o ritmo definitivo. O resultado é que até hoje a marchinha funciona como hino oficial do Carnaval.
+Como compositor, ele pertence mais à música erudita do que à popular. A maioria dos seus choros são obras-primas de contraponto e fuga, numa faixa que o ouvido apressado -ou rude- apreende apenas um pouco do ritmo ou da melodia. Mesmo assim, algumas de suas composições pertencem ao patrimônio de todas as épocas: agradam a jovens e a velhos, são músicas intemporais, são Pixinguinha.
+Ainda em vida, Pixinguinha tornou-se um clássico. Definido e definitivo. Para aqueles que o conheceram e com ele trabalharam, foi um dos mais estupendos exemplares da espécie humana.
+Folha de São Paulo, 4 de abril de 2003
+ 
+Ouça aqui a história do choro Carinhoso, de Pixinguinha, uma das mais emblemáticas canções da música popular brasileira
+ 
+O nascimento e a origem do choro
+ 
+Chorinho (1942), de Cândido Portinari
+ 
+“….possivelmente a partir de 1870, pelo gênio do flautista Joaquim Antônio da Silva Callado Júnior nasce o “choro”, oriundo das classes menos abastadas, na cidade do Rio de Janeiro, especificamente nos bairros da Cidade Nova, Catete, Rocha, Andaraí, Tijuca, Estácio e nas vilas do centro antigo, onde esta classe média baixa residia. As maiores influências do choro vêm da polca e do lundu. Inicialmente o choro tinha três partes, posteriormente,passou a ter duas, sempre com características modulantes e de rondó”. 
+“…Alguns pesquisadores acreditam que a palavra “choro” é  derivada do latim “chorus” (coro). Outra vertente de pesquisadores, como José Ramos Tinhorão, afirma que o termo é derivado do verbo “chorar”. Os choros lentos (influência dos lundus chorados ou doce-lundu), por parecerem um lamento, lembram o verbo “chorar” e quando os instrumentos de cordas, principalmente o violão, são tangidos ao mesmo tempo para o acompanhamento da flauta, lembram um estado de melancolia. Segundo Luís da Câmara Cascudo, a palavra seria uma derivação de “xolo”, certo tipo de baile que os escravos faziam nas fazendas. Da palavra derivou o vocábulo “xoro”, que foi alterado para “choro”. Já Ary Vasconcelos acredita que a palavra é uma corruptela de “choromeleiros”, certa corporação de músicos do período colonial que executavam as “charamelas”. Segundo Henrique Cazes, os instrumentos de palhetas “charamelas” são precursores dos oboés, fagotes e clarinetes. Na primeira década do século XX o termo “choro” já denominava  o gênero, como uma forma musical definida e não mais como sinônimo de uma roda de músicos que executavam músicas populares”.
+Dicionário Cravo Albin da Música Popular Brasileira
+ 
+Ouça aqui a reportagem Choro é declarado Patrimônio Cultural Imaterial Brasileiro pelo IPHAN, do Canal Gov
+Ouça aqui o programa O choro e raízes da música popular brasileira, da Rádio Batuta
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora da Brasiliana Fotográfica
+ 
+Fontes:
+AMARAL, Euclides. Alguns aspectos da MPB. Rio de Janeiro : Esteio Editora, 2010.
+Dicionário Cravo Albim de Música Popular Brasileira
+Folha de São Paulo, 4 de abril de 2003
+G1
+Rádio Batuta
+Site Appa – Arte e Cultura
+Site Instituto Moreira Salles
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/8907` — `itens/20.500.12156.1_8907/`
+
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+---
+id: 35687
+url: "https://brasilianafotografica.bn.gov.br/?p=35687"
+titulo: "Série “Feministas, graças a Deus!” XVIII – Júlia Lopes de Almeida (1862 – 1934), a “escritora da Belle Époque tropical”"
+autor: "Andrea Wanderley"
+data: "2024-06-05T12:35:03+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/11336", "20.500.12156.1/12684"]
+fetched_at: "2026-09-10T10:17:13.805Z"
+---
+
+# Série “Feministas, graças a Deus!” XVIII – Júlia Lopes de Almeida (1862 – 1934), a “escritora da Belle Époque tropical”
+
+A escritora, jornalista, iluminista, abolicionista, defensora da educação e das ideias feministas, Júlia Lopes de Almeida (1862 – 1934), é o destaque da 18ª publicação da série Feministas, graças a Deus!. Carioca, nasceu em 24 de setembro de 1862, na Rua do Lavradio, 53, filha do médico Valentim José da Silveira Lopes, mais tarde Visconde de São Valentim, e de Adelina Pereira Lopes, imigrantes portugueses que haviam exercido o magistério em Portugal. Foi autora de inúmeros  romances e contos, tendo também escrito para teatro e colaborado em diversas publicações. Foi aclamada pelo público e pela crítica literária, considerada uma figura excepcional em nossas letras. Na virada do século XIX para o século XX, era considerada a escritora mais importante do Brasil, e foi apontada como a maior romancista da geração de escritores que sucedeu a Machado de Assis e precedeu a eclosão do movimento modernista. Com sua produção literária e em suas ações concretas, Júlia realizou o feminismo possível dentro das limitações de sua época e do meio social em que viveu. Condenava a supremacia masculina, defendia o direito ao voto para as mulheres e combatia a exploração no trabalho, a escravidão e as violências sexuais contras mulheres. Faleceu em maio de 1934.
+ 
+Júlia Lopes de Almeida, I Conferência pelo Progresso Feminino, dezembro de 1922 (detalhe da foto). Rio de Janeiro, RJ / Acervo Arquivo Nacional
+ 
+Segundo Vanina Eisenhart, em Primeira-Dama Tropical: a cidade e o corpo feminino na ficção de Júlia Lopes de Almeida:
+” Júlia Lopes de Almeida …, utilizando os modelos convencionais masculinos, apresenta uma ficção feminina que reúne os movimentos literários e ideologias sociais e científicas de sua época adaptando-as a um feminismo que não é confrontante com os padrões vigentes, mas também certamente não se enquadra nos ‘bastidores’ do patriarcado brasileiro”
+ 
+Carrie Chapman ladeada por Bertha Lutz e Júlia Lopes de Almeida, I Conferência pelo Progresso Feminino, dezembro de 1922. Rio de Janeiro, RJ / Acervo Arquivo Nacional
+ 
+Revista da Semana, 14 de outubro de 1933
+ 
+“Por que não o hei de enganar do mesmo modo? Em consciência, não há homens nem mulheres: há seres com iguais direitos naturais, mesmas fraquezas e iguais responsabilidades…Mas não há meio dos homens admitirem semelhantes verdades. Eles teceram a sociedade com malhas de dois tamanhos – grandes para eles, para que seus pecados e faltas saiam e entrem sem deixar sinais; e extremamente miudinhas para nós.”
+Júlia Lopes de Almeida, em Eles e elas. 2ª ed., Rio de Janeiro: Francisco Alves, 1922, p. 137.
+ 
+A família de Júlia veio para o Brasil na década de 1850. Seus pais estabeleceram um pequeno colégio em Macaé. Em 1860, o casal e seus filhos foram para o Rio de Janeiro fundando o Colégio de Humanidades, transferindo-o poucos anos depois para Nova Friburgo, onde Júlia passou os primeiros cinco, seis anos de sua vida. O pai de Júlia, Valentim, foi fazer o curso de Medicina na Alemanha, deixando o colégio sob a responsabilidade da esposa, que era formada em canto, composição e piano. Valentim retornou ao Brasil em 1867 e por cerca de três anos exerceu o cargo de médico substituto do Hospital da Beneficência Portuguesa do Rio de Janeiro. Entre 1869 e 1885, Júlia viveu com sua família em Campinas, onde seu pai inaugurou a Casa de Saúde do Senhor Bom Jesus, da qual era proprietário. A casa da família agregava a intelectualidade da cidade. Em 1875, Júlia foi pela primeira vez a Portugal.
+Em 7 de dezembro de 1881, seu primeiro artigo, Gemma Cuniberti, sobre a atriz italiana que dá nome ao texto, foi publicado na Gazeta de Campinas.
+“A elegância desse texto inaugural estampado na primeira página da Gazeta de 8 de dezembro de 1881, realçada pela utilização de um vocabulário desusadamente simples e direto, foram suficientes para abrirlhe o caminho para colaborações regulares naquelejornal. Seguem-se, ao longo de 1882 e 1883, três dúzias de artigos, liberados à média de dois por mês, que bastaram para consagrá-la como prosadora. O ano de 1884 marca uma inovação importante: aqueles primeiros textos, leves e concisos, dão lugar a uma série de artigos mensais, numerados seqüencialmente de 1 a VI, que aparecem sob a epígrafe ‘Leitura Popula?’, com o subtítulo “As Nossas Casas”. Neles é abordada a problemática cotidiana da dona-de-casa, da conservação da roupa branca aos cuidados específicos para a realização de bordados”. 
+Leonora de Luca (1997)
+Foto de Paul. Júlia Lopes de Almeida, c. 1930.  Rio de Janeiro, RJ / Acervo Arquivo Nacional
+ 
+Em 1884, estreou como cronista do jornal O Paiz, um dos mais importantes do Rio de Janeiro e durante cerca de 30 anos sua coluna abordou diversos assuntos, entre os quais se destacaram os relacionados à defesa da mulher.
+Publicou seu primeiro livro, Contos Infantis, em 1886. Escrito em parceria com sua irmã, Adelina Lopes Vieira (1850 – 1923), reunia 33 textos em verso e 27 em prosa destinados às crianças. Em 1891, por decisão da Inspetoria Geral da Instrução Primária e Secundária da Capital Federal, este livro foi adotado para uso nas escolas primárias do Rio de Janeiro e depois para as de todo o Brasil durante mais de 20 anos.
+Em 1887, em Portugal, publicou Traços e Iluminuras, seu primeiro livro de contos, e se casou, em Lisboa, em 28 de novembro de 1887, com o escritor português Filinto de Almeida (1857 – 1945). Na época, Filinto era diretor da revista A Semana. O casal teve os filhos Afonso (1888-), Adriano, Valentina, Albano (1894-), Margarida (1896-) e Lúcia (1897-). Júlia passou a colaborar em diversos jornais e almanaques, tanto do Brasil como em Portugal. No ano seguinte, o casal voltou para o Brasil, fixando residência no Rio de Janeiro. Em 1889 , transferiram-se para São Paulo, onde Filinto foi dirigir o jornal A Província de São Paulo. Voltaram para o Rio de Janeiro, em 1895, após a morte dos filhos Adriano e Valentina. Foram morar em Santa Teresa.
+Júlia participou das primeiras reuniões para a fundação da Academia Brasileira de Letras (ABL) e seu nome constava da primeira lista extraoficial dos 40 “imortais”, elaborada por Lúcio de Mendonça (1854 – 1909), conforme publicado no jornal O Estado de São Paulo, de 12 de dezembro de 1896.
+ 
+
+ 
+                                                                  O Estado de São Paulo, 12 de dezembro de 1896
+ 
+Apesar de sua importância na literatura, chamada muitas vezes de “Rainha das escritoras”, Júlia não pode integrar os quadros da entidade, fundada em 20 de julho de 1897, uma vez que, seguindo o modelo da Academia Francesa, a ABL optou por ser exclusivamente masculina. Júlia foi substituída por seu marido, Filinto de Almeida, fundador da cadeira nº 3, que chegou a ser considerado “acadêmico consorte”. “Não era eu quem devia estar na Academia, era ela“, declarou Filinto na Gazeta de Notícias de 25 de março de 1905.
+ 
+Filinto de Almeida (1857 – 1945) / ABL
+ 
+“Em que pese a inexistência de registros oficiais acerca dos bastidores dessa valsa das cadeiras, o episódio nos possibilita inferir que, se, por um lado, a arbitrariedade da decisão não arrefeceu o vigor criativo de Júlia Lopes de Almeida, haja vista a forma regular com que continuou a produzir e a publicar seus escritos, por outro, deixou evidente sua posição em falso no ainda incipiente campo literário brasileiro, uma vez que o considerável prestígio que desfrutava entre seus pares não se mostrara suficiente, a ponto de assegurar sua presença no seleto rol dos imortais. Estávamos, pois, diante não apenas da primeira lacuna institucional feminina na ABL, mas de um acontecimento ilustrativo das forças sociais que, ocultamente, operavam na fabricação do cânon literário, eclipsando o protagonismo das mulheres que tencionavam fazer da pena um ofício”.
+Michele Asmar Fanini
+ 
+Somente oito décadas após sua criação uma mulher foi eleita para integrar a Academia Brasileira de Letras: a escritora cearense Rachel de Queiroz  (1910 – 2003), em 4 de novembro de 1977, passou a ocupar a cadeira nº 5 da instituição. Em 1996, a escritora Nélida Piñon (1937 – 2022) foi eleita a primeira mulher presidente da ABL.
+ 
+Tagarela, 26 de abril de 1902
+ 
+Em 1905, Júlia tornou-se uma das poucas mulheres a participar da série de conferências inauguradas por Coelho Neto (1864 – 1934) e Olavo Bilac (1865 – 1918), motivando polêmicas a respeito do papel da mulher na arcaica sociedade brasileira.
+Na casa do casal Filinto e Júlia, em Santa Teresa, segundo João do Rio um “cottage admirável, construído entre as árvores seculares da estrada de Santa Teresa” (Gazeta de Notícias, 25 de março de 1905, primeira coluna) eles eram os anfitriões do Salão Verde, situado no terraço da residência, local frequentado pelos artistas e intelectuais da época, tanto brasileiros quanto estrangeiros, entre os primeiros anos do século XX até 1925, quando se mudaram para Paris. No Salão Verde eram realizados tertúlias e saraus. Como as mulheres escritoras não eram convidadas para as reuniões literárias realizadas em cafés e confeitarias, Júlia encontrou como saída criar um espaço alternativo, fundando um espaço literário, tornando-se anfitriã e, assim, facilitando sua presença no universo da literatura, ainda preponderantemente masculino. Foi considerada, segundo Hilda Machado, a sucessora brasileira da francesa Madame de Staël (1766 – 1817). “Talvez por se tratar de “espaço[s] semipúblico[s], situado[s] entre a casa e a rua”, os salões literários tenham se convertido em um poderoso acicate à emancipação feminina, ou então, em “um dos poucos territórios onde as mulheres tinham um lugar reconhecido e onde efetivamente desenvolveram formas originais de sociabilidade em torno do exercício e do debate literário” (HOLLANDA, 1993, p. 21).
+Nesta entrevista a João do Rio, Júlia revelou que escrevia versos escondida e que foi uma de suas irmãs que a surpreendeu escrevendo e mostrou ao pai, que a estimulou  a escrever.
+ 
+
+Gazeta de Notícias, 25 de março de 1905
+ 
+Foi uma das personalidades que a poetisa francesa Jane Catulle Mendès (1867 – 1955) conheceu quando passou uma temporada, entre setembro e dezembro de 1911, no Rio de Janeiro, cidade a qual se referiu como cidade maravilhosa. Julia uma crônica a respeito de Jane, publicada no jornal O Paiz, de 3 de outubro de 1911. Quando Julia esteve em Paris, foi homenageada por Jane com um banquete no MacMahon Palace, em fevereiro de 1914, com a presença de 160 pessoas ligadas às letras brasileiras e francesas. Na ocasião, Julia foi saudada como a George Sand do Brasil (L´Espagne, 26 de fevereiro de 1914). Anos depois, em 1936, em Letras e literatos, obra póstuma de José Veríssimo (1857 – 1916), foi publicado:
+“Não podemos afirmar se têm razão os que declaram que Júlia Lopes de Almeida foi nossa George Sand. Parece-nos mesmo, que não há motivos para, nesse terreno, se fazer comparações e traçar paralelos. Júlia Lopes de Almeida dispunha de personalidade própria, virtude que se evidencia principalmente nos seus contos e novelas curtas. Sua obra reflete com brilho e colorido uma época da vida da burguesia rica do Brasil, sem preocupação de crítica social, é verdade, mas com profundo sentimento e compreensão dos nossos costumes, preconceitos e falhas.”
+Julia participou ativamente, com a feminista Bertha Lutz (1894 – 1976), da criação da Legião da Mulher Brasileira, sociedade instituída em 1919, da qual foi presidenta honorária.
+Em 1922, proferiu a conferência intitulada Brasil no Conselho Nacional de Mulheres da Argentina. No mesmo ano, foi a presidente de honra da 1ª Conferência pelo Progresso Feminino que aconteceu, entre 19 e 23 de dezembro de 1922, no Edifício Silogeu, do Instituto dos Advogados, no centro do Rio de Janeiro, e em Petrópolis. A tese geral da conferência foi “a colaboração da Liga pelo Progresso Feminino na educação da mulher no bem social e aperfeiçoamentos humanos” e apresentava como um de seus objetivos “deliberar sobre questões práticas de ensino e instrução feminina”. A feminista Bertha Lutz (1894 – 1976) foi a presidente do evento, no qual participou a líder feminista norte-americana Carrie Chapman Catt (1859 – 1947), fundadora da Associação Nacional do Sufrágio Feminino dos Estados Unidos e presidente da recém-criada Associação Pan-Americana de Mulheres para a qual Bertha Lutz foi indicada vice-presidente.
+ 
+I Congresso Feminista do Brasil, 1922. Rio de Janeiro, RJ. Da esquerda para a direita, Júlia Lopes de Almeida é a primeira que se encontra sentada / Acervo Arquivo Nacional
+ 
+Júlia tornou-se patrona da Cadeira nº26 da Academia Carioca de Letras, fundada em 8 de abril de 1926. A cadeira já foi ocupada por Afonso Lopes de Almeida, Nelson Costa, Luiz de Castro Souza e Tânia Zagury. No centenário de seu nascimento, em 1962, Júlia foi homenageada com um Ex-líbris comemorativo.
+ 
+
+ 
+Também participou do II Congresso Internacional Feminista do Brasil, organizado pela Federação Brasileira pelo Progresso Feminino e inaugurado, em 20 de junho de 1931, no Automóvel Club. Os temas do evento foram educação feminina, proteção às mães e à infância, trabalho feminino, direitos das mulheres e estreitamento das relações pan-americanas e internacionais. Sendo a mulher com o maior prestígio cultural no Brasil, foi uma das oradoras da cerimônia de abertura do congresso. Em seu encerramento, realizado em 30 de junho de 1931, Júlia lançou um apelo aos poderes públicos e mais diretamente ao chefe do governo no sentido de anistiar todos os exilados políticos do Brasil. Foi ovacionada (Correio da Manhã, 5 de março de 1931, primeira coluna; Jornal do Brasil, 19 de junho de 1931; O Jornal, 19 de junho de 1931, primeira coluna; O Jornal, 21 de junho de 1931, quarta coluna, Correio da Manhã, 26 de junho de 1931; O Malho, 27 de junho de 1931;  Revista da Semana, 27 de junho de 1931; O Jornal, 1° de julho de 1931, terceira coluna,  Correio da Manhã, 1º de julho de 1931; O Malho, 11 de julho de 1931; Vida Doméstica, agosto de 1931).
+ 
+ 
+II Congresso Internacional Feminista do Brasil, 1931. Rio de Janeiro, RJ/ Acervo Arquivo Nacional
+ 
+Faleceu no Rio de Janeiro, em 30 de maio de 1934, devido a uma doença que contraiu durante uma viagem à África (O Jornal, 31 de maio de 1934, sexta coluna). A ABL promoveu uma sessão especial em sua homenagem, cujas oradoras foram sua filha, Margarida Lopes de Almeida (1896- 1979), e a escritora Maria Eugênia Celso Carneiro de Mendonça (1866 – 1963).
+ 
+O Jornal, 3 de junho de 1934
+ 
+Um ano após a morte da escritora, Afonso Celso (1860-1938) publicou o artigo intitulado Homenagem à Dona Júlia Lopes de Almeida na Revista da Academia Brasileira de Letras, onde lhe conferiu o título de Mestra da língua (Revista Academia Brasileira de Letras, v.48, abril de 1935, p. 259).
+” […] em tudo e por tudo ela o foi, mestra na acepção mais elevada da palavra, o que quer dizer propiciadora de nobres ensinamentos, modelo de raras virtudes, irradiadora de salutar influência. Mestra de língua e mestra de vida, quer pela excelência da sua produção literária, quer pela pureza sem jaça da sua existência”.
+ 
+ 
+Imagens de Júlia Lopes de Almeida
+Na imprensa
+ 
+Júlia Lopes de Almeida (1862 – 1934)/ Fon Fon, 4 de agosto de 1923
+ 
+ 
+Júlia Lopes de Almeida / Revista da Semana, 2 de junho de 1934
+ 
+Com a família
+ 
+Júlia Lopes de Almeida com seus filhos, Afonso e Margarida (sentados), Albano e Lúcia (em pé) / Acervo Claudio Lopes de Almeida
+ 
+Júlia Lopes de Almeida e Filinto de Almeida, em Paris . s/d / Acervo Claudio Lopes de Almeida
+ 
+Foto Paul. Júlia Lopes de Almeida e a filha Margarida Lopes de Almeida, Rio de Janeiro, RJ
+ 
+ Por pintores
+ 
+Júlia Lopes de Almeida por Richard Hall / Acervo Claudio Lopes de Almeida.
+ 
+ 
+Júlia Lopes de Almeida por Rodolfo Amoedo /  Acervo Claudio Lopes de Almeida
+ 
+Retrato de Júlia Lopes de Almeida, pintado por Berthe Worms, em 1895, e oferecido pela retratista à escritora. Mantido por Claudio Lopes de Almeida, neto da escritora
+ 
+Capas de livros de Júlia Lopes de Almeida
+ 
+
+ 
+
+ 
+
+ 
+
+ 
+
+ 
+
+ 
+
+ 
+
+ 
+
+ 
+Capa ‘O Livro das Noivas’, Julia Lopes Almeida. Edição SP:Castorino Mendes Editor 1929
+ 
+Andrea C.T. Wanderley
+Editora e pesquisadora da Brasiliana Fotográfica
+ 
+Esse artigo foi ampliado em 29 de março de 2026.
+ 
+Fontes:
+DE LUCA, Leonora. O “feminismo possível” de Júlia Lopes de Almeida (1862 – 1934)
+DE LUCA, Leonora. Feminismo e iluminismo em Júlia Lopes de Almeida (1862-1934). Ci. & Tróp.. Recife, v. 25, n. 2, p. 213-236,jul/dez., 1997.
+FANINI, Michele Asmar. Júlia Lopes de Almeida em cena: notas sobre seu arquivo pessoal e seu teatro inédito. Rev. Inst. Estud. Bras. (71) • Sep-Dec 2018.
+FANINI, Michele Asmar. A (in)visibilidade de um legado – Seleta de textos dramatúrgicos inéditos de Júlia Lopes de Almeida. São Paulo : Editora Intermeios, 2017.
+ENGEL, Magali Gouveia. Júlia Lopes de Almeida (1862-1934): uma mulher fora de seu tempo?.
+ENSKE, Elfi Kürten (pesquisa, seleção, edição e organização). Júlia Lopes de Almeida – a escritora a belle époque tropical. Templo Cultural Delfos, outubro/2022.
+Hemeroteca Digital da Biblioteca Nacional
+HOLLANDA, Heloisa Buarque de. O que querem os dicionários?. In: HOLLANDA, Heloisa Buarque de; ARAÚJO, Lúcia Nascimento. Ensaístas brasileiras. Mulheres que escreveram sobre literatura e artes de 1860 a 1991. Rio de Janeiro: Rocco, 1993
+MACHADO, Hilda. Laurinda Santos Lobo: mecenas, artistas e outros marginais em Santa Teresa. Rio de Janeiro: Casa da Palavra, 2002.
+SÉ, Rafael Sento. A poeta da Cidade Maravilhosa: Jane Catulle Mendès e a viagem que criou o sonho de um Rio de Janeiro na Belle Époque. Belo Horizonte (MG) : Autêntica Editora, 2025.
+Site Academia Brasileira de Letras
+Site Academia Carioca de Letras
+ 
+ 
+O busto em bronze de Júlia Lopes de Alemida executado, em 1939, por sua filha, a escultora Margarida Lopes de Almeida. Foi inaugurado, em 28 de março de 1953, no Jardim Gomes de Amorim, em Lisboa,  Portugal, em 28 de Março de 1953 
+ 
+ 
+Acesse aqui os outros artigos da Série “Feministas, graças a Deus!”
+
+Série “Feministas, graças a Deus!” I – Elvira Komel, a feminista mineira que passou como um meteoro, publicado em 25 de julho de 2020, de autoria da historiadora Maria Silvia Pereira Lavieri Gomes, do Instituto Moreira Salles, em parceria com Andrea C. T. Wanderley, editora e pesquisadora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” II  – Natércia da Cunha Silveira (1905 – 1993), o jequitibá da floresta, publicado em 20 de agosto de 2020, de autoria de Andrea C.T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” III  – Bertha Lutz e a campanha pelo voto feminino: Rio Grande do Norte, 1928, publicado em 29 de setembro de 2020, de autoria de Maria do Carmo Rainha, doutora em História e pesquisadora do Arquivo Nacional
+Série “Feministas, graças a Deus!” IV  – Uma sufragista na metrópole: Maria Prestia (? – 1988), publicado em 29 de outubro de 2020, de autoria de Claudia Heynemann, doutora em História e pesquisadora do Arquivo Nacional
+Série “Feministas, graças a Deus!” V – Feminista do Amazonas: Maria de Miranda Leão (1887 – 1976), publicado em 26 de novembro de 2020, de autoria de Maria Elizabeth Brêa Monteiro, mestre em História e pesquisadora do Arquivo Nacional
+Série “Feministas, graças a Deus!” VI – Júlia Augusta de Medeiros (1896 – 1972) fotografada por Louis Piereck (1880 – 1931), publicado em 9 de dezembro de 2020, de autoria de Andrea C.T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” VII – Almerinda Farias Gama (1899 – 1999), uma das pioneiras do feminismo no Brasil, publicado em 26 de fevereiro de 2021, de autoria de Andrea C.T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” VIII – A engenheira e urbanista Carmen Portinho (1903 – 2001), publicado em 6 de abril de 2021, de autoria de Andrea C. T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” IX – Mariana Coelho (1857 – 1954), a “Beauvoir tupiniquim”, publicado em 15 de junho de 2021, de autoria de Andrea C. T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” X – Maria Luiza Dória Bittencourt (1910 – 2001), a eloquente primeira deputada da Bahia, publicado em 25 de março de 2022, de autoria de Andrea C. T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” XI e série “1922 – Hoje, há 100 anos” VI – A fundação da Federação Brasileira pelo Progresso Feminino, publicado em 9 de agosto de 2022, de autoria de Andrea C. T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” XII e série “1922 – Hoje, há 100 anos” XI – A 1ª Conferência para o Progresso Feminino, publicado em 19 de dezembro de 2022, de autoria de Maria Elizabeth Brêa Monteiro, historiadora do Arquivo Nacional
+Série “Feministas, graças a Deus!” XIII – E as mulheres conquistam o direito do voto no Brasil!, publicado em 24 de fevereiro de 2023, de autoria de Andrea C T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” XIV – No Dia Internacional da Mulher, Alzira Soriano, a primeira prefeita do Brasil e da América Latina, publicado em 8 de março de 2023, de autoria de Andrea C T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” XV – No Dia dos Povos Índígenas, Leolinda Daltro,”a precursora do feminismo indígena” e a “nossa Pankhurst, publicado em 19 de abril de 2023, de autoria de Andrea C T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” XVI – O I Salão Feminino de Arte, em 1931, no Rio de Janeiro, de autoria de Andrea C. T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica, publicado em 30 de junho de 2023
+Série “Feministas, graças a Deus!” XVII – Anna Amélia Carneiro de Mendonça e o Zeppelin, equipe de Documentação da Escola de Ciências Sociais FGV CPDOC, em parceira com Andrea C.T. Wanderley, publicado em 5 de janeiro de 2024
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/11336` — `itens/20.500.12156.1_11336/`
+- `20.500.12156.1/12684` — `itens/20.500.12156.1_12684/`
+
diff --git a/wordpress/3578-zumbi-dos-palmares-alagoas-1655-alagoas-20-de-novembro-de-1695.md b/wordpress/3578-zumbi-dos-palmares-alagoas-1655-alagoas-20-de-novembro-de-1695.md
new file mode 100644
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+++ b/wordpress/3578-zumbi-dos-palmares-alagoas-1655-alagoas-20-de-novembro-de-1695.md
@@ -0,0 +1,51 @@
+---
+id: 3578
+url: "https://brasilianafotografica.bn.gov.br/?p=3578"
+titulo: "Zumbi dos Palmares (Alagoas,1655 – Alagoas, 20 de novembro de 1695)"
+autor: "Andrea Wanderley"
+data: "2015-11-19T23:08:03+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: []
+fetched_at: "2026-09-10T10:17:17.209Z"
+---
+
+# Zumbi dos Palmares (Alagoas,1655 – Alagoas, 20 de novembro de 1695)
+
+Zumbi (1927), pintura de Antonio Parreiras (1860 – 1937) / Acervo do Museu Antonio Parreiras, Niterói
+A Brasiliana Fotográfica homenageia Zumbi dos Palmares (1655-1695), considerado um dos símbolos da luta contra a escravidão no Brasil, com a publicação de uma galeria de tipos negros fotografados, em torno de 1869, na Bahia e em Pernambuco, por Alberto Henschel (1827-1882). Esses registros fotográficos integram o acervo do Leibniz-Institut für Laenderkul (1), primeira instituição internacional a se tornar parceira da Brasiliana Fotográfica.
+O quadro retratando Zumbi (ao lado) é de Antonio Parreiras (1860-1937). Tanto o fotógrafo Alberto Henschel como o pintor já foram temas da Brasiliana Fotográfica.
+O dia da morte de Zumbi, 20 de novembro, é comemorado em todo o Brasil como o Dia Nacional de Zumbi e da Consciência Negra. A data foi criada, em 2003, e instituída oficialmente em âmbito nacional com a lei nº 12.519, de 10 de novembro de 2011. É feriado oficial em mais de mil cidades brasileiras.
+O presidente Luiz Inácio Lula da Silva sancionou, em 21 de dezembro de 2023, o Projeto de Lei nº 3268/2021, que declara o Dia Nacional de Zumbi e da Consciência Negra feriado em todo o país. O texto do PL foi publicado no Diário Oficial da União do dia seguinte.
+Zumbi nasceu, em 1655, em uma das aldeias do Quilombo dos Palmares, uma comunidade formada por escravos fugitivos. O quilombo, o maior do período colonial brasileiro, localizava-se na região da Serra da Barriga, na Capitania de Pernambuco, atual região de União dos Palmares, em Alagoas. Foi capturado, no quilombo, ainda criança, pelos soldados da expedição comandada por Brás da Rocha Cardoso, e entregue ao padre português Antônio Melo, do distrito de Porto Calvo, Alagoas. Foi batizado, aprendeu português e latim, e recebeu o nome de Francisco.
+Aos 15 anos, fugiu e voltou para o Quilombo dos Palmares. Posteriormente, tornou-se o líder da comunidade, substituindo seu tio, Ganga Zumba (c. 1630 – 1678). A capital de Palmares foi destruída, em 1694, e Zumbi foi ferido. Traído por um dos seus principais comandantes, Antônio Soares, foi morto em 20 de novembro de 1695, na serra de Dois Irmãos, local de seu esconderijo. Foi esquartejado e sua cabeça foi cortada e exposta na praça do Carmo, em Recife.
+Há uma grande bibliografia sobre Zumbi e o Quilombo dos Palmares. Nem sempre os estudos apontam para a mesma direção.
+ 
+Acessando o link para as fotografias de tipos negros fotografados por Alberto Henschel disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+(1) O conjunto de 460 imagens do Brasil produzidas até 1900 pertencentes ao acervo do Leibniz-Institut für Länderkunde foi, mediante convênio, incorporado ao acervo do Instituto Moreira Salles por meio da digitalização das fotos em alta resolução. A instituição, sediada na cidade de Leipzig,  reúne o mais importante acervo de fotografia brasileira do século XIX  na Alemanha, em especial pelas imagens reunidas na coleção Stübel.
+O geólogo alemão Moritz Alphons Stübel (1835 – 1904) viajou, entre 1868 e 1877, pela América do Sul com o também geólogo Wilhelm Reiss (1838 – 1908), que retornou um ano antes para a Alemanha. Stübel formou uma importante coleção de fotografias, composta originalmente por quase duas mil imagens. A “Collection Alphons Stübel”, a maior coleção de fotografias sul-americanas do século XIX, até agora conhecida, da Alemanha – e provavelmente da Europa – está preservada no Leibniz-Institut für Länderkunde.
+ 
+Colaboraram para esta pesquisa a designer Mariana Newlands e a socióloga Roberta Zanatta, da equipe do IMS.
+*Este parágrafo foi acrescentado em 22 de dezembro de 2023.
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Bibliografia:
+CARNEIRO, Edison. O Quilombo dos Palmares, Rio de Janeiro: Editora Civilização Brasileira, 3a ed., 1966
+CARVALHO, José Murilo de. Cidadania no Brasil. O longo Caminho. 3ª ed. Rio de Janeiro: Civilização Brasileira, 2002
+FONSECA JR, Eduardo. Zumbi dos Palmares, A História do Brasil que não foi contada. Rio de Janeiro: Soc. Yorubana Teológica de Cultura Afro-Brasileira, 1988)
+FREITAS, Décio. Palmares, a guerra dos escravos. Porto Alegre: Movimento, 1973
+GOMES, Flavio dos Santos. De olho em Zumbi dos Palmares: História, símbolos e memória social. São Paulo: Claro Enigma, 2011
+MOURA, Clovis. Dicionário da Escravidão Negra no Brasil / Clovis Moura; assessora de pesquisa Soraya Silva Moura – São Paulo: Editora da Universidade de São Paulo, 2004
+VASQUEZ, Pedro Karp. Fotógrafos alemães no Brasil do século XIX, São Paulo: Metalivros, 2000
+ 
+Outras fontes:
+Artigo de  Frank Stephan Kohl: “Collection Alphons Stübel”: um tesouro escondido
+Artigo de Fernando Correia da Silva: Zumbi dos Palmares: libertador dos escravos: 1655-1695.
+Entrevista Zumbi, um herói cercado de mistério, na Revista História, de novembro de 2009
+Portal Brasil
+Site Calendarr
+Site da Fundação Joaquim Nabuco
+Site do Instituto Moreira Salles
+Site do Leibniz-Institut für Laenderkunder
diff --git a/wordpress/35860-serie-exposicoes-xii-foto-iconica-do-arquivo-historico-da-fiocruz-ilustrara-expo.md b/wordpress/35860-serie-exposicoes-xii-foto-iconica-do-arquivo-historico-da-fiocruz-ilustrara-expo.md
new file mode 100644
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--- /dev/null
+++ b/wordpress/35860-serie-exposicoes-xii-foto-iconica-do-arquivo-historico-da-fiocruz-ilustrara-expo.md
@@ -0,0 +1,57 @@
+---
+id: 35860
+url: "https://brasilianafotografica.bn.gov.br/?p=35860"
+titulo: "Série “Exposições” XII – Foto icônica do arquivo histórico da Fiocruz ilustrará exposição em Lyon, França"
+autor: "Andrea Wanderley"
+data: "2024-03-27T11:40:44+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/12670", "20.500.12156.1/6385", "20.500.12156.1/12671"]
+fetched_at: "2026-09-10T10:17:20.624Z"
+---
+
+# Série “Exposições” XII – Foto icônica do arquivo histórico da Fiocruz ilustrará exposição em Lyon, França
+
+Foto icônica do arquivo histórico da Fiocruz ilustrará exposição em Lyon, França
+Cristiane d’Avila e Ana Luce Girão*
+ 
+No dia 12 de abril, o Museu das Confluências, em Lyon, França, abrirá a exposição Epidemias, cuidando dos vivos. Segundo o texto de abertura do evento, as epidemias são fenômenos biológicos e sociais derivados da inter-relação entre a saúde humana, animal e ambiental. Além de chamar a atenção para a convergência de fatores que podem ocasionar crises sanitárias complexas, a exposição destaca a relevância do passado como fonte de aprendizados para emergências futuras. Ao menos essa parece a mensagem dos curadores com a escolha da imagem que ilustrará o catálogo do evento: uma fotografia de Oswaldo Cruz (1872 – 1917), seu filho Bento Oswaldo Cruz (1895 – 1941) e o pesquisador Carlos Burle de Figueiredo (18? – 1960), em Manguinhos, no ano de 1910.
+ 
+Oswaldo Cruz ao microscópio em laboratório de Manguinhos, observado por seu filho Bento Oswaldo Cruz e por Burle de Figueiredo, 1910. Rio de Janeiro, RJ / Acervo Casa de Oswaldo Cruz
+ 
+A exposição Epidemias, cuidando dos vivos, exibirá coleções de medicina, etnografia, espécimes de história natural e obras contemporâneas sobre as epidemias de peste bubônica, varíola, cólera, gripe de 1918 (gripe “espanhola”), aids e covid-19. O objetivo é percorrer a história da microbiologia para explicar como a humanidade tem enfrentado esses eventos ao longo do tempo. Nessa perspectiva, parece apropriado homenagear o microbiologista que enfrentou doenças cujos surtos ceifaram milhares de vidas, entre o final do século XIX e o início do século XX, no Brasil.
+Desde muito jovem, o médico voltou sua carreira para a experimentação, sendo o laboratório seu lugar de pesquisa por excelência. Em sua tese de doutoramento em medicina no Rio de Janeiro, intitulada “A veiculação microbiana pelas águas”, Oswaldo Cruz mergulhou no universo dos micróbios para investigar a qualidade da água que abastecia a cidade.
+Recém-formado, instalou um laboratório de análises clínicas em sua casa, no Jardim Botânico, então Freguesia da Gávea, zona sul do Rio. Nesse laboratório particular e no do médico e cientista Chapot Prévost (1864 – 1907), examinou amostras de doentes de cólera, durante o surto da doença no Vale do Paraíba, em 1894. Nesse mesmo período, a convite do médico Egydio Salles Guerra (1858 – 1945), chefe da Policlínica Geral do Rio de Janeiro, montou um laboratório de análises clínicas no Serviço de Moléstias Internas da Policlínica.
+Pouco depois, Oswaldo foi a Paris se capacitar em microbiologia no Instituto Pasteur, onde teve o privilégio de estudar com Émile Roux (1853 – 1933), Elie Metchnikoff (1845 – 1916) e outros cientistas da primeira geração de pasteurianos. No Instituto de Toxicologia de Paris participou de experiências no campo da medicina legal, com Charles Vibert (1854 – 1918) e Jules Ogier (1853 – 1913), também cientistas de renome. A fim de ter uma especialidade clínica, buscou nova especialização em moléstias das vias urinárias com o prof. Félix Guyon (1831 – 1920). Para além da formação científica e clínica, encontrou tempo para aprender a fazer vidraria de laboratório em uma fábrica de vidros local, técnica que seria futuramente adotada no Instituto que levaria seu nome.
+Em 1899, pouco tempo depois de seu retorno de Paris, Oswaldo Cruz foi para Santos, onde ocorria um surto de peste bubônica, já diagnosticado pelos médicos Adolpho Lutz (1855 – 1940) e Vital Brazil (1865 – 1950), do Instituto Bacteriológico de São Paulo. Para combater a doença era necessária uma grande quantidade de soro antipestoso. A criação do Instituto Soroterápico Federal, no qual Oswaldo Cruz assumiria inicialmente a direção técnica e posteriormente a direção geral, e do Instituto Butantan, em São Paulo, são uma consequência direta deste evento.
+Situado no bairro de Manguinhos, então freguesia de Inhaúma, distante da malha urbana, mas acessível pela Estrada de Ferro Leopoldina e pelo porto de Inhaúma, o Instituto Soroterápico Federal foi instalado em uma antiga fazenda que pertencia à municipalidade do Rio de Janeiro. Ao assumir a direção geral, Oswaldo Cruz começa a implantar seu projeto de um centro de pesquisas, produção e ensino, aos moldes do Instituto Pasteur. Em 1908, o instituto recebe um novo estatuto e passa a se chamar Instituto Oswaldo Cruz (IOC), em homenagem ao seu diretor.
+Em 1903, Oswaldo Cruz passa a acumular também a função de diretor da Diretoria Geral de Saúde Pública (DGSP), órgão responsável pelos serviços sanitários da Capital Federal e dos portos. Sua principal tarefa era implementar campanhas sanitárias para combater os surtos de febre amarela, varíola e peste bubônica. Em 1907, a cidade do Rio de Janeiro é declarada livre de febre amarela e os casos de peste bubônica estavam em franco declínio. O combate à varíola, feito através da vacina, não obteve o mesmo sucesso, e em 1908 a cidade seria atingida por um novo surto desta doença.
+Em 1909, quando deixa a DGSP e passa a se dedicar exclusivamente ao IOC, as obras das novas instalações estavam a todo vapor. Do que hoje chamamos de Núcleo Arquitetônico Histórico de Manguinhos (NAHM), já estavam concluídos o Pavilhão da Peste e a Cavalariça, onde se produzia o soro antipestoso, e o Pombal, dedicado à criação de animais de laboratório e de pombos correio, que faziam a comunicação entre o IOC e a DGSP.
+O Pavilhão Mourisco, cuja construção só se concluiria em 1918, já contava com dois andares finalizados. Nestes funcionavam vários laboratórios, dentre os quais o de Oswaldo Cruz, que, assim como os demais, apresentava “paredes lisas, sem ornamentação, revestidas com azulejos brancos e com cantos arredondados nas junções entre as paredes e o piso”, detalham os arquitetos Renato da Gama-Rosa Costa e Alexandre Jose de Souza Pessoas no livro Um lugar para a ciência: a formação do campus de Manguinhos (2003, p.59). Atualmente, esses espaços abrigam exposições e atividades culturais e de divulgação científica voltadas para o público que trabalha e visita o Pavilhão Mourisco.
+ 
+J. Pinto. Pavilhão Mourisco, 1919. Rio de Janeiro, RJ / Acervo Casa de Oswaldo Cruz
+ 
+ 
+* Cristiane  d’Avila é jornalista e Ana Luce Girão é historiadora do Departamento de Arquivo e Documentação da Casa de Oswaldo Cruz (COC/Fiocruz)
+ 
+ 
+Detalhe da foto. Oswaldo Cruz ao microscópio em laboratório de Manguinhos, observado por seu filho Bento Oswaldo Cruz e por Burle de Figueiredo, 1910. Rio de Janeiro, RJ / Acervo Casa de Oswaldo Cruz
+ 
+Referências:
+COSTA, R. G. R., PESSOA, A. J. S. Um lugar para a ciência: a formação do campus de Manguinhos [online]. Coord. Benedito Tadeu de Oliveira. Rio de Janeiro: Editora FIOCRUZ, 2003, 264 p. Coleção História e saúde. ISBN: 978-65-5708-113-6. https://doi.org/10.7476/9786557081136.
+CRUZ, Oswaldo Gonçalves. A vehiculação microbiana pelas águas. These apresentada à Faculdade de Medicina do Rio de Janeiro. Rio de Janeiro, Typographia da Papelaria e Impressora (S.A), 1893.
+GUERRA, Egydio Salles. Oswaldo Cruz. Rio de Janeiro, Vecchi, 1940.
+Site: Biblioteca Virtual Oswaldo Cruz. Disponível em https://oswaldocruz.fiocruz.br/. Acesso em 19/03/2024.
+Documento: Diário de laboratório de Oswaldo Cruz. Arquivo Pessoal Oswaldo Cruz. Acervo Casa de Oswaldo Cruz/Fiocruz.
+ 
+Acesse aqui o artigo O cientista Oswaldo Cruz (1872 – 1917), prefeito de Petrópolis, escrito por Cristiane d’Avila e Ana Luce Girão em parceria com Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica. Foi publicado no portal em 28 de dezembro de 2017.
+ 
+Mesa de trabalho de Oswaldo Cruz, em sua residência, conservada como ele a deixou ao trabalhar pela última vez, s/d. Rio de Janerio, RJ / Acervo Casa de Oswaldo Cruz
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/12670` — `itens/20.500.12156.1_12670/`
+- `20.500.12156.1/6385` — `itens/20.500.12156.1_6385/`
+- `20.500.12156.1/12671` — `itens/20.500.12156.1_12671/`
+
diff --git a/wordpress/35948-serie-teatros-e-cinemas-do-brasil-xii-a-lanterna-magica-que-iluminava-o-cine-del.md b/wordpress/35948-serie-teatros-e-cinemas-do-brasil-xii-a-lanterna-magica-que-iluminava-o-cine-del.md
new file mode 100644
index 0000000..76f0d2f
--- /dev/null
+++ b/wordpress/35948-serie-teatros-e-cinemas-do-brasil-xii-a-lanterna-magica-que-iluminava-o-cine-del.md
@@ -0,0 +1,134 @@
+---
+id: 35948
+url: "https://brasilianafotografica.bn.gov.br/?p=35948"
+titulo: "Série “Teatros e cinemas do Brasil” XII – A Lanterna Mágica que iluminava o Cine Delícia: imagens e cinema na  coleção Jota Soares – FUNDAJ"
+autor: "Andrea Wanderley"
+data: "2024-05-29T11:33:17+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/12716", "20.500.12156.1/12701", "20.500.12156.1/12706", "20.500.12156.1/12707", "20.500.12156.1/12715", "20.500.12156.1/12709", "20.500.12156.1/12713", "20.500.12156.1/12712", "20.500.12156.1/12714", "20.500.12156.1/12710"]
+fetched_at: "2026-09-10T10:17:24.105Z"
+---
+
+# Série “Teatros e cinemas do Brasil” XII – A Lanterna Mágica que iluminava o Cine Delícia: imagens e cinema na  coleção Jota Soares – FUNDAJ
+
+O historiador Tásso Brito, colaborador do setor de Iconografia da Fundação Joaquim Nabuco, uma das instituições parceiras da Brasiliana Fotográfica, é o autor de nosso artigo de hoje, A Lanterna Mágica que iluminava o Cine Delícia: imagens e cinema na coleção Jota Soares – FUNDAJ, onde ele destaca um conjunto de diapositivos de lanterna mágica na coleção Jota Soares, que foi um dos principais expoentes, entre 1923 e 1931, do movimento que ficou conhecido como Ciclo de Cinema de Recife. Tornou-se um colecionador, uma espécie de guardião da memória e narrador da história do cinema pernambucano do período mudo. Publicamos também um breve perfil de Jota Soares (1906 – 1988), escrito por mim, Andrea C. T. Wanderley, editora e pesquisadora do portal.
+ 
+Mulher fantasiada de gata, s/d / Acervo Fundaj
+ 
+Acessando o link para as imagens do Arquivo Jota Soares da Fundação Joaquim Nabuco disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Criança com a boca aberta, 1922 / Acervo Fundaj
+ 
+ 
+A Lanterna Mágica que iluminava o Cine Delícia: imagens e cinema na coleção Jota Soares – FUNDAJ
+  Tásso Brito*
+ 
+As luzes se apagam, a tela do Cine Delícia se ilumina na cidade de Maceió, o Pavilhão da Bahia na Exposição Nacional de 1908 aparece imponente com detalhes dourados e rosa. As cores numa projeção de sala de cinema naquele momento foram viabilizadas através de uma Lanterna Mágica, também chamada de epidascópio, mecanismo de projeção de imagens por meio de uma câmera escura e um jogo de lentes. A luz atravessava uma placa de vidro, que poderia ser pintada com tinta translúcida, e projetada numa tela. A imagem do Pavilhão da Bahia exibida no Cine Delícia é uma imagem em prata, com retoques coloridos em dourado e rosa, envolta por uma moldura de papel preto fino, e posicionada entre duas placas de vidro medindo 8,3 x 9,8 cm.
+ 
+Pavilhão da Bahia na Exposição Nacional de 1908. Rio de Janeiro, RJ / Acervo Fundaj
+ 
+Esta imagem faz parte de um conjunto de diapositivos de lanterna mágica na coleção Jota Soares, salvaguardada na Fundação Joaquim Nabuco. Jota Soares foi ator, diretor e produtor de filmes entre 1923-1931, no movimento que ficou conhecido como Ciclo de Cinema de Recife, por ter se desenvolvido nesta capital. Jota era um dos principais expoentes do movimento, mas também era um colecionador. Os diapositivos da coleção foram um presente dado por Salomão Carneiro, também conhecido como Carneiro Tiririca, proprietário do Cine Delícia que, até 1908, chamava-se Teatro Maceioense. Localizava-se na Rua do Sol, antiga Rua do Rosário, na capital de Alagoas.
+ 
+Teatro Maceioense, depois Cine Delícia, na Rua do Sol / Site História de Alagoas
+ 
+Jota preservou os diapositivos em uma caixa de madeira com informações referentes ao conjunto doado. Essas ações possibilitaram que estas imagens chegassem até nossos dias. Sendo (re)descobertos durante o processo de revisão de alguns acervos da Fundação Joaquim Nabuco, no começo de 2024. Os diapositivos retratam temas diversos, mas há outras imagens da Exposição Nacional de 1908.
+ 
+Exposição Nacional de 1908. Rio de Janeiro, RJ / Acervo Fundaj
+ 
+ 
+Pavilhão da Sociedade Nacional de Agricultura, 1908. Rio de Janeiro, RJ / Acervo Fundaj.
+ 
+A Exposição Nacional de 1908, realizada no Rio de Janeiro, foi criada para celebrar o centenário da abertura dos portos às nações amigas. Além disso, se propunha a fazer o Brasil se (re)conhecer como nação, por meio das produções realizadas pelas unidades federativas brasileiras. Mas a exposição também foi feita para o Rio de Janeiro se mostrar, uma vez que havia pouco tempo que a antiga capital do Brasil tinha passado por reformas urbanas empreendidas pelo presidente Rodrigues Alves, o prefeito Pereira Passos e o sanitarista Oswaldo Cruz. O conjunto de diapositivos de lanterna mágica da coleção Jota Soares não se restringe às imagens da Exposição Nacional. Retrata também a Europa, outros estados brasileiros, bem como quadros pintados a mão. Cabe destaque à produção de Luiz Lavenère Wanderley (1868-1966)r, um dos pioneiros na fotografia em Alagoas, com registros do cotidiano, de paisagens e do Carnaval.
+ 
+Luiz Lavenère Wanderley. Engraxates, c. 1910. Alagoas / Acervo Fundaj
+ 
+ 
+Luiz Lavenère Wanderley. Praça dos Martírios, c. 1908. Maceió, Alagoas / Acervo Fundaj
+ 
+ 
+Luiz Lavenère Wanderley, c. 1906. Bloco de carnaval Camélias Japonesas.  Maceió, Alagoas / Acervo Fundaj
+ 
+Muitas vezes as lanternas mágicas são tidas como antecessoras dos projetores de cinema, mas, pelo menos no Cine Delícia, essas tecnologias coexistiram. No final de década de 1930, as luzes do Delícia se acenderam pela última vez, os expectadores deixaram a sala olhando aquela tela que tanto maravilhou os olhares com imagens e filmes. O prédio do Cine Delícia foi demolido em 1945, mas os diapositivos de lanternas acabam de ganhar aqui uma nova chance de deliciar nosso olhares, um século depois.
+ 
+Farol da Barra, c. 1910. Salvador, Bahia / Acervo Fundaj
+ 
+ 
+Luiz Lavenère Wanderley. Pintura de barco a vela em mar agitado, s/d / Acervo Fundaj
+ 
+ 
+*Tásso Brito é historiador e colaborador do setor de Iconografia da Fundaj.
+ 
+Breve perfil de Jota Soares (1906 – 1988), 
+guardião da memória e narrador da história do cinema pernambucano do período mudo
+ Andrea C.T. Wanderley**
+ 
+Jota Soares (1906 – 1988)
+ 
+Nascido em 16 junho de 1906, em Propriá, em Sergipe, José da Silva Soares Filho, o Jota Soares, foi um dos pioneiros do cinema pernambucano. Seu pai, o comerciante José Soares da Silva, era dono do Cinema Guarani, um dos primeiros em Propriá. Jota Soares foi, aos 13 anos, para Aracaju, onde, além de ter aulas de teatro e canto, realizou seus estudos secundários. Em 1919, depois da falência de seu pai, foi trabalhar como operário em uma fábrica de chocolate, na Bahia. Finalmente, em 1922, mudou-se para Recife, onde atuou como músico no Bloco de Voluntários do Exército e serviu no Tiro de Guerra com seu irmão, futuro general Heleno Soares Castelar. Após um breve período no Rio de Janeiro, retornou a Recife e ingressou numa companhia de circo.
+Em 1924, segundo relato dele, foi assistir a uma filmagem realizada no Lazareto do Pina do longa-metragem Retribuição, produzido pela Aurora Film, e ofereceu-se para colaborar: “E terminei de tripé e câmara nas costas, o que repeti em outros dias. Era um domingo. Meu ingresso no cinema estava assegurado”. Foi assistente de fotografia do longa.
+ 
+Cena do filme Retribuição / Site do IMS
+ 
+Os fundadores da Aurora Film, localizada na Rua de São João, 485, no bairro de São José, foram o ourives pernambucano Edson Chagas (1901-1958), o gravador potiguar Gentil Roiz (1899-1975) e o estudante de engenharia pernambucano Luís de França Rosa – que adotou o nome artístico de Ary Severo (1903 – 1994). O filme Retribuição começou a ser realizado em 1923, dirigido por Roiz, tendo Edson como diretor de fotografia e Severo como assistente de direção. No elenco, Almery Steves (1904 – 1982), futura esposa de Ary Severo, e Barreto Jr (1903 – 1983), dentre outros. Ary e Almery formaram o casal romântico mais famoso do Ciclo do Recife.
+ 
+Edson Chagas (1901 – 1958)
+ 
+Gentil Roiz (1899 – 1975)
+ 
+Ary Severo (1903 – 1994)
+ 
+Almery Steves, Edson Chagas e Ary Severo
+ 
+Considerado o primeiro filme de ficção pernambucano, Retribuição foi lançado em 16 de março de 1925, no Cine Royal, inaugurado em 6 de novembro de 1909 e situado na Rua Barão da Vitória (atual Rua Nova), n° 47 (Diário de Pernambuco, 7 de novembro de 1909, terceira coluna). Foi, na década de 20, o templo sagrado do cinema pernambucano, por abrigar diversos filmes de produção local. Foi o segundo cinema do Recife e fechou suas portas em 1954. A primeira sala de cinema da capital pernambucana, o Cinema Pathé, havia sido inaugurada, em 27 de julho de 1909, no nº 45, na mesma Rua Barão da Vitória (Diário de Pernambuco, 27 de julho, segunda coluna).
+ 
+Diário de Pernambuco, 7 de novembro de 1909
+ 
+Fachada do Cine Royal, 1925 / Arquivo do Diário de Pernambuco
+ 
+Voltando ao filme Retribuição. Ele marcou o início do chamado Ciclo do Recife, um dos importantes ciclos de produções cinematográficas que ocorreu fora do eixo das capitais do Rio de Janeiro e de São Paulo, nas décadas de 1910 e 1920 – outros exemplos são os ciclos de Cataguases e de Campinas (Diário de Pernambuco, 15 de março de 1925, terceira coluna). Jota Soares tornou-se o principal memorialista do Ciclo do Recife, tendo escrito uma série de 59 artigos na coluna “Relembrando o cinema pernambucano —1923-1931 (Dos arquivos de Jota Soares)”, publicados no jornal Diário de Pernambuco, aos domingos, entre 2 de dezembro de 1962 e 23 de fevereiro de 1964. Nestes artigos, Soares contava histórias sobre os bastidores das produções, homenageava pessoas ligadas ao ciclo, reconstituía o enredos dos filmes. O surgimento do cinema falado marcou o declínio da produção cinematográfica do Ciclo do Recife, que teve seu fim no começo dos anos 1930, com o lançamento de No cenário da vida, de Luís Maranhão e Jota Soares. Durante o ciclo, foram produzidos pela Aurora Film, Planeta Filmes, Iate Filme, Veneza Filme, Liberdade Filme, Olinda Filme, Spia Filme, Goiana  Filme e Vera Cruz quase cinquenta filmes entre curtas e longas-metragens, filmes de ficcção e de não-ficção.
+Jota Soares participou como ator nas produções da Aurora Film: Um Ato de Humanidade (1925), Aitaré da Praia (1925) e Jurando Vingar (1925), todos dirigidos por Gentil Roiz. Uma curiosidade: no filme Aitaré da Praia, em uma briga entre seu personagem, Traira, e Aitaré, interpretado por Ary Severo, levou um soco de Severo e perdeu dois dentes (Diário de Pernambuco, 4 de novembro de 1988).
+Também na Aurora Film atuou em Herói do Século XX (1926), desta vez dirigido por Ary Severo e debutou como diretor, com apenas 20 anos, em A Filha do Advogado (1926), inicialmente dirigido por Severo. O filme estreou, em 11 de outubro de 1926, no Royal (Jornal do Recife, 6 de outubro de 1926). Na época, a Aurora Film já pertencia a João Pedrosa da Fonseca, um bem sucedido comerciante do Recife, que financiou o filme (Cinearte, 18 de agosto de 1926).
+ 
+Jornal do Recife, 8 de outubro de 1926
+ 
+Dirigiu também Sangue de Irmão (1926), único filme de enredo (ficção) da Goyanna-Film, e a segunda versão de Aitaré da Praia, com Ary Severo e Luiz Maranhão, pela Liberdade-Film.
+ 
+Ary Severo, Edson Chagas, Luiz Maranhão e Pedro Neves cortando o negativo de Aitaré da Praia da Liberdade Film / Revista Cinearte de março de 1928
+ 
+Jota Soares tornou-se um importante colecionador da história do cinema mudo pernambucano, tornando-se uma referência para os pesquisadores da história do cinema brasileiro. Colecionava também itens do cinema norte-americano e europeu (Diário da Manhã (PE), 22 de setembro de 1972, última coluna). Seu arquivo foi adquirido, em 1984, pela Fundação Joaquim Nabuco.
+Em 1944, escreveu a História da Cinematografia Pernambucana, cronologia com as realizações do cinema pernambucano entre 1923 e 1931. Este texto transformou-se em fonte para a discussão do cinema mudo pernambucano, num dos primeiros livros sobre a história do cinema brasileiro, escrito por Alex Viany em 1959, intitulado “Introdução ao cinema brasileiro”. Também fundou Museu-cinema, uma mistura de arquivo de imagens e cineclube, onde se exibiam os filmes mudos pernambucanos (BEHAR, 2003).
+Foi um comentarista de futebol de sucesso e introduziu pugilismo na televisão do Recife. Como radialista, iniciou sua carreira, em agosto de 1948, no Departamento de Jornalismo da Rádio Jornal do Commercio. Na Rádio Tamandaré comandou o programa Epopéia do Cinema. Trabalhou em diversas outras emissoras de rádio do Recife e de Olinda, a última foi a Super Rádio Clube. Em 1971, foi instituída a Taça Jota Soares, ofertada ao jogador de futebol campeão de disciplina (Diário de Pernambuco, 24 de junho de 1971, última coluna). No ano seguinte, em 1° de fevereiro de 1972, a Câmara Municipal outorgou-lhe o título de Cidadão do Recife (Diário da Manhã (PE), 2 de fevereiro de 1972, primeira coluna; Diário da Manhã (PE), 12 de setembro de 1972, última coluna).
+Em 1974, foi o intérprete principal do curta-metragem Labirinto, do jornalista e cineasta Fernando Spencer (1927 – 2014), um dos responsáveis pelo “resgate” cultural do Ciclo, reafirmando seu caráter de momento inaugural e mítico do cinema pernambucano (Behar, 2003); e, em 1979, foi o narrador do documentário J. Soares, um pioneiro do cinema, de Spencer e Flávio Rodrigues (1949-) (Jornal do Brasil, 20 de julho de 1980).
+Faleceu, no Recife, em 24 de janeiro de 1988 (Diário de Pernambuco, 25 de janeiro de 1988). Dias depois foi publicado, no Diário de Pernambuco, o artigo Relembrando o Pioneiro Jota Soares, de Fernando Spencer (Diário de Pernambuco, 27 de janeiro de 1988).
+ 
+Diário de Pernambuco, 25 de janeiro de 1988
+ 
+**Andrea C.T. Wanderley é editora e pesquisadora do portal Brasiliana Fotográfica.
+ 
+Fontes:
+ARAÚJO, Luciana Corrêa. Entre o local e o internacional: Jota Soares e a cultura cinematográfica no Recife. Revista de la Asociason Argentina de Estudios de Cine y Audiovisual, 2019.
+BEHAR, Regina. Labirintos da Memória no cinema pernambucano: o “ciclo”da década de 20. ANPUH – XXII SIMPÓSIO NACIONAL DE HISTÓRIA – João Pessoa, 2003.
+Blog de Fernando Medeiros
+Enciclopédia Itaú Cultural
+Hemeroteca Digital da Biblioteca Nacional
+SANTOS, Marcos. O longo trajeto do cinema feito em Pernambuco. Olhar de Cinema, 23 de abril de 2018.
+Site Cinemateca Pernambucana
+Site História de Alagoas
+Site IMDB – https://www.imdb.com/name/nm1217959/
+Site IMS
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/12716` — `itens/20.500.12156.1_12716/`
+- `20.500.12156.1/12701` — `itens/20.500.12156.1_12701/`
+- `20.500.12156.1/12706` — `itens/20.500.12156.1_12706/`
+- `20.500.12156.1/12707` — `itens/20.500.12156.1_12707/`
+- `20.500.12156.1/12715` — `itens/20.500.12156.1_12715/`
+- `20.500.12156.1/12709` — `itens/20.500.12156.1_12709/`
+- `20.500.12156.1/12713` — `itens/20.500.12156.1_12713/`
+- `20.500.12156.1/12712` — `itens/20.500.12156.1_12712/`
+- `20.500.12156.1/12714` — `itens/20.500.12156.1_12714/`
+- `20.500.12156.1/12710` — `itens/20.500.12156.1_12710/`
+
diff --git a/wordpress/36019-e-ha-200-anos-hercule-florence-chegou-ao-brasil.md b/wordpress/36019-e-ha-200-anos-hercule-florence-chegou-ao-brasil.md
new file mode 100644
index 0000000..796d736
--- /dev/null
+++ b/wordpress/36019-e-ha-200-anos-hercule-florence-chegou-ao-brasil.md
@@ -0,0 +1,44 @@
+---
+id: 36019
+url: "https://brasilianafotografica.bn.gov.br/?p=36019"
+titulo: "E, há 200 anos, Hercule Florence chegou ao Brasil!"
+autor: "Andrea Wanderley"
+data: "2024-04-29T15:13:47+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/1777"]
+fetched_at: "2026-09-10T10:17:27.459Z"
+---
+
+# E, há 200 anos, Hercule Florence chegou ao Brasil!
+
+Há 200 anos, em 8 abril de 1824, chegou ao Rio de Janeiro, a bordo da fragata Marie Théreze, que havia zarpado do porto de Toulon, na França, em fevereiro de 1824, o fotógrafo, desenhista, tipógrafo e naturalista francês Antoine Hercule Romuald Florence (1804 – 1879) (Diário do Rio de Janeiro, 9 de abril de 1824, segunda coluna). Viveu no Brasil entre 1824 e 1879, quando faleceu, em Campinas. Foi, certamente, um dos mais extraordinários estrangeiros que se estabeleceu no país, no século XIX, tendo sido o inventor de um dos primeiros métodos de fotografia do mundo.
+Em 11 de agosto de 2023, o Instituto Moreira Salles, uma das instituições fundadoras da Brasiliana Fotográfica, anunciou a aquisição da coleção Cyrillo Hercules Florence, composta por aproximadamente 1.200 itens, que reúne a parte mais importante da obra e dos documentos do Hercule Florence.  A coleção estava sob a guarda da família e foi reunida por seu neto, Cyrillo Hercules Florence (1901 – 1995).
+ 
+Hercule Florence. “Epréuve Nº2 (photographie)”. Fotografia: Conjunto de rótulos para frascos farmacêuticos, 1833. Vila de São Carlos, Campinas, SP / Acervo IMS
+ 
+Foi no livro de Florence, Livre d´annotations et les premiers matériaux, em 1834, que ele usou pela primeira vez o verbo photographier – cinco anos antes da palavra ser utilizada na Inglaterra, em 1839, por John Frederick William Herschel (1792-1871). Florence deixou uma descrição do procedimento adotado por ele para obter o registro fotográfico, em 1833.
+Foi a partir da pesquisa e do teste realizados pelo professor Boris Kossoy (1941-), aos quais se seguiu a publicação de seu livro “1833: a Descoberta Isolada da Fotografia no Brasil” (1980), que Hercule Florence tornou-se conhecido internacionalmente. Convidamos vocês à leitura dos artigos O francês Hercule Florence (1804 – 1879), inventor de um dos primeiros métodos de fotografia do mundo e Florence, autor do mais antigo registro fotográfico existente nas Américas, já publicados na Brasiliana Fotográfica.
+ 
+Acessando o link para as imagens de Hercule Florence disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Autorretrato de Hercule Florence, 1855. Detalhe de um retrato de sua família, em Campinas
+ 
+Foi publicado nos Anais do Museu Paulista, de dezembro de 2019, o artigo Revelando Hercule Florence, o Amigo das Artes: análises por fluorescência de raios X.  A física Márcia de Almeida Rizzutto, coordenadora do NAP-Faepah, atestou, com a ajuda do método conhecido como fluorescência de raios X por dispersão de energia (ED-XRF) para detectar a presença de elementos químicos, que os manuscritos de Florence descrevem fielmente os processos de produção fotográfica por ele testados em 1833. Segundo Boris Kossoy, “é a comprovação física daquilo que já se sabia do ponto de vista químico”.
+Nos dias 23 e 24 de maio de 2023, foi realizado no Instituto Moreira Salles, de São Paulo, o seminário internacional 190 anos dos experimentos fotográficos de Hercule Florence para celebrar o seu pioneirismo na descoberta dos processos fotográficos. Vários temas relacionados a Florence foram abordados durante o evento, mas o principal assunto do encontro foi a divulgação dos resultados das análises físico-químicas realizadas, em 2022, de três objetos do inventor, por meio de uma parceria inédita entre quatro instituições de três continentes: o IMS, o Instituto Hercule Florence (IHF), de São Paulo, Brasil; o Getty Conservation Institute (GCI), de Los Angeles, EUA; e o Laboratório HERCULES da Universidade de Évora, Portugal.
+ 
+Nota da editora: havia dúvidas em torno da data de nascimento de Hercule Florence – seria 28, 29 de fevereiro ou 9 de março de 1804. O artigo Os nascimentos de Hercule Florence, publicado em de 2022 pelo Instituto Hercule Florence esclarece que a data de nascimento foi 28 de fevereiro de 1804 e a data de batizado 29 de fevereiro de 1804. A data 9 de março foi aventada a partir de um erro de leitura de William Luret, ex-jornalista da Radio Montecarlo. Como os artigos Florence, autor do mais antigo registro fotográfico existente nas Américas e O francês Hercule Florence (1804 – 1879), inventor de um dos primeiros métodos de fotografia do mundo haviam sido publicados na Brasiliana Fotográfica em 17 de junho de 2015 e em 7 de março 2017, respectivamente, portanto antes das dúvidas em relação à data de nascimento de Florence terem sido dirimidas, constava como data de seu nascimento 29 de fevereiro de 1804, como o próprio havia escrito em seu diário. Segundo Thierry Thomas, historiador belga que se debruçou sobre vida e obra de Florence, o artista pode não ter se enganado. “Hercule, de verdade, não se engana totalmente. Muitas pessoas no passado, consideravam o dia do batismo como o dia de nascimento. Pode ser também que ele só consultou o registro de batismo e não o registro de nascimento”.  As correções já foram realizadas e explicadas nos artigos mencionados.
+ 
+Site Instituto Hercule Florence
+ 
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Leia aqui o artigo Hercule Florence e “a arte de inventar”; as mobilizações da memória, de autoria de Maria InezTurazzi, no site Instituto Hercule Florence
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/1777` — `itens/20.500.12156.1_1777/`
+
diff --git a/wordpress/36105-serie-os-diarios-associados-na-brasiliana-fotografica-iv-os-100-anos-dos-diarios.md b/wordpress/36105-serie-os-diarios-associados-na-brasiliana-fotografica-iv-os-100-anos-dos-diarios.md
new file mode 100644
index 0000000..29f20dd
--- /dev/null
+++ b/wordpress/36105-serie-os-diarios-associados-na-brasiliana-fotografica-iv-os-100-anos-dos-diarios.md
@@ -0,0 +1,138 @@
+---
+id: 36105
+url: "https://brasilianafotografica.bn.gov.br/?p=36105"
+titulo: "Série “Os Diários Associados na Brasiliana Fotográfica” IV – Os 100 anos dos Diários Associados"
+autor: "Andrea Wanderley"
+data: "2024-10-02T10:15:02+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/12665", "20.500.12156.1/12664", "20.500.12156.1/5617", "20.500.12156.1/6575", "20.500.12156.1/11417"]
+fetched_at: "2026-09-10T10:17:31.015Z"
+---
+
+# Série “Os Diários Associados na Brasiliana Fotográfica” IV – Os 100 anos dos Diários Associados
+
+Hoje os Diários Associados, que já foram o maior conglomerado de mídia do Brasil, completam 100 anos. Foi em 2 de outubro de 1924 que O Jornal, primeiro órgão de comunicação dos Diários foi comprado pelo empresário paraibano Francisco de Assis Chateaubriand Bandeira de Melo (1892-1968).
+ 
+Assis Chateaubriand (Francisco de Assis Bandeira de Mello), s/d . Essa foto foi publicada na primeira página de O Jornal, em 5 de abril de 1968, dia seguinte da morte de Chatô / Acervo FBN
+ 
+O acervo fotográfico dos Diários Associados – Rio de Janeiro foi incorporado, em 2016, por uma das instituições fundadoras da Brasiliana Fotográfica, o Instituto Moreira Salles (IMS). O conjunto adquirido pelo IMS possui cerca de 700 mil fotografias e 300 mil negativos com imagens produzidas para o já mencionado O Jornal; para o Diário da Noite, fundado por Chateaubriand, em 1929; e para o Jornal do Commercio, fundado em 1827 e adquirido pelo grupo em 1959. Também possui fotos produzidas pela Agência Meridional, primeira agência de notícias do Brasil, fundada em 1931.
+ 
+Acessando o link para as imagens do Arquivo dos Diários Associados pertencentes ao Instituto Moreira Salles e de dois registros de Assis Chateaubriand que pertencem à Fundação Biblioteca Nacional e que estão disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Pequeno histórico de O Jornal, primeiro órgão de comunicação dos Diários Associados
+ 
+Primeira página de O Jornal, 2 de outubro de 1924
+ 
+Francisco de Assis Chateaubriand Bandeira de Mello, conhecido como Chatô, comprou, em 2 de outubro de 1924, O Jornal, fundado em 17 de junho de 1919, por Renato Toledo Lopes e um grupo de dissidentes do Jornal do Commercio. Seu nome, O Jornal, foi uma provocação: era assim que o Jornal do Commercio era chamado internamente. O Jornal tornou-se o primeiro veículo de comunicação dos Diários Associados, um dos maiores conglomerados da história da imprensa brasileira (O Jornal, 2 de outubro de 1924, primeira coluna).
+ 
+Expediente de O Jornal, 2 de outubro de 1924
+ 
+Chateaubriand fez várias inovações, tanto na linha editorial – substituindo os longos artigos por reportagens, separando claramente informações e comentários. Também mudou a diagramação, reorganizando a paginação gráfica e as técnicas de ilustração.
+Seus primeiros diretores foram A. Cruz Santos e o próprio Chateaubriand. Sabóia de Medeiros (18?-19?) era o redator-chefe, mas foi logo substituído por Austregésilo de Athayde (1898-1993), grande amigo de Chatô, que permaneceu por toda sua vida nos DA. O ex-presidente da República, Epitácio Pessoa (1865-1942), era o presidente da empresa e Alfredo Pujol (1865-1930) e Rodrigo Melo Franco de Andrade (1898-1969), seus diretores. Entre os colaboradores do matutino estavam Alceu Amoroso Lima (Tristão de Athayde) (1893-1983), Capistrano de Abreu (1853-1927), Pandiá Calógeras (1870-1934), Humberto de Campos (1886-1934), Paulo de Castro Maya (1895-1928), Carlos de Laet (1847-1927) e Ferdinando Laboriau (1893-1928). Na área internacional, colaboravam  Ruddyard Kipling (1865-1936), prêmio Nobel de Literatura; o ex-premier francês Raymond Poincaré (1860-1934), e o também ex-premier britânico Lloyd George (1863-1945).
+ 
+O Jornal, 25 de outubro de 1930
+ 
+Fechou suas portas, em 28 de abril de 1974, quando publicou sua 16.123ª edição. Alberico de Souza Cruz (1938 – 2022) foi o último secretário de redação. O único voto contrário ao fim do jornal, na Assembleia Geral Extraordinária, foi de Austregésilo de Athayde (1898 – 1993). Chegava ao fim o órgão pioneiro e líder dos Diários Associados (RJ).
+ 
+Diários Associados – acervos fotográficos no Instituto Moreira Salles
+ 
+ Agência Meridional de Notícias (1931 – ) 
+A Agência Meridional de Notícias foi fundada em agosto de 1931 e foi a primeira agência de notícias do Brasil. O principal objetivo de Chateaubriand era otimizar e racionalizar entre os jornais de seu conglomerado o intercâmbio de textos e fotos. Seria mais barato que as notícias das editorias nacional, de economia e internacional tivesses tanto sua produção tanto centralizada como compartilhada. Assim, os jornais se ocupariam da cobertura local. Ainda em 1931, Chateaubriand comprou o Diário de Pernambuco (Recife), o mais antigo jornal brasileiro em circulação; e fundou o Diário da Tarde (Belo Horizonte). Na ocasião, já faziam parte dos Diários Associados o Diário da Noite (edições Rio e SP),  o Diário de Notícias (Porto Alegre),  o Diário de S. Paulo,  o Estado de Minas (Belo Horizonte) e O Jornal (Rio de Janeiro). Chateaubriand também já era proprietário das revistas A Cigarra e O Cruzeiro e das juvenis Detetive e O Guri. Foi pela Agência Meridional que o repórter Joel Silveira (1918 – 2007) foi enviado para cobrir a campanha dos pracinhas da FEB na Segunda Guerra Mundial com a seguinte recomendação de Chateaubriand, que se tornou famosa: “Mas não me morra, seu Joel! Repórter é pra mandar matéria, não pra morrer!”. Em 2007, a Agência Meridional passou a usar nome de D.A. Press. 
+Diário da Noite (RJ) (1929 – 1973) 
+Em 5 de outubro de 1929, lançamento do Diário da Noite, do Rio de Janeiro, que, feito em duas semanas, no mesmo mês de seu lançamento já havia conquistado entre 60 e 80 mil leitores. Complementava o matutino O Jornal, também de Assis Chateaubriand e tinha duas edições diárias, a primeira saía às 15h. Era dirigido por Chateaubriand, Cumplido de Sant´Anna e Frederico Barata. Apresentava-se como um membro da vanguarda do movimento liberal. Opunha-se ao regime oligárquico da República Velha e defendia a Aliança Liberal. Foi nesse jornal que Nelson Rodrigues escreveu folhetins usando o pseudônimo de Susana Flag. Teve como colaborares Antônio Maria (1921 – 1964), Sérgio Porto (1923-1968), o Stanislaw Ponte Preta e o humorista Aparício Torelly (1895 – 1971), dentre outros. Circulou até junho de 1973.
+ 
+Jornal do Commercio (RJ) (1827 – 2016) 
+Assis Chateaubriand comprou o Jornal do Commercio de San Tiago Dantas, em 2 de abril de 1959. Instalado na rua Sacadura Cabral nº 103, passou a ser dirigido por Carlos Rizzini, e voltou à linha editorial conservadora, enfatizando o noticiário econômico, dirigido aos empresários do Rio de Janeiro. O Jornal do Commercio havia sido fundado em 31 de agosto de 1827, pelo tipógrafo e livreiro francês Pierre Plancher (1779 – 1844). Sua primeira edição, com quatro páginas, circulou no Rio de Janeiro em 1º de outubro do mesmo ano. No dia 29 de abril de 2016, foi para as ruas a sua última edição. Era o segundo periódico diário mais antigo do Brasil, perdendo apenas para o Diário de Pernambuco, o mais antigo jornal da América Latina, fundado em 7 de novembro de 1925. Seu presidente era Mauricio Dinepi (1953 – 2025).
+ 
+O Jornal (1919 – 1974)
+Em 1924, Assis Chateaubriand comprou O Jornal, fundado em 1919, o primeiro elo e o órgão líder da cadeia dos Diários Associados. Nele, Chateaubriand fez várias inovações, tanto na linha editorial – substituindo os longos artigos por reportagens, separando claramente informações e comentários – como em sua diagramação – reorganizando a paginação gráfica, do colunismo e das técnicas de ilustração. Fechou suas portas em 28 de abril de 1974, quando publicou sua 16.123ª edição. Alberico de Souza Cruz foi o último secretário de redação. O único voto contrário ao fim do jornal, na Assembleia Geral Extraordinária, foi de Austregésilo de Athayde. Chegava ao fim o órgão líder dos Diários Associados.
+ 
+O almirante Gago Coutinho ao ser entrevistado ao microfone pelo sr. Assis Chateaubriand, diretor dos “Diários Associados”, s/d / Acervo FBN
+ 
+ 
+Artigos publicados na Brasiliana Fotográfica com fotografias do acervo dos Diários Associados
+Os Diários Associados na Brasiliana Fotográfica, de autoria de Andrea C. T. Wanderley, publicado em 30 de maio de 2018.
+ 
+Ao alto, o Graf Zeppelin por ocasião de viagem ao Rio de Janeiro. Abaixo, o hangar, publicado em O Jornal, 7 de abril de 1935. Rio de Janeiro, RJ / Diários Associados (RJ) – Acervo IMS
+ 
+ 
+A Casa dos Artistas nos Diários Associados, de autoria de Andrea C. T. Wanderley, publicado em 26 de agosto de 2019.
+ 
+Casa dos artistas, também conhecida como Retiro dos Artistas, 1931. Jacarepaguá, Rio de Janeiro / Diários Associados (RJ) – Acervo IMS
+ 
+ 
+O Rei Momo por Jean Manzon e por outros fotógrafos dos Diários Associados, de autoria de Andrea C. T. Wanderley, publicado em 3 de fevereiro de 2023.
+ 
+Jean Manzon. Carnaval antigo – a Rainha do Baile das Atrizes (Mara Rúbia) e o Rei Momo (Francisco de Moraes Cardoso), 28 de fevereiro de 1946. Teatro João Caetano, Rio de Janeiro / Diários Associados (RJ) – Acervo IMS
+ 
+Brevíssimo perfil de Assis Chateaubriand e dos Diários Associados
+ 
+A imprensa brasileira pode ser dividida em duas fases: antes e depois de Assis Chateaubriand. Conhecido como Chatô e nascido em 4 de outubro de 1892, em Umbuzeiro, tornou-se um magnata das comunicações no Brasil. Foi considerado o Cidadão Kane brasileiro, uma alusão ao filme homônimo de Orson Welles (1915-1985), supostamente baseado na vida do empresário norte-americano William Randolph Hearst (1863-1951), criador de uma enorme rede de jornais em seu país.
+Chateaubriand foi uma personalidade polêmica e controversa e um dos mais poderosos e influentes homens públicos da história do país. Em seu auge, os Diários Associados chegaram a ter mais de cem jornais, emissoras de televisão e rádio, revistas e agência telegráfica. Um verdadeiro império de mídia.
+Além de jornalista, Chatô foi advogado, embaixador, escritor, mecenas e político. Em 30 de dezembro de 1954, foi eleito para ocupar a cadeira 37 da Academia Brasileira de Letras, sucedendo Getúlio Vargas (1882-1954).  Tomou posse em 27 de agosto de 1955.
+ 
+No dia de sua posse na ABL, em 27 de agosto de 1955,  com Peregrino Junior, Rodrigo Otávio Filho e Josué Montello / O Jornal, 5 de abril de 1968
+ 
+Uma das revistas do império de Chateaubriand, a O Cruzeiro, foi muito importante na história da fotografia no Brasil, tendo dignificado a profissão de repórter fotográfico. Foi publicada pela primeira vez, em 10 de novembro de 1928, e, entre as décadas de 40 e 50, pela utilização de fotografias, enfatizando o fotojornalismo, e por seu conteúdo e projeto gráfico arrojados, representou uma revolução no mercado editorial brasileiro. Seu primeiro diretor foi Carlos Malheiros Dias (1875 – 1941), sucedido por Antônio Accioly Neto (1906-2001) e José Amádio (1923-1992). Dentre importantes fotógrafos que atuaram na revista, destacamos Flávio Damm (1928-2020), Henri Ballot (1921-1997), Jean Manzon (1915-1990), José Medeiros (1921-1990), Luciano Carneiro (1926 – 1959) e Peter Scheier (1908-1979). Em julho de 1975, a revista deixou de circular.
+ 
+Primeira edição da revista Cruzeiro, 10 de novembro de 1928
+ 
+Chatô fundou o Museu de Arte de São Paulo (MASP), inaugurado em 2 de outubro de 1947. O  crítico e marchand italiano Pietro Maria Bardi (1900-1999), parceiro de Chateaubriand na criação do museu, assumiu sua direção, cargo que ocupou até 1990. As primeiras obras de arte do museu foram selecionadas por Pietro e adquiridas a partir de doações. O museu foi instalado, inicialmente, no prédio,  na época ainda não finalizado, que abrigaria a sede dos Diários Associados, na Rua 7 de Abril, no centro de São Paulo.
+ 
+
+ 
+Em 7 de novembro de 1968, o MASP foi transferido para a Avenida Paulista, sua sede atual, projeto arquitetônico arrojado da romana naturalizada brasileira Lina Bo Bardi (1914-1992), casada com Pietro desde 1946, ano em que vieram para o Brasil. O MASP possui o mais importante acervo de arte europeia do hemisfério sul. A coleção do museu reúne mais de 11 mil obras, incluindo esculturas, fotografias, objetos, pinturas e vestuários de diversos períodos, abrangendo a produção africana, asiática, europeia e das Américas.
+ 
+O MASP por Hans Gunter Flieg (1923-2024), 1968 / Acervo IMS
+ 
+Chatô foi também o responsável pela chegada da televisão ao Brasil quando, em 18 de setembro de 1950, inaugurou a primeira emissora de TV do país, a PRF-3, TV Tupi de São Paulo, no chamado Palácio do Rádio. Participaram da cerimônia o próprio Chateaubriand, o bispo Dom Paulo Rollim Loureiro (1908 – 1975)  e a poetisa Rosalina Coelho Lisboa (1900-1975). À noite, numa festa no Automóvel Clube, autoridades e convidados assistiram à primeira transmissão. Existiam menos de mil aparelhos receptores de TV. Com apenas três câmeras e com profissionais como Cassiano Gabus Mendes (1927 – 1993), Homero Silva (1918-1981), Walter Avancini (1935-2001) e Walter Forster (1917-1996), começava a história da TV brasileira. A TV Tupi saiu do ar em 17 de julho de 1980.
+ 
+
+ 
+
+Assista aqui a primeira vinheta da TV Tupi 
+ 
+Ao longo da década de 50, Chateaubriand foi senador da República pela Paraíba e pelo Maranhão. Em 1957,  renunciou ao cargo porque foi nomeado pelo presidente Juscelino Kubitschek (1902-1976) embaixador do Brasil na Inglaterra. Porém ficava mais tempo no Brasil do que na Inglaterra, fato muito criticado por diplomatas de carreira e também pelos jornais que faziam oposição a ele.  O posto era exercido de fato pelo diplomata Antônio Castello Branco (1916-2001).
+ 
+Chatô fotografado por Luciano Carneiro no dia em que se apresentou como embaixador do Brasil à Rainha Elizabeth II, em novembro de 1957 / O Cruzeiro, 21 de dezembro de 1957
+ 
+Em 26 de setembro de 1959, Chateaubriand assinou uma escritura pública doando a 22 empregados 49% do controle acionário dos Diários e Emissoras Associados, então o maior império de comunicações da América Latina. Estava criado o Condomínio Acionário Diários e Rádios Associados. Na época, o conglomerado era composto pelas duas revistas mais importantes do país dirigidas a adultos, 12 revistas infantis, dezenas de jornais, 28 estações de rádio, seis estações de televisão, agências de notícias e agências de propaganda (O Jornal, 27 de setembro de 1959, primeira coluna).
+Em fevereiro de 1960, Chatô foi levado para a Clínica Doutor Eiras, sob suspeita de enfarte. Foi atendido por um jovem médico que chamou o neurocirurgião Abrahão Ackerman, um dos donos do hospital. Após examiná-lo, constatou que Chateaubriand havia sofrido uma trombose cerebral dupla e que não iria sobreviver (O Jornal, 25 de fevereiro de 1960, primeira coluna; O Cruzeiro, 9 de abril de 1960). Ficou hospitalizado até fim de agosto de 1960 e viveu mais 8 anos (O Jornal, 4 de setembro de 1960, última coluna). Comunicava-se por balbucios e usava uma máquina de escrever adaptada. Continuou, mesmo paraplégico e impossibilitado de falar, a escrever seus artigos. O primeiro após a doença, Compromisso de Sangue, foi publicado em O Jornal de 4 de setembro de 1960.
+ 
+ 
+ Chatô diante da máquina de escrever adaptada a sua condição após a trombose que sofreu em 1960 /O Cruzeiro, 20 de abril de 1968
+ 
+Em julho de 1962, doou os 51% restantes das ações e quotas que possuía dos Diários e Emissoras Associados aos seus auxiliares, que já haviam recebido os primeiros 49%. Seus filhos foram excluídos desta segunda partilha.
+Teve um colapso cardíaco e faleceu, em São Paulo, no Hospital Santa Catarina, em 4 de abril de 1968. Foi velado, no saguão do prédio dos Diários Associados em São Paulo (O Jornal, 5 de abril e 6 de abril de 1968). Pietro Maria Bardi mandou colocar telas do MASP em torno do caixão de Chatô. Também escreveu o artigo Chateaubriand fundador de museus, publicado em O Cruzeiro de 20 de abril de 1968. O sepultamento do Velho Capitão, título criado para ele pelo repórter David Nasser (1917-1980), foi realizado, no dia 6 de abril, no Cemitério do Araçá, em São Paulo.
+João Calmon (1916-1999), que era vice-presidente do condomínio acionário dos Diários Associados desde 1962, tornou-se presidente da empresa. Na época, ela era constituída pelos seguintes órgãos: 1) os diários O Jornal (Rio), Jornal do Comércio (Rio), Diário de S. Paulo (S. Paulo), Diário da Noite (S. Paulo), Diário dos Esportes (S. Paulo), O Diário (Santos-SP), O Estado de Minas (Belo Horizonte), Diário da Tarde (Belo Horizonte), Diário Mercantil (Juiz de Fora-MG), Diário da Tarde (Juiz de Fora-MG), Diário de Notícias (Porto Alegre), A Razão (Santa Maria-RS), Estado da Bahia (Salvador), Diário de Notícias (Salvador), Diário de Aracaju (Aracaju), Diário de Pernambuco (Recife), O Norte (João Pessoa), Diário de Borborema (Campina Grande-PB), Diário de Natal (Natal), O Poti (Natal), A Província do Pará (Belém), Correio do Ceará (Fortaleza), Unitário (Fortaleza), O Imparcial (S. Luís), Jornal do Comércio (Manaus), A Nação (Florianópolis), Jornal de Joinville (Joinville-SC), Jornal de Alagoas (Maceió), Folha de Goiás (Goiânia), Diário do Paraná (Curitiba), Monitor Campista (Campos-RJ), Correio Brasiliense (Brasília), O Rio Branco (Rio Branco), Alto Madeira (Porto Velho-RO), Diário da Serra (Campo Grande-MS); 2) as revistas O Cruzeiro, O Guri, A Cigarra, Luluzinha, Bolinha, Brasinha, Gasparzinho, Aventura, Gurilândia, Pré-Estreia, Manda-Chuva, Os Flinstones, Os Jetsons, Pimentinha, Zé Colméia, Combate, Homem no Espaço, Galáxia; 3) as emissoras Rádio Tupi (Rio), Rádio Tamoio (Rio), Rádio Difusora (S. Paulo), Rádio Tupi (S. Paulo), Rádio Cultura (S. Paulo), Rádio Guarani (Belo Horizonte), Rádio Mineira (Belo Horizonte), Rádio Sociedade (Juiz de Fora-MG), Rádio Farroupilha (Porto Alegre), Rádio Sociedade da Bahia (Salvador), Rádio Clube de Pernambuco (Recife), Rádio Tamandaré (Recife), Rádio Borborema (Campina Grande-PB), Rádio Cariri (Campina Grande-PB), Rádio Poti (Natal), Rádio Marajoara (Belém), Ceará Rádio Clube (Fortaleza), Rádio Araripe (Crato-CE), Rádio Gurupi (S. Luís), Rádio Baré (Manaus), Rádio Progresso (Maceió), Rádio Vitória (Vitória), Rádio Difusora (Teresina), Rádio Clube de Goiânia (Goiânia), Rádio Planalto (Brasília); 4) as emissoras de televisão TV Tupi (Rio), TV Tupi (S. Paulo), TV Cultura (S. Paulo), TV Ribeirão Preto (Ribeirão Preto-SP), TV Itacolomi (Belo Horizonte), TV Alterosa (Belo Horizonte), TV Mariano Procópio (Juiz de Fora-MG), TV Piratini (Porto Alegre), TV Itapoan (Salvador), TV Rádio Clube (Recife), TV Borborema (Campina Grande-PB), TV Marajoara (Belém), TV Rádio Clube (Fortaleza), TV Vitória (Vitória), TV Rádio Clube (Goiânia), TV Paraná (Curitiba), TV Coroados (Londrina-PR), TV Brasília (Brasilia); e 5) as agências: Agência Meridional (de notícias, com matriz no Rio e sucursais em todo o Brasil) e SIRTA Serviços de Imprensa, Rádio e Televisão Associados (de publicidade, com matriz no Rio e filiais em todo o Brasil) (CPDOC).
+Foi também na década de 60, que o império formado por Chateaubriand começou a decair. Após sua morte, deflagrou-se uma crise nos Diários Associados entre João Calmon e um de seus filhos, Gilberto Chateaubriand (1925-2022), devido a divergências relativas aos rumos da empresa. Desde maio de 2023, o Condomínio Acionário dos Diários Associados é presidido pelo jornalista Josemar Gimenez (1964-).
+Acesse aqui a edição de O Cruzeiro, de 20 de abril de 1968, com uma homenagem a Assis Chateaubriand.
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora da Brasiliana Fotográfica
+ 
+Fontes:
+BARROS, Maria Pia Fontes Lins de; WANDERLEY, Andrea C. T. Agenda do Centro de Documentação da TV Globo
+CARNEIRO, Glauco. Brasil, primeiro: História dos Diários Associados. Brasília : DF. Fundação Assis Chateaubriand, 1999.
+G-1
+Hemeroteca Digital da Biblioteca Nacional
+IstoÉ, 10 de maio de 2023
+MORAIS, Fernando. Chatô – O Rei do Brasil. Cia das Letras: São Paulo, 1994.
+O Jornal, órgão líder dos Diários Associados / Prefeitura da Cidade do Rio de Janeiro. Secretaria, 2007 (Cadernos da Comunicação Série Memória – vol 18).
+Revista da USP
+Site Academia Brasileira de Letras
+Site CPDOC 
+Site Diários Associados
+Site São Paulo infoco
+Veja, 3 de agosto de 1994
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/12665` — `itens/20.500.12156.1_12665/`
+- `20.500.12156.1/12664` — `itens/20.500.12156.1_12664/`
+- `20.500.12156.1/5617` — `itens/20.500.12156.1_5617/`
+- `20.500.12156.1/6575` — `itens/20.500.12156.1_6575/`
+- `20.500.12156.1/11417` — `itens/20.500.12156.1_11417/`
+
diff --git a/wordpress/36155-serie-conflitos-viii-os-efeitos-da-revolta-paulista-de-1924-pelas-lentes-de-gust.md b/wordpress/36155-serie-conflitos-viii-os-efeitos-da-revolta-paulista-de-1924-pelas-lentes-de-gust.md
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@@ -0,0 +1,75 @@
+---
+id: 36155
+url: "https://brasilianafotografica.bn.gov.br/?p=36155"
+titulo: "Série “Conflitos” VIII – Os efeitos da Revolta Paulista de 1924 pelas lentes de Gustavo Prugner (1884 – 1931)"
+autor: "Andrea Wanderley"
+data: "2024-07-05T10:41:22+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/12747", "20.500.12156.1/12730", "20.500.12156.1/12729", "20.500.12156.1/12726"]
+fetched_at: "2026-09-10T10:17:34.482Z"
+---
+
+# Série “Conflitos” VIII – Os efeitos da Revolta Paulista de 1924 pelas lentes de Gustavo Prugner (1884 – 1931)
+
+Para marcar o centenário da Revolta Paulista de 1924, a Brasiliana Fotográfica destaca registros produzidos pelo fotógrafo Gustavo Prugner (1884 – 1931) sobre os efeitos da rebelião na cidade. Pertencem ao acervo fotográfico do Instituto Moreira Salles (IMS), uma das instituições fundadoras do portal. Também conhecida como a Revolução Esquecida, foi a segunda revolta tenentista e o mais grave conflito bélico ocorrido, até hoje, na cidade de São Paulo. Também publicamos hoje a Cronologia de Gustavo Prugner, a 68ª produzida pelo portal.
+É possível conferir algumas destas fotografias de Prugner na base de dados do Acervo IMS online: https://acervos.ims.com.br. Lá estão disponíveis mais de 9.200 imagens em domínio público, com download liberado e gratuito. Ao usá-las para qualquer finalidade, basta citar o nome do fotógrafo e o acervo de origem.
+ 
+Gustavo Prugner. Efeitos da Revolução de 1924, julho de 1924. São Paulo, SP / Acervo IMS 
+ 
+Pouco de sabe sobre o fotógrafo Prugner. Ele nasceu em 5 de julho de 1884, em São Bernardo do Campo, e, no início do século XX, ganhou uma das câmeras fotográficas distribuídas em uma ação promocional da loja de artigos fotográficos de Guilherme Wessel (1862 – 1940), pai do empreendedor Conrado Wessel (1891 – 1993). Prugner havia estudado na Escola Alemã com Guilherme. Curiosamente, a vida de Conrado Wessel foi fortemente impactada pela rebelião de 1924: devido ao violento conflito urbano, faltou papel importado para os fotógrafos que atuavam, principalmente, no Jardim da Luz, e eles passaram a comprar de Wessel. Quando a rebelião terminou, o fornecimento de papel importado foi restabelecido, mas Conrado já havia conquistado uma clientela fiel. Sua empresa começou a prosperar.
+ 
+Acessando o link para as imagens produzidas por Gustavo Prugner sobre os efeitos da Revolução de 1924 em São Paulo disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+ Efeitos da Revolução de 1924 – Os legalistas depois que retomaram a cidade, 1924. São Paulo, SP / Acervo IMS
+ 
+Voltando a Prugner. Com a obtenção da câmera, passou a trabalhar como fotógrafo e laboratorista. Foi também, em São Paulo, assim como o alemão Theodor Preising (1883 – 1962) e o suíço Guilherme Gaensly (1843 – 1928), um importante editor de cartões-postais, uma forma de circulação de imagens que, desde meados do século XIX, contribuiu para popularizar a fotografia. Prugner organizava álbuns a partir de fotos de sua autoria e de outros fotógrafos. Suas imagens eram marcadas pelas iniciais GP. Foram publicadas em revistas ilustradas como a Careta e a Revista da Semana e também em jornais, porém nem sempre sua autoria era identificada.
+Gustavo Prugner foi o autor de um dos mais importantes conjuntos de fotografias sobre o conflito de 1924. Fotografou a destruição causada pelos bombardeios terrificantes realizados pelas tropas leais ao presidente da República, Artur Bernardes  (1875 – 1955), sobre São Paulo – única cidade brasileira já bombardeada por um ataque aéreo.
+“As vítimas civis passaram de dois milheiros, quase todas estraçalhadas de modo horroroso por estilhaços de granada. O  número de prédios destruídos ou simplesmente estragados subiu aos milhares. Dia e noite os canhões legalistas despejavam metralha às tontas, sem o menor objetivo militar […]. Havia lá dentro 3 mil rebeldes disseminados no seio de uma massa de 800 mil civis. O mais rudimentar cálculo faria ver que, por força do bombardeiro às tontas, seria mister massacrar 270 civis para dar cabo de um revoltoso”
+Monteiro Lobato (1882 – 1948), trecho de O bombardeio de São Paulo
+ 
+Gustavo Prugner. Efeitos da Revolução de 1924 – Efeito de uma bomba jogada de um aeroplano, julho de 1924. São Paulo, SP / Acervo IMS
+ 
+As fotos de Prugner mostravam trincheiras improvisadas, prédios arruinados, ruas, fachadas de casas, animais mortos e incêndios. Os bairros mais atingidos foram Belenzinho, Brás, Cambuci, Centro, Ipiranga, Mooca e Vila Mariana. Os registros de Prugner, focados nos efeitos da revolta no cotidiano dos moradores dos bairros mais afetados pela guerra, tiveram grande sucesso comercial.
+ 
+Gustavo Prugner. Efeitos da Revolução de 1924 – Cavalo, vítima de um estilhaço de granada, julho de 1924. São Paulo, SP / Acervo IMS
+ 
+Faleceu, em 4 de dezembro de 1931, em São Paulo.  Seus filhos com Lina Hagemann (1889 – 1981), com quem foi casado, Edgar (1911 – 1984) e Mário (1912 – 1993), continuaram a editar cartões-postais até 1936, quando passaram a trabalhar em tempo integral na primeira fábrica de papel fotográfico da América Latina, a Fábrica Privilegiada de Papéis Fotográficos Wessel, criada, em 1921, e que utilizava tecnologia e patente próprias, cujo proprietário era o já mencionado pioneiro Conrado Wessel (1891 – 1993). Prugner foi casado com Lina Hagemann (1889 – 1981).
+Acesse aqui a Cronologia de Gustavo Prugner (1884 – 1931).
+ 
+Brevíssimo resumo da Revolta Paulista de 1924
+ 
+A Revolta Paulista de 1924 foi motivada pelo descontentamento dos militares com a crise econômica e a concentração de poder nas mãos de políticos de Minas Gerais e de São Paulo. Os rebeldes, sob a liderança do general Isidoro Dias Lopes (1865 – 1949), pretendiam derrubar o governo de Artur Bernardes (1875 – 1955), instituir o voto secreto, fazer mudanças no ensino público e realizar reformas sociais. A rebelião eclodiu, em 5 de julho de 1924, justamente dois anos após a primeira revolta tenentista, a Revolta do Forte de Copacabana, ocorrida no Rio de Janeiro.
+Os 23 dias da Revolta Paulista de 1924, que contou com a participação de vários tenentes, dentre eles Juarez Távora (1898 – 1975) e Eduardo Gomes (1896 – 1981), tiveram como saldo 503 mortos e cerca de 5 mil feridos. O número de desabrigados passou de 20 mil e, aproximadamente, dois mil edifícios foram destruídos. Os rebeldes, derrotados pelas tropas legalistas do governo federal, fugiram de São Paulo e foram para Santa Catarina e para o Paraná. Os tenentistas juntaram-se à Coluna Prestes, sob a liderança de Luís Carlos Prestes (1898 – 1990), e começaram a marcha que seguiu pelo interior do Brasil propondo reformas e atacando a República Velha.
+ 
+Isidoro Dias Lopes
+ 
+Veja outras fotos da Revolta de 1924, em São Paulo, publicadas da página 15 a 22 da Revista da Semana de 9 de agosto de 1924 e da página 19 a 27 da Revista da Semana de 16 de agosto de 1924 
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+Esse artigo passou a integrar a série Conflitos, em 20 de março de 2026.
+Fontes:
+Blog da BBM
+GERODETTI, João Emílio; CORNEJO, Carlos. Lembranças de São Paulo: a capital paulista nos cartões postais e nos álbuns de lembranças. São Paulo : Estúdios Flash Produções Gráficas, 1999.
+Hemeroteca Digital da Biblioteca Nacional
+KOSSOY, Boris. Luzes e sobras da metrópole: um século de fotografia em São Paulo (1850 – 1950) in PORTA, Paula (org) História da Cidade de São Paulo: A cidade no Império. São Paulo : Paz e Terra, 2004.
+LEMOS, Eric Danzil. Fotografia profissional, arquivo e circulação: a produção de Theodor Preising em São Paulo (1920 – 1940). Universidade de São Paulo, 2016.
+LOBATO, Monteiro. O bombardeio de São Paulo. Obras Completas, vol. 6. São Paulo : Editora Brasiliense, 1946.
+O Estado de São Paulo
+Schiavinatto, Iara. Séries Fotográficas narram um evento: 1924/São Paulo. Revista Stadium, número 8, 2002.
+Site Enciclopédia Itaú Cultural 
+Site Family Search
+Site IMS
+Site Itú
+WANDERLEY, Andrea C. T. Aspectos de Poços de Caldas impressos no papel fotográfico fabricado pelo pioneiro Conrado Wessel (1891 – 1993) in Brasiliana Fotográfica, 7 de abril de 2022
+ZERWES, Erica. Suvenires da destruição: a Revolução de 1924 por Barros Lobo e Gustavo Prugner in Conflitos: fotografia e violência política no Brasil, 1889 -1964. Rio de Janeiro : Instituto Moreira Salles, 2017.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/12747` — `itens/20.500.12156.1_12747/`
+- `20.500.12156.1/12730` — `itens/20.500.12156.1_12730/`
+- `20.500.12156.1/12729` — `itens/20.500.12156.1_12729/`
+- `20.500.12156.1/12726` — `itens/20.500.12156.1_12726/`
+
diff --git a/wordpress/36167-cronologia-de-gustavo-prugner-1884-1931.md b/wordpress/36167-cronologia-de-gustavo-prugner-1884-1931.md
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+++ b/wordpress/36167-cronologia-de-gustavo-prugner-1884-1931.md
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+---
+id: 36167
+url: "https://brasilianafotografica.bn.gov.br/?p=36167"
+titulo: "Cronologia de Gustavo Prugner (1884 – 1931)"
+autor: "Andrea Wanderley"
+data: "2024-07-05T10:34:56+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/12758"]
+fetched_at: "2026-09-10T10:17:37.528Z"
+---
+
+# Cronologia de Gustavo Prugner (1884 – 1931)
+
+Cronologia de Gustavo Prugner (1884 – 1931)
+ 
+Gustavo Prugner é o primeiro da esquerda para a direita, sentado, 1906 / Prefeitura de São Bernardo do Campo
+ 
+1884 – Gustavo Prugner nasceu em 5 de julho de 1884, em São Bernardo do Campo, em São Paulo.
+1889 –  Em Joinville, Santa Catarina, em 18 de outubro de 1889, nascimento de Lina Hagemann (1889 – 1981), sua futura esposa.
+Início do século XX – Prugner tornou-se fotógrafo e laboratorista quando ganhou uma das câmeras 13 x 18 cm distribuídas em uma ação promocional da loja de artigos fotográficos de Guilherme Wessel (1862 -1940), pai do inventor e empreendedor Conrado Wessel (1891 – 1993). Guilherme foi colega de Prugner na Escola Alemã.
+Em São Paulo, Prugner foi, assim como o alemão Theodor Preising (1883 – 1962) e o suíço Guilherme Gaensly (1843 – 1928), um importante editor de cartões-postais, uma forma de circulação de imagens que, desde meados do século XIX, contribuiu para popularizar a fotografia. Organizava álbuns a partir de fotos de sua autoria e de outros fotógrafos. Suas imagens eram marcadas pelas iniciais GP. Foram publicadas em revistas ilustradas como a Careta e a Revista da Semana e também em jornais, porém nem sempre com sua autoria identificada.
+1906 – Foi eleito segundo tesoureiro da primeira diretoria do Club Quatro de Agosto, fundado em São Bernardo do Campo (Correio Paulistano, 15 de agosto de 1906, segunda coluna).
+1911 – Em 7 de fevereiro,  nascimento de Edgar (1911 – 1984), seu primeiro filho com Lina Hagemann (1889 – 1981).
+1912 -  Em 26 de abril, nascimento de seu segundo filho com Lina Hagemann, Mário (1912 – 1993).
+1924 – Foi o autor de um dos mais importantes conjuntos de fotografias sobre a Revolta Paulista de 1924, iniciada em 5 de julho de 1924, dia em que ele completava 40 anos. Fotografou a destruição causada pelos bombardeios terrificantes realizados pelas tropas leais ao presidente da República, Artur Bernardes  (1875 – 1955), sobre São Paulo – única cidade brasileira já bombardeada por um ataque aéreo. Os bairros mais atingidos foram Belenzinho, Brás, Cambuci, Centro, Ipiranga, Mooca e Vila Mariana. As fotos de Prugner mostravam trincheiras improvisadas, prédios arruinados, ruas, fachadas de casas e incêndios. Seus registros, focados nos efeitos da revolta no cotidiano dos moradores dos bairros mais afetados pela guerra, tiveram grande sucesso comercial.
+1925/1928 – Entre esses anos, Prugner produziu um álbum de fotografias, que se encontra na Biblioteca Brasiliana Guita e José Mindlin, retratando o centro de São Paulo e seus bairros limítrofes.
+1931 - Gustavo Prugner faleceu, em 4 de dezembro de 1931, em São Paulo.
+1936 - Edgar e Mário, seus filhos, continuaram a editar cartões-postais até 1936, quando passaram a trabalhar em tempo integral na primeira fábrica de papel fotográfico da América Latina, a Fábrica Privilegiada de Papéis Fotográficos Wessel, criada em 1921, e que utilizava tecnologia e patente próprias, cujo proprietário era o pioneiro Conrado Wessel (1891 – 1993). 
+1981 – Falecimento de Lina Hagemann (1889 – 1981), em 22 de julho de 1981, em Joinville, Santa Catarina.
+1984 – Falecimento de seu primogênito, Edgar, em 20 de março de 1984, em Joinville, Santa Catarina.
+1993 - No Palácio dos Campos Elíseos, em São Paulo, realização da exposição Memórias Paulistanas – Postais, com trabalhos de Prugner e de Guilherme Gaensly (1843 – 1928), dentre outros fotógrafos (Folha de São Paulo, 8 de julho de 1993). O suíço Gaensly foi, como já mencionado, um dos maiores criadores de cartões-postais de São Paulo entre fins do século XIX e a década de 20.
+Em 11 de novembro de 1993, falecimento do segundo filho de Gustavo, Mário, em Joinville, Santa Catarina.
+2004 –  Fotos de sua autoria integraram a exposição São Paulo 450 Anos: a imagem e a memória da cidade no acervo do Instituto Moreira Salles, realizada entre 23 de janeiro e 27 de junho de 2004, no Centro Cultural Fiesp (Enciclopédia Itaú Cultural).
+2010 – Entre 25 de janeiro e 21 de março de 2010, fotos de sua autoria foram expostas na mostra São Paulo, terra, alma e memória, em comemoração ao aniversário de São Paulo, no Museu Afro Brasil, no Parque do Ibirapuera, sob a curadoria de Emanuel Araújo (1940 – 2022). Outros fotógrafos que integraram a mostra foram Guilherme Gaensly (1843 – 1928), Theodor Preising (1883 – 1962) e Valério Vieira (1862 – 1941)  (O Estado de São Paulo, 19 de março de 2010).
+2017 /2018 – Fotos produzidas por Prugner sobre a Revolta Paulista de 1924 fizeram parte da exposição Conflitos: fotografia e violência política no Brasil 1889-1964, realizada no Instituto Moreira Salles do Rio de Janeiro, entre 25 de novembro de 2017 e 25 de fevereiro de 2018; e, no IMS-SP, entre 8 de maio e 29 de julho de 2018; e do livro homônimo, lançado em 14 de dezembro de 2017, no auditório do IMS-Rio.
+“Com um panorama de imagens de guerras civis, revoltas e outros episódios de confronto envolvendo o Estado brasileiro, “Conflitos” aborda o papel das imagens fotográficas nesses eventos, seu uso político e suas formas de circulação. São trabalhos de autores conhecidos, como Juan Gutierrez e Flávio de Barros, e de inúmeros anônimos, amadores ou profissionais, nos mais diversos suportes, montando um painel heterogêneo sobre as práticas fotográficas no Brasil ” (IMS).
+2019 -  Entre 26 de outubro de 2019 e 15 de março de 2020, realização, na Casa da Imagem, em São Paulo, da exposição Sob ataque, idealizada pelo Coletivo Garapa, realizada com apoio do Edital de Apoio à Criação e Exposição Fotográfica da Secretaria Municipal de Cultura que reuniu 24 imagens de diferentes acervos. Uma das imagens de destaque da mostra foi a dos estragos que uma explosão havia feito em uma casa na rua Helvetia, n°2 , de autoria de Prugner (Guia das Artes).
+ 
+Gustavo Prugner. Efeitos da Revolução de 1924 – Efeito de uma bomba, julho de 1924. São Paulo, SP / Acervo IMS
+ 
+“O trabalho explora as tensões históricas que se acumulam e transformam a paisagem da zona central de São Paulo a partir de uma fotografia feita por Gustavo Prugner por ocasião da Revolução de 1924″  (Site Garapa).
+2022 - Entre 18 de março e 18 de maio de 2022, realização da exposição Sob Ataque, no Instituto Pavão Cultural em Campinas (campinas.com.br).
+Em 3 de junho de 2022, a mostra foi inaugurada no Centro Cultural da Vila, em Ilhabela (SP) (Tribuna do Povo, 30de maio de 2022).
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/12758` — `itens/20.500.12156.1_12758/`
+
diff --git a/wordpress/36213-dia-nacional-da-ciencia-e-o-dia-nacional-do-pesquisador-cientifico.md b/wordpress/36213-dia-nacional-da-ciencia-e-o-dia-nacional-do-pesquisador-cientifico.md
new file mode 100644
index 0000000..5d775a2
--- /dev/null
+++ b/wordpress/36213-dia-nacional-da-ciencia-e-o-dia-nacional-do-pesquisador-cientifico.md
@@ -0,0 +1,118 @@
+---
+id: 36213
+url: "https://brasilianafotografica.bn.gov.br/?p=36213"
+titulo: "Dia Nacional da Ciência e o Dia Nacional do Pesquisador Científico"
+autor: "Andrea Wanderley"
+data: "2024-07-08T10:38:57+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/5140", "20.500.12156.1/6213", "20.500.12156.1/5148"]
+fetched_at: "2026-09-10T10:17:40.976Z"
+---
+
+# Dia Nacional da Ciência e o Dia Nacional do Pesquisador Científico
+
+Em homenagem ao dia da criação da Sociedade Brasileira para o Progresso da Ciência (SBPC), em 8 de julho de 1948, hoje são comemorados o Dia Nacional da Ciência e o Dia Nacional do Pesquisador Científico. A primeira data foi sancionada, em 18 de abril de 2001, pela Lei nº 10.221; e, a segunda, em 13 de novembro de 2008, através da Lei nº 11.807. Para celebrar as duas datas a Brasiliana Fotográfica destaca imagens de cientistas e de laboratórios. Todas pertencem ao acervo da Casa de Oswaldo Cruz, o centro de história, memória e divulgação científica da Fundação Oswaldo Cruz – Fiocruz, uma das instituições parceiras do portal. As imagens foram produzidas por fotógrafos ainda não identificados, por Silvio Cunha (?-19?) e por Joaquim Pinto da Silva, o J. Pinto (1884-1951). Viva a ciência e os cientistas!
+ 
+J. Pinto. Presença feminina no Curso de Aplicação do Instituto Oswaldo Cruz, 1930. Manguinhos, Rio de Janeiro / Acervo Casa de Oswaldo Cruz/Fiocruz
+ 
+Acessando o link para a seleção de imagens de cientistas e laboratórios pertencentes à Casa de Oswaldo Cruz/Fiocruz disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Evandro Chagas em seu rústico laboratório em Piratuba, região amazônica, s/d / Acervo Casa de Oswaldo Cruz/Fiocruz
+ 
+A Casa de Oswaldo Cruz possui o mais expressivo acervo do Brasil sobre os processos políticos, sociais e culturais da saúde, com fotografias, filmes, documentos textuais, livros, objetos, coleções museológicas e depoimentos orais que remontam ao fim do século 19.  Preserva e dá acesso ao arquivo permanente da Fiocruz e aos arquivos pessoais de cientistas, médicos e sanitaristas, como Oswaldo Cruz e Carlos Chagas; estes dois nominados no Programa Memória do Mundo da Unesco.
+ 
+Silvio Cunha. Abertura de ovo e retirada de embrião para produção da vacina anti-amarílica, s/d / Acervo Casa de Oswaldo Cruz/Fiocruz
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora da Brasiliana Fotográfica
+ 
+Lista dos artigos produzidos por profissionais da Casa de Oswaldo Cruz/Fiocruz para a Brasiliana Fotográfica até a data desta publicação (40)
+
+Foto icônica do arquivo histórico da Fiocruz ilustrará exposição em Lyon, França, 27/03/2024 – Cristiane d’Avila e Ana Luce Girão, Casa de Oswaldo Cruz, Fiocruz
+
+ O “Dr. Photographo” Oswaldo Cruz, 31/10/2023 – Ricardo Augusto dos Santos, Felipe Almeida Vieira e Francisco dos Santos, Casa de Oswaldo Cruz, FiocruzOs “Instantâneos Cruéis” de Monteiro Lobato, 26/11/2021 – Ricardo Augusto dos Santos, Fiocruz
+
+Série “Os arquitetos do Rio” II – No Dia Nacional da Saúde, o Desinfetório de Botafogo e um breve perfil do arquiteto português Luiz de Moraes Junior, responsável pelo projeto, 05/08/2023 – Cristiane d´Avila, Casa de Oswaldo Cruz, Fiocruz em parceria com Andrea C. T. Wanderley
+
+Hanseníase em Jacarepaguá, 13/01/2023 – Ricardo Augusto dos Santos, Casa de Oswaldo Cruz, FiocruzAs favelas do Leblon, 11/07/2022 – Ricardo Augusto dos Santos, Casa de Oswaldo Cruz, Fiocruz
+
+Fotografias da Gripe Espanhola do fundo Moncorvo Filho, da Casa de Oswaldo Cruz, 11/03/2022 – Ricardo Augusto dos Santos, Felipe Almeida Vieira e Francisco dos Santos Lourenço,  Casa de Oswaldo Cruz, Fiocruz
+
+A Exposição Internacional de Higiene de Dresden, na Alemanha, em 1911, 05/01/2022 – Cristiane d´Avila, Casa de Oswaldo Cruz, Fiocruz
+
+Os “Instântaneos Cruéis” de Monteiro Lobato, 26/11/2021 – Ricardo Augusto dos Santos, Casa de Oswaldo Cruz, Fiocruz
+
+O Aquário de Manguinhos, 08/09/2021 – Ricardo Augusto dos Santos, Fiocruz 
+
+Visitantes ilustres em Manguinhos, 29/07/2021 – Ricardo Augusto dos Santos, Fiocruz, em parceria com Andrea  C. T. Wanderley
+
+À mesa, os pioneiros da ciência brasileira, 07/06/2021 – Cristiane d´Avila, Casa de Oswaldo Cruz / Fiocruz
+
+João Stamato, um fotógrafo nos sertões, 09/02/2021 – Ricardo Augusto dos Santos, Fiocruz, em parceria com Andrea C. T. Wanderley
+
+Porto D´Ave e a moderna arquitetura hospitalar, 14/01/2021 – Cristiane d´Avila, Casa de Oswaldo Cruz / Fiocruz
+
+Curso de Aplicação no Instituto Oswaldo Cruz, 08/10/2020 – Ricardo Augusto dos Santos, Fiocruz
+
+Nos passos de Oswaldo: imagens das expedições do IOC aos portos do Brasil em entre 1911 e 1913 – 25/05/2020 –  Cristiane d’Avila, Casa de Oswaldo Cruz / Fiocruz
+
+A apresentação do Departamento Nacional de Saúde Pública na Exposição Internacional do Centenário da Independência – 13/04/2020 – Ricardo Augusto dos Santos, Fiocruz
+
+ Cenas da folia em Manaus em 1913 – 28/02/2020 – Cristiane d´Avila, Casa de Oswaldo Cruz/ Fiocruz
+
+ Trilhos sobre a floresta: imagens da construção da E.F. Madeira-Mamoré – 14/10/2019 – Cristiane d´Avila, Casa de Oswaldo Cruz / Fiocruz, em parceria com Andrea C. T. Wanderley
+
+As ruínas de Brás de Pina – 30/09/2019 – Ricardo Augusto dos Santos, Fundação Oswaldo Cruz, Fiocruz
+
+O funeral de Teixeira Mendes pela lente de Augusto Malta – 02/08/2019 – Ricardo Augusto dos Santos,  e Marcus Vinícius Rubim Gomes, Casa de Oswaldo Cruz, Fiocruz
+
+A descoberta da doença de Chagas – 14/06/2019 – Simone Petraglia Kropf, Casa de Oswaldo Cruz , Fiocruz, em parceria com Andrea C. T. Wanderley
+
+O cotidiano de Manguinhos – 24/04/2019 – Equipe da Fiocruz
+
+ As expedições do Instituto Oswaldo Cruz entre 1911 e 1913 – 14/03/2019 – Cristiane d´Avila, Casa de Oswaldo Cruz / FiocruzMorro de Santo Antônio – 05/02/2019 – Ricardo Augusto dos Santos, Casa de Oswaldo Cruz, Fiocruz
+
+ João Pedro ou João Pedroso? – 11/01/2019 – Ricardo Augusto dos Santos e Francisco dos Santos Lourenço, Casa de Oswaldo Cruz, Fiocruz
+
+Instituto Nacional de Infectologia Evandro Chagas: centenário da construção da pesquisa clínica em Manguinho – 21/12/2018 – Dilene Raimundo do Nascimento, Casa de Oswaldo Cruz, Fiocruz
+
+ Instituto Nacional de Infectologia Evandro Chagas 100 anos: Carlos e Evandro Chagas em retratos de família,  – 27/11/2018 – Aline Lopes de Lacerda, Casa de Oswaldo Cruz, Fiocruz
+
+Instituto Nacional de Infectologia Evandro Chagas: 100 anos de pesquisa clínica – 26/10/2018 – Cristiane d´Avila, Casa de Oswaldo Cruz / Fiocruz
+
+O sanitarista Belisário Penna (1868 – 1939, um dos protagonistas da história da saúde pública no Brasil – 28/09/2018 – Ricardo Augusto dos Santos, Casa de Oswaldo Cruz, Fiocruz 
+
+Vacinação no Brasil, uma história centenária – 17/08/2018 – Cristiane d´Avila, Casa de Oswaldo Cruz, Fiocruz
+
+A criação de uma vacina para a peste da manqueira, um marco na história da veterinária brasileira e mundial – 21/06/2018 – Cristiane d´Avila, Casa de Oswaldo Cruz / Fiocruz
+
+ Os 100 anos do Castelo da Fiocruz: criador e criatura – 15 /05/ 2018 - Renato da Gama-Rosa Costa, Casa de Oswaldo Cruz, Fiocruz
+
+100 anos do Castelo da Fiocruz: os pedreiros do castelo da avenida Brasil – 12/04/2018 - Ricardo Augusto dos Santos, Casa de Oswaldo Cruz, Fiocruz
+
+Febre amarela: imagens da produção da vacina no início do século XX – 23/03/2018 - Aline Lopes de Lacerda, Casa de Oswaldo Cruz, Fiocruz
+
+ 100 anos do Castelo da Fiocruz: a ocupação da Fazenda de Manguinhos – 28/02/2018 – Cristiane d´Avila, Casa de Oswaldo Cruz / Fiocruz
+
+Febre amarela: imagens da produção da vacina no início do século XX – 23/03/2018 - Aline Lopes de Lacerda, Casa de Oswaldo Cruz, Fiocruz
+
+100 anos do Castelo da Fiocruz: a ocupação da Fazenda de Manguinhos – 28/02/2018 - Cristiane d´Avila, Casa de Oswaldo Cruz / Fiocruz
+
+ Manguinhos e a cidade do Rio de Janeiro – 19/01/2018 - Equipe da Fiocruz – Casa de Oswaldo Cruz / Fiocruz
+
+O cientista Oswaldo Cruz (1872 – 1917), prefeito de Petrópolis – 18/12/2017 - Cristiane d’Avila com a colaboração de Ana Luce Girão,  Casa de Oswaldo Cruz / Fiocruz, em parceria com Andrea C. T. Wanderley
+
+O fotógrafo Joaquim Pinto da Silva, o J. Pinto (1884-1951) e a Fundação Oswaldo Cruz – 16/11/2017 – Ricardo Augusto dos Santos, Casa de Oswaldo Cruz, Fiocruz, em parceria com Andrea. C. T. Wanderley
+
+Manguinhos e os sertões – 09/10/2017 – Equipe da Fiocruz, Casa de Oswaldo Cruz, Fiocruz
+
+Novos acervos: Casa de Oswaldo Cruz / Fiocruz – Fotografia, Ciência e Saúde Pública -30/08/2017 – Equipe da Fiocruz, Casa de Oswaldo Cruz, Fiocruz
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/5140` — `itens/20.500.12156.1_5140/`
+- `20.500.12156.1/6213` — `itens/20.500.12156.1_6213/`
+- `20.500.12156.1/5148` — `itens/20.500.12156.1_5148/`
+
diff --git a/wordpress/36312-o-tunel-velho-por-gutierrez-e-malta.md b/wordpress/36312-o-tunel-velho-por-gutierrez-e-malta.md
new file mode 100644
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--- /dev/null
+++ b/wordpress/36312-o-tunel-velho-por-gutierrez-e-malta.md
@@ -0,0 +1,75 @@
+---
+id: 36312
+url: "https://brasilianafotografica.bn.gov.br/?p=36312"
+titulo: "O Túnel Velho por Gutierrez e Malta"
+autor: "Andrea Wanderley"
+data: "2024-08-12T12:06:11+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/6347", "20.500.12156.1/9675", "20.500.12156.1/6345", "20.500.12156.1/9227"]
+fetched_at: "2026-09-10T10:17:44.416Z"
+---
+
+# O Túnel Velho por Gutierrez e Malta
+
+Com duas imagens produzidas por Juan Gutierrez de Padilla (c. 1860 – 1897), na década de 1890, quando ainda estava em construção; e com outra de autoria de Augusto Malta (1864 – 1957), de 1927, a Brasiliana Fotográfica conta um pouco da história do Túnel Real Grandeza. Há ainda uma fotografia de autoria de Rodrigues & C°. Editores e Proprietários mostrando a abertura do Túnel do Leme, ou Túnel Novo.
+O Túnel Real Grandeza foi rebatizado de Túnel Alaor Prata, em 1927, em homenagem a Alaor Prata Leme Soares (1882 – 1964), que foi prefeito do Rio de Janeiro entre 1922 e 1926. Foi inaugurado em 6 de julho de 1892 e ligou a Rua Real Grandeza, em Botafogo, à Rua do Matoso, atual Rua Siqueira Campos, em Copacabana. Sua construção foi realizada pelo engenheiro José de Cupertino Coelho Cintra (1843 – 1939), gerente da Companhia Ferro-Carril Jardim Botânico. Com essa ligação, o bairro de Copacabana começou a se integrar ao resto da cidade. Com a presença do presidente da República, marechal Floriano Peixoto (1839 – 1895), quando foi inaugurado, foi lavrada uma ata que marcou, oficialmente, o nascimento de Copacabana (O Paiz, 7 de julho de 1892, na sexta coluna). Antes disso, Copacabana não era um local de fácil acesso, viviam ali alguns pescadores, havia algumas chácaras e sítios, além da Igrejinha de Copacabana e do Forte Reduto do Leme.
+ 
+Juan Gutierrez. Túnel Velho, 189?. Rio de Janeiro, RJ / Acervo MHN
+ 
+ 
+Augusto Malta. Túnel Real Grandeza, por ocasião de sua reinauguração como Túnel Alaor Prata, 31 de dezembro de 1927. Rio de Janeiro, RJ / Acervo IMS
+ 
+Túnel Velho, atual Túnel Alaor Prata, do arquivo de Augusto Malta (Revista Municipal de Engenharia, março de 1934).
+ 
+O engenheiro José Cupertino Cintra Coelho / JB, 5 de julho de 1992
+ 
+Abaixo, uma imagem realizada por Gutierrez na década de 1890:  em primeiro plano, no centro, a estação de bondes instalada na Praça Malvino Reis (atual Serzedelo Corrêa). Essa estação foi colocada em uso no ano de 1893, quando os trilhos chegaram até o bairro, e depois de demolida, deu lugar ao Centro Comercial de Copacabana. No fundo, à direita, o Morro do Cantagalo; à esquerda, a ponta do Arpoador.
+ 
+Juan Gutierrez. Copacabana, 189?. Rio de Janeiro, RJ / Acervo MHN
+ 
+Da data de sua inauguração até 1901, quando foi entregue ao livre trânsito público, só podiam passar pelo Túnel Velho bondes da Companhia Jardim Botânico.
+Ficou mais conhecido como Túnel Velho porque, em 4 de março de 1906, foi inaugurado pela companhia Jardim Botânico sua nova linha elétrica pelo Túnel do Leme, indo o ramal até o ponto terminal da praça do Vigia, onde foi construída a estação de bonds (O Paiz, 4 de março de 1906, quarta coluna; A Notícia, 6 e 7 de março de 1906, quinta coluna). O Túnel do Leme, inaugurado com a denominação de Túnel Carioca, teve seu nome mudado para Túnel Coelho Cintra, em 1937. Mas ficou conhecido como Túnel Novo.
+ 
+Rodrigues & C°. Editores e Proprietários. Abertura do Túnel Novo, c. 1906. Rio de Janeiro, RJ / Acervo IMS
+ 
+ 
+Brevíssimos perfis de Juan Gutierrez de Padilla (c. 1860 – 1897) e de Augusto Malta (1864 – 1957), 
+fotógrafos das imagens do Túnel Velho publicadas neste artigo
+ 
+Juan Gutierrez de Padilla (c. 1860 – 1957)
+ 
+Desenho retratando Juan Gutierrez publicado no jornal O Paiz, de 14 de julho de 1897, com um artigo de Luiz Murat
+ 
+Juan Gutierrez de Padilla foi um dos mais importantes fotógrafos paisagistas dos oitocentos, no Brasil. Foi, ao lado de Marc Ferrez (1843 – 1923) e George Leuzinger (1813 – 1892), ambos do século XIX, e de Augusto Malta (1864 – 1957), já no século XX, um dos maiores cronistas visuais do Rio de Janeiro. Foi um dos fotógrafos principais da transição da cidade imperial para a cidade republicana. Gutierrez registrou a Revolta da Armada ( 1893 – 1894), tornando-se um dos pioneiros da fotografia dos conflitos armados no Brasil. Em 1896, eclodiu o conflito de Canudos e foi por seu entusiamo republicano que, após a derrota da expedição comandada pelo coronel Moreira César (1850 – 1897), decidiu incorporar-se como ajudante de ordens do general João da Silva Barbosa. Foi ferido mortalmente, em 28 de junho de 1897. Sua trágica morte o tornou, talvez, o primeiro repórter fotográfico morto durante um trabalho de campo, no Brasil, apesar de, até hoje, não se conhecer nenhum registro fotográfico que ele tenha feito do conflito. Nasceu, provavelmente, nas Antilhas, na época, uma colônia espanhola. Porém, outras fontes afirmam que ele teria nascido em Cuba ou na África.
+ 
+Augusto Malta (1864 – 1957)
+ 
+Anônimo. Augusto Malta. Rio de Janeiro. Acervo Arquivo Geral da Cidade do Rio de Janeiro.
+ 
+O alagoano Augusto Malta foi o mais  importante cronista fotográfico do Rio de Janeiro das primeiras décadas do século XX. Em 1903, foi contratado pela Prefeitura do Rio de Janeiro como fotógrafo oficial, cargo criado para ele. Passou a documentar a radical mudança urbanística promovida pelo então prefeito da cidade, Francisco Pereira Passos (1836-1913), período que ficou conhecido como o “bota-abaixo”. Augusto Malta trabalhou na Prefeitura até 1936, quando se aposentou. Além de ter documentado as transformações urbanas e os grandes eventos da cidade como a Exposição Nacional de 1908, a construção do Teatro Municipal, em 1909; a Revolta da Chibata, em 1910; e a inauguração do Cristo Redentor, em 1931; fotografou personalidades políticas, intelectuais e artísticas; paisagens, monumentos, lojas, o casario decadente e as ressacas. Registrou também aspectos da vida carioca como, por exemplo, o carnaval de rua, o movimento dos quiosques, os eventos sociais, os moradores de cortiços, os vendedores ambulantes, as prostitutas, os marinheiros e cenas de praia. Faleceu em Em 30 de junho de 1957,  no Hospital da Ordem Terceira da Penitência, devido a uma insuficiência cardíaca. Foi sepultado no dia seguinte, no Cemitério do Caju (Correio da Manhã, 2 de julho de 1957, na seção “Prefeitura”).
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora da Brasiliana Fotográfica
+ 
+Fontes:
+Biblioteca Nacional
+DUNLOP, Charles. Rio Antigo, vol 1. Rio de Janeiro: Editora Rio Antigo Ltda, 1958.
+GERSON, Brasil. História das Ruas do Rio. Rio de Janeiro: Bem-Te-Vi, 2013.
+Hemeroteca Digital da Biblioteca Nacional
+Site Diário do Rio
+Site Prefeitura do Rio de Janeiro
+Site Trilhos do Rio
+WANDERLEY, Andrea C. T. A fundação de Copacabana in Brasiliana Fotográfica, 6 de julho de 2016.
+WANDERLEY, Andrea C. T. O alagoano Augusto Malta, fotógrafo oficial do Rio de Janeiro entre 1903 e 1936 in Brasiliana Fotográfica, 10 de julho de 2015.
+WANDERLEY, Andrea C. T. O fotógrafo Juan Gutierrez de Padilla (c. 1860 – 28/6/1897) in Brasiliana Fotográfica, 28 de junho de 2016.
+Youtube – Memória Carioca
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/6347` — `itens/20.500.12156.1_6347/`
+- `20.500.12156.1/9675` — `itens/20.500.12156.1_9675/`
+- `20.500.12156.1/6345` — `itens/20.500.12156.1_6345/`
+- `20.500.12156.1/9227` — `itens/20.500.12156.1_9227/`
+
diff --git a/wordpress/36411-no-dia-da-amazonia-fotos-da-expedicao-de-1901-realizada-pela-comissao-de-limites.md b/wordpress/36411-no-dia-da-amazonia-fotos-da-expedicao-de-1901-realizada-pela-comissao-de-limites.md
new file mode 100644
index 0000000..fd57961
--- /dev/null
+++ b/wordpress/36411-no-dia-da-amazonia-fotos-da-expedicao-de-1901-realizada-pela-comissao-de-limites.md
@@ -0,0 +1,84 @@
+---
+id: 36411
+url: "https://brasilianafotografica.bn.gov.br/?p=36411"
+titulo: "No Dia da Amazônia, fotos da expedição de 1901 realizada pela Comissão de Limites entre o Brasil e a Bolívia"
+autor: "Andrea Wanderley"
+data: "2024-09-05T12:10:23+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/11097", "20.500.12156.1/11107", "20.500.12156.1/4770", "20.500.12156.1/11101", "20.500.12156.1/11102", "20.500.12156.1/11112", "20.500.12156.1/11110", "20.500.12156.1/11504"]
+fetched_at: "2026-09-10T10:17:47.591Z"
+---
+
+# No Dia da Amazônia, fotos da expedição de 1901 realizada pela Comissão de Limites entre o Brasil e a Bolívia
+
+Hoje é comemorado o Dia da Amazônia em homenagem à criação da Província do Amazonas por dom Pedro II (1825 – 1891), em 5 de setembro de 1850. A Amazônia é um bioma que possui 4,196.943 milhões de km2 – a maior floresta tropical do planeta – e abrange nove países: Bolívia, Brasil, Colômbia, Equador, Guiana Francesa, Paraguai, Peru, Suriname e Venezuela. Este ecossistema tem uma biodiversidade incomparável e influencia o equilíbrio ecológico global, o ciclo da água e o clima da Terra. Sua preservação é uma questão de urgência mundial.
+Para lembrar o Dia da Amazônia, a Brasiliana Fotográfica destaca um grupo de 15 fotografias do acervo da Diretoria do Patrimônio Histórico e Documentação da Marinha, uma das instituições parceiras do portal, sobre a expedição realizada, em 1901, à Amazônia com o objetivo de demarcar o limite entre Brasil e Bolívia. Foram realizadas três expedições e as comissões instituídas pelo governo brasileiro objetivavam traçar o limite na região amazônica e verificar a localização da principal nascente do rio Javari, cujo desconhecimento gerava controvérsias.
+ 
+Comissão de Limites entre o Brasil e a Bolívia. Cachoeira Campos Salles, 1901. Amazônia / Acervo DPHDM
+ 
+Acessando o link para as fotografias da Comissão de Limites entre o Brasil e a Bolívia disponíveis na Brasiliana Fotográfica, o leitor poderá visualizar e magnificar as imagens.
+ 
+ Comissão de Limites entre o Brasil e a Bolívia. Comissão mista na Nascente, 1901. Amazônia / Acervo DPHDM. Sentado, no centro, Luis Cruls
+ 
+A primeira e segunda expedições foram realizadas em 1895 e 1897 e foram chefiadas por Gregório Thaumaturgo de Azevedo (1853 – 1921) e Augusto Cunha Gomes (18? – ?), respectivamente. A terceira, assunto de nosso artigo, foi chefiada pelo astrônomo belga Luis Cruls (1848 – 1908), que havia sido fotografado por seu amigo Marc Ferrez (1843 – 1923), em torno de 1884. Cruls foi diretor do Observatório Astronômico do Rio de Janeiro entre 1891 e 1908. O retrato (abaixo) foi exposto, em 1884, na Notre Dame de Paris, e referido como um “trabalho artístico obtido pelo novo sistema de gelatino-bromureto, especialidade do sr. Marc Ferrez, clichê do sr. Insley Pacheco”(Jornal do Commercio, 4 de julho de 1884, na última coluna).
+ 
+Marc Ferrez. Luis Cruls, c. 1890. Rio de Janeiro, RJ / Acervo IMS
+ 
+Voltando à expedição de 1901. O ministro das Relações Exteriores, Olyntho de Magalhães (1866 – 1948), deu a Cruls instruções para subir o rio Javari até as nascentes e determinar sua verdadeira posição geográfica.
+ 
+Olyntho Magalhães (1866 – 1948)
+ 
+Na época, Cruls já era um cientista renomado. Já havia sido membro da comissão da Carta Geral do Império, de 1875, na seção de geodésia, sua primeira atuação profissional no Brasil; e, em 1892, viajado e explorado o Planalto Central, trabalho pelo qual é atualmente mais conhecido. Era professor de Geodésia da Escola Militar.
+Cruls e integrantes da comissão embarcaram no Alagoas, no Rio de Janeiro, rumo ao norte, em 4 de janeiro de 1901 (O Paiz, 4 de janeiro de 1901, segunda coluna). Desembarcaram em Belém, em 20 de janeiro. Os integrantes da comissão brasileira eram o capitão de fragata Carlos Accioli, o capitão do Estado-Maior Augusto Tasso Fragoso, o médico Leovigildo Honorário de Carvalho, o capitão farmacêutico Alfredo José Abrantes, o capitão honorário Eduardo Chartier, o secretário Ricardo Veríssimo Vieira, o encarregado do material Arthur Nogueira; e um contingente militar de 50 praças, comandados pelo alferes Arthur Cantalice. A comissão boliviana era chefiada por Adolpho Ballivian (Jornal do Commercio, 4 de março de 1901, sexta coluna).
+Cruls montou o seu observatório no interior do Forte do Castelo.
+ 
+Comissão de Limites entre o Brasil e a Bolívia. Marco indicativo colocado a 28 de Agosto de 1901. Amazônia / Acervo DPHDM
+ 
+Comissão de Limites entre o Brasil e a Bolívia. Observatório brasileiro no Forte do Castelo, Belém, 1901. Belém, Pará / Acervo DPHDM
+ 
+Comissão de Limites entre o Brasil e a Bolívia. Acampamento de N.S. da Gloria, 1901. Amazônia / Acervo DPHDM
+ 
+Comissão de Limites entre o Brasil e a Bolívia. Igreja velha em Tabatinga, 1901. Tabatinga, Amazonas / Acervo DPHDM
+ 
+A expedição de 1901 é referida na historiografia da ciência como sendo a que contribuiu para o Tratado de Petrópolis, firmado em 17 de novembro de 1903 em Petrópolis, que pôs fim à disputa territorial entre Brasil e Bolívia pelo território do Acre. Porém, de acordo com Moema de Rezende Vergara, a solução para o problema se deu puramente no plano político, sem levar em consideração os trabalhos técnicos então realizados, o que invalida a relação de causalidade entre a expedição chefiada por Cruls e o fim do litígio com a Bolívia…na Exposição de Motivos sobre o Tratado de 1903, é possível ver que o Barão de Rio Branco optou por uma condução política para a crise, fazendo tabula rasa das viagens de demarcação do período republicano. Os acontecimentos políticos, precipitando-se, haviam tornado sem efeito os esforços técnicos de localização precisa das nascentes do Javari. Cabe a ressalva de que, apesar dos trabalhos de Luiz Cruls não terem sido utilizados no Tratado de Petrópolis, isto não os invalida. As coordenadas que sua comissão determinou para as nascentes do rio Javari, consideradas a parte mais ocidental do Brasil, foram as mesmas utilizadas em importantes obras que tinham por objetivo apresentar a geografia do país, como o “Dicionário Histórico, Geográfico e Etnográfico do Brasil”, publicado para as comemorações do Centenário da Independência de 1922 (IHGB, 1922).
+O Tratado de Petrópolis foi assinado pelo Barão do Rio Branco (1845 – 1912), ministro das Relações Exteriores, e pelo diplomata Joaquim Francisco Assis Brasil (1857 – 1938), do lado brasileiro; e pelos diplomatas Fernando Guachalla (1853 – 1908) e Claudio Pinilla (1859 – 1928), do lado boliviano.
+ 
+Os signatários do Tratado de Petrópolis
+ 
+Luis Musso. Palácio Itamaraty; no canto superior esquerdo, retrato do Barão do Rio Branco, c. 1904. Rio de Janeiro, RJ / Acervo IMS
+ 
+Assis Brasil / Wikipedia
+ 
+Fernando Guachalla / Wikipedia
+ 
+Claudio Pinilla / Enciclopédia do Bicentenário da Bolívia
+ 
+No Tratado de Petrópolis foi estipulada a venda do território do Acre da Bolívia para o Brasil. Em compensação, o Brasil cedeu para a Bolívia territórios na Bacia do Rio Paraguai e o governo brasileiro se comprometeu a construir a Estrada de Ferro Madeira-Mamorée pagou à Bolívia a quantia de 2 milhões de libras esterlinas.
+ 
+
+ 
+ 
+Andrea C.T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+El Aparapita, cargador de la memoria cultural de Bolivia, 7 de julho de 1922
+G-1
+Hemeroteca Digital da Biblioteca Nacional
+Site CPDOC-FGV
+VERGARA, Moema de Rezende. Ciência, fronteiras e nação: comissões brasileiras na demarcação dos limites territoriais entre Brasil e Bolívia, 1895-1901. Boletim do Museu Paraense Emílio Goeldi. Ciências Humanas, agosto de 2010.
+WANDERLEY, Andrea C.T. O Observatório Nacional pelas lentes de Marc Ferrez, amigo de vários cientistas in Brasiliana Fotográfica, 29 de maio de 2023.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/11097` — `itens/20.500.12156.1_11097/`
+- `20.500.12156.1/11107` — `itens/20.500.12156.1_11107/`
+- `20.500.12156.1/4770` — `itens/20.500.12156.1_4770/`
+- `20.500.12156.1/11101` — `itens/20.500.12156.1_11101/`
+- `20.500.12156.1/11102` — `itens/20.500.12156.1_11102/`
+- `20.500.12156.1/11112` — `itens/20.500.12156.1_11112/`
+- `20.500.12156.1/11110` — `itens/20.500.12156.1_11110/`
+- `20.500.12156.1/11504` — `itens/20.500.12156.1_11504/`
+
diff --git a/wordpress/36470-cronologia-de-otto-hees-1870-1941.md b/wordpress/36470-cronologia-de-otto-hees-1870-1941.md
new file mode 100644
index 0000000..71b885f
--- /dev/null
+++ b/wordpress/36470-cronologia-de-otto-hees-1870-1941.md
@@ -0,0 +1,63 @@
+---
+id: 36470
+url: "https://brasilianafotografica.bn.gov.br/?p=36470"
+titulo: "Cronologia de Otto Hees (1870 – 1941)"
+autor: "Andrea Wanderley"
+data: "2024-05-23T10:00:19+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Sem categoria", "Convidados", "Preservação digital"]
+handles_referenciados: ["20.500.12156.1/12495"]
+fetched_at: "2026-09-10T10:17:50.746Z"
+---
+
+# Cronologia de Otto Hees (1870 – 1941)
+
+Cronologia de Otto Hees (1870 – 1941)
+ 
+1870 – Otto Friedrich Wilhelm Karl Hees nasceu em 4 de setembro de 1870, em Petrópolia. Era um dos 11 filhos do fotógrafo alemão Pedro Hees (1841 – 1880) com Maria Glasow Hees (1843 – 1928). Seus irmão eram Ana Catarina Hees (1861-1944), Edmundo Frederico Nicolau Hees (1862-1944), Fernando Jacob Hees (1865-1866), Fernando Mauricio Hees (1867-1893), João Batista Hees (1868-1876), Elisa Matilde Hees (1872-1932), Maria Olga Hees (1872-1958), Joana Teresa Hees (1874-1900), Numa Augusto Hees (1877-1961) e Isabel Emma Hees (1878-1943). 
+1876 - Seu pai, Pedro Hees, em 16 de agosto de 1876, tornou-se Fotógrafo da Casa Imperial. Segundo Boris Kossoy, recebeu do conde e da condessa d´Eu “a graça de usar o título de Photographo de sua Imperial Caza e de collocar na porta do seu estabelecimemnto as respectivas armas”. O documento foi assinado por Benedicto Torres, mordomo do conde d’Eu e da princesa Isabel.
+1880 – Em julho, falecimento de seu pai, com que havia aprendido fotografia.
+1882 - Otto havia iniciado seus estudos no Colégio Alemão, em Petrópolis, e, em dezembro de 1882, foi premiado (O Mercantil, 20 de dezembro de 1882, quarta coluna). O estabelecimento fotográfico de Pedro Hees foi arrendado ao fotógrafo Antonio Henrique da Silva Heitor (18?-?), que recebeu o título de Fotógrafo da Casa Imperial, em 2 de março de 1885, outorgado por dom Pedro II.
+1888 – Em março de 1888, Otto já havia assumido o estúdio (Alggemeine Deutsche Zeitung, 31 de março de 1888, última coluna).
+1889 – Em 23 maio de 1889, produziu a fotografia da Família Imperial, provavelmente a última antes do exílio.
+ 
+Otto Rees. Família Imperial, 25 de maio de 1889. Da esquerda para a direita: a imperatriz dona Teresa Cristina, dom Antônio, a princesa Isabel, o imperador, dom Pedro Augusto (filho da irmã da princesa Isabel, dona Leopoldina, duquesa de Saxe), d. Luís, o conde d’Eu e dom Pedro de Alcântara. Palácio Isabel, atual Grão-Pará, Petrópolis, RJ / Acervo Museu Histórico Nacional
+ 
+ 
+Em outubro de 1889, Otto abriu um estúdio em Juiz de Fora, Minas Gerais, e retornou a Petrópolis no mês seguinte (O Mercantil, 20 de novembro de 1889, última coluna).
+ 
+O Pharol, 13 de outubro de 1889
+ 
+Mercantil, 20 de novembro de 1889
+ 
+1890 - Em 1º de fevereiro de 1890, o estabelecimento passou a chamar-se Hees & Irmãos, de Numa Augusto e Otto.
+ 
+Mercantil, 5 de fevereiro de 1890
+ 
+1892 - Alistou-se no exército, seguindo também a carreira militar.
+1895 - Em abril de 1895, fazia parte da administração do Asilo de Caridade de Petrópolis (Boletim do Grande Oriente do Brasil, Jornal Oficial da Maçonaria, abril de 1895).
+Em maio de 1895, tornou-se um dos primeiros ciclistas a efetuar o trajeto Petrópolis-Juiz de Fora. Foi um dos fundadores do Clube Alemão e, ainda nessa década ficou conhecido em Petrópolis por ter organizados muitas festas.
+1900-  Foi candidato a vereador geral e a juiz de paz em Petrópolis.
+1901 – Foi empossado como juiz de paz em Petrópolis. Também em 1901, quando era tenente, produziu fotografias de ladrões para arquivamento da polícia.
+1902 – Trabalhou na Sul América Seguros
+1903 – Fotografou o barão do Rio Branco (1845 – 1912) e outras personalidades, em 17 de novembro de 1903, logo após a assinatura do Tratado de Petrópolis, que incorporou o território correspondente ao Acre ao Brasil.
+ 
+ 
+Grupo de negociadores do Tratado de Petrópolis, 17 de novembro de 1903. Petrópolis, RJ / Acervo Museu Imperial
+ 
+Foi reeleito para o cargo de juiz de paz para o biênio 1904-1905.
+1910 - Foi eleito vereador por Petrópolis. Já era major. Nas décadas seguintes, afastado comercialmente da fotografia, exerce os cargos de secretário executivo e delegado de polícia na sua cidade natal (Enciclopédia Itaú Cultural).
+1941 – Faleceu em Petrópolis, em setembro de 1941 (Jornal do Brasil, 17 de setembro de 1941, quarta coluna).
+1946 –  A imagem da família real produzida por Otto Hees foi reproduzida no artigo Isabel, a Redentora, publicado em A Noite, de 30 de julho de 1946. É referida como o último flagrante de parte da família Imperial no Brasil.
+ 
+
+A Noite, 30 de julho de 1946
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/12495` — `itens/20.500.12156.1_12495/`
+
diff --git a/wordpress/36479-no-dia-dos-namorados-fotos-de-casais-produzidas-por-chichico-alkmim-1886-1978.md b/wordpress/36479-no-dia-dos-namorados-fotos-de-casais-produzidas-por-chichico-alkmim-1886-1978.md
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@@ -0,0 +1,43 @@
+---
+id: 36479
+url: "https://brasilianafotografica.bn.gov.br/?p=36479"
+titulo: "No Dia dos Namorados, fotos de casais produzidas por Chichico Alkmim (1886 – 1978)"
+autor: "Andrea Wanderley"
+data: "2024-06-12T12:12:46+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/5233", "20.500.12156.1/5229"]
+fetched_at: "2026-09-10T10:17:53.790Z"
+---
+
+# No Dia dos Namorados, fotos de casais produzidas por Chichico Alkmim (1886 – 1978)
+
+Para celebrar o Dia dos Namorados, a Brasiliana Fotográfica destaca duas imagens produzidas, na década de 1920, pelo mineiro Chichico Alkmim (1886 – 1978),  o cronista visual de Diamantina. Uma delas é do próprio fotógrafo ao lado de sua mulher, Miquita, com quem casou-se em 14 de junho de 1913. É muito raro um sinal de enamoramento explícito em fotos de casais nesta época. Os pares estão quase sempre muito sérios e compenetrados. O que as imagens revelam, em maior ou menor grau, é afeto, cumplicidade e companheirismo.
+ 
+Chichico Alkmim. Chichico Alkmim e Maria Josephina Netto Alkmim (Miquita), sua esposa, década de 1920. Diamantina, Minas Gerais / Acervo IMS
+ 
+As duas fotografias em destaque neste artigo foram realizadas no ateliê definitivo de Chichico, no beco João Pinto, 86, na parte alta da cidade, para onde se transferiu, em 9 de outubro de 1919 – seu primeiro ateliê havia sido inaugurado em 1912.
+ 
+Chichico Alkmim. Retrato de casal, década de 1920. Diamantina, Minas Gerais / Acervo IMS
+ 
+Seu laboratório fotográfico ficava no nível da rua e o segundo andar abrigava seu estúdio. Possuía uma ampla janela envidraçada em uma das paredes e claraboia; sobre ambas, um cortinado leve, deslizante graças a um sistema de cordas, compondo um mecanismo de controle da luz natural; na parede ao fundo, uma viga de madeira serve como suporte para os painéis pintados com paisagens viçosas e motivos arquitetônicos de gosto classicizante; algum mobiliário – cadeiras, pequenas mesas, apoios para jarros, tapetes, cortina – ajuda a compor os cenários (Eucanaã Ferraz).
+Chichico Alkmim, nascido em 28 de março de 1886, na fazenda do Sítio, município de Bocaiuva, foi autodidata e pioneiro da fotografia de estúdio em Diamantina. Atuou na profissão, que adotou em 1907, até 1955.  Com um perfeito domínio técnico da fotografia, os registros de Chichico traduzem um olhar sensível e atento ao mundo em que viveu. Sua obra, que compreende imagens da arquitetura diamantinense, sua religiosidade, costumes, ritos e retratos de seus habitantes, é uma das principais referências da memória visual de Minas Gerais. Retratou a burguesia e também os trabalhadores ligados ao pequeno garimpo, ao comércio e à indústria. Produziu imagens de casamentos, batizados, funerais, festas populares e religiosas, paisagens e cenas de rua. De 1955, quando parou de fotografar, até 22 de agosto de 1978, quando faleceu, continuou cuidando de seu acervo, que guardava no porão de sua casa. Em 2015, o acervo de Chichiko Alkmim passou, em regime de comodato, a integrar o acervo de fotografias do Instituto Moreira Salles, uma das instituições fundadoras da Brasiliana Fotográfica. Em 2015, o acervo de Chichiko Alkmim passou, em regime de comodato, a integrar o acervo de fotografias do Instituto Moreira Salles, uma das instituições fundadoras da Brasiliana Fotográfica.
+ 
+Acessando o link para as imagens produzidas por Chichico Alkmim disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Acesse aqui a Cronologia de Chichico Alkmim (1886 – 1978)
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Outros artigos publicados na Brasiliana Fotográfica no Dia dos Namorados
+Fotografia e namoro, publicado em 12 de junho de 2018, escrito por Élvia Bezerra, então Coordenadora de Literatura do Insituto Moreira Salles
+Série “O Rio de Janeiro desaparecido” X – No Dia dos Namorados, um pouco da história do Pavilhão Mourisco em Botafogo, publicado em 12 de junho de 2020, escrito por Andrea C.T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica.
+No Dia dos Namorados, o álbum “Vistas de Petrópolis” e o fotógrafo alemão Pedro Hees (1841-1880), publicado em 12 de junho de 2023, escrito por Andrea C.T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/5233` — `itens/20.500.12156.1_5233/`
+- `20.500.12156.1/5229` — `itens/20.500.12156.1_5229/`
+
diff --git a/wordpress/36567-serie-teatros-e-cinemas-do-brasil-xiii-marc-ferrez-e-o-cinema.md b/wordpress/36567-serie-teatros-e-cinemas-do-brasil-xiii-marc-ferrez-e-o-cinema.md
new file mode 100644
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+++ b/wordpress/36567-serie-teatros-e-cinemas-do-brasil-xiii-marc-ferrez-e-o-cinema.md
@@ -0,0 +1,212 @@
+---
+id: 36567
+url: "https://brasilianafotografica.bn.gov.br/?p=36567"
+titulo: "Série “Teatros e cinemas do Brasil” XIII – Marc Ferrez e o cinema"
+autor: "Andrea Wanderley"
+data: "2024-06-19T09:50:59+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/2575", "20.500.12156.1/5336", "20.500.12156.1/11379", "20.500.12156.1/7185", "20.500.12156.1/5345", "20.500.12156.1/11697", "20.500.12156.1/2515"]
+fetched_at: "2026-09-10T10:17:57.258Z"
+---
+
+# Série “Teatros e cinemas do Brasil” XIII – Marc Ferrez e o cinema
+
+No Dia do Cinema Brasileiro, a Brasiliana Fotográfica destaca o grande envolvimento de Marc Ferrez (1843 – 1923) com a indústria do cinema. Além de ter sido um fotógrafo extraordinário, esteve sempre ligado à modernidade e inovações de seu tempo, tendo chefiado, nas primeiras décadas do século XX, associado à Pathé francesa, a mais importante empresa de exibição, distribuição e produção de filmes do Rio de Janeiro.
+ 
+
+ 
+“Seu sonho foi sempre o cinematógrafo, estudou com afinco a primeira lanterna mágica e as diferentes fontes de luz. Muitos anos antes do Sr. Staffa abrir o Parisiense na Avenida Central, Marc Ferrez , à noite, quando não havia luz elétrica, em companhia do seu amigo, o Dr. Morize, atual diretor do Observatório, em sua casa na rua São José, 88, fazia experiências de luz oxi-etherica, luz oxydrica, de gás incandescente de petróleo com mechas concentradas fazendo também na ocasião as primeiras experiências com cinematógrafo com um aparelho Lumière e fitas de 10 e 20 metros como “A Chegada de Trem”, “O Jardineiro regando”, “Briga de galos”… Fabricava o oxigênio durante o dia e conservava-o em sacos enormes.
+Depois, com a luz oxi-etherica e aparelho Gaumont bem primitivos vendia e ensinava a exibidores ambulantes que iam para o interior. O repertório era dos mais primitivos e todas as fitas de Lumière”
+A Scena Muda, 25 de janeiro de 1923
+ 
+A Scena Muda, 25 de janeiro de 1923
+ 
+Marc Ferrez foi um brilhante cronista visual das paisagens e dos costumes cariocas da segunda metade do século XIX e do início do século XX. Sua vasta e abrangente obra iconográfica se equipara a dos maiores nomes da fotografia do mundo. Estabeleceu-se como fotógrafo com a firma Marc Ferrez & Cia, em 1867, na rua São José, nº 96, e logo se tornou o mais importante profissional da área no Rio de Janeiro. Cerca de metade da produção fotográfica de Ferrez foi realizada na cidade e em seus arredores, onde registrou, além do patrimônio construído, a exuberância das paisagens naturais.
+ 
+Marc Ferrez. Marc Ferrez aos 33 anos, 1876 circa. Rio de Janeiro, RJ / Acervo IMS
+ 
+Breve histórico da chegada do cinema no Brasil
+ 
+A primeira sessão pública de cinema no Brasil foi realizada, na Rua do Ouvidor, 57, em 8 de julho de 1896, às 14h, no Rio de Janeiro, em uma sala especialmente preparada para as projeções do omniógrafo. O invento foi descrito pelo Jornal do Commércio como um “aparelho que projeta sobre uma tela colocada ao fundo da sala diversos espetáculos e cenas animadas, por meio de uma série enorme de fotografias” (Jornal do Commercio, 9 de julho de 1896).
+O Dia do Cinema Brasileiro é comemorado em 19 de junho, quando, em 1898, chegou ao Rio de Janeiro, vindo da Europa, o navio Paquebot Brésil. A bordo, encontrava-se o cinegrafista italiano Affonso Segreto (1875 – 1919), que retornava de uma viagem para comprar equipamentos de filmagens e conhecer novas técnicas cinematográficas em Nova York e em Paris, onde fez um curso na Pathé Films.
+ 
+Affonso Segreto (1875 – 1919) junto aos primeiros projetores da Empresa Paschoal Segreto / Wikipedia
+ 
+Antes de desembarcar no Rio de Janeiro, Affonso filmou com uma câmara Lumière a entrada da enseada da Baía de Guanabara, as fortalezas e os navios ancorados (Gazeta de Notícias, 20 de junho de 1898, segunda coluna). Teria sido a primeira fita de cinema realizada no Brasil. O acontecimento deu origem ao Dia do Cinema Brasileiro. Mas há uma polêmica em torno do pioneirismo de Segreto. Alguns estudiosos consideram o primeiro filme brasileiro Chegada em Petrópolis devido a uma notícia divulgada pela Gazeta de Petrópolis convidando para uma sessão do filme no dia 1º de maio de 1897, no Theatro Cassino de Petrópolis, organizada pelo napolitano Vittorio di Maio (1852 – 1926). Posteriormente, di Maio vendeu seu projetor e acervo para Paschoal Segreto. Também é de 1897 a vista Ancoradouro de pescadores na Baía de Guanabara, do pernambucano José Roberto Cunha Sales (1840- 1903), porém sua nacionalidade brasileira é contestada por historiadores que acreditam que o cinegrafista recortou o filme de uma vista estrangeira. Ancoradouro de pescadores na Baía de Guanabara está acervado no Arquivo Nacional.
+ 
+Gazeta de Notícias, 20 de junho de 1898
+ 
+ 
+Breve cronologia do envolvimento de Marc Ferrez com o cinema
+ 
+Marc Ferrez. Cine Pathé na Avenida Central, 116 (atual Avenida Rio Branco), c. 1912. rio de Janeiro, RJ / Acervo IMS
+ 
+c. 1897 – Em torno desse ano, Ferrez realizava experiências no campo da imagem com o engenheiro e astrônomo francês naturalizado brasileiro Henrique Morize (1860 – 1930), que foi diretor do Observatório Nacional entre 1908 e 1929 e o primeiro presidente da Academia Brasileira de Ciências, de 1916 a 1926; e com o capitão Augusto Tasso Fragoso (1869 – 1945), positivista convicto e futuro general (Palcos e Telas, 8 de abril de 1920; A Scena Muda, 25 de janeiro de 1923).
+1902 – No Clube Militar, Ferrez e Morize realizaram uma projeção por lanterna de fotografias de canhões e projéteis durante uma conferência ministrada pelo capitão Augusto Tasso Fragoso.
+ 
+Marc Ferrez. Henrique Morize, c. 1896. Rio de Janeiro, RJ / Acervo IMS
+ 
+1904 – O filho de Marc, Julio Ferrez (1881 – 1946), era estudante da Academia de Belas Artes. Pai e filho fizeram, durante a conferência de encerramento do curso de História da Arte do Pedagogium, uma projeção de algumas imagens de obras de arte por meio de lanterna. Algumas das obras projetadas foram a Batalha  do Avaí, de Pedro Américo (1843 – 1905), e Primeira missa no Brasil, de Victor Meirelles (1832 – 1903).
+1905 – Com seu filho Julio, Marc obteve a representação da firma francesa Pathé Frères no Brasil. A firma era a maior e melhor fábrica de aparelhos e filmes cinematográficos da Europa.
+ 
+Marc Ferrez. Julio e Luciano Ferrez, c. 1910. rio de Janeiro, RJ / Acervo IMS
+ 
+Marc Ferrez. Interior da casa de Marc Ferrez, na rua Voluntários da Pátria, Botafogo. À direita, o galo símbolo da Pathé Frères, e, na mesa de centro, um estereoscópio, 1912. Rio de Janeiro, RJ / Acervo IMS.
+ 
+Marc Ferrez. Galo (marca do Cine Pathé) no interior da casa de Marc Ferrez, na rua Voluntários da Pátria, s/d. Rio de Janeiro, RJ / Acervo IMS
+ 
+No catálogo ilustrado da Casa Ferrez intitulado Machinas e accessórios para photographia, productos chimicos, etc,  a invenção do cinematógrafo era definida como sendo “a reprodução exata de todos os movimentos e cenas animadas que se desenrolam sob nossas vistas”. Ainda na publicação Ferrez analisou a potencialidade do cinema como negócio: 
+“…não há ramo algum de exibição suscetível de dar maiores lucros do que a cinematografia e, mediante pequeno emprego de capital, pode-se montar uma empresa para a exploração das cidades e centros do interior dos nossos estados”.
+Em junho, Ferrez realizou uma projeção cinematográfica nas festas em homenagem a São Luiz Gonzaga, no Colégio Diocesano São José.
+No final do ano , a Casa Marc Ferrez & Filhos passou a ser a fornecedora exclusiva do cinematógrafo ao ar livre Passeio Público, que existiu entre em 28 de outubro de 1905 e 2 de novembro de 1906, e pertencia ao português Arnaldo Gomes de Souza e ao italiano Vittorio di Maio (1852 – 1926). Passou também a distribuir filmes para outros cinematógrafos ambulantes do Rio de Janeiro.
+ 
+Jornal do Brasil, 30 de dezembro de 1905
+ 
+1906 - Foi publicado um anúncio da Photographia Cinematographica, de Marc Ferrez, anunciando “um imenso sortimento de material para profissionais e amadores a “preços vantajosos”. Também anunciava a “remessa de catálogos” (Jornal do Recife, 29 de março de 1906, na última coluna).
+1907 – Julio Ferrez firmou um contrato com a Maison Pathé-Frères, de Paris, para o fornecimento de filmes e de equipamentos para montagem de salas de cinema (Jornal do Brasil, 15 de agosto de 1907, na terceira coluna).
+ 
+Jornal do Brasil, 15 de agosto de 1907
+ 
+Ferrez, que havia conhecido em Paris as fotografias animadas dos irmãos Lumière, decidiu investir na novidade. Apoiado pelos filhos, inaugurou , em 18 de setembro 1907, o Cinematographo Pathé, na então novíssima Avenida Central, nos prédios de número 147 e 149, que arrendou em sociedade com Arnaldo Gomes de Souza.Em sua propaganda de estreia, anunciava “projeções animadas perfeitas, interessantes e maravilhosas” (Jornal do Brasil, 18 de setembro de 1907, no pé da página; Gazeta de Notícias, 18 de setembro de 1907, nas sexta e sétima colunas).
+ 
+Vista da plateia na inauguração do cinema Pathé, na avenida Central, n. 147-149. Rio de Janeiro, 1907/Acervo Arquivo Nacional, Fundo Família Ferrez
+ 
+Gazeta de Notícias, 18 de outubro de 1907
+ 
+Foi o terceiro cinema do Rio de Janeiro. O primeiro cinema carioca foi o Chic, inaugurado em 1º de agosto de 1907, na Avenida Central, 173 – funcionou até 1908. Em 9 de agosto, foi aberto o segundo, o Cinematographo Central Pariziense, de Jacomo Rosario Staffa (c. 1867 – 1927), na Avenida Central nº 179, e funcionou durante 47 anos, até 7 de fevereiro de 1954.
+A firma de Arnaldo e Ferrez chamava-se Arnaldo & Cia, omitindo a participação de Ferrez, porque Charles Pathé (1863 – 1957), um dos proprietários da Pathé Frères, proibia que seus distribuidores e representantes possuíssem cinematógrafos. A sociedade foi desfeita em 1911.
+ 
+Cinematógrafo Pathé / Fon-Fon, 19 de outubro de 1907
+ 
+ 
+Cinematógrafo Parisiense / Fon-Fon, 19 de outubro de 1907
+ 
+Os filmes nas primeiras décadas do cinema eram curtos e um dos artifícios usados para atrair o público para as salas de cinema era a exibição de uma programação complementar. A projeção em lanterna de imagens fotográficas, acompanhadas de cartelas com avisos era um deles.
+ 
+Cartela do Cine Pathé. Marc Ferrez. Coleção Gilberto Ferrez / Acervo IMS
+ 
+Em primeiro de outubro de 1907, foi criada a firma Marc Ferrez & Filhos. Ferrez era dono de 60% das ações, cabendo a Luciano e a Julio 20% do negócio. A empresa Marc Ferrez & C não deixou de existir. Em seu nome eram feitas as importações de material fotográfico enquanto a nova empresa era responsável pelas importações de material para cinema.
+ 
+Jornal do Commercio, 24 de outubro de 1907
+ 
+1908 – Ferrez embarcou para a Europa no navio Chili. Estavam também a bordo os artistas premiados da Academia de Belas Artes Timotheo da Costa (1882 – 1922) e Carlos Chambelland (1884 – 1950) (Jornal do Brasil, 9 de janeiro de 1908, segunda coluna), tendo visitado a fábrica da Pathé e negociado a forma de distribuição exclusiva da empresa no Brasil. Retornou em 30 de março a bordo do paquete francês Cordillere (Jornal do Brasil, 31 de março de 1908, na sexta coluna).
+Em abril, foi assinado um contrato entre Marc Ferrez & Filhos e a Associação Geral de Auxílios Mútuos da Estrada de Ferro Central do Brasil. Eram fornecidas fitas para o cinematógrafo beneficente da Associação, cujos programas diários consistiam da apresentação de música ao vivo, dirigida pelo maestro Mussuringo, com a exibição de fitas como Da Barra a Juiz de Fora e Margem do Rio das Velhas, produzidas por Ferrez (Correio da Manhã, 8 de abril de 1908, quinta coluna).
+Também em abril, foi assinado um contrato de fornecimento de filmes a Paschoal Segreto (1868 – 1920), o ministro das diversões, pela firma Marc Ferrez & Filhos. Segreto receberia as mesmas fitas do cinema Pathé e poderia exibi-las em todos os seus estabelecimentos, exceto no Pavilhão Internacional, vizinho ao Cinema Pathé, na Avenida Central. Porém, Ferrez começou a distribuir filmes para outros cinematógrafos e Segreto entrou na Justiça alegando quebra de contrato.
+Ferrez e Arnaldo Gomes de Souza produziram o filme, Nhô Anastácio chegou de viagem, dirigido por Julio Ferrez, lançado em junho. É considerada a primeira comédia cinematográfica brasileira e foi estrelada por Antônio Cataldi, José Gonçalves Leonardo e Ismênia Matteo. Ferrez produziu o curta-metragem A mala sinistra, lançado em outubro de 1908, também dirigido por seu filho Julio, sobre o assassinato do empresário Elias Farhar, ocorrido em São Paulo, cerca de um mês antes, que ficou conhecido como o Crime da Mala. O sócio de Farhar, Michel Trad , o matou e escondeu o corpo em uma mala.
+ 
+Jornal do Brasil, 20 de junho de 1908
+ 
+A sociedade de Ferrez com Arnaldo Gomes de Souza foi denunciada pelo concorrente de Ferrez, o calabrês Jácomo Rosário Staffa (c. 1867 – 1927), proprietário do Grande Cinematographo Pariziense. Lembramos aqui que Charles Pathé (1863 – 1957), um dos proprietários da Pathé Frères, proibia que seus distribuidores e representantes possuíssem cinematógrafos e Ferrez era um de seus representantes. Staffa também denunciou os altos preços das fitas. Em carta datada de 29 de agosto, Charles Pathé exigia explicações. Com habilidade, Pathé superou as divergências tendo mantido a representação da Pathé Frères e o fornecimento de filmes para Staffa.
+O primeiro aniversário do Cinema Pathé foi comemorado com uma reforma, uma programação “divertida” e uma ceia (Fon-Fon, 26 de setembro de 1908).
+Ao longo de 1908, foi publicado várias vezes um anúncio da venda de cinematógrafos na sucursal da firma Marc Ferrez & Filhos em São Paulo, o Bijou-Theatre, do empresário espanhol Francisco Serrador (1872-1941) (O Commercio de São Paulo, 15 de fevereiro de 1908, na primeira coluna).
+ 
+Carta da Pathé Frères à empresa Marc Ferrez & Filhos sobre a representação exclusiva dos filmes e aparelhos cinematográficos e a quebra em uma cláusula do contrato referente à venda de filmes. Paris, 29 de agosto de 1908. Arquivo Nacional, Fundo Família Ferrez.
+ 
+1910 –  A Pathé Frères anuncia em propaganda da Marc Ferrez & Filhos a cinematografia do invisível e também se aponta como a única fábrica que apresenta vista em cores de modo constante.
+ 
+Jornal do Commercio, 3 de janeiro de 1910
+ 
+ 
+Jornal do Commercio, 22 de janeiro de 1910
+ 
+Às terças-feiras, “dia da moda” nos cinematógrafos, o Cinema Pathé era frequentado pelas senhoras da sociedade carioca (Gazeta de Notícias, 19 de fevereiro de 1910).
+José Ignácio Guedes Pereira Filho comunicou que havia firmado um contrato com a firma Marc Ferrez & Filhos para fornecimento durante um ano de fitas cinematográficas da Pathé Frères (A Província, 27 de março de 1910, na primeira coluna).
+A firma Marc Ferrez & Filhos negou que a empresa do Iris Cinema recebia diretamente da Pathé Frères de Paris material cinematográfico para venda, já que os Ferrez eram seus representantes exclusivos e que em São Paulo sua sucursal era o Bijou-Theatre, do empresário Francisco Serrador (Correio Paulistano, 2 de maio de 1910, na segunda coluna, sob o título “Secção Livre”).
+Para celebrar os três anos do Cinema Pathé, toda a renda do estabelecimento do dia do aniversário foi oferecida para a construção do couraçado Riachuelo e a festa foi dedicada ao almirante Alexandrino (1848 – 1926) (ABC, 17 de setembro de 1910). Lembramos aqui que desde 1870, nos versos dos cartões de montagem e fotografias de Ferrez estava inscrito “Marc Ferrez. Fotógrafo da Marinha Imperial e das construções navais do Rio de Janeiro”. Provavelmente a nomeação de Ferrez como fotógrafo oficial da Marinha relacionava-se com o lançamento do Plano para a Organização da Força Naval do Império que previa a renovação da frota com embarcações de diversos tipos, o que aconteceu nas décadas de 1870 e 1880.
+ 
+Interior do Cinema Pathé
+ 
+1911 - Em junho, Ferrez e seus filhos se associam a Amadeu Peixoto de Macedo, Antônio Guimarães, Hamilton de Souza, Joaquim de Mello Franco e Oscar Pragana, e criam a firma Julio, Pragana & Cia, que passa a administrar o cinema Chantecler, no Rio de Janeiro. A sociedade tem curta duração.
+Os proprietários de cinemas, liderados por Marc Ferrez, seu sócio, Arnaldo Gomes de Souza; e Zambelli, dono do Odeon, criam uma comissão para defender os interesses da classe diante do estabelecimento de novos impostos para as salas de cinema do Distrito Federal.
+Foi sancionado, em 30 de dezembro, pelo presidente da República, Hermes da Fonseca (1855 – 1923), o aumento dos impostos para a importação de filmes proposto pelo Congresso Nacional. O aumento inviabilizou os acordos entre Ferrez e a Pathé.
+1912 – Ferrez partiu para a França para renegociar com a Pathé e um novo acordo foi assinado em 20 de fevereiro.
+Em julho, a Marc Ferrez & Filhos subscreveu o maior lote de ações lançado pela Companhia Cinematográfica Brasileira (CCB), de Francisco Serrador, fundada em 1911. Os Ferrez passaram a ser a sucursal da CCB no Rio de Janeiro. Além disso, venderam seu estoque de filmes à empresa e passaram a ser seus únicos fornecedores de filmes.
+Ferrez introduziu no Brasil os autocromos, processo fotográfico colorido desenvolvido pelos irmãos Lumière.
+ 
+Marc Ferrez. Família Ferrez, c. 1912. Rio de Janeiro, RJ / Acervo IMS. Na foto, Marc Ferrez (em pé), Julio, Marie e Claire (sentados) e Gilberto e Eduardo
+ 
+A Casa Marc Ferrez & Filhos passou a funcionar na rua São José 112 e o Cinema Pathé transferiu-se para o número 116 da avenida Central.
+ 
+Cine Pathé, 1921. Rio de Janeiro, RJ / Acervo IMS
+ 
+1913 – Na Europa, como representante do CCB assina um contrato de distribuição de filmes com a Gaumont.
+1915 – A guerra afetou o fornecimento de filmes europeu para o Brasil. Os Ferrez se desentenderam com Francisco Serrador e deixaram a Companhia Cinematográfica Brasileira. Eles também perderam a representação da Gaumont.
+A Casa Marc Ferrez & Filhos mudou-se para a Rua da Quitanda, 67 (Almanak Laemmert , 1916).
+1916 – Anúncio da “Casa Marc Ferrez & Filhos – Emilio Brondi & C., importadores de máquinas cinematográficas”, além de outros produtos (A Noite, 13 de janeiro de 1916, na penúltima coluna).
+Em fevereiro, Julio e Luciano Ferrez encerraram a disputa com Francisco Serrador, assinando a escritura de rescisão de contrato com a Companhia Cinematográfica Brasileira.
+Em uma reportagem sobre a falência dos cinemas no Rio de Janeiro, o Cinema Pathé, de Marc Ferrez, foi mencionado como deficitário “(A Notícia, 29 de fevereiro de 1916, sob o título “A falência dos cinemas”). A Casa Marc Ferrez & Filhos negou a crise dos cinemas (A Província, 27 de março de 1916).
+Os Ferrez defendem o cinema europeu acreditando que os filmes norte-americanos não fariam sucesso no Brasil, ponto de vista que vai, com o tempo, se provar errado.
+O negócio do cinema foi fortemente impactado pela Primeira Guerra Mundial
+Marc Ferrez segue na França trabalhando como representante da empresa familiar. As decisões sobre os negócios são de seus filhos. Ele atua como conselheiro. “Meu papel é passivo. Ver os filmes, fazer as encomendas, executar suas ordens de filmes suplementares e me ocupar dos pagamentos” (Carta de Ferrez a seus filhos, enviadas de Paris, 11 de dezembro de 1916).
+1917 – A fábrica da Pathé, instalada em Vincennes, passa a abrigar também os escritórios da empresa, para onde Marc viaja todas as quartas-feiras para ver os filmes.
+Devido ao ingresso dos Estados Unidos na guerra, o tráfego pelo Oceano Atlântico torna-se perigoso e os navios não anunciam suas datas de partida, prejudicando o envio dos filmes e de materiais para o Brasil.
+Seus filhos, Julio e Luciano, fundaram a Companhia Cinematográfica Brasileira, mais tarde denominada Casa Marc Ferrez Cinemas e Eletricidade Ltda.
+ 
+Marc Ferrez. Fábrica da Pathé Frères, 1917. Joinville-le-Pont, França/ Acervo IMS
+ 
+1919 – Julio Ferrez foi um dos fundadores da União dos Importadores Cinematográficos no Brasil (O Imparcial, 8 de dezembro de 1919, na segunda coluna). Foi o primeiro tesoureiro da associação, cujo primeiro presidente foi o empresário Francisco Serrador.
+ 
+Cinema Pathé, c. 1919. Rio de Janeiro, RJ / Acervo IMS
+ 
+Os Ferrez tornaram-se sócios da Pathé Exchange, de Nova York.
+Em 15 de dezembro de 1919 , Marc Ferrez participou da cerimônia de recepção, na recém criada categoria Aplicação das ciências à indústria da Academia Francesa de Ciências, de seu amigo Louis Lumière (1864 – 1948) que, com o irmão Auguste Lumière (1862 – 1954), havia inventado o cinematógrafo, em 1895 (Academia Francesa de Ciências e Palcos e Telas, 8 de abril de 1920).
+Na edição de 8 de abril de 1920 da revista Palcos e Telas Marc, Julio e Luciano Ferrez foram biografados na seção “Grandes figuras da cinematografia”.  Nessa matéria, o envenenamento por um escravo foi apontado como a causa de morte dos pais de Marc Ferrez.
+ 
+O vice-presidente da República, Delfim Moreira, e os membros da sua Casa Militar, nas escadarias do cinema Pathé, após assistirem ao filme do Dr. Poncy sobre a construção, linha e trabalhos artísticos das Estradas de Ferro do Norte do Brasil. Rio de Janeiro, 1919. Arquivo Nacional, Fundo Família Ferrez.
+ 
+1920 - Participou, em fevereiro, no Palais d´Orsay, em Paris, do banquete oferecido pelas câmaras sindicais e associações de fotógrafos e cinematografistas a Louis Lumière. A homenagem teve cerca de 500 convidados, dentre eles Andre Honnorat (1868 – 1950), ministro da Instrução Pública e das Belas Artes; e de representantes do governo francês. Celebrava, além do ingresso de Lumière na categoria Aplicação das ciências à indústria da Academia Francesa de Ciências – criada no ano anterior -, os 25 anos do invento do cinema. Um dos oradores da noite foi Romain Coolus, presidente da Sociedade dos Autores Dramáticos, que em seu discurso afirmou que a invenção de Lumière trouxe para os humildes uma alegria inédita (Ciné pour tous, 28 de fevereiro de 1920, pág. 2; O Jornal, 28 de março de 1920, penúltima coluna).
+ 
+Ciné pour tous, 28 de fevereiro de 1920
+ 
+Louis Lumière (1864 – 1948), c. 1910 / Wikipedia
+
+ 
+Ferrez voltou para o Brasil.
+Anunciam-se como representantes da Pathé Exchange Inc. de Nova York. Comercializam filmes Kodak.
+1921 - De volta a Paris, Marc continua assistindo e indicando os filmes que considera com mais potencial comercial para o Brasil.
+Foram publicados dados estatísticos da indústria cinematográfica no Brasil no primeiro semestre de 1921. Em número de filmes, a firma Marc Ferrez  & Filhos representava 3,9% (Para Todos, 13 de agosto de 1921). Na mesma revista, em 8 de julho de 1922, foram publicados os dados estatísticos do primeiro semestre de 1922.
+Em outubro, inauguração da sede própria da empresa Marc Ferrez & Filhos na Rua da Quitanda, 21. Os filmes são armazenados no pátio, em um depósito de cimento armado, à prova de incêndios.
+ 
+Cartão de publicidade da firma Marc Ferrez & Filhos. Rio de Janeiro, [1921]. Coleção Gilberto Ferrez / Acervo IMSA empresa dos Ferrez continua produzindo filmes de atualidades que são exibidos em seus cinemas e também vendidos a distribuidores estrangeiros. Estes filmes são encomendados ao cineasta Alberto Botelho (1885-1973), parceiro e amigo de Julio Ferrez.
+ 
+Alberto Botelho (1885 – 1973)
+1922 – Em março, Marc recebeu, em Paris, a visita de seu amigo, o cientista Henrique Morize, em viagem para Europa em missão oficial do Observatório Nacional.
+Em matéria publicada em O Malho, 27 de maio de 1922 sobre a indústria cinematográfica, Marc Ferrez & Filhos foram citados como uma firma que fez fortuna atuando no setor.
+A Casa Marc Ferrez firmou contratos com importantes empresas cinematográficas dos Estados Unidos (O Jornal, 17 de junho de 1922, na quarta coluna).
+Marc Ferrez embarcou no navio Lutetia, em Bordeaux, de volta ao Brasil, em 31 de julho, e chegou ao Rio de Janeiro, em 14 de agosto. O navio fez escala em Boulogne-sur-mer, Vigo e Lisboa. Também viajaram no Lutecia o inventor Alberto Santos Dumont (1873 – 1932), o presidente do Jockey Clube, Linneu de Paula Machado (1880 – 1942); Arnaldo Guinle (1884 – 1963), presidente do Fluminense S.C.; o médico Paulo de Figueiredo Parreiras Horta (1884 – 1961) e os Oito Batutas, grupo musical formado, entre outros, por Pixinguinha (1897 – 1973) e Donga (1890 – 1974) (O Paiz, 15 de agosto de 1922, página 3 e página 4).
+1923 - Marc Ferrez faleceu em 12 de janeiro de 1923, no Rio de Janeiro. No periódico A Scena Muda, 25 de janeiro de 1923, foi publicado um perfil de Ferrez, no qual sua morte foi atribuída a uma enfermidade que ele havia contraído devido ao uso do colódio. Na mesma matéria, foram mencionadas as experiências que fazia com seu amigo, o engenheiro e astrônomo Dr. Henrique Morize, em sua casa na rua São José, 88, com “luz oxi-etherica, luz oxydrica, de gás incandescente de petróleo com mechas concentradas fazendo também na ocasião as primeiras experiências com cinematógrafo com um aparelho Lumière e fitas de 10 e 20 metros…”. Na matéria da Para Todos de janeiro de 1923, o caráter de Ferrez foi exaltado: “A perfeita correção do velho comerciante, sua intransigente  honradez, a lisura dos seus processos o tornaram sempre uma figura de destaque nos meios cinematográficos”.
+1928 – Após a morte do fotógrafo, a Casa Marc Ferrez inaugurou, na Cinelândia, o Pathé Palace, em de abril de 1928, com a exibição de uma extensa programação, que incluía o filme Paga para amar (O Paiz, de 18 de março, na primeira coluna; de 23 de março, na terceira coluna; e de 9 e 10 de abril de 1928).
+ 
+Acesse aqui a Agenda Pathé Frères, um dos Cadernos de Marc Ferrez.
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+Cadernos de Marc Ferrez – Site do Instituto Moreira Salles
+CERON, Ileana Pradilla Ceron. Marc Ferrez – uma cronologia da vida e da obra. São Paulo : Instituto Moreira Salles, 2018.
+FERREZ, Gilberto. O Rio Antigo do fotógrafo Marc Ferrez: paisagens e tipos humanos do Rio de Janeiro, 1865-1918. Rio de Janeiro: João Fortes Engenharia/Editora Ex-Libris, 1984.
+FERREZ, Gilberto. Os irmãos Ferrez da Missão Artística Francesa. Rio de Janeiro: Instituto Histórico e Geográfico Brasileiro, 1968.
+GONZAGA, Alice. Palácios e Poeiras: 100 anos de cinema no Rio de Janeiro. Rio de Janeiro: Record, 1996.
+Hemeroteca Digital da Biblioteca Nacional
+KOSSOY, Boris. Dicionário histórico-fotográfico brasileiro: fotógrafos e ofício da fotografia no Brasil (1833-1910). São Paulo: Instituto Moreira Salles, 2002. 408 p., il. p&b.
+Rio / Marc Ferrez – São Paulo : IMS; Göttingen: Steidl, 2015
+Site Filmow
+Site IMDB
+SOUZA, José Inácio de Melo. Imagens do Passado: São Paulo e Rio de Janeiro nos primórdios do cinema. São Paulo. Senac, 2004
+TURAZZI, Maria Inez. Cronologia. In O Brasil de Marc Ferrez – São Paulo : Instituto Moreira Salles, 2005.
+TURAZZI, Maria Inez. Literatura fotográfica e estudos biográficos: algumas reflexões em torno da obra do fotógrafo Marc Ferrez. In: Boletim do Centro de Pesquisa de Arte e Fotografia da Escola de Comunicação e Artes da USP. São Paulo, n°2, 2007.
+WANDERLEY, Andrea C. T. O brilhante cronista visual Marc Ferrez (RJ, 07/12/1843 – RJ, 12/01/1923) in Brasiliana Fotográfica, 7 de dezembro de 2016.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/2575` — `itens/20.500.12156.1_2575/`
+- `20.500.12156.1/5336` — `itens/20.500.12156.1_5336/`
+- `20.500.12156.1/11379` — `itens/20.500.12156.1_11379/`
+- `20.500.12156.1/7185` — `itens/20.500.12156.1_7185/`
+- `20.500.12156.1/5345` — `itens/20.500.12156.1_5345/`
+- `20.500.12156.1/11697` — `itens/20.500.12156.1_11697/`
+- `20.500.12156.1/2515` — `itens/20.500.12156.1_2515/`
+
diff --git a/wordpress/36607-a-fundacao-rockefeller-no-brasil.md b/wordpress/36607-a-fundacao-rockefeller-no-brasil.md
new file mode 100644
index 0000000..fff0bfc
--- /dev/null
+++ b/wordpress/36607-a-fundacao-rockefeller-no-brasil.md
@@ -0,0 +1,53 @@
+---
+id: 36607
+url: "https://brasilianafotografica.bn.gov.br/?p=36607"
+titulo: "A Fundação Rockefeller no Brasil"
+autor: "Andrea Wanderley"
+data: "2024-07-15T12:30:05+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/12698", "20.500.12156.1/12717", "20.500.12156.1/12723", "20.500.12156.1/12718"]
+fetched_at: "2026-09-10T10:18:00.649Z"
+---
+
+# A Fundação Rockefeller no Brasil
+
+A Fundação Rockfeller no Brasil
+ Ricardo Augusto dos Santos*
+Em 2022, a Casa de Oswaldo Cruz (COC) recebeu o certificado da incorporação do Fundo Fundação Rockefeller ao Programa Memória do Mundo da Unesco. O organismo internacional reconheceu o acervo como patrimônio documental inestimável. Sob a guarda do Departamento de Arquivo e Documentação da COC, este conjunto retrata as ações do Serviço Nacional de Febre Amarela e do Serviço Nacional de Malária e contém 4.209 fotografias e 633 negativos. Algumas são imagens raras de cidades e pequenas comunidades.
+ 
+Acessando o link para as imagens do Fundo Fundação Rockfeller da Casa de Oswaldo Cruz disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+O arquivo abrange as ações realizadas pela Fundação Rockefeller no Brasil. Com milhares de fotos dos estados brasileiros Rio de Janeiro, Bahia e Ceará, mostra os serviços executados pela instituição em conjunto com o governo brasileiro na eliminação do mosquito Aedes aegypti, vetor da febre amarela, e do mosquito Anopheles gambiae, vetor da malária.
+ 
+Sede da Comissão da Febre Amarela no estado da Bahia (Salvador), 22 maio 1940 / Acervo Casa de Oswaldo Cruz
+ 
+O arquivo das Séries do Fundo Fundação Rockefeller está dividido em séries documentais: a Série Serviço de Febre Amarela, a Série Serviço de Malária do Nordeste, a Série Exposições do Serviço de Febre Amarela e do Serviço de Malária do Nordeste; além da Série Fotografias Aéreas.
+Neste artigo, apresentamos imagens da Série Serviço de Febre Amarela. Com fotos sobre a campanha de erradicação do mosquito Aedes aegypti nos estados brasileiros, além de imagens das pesquisas sobre a forma silvestre da febre amarela e o processo de produção da vacina contra a doença. Uma outra série, Serviço de Malária do Nordeste, contém os registros da eliminação do mosquito Anopheles gambiae, vetor da malária, durante a epidemia da doença ocorrida no Nordeste do país, em 1939. As fotografias também documentam o processo de produção da vacina contra a febre amarela, produzida em Manguinhos.
+ 
+Embarcações do Rio São Francisco, 1936. Juazeiro, Bahia / Acervo Casa de Oswaldo Cruz
+ 
+Inúmeras expedições percorreram o Brasil em busca de informações que pudessem explicar a diversidade natural e social do imenso país. Cientistas e aventureiros viajaram por várias regiões realizando pesquisas e colhendo amostras. Durante o século XIX e nas décadas iniciais do século passado, várias missões científicas ocorreram no país. Entusiasmados pelas conquistas técnicas, especialistas em ciências naturais excursionaram pela imensidão do território brasileiro. Muitas viagens foram documentadas através de pinturas, desenhos e fotografias.
+No início do século XX, a Fundação Rockefeller iniciou uma série de projetos médicos e científicos no Brasil. Nesta época, várias iniciativas semelhantes estavam sendo criadas nas áreas da saúde pública internacional. Na origem, esse projeto assistencial da Fundação Rockefeller se restringia ao sul dos Estados Unidos. No entanto, suas atividades foram ampliadas para países que possuíam graves problemas sanitários, necessitando derrotar doenças como a ancilostomíase, a febre amarela e a malária.
+Através de convênios com o governo brasileiro, o grupo industrial e financeiro norte-americano, liderado pelo bilionário John Davison Rockefeller (1839-1937), entrou em contato com cientistas e médicos nacionais. Assim, a Rockefeller chegou ao país. Após a criação de um acordo de cooperação com o estado brasileiro, começou um planejamento para controle das doenças endêmicas. Essas moléstias eram devastadoras, sobretudo nas regiões mais afastadas das capitais. As tarefas se concentravam na erradicação da febre amarela e da malária.
+ 
+John Davidson Rockefeller (1839 – 1937)
+ 
+ 
+A partir de 1930, ocorreu um progresso da conduta da empresa norte-americana. Atuando ao lado de organismos estatais, especialmente criados para dominar a febre amarela e a malária, doenças que causavam muitas mortes, a Rockfeller auxiliou na elaboração do Serviço Nacional de Febre Amarela e do Serviço de Malária do Nordeste. Desta maneira, ampliando o alcance dos trabalhos, também proporcionava uma troca de conhecimentos e experiências entre o governo brasileiro e a instituição estrangeira.
+Nesta campanha de Saneamento do Brasil, as equipes de trabalhos procuravam combater o mosquito vetor da febre amarela, mas também desenvolviam pesquisas em laboratórios, aprofundando análises sobre a doença, além da produção da vacina antiamarílica. A partir de 1940, a Fundação Rockefeller foi transferindo a direção do projeto para o Serviço Nacional de Febre Amarela. Na década de 1950, o laboratório de pesquisas e de produção da vacina passou para o comando do Instituto Oswaldo Cruz.
+Apresentamos, neste artigo, algumas fotografias do Fundo Fundação Rockefeller. O arquivo fotográfico é resultado das atividades da Fundação Rockefeller no Brasil. Há uma concentração de imagens a partir de 1930, quando ocorre a institucionalização de suas atividades em nível federal.
+ 
+Fred Lowe Soper. V, c. 1920. Salvador, Bahia / Acervo Casa de Oswaldo Cruz
+ 
+ 
+*Ricardo Augusto dos Santos é  Pesquisador Titular da Fundação Oswaldo Cruz
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/12698` — `itens/20.500.12156.1_12698/`
+- `20.500.12156.1/12717` — `itens/20.500.12156.1_12717/`
+- `20.500.12156.1/12723` — `itens/20.500.12156.1_12723/`
+- `20.500.12156.1/12718` — `itens/20.500.12156.1_12718/`
+
diff --git a/wordpress/36666-fotografia-e-medicina-na-bahia-dos-anos-1900.md b/wordpress/36666-fotografia-e-medicina-na-bahia-dos-anos-1900.md
new file mode 100644
index 0000000..b08eeb3
--- /dev/null
+++ b/wordpress/36666-fotografia-e-medicina-na-bahia-dos-anos-1900.md
@@ -0,0 +1,155 @@
+---
+id: 36666
+url: "https://brasilianafotografica.bn.gov.br/?p=36666"
+titulo: "Fotografia e medicina na Bahia dos anos 1900"
+autor: "Andrea Wanderley"
+data: "2024-07-22T12:16:35+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/12999", "20.500.12156.1/12980", "20.500.12156.1/13009", "20.500.12156.1/12976", "20.500.12156.1/12995", "20.500.12156.1/13010", "20.500.12156.1/12979", "20.500.12156.1/13015", "20.500.12156.1/13011", "20.500.12156.1/13013"]
+fetched_at: "2026-09-10T10:18:04.138Z"
+---
+
+# Fotografia e medicina na Bahia dos anos 1900
+
+Fotografia e medicina na Bahia dos anos 1900
+ Claudia Beatriz Heynemann e Maria Elizabeth Brêa Monteiro*
+ 
+Álbum da Faculdade de Medicina da Bahia. Faculdade de Medicina da Bahia, 1903. Salvador, Bahia / Acervo Arquivo Nacional
+ 
+Da Escola de Cirurgia à Escola Tropicalista
+Com a vinda da corte portuguesa para o Brasil, em 1808, algumas restrições impostas à colônia foram sustadas, a exemplo da proibição de cursos superiores para a formação de profissionais liberais. A carta régia de 18 de fevereiro de 1808 facultou a criação da Escola de Cirurgia da Bahia, por orientação do médico pernambucano José Corrêa Picanço. A escola foi instalada nas dependências do antigo Colégio dos Jesuítas, localizado no Terreiro de Jesus, em Salvador, onde, à época, funcionava o Hospital Real Militar da Bahia.
+A princípio, a escola oferecia duas cadeiras básicas: cirurgia especulativa e prática, a cargo do cirurgião Manuel José Estrela, e anatomia e operações cirúrgicas, pelo cirurgião José Soares de Castro. O ensino dessas disciplinas, que seguia orientação francesa do compêndio de M. de la Fay, obrigando o conhecimento de francês pelos alunos inscritos, limitava-se a lições teóricas de anatomia humana e a elementos de fisiologia, patologia e clínica para a cadeira de cirurgia, refletindo a escassez de laboratórios e a falta de recursos para pesquisa e experimentação. 
+O aluno aprovado estava apto a “sangrar, sarjar, aplicar bichas e ventosas, curar feridas, tratar de luxações, fraturas e contusões”, mas não podia administrar medicamentos nem tratar moléstias internas, funções exclusivas dos médicos. Para sanar as deficiências do curso de medicina, parte dos alunos egressos da Escola de Cirurgia da Bahia fazia formação complementar em Portugal e na França.(1)
+Reformas de ensino foram empreendidas aumentando a duração do curso, que, inicialmente, era de quatro anos, e ampliando o número de cadeiras oferecidas. Segundo o médico infectologista Rodolfo Teixeira, a Academia Médico-Cirúrgica, criada pela carta régia de dezembro de 1815, que sucedeu a Escola de Cirurgia da Bahia, teve suas atividades transferidas para o Hospital da Santa Casa, na rua da Misericórdia (2). O retorno ao Terreiro de Jesus só se deu em decorrência da lei de 3 de outubro de 1832, que oferecia nova organização às academias médico-cirúrgicas do Rio de Janeiro e da Bahia e nova denominação. A Faculdade de Medicina da Bahia voltava para o prédio do antigo Colégio dos Jesuítas, ocupando também o espaço de 12 casas que formavam o lado esquerdo da rua das Portas do Carmo, onde eram ministrados os cursos de Medicina, Farmácia e Obstetrícia, concedendo aos candidatos os títulos de grão-doutor, farmacêutico e obstetra. O curso médico passou a ser ministrado em seis anos, com 16 cadeiras; o farmacêutico em três anos e, o de parteiro, em dois. Ao longo da segunda metade do século XIX, foram instaladas a biblioteca, a botica, os laboratórios de física e química, e os gabinetes, a enfermaria e a sala de operação, ou seja, a infraestrutura para ampliação e melhoria das instalações do hospital, tendo em vista o desenvolvimento das ciências naturais.(3)
+Durante a direção interina do médico Antônio Pacífico Pereira, foram iniciadas reformas de ampliação no antigo prédio dos jesuítas que previam a desapropriação de cinco edifícios na rua das Portas do Carmo, para a criação do horto botânico, o que não se concretizou, dos laboratórios de química orgânica e biologia, fisiologia experimental, física médica e terapêutica experimental, e histologia, além de um museu de anatomia e de um museu patológico. Todos esses laboratórios e museu tornaram-se realidade entre os anos de 1880 e 1890. Em 1903, foi conectado o serviço de eletricidade, que propiciou iluminação interna e externa e ventilação artificial.
+Contudo, as reformas não pouparam de crítica as instalações da Faculdade de Medicina. O médico Alfredo Tomé de Brito, lente de clínica propedêutica, em sua memória do ano letivo de 1900 a 1901, condena o aproveitamento do velho Colégio dos Jesuítas para ser transformado em faculdade de medicina:
+ 
+Alfredo Tomé de Brito (1863-1909)
+ 
+Um edifício colocado num sítio pouco espaçoso, minimamente acanhado e sem a possibilidade de ser aumentado, salvo à custa de dispendiosas desapropriações e de demolições prévias; que não tem as dimensões necessárias para aquartelar os dezesseis laboratórios que devem funcionar em compartimentos distintos, diversos anfiteatros, uma enorme biblioteca e um museu, um edifício composto de duas secções, que se unem formando um ângulo reentrante e das quais uma está alguns metros fora do alinhamento do lado da praça em que demora e que irregulariza e desfeia; um edifício, cuja arquitetura é literalmente monstruosa, pois que se deram uns ares de modernidade e de elegância ao velho Convento, cuja construção pesada e cuja forma obsoleta foi necessário conservar e seguir na seção nova; um edifício, em cujo vestíbulo acaçapado em relação a suas dimensões se penetra por uma porta aberta num recanto e em que não se vê a escada conducente ao pavimento superior, a qual procede da extremidade de um corredor paralelo ao plano da entrada, — escada que, sendo de liso mármore e de forma conchoide, merece a qualificação de anti-higiênica; finalmente, um edifício interiormente mal-dividido, desproporcionado, e cujo soalho se acha era níveis diferentes.(4) 
+Alexandre Evangelista de Castro Cerqueira, regente da cadeira de dermatologia e sifiligrafia da faculdade, também reconhece a inadequação dos espaços, apesar das modificações realizadas no “vetusto casarão do Terreiro”. Em sua memória histórica, Cerqueira registra:
+o que se não a colocam em pé de paridade com os congêneres dos países adiantados, todavia pode apesar dos defeitos insanáveis prestar-se a regular orientação e marca do ensino, ao menos até que as condições mais prósperas da nação permitam a construção de um outro edifício obedecendo às regras da arte e da ciência. Sem dúvida, muito melhor teria sido abandonar em tempo a infeliz ideia de aproveitar o Convento dos Jesuítas, porque com o que tem-se gasto e com o que se há de ainda despender, ter-se-ia hoje um estabelecimento no qual a simplicidade não excluiria as proporções agradáveis, nem o bom gosto mais adequado à dignidade e às necessidades da ciência. (5)
+Em 2 de março de 1905, durante o Carnaval, um incêndio atingiu a parte antiga do prédio em que estava sediada a faculdade. Os laboratórios de química, de histologia, de medicina legal, de bacteriologia e de anatomia e fisiologia patológica, além da biblioteca e seus 22 mil volumes e da capela dos jesuítas, ficaram inutilizados. O salão nobre, a sala das congregações, o antigo arquivo, os corredores e as escadas também foram seriamente danificados. 
+ 
+Photo Lindemann &Cª. Destruída no incêndio de 1905, a capela era consagrada e ornada com a vida deEstanislau Kostka, padre jesuíta polonês canonizado pelo Papa Bento XIII, em 1726. O retábulo do altar apresentava pinturas que datavam da primeira metade do século XVIII, 1903. Salvador, Bahia / Acervo Arquivo Nacional
+ 
+O sinistro obrigou um projeto para a nova faculdade, encomendado ao arquiteto Victor Dubugras. As obras ficaram a cargo do engenheiro Teodoro Sampaio. O novo prédio foi oficialmente inaugurado no dia 3 de outubro de 1908, data do 1° centenário da Faculdade de Medicina da Bahia.
+O processo de institucionalização da medicina no Brasil teve início nas primeiras décadas do século XIX com a fundação das academias médico-cirúrgicas do Rio de Janeiro (1813) e da Bahia (1815), da Sociedade de Medicina do Rio de Janeiro (1829) e da transformação das academias em faculdades de medicina (1832). 
+Munida desses propósitos, a Faculdade de Medicina da Bahia esteve envolvida nos principais movimentos sociais, a exemplo da Guerra do Paraguai (1864-1870), dando assistência aos soldados feridos e doentes, e da revolta de Canudos (1896-1897), quando estudantes dos cursos médico, farmacêutico e odontológico estiveram em campo apoiando os médicos militares responsáveis pelos hospitais de campanha. Durante o movimento de Canudos, a faculdade de medicina abrigou o hospital Vischow, um dos muitos instalados na cidade de Salvador que prestaram assistência às forças legalistas. Foi nessa ocasião que os sistemas de radioscopia e radiografia, trazidos da Europa pelo médico Alfredo Tomé de Brito, foram utilizados, pela primeira vez no Brasil, para localizar os projéteis nos ferimentos e proceder às cirurgias. Seus professores também tiveram atuação de destaque nas epidemias de febre amarela (1850) e de cólera-morbo (1855) que acometeram a província da Bahia.
+A segunda metade do século XIX inaugurou a penetração da medicina na sociedade, incorporando o meio urbano como alvo de reflexão e prática médica, e a colocação da medicina como apoio científico ao exercício de poder do Estado. A Faculdade de Medicina da Bahia torna-se um espaço para as discussões científicas, bem como para ideias políticas e filosóficas que chegavam do Velho Mundo e, por sua vez, “impulsionavam o progresso da ciência” e as transformações sociais no contexto de um Estado escravocrata e aristocrático. Durante muito tempo, foi a única instituição de curso superior nessa província. Uma elite profissional foi se formando ao longo do Oitocentos com a missão de, por meio de seu saber, contribuir para melhorar as condições de saúde da população.(6)
+Os médicos procuravam mostrar que seu campo de conhecimento poderia servir como instrumento do progresso da civilização, promovendo os meios para combater as causas das más condições de saúde do país e situando seu saber nas mais diversas esferas da vida cotidiana. A aula inaugural da disciplina de terapêutica, proferida pelo médico Antônio Januário de Faria, publicada na Gazeta Médica da Bahia, em 25 de março de 1867, deixa clara a proposta da edificação do saber médico como forma de auferir maior poder de intervenção na cidade e nos costumes de seus habitantes: “A nossa missão”, destinada a “um fim santo, nobre e humanitário”, é “aliviar o infeliz enfermo das angústias da dor”, o que só poderia ser bem cumprido com o “labor incessante dos operários da ciência em favor da humanidade”.(7)
+A elite médica, ao tornar o conhecimento um instrumento de aperfeiçoamento do gênero humano, procurou colocar a medicina ao alcance dos desafios que a saúde pública enfrentava, numa época em que as epidemias provocavam cada vez mais estragos em uma população em franco crescimento. (8)
+Nesse contexto, emerge uma nova política científica, baseada, em grande medida, nas pesquisas experimentais e rejeitando o determinismo racial e climatológico e a ideia de que os habitantes dos trópicos degeneravam irreversivelmente. Uma medicina de cunho social associava os males que acometiam a população baiana à falta de higiene urbana e à péssima qualidade de vida nas habitações coletivas. A interdição de cortiços, por exemplo, não disciplinava os pobres, mas sim provocava o seu deslocamento para áreas sem valor imobiliário. Construíam suas habitações próximo aos locais em que tinham facilidade maior para trabalhar, principalmente nas imediações das feiras e casas de famílias mais abastadas. A circulação desse contingente de pobres no centro da cidade preocupava as autoridades e era motivo de críticas diárias nos jornais, vocalizando o incômodo das elites e direcionando o debate para a criação de políticas de controle social que visavam estabelecer novos costumes. (9)
+Um grupo de médicos acabava, assim, por desafiar a tradição do ensino e da prática médica baseada na reprodução do saber médico europeu, principalmente de origem francesa, dando início a um exercício da medicina que ficou conhecido na Bahia como Escola Tropicalista. Desenvolveram trabalhos sobre as descobertas relacionadas à ancilostomíase, à filariose (elefantíase), ao ainhum (alteração nos dedos do pé), o que contribuiu para a promoção de debates sobre parasitologia e algumas doenças como beribéri, tuberculose, lepra, dracunculose e maculo.(10)
+Da Faculdade de Medicina da Bahia, identificavam-se com as linhas de pensamento tropicalistas Antônio José Alves (pai do poeta Castro Alves e professor de cirurgia), Antônio Januário de Faria (professor de clínica médica), Antônio Pacífico Pereira, seu irmão Manuel Vitorino Pereira e Raimundo Nina Rodrigues. Otto Edward Henry Wucherer, John Ligertwood Paterson e José Francisco da Silva Lima, apontados como fundadores da Escola Tropicalista Baiana, costumam ser considerados os introdutores da medicina experimental no Brasil.(11) Em vez da nosologia (classificação das doenças) abstrata feita da combinação de vários sintomas, classificados em ordens e gêneros como o faziam os naturalistas, os “tropicalistas” observavam a própria moléstia com a sua etiologia esclarecida, acompanhada do seu conjunto de sintomas.
+ 
+Photo Lindemann &Cª. Álbum da Faculdade de Medicina da Bahia. Laboratório de anatomia descritiva, 1903. NIna Rodrigues está de jaleco branco. Salvador, Bahia / Acervo Arquivo Nacional 
+ 
+ 
+Nina Rodrigues desenvolveu estudos anatomopatológicos, dedicando-se à pesquisa sobre o beribéri. Publicou artigos na Gazeta Médica da Bahia sobre a incidência de doenças que mais afligiam os brasileiros e a necessidade da reforma do sistema de saúde naquele estado. (12) Considerando inviável a realização do exercício da medicina segundo aquele modelo médico “tropicalista”, Raimundo Nina Rodrigues afastou-se do grupo em 1897, dirigindo seus estudos para a biossociologia brasileira, na qual o aspecto biológico era entendido como determinante do social. Introduziu em suas pesquisas médicas elementos e categorias das ciências sociais, em particular da antropologia. Sua produção científica foi reconhecida e respeitada devido, em parte, ao pioneirismo nos estudos dedicados à cultura afro-brasileira. De acordo com Julyan Peard, ao enfatizar o estudo sobre os africanos no Brasil, considerando-o central para a melhor compreensão das disciplinas de medicina e de direito, Nina Rodrigues focalizou uma realidade que a intelectualidade baiana preferia ignorar.
+ 
+Os álbuns fotográficos da Faculdade de Medicina da Bahia
+ 
+Acessando o link para as imagens do Álbum da Faculdade de Medicina da Bahia com fotos de Lindemann & C disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Photo Lindemann &Cª. Capa do Álbum da Faculdade de Medicina da Bahia, 1903. Salvador, Bahia / Acervo Arquivo Nacional
+ 
+Acessando o link para as imagens do álbum Faculdade de Medicina da Bahia sem autoria disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Capa do Álbum 1ª Faculdade de Medicina da Bahia, 1903. Salvador, Bahia / Acervo Arquivo Nacional
+ 
+É Nina Rodrigues que figura em ao menos três fotografias do álbum assinado por Lindemann & C. Duas delas o colocam no centro da cena, em atividade, em meio a ossos e órgãos que examina e manipula, enquanto, na sala de dissecções, senta-se a um canto do vasto salão organizado em torno de cinco bancadas ocupadas com cadáveres. Os corpos e órgãos dispostos nos laboratórios de anatomia médico-cirúrgica e de anatomia descritiva davam seguimento à prática da “medicina empírico-racional”, afirmada como disciplina desde a reforma da Universidade de Coimbra e incorporada na fundação da Escola de Cirurgia do Hospital Militar, em 1808. Poucos anos depois, uma série de fascículos publicados trazia descrições anatômicas e é com o professor inglês Johannes Abbot que a prática de dissecação de cadáveres humanos é introduzida de fato no ensino médico no país.(13)
+ 
+Photo Lindemann &Cª. Raimundo Nina Rodrigues (1862-1906) no laboratório de anatomia médico-cirúrgica, 1903. Salvador, Bahia / Acervo Arquivo Nacional
+ 
+Mais do que a existência dos laboratórios, vale refletir sobre a sua exposição em álbum, a composição da cena, o direcionamento do olhar. Em contraste com uma série de ambientes, a exemplo da biblioteca ou da sala da congregação, ausentes de pessoas vivas, os laboratórios exibem cadáveres, órgãos em planos e enquadramentos que os privilegiam sem qualquer mediação visual para o receptor porventura leigo. Ainda que as instalações dos primeiros anos do século XX permanecessem insuficientes para muitos, e certamente para Nina Rodrigues, o álbum respondia às avaliações sobre a faculdade e às necessárias reformas, desde o final do século XIX, quando Rodrigues ingressa no curso de medicina. Um relatório do diretor da instituição, de 31 de janeiro de 1903, admitia a “deficiência com que estão montados os laboratórios”, passível de ser mitigada mediante recursos financeiros, e destacava a instalação elétrica como instrumento de transformação decisiva para o ensino nos laboratórios. Quanto ao ensino prático, dependente de cadáveres, elevou-se a quantidade disponível para 215, em vez dos 187 do ano anterior, “longamente aproveitados por meio de injeções conservadoras”, sendo estes um dos elementos distintivos da modernização da Faculdade de Medicina naquele ano, o que concorre também para reforçar a datação do álbum em 1903. (14)
+Outras áreas da faculdade, enquadradas na tarefa de documentar fotograficamente o ensino e a pesquisa ali desempenhados, reforçam a pesquisa anatômica e os estudos em medicina legal, com a análise de corpos, a exposição dos “desvios da natureza”, os usos da craniometria. Reservado à “medicina legal e toxicologia”, disciplina ministrada por Nina Rodrigues, um lombrosiano, e introdutor da antropologia criminal, o salão, tal como fotografado, concentrava sobre uma mesa meia dúzia de crânios, enquanto no interior de um armário envidraçado, um esqueleto completo mantém-se na vertical, remetendo-nos à obra, de 1555, do médico André Vesale. Professor da Universidade de Pádua, na Itália, Vesale ficou conhecido como o reformador da anatomia, dissecando com as próprias mãos, utilizando o corpo humano para demonstrações, valendo-se de modelos vivos, animais, desenhos e esqueletos, uma referência nos séculos subsequentes.
+Ao fundo desse gabinete, as palavras de Alfred Swaine Taylor (15), autor de um manual de jurisprudência médica publicado na Inglaterra, em 1844, advertem que um médico poderia ser subitamente confrontado em um tribunal com perguntas as quais ele, sentindo-se seguro, “no canto mais isolado do reino”, e durante um longo período de sua prática, nunca considerou importantes. A citação convoca à empiria, à investigação, como exigências para o exercício desse campo da medicina, encimando os crânios enfileirados e o esqueleto humano. Pode-se reconhecer aqui algo da “visão determinista biológica, com vínculos estreitos com a antropologia física do século XIX”, e de expressiva influência no campo da medicina legal, “particularmente nos trabalhos do ‘médico antropólogo” Nina Rodrigues e seus “discípulos”, como destaca Marcos Chor Maio.(16)
+As duas pranchas do museu da faculdade mostram salas despovoadas com vitrines nas quais podemos distinguir corpos – meio tronco e cabeça, pernas. Diferentes mobiliários destinados ao museu guardam partes de cadáveres humanos, aqui, diferentemente, não são esqueletos, conduzindo-nos de volta às salas de anatomia ou ao anfiteatro, imagem em si recorrente na área das ciências da vida. No “anfiteatro 1”, sem nenhuma audiência, sugerindo que uma demonstração irá começar, o olhar é atraído para o corpo exposto sobre uma mesa. A série de corpos, crânios e esqueletos, central nessas fotografias, qualifica esses espaços e nos conduz aos fundamentos da Escola Tropicalista Baiana, presidida pela ideia de experimentação.
+Inseridos na coleção denominada Fotografias Avulsas, os álbuns têm procedência desconhecida, não se tendo registro da trajetória desses dois artefatos, sua história arquivística. Encapado em vermelho, com uma etiqueta em vermelho escuro e letras douradas, o Álbum da Faculdade de Medicina da Bahia (BR RJANRIO O2.0.FOT.491) é composto de 31 fotografias, acompanhadas, em cada página, da marca “Ph. Lindemann & Cº. Largo do Theatro 92. Bahia” e sem indicação da data de produção. Já o conjunto em capa vermelha e letras douradas intitulado “1ª Faculdade de Medicina da Bahia” (BR RJANRIO O2.0.FOT.492) compõe-se de oito fotografias e oito desenhos de fachadas e plantas. Na capa, a data de 3 de outubro 1903, e, da mesma forma, ignora-se sua história arquivística, além de não haver a indicação do fotógrafo ou estúdio responsável. O dia 3 de outubro, data de fundação da Faculdade de Medicina, vinha ao encontro do ano de 1903, quando, como foi dito, a faculdade passa a contar com o sistema de eletricidade, e são apresentados o salão nobre, a sala dos professores e o gabinete do diretor com nova decoração e “embelezamento”, justificando, assim, a edição do álbum que não contém a data, podendo-se, afinal, arriscar que os dois conjuntos possuam o mesmo ano de edição.(17)
+ 
+Salão nobre, ou salão dos atos solenes, decorado por lustres, pelo mobiliário e alfaias, que conferem requinte e beleza. No teto o símbolo da bandeira da Faculdade de Medicina da Bahia formado pelo bordão de Esculápio, entrançado por dois ofídios, ornado por um ramalhete de café e por um ramo de fumo. A escolha da insígnia deu- se em 1826, 1903. Salvador, Bahia / Acervo Arquivo Nacional
+ 
+O conjunto mais extenso e não datado traz a assinatura de Lindemann & Co, ateliê fotográfico de Rodolpho Lindemann, funcionando no largo Castro Alves, 92, em Salvador, anteriormente largo do Teatro, no século XIX. Lindemann, então associado de Guilherme Gaensly, mudou-se para esse endereço em 1894, e esse foi o local e o nome da casa comercial por muitos anos, mesmo após ter passado a outros proprietários. Como indica Boris Kossoy (18), a sociedade com Gaensly dissolveu-se em 1900 e foi admitido no lugar o “seu antigo empregado, sr. Alfredo Borges, constituindo-se a firma social Lindemann & C.” Em 1903, a Lindemann & Co é assim relacionada no Almanak do Estado da Bahia: Administrativo, Indicador e Noticioso (19) e, no ano seguinte, o Correio do Brasil já se refere ao “Sr. Alfredo Leitão Borges, estimado proprietário da photographia Lindemann”(20). Deve-se considerar que as informações obtidas nesses periódicos são instáveis. No mesmo ano, o Almanak Laemmert do estado da Bahia elenca entre “fotógrafos e retratistas” a firma Gaensly & Lindermann na praça Castro Alves, o que perdura por mais quatro anos no mínimo, sabendo-se que a empresa, com tal razão social, não existia mais. Em 1903, ano chave para os álbuns referidos, o Diário de Notícias, publicado na Bahia, traz matéria sobre a Photographia Lindemann & C. situada no número 92 da Praça Castro Alves. Tratado como “o mais antigo da capital”, o estabelecimento teria um sócio residente na Europa encarregado de remeter por todos os vapores “as mais minuciosas notícias de tudo que de novidade vai aparecendo na arte fotográfica”, além de enviar material, garantindo a adoção dos melhoramentos em voga nas capitais europeias. O estúdio oferecia a fototipia, fotogravura, fotogalvanoplastia, platinotipia, e estava apto a “trabalhos fora do ateliê como retratos ou grupos ao ar livre, de colégios, escolas, regatas, festas de igrejas ou profanas, cadáveres e tudo o mais que desejar-se possa”.(21)
+Pode-se presumir que em 1903 o ateliê já estivesse aos cuidados de Alfredo Borges. Ainda que sua direção seja incerta nesse período, tudo indica que contava com equipamentos condizentes e era respeitado, oferecendo uma gama de serviços, entre os quais a fotografia de cadáveres, que continuava a ser uma prática, desde o século XIX, de registro de mortos, por vezes simulando estarem vivos. Dois anos antes, o Diário do Maranhão trazia a notícia de que Gaensly e Lindemann haviam fotografado “uma criança natimorta e hermafrodita, que estava despertando a curiosidade da população e de médicos, dentre eles o professor de medicina legal, o maranhense Nina Rodrigues”.(22)
+Entre os laboratórios mantidos na faculdade, a sala repleta de armários com aves taxidermizadas, algumas ornamentando o topo do mobiliário, como dois pavões e uma ave de rapina, conduzem-nos à origem das coleções de história natural, às viagens e expedições iniciadas no setecentos, aos sistemas de classificação e de nomenclatura em disputa a partir da época moderna. Um dos primeiros fins da botânica foi a medicina que, conjugada à observação e dissecação de seres vivos, tornou frequente a figura do médico naturalista, muitas vezes à frente de gabinetes e coleções de história natural. A partir dessas práticas desejaram responder a questões como a reprodução dos seres vivos, os desvios da natureza, bem como a sua imutabilidade, entre outros dilemas que se impuseram à ciência dos séculos XVIII e XIX. Inseparáveis de tais coleções, as viagens configuram uma das etapas da sua formação, nas quais se previa uma série de procedimentos, do diário aos desenhos, a conservação dos espécimes recolhidos e, tão importante quanto, a identificação, classificação e atribuição dos nomes científicos e vulgares, bem como dos usos possíveis. O acervo reunido no laboratório da Faculdade de Medicina da Bahia continha, muito provavelmente, peças doadas pelo viajante francês Jean-Baptiste Douville, em 1835. O destino do “Gabinete Douville” era o Liceu Provincial, um projeto da administração do governo da cidade do Salvador, em funcionamento efetivo em 1837, mas sempre em contraponto às coleções e aos projetos da faculdade. Embora tendo conhecido um período de progresso, o liceu passaria por um esfacelamento nos anos 1870, abrindo caminho para o intercâmbio de coleções com a Faculdade de Medicina.(23)
+Na segunda metade do século XIX, as coleções de história natural vinculam-se especialmente à medicina tropical, retraçando o eixo entre as doenças e o meio natural do Novo Mundo. O processo deflagrado pela descoberta de animais invertebrados, “principalmente insetos, como hospedeiros intermediários de vermes, protozoários e outros microrganismos causadores de doenças em homens e animais passou a direcionar o olhar dos coletores para grupos de animais até então negligenciados pelos museus de história natural”(24). Assim, a natureza, a partir de seus vetores, começa a ser encarada como um depósito de doenças tipicamente tropicais, sendo exemplares sob esse aspecto as trajetórias do Instituto Oswaldo Cruz e do Museu Nacional na construção da disciplina medicina tropical, como estabelece Magali R. Sá. Qualquer que fosse o lugar ocupado pelo Laboratório de História Natural nos debates em torno da relação entre natureza e doença, com seus armários e vultos que guardavam a memória dos séculos XVIII e XIX, sua representação no conjunto analisado impõe o debate que atravessou a medicina nos anos 1900 no Brasil.
+Um dispositivo ótico em si, o álbum documenta a própria relação entre a fotografia e a medicina, seja pelos registros obtidos ou, mais especificamente, pela utilização dessa técnica no campo da medicina. Em seus primórdios, sobretudo a partir do daguerreótipo, foram muitas as dificuldades para aplicação do registro fotográfico à pesquisa científica de modo geral, visto que suas limitações, como manejo da aparelhagem, sensibilização das placas, tempo de exposição etc., afetavam a produção desses formatos. Ainda assim, lembra James Roberto Silva, a invenção foi acolhida com entusiasmo, possibilitando maior exatidão, superior à do desenho: “ela preenchia uma espécie de vácuo epistemológico das ciências, representado pelos preceitos de objetividade que elas impunham a si mesmas”(25). A incorporação da técnica fotográfica no ensino e na prática médica consolida-se na edificação, cujo letreiro “Ateliê Fotográfico”, identifica a casa, datada com o ano de 1903. O ateliê foi tema da coluna dedicada à Faculdade de Medicina, no Correio do Brasil de 1º de setembro de 1903, sobre o contrato para sua construção, e, no mesmo ano, em matéria sobre a comemoração, do 71° aniversário da instituição. O jornal descreveu, além das solenidades e da demonstração da eletricidade e outros equipamentos, o advento de um estúdio “de primeira ordem, para o qual recebeu já uma excelente máquina e profusão de chapas, papéis sensíveis, substâncias químicas, etc., etc.”(26)
+ 
+ Álbum da Faculdade de Medicina da Bahia. Ateliê fotográfico, 1903. Salvador, Bahia / Acervo Arquivo Nacional
+ 
+A descoberta, revolucionária, de raios que atravessavam objetos e deixavam impressões em chapas fotográficas – o raio X, em 1895, pelo cientista alemão Wilhelm Conrad Röentgen (27)– promovia a técnica fotográfica em mais uma aplicação científica. Em julho de 1903, a Gazeta da Bahia, órgão editado pelos professores da Faculdade da Bahia fundado em 1866, publica o “Estudo sintético da exploração da clínica radiológica” pelo dr. João A. G. Froes. Nesse artigo são listados os principais aparelhos empregados, sendo interessante anotar a “câmara escura para os trabalhos de radioscopia […] indispensável para o desenvolvimento das provas radiográficas, devendo ser modelada pelas câmaras escuras da fotografia comum e provida de reveladores, fixadores, etc.”, e o item dedicado ao “material necessário para revelar e fixar as placas, bem como papéis sensíveis para obtenção das fotocópias, de que estão aqui diversos exemplares inteiramente originais, alguns dos quais representam casos autênticos da luta de Canudos em 1897”.(28)
+A rápida assimilação do raio X na medicina pode ser atestada pela existência do Gabinete Rotgens, espaço de uma das fotografias que formam o álbum anônimo de 1903. A sala, que comporta uma estrutura aparentemente dedicada à câmara obscura, exibe diversos aparelhos e medidores. Dois homens, possivelmente médicos, encaram a objetiva, sentados a uma mesa repleta de objetos, como microscópios, e acoplada a bobinas e outros dispositivos. É de se notar a imagem emoldurada na parede, dos ossos da mão, obtida pelo raio X – o mesmo teste que Rotgens fez com a mão de sua esposa, confirmando suas hipóteses.
+ 
+Álbum da Faculdade de Medicina da Bahia. Gabinete Rotgen, 1903. Salvador, Bahia / Acervo Arquivo Nacional
+ 
+No início do século XX, o estabelecimento de novos padrões de comportamento e hábitos de higiene incluiu em seu escopo a prática do parto hospitalar ou a medicalização do parto, concorrendo para a construção da Maternidade Climério de Oliveira, prevista desde a reforma do ensino médico de 1854, a maternidade-escola da Faculdade de Medicina da Bahia. Grande parte das mulheres continuava a preferir a assistência de parteiras, uma vez que permitir que uma mulher fosse cuidada por um médico em um lugar fora da esfera doméstica era visto com desconfiança e certa reprovação. Apenas mulheres mais pobres, indigentes, prostitutas e mães solteiras recorriam às santas casas.(29) Na tentativa de romper o ceticismo, estabelecer novos padrões para a prática de partos em hospitais e diminuir a distância entre médicos e parteiras na atividade da obstetrícia, com frequência se permitia a presença de parteiras no centro cirúrgico acompanhando os procedimentos médicos. (30) A maternidade Climério Cardoso de Oliveira, em homenagem ao professor de clínica obstétrica e ginecológica, só se concretizou em 30 de outubro de 1910, inaugurada em terreno doado pela Santa Casa de Misericórdia, no atual bairro de Nazaré, ao lado do Hospital Santa Isabel. Sua edificação sensibilizou as camadas mais abastadas, que adotaram a causa como um benefício social. Em 1903, ano em que tiveram início as obras, fundou-se um comitê de senhoras, que reunia mulheres da sociedade, para montar estratégias de arrecadação de fundos. Dentre as iniciativas destacou-se a exibição de uma série de peças teatrais, no Teatro Politeama, cujo tema era “A Maternidade”, de autoria do próprio dr. Climério de Oliveira.
+Entre ambientes que remetem aos espaços privilegiados da ciência moderna, como o museu, o anfiteatro, laboratórios, gabinetes e a biblioteca, os álbuns da Faculdade de Medicina abrem também portas e janelas para a cidade. Assim, na entrada da biblioteca, a Fotografia Lindemann incluiu um homem negro e três meninos, um deles descalço, que posam para as lentes. No mesmo álbum, na imagem de abertura, “Faculdade de Medicina e Praça XV de Novembro”, no entorno da praça gradeada, temos vultos da gente que passa carregando volumes, outros conversando nas calçadas, um pouco indiscerníveis, pontuando o sítio histórico do antigo Colégio dos Jesuítas. 
+Em “Colocação da pedra da maternidade”, a fotografia dá a ver uma imagem sobre a qual podemos pensar se constitui contraste ou complemento. No terreno destinado, alinham-se os convidados para a solenidade, em trajes formais. Um homem carrega o estandarte e a faixa da Faculdade de Medicina da Bahia, enquanto a única mulher presente interrompe a homogênea linha masculina. À esquerda, quebrando a unidade do evento, poucos homens (que podem ser trabalhadores da obra) e crianças, todos negros, roupas claras e gastas. Apenas quinze anos depois da abolição formal da escravidão, as ruas e a população pobre de Salvador dos primeiros anos do século XX confrontam o saber médico e a República.
+ 
+Prevista desde a reforma do ensino médico de 1854, a maternidade-escola da Faculdade de Medicina da Bahia só se concretizou em 30 de outubro de 1910, inaugurada em terreno doado pela Santa Casa de Misericórdia, no atual bairro de Nazaré, ao lado do Hospital Santa Isabel, com o nome de Maternidade Climério Cardoso de Oliveira, em homenagem ao professor de clínica obstétrica e ginecológica, 1903. Salvador, Bahia / Acervo Arquivo Nacional
+ 
+ 
+(1) Cf. Escola de Cirurgia da Bahia. Disponível em:
+https://dichistoriasaude.coc.fiocruz.br/wiki_dicionario/index.php/ESCOLA_DE_CIRURGIA_DA_BAHIA.
+(2) Teixeira, Rodolfo. Memória histórica da faculdade de medicina do Terreiro de Jesus (1943-1995). 3. ed. Salvador: EDUFBA, 2001. Disponível em: https://repositoriodev.ufba.br/bitstream/ri/16773/1/memoria-historica-faculdade-medicina.pdf.
+(3) Santos, Adailton Ferreira dos. A Faculdade de Medicina Bahia: percurso e reforma do ensino no século XIX. Disponível em:
+https://histedbrantigo.fe.unicamp.br/acer_histedbr/seminario/seminario8/_files/YOZZeNJy.pdf.
+(4) Brito, Alfredo. Memória histórica da Faculdade de Medicina da Bahia no ano lectivo de 1900 a 1901. Rio de Janeiro: Imprensa Nacional, 1904, p. 35. Disponível em: https://www2.senado.leg.br/bdsf/bitstream/handle/id/595776/000134488_Memoria_historica_Faculdade_Medicina_Bahia.pdf?sequence=1&amp;isAllowed=y.
+(5) Cerqueira, Alexandre. Memória histórica da Faculdade de Medicina da Bahia, 1904, p. 44. Disponível em: https://repositoriodev.ufba.br/handle/ri/26537?locale=pt_BR.
+(6) Pela Faculdade de Medicina da Bahia passaram nomes de reconhecimento internacional, entre eles Juliano Moreira (1886-1891), introdutor do pensamento de Freud no Brasil, e Nise da Silveira (1921-1926), discípula de Jung e que contribuiu para a humanização de métodos psiquiátricos. Em 1887, agaúcha Rita Lobato Velho Lopes (1866-1954) tornou-se a primeira mulher brasileira e a segunda latino-americana a obter diploma de médica, após defender a tese Paralelo entre os métodos preconizados na operação cesariana nessa faculdade.
+(7 ) Em seu primeiro número, em 10 de julho de 1866, foram publicados os objetivos desse periódico: “O nosso propósito é simplesmente o seguinte: concentrar, quanto for possível, os elementos ativos da classe médica, a fim de que, mais unidos e fortificando-se mutuamente, concorram para aumentar-lhe os créditos, e a consideração pública; difundir todos os conhecimentos que a observação própria ou alheia nos possa revelar; acompanhar o progresso da ciência nos países mais cultos; estudar as questões que mais particularmente interessam ao nosso país; e pugnar pela união, dignidade e independência da nossa profissão.” Escola Tropicalista Baiana. Disponível em: https://dichistoriasaude.coc.fiocruz.br/wiki_dicionario/index.php/ESCOLA_TROPICALISTA_BAIANA.
+(8) Eugênio, Alisson. A medicina ilustrada e sua recepção pelos médicos que atuavam no Brasil do século XIX. Revista de História, Juiz de Fora, v. 20, n. 2, p. 163-190, 2015.
+(9) Amaral, Marivaldo Cruz do. Mulheres, imprensa e higiene: a medicalização do parto na Bahia (1910-1927). História, Ciências, Saúde – Manguinhos, Rio de Janeiro, v. 15, n. 4, p. 927-944, out.-dez. 2008. Disponível em: https://www.scielo.br/j/hcsm/a/ky5LR4DM8d9MsCQJ3rvnfJq/?format=pdf&amp;lang=pt.
+(10) Cf. Escola Tropicalista Baiana. Disponível em:
+https://dichistoriasaude.coc.fiocruz.br/wiki_dicionario/index.php/ESCOLA_TROPICALISTA_BAIANA.
+(11) Para dados biográficos sobre esses médicos, acessar https://dichistoriasaude.coc.fiocruz.br/.
+(12) Raimundo Nina Rodrigues foi diretor da Gazeta Médica da Bahia de 1890 a 1893.
+(13) Talamoni, Ana Carolina Biscalquini; Bertolli Filho, Claudio. A anatomia e o ensino de anatomia no Brasil: a escola boveriana. História, Ciências, Saúde – Manguinhos, Rio de Janeiro, v. 21, n. 4, out.-dez. 2014, p. 1.301-1.322. Disponível em: https://www.scielo.br/j/hcsm/a/VQ7BzLwXSrcbjpsCyzKmb9L/.
+(14) Apud Britto, Antonio Carlos Nogueira. Nota histórica: a Faculdade de Medicina da Bahia na época de Nina Rodrigues. Gazeta Médica da Bahia, 76, 2006, Suplemento 2:S63-S79. Disponível em: http://gmbahia.ufba.br/index.php/gmbahia/article/view/310/300.
+(15)“A medical practitioner who thinks himself secure in the most retired corner of the kingdom is liable to find himself suddenly summoned as a witness on a trial to answer questions which pehaps during a long period of practice he had been led to regard as unimportant.”
+(16) Maio, Marcos Chor. Raça, doença e saúde pública no Brasil: um debate sobre o pensamento higienista do século XIX. In: Monteiro, S.; Sansone, L. (org.). Etnicidade na América Latina: um debate sobre raça, saúde e direitos reprodutivos [online]. Rio de Janeiro: Editora Fiocruz, 2004, p. 14-44. Disponível em: http://books.scielo.org/id/dcc7q/epub/monteiro-9788575416150.epub.
+(17) Martin, Adriana Monica; Righi, Roberto. Memórias da Faculdade de Medicina da Bahia para o patrimônio das Ciências Médicas no Brasil. Cadernos de História da Ciência, v. 12, n. 2, p. 74-108, 2016.
+(18)Kossoy, Boris. Dicionário histórico-fotográfico brasileiro. São Paulo: Instituto Moreira Salles, 2002, p.208.
+(19) Photographias. Disponível em:
+https://memoria.bn.br/DocReader/DocReader.aspx?bib=829536&pesq=%22Lindemann&hf=memoria.b
+n.br&amp;pagfis=1843.
+(20) Necrologia. Disponível em:
+https://memoria.bn.br/DocReader/DocReader.aspx?bib=721069&pesq=%22Lindemann&hf=memoria.b
+n.br&amp;pagfis=561.
+(21) Cf. Photographia Lindemann &amp; C. Disponível em:
+https://memoria.bn.br/DocReader/DocReader.aspx?bib=098167&pesq=%22Lindemann%22&pasta=ano
+%20190&amp;hf=memoria.bn.br&amp;pagfis=105.
+(22) Apud Wanderley, Andrea. Cronologia de Guilherme Gaensly (1843-1928). In: Brasiliana Fotográfica.
+Disponível em: https://brasilianafotografica.bn.gov.br/?tag=guilherme-gaensly.
+(23) Cf. Cerávolo, Suely Moraes; Rodriguez, Mariana Cerqueira. Colecionismo na Bahia oitocentista: o Gabinete de História Natural (1835-1889). Revista Brasileira de História da Ciência, Rio de Janeiro, v. 11, n. 2, p. 197-212, jul.-dez. 2018. Disponível em: https://rbhciencia.emnuvens.com.br/revista/article/view/87/60 .
+(24) Sá, Magali Romero. A ciência, as viagens de coleta e as coleções: medicina tropical e o inventário da história natural na Primeira República. In: Heizer, Alda; Videira, Antônio Augusto P. (org.). Ciência, civilização e república nos trópicos. Rio de Janeiro: Mauad X; Faperj, 2010, p. 213.
+(25) Silva, James Roberto. Doença, fotografia e representação: revistas médicas em São Paulo e Paris, 1869-1925. São Paulo: Edusp, 2009, p. 111.
+(26) Correio do Brasil, Bahia, 5 de outubro de 1903. Disponível em:
+https://memoria.bn.gov.br/DocReader/DocReader.aspx?bib=721069&pesq=Atelier%20Photographico&
+pasta=ano%20190&amp;hf=memoria.bn.gov.br&amp;pagfis=137.
+(27) Nossa capa: Wilhelm Röntgen e a criação dos raios X. Jornal Brasileiro de Patologia e Medicina
+Laboratorial, v. 45, n. 1, fev. 2009. Disponível em: https://doi.org/10.1590/S1676-24442009000100001.
+(28) Lição professada na Faculdade de Medicina da Bahia pelo dr. João A. G. Froes, substituto da seção médica. Gazeta Médica da Bahia, julho 1903, v. XXXV, n. 1. Disponível em:
+https://memoria.bn.gov.br/DocReader/docreader.aspx?bib=165646&amp;pesq=R%C3%B6entgen&amp;pagfis=17572. Coincide com o artigo publicado a versão contemporânea sobre o uso da radiologia, em 1897, pelo professor Alfredo Brito (1863-1909), da Faculdade de Medicina da Bahia, que realizou na província “a primeira radiografia no campo de batalha, durante a Guerra de Canudos, para localizar projéteis de arma de fogo nos combatentes. Foram realizadas 98 radiografias e radioscopias em 70 feridos”. Cf. A origem da radiologia no Brasil, segundo Aristides Negretti. Conter, 28 de outubro de 2014. Disponível em: https://conter.gov.br/site/noticia/01-nossa-historia#:~:text=%E2%80%9CEm%201897%2C%20o%20professor%20Alfredo,arma%20de%20fogo%20nos%20combatentes.
+(29)Mott, Maria Lúcia. Assistência ao parto do domicílio ao hospital (1830-1960). Projeto História, v. 25, 2002, p. 198. Disponível em https://revistas.pucsp.br/index.php/revph/article/view/10588/7878.
+(30) Amaral, M. C., op. cit., p. 932.
+ 
+*Claudia Beatriz Heynemann é historiadora do Arquivo Nacional
+ Maria Elizabeth Brêa Monteiro é antropóloga do Arquivo Nacional
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/12999` — `itens/20.500.12156.1_12999/`
+- `20.500.12156.1/12980` — `itens/20.500.12156.1_12980/`
+- `20.500.12156.1/13009` — `itens/20.500.12156.1_13009/`
+- `20.500.12156.1/12976` — `itens/20.500.12156.1_12976/`
+- `20.500.12156.1/12995` — `itens/20.500.12156.1_12995/`
+- `20.500.12156.1/13010` — `itens/20.500.12156.1_13010/`
+- `20.500.12156.1/12979` — `itens/20.500.12156.1_12979/`
+- `20.500.12156.1/13015` — `itens/20.500.12156.1_13015/`
+- `20.500.12156.1/13011` — `itens/20.500.12156.1_13011/`
+- `20.500.12156.1/13013` — `itens/20.500.12156.1_13013/`
+
diff --git a/wordpress/36755-luzes-da-impressao-oficinas-tipograficas-nas-antigas-fotografias-de-sao-paulo.md b/wordpress/36755-luzes-da-impressao-oficinas-tipograficas-nas-antigas-fotografias-de-sao-paulo.md
new file mode 100644
index 0000000..1a27945
--- /dev/null
+++ b/wordpress/36755-luzes-da-impressao-oficinas-tipograficas-nas-antigas-fotografias-de-sao-paulo.md
@@ -0,0 +1,74 @@
+---
+id: 36755
+url: "https://brasilianafotografica.bn.gov.br/?p=36755"
+titulo: "Luzes da impressão – Oficinas tipográficas nas antigas fotografias de São Paulo"
+autor: "Andrea Wanderley"
+data: "2024-10-16T14:00:01+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/1075"]
+fetched_at: "2026-09-10T10:18:07.463Z"
+---
+
+# Luzes da impressão – Oficinas tipográficas nas antigas fotografias de São Paulo
+
+A ideia da realização deste artigo foi de Roberta Mociaro Zanatta, Supervisora do Núcleo de Catalogação do Instituto Moreira Salles e uma das gestoras da Brasiliana Fotográfica, quando o doutor em Design, Fabio Mariano Cruz Pereira, achou a fotografia “Rua Direita”, produzida por Frédéric Manuel (1868-1961), no acervo da Brasiliana Fotográfica e pediu autorização para utilizá-la em uma publicação que ele havia escrito em conjunto com as docentes Priscila Lena Farias (FAU USP, Brasil) e Emanuela Bonini Lessing (Università IUAV di Venezia, Itália). Entrei em contato com Fabio e combinamos o tema que resultou no texto, escrito por ele, “Luzes da impressão – Oficinas tipográficas nas antigas fotografias de São Paulo”, com destaque para a referida imagem, pertencente à Biblioteca Nacional, uma das instituições fundadoras do portal. Publicação, ao final do artigo, de um brevíssimo perfil do francês Frédéric Manuel, autor da foto, escrito por Andrea C. T. Wanderley, editora e pesquisadora do portal.
+Luzes da impressão
+Oficinas tipográficas nas antigas fotografias de São Paulo
+Fabio Mariano Cruz Pereira*
+ 
+Frédéric Manuel. Rua Direita, 1906. São Paulo, SP / Acervo FBN
+ 
+ 
+Em 1906, a Rua Direita, uma das mais importantes do centro histórico da cidade de São Paulo, foi capturada pelo fotógrafo Frédéric Manuel (1868-1961) em uma chapa seca de gelatina e prata. A captura retrata o lado de numeração par da rua, na direção da igreja de Santo Antônio, que ainda hoje se encontra de frente para a atual Praça do Patriarca José Bonifácio. A captura foi realizada nas imediações do escritório[1] da antiga Tipografia Duprat & Cia, na altura do então número 14, e que se apresenta em primeiro plano.[2]
+São poucas as fontes de informações a respeito de Frédéric Manuel em São Paulo. O historiador Eric Lemos recuperou alguns dados a respeito desse imigrante francês que produziu imagens seriadas pelo interior paulista no início do século XX, fornecendo conteúdo para a produção de impressos como o Guia Levi (que aparece anotado sobre a fotografia da Rua Direita).
+“Transitando entre a pintura e a fotografia, Frédéric Manuel, francês nascido em Paris, chegou ao Brasil durante a década de 1890, estabelecendo-se no Rio de Janeiro para atuar na Companhia Photographica Brazileira de Juan Gutierrez. Transferiu-se posteriormente para São Paulo, onde trabalhou no Estabelecimento Gráfico V. Steidel, manteve ateliê fotográfico na antiga rua Olinda (atual rua João Guimarães Rosa), na Consolação, e permaneceu como fotógrafo do Liceu de Artes e Ofícios de São Paulo até 1940″ (Lemos, 2022,  p. 60).
+A Tipografia Duprat & Cia faz parte do levantamento realizado pela equipe de pesquisa ligada ao projeto Tipografia Paulistana, coordenado pela Docente Priscila Farias, na Faculdade de Arquitetura e Urbanismo da Universidade de São Paulo (FAU USP).[3] Tal projeto tem ajudado a coletar sistematicamente informações preciosas sobre as oficinas tipográficas que existiram entre 1827 e 1927 – período que corresponde aos primeiros cem anos de impressão na cidade.
+A Tipografia Duprat & Cia teve seu início em 1902, depois de suceder ao estabelecimento gráfico da Companhia Industrial de São Paulo que era uma sociedade anônima que atuava em vários ramos da indústria, desde a fabricação de fósforos no bairro da Vila Mariana, compra e venda de terrenos na capital e em Santo Amaro, administração e financiamento de estabelecimentos industriais, construção de imóveis de habitação, estradas de ferro, usinas etc., passando também pela produção de impressos.
+A Tipografia da Companhia Industrial de São Paulo vinha de uma sucessão ainda mais antiga, quando adquiriu, por volta de 1890, o material tipográfico da antiga oficina Ao Livro Verde, de Jorge Seckler, que por sua vez foi um importante impressor alemão estabelecido em São Paulo no século XIX e que havia adquirido, por volta de 1862, a oficina de encadernação de Hermann Knoesel. Seckler foi o responsável por produzir impressos importantes que circularam na São Paulo oitocentista, entre eles a longeva série de almanaques comerciais paulistas,[4] hoje dispersos em diferentes instituições arquivísticas, coleções particulares e bibliotecas de obras raras.[5]
+Detenho-me um pouco mais sobre a interessante sucessão de oficinas tipográficas, fenômeno que envolvia não apenas o fortalecimento das redes de contato entre os capitalistas do período como também, do ponto de vista material, a transferência e continuidade de diversos estilos de letra adquiridos e mantidos por diferentes gráficos ao longo dos anos. São exemplos a Typographia Pauperio que deu origem à Cardozo, Filho & Motta; a Espindola, Siqueira & Cia, que deu origem à Typographia Siqueira e à Casa Espindola; e também a M. L. Bühnaeds & Cia que deu origem à Weiszflog Irmãos.
+As três sucessões ocorridas desde o antigo encadernador Hermann Knoesel, passando por Jorge Seckler, e depois a Companhia Industrial de São Paulo, até finalmente culminar na formação da Duprat & Cia, remontam a uma história de quase meio século. A busca por um passado glorioso, validado pela experiência de antigos mestres tipógrafos e encadernadores na cidade, parece ter motivado os proprietários da Duprat & Cia a se orgulhar de um passado ao qual acreditavam pertencer, a ponto de se identificarem em seus impressos (e também na fachada de sua oficina na Rua 25 de Março) como uma “Casa fundada em 1850” em pleno início do século XX. Esse legado que os irmãos Duprat não hesitavam enaltecer, certamente tinha que ver com os estilos de letra que atravessaram décadas através do papel e da solidez metálica dos tipos, garantindo uma certa aparência a impressos produzidos por diferentes empresas.
+Gostaria de convidar o leitor a fixar, por um momento, o olhar na fotografia de Frédéric Manuel para então forçar a imaginação a fim de se colocar em uma época onde não se podia consultar as notícias em um smartphone. Não havia websites ou redes sociais; aliás, a luz elétrica ainda era uma novidade. Quase ninguém possuía carro ou telefone. E também não era possível morar tão longe do ambiente de trabalho, pois os sistemas de transporte público eram limitados e operavam em uma escala muito menor em relação àquela que nos habituamos nos contextos mais recentes. Imaginando-se nessa época, é fácil compreender a importância dos serviços criados para atender às necessidades de comunicação. Os correios eram mais que um serviço de remessa de documentos, eram, pois, um meio de comunicação pessoal cujas mensagens podiam levar dias para alcançar o receptor – sem contar que boa parte da população não sabia ler e escrever, e ainda não havia sido inventada a mensagem de áudio.
+É nesse contexto em que as antigas oficinas tipográficas atuavam, fornecendo impressos que circulavam nos mais diversos espaços sociais, facilitando que as notícias chegassem a quem de direito e permitindo que as letras impressas tivessem os destinos mais inesperados. Comunicar novas regras em uma cidade que, ainda tão provinciana, buscava consolidar os interesses de uma recém-instaurada república, reclamava um sistema robusto e eficiente de comunicação local. Não foi, portanto, à toa que as oficinas tipográficas se espalharam em números vultosos pela cidade de São Paulo a partir da última década do século XIX (Pereira e Farias, 2021, p. 28).
+Quando Frédéric Manuel flagrou o aspecto da famosa Rua Direita, a Duprat & Cia contava com apenas quatro anos de atividade. Seus proprietários eram os irmãos Duprat, naturais de Recife (PE). Um deles, Alfredo, foi o responsável pela assinatura, em 31 de março de 1902, que selou o registro da nova empresa frente à prefeitura[6]; o segundo irmão, Raymundo, também conhecido como Barão de Duprat (1863-1926), foi ninguém menos que um destacado vereador de São Paulo e, alguns anos depois, o segundo prefeito da cidade (entre 1911 e 1914), e que já havia trabalhado como contador na antiga Companhia Industrial de São Paulo – dona da tipografia que a Duprat & Cia veio a suceder. O leitor atento irá presumir facilmente que, para os irmãos Duprat, o investimento no setor gráfico se ancorava em alicerces sólidos, desde aqueles nobiliárquicos às influências de ordem política. Não à toa a Duprat & Cia existiu por cerca de 35 anos. Ao longo desse período, podemos destacar ao menos dois momentos muito importantes. O primeiro aconteceu provavelmente em meados dos anos 1910, quando a empresa buscou um novo reposicionamento no centro comercial de São Paulo, mudando seu escritório para uma região mais próxima da Igreja da Sé (mas ainda na Rua Direita). Naquele momento, a oficina já dispunha de um imponente edifício instalado em frente à região alagadiça da 25 de Março, onde operavam modernas máquinas elétricas. Propuseram, então, um nome comercial: inicialmente “Companhia Graphica Paulista Duprat”, e, posteriormente, Casa Duprat, grafia que se manteria pelo menos até o início da década de 1930. O segundo momento importante se deu após a morte de Raymundo Duprat em 1926, quando, alguns anos depois, a empresa anunciou sua união com a Casa Mayença, dos irmãos Paternostro, ocorrida provavelmente por volta de 1929. A falência definitiva da empresa seria decretada apenas em 1937, sob a firma societária Duprat & Filhos, e quando instalada no número 28 da Rua de São Bento.[7]
+O estudo de estabelecimentos comerciais e fabris por meio de fotografias antigas se insere em uma prática de pesquisa que se utiliza do testemunho fotográfico como fonte primária. Posso citar alguns exemplos interessantes. Um deles é o trabalho do historiador Carlos José Ferreira dos Santos, que, através do exame de registros fotográficos antigos, identificou a presença significativa de carroceiros atuantes na cidade de São Paulo nos primeiros anos do período republicano (Santos, 2008: 139). Outro trabalho interessante é o da professora de sociologia Fraya Frehse, quando, a partir do contato com os registros fotográficos de Militão de Azevedo, realizados no século XIX, deteve-se nas características de animais, veículos e agentes sociais integrados ao ambiente urbano daquela época. Segundo a autora, as fotografias podem ser consideradas “documentos visuais de um imaginário específico de época, do qual o fotógrafo é, sem saber, porta-voz” (Frehse, p. 54).
+Por meio do contato com a produção fotográfica realizada no início do século XX, podemos reconhecer a presença de diversas empresas de impressão espalhadas pela cidade de São Paulo, seus endereços, porte físico, relação com o entorno imediato, movimentação de possíveis clientes etc., quase sempre identificadas pelos letreiros que foram instalados em suas fachadas. A escala desses letreiros é curiosa, pois, em muitos casos, como no exemplo da foto em questão, o letreiro se apresenta em uma dimensão mais indicada para longas distâncias. Apesar da Rua Direita não ser muito larga e tampouco estar inserida em posição mais alta em relação às demais ruas, o tamanho do letreiro da oficina parece resultar de uma escolha mais retórica que efetivamente funcional.
+O fato de oficinas como a Duprat & Cia instalarem, em suas fachadas, letreiros de grande escala nos revela pelo menos duas coisas importantes sobre a época: a primeira delas é que havia quem fizesse letreiros em grande escala – profissionais ainda pouco conhecidos dos estudos sobre a história dos ofícios urbanos; a segunda é que havia algum interesse em se comunicar com ruas mais distantes, muitas vezes para além do centro comercial, sugerindo que o endereço físico das tipografias eram determinantes nas relações comerciais estabelecidas no campo gráfico local, isto é, o espaço das oficinas tipográficas exercia uma função agregadora, reunindo impressores, artistas, clientes, fornecedores, carroceiros etc.
+As antigas oficinas tipográficas brasileiras são ainda pouco conhecidas em nossa história. Embora muito do que elas tenham produzido ainda circule entre nós (em sua maioria livros), restaram poucas informações sobre essas empresas, suas formas de identificação e principalmente sobre os operários que elas contratavam. São parte de um grupo de empresas cuja atividade principal se tornou obsoleta devido à eficiência de outros sistemas produtivos que surgiram ao longo do tempo. Salvo algumas exceções de oficinas que ainda operam de modo didático ou experimental com vistas à revalorização da tipografia como sistema de composição e impressão de textos e imagens.[8]
+Gostaria de encerrar esse breve ensaio ressaltando a importância das coleções fotográficas para um melhor entendimento sobre o nosso passado. A Brasiliana Fotográfica desenvolve um trabalho notável para a pesquisa histórica no Brasil, ao lidar com o desafio diário de preservar e difundir registros do passado. Iniciativas como essa permitem a produção de conhecimento tanto a partir da fotografia quanto sobre a fotografia e merecem a nossa mais sincera admiração.
+ 
+[1] Era comum que as tipografias do período tivessem dois endereços: o do “escritório de representação” (às vezes denominado “loja”), geralmente instalado no centro comercial; e o da “oficina” (ou “depósito”), geralmente instalada em uma região mais afastada do centro comercial, onde normalmente eram realizadas as atividades de composição e impressão.
+[2] O mesmo prédio aparece em outra fotografia, de autoria desconhecida, também sob a custódia da Brasiliana Fotográfica, com a informação de que o conjunto arquitetônico fora demolido em 1909. Ver: http://acervo.bndigital.bn.br/sophia/index.asp?codigo_sophia=87209.
+[3] Ver: https://fau.usp.br/tipografiapaulistana/
+[4] A oficina de Jorge Seckler também foi a responsável pela impressão, em 1890, dos Estatutos da Companhia Industrial de São Paulo – empresa que, no mesmo ano, a sucedeu (Companhia Industrial de S. Paulo, 1890). Tal estatuto encontra-se arquivado no depósito relacionado ao 1º Cartório de Notas de São Paulo, custodiado pelo Arquivo Público do Estado de São Paulo, cx. 10309, nº 342.
+[5] Para mais informações sobre Jorge Seckler, ver: Farias e Onoda (2015).
+[6] Como registrado na página 1.545 do livro Responsabilidades de Oficinas Tipográficas (1899-1907), vol. II, custodiado pelo Arquivo Histórico Municipal de São Paulo.
+[7] As informações sobre os últimos anos da Duprat & C. foram recuperadas de antigas edições do Correio Paulistano: 18 mai 1926 (p. 4); 26 fev 1929 (12); 10 jun 1930 (p. 5); 14 dez 1937 (p. 13).
+[8] Algumas dessas iniciativas estão relatadas em pelo menos duas importantes publicações. A primeira é o ensaio que nos traz uma reflexão sobre os interesses atuais na antiga tipografia, tendo como foco o contexto italiano (Lessing, Bulegato e Farias, 2019), a segunda é o livro organizado pelas professoras Ana Utsch e Marina Gravier com relatos que discutem diferentes iniciativas de preservação do que poderíamos chamar de “patrimônio gráfico” tendo como foco os países latino-americanos (Utsch e Gravier, 2019).
+ 
+* Fabio Mariano Cruz Pereira é doutor em Design pela Universidade de São Paulo, Brasil, e pela Universitá IUAV de Veneza, Itália. É designer gráfico e pesquisador do Museu Paulista da Universidade de São Paulo.
+ 
+ Referências:
+COMPANHIA INDUSTRIAL DE S. PAULO. Estatutos da Companhia Industrial de São Paulo. São Paulo: Typographia a Vapor de Jorge Seckler & Comp., 1890.
+CORREIO PAULISTANO. Edições de: 18 mai 1926 (p. 4); 26 fev 1929 (12); 10 jun 1930 (p. 5); 14 dez 1937 (p. 13). Biblioteca Nacional Digital. Disponíveis em: https://memoria.bn.gov.br/hdb/periodico.aspx. Acessos em 11 jul 2024.
+FARIAS, P. L.; ONODA, M. A.; Letras toscanas no repertório tipográfico de Jorge Seckler (1883-1895). In: SPINILLO, C. G.; FADEL, L. M.; SOUTO, V. T.; SILVA, T. B. P.; CAMARA, R. J. (Eds). Anais do 7º Congresso Internacional de Design da Informação | CIDI 2015 [Blucher Design Proceedings, num.2, vol.2]. São Paulo: Blucher, 2015.
+FREHSE, Fraya. O começo do fim da São Paulo caipira. In: FERNANDES JUNIOR, Rubens; BARBUY, Heloisa; FREHSE, Fraya. Militão Augusto de Azevedo. São Paulo: Cosac Naify, p. 50-73, 2012.
+LEMOS, Eric Danzi. Artífices da paisagem. In: BORREGO, Maria Aparecida de Menezes; NASCIMENTO, Ana Paula. Mundos do trabalho. Coleção Museu do Ipiranga, vol. 4. São Paulo: Edusp, p. 58-63, 2022.
+LESSING, Emanuela Bonini; BULEGATO, Fiorella; FARIAS, Priscila Lena. La tipografia come new craft: riflessioni storiche e pratiche di riattualizzazione. MD Journal, vol. 7, p. 146-159, 2019.
+PEREIRA, Fabio Mariano Cruz; FARIAS, Priscila Lena. Anúncios de oficinas tipográficas paulistanas (1900-1930). Infodesign, vol. 18, n. 2, p. 27-36, 2021.
+SANTOS, Carlos José Ferreira dos. Nem tudo era italiano: São Paulo e pobreza: 1890-1915. São Paulo: Annablume/Fapesp, 2008.
+UTSCH, Ana; GRAVIER, Marina Garone (Orgs). Encontros em torno de tipos e livros. Belo Horizonte: Editora UFMG, 2019.
+ 
+Frédéric Manuel (1868 – 1961)
+Andrea C. T. Wanderley*
+As fotografias paulistanas do francês Frédéric Manuel (1868 – 1961), sobre quem há ainda pouquíssima informação, foram realizadas, em 1906, para Menotti Levi (18? – 19?), editor do Guia Levi, publicado, em São Paulo, de 1899 a meados até 1984 (Jornal do Brasil, 19 de novembro de 1900, penúltima coluna; A Notícia (RJ), 27 e 28 de agosto de 1906, segunda coluna), cuja utilidade já está comprovada pela aceitação que o público lhe dispensa (Correio Paulistano, 5 de fevereiro de 1905, penúltima coluna). O Guia Levi era uma publicação mensal de horários de trens, de bondes e outras informações úteis (Correio Paulistano, 8 de agosto de 1908, penúltima coluna), Uma curiosidade: o grande arquiteto e urbanista paulistano Rino di Menotti Levi (1901 – 1965) é filho de Menotti Levi.
+ 
+Acessando o link para as fotografias de São Paulo produzidas por Frédéric Manuel, disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+*Andrea C. T. Wanderley é pesquisadora e editora da Brasiliana Fotográfica
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/1075` — `itens/20.500.12156.1_1075/`
+
diff --git a/wordpress/36805-o-embaixador-oswaldo-aranha-1894-1960.md b/wordpress/36805-o-embaixador-oswaldo-aranha-1894-1960.md
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+++ b/wordpress/36805-o-embaixador-oswaldo-aranha-1894-1960.md
@@ -0,0 +1,140 @@
+---
+id: 36805
+url: "https://brasilianafotografica.bn.gov.br/?p=36805"
+titulo: "O embaixador Oswaldo Aranha (1894-1960)"
+autor: "Andrea Wanderley"
+data: "2024-08-19T10:39:14+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/13016", "20.500.12156.1/13017", "20.500.12156.1/13018", "20.500.12156.1/13019", "20.500.12156.1/13020", "20.500.12156.1/13032", "20.500.12156.1/13021", "20.500.12156.1/13033", "20.500.12156.1/13022", "20.500.12156.1/13023", "20.500.12156.1/13024", "20.500.12156.1/13025", "20.500.12156.1/13026", "20.500.12156.1/13034", "20.500.12156.1/13027", "20.500.12156.1/13035", "20.500.12156.1/13028", "20.500.12156.1/13029", "20.500.12156.1/13030", "20.500.12156.1/13031"]
+fetched_at: "2026-09-10T10:18:10.781Z"
+---
+
+# O embaixador Oswaldo Aranha (1894-1960)
+
+O embaixador Oswaldo Aranha (1894-1960) 
+Pedro Quinteiro Uberti sob a supervisão de Adelina Novaes e Cruz* 
+ 
+Gaúcho da fronteira, nascido em Alegrete, em 1894, Oswaldo Aranha teve ascendente trajetória na política local até se consolidar como uma das lideranças da Aliança Liberal e do movimento que levou Getulio Vargas ao Catete. Como ministro da Justiça e Assuntos Internos e ministro da Fazenda, contribuiu ativamente na reconfiguração institucional do Estado brasileiro, iniciada com o governo provisório de Vargas.
+Notabilizou-se como personagem vinculado à condução da política externa brasileira. A historiografia destaca dois grandes momentos da vida política de Aranha, para além de seu envolvimento com a Revolução de 1930. O primeiro, entre 1938 e 1944, diz respeito ao período em que serviu como chanceler do Estado Novo, sendo apontado como um dos principais responsáveis pelo apoio prestado pelo Brasil ao esforço de guerra dos Aliados. O segundo, entre 1947 e 1948, marca o momento em que Aranha presidiu a Assembleia Geral das Nações Unidas, tendo seu nome vinculado à criação do Estado de Israel e à tradição, segundo a qual, o discurso brasileiro deve ser aquele que inaugura os encontros da Assembleia.
+Antes disso, no entanto, Aranha já havia deixado sua marca na diplomacia brasileira. Entre 1934, quando se desvincula do Ministério da Fazenda, e 1937, quando é decretado o Estado Novo, o político gaúcho serviu como embaixador do Brasil nos Estados Unidos.
+ 
+Acessando o link para as imagens de Oswaldo Cruz do acervo do FGV-CPDOC e disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Primeiras Impressões
+ 
+A missão de Aranha começa a bordo do Augustus, navio que o levou a Gênova. A escala na Europa, antes de seguir viagem aos Estados Unidos, marcou a percepção de Aranha em relação ao futuro das relações internacionais. Em carta escrita a Getulio, em setembro de 1934, aborda criticamente o militarismo de governantes como Benito Mussolini, indicando a iminência de um novo conflito entre as potências europeias. Pondera que:
+“a Europa está, meu caro, em estado potencial de guerra. Os exércitos e as esquadras não se defrontam, mas ameaçam-se. […] Os instintos estão arrepiados, como o de feras ameaçadas ou agressivas. […] Ninguém sabe como e de onde virá. Mas creio, não há ninguém que não sinta a sua proximidade. […] A Europa está dominada por uma tropilha de grandes loucos que encerram em seus punhos a sorte do mundo” (GV c 1934.09.07).
+ 
+R. Belatti. Oswaldo Aranha a bordo do navio Augustus, 1934. Rio de Janeiro, RJ / Acervo FGV CPDOC
+ 
+É notável o contraste das perspectivas de Aranha em relação à Europa e aos Estados Unidos. Já em solo estadunidense, exulta o progresso material do país. Em outra carta a Vargas, de novembro de 1934, ameniza os efeitos da crise financeira de 1929, apontando que “este país tem mais riquezas do que todo o resto do mundo. O orçamento de uma cidade como Chicago é maior que o da Itália. O de Nova York várias vezes o nosso. O número de automóveis numa cidade média aqui é maior do que o de todo o Brasil!” (GV c 1934.11.02).
+ 
+Primeiras Movimentações
+ 
+As primeiras movimentações diplomáticas de Aranha demonstram a preocupação do novo embaixador em melhorar as relações entre Brasil e Estados Unidos. O pessimismo em relação à Europa e o fascínio em relação à economia estadunidense foram acompanhados por uma calorosa recepção nos círculos políticos de Washington. Aranha percebia uma boa vontade das autoridades de Washington em relação ao Brasil. “Só posso atribuir essa amabilidade ao desejo que notei no presidente Roosevelt, durante a conversa de alguns minutos que se seguiu à apresentação de credenciais, de estreitar sempre as íntimas relações com o Brasil”, relataria Aranha ao Itamaraty após a apresentação de suas credenciais como embaixador a Roosevelt, em outubro de 1934 (ARAÚJO, 1996, p. 113).
+ 
+Oswaldo Aranha por ocasião da apresentação de suas credenciais de embaixador ao governo norte-americano, 1934. Washington, D.C., Estados Unidos / Acervo FGV CPDOC
+ 
+O andamento da missão seria, portanto, facilitada, na visão de Aranha, pela situação internacional. Com a Europa na iminência de um conflito e com o recrudescimento das disputas imperialistas entre as potências, incluindo a expansão japonesa no sudeste asiático e no Pacífico, os Estados Unidos, segundo Aranha, se voltariam cada vez mais para a América Latina, em especial para o Brasil. Deveria o governo Vargas, portanto, aproveitar essa oportunidade para atingir os objetivos da política externa brasileira.
+Condição necessária ao estreitamento de relações entre os dois países era, no entanto, a restruturação da representação brasileira nos Estados Unidos. Isso significou o envolvimento de Aranha na instalação da embaixada em uma mansão comprada, em agosto de 1934, por Ciro Freitas-Valle, seu primo e diplomata, a mando do Itamaraty. Segundo o embaixador “encontramos, aqui, no país onde está metade do nosso comércio, todos os funcionários amontoados em três salinhas, sem mobiliário, sem nada. Vamos ficar, hoje, com uma instalação perfeita e capaz de atender às nossas fatais necessidades futuras” (GV c 1935.03.25).
+ 
+ Fachada da Embaixada do Brasil em Washington D.C., 1934. Washington D.C., Estados Unidos / Acervo FGV CPDOC
+ 
+Oswaldo Aranha e a equipe da Embaixada do Brasil nos EUA, 1934. Washington D.C., Estados Unidos / Acervo FGV CPDOC
+ 
+Uma Atuação Multifacetada 
+ 
+É possível encontrar no triênio em que Aranha serviu como embaixador, uma série de episódios que demonstra uma atuação diplomática multifacetada, conduzida por um diplomata muito bem conectado com diferentes setores da sociedade estadunidense. Logo nos primeiros meses de missão, Aranha conduziria em Washington as negociações em torno do tratado comercial que estava sendo costurado entre Brasil e Estados Unidos enquanto, constantemente, protestava a Vargas contra o estreitamento dos laços comerciais entre Brasil e Alemanha sob a modalidade que ficou conhecida como comércio compensado. Aranha acompanharia o ministro da Fazenda, Artur de Sousa Costa, na assinatura do tratado junto a Roosevelt, firmado em 2 de fevereiro de 1935.
+ 
+Franklin D. Roosevelt, Oswaldo Aranha e Artur de Sousa Costa por ocasião da assinatura do tratado comercial entre Brasil e Estados Unidos, 1935. Washington D.C., Estados Unidos / Acervo FGV CPDOC
+ 
+ 
+Artur de Sousa Costa, Oswaldo Aranha e Franklin D. Roosevelt por ocasião da assinatura do tratado comercial entre Brasil e Estados Unidos, 1935. Washington D.C., Estados Unidos / Acervo FGV CPDOC
+ 
+ 
+Aranha ainda receberia outro ministro brasileiro em Washington. João Marques dos Reis, ministro da Viação e Obras Públicas havia sido designado por Getulio para participar da 3ª  Conferência Mundial de Energia, entre setembro e outubro de 1936. Segundo o embaixador, a visita do ministro seria facilitada pela boa vontade do governo estadunidense em procurar “favorecer negócios no Brasil” (GV c 1936.10.21).
+ 
+João Marques dos Reis, Ministro da Viação e Obras Públicas do Brasil, visita os Estados Unidos e encontra Oswaldo Aranha, por ocasião da 3ª.Conferência Mundial de Energia, 1936. Washington D.C., Estados Unidos / Acervo FGV CPDOC
+ 
+O estabelecimento de boas relações com autoridades do governo estadunidense foi um dos maiores sucessos da missão de Aranha. Não à toa, durante o triênio em que serviu em Washington, Aranha foi o embaixador estrangeiro mais recebido por Roosevelt (OLIVEIRA, in LIMA; ALMEIDA; FARIAS, 2017, p. 103). Antes mesmo de Aranha embarcar para os Estados Unidos, Roosevelt já havia sido informado que Aranha era “o iniciador do atual movimento do Brasil de se afastar um pouco da Europa e se aliar com os Estados Unidos” (HILTON, 1994, p. 202). Destaca-se, ainda, a figura de Sumner Welles, referência no Departamento de Estado em assuntos relacionados à América Latina, com quem Aranha estabeleceu íntimas relações.
+ 
+Oswaldo Aranha e Franklin D. Roosevelt por ocasião da assinatura do tratado comercial entre Brasil e Estados Unidos, 1935. Washington D.C., Estados Unidos / Acervo FGV CPDOC
+ 
+ 
+Oswaldo Aranha com o vice-presidente dos Estados Unidos, John Nance Garner, 1937. Washington D.C., Estados Unidos / Acervo FGV CPDOC
+ 
+Para além dos círculos oficiais de poder, Aranha empreendeu esforços no sentido de fazer o Brasil ser ouvido por distintas camadas da sociedade estadunidense. Seja viajando pelo país, como na ocasião da Feira Mundial de Chicago, em outubro de 1935, seja em contato constante com jornalistas e empresários, Aranha defendia a ideia de que “devemos procurar ser conhecidos do povo para melhor contarmos com o governo dos Estados Unidos” (GV c 1937.09.09).
+ 
+Oswaldo Aranha passa em revista, destacamentos militares por ocasião da Feira Mundial, 1935. Chicago, Estados Unidos / Acervo FGV CPDOC
+ 
+ 
+ Oswaldo Aranha encontra-se com Walt Disney, 1935. Washington D.C., Estados Unidos / Acervo FGV CPDOC
+ 
+ 
+Oswaldo Aranha e outros em banquete a Embaixada do Brasil nos Estados Unidos, 1937. Washington D.C., Estados Unidos / Acervo FGV CPDOC
+ 
+Oswaldo Aranha e outros na União Pan-Americana e na Câmara Norte Americana de Comércio, 1934. Washington D.C., Estados Unidos / Acevo FGV CPDOC
+ 
+Essa aproximação, advogada por Aranha, não se restringia apenas ao âmbito bilateral. Logo no início da missão, alertou Vargas sobre a ascensão da Política da Boa Vizinhança. Segundo o embaixador, a busca dos Estados Unidos em melhorar suas relações com os demais países americanos poderia colocar em xeque o tratamento especial que era dispensado ao Brasil. Nesse sentido, as conferências e encontros multilaterais deveriam servir de palco para o Brasil reafirmar sua posição como parceiro estratégico dos Estados Unidos no continente.
+Foi exatamente o que o embaixador buscou alcançar na Conferência Interamericana para a Manutenção da Paz, realizada em Buenos Aires, em 1936. Desde o momento em que Roosevelt veiculou a ideia da realização da Conferência, Aranha buscou costurar a posição entre Brasil e Estados Unidos a partir da coordenação de demandas entre a Casa Branca e o Catete, mesmo que isso significasse o desgaste na relação com Macedo Soares, seu superior na hierarquia institucional do Itamaraty. Sua atuação na Conferência lhe rendeu editoriais dos mais favoráveis na imprensa estadunidense, ao buscar o consenso entre as partes a despeito da oposição argentina aos termos do Projeto de Convenção Sobre Manutenção, Garantia e Restabelecimento da Paz.
+ 
+Oswaldo Aranha e Rosalina Coelho Lisboa como membros da delegação brasileira na Conferência de Buenos Aires, 1936. Buenos Aires, Argentina / Acervo FGV CPDOC
+ 
+ 
+Oswaldo Aranha na Conferência Interamericana para a Manutenção da Paz, 1936. Buenos Aires, Argentina / Acervo FGV CPDOC
+ 
+ 
+Oswaldo Aranha conversa com delegados na Conferência de Buenos Aires, 1936. Buenos Aires, Argentina / Acervo FGV CPDOC
+ 
+Aranha buscava nutrir nos Estados Unidos a simpatia pelo Brasil, mas suas constantes súplicas não convenceram Getulio de visitar o país norte-americano. Conseguiu, entretanto, influenciar na visita de dois de seus filhos, Getulio e Alzira, e sua esposa, Darcy. Alzira permaneceu mais de um semestre com a família Aranha nos Estados Unidos, entre o final de 1935 e meados de 1936, período durante o qual realizou longas viagens na companhia de Luiza Zilda Aranha (Zazi) e Delminda Gudolle Aranha (Dedei) – filhas do embaixador – e Delminda Gudolle Aranha (Vindinha) – esposa do embaixador. Getulinho, como era chamado por Aranha, e Darcy encontraram Alzira e família Aranha em março de 1936. Após insistência de Aranha, Getulinho permaneceu nos Estados Unidos pelo resto do ano desenvolvendo seus estudos de inglês e química. O périplo da família Vargas nos Estados Unidos, na companhia de Aranha, serviu como ferramenta diplomática, na medida em que foram organizados encontros com empresários e jornalistas estadunidenses, além de uma conferência com Roosevelt e a primeira-dama, Eleanor.
+ 
+Famílias Vargas e Aranha em viagem aos Estados Unidos, 1935. Alzira Vargas, Vindinha Aranha e Oswaldo Aranha. Nova York, Estados Unidos / Acervo FGV CPDOC
+ 
+ 
+Famílias Vargas e Aranha em viagem aos Estados Unidos, 1936. Da esquerda para a direita: Vindinha Aranha, Darcy Vargas, Oswaldo Aranha e Getúlio Vargas Filho. Washington D.C., Estados Unidos / Acervo FGV CPDOC
+ 
+ 
+Famílias Vargas e Aranha em viagem aos Estados Unidos, 1936. Zazi Aranha, Alzira VArgas, Oswaldo Aranha e Laís Aranha. Washington D.C., Estados Unidos / Acervo FGV CPDOC
+ 
+O Fim da Missão
+ 
+Decretado o Estado Novo em novembro de 1937, Oswaldo Aranha abdica do cargo de embaixador, alegando ter perdido sua credibilidade junto ao governo estadunidense por ter sido pego de surpresa pelo golpe. Permaneceria nos Estados Unidos até dezembro, num esforço de amenizar as críticas da imprensa sobre a ruptura institucional em curso no Brasil. Seus relatórios a Vargas demonstram como o governo estadunidense não alterou sua posição em relação à parceria que vinha sido construída entre os dois países. Em dezembro de 1937, o navio Western Prince atracaria em águas brasileiras trazendo o embaixador e sua família, pondo fim à experiência diplomática inaugural daquele que viria ser chanceler em um dos períodos mais conturbados da política externa brasileira.
+ 
+Artur de Sousa Costa e outros a bordo do navio “Western Prince”, recepcionam Oswaldo Aranha e familiares, por ocasião e sua chegada ao Brasil, 1937. Rio de Janeiro, RJ / Acervo FGV CPDOC
+ 
+ 
+*Pedro Quinteiro Uberti é aluno do Mestrado Acadêmico em História, Política e Bens Culturais FGV/CPDOC e Adelina Novaes e Cruz é Pesquisadora do FGV CPDOC.
+ 
+FONTES:
+Arquivo Pessoal de Alzira Vargas do Amaral Peixoto (FGV CPDOC). Disponível em: <https://www18.fgv.br/CPDOC/acervo/arquivo-pessoal?fun=AVAP&tud=AVI&tit=&ftit=2&de=1934&ate=1937&assun=&fassun=0&aut=&faut=0&ser=&loc=&tav=8+9+10&itens=30>.
+Arquivo Pessoal de Getulio Vargas (FGV CPDOC). Disponível em: <https://docvirt.com/docreader.net/DocReader.aspx?bib=CorrespGV2>.
+Arquivo Pessoal de Oswaldo Aranha (FGV CPDOC). Disponível em: <https://www18.fgv.br/CPDOC/acervo/arquivo-pessoal?fun=OA&tud=AVI&tit=&ftit=2&de=1934&ate=1937&assun=&fassun=0&aut=&faut=0&ser=&loc=&tav=8+9+10&itens=30>.
+CAMARGO, Aspásia; ARAÚJO, João Hermes Pereira de; SIMONSEN, Mário Henrique. Oswaldo Aranha: a estrela da revolução. São Paulo: Mandarim, 1996.
+HILTON, Stanley. Oswaldo Aranha: uma biografia. Rio de Janeiro: Editora Objetiva, 1994.
+LIMA, Sérgio Eduardo Moreira; ALMEIDA, Paulo Roberto de; FARIAS, Rogério de Souza (org.). Oswaldo Aranha: um estadista brasileiro. Brasília: Fundação Alexandre de Gusmão, 2017. 2 v. (Coleção Política Externa Brasileira).
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/13016` — `itens/20.500.12156.1_13016/`
+- `20.500.12156.1/13017` — `itens/20.500.12156.1_13017/`
+- `20.500.12156.1/13018` — `itens/20.500.12156.1_13018/`
+- `20.500.12156.1/13019` — `itens/20.500.12156.1_13019/`
+- `20.500.12156.1/13020` — `itens/20.500.12156.1_13020/`
+- `20.500.12156.1/13032` — `itens/20.500.12156.1_13032/`
+- `20.500.12156.1/13021` — `itens/20.500.12156.1_13021/`
+- `20.500.12156.1/13033` — `itens/20.500.12156.1_13033/`
+- `20.500.12156.1/13022` — `itens/20.500.12156.1_13022/`
+- `20.500.12156.1/13023` — `itens/20.500.12156.1_13023/`
+- `20.500.12156.1/13024` — `itens/20.500.12156.1_13024/`
+- `20.500.12156.1/13025` — `itens/20.500.12156.1_13025/`
+- `20.500.12156.1/13026` — `itens/20.500.12156.1_13026/`
+- `20.500.12156.1/13034` — `itens/20.500.12156.1_13034/`
+- `20.500.12156.1/13027` — `itens/20.500.12156.1_13027/`
+- `20.500.12156.1/13035` — `itens/20.500.12156.1_13035/`
+- `20.500.12156.1/13028` — `itens/20.500.12156.1_13028/`
+- `20.500.12156.1/13029` — `itens/20.500.12156.1_13029/`
+- `20.500.12156.1/13030` — `itens/20.500.12156.1_13030/`
+- `20.500.12156.1/13031` — `itens/20.500.12156.1_13031/`
+
diff --git a/wordpress/36808-getulio-vargas-da-vida-para-a-memoria.md b/wordpress/36808-getulio-vargas-da-vida-para-a-memoria.md
new file mode 100644
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--- /dev/null
+++ b/wordpress/36808-getulio-vargas-da-vida-para-a-memoria.md
@@ -0,0 +1,53 @@
+---
+id: 36808
+url: "https://brasilianafotografica.bn.gov.br/?p=36808"
+titulo: "Getúlio Vargas: da vida para a memória"
+autor: "Andrea Wanderley"
+data: "2024-08-24T11:29:31+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/13039", "20.500.12156.1/13052", "20.500.12156.1/13092", "20.500.12156.1/13043", "20.500.12156.1/13051"]
+fetched_at: "2026-09-10T10:18:14.010Z"
+---
+
+# Getúlio Vargas: da vida para a memória
+
+Getúlio Vargas: da vida para a memória
+ Maria de Fátima Morado*
+ 
+Velório de Getúlio Vargas. 24 de agosto de 1954. Palácio do Catete. Rio de Janeiro, RJ / Acervo Museu da República
+ 
+Nos 70 anos da morte de Getúlio Vargas, o Arquivo Histórico e Institucional do Museu da República divulga as fotos de seu velório no Palácio do Catete, sede da Presidência da República naquele período, e de seu enterro em São Borja, no Rio Grande do Sul, sua cidade natal.
+ 
+Cortejo fúnebre de Getúlio Vargas, 26 de agosto de 1954. São Borja, Rio Grande do Sul / Acervo Museu da República 
+ 
+As fotos do velório de Getúlio Vargas pertencem à coleção Enê Garcez, militar que, em 1951, ocupou o cargo de Chefe de Pessoal da Presidência da República no segundo governo Vargas (1951-1954).
+ 
+Enê Garcez, à direita, conversando com Gregório Fortunato, chefe da Guarda Pessoal de Vargas, s/d. Rio de Janeiro, RJ / Acervo Museu da República
+ 
+Por sua vez, as fotos do enterro fazem parte da coleção Getúlio Vargas, formada a partir da reunião de transferências de documentos do Museu Histórico Nacional para o Museu da República e de doações avulsas diversas. Há relatos de que, entre os documentos vindos do MHN, estariam itens doados diretamente por Getúlio àquela instituição, enquanto exercia a Presidência da República.
+Acessando o link para as imagens de relativas a esse artigo, que pertencem ao acevo do Museu da República e estão disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+O suicídio de Getúlio Vargas, em 24 de agosto de 1954, foi o ápice de uma grave crise política que o país atravessava. Com um tiro no coração, Getúlio interrompeu o processo turbulento provocado pelos opositores que visavam à sua deposição.
+O segundo governo Vargas foi alvo de constantes acusações de corrupção, levando Getúlio a declarar que estava em um “mar de lama”. Esse clima de instabilidade foi alimentado por políticos rivais, militares e imprensa até que o atentado da rua Tonelero, em 5 de agosto de 1954, desencadeou uma grande pressão para a renúncia de Getúlio. Nessa ação foram disparados tiros que mataram o major Rubens Florentino Vaz e que feriram Carlos Lacerda, principal opositor de Getúlio. Dois anos depois, o chefe da guarda pessoal do presidente Getúlio Vargas, Gregório Fortunato, foi condenado como mandante da tentativa de assassinato de Lacerda.
+Na madrugada de 24 de agosto, Getúlio reuniu seu ministério que o aconselhou a se licenciar ou renunciar à presidência. Sem garantia de apoio para resistir, Getúlio cometeu seu último ato político, o suicídio, na manhã desse mesmo dia.
+O quarto que ocupava no Palácio do Catete foi palco desse trágico evento, deixando de ser um espaço íntimo para se tornar o lugar de sua memória. Contudo, não só o quarto, mas o próprio Palácio do Catete, atual Museu da República, segue como um espaço marcado pela imagem de Getúlio, considerando que ali ele viveu grande parte de sua trajetória política, durante os 19 anos em que presidiu o país.
+ 
+Velório de Getúlio Vargas. 24 de agosto de 1954. Palácio do Catete. Rio de Janeiro, RJ / Acervo Museu da República
+ 
+O corpo de Getúlio foi velado em outro ambiente do Palácio do Catete, o Salão Ministerial. Os registros desse momento demonstram a comoção da população diante do impacto de sua morte, com imagens de pessoas debruçadas sobre o caixão ou amparadas pelos guardas. Em São Borja, as fotografias expõem o cortejo fúnebre até o cemitério e em meio à multidão destaca-se a presença de João Goulart, herdeiro político de Vargas.
+ 
+João Goulart, Oswaldo Aranha, Tancredo Neves e outros no enterro de Getúlio Vargas, 26 de agosto de 1954. São Borja, Rio Grande do Sul / Acervo Museu da República
+ 
+As intensas homenagens prestadas após sua morte, bem como os intensos protestos do povo revoltado com o desfecho de Getúlio demonstram que o líder controverso não poderia jamais ser esquecido.
+ 
+*Maria de Fátima Morado é historiadora do Arquivo Histórico e Institucional do Museu da República
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/13039` — `itens/20.500.12156.1_13039/`
+- `20.500.12156.1/13052` — `itens/20.500.12156.1_13052/`
+- `20.500.12156.1/13092` — `itens/20.500.12156.1_13092/`
+- `20.500.12156.1/13043` — `itens/20.500.12156.1_13043/`
+- `20.500.12156.1/13051` — `itens/20.500.12156.1_13051/`
+
diff --git a/wordpress/3688-complemento-indispensavel.md b/wordpress/3688-complemento-indispensavel.md
new file mode 100644
index 0000000..828bdea
--- /dev/null
+++ b/wordpress/3688-complemento-indispensavel.md
@@ -0,0 +1,46 @@
+---
+id: 3688
+url: "https://brasilianafotografica.bn.gov.br/?p=3688"
+titulo: "“Complemento indispensável…"
+autor: "Vinicius Martins"
+data: "2015-10-29T22:13:25+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/3293", "20.500.12156.1/3285", "20.500.12156.1/3286"]
+fetched_at: "2026-09-10T10:18:17.291Z"
+---
+
+# “Complemento indispensável…
+
+Antonio Luiz Ferreira. Secção de Estampas, Biblioteca Nacional, c. 1902. Rio de Janeiro, RJ / Acervo FBN – As duas salas da Secção de Estampas – Exposição Permanente de Iconographia no edifício sede anterior da Biblioteca Nacional, no largo da Lapa n. 48 – hoje, rua do Passeio.
+ 
+…a toda biblioteca bem organizada”. Assim o bibliotecário João de Saldanha da Gama (desde 1822, designava-se assim a autoridade maior da Biblioteca Nacional) qualificou a antiga Seção de Estampas da instituição, em seu prefácio ao Catálogo da Exposição Permanente dos Cimélios da Biblioteca Nacional, publicado sob a sua direção em 1885.
+Nesse catálogo, a parte referente às estampas ficou a cargo de José Zephyrino de Menezes Brum, chefe daquela seção desde 1876, quando foi posto em execução um plano de reforma da instituição a partir do qual “a Seção de Estampas […] começa a ter existência e história próprias […].”
+Estamos no ano de 1885 e a Biblioteca Nacional já estava instalada no endereço da rua do Passeio desde 1858, quando se concluiu a mudança,“sem estrago nem perda”, desde seu primeiro endereço, no edifício do antigo Hospital do Carmo. Em 1881, abrira-se a grandiosa e inesquecível Exposição de História do Brasil, produzida sob a batuta do dirigente anterior, o barão de Ramiz Galvão e o pensamento curatorial de outro barão, Homem de Mello.
+ 
+Anônimo. Biblioteca Nacional, mudança do prédio da Rua do Passeio para a Avenida Rio Branco, 1910. Rio de Janeiro, RJ / Acervo FBN – Ao fundo, vê-se um trecho do largo da Lapa que manteve seu aspecto até os dias atuais.
+ 
+Desenvolvia-se então, no acervo de imagens, um trabalho apaixonado, apesar de todas as dificuldades impostas pela conjuntura – atividades estas, em certa sintonia com as que ocorriam nas bibliotecas nacionais da França e da Áustria e no Museu Britânico. Menezes Brum lamentava que “as acanhadas proporções do edifício em que funciona a Biblioteca Nacional não permitiram que a Seção de Estampas fosse melhor acomodada, pois que lhe couberam em partilha apenas duas pequenas salas do 3o andar, mal mobiliadas e insuficientes para as suas necessidades e serviços.” E “as riquezas da nossa coleção iconográfica continuavam desconhecidas, tanta era a quantidade que delas havia”, ele observava.
+Mas a exposição permanente das estampas, um sonho antigo de Ramiz Galvão, haveria de acontecer, sob a direção geral de Saldanha da Gama. O chefe das estampas era um obstinado: “era preciso escolher, escolher sempre, examinar, comparar, tornar a comparar, até que as jóias, por seu pequeno número, e por mais preciosas, se pudessem acomodar nas caixas que lhes estavam destinadas.”
+ 
+Detalhe da fotografia de Antonio Luiz Ferreira: à esquerda, vê-se a segunda sala da Exposição Permanente de Iconographia da antiga Seção de Estampas.
+ 
+Depois de pronta a exposição permanente, o fotógrafo Antonio Luiz Ferreira, o mesmo que realizou as memoráveis fotografias das manifestações populares havidas após a assinatura da Lei Áurea – como aquela em que Machado de Assis aparece na missa celebrada no campo de São Cristóvão – foi contratado para documentar o edifício sede da Biblioteca Nacional, onde a instituição permaneceu até 1910.
+O resultado está em dois álbuns; um, com as cópias em papel albuminado e outro, com as cópias produzidas em platina, que apresentam melhores atributos de estabilidade e permanência e figuram nesta galeria. As capas estão sofridas – ainda que o miolo, sua essência, resista bravamente – e refletem uma história. Muito nos revelam as suas imagens, admirável exemplo da fotografia de arquitetura praticada na época e – por que não dizê-lo – da fotografia museográfica, gênero proposto por Fox Talbot e inaugurado possivelmente no British Museum, por Roger Fenton.
+O dia 29 de outubro é data a ser sempre lembrada. Hoje, quando a nossa Biblioteca Nacional comemora 205 anos de existência, essa instituição e o Instituto Moreira Salles, criadores deste portal, trabalham no sentido de acolher as primeiras das novas instituições que passarão a integrar a Brasiliana Fotográfica – cujo modelo de gestão pretende-se inclusivo, democrático e em dia com as principais questões referentes aos acervos de fotografia brasileira.
+Menezes Brum concluiu assim o seu texto sobre as estampas no catálogo da célebre exposição: “Praza a Deus que curiosos e entendidos acolham este tentame da Biblioteca Nacional com benevolência e tirem dele o gozo e proveito que da sua realização possam advir.” Pois assim seguimos neste esforço coletivo para fazer da Brasiliana Fotográfica um espaço que suscite o aprendizado, a reflexão e o debate. E que seja, também, um espelho da Nação Brasileira.
+Rio de Janeiro, 29 de outubro de 2015.
+Joaquim Marçal Ferreira de Andrade
+Curador, pela Biblioteca Nacional, do portal Brasiliana Fotográfica
+ 
+Anônimo. Antigo prédio da Biblioteca Nacional à Rua do Passeio, c. 1916. Rio de Janeiro, RJ / Acervo FBN – Uma cena cotidiana à entrada do edifício sede anterior da Biblioteca Nacional, no largo da Lapa n. 48 – hoje, rua do Passeio. À direita, operários trabalham em obra de reparo da via pública. Detalhe da fotografia original.
+ 
+Explore mais fotos da Biblioteca Nacional na Brasiliana Fotográfica
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/3293` — `itens/20.500.12156.1_3293/`
+- `20.500.12156.1/3285` — `itens/20.500.12156.1_3285/`
+- `20.500.12156.1/3286` — `itens/20.500.12156.1_3286/`
+
diff --git a/wordpress/36906-as-series-da-brasiliana-fotografica-uma-nova-secao-de-nosso-portal.md b/wordpress/36906-as-series-da-brasiliana-fotografica-uma-nova-secao-de-nosso-portal.md
new file mode 100644
index 0000000..457985f
--- /dev/null
+++ b/wordpress/36906-as-series-da-brasiliana-fotografica-uma-nova-secao-de-nosso-portal.md
@@ -0,0 +1,26 @@
+---
+id: 36906
+url: "https://brasilianafotografica.bn.gov.br/?p=36906"
+titulo: "As Séries da Brasiliana Fotográfica, uma nova seção de nosso portal"
+autor: "Andrea Wanderley"
+data: "2024-09-23T16:49:37+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/2425"]
+fetched_at: "2026-09-10T10:18:20.762Z"
+---
+
+# As Séries da Brasiliana Fotográfica, uma nova seção de nosso portal
+
+Hoje inauguramos a seção As Séries da Brasiliana Fotográfica. Ela já está no topo da página inicial do nosso portal entre as seções Cronologia de fotógrafos e Preservação digital. Seu acesso permite que vocês, nossos leitores, visualizem as listas de artigos de cada série já publicada na Brasiliana Fotográfica. São elas: Avenidas e ruas do Brasil, com 18 artigos; Feministas, graças a Deus!, também com 18 artigos; 1922 – Hoje, há 100 anos, com 11 artigos; O Rio de Janeiro desaparecido, com 28 artigos; e Os arquitetos do Rio de Janeiro, com 6 artigos. Todos os artigos estarão com seus respectivos links e as listas serão atualizadas à medida que novos artigos forem publicados. Esperamos que esta nova funcionalidade facilite a pesquisa e o passeio de vocês pela Brasiliana Fotográfica! Divirtam-se!
+ 
+Augusto Malta. Quiosque “Chopp Berrante” no Passeio Público, década de 1900. Rio de Janeiro, RJ / Acervo IMS
+ 
+Andrea C.T. Wanderley
+Editora e pesquisadora da Brasiliana Fotográfica
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/2425` — `itens/20.500.12156.1_2425/`
+
diff --git a/wordpress/36932-serie-feministas-gracas-a-deus-xix-a-aviadora-anesia-pinheiro-machado-1904-1999.md b/wordpress/36932-serie-feministas-gracas-a-deus-xix-a-aviadora-anesia-pinheiro-machado-1904-1999.md
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@@ -0,0 +1,95 @@
+---
+id: 36932
+url: "https://brasilianafotografica.bn.gov.br/?p=36932"
+titulo: "Série “Feministas, graças a Deus!” XIX – A aviadora Anésia Pinheiro Machado (1904-1999)"
+autor: "Andrea Wanderley"
+data: "2024-10-23T11:42:52+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/13091", "20.500.12156.1/13090"]
+fetched_at: "2026-09-10T10:18:24.224Z"
+---
+
+# Série “Feministas, graças a Deus!” XIX – A aviadora Anésia Pinheiro Machado (1904-1999)
+
+Com fotos de uma das pioneiras da aviação brasileira, a feminista Anésia Pinheiro Machado (1904-1999), a Brasiliana Fotográfica publica o 19º artigo da série Feministas, graças a Deus e comemora o Dia do Aviador, estabelecido pela Lei n° 218, de 4 de julho de 1936, e celebrado hoje em homenagem à data em que, em 1906, Alberto Santos Dumont (1873 – 1932), conhecido como o “Pai da Aviação”, realizou o primeiro voo do 14-Bis no Campo de Bagatelle, na França. Anésia recebeu seu brevê, a permissão para pilotar aeronaves, em 9 de abril de 1922, com apenas 18 anos. As duas imagens da aviadora destacadas do acervo do portal pertencem ao Museu Aeroespacial, uma de nossas instituições parceiras. Uma delas é do dia 8 de setembro de 1922 e, a outra, de 4 de junho de 1940.
+ 
+Aviadora Anesia Pinheiro Machado, 8 de setembro de 1922 / Acervo Museu Aeroespacial
+ 
+“O meu desejo de voar talvez seja fruto do meu anseio, sempre cada vez mais intenso, de me elevar, de sair da banalidade do viver comum. E o incontido ímpeto de minha alma, que me impulsiona e me leva a procurar as emoções mais fortes do voo. A vida corriqueira não me satisfaz; ando sempre em busca de alguma coisa nova. E essa faceta de minha personalidade que dirão inconstante, que fez com que eu me dedicasse à aviação”.
+Anésia Pinheiro Machado nasceu em 5 de junho de 1904, em Itapetininga, em São Paulo. Cursou a faculdade de Farmácia e trabalhou no Diário de Itapetininga. Foi durante a Festa do Divino, na Catedral de Nossa Senhora dos Prazeres, em 1920, em sua cidade natal, que Anésia viu um avião pela primeira vez e se apaixonou pela aviação. Mudou-se para São Paulo, aos 17 anos, e iniciou o curso de pilotagem, tendo como instrutor o piloto alemão Fritz Roesler. Ela e Thereza de Marzo (1903-1986) realizaram seus voos solos no mesmo dia, 17 de março de 1922.
+Neste avião Anésia fez seu primeiro voo solo, em 17 de março de 1922
+Mas Teresa recebeu o brevê número 76, em 8 de abril, e Anésia, no dia seguinte, recebeu o brevê 77 da Federação Aeronáutica Internacional. Foram examinadas por Luiz Ferreira Guimarães e Delamare Garcia, da comissão do Aero Club Brasileiro  (O Paiz, 11 de abril de 1922, quinta coluna).
+ 
+Brevê de Anésia, de 9 de abril de 1922
+ 
+Brevê de Thereza de Marzo, de 8 de abril de 1922
+ 
+Em 23 de abril de 1922, tornou-se a primeira mulher a realizar um voo com passageiro. Foi também a primeira brasileira a realizar um voo acrobático. E, em 18 de maio de 1922, pilotando um Caudron G3, conquistou o recorde feminino de voo em altitude até então,  alcançando 94.124 metros.
+ 
+Paratodos, 3 de junho de 1922
+Em 10 de junho, voou de São Paulo a Santos na companhia de seu mecânico e de Paulo Duarte, redator de O Estado de São Paulo (O Paiz, 11 de junho de 1922, quarta coluna).
+Em 8 de julho, participou, no prado da Mooca, em São Paulo, da homenagem promovida pelo Aero Club aos aviadores portugueses Gago Coutinho (1869-1959) e Sacadura Cabral (1881-1924), que haviam feito a primeira travessia aérea do Atlântico Sul entre 30 de março e 17 de junho de 1922. Anésia ficou em terceiro lugar, depois de Edu Chaves (1887-1975) e Steckmann (?-?), na prova de velocidade realizada durante o evento (O Paiz, 9 de julho de 1922, quarta coluna).
+Na ocasião da comemoração do Centenário da Independência, no avião monomotor Caudron G3, Anésia iniciou o voo no qual cruzou 442 quilômetros que separam São Paulo e o Rio de Janeiro. Partiu do Campo de Higianópolis, em 5 de setembro, tendo pousado em Taubaté, Guaratinguetá, Cruzeiro e Pinheiro. Seu destino final foi o Campo dos Afonsos, onde chegou no dia 8 de setembro (O Paiz, 1° de janeiro de 1922, sexta coluna; O Paiz, 26 de abril de 1922, penúltima coluna; O Paiz, 29 de agosto de 1922, quarta coluna; O Paiz, 5 de setembro de 1922, quinta coluna; O Paiz, 6 de setembro de 1922, segunda coluna; O Paiz, 7 de setembro de 1922, segunda coluna; O Paiz, 8 e 9 de setembro de 1922, quinta coluna).
+ 
+ 
+Anésia diante do Caudron G3, em que realizou o voo entre São Paulo e Rio de Janeiro, em setembro de 1922.
+ 
+Foi a primeira mulher a realizar a façanha, que teve muita visibilidade, e usou o fato para divulgar o movimento feminista. Recebeu um bilhete de Santos Dumont parabenizando-a por seu voo. Junto com o bilhete, ele enviou uma réplica da medalha de São Bento que havia recebido da Princesa Isabel (1846 -1921) e que Anésia levou consigo por toda a sua vida.
+ 
+Bilhete que Santos Dumont enviou a Anésia felicitando-a pelo seu lindo voo São Paulo-Rio
+No artigo A relíquia, o autor reclamou da ausência de uma homenagem às mulheres durante a comemoração do centenário da independência e propôs que o avião em que Anésia havia realizado o voo entre São Paulo e Rio fosse adquirido e elevado à condição de relíquia (O Paiz, 13 de setembro de 1922´, quarta coluna).
+Foi homenageada no Theatro São Pedro, na apresentação da peça Amor à terra, de Octavio Rangel (O Paiz, 19 de setembro de 1922, penúltima coluna).
+Em 27 de setembro, visitou a Escola de Aviação Naval, na Ilha das Enxadas. No dia seguinte, o Conselho Municipal aprovou uma premiação em dinheiro para ela (O Paiz, 28 de setembro de 1922, quarta coluna; O Paiz, 29 de setembro de 1922, penúltima coluna).
+Ainda no mesmo ano, como delegada da Liga Paulista pelo Progresso Feminino participou do I Congresso Feminista Internacional, organizado pela Federação Brasileira pelo Progresso Feminino e realizado, entre 19 e 23 de dezembro, no edifício Silogeu, do Instituto dos Advogados, no centro do Rio de Janeiro, e em Petrópolis.
+ 
+A aviadora Anésia Pinheiro Machado
+ 
+Participou da Revolução de 1924, motivada pelo descontentamento dos militares com a crise econômica e a concentração de poder nas mãos de políticos de Minas Gerais e de São Paulo. Os rebeldes, sob a liderança do general Isidoro Dias Lopes (1865 – 1949), pretendiam derrubar o governo de Artur Bernardes (1875 – 1955), instituir o voto secreto, fazer mudanças no ensino público e realizar reformas sociais. A rebelião eclodiu, em 5 de julho de 1924, e durou 23 dias. Os rebeldes foram derrotados pelas tropas legalistas do governo federal. Uma das missões de Anésia foi sobrevoar as tropas legalistas e o encouraçado Minas Gerais, jogando flores e panfletos nos quais estava escrito “E se fosse uma bomba?”. Por isso foi proibida de voar até 1939, quando retomou suas atividades. Neste ínterim voltou ao jornalismo e manteve uma coluna sobre aviação no jornal O Paiz. Também trabalhou como jornalista no Departamento de Imprensa e Propaganda e na Assembleia Legislativa (Correio Paulistano, 12 de setembro de 1924, sexta coluna; Correio Paulistano, 1º de janeiro de 1925, penúltima coluna).
+Foi publicada uma entrevista com ela na revista Paratodos, de março de 1926.
+Em 1940, recebeu do Departamento de Aviação Civil a licença de piloto privado e comercial, em julho e em agosto, respectivamente. No mesmo ano, participou do Campeonato da Semana da Asa e ficou na quinta colocação na prova Cruzeiro do Sul e, na de acrobacia aérea, a quarta coloção.
+Ainda nos primeiros anos da década de 40 foi habilitada como instrutora de voo e piloto de voo por instrumentos.
+ 
+Aviadora Anesia Pinheiro Machado, 4 de junho de 1940 / Acervo Museu Aeroespacial
+ 
+Sua perícia na execução de acrobacias aéreas, no campo de Manguinhos, onde havia um curso de pilotagem mantido pelo Aero Club Brasileiro, impressionou Mrs. Ulysses Grant McQueen, presidente da Women´s International Association of Aeronautics dos Estados Unidos, durante sua viagem ao Rio de Janeiro. Na ocasião, Anésia manifestou sua insatisfação em relação à diferença das oportunidades dadas aos aviadores homens, sempre muito mais estimulados do que as aviadoras (A Noite, 15 de maio de 1940).
+ 
+A Noite, 15 de maio de 1940
+ 
+No livro Frontier by air (1942), a escritora e jornalista Alice Roger Hager (1894-1969) deixou registrado que “Anésia é a melhor piloto do país, não havia dúvidas sobre sua habilidade. Quando fomos ao Aeroclube ela pegou um pequeno Bucher e superou qualquer piloto acrobático que eu já vi”.
+Durante a Segunda Guerra Mundial, em 1943, foi convidada pela Federal Aviation Administration para realizar um curso avançado de aviação nos Estados Unidos.
+ 
+Anésia Machado nos Estados Unidos
+ 
+Entre 1944 e 1948, trabalhou como  piloto e instrutora de voo na Panair do Brasil, e no Centro de Preparação de Oficiais da Reserva, da Força Aérea Brasileira.
+ 
+Anésia, em 1948, com Donald Dionne, instrutor chefe da Pan American Airways / Instituto Smithsonion , EUA
+ 
+Em 1951,  voou de Nova York para o Rio de Janeiro tornando-se a primeira mulher a pilotar um voo transcontinental, quando percorreu mais de 17 mil quilômetros entre Nova York e Rio de Janeiro em um avião Kian-Navion Super 260. No mesmo ano, atravessou a Cordilheira dos Andes voando de Santiago do Chile a Mendoza, na Argentina.
+Em 1954, durante a Conferência de Istambul, foi reconhecida pela Federação Aeronáutica Internacional (FAI), como Decana Mundial da Aviação Feminina, por ser a detentora do brevê mais antigo do mundo ainda em atividade de voo. Na ocasião recebeu o diploma Paul Tissandier.
+No ano em que foi celebrado os 50 anos do primeiro voo de avião de Santos Dumont, 1956, Anésia começou uma campanha de difusão do nome do aviador pelo mundo. Conseguiu que uma réplica do avião 14-Bis e do dirigível de Santos Dumont fossem doados ao Museu de Aviação Smithsonion, em Washington. Também lutou para que o nome de Santos Dumont fosse dado a uma das crateras da Lua, nomeada pela União Astronômica Internacional (IAU) em 20 de julho de 1973, data do centenário de nascimento do aviador. A cratera Santos Dumont está localizada nas imediações do lugar onde pousou a nave espacial Apollo 15, em 1971, que executou a primeira missão de caráter eminentemente científico e a primeira que utilizou o jipe lunar. A decisão foi aprovada durante a a 15ª Assembleia Geral da União Aeronáutica Internacional, realizada na Austrália, em agosto de 1973 (O Estado de Mato Grosso, 12 de agosto de 1973).
+Ao longo de sua vida, foi condecorada com 19 medalhas nacionais e sete internacionais, dentre elas a Edward Warner, a mais alta distinção da Organização da Aviação Civil Internacional, que recebeu em 1989 por seu pioneirismo e por sua participação no desenvolvimento da aviação civil na América Latina. Era uma das integrantes do Ninety-Nines: Organização Internacional de Mulheres Pilotos, também conhecida como The 99s ou As 99, uma organização internacional voltada para pilotos do sexo feminino. Foi fundada em 1929 por um grupo de mulheres aviadoras sob a liderança de Amelia Earhart (1897-1937), pioneira da aviação dos Estados Unidos.
+Anésia faleceu no Rio de Janeiro, em 10 de junho de 1999, no Hospital do Galeão (Jornal do Brasil, 11 de junho de 1999). Seu corpo foi cremado e suas cinzas estão em uma urna que faz parte do acervo do Museu de Cambangu em Santos Dumont, cidade de Minas Gerais.
+ 
+Estátua de Anésia Pinheiro Machado, a primeira aviadora do Brasil, em Itapetininga (SP) — Foto: Heloísa Casonato/g1/Arquivo
+ 
+ 
+Andrea C.T. Wanderley
+Editora e pesquisadora da Brasiliana Fotográfica
+ 
+Fontes:
+Hemeroteca Digital da Biblioteca Nacional
+Mulheres na aviação – Embraer
+Portal G1
+SCHUMAHER, Schuma; BRAZIL, Erico Vital (organizadores). Dicionário mulheres do Brasil: de 1500 até a atualidade biográfico e ilustrado. Rio de Janeiro : Jorge Zahar Ed., 2000.
+Site Marcos Palhares
+Site Ministério da Defesa Força Aérea Brasileira
+Site Museu Aeroespacial
+Site Organização da Aviação Civil Internacional
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/13091` — `itens/20.500.12156.1_13091/`
+- `20.500.12156.1/13090` — `itens/20.500.12156.1_13090/`
+
diff --git a/wordpress/37019-serie-avenidas-e-ruas-do-brasil-xix-a-rua-dos-ourives-atual-miguel-couto-no-cent.md b/wordpress/37019-serie-avenidas-e-ruas-do-brasil-xix-a-rua-dos-ourives-atual-miguel-couto-no-cent.md
new file mode 100644
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--- /dev/null
+++ b/wordpress/37019-serie-avenidas-e-ruas-do-brasil-xix-a-rua-dos-ourives-atual-miguel-couto-no-cent.md
@@ -0,0 +1,82 @@
+---
+id: 37019
+url: "https://brasilianafotografica.bn.gov.br/?p=37019"
+titulo: "Série “Avenidas e ruas do Brasil” XIX – A Rua dos Ourives, atual Miguel Couto, no centro do Rio de Janeiro"
+autor: "Andrea Wanderley"
+data: "2024-11-28T08:22:42+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/9419", "20.500.12156.1/9343", "20.500.12156.1/9421", "20.500.12156.1/9397"]
+fetched_at: "2026-09-10T10:18:27.701Z"
+---
+
+# Série “Avenidas e ruas do Brasil” XIX – A Rua dos Ourives, atual Miguel Couto, no centro do Rio de Janeiro
+
+Augusto Malta. Rua 7 de Setembro, esquina com a Rua dos Ourives (atual Miguel Couto), 1903. Rio de Janeiro, RJ / Acervo IMS
+ 
+No 19° artigo da série Avenidas e ruas do Brasil, o destaque são as fotos da Rua dos Ourives realizadas pelo fotógrafo alagoano Augusto Malta (1864-1957) que, em 1903, tornou-se o fotógrafo oficial da prefeitura do Rio de Janeiro, cargo criado para ele. Passou a documentar a radical mudança urbanística promovida pelo então prefeito da cidade, Francisco Pereira Passos (1836-1913), período que ficou conhecido como o “bota-abaixo”. Augusto Malta trabalhou na Prefeitura até 1936, quando se aposentou. Foi o principal fotógrafo da evolução urbana do Rio nas primeiras décadas do século XX.
+ 
+Anônimo. Augusto Malta. Rio de Janeiro. Acervo Arquivo Geral da Cidade do Rio de Janeiro.
+ 
+Acessando o link para as fotografias da Rua dos Ourives produzidas por Augusto Malta disponíveis na Brasiliana Fotográfica, o leitor poderá visualizar e magnificar as imagens.
+ 
+A origem da Rua dos Ourives, atual Rua Miguel Couto
+ 
+Em meados do século XVIII, a Rua dos Ourives fazia parte do Caminho do Parto para Conceição, que ia da Igreja de Nossa Senhora do Parto até o Morro da Conceição. Nela começaram a se instalar todos os ourives da cidade, impedidos, a partir de 1742, de realizar sua atividade em qualquer outro lugar. A medida foi tomada pelo governador português Gomes Freire de Andrada (1757-1817), o Conde de Bobadela, com o objetivo de facilitar a arrecadação e a fiscalização, impedindo desvios do ouro, cujo quinto deveria ser pago a Portugal. A Carta Régia de 30 de julho de 1766 proibiu no Brasil as indústrias de ourives, fiadores de ouro, de sedas e algodões tecidos. O vice-rei Conde da Cunha (1700-1791), em 1767, se referia à Rua dos Ourives como a maior e mais populosa da cidade. “O ouro que ali se lavra é muito mais do que se sabe e se imagina. E quase todo extraviado das Casas de Fundição.(…) A rua é um coito de ladrões e vagabundos; todos interessados no contrabando do ouro.”
+O episódio da proibição foi lembrado no romance As Mulheres de Mantilha (1870), de Joaquim Manuel de Macedo (1820-1882):
+“É provável que também uma sinistra medida tomada pelo governo de Lisboa e executada pelo conde da Cunha concorresse muito para o desgosto profundo que causou a sua administração.
+Ou porque se quisesse prevenir o muito descaminho do ouro em pó e em folhetas, ou porque, como parece mais verdadeiro, se resolvesse sob aquele pretexto sacrificar os interesses legítimos dos colonos aos interesses egoístas dos ourives da metrópole, a Carta Régia de 30 de julho de 1766 mandou extinguir o ofício de ourives nas capitanias de Minas Gerais, Rio de Janeiro, Bahia e Pernambuco, e foi o conde da Cunha o infeliz executor desse assassinato da ourivesaria que principalmente no Rio de Janeiro tinha chegado a um grau de perfeição que excluía o concurso dos produtos
+ respectivos da metrópole.
+A Carta Régia de 30 de julho de 1766 era a pobreza para muitos, e a iniqüidade para todos. Um castiçal de prata amassado, uma colher de prata quebrada, uma jóia de ouro precisando de conserto, deviam ou perder-se, ou ir pedir conserto a Portugal.
+O governo de Lisboa sentenciara à morte a ourivesaria do Brasil e o conde da Cunha era o algoz que enforcava a vítima no patíbulo levantado pelo despotismo”.
+ 
+Augusto Malta. Rua dos Ourives; números do 48 ao 52, 1908. Rio de Janeiro, RJ / Acervo IMS
+ 
+ 
+No século XIX, com a chegada de dom João VI ao Rio de Janeiro, em 1808, foram revogadas as medidas do alvará de 5 de janeiro de 1785 – assinado pela rainha dona Maria I (1734-1816) -, que proibia o estabelecimento das manufaturas e indústrias no Brasil e em todos os seus domínios ultramarinos.
+ 
+Trecho do alvará de 5 de janeiro de 1785
+ 
+ 
+Alvará do príncipe regente João VI, de 1º de abril de 1808:
+“Eu o príncipe regente faço saber aos que o presente alvará virem: que desejando promover, e adiantar a riqueza nacional, e sendo um dos mananciais dela as manufaturas, e melhoram, e dão mais valor aos gêneros e produtos da agricultura, e das artes, e aumentam a população dando que fazer a muitos braços, e fornecendo meios de subsistência a muitos dos meus vassalos, que por falta deles se entregariam aos vícios da ociosidade: e convindo remover todos os obstáculos, que podem inutilizar, e prestar tão vantajosos proveitos: sou servido abolir, e revogar toda e qualquer proibição, que haja a este respeito no Estado do Brasil, e nos meus domínios ultramarinos, e ordenar, que daqui em diante seja o país em que habitem, estabelecer todo o gênero de manufaturas, sem excetuar alguma, fazendo os seus trabalhos em pequeno, ou em grande, como entenderem que mais lhes convém, para o que. Hei por bem revogar o alvará de cinco de janeiro de mil setecentos oitenta e cinco e quaisquer leis, ou ordens que o contrário decidam, como se delas fizesse expressa, e individual menção, sem embargo da lei em contrário”.
+ 
+Um alvará de 11 de agosto de 1815 declarou livres os ourives para trabalharem e negociarem com obras e ouro e prata. Ele passaram a viver um de seus melhores períodos e a Rua dos Ourives se transformou em uma das mais importantes ruas cariocas, passando a ter maior número de estabelecimentos comerciais da cidade.
+“Declaro livre aos Ourives o trabalharem e negociarem com obras de ouro e prata.
+     Eu o Principe Regente faço saber aos que o presente Alvará com força de lei virem, que havendo determinado no do 1º de abril de 1808, que fosse livre a qualquer dos meus fieis vassallos habitadores deste Estado do brazil e Dominios Ultramerinos, estabelecer manufacturas de todo o genero, e sem exccepção de alguma, revogando qualquer prohibição, que houvesse a este respeito, com o fim de augmentar e promover a industria nacional, e de não tolher a qualquer a livre faculdade de applicar-se aos trabalhos decentes e lucrosos; deve entender-se comprehendida nesta disposição a prohibição , que tinham de usar do seu officio os Ourives de ouro e prata desta Cidade, e mais partes do Brazil estabelecida na Carta Régia de 30 de Julho de 1766, para que se julgue abolida e levantada; e muito mais porque os motivos que precederem e determinaram a referida prohibição não se verificaram de todo, como mostrou a experiencia ; nem já existem depois das disposições dos Alvarás de 1 de Setembro e 12 de Outubro de 1808, que puzeram em effectiva observancia as providencias antes estabelecidas nos Capitulos 2º e 3º do de 13 de Maio de 1803, para acautelare preveniros extravios do ouro em pó, facilitando-se-lhe a fundição e promovendo-se-lhe o troco e permutas nas casas determinadas a este fim: tendo consideração a todo o referido e ao mais que me foi presente em consulta da Mesa do desembargo do Paço, com que fui servido conformar-me : hei por bemrevogar a abolir a sobredita Carta Régia de 30 de Julho de 1766; ficando livre aos Ourives de ouro e prata trabalhar nestes metaes e negociar nas obras que delles fizerem , como lhes convier.
+      Pelo que : mando á Mesa do Desembargo do Paço e da Consciencia e Ordens; Presidente do meu Real Erario; Regedor da Casa da Supplicação do Brazil; Conselho da minha Real Fazenda ; Governadores e Capitães Generaes ; ea todos os tribunaes, ministros de Justiça e mais pessoas, a quem o conhecimento deste Alvará pertencer, o cumpram  e guardem, não obstante quaesquer disposições, que o contrario determinem: que todas hei por derogadas como se de cada um fizesse expressa e individual menção. E valerá como Carta passada pela Chancellaria, posto que por ella não ha de passar , e que o seu effeito haja de durar mais de um anno, sem embargo da ordenação em contrario. Dado no Rio de Janeiro a 11 de Agosto de 1815.
+PRINCIPE com guarda.
+     Alvará com força de lei pelo qual Vossa Alteza Real ha por bem revogar e abolir a Carta Regia de 20 de Julho de 1766 pelos motivos acima expostos.
+Para Vossa Alteza real ver.
+Joaquim José da Silveira o fez. Bernardo José de Souza Lobato o fez escrever.”
+Em 1821, os primeiros alemães vindos para o Brasil fundaram na Rua dos Ourives o Clube Germânia. A rua também foi a moradia dos primeiros imigrantes judeus. Em 1846, a região atingiu o ápice, concentrando 66 das 78 joalherias cariocas. Segundo o romancista francês Gustavo Aimard (1818-1883), no livro Le Brésil nouveau (1886), nas casas da rua as “… janelas brilham com ouro e prata: candelabros, lampadários, custódias, relicários, toda a ourivesaria das igrejas está lá exposta, e  também faz-se as pulseiras, seus fechos, os diademas, todo o mundum muliebrem de que falam os poetas latinos… Gustavo Aimard era o pseudônimo de Olivier Gloux. Ele esteve no Brasil durante o Segundo Reinado e conheceu pessoalmente o imperador dom Pedro II (1825-1891), que o impressionou por sua simplicidade.
+ 
+Augusto Malta. Rua dos Ourives, 1908. Rio de Janeiro, RJ / Acervo IMS
+ 
+Em 1888, a Rua dos Ourives foi dividida em duas frações: entre as ruas São José e a Sete de Setembro passou a se chamar Rodrigo Silva e, entre a Rua do Ouvidor e o Largo de Santa Rita, manteve a denominação de Rua dos Ourives. Em 1936, a Rua dos Ourives teve seu nome alterado para Rua Miguel Couto, importante nome da medicina brasileira, que teve consultório na rua que hoje historiamos.
+ 
+Augusto Malta. O Arquivo Público; rua dos Ourives, esquina com rua da Assembleia, 1909. Rio de Janeiro, RJ / Acervo IMS
+ 
+A Rua dos Ourives foi mencionada no conto Pobre Finoca! (1891), de Machado de Assis (1839-1908):
+“Saíram todos e subiram a rua. Finoca não se enganara; Macedo estava à esquina da rua dos Ourives. Disfarçou mas fitou logo os olhos nela. Ela não tirou os seus do chão, e foram os de Alberta que receberam os dele, entre curiosa e piedosa. Macedo agradeceu o favor”.
+ 
+Andrea C.T. Wanderley
+Editora e pesquisadora da Brasiliana Fotográfica
+ 
+Fontes:
+AIMARD, Gustave: Le Brésil Nouveau. Paris, E. Dentú editeur, 1886, páginas 124 e 125.
+GERSON, Brasil. História das Ruas do Rio. Rio de Janeiro: Bem-Te-Vi, 2013.
+Hemeroteca Digital da Biblioteca Nacional
+O Arquivo Nacional e a história luso-brasileira
+OZANAM, Luiz Henrique. A jóia mais preciosa do Brasil – joalheria em Minas Gerais 1735-1815. Tese de doutorado – Universidade Federal de Minas Gerais, 2013.
+Portal Rio um olhar no tempo 1565 a 2011
+Site Rede Artesanato Brasil
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/9419` — `itens/20.500.12156.1_9419/`
+- `20.500.12156.1/9343` — `itens/20.500.12156.1_9343/`
+- `20.500.12156.1/9421` — `itens/20.500.12156.1_9421/`
+- `20.500.12156.1/9397` — `itens/20.500.12156.1_9397/`
+
diff --git a/wordpress/37139-a-inauguracao-da-estrada-de-ferro-do-corcovado.md b/wordpress/37139-a-inauguracao-da-estrada-de-ferro-do-corcovado.md
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--- /dev/null
+++ b/wordpress/37139-a-inauguracao-da-estrada-de-ferro-do-corcovado.md
@@ -0,0 +1,57 @@
+---
+id: 37139
+url: "https://brasilianafotografica.bn.gov.br/?p=37139"
+titulo: "A inauguração da Estrada de Ferro do Corcovado"
+autor: "Andrea Wanderley"
+data: "2024-10-09T08:45:45+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/10503", "20.500.12156.1/3171", "20.500.12156.1/9150", "20.500.12156.1/6337", "20.500.12156.1/11039"]
+fetched_at: "2026-09-10T10:18:30.809Z"
+---
+
+# A inauguração da Estrada de Ferro do Corcovado
+
+Em 9 de outubro de 1884, foi concluída a linha férrea ligando o Cosme Velho às Paineiras, a primeira linha férrea turística das Américas. Ainda hoje a Estrada de Ferro do Corcovado é o principal meio de acesso ao Cristo Redentor, inaugurado em 12 de outubro de 1931, e um dos pontos turísticos mais visitados do Brasil. Com 3.829 metros de trilhos, a ferrovia atravessa a maior floresta urbana do mundo, o Parque Nacional da Tijuca, proporcionando uma das vistas mais deslumbrantes do Rio de Janeiro. A Brasiliana Fotográfica celebra os 140 anos da Estrada de Ferro do Corcovado publicando fotografias da ferrovia produzidas por Augusto Malta (1864-1957), Juan Gutierrez (c.1860-1897) e Marc Ferrez (1843-1923).
+ 
+Marc Ferrez. Estrada de Ferro do Corcovado, Viaduto do Silvestre, Km 1 (aproximadamente), c. 1884. Rio de Janeiro, RJ / Acervo IMS
+ 
+Antes da construção do Cristo Redentor, havia no Corcovado um mirante que, devido a seu formato, ficou conhecido como Chapéu de Sol. Foi encomendado a uma fundição belga e construído, em 1885, por decisão de dom Pedro II (1825 – 1891), substituindo um precário pagode de madeira.  O passeio de trem era, inicialmente, realizado por tração a vapor. O mirante Chapéu de Sol foi totalmente removido, na década de 40, pelo então prefeito Henrique Dodsworth (1895 – 1975), dentro de um programa de melhoramentos no alto do Corcovado (O Jornal, 28 de maio de 1941, sexta coluna; Gazeta de Notícias, 24 de junho de 1942, quarta coluna; Correio da Manhã, 2 de abril de 1944, quarta coluna; Revista da Semana, 17 de junho de 1944).
+ 
+Acessando o link para as fotografias da Estrada de Ferro do Corcovado disponíveis na Brasiliana Fotográfica, o leitor poderá visualizar e magnificar as imagens.
+ 
+LTM Firma. Rio de Janeiro : Mon. A. Cristo Redemptor, 1935?. Rio de Janeiro, RJ / Acervo FBN
+ 
+Jorge Kfuri. Vista aérea do Morro do Corcovado e do Mirante Chapéu do Sol, c. 1921. 1rio de Janerio, RJ / Acervo IMS
+ 
+Voltando à ferrovia. A concessão para a construção da Estrada de Ferro do Corcovado foi dada aos engenheiros Francisco Pereira Passos (1836-1913), futuro prefeito do Rio de Janeiro, e a João Teixeira Soares (1848-1927), um dos realizadores da Estrada de Ferro do Paraná, de Curitiba a Paranaguá, inaugurada também em 1884 (Revista de Engenharia, 1882, primeira coluna; Gazeta de Notícias, 8 de janeiro de 1882, segunda coluna).
+Pereira Passos havia sido responsável, em 1874, pela elaboração de um plano urbano para o Rio de Janeiro inspirado nas obras realizadas em Paris pelo Barão de Haussmann (1809-1891). A Estrada de Ferro do Corcovado já estava prevista em relatórios de 1875 e 1876 entregues à Coroa pela comissão chefiada por ele.
+ 
+Juan Gutierrez. Estação das Paineiras, na Estrada de Ferro do Corcovado, 189?. Rio de Janeiro, RJ / Acervo MHN
+ 
+O renomado engenheiro Marcelino Ramos da Silva (1844 – 1910), um dos fundadores do Club de Engenharia, que havia estudado nas escolas de Hannover e Hamburgo, na Alemanha, dirigiu as obras. Estavam presentes à inauguração deste primeiro trecho dom Pedro II (1825 – 1891), dona Teresa Cristina (1822 – 1889), a princesa Isabel (1846-1921), o conde D ´Eu (1842-1922), os ministros da Agricultura, Antônio Carneiro da Rocha (1842-1925), e da Guerra, João José de Oliveira Junqueira Júnior (1832-1887), além de outras autoridades e dos diretores da estrada (Gazeta de Notícias, 10 de outubro de 1884, primeira coluna).
+ 
+Jornal do Commercio, 9 de outubro de 1884
+ 
+Em 1º de julho de 1885, o tráfego foi aberto até o alto do Corcovado (Jornal do Commercio, 2 de julho de 1885, quinta coluna; Revista de Engenharia, 1885, primeira coluna). O ramal ferroviário entre o Cosme Velho e o Corcovado foi construído sob o sistema Riggenbach, com cremalheira denteada sobre um trilho central para dar maior segurança à composição (Revista de Engenharia, 14 de abril de 1884, primeira coluna).
+ 
+Jornal do Commercio, 2 de julho de 1885
+ 
+Em fevereiro de 1910, os trens foram substituídos por máquinas elétricas (O Paiz, 26 de fevereiro de 1910, quinta coluna; O Jornal, 5 de abril de 1945, última coluna). Na década de 1970, a ferrovia foi reformada e, em 1979, foram trazidos da Suíça trens mais modernos e seguros. Em 9 de outubro de 2019, na comemoração dos 135 anos da Estrada de Ferro do Corcovado, foi inaugurada a quarta geração de trens (O Paiz, 14 de novembro de 1910, última coluna; Site Ferreomodelismo, Trens e Ferrovias do Brasil).
+ 
+Augusto Malta. Estrada de Ferro do Corcovado – Estação do Hotel das Paineiras, c. 1930. Rio de Janeiro, RJ / Acervo IMS
+ 
+O Trem do Corcovado já recebeu várias personalidades ilustres como os papas Pio XII (1876-1958) e João Paulo II (1920-2005), o líder espiritual Dalai Lama (1935-), o ator John Travolta (1954-), a cantora Beyoncé (1981-), o inventor Alberto Santos Dumont (1873-1932), os presidentes do Brasil Epitácio Pessoa (1865-1942) e Getúlio Vargas (1882-1954); o cientista Albert Einstein (1879-1955), a princesa Diana de Gales (1961-1997) e o príncipe Charles (1948-), e por Barack (1961-) e Michele Obama (1964-), presidente e primeira-dama dos Estados Unidos, e sua família. Pela centenária estrada de ferro cerca de 600 mil pessoas são levadas anualmente ao Cristo Redentor, considerado a mais antiga atração turística do Brasil.
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora da Brasiliana Fotográfica
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/10503` — `itens/20.500.12156.1_10503/`
+- `20.500.12156.1/3171` — `itens/20.500.12156.1_3171/`
+- `20.500.12156.1/9150` — `itens/20.500.12156.1_9150/`
+- `20.500.12156.1/6337` — `itens/20.500.12156.1_6337/`
+- `20.500.12156.1/11039` — `itens/20.500.12156.1_11039/`
+
diff --git a/wordpress/37180-serie-o-rio-de-janeiro-desaparecido-xxx-e-serie-hoteis-do-brasil-vii-o-grande-ho.md b/wordpress/37180-serie-o-rio-de-janeiro-desaparecido-xxx-e-serie-hoteis-do-brasil-vii-o-grande-ho.md
new file mode 100644
index 0000000..aebef25
--- /dev/null
+++ b/wordpress/37180-serie-o-rio-de-janeiro-desaparecido-xxx-e-serie-hoteis-do-brasil-vii-o-grande-ho.md
@@ -0,0 +1,77 @@
+---
+id: 37180
+url: "https://brasilianafotografica.bn.gov.br/?p=37180"
+titulo: "Série “O Rio de Janeiro desaparecido” XXX e série “Hotéis do Brasil” VII – O Grande Hotel Internacional em Santa Teresa"
+autor: "Andrea Wanderley"
+data: "2025-01-24T08:32:11+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/9948"]
+fetched_at: "2026-09-10T10:18:33.964Z"
+---
+
+# Série “O Rio de Janeiro desaparecido” XXX e série “Hotéis do Brasil” VII – O Grande Hotel Internacional em Santa Teresa
+
+Destacando quatro imagens produzidas pelo fotógrafo Marc Ferrez (1843-1923), brilhante cronista visual das paisagens e dos costumes cariocas da segunda metade do século XIX e do início do século XX , o Grande Hotel Internacional é o assunto do 30º artigo da série O Rio de Janeiro desaparecido e o sétimo da série Hotéis o Brasil. Considerado o mais cosmopolita dos hotéis do Rio de Janeiro na virada do século XX, situava-se em um grande casarão no lugar denominado Lagoinha, no morro de Santa Teresa, no Rio de Janeiro. Foi inaugurado, em 1º de dezembro de 1891, na Rua do Aqueduto. Pertencia à Companhia Melhoramentos de Santa Teresa (Gazeta de Notícias, 2 de dezembro de 1891, primeira coluna).
+ 
+Marc Ferrez. Grande Hotel Internacional e o Morro do Corcovado a partir de Santa Teresa, c. 1890. Rio de Janeiro, RJ / Acervo IMS
+ 
+Em 1893, foi adquirido pelo francês Ferdinand Mentges. Antes de se tornar um hotel, no casarão funcionava um sanatório para doenças do pulmão.
+
+ 
+Acessando o link para as imagens do Grande Hotel Internacional disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Na sua inauguração, compareceram várias senhoras e cavalheiros, a quem foi oferecido um delicado lunch. Ficava a 45 minutos da cidade, a 184 metros do nível do mar e em meio a uma vegetação soberba, o que contribuía poderosamente para a pureza do ar que ali se respira. Devido à sua localização recebia ventilação da Baía de Guanabara, para a qual tinha uma belíssima vista, mas era protegido de eventuais correntes de ar pelos morros Castor e Pólux. Em 1895, o então presidente da República, Prudente de Morais (1841-1902), passou uma temporada no hotel recuperando-se de uma de suas constantes febres (Jornal do Commercio, 29 de julho de 1934, segunda coluna).
+Notabilizou-se por oferecer requintados serviços e também por reunir em seus salões intelectuais do Rio de Janeiro dentre eles o dramaturgo Artur de Azevedo (1855-1908), o historiador Capistrano de Abreu (1853-1927) e o escritor Raul Pompéia (1863-1895).
+ 
+Gazeta de Notícias, 24 de fevereiro de 1892
+ 
+Quando foi inaugurado, possuía um prédio principal e dez chalés. No pavimento térreo, abrigava grandes salões com piano, bilhar e outros jogos, além de um restaurante, da copa e da cozinha. No segundo andar, ficavam a sala do gerente, o salão de honra e inúmeros quartos com todas as condições de conforto. A construção do Grande Hotel Internacional foi dirigida pelo comendador Bittencourt da Silva sob os conselhos do sr. Rocha Faria. Foram atendido rigorosos preceitos da higiene moderna.
+ 
+Aspectos do Grande Hotel Internacional
+ 
+Em 1911, foi ampliado: possuía 150 leitos e, além do prédio principal e dos chalés, três vilas.
+“O hotel está rodeado de matas e os passeios são muitos e variados, tais como Lagoinha, Sumaré, Silvestre, Paineiras, Corcovado. O hotel é principalmente para famílias e estrangeiros que desejem residir em lugar sossegado durante a noite. O seu parque e as suas matas, da extensão de 40.000 metros quadrados, são de grande atrativo para os estrangeiros”.
+Inovou, oferecendo aos hóspedes quadra de tênis e um campo de críquete, esportes ingleses que chegavam ao Rio de Janeiro. Bondes ligavam o hotel ao Largo da Carioca. Partiam de 15 em 15 minutos, o percurso era de cerca de 20 minutos e era feito por um caminho muito pitoresco e interessante.
+
+Foram seus hóspedes estrangeiros ilustres como o bailarino ucraniano Vaslav Nijinski (1889-1950) e A bailarina norte-americana Isadora Duncan (1877-1927), a atriz francesa Sarah Bernhardt (1844-1923) e o arqueólogo e explorador britânico Percy Harrison Fawcett (1867-1925).
+ 
+ Almanak Laemmert 
+ 
+Na crônica Chegada de um estrangeiro ao Rio, de 1912, João do Rio (1881-1921), usou um tom elogioso para descrever o Rio de Janeiro aos olhos de um europeu. O Grande Hotel Internacional foi citado.
+…Outros nédios, bem dispostos e tão nus como o primeiro insistiam para que eu tomasse um bote. Olhei, na semipenumbra, o desdobramento dos squares,  a linha dos carros de praça e os meus olhos viram, ao lado de automóveis, uma espécie de condução que até aquele momento só tinham visto em gravuras cantando os feitos do dândi d’Orsay, em Londres ou as elegâncias de Paris, em 1854. Os meus olhos viram os tílburis. Acerquei-me de um. O cocheiro tinha uma bota descalça. Agitou-se entre a bota, as rédeas e o chicote alguns segundos.
+ – Para onde vamos, V. senhoria?
+ – Internacional, Santa Thereza, disse eu com a adresse que recebera a bordo. 
+– Ah! isso é lá em cima. O burro não sobe. Vou levá-lo à estação dos bondes.
+ – É muito longe? fiz com o vago receio do viajante solitário. 
+– Uma hora de viagem. É bonito…
+ 
+Biblioteca Digital Luso-Brasileira
+ 
+Uma fotografia do Grande Hotel Internacional ilustrou um capítulo do livro Memórias de um rato de hotel publicado na Gazeta de Notícias, de 6 de janeiro de 1912, escrito por João do Rio. Era sobre um célebre ladrão da Belle Époque, Arthur Antunes Maciel, vulgo, Dr. Antonio, que ficou famoso por seus roubos inteligentes em hotéis, onde se hospedava com identidades diferentes.
+ 
+Gazeta de Notícias, 6 de janeiro de 1912
+ 
+Segundo uma observação publicada no livro Os dias passam, de João do Rio, editado pela Coordenadoria de Editoração da Fundação Biblioteca Nacional, de 2015, o Grande Hotel Internacional existiu até meados da década de 30. Em seu lugar foi construído, em 1959, o Condomínio Equitativa.
+ 
+Grand Hotel Internacional
+ 
+ 
+Andrea C.T. Wanderley
+Editora e pesquisadora da Brasiliana Fotográfica
+Fontes:
+Agenda Bafafá
+GONTIJO. Juliana Santiago. JOÃO DO RIO E AS REPRESENTAÇÕES DO RIO DE JANEIRO: O ARTISTA, O REPÓRTER E O ARTIFÍCIO – MODERNIDADE PERIFÉRICA E REPRESENTAÇÕES DO RIO DE JANEIRO Impressões do Brasil: Crônicas do Século XX
+Hemeroteca Digital da Biblioteca Nacional
+João, do Rio, 1881-1921. Os dias passam / João do Rio. – 2. ed. – Rio de Janeiro : FBN, Coordenadoria de Editoração, 2015. 408 p. : il. ; 12×19 cm. – (Coleção Cadernos da Biblioteca Nacional ; 13)
+LEME, Deborah Lavorato. Matula do sertão: a trajetória do coronel Percy Harrison Fawcett no Brasil (1906-1951). Dissertação de mestrado apresentada na USP, 2023.
+O GLOBO, 28 de fevereiro de 2015
+Site Dantes
+Site História do Esporte
+Site Novo Milênio
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/9948` — `itens/20.500.12156.1_9948/`
+
diff --git a/wordpress/37216-serie-os-diarios-associados-na-brasiliana-fotografica-v-e-natal-na-brasiliana-fo.md b/wordpress/37216-serie-os-diarios-associados-na-brasiliana-fotografica-v-e-natal-na-brasiliana-fo.md
new file mode 100644
index 0000000..61fe45c
--- /dev/null
+++ b/wordpress/37216-serie-os-diarios-associados-na-brasiliana-fotografica-v-e-natal-na-brasiliana-fo.md
@@ -0,0 +1,34 @@
+---
+id: 37216
+url: "https://brasilianafotografica.bn.gov.br/?p=37216"
+titulo: "Série “Os Diários Associados na Brasiliana Fotográfica” V – É Natal na Brasiliana Fotográfica!"
+autor: "Andrea Wanderley"
+data: "2024-12-20T09:47:31+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/13240", "20.500.12156.1/13239", "20.500.12156.1/13238"]
+fetched_at: "2026-09-10T10:18:37.031Z"
+---
+
+# Série “Os Diários Associados na Brasiliana Fotográfica” V – É Natal na Brasiliana Fotográfica!
+
+Com três imagens do acervo fotográfico dos Diários Associados – Rio de Janeiro, incorporado, em 2016, pelo Instituto Moreira Salles, uma das instituições fundadoras da Brasiliana Fotográfica, o portal celebra o Natal! O conjunto dos Diários adquirido pelo IMS possui cerca de 700 mil fotografias e 300 mil negativos com imagens produzidas para o O Jornal, comprado por Assis Chateaubriand (1892-1968), em outubro de 1924, e primeiro órgão dos Diários Associados; para o Diário da Noite, fundado por Chateaubriand, em 1929; e para o Jornal do Commercio, fundado em 1827 e adquirido pelo grupo em 1959. Também possui fotos produzidas pela Agência Meridional, primeira agência de notícias do Brasil, fundada em 1931. Os Diários Associados já foram o maior conglomerado de mídia do Brasil. Leitores, apreciem as fotografias selecionadas, decorações de celebrações natalinas realizadas, provavelmente, na década de 1940! A equipe da Brasiliana Fotográfica deseja a vocês um Feliz Natal e um Ano Novo de muitas alegrias e realizações! Lembramos que em 2025 nosso portal celebrará 10 anos!
+ 
+Comemoração de Natal, 1940 década provável / Diários Associados (RJ) –  Acervo IMS 
+ 
+Comemoração de Natal, 1940 década provável / Diários Associados (RJ) – Acervo IMS 
+ 
+Comemoração de Natal, 1940 década provável / Diários Associados (RJ) – Acervo IMS
+ 
+Acesse aqui o link para as fotografias das decorações de Natal pertencentes ao acervo dos Diários Associados(RJ) – Acervo IMS disponíveis na Brasiliana Fotográfica
+ 
+Andrea C.T. Wanderley
+Editora e pesquisadora da Brasiliana Fotográfica
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/13240` — `itens/20.500.12156.1_13240/`
+- `20.500.12156.1/13239` — `itens/20.500.12156.1_13239/`
+- `20.500.12156.1/13238` — `itens/20.500.12156.1_13238/`
+
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+---
+id: 37224
+url: "https://brasilianafotografica.bn.gov.br/?p=37224"
+titulo: "Série “Feministas, graças a Deus” XX – A líder feminista pernambucana Edwiges de Sá Pereira (1884-1958), a “Eva Militante”"
+autor: "Andrea Wanderley"
+data: "2024-12-16T11:54:09+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/13163", "20.500.12156.1/13164"]
+fetched_at: "2026-09-10T10:18:40.874Z"
+---
+
+# Série “Feministas, graças a Deus” XX – A líder feminista pernambucana Edwiges de Sá Pereira (1884-1958), a “Eva Militante”
+
+A Brasiliana Fotográfica publica o artigo A líder feminista pernambucana Edwiges de Sá Pereira (1884-1958), a Eva Militante,  o 20° da série Feministas, graças a Deus!. Foi escrito pela historiadora Cibele Barbosa, da Fundação Joaquim Nabuco, uma das instituições parceiras do portal. Publicamos também uma breve cronologia de Edwiges de Sá Pereira, escrita pela editora e pesquisadora do portal, Andrea C.T. Wanderley.
+Edwiges de Sá Pereira tornou-se ainda jovem uma poetisa reconhecida nacionalmente, tendo suas poesias e artigos publicados em jornais e revistas do Brasil. Em 1920, foi a primeira mulher a ingressar como membro da Academia Pernambucana de Letras, que com sua eleição tornou-se a primeira Academia no Brasil a ter uma mulher em seus quadros. Foi também presidente da Associação das Damas de Beneficência, a primeira presidente da Federação Pernambucana pelo Progresso das Mulheres, integrante do Comitê Feminino da Maternidade do Recife, sócia colaboradora da Associação Pernambucana de Imprensa e professora da Escola Normal do Recife.
+No artigo, estão destacadas duas imagens de Edwiges pertencentes ao acervo fotográfico da Fundação Joaquim Nabuco. Ambas foram produzidas pelo fotógrafo Louis Piereck (1880-1931), que já foi tema de uma publicação da Brasiliana Fotográfica. A foto em que Edwiges está sem chapéu foi publicada na revista A Nota (PE), de 22 de maio de 1920 em uma matéria que a felicitava pelo ingresso na Academia Pernambucana de Letras. A imagem dela com chapéu é, conforme o verso da foto, de 29 de agosto de 1909, ano em que foi nomeada diretora da escola estadual da Boa Vista. Também no verso, consta que Edwiges  presenteou algum amigo ou amiga com a fotografia.
+ 
+A Nota (PE), 22 de maio de 1920
+ 
+De origem austríaca e nascido em Campinas, em 13 de outubro de 1880, Louis Piereck atuou no Recife, entre fins do século XIX e nas primeiras décadas do XX. Pernambuco, a partir da década de 1850, com a chegada de vários fotógrafos estrangeiros e o estabelecimento de diversos ateliês fotográficos, tornou-se uma referência importante na história da fotografia no Brasil. Considerado talentoso, Piereck tinha muito prestígio na sociedade pernambucana e, em seu estabelecimento, a Photographia Piereck, eram produzidos “os mais perfeitos trabalhos“. Anunciava como sua especialidade “retratos, grupos de criança e o bello sexo“.
+ 
+A líder feminista pernambucana Edwiges de Sá Pereira (1884-1958), a Eva Militante
+Cibele Barbosa*
+ 
+Louis Piereck. Edwiges de Sá Pereira, 1909. Recife, PE / Acervo Fundaj
+ 
+Edwiges de Sá Pereira foi uma mulher que não se conformou com as imposições de seu tempo. Nascida, em 1884, no município de Barreiros, estado de Pernambuco, a filha de José Bonifácio de Sá Pereira e de Maria Amélia Rocha de Sá Pereira, nutria, desde cedo, o interesse pelos livros. Conforme descreveu em suas notas autobiográficas, costumava ler escondido os livros dos irmãos mais velhos, em especial aqueles dedicados à poesia, que copiava e declamava em reuniões de família.
+A menina que costumava dizer aos familiares que “haveria de ser poeta”, não tardou a cumprir seu intento. No início da adolescência, publicou um jornalzinho, o “Echo Juvenil”, juntamente com seu irmão Eugênio. Algum tempo depois, chegaram-lhe às mãos, pelos correios, exemplares do jornal O Paiz (RJ) com versos seus transcritos e apresentados pelo escritor Arthur Azevedo. A jovem poeta, do interior de Pernambuco, teve seu soneto “A uma estrela” reproduzido também na Revista do Brasil (SP), acompanhado de comentários entusiasmados de Cunha Mendes ao prenunciar que a menina se tornaria “a primeira poetisa do Brasil”.
+Um ano antes de se mudar com sua família para o Recife, ainda vivendo na cidade de Barreiros, Edwiges teve seu primeiro livro publicado e prefaciado pelo jurista e poeta português Antônio de Souza Pinto, em 1901. A ideia de publicar os 51 versos da jovem escritora ocorreu-lhe quando estava de férias no interior e teve a oportunidade de ser apresentado aos poemas de Edwiges. Levou os manuscritos para a capital e os publicou com o título Campesinas.
+Na edição de 17 de agosto de 1901, anunciava o Jornal Pequeno o recebimento do “mimoso livro” de Edwiges, impresso na forma de folheto, com 80 páginas. Ainda em 1901, fundou o pequeno jornal literário, o Azul e Ouro, com seu irmão Eugênio e seu amigo Caetano Andrade. Sua família se mudou para o Recife naquele período, após seu pai ter vendido o engenho na cidade de Barreiros para ocupar um cargo do governo do estado na capital pernambucana.
+Já instalada na capital, Edwiges ingressou na Escola Normal para obter formação no magistério e tornar-se professora. Paralelamente aos estudos pedagógicos, a jovem participou ativamente da vida literária de seu tempo, contribuindo com seus escritos para jornais e revistas. Em 1902, colaborou com a Revista Pernambucana e foi convidada para ser uma das redatoras do jornal O Lyrio, formado somente por mulheres. Entre as companheiras da publicação estavam Amélia Beviláqua e Úrsula Garcia. Os textos desafiavam a rígida sociedade patriarcal da época refletindo sobre a importância da educação escolar e profissional para as mulheres, entre outras pautas como a equidade salarial. 
+ 
+Louis Piereck. Edwiges de Sá Pereira, 1903. Recife, PE / Acervo Fundaj
+ 
+A partir de então, não parou mais, tendo sido convidada a ser sócia correspondente da recém-fundada Academia Pernambucana de Letras. Colaborou assiduamente em jornais como o Jornal Pequeno, do Recife, no qual foram publicados poemas seus inéditos e traduções de poetas como o simbolista Lorenzo Stecchetti, um dos pseudônimo do italiano Olindo Guerrini (1845-1916). Era sempre adjetivada por seus admiradores de “adorável”, “inteligente poetisa”.
+Em 1920, foi a primeira mulher a ingressar como membro da Academia Pernambucana de Letras, aliás a primeira Academia no Brasil a ter uma mulher em seus quadros. A normalista e poeta, defensora dos direitos das mulheres, ocupou a cadeira n.7 da APL, no lugar do acadêmico João Batista Regueira Costa, a quem dedicou o texto Um passado que não morre.
+Em sua casa, na rua do Sossego, bairro da área central do Recife, Edwiges recebia convidados e declamava poemas em italiano, em especial os da poeta Ada Negri. Também nesse espaço eram comuns os encontros de mulheres que se dedicavam às causas da emancipação feminina.
+Professora catedrática da Escola Normal, onde realizou sua formação como professora, Edwiges também atuou como professora de português no curso comercial do Colégio Eucarístico e assumiu a disciplina de História Geral e do Brasil no Colégio Nossa Senhora do Carmo. Seu engajamento no campo da “instrução pública”, como se dizia à época, levou-lhe ao cargo de superintendente de ensino dos grupos escolares da capital pernambucana, cargo que lhe permitiu viajar para outros estados em eventos e oficinas ligadas à educação. O governo estadual chegou a publicar suas Impressões e notas (questões do ensino).
+A participação ativa como educadora se alinhava às suas causas políticas. Para Edwiges era necessário que os governos investissem na educação das mulheres. Em 1931, participou do II Congresso Internacional Feminista, promovido pela Federação Brasileira pelo Progresso Feminino, fundada por Bertha Luz, em 1922. Na ocasião, a escritora pernambucana apresentou o texto Pela mulher, para a mulher, publicado no ano seguinte. Em seu discurso, Edwiges exortava as mulheres de diferentes extratos sociais a se unirem para reivindicar direitos políticos e direito à educação.
+Como consequência das articulações e redes que construiu no Rio de Janeiro, fundou, no mesmo ano, a Federação Pernambucana pelo Progresso Feminino, filiada à Federação Brasileira pelo Progresso Feminino (FBPF). A primeira sessão da Federação Pernambucana teve participação de Odila Porto de Oliveira, representando a FBPF. Edwiges, presidente da filiada pernambucana, apresentou os projetos e propostas voltadas para “campanhas em prol dos direitos e demais interesses da mulher”. Na mesma ocasião, anunciou o projeto de um levantamento estatístico das “mulheres que exercem atividades no funcionalismo em Pernambuco, no comércio, no magistério”, de modo a subsidiar a criação de uma “Escola de Oportunidades”, ideia de Noemia Xavier, vice-presidente da Federação Pernambucana. A primeira ata foi assinada, em novembro de 1931, por 47 mulheres.
+ 
+Ata da Federação Pernambucana pelo Progresso Feminino, 10 de novembro de 1931 / Acervo Fundaj
+ 
+Nas eleições de 1933 para o parlamento, Edwiges, pelo Partido Economista, e a também escritora Martha de Hollanda, sem partido, foram as únicas mulheres a se candidatarem em Pernambuco. Apesar de não terem sido eleitas, deixaram sua marca na constituição do eleitorado feminino no Brasil.
+Em 1947, Edwiges publicou a conferência “A influência da mulher na educação pacifista do após-guerra”, na qual expôs os principais desafios do século XX e os impactos da catástrofe da II Guerra Mundial. Apontou retrocessos históricos, afirmando que a “questão feminista bem longe está do seu rumo necessário”.
+ 
+A influência da mulher na educação pacifista do após-guerra, 1947 / Acervo Fundaj
+ 
+A “Eva Militante”, como assim se nomeou em artigos de jornais nos anos de 1930, e “imortal” da Academia Pernambucana de Letras, deixou escritos de sua trajetória e projetos de futuro. Faleceu em 1958, aos 74 anos, com planos de publicar suas crônicas sociais, textos feministas e escritos poéticos. Horas Inúteis, livro de poemas, foi publicado postumamente.
+ 
+*Cibele Barbosa é historiadora da Fundação Joaquim Nabuco.
+ 
+Breve cronologia de Edwiges de Sá Pereira (1884-1958)
+Andrea C.T. Wanderley**
+ 
+Diário da Manhã (PE), 1º de maio de 1937
+ 
+1884 - Em Barreiros, na Zona da Mata Sul de Pernambuco, nascimento, em 25 de outubro, de Isabel Edwiges de Sá Pereira, futura escritora, educadora, líder feminista e sufragista. Filha do barachel em Direito e senhor de engenho José Bonifácio de Sá Pereira (c.1831-1916) e da dona de casa Maria Amélia Rocha de Sá Pereira (18?-1915), pertencia à aristocracia latifundiária e letrada de Pernambuco. Era irmã dos advogados Virgílio e Manoel Arthur, do advogado e poeta Eugenio, o advogado e jornalista Eurico; e Érico, Nanette, Margarida, Fredovinda, Cândida, Adalgisa e Marieta.
+1895 – Com apenas 11 anos de idade escreveu o poema Saudade, um dos seus primeiros textos de que se tem registro.
+1886/1897 – Com seu irmão, Eugênio, criou o jornalzinho manuscrito Echo Juvenil, com pequenos textos e poesias, que circulava entre os seus familiares.
+1897 - Algumas de suas poesias que se encontravam no Echo Juvenil foram publicadas no jornal O Paiz, do Rio de Janeiro, com apresentação do jornalista, escritor e dramaturgoArtur Azevedo (1855-1908) (O Paiz, 7 e agosto de 1897, primeira coluna).
+A revista A Mensageira, revista literária dedicada à mulher brasileira, foi criticada por não ter incluído Edwiges e outras escritoras no artigo de fundo de sua primeira edição. Era dirigida pela poetisa e feminista mineira Presciliana Duarte de Almeida (1867-1944) (Revista do Brazil, setembro de 1897).
+ 
+Presciliana Duarte de Almeida (1867-1944) / Garnier, 1913
+ 
+Seu poema Primaveras foi publicado (Revista do Brazil, 30 de novembro de 1897).
+Publicação de seu poema A jurity ao beija-flores (Revista do Brazil, 30 de dezembro de 1897).
+1898 – Algumas poesias de sua autoria foram publicadas na Revista do Brazil (Correio Paulistano, 8 de janeiro de 1898, terceira coluna).
+Publicação de um soneto de sua autoria no Jornal do Recife, de 24 de maio de 1898.
+ 
+Jornal do Recife, 24 de maio de 1898
+
+1899 – Na revista Mensageira, n° 26, publicação de poesias de Edwiges (A Meridional, 1899).
+Publicação de suas poesias Simile e Scenas Simples, na Revista do Rio Grande do Norte, outubro de 1899.
+ 
+
+ 
+ 
+1900 – Publicação de seu poema A Cigana, dedicado a Auta de Souza (A Província, 25 de setembro de 1900, terceira coluna).
+1901 – Publicação de Campesinas, seu primeiro livro, com 51 poemas, prefaciado pelo jurista e poeta Antonio Souza Pinto (18-19), entusiasta da publicação. Ele havia conhecido Edwiges em uma viagem que fez a Barreiros (Almanaque do Garnier, 1903). Ofereceu um exemplar do livro à Academia Pernambucana de Letras (Jornal do Recife, 17 de setembro de 1901, sexta coluna).
+
+Jornal Pequeno, 17 de agosto de 1901
+ 
+Almanach de Pernambuco para 1903
+ 
+A obra recebeu boas críticas no Recife. Alguns de seus poemas foram:
+Meu livro 
+Perdoa-me se um dia, Tuas nevadas folhas descerrando, Alguém, meu fraco mérito acusando, De ti chasqueie e ria, Não te escrevi, meu livro, para os sábios, Para os sábios, bem sei que tu não prestas… Tinha minh’alma em festas E um riso alegre a me enfeitar os lábios, E antes que me viessem vis ressábios A alegria turvar de minha vida, Eu quis cantar e essas canções modestas Fui tirando da lira estremecida. Tudo quanto da vida eu penso, e via Nos meus sonhos gentis e soberanos, Tudo quanto me enleva a fantasia – Canto na lira azul dos verdes anos! 
+Barreiros,1900.
+No lar 
+À minha irmã Margarida 
+Ri-se na sala a trêfega criança, Como a enxotar a mágoa que domina A natureza, quando o sol declina Para o ocaso feliz onde descansa… Na estofada cadeira se embalança Uma jovem mulher, e a fronte inclina Para beijar a filha pequenina, De sua vida a lúcida esperança. Reflete o espelho a serpentina acesa, À luz da qual uma velhinha reza, E eu vejo a fé impressa no seu rosto… Basta em todas as casas esta cena, Assim tão meiga, plácida e serena, Para alegrar as horas do sol posto. 
+Barreiros, 1898.
+Dor suprema 
+Pranto supremo, pranto dolorido, Companheiro da dor, pranto pungente Dize-me tu, que tornas comovente O suspirar de um coração ferido. Dize-me tu que já de toda a gente Ouviste o peito a soluçar dorido. Sim! Tu que és sempre o intérprete escolhido De quem os golpes do infortúnio sente: Dize-me tu se por acaso existe Dor tão cruenta, padecer tão triste Como de um’alma as duras aflições, Ao ver cortando a vastidão imensa Da região sombria da descrença O bando das primeiras ilusões. 
+Barreiros, 1900
+A uma estrela
+Áquela estrêla que acompanha a lua / Eu, curiosa perguntei um dia: / – Qual de vós vale mais, a que flutua / No céu azul da minha fantasia, // Ou tu que, no correr da noite fria, / Erras no céu assim, pálida e nua, / Das esferas ouvindo essa harmonia / Que, até ouvi-la o velho mar estua? // E a clara estrêla disse-me: “Criança, / Quando fanada a última esperança, / A alma ficar-te de ilusão vazia. // Inda hás de verme fulgurar, divina; / Mas, onde encontrarás a que ilumina / O céu azul da tua fantasia”?
+       Desolada   
+A meu Pai 
+Beijando a cruz de rútilo rosário, Clotilde reza uma oração, fitando O vulto de Maria no sacrário. Dos belos olhos seus vem deslisando Um rosário de lágrimas ardentes, Que se lhe vai no colo desmanchando. Na posição dos pobres penitentes – Joelhos em terra, mãos entrelaçadas – Envia à Virgem súplicas ferventes. De pungente amargura repassadas São as frases que, triste, balbucia Com o fervor das almas desoladas. Pede à clemente e divinal Maria – Testemunha da dor que a dilacera – O bálsamo que as mágoas alivia. Suplica, reza e, soluçando, espera – Fitando sempre o casto santuário – A proteção da santa que venera. Beijando a cruz de rútilo rosário, Clotilde pensa que tardar não deve O remédio que abrande o seu fadário… Beija a cruz do rosário, e não se atreve, Não faz o mesmo à cruz que lhe foi dada… Acha a que tem na mão pequena e leve, E a que carrega por demais pesada!
+Barreiros, 1896
+Madrigais 
+A Hortência 
+Para enfeitar o céu – quantas estrelas E tu, melhor do que elas Brilham de noite, apenas, no infinito Brilhas a qualquer hora aqui na terra! É que o intenso fulgor Do astro mais esplendente e mais bonito Tens nos olhos, ó flor, (mago espelho de uma alma sem refolhos!) Si eu fosse estrela, inda que fosse Vênus, Teria inveja de teus lindos olhos! 
+Musa sensível 
+Seja teu coração bondoso e terno Sensível para o riso e para o luto! O mundo chora e ri, e eu vejo e escuto, Que se às vezes é céu, outras é inferno! Se eu te visse assistir de olhar enxuto Desta vida que passa ao drama eterno, E, a um mesmo gesto, único e supremo, Confundir o que é bom e o que é poluto; Se eu te visse impassível e serena Ante o bem, ante o mal, de que deriva Ora o gozo, ora a mágoa que envenena, Eu que tanto te estimo e te respeito, Musa, sentirá a dor pungente e viva De extinguir -se teu culto no meu peito!
+Eduardo de Carvalho (18?-19?), membro efetivo da Academia Pernambucana de Letras, fundada em 26 de janeiro deste ano por iniciativa de Joaquim Maria Carneiro Vilela (1846-1913) e de um grupo de 19 escritores pernambucanos, fez uma bela crítica ao seu livro e a convidou para ser sócia correspondente da instituição. A Academia Pernambucana de Letras foi a quarta do Brasil, tendo sido precedida pela Academia Cearense de Letras, fundada, em 1894;  pela Academia Brasileira de Letras, fundada no Rio de Janeiro, em 1897; e pela Academia Paraense de Letras, fundada em 1900.
+Edwiges colaborava com diversos jornais no país, dentre eles, O Norte (RJ) e o Escrutínio (RS), e com revistas, como a Revista Feminina (SP).
+Publicação de seu poema Maria Amelia (Almanach de Pernambuco, ).
+Era uma das redatoras da revista Azul e Ouro, órgão literário da Oficina Martins Junior, da qual era sócia honorária correspondente. A Oficina havia sido fundada em 1900 (Revista do Brazil, 1901).
+Em fins deste ano, seu pai vendeu o engenho em Barreiros e foi morar com sua família no Recife, onde passou a trabalhar para o governo do Estado.
+1902 - Edwiges, Adalgisa Duarte Ribeiro, Amélia Freitas Bevilacqua, Belmira Villarim, Cândida Duarte Barros, Luiza Ramalho e Maria Augusta Freire fundaram revista O Lyrio, cujo primeiro exemplar foi lançado em 5 de novembro. Em várias de suas 20 edições, abordava a importância da educação da mulher e a pouca atenção dos governantes em relação à instrução feminina. A publicação, encerrada em junho de 1904, foi importante para a difusão do ideário feminista baseado na educação como o único caminho para a emancipação da mulher. A Biblioteca Nacional, uma das instituições fundadoras da Brasiliana Fotográfica, possui sete exemplares da revista armazenados na Divisão de Obras Raras e na Coordenadoria de Publicações Seriadas (Diário de Pernambuco, 10 de outubro de 1902, última coluna).
+“Escrita somente por mulheres tem como redatora-chefe D. Amelia de Freitas Bevilaqua e como redatora-secretária D. Candida Duarte Barros. Participavam da redação as sras. Adalgisa Duarte Ribeiro, Belmira Villarim, Edwiges de Sá Pereira, Luiza Cintra Ramalho, Maria Augusta Freire  e Ursula Garcia. Impresso pela Emp. d’A Província, com exceção do primeiro exemplar, que foi na Imprensa Industrial. Na última página de cada exemplar encontra-se a informação de que “toda correspondência deve ser dirigida para rua do Lima, n.54, residência da Redactora-Secretaria”, e o valor da revista: número avulso custava 1$000 e a assinatura trimestral era de 2$000″.
+BNDigital
+ 
+Alguns de seus poemas publicados em O Lyrio foram Simile (n°1, novembro de 1902), dedicado a sua mãe; Paisagem (n°2, dezembro de 1902), Auta de Souza e  Esther (n°4, fevereiro de 1903), Olhos Verdes (nº 5, março de 1903); A um raio de sol (nº 6, abril de 1903); O Malmequer (nº 7, maio de 1903), e Miss (n°13 e 14, novembro e dezembro de 1903).
+ 
+Olhos Verdes
+Teus olhos verdes eu fito
+Mas logo depois não sei
+Se foi do excelso infinito
+Divina estrella que olhei.
+É que teu olhar encerra
+Tanta graça e tanta luz
+Que eu penso não ser da terra
+O brilho que me seduz!…
+Teus olhos, flor adorada,
+São de um poder soberano:
+E a gente os fita enlevada
+Qual se contemplasse o oceano…
+Não é que nelles escondas
+Essa perola do mar,
+Mas toda a attração das ondas
+Tu tens guardada no olhar!
+Eu nesse olhar adivinho
+– Como a chimera vagueia! –
+Candura de passarinho
+Fascinação de sereia!…
+O canto sonho do poeta
+Nas noites claras de lua,
+Semelha a chamma dilecta
+Que nos teus olhos fluctua…
+Formosa é sempre a esperança,
+Pois vês teus olhos querida,
+Têm a cor desta ave mansa
+Que tece os sonhos da vida!…
+Se pudessem teus olhares
+Ver toda a immensa amargura
+Do mundo eu via os pesares
+Transformados em ventura…
+Das almas tristes chorosas,
+O pranto num doce riso,
+A vida – num mar de rosas,
+A terra num paraíso!…
+ 
+Era considerada uma charadista (Almanach de Pernambuco, 1902).
+Era uma das redatoras da Revista Pernambucana, que existiu entre 1902 e 1904 (Gazeta de Notícias, 26 de dezembro de 1902, sexta coluna).
+1903 – Estudava na Escola Normal, onde se formou como professora, em 1905.
+Publicação de seu poema Março (Almanach de Pernambuco para o ano de 1903).
+Publicação de seu poema No camarim (Almanach de Pernambuco para o ano de 1903).
+Seguia colaborando com a  Revista Pernambucana (Diário de Pernambuco, 16 de dezembro de 1902, quinta coluna).
+1904 - Foi eleita vice-presidente do clube literário Olintho Victor, fundado por estudantes da Escola Normal (Diário de Pernambuco, 7 de maio de 1904, sétima coluna).
+Seus poemas estavam presentes na publicação Sonetos brasileiros, editada por Laudelino Freire (1873-1937) (Diário de Pernambuco, 3 de julho de 1904, quarta coluna).
+Publicação de seu poema O Mar (Almanach de Pernambuco, 1904).
+Ofertou livros à Biblioteca da Faculdade de Direito do Recife (Diário de Pernambuco, 28 de julho de 1904, sexta coluna).
+Foi publicada uma foto de Edwiges no Almanach de Pernambuco (Diário de Pernambuco, 10 de agosto de 1904, segunda coluna).
+Foi a oradora na cerimônia de bênção do estandarte do corpo discente da Escola Normal, realizada na Ordem 3ª de São Francisco (Jornal Pequeno, 24 de setembro de 1904, segunda coluna).
+Foi anunciado que a Oficina Martins Junior, que já existia desde 1900 e que em 1901 elegeu a revista Azul e Ouro como seu órgão literário, seria reconstituída em 2 de outubro, em uma sessão no Instituto Arqueológico Pernambucano. Em 1901, Edwiges havia se tornado sócia honorária correspondente da Oficina, mas na reorganização da agremiação tornou-se efetiva (Jornal do Recife, 11 de setembro de 1900, primeira coluna; Jornal do Recife, 2 de abril de 1901, penúltima coluna; Diário de Pernambuco, 29 de setembro de 1904, segunda coluna; Jornal do Recife, 2 de outubro de 1904, última coluna).
+Foi aceita como sócia honorária do Grêmio Literário Pantheon de Lettras (Diário de Pernambuco, 4 de outubro de 1904, penúltima coluna).
+Fez um discurso como representante do segundo ano da Escola Normal (Diário de Pernambuco, 13 de dezembro de 1904, primeira coluna).
+1905 – Na Revista Pernambucana, publicação de seu poema Amor (A Província (PE), 15 de fevereiro de 1905, quinta coluna).
+Foi eleita presidente do Clube Literário Olintho Victor (Diário de Pernambuco, 25 de maio de 1905, primeira coluna).
+Formou-se na Escola Normal (Diário de Pernambuco, 27 de outubro de 1905, quinta coluna). Em 19 de outubro, foi promovida a festa da Escola Normal das formandas de 1905 e Edwiges foi a oradora do evento (Almanach de Pernambuco, 1911).
+A letra do hino da Escola Normal era de sua autoria (Diário de Pernambuco, 28 de novembro de 1905, sexta coluna).
+Publicação de seu poema O Mar (Almanach de Pernambuco, 1905).
+1907 –  Publicação de seu poema Desolação (Almanach de Pernambuco, 1907).
+Na rua da Aurora, n° 123, foram realizados os exames da escola particular mista presidida por Edwiges (Jornal do Recife, 12 de dezembro de 1907, quarta coluna).
+Angariou fundos para a construção de uma estátua em homenagem ao poeta, professor e jurista Martins Junior (1860-1904) (Jornal do Recife, 26 de junho de 1907, última coluna).
+Foi uma das colaboradoras da terceira edição de novembro/dezembro da revista Polyantho, sob a direção de Martins Filho (Jornal do Recife, 4 de janeiro de 1908, sexta coluna).
+1908 - Publicação de seu poema Aves Libertas, dedicado a Aurea Jacome (Jornal do Recife, 1° de abril de 1908, última coluna).
+Assumiu o cargo de professora primária do Estado de Pernambuco (Diário de Pernambuco, 12 de abril de 1908, segunda coluna). Durante sua carreira no magistério lecionou Prática Didática e Pedagogia. Também foi professora de Português do curso Comercial do Colégio Eucarístico. Depois tornou-se catedrática da Escola Normal e mestra da cadeira de História Geral e do Brasil, do Instituto Nossa Senhora do Carmo. Posteriormente foi superintendente do Ensino nos Grupos Escolares do Recife.
+Foi publicado um poema de sua autoria acerca da esperança (Diário de Pernambuco, 19 de fevereiro de 1908, última coluna).
+1909 – Foi nomeada diretora da Escola Estadual da Boa Vista. No fim do ano, foi realizada na escola uma festa magnífica (Diário de Pernambuco, 15 de janeiro de 1909, terceira coluna; Jornal do Recife, 7 de dezembro de 1909, sexta coluna).
+Publicação de seu poema Maio (Jornal Pequeno, 7 de maio de 1909, terceira coluna).
+Publicação de seu soneto O Violino.
+“Magno instrumento a tua voz parece / A voz do coração que á gente fala: – / Ninguem te ouvindo o seu pezar esquece, / Ninguem te ouvindo os seus sorrisos cala… // Quando, ou tranqüilo e doce como aparece / Ou presto e alegre um som de ti revela, / – Queixa de quem magoas de amor padece / Canto de quem feliz amor propala, // O sêr que bebe o influxo soberano / Das emoções diversas de teu peito / Que pulsa e vibra como o peito humano, // Presa de enleio e de fascinação / Pensa um momento que tu foste feito / Das próprias cordas do seu coração…”
+A “Secção Chic” do Jornal Pequeno foi aberta com a publicação do poema Inverno, de sua autoria (Jornal Pequeno, 14 de junho de 1909, terceira coluna).
+
+Foi elogiada em um artigo de Adelmar Tavares (1888-1963) (Jornal Pequeno, 16 de setembro de 1909, primeira coluna).
+
+Foi noticiado que Edwiges havia enviado ao Jornal Pequeno belíssimos escritos para a Secção Chic do periódico sob o pseudônimo de Jessie Yorke. Foi descoberta e como artigo editorial foi publicado na primeira página do jornal o artigo Triste, de sua autoria (Jornal Pequeno, 16 de outubro de 1909, primeira coluna)
+
+Após a palestra Trovas e trovadores proferida por Ademar Tavares, na Sexta Conferência Literária realizada pela Academia dos Nullos, uma associação de jovens acadêmicos, Edwiges ofereceu-lhe flores (Jornal Pequeno, 4 de outubro de 1909, segunda coluna).
+Participou da organização de uma quermesse que seria realizada em 16 de janeiro de 1910 em benefício do Instituto de Proteção e Assistência à Infância (A Província, 21 de dezembro de 1909, terceira coluna).
+1910 - Publicação de uma fotografia de Edwiges no Almanach Literário Pernambucano (Jornal Pequeno, 4 de janeiro de 1910, terceira coluna).
+Ao longo do ano, publicação, no Jornal Pequeno, dos artigos de sua autoria Manias, Sombras, Não sei…, A esmo, O Lenço Azul, O Ensino Profissional, Pela infância; Sol Posto, Tradições, Fazer o bem, Grandes e pequenos, O Signal, Educação e Noite de Natal (Jornal Pequeno, 15 de janeiro de 1910, 22 de janeiro de 1910, 29 de janeiro de 1910, 5 de fevereiro de 1910, 12 de fevereiro de 1910, 19 de fevereiro, 5 de março de 1910, 12 de março de 1910, 2 de abril de 1910, 9 de abril de 1910, 30 de abril de 1910, 7 de maio de 1910, 21 de maio de 1910 e 24 de dezembro de 1910).
+O poema Vagando, assinado por Cecy, foi dedicado a ela (Jornal Pequeno, 5 de março de 1910, penúltima coluna).
+Viajou para o Rio de Janeiro (Jornal Pequeno, 27 de maio de 1910, última coluna). Durante sua estadia, fez uma visita à Escola Normal (O Paiz, 16 de julho de 1910, última coluna). Em uma de suas colunas, a escritora e feminista Julia Lopes de Almeida (1862-1934) comentou a viagem de Edwiges (O Paiz, 1º de novembro de 1910, segunda coluna).
+Publicação de seu poema Amor (Jornal Pequeno, 28 de maio de 1910).
+Para tratar de sua saúde, licenciou-se do magistério (Diário de Pernambuco, 22 de junho de 1910, penúltima coluna).
+Publicação de Nedda, de sua autoria (A República, 29 de outubro de 1910, quarta coluna).
+1911 - Publicação, no Jornal Pequeno, dos artigos de sua autoria Anno Bom, Pelo ensino, Ferri e Gaffre 1, Ferri e Gaffre 2, Ferri e Gaffre 3, Selma, Cortezias, Epistolar, Um livro novo, Mal entendido, A Chronica, Horas mysticas (Jornal Pequeno, 2 de janeiro de 1911, 14 de janeiro de 1911, 21 de janeiro de 1911, 28 de janeiro de 1911, 4 de fevereiro de 1911, 25 de fevereiro de 1911, 4 de março de 1911, 11 de março de 1911, 18 de março de 1911, 1º de abril de 1911, 8 de abril de 1911, 22 de abril de 1911,
+Um artigo de sua autoria sobre as escolas brasileiras publicado no Jornal Pequeno foi citado na coluna “Dois dedos de prosa”, da escritora Julia Lopes de Almeida (O Paiz, 24 de janeiro de 1911, segunda coluna).
+Publicação de seu poema Horas mysticas, na revista Santa Cruz (Correio Paulistano, 11 de junho de 1911, primeira coluna).
+Integrava a Cooperativa dos Funcionários Públicos (Diário de Pernambuco, 19 de outubro de 1911, terceira coluna).
+1912 – Publicação de seu poema Aves e Coração (Almanak Henault, 1912/1913).
+No artigo Um Protesto, foi mencionado que Edwiges teve a satisfação de ver traduzida em francês numa revista de Estocolmo uma de suas produções do Lyrio, acompanhada de lisongeiros conceitos do grande literato Pythion de Villar e a propósito de quem o ilustrado dr. Julio Pires, por aquele tempo do Lyrio, escreveu em seu Almanak: “discípula que honra o mestre” (Jornal Pequeno, 6 de fevereriro de 1912, segunda coluna).
+Publicação de seu poema De Volta, dedicado a Mlle. Maria Estevan (Almanach de Pernambuco, 1912). Na mesma edição, escreveu o artigo D. Julia Lopes de Almeida, homenageando a escritora, a quem havia visitado no Rio de Janeiro (Almanach de Pernambuco, 1912).
+Foi a oradora oficial da homenagem prestada pela mulher pernambucana, um concerto realizado em 13 de janeiro, no Theatro de Santa Isabel, ao general Dantas Barreto (1850-1931), governador de Pernambuco, em protesto por sua eliminação do número dos associados da Associação de Imprensa (Jornal do Recife, 9 de abril de 1912, quinta coluna).
+ 
+Jornal Pequeno, 15 de abril de 1912
+ 
+Publicação de seu poema Maguas (A Faceira, agosto de 1912).
+1913 – Publicação de seu poema À Florisa (Sciencias e Letras, fevereiro de 1912 a fevereiro de 1913).
+Foi eleita a primeira presidente da Associação das Damas de Beneficência. Já fazia parte da diretoria do Instituto de Proteção e Assistência à Infância (Jornal do Recife, 28 de janeiro de 1913, quarta coluna).
+Publicação do artigo Pro-Parvulos Carta Aberta e Francisca Izidora, de sua autoria (Jornal Pequeno, 21 de junho de 1913, primeira coluna; Jornal Pequeno, 30 de agosto de 1913, primeira coluna).
+No Instituto de Proteção e Assistência à Infância, foi promovido pelas Damas de Beneficência, sob a presidência de Edwiges, uma festa de Natal (Jornal Pequeno, 26 de dezembro de 1913, primeira coluna).
+1914 - Publicação de seu poema No camarim (Jornal Pequeno, 28 de abril de 1914).
+Estava inscrita, assim como Assis Chateaubriand (1892-1968) e outros, como colaboradora do recém criado vespertino A Tarde, em Pernambuco (O Paiz, 7 de junho de 1914, quinta coluna).
+Foi aceita como membro efetiva do Instituto Arqueológico de Pernambuco (Diário de Pernambuco, 21 de agosto de 1914, terceira coluna).
+Foi citada como uma das grandes poetisas brasileiras pelo palestrante Leal de Souza, secretário da redação da revista Careta, na 3ª conferência de uma série organizada por um grupo de literatos, no salão nobre do (Jornal do Commercio, 26 de agosto de 1914, última coluna).
+Publicação de seu poema Natal na Aldeia (Às moças de minha aldeia natal) (Jornal Pequeno, 24 de dezembro de 1914).
+1915 - Falecimento de sua mãe, Maria Amélia Rocha de Sá Pereirra (Diário de Pernambuco, 23 de novembro de 1915).
+1916 - Seu pai, José Bonifácio de Sá Pereira, foi atropelado por um carro elétrico e faleceu (Jornal do Commercio, 10 de junho de 1916, sexta coluna).
+Publicação do artigo A Romã, de sua autoria (Jornal Pequeno, 30 de dezembro de 1916, primeira coluna).
+1917 – Publicação do artigo Trabalho Feminino, de sua autoria, em que aborda a questão da admissibilidade da mulher trabalhar fora de casa (Sciencias e Letras, abril de 1917).
+Publicação de seu poema De Volta (O Jornal (MA), 9 de outubro de 1917, primeira coluna).
+O Jornal do Recife organizou o evento A Primeira Hora Literária Feminina e Edwiges foi a vencedora do Torneio Literário (Revista Feminina (SP), ano 4, n° 34, 1917).
+1918 – Publicação em duas partes do artigo A Escola Moderna, de sua autoria, onde discute as noções da pedagogia (A Escola Primária, 1º de janeiro de 1918 e 1º de fevereiro de 1918).
+Escreve para o periódico O Ratazana.
+Seus versos eram vendidos em algumas lojas do Recife (Jornal Pequeno, 7 de junho de 1918, primeira coluna).
+Estava licenciada do magistério (Jornal do Recife, 5 de outubro de 1918, primeira coluna).
+Falecimento de seu irmão, Eugênio de Sá Pereira (Jornal do Commercio, 27 de novembro de 1918, segunda coluna).
+1919 - Foi citada como exemplo de uma mulher inteligente na seção “Cartas de Mulher”, da revista Vida Moderna, em uma mensagem que contestava o conceito de Schopenhauer sobre as mulheres (Vida Moderna (PE), 22 de março de 1919, última coluna).
+1920 – Ao longo dos anos 1920, se correspondeu com feministas do sudeste do Brasil.
+Seguia como diretora da freguesia de Boa Vista e era também professora da Escola Normal (Almanach Laemmert, 1921, primeira e segunda coluna).
+Em 10 de abril, foi eleita membro efetivo da Academia Pernambucana de Letras e tomou posse em 13 de maio, tornando-se a primeira mulher a fazer parte do quadro efetivo de uma Academia de Letras no Brasil, antecedendo, em 57 anos, a cearense Rachel de Queiroz (1910-2003) que, em 4 de novembro de 1977, tornou-se a primeira mulher a fazer parte do quadro efetivo da Academia Brasileira de Letras (Diário de Pernambuco, 11 de abril de 1920, quarta coluna; A Nota, 22 de maio de 1920). A foto abaixo é de autoria do fotógrafo Louis Piereck.
+ 
+Edwiges de Sá Pereira / A Nota, 22 de maio de 1920
+ 
+Edwiges substituiu João Baptista Regueira Costa (1845-1915), na Cadeira de nº 7, cujo patrono é Antônio Peregrino Maciel Monteiro (1804-1968). A cerimônia de posse aconteceu na Câmara dos Deputados do Recife. Os outros membros empossados foram Antônio Andrade Bezerra (1889-1946), José Gonçalves Maia (1866-19?), Mario Carneiro do Rego Melo (1884-1959), Manoel de Oliveira Lima (1867-1928) e Zeferino Galvão (1864-1924). Faltaram à cerimônia, com motivo justificado, os novos acadêmicos Arthur Muniz (1896-1924), Antônio Andrade Bezerra (1889-1946) e João Barreto de Menezes (1872-1950) (Diário de Pernambuco, 14 de maio de 1920). O evento foi aberto por Samuel Martins (1862-1930), presidente da Academia Pernambucana de Letras, que exaltou Pernambuco como o berço da evolução literária brasileira. Em seguida, o acadêmico Luis de França Pereira (1870-1925) falou sobre a importância da Academia Pernambucana de Letras, das tradições de Pernambuco e saudou os novos imortais. Sobre Edwiges, falou:
+“Edwiges de Sá Pereira, que como Sapho dedilha à lira de ouro as queixas mudas do coração humano…Será esta, penso, a primeira das actuaes Academias de Lettras do paiz a admitir uma senhora em seu seio. A casa de Bento Teixeira Pinto quiz ter a primazia neste acto de justiça aos vossos dotes de espirito. Mademoselle Edwiges. E é da tradicional galanteria pernambucana alliar a cooperação da Mulher a todas as nossas affirmações de Energia como a todas as nossas manifestações de Arte”.
+Oliveira Lima, um dos novos imortais, falou em nome deles, agradecendo à Academia Pernambucana de Letras e traçou um perfil sobre si e sobre os demais empossados. Em seu discurso, valorizou a entrada de uma mulher na Academia e falou sobre Edwiges:
+“Escolhestes a sra. d. Edwiges de Sá Pereira e com esta escolha destes as outras academias do Brazil um exemplo a que a Academia Brasileira ainda não afoitara. As produções poeticas e pedagogicas da nossa consocia justificam de certo vosso acto, mas não deixa ella de ser uma innovação. Devemos todos agradecer a sra. d. Edwiges de Sá Pereira o ter proporcionado a esta Academia o ensejo de tão depressa entrar na nova corrente de idéas, admittindo no seu gremio uma representante da intellectualidade pernambucana”.
+ 
+Diário de Pernambuco, 14 de maio de 1920
+ 
+Publicação do artigo Poesia e Moda, de sua autoria (Jornal Pequeno, 7 de junho de 1920, primeira coluna).
+É nomeada professora para a cadeira primária feminina da Escola Normal de Pernambuco (A Província (PE), 27 de junho de 1920, primeira coluna).
+O escritor e acadêmico Artur Muniz (1870-1924) dedicou a ela o artigo Página de Saudade (A Província (PE), 14 de outubro de 1920, quinta coluna).
+Publicação do artigo Natal, de sua autoria (Jornal Pequeno, 24 de dezembro de 1920, última coluna).
+1921 – Escreve para a revista A Nota e para a revista do Instituto da Sociedade de Letras de Pernambuco.
+ 
+A Nota, 1º de janeiro de 1921
+ 
+Publicação do artigo Um livro bom, de sua autoria (Jornal Pequeno, 9 de maio de 1921, primeira coluna).
+1922 - Publicação de seu poema Abril (Almanach de Pernambuco, 1922).
+Foi a letrista do hino Pernambuco à independência com música de Maria do Carmo Santos Barbosa. Foi cantado na comemoração do centenário da Independência do Brasil, realizado no Theatro de Santa Izabel (Diário de Pernambuco,13 de julho de 1922, penúltima coluna).
+Escreveu um artigo sobre a exposição da pintora Georgina Barbosa Vianna (18?-1961) (Jornal Pequeno, 22 de julho de 1922, primeira coluna).
+Na Revista do Instituto de Sciências, publicação do soneto Pernambuco, de sua autoria (A Província (PE), 14 de novembro de 1922, quarta coluna).
+Publicação de uma carta que Antônio Carneiro Leão (1887-1996), diretor de Instrução Pública do Rio de Janeiro, havia enviado a Edwiges, sobre o livro Educação, de autoria dela (Jornal Pequeno, 1º de dezembro de 1922, penúltima coluna).
+Participou, em dezembro, no Rio de Janeiro, do I Congresso Internacional Feminista ou 1ª Conferência pelo Progresso Feminino, organizado pela Federação Brasileira pelo Progresso Feminino, fundada em 9 de agosto de 1922 e presidida por Bertha Lutz (1894-1976).
+1923 – Seguia como diretora da freguesia de Boa Vista e professora da Escola Normal (Almanach Laemmert, 1924).
+Publicação de seu poema Avatari, dedicado a Julio Pires (Jornal Pequeno, 21 de fevereiro de 1923, quinta coluna).
+1924 – Publicação de seu poema Contraste (Almanach de Pernambuco, 1924).
+Foi eleita para integrar a comissão fiscal da Cooperativa dos Funcionários Públicos (Diário de Pernambuco, 25 de janeiro de 1924, quarta coluna).
+Foi concedida a ela uma licença de três meses para tratamento de saúde (Jornal do Recife, 16 de março de 1924, terceira coluna).
+Fazia parte da comissão de Literatura da organização das festividades em torno da chegada do navio Italia ao Recife (Diário de Pernambuco, 21 de março de 1924, quinta coluna).
+Colaborou na revista mensal Nação Brasileira, dirigida por Evaristo de Moraes e Alfredo Horcades (O Paiz, 14 de junho de 1924, quarta coluna).
+Publicação do artigo A prioridade de Pernambuco nas ideias liberais, de autoria de Edwiges (Diário de Pernambuco, 2 de julho de 1924, quarta coluna).
+Em maio, o governador de Pernambuco, Sergio Teixeira Lins de Barros Loreto (1867-1913), a encarregou para a realização de um estudo acerca da organização e funcionamento do ensino técnico e profissional em Pernambuco e em outros estados do país. Com esse fim, Edwiges partiu para o Rio Grande do Norte e proferiu uma palestra. Foi apoiada pelo governador José Augusto Bezerra de Medeiros (1884-1971) (Jornal do Recife, 11 de maio de 1924, quinta coluna; Diário de Pernambuco, 6 de julho de 1924, penúltima coluna; 30 de julho de 1924, quarta coluna).
+Seguiu para o Rio de Janeiro e para São Paulo para continuar seus estudos sobre a organização das escolas domésticas e das escolas profissionais (Diário de Pernambuco, 22 de agosto de 1924, quarta coluna; A Província (PE), 27 de agosto de 1924, primeira coluna).
+No Rio de Janeiro, acompanhada por Antônio Carneiro Leão, diretor de Instrução Pública do Rio de Janeiro, visitou escolas rurais. Também fez uma visita à Federação Brasileira pelo Progresso Feminino e encontrou-se com a presidente da entidade, Bertha Lutz, e esteve na Liga dos Professores, onde fez uma palestra. Foi visitada por membros do Centro Pernambucano sediado no Rio de Janeiro. Na Escola Nilo Peçanha foi homenageada com uma festa em comemoração à entrada da Primavera (Jornal do Brasil, 20 de setembro de 1924 e 25 de setembro de 1924; O Paiz, 28 de setembro de 1924, sexta coluna; Jornal do Recife, 16 de dezembro de 1924, penúltima coluna; Jornal do Brasil, 17 de dezembro de 1924, sexta coluna).
+ 
+Jornal do Brasil, 20 de setembro de 1924
+ 
+Foi recebida em São Paulo com um chá oferecido na Liga das Senhoras Católicas (A Noite, 14 de outubro de 1924, quinta coluna; A Cigarra, 15 de novembro de 1924; Diário de Pernambuco, 21 de novembro de 1924, segunda coluna).
+Publicação e uma foto e Edwiges com o artigo de sua autoria, intitulado O Violão – ouvindo Josephina Robledo (Brasil Social, 1° de dezembro de 1924).
+ 
+Brasil Social, 1º de dezembro de 1924
+ 
+1925 - Publicação do artigo Sobre o Ensino Público no Brasil – impressões de uma educadora pernambucana, de sua autoria (Educação, janeiro de 1925).
+Publicação de seu artigo Pelo ensino, na revista Brasil Social, dirigido por P.A. Soares (Brasil Social, 1º de janeiro de 1925).
+Retornou de sua viagem ao Sul do Brasil onde esteve em comissão do governo estadual. Ao final do trabalho acerca da situação da educação no país, entregou ao governador um minucioso relatório, o qual, um ano depois, foi publicado com o título de Impressões e Notas (Jornal do Brasil, 14 de janeiro de 1925, quarta coluna; Diário de Pernambuco, 20 de janeiro de 1925, terceira coluna).
+Publicação de seu artigo, A Mulher pernambucana (Diário de Pernambuco, 7 de novembro de 1925).
+Escrevia para o periódico Vida Feminina.
+1926 - Publicação de um artigo acerca do trabalho realizado por Edwiges em comissão do governo de Pernambuco sobre as escolas domésticas e as escolas profissionais do Brasil (Jornal Pequeno, 18 de maio de 1926, última coluna)
+Publicação de um artigo de sua autoria sobre a declamadora Angela Vargas (Jornal Pequeno, 16 de setembro de 1926, primeira coluna).
+1927 – Era catedrática da Escola Normal e foi a letrista do hino comemorativo do centenário do Ensino Primário no Brasil – foi musicado pela professora Maria do Carmo Santos Barbosa. O hino foi cantado durante uma sessão magna realizada no Theatro de Santa Isabel e presidida pelo governador Estácio Coimbra (1872-1937) em comemoração à efeméride (Jornal do Recife, 15 de outubro de 1927, primeira coluna; O Paiz, 29 de outubro de 1927, última coluna).
+Visitou a redação do Jornal do Recife com a poetisa potiguar Palmyra Wanderley (1894-1978) que iria ler, no dia 10 de dezembro, na Academia Pernambucana de Letras, versos de seu livro Roseira Brava (Jornal do Recife, 2 de dezembro de 1927, quarta coluna).
+ 
+Palmyra Wanderley
+ 
+1928 - Foi publicada uma declaração de Edwiges sobre a Academia Pernambucana de Letras, integrando a série de reportagens A casa de Bento Teyxeyra Pinto (Diário da Manhã (PE), 22 de janeiro de 1928).
+ 
+Diário da Manhã (PE), 22 de janeiro de 1928
+ 
+Foi entrevistada sobre a questão do voto feminino (Diário da Manhã, 28 de março de 1928, sexta coluna).
+1929 – Foi eleita a oradora da Academia Pernambucana de Letras (Jornal do Recife, 3 de fevereiro de 1929, última coluna).
+Assinou um artigo sobre o feminismo publicado na revista A dona de casa, dirigida por Cândida de Brito (Jornal do Brasil, 22 de março de 1929, terceira coluna).
+Na Revista da Academia Pernambucana de Letras, publicação de um artigo de Edwiges (Diário de Pernambuco, 7 de maio de 1929, segunda coluna).
+1931 - Em junho, ela, a médica Paulina Waisman e a pintora Georgina Barbosa Vianna participaram como delegadas de Pernambuco do II Congresso Internacional Feminista, organizado pela Federação Brasileira pelo Progresso Feminino e realizado, no Automóvel Club, no Rio de Janeiro, entre 20 e 30 de junho. Edwiges e Georgina chegaram à cidade no dia 18, a bordo do navio Raul Soares. Foram recebidas por representantes da Federação Brasileira pelo Progresso Feminino, presidido por Bertha Lutz, e da União Universitária Feminina, presidida por Carmen Portinho (1903-2001). Na época, Edwiges era professora de português e história, na Escola Normal do Recife, além de vice-presidente da Academia Pernambucana de Letras (Correio da Manhã, 19 de junho de 1931, primeira coluna).
+Os temas do evento foram educação feminina, proteção às mães e à infância, trabalho feminino, direitos das mulheres e estreitamento das relações pan-americanas e internacionais (Correio da Manhã, 5 de março de 1931, primeira coluna; Jornal do Brasil, 19 de junho de 1931; O Jornal, 19 de junho de 1931, primeira coluna; Diário de Notícias, 20 de junho de 1931; Correio da Manhã, 26 de junho de 1931; O Malho, 27 de junho de 1931;  Revista da Semana, 27 de junho de 1931;  Correio da Manhã, 1º de julho de 1931; O Malho, 11 de julho de 1931; Vida Doméstica, agosto de 1931).
+Destacam-se aqui as delegadas das representações estaduais: Amazonas – Emilia Galvão e Cassilda Araujo Lima; Pará – Marina Lamarão Cardoso, Noemia de Rego Lins, Glória Silva e Maria Aurora Pegado Beltrão; Maranhão – Mariana Gurjão, Cristina Vinhais; Piauí – Nazareth Pires Ferreira; Ceará – Henriqueta Galena, Adilia Moraes e Carmem Castelo Branco; Rio Grande do Norte – Maria Eugenia Celso e Julia de Medeiros; Paraíba do Norte – Rosalina Coelho Lisboa; Pernambuco – Edwiges de Sá Pereira, Georgina Barbosa Vianna e Paulina Waismann; Alagoas – Almerinda Farias Gama; Sergipe – Sra. Maria Rita Soares de Andrade, Carlota Camargo do Nascimento; Bahia – Edith Mendes da Gama e Abreu, dra. Hermelinda Paes, Lili Tosta, dra. Francisca Praguer Froés, Alice Kelsche de Aguiar, Celeste Cerqueira; Espírito Santo – Anna Borges Ferreira; Estado do Rio de Janeiro – Antonieta de Souza Braga, Murilla Torres, Yolanda Torres, Dulce Horta Esteves Lagoeira, Maria Rosa Ribeiro; Estado de São Paulo – Helena Gordo; Julia Algodoal, Clotilde Kleber, dr. Horácio Silveira, Alice de Toledo Tibiriça e outras: Paraná – Martha da Silva Gomes; Santa Catarina – Alice Pinheiro Coimbra; Rio Grande do Sul – Ascylia Correia Rodrigues, Acy Coelho e Ilka Labarthe; Minas Gerais – Ignácia Guimarães, dra. Alzira Reis Vieira Ferreira, Maria Esther Ramalho, Eunice Weaver; Goiás – Dra. Rosita Godinho de Oliveira Bello; Mato Grosso – Branca Portinho.
+O discurso de abertura do evento foi pronunciado pela escritora Julia Lopes de Almeida (1862-1934). Durante o encontro, Edwiges proferiu o discurso Pela Mulher, para a Mulher, que defendia uma nova concepção de ensino para a mulher. Dividiu a população feminina em três categorias: mulheres que não precisavam trabalhar, mulheres que sabiam e precisavam trabalhar e, finalmente, as mulheres que não sabiam e precisavam trabalhar. Os dois primeiros grupos deveriam, segundo ela, se unir para que o terceiro grupo fosse auxiliado (Jornal do Brasil, 15 de julho de 1931, sexta coluna).
+Foi entrevistada e declarou que “o feminismo é uma evolução natural dos tempos. Como todas as forças vivas da natureza, a mulher não poderia estacionar nas fronteiras do passado, montando guarda aos velhos preconceitos que lhe tolhiam a faculdade de pensar e agir“(Diário da Noite, 22 de junho de 1931, primeira coluna).
+ 
+Jornal Pequeno, 22 de julho de 1931
+ 
+Dentro da programação do congresso, participou de uma missa campal com a presença da primeira-dama, Darcy Vargas (1895-1968), e de todas as delegadas do evento, realizada no terreno da igreja do Sagrado Coração de Jesus. No mesmo dia foi inaugurada a exposição anexa ao congresso, no Automóvel Club. Participou também da sessão de congraçamento presidido por Bertha Lutz, quando falou sobre a filosofia do momento feminista (Diário de Pernambuco, 23 de junho de 1931, quinta coluna; Diário de Notícias, 1º de julho de 1931, primeira coluna).
+Foi publicada uma entrevista com Edwiges (Jornal do Brasil, 1º de julho de 1931, terceira coluna).
+Foi convidada pela escritora e feminista Martha de Holanda (1903-1950) para ser a presidente de honra da Cruzada Feminista Brasileira, fundada e presidida por Martha, mas não aceitou o cargo. Sobre Martha de Hollanda, Luciene de Freitas, autora de sua biografia “Uma guerreira no tempo – Um resgate de uma época, Martha de Hollanda e Delírio do Nada” (2003), escreveu:
+“Ela era uma pessoa à frente do seu tempo. Contestava o ensino, contestava as roupas, usava vestidos sem manga e curtos, sem meia, fumava, bebia, tinha amizades com homens e fazia saraus com intelectuais. Eram coisas que chocavam naquela época. Tanto que essa liberdade rendeu um falatório sobre ela na cidade”
+ 
+Martha de Hollanda / Acervo da família
+ 
+Em 10 de novembro, no Clube Internacional do Recife, Odila Porto da Silveira, representante da Federação Brasileira pelo Progresso Feminino, deu posse à primeira diretoria da Federação Pernambucana pelo Progresso Feminino. Edwiges foi a primeira presidente desta associação, cargo que exerceu até 1935. Personalidades da sociedade pernambucana, assim como autoridades estaduais e federais, representantes da imprensa e de diversas corporações prestigiaram o evento (Jornal Pequeno, 10 de novembro de 1931, primeira coluna; Jornal do Recife, 11 de novembro de 1931, primeira coluna). Neste primeiro biênio da associação, a vice-presidente era a professora Noemia Ferreira Xavier, e a segunda vice-presidente era a também professora e irmã de Edwiges, Anna Sá Pereira da Silva Almeida. A secretária-geral era Maria de Lourdes Souza Leão, a tesoureira, Santina Monteiro; e a consultora jurídica era Ida Souto Uchôa (Jornal Pequeno, 7 de agosto de 1931, quinta coluna).
+ 
+Jornal Pequeno, 17 de agosto de 1931
+ 
+A ideia de criação da Federação Pernambucana pelo Progresso Feminino surgiu em reuniões de um grupo de pernambucanas que defendia a maior inclusão feminina na sociedade. Várias destas reuniões aconteceram na casa de Edwiges (Jornal do Recife, 20 de junho de 1931, primeira coluna). A Federação Pernambucana pelo Progresso Feminino apoiava fortemente os princípios católicos. Ao longo de sua existência, até fins da década de 1930, a associação, devido à forte influência de Edwiges, teve como prioridade a questão da educação da mulher. Investiu na criação da Escola de Oportunidades cuja principal meta era disponibilizar cursos como correspondência, datilografia e línguas às jovens de todas as classes sociais do Estado.
+A coluna “Palestras Femininas”, do Diário de Notícias, homenageou Edwiges com a publicação do poema Dúvida, da escritora pernambucana (Diário de Notícias, 5 de julho de 1931, primeira coluna).
+1932 – Sua tese Pela Mulher, para a Mulher foi publicada como de livro.
+Ainda era a vice-presidente da Academia Pernambucana de Letras (Fon-Fon, 5 de março de 1932, primeira coluna).
+Foi eleita segunda secretária da diretoria da Academia Pernambucana de Letras (Diário de Pernambuco, 1º de abril de 1932, última coluna).
+No Clube Internacional, a Federação Pernambucana pelo Progresso Feminino promoveu um evento para comemorar o Dia das Mães. Pela primeira vez a efeméride foi comemorada no Brasil de acordo com um decreto assinado pelo presidente Getúlio Vargas (1882-1954) (Jornal Pequeno, 9 de maio de 1932, quarta coluna).
+ 
+Brasil Feminino, novembro de 1932
+ 
+A oficialização do Dia das Mães no Brasil foi uma conquista da Federação Brasileira pelo Progresso Feminino que durante o II Congresso Internacional Feminista, realizado em junho de 1931, no Rio de Janeiro, designou uma comissão que fez a solicitação ao presidente Vargas. Ele assinou o Decreto 21.366, em 5 de maio de 1932, estabelecendo o segundo domingo de maio como a data comemorativa dedicada às mães.
+ 
+Diário de Notícias, 11 e 12 de maio de 1969
+ 
+1933 - Publicação do artigo Pela mulher, de sua autoria (Diário de Notícias, 20 de fevereiro de 1933, penúltima coluna).
+Foi eleita vice-presidente da Academia Pernambucana de Letras (Jornal do Recife, 22 de fevereiro de 1933, quarta coluna).
+A Federação Pernambucana pelo Progresso Feminino, sob a presidência de Edwiges, enviou a artista plástica e feminista Georgina Barbosa Vianna como representante da associação na Convenção Eleitoral Feminina, no Rio de Janeiro, com propostas de inclusão no texto constitucional de obras contra as secas, recusa ao serviço militar obrigatório para mulheres e apoio ao ideário católico (Diário de Pernambuco, 30 de março de 1933, primeira coluna).
+Edwiges e Martha de Hollanda conseguiram o direito de votar e também de serem votadas. Em uma enquete promovida pelo Diário de Pernambuco, Edwiges foi apontada como uma excelente candidata pela pintora e feminista Emília Barbosa Viana Marchesini, por Edna Leite Gueiros, redatora da “Página Feminina” do Jornal do Commercio; por representantes da Federação Pernambucana pelo Progresso Feminino, e por Ana Campos, catedrática da Escola Normal. Em, 30 de abril, a Federação Pernambucana pelo Progresso Feminino fez uma publicação indicando Edwiges ao eleitorado (Diário de Pernambuco, 26 de janeiro de 1933, quarta coluna; 27 de janeiro de 1933, penúltima coluna;  29 de janeiro de 1933, penúltima coluna; 1º de fevereiro de 1933, penúltima coluna; 30 de abril de 1933, quarta coluna; 30 de abril de 1933, terceira coluna; 30 de abril de 1933, última coluna).
+ 
+
+ 
+Foi publicada uma entrevista com Edwiges e quanto à questão do divórcio, no Diário de Pernambuco, de 30 de março de 1933, ela afirmou:
+“Somos católicos e não compreendemos as reivindicações femininas fora desses princípios. Somos pela indissolubilidade do matrimônio como condição máxima de garantia de família, da estabilidade do lar, da moral social, enfim. Mas, não basta impedir que o divórcio se instale em nossa lei magna; é o no código civil, quando se regular a sociedade conjugal que todo o cuidado se impõe. Combater o divórcio e deixar subsistindo na legislação civil e nos costumes as causas principais que o provocam é obra incompleta. Combatamos o mal do organismo social, ele está muito na indiferença com que consideramos e que de grosseiro temos herdado ou contagiado de raças diversas, vinculadas a nossa e má importação de práticas dissolventes de civilizações requintadamente epicuristas. Na época atual o espírito de sacrifício, o apelo a passividade e a resignação, afiguram-se de natureza e resultados muito precários”.
+Martha, sem partido, e Edwiges, pelo Partido Economista de Pernambuco, foram candidatas a deputadas constituintes por Pernambuco, em 3 de maio, mas não se elegeram.
+ 
+Diário de Pernambuco, 30 de abril de 1933
+
+A Província(PE), 31 de maio de 1933, na segunda coluna
+ 
+Publicação de seu poema Pernambuco (Brasil Feminino, maio de 1933).
+Devido à reforma do Ensino Normal em Pernambuco, ela e mais três professoras catedráticas da Escola Normal foram postas em disponibilidade (A Província (PE), 16 de maio de 1933, quinta coluna).
+Foi reeleita presidente da Federação Pernambucana pelo Progresso Feminino para o biênio de 1933 a 1935 (Jornal Pequeno, 1º de agosto de 1933, primeira coluna).
+1934 – Na reunião semanal da Federação Brasileira pelo Progresso Feminino, foi uma das escolhidas para o serviço direto junto à Constituinte (O Paiz, 22 de março de 1934, quinta coluna; O Paiz, 2 de maio de 1934, quinta coluna).
+Publicação de uma entrevista com Edwiges sobre os rumos do feminismo no Brasil e das propostas à Constituição (Jornal do Recife, 22 de junho de 1934, primeira coluna).
+Na Rádio Clube Recife, a Federação Pernambucana pelo Progresso Feminino promoveu uma hora de arte para comemorar as vitórias alcançadas pela mulher na nova Constituição do país. O evento foi aberto por Edwiges (Jornal do Recife, 22 de julho de 1934, primeira coluna).
+Foi admitida na Associação de Imprensa de Pernambuco como sócia colaboradora (Diário de Pernambuco, 15 de setembro de 1934, segunda coluna)
+Falecimento de seu irmão, o desembargador Virgílio de Sá Pereira (Jornal Pequeno, 22 de setembro de 1934, terceira coluna).
+Publicação de seu artigo intitulado Natal (Jornal Pequeno, 24 de dezembro de 1934, penúltima coluna).
+Integrou o júri do Concurso Feminino promovido pelo Diário de Pernambuco. Os trabalhos foram divididos nas categorias puramente literários e de interesse educativo e social (Diário de Pernambuco, 27 de dezembro de 1934, terceira coluna).
+1935 – Foi sucedida por Emília Barbosa Viana Marchesini na presidência da Federação Pernambucana pelo Progresso Feminino, tornando-se sua presidente honorária.
+Publicação do artigo A Arte de Conversar, de sua autoria (Jornal do Recife, 3 de fevereiro de 1935).
+Publicação do artigo Dia das Mães, de sua autoria (Jornal Pequeno, 11 de maio de 1935, segunda coluna).
+Proferiu a palestra de abertura da Semana do Livro (Diário de Pernambuco, 12 de novembro de 1935, penúltima coluna).
+1936 – Era a segunda vice-presidente da Academia Pernambucana de Letras (Jornal do Brasil, 30 de junho de 1936, quarta coluna).
+Discursou durante a visita da escritora Carolina Nabuco (1890-1981) à Academia Pernambucana de Letras (Jornal Pequeno, 6 de novembro de 1936, quarta coluna).
+1937 – Recebeu 39 votos no plebiscito promovido pela revista O Malho para saber quem seriam as mulheres que mereceriam ingressar na Academia Brasileira de Letras. As cinco primeiras colocadas foram Maria Eugênia Celso (1886-1963), Gilka Machado (1893-1980), Alba Canizares (1893-1944), Anna Amélia Carneiro de Mendonça (1896-1971) e Henriqueta Lisboa (1901-1985) (O Malho, 14 de janeiro de 1937, quarta coluna).
+Foi eleita para integrar a comissão da Revista da Academia Pernambucana de Letras (Jornal do Brasil, 28 de março de 1937, última coluna).
+Foi uma das eleitoras do concurso Príncipe dos Poetas Brasileiros promovido pela revista Fon-Fon (Fon-Fon, 24 de abril de 1937, segunda coluna).
+Ela e outras integrantes da Federação Pernambucana pelo Progresso Feminino estiveram presentes à inauguração da Escola de Enfermagem de Olinda, fundada sob os auspícios da associação (Diário de Pernambuco, 17 de agosto de 1937, penúltima coluna).
+Foi uma das palestrantes da 7ª Semana Anti-Alcoólica (Jornal do Recife, 30 de outubro de 1937, última coluna).
+Em 22 de dezembro, foi instalado o Estado Novo que, de acordo com o Decreto-lei n. 37, de 02 de dezembro de 1937, assinado pelo então presidente Getúlio Vargas (1882-1954), proibia a existência de partidos políticos e organizações civis.
+1938 – Esteve presente à cerimônia da entrega solene da Escola de Enfermagem de Olinda à prefeitura da cidade (Diário de Pernambuco, de 1938, segunda coluna).
+1940 – Foi a autora da letra do Hino Escolar João Barbalho, musicado pela também professora Maria do Carmo Santos Barbosa (Diário da Manhã, 24 de outubro de 1940, quinta coluna).
+1945 – Publicou o livro Um passado que não morre, uma homenagem póstuma ao historiador João Baptista Regueira Costa (Diário de Pernambuco, 5 de outubro de 1952, terceira coluna).
+Proferiu, na Academia Pernambucana de Letras a conferência A influência da mulher na educação pacifista do após-guerra. Na introdução deste trabalho escreveu sobre sua motivação para escrevê-lo: como “única mulher membro deste sodalício, competia-me, por vários motivos, a explanação do assunto, que em mim se integra por uma longa fase de cátedra e de suas afinidades sociais” .
+1946 - Foi uma das colaboradoras da primeira edição da revista Capibaribe, dirigida por Jorge Medeiros de Souza (Jornal Pequeno, 13 de junho de 1946, terceira coluna).
+Tomou posse como uma das integrantes do Conselho Consultivo da filial pernambucana da Liga Internacional Mulheres, fundada no Recife (Diário de Pernambuco, 22 de agosto de 1946, segunda coluna; Jornal do Brasil, 1° de setembro de 1946, primeira coluna).
+Foi publicada na edição de dezembro da Revista da Academia Brasileira de Letras a conferência A influência da mulher na educação pacifista do após-guerra. O texto integrou uma série de 28 conferências organizada pela Academia Pernambucana de Letras (Revista Brasileira, dezembro de 1946).
+1947 – Foi recebida na Federação das Academias de Letras no Brasil, no Rio de Janeiro (Jornal do Brasil, 1° de outubro de 1947, segunda coluna).
+1948 – Fez uma visita de despedida à Federação das Academias de Letras no Brasil (Jornal do Brasil, 3 de fevereiro de 1948, terceira coluna).
+Falecimento de seu irmão, Eurico de Sá Pereira (Jornal Pequeno, 31 de maio de 1948, penúltima coluna).
+Seu apoio ao envio de uma mensagem de solidariedade da Academia Pernambucana de Letras ao Salão de Poesia escandalizou o acadêmico Mário Melo (1884-1959), que combatia a poesia moderna (Jornal Pequeno, 13 de outubro de 1948, primeira coluna).
+1951 - Participou de um almoço, no restaurante Torre de Londres, em homenagem à escritora Maria das Graças dos Santos Leite pela publicação do livro Alma em vigília (Jornal Pequeno, 24 de agosto de 1951, quarta coluna).
+1952 - Falecimento de sua irmã, Fredovinda, funcionária aposentada do Tribunal de Justiça (Diário de Pernambuco, 23 de abril de 1952, primeira coluna).
+Colaborou na terceira edição da Revista Pernambucana, dirigida por Getúlio Amaral e Olympio Fernandes (Jornal Pequeno, 13 de dezembro de 1952, terceira coluna).
+1953 – Escreveu um artigo sobre a poetisa baiana Ilka Sanchez (1922-?) (Diário de Pernambuco, 1º de novembro de 1953, sexta coluna).
+Escreveu o artigo Austro Costa (Diário de Pernambuco, 15 de novembro de 1953, quinta coluna).
+1954 - Escreveu o artigo “Rosa de Pedra”: poesias de Zila Mamede (Diário de Pernambuco, 28 de fevereiro de 1954, sexta coluna).
+Escreveu o artigo Imagens e Sombras sobre o novo livro do poeta Costa Rego Junior (Diário de Pernambuco, 4 de abril de 1954, última coluna).
+Publicação do artigo Poesia, de sua autoria (Diário de Pernambuco, 13 de junho de 1954, quinta coluna).
+Na coluna “Vida religiosa”, publicação do artigo Obra Social de Grande Vulto, de sua autoria, sobre o Centro Social Nossa Senhora da Soledade (Diário de Pernambuco, 18 de setembro de 1954, sexta coluna).
+1955 – Publicação de seu poema Saudade, dedicado à poetisa Maria das Graças Santos Leite (Diário de Pernambuco, 8 de julho de 1955, quarta coluna).
+1956 - Publicação do artigo Cartas, de sua autoria (Diário de Pernambuco, 21 e 22 de abril de 1956, última coluna).
+Publicação do artigo Poesias de Pierre Luz, de sua autoria (Diário de Pernambuco, 23 de setembro de 1956, sexta coluna)
+1958 - Faleceu, em 14 de agosto, em sua casa, no bairro do Espinheiro, no Recife, vítima de uma trombose cerebral (Diário de Pernambuco, 15 de agosto de 1958, penúltima coluna). Nunca se casou nem teve filhos, mas sua sobrinha Hebe de Sá Pereira, em um depoimento de 2010, revelou que Edwiges se arrependia de não ter sido mãe solteira (Revista Brasileira, abril maio, junho de 2020, página 69) .
+ 
+Diário de Pernambuco, 14 de setembro de 1958
+ 
+ 
+Diário de Pernambuco, 7 de outubro de 1958
+ 
+Foi homenageada na Academia Pernambucana de Letras e a professora, educadora e escritora Dulce Chacon (1906-1982) pronunciou um discurso intitulado Edwiges de Sá Pereira – Escritora, acadêmica e professora, no qual dissertou sobre o respeito e carinho que a homenageada tinha para com os membros da referida agremiação, e em seguida, traçou um perfil de sua vida e obra. No ano seguinte, o discurso foi reunido em plaquette (Diário de Pernambuco, 28 de setembro de 1958, primeira coluna; Diário de Pernambuco, 18 de janeiro de 1959, quarta coluna).
+ 
+Diário de Pernambuco, 18 de janeiro de 1959
+ 
+1960 – Publicação, por iniciativa de sua sobrinha Hebe de Sá Pereira, de seu livro Horas inúteis, uma reunião de poemas escritos por ela, com prefácio do escritor e imortal da Academia Pernambucana de Letras, Jordão Emerenciano (1919-1972). O livro é composto por 53 poemas, alguns inéditos e outros que já haviam sido publicados em periódicos. No prefácio desta publicação póstuma, o professor Jordão Emereciano, fez breves considerações sobre a personalidade da autora, da sua importância para a história da Academia Pernambucana de Letras e sobre o valor desta publicação para o campo literário do estado. Para ele, este livro, era “um pouco a síntese de tudo isto porque os seus sonetos e poemas contêm os reflexos de sua atividade variada e diversificada e a motivação de toda uma vida que teve também os seus dias de luta e de sonho, de ideal e de poesia” (Revista Ágora, Vitória, n.13, 2011, p. 1-16 ).
+A seguir, um trecho do prefácio:
+ 
+
+ 
+Publicação de seu poema Capitólio, onde se evidenciava sua formação parnasiana.
+“Hás de viver eternamente, ó verso, / Nos velhos moldes: no esplendor que anima / A luz no movimento do Universo! / O amor na lei da Natureza oprima! // Quando não mais surgisse um som disperso / Do hemisfério, da métrica e da rima, / Sobram-te louros de um parnaso terso: / Nunca a seara dos Gênios se dizima! // Não medra o esforço do que finge odiar-te. / Qual haverá que um dardo acerte dentre / Os que desdenham teu prestigio de arte? // Qual haverá que um poema legue, ovante, / Ao mundo, e o mundo o leia e se concentre / Como se lê Camões, Homero, Dante?!”
+Dulce Chacon foi eleita para ocupar a vaga de Edwiges na Academia Pernambucana de Letras (Diário de Pernambuco, 26 de novembro de 1959, terceira coluna).
+1979 - Em seu livro de memórias, intitulado Medo de Criança (1979), Dulce Chacon revelou: “Tenho estado a pensar nos belos livros que Edwiges de Sá Pereira deixou reunidos, já datilografados, prontos para a impressão. Nos derradeiros anos, ver os seus três livros em letra de forma constituiu para ela o maior desejo” (Chacon, 1979:265). Os livros que a autora se refere, são: Eva Militante, Jóia de Turco e Horas Inúteis. Sobre Eva militante, Dulce comentou que Edwiges havia feito uma análise de alguns aspectos dos problemas enfrentados pela mulher brasileira “no lar ou nas atividades externas, nas profissões liberais, ou na burocracia, aviadora, magistrada, prefeita, deputada, escrivã, professora”. Ainda segundo Chacon, no livro Jóia de Turco, Edwiges havia reunido algumas de suas crônicas sobre acontecimentos nacionais e internacionais, já publicadas em jornais, “inspiradas no noticiário e nos telegramas, nas conversas de rua e na leitura de livros, tirando-os da sombra ou de um recanto do passado para dar-lhe vida, movimento, graça, sentido poético e conteúdo humano”.
+ 
+**Andrea C.T. Wanderley
+Editora e pesquisadora da Brasiliana Fotográfica
+ 
+Fontes:
+AMARAL, Walter Valdevino do. Edwiges de Sá Pereira: Uma voz pernambucana no Segundo Congresso Internacional Feminista (Rio de Janeiro, 1931), 2017.
+AMARAL, Walter Valdevino do. “Um passado que não morre”: traços biográficos de Edwiges de Sá Pereira. Revista Ágora, Vitória, n.13, 2011, p. 1-16.
+AMARAL, Walter Valdevino do; RIBEIRO, Emanuela Souza. Edwiges de Sá Pereira: um breve olhar sobre a poesia feminina pernambucana, 2009.
+BARBOSA, Izabelle Lúcia de Oliveira. Os movimentos feministas pernambucanos e o debate em torno do divórcio (1926-1937). XVIII Simpósio Nacional de História. Florianópolis, Santa Catarina, 2015.
+BNDigital
+CAMPOS, Andrea Almeida Campos. Edwiges de Sá Pereira: Uma feminista vitoriana na primeira metade do século XX in Revista Brasileira, abril, maio, junho de 2020, página 59.
+CAMPOS, Zuleica Dantas Pereira. Edwiges de Sá Pereira: um discurso para e pela mulher. In: I COLÓQUIO INTERNACIONAL DE HISTÓRIA. GT12: Gênero, Sociabilidades e Sensibilidades. Universidade Federal de Campina Grande (UFCG), 1º, 2008. Anais […]. Campina Grande – PB, 2008.
+COSTRUBAL, Deivid Aparecido. Para além do sufragismo: A contribuição de Júlia Lopes de Almeida à história do feminismo no Brasil (1892-1934). Tese apresentada à Faculdade de Ciências e Letras de Assis – UNESP – Universidade Estadual Paulista para a obtenção do título de Doutor em História (Área de conhecimento: História e Sociedade), 2017.
+FAGUNDES, Emelly Sueny Fekete. Uma das faces do feminismo em Pernambuco: Transgressões e permanências na trajetória da Federação Pernambucana pelo Progresso Feminino (1931-1937).  2018. 181 f. Dissertação (Programa de Pós-Graduação em História) – Universidade Federal Rural de Pernambuco, Recife.
+Hemeroteca Digital da Biblioteca Nacional
+NASCIMENTO, Alcileide Cabral do. O bonde do desejo: o Movimento Feminista no Recife e o debate em torno do sexismo (1927-1931). Rev. Estud. Fem. 21 (1) • Abr 2013.
+PEDROSA, Cida. A Eva militante e todas as horas úteis para a mulher e pela mulher. Revista Hexágono, 2020.
+SCHUMAHER, Shuma; BRAZIL, Érico Vital (Org.). Dicionário mulheres do Brasil: de 1500 até a atualidade. Rio de Janeiro: Zahar, 2000.
+SILVA, Martia Angélica Pedrosa de Lima. Entre engajamentos e manifestos: a inserção de Edwiges de Sá Pereira nos espaços públicos do Recife (1920-1935). Seminário Internacional Fazendo Gênero, Florianópolis, Santa Catarina, 2017.
+Site Academia Pernambucana de Letras
+Site Tribunal Eleitoral de Pernambuco
+VAINSSENCHER, Semira Adler. Edwiges de Sá Pereira.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/13163` — `itens/20.500.12156.1_13163/`
+- `20.500.12156.1/13164` — `itens/20.500.12156.1_13164/`
+
diff --git a/wordpress/37420-serie-carnavais-de-antigamente-xi-o-carnaval-e-suas-historias.md b/wordpress/37420-serie-carnavais-de-antigamente-xi-o-carnaval-e-suas-historias.md
new file mode 100644
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--- /dev/null
+++ b/wordpress/37420-serie-carnavais-de-antigamente-xi-o-carnaval-e-suas-historias.md
@@ -0,0 +1,100 @@
+---
+id: 37420
+url: "https://brasilianafotografica.bn.gov.br/?p=37420"
+titulo: "Série “Carnavais de antigamente” XI – O carnaval e suas histórias"
+autor: "Andrea Wanderley"
+data: "2025-02-27T08:14:45+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/3946", "20.500.12156.1/3944", "20.500.12156.1/4220", "20.500.12156.1/5438", "20.500.12156.1/5044", "20.500.12156.1/6206", "20.500.12156.1/10684", "20.500.12156.1/11417", "20.500.12156.1/5236", "20.500.12156.1/12600", "20.500.12156.1/3950"]
+fetched_at: "2026-09-10T10:18:44.008Z"
+---
+
+# Série “Carnavais de antigamente” XI – O carnaval e suas histórias
+
+Mais um carnaval se aproxima e desta vez a Brasiliana Fotográfica, além de listar todos os artigos já publicados em torno do tema e disponibilizar em um link todas as imagens carnavalescas do acervo fotográfico do portal, vai contar uma das histórias da introdução do confete no carnaval carioca, segundo uma entrevista publicada no Diário da Noite, de 21 de janeiro de 1931. O Diário da Noite, foi lançado, por Francisco Assis Chateaubriand (1892-1968), em 5 de outubro de 1929, no Rio de Janeiro, e no mesmo mês de seu lançamento já havia conquistado entre 60 e 80 mil leitores. O jornal faz parte do acervo fotográfico dos Diários Associados – Rio de Janeiro que foi incorporado, em 2016, por uma das instituições fundadoras da Brasiliana Fotográfica, o Instituto Moreira Salles (IMS).
+ 
+Augusto Malta. Carnaval, 1911. Rio de Janeiro, RJ / Acervo IMS
+ 
+Voltando ao artigo de 1931, publicado no Diário da Noite, o entrevistado foi o sr. Gomes Júnior, da antiga casa de músicas Viúva Guerreiro. Segundo ele, quando a loja Viúva Guerreiro ainda se chamava O Piano de Crystal, o chefe da casa, João de Souza de Oliveira Barreto, foi a Paris e viu o brinquedo dos “confetti” de papel. Trouxe toneladas e os introduziu no carnaval de 1895. Foi um grande sucesso. Anteriomente, já se brincava com papel colorido e picado, pacientemente, à tesoura.
+ 
+Diário da Noite, 21 de janeiro de 1931
+ 
+Nesta mesma entrevista, o sr. Gomes Júnior, destacou a importância da Casa Beethoven (Nascimento Silva & Cia.), situada à Rua do Ouvidor, nº 175, e do compositor Sinhô (1888-1930) em relação às músicas do carnaval carioca.
+ 
+Diário da Noite, 21 de janeiro de 1931
+ 
+Porém, a versão do sr. Gomes Júnior para a introdução do confete no carnaval carioca não é correta, pois sua venda começou a ser anunciada pela Casa Cotia, em 1892, e pela Cateyasson & Cia, em 1893, dentre outras. O fato é que o confete e a serpentina chegaram no Rio de Janeiro, na década de 1890, e nunca mais deixaram de estar presentes na folia momesca (O Paiz, 13 de junho de 1892, quarta coluna; Jornal do Commercio, 21 de dezembro de 1893, segunda coluna).
+ 
+
+ 
+No Recife, o confete foi anunciado ainda na década de 1880, em janeiro de 1887 (Diário de Pernambuco, 12 de janeiro de 1887, quinta coluna).
+“Para o Carnaval – Um nosso patrício, o Sr. Franklin Antônio Diniz, teve a feliz idéia de substituir por bisnagas de papel picado as de água perfumosas, sempre incomodativas, as de pós, sempre nocivas. O Sr. Diniz, formou, pois, uns pequenos saquinhos de papel, garbosamente enfeitados, contendo pedaços diminutos de papel de cores variadas, e os tem expostos à venda em todas as lojas de miudezas. É um inocente passatempo para o carnaval, e que merece ser bem acolhido pelo público, tanto mais quanto por ser de indústria nacional nada perde em conforto com os melhores similares que vêm do estrangeiro.”
+ 
+Links para artigos sobre carnaval já publicados na Brasiliana Fotográfica
+ 
+
+O carnaval nas primeiras décadas do século XX, publicado em 5 de fevereiro de 2016
+ 
+Augusto Malta. Grupo de homens fantasiados para o carnaval, As Marrequinhas, 1913. Rio de Janeiro, RJ / Acervo IMS
+ 
+O carnaval do Cordão da Bola Preta, publicado em 9 de fevereiro de 2018
+ 
+Anônimo. Salve! “Cordão da Bola Preta”, Penha de 1936, 1936. Rio de Janeiro, RJ / Acervo FBN
+ 
+A Batalha de Flores, publicado em 19 de fevereiro de 2018, de autoria de Andrea C.T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica
+ 
+Augusto Malta. Batalha das Flores, 17/10/1909. Rio de Janeiro, RJ / Acervo Museu da República
+ 
+As Camélias Japonesas no carnaval de Alagoas pelas lentes do fotógrafo amador Luiz Lavenère Wanderley (1868 – 1966, publicado em 21 de fevereiro de 2020
+ 
+L. Lavenère. Lembrança de Maceió /[Um clube carnavalesco], 1906. Maceió, Alagoas /Acervo Arquivo Nacional
+Cenas da folia em Manaus em 1913, publicado em 28 de fevereiro de 2020
+ 
+Carnaval, 1913. Manaus, Amazonas / Acervo Casa de Oswaldo Cruz
+ 
+Baile de Carnaval em Santa Teresa – Di Cavalcanti, Klixto e Helios Seelinger, na casa de Raul Pederneiras, publicado em 25 de fevereiro de 2022
+ 
+Baile de Carnaval, c. 1921. Santa Teresa, Rio de Janeiro / Acervo FBN Anotação manuscrito no verso da foto “63”: “baile de carnaval em casa de Raul no Largo dos Neves em Sta Tereza. Da esquerda: sentados (3) primeira fila: Di Cavalcanti, Amaro e Claudio Manuel da Costa – sentados (2ª fila) Luis Peixoto, Mario, Kalixto, Raul, o ator Brandão o popularíssimo, e Helios Seelinger. Em pé atraz: [sic] miranda, 3 deusas, Marques Pinheiro e outra deusa 1923″. – “mulher do Raul Pederneiras (Wanda)”
+ O Rei Momo por Jean Manzon e por outros fotógrafos dos Diários Associados, publicado em 3 de fevereiro de 2023
+ 
+Jean Manzon. Carnaval antigo – a Rainha do Baile das Atrizes (Mara Rúbia) e o Rei Momo (Francisco de Moraes Cardoso) Jean Manzon, 28 de fevereiro de 1946. Teatro João Caetano, Rio de Janeiro / Diários Associados (RJ) – Acervo IMS
+ 
+Foliões do Carnaval de Diamantina por Chichico Alkmim, publicado em 17 de fevereiro de 2023
+ 
+Chichico Alkmim. Carnaval, s/d. Diamantina, Minas Gerais / Acervo IMS
+ 
+Crianças no carnaval carioca de 1933 por Guilherme Santos publicado em 8 de fevereiro de 2024
+ 
+Guilherme Santos. Carnaval – crianças fantasiadas, 1933. Rio de Janeiro, RJ / Acervo IMS
+ 
+O carnaval de 1919: o carnaval da revanche, o carnaval triunfante! publicado em 20 de fevereiro de 2025
+ 
+Augusto Malta. Desfile de corso durante o carnaval, 1919. Rio de Janeiro, RJ / Acervo IMS
+ 
+Acessando o link para as fotografias de Carnaval disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas
+Acesse aqui todos os artigos da Série Carnavais de antigamente.
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+Hemeroteca Digital da Biblioteca Nacional
+Revista Superinteressante, 22 de fevereiro de 2024
+SILVA, Leonardo Dantas. Ensaios de carnaval. SUPLEMENTO CULTURAL. Diário Oficial. O Estado de Pernambuco. Ano X. Fevereiro de 1997.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/3946` — `itens/20.500.12156.1_3946/`
+- `20.500.12156.1/3944` — `itens/20.500.12156.1_3944/`
+- `20.500.12156.1/4220` — `itens/20.500.12156.1_4220/`
+- `20.500.12156.1/5438` — `itens/20.500.12156.1_5438/`
+- `20.500.12156.1/5044` — `itens/20.500.12156.1_5044/`
+- `20.500.12156.1/6206` — `itens/20.500.12156.1_6206/`
+- `20.500.12156.1/10684` — `itens/20.500.12156.1_10684/`
+- `20.500.12156.1/11417` — `itens/20.500.12156.1_11417/`
+- `20.500.12156.1/5236` — `itens/20.500.12156.1_5236/`
+- `20.500.12156.1/12600` — `itens/20.500.12156.1_12600/`
+- `20.500.12156.1/3950` — `itens/20.500.12156.1_3950/`
+
diff --git a/wordpress/37566-novos-acervos-instituto-historico-e-geografico-brasileiro-ihgb.md b/wordpress/37566-novos-acervos-instituto-historico-e-geografico-brasileiro-ihgb.md
new file mode 100644
index 0000000..eb98608
--- /dev/null
+++ b/wordpress/37566-novos-acervos-instituto-historico-e-geografico-brasileiro-ihgb.md
@@ -0,0 +1,108 @@
+---
+id: 37566
+url: "https://brasilianafotografica.bn.gov.br/?p=37566"
+titulo: "Novos acervos: Instituto Histórico e Geográfico Brasileiro – IHGB"
+autor: "Andrea Wanderley"
+data: "2024-12-09T11:11:13+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/12796", "20.500.12156.1/12827", "20.500.12156.1/12828"]
+fetched_at: "2026-09-10T10:18:47.298Z"
+---
+
+# Novos acervos: Instituto Histórico e Geográfico Brasileiro – IHGB
+
+O artigo Generalíssimo por aclamação é a primeira publicação do Instituto Histórico e Geográfico Brasileiro – IHGB – na Brasiliana Fotográfica. O IHGB é a 12ª instituição parceira do portal, fundado pelo Instituto Moreira Salles e pela Fundação Biblioteca Nacional. O artigo, que destaca duas fotografias produzidas por Francisco Soucasaux (1856-1904), é sobre a comemoração do segundo mês da proclamação da República, realizado no dia 15 de janeiro de 1890, um evento único na história militar brasileira. Foi escrito pelo historiador Thiago Guimarães Pougy sob a orientação do professor Paulo Knauss, vice-presidente do IHGB, fundado, em 1838, inspirado no Instituto Histórico de Paris, criado quatro anos antes. Desde seu início, dom Pedro II (1825-1891) esteve ligado ao IHGB, que foi a primeira instituição no Brasil dedicada à preservação e à pesquisa da cultura, das ciências sociais, da história e da geografia do Brasil. A adesão do IHGB à Brasiliana Fotográfica é mais um passo importante na história do portal.
+ 
+Acesse aqui o link para as fotografias do Instituto Histórico e Geográfico Brasileiro disponíveis na Brasiliana Fotográfica
+ 
+Generalíssimo por aclamação
+Thiago Guimarães Pougy sob a orientação do professor Paulo Knauss*
+ 
+A comemoração do segundo mês da República, no dia 15 de janeiro de 1890, ficou marcada por alguns eventos peculiares. Houve uma homenagem ao Ministro da Marinha, o então contra-almirante Eduardo Wandenkolk, que progrediu a uma homenagem ao chefe do Governo Provisório, o marechal-de-campo Manuel Deodoro da Fonseca. Há nela, entretanto, alguns eventos estranhos às homenagens de praxe, como promoções militares feitas por aclamação popular, isto é, do “povo, do Exército e da Armada”; mas também há a percepção de que o hino do Império, de Francisco Manuel da Silva, seria antes nacional que imperial e, portanto, deveria manter a condição de hino oficial.
+As fotografias de Francisco Soucasaux, do acervo do Instituto Histórico Geográfico Brasileiro, apresentam a expressão visual desse evento histórico. O que vemos na fotografia é o desfile da Marinha em homenagem a Deodoro da Fonseca em frente ao palácio Itamaraty, então sede do Governo Provisório. Trata-se do momento em que, após promovidos por aclamação, respectivamente, Deodoro a Generalíssimo, Wandenkolk a vice-almirante e Benjamin Constant a brigadeiro, as bandas da Marinha voltam a tocar desfilando em frente ao palácio. Pode-se ver a guarda de honra feita pelos soldados do 23º batalhão de infantaria do Exército separando os marinheiros em desfile dos civis no palácio.
+ 
+Francisco Soucasaux. Discurso de Manoel Deodoro da Fonseca, 15 de janeiro de 1890. Palácio do Itamaraty, Rio de Janeiro, RJ / Acervo IHGB
+ 
+Nos meses seguidos à Proclamação, houve um movimento de beneficiar os militares que apoiaram o golpe e de reformar os que se opuseram. O aumento do soldo veio em menos de um mês após a ruptura e, em janeiro de 1890, as promoções em massa fariam oficiais subirem dois ou três postos em questão de semanas ou meses.[1] Havia uma preocupação do governo em recompensar os seus partidários e, sobretudo, em valorizar os militares, os quais se consideravam vítimas de uma tradição civilista do Império que nutria antipatia aos valores, às demandas e às instituições castrenses.
+Foi nesta conjuntura que ocorreu o evento fotografado. Segundo Raimundo Magalhães Júnior, houve uma espécie de conspiração palaciana em que o capitão-tenente Alexandrino Faria de Alencar almejava homenagear a Wandenkolk e o major Inocêncio Serzedello Correia, a Constant, Ministro da Guerra. Para tal, teriam incluído Deodoro, pensando ser assim mais fácil de convencê-lo a acatar ao pedido.[2] Planejou-se, desse modo, o desfile do quinze de janeiro.
+Os jornais diários narram o seu trajeto: entre 11 e 12 horas, o corpo de marinheiros nacionais desembarca no Arsenal da Marinha, tendo a sua frente bandas de música[3]; seguiram, então, por volta de 13h30 e 14h15, para o Clube Naval, passando pela rua Primeiro de Março, pela Rua do Ouvidor até a rua do Theatro, após o Largo de São Francisco, e depois para a praça da Constituição (atual praça Tiradentes), onde se localizava o clube.[4] Após a homenagem a Wandenkolk e saudações generalizadas, este decide se unir ao desfile e seguir até a sede do governo com seu estado maior, por volta das 15h15.[5] A parada continuou pela rua Visconde do Rio Branco, atravessou a praça da Aclamação (atual praça da República) pelo lado da antiga prefeitura e foi para a rua Larga de São Joaquim, onde ficava o Itamaraty, encontrando lá o 23º batalhão de infantaria do Exército fazendo a guarda de honra do palácio.[6] O Diário de Noticias descreveu o aspecto da sede do governo:
+ 
+“As janelas do palácio achavam-se apinhadas de famílias, e nas diversas salas circulava grande número de oficiais de mar e terra, cidadãos ministros do interior, da guerra, da agricultura e da justiça, dr. chefe de polícia e muitas outras pessoas gradas. No saguão do palácio tocavam as bandas de música […]
+Na rua a multidão era compacta.” (As festas de hontem. Diario de Notícias, 16/01/1890; p.1)
+ 
+Ao chegarem ao Itamaraty, os marinheiros desfilaram, comandados pelo capitão-tenente Alexandrino, e houve uma saudação a Deodoro, que respondeu à cortesia. Foi quando o major Serzedello, comissionado por outros oficiais, da rua, dirigiu-se ao marechal pedindo permissão para que fossem promovidos – o Ministro da Guerra, o da Armada e o próprio chefe do governo – porque essa era a vontade do povo, do Exército e da Marinha.[7] O Paiz descreve o pedido:
+“Depois dessa formalidade, cercado de muitos oficiais, na rua, tomou a palavra o talentoso major Serzedello, que em nome do povo, da armada e do exercito, declarou, que, grata aos relevantes serviços prestados, a nação elevava o marechal Deodoro a generalissimo do exercito; o tenente-coronel Benjamin Constant a brigadeiro, e o contra-almirante Wandenkolk a vice-almirante. Ao troar dos canhões e por entre os vivas do povo, assim terminou o orador.
+“É essa a vontade do povo e ela é soberana.” (Festa militar: o hymno nacional. O Paiz, 16/01/1890; p.1)
+ 
+Francisco Soucasaux. Discurso de Manoel Deodoro da Fonseca, 15 de janeiro de 1890. Palácio do Itamaraty, Rio de Janeiro, RJ / Acervo IHGB
+ 
+Embora haja suspeita de que as promoções por aclamação tenham sido planejadas em uma conspiração do oficialato, os homenageados pareceram surpresos. Há relatos de que tanto Deodoro como Constant recearam em receber tais promoções. Afinal, uma promoção de patente por aclamação popular é algo estranho às práticas castrenses. O Diário de Noticias aponta que Deodoro relutou a princípio, mas acedeu após a insistência de Serzedello respondendo “Querem? pois bem, seja feita a vossa vontade”.[8] Já o O Paiz e a Gazeta de Notícias registram que Constant também receou em receber a promoção tendo, inclusive, discursado o porquê de sua recusa no momento.[9] Este jornal publicou o discurso no dia 17 e relata que ao seu fim, “O povo reclama e o Sr. major Serzedello declara que os decretos da população são irrevogáveis”.[10] O major de 29 anos era, à época, o secretário do Ministro da Guerra, que também terminou por acatar à homenagem.[11]
+Após as relutâncias, os oficiais foram promovidos por aclamação em meio entusiasmado, as bandas de música voltaram a tocar e as forças de mar a desfilar em frente ao palácio. Acredita-se que foi este o momento das fotografias. Pode-se ver, em uma delas, Deodoro na sacada do palácio; em outra, o desfile dos marinheiros precedido pela banda de música. As fotografias parecem terem sido tomadas em sequência, tendo em vista que muitos dos personagens continuam no mesmo lugar, com a exceção do Generalíssimo. Percebe-se que na fotografia em que Deodoro aparece, o desfile da Marinha ainda não está no enquadramento da foto e muitos dos olhares sugerem a sua chegada pelo canto esquerdo. Supõe-se, por isso, que a fotografia com Deodoro tenha sido tomada no momento anterior.
+Em seguida ao momento fotografado, o chefe do governo convidou os oficiais para um almoço solene no palácio. Foi Serzedello, ainda, quem, em nome de oficiais do Exército e da Armada, se dirigiu a Deodoro e a Constant para pedir a manutenção do hino, pois, repetindo o argumento corrente na imprensa[12], se tratava antes de um símbolo da nacionalidade do que da monarquia.[13] O ministro da Guerra respondeu que o governo já havia entendido ser esta a vontade do “[…] povo, do Exército e da Armada”.[14] Havia, no entanto, um concurso agendado para o dia vinte de janeiro, isto é, cinco dias depois, no qual seria eleito um novo hino para a República. Com a escolha da manutenção do hino antigo, houve uma mudança e o concurso elegeria o hino da Proclamação, não mais o da nação.[15] De qualquer forma, as bandas, que antes desfilavam na rua Larga de São Joaquim alternando entre marchas e a Marselhesa, sem despertar entusiasmo do público, com a anuência de Constant passam a tocar o hino de Francisco Manuel da Silva, que levou ao êxtase generalizado dos presentes.[16] A parada terminou por volta da 17h30.
+Também digno de nota foram os presentes dados pela Escola Militar aos personagens promovidos por aclamação, buscando, desse modo, endossá-las. Por unanimidade de votos, ofereceram a Deodoro os bordados de Generalíssimo; a Constant o boné de brigadeiro; e a Wandenkolk um mimo que simbolizaria a concórdia entre o Exército e a Marinha.[17] Além disso, o major Serzedello também parece ter sido recompensado por seu empreendimento: ainda em 1890 foi promovido a tenente-coronel e nomeado presidente do Estado do Paraná.[18]
+Por fim, quatro importantes questões se impõem à imagem apresentada. A primeira é a de que promoções militares por aclamação popular nas ruas são eventos estranhos à cultura castrense. De acordo com Frank McCann, este foi um evento único na história militar brasileira.[19] Além disso, a imagem da fotografia contrasta com os retratos oficiais da Proclamação, de predominância militar e carência de povo, como descrito por Aristides Lobo. O povo, quer dizer, civis de terno ou casaca, mulheres e crianças, participam do evento e da composição da imagem. As menções na imprensa diária incluindo o povo na aclamação, sempre se referindo à tríade povo, Exército e Armada, também não parece despropositada. O próprio major Serzedello havia salientado a importância de inclusão do elemento civil no Governo Provisório, quando saudou Quintino Bocaiúva no Clube Naval.[20] No Diário Oficial, por exemplo, a inclusão do povo era feita de forma diferente. Os decretos caracterizavam o Governo Provisório como constituído por “Exército e Armada em nome da nação”.[21] A terceira leva em consideração a tradição monárquica de aclamar os novos imperadores. No Brasil, D. João VI, D. Pedro I e D. Pedro II foram aclamados nas ruas. A do primeiro Imperador, inclusive, foi bem próxima à localização do Itamaraty, no Campo de Santana, que passou a ser chamado de praça da Aclamação. Uma aclamação popular a Deodoro dois meses após a Proclamação, em meio à disputa pela reorganização política do país, aparenta expor uma sociedade ainda conformada às distinções típicas do Império. O que leva à última questão: diferentemente das promoções a Wandenkolk e a Constant, a de Deodoro não foi uma ascensão na hierarquia militar propriamente dita. Trata-se, antes, de título distintivo, isto é, que visava à distinção do marechal que também era o governante e o personagem ao qual era atribuída a Proclamação. Ironicamente, o título a distinguir o proclamador da República, Generalíssimo, havia pertencido ao Imperador.[22]
+O decreto escrito pelo secretário e sobrinho do chefe de governo, João Severiano da Fonseca Hermes, irmão do futuro Presidente Hermes da Fonseca[23], no dia das aclamações, foi transcrito de diferentes formas para os jornais diários, mas todas respeitando a mesma mensagem. Assim foi apresentado o decreto no Diario de Notícias:
+“O povo brazileiro, o exercito e armada nacionaes, representados no governo provisorio, como gratidão eterna aos serviços immorredouros prestados à liberdade e à grandeza da patria, acclamam o marechal de campo Manoel Deodoro da Fonseca generalissimo do mesmo exercito, o contra-almirante Eduardo Wandenkolk, vice-almirante, e o tenente -coronel Benjamin Constant, brigadeiro.” (As festas de hontem. Diario de Notícias, 16/01/1890; 1)
+ 
+[1] McCann, Frank. Soldados da pátria: história do Exército brasileiro, 1889-1937. Tradução de Laura Teixeira Motta. São Paulo / Rio de Janeiro: Companhia das Letras / Biblioteca do Exército, 2009; 46.
+[2] Magalhães Jr, Raimundo. Deodoro: a Espada contra o Império. Volume 2: o galo na torre. São Paulo: São Paulo Editora S/A, 1957; 134-135.
+[3] As festas de hontem. Diario de Notícias, Rio de Janeiro, 16/01/1890; 1.
+[4] As festas de hontem. Diario de Notícias, 16/01/1890; 1; Manifestação ao marechal Deodoro e ao almirante Wandenkolk. Gazeta de Notícias, Rio de Janeiro, 16/01/1890; 1.
+[5] Acclamação publica. Jornal do Commercio, Rio de Janeiro, 16/01/1890; 1.
+[6] Manifestação ao marechal Deodoro e ao almirante Wandenkolk. Gazeta de Notícias, Rio de Janeiro, 16/01/1890; 1; Festa militar: o hymno nacional. O Paiz, Rio de Janeiro, 16/01/1890; 1.
+[7] As festas de hontem. Diario de Notícias, Rio de Janeiro, 16/01/1890; 1; Manifestação ao marechal Deodoro e ao almirante Wandenkolk. Gazeta de Notícias, Rio de Janeiro, 16/01/1890; 1.
+[8] As festas de hontem. Diario de Notícias, Rio de Janeiro, 16/01/1890; 1.
+[9] Manifestação ao marechal Deodoro da Fonseca. Gazeta de Notícias, Rio de Janeiro, 17/01/1890; 1; Festa militar: o hymno nacional. O Paiz, Rio de Janeiro, 16/01/1890; 1.
+[10] Manifestação ao marechal Deodoro da Fonseca. Gazeta de Notícias, Rio de Janeiro, 17/01/1890; 1.
+[11] Magalhães Jr, op. cit., loc. cit.
+[12] Guanabarino, Oscar. O hymno nacional. O Paiz, Rio de Janeiro, 17/01/1890; 1; Carvalho, José Murilo de. A formação das almas: o imaginário da República no Brasil. 2ª edição. São Paulo: Companhia das Letras, 2017; 123.
+[13] As festas de hontem. Diario de Notícias, Rio de Janeiro, 16/01/1890; 1; Manifestação ao marechal Deodoro da Fonseca. Gazeta de Notícias, Rio de Janeiro, 17/01/1890; 1; Festa militar: o hymno nacional. O Paiz, Rio de Janeiro, 16/01/1890; 1.
+[14] Manifestação ao marechal Deodoro da Fonseca. Gazeta de Notícias, Rio de Janeiro, 17/01/1890; 1.
+[15] Carvalho, op. cit., 124.
+[16] Carvalho, op. cit., 122-123; McCann, op. cit., loc. cit.
+[17] Escola Militar. Diario de Notícias, Rio de Janeiro, 17/01/1890; 1; Gazeta de Notícias, Rio de Janeiro, 17/01/1890; 1.
+[18] Magalhães Jr, op. cit., 136; McCann, op. cit., 47.
+[19] McCann, op. cit., loc. cit.
+[20] Manifestação da armada. Jornal do Commercio, Rio de Janeiro, 16/01/1890; 1; Festa militar: o hymno nacional. O Paiz, Rio de Janeiro, 16/01/1890; 1.
+[21] Citação presente em qualquer Diário Oficial da União de janeiro de 1890.
+[22] McCann, op. cit., loc. Cit.
+[23] Lopes, Raimundo Helio. Hermes, Fonseca. Dicionário Histórico-Biográfico da Primeira República. CPDOC, Fundação Getúlio Vargas. Disponível em: https://cpdoc.fgv.br/sites/default/files/verbetes/primeira-republica/HERMES,%20Fonseca.pdf . Acesso em: 25/02/2024.
+ 
+*Thiago Guimarães Pougy é doutorando em História na Universidade Federal Fluminense sob a orientação de Paulo Knauss, sócio titular e vice-presidente do Instituto Histórico e Geográfico Brasileiro (IHGB).
+ 
+Bibliografia:
+Carvalho, José Murilo de. A formação das almas: o imaginário da República no Brasil. 2ª edição. São Paulo: Companhia das Letras, 2017.
+Faria, Durland Puppin de; Pedrosa, Fernando Velôzo Gomes. Hierarquia militar brasileira – Exército. IN: Dicionário de história militar do Brasil (1822-2022): volume II. Org. Silva, Francisco Carlos Teixeira da.  [et al.]. Rio de Janeiro: Autografia, 2022.
+Lopes, Raimundo Helio. Hermes, Fonseca. Dicionário Histórico-Biográfico da Primeira República. CPDOC, Fundação Getúlio Vargas. Disponível em: https://cpdoc.fgv.br/sites/default/files/verbetes/primeira-republica/HERMES,%20Fonseca.pdf . Acesso em: 25/02/2024.
+Magalhães Jr, Raimundo. Deodoro: a Espada contra o Império. Volume 2: o galo na torre. São Paulo: São Paulo Editora S/A, 1957.
+McCann, Frank. Soldados da pátria: história do Exército brasileiro, 1889-1937. Tradução de Laura Teixeira Motta. São Paulo / Rio de Janeiro: Companhia das Letras / Biblioteca do Exército, 2009.
+Hemeroteca da Biblioteca Nacional:
+Diario de Notícias:
+As festas de hontem. Diario de Notícias, Rio de Janeiro, 16/01/1890; 1.
+Escola Militar. Diario de Notícias, Rio de Janeiro, 17/01/1890; 1.
+Gazeta de Notícias:
+Acclamações. Gazeta de Notícias, Rio de Janeiro, 16/01/1890; 1.
+Hymno da Republica. Gazeta de Notícias, Rio de Janeiro, 16/01/1890; 1.
+Manifestação ao marechal Deodoro e ao almirante Wandenkolk. Gazeta de Notícias, Rio de Janeiro, 16/01/1890; 1.
+Gazeta de Notícias, Rio de Janeiro, 17/01/1890; 1. (Escola Militar)
+Manifestação ao marechal Deodoro da Fonseca. Gazeta de Notícias, Rio de Janeiro, 17/01/1890; 1.
+Jornal do Commercio:
+Acclamação publica. Jornal do Commercio, Rio de Janeiro, 16/01/1890; 1.
+Hymno nacional. Jornal do Commercio, Rio de Janeiro, 16/01/1890; 1.
+Manifestação da armada. Jornal do Commercio, Rio de Janeiro, 16/01/1890; 1.
+O Paiz:
+Festa militar: o hymno nacional. O Paiz, Rio de Janeiro, 16/01/1890; 1.
+Hymno nacional. O Paiz, Rio de Janeiro, 16/01/1890; 2.
+Guanabarino, Oscar. O hymno nacional. O Paiz, Rio de Janeiro, 17/01/1890; 1.
+ 
+Biblioteca Machado de Assis – Acervo histórico do Diário Oficial da União – DOU:
+http://museu.in.gov.br/fi/web/dou/dou/-/document_library/kcmautn6AnNs/view/575744?_com_liferay_document_library_web_portlet_DLPortlet_INSTANCE_kcmautn6AnNs_navigation=recent&_com_liferay_document_library_web_portlet_DLPortlet_INSTANCE_kcmautn6AnNs_curFolder=&_com_liferay_document_library_web_portlet_DLPortlet_INSTANCE_kcmautn6AnNs_deltaFolder=&_com_liferay_document_library_web_portlet_DLPortlet_INSTANCE_kcmautn6AnNs_deltaEntry=75&_com_liferay_document_library_web_portlet_DLPortlet_INSTANCE_kcmautn6AnNs_orderByCol=modifiedDate&_com_liferay_document_library_web_portlet_DLPortlet_INSTANCE_kcmautn6AnNs_orderByType=asc&p_r_p_resetCur=false&_com_liferay_document_library_web_portlet_DLPortlet_INSTANCE_kcmautn6AnNs_curEntry=4
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/12796` — `itens/20.500.12156.1_12796/`
+- `20.500.12156.1/12827` — `itens/20.500.12156.1_12827/`
+- `20.500.12156.1/12828` — `itens/20.500.12156.1_12828/`
+
diff --git a/wordpress/37725-serie-carnavais-de-antigamente-x-o-carnaval-de-1919-o-carnaval-da-revanche-o-car.md b/wordpress/37725-serie-carnavais-de-antigamente-x-o-carnaval-de-1919-o-carnaval-da-revanche-o-car.md
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+---
+id: 37725
+url: "https://brasilianafotografica.bn.gov.br/?p=37725"
+titulo: "Série “Carnavais de antigamente” X – O carnaval de 1919: o carnaval da revanche, o carnaval triunfante!"
+autor: "Andrea Wanderley"
+data: "2025-02-20T12:04:55+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/3950"]
+fetched_at: "2026-09-10T10:18:50.616Z"
+---
+
+# Série “Carnavais de antigamente” X – O carnaval de 1919: o carnaval da revanche, o carnaval triunfante!
+
+Com uma imagem de autoria do alagoano Augusto Malta (1864-1957), fotógrafo oficial da Prefeitura do Rio de Janeiro, entre 1903 e 1936, a Brasiliana Fotográfica relembra o carnaval carioca de 1919, o primeiro grande evento realizado na cidade após a pandemia de Gripe Espanhola. Após o luto pela doença, o povo foi à forra! Foi o carnaval da revanche, o carnaval triunfante!
+ 
+Augusto Malta. Desfile de corso durante o carnaval, 1919. Rio de Janeiro, RJ / Acervo IMS
+ 
+Gazeta de Notícias, 2 de março de 1919
+ 
+Vamos para a Festa da Penha de 1918, uma festa religiosa realizada no alto do morro. Neste ano aconteceu nos dois primeiros domingos de outubro, foi suspensa devido à Gripe Espanhola, e voltou a realizar-se em 8 e 15 de dezembro (O Paiz, 6 de outubro de 1918, terceira coluna;  O Paiz, 8 de dezembro de 1918, penúltima coluna). Mas era no sopé da pedra onde está construída a Igreja da Penha que a festa atraía, segundo o jornalista Jota Efegê (1902-1987): “Os boêmios, o povo da lira, a gente do samba, e com eles os malandros, os valentes, os capoeiras sempre acorriam aos festejos da Penha. Misturavam-se às famílias (principalmente portuguesas) que lá iam para seus piqueniques regados ao farto verdasco”.
+E durante a Festa da Penha, que normalmente era frequentada por cerca de 60 mil pessoas, e que abria o período carnavalesco, Oscar José Luiz de Morais (1883-1961), conhecido como Caninha, frequentador, no início do século XX, das casas das tias baianas da Pequena África, e amigo dos sambistas Donga (1889-1974), João da Baiana (1887-1974) e Pixinguinha (1897-1973), lançou uma música que fez muito sucesso, o maxixe Gripe Espanhola cuja letra era:
+ 
+Caninha (1883-1961), o compositor do maxixe Gripe Espanhola
+ 
+
+A Espanhola está aí
+A Espanhola está aí
+A coisa não está brincadeira
+Quem tiver medo de morrer não venha
+Mais à Penha
+
+ 
+E estava mesmo! A Gripe Espanhola aconteceu, entre 1918 e 1920, em três ondas. Entre os meses de setembro e novembro de 1918, a epidemia assolou o Brasil. Estima-se que cerca de 65% da população brasileira tenha sido infectada pela Gripe Espanhola e por volta de 35.240 pessoas tenham morrido em São Paulo e no Rio de Janeiro e 300 mil em todo o Brasil. Esses números variam e diversas fontes os consideram abaixo das estatísticas reais. A pandemia acometeu cerca de 50 % da população mundial e a Organização Mundial de Saúde estima que tenha causando entre 20 e 40 milhões de mortes.
+ 
+Gazeta de Notícias, 29 de setembro de 1918
+ 
+Depois da tragédia, veio a esbórnia! O que aconteceu no Rio de Janeiro, entre o sábado de carnaval e a quarta-feira de cinzas de 1919 – 1º e 5 de março – foi um carnaval animadíssimo, como uma vingança contra a terrível doença que havia atingido intensamente a cidade.
+ 
+Gazeta de Notícias, 3 de março de 1919
+ 
+Texto de Pierrot, pseudônimo do jornalista Manuel Bastos Tigre (1882-1957), publicado no Correio da Manhã, 20 de janeiro de 1919:
+“CARNAVAL
+Quem não morreu da Espanhola, quem dela pôde escapar não dê mais tratos à bola, toca a rir, toca a brincar…A quadra não é de prantos! Tragam nos lábios sorrisos pois já por todos os cantos se ouve a música dos guisos. O Carnaval está na porta e da tristeza e da dor Momo a sequência nos corta com seu rabumba atreador.
+A Folia está na rua e aos requebros do “Can Can” vai-se ao império da Lua numa alegria louçã. Vai o prazer aos confins , remexe-se a Terra inteira, ao som vivaz dos clarins, ao roncar do Zé Pereira.
+Pinta-se a manta e o sete, ao jogar com as meninas tempestades de confete, de “Redó” e de serpentinas. Só há momentos simpáticos pros cavalheiros que ufanos vão brincar nos Democráticos ou nos bravos Fenianos. Por isso, pois, minha gente, bolas aos planos sinistros sobre o novo presidente, sobre os futuros ministros, sobre o caso complicado, cheio de negras mazelas, do tal Comissariado, com as suas muitas tabelas.
+Deus Momo toca a rebate!…Ei-lo ! A Folia cá está!… Um viva à Flor do Abacate a ao Ameno Resedá!…”
+                                                                                    Pierrot
+ 
+Capa de O Malho, 1º de março de 1919
+ 
+No 12º capítulo das “Memórias de Nelson Rodrigues” foi publicado, em 10 de março de 1967, no Correio da Manhã: 
+“Começou o Carnaval e, de repente, da noite para o dia, usos, costumes e pudores tornaram-se antigos, obsoletos, espectrais. As pessoas usavam a mesma cara, o mesmo feitio de nariz, o mesmo chapéu, a mesma bengala (naquele tempo, ainda se lavava a honra a bengaladas). Mas algo mudara. Sim, toda a nossa íntima estrutura fora tocada, alterada e, eu diria mesmo, substituída… Éramos outros seres que nem bem conheciam as próprias potencialidades. Cabe então a pergunta: e por quê? Eu diria que era a morte, sim a morte que desfigurava a cidade e a tornava irreconhecível. A Espanhola trouxera no ventre costumes jamais sonhados. E, então, o sujeito passou a fazer coisas, a pensar coisas, a sentir coisas inéditas e, mesmo, demoníacas… Estou aqui reunindo as minhas lembranças. Aquele Carnaval foi, também, e sobretudo, uma vingança dos mortos mal vestidos, mal chorados e, por fim, mal enterrados. Ora, um defunto que não teve o seu bom terno, a sua boa camisa, a sua boa gravata é mais cruel e mais ressentido do que um Nero ultrajado. E o Zé de S. Januário está me dizendo que enterrou sujeitos em ceroulas, e outros nus como santos. A morte vingou-se, repito, no Carnaval… E tudo explodiu no sábado de Carnaval. Vejam bem: até sexta-feira, isto aqui era o Rio de Machado de Assis; e, na manhã seguinte, virou o Rio de Benjamim Costallat ou, ainda, do Theo Filho… Desde as primeiras horas de sábado, houve uma obscenidade súbita, nunca vista, e que contaminou toda a cidade. Eram os mortos da Espanhola e tão humilhados e tão ofendidos que cavalgavam os telhados, os muros, as famílias… Nada mais arcaico do que o pudor da véspera. Mocinhas, rapazes, senhoras, velhos cantavam uma modinha tremenda. Eis alguns versos: “Na minha casa não racha lenha. Na minha racha, na minha racha/ Na minha casa não há falta de água/ Na minha abunda”, etc. etc. As pessoas se esganiçavam nos quatro dias…”
+ 
+Fon-Fon, 8 de março de 1919 / O carro da direita faz uma crítica à Hespanhola
+ 
+Anos depois, Carlos Heitor Cony (1926 – 2018) escreveu, na Folha de São Paulo, de 19 de fevereiro de 1996, um artigo sobre a Gripe Espanhola e o carnaval de 1919:
+“Carnaval vem, Carnaval vai, e eu não consigo esquecer o Carnaval que não vivi, nem nascido era, o Carnaval de 1919.
+Mário Filho, irmão de Nelson Rodrigues, que deu nome ao estádio do Maracanã, sempre me falava nesse Carnaval paradisíaco, os olhos dele estufavam dentro das órbitas, rememorando bacanais terríveis, terríveis esbórnias, um Carnaval apocalíptico -e seus cabelos cor-de-fogo ficavam eriçados como as cerdas bravas do javali-, imagem do Eça de Queiroz que Nelson divulgou à saciedade.
+Havia um motivo para o eriçamento dos cabelos cor-de-fogo do Mário: ele vira e ouvira coisas naquele remoto ano, logo depois da Primeira Guerra Mundial e da gripe espanhola que matou milhares de pessoas em todo o mundo.
+No Rio, o sujeito ia atravessar a rua, botava o pé no meio-fio com plena saúde e chegava morto ao meio-fio do outro lado. Era fulminante a gripe, os parentes deixavam os mortos nos bondes, pagavam a passagem deles, como se passageiros fossem. Não havia tempo nem lugar para o enterro.
+Natural que, depois da fase mortuária, viesse a fase libertária, ou libertina, basta dizer que as delegacias da cidade registraram a queixa de 4.315 defloramentos e outros tantos casos de abandono do lar, adultério e até incesto.
+E Mário Filho arregalava os olhos, os cabelos cor-de-rosa vibravam, Nelson apreciava a exaltação do irmão, nunca entrou nesse tema, deixou-o para Mário, que tentou, tentou, tocou no assunto num outro romance, mas não foi fundo, como o tema pedia e o irmão mais jovem esperava.
+E assim é que o Carnaval de 1919 permanece inédito, à espera que algum desocupado encare a época, o Rio da gripe e do depois da gripe, o Rio cuja violência explodiu no sexo de um Carnaval como nunca houve nem haveria igual.
+A idéia de Mário era pegar como narrador um personagem nascido nove meses depois, um filho dessa esbórnia, desse pânico pela morte que estourou donzelas e famílias. Os brasileiros nascidos na feliz data de novembro de 1919 que se habilitem”.
+A folia de Momo foi festejada no Rio de Janeiro por cerca de 400 mil pessoas em um clima de euforia de fim de mundo, afinal não se sabia se a gripe voltaria. Poderia ser o último carnaval de muitos foliões! Traumas e medos foram transformados em euforia. Além disso, a crônica carnavalesca estava em seu auge e os jornalistas ligados ao carnaval, importantes tanto nas redações como na sociedade carioca, noticiavam o dia da dia dos festejos tornando a imprensa uma grande e crucial promotora do sucesso do carnaval triunfante!
+Felizmente, a Espanhola não voltou ao Brasil!
+Acesse aqui todos os artigos da Série Carnavais de antigamente.
+ 
+Andrea C. T. Wanderley
+Pesquisadora e editora da Brasiliana Fotográfica
+ 
+Fontes:
+Acervo Casa do Choro
+BUTTER, David. De sonho e de desgraça: o Carnaval carioca de 1919. Rio de Janeiro : Mórula Editorial, 2022.
+EFEGÊ, Jota. Meninos, eu vi. Rio de Janeiro: Funarte, 1985.
+Hemeroteca Digital da Biblioteca Nacional
+Dicionário Ricardo Cravo Albim da Música Popular Brasileira
+SANTOS, Daniel Santana; VAISBIH, Renato. A Cobertura do Carnaval de 1919 nas Páginas do Correio da Manhã e da Gazeta de Notícias. Intercom – Sociedade Brasileira de Estudos Interdisciplinares da Comunicação 44º Congresso Brasileiro de Ciências da Comunicação – VIRTUAL – 4 a 9/10/2021
+SANTOS, Ricardo Augusto dos. O Carnaval, a peste e a ‘espanhola’. História, Ciências, Saúde – Manguinhos, v. 13, n. 1, p. 129-58, Jan.-Mar. 2006.
+SIMAS, Luiz Antonio. A origem da Festa da Penha.
+WANDERLEY, Andrea C. T. E o ex e futuro presidente do Brasil morreu de gripe…a Gripe Espanhola de 1918 in Brasiliana Fotográfica, 23 de março de 2020.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/3950` — `itens/20.500.12156.1_3950/`
+
diff --git a/wordpress/37738-no-dia-nacional-do-samba-uma-homenagem-ao-genero-musical-iconico-do-brasil-e-a-d.md b/wordpress/37738-no-dia-nacional-do-samba-uma-homenagem-ao-genero-musical-iconico-do-brasil-e-a-d.md
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+---
+id: 37738
+url: "https://brasilianafotografica.bn.gov.br/?p=37738"
+titulo: "No Dia Nacional do Samba, uma homenagem ao gênero musical icônico do Brasil e a Donga, um dos compositores de “Pelo telefone”"
+autor: "Andrea Wanderley"
+data: "2024-12-02T12:55:04+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/8908", "20.500.12156.1/8872"]
+fetched_at: "2026-09-10T10:18:54.313Z"
+---
+
+# No Dia Nacional do Samba, uma homenagem ao gênero musical icônico do Brasil e a Donga, um dos compositores de “Pelo telefone”
+
+Com uma fotografia do conjunto “Batutas”, considerado o primeiro grupo de música popular brasileira a alcançar projeção internacional,  a Brasiliana Fotográfica homenageia o Dia Nacional do Samba. Havia entre os integrantes dos “Batutas” vários expoentes, dentre eles Ernesto Joaquim Maria dos Santos, o Donga, um dos autores daquele que ficou consagrado como o primeiro samba da história, Pelo telefone, registrado em 27 de novembro de 1916. O samba é o gênero musical icônico do Brasil e,  segundo Nélson Sargento (1924-2021), é um bonito modo de viver. Em 2005, a Unesco reconheceu o samba de roda como Patrimônio Imaterial da Humanidade.
+ 
+Oito Batutas, 1919. Da esquerda para a direita: Jacob Palmieri, Donga, José Alves, Nelson Alves, Raul Palmieri, Luís de Oliveira, China e Pixinguinha. Rio de Janeiro, RJ / Acervo IMS
+ 
+Em 9 de outubro de 2007, o samba tornou-se Patrimônio Cultural do Brasil quando o Instituto do Patrimônio Histórico e Artístico Nacional (IPHAN) conferiu registro oficial, no Livro de Registro das Formas de Expressão, às matrizes do samba do Rio de Janeiro: samba de terreiro, partido-alto e samba-enredo. O pedido de registro foi feito por Nilcemar Nogueira, presidente do Centro Cultural Cartola com apoio da Associação das Escolas de Samba do Rio de Janeiro e da Liga Independente das Escolas de Samba (Liesa). Nilcemar é neta do compositor Angenor de Oliveira, o Cartola (1908-1980).
+No ano de 2023, as Escolas de Samba do Rio de Janeiro foram contempladas com a Lei nº 14.567 de 4 de maio de 2023, sancionada pelo Presidente da República em exercício, Luiz Inácio Lula da Silva, em conjunto com os ministros Margareth Menezes da Purificação Costa, Flávio Dino de Castro e Costa e Anielle Francisco da Silva. Elas e seus desfiles foram reconhecidos assim como as suas músicas, suas práticas e suas tradições como manifestações da cultura nacional, competindo ao poder público a garantia da livre atividade das Escolas de Samba e a realização de seus desfiles carnavalescos.
+ 
+Breve história do Dia Nacional do Samba
+ 
+Carta do Samba
+ 
+No Palácio Pedro Ernesto, no Rio de Janeiro, entre 28 de novembro e 2 de dezembro de 1962 foi realizado o I Congresso Nacional do Samba, presidido pelo historiador e folclorista baiano Edison Carneiro (1912-1972). O evento foi patrocinado pela Confederação Brasileira das Escolas de Samba (CBES), pela Associação Brasileira das Escolas de Samba (ABES), pela Campanha de Defesa do Folclore Brasileiro, pelo Conselho Nacional de Cultura e pela Ordem dos Músicos do Brasil. Seus vice-presidentes foram Ari Barroso (1903-1964), Araci de Almeida (1914-1988), Almirante (1908-1980), José Siqueira (1907-1985), Pascoal Carlos Magno (1906-1980), Paulo Lamarão, presidente da CBES; e Servan Heitor de Carvalho, presidente da ABES. Jota Efegê (1902-1987) foi seu secretário-geral. Do Congresso resultou a Carta do Samba, elaborada por Edison Carneiro (Diário de Notícias, 29 de novembro de 1962, terceira coluna; 2 de dezembro de 1962, primeira coluna).
+ 
+Edison Carneiro / Acervo Arquivo Nacional
+ 
+“Esta carta, que tive a incumbência de redigir, representa um esforço por coordenar medidas práticas e de fácil execução para preservar as características tradicionais do samba sem, entretanto, lhe negar ou tirar espontaneidade e perspectivas de progresso. O Congresso do Samba valeu por uma tomada de consciência: aceitamos a evolução normal do samba como expressão das alegrias e das tristezas populares; desejamos criar condições para que essa evolução se processe com naturalidade, como reflexo real da nossa vida e dos nossos costumes; mas também reconhecemos os perigos que cercam essa evolução, tentando encontrar modos e maneiras de neutralizá-los. Não vibrou por um momento sequer a nota saudosista. Tivemos em mente assegurar ao samba o direito de continuar como expressão legítima dos sentimentos de nossa gente”.
+ 
+No dia do encerramento do Congresso, 2 de dezembro de 1962, foi noticiada a criação do Dia do Samba, que seria comemorado anualmente neste dia de acordo com resolução da Assembleia Legislativa (Diário Carioca , 2 de dezembro de 1962, segunda coluna).
+ 
+Diário Carioca , 2 de dezembro de 1962
+ 
+A resolução estava no Projeto de Lei n° 681, de 19 de novembro de 1962 e de autoria do deputado Frota Aguiar (1901-1996), publicado no Diário da Assembleia Legislativa do Estado da Guanabara do dia 20 de novembro de 1962 que em seu artigo 1° dispunha: “Fica o dia 2 de dezembro oficialmente considerado como o Dia do Samba”. Porém o projeto foi vetado pelo então governador Carlos Lacerda (1914-1977). Segundo ele, não haveria razão “para considerar outro Dia do Samba além dos três já dedicados à nossa festa popular, em que ele é exaltado espontaneamente pelo povo, sem a interferência do Poder Público”. O veto foi posteriormente rejeitado pelo Plenário, com o voto de vinte e nove deputados, transformando-se na Lei n° 554, de 27 de julho de 1964, que foi assinada no dia 29 de julho do mesmo ano pelo deputado Victorino James (1924-1997), presidente da Assembleia, e publicada no Diário Oficial do Estado da Guanabara, no dia 7 de agosto de 1964.
+O vereador soteropolitano Luiz Monteiro da Costa apresentou, na Câmara Municipal de Salvador, em 3 de outubro de 1963, o projeto de lei n° 164/63, que “institui o Dia do Samba, manda preservar as características da música popular e dá outras providências”. Em seu projeto, o vereador mencionou explicitamente, em seu artigo 2°, o Primeiro Congresso Nacional do Samba e a respectiva Carta do Samba nele aprovada. O projeto foi transformado na Lei n° 1.543/63 no dia 18 de novembro de 1963, data de sua assinatura pelo Prefeito de Salvador Virgildásio de Senna (1923-) (Jornal do Brasil, 13 de novembro de 1963, segunda coluna).
+Com os anos, passou a ser chamado de Dia Nacional do Samba.
+ 
+Um pouco da história de Donga e do samba Pelo telefone
+ 
+Donga. Detalhe da fotografia Oito Batutas, 1919. Rio de Janeiro, RJ / Acervo IMS
+ 
+“O ritmo caracteriza um povo. Quando o homem primitivo quis se acompanhar, bateu palmas. As mãos foram, portanto, um dos primeiros instrumentos musicais. Mas como a humanidade é folgada e não quer se machucar, começou a sacrificar os animais, para tirar o couro. Surgiu o pandeiro. E veio o samba. E surgiu o brasileiro, povo que lê música com mais velocidade do que qualquer outro no mundo, porque já nasce se mexendo muito, com ritmo, agitadinho, e depois vira capoeira até no enxergar”.
+Donga (1966)
+ 
+Entre a última década do século XIX e as primeiras décadas do século XX, a comunidade afrodescendente se reunia na região batizada por Heitor dos Prazeres (1898-1966) de Pequena África para praticar religiões de matriz africana e cantar sambas. A área começava no Porto do Rio de Janeiro e abrangia os atuais bairros da Saúde, Estácio, Santo Cristo, Gamboa e Cidade Nova, até a Praça Onze de Junho, que foi totalmente remodelada nos anos 1940 para a abertura da avenida Presidente Vargas. Foi  lá que, a partir da década de 1870, a comunidade baiana se estabeleceu no Rio de Janeiro, fazendo da área um local de concentração de diversas manifestações da cultura afro-brasileira.
+O carioca Donga nasceu em 5 de abril de 1890 e era filho do pedreiro construtor Pedro Joaquim Maria, que tocava bombardino nas horas vagas; e de Amélia Silvana de Araújo, uma das tias baianas da Pequena África, que gostava de cantar modinhas e promovia inúmeras festas e reuniões de samba. Sua mãe era irmã-de-santo da lendária Tia Ciata (1854 – 1924), Hilária Batista de Almeida, no terreiro de João Alabá, um dos principais babalorixás do candomblé  no Rio de Janeiro. Havia também as tias Bebiana, Carmen e Mônica, dentre outras, que fizeram de suas casas pontos de referência e de convívio, que garantiram a manutenção das tradições africanas na cidade. Nessas casas eram cultuadas a música e a religiosidade afro-brasileira. As casas de Tia Prisciliana, mãe de João da Baiana (1887-1974), e, principalmente, a de Tia Ciata foram espaços fundamentais da música popular carioca e eram frequentados por Donga, Pixinguinha (1897 – 1973) e João da Baiana.
+Foi na casa de Tia Ciata, onde havia um terreiro de candomblé clandestino e onde os bambas do samba se encontravam, que o primeiro samba, registrado e gravado como tal, Pelo telefone, foi composto por Donga e Mauro de Almeida (1882 – 1956), em 1916. Donga entregou no Departamento de Direitos Autorais da Biblioteca Nacional uma petição de registro para a música em 6 de novembro de 1916. A partitura manuscrita para piano, realizada por Pixinguinha, estava dedicada aos carnavalescos Mauro de Almeida, o Peru e a Norberto Amaral, o Morcego.
+ 
+Manuscrito de Pelo Telephone / Acervo FBN
+ 
+Dez dias depois, Donga anexou à petição um atestado afirmando que Pelo telephone havia sido executado pela primeira vez em 25 de outubro de 1916, no Cine-Teatro Velho. O registro da obra foi efetuado pela Biblioteca Nacional em 27 de novembro de 1916, com o número 3.295. A iniciativa de Donga foi pioneira e o registro da música foi um marco na história da música popular brasileira. Pelo Telefone foi lançado pela Odeon e foi um sucesso no carnaval de 1917.
+Existe uma polêmica em torno de sua autoria: foi registrado por Donga, mas teria sido uma criação coletiva. Houve uma troca de petardos musicais entre Sinhô (1888 – 1930), que estaria presente na casa de Tia Ciata quando o samba foi composto e a turma de Donga, dentre eles João da Baiana e Pixinguinha. Outra polêmica envolve o fato de ter sido mesmo o primeiro samba ou se foi o primeiro samba a fazer sucesso, já que alguns autores alegam que antes foram compostos os sambas Em casa da baiana, de 1911; e A viola está magoada, de 1914. Há ainda que conteste que a música seja de fato um samba.
+Acesse aqui o programa da Rádio Batuta Como e por que nascem as canções Pelo telefone, apresentado por João Máximo en  editado e sonorizado por Filipe Di Castro (5 de março de 2024)
+ 
+Capa da partitura do samba “Pelo telephone”, de Donga e Mauro de Almeida / Acervo IMS
+ 
+Segundo o jornalista, escritor e historiador da música Rodrigo Faour (1972-): “Ele entendeu que precisava fazer da gravação de Pelo telefone um acontecimento. Então planejou tudo muito bem. Pegou os versos de improviso e motivos folclóricos dessa canção e pediu que um jornalista prestigiado, Mauro de Almeida os organizasse, e foi até a Biblioteca Nacional registrá-lo.” Ainda segundo Faour, seu “trunfo maior foi chamar a atenção para este novo gênero musical“. O samba “rapidamente contagiou a todos e a música caiu na boca do povo”.
+Em 1954, o fotógrafo, cineasta, empresário, professor e galerista húngaro naturalizado brasileiro Thomaz Farkas (1924-2011) fotografou as celebrações do Quarto Centenário da Cidade de São Paulo e com uma filmadora Kodak 16mm, de corda, registrou em preto e branco, durante cerca de seis minutos, um show de Alfredinho Flautim (1884-1958), Almirante (1908 -1980), Benedito Lacerda (1903-1958), Donga, Jacob Palmieri (?-19?), João da Baiana e Pixinguinha, realizado no Parque do Ibirapuera, em 25 de abril. Mas não havia tomada de som. O filme ficou perdido por cerca de 50 anos – Farkas, por acaso, o encontrou. Marcelo Nastari, na época assistente de Coordenação do Instituto Moreira Salles, identificou as músicas que o grupo executava, Ele e eu e Patrão prenda seu gado e, em janeiro de 2004, o material foi sonorizado pelo Instituto Moreira Salles e pela Cia de Áudio e Imagem. As imagens sonorizadas podem ser vistas no documentário Pixinguinha e a velha guarda do samba (1954-2006), dirigido por ele e pelo cineasta e biólogo Ricardo Dias (O Estado de São Paulo, 25 de abril de 1954, página 17, primeira coluna).
+ 
+Donga, Pixinguinha e João da Baiana, a santíssima trindade do samba
+ 
+Assista aqui o documentário Pixinguinha e a velha guarda do samba (1954-2006).
+Alguns dos maiores sucessos de Donga foram Amigo Do Povo (Donga), Canção Das Infelizes (Donga / Luiz Peixoto), Benedito No Choro (Donga), Patrão Prenda Seu Gado (Donga / João da Bahiana / Pixinguinha), Vertigem (Donga), Seu Mané Luiz (Donga), Cinco de Julho (Donga), Ranchinho Desfeito (Castro e Souza / Donga), Ligia, Teus Olhos Dizem Tudo (Donga), Pelo Telefone (Donga / Mauro de Almeida) e Quando Uma Estrela Sorri (David Nasser / Donga / Villa-Lobos).
+ 
+
+ 
+Donga  foi casado com a cantora e soprano carioca Zaíra de Oliveira (1900-1951) entre 1932 até a morte dela, em 15 de agosto de 1951.
+ 
+Casamento de Donga com Zaíra de Oliveira, em 1932 / Acervo Instituto Donga
+ 
+Zaíra teve formação clássica e interpretou compositores como Donga, João da Baiana e Pixinguinha. Gravou temas de matriz africana e como professora do Colégio Orsina da Fonseca deu aulas, por exemplo, para dona Ivone Lara (1921-2018).
+ 
+Zaíra de Oliveira e Donga
+ 
+Ela estudou no Instituto Nacional de Música e, no final de 1921, quando completou o curso, com distinção, recebeu a Medalha de Ouro, o que permitiu que ela concorresse em um concurso cujo prêmio seria uma viagem à Europa com uma bolsa de estudos para aprimoramento em canto lírico. Em 30 de dezembro de 1921, ela conquistou por unanimidade de votos da comissão julgadora o primeiro prêmio do concurso. A aluna Emery de Carvalho e Souza também recebeu um primeiro prêmio (Correio da Manhã, de 31 de dezembro de 1921, sexta coluna). Porém Zaíra não recebeu o prêmio conquistado. Segundo a crônica Soprano Zaíra de Oliveira, A Marian Anderson do Brasil, de autoria de Jota Efegê, publicada em O Globo, de 29 de agosto de 1977, o motivo de não ter viajado à Europa teria sido o fato dela ser negra. 
+ 
+
+O GLOBO, 29 de agosto de 1977
+ 
+Tiveram uma filha, a pesquisadora Lygia de Oliveira Santos (1934-), que se dedicou à pesquisa da cultura brasileira, principalmente no campo da música popular ligada ao samba.
+ 
+Lygia de Oliveira Santos
+ 
+“Meu pai não tinha o terceiro ano primário, mas era uma pessoa de uma vivência muito grande, era muito sagaz, muito inteligente, lia demais e tinha uma visão segura das coisas. Trabalhava no Supremo Tribunal Federal, na 1.a Vara da Fazenda Pública, e sempre viveu do seu modesto ordenado e dos magros dividendos dos direitos autorais. O nome dele era Ernesto dos Santos mas,  felizmente, está na história musical do nosso país com o seu apelido: Donga. Apelido, aliás, que meus amigos incorporaram ao meu nome. Para eles eu sou a Lygia filha do Donga, o que muito me orgulha”.
+Depoimento de Lygia publicado no livro Fala, Crioulo (1982)
+ 
+Oficial de Justiça aposentado, Donga faleceu doente e quase cego, no Retiro dos Artistas, em 25 de agosto de 1974, assistido por sua segunda esposa, Maria das Dores Santos Conceição (1911-2014), a Vó Maria, que gravou seu primeiro disco com 91 anos. Estavam casados desde 1953 (Jornal do Brasil, 26 de agosto de 1974, quinta coluna; Manchete, 14 de setembro de 1974).
+ 
+Maria das Dores Santos Conceição (1911-2014), a Vó Maria
+ 
+Em 6 de abril de 2023, foi fundado o Instituto Donga na residência da família Santos, que fica no Maracanã, zona norte do Rio, antiga Aldeia Campista, onde Donga nasceu e viveu a maior parte de seus 84 anos de vida. O acervo reúne 311 itens entre matérias de jornais, fotos, partituras, letras de música e anotações feitas pelo próprio Donga (Folha de São Paulo, 21 de abril de 2023).
+ 
+Acesse aqui a matéria que o Canal Futura realizou sobre o samba Pelo Telefone.
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+Almanaque do Samba
+BASTOS, Rafael José de Menezes. Les Batutas, 1922: uma antropologia da noite parisiense. Revista Brasileira de Ciências Sociais – vol. 20 nº 58 , munho de 2005.
+BIANCHI, Leonor. Nós somos batutas. Revista do Choro, 1º de dezembro de 2019.
+BRAGA, Sebastião. O lendário Pixinguinha. Niterói, RJ : Muiraquitã, 1997.
+BULCÃO, Clóvis. Os Guinle: a história de uma dinastia. Rio de Janeiro : Intrínseca, 2015.
+Centro Nacional de Folclore e Cultura Popular (Brasil). Carta do samba / texto de Edison Carneiro / prefácio de Marcia Sant’Anna. — Rio de Janeiro : IPHAN, CNFCP, 2012.
+COSTA, Haroldo. Fala, Crioulo. Rio de Janeiro: Record, 1982.
+Dicionário Cravo Albim da Música Popular Brasileira
+DUQUE. O maxixe em Paris e em Nova York in O Cruzeiro, 7 de julho de 1934.
+FERNANDES, Antonio Barroso (org.). As vozes desassombradas do museu: Pixinguinha, Donga  e João da Baiana. Rio de Janeiro : Museu da Imagem e do Som, 1970, vol. 1.
+Hemeroteca Digital da Biblioteca Nacional
+LACERDA. Isomar. Nós somos Batutas. Rio de Janeiro : Flor Amorosa Editora, 2019.
+MARCONDES, Marcos Antônio (org.). Enciclopédia da música brasileira: popular, erudita e folclórica. São Paulo : Art Editora, 1998.
+MARTINS, Luiza Mara Braga. Os Oito Batutas. Rio de Janeiro : UFRJ, 2014.
+MOURA, Roberto. Tia Ciata e a Pequena África no Rio de Janeiro. Rio de Janeiro : Funarte, 1983.
+NETO, Lira. Uma História do Samba: Volume 1 ( As origens). 1.ed. São Paulo: Companhia das Letras, 2017.
+Portal IPHAN
+RANGEL, Lúcio. Samba, jazz & outras notas; organização, apresentação e notas Sérgio Augusto. Rio de Janeiro ; Agir, 2007.
+RANGEL, Lúcio.  Sambistas e chorões. São Paulo : IMS. Reedição, 2014.
+SILVA, Wilton C. L. A Carta do Samba (1962), um grito de alerta do nacional popular. Encontro de estudos multidisciplinares em cultura, 2024.
+SIMAS, Luiz Antônio; LOPES, Nei. Dicionário de História Social do Samba. Rio de Janeiro : Civilização Brasileira, 2015.
+Site Biblioteca Nacional
+Site Câmara dos Deputados
+Site Casa da Tia Ciata
+Site Centro de Documentação e Memória da UNESP
+Site DW
+Site Enciclopédia Itaú Cultural
+Site Museu da Pessoa
+Site Museu do Samba
+Site Musica Brasilis
+Site Rádio Batuta
+TINHORÃO, José Ramos. Pequena história da música popular. São Paulo: Círculo do Livro, [s.d.]
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/8908` — `itens/20.500.12156.1_8908/`
+- `20.500.12156.1/8872` — `itens/20.500.12156.1_8872/`
+
diff --git a/wordpress/37900-no-dia-do-ceara-fotografias-de-autoria-de-miguel-de-moura.md b/wordpress/37900-no-dia-do-ceara-fotografias-de-autoria-de-miguel-de-moura.md
new file mode 100644
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+++ b/wordpress/37900-no-dia-do-ceara-fotografias-de-autoria-de-miguel-de-moura.md
@@ -0,0 +1,78 @@
+---
+id: 37900
+url: "https://brasilianafotografica.bn.gov.br/?p=37900"
+titulo: "No Dia do Ceará, fotografias de autoria de Miguel de Moura"
+autor: "Andrea Wanderley"
+data: "2025-01-17T10:27:58+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/13235", "20.500.12156.1/13236", "20.500.12156.1/13237", "20.500.12156.1/13234", "20.500.12156.1/4215"]
+fetched_at: "2026-09-10T10:18:57.235Z"
+---
+
+# No Dia do Ceará, fotografias de autoria de Miguel de Moura
+
+Com imagens produzidas pelo fotógrafo cearense Miguel de Moura Cavalcante (1883 -19?), a Brasiliana Fotográfica celebra o Dia do Ceará, comemorado anualmente em 17 de janeiro. Foi estabelecido, em 18 de maio de 2004, pela Lei nº 13.470, passando a integrar o calendário de eventos oficiais do estado. Foi em 17 de janeiro de 1799 que o Ceará ganhou autonomia da Capitania de Pernambuco, tornando-se administrativamente independente. A emancipação foi realizada a partir de uma Carta Régia assinada pela rainha de Portugal, dona Maria I (1734-1816), e baseava-se no crescimento populacional e econômico do estado.
+ 
+Miguel de Moura. Grupo de pessoas, 19?. Baturité, Ceará / Acervo FBN
+ 
+O fotógrafo e artista plástico Miguel de Moura Cavalcante, de quem se tem, até o momento, poucos dados biográficos, nasceu em Maranguape, em 27 de dezembro de 1883, segundo seu registro de batismo publicado no site Family Search.
+
+Registro de batismo de Miguel de Moura / Site Family Search
+ 
+Atuou no Ceará nas primeiras décadas do século XX e foi um dos precursores, no Brasil, na realização de fotomontagens de cunho alegórico com as imagens A Deusa das Flores e Imitação das Lutas Romanas que pertencem, assim como as outras destacadas neste artigo, à Fundação Biblioteca Nacional, uma das instituições fundadoras do portal.
+ 
+Miguel de Moura. A Deusa-das-flores, 19? / Acervo FBN
+ 
+ 
+Miguel de Moura. Emittação das luctas romanas, 19? / Acervo FBN
+ 
+ 
+Acessando o link para as fotografias de autoria de Miguel de Moura disponíveis na Brasiliana Fotográfica, o leitor poderá visualizar e magnificar as imagens.
+ 
+Foi um dos precursores da fotografia em Maranguape, onde era conhecido como Mourinha. Foi casado com Luiza Nogueira de Moura e seu estúdio fotográfico, inaugurado em 1911, ficava na casa onde moravam.
+ 
+Casa e estúdio de Miguel de Moura Cavalcante em Maranguape / Página no Instagram cafecomartempe
+ 
+ 
+Sua filha, Lygia Nogueira Cavalcante (1918 -?), foi a primeira fotógrafa da cidade. Era também pianista e farmacêutica.
+ 
+Lygia fotografada por seu pai, Miguel de Moura, s/d /. Página no Instagram lygia.pesquisa_e_memoria
+ 
+ 
+Registro de batismo de Lygia Nogueira Cavalcante/ Site Family Search
+ 
+Foi o idealizador do primeiro cinema da cidade, o Cinema Hermes, batizado em homenagem ao presidente da República Hermes da Fonseca (1855-1923), e inaugurado em 29 de junho de 1910 (Jornal do Ceará, 1° de julho de 1910, primeira coluna).
+ 
+Jornal do Ceará, 1° de julho de 1910
+ 
+ 
+O Malho, 24 de dezembro de 1910
+ 
+Miguel de Moura. Estação ferroviária de Aracoiaba, 19?. Aracoiaba, Ceará / Acervo FBN
+ 
+ 
+Miguel de Moura. Cidade de Quixadá, 19. Quixadá, Ceará / Acervo FBN
+ 
+Andrea C.T. Wanderley
+Editora e pesquisadora da Brasiliana Fotográfica
+ 
+Fontes:
+Facebook – página de Marília Quinderé
+Hemeroteca Digital da Biblioteca Nacional
+Instagram – página lygia.pesquisa_e_memoria e caafecomartempe
+KOSSOY, Boris. Dicionário histórico-fotográfico brasileiro: fotógrafos e ofício da fotografia no Brasil (1833-1910). São Paulo: Instituto Moreira Salles, 2002. 408 p., il. p&b.
+Site Enciclopédia Itaú Cultural
+Site Family Search
+Site Secretaria da Segurança Pública e Defesa Social do Estado do Ceará
+SOUZA, Fabricia dos Santos. As nebulosidades imagéticas: representações do cotidiano quixadaense nas fotografias (1885-1930). Universidade Estadual do Ceará.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/13235` — `itens/20.500.12156.1_13235/`
+- `20.500.12156.1/13236` — `itens/20.500.12156.1_13236/`
+- `20.500.12156.1/13237` — `itens/20.500.12156.1_13237/`
+- `20.500.12156.1/13234` — `itens/20.500.12156.1_13234/`
+- `20.500.12156.1/4215` — `itens/20.500.12156.1_4215/`
+
diff --git a/wordpress/37904-serie-os-arquitetos-do-rio-de-janeiro-vii-e-serie-o-rio-de-janeiro-desaparecido-.md b/wordpress/37904-serie-os-arquitetos-do-rio-de-janeiro-vii-e-serie-o-rio-de-janeiro-desaparecido-.md
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+---
+id: 37904
+url: "https://brasilianafotografica.bn.gov.br/?p=37904"
+titulo: "Série “Os arquitetos do Rio de Janeiro” VII e Série “O Rio de Janeiro desaparecido” XXXII – O prédio da Imprensa Nacional e o arquiteto Antonio de Paula Freitas"
+autor: "Andrea Wanderley"
+data: "2025-06-18T12:06:13+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/9229", "20.500.12156.1/6284", "20.500.12156.1/10515", "20.500.12156.1/8222", "20.500.12156.1/2903", "20.500.12156.1/9230", "20.500.12156.1/12337"]
+fetched_at: "2026-09-10T10:19:00.803Z"
+---
+
+# Série “Os arquitetos do Rio de Janeiro” VII e Série “O Rio de Janeiro desaparecido” XXXII – O prédio da Imprensa Nacional e o arquiteto Antonio de Paula Freitas
+
+Com registros produzidos pelos fotógrafos Augusto Malta (1864-1957), Juan Gutierrez (c.1860-1897), Marc Ferrez (1843-1923) e por Rodrigues & C°. Editores e Proprietários, a Brasiliana Fotográfica publica o 7º artigo da série Os arquitetos do Rio e Janeiro e o 32º da série O Rio de Janeiro desaparecido. É sobre o prédio da Imprensa Nacional que ficava situado na Rua da Guarda Velha, atual Avenida Treze de Maio, no Rio de Janeiro. E também sobre o arquiteto e engenheiro Antonio de Paula Freitas (1843-1906), que o projetou e construiu.
+ 
+Rodrigues & C°. Editores e Proprietários. Imprensa Nacional, 1906. Rio de Janeiro, RJ / Acervo IMS
+ 
+Acesse aqui o link para as fotografias do prédio da Imprensa Nacional projetado por Paula Freitas disponíveis no acervo fotográfico da Brasiliana Fotográfica
+ 
+Antonio de Paula Freitas / Revista da Semana, 25 de março de 1906
+ 
+O edifício gótico-manuelino foi inaugurado, em 31 de dezembro de 1877, por João Maurício Wanderley (1815-1889), o barão de Cotegipe, então ministro da Fazenda, cerca de três anos após o lançamento de sua pedra fundamental, em 26 de agosto de 1874, por José Maria da Silva Paranhos (1819-1880), o visconde do Rio Branco, pai do barão do Rio Branco.
+ 
+Memória Histórica da Imprensa Nacional
+ 
+Foi demolido, entre 1940 e 1941, devido a um projeto de alargamento do Largo da Carioca (Jornal do Brasil, 8 e novembro de 1940, sexta coluna; A Noite, 5 de fevereiro de 1941; Gazeta de Notícias, 30 de julho de 1941).
+ 
+Brevíssimos perfis dos fotógrafos que produziram as fotos do prédio da Imprensa Nacional destacadas neste artigo
+Augusto Malta (1864-1957)
+O fotógrafo alagoano Augusto Malta foi o mais  importante cronista fotográfico do Rio de Janeiro das primeiras décadas do século XX, cidade onde chegou em fins de 1888. Em 1903, foi contratado pela Prefeitura do Rio de Janeiro como fotógrafo oficial, cargo criado para ele. Passou a documentar a radical mudança urbanística promovida pelo então prefeito da cidade, Francisco Pereira Passos (1836-1913), período que ficou conhecido como o “bota-abaixo”. Augusto Malta trabalhou na Prefeitura até 1936, quando se aposentou.
+Juan Gutierrez (c. 1860 – 1897)
+A foto destacada abaixo foi produzida pelo fotógrafo Juan Gutierrez, um dos mais importantes fotógrafos paisagistas do século XIX, no Brasil e um dos maiores cronistas visuais do Rio de Janeiro. Foi um dos fotógrafos principais da transição da cidade imperial para a cidade republicana. Entre 1892 e 1896, produziu a maior parte de suas fotografias de paisagens do Rio de Janeiro, que eram vendidas para estrangeiros que visitavam a cidade. Sobre a foto abaixo, a historiadora Maria Isabel Ribeiro Lenzi, do Museu Histórico Nacional, uma das instituições parceiras da Brasiliana Fotográfica, comentou no artigo O Rio de Janeiro de Juan Gutierrez, publicado no portal, em 1º de março de 2019: Ampliando a imagem, observamos um vendedor de pequenas mercadorias que hoje chamamos de camelô, bem como podemos notar, atrás do prédio da Imprensa Nacional, os primeiros barracos a serem construídos no Morro Santo Antônio, que abrigou uma grande favela no centro do Rio de Janeiro e que no final de década de 1950 foi arrasado.
+ 
+Juan Gutierrez. Prédio da Imprensa Nacional, 189?. Rio de Janeiro, RJ / Acervo Museu Histórico Nacional
+ 
+ Marc Ferrez (1843-1923)
+O carioca Marc Ferrez (1843 – 1923), filhos de franceses, foi um brilhante cronista visual das paisagens e dos costumes cariocas da segunda metade do século XIX e do início do século XX. Sua vasta e abrangente obra iconográfica se equipara a dos maiores nomes da fotografia do mundo. Estabeleceu-se como fotógrafo com a firma Marc Ferrez & Cia, em 1867, na rua São José, nº 96, e logo se tornou o mais importante profissional da área no Rio de Janeiro. Cerca de metade da produção fotográfica de Ferrez foi realizada na cidade e em seus arredores, onde registrou, além do patrimônio construído, a exuberância das paisagens naturais.
+ 
+ Rodrigues & C°. Editores e Proprietários
+Há até o momento poucas informações sobre este fotógrafo. Sabe-se que esteve em atividade no Rio de Janeiro nas décadas de 1890 e 1900. O endereço de seu estabelecimento era Rua dos Ouvidor, n° 57.
+
+Breve perfil do engenheiro e arquiteto Antonio de Paula Freitas (1843-1906)
+ 
+Antonio de Paula Freitas (1843-1906)
+ 
+O engenheiro e arquiteto carioca Antonio de Paula Freitas, nascido em 10 de janeiro de 1843, foi o responsável pelo projeto e pela construção do prédio da Imprensa Nacional, na Rua da Guarda Velha. A tarefa foi atribuída a ele por José Maria da Silva Paranhos (1819-1880), o visconde do Rio Branco, em 1874. O visconde era, então, o ministro da Fazenda e Paula Freitas era engenheiro do ministério (Revista do Instituto Politécnico Brasileiro, fevereiro de 1874).
+ 
+Marc Ferrez. Imprensa Nacional, 1894. Rio de Janeiro, RJ / Acervo IMS
+ 
+ 
+Foto de Marc Ferrez / Ilustração Brasileira, abril de 1878
+ 
+Paula Freitas começou a estudar no Colégio Vittorio com 10 anos de idade. Tornou-se bacharel, em 4 de dezembro de 1863, e doutor em Ciências Físicas e Matemáticas pela antiga Escola Politécnica, em 21 de maio de 1870 (Constitucional, 5 de dezembro e 1863, última coluna; Diário do Rio de Janeiro, 21 de maio de 1870, terceira coluna; Renascença, abril de 1907). Havia defendido sua tese, em 17 de março de 1870, com a presença de dom Pedro II (1825-1891) (Diário do Rio de Janeiro, 18 de março de 1870, quarta coluna). Era também engenheiro geógrafo e civil. Foi professor catedrático do curso de Engenharia Civil da Escola Politécnica, conselheiro da Sociedade Auxiliadora da Indústria Nacional e engenheiro fiscal do governo junto da companhia das docas de dom Pedro II (Diário do Rio de Janeiro, 12 de novembro de 1871, primeira coluna; Diário do Rio de Janeiro, 2 de janeiro de 1874, segunda coluna). Foi membro da Comissão de Contas da Associação Promotora da Instrução de Meninos, Secretário da Secção de Aclimação da Associação Brasileira de Aclimação e sócio da Sociedade Auxiliadora da Imprensa Nacional (Jornal do Commercio, 20 e julho de 1867, sexta coluna; Diário do Rio de Janeiro, 26 e 27 de dezembro de 1876, terceira coluna; Jornal do Commercio, 27 de março de 1877, quinta coluna). Foi membro do Instituto dos Engenheiros Civis de Londres, da Sociedade Francesa de Higiene e da Diretoria do Congresso Científico Latino-Americano. Foi fundador e membro da Administração do Instituto Histórico e Geográfico Brasileiro, uma das instituições parceiras da Brasiliana Fotográfica; do Liceu de artes e Ofícios e do Conselho Diretor do Clube de Engenharia, tendo sido colaborador da Revista de Engenharia (Revista de Engenharia, 10 de agosto de 1879). Presidiu o Instituto Politécnico Brasileiro e foi durante anos responsável pela revista da Sociedade de Geografia do Rio de Janeiro.
+ 
+Antonio de Paula Freitas / Almanaque do Garnier, 1908
+ 
+Recebeu, em 13 de novembro de 1877, por seu trabalho Determinação dos Coeficientes numéricos das Fórmulas Matemáticas o importante Prêmio Hawkshaw, honraria instituída pelo Instituto Politécnico Brasileiro e atribuída a quem se destacasse por trabalhos acadêmicos na área da Engenharia. Foi entregue a ele em uma sessão solene no referido instituto, na época presidido pelo visconde do Rio Branco, com a presença de dom Pedro II (Jornal do Commercio, 14 de novembro de 1877, terceira coluna).
+Devido a seu destaque tanto nas atividades profissionais como nas acadêmicas foi agraciado, durante o reinado de dom Pedro II (1825-1891), com os títulos de Oficial Menor da Casa Imperial, Cavaleiro da Ordem da Rosa e cavaleiro da Ordem de Cristo.
+ 
+Imperial Ordem da Rosa – grau de Cavaleiro
+ 
+Segundo a tese de doutorado A formação da  Escola Politécnica na corte do Império brasileiro (2022), de Laura Roberta Fontana, dentre suas obras estão:
+1. História natural popular dos animais, precedida das indispensáveis noções de fisiologia e anatomia dos diferentes grupos zoológicos.
+2. Curso de estradas professado na Escola Politécnica do Rio de Janeiro, 1º tomo.
+3. Tese apresentada à Escola Central do Rio de Janeiro e sustentada perante a mesma escola, a fim de obter o grau de Doutor em ciências matemáticas e naturais. A obra é dividida em duas partes. Na 1ª parte trata do teorema das velocidades virtuais, independente da consideração dos infinitamente pequenos, e dos princípios fundamentais da mecânica, reduzidos ao menor número possível. Na 2ª parte estuda qual a hipótese que melhor explica a formação primitiva da Terra, e depois se examina a teoria de Laplace.
+4. Demonstrar em geral o teorema das velocidades virtuais sem dependência da consideração dos infinitamente pequenos. Demonstrar quais são os princípios fundamentais da mecânica reduzidos ao menor número possível: tese de concurso.
+5. Integrais definidas, consideradas como parâmetros. Funções eulerianas. Enchentes dos rios e meios propostos para impedir os seus efeitos: tese de concurso à primeira cadeira do 2º ano da Escola Central.
+6. Determinação dos coeficientes numéricos das fórmulas matemáticas.
+7. Relatório sobre o abastecimento de água da Cidade do Rio de Janeiro. Este relatório foi escrito de colaboração com o Doutor Manoel Buarque de Macedo em comissão do Ministério da Agricultura.
+8. Informações sobre o estado da indústria nacional pela secção de indústria fabril da Sociedade Auxiliadora da Indústria Nacional, presidida pelo Doutor Antônio de Paula Freitas.
+9. Descrição do novo edifício da Tipografia Nacional do Brasil. A planta deste edifício, feita pelo Doutor, tornou-se quadro na Secretaria de Estado dos Negócios da Fazenda.
+10. Discurso pronunciado na sessão magna da Sociedade Acadêmica Atheneu Central em 17 de fevereiro de 1865.
+11. Breves considerações sobre os freios empregados nos trens dos caminhos de ferro. Revista de Engenharia, tomo 1º, n. 8, 1879.
+ 
+São de sua autoria os projetos e a construção de vários prédios históricos na cidade do Rio de Janeiro, como o imóvel-sede do Tesouro Nacional, já demolido, e o do Correio Geral, na Rua Primeiro de Março.
+ 
+Marc Ferrez. Rua Direita, atual Primeiro de Março, com destaque para o Prédio dos Correios, c. 1890. Rio e Janeiro, RJ / Acervo IMS
+ 
+Também projetou, em 1880, a pedido do ministro de Negócios do Império, Francisco Inácio Marcondes Homem de Melo (1837-1918), o barão de Homem de Mello, um edifício para sediar a Faculdade de Medicina, cuja pedra fundamental foi lançada, em 12 de fevereiro de 1881, por dom Pedro II. As obras foram suspensas e só foram terminadas, em 1908, quando o prédio foi utilizado como Palácio dos Estados, um dos pavilhões da Exposição Nacional de 1908, na região da Urca, no Rio de Janeiro, em comemoração ao centenário da Abertura dos Portos às Nações Amigas, decretada em 28 de janeiro de 1808, pelo então príncipe regente de Portugal, dom João de Bragança, futuro dom João VI (1767 – 1926). Em 1909, o Serviço Geológico foi ali instalado, em conjunto com outros órgãos do Ministério da Agricultura. Abriga atualmente o Museu de Ciências da Terra, que está fechado. O prédio foi tombado em 1994.
+ 
+Revista Kosmos, julho de 1908
+ 
+Foi engenheiro da Igreja da Candelária, por mais de 20 anos, tendo sido responsável pelo projeto e construção de suas duas sacristias laterais, em 1877, e pelo desenho e colocação – em colaboração com Heitor de Cordoville (c.1851-1904) – do novo revestimento interno em mármore italiano, além da instalação das belíssimas portas em bronze, em 1901 (Renascença, fevereiro de 1905). Em 1898, publicou o livro Memória histórica sobre a fundação e construção da Igreja da Candelária.
+ 
+Renascença, fevereiro de 1905
+ 
+S.H. Holand. Igreja da Candelária, c. 1930. Rio de Janeiro, RJ / Acervo FBN
+ 
+Nos últimos anos da década de 1880, como diretor das obras do ministério do Império, apresentou um projeto de melhoramentos no prédio da Escola Politécnica, mas a obra não foi realizada (Gazeta de Notícias, 2 de fevereiro de 1905).
+Com Torquarto Neto, Alexandre Wagner, Otto Simon e Theodoro Duvivier, genro de Wagner, criou, em 1891, a Empreza de Construções Civis. Foram pioneiros no desenvolvimento de Copacabana. Paula Freitas, que presidia a empresa, foi o responsável pelo projeto e obras de arruamento do bairro, em 1894. Seu nome foi dado à antiga rua Itororó.
+ 
+
+ 
+Em 1903, foi eleito intendente municipal e presidente do Conselho de Intendência Municipal (Gazeta de Notícias, 29 de junho de 1903; 18 de julho de 1903, terceira coluna; Jornal do Brasil, 26 de janeiro de 1904, oitava coluna). Porém, devido a divergências políticas com o prefeito Pereira Passos (1836-1913), renunciou aos cargos. Foi, posteriormente, presidente do Conselho do Instituto Politécnico Brasileiro (Gazeta de Notícias, 21 de março de 1905, sexta coluna). Faleceu em 18 de março de 1906, em sua residência, na Rua Marquês de Abrantes, nº82, em consequência de uma cirurgia para a retirada de pedras na bexiga. Foi enterrado no Cemitério São João Batista (Jornal do Brasil, 19 de março de 1906, coluna; Gazeta de Notícias, 25 de março de 1906, quinta coluna; Revista da Semana, 25 de março de 1906; Renascença, abril de 1907).
+
+Boletim da Revista da Sociedade de Geografia do Rio de Janeiro, 1906
+ 
+Gazeta de Notícias, 25 de março de 1906
+ 
+Rodrigues & C°. Editores e Proprietários. Imprensa Nacional, 1906. Rio de Janeiro, RJ / Acervo IMS
+ 
+Um pouco da história da Imprensa Nacional
+
+Emblema da Imprensa Nacional em 1898 / Wikipedia
+ 
+A história da Imprensa Nacional começou na década de 1800. Cerca de um ano antes da vinda da corte portuguesa para o Brasil, ocasionada pela invasão francesa no país, o governo português havia comprado da Inglaterra prelos e material tipográfico para a Secretaria de Negócios Estrangeiros e de Guerra. Na fuga da corte de Portugal para o Brasil, em 29 de novembro de 1807, o futuro Conde da Barca, dom Antônio de Araújo de Azevedo (1754-1817), despachou o material, que nem havia sido desencaixotado, na nau Medusa, que fazia parte da esquadra que veio para o Brasil. Além da já mencionada embarcação, integravam a esquadra portuguesa que cruzou o Oceano Atlântico conduzindo a família real, a corte, cerca de 10 mil pessoas da aristocracia e todo o Tesouro português as naus Afonso de Albuquerque, Conde D. Henrique e Martins de Freitas, D. João de Castro, Príncipe do Brasil, Príncipe Real e Rainha de Portugal; as fragatas Golfinho, Minerva e Urânia; os brigues Lebre, Vingança e Voador; e as escunas Curiosa e Furacão.
+ 
+Conde da Barca (1754-1817) / Brasiliana Iconográfica
+ 
+Foi constituída como Impressão Régia e foi um dos primeiros atos editados pela Família Real em solo brasileiro, em 13 de maio de 1808, dia do 41º aniversário do príncipe regente dom João (1767-1826), quando foi impresso seu primeiro trabalho, uma Relação de Despachos com os documentos oficiais desde a chegada da corte ao Brasil até aquela data.
+“Relação dos despachos publicados na corte I pelo expediente da Secretaria de Estado dos Negócios Estrangeiros e da Guerra | no faustosíssimo dia dos annos de S. A. R. | o príncipe regente N. S. | E de todos os mais que se tem expedido pela mesma Secretaria desde a feliz chegada de S. A. R. nos Estados do Brasil até o dito dia | Rio de Janeiro, em 13 de maio de 1808. | Na Impressão Régia. | Vende-se na Loja de Manoel Jorge da Silva j Livreiro na Rua do Rosário I in-fol. de 27 pp. num”. 
+Assinado por dom João, o decreto de Rodrigo de Souza Coutinho (1755-1812), futuro conde de Linhares, determinava a instalação no Rio de Janeiro dos prelos trazidos de Lisboa após a fuga da corte portuguesa.
+ 
+Conde de Linhares (1755-1812)/ Memória Histórica da Imprensa
+ 
+DECRETO DE 13 DE MAIO DE 1808.
+Crêa a Impressão Régia
+Tendo-me constado, que os prélos que se acham nesta Capital, eram os destinados para a Secretaria de Estado dos Negocias Estrangeiros e da Guerra; e attendendo á necessidade que ha da officina de impressão nestes meus Estados: sou servido, que a casa, onde elles se estabeleceram, sirva interinamente de Impressão Regia, onde so imprimam exclusivamente toda a legislação e papeis diplomaticos, que emanarem de qualquer Repartição do meu real serviço; e se possam imprimir todas, e quaesquer outras obras; ficando interinamente pertencendo o seu governo e administração á mesma Secretaria. D. Rodrigo de Souza Coutinho, do meu Conselho de Estado, Ministro e Secretario de Estado dos Negocies Estrangeiros e da Guerra, o tenha assim entendido, e procurará dar ao emprego da Officina a maior extensão, e lhe dará todas as Instrucções e Ordens necessárias e participará a este respeito a todas as Estações o que mais convier ao meu real serviço.
+Palácio do Rio de Janeiro em 13 de Maio de 1808.
+Com a rubrica do Príncipe Regente Nosso Senhor.
+Ficava criada a Impressão Régia, que passou a imprimir, em 10 de setembro do mesmo ano a Gazeta do Rio de Janeiro, inaugurando a imprensa no Brasil. Foi inicialmente redigida pelo frei português Tibúrcio José da Rocha (1776-1840). Antes disso, como prevenção à disseminação de ideias revolucionárias no Brasil, não era permitida no país a tipografia e o jornalismo. O Correio Braziliense é um pouco mais antigo, foi lançado em 1º de junho de 1808, mas era impresso em Londres.
+ 
+Gazeta do Rio de Janeiro, 10 de setembro de 1808
+ 
+Primeiramente a Impressão Régia foi instalada na casa do conde da Barca, na Rua do Passeio nº 44, e, em 1810, foi transferida para o andar térreo de um prédio da Rua dos Barbonos (atual Evaristo da Veiga), esquina com a Rua das Marrecas. Em 1831, foi transferida para algumas salas da Imperial Academia de Belas Artes, na Avenida Passos. Em 23 de abril de 1836, passou a funcionar no andar térreo da Câmara dos Deputados, antiga Cadeia Velha, na Rua da Misericórdia, onde ficou até outubro de 1860, quando mudou-se para um edifício do governo, na Rua da Guarda Velha, contiguo à Secretaria do Império. Em 1° de outubro de 1862, o governo brasileiro, a partir  de uma deliberação de Pedro de Araújo Lima (1793-1870), o marquês de Olinda, passou a divulgar os atos legais através do Diário Oficial, impresso pela Imprensa Régia.
+ 
+Pedro de Araújo Lima (1793-1870), o marquês de Olinda
+ 
+Foi José Maria da Silva Paranhos (1819-1880), o visconde do Rio Branco, então ministro da Fazenda, que encomendou ao engenheiro de obras de seu ministério, Antonio de Paula Freitas, o projeto e a construção de um prédio para a Imprensa Nacional.
+ 
+José Maria da Silva Paranhos (1819-1880), o visconde do Rio Branco
+ 
+Augusto Malta. Imprensa Nacional, 1906. Rio de Janeiro, RJ / Acervo IMS
+ 
+ 
+Careta, 26 de agosto de 1911
+ 
+Como já mencionado, o prédio foi inaugurado no último dia de 1877 pelo ministro da Fazenda, João Mauricio Wanderley, o barão de Cotegipe.
+ 
+João Maurício Wanderley (1815-1889), o barão de Cotegipe
+ 
+Até um incêndio ocorrido, em 15 de setembro de 1911, por volta das 11 horas a noite, o prédio foi sua sede. O fogo teve início no almoxarifado, perto do corredor que separava o edifício do Teatro Lírico, que teve suspensa a opereta Orfeu nos infernos devido à forte fumaça que invadiu a sala de espetáculos. Restou apenas as paredes frontal e laterais, além da tesouraria do edifício. Houve suspeitas de que o incêndio havia sido criminoso, mas nada foi provado durante as investigações. A oficina da Imprensa Nacional passou a funcionar  no Calabouço e no edifício do Ministério da Agricultura.
+ 
+Careta, 23 de setembro de 1911
+ 
+Careta, 23 de setembro de 1911
+ 
+Em 28 de dezembro de 1940, por iniciativa do presidente Getúlio Vargas (1882-1954), a Imprensa Nacional foi transferida para um edifício na Rua Rodrigues Alves nº 1. Foi sua última sede no Rio de Janeiro.
+ 
+Diário de Notícias, 29 de dezembro de 1940
+ 
+Selo comemorativo dos 150 anos da Imprensa Nacional com a imagem do prédio na Rua Rodrigues Alves, nº1
+ 
+Logomarca da Imprensa Nacional, 1942/ Wikipedia
+ 
+Sua sede em Brasília foi inaugurada, em 21 de abril de 1960, quando o então presidente Juscelino Kubitschek (1902-1976) acionou a rotativa Marinoni dando início à primeira impressão do Diário Oficial da União na nova capital do Brasil. A Imprensa Nacional é ligada à Casa Civil da Presidência da República (Revista Imprensa Nacional, julho de 2017).
+Em 13 de maio de 1982, foi inaugurado, em Brasília, o Museu da Imprensa. Uma das peças exibidas no museu é o Prelo Machado de Assis, uma máquina de impressão tipográfica fabricada, em 1833, de origem inglesa. Funcionou na Imprensa Nacional até 1940 e foi o instrumento de trabalho do escritor Machado de Assis (1839-1908), que foi servidor da Imprensa Nacional, entre os anos 1856 e 1858. Entre 1867 e 1874, Machado foi assessor do diretor do Diário Oficial. Pelo decreto presidencial de 13 de janeiro de 1997, tornou-se patrono da Imprensa Nacional. Em maio de 2017, o órgão criou a Revista Imprensa Nacional com periodicidade bimestral.
+
+Prelo Machado de Assis / Museu da Imprensa
+ 
+
+ 
+Lista dos diretores da Imprensa Régia / Imprensa Nacional de 1808 a 2025
+Primeira Junta Diretória (1808 – 1815)
+José Bernardes de Castro, José Marino Pereira da Fonseca (marquês de Maricá) e José da Silva Lisboa (visconde de Cairu).
+Segunda Junta Diretória (1815 – 1830)
+José Bernardes de Castro, José Marino Pereira da Fonseca (marquês de Maricá), José da Silva Lisboa (visconde de Cairu), Silvestre Pinheiro Ferreira, José Saturnino da Costa Pereira (substituto do marquês de Maricá), Francisco Vieira Goulart, Manoel Ferreira de Araújo Guimarães e Januário da Cunha Barbosa.
+Diretores (1830 – 1834)
+ Januário da Cunha Barbosa e Francisco Crispiniano Valderato.
+Administradores 
+Braz Antonio Castriolo (1834 – 1857), Manoel Antônio de Almeida (1857 – 1859), João Paulo Ferreira Dias (1859 – 1878), Antônio Nunes Galvão (1878 – 1892), José Marques Acauã Ribeiro (1892 – 1894), Veríssimo Julio de Moraes (1894 – 1897) e Antônio NUnes Galvão (1897 – 1898).
+Diretores-Gerais
+Mário Nunes Galvão (interino – 1898 -1900), Manuel Alves da Silva (interino – 1900), Antônio Bernardino Lopes Ribeiro Júnior (1900 – 1901), Raimundo Floresta de Miranda (1901 – 1904), Alfredo Augusto da Rocha (1904 – 1910), Manuel Temístocles de Almeida ((1910), Armênio Jouvin (1910 – 1912), Luís Alves Leite de Oliveira Bello (interino – 1912), Manoel Elói de Andrade (1912 – 1913), Leôncio Corrêa (1913 – 1914), José Silveira do Pilar Filho (interino – 1914), Antônio Borges Leal Castelo Branco (1914 – 1922), Eugênio Gracie Cata-Preta (1922 – 1929), Severiano A. Cavalcante (interino – 1929), Antônio Jaime de Alencar Araripe (1930), Aníbal Falcão de Barros Cassal (1931), Heito Bracet (interino – 1931), Francisco Antônio Rodrigues de Salles Filho (1932 – 1935), Manuel Vilerbo de Carvalho e Silva (1935 – 1940), Rubens D´Almeida Horta Porto (1940 – 1944), Francisco de Paula Achilles (1946 – 1951), Alberto Sá Souza de Britto Pereira (1944 – 1946) e (1951 – 1979), Octaciano da Costa Nogueira Filho (1979 – 1980), Dinorá Moraes Ferreira (1980 – 1989), Marlene Freitas Rodrigues Alves (1989 – 1990), Itler Cézar Bado (1990 – 1991), Enio Tavares da Rosa (1991 – 1994), Galba Menegale (1994), Ary Cícero de Moraes Ribeiro (1994 – 1995), Jamil Francisco dos Santos (1995 – 1996), Antônio Eustáquio Corrêa da Costa (1996 – 2000), Carlos Alberto Guimarães Batista da Silva (2000 – 2003), Fernando Tolentino de Souza Vieira (2003 – 2015), José Vivaldo Souza de Mendonça (2015 – 2016), Alexandre Retarnal Barbosa (2016), Pedro Antonio Bertone Ataíde (2016 – 2020),  Ariosto Antunes Culau (2020 – 2021), Sávio Luciano de Andrade Filho (2021), Heldo Fernando de Souza (2021 – 2022) e Afonso Oliveira de Almeida (2023 -).
+ 
+Símbolo atual da Imprensa Nacional
+ 
+Andrea C.T. Wanderley
+Editora e pesquisadora da Brasiliana Fotográfica
+ 
+Fontes:
+Blog Família Paula Freitas
+Brasiliana Iconográfica
+COSTA, Carla. Série “O Rio de Janeiro desaparecido” II – A Exposição Nacional de 1908 na Coleção Família Passos in Brasiliana Fotográfica, 5 de abril de 2018
+Dirigentes da Imprensa Nacional / Imprensa Nacional, Novos Rumos da Comunicação Pública
+DUNLOP, Charles. Rio Antigo, volume III. Rio de Janeiro : Editora Rio Antigo Ltda, 1960.
+FONTANA, Laura Roberta. Tese de doutorado A formação da  Escola Politécnica na corte do Império brasileiro. Rio de Janeiro : UNIRIO, 2022.
+Hemeroteca Digital da Biblioteca Nacional
+KOSSOY, Boris. Dicionário histórico-fotográfico brasileiro. São Paulo: Instituto Moreira Salles, 2002
+LARANJEIRA, Álvaro Nunes. Arqueobiografia do pioneiro da imprensa no Brasil: nas pegadas do frei Tibúrcio. Revista FAMECOS mídia, cultura e tecnologia. Porto Alegre, v. 18, n. 3, p. 765-781, setembro/dezembro 2011.
+MIRANDA, Francisco Gonçalves(org). Memória Histórica da Imprensa Nacional. Rio de Janeiro : Imprensa Nacional, 1922.
+Site Museu da Imprensa
+Portal Arquivo Nacional
+Portal MultiRio
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/9229` — `itens/20.500.12156.1_9229/`
+- `20.500.12156.1/6284` — `itens/20.500.12156.1_6284/`
+- `20.500.12156.1/10515` — `itens/20.500.12156.1_10515/`
+- `20.500.12156.1/8222` — `itens/20.500.12156.1_8222/`
+- `20.500.12156.1/2903` — `itens/20.500.12156.1_2903/`
+- `20.500.12156.1/9230` — `itens/20.500.12156.1_9230/`
+- `20.500.12156.1/12337` — `itens/20.500.12156.1_12337/`
+
diff --git a/wordpress/37914-nilo-pecanha-o-sal-e-as-obras-nos-canais-da-lagoa-de-araruama.md b/wordpress/37914-nilo-pecanha-o-sal-e-as-obras-nos-canais-da-lagoa-de-araruama.md
new file mode 100644
index 0000000..266c325
--- /dev/null
+++ b/wordpress/37914-nilo-pecanha-o-sal-e-as-obras-nos-canais-da-lagoa-de-araruama.md
@@ -0,0 +1,81 @@
+---
+id: 37914
+url: "https://brasilianafotografica.bn.gov.br/?p=37914"
+titulo: "Nilo Peçanha, o sal e as obras nos canais da Lagoa de Araruama"
+autor: "Andrea Wanderley"
+data: "2025-01-30T09:41:00+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/13178", "20.500.12156.1/13179", "20.500.12156.1/8400", "20.500.12156.1/13184", "20.500.12156.1/13167", "20.500.12156.1/13185", "20.500.12156.1/13166"]
+fetched_at: "2026-09-10T10:19:03.916Z"
+---
+
+# Nilo Peçanha, o sal e as obras nos canais da Lagoa de Araruama
+
+A historiadora Maria de Fátima Morado, do Arquivo Histórico e Institucional do Museu da República, uma das instituições parceiras da Brasiliana Fotográfica, é a autora do artigo Nilo Peçanha, o sal e as obras nos canais da Lagoa de Araruama, destacando imagens de dois álbuns que integram a Coleção Nilo Peçanha. Os registros apresentam o contexto da realização das obras, com etapas das construções e imagens de seus trabalhadores. Constam nas páginas dos álbuns informações manuscritas que colaboram para a descrição da execução dos trabalhos. Além disso, as imagens revelam aspectos da bela paisagem local no início do século XX.
+ 
+Nilo Peçanha, o sal e as obras nos canais da Lagoa de Araruama
+Maria de Fátima Morado*
+ 
+Sahida do canal da lagoa, 1917. Cabo Frio, Rio de Janeiro / Acervo Museu da República
+ 
+Na Lagoa de Araruama, os canais Palmer 1, Palmer 2 e Mossoró passaram por obras de melhoramentos promovidas pelo governo de Nilo Peçanha durante seu segundo mandato de presidente do estado do Rio de Janeiro (1914-1917). As fotografias que registram o andamento dessas obras compõem dois álbuns que integram a Coleção Nilo Peçanha, presente no acervo do Arquivo Histórico e Institucional do Museu da República.
+ 
+Acessando o link para as fotografias das obras nos canais da Lagoa de Araruama de dois álbuns que integram a Coleção Nilo Peçanha do Museu da República que estão disponíveis na Brasiliana Fotográfica, o leitor poderá visualizar e magnificar as imagens.
+ 
+A exploração de sal na Lagoa de Araruama, considerada a maior laguna hipersalina do mundo, começou no período colonial de forma restrita, alcançando escala de industrialização durante o Império quando ocorreram as aberturas de canais para facilitar o escoamento do produto. Em Cabo Frio, o engenheiro francês Leger Palmer, um dos mais importantes negociantes do sal, depois de obter autorização dos poderes públicos para financiamento das obras que duraram de 1875 a 1880, promoveu a abertura dos dois canais que atualmente levam seu nome.
+ 
+1.200 mts concluídos, tendo só 0,60 de água para não prejudicar os tanques e seguintes e permitir a navegação, no fundo um barco carregado de sal. Primeira curva, 1917. São Pedro da Aldeia, Rio de Janeiro / Acervo Museu da República
+ 
+No período republicano, a produção do sal favorecia fortemente a economia da região da Lagoa de Araruama. Contudo, o transporte da mercadoria encontrava novos entraves, uma vez que os canais utilizados necessitavam de modernização para que pudessem acompanhar o crescimento da produção. Em 1911, o Relatório do Ministério da Viação e Obras Públicas, ao descrever o canal de Mossoró, em São Pedro da Aldeia, informa que sua origem ocorreu em torno de 1880 e destaca a necessidade de intervenção para sua melhoria, o que deveria ser feito em conjunto com as melhorias dos canais Palmer que também precisavam ser realizadas.
+Nilo Peçanha tomou posse presidente do estado do Rio de Janeiro, em dezembro de 1914, e, no ano seguinte, recebeu por telegrama uma representação de salineiros com agradecimentos por incluir Mossoró na resolução que promoveria obras de dragagem, construção de pilares de alvenaria, entre outros benefícios, nos canais da Lagoa de Araruama.
+ 
+Nilo Peçanha, s/d / Acervo Museu da República
+ 
+Os veículos de imprensa da época noticiavam sobre o andamento das obras e a Revista Fon Fon publicou, em 1915, a fotorreportagem “As riquezas do Brasil: as salinas do Estado do Rio” sobre a visita da comitiva de Nilo Peçanha à região da Lagoa de Araruama.
+ 
+Fon-Fon, 8 de maio de 1915
+ 
+Em dezembro de 1917, o jornal A Noite, anunciou a inauguração do monumento erguido em comemoração ao fim das obras fazendo uma retrospectiva sobre a necessidade que levou a modernização dos canais, lembrando o apelo dos produtores. Também citou como os responsáveis pelo projeto o engenheiro Meira Junior e o construtor Horácio Miranda. Nilo Peçanha havia renunciado ao mandato em 7 de maio de 1917 para assumir o Ministério das Relações Exteriores, assim, segundo o mesmo jornal, a inauguração foi feita pelo seu sucessor, Geraque Collet.
+ 
+A Noite, 14 de dezembro de 1917
+ 
+Publicações oficias também relatavam sobre a condução das obras nos canais, como por exemplo, o Relatório dos Presidentes dos Estados Brasileiros (RJ) – 1892 a 1930 que destacou a conclusão dos pilares de alvenaria de pedra, quebra-mar e cais nos canais Palmer 1 e 2 e da dragagem no canal Mossoró.
+ 
+Canal Palmer nº 1 (Vista geral das pilastras concluídas), 1917. Cabo Frio, Rio de Janeiro / Acervo Museu da República
+ 
+Canal Palmer nº 2 (Vista geral do canal concluído), 1917. Cabo Frio, Rio de Janeiro / Acervo Museu da República
+ 
+Obras nos canais Mossoró e Palmer 2. Cabo Frio, Rio de Janeiro / Acervo Museu da República
+ 
+As fotografias da Coleção Nilo Peçanha apresentam o contexto da realização das obras, detalhando as etapas das construções com destaque para seus trabalhadores. Em diversas fotos podemos observar a presença dos homens empregados nas obras dos canais, especialmente em uma delas quando aparece um grupo segurando um cartaz. Nas páginas dos álbuns constam informações manuscritas que colaboram para a descrição da execução dos trabalhos. Sem esquecer que essas imagens revelam aspectos da bela paisagem local no início do século XX.
+ 
+Pessoal empregado na construção das cortinas, 1917. Csabo Frio, Rio de Janeiro / Acervo Museu da República
+ 
+*Maria de Fátima Morado é historiadora do Arquivo Histórico e Institucional do Museu da República
+ 
+Fontes:
+CHRISTOVÃO, J. H. de O. Do sal ao sol: a construção social da imagem do turismo em Cabo Frio. Orientador: Helenice Aparecida Bastos Rocha. Dissertação (Mestrado em História Social) – Universidade do Estado do Rio de Janeiro, Faculdade de Formação de Professores, São Gonçalo 2011.
+FREITAS, G. G. de. A produção de sal marinho na lagoa de Araruama, RJ. Revista CEDEPEM, Rio de Janeiro, v. 1, n. 2, p. 35-38, jul/ago. 2021.
+PEREIRA, Olegário N. Azevedo; CASTRO, Elza Maria N. Vieira de; DIAS, João Alveirinho; BASTOS, Maria Rosário. A exploração de sal como motivo de antropização na laguna de Araruama: 1801-1900. In: Silvia Dias Pereira et al., O Homem e o Litoral: Transformações na paisagem ao longo do tempo, Rio de Janeiro, pp.312-331, 2017.
+BIDEGAIN, Paulo; BIZERRIL, Carlos. Lagoa de Araruama: Perfil ambiental do maior ecossistema lagunar hipersalino do mundo. Rio de Janeiro: Semads, 2002.
+Hemeroteca Digital da Biblioteca Nacional:
+Annaes da Assembléa Legislativa Provincial do Rio de Janeiro: Relação dos Deputados à Assembléia Legislativa do Estado do Rio de Janeiro – 1836 a 1888. Ano 1878. Edição 00001 (1).
+A Noite. Ano 1917. Edição 02155 (1)
+Fon Fon: Semanario Alegre, Politico, Critico e Esfusiante. Ano 1915. Edição 00020 (1)
+Jornal do Commercio. Ano 1918. Edição 00212 (1).
+O Fluminense. Ano 1915. Edição 09454 (1)
+Relatório do Ministério da Viação e Obras Públicas – 1910 a 1927. Ano 1911. Edição 00001 (4)
+Relatórios dos Presidentes dos Estados Brasileiros – 1892 a 1930. Ano 1918. Edição 00001 (1)
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/13178` — `itens/20.500.12156.1_13178/`
+- `20.500.12156.1/13179` — `itens/20.500.12156.1_13179/`
+- `20.500.12156.1/8400` — `itens/20.500.12156.1_8400/`
+- `20.500.12156.1/13184` — `itens/20.500.12156.1_13184/`
+- `20.500.12156.1/13167` — `itens/20.500.12156.1_13167/`
+- `20.500.12156.1/13185` — `itens/20.500.12156.1_13185/`
+- `20.500.12156.1/13166` — `itens/20.500.12156.1_13166/`
+
diff --git a/wordpress/38073-manual-de-boas-praticas-de-preservacao-digital.md b/wordpress/38073-manual-de-boas-praticas-de-preservacao-digital.md
new file mode 100644
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--- /dev/null
+++ b/wordpress/38073-manual-de-boas-praticas-de-preservacao-digital.md
@@ -0,0 +1,19 @@
+---
+id: 38073
+url: "https://brasilianafotografica.bn.gov.br/?p=38073"
+titulo: "Manual de boas práticas de Preservação Digital"
+autor: "Andrea Wanderley"
+data: "2025-02-13T09:44:07+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: []
+fetched_at: "2026-09-10T10:19:06.863Z"
+---
+
+# Manual de boas práticas de Preservação Digital
+
+Neste artigo, destacamos a seção Links úteis, localizada à direita na parte superior da página de abertura da Brasiliana Fotográfica, onde o leitor pode acessar diversos textos e trabalhos importantes para o campo da preservação digital. A cada dia são gerados cada vez mais arquivos nato-digitais e versões digitais de imagens fotográficas, o que torna o tema da preservação digital essencial no tratamento de nossa memória visual e de nosso patrimônio documental no universo digital. O último trabalho anexado foi o Manual de boas práticas de Preservação Digital, elaborado pela Comissão Permanente de Preservação Digital da Fundação Biblioteca Nacional, uma das instituições fundadoras o portal. Foi publicado, em agosto de 2024, com o objetivo de orientar as unidades organizacionais em seu trabalho cotidiano, no gerenciamento de seus arquivos e materiais digitais, bem como de documentar de forma clara e acessível as estratégias de preservação digital, que devem ser adotadas. O manual trata das boas práticas para a gestão de arquivos e materiais digitais e está alinhado com a Política de Preservação Digital da Biblioteca Nacional, publicada, em 2020.
+ 
+
+ 
+Andrea C.T. Wanderley
+Editora e pesquisadora da Brasiliana Fotográfica
diff --git a/wordpress/38144-as-excursoes-cientificas-do-instituto-oswaldo-cruz-ao-noroeste-do-brasil.md b/wordpress/38144-as-excursoes-cientificas-do-instituto-oswaldo-cruz-ao-noroeste-do-brasil.md
new file mode 100644
index 0000000..bcc2f6e
--- /dev/null
+++ b/wordpress/38144-as-excursoes-cientificas-do-instituto-oswaldo-cruz-ao-noroeste-do-brasil.md
@@ -0,0 +1,107 @@
+---
+id: 38144
+url: "https://brasilianafotografica.bn.gov.br/?p=38144"
+titulo: "As excursões científicas do Instituto Oswaldo Cruz ao Noroeste do Brasil"
+autor: "Andrea Wanderley"
+data: "2025-02-06T09:58:51+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/13157", "20.500.12156.1/13118", "20.500.12156.1/13112", "20.500.12156.1/13111", "20.500.12156.1/13188", "20.500.12156.1/13242", "20.500.12156.1/13243", "20.500.12156.1/13241", "20.500.12156.1/13117"]
+fetched_at: "2026-09-10T10:19:10.185Z"
+---
+
+# As excursões científicas do Instituto Oswaldo Cruz ao Noroeste do Brasil
+
+As expedições realizadas pelo Instituto Oswaldo Cruz ao longo do século XX denunciavam as precárias condições de saúde das populações rurais e com elas a visão hegemônica sobre o Brasil sofreu alterações. O artigo As excursões científicas do Instituto Oswaldo Cruz ao Noroeste do Brasil, de Ricardo Augusto dos Santos, Felipe Almeida Vieira e Francisco dos Santos Lourenço, pesquisadores da Fiocruz, uma das instituições parceiras da Brasiliana Fotográfica, aborda as expedições científicas realizadas sob a chefia de Lauro Travassos, entre 1938 e 1942.  Nelas havia um sentimento patriótico que movia os cientistas. Com um rigoroso alerta, advertiram sobre o perigo do desconhecimento das potencialidades da fauna e flora nacionais. Também denunciaram o efeito devastador provocado pela busca do lucro monetário desenfreado, bem como o desprezo pela pesquisa da natureza, que tanto ameaçava o equilíbrio das espécies como facilitava o surgimento de pragas para a agricultura.
+ 
+Lauro Travassos, 1940 / Acervo Casa de Oswaldo Cruz
+ 
+Acesse aqui o link para as fotografias das excursões científicas do Instituto Oswaldo Cruz ao Noroeste do Brasil chefiadas por Lauro Travassos disponíveis na Brasiliana Fotográfica
+ 
+As excursões científicas do Instituto Oswaldo Cruz ao Noroeste do Brasil
+           Ricardo Augusto dos Santos, Felipe Almeida Vieira e
+Francisco dos Santos Lourenço*
+ 
+Membros da expedição em Bauru. Lauro Travassos, Maria José von Paumgartten, Manoel Joaquim de Mello, João Ferreira Teixeira de Freitas, Octávio Mangabeira Filho, Emmanuel Dias, Frederico Lane e Antenor Leitão de Carvalho, membros da primeira excursão, sendo recepcionados pelo médico Alípio Gonçalves dos Santos na estação de Bauru, 1938. Bauru, SP / Acervo Casa de Oswaldo Cruz.
+ 
+Desde o início dos trabalhos em Manguinhos, Oswaldo Cruz (1872 – 1917), Carlos Chagas (1878 – 1934) e demais cientistas do Instituto Oswaldo Cruz (IOC) não ficaram limitados às improvisadas salas e laboratórios da instituição. Frequentemente, participavam de expedições científicas pelo território brasileiro. Nos primeiros anos do IOC, as ações ficaram restritas às regiões próximas das cidades de São Paulo e Rio de Janeiro.
+Médicos, sanitaristas e cientistas eram solicitados para identificar, estudar e combater as doenças contagiosas que assolavam o país desde os tempos coloniais. Diferentemente das primeiras missões sanitárias que visavam resultados imediatos em pequenas localidades, cinco expedições científicas realizadas entre 1911 e 1913 foram longas, alcançando meses de viagem por grandes áreas do país.
+As expedições pelos chamados “sertões” forneceram um sólido inventário das condições sanitárias e sociais das regiões visitadas. Por intermédio dos diários produzidos pelos viajantes, intelectuais e políticos nacionais tomaram consciência da triste realidade que imperava no interior do Brasil. Dessas cinco expedições participaram nomes como Carlos Chagas, Belisário Penna (1868 – 1939) e Arthur Neiva (1880 – 1943).
+ 
+Lauro Travassos, João Ferreira Teixeira de Freitas, Mário da Silva Ventel, Paulo de Miranda Ribeiro e demais membros da sexta excursão em laboratório montado no Posto do quilômetro 1.221 da Estrada de Ferro Noroeste do Brasil, 1941. Bodoquena, MS / Acervo Casa de Oswaldo Cruz
+ 
+Depois da divulgação dos diagnósticos elaborados pelos cientistas, denunciando as precárias condições de saúde das populações rurais, a visão hegemônica sobre o Brasil sofreu uma alteração. Se o interior do país estava doente, improdutivo para os padrões de eficiência e racionalidade capitalistas do século XX, o aumento da produtividade somente viria a acontecer com a melhoria da qualidade de vida de sua população. Era preciso conhecer as doenças das regiões mais afastadas do litoral para, enfim, propor estratégias de tratamento dos enfermos. Com essas preocupações, a ciência tomava literalmente o “caminho da roça”.
+ 
+Escola ao ar livre em Porto Esperança, 1938. Corumbá, MS / Acervo Casa de Oswaldo Cruz.
+ 
+Há um depoimento interessante de Monteiro Lobato (1882 – 1948) sobre a necessidade do conhecimento in loco para entender e solucionar os problemas brasileiros. Lobato falava do contato direto com a realidade que o homem de responsabilidade pública deveria possuir. Com entusiasmo, o escritor acompanhou Arthur Neiva, diretor do Serviço Sanitário do Estado de São Paulo (1916 – 1920), em uma excursão à cidade de Iguape, onde se desenvolvia uma campanha contra a malária e ancilostomíase.
+“Penetramos na mata, alguns quilômetros fora da cidade. Vi-o apear-se e acender a lanterna elétrica e correr a luz pelo couro do cavalo em procura das anofelinas que incontinenti acudiram àquele inesperado banquete. Encontrou as anofelinas da espécie perigosa. Tinham o ninho na água depositada pelas chuvas nas bromélias parasitas. Estava liquidado o caso. Regressamos e no outro dia ordens precisas eram dadas para matar de vez a malária de Iguape em seu derradeiro reduto” (Lobato apud Ribeiro, 1993, p. 208).
+Essa forte tradição parece que impregnou o jeito de fazer ciência no Brasil. Várias expedições científicas e campanhas sanitárias foram empreendidas pelo país afora. Investigavam não somente as condições naturais das localidades, mas os modos de vida de seus habitantes.
+ 
+Antônio da Rocha Nobre, Carlos da Cunha Vieira, Frederico Lane, Lauro Travassos, tenente veterinário Jairo Pontes e John Lane, membros da segunda excursão, com habitantes do povoado de Salobra, 1939. Miranda, MS / Acervo Casa de Oswaldo Cruz
+ 
+Assim, inseridas nesse contexto histórico, apresentamos as excursões científicas (ou “comissões”, como eram chamadas) do Instituto Oswaldo Cruz ao Noroeste do país. Lideradas por Lauro Travassos (1890 – 1970), elas ocorreram nas seguintes etapas: a primeira em outubro de 1938; a segunda em julho de 1939; a terceira em fevereiro e março de 1940; a quarta em agosto e setembro de 1940; a quinta em janeiro de 1941; a sexta em novembro de 1941; e a sétima em maio de 1942.
+ 
+A Tribuna, 12 de outubro de 1938
+ 
+ 
+As excursões concentraram-se na região da Estrada de Ferro Noroeste do Brasil (NOB), companhia criada em 1904, que chegou a operar uma rede ferroviária de 1.622 quilômetros, ligando o Oeste paulista até a área do Pantanal no estado de Mato Grosso, atual Mato Grosso do Sul. A linha-tronco da NOB entre as estações de Bauru e Porto Esperança, em Corumbá, foi concluída em 1914. Com cerca de 1.300 quilômetros, atravessava as cidades de Araçatuba, Três Lagoas, Campo Grande e Miranda. Nesta última encontra-se o povoado de Salobra, que devido à sua variada e exuberante fauna e flora foi escolhido como parada obrigatória para coleta de material científico em todas as etapas das excursões.
+De acordo com os relatórios produzidos pelos cientistas, quem deu suporte para que as excursões acontecessem na região foi o diretor da NOB, major Américo Marinho Lutz (1899 – 1983), que gratuitamente pôs à disposição de Lauro Travassos um vagão-dormitório e outro para bagagem de sua companhia. O militar era sobrinho do cientista do IOC e principal estudioso da medicina tropical no Brasil, Adolpho Lutz (1855 – 1940).
+Tomaram parte nas excursões profissionais jovens e experientes com distintas habilidades. Entre eles figuraram entomologistas, helmintologistas, protozoologistas, ictiologistas, herpetologistas, ornitologistas, mastozoologistas, técnicos de laboratório e taxidermistas. Para auxiliar nos trabalhos de campo das excursões foram contratados pescadores e caçadores das áreas estudadas.
+ 
+Vagões utilizados pelos membros da terceira excursão em frente à estação de Ilha Seca, 1940. Detalhe para o lençol branco utilizado em coletas noturnas de insetos. Pereira Barreto, SP / Acervo Casa de Oswaldo Cruz. 
+ 
+Além dos cientistas e técnicos do IOC, integraram as excursões representantes de várias instituições do Brasil e exterior, como Museu Paulista, Instituto Biológico de São Paulo, Instituto de Higiene de São Paulo, Museu Nacional, Fundação Rockefeller, Clube Zoológico do Brasil, Universidade de São Paulo e Universidade de Michigan.
+ 
+Correio Paulistano, 7 de maio de 1942
+ 
+Embora alguns dos personagens envolvidos nessas jornadas tenham obtido sucesso em suas trajetórias científicas, entre eles Lauro Travassos, Frederico Lane (1901 – 1979), João Ferreira Teixeira de Freitas (1912 – 1970), Emmanuel Dias (1908 – 1962) e Maria José von Paumgartten, depois Maria Deane (1916 – 1995), estas páginas épicas são pouco conhecidas pelo campo científico e acadêmico nacional.
+Nos relatórios das excursões constatamos o sentimento patriótico que movia os cientistas. Com um rigoroso alerta, advertiram sobre o perigo do desconhecimento das potencialidades da fauna e flora nacionais. Também denunciaram o efeito devastador provocado pela busca do lucro monetário desenfreado, bem como o desprezo pela pesquisa da natureza, que tanto ameaçava o equilíbrio das espécies como facilitava o surgimento de pragas para a agricultura.
+“A seca proporcionou ainda oportunidade de observar o horrível espetáculo das queimadas. Por estes brutais incêndios dos campos, em que se formam linhas de fogo de quilômetros de extensão e que caminham léguas, tudo destruindo, flora e fauna, e ainda esterilizando o solo pelo formidável calor produzido por labaredas que atingem a 10 metros de altura e que a 100 metros já se torna insuportável, vai o brasileiro, metódica e tenazmente, transformando o nosso interior em árido deserto. Argumentam os autores desta brutalidade, a necessidade da melhoria dos campos. Sem dúvida é um processo barato para a limpeza dos pastos, mas de graves consequências para as gerações futuras. Há também prazer em contemplar o espetáculo” (Travassos, 1940, p. 700).
+Durante os trabalhos de campo, os excursionistas coletaram farto material de interesse médico e biológico, como insetos, mamíferos, répteis, aves, batráquios, peixes, helmintos e amostras botânicas. Todo esse material foi incorporado ao patrimônio científico de instituições de ensino e pesquisa do país. O IOC, por exemplo, ficou com o maior número de exemplares de insetos e helmintos, que se encontram atualmente preservados em coleções dedicadas a esses grupos zoológicos.
+ 
+Aspectos do rio Paraguai e das habitações de Porto Esperança, 1941. Corumbá, MS / Acervo Casa de Oswaldo Cruz
+ 
+Entretanto, os cientistas não se limitaram a investigar o clima, o relevo, os animais, a vegetação e as doenças reinantes na região, como malária, doença de Chagas e leishmaniose. Eles mostraram-se preocupados com as respostas que os habitantes poderiam dar perante às dificuldades impostas pela sobrevivência. Em quase todos os registros das excursões existem comentários sobre a qualidade da alimentação e as condições de moradia dos habitantes, que algumas vezes foram descritas como precárias e insalubres. A baixa densidade demográfica dos locais visitados também fez parte das observações dos cientistas.
+ 
+Cheia no Pantanal: João Ferreira Teixeira de Freitas no trecho alagado da linha férrea entre as estações de Miranda e Salobra, 1942. Miranda, MS / Acervo Casa de Oswaldo Cruz
+ 
+Em resenha biográfica sobre Lauro Travassos, Newton Dias dos Santos (1916 – 1989), naturalista do Museu Nacional, descreveu com riqueza de detalhes a sua participação na quinta excursão ao Noroeste. Nos trechos selecionados desta narrativa encontramos uma síntese de como deve ter sido o cotidiano das “aventuras” científicas por um Brasil rural e selvagem, rico em biodiversidade, e que ainda guarda muitos aspectos a serem conhecidos por nós na atualidade.
+“Imagine, caro leitor, cerca de três dias de viagem pela Estrada de Ferro Noroeste do Brasil, estrada de penetração do nosso mais longínquo oeste, com deficiências, mas que é um orgulho da nossa gente. (…) A composição, puxada com sacrifício, acaba de atravessar a ponte do rio Miranda e para na estação de Salobra, próxima do grande pantanal. Olho em torno e diviso umas 10 casas de barro: eis toda a localidade. (…) Em meia hora está escolhida nossa sede; o pátio da estação. Começa o trabalho da montagem. (…) Em duas horas há um laboratório montado. Toda a minúscula população local, de olhos arregalados, está em torno. (…) O índice de impaludismo desta população é de 100%. (…) Cada um de nós começa a tomar quinino preventivo. A população entra também no quinino. (…) Enquanto estamos alojados, vem gente de longe em busca de tratamento. Todos são atendidos, pois a farmácia que levamos é grande.
+A cozinha de campo é imediatamente montada e começa o trabalho da janta: feijão, arroz, carne seca. (…) Cai a noite e com ela o silêncio. (…) E começa o primeiro trabalho. Num grande lençol branco estendido verticalmente abaixo da lâmpada, começam a chegar os primeiros insetos curiosos. (…) Mosquitos e anofelíneos cobrem o pano; vão chegando, mariposas, coleópteros, hemípteros. (…) Nossos vidros e caixas vão se acumulando de material. Os sapos saem dos seus esconderijos e vem comer insetos e são por nós caçados. (…) Alguns já foram dormir; se não dá bicho vamos para a cama, mas de vez em quando acordamos, e vamos espiar o pano. O calor é terrível. (…) Travassos toma o primeiro café puro da manhã, apanha sua espingarda e dá uns giros por perto. Uma hora depois, está no acampamento com alguma cotia, ou alguma ave abatida. Os taxidermistas entram em ação. Tiram a pele do animal e dão o corpo ao professor. Este vai autopsiá-lo. Abre o animal, retira os intestinos e começa a catar os vermes (…) que são guardados em líquido conservador. (…)
+Antes do almoço vão chegando mais peças: porcos do mato, gaviões, jacarés, ariranhas, veados, cotias, toda a classe de aves e mamíferos. (…) Outros excursionistas colecionam plantas, insetos, aracnídeos, moluscos, miriápodos. (…) Nos charcos, riachos e rios as nossas redes de pesca de arrastão trazem curiosos espécimens. (…) Cada dia passa um trem de ida ou de volta. É a nossa única distração. Às vezes, se consegue uma cerveja no trem e isso é uma delícia, pois a nossa única bebida é água e, por sinal, salobra, que é filtrada em caixa de areia. Felizmente ninguém adoece. (…) Travassos quase sempre leva seus dois esplêndidos auxiliares de Manguinhos, Mário Ventel e Antônio Nobre, que se incumbem da manutenção do laboratório e dos instrumentos. (…) Nossos banhos são no rio ou na caixa d’água que alimenta os trens. (…) Ao fim de 25 dias, nossas caixas estão cheias; chegamos ao fim, bastante maltratados”
+Ciência para Todos, 27 de março de 1949
+ 
+* Ricardo Augusto dos Santos  é  Pesquisador Titular da Fundação Oswaldo Cruz. Felipe Almeida Vieira e Francisco dos Santos Lourenço são pesquisadores do Departamento de Arquivo e Documentação da Casa de Oswaldo Cruz.
+Lauro Travassos, João Ferreira Teixeira de Freitas e membros da comissão examinando um avestruz, 1940. Miranda, MS / Acervo Casa de Oswaldo Cruz
+ 
+Fontes:
+BENCHIMOL, Jaime Larry (coord.). Manguinhos do sonho à vida: a ciência na belle époque. Rio de Janeiro: Casa de Oswaldo Cruz, 1990.
+DALMEIDA, José Mario. Contribuições de Lauro Travassos (1890-1970) para a zoologia brasileira. História da Ciência e Ensino, São Paulo, v. 14, p. 88-99, 2016.
+FONSECA FILHO, Olympio da. A escola de Manguinhos: contribuição para o estudo do desenvolvimento da medicina experimental no Brasil. São Paulo: EGTR, 1974.
+Hemeroteca Digital da Biblioteca Nacional.
+RIBEIRO, Maria Alice Rosa. História sem fim… Inventário da saúde pública. São Paulo: Edusp, 1993.
+SANTOS, Ricardo Augusto dos; VIEIRA, Felipe Almeida; LOURENÇO, Francisco dos Santos. O “Dr. Photographo” Oswaldo Cruz. Brasiliana Fotográfica, Rio de Janeiro, 31 out. 2023.
+Site Estações Ferroviárias do Brasil.
+THIELEN, Eduardo Vilela et al. A ciência a caminho da roça: imagens das expedições científicas do Instituto Oswaldo Cruz ao interior do Brasil entre 1911 e 1913. Rio de Janeiro: Casa de Oswaldo Cruz/Fiocruz, 1992.
+TRAVASSOS, Lauro. Relatório da excursão científica do Instituto Oswaldo Cruz realizada na zona da Estrada de Ferro Noroeste do Brasil, em outubro de 1938. Boletim Biológico, São Paulo, v. 4, n. 2, p. 208-260, 1939.
+TRAVASSOS, Lauro. Relatório da terceira excursão a zona da Estrada de Ferro Noroeste do Brasil realizada em fevereiro e março de 1940. Memórias do Instituto Oswaldo Cruz, Rio de Janeiro, v. 35, n. 3, p. 607-696, 1940.
+TRAVASSOS, Lauro. Relatório da quarta excursão do Instituto Oswaldo Cruz a zona da Estrada de Ferro Noroeste do Brasil, realizada em agosto e setembro de 1940. Memórias do Instituto Oswaldo Cruz, Rio de Janeiro, v. 35, n. 4, p. 697-722, 1940.
+TRAVASSOS, Lauro. Relatório da quinta excursão do Instituto Oswaldo Cruz, realizada à zona da Estrada de Ferro Noroeste do Brasil, em janeiro de 1941. Memórias do Instituto Oswaldo Cruz, Rio de Janeiro, v. 36, n. 3, p. 263-300, 1941.
+TRAVASSOS, Lauro; FREITAS, J. F. Teixeira de. Relatório da excursão científica realizada na zona da Estrada de Ferro Noroeste do Brasil em julho de 1939. Memórias do Instituto Oswaldo Cruz, Rio de Janeiro, v. 35, n. 3, p. 525-556, 1940
+TRAVASSOS, Lauro; FREITAS, J. F. Teixeira de. Relatório da sexta excursão do Instituto Oswaldo Cruz, realizada à zona da Estrada de Ferro Noroeste do Brasil, em novembro de 1941. Memórias do Instituto Oswaldo Cruz, Rio de Janeiro, v. 37, n. 3, p. 259–286, 1942.
+TRAVASSOS, Lauro; FREITAS, J. F. Teixeira de. Relatório da sétima excursão cientifica do Instituto Oswaldo Cruz, realizada à zona da Estrada de Ferro Noroeste do Brasil, em maio de 1942. Memórias do Instituto Oswaldo Cruz, Rio de Janeiro, v. 38, n. 3, p. 385-412, 1943.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/13157` — `itens/20.500.12156.1_13157/`
+- `20.500.12156.1/13118` — `itens/20.500.12156.1_13118/`
+- `20.500.12156.1/13112` — `itens/20.500.12156.1_13112/`
+- `20.500.12156.1/13111` — `itens/20.500.12156.1_13111/`
+- `20.500.12156.1/13188` — `itens/20.500.12156.1_13188/`
+- `20.500.12156.1/13242` — `itens/20.500.12156.1_13242/`
+- `20.500.12156.1/13243` — `itens/20.500.12156.1_13243/`
+- `20.500.12156.1/13241` — `itens/20.500.12156.1_13241/`
+- `20.500.12156.1/13117` — `itens/20.500.12156.1_13117/`
+
diff --git a/wordpress/38233-novos-acervos-fundacao-instituto-brasileiro-de-geografia-e-estatistica-ibge.md b/wordpress/38233-novos-acervos-fundacao-instituto-brasileiro-de-geografia-e-estatistica-ibge.md
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+---
+id: 38233
+url: "https://brasilianafotografica.bn.gov.br/?p=38233"
+titulo: "Novos acervos: Fundação Instituto Brasileiro de Geografia e Estatística – IBGE"
+autor: "Andrea Wanderley"
+data: "2025-01-13T11:56:35+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/13305", "20.500.12156.1/13099", "20.500.12156.1/13306", "20.500.12156.1/13307", "20.500.12156.1/13304"]
+fetched_at: "2026-09-10T10:19:13.602Z"
+---
+
+# Novos acervos: Fundação Instituto Brasileiro de Geografia e Estatística – IBGE
+
+A Brasiliana Fotográfica, no ano em que celebra 10 anos de existência, anuncia com alegria e entusiasmo a adesão da Fundação Instituto Brasileiro de Geografia e Estatística (IBGE) como sua 14ª instituição parceira. A missão principal do IBGE é retratar o Brasil com informações necessárias ao conhecimento da sua realidade e ao exercício da cidadania. Ao longo de seus quase 90 anos de existência, o IBGE acumulou um rico acervo bibliográfico, cartográfico e iconográfico que apresenta o Brasil em seus aspectos econômicos, sociais, culturais e demográficos, entre outros. O primeiro artigo produzido para o portal, Pioneiros do IBGE: um legado nas estatísticas e geociências do Brasil, foi escrito pelas bibliotecárias Luciana F. Lau e Danielle Barreiros; e pelo arquivista Fabio Carvalho, todos do IBGE.
+ 
+Pioneiros do IBGE: um legado nas estatísticas e geociências do Brasil
+Luciana F. Lau, Fabio Carvalho e Danielle Barreiros*
+ 
+Reunião dos Conselhos Nacionais de Geografia e Estatística, 1938. Rio de Janeiro, RJ. Em pé, esq./dir.: Christovam Leite de Castro (3º), José Carneiro Felipe (4º), José Carlos Macedo Soares (5º) e Mário Augusto Teixeira de Freitas (7º) / Acervo IBGE
+ 
+O Instituto Brasileiro de Geografia e Estatística – IBGE – recebeu com alegria e entusiasmo o convite para integrar o Portal Brasiliana Fotográfica e inicia sua participação com a inclusão de 28 fotografias. Esta é sem dúvida uma excelente oportunidade de ampliar a visibilidade, o acesso e gerar conhecimento acerca dos acervos fotográficos do IBGE, que constituem importantes fontes de informação histórica  e cultural.
+Acesse aqui o link para as fotografias do acervo do IBGE disponíveis na Brasiliana Fotográfica
+Em virtude de o IBGE estar prestes a comemorar seus 90 anos de criação, selecionamos para nossa primeira postagem uma imagem que celebra e valoriza o legado dos pioneiros que construíram as bases do Instituto. A imagem destacada acima faz parte da Coleção “Eventos Institucionais” e retrata uma reunião ocorrida no ano de 1939.
+Entre os presentes no evento estão algumas personalidades que lançaram as bases fundadoras do próprio IBGE, como Mário Augusto Teixeira de Freitas, considerado o idealizador do órgão, José Carlos de Macedo Soares, seu primeiro presidente, Christovam Leite de Castro, entre outros.
+Antes de apresentar os precursores é fundamental compreender o contexto de criação do próprio IBGE. Trata-se de um marco na história da estatística brasileira, com raízes que remontam ao período colonial. Mesmo de forma rudimentar, a Coroa portuguesa desde cedo empenhou esforços para coletar dados estatísticos em seus domínios na América, por meio de Ordens Régias, demonstrando uma preocupação em quantificar aspectos da vida colonial. Com a chegada da Corte Portuguesa ao Brasil, em 1808, a necessidade de conhecer melhor o território e a população da nova sede do Império impulsionaram um crescente interesse em organizar e analisar informações relevantes para a administração pública, culminando na criação da Diretoria Geral de Estatística, em 1871, e na realização do primeiro Recenseamento Geral do Brasil, em 1872, considerado um precursor dos esforços sistemáticos que resultariam na criação do IBGE.
+Com o início do século XX, o Brasil passou por intensas transformações políticas, sociais e econômicas. A Revolução de 1930 e a ascensão de Getúlio Vargas inauguraram uma nova era, marcada pela modernização do Estado e pela afirmação do país no cenário internacional. Nesse contexto, a criação de um órgão nacional de estatística era vista como um passo fundamental para construir um Estado mais eficiente e capaz de planejar o desenvolvimento nacional. Diante dessa necessidade e para dar unidade e identidade aos órgãos de estatística dos diferentes setores da administração federal e estadual, o Governo, através do Decreto nº 24.609, de 6 de julho de 1934 criou o Instituto Nacional de Estatística. A instalação oficial do INE ocorreu em 29 de maio de 1936, no Palácio do Catete, com José Carlos de Macedo Soares como seu primeiro presidente.
+Após sua criação, o INE se dedicou a organizar o sistema estatístico brasileiro e promover a cooperação entre diferentes esferas de governo. A Convenção Nacional de Estatística, realizada em agosto de 1936, estabeleceu as bases para o Conselho Nacional de Estatística, responsável por coordenar os serviços estatísticos em nível nacional. O pensamento vitorioso da Convenção também reconheceu a importância da integração entre serviços estatísticos e geográficos para aumentar a eficiência das atividades no Brasil. Como parte disso, foi criado o Conselho Brasileiro de Geografia pelo Decreto nº 1.527 de 1937, ligado ao Instituto Nacional de Estatística. Este conselho tinha como objetivo coordenar estudos geográficos, promover a cooperação entre órgãos públicos e privados e sistematizar o conhecimento do território nacional. Com sua nova estrutura e atribuições ampliadas, o IBGE se consolidou como o órgão central do sistema estatístico e geográfico brasileiro, desempenhando um papel vital na produção de informações para o governo, a sociedade e a comunidade internacional.
+Para garantir harmonia entre as atividades geográficas e estatísticas, o Conselho Brasileiro de Geografia foi renomeado como Conselho Nacional de Geografia, enquanto o Instituto Nacional de Estatística passou a se chamar Instituto Brasileiro de Geografia e Estatística, conforme o Decreto nº 218 de 1938. Guardando cada sistema, em relação ao outro, o máximo de simetria possível, em sua estrutura e organicidade, ambos entrosados sob princípios de colaboração nacional e cooperação interadministrativa, os dois Conselhos passaram a coordenar e impulsionar as atividades geográficas e estatísticas no país.
+Quem visita a unidade do IBGE na rua General Canabarro, no bairro Maracanã, pode ver o imponente busto de José Carlos de Macedo Soares (1883-1968), que desperta interesse não somente dos servidores, mas também dos visitantes. Ao conhecer um pouco da história do IBGE, compreende-se esta e outras homenagens do Instituto a um dos responsáveis por sua criação.
+ 
+Busto de José Carlos de Macedo Soares, localizado na Unidade do IBGE na Rua General Canabarro
+ 
+Macedo Soares ou Embaixador como era conhecido, por também desempenhar a função de Ministro das Relações Exteriores do Brasil por duas vezes, a primeira em 1934 e a segunda em 1955, foi o primeiro presidente do IBGE e o mais longevo, permanecendo por 16 anos à frente do Instituto nos períodos de 1936 até 1951 e depois de 1955 até 1956. Além de embaixador, Macedo Soares também desempenhou outras funções no cenário político brasileiro; foi deputado federal na Assembleia Nacional Constituinte (1930), ministro da Justiça (1937) e interventor federal de São Paulo (1945). Presidiu o Instituto Histórico e Geográfico Brasileiro (1939) e a Sociedade Brasileira de Geografia do Rio de Janeiro (1945). Para além do seu notável papel político, também foi uma personalidade no âmbito da literatura, tornando-se presidente da Academia Brasileira de Letras (ABL), em 1942.
+ 
+Instalação do Instituto Nacional de Estatística no Palácio do Catete, em 29/05/1936 , na mesma data da posse de Macedo Soares, como seu presidente. Em 1º plano, esq./dir.: José Carlos de Macedo Soares (2º) e Getúlio Vargas (3º) /  Fon-Fon, 06 de junho de 1936
+ 
+Nas palavras de outra personalidade, Christovam Leite de Castro (1991. p. 277), é possível vislumbrar a pessoa ímpar que foi José Carlos de Macedo Soares.
+“Havia o presidente do Instituto, que era o embaixador José Carlos de Macedo Soares, aliás, presidente excepcional, pela sua inteligência, pela sua capacidade de trabalho, pela sua representatividade, pelo seu prestígio, pelo seu patriotismo, pelo conhecimento profundo dos problemas brasileiros. Realmente, era personalidade de excepcional projeção não só no País como no exterior. No País, por exemplo, Macedo Soares foi Presidente do IBGE e ao mesmo tempo Presidente da Academia Brasileira de Letras, do Instituto Histórico e Geográfico Brasileiro, e, também, Ministro das Relações Exteriores”.
+Um dos exemplos de como Macedo Soares conhecia os problemas brasileiros foi o seu apoio às mulheres na discussão sobre direitos políticos e serviço militar no âmbito do direito ao voto da mulher, o que ocasionou homenagens de feministas ao embaixador, conforme noticiado no Jornal do Brasil, de 21 de julho de 1934. Macedo estava ciente deste e de outros desafios da sociedade brasileira principalmente no contexto da estatística e da geografia do Brasil, o que o conduziu  a concretizar as concepções de Teixeira de Freitas, o idealizador do IBGE.
+ 
+Jornal do Brasil, 21 de julho de 1934
+ 
+Sobre Teixeira de Freitas, Carlos Drummond de Andrade (1902-1987) expressou:
+“E se hoje nos conhecemos mais a nós mesmos, se é possível elaborar planos de governo com base em dados positivos, se a iniciativa particular na promoção de riquezas dispõe de elementos essenciais para conhecimento do meio social e econômico, tudo isso se deve a Teixeira de Freitas. Teve antecessores ilustres e colaboradores de grande porte, mas a ideia, repito, é dele, como também a prática, e dele a maior glória” (Correio da Manhã, 25 de fevereiro de 1956, penúltima coluna).
+Na década de 30, antes de atuar no IBGE, Teixeira de Freitas colaborou na reforma administrativa buscando com a racionalização dos serviços públicos a modernização das instituições públicas e seus métodos de gestão. Neste período, defendia a importância das estatísticas para a reforma. E defendia também a educação estatística. Certa vez destacou que “E como muitas vezes — ou quase sempre — os leitores dos dados estatísticos não sabem interpretá-los […]” (FREITAS, 1990, p. 29), destacando a importância do letramento estatístico para os cidadãos e para o país. A concepção de integração de Teixeira de Freitas não tinha como objetivo somente a integração do Brasil, por meio do esperanto [1] ele idealizava a comunicação internacional e a paz universal.
+ 
+O Idealismo e o Esperanto, 1954 / Acervo IBGE
+ 
+Nos planos de integração de Teixeira de Freitas, a Geografia possuía um papel importante em conjunto com a Estatística, desta forma, contou com Christovam Leite de Castro como colaborador na área de Geografia.
+Christovam Leite de Castro (1904-2002) tem contato com a Geografia em sua atuação no Ministério da Agricultura (1933) como chefe da Seção de Estatística Territorial, da qual tem origem o Conselho Nacional de Geografia, órgão colegiado que junto do Conselho Nacional de Estatística vieram a formar o IBGE. Por suas diversas atividades em favor do progresso da cidade do Rio de Janeiro, recebeu o título de Cidadão Carioca (1970), a Medalha Estado da Guanabara (1975) e o título de Benemérito do Estado do Rio de Janeiro (1987). Essas homenagens se devem principalmente a sua atuação na Companhia Caminho Aéreo Pão de Açúcar, iniciada em 1930.
+ 
+Homenagem no bondinho ao engenheiro Christovam Leite de Castro, 2018 / Foto de Fábio Carvalho
+ 
+Christovam Leite de Castro foi diretor-presidente da Companhia e o responsável por implementar o novo Sistema Teleférico do Pão de Açúcar (1972), tornando possível, assim, que a cidade do Rio de Janeiro passasse a contar com um sistema mais seguro. Na fundação do Conselho Nacional de Geografia, Leite de Castro contou com a colaboração de Fábio de Macedo.
+Fábio de Macedo Soares Guimarães (1906-1979) atuou no Serviço de Estatísticas Territoriais do Ministério da Agricultura. Posteriormente, junto com o grupo de especialistas reunidos com o objetivo de unificar o serviço estatístico federal, transfere-se para o Instituto Nacional de Estatística, denominado mais tarde de IBGE. Em 1941, como chefe da Seção de Estudos do Conselho Nacional de Geografia, realizou análises sobre a divisão territorial do País, que passaram a influenciar a divulgação de pesquisas no IBGE, apresentando a partir de então os resultados tabulados de acordo com os estados agrupados, segundo a distribuição dos estados brasileiros em Grandes Regiões (GUIMARÃES, 2006).
+ 
+Revista Brasileira de Geografia, abr./jun. de 1941. Regiões do Brasil segundo vários autores
+ 
+Fábio de Macedo Soares Guimarães (de frente) em expedição geográfica para mudança da capital, s.d. / Acervo IBGE
+ 
+Os estudos de Fábio de Macedo relacionados à divisão regional do Brasil balizaram a divisão regional do Brasil em cinco grandes regiões adotada oficialmente em 1942. Nesse contexto, determinou matematicamente o centro exato do Brasil, que se situa no nordeste de Mato Grosso, e não em Goiás, como se pensava. Atuou de forma marcante nos estudos que recomendaram a localização da nova capital do Brasil. Para colaborar com o trabalho desenvolvido no Conselho Nacional de Geografia, Fábio de Macedo contou com o apoio do consultor Allyrio Hugueney.
+Allyrio Hugueney de Mattos (1889- 1975)** inicia como consultor técnico no Conselho Nacional de Geografia em 1939 e assume cargos de relevância, dentre eles o de diretor da Divisão de Cartografia. Torna-se o responsável pelo cumprimento do Decreto-Lei nº 311/1938, conhecido como Lei Geográfica do Estado Novo, que obrigava a criação de mapas para a elaboração da Carta do Brasil. Como orientador da Campanha das Coordenadas Geográficas organizada pelo Conselho Nacional de Geografia (1939), entre outras atividades, determina a localização das sedes municipais por suas coordenadas geográficas e escolhe o sistema de representação cartográfica adequado à elaboração dos mapas. A relevância do trabalho de produção de mapas nesse período se reflete em suas palavras: “O Brasil tem fome de mapas. Diariamente, quer de dentro do país, quer de fora, chegam solicitações de mapas que não existem” (IBGE, 2016).
+Nas pesquisas de campo, das quais foi o precursor, atuou utilizando novos equipamentos, o que permitiu a implantação de métodos geodésicos de coordenadas geográficas inovadores, que posteriormente seriam base para o desenvolvimento de projetos nas regiões privadas de cobertura cartográfica. Allyrio Hugueney recebeu diversas homenagens em reconhecimento ao trabalho que desenvolveu, destacando-se entre eles a condecoração da Ordem La Rose Blanche, em 1948, do governo da Finlândia, por colaborar com valorosos serviços durante o eclipse total do sol. E do IBGE recebeu como homenagem a nomeação do marco geodésico [2] norte de número 2250 de Base Allyrio de Mattos, situado em sua cidade natal, Cuiabá.
+ 
+Inauguração do marco norte Base Allyrio de Mattos, no centro político-administrativo de Cuiabá, 1972. Cuiabá, MT. Esq./dir.: Miguel Alves de Lima (1º), Isaac Kerstenetzky (3º), Allyrio Hugueney de Mattos (5º) / Acervo IBGE
+ 
+Após sua instalação, em 1936, o IBGE tinha somente quatro anos para planejar, estruturar, coordenar e operacionalizar seu primeiro recenseamento de 1940, e para colaborar no que seria um grande feito do Instituto, Macedo Soares convidou o Professor Mortara.
+Giorgio Mortara (1885-1967) chegou com sua família ao Brasil, em 1939, fugindo de perseguições na Itália em razão do regime totalitarista. A convite do presidente do Instituto, atuou como consultor-técnico da comissão responsável por preparar e realizar o recenseamento de 1940. Utilizou metodologias inovadoras, até o momento inéditas no País no contexto da ciência demográfica. A criação do Laboratório de Estatística, ligado ao Conselho Nacional de Estatística, foi importante no cenário nacional para a formação de novos profissionais. Por sua contribuição na área de ensino da Estatística e em prol da cultura nacional, recebeu o título de professor Honoris Causa da Universidade do Brasil, em 1953.
+ 
+Convênio estatístico educacional: 10º aniversário, 1941. Rio de Janeiro, RJ. No primeiro plano da esq./dir. Giorgio Mortara (1º), Lourenço Filho (2º), Mário Augusto Teixeira de Freitas (3º), José Carlos de Macedo Soares (4º), Carneiro Fellipe (6º) / Acervo IBGE
+ 
+Em 1942, o Brasil decide entrar na Segunda Guerra Mundial após ter navios mercantes torpedeados, declarando assim guerra à Itália e à Alemanha. Segundo as orientações do governo, o professor Mortara e seu filho, que atuava na Divisão da Receita da Comissão de Orçamento da República, deveriam ser enviados para os campos de concentração. Contudo, por influência de Macedo Soares, Teixeira de Freitas, Carneiro Felippe e outros, o professor e seu filho continuaram contribuindo para o desenvolvimento do Brasil, que passou a ser considerado por Mortara como sua segunda pátria. Após o final da guerra, Mortara foi reconduzido à cátedra na Universidade de Roma, porém decidiu permanecer no Brasil a fim de completar o trabalho que lhe fora confiado. Retornou à Itália, em 1956, após segundo convite para regressar à cátedra. Como seus filhos permaneceram no Brasil, Mortara passava longos períodos no Rio de Janeiro, onde veio a falecer, em 1967.
+Como vimos, o IBGE não surgiu de forma repentina, mas foi fruto de um longo caminho de debates e articulações políticas.
+O fato é que os primeiros anos do IBGE podem ser considerados como anos heroicos, pois foram momentos decisivos para a sua história  e para o desenvolvimento das estatísticas e da geociência no Brasil. Esse heroísmo pode ser atribuído às pessoas que fizeram parte daquele momento especial, como também das próprias decisões que estavam sendo tomadas nas assembleias destes quatro primeiros anos do Conselho Nacional de Estatística.
+Esses pioneiros enfrentaram grandes desafios para consolidar o órgão como referência em estatística e geografia no Brasil.
+O processo que culminou na criação do IBGE foi resultado da atuação de diversas figuras visionárias que reconheceram a importância da Estatística como ferramenta indispensável para a modernização do Estado brasileiro. Além dos citados, muitos outros profissionais contribuíram e contribuem ainda hoje para o desenvolvimento do IBGE. Entretanto, aos pioneiros o Instituto reserva honrarias especiais devido a tudo que fizeram pelo IBGE e pelo Brasil.
+ 
+[1] O esperanto foi criado em 1887 pelo sábio médico polonês Lázaro Ludovico Zamenhof com o fim de tornar-se uma língua auxiliar internacional, isto é, uma língua segunda que cada nação estudaria ao lado de seu idioma nacional. O Dr. Zamenhof somente procurou criar uma língua artificial depois que se convenceu de que nenhuma das línguas vivas ou mortas poderia preencher o papel de língua internacional. FREITAS, M. A. T. de. O Esperanto no Brasil. Revista Brasileira de Estatística, Rio de Janeiro: IBGE, v. 6, n. 22, p. 197-206, abr./jun. 1945.
+[2] As estações geodésicas são caracterizadas por um pequeno monumento de concreto denominado marco com uma pequena chapa metálica encravada em seu topo ou, simplesmente, a chapa metálica encravada em uma base (monumento, degrau de escada de acesso a prédios públicos) que garanta sua preservação. IBGE. Padronização de Marcos Geodésicos. Disponível em: https://www.ibge.gov.br/geociencias/metodos-e-outros-documentos-de-referencia/normas/16466-padronizacao-de-marcos-geodesicos.html?=&t=sobre. Acesso em: Acesso em: 13 dez 2024.
+ 
+* Luciana F. Lau e Danielle Barreiros são bibliotecárias e Fabio Carvalho é arquivista do IBGE.
+**Nota da editora: lembramos que Allyrio Hugueney de Mattos era astrônomo e integrou a equipe brasileira, liderada por Henrique Morize (1860-1930), que produziu registros fotográficos do eclipse total do Sol, ocorrido em 29 de maio de 1919, realizados por astrônomos brasileiros do Observatório Nacional e também por cientistas de outros países, em Sobral, no Ceará. Além de Allyrio, integravam a equipe brasileira os também astrônomos Domingos Fernandes da Costa (1882 – 1956) e Lélio Itapuambyra Gama (1892 – 1981), o químico Theophilo Henry Lee (1873 – ?), o meteorologista Luís Rodrigues, o mecânico Arthur de Castro Almeida e o carpinteiro Primo Flores.
+ 
+Fontes:
+CASTRO, Christovam Leite de. História oral do IBGE. Entrevista concedida à Equipe de Memória Institucional em 1991. In.: MALAVOTA, Leandro Miranda, 1976-. Christovam Leite de Castro e a geografia no Brasil. Rio de Janeiro: IBGE, 2013. Disponível em: https://biblioteca.ibge.gov.br/visualizacao/livros/liv64829.pdf. Acesso em: 13 dez. 2024. 
+FREITAS, M. A. Teixeira de. O Idealismo e o esperanto. Rio de Janeiro: IBGE, 1954. Disponível em: https://biblioteca.ibge.gov.br/visualizacao/livros/liv81724.pdf. Acesso em: 13 dez. 2024.
+FREITAS, M. A. Teixeira de.  Teixeira de Freitas: pensamento e ação. Rio de Janeiro: IBGE, 1990. Disponível em: http://biblioteca.ibge.gov.br/visualizacao/livros/liv22093.pdf. Acesso em: 13 dez. 2024. 
+GUIMARÃES, Fábio de Macedo Soares. O Pensamento de Fábio de Macedo Soares Guimarães: uma seleção de textos. Rio de Janeiro: IBGE, 2006. Disponível em: https://biblioteca.ibge.gov.br/visualizacao/livros/liv29363.pdf. Acesso em: 13 dez. 2024. 
+IBGE. Pioneiros do IBGE (1): José Carlos de Macedo Soares e Allyrio Hugueney de Mattos, 2016. Disponível em: https://www.youtube.com/watch?v=UEFjEU8XsSc. Acesso em: 13 dez. 2024. 
+IBGE. Centro de Documentação e Disseminação de Informações. Encontro comemorativo do centenário de Teixeira de Freitas. Rio de Janeiro: IBGE, 1994.  Disponível em: https://biblioteca.ibge.gov.br/visualizacao/livros/liv47713.pdf. Acesso em: 13 dez. 2024.
+IBGE, Centro de Documentação e Disseminação de Informações. Giorgio Mortara : ampliando os horizontes da demografia brasileira. Rio de Janeiro: IBGE, 2007. Disponível em: https://biblioteca.ibge.gov.br/visualizacao/livros/liv34492.pdf. Acesso em: 13 dez. 2024.
+IBGE. Memória Institucional. Allyrio Hugueney de Mattos. Disponível em: https://memoria.ibge.gov.br/historia-do-ibge/pioneiros-do-ibge/20975-allyrio-hugueney-de-mattos.html. Acesso em: 13 dez. 2024.
+IBGE. Memória Institucional. Christovam Leite de Castro. Disponível em: https://memoria.ibge.gov.br/historia-do-ibge/pioneiros-do-ibge/20856-christovam-leite-de-castro.html. Acesso em: 13 dez. 2024.
+IBGE. Memória Institucional. Fábio de Macedo Soares Guimarães. Disponível em: https://memoria.ibge.gov.br/historia-do-ibge/pioneiros-do-ibge/20976-fabio-de-macedo-soares-guimaraes.html. Acesso em: 13 dez. 2024.
+IBGE. Memória Institucional. Giorgio Mortara. Disponível em: https://memoria.ibge.gov.br/historia-do-ibge/pioneiros-do-ibge/20977-giorgio-mortara.html. Acesso em: 13 dez. 2024.
+IBGE. Memória Institucional. José Carlos de Macedo Soares. Disponível em: https://memoria.ibge.gov.br/historia-do-ibge/galeria-de-presidentes/20968-jose-carlos-de-macedo-soares.html. Acesso em: 13 dez. 2024.
+IBGE. Memória Institucional. Mário Augusto Teixeira de Freitas. Disponível em:  https://memoria.ibge.gov.br/historia-do-ibge/pioneiros-do-ibge/20978-mario-augusto-teixeira-de-freitas.html. Acesso em: 13 dez. 2024.
+JORNAL DO BRASIL. Rio de Janeiro: [s.n.], 1891- . Diária. Disponível apenas em formato digital, 1 set. 2010- ; Retornou a forma impressa, ano 127, n. 1 (25 fev. 2018)-. Disponível em: http://memoria.bn.br/DocReader/docmulti.aspx?bib=030015&pesq=. Acesso em: 12 dez. 2024. 
+MALAVOTA, Leandro Miranda, 1976-. Christovam Leite de Castro e a geografia no Brasil. Rio de Janeiro: IBGE, 2013. Disponível em: https://biblioteca.ibge.gov.br/visualizacao/livros/liv64829.pdf. Acesso em: 13 dez. 2024.
+SENRA, Nelson de Castro. Embaixador Macedo Soares, um príncipe da conciliação: recordando o 1. presidente do IBGE. Rio de Janeiro: IBGE, 2008.  Disponível em: https://biblioteca.ibge.gov.br/visualizacao/livros/liv38831.pdf. Acesso em: 13 dez. 2024.
+SENRA, Nelson de Castro. História das estatísticas brasileiras. Rio de Janeiro: IBGE, 2008. v. 3. Estatísticas organizadas (c.1936-1972). Prefácio por Angela de Castro Gomes. Disponível em: https://biblioteca.ibge.gov.br/visualizacao/livros/liv 31573_3.pdf. Acesso em: 13 dez. 2024.
+SENRA, Nelson de Castro. Tradição & renovação: uma síntese da história do IBGE. Rio de Janeiro: IBGE, 2016. Disponível em: https://biblioteca.ibge.gov.br/visualizacao/livros/liv99039.pdf. Acesso em: 13 dez. 2024.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/13305` — `itens/20.500.12156.1_13305/`
+- `20.500.12156.1/13099` — `itens/20.500.12156.1_13099/`
+- `20.500.12156.1/13306` — `itens/20.500.12156.1_13306/`
+- `20.500.12156.1/13307` — `itens/20.500.12156.1_13307/`
+- `20.500.12156.1/13304` — `itens/20.500.12156.1_13304/`
+
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+---
+id: 38310
+url: "https://brasilianafotografica.bn.gov.br/?p=38310"
+titulo: "O Túnel da Rua Alice ou do Rio Comprido – Laranjeiras por Marc Ferrez"
+autor: "Andrea Wanderley"
+data: "2025-03-17T13:55:03+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/7714", "20.500.12156.1/5179", "20.500.12156.1/5186", "20.500.12156.1/6448"]
+fetched_at: "2026-09-10T10:19:16.620Z"
+---
+
+# O Túnel da Rua Alice ou do Rio Comprido – Laranjeiras por Marc Ferrez
+
+Marc Ferrez (1843-1923), brilhante cronista visual das paisagens e dos costumes cariocas da segunda metade do século XIX e do início do século XX, fotografou o Túnel da Rua Alice ou do Rio Comprido -Laranjeiras, aberto em 1887, que liga os dois bairros através do Morro dos Prazeres. Até as inaugurações do túneis Santa Bárbara, em 1962, e Rebouças, em 1967, era a única via disponível para as pessoas que quisessem transitar entre as zonas Norte e Sul da cidade sem passar pelo Centro. É o túnel mais antigo do Rio de Janeiro*.
+
+Marc Ferrez. Entrada de Túnel no Rio Comprido, c. 1887. Rio de Janeiro, RJ / Acervo IMS
+ 
+O primeiro trecho da Rua Alice foi aberta pelo empresário Eduardo Klingelhoefer da Fonseca que o batizou com o nome de sua filha, Alice (1882 – 1960). Ele queria construir uma linha de bondes que ligasse a Zona Sul a Zona Norte, o que não ocorreu (Gazeta de Notícias, 22 de julho de 1887, primeira coluna; Gazeta de Notícias, 26 de agosto de 1887, sexta coluna; O Paiz, 27 de novembro de 1887, primeira coluna; Revista de Engenharia, 14 de dezembro de 1887, primeira coluna).
+O contrato para a construção do Túnel da Rua Alice foi celebrado entre a Câmara Municipal da cidade e a Companhia do Túnel e Ferro-Carril Rio Comprido e Laranjeiras, em 27 de outubro de 1886. Em 10 de fevereiro de 1887, foram abertas as propostas recebidas pela referida empresa para sua perfuração e construção. Seus fundadores – o Barão de Canindé, Malvino da Silva Reis, o já citado Eduardo Klingelhoefer e Manoel Ferreira Fernandes Bravo – foram eleitos presidente, vice-presidente, secretário e tesoureiro da companhia, respectivamente. A proposta escolhida, por ser a mais barata, foi a dos senhores Samuel Thompson e Charles Smith.
+ 
+O Paiz, 11 de fevereiro de 1887
+ 
+Durante as obras houve uma explosão com três vítimas e uma delas morreu no local (O Paiz, 26 de novembro 1886, primeira coluna; 29 de  dezembro de 1886, quinta coluna; 30 de janeiro de 1887, quinta coluna; 10 de fevereiro de 1887, quarta coluna; 11 de fevereiro de 1887, quarta coluna; 11 de fevereiro de 1887, primeira coluna; 26 de fevereiro de 1887, última coluna; Gazeta de Notícias, 7 de outubro de 1887, penúltima coluna).
+Às vésperas do Natal de 1888, a convite da diretoria Companhia do Túnel e Ferro-Carril Rio Comprido e Laranjeiras, autoridades visitaram o túnel (Gazeta de Notícias, 24 de dezembro de 1888, quinta coluna).
+ 
+Gazeta de Notícias, 24 de dezembro de 1888
+ 
+No início da década de 50, ainda sob a administração do prefeito Ângelo Mendes de Moraes (1894-1990), foram iniciadas as obras de ampliação e remodelamento do túnel. A galeria passou a ter 220 metros de comprimento por 10 de largura, foram realizadas a impermeabilização e revestimento da abóboda, construção dos pórticos, pavimentação das pistas e colocação de tubulações especiais d´água. Os melhoramentos fora entregues à população, em 7 de setembro de 1952, já na gestão do prefeito João Carlos Vital (1900-1984) (Revista Municipal de Engenharia, julho/setembro de 1950, primeira coluna; Diário de Notícias, 1º de novembro de 1951, primeira coluna; 6 de setembro de 1952, primeira coluna).
+ 
+Diário de Notícias, 6 de setembro de 1952
+ 
+As já mencionadas inaugurações dos túneis Santa Bárbara e Rebouças, na década de 1960, diminuíram consideravelmente o movimento do Túnel da Rua Alice.
+ 
+Túnel Santa Bárbara, 26 de março de 1962. Rio de Janeiro, RJ /Acervo AGCRJ
+ 
+ 
+Túnel Rebouças, 1965. Rio de Janeiro, RJ / Acervo AGCRJ
+ 
+*Já existia o Túnel da Marítima ou Túnel da Gamboa, inaugurado, em 1879, perfurado sob o Morro da Providência, que ligava a Central do Brasil à área portuária da Gamboa. Tinha 315 metros de extensão, mas era utilizado apenas para embarque e desembarque de carga. Foi desativado em 1995. Sua galeria foi reformada e, em 2017, passou a ser usado pela linha 2 do VLT sentido Praça XV-Região Portuária.
+ 
+Alberto Henschel. Estrada de Ferro D. Pedro II: vista do ramal, do túnel e da estação marítima na Gamboa, 1879. Rio de Janeiro, RJ / Museu da República
+ 
+Andrea C.T. Wanderley
+Editora e pesquisadora da Brasiliana Fotográfica
+ 
+Fontes:
+Agenda Bafafá
+Bairro das Laranjeiras
+Diário do Rio de Janeiro
+DUNLOP, Charles. Rio Antigo, volume III. Rio de Janeiro : Editora Rio Antigo Ltda, 1960
+GERSON, Brasil. História das Ruas do Rio. Rio de Janeiro: Bem-Te-Vi, 2013.
+Hemeroteca Digital da Biblioteca Nacional
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/7714` — `itens/20.500.12156.1_7714/`
+- `20.500.12156.1/5179` — `itens/20.500.12156.1_5179/`
+- `20.500.12156.1/5186` — `itens/20.500.12156.1_5186/`
+- `20.500.12156.1/6448` — `itens/20.500.12156.1_6448/`
+
diff --git a/wordpress/38388-os-200-anos-do-jardim-da-luz-em-sao-paulo.md b/wordpress/38388-os-200-anos-do-jardim-da-luz-em-sao-paulo.md
new file mode 100644
index 0000000..264f1eb
--- /dev/null
+++ b/wordpress/38388-os-200-anos-do-jardim-da-luz-em-sao-paulo.md
@@ -0,0 +1,75 @@
+---
+id: 38388
+url: "https://brasilianafotografica.bn.gov.br/?p=38388"
+titulo: "Os 200 anos do Jardim da Luz, em São Paulo"
+autor: "Andrea Wanderley"
+data: "2025-05-26T11:20:11+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/983", "20.500.12156.1/982", "20.500.12156.1/985", "20.500.12156.1/981", "20.500.12156.1/4195", "20.500.12156.1/984"]
+fetched_at: "2026-09-10T10:19:20.139Z"
+---
+
+# Os 200 anos do Jardim da Luz, em São Paulo
+
+Com cinco fotografias produzidas pelo suíço Guilherme Gaensly (1843-1928) e uma pelo francês Fréderic Manuel (1868-1961) a Brasiliana Fotográfica celebra os 200 anos do Jardim da Luz, em São Paulo. Os registros dos dois fotógrafos estrangeiros foram realizados na década de 1900. O Jardim da Luz foi criado por uma Ordem Régia da Coroa Portuguesa, de 19 de novembro de 1798, e suas obras foram iniciadas, no ano seguinte. Foi inaugurado, em 1825, como Jardim Botânico (Império do Brasil: Diário Fluminense, 17 de outubro de 1825, primeira coluna).
+ 
+Império do Brasil: Diário Fluminense, 17 de outubro de 1825
+ 
+Em 1838, foi denominado Jardim Público. Em 1916, recebeu oficialmente a denominação de Jardim da Luz devido a sua proximidade com o Convento da Luz. É o mais antigo parque paulistano, tendo sido o primeiro espaço de lazer da cidade. Até o final do século XIX era a principal atração de São Paulo.
+ 
+Guilherme Gaensly. Jardim da Luz, 1902(?). São Paulo, SP / Acervo FBN
+ 
+Entre os últimos anos dos oitocentos e os primeiros do século XX, no auge da economia cafeeira, o Jardim da Luz passou por uma grande reforma. Teve períodos de degradação e, em 1981, foi tombado pelo Conselho de Defesa do Patrimônio Histórico, Arqueológico, Artístico e Turístico do Estado de São Paulo – CONDEPHAATE. Em 1999, foi iniciado seu restauro.
+ 
+Acesse aqui o link para as fotografias do Jardim da Luz disponíveis na Brasiliana Fotográfica
+ 
+Suas principais  atrações são suas vegetação e fauna; suas esculturas, dentre elas obras de Lasar Segall (1889-1957), Maria Martins (1894-1973) e Victor Brecheret (1894-1955); e a Herma de Garibaldi com um busto de autoria de Emilio Gallori (1846-1924), inaugurada, em 1910, pelo poeta Olavo Bilac (1865-1918), em homenagem a Giuseppe Garibaldi (1807-1882). Também destacam-se seu coreto, sua gruta e cascata, um aquário subterrâneo, um antigo ponto de bonde e a Casa do Administrador.
+ 
+Guilherme Gaensly. Jardim da Luz, 1902(?). São Paulo, SP / Acervo FBN
+ 
+Guilherme Gaensly. Jardim do Sominario [sic], 1902(?). São Paulo, SP / Acervo FBN
+ 
+O Jardim da Luz tem 113 400 m² e está localizado na Avenida Tiradentes. É atualmente um importante espaço de lazer e cultura da cidade de São Paulo. Fica ao lado da Estação da Luz, cujo edifício atual, projeto do britânico Charles Henry Driver (1832-1900), foi inaugurado em 1º de março de 1901. No Jardim, encontra-se o edifício sede do mais antigo museu da cidade, a Pinacoteca de São Paulo, criada pelo governo estadual paulista, em 1905.
+ 
+Guilherme Gaensly. Jardim da Luz: Kiosque da “Bavaria”, 1902(?). São Paulo, SP / Acervo FBN
+ 
+ 
+Brevíssimos perfis dos fotógrafos Fréderic Manuel e Guilherme Gaensly
+ 
+Frédéric Manuel (1868 – 1961)
+Frédéric Manuel. Jardim da Luz, 1906. São Paulo, SP / Acervo FBN
+ 
+As fotografias paulistanas do francês Frédéric Manuel (1868-1961), sobre quem há ainda pouquíssima informação, foram realizadas, em 1906, para Menotti Levi (18? – 19?), editor do Guia Levi, publicado, em São Paulo, de 1899 a meados até 1984 (Jornal do Brasil, 19 de novembro de 1900, penúltima coluna; A Notícia (RJ), 27 e 28 de agosto de 1906, segunda coluna), cuja utilidade já está comprovada pela aceitação que o público lhe dispensa (Correio Paulistano, 5 de fevereiro de 1905, penúltima coluna). O Guia Levi era uma publicação mensal de horários de trens, de bondes e outras informações úteis (Correio Paulistano, 8 de agosto de 1908, penúltima coluna), Uma curiosidade: o grande arquiteto e urbanista paulistano Rino di Menotti Levi (1901 – 1965) é filho de Menotti Levi.
+ 
+Guilherme Gaensly (1843-1928)
+ 
+Guilherme Gaensly. Jardim da Luz, 1902(?). São Paulo, SP / Acervo FBN
+ 
+O suíço Guilherme Gaensly nasceu em 1843, em Wellhausen, cantão de Thurgau, na Suíça.  Foi para Salvador, na Bahia, aos 5 anos de idade. Em 1871, após um período de aprendizado no ateliê de Alberto Henschel (1827 – 1882) na capital baiana, estabeleceu-se como fotógrafo. Destacou-se como retratista e como fotógrafo de paisagens urbanas e rurais. Em 1882, Rodolpho Lindemann (c. 1852 – 19?) tornou-se seu sócio e, em 1894, a próspera empresa Gaensly & Lindemann abriu uma filial em São Paulo, onde Gaensly foi morar. Foi o autor de importantes registros do estado e da cidade de São Paulo, vendidos como fotografias em papel albuminado e colotipias impressas na Suíça e comercializadas em álbuns. Foi o mais importante divulgador da nova imagem do estado como líder do Brasil.
+Ao lado de seu contemporâneo Marc Ferrez (1843 – 1923), Gaensly foi provavelmente o fotógrafo mais publicado em postais no Brasil. Em 1899, a empresa The São Paulo Railway, Light and Power Company, o contratou como fotógrafo oficial, função que exerceu até 1925, três anos antes de sua morte, ocorrida em 20 de junho de 1928.
+Para conhecer mais a vida e a obra de Gaensly, acesse o artigo São Paulo sob as lentes de Guilherme Gaensly (1843-1928), publicado na Brasiliana Fotográfica, em 25 de janeiro de 2017.
+ 
+Fontes:
+Folder Parque Jardim da Luz
+GLUECK, Silvia Costa; RIBEIRO, Monica Cristina; GIOSA, Celia Rolim; DIAS, André Camili. A Casa do Administrador. Prefeitura do Estado de São Paulo, março de 2008.
+Hemeroteca Digital da Biblioteca Nacional
+KOSSOY, Boris. Dicionário histórico-fotográfico brasileiro: fotógrafos e ofício da fotografia no Brasil (1833-1910). São Paulo: Instituto Moreira Salles, 2002. 408 p., il. p&b.
+OTAHKE. Ricardo; DIAS, Carlos. Jardim da Luz. Um museu a céu aberto. Senac São Paulo, 2011.
+PEREIRA, Fabio Mariano Cruz. Luzes da impressão – Oficinas tipográficas nas antigas fotografias de São Paulo, in Brasiliana Fotográfica, 16 de outubro de 2024.
+Portal de Educação Ambiental
+Site Cidade de São Paulo
+Site CONDEPHAATE
+Site Pinacoteca de São Paulo
+WANDERLEY, Andrea C. T. São Paulo sob as lentes de Guilherme Gaensly (1843-1928), in Brasiliana Fotográfica, 25 de janeiro de 2017.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/983` — `itens/20.500.12156.1_983/`
+- `20.500.12156.1/982` — `itens/20.500.12156.1_982/`
+- `20.500.12156.1/985` — `itens/20.500.12156.1_985/`
+- `20.500.12156.1/981` — `itens/20.500.12156.1_981/`
+- `20.500.12156.1/4195` — `itens/20.500.12156.1_4195/`
+- `20.500.12156.1/984` — `itens/20.500.12156.1_984/`
+
diff --git a/wordpress/3843-inicio-do-verao-as-praias-do-brasil.md b/wordpress/3843-inicio-do-verao-as-praias-do-brasil.md
new file mode 100644
index 0000000..f85667b
--- /dev/null
+++ b/wordpress/3843-inicio-do-verao-as-praias-do-brasil.md
@@ -0,0 +1,84 @@
+---
+id: 3843
+url: "https://brasilianafotografica.bn.gov.br/?p=3843"
+titulo: "Início do verão – as praias do Brasil"
+autor: "Andrea Wanderley"
+data: "2015-12-22T09:23:53+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: []
+fetched_at: "2026-09-10T10:19:23.651Z"
+---
+
+# Início do verão – as praias do Brasil
+
+Segundo o Observatório Nacional, o verão 2016 começou hoje, dia 22 de dezembro de 2015, às 2h48m (horário de Brasília), quando ocorreu o solstício de verão. A Brasiliana Fotográfica homenageia a mais brasileira das estações com uma seleção de várias praias e vistas de nosso litoral. São registros fotográficos de Alagoas, da Bahia, de Pernambuco, do Rio de Janeiro, do Rio Grande do Sul  e de São Paulo. A fotografia mais antiga é do Forte de São Francisco da Barra, de Augusto Stahl (1828 – 1877), produzida por volta de 1855, no litoral de Pernambuco. Outros fotógrafos presentes nessa seleção de imagens do litoral brasileiro são Abilio Coutinho, A. Ribeiro, Augusto Malta (1864 – 1957), Augusto Stahl (1828 – 1877), Georges Leuzinger (1813 – 1892), Guilherme Gaensly (1843 – 1928) , J. Schleier (1827 – 1903), Marc Ferrez (1843 – 1923), Moritz Lamberg (18? – ?), Revert Henrique Klumb (c.1826 – c.1886), Thiele, Rodolfo Lindemann (c. 1852 – 19?) e S.H. Holand.
+ 
+ 
+Cruzeiro, 15 de dezembro de 1928
+ 
+Além disso, está disponibilizado o link para uma edição especial da revista Cruzeiro, de 15 de dezembro de 1928 sobre as “Praias de Banho” no Rio de Janeiro, em Paquetá e em Niterói.
+Nesta edição, O Cruzeiro  divulgou os resultados do primeiro concurso de fotografia promovido pela revista (páginas 33 e 34), cujo tema foi “a vida das praias”.
+Há ainda artigos sobre o verão, fotografias e caricaturas de banhistas em diversas praias como Copacabana, Flamengo e Urca; e anúncios de roupas para banho de mar. Uma das matérias da revista é sobre estrelas de cinema internacionais fotografadas com roupas de praia.
+ 
+Acessando o link para as fotografias de praias e vistas do litoral brasilero disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+
+ATO INSTITUCIONAL DO VERÃO CARIOCA*
+ Carlos Drummond de Andrade
+ 
+Artigo 1º
+Todos os moradores da cidade do Rio de Janeiro, ricos ou pobres, de qualquer raça, religião, profissão ou falta de profissão, convicção ou ausência de convicção política, têm igual direito a curtir as excelências do verão, também chamada estação calmosa, embora seja a mais trepidante das estações.
+§ único — Entende-se por verão, no Rio de Janeiro, o período que vai de 1º de janeiro a 31 de dezembro, com breves intervalos para reciclagem, e uma faixa especial, mais badalada, entre 21 de dezembro e 20 de março.
+Artigo 2º
+As maneiras lícitas de exercer o direito outorgado no artigo anterior são as mais variadas e imagináveis, ficando contudo na dependência de dois fatores:
+a) o grau de recursos financeiros do morador ou da pessoa física ou jurídica disposta a sustentar a curtição;
+b) o grau de imaginação criadora, ativa e defensiva, do morador ou de acompanhante que lhe supra a deficiência desse atributo.
+Artigo 3º
+Os indivíduos que não se mostrarem habilitados, na forma deste Ato Institucional, a curtir o verão carioca, devem limitar-se a suportá-lo com uma combinação de heroísmo e espírito filosófico, abstendo-se de promover agitação que perturbe o exercício pacífico dos demais cidadãos, gerando aumento imoderado da temperatura social, que já é elevada no período.
+Artigo 4º
+É lícito à parcela da população em situação financeira aprazível, própria ou de favor, curtir o verão carioca in loco, na forma que lhe convier, ou à distância, em território nacional ou estrangeiro, pelo tempo que julgar suficiente, inclusive acumulando verões.
+Artigo 5º
+A indústria privada cuidará de produzir a maior quantidade possível de refrigerantes para atender à demanda sazonal, devendo a comercialização dos produtos obedecer a tabelamento rigoroso, sujeito a imponderáveis, que na prática justifiquem e mesmo imponham o galope dos preços acima e além da tabela afixada em lugares bem visíveis, como o alto da encosta do Pão de Açúcar, a plataforma do monumento a Cristo Redentor no Corcovado e as torres cilíndricas de São Conrado.
+§ único — Em hipótese alguma o preço do chope excederá o valor de um salário mínimo.
+Artigo 6º
+A praia, como a praça, é do povo, isto é, de todos, mas alguns todos têm direito a ocupar superfície maior e preferencial na areia, para se dedicarem a jogos esportivos, tanto em partidas isoladas como em campeonatos, devendo os banhistas-de-sol, que não são propriamente banhistas, e por isso ocupam áreas de favor, perder o mau costume de treinar para alvo de bolas, raquetes e petecas.
+Artigo 7º
+O acesso de banhistas propriamente ditos ao elemento líquido não deve de maneira alguma pôr em risco a liberdade de movimentação e a segurança individual dos surfistas, que carecem de proteção contra a tendência expansivista dos primeiros.
+Artigo 8º
+O acesso de animais ditos irracionais à praia é estritamente proibido, mas tolerado conforme a hora, a praia, a qualidade do animal e a qualidade do dono.
+Artigo 9º
+O uso de maiô natural, de pele humana feminina, será desenvolvido gradativamente em cada verão, podendo estender-se a prática à veste congênere de pele humana masculina que não ocasione atentado gritante à estética das formas.
+Artigo 10º
+Os turistas estrangeiros gozarão de facilidades especiais para curtição do verão carioca, destacando-se entre elas o direito de se recusarem a ser assaltados por marginais de décima categoria, cuja permanência na proximidade de hotéis, boates e clubes fica absolutamente vedada no decorrer da estação.
+Artigo 11º
+Os preços de utilidades e souvenirs destinados a consumo de turistas estrangeiros sofrerão desconto especial de 35% sobre a majoração também especial de 500% em todas as compras que efetuarem.
+§ único — No caso de táxis, o desconto será apenas de 5% sobre a majoração inultrapassável de 3.000%, conciliando-se dest’arte o justo interesse da categoria profissional com a necessidade de desestimular o consumo de derivados de petróleo.
+Artigo 12º
+Os turistas nacionais terão liberdade de efetuar os programas que bem entenderem, uma vez que não prejudiquem a movimentação dos turistas estrangeiros e consequente captação de dólares em proveito da economia nacional.
+§ único — As diárias de hotel e o aluguel de apartamentos e quartos por temporada, para uso de turistas nacionais, serão fixados ao preço de mercado, à base da inflação prevista para 1998.
+Artigo 13º
+O sorvete de frutas naturais e o sorvete sintético terão idêntico sabor e aparência, verificados em testes no Instituto de Proteção do Consumidor em Tempo de Verão, de tal sorte que o segundo possa substituir vantajosamente o primeiro, sem que o consumidor dê por isto, poupando-se as frutas para exportação e consequente melhoria de nossa balança comercial.
+Artigo 14º
+Tendo em vista que só à última hora, quando o calor se torna incontrolável, é que os novos casais se lembram de adquirir aparelhos de refrigeração e de circulação de ar, já então sem tempo para que as empresas produtoras elaborem corretamente seus planos de produção, ficam ditas empresas autorizadas a fornecer ao consumidor simulacros artisticamente acabados daqueles aparelhos, que despertem suave impressão visual de refrigério no interior das habitações mais escaldantes.
+§ único — Também se faculta às mesmas empresas o fornecimento de pedaços isolados de aparelhos, a serem gradativamente montados pelos consumidores, em verões sucessivos, com a necessária assistência técnica do produtor ou do revendedor.
+Artigo 15º
+O bom humor da população carioca de todas as camadas e subcamadas sociais, como de costume, se manterá invariavelmente alto e chispante de anedotas, piadas, trocadilhos, subentendidos, apelidos e a-propósitos, de modo a fazer do verão uma festa integral, ainda que se verifiquem imensas precipitações fluviais, com desabamentos, esmagamentos, afogamentos e outras calamidades.
+Artigo 16º
+O uso de expressões como “puxa, que calor”, “calorão bravo este, hein?”, “amanhã ainda vai ser mais quente”, “isto aqui é a verdadeira fornalha de Pedro Botelho”, “vá fazer calor assim nos quintos dos infernos” será considerado completamente fora de moda, e declarados caretas aqueles que as pronunciarem, e, por outro lado, se revestirão de absoluta novidade e interesse expressões no estilo de “nunca vi uma temperatura tão deliciosa”, “os deuses não querem outra coisa no Olimpo”, “até que o calor está bastante relativo, como deve ser daqui por diante” e “não há nada como um verão depois de outro para refrescar o anterior”.
+Artigo 17º
+Durante o subperíodo carnavalesco, os raios solares farão a fineza de aumentar consideravelmente de intensidade, para incutir mais fogo e ardor nas escolas de samba credenciadas pela Riotur, enfatizando assim a importância social e oficial do calor como fonte geradora de emoção coletiva.
+Artigo 18º
+A população das favelas, em face do privilégio que desfruta de viver em altura muito superior à ocupada pelos demais habitantes do Rio de Janeiro, com refrigeração natural gratuita, fica dispensada de recorrer aos meios habituais de defesa contra o calor, a começar pelas piscinas que se reservam para o grosso da população menos favorecida topograficamente.
+Artigo 19º
+O número de incêndios propositais ou misteriosos não poderá atingir nível exorbitante, tendo em vista a necessidade de reserva do volume de água disponível para acudir aos sinistros que ocorrem normalmente nesta quadra do ano e que, ao assumirem proporções avantajadas, constituem atração suplementar no painel de eventos de verão.
+Artigo 20º
+Os casos de desidratação seguidos de óbito, resultantes do excesso de calor em contraste com a ausência de reservas orgânicas, notadamente em crianças subnutridas, devem figurar nas estatísticas demográficas em coluna sob a rubrica “Força do Destino”.
+ 
+*Crônica de Carlos Drummond de Andrade, publicada na revista Status, janeiro de 1978.
+ 
+Capa da revista Status, janeiro de 1978
+ 
+Colaborou nessa pesquisa o historiador Vinicius Martins, da BN Digital.
+ 
+Andrea C. T. Wanderley
+Editora-assistente e pesquisadora da Brasiliana Fotográfica
diff --git a/wordpress/38524-a-pinacoteca-de-sao-paulo-120-anos.md b/wordpress/38524-a-pinacoteca-de-sao-paulo-120-anos.md
new file mode 100644
index 0000000..ed9b367
--- /dev/null
+++ b/wordpress/38524-a-pinacoteca-de-sao-paulo-120-anos.md
@@ -0,0 +1,45 @@
+---
+id: 38524
+url: "https://brasilianafotografica.bn.gov.br/?p=38524"
+titulo: "A Pinacoteca de São Paulo – 120 anos"
+autor: "Andrea Wanderley"
+data: "2025-12-24T16:42:04+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/10994"]
+fetched_at: "2026-09-10T10:19:26.968Z"
+---
+
+# A Pinacoteca de São Paulo – 120 anos
+
+No Jardim da Luz encontra-se o edifício sede do mais antigo museu paulistano, a Pinacoteca de São Paulo, um dos mais importantes museus de arte do Brasil, que hoje completa 120 anos. Seu acervo privilegia a produção brasileira de artes visuais do século XIX até a contemporaneidade. A Brasiliana Fotográfica celebra a data, destacando uma imagem aérea do acervo fotográfico do Museu Aeroespacial, uma das instituições parceiras do portal. A Pina, nome como é carinhosamente conhecido o museu, foi instituída pelo governo estadual de São Paulo, em 24 de dezembro de 1905, quando o então secretário do Interior e da Justiça solicitou uma sala para a instalação da Galeria de Pintura do Estado. Foi regulamentada em 21 de novembro de 1911. O prédio da Pinacoteca, construído em 1900, foi projetado por Francisco de Paula Ramos de Azevedo (1851-1928) e Domiziano Rossi (1865-1920) para sediar o Liceu de Artes e Ofícios. Foi tombado em 1982. Nos anos 1990, o prédio passou por uma reforma chefiada pelo arquiteto Paulo Mendes da Rocha (1928-2021), durante a gestão de Emanoel Araújo (1940 – 2022) como diretor da Pinacoteca.
+ 
+Foto aérea de São Paulo Estação da Luz, 2 de abril de 1936. São Paulo, SP / Acervo Museu Aeroespacial. A Pinacoteca é o prédio dentro do Jardim da Luz, à esquerda da imagem
+ 
+Anualmente recebe aproximadamente 800 mil visitantes e realiza cerca de 15 exposições.  Seu acervo original foi formado a partir da transferência de 20 obras do Museu Paulista da Universidade de São Paulo, juntamente com outras 6 adquiridas de importantes artistas da cidade como Almeida Júnior, Pedro Alexandrino, Antônio Parreiras e Oscar Pereira da Silva, especialmente para formar a nova coleção. Entre sua instituição, em 1905, e sua regulamentação, em 1911, foram incorporadas a seu acervo 33 obras de pintores brasileiros e também de estrangeiros que passaram pelo Brasil. Conta, atualmente, com aproximadamente 11 mil obras produzidas a partir do século XIX por importantes artistas como Almeida Júnior (1850-1899), Anita Malfatti (1889-1964), Antônio Parreiras (1860-1937), Arcangelo Ianelli (1922-2009), Baptista da Costa (1865-1926), Benedito Calixto (1853-1927), Cândido Portinari (1903-1962), Di Cavalcanti (1897-1976), Lasar Segall (1891-1957), Lygia Clark (1920-1988), Oscar Pereira da Silva (1867 – 1939), Samson Flexor (1907-1971), Tarsila do Amaral (1886 – 1973), Victor Brecheret (1894-1955), Waldemar Cordeiro (1925-1973) e Wasth Rodrigues (1891 – 1975), além de trabalhos contemporâneos como os de Nuno Ramos (1960-), Paulo Monteiro (1961-) e Paulo Pasta (1959-).  
+Em 1923, já tinha cerca de 15 mil visitantes e, dois anos depois, a Pinacoteca passou a ser subordinada à Secretaria do Governo. Em 1928, foi adquirida para a instituição a pintura Bananal, de Lasar Segall – foi a primeira obra moderna que integrou o acervo de um museu de arte brasileiro.
+ 
+Bananal (1927), de Lasar Segall
+ 
+Na década de 1930, a história do país interferiu no funcionamento da Pinacoteca: em outubro de 1930, foi fechada e seu edifício foi cedido à Primeira Legião, durante a Revolução de 30. Em 1932, na Revolução Constitucionalista, passou a sediar o Batalhão Militar Santos Dumont e seu acervo ficou espalhado por vários órgãos públicos. Foi reinaugurada, em 1936, na Rua Onze de Agosto, na antiga sede da Imprensa Oficial do Estado, pelo secretário da Educação e Saúde Pública, Cantídio de Moura Campos (1889-1972). Só em 1947, retornaria para a sede da Rua Tiradentes.
+ 
+A Pinacoteca de São Paulo / Divulgação do Governo de SP
+ 
+ 
+
+ 
+Andrea C.T. Wanderley
+Editora e pesquisadora da Brasiliana Fotográfica
+ 
+Fontes:
+Hemeroteca Digital da Biblioteca Nacional
+LEITE, Sylvia. Pinacoteca de São Paulo: um complexo de arte brasileira. Lugares de Memória, [S.l.], 29 out. 2024
+Site Enciclopédia Itaú Cultural
+Site IPatrimônio
+Site Pinacoteca de São Paulo
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/10994` — `itens/20.500.12156.1_10994/`
+
diff --git a/wordpress/38545-o-dia-do-jornalista-e-a-fundacao-da-associacao-brasileira-de-imprensa.md b/wordpress/38545-o-dia-do-jornalista-e-a-fundacao-da-associacao-brasileira-de-imprensa.md
new file mode 100644
index 0000000..ac81e62
--- /dev/null
+++ b/wordpress/38545-o-dia-do-jornalista-e-a-fundacao-da-associacao-brasileira-de-imprensa.md
@@ -0,0 +1,71 @@
+---
+id: 38545
+url: "https://brasilianafotografica.bn.gov.br/?p=38545"
+titulo: "O Dia do Jornalista e a fundação da Associação Brasileira de Imprensa"
+autor: "Andrea Wanderley"
+data: "2025-04-07T12:10:00+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/2512", "20.500.12156.1/2087", "20.500.12156.1/9546", "20.500.12156.1/12404", "20.500.12156.1/12250", "20.500.12156.1/4612", "20.500.12156.1/9556"]
+fetched_at: "2026-09-10T10:19:30.528Z"
+---
+
+# O Dia do Jornalista e a fundação da Associação Brasileira de Imprensa
+
+A Brasiliana Fotográfica celebra o Dia do Jornalista e a fundação da Associação Brasileira de Imprensa, a ABI, destacando imagens de prédios de antigos jornais: do Jornal do Brasil, produzida por um fotógrafo ainda não identificado; do Jornal do Commercio, por Uriel Malta (1910-1994); do O Paiz, por Guilherme Santos (1871-1966); e de A Noite, por Alfredo Krausz (1902-1953). Também foram escolhidas duas fotografias de pessoas lendo jornal, realizadas pelo italiano Vincenzo Pastore (c.1830-1918), em São Paulo, em torno de 1910; um registro de jornaleiros, de autoria de Gomes Junior (18?-19?); e uma imagem da atual sede da ABI, de um fotógrafo ainda não identificado.
+ 
+Gomes Junior. Jornaleiros, c. 1899. Rio de Janeiro, RJ / Acervo IMS
+ 
+Vincenzo Pastore. Ferroviário lê jornal, cercado por carregadores de malas, em frente à Estação da Luz, c. 1910. São Paulo, SP / Acervo IMS
+ 
+Acessando o link para as fotografias de antigos jornais brasileiros e de pessoas lendo jornal disponíveis na Brasiliana Fotográfica, o leitor poderá visualizar e magnificar as imagens.
+ 
+Guilherme Santos. Prédio da sede do jornal O Paiz; na Avenida Rio Branco, esquina com a Rua 7 de Setembro, c. 1925. Rio de Janeiro, RJ / Acervo IMS
+ 
+O jornalismo é um bem público essencial e ele só é feito com o trabalho dos jornalistas, cujo ofício é primordial para a garantia da democracia. Em tempos de disseminação cada vez mais crescente de fake news, notícias falsas, no meio digital, a prática dos jornalistas profissionais torna-se ainda mais importante. Segundo um relatório publicado, em março de 2024, pela Organização Não Governamental (ONG) Repórteres Sem Fronteiras (RSF) o Brasil carece de uma política de promoção da pluralidade e diversidade jornalística: “Num contexto de recentes ataques ao Estado Democrático de Direito no Brasil, a urgência de assegurar normas e políticas que fortaleçam um jornalismo livre, plural e de confiança é crucial para a própria democracia brasileira”. Segundo divulgado também pela RSF, em 13 de dezembro de 2024, nos últimos 20 anos, “mais de 1,7 mil jornalistas foram assassinados no planeta trabalhando ou em razão de suas funções”. Em 2024, 54 jornalistas foram mortos – duas mulheres e 52 homens.
+ 
+ Avenida Rio Branco; em primeiro plano, à esquerda, o prédio do Jornal da Brasil, c. 1935. Rio de Janeiro, RJ / Acervo IMS
+ 
+ Breve história do Dia do Jornalista
+ 
+
+ 
+O Dia do Jornalista foi instituído oficialmente, no Brasil, pela Associação Brasileira de Imprensa, em 1931, em homenagem ao jornalista e médico Giovanni Battista Líbero Badaró (1798-1830), morto por inimigos políticos em  novembro de 1830, em São Paulo (Astrea, 11 de dezembro de 1930, segunda coluna; O Farol Paulistano, 23 de dezembro de 1830, primeira coluna). Criador do jornal Observatório Constitucional, Badaró fazia oposição ao governo de dom Pedro I (1798-1834), que constantemente censurava sua publicação. O assassinato de Badaró contribuiu para acirrar a crise constitucional que levou à abdicação de Pedro I, no dia 7 de abril de 1831.
+ 
+
+ 
+A ABI, fundada em 7 de abril de 1908, foi idealizada por Gustavo de Lacerda (1854-1909) e “seu principal objetivo era assegurar à classe jornalística os direitos assistenciais e tornar-se um centro poderoso de ação”. Após ocupar diversos lugares, dentre eles uma sala na sede do jornal O Paiz, sua atual sede, na Rua Araújo Porto Alegre, no Centro do Rio de Janeiro, foi construída entre 1936 e 1939, durante a presidência de Herbert Moses (1884-1972), que esteve à frente da ABI, entre 1931 e 1964. O prédio da ABI, projeto dos irmãos Marcelo (1908-1964) e Milton Roberto (1914-1953), é um marco na história da arquitetura brasileira.
+ 
+Prédio da Associação Brasileira de Imprensa – ABI, c. 1945. Rio de Janeiro, RJ / Acervo IMS
+ 
+Uma curiosidade: a primeira banca de jornais e revistas do Rio de Janeiro foi inaugurada, em 1929, na esquina da Rua Sete de Setembro com a Avenida Rio Branco.
+ 
+Careta, 21 de dezembro de 1929
+ 
+Uriel Malta. Avenida Rio Branco (Sede do Jornal do Commercio), s/d. Rio de Janeiro, RJ / Acervo AGCRJ
+ 
+Alfredo Krausz. Edifício Joseph Gire (A Noite), c. 1933. Rio de Janeiro, RJ / Acervo IMS
+ 
+ 
+Andrea C.T. Wanderley
+Editora e pesquisadora da Brasiliana Fotográfica
+ 
+Fontes:
+Agência Brasil
+Aventuras na História, 12 de outubro de 2019
+Hemeroteca Digital da Biblioteca Nacional
+Pereira, Claudio Calovi. Os irmãos Roberto e o edifício da A.B.I.: uma história da modernidade arquitetônica brasileira.
+Portal Associação Brasileira de Imprensa
+Portal MultiRio
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/2512` — `itens/20.500.12156.1_2512/`
+- `20.500.12156.1/2087` — `itens/20.500.12156.1_2087/`
+- `20.500.12156.1/9546` — `itens/20.500.12156.1_9546/`
+- `20.500.12156.1/12404` — `itens/20.500.12156.1_12404/`
+- `20.500.12156.1/12250` — `itens/20.500.12156.1_12250/`
+- `20.500.12156.1/4612` — `itens/20.500.12156.1_4612/`
+- `20.500.12156.1/9556` — `itens/20.500.12156.1_9556/`
+
diff --git a/wordpress/38636-dia-internacional-da-danca.md b/wordpress/38636-dia-internacional-da-danca.md
new file mode 100644
index 0000000..b7e3eea
--- /dev/null
+++ b/wordpress/38636-dia-internacional-da-danca.md
@@ -0,0 +1,64 @@
+---
+id: 38636
+url: "https://brasilianafotografica.bn.gov.br/?p=38636"
+titulo: "Dia Internacional da Dança"
+autor: "Andrea Wanderley"
+data: "2025-04-29T14:23:48+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/10104"]
+fetched_at: "2026-09-10T10:19:33.568Z"
+---
+
+# Dia Internacional da Dança
+
+Com uma fotografia de autoria de Marc Ferrez (1843 – 1923) da escultura Dançarina, a Brasiliana Fotográfica homenageia o Dia Internacional da Dança, instituído, em 1982, pela Organização das Nações Unidas para a Educação, Ciência e Cultura, a UNESCO.
+ 
+Marc Ferrez. Estátua “Dansarina”, c. 1908. Rio de Janeiro, RJ / Acervo IMS
+ 
+A data foi escolhida em homenagem ao nascimento do professor de balé e bailarino francês Jean-Georges Noverre (1727-1810), pioneiro da reflexão teórica sobre o balé, escritor das Cartas sobre a Dança.
+ 
+Jean-Georges Noverre (1727-1810)
+ 
+A escultura Dançarina, em mármore de Carrara, foi inaugurada, em 1908, na Praia de Botafogo. É uma réplica de uma obra do escultor francês Paul Darbefeuille (1852-1933). Na década de 1950, foi fotografada no Jardim do Méier, e, em 1960, estava na Avenida Presidente Vargas, em frente à Central do Brasil. Em 1992, foi encontrada no Largo do Tanque, em Jacarepaguá, tendo sido transferida, em janeiro de 1996, para a Praça Leony Mesquita, no mesmo bairro. Em 2023, uma das mãos da escultura foi restaurada pela Secretaria de Conservação do Rio de Janeiro.
+ 
+A DANÇA E A ALMA
+Carlos Drummond de Andrade
+
+A dança? Não é movimento,
+súbito gesto musical.
+É concentração, num momento,
+da humana graça natural.
+ 
+No solo não, no éter pairamos,
+nele amaríamos ficar.
+A dança – não vento nos ramos:
+seiva, força, perene estar.
+ 
+Um estar entre céu e chão,
+novo domínio conquistado,
+onde busque nossa paixão
+libertar-se por todo lado…
+ 
+Onde a alma possa descrever
+suas mais divinas parábolas
+sem fugir à forma do ser,
+por sobre o mistério das fábulas.
+
+ 
+Lembramos que o Grupo Corpo, uma das mais importantes companhias de balé do Brasil com renome internacional, completa, em 2025, 50 anos de existência.
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora da Brasiliana Fotográfica
+ 
+Fontes:
+ANDRADE, Carlos Drummond de. Obra completa. Rio de Janeiro: Aguilar, 1964.
+Monumentos do Rio
+Site Conselho Internacional da Dança
+Site Lu Lacerda
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/10104` — `itens/20.500.12156.1_10104/`
+
diff --git a/wordpress/38641-serie-hoteis-do-brasil-viii-e-serie-o-rio-de-janeiro-desaparecido-xxxi-o-hotel-d.md b/wordpress/38641-serie-hoteis-do-brasil-viii-e-serie-o-rio-de-janeiro-desaparecido-xxxi-o-hotel-d.md
new file mode 100644
index 0000000..edc8092
--- /dev/null
+++ b/wordpress/38641-serie-hoteis-do-brasil-viii-e-serie-o-rio-de-janeiro-desaparecido-xxxi-o-hotel-d.md
@@ -0,0 +1,143 @@
+---
+id: 38641
+url: "https://brasilianafotografica.bn.gov.br/?p=38641"
+titulo: "Série “Hotéis do Brasil” VIII e Série “O Rio de Janeiro desaparecido” XXXI – O Hotel dos Estrangeiros, no Flamengo, e o Dia da Literatura Brasileira"
+autor: "Andrea Wanderley"
+data: "2025-05-01T13:30:11+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/6704", "20.500.12156.1/12340", "20.500.12156.1/4430", "20.500.12156.1/9179", "20.500.12156.1/5407", "20.500.12156.1/953", "20.500.12156.1/12329"]
+fetched_at: "2026-09-10T10:19:37.036Z"
+---
+
+# Série “Hotéis do Brasil” VIII e Série “O Rio de Janeiro desaparecido” XXXI – O Hotel dos Estrangeiros, no Flamengo, e o Dia da Literatura Brasileira
+
+Hoje comemora-se o Dia da Literatura Brasileira em homenagem à data de nascimento do cearense José de Alencar (1829-1877),  importante escritor do Romantismo brasileiro, autor de clássicos como O Guarani (1857), Lucíola (1862), Iracema (1865) e Senhora (1875). Sua estátua, no bairro do Flamengo, no Rio de Janeiro, foi registrada por Marc Ferrez (1843 – 1923), em torno de 1897; e por Augusto Malta (1864 – 1957), em 1906. O Dia da Literatura Brasileira seria, a princípio, o tema central deste artigo. Mas, nas fotos do monumento, aparece o Hotel dos Estrangeiros. O artigo passou então a ser também sobre o hotel e a ser o 31º da série O Rio de Janeiro desaparecido e o 8º da série Hotéis do Brasil.
+ 
+Marc Ferrez. Monumento a José de Alencar, c. 1897. Rio de Janeiro, RJ / Acervo IMS
+ 
+Augusto Malta. Praça José de Alencar a partir do Hotel dos Estrangeiros, 1906. Rio de Janeiro, RJ / Acervo IMS
+ 
+O Hotel dos Estrangeiros* foi inaugurado, provavelmente, em 1849, ano em que foi mencionado pela primeira vez nos jornais da época, e ficava na Rua do Catete, nº 1 (Jornal do Commercio, 8 de maio de 1849, quarta coluna).
+ 
+Gravura de Alfred Martinet (1821-1875). Largo do Catete, 18?. Rio de Janeiro, RJ / Acervo FBN
+ 
+Jornal do Commercio, 8 de maio de 1849
+ 
+Foi demolido em 1951 e em seu lugar, foi construído o edifício Simon Bolivar (A Noite, 16 de abril de 1951, última coluna; Correio da Manhã, 17 de junho de 1951, quarta coluna, A Noite, 26 de junho de 1952, quarta coluna).
+ 
+Correio da Manhã, 7 de janeiro de 1951
+ 
+Correio da Manhã, 8 de abril de 1951
+ 
+Correio da Manhã, 17 de junho de 1951
+ 
+Breve histórico do Hotel dos Estrangeiros no Catete
+ 
+Georges Leuzinger. Hotel dos Estrangeiros, vendo-se ao fundo o Pão de Açúcar, 1865. Rio de Janeiro, RJ / Acervo IMS
+ 
+Um dos pioneiros na história da hotelaria carioca, o Hotel dos Estrangeiros era, quando inaugurado, dirigido por Milliet Chesnay, William Coute e Lafourcade pertencia a Francisco Lumau e ficava na confluência das atuais ruas Senador Vergueiro e Barão do Flamengo, em frente à atual Praça José de Alencar. Oferecia uma vista magnífica para o mar, e reúne todas as comodidades para banhos (Almanak Laemmert, 1850).
+ 
+Almanak Laemmert, 1849
+ 
+Ao longo da década de 1850, eram vendidos no hotel ingressos para espetáculos teatrais e esportivos (Diário do Rio, 8 de novembro de 1853, última coluna; Courrier du Brésil, 31 de outubro de 1858, última coluna). Em 1856, pertencia a João Mayall, que plantou as quatro figueiras em frente ao edifício, que encantavam os visitantes e que foram tema do poema As quatro irmãs, de Odete de São Felix Simonsen (Almanak Laemmert, 1856; Correio da Manhã, 4 de junho de 1950, quarta coluna).
+Em torno de 1860, diplomatas norte-americanos passaram a residir no hotel (Revista da Semana, 7 de novembro de 1942, segunda coluna).
+Em 1896, foi anunciado que ele havia passado por uma reforma. Tinha instalações bonitas e higiênicas, um bom restaurante e dispensava a seus clientes um tratamento diferenciado.
+ 
+
+ The Rio News, 31 de março de 1896
+ 
+“Esse hotel que foi completamente restaurado, situa-se na melhor parte da cidade, recebendo ar e luz por todos os lados, próximo a mais limpa praia da cidade e cercado por um grande jardim. Possui quartos grandes e confortáveis e bem mobilhados, bons chuveiros, e banhos quentes, desinfetantes na água, armários, água potável filtrada pelo sistema Pasteur, bom serviço de mesa, e é considerado o primeiro hotel dessa capital. Possui ainda suntuosos salões, e serviço de mesa esplendido para baquetes. O restaurante e serviços não podem ser superados”.
+
+Tornou-se a moradia de autoridades nacionais, chefes de estado em visita ao Rio de Janeiro e personalidades importantes nacionais e estrangeiras.
+ 
+Careta, 26 de março de 1910
+ 
+Foi um ponto de importantes reuniões e encontros, tanto de natureza social quanto política. Foi lá que Prudente de Moraes (1841 – 1902), primeiro presidente civil e eleito no Brasil, foi morar com sua família quando veio de São Paulo, em 1894 (Gazeta de Notícias, 8 de novembro de 1894, segunda coluna). E também foi lá que nasceu a candidatura do marechal Hermes da Fonseca (1855 – 1923) à Presidência da República, cargo que exerceu entre 1910 e 1914.
+Foi cenário, em 8 de setembro de 1915, do assassinato do senador José Gomes Pinheiro Machado (1851 – 1915), importante e poderoso político da República Velha. Foi apunhalado por Manso de Paiva (c. 1886 – década de 1960), no saguão do hotel, aonde visitaria o político Rubião Junior (1851-1915), do Partido Republicano Paulista. Suas últimas palavras teriam sido: “Ah, canalha! Apunhalaram-me!” (Careta, 11 de setembro de 1915; A Noite, 24 de janeiro de 1934; O Cruzeiro, 8 de julho de 1944).
+Meses antes, Pinheiro Machado previra sua própria morte em entrevista ao jornalista João do Rio: “Morro na luta. Matam-me pelas costas, são uns ‘pernas finas’. Pena que não seja no Senado, como César…”
+ 
+Revista da Semana, 11 de maio de 1915
+ 
+Foi noticiado o despejo do hotel em fins de 1949 e, em 5 de abril de 1950, foi requerida por seus credores a decretação de sua falência (Diário da Noite, 14 de dezembro de 1949, segunda coluna;Correio da Manhã, 5 de abril de 1950, sexta coluna; Correio da Manhã, 4 de junho de 1950). Em setembro do mesmo ano, foi alugado pela Justiça Eleitoral (A Manhã, 9 de setembro de 1950, terceira coluna). Em fevereiro de 1951, foi anunciado um baile de carnaval em suas dependências. Poucos meses depois foi demolido: uma tradição do Rio que mergulha no esquecimento para sempre (Gazeta de Notícias, 17 de dezembro de 1949, última coluna; Correio da Manhã, 18 de janeiro de 1951, quarta coluna).
+ 
+
+ 
+Dia da Literatura Brasileira
+ 
+Para homenagear o Dia da Literatura Brasileira, como já mencionado o ponto de partida deste artigo, o portal destaca, ainda, três imagens de importantes escritores brasileiros, todos fundadores da Academia Brasileira de Letras: Joaquim Nabuco (1849-1910), Lucio de Mendonça (1854-1909) e Machado de Assis (1839-1908). As fotografias foram produzidas por Augusto Malta, José Ferreira Guimarães (1841-1924) e por Joaquim Insley Pacheco (1830-1912) com Marc Ferrez, respectivamente. Lembramos aqui que, por escolha de Machado de Assis, José de Alencar é o patrono da cadeira n. 23 da Academia Brasileira de Letras.
+ 
+Augusto Malta. Maria Rita Passos, as senhoritas Teixeira Castro e Joaquim Nabuco em automóvel na Vista Chinesa, durante o passeio de Elihu Root à Floresta da Tijuca, 3 de agosto de 1906. Rio de Janeiro, RJ / Acervo Museu da República
+ 
+José Ferreira Guimarães. [Retrato de Lúcio Eugênio de Menezes e Vasconcelos Drummond Furtado de Mendonça], 1896. Rio de Janeiro, RJ / Acervo Arquivo Nacional
+Joaquim Insley Pacheco; Marc Ferrez e Livraria Lombaerts & C. Galeria contemporanea do Brazil : Machado de Assis : [retrato], 1884. Rio de Janeiro, RJ / Acervo FBN 
+´
+A propósito, o Hotel dos Estrangeiros foi citado em dois romances e em um conto de Machado de Assis:
+“- Tenho de jantar com um amigo, no Hotel dos Estrangeiros. Depois, talvez, ou amanhã. Vá, vá tranquilizar a baronesa, e os rapazes. Os rapazes estarão em paz? Esses brigam, com certeza; vá pô-los em ordem”.
+Esaú e Jacó (1904)
+ 
+“Cheguei ao Hotel de Estrangeiros ao declinar da tarde. Minha mulher esperava-me para jantar. Eu, ao entrar no quarto, peguei-lhe das mãos, e perguntei-lhe:
+- O que é eterno, Iaiá Lindinha?
+Ela, suspirando:
+- Ingrato! É o amor que te tenho.
+Jantei sem remorsos; ao contrário, tranquilo e jovial. Cousas do Tempo! Dá-se-lhe um punhado de lodo, ele o restitui em diamantes…”
+ 
+Eterno! (1899) – conto
+ 
+“25 de junho
+
+Campos e Aguiar queriam, à sua vez, que o jovem casal viesse aposentar-se em casa deles, e alegaram a razão de ser por poucos dias, pois que tinham de embarcar. Tristão e Fidélia recusaram e foram para o Hotel dos Estrangeiros. A razão alegada por estes foi a mesma dos poucos dias, e eu creio que era verdadeira, mas principalmente seria a de não dar preferência a um nem a outro.
+
+Não escrevo o que lá se passou para me não demorar a dizer tudo, que é muito. Vi-os felizes a todos quatro. D. Carmo parecia esconder a tristeza da viagem que se aproxima, ou temperá-la com a ideia da volta, a que aludia frequentemente e a propósito de tudo, como a avivar a obrigação. Assim correram as horas depressa. Saí com eles até o hotel; dali seguiu Campos para Botafogo e vim eu para o Catete”.
+Memorial de Aires (1908)
+ 
+
+De acordo com o portal machadodeassis.net:
+Segundo o Almanaque Laemmert de 1888, havia dois hotéis com esse nome: um em francês (Hôtel des Étrangers), pertencente a Pedro Lemgruber, que ficava na rua da Assembleia, 54; outro em português (Hotel dos Estrangeiros), pertencente a João Mayall, que ficava “no caminho Velho de Botafogo, em frente ao largo do Catete”, isto é, na confluência da rua Senador Vergueiro com a rua Barão do Flamengo, no bairro do Flamengo, na zona Sul da cidade do Rio de Janeiro, em frente à atual praça José de Alencar. O contexto da ficção machadiana sugere que se trata do segundo, que era um estabelecimento de grande prestígio à época.
+ 
+O monumento a José de Alencar, no Flamengo
+ 
+Augusto Malta. Estátua de José de Alencar; em frente ao Hotel dos Estrangeiros, 1906. Rio de Janeiro, RJ / Acervo IMS
+ 
+
+O monumento a José de Alencar, no Flamengo, obra do escultor Rodolfo Bernardelli (1852 – 1931), foi inaugurado em 1º de maio de 1897, no Largo do Catete, que passou nesta data a se chamar Praça José de Alencar – era anteriormente denominada Praça Ferreira Vianna. Foi o primeiro monumento erguido no Brasil para homenagear um escritor brasileiro e é composto por uma estátua de José de Alencar, quatro relevos e quatro medalhões em bronze, dispostos em uma base octogonal, onde estão gravadas cenas dos romances Iracema, O Gaúcho O Guarani e O Sertanejo, de autoria do homenageado.
+
+Sua inauguração contou com a presença do então presidente da República, Prudente de Moraes, do prefeito Francisco Furquim Werneck de Almeida (1846 – 1908) e de diversas autoridades e, apesar do sol e imenso calor, a praça e as imediações estavam apinhadas. Sua viúva, filhos, seu irmão, o barão de Alencar (1832 – 1921); e outros familiares também estiveram presentes à cerimônia. Na ocasião, discursaram Ferreira de Araújo (1848 – 1900), fundador da Gazeta de Notícias; os escritores Coelho Neto (1864 – 1934) e Olavo Bilac (1865 – 1918), além de políticos presentes (Gazeta de Notícias, 2 de maio de 1897, terceira coluna; O Paiz, 2 de maio de 1897, terceira coluna; Revista da Semana, 9 de maio de 1942).
+ 
+“Bernardelli deu a José de Alencar (mais conhecido ainda hoje como político do que como romancista) a mais bela e duradoura das consagrações, já agora é possível que a profissão das letras mereça mais respeito, uma vez que o povo está vendo que um homem de letras merece também a homenagem devida aos heróis e aos benfeitores da pátria. 
+
+E não seria justo que o nome do escultor não fosse entregue ao aplauso público, ao lado do nome do escritor glorificado.
+E que este dia (o primeiro dia em que o governo do meu país dá uma demonstração pública de que deseja honrar a arte e a literatura do Brasil, vindo assistir a essa festa de homens de letras) possa iniciar uma era nova de florescimento intelectual.”
+
+Trecho do discurso de Olavo Bilac
+ 
+A ideia da construção do monumento partiu dos redatores do Monitor Sul Mineiro, da cidade de Campanha, em Minas Gerais, que abriram uma subscrição para esse fim. A família do jornalista Evaristo da Veiga (1799 – 1837) incumbiu a divulgação da ideia à Gazeta de Notícias (Gazeta de Notícias, 20 de janeiro de 1880, segunda coluna). Foram feitos diversos donativos e, em 1º de dezembro de 1894, foi realizado um concerto, no Cassino Fluminense, para arrecadar dinheiro para a construção da estátua (Gazeta de Notícias, 1º de dezembro de 1894).
+ 
+* Não confundir com o Hotel dos Estrangeiros que existiu anteriormente na Rua da Cadeia, 69 (Diário do Rio de Janeiro, 9 de julho de 1846, terceira coluna).
+ 
+Andrea C.T. Wanderley
+
+Editora e pesquisadora da Brasiliana Fotográfica
+ 
+Fontes:
+ 
+Almanaque Gaúcho
+Aventuras na História
+DUNLOP, Charles. Rio Antigo, volume II. Rio de Janeiro : Cia. Editora e Comercial F. Lemos, 1956.
+Hemeroteca Digital da Biblioteca Nacional
+Nosso Século 1910/1930 – Anos de crise e de criação. São Paulo : Editora Abril, 1980
+SILVA, Maria do Carmo Couto da. Escultura e literatura nacional: o monumento a José de Alencar (1897). 
+Site Arqueologia Histórica do Rio de Janeiro
+WANDERLEY, Andrea C.T. A fundação da Academia Brasileira de Letras  in Brasiliana Fotográfica, 20 de julho de 2022.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/6704` — `itens/20.500.12156.1_6704/`
+- `20.500.12156.1/12340` — `itens/20.500.12156.1_12340/`
+- `20.500.12156.1/4430` — `itens/20.500.12156.1_4430/`
+- `20.500.12156.1/9179` — `itens/20.500.12156.1_9179/`
+- `20.500.12156.1/5407` — `itens/20.500.12156.1_5407/`
+- `20.500.12156.1/953` — `itens/20.500.12156.1_953/`
+- `20.500.12156.1/12329` — `itens/20.500.12156.1_12329/`
+
diff --git a/wordpress/3873-cartoes-de-visita-cartes-de-visite.md b/wordpress/3873-cartoes-de-visita-cartes-de-visite.md
new file mode 100644
index 0000000..876e5b9
--- /dev/null
+++ b/wordpress/3873-cartoes-de-visita-cartes-de-visite.md
@@ -0,0 +1,42 @@
+---
+id: 3873
+url: "https://brasilianafotografica.bn.gov.br/?p=3873"
+titulo: "Cartões de visita – cartes de visite"
+autor: "Andrea Wanderley"
+data: "2016-01-05T17:19:12+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: []
+fetched_at: "2026-09-10T10:19:40.467Z"
+---
+
+# Cartões de visita – cartes de visite
+
+André Adolphe-Eugène Disdéri. Autorretrato, c. 1860. Paris, França. Acervo da Reunion des Musées Nationaux
+ 
+A troca de cartes de visite – cartões de visita fotográficos – foi um dos grandes modismos da segunda metade do século XIX e deu origem a outro modismo: os álbuns de fotografia. E foi a febre do retrato fotográfico, por sua vez, que solidificou a fotografia no Brasil e no mundo. Os cartes de visite eram trocados entre amigos,familiares e colecionadores, que com eles se confraternizavam. Conferiam ao fotografado um certo status social e, muitas vezes, continham dedicatórias e eram datados. A fotografia tornava-se, assim, parte da vida do homem moderno.
+“Os cartes de visite, como todos sabem, tornaram-se a moeda social, os dólares da civilização”. A frase do escritor norte-americano Oliver Wendell Holmes (1809-1894) foi escrita, em 1863, e evidencia a popularidade desse formato de fotografia em todo o mundo.
+André Adolphe-Eugène Disdéri (1819-1889), em 27 de novembro de 1854, patenteou sua invenção com o nome de carte de visite: uma câmara fotográfica com quatro lentes para obter oito retratos em apenas uma chapa de vidro; as primeiras 4 fotos eram expostas, a chapa se deslocava e permitia a exposição das outras 4 fotos.
+Os cartes de visite apresentavam uma fotografia de cerca de 9,5 x 6 cm montada sobre um cartão rígido de cerca de 10 x 6,5 cm. A copiagem era feita geralmente com a técnica de impressão em albumina. O invento permitiu a produção em massa de fotografias.
+O apogeu da popularidade dos cartes de visite começou, em 1859, quando, no dia em que partia para a Itália, em 10 de maio, Napoleão III (1808 – 1873) parou no estúdio de Disdéri, em Paris, para ser retratado. No dia seguinte, já havia filas na porta do ateliê fotográfico. O entusiasmo em torno desses retratos era enorme e o sucesso do luxuoso ateliê de Disdéri, reputado, na década de 1860, como o fotógrafo mais rico do mundo, foi descrito por um viajante alemão como o verdadeiro templo da fotografia. Ainda, segundo esse relato, Disdéri vendia todos os dias de 3 a 4.000 francos de retratos e empregava 90 pessoas que realizavam mais de duas mil fotografias por dia.
+ 
+Câmara de múltiplas objetivas introduzida por Disdéri para a produção de fotografias no formato carte de visite. Fonte: Imaging Resource
+ 
+Em Nova York, os cartes de visite começaram a circular, provavelmente, no verão de 1859, introduzidos pelo fotógrafo Charles DeForest Fredricks (1823-1894). A Guerra Civil norte-americana (1861 – 1865) deu grande impulso aos cartes de visite – os soldados e suas família se faziam retratar antes de serem separados pelo conflito. Na Inglaterra, a venda de cartes de visite era muit0 grande e a própria Rainha Vitória (1819 – 1901) formou mais de 100 álbums de retratos de membros da família real e de pessoas socialmente importantes.
+O declínio do formato carte de visite aconteceu a partir da década de 1870, quando começou a ser suplantado pelo cartão cabinet (gabinete), que surgiu na Inglaterra, em 1866. Era um pouco maior: apresentava fotografias de cerca de 9,5 x 14cm montadas sobre cartões rígidos de cerca de 11 x 16,5 cm.
+No Brasil, um panorama sobre a expansão do retrato de estúdio pode ser obtido através do Dicionário Histórico-Fotográfico Brasileiro, de Boris Kossoy, e editado pelo Instituto Moreira Salles, em 2002. Segundo o autor:
+“Foram investigados a modesta expansão da atividade no período da daguerreotipia (entre 1840 e 1858,  aproximadamente) e o caráter itinerante dos pioneiros, estrangeiros na sua grande maioria, que para este lado do mundo se aventuravam em razão, inclusive, da forte concorrência em seus países de origem  e que, após reunir algum pecúlio, embarcavam de volta. Foi demonstrado também o progressivo desenvolvimento da atividade a partir da década de 1860 em virtude , por um lado, da introdução de novos processos e de técnicas fotográficas baseadas no princípio do negativo-positivo, que, barateando os custos de produção do retrato fotográfico, o tornaria acessível a um público maior. Por outro lado, assiste-se a um progresso econômico: multiplicam-se as ligações ferroviárias, a imigração européia é incentivada, transformam-se as feições dos mais importantes centros urbanos, há, enfim, um efetivo crescimento de uma classe média nas maiores cidades, particularmente no Rio de Janeiro, sede da Corte e, mais tarde, da República. A clientela, nesta altura, já teria um perfil diferente daquele dos primeiros tempos da daguerreotipia, quando o retratado era, via de regra, um representante da elite agrária ou da nobreza oficial.
+Nas últimas décadas do século avolumava-se o número de estabelecimentos fotográficos em virtude da nova clientela constituída de comerciantes urbanos, professores, profissionais liberais, funcionários da administração, entre outros elementos de uma classe que almejava ter sua imagem perpetuada pela fotografia”(pg.11-12).
+Importante contribuição para o desenvolvimento da fotografia brasileira no século XIX, o título de Photographo da Casa Imperial, foi agraciado por dom Pedro II a diversos fotógrafos, muitos deles de estúdios fotográficos de renome no período como Buvelot & Prat, Joaquim Insley Pacheco (1830 – 1912), Stahl & Wahnschaffe, José Ferreira Guimarães (1841 – 1924) e  Henschel & Benque.
+ 
+Acessando o link para as fotografias de cartes de visite disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Andrea C. T. Wanderley
+Editora-assistente e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+KOSSOY, Boris. Dicionário histórico-fotográfico brasileiro: fotógrafos e ofício da fotografia no Brasil (1833-1910). São Paulo: Instituto Moreira Salles, 2002. 408 p., il. p&b.
+KOSSOY. Boris. Fotografia & História. 2. ed. rev. – São Paulo: Ateliê Editorial, 2001.
+MAUAD, Ana Maria. Através das Imagens: Fotografia e História Interfaces. Tempo, Rio de Janeiro, vol. 1, nº 2, 1996.
+VASQUEZ, Pedro Karp. Dom Pedro II e a fotografia no Brasil. Rio de Janeiro: Fundação Roberto Marinho, 1985.
+Site da Enciclopédia Itaú Cultural
+Site do The American Museum of Photography
diff --git a/wordpress/38835-e-o-oscar-vai-para.md b/wordpress/38835-e-o-oscar-vai-para.md
new file mode 100644
index 0000000..57a92e3
--- /dev/null
+++ b/wordpress/38835-e-o-oscar-vai-para.md
@@ -0,0 +1,137 @@
+---
+id: 38835
+url: "https://brasilianafotografica.bn.gov.br/?p=38835"
+titulo: "E o Oscar vai para…"
+autor: "Andrea Wanderley"
+data: "2025-03-02T10:35:45+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/13328", "20.500.12156.1/13329", "20.500.12156.1/9817", "20.500.12156.1/7800"]
+fetched_at: "2026-09-10T10:19:43.964Z"
+---
+
+# E o Oscar vai para…
+
+E o Oscar vai para…***
+A Brasiliana Fotográfica celebra esse dia histórico para o cinema nacional, quando o filme brasileiro Ainda estou aqui (2024), dirigido por Walter Salles Jr (1956-), concorre em três categorias da premiação do Oscar – Melhor Filme, Melhor Filme Internacional e Melhor Atriz, com Fernanda Torres (1965-). Conquistou o Oscar de Melhor Filme Internacional. Vocês sabiam que o primeiro brasileiro que disputou um Oscar foi o compositor Ary Barroso (1903 – 1964)?  Ele e seu parceiro, o norte-americano Ned Washington (1901-1976), concorreram, em 15 de março de 1945, na cerimônia realizada no Grauman´s Chinese Theatre, em Los Angeles, na categoria Melhor Canção Original com a música Rio de Janeiro, do musical Brasil (1944), uma produção norte-americana dirigida por Joseph Santley (1889 – 1971). A canção vencedora foi Swinging On A Star, composta por James Van Heusen (1913 – 1990) e Johnny Burke (1908 – 1964) para o filme O Bom Pastor (1944).
+O mineiro Ary Barroso foi um dos maiores compositores da música popular brasileira, um ícone da Era do Rádio, e alguns de seus maiores sucessos foram Aquarela do Brasil, Baixa do Sapateiro, No Tabuleiro da Baiana, Os Quindins de Iaiá e Rancho Fundo. A fotografia abaixo, intitulada Ary Barroso ao piano, pertence à Coleção José Ramos Tinhorão, da Coordenadoria de Música do Instituto Moreira Salles (IMS), uma das instituições fundadoras da Brasiliana Fotográfica.
+ 
+Emerico. Ary Barroso ao piano, s/d. Acervo IMS
+ 
+A próxima imagem, também do acervo do IMS, retrata Ary Barroso com Linda Batista (1919 – 1988), Grande Otelo (1915 – 1993) e Herivelto Martins (1912 – 1992), e é de autoria do fotógrafo húngaro naturalizado brasileiro Carlos Moskovics (1916 – 1988). Em 1942, Moskovics fundou a Foto Carlos, no andar térreo do Edifício Rex, na Cinelândia. Era estúdio, laboratório e agência fotográfica.  Em 1946, transferiu o estúdio Foto Carlos para o Edifício Civitas, na rua México, onde firmou-se como o fotógrafo dos artistas, retratando personagens do meio teatral, assim como desfiles de moda, paisagens urbanas da cidade e diversos acontecimentos de relevância social. Foi o fotógrafo mais requisitado do meio artístico entre as décadas de 1940, 1950 e 1960. Deixou um acervo de mais de 150 mil imagens que foi incorporado, em 2004, ao conjunto de coleções fotográficas do IMS.
+ 
+Carlos Moskovics. Linda Batista, Grande Otelo, Herivelto Martins e Ary Barroso ao piano, década de 40. Cassino da Urca, Rio de Janeiro / Acervo IMS
+ 
+Destacamos também nesta celebração do cinema nacional artigos já publicados no portal sobre Benjamin Abrahão Calil Botto (1901 – 1938), Jorge Kfuri (1893 – 1965), João Stamato (1886 – 1951), Nicola Parente (1847 – 1911), Marc Ferrez (1843 – 1923) e seus filhos; e Walter Garbe (18? – 19?), fotógrafos que fizeram parte da história do cinema no Brasil.
+ 
+Diário de Pernambuco, 16 de janeiro de 1937
+ 
+Artigos sobre os fotógrafos que fizeram parte da história do cinema no Brasil:
+Os índios sob as lentes de Walter Garbe, em 1909, publicado em 23 de maio de 2017, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica
+Lampião e outros cangaceiros sob as lentes de Benjamin Abrahão, publicado em 28 de julho de 2017, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica
+João Stamato, um fotógrafo nos sertões, publicado em 9 de fevereiro de 2021, de autoria de Ricardo Augusto dos Santos
+O fotógrafo italiano Nicola Maria Parente (1847 – 1911) e sua trajetória no Brasil, publicado em 21 de fevereiro dde 2023, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica
+Série “Teatros e cinemas do Brasil” XIII – Marc Ferrez e o cinema, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 19 de junho de 2024
+ 
+Contamos também um pouco da chegada do cinema no Brasil e mostramos uma seleção de imagens de salas de cinema, do acervo do Instituto Moreira Salles, além de fotos aéreas da Cinelândia, do acervo do Museu Aeroespacial, uma das instituições parceiras da Brasiliana Fotográfica. A Cinelândia foi durante muito tempo, ao longo do século XX, o epicentro da vida cultural do Rio de Janeiro, com uma grande concentração de bares, cinemas, restaurantes e teatros.
+ 
+Acessando o link para as fotografias de salas de cinema disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Alfredo Krausz. Cine Parisiense, c. 1933. Rio de Janeiro, RJ / Acervo IMS
+ 
+Acessando o link para as fotografias aéreas da Cinelândia disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Escola de Aviação Militar. Vista aérea da Cinelândia, 18 de outubro de 1938. Rio de Janeiro, RJ / Acervo Museu Aeroespacial
+ 
+Cinema no Brasil – o início e o Oscar 2025
+ 
+Affonso Segreto, pioneiro do cinema no Brasil e realizador do documentário A Praia de Santa Luzia, em 1898 / Wikipedia
+ 
+Um “aparelho que projeta sobre uma tela colocada ao fundo da sala diversos espetáculos e cenas animadas, por meio de uma série enorme de fotografias“. Assim o Jornal do Commercio descreveu o omniógrafo, após a primeira sessão pública de cinema no Brasil, que aconteceu às 14h, do dia 8 de julho de 1896, no Rio de Janeiro, em uma sala especialmente preparada para as projeções do aparelho, na rua do Ouvidor (Jornal do Commercio, 9 de julho de 1896, quarta coluna). A exibição ocorreu poucos meses após a projeção inaugural dos filmes dos irmãos Auguste (1862 – 1954) e Louis-Jean Lumière (1864 – 1948), em Paris, no dia 28 de dezembro de 1895, no Grand Café do Boulevard des Capucines.
+ 
+Jornal do Commercio, 9 de julho de 1896
+ 
+Cerca de dois anos depois, em 1898, chegou ao Rio de Janeiro, vindo da Europa, o navio Paquebot Brésil. A bordo, encontrava-se o cinegrafista brasileiro de origem italiana Affonso Segreto (1875 – 1919), que retornava de uma viagem para comprar equipamentos de filmagens e conhecer novas técnicas cinematográficas em Nova York e em Paris, onde fez um curso na Pathé Films.
+Antes de desembarcar no Rio de Janeiro, Affonso filmou com uma câmara Lumière a entrada da enseada da Baía de Guanabara, as fortalezas e os navios ancorados (Gazeta de Notícias, 20 de junho de 1898, segunda coluna). Teria sido a primeira fita de cinema realizada no Brasil*. O acontecimento deu origem ao Dia do Cinema Brasileiro. Affonso Segreto filmou, posteriormente, aspectos do Rio de Janeiro, além de seus arredores, e também cerimônias e comícios.
+ 
+Gazeta de Notícias, 20 de junho de 1898
+  
+Acesse aqui todos os artigos da série Teatros e cinemas do Brasil
+ 
+O Brasil e o Oscar
+ 
+Estatueta do Oscar
+ 
+Hoje, 2 de março de 2025, pela segunda vez uma brasileira concorre na categoria de Melhor Atriz do Oscar, um dos prêmios mais importantes do cinema mundial, distribuído pela Academia de Artes e Ciências Cinematográficas, fundada, em 1927, em Los Angeles, nos Estados Unidos. Estamos na torcida por Fernanda Torres por sua atuação no filme Ainda estou aqui (2024), interpretando Eunice Facciolla Paiva (1929-2018), viúva do deputado Rubens Paiva (1929-1971), assassinado pela ditadura militar. Ainda estou aqui, dirigido por Walter Salles Jr., concorre ainda, como já mencionado, nas categorias de Melhor Filme e de Melhor Filme Estrangeiro.
+ 
+Cartaz do filme Ainda estou aqui, baseado na autobiografia homônima de 2015 escrita por Marcelo Rubens Paiva (1959-) / IMDB
+ 
+Fernanda Torres repete o feito de sua mãe, Fernanda Montenegro (1929-)**, indicada, em 1999, por Central do Brasil (1998), também dirigido por Walter Salles Jr. –  ela foi derrotada por Gwyneth Paltrow (1972-), por Shakespeare Apaixonado (1998). As outras concorrentes foram Cate Blanchett (1969-), por Elizabeth (1998); Emily Watson (1967-), por Hilary e Jackie (1998); e Meryl Streep (1949-), por Um amor verdadeiro (1998).
+ 
+Reprodução do Youtube
+ 
+Retrospectiva da participação de brasileiros na premiação do Oscar entre 1929 e 2025
+ 
+Cartaz do filme Brasil (1944)
+ 
+1945 - A música Rio de Janeiro, composta pelo brasileiro Ary Barroso (1903 – 1964) e pelo norte-americano Ned Washington (1901 – 1976), que verteu a letra para inglês, foi indicada como Melhor Canção Original pelo musical Brasil (1944), uma produção norte-americana dirigida por Joseph Santley (1889 – 1971) e estrelada pelo mexicano Tito Guízar (1908-1999), que cantou a música. Aurora Miranda (1915-2005), irmã de Carmen Miranda (1909 – 1955) participou do filme. A canção vencedora foi Swinging On A Star, composta por James Van Heusen (1913 – 1990) e Johnny Burke (1908 – 1964) para o filme O Bom Pastor (1944).
+ 
+Carmen Miranda e Ary Barroso durante uma festa oferecida a ele quando chegou a Burbank, na California. A Scena Muda, 6 de fevereiro de 1945.
+ 
+O parceiro de Ary, Ned Washington, já havia ganho um Oscar na categoria Melhor Canção Original, em 1941, por When You Wish Upon a Star, tema do filme Pinóquio (1940) e uma das composições mais famosas das produções da Disney. Voltou a vencer na mesma categoria, em 1953, com a música High Noon (Do Not Forsake Me, Oh My Darlin’, do filme Matar ou Morrer (1952).
+Em agosto de 1945, Ary Barroso foi citado como um dos compositores que haviam sido convidados para ir a Hollywood a fim de contribuírem com seus talentos para películas cinematográficas (Gazeta de Notícias, 16 de agosto de 1945, última coluna). Antes de ser indicado ao Oscar, algumas de suas músicas já haviam sido executadas em filmes: No Tabuleiro da Baiana, em Melodia do Coração (1940); Os Quindins de Iaiá, em Você já foi à Bahia? (1942); e Aquarela do Brasil, em Alô, Amigos! (1942) e Entre a loura e a morena (1943).
+1960 -  Orfeu Negro (1959), baseado na peça Orfeu da Conceição, de Vinícius de Moraes (1913 – 1980), ganhou o Oscar de Melhor Filme Estrangeiro pela França, apesar de sua música ter sido composta por Tom Jobim (1927 – 1994), de ter sido filmado no Rio de Janeiro e de ser todo falado em português. O diretor do filme foi o francês Marcel Camus (1912-1982) e o filme foi uma coprodução da França, da Itália e do Brasil.
+1963 – O filme O Pagador de Promessas (1962), dirigido por Anselmo Duarte (1920 – 2009), foi indicado ao Oscar de Melhor Filme Estrangeiro, concorrendo com o grego Elektra (1962) o mexicano Tlayucan (1962), o italiano Quatro dias de rebelião (1962) e o francês Sempre aos domingos (1962), que foi o vencedor.
+1979 – Raoni (1978), dirigido pelo brasileiro Luiz Carlos Saldanha (1943-) e pelo belga Jean-Pierre Dutilleux (1949-) concorreu na categoria de Melhor Documentário em Longa-Metragem com Le Vent des amoureux, de Albert Lamorisse (1922-1970); Mysterious Castles of Clay, d0 casal Joan Root (1936 – 2006) e Alan Root (1937 – 2017); With Babies and Banners: Story of the Women’s Emergency Brigade, de Lorraine Gray (1951-); e com Scared Straight! (1978), de Arnold Shapiro (1941-), que foi  vencedor.
+1986 – O Beijo da Mulher Aranha, uma co-produção do Brasil com os Estados Unidos, filmado nos antigos estúdios da Cia. Cinematográfica Vera Cruz, dirigido pelo argentino naturalizado brasileiro Hector Babenco (1946 – 2016) e baseado no romance do também argentino Manuel Puig (1932 – 1990) foi indicado ao Oscar nas categorias de Melhor Filme, Melhor Diretor, Melhor Roteiro Adaptado – todas vencidos pelo filme Entre dois amores – e Melhor Ator – Willian Hurt (1950 – 2022) foi o vencedor por seu papel no filme.
+1993 / 1994 / 2000 - Luciana Arrighi (1940-) ganhou com inglês Ian Whittaker (1928 – 2022) o Oscar de Melhor Direção de Arte pelo filme inglês Retorno a Howard´s End (1992). Luciana tem nacionalidade australiana, mas nasceu no Rio de Janeiro, em 1940, quando seu pai, um diplomata italiano, servia no Brasil. Aos dois anos, foi com sua família para a Austrália, onde sua mãe havia nascido. A dupla Arrighi/Whittaker foi mais duas vezes indicada na mesma categoria: em 1994, por Vestígios de Dia (1993) e, em 2000, por Anna e o Rei (1999).
+1996 - O Quatrilho (1995), baseado no livro homônimo de José Clemente Pozenato (1938 – 2024) e dirigido por Fábio Barreto (1957 – 2019), concorreu na categoria de Melhor Filme Estrangeiro com o sueco Lust och fägring stor (1995), o italiano O Homem das estrelas (1995), o argelino Poussières de vie (1995) e o holandês A excêntrica família de Antônia (1995), que foi o vencedor. O Quatrilho foi protagonizado por Glória Pires (1963-), Patrícia Pillar (1964-), Alexandre Paternost (1971-) e Bruno Campos (1973-).
+1998 –  O Que é Isso, Companheiro? (1997), dirigido por outro membro do clã Barreto, Bruno Barreto (1955-) e baseado no livro homônimo de Fernando Gabeira (1941-), concorreu na categoria de Melhor Filme Estrangeiro com o alemão A música e o silêncio (1996), o espanhol Segredos do Coração (1997), o russo Vor (1997), e o belga-holandês Caráter (1997), que venceu na categoria. No elenco, dentre outros, Pedro Cardoso (1962-), Fernanda Torres, Fernanda Montenegro, Milton Gonçalves (1933 – 2022) e Othon Bastos (1933-).
+1999 – Central do Brasil (1998), dirigido por Walter Salles Jr, concorreu na categoria Melhor Filme Estrangeiro com o iraniano Filhos do paraíso (1998), com o espanhol O avô (1998), com o argentino Tango (1998) e com o italiano A vida é bela (1998), que foi o vencedor. Na categoria de Melhor Atriz concorreu com Fernanda Montenegro que, como já mencionado, foi derrotada por Gwyneth Paltrow.
+2001 – Uma História de Futebol (1998), do brasileiro Paulo Machline, concorreu na categoria na categoria de Curta-metragem de ficção em “live action” (filmado com atores). O vencedor foi Quiero ser (I want to be…), do alemão Florian Gallenberger (1972-). Os outros concorrentes foram By Courier (2010), do norte-americano Peter Riegert (1947-); One Day Crossing (2001), da norte-americana Joan Stein Schimke (19?-) e Serraglio (2000), dos norte-americanos Colin Campbell (19?-) e Gail Lerner (1970-). Uma História de Futebol é sobre passagens ficcionalizadas da infância de Pelé (), narradas por um amigo de infância do jogador. O roteiro é baseado em depoimentos de Aziz Adib Naufal.
+2003 – O filme norte-americano de animação digital A Era do Gelo (2002), dirigido pelo norte-americano Chris Welsh (1957-) e co-dirigido pelo brasileiro Carlos Saldanha (1965-) concorreu na categoria Melhor Filme de Animação e foi derrotado pelo japonês A Viagem de Chichiro, de Hayao Miyazaki (1941-). Os outros concorrentes foram Lilo & Stitch (2002), do norte-americano Chris Sanders (1962-); Spirit – O Corcel Indomável (2002), do norte-americano Jeffrey Katzenberg (1950-); e O Planeta do Tesouro (2002), dos norte-americanos Ron Clements (1953-) e John Musker (1953-).
+2004 - Cidade de Deus (2003), dirigido por Fernando Meirelles (1955-) concorreu e foi derrotado em quatro categorias: Melhor Diretor para Fernando Meirelles  Melhor Roteiro Adaptado para Bráulio Mantovani (1963-), Melhor Fotografia para César Charlone (1958-) e Melhor Edição para Daniel Rezende (1975-). Peter Jackson (1961-) venceu como Melhor Diretor pelo filme O Senhor dos Anéis, o Retorno do Rei (2003) Na categoria Melhor Roteiro Adaptado o vencedor foi de novo Peter Jackson, além de Fran Walsh (1959-) e Philippa Boyens (1962-), todos pelo filme O Senhor dos Anéis, o Retorno do Rei (2003). Na categoria Melhor Fotografia o vencedor foi Russel Boyd (1944-) por Mestre dos Mares (2003).
+O filme norte-americano A Aventura Perdida de Scrat (2023), dirigido pelo brasileiro Carlos Saldanha (1965-) e pelo norte-americano John C. Donkin (1961-) foi indicado na categoria Melhor Curta-Metragem de Animação.
+2005 - Diários de Motocicleta (2004), uma produção multinacional, dirigida por Walter Salles Jr, foi indicado nas categorias Melhor Roteiro Adaptado e Melhor Canção Original. Na segunda, venceu com a canção Al otro lado del rio, do uruguaio Jorge Drexler (1964-). Na primeira, Jose Rivera (1955-) concorreu mas perdeu para Rex Pickett (1956-),  Alexander Payne (1961-) e Jim Taylor (19?), do filme Sideways – Entre umas e outras (2004). Diários de Motocicleta é sobre uma expedição realizada, em 1952, pela América do Sul, por Ernesto Che Guevara (1928 – 1967) e seu amigo Alberto Granado (1922 – 2011).
+2011 - O documentário anglo-brasileiro Lixo Extraordinário (2010), do brasileiro João Jardim (1964-) e dos britânicos Lucy Walker n(1970-) e Angus Aynsley (19?-), concorreu na categoria Melhor Documentário em Longa-Metragem, cujo vencedor foi Trabalho Interno (2010), do norte-americano Charles Henry Ferguson (1955-). Os outros concorrentes foram Saída pela loja de presentes (2010), dos britânicos Banksy (197?-) e Jaimie D’Cruz (19?); Gasland (2010), dos norte-americanos Josh Fox (19?-) e Trish Adlesic (19?); e Restrepo, do britânico Tim Hetherington (1970 – 2011) e do norte-americano Sebastian Junger (1962-). Lixo Extraordinário é sobre o trabalho realizado pelo artista plástico brasileiro Vik Muniz (1961-) com catadores de material reciclável em um dos maiores aterros controlados do mundo, em Jardim Gramacho, bairro do município de Duque de Caxias, no estado do Rio de Janeiro.
+2012 – Os músicos brasileiros Carlinhos Brown (1962-) e Sérgio Mendes (1941 – 2024) e a norte-americana Siedah Garrett (1960-) concorreram na categoria Melhor Canção Original com Real in Rio, do filme de animação Rio (2011) mas foram derrotados por Man or Muppet, do neozelandês Bret McKenzie (1976) para o filme The Muppets. O filme de animação digital Rio (2011) foi dirigido pelo brasileiro Carlos Saldanha (1965-).
+2015 – O documentário franco-ítalo-brasileiro O Sal da Terra (2014) foi dirigido pelo brasileiro Juliano Ribeiro Salgado (1974-) e pelo alemão Wim Wenders (1945-). Concorreu na categoria Melhor Documentário em Longa-Metragem com A Fotografia Oculta de Vivian Maier (2013), dos norte-americanos John Maloof (1981-) e Charlie Siskel (19?-); com Last days in Vietnan, da norte-americana Rory Kennedy (1968-); com Virunga (2014), dos britânicos Orlando von Einsiedel e Joanna Natasegara ; e com o vencedor, Citizenfour (2014), da norte-americana Laura Poitras (1964-), da francesa Mathilde Bonnefoy (1972-) e do alemão Dirk Wilutzky (1965-). O Sal da Terra é sobre o trabalho e a vida do fotógrafo brasileiro Sebastião Sagado (1944-). Um dos diretores do documentário, Juliano, é filho do fotógrafo.
+2016 – O Menino e o Mundo (2015), do brasileiro Alê Abreu (1971-), concorreu na categoria de Melhor Filme de Animação com Anomalisa (2015), dos norte-americanos Charlie Kaufman (1958-), Duke Johnson (1979-) e Rosa Tran (19?); Shaun: o carneiro, do neozelandês Mark Burton (1984-) e do britânico Richard Starzak (1959-); As memórias de Marnie (2024), dos japoneses Hiromasa Yonebayashi (1973) e Yoshiaki Nishimura (1977-); e com o vencedor Divertidamente (2015), dirigido e co-escrito por Pete Docter (1968-). O Menino e o Mundo é sobre o menino Cuca que vive numa pequena aldeia, sofre com a falta do pai e parte a procura dele.
+2018 – O filme norte-americano O Touro Ferdinando (2017), dirigido pelo brasileiro Carlos Saldanha (1965-), concorreu na categoria Melhor Filme de Animação. Foi derrotado por Coco, dos norte-americanos Lee Unkrich (1967-) e Darla K. Anderson (1968-). Os outros concorrentes foram Com amor, Van Gogh (2017), da polonesa Dorota Kobiela (1978-) e do norte-americano Hugh Welchman (1976-); O Poderoso Chefinho (2017), dos norte-americanos Tom McGrath (1964-) e Ramsey Ann Naito (1974-); e The Breadwinner (2017), da irlandesa Nora Twomey (1971-).
+2020 - Democracia em Vertigem (2019), dos brasileiros Petra Costa (1983-) e Tiago Pavan (19?), concorreu na categoria Melhor Documentário em Longa-Metragem cujo vencedor foi American Factory (2019), dirigido pelos norte-americanos Steven Bognar (1963-) e Julia Reichert (1946 – 2022). Os outros concorrentes foram o documentário sino-norueguês The Cave (2019), do sírio Feras Fayyad (1984-) e das dinamarquesas Kirstine Barfod (1979-) e Sigrid Dyekjær (1969-); o anglo-sírio-norte-americano For Sama (2019), dirigido pela síria Waad Al-Kateab (1991-) e pelo britânico Edward Watts (19?-); e o macedônio Medena zemja (2019), dirigido pelos macedônios Tamara Kotevska (1993-) e Ljubomir Stefanov (1975-). O documentário Democracia em Vertigem retrata os bastidores do impeachment da ex-presidente do Brasil Dilma Roussef (1947-), o julgamento do então ex-presidente, que a antecedeu, Luiz Inácio Lula da Silva (1945-); e a eleição de Jair Bolsonaro (1955-) à presidência da República.
+2025 - Ainda estou aqui (2024), dirigido por Walter Salles Jr (1956-) concorre em três categorias da premiação do Oscar – Melhor Filme, Melhor Filme Internacional e Melhor Atriz, com Fernanda Torres (1965-). Na categoria de Melhor Filme concorreu com: Anora, A Substância, Conclave, Duna 2, Emilia Perez, Nickel Boys, O Brutalista, Um Completo Desconhecido e Wicked. Venceu na categoria Melhor Filme Internacional e seus concorrentes foram: A garota da agulha, A semente do fruto sagrado, Emilia Perez e  Flow. Com Fernanda Torres, na categoria de Melhor Atriz, concorreram: Demi Moore (1962-), por A Substância; Karla Sofía Gascón (1972-), por Emilia Pérez; Cynthia Erivo (1987-), por Wicked; e a vitoriosa Mikey Madison (1999-), por Anora. Todas os filmes são de 2024.
+2026 - O Agente Secreto (2025), de Kleber Mendonça Filho (1968-), concorre em quatro categorias: Melhor Filme, Melhor Filme Estrangeiro, Melhor Ator – com Wagner Moura (1976-); e, pelo prêmio de Melhor Seleção de Elenco, nova categoria que faz sua estreia na no Oscar este ano, com Gabriel Domingues (19?-). Na categoria Melhor Filme os concorrentes são: Bugonia, F-1, Frankenstein, Hamnet, Marty Supreme, Uma Batalha após a outra, Valor Sentimental, Pecadores e Sonhos de Trem. Na categoria Melhor Filme Estrangeiros os concorrentes são: A voz de Hind Rajab (Tunísia), Foi apenas um acidente (França), Sirat (França) e Valor Sentimental (Noruega).  Na categoria Melhor Ator, Wagner Moura concorre com Timothée Chalamet (1995-) por Marty Supreme, Leonardo DiCaprio (1974-) por Uma Batalha após a outra, Ethan Hawke (1970-) por Blue Moon, e Michael B. Jordan (1987-) por Pecadores. Finalmente, na categoria estreante Melhor Seleção de Elenco, Gabriel Domingues concorre com Nina Gold (1967-) por Hamnet, Jennifer Venditti (19?-) por Marty Supreme, Cassandra Kulukundis (1971-) por Uma Batalha após a outra e Francine Maisler (19?-) por Pecadores. O brasileiro Adolpho Veloso (1989-) concorre na categoria Melhor Fotografia pelo filme Sonhos de Trem com Dan Laustsen (1954-) por Frankenstein, Darius Khondji (1955-) por Marty Supreme, Michael Bauman (19?) por Uma Batalha após a outra e Autumn Durald Arkapaw (1979-) por Pecadores.
+ 
+
+ 
+*Existe uma polêmica em torno do assunto: alguns estudiosos consideram o primeiro filme brasileiro Chegada em Petrópolis devido a uma notícia divulgada pela Gazeta de Petrópolis convidando para uma sessão do filme no dia 1º de maio de 1897, no Theatro Cassino de Petrópolis, organizada pelo napolitano Vittorio di Maio (1852 – 1926). Posteriormente, di Maio vendeu seu projetor e acervo para Paschoal Segreto. Também é de 1897 a vista Ancoradouro de pescadores na Baía de Guanabara, do pernambucano José Roberto Cunha Sales (1840- 1903), porém sua nacionalidade brasileira é contestada por historiadores que acreditam que o cinegrafista recortou o filme de uma vista estrangeira. Ancoradouro de pescadores na Baía de Guanabara está acervado no Arquivo Nacional.
+** Uma curiosidade: outros pares de mães e filhas já concorreram ao Oscar: Ingrid Bergman (1915 – 1982) e Isabella Rossellini (1952-), Goldie Hawn (1945-) e Kate Hudson (1979-), Diane Ladd (1935-) e Laura Dern (1967-); e Judy Garland (1922 – 1969) e Liza Minnelli (1946-). As assinaladas em vermelho ganharam o prêmio.
+*** Este artigo foi  atualizado em 22 de janeiro de 2026, quando foram divulgados os concorrentes ao Oscar 2026.
+ 
+Andrea C.T. Wanderley
+Editora e pesquisadora da Brasiliana Fotográfica
+ 
+ 
+Fontes:
+CABRAL, Sérgio. No Tempo de Ary Barroso. São Paulo : Lazuli Editora, 2016.
+Dicionário Cravo Albim da Música Popular Brasileira
+Hemeroteca Digital da Biblioteca Nacional
+PIMENTEL, Luís. Ary Barroso – Coleção Mestres da Música no Brasil. Rio de Janeiro : Editora Moderna, 2008.
+Portal Academy of Motion Pictures Arts ans Sciences
+Portal Brasiliana Fotográfica
+Portal Funarte
+Portal G1
+Portal IMDB
+Portal IMS
+Portal MultiRio
+Site Café História
+Youtube – O primeiro brasileiro indicado a um Oscar, em 1945
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/13328` — `itens/20.500.12156.1_13328/`
+- `20.500.12156.1/13329` — `itens/20.500.12156.1_13329/`
+- `20.500.12156.1/9817` — `itens/20.500.12156.1_9817/`
+- `20.500.12156.1/7800` — `itens/20.500.12156.1_7800/`
+
diff --git a/wordpress/3885-o-fotografo-frances-jean-victor-frond-1821-1881-e-o-brasil-pitoresco.md b/wordpress/3885-o-fotografo-frances-jean-victor-frond-1821-1881-e-o-brasil-pitoresco.md
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+---
+id: 3885
+url: "https://brasilianafotografica.bn.gov.br/?p=3885"
+titulo: "O fotógrafo francês Jean Victor Frond (1821 – 1881) e o “Brasil Pitoresco”"
+autor: "Andrea Wanderley"
+data: "2016-01-15T23:33:34+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/2816", "20.500.12156.1/2838"]
+fetched_at: "2026-09-10T10:19:47.637Z"
+---
+
+# O fotógrafo francês Jean Victor Frond (1821 – 1881) e o “Brasil Pitoresco”
+
+O fotógrafo francês Jean Victor Frond (1821-1881) chegou ao Brasil, em outubro de 1856 (Correio Mercantil, de 9 de outubro de 1856, quinta coluna, sob o título “Entrarão hontem nesse porto”). Em 1857, tornou-se proprietário de um estúdio fotográfico no Rio de Janeiro, na rua da Assembléia, nº 34 (Diário do Rio de Janeiro, de 11 de maio de 1857, na terceira coluna), que foi posto à venda, em 1860 ( Jornal do Commercio, 19 de setembro de 1860, primeira coluna).
+Frond foi o fotógrafo das imagens do Brasil Pitoresco (1861), primeiro livro de fotografia realizado na América Latina e, segundo Pedro Vasquez (1954 -), o mais ambicioso trabalho fotográfico realizado no país, durante o século XIX. Foi um importante marco para o fotografia e para as artes gráficas no Brasil, tendo sido o primeiro grande álbum iconográfico cujas imagens, 75 litografias, foram baseadas em fotografias e não mais em desenhos (Diário do Rio de Janeiro, 16 de julho de 1860, terceira coluna; Diário do Rio de Janeiro, 20 de julho, segunda coluna).
+Primeira reedição do Brasil Pitoresco, de 1941
+No Brasil Pitoresco foram publicadas fotografias produzidas por Frond, entre 1858 e 1860, que se tornaram reproduções litográficas executadas em Paris, na Maison Lemercier, por artistas como Charpentier, Aubrun e Cicéri, dentre outros. O livro-álbum de Frond, segundo Boris Kossoy (1941 – ), reforçava a ideologia do exotismo marcante nos relatos e crônicas dos viajantes europeus que percorreram o Brasil no século XIX e integrava, de forma suave, a presença dos escravos às paisagens e às edificações “através de composições idealizadas e estetizantes”. Segundo Lygia Segala, a obra traz a tensão entre a eficácia política e seu sucesso editorial, o reconhecimento profissional e o retorno financeiro, a arte engajada e o souvenir tropical.
+Além disso, no Brasil Pitoresco foram popularizadas as imagens do Pão de Açúcar, dos Arcos da Carioca e do Outeiro da Glória, locais que se tornaram marcos da fotografia de paisagem no Rio de Janeiro.
+ 
+Por ser republicano, Frond havia sido exilado da França em 1852, após manifestar-se contra o golpe de estado de Luís Napoleão Bonaparte, futuro Napoleão III (1808 – 1873), então presidente da Segunda República Francesa, em 2 de dezembro de 1851 . Na época, Frond era subtenente e integrava o Batalhão de Bombeiros de Paris. Foi um dos personagens da pintura de Gustave Courbet (1819-1877), Le départ des pompiers courant à un incendie (1851). “O segundo tenente, Jean-Victor Frond, representado no grupo de bombeiros, ficou do lado dos republicanos. Traduzido em um conselho de guerra, ele foi deportado para a Argélia” (Site do Petit Palais).
+ 
+Le départ des pompiers courant à un incendie (1851), de Gustave Courbet. Acervo do Petit Palais, Museu de Belas Artes de Paris
+ 
+O texto do Brasil Pitoresco foi escrito pelo jornalista e político francês Charles Ribeyrolles (1812-1860), republicano como Frond. Ele também havia sido exilado da França por Napoleão III. Chegou ao Brasil, em julho de 1858 ( Correio Mercantil , de 8 de julho de 1858, terceira coluna), e, cerca de dois anos depois, faleceu, em Niterói (Diário do Rio de Janeiro, de 3 de junho de 1860, na terceira coluna).
+ 
+Retrato de Charles Ribeyrolles, c. 1865. Paris, França. Panthéon des illustrations françaises au XIXe siècle, de Victor Frond.
+ 
+Frond produziu, em 1860, quando acompanhou a viagem do naturalista e explorador suíço Johan Jacob von Tschudi (1818 – 1889), registros fotográficos do Espírito Santo, tanto de Vitória como das colônias agrícolas de imigrantes. Tschudi havia sido nomeado embaixador da Confederação Helvética no Brasil e estudou os problemas dos imigrantes suíços em São Paulo, Santa Catarina, Rio Grande do Sul e Espírito Santo. De suas viagens a essas províncias, resultou o livro Viagens na América do Sul, obra publicada, em Leipzig, pela Editora Brockhaus, entre os anos de 1866 e 1869. A tradução de seu relatório foi publicada pelo Arquivo Público do Estado do Espírito Santo, incluindo as fotografias de Frond, devidamente identificadas.
+ 
+Johann Jakob von Tschudi / Imagem acervo Stadtbibliotheken de Trier Site tripota.uni-trier.de
+ 
+ 
+Em meados da década de 1860, Frond já havia retornado à França. Faleceu em 16 de janeiro de 1861, em Varrèdes.
+ 
+
+ 
+Acessando o link para as fotografias relativas a Carlos Chagas e à doença de Chagas disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+Cronologia de Jean Victor Frond (1821 – 1881)
+Victor Frond; Jules-Joseph-Augustin Laurens. Fabricants de jacas: Paniers, 1861. Acervo FBN
+ 
+1821 – Jean Victor Frond nasceu, em 1º de novembro, em Montfaucon, na França, filho de Jean Frond (1779 – 1841) e Marie Figeac (1791 – 1841). Provavelmente, Frond estudou no Seminário Diocesano de sua cidade natal.
+1839 - Apresentou-se para o serviço militar, no 57º Regimento da Infantaria de Ligne.
+1841 - Em 18 de abril, passou a integrar a Infantaria da Marinha, cuja responsabilidade era proteger portos e arsenais franceses, além de defender as colônias e os países sob protetorado da França.
+1841 a 1846 – Participou de operações de campanha na Martinica. Uma curiosidade: em sua ficha no 2º Regimento de Infantaria da Marinha, foi descrito como um homem de estatura mediana (1,64m), cabelos e olhos castanhos, testa larga, nariz grande, boca miuda, queixo vincado, sem cicatrizes.
+1850 – Deixou a Infantaria da Marinha, onde havia galgado as patentes de suboficial e oficial inferior, e entrou para o Batalhão do Corpo dos Bombeiros. Foi morar em Paris.
+1851 – Foi publicado, na França, o livro De l´insuffisance des secours contre l´incendie et des moyens d´organiser ce service public dand toute la France, de autoria do subtenente Jean Victor Frond, que integrava o Batalhão de Bombeiros de Paris, mais precisamente, a 4ª Companhia, na rua Poissy. Já havia conquistado uma certa liderança na caserna.
+Em 2 de dezembro, aconteceu um golpe de Estado na França, liderado por Luís Napoleão Bonaparte, futuro Napoleão III (1808 – 1873), então presidente da Segunda República Francesa. A Assembleia Nacional Francesa foi dissolvida e o império foi restabelecido, no ano seguinte.
+Em 3 de dezembro, o republicano Frond manifestou-se contra o golpe. Foi ordenado que ele cumprisse uma licença obrigatória e que ele entregasse sua espada. Abandonou a caserna e tentou participar dos movimentos de resistência republicana. Foi decretada sua prisão.
+Em 9 de dezembro, foi preso e levado para o Hotel de Conselho de Guerra, na rua du Cherche Midi.
+Foi transferido para uma prisão militar.
+1852 – Em 21 de janeiro, foi posto em liberdade, mas nessa mesma noite foi novamente detido, dessa vez pela Prefeitura de Polícia.
+Foi transferido para o forte de Ivry e depois para o forte de Bicêtre.
+Acusado de homem muito perigoso e de demagogo da pior espécie, foi condenado à transportação para a colônia penal na Argélia.
+Entre março e abril, várias cartas foram enviadas à comissão responsável pelo processo contra Frond e também para o príncipe-presidente com pedidos de clemência e de comutação de pena.
+Em 15 de maio, Frond foi levado para o Havre, e, em seguida, para o porto de Brest, de onde foi transportado para a colônia penal na Argélia.
+Frond fugiu da Argélia. Passou por Lisboa e chegou em Southampton, na Inglaterra.
+Em Londres, conheceu Charles Ribeyrolles (1812 – 1860), jornalista e militante político republicano francês, amigo do escritor Victor Hugo (1802 -1885). Ribeyrolles havia sido expulso da França por Napoleão III. Ele veio a ser o escritor do Brasil Pitoresco.
+1853 – Frond foi um dos nomes da lista parcial de anistia de Luís Bonaparte.
+Escreveu panfletos em defesa da causa republicana.
+1854 – Frond foi indicado para uma missão em Portugal e na Espanha para obter recursos materiais e estabelecer alianças políticas favoráveis à causa republicana francesa.
+Em Lisboa, tornou-se fotógrafo.
+1856 –  Frond chegou ao Rio de Janeiro (Correio Mercantil, de 9 de outubro de 1856, na quinta coluna, sob o título “Entrarão hontem nesse porto”).
+1857 - Foi apresentado como o oficial que organizou em grande parte o serviço de incêndios em Paris e foram comentados seus conhecimentos como fotógrafo (Correio Mercantil  de 27 de agosto de 1857, na quarta coluna, embaixo).
+Produziu retratos da família real e começaram a circular no Rio de Janeiro os primeiros fascículos do álbum Galeria dos brasileiros ilustres – Os Contemporâneos, com os retratos de d. Pedro II, da imperatriz Teresa Cristina e das princesas, litografados por Sébastien Auguste Sisson (1824-1898).
+Foi anunciada a inauguração do estabelecimento fotográfico de Frond, na rua da Assembleia, 34, com a participação do alemão Adam Ignace Fertig (1810-?), pintor retratista  (Diário do Rio de Janeiro, de 8 de maio de 1857 e Diário do Rio de Janeiro, de 11 de maio de 1857, na terceira coluna).
+Foi publicada uma crítica da exposição com a qual o ateliê de Frond havia sido inaugurado, no dia 15  de maio (Diário do Rio de Janeiro, de 24 de maio de 1857, no “Folhetim”, quinta coluna).
+Em 25 de maio, casou-se com Julie Charlotte Lacombe (1840-?), na Chancelaria do Consulado francês do Rio de Janeiro, tendo como testemunhas Fertig e Joseph Lacombe, irmão da noiva. Tiveram dois filhos no Brasil , Charles, em 1859, e Julie, em 1860; e duas filhas quando já estavam de volta na França, Henriette, em 1862, e Blanche, em 1866.
+Frond expõs seus planos de fotografar as mais importantes províncias do Brasil e seus locais históricos. Para isso, havia fundado uma associação integrada pelo imperador Pedro II e por muitas pessoas distintas, nacionais e estrangeiras (Correio Mercantil,  de 3  de novembro de 1857, na terceira coluna, embaixo, na coluna “Páginas Menores”).
+No Correio Mercantil , de 9 de dezembro de 1857, na segunda coluna, Frond explicou o projeto do Brasil Pitoresco.
+ 
+Correio Mercantil,  9 de dezembro de 1857
+ 
+Foi publicada uma propaganda do Brasil Pitoresco (Correio Mercantil , de 10 de dezembro de 1857, na quarta coluna, embaixo).
+ 
+Correio Mercantil, 10 de dezembro de 1857
+ 
+ 
+Entre 1857 e 1860, foi o fotógrafo que mais recebeu recursos da Mordomia Imperial: 12:027$000 réis.
+1858 - Os retratos produzidos por Frond e retocados pelo sr. Fertig, pintor de miniaturas que trabalha em sua oficina fotográfica, foram elogiados (Correio Mercantil, de 3 de janeiro de 1858, na terceira coluna).
+Foi publicada uma carta de Frond para os sub-escritores do Brasil Pitoresco explicando que não mais iria para Europa, onde buscaria material e pessoal para a execução da obra. Sua viagem havia sido impedida pelo governo de Bonaparte (Napoleão III), que via nele um conspirador. Aproveitou para agradecer a hospitalidade brasileira (Correio Mercantil , de 16 de março de 1858, na segunda coluna, sob o título “Publicações a pedidos”).
+No novo número da Galeria dos Brasileiros Ilustres, foi publicada uma litografia de Sébastien Auguste Sisson (1824 – 1898), baseada numa fotografia do imperador Pedro II produzida por Frond (Correio Mercantil , de 27 de maio de 1858, na primeira coluna).
+Em julho, chegou ao Rio de Janeiro o jornalista e militante político republicano francês Charles Ribeyrolles (Correio Mercantil , de 8 de julho de 1858, terceira coluna). Ribeyrolles havia sido expulso da França por Napoleão III e vivido na Inglaterra com o escritor Victor Hugo (1802-1885), o socialista Louis Blanc (1811 -1882) e o político Ledru Rollin (1807-1874), dentre outros. Foi o redator do Brasil Pitoresco. Tornou-se amigo dos escritores Machado de Assis (1839-1908) e Manuel Antônio de Almeida (1831-1861).
+Frond viajou para Vassouras para começar os trabalhos do Brasil Pitoresco (Correio Mercantil , de 17 de julho de 1858, na terceira coluna).
+Na coluna “Folhetim”, foi publicado um extrato do Brasil Pitoresco (Correio Mercantil,  de 4 de outubro de 1858).
+1859 - O escritor Machado de Assis (1839 – 1908) foi o único brasileiro presente em uma reunião na casa de Frond para celebrar o nascimento de seu primeiro filho com Julie Charlotte Lacombe, Charles Victor Marius Frond, nascido em 4 de janeiro. Ribeyrolles escreveu um poema intitulado Souvenirs d’Exil para saudar o menino, traduzido imediatamente por Machado. Estavam, na casa de Frond seus amigos Boulangier, Joseph Lacombe, Dr. H. Chomet, A. Lemâel, Leonce Aubé, Vieu, Pailleux, Salaberry, Massy e B. L. Garnier. Meses mais tarde, Machado de Assis publicou, no Correio Mercantil, seus primeiros versos em francês, prestando nova homenagem ao pequeno Charles Frond, no poema intitulado A Ch. F., filho de um proscrito (Correio Mercantil, 21 de julho de 1859, quarta coluna).
+Correio Mercantil, 21 de julho de 1859
+ 
+Foi anunciada a venda do primeiro volume do Brasil Pitoresco, informando que o segundo volume já estava no prelo (Correio Mercantil,  de 4 de fevereiro de 1859, na primeira coluna).
+Foi publicada uma crítica ao Brasil Pitoresco, assinada por H.M, provavelmente o jornalista Homem de Mello (Correio Mercantil , de 7 de abril de 1859, na coluna “Páginas Menores”).
+Foi anunciada a iminente publicação do segundo volume do Brasil Pitoresco (Correio Mercantil , de 5 de junho de 1859, na quarta coluna).
+Foi publicada uma crítica ao segundo volume do Brasil Pitoresco, com um comentário sobre as dificuldades enfrentadas por Frond (Correio Mercantil , de 22 de agosto de 1859, na primeira coluna).
+Foi anunciada a exposição das fotografias de Frond que integravam o Brasil Pitoresco, na casa do sr Bernasconi (Correio Mercantil , de 10 de setembro de 1859, na primeira coluna).
+Anúncio em francês do Brasil Pitoresco (Correio Mercantil, de 27 de outubro de 1859, na terceira coluna).
+Frond e Ribeyrolles se desentendem com o redator do Echo du Brésil, Alteve Aumont, que, segundo Frond, havia o acusado de aceitar “favores administrativos” e o chamado de “demagogo” (Correio Mercantil, de 31 de outubro, na terceira coluna sob o título “Publicações a pedido”; de 1º de novembro, na segunda coluna, embaixo; de 7 de novembro, na primeira coluna sob o título “Publicações a pedido”; e de 9 de novembro, na primeira coluna).
+Foi noticiada a iminente partida de Frond e Ribeyrolles para Campos, a fim de continuarem o trabalho para o Brasil Pitoresco. Também foi anunciado que as fotografias que ficaram expostas na casa de Bernasconi & Moncada já haviam sido enviadas para Paris, onde seriam litografadas (Correio Mercantil, de 4 de novembro de 1859, na quinta coluna).
+Ribeyrolles e Frond embarcaram para São João da Barra (Correio Mercantil de 27 de novembro de 1859, na última coluna).
+1860 – Ribeyrolles e Frond embarcaram para Campos (Correio Mercantil de 24 de janeiro de 1860, na última coluna).
+Foi publicada uma litografia de dom Pedro II e da imperatriz Teresa Cristina, de autoria de Carlos Linde (c. 1830 – 1873), baseada em fotografias de Frond (Correio Mercantil de 10 de fevereiro de 1860, na última coluna).
+Frond embarcou para Santos (Correio Mercantil ,de 12 de maio de 1860, na última coluna), onde, contratado pelo Barão de Mauá, fotografou a cidade, na ocasião da inauguração dos trabalhos da linha férrea entre São Paulo e Jundiaí (Correio Mercantil, de 18 de maio de 1860, na primeira coluna).
+Em 1º de junho, morte de Charles Ribeyrolles, em Niterói, de peritonite ou de febre amarela (Diário do Rio de Janeiro, de 3 de junho de 1860, na terceira coluna e Courrier du Brésil, de 8 de junho de 1860).
+Foi noticiada a publicação do 21º fascículo da Galeria dos Brasileiros Illustres, editado por Sébastien Auguste Sisson (1824-1893), com um quadro das princesas Isabel e Leopoldina a cavalo, copiado de uma fotografia de Frond (Correio Mercantil, de 5 de junho de 1860, na terceira coluna).
+Na edição de 8 de junho do Courrier du Brésil, foram divulgadas por Victor Frond duas cartas escritas pelo escritor francês Victor Hugo (1802-1885) a Charles Ribeyrolles sobre o Brasil Pitoresco.
+Frond integrou uma comissão que objetivava construir um monumento em cima do túmulo de Charles Ribeyrolles (Correio Mercantil, de 24 de junho de 1860, na quarta coluna).
+Por não concordar com várias decisões, Frond saiu da comissão e ofereceu 50 exemplares do Brasil Pitoresco para ajudar na construção do monumento (Jornal do Commercio, de 28 de junho de 1860, na penúltima e na última colunas e de 29 de junho de 1860, na sétima coluna).
+Reprodução de uma crítica feita no jornal francês Monitor às primeiras gravuras do Brasil Pitoresco, vistas nas oficinas de Lemercier, em Paris (Correio Mercantil, de 20 de julho de 1860, na primeira coluna).
+Chegaram de Paris 7 quadros, baseados nas fotografias de Frond, executados nas oficinas de Lemercier, em Paris. Seriam ofertados aos assinantes do Brasil Pitoresco (Correio Mercantil, de 14 de agosto de 1860, na segunda coluna).
+A comissão para a construção de um monumento em cima do túmulo de Charles Ribeyrolles reuniu-se na casa de Frond e aprovou o projeto do escultor Dubois (Correio Mercantil, de 3 de setembro de 1860, na primeira coluna).
+Foi anunciada a venda dos três volumes do Brasil Pitoresco, acompanhado de um álbum de 75 gravuras (Correio Mercantil, de 19 de setembro de 1860).
+Foi anunciada a venda da oficina fotográfica de Victor Frond, que partiria para a Europa (Correio Mercantil, de 20 de setembro de 1860).
+Foi noticiada a chegada de mais 10 vistas que integrariam o Brasil Pitoresco. Lista das obras com seus respectivos litógrafos (Correio Mercantil, de 4 de novembro de 1860, na quinta coluna).
+Nascimento de Julie Louise Marie Jeanne Frond, em 8 de novembro de 1860, primeira filha de Frond e Julie Charlotte Lacombe.
+1861 – O desenhista e caricaturista alemão Henrique Fleuiss (1824 – 1882), radicado no Brasil, publicou uma charge sobre o Brasil Pitoresco (Semana Ilustrada, de 17 de março de 1861).
+ 
+Semana Ilustrada, de 17 de março de 1861
+ 
+
+Frond enviou um exemplar do Brasil Pitoresco para o Instituto Histórico (Jornal do Commercio, de 2 de agosto de 1861, na sexta coluna).
+Victor Frond requereu um passaporte (Jornal do Commercio, de 5 de setembro de 1861, na quarta coluna, sob o título “Repartição da Polícia”).
+Um raio atingiu a casa de  Frond sem causar muitos danos (Diário do Rio de Janeiro, de 12 de novembro de 1861, na terceira coluna).
+Foi noticiada com entusiasmo a chegada das últimas 24 vistas para o Brasil Pitoresco – vieram da França no paquete Navarre (Diário do Rio de Janeiro, 19 de novembro de 1861, na primeira coluna).
+Frond fez parte do juri especial de Belas Artes da Exposição Nacional (Jornal do Commercio, de 9 de dezembro de 1861, na quinta coluna). O convite foi feito para amenizar o constrangimento da recusa da direção do evento em expor as litografias do Brasil Pitoresco durante a exposição, com a justificativa que haviam sido produzidas fora do Brasil. A Exposição Nacional foi inaugurada em 2 de dezembro, data do aniversário de Pedro II e terminou em 15 de janeiro de 1862.
+1862 - Apresentou com Cesar Garnier, no ministério da Agricultura, Comércio e Obras Públicas, um projeto de embelezamento do Campo da Aclamação (Jornal do Commercio, de 12 de março de 1862, na sexta coluna).
+O álbum encadernado pela Casa Lombaerts, cujo conteúdo era o Brasil Pitoresco, foi premiado na Exposição Nacional com medalha de prata. Foi doado a Pedro II como lembrança do evento. Está na Biblioteca do Museu Imperial em Petrópolis (Jornal do Commercio, 15 de março de 1862, na segunda coluna).
+Foi publicada uma propaganda da venda de exemplares do Brasil Pitoresco, cuja renda seria revertida para a construção do monumento em homenagem a Charles Ribeyrolles (Jornal do Commercio, de 26 de abril de 1862, na última coluna).
+Foram publicadas críticas ao projeto de embelezamento do Campo da Aclamação apresentado por Frond e Garnier (Semana Ilustrada, de 18 de maio de 1862 e de 25 de maio de 1862).
+Sua esposa, Julie Frond, seus dois filhos e um cunhado partiram para a França (Diário do Rio de Janeiro, de 2 de junho de 1862, na última coluna).
+Em fins de agosto, beneficiado pela anistia incondicional de 1859, Frond já se encontrava em Paris, na França, como editor da Maison Lemercier, na rua de Seine, 57.
+Em Paris, em 7 de setembro, nascimento de Henriette Camille Lucie Laurent, primeira filha do casal Frond que nasceu na França.
+1863 – Numa carta de 25 de maio, o pintor Gustave Courbet (1819-1877) recomendou os serviços de fotógrafo de Frond para o filósofo Pierre-Joseph Proudhon (1809-1865).
+1864 – Entre 1864 e 1869, os álbuns Panthéon des illustrations françaises au dix-neuvième siècle,  primeiro projeto de Frond ligado à Maison Lemercier, foram vendidos por subscrição. A publicação seguiu os moldes da Galeria dos brasileiros ilustres.
+1866 - Frond negociou a venda de quadros de Courbet para o superintendente das Belas Artes dos Museus Imperiais, o conde Alfred Émilien Nieuwerkerke (1811-1892).
+Em 12 de fevereiro, em Paris, nascimento da última filha do casal Frond, Blanche Adrienne Léontine Frond.
+1868 – Foi publicado o livro de Victor Frond, Histoire de la marine française – au XIXe siècle : portraits, biographies, autographes, editado por Abel Pilon.
+1870 – Frond foi reintegrado, pelo decreto de 21 de dezembro de 1870, ao 124º Regimento de Infantaria de Linha como capitão.
+1871 - Foi publicada sua obra, Atas e história do concílio ecumênico de Roma. Em 8 volumes, reunia textos, retratos, manuscritos e assinaturas. Foi editada por Abel Pilon e pela Maison Lemercier.
+Pelo decreto de 7 de fevereiro de 1871, foi nomeado Cavaleiro da Legião de Honra e passou a receber uma pensão de 250 francos. Recebeu a condecoração em 18 de dezembro do mesmo ano.
+Em novembro, foi para a reserva com uma pensão de 1.770 francos. Até meados da década, quando ficou muito doente, exerceu atividades administrativas no Palácio do Eliseu.
+1872 – Em 30 de janeiro, recebeu do papa Pio IX, (1792 – 1878) o título de Comendador da Ordem de Pio IX.
+1877 -  Instalou-se com a família em Varrèddes, cidade francesa do Departamento Seine-et-Marne.
+1878 – Uma versão afim do seu relato autobiográfico foi publicada no Cahiers complémentaire II —déposition des témoins, da Histoire d’un crime, do escritor Victor Hugo.
+Em 17 de setembro, sua doença foi diagnosticada: ele sofria de esclerose cérebro-raquidiana.
+1881 - Em 16 de janeiro de 1881, Victor Frond faleceu em Varrèddes.
+Em 24 de março, foi realizado seu inventário e seus bens inventariados chegaram ao valor de 3.183 francos.
+Foi autorizado pela Lei de Reparação Nacional, de 10 de julho de 1881, um pedido de indenização que Frond havia feito ao governo francês, em 1880, através de um texto manuscrito autobiográfico. Nele Frond se colocava como vítima do golpe de Estado de Luís Napoleão Bonaparte. Na época do pedido de indenização, ele e Julie tinham quatro filhos. Segundo Lygia Segala, é possível que o texto autobiográfico original tenha sido esboçado no contexto de resistência londrino, sendo depois readaptado às exigências do processo já mencionado.
+O Brasil Pitoresco integrou a Primeira Exposição de História do Brasil realizada na Biblioteca Nacional e inaugurada em 2 de dezembro de 1881. A obra foi saudada pelo diretor da instituição, Ramiz Galvão (1846 – 1938), como grande ressurreição do passado e uma previsão do futuro.
+1941 - Na coleção dirigida pelo bibliotecário municipal de São Paulo, Rubens Borba de Moraes (1899 – 1986), denominada Biblioteca Histórica Brasileira, da Livraria Martins de São Paulo, foi lançada a primeira reedição do Brasil Pitoresco, com dois volumes. Foi prefaciada por Affonso d’Escragnolle Taunay (1876 – 1958) com tradução e notas de Gastão Penalva (1887-1944). Integrava uma lista de livros raros.
+1980 - Foi lançada a segunda reedição do Brasil Pitoresco, na Coleção Reconquista do Brasil, dirigida por Mário Guimarães Ferri (1918 – 1985). A reedição foi feita por uma parceira entre a Editora Itatiaia e a Universidade de São Paulo.
+Para realizar essa cronologia biográfica, a Brasiliana Fotográfica consultou inúmeras fontes, principalmente jornais e a tese de doutorado Victor Frond – Luzes sobre um Brasil pitoresco, de Lygia Segala.
+ 
+Andrea C. T. Wanderley
+Editora-assistente e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes: 
+ANDRADE, Joaquim Marçal Ferreira de. A Tecnologia da Fotografia no Século XIX. Rio de Janeiro: Anais Biblioteca Nacional, v. 117, páginas 9 a 29, 1997.
+CANELLAS, Leticia Gregório. Franceses ‘quarante-huitards’ no império dos trópicos (1848-1862). Dissertação de Mestrado apresentada ao Departamento de História do Instituto de Filosofia e Ciências Humanas da Universidade Estadual de Campinas sob a orientação da Prof. Dr. Cláudio Henrique de Moraes Batalha. Este exemplar corresponde à redação final da Dissertação defendida e aprovada pela Comissão Julgadora em 28/02/2007.
+FERREZ, Gilberto; NAEF, Weston J. Pioneer photographers of Brazil: 1840 – 1920. New York: The Center for Inter-American Relations, 1976. 143 p., il. p&b.
+FRANCESCHETTO, Cilmar. Victor Frond – 1860: uma aventura fotográfica pelo itinerário de D. Pedro II na Província do Espírito Santo. IHGES, Vitória (ES), 2015.
+Hemeroteca Digital da Biblioteca Nacional
+IMS. Jean Victor Frond. Gabinete Fotográfico – Rio de Janeiro: IMS, 2004.
+KOSSOY, Boris. Dicionário histórico-fotográfico brasileiro: fotógrafos e ofício da fotografia no Brasil (1833-1910). São Paulo: Instituto Moreira Salles, 2002. 408 p., il. p&b.
+LAGO, Bia Corrêa do;LAGO, Pedro Corrêa do. Coleção Princesa Isabel: fotografia do século XIX. Rio de Janeiro: Capivara, 2008.432p.:il., retrs.
+LAGO, Pedro Corrêa do. Brasiliana Itaú: uma grande coleção dedicada ao Brasil / curadoria da coleção: Pedro Corrêa do Lago, Ruy Souza e Silva. Rio de Janeiro: Capivara, 2009.
+RIBEYROLLES, Charles; FROND, Jean Victor. Brasil Pitoresco. São Paulo: Livraria Martins, 1941.
+SCHWARCZ, Lilia Moritz. As barbas do Imperador: D. Pedro II, um monarca nos trópicos. São Paulo: Companhia das Letras, 1998.
+SEGALA, Lygia. Ensaio das luzes sobre um Brasil pitoresco: o projeto fotográfico de Victor Frond. Tese de doutorado – Programa de Pós-Graduação em Antropologia Social do Museu Nacional. Rio de Janeiro : Universidade Federal do Rio de Janeiro, 1998.
+SEGALA, Lygia. O retrato, a letra e a história: notas a partir da trajetória social e do enredo biográfico de um fotógrafo oitocentista. Revista Brasileira de Ciências Sociais, vol 14 nº 41.
+SILVA, Maria Antonia Couto. Um monumento ao Brasil: considerações acerca da recepção do livro Brasil Pitoresco, de Victor Frond e Charles Ribeyrolles (1859-1861). Tese de Doutorado em História da Arte – Instituto de Filosofia e Ciências Humanas. Campinas : UNICAMP, 2011.
+Site da Enciclopédia Itaú Cultural
+Site de Livros raros da Marinha
+Site do Arquivo Público do Estado do Espírito Santo
+TSCHUDI, Johann Jakob von, 1818-1889. Viagem à província do Espírito Santo: imigração e colonização suíça 1860 / Johan Jacob von Tschudi; posfácio com fotografias inéditas de Victor Frond; [ coordenação editoral e posfácio de Cilmar Franceschetto}. – Vitória : Arquivo Público do Estado do Espírito Santo, 2004. 173 p.: il. – (Coleção Canaã; v.5).
+VASQUEZ, Pedro. Fotógrafos Pioneiros no Rio de Janeiro: V. Frond, G. Leuzinger, M. Ferrez e J. Gutierrez / por Pedro Vasquez. – Rio de Janeiro: Dazibao, 1990.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/2816` — `itens/20.500.12156.1_2816/`
+- `20.500.12156.1/2838` — `itens/20.500.12156.1_2838/`
+
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+---
+id: 38879
+url: "https://brasilianafotografica.bn.gov.br/?p=38879"
+titulo: "Série “Os arquitetos do Rio de Janeiro” VIII – O prédio do Supremo Tribunal Federal, atual Centro Cultural da Justiça Federal; o Museu Nacional de Belas Artes e o arquiteto Adolfo Morales de los Rios (1858 – 1928)"
+autor: "Andrea Wanderley"
+data: "2025-07-01T12:21:06+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/7024", "20.500.12156.1/11514", "20.500.12156.1/10162", "20.500.12156.1/3958", "20.500.12156.1/9546", "20.500.12156.1/7764", "20.500.12156.1/10128"]
+fetched_at: "2026-09-10T10:19:51.123Z"
+---
+
+# Série “Os arquitetos do Rio de Janeiro” VIII – O prédio do Supremo Tribunal Federal, atual Centro Cultural da Justiça Federal; o Museu Nacional de Belas Artes e o arquiteto Adolfo Morales de los Rios (1858 – 1928)
+
+Com fotografias produzidas por Augusto Malta (1864 – 1957), Jorge Kfuri (1893 – 1965), Luiz Musso (18? – 19?), Marc Ferrez (1843 – 1923), pela Papelaria e Typographia Botelho e por fotógrafos ainda não identificados, a Brasiliana Fotográfica publica o oitavo artigo da série Os arquitetos do Brasil, sobre o antigo prédio do Supremo Tribunal Federal, atual Centro Cultural da Justiça Federal; e sobre o Museu Nacional de Belas Artes. Também conta um pouco da história de seu arquiteto, o espanhol Adolfo Morales de los Rios y Garcia de Pimentel  (1858 – 1928). Dos 17 prédios projetados por ele para a Avenida Central, no início do século XX, esses, que são os temas desse artigo, são os únicos que não foram demolidos. Além de arquiteto, Morales de los Rios foi urbanista, professor e historiador. Desempenhou um importante papel na modernização arquitetônica do Brasil em fins do século XIX e primeiras décadas do XX.
+ 
+Edifício do Supremo Tribunal Federal, atual Centro Cultural da Justiça Federal
+ 
+Marc Ferrez. Vista do Supremo Tribunal Federal, c. 1910. Rio de Janeiro, RJ / Acervo IMS
+ 
+A construção do edifício do Supremo Tribunal Federal (STF) foi iniciada, em 1905, e estava integrada ao projeto de reurbanização do Rio de Janeiro, então a capital federal. A princípio, o prédio abrigaria a Mitra Arquiepiscopal, mas foi adquirido pelo governo federal para abrigar o STF, instalado em 3 de abril de 1909 (Brazilian Review, 21 de novembro de 1905, segunda coluna; Gazeta de Notícias, 2 de abril de 1909, terceira coluna). O edifício é um dos mais importantes testemunhos da arquitetura eclética do Brasil.
+ 
+Luiz Musso. Supremo Tribunal Federal, atual Centro Cultural Justiça Federal, c. 1909. Rio de Janeiro, RJ / Acervo IMS
+ 
+O prédio abrigou o STF até 1960, quando o tribunal foi transferido para Brasília, a nova capital do Brasil. Desde então, o edifício sediou o Superior Tribunal Eleitoral, o Tribunal de Alçada e varas da Justiça Federal de 1ª Instância. Após obras de restauração que duraram cerca de sete anos, o prédio foi aberto ao público, em 4 de abril de 2001, como Centro Cultural da Justiça Federal. Foi inaugurado com a exposição permanente Justiça e Cidadania e com a mostra temporária sobre a obra do importante fotógrafo cearense Chico Albuquerque (1917 – 2000), pioneiro da publicidade brasileira na década de 1940. Havia também uma exposição mostrando o prédio antes e depois da restauração (Jornal do Brasil, 4 de abril de 2001, primeira coluna).
+ 
+Acesse aqui o link para as fotografias do antigo prédio do Supremo Tribunal Federal, atual Centro Cultural da Justiça Federal disponíveis na Brasiliana Fotográfica
+ 
+Edifício do Museu Nacional de Belas Artes
+ 
+Marc Ferrez. Museu Nacional de Belas Artes, c. 1912. Rio de Janeiro, RJ / Acervo IMS
+ 
+Em 1908, a sede da Academia Nacional de Belas Artes foi transferida para um edifício também na Avenida Central e também projetado por Adolfo Morales de los Rios. Acredita-se que o desenho original de Morales de los Rios tenha sido modificado pelo escultor Rodolfo Bernadelli (1852 – 1931), que era diretor da escola. De acordo com o “afrancesamento” da Avenida Central, a fachada principal do prédio baseou-se em uma das alas do Museu do Louvre, projetada pelo arquiteto francês Hector-Martin Lefuel (1810 – 1880), que trabalhava para Napoleão III (1808 – 1873). Apresenta medalhões pintados por Henrique Bernardelli (1857 – 1936) retratando integrantes da Missão Francesa e outros artistas brasileiros, além de frontões, colunatas e relevos em terracota representando as grandes civilizações da antiguidade. As fachadas laterais são inspiradas no renascimento italiano e trazem mosaicos realizados pelo francês Félix Gaudin (1851 – 1930), com retratos de artistas famosos.
+Em 1931, a Escola Nacional de Belas Artes foi incorporada à Universidade do Rio de Janeiro, futura Universidade do Brasil, e, a partir de 1937, dividiu o prédio com o Museu Nacional de Belas Artes (MNBA), criado em 13 de janeiro de 1937 por iniciativa de Gustavo Capanema (1900 – 1985), ministro da Educação do governo de Getúlio Vargas (1882 – 1954), e inaugurado em 19 de agosto de 1938. O MNBA possui o maior acervo de obras de arte do século XIX no Brasil, sendo um dos mais importantes museus de arte do país. O edifício foi tombado pelo Instituto do Patrimônio Histórico e Artístico Nacional, em 24 de maio de 1973. Está fechado ao público desde 2020 e passa por uma reforma. Sua reabertura está prevista para fins de 2025. A atual Escola de Belas Artes foi, entre 1974 e 1975, transferida para o prédio Jorge Machado Moreira projetado para a Faculdade de Arquitetura e Urbanismo (FAU), no campus do Fundão, da Universidade Federal do Rio de Janeiro.
+ 
+Acesse aqui o link para as fotografias do Museu Nacional de Belas Artes disponíveis na Brasiliana Fotográfica
+ 
+Jorge Kfuri. A Avenida Rio Branco, com o Teatro Municipal, o Museu Nacional de Belas Artes, a Biblioteca Nacional, o antigo prédio do Supremo Tribunal Federal, atual Centro Cultural da Justiça Federal, 1920. Rio de Janeiro, RJ / Acervo DPHDM
+ 
+Brevíssimo perfil do arquiteto Adolfo Morales de los Rios (1858 – 1928)
+ 
+O “Sanguine” feita ontem especialmente para O Paiz por Cândido Portinari / O Paiz, 5 de setembro de 1928
+ 
+O arquiteto, urbanista, historiador e professor espanhol Adolfo Morales de los Rios y Garcia de Pimentel nasceu em Sevilha, em 10 de março de 1858, filho do capitão-general da Extremadura, de Granada e da Galícia, Adolfo Morales de los Rios e de Salud Pimentel y Garcia de Ambues. Trabalhou, inicialmente, na França, onde conheceu o arquiteto Viollet-le-Duc (1814 – 1879), um dos precursores da arquitetura moderna. Cursou arquitetura na Escola de Belas Artes de Paris, entre 1877 e 1882. Retornou à Espanha onde foi o responsável pelos projetos do Cassino de San Sebastián, do Gran Teatro de Cadiz e do Banco da Espanha, em Madri. Em 1889, aceitou o convite para fundar uma escola de arquitetura no Chile. Passou pelo Brasil para onde retornou, em 1890, devido a problemas políticos que impediram seu estabelecimento no Chile. Veio a convite do arquiteto belga mr. de Mot, encarregado da urbanização de Teresópolis (Correio da Manhã, 4 de setembro de 1928, quinta coluna).
+ 
+“Fui e continuo a ser um bom brasileiro, sem deixar de ser um bom espanhol”.
+Adolfo Morales de los Rios y Garcia de Pimentel
+ 
+No Brasil, participou de obras de saneamento, de construção de estradas, tendo sido presidente e diretor da Companhia Auto-Viação Centro de Minas. Em 1897, passou a lecionar na Escola Nacional de Belas Artes, no Rio de Janeiro. Em 1901, Morales de los Rios lançou a ideia de fazer uma ponte em estrutura metálica para ligar o Rio a Niterói, mas o projeto não saiu do papel.
+Na primeira década do século XX, participou da construção da Avenida Central, cuja abertura foi uma das principais marcas da reforma urbana que ficou conhecida como o bota-abaixo, realizada, entre 1902 e 1906, pelo então prefeito do Rio de Janeiro, Francisco Pereira Passos (1836 – 1913). Essas transformações foram definidas por Alberto Figueiredo Pimentel (1869-1914), autor da seção “Binóculo”, da Gazeta de Notícias, com a máxima “O Rio civiliza-se”, que se tornou o slogan da reforma urbana carioca. Essa intervenção urbana tornou o Rio uma cidade cosmopolita, moderna. Dos mais de 80 prédios da Avenida Central, 17 saíram da prancheta de Morales de los Rios – hoje de seus projetos para a avenida só restaram os prédios que são os tema deste artigo.
+ 
+Fon-Fon, 25 de abril de 1908
+ 
+Morales de los Rios era também interessado em antropologia e tentou compreender ritos de feitiçaria, mitologia e história, e métodos construtivos dos “povos primitivos”, e entre estes estavam os índios brasileiros, que ocuparam um espaço especial em seus estudos, sobretudo em “Ôka, Taba, Tabajara” (MORALES DE LOS RIOS, Adolfo. Ôka, Taba, Tabajara. Documentação manuscrita, IHGB): um “tratado” sobre a arquitetura indígena.
+Em janeiro de 1915, publicou seis artigos intitulados Uma questão importante – A primitiva fundação da cidade no jornal A Noite – 25 de janeiro, 26 de janeiro, 27 de janeiro, 28 de janeiro, 30 de janeiro e 31 de janeiro. Na seção “Reportagens Íntimas” da revista Fon-Fon, publicação de uma entrevista com Morales de los Rios (Fon-Fon, 18 de agosto de 1917).
+Projetou cerca de quatro mil obras no Brasil, dentre elas a Basílica do Imaculado Coração de Maria, no Méier, tombada pelo município, em 2009, e única igreja em estilo neomourisco na cidade; o Palácio São Joaquim, na Rua da Glória, em estilo eclético e construído, em 1918, para ser a residência do primeiro arcebispo do Rio, cardeal pernambucano dom Joaquim Arcoverde Cavalcanti de Albuquerque (1850 – 1930).
+ 
+Basílica do Imaculado Coração de Maria. Méier, Rio de Janeiro / Site Basílica do Imaculado Coração de Maria
+ 
+Faleceu em 3 de setembro de 1928, na Casa de Saúde Pedro Ernesto, no Rio de Janeiro, e foi enterrado no Cemitério São João Batista (Correio da Manhã, 4 de setembro de 1928, quinta coluna; O Paiz, 5 de setembro de 128, primeira coluna; Revista da Semana, 8 de setembro de 1928). Foi casado com Maria Cuadras (18? -19?) e teve um filho, o também arquiteto Adolfo Morales de los Rios Filho (1887-1973), e duas filhas, Eugênia (18? -19?) e Margarita (18? -19?).
+ 
+ 
+Morales de los Rios / Correio da Manhã, 4 de setembro de 1928
+ 
+ 
+Outros prédios projetados por Adolfo Morales de los Rio representados no acervo fotográfico da Brasiliana Fotográfica
+ 
+Jornal O Paiz (demolido)
+Guilherme Santos. Prédio da sede do jornal O Paiz; na Avenida Rio Branco, esquina com a Rua 7 de Setembro, c. 1925. Rio de Janeiro, RJ / Acervo IMS
+ 
+Parque de Diversões da Exposição Internacional do Centenário da Independência do Brasil, em 1922 (demolido)
+Thiele & Kollien. Exposição Internacional do Centenário da Independência – Parque de Diversões, 1922. Rio de Janeiro, RJ / Acervo IMS
+ 
+A convite dos organizadores da Exposição Internacional do Centenário da Independência do Brasil, realizada, em 1922, no Rio de Janeiro, escreveu o artigo Resumo monográfico da evolução da arquitetura no Brasil (1922/1923), que foi publicado no Livro de Ouro Comemorativo do Centenário da Independência e da Exposição Internacional do Rio de Janeiro – pág 97 a 103.
+ 
+Palácio São Joaquim, construído entre 1912 e 1918
+Marc Ferrez. Palácio São Joaquim, c. 1912. Rio de Janeiro, RJ / Acervo IMS
+ 
+ 
+Andrea C.T. Wanderley
+Editora e pesquisadora da Brasiliana Fotográfica
+ 
+Fontes:
+Hemeroteca Digital da Biblioteca Nacional
+O GLOBO, 3 de janeiro de 2016 e 30 de junho de 2024
+RAMOS, Renato Menezes (org.). O Restaurante Assyrio é Persa… e o Café Mourisco também, de Adolfo Morales de los Rios: Comentários e Anotações. 19&20, Rio de Janeiro, v. VI, n. 2, abr./jun. 2011
+RICCI, Claudia Thurler. Sob a inspiração de Clio: O Historicismo na obra de Morales de los Rios. 19&20, Rio de Janeiro, v. II, n. 4, out. 2007.
+Site Centro Cultural da Justiça Federal
+Site Enciclopédia Itáu Cultural
+Site Ibram
+Site Instituto Moreira Salles
+Site Museus do Rio
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/7024` — `itens/20.500.12156.1_7024/`
+- `20.500.12156.1/11514` — `itens/20.500.12156.1_11514/`
+- `20.500.12156.1/10162` — `itens/20.500.12156.1_10162/`
+- `20.500.12156.1/3958` — `itens/20.500.12156.1_3958/`
+- `20.500.12156.1/9546` — `itens/20.500.12156.1_9546/`
+- `20.500.12156.1/7764` — `itens/20.500.12156.1_7764/`
+- `20.500.12156.1/10128` — `itens/20.500.12156.1_10128/`
+
diff --git a/wordpress/38895-serie-os-diarios-associados-na-brasiliana-fotografica-vi-o-balanca-mas-nao-cai-p.md b/wordpress/38895-serie-os-diarios-associados-na-brasiliana-fotografica-vi-o-balanca-mas-nao-cai-p.md
new file mode 100644
index 0000000..6434000
--- /dev/null
+++ b/wordpress/38895-serie-os-diarios-associados-na-brasiliana-fotografica-vi-o-balanca-mas-nao-cai-p.md
@@ -0,0 +1,60 @@
+---
+id: 38895
+url: "https://brasilianafotografica.bn.gov.br/?p=38895"
+titulo: "Série “Os Diários Associados na Brasiliana Fotográfica” VI – O “Balança-mas-não-cai” por Cássio Loredano"
+autor: "Andrea Wanderley"
+data: "2025-03-28T08:52:38+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/13327", "20.500.12156.1/11688", "20.500.12156.1/9662", "20.500.12156.1/11683"]
+fetched_at: "2026-09-10T10:19:54.179Z"
+---
+
+# Série “Os Diários Associados na Brasiliana Fotográfica” VI – O “Balança-mas-não-cai” por Cássio Loredano
+
+Pela terceira vez o jornalista e caricaturista Cássio Loredano escreve para a Brasiliana Fotográfica. Desta vez, o assunto do sexto artigo da série Os Diários Associados na Brasiliana Fotográfica é o prédio “Balança-mas-não-cai”. Cássio conta um pouco da história do emblemático complexo de três edifícios localizado, na Avenida Presidente Vargas, inaugurada no Centro do Rio de Janeiro, em 7 de setembro de 1944 (Jornal do Brasil, 8 de setembro de 1944). Também estão destacadas imagens de igrejas que foram demolidas para a construção da avenida. O acervo fotográfico dos Diários Associados – Rio de Janeiro, foi incorporado, em 2016, por um dos fundadores da Brasiliana Fotográfica, o Instituto Moreira Salles (IMS).
+O “Balança-mas-não-cai” por Cássio Loredano
+Cássio Loredano*
+ São três aqueles prédios da avenida Presidente Vargas, no Rio, que a cidade se acostumou a ver como único e a que deu apelido no singular: “Balança”, na intimidade; por extenso, “Balança-mas-não-cai”. São esses siameses os edifícios Prefeito Frontin, Maipú e Onze de Junho. Existem na coleção Diários Associados do acervo do Instituto Moreira Salles ao menos três imagens mostrando que o conjunto formado pela pequena quadra entre a avenida e as ruas Santana, Gustavo Barroso e Frederico Silva subiu um terço de cada vez, três fotos que comunicam a quem as vê uma sensação esquisita de desconforto: como assim aquilo não ter sido desde sempre uma coisa só?
+
+A foto em que aparece apenas um dos prédios, o Prefeito Frontin, é do desfile militar que acontece todo 7 de setembro, neste caso o de 1947.
+ 
+Dia da Independência do Brasil Sete de Setembro, 7 de setembro de 1947. Rio de Janeiro, RJ / Diários Associados (RJ) – Acervo IMS
+ 
+E as que mostram já dois, faltando ainda o Maipú no meio, são as duas de 1951; uma do Carnaval e a outra de pouco depois, em maio, com uma formação de cadetes da Aeronáutica alinhada tendo às costas o Campo de Santana, portanto de frente para o palácio Duque de Caxias, atual comando militar do leste.
+ 
+Carnaval 1951, c. fevereiro de 1951. Praça Onze, Rio de Janeiro /  O Jornal,  4 de fevereiro de 1951
+ 
+Aviação – Exame de admissão para Aeronáutica, maio de 1951. Centro, Rio de Janeiro / Diários Associados (RJ) – Acervo IMS
+ 
+
+A avenida Presidente Vargas foi aberta na administração do prefeito Henrique Dodsworth, entre 1941 e 1944, arrasando tudo o que estava entre as velhas ruas de São Pedro e do Sabão e, mais adiante, entre Senador Eusébio e Visconde de Itaúna, ao longo do canal do Mangue. Foram vitimados nesse percurso parte do Campo de Santana e a praça Onze de Junho e os largos de São Domingos e do Capim, os três últimos completamente apagados da cartografia. E – aqui já criminosamente – as igrejas do Bom Jesus do Calvário, São Domingos e sobretudo a jóia de inexcedível beleza e importância arquitetônica que era a de São Pedro dos Clérigos.
+ 
+Igreja da Venerável Ordem Terceira do Senhor Bom Jesus Calvário c. 1915. Rio de Janeiro, RJ / Acervo IMS
+ 
+Augusto Malta. Igreja de Santo Domingos, 1926. Rio de Janeiro, RJ / Acervo IMS
+ 
+Igreja de São Pedro dos Clérigos, c. 1922. Rio de Janeiro, RJ / Acervo IMS
+ 
+Para os paredões que se projetou construir ao longo do novo corredor, estabeleceu-se o gabarito de 22 andares para edifícios de lojas e sobrelojas bem recuadas em relação às fachadas superiores apoiadas sobre pilotis. Critérios observados à risca também pelo “Balança”.
+ 
+Transferida a capital da República para o planalto central apenas dezesseis anos depois de aberta a avenida, teve início o gradual esvaziamento funcional e econômico do Rio. Arrefeceu o inicial entusiasmo incorporador, que só teve fôlego, do lado ímpar, da Candelária até a esquina da rua Uruguaiana, e, do par, até pouco depois da avenida Passos. De forma que o “Balança”, residencial, erguido muito mais longe, ficou completamente isolado de seus primos-ricos de escritórios do começo da avenida. E próximo demais da zona do meretrício do canal do Mangue. Isolamento aquele e proximidade esta as razões de ir sendo então parcialmente ocupado por agentes do lenocínio e do tráfico ilegal de drogas, com os delitos de que essas atividades costumam se fazer acompanhar.
+ 
+Daí o apelido. “Balança-mas-não-cai” foi um programa humorístico semanal de Haroldo Barbosa e Max Nunes na Rádio Nacional, entre 1950 e 1967. Divertia a audiência com piadas sobre a convivência caótica nesses cortiços modernos surgidos com a verticalização urbana.
+ 
+Programa Balança-mas-não-cai / Youtube
+ 
+Ultimamente, iniciou-se uma lenta retomada imobiliária da avenida, agora já não mais tomando conhecimento do gabarito original. Chegou o Sambódromo, chegaram oito novos edifícios, entre eles o dos Correios, o Arquivo da Cidade e o “Piranhão”, centro administrativo da prefeitura. Chegaram o metrô Estácio e Cidade Nova. Povoaram-se as ruas, encheram-se de comércio e casas de pasto onde aquele formigueiro de funcionários tem que almoçar. Tudo ficou mais caro, aluguéis, por exemplo, fator este que também espanta a turma que vive de expedientes menos rendosos. O “Balança” está menos isolado e um tanto mais seguro. Os aluguéis no Prefeito Frontin oscilam entre R$1.500 e R$2.000 em andar mais alto, condomínio a R$450. No 4º andar esteve um apartamento à venda por R$270 mil e outro no 13º  por R$450 mil. No Maipú é tudo mais em conta. No Onze de Junho, mais silencioso ao ser de fundos, um quarto-e-sala está na base de R$1.200 o aluguel, e R$1.500 um 2-quartos, condomínio a R$540.
+ 
+* Cássio Loredano é jornalista e caricaturista. E, sobretudo, um apaixonado pelo Rio de Janeiro e suas histórias.
+
+Assista aqui a entrevista que o Arquivo Geral da Cidade do Rio de Janeiro, uma das instituições parceiras da Brasiliana Fotográfica, fez com Cássio Loredano, em 24 de setembro de 2024, a 41ª edição dos Depoimentos Cariocas, a série que vem registrando as memórias e reflexões de cariocas sobre o Rio de Janeiro. Foi gravada no apartamento de Cássio, no bairro de Laranjeiras, e foi conduzida pelo Coordenador de Promoção Cultural do Arquivo, Pedro Paulo Malta, com participações especiais do jornalista Álvaro Costa e Silva, do professor e crítico de arte Luiz Camillo Osorio e do cartunista Miguel Paiva.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/13327` — `itens/20.500.12156.1_13327/`
+- `20.500.12156.1/11688` — `itens/20.500.12156.1_11688/`
+- `20.500.12156.1/9662` — `itens/20.500.12156.1_9662/`
+- `20.500.12156.1/11683` — `itens/20.500.12156.1_11683/`
+
diff --git a/wordpress/39000-o-rio-de-janeiro-e-a-nova-capital-mundial-do-livro.md b/wordpress/39000-o-rio-de-janeiro-e-a-nova-capital-mundial-do-livro.md
new file mode 100644
index 0000000..b33ec48
--- /dev/null
+++ b/wordpress/39000-o-rio-de-janeiro-e-a-nova-capital-mundial-do-livro.md
@@ -0,0 +1,84 @@
+---
+id: 39000
+url: "https://brasilianafotografica.bn.gov.br/?p=39000"
+titulo: "O Rio de Janeiro é a nova Capital Mundial do Livro"
+autor: "Andrea Wanderley"
+data: "2025-04-23T00:27:07+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/3310", "20.500.12156.1/6963", "20.500.12156.1/1795"]
+fetched_at: "2026-09-10T10:19:57.525Z"
+---
+
+# O Rio de Janeiro é a nova Capital Mundial do Livro
+
+Hoje, quando é comemorado o Dia Mundial do Livro e do Direito de Autor, o Rio de Janeiro assume o posto de Capital Mundial do Livro. É a primeira cidade de língua portuguesa escolhida para receber este título, um reconhecimento da excelência de seus programas de promoção da leitura. Atualmente, a língua portuguesa é falada por cerca de 280 milhões de pessoas distribuídas por todos os continentes, sendo o quarto idioma mais falado no mundo como língua materna. No dia 5 de maio é celebrado o Dia da Língua Portuguesa nas Nações Unidas.
+A cerimônia da entrega do título ao prefeito do Rio de Janeiro, Eduardo Paes (1969-), pelas mãos da prefeita de Estrasburgo, Jeanne Barseghian (1980-) aconteceu no Teatro Carlos Gomes, na Praça Tiradentes. Foi realizado um espetáculo musical que narrou a história da língua portuguesa e reverenciou grandes nomes da literatura. A celebração misturou tecnologia, literatura e expressões artísticas populares.
+Em sua fala, o prefeito destacou a Biblioteca Nacional, uma das instituições fundadoras da Brasiliana  Fotográfica e a mais antiga instituição cultural do Brasil, criada por dom João VI (1767 – 1826), em 1810. Possui um acervo de cerca de 9 milhões de itens e foi considerada pela UNESCO como uma das principais bibliotecas nacionais do mundo.
+“— É um ano fundamental. O Rio já foi capital de muita coisa. Agora, é capital dos leitores — afirmou Paes. — Temos o Real Gabinete Português, a Biblioteca Nacional, a Academia Brasileira de Letras. Os grandes escritores brasileiros todos passaram por aqui.”.
+A escolha do Rio de Janeiro como Capital Mundial do Livro foi feita pela UNESCO – Organização das Nações Unidas para Educação, Ciência e Cultura -, que desde 2001 designa uma cidade “que se compromete a realizar atividades com o objetivo de incentivar uma cultura de leitura e difundir os valores da Rede em todas as idades e grupos populacionais, dentro e fora das fronteiras nacionais. Através do programa WBC, a UNESCO reconhece o compromisso de uma cidade em promover livros e fomentar a leitura durante um período de 12 meses (entre um Dia Mundial do Livro e dos Direitos de Autor, 23 de Abril, e o seguinte), bem como no futuro”.
+A Associação Internacional de Editores (IPA), a Federação Europeia e Internacional de Livreiros (EIBF), o Fórum Internacional de Autores (IAF) e a Federação Internacional de Associações de Bibliotecas (IFLA) são membros do Comitê Consultivo da Capital Mundial do Livro da UNESCO. Por ter sido escolhida Capital Mundial do Livro, o Rio de Janeiro entra para uma rede de cooperação internacional com as cidades dos anos anteriores.
+ 
+Carta enviada pela UNESCO à Prefeitura do Rio de Janeiro, informando sobre a escolha da cidade para ser a Capital do Livro de 2025, 4 de outubro de 2023
+ 
+A Brasiliana Fotográfica celebra esse evento destacando uma fotografia da sala de trabalho da Seção de Impressos da antiga sede da Biblioteca Nacional, que ficava na Rua do Passeio. A imagem faz parte do Album de vistas da Bibliotheca Nacional, de autoria de Antonio Luiz Ferreira (18? – 19?).
+ 
+Antonio Luiz Ferreira. Biblioteca Nacional na Rua do Passeio : sala de trabalho da Secção de Impressos, 1902. Rio de Janeiro, RJ / Acervo FBN
+ 
+Pouco se sabe, até o momento, da vida  pessoal de Antonio Luiz Ferreira. Provavelmente iniciou suas atividades como fotógrafo na década de 1880 e o último registro da existência de seu ateliê fotográfico verificado pela pesquisa da Brasiliana Fotográfica é de 1904. Apesar de sua carreira discreta, Ferreira é considerado um importante fotógrafo do século XIX por ter documentado cenas ligadas às celebrações pela abolição da escravatura em 1888 como a Assinatura da Lei Áurea no Paço Imperial, em 13 de maio de 1888; e a Missa Campal de 17 de maio de 1888. As imagens captadas por ele nessas ocasiões tão marcantes da história do país caracterizaram-se pela expressividade dos rostos retratados, decorrência, provavelmente, da relevância do acontecimento histórico e do fascínio causado pela própria presença da câmara fotográfica.
+Em 1902, foram publicados dois álbuns realizados por Antonio Luiz Ferreira, que havia sido contratado para documentar o edifício sede da Biblioteca Nacional, na Rua do Passeio, onde a instituição permaneceu até 1910. Um, com as cópias em papel albuminado e outro, com as cópias produzidas em platina, que apresentam melhores atributos de estabilidade e permanência.
+ 
+Retrospectiva das cidades que já foram Capital Mundial do Livro
+2001 – Madri, Espanha
+  2002 – Alexandria, Egito
+2003 – Nova Deli, Índia
+    2004 – Antuérpia, Bélgica
+2005 – Montreal, Canadá
+2006 – Turim, Itália
+2007 – Bogotá, Colômbia
+2008 – Amsterdã, Holanda
+2009 – Beirute, Líbano]
+2010 – Liubliana, Eslovênia
+2011 – Buenos Aires, Argentina
+2012 – Erevan, Armênia
+2013 – Bangkok, Tailândia
+2014 -Port Harcourt, Nigéria
+2015 – Incheon, Coreia do Sul
+2016 – Breslávia, Polônia
+2017 – Conacri, Guné
+2018 – Atenas, Grécia
+2019 – Xarja, Emirados Árabes Unidos
+2020 – Kuala Lumpur, Malásia
+2021 – Tbilisi, Geórgia
+2022 – Guadalajara, México
+2023 – Acra, Gana
+2024 – Estrasburgo, França
+ 
+Ao longo do próximo ano, uma extensa programação focada em livros e literatura vai tomar acontecer no Rio de Janeiro. Será ancorada por cinco grandes ações: a Bienal do Livro, a Noite com Livros, o Book Parade Rio 2025, o Rio de Livros e a Academia Editorial Jr.. Haverá também uma inédita edição carioca do Prêmio Jabuti, além da Festa Literária Internacional de Paraty (Flip) e outras festas e feiras, como as de Santa Teresa e de Santa Cruz.
+A marca, lançada no dia 11 de abril de 2025 em uma cerimônia no Real Gabinete e Leitura , e o slogan do evento foram escolhidos pela Academia Brasileira de Letras. O Rio de Janeiro continua lendo faz referência ao clássico Aquele Abraço, do imortal Gilberto Gil.
+ 
+
+ 
+A próxima Capital Mundial do Livro será Rabat, em Marrocos.
+ 
+Andrea C.T. Wanderley
+Editora e pesquisadora da Brasiliana Fotográfica
+ 
+Esse artigo foi atualizado em 24 de abril de 2025.
+ 
+Fontes:
+Extra, 12 de abril de 2025
+O GLOBO, 10 de abril de 2025
+O GLOBO, 23 de abril de 2025
+Site G1
+Site IPA
+Site Prefeitura do Rio de Janeiro
+Site UNESCO
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/3310` — `itens/20.500.12156.1_3310/`
+- `20.500.12156.1/6963` — `itens/20.500.12156.1_6963/`
+- `20.500.12156.1/1795` — `itens/20.500.12156.1_1795/`
+
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+---
+id: 39116
+url: "https://brasilianafotografica.bn.gov.br/?p=39116"
+titulo: "Série “Avenidas e ruas do Brasil” XX – Na janela de sua residência na Rua do Curvelo, em Santa Teresa, o poeta Manuel Bandeira fotografado por Horacio Coppola"
+autor: "Andrea Wanderley"
+data: "2025-10-16T10:03:50+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/13399", "20.500.12156.1/13398", "20.500.12156.1/10080", "20.500.12156.1/10585"]
+fetched_at: "2026-09-10T10:20:01.029Z"
+---
+
+# Série “Avenidas e ruas do Brasil” XX – Na janela de sua residência na Rua do Curvelo, em Santa Teresa, o poeta Manuel Bandeira fotografado por Horacio Coppola
+
+Série Avenidas e ruas do Brasil XX – Na janela de sua residência na Rua do Curvelo, em Santa Teresa, o poeta Manuel Bandeira fotografado por Horacio Coppola*
+ 
+O poeta e escritor pernambucano Manuel Bandeira (1886 – 1968), expoente da literatura brasileira e presença essencial na consolidação da poesia modernista, foi retratado na Rua do Curvelo, em Santa Teresa, pelo fotógrafo argentino Horacio Coppola (1906 – 2012), provavelmente, segundo os professores Jorge Schwarcz (1944-) e Mauricio Lissovsky (1958 – 2022) (1), em 1931, quando, voltando da Europa, esteve no Rio de Janeiro, em Santos e em Salvador. Os dois registros de Coppola que destacamos no vigésimo artigo da série Avenidas e ruas do Brasil, fazem parte do acervo do Instituto Moreira Salles, uma das instituições fundadoras da Brasiliana Fotográfica. Há ainda, no fim do artigo, uma seleção de fotografias de autoria de Georges Leuzinger (1813 – 1892) e de Marc Ferrez (1843 – 1923) produzidas a partir da Rua do Curvelo, além de uma produzida por Augusto Malta (1864 – 1957).
+ 
+Horacio Coppola. Manuel Bandeira, década de 1930. Santa Teresa, Rio de Janeiro, RJ /Acervo IMS)
+ 
+Além de um conjunto clássico das fotografias de Buenos Aires feitas por Coppola na década de 1930, o IMS guarda registros das esculturas de Aleijadinho (1738 – 1814) e outras imagens do Brasil.
+ 
+Acesse aqui as fotos disponíveis no portal do IMS das esculturas de Aleijadinho realizadas por Coppola durante sua viagem a Congonhas do Campo e Ouro Preto, em 1945.
+ 
+Bandeira foi retratado na janela de sua moradia, na Rua do Curvelo, nº 51, em Santa Teresa, no Rio de Janeiro. As duas fotografias foram tiradas de cima, da casa nº56 da Rua do Curvelo, onde residiam a psiquiatra Nise da Silveira (1905 – 1999), e seu marido, o médico sanitarista Mário Magalhães da Silveira (1905 – 1986).
+ 
+Nise e Mário da Silveira / Acervo de Nise da Silveira
+ 
+Em uma das imagens, o poeta está sorrindo; na outra, estende a mão para uma moça que olha para Coppola:
+Na calçada, uma jovem negra para diante da janela em que o poeta apareceu de pijama, com uma xícara de café. Coppola observa tudo à distância do outro lado da rua. Não sabemos sobre o que conversaram a moça e o poeta. Também não sabemos se Coppola ouviu falar das cidades mineiras naquele momento ou se algum dia leu o soneto que Bandeira escandiu em alexandrinos rimados. Mas percebemos pela fotografia que a noite já vinha chegando “de mansinho”, e que as mãos do poeta e da moça se tocam sobre o beiral da janela. Ela olha para o fotógrafo bem na hora do clique. Sua sombra desliza na calçada da Rua do Curvelo enquanto avulta sobre as pedras lavradas de Ouro Preto, a sombra descomunal da mão do Aleijadinho (LISSOVSKY, 2019).
+ 
+Horacio Coppola. Manuel Bandeira, década de 1930. Santa Teresa, Rio de Janeiro, RJ /Acervo IMS
+ 
+Àquela altura, o poeta, no ano em que completou 45 anos, já havia publicado os importantes livros A Cinza das Horas (1917), Horas (1917), Carnaval (1919), Poesias, reunindo os dois primeiros acrescido de Ritmo Dissoluto (1924); e Libertinagem (1930). Neste último, estão os poemas Evocação ao Recife e Vou-me embora pra Pasárgada. Também em 1930, o artista pernambucano Cícero Dias (1907 – 2003) pintou o Retrato de Manuel Bandeira. Também fez  um desenho contemplando a Pasárgada e seu autor.
+ 
+Publicado em O Jornal, 30 de abril de 1967
+ 
+Foi, provavelmente, Bandeira quem apresentou Coppola ao poeta, ficcionista, ensaísta e musicista paulistano Mário de Andrade (1893 – 1945) e a outros artistas do Modernismo brasileiro, em 1931.
+Alguns anos depois, em 1940, Bandeira tornou-se membro da Academia Brasileira de Letras. Foi o terceiro ocupante da Cadeira 24, tendo sido eleito em 29 de agosto de 1940, na sucessão de Luís Guimarães Filho. Foi recebido, em 30 de novembro de 1940, pelo acadêmico Ribeiro Couto (1898 – 1963), seu vizinho em Santa Teresa. Faleceu em 13 de outubro de 1968. Produziu, ao longo de seus 82 nos de vida, uma vasta obra que se tornou uma referência da literatura brasileira. Foi também professor e tradutor.
+ 
+Caricatura de Manuel Bandeira realizada pelo japonês Foujita (1886 – 1968), em 1932 / Acervo do Centrode Literatura Brasileira da Fundação Casa de Rui Barbosa (Rio de Janeiro, RJ)
+ 
+A Rua do Curvelo e o modernismo brasileiro
+ 
+A Rua do Curvelo foi aberta, pelo decreto de 17 de junho de 1869, nas terras de Joaquim José de Meireles Ferreira, o barão do Curvelo. Passou a chamar-se Dias de Barros, em 15 de abril de 1931, pelo decreto de alteração de denominações nº 3647.
+Em 1920, com 34 anos, Bandeira foi morar na Rua do Curvelo, aonde residiria até 1933. Inicialmente, ocupou a casa nº 53. Em 1923, morava na mesma rua, mas no número 43. No ano seguinte, seu endereço era rua do Curvelo, 51
+“O morro do Curvelo (2) entrava, sem saber, na tradição literária. Um grande poeta ali morava: ali tomaria contato com a vida popular, observando, morro abaixo, os quintais efervescentes da rua Cassiano; ali permaneceria os melhores anos e os mais fecundo da criação poética”.
+Rui Ribeiro Couto (3),
+De menino doente a rei de Pasárgada in Três retratos de Manuel Bandeira, 2004
+ 
+Manuel Bandeira e Ribeiro Couto, na posse de Bandeira na Academia Brasileira de Letras, 30 de novembro de 1940
+ 
+“A rua do Curvelo ensinou-me muitas coisas. Couto foi avisada testemunha disso e sabe que o elemento de humilde cotidiano que começou desde então a se fazer sentir em minha poesia não resultava de nenhuma intenção modernista. Resultou, muito simplesmente, do ambiente do morro do Curvelo”.
+ Manuel Bandeira,
+Itinerário de Pasárgada in Poesia e Prosa, 1958
+ 
+Segundo Elvia Bezerra, pesquisadora de literatura brasileira e autora do livro A trinca do Curvelo (2026), os anos em que residiu na Rua do Curvelo foram fundamentais na formação e no destino de Manuel Bandeira.
+“Bandeira era um homem da intensidade, mas não do exagero. Se ele disse que aquela rua foi tão importante na sua formação e no seu destino de poeta, vale a pena investigar o que tinha nessa rua. O que aconteceu de muito especial é que o humilde cotidiano, como ele designou, da rua do Curvelo veio ao encontro das tendências modernistas – tanto que ele diz que foi modernista da maneira mais natural possível, e é a pura verdade. É um casamento da rua com a tendência modernista e com a personalidade do próprio Bandeira, que era um homem simples. Ele se divertia com a vida que havia naquele momento e que o chamava lá fora”.
+Elvia Bezerra, janeiro de 2026
+ 
+Cronologia de Manuel Bandeira
+ 
+Manuel Bandeira por Cássio Loredano
+ 
+A cronologia abaixo foi baseada na estabelecida pelo próprio poeta em 1966 e foi na publicada pela Folha de São Paulo, em 13 de outubro de 2008, data que marcava os 40 anos da morte de Bandeira
+1886 - Nasce no Recife, em 19 de abril.
+1896-1902 – No Rio de Janeiro, cursa o Externato do Ginásio Nacional (depois, Colégio Pedro II). Encontro fortuito com Machado de Assis, com quem conversa sobre Camões. Publicação do primeiro poema, um soneto alexandrino, na primeira página do Correio da Manhã.
+1903-1904 – Vai para São Paulo, onde se matricula na Escola Politécnica. Adoece do pulmão no fim do ano letivo (1904) e abandona os estudos.
+1913 - Embarca em junho para a Europa, a fim de tratar sua tuberculose no sanatório de Clavadel (de onde retorna em 1914). Organiza seu primeiro livro, Poemetos Melancólicos, mas esquece os originais no sanatório.
+1916 - Falece a mãe.
+1917 – Publica seu primeiro livro – A Cinza das Horas, edição de 200 exemplares, custeada pelo autor.
+1918 – Falece a irmã, que tinha sido sua enfermeira desde 1904.
+1919 – Publicação de Carnaval, custeada pelo pai. O livro entusiasma a geração paulista que iniciava a revolução modernista.
+1920 – Falece o pai. Muda-se para a rua do Curvelo, onde já morava Ribeiro Couto.
+1921 – Conhece Mário de Andrade.
+1922 – Falece o irmão.
+1924 – Publicação do volume Poesias, incluindo os dois livros anteriores acrescidos de O Ritmo Dissoluto.
+1930 – Publicação de Libertinagem. Edição de 500 exemplares, custeada pelo poeta.
+1936 - Publicação de A Estrela da Manhã (47 exemplares) e Crônicas da Província do Brasil. Por iniciativa dos amigos, sai o livro Homenagem a Manuel Bandeira, no cinquentenário do poeta.
+1937 – Publicação, pela Civilização Brasileira, das Poesias Escolhidas, selecionadas pelo poeta, que também ouviu conselhos de Mário de Andrade. Sai a Antologia dos Poetas Brasileiros da Fase Romântica. Ganha o prêmio de poesia da Sociedade Felipe d’Oliveira.
+1938 – Nomeado professor de literatura do Colégio Pedro II. Publicação da Antologia dos Poetas Brasileiros da Fase Parnasiana e do Guia de Ouro Preto.
+1940 – Ingresso na Academia Brasileira de Letras. Primeira publicação, pela Cia. Carioca de Artes Gráficas, das Poesias Completas, com o acréscimo de Lira dos Cinqüent’Anos. Publicação de Noções de História das Literaturas e, em separata, de A Autoria das Cartas Chilenas.
+1943 - Deixa o Colégio Pedro II e é nomeado professor de literatura hispano-americana na Faculdade Nacional de Filosofia.
+1944 - Nova edição das Poesias Completas.
+1945 – Publica Poemas Traduzidos, com ilustrações de Guignard.
+1946 – Publica Apresentação da Poesia Brasileira e Antologia dos Poetas Bissextos Contemporâneos.
+1948 - Nova edição das Poesias Completas, pela Casa do Estudante do Brasil, com o acréscimo de Belo Belo. Nova edição das Poesias Escolhidas, pela Pongetti. Primeira edição de Mafuá do Malungo, impressa em Barcelona por João Cabral de Melo Neto. Nova edição aumentada dos Poemas Traduzidos (Editora Globo, de Porto Alegre). Edição crítica das Rimas, de José Albano.
+1949 - Publica Literatura Hispano-Americana. Traduz sóror Juana Inés de la Cruz (El Divino Narciso).
+1952 – Publica Opus 10, pela Editora Hipocampo.
+1954 - Publica os livros Itinerário de Pasárgada e De Poetas e de Poesia.
+1955 - Publica 50 Poemas Escolhidos Pelo Autor (MEC). Traduz Maria Stuart, de Schiller. Nova edição das Poesias Completas, pela José Olympio.
+1956 – Escreve para a Enciclopédia Delta-Larousse um estudo sobre a versificação em língua portuguesa. Traduz Macbeth, de Shakespeare.
+1957 – Publicação do livro de crônicas Flauta de Papel. Embarca em julho para a Europa. Visita a Holanda, Londres e Paris. Regressa ao Rio em novembro.
+1958 - A Aguilar edita as obras completas em dois volumes: Poesia (que contém a primeira edição de Estrela da Tarde) e Prosa.
+1963 – A José Olympio reedita Estrela da Tarde, acrescida de muitos poemas. Traduz O Círculo de Giz Caucasiano, de Brecht.
+1966 – Primeira publicação da Estrela da Vida Inteira, pela José Olympio. Pela mesma casa, sai, organizada por Carlos Drummond de Andrade, Andorinha, Andorinha, reunião de crônicas do poeta.
+1968 – Falece no Rio de Janeiro, no dia 13 de outubro.
+
+Manuel Bandeira por Emiliano Di Cavalcenti, em 1922. Nanquim s/ papel /Site MAC
+ 
+Brevíssimo perfil de Horacio Coppola (1906 – 2012)
+ 
+O fotógrafo argentino Horacio Coppola (1906 – 2012) / Wikipedia
+ 
+Voltamos a Horacio Coppola, autor das duas fotografias de Bandeira publicadas neste artigo. Filho de imigrantes italianos, nasceu em Buenos Aires, em 31 de julho de 1906. Autodidata, começou a fotografar por influência de seu irmão, Armando, em fins da década de 1920, tendo como referência nomes como Félix Nadar (1820 – 1910) e Edward Weston (1886 – 1958). Em 1929, participou do primeiro salão modernista da capital argentina. Na ocasião, a palestra proferida pelo arquiteto suíço Le Corbusier (1887 – 1965), La mirada de las casas tradicionales de Buenos Aires como formas abstractas, influenciou decisivamente seu trabalho. “A partir daí, incorporou permanentemente, em suas fotografias, a noção modernista da perspectiva e dos pontos de fuga, enfatizando as linhas e os ângulos geométricos das fachadas, passeios e terraços do centro que se urbanizava” (Portal IMS). Também, em 1929, foi o fundador, com o cineasta León Klimovsk (1906 – 1996), do primeiro cineclube argentino.
+“Eles são os olhos que viram um século.” Assim o descreveu certa vez Juan Manuel Bonet, responsável pela exposição que se realizou no Instituto Valenciano de Arte Moderna (IVAM) em 1996, exposição que catapultou a sua obra para os mais prestigiados museus e galerias da Europa” (La Nation, 2011).
+Suas primeiras fotos de Buenos Aires, realizadas em 1929, ilustraram a primeira edição do ensaio Evaristo Carriego (1930), de autoria do poeta Jorge Luis Borges (1899 – 1986), de quem era amigo.
+ 
+Palermo e Jean Jaurès esquina Paraguay, uma das fotos de Coppola que ilustrou o ensaio Evaristo Carriego, de Jorge Luis Borges, 1929 / Site Malba
+ 
+Em 1932, em sua segunda viagem a Europa, fixou-se em Berlim, onde estudou no Departamento de Fotografia da Bauhaus, dirigido por  Walter Peterhans (1897 – 1960). Realizou com o diretor de teatro Walter Auerbach (1905 – 1975) o curta-metragem Traum (1933) e trabalhou no Studio ringl + pit com a fotógrafa alemã Greta Stern (1904 – 1999), uma das fundadoras do estabelecimento e sua futura esposa. A outra fundadora foi Ellen Auerbach (1906 – 2004).
+ 
+Autorretrato de Greta Stern, 1956
+ 
+Em 1933, a Bauhaus foi fechada e o casal deixou a Alemanha temendo a perseguição nazista. Stern se estabeleceu em Londres, onde realizou fotografias que se tornaram icônicas como, por exemplo, as de Bertold Brecht (1898 – 1956) e Karl Korsch (1886 – 1961). Após viajar pela Europa, Coppola se juntou a Stern em Londres, onde buscou uma linguagem modernista para suas fotografias da cidade, onde alternavam-se preocupação social e atmosfera surrealista.
+Ele fotografou obras de arte suméria nos museus do Louvre e Britânico e este material foi publicado no livro L’Art de la Mesopotamie, em 1935, ano em que ele e Stern se casaram e passaram a viver em Buenos Aires. O casal importou as lições da Bauhaus para a América Latina. Realizaram a convite de Victoria Ocampo (1890 – 1979), então a primeira dama da cultura e das artes na Argentina, uma exposição nos escritórios da revista de vanguarda Sur, anunciando a chegada da fotografia moderna na Argentina.
+Horacio produziu, a pedido da prefeitura, o álbum Buenos Aires 1936 (Visão Fotográfica) (1936), comemorativo dos 400 anos da cidade. O livro foi prefaciado por Alberto Presbisch (1899 – 1970), precursor da arquitetura moderna argentina; e pelo escritor Ignacio Anzoátegui (1905 – 1978).
+ 
+Horacio Coppola. Nocturno. Calle Corrientes desde Reconquista hasta Plaza de la República (centro), in Buenos Aires 1936: Quarto centenário de sua fundação, 1936
+ 
+Em 1937, ele e Greta abriram um estúdio fotográfico. Se separaram em 1943 e, dois anos depois, Coppola fotografou as obras de Aleijadinho nas cidades históricas mineiras, no Brasil. Recebeu, em 1985, o Grande Prêmio do Fundo Nacional para as Artes, em reconhecimento a sua carreira. Em 2003, foi agraciado com o título de Cidadão Ilustre da Cidade de Buenos Aires. Quando completou 100 anos, em 2006, foi realizada uma retrospectiva de sua obra no Museu Malba, em Buenos Aires, cidade onde faleceu, em 18 de junho de 2012.
+Algumas de suas mais importantes exposições foram Quarenta Anos de Fotografia, no Museu Nacional de Belas Artes, em 1969; Minha fotografia, na Fundação San Telmo, em 1984; Antologia fotográfica 1927-1992, no Museu Nacional de Belas Artes, em 1992; e El Buenos Aires de Horacio Coppola, no Instituto Valenciano de Arte Moderna, Centro Julio González, em Valência, entre 1996 e 1997. Em 2005, a Galeria Jorge Mara-La Ruche expôs fotografias realizadas por Coppola na década de 1930 na feira de arte espanhola ARCO e também na ArteBA. Entre 17 de maio e 4 de outubro de 2015, foi realizada, no Museu de Arte Moderna de Nova York MoMa, a exposição From Bauhaus to Buenos Aires: Grete Stern and Horacio Coppola.
+ 
+Fotos realizadas a partir da Rua do Curvelo por Georges Leuzinger e Marc Ferrez, além de uma de autoria de Augusto Malta
+ 
+A partir da Rua do Curvelo revela-se uma das mais paisagens do bairro da Glória e da Baía da Guanabara, fato que não passou despercebido para os fotógrafos Georges Leuzinger e Marc Ferrez.
+ 
+Marc Ferrez. Rua da Glória; tomada da Rua do Curvelo (atual Dias de Barros), c. 1912. Rio de Janeiro, RJ / Acervo IMS
+ 
+Acessando o link para as fotografias realizadas por Leuzinger e por Ferrez a partir da Rua do Curvelo disponíveis na Brasiliana Fotográfica, o leitor poderá visualizar e magnificar as imagens.
+ 
+Georges Leuzinger. Vista do Catete e Flamengo a partir de Santa Teresa, c. 1866. Rio de Janeiro, RJ / Acervo IMS
+ 
+ 
+ 
+O Curvelo por Malta, s/d / Revistas do IPHAN, 1998
+ 
+(1) O historiador, roteirista e professor de fotografia Mauricio Lissovsky nasceu em 29 de março de 1958, era membro da Escola de Comunicação da Universidade Federal do Rio de Janeiro (UFRJ) e dedicou grande parte de sua trajetória profissional à história visual e à teoria da imagem, com ênfase em fotografia, arquitetura, cinema e política. Entre seus nove livros sobre fotografia e história da imagem, destacamos Pausas do Destino: Teoria, Arte e História da Fotografia (2014), Refúgio do Olhar: a fotografia de Kurt Klagsbrunn no Brasil dos anos 1940 (com Márcia Mello)(2013) e Escravos Brasileiros do Século XIX na Fotografia de Christiano Jr (com Paulo César Azevedo)(1988). Faleceu em 25 de agosto de 2022. Em sua homenagem, entre 13 e 16 de agosto de 2024, foi realizada a primeira Jornada Mauricio Lissovsky de Fotografia (JMLF) no Fórum de Ciência e Cultura da UFRJ.
+(2) A Rua Dias de Barros desemboca no largo conhecido como Curvelo. A região em torno da rua e do largo ficou conhecida como Curvelo.
+(3) Refere-se ao poeta e amigo Rui Ribeiro Couto (1898 – 1963), que também morou na Rua do Curvelo.
+ 
+Leia aqui o artigo do escritor Daniel Galera (1979-), O que se pode afirmar, sobre a foto de Bandeira por Coppola, publicado na seção “Por Dentro dos Acervos”, no site do IMS, em 8 de maio de 2020.
+ 
+* O título desse artigo foi alterado e alguns acréscimos foram feitos, em 9 de fevereiro de 2026, a partir da leitura do extraordinário livro A trinca do Curvelo (2026), de Elvia Bezerra, publicado em 1995, foi relançado em 2026 em uma edição revista e ampliada. Os componentes da trica, além de Bandeira, era o poeta paulista Rui Ribeiro Couto e a psiquiatra alagoana Nise da Silveira, que revolucionou o tratamento mental no Brasil, também moradores da Rua do Curvelo.
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora da Brasiliana Fotográfica
+ 
+Fontes:
+AITA, Giovanna. Due poeti brasiliani contemporanei: Manuel Bandeira & Ribeiro Couto. Napoli: Libreria Scientifica Editrice, 1953.
+BEZERRA, Elvia. A trinca do Curvelo – os afetos de Manuel Bandeira. São Paulo : Todavia, 2026.
+Folha de São Paulo, 13 de outubro de 2008 
+Folha de São Paulo, 26 de janeiro de 2026
+GORELIK, Adrian. Um fotógrafo e uma cidade in Ciência Hoje.
+Hemeroteca Digital da Biblioteca Nacional
+LISSOVSKY, Mauricio. Coppola em Congonhas: um fotógrafo, três olhares. ANPUH – Brasil. 30º Simpósio Nacional de História. Recife, 2019.
+Metromod.net
+MIGLIACIO, Luciano. Obra de Horacio Coppola evidencia o diálogo entre o modernismo brasileiro e o argentino. Ciência e Cultura, vol. 65, nº 1. São Paulo, janeiro de 2013.
+O GLOBO, 6 de julho de 2012
+O GLOBO, 7 de fevereiro de 2026
+Portal Enciclopédia Itaú Cultural
+Portal IMS
+SCHWARTZ, Jorge. O poeta entre profetas in Revista Serrote, Edição Especial para a Flip, 2009, páginas 8 a 15.
+SENNA, Homero. Viagem a Pasárgada.
+Site Academia Brasileira de Letras
+Site Ibran
+Site La Nation
+Site MoMa
+Site Museu Malba
+WANDERLEY, Andrea. Série “1922 – Hoje, há 100 anos” II – A Semana de Arte Moderna in Brasiliana Fotográfica, 13 de fevereiro de 2022.
+Wikipedia
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/13399` — `itens/20.500.12156.1_13399/`
+- `20.500.12156.1/13398` — `itens/20.500.12156.1_13398/`
+- `20.500.12156.1/10080` — `itens/20.500.12156.1_10080/`
+- `20.500.12156.1/10585` — `itens/20.500.12156.1_10585/`
+
diff --git a/wordpress/39201-o-monumento-do-ipiranga-por-guilherme-gaensly.md b/wordpress/39201-o-monumento-do-ipiranga-por-guilherme-gaensly.md
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+---
+id: 39201
+url: "https://brasilianafotografica.bn.gov.br/?p=39201"
+titulo: "O Monumento do Ipiranga por Guilherme Gaensly"
+autor: "Andrea Wanderley"
+data: "2025-09-07T01:01:52+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/973"]
+fetched_at: "2026-09-10T10:20:04.469Z"
+---
+
+# O Monumento do Ipiranga por Guilherme Gaensly
+
+Com uma imagem realizada pelo fotógrafo suíço Guilherme Gaensly (1843 – 1928), por volta de 1902, a Brasiliana Fotográfica destaca o Monumento do Ipiranga, em São Paulo, que desde final do século XIX abriga o Museu do Ipiranga, sede do Museu Paulista na cidade de São Paulo, que completa 130 anos. O registro pertence ao acervo fotográfico da Fundação Biblioteca Nacional, uma das instituições fundadoras do portal.
+ 
+Guilherme Gaensly. Monumento de Ipyranga, 1902?. São Paulo, SP / Acervo FBN
+ 
+Gaensly foi o autor de importantes registros de São Paulo, vendidos como fotografias em papel albuminado e colotipias impressas na Suíça e comercializadas em álbuns. Em 1899, a empresa The São Paulo Railway, Light and Power Company, o contratou como fotógrafo oficial, função que exerceu até 1925, três anos antes de sua morte. Na ocasião, a presença da Light representava a modernização da área urbana e dos serviços da cidade. Apesar de nunca ter sido o fotógrafo oficial de São Paulo, como foi Augusto Malta (1864 – 1957) no Rio de Janeiro, Gaensly foi o autor de uma abrangente obra sobre a capital paulista nas primeiras décadas do século XX, o que o coloca nessa posição.
+
+Ele e Militão Augusto de Azevedo (1837 – 1905) são considerados os fotógrafos que mais cultuaram São Paulo. Gaensly fotografou a cidade em plena transição para a modernidade, tendo registrado todos os aspectos urbanos da nova metrópole que surgia. Registrou a inauguração dos bondes elétricos que substituíram as carroças, o Jardim da Luz, a agitação do comércio na região do entorno da Praça da Sé, o crescimento da avenida Paulista, além do Museu do Ipiranga, palacetes, chácaras, edifícios públicos, igrejas, escolas, teatros e hospitais. Essas vistas de São Paulo foram comercializadas em álbuns impressos na Suíça a partir de fotografias em papel albuminado e de colotipias. Fotografou também a chegada de imigrantes italianos em Santos e em São Paulo. Dentre os prêmios que recebeu, está uma medalha de prata conquistada na Exposição Universal de Saint Louis, em 1904.
+ 
+Breve histórico do Museu do Ipiranga ou Museu Paulista da Universidade de São Paulo
+ 
+O arquiteto e engenheiro italiano Tommaso Gaudenzio Bezzi (1844 – 1915), segundo o próprio indicado por Ignacio da Gama Cochrane (1836 – 1912), superintendente de obras públicas da Província de São Paulo, foi contratado, em 1882, pela Comissão Provincial do Monumento do Ipiranga para realizar o projeto de um monumento-edifício no local onde aconteceu o Grito do Ipiranga, em 7 de setembro de 1822. Sua escolha foi criticada pelo fato dele ser estrangeiro. Em 10 de dezembro de 1882, com a presença do governador de São Paulo, Francisco de Carvalho Soares Brandão(1839 – 1899), e de outras autoridades foi colocada a primeira pedra do monumento (Correio Paulistano, 11 de dezembro 1882, segunda coluna). Foi executado pelo mestre de obras Luigi Pucci (18? -?), também italiano. O edifício, localizado dentro do complexo do Parque Independência, foi construído entre 1885 e 1890. Em estilo eclético, tem 123 metros de comprimento e 16 metros de profundidade com muitos elementos decorativos e ornamentais. A técnica empregada, uma novidade na época, foi a da alvenaria de tijolos cerâmicos.  Em São Paulo ainda predominavam as técnicas vernaculares, de construção em taipa. O edifício é tombado pelo patrimônio histórico municipal, estadual e federal.
+ 
+Tommaso Gaudencio Bezzi /Acervo Museu Paulista da USP
+ 
+As obras encerraram-se em 1890 (Correio Paulistano, 24 de junho de 1890, segunda coluna). Houve a possibilidade de abrigar uma escola pública, mas, em 1892 foi decidido que o Museu do Estado, criado em 1890, seria transferido para o Edifício-Monumento.
+Em 1893, instituiu-se o Museu Paulista, que foi inaugurado em 7 de setembro de 1895, no Monumento do Ipiranga  (Correio Paulistano, 8 de setembro de 1895, quinta coluna). Possui um acervo de mais de 125 mil unidades, entre objetos, iconografia e documentação textual, do século XVII até meados do século XX.
+ 
+Correio Paulistano, 8 de setembro de 1895
+ 
+Assim as trajetórias do museu público mais antigo de São Paulo e do Monumento do Ipiranga se encontraram e, desde então, ele ficou conhecido como Museu do Ipiranga. O primeiro diretor do museu foi o zoólogo teuto-brasileiro Hermann von Ihering (1850 – 1930) e seu acervo originou-se na coleção particular do coronel Joaquim Sertório (18? – 1905). Em 1963, o Museu Paulista foi incorporado à Universidade de São Paulo.
+O Museu do Ipiranga foi fechado para o público, em 2013, devido a suas péssimas condições físicas e estruturais. Em 2019, foi iniciada as obras de sua reforma, cujo custo foi estimado em 235 milhões de reais. Sua área construída foi dobrada e, a área expositiva, triplicada. O Jardim Francês e suas fontes foram recuperados. Foi reinaugurado em 7 de setembro de 2022, quando foi comemorado o bicentenário da Independência do Brasil. No dia seguinte, foi aberto ao público.
+
+Uma das obras mais conhecidas de seu acervo é o quadro Independência ou Morte, pintado pelo artista Pedro Américo, em 1888.
+ 
+Independência ou morte, Pedro Américo (1888) / Acervo Museu Paulista
+ 
+Breve perfil de Tommaso Gaudenzio Bezzi (1844 – 1915)
+ 
+O tenente-coronel, engenheiro e arquiteto Tommaso Gaudenzio Bezzi / Fon-Fon!, 29 de maio de 1915
+ 
+Bezzi formou-se engenheiro, em Turim, onde nasceu em 18 de janeiro de 1844. Foi voluntário, nas campanhas de Giuseppe Garibaldi (1807 – 1882) para a unificação italiana. Também serviu como oficial do regimento de cavalaria do exército regular, comandado pelo Duque D’Aosta (1845 – 1890), tendo se destacado na Batalha de Custosa contra os austríacos. Foi ferido em combate diversas vezes e foi condecorado com medalhas pelas campanhas da Itália de 1860-1861-1866. Foi condecorado por bravura com uma medalha de prata. Em 1868, viajou para o Uruguai e Argentina.
+Seu primeiro projeto no Brasil, para onde veio, na década de 1870, foi o edifício da alfândega de Fortaleza, realizado a pedido do governo imperial, em 1874 (Diário do Rio de Janeiro, 14 de abril de 1874, primeira coluna; Jornal do Commercio, 19 de julho de 1877, quarta coluna; A Constituição (CE), 20 de novembro de 1874, penúltima coluna). Começou a trabalhar como engenheiro-arquiteto no Rio de Janeiro, onde, inicialmente, ficou hospedado na casa do Visconde do Rio Branco (1819 – 1880). Casou-se, em 26 de janeiro de 1876,  com Dona Francisca Nogueira da Gama Carneiro de Bellens, de uma nobre família brasileira (Diário do Rio de Janeiro, 10 de fevereiro de 1876, quinta coluna). A partir dessas relações entrou para o círculo íntimo do imperador Pedro II (1825 – 1891). O casal residia na Rua Bambina, em Botafogo.
+Em 1876, foi designado para fiscalizar as obras da ponte da alfândega de Belém do Pará (A Constituição (PA), 19 de agosto de 1876, última coluna).
+Na Exposição Antropológica Brasileira, inaugurada em 29 de julho de 1882, no Museu Nacional, no Rio de Janeiro, na Sala Gabriel Soares, foram expostos produtos da arte plumária brasileira, adornos, tecidos e vestes de muitas tribos do Brasil, além das coleções arqueolíticas do Museu Nacional, de Amália Machado Cavalcanti de Albuquerque e dos senhores  Joaquim Monteiro Caminhoá (1836 – 1896), João Barbosa Rodrigues (1842 – 1909) e Tommaso G. Bezzi (1844 – 1915) (A Constituição (PA), 16 de agosto de 1882, terceira coluna). A mostra durou três meses e teve muito sucesso, com um público de mais de mil visitantes.
+Ainda em 1882, a Comissão para o Monumento à Independência Brasileira, futuro Museu do Ipiranga, sede do Museu Paulista, cujo projeto vencedor foi o de Bezzi, o qualificou como arquiteto residente na Corte de reconhecido merecimento artístico (Correio Paulistano, 11 de dezembro de 1882, terceira coluna). Em 1883, Bezzi passou a residir em São Paulo, na Rua do Senador Florencio de Abreu, 43 (Correio Paulistano, 6 de julho de 1883, última coluna). Também em São Paulo projetou o ajardinamento da Praça da República, realizado entre 1902 e 1904 (Arquivo Histórico de São Paulo); e o Velódromo de São Paulo, inaugurado na década de 1890.
+No Rio de Janeiro, além do Clube Naval, Bezzi projetou diversos prédios e residências, dentre eles o antigo Banco do Comércio, na Rua 1º de Março, e reformou o Edifício Itamarati, antiga sede do Ministério das Relações Exteriores, tendo construído sua ala esquerda.
+Bezzi fundou algumas associações de fundo patriótico ligadas à Itália, dentre elas a Sociedade dos Combatentes Italianos pela unidade e pela independência da Itália, a Societa Veterani e Reduci e a Sociedade União Beneficente. Foi eleito membro honorário do Instituto de Engenheiros Civis de Londres, agraciado como Oficial da Legião de Honra da França e com o Hábito da Ordem Militar de São Maurício e São Lázaro, pelo governo da Itália. Era Comendador da Coroa Italiana e o representante no Brasil da Cruz Vermelha italiana (Jornal do Brasil, 30 de maio de 1915, sexta coluna).
+Faleceu em 23 de maio de 1915, no Rio de Janeiro. Residia na Rua Cosme Velho, 57 (O Paiz, 24 de maio de 1915, terceira coluna; Correio da Manhã, de maio de 1915, penúltima coluna).
+ 
+O Paiz, 28 de maio de 1915
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora da Brasiliana Fotográfica
+ 
+Fontes
+BREFE, Ana Claudia Fonseca. O Museu Paulista – Affonso de Taunay e a memória nacional. São Paulo : Editora UNESP, 2025.
+EMERICH, Denise (autora); DIAS, Fabiano (tradutor). Museu Paulista: 120 anos de história | 120 years of history (PT/ING). São Paulo : Editora Brasileira, 2016.
+
+Hemeroteca Digital da Biblioteca Nacional
+
+NERY, Pedro. Arte, pátria e civilização: A formação dos acervos artísticos do Museu Paulista e da Pinacoteca do Estado de São Paulo, 1893-1912. Revista Fórum Permanente, dezembro de 2016.
+ONO, Rosaria; LIMA, Solange Ferraz. O novo Museu do Ipiranga no Bicentenário da Independência do Brasil. São Paulo, 2022.
+Site Arquitetura Italiana no Estado de São Paulo
+Site Fflch – Enciclopédia de Antropologia
+Site Museu do Ipiranga
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/973` — `itens/20.500.12156.1_973/`
+
diff --git a/wordpress/39216-serie-hoteis-do-brasil-ix-serie-os-arquitetos-do-rio-de-janeiro-ix-e-serie-o-rio.md b/wordpress/39216-serie-hoteis-do-brasil-ix-serie-os-arquitetos-do-rio-de-janeiro-ix-e-serie-o-rio.md
new file mode 100644
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+++ b/wordpress/39216-serie-hoteis-do-brasil-ix-serie-os-arquitetos-do-rio-de-janeiro-ix-e-serie-o-rio.md
@@ -0,0 +1,381 @@
+---
+id: 39216
+url: "https://brasilianafotografica.bn.gov.br/?p=39216"
+titulo: "Série “Hotéis do Brasil” IX, Série “Os arquitetos do Rio de Janeiro” IX e Série “O Rio de Janeiro desaparecido” XXXIII – O Hotel Avenida, um ícone da “Belle Époque” carioca, projetado por Francisco de Azevedo Monteiro Caminhoá"
+autor: "Andrea Wanderley"
+data: "2025-08-08T13:55:00+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/9889", "20.500.12156.1/9747", "20.500.12156.1/9410"]
+fetched_at: "2026-09-10T10:20:07.938Z"
+---
+
+# Série “Hotéis do Brasil” IX, Série “Os arquitetos do Rio de Janeiro” IX e Série “O Rio de Janeiro desaparecido” XXXIII – O Hotel Avenida, um ícone da “Belle Époque” carioca, projetado por Francisco de Azevedo Monteiro Caminhoá
+
+Série “Hotéis do Brasil” IX, Série “Os arquitetos do Rio de Janeiro” IX e Série “O Rio de Janeiro desaparecido” XXXIII – O Hotel Avenida no Rio de Janeiro, projetado por Francisco de Azevedo Monteiro Caminhoá*
+ 
+Com registros de Augusto Malta (1864-1957), que foi fotógrafo da prefeitura do Rio de Janeiro entre 1903 e 1936; do fotógrafo amador Guilherme Santos (1871 – 1966) e de Marc Ferrez (1843 – 1923), brilhante cronista visual do Rio de Janeiro; o tema de nosso artigo é o Hotel Avenida, um marco arquitetônico e cultural carioca. Uma das fotografias de Marc Ferrez e as duas de Guilherme Santos são estereografias. Este último foi um entusiasta da fotografia estereoscópica, tendo sido um dos pioneiros dessa técnica no Brasil, ao adquirir, em 1905, na França, o Verascope, um sistema de integração entre câmera e visor, que permitia ver imagens em 3D, produzidas a partir de duas fotos quase iguais, porém tiradas de ângulos um pouco diferentes.
+ 
+
+Guilherme Santos. Hotel Avenida, c. 1920. Rio de Janeiro, RJ / Acervo IMS
+
+ 
+Marc Ferrez. Hotel Avenida, c. 1912 . Rio de Janeiro, RJ / Acervo IMS
+ 
+Acessando o link para as fotografias do Hotel Avenida disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Fon-Fon, 15 de janeiro de 1910
+ 
+Foi projetado pelo baiano Francisco de Azevedo Monteiro Caminhoá (1838 – 1915) e inaugurado, em julho de 1908 (A Imprensa, 30 de junho, segunda coluna; 2 de julho, segunda coluna), na então recém aberta Avenida Central, posteriormente Avenida Rio Branco.
+ 
+A Imprensa, 2 de julho de 1908
+ 
+Caminhoá, nascido em Santo Amaro da Purificação, em 1838, foi também responsável pelos projetos da Catedral de Petrópolis e da oficina de consertos dos bondes da Companhia de Ferro Carril Jardim Botânico e atual edifício do Instituto dos Arquitetos do Brasil. Havia estudado arquitetura na Academia Imperial de Belas Artes do Rio de Janeiro e recebeu, da Assembleia Provincial da Bahia, em 1855, a subvenção de 200 francos mensais para estudar na Europa, onde frequentou a École de Beaux-Arts de Paris e foi aspirante, em 1857, no ateliê do arquiteto francês Louis-Hyppolyte Lebas (1782 – 1862), um dos mais influentes e populares profissionais de seu tempo. Regressou ao Brasil, em 1867. Faleceu em 14 de outubro de 1915 (Jornal do Commercio, 15 de outubro de 1915, última coluna).
+ 
+Francisco de Azevedo Monteiro Caminhoá / Fonte: AHEBA/UFBA
+ 
+A localização do luxuoso Hotel Avenida, em estilo eclético, ícone da Belle Époque carioca, e a presença de uma estação de bondes da Companhia Ferro-Carril do Jardim Botânico, proprietária do hotel, diante dele, propiciou que ele fosse muito mais do que um estabelecimento de hospedagem: foi o centro de gravidade de eventos sociais e culturais da cidades, dentre eles o carnaval.
+ 
+Ponto de bondes em frente ao Hotel Avenida / Careta, 18 de abril de 1914
+ 
+O Hotel Avenida possuía 220 quartos, todos com telefone; restaurante, salão de jogos, água quente, iluminação elétrica e elevadores, tendo sido, na época de sua inauguração, o mais moderno e importante hotel do Brasil e um dos mais belos da América do Sul. Sua fachada frontal tinha 60 metros e cinco pavimentos. A altura do edifício era de quase 23 metros. Ao longo de sua existência hospedou importantes personalidades do cenário nacional e internacional. Abrigava a Galeria Cruzeiro, assim denominada devido a duas passagens em cruz, que ficava no andar térreo do hotel. Repleta de bares,  restaurantes e cafés, dentre eles o Nacional, o Ao Franziskaner (da Brahma), a Leiteria Mineira e o Laranjada Brasil, atraía um público de turistas, artistas e intelectuais. Ocupava uma quadra delimitada pela Avenida Central, o Largo da Carioca, a então denominada Rua de Santo Antônio, atual Bittencourt da Silva; e a Rua São José.
+ 
+Galeria Cruzeiro / Estilos Arquitetônicos
+ 
+Leiteria Mineira na Galeria Cruzeiro / Fon-Fon, 9 de abril de 1910
+ 
+Por imposição do progresso vai abaixo a velha Galeria Cruzeiro. Essa foi a manchete da primeira página do Diário de Notícias, 2 de março de 1957. A demolição do Hotel Avenida começou em outubro de 1957 (A Noite, 25 de setembro de 1957, terceira coluna; O Jornal, 15 de outubro de 1957, primeira coluna). Em seu lugar foi construído o Edifício Avenida Central, com 34 andares e o primeiro em estrutura metálica do Rio de Janeiro, inaugurado em 22 de maio de 1961 (Correio da Manhã, 23 de maio de 1961, primeira coluna; Manchete, 3 de junho de 1961). Foi projetado pelo Escritório Henrique Mindlin, também responsável pelo Shopping dos Antiquários e pelos hotéis Sheraton e Intercontinental.
+Com a demolição do Hotel Avenida, começava na cidade uma transição para uma era de modernização e mudanças urbanas – muitos edifícios históricos foram demolidos e substituídos por construções modernas. Para a despedida, o Jornal do Brasil, a Rádio Jornal do Brasil e a Loja Palermo organizaram uma grande manifestação chamada Adeus à Galeria Cruzeiro, mesmo nome da música de autoria de Edel Ney e Aires Viana, cantada por Leny Eversong (1920 – 1984).
+Adeus à Galeria Cruzeiro
+Você viu, você leu, você ouviu
+O comentário que corre pela cidade?
+Você viu, você leu, você ouviu
+A dolorosa verdade?
+É certo que a Galeria Cruzeiro
+Vai desaparecer
+É a lei do progresso
+Que faz a cidade crescer
+Praça Onze, Café Nice
+(O samba chorou
+E a saudade ficou no coração do sambista)
+Galeria (Galeria)
+Este samba (triste samba)
+É o adeus do artista
+Adeus Galeria do chopp gelado
+Das noites de boemia
+Dos carnavais do passado
+Adeus Galeria reduto do samba
+De Chico, Noel e de tanta gente bamba
+Galeria (adeus)
+Galeria (adeus)
+No dia da festa caia uma forte chuva na cidade mas personalidades importantes como Ademilde Fonseca (1921 – 2012), Altamiro Carrilho (1924 – 2012), Linda Batista (1919 – 1988), Pixinguinha (1897 – 1973), Pato Preto (1928 – 2005), Risadinha (1921 – 1976) e Silvinha Chioso (1938-), dentre outros, compareceram ao evento, que contou também com a participação de bandas militares e agremiações carnavalescas, como o Cordão da Bola Preta. Milhares de pessoas compareceram (Jornal do Brasil, 24 de novembro de 1957, sexta coluna, 26 de novembro de 1957, capa e página 13).
+ 
+Augusto Malta. Hotel Avenida, c. 1920. Rio de Janeiro, RJ / Acervo IMS
+ 
+No poema A um hotel em demolição, sobre o desaparecimento do Hotel Avenida, seu autor, o poeta Carlos Drummond de Andrade (1902 – 1987), cita o fotógrafo Augusto Malta.
+ 
+ A um hotel em demolição
+ (Publicado no livro A vida passada a limpo (1973))
+Carlos Drummond de Andrade
+Vai, Hotel Avenida,
+ vai convocar teus hóspedes
+ no plano de outra vida.
+ Eras vasto vermelho,
+ em cada quarto havias
+ um ardiloso espelho.
+Nele se refletia
+ cada figura em trânsito
+ e o mais que se não lia
+ nem mesmo pela frincha
+ da porta: o que um esconde,
+ polpa do eu, e guincha
+ sem se fazer ouvir.
+ E advindo outras faces
+ em contínuo devir,
+ o espelho eram mil máscaras
+ mineiroflumenpau-
+ listas, boas, más; caras.
+50 anos-imagem
+ e 50 de catre
+ 50 de engrenagem
+ noturna e confidente
+ que nos recolhe a úrica
+ verdade humildemente.
+(Pois eras bem longevo, Hotel, e no teu bojo
+ o que era nojo se sorria, em pó, contigo.)
+O tardo e rubro alexandrino decomposto.
+Casais entrelaçados no sussurro
+ do carvão carioca, bondes fagulhando, políticos
+ politicando em mornos corredores
+ estrelas italianas, porteiros em êxtase
+ cabineiros
+em pânico:
+ por que tanta suntuosidade se encarcera
+ entre quatro tabiques de comércio?
+ A bandeja vai tremulargentina:
+ desejo café geleia matutinos que sei eu.
+ A mulher estava nua no centro e recebeu-me
+ com a gravidade própria aos deuses em viagem:
+ Stellen Sie es auf den Tisch!
+Sim, não fui teu quarteiro, nem ao menos
+ boy em teu sistema de comunicações louça
+ a serviço da prandial azáfama diurna.
+ Como é que vivo então os teus arquivos
+ e te malsinto em mim que nunca estive
+ em teu registro como estão os mortos
+ em seus compartimentos numerados?
+Represento os amores que não tive
+ mas em ti se tiveram foice-coice.
+ Como escorre
+ escada serra abaixo a lesma
+ das memórias
+de duzentos mil corpos que abrigaste
+ ficha ficha ficha ficha ficha
+ fichchchchch.
+ O 137 está chamando
+ depressa que o homem vai morrer
+ é aspirina? padre que ele quer?
+ Não, se ele mesmo é padre e está rezando
+ por conta dos pecados deste hotel
+ e de quaisquer outros hotéis pelo caminho
+ que passa de um a outro homem, que em nenhum
+ ponto tem princípio ou desemboque;
+ e é apenas caminho e sempre sempre
+ se povoa de gestos e partidas
+ e chegadas e fugas e quilômetros.
+ Ele reza ele morre e solitária
+ uma torneira
+ pinga
+ e o chuveiro
+ chuvilha
+ e a chama
+ azul do gás silva no banho
+ sobre o Largo da Carioca em flor ao sol.
+(Entre tapumes não te vejo
+ roto desventrado poluído
+ imagino-te ileso emergindo dos sambas dos dobrados da polícia militar, do coro ululante de torcedores do campeonato mundial pelo rádio
+ a todos oferecendo, Hotel Avenida,
+ uma palma de cor nunca esbatida.)
+Eras o Tempo e presidias
+ ao febril reconhecimento de dedos
+ amor sem pouso certo na cidade
+ à trama dos vigaristas, à esperança
+ dos empregos, à ferrugem dos governos,
+ à vida nacional em termos de indivíduo
+ e a movimentos de massa que vinham espumar
+ sob a arcada conventual de teus bondes.
+Estavas no centro do Brasil,
+ nostalgias januárias balouçavam
+ em teu regaço, capangueiros vinham
+ confiar-te suas pedras, boiadeiros
+ pastoreavam rebanhos no terraço
+ e um açúcar de lágrimas caipiras
+ era ensacado a todo instante em envelopes
+ (azuis?) nos escaninhos da gerência
+ e eras tanto café e alguma promissória.
+Que professor professa numa alcova
+ irreal, Direito das Coisas, doutrinando
+ a baratas que atarefadas não o escutam?
+ Que flauta insiste na sonatina sem piano
+ em hora de silêncio regulamentar?
+ E as manias de moradores antigos
+ que recebem à noite a visita do prefeito Passos para discutir novas técnicas urbanísticas?
+E teus mortos
+ incomparavelmente mortos de hotel fraudados
+ na morte familiar a que aspiramos
+ como a um não morrer morrido;
+ mortos que é preciso despachar
+ rápido, não se contagiem lençóis
+ e guarda-pires
+ dessa friúra diversa que os circunda
+ nem haja nunca memória nesta cama
+ do que não seja vida na Avenida.
+Ouves a ladainha em bolhas intestinas?
+Balcão de mensageiros imóveis saveiros
+ banca de jornais para nunca e mais
+ alvas lavanderias de que restam estrias
+ bonbonnières onde o papel de prata
+ faz serenata em boca de mulheres
+ central telefônica soturnamente afônica
+ discos lamentação de partidos meniscos
+ papelariasconversariaschope da Brahma louco de quem ama
+ e o Bar Nacional pura afetividade
+ súbito ressuscita Mário de Andrade.
+Que fazer do relógio
+ ou fazer de nós mesmos
+ sem tempo sem mais ponto
+ sem contraponto sem medida de extensão
+ sem sequer necrológio
+ enquanto em cinza foge o
+ impaciente bisão
+a que ninguém os chifres
+ sujigou, aflição?
+ Ele marcava mar-
+ cavacava cava cava
+ e eis-nos sós marcados
+ de todos os falhados
+ amores recolhidos
+ relógio que não ouço
+ e nem me dá ouvidos
+ robô de puro olfato
+ a farejar o imenso
+ país do imóvel tacto
+ as vias que corria teu comando fecham-se
+ nas travessas em I
+ nos vagos pesadelos
+ nos sombrios dejetos
+ em que nossos projetos
+ se estratificaram. A ti não te destroem
+ como as térmitas papam
+livro terra existência.
+ Eles sim teus ponteiros
+ vorazes esfarelam
+ a túnica de Vênus
+ o de mais o de menos
+ este verso tatuado
+ e tudo que hei andado
+ por te iludir e tudo
+ que nas arkademias
+ institutos autárquicos
+ históricos astutos
+ se ensina com malícia
+ sobre o evolver das coisas
+ ó relógio hoteleiro
+ deus do cauto mineiro,
+ silêncio,
+ pudicícia.
+ Mas tudo que moeste
+ hoje de ti se vinga
+ por artes
+ de pensada mandinga.
+ Deglutimos teu vidro
+ abafando a linguagem
+ que das próprias estilhas
+ se afadiga em pulsar
+ o minuto de espera
+ quando cessa na tarde
+ a brisa de esperar.
+ 
+Rangido de criança nascendo.
+
+Por favor, senhor poeta Martins Fontes, recite mais baixo suas odes enquanto minha senhora acaba de parir no quarto de cima, e o poeta velou a voz, mas quando o bebê aflorou ao mundo é o pai que faz poesia saltarilha e pede ao poeta que eleve o diapasão para celebrarem todos, hóspedes, camareiros e pardais, o grato alumbramento.
+Anoitecias. Na cruz dos quatro caminhos, lá embaixo, apanhadores, ponteiros, engole-listas de sete prêmios repousavam degustando garapa.
+Mujer malvada, yo te mataré! artistas ensaiavam nos quartos? I wil grind your bones to dust, and with your blood and it I’ll make a paste. Bagaço de cana, lá embaixo.
+ Todo hotel é fluir. Uma corrente
+ atravessa paredes, carreando o homem,
+ suas exalações de substância. Todo hotel
+ é morte, nascer de novo; passagem; se pombos
+ nele fazem estação, habitam o que não é de ser habitado
+ mas apenas cortado. As outras casas prendem
+ e se deixam possuir ou tentam fazê-lo, canhestras.
+ O espaço procura fixar-se. A vida se espacializa,
+ modela-se em cristais de sentimento.
+ A porta se fecha toda santa noite.
+ Tu não se encerras, não podes. A cada instante
+ alguém se despede de teus armários infiéis
+ e os que chegam já trazem a volta na maleta.
+ 220 Fremdenzimmer e te vês sempre vazio
+ e o espelho reflete outro espelho
+ o corredor cria outro corredor
+ homem quando nudez indefinidamente.
+
+ 
+No centro do Rio de Janeiro
+ ausência
+ no curral da manada dos bondes
+ ausência
+ no desfile dos sábados
+ no esfregar no repinicar dos blocos
+ ausência
+ nas cavatinas de Palermo
+ no aboio dos vespertinos
+ ausência
+ verme roendo maçã
+ verme roído por verme
+ verme autorroído
+ roer roendo o roer
+ e a ânsia de acabar, que não espera
+ o termo veludoso das ruínas
+ nem a esvoaçante morte de hidrogênio.
+Eras solidão tamoia
+ vir a ser de casa
+ em vir a ser de cidade onde lagartos
+ 
+
+Vem, ó velho Malta,
+ saca-me uma foto
+ pulvicinza efialta
+ desse pouso ignoto.
+Junta-lhe uns quiosques
+ mil e novecentos,
+ nem iaras nem bosques
+ mas pobres piolhentos.
+Põe como legenda
+ Q u e i j o I t a t i a i a
+ e o mais que compreenda
+ condição lacaia.
+Que estas vias feias
+ muito mais que sujas
+ são tortas cadeias
+ conchas caramujas
+do burro sem rabo
+ servo que se ignora
+ e de pobre-diabo
+ dentro, fome fora.
+Velho Malta, please,
+ bate-me outra chapa:
+ hotel de marquise
+ maior que o rio Apa.
+Lá do acento etéreo,
+ Malta, sub-reptício
+ inda não te fere o
+ super edifício
+que deste chão surge?
+ Dá-me seu retrato
+ futuro, pois urge
+documentar as sucessivas posses da terra até o juízo final e mesmo depois dele se há como três vezes três confiamos que haja um supremo ofício de registro imobiliário por cima da instantaneidade do homem e da pulverização das galáxias.
+Já te lembrei bastante sem que amasse
+ uma pedra sequer de tuas pedras
+ mas teu nome — A V E N I D A — caminhava
+ à frente de meu verso e era mais amplo
+ e mais formas continha que teus cômodos
+ (o tempo os degradou e a morte os salva),
+ e onde abate o alicerce ou foge o instante
+ estou comprometido para sempre.
+Estou comprometido para sempre,
+ eu que moro e desmoro há tantos anos
+ o Grande Hotel do Mundo sem gerência
+em que nada existindo de concreto
+ — avenida, avenida — tenazmente
+ de mim mesmo sou hóspede secreto
+
+Leia aqui a crônica Galeria, de autoria de Rubem Braga (1913 – 1990), publicada no Correio da Manhã, 10 de abril de 1953, sexta coluna.
+A Brasiliana Fotográfica agradece ao jornalista e poeta André Luis Câmara (1965-) por sua colaboração na construção deste artigo.
+ 
+*Este artigo foi escrito a partir de uma sugestão de Flávio Pinheiro, um dos criadores da Brasiliana Fotográfica, e é dedicado a ele.
+ 
+Obras de pavimentação do Largo da Carioca. À direita, o Hotel Avenida, 17 de fevereiro de 1941. Rio de Janeiro, RJ / Achados e Perdidos: imagens inéditas do Rio de Janeiro (1937-1945), página 98 – Acervo AGCRJ
+ 
+Andrea C.T. Wanderley
+Editora e pesquisadora da Brasiliana Fotográfica
+ 
+Fontes:
+Agência Brasil
+Dicionário de Belas Artes UFBA
+Folha do Centro, junho de 1921
+Hemeroteca Digital da Biblioteca Nacional
+PAIVA, Claudia dos Reis. Abrindo passagem para o futuro: Galeria Pio X. Dissertação apresentada ao Programa de Pós-Graduação em Ambiente Construído da Universidade Federal de Juiz de Fora, como requisito parcial à obtenção do título de Mestre em Ambiente Construído, 2018.
+PEREIRA, Sonia  Gomes. O Ensino de Arquitetura e a Trajetória dos Alunos Brasileiros na École des Beaux-Arts em Paris no Século XIX. XXII Colóquio Brasileiro de História da Arte, 2002.
+Site Discografia Brasileira – IMS
+Site Estilos Arquitetônicos
+Site Rio de Janeiro Aqui
+Site Urbe Carioca
+Youtube – Hotel Avenida
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/9889` — `itens/20.500.12156.1_9889/`
+- `20.500.12156.1/9747` — `itens/20.500.12156.1_9747/`
+- `20.500.12156.1/9410` — `itens/20.500.12156.1_9410/`
+
diff --git a/wordpress/39306-dia-dos-povos-indigenas-getulio-vargas-visita-a-aldeia-karaja.md b/wordpress/39306-dia-dos-povos-indigenas-getulio-vargas-visita-a-aldeia-karaja.md
new file mode 100644
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--- /dev/null
+++ b/wordpress/39306-dia-dos-povos-indigenas-getulio-vargas-visita-a-aldeia-karaja.md
@@ -0,0 +1,46 @@
+---
+id: 39306
+url: "https://brasilianafotografica.bn.gov.br/?p=39306"
+titulo: "Dia dos Povos Indígenas: Getúlio Vargas visita a Aldeia Karajá"
+autor: "Andrea Wanderley"
+data: "2025-04-19T10:26:08+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/13330", "20.500.12156.1/13331", "20.500.12156.1/13332"]
+fetched_at: "2026-09-10T10:20:11.084Z"
+---
+
+# Dia dos Povos Indígenas: Getúlio Vargas visita a Aldeia Karajá
+
+Hoje é celebrado o Dia dos Povos Indígenas e a Brasiliana Fotográfica publica o artigo Dia dos Povos Indígenas: Getúlio Vargas visita a Aldeia Karajá, de autoria da historiadora Maria de Fátima Morado, do Museu da República, uma das instituições parceiras do portal. Em destaque, três imagens da visita de Vargas a uma aldeia Karajá. A adoção da data de 19 de abril pelo então Presidente da República, Getúlio Vargas, seguiu a recomendação feita pelo I Congresso Indigenista Interamericano, realizado no México, em 1940, para que os países americanos institucionalizassem políticas públicas sobre os direitos e segurança dos povos indígenas.
+ 
+Dia dos Povos Indígenas: Getúlio Vargas visita a Aldeia Karajá
+Maria de Fátima Morado*
+ 
+Getúlio Vargas em visita à Aldeia Karajá, na Ilha do Bananal (TO), agosto de 1940. Ilha do Bananal, Tocantins / Acervo Museu da República
+ 
+Em 19 de abril é celebrado o Dia dos Povos Indígenas, denominação que foi atualizada a partir da publicação da lei n.º 14.402, de 8 de julho de 2022, em substituição ao decreto-lei nº 5.540, de 2 de junho de 1943, que instituiu o Dia do Índio.
+A adoção da data de 19 de abril pelo então Presidente da República, Getúlio Vargas, seguiu a recomendação feita pelo I Congresso Indigenista Interamericano, realizado no México, em 1940, para que os países americanos institucionalizassem políticas públicas sobre os direitos e segurança dos povos indígenas.
+Por casualidade, 19 de abril é o dia do nascimento de Getúlio Vargas que promulgou o decreto seguindo o estímulo de sertanistas e indigenistas, entre eles, Marechal Cândido Rondon. Getúlio Vargas também foi motivado pela política de interiorização do país, a Marcha para o Oeste, programa do Estado Novo (1937-1945), que tinha como objetivo o desenvolvimento e povoamento do interior do Brasil. A campanha do governo de exaltação da integração nacional abarcaria as populações indígenas.
+ 
+Getúlio Vargas em visita à Aldeia Karajá, na Ilha do Bananal (TO), agosto de 1940. Ilha do Bananal, Tocantins / Acervo Museu da República
+ 
+Getúlio Vargas realizou viagens às regiões norte e central para divulgar a Marcha para o Oeste, e em agosto de 1940, conheceu a aldeia dos índios Karajá, na Ilha do Bananal (TO), sendo o primeiro presidente a visitar uma área indígena.
+As fotos dessa visita oficial pertencem à Coleção Getúlio Vargas, acervo do Arquivo Histórico e Institucional do Museu da República.
+ 
+Getúlio Vargas em visita à Aldeia Karajá, na Ilha do Bananal (TO), agosto de 1940. Ilha do Bananal, Tocantins / Acervo Museu da República
+ 
+*Maria de Fátima Morado é historiadora do Arquivo Histórico e Institucional do Museu da República
+ 
+Fontes:
+Museu do Índio / Fundação Nacional do Índio (Funai) http://antigo.museudoindio.gov.br/educativo/pesquisa-escolar/253-o-dia-19-de-abril-e-o-dia-do-indio
+Arquivo Nacional. Exposições virtuais. A Marcha para o Oeste: a conquista do Brasil Central (1943-1967) https://exposicoesvirtuais.an.gov.br/index.php/galerias/10-exposicoes/314-a-marcha-para-o-oeste-a-conquista-do-brasil-central.html
+Os Brasis e suas memórias. Watau: A trajetória de uma liderança Karajá e o projeto modernista do Estado brasileiro https://osbrasisesuasmemorias.com.br/biografia-watau/
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/13330` — `itens/20.500.12156.1_13330/`
+- `20.500.12156.1/13331` — `itens/20.500.12156.1_13331/`
+- `20.500.12156.1/13332` — `itens/20.500.12156.1_13332/`
+
diff --git a/wordpress/39310-oswaldo-cruz-o-dr-photographo-em-paris.md b/wordpress/39310-oswaldo-cruz-o-dr-photographo-em-paris.md
new file mode 100644
index 0000000..0b685af
--- /dev/null
+++ b/wordpress/39310-oswaldo-cruz-o-dr-photographo-em-paris.md
@@ -0,0 +1,82 @@
+---
+id: 39310
+url: "https://brasilianafotografica.bn.gov.br/?p=39310"
+titulo: "Oswaldo Cruz, o Dr. Photographo, em Paris"
+autor: "Andrea Wanderley"
+data: "2025-05-13T09:44:20+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/13337", "20.500.12156.1/11962", "20.500.12156.1/13334", "20.500.12156.1/13338", "20.500.12156.1/13333"]
+fetched_at: "2026-09-10T10:20:14.543Z"
+---
+
+# Oswaldo Cruz, o Dr. Photographo, em Paris
+
+No artigo de hoje, de autoria da jornalista Cristiane d´Avila e da historiadora Ana Luce Girão, ambas da Casa de Oswaldo Cruz/Fiocruz, uma das instituições parceiras da Brasiliana Fotográfica, são divulgadas imagens inéditas de Paris, realizadas em 1907, “frutos do olhar de um célebre autor: Oswaldo Cruz”.
+ 
+Oswaldo Cruz. Jardim do Trocadéro com a Torre Eiffel ao fundo, outubro de 1907. Paris, França / Acervo Casa de Oswaldo Cruz
+ 
+Acessando o link para as fotografias de autoria de Oswaldo Cruz produzidas em Paris, em 1907, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+O cientista flanou pelas ruas de Paris e produziu fotografias estereoscópicas com um Verascope Richard, sistema de integração entre câmera e visor, que permitia ver imagens em 3D, produzidas a partir de duas fotos quase iguais, porém tiradas de ângulos um pouco diferentes. Eram impressas em uma placa de vidro e reproduziam a sensação de profundidade de maneira bem próxima da visão real. No Brasil se destacaram na produção de registros estereoscópicos o comerciante, colecionador de selos e pinturas e fotógrafo amador carioca Guilherme dos Santos (1871 – 1966) e o francês Revert Henrique Klumb (1826 – c. 1886), “Photographo da Casa Imperial”, favorito da imperatriz Teresa Christina e professor de fotografia da princesa Isabel. A Casa Leuzinger também produziu fotografias estereoscópicas. A técnica da estereoscopia foi desenvolvida pelo escocês David Brewster (1781 – 1868), em 1844, poucos anos após a invenção da fotografia. O lançamento do Verascope, pela Maison Richard, na França, em 1893, contribuiu para que a estereoscopia voltasse a se proliferar, atraindo a atenção de fotógrafos amadores e de foto clubes europeus.
+ 
+Verascope Richard
+ 
+Oswaldo Cruz, o Dr. Photographo, em Paris
+ Cristiane d’Avila e Ana Luce Girão*
+ 
+Oswaldo Cruz, s/d / Acervo Casa de Oswaldo Cruz
+ 
+Entre os meses de abril e dezembro deste ano, Brasil e França realizam uma série de eventos, em ambos os países, para reforçar as relações diplomáticas bilaterais e as parcerias entre instituições brasileiras e francesas. Trata-se da Temporada Brasil-França, ano cultural estabelecido pelos presidentes Luiz Inácio Lula da Silva (1945-) e Emmanuel Macron (1977-), que coincide com os dez anos do Acordo de Paris e a COP 30, em Belém do Pará, em dezembro próximo. A proposta é debater temas referentes a clima e transição ecológica, diversidade, democracia e globalização equitativa.
+Motivado pela celebração, o Departamento de Arquivo e Documentação da Casa de Oswaldo Cruz traz a público imagens estereoscópicas inéditas de Paris, sob a guarda do arquivo histórico, datadas de 1907. O ineditismo, nesse caso, tem duplo sentido: além de não divulgadas até então, as imagens são frutos do olhar de um célebre autor: Oswaldo Cruz (1872-1917), em suas deambulações pelas ruas da capital francesa. Neste artigo, seguiremos o caminhante Dr. Photographo, alcunha carinhosamente atribuída ao médico por estudantes da Faculdade de Medicina do Rio de Janeiro, em sua flânerie pela cidade-luz, durante a qual registrou suas emblemáticas praças e monumentos.
+ 
+Oswaldo Cruz. Praça Trocadéro em Paris, outubro de 1907. Paris, França / Acervo Casa de Oswaldo Cruz
+ 
+“Em Paris não se escreve, vive-se.”, sentenciou o genial João do Rio, pseudônimo mais famoso do jornalista e cronista Paulo Barreto (1881-1921), em carta ao amigo português, o poeta e pedagogo João de Barros (1881-1960), em fevereiro de 1909[i]. O sentimento captado pelo flâneur da alma encantadora das ruas pode ter igualmente arrebatado seu contemporâneo na Academia Brasileira de Letras, o cientista Oswaldo Cruz , que viveu a cidade-luz registrando suas praças e monumentos por estereoscópio[ii]. Homem de seu tempo atento aos avanços tecnológicos da modernidade, Oswaldo parece ter se deslumbrado com a capital francesa, lócus da belle époque por excelência, o que o declara nas imagens aqui publicadas.
+ 
+Oswaldo Cruz. Avenida Marceau em Paris, outubro de 1907. Paris, França / Acervo Casa de Oswaldo Cruz
+ 
+O périplo acadêmico-científico do médico, então diretor do Instituto Soroterápico Federal (que logo passou a Instituto Oswaldo Cruz, embrião da Fiocruz), foi iniciado em Paris, de onde rumou para outras capitais da Europa, Estados Unidos e México. Como de costume à época, o roteiro do cientista pelo continente europeu começou em Lisboa, onde o “Avon”, navio transatlântico da grandiosa companhia de transporte britânica Royal Mail Steam Packet Company, aportou em 7 de agosto de 1907.
+ 
+Sala de jantar da primeira classe do RMST Avon, 1909 / Wikipedia Commons
+ 
+A bordo do navio, ainda em alto-mar, Cruz escreveu duas longas cartas à esposa Emília, a quem carinhosamente chamava de Miloca ou Miloquinha. Nas missivas, o cientista queixou-se: “O spleen que me devora em palavras representadas por estes garranchos (…) evade-me o espírito e assenhora-se por completo de mim”. O comentário melancólico, tão ao gosto do Decadentismo baudelairiano e dos estrangeirismos, não impediu que Oswaldo observasse que o “flirt” (flerte) “imperava em todos os cantos” do “Avon”.
+ 
+Correspondência pessoal do Fundo Oswaldo Cruz sob a guarda da Casa de Oswaldo Cruz/Fiocruz. Dossiê 05 – XV Exposição de Demografia e Higiene de Berlim [iii]
+Após desembarcar em Lisboa, onde ficou tempo suficiente para visitar a cidade serrana de Sintra e almoçar no famoso restaurante Leão D’Ouro, partiu no mesmo dia para Paris, permanecendo alguns dias na cidade. Da capital francesa foi para Berlim e, posteriormente, Nova Iorque, Washington e Cidade do México.
+O sucesso em Berlim
+A viagem foi motivada pelo convite do governo alemão para que o Brasil participasse do XIV Congresso Internacional de Higiene e Demografia, que se reuniria em Berlim, em setembro daquele ano. Representando o Brasil, o então Instituto Soroterápico Federal apresentou uma exposição composta, entre outras coisas, por peças anátomo- patológicas, coleções de mosquitos, imagens do expurgo dos mosquitos nas residências e modelo de isolamento hospitalar dos pacientes de febre amarela. No evento, os cientistas demonstraram como se deu o combate vitorioso contra a febre amarela no Rio de Janeiro.
+ 
+O Malho, 3 de agosto de 1907
+ 
+A exposição do Instituto Soroterápico Federal recebeu o 1º prêmio, representado por uma medalha de ouro oferecida pela Imperatriz alemã Augusta Vitória de Schleswig-Holstein (1858 – 1921). A enorme repercussão deste prêmio no Brasil trouxe um grande prestígio para Oswaldo Cruz e para o instituto que dirigia. Isso fez com que sua viagem se estendesse.
+ 
+Medalha de Ouro da Exposição de Higiene do XIV Congresso Internacional de Higiene e Demografia
+ 
+Assim, por designação do governo brasileiro, seguiu para a Cidade do México (passando antes para conhecer Nova Iorque) para participar da 3ª Convenção Sanitária Internacional das Repúblicas Americanas. Da capital mexicana partiu para Washington, uma vez que o então embaixador brasileiro, Joaquim Nabuco (1849 – 1910), agendara um encontro dele com o presidente Theodore Roosevelt (1858 – 1919). O objetivo da missão era comunicar ao chefe estadunidense a extinção da febre amarela no Rio de Janeiro.
+Nessa mesma temporada, da América cruzou mais uma vez o Atlântico Norte para visitas às Escolas de Higiene e Medicina Tropical de Londres e Liverpool. Na carta que escreve de Liverpool à esposa, em 21 de dezembro de 1907, Oswaldo diz que pretende finalizar sua viagem em Paris, para descansar e comprar os presentes e vestidos que ela havia encomendado a ele. Outra ‘missão’ que deveria cumprir na capital era a promessa, também feita a Miloca, de depositar uma placa comemorativa na Igreja de Notre Dame des Victoires por uma graça recebida.
+Em 19 de outubro escreveu a Egydio Salles Guerra (1858 – 1945), seu amigo e posterior biógrafo: “Depois de ter percorrido uma longa via sacra estou instalado no meu antigo “quartier dos Champs Elysées: Avda • Marignan, 17, num pequeno rez de chaussée mais ou menos confortável!”[iv].
+ 
+Oswaldo Cruz. Interior do apartamento de Oswaldo Cruz na Rua Marignan n. 17 em Paris, outubro de 1907. Paris, França / Acervo Casa de Oswaldo Cruz
+ 
+Em carta seguinte, datada de 5 de janeiro de 1908, se congratula com a esposa pelo aniversário de casamento de ambos, dá notícias sobre o andamento das encomendas de vestidos e chapéus, e informa que partirá de Paris em 24 do mesmo mês, devendo finalmente chegar ao Rio de Janeiro em 10 de fevereiro (Gazeta de Notícias, 10 de fevereiro de 1908, sétima coluna).
+O retorno a Paris, de fato, teria sido sugestão de Salles Guerra, muito preocupado com a saúde de Oswaldo Cruz. Salles Guerra havia sugerido que Oswaldo fosse para a Suíça e permanecesse algum tempo no Sanatório de Val Mont, em Montreaux para tratar de uma nefrite, recentemente diagnosticada, motivo de grande preocupação de sua família e amigos. Conselho que o amigo e “paciente” não acatou, afirmando ter horror a sanatórios.
+Na última carta da série (iniciada em agosto de 1907), datada de 14 de janeiro de 1908, escrita de Paris, vê-se um Oswaldo Cruz circunspecto, que evita contatos formais e sofre com o rigor do inverno parisiense. Imerso em grande nostalgia do tempo em que morou com a esposa e os três filhos mais velhos na Rue Marbeuf, entre 1897 e 1898, relata que os lagos do Bois de Boulogne estão congelados, atraindo muitos patinadores, e pede para Miloca informar às crianças que o circo da Avenue des Champs Elysée[v] já não existe mais.
+ 
+[i] RIO, João do. Cartas de João do Rio a João de Barros e Carlos Malheiro Dias. Org.: Cristiane d’Avila. Prefácio: Zuenir Ventura. Rio de Janeiro: Funarte, 2013, p.75.
+[ii] Para saber mais sobre a estereoscopia, ver o interessante artigo A estereoscopia e o olhar da modernidade de Maria Isabela Mendonça dos Santos na Brasiliana Fotográfica.
+[iii] As cartas de Oswaldo Cruz para sua esposa compõem este Dossiê e parte delas está transcrita em Biblioteca Virtual Oswaldo Cruz – Acervos
+[iv] SALES GUERRA, Egydio. Oswaldo Cruz. Primeira Edição. Rio de Janeiro: Casa Editora Vecchi Limitada, 1940, p.391.
+[v] Cirque d’Été, demolido em 1900.
+ 
+* Cristiane  d’Avila é jornalista e Ana Luce Girão é historiadora do Departamento de Arquivo e Documentação da Casa de Oswaldo Cruz (COC/Fiocruz)
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/13337` — `itens/20.500.12156.1_13337/`
+- `20.500.12156.1/11962` — `itens/20.500.12156.1_11962/`
+- `20.500.12156.1/13334` — `itens/20.500.12156.1_13334/`
+- `20.500.12156.1/13338` — `itens/20.500.12156.1_13338/`
+- `20.500.12156.1/13333` — `itens/20.500.12156.1_13333/`
+
diff --git a/wordpress/39314-brasiliana-fotografica-10-anos-lentes-do-passado-construindo-o-futuro-com-a-pala.md b/wordpress/39314-brasiliana-fotografica-10-anos-lentes-do-passado-construindo-o-futuro-com-a-pala.md
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@@ -0,0 +1,198 @@
+---
+id: 39314
+url: "https://brasilianafotografica.bn.gov.br/?p=39314"
+titulo: "“Brasiliana Fotográfica 10 anos: lentes do passado, construindo o futuro” – Com a palavra, os curadores"
+autor: "Andrea Wanderley"
+data: "2025-04-11T12:27:03+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/2857", "20.500.12156.1/5451", "20.500.12156.1/1795"]
+fetched_at: "2026-09-10T10:20:18.045Z"
+---
+
+# “Brasiliana Fotográfica 10 anos: lentes do passado, construindo o futuro” – Com a palavra, os curadores
+
+A trajetória da Brasiliana Fotográfica, inaugurada em 17 de abril de 2015, será celebrada com a realização do evento Brasiliana Fotográfica 10 anos: lentes do passado, construindo o futuro, no Auditório Machado de Assis, na Fundação Biblioteca Nacional, no dia 16 de abril próximo. Confira no link todas as informações sobre nossa celebração. 
+No dia 16 de abril de 2025, foi acrescentado ao artigo o link para o vídeo da celebração: 
+Brasiliana Fotográfica 10 anos: lentes do passado, construindo o futuro (vídeo do evento)
+O portal traz para seus leitores dois artigos escritos pelos curadores da plataforma: Diana dos Santos Ramos, Chefe da Divisão de Iconografia da Fundação Biblioteca Nacional; e Sérgio Burgi, Coordenador de Fotografia do Instituto Moreira Salles; além da programação do evento comemorativo do aniversário do portal, que já conta com cerca de 80 milhões de visualizações. Também publicamos três reportagens realizadas sobre nosso portal.
+ 
+
+ 
+A Brasiliana Fotográfica, uma plataforma de difusão de conhecimento imagético e textual, contribui para o desenvolvimento da educação e da cultura de nosso país, destacando e valorizando a história da fotografia, a memória e a própria História do Brasil. Foi criado por Flavio Pinheiro e Renato Lessa, na época diretor do Instituto Moreira Salles (IMS) e presidente da Fundação Biblioteca Nacional (FBN), respectivamente. Foi lançado com 2.393 imagens dessas duas instituições. Atualmente possui em seu acervo fotográfico 11.746 imagens produzidas no século XIX e nas quatro primeiras décadas do século XX provenientes dos acervos de suas duas instituições fundadoras – IMS e FBN – e de mais 12 instituições parceiras. São elas: Arquivo Geral da Cidade do Rio de Janeiro, Arquivo Nacional, Diretoria do Patrimônio Histórico e Documentação da Marinha, Escola de Ciências Sociais FGV CPDOC, Fiocruz, Fundação Joaquim Nabuco, Instituto Brasileiro de Geografia e Estatística, Instituto Histórico e Geográfico Brasileiro, Leibniz-Institut fuer Laenderkunde, Museu Aeroespacial, Museu da República e Museu Histórico Nacional.
+ 
+Viva a Brasiliana Fotográfica! Vida longa à Brasiliana Fotográfica!
+ 
+A. Ribeiro. Bahia do Rio de Janeiro, Brazil : vista panorâmica, s./d, Rio de Janeiro, RJ / Acervo FBN
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora da Brasiliana Fotográfica
+ 
+Com a palavra, os curadores!
+ 
+Brasiliana Fotográfica: dez anos de imagens que revelam histórias
+Diana Ramos*
+Com imenso prazer pessoal e profissional, celebro a oportunidade de integrar a equipe que faz da Brasiliana Fotográfica um projeto de sucesso. Como amante da técnica fotográfica e de sua capacidade de eternizar instantes e reconstruir memórias, atuar diretamente no portal representa um desafio estimulante.
+Assumir a curadoria das peças que compõem a Brasiliana Fotográfica, como chefe da Divisão de Iconografia da maior instituição de memória iconográfica do país, é uma grande responsabilidade. No entanto, é fundamental destacar que nada se constroi sozinho, especialmente em um projeto dessa magnitude. Como membro do Comitê Consultivo da Fundação Biblioteca Nacional (FBN), ressalto e agradeço a parceria e dedicação dos colegas que fazem a mágica acontecer. A curadoria é apenas uma das bases do portal que conta com a dedicação de equipe técnica altamente qualificada, com uma produção de conteúdo textual exclusiva, com profissionais que atendem e respondem às demandas dos pesquisadores e com os parceiros das outras 12 instituições que se juntaram as fundadoras, Biblioteca Nacional e Instituto Moreira Salles (IMS), nessa empreitada.
+A Brasiliana Fotográfica celebra 10 anos de existência, quase tanto tempo quanto a dobradinha na curadoria desempenhada por Joaquim Marçal pela FBN e Sérgio Burgi pelo IMS. Com grande comprometimento, passo a integrar a equipe na função anteriormente desempenhada pelo estimado colega Joaquim Marçal, servidor de carreira da FBN, cujo papel na história da Divisão de Iconografia é inestimável. Seu trabalho foi essencial para o tratamento técnico e a divulgação do acervo fotográfico, destacando-se à frente do projeto que tornou a coleção de documentos fotográficos do Imperador Pedro II amplamente conhecida, não apenas no Brasil, mas também internacionalmente, culminando no reconhecimento como Memória do Mundo pela UNESCO em 2003. Agradeço a Joaquim pelo incentivo e pela confiança ao longo dos anos que partilhou de forma muito generosa todo seu conhecimento e assumo a missão com o respaldo da coordenação que me nomeou parte da atual equipe. Ao lado de Sérgio Burgi, referência na história da conservação fotográfica no Brasil, inicio minha trajetória na curadoria do projeto com quem, certamente, tenho muito a aprender. Ao representar uma instituição bicentenária como a FBN, assumo o desafio pessoal de contribuir para dar maior visibilidade às coleções, estabelecendo novas narrativas e construindo discursos que vão além da história oficial.
+O portal pode ser um instrumento poderoso para iluminar personagens anonimizados pela história. Acredito ser possível adotar um olhar decolonial sobre um acervo tão vasto e significativo. O Brasil é um país continental e diverso, e a Brasiliana Fotográfica tem o compromisso de refletir essa multiplicidade. Mais do que resgatar imagens e memórias, o portal permite a construção de novas perspectivas, revelando histórias até então silenciadas e potencializando outras leituras sobre o passado. Ao revisitar esses registros fotográficos sob diferentes lentes, podemos reinterpretar os caminhos percorridos e, assim, expandir as possibilidades de futuro. O desafio é propor narrativas mais inclusivas, abrindo espaço para vozes historicamente marginalizadas e permitindo um entendimento mais plural da formação social e cultural do Brasil.
+Que os próximos 10 anos nos tragam ainda mais descobertas e reflexões, expandindo horizontes e reafirmando a importância do portal como um espaço vivo de pesquisa, memória e preservação fotográfica.
+ 
+* Diana Ramos é chefe da Divisão de Iconografia da Fundação Biblioteca Nacional. Servidora na mesma instituição desde 2006. Graduada em História pela UNIRIO e História da Arte pela UERJ. Pós-graduada em Ensino de História e Ciências Sociais pela UFF e mestre em Memória Social pela UNIRIO. Curadora dos portais Brasiliana Fotográfica e Brasiliana Iconográfica pela FBN.
+ 
+Brasiliana Fotográfica. Os próximos 10 anos
+ Sérgio Burgi**
+A Brasiliana Fotográfica é um projeto colaborativo construído por diversas instituições do país, com o objetivo de dar acesso a acervos fotográficos históricos, do século XIX e início do século XX.
+Ao longo desses últimos dez anos, desde o lançamento conjunto do projeto, em 2015, pela Biblioteca Nacional e pelo Instituto Moreira Salles, a plataforma já recebeu a adesão de mais 12 instituições do Brasil e do exterior, atingindo um resultado de mais de 80 milhões de pageviews em acessos direcionados aos mais de 550 artigos publicados regularmente a cada semana e igualmente em acessos e pesquisas nas mais de 11.700 imagens que atualmente compõem este banco de imagens que permite de forma única e singular a pesquisa cruzada entre fotografias icônicas de nossa história, preservadas nos acervos de muitas das mais importantes instituições de memória do país.
+Após esta bem sucedida primeira década de atuação e presença da Brasiliana Fotográfica no cenário cultural brasileiro, é preciso agora tanto refletir sobre a importância dessa plataforma para o esforço permanente de difusão da memória fotográfica do país, como também pensar simultaneamente sobre quais caminhos deveremos trilhar ao longo dos próximos dez anos.
+O papel da fotografia na escrita da história tem se acentuado ao longo das últimas décadas, em função da compreensão e incorporação cada vez maior nas pesquisas históricas desta fonte primária de informação visual de características muito específicas, baseada na produção de imagens por meio de aparato técnico sobre suportes fotossensíveis.
+Desde a primeira metade do século XIX, a fotografia, após o anúncio da daguerreotipia na França, em 1839, foi praticamente adotada em todas as regiões do mundo, construindo-se a partir daquele momento e nas décadas seguintes um legado significativo de imagens produzidas por fotógrafos atuando em inúmeros países. Eles registraram visualmente momentos, locais, assuntos e materialidades as mais diversas ao longo destes quase duzentos anos que nos separam dos primeiros experimentos com o processo fotográfico realizados por pesquisadores pioneiros como Hercule Florence, no Brasil; William Fox Talbot, na Inglaterra; e Joseph Nicéphore Niépce e Louis Jacques Mandé Daguerre, na França.
+Imagens que gradualmente encontraram caminhos para a sua incorporação em arquivos públicos e privados e em acervos de instituições de memória, formando assim um amplo legado de informação visual e documental construída dentro de uma nova linguagem e processo. De alguma maneira, isto tanto deu continuidade às diversas formas de representação visual desenvolvidas e construídas pela humanidade ao longo da história, como ao mesmo tempo criou as bases para uma nova e abrangente plataforma integrada de comunicação, criação e documentação. Em especial ao longo do século XX, foi estruturada em torno do registro por aparato de imagens estáticas e em movimento (fotografia, cinema e vídeo) e também de registros sonoros diretos (gravações mecânicas e magnéticas), que nos trouxeram a esse momento atual no século XXI de ampla produção e disseminação de conteúdos digitais em imagem e som através das redes e plataformas atuais.
+E é exatamente esse ferramental digital que nos permite hoje realizar pesquisas em diferentes bases de imagens e bancos de dados de informação textual, exemplificados na própria Brasiliana Fotográfica pela pesquisa de imagens na plataforma e no conteúdo semanal publicado integrados a uma intensa pesquisa textual correlata permitida hoje, por exemplo, pela Hemeroteca Digital, plataforma estruturada e disponibilizada ao grande público pela Biblioteca Nacional, que dá acesso aos periódicos publicados no país, ferramenta essencial para a pesquisa histórica e de contextualização de fontes documentais.
+São ferramentas atuais avançadas já disponíveis e em intenso uso que nos permitem pensar que, ao longo da próxima década, essa integração de pesquisa baseada nos conteúdos atualmente digitalizados e disponibilizados nos levarão a processos de compreensão e análise desse legado histórico reunido na Brasiliana Fotográfica de forma cada vez mais aprofundada e contextualizada.
+Há cinquenta anos, a pesquisa em acervos fotográficos históricos se dava necessariamente de forma bastante manual, baseada em processos de captura de imagens ainda analógicos, sem uma comunicação em rede que permitisse a visualização e comparação de imagens disponíveis nos diversos acervos, o que provocava um trabalho lento de pesquisa e comparação de fontes. O ferramental digital atual revolucionou essa condição de pesquisa e acesso a imagens não só no Brasil como em todo o mundo, incorporando novas possibilidades de acesso através de mecanismos avançados de busca por processos de aprendizado por máquina, incluindo soluções de inteligência artificial.
+Cabe, entretanto, compreendermos também aqui o papel essencial e incontornável do pensamento crítico e da pesquisa teórica nesse campo de conhecimento e comunicação. As fotografias são, por natureza, registros visuais que revelam tanto a materialidade de um determinado local em determinado momento, como ao mesmo tempo representam escolhas intencionais daqueles que as produzem e também daqueles que as editam e selecionam para a veiculação e comunicação ampla. São, portanto, instrumentos de documentação e instrumentos de construção seletiva de narrativas, realizadas pelo fotógrafo e/ou pelos editores e gestores de repositórios visuais, seja na imprensa ou também nos arquivos e coleções reunidas e preservadas nas instituições de memória. A cada período da história é, portanto, fundamental que a pesquisa em imagens fotográficas seja sempre estruturada em torno de pesquisas históricas balizadas por leituras críticas que permitam fundamentalmente a recuperação dos contextos e sentidos originais de criação dessas imagens. Somente dessa maneira podemos avançar na compreensão desse legado.
+O desafio maior da fotografia e de suas múltiplas possibilidades de interpretação e compreensão reside assim, de fato, em sua devida contextualização, somente possível através da pesquisa histórica e da análise crítica dessas fontes de informação que insistem em nos provocar.
+O futuro da Brasiliana Fotográfica nesta próxima década, estará, portanto, a meu ver, fortemente associado ao desafio da construção do conhecimento através da ampliação da compreensão crítica pelo grande público desta fonte de informação representada pela fotografia histórica, com a ajuda de ferramentas contemporâneas que permitam o acesso público e gratuito a um crescente número de imagens e conteúdos mediados, porém sempre associadas à reflexão crítica e à pesquisa rigorosa.
+Acreditamos que tanto a natureza colaborativa da plataforma como seu já grande alcance cultural e de público continuarão a ser as forças motrizes a incentivar seu crescimento e adesão por parte de novas instituições e colaboradores no campo da reflexão e pesquisa em imagens.
+Vida longa à Brasiliana Fotográfica!
+ 
+**Sergio Burgi é Curador da Brasiliana Fotográfica e Coordenador de Fotografia do Instituto Moreira Salles.
+ 
+Marc Ferrez. Partida para a colheira de café com carro de boi. Vale do Paraíba, RJ, c. 1882. Detalhe de foto / Acervo IMS
+ 
+A Brasiliana Fotográfica na mídia*
+ 
+Destacamos aqui, além do artigo publicado em 16 de abril de 2025 em O GLOBO em comemoração a nosso aniversário, as duas matérias publicadas nos jornais Folha de São Paulo e em O GLOBO com chamada na capa cujo tema foi a Brasiliana Fotográfica. A primeira, da Folha de São Paulo, foi publicada em 19 de maio de 2015, um mês após a inauguração do portal e falava da descoberta da presença do escritor Machado de Assis na foto Missa Campal de 17 de maio de 1888, de autoria de Antônio Luiz Ferreira. A foto havia sido o tema do artigo da Brasiliana Fotográfica de 17 de maio de 2015 e a descoberta foi realizada pela pesquisadora e editora do portal, Andrea C.T. Wanderley.
+ 
+ 
+Antonio Luiz Ferreira. Missa campal celebrada em ação de graças pela Abolição da escravatura no Brasil, 17 de maio de 1888. Rio de Janeiro, RJ / Acervo IMS
+ 
+A segunda matéria, publicada no O GLOBO, de 16 de março de 2025, foi sobre a série O Rio de Janeiro desaparecido, na época, com 30 artigos já publicados.
+Link para acessar todos os artigos da série: https://brasilianafotografica.bn.gov.br/?page_id=36975
+Parabéns para todos os envolvidos na produção de nosso portal! E muito obrigada a nossos leitores para quem todos esse trabalho é realizado! Viva a Brasiliana Fotográfica, que vocês já visualizaram quase 80 milhões de vezes!
+ 
+__________________________________________________________________________________________
+ 
+Folha de São Paulo, 19 de maio de 2015
+ 
+
+Transcrição da reportagem
+
+Pesquisa identifica Machado em foto histórica
+
+Portal Brasiliana Fotográfica localizou o autor de ‘Dom Casmurro’ em missa no Rio da abolição da escravatura
+Cerimônia reuniu milhares em 17/5/1888; descoberta indica que escritor estava em palco perto da princesa Isabel
+
+DE SÃO PAULO
+A Brasiliana Fotográfica divulgou no último domingo (17) ter descoberto um registro fotográfico inédito de Machado de Assis (1839-1908). O site de fotografias brasileiras do século 19 e do começo do 20 identificou a presença do escritor em uma imagem sobre o fim da escravidão.
+Em 17 de maio de 1888, quatro dias depois da assinatura da Lei Áurea, uma missa campal foi celebrada em São Cristóvão, no Rio, em homenagem à abolição da escravatura. Cerca de 30 mil pessoas estiveram presentes.
+A missa foi retratada pelo fotógrafo Antonio Luiz Ferreira. De uma posição um pouco acima do nível do chão, ele fez uma tomada panorâmica que contemplou uma larga extensão do Campo de São Cristóvão.
+Na imagem se misturaram negros recém-libertos, jornalistas, intelectuais, representantes do império e da igreja. O escritor Lima Barreto, então com sete anos, também esteve na missa.
+No canto esquerdo, está a princesa Isabel e seu marido, o conde D’Eu. Agora os pesquisadores da Brasiliana Fotográfica notaram a presença de Machado, próximo ao casal real.
+A fotografia da missa, ainda hoje pouco divulgada, integra a coleção do IMS (Instituto Moreira Salles), instituição que, em parceria com a Biblioteca Nacional, abastece a Brasiliana Fotográfica.
+A equipe do portal, lançado há um mês, digitalizou a fotografia em alta resolução e se dedicou a examinar os detalhes da cena. O palco em que aparece a princesa Isabel foi ampliado 15 vezes, o que revelou um homem bastante semelhante ao escritor.
+Segundo o site, especialistas na obra do autor de “Dom Casmurro”, como Eduardo Assis Duarte e Ubiratan Machado, confirmaram tratar-se realmente de Machado.
+É possível ver apenas uma parte do rosto do escritor, atrás de um senhor de barba branca não identificado.
+“A foto é uma representação muito importante do contexto da época, e ainda demonstra que Machado estava próximo da questão abolicionista”, diz Sergio Burgi, coordenador de fotografia do IMS.
+Ao site da Brasiliana Fotográfica, Ubiratan Machado, autor de “Dicionário de Machado de Assis” e um dos principais estudiosos da documentação machadiana, diz que a presença do escritor na missa era “fato até hoje desconhecido pelos biógrafos”.
+Machado, contudo, escreveu ao menos duas crônicas sobre a missa, em que satiriza a classe política da época.
+Nas primeiras décadas do século 20, Machado, mulato bisneto de escravos alforriados, foi criticado por ser omisso em relação à escravidão. Estudos posteriores, no entanto, mostraram que ele retratou com argúcia as contradições sociais do país no século 19 –a escravidão entre elas.
+Desde os anos 1870 Machado escreveu diversas crônicas contra a escravidão na imprensa da época.
+“Não bato o martelo de que é o Machado, mas realmente parece muito com ele”, diz Valentim Facioli, professor aposentado da USP, dono da editora Nankin e pesquisador de Machado há 50 anos.
+“Se for realmente ele, é mais uma prova para desqualificar as bobagens de que Machado era indiferente à escravidão. Sempre foi um abolicionista, mas à moda dele, sem militar em grupos ou comícios.”
+“Parece realmente o Machado daquele período”, diz o inglês John Gledson, outro estudioso do autor.
+“Me surpreende que ele estivesse tão perto da princesa. Ele não era exatamente membro da elite, embora já fosse famoso na época.”
+
+_______________________________________________________________________
+ 
+O GLOBO, 16 de março de 2025
+
+ 
+Transcrição da reportagem
+Cidade desaparecida: com imagens, site conta a história de lugares que sumiram da paisagem carioca
+
+Prestes a completar dez anos, a Brasiliana Fotográfica reúne parte importante do acervo de 14 instituições, entre as quais a Fundação Biblioteca Nacional e o Instituto Moreira Salles
+
+Por
+Carmélio Dias
+ — Rio de Janeiro
+
+16/03/2025
+O roteiro pode começar com um terapêutico banho de mar na Praia de Santa Luzia, bem ali no Centro. De lá, segue para o alto do Morro do Castelo, onde a atração é a vista panorâmica em meio a casas simples que evocam a origem da cidade. Na descida, vale uma passada no Mercado Municipal da Praça Quinze para encher a bolsa com frutas da estação. Depois, uma parada para, com a licença das freiras, matar a sede bebendo a água fresca que verte do Chafariz das Saracuras, instalado no pátio do Convento da Ajuda. No entorno, a arquitetura do Conselho Municipal e do Palácio Monroe é um convite ao olhar. Para terminar, aquela esticada no Passeio Público, para um refrescante bate-papo no quiosque Chopp Berrante, que ninguém é de ferro.
+
+Patrimônio na memória
+
+O único problema desse itinerário é que ele não existe mais. Há tempos os pontos destacados — praia, prédios, morro — saíram de cena. São como peças excluídas ou movidas de lugar no imenso quebra-cabeças de uma cidade em constante transformação. Mas resistem, em boa parte, graças ao trabalho de fotógrafos pioneiros na arte de registrar a paisagem em mutação. Prestes a completar dez anos, em abril, o site Brasiliana Fotográfica — que reúne parte importante dos acervos de imagens sob guarda da Fundação Biblioteca Nacional, do Instituto Moreira Salles e de mais 12 instituições — tem se dedicado a propagar essas memórias. Uma das séries publicadas pelo portal é “O Rio de Janeiro Desaparecido”: 30 artigos (até aqui) reúnem fotos e textos que tratam de recolocar no mapa antigos marcos da paisagem carioca.
+
+Resquícios de uma cidade desaparecida
+— Esta série foi curiosa porque, na verdade, se impôs como tema. Eu já tinha escrito oito artigos sobre prédios demolidos na cidade, e parceiros nossos tinham escrito outros três. Quer dizer, já existiam 11 artigos que tinham esse tema em comum: a destruição, a demolição. Identificamos que havia um padrão ali. Só a partir do 12º artigo é que comecei a pensar como série. Ela se formou antes de eu formar a ideia de fazer a série — lembra Andrea Wanderley, editora e pesquisadora do Brasiliana Fotográfica.
+
+ No rastro da história
+
+A Praia de Santa Luzia — ponto do roteiro imaginário que abre este texto — foi retratada no 15º episódio da série. O balneário, que ficava rente à igreja de mesmo nome — hoje afastada do mar por aterros —, começou a desaparecer da paisagem em 1922 com o desmonte do Morro do Castelo e o surgimento, em seu lugar, da Esplanada do Castelo. A praia sumiu de vez na década seguinte. No artigo a respeito, a Brasiliana Fotográfica reproduz trecho de matéria publicada pelo GLOBO — que completa 100 anos em 2025 — no dia 12 de janeiro de 1931 no qual se lê, no português da época, que “a antiga praia de Santa Luzia, quasi desapparecida com as remodelações feitas depois do aterro de parte da bahia, foi substituída, na affluência dos banhos de mar, pela actual praia das Virtudes”.
+
+A antiga praia foi bem frequentada e muito fotografada. Pelo artigo é possível acessar registros dela feitos por Georges Leuzinger (1813-1892), Augusto Malta (1864-1957), Juan Gutierrez (1860-1897), Revert Henrique Klumb (1826-1886) e Marc Ferrez (1843-1923), uma turma da pesada cujo trabalho é recorrente na série e no acervo reunido pela Brasiliana.
+ 
+Fachada da Academia Imperial de Belas Artes, no Jardim Botânico — Foto: Márcia Foletto
+ 
+Ferrez, por exemplo, é o autor da foto que ilustra o artigo sobre a antiga Academia Imperial de Belas Artes, surgida no bojo da missão artística francesa. Inaugurado em 1826, onde hoje fica a Travessa das Belas Artes, no Centro, o prédio foi demolido em 1938. No local hoje há um estacionamento com entrada pela Avenida Passos. A ainda incipiente preocupação com preservação de marcos da história do país — o Serviço do Patrimônio Histórico e Artístico Nacional, antecessor do Iphan, fora criado naquele mesmo ano — motivou a decisão de preservar a fachada em estilo neoclássico do edifício. A solução encontrada foi desmontar a estrutura e reerguê-la dentro do Jardim Botânico, na extremidade da Aleia das Palmeiras Imperiais junto à Rua Pacheco Leão. Um típico exemplar do Rio que desapareceu do seu lugar original, mas continua disponível para visitação, o pórtico é uma das dez atrações da Trilha do Patrimônio, um dos circuitos de visita guiada do parque.
+ 
+Fachada da Academia Imperial de Belas Artes, em seu lugar original, no Centro — Foto: Marc Ferrez/Coleção Gilberto Ferrez/Acervo Instituto Moreira Salles
+ 
+— Não sabemos exatamente como foi a decisão de colocar a fachada naquele lugar, mas acho que foi a decisão correta. Ela se encaixa perfeitamente ali, conduz o nosso olhar para aquele lugar e está perfeitamente integrada à paisagem — diz Lea Carvalho, arquiteta, doutora em museologia e patrimônio e uma das criadoras da trilha, em 2021.
+
+Ao lado da vegetação de grande porte que a circunda, a fachada da Academia Imperial parece encolher, mas basta chegar perto para ter a real dimensão da construção. Estão ali todos os detalhes que podem ser observados na foto de Marc Ferrez. As colunas, que dialogam bem com os troncos das palmeiras em frente, os relevos laterais, a quadriga no alto, o portão de ferro e, no centro, uma pequena figura alada com o lado direito coberto pelo que parece ser uma casa de marimbondos que, curiosamente, emula o formato de uma asa e parece completar a escultura.
+
+Saracuras secas
+ 
+O chafariz do século XVIII foi para a Praça General Osório: em manutenção — Foto: Márcia Foletto
+ 
+Outro resquício desse Rio que sumiu é o Chafariz das Saracuras. Este ainda mais acessível. A peça de fins do século XVIII, atribuída ao Mestre Valentim e tombada pelo Iphan, foi desmontada por ocasião da demolição do centenário Convento da Ajuda, onde hoje fica a Cinelândia, entre 1911 e 1912, e levada para a Praça General Osório, em Ipanema, onde está até hoje. A fonte resistiu ao desaparecimento, mas as saracuras e os cágados de metal de sua ornamentação sumiram com o tempo. Furtadas, foram substituídas por réplicas.
+ 
+A obra atribuída a Mestre Valentim em seu lugar original, o Convento da Ajuda — Foto: Augusto Malta/Coleção Gilberto Ferrez/Acervo Instituto Moreira Salles
+ 
+
+Em 2022, o bem e a praça passaram por reformas. A água voltou a jorrar dos bicos das novas saracuras. Durou pouco. Atualmente a fonte está seca, com uma placa indicando que passa por obras. De acordo com a Secretaria municipal de Conservação e Serviços Públicos, o chafariz estava em funcionamento até janeiro deste ano e “passa por manutenção da bomba e de equipamentos elétricos” que deve ser concluída na primeira quinzena de abril.
+
+Já do antigo prédio do Conselho Municipal, que ficava exatamente ao lado do Convento da Ajuda, nada restou. Construído em 1871 para abrigar o Colégio São José, o edifício em estilo manuelino, incomum por essas bandas, veio abaixo em 1918 para dar lugar ao Palácio Pedro Ernesto, sede da Câmara Municipal.
+ 
+Antigo prédio do Colégio São José e depois do Conselho Municipal — Foto: Augusto Malta/Coleção Gilberto Ferrez/Acervo Instituto Moreira Salles
+ 
+O Palácio Pedro Ernesto substituiu o antigo edifício do Conselho — Foto: Guito Moreto
+ 
+Dos artigos da Brasiliana, surgem imagens pouco conhecidas como a da primeira das sete sedes que a prefeitura do Rio já teve. Ficava em um palacete junto ao Campo de Santana, mais ou menos onde hoje funciona a Biblioteca Parque Estadual. O prédio foi um dos muitos demolidos para a abertura da Avenida Presidente Vargas na década de 1940.
+ 
+Palacete que foi a primeira sede da Prefeitura do Rio, no Campo de Santana — Foto: Marc Ferrez/Coleção Gilberto Ferrez/Acervo Instituto Moreira Salles
+ 
+O mesmo destino teve a lendária Praça Onze, atravessada pela nova via. Outro prédio emblemático — e pouco lembrado — é a bonita gare original da estrada de Ferro Central do Brasil, igualmente demolida para dar espaço às pistas largas da nova avenida. Em seu lugar foi erguido o prédio em estilo art déco que conhecemos hoje e que, verdade seja dita, já pode ser rotulado como icônico.
+ 
+A antiga gare da Central do Brasil — Foto: Marc Ferrez / Convênio Leibniz-Institut für Länderkunde, Leipzig / Acervo Instituto Moreira Salles
+ 
+— Algumas coisas foram perdidas, e outras ainda vão se perder, isso é parte do processo. Isso é mais forte no Rio do que em outras cidades. Talvez por ter sido capital, a gente pisou no acelerador em busca de uma certa modernidade desde muito cedo. Foram muitas as transformações vividas pela cidade em sua história — reflete o arquiteto e urbanista Washington Fajardo.
+ 
+O antigo Mercado Municipal da Praça Quinze, destruído após a abertura da Perimetral, que também já não existe mais — Foto: Arquivo/O Globo
+ 
+
+Fajardo lembra que a demolição da Perimetral — destaque contemporâneo da série da Brasiliana — devolveu à cidade áreas históricas que estavam descaracterizadas, como a Praça Mauá. O extenso viaduto, aliás, foi responsável pela demolição do Mercado Municipal da Praça Quinze. Em 1958, a via cortou no meio o antigo entreposto inaugurado em 1907. Das suas quatro torres octogonais, apenas uma ficou de pé. Nela funciona há anos o restaurante Albamar. A perimetral já não existe mais, mas a estrutura segue de pé como a lembrar de um Rio que se perdeu no tempo.
+
+— Resgatar a memória é importante para criar e preservar nossa identidade cultural. Inclusive ajuda, acredito, a evitar a repetição de equívocos cometidos no passado e a provocar reflexões e, quem sabe, ações — observa Andrea Wanderley.
+ 
+O pitoresco Chopp Berrante, no Passeio Público — Foto: Augusto Malta/Coleção Gilberto Ferrez/Acervo Instituto Moreira Salles
+ 
+A Brasiliana Fotográfica já publicou 551 artigos a partir das imagens disponíveis. Juntos, eles caminham para bater a marca de 80 milhões de visualizações. Os próximos capítulos da série “O Rio de Janeiro Desaparecido” serão publicados em maio: o 31º, sobre o Hotel dos Estrangeiros, no Flamengo, e o 32º, sobre o prédio da Imprensa Nacional.
+O site reúne imagens de outras instituições, além da FBN e do IMS: Arquivo Geral da Cidade do Rio, Arquivo Nacional, Casa de Oswaldo Cruz, Fiocruz, CPDOC – FGV, Diretoria do Patrimônio Histórico e Documentação da Marinha, Fundação Joaquim Nabuco, Instituto Brasileiro de Geografia e Estatística, Instituto Histórico e Geográfico Brasileiro, Leibniz-Institut fuer Laenderkunde, Museu Aeroespacial, Museu da República e Museu Histórico Nacional.
+_______________________________________________________________________
+ 
+O GLOBO, 16 de abril de 2025
+ 
+
+* Inserido no artigo em 16 de abril de 2025.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/2857` — `itens/20.500.12156.1_2857/`
+- `20.500.12156.1/5451` — `itens/20.500.12156.1_5451/`
+- `20.500.12156.1/1795` — `itens/20.500.12156.1_1795/`
+
diff --git a/wordpress/39339-o-templo-da-humanidade-sede-da-igreja-positivista-do-brasil.md b/wordpress/39339-o-templo-da-humanidade-sede-da-igreja-positivista-do-brasil.md
new file mode 100644
index 0000000..4bba5b2
--- /dev/null
+++ b/wordpress/39339-o-templo-da-humanidade-sede-da-igreja-positivista-do-brasil.md
@@ -0,0 +1,68 @@
+---
+id: 39339
+url: "https://brasilianafotografica.bn.gov.br/?p=39339"
+titulo: "O Templo da Humanidade, sede da Igreja Positivista do Brasil"
+autor: "Andrea Wanderley"
+data: "2025-07-24T16:15:44+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/4020", "20.500.12156.1/6603"]
+fetched_at: "2026-09-10T10:20:21.602Z"
+---
+
+# O Templo da Humanidade, sede da Igreja Positivista do Brasil
+
+Com uma imagem produzida pelo alagoano Augusto Malta (1864 – 1957), pertencente ao acervo fotográfico da Fundação Biblioteca Nacional, uma das instituições fundadoras da Brasiliana Fotográfica, o portal conta um pouco da história do Templo da Humanidade, sede da Igreja Positivista do Brasil. Foi o primeiro templo positivista edificado no mundo conforme indicações e regras estabelecidas pelo francês Auguste Comte (1798-1857), fundador do Positivismo. O prédio, cuja decoração foi realizada por artistas como Décio Villares (1851 – 1931) e Eduardo de Sá (1866 – 1940), é tombado.
+ 
+Augusto Malta. Igreja Positivista do Brasil, s/d. Rio de Janeiro, RJ / Acervo FBN
+ 
+Seus acervos formados por livros, documentos e obras de arte e que contam mais de um século de história brasileira, também são tombados e retratam a força do ideário e da iconografia positivistas na formação da nação republicana brasileira. Parte deles recebeu o selo Memória do Mundo da UNESCO, durante uma cerimônia realizada no Arquivo Nacional, no Rio de Janeiro, em 10 de dezembro de 2015.
+ 
+
+ 
+Inaugurado em 1º de janeiro de 1897, na Rua Benjamin Constant, nº 74, na Glória, bairro do Rio de Janeiro, a construção do Templo da Humanidade, realizada entre 1891 e 1896, foi dirigida pelo arquiteto e engenheiro cearense Trajano Saboya Viriato de Medeiros (1865 – 1940), graduado pela Escola Politécnica do Rio de Janeiro, em 1886. Foi também responsável pela construção do prédio da Casa Colombo. Casou-se, em 1894, com Olympia Carvalho de Oliveira, sobrinha do filósofo Miguel Lemos (1854 – 1917), fundador da Igreja Positivista no Brasil, que o indicou para ser o responsável pela obra do templo. Na fachada, uma frase remete ao lema Ordem e Progresso da bandeira nacional : O amor por princípio e a ordem por base, o progresso por fim.
+ 
+O Paiz, 2 e 3 de janeiro de 1897, penúltima coluna
+ 
+O Positivismo é um método científico, político e sociológico, inspirado no Iluminismo francês, que afirmou a necessidade da ordem e do rigor sociais e políticos para o progresso. Disciplina, rigor e ordem seriam, segundo a doutrina, essenciais para o crescimento moral e social. Os princípios do Positivismo inspiraram a Proclamação da República no Brasil.
+“O movimento positivista teve uma atuação importante na vida política brasileira. Desde o final do século 19 os membros da Igreja Positivista do Brasil interferiram assiduamente no debate público clamando pela instauração do regime republicano e pelo fim da escravatura. Após a Proclamação da República a influência do positivismo tornou-se mais direta incidindo em decisões políticas tomadas pelo Governo Provisório e ao longo da República Velha”.
+Site Templo da Humanidade
+ 
+Monumento ao filósofo francês Auguste Comte na Praça Sorbonne, em Paris
+ 
+Miguel Lemos, Raimundo Teixeira Mendes (1855 – 1927) e Benjamin Constant (1836 – 1891) fundaram, em 1876, a Sociedade Positivista Brasileira, de caráter acadêmico e a primeira do Brasil. Miguel Lemos e Teixeira Mendes viajaram juntos para Paris, em 1877, em busca de conhecimentos sobre a doutrina positivista. A religião positivista foi trazida para o Brasil por eles, que trabalharam ativamente na divulgação da “Religião da Humanidade”. Em 1881, Miguel Lemos fundou oficialmente a Igreja Positivista do Brasil, no Rio de Janeiro, da qual tornou-se diretor. Teixeira Mendes era o vice-diretor.
+ 
+Almanak Laemmert, 1897
+ 
+O Malho, 13 de agosto de 1927
+ 
+Benjamin Constant (1836 – 1891) / Acervo Agência Nacional
+ 
+Em 1905, Mendes assumiu a liderança da Igreja Positivista do Brasil e a ocupou até sua morte, em 28 de junho de 1927.
+ 
+Augusto Malta. Enterro de Raimundo Teixeira Mendes, 29 de junho de 1927. Rio de Janeiro, RJ / Acervo Fiocruz
+ 
+Esboço da Bandeira Nacional feito em papel quadriculado, datado novembro de 1889, autoria do engenheiro Raimundo Teixeira Mendes. Material descoberto na Igreja Positivista do Brasil, no Rio de Janeiro, em 2014
+ 
+Protótipo da Bandeira do Brasil (óleo sobre tela de Décio Vilares). A obra, que serviu de molde para a confecção das primeiras bandeiras do governo, foi roubada em 2010 da Igreja Positivista do Brasil, no Rio, e até hoje não foi recuperada 
+
+Andrea C. T. Wanderley
+Editora e pesquisadora da Brasiliana Fotográfica
+ 
+Fontes:
+Figueiredo, Daniel Caetano de. A família Saboia, junho de 2005.
+Hemeroteca Digital da Biblioteca Nacional
+Revista do Instituto do Ceará
+SANTOS, Ricardo Augusto. O funeral de Teixeira Mendes pela lente de Augusto Malta in Brasiliana Fotográfica, 2 de agosto de 2019.
+Site CPDOC
+Site Inepac
+Site Senado
+Site Templo da Humanidade
+VIANNA, Carlos Negreiros. Trajano de Medeiros: um dos maiores empresários brasileiros de seu tempo, um desconhecido no Ceará até hoje. Revista do Instituto do Ceará, 2015.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/4020` — `itens/20.500.12156.1_4020/`
+- `20.500.12156.1/6603` — `itens/20.500.12156.1_6603/`
+
diff --git a/wordpress/39345-no-dia-mundial-do-meio-ambiente-um-pouco-da-obra-do-paisagista-frances-auguste-f.md b/wordpress/39345-no-dia-mundial-do-meio-ambiente-um-pouco-da-obra-do-paisagista-frances-auguste-f.md
new file mode 100644
index 0000000..f6a8b97
--- /dev/null
+++ b/wordpress/39345-no-dia-mundial-do-meio-ambiente-um-pouco-da-obra-do-paisagista-frances-auguste-f.md
@@ -0,0 +1,245 @@
+---
+id: 39345
+url: "https://brasilianafotografica.bn.gov.br/?p=39345"
+titulo: "No Dia Mundial do Meio Ambiente, um pouco da obra do paisagista francês Auguste François Marie Glaziou no Brasil"
+autor: "Andrea Wanderley"
+data: "2025-06-05T14:59:20+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/13342", "20.500.12156.1/4941", "20.500.12156.1/2268", "20.500.12156.1/1060", "20.500.12156.1/6771", "20.500.12156.1/6414"]
+fetched_at: "2026-09-10T10:20:24.694Z"
+---
+
+# No Dia Mundial do Meio Ambiente, um pouco da obra do paisagista francês Auguste François Marie Glaziou no Brasil
+
+Com fotografias de Augusto Malta (1864 – 1953), Georges Leuzinger (1813 – 1892), Fritz Busch (18? -?), Guilherme Santos (1871 – 1966), Marc Ferrez (1843 – 1923), Revert Henrique Klumb (c. 1826 – c. 1886), Theodor Preising (1883 – 1962), da Phototypia A. Ribeiro e de fotógrafos ainda não identificados, dentre outros, a Brasiliana Fotográfica celebra o Dia Mundial do Meio Ambiente trazendo um pouco da história do paisagista francês Auguste François Marie Glaziou (1828* – 1906), no Brasil, onde viveu entre fins de 1850 e 1890, destacando seu trabalho como administrador da Floresta da Tijuca e como criador dos jardins do Campo de Santana ou Campo da Aclamação, do Passeio Público e da Quinta da Boa Vista. Glaziou foi, segundo o grande paisagista brasileiro Roberto Burle Marx (1909 – 1994), seu precursor e também o inventor do jardim tropical brasileiro. Foi Flavio Pinheiro, um dos criadores da Brasiliana Fotográfica, que me sugeriu escrever sobre esse tema e a ele dedico essa publicação.
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+Brevíssimo perfil de Auguste François Marie Glaziou, o paisagista do Império do Brasil
+“Ele deixou uma obra precursora no domínio da ecologia, do desenvolvimento urbano durável que inspira os paisagistas e urbanistas do século XXI confrontados a uma acelerada urbanização”.
+Jean-Yves Mérien (1944-),
+professor emérito de Literatura e Civilização Brasileiras na Universidade de Rennes-II,
+sobre a obra de Glaziou.
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+Auguste François Marie Glaziou, s/d / Acervo FBN
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+Auguste François Marie Glaziou foi um importante paisagista francês que atuou no Brasil entre as décadas de 1860 e 1890, tendo deixado sua marca na paisagem urbana do Rio de Janeiro.  Nasceu na cidade de Lannion, na Bretanha, em agosto de 1828, filho primogênito da cozinheira Marie-Josèphe Grovalet   (1795 – 18?) e do jardineiro Yves Glaziou (1804 – 18?). Estudou Botânica no Museu de História Natural de Paris, tendo também praticado agricultura e horticultura. Participou da reforma do Jardim Público da cidade de Bordeaux, onde foi morar em 1854. Em 1856, casou-se com a camiseira Marie Chemineau (1833 -?), sua vizinha na rua Penicaud, em Bordeaux. No ano seguinte, nasceu o filho do casal, Andre Yves Arthur (1857 – 18?). A filha do casal, madame Simard (18? – 19?), nasceu no Brasil.
+Em 30 de agosto de 1858, Glaziou, assinou seu pedido de passaporte para viajar para o Rio de Janeiro, no navio norte-americano Thomas Allibonne, que partiu de Bordeaux, na França, em 10 de setembro do mesmo ano.  Declarava-se tanoeiro – artesão que faz ou conserta barris – e agricultor. Adotou o nome Auguste, provavelmente, em homenagem ao botânico Auguste de Saint-Hilaire (1779 – 1853), pesquisador da flora brasileira. Aportou no Rio, como um simples imigrante com poucos recursos, na primavera de 1858, e com ele o jardim europeu do século XIX chegava ao Brasil ** (Jornal do Commercio, 2 de novembro de 1858, última coluna; 8 de novembro de 1858, penúltima coluna; 13 de novembro de 1858, segunda coluna).
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+Jornal do Commercio, 5 de novembro de 1858, quarta coluna
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+O primeiro parque que projetou no país foi o do Palácio do Catete, construção realizada entre 1858 e 1867, encomendada por Antonio Clemente Pinto (1795 – 1869), barão de Nova Friburgo. Abriga atualmente o Museu da República, uma das instituições parceiras da Brasiliana Fotográfica. O arquiteto do prédio foi o prussiano Carl Friedrich Gustav Waehneldt (1830 – 1873). Em seguida, criou os jardins da residência do barão de Nova Friburgo, o atual Parque São Clemente, então Chácara do Chalé, em Nova Friburgo; e foi encarregado de arborizar o Cais da Glória, no Rio de Janeiro.
+Em 1861, Glaziou iniciou a reforma do Passeio Público, conforme veremos mais adiante neste artigo. Após uma crítica acerca de seu conhecimento em Botânica, publicou uma carta (abaixo), onde contou um pouco de sua vida na França, antes de vir para o Brasil, esclarecendo, segundo suas palavras “quem sou, da onde vim e para onde vou”. Fala no artigo de sua amizade com o naturalista alemão Ludwig Riedel (1790 – 1861), criador do primeiro herbário do Brasil, em 1831 (Correio Mercantil, 21 de agosto de 1862, penúltima coluna).
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+Glaziou descobriu e introduziu plantas brasileiras em praças e ruas, dentre elas, o oitizeiro, tendo sido um dedicado coletor de plantas em território brasileiro, que ele classificou de acordo com sua espécie, tendo catalogado pela primeira vez diversas espécies nativas brasileiras, como a  maniçoba-do-ceará, cujo nome científico faz referência a ele: Manihot glaziovii.
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+Manihot glaziovii
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+Outras espécies cujos nomes científicos referenciam Glaziou: Glaziova Bureau (bignonia), Glaziova Martius (sinônimo de Cocos), Glaziostelma E. Fourn (asclepíade), Glaziophyton Franch (gramínea), Bisglaziova (melastomacetaceae) e Glaziella Berkt (champignon, pirenomiceto).
+Introduziu também o uso de árvores de flores e, principalmente, de espécies nativas – muitas delas descobertas e trazidas por ele para o Jardim Botânico do Rio de Janeiro, tendo sido, nas décadas de 1860 e 1870, o responsável pela arborização do Rio de Janeiro. O herbário da Província de Minas para o ensino de zoologia e botânica da Escola de Minas de Ouro Preto era formado por plantas determinadas por ele (Almanak Administrativo, Mercantil e Industrial do Rio de Janeiro, 1879).
+Em 1864, por encomenda da princesa Leopoldina (1847 – 1871), criou os jardins do Palácio Leopoldina, que já não existe mais. Ficava no bairro do Maracanã.
+Em 1865 e 1866, acompanhou o casal Louis (1807 – 1873) e Elizabeth Agassiz (1822 – 1907) em excursões pelos arredores do Rio de Janeiro. Louis Agassiz comandava a Comissão ou Expedição Thayer, que percorreu boa parte do território brasileiro entre o Rio de Janeiro e a Amazônia, viagem que deu origem ao livro A journey in Brazil, editado em Boston, em 1868. A Comissão Thayer foi financiada pelo empresário e filantropo norte-americano Nathaniel Thayer, Jr. (1808-1883), ex-aluno de Agassiz no Museu de Zoologia Comparada, em Harvard. Vale lembrar que Charles Frederick Hartt (1840 – 1878), o futuro chefe da Comissão Geológica do Império (1875 – 1878), integrada pelo fotógrafo Marc Ferrez (1843-1923), participou da Comissão Thayer – foi a primeira vez que esteve no Brasil.
+Glaziou integrou o júri da Exposição Agrícola da Segunda Exposição Nacional, realizada entre 19 de outubro e 16 de dezembro de 1866, na Casa da Moeda (Jornal do Commercio, 19 de novembro de 1866, penúltima coluna). Tornou-se cavalheiro da Ordem de Cristo, pelo decreto imperial de 6 de junho 1868, devido a serviços prestados ao Brasil na Exposição Universal de Paris de 1867 (O Ypiranga, 13 de junho de 1868, primeira coluna).
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+O Ypiranga, 13 de junho de 1868
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+A convite de dom Pedro II (1823 – 1891), pelo decreto de 26 de janeiro de 1869, foi nomeado Diretor de Parques e Jardins da Casa Imperial. Ainda em 1869, projetou e executou os jardins da casa de Mariano Procópio Ferreira Lage (1821 – 1872), em Juiz de Fora, Minas Gerais. Entre este ano e 1873, realizou o ajardinamento do Largo do Machado com palmeiras e figueiras e o embelezamento da avenida do Mangue com palmeiras.
+Foi também Inspetor dos Jardins Municipais e integrou a Associação Brasileira de Aclimação, para a qual, em 1873, o imperador Pedro II doou um terreno na Imperial Quinta da Boa Vista para depósito de animais e viveiros de plantas. Foi membro da Sociedade Auxiliadora da Indústria Nacional (Almanak Administrativo Mercantil e Industrial do Rio de Janeiro, 1870 , 1872, 1874).
+A partir da década de 1870, a paisagem da Quinta da Boa Vista passou a ordenada por ele. Formou com o botânico e diretor do Museu Nacional, Ladislau Netto (1838 – 1894), e com o Barão do Catete (1827 – 1903) o júri da primeira exposição hortícula e agrícola realizada, em Petrópolis, por iniciativa da princesa Isabel, inaugurada em 2 de fevereiro de 1875. A medalha de ouro da exposição foi concedida pao paisagisa e botânico francês Jean Baptiste Binot (1806 – 1894). Por sua participação neste evento, Glaziou foi condecorado com a Ordem da Rosa (Almanak Administrativo, Mercantil e Industrial do Rio de Janeiro, 1880; Jornal do Recife, 30 de julho de 1875, primeira coluna).
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+Jornal do Recife, 30 de julho de 1875
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+Glaziou foi o responsável pelo embelezamento da praça do Campo de Santana, cujas obras foram inauguradas, em 7 de setembro de 1880, com a presença do imperador Pedro II. Foi, na ocasião, agraciado com o título de comendador da Ordem de Cristo.
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+Gazeta de Notícias, 8 de setembro de 1880
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+Também em 1880, criou, no bairro de São Cristóvão, os jardins da casa de Irineu Evangelista de Sousa (1813-1889), o barão de Mauá, atual Museu do Primeiro Reinado; e jardins em residências de Petrópolis.
+Em 1881, a pedido do então diretor da Biblioteca Nacional, Ramiz Galvão (1846 – 1938), Glaziou colaborou na ornamentação do prédio da instituição na ocasião da inauguração da importante Exposição de História do Brasil. Era comendador da Imperial Ordem Russiana de São Estanislau (Almanak Administrativo, Mercantil e Industrial do Rio de Janeiro, 1881).
+Em 20 de abril 1884, com ornamentação de Glaziou, foi aberta a Quarta Exposição da Sociedade Agrícola e Hortícula de Petrópolis, a primeira no Palácio de Cristal – as três primeiras haviam sido realizadas em 1875 (como já mencionado), em 1876 e em 1877, em pequenos pavilhões na Praça Koblenz. Ainda em 1884, realizou dois projetos de jardins público, em Valença, no estado do Rio de Janeiro.
+Em 1889, como delegado do Rio de Janeiro na Exposição Universal de Paris, escolheu as flores e as plantas ornamentais brasileiras que compuseram a estufa diante do Pavilhão Brasileiro. Foram emprestadas pelo Museu de História Natural de Paris. Criou ainda um jardim com plantas exóticas e o lago da Vitoria Régia. Por sua participação, foi premiado pelo tribunal do evento (O Paiz, 4 de setembro de 1891, última coluna; Jornal do Commercio, 31 de março de 1890, segunda coluna). Retornou à França, em 1890 para tratar de febres contraídas durante suas expedições botânicas pelo Brasil.
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+Exposição Universal de Paris: exposição brasileira – Vitória-régia, 1889. Paris, França / Acervo Arquivo Nacional
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+Foi homenageado pela colônia francesa do Rio de Janeiro com um retrato e uma mensagem que ressaltava que ele era o melhor entre os franceses (Jornal do Commercio, 17 de setembro de 1890, quinta coluna).
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+Glaziou por Auguste Petit, uma homenagem da colônia da França no Rio de Janeiro ao paisagista
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+Foi noticiado que Glaziou deixaria o Brasil – o que não aconteceu – porque os últimos jardins de sua criação e os únicos hoje a seu cargo lhe vão ser retirados (Jornal do Commercio, 20 de janeiro de 1892, quarta coluna; O Paiz, 22 de janeiro de 1892, quarta coluna; O Paiz, 23 de janeiro de 1892, quinta coluna). Em maio, voltou ao Rio de Janeiro após uma excursão à Serra do Espinhaço, em Santa Catarina, e a Minas Gerais, a serviço do Museu Nacional (O Paiz, 22 de maio de 1892, sexta coluna).  Glaziou cobrou do governo a quantia que, com a autorização do ministro da Agricultura, havia pedido emprestada para concluir as obras do jardim do Campo da Aclamação. Foi atendido (Jornal do Commercio, 23 de setembro de 1892, quinta coluna; 5 de outubro de 1892, quinta coluna).
+Foi nomeado inspetor-geral de Matas, Florestas, Jardins Públicos, Arborização e Caça (O Paiz, 3 de dezembro de 1893, segunda coluna).
+Em 1894, passou a integrar a Comissão Exploradora do Planalto Central, a Missão Cruls, chefiada pelo astrônomo e botânico francês Louis Ferdinand Cruls (1848 – 1908), que demarcou uma área de 14.400 Km², considerada adequada para a futura capital do Brasil, que ficou conhecida como “Quadrilátero Cruls” (O Paiz, 20 de junho de 1894, segunda coluna). Cruls comentou a participação de Glaziou na comissão e uma carta enviada para ele por Glaziou sobre a natureza e o clima do Planalto Central foi publicada (Jornal do Commercio, 9 de janeiro de 1895, quarta coluna; 23 de junho de 1896, sétima coluna). Por sua participação na comissão, Glaziou foi declarado Cidadão Honorário de Brasília, em 2006.
+Em 1895, viajou para a Europa, de onde escreveria o relatório de sua expedição ao Planalto Central e classificaria com rigor científico as 2.000 mil plantas que havia colhido em Goiás. Foi noticiado que voltaria em oito meses (Gazeta de Notícias, 28 de novembro de 1895, penúltima coluna).
+Foi nomeado membro do conselho administrativo da Sociedade Auxiliadora da Indústria Nacional no biênio 1895 /1897 (Jornal do Commercio, 2 de janeiro de 1896, segunda coluna).
+No ano seguinte, foi exonerado do cargo de inspetor-geral de Matas, Florestas, Jardins Públicos, Arborização e Caça e nomeado botânico da mesma inspetoria (Gazeta de Notícias, 3 de agosto de 1896, quarta coluna). Em 1897, Glaziou aposentou-se do cargo a partir da sanção de uma lei do Conselho Municipal. Na época, o prefeito do Rio de Janeiro era Francisco Furquim Werneck de Almeida (1846 – 1908) que, elogiou a atuação de Glaziou no Brasil: “tantos serviços prestou ao Brasil, concorrendo para embelezar a sua capital e principalmente para tornar conhecidas no estrangeiro as riquezas de sua imensa flora” (Jornal do Commercio, 5 de maio de 1897, segunda coluna; Gazeta de Notícias, 21 de agosto de 1897, primeira coluna; Jornal do Commercio, 2 de setembro de 1897, quarta coluna).
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+Gazeta de Notícias, 21 de agosto de 1897
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+Jornal do Commercio, 2 de setembro de 1897
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+Glaziou  dotou o Museu Nacional de História Natural de Paris com um quarto das ricas coleções da flora brasileira que lá estão reunidas e colaborou com os mais célebres botânicos de seu tempo, em particular com o alemão Carl Friedrich Philipp Von Martius (1794 – 1868) e seus sucessores, para a realização da Flora Brasiliensis (Jornal do Commercio, 20 de janeiro de 1892, quarta coluna).
+Fez ao longo de sua vida algumas publicações, dentre eleas: Notícia sobre botânica aplicada, Resumo numérico das espécies de plantas colhidas na Comissão de exploração do Planalto de Goiás, Algas brasileiras dos arredores do Rio de Janeiro; Cripotógamos vasculares do Brasil e Líquens Brasileiros.
+Faleceu, em Bordeaux, na França, em 30 de março de 1906. Já era viúvo.
+Em 12 de outubro de 1910, foi inaugurado um busto em mármore em sua homenagem, na Quinta da Boa Vista, obra da escultora paulista Nicolina Vaz de Assis Pinto do Couto (1874 – 1941) .
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+Busto de Glaziou na Quinta da Boa Vista
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+Em novembro de 2009, foi inaugurada, no Jardim Botânico do Rio de Janeiro, a exposição Glaziou e os jardins sinuosos. O evento integrou comemorações do Ano da França no Brasil (O GLOBO, 4 de novembro de 2009).
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+Exposição Glaziou e os jardins sinuosos, no Jardim Botânico do Rio de Janeiro
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+Em 22 de outubro de  2015, o Museu Nacional/UFRJ inaugurou a exposição Plantas do Brasil Central – Resgate histórico e herbário virtual de Auguste Glaziou. O evento foi promovido pelo Herbário e o Departamento de Botânica do Museu Nacional/UFRJ e contou com a conferência Auguste Glaziou e os jardins na segunda metade do século XIX do professor Carlos Terra, diretor da Escola de Belas Artes, e o lançamento do site http://glaziou.cria.org.br, que apresenta o herbário virtual de Glaziou.
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+Glaziou e algumas de suas obras e colaborações
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+Glaziou / Site Museu Nacional
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+Segundo Carlos Gonçalves Terra em  O Jardim no Brasil do Século XIX: Glaziou Revisitado, UFRJ/EBA, 1993 –, a obra de Glaziou, situada tanto na cidade como no estado do Rio de Janeiro e em outras regiões do país, pode ser agrupada em três grupos, de acordo com a documentação sobre seu trabalho.
+“O primeiro grupo tem sua atribuição apoiada apenas na opinião de alguns historiadores ou de artigos na imprensa, que trataram do tema. Fazem parte dele: Praça Tiradentes, Largo de São Francisco, Jardins do Palácio do Catete, Jardim da Casa da Marquesa de Santos, todos na cidade -do Rio de Janeiro, RJ; Jardim da Aclimação, em São Paulo, SP; Parque do Museu Mariano Procópio, em Juiz de Fora, MG. Além de outros que se apoiam apenas na tradição oral.
+O segundo grupo é formado por aqueles jardins a ele atribuídos e aos quais se pode, com relativa segurança, considerar como obra sua, no seu traçado original, pois existem projetos por ele assinados ou documentos que mencionam sua autoria. São eles: Palácio Imperial, Petrópolis, RJ; Parque São Clemente, Nova Friburgo, RJ; Praça D. Pedro li (atual Praça XV de Novembro), Rio de Janeiro, RJ .
+Os exemplos mais significativos constituem o terceiro e o último grupo. Eles podem, com certeza, ser apontados como obra de Glaziou, pois farta documentação existe de sua intervenção no projeto e na execução dos mesmos. Entre as suas realizações na cidade do Rio de Janeiro, optou-se pelo estudo daquelas que ainda hoje mantém as características básicas de seu traçado original, embora a maioria dos elementos que compõe sua estrutura tenham sido alterados ou substituídos no decorrer da evolução urbana da cidade. São eles: Reforma do Passeio Público, onde um novo traçado transformará radicalmente o de Mestre Valentim; Quinta da Boa Vista, em que a natureza a sua volta será modificada, planejada e cultivada; e Campo de Santana, no qual a impregnação de seu tratamento será de acordo com aquele ditado pelo modismo do período – o jardim inglês”. 
+Como já mencionado na introdução do artigo, vamos destacar o trabalho de Glaziou na Floresta da Tijuca, no Campo de Santana , no Passeio Público e na Quinta da Boa Vista. Lembramos aqui a importância da presença nas cidades da natureza, de jardins públicos, tanto ambientalmente como socialmente.
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+“Os jardins para as grandes cidades são como escapadas da civilização. Entre duas árvores o homem é inteiramente diverso do homem entre duas vitrines”
+João do Rio (1881 – 1921), início de A alma dos jardins (1908)
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+“Que achei eu do nosso século carioca? Achei que será contado como o século dos jardins. À primeira vista, parece banalidade. O jardim nasceu com o homem. A primeira residência do primeiro casal foi um jardim, que ele só perdeu por se atrasar nos aluguéis da obediência, onde lhe veio o mandado de despejo…A cidade é sempre o homem do primeiro jardim. Tem a fé, tem a paciência, tem o amor, mas não há meio de achar um jardim em si mesma, e vai tecendo o século com outros. Creio que fiz um verso: E vai tecendo o século com outros”.
+Machado de Assis (1839 – 1908, trecho de sua coluna “A Semana”,
+(Gazeta do Rio de Janeiro, 5 de maio de 1895)
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+Gazeta de Notícias, 18 de janeiro de 1893
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+Passeio Público
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+Planta do Passeio Público, c. 1850 / Acervo FBN
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+Planta do Passeio Público depois da reforma radical realizada por Glaziou, 1862 / Acervo FBN
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+Ao longo do século XIX, o Passeio Público, inaugurado em 1783, passou por algumas reformas, tendo sido a mais importante a realizada por Glaziou, que teve início em 1861. Ele alterou o traçado original concebido pelo mineiro Valentim da Fonseca e Silva, mais conhecido como Mestre Valentim (c. 1745 – 1813), um dos maiores artistas do período colonial brasileiro. Francisco José Fialho (1814 ‒1885) foi o responsável pela execução da obra e o Passeio Público foi reinaugurado na ocasião da celebração do 40º aniversário da Proclamação da Independência, em 7 de setembro de 1862. Glaziou morava em um chalé dentro do Passeio Público (Diário do Rio de Janeiro, 7 de setembro de 1862, na quarta coluna sob o título “O Passeio Público”; Almanak Administrativo Mercantil e Industrial do Rio de Janeiro, 1862 e 1863).
+“A nova composição agregava elementos do jardim à inglesa e tentava dar ao parque uma aparência semelhante à dos parques contemporâneos europeus. No novo projeto, o ponto de vista único e ideal foi substituído pela diversidade de pontos de observação e o eixo longitudinal de simetria substituindo por uma sucessão de planos. Havia caminhos sinuosos, pavilhões, árvores e plantas nativas e água jorrando pela fonte dos jacarés, no grande tanque. As pirâmides de granito, liberadas da vegetação que as encobria, passaram a exibir os medalhões com inscrições do tempo do idealizador do Passeio Público, o vice-rei D. Luís de Vasconcelos”.
+Casa de Rui Barbosa
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+Revert Henrique Klumb. Casa de Glaziou dentro do Passeio Público/ Acervo FBN
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+Em 1863, Glaziou foi acusado de contrabando de pássaros. Na verdade, ele estava trazendo para o Passeio Público três pássaros de uma viagem ao Rio Grande do Sul (Diário do Rio de Janeiro, 14 de abril de 1863, segunda coluna).
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+Marc Ferrez. Passeio Público do Rio de Janeiro, c. 1880. Rio de Janeiro, RJ / Acervo IMS
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+Acessando o link para as fotografias do Passeio Público disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
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+Quinta da Boa Vista
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+Projeto de Glaziou da reforma dos jardins da imperial Quinta da Boa Vista / Arquivo do Instituto Brasileiro de Patrimônio Cultural
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+Glaziou projetou os jardins da Quinta da Boa Vista, localizada na Zona Norte carioca, no bairro de São Cristóvão, e atualmente, o Parque da Quinta da Boa Vista, um dos maiores parques urbanos do Rio de Janeiro. Tem grande valor tanto devido a sua paisagem como devido a sua história.
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+Phototypia A. Ribeiro; Maison Chic. Quinta da Boa Vista: Jardins, 1911. Rio de Janeiro, RJ / Acervo FBN
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+A Quinta da Boa Vista e um casarão, futuro Palácio Real ou Paço Real, que existia nela, pertenciam a um rico comerciante, o traficante de escravos Elias Antônio Lopes. Devido à carência de espaços residenciais no Rio de Janeiro, Elias doou sua propriedade ao então príncipe regente dom João (1767 – 1826), quando ele chegou ao Brasil, em 1808. A partir de 1817, transformou-se na moradia da família real até 1889, quando foi proclamada a República no Brasil e a família partiu para Portugal.
+O projeto de Glaziou foi apresentado a dom Pedro II, na década de 1860. A partir da década seguinte, a paisagem da Quinta da Boa Vista passou a ser organizada de forma ordenada por ele, que plantou no entorno da residência da família real espécimes do Brasil e de outras regiões do mundo. Representou os espécimes da flora brasileira, congregando-os com as zonas climáticas que habitavam, formando uma “vitrine” da botânica nacional.
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+Mapa com as espécies plantadas por Glaziou na Quinta da Boa Vista
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+Após a Proclamação da República, o palácio sediou os trabalhos da Assembleia Nacional que resultaram na Constituição Brasileira promulgada em 24 de fevereiro de 1891 (Gazeta de Notícias, 25 de fevereiro de 1891, na primeira coluna). Em 1892, o Museu Nacional do Brasil, criado em 6 de junho de 1818 por dom João VI e sediado no Campo de Santana, mudou-se para o Palácio da Quinta (O Paiz, 13 de março de 1892, na terceira coluna). Denominado, atualmente, Museu Nacional da Universidade Federal do Rio de Janeiro, foi um um dos maiores museus de antropologia e de história natural das Américas. Foi atingido, em 2 de setembro de 2018, por um incêndio de grandes proporções.
+Acessando o link para as fotografias da Quinta da Boa Vista disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
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+Campo de Santana
+Contrato do governo com Glaziou para o embelezamento do Campo da Aclamação, 2 de janeiro de 1873 / Arquivo Nacional
+ 
+Até meados do século XVIII, o Campo de Santana ou Campo da Aclamação era deserto e abandonado, tendo sido escolhido para o despejo de detritos, fato que perdurou até a gestão do vice-rei conde Resende (1790 a 1801), que ordenou o aterro e o saneamento do campo. A partir daí, surgiu a praça, edificações e novas delineações urbanas. Foi Glaziou o responsável pelo embelezamento da praça, iniciado nos primeiros anos da década de 1870 (Jornal do Commercio, 2 de maio de 1872, terceira coluna; e Diário do Rio de Janeiro, 24 de dezembro de 1873, primeira coluna) com a a construção de jardins românticos, cascatas, pontes e grutas. A inauguração da obra aconteceu em 7 de setembro de 1880 com a presença do imperador Pedro II. Na ocasião, como já mencionado, Glaziou foi condecorado como comendador da Ordem de Cristo (Gazeta de Notícias, 7 de setembro de 1880, primeira coluna; Almanak Administrativo, Mercantil e Industrial, 1883; e Gazeta de Notícias, 8 de setembro de 1889, primeira coluna; Almanak Laemmert, 1897, primeira coluna).
+ 
+Marc Ferrez. Campo de Santana – Cascata, c. 1880. Rio de Janeiro, RJ / Acervo IMS
+ 
+Em 1938, o Campo de Santana entrou para a lista de patrimônio histórico nacional, mas saiu cinco anos depois quando teve 18% de sua área suprimida para abrir passagem à construção da Avenida Presidente Vargas. Foi tombado de novo, em 1978, pelo Instituto do Patrimônio Histórico e Artístico Nacional (Iphan) segundo o qual o complexo “reúne atributos históricos, uma vez que foi palco de celebrações oficiais e cívicas ligadas à condição do Rio de Janeiro enquanto sede do Império e capital do país; artística, pelo projeto do paisagista francês Glaziou que o levou ao seu primeiro tombamento; e também paisagística, reconhecendo o valor da paisagem de jardim romântico que o bem oferece, foi construído no século XVIII”.
+ 
+Acessando o link para as fotografias do Campo de Santana disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Floresta da Tijuca
+A Floresta da Tijuca é o resultado de uma grande obra de reflorestamento iniciada em 1861 pelos seus primeiros administradores, o major Manuel Gomes Archer (1821 – 1907) e o Barão d’Escragnolle (1821 – 1888). Desde fins do século XVIII, a vegetação original que cobria o Maciço da Tijuca havia sido devastada pelas plantações de café e pelas queimadas para produção de carvão. Com isso, as fontes de água potável da região, que abasteciam a cidade, ficaram ameaçadas de secar. A recuperação da floresta começou com a desapropriação das fazendas de café e o plantio de sementes e mudas de árvores nativas e exóticas. Glaziou colaborou com o  Barão d’Escragnolle, entre 1874 e 1888, transformando a floresta num parque, com a abertura de estradas cavalgáveis, fontes, lagos, pontes e áreas de lazer como o mirante do Excelsior, a gruta Paulo e Virgínia e a Vista do Almirante. Com a morte de d´Escragnolle, em 1888, Glaziou assumiu a administração da Floresta, permanecendo no cargo até o início de 1889.
+ 
+Marc Ferrez. Cascata, Floresta da Tijuca, c. 1875. Rio de Janeiro, RJ / Acervo IMS
+ 
+Acessando o link para as fotografias da Floresta da Tijuca disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+ Íntegra de A alma dos jardins (1908), de João do Rio
+Os jardins para as grandes cidades são como escapadas da civilização. Entre duas árvores o homem é inteiramente diverso do homem entre duas vitrines. À beira de um lago artificial, na sombra de velhas árvores, o cidadão sente o estremecimento atávico, o acordar dos instintos. Onde houver muitas árvores, o ar livre, o céu azul visto através do rendado das folhas verdes, podeis ter a certeza de que aí as criaturas mais amarfanhadas pela nevrose urbana sentem o desabrocho rubro do sexto sentido. É como a sensualidade, é tal qual a luz e tal qual o perfume, impalpável e invisível, a sensualidade parece pender dos ramos no cheiro forte das folhas, na luz de que se abebera a fronte. As árvores guardam sempre amadriadas no tronco e vêem sempre passar os faunos. Os ramos de certas árvores abrem como querendo abraçar. E há troncos de uma tão insidiosa cumplicidade de amor!…
+Por isso quem entra nos jardins por estes meses de primavera mádida volta ao paraíso primitivo, por isso, os jardins encravados na cidade são como as escapadas da natureza, as peias da civilização.
+Eu vou aos jardins públicos. Tu também vais. É provável, porém, que nunca tivesses reparado nas pessoas que vão aos jardins. Eu vou e reparo.
+Oh! as pessoas que entram nos jardins! Nunca se entra nesses sítios como no teatro, como em qualquer rua, como por uma porta qualquer. Os que transpõem os grandes portões de ferro aproximam-se, sentem a necessidade, ou são forçados a aproximarem-se da natureza. Vede as crianças. Na rua, em casa elas estão de outro modo. Logo que chegam a esses lugares, perdem o respeito como se retomassem o sentimento da liberdade primitiva. É rara a criança da cidade que, vendo uma aléia sombreada de árvores, não sinta a necessidade, a obrigação de se expandir em gestos, de se penetrar daquele verde, daquela atmosfera de quieta e morna e doce sensualidade, e não deite logo a correr.
+Correr, correr inutilmente, é um prazer, um enebriamento que nos vem do homem das florestas. As crianças correm, ficam excitadas, ficam mesmo brutais. E, pela manhã, é curioso vê-las à solta, brigando com as amas, gesticulando, gritando, rindo, para, à saída, retomar o passo medido da calçada e do seu grau social. Apenas uma grade separava-as da rua ativa — e era um mundo…
+Aos jardins vão também homens e mulheres. Há jardins aristocráticos onde só se encontram — mas oito, dez, mais por dia! — as tentações do escol e o começo dos romances de alto tom. Não só a gente do alto tom, obedecendo a uma sugestão muitas vezes milenar, se julga nos jardins ao abrigo da curiosidade para o abandono dos beijos. Foi bem num jardim que se deu a Revelação — porque até hoje a mulher de todas as classes e o homem de classes variadas procuram, inconscientemente, o jardim para a entrevista.
+Entretanto não há quem não tenha trocado palavras como estas, na vida:
+— Amanhã?
+— Onde?
+— No Passeio, às 2.
+No Passeio, no Parque da Aclamação, no Jardim Botânico. Não importa o nome. O lugar é sempre um jardim.
+Tenho passeado com calma por esses surtos selvagens da cidade e sempre pasmei da variedade dos grupos. Há senhoras casadas que vão a esses lugares, vestidas de escuro com véus espessos. Como em geral elas amam ou se encapricham por cidadãos da sua esfera, os porteiros sabem logo a sorte do felizardo que entra e do infeliz que não entra. Há damas que se sentam nos bancos, à beira dos lagos, e procuram o recesso dos maciços, a sombra da folhagem; e meninas que entram, à volta dos cursos para conversar com os namorados; e há também um fato tocante — se ainda na vida pudesse haver fatos tocantes! —: as mais baixas mulheres, a que o mundo não perdoa, sentem um prazer extraordinário em conversar com o seu querido em sítios umbrosos. O querido é sempre um soldadinho jovem ou um jovem paisano. E é interessante ver entrar para o mesmo lugar homens de tão diferente existência, mulheres de responsabilidade tão variada. Muitas vezes os pares encontram-se. Alguns trocam sorrisos de mútuo consentimento, de doce cumplicidade. Solidariza-os o pecado. Só há uma evidente irritação dos pares, que se traduz pelo olhar frio e duro, pelo súbito silêncio, pelo desenlaçar das mãos, quando passa uma mulher sem companheiro ou um homem isolado. É que lhes germina o egoísmo, e o ciúme primitivo, a necessidade de defesa e da posse. E, por mais que eles saibam do contrário, o atavismo, o instinto sensual, sob a influência amoral das folhas e dos troncos, brota e floresce no jardim sensual.
+Nos jardins encontram-se também os desgraçados, os sem emprego, os mendigos. O mendigo é o cisco da cidade. A sua função, com o embotamento das forças vivas da resistência é vegetarizar-se. Os mendigos nos jardins chegam ao fim da desagregação. Os desgraçados, os sem emprego, apoiam-se na eclosão da natureza para criar ânimo, para beber esperanças, e, como os doentes do corpo vão ao campo convalescer, há homens sujos e pálidos nos jardins, sem almoço, sem pão, sem protetores, que pedem às árvores a cura da própria sorte.
+Os brutos, os marçanos, os que obedecem apenas à função fisiológica vendo a vida sem poesia, não namoram no teatro onde vão assistir à peça, não namoram à refeição porque vão comer; não namoram na rua porque vão com destino certo. Namoram, isto é, apanham a mulher no jardim, à sombra das árvores. Daí, aos domingos, os jardins estarem cheios. O dia de folga, as bebidas, o prazer, levamnos lá. O instinto rebenta ao contato com o resumo da floresta. Há bandos de adolescentes pesados, de bengalão e charuto, dizendo facécias grossas. E há também bandos de meninas namoradoiras, de costureirinhas, a rir, a responder aos dichotes.
+Não vos espanteis, oh! não! À noite, os jardins acolhem também os degenerados, esses doentes da sensualidade, cuja loucura na rua sabe sofrear-se para não entrar no hospício: damas de apetites desvairados, sujeitos de vícios secretos. Não fosse o jardim a recordação da floresta antiga e não precisava de bacantes e de sátiros!
+Como a licença cria austeras filosofias, os jardins têm também filósofos, esfarrapados cheios de orgulho, de cabeça socrática e gesto medido que pela manhã dissertam para pequenos grupos sobre a decadência deste país. E tem mesmo ex-pisa-flores, ex-leões da moda, da diplomacia dos falecidos cotillons do Paço. O esfarrapado é severo e condena. O esfarrapado, com as roupas lavadas de benzina, os arcaicos chapéus com reflexos furta-cores, os cabelos pintados, as unhas tratadas, lêem o jornal e guardam horas e horas um digno silêncio. Estão ali, como num museu a arejar. E talvez seja triste vê-los ao sol, aquecendo a carcaça, enquanto um ou outro soldado ou marinheiro, almas simples nascidas nas florestas do norte sentam-se nos bancos e olham as moitas, nostálgicos e pasmos.
+Os que passeiam por esses sítios sabem de tudo isso porque os jardins não guardam segredo, para mostrar decerto o poder da sua influência. Não há dama dando rendez-vous a um rapaz, indo ela a uma hora e ele a outra, entrando um por uma porta, e outro por outra sem que os jardins deixem de murmurar esse colóquio. Como? Em tudo — no ambiente, nas correntes misteriosas que vão de folha em folha, cantando a nova. O freqüentador sabe da fatal entrevista apenas pelo andar do homem, e os porteiros, os grandes manuais de amor oculto da cidade, sorriem e diagnosticam à primeira vista.
+Os jardins públicos são os guardas da sensualidade. Os seus estados de alma estudam-se pelas horas. De manhã, há crianças, filósofos, vagabundos e gente a fazer o seu footing. A essa hora esforçam-se eles por tomar um ar sério, lavam-se, irrigam-se, tomam a ducha reanimadora dos delírios noturnos. Mas vá o sol subindo e suba ao espaço a poeira, ou melancolicamente teça a chuva entre as folhas uma teia de cristal, começam a chegar os que dormiram até tarde, começam a aparecer os nevropatas, surgem os amorosos. Quando entra um sujeito desconhecido, o jardim parece recebê-lo com um riso silencioso de velho sátiro.
+Até as cinco da tarde quando o dia morre, o culto de Eros toma variedades esquisitas e abundantes. Daí em diante, com as primeiras sombras, as combustões amenas, as águas dos lagos mais misteriosas e a voz das árvores mais sensível — podeis ter a certeza que é a ronda da pornéia. A concorrência aumenta. Há gente aos bandos em começo de simpatia e pares solitários em início de contatos. A areia das aléias parece mais seca, um pó seco paira no ar. Por isso os jardins, nas grandes cidades, são como escapadas de civilização, e eu não entro num jardim, sem me sentir dominado pela Natureza brutal — de que com tanto custo, quando não está nos jardins, parece liberto o Homem da Cidade…
+ 
+Artigos publicados na Brasiliana Fotográfica no Dia Mundial do Meio Ambiente
+ 
+A Floresta da Tijuca no Dia Mundial do Meio Ambiente, publicado em 5 de junho de 2019
+Bambus, por Marc Ferrez, publicado em 5 de junho de 2020
+No Dia Mundial do Meio Ambiente, velas abertas na Baía da Guanabara, publicado em 5 de junho de 2022
+No Dia Mundial do Meio Ambiente, a potente imagem da Cachoeira de Paulo Afonso, por Marc Ferrez, publicado em 5 de junho de 2023
+ 
+*Diversas fontes foram consultadas e o ano de nascimento de Glaziou varia entre 1828 e 1833, mas na certidão de casamento de seus pais, consta que ele nasceu em 1828.
+**Na Hemeroteca Digital da Biblioteca Nacional, há o registro da chegada de A. Glaziou, no Brasil, em 1861 (Correio Mercantil, 20 de janeiro de 1861, sexta coluna). Será que esteve aqui em 1858, voltou para a França e depois retornou?
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora da Brasiliana Fotográfica
+ 
+Fontes:
+Archives Departamentales de Côtes  d´Armor –  acte de mariage de Marie-Josephe Grovalet et Yves Glaziou : acte 5, vue 308 dans lot n° 37.
+AZEVEDO, Alda; ONO, Fernando Pedro de Carvalho. Ludwig Riedel, o primeiro diretor de jardins da capital do império do Brasil, fevereiro de 2018.
+BÉRIAC, Jean-Pierre. Auguste Glaziou, un paysagiste entre Bordeaux et Rio de Janeiro. Revue archéologique de Bordeaux, 2012.
+BUREAU, Edouard. Notice Historique sur F.M. Glaziou. Bulletin de la Sociètè de Botanique de France, 28 de fevereiro de 1908.
+Câmara Legislativa do Distrito Federal
+FERREIRA, João Carlos, MARTINS, Angela Maria Moreira. Quinta da Boa Vista: de espaço de elite  espaço público. Paisagem, ambiente, ensaios, dezembro de 2000.
+Glaziou e os jardins sinuosos
+GUIMARÃES, Ivo Venerotti. Campo de Santana: o nome do lugar. Dissertação de mestrado. Rio de Janeiro: Universidade Estadual do Rio de Janeiro, 2013.
+Hemeroteca Digital da Biblioteca Nacional
+HETZEL, Bia, NEGREIROS, Silvia (organizadoras). Glaziou e as raízes do paisagismo no Brazil. Rio de Janeiro : Manati, 2011.
+O imperador do Brasil e os seus amigos da Nova-Inglaterra in Anuário do Museu Imperial, 1952 volume 13
+MENEZES FILHO, Paulo Ferreira de. A Quinta de Glaziou. A Aula-passeio como divulgação científica, janeiro de 2010.
+MÉRIEN, Jean-Yves. Auguste Glaziou. Site Biblioteca Nacional da França, 2009.
+MORALES FILHO, Adolfo de. O Rio de Janeiro Imperial. Rio de Janeiro : Topbooks Editora, 2000.
+NICOLAU, Giselle Pereira. Hasteando a bandeira tricolor em outros cantos: a imigração francesa no Rio de Janeiro. Tese de doutorado. Rio de Janeiro : Universidade Federal Fluminense, 2018.
+Página do Arquivo Nacional no Facebook
+PESSOA, Ana. O tabelião Fialho, imaginação e negócios na modernização do Brasil, 2021.
+Portal Monumentos do Rio
+ROCHA, Marcelo Montiel da. Dr. Glaziou – O Profeta de Brasília in Boletim do Sindicato dos Arquitetos do Distrito Federal, setembro de 2001.
+SEGAWA, Hugo. Ao amor do público – Jardins do Brasil. São Paulo : Livros Studio Nobel, Ltda, 1996.
+Site Casa de Rui Barbosa
+Site Dehal Arquitetura e Restauro
+
+Site Fundação Biblioteca Nacional
+
+Site Herbário Virtual Auguste Glaziou
+
+Site Museu Nacional
+
+Site Senado Federal
+
+TERRA, Carlos Gonçalves. Os jardins no Brasil do século XIX: Glaziou revisitado. UFRJ: Dissertação de Mestrado em História da Arte, 1993
+
+TRINDADE, Jeanne Almeida da. Os jardins de Glaziou para a Quinta da Boa Vista, Rio de Janeiro / RJ. Revista Espaço Acadêmico, maio de 2014.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/13342` — `itens/20.500.12156.1_13342/`
+- `20.500.12156.1/4941` — `itens/20.500.12156.1_4941/`
+- `20.500.12156.1/2268` — `itens/20.500.12156.1_2268/`
+- `20.500.12156.1/1060` — `itens/20.500.12156.1_1060/`
+- `20.500.12156.1/6771` — `itens/20.500.12156.1_6771/`
+- `20.500.12156.1/6414` — `itens/20.500.12156.1_6414/`
+
diff --git a/wordpress/39394-getulio-vargas-em-belem-a-joia-da-amazonia-ontem-e-hoje.md b/wordpress/39394-getulio-vargas-em-belem-a-joia-da-amazonia-ontem-e-hoje.md
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+---
+id: 39394
+url: "https://brasilianafotografica.bn.gov.br/?p=39394"
+titulo: "Getúlio Vargas em Belém, a joia da Amazônia, ontem e hoje"
+autor: "Andrea Wanderley"
+data: "2025-11-10T09:57:05+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/13413", "20.500.12156.1/13477", "20.500.12156.1/13458"]
+fetched_at: "2026-09-10T10:20:27.598Z"
+---
+
+# Getúlio Vargas em Belém, a joia da Amazônia, ontem e hoje
+
+A publicação de hoje, Getúlio Vargas em Belém, a jóia da Amazônia, ontem e hoje, é sobre um álbum de lembranças composto por 367 fotografias de uma viagem oficial que o então presidente Getúlio Vargas (1882 – 1954) fez, em outubro de 1940, à região amazônica. O artigo é de autoria de Maria de Fátima Morado, historiadora do Museu da República, uma das instituições parceiras da Brasiliana Fotográfica.
+ 
+Capa do Álbum de fotografias da visita de Getúlio Vargas a Belém / Acervo Museu da República
+ 
+Acessando o link para as fotografias do Álbum de fotografias da visita de Getúlio Vargas a Belém, em 1940, disponíveis na Brasiliana Fotográfica, o leitor poderá visualizar e magnificar as imagens.
+ 
+Na época da viagem, a ideia de desenvolvimento e progresso não estava vinculada à preservação ambiental. Entre 10 e 21 de novembro de 2025, Belém, capital do Pará, será a sede da COP 30 – 30ª Conferência da ONU sobre Mudanças Climáticas -, evento que, há décadas, reúne lideranças mundiais, cientistas, organizações não governamentais e representantes da sociedade civil para discutir ações de combate às mudanças climáticas. A primeira foi realizada, em 1995, em Berlim, na Alemanha.
+ 
+Getúlio Vargas em Belém, a joia da Amazônia, ontem e hoje
+ Maria de Fátima Morado*
+ 
+Álbum de fotografias da visita de Getúlio Vargas a Belém: Getúlio Vargas, outubro de 1940. Belém, Pará / Acervo Museu da República
+ 
+Em outubro de 1940, em viagem oficial à região amazônica, Getúlio Vargas fez sua primeira parada em Belém, capital do Pará. A visita recebeu uma cobertura fotográfica da participação do presidente em diversas solenidades e eventos. Esse registro foi organizado em um álbum de lembranças composto por 367 fotografias. Além da presença de Getúlio nos eventos promovidos pelas autoridades locais, essas fotografias também retratam outros aspectos da cidade apresentando edificações, monumentos, manifestações culturais e religiosas da população, além de produtos típicos e paisagens naturais.
+ 
+Álbum de fotografias da visita de Getúlio Vargas a Belém: Praça Siqueira Mendes, ou Praça do Relógio, outubro de 1940. Belém, Pará / Acervo Museu da República
+ 
+As fotos do álbum procuram mostrar Belém como uma cidade promissora, dispondo de ruas asfaltadas, transporte adequado, áreas de lazer, parques, jardins, hospitais, escolas, comércio e fábricas, correspondendo idealmente bem ao propósito desenvolvimentista do governo federal. Como homenagem ao visitante ilustre, o álbum cumpre bem a função de expor uma visão otimista da cidade, onde não há espaço para a precariedade, prevalecendo a imagem do progresso. As fotos com Getúlio trazem homenagens recebidas, participações em inaugurações e lugares visitados por ele, com destaque para o Museu Goeldi, onde plantou uma árvore de pau-brasil, dizendo que “sempre julgará que uma das mais nobres missões do homem na terra era plantar árvores por todo o solo do seu país”.
+ 
+Álbum de fotografias da visita de Getúlio Vargas a Belém: Getúlio Vargas, José Carneiro da Gama Malcher e Carlos Estêvão de Oliveira no Museu Paraense Emílio Goeldi, outubro de 1940. Belém, Pará / Acervo Museu da República
+ 
+Destaca-se também a grande receptividade da população para como presidente. Os jornais noticiaram que Getúlio foi recebido com diversas homenagens, entre elas uma parada de honra feita por 15 mil estudantes. Além disso, foram veiculadas informações sobre o acréscimo populacional em Belém, pois foi estimado em 150 mil o número de pessoas que vieram de outros lugares do Pará, como a Ilha de Marajó. A prefeitura não precisou decretar feriado porque os próprios comerciantes tomaram a iniciativa de fechar seus estabelecimentos para liberar os trabalhadores. Em seus discursos de agradecimento, Getúlio procura exaltar os trabalhadores e os benefícios conquistados por eles graças à legislação trabalhista promulgada pelo seu governo.
+O álbum faz parte da Coleção Getúlio Vargas que foi formada artificialmente através de transferências de documentos do Museu Histórico Nacional para o Museu da República, além de doações avulsas diversas. Datado de março de 1941, o álbum foi oferecido como presente a Getúlio pelo prefeito de Belém, Abelardo Conduru, responsável pela recepção ao presidente, e seu portador foi o ministro da Marinha, Henrique Aristides Guilhem. A beleza deste álbum não se restringe ao conjunto das imagens, apresentando em suas páginas ornamentação com desenhos de inspiração marajoara. Há também um aspecto exótico: a capa do álbum é revestida com couro e cabeça empalhada de um jacaré filhote, algo impensável para os dias atuais em que a preocupação com a preservação ambiental movimenta as atenções de indivíduos, organizações e governos.
+Oitenta e cinco anos depois da visita de Getúlio, Belém sediará, em novembro de 2025, a COP 30 – 30ª Conferência da ONU sobre Mudanças Climáticas -, evento que, há décadas, reúne lideranças mundiais, cientistas, organizações não governamentais e representantes da sociedade civil para discutir ações de combate às mudanças climáticas. O presidente da República, Luiz Inácio Lula da Silva, justificou a escolha de Belém enquanto sede do evento dizendo que “Uma coisa é discutir a Amazônia no Egito; outra coisa é discutir a Amazônia em Berlim; outra coisa é discutir a Amazônia em Paris. Agora, não. Agora nós vamos discutir a importância da Amazônia dentro da Amazônia. Nós vamos discutir a questão indígenas, vendo os indígenas. Nós vamos discutir a questão dos povos ribeirinhos, vendo os povos ribeirinhos e vendo como eles vivem”.
+Getúlio também considerava a Amazônia como uma região de importância estratégica. Nessa época, estava em vigor o Estado Novo, governo ditatorial de Getúlio que durou de 1937 a 1945, e que implementou o programa Marcha para o Oeste visando a integração territorial, através da construção de infraestrutura que facilitasse o acesso às regiões do interior do país. “O programa de governo ‘Marcha para o Oeste’ continha importantes aspectos simbólicos, pois nenhum presidente havia feito o mesmo trajeto de Vargas pelas regiões mais remotas do país, lançando o programa durante visitas a diversas localidades, incluindo os estados constituintes da Amazônia. O primeiro movimento de ocupação e legitimação de áreas mais afastadas estava sendo feito pelo próprio líder da nação” (ANDRADE, 2010, p. 459).
+A viagem de Getúlio estava programada para durar cerca de 15 dias e seu itinerário abarcou as regiões norte e nordeste. Em Manaus, após a passagem por Belém, Getúlio Vargas foi homenageado com um banquete, no dia 10 de outubro, onde pronunciou o discurso que ficou conhecido como Discurso do Rio Amazonas, em que diz: “Vim para ver e observar, de perto, as condições de realização do plano de reerguimento da Amazônia”.
+Nesse discurso, Getúlio propõe a realização de uma reunião para elaboração de acordos de cooperação comercial entre os países que compartilham espaços da Floresta Amazônica, o que hoje se entende como Amazônia Internacional: “As águas do Amazonas são continentais. Antes de chegarem ao oceano, arrastam no seu leito, degelos dos Andes, águas quentes da planície central e correntes encachoeiradas das serranias do Norte. É, portanto, um rio tipicamente americano, pela extensão da sua bacia hidrográfica e pela origem das suas nascentes e caudatários, provindos de várias nações vizinhas. E, assim, obedecendo ao seu próprio signo de confraternização, aqui poderemos reunir essas nações irmãs para deliberar e assentar as bases de um convênio em que se ajustem os interesses comuns e se mostre, mais uma vez, como dignificante exemplo, o espírito de solidariedade que preside as relações dos povos americanos, sempre prontos à cooperação e ao entendimento pacífico”.
+O jornal A Noite publicou uma declaração de Getúlio, posterior ao discurso, esclarecendo que a conferência entre países teria como finalidade negociar a vinda de investimentos para instalação da infraestrutura que permitisse a exploração comercial da região amazônica, contando também com a participação dos Estados Unidos. Antes de chegar a Manaus, Getúlio visitou o município de Belterra que, na época, era uma área cedida à Companhia Ford, do empresário norte-americano Henry Ford, e que se destinava ao cultivo das seringueiras para a produção de látex. Na década de 1940, a produção da borracha na região norte do Brasil teve um novo incentivo devido às dificuldades dos países aliados em obter o produto proveniente da Ásia, dificuldades que foram causadas pela Segunda Guerra Mundial.
+Ainda de acordo com o Discurso do Rio Amazonas, para Getúlio, o Amazonas é o rio onde em suas margens será implantada “uma civilização única e peculiar, rica de elementos vitais e apta a crescer e prosperar” e para isso traça como bases o povoamento e o saneamento como garantias para o desenvolvimento da região, “o nomadismo dos seringueiros e a instabilidade econômica dos povoadores ribeirinhos devem dar lugar a núcleos de cultura agrária, onde o colono nacional, recebendo gratuitamente a terra desbravada, saneada e loteada, se fixe e estabeleça a família com saúde e conforto”. Essa ideia do desenvolvimento econômico e social da região amazônica foi perfeitamente representada pela cena que ilustra a primeira página do álbum de lembrança de Belém dedicado a Getúlio. Em 1940, a ideia de desenvolvimento e progresso não estava vinculada à preservação ambiental. Em 2025, Belém receberá representantes do mundo para que seja feita a discussão sobre como vencer esse desafio.
+*Maria de Fátima Morado é historiadora do Arquivo Histórico e Institucional do Museu da República
+ 
+Fontes:
+ANDRADE, Rômulo de Paula. Conquistar a terra, dominar a água, sujeitar a floresta: Getúlio Vargas e a revista “Cultura Política” redescobrem a Amazônia (1940-1941). Disponível em: https://www.scielo.br/j/bgoeldi/a/CSBRwGrXhdL6DKjG5bGQWwG/
+ATLAS HISTÓRICO DO BRASIL. FGV/CPDOC. Getúlio Vargas. Disponível em: https://atlas.fgv.br/verbete/5458
+Instituto do Homem e Meio Ambiente da Amazônia (Imazon). Linha do tempo entenda como ocorreu a ocupação da Amazônia. Disponível em: https://imazon.org.br/imprensa/linha-do-tempo-entenda-como-ocorreu-a-ocupacao-da-amazonia/
+PRESIDÊNCIA DA REPÚBLICA. Rumo à COP30 Disponível em: https://www.gov.br/planalto/pt-br/agenda-internacional/missoes-internacionais/cop28/cop-30-no-brasil
+ 
+Hemeroteca Digital da Biblioteca Nacional:
+Jornal do Brasil. ANO 1940 edição237 (6) O Presidente é convidado a plantar um pé de pau-brasil. https://memoria.bn.gov.br/DocReader/DocReader.aspx?bib=030015_06&Pesq=getulio&pagfis=5678
+A Noite. Ano 1940\Edição 10295 (15) Cercado do entusiasmo e do carinho popular. https://memoria.bn.gov.br/DocReader/DocReader.aspx?bib=348970_04&Pesq=getulio&pagfis=4959
+A Noite. Ano 1940\Edição 10296 Dias melhores e mais felizes para o trabalhador da Amazônia. https://memoria.bn.gov.br/docreader/DocReader.aspx?bib=348970_04&pagfis=4999
+A Noite. Ano 1940\Edição 10297 (11) A excursão presidencial. https://memoria.bn.gov.br/DocReader/DocReader.aspx?bib=348970_04&Pesq=getulio&pagfis=5005
+A Noite. Ano 1940\Edição 10299 (6) Conferência das Nações Amazônicas! https://memoria.bn.gov.br/DocReader/DocReader.aspx?bib=348970_04&Pesq=discurso&pagfis=5037
+A Noite. Ano 1940\Edição 10303 (4) A reunião das Nações Amazônicas. https://memoria.bn.gov.br/DocReader/DocReader.aspx?bib=348970_04&Pesq=discurso&pagfis=5113
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/13413` — `itens/20.500.12156.1_13413/`
+- `20.500.12156.1/13477` — `itens/20.500.12156.1_13477/`
+- `20.500.12156.1/13458` — `itens/20.500.12156.1_13458/`
+
diff --git a/wordpress/39609-serie-conflitos-x-horacio-de-gusmao-coelho-sobrinho-1890-1963-fotografo-e-cinegr.md b/wordpress/39609-serie-conflitos-x-horacio-de-gusmao-coelho-sobrinho-1890-1963-fotografo-e-cinegr.md
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+---
+id: 39609
+url: "https://brasilianafotografica.bn.gov.br/?p=39609"
+titulo: "Série “Conflitos” X – Horacio de Gusmão Coelho Sobrinho (1890 – 1963), fotógrafo e cinegrafista da FEB"
+autor: "Andrea Wanderley"
+data: "2025-05-08T10:26:14+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/10384"]
+fetched_at: "2026-09-10T10:20:31.118Z"
+---
+
+# Série “Conflitos” X – Horacio de Gusmão Coelho Sobrinho (1890 – 1963), fotógrafo e cinegrafista da FEB
+
+Com fotografias do Cemitério de Pistoia, na Itália, pertencentes ao acervo do Museu da República, uma das instituições parceiras da Brasiliana Fotográfica, e um pequeno perfil e cronologia do autor dos registros, Horacio de Gusmão Coelho Sobrinho (1890 – 1963), fotógrafo e cinegrafista da Força Expedicionária Brasileira (FEB), o portal lembra os 80 anos do Dia da Vitória na Europa, ocorrido em 8 de maio de 1945, data formal da derrota dos nazistas e da vitória das forças aliadas na Segunda Guerra Mundial. No cemitério foram sepultados os corpos dos integrantes da FEB durante a Segunda Guerra Mundial.  A cronologia de Horacio é a 69ª publicada pelo portal, que acredita que este trabalho seja uma importante contribuição para a historiografia da fotografia brasileira.
+ 
+Horacio Coelho. Cemitério de Pistóia, 1945. Pistóia, Itália / Acervo Museu da República
+ 
+Acessando aqui o link para as fotografias de autoria de Horacio Coelho disponíveis na Brasiliana Fotográfica, o leitor poderá visualizar e magnificar as imagens.
+ 
+Os restos mortais dos integrantes da Força Expedicionária Brasileira (FEB) permaneceram no Cemitério de Pistoia até 5 de outubro de 1960, quando foram transladados para o Monumento Nacional aos Mortos da Segunda Guerra Mundial, localizado no Aterro do Flamengo, no Rio de Janeiro. Em junho de 1965, em substituição ao cemitério, foi erguido no local o Monumento Votivo Militar Brasileiro (MVMB) como homenagem aos expedicionários brasileiros que morreram durante a guerra.
+Inicialmente, o Brasil se manteve neutro na Segunda Guerra Mundial, porém, com o afundamento de navios brasileiros por submarinos alemães, em 1942, o então presidente Getúlio Vargas (1882 – 1954) alinhou o país às nações aliadas, declarando guerra ao países do Eixo.
+ 
+O Jornal, 8 de maio de 1945
+ 
+O Jornal, 9 de maio de 1945
+ 
+Brevíssimo perfil de Horacio de Gusmão Coelho Sobrinho (1890 – 1963)
+ 
+“A tomada de Monte Castelo, os terríveis combates de Montese, tudo foi gravado em celulóide e perpetuado em sal de prata, imagem por imagem, graças a objetiva de Horacio Coelho, sua picareta de trabalho na paz e sua arma de combate na guerra”.
+Revista da Semana, 7 de setembro de 1945
+ 
+Horacio Coelho ficou por quase um ano como correspondente de guerra da FEB. Retornou ao Brasil em setembro de 1945 / Revista da Semana, 7 de setembro de 1945
+ 
+Nasceu em Fernando de Noronha, em Pernambuco, em 2 de setembro de 1890, Horacio de Gusmão Coelho Sobrinho, filho de Joaquim de Gusmão Coelho (c. 1836 – 1902) e Francisca Cavalcanti de Souza Leão Coelho (c.1859 – 1929). Era neto do português Joaquim José Coelho (1797 – 1860), o Barão da Vitória. Teve com Maria Emilia Coelho (1894 – 1948), com quem foi casado, seis filhos: Pojucan, Rômulo, Rêmulo, Maria Clementina, Murilo e Alberto.
+Como cinegrafista e fotógrafo do Ministério da Guerra participou como correspondente da Segunda Guerra Mundial, operando junto à Força Expedicionária Brasileira, na Itália. Foi nomeado pelo marechal Mascarenhas de Moraes (1883 – 1968) (Diário de Pernambuco, 8 de junho de 1944, segunda coluna). Algumas de suas fotos foram publicadas em artigos da Revista da Semana: Os brasileiros combatem sob a neve com fotos de autoria de Horacio (Revista da Semana, 10 de março de 1945) e Onde a cobra fuma (Revista da Semana, 24 de março de 1945). Outros correspondentes de guerra contemporâneos de Horacio que trabalharam para a imprensa brasileira foram: Allan Fischer (1913 – 1988) (fotógrafo do escritório do Coordenador de Assuntos Econômicos Interamericanos), Egídio Squeff (1911 – 1973) (O Globo), Fernando Stamato (1917 – 1993) (cinematografista do DIP), Frank Norall (19? – ?) (Escritório do Coordenador de Assuntos Interamericanos), Henry Bagley (19? – ?) (Associated Press), Joel Silveira (1918 – 2007) (Diários Associados), Raul Brandão (19? – ?) (Correio da Manhã), Rubem Braga  (1913 – 1990) (Diário Carioca) e Thassilo Mitke (19? – ?) (DIP).
+Foi um dos correspondentes de guerra condecorados com a Medalha de Campanha, em 1945 (Diário de Notícias, 6 de dezembro de 1945, segunda coluna). Dois anos depois, em 1947, foi agraciado com uma Medalha de Guerra em uma solenidade realizada no Quartel do Batalhão de Guardas (Correio da Manhã, 20 de março de 1947, segunda coluna).
+Com sua aposentadoria, na década de 1950, o cargo de cinegrafista do Exército foi extinto, em 1956 (Portal da Câmara dos Deputados).
+Em 8 de maio de 1958, participou da solenidade comemorativa do 13º ano do fim da Segunda Guerra Mundial, realizada na Associação Brasileira de Imprensa quando os correspondentes de guerra foram homenageados. Rubem Braga e Fernando Stamato, dentre outros também estiveram presentes (Diário de Notícias, 9 de maio de 1958, última coluna).
+Faleceu no Rio de Janeiro, em 9 de agosto de 1963, e foi sepultado no Cemitério de São Francisco Xavier (Jornal do Commercio, 10 de agosto de 1963, segunda coluna).
+Uma curiosidade: Na foto abaixo, o último ajoelhado da esquerda para a direita é Fernando Stamato, filho do fotógrafo e pioneiro do cinema nacional João Stamato (1886 – 1951), que participou da viagem científica promovida pelo Instituto Oswaldo Cruz, em que um grupo de cientistas e engenheiros, entre setembro de 1911 e fevereiro de 1912, percorreu os vales do São Francisco e Tocantins, documentando a jornada, registrando as casas, costumes e pessoas, demonstrando conhecimento das técnicas, além de sensibilidade para fotografar a vida naqueles sertões. O cineasta Fernando Stamato seguiu os caminhos do pai, tendo sido cinegrafista da Força Expedicionária Brasileira durante a Segunda Guerra, trabalhando como correspondente na Itália. Viúvo, partiu para os campos da batalha para documentar os movimentos das tropas brasileiras. Sua esposa Lourdes Soares Dutra (1917-1941) havia falecido no parto da filha, que também não resistiu. Durante o conflito mundial, em pleno front, Fernando se apaixonou pela italiana Rossana Bonfatti. Casaram-se em Pistóia (Itália) e, no final da guerra, tiveram uma menina, nascida em 14 de setembro de 1945. No ano seguinte, nasceria outro filho.
+ 
+Correspondentes de guerra que trabalham para a imprensa brasileira. Em pé da esquerda para direita: Rubem Braga (Diário Carioca), Frank Norall (Escritório do Coordenador de Assuntos Interamericanos), Thassilo Mitke (DIP), Henry Bagley (Associated Press), Raul Brandão (Correio da Manhã) e Horácio de Gusmão Coelho Sobrinho, cinegrafista da FEB. Em baixo, da esquerda para direita: Allan Fischer (fotógrafo do escritório do Coordenador de Assuntos Econômicos Interamericanos), Joel Silveira (Diários Associados), Egídio Squeff (O Globo) e Fernando Stamato (cinematografista do DIP) / Correio da Manhã, 14 de abril de 1945 
+ 
+Acesse aqui a cronologia de Horacio de Gusmão Coelho Sobrinho (1890 – 1963)
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora da Brasiliana Fotográfica
+Esse artigo passou a integrar a série Conflitos, em 20 de março de 2026.
+ 
+Fontes:
+Allan Fischer Photo
+Atlas Histórico do Brasil – FGV
+Hemeroteca Digital da Biblioteca Nacional
+MORADO, Maria de Fátima. O Cemitério de Pistoia e a memória dos combatentes da FEB in Brasiliana Fotográfica, 18 de fevereiro de 2022.
+O GLOBO, 14 de junho de 2015
+Portal da Câmara dos Deputados
+SANTOS, Ricardo Augusto. João Stamato, um fotógrafo nos sertões in Brasiliana Fotográfica, 9 de fevereiro de 2021.
+Site Family Search
+Site INPI
+Site Memorial da FEB
+Portal Domínio Público
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/10384` — `itens/20.500.12156.1_10384/`
+
diff --git a/wordpress/39621-e-lancada-a-pedra-fundamental-do-predio-da-biblioteca-nacional-na-entao-avenida-.md b/wordpress/39621-e-lancada-a-pedra-fundamental-do-predio-da-biblioteca-nacional-na-entao-avenida-.md
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@@ -0,0 +1,62 @@
+---
+id: 39621
+url: "https://brasilianafotografica.bn.gov.br/?p=39621"
+titulo: "É lançada a pedra fundamental do prédio da Biblioteca Nacional, na então Avenida Central, em 15 de agosto de 1905"
+autor: "Andrea Wanderley"
+data: "2025-08-15T13:48:20+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/13400", "20.500.12156.1/3316", "20.500.12156.1/6963", "20.500.12156.1/1795", "20.500.12156.1/3287"]
+fetched_at: "2026-09-10T10:20:34.377Z"
+---
+
+# É lançada a pedra fundamental do prédio da Biblioteca Nacional, na então Avenida Central, em 15 de agosto de 1905
+
+Há exatos 120 anos era realizada com grande brilhantismo a cerimônia de lançamento da pedra fundamental da sede definitiva da Biblioteca Nacional, na então Avenida Central, futura Avenida Rio Branco (Gazeta de Notícias, 16 de agosto de 1905, quinta coluna). Estavam presentes no evento, que foi registrado pelo fotógrafo Antonio Luiz Ferreira (18? – 19?), o presidente da República, Rodrigues Alves (1848 – 1919); o ministro do Interior, José Joaquim Seabra (1855 – 1942);  o ministro dos Transportes, Lauro Muller (1863 – 1926); e Manuel Cícero Peregrino da Silva (1866 – 1956), diretor da Biblioteca Nacional entre 1900 e 1924; dentre outras autoridades.
+ 
+Antonio Luiz Ferreira. Lançamento da pedra fundamental do novo edifício da Bibliotheca Nacional na Avenida Central em 15 de agosto de 1905, sendo Presidente da República o Dr. Rodrigues Alves, Ministro do Interior Dr. J. J. Seabra e Diretor da Bibliotheca o Dr. Manuel C. Peregrino da Silva, 15 de agosto de 1905. Rio de Janeiro, RJ / Acervo FBN
+ 
+Gazeta de Notícias, 16 de agosto de 1905
+ 
+Na ocasião, Peregrino da Silva distribuiu algumas medalhas gravadas pelo artista italiano naturalizado brasileiro Antonio Augusto Girardet (1855 – 1955), o historiador do bronze, com o emblema da Biblioteca Nacional com os dizeres Bibliotheca Nacional do Rio de Janeiro. No verso, lia-se Lançamento da pedra fundamental do novo edifício, 1905. O presidente da República e o ministro do Interior receberam medalhas de ouro. Aos outros ministros, senadores e deputados presentes foram distribuídas medalhas de prata.
+ 
+Girardet, o historiador do bronze / Illustração Brasileira, janeiro de 1947
+ 
+O novo prédio, projetado por Francisco Marcelino de Souza Aguiar (1855 – 1935), que também participou do lançamento da pedra fundamental, foi inaugurado em 29 de outubro de 1910, 100 anos após a fundação da instituição. Souza Aguiar já havia projetado o Palácio Monroe.
+ 
+Francisco Marcelino de Souza Aguiar (1855 – 1935)
+ 
+Com cinco andares e 13 mil m² de área interna, o prédio da Biblioteca Nacional mistura elementos do neoclassicismo e da art nouveau. A construção de sua sede definitiva integrou as reformas urbanas empreendidas pelo prefeito Pereira Passos (1836 – 1913), que visavam a tornar o Rio de Janeiro uma cidade moderna e cosmopolita. Fundada em 29 de outubro de 1810 e aberta ao  público em 1814, a Biblioteca Nacional é a mais antiga instituição cultural do Brasil, considerada pela UNESCO uma das dez maiores bibliotecas nacionais do mundo e também a maior biblioteca da América Latina. É uma das instituições fundadoras da Brasiliana Fotográfica.
+ 
+Marc Ferrez; Francisco Marcellino de Souza Aguiar. Bibliotheca Nacional : predio nos. 213 a 231, 1910? / Acervo FBN
+ 
+Antonio Luiz Ferreira, autor da foto do lançamento da pedra fundamental do prédio da Biblioteca Nacional, em 1905, foi também o autor da imagem da assinatura da Lei Áurea, em 13 de maio de 1888, e da Missa campal de 17 de maio de 1888.
+ 
+Antonio Luiz Ferreira. Assinatura da Lei Áurea, no Paço Imperial, 13 de maio de 1888. Rio de Janeiro, RJ / Acervo IMS
+ 
+Antonio Luiz Ferreira. Missa campal celebrada em ação de graças pela Abolição da escravatura no Brasil, 17 de maio de 1888. Rio de Janeiro, RJ / Acervo IMS
+ 
+Foi, em 1902, contratado para documentar o edifício sede da Biblioteca Nacional, na rua do Passeio, onde a instituição permaneceu até 1910. Foram publicados dois álbuns com essas fotos: um, com as cópias em papel albuminado e outro, com as cópias produzidas em platina, que apresentam melhores atributos de estabilidade e permanência.
+ 
+Antonio Luiz Ferreira. Álbum de Vistas da Bibliotheca Nacional, 1902. Rio de Janeiro, RJ / Acervo FBN
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora da Brasiliana Fotográfica
+ 
+Fontes:
+Hemeroteca Digital da Biblioteca Nacional
+MARÇAL, Joaquim Ferreira de Andrade. Complemento indispensável… in Brasiliana Fotográfica, 29 de outubro de 2015.
+Portal da Fundação Biblioteca Nacional
+SCHWARCZ, Lilia; COSTA; Angela Marques da; AZEVEDO, Paulo Cesar de. A longa viagem da biblioteca dos reis. São Paulo : Companhia das Letras, 2002.
+Site Monumentos do Rio
+WANDERLEY, Andrea C. T. Antonio Luiz Ferreira (18? – 19?), fotógrafo das celebrações pela abolição da escravatura em 1888 in Brasiliana Fotográfica, 17 de fevereiro de 2021.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/13400` — `itens/20.500.12156.1_13400/`
+- `20.500.12156.1/3316` — `itens/20.500.12156.1_3316/`
+- `20.500.12156.1/6963` — `itens/20.500.12156.1_6963/`
+- `20.500.12156.1/1795` — `itens/20.500.12156.1_1795/`
+- `20.500.12156.1/3287` — `itens/20.500.12156.1_3287/`
+
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+---
+id: 39682
+url: "https://brasilianafotografica.bn.gov.br/?p=39682"
+titulo: "A princesa Leopoldina do Brasil (1847 – 1871)"
+autor: "Andrea Wanderley"
+data: "2025-07-13T13:18:45+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/3919", "20.500.12156.1/616", "20.500.12156.1/13402", "20.500.12156.1/346", "20.500.12156.1/13401", "20.500.12156.1/421", "20.500.12156.1/347", "20.500.12156.1/13403"]
+fetched_at: "2026-09-10T10:20:37.452Z"
+---
+
+# A princesa Leopoldina do Brasil (1847 – 1871)
+
+Com oito fotografias do acervo fotográfico da Biblioteca Nacional e uma do Instituto Moreira Salles, as instituições fundadoras da Brasiliana Fotográfica, o portal destaca registros da princesa Leopoldina (1847 – 1871). As duas imagens em que ela está sozinha não têm data precisa e são de autoria de fotógrafos ainda não identificados. As duas em que está com sua irmã, a princesa Isabel  (1846 – 1921), e as três da visita da família real à quinta de Mariano Procópio Lage são de autoria do francês Revert Henrique Klumb (c. 1826 – c. 1886). A do Palácio Leopoldina foi produzida por Klumb com Paul Théodore Robin (18? – 1897). O registro do mausoléu à serenissima Princeza do Brazil e Duqueza de Saxe a Senhora D. Leopoldina de Coburgo e Gotha, produzido no Recife, provavelmente em 1871, é de autoria do fotógrafo pernambucano João Ferreira Villela (18?-?).
+Klumb foi um dos primeiros fotógrafos estrangeiros a se estabelecer no Brasil e foi o fotógrafo preferido da família imperial brasileira, tendo sido agraciado com o título de “Fotógrafo da Casa Imperial”, em 1861. Um dos pioneiros na produção comercial de imagens sobre papel fotográfico e uso de negativo de vidro em colódio no Brasil, inaugurou seu estabelecimento fotográfico em 1855 ( Correio Mercantil , de 4 de novembro de 1855, na última coluna). Foi professor de fotografia da princesa Isabel e, provavelmente, o introdutor da técnica estereoscópica no Brasil, com a qual entre os anos de 1855 e 1862 produziu ampla documentação sobre o Rio de Janeiro.
+Contemporâneo no Recife dos estrangeiros Augusto Stahl (1828 – 1877) e Alberto Henschel (1827 – 1882), João Ferreira Villela (18? – ?) é considerado, até hoje, um dos primeiros fotógrafos pernambucanos. Sua biografia é ainda bastante desconhecida. Iniciou sua vida profissional como taquígrafo mas foi como retratista e paisagista que se notabilizou. Seu primeiro ateliê, aonde permaneceu de 1855 a 1858, ficava no Aterro da Boa Vista nº 4, mesmo endereço onde anteriormente trabalharam os fotógrafos norte-americanos Charles DeForest Fredricks (1823 – 1894), em 1851 e, em 1854, Augustin Lettarte (18? – ?) e o português Joaquim Insley Pacheco (1830 – 1912). Desse último, Villela afirmava ser o único discípulo. Sempre demonstrou interesse em ter máquinas modernas para a realização dos trabalhos de seu estabelecimento e prometia, como resultado, a perfeição.
+ 
+Revert Henrique Klumb. A Imperatriz D. Teresa Cristina com as princesas Isabel e Leopoldina ao fundo, 1861. Rio de Janeiro, RJ / Acervo IMS
+ 
+A princesa Leopoldina, a segunda filha de dom Pedro II (1825 – 1891) e dona Teresa Cristina (1822 – 1889), nasceu em 13 de julho de 1847. Sua irmã, a princesa Isabel, havia nascido cerca de um ano antes, em 29 de julho de 1946 (Diário do Rio de Janeiro, edição de 30 de julho de 1846, sob o título “Parte official”; Diário do Rio de Janeiro, de 14 de julho de 1847, sob o título “O Diário”). Os irmãos das princesas, os príncipes imperiais Afonso Pedro de Bragança (1845 – 1847) e Pedro Afonso de Bragança (1848 – 1850) faleceram precocemente.
+ 
+Revert Henrique Klumb. [Leopoldina e Isabel, Princesa do Brasil e outra menina não identificada : retrato], 18?. / Acervo FBN
+ 
+Acessando o link para as fotografias da princesa Leopoldina do Brasil disponíveis na Brasiliana Fotográfica, o leitor poderá visualizar e magnificar as imagens.
+ 
+Leopoldina, Princesa do Brasil, 1855 / Acervo FBN
+ 
+Revert Henrique Klumb. [Família Imperial em visita a quinta de Mariano Procópio Ferreira Laje], 18?. JUiz de Fora, Minas Gerais / Acevo FBN
+Entre as duas irmãs aconteceu uma bem sucedida troca de noivos! Gastão de Orleáns (1842 – 1922), o Conde d’Eu, e seu primo, o duque Luís Augusto de Saxe-Coburgo-Gota (1845 – 1907) desembarcaram no Rio de Janeiro em 2 de setembro de 1864 e hospedaram-se no paço da cidade (Diário do Rio de Janeiro, 3 de setembro de 1864, terceira coluna). No Palácio de São Cristóvão, residência da família imperial brasileira conheceram as princesas Isabel e Leopoldina. Os casais previamente idealizados seriam formados por dom Gastão e a princesa Leopoldina, e pelo duque de Saxe e a princesa Isabel. Mas, após alguns dias, devido a afinidades, os casais se rearranjaram. Isabel e Gastão casaram-se em 15 de outubro de 1864, na Capela Imperial, no Rio de Janeiro (Diário do Rio de Janeiro, edição de 16 de outubro de 1864). Dois meses depois, em 15 de dezembro, foi realizado o casamento da princesa Leopoldina com o duque de Saxe, também na Capela Imperial (Diário do Rio de Janeiro, de 16 de dezembro de 1864). Na ocasião o duque de Saxe recebeu a grã-cruz de todas as ordens do Império. Leopoldina deixou de ser uma princesa brasileira, tornando-se duquesa de Saxe.
+ 
+Princesa Leopoldina, s/d / Acervo FBN
+ 
+O casal seguiu, após a cerimônia, para o Palácio Imperial de Petrópolis. Foram, posteriormente, morar em um palacete adquirido em junho de 1865 e batizado como Palácio Leopoldina, vizinho ao Palácio de São Cristóvão, na Quinta da Boa Vista, onde residia dom Pedro II.
+ 
+Revert Henrique Klumb; Paul Théodore Robin. Palacete onde a Princesa Isabel e o Conde d’Eu, Princesa Leopoldina e o Duque Saxe passaram a lua de mel, 1860. Rio de Janeiro, RJ / Acervo FBN
+ 
+Revert Henrique Klumb. [Família Imperial em visita a quinta de Mariano Procópio Ferreira Laje], 18?. Juiz de Fora, Minas Gerais / Acervo FBN
+Passaram a viver entre o Brasil e a Europa, sempre retornando à terra natal para o nascimento de seus filhos Pedro Augusto (1866 – 1934), Augusto Leopoldo (1867 – 1922) e José Fernando (1869 – 1888). O caçula, Luis Gastão (1870 – 1942), nasceu na Áustria.
+ 
+Príncipe Luís Augusto de Saxe-Coburgo-Gota e sua esposa, a Princesa Dona Leopoldina de Bragança, com seu filho mais velho, o Príncipe Dom Pedro Augusto, 1867 / Revista do Instituto Histórico e Geográfico Brasileiro, vol. 438, 2008.
+ 
+Filhos da Princesa Dona Leopoldina de Bragança e do Príncipe Luís Augusto de Saxe-Coburgo-Gota. A partir da esquerda: Dom Pedro Augusto, Dom José Fernando e Dom Augusto Leopoldo, c. 1871 / Revista do Instituto Histórico e Geográfico Brasileiro, vol. 438, 2008
+ 
+Luís Augusto de Saxe-Coburgo-Koháry com seus dois filhos mais novos (a partir da esquerda): Luís Gastão e José Fernando / Acervo Dom Carlos Tasso de Saxe-Coburgo e Bragança
+ 
+Leopoldina faleceu, com apenas 23 anos, no Palácio Coburg, em Viena, na Áustria, em 7 de fevereiro de 1871, provavelmente de febre tifóide (Diário de Notícias, 7 de março de 1871, primeira coluna).
+ 
+João Ferreira Vilela. Mausoleo à serenissima Princeza do Brazil e Duqueza de Saxe a Senhora D. Leopoldina de Coburgo e Gotha, 1871?. Igreja dos Carmelitas Calçados, Recife, Pernambuco / Acervo FBN
+ 
+ 
+
+Andrea C.T. Wanderley
+
+Editora e pesquisadora da Brasiliana Fotográfica
+ 
+Fontes:
+Aventuras na História
+Hemeroteca Digital da Biblioteca Nacional
+WANDERLEY, Andrea C.T.  A imperatriz Teresa Cristina Maria, a mãe dos brasileiros (Itália, 14/03/1822 – Portugal, 28/12/1889) in Brasiliana Fotográfica, 27 de dezembro de 2016
+WANDERLEY, Andrea C.T. Dom Pedro II ( RJ, 2/12/1825 – Paris, 5/12/1891), um entusiasta da fotografia in Brasiliana Fotográfica, 2 de dezembro de 2016
+WANDERLEY, Andrea C.T. Princesa Isabel (RJ, 29 de julho de 1846 – Eu,14 de novembro de 1921) in Brasiliana Fotográfica, 21 de julho de 2015
+WANDERLEY, Andrea C.T. Série “1922 – Hoje, há 100 anos” VII – A morte de Gastão de Orleáns, o conde d´Eu (Neuilly-sur-Seine, 28/04/1842 – Oceano Atlântico 28/08/1922) in Brasiliana Fotográfica, 28 de agosto de 2022
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/3919` — `itens/20.500.12156.1_3919/`
+- `20.500.12156.1/616` — `itens/20.500.12156.1_616/`
+- `20.500.12156.1/13402` — `itens/20.500.12156.1_13402/`
+- `20.500.12156.1/346` — `itens/20.500.12156.1_346/`
+- `20.500.12156.1/13401` — `itens/20.500.12156.1_13401/`
+- `20.500.12156.1/421` — `itens/20.500.12156.1_421/`
+- `20.500.12156.1/347` — `itens/20.500.12156.1_347/`
+- `20.500.12156.1/13403` — `itens/20.500.12156.1_13403/`
+
diff --git a/wordpress/39712-arthur-azevedo-1855-1908-entusiasta-e-incentivador-do-teatro-brasileiro.md b/wordpress/39712-arthur-azevedo-1855-1908-entusiasta-e-incentivador-do-teatro-brasileiro.md
new file mode 100644
index 0000000..0bce720
--- /dev/null
+++ b/wordpress/39712-arthur-azevedo-1855-1908-entusiasta-e-incentivador-do-teatro-brasileiro.md
@@ -0,0 +1,107 @@
+---
+id: 39712
+url: "https://brasilianafotografica.bn.gov.br/?p=39712"
+titulo: "Arthur Azevedo (1855 – 1908), entusiasta e incentivador do teatro brasileiro"
+autor: "Andrea Wanderley"
+data: "2025-07-07T10:14:43+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/13406", "20.500.12156.1/5467", "20.500.12156.1/13405", "20.500.12156.1/13407"]
+fetched_at: "2026-09-10T10:20:40.859Z"
+---
+
+# Arthur Azevedo (1855 – 1908), entusiasta e incentivador do teatro brasileiro
+
+Há 170 nos, em 7 de julho de 1855, nascia o teatrólogo, comediógrafo, jornalista, contista e poeta maranhense Arthur Nabantino Gonçalves de Azevedo, o Arthur Azevedo. Generoso e muito ativo, foi um importante intelectual da cena artístico-cultural brasileira na virada do século XIX para XX. Figura muito querida e admirada no Rio de Janeiro, onde passou a viver nos anos 1870, foi o autor de mais de 70 peças teatrais e seu trabalho foi um dos principais pontos de partida da dramaturgia nacional, da qual era grande entusiasta. Destacamos neste artigo registros de Arthur Azevedo produzidos por fotógrafos ainda não identificados e por Luis Musso (18? – 19?) – todas do acervo fotográfico da Fundação Biblioteca Nacional, uma das instituições fundadoras da Brasiliana Fotográfica.
+ 
+Acessando o link para as fotografias de Arthur Azevedo disponíveis na Brasiliana Fotográfica, o leitor poderá visualizar e magnificar as imagens.
+ 
+Arthur Azevedo, 19? / Acervo FBN
+ 
+Sua primeira peça encenada em um teatro público foi  Amor por Anexins, uma comédia em um ato, que escreveu, em 1870, com apenas 15 anos (Diário de Pernambuco, 18 de fevereiro de 1875, segunda coluna). Incentivou a encenação de obras brasileiras e consolidou a comédia de costumes, tendo sido no Brasil o principal autor do teatro de revista em sua primeira fase. De sua obra, destacaram-se A almanjarra (1888), A Capital Federal (1897), A filha de Maria Angu (1875), O Dote (1907), O Mambembe (1904), O Tribofe (1891) e Véspera de Reis (1876). O cotidiano da vida, os usos e costumes dos habitantes da então capital federal, o Rio de Janeiro, foram a matéria-prima de suas peças e contos. Entre 1876 e 1908, também atuou como tradutor e adaptou dramas, comédias e operetas.
+ 
+Diário de Pernambuco, 18 de fevereiro de 1875
+ 
+Nasceu em São Luís, no Maranhão, em 7 de julho de 1855, filho do vice-cônsul português Davi Gonçalves de Azevedo (1816 – 1878) e de Emília Amália Pinto Guimarães (1818 – 1888), também portuguesa. Sua mãe havia sido casada com o comerciante Antônio Joaquim Branco, de quem se separou com pouco mais de um ano de casamento. Com Davi, teve quatro filhos além de Arthur: o escritor Aluísio de Azevedo (1857 – 1913), Emília (1860 -?), Camila Amália (1858 -?) e o teatrólogo Américo Garibaldi (1863 – 1900).
+ 
+D. Emília Azevedo, entre seus filhos Aluísio Azevedo (esq.) e Arthur, c. 1870. São Luis, Maranhão / Acervo Cedoc/Funarte
+ 
+Quando faleceu, em 1908, era casado com a artista gravadora Carolina Adelaide Leconflé (18? – 1936) com que teve quatro filhos: Arthur (c. 1886 – 19?), Rodolfo (c. 1898 – 19?), Américo (c. 1902 – 19?) e Aluísio (c. 1904 – 19?). Eram seus enteados Luiz, José, Fernando e Lucinda Cordeiro. Havia sido casado anteriormente com Carlota de Morais (18? -?) (O Paiz, 23 de outubro de 1908, segunda coluna; Diário Carioca, 18 de novembro de 1936, quarta coluna).
+ 
+Fon-Fon, 22 de fevereiro de 1913
+ 
+Ainda em São Luiz, adolescente, publicou, em 1871, seu primeiro livro de poemas, Carapuças, trabalhou no comércio e fundou o jornal O Domingo. Depois foi trabalhar na administração provincial, da qual foi demitido devido a publicações de sátiras contra autoridades governamentais. Concorreu e foi classificado para uma vaga de amanuense da Fazenda. Transferiu-se para o Rio de Janeiro, em 1873. Inicialmente, trabalhou como professor de Português no Colégio Pinheiro e escreveu para o jornal A Reforma. Em 1875, obteve um emprego na Secretaria da Agricultura.
+Era abolicionista e defendia a causa em seus artigos e em suas peças, dentre elas A Família Salazar, escrita com o acadêmico baiano Urbano Duarte de Oliveira (1855 – 1902), que foi proibida pela censura imperial. Foi, posteriormente, publicada com o título O Escravocrata (1884).
+Uma peça traduzida por ele, a comédia Escola de Maridos (1661), do célebre dramaturgo francês Molière (1622 – 1673), foi uma das atrações da noite de 15 de julho de 1889, no Theatro Sant´Anna, no Rio de Janeiro, quando Dom Pedro II (1825 – 1891) foi alvo de um atentado na saída do teatro (Cidade do Rio, 16 de julho de 1889). Em um dos intervalos, Arthur foi chamado ao camarote do imperador, que felicitou seu trabalho e manifestou o desejo de possuir uma cópia de sua excelente tradução (Gazeta de Notícias, 16 de julho de 1889, quarta coluna).
+Foi um dos fundadores da Academia Brasileira de Letras, em 20 de julho de 1897.  Ocupou a cadeira nº 29, que tem como patrono o diplomata e dramaturgo carioca Martins Pena (1819 – 1848), considerado o Molière brasileiro.
+ 
+Gazeta de Notícias, 22 de julho de 1897
+ 
+Fotografia originalmente pertencente a Olavo Bilac, com sua assinatura, em que intelectuais que participaram da fundação da Academia Brasileira de Letras encenam a “Lição de Anatomia”, quadro do pintor holandês, Rembrandt. Da esquerda para a direita: Olavo Bilac, Leôncio Correia, Henrique Holanda, Pedro Rabelo, o doutor Pederneiras, Álvaro de Azevedo Sobrinho e Plácido Júnior. O autopsiado é Arthur Azevedo, sendo o legista, que o opera com o sabre emprestado pelo oficial da ronda, Coelho Neto, 1900 / Wikipedia
+ 
+Fundou as seguintes revistas: em 1879, com Lopes Cardoso (18? – ?), a Revista do Teatro; Gazetinha, com Antônio Vicente da  Fontoura Xavier (1856 – 1922) e Anibal Falcão (1859 – 1900), em 1880; em 1893, O Álbum, com Francisco de Paula Ney (1858-1897); e A Vida Moderna, em 1886, com Luiz Murat (1861 – 1929) e outros. Colaborou em A Estação, ao lado de Machado de Assis (1839 – 1908), seu companheiro na Secretaria da Viação; e no jornal Novidades, onde seus companheiros eram Alcindo Guanabara (1865 – 1918), Coelho Neto (1864 – 1934), Francisco Moreira Sampaio (1851 – 1901) e Olavo Bilac (1865 – 1918).
+Teve colunas em diversos jornais, dentre elas “A Palestra”, em O Paiz; “De Palanque”, no Diário de Notícias; e o folhetim “O Teatro”, em A Notícia, tendo escrito milhares de artigos sobre eventos artísticos, com ênfase no teatro. Escreveu também em O Século, em O Mequetrefe, na Kosmos e no Correio de Manhã. Usou diversos pseudônimos, dentre eles Batista, o trocista; Cosimo, Dorante, Elói, o herói; Frivolino, Gavroche, Juvenal e Petrônio.
+Em 1889, reuniu alguns de seus contos no livro Contos possíveis, dedicado a Machado de Assis. Posteriormente, publicou outros livros, dentre eles Contos fora de moda (1894), Contos efêmeros (1897) e Contos em versos (1898).
+Em 1908, por ocasião da Exposição Nacional Comemorativa do 1º Centenário da Abertura dos Portos do Brasil, no Rio de Janeiro, inaugurada, em 11 de agosto de 1908, na região da Urca, no Rio de Janeiro, o então Teatro Constitucional ergueu, no local do evento, um pavilhão temporário para apresentar peças e concertos para o público. Vários espetáculos de Arthur Azevedo foram montados nesse espaço confortável, batizado de Teatro João Caetano, organizado em platéia, galeria e camarotes. O teatro tinha  870m2 e sua decoração interna, em tons de verde e ouro, foi idealizada por Raul Pederneiras (1874 – 1953).
+ 
+Augusto Malta. Exposição Nacional de 1908. Teatro João Caetano com escultura da alegoria da Dança na fachada superior, 1908. Rio de Janeiro, RJ / Acervo Museu da República
+ 
+Foi um dos maiores entusiastas da construção do Theatro Municipal do Rio de Janeiro, mas faleceu nove meses antes de sua inauguração, ocorrida em 14 de julho de 1909. Em 1904, foi aberta uma concorrência pública, durante a gestão do prefeito do Rio de Janeiro, Francisco Pereira Passos (1836 – 1913), para a escolha do projeto arquitetônico do futuro teatro (Gazeta de Notícias, 20 de março de 1904, na quarta coluna e na última coluna). Em 20 de setembro de 1904, Arthur integrou a subcomissão formada pelo diretor da Estrada de Ferro Central do Brasil, José de Andrade Pinto, pelo arquiteto Adolfo Morales de los Rios (1858 – 1928), pelo escultor Rodolfo Bernardelli (1852 – 1931) e pelo industrial Carlos Hargreaves que se reuniu para estudar os projetos apresentados (Gazeta de Notícias, 21 de setembro de 1904, na quinta coluna). Finalmente, a comissão encarregada para a escolha do melhor projeto decidiu pelo empate entre os projetos Áquila e Isadora (Gazeta de Notícias, 22 de setembro de 1904, sétima coluna). O autor do primeiro foi o engenheiro Francisco de Oliveira Passos (1878 – 1958), filho do prefeito, e, o do segundo, o arquiteto francês Albert Guilbert (1866 – 1949), vice-presidente da Associação dos Arquitetos Franceses. Sua peça, O Mambembe”, foi um dos espetáculos apresentados dentro das comemorações dos 50 anos do Teatro Municipal, em 1959. Foi encenado pelo Teatro dos Sete e uma das atrizes foi Fernanda Montenegro (1929-) (O Cruzeiro, 19 de dezembro 1959).
+ 
+Arthur Azevedo e Theatro Municipal, caricatura de Klixto / O Malho, 11 de julho de 1903
+ 
+Pouco antes de falecer, foi nomeado Diretor da Contabilidade Geral do Ministério da Viação e Obras Públicas (Fon-Fon, 17 de outubro de 1908; Relatório do Ministério da Viação e Obras Públicas (1910 a 1927)). Faleceu em 21 de outubro de 1908 (O Paiz, 22 de outubro de 1908; O Século, 22 de outubro de 1908).
+ 
+Fon-Fon, 24 de outubro de 1908
+ 
+Luiz Musso. Arthur Azevedo, 19? / Acervo FBN. Foto publicada na primeira página do jornal O Paiz, de 23 de outubro de 1908 (abaixo)
+ 
+O Paiz, 23 de outubro de 1908
+ 
+ 
+Fon-Fon, 31 de outubro de 1908
+
+ 
+Arthur Azevedo no seu leito de morte, gravura de Modesto Brocos, 1910
+ 
+Alguns teatros do Brasil foram batizados com o nome de Arthur Azevedo. Em São Luís, um dos teatros mais antigos do Brasil, inaugurado, em 1º de junho de 1817, muito antes de seu nascimento, teve seu nome trocado para Teatro Arthur Azevedo, nos anos 1920 (Governo do Maranhão). Em São Paulo, foi criado o Teatro Arthur Azevedo, em 2 de agosto de 1952 (Secretaria Municipal de São Paulo de Economia e Cultura Criativa, 2 de agosto de 2022). Em agosto de 1956, foi inaugurado o Teatro Arthur Azevedo, em Campo Grande, no Rio de Janeiro, pelo embaixador Francisco Negrão de Lima, então prefeito do Distrito Federal, durante o governo do presidente Juscelino Kubitschek (Correio da Manhã, 7 de julho de 1956, sexta coluna).
+ 
+Teatro Arthur Azevedo, em São Luís (MA)
+ 
+ 
+Teatro Arthur Azevedo, em São Paulo (SP)
+ 
+Teatro Arthur Azevedo, em Campo Grande, no Rio de Janeiro 
+ 
+Busto em bronze de Arthur Azevedo no cemitério de S. Francisco Xavier, s/d. Rio de Janeiro, RJ / Acervo FBN
+ 
+Andrea C.T. Wanderley
+
+Editora e pesquisadora da Brasiliana Fotográfica
+ 
+Fontes:
+BARROS, Maria Pia Fontes Lins de; WANDERLEY, Andrea C. T. Agenda do Centro de Documentação da TV Globo
+Biblioteca Digital de Literatura de Países Lusófonos
+COUTINHO, Afrânio; SOUSA, José Galante de. Enciclopédia de literatura brasileira. Rio de Janeiro: Fundação Biblioteca Nacional; Academia Brasileira de Letras, 2001.
+Depoimento de Emília Amália Pinto Magalhães a Dunshee de Abranches, biógrafo de Arthur Azevedo
+Hemeroteca Digital da Biblioteca Nacional
+MAGALDE, Sábato. Panorama do Teatro Brasileiro. São Paulo: Global, 1997.
+MAGALHÃES JUNIOR, Raimundo. Arthur Azevedo e sua época. São Paulo : Martins, 1955.
+MERCARELLI, Fernando Antonio. Cena aberta: a absolvição de um bilontra e o teatro de revista de Arthur Azevedo. Campinas : Editora da Unicamp, 1999.
+PEREIRA, Margareth da Silva. A exposição de 1908 ou o Brasil visto por dentro.
+Portal MultiRio
+Siciliano, Tatiana. O guerreiro do Theatro Municipal in Open Editions Books
+Site Academia Brasileira de Letras
+Site Enciclopédia Itaú Cultural
+WANDERLEY, Andrea C. T. Academia Brasileira de Letras in Brasiliana Fotográfica, 20 de julho de 2022.
+WANDERLEY, Andrea C. T. Após encantar-se com Molière e Giulietta Dionesi, o imperador Pedro II sofre um atentado in Brasiliana Fotográfica, 15 de julho de 2020.
+WANDERLEY, Andrea C. T. Série “Teatros e cinemas do Brasil” III – A inauguração do Theatro Municipal do Rio de Janeiro in Brasiliana Fotográfica, 14 de julho de 2017.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/13406` — `itens/20.500.12156.1_13406/`
+- `20.500.12156.1/5467` — `itens/20.500.12156.1_5467/`
+- `20.500.12156.1/13405` — `itens/20.500.12156.1_13405/`
+- `20.500.12156.1/13407` — `itens/20.500.12156.1_13407/`
+
diff --git a/wordpress/39802-cronologia-de-horacio-de-gusmao-coelho-sobrinho-1890-1963.md b/wordpress/39802-cronologia-de-horacio-de-gusmao-coelho-sobrinho-1890-1963.md
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+---
+id: 39802
+url: "https://brasilianafotografica.bn.gov.br/?p=39802"
+titulo: "Cronologia de Horacio de Gusmão Coelho Sobrinho (1890 – 1963)"
+autor: "Andrea Wanderley"
+data: "2025-05-08T10:25:52+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: []
+fetched_at: "2026-09-10T10:20:44.159Z"
+---
+
+# Cronologia de Horacio de Gusmão Coelho Sobrinho (1890 – 1963)
+
+Cronologia de Horacio de Gusmão Coelho Sobrinho (1890 – 1963)
+ 
+Horacio de Gusmão Coelho na Itália / Revista da Semana, 24 de fevereiro de 1945
+ 
+1890 – Em 2 de setembro, nascimento, no Presídio de Fernando de Noronha, em Pernambuco, de Horacio de Gusmão Coelho Sobrinho, filho de Joaquim de Gusmão Coelho (c. 1836- 1902) e Francisca Cavalcanti de Souza Leão Coelho (c. 1859 – 1929). Na ocasião, seu pai era diretor do presídio (Diário de Pernambuco, 8 de junho de 1890, primeira coluna; 13 de julho de 1890, última coluna).
+ 
+Certidão de nascimento de Horacio de Gusmão Coelho Sobrinho / Site Family Search
+ 
+Joaquim de Gusmão Coelho (c. 1836 – 1902), pai de Horacio de Gusmão Coelho Sobrinho  / Site Family Search
+ 
+Francisca Cavalcanti de Souza Leão Coelho (c. 1859 – 1929), mãe de Horacio de Gusmão Coelho Sobrinho, fotografada por Alberto Henschel / Acervo Fundaj
+ 
+Era neto de Joaquim José Coelho (1797 – 1860) e de Maria Bernardina de Gusmão (1783 – 1885), barão e baronesa da Vitória.
+ 
+Joaquim José Coelho (1797 – 1860) / Galeria dos Brasileiros Ilustres, de Sébastien Auguste Sisson
+ 
+Maria Bernardina de Gusmão (1783 – 1885), avó de Horácio, fotografada por João Goston / Acervo Fundaj
+ 
+1902 – Falecimento de seu pai, Joaquim de Gusmão Coelho (c. 1836 – 1902) (A Província (PE), 15 de maio de 1902, quarta coluna).
+No Colégio Porto Carrero, no Recife, foi aprovado com distinção na segunda série da aula infantil (A Província (PE), 11 de dezembro de 1902, terceira coluna).
+1905 / 1906 - Estudava no Colégio Diocesano São José, no Rio de Janeiro (A União, 17 de agosto de 1905, segunda coluna; Jornal do Brasil, 25 de dezembro de 1905, quinta coluna; Correio da Manhã, 15 de abril de 1906, terceira coluna).
+1911 - Foi nomeado pelo governador do Amazonas, Antonio Clemente Ribeiro Bittencourt (1853 – 1926), com a permissão do ministro da Guerra, Dantas Barreto (1850 – 1931), auxiliar e fotógrafo da Comissão Amazonense de Limites (Jornal do Commercio (AM), 10 de julho de 1911, primeira coluna).
+Chegou no Recife, vindo de Manaus, a bordo do vapor Ceará (A Província (PE), 11 de outubro de 1911, última coluna).
+ 
+Fon-Fon, 12 de janeiro de 1912
+ 
+1913 – Casou-se com Maria Emilia Coelho (1894 – 1948) e tiveram seis filhos: Pojucan (19 -?), Rômulo (1918 – 1971), Rêmulo (1921 – 1985), Maria Clementina (1928- 2016), Murilo (1929 – 1970) e Alberto (19? – ?).(Diário de Pernambuco, 26 de fevereiro, de 1913, quarta coluna).
+1915 - Era guarda do corpo administrativo da Escola de Estado Maior, na Praia Vermelha, no Rio de Janeiro (Almanak Laemmert, 1915, última coluna).
+1918 – Por ordem do ministro da Guerra, José Caetano de Faria (1855 – 1936), o inspetor de alunos Horacio de Gusmão Coelho passou a servir no 1º Distrito de Artilharia de Costa (Jornal do Commercio, 12 de janeiro de 1918, terceira coluna).
+1920 - Devido à iminente reabertura da Escola de Estado Maior, na Praia Vermelha, no Rio de Janeiro, o ministro da Guerra, João Pandiá Calógeras (1870 – 1934) pediu que se apresentassem alguns funcionários adidos de instituições subordinadas ao ministério da Guerra, dentre eles Horacio (O Paiz, 13 de fevereiro de 1920, sexta coluna).
+Horacio foi identificado como empregado da Light. Teria arrendado o teatro Politheama e sido passado para trás no negócio* (O Paiz, 3 de outubro de 1920, quarta coluna; O Jornal, 3 de outubro de 1930, terceira coluna).
+1921 – Foi nomeado pelo ministro da Guerra, Pandiá Calógeras, conservador preparador do gabinete fotográfico da Escola de Estado Maior (O Paiz, 10 de setembro de 1921, quinta coluna; Gazeta de Notícias, 10 de setembro de 1921, quarta coluna).
+1923 – Identificado como empregado público, pediu ao Ministério da Agricultura privilégio para uma nova armação giratória destinada a diversões públicas. A patente foi concedida* (Jornal do Commercio, 18 de abril de 1923, quinta coluna; 5 de junho de 1923, penúltima coluna).
+ 
+
+ 
+
+ 
+
+ 
+1925 – Ficou ferido em uma explosão em um barracão nos fundos de um prédio na Rua Emerenciana, em São Cristóvão, quando eram manipulados petardos por dinamiteiros (O Imparcial, 6 de maio de 1925, segunda coluna).
+Por abandono de emprego, foi exonerado do cargo de conservador preparador do gabinete fotográfico da Escola de Estado Maior (O Paiz, 19 de junho de 1925, penúltima coluna).
+1926 – O ministro da Fazenda, Aníbal Freire da Fonseca (1884 – 1970), enviou ao ministro da Guerra, Fernando Setembrino de Carvalho (1861 – 1947) o processo originado pelo requerimento da esposa de Horacio, Maria Emilia Coelho, solicitando o recolhimento das contribuições para o montepio devidas por Horacio, cujo paradeiro era ignorado (Jornal do Commercio, 1º de janeiro de 1926, primeira coluna).
+1928 – Ele e sua esposa compareceram à missa de sétimo dia do ex-ministro da Fazenda, Esmeraldino Bandeira (1865 – 1928) (Jornal do Commercio, 12 de abril de 1928, quarta coluna).
+1929 – Falecimento de sua mãe, Francisca Cavalcanti de Souza Leão Coelho (c. 1859 – 1929), na residência de Horacio, no Rio de Janeiro (Diário da Manhã (PE), 13 de agosto de 1929, sexta coluna; Jornal do Recife, 14 de agosto de 1929, última coluna; Diário da Manhã (PE), 17 de agosto de 1929, primeira coluna).
+1931 – Pelo chefe do governo provisório, Getúlio Vargas (1882 – 1954), foi considerado readmitido no cargo de conservador preparador do gabinete fotográfico da Escola de Estado Maior, desde 13 de novembro do ano anterior (Jornal do Brasil, 10 de janeiro de 1931, primeira coluna).
+Esteve presente na missa de sétimo dia do general Xavier de Brito (1866 – 1930) (Correio da Manhã, 10 de abril de 1930, antepenúltima coluna).
+1933 – Integrou a comitiva presidencial que viajou para o Norte do país no navio Almirante Jaceguay (Diário de Notícias, 13 de outubro de 1933, sexta coluna).
+1934 – Foi nomeado pelo ministro da Guerra, Goes Monteiro (1891 – 1963), desenhista, cartógrafo da Escola de Estado Maior (Jornal do Commercio, 23 de junho de 1934, penúltima coluna).
+1935 – Foi posto pelo ministro da Guerra, Goes Monteiro, à disposição do ministro das Relações Exteriores, José Carlos de Macedo Soares (1883 – 1968), para atuar como fotógrafo na Comissão de Limites da Seção Sul (Correio de Manhã, 18 de janeiro de 1935, quarta coluna).
+1938 – Com o secretário do Interior de Pernambuco, Arthur de Moura, e outras autoridades visitou Fernando de Noronha (Diário de Pernambuco, 28 de julho de 1938, segunda coluna).
+1940 - Publicação de uma fotografia de Maria Clementina, filha de Horacio e Maria Emilia (Revista da Semana, 24 de fevereiro de 1940).
+1942 – O presidente da República, Getúlio Vargas, assinou um decreto com várias promoções em diversos ministérios. Horacio foi um dos promovidos (Correio da Manhã, 21 de janeiro de 1942, quarta coluna).
+1943 – Publicação de fotografias de autoria de Horacio de uma viagem entre Recife e Rio de Janeiro na reportagem Nossa Terra (Revista da Semana, 31 de julho de 1946).
+1944/1945 – No relatório das atividades de 1944 apresentado ao ministro da Educação, Gustavo Capanema, por Roquette-Pinto, diretor do Instituto Nacional de Cinema Educativo, foi informado que a instituição havia dado toda assistência técnica para o manejo e aquisição de câmeras 16mm pelo sr. Horacio Coelho, cinematografista do Ministério da Guerra que seguiu com as forças expedicionárias brasileiras tendo o INCE examinado o material adquirido, fornecido filmes e câmeras para o treinamento do mesmo cinegrafista, que fica assim habilitado a desempenhar toda e qualquer filmagem em operações de guerra (A Noite, 13 de março de 1945, segunda coluna).
+Como cinegrafista e fotógrafo do Ministério da Guerra participou como correspondente da Segunda Guerra Mundial, operando junto à Força Expedicionária Brasileira, na Itália. Foi posto pelo ministro da Guerra, Eurico Gaspar Dutra (1883 – 1974), à disposição do marechal Mascarenhas de Moraes (1883 – 1968) (A Noite, 7 de junho de 1944, quarta coluna; Diário de Pernambuco, 8 de junho de 1944, segunda coluna).
+ 
+A Noite, 7 de junho de 1944
+ 
+Publicação da reportagem Os brasileiros combatem sob a neve com fotos de autoria de Horacio (Revista da Semana, 10 de março de 1945).
+Publicação da reportagem Onde a cobra fuma com fotos de autoria de Horacio (Revista da Semana, 24 de março de 1945).
+Publicação da reportagem Onde a cobra está fumando com fotos de autoria de Horacio (Revista da Semana, 31 de março de 1945).
+Publicação da reportagem Senta a Púa avestruz com fotos de autoria de Horacio (Revista da Semana, 14 de abril de 1945).
+Na reportagem A Batalha de Castelnuevo, publicação da fotografia abaixo (Revista da Semana, 14 de abril de 1945).
+ 
+O fotógrafo da FEB, Horacio Coelho está sentado à esquerda / Revista da Semana, 4 de abril de 1945
+ 
+No suplemento de guerra da Revista da Semana, de 5 de maio de 1945, publicação de fotos enviadas especialmente da Itália por Horacio Coelho (Revista da Semana, 5 de maio de 1945).
+Publicação da reportagem Visões de uma guerra que passou com fotos de autoria de Horacio (Revista da Semana, 30 de junho de 1945).
+Publicação da reportagem Depois da vitória e Veneza com fotos de autoria de Horacio (Revista da Semana, 14 de julho de 1945).
+Publicação da reportagem A volta de nosso correspondente com fotos de autoria de Horacio e do próprio Horacio em frente ao Café Petrarca, em Veneza (Revista da Semana, 7 de setembro de 1945).
+Outros correspondentes de guerra contemporâneos de Horacio que trabalharam para a imprensa brasileira foram: Allan Fischer (1913 – 1988) (fotógrafo do escritório do Coordenador de Assuntos Econômicos Interamericanos), Egídio Squeff (1911 – 1973) (O Globo), Fernando Stamato (1917 – 1993) (cinematografista do DIP), Frank Norall (19? – ?) (Escritório do Coordenador de Assuntos Interamericanos), Henry Bagley (19? – ?) (Associated Press), Joel Silveira (1918 – 2007) (Diários Associados), Raul Brandão (19? – ?) (Correio da Manhã), Rubem Braga  (1913 – 1990) (Diário Carioca) e Thassilo Mitke (19? – ?) (DIP).
+ 
+Correio da Manhã, 14 de abril de 1945
+ 
+Uma mensagem de Horacio elogiando seus companheiros de imprensa foi lida em um programa de rádio (Jornal do Commercio, 4 de julho, quinta coluna).
+Foi um dos correspondentes de guerra condecorados com a Medalha de Campanha (Diário de Notícias, 6 de dezembro de 1945, segunda coluna).
+ 
+Diário de Notícias, 6 de dezembro de 1945
+ 
+1946 - Fazia parte do quadro de civis permanentes do ministério da Guerra e foi promovido por merecimento na carreira de desenhista (Correio da Manhã, 11 de maio de 1946, sexta coluna).
+Com o tenente João Brito Jorge, adjunto da SS Cine da Secretaria Geral de Guerra, foi para Resende filmar as manobras da Escola Militar (Correio da Manhã. 18 de setembro de 1946, segunda coluna).
+1947 - Foi um dos correspondentes de guerra que atuaram junto à FEB na Segunda Guerra Mundial convidados pela Embaixada dos Estados Unidos para uma reunião no Serviço Cultural e Informativo dos Estados Unidos da América, quando foi exibido um longa-metragem sobre a atuação dos brasileiros na guerra (Correio da Manhã, 25 de janeiro de 1947, penúltima coluna).
+Foi agraciado com uma Medalha de Guerra em uma solenidade realizada no Quartel do Batalhão de Guardas (Correio da Manhã, 20 de março de 1947, segunda coluna).
+1948 - Em 24 de fevereiro, falecimento de sua esposa Maria Emilia, a Miluca (Correio da Manhã, 29 de fevereiro de 1948).
+ 
+Correio da Manhã, 29 de fevereiro de 1948
+ 
+Década de 1950 – Aposentou-se do cargo de cinegrafista na década de 1950.
+1958 – Em 8 de maio, participou da solenidade comemorativa do 13º ano do fim da Segunda Guerra Mundial, realizada na Associação Brasileira de Imprensa, quando os correspondentes de guerra foram homenageados. Rubem Braga (1913 – 1990) e Fernando Stamato (1917 – 1993), dentre outros, também estiveram presentes (Diário de Notícias, 9 de maio de 1958, última coluna).
+1963 -  Faleceu no Rio de Janeiro, em 9 de agosto, e foi sepultado no Cemitério de São Francisco Xavier (Jornal do Commercio, 10 de agosto de 1963, segunda coluna).
+ 
+Jornal do Commercio, 10 de agosto de 1963
+ 
+Correio da Manhã, 15 de agosto de 1963
+ 
+*A pesquisa não conseguiu confirmar se trata-se do mesmo Horacio ou se é um homônimo.
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora da Brasiliana Fotográfica
diff --git a/wordpress/39831-memorias-da-saude-publica-pelas-lentes-de-augusto-malta.md b/wordpress/39831-memorias-da-saude-publica-pelas-lentes-de-augusto-malta.md
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@@ -0,0 +1,77 @@
+---
+id: 39831
+url: "https://brasilianafotografica.bn.gov.br/?p=39831"
+titulo: "Memórias da saúde pública pelas lentes de Augusto Malta"
+autor: "Andrea Wanderley"
+data: "2025-06-10T09:26:41+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/13215", "20.500.12156.1/13411"]
+fetched_at: "2026-09-10T10:20:47.410Z"
+---
+
+# Memórias da saúde pública pelas lentes de Augusto Malta
+
+As bibliotecárias Luciana F. Lau e Danielle Barreiros e o arquivista Fabio Carvalho, todos do Instituto Brasileiro de Geografia e Estatística, o IBGE, desde 2024 uma das instituições parceiras da Brasiliana Fotográfica, são os autores da publicação Memórias da saúde pública pelas lentes de Augusto Malta sobre a história do atendimento de emergência no Rio de Janeiro e a criação, em 1907, do Posto Central de Assistência Pública, origem do atual Hospital Municipal Souza Aguiar. Segundo o artigo, Augusto Malta (1864 – 1957) com suas técnicas fotográficas, que combinavam precisão documental e sensibilidade artística, deixou um legado que nos permite refletir sobre a fotografia urbana como instrumento indispensável para a preservação da memória das cidades, incluindo a memória da saúde pública. Ele foi o fotógrafo oficial da Prefeitura do Rio de Janeiro, cargo criado para ele, entre 1904 e 1936, quando se aposentou.
+ 
+Memórias da saúde pública pelas lentes de Augusto Malta
+ Luciana Lau, Danielle Barreiros e Fábio Carvalho*
+ 
+Augusto Malta. Hospital Souza Aguiar, 19 de outubro de 1925. Rio de Janeiro, RJ / Acervo IBGE
+ 
+No início do século XX, o Rio de Janeiro, então capital da República, transformava-se em um grande canteiro de obras. Com o propósito de civilizar e modernizar a cidade, o prefeito Pereira Passos (1902-1906) promoveu reformas radicais que alteraram para sempre sua paisagem urbana e social. Essas transformações, marcadas tanto pelo progresso quanto por profundas desigualdades, foram meticulosamente registradas pelas lentes de Augusto Malta (1864-1957), fotógrafo oficial da prefeitura e principal cronista visual dessa era de mudanças e de paisagens efêmeras de uma cidade em transição. Com suas técnicas fotográficas, que combinavam precisão documental e sensibilidade artística, deixou um legado que nos permite refletir sobre a fotografia urbana como instrumento indispensável para a preservação da memória das cidades, incluindo a memória da saúde pública.
+O ambicioso projeto de modernização de Pereira Passos, popularmente conhecido como “bota-abaixo”, tinha como objetivo sanear e embelezar a capital federal, seguindo os moldes das grandes metrópoles europeias.
+Visando modernizar a saúde pública, em sua gestão, Pereira Passos determinou a criação de postos médicos nas Agências Municipais, sendo possível entrever a possibilidade de atendimento emergencial na cidade do Rio de Janeiro. O então prefeito solicitou  verba para a criação do primeiro grande posto de assistência médica que foi instalado na rua Camerino. O Posto Central de Assistência Pública na Rua Camerino foi a primeira unidade de socorro médico de emergência do município. Tendo suas obras iniciadas em 1906, foi inaugurado em 1º de novembro de 1907 pelo prefeito à época, Francisco Marcelino de Souza Aguiar (1855 – 1935), sendo futuramente homenageado por esta instituição, que foi denominada Hospital Municipal Souza Aguiar, como a conhecemos atualmente.
+Como pioneiro na prestação do serviço de urgência, o Posto teve o desafio de implementar um novo modelo de serviço de emergência, que até aquele momento era realizado por farmácias e médicos particulares.
+A implementação do novo processo de atendimento de urgência teve como desafio inicial modificar o comportamento dos cidadãos, que após sofrerem algum incidente na rua ou em casa, queriam ser atendidos somente pelos farmacêuticos e médicos particulares, pois esse era o hábito da população. E também porque estranhavam e até “desconfiavam” das ambulâncias brancas, pedindo passagem pela cidade, e do fato de serem levados para um hospital, um lugar desconhecido. Assim, a fim de familiarizar a população com o novo modelo de atendimento de emergência, foi realizada uma estratégia de marketing recomendada por Dr. Paulino Werneck (18? – 19?), superintendente do Posto Central de Assistência, chamada de “ensaios de socorro” na qual pessoas caiam pelas ruas e recebiam atendimento emergencial por meio das ambulâncias. A estratégia mostrou-se efetiva e as ambulâncias passaram a ser chamadas de “mãe carinhosa”.
+ 
+Ensaio de socorro / DISTRITO FEDERAL (BRASIL), 1922, p. 248
+ 
+Em pouco tempo a quantidade de chamados de urgência aumentaram e o Posto Central de Assistência já não conseguia atender as solicitações recebidas, tornando-se necessário ampliar sua capacidade de atendimento.
+Desta forma, o prefeito Souza Aguiar decidiu transferir o Posto Central para um novo endereço na Praça da República.  Coube ao prefeito general Inocêncio Serzedelo Corrêa (1858 – 1932), depois de determinar que fossem feitas ampliações no edifício, inaugurar o Posto em 17 de outubro de 1910. “O prédio tinha três pavimentos e estava equipado com o que havia de mais moderno” (RIO DE JANEIRO (ESTADO). SUPERINTENDÊNCIA DE SERVIÇOS MÉDICOS, 1972, p. 23).
+Após a inauguração houve diversas ampliações e reconfigurações dos espaços. Em 1921, após reformulações nos serviços de assistência pública da capital, a Lei n.º 2.401 de 22 de janeiro determinava em seu artigo 28, a construção urgente de um Hospital de Pronto Socorro em anexo ao Posto Central, para a qual já havia verba consignada de mil contos de réis.  O Hospital do Pronto Socorro foi finalmente inaugurado no dia 20 de setembro de 1925.
+ 
+A União (RJ), 24/09/1925
+ 
+Sobre o novo Hospital de Pronto Socorro inaugurado em 1925 comentou-se:
+“[…] atendia, de modo satisfatório, aos reclamos da população, visto que se achava bem aparelhado e instalado para aquela época, como também situado em local de grande concentração populacional. Porém, dentro de pouco tempo, verificou-se a insuficiência de recursos do Hospital, tanto no que se relacionava com as suas possibilidades técnicas, como materiais, para o atendimento da população que crescia rapidamente”(RIO DE JANEIRO (ESTADO). SUPERINTENDÊNCIA DE SERVIÇOS MÉDICOS, 1972, p. 39).
+Augusto Malta registra mais uma imagem do Posto Central na Praça da República revelando o poder da fotografia como guardiã da memória urbana:
+ 
+Augusto Malta. Assistência Pública Municipal. Rio de Janeiro, RJ / Acervo IBGE
+ 
+Na gestão do interventor Pedro Ernesto (1884 – 1942), foi inaugurada uma maternidade no Hospital de Pronto Socorro, com o objetivo de ampliar sua área de atuação junto à população.  E houve a unificação dos serviços do antigo Posto Central de Assistência e do Hospital de Pronto Socorro, permanecendo o último nome.
+ 
+Prefeito Pedro Ernesto em visita ao Hospital de Pronto Socorro / RIO DE JANEIRO (ESTADO). SUPERINTENDÊNCIA DE SERVIÇOS MÉDICOS, 1972, p. 53
+ 
+Novos planos para reforma do Hospital de Pronto Socorro surgiram com o professor Clementino Fraga (1880 – 1971) à frente da Secretaria-Geral de Saúde e Assistência. Previa-se a instalação de 300 leitos e a aquisição de novas ambulâncias no projeto do novo hospital.
+ 
+Projeto do novo hospital / RIO DE JANEIRO (ESTADO). SUPERINTENDÊNCIA DE SERVIÇOS MÉDICOS, 1972, p. 57
+ 
+Em 2 de junho de 1955, enquanto o novo hospital ainda estava em construção, o prefeito Alim Pedro (1907 – 1975), no centenário do nascimento de Souza Aguiar, deu ao Hospital do Pronto Socorro, o nome de Hospital Geral Souza Aguiar em reconhecimento. Em 1962, por meio da Lei n.º 279, o hospital passa a ser chamado Hospital Estadual Souza Aguiar e, posteriormente, torna-se Hospital Municipal Souza Aguiar.
+ 
+Um busto em homenagem a Francisco Marcelino de Souza Aguiar está no segundo andar da Biblioteca Nacional em exposição permanente
+ 
+Na edificação do novo hospital, por se tratar de uma construção de grandes proporções, as novas instalações entraram em funcionamento em etapas, à medida em que eram finalizadas e tinham condições de serem utilizadas. Até que em 04 de novembro de 1968, o novo prédio do Hospital Souza Aguiar foi inaugurado.
+ 
+Hospital Souza Aguiar / RIO DE JANEIRO (ESTADO). SUPERINTENDÊNCIA DE SERVIÇOS MÉDICOS, 1972, p. 113
+ 
+Porém as obras de melhorias no Hospital Souza Aguiar não pararam, conforme discursa o governador Negrão de Lima, mais obras seriam realizadas até que ele ficasse à altura dos melhores hospitais (LIMA, Negrão de., 1965/1970), sendo considerado hoje  o hospital com a maior emergência pública do Rio de Janeiro e da da América do Sul.  Além disso, seu edifício atual, projetado pelo arquiteto Ary Garcia Roza (1911 – 1999), é considerado patrimônio da cidade e foi tombado em 2009. Possui belíssimas obras do artista e paisagista Roberto Burle Marx (1909 – 1994), como o painel interno de pedras e o muro escultório.
+ 
+Hospital Souza Aguiar. Mural de pedras.
+ 
+** Luciana F. Lau e Danielle Barreiros são bibliotecárias e Fabio Carvalho é arquivista do IBGE.
+ 
+Referências:
+ACADEMIA BRASILEIRA DE LETRAS. Ivo Pitanguy: bibliografia. Rio de Janeiro: Academia Brasileira de Letras, 2017.
+A UNIÃO. Rio das Ostras, RJ: [s.n.]. Semanal. Acesso em: 2 abr. 2025.
+DISTRITO FEDERAL (BRASIL). PREFEITURA. Assistência pública e privada no Rio de Janeiro (Brasil): história e estatística: commemoração do centenário da independência nacional. Rio de Janeiro: Typ. do Annuario do Brasil, 1922. 912 p.
+LIMA, Negrão de (Governador). Discursos: Visita às Novas Instalações do Hospital Souza Aguiar de [1965/1970]. Rio de Janeiro, RJ: [s. n.], [1965/1970]. Acesso em: 06 de março de 2025.
+RIO DE JANEIRO (Estado). SUPERINTENDÊNCIA DE SERVIÇOS MÉDICOS. Assistência pública: Guanabara : 80 anos de história. Rio de Janeiro: Secretaria de Saúde do Estado da Guanabara, Superintendência de Serviços Médicos, 1972. 408 p.
+SERVIÇO DE UROLOGIA. Hospital Souza Aguiar: experiência em atendimentos de urgência e emergência. [S. l.]: Serviço de Urologia, 2023. Acesso em: 06 de março de 2025.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/13215` — `itens/20.500.12156.1_13215/`
+- `20.500.12156.1/13411` — `itens/20.500.12156.1_13411/`
+
diff --git a/wordpress/40004-fotos-de-autoria-de-marc-ferrez-na-revista-illustracao-brasileira.md b/wordpress/40004-fotos-de-autoria-de-marc-ferrez-na-revista-illustracao-brasileira.md
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@@ -0,0 +1,71 @@
+---
+id: 40004
+url: "https://brasilianafotografica.bn.gov.br/?p=40004"
+titulo: "Fotos de autoria de Marc Ferrez na revista “Illustração Brasileira”"
+autor: "Andrea Wanderley"
+data: "2025-12-07T13:45:58+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/2575", "20.500.12156.1/2489", "20.500.12156.1/4405"]
+fetched_at: "2026-09-10T10:20:50.735Z"
+---
+
+# Fotos de autoria de Marc Ferrez na revista “Illustração Brasileira”
+
+Com a publicação do artigo Fotos de autoria de Marc Ferrez na revista Illustração Brasileira, a Brasiliana Fotográfica, pela segunda vez, destaca o uso de uma ou mais imagens de um dos fotógrafos presentes em seu acervo fotográfico em revistas, nas primeiras décadas do século XX. O primeiro artigo, Fotografia de Leuzinger é capa da revista “Fon-Fon” em 1922, foi publicado em 27 de agosto de 2020. Hoje destacamos duas capas da revista Illustração Brasileira com registros de autoria de Marc Ferrez (1843 – 1921) e uma fotografia, também de Ferrez, publicada dentro da revista. Dois desses registros encontram-se no acervo fotográfico do Instituto Moreira Salles, uma das instituições fundadoras do portal. Com a preservação digital, os registros fotográficos podem, a partir de recursos tecnológicos como o zoom, ter outra visibilidade e serem acessados em sua qualidade plena.
+ 
+Acessando o link para as duas fotografias de Marc Ferrez publicadas na revista Illustração Brasileira, em 1876 e em 1877, disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+O carioca Marc Ferrez foi um brilhante cronista visual das paisagens e dos costumes do Rio de Janeiro da segunda metade do século XIX e do início do século XX. Estaria completando hoje 182 anos. Sua vasta e abrangente obra iconográfica se equipara a dos maiores nomes da fotografia do mundo. Estabeleceu-se como fotógrafo com a firma Marc Ferrez & Cia, em 1867, na rua São José, nº 96, e logo se tornou o mais importante profissional da área no Rio de Janeiro. Cerca de metade da produção fotográfica de Ferrez foi realizada na cidade e em seus arredores, onde registrou, além do patrimônio construído, a exuberância das paisagens naturais.
+ 
+Marc Ferrez. Marc Ferrez aos 33 anos de idade, c. 1876. Rio de Janeiro, RJ / Acervo IMS
+ 
+A revista Illustração Brasileira, na qual foram construídas, a partir de textos, fotografias e ilustrações, imagens de um Brasil moderno e civilizado, era dirigida pelos irmãos alemães e litógrafos Carlos (18? -1878) e Henrique Fleiuss (1823 – 1882). Circulou quinzenalmente, entre 1o de julho de 1876 e 1o de janeiro de 1878. Posteriormente, entre fevereiro e abril de 1878, passou a ser mensal.
+Os irmãos Fleuiss e o pintor Carlos Linde (c. 1830 – 1873) haviam chegado no Brasil, acredita-se, juntos, em fins da década de 1850. Percorreram a Região Norte, e, em 1858, já estavam no Rio de Janeiro (Diário do Rio de Janeiro, 26 de setembro de 1858, quarta coluna). Henrique Fleuiss trouxe uma carta de recomendação de seu mentor, o naturalista Carl Friedrich Philipp von Martius (1794-1868). Fundaram uma empresa litotipográfica chamada Fleiuss, Irmãos & Linde e, posteriormente, o Instituto Artístico que, a partir de um título honorífico concedido, pelo decreto de 3 de outubro de 1863, por dom Pedro II (1825 – 1891), passou a se chamar Imperial Instituto Artístico (Correio Mercantil, 31 de março de 1861, primeira coluna). Entre 1860 e 1875, dirigiram a revista Semana Ilustrada, precursora da imprensa humorística ilustrada no Brasil. Entre seus colaboradores, estavam escritores como Bernardo Guimarães (1825-1884), Joaquim Manuel de Macedo (1820-1882), Joaquim Nabuco (1849-1910) e Machado de Assis (1839-1908).
+ 
+Diario do Brazil, 16 de novembro de 1882
+ 
+As duas capas da revista Illustração Brasileira, em 1877 e 1878, com fotos de autoria de Marc Ferrez, e uma imagem também de sua autoria publicada na revista, em 1876
+ 
+O primeiro registro, que é do Forte e do Farol da Barra, em Salvador, na Bahia, foi publicado na capa da Illustração Brasileira de 15 de janeiro de 1877. No texto sobre a fotografia, Ferrez era apresentado como membro da Comissão Geológica do Império (1875 – 1878), chefiada pelo geólogo canadense Charles Frederick Hartt (1840 – 1878), também mencionado no texto como o muito inteligente presidente da comissão.
+Segundo Sérgio Burgi, coordenador de Fotografia do Instituto Moreira Salles e um dos curadores da Brasiliana Fotográfica, já com pleno domínio de sua virtuosidade técnica, Ferrez realizou para a comissão um primoroso trabalho documental e paisagístico:
+‘…Seu domínio da luz, sua precisão na escolha do ponto de vista, sempre buscam ressaltar os aspectos mais formais e abstratos da cena sendo registrada. É igualmente importante ressaltar que em diversas imagens realizadas por Ferrez, sempre o elemento humano participa de maneira discreta porém marcante, conferindo escala aos cenários naturais e urbanos, e principalmente nos convidando a percorrer a imagem em todas as suas dimensões…Os trabalhos realizados em Paulo Affonso, Pernambuco, Recôncavo Baiano, Abrolhos e sul da Bahia representam um grande esforço documental e registram, além dos aspectos mais claramente geológicos, paisagens naturais e vistas urbanas de grandes cidades e pequenas povoações daquelas regiões, além de elementos antropológicos e etnográficos, como a série dos índios botocudo… Essas imagens também foram utilizadas para ilustrar  a conferência do professor Charles Frederick Hartt durante a IV Exposição Nacional, no Rio de Janeiro… Da mesma maneira, diversas imagens fizeram parte da Exposição Universal da Filadélfia, EUA, em 1876, que contou com a presença de D. Pedro II…’
+ 
+Capa da Illustração Brasileira, 15 de janeiro de 1877
+ 
+ 
+Illustração Brasileira, 15 de janeiro de 1877, página 6
+ 
+Marc Ferrez. Forte e Farol de Santo Antônio da Barra, c. 1877. Salvador, Bahia / Acervo IMS
+ 
+A segunda imagem, um registro do prédio da Tipografia Nacional, foi publicada  na capa da revista Illustração Brasileira, de abril de 1878: “A photographia é de Marc Ferrez  e foi gravada sobre madeira no Imperial Instituto Artístico”.
+ 
+Illustração Brasileira, abril de 1878
+ 
+Outras menções ou publicação de fotografias de Ferrez na Illustração Brasileira:
+Foi publicada uma fotografia de autoria de Ferrez da cachoeira de Paulo Afonso na revista Illustração Brasileira, de 1º de agosto de 1876, acompanhada por um texto de Charles Frederick Hartt (1840 – 1878), chefe da Comissão Geológica do Império. Na mesma edição, publicação de matéria sobre a Comissão Geológica do Império e sobre a chegada de Ferrez .
+ 
+Illustração Brasileira, 1º de agosto de 1876
+ 
+Marc Ferrez. Cachoeira de Paulo Afonso, c. 1875. Rio São Francisco, Bahia / Acervo IMS
+ 
+Foi noticiado que Ferrez havia chegado ao sul da Bahia com o geólogo Richard Rathbum, também integrante da Comissão Geológica, com diversas fotografias de índígenas botocudos, dentre outras (Illustração Brasileira, 1º de novembro de 1876, na última coluna). Essas teriam sido as primeiras imagens desses indígenas produzidas no Brasil.
+ 
+Andrea C.T. Wanderley
+Editora e pesquisadora da Brasiliana Fotográfica
+ 
+Fontes:
+AZEVEDO, Silvia Maria. Brasil em imagens: Um estudo da revista Ilustração Brasileira (1876-1878). São Paulo : Editora Unesp, 2011.
+Carlos Linde, formador de profissionais gráficos no Brasil in Brasiliana Iconográfica, 26 de dezembro de 2024.
+GOMES, Rafael Augusto Andrade. Modos de escrever histórias in Terra Brasilis, dezembro de 2019.
+Hemeroteca Digital da Biblioteca Nacional
+Site Enciclopédia Itaú Cultural
+WANDERLEY, Andrea C. T. Cronologia de Marc Ferrez in Brasiliana Fotográfica, 6 de janeiro de 2021.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/2575` — `itens/20.500.12156.1_2575/`
+- `20.500.12156.1/2489` — `itens/20.500.12156.1_2489/`
+- `20.500.12156.1/4405` — `itens/20.500.12156.1_4405/`
+
diff --git a/wordpress/40060-serie-os-diarios-associados-na-brasiliana-fotografica-vii-a-orquestra-sinfonica-.md b/wordpress/40060-serie-os-diarios-associados-na-brasiliana-fotografica-vii-a-orquestra-sinfonica-.md
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+++ b/wordpress/40060-serie-os-diarios-associados-na-brasiliana-fotografica-vii-a-orquestra-sinfonica-.md
@@ -0,0 +1,93 @@
+---
+id: 40060
+url: "https://brasilianafotografica.bn.gov.br/?p=40060"
+titulo: "Série “Os Diários Associados na Brasiliana Fotográfica” VII – A Orquestra Sinfônica Brasileira – sua fundação e primeiro concerto, em 1940"
+autor: "Andrea Wanderley"
+data: "2025-08-17T10:03:39+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/13818", "20.500.12156.1/13817"]
+fetched_at: "2026-09-10T10:20:54.056Z"
+---
+
+# Série “Os Diários Associados na Brasiliana Fotográfica” VII – A Orquestra Sinfônica Brasileira – sua fundação e primeiro concerto, em 1940
+
+Destacando duas fotografias do acervo dos Diários Associados – Rio de Janeiro, o sétimo artigo da série Os Diários Associados na Brasiliana Fotográfica homenageia os 85 anos da fundação e do primeiro concerto realizado pela Orquestra Sinfônica Brasileira, patrimônio cultural brasileiro e importante promotora do acesso à música de concerto em nosso país. É a única orquestra do Brasil que se mantém em permanente atividade há mais de 80 anos, desde sua fundação.
+ 
+Diário de Notícias, 13 de julho de 1940
+ 
+Acesse aqui o link para as fotografias relativas à Orquestra Sinfônica Brasileira pertencentes ao acervo dos Diários Associados – Rio de Janeiro disponíveis na Brasiliana Fotográfica
+ 
+Sob a regência do maestro húngaro Eugen Szenkar (1891 – 1977), seu primeiro diretor artístico, a orquestra apresentou-se no Theatro Municipal do Rio de Janeiro, em 17 de agosto de 1940, cinco dias após sua criação. O regente, que ficou à frente da OSB até 1949 (Diário de Notícias, 27 de setembro de 1949, quarta coluna; 30 de dezembro de 1949), incluiu no repertório de estreia a obra Serenata, do compositor brasileiro, Alberto Nepomuceno (1864 – 1920). As outras peças executadas foram dos compositores alemães Carl Maria von Weber (1786 – 1826), Ludwig van Beethoven (1770 – 1827), Richard Wagner (1813 – 1883) e do tcheco naturalizado norte-americano Jaromír Wainberg (1896 – 1967) (Diário de Notícias, 17 de agosto de 1940, sexta coluna; 18 de agosto de 1940, quinta coluna).
+Uma das fotografias do acervo dos Diários Associados – Rio de Janeiro destacadas neste artigo é de Eugen Szenkar ensaiando a orquestra, que ilustrou uma entrevista do maestro, seis anos após a fundação da OSB (Diário da Noite, 4 de julho de 1946).
+ 
+Ensaio da Orquestra Sinfônica Brasileira, com regência do maestro Eugen Szenkar, julho de 1946. Rio de Janeiro, RJ / Diários Associados (RJ) – Acervo IMS
+ 
+ 
+O maestro Szenkar em um ensaio da Orquestra Sinfônica Brasileira / Diário da Noite, 4 de julho de 1946
+ 
+A outra, uma fotografia publicada pelo Diário da Noite, de 2 de setembro de 1944, é um flagrante da apresentação da Orquestra Sinfônica Brasileira no 6º Concerto para a Juventude, no Cine Teatro Rex, em uma iniciativa conjunta com o Ministério da Educação. O concerto, que integrou as festividades da Semana da Pátria, estava lotado (Diário da Noite, 2 de setembro de 1944, última coluna).
+ 
+Apresentação da Orquestra sinfônica Brasileira, setembro de 1944. Rio de Janeiro, RJ / Diários Associados (RJ) / Acervo IMS 
+ 
+Flagrante do Concerto Orfeônico no Rex realizado pela Orquestra Sinfônica Brasileira / Diário da Noite, 2 de setembro de 1944
+ 
+A preservação de um arquivo fotográfico de imprensa é muito importante porque as imagens podem, a partir de recursos tecnológicos como o zoom e a digitalização, terem uma boa visibilidade e serem acessadas em sua qualidade plena. O acervo fotográfico dos Diários Associados – Rio de Janeiro foi incorporado, em 2016, por um dos fundadores da Brasiliana Fotográfica, o Instituto Moreira Salles (IMS). O conjunto adquirido pelo IMS dos Diários Associados, que já foram o maior conglomerado de mídia do Brasil, possui cerca de 700 mil fotografias e 300 mil negativos com imagens produzidas para O Jornal, primeiro órgão dos Diários, adquirido por Assis Chateaubriand (1892 – 1968) em 1924; para o Diário da Noite, fundado por ele em 1929; e para o Jornal do Commercio, fundado em 1827 e adquirido pelo grupo em 1959. Os registros cobrem um período representativo do século XX – de 1915 a 2005.
+ 
+Brevíssima história da Orquestra Sinfônica Brasileira
+ 
+A Orquestra Sinfônica Brasileira foi fundada, em julho de 1940, graças aos esforços do maestro José Siqueira (1907 – 1985), e de outros professores da Escola Nacional de Música: Orlando Frederico, Alfredo Gomes, Antão Soares, Djalma Guimarães, Alberto Lazzoli, Antonio Leopardi, Iberê Gomes Grosso, Nelson Cintra e o capitão Fortunato Nascimento, além de apoiadores como o jornalista Roberto Marinho (Diário de Notícias, 13 de julho de 1940, coluna).
+ 
+O compositor e regente paraibano José Siqueira (1907 – 1985)
+ 
+Como já mencionado, o primeiro concerto realizou-se em 17 de agosto de 1940. Inicialmente, os ensaios da orquestra eram realizados na Sala Leopoldo Miguez, da Escola Nacional de Música.
+ 
+O GLOBO, 16 de agosto de 1940
+ 
+Diário de Notícias, 18 de agosto de 1940
+ 
+A OSB na tarde de 17 de agosto de 1940 / Acervo da OSB
+ 
+Um dos mais importantes críticos de música de seu tempo, o curitibano José Cândido de Andrade Muricy (1895 – 1984), saudou a criação da OSB em uma crônica publicada no Jornal do Commercio, de 21 de julho de 1940, primeira coluna.
+De acordo com o site da OSB, sucederam o maestro Eugen Szenkar: o italiano Lamberto Baldi (1895 – 1979), em 1950 (Correio da Manhã, 13 de março de 1950, segunda coluna); o cearense Eleazar de Carvalho (1912 – 1996), em 1952; e o curitibano Alceu Bocchino (1918 -2013), em 1963 (Diário de Notícias, 18 de abril de 1963, segunda coluna).
+Em 1943, a OSB ganhou um patrono de peso, o empresário Arnaldo Guinle, que doou uma sede à orquestra, em dois andares do prédio na Avenida Rio Branco, 137, no centro do Rio de Janeiro. Também neste ano foram inaugurados os Concertos para a Juventude, cuja premissa era dar oportunidades a jovens solistas brasileiros. Eram realizados no último domingo do mês. O primeiro concerto aconteceu, em 25 de abril, no Cine Teatro Rex, reunindo cerca de 900 estudantes na platéia (Diário de Notícias, 29 de abril de 1943; A Noite, 12 de setembro de 1943, primeira coluna). Nos anos 1950, a Orquestra gravou seu primeiro LP, com peças de Carlos Gomes (1836 – 1896), Oscar Lorenzo Fernandez (1897 -1948), Francisco Braga (1868 – 1945), Alberto Nepomuceno e Fructuoso Vianna (1896 – 1976). Em 1958, já possuía 18 LPs gravados.
+Na inauguração de Brasília, em 21 de abril de 1960, a OSB apresentou-se, a convite do governo federal.
+A OSB foi transformada em fundação, em 1966, ano em que Eleazar de Carvalho reassumiu a orquestra. Ganhou um maior impulso a partir de 1970, graças ao dinamismo de seu novo diretor, o brasileiro de ascendência russa Isaac Karabtchevsky (1934 -), realizando sua primeira turnê para o exterior: apresentou-se na Europa, em 1974. Três anos depois, em 1977, fez uma temporada nos Estados Unidos e no Canadá.
+O Projeto Aquarius, criado em 1972, também ajudou a popularizar a OSB, levando a música clássica às camadas mais populares, em concertos na Quinta da Boa Vista. Sua estréia, em 30 de abril de 1972, no Aterro do Flamengo, foi assistida por cerca de 100 mil pessoas. Em 1984, por exemplo, foi realizado o Rock Concerto – iniciativa do Projeto Aquarius, na Praça da Apoteose, com a orquestra e o coro do Theatro Municipal, Barão Vermelho e Blitz. E no centenário do compositor Heitor Villa-Lobos (1887 – 1959), em 1987, o Projeto Aquarius o homenageou apresentando um grande concerto com a participação de cinco mil vozes.
+Ainda sob a regência de Karabtchevsky a OSB causou uma polêmica por ter executado, no Teatro Municipal do Rio de Janeiro, a obra Rapsódia sobre temas de Chico Buarque, de Lindolfo Gaya (1921 – 1987), uma homenagem a Chico Buarque (1944-). Foi aplaudida por um auditório repleto mas não agradou a todos. O pianista, regente e compositor Francisco Mignone (1897 – 1986) teria dito, no foyer do teatro: É sinal de luto pela música brasileira (Correio da Manhã, 9 de novembro de 1967, quarta coluna; Diário de Notícias, 9 de novembro de 1967, segunda coluna; O Jornal, 10 de novembro de 1967, quinta coluna; Jornal do Brasil, 15 de novembro de 1967, terceira coluna; Jornal do Commercio, 19 de novembro de 1967, terceira coluna).
+Karabtchevsky, que foi regente titular da OSB de 1969 a 1996, foi sucedido pelo paulistano Roberto Tibiriçá (1954-), em 1996; pelo israelense-argentino Yeruham Scharovsky (1956-), em 1998; e pelo paulistano Roberto Minczuk (1967-), em 2005, que ocupou o cargo até 2011, quando assumiram os cariocas Fernando Bicudo (1946-) e Pablo Castellar ( 1976-). Desde 2015 a orquestra não tem regente titular (Revista Concerto, 1º de março de 2025).
+Em 5 de outubro 1997, durante a missa campal feita pelo papa João Paulo II, no Rio de Janeiro, a OSB tocou Cidade Maravilhosa e foi acompanhada pelo coro de uma plateia de milhares de pessoas.
+Em 1999, foi criada a Orquestra Sinfônica Brasileira Jovem (Tribuna da Imprensa, 31 de agosto de 1999, primeira coluna).
+No século XXI, a OSB se apresentou na abertura do Rock in Rio III, no Palco Mundo, para mais de 120 mil pessoas presencialmente, em 2001 (Youtube).
+ 
+OSB na abertura do Rock in Rio, em 2001
+ 
+Neste mesmo ano, realizou uma turnê com concertos ao ar livre nas regiões norte e nordeste do Brasil. No ano seguinte, 2002, tornou-se parceira da Prefeitura do Rio de Janeiro que, em 2003, a convidou para ocupar a Cidade da Música, complexo cultural na Barra da Tijuca. Ainda em 2003, apresentou-se na celebração dos 10 anos da criação do grupo Afroreggae. Em 2006, a Vale juntou-se à Prefeitura do Rio como mantenedores das atividades da OSB. Em 29 de novembro de 2008, apresentou-se com o cantor e compositor Ivan Lins (1945-), na inauguração da 13ª Árvore de Natal, da Lagoa Rodrigo de Freitas, no Rio de Janeiro. Em 2009, nasceu a parceria entre a Fundação OSB e o BNDES.
+Em 2010, a OSB celebrou seus 70 anos anos com uma série de eventos, dentre eles a reprise de seu primeiro concerto (Jornal do Brasil, 10 de março de 2010). Pelo Projeto Aquarius, apresentou um espetáculo para mais de 100 mil pessoas na Praia de Copacabana (O GLOBO, 29 de maio de 2010).
+Os 80 anos da orquestra foram celebrados, em 2020, em plena pandemia do Covid-19. O plano inicial das comemorações previam uma temporada presencial com destaque para músicos brasileiros e música nacional, mas devido à pandemia a programação foi adaptada para o formato digital – concertos em vídeos foram divulgados nas redes sociais (Série Virtual OSB 80).
+Algumas de suas séries e projetos criados pela OSB são: Série Vesperal (1977), Música pelo Brasil (1983), Os Pianistas (1991), Concertos Didáticos (1998), Orquestra Para Todos (2004), Série Safira (2007), Orquestra em Movimento (2016) e Conexões Musicais (2017)
+Ao longo de sua história a OSB revelou diversos talentos, dentre eles o pianista Arthur Moreira Lima (1940 – 2024), o violinista Henrique Morelenbaum (1931 – 2022) e o pianista Nelson Freire (1944 – 2021), que estreou, com apenas 11 anos, à frente da orquestra nos Concertos para a Juventude, de 1956. Também revelou a pianista Cristina Ortiz (1950-), que venceu o concurso Jovens Solistas do programa Concertos para a Juventude, de 1961; e o violoncelista Antonio Meneses (1957 – 2024). Também recebeu estrelas internacionais como o maestro Kurt Masur (1927 – 2015), e os cantores Luciano Pavarottin(1935 – 2007), José Carreras (1946-) e Placido Domingo (1941-).
+A partir do decreto municipal nº 48.727, 9 de abril de 2021, a Orquestra Sinfônica Brasileira passou a ser Patrimônio Cultural de Natureza Imaterial do município do Rio de Janeiro
+A OSB segue sua vocação democrática, educativa e de excelência artística na direção da popularização da música de concerto e na de transformação social por meio da música. Viva a cultura! Viva a Orquestra Sinfônica Brasileira! Vida longa à Orquestra Sinfônica Brasileira!
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora da Brasiliana Fotográfica
+ 
+Fontes:
+Acervo de O GLOBO
+BARROS, Maria Pia Fontes Lins de; WANDERLEY, Andrea C. T. Agenda do Centro de Documentação da TV Globo
+CORREA, Sergio Nepomuceno Alvim. Orquestra Sinfonica Brasileira 1940-2000. FUNARTE, 2004.
+ Gazeta do Povo, 7 de abril de 2013
+Hemeroteca Digital da Biblioteca Nacional
+Orquestra Sinfônica Brasileira 81 Anos 
+Site Academia Brasileira de Música
+Site Dicionário Cravo Alvim de Música Popular Brasileira
+Site Eleazar de Carvalho
+Site Orquestra Sinfônica Brasileira
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/13818` — `itens/20.500.12156.1_13818/`
+- `20.500.12156.1/13817` — `itens/20.500.12156.1_13817/`
+
diff --git a/wordpress/40089-no-dia-nacional-de-zumbi-e-da-consciencia-negra-artigos-sobre-escravidao-e-racis.md b/wordpress/40089-no-dia-nacional-de-zumbi-e-da-consciencia-negra-artigos-sobre-escravidao-e-racis.md
new file mode 100644
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--- /dev/null
+++ b/wordpress/40089-no-dia-nacional-de-zumbi-e-da-consciencia-negra-artigos-sobre-escravidao-e-racis.md
@@ -0,0 +1,61 @@
+---
+id: 40089
+url: "https://brasilianafotografica.bn.gov.br/?p=40089"
+titulo: "No Dia Nacional de Zumbi e da Consciência Negra, artigos sobre escravidão e racismo no Brasil"
+autor: "Andrea Wanderley"
+data: "2025-11-20T00:22:55+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/6505", "20.500.12156.1/4503", "20.500.12156.1/6507", "20.500.12156.1/12652"]
+fetched_at: "2026-09-10T10:20:57.455Z"
+---
+
+# No Dia Nacional de Zumbi e da Consciência Negra, artigos sobre escravidão e racismo no Brasil
+
+Hoje é celebrado o Dia Nacional de Zumbi e da Consciência Negra que, a partir da sanção, em 21 de dezembro de 2023, do Projeto de Lei nº 3268/2021, foi declarado feriado em todo o país. Para comemorar a data, a Brasiliana Fotográfica disponibiliza uma lista de artigos já publicados no portal sobre a escravidão e o racismo no Brasil. Neles foram destacadas imagens produzidas por importantes fotógrafos que atuaram no país, entre eles o alemão Alberto Henschel (1827 – 1882), o provavelmente brasileiro Antonio Luiz Ferreira (18? – 19?), o português Joaquim Insley Pacheco (1830- 1912), o português José Christiano Junior (1832 – 1902), o brasileiro Marc Ferrez (1843 – 1923) e tmabém por fotógrafos ainda não identificados.
+ 
+Christiano Junior. Escravizado, 1864-1865. Rio de Janeiro, RJ / Acervo Museu Histórico Nacional
+ 
+Alberto Henschel. Retrato – Mulher negra não identificada, c. 1869. Recife, Pernambuco / Convênio Instituto Moreira Salles – Leibniz-Institut für Länderkunde
+ 
+A data de hoje remete à morte de Zumbi de Palmares, em 20 de novembro de 1695, em Alagoas. Ele foi o líder do Quilombo dos Palmares, o maior do período colonial brasileiro, que localizava-se na região da Serra da Barriga, na Capitania de Pernambuco, atual região de União dos Palmares, em Alagoas. Traído por um dos seus principais comandantes, Antônio Soares, foi morto na serra de Dois Irmãos, local de seu esconderijo. Foi esquartejado e sua cabeça foi cortada e exposta na Praça do Carmo, em Recife.
+ 
+Christiano Junior. Escravizado – Monjolo, 1864-1865. Rio de Janeiro, RJ / Acervo Museu Histórico Nacional
+ 
+Depois de uma importante mobilização do Movimento Negro foi sancionada a Lei 10.639, de 2003, que determina o ensino de História e Cultura Afro-Brasileira nas escolas e a inclusão do Dia Nacional da Consciência Negra no calendário escolar. Cerca de oito anos depois, a então presidente Dilma Rousseff (1947-) oficializou 20 de novembro como Dia Nacional de Zumbi e da Consciência Negra, com a Lei nº 12.519, de 10 de novembro de 2011 (G1, 11 de novembro de 2011).
+ 
+Seguem os links dos artigos:
+ 
+Aniversário de fundação da Frente Negra Brasileira : uma parte da assistência, 16 de setembro de 1935. São Paulo, SP / Acervo FBN
+ 
+Dia da Abolição da Escravatura, publicado em 13 de maio de 2015
+Missa Campal de 17 de maio de 1888, publicado em 17 de maio de 2015
+Machado de Assis vai à missa, de autoria de José Murilo de Carvalho, publicado em 29 de maio de 2015
+Missa Campal de 17 de maio de 1888 – Novas identificações, publicado em 2 de junho de 2015
+Princesa Isabel (RJ, 29 de julho de 1846 – Eu, 14 de novembro de 1921), publicado em 21 de julho de 2015
+Zumbi dos Palmares (Alagoas,1655 – Alagoas, 20 de novembro de 1695), publicado em 20 de novembro de 2015
+A beleza das baianas na fotografia do século XIX no Brasil, publicado em 25 de novembro de 2016
+Missa Campal de 17 de maio de 1888 – Mais identificações, publicado em 17 de maio de 2017
+A Galeria dos condenados por Lilia Schwarcz, publicado em 15 de fevereiro de 2019
+Retratos de escravizados pelo fotógrafo Christiano Junior (1832 – 1902), publicado em 13 de maio de 2019
+Zumbi dos Palmares (Alagoas,1655 – Alagoas, 20 de novembro de 1695), publicado em 20 de novembro de 2019
+A mulher negra de turbante, de Alberto Henschel, publicado em 13 de maio de 2020
+Série “Feministas, graças a Deus” VII – Almerinda Farias Gama (1899 – 1999), uma das pioneiras do feminismo no Brasil, publicado em 23 de fevereiro de 2021
+Os “Instantâneos Cruéis” de Monteiro Lobato, publicado em 26 de novembro de 2021
+Série “1922 – Hoje, há 100 anos” I – Os Batutas embarcam para Paris, em 29 de janeiro – Uma história de música e de racismo, publicado em 29 de janeiro de 2022
+Série “1922 – Hoje, há 100 anos” X – A morte do escritor Lima Barreto (1881 – 1922), publicado em 1º de novembro de 2022
+O Dia Internacional de Luta pela Eliminação da Discriminação Racial, publicado em 21 de março de 2023
+Dia Internacional da Mulher Negra Latina Americana e Caribenha e Dia Nacional de Tereza de Benguela e da Mulher Negra, publicado em 25 de julho de 2023
+A Frente Negra Brasileira, publicado em 13 de maio de 2024
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora da Brasiliana Fotográfica
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/6505` — `itens/20.500.12156.1_6505/`
+- `20.500.12156.1/4503` — `itens/20.500.12156.1_4503/`
+- `20.500.12156.1/6507` — `itens/20.500.12156.1_6507/`
+- `20.500.12156.1/12652` — `itens/20.500.12156.1_12652/`
+
diff --git a/wordpress/401-dia-do-trabalho.md b/wordpress/401-dia-do-trabalho.md
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--- /dev/null
+++ b/wordpress/401-dia-do-trabalho.md
@@ -0,0 +1,32 @@
+---
+id: 401
+url: "https://brasilianafotografica.bn.gov.br/?p=401"
+titulo: "Dia do Trabalho"
+autor: "Andrea Wanderley"
+data: "2015-05-01T03:26:33+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/2603"]
+fetched_at: "2026-09-10T10:21:00.682Z"
+---
+
+# Dia do Trabalho
+
+Marc Ferrez. Mineiros trabalhando na mina Pary, c. 1888. Santa Bárbara, MG / Acervo IMS
+Para celebrar o Dia do Trabalho, a Brasiliana Fotográfica destaca uma imagem realizada pelo fotógrafo Marc Ferrez (1843 – 1923) A data é festejada no Brasil desde 1895, quando foi realizada a primeira comemoração da data que se tem registro no país, por iniciativa do Centro Socialista de Santos, em São Paulo. Mas sua celebração só foi oficializada pelo governo brasileiro em 26 de setembro de 1924 a partir do Decreto nº 4.859 sancionado pelo então presidente Arthur Bernardes (1875-1955).  Em seu artigo único declarava “feriado nacional o dia 1 de maio, consagrado à confraternidade universal das classes operárias e à comemoração dos mártires do trabalho; revogadas as disposições em contrário”.
+A data tem sua origem numa homenagem aos trabalhadores de Chicago que, em 1º de maio de 1886, iniciaram uma série de manifestações por melhores condições de trabalho e especialmente por uma jornada de trabalho de 8 horas. Em 1889, durante uma reunião da Segunda Internacional Socialista, em Paris, a data foi estabelecida.
+ 
+ 
+ 
+Links para as notícias da comemoração do primeiro feriado de 1º de maio no Brasil:
+O Paiz – Edição de 02/05/1925
+Jornal do Brasil – Edição de 02/05/1925
+ 
+Andrea C. T. Wanderley
+Editora-assistente e pesquisadora do portal Brasiliana Fotográfica
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/2603` — `itens/20.500.12156.1_2603/`
+
diff --git a/wordpress/40104-o-jornalista-e-abolicionista-jose-do-patrocinio-1853-1905-o-tigre-da-abolicao.md b/wordpress/40104-o-jornalista-e-abolicionista-jose-do-patrocinio-1853-1905-o-tigre-da-abolicao.md
new file mode 100644
index 0000000..db7b8d1
--- /dev/null
+++ b/wordpress/40104-o-jornalista-e-abolicionista-jose-do-patrocinio-1853-1905-o-tigre-da-abolicao.md
@@ -0,0 +1,241 @@
+---
+id: 40104
+url: "https://brasilianafotografica.bn.gov.br/?p=40104"
+titulo: "O jornalista e abolicionista José do Patrocínio (1853 – 1905), o “Tigre da Abolição”"
+autor: "Andrea Wanderley"
+data: "2025-10-09T06:44:41+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/13779", "20.500.12156.1/13780"]
+fetched_at: "2026-09-10T10:21:04.129Z"
+---
+
+# O jornalista e abolicionista José do Patrocínio (1853 – 1905), o “Tigre da Abolição”
+
+Com duas fotografias do acervo fotográfico da Fundação Biblioteca Nacional, uma das instituições fundadoras da Brasiliana Fotográfica, o artigo de hoje homenageia o grande jornalista e abolicionista José do Patrocínio (1853-1905), o Tigre da Abolição, que nasceu há exatos 172 anos, em Campos de Goytacazes, no Rio de Janeiro. O registro abaixo é o mais popular de Patrocínio, pelo qual sua imagem ficou conhecida até hoje.
+ 
+José do Patrocinio, 189? / Acervo FBN
+ 
+Trecho da homenagem a José do Patrocínio na primeira página da Gazeta de Notícias, 14 de maio de 1888, dia seguinte à abolição da escravatura no Brasil,
+ 
+A fotografia seguinte foi produzida quando José do Patrocínio e outros militares que se revoltaram contra o governo de Floriano Peixoto (1839 – 1895) foram deportados para Cucuí, no alto Rio Negro, no Amazonas, em 1892. Está assinada, no lado direito da foto, por M. Lira fotógrafo Iquitos, Peru. Foi doada à Biblioteca Nacional pelo município de São Gabriel, no Amazonas, em 1924.
+ 
+Photografia Lira. Reprodução de um grupo em S. Joaquim no rio Negro em 1892. Da esquerda para a direita: Conde de Leopoldina, dr. Campos da Paz, José do Patrocínio, dr J.J. Seabra, dr. Manoel Lavrador, marechal Almeida Barreto, coronel dr. Jacques Ouriques e major Manoel Miranda. São Joaquim do Rio Negro, Amazonas, 1892 / Acervo FBN
+ 
+Brevíssimo perfil de José do Patrocínio (1853 – 1905), 
+Zeca para os amigos, Zé do Pato para o povo
+ 
+“Se fosse possível reunir todos os artigos, todos os discursos, com que Patrocínio atacou a escravidão e seus defensores, o livro em que ficassem compendiados esses libelos seria o mais belo poema da Justiça“
+Olavo Bilac (1865 – 1918)
+ 
+José Carlos do Patrocínio foi um dos principais protagonistas da luta pela abolição da escravatura no Brasil, tendo se engajado fortemente na causa a partir do jornalismo. Como já mencionado, nasceu em 9 de outubro de 1853, em Campos dos Goytacazes, norte fluminense. Filho do padre João Carlos Monteiro (1799 – 1876) e da quitandeira Justina Maria do Espírito Santo (c. 1840 – 1885), escravizada que havia sido alforriada, viveu sua infância na fazenda de seu pai, localizada em Lagoa de Cima, onde a violência, a injustiça e a desumanidade do sistema escravocrata fazia parte de seu cotidiano. Quando tinha 13 anos, não pode trabalhar no comércio de seu pai devido a sua cor. Seu impulso pela luta pela liberdade e pela igualdade teve origem, certamente, nestas circunstâncias de sua vida pessoal.
+
+Em 1867, tendo concluído o primário, foi para o Rio de Janeiro, onde trabalhou na Santa Casa da Misericórdia  e retomou seus estudos no Externato de João Pedro de Aquino. Ingressou na Escola de Medicina, em 1871, e concluiu o curso de Farmácia, em 1874. Neste período residiu em uma república de estudantes. Quando terminou o curso, seu amigo João Rodrigues Pacheco Villanova (1852 – 1897), colega do Externato Aquino, convidou-o para morar na na casa da mãe dele, Henriqueta Amélia Ramos (1832-1911), que era casada, segundo casamento, com o capitão Emiliano Rosa de Senna (c. 1825 – 1896), proprietário de terras e de vários imóveis no Rio de Janeiro e avô do futuro pintor Di Cavalcanti (1897 – 1976). Patrocínio passou a lecionar para os filhos do capitão e a frequentar o Clube Republicano, que se reunia na residência, do qual faziam parte os jornalistas Lopes Trovão (1848 – 1925), Pardal Mallet (1864 – 1894) e Quintino Bocaiuva (1836 – 1912), dentre outros.
+Em 1875, com Dermeval da Fonseca (c. 1852 – 1914), Patrocínio publicou, entre 1º de junho e 15 de outubro, dez números do quinzenário Os Ferrões. Assim Patrocínio iniciou sua carreira de jornalista. Seus  pseudônimos eram Eurus Ferrão e Notus Ferrão, respectivamente…
+ 
+Os Ferrões, 1º de junho de 1875
+ 
+…e assim se apresentaram:
+ 
+Os Ferrões, 1º de junho de 1875
+ 
+Dermeval da Fonseca / O Paiz, 7 de novembro de 1914
+ 
+Em 1877, já trabalhava na Gazeta de Notícias, jornal fundado, em 2 de agosto de 1875, por Ferreira de Araújo (1848 – 1900), cujo pseudônimo era Lulu Sênior. Patrocínio assinava, sob o pseudônimo Proudhomme – alusão ao pensador francês Pierre-Joseph Proudhon (1809 – 1865), a coluna “Semana Parlamentar”, cuja primeira publicação aconteceu em 26 de fevereiro de 1877.  A Gazeta de Notícias foi um dos principais meios pelo qual Patrocínio propagou suas ideias abolicionistas.
+Ainda em 1877, publicou no jornal o romance Motta Coqueiro ou a pena de morte, onde contou o caso verídico do último enforcamento no Brasil, o do fazendeiro Francisco Benedito de Souza Coqueiro (1799 – 1855), conhecido como Motta Coqueiro, o suposto mandante de um violento crime ocorrido no norte fluminense, em 1852. O livro criticava o sistema judiciário e o uso da pena de morte no Brasil do século XIX (Gazeta de Notícias, 23 de dezembro de 1877, primeira coluna e 4 de março de 1878, quinta coluna).
+ 
+Retrato falado de Manuel da Mota Coqueiro, a Fera de Macabu
+ 
+Em 1878, denunciou em uma série de artigos na Gazeta de Notícias a pior seca ocorrida no nordeste do Brasil no século XIX. A cobertura jornalística que realizava sobre a seca tinha como principal objetivo acompanhar a aplicação dos recursos governamentais em seu combate. Partiu, em 10 de maio de 1878, e retornou ao Rio de Janeiro, em 12 de agosto do mesmo ano. As matérias foram publicadas, na coluna Folhetim, na primeira página da Gazeta de Notícias, sob o título “Viagem ao Norte” (1). Mas só o texto não foi suficiente. Então, Patrocínio enviou as imagens produzidas pelo fotógrafo Joaquim Antônio Correia (18? – ?) para a redação da revista O Besouro, do chargista português Rafael Bordalo Pinheiro (1846 – 1905), para a qual já havia mandado, antes da viagem, o artigo Sermão de Lágrimas (O Besouro, edição de 4 de maio de 1878 ), em que tratava, com preocupação, a seca e a situação dos retirantes. A publicação de duas fotos que fazem parte de um conjunto de 14 registros fotográficos de vítimas da seca ocorrida entre 1877 e 1878, em em 20 de julho de 1878, foi um verdadeiro “anticartão de visita, veemente panfleto que denuncia uma realidade que muitos membros da corte se negavam a enxergar”(Imagens da Seca de 1877-78 – Uma contribuição para o conhecimento do fotojornalismo na imprensa brasileira).
+ 
+O Besouro, 20 de julho de 1878
+ 
+Em 1879, publicou o romance Os retirantes, uma obra muito importante da literatura brasileira por sua crítica social e pelo engajamento de Patrocínio na causa abolicionista. A seca, a escravidão e a migração forçada são os temas do livro, considerado por muitos o introdutor do Realismo-Naturalismo no Brasil e da literatura da seca.
+ 
+Gazeta de Notícias, 3 de janeiro de 1879
+ 
+Os retirantes, por José do Patrocínio, 1879
+ 
+
+No mesmo ano, aderiu à campanha pela abolição da escravatura no Brasil. Em torno dele formou-se um grande coro de jornalistas e de oradores, dentre os quais José Ferreira de Meneses (1845 – 1881), Francisco de Paula Ney (1858 – 1897), Joaquim Nabuco (1849 – 1910), Lopes Trovão, Teodoro Sampaio (1855 – 1937) e Ubaldino do Amaral (1842 – 1920).
+Foi um dos fundadores da escola noturna gratuita de São Cristóvão. Participaram da inauguração do colégio o capitão Emiliano Rosa de Senna, o conselheiro Saldanha Marinho (1816 – 1895) e João Rodrigues Pacheco Villanova (18? – ?) (Gazeta de Notícias, 23 de setembro de 1879, primeira coluna).
+ 
+Gazeta de Notícias, 23 de setembro e 1879
+ 
+Em 7 de setembro de 1880, fundou com André Rebouças (1838 – 1898), Joaquim Nabuco (1849 – 1910) e outros a Sociedade Brasileira Contra a Escravidão (Gazeta da Tarde, 10 de setembro de 1880, primeira coluna). No mesmo mês, ele, André Rebouças, Nicolau Joaquim Moreira (1824-1894) e Vicente de Souza (1852 – 1908) criaram a Associação Central Emancipadora (ACE), que começou a promover eventos abolicionistas em teatros – entre julho de 1880 e julho de 1881, a ACE organizou 43. Patrocínio era um orador entusiasmado e atraía grandes plateias (Gazeta de Notícias, 28 de setembro de 1880). Como produto da Sociedade Brasileira Contra a Escravidão, começou a ser publicado, em 1° de novembro de 1880, o jornal O Abolicionista. Na ocasião, Patrocínio já era filiado à maçonaria, que começava a assumir um protagonismo na luta pela abolição.
+
+Casou-se, em 15 de janeiro de 1881, com Maria Henriqueta Sena (1864 – 1929), a Bibi, filha do capitão Emiliano Rosa de Senna (Gazeta da Tarde, 14 de janeiro de 1881, primeira coluna). Nesta época, segundo o historiador Flavio Gomes, os ataques racistas contra ele teriam aumentado devido ao fato de sua esposa ser branca.
+ 
+Gazeta da Tarde, 14 de janeiro de 1881
+ 
+Tiveram cinco filhos – duas meninas, que faleceram antes de completarem dois anos; e três meninos, dos quais os jornalistas Maceo (1897 – 1947) e José Carlos do Patrocínio Filho (c. 1886 – 1929), o Zeca. O filho Tinon desapareceu nas ruas do Rio de Janeiro quando criança e nunca mais foi encontrado. Nunca se soube de seu paradeiro.
+ 
+Tavares Sobrinho. Maria Henriqueta Sena, filha do capitão e fazendeiro Emílio Rosa de Senna; e esposa de José do Patrocínio
+ 
+Em 1881, devido ao falecimento de José Ferreira de Meneses, que era o proprietário da Gazeta da Tarde, Patrocínio comprou o jornal. Na época, também colaborava com a Revista Illustrada, de Ângelo Agostini (1843 – 1910). No ano seguinte, foi com Paula Ney para a Bahia, Pernambuco e Ceará para divulgar a causa abolicionista. Patrocínio fez conferências e comícios muito concorridos.
+
+Em 9 de maio de 1883, fundou, em uma reunião organizada na sede da Gazeta da Tarde, a Confederação Abolicionista do Rio de Janeiro, congregando todos os clubes abolicionistas do país. Foi um dos redatores do Manifesto da Confederação Abolicionista, que foi lido em uma sessão solene no Theatro Dom Pedro II, em agosto de 1883. A entidade promoveu fugas de escravizados, passeatas, festas, jantares, comícios e assembleias em prol da causa abolicionista.
+ 
+Biblioteca Brasiliana Guita e José Mindlin
+ 
+Conferência Pública do jornalista José do Patrocínio feita no Theatro Politheama, 17 de maio de 1885 / Acervo FBN
+ 
+Photographia Americana. Diretoria da Confederação Abolicionistas. Sentados, da esquerda para a direita: André Rebouças, João Clapp e José de Seixas Magalhães. Em pé: José do Patrocínio, Luís de Andrade, Inácio von Doellinger, Praxedes Medella e Luiz Pereira, 16 de maio de 1888
+ 
+Viajou para a Europa, em 1883, e retornou ao Brasil, em 1884, ano em que publicou na Gazeta da Tarde, a partir de 5 de abril, o romance Pedro Espanhol, em forma de folhetim, baseado na vida real de um assassino. Foi editado e vendido como livro no mesmo ano. Foi sua terceira e última obra de ficção. Foi reeditada em 2013, pela G. Ermakoff Casa Editorial. 
+ 
+Gazeta da Tarde, 3 de abril de 1884
+ 
+Em 1885, fez uma viagem a Campos, onde ele e outros abolicionistas fizeram conferências. Ele trouxe para o Rio de Janeiro sua mãe, Justina Maria do Espírito Santo, já bastante doente (Gazeta da Tarde, 18 de março de 1885, quinta coluna). Ela faleceu meses depois e o enterro transformou-se em um ato político em prol da abolição com a participação de personalidades como Campos Sales (1841 – 1913), Joaquim Nabuco, Prudente de Morais (1841 – 1902), Rodolfo Dantas (1854 – 1901) e Ruy Barbosa (1849 – 1923) (Gazeta da Tarde, 19 de agosto de 1885, última coluna e 20 de agosto de 1885, penúltima coluna).
+ 
+Gazeta da Tarde, 20 de agosto de 1885
+ 
+Um caso de violência contra pessoas escravizadas foi mostrado, em fevereiro de 1886. “Não é só no interior que se cometem crimes contra os escravos. “As pretas Eduarda e Joana, levadas às redações dos jornais pelo José do Patrocínio e João Clapp provam que na Corte também há verdugos” (Revista Illustrada, 1886, edição 427). As escravizadas Eduarda, de 15 anos, e Joana, de 17, que haviam sido espancadas, foram exibidas pelas ruas do Rio de Janeiro. Seus rostos estavam deformados e as feridas em carne viva. Eduarda ficou cega e Joana morreu. Seu corpo foi carregado pelos abolicionistas, e o funeral rendeu mais um evento público denunciando tortura e assassinato. O caso de denúncia de tortura e assassinato se tornou uma comoção nacional.
+ 
+Revista Illustrada, 1886, edição 427.
+ 
+Em agosto de 1887, o governo proibiu aglomerações nas ruas e edifícios públicos. Abolicionistas foram demitidos de seus empregos e partiram para o enfrentamento. Em 6 de agosto, organizaram uma conferência no Teatro Polytheama. Dois dias depois, um encontro em frente ao quartel do Campo da Aclamação. Ambos foram seguidos por enfrentamentos com a polícia. José do Patrocínio falou por muitos de seus companheiros, ao afirmar que “os abolicionistas sinceros estão todos preparados para morrer”.
+Ainda neste ano organizou um manifestação em prol da abolição no Theatro Lyrico. A cantora que fazia o papel de Aída, na ópera homônima, a russa Nadina Bulicioff (1858 – 1921), comprou a liberdade de sete escravizados com os presentes que recebeu de seus admiradores. Entregou as cartas de alforrias em pleno palco, em 10 de agosto, em um ato da campanha abolicionista organizado por José do Patrocínio (1854 – 1905) (O Paiz, 11 de agosto de 1886, sexta coluna).
+ 
+Revista Illustrada, 20 de agosto de 1886
+ 
+Em 1886, com expressiva votação, foi eleito vereador do Rio de Janeiro (Gazeta de Notícias, 2 de julho de 1886, quarta coluna). Em 1884, já havia se candidatado a deputado, sem sucesso. Em 1890, 1893 e 1895, voltou a se candidatar, mas não foi eleito.
+Em 1887, abandonou a Gazeta da Tarde e fundou e dirigiu o jornal Cidade do Rio, lançado em 28 de setembro de 1887 e publicado até 1902.
+
+Em 13 de maio de 1888, logo após a assinatura da Lei Áurea pela princesa Isabel, abolindo a escravidão no Brasil, no Paço Imperial, Patrocínio fez um um notável discurso e foi saudado com um brinde feito por João Chaves (18? -?), representante da Gazeta de Notícias, tendo sido apontado como o iniciador do movimento abolicionista. Falou à população de uma das portas do Paço. Ofereceu à princesa Isabel, em nome da Confederação Abolicionista, um ramalhete de violetas e camélias artificiais com fitas verdes e amarelas, onde se lia Libertas alma mater (Gazeta de Notícias, 14 de maio de 1888, segunda, terceira  e quinta coluna; O Paiz, 14 de maio de 1888, última coluna). Por sua atuação na luta triunfante do abolicionismo, na qual foi a concretização do espírito nacional, foi homenageado na primeira página da Gazeta de Notícias de 14 de maio de 1888.
+ 
+
+ 
+Gazeta de Notícias, 14 de maio de 1888
+ 
+Gazeta de Notícias, 14 de maio de 1888
+ 
+O Paiz, 16 de junho de 1888
+ 
+Idealizada pelo isabelista Manoel Maria de Beaurepaire Pinto Peixoto (18? – 19?) e abençoada por Patrocínio, a Guarda Negra da Redentora foi criada, em 9 de julho de 1888, na casa do abolicionista Emilio Rouède. Era uma instituição formada majoritariamente por libertos com o objetivo de proteger a princesa Isabel. Várias polêmicas aconteceram em torno da associação e do isabelismo – movimento de sustentação ao Terceiro Reinado isabelino, em franca oposição ao republicanismo que enxovalhava a herdeira de D. Pedro II e o marido dela, D. Gastão, o “Conde d´Eu” (Instituto Dona Isabel) – e Patrocínio foi envolvido em algumas delas (Cidade do Rio, 10 de julho de 1888, segunda coluna; Cidade do Rio, 5 de junho de 1889, terceira coluna; Cidade do Rio, 15 de julho de 1889, primeira coluna; Cidade do Rio, 20 de julho de 1889, segunda coluna). Respondeu a diversos críticos que o apontavam como um  negro vendido, explicando sua opinião acerca do isabelismo (O Tempo, 4 de agosto de 1888, última coluna):
+ 
+O isabelismo
+ 
+A profunda consideração que voto à redação da A Rua obriga-me a acudir pressurosamente em resposta às arguições, que ela me dirige, a respeito de uma frase por mim proferida no dia 13 de maio: “Enquanto houver sangue e honra abolicionistas, ninguém tocará no trono de Isabel, a Redentora”. Lançada em circulação sem considerações, que a precederam, semelhante frase, concordo, seria a mais terrível ameaça à democracia; a justificação prévia de todos os abusos do poder. Infelizmente o meu discurso não foi estenografado e é impossível, hoje, reproduzir integralmente quanto disse. O meu pensamento, porém, foi acentuar, nos termos os mais precisos, que a data de 13 de maio era a primeira de uma era nova, para a elaboração da qual todos tínhamos concorrido: o imperador, a princesa e o povo; que a essa nova era devia corresponder nova política, para a qual contávamos com a magnanimidade do imperador, que havia feito sacrifício maior que o de Abraão, trazendo ao altar da liberdade pátria em holocausto a sua única e adorada filha; a esta mulher heroica que estreou-se no Governo do país restituindo às mães a dignidade materna e educando os príncipes seus filhos no amor dos infelizes. Partiam dessas primícias governamentais a nossa veneração e a nossa esperança por Isabel, a Redentora; confiávamos que o seu futuro seria a confirmação de seu passado; que ela seria a imperatriz-opinião; a rainha-fraternidade; exortávamo-la a perseverar nesse sistema de governar, porque enquanto houvesse honra e sangue abolicionistas o seu trono seria sagrado. Inferir-se daí que eu tentei fechar todas as válvulas da democracia brasileira, que dei o futuro da pátria em hipoteca ao 13 de maio, sem levar em linha de conta o complemento necessário da nova era nacional, é forçar a lógica para tirar uma conclusão arbitrária.
+ 
+
+Cidade do Rio, 18 de maio de 1889
+ 
+Foi um defensor do Terceiro Reinado até praticamente o fim do Segundo, que se deu com a Proclamação da República, em 15 de novembro de 1889.  Tornou-se o proclamador civil da República, por ter desfraldado a bandeira do Clube Republicano, na Câmara Municipal do Rio de Janeiro, onde era vereador.
+Em fevereiro de 1892, regressou da Europa. Em abril, foi declarado estado de sítio no Rio de Janeiro devido a um movimento em prol da deposição do presidente Floriano Peixoto (1839 – 1895) e aclamação do marechal Manoel Deodoro da Fonseca (1827 – 1892) à presidência. Patrocínio foi preso, acusado de cumplicidade. Ele, além de outros presos, foram deportados  para Cucuí, no alto Rio Negro, no estado do Amazonas (O Paiz, 23 de fevereiro de 1892, sexta coluna; O Paiz, 12 de abril de 1892, quinta coluna; O Paiz, 17 de abril de 1892, segunda coluna; O Paiz, 26 de maio de 1892, quarta coluna; Gazeta de Notícias, 3 de julho de 1892, quarta coluna).
+ 
+O Paiz, 26 de maio de 1892
+ 
+Photografia Lira. Reprodução de um grupo em S. Joaquim no rio Negro em 1892. Da esquerda para a direita: Conde de Leopoldina, dr. Campos da Paz, José do Patrocínio, dr J.J. Seabra, dr. Manoel Lavrador, marechal Almeida Barreto, coronel dr. Jacques Ouriques e major Manoel Miranda. São Joaquim do Rio Negro, Amazonas, 1892 / Acervo FBN
+ 
+Ele e outros desterrados foram anistiados em 5 de agosto de 1892 e voltaram para o Rio de Janeiro, em 4 de setembro do mesmo ano. Patrocínio desembarcou no Cais Pharoux (O Paiz, 5 de setembro de 1892, quarta coluna). Devido a dificuldades financeiras e à perseguição política, foi morar no subúrbio de Inhaúma.
+De volta ao jornal, Patrocínio continuou criticando o governo. Seu jornal, Cidade do Rio, publicou o manifesto O Veto, de Custódio de Melo (1840 – 1902), um dos líderes da Revolta da Armada contra o regime republicano recém-estabelecido, e apoiou o movimento. Po temer uma nova prisão, Patrocínio se exilou e Luis Murat (1861 – 1929) assumiu a direção do jornal. Cidade do Rio foi interditado, em 1893 – voltou a circular em 1895 (Cidade do Rio, 6 de setembro de 1893, primeira coluna; 8 de setembro de 1893, segunda coluna; 18 de setembro de 1893, primeira coluna). Desta época até 1894, Patrocínio morou na casa de sua sogra e cunhados, em São Cristóvão. Foi procurado pela polícia e houve um boato de que ele havia sido fuzilado em Sepetiba. Durante o exílio, de cerca de 15 meses, do qual só saiu quando se encerrou o mandato de Floriano Peixoto na presidência da República, começou a construir um balão, a sonhar com a ideia de voar.
+ 
+Cidade do Rio, 13 de maio de 1901
+ 
+Passou a colaborar com o jornal O Repórter (A Notícia, 2 e 3 de outubro de 1895, segunda coluna).
+Compareceu às sessões preparatórias da instalação da Academia Brasileira de Letras, fundada em 20 de julho de 1897, e foi o criador da cadeira nº 21, cujo patrono é Joaquim Serra.
+Entusiasta da ciência e da tecnologia, no início do século XX, iniciou a construção de um dirigível de 45 metros, o Santa Cruz, que não foi concluído.
+Em 1903, apesar de adoentado, Patrocínio saudou o grande inventor, cientista e aeronauta brasileiro Santos Dumont (1873 – 1932), o Pai da Aviação, presente à gala da ópera Fausto, no Theatro Lyrico, com um discurso que foi uma luminosa queda de estrelas, um dos rasgos de emoções em que se tornou incomparável. Na ocasião, foi acometido de uma hemoptise, causada por tuberculose. A chegada de Santos Dumont ao Rio de Janeiro, neste mesmo dia, 7 de setembro de 1903, pela manhã, a bordo do navio Atlantique, que havia partido de Bordeaux, na França, foi apoteótica. Em menos de um mês o inventor visitou, além do Rio de Janeiro, São Paulo e Belo Horizonte, e permaneceu poucas horas em Salvador e no Recife (Gazeta de Notícias, 8 de setembro de 1903, primeira coluna; Revista da Semana, 13 de setembro de 1903).
+ 
+Chegada de Santos Dumont ao Rio de Janeiro, em 7 de setembro de 1903 / Revista da Semana, 13 de setembro de 1903
+ 
+Santos Dumont, que vinha de Minas Gerais, desembarcou na estação de Todos os Santos, onde, com outras personalidades políticas e da imprensa, foi recebido por Patrocínio, em seu hangar, em Inhaúma, onde estava sendo construído o balão Santa Cruz, idealizado por ele. Patrocínio ofereceu champanhe e saudou o aeronauta com um brilhante discurso, respondido por Santos Dumont. Patrocínio, foi um entusiasta da aviação nacional. O dirigível Santa Cruz não chegou a voar (Gazeta de Notícias, 24 de setembro de 1903, penúltima coluna).
+No aniversário dos 16 anos da abolição, foi homenageado pela revista O Malho, 14 de maio de 1904: “Salve! José do Patrocínio- Das Almas Grandes a Nobreza é Esta”.
+ 
+
+ 
+Faleceu, em 29 de janeiro de 1905. Morava em Inhaúma e todo o seu funeral durou 14 dias (O Paiz, 30 de janeiro de 1905, sexta coluna; O Malho, 4 de fevereiro de 1905; Revista da Semana, 5 de fevereiro de 1905, última coluna).
+
+No discurso de saudação ao novo membro da Academia Brasileira de Letras, Mario de Alencar (1872 – 1925), que passaria a ocupar a cadeira de José do Patrocínio, o acadêmico Coelho Neto (1864 – 1934) referiu-se a Patrocínio e mencionou que ele havia trazido o primeiro carro para o Brasil (Correio da Manhã, 15 de agosto de 1906, terceira coluna).
+O desenho abaixo, de autoria  de M.J. Garnier (18? -?), foi publicado na página 108 do livro Sonetos brasileiros, organizado por Laudelino Freire (1873 – 1937) e editado por F. Briguiet & Cie. Editores. Foi usado na obra publicada em 1913.
+ 
+José do Patrocínio
+ 
+Jornal do Commercio, 7 de setembro de 1916
+ 
+Um dos netos de Patrocínio, o soldado Carlos Nuno do Patrocínio (1920 – 1946), filho de Maceo, morreu menos de um ano pós retornar da Segunda Guerra Mundial. Integrava o II Grupo do 1º Regimento de Obuses Auto-Rebocados e foi ferido em combate, tendo voltado ao Brasil com neurose de guerra. Suicidou-se e foi encontrado em seu apartamento em o bairro de Inhaúma, no Rio de Janeiro, em 10 de maio de 1946, e foi enterrado no cemitério do Caju.
+Para marcar o dia 13 de maio, a Frente Negra Brasileira promoveu a realização de uma missa na Igreja Nossa Senhora dos Remédios e uma passeata. Quando chegaram ao Largo do Arouche, onde fica a herma do advogado Luiz Gama (1830 – 1882) – concebida por Yolando Mallozzi e inaugurada em 1931 -, foi feita uma parada e o presidente da FNB, Arlindo Veiga dos Santos, e o orador Vicente Ferreira (? – 1934) fizeram discursos em homenagem ao grande patrono da raça. A campanha pela construção da herma de Luis Gama foi  liderada pelo jornal Progresso, representante da imprensa negra.
+Integrando as celebrações do dia 13 de maio, em 1932, realizadas pela Frente Negra Brasileira, foi inaugurado, na sede da entidade, em São Paulo, um retrato de José do Patrocínio, de autoria de Olavo Xavier (Diário Nacional, 14 de maio de 1932). O propósito fundamental da Frente Negra Brasileira era discutir a questão do racismo, promover melhores condições de vida e a união política e social da “gente negra nacional”.  Teve filiais em diversas cidades paulistas e nos estados da Bahia, Espírito Santo, Minas Gerais, Pernambuco, Rio de Janeiro e Rio Grande do Sul. Existiu entre 1931 e 1937.
+No centenário de seu nascimento, em 1953, Patrocínio foi homenageado com a celebração de uma missa na igreja da Irmandade de Nossa Senhora do Rosário de São Benedito dos Homens Pretos e com a inauguração, no jardim da Biblioteca Nacional, de um baixo relevo de bronze dele, elaborado pelo artista Ruffo Franucchi (? – 19?), a partir de uma pintura de Rodolfo Amoedo (1857 – 1941). O monumento foi erigido a partir de um movimento coletivo patrocinado por várias entidades, dentre elas a Associação Brasileira de Imprensa  – ABI -, a Câmara dos Vereadores, a União dos Homens de Cor e a Irmandade de São Benedito. O monumento foi ofertado ao Rio de Janeiro por seu povo e pela prefeitura da cidade. Na ocasião, Abdias do Nascimento (1914 – 2011), artista, professor e ativista do movimento negro; Herbert Moses (1884 – 1972), presidente da ABI; e o deputado Heitor Beltrão, representando a Casa do Jornalista, discursaram (Jornal do Brasil, 9 de outubro de 1953).
+ 
+Jornal do Brasil, 9 de outubro de 1953
+ 
+No ano seguinte, para celebrar o aniversário da Lei Áurea, o Teatro  Experimental do Negro, cujo diretor era Abdias do Nascimento, promoveu um Ato Cívico diante do monumento de José do Patrocínio (Jornal do Brasil, 12 de maio de 1955, quinta coluna).
+ 
+Jornal do Brasil, 12 de maio de 1954
+ 
+Site Monumentos do Rio
+ 
+Em 19 de dezembro de 2022, a Fundação Biblioteca Nacional- FBN – inaugurou uma nova placa alusiva ao monumento, dando início às comemorações pelos 170 anos do nascimento de Patrocínio, comemorado em 2023. O descerramento da placa contou com a presença do  do presidente da Comissão de Igualdade Étnico-Racial da ABI, Marcos Gomes; e de Octávio Costa, representando a ABI. Por parte da FBN, estiveram presentes o presidente da instituição, Luiz Carlos Ramiro Junior; seu diretor executivo, João Carlos Nara Jr.; o chefe de gabinete, Fernando Antônio Ferreira; e o chefe do Núcleo de Arquitetura, Luiz Antônio Lopes de Souza.
+ 
+Monumento a José do Patrocínio / Portal do Ministério da Cultura
+ 
+Uma curiosidade: segundo relatado por biógrafos e amigos, Patrocínio teria trazido, em 1901, o primeiro carro que circulou nas ruas do Rio de Janeiro. Esta data não foi confirmada pela pesquisa deste artigo. Em algumas fontes a data seria 1884, porém o carro, um modelo francês da marca Peugeot, movido a vapor, o Serpollet, só começou a ser fabricado em 1886. Outra data apontada é 1894, mas neste ano Patrocínio estava escondido, como já mencionado, fugindo da polícia do governo. Segundo João do Rio (1881 – 1921),a respeito do carro de Patrocínio, em seu livro Vida Vertiginosa (1911): “Um, o primeiro, de Patrocínio, quando chegou, foi motivo de escandalosa atenção. Gente de guarda-chuva debaixo do braço parava estarrecida, como se tivesse visto um bicho de Marte ou um aparelho de morte imediata. Não durou muito: sofreu uma batida causada pelo poeta Olavo Bilac e ficou inutilizado.
+ 
+José do Patrocínio e Olavo Bilac / Diário do Rio, 7 de janeiro de 2025
+ 
+
+(1) – Links para os artigos escritos por José do Patrocínio sob o título “Viagem ao Norte”.
+Coluna Folhetim, “Viagem ao Norte”, Gazeta de Notícias, edição de 1º de junho de 1878.
+Coluna Folhetim, “Viagem ao Norte”, Gazeta de Notícias, edição de 6 de junho de 1878.
+Coluna Folhetim, “Viagem ao Norte”, Gazeta de Notícias, edição de 20 de julho de 1878.
+Coluna Folhetim, “Viagem ao Norte”, Gazeta de Notícias, edição de 23 de julho de 1878.
+Coluna Folhetim, “Viagem ao Norte”, Gazeta de Notícias, edição de 3 de agosto de 1878.
+Coluna Folhetim, “Viagem ao Norte”, Gazeta de Notícias, edição de 15 de agosto de 1878.
+Coluna Folhetim, “Viagem ao Norte”, Gazeta de Notícias, edição de 22 de agosto de 1878.
+Coluna Folhetim, “Viagem ao Norte”, Gazeta de Notícias, edição de 30 de agosto de 1878.
+Coluna Folhetim, “Viagem ao Norte”, Gazeta de Notícias, edição de 7 de setembro de 1878.
+Coluna Folhetim, “Viagem ao Norte”, Gazeta de Notícias, edição de 12 de setembro de 1878.
+Leia aqui uma crônica escrita por José do Patrocínio Filho sobre seu pai.
+ 
+Veja aqui o programa sobre José do Patrocínio, da série Os Abolicionistas, veiculado pelo canal História do Brasil Como Você Nunca Viu, do historiador Bruno da Silva Antunes de Cerqueira.
+ 
+
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora da Brasiliana Fotográfica
+ 
+Fontes:
+ALONSO, Ângela. A teatralização da política: a propaganda abolicionista. Anais do XXVI Simpósio Nacional de História – ANPUH • São Paulo, julho 2011.
+ALONSO, Ângela. Associativismo avant la lettre – as sociedades pela abolição da escravidão no Brasil oitocentista. Sociologias, Porto Alegre, ano 13, no 28, set./dez. 2011.
+ALONSO, Angela. Flores, votos e balas. O movimento abolicionista brasikeiro (1868-88). São Paulo : Companhia das Letras, 2015
+ALVES, Uelinton Farias. José do Patrocínio: a imorredoura cor do bronze. Rio de Janeiro : Garamond, 2009.
+ANDRADE, Joaquim Marçal Ferreira de; LOGATTO, Rosângela. Imagens da Seca de 1877-78 – Uma contribuição para o conhecimento do fotojornalismo na imprensa brasileira.  Anais da Biblioteca Nacional, vol 114, de 1994, p. 71-83.
+Biblioteca Virtual Miguel de Cervantes
+CERQUEIRA, Bruno da Silva Antunes de; SOUZA, Arthur Danilo Castelo Branco. Negros, mulheres, pobres, ricos, letrados ou não: uma perspectiva histórica do isabelismo no Brasil. Cadernos ASLEGIS | 63 • 2º Semestre 2022.
+FAPPI, Thiago. No balão do Patrocínio: José do Patrocínio e o advento da aviação no Brasil. Publicação independente, 2021.
+Fundação Biblioteca Nacional. A CAMPANHA ABOLICIONISTA José do Patrocínio COM O CORAÇÃO NOS LÁBIOS.
+Motta, Felipe Ronner Pinheiro Imlau. Literatura, fatalidade e história: o jornalismo engajado de José do Patrocínio (1877-1905). Tese (Doutorado em Comunicação) – Pontifícia Universidade Católica de São Paulo, São Paulo, 2008.
+Hemeroteca Digital da Biblioteca Nacional
+MAGALHÃES JUNIOR, Raimundo. A vida turbulenta de José do Patrocínio. Rio de Janeiro: Sabiá, 1969
+
+O GLOBO, 1º de setembro de 2013
+OLINTO, Antônio. Patrocínio: 100 anos. Tribuna da Imprensa, 21 de junho de 2005.
+ORICO, Oswaldo. O Tigre da Abolição. Rio de Janeiro : Gráfica Olimpica Editora, 1953.
+Portal Literafro
+Portal Ministério da Cultura
+Projeto Intelectuais Negros nas Américas, Universidade Federal Fluminense – José do Patrocínio, José Ferreira de Menezes, Vicente de Souza
+ROCHA, D. Os retirantes (1879), de José do Patrocínio: texto fundador da literatura da seca. Revista Crioula, 29, 95-124, 2022.
+SILVA, Ana Carolina Feracin. De “papa-pecúlios” a Tigre da Abolição: a construção da legenda de José do Patrocínio nas últimas décadas do século XIX. Revista da ABPN, v. 10, n. 25 • mar – jun 2018, p.69-81.
+Site Academia Brasileira de Letras
+Site Biblioteca Digital de Literatura de Países Lusófonos
+Site Family Search
+
+Site FGV CPDOC
+Site Geledés
+Site Geneanet
+Site Jornalismo de Guerra
+Site Lideranças Políticas – José Carlos do Patrocínio
+Site Monumentos do Rio
+SOUZA, Marcos Teixeira de. Motta Coqueiro ou a pena de morte. Revista Jangada, julho/dezembro de 2014.
+VASCONCELOS, Rita de Cássia Azevedo Ferreira de. REPÚBLICA SIM, ESCRAVIDÃO, NÃO: o Republicanismo de José do Patrocínio e sua vivência na República. Dissertação apresentada ao Programa de Pós-Graduação da Universidade Federal Fluminense. Mestrado em História Contemporânea I na Universidade Federal Fluminense, 2011.
+
+WANDERLEY, Andrea C.T. Marco no fotojornalimo brasileiro: a seca no Ceará é documentada com fotografias in Brasiliana Fotográfica, 12 de julho de 2015.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/13779` — `itens/20.500.12156.1_13779/`
+- `20.500.12156.1/13780` — `itens/20.500.12156.1_13780/`
+
diff --git a/wordpress/40110-o-romance-a-escrava-isaura-1875-de-bernardo-guimaraes.md b/wordpress/40110-o-romance-a-escrava-isaura-1875-de-bernardo-guimaraes.md
new file mode 100644
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+++ b/wordpress/40110-o-romance-a-escrava-isaura-1875-de-bernardo-guimaraes.md
@@ -0,0 +1,103 @@
+---
+id: 40110
+url: "https://brasilianafotografica.bn.gov.br/?p=40110"
+titulo: "O romance “A Escrava Isaura” (1875), de Bernardo Guimarães"
+autor: "Andrea Wanderley"
+data: "2026-05-13T10:25:50+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/13827"]
+fetched_at: "2026-09-10T10:21:07.285Z"
+---
+
+# O romance “A Escrava Isaura” (1875), de Bernardo Guimarães
+
+A obra histórica da literatura brasileira, A Escrava Isaura, escrita pelo mineiro Bernardo Guimarães (1825 – 1884), publicada, em 1875, foi importante na luta pela abolição da escravatura no Brasil. Foi uma das primeiras a abordar abertamente o tema da escravidão e sua crueldade, criticando as injustiças sociais da sociedade escravocrata brasileira e destacando a luta pela liberdade e pela igualdade.
+ 
+“A escravidão em si mesma já é uma indignidade, uma úlcera hedionda na face da nação, que a tolera e protege. Por minha parte, nenhum motivo enxergo para levar a esse ponto o respeito por um preconceito absurdo, resultante de um abuso que nos desonra aos olhos do mundo civilizado. Seja eu embora o primeiro a dar esse nobre exemplo, que talvez será imitado. Sirva ele ao menos de um protesto enérgico e solene contra uma bárbara e vergonhosa instituição.”
+Palavras de um dos personagens do livro, Álvaro
+ 
+Ambientado em uma fazenda na região norte do Estado do Rio de Janeiro, em Campos dos Goytacazes, o romance narra a trajetória de Isaura, uma escravizada vítima de um senhor devasso, Leôncio. Isaura era filha do capataz da fazenda e da escravizada Juliana. Tinha pele clara e havia sido educada por Gertrudes, esposa do comendador Almeida, pai do vilão Leôncio. A Brasiliana Fotográfica destaca neste artigo uma fotografia de Bernardo Guimarães, autor do livro, que pertence ao acervo fotográfico da Biblioteca Nacional, uma das instituições fundadoras do portal.
+ 
+Bernardo Guimarães (1827-1884) : patrono da cadeira n. 5., s/d. / Acervo FBN
+ 
+Bernardo Joaquim da Silva Guimarães, importante nome do romantismo nacional, nasceu em Ouro Preto, em 15 de agosto de 1825, tendo falecido na mesma cidade, em 10 de março de 1884. É o patrono da Cadeira nº 5 da Academia Brasileira de Letras. Escreveu outros romances, além de A Escrava Isaura. Sua obra poética foi reunida em Poesias completas de Bernardo Guimarães, organização, introdução, cronologia e notas de Alphonsus de Guimaraens Filho (1918 – 2008), uma edição do Ministério da Educação e Cultura/Instituto Nacional do Livro, de 1959.
+Filho de Joaquim da Silva Guimarães e Constança Beatriz de Oliveira, Bernardo Guimarães passou sua infância e adolescência em Uberaba e Campo Belo. Em torno de 1842, voltou para Ouro Preto. Em 1847, ingressou na Faculdade de Direito de São Paulo, tendo se formado em 1852, quando publicou seu livro de poesias, Cantos da solidão. Durante esses anos tornou-se amigo dos poetas Álvares de Azevedo (1831 – 1852) e Aureliano Lessa (1828 – 1861). Formaram com outros estudantes a Sociedade Epicureia, movimento estudantil que tinha como inspiração o poeta britânico Lord Byron (1788 – 1824).
+Exerceu em dois períodos – 1852-1854 e 1861-1864 – o cargo de juiz municipal e de órfãos de Catalão, em Goiás. Morando no Rio de Janeiro, em 1858, trabalhou como jornalista e crítico literário. Entre 1864 e 1865, de novo o poeta viveu na Corte, onde publicou o volume Poesias. Em 1866, voltou para Ouro Preto e foi nomeado professor de retórica e poética no Liceu Mineiro. No ano seguinte casou-se com Teresa Maria Gomes. Tiveram oito filhos. Em 1873, foi nomeado professor de latim e francês em Queluz, atual Lafayette, em Minas Gerais.
+Em 1881, dom Pedro II, durante sua viagem a Minas Gerais, encontrou-se com Bernardo Guimarães, e lhe revelou que desejava ter suas obras completas (Jornal do Commercio, 25 de abril de 1881, terceira coluna).
+ 
+Jornal do Commercio, 25 de abril de 1881
+ 
+Bernardo Guimarães faleceu, em março de 1884 (Gazeta de Notícias, 11 de março de 1884, terceira coluna; 12 de março de 1884, penúltima coluna; A Província de Minas, 13 de março de 1884,segunda coluna; Gazeta Literária, 20 de março de 1884, primeira coluna).
+ 
+Gazeta Literária, 20 de março de 1884
+ 
+Bernardo Guimarães, desenho de M.J. Garnier / Acervo FBN
+ 
+Voltando à A Escrava Isaura, “que faz lembrar as belas e eloquentes páginas de A Cabana do Pai Tomás que nos dois mundos tornou tão conhecido e célebre o nome de Miss Becher Stone”. Em 1874, o romance começou a ser divulgado em O Globo como folhetim, mas a publicação foi suspensa. O jornal O Apóstolo, o considerava imoral e atentatório da pública honestidade  (O Globo, 3 de setembro, 4 de setembro, 5 de setembro, 6 de setembro de 1874, primeira coluna; O Apóstolo, 28 de maio de 1875, terceira coluna; 2 de junho de 1875, segunda coluna).
+ 
+Primeira edição de A Escrava Isaura, 1875 / Biblioteca Brasiliana Guita e José Mindlin
+ 
+No mesmo ano de sua publicação, 1875, outras obras foram lançadas pela editora Garnier: Mademoiselle Mariani, do francês Arsène Houssaye (1815 – 1896), com tradução de Salvador de Mendonça (1841 – 1913); e Compêndio de orações para os devotos do Sagrado Coração de Jesus, do Reverendo Henrique Ramière (1821 – 1884), também francês (A Reforma, 30 de maio de 1875, primeira coluna; Diário de Pernambuco, 3 de julho de 1875, quarta coluna; O Novo Mundo, 23 de julho de 1875, segunda coluna).
+ 
+A Reforma, 30 de maio de 1875
+ 
+Foram publicadas críticas ao livro (Jornal do Commercio, 10 de junho de 1875; O Liberal (PA), 21 de julho de 1875; O Globo, 28 de setembro de 1875, segunda coluna). Ainda em 1875, foi comercializado em Portugal (Artes e Letras (Lisboa, Portugal), 1875).
+ 
+Jornal do Commercio, 10 de junho de 1875
+ 
+O Liberal do Pará, 21 de julho de 1875
+ 
+O Globo, 28 de setembro de 1875
+ 
+Em 1929, foi lançado o filme A Escrava Isaura, sob a direção e com roteiro de Antônio Marques Costa Filho (? – 19?) – no elenco, Felício Agnelo (? – 19?), Amadeu Belluci  (? – 19?), Elisa Betty (? – 19?), Ronaldo de Alencar (? – 19?) e Celso Montenegro (? -19?), dentre outros (O Paiz, 9 e 10 de dezembro de 1929, quinta coluna).
+ 
+O Paiz, 1º de dezembro de 1929
+ 
+Cena do filme A Escrava Isaura (1929) / Cinearte, 7 de agosto de 1929
+ 
+Vinte anos depois, em 1949, com direção e roteiro de Euripides Santos (1906 – 1986), foi lançada uma nova versão cinematográfica de A Escrava Isaura, com Fada Santoro (1924 – 2024) e Graça Mello (1914 – 1979) como seus protagonistas (A Scena Muda, 24 de janeiro d 1950).
+ 
+O Jornal, 30 de dezembro de 1949
+ 
+A Scena Muda, 10 de janeiro de 1950
+ 
+O Jornal, 3 de janeiro de 1950
+ 
+O romance ganhou uma versão para a televisão, que se tornou um marco na história da teledramaturgia nacional, tendo repercutido internacionalmente. Ficou no ar, na TV Globo, entre 11 de outubro de 1976 a 5 de fevereiro de 1977. Adaptada por Gilberto Braga (1945 – 2021) e dirigida por Herval Rossano (1935 – 2007), foi protagonizada por Lucélia Santos (1957-), como Isaura, e Rubens de Falco (1931 – 2008), como Leôncio. Dentre outros, atuaram na novela Edwin Luisi (1947-), Roberto Pirillo (1947-) e Norma Blum (1939-). O sucesso da novela na China foi tão grande que Lucélia Santos integrou a comitiva da viagem do então presidente do Brasil, Fernando Henrique Cardoso (1931-), ao país, em dezembro de 1995 (Jornal do Brasil, 12 de dezembro de 1995).
+ 
+Logotipo da telenovela brasileira Escrava Isaura
+ 
+Em 2004, A Escrava Isaura voltou a ser adaptada como telenovela, desta vez pela Record – foi exibida entre 18 de outubro de 2004 e 29 de abril de 2005. Uma curiosidade: na Polônia, oito mil pessoas se reuniram em um estádio para uma competição de sósias de Isaura e Leôncio.
+Assim, a já centenária obra literária, A escrava Isaura, voltava a ter uma grande visibilidade no Brasil e no mundo.
+ 
+Lista da obra completa de Bernardo Guimarães:
+Cantos da solidão, 1852.
+Poesias, 1865.
+O ermitão de Muquém, 1868.
+Lendas e romances, 1871.
+O garimpeiro, 1872.
+Histórias da província de Minas Gerais, 1872.
+O seminarista, 1872.
+O índio Afonso, 1873.
+A morte de Gonçalves Dias, 1873.
+A escrava Isaura, 1875.
+Novas poesias, 1876.
+Maurício ou os paulistas em São João Del-Rei, 1877.
+A ilha maldita, 1879.
+O pão de ouro, 1879.
+Rosaura, a enjeitada, 1883.
+Folhas de outono, 1883.
+O bandido do Rio das Mortes, 1904.
+ 
+Fontes:
+Hemeroteca Digital da Biblioteca Nacional
+SEABRA, Alexandre Sabado. A relevância não comentada de “A escrava Isaura”.  Revista Científica Multidisciplinar Núcleo do Conhecimento, 30 de março de 2019.
+Site Academia Brasileira de Letras
+Site Memória Globo
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/13827` — `itens/20.500.12156.1_13827/`
+
diff --git a/wordpress/40124-dia-nacional-do-radio.md b/wordpress/40124-dia-nacional-do-radio.md
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+---
+id: 40124
+url: "https://brasilianafotografica.bn.gov.br/?p=40124"
+titulo: "Dia Nacional do Rádio"
+autor: "Andrea Wanderley"
+data: "2025-09-25T05:35:42+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/12043"]
+fetched_at: "2026-09-10T10:21:10.619Z"
+---
+
+# Dia Nacional do Rádio
+
+Com uma imagem da Orquestra da Rádio Nacional – uma das mais emblemáticas estações radiofônicas brasileiras -, e de outros registros relacionados à história do rádio no Brasil, o portal destaca o Dia Nacional do Rádio. As fotografias pertencem ao acervo fotográfico do Instituto Moreira Salles, uma das instituições fundadoras da Brasiliana Fotográfica. A escolha da data comemorativa, 25 de setembro, é uma homenagem ao nascimento, em 1884, daquele que é considerado o pai da radiodifusão no país, o carioca Edgar Roquette-Pinto (1884 – 1954). Ele foi um dos fundadores da primeira emissora oficial de rádio brasileira, a Rádio Sociedade Rio de Janeiro, a atual Rádio MEC, e pensou na comunicação pelo rádio como um poderoso meio para a educação, para a transformação social e para o desenvolvimento humano. A instituição e a comemoração do Dia Nacional do Rádio foi estabelecida pela lei 15.101/2025, sancionada pelo presidente Luiz Inácio Lula da Silva (1945-), em 13 de janeiro de 2025.
+ 
+Orquestra da Rádio Nacional, s/d. Rio de Janeiro, RJ / Acervo IMS
+ 
+Acessando aqui o link para as fotografias relacionadas à história do rádio no Brasil disponíveis na Brasiliana Fotográfica, o leitor poderá visualizar e magnificar as imagens.
+ 
+Brevíssimo histórico do início do rádio no Brasil
+ 
+Instalação da Rádio Sociedade Rio de Janeiro. O primeiro à esquerda é Henrique Morize. Roquette-Pinto está bem na frente de braços cruzados e terno escuro / Fon-Fon, 26 de maio de 1923
+ 
+Na abertura da Exposição Internacional do Centenário da Independência, foi realizada a primeira grande transmissão pública de rádio do Brasil. Outras transmissões radiofônicas já haviam sido realizadas no país – pelo padre gaúcho Roberto Landell de Moura (1861 – 1928), em 16 de julho de 1899, em São Paulo (Commercio de São Paulo, 17 de julho de 1899, terceira coluna); e pela Rádio Clube de Pernambuco, fundada em 6 de abril de 1919 (Jornal do Recife, 25 de abril de 1919, última coluna). Mas a realizada em 7 de setembro de 1922 é considerada a primeira transmissão radiofônica oficial brasileira.
+Uma estação de 500 watts, montada no alto do Corcovado pela Westinghouse Eletric International em combinação com a Companhia Telefônica Brasileira, irradiou o discurso do presidente Epitácio Pessoa  (1865 – 1942), realizado no Rio de Janeiro, através de 80 receptores vindos dos Estados Unidos, instalados em pontos centrais da cidade, surpreendendo os visitantes da Exposição Internacional do Centenário da Independência do Brasil. A transmissão também foi realizada para Niterói, Petrópolis e São Paulo. Pelo mesmo sistema, à noite, a ópera O Guarany, de Carlos Gomes, encenada no Teatro Municipal, foi irradiada (Correio da Manhã, 8 de setembro de 1922, quinta coluna; A União (RJ), 14 de setembro de 1922, quarta coluna).
+Pixinguinha (1897 – 1973), em entrevista, disse que havia tocado durante as primeiras transmissões radiofônicas oficiais no Brasil. “Toquei num estudiozinho que havia lá e a Zaíra de Oliveira cantou”. O estúdio foi montado no pavilhão dos Estados Unidos.
+Segundo Edgar Roquette-Pinto (1884 – 1954), presente no evento e considerado o pai da radiodifusão no Brasil, durante a Exposição de 1922:
+“A verdade é que durante a exposição do centenário da Independência, em 1922, muito pouca gente se interessou pelas demonstrações experimentais da radiotelefonia, então realizadas pelas companhias norte-americanas Westinghouse, na estação do Corcovado e Western Electric na Praia Vermelha, muito pouco gente se interessou. Creio que a causa principal desse desinteresse foram os altos falantes instalados na exposição, ouvindo discursos e músicas reproduzidos no meio de um barulho infernal, tudo rofenho, distorcido, arranhando os ouvidos. Era uma curiosidade sem maiores conseqüências…”
+
+“No começo de 1923, desmontava-se a estação do Corcovado, e a da Praia Vermelha ia seguir o mesmo destino se o governo não a comprasse. O Brasil ia ficar sem rádio… Ora eu vivia angustiado com essa história, porque já tinha a convicção profunda do valor informativo e cultural do sistema desde que ouvida as transmissões do Corcovado, meses antes conforme já marquei mais de uma vez, mas uma andorinha não faz verão… Resolvi interessar a Academia de Ciências, era presidente o nosso querido mestre Henrique Morize e eu era secretário, e assim que nasceu a radio Sociedade do Rio de Janeiro no dia 20 de abril de 1923.”
+ 
+Edgar Roquette Pinto (1884 – 1954)
+ 
+O fato é que, em 20 de abril de 1923, aquela que é considerada a primeira emissora radiofônica do Brasil, a Rádio Sociedade do Rio de Janeiro, foi fundada tendo diversos associados, dentre eles os membros da Academia Brasileira de Ciências, influenciados pelo  engenheiro e astrônomo francês naturalizado brasileiro Henrique Morize (1860 -1930), primeiro presidente da instituição, cargo que exerceu entre 1916 e 1926, e também presidente da recém criada estação radiofônica; e por seu principal idealizador, justamente Edgar Roquette-Pinto, que se tornou secretário da Rádio Sociedade do Rio de Janeiro.
+Lembramos aqui que, em torno de 1897, Morize realizava experiências no campo da imagem com o fotógrafo Marc Ferrez (1843 – 1923) e com Tasso Fragoso (1869 – 1945), na época aluno da Escola Militar e posteriormente general. Em 1899, no consultório dos doutores Camilo Fonseca e Morize, foram realizadas experiências radiográficas nas gêmeas siamesas Rosalina e Maria Pinheiro, nascidas em 1893, no Espírito Santo, que chegaram ao Rio de Janeiro em junho (A Imprensa, 23 de junho de 1899, na terceira coluna). Morize foi diretor do Observatório Nacional entre 1908 e 1929 e o primeiro presidente da Academia Brasileira de Ciências, de 1916 a 1926.
+A Rádio Sociedade Rio de Janeiro foi instituída como sociedade com fins exclusivamente educacionais e culturais e seu slogan era “Trabalhar pela cultura dos que vivem em nossa terra e pelo progresso do Brasil”. Em caráter experimental, a primeira transmissão da Rádio Sociedade aconteceu em 1º de maio de 1923, Dia do Trabalho, utilizando o prefixo PR1– A e, após, PRA-A e PRA-2 (O Paiz, 1º de maio de 1923, última coluna). Na ocasião, Roquette-Pinto declarou:
+“A partir de agora todos os lares espalhados pelo imenso território do Brasil receberão livremente o conforto moral da ciência e da arte pelo milagre das ondas misteriosas que transportam, silenciosamente, no espaço, as harmonias.”
+Foi a primeira emissora regular no Brasil e foi instalada, em 19 de maio de 1923, na sala de Física e Química da Escola Politécnica, no Largo de São Francisco (Correio da Manhã, 20 de maio de 1923, penúltima coluna).
+ 
+Fon-Fon, 26 de maio de 1923
+ 
+O Malho, 24 de janeiro de 1925
+ 
+Em 1936, foi doada por Roquette-Pinto ao Ministério da Educação e Saúde, então dirigido pelo ministro Gustavo Capanema (1900 -1985). Em 7 de setembro, foi realizada a cerimônia de doação da Rádio Sociedade, que passou a se chamar Rádio Ministério da Educação, popularmente Rádio Ministério e, atualmente, Rádio MEC.
+ 
+Estúdio da Rádio Sociedade Rio de Janeiro, s/d. Rio de Janeiro, RJ / Acervo Fiocruz
+ 
+Mas foi com a chegada de Getúlio Vargas (1882 – 1954) à presidência, em 1930, que a rádio começou a crescer, tornando-se o mais importante veículo de comunicação de massa do país. Em 1931, o governo começou a regulamentar a radiodifusão e aboliu as taxas pagas pelos ouvintes para que os aparelhos de rádio fossem instalados nas residências. No ano seguinte, a veiculação de anúncios comerciais pelo rádio passou a ser permitida. Com essas medidas, as emissoras foram se popularizando. No início da década de 1930, segundo a dissertação de mestrado Getúlio Vargas e o desenvolvimento do rádio no país: um estudo do rádio de 1930 a 1945, realizada por Luiz André de Oliveira, o Brasil contava com 19 emissoras de rádio. Em 1937, já eram 63 e, em 1945, 111. Assim iniciava-se a Era de Ouro do Rádio no Brasil, entre as décadas de 1940 e 1950, onde a Rádio Nacional se sobressaiu, tornando-se um fenômeno cultural no país. Durante esses cerca de 20 anos, as emissoras de rádio eram poderosas, irradiavam programas para todo o país e possuíam robustas estruturas administrativas e artísticas. Os programas era humorísticos, jornalísticos, musicais, esportivos e de dramatização. Com a popularização da televisão, a partir da década de 1960, o rádio foi perdendo seu protagonismo.
+ 
+Rádios – Programa de Estúdio / Desenho de Álvaro Martins (1891 – 1949), o Seth, década de 1930
+ 
+Brevíssimo perfil de Edgar Roquette-Pinto
+ 
+Edgar Roquette-Pinto (1884 – 1954) / Gazeta de Notícias, 19 de outubro de 1954
+ 
+O carioca Edgar Roquette-Pinto nasceu em 25 de setembro de 1884 e foi um brilhante intelectual tendo sido antropólogo, etnólogo, ensaísta, médico-legista e professor. Foi delegado do Brasil no Congresso de Raças, realizado em Londres, em 1911. Logo depois integrou a Missão Rondon e foi diretor do Museu Nacional entre 1915 e 1936. Foi, em 3 de maio de 1916, um dos fundadores da Academia Brasileira de Ciências. Foi o terceiro ocupante da Cadeira 17 da Academia Brasileira de Letras, eleito em 20 de outubro de 1927.
+Foi o representante do Brasil no 1º Congresso Indigenista Interamericano, reunido em Patzcuaro, no México, entre 14 e 24 de abril de 1940. Na ocasião, o dia 19 de abril foi escolhido como Dia do Índio (Correio da Manhã, 4 de abril de 1940, quarta coluna; Correio da Manhã, 6 de abril de 1940, terceira coluna, Diário de Notícias, 26 de maio de 1940, quarta coluna e Jornal do Brasil, 25 de maio de 1940, primeira coluna). Realizou centenas de curtas-metragens para apoiar o ensino nas escolas.
+“Vários naturalistas famosos deram o nome de Roquette-Pinto a algumas espécies de plantas e animais: Endodermophyton Roquettei (Parasito da pele dos índios de Mato Grosso) por Olímpio da Fonseca; Alsophila Roquettei, por Brade e Rosenstock; Roquettia Singularis, por Melo Leitão; Phyloscartes Roquettei (pássaro do Brasil Central) por Snethlage; Agria Claudia Roquettei (borboleta) por May” (Site Academia Brasileira de Letras).
+Faleceu, no Rio de Janeiro, em 18 de outubro de 1954, em sua residência, na Avenida Beira-Mar, 406. Foi velado na Academia Brasileira de Letras e enterrado em Petrópolis (Gazeta de Notícias, 19 de outubro de 1954, terceira coluna).
+ 
+
+ 
+ 
+
+Andrea C. T. Wanderley
+Editora e pesquisadora da Brasiliana Fotográfica
+ 
+Fontes:
+Atlas Histórico do Brasil – FGV
+BARROS, Maria Pia Fontes Lins de; WANDERLEY, Andrea C. T. Agenda do Centro de Documentação da TV Globo
+BIANCO, Nelia del. O rádio ainda é relevante na sociedade do século 21. UNB Notícias, 2018.
+CALABRE, Lia. A Era do Rádio. Rio de Janeiro : Jorge Zahar Editor, 2002.
+Hemeroteca Digital da Biblioteca Nacional
+MASSARANI, Luisa; MOREIRA, Ildeu de Castro. A divulgação científica no Rio de Janeiro: um passeio histórico e o contexto atual in Revista Rio de Janeiro, set-dez de 2003.
+OLIVEIRA, Luiz André Ferreira de. Getúlio Vargas e o desenvolvimento do rádio no país: um estudo do rádio de 1930 a 1945. Dissertação (Mestrado Profissional em Bens Culturais e Projetos Sociais) – FGV – Fundação Getúlio Vargas, Rio de Janeiro, 2006.
+Portal da Câmara dos Deputados
+Revista Galileu, 26 de setembro de 2019
+Site Academia Brasileira de Ciências
+Site Academia Brasileira de Letras
+Site Assembleia Legislativa do Estado de São Paulo
+Site Memorial da Democracia
+Site Templo Cultural Delfos
+WANDERLEY, Andrea C. T. Série “1922 – Hoje, há 100 anos” VIII – A abertura da Exposição Internacional do Centenário da Independência do Brasil e o centenário da primeira grande transmissão pública de rádio no país in Brasiliana Fotográfica, 7 de setembro de 2022
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/12043` — `itens/20.500.12156.1_12043/`
+
diff --git a/wordpress/40222-os-garimpeiros-de-marc-ferrez-e-sebastiao-salgado.md b/wordpress/40222-os-garimpeiros-de-marc-ferrez-e-sebastiao-salgado.md
new file mode 100644
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@@ -0,0 +1,49 @@
+---
+id: 40222
+url: "https://brasilianafotografica.bn.gov.br/?p=40222"
+titulo: "Os garimpeiros de Marc Ferrez e Sebastião Salgado"
+autor: "Andrea Wanderley"
+data: "2025-06-23T13:42:13+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/2603"]
+fetched_at: "2026-09-10T10:21:13.985Z"
+---
+
+# Os garimpeiros de Marc Ferrez e Sebastião Salgado
+
+Há exatamente um mês faleceu, em Paris,  o mineiro Sebastião Salgado (08/02/1944 – 23/05/2025), devido a uma leucemia decorrente de uma malária que contraiu, em 1990, na Nova Guiné, durante a produção da obra Gênesis. Foi um dos maiores fotógrafos de todos os tempos e um dos brasileiros de maior renome internacional. Sua obra humanista levou nossos olhos a lugares remotos e pouco conhecidos e a questões sociais graves e urgentes. 
+Aqui destacamos uma imagem da mina Pary, em Santa Bárbara, Minas Gerais, de autoria de outro gigante da fotografia, o carioca Marc Ferrez (1843 – 1923). Foi uma das primeiras fotografias de que se tem notícia, até hoje, realizada no interior de uma mina de ouro. Ferrez produziu o registro, em torno 1888, tendo utilizado o flash de magnésio para poder captar a escuridão da cena. Na ocasião, produziu também fotos de Ouro Preto e de Itacolomy. Ele foi um brilhante cronista visual das paisagens e dos costumes cariocas da segunda metade do século XIX e do início do século XX; o único fotógrafo dos oitocentos que percorreu todas as regiões do Brasil, tendo sido, no referido século, o principal responsável pela divulgação da imagem do país no exterior.
+ 
+Marc Ferrez. Mineiros trabalhando na mina Pary, c. 1888. Santa Bárbara, Minas Gerais / Acervo IMS
+ 
+Relacionamos esta foto de Ferrez com uma produzida por Sebastião Salgado cerca de um século depois, em 1986, de operários num garimpo de Serra Pelada, no leste do Pará. Este registro, uma composição de grande força visual, foi incluído na lista das 25 fotografias que, segundo um grupo de especialistas, melhor capturaram e mudaram o mundo, de acordo com o artigo The 25 Photos That Defined the Modern Age (As 25 fotos que definiram a Era Moderna), publicado, em 3 de junho de 2024, no jornal norte-americano The New York Times.
+As 25 imagens selecionadas foram realizadas em diversas partes do mundo desde 1955. Além da foto de Salgado, foram escolhidas imagens de Adam Broomberg (1970-) & Oliver Chanarin (1971-), Alberto Korda (1928 – 2001), Blair Stapp (1924 – 1977), Carlijn Jacobs (1991-), Carrier Mae Weems (1953-), Cindy Sherman (1954-), David Jackson (19?- ), Deana Lawson (1979-), Diane Arbus (1923 – 1971), Ed Ruscha (1937-), Ernest C. Withers (1922 – 2007), Eugene Smith (1918 – 1978), Gordon Parks (1912 – 2006),  LaToya Ruby Frazier (1982-), Lee Friedlander (1934-), Malcolm Browne (1931- 2012), Nan Goldin (1953-), Photo Archive Group, Richard Drew (1946-), Robert Frank (1924 – 2019), Staff Sgt. Ivan L. Frederich II (1966-), Stuart Franklin (1956-), William A. Anders (1933 – 2024) e Wolfgang Tillmans (1968-).
+Na época da divulgação da lista, no texto assinado no The New York Times pelo escritor e crítico de arte Emmanuel Iduma (1989-), foi destacado que “Um dos aspectos mais marcantes das fotografias de Sebastião Salgado de uma mina de ouro a céu aberto no Brasil é a escala. Milhares de homens –seus corpos curvados e frágeis– são representados em miniatura contra o plano de fundo de uma enorme cova na terra”.
+ Salgado declarou sobre o cenário que fotografou em Serra Pelada, onde permaneceu por mais de um mês:
+“Só se ouvia o murmúrio de 50 mil pessoas dentro de um imenso buraco. Conversas, sons humanos misturados ao trabalho. Era como se eu ouvisse o murmúrio do ouro na alma de todos ali”.
+ 
+Sebastião Salgado. Serra Pelada, 1986. Pará. Foto: Divulgação Sebastião Salgado
+ 
+A foto de Salgado integra a série Gold – Mina de Ouro Serra Pelada, que retrata o cotidiano daquele que foi o maior garimpo a céu aberto do mundo. A série é uma das principais produções de sua obra – marcada por beleza e engajamento – e reúne 56 fotografias em preto e branco.
+Segundo Peter Howe (1942 – 2020), que foi editor de fotografia do The New York Times Magazine, uma das seções dominicais do The New York Times, quando esses registros chegaram ao jornal, todos ficaram em silêncio: “Em toda a minha carreira no The New York Times eu nunca vi editores reagirem a uma série de fotos como reagiram as de Serra Pelada”. Nove foram publicadas na matéria An epic struggle for gold (Uma luta épica pelo ouro), escrita por Marlise Simons, na edição de 7 de junho de 1987.
+ 
+Andrea C.T. Wanderley
+Editora e pesquisadora da Brasiliana Fotográfica
+ 
+Fontes:
+Cadernos de Marc Ferrez [Procedimentos e fórmulas] Fundo Família Ferrez / Acervo do Arquivo Nacional
+Carta Capital, 27 de maio de 2025
+CERON, Ileana Pradilla Ceron. Marc Ferrez – uma cronologia da vida e da obra. São Paulo : Instituto Moreira Salles, 2018.
+Folha de São Paulo, 4 de junho de 2024
+G1, 24 de maio de 2025
+O GLOBO, 23 de maio de 2025
+The New York Times, 7 de junho de 1987 e 3 de junho de 2024
+Site Amazon
+WANDERLEY, Andrea C.T. O brilhante cronista visual Marc Ferrez (RJ, 07/12/1843 – RJ, 12/01/1923) in Brasiliana Fotográfica, 7 de dezembro de 2016.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/2603` — `itens/20.500.12156.1_2603/`
+
diff --git a/wordpress/4032-as-cachoeiras-do-brasil.md b/wordpress/4032-as-cachoeiras-do-brasil.md
new file mode 100644
index 0000000..ce2ecf1
--- /dev/null
+++ b/wordpress/4032-as-cachoeiras-do-brasil.md
@@ -0,0 +1,21 @@
+---
+id: 4032
+url: "https://brasilianafotografica.bn.gov.br/?p=4032"
+titulo: "As cachoeiras do Brasil"
+autor: "Andrea Wanderley"
+data: "2016-02-15T09:48:57+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: []
+fetched_at: "2026-09-10T10:21:17.365Z"
+---
+
+# As cachoeiras do Brasil
+
+A Brasiliana Fotográfica oferece a seus leitores uma seleção de registros de cachoeiras do Brasil, cuja exuberância não passou despercebida pelos fotógrafos do século XIX. São fotografias produzidas pelos alemães Augusto Riedel (1836 – ?) e George Huebner (1862-1935); pelo suíço Guilherme Gaensly (1843 – 1928); e pelos cariocas Guilherme Santos (1871-1966) e Marc Ferrez (1843 – 1923) nos estados de Alagoas, Bahia, Minas Gerais, Rio de Janeiro e São Paulo. Há também imagens de autoria ainda desconhecida.
+ 
+Acessando o link para as fotografias de cachoeiras disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Link para o artigo Cataratas, cachoeiras e cascatas muito antes da crise hídrica, publicado na Brasiliana Iconográfica, em de setembro de 2021.
+ 
+Andrea C. T. Wanderley
+Editora-assistente e pesquisadora da Brasiliana Fotográfica
diff --git a/wordpress/40407-augusto-malta-e-jorge-kfuri-fundadores-da-associacao-dos-photographos-de-imprens.md b/wordpress/40407-augusto-malta-e-jorge-kfuri-fundadores-da-associacao-dos-photographos-de-imprens.md
new file mode 100644
index 0000000..565344c
--- /dev/null
+++ b/wordpress/40407-augusto-malta-e-jorge-kfuri-fundadores-da-associacao-dos-photographos-de-imprens.md
@@ -0,0 +1,54 @@
+---
+id: 40407
+url: "https://brasilianafotografica.bn.gov.br/?p=40407"
+titulo: "Augusto Malta e Jorge Kfuri, fundadores da Associação dos Photographos de Imprensa, em 1913"
+autor: "Andrea Wanderley"
+data: "2025-09-02T11:25:18+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/6658"]
+fetched_at: "2026-09-10T10:21:20.234Z"
+---
+
+# Augusto Malta e Jorge Kfuri, fundadores da Associação dos Photographos de Imprensa, em 1913
+
+Hoje, no Dia do Repórter Fotográfico, a Brasiliana Fotográfica destaca a criação da Associação dos Photographos de Imprensa, provavelmente a primeira do gênero, no Brasil. Foi criada em 28 de outubro de 1913 e entre seus fundadores estavam Augusto Malta (1864 – 1957), que foi o fotógrafo oficial da prefeitura do Rio de Janeiro, entre 1903 e 1936; e Jorge Kfuri (1893 – 1965), autor das primeiras fotografias aéreas do Rio de Janeiro, produzidas em 1916 – ambos representados no acervo fotográfico do portal e protagonistas de artigos acompanhados de cronologia publicados na Brasiliana Fotográfica. A fotografia abaixo, publicada na revista Fon-Fon, de 1º de novembro de 1913, está assinada por F. Garcia, o presidente da então recém criada associação.
+ 
+Fon-Fon, 1º de novembro de 1913
+ 
+Na ocasião, fotógrafos de jornais e revistas da então capital federal reuniram-se na casa 106, da Rua São José, criaram a associação e elegeram a seguinte diretoria, que regeria os destinos da entidade por um ano: na presidência, Francisco Garcia; na vice-presidência, Arthur do Carmo; Jayme Ramalho e Benjamin Vernaut, primeiro e segundo secretário, respectivamente; Carlos Chapelin, tesoureiro; e José Teixeira, procurador.
+O objetivo da Associação dos Photographos de Imprensa era a união da classe, a assistência em caso de caso de doença, etc (Revista Moderna, 25 de outubro de 1913; A Noite, 28 de outubro de 1913, última coluna; Correio da Manhã, 29 de outubro de 1913, quarta coluna; O Paiz, 29 de outubro de 1913; Fon-Fon, 1º de novembro de 1913).
+ 
+O Paiz, 29 de outubro de 1913
+ 
+Num artigo da Illustração Photographica (SP), de junho de 1919, intitulado Associação dos Photographos de Imprensa, os profissionais da classe foram criticados:
+ 
+Illustração Photographica (SP), junho de 1919
+ 
+Tudo indica que a iniciativa não vingou por mais muito tempo porque logo nos primeiros dias de 1929 os fotógrafos de imprensa foram convocados para formar uma associação (A Noite, 3 de janeiro de 1929, segunda coluna).
+ 
+Augusto Malta (1864 – 1957) e Jorge Kfuri (1893 – 1965)
+ 
+Na imagem abaixo, Augusto Malta é o primeiro sentado à direita com sua inequívoca gravata de laço preto. A identificação de Jorge Kfuri, o terceiro, em pé, da esquerda para a direita, foi feita a partir da comparação com uma foto dele publicada na revista Vida Sportiva, de 12 de outubro de 1918.
+ 
+Revista Moderna, 25 de outubro de 1913
+ 
+Augusto Malta (1864 – 1957), s/d. Rio de Janeiro, RJ / Acervo AGCRJ
+ 
+Jorge Kfuri / Vida Sportiva, 12 de outubro de 1918
+ 
+As fotos de Malta foram divulgadas em guias turísticos, cartões-postais, revistas e publicações oficiais. Sua vasta produção fotográfica foi decisiva para a formação da identidade visual da Belle Époque no Rio de Janeiro e para a preservação da memória da cidade. Foi, sem dúvida, um importante incentivador do fotojornalismo no Brasil, tendo fornecido imagens de acontecimentos, pessoas, aspectos urbanos e paisagens para diversas revistas e jornais.
+Nas primeiras décadas do século XX, Kfuri trabalhou nos jornais O Século e A Noite e produziu as primeiras fotografias aéreas do Brasil. Em 1920, foi aceito como associado na Associação Brasileira de Imprensa (Jornal do Brasil, 23 de junho de 1920, na penúltima coluna). No ano seguinte, naturalizou-se brasileiro e foi contratado como encarregado técnico do serviço de fotografia aérea da Aviação Naval.
+ 
+Para saber mais sobre a vida destes dois fotógrafos, acesse os seguintes artigos já publicados aqui na Brasiliana Fotográfica:
+O alagoano Augusto Malta, fotógrafo oficial do Rio de Janeiro entre 1903 e 1936, 10 de julho de 2015
+Jorge Kfuri (1893 – 1965), autor das primeiras fotografias aéreas do Rio de Janeiro, 26 de dezembro de 2019
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora da Brasiliana Fotográfica
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/6658` — `itens/20.500.12156.1_6658/`
+
diff --git a/wordpress/40720-serie-avenidas-e-ruas-do-brasil-xxi-a-rua-paissandu-no-rio-de-janeiro.md b/wordpress/40720-serie-avenidas-e-ruas-do-brasil-xxi-a-rua-paissandu-no-rio-de-janeiro.md
new file mode 100644
index 0000000..68a1ee8
--- /dev/null
+++ b/wordpress/40720-serie-avenidas-e-ruas-do-brasil-xxi-a-rua-paissandu-no-rio-de-janeiro.md
@@ -0,0 +1,59 @@
+---
+id: 40720
+url: "https://brasilianafotografica.bn.gov.br/?p=40720"
+titulo: "Série “Avenidas e ruas do Brasil” XXI – A Rua Paissandu, no Rio de Janeiro"
+autor: "Andrea Wanderley"
+data: "2026-01-22T13:57:28+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/9945", "20.500.12156.1/5108", "20.500.12156.1/3172"]
+fetched_at: "2026-09-10T10:21:23.344Z"
+---
+
+# Série “Avenidas e ruas do Brasil” XXI – A Rua Paissandu, no Rio de Janeiro
+
+Com registros do fotógrafo amador Archanjo Sobrinho (18? – 1941), cuja biografia é, até o momento, muito precária; de Augusto Malta (1864 – 1957), fotógrafo oficial da prefeitura do Rio de Janeiro, entre 1903 e 1936; e da firma LTM, a Brasiliana Fotográfica publica o vigésimo primeiro artigo da série Avenidas e ruas do Brasil, destacando imagens da Rua Paissandu, uma das mais tradicionais do Rio de Janeiro, situada no bairro do Flamengo. Os registros pertencem à Biblioteca Nacional e ao Instituto Moreira Salles, fundadores do portal; e ao Museu da República, uma das instituições parceiras da Brasiliana Fotográfica. A Rua Paissandu, assim como o Campo de Santana e a Quinta da Boa Vista, eram os principais locais de passeios da realeza no século XIX. Não deixem de usar o recurso de zoom para explorar as imagens – suas casas, paisagens, personagens e veículos.
+ 
+Acessando o link para as fotografias da Rua Paissandu disponíveis na Brasiliana Fotográfica, o leitor poderá visualizar e magnificar as imagens.
+ 
+Foi batizada como Rua de Paysandú, em 1865, em homenagem ao Cerco de Paysandú, ocorrido entre dezembro de 1864 e janeiro de 1865, durante a Guerra do Uruguai, conflito que envolveu a disputa pelo poder entre os partidos políticos uruguaios Blanco e Colorado com a intervenção do Brasil e da Argentina em apoio ao Partido Colorado – origem da Guerra do Paraguai. Antes de se chamar Paissandu, a rua chamava-se Rua de Santa Thereza do Cattete e existia desde a década de 1850 (Diário do Rio de Janeiro, 26 de fevereiro de 1854, primeira coluna; Correio Mercantil, 24 de abril de 1865, quarta coluna). 
+A Rua Paissandu liga o Palácio Guanabara, antigo Paço Isabel, localizado na antiga Rua Guanabara, atual Rua Pinheiro Machado, à Praia do Flamengo. Sua belíssima e característica aleia de palmeiras imperiais, tombadas pelo Patrimônio Municipal pelo Decreto 20.611, de 10 de outubro de 2001, foi plantada em torno de 1865 e criava um caminho monumental para o referido palácio, onde a princesa Isabel (1846 – 1921) e Gastão d´Orleans (1842 – 1922), o conde D´Eu, foram morar após seu casamento, realizado em 15 de outubro de 1864 (Diário do Rio de Janeiro, edição de 16 de outubro de 1864). Foi coberta com paralelepípedos e ficou conhecida, na época, como a Rua da Princesa, que ia de carruagem até a Praia do Flamengo (Jornal do Commercio, 27 de setembro de 1865, quarta coluna). O Palácio Guanabara e alguns imóveis da rua Paissandu também são tombados.
+A construção do Palácio Guanabara foi iniciada, em 1853, pelo comerciante e Cavaleiro da Ordem de Cristo português, José Machado Coelho. Foi posto à venda, em 1863, comprado pela família real brasileira e reformado pelo arquiteto José Maria Jacinto Rebelo (1821 – 1871), discípulo do francês Grandjean de Montigny (1776 – 1850) (Correio Mercantil, 31 de outubro de 1863, penúltima coluna). Pertenceu aos príncipes Isabel e Gastão até 1889, quando a República foi proclamada e o imóvel foi confiscado e transferido ao patrimônio da União, dois anos depois. A família imperial tentou recuperá-lo, mas, em 2020, o Supremo Tribunal Federal decidiu em favor da União.
+Um dos moradores ilustres da Rua Paissandu foi o médico e cientista Carlos Chagas (1879 – 1934).
+ 
+Residência na rua Paissandu onde morou Carlos Chagas/Acervo da Fiocruz
+ 
+A imagem de Archanjo Sobrinho, produzida em torno de 1895, pertence ao Instituto Moreira Salles, uma das instituições fundadoras da Brasiliana Fotográfica, é uma estereoscopia, técnica que chegou ao Brasil, ainda no século XIX, e foi utilizada por fotógrafos renomados como  Revert Henrique Klumb (c.1826 – c. 1886) e Georges Leuzinger (1813 – 1892), ambos europeus e radicados no país. No século XX, destacou-se na técnica o fotógrafo amador carioca Guilherme Antônio dos Santos (1871-1966).
+ 
+Archanjo Sobrinho. Rua Paissandu, aléia de palmeiras, c. 1895. Rio de Janeiro, RJ / Acervo IMS
+ 
+A foto abaixo, de Augusto Malta, é de 1904 e pertence ao Museu da República, uma das instituições parceiras do portal; e a da firma LTM, produzida em torno de 1935, é do acervo da Fundação Biblioteca Nacional, uma das fundadoras da Brasiliana Fotográfica.
+ 
+Augusto Malta. Rua Paissandu, 1904. Rio de Janeiro, RJ / Acervo Museu da República
+ 
+ 
+LTM (firma). Rio de Janeiro : Rua Paissandu. 1935?. Rio de Janeiro, RJ / Acervo FBN
+ 
+Sobre a Rua Paissandu, a cronista Vina Centi (? – 19?) escreveu na revista Para Todos, de 7 de janeiro de 1922:
+ 
+Para Todos, 7 de janeiro de 1922
+ 
+
+Andrea C.T. Wanderley
+
+Editora e pesquisadora da Brasiliana Fotográfica
+ 
+Fontes:
+Hemeroteca Digital da Biblioteca Nacional
+GERSON, Brasil. História das Ruas do Rio. Rio de Janeiro: Bem-Te-Vi, 2013.
+Guia do Patrimônio Cultural Carioca Bens Tombados 2014
+O GLOBO, 17 de março de 2013
+Site Palácios do Povo
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/9945` — `itens/20.500.12156.1_9945/`
+- `20.500.12156.1/5108` — `itens/20.500.12156.1_5108/`
+- `20.500.12156.1/3172` — `itens/20.500.12156.1_3172/`
+
diff --git a/wordpress/40734-um-dos-furos-do-jornal-o-globo-que-hoje-completa-100-anos-uma-fotografia-do-pres.md b/wordpress/40734-um-dos-furos-do-jornal-o-globo-que-hoje-completa-100-anos-uma-fotografia-do-pres.md
new file mode 100644
index 0000000..efcfbce
--- /dev/null
+++ b/wordpress/40734-um-dos-furos-do-jornal-o-globo-que-hoje-completa-100-anos-uma-fotografia-do-pres.md
@@ -0,0 +1,94 @@
+---
+id: 40734
+url: "https://brasilianafotografica.bn.gov.br/?p=40734"
+titulo: "Um dos “furos” do jornal O GLOBO, que hoje completa 100 anos – uma fotografia do presidente Washington Luís, deposto, deixando o Palácio Guanabara rumo ao Forte de Copacabana"
+autor: "Andrea Wanderley"
+data: "2025-07-29T11:12:27+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/11928", "20.500.12156.1/8422"]
+fetched_at: "2026-09-10T10:21:27.135Z"
+---
+
+# Um dos “furos” do jornal O GLOBO, que hoje completa 100 anos – uma fotografia do presidente Washington Luís, deposto, deixando o Palácio Guanabara rumo ao Forte de Copacabana
+
+Para celebrar o centenário do jornal O GLOBO, que foi fundado há exatos 100 anos, em 29 de julho de 1925, por Irineu Marinho (1876-1925), que faleceu pouco depois, em 21 de agosto de 1925, a Brasiliana Fotográfica destaca uma fotografia pertencente à Escola de Ciências Sociais FGV CPDOC, uma das instituições parceiras do portal, do presidente deposto pela Revolução de 1930, Washington Luís (1869 – 1957), saindo do Palácio Guanabara, residência oficial do chefe de governo, rumo ao Forte Copacabana, onde ficou preso até seguir, exilado, para os Estados Unidos. Era o fim de seu mandato presidencial, iniciado em 15 de novembro de 1926, o último da chamada República Velha. O registro fotográfico foi realizado por Arnaldo Vieira (1904 – 1974) e o tiro de magnésio foi dado por Angelo Regato (1912 – 1993)*. O importante furo jornalístico foi publicado na capa da terceira edição de O GLOBO de 24 de outubro de 1930 e republicada no dia seguinte. De acordo com o jornal esta fotografia é O mais eloquente documento histórico da deposição do Sr. Washington Luis e É um documento único e cujo valor não será mais preciso exaltar. 
+ 
+O presidente deposto, Washington Luís, acompanhado pelo cardeal Dom Sebastião Leme, deixa o Palácio Guanabara, em direção ao Forte Copacabana, onde permaneceu detido até seguir viagem para os Estados Unidos, 24 de outubro de 1930. Rio de Janeiro, RJ / Acervo FGV CPDOC
+ 
+Foi de fato uma imagem única de um momento relevante da história do Brasil, um marco no fotojornalismo do país. O primogênito de Irineu Marinho, Roberto Marinho (1904 – 2003), que assumiria a direção do jornal, em 1931, atuava na ocasião como repórter de O GLOBO e teve uma participação decisiva neste furo de reportagem. Ele estava no palácio e viu o momento em que Washington Luís entrou no carro, um luxuoso Lincoln. Para tornar a fotografia possível, colocou arbustos no caminho, fazendo com que o carro tivesse que parar por alguns segundos, e assim o fotógrafo que o acompanhava conseguiu fazer o registro.
+ 
+O título: Rendido afinal á gloriosa realidade que o cercava, o Sr. Washington Luis retira-se do Palácio Guanabara! O presidente deposto, saindo em companhia do cardeal Sebastião Leme, foi conduzido ao Forte de Copacabana onde se encontra preso. A legenda: O automóvel do Palacio Presidencial quando deixava o Guanabara, conduzindo o Sr. Washington Luís, que se vê de mão ao queixo, cabeça pendente, e tendo a sua direita S.E. o Cardeal D. Sebastião Leme  / O GLOBO, 24 de outubro de 1930
+ 
+O mais eloquente documento histórico da deposição do Sr. Washington Luis / O GLOBO, 25 de outubro de 1930
+ 
+A seguir, o texto publicado em O GLOBO, 25 de outubro de 1930, abaixo da fotografia:
+“Tivemos a rara felicidade de conseguir, hontem, o instantâneo photographico de um episódio central do movimento pacificador da família brasileira, tomada com grande senso jornalístico e especialmente para o GLOBO. Trata-se do mais precioso flagrante da retirada do Sr. Washington Luis do Palácio Guanabara, já apeado do poder e preso o ex-chefe do governo que, por uma questão de mórbida vaidade e de volúpia despótica atirou o paiz no perigo de uma guerra civil de consequências incalculáveis.
+Mas o Exercito Brasileiro foi até onde a disciplina começava a confundir-se com a sua transformação em instrumento de uma defesa pessoal agressiva contra a Nação.  E a Nação logo lhe estendeu os braços na formidável explosão de enthusiasmo e desapego de hontem, ora correndo para as fileiras pacificadoras, ora tomando iniciativas de justiçamento summario, sem excessos de penalidades nem de outros prejuízos além dos que a sua sentença soberana limitava. Ao embate decisivo o autocrata caiu, vendo em torno o vácuo e a solidão porque a dignidade brasileira só o podia cercar das garantias e da indulgência humana que não lhe faltaram até no momento mais extremo.
+E eil-o que hai vae vencido em sua megalomania, tão arrogantemente caracterizada até nas suas derradeiras e inúteis atitudes. 
+E eil-o  hai vae, no automóvel, sob a guarda do Exercito, abrigado à sombra do manto misericordioso de S Eminência o cardeal Sebastião Leme, a face amparada à  mão esquerda, a fronte pendente como nunca o viramos, remoendo a raiva impotente do desmoronamento.
+É um documento historico da mais expressiva eloquencia na sua mudez essa fotografia que o GLOBO estampou, com extraordinario exito, em sua 3ª edição de hontem, rapidamente exgotada, razão pela qual a reproduzimos hoje, á vista da insistência dos pedidos que recebemos neste sentido. É um documento único e cujo valor não será mais preciso exaltar. Contemple-o o povo e fique elle para sempre como advertência vehemente ao futuro da nacionalidade e à precariedade dos caprichos humanos”.
+ 
+Washington Luís – deposição, exílio e morte
+ 
+“A Revolução de 30 foi um movimento armado, iniciado em 3 de outubro de 1930, com o objetivo imediato de derrubar o governo Washington Luís e impedir a posse de Júlio Prestes, eleito presidente da República em 1º de março de 1930. O movimento tornou-se vitorioso em 24 de outubro e Getulio Vargas assumiu o cargo de presidente provisório no dia 3 de novembro. As mudanças políticas, sociais e econômicas que tiveram lugar na sociedade brasileira no pós-1930 fizeram com que esse movimento revolucionário fosse considerado o marco inicial da Segunda República no Brasil “.
+(Equipe da Escola de Ciências Sociais FGV CPDOC, 2023).
+ 
+Washington Luís, s.d. Rio de Janeiro, RJ / Acervo Museu da República
+ 
+Em 24 de outubro de 1930, os generais Alfredo Malan d’Angrogne (1873 – 1932), Augusto Tasso Fragoso (1869 – 1945) e João de Deus Mena Barreto (1874-1933) entraram no Palácio Guanabara e foram para a sala onde se encontrava o presidente Washington Luís e a alta cúpula do governo. Washington Luís se recusava a sair e só, por volta das 17 horas, com a mediação do cardeal Sebastião Leme (1882 – 1942), consentiu em se retirar, na condição de prisioneiro, pois não havia renunciado. A junta governativa que assumiu o poder, composta pelos generais Tasso Fragoso e Mena Barreto e pelo contra-almirante José Isaías de Noronha (1874 – 1966), determinou, sem êxito, que os revolucionários depusessem as armas. Entretanto, apesar de respeitarem a ordem de cessação dos combates, os destacamentos rebeldes continuaram avançando em direção ao Rio de Janeiro, forçando a junta a entregar o poder no dia 3 de novembro a Getúlio Vargas, chefe da revolução vitoriosa (Atlas Histórico do Brasil FGV).
+ 
+Correio da Manhã, 25 de outubro de 1930
+ 
+A bordo do navio Alcântara, Washington Luís partiu do Brasil rumo à Europa, em 20 de novembro de 1930. O ex-prefeito do Rio de Janeiro, Antônio Prado Junior (1880 – 1955), seguiu para a Europa no mesmo navio  (Correio da Manhã, 21 de novembro de 1930). Mais uma vez o O GLOBO conseguiu produzir um trabalho fotográfico classificado pelo próprio jornal como sensacional pelo seu valor e ineditismo. A equipe que fazia a cobertura do evento teve, inclusive, a máquina fotográfica confiscada por um capitão na Fortaleza de São João, mas algumas das chapas sensibilizadas já haviam sido escondidas e foram publicadas ainda no dia 20 de novembro.
+ 
+O GLOBO, 20 de novembro de 1930, primeira edição
+ 
+
+O GLOBO, 20 de novembro de 1930, primeira edição
+ 
+O GLOBO, 20 de novembro de 1930, segunda edição
+ 
+O presidente deposto viveu na França, na Suíça, em Portugal e nos Estados Unidos. Em 18 de setembro de 1947, retornou ao Brasil, mas não à política (O Jornal, 19 de setembro de 1947; O Cruzeiro, 20 de setembro de 1947).
+ 
+Careta, 27 de setembro de 1947
+ 
+Foi morar em São Paulo e dedicou-se a estudar História. Foi membro dos institutos Histórico e Geográfico da Bahia, do Ceará e de São Paulo, membro benemérito da Santa Casa de Misericórdia de São Paulo, presidente honorário da Cruz Vermelha Brasileira, integrante da Academia Paulista de Letras e membro do Instituto Histórico e Geográfico Brasileiro. Faleceu em São Paulo, no dia 4 de agosto de 1957. Nasceu em Macaé, no Rio de Janeiro, em 26 de outubro de 1869. Antes de ser presidente do Brasil, havia sido prefeito, governador e senador de São Paulo, de 1914 a 1919, de 1920 a 1924 e de 1925 a 1926, respectivamente.
+ 
+ O GLOBO
+ 
+A primeira sede, na Rua Bettencourt da Silva, onde hoje é o Largo da Carioca / Memória O GLOBO
+ 
+Capa da primeira edição de O GLOBO, 29 de julho de 1925
+ 
+Para escolher o nome do seu novo jornal, Irineu Marinho promoveu um concurso, cujo resultado foi anunciado em 20 de junho de 1925. Correio da Noite foi o nome mais votado, mas esse título já era patenteado. O segundo nome mais votado, O GLOBO, foi adotado. Como já mencionado, o jornal foi fundado em 29 de julho de 1925.
+Após o falecimento de Irineu Marinho, em 21 de agosto de 1925, O GLOBO passou a ser dirigido pelo jornalista Eurycles de Matos (1894-1931), amigo de confiança do fundador. Roberto Marinho era, na época, secretário particular de seu pai e repórter do jornal. Somente assumiu a direção de O GLOBO, em 8 de maio de 1931, três dias após a morte de Eurycles. Ele exerceu o cargo até sua morte, em agosto de 2003.
+ 
+Irineu Marinho (1876-1925) / Memória O GLOBO
+ 
+Eurycles de Matos (1894-1931) / Memória O GLOBO
+ 
+Roberto Marinho (1904-2003) / Memória O GLOBO
+ 
+ 
+*A informação da autoria da foto e do tiro de magnésio consta no Boletim da ABI, outubro de 1974 e no Boletim da ABI, março e abril de 1975, página 7, penúltima coluna. Foi acrescentada neste artigo em 4 de abril de 2026.
+ 
+Andrea C.T. Wanderley
+Editora e pesquisadora da Brasiliana Fotográfica
+ 
+Fontes:
+Acervo Digital de O GLOBO
+Arquivo Nacional – Centro de Referência de Acervos Presidenciais
+Atlas Histórico do Brasil FGV
+Fernandes, Letícia. Era Vargas: Um jovem repórter consegue a foto histórica in O GLOBO, 28 de junho de 2015.
+Hemeroteca Digital da Biblioteca Nacional
+EQUIPE DA ESCOLA DE CIÊNCIAS SOCIAIS FGV CPDOC. Novos acervos: Escola de Ciências Sociais FGV CPDOC, in Brasiliana Fotográfica, 25  de junho de 2023.
+Site FGV CPDOC
+Site Memória O GLOBO
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/11928` — `itens/20.500.12156.1_11928/`
+- `20.500.12156.1/8422` — `itens/20.500.12156.1_8422/`
+
diff --git a/wordpress/40801-a-brasiliana-fotografica-presente-na-capa-da-edicao-comemorativa-do-centenario-d.md b/wordpress/40801-a-brasiliana-fotografica-presente-na-capa-da-edicao-comemorativa-do-centenario-d.md
new file mode 100644
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+++ b/wordpress/40801-a-brasiliana-fotografica-presente-na-capa-da-edicao-comemorativa-do-centenario-d.md
@@ -0,0 +1,88 @@
+---
+id: 40801
+url: "https://brasilianafotografica.bn.gov.br/?p=40801"
+titulo: "A Brasiliana Fotográfica presente na capa da edição comemorativa do centenário do jornal O GLOBO"
+autor: "Andrea Wanderley"
+data: "2025-07-27T12:30:32+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/11077", "20.500.12156.1/9407", "20.500.12156.1/2780", "20.500.12156.1/2731", "20.500.12156.1/2057", "20.500.12156.1/5126", "20.500.12156.1/6848", "20.500.12156.1/12425", "20.500.12156.1/2231", "20.500.12156.1/11570"]
+fetched_at: "2026-09-10T10:21:30.696Z"
+---
+
+# A Brasiliana Fotográfica presente na capa da edição comemorativa do centenário do jornal O GLOBO
+
+Reproduzimos o artigo publicado no domingo, 27 de julho de 2025, com chamada na capa, na edição comemorativa dos 100 anos do jornal O GLOBO*, completados dois dias depois, em 29 de julho. Foi escrito pelo jornalista Ruan de Sousa Gabriel a partir de conversas que ele teve comigo, Andrea C.T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica. A matéria traz 10 registros produzidos em 1925, ano de fundação de O GLOBO. Dentre diversas fotografias, Ruan escolheu três de autoria desconhecida, quatro de Augusto Malta (1864 – 1957), uma de Carlos Bippus (? -19?) e uma de Guilherme Santos (1871 – 1966); todas do acervo fotográfico do Instituto Moreira Salles, uma das instituições fundadoras do portal. A foto do cientista Albert de Einstein (1879 – 1955) com um grupo é de autoria de J. Pinto (1884 – 1951) e pertence à Fiocruz, uma de nossas instituições parceiras. Aproveitem um belo passeio pelo Rio de Janeiro de 1925! Não esqueçam de usar o zoom e boa viagem ao passado!
+ 
+Veja imagens do Rio de 1925 garimpadas do acervo da Brasiliana Fotográfica
+Nos cem anos do GLOBO, ensaio visual apresenta trabalhos de pioneiros da fotografia brasileira, como Augusto Malta, Guilherme Santos, J. Pinto e Carlos Bippus, no ano em que o jornal foi fundado
+
+Por
+Ruan de Sousa Gabriel
+ — São Paulo
+
+27/07/2025 
+O Rio de Janeiro que viu a primeira edição do GLOBO chegar às bancas em 29 de julho de 1925 era uma jovem metrópole a avançar rapidamente pela trilha da modernidade. Subiam prédios que imitavam a arquitetura parisiense e tentavam (em vão) competir com a exuberância da natureza. Ainda circulavam poucos automóveis pelas ruas, e os cariocas se vestiam com trajes que hoje parecem inapropriados para o calor (não só) do verão. É isso que nos contam as fotos deste ensaio visual, todas datadas do ano de nascimento do GLOBO e garimpadas do acervo da Brasiliana Fotográfica, projeto que, desde 2015, dedica-se a promover os acervos de instituições como o Instituto Moreira Salles e a Biblioteca Nacional.
+O ensaio foi confeccionado a partir de indicações de Andrea Wanderley, editora e pesquisadora da Brasiliana Fotográfica. Das dez imagens aqui publicadas, nove vieram do acervo do IMS — a única exceção é a foto da visita do físico alemão Albert Einstein ao Instituto Oswaldo Cruz, registada pelo fotógrafo J. Pinto (1884-1951). Na pandemia, a foto viralizou nas redes sociais com informações erradas: disseram que o cenário era o Instituto Butantã, em São Paulo, e incluíram o cientista Oswaldo Cruz (que morrera oito anos antes do clique) na comitiva. A imagem foi cedida ao GLOBO pela Fiocruz.
+
+— O Rio que se vê nessas fotos é o Rio moderno, dos “loucos anos 20”, muito bem descrito no livro do Ruy Castro “Metrópole à beira-mar” — contextualiza Andrea. — Não é o Rio das reformas urbanas do começo do século XX, da gestão do prefeito Pereira Passos, mas é uma cidade que se modernizava.
+
+Pioneirismo
+
+As transformações desse período foram registradas por um time de fotógrafos pioneiros. Entre eles, destaca-se Augusto Malta (1864-1957), autor de quatro das dez magens deste ensaio. Em 1903, o alagoano foi contratado como fotógrafo oficial da Diretoria Geral de Obras e Viação da Prefeitura com a missão de fotografar todas as ruas que teriam seu traçado modificado pelas reformas de Pereira Passos (de quem ele ficou amigo, diga-se). Malta se manteve no emprego por mais de três décadas e fotografou desde grandes eventos, como a inauguração do Cristo Redentor, em 1931, até o dia a dia da cidade: as ruas do Centro, o cais do porto, o mar insistindo em invadir o asfalto…
+
+Contemporâneo de Malta, o baiano J. Pinto (cujo nome completo era Joaquim Pinto da Silva) documentou não só as mudanças na paisagem urbana, mas também o trabalho científico realizado no Instituto Oswaldo Cruz, onde trabalhava.
+
+Carlos Bippus (não se tem certeza sobre suas datas de nascimento e morte) é autor de diversas fotografias que se tornaram cartões-postais da cidade e ilustravam álbuns que eram vendidos a turistas (sua belíssima imagem do luar sob o Cais do Mangue confirma seu talento como fotógrafo paisagista).
+
+Já Guilherme Santos foi um amador e entusiasta da estereoscopia, técnica que consistia em apresentar duas imagens ligeiramente diferentes lado a lado para criar a ilusão de profundidade e dar um caráter “lúdico” à fotografia, diz Andrea Wanderley. Santos recorreu a essa técnica para registrar um desastre automobilístico na Praia de Botafogo — uma metáfora certeira dos perigos da modernidade que seduzia os cariocas de 1925.
+ 
+
+ 
+Augusto Malta. A Rua da Assembleia e o Largo da Carioca; à esquerda, a Rua Uruguaiana, no Centro do Rio — Foto: Acervo IMS
+ 
+Augusto Malta. Imagem cais do porto, na Saúde, feita em 1925 pelo fotógrafo oficial da Prefeitura do Rio — Foto: Acervo IMS
+ 
+Augusto Malta. Fotografia da demolição do Morro do Castelo, um dos pontos de fundação da cidade, no século XVI — Foto: Acervo IMS
+ 
+Guilherme Santos. Fotógrafo amador, entusiasta da técnica conhecida como estereoscopia, registra acidente com automóvel na Praia de Botafogo — Foto: Acervo IMS
+ 
+J. Pinto. O físico alemão Albert Einstein visitou o Instituto Oswaldo Cruz em maio de 1925. Durante a pandemia, a foto viralizou nas redes sociais com informações erradas — Foto: Acervo Fiocruz
+ 
+Autoria não identificada. Estação das Barcas, em 1925. Sentada no cais, com uma sombrinha, está a menina Lubélia, filha de Antônio Manoel de Mattos Vieira, antigo morador de Paquetá cuja coleção de fotografias é preservada pelo IMS — Foto: Acervo IMS
+ 
+Augusto Malta. Ressaca na Praia do Flamengo, em 1925, focalizada pelo funcionário da Prefeitura incumbido de documentar a cidade — Foto: Acervo IMS
+ 
+Carlos Bippus. O Canal do Mangue, em 1925. No céu, a conjunção do planeta Vênus com a Lua — Foto: Acervo IMS
+ 
+Autoria não identificada. Esquina da Rua do Passeio com a Rua das Marrecas, no Centro do Rio — Foto: Acervo IMS
+ 
+Como apareceu no jornal:
+ 
+Capa de O GLOBO, 27 de julho de 2025
+ 
+ 
+Na capa, destaque para o artigo com fotos do acervo da Brasiliana Fotográfica / O GLOBO, 27 de julho de 2025
+ 
+ 
+O artigo, Cenário de páginas da história, publicado no Segundo Caderno / O GLOBO,  27 de julho de 2025
+ 
+*Em 14 de abril de 2026, esta edição de O GLOBO foi reconhecida pelo Livro dos Recordes, na categoria “Jornal Comercializado com o maior número de páginas em uma edição única non mundo”. O projeto editorial teve uma escala inédita: ao todo, foram 526 páginas, organizadas em 14 cadernos especiais produzidos pela Redação, além da revista ELA. “Mais do que grandiosa em tamanho, essa edição foi ousada ao reforçar o papel do impresso como uma plataforma premium, de alto impacto, relevante mesmo na era digital e reconhecida por leitores, anunciantes e todo o mercado”.
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora da Brasiliana Fotográfica
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/11077` — `itens/20.500.12156.1_11077/`
+- `20.500.12156.1/9407` — `itens/20.500.12156.1_9407/`
+- `20.500.12156.1/2780` — `itens/20.500.12156.1_2780/`
+- `20.500.12156.1/2731` — `itens/20.500.12156.1_2731/`
+- `20.500.12156.1/2057` — `itens/20.500.12156.1_2057/`
+- `20.500.12156.1/5126` — `itens/20.500.12156.1_5126/`
+- `20.500.12156.1/6848` — `itens/20.500.12156.1_6848/`
+- `20.500.12156.1/12425` — `itens/20.500.12156.1_12425/`
+- `20.500.12156.1/2231` — `itens/20.500.12156.1_2231/`
+- `20.500.12156.1/11570` — `itens/20.500.12156.1_11570/`
+
diff --git a/wordpress/40850-o-cemiterio-israelita-de-inhauma-e-seu-abandono-por-beatriz-kushnir.md b/wordpress/40850-o-cemiterio-israelita-de-inhauma-e-seu-abandono-por-beatriz-kushnir.md
new file mode 100644
index 0000000..7240628
--- /dev/null
+++ b/wordpress/40850-o-cemiterio-israelita-de-inhauma-e-seu-abandono-por-beatriz-kushnir.md
@@ -0,0 +1,69 @@
+---
+id: 40850
+url: "https://brasilianafotografica.bn.gov.br/?p=40850"
+titulo: "O Cemitério Israelita de Inhaúma e seu abandono por Beatriz Kushnir"
+autor: "Andrea Wanderley"
+data: "2025-08-26T09:57:16+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/13846"]
+fetched_at: "2026-09-10T10:21:34.041Z"
+---
+
+# O Cemitério Israelita de Inhaúma e seu abandono por Beatriz Kushnir
+
+Destacando uma imagem do Cemitério Israelita de Inhaúma, produzida por Augusto Malta (1864 – 1957), em 11 de abril de 1934, a Brasiliana Fotográfica publica o artigo Você quer saber quem somos nós? O Cemitério Israelita de Inhaúma e seu abandono, de autoria da historiadora Beatriz Kushnir. Inaugurado em 1o de outubro de 1916, lá encontram-se enterrados homens, mulheres e crianças, em um total de 797 pessoas. Mais que em outros cemitérios, uma “regra moral” impõe àquele espaço silêncio e isolamento. Na visão do escritor judeu Bashevis Singer, ali estaria enterrada a “escória” da comunidade judaica carioca: mulheres e homens de origem judaica e que exerciam a atividade da prostituição e da cafetinagem, que não é algo apenas masculino. As prostitutas judias ficaram conhecidas como “as polacas”.
+Você quer saber quem somos nós?
+ O Cemitério Israelita de Inhaúma e seu abandono
+Beatriz Kushnir*
+ 
+Augusto Malta. Cemitério Israelita, 11 de abril de 1934. Inhaúma, Rio de Janeiro, RJ / Acervo AGCRJ – Coleção do Museu Histórico da Cidade do Rio de Janeiro
+ 
+No dia 11 de abril de 1934, uma quarta-feira, o fotógrafo Augusto Malta (1864 – 1957) (1) registrou um evento no Cemitério Israelita de Inhaúma. Na foto, homens e mulheres diante de uma lápide. Na tradição judaica, algum tempo após o enterramento, há a cerimônia de sua inauguração, com a colocação da pedra e das informações sobre o/a falecido/a. Possivelmente era isto que acontecia ali. Ao que parece, apenas cinco homens compareceram e, assim, não se seguia o rito religioso que exige um minian – um quórum de dez homens judeus adultos, ou seja, com 13 anos ou mais. Isto é um indício de que talvez o grupo não tivesse tantos homens judeus disponíveis.
+A curiosidade do fotógrafo demonstra que as atividades naquele espaço despertavam, há muito, o interesse da sociedade carioca. Seguindo preceitos e ritos milenares, os judeus costumam visitar seus mortos no final de semana entre o Ano Novo (Rosh Hashaná) e o Dia do Perdão (Iom Kipur). Os vários cemitérios judeus, em todo o mundo, ficam lotados nesses dias. Mantendo tal costume, Zelda e sua irmã Celina apareceram no Cemitério Israelita de Inhaúma, em 1992, quando as encontrei. Diferentemente dos demais, lá as visitas são raras.
+No subúrbio de Inhaúma, colado ao cemitério municipal, encontram-se enterrados homens, mulheres e crianças, em um total de 797 pessoas (2). Mais que em outros cemitérios, uma “regra moral” impõe àquele espaço silêncio e isolamento. Na visão do escritor judeu Bashevis Singer (1902 – 1991), ali estaria enterrada a “escória” da comunidade judaica carioca: mulheres e homens de origem judaica e que exerciam a atividade da prostituição e da cafetinagem, que não é algo apenas masculino.
+As polacas, como ficaram conhecidas, estão presentes na letra de Mestre-Sala dos Mares, homenagem de João Bosco (1946-) e Aldir Blanc (1946 – 2020) a João Cândido (1880 – 1969), o Almirante Negro, líder da Revolta da Chibata (1910): “Foi saudado no porto pelas mocinhas francesas, jovens, polacas e por batalhões de mulatas”. No poema Balada do Mangue, de Vinícius de Moraes (1913 – 1980), publicado em 1946, onde se lê: “Glabras, glúteas cafetinas / Embebidas em jasmim / Jogando cantos felizes / Em perspectivas sem fim. / Cantais maternais hienas / Canções de cefetinizar / Gordas polacas serenas / Sempre prestes a chorar”(3). Nos desenhos de Lasar Segall (1889 – 1957), intitulada Mangue (4), e de Di Cavalcanti (1897 – 1976) (5), e nas fotos de Augusto Malta (6).
+ 
+Mangue (1943) , por Lasar Segall
+ 
+ 
+Mangue (1929), por Di Cavalcanti
+ 
+Há também a música que Moreira da Silva (1902 – 2000) compôs para uma paixão, Estera Gladkowicer (1927 – 1968), uma polaca de origem russa naturalizada brasileira, nascida em 20 de maio de 1907, solteira e que chega ao Brasil em 1927. Estera era a sócia no 65 da Associação Beneficente Funerária e Religiosa Israelita (ABFRI) e morreu em 1968 por ingestão de barbitúricos. Intitulada Judia Rara, Kid Morengueira declara que “A rosa não se compara/a essa judia rara/criada no meu país/rosa de amor sem espinhos/diz que são meus carinhos/e eu sou um homem feliz/Os olhos dessa judia/cheios de amor e poesia/dorme o mistério da noite/brilha o milagre do dia/A sua boca vermelha/é uma flor singular/e meu desejo uma abelha/em torno dela a bailar” (https://www.youtube.com/watch?v=gXfRBepUV1M).
+ 
+Estera Gladkowicer (1927 – 1968)
+ 
+Quando encontrei Zelda e Celina ali, em 1992, elas vinham visitar seus mortos: a mãe, a sogra de uma irmã, amigos e amigas. Logo me perguntaram: “ah, você quer saber quem somos nós?”. Mas a quem pertence este espaço e por que está isolado? O Cemitério Israelita de Inhaúma materializa a necessidade que esse grupo teve de retirar de si o manto da marginalidade e da exclusão pela via da solidariedade e da sociabilidade com base na religiosidade. Isto porque, dentro dos preceitos religiosos judaicos as prostitutas são enterradas junto ao muro dos cemitérios, reforçando e demarcando o locus da exclusão e do estigma. A partir da vivência comunal religiosa construída por esse grupo, com a aquisição de um cemitério próprio, estes homens e mulheres puderam manter e reforçar sua identidade judaica.
+No Rio de Janeiro, o espaço do cemitério revela números – participação feminina e masculina, existência de filhos – e hierarquias. Assim, foi durante a gestão de 1916 que a ABFRI inaugurou o Cemitério Israelita de Inhaúma, em um terreno na rua Piragibe nº 99, com fundos para o Cemitério Municipal de Inhaúma. O processo de aquisição do terreno remonta a fevereiro de 1912, quando a procuradora Norma Pargament reencaminhou um pedido ao prefeito da Cidade do Rio de Janeiro “(…) para que lhe fosse arrematado ou vendido um terreno junto ao Cemitério de Inhaúma, para nele ser instalado o cemitério da mesma Associação a fim de ali serem internados (sic). todos os seus associados”(7).
+Em agosto de 1916, o Diretor Geral de Obras e Viação, José Dias Cupertim, aprovou a obra e, às vésperas do décimo aniversário de fundação da ABFRI, se inaugurou o seu cemitério em 1o de outubro de 1916. Este ato representa e corporifica o objetivo central de uma sociedade dessa natureza: a manutenção de uma identidade étnico-religiosa. Contrariamente ao que se poderia supor, os membros da ABFRI não eram ilustres desconhecidos. Tal qual a curiosidade de Malta em 1934, a inauguração de seu cemitério, em 1916, não passou despercebida na imprensa carioca, sendo noticiada na primeira página do jornal A Noite (8), em uma matéria que reproduz as imagens da época quanto aos imigrantes/cáftens/ prostitutas/judeus.
+ 
+A Noite, 30 de outubro de 1916
+ 
+A reportagem, não assinada, foi ilustrada com uma foto do campo de Inhaúma cercado por grades e identificado com uma placa com o nome da Associação, expondo seu caráter ainda precário e o que difere muito do que acontecerá nas duas próximas décadas como a imagem do Malta demonstra.
+No tom de uma verdadeira crônica policial, o jornal A Noite faz referências aos homens e mulheres ali presentes, seus trajes e costumes. Narrando o que denominava de bizarro, a notícia conta a história da primeira pessoa a ser ali enterrada “(…) de nome Helena. Coube a essa a primeira cova aberta. Helena. [moradora à] rua do Regente, (…) era austríaca, solteira e tinha 33 anos. Faleceu no dia 22 de outubro deixando uma filha “(…) Eva. Esse foi o nome escolhido por suas irmãs de religião. Mas a [criança] foi gerada da união da pecadora com um soldado naval. O soldado não quis que se chamasse Eva a pequena, nome judaico, e sim que se lhe desse Iracema, nome indígena”(9).
+A descrição da “festa macabra” realizada pelo jornal misturava em um mesmo caldeirão todas as referências usualmente feitas ao fenômeno do tráfico de escravas brancas e à atuação de parte da comunidade judaica nessa área. Assim, o jornalista refere-se a uma possível cerimônia de inauguração do campo, no qual um carneiro sacrificado foi enterrado, seguindo-se a uma distribuição de doces e bolos e a um leilão de cargos beneméritos da Associação, mediante pagamento que reverteria para a construção das instalações do cemitério. Tais descrições poderiam se aproximar do capturado pelas lentes de Malta, em 1934. Também ali vemos alimentos e bebidas, que talvez se justifiquem pelo difícil acesso ao local naquele momento. O longo deslocamento de ida e volta exigiria a ingestão de um farnel.
+Três dias após a publicação do A Noite, o mesmo órgão de imprensa registrou uma resposta do redator-chefe, David J. Perez, do jornal A Columna – órgão da comunidade israelita carioca. Perez escreveu uma nota negando existir qualquer preceito religioso que regesse a inauguração de um cemitério judeu e justificava a existência e atuação de judeus nesse tipo de ofício pela ausência de uma organização comunal na cidade (A Noite, 2 de novembro de 1916, segunda coluna).
+O Cemitério Israelita de Inhaúma foi o primeiro cemitério israelita de caráter particular estabelecido na cidade do Rio de Janeiro. Anteriormente, os judeus desta cidade eram enterrados em quadras delimitadas no Cemitério do Caju, São João Batista ou dos Ingleses, segundo os preceitos religiosos judaicos. Dentro destes preceitos, os suicidas e as prostitutas eram enterrados junto ao muro, demarcando e reconfirmando a marca da exclusão. E foi certamente para sair deste lugar que aqueles homens e mulheres se organizaram associativamente a partir de 1906, em um ato pioneiro dentro do processo imigratório de judeus para o Brasil. Portanto, é errônea a visão segundo a qual, “(…) a municipalidade havia cedido à comunidade judaica uma extensa área, no Bairro de Inhaúma, para que fosse lá localizado um cemitério dentro dos preceitos da sua religião. (…) Aconteceu que os judeus da escravatura branca, chamados de ‘impuros’, quando souberam da concessão governamental, conseguiram das autoridades que seus mortos também fossem enterrados no cemitério de Inhaúma. Esse fato fez com que a comunidade, diante da impossibilidade de revogar a ordem, abandonasse o mencionado cemitério e, na impossibilidade de obter uma outra concessão. Dentro do então Distrito Federal. (…) foi instalado um cemitério em Vila Rosaly, atual município de São João de Meriti, então município de Nova Iguaçu” (Malamud, 1988, p. 83-4).
+A ABFRI sobreviveu no século 20. Foi dirigida por mulheres que formavam uma irmandade. A última das quatro irmãs superioras foi Rebecca Freedman, a Becca, que faleceu com 103 anos, em 1984, talvez a verdadeira data de encerramento da associação. Ela havia sido eleita presidente por uma gestão de quatro anos, até 1970, porém nunca foi substituída. Após 62 anos de existência, a ABFRI se “exaure”, como me descreveu o seu contador, Sr. O. As rendas já não cobrem as despesas e as mensalidades já não conseguem ser pagas pelos associados. Diferente de suas companheiras e, certamente, não por sua vontade, Becca foi enterrada no Cemitério Comunal do Caju, pela Sociedade Cemitério Comunal, uma entidade israelita que cuidava até 2020 do Cemitério Israelita de Inhaúma. Mesmo com o fim da Associação, esse cemitério ainda recebeu sepultamentos e, na década de 1960, segundo a Comissão de Cemitérios do Rio de Janeiro, sua média anual era de oito enterros. O Livro de Registro dos óbitos dos associados da ABFRI encerra seus dados em outubro de 1967, embora outros cinco sócios tenham sido sepultados até setembro de 1970. Após esse ano, pela ausência de recursos e de pessoal que cuidasse do cemitério, ele fica abandonado.
+As tentativas que membros da ABFRI realizam desde a década de 1960 para solucionar a questão chega a um limite e a transferência dos cuidados do cemitério para outra sociedade israelita me foi narrada pelo Sr. O como um processo longo. Anos mais tarde, já no final da década de 1970, a atual sociedade responsável – Sociedade Cemitério Comunal – procurou o Sr. O. Nos anos 2000, a entidade que assumiu o cemitério teve a intenção de usar as áreas livres restantes para outros enterros que não os dos sócios da  ABFRI. Os sócios seriam concentrados em uma área determinada, transladando-se os corpos, o que não é permitido pela religião judaica.
+Para que isto não ocorresse, a Prefeitura do Rio tombou o cemitério como um sitio arqueológico (Decreto no 28.463, de 21 de setembro de 2007 e Decreto no 32.993, de 27 de outubro de 2010). Abandonado desde 2020, trancado e impossibilitado de receber visitantes, o espaço pede socorro!
+ 
+* Beatriz Kushnir é Doutora em História/Unicamp. Autora, entre outros, de Baile de máscaras: mulheres judias e prostituição, as polacas e suas associações de ajuda mútua (Imago). Mantém o blog: http://polacas.blogspot.com
+ 
+(1)  Augusto César Malta de Campos (Mata Grande, 1864 – Rio de Janeiro, 1957) foi fotógrafo com atuação na função oficial do então Distrito Federal entre as décadas de 1900 e 1930, nomeado pelo prefeiro Pereira Passos.
+(2) Este dado foi retirado do Livro de Registro de Óbitos dos Adultos e Anjos sepultados no Cemitério da Associação
+Beneficente Funerária e Religiosa Israelita – Inhaúma. Esse material foi elaborado por essa entidade e hoje se encontra em um depósito no arquivo da Sociedade Cemitério Comunal – instituição judaica carioca que tomava conta do local até 2020. Esse Livro possui páginas numeradas, 31 até 88, que dão conta do período de 22 de outubro de 1916 até 12 de outubro de 1967.
+(3) Vinicius de Moraes, Antologia poética. Lisboa, Publicações D. Quixote, 2006.
+(4) Lasar Segall, (Vilna, 1889 – São Paulo, 1957) foi um pintor, escultor e gravurista judeu nascido no território da atual Lituânia. Álbum de desenhos de Mangue foi realizado entre 1925 e 1928, e inclui texto de Mario de Andrade, Manuel Bandeira e Jorge de Lima. A edição de luxo é limitada a 135 exemplares.
+(5) Emiliano Augusto Cavalcanti de Albuquerque e Melo, ou Di Cavalcanti, (1897–1976), abordou temas brasileiros em suas obras e, em 1929, pintou o quadro Mangue.
+(6) Augusto César Malta de Campos (Mata Grande, 1864 – Rio de Janeiro, 1957) foi fotógrafo com atuação na função oficial do então Distrito Federal entre as décadas de 1900 e 1930, nomeado pelo prefeito Pereira Passos, instituiu um significativo acervo das transformações da então capital do Brasil.
+(7) AGCRJ (Vol.4, p. 598, códice 58-3-22).
+(8)“Uma festa Macabra – Os exploradores do judaísmo. Os ‘wizugths’ pagam o seu tributo – O destino de Helena”.
+Jornal A Noite, RJ, 30/10/1916, p.1.
+(9) Op. cit. Nota 8.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/13846` — `itens/20.500.12156.1_13846/`
+
diff --git a/wordpress/40889-as-primeiras-fotografias-aereas-produzidas-no-brasil-em-1916-de-autoria-do-fotoj.md b/wordpress/40889-as-primeiras-fotografias-aereas-produzidas-no-brasil-em-1916-de-autoria-do-fotoj.md
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@@ -0,0 +1,65 @@
+---
+id: 40889
+url: "https://brasilianafotografica.bn.gov.br/?p=40889"
+titulo: "As primeiras fotografias aéreas produzidas no Brasil, em 1916, de autoria do fotojornalista Jorge Kfuri"
+autor: "Andrea Wanderley"
+data: "2025-10-30T10:16:48+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/4244", "20.500.12156.1/4253", "20.500.12156.1/4345"]
+fetched_at: "2026-09-10T10:21:37.113Z"
+---
+
+# As primeiras fotografias aéreas produzidas no Brasil, em 1916, de autoria do fotojornalista Jorge Kfuri
+
+O jornal A Noite noticiou na capa de sua edição de 30 de outubro de 1916 a produção das primeiras fotografias aéreas do Brasil. Elas haviam sido realizadas pelo fotojornalista Jorge Kfuri (1893 – 1965), que, na época, trabalhava para o periódico. Eram imagens do acampamento dos Afonsos tiradas de um biplano, da Escola de Aviação, pilotado pelo aviador italiano Ernesto Darioli (1881 – 19?) (A Noite, 30 de outubro de 1916). Darioli havia chegado ao Brasil, em fins de 1911 (A Noite, 6 de novembro de 1911, quarta coluna). Foi o instrutor de voo do primeiro aviador militar brasileiro, Ricardo Kirk (1874 – 1915). Ambos foram contratados pela União Federal para missões no teatro de operações da Guerra do Contestado.
+ 
+A Noite, 30 de outubro de 1916
+ 
+Ernesto Darioli / A Noite, 6 de novembro de 1911
+ 
+Voltando às fotografias aéreas. Pouco depois, em 29 de novembro de 1916, Kfuri produziu mais fotografias aéreas, quando voou com o piloto naval Virginius de Lamare (1883 – 1956), futuro major-brigadeiro, no C-1, em uma das três aeronaves Curtiss Flying Boats que haviam sido encomendadas pelo então ministro da Marinha, almirante Alexandrino de Alencar (1848 – 1926). Chegaram ao Brasil em 9 de julho de 1916 (A Noite, 29 de novembro de 1916; A Noite, 24 de outubro de 1953, na quarta coluna).
+ 
+A Noite, 29 de novembro de 1916
+ 
+ 
+Jorge Kfuri. Ilha Fiscal, 29 de novembro de 1916. Rio de Janeiro, RJ / Acervo DPHDM
+ 
+ 
+Jorge Kfuri. A Ilha das Cobras. Ao fundo, um panorama da cidade, 29 de novembro de 1916. Rio de Janeiro, RJ / Acervo DPHDM
+ 
+ 
+Jorge Kfuri. Hidroavião Curtiss F na Baía de Guanabara junto à Praça Mauá, 29 de novembro de 1916. Rio de Janeiro, RJ / Acervo DPHDM
+ 
+ 
+Virginius de Lamare (1883 – 1956)  
+ 
+Breve perfil do fotojornalista Jorge Kfuri
+ 
+Jorge Kfuri / Careta, 1º de dezembro de 1928
+ 
+Jorge Kfuri era sírio ou libanês (as fontes variam*) e na década de 1910 já estava no Brasil. Trabalhou entre essa década e a de 1920 nos jornais O Século e A Noite. Em 28 de outubro de 1913, foi um dos fundadores da Associação dos Photographos de Imprensa, no Rio de Janeiro, provavelmente a primeira do gênero, no Brasil (Fon-Fon, 1º de novembro de 1913). Em 1920, foi aceito como associado na Associação Brasileira de Imprensa (Jornal do Brasil, 23 de junho de 1920, na penúltima coluna). Em 1921, naturalizou-se brasileiro e, em dezembro do mesmo ano, foi contratado como encarregado técnico do serviço de fotografia aérea da Aviação Naval (O Paiz, 5 de maio de 1921, na terceira coluna e Relatórios do Ministério da Justiça de 1922; O Paiz, 21 de dezembro de 1921, na primeira coluna, O Relatório do Ministério da Marinha de 1922). Em 1923, para servir como encarregado técnico do serviço de fotografia aérea da Aviação Naval, o Ministério da Marinha contratou o sr. Jorge Kfuri, servindo também como operador cinematográfico em qualquer dos departamentos da Marinha para que seja requisitado (Jornal do Commercio, 14 de maio de 1923, na segunda coluna). Nos anos 1920, fotos de sua autoria eram publicadas em revistas como a Fon-Fon, a Illustração Brasileira.
+Em 1957, em uma cerimônia realizada na praça Salgado Filho, com a presença do presidente da República, Juscelino Kubitschek (1902 – 1976), e de Thomas White, Chefe do Estado Maior da Força Aérea dos Estados Unidos, Kfuri foi condecorado com o grau de Cavaleiro da Ordem do Mérito Aeronáutico. Foi publicada uma fotografia de Kfuri sendo condecorado (Correio da Manhã, 24 de outubro de 1957 e Jornal do Brasil, 24 de outubro de 1957, na primeira coluna). Dois anos depois, em 1959, o presidente da República, Juscelino Kubitschek (1902 – 1976), assinou um decreto suprimindo o cargo de chefe do Serviço Fotográfico da Aeronáutica, vago em virtude da aposentadoria de Jorge Kfuri (Jornal do Dia, 15 de setembro de 1959, na quarta coluna).
+Kfuri faleceu em 21 de janeiro de 1965, no Hospital Central da Aeronáutica. Sua esposa, Hilda Carelli Kfuri, publicou um anúncio do enterro, realizado no cemitério São João Batista (Correio da Manhã, 22 de janeiro de 1965, na primeira coluna).
+*Em matérias de jornal, ele é referido ora como sírio ora como libanês. A pesquisa da Brasiliana Fotográfica acredita que ele tenha nascido no Líbano por dois fatos: em 1934, ele foi um dos filhos de libaneses homenageados pela Missão Libanesa Maronita do Rio de Janeiro; e o local de seu nascimento como o Líbano é o que consta em seu atestado de óbito.
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora da Brasiliana Fotográfica
+ 
+Fontes:
+GERALDO, Alcyr Lintz. O avião na campanha do Contestado.
+Hemeroteca Digital da Biblioteca Nacional
+Instituto Histórico-Cultural da Aeronáutica. Reide Rio de Janeiro Buenos Aires – Oito histórias, 2021.
+Site Early Aviators
+Site G1
+Site Museu Aeroespacial
+WANDERLEY, Andrea C. T. Augusto Malta e Jorge Kfuri, fundadores da Associação dos Photographos de Imprensa, em 1913 in Brasiliana Fotográfica, 2 de setembro de 2025.
+WANDERLEY, Andrea C. T. Jorge Kfuri (1893 – 1965), autor das primeiras fotografias aéreas do Rio de Janeiro in Brasiliana Fotográfica, 26 de dezembro de 2019.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/4244` — `itens/20.500.12156.1_4244/`
+- `20.500.12156.1/4253` — `itens/20.500.12156.1_4253/`
+- `20.500.12156.1/4345` — `itens/20.500.12156.1_4345/`
+
diff --git a/wordpress/40955-a-brasiliana-fotografica-no-canal-historia-do-brasil-como-voce-nunca-viu.md b/wordpress/40955-a-brasiliana-fotografica-no-canal-historia-do-brasil-como-voce-nunca-viu.md
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--- /dev/null
+++ b/wordpress/40955-a-brasiliana-fotografica-no-canal-historia-do-brasil-como-voce-nunca-viu.md
@@ -0,0 +1,15 @@
+---
+id: 40955
+url: "https://brasilianafotografica.bn.gov.br/?p=40955"
+titulo: "A Brasiliana Fotográfica no canal “História do Brasil Como Você Nunca Viu”"
+autor: "Andrea Wanderley"
+data: "2025-06-07T19:20:39+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Sem categoria", "Convidados", "Preservação digital"]
+handles_referenciados: []
+fetched_at: "2026-09-10T10:21:40.212Z"
+---
+
+# A Brasiliana Fotográfica no canal “História do Brasil Como Você Nunca Viu”
+
+Prezados leitores da Brasiliana Fotográfica, assistam aqui a entrevista realizada pelo historiador, advogado, genealogista e indigenista Bruno da Silva Antunes de Cerqueira (1979-) com a editora e pesquisadora da Brasiliana Fotográfica, Andrea C. T. Wanderley (1964-), em 7 de junho de 2025, no canal História do Brasil Como Você Nunca Viu, criado por ele em 2019.
+O que é a Brasiliana Fotográfica?
diff --git a/wordpress/41005-uma-breve-historia-do-abastecimento-de-agua-no-rio-de-janeiro-por-barbara-primo-.md b/wordpress/41005-uma-breve-historia-do-abastecimento-de-agua-no-rio-de-janeiro-por-barbara-primo-.md
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+++ b/wordpress/41005-uma-breve-historia-do-abastecimento-de-agua-no-rio-de-janeiro-por-barbara-primo-.md
@@ -0,0 +1,78 @@
+---
+id: 41005
+url: "https://brasilianafotografica.bn.gov.br/?p=41005"
+titulo: "Uma breve história do abastecimento de água no Rio de Janeiro por Bárbara Primo e Maria Isabel Lenzi"
+autor: "Andrea Wanderley"
+data: "2025-09-16T03:29:10+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/13912", "20.500.12156.1/13900", "20.500.12156.1/13899", "20.500.12156.1/13898", "20.500.12156.1/13915", "20.500.12156.1/13958", "20.500.12156.1/13855", "20.500.12156.1/13982", "20.500.12156.1/14026"]
+fetched_at: "2026-09-10T10:21:43.554Z"
+---
+
+# Uma breve história do abastecimento de água no Rio de Janeiro por Bárbara Primo e Maria Isabel Lenzi
+
+As historiadoras Bárbara Primo, do Instituto Brasileiro de Museus (Ibram), e Maria Isabel Lenzi, do Museu Histórico Nacional (MHN), uma das instituições parceiras da Brasiliana Fotográfica, são as autoras do artigo Uma breve história do abastecimento de água no Rio de Janeiro que resume os acontecimentos em torno do tema desde a instalação da cidade do Rio de Janeiro no Morro do Castelo, em meados do século XVI, até o princípio do século XX. Estão aqui disponibilizados três álbuns: dois com registros realizados pelo fotógrafo Marc Ferrez (1843 – 1923) e um terceiro com fotografias de autoria desconhecida sob o título; Abastecimento D’Água: Obras executadas de 1907 a 1909. Os dois últimos fazem parte da Coleção Miguel Calmon, que foi ministro da Viação e Obras Públicas no governo de Afonso Pena, entre 1906 e 1909. O álbum sobre a canalização do rio São Pedro pertence à coleção Álbuns Iconográficos Avulsos e foi doado ao MHN por Oscar Trompowsky, em 1923.
+ 
+Uma breve história do abastecimento de água no Rio de Janeiro
+Bárbara Primo e Maria Isabel Lenzi*
+ 
+Marc Ferrez. Cachoeira e represa da Tijuca, 190-. Rio de Janeiro, RJ / Acervo MHN
+ 
+A cidade do Rio de Janeiro, ao se instalar no Morro do Castelo, em 1557, encontrou um desafio: o abastecimento de água. Seus habitantes compravam água de indígenas e negros aguadeiros. Estes iam buscá-la no rio Carioca, que corria no vale que hoje denominamos de Laranjeiras e desaguava na praia do Flamengo. Com o pregão de “Hy! Hy! – palavra que na língua tupi significa água – o precioso líquido era anunciado à população.
+Em 1673, no governo de João da Silva e Souza (1669-1674), foram iniciadas as obras da adução das águas do rio Carioca, mas os chamados Arcos Velhos da Carioca, de madeira, só seriam concluídos no início do século seguinte. Em 1723, sob o governo de Aires Saldanha, a água cristalina foi levada até o primeiro Chafariz da Carioca. O governo Gomes Freire de Andrade executou grandes reformas no aqueduto que, inaugurado em 1750, conserva ainda hoje as feições daquele tempo.
+Com a mudança da corte portuguesa para o Rio de Janeiro e o consequente aumento da população, a água tornou-se escassa, obrigando as autoridades a buscarem outras fontes. Se até então a vertente Corcovado do Maciço da Tijuca era a mais usada, a partir do início do século XIX, os rios da vertente Tijuca seriam também aproveitados em diversos novos chafarizes e bicas que foram instalados na cidade.
+ 
+Marc Ferrez. Chafariz do Largo da Carioca, 190-. Rio de Janeiro, RJ / Acervo MHN
+ 
+O primeiro rio dessa vertente a ser aproveitado foi o rio Comprido que veio abastecer os chafarizes de Santana, do Catumbi e do Lagarto. Posteriormente, as águas do rio Maracanã foram também suprir esses chafarizes.
+Com o passar do tempo, outros rios da vertente Tijuca foram incorporados ao abastecimento da cidade: o São João, o Trapicheiro, o Andaraí (ou Joana), o riacho da Cascatinha, o Gávea Pequena, o riacho do Hotel Aurora, o riacho A. Taylor e os córregos do Caranguejo, Soberbo, Morcego, Amaral e Machado.
+A água, aos poucos, chegava às torneiras das residências. Todavia, este bem, tão fundamental à vida, deixava de ser gratuito, sendo incorporado definitivamente ao capital. As instituições públicas e as pessoas com maior poder aquisitivo, por óbvio, foram os pioneiros a ter água da torneira em casa e a mão de obra que pegava a água no chafariz público ficava cada vez mais escassa, pois a partir de 1850 o tráfico negreiro foi definitivamente abolido e muitos escravizados que viviam nas cidades foram vendidos para o Vale do Paraíba. Deste modo, o Rio de Janeiro seria palco e testemunha de uma série de transformações e avanços tecnológicos que, a partir da segunda metade do século XIX, vem responder a uma demanda advinda da escassez da mão de obra escravizada e de um aumento populacional e urbano.
+O Rio sofre mais uma vez com falta d’água – os mananciais cariocas já não são mais suficientes para dar conta do abastecimento da cidade em franco crescimento, ainda dependente do Maciço da Tijuca como única fonte de abastecimento de água. O governo imperial contrata, então, o engenheiro Antonio Gabrielli (18? -?) para organizar comissões em busca de rios e fontes fora dos limites da cidade, sobretudo aqueles cujas nascentes estavam na serra do Tinguá, em Nova Iguaçu. Assim, entre os anos de 1877 e 1889, foram canalizadas as águas dos rios D’Ouro, Santo Antônio e São Pedro.
+ 
+Marc Ferrez. Junção dos rios d’Ouro e Santo Antonio, 190-. Nova Iguaçu, RJ / Acervo MHN
+ 
+Para auxiliar as obras de canalização da Serra do Tinguá foi construída a ferrovia Rio D’Ouro. Ela percorria, inicialmente, 53 quilômetros entre o Caju e a Baixada Fluminense, mas ao longo dos anos, a estrada de ferro que serpenteava pelos subúrbios cariocas foi ampliada e acrescida de diversos ramais até atingir uma extensão total de mais de 100 quilômetros. O trajeto dos trilhos da Rio D’Ouro transformou a paisagem do seu percurso, condicionando a ocupação dos territórios do entorno e o surgimento de povoados ao longo do seu caminho.
+ 
+Marc Ferrez. Ponte aqueduto sobre o rio d’Ouro, 190-. Nova Iguaçu, Rio de Janeiro / Acervo MHN
+ 
+Todavia, encontramos novamente crise de abastecimento no final do século XIX consequência da seca enfrentada pelos cariocas no início de 1889. Somada à escassez de água, a cidade enfrentava um surto de febre amarela e a crescente insatisfação popular já dava indícios da falência do Império. Em meio a este cenário, o engenheiro André Gustavo Paulo de Frontin (1860 – 1933)propôs como solução paliativa a captação provisória das águas da Serra do Tinguá para o reservatório de Pedregulho (Benfica). A ousadia da proposta, no entanto, não se deveu à grandiosidade da empreitada – canalização das águas por 18 km, mas ao tempo estimado para realizá-la: seis dias.
+Diante de um problema tão grave e que já se arrastava por anos, a possibilidade de uma resolução tão imediata colocou em xeque a competência do já instável governo imperial. O apoio dos opositores do governo à proposta de Frontin e a repercussão do caso nos jornais fizeram deste um caso emblemático da crise político-social que conduziu o país à Proclamação da República em novembro deste mesmo ano.
+Um pouco mais tarde, ao longo da primeira década do século XX, os rios Xerém e Mantiquira também foram domesticados de maneira a complementar o abastecimento da população carioca. Paralelamente à canalização de novos rios, diversas obras foram feitas para otimizar a distribuição e o tratamento as águas, como a construção de caixas de decantação, reservatórios e represas.
+ 
+Linha adutora do Mantequira – Jato vertical de 0,037 de diâmetro com 160 libras de pressão no ramal da Tijuca, 1907 a 1909. Rio de Janeiro, RJ / Acervo MHN
+ 
+As novas possibilidades de fornecimento de água em domicílio traduziam-se em um maior comprometimento do poder público com a qualidade e armazenamento, o que resultou em novas práticas de controle deste fornecimento, assim como do consumo. É fato que a distribuição de água nas casas cariocas ocorreria de maneira desigual, privilegiando as famílias com maior poder aquisitivo.
+Já em 1898 teve início a instalação de hidrômetros, mediante lei do ano anterior que regulamentava a cobrança de taxas. Assim, a distribuição de bicas e penas d’água acabaria por priorizar as freguesias mais abastadas em detrimento das regiões mais densamente povoadas.
+ 
+Marc Ferrez. Oficina de aferição de hidrômetro, 190-). Rio de Janeiro, RJ / Acervo MHN
+ 
+O Museu Histórico Nacional preserva três álbuns com fotografias que documentam a domesticação da água no Rio de Janeiro. Dois deles trazem fotografias de Marc Ferrez. São eles: Obras de Canalização provisória do Rio S. Pedro, 1889 e Abastecimento D’Água do Rio de Janeiro. O terceiro álbum apresenta fotografias de autoria desconhecida sob o título Abastecimento D’Água: Obras executadas de 1907 a 1909. Os dois últimos fazem parte da Coleção Miguel Calmon, que foi ministro da Viação e Obras Públicas no governo de Afonso Pena, entre 1906 e 1909. O álbum sobre a canalização do rio São Pedro pertence à coleção Álbuns Iconográficos Avulsos e foi doado ao MHN por Oscar Trompowsky em 1923. Vale a pena apreciar essas fotografias.
+ 
+Acessando o link para as fotografias do álbum Obras de Canalização provisória do Rio S. Pedro, 1889 disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Marc Ferrez. Capa do álbum “Obras de Canalização provisória do Rio S. Pedro, 1889: ao engenheiro Oscar Trompowski Leitão de Almeida, gratidão e reconhecimento da Diretoria das Obras”, 1899. Rio de Janeiro, RJ / Acervo MHN
+ 
+Acessando o link para as fotografias do álbum Abastecimento D’Água do Rio de Janeiro disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Marc Ferrez. Abastecimento d’água do Rio de Janeiro, 190-. Rio de Janeiro, RJ / Acervo MHN
+ 
+Acessando o link para as fotografias do álbum Abastecimento D’Água: Obras executadas de 1907 a 1909 disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Capa do álbum Abastecimento D’ Água: Obras executadas de 1907 a 1909, 1909?. Rio de Janeiro / Acervo MHN
+ 
+*Bárbara Primo é historiadora do Instituto Brasileiro de Museus e Maria Isabel Lenzi é historiadora do Museu Histórico Nacional.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/13912` — `itens/20.500.12156.1_13912/`
+- `20.500.12156.1/13900` — `itens/20.500.12156.1_13900/`
+- `20.500.12156.1/13899` — `itens/20.500.12156.1_13899/`
+- `20.500.12156.1/13898` — `itens/20.500.12156.1_13898/`
+- `20.500.12156.1/13915` — `itens/20.500.12156.1_13915/`
+- `20.500.12156.1/13958` — `itens/20.500.12156.1_13958/`
+- `20.500.12156.1/13855` — `itens/20.500.12156.1_13855/`
+- `20.500.12156.1/13982` — `itens/20.500.12156.1_13982/`
+- `20.500.12156.1/14026` — `itens/20.500.12156.1_14026/`
+
diff --git a/wordpress/41036-tirando-o-brasil-dos-arquivos-por-ricardo-augusto-dos-santos.md b/wordpress/41036-tirando-o-brasil-dos-arquivos-por-ricardo-augusto-dos-santos.md
new file mode 100644
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--- /dev/null
+++ b/wordpress/41036-tirando-o-brasil-dos-arquivos-por-ricardo-augusto-dos-santos.md
@@ -0,0 +1,46 @@
+---
+id: 41036
+url: "https://brasilianafotografica.bn.gov.br/?p=41036"
+titulo: "Tirando o Brasil dos arquivos por Ricardo Augusto dos Santos"
+autor: "Andrea Wanderley"
+data: "2025-10-03T07:11:29+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/13819", "20.500.12156.1/13823", "20.500.12156.1/13826", "20.500.12156.1/13830"]
+fetched_at: "2026-09-10T10:21:46.764Z"
+---
+
+# Tirando o Brasil dos arquivos por Ricardo Augusto dos Santos
+
+Neste artigo Ricardo Augusto dos Santos, inspirado pela realização da comemoração dos 10 anos da Brasiliana Fotográfica, em abril de 2025, destaca fotografias de cidades presentes no acervo da Casa de Oswaldo Cruz / Fiocruz, instituição parceira do portal, na qual ele atua como pesquisador titular. No acervo, estão registrados mais de 900 cidades, povoados e localidades de diferentes estados brasileiros e de outros países. Através dessas imagens, pode-se conhecer melhor o Brasil. Nas gavetas da COC/Fiocruz, foram identificados, além dos registros sobre a atuação dos cientistas e sanitaristas nas campanhas de febre amarela, varíola e peste bubônica no Brasil, produção de vacinas e pesquisas nas áreas de biomedicina, conteúdos a respeito do tenentismo, da Fundação Rockefeller, da hanseníase, da eugenia, da reforma antimanicomial, do alcoolismo e da previdência social, dentre centenas de outros.
+ 
+Tirando o Brasil dos arquivos
+Ricardo Augusto dos Santos*
+ 
+Praça Alencastro, 1944. Cuiabá, Mato Grosso / Acervo Casa de Oswaldo Cruz
+ 
+Em meio às gavetas  da Casa de Oswaldo Cruz/Fiocruz, surge uma fotografia da cidade de Cuiabá (MT). Em 1944, a milhares de quilômetros do palco da Grande Guerra, uma faixa anuncia o filme O Grande Ditador, de Charles Chaplin (1889-1977). Fotos como essa, registrando cidades pelo imenso país, conservam a memória do Brasil. Quando iniciamos a participação na Brasiliana Fotográfica, nosso objetivo era apresentar a importância do acervo sob a guarda da Casa de Oswaldo Cruz. São 133 fundos e coleções arquivísticas que reúnem quase três mil metros lineares de documentos, com 23.000 imagens organizadas e disponíveis para consulta, além de 80.000 fotografias e negativos em processo de classificação. Apesar do peso representativo dos temas relativos à história das ciências e da saúde, encontramos diversos assuntos nos arquivos, revelando inestimáveis aspectos da história do Brasil dos últimos 150 anos.[1]
+Portanto, além dos registros sobre a atuação dos cientistas e sanitaristas nas campanhas de febre amarela, varíola e peste bubônica no Brasil, produção de vacinas e pesquisas nas áreas de biomedicina, nas gavetas da COC/Fiocruz, identificamos conteúdos a respeito do tenentismo, Fundação Rockefeller, hanseníase, eugenia, reforma antimanicomial, alcoolismo e previdência social. São centenas de temáticas.
+No acervo, estão registrados mais de 900 cidades, povoados e localidades de diferentes estados brasileiros e de outros países. Através dessas imagens, podemos conhecer o país. Julgamos que é atribuição de um centro de documentação a ampliação do número de investigadores, permitindo condições de pesquisa aos documentos arquivísticos. Os trabalhos de divulgação devem ser amplos, afinal a função social dos arquivos é justamente torná-los de uso coletivo. Portanto, divulgar os acervos para o público é tarefa vital. Sem demanda à consulta, os documentos não são organizados ou esse processo poderá ser mais lento. A disseminação dos documentos textuais e fotografias propicia que as instituições alcancem um maior número de usuários, utilizando seus acervos, permitindo a multiplicação de seus acessos. No entanto, algo mais importante está em cena. A possibilidade que os brasileiros conheçam o país, suas regiões e habitantes em diferentes épocas.
+ 
+Posto de Profilaxia Rural, 1920. Itacuruçá, Rio de Janeiro / Acervo Casa de Oswaldo Cruz
+ 
+Durante o evento de comemoração dos 10 anos da Brasiliana Fotográfica, tomamos conhecimento das visualizações das inúmeras localidades do Brasil.  Em nosso acervo, na Casa de Oswaldo Cruz, possuímos fotografias de centenas de cidades retratando a imensidão do território. Desde o final do século XIX até os dias atuais (2025).
+Nosso esforço é tornar maior a identificação entre os arquivos e a população. Uma das principais tarefas é atingir o público leigo que não utiliza os documentos para fins acadêmicos ou culturais. A divulgação não somente amplia o conhecimento sobre os arquivos, incentivando a investigação sobre temas fundamentais, para a emergência de discussões no espaço acadêmico, mas funciona como recurso para o cidadão. Em suma, assegura a informação arquivística para a população leiga.
+ 
+Dr. Ernani Agrícola, 1936. Rio das Cinzas, Paraná / Acervo Casa de Oswaldo Cruz
+ 
+ 
+Itabuna, 1º de outubro de 1943. Itabuna, Bahia / Acerco Casa de Oswaldo Cruz
+ 
+[1] Para acessar a Base Arch: https://basearch.coc.fiocruz.br
+*Ricardo Augusto dos Santos é Pesquisador Titular da Fundação Oswaldo Cruz.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/13819` — `itens/20.500.12156.1_13819/`
+- `20.500.12156.1/13823` — `itens/20.500.12156.1_13823/`
+- `20.500.12156.1/13826` — `itens/20.500.12156.1_13826/`
+- `20.500.12156.1/13830` — `itens/20.500.12156.1_13830/`
+
diff --git a/wordpress/41119-serie-teatros-e-cinemas-do-brasil-xiv-o-cinema-iris-o-mais-antigo-cinema-em-ativ.md b/wordpress/41119-serie-teatros-e-cinemas-do-brasil-xiv-o-cinema-iris-o-mais-antigo-cinema-em-ativ.md
new file mode 100644
index 0000000..92c0649
--- /dev/null
+++ b/wordpress/41119-serie-teatros-e-cinemas-do-brasil-xiv-o-cinema-iris-o-mais-antigo-cinema-em-ativ.md
@@ -0,0 +1,101 @@
+---
+id: 41119
+url: "https://brasilianafotografica.bn.gov.br/?p=41119"
+titulo: "Série “Teatros e cinemas do Brasil” XIV – O Cinema Íris, o mais antigo cinema em atividade no Rio de Janeiro"
+autor: "Andrea Wanderley"
+data: "2026-02-05T12:41:06+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/2793", "20.500.12156.1/8163"]
+fetched_at: "2026-09-10T10:21:50.070Z"
+---
+
+# Série “Teatros e cinemas do Brasil” XIV – O Cinema Íris, o mais antigo cinema em atividade no Rio de Janeiro
+
+Augusto Malta. Cine Íris, 1921. Rio de Janeiro, RJ / Acervo IMS
+ 
+O Íris é o mais antigo cinema em funcionamento no Rio de Janeiro. Projetado pelo engenheiro Paulo de Frontin (1860 – 1933), com um pomposo programa, foi inaugurado por João Cruz Junior (18? – 19?), em 30 de outubro de 1909, nos números 49 e 51 da Rua da Carioca, em um prédio que pertencia à Ordem Terceira da Penitência como Cinema Soberano, uma homenagem a um dos cavalos de seu proprietário, que fez com a Ordem Terceira um contrato de comodato para explorar o imóvel. Tinha 200 lugares e era dividido por uma grade de ferro em 1ª e 2ª classes. Tinha espaço para abrigar duas orquestras, uma na sala de espera e outra no interior da sala de projeção (Gazeta de Notícias, 30 de outubro de 1909, última coluna; Jornal do Brasil, 30 de outubro de 1909, penúltima coluna).
+ 
+Gazeta de Notícias, 30 de outubro de 1909
+ 
+O Soberano tornou-se um cinema-teatro, em 1911, onde eram apresentadas operetas. No último andar do sobrado que ocupava, passou a funcionar o consultório e depósito da Tizana de Faro, poderoso depurativo (A Notícia, 9 de 10 de setembro de 1911, penúltima coluna; Correio da Manhã, 13 de outubro de 1911, quarta coluna; 25 de outubro de 1911, quinta coluna).
+ 
+A Notícia, 9 e 10 de setembro de 1911
+ 
+Em 1912, suicidou-se com um tiro, no Soberano, o artista plástico Domingues Garcia y Vasquez (Correio da Manhã, 19 de janeiro de 1912, primeira coluna;  Gazeta de Notícias, 20 de janeiro de 1912, quinta coluna; A Notícia, 20 e 21 de janeiro de 1912, segunda coluna).
+No mesmo endereço onde havia funcionado o Cinema Soberano, foi inaugurado o Cinema Victoria (Correio da Manhã, 9 de maio de 1912, última coluna).
+ 
+Correio da Manhã, 9 de maio de 1912
+ 
+Também no mesmo endereço, Rua da Carioca 49 e 51, foi inaugurado o Cinema Íris, em 16 de julho de 1912 (Correio da Manhã, 16 de julho de 1912, segunda coluna).
+ 
+Correio da Manhã, 17 de julho de 1912
+ 
+Na década de 1910, disputava a preferência dos fãs de cinema com o Cinema Ideal.
+“As segundas-feiras a Rua da Cаrioca ficava intransitável na hora da abertura dos cinemas. Juntava o público do Íris com o do Ideal, pois um ficava quase defronte do outro. As sessões começavam às 13h e interrompiam o trânsito, ninguém passava. Quando tocava a campainha para começar a multidão levava porta e tudo para dentro. No Íris havia um camarada forte, de nome Carlos, que ficava segurando as cordas com um porrete na mão. Ele metia mesmo o porrete para controlar a multidão. As pessoas entravam, sentavam e não podiam mais levantar, pois perdiam o lugar. Quando alguém levantava, o Carlos gritava: “- Mais um, mais dois lugares.” Naquele tempo os cinemas enchiam de verdade. Eu preferia os filmes do Ideal; o Adhemar Gonzaga preferia e os do Iris. Ele gostava mais dos cow-boys, e eu das artistas bonitas. “
+Pedro Lima in Filme Cultura, agosto de 1986, página 38
+ 
+Durante um incêndio na sede da sociedade carnavalesca dos Tenentes do Diabo, na Rua da Carioca nº 47, o Cinema Íris foi bastante danificado (O Paiz, 19 de março de 1913, penúltima coluna). Após uma reforma, foi reaberto, em 21 de março 1914 (O Paiz, 21 de março de 1914, última coluna; Fon-Fon, 28 de março de 1914).
+ 
+Fon-Fon, 28 de março de 1914
+ 
+Em 1915, a Empresa Cinematográfica Universal fechou contrato com João Cruz Junior e o Cinema Íris se tornou a sala lançadora no Rio de Janeiro da companhia norte-americana. Em anúncio de 30 de maio de 1915, a empresa do cinema Íris apresentou seu novo fornecedor (Correio da Manhã, 30 de maio de 1915, última coluna). Semanas depois, o Cinema Íris estava exibindo exclusivamente os filmes americanos fornecidos pela Universal.
+ 
+Correio da Manhã, 30 de maio de 1915
+ 
+Em 14 de dezembro de 1921, após uma reforma realizada pelo engenheiro Emilio Baumgarten (18? – 19?) que incluiu a ampliação do cinema com a construção de um terceiro andar, uma claraboia para ventilação e uma decoração no estilo art nouveau, foi reinaugurado oficialmente como Novo-Cine-Theatro ÍRIS ou Cinema Íris, nome inspirado na deusa grega homônima que decorava sua entrada. Ostentava também azulejaria importada da Bélgica e espelhos de cristais da França. Foi justamente neste mês e ano que o alagoano Augusto Malta (1864 – 1957), então fotógrafo da prefeitura do Rio de Janeiro, cargo que exerceu entre 1903 e 1936, produziu os dois registros destacados neste artigo, que pertencem ao acervo fotográfico do Instituto Moreira Salles, uma das instituições fundadora da Brasiliana Fotográfica (Correio da Manhã, 10 de dezembro de 1921, quarta coluna; 11 de dezembro de 1921, sétima coluna;  O Jornal, 13 de dezembro de 1921, terceira coluna; 14 de dezembro de 1921, penúltima coluna; 15 de dezembro de 1921, quinta coluna; Jornal do Brasil, 16 de dezembro de 1921, sexta coluna).
+ 
+Correio da Manhã, 13 de dezembro de 1921
+ 
+Augusto Malta. Cinema Íris, na rua da Carioca, 11 de dezembro de 1921. Rio de Janeiro, RJ / Acervo IMS
+ 
+Foi também na década de 1920 que o compositor Ary Barroso (1903 – 1964) empregou-se como pianista no Cinema Íris.
+Na década de 1970, exibia principalmente filmes de artes marciais e westerns. Passou por uma reforma e foi tombado pelo Instituto Estadual do Patrimônio Cultural do Rio de Janeiro – INEPAC -, em 14 de junho de 1978.
+Na década seguinte, exibia filmes pornográficos e shows de streap-tease. Bandas de rock passaram a se apresentar no Cinema Íris (Jornal do Brasil, 18 de março de 1988).
+Em 1997, a família Cruz comprou o imóvel da Ordem Terceira. Nos anos 1990 e 2000, foi palco de festas e de apresentações de bandas. Recebeu propostas de compra pela Igreja Universal, mas não aceitou.
+ 
+O GLOBO, 20 de março de 2009
+ 
+Fazia parte da festa Cine Íris 90 Anos uma exposição de fotografias com imagens produzidas por Malta, pertencentes o acervo do Museu de Arte Moderna do Rio de Janeiro (Jornal do Brasil, 1º de outubro de 1999, primeira coluna).
+ 
+Escadaria do Cine Íris enfeitada, por Augusto Malta / Jornal do Brasil, 1º de outubro de 1999
+ 
+Em comemoração a seu centenário, em 2009, foi promovido no cinema um festival de filmes mudos (TV Brasil). A atriz Marília Pêra (1943 – 2015) compareceu à celebração e foi homenageada pela Sociedade Amigos da Rua da Carioca e Adjacências (Sarca). A atriz tem uma história muito ligada ao Íris, pois sua avó, a também atriz Antônia Marzullo (1894 – 1969), havia trabalhado lá.
+ 
+
+ 
+No ano seguinte, 2010, sua desapropriação chegou a ser anunciada, mas não aconteceu (O GLOBO, 21 de janeiro de 2010).
+O colunista Jan Theophilo, do “Informe JB”, noticiou, em agosto de 2018, que o cinema havia sido desapropriado pelo estado há mais de 60 anos. Segundo o empresário Raul Pimenta Neto, 61, um dos 12 herdeiros da sala, não havia nenhuma informação no Registro Geral de Imóveis (RGI) de que a posse do mesmo fosse do estado, quando a família decidiu comprar o imóvel, em 1997. “No ano passado, quando fui tirar uma certidão, fui pego de surpresa com esta posse, justo quando negociava com um empresário alemão para diversificar a programação da casa” (Jornal do Brasil, 18 de agosto de 2018).
+Foi interditado pela Defesa Civil, em 23 de julho de 2025, devido a problemas estruturais, e reaberto em agosto, mês em que uma lista, na qual foi incluído, de 48 imóveis que o governo estadual quer vender para arrecadar R$ 1,5 bilhão, foi enviada à Assembleia Legislativa do Rio. Na lista estão prédios históricos, terrenos, áreas desativadas da segurança pública e até mesmo uma ilha. Porém, o Cine Íris não pertence ao estado e, durante a vistoria para o levantamento, a equipe de consultoria do governo foi informada que o imóvel é de propriedade particular da mesma família há quase um século.
+Os longas-metragens Madame Satã (2002) e Olga (2004) assim como a novela Senhora do destino (2004), da TV Globo, tiveram cenas rodadas lá.
+O Cinema Íris segue como uma relíquia carioca e sempre foi administrado pela família que o fundou. Atualmente é gerido por Marcelo Argileu Cruz da Silva, que sucedeu Raul Pimenta Neto.
+ 
+Augusto Malta. Fachada do Cinema Íris, 1926 / Google Arts & Culture
+ 
+ 
+Interior do Cinema Íris / Revista Filme Cultura, agosto de 1986, pagina 40
+ 
+Andrea C.T. Wanderley
+Editora e pesquisadora da Brasiliana Fotográfica
+ 
+Fontes:
+Agenda Bafafá
+Diário do Rio, 14 de agosto de 2025 e 9 de setembro de 2025
+FREIRE, Rafael de Luna (2022). «Entre divas e seriados». O negócio do filme: A distribuição cinematográfica no Brasil 1907–1915. Rio de Janeiro, RJ: Museu de Arte Moderna do Rio de Janeiro. p. 356. 
+Hemeroteca Digital da Biblioteca Nacional
+Jornal Extra, 16 de outubro de 2009.
+O Globo, 16/10/2009
+Revista Filme Cultura, agosto de 1986
+SCARPIN, Paula. O Cine Íris resiste in Revista Piauí, setembro de 2015
+Site Google Arts & Culture
+Site INEPAC
+Site Rio Filme
+ 
+.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/2793` — `itens/20.500.12156.1_2793/`
+- `20.500.12156.1/8163` — `itens/20.500.12156.1_8163/`
+
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+---
+id: 41194
+url: "https://brasilianafotografica.bn.gov.br/?p=41194"
+titulo: "Série “Feministas, graças a Deus!” XXII – A advogada e sufragista Orminda Bastos (1899 – 1971)"
+autor: "Andrea Wanderley"
+data: "2026-08-26T12:02:48+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/14395", "20.500.12156.1/6558", "20.500.12156.1/4944", "20.500.12156.1/6579"]
+fetched_at: "2026-09-10T10:21:53.796Z"
+---
+
+# Série “Feministas, graças a Deus!” XXII – A advogada e sufragista Orminda Bastos (1899 – 1971)
+
+“A campanha feminista significa, pelo menos, um grande sonho de liberação. E quando outros motivos não as legitimassem, o arrebatado fervor com que a mulher, no mundo inteiro, vem alimentando este sonho e as provas de altitude espiritual que, por ele, nos tem dado, bastariam a no-lo impor como uma das aspirações mais ardentes que agitaram jamais o coração humano. 
+Participante, nos dias de hoje, de todas as ásperas lutas do homem pela vida e concorrente dele no domínio da ação intelectual, pelas ciências, pelas artes, pelas letras, a mulher não pede uma concessão: ela reivindica um direito, quando pretende também seu posto na direção política da humanidade”.
+Orminda Bastos, em A Missão da Mulher,
+Cruzeiro, 13 de abril de 1929
+ 
+Orminda Ribeiro Bastos, 1929. Rio de Janeiro, RJ / Acervo Arquivo Nacional
+ 
+“Acusam o movimento feminista de masculinizar a mulher, despojando-a de seus atributos de doçura, piedade e recato. Não pode haver acusação mais infundada. Em primeiro lugar esses sentimentos não são propriedade exclusiva do sexo fraco. Há centenas de mulheres que, embora cobertas de perfume e rendas, constituem a negação deles, enquanto que em alguns homens é possível encontrar um fundo de bondade diamantina. O altruísmo é antes o resultado do caráter e da educação que um distintivo do sexo. Dado, no entanto, que seja uma qualidade essencialmente feminina, não poderá ser aniquilada pela emancipação da mulher. Esta emancipação virá, precisamente, proporcionar-lhe uma esfera mais ampla e meios mais eficazes de ação. Longe de ser a pretensa masculinização da mulher o feminismo concorrerá para a orientação da sociedade no sentido das inclinações femininas mais profundas que são a misericórdia, a paz e o amor ao próximo”.
+Orminda Bastos, em Vitórias da inteligência feminina
+Vida Doméstica, publicada em agosto de 1930.
+ 
+Esses eram os conceitos da advogada Orminda Ribeiro Bastos (1899 – 1971) em relação à emancipação da mulher. Interessante notar que, apesar de ser uma feminista, refere-se ao sexo feminino como sexo fraco. Era o começo! Orminda é o tema do 22º artigo da série Feministas, graças a Deus!.
+Nascida em Manaus, em 4 de abril de 1899, viveu parte de sua infância e sua adolescência em Belém do Pará. Formou-se, em Direito, em 1922, mas antes havia sido professora da Escola Espírita Mont´Alverne. Em 1925, foi para o Rio de Janeiro e, em janeiro do ano seguinte, tornou-se a primeira mulher no Brasil a ocupar a tribuna de acusação, num recente e sensacional júri em que se defrontou com o notável causídico Dr. Evaristo de Moraes e com o jovem tribuno Dr. Penna e Costa. O réu, o engenheiro geógrafo Abel Diniz Mascarenhas, era acusado por lesões e por tentativa de homicídio contra três membros da família do general Príncipe da Silva – uma mãe e suas duas filhas. O réu foi condenado a um ano, sete meses de cinco dias de prisão. Trabalhou durante quase toda a sua vida em escritórios de advocacia.
+Em 1928, logo após o desembarque no Rio de Janeiro de Juvenal Lamartine (1874 – 1956), governador do Rio Grande do Norte e patrono do voto feminino, quando ele foi recebido por autoridades políticas, além de associadas da Federação Brasileira pelo Progresso Feminino (FBPF) como a bióloga Bertha Lutz  (1894 – 1976), uma das fundadoras da entidade; e a engenheira e urbanista Carmen Portinho (1903 – 2001), Orminda proferiu um discurso representando a Federação Brasileira para o Progresso Feminino pelo norte do Brasil. Foi durante muito tempo consultora jurídica da FBPF, tendo também presidido a associação, na qual foi sempre muito atuante.
+ 
+Bertha Lutz e Carmen Portinho / Vida Doméstica, agosto de 1931
+ 
+Ainda neste mesmo ano, como consultora jurídica da FBPF, integrou a comissão da entidade que foi recebida pela primeira-dama dos Estados Unidos, Lou Henry Hoover (1874 – 1944), no Palácio da Guanabara. As outras integrantes eram Bertha Lutz, presidente da entidade, Jerônima Mesquita (1880 – 1972) e Maria Amália Bastos de Miranda Jordão (? -19?), vice-presidentes, e Carmen Portinho (1903 – 2001), tesoureira. A sra. Hoover estava acompanhando seu marido, o presidente dos Estados Unidos, Herbert Hoover (1874 – 1964), em uma viagem pelo Brasil.
+Em 24 de maio de 1928, Orminda tornou-se a segunda mulher a ingressar no Instituto dos Advogados Brasileiros, cerca de 22 anos após o ingresso da primeira, a advogada Myrthes Gomes de Campos (1875 – 1965), aceita como sócia efetiva em 12 de julho de 1906. Desde fins da década de 1920, Orminda integrou a administração da Liga da Defesa Nacional, associação civil fundada em 7 de setembro de 1916, no Rio de Janeiro, por Olavo Bilac  (1865 – 1918), Pedro Lessa (1859 – 1921) e Álvaro Alberto (1889 – 1976), entre outros.
+Em 13 de janeiro de 1929, foi uma das fundadoras e segunda vice-presidente da União Universitária Feminina (UUF), no Rio de Janeiro, que congregava mulheres com ensino superior em prol da defesa dos direitos femininos, sob a direção de Carmen Portinho. As outras fundadoras ou conselheiras da nova entidade foram a também engenheira civil Amélia Sapienza  (? – 19?), Bertha Lutz, a naturalista e ornitóloga alemã Emilia Snethlage (1868-1929), ex-diretora do Museu Paraense Emílio Goeldi; a professora Heloisa Marinho (1903 – 1994), as médicas Herminia de Assis  (? – 19?) e Juana Lopes (? – 19?), as advogadas Maria Alexandrina Ferreira Chaves (? – 19?), Maria Esther Ramalho, Myrthes Gomes de Campos e Natércia da Cunha Silveira (1905 – 1993).
+Ela e a advogada Romy Ribeiro (1921 – 2013), que, em 1947, havia sido nomeada assessora presidencial formal e informal sobre temas da mulher, elaboraram uma nova proposta de normatização civil para a mulher casada. A proposta foi apresentada, em 1952, ao Congresso Nacional, por intermédio de um projeto de Lei do Senador Mozart Lago (1888–1974) – era um novo estatuto jurídico para a mulher casada, ampliando seus direitos e ajustando seus deveres. Apesar de sua grande repercussão política e social, foi submetido pelo Parlamento a uma longa tramitação legislativa.
+“O projeto não visa, como se murmura por aí, o afrouxamento dos laços familiares e, ainda menos, a dissolução da família. Pelo contrário, ele visa fortalecer as relações mútuas entre marido e mulher, principalmente na base do afeto, revigorando a absoluta igualdade entre ambos”.
+Declaração de Orminda (Manchete, 12 de setembro  de 1953)
+ 
+Apenas, em 27 de agosto de 1962, depois de mais de uma década de luta e pressão do movimento feminista brasileiro, apoiado pelo movimento internacional, foi aprovada a modificação do Código Civil, sendo sancionado o denominado Estatuto da Mulher Casada pelo Presidente João Goulart (1919 – 1976) como a Lei nº 4.121. Seus principais pontos foram: a autonomia profissional – as mulheres não precisavam mais da permissão do marido para exercerem suas profissões; a guarda dos filhos menores ficariam preferencialmente com a mãe, em caso de separação; a esposa conquistou o direito de administrar seus bens particulares e os frutos de seu trabalho; e passou a poder aceitar heranças, realizar negócios jurídicos e passou a poder ser fiadora. Foi revolucionário!
+ 
+Cronologia de Orminda Ribeiro Bastos (1899 – 1971)
+ 
+1899 - Nasceu em Manaus, em 4 de abril de 1899, filha de Antonia Ribeiro Bastos e Pedro Rodrigues Bastos. Ainda criança foi com sua família para Belém do Pará (O Imparcial, 4 de abril de 1919, primeira coluna; Jornal do Commercio, edição da tarde, 4 de abril de 1919, primeira coluna).
+1913 - Estudava no Colégio Progresso Paraense e era vice oradora do Grêmio Joaquim Nabuco. Fez o discurso da inauguração do retrato do dr. Silva Rosado, médico da escola (O Estado do Pará, 21 de abril de 1913, penúltima coluna; 23 de abril de 1913, primeira coluna).
+Era membro da Academia Estudantina de Letras (O Estado do Pará, 3 de setembro de 1913, última coluna).
+Estava presente na inauguração da Academia Paraense de Letras (Jornal do Commercio, 28 de outubro de 1913, penúltima coluna).
+1914 - Passou a estudar no Ginásio Paes de Andrade, em 1914, onde se diplomou em Ciências e Letras, em fevereiro de 1917. Na ocasião foi agraciada com o prêmio Lauro Sodré (O Estado do Pará, 12 de março de 1914, primeira coluna; 5 de fevereiro de 1917, quarta coluna).
+1915 - Era professora da Escola Espírita Mont´Alverne (Eternidade, janeiro de 1915, primeira coluna).
+Década de 1920 – Ao longo desta década,  Bertha Lutz e Orminda Bastos redigiam a coluna “Feminismo”, publicada pelo jornal O Paiz.
+1921 - Foi a oradora representando o corpo discente da Faculdade de Direito do Pará, na homenagem ao então candidato à vice-presidência da República, J.J. Seabra (1855 – 1942), na chapa dissidente Reação Republicana, encabeçada por Nilo Peçanha (1867 – 1924) (O Estado do Pará, 13 de outubro de 1921, última coluna e 15 de outubro de 1921, segunda coluna).
+1922 - Formou-se pela Faculdade Livre de Direito do Pará (O Estado do Pará, 9 de dezembro de 1921, quarta coluna; O Paiz, 5 de janeiro de 1922, primeira coluna).
+Ela e seu artigo, O ensino religioso nas escolas, foram elogiados (A Província do Pará, 12 de outubro de 1922, primeira e penúltima colunas).
+Seu artigo, O voto feminino no Brasil, publicado no jornal Folha do Norte, de Belém, causou polêmica na sociedade tradicional do Pará.
+1923 – Foi eleita oradora da nova diretoria da Associação da Imprensa do Pará (A Província do Pará, 20 de janeiro de 1923, terceira coluna).
+No Teatro da Paz, na festa pelo Dia do Trabalho, fez uma palestra sobre o Combate ao Analfabetismo (A Província do Pará, 3 de maio de 1923, terceira coluna).
+Na inauguração da sede própria da União Espírita do Pará, em Belém, a confreira Orminda fez o discurso oficial (Aurora (RJ), 16 de junho de 1923, terceira coluna).
+Em novembro de 1923, publicação de seu artigo A emancipação da mulher, na Folha do Norte, de Belém. Causou, mais uma vez polêmica, na sociedade tradicional do Pará.
+1924 - Ela e Josué Freire lecionavam interinamente, as cadeiras de matemática, grego, história do Brasil e história universal no Ginásio Paes de Carvalho, em Belém (Relatórios dos Presidentes dos Estados Brasileiros, 1924).
+1925 - Desligou-se do cargo de professora de grego do Ginásio do Pará e foi morar no Rio de Janeiro.
+1926 - Em 19 de fevereiro, tornou-se a primeira mulher no Brasil a ocupar a tribuna de acusação, num recente e sensacional júri em que se defrontou com o notável causídico Dr. Evaristo de Moraes. O réu, o engenheiro geógrafo Abel Diniz Mascarenhas, era acusado por lesões e por tentativa de homicídio contra três membros da família do general Príncipe da Silva – uma mãe e suas duas filhas. O réu foi condenado a um ano, sete meses de cinco dias de prisão. Ela trabalhava em um escritório que dividia com os colegas advogados Penna e Costa, Hamilton Barata e João Vicente de Campos (Jornal Pequeno, 21 de janeiro de  1927, penúltima coluna; Mundo Literário, 25 de fevereiro de 1926; Beira-Mar, 16 de maio de 1926).
+ 
+Beira-Mar, 16 de maio de 1926
+ 
+Versos escritos sobre a atuação de Orminda / Jornal Pequeno, 21 de janeiro de 1926
+ 
+Em 25 de abril, fez uma conferência doutrinária na União Espírita Suburbana e foi identificada como jovem e talentosa advogada. O tema foi a Tolerância (Aurora (RJ), 16 de abril de 1926, quarta coluna; e 1º de maio de 1926, última coluna; 16 de agosto de 1926).
+1927 – Como consultora jurídica da Fundação Brasileira pelo Progresso Feminino foi uma das signatárias de um apelo da entidade em prol da terminação da luta. Referia-se à Coluna Prestes, movimento tenentista que ocorreu entre 1924 e 1927, devido à insatisfação com o governo do presidente Artur Bernardes (1875 – 1955) (O Combate, 3 de janeiro de 1927, terceira coluna).
+Foi uma das conferencistas que se apresentou no Abrigo Thereza de Jesus (Aurora (RJ), 16 de maio de 1927, terceira coluna).
+A partir de outubro, passou a assinar com Bertha Lutz a seção “Feminismo” no jornal O Paiz.
+1928 – Estava presente à homenagem prestada a Rodrigo Otávio (1866 – 1944), consultor-geral da República, na Liga da Defesa Nacional.
+ 
+Revista da Semana, 31 de janeiro de 1928
+ 
+Em 5 de maio, Juvenal Lamartine (1874 – 1956), governador do Rio Grande do Norte e patrono do voto feminino, veio ao Rio de Janeiro para tratar de assuntos referentes à administração daquele estado e foi recebido no desembarque do navio Almanzora por autoridades políticas, além de associadas da Federação Brasileira pelo Progresso Feminino (FBPF) como a bióloga Bertha Lutz  (1894 – 1976), uma das fundadoras da entidade; e a engenheira e urbanista Carmen Portinho (1903 – 2001). Orminda foi a representante da Federação Brasileira para o Progresso Feminino pelo norte do Brasil e no discurso qualificou Juvenal  de “estadista liberal e administrador eminente”. Como representante da FBPF do sul do país, a advogada Natércia da Cunha Silveira (1905 – 1993) também proferiu um discurso (O Paiz, 7 e 8 de maio de 1928, última coluna).
+ 
+Ao desembarcar no Rio de Janeiro, Juvenal Lamartine de Faria, governador do Estado do Rio Grande do Norte e patrono do voto feminino, é recebido por autoridades e líderes feministas, 5 de maio de 1928. Rio de Janeiro, RJ / Acervo Arquivo Nacional
+ 
+ 
+Orminda Ribeiro Bastos (detalhe da foto anterior)
+ 
+Tornou-se a segunda mulher a ingressar no Instituto dos Advogados Brasileiros, cerca de 22 anos após o ingresso da primeira, a advogada Myrthes Gomes de Campos (1875 – 1965), aceita como sócia efetiva em 12 de julho de 1906, com um placar de 23 contra 15 votos – e empossada em 19 de julho.
+ 
+Myrthes Gomes de Campos (1875 – 1965)
+ 
+Voltando a Orminda. Na 3ª sessão ordinária do IAB de 10 de maio de 1928, o dr. Pinto Lima prestou uma “homenagem à mulher advogada pedindo urgência para a imediata votação da proposta da Dra. Orminda Bastos para sócia efetiva, que bem merece o seu ingresso nesta casa pelos seus belos dotes de inteligência e cultura”. Deferido O requerimento de urgência foi deferido e a proposta para que Orminda Bastos se tornasse integrante efetiva do IAB foi aprovada unanimemente naquela mesma sessão. O discurso de posse da advogada feminista, proferido, em 24 de maio, abordou o sufrágio feminino e levantou também questões sobre a participação das mulheres na vida pública e, consequentemente, nas carreiras liberais como a advocacia. A escassa presença das mulheres no IAB não foi omitida. Uma observação: o Instituto dos Advogados Brasileiros foi rebatizado como Instituto da Ordem dos Advogados Brasileiros por uma revisão estatutária de 1880 e voltaria a adotar o nome original após a criação da OAB, no começo da década de 1930 (Jornal do Commercio, 11 de maio de 1928, penúltima coluna; 24 de maio de 1928, terceira coluna).
+Orminda estava presente à sessão solene realizada na Ordem dos Advogados do Brasil, quando foi recebido como sócio honorário o ministro da Alemanha, Hubert Knipping (1868 – 1955) (Jornal do Commercio, 1º de junho de 1928,penúltima coluna).
+ 
+Revista da Semana, 9 de junho de 1928
+ 
+Era consultora jurídica da Federação Brasileira pelo Progresso Feminino (FBPF) e foi uma das assinantes de uma moção de apreço a Bertha Lutz  (1894 – 1976), presidente da entidade (Crítica (RJ), 12 de dezembro de 1928, primeira coluna).
+Acompanhando seu marido, o presidente dos Estado Unidos, Herbert Hoover (1874 – 1964), em uma viagem pelo Brasil, Lou Henry Hoover (1874 – 1944) recebeu, no Palácio da Guanabara uma comissão da FBPF, da qual faziam parte, além de Orminda, Bertha Lutz, presidente da entidade, Jerônima Mesquita (1880 – 1972) e Maria Amália Bastos de Miranda Jordão (? -19?), vice-presidentes, e Carmen Portinho (1903 – 2001), tesoureira (Crítica (RJ), 22 de dezembro de 1928, coluna).
+ 
+Recepção oferecida pela Sra. Herbert Hoover às Associações Feministas no Palácio Guanabara, 21 de dezembro de 1928. Rio de Janeiro, RJ / Acervo Arquivo Nacional
+ 
+Orminda Bastos / Detalhe da foto anterior
+ 
+Foi uma das signatárias da mensagem da FBPF enviada aos presidentes da Bolívia e do Paraguai os congratulando pela feliz solução do arbitramento adotada no conflito do Chaco (Crítica (RJ), 25 de dezembro de 1928, segunda coluna).
+passou a escrever periodicamente no jornal O Paiz, na seção “Feminismo”, em conjunto com Bertha Lutz, nos anos finais da década de 1920. Era apresentada como “consultora jurídica” da FBPF e se tornou colaboradora do jornal também em outras seções. 
+1929  – Em 13 de janeiro de 1929, foi uma das fundadoras e segunda vice-presidente da União Universitária Feminina (UUF), no Rio de Janeiro, que congregava mulheres com ensino superior em prol da defesa dos direitos femininos, sob a direção de Carmen Portinho. As outras fundadoras ou conselheiras da nova entidade foram a também engenheira civil Amélia Sapienza  (? – 19?), Bertha Lutz, a naturalista e ornitóloga alemã Emilia Snethlage (1868-1929), ex-diretora do Museu Paraense Emílio Goeldi; a professora Heloisa Marinho (1903 – 1994), as médicas Herminia de Assis  (? – 19?) e Juana Lopes (? – 19?), as advogadas Maria Alexandrina Ferreira Chaves (? – 19?), Maria Esther Ramalho, Myrthes Gomes de Campos e Natércia da Cunha Silveira (1905 – 1993) (A Noite, 14 de janeiro de 1929, O Imparcial, 15 de janeiro de 1929, primeira coluna; Gazeta de Notícias, 15 de janeiro de 1929, quarta coluna; A Noite, 5 de abril de 1930, primeira coluna; Manchete, 30 de janeiro de 1971, segunda coluna).
+Esteve presente à posse de Rodrigo Octávio como ministro do Supremo Tribunal (Crítica (RJ), 9 de fevereiro de 1929, quinta coluna).
+Na revista Cruzeiro, de 13 de abril, publicação do artigo A Missão da Mulher, de sua autoria.
+ 
+Cruzeiro, 13 de abril de 1929
+ 
+
+ 
+Ela, Dunshee de Abranches e João da Costa Pinto fizeram a defesa da ré, Maria da Silva Bastos, acusada pelo assassinato de seu marido, Trazibulo de Miranda Bastos, e pela tentativa de assassinato da amante de seu marido, Helena Esteves. O crime foi chamado de Tragédia do Bairro Luminoso da Avenida. Maria da Silvas Bastos foi inocentada. Foi comentado que a presença de Orminda na tribuna de defesa havia trazido um cunho de grande simpatia e admiração. Em uma carta que a ré enviou à redação de Crítica, afirmou que Orminda era uma alma voltada ao bem (Crítica (RJ), 30 de abril de 1929; 1º de maio de 1929, terceira coluna; 12 de maio de 1929, quarta coluna).
+1930 - Seu escritório ficava na Rua da Quitanda, 59 (Almanak Laemmert, 1930, primeira coluna).
+Ela e Heloisa Marinho (1903 – 1994) eram vice-presidentes da União Feminina Universitária (Correio da Manhã, 14 de janeiro de 1930, segunda coluna; O Jornal, 14 de janeiro de 1930). A paulista Heloisa Marinho, formada e doutorada na Universidade de Chicago, foi catedrática de psicologia educacional do Instituto de Educação. Psicóloga e filósofa, foi uma das mais importantes educadoras brasileiras.
+ 
+Heloisa Marinho (1903 – 1994)
+ 
+Representando o ministro do Supremo Tribunal Federal, Muniz Barreto (1864 – 1934), pela Liga da Defesa Nacional, Orminda esteve presente na segunda reunião da comissão organizadora das bases da cruzada contra o analfabetismo, uma iniciativa do Rotary Club, realizada na Associação dos Empregados do Comércio (Jornal do Brasil, 29 de janeiro de 1930, penúltima coluna).
+Orminda esteve presente ao evento abertura da pipa onde foram depositadas doações para a campanha em prol dos leprosos, na Galeria Cruzeiro, por iniciativa da associação citada e da Sociedade de Assistência aos Lázaros, presidida por Henriette Silva Araújo (? – 19?). Também estavam presentes à solenidade, realizada na sede da Liga da Defesa Nacional, o ministro do Supremo Tribunal Federal, Muniz Barreto, e o poeta Paschoal Carlos Magno (1906 – 1980), dentre outros (O Jornal, 4 de janeiro de 1930, sexta coluna; Jornal do Commercio, 30 de janeiro de 1930, segunda coluna).
+Segundo o  CPDOC / FGV, a Liga da Defesa Nacional é uma associação civil fundada em 7 de setembro de 1916 no Rio de Janeiro por Olavo Bilac, Pedro Lessa e Álvaro Alberto, entre outros. Seu objetivo central, de acordo com os estatutos de 1916, era “congregar os sentimentos patrióticos dos brasileiros de todas as classes”, difundindo “a educação cívica, o amor à justiça e o culto do patriotismo”. Foi considerada de utilidade pública pelo Decreto nº 67.576, de 16 de novembro de 1970 e em 1995 teve sua diretoria transferida do Rio de Janeiro para Brasília. 
+Já era membro efetivo do Instituto da Ordem dos Advogados Brasileiros. Ao longo do ano, esteve presentes em várias sessões da entidade (Jornal do Commercio, 31 de janeiro de 1930, última coluna).
+Seguia como consultora jurídica da Federação Brasileira para o Progresso Feminino (Jornal do Commercio, 5 e 6 de maio de 1930, segunda coluna).
+Dentro da programação da Quinzena da Propaganda Feminista, organizada pela FBPF, Orminda fez uma palestra na Rádio Educadora (Correio da Manhã, 7 de maio de 1930, última coluna).
+Num evento presidido por Jerônima Mesquita na Associação Cristã Feminina, Orminda palestrou sobre a Fraternidade Universal (Jornal do Brasil, 10 de maio de 1930, terceira coluna).
+Era a representante da FBPF na Comissão da Situação da Mulher perante as Leis da Aliança Internacional pelo Sufrágio Feminino e Igualdade Cívica da Mulher, entidade à qual a FBPF era uma das federadas. A Aliança foi fundada, em 1904, pela escritora e líder feminista mundial norte-americana Carrie Chapman Catt (1859 – 1947) (Jornal do Commercio, 16 de maio de 1930, quarta coluna).
+ 
+Carrie Chapman Catt (1859 – 1947)
+ 
+Estava participando da elaboração de um dicionário jurídico, o Pequeno Dicionário de Direito, do Instituto dos Advogados (Jornal do Commercio, 6 de junho de 1930, última coluna; 9 e 10 de junho de 1930, sexta coluna; 13 de agosto de 1930, quarta coluna).
+A Associação dos Artistas Brasileiros, que havia sido convidada para participar da Conferência Penal e Penitenciária que se realizava no Rio de Janeiro, promoveu diversas reuniões para discutir algumas teses do evento. Orminda foi uma das convidadas como presidenta da Liga da Defesa Nacional (Jornal do Commercio, 16 e 17 de junho de 1930, quinta coluna).
+Integrava a comissão formada pela FBPF para recepcionar o governador do Rio Grande do Norte, Juvenal Lamartine, que se encontrava no Rio de Janeiro. Participou, em 3 de julho, de um chá de despedida oferecido a ele pela FBPF, no Automóvel Club (Correio da Manhã, 29 de junho de 1930, terceira coluna; Diário de Notícias, 4 de julho de 1930).
+Foi uma das personagens da reportagem Vitórias da Inteligência Feminina – As Nossas Doutoras e seus Conceitos sobre a Emancipação da Mulher. Foi identificada como uma jornalista de estilo elegante e ideias elevadas. Na época, era colaboradora do jornal O Paiz e seu escritório ficava na Rua São Pedro, 38. As outras feministas presentes na matéria foram a arquiteta Danunzia Pinheiro (1909 – 19?), a médica Juana Lopes (Juana M. de Lopes), as advogadas Maria Alexandrina Ferreira Chaves, Maria Rita Soares e Natércia da Cunha Silveira; as engenheiras Amélia Sapienza, Carmen Portinho e Maria Esther Ramalho; e a maestrina Joanidia Sodré (Vida Doméstica, agosto de 1930).
+ 
+Advogada Orminda Bastos, consultora jurídica da Federação Brasileira pelo Progresso Feminino / Vida Doméstica, agosto de 1930
+ 
+Tomou posse como secretária-geral da Liga da Defesa Nacional (Jornal do Commercio, 29 de agosto de 1930, quarta coluna).
+Foi advogada  de um trabalhador braçal, preso em flagrante por ter agredido pelo feitor de turma com uma picareta (Jornal do Commercio, 30 de setembro de 1930, quinta coluna).
+Recitou a Oração da Bandeira, de Olavo Bilac (1865 – 1918), na cerimônia que lembrou o 11º aniversário da morte do poeta, fundador da Liga da Defesa Nacional (Jornal do Commercio, 28 de dezembro de 1930, quinta coluna).
+1931 – Fazia parte da Comissão de Legislação Estadual do Instituto Histórico e Geográfico Brasileiro (Almanak Laemmert, 1931, última coluna).
+Foi a advogada de defesa de Arsenio Bento, acusado de assassinato (Diário de Notícias, 21 de fevereiro de 1931, sexta coluna).
+Orminda era representante da Associação Internacional de Mulheres Advogadas e foi uma das mulheres eleitas para fornecer à sub comissão brasileira da Comissão Pan-americana Feminina uma proposta de mudança da legislação no que dizia respeito à mulher, que seria apresentada na Conferência . As outras eleitas foram Bertha Lutz, Maria Rita Soares de Andrade (1904 – 1998), Carmen Portinho e Alice Pinheiro Coimbra. A representante do Brasil na Comissão Central Feminina Pan-americana oficial era a pernambucana Flora Cavalcanti de Albuquerque de Oliveira Lima (1863 – 1940), que foi casada com o historiador, diplomata e escritor, o também pernambucano Manuel de Oliveira Lima (1867 – 1928), que formou a importante Biblioteca Oliveira Lima – com cerca de 58.000 livros, além de correspondências trocadas com intelectuais, mais de seiscentas pinturas e inúmeros álbuns de recortes de jornais -, que está na Universidade Católica da América, em Washington. Culta e inteligente, Flora atuou como secretária do marido e foi muito importante na organização e manutenção da coleção que reuniram juntos (Jornal do Commercio, 27 de fevereiro de 1931, primeira coluna; Diário de Notícias, 27 de fevereiro de 1931, quinta coluna).
+ 
+O casal Flora e Manuel Oliveira Lima
+ 
+Orminda, Bertha Lutz e Carmen Portinho foram designadas, durante uma reunião na FBPF, responsáveis pela programação e regulamento do II Congresso Internacional Feminista que se realizaria, no Rio de Janeiro, em junho (Jornal do Commercio, 5 de março de 1931, última coluna).
+ 
+
+Discurso de Orminda Bastos / Jornal do Commercio, 15 de abril de 1931
+Foi uma das subscritoras de uma carta que a FBPF enviou a Batista Luzardo (1891 – 1982), Chefe da Polícia do Distrito Federal, agradecendo por seu apoio em relação ao voto feminino (Jornal do Commercio, 9 e 10 de março de 1931, segunda coluna).
+Ela, Bertha Lutz e Mercedes Gomes Velutini (1892 -1989) foram as oradoras da comemoração do Dia Pan-Americano promovido pela FBPF, que representava a Comissão Oficial de Senhoras da União Pan-Americana das Repúblicas. Fizeram os discursos em português, em inglês e em espanhol, respectivamente. A programação foi irradiada para todo o continente americano pela Rádio Club do Brasila (Jornal do Commercio, 15 de abril de 1931, quinta coluna).
+ 
+Mercedes Gomes Velutini / Vida Doméstica, agosto de 1931
+ 
+Ela, Bertha Lutz e Maria Luiza Dória Bittencourt (1910 – 2001) foram as subscritoras do memorial enviado pela Federação Brasileira pelo Progresso Feminino à sub comissão de Nacionalidade da Comissão Legislativa. Em pauta, a situação de mulheres brasileiras que se casassem com estrangeiros e mulheres estrangeiras que se casassem com brasileiros; o voto feminino (Jornal do Commercio, 10 de maio de 1931, quinta coluna; 12 de maio de 1931, última coluna; Diário de Notícias, 18 de maio de 1931, quarta coluna).
+ 
+Jornal do Commercio, 10 de maio de 1931
+ 
+Foi inaugurado, em 20 de junho, o II Congresso Internacional Feminista, organizado pela Federação Brasileira pelo Progresso Feminino e realizado, no Automóvel Club, no Rio de Janeiro, até 30 de junho. Como representante parlamentar, Orminda estava presente com Bertha Lutz, Maria Eugênia Celso Carneiro de Mendonça – presidente, vice-presidente e respectivamente – e Conceição de Andrade Arroxelas Galvão, na mesa da primeira sessão plenária do encontro. Fazia parte da Comissão de Direitos Femininos com Bertha Lutz, as baianas Hermelinda Paes (18? – 19?) e Maria Luiza Dória Bittencourt; e a sergipana Maria Rita Soares de Andrade. Orminda defendeu a tese intitulada Da necessidade da defesa da mulher contra os crimes ditos passionais. Seguiu participando de vários eventos do congresso. Foi a relatora das Declarações de Princípios do Congresso e uma das oradoras da sessão de encerramento do evento (Jornal do Brasil, 19 de junho de 1931; 20 de junho de 1931, 26 de junho de 1931; 27 de junho de 1931, Correio da Manhã, 23 de junho de 1931, segunda coluna; 26 de junho de 1931, antepenúltima coluna; 27 de junho, segunda coluna; 30 de junho, quinta coluna; 1º de julho de 1931, sexta coluna; Jornal do Commercio, 22 e 23 de junho de 1931; 26 de junho de 1931, 27 de junho de 1931; 28 de junho de 1931, segunda coluna; 29 e 30 de junho de 1931, penúltima coluna; Diário de Notícias, 23 de junho de 1931, terceira coluna; 24 de junho de 1931, quinta coluna; 26 de junho de 1931, segunda coluna; 27 de junho de 1931, quarta coluna; 30 de junho de 1931, quarta coluna).
+ 
+Ao centro, Bertha Lutz, tendo à esquerda Carmen Portinho (em cima) e Orminda Bastos (embaixo); e, à direita, Alzira Vieira Ferreira (1876 – 1970) (em cima) e Edith da Gama Abreu (1903 – 1982) (embaixo) / Jornal do Brasil, 19 de junho de 1931
+ 
+Maria Luiza Dória Bittencourt, 1935. Bahia / Acervo Arquivo Nacional
+ 
+Hermelinda Paes / Etc (BA), 15 de novembro de 1931
+ 
+Maria Rita Soares de Andrade / Vida Doméstica, agosto de 1930
+ 
+A oficialização do Dia das Mães no Brasil foi uma conquista da Federação Brasileira pelo Progresso Feminino que durante o II Congresso Internacional Feminista designou uma comissão, da qual Orminda fazia parte, que fez a solicitação ao presidente Getúlio Vargas (1882 – 1954).
+ 
+Moção dirigida ao Governo Provisório por Alice de Toledo Ribas Tibiriçá, presidente do II Congresso Internacional Feminista, em 1931 / Annuario das Senhoras, 1957
+ 
+Integrou a comissão encarregada pela modernização dos estatutos da União Feminina Universitária. Também faziam parte da comissão Bertha Lutz, Carmen Portinho, Maria Lourdes Pinto Ribeiro (? -?) e Yara Marques  (? -?) (Jornal do Commercio, 15 de agosto de 1931, segunda coluna).
+Apresentou, com Bertha Lutz, as conclusões do II Congresso Feminista para a subcomissão de Direito Penal, integerante das Comissões Lergislativas (Correio da Manhã, 16 de agosto de 1931, sexta coluna).
+Em outubro, foi realizada uma enquete realizada pelo jornal Diário da Noite sobre o comportamento da mulher diante da bandeira nacional suscitado pela iniciativa de algumas mulheres gaúchas que queriam que o governo baixasse um decreto sobre a forma que as mulheres deveriam saudar a bandeira. Resposta de Orminda:
+“Não há dúvida que é um dever a reverência ao pavilhão nacional. Quando sincera, ela é espiritual. E esta só é que importa. Com um movimento da cabeça ou da mão, não nos acrescentamos em nada. Com ele o Brasil não fica nem mais rico nem mais ilustre. É certo que os homens tiram o chapéu diante da bandeira nacional. É um simples gesto, este ou outro, que está a o alcance de qualquer.  Porque hão de as mulheres querer imitá-los justamente na vulgaridade? O Brasil precisa de sentimentos e ideias. Gestos fazem-se de todos os feitios. E de agitação estamos fatigados…“(Diário da Noite, 15 de outubro de 1931, última coluna).
+Seguia como secretária geral da Liga da Defesa Nacional (Jornal do Commercio, 22 de outubro de 1931, quinta coluna).
+Foi uma das declamadoras na homenagem prestada a Ana Amélia Carneiro de Mendonça pela União Universitária Feminina (Diário de Notícias, 13 de novembro de 1931, segunda coluna).
+Diário de Notícias, 13 de novembro de 1931
+ 
+Em 25 de novembro, participou de uma reunião na FBPF. Em pauta, os direitos da mulher em relação ao anteprojeto da Constituinte (Diário de Notícias, 25 de novembro de 1952, primeira coluna).
+Publicação de uma entrevista com Orminda sobre sua opinião acerca da Constituinte (Correio da Manhã, 18 de dezembro de 1931, primeira coluna).
+1932 – Recebeu na sede da Federação Brasileira pelo Progresso Feminino a educadora a vice-presidente da FBPF em Pernambuco, Noêmia Ferreira Xavier (? – 1976) (Jornal do Commercio, 8 de janeiro de 1932, terceira coluna).
+Fazia parte da diretoria da União Universitária Feminina, que completava três anos (Jornal do Commercio, 14 de janeiro de 1932, quinta coluna).
+Foi entrevistada a respeito da concessão do voto feminino (Diário de Notícias, 29 de janeiro de 1932, penúltima coluna).
+Conquista do voto feminino no Brasil, a partir do Decreto nº 21.076, de 24 de fevereiro de 1932, que instituiu o Código Eleitoral Provisório, assinado pelo presidente Getulio Vargas (1882 – 1954), reconhecendo o direito de voto das mulheres. Foi uma das subscritoras da carta enviada pela FBPF a Getulio, a Mauricio Cardoso (1888 – 1938), ministro da Justiça; e a Batista Luzardo, Chefe da Polícia do Distrito Federal, em agradecimento pela aprovação do voto feminino (Jornal do Commercio, 2 de  março de 1932, primeira coluna).
+“Art. 2º É eleitor o cidadão maior de 21 anos, sem distinção de sexo, alistado na forma deste código”.
+Decreto nº 21.076, 24 de fevereiro de 1932
+Participou de um programa radiofônico na Rádio Sociedade do Rio de Janeiro falando sobre a Sociedade de Assistência aos Lázaros (Jornal do Commercio, 11 de março de 1932, quarta coluna).
+A Federação Brasileira pelo Progresso Feminino anunciou que iria dar cumprimento à moção aprovada em 1931, durante o II Congresso Feminino, em relação ao Dia das Mães (Diário de Notícias, 9 de abril de 1932, segunda coluna). Getúlio Vargas assinou o Decreto 21.366, em 5 de maio de 1932, estabelecendo o segundo domingo de maio como a data comemorativa do Dia das Mães, (Jornal do Commercio, 8 de abril de 1932, penúltima coluna; Correio da Manhã, 8 de abril de 1932, sétima coluna).
+ 
+Diário de Notícias, 11 e 12 de maio de 1969
+ 
+Era diretora da Escola de Aplicação do Instituto Secundário de Educação e fez uma palestra no Dia Pan-americano, celebrado no Teatro João Caetano e promovido pela Associação Brasileira de Educação (Jornal do Commercio, 15 de abril de 1932, última coluna; Correio da Manhã, 15 de abril de 1932, primeira coluna).
+Orminda participou da celebração do Dia das Mães promovida pela FBPF.Na ocasião, foi inaugurada a nova sede da associação, no Edifício Gaetano Segreto, na Rua Pedro I, número 7, segundo andar (Jornal do Commercio, 8 de maio de 1932, quinta coluna; Correio da Manhã, 10 de maio de 1932, sétima coluna).
+Foi eleita primeira vice-presidente da diretoria da União Universitária Feminina. Estava a frente do Departamento Intelectual da entidade (Diário de Notícias, 28 de maio de 1932, penúltima coluna; 1º de junho de 1932, quarta coluna).
+Foi uma das subscritoras do memorial enviado pela FBPF a Getulio Vargas indicando Bertha Lutz para participar da comissão que iria elaborar o anteprojeto da Constituição (Diário de Notícias, 1º de julho de 1932, sexta coluna; Jornal do Commercio, 3 de julho de 1932, segunda coluna).
+Durante, leu um apelo destinado ao diretor da Cruz Vermelha e assinado por mais de 200 senhoras para que ele interviesse junto aos chefes civis e militares pelo restabelecimento da paz no Brasil (Jornal do Brasil, 22 de julho de 1932, sétima coluna).
+Estava presente na homenagem realizada pela FBPF a Bertha Lutz, que regressava de uma viagem aos Estados Unidos (Jornal do Commercio, 28 de julho de 1932, quarta coluna; Correio da Manhã, 29 de julho de 1932, primeira coluna).
+Foi um dos advogados a oferecer o Cristo da Paz ao Asilo Infantil de Nossa Senhora de Pompeia (Jornal do Commercio, 25 de agosto de 1932, sexta coluna; Correio da Manhã, 25 de agosto de 1932, sexta coluna).
+Participou de uma reunião da FBPF e apresentou a proposta de vários nomes para o corpo docente das Escolas Eleitorais. Em 28 de outubro presidiu a conferência do Curso de Educação Política promovido pela FBPF (Jornal do Commercio, 2 de outubro de 1932, última coluna; 29 de outubro de 1932, terceira coluna).
+Publicação do artigo A unidade do movimento feminista, de sua autoria (Diário de Notícias, 18 de dezembro de 1932, primeira coluna).
+Proferiu, na sede da FBPF, uma palestra sobre o inventor Santos Dumont (1873–1932), que havia falecido em 23 de julho (Jornal do Commercio, 19 e 20 de dezembro de 1932, primeira coluna).
+ 
+Final da palestra de Orminda em homenagem a Santos Dumont / Correio da Manhã, 23 de dezembro de 1932
+ 
+Estava envolvida na campanha promovida pela FBPF pelo alistamento eleitoral (Diário de Notícias, 30 de dezembro de 1932, última coluna; Jornal do Commercio, 30 de dezembro de 1932, quarta coluna).
+1933 – Presidiu a primeira de uma série de conferências que a Federação Brasileira pelo Progresso Feminino promoveu em sua sede, na Rua Pedro I, nº 7 , 2º andar, com o objetivo de orientar as mulheres em relação às eleições. A palestra, intitulada Ao alistamento, foi proferida por Maria Eugênia Celso Carneiro de Mendonça (1886-1963) (Jornal das Moças, 12 de janeiro de 1933).
+ 
+Maria Eugênica Celso Carneiro de Mendonça / Vida Doméstica, agosto de 1931
+ 
+Na sala dos advogados, no Tribunal do Júri, ela e Natércia da Cunha Silveira foram as duas mulheres homenageadas na inauguração dos retratos das maiores figuras da defesa que funcionaram na sede nova da instituição, desde 1927 . Dentre os homens, Evaristo de Moraes (1871 – 1939) e Mário Bulhões Pedreira (1896 – 1949) (Correio da Manhã, 19 de janeiro de 1933, terceira coluna).
+Foi uma das signatárias de um apelo da FBPF para que as mulheres se alistassem para votar nas próximas eleições (Diário de Notícias, 21 de janeiro de 1933, sexta coluna).
+Ela e Bertha Lutz eram presidentes do partido político feminino denominador Liga Eleitoral Independente (Correio da Manhã, 22 de março de 1933, quarta coluna; Jornal do Commercio, 16 de abril de 1933, quinta coluna).
+Participou da Convenção Nacional de Eleitoras, inaugurada, em 3 de abril, na sede da Federação Brasileira pelo Progresso da Mulher, quando foi lançada pela educadora Alba Canizares (1893 – 1944) a candidatura de Bertha Lutz (1894 – 1976) à Constituinte. Diversas outras feministas estavam presente no evento, dentre elas a advogada Almerinda Gama (1899 – 1999), a engenheira e urbanista Carmen Portinho (1903 – 2001),  Maria Luisa Dória Bittencourt (1910 – 2001), Maria Sabina de Albuquerque (1898 – 1991), filha do cientista João Pedro de Albuquerque (1874 – 1934) ; e Maria Eugênia Celso Carneiro de Mendonça (Diário de Notícias, 4 de abril de 1933, primeira coluna; O Dia (PR), 4 de abril de 1933, primeira coluna; Jornal do Commercio, 5 de abril de 1933, segunda coluna; Diário de Notícias, 5 de abril de 1933).
+Foi eleita consultora jurídica na nova diretoria da União Universitária Feminina (Correio da Manhã, 26 de abril de 1933, terceira coluna).
+Foi uma das relatoras da 1ª Conferência Nacional dos Juristas, promovido pelo Instituto dos Advogados do Brasil e realizado entre 18 e 28 de abril (Jornal do Commercio, 19 de abril de 1933, terceira coluna; 28 de abril de 1933, primeira coluna; 23 de agosto de 1977, terceira coluna).
+Na eleição para a escolha da Assembleia Nacional Constituinte, Orminda trabalhou na Paróquia de Sant´Anna, auxiliando o juiz Optato Carajuru (Correio da Manhã, 4 de maio de 1933, terceira coluna).
+Na Universidade Livre da Capital Federal, realização da aula magna do curso de Altos Estudos Femininos, dirigido pela poetisa e escritora Francisca de Bastos Cordeiro (1875 – 1969). Orminda, Carmen Portinho e Bertha Lutz eram algumas das professoras. Francisca de Bastos Cordeiro ou Francisca Carolina Smith de Vasconcelos de Bastos Cordeiro havia lançado, em 1925, a revista Única, a primeira publicação feminina do Brasil – teve 16 edições. Na década de 1940, tentou, mas não teve êxito, fundar uma Academia Brasileira Feminina de Letras (Correio da Manhã, 26 de maio de 1933, quarta coluna; Jornal do Brasil, 30 de agosto de 1969, penúltima coluna).
+ 
+Francisca Carolina Smith de Vasconcelos de Bastos Cordeiro (1875 – 1969)
+ 
+Foi a redatora do programa das reivindicações femininas apontadas pela FBPF para a Constituição de 1934 (Jornal do Commercio, 20 de julho de 1933, segunda coluna; Correio da Manhã, 22 de julho de 1933, sexta coluna).
+Participou da instalação da comissão do Instituto dos Advogados que iria estudar a e criticar o anteprojeto da Constituição (Diário de Notícias, 5 de novembro de 1933, primeira coluna).
+Na sede da FBPF, realização de uma reunião para as delegações da Conferência Colombo Peruana que estavam no Rio de Janeiro. Orminda falou sobre a vocação pacifista do continente americano (Jornal do Commercio, 10 de novembro de 1933, última coluna).
+Devido à viagem de Bertha Lutz para Montevidéu, onde participaria da 7ª Conferência Pan-americana, Orminda assumiu a presidência da FBPF, que ocupou até janeiro de 1934 (Correio da Manhã, 30 de novembro de 1933, quinta coluna; 27 de janeiro de 1934, quinta coluna; Jornal do Commercio, 1º de dezembro de 1933, segunda coluna).
+Participou do almoço anual dos juristas, promovido pelo Instituto da Ordem dos Advogados Brasileiros e realizado no Automóvel Club (Jornal do Commercio, 9 de dezembro de 1933, última coluna).
+Como presidente em exercício da FBPF, enviou uma carta ao interventor do Rio Grande do Norte, Mário Câmara (1891 – 1967), protestando quanto à possibilidade das professoras casadas serem excluídas do magistério que constava no projeto de reforma da instrução pública do estado (Correio da Manhã, 14 de dezembro de 1933, quarta coluna).
+Foi uma das advogadas designadas pelo Instituto dos Advogados a prestarem uma homenagem pela passagem dos 50 anos de morte de Teixeira de Freitas (1816 – 1883), o mais importante jurisconsulto do Império e um dos maiores nomes da história do Direito Brasileiro.  (Correio da Manhã, 14 de dezembro de 1933, segunda coluna).
+Foi reeleita para a Comissão de Legislação Estadual do Instituto dos Advogados Brasileiros (O Jornal, 15 de dezembro de 1933, quinta coluna).
+Esteve presente à homenagem que diversas associações femininas prestaram a Carlota Pereira de Queiróz (1892 – 1992), no Hotel Glória. Em 1933, houve eleição para a Assembleia Nacional Constituinte, e as mulheres puderam votar e terem seus votos reconhecidos pela primeira vez. A primeira mulher eleita foi justamente Carlota, por São Paulo (O Jornal, 17 de dezembro de 1933, sexta coluna).
+ 
+Carlota Pereira de Queiróz / A Noite Illustrada, 16 de fevereiro de 1935
+ 
+ 
+1934 – Seu escritório ficava na Rua General Câmara, 38 (Almanak Laemmert, 1934, primeira coluna).
+Foi uma das patrocinadoras do movimento em prol da fundação do Instituto Psico-Pedagógico, iniciativa de Alicette van der Laert de Beltran (? – ?) (Jornal do Commercio, 11 de janeiro de 1934, terceira coluna; Correio da Manhã, 9 de janeiro de 1934, segunda coluna; Diário de Notícias, 12 de janeiro de 1934, quinta coluna).
+Na Assembleia Geral da Sociedade de Assistência aos Lázaros e Defesa contra a Lepra, realizada na sede da Liga da Defesa Nacional, Orminda foi aclamada consultora jurídica da associação, fundada em 1º de julho de 1928, pela feminista mineira Alice de Toledo Ribas Tibiriçá (1886 – 1950) (Correio da Manhã, 13 de janeiro de 1934, sétima coluna).
+ 
+Alice de Toledo Ribas Tibiriçá (1886 – 1950)
+ 
+Participou da recepção oferecida pela FBPF à jornalista norte-americana Marjorie Schuler (1888 – 1977) (A Noite, 17 de janeiro de 1934, primeira coluna).
+ 
+Chá oferecido à jornalista norte-americana Marjorie Schuler, sentada na frente com um vestido com um laço preto. Orminda está a sua esquerda, 17 de janeiro de 1934. Rio de Janeiro, RJ / Acervo Arquivo Nacional
+ 
+Publicação de um pequeno perfil de Orminda na coluna Registo da Mulher Moderna (Diário de Notícias, 18 de fevereiro de 1934).
+ 
+Diário de Notícias, 18 de fevereiro de 1934
+ 
+Foi a relatora de um trabalho sobre as atribuições do presidente da República apresentado à comissão de juristas incumbida de acompanhar os debates da Assembleia Nacional Constituinte (Jornal do Commercio, 29 e 30 de janeiro de 1934, quarta coluna; 22 de março de 1934, penúltima coluna).
+No Instituto da Ordem dos Advogados Brasileiros, foi empossada como uma das integrantes da Comissão de Legislação Estadual.
+1935 – Na Casa do Estudante, estava sendo preparada uma turma de latim e grego, matérias que seriam lecionadas por Orminda (Jornal do Commercio, 19 de janeiro de 1935, quinta coluna).
+1937 – Trabalhava em um escritório de advocacia com Pena e Costa, que se ausentaria por motivo de viagem, e Romeu Ramos (A Noite, 30 de junho de 1937, segunda coluna).
+1938 - Ela foi uma das advogadas de Manuel Borges Gonçalves, acusado de homicídio (Jornal do Brasil, 13 de fevereiro de 1938, sexta coluna).
+Seguia como consultora jurídica da Sociedade de Assistência aos Lázaros e Defesa contra a Lepra (Correio de Manhã, 19 de maio de 1938, última coluna).
+Foi a oradora da comemoração do primeiro aniversário da União de Classes Femininas do Brasil (A Noite, 15 de agosto de 1938, terceira coluna).
+No rumoroso processo das estampilhas falsas, Orminda falou pelos embargantes Armando Lamoure e Carlos Chevalier (Correio da Manhã, 18 de agosto de 1938, primeira coluna).
+1940 – Esteve presente à solenidade de encerramento do Curso de Férias, da Associação Brasileira de Educação (Gazeta de Notícias, 1º de março de 1940, primeira coluna).
+1941 – Era a 1ª secretária da diretoria da União das Classes Femininas, do biênio entre 1941 e 1943, presidida por Raimunda Alves da Cunha Socci (? -?) (Diário de Notícias, 19 de dezembro de 1941, sexta coluna).
+1942 - Como presidente do Departamento da Liga da Defesa Nacional, foi uma das organizadoras do Natal da Vitória, na Quinta da Boa Vista, cuja renda foi revertida para a compra de bônus de guerra (Diário Carioca, 9 de dezembro de 1942).
+ 
+Diário Carioca, 9 de dezembro de 1942
+ 
+1943 - Era a presidente do Departamento Feminino da Liga da Defesa Nacional e foi a oradora da solenidade de instalação do posto de alistamento do Banco de Sangue na associação (Diário de Noticias, 20 de março de 1943, quinta coluna; 4 de novembro de 1943, quarta coluna).
+Fez um discurso na solenidade de posse da nova diretoria da Liga da Defesa Nacional e falou sobre a importância da entrega de bônus de guerra às instituições filantrópicas, que só havia sido possível devido à compra dos mesmos por sócios da Liga (O Jornal, 6 de novembro de 1943, quinta coluna).
+Como segunda secretária da Liga da Defesa Nacional, participou de uma reunião literária promovida pelo Colégio Ottati, no Dia da Bandeira (Jornal do Commercio, 20 de novembro de 1943, terceira coluna).
+Em entrevista para O Jornal, Orminda declarou concordar com Lena Madesin Philips (1884 – 1955), fundadora da Associação Internacional de Mulheres Profissionais de Nova York, que afirmou à imprensa da Grã-Bretanha que as mulheres deveriam participar das negociações da paz no pós-guerra (O Jornal, 23 de novembro de 1943, quinta coluna).
+ 
+O Jornal, 23 de novembro de 1943
+ 
+1944 – Foi uma das signatárias do telegrama que a Liga da Defesa Nacional enviou ao ministro da Fazenda, Artur de Souza Costa (1893 – 1957) em apoio ao lançamento do imposto sobre lucros comerciais durante o período de guerra (O Jornal, 19 de janeiro de 1944, segunda coluna).
+Foi uma das signatárias do telegrama de congratulações que a Liga da Defesa Nacional enviou ao ministro da Guerra, Eurico Gaspar Dutra (1883 – 1974) pela chegada da Força Expedicionária Brasileira (FEB), na Itália (Jornal do Brasil, 22 de julho de 1944, quarta coluna).
+1945 – Na solenidade de posse do ex-chanceler Oswaldo Aranha (1894 – 1960) como presidente da Liga Nacional da Defesa, no prédio do Silogeu Brasileiro, foi empossada como segunda secretária da diretoria (O Jornal, 16 de outubro de 1945, quinta coluna; Correio da Manhã, 14 de outubro de 1945, quarta coluna).
+1947 – Integrava a comissão de recepção da Liga da Defesa Nacional ao embaixador Oswaldo Aranha, que era presidente da associação, e estava retornando dos Estados Unidos, onde havia presidido a Assembleia Geral das Nações Unidas (Diário de Notícias, 18 de maio de 1947, quinta coluna).
+Morava na Rua Redentor, 353, em Ipanema (O Jornal, 11 de outubro de 1947, segunda coluna).
+1948 – Foi eleita para o Quadro de Vice-Presidentes da Liga da Defesa Nacional (Correio da Manhã, 22 de abril de 1948, quarta coluna).
+1949 – No Hotel Payssandu, Orminda, a pintora Maria Francelina de Barros Barreto (1897 – 1979) e Leontina Licinio Cardoso  (1887 – 1961), todas membros do Comitê Brasileiro da Comissão Interamericana de Mulheres, sendo a última sua presidente, discutiam a situação da mulher no Brasil. Orminda se referiu à emancipação jurídica da mulher e a situação da mulher casada (O Jornal, 6 de agosto de 1949, terceira coluna).
+Foi eleita para integrar o Diretório Central da Liga da Defesa Nacional para o biênio 1949 – 1951 (Diário de Notícias, 28 de setembro de 1949, primeira coluna).
+Romy Martins Medeiros da Fonseca (1921 – 2013) tomou posse no Instituto dos Advogados Brasileiros e foi saudada por Orminda. Em dezembro, Romy apresentou uma indicação para que o Instituto estudasse a conveniência de uma mudança no Código Civil que considerava incapaz a mulher casada. Foi formada uma comissão, da qual Orminda fazia parte, para emitir um parecer sobre a questão (Diário de Notícias, 23 de novembro de 1949, quarta coluna; e 11 de dezembro de 1949, primeira coluna; Correio da Manhã, 27 de novembro de 1949, segunda coluna).
+1951 – Ela, Romy Martins Medeiros da Fonseca e o acadêmico Antônio Carneiro Leão (1877 – 1966) foram os palestrantes do evento comemorativo do Dia do Pan-americanismo, no evento promovido na Câmara Municipal pelo Comitê Brasileiro da Comissão Interamericana de Mulheres, presidido, como já mencionado, por  Leontina Licinio Cardoso (A Noite, 16 de abril de 1951, terceira coluna).
+ 
+Leontina Licinio Cardoso (1887 – 1961)
+ 
+ 
+Declarou-se favorável à criação de uma polícia feminina, projeto de lei do senador Mozart Lago, contanto que elas fossem boas profissionais (A Noite, 17 de julho de 1951, terceira coluna).
+ 
+Senador Mozart Lago (1888 – 1974)
+ 
+1952 – Ela, a psiquiatra Iracy Doyle (1911 – 1956), a educadora Maria Cecilia Ribas Carneiro (1923 – ?) e a escritora Lucia Benedetti (1914 – 1998) foram entrevistadas na reportagem A mulher julga a mulher sobre o aumento de casos de androcídios – assassinato de homens por mulheres(Fon-Fon, 12 de janeiro de 1952).
+ 
+Declaração de Orminda Bastos / Fon-Fon, 12 de janeiro de 1952
+ 
+Ela e Romy Martins Medeiros da Fonseca, que, em 1947, havia sido nomeada assessora presidencial formal e informal sobre temas da mulher, elaboraram uma nova proposta de normatização civil para a mulher casada e o entregaram como um anteprojeto de lei ao Senado (Correio Paulistano, 29 de janeiro de 1952, quinta coluna).
+Foi uma das integrantes da Comissão Organizadora da VIII Assembleia da Comissão Interamericana de Mulheres, inaugurada  em 24 de julho, na sede da Associação Brasileira de Imprensa (ABI), no Rio de Janeiro, e presidida pela dramaturga e diplomata mexicana Amalia González Caballero de Castillo Ledón (1898 – 1986), feminista que foi a primeira mulher embaixadora de seu país. A comissão organizadora foi assinada pelo embaixador João Neves da Fontoura (1887 – 1963), ministro das Relações Exteriores do Brasil. A delegada do Brasil foi  Esther de Figueiredo Ferraz (1915 – 2008), futura ministra da Educação, entre 1982 e 1985, no governo de  João Figueiredo (1918 – 1999) (Jornal do Brasil, 14 de junho de 1952, penúltima coluna; Diário da Noite, 25 de julho de 1952).
+ 
+Amalia González Caballero de Castillo Ledón (1898 – 1986) e Leontina Licinio ;Cardoso (1887 – 1961), representante do Brasil durante a VIII Assembleia da Comissão Interamericana de Mulheres, / Revista da Semana, 16 de agosto de 1952
+ 
+O novo estatuto jurídico para a mulher casada, ampliando seus direitos e ajustando seus deveres, elaborado por Orminda e Romy, foi apresentado ao Senado pelo senador Mozart Lago. Foi assunto de um debate realizado na Associação Brasileira de Imprensa entre as delegadas do VIII Assembleia da Comissão Interamericana de Mulheres. Apesar de sua grande repercussão política e social, foi submetido pelo Parlamento a uma longa tramitação legislativa. O Código Civil vigente era de 1916 (Correio da Manhã, 27 de julho de 1952, sétima coluna; Jornal do Brasil, 6 de agosto de 1952, primeira coluna; Jornal do Commercio, 30 de novembro de 1952, primeira coluna).
+ 
+Correio da Manhã, 27 de julho de 1952
+ 
+Orminda e Romy foram algumas das palestrantes em uma reunião realizada no Clube Monte Líbano sobre o projeto de lei a respeito da mudança do estatuto da mulher casada. Dentre os presentes, os juristas Pedro Calmon (1902 – 1985), Edgardo de Castro Rebello (1884 – 1970) e Haroldo Valladão (1901 – 1987); e o deputado Nelson Carneiro (1910 – 1996). O auditório ficou superlotado (Correio da Manhã, 30 de outubro de 1952, sétima coluna; O Jornal, 2 de novembro de 1952, primeira coluna; A Noite, 3 de novembro de 1952, quarta coluna; Tribuna da Imprensa, 3 de novembro de 1952).
+ 
+As advogadas Orminda Bastos e Romy Medeiros, no Clube Monte Líbano / Tribuna da Imprensa, 3 de novembro de 1952
+ 
+1953 – Era a favor da admissão de mulheres como fiscais do Imposto de Consumo, assunto que estava causando grande celeuma (Tribuna do Norte, 20 de janeiro de 1953, penúltima coluna).
+Orminda, a escritora e feminista Leontina Licinio Cardoso (1887 – 1961) e a cronista Elsie Lessa (1914- 2000) foram entrevistadas na reportagem Aí vêm os novos direitos da mulher (Manchete, 12 de setembro de 1953).
+ 
+Manchete, 12 de setembro  de 1953
+ 
+Foi eleita como uma das vice-presidentes do Diretório Central da Liga da Defesa Nacional para o biênio 1953 – 1955 (Correio da Manhã, 27 de setembro de 1953, quinta coluna).
+1954 - Declarou-se a favor do ingresso das mulheres na Academia Brasileira de Letras, tema de um projeto de lei do senador Mozart Lago (A Noite, 15 de março de 1954, terceira coluna).
+1955 – Orminda atropelou um pedestre, na Avenida Presidente Vargas. Tentou evitar o acidente, mas não conseguiu. Levou à vítima a um pronto-socorro (Jornal do Brasil, 13 de agosto de 1955, penúltima coluna).
+1956 – Publicação de uma entrevista com Orminda a respeito do projeto da nova proposta de normatização civil para a mulher casada, que tramitava no Senado (Diário da Noite, 16 de outubro de 1956, segunda coluna).
+1957 – As diplomadas e estudantes universitárias, através da União Universitária Feminina e por iniciativa de sua presidente e também Chefe do Serviço do Pessoal do Instituto do Açúcar e do Álcool, Zéia Pinho de Rezende Silva (19? -?), iriam lutar pela modificação dos artigos número 6, 242, 244 e 393 do Código Civil. Orminda foi lembrada como uma das fundadoras da UUF (Tribuna da Imprensa, 6 e 7 de julho de 1957, quinta coluna).
+Fazia parte da comissão julgadora que escolheria os três melhores trabalhos apresentados ao longo da Semana do Júri (Jornal do Brasil, 16 de agosto de 1957, sexta coluna).
+1958 - Foi citada no artigo Os direitos da mulher, de Maria Eugênia Celso Carneiro de Mendonça (Jornal do Brasil, 7 de janeiro de 1958, quarta coluna).
+Foi entrevistada a respeito do projeto da nova proposta de normatização civil para a mulher casada, cujas principais consequências, caso aprovado, seria, segundo ela, menor prepotência dos homens, a consolidação da família estruturada na assistência moral e intelectual que a mãe possa dar a seus filhos (Jornal do Commercio, 6 de junho de 1958, primeira coluna).
+Ela, a jornalista Adalgisa Nery (1905 – 1980), a cronista Elsie Lessa, a escritora Rachel de Queiroz (1910 – 2003) e a jurista Regina Gondim (1925 – 19?) foram entrevistadas na reportagem A mulher brasileira que pesar mais no prato do Justiça, de Zevi Ghivelder (1934-) (Jóia, 15 de março de 1958).
+1959 - Ela, Carmen Portinho, Bertha Lutz, Silvia Vacani, Maria Esther Ramalho e Juana Lopes, integrantes da primeira diretoria da União Universitária Feminina estiveram presentes ao almoço comemorativo dos 30 anos da entidade, realizado no Automóvel Club (Jornal do Brasil, 14 de janeiro de 1959, segunda coluna).
+1962 – Era um dos nomes da lista de mulheres ilustres enviada pelo senador Mozart Lago a José Augusto (1884 – 1971), velho batalhador do parlamentarismo, lembrando-o do esquecimento em que havia ficado a mulher brasileira no novo sistema politico do país, que vigorou entre setembro de 1961 e janeiro de 1963(A Noite, 23 de janeiro de 1962, quinta coluna).
+Em 27 de agosto de 1962, mais de 10 anos após de sua apresentação no Congresso foi aprovada a modificação do Código Civil, sendo sancionado o denominado Estatuto da Mulher Casada pelo Presidente João Goulart (1919 – 1976) como a Lei nº 4.121. Seus principais pontos foram: a autonomia profissional – as mulheres não precisavam mais da permissão do marido para exercerem suas profissões; a guarda dos filhos menores ficariam preferencialmente com a mãe, em caso de separação; a esposa conquistou o direito de administrar seus bens particulares e os frutos de seu trabalho; e passou a poder aceitar heranças, realizar negócios jurídicos e passou a poder ser fiadora.
+1971 - Faleceu em 5 de fevereiro de 1971. Morava com sua irmã, Enory Pinheiro Bastos (? -19?).
+ 
+O GLOBO, 10 de fevereiro de 1971
+ 
+Andrea C.T. Wanderley
+Editora e pesquisadora da Brasiliana Fotográfica
+ 
+Fontes:
+ÁLVARES, Maria Luzia Miranda. Versões do Feminismo na Amazônia brasileira: Orminda e Eneida nos contextos nacional e internacional. Versão modificada de dois capítulos da segunda parte da dissertação de mestrado Saias, Laços e Ligas: Construindo Imagens e Lutas:Um estudo sobre a participação política e partidária das mulheres paraenses (1912-1937).
+AXT, Gunter. Mulheres Pioneiras no Direito no Brasil, 2024. Revista Estudos Institucionais, v. 11, n. 1, p. 239 – 301, jan./abr. 2025
+GALVÃO, Laila Maia; SIVEIRA, Mariana de Moraes. A precária institucionalização da mulher advogada: Myrthes de Campos e Orminda Bastos no IAB in Coleção Novos Rumos da História do Direito – vol.2: Resistências e Reivindicações Feminina na Cultura Jurídica do Século XX / Ana Lucia Sabadell…[et al.]; Coordenadoras: Ana Lucia Sabadell e Bárbara Madruga da Cunha; Organizador: Diego Nunes. 1ª ed. – Florianópolis: Habitus, 2024.
+Hemeroteca Digital da Biblioteca Nacional
+LOPES, Luciana Soares. A Pauta Feminista na Década de 1930: A Federação Brasileira pelo Progresso Feminino e o II Congresso Internacional Feminista de 1931. Informações FIPE, abril de 2019.
+MARQUES, Teresa Cristina de Novaes; MELO, Hildete Pereira de. Os direitos civis das mulheres casadas no Brasil entre 1916 e casadas no Brasil entre 1916 e 1962. Ou como são feitas as leis. Revista Estudos Feministas, 2008.
+O GLOBO, 10 de fevereiro de 1971
+MALATIAN, Teresa. O diário de Flora in Revista Continente, 1º de dezembro de 2017.
+SCHUMAHER, Shuma; BRAZIL, Érico Vital (Org.). Dicionário mulheres do Brasil: de 1500 até a atualidade. Rio de Janeiro: Zahar, 2000.
+Site Emerj
+Site IPHEM
+Site Migalhas de Peso
+Site Ministério das Mulheres
+Site Mulheres em Foco
+Site Mulher 500 anos atrás dos panos
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/14395` — `itens/20.500.12156.1_14395/`
+- `20.500.12156.1/6558` — `itens/20.500.12156.1_6558/`
+- `20.500.12156.1/4944` — `itens/20.500.12156.1_4944/`
+- `20.500.12156.1/6579` — `itens/20.500.12156.1_6579/`
+
diff --git a/wordpress/41277-historias-da-fotografia-paraense-entre-o-seculo-xix-e-as-primeiras-decadas-do-se.md b/wordpress/41277-historias-da-fotografia-paraense-entre-o-seculo-xix-e-as-primeiras-decadas-do-se.md
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+---
+id: 41277
+url: "https://brasilianafotografica.bn.gov.br/?p=41277"
+titulo: "Histórias da fotografia paraense entre o século XIX e as primeiras décadas do século XX"
+autor: "Andrea Wanderley"
+data: "2025-11-14T09:56:24+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/2548", "20.500.12156.1/2527", "20.500.12156.1/4358", "20.500.12156.1/558"]
+fetched_at: "2026-09-10T10:21:57.045Z"
+---
+
+# Histórias da fotografia paraense entre o século XIX e as primeiras décadas do século XX
+
+Ainda durante a realização da 30ª Conferência das Nações Unidas sobre Mudança do Clima, COP30, em Belém, o Pará volta a ser tema da Brasiliana Fotográfica. Hoje o portal traz artigos que contam um pouco da história da fotografia paraense, entre o século XIX e as primeiras décadas do século XX. Essa história começou, provavelmente, com a chegada do norte-americano Charles DeForest Fredricks (1823 – 1894) ao estado, em 1846, poucos anos após o anúncio da descoberta do daguerreótipo, ocorrido em 1839, na França. Vamos destacar o trabalho do português Felipe Augusto Fidanza (1844 – 1903) e do alemão George Huebner (1862 – 1935), que já foram temas de publicações do portal.
+ 
+Felipe Augusto Fidanza. Vistas de Pará, c. 1875. Belém, Pará / Acervo IMS
+ 
+Além disso, publicamos o artigo da artista e pesquisadora Mayra Rodrigues sobre a história da Photographia Oliveira, de Antonio Oliveira (1864 – 1929), seu tio-bisavô e destacado documentarista da cidade de Belém e retratista das famílias abastadas na belle époque da cidade; e de suas filhas, a fotógrafa Lourdes Oliveira (1893 – 1984) e a laboratorista Kyola Oliveira (18? – 19?). Segundo o jornalista, ensaísta e curador Cláudio de La Rocque Leal (1958 – 2006), Lourdes é um dos maiores nomes da fotografia paraense. Sua produção é uma das mais ricas, mais bonitas e inventivas…As irmãs Oliveira encontram terreno para o desenvolvimento de uma produção rara e bela, digna dos mais importantes centros fotográficos do mundo.
+ 
+“O retrato paraense é um todo mítico de crendices, volúpias, revoltas, revoluções, âmagos dilacerados, histórias de envenenamento, morte, amor, ódio, expulsões, recebimentos, doações, tudo a um tempo só, átmo de segundo, átmo que a fotografia precisa para registrar para todo o sempre aquele instante fugidio, que já não é mais, como disse Lispector. E se alguns paraenses partiram algum dia em férias para Paris e lá foram fotografados por Felix Nadar ou, antes, por Daguerre, é unicamente porque faz parte dessa essência esse eterno mesclar, esse eterno misturar as raízes, as origens, os sentidos. Políticos, intelectuais, artistas, escritores, estivadores, militantes, feministas, todos – incluindo os esquecidos e os desconhecidos, guardados pelo acaso em registro desses fotógrafos-, enfim todos os que fizeram de sua participação na formação desse retrato a mais bela contribuição para a construção do rosto único – união de faces no espelho de Persona – são nosso retrato, representação de nosso caráter. E o olhar, conhecido ou anônimo faz o mesmo que a “femme inconue” de Nadar: fita-nos eternamente”.
+Cláudio de La Rocque, março de 1998 (Retrato Paraense)
+ 
+ 
+A Photographia Oliveira por Mayra Rodrigues*
+ 
+Anúncio da Photographia Oliveira no álbum Descriptivo Amazônico, publicação bilíngue — em português e italiano — organizada por Arthur Caccavoni, com ilustrações de P. Campofiorito, especialmente editada para a Exposição Universal de Paris, em 1900. O álbum reúne documentação fotográfica de prédios e estabelecimentos comerciais e industriais das cidades de Belém e Manaus. Impresso em Gênova, pela Tipografia Fratelli Armanino, em 1898, páginas 38–39.
+ 
+Tio Antonico é como a família chamava meu tio-bisavô, o fotógrafo Antonio Oliveira. Experimentou a febre das modernidades introduzidas no Brasil pelo Norte, impulsionada pela economia da borracha e que, segundo Mário de Andrade, alumbrou o homem amazônico no século XIX.
+ 
+Autor desconhecido.“Tio Antonico”, Antonio Joaquim da Paixão Oliveira (1864–1929), em rara fotografia / Acervo Evangelina Rodrigues de Almeida
+ 
+Aos 24 anos, abriu a Photographia Oliveira, em Belém do Pará. O cálculo da idade do estabelecimento toma por base o ano de 1888 como provável data de sua fundação conforme anúncio publicado no Estado do Pará, em 1916, que afirmava: “Todos os retratos tirados na Photographia Oliveira, desde 1888 até hoje, fôram ahí archivados e poderão ser reproduzidos em qualquer tempo” (O Estado do Pará, 20 de fevereiro de 1916, última coluna).
+No registro de óbito de Antonio Oliveira, de 21 de janeiro de 1929, lê-se: “Que hoje, às dezenove horas, no Hospital da Caridade, sexto distrito, falleceu de “diabetes, anasarca e colapso cardíaco” Antonio Joaquim da Paixão Oliveira, paraense, branco, de sessenta e cinco anos de idade, photographo, filho de Francisco Gregório Oliveira e donna Anna Izabel Maciel de Oliveira.”
+Antônio Oliveira e seus irmãos são, por parte de mãe, sobrinhos-netos de Filippe Alberto Patroni Martins Maciel Parente (Acará, 1798 — Lisboa, 1866), fundador do jornal O Paraense (1822), considerado o primeiro jornal publicado na então Província do Grão-Pará e Rio Negro. Patroni é apontado como um dos influenciadores do movimento que culminou na Revolta da Cabanagem (1835–1840) (1).
+Voltando à fotografia, o português Filippe Augusto Fidanza é reconhecidamente o grande nome do período. Segundo o jornalista e curador Cláudio de La Rocque Leal, “seu estúdio encontra um rival à altura somente na década de 1880, exatamente em 1884, com a abertura do Photo Oliveira, cujo domicílio comercial situava-se no prédio ao lado do Photo Fidanza.” (Retrato Paraense, Fundação Rômulo Maiorana, Belém, Pará, 1998). Ele acrescenta: “Ao que tudo indica, não somente pelos noticiários, como por depoimentos colhidos, os dois eram os mais importantes da cidade.”
+Comemorando as conquistas de Tio Antonico e seguindo as datas indicadas por Leal, registro que a Photographia Oliveira instalou-se no prédio ao lado do Photo Fidanza — no número 18-A da Rua Conselheiro João Alfredo — por volta de 1894, e não em 1884, já que anúncios, entre 1891 e 1893, ainda indicavam como domicílio o número 4 da mesma rua. Outra pista: em 1895, a revista A Palavra: revista militar e literária informava que “toda a correspondência deve ser dirigida à Photographia Oliveira, à rua João Alfredo, 98, ou ao 4º Batalhão de Artilharia de Posição.” É provável que tenha havido erro tipográfico, sendo correto o número 18 (A Palavra: revista militar e literária, 15 de setembro de 1895, primeira coluna).
+Antonio Oliveira atuou como um leão por quatro décadas. No período em que trabalhou, a Princesa Isabel assinou a Abolição da Escravatura (1888), o Brasil passou de Império à República (1889) e o mundo enfrentou a Primeira Guerra Mundial (1914–1918). Anúncios, matérias na imprensa, trabalhos acadêmicos e fotografias em relatórios governamentais indicam que ele foi repórter fotográfico, paisagista, retratista dentro e fora do estúdio e comerciante de produtos e serviços ligados à fotografia e à pintura, além das então recentes novidades tecnológicas para o lar.
+Em 1899, anuncia vagas para “typographos, pautadores, encadernadores, retocadores photographicos, de competencia profissional, assim como de uma cosinheira” (A República (PA), 19 de setembro de 1899, primeira coluna). É provável que a família, além de trabalhar, morasse também no sobrado. Fez da Photographia Oliveira uma referência na cidade como ponto de encontro, premiando clientes com retratos, promovendo concursos fotográficos e com a exibição dos resultados e notícias de interesse público na forma de murais na porta de seu estabelecimento, como retratos de criminosos procurados.
+Além do tradicional expediente entre 8h e 17h, em 1921, abriu para “Retratos tirados à noite”, com novos horários “às terças, quintas e sábados, das 8h às 9h da noite. Excepto para creanças” (Estado do Pará, 19 de abril de 1921, segunda coluna).
+A Photographia Oliveira também sabia brincar com o público em seus anúncios. Um deles prometia carteiras de “verdadeiro coiro da Rússia” e “à prova de batedores”, explicando que, “uma vez acostumadas com a mão do proprietário, extranham as alheias e GRITAM ao serem tocadas por estas” (A Província do Pará, 31 de janeiro de 1900, anno XXIV, nº 7.296, p. 4). Em outra oportunidade, garantia possuir um “grande depósito de paciência” para “retratar creanças tolas e traquinas” (Estado do Pará, 12 de agosto de 1915, sexta coluna).
+ 
+Província do Pará, 31 de janeiro de  1900
+ 
+O ano de 1900 marca um ponto alto na carreira de meu tio-bisavô. Foi quando investiu em dois anúncios elaborados, publicados nos refinados álbuns bilíngues — português e italiano — de Arthur Caccavoni, impressos em Gênova: o Album Descriptivo Amazonico  ilustrado por P. Campofiorito, tem caráter mais artístico (a imagem do anúncio de Antonio Oliveira abre esse artigo); no outro, o álbum Pará Commercial, mais empresarial, o destaque do anúncio é o próprio fotógrafo — com uma rara imagem de seu rosto aos 36 anos e sua assinatura cursiva e abreviada: “A. J. P. Oliveira.”
+ 
+Capa do Album Descriptivo Amazonico
+ 
+Capa do álbum O Pará Commercial
+ 
+Anúncio da Photographia Oliveira, com rara fotografia de Antônio Oliveira aos 36 anos e sua assinatura cursiva “A.J.P. Oliveira”. Álbum Pará Commercial, na Exposição de Paris, 1900, bilíngue — em português e italiano — organizado por Arthur Caccavoni, que serviu como propaganda da modernidade e das potencialidades do Pará na virada para o século XX. Edição de 1900, página 54.
+ 
+Os adjetivos a ele atribuídos pela imprensa dão pistas de sua passagem por Belém e pelo tempo. Ainda nos anos 1890 é o “sympathico photographo”, “acreditado e bem montado”; em 1896, a Folha do Norte, comentando sobre um possível contraventor, publica que “Nada contém o Izidoro Santiago: nem a inexorabilidade do subprefeito capitão Cândido, nem a energia terrível do aterrador capitão Mattos e nem a célebre galeria da Photographia Oliveira”. Em 1902, é o “conhecidíssimo photographo belenense”; em 1911, possui um “conceito artístico que há muito distingue”; e, em 1921, é “antigo e esforçado” (A República (PA), 3 de junho de 1890, quarta coluna; Folha do Norte, 25 de novembro de 1896, última coluna; O Industrial (PA), 17 de abril de 1902, penúltima coluna; Estado do Pará, 17 de dezembro de 1911, terceira coluna; Estado do Pará, 20 de abril de 1921, segunda coluna).
+A essa altura, Tio Antonico há muito havia se casado com Tia Catita — Anna Catharina Miranda de Oliveira (08/01/1872 – 19/10/1956)  e era pai de sete mulheres – Maria de Lourdes, Regina, Deolinda, Anna, Kyola, Bonina e Helena; e de três homens – Milton, Sylla e Clóvis. Em 1921, não era possível prever que, oito anos mais tarde, o diabético Antonio Oliveira morreria de colapso cardíaco.
+Mas, em 1929, Lourdes, a filha mais velha, então com 28 anos, e a irmã Kyola já estavam prontas para suceder o pai na Photographia Oliveira, a primeira como fotógrafa e a segunda como laboratorista. Mais que uma continuidade, e ainda muito pouco conhecido, é o fato que foi através de suas filhas Kyola e Lourdes que “o estúdio Oliveira acabou conhecido como o mais inventivo de todos.”
+ 
+Photographia Oliveira. Lourdes Oliveira, aos 26 anos, fotografada por sua irmã, Kyola de Miranda e Oliveira, 1919. Belém, Pará / Foto do livro Retrato Paraense. 
+ 
+Photographia Oliveira. A jovem Lourdes Oliveira, em foto provavelmente feita por seu pai, Antonio Oliveira, no final dos anos 1910. Belém, Pará /Acervo Evangelina Rodrigues de Almeida
+ 
+Quem afirma é o crítico Cláudio de La Rocque Leal, que dedica a exposição e o livro Retrato Paraense, realizados pela Fundação Rômulo Maiorana, em 1998, à memória do português Felipe Augusto Fidanza, a do alemão George Huebner e a da brasileira Lourdes Oliveira.
+Para Rocque Leal, Lourdes é “um dos maiores nomes da fotografia paraense, que continua no, dir-se-ia, semi anonimato.” Analisa que, com as irmãs Oliveira, “o retrato paraense ganha força”. Que reformularam a estética mais sisuda de então ao introduzir “um certo glamour” inspirado nos ídolos do cinema e “impingir às fotografadas uma sensualidade pudica, enquanto ganhavam espaço nunca dantes a mulheres permitido.” E ainda que “os olhares sedutores de seus dândis e especialmente a ternura de suas crianças, ainda hoje fascinam com facilidade.”
+Torço para que Cláudio de La Rocque as tenha conhecido em vida.
+ 
+Photographia Oliveira. “Tia Zara”, Maria do Rosário Coutinho de Oliveira (21/09/1905 -?). Foto de Lourdes Oliveira, década de 1930. Belém, Pará / Acervo Evangelina Rodrigues de Almeida
+ 
+
+Photographia Oliveira. Rapaz não identificado. Foto de Lourdes Oliveira, década de 1930. Belém, Pará /Acervo Evangelina Rodrigues de Almeida
+
+ 
+Photographia Oliveira. “Tia Zara”, Maria do Rosário Coutinho de Oliveira (21/09/1905 -?). Foto de Lourdes Oliveira, década de 1930. Belém, Pará / Acervo Evangelina Rodrigues de Almeida
+ 
+Photographia Oliveira. Primeira comunhão de Beatriz de Oliveira Rodrigues da Costa (13/05/1924 – ?), Cecília Cordeiro de Oliveira (16/09/1920 – ?) e José Luiz Cordeiro de Oliveira (24/11/1921 – ?), filhos do “Tio Cesar”, Cesar Coutinho de Oliveira (09/10/1890 – 06/11/1983), e Maria Celeste Cordeiro de Oliveira (07/07/1897 – 13/03/1959). Foto de Lourdes Oliveira, década de 1930. Belém, Pará / Acervo Evangelina Rodrigues de Almeida
+ 
+Minha mãe, Maria Evangelina Rodrigues de Almeida (Belém, 1932 – Rio de Janeiro, 2025) — Neném para a família —, era assídua frequentadora da Photographia Oliveira e foi privilegiada com lindos retratos durante sua infância e juventude.
+ 
+Photographia Oliveira. “Neném”, Maria Evangelina Rodrigues de Almeida (27/03/1932 – 19/03/2025), com cerca de 3 anos, c. 1935. Foto de Lourdes Oliveira. Belém, Pará / Acervo Evangelina Rodrigues de Almeida
+ 
+Photographia Oliveira. “Neném”, Maria Evangelina Rodrigues de Almeida (27/03/1932 – 19/03/2025), com cerca de 3 anos, com suas bonecas, Vilma, a branca; e Dulce, a preta, c. 1935. Foto de Lourdes Oliveira. Belém, Pará / Acervo Evangelina Rodrigues de Almeida
+ 
+O estúdio, conta ela, ficava no segundo andar do sobrado da Rua João Alfredo, nº 18-A, onde se viam os vários cenários utilizados nas fotos e que, a pedido das proprietárias — pasmem! — adorava soltar a imagem gelatinosa do negativo de vidro na torneira do estúdio para que estes fossem reutilizados em outras tomadas fotográficas. Um sinal de que, nos anos 1930, o projeto anunciado, em 1916, segundo o qual a Photographia Oliveira guardava todos os negativos desde 1888, estava descontinuado.
+ 
+Photographia Oliveira. “Neném”, Maria Evangelina Rodrigues de Almeida (27/03/1932 – 19/03/2025), com cerca de 3 anos, c. 1935. Foto de Lourdes Oliveira. Belém, Pará / Acervo Evangelina Rodrigues de Almeida
+ 
+É certo que nesse período o sobrado abrigava, não apenas a Photographia Oliveira, mas toda a família, e foi nessa casa que Tio Antonico faleceu.
+A eclosão da Segunda Guerra Mundial (1939–1945) alavanca o Segundo Ciclo da Borracha e Belém vê chegar, aos milhares, nordestinos esfomeados, doentes, maltrapilhos, chamados de Soldados da Borracha pela propaganda de Getúlio, Soldados de Cristo pela igreja católica e de “arigós” pelos belenenses. Abandonados à própria sorte, batiam nas casas em busca de comida, assombrando a cidade.
+A Photographia Oliveira teve dificuldade em importar papel fotográfico durante a guerra, me contou a prima Glorinha — Gloria Coutinho de Faria e Cunha, nascida em 1942, que ouvia da mãe essa explicação sempre que reclamava por ser a única da família sem fotos das Oliveira.
+Parece haver aqui um ponto de inflexão nos negócios. Pois, segundo Cláudio de La Rocque Leal, foi nos anos 1940 que Lourdes e Kyola se mudam para o Rio de Janeiro e vendem a firma e o nome fantasia para João Barbosa. O novo proprietário atualizou o nome para Stúdio Oliveira, mantendo o estabelecimento como referência de simpatia e qualidade fotográfica até sua morte, em 22 de setembro de 2001.
+Maria de Lourdes de Miranda e Oliveira, a Lourdes, certamente não viu nem a exposição nem o livro Retrato Paraense. Foi sepultada, aos 90 anos, no Cemitério de Santa Isabel, em Belém, em 27 de março de 1984. Nasceu em 23 de dezembro de 1893, mesmo dia de minha avó, que repetia que tudo o que a prima Lourdes fazia, fazia bem feito, e, analisava que sempre faltava algo em fotos de outros fotógrafos, que não faltava nas da prima.
+Circula em Belém a informação de que Lourdes, além de fotógrafa, foi pintora. Perguntei a respeito aos que conviveram com ela e nenhuma lembrança confirma essa informação. Mas confirmaram outra habilidade de Lourdes: a costura.
+Ainda não encontrei detalhes sobre o nascimento e morte de Kyola de Miranda e Oliveira, a Kyola, mas sim sobre sua moradia. Consta em certidão de compra e venda de imóvel, detalhada mais abaixo, que Kyola é a única das 4 irmãs citadas no documento, incluindo Lourdes, que residia no Rio de Janeiro, tanto no ato de compra, em 21/05/1962, como na data de venda, em 19/06/1981. Kyola trabalhou no estúdio Lucena e Arthur , no prédio do cinema Roxy, onde minha mãe recomendava que fossemos tirar as fotos. Depois montou o “Foto Kyola, FOTOGRAFIAS EM GERAL, Av. Copacabana 798/409 – Rio-RJ”, como se vê nesse remanescente estojinho para fotos 3×4, com fotos de meu irmão Léo, feitas provavelmente no final dos anos 1970.
+ 
+Foto Kyola Fotografias em Geral. Léo Rodrigues de Almeida (07/06/1958 – 11/01/2021), final da década de 1970 / Acervo Evangelina Rodrigues de Almeida
+ 
+A certidão do imóvel que cita Kyola se refere à casa da Rua Tiradentes, nº 494, uma das quatro casas da Villa Kelly, no bairro do Reduto, em Belém, última residência própria das irmãs. A escritura de venda informa que a casa estava hipotecada ao Banco da Amazônia e que as irmãs, devedoras, se comprometiam a pagar a dívida em “180 prestações mensais, aos juros de 8,9% ao ano”. Um claro sinal de que — tristeza! — passavam por dificuldades financeiras.
+Dali saíram para o asilo Pão de Santo Antônio, onde morreram. É certo que Lourdes, Tio Antonico e Tia Catita estão enterrados no Cemitério de Santa Izabel, próximo ao asilo, mas provavelmente não estão juntos. Mensagem da funcionária do cemitério diz: “Estive na sepultura que dona Maria de Lourdes foi sepultada e não tem nada inscrito. Ela é chão”, e reforçou, “a sepultura é chão”.
+Sobre o destino do acervo que permaneceu nas instalações da Photographia Oliveira, e que foi continuado meticulosamente por João Barbosa, como me contou sua filha Clara, uma notícia grave e trágica: foi destruído pelo fogo! Tudo!
+Outros conjuntos se encontram com familiares, antigos clientes ou estão espalhados entre colecionadores.
+ 
+Photographia Oliveira. “Tia Zara”, Maria do Rosário Coutinho de Oliveira (21/09/1905 -?). Foto de Lourdes Oliveira, década de 1930. Belém, Pará / Acervo Evangelina Rodrigues de Almeida
+ 
+Photographia Oliveira. “Tia Thereza”, Thereza Coutinho de Oliveira, nascida em 25/04/1898. Foto de Lourdes Oliveira, década de 1930. Belém, Pará / Acervo Evangelina Rodrigues de Almeida
+ 
+ 
+Photographia Oliveira. “Tia Pete”, Perpétua Coutinho de Oliveira, nascida em 26/02/1900. Foto de Lourdes Oliveira, década de 1930. Belém, Pará / Acervo Glória Coutinho de Faria e Cunha
+ 
+Photographia Oliveira. Maria Celeste Cordeiro de Oliveira (07/07/1897 – 13/03/1959). Foto de Lourdes Oliveira, década de 1930. Belém, Pará / Acervo Evangelina Rodrigues de Almeida
+ 
+ 
+Photographia Oliveira. “Tia Zara”, Maria do Rosário Coutinho de Oliveira (21/09/1905 -?). Foto de Lourdes Oliveira, década de 1920. Belém, Pará / Acervo Evangelina Rodrigues de Almeida
+ 
+Com o título “Foto da Imagem Original de Nossa Senhora de Nazaré pode ser o registro mais antigo já encontrado”, matéria do jornal O Liberal, de 08 de outubro de 2025, conta sobre a descoberta de uma foto de Antonio Oliveira, que mostra a escultura antes de danos visíveis nas fotos oficiais de 1919, e que foi adquirida pelo colecionador Felipe Rissato, em leilão online organizado no Rio de Janeiro (O Liberal, 8 de outubro de 2025).
+ 
+Photographia Oliveira. Imagem de Nossa Senhora de Nazareth, c. 1910. Belém, Pará. No canto inferior direito, é possível identificar a assinatura do fotógrafo Antonio Oliveira
+ 
+Finalizo sublinhando que o empreendedorismo independente e qualificado de Lourdes e Kyola é característica também de suas oito parentes ligadas ao Colégio da Quinta Carmita, fundado em Ananindeua, em 1900, às margens do rio Maguary. Uma característica forjada talvez pela educação familiar combinada à lufada feminista no pós-Primeira Guerra Mundial.
+ 
+Colégio Quinta Carmita, Ananindeua, Pará
+ 
+Além de atuarem no ensino e na administração do colégio, Tereza formou-se em Odontologia; Ana Celeste, a Ninó, em Farmácia; Glória importou máquinas de escrever Remington dos Estados Unidos e abriu um curso de datilografia em Belém; Maria do Rosário, a Zara trabalhou no Tesouro Nacional; e Perpétua, a Pete, fluente em inglês, trabalhou na então poderosa Rubber Reserve Company. Mais tarde, ao obter a certificação de qualidade da água mineral proveniente de uma nascente existente no terreno, Pete passou a comercializá-la sob o selo “Águas Maguary”.
+ 
+As Coutinho de Oliveira, no casarão do Colégio da Quinta Carmita, fundado em 1900, por seus pais, José Marcellino Sizenando de Oliveira e Thereza de Jesus Coutinho de Oliveira, no município de Ananindeua, às margens do rio Maguary.
+ 
+Uma curiosidade incomum para a época: dessas dez mulheres, a maioria — seis — não se casou.
+Mas este já é um outro capítulo.
+ 
+Várias imagens realizadas pela Photographia Oliveira
+ 
+Toda a pesquisa realizada é parte de meu projeto “Cordel Paraense para Evangelina”, nome de minha mãe, e a ela é dedicado.
+ 
+(1) Um dos artigos da série “Cabanagem: 180 anos”, publicada em 2014 e 2015 pelo portal O Estado Net, intitulado “Patroni: o Profeta da Rebelião”, afirma:
+“Não há dúvida de que Filipe Patroni é, pelo menos, a mais curiosa e enigmática figura da era dos ‘motins políticos’, conforme a classificação que o historiador Domingos Antônio Raiol — a maior fonte sobre a história desse período — deu aos acontecimentos no Pará entre 1821 e 1835.”
+No entanto, a fotografia que vem sendo identificada como a de Filipe Patroni, tanto nesta quanto em outras publicações na web, retrata, na realidade, o irmão de Antônio e meu bisavô, José Marcellino Sizenando de Oliveira (16/07/1859 – 08/11/1938).
+ 
+
+ 
+José Marcelino e sua esposa, Thereza de Jesus Coutinho de Oliveira (29/06/1861 – 18/08/1953) — identificados na imagem abaixo —, fundaram, em 1900, o já mencionado Colégio da Quinta Carmita, situado às margens do Rio Maguary, no município de Ananindeua.
+ 
+José Marcellino Sizenando de Oliveira e sua esposa, Thereza de Jesus Coutinho de Oliveira, , fundadores do Colégio da Quinta Carmita em 1900, localizado às margens do Rio Maguary, no município de Ananindeua. I
+ 
+Um terceiro irmão também deixou sua marca na história do Pará: João Hosannah de Oliveira (15/04/1854 – 15/06/1923). Ao longo de sua trajetória, exerceu múltiplas funções — jornalista, escritor, advogado, sacerdote e deputado federal pelo Pará —, destacando-se ainda como o primeiro Procurador-Geral do Estado, cargo que ocupou de 22 de junho de 1891 a 1900 (Diário da Manhã (ES), 27 de julho de 1922, última coluna).
+ 
+João Hosannah de Oliveira, retratado no Álbum Descriptivo Amazônico, de ArthurCaccavoni (1899), páginas 16 e 17
+ 
+Nota da autora: Esta pesquisa buscou confirmar duas informações surgidas ao longo do processo, cuja verificação não pôde ser assegurada. A primeira é a de que Lourdes, além de fotógrafa, foi pintora. Ao buscar referências, encontrei apenas outra artista de mesmo prenome — Maria de Lourdes Acatauassú Nunes, reconhecida pintora paraense. Consultei ainda familiares que conviveram com Lourdes, e nenhuma lembrança confirma essa informação. Mas confirmaram outra habilidade de Lourdes: a costura. A segunda é a de que a Photographia Oliveira teria tido uma filial em Manaus. Nada indica que isso tenha de fato ocorrido.
+ 
+*Mayra Rodrigues (1955-) é artista e pesquisadora.
+Acesse aqui trabalhos da autora relacionados à pesquisa para o Cordel Paraense para Evangelina:
+Guajará — Cordel Paraense para Evangelina  e Pavlova no Paz — Cordel Paraense para Evangelina
+ 
+Fredericks, Huebner e Fidanza – um pouco da história da fotografia no Pará
+ 
+Andrea C. T. Wanderley**
+ 
+Charles DeForest Fredricks (1823 – 1894)
+ 
+Charles DeForest Fredricks taken from  / Anthony’s Photographic Bulletin, Volume XXV, 1894, publicado por E. & H.T. Anthony & Co. Wikipedia
+ 
+Charles DeForest Fredricks nasceu em 11 de dezembro de 1823, em Nova York. Com cerca de 20 anos, comprou um daguerreótipo e aprendeu a usá-lo com Jeremiah Gurney (1812 – 1895), um dos primeiros daguerreotipistas norte-americanos. Nesta mesma época, foi visitar um irmão que era comerciante em Ciudad Bolívar, na Venezuela. Decidiu vir para o Brasil, mas na descida do rio Orinoco, foi abandonado por seus guias indígenas. Sobreviveu, perdido, por aproximadamente 20 dias e retornou para Nova York.
+Em 1846, voltou ao Brasil e foi, como já mencionado, possivelmente o primeiro fotógrafo a abrir um estúdio em Belém, no Pará, onde permaneceu por alguns meses, tendo também exercido a profissão de ourives (Treze de Maio (PA), 23 de maio de 1846).
+ 
+Treze de Maio (PA), 23 de maio de 1846
+ 
+Entre 1846 e 1849 esteve em São Luís e em Alcântara, no Maranhão; no Recife, em Salvador, no Rio Grande e em Porto Alegre, no Rio Grande do Sul. Vindo dos Estados Unidos, voltou ao Recife, em 1851, com o também daguerreotipista Alexander B. Weeks (1818-1859) e anunciou que estava a caminho do Rio de Janeiro. É notável a facilidade que Fredericks tinha de, naquela época, estabelecer-se num local, atuar por algum tempo e logo transferir-se para outro, reiniciando todo o processo com bastante rapidez (Publicador Maranhense, 5 de dezembro de 1846, segunda coluna; Publicador Maranhense, 2 de fevereiro de 1847, terceira coluna; Diário Novo, 14 de junho de 1848, quarta coluna; Correio Mercantil (BA), 15 de novembro de 1848, segunda coluna; Diário do Rio Grande (RS), 24 a 27 de dezembro de 1848, segunda coluna; Diário de Pernambuco, 29 de setembro de 1851, segunda coluna).
+Em 1853 esteve na França. Aprendeu a nova técnica de chapas de vidro a colódio, que superaria o sistema de daguerreotipia. Fredricks tornou-se proprietário do maior estabelecimento fotográfico dos Estados Unidos, em 1858, assim descrito pelo Frank Leslies Illustrated News:
+“A Galeria Fotográfica de Fredricks, 585 e 587 Broadway, estava brilhantemente iluminada com lanternas coloridas. As palavras “Templo Fotográfico da Arte” eram formadas por centenas de lâmpadas, cobrindo um arco semicircular de 18 metros de curvatura. As janelas e sacadas dessas magníficas salas daguerrilhas ficavam lotadas de espectadores durante o dia, quase interrompendo os negócios. Não há galeria fotográfica mais popular em Nova York do que esta, e em nenhum lugar se obtêm retratos com maior fidelidade. A Galeria de Fredricks costuma ser frequentada por grupos, especialmente militares, e ele foi chamado, no sábado, para exercer sua arte com os oficiais da fragata a vapor H.B.M. Gorgon, cujos retratos ele tirou”.
+ 
+Charles Fredericks’ Photographic Temple of Art ” Fonte: Livro ” The Invention of Photography The First Fifty Years ” , de Quentin Bajac, 2002.
+ 
+Faleceu em 25 de maio de 1894, em Newark, Nova Jersey.
+ 
+O fotógrafo português Felipe Augusto Fidanza (1844 – 1903)
+ 
+Reprodução do retrato de Fidanza, Álbum do Pará em 1899
+ 
+Filho de Fernando Gabriel Fidanza e Maria de Jesus Fidanza, Felipe Augusto Fidanza nasceu em 4 de setembro de 1844, em Lisboa, e foi um dos mais importantes fotógrafos que atuaram no norte do Brasil no século XIX e no início do século XX. Até hoje pouco se sabe de sua vida antes de sua chegada ao Brasil, em fins da década de 1860. Em 1º de janeiro de 1867, o Diario do Gram-Pará publicou o anúncio : “PHOTOGRAPHIA, ao largo das Mercez , nº. 5, Fidanza & Com”, o que prova que nessa época ele já estava estabelecido no Pará. Ainda em 1867, Fidanza realizou seu primeiro trabalho de importância nacional: o registro dos preparativos para a recepção da comitiva de dom Pedro II. O imperador foi ao Pará para participar das solenidades da abertura dos portos da Amazônia ao comércio exterior. Segundo Pedro Vasquez,  com esse trabalho, Fidanza “documentou de forma inovadora e antecipatória o espírito jornalístico”. No Diário de Belém, de 29 de agosto de 1869, há uma propaganda do ateliê Photographia Fidanza.
+ 
+Diário de Belém, 29 de agosto de 1869
+ 
+Era o predileto da aristocracia paraense e destacou-se por sua produção de retratos e também pelo registro das paisagens e documentações do início do desenvolvimento urbano de Belém e de Manaus, ocasionado pela riqueza do ciclo da borracha.  Essas imagens de paisagens urbanas foram divulgadas por álbuns fotográficos encomendados pelos governos do Pará e do Amazonas. A modernização de Belém e do Pará foram registradas nas coleções Álbum do Pará (1899) e Álbum de Belém (Correio da Manhã, de 22 de outubro de 1903, na quarta coluna sob o título “Intendência Municipal de Belém”).
+ 
+ 
+Felipe Augusto Fidanza. Chafariz, c. 1875. Belém, Pará / Acervo IMS
+ 
+O Jornal do Brasil de 31 de janeiro de 1903 noticiou seu suicídio: “Atirou-se ao mar, de bordo do vapor Christiannia, em viagem de Lisboa para esta capital (Belém), o conhecido photographo Felippe Fidanza” ( Jornal do Brasil, 31 de janeiro de 1903, na primeira coluna ). Ele havia se jogado ao mar na altura da ilha da Madeira quando retornava de Portugal com a mulher e os filhos. Havia viajado para cuidar de uma encomenda dos governos do Pará e do Amazonas de 10 mil álbuns de vistas destes estados. Parece que foi mal sucedido e já havia, inclusive, tentado se matar em Lisboa ( O Pharol, 6 de março de 1903, na quinta coluna).
+ 
+Felipe Augusto Fidanza. Indígena no Rio Negro, c. 1873. Pará / Convênio Instituto Moreira Salles – Leibniz-Institut für Länderkunde
+ 
+Segundo o jornalista Cláudio de La Rocque Leal, o estabelecimento fotográfico sob o nome “Fidanza” fez parte da história até 1969. Fidanza tornou-se uma marca da fotografia visto que, mesmo após a morte, seu nome permaneceu no cenário da produção fotográfica e na memória paraense, tanto que outros profissionais, ao adquirirem o seu ateliê, mantiveram o mesmo nome.
+ 
+Acessando o link para as fotografias de Felipe Augusto Fidanza disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Felipe Augusto Fidanza. Olaria Una, c. 187?. Belém, Pará / Acervo FBN
+ 
+ 
+O fotógrafo e naturalista alemão George Huebner (1862 – 1935)
+ 
+Refeição na casa de Huebner (na cabeceira); à direita, Theodor Koch-Grünberg, 1911-1913. Legado científico de Theodor Koch-Grünberg. Coleção Etnográfica da Universidade Phillips de Marburg, Alemanha. N° de inventário KG-H-VIII, 35. Notam-se os quadros na parede: à esquerda, um retrato do Imperador Wilhelm II; ao centro, uma fotografia de palmeiras realizada por Huenber. Foto: Reprodução/’A fotografia amazônica de George Huenber’, de Andreas Valentin
+ 
+O fotógrafo, botânico e naturalista alemão George Huebner (1862 – 1935) foi um dos estrangeiros atraídos a Manaus quando a cidade, com o ciclo da borracha, tornou-se um importante pólo econômico. Estabeleceu-se comercialmente em Belém, onde, em 1897, colaborou com o fotógrafo português Felipe Augusto Fidanza (c. 1847 – 1903). Em novembro do mesmo ano, apresentando-se como membro correspondente da Sociedade Geográfica de Dresden, informava a abertura de um ateliê fotográfico em Manaus, a Photographia Allemã, no antigo Hotel Cassina, junto ao palácio do governo. O ateliê mudou algumas vezes de endereço. Como fotógrafo registrou a chegada da modernidade em Belém e em Manaus, etnias indígenas, retratos de personalidades importantes de sua época, a sociedade que surgiu a partir do apogeu da economia da borracha e paisagens da floresta amazônica.
+Em 1906, Huebner e o professor de Belas-Artes Libânio do Amaral (? – 1920), com quem já estava associado desde 1902, adquiriram, em Belém, o ateliê fotográfico Fidanza, que havia sido o mais tradicional do Pará. Dois anos depois, em 1908, Huebner foi pela primeira vez ao Rio de Janeiro, onde ele e Libânio do Amaral ganharam a medalha de prata e a medalha de ouro pelo Amazonas e o Grande Prêmio pelo Pará, na Exposição Nacional de 1908 (Almanak Laemmert, 1909). Em 1911, foi publicada uma propaganda da Photografia G. Huebner & Amaral informando que seria aberta e estaria à disposição do público para executar qualquer trabalho fotográfico a partir do dia 1º de janeiro de 1911, no Rio de Janeiro. Situava-se no edifício de O Paiz, na esquina da avenida Central com Sete de Setembro (A Notícia, 2 de janeiro de 1911, última coluna).
+Em 1918, o Almanak Laemmert anunciou o estabelecimento fotográfico G. Huebner, Amaral & Cia, na rua da Assembleia, 100, no Rio de Janeiro. No mesmo ano, o estabelecimento fotográfico G. Huebner & Amaral, em Manaus, na avenida Eduardo Ribeiro, foi anunciado pela última vez no Almanak Laemmert.
+No ano seguinte, o estabelecimento fotográfico G. Huebner & Amaral, de Belém, na rua Conselheiro João Alfredo, foi anunciado pela última vez no Almanak Laemmert. Foi anunciada a dissolução da sociedade entre George Huebner, Libânio do Amaral e Paulo Erbe, sócio-gerente da firma desde 1912, que passou a ser o único dono do estabelecimento fotográfico G. Huebner, Amaral & Cia, no Rio de Janeiro (Jornal do Commercio, 23 de novembro de 1919, oitava coluna). Erbe se estabeleceu, posteriormente, na rua República do Peru, nº 100.
+Em 1935, George Huebner, que em seus últimos anos de vida, vivia em um sítio nos arredores de Manaus coletando espécies vegetais, sobretudo orquídeas, faleceu.
+Acessando o link para as fotografias de George Huebner disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Outro nomes da fotografia paraense entre o século XIX e as primeira década do século XX que constam no livro de Boris Kossoy, o Dicionário Histórico-Fotográfico Brasileiro são: Antonio José de Araújo Lima, Antonio Maria de Mattos, Campbell, Constantino Barza, Feliciano Verlangieri, Firmo Lopes de Araújo, Freire, Fritz Bartels, Fortunato Ory, Guedes, Guillerme Potter, J.A.Veyret, J. Girard, José Carlos Gonçalves, José Thomaz Sabino, Julio A. Siza, Lourenço Antonio Dias, Marcello Thomaz Pull, Mello, M.H. Costa, Niels Olsen, Paulo Ernesto Meyer, Pedro Vilhote, R.H. Furman, Senna e Victor.
+ 
+** Andrea C. T. Wanderley é editora e pesquisadora da Brasiliana Fotográfica
+ 
+FONTES:
+https://ppgdstu.propesp.ufpa.br/ARQUIVOS/Dissertacoes/2006/ROSA%20CLAUDIA.pdf
+Hemeroteca Digital da Biblioteca Nacional
+KOSSOY, Boris. Dicionário histórico-fotográfico brasileiro: fotógrafos e ofício da fotografia no Brasil (1833-1910). São Paulo: Instituto Moreira Salles, 2002. 408 p., il. p&b.
+LEAL, Cláudio de La Rocque. Retrato Paraense. Belém: Fundação Rômulo Maiorana, 1998.
+LENZI, Teresa; MENESTRINO, Flávia. Pioneiros da fotografia em Rio Grande. Indícios de passagens e permanências. Relato de uma pesquisa histórica. Revista Memória em Rede, Pelotas, v.2, n.5, abr. / jul. 2011. Consultado em 26 de janeiro de 2013
+Memorial de Charles DeForest Fredricks em Findagrave.com
+PEREIRA, Rosa Claudia Cerqueira. Paisagens urbanas: fotografia e modernidade na cidade de Belém (1846-1908). Dissertação apresentada ao Programa de Pós-Graduação em História da Universidade Federal do Pará como exigência parcial para a obtenção do título de Mestre em História, 2006.
+Site Broadway Photographs
+Site Historic Camera
+WANDERLEY, Andrea C. T. O suicídio do fotógrafo Felipe Augusto Fidanza (1844 – 1903) in Brasiliana Fotográfica, 31 de janeiro de 2016.
+WANDERLEY, Andrea C. T. O fotógrafo, botânico e naturalista alemão George Huebner (1862 – 1935) in Brasiliana Fotográfica, 2 de fevereiro de 2018.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/2548` — `itens/20.500.12156.1_2548/`
+- `20.500.12156.1/2527` — `itens/20.500.12156.1_2527/`
+- `20.500.12156.1/4358` — `itens/20.500.12156.1_4358/`
+- `20.500.12156.1/558` — `itens/20.500.12156.1_558/`
+
diff --git a/wordpress/41448-dia-mundial-do-compositor.md b/wordpress/41448-dia-mundial-do-compositor.md
new file mode 100644
index 0000000..f0735e9
--- /dev/null
+++ b/wordpress/41448-dia-mundial-do-compositor.md
@@ -0,0 +1,49 @@
+---
+id: 41448
+url: "https://brasilianafotografica.bn.gov.br/?p=41448"
+titulo: "Dia Mundial do Compositor"
+autor: "Andrea Wanderley"
+data: "2026-01-15T13:05:49+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/13328", "20.500.12156.1/14108", "20.500.12156.1/8911", "20.500.12156.1/14110", "20.500.12156.1/12042", "20.500.12156.1/14111"]
+fetched_at: "2026-09-10T10:22:00.135Z"
+---
+
+# Dia Mundial do Compositor
+
+Destacando fotografias presentes nos acervos da Biblioteca Nacional e do Instituto Moreira Salles, instituições fundadoras da Brasiliana Fotográfica, o portal celebra o Dia Mundial do Compositor. São registros dos grandes compositores brasileiros Ary Barroso (1903 – 1964), Carlos Gomes (1836 – 1896), Catulo da Paixão Cearense (1866 – 1946), Chiquinha Gonzaga (1847 – 1935), Ernesto Nazareth (1863 – 1934), Lamartine Babo (1904 – 1963), Noel Rosa (1910 – 1937) e Pixinguinha (1897 – 1973), realizados por fotógrafos ainda não identificados. A data, que passou, em 1983, a ser mundialmente reconhecida, apesar de não ser oficial, marca a criação, no México, em 15 de janeiro de 1945, da Sociedade de Autores e Compositores do México (SACM).  A composição musical é uma manifestação artística importantíssima para a produção cultural. Salve a música e seus compositores! Salve a cultura brasileira!
+ 
+Emerico. Ary Barroso ao piano, s/d / Acervo IMS
+ 
+Carlos Gomes, 186?. Rio de Janeiro, RJ / Acervo FBN
+ 
+Catulo da Paixão Cearense, 19? / Acervo FBN
+ 
+Chiquinha Gonzaga ao piano, 17 de outubro de 1932. Rio de Janeiro, RJ / Acervo IMS
+ 
+ 
+Ernesto Nazareth, 19?. São Paulo, SP /Acervo FBN
+ 
+Lamartine Babo ao microfone, c. 1938. Rio de Janeiro, RJ / Acervo IMS
+ 
+Noel Rosa com violão, 192? / Acervo FBN
+ 
+Monumento a Noel Rosa na Praça Barão de Drummond, em Vila Isabel, por Cássio Loredano
+ 
+Convidamos nossos leitores a acessar o site Musica Brasilis, instituto sem fins lucrativos criado, em 2009, com o objetivo de resgatar e a difundir repertórios de compositores brasileiros de todos os tempos e gêneros, por Rosana Lanzelotte, membro do Instituto Histórico e Geográfico Brasileiro, uma das instituições parceiras da Brasiliana Fotográfica.
+ 
+ 
+Andrea C.T. Wanderley
+Editora e pesquisadora da Brasiliana Fotográfica
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/13328` — `itens/20.500.12156.1_13328/`
+- `20.500.12156.1/14108` — `itens/20.500.12156.1_14108/`
+- `20.500.12156.1/8911` — `itens/20.500.12156.1_8911/`
+- `20.500.12156.1/14110` — `itens/20.500.12156.1_14110/`
+- `20.500.12156.1/12042` — `itens/20.500.12156.1_12042/`
+- `20.500.12156.1/14111` — `itens/20.500.12156.1_14111/`
+
diff --git a/wordpress/41616-serie-carnavais-de-antigamente-xii-um-registro-do-carnaval-em-cuiaba-no-mato-gro.md b/wordpress/41616-serie-carnavais-de-antigamente-xii-um-registro-do-carnaval-em-cuiaba-no-mato-gro.md
new file mode 100644
index 0000000..c787a2c
--- /dev/null
+++ b/wordpress/41616-serie-carnavais-de-antigamente-xii-um-registro-do-carnaval-em-cuiaba-no-mato-gro.md
@@ -0,0 +1,75 @@
+---
+id: 41616
+url: "https://brasilianafotografica.bn.gov.br/?p=41616"
+titulo: "Série “Carnavais de antigamente” XII – Um registro do carnaval em Cuiabá, no Mato Grosso, na década de 1940"
+autor: "Andrea Wanderley"
+data: "2026-02-18T13:48:39+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/13825"]
+fetched_at: "2026-09-10T10:22:03.251Z"
+---
+
+# Série “Carnavais de antigamente” XII – Um registro do carnaval em Cuiabá, no Mato Grosso, na década de 1940
+
+Nesta Quarta-Feira de Cinzas, a Brasiliana Fotográfica celebra o Carnaval destacando uma imagem em uma cidade diferente daquelas cujas fotografias da folia de Momo são mais frequentes. É um registro carnavalesco nas ruas de Cuiabá, capital do Mato Grosso, e faz parte do Fundo Fundação Rockefeller, do acervo da Casa de Oswaldo Cruz / Fiocruz, uma das instituições parceiras da Brasiliana Fotográfica. Seu autor ainda não foi identificado e a cena é do dia 20 de fevereiro de 1944. Também listamos todas as publicações do portal sobre o Carnaval, reunidas na série Carnavais de Antigamente. Viva a folia! Viva a cultura!
+ 
+Carnaval em Cuiabá, 20 de fevereiro de 1944. Cuiabá, Mato Grosso / Acervo Casa de Oswaldo Cruz
+ 
+Na foto destacada acima, em pleno domingo de Carnaval, vemos apenas três crianças fantasiadas, de mãos dadas, em uma rua perto de um jardim. O Brasil estava sob a ditadura do Estado Novo do presidente Getúlio Vargas (1882 – 1954) e encontrava-se em estado de guerra contra os países do Eixo e a Força Expedicionária Brasileira preparava-se para juntar-se, na Itália, aos países Aliados da Segunda Guerra Mundial. Houve, na época, uma polêmica em torno da conveniência da realização do Carnaval e a proibição de várias manifestações populares em razão deste fato, o que talvez explique a atitude dos adultos que aparecem na fotografia – sem fantasias, apenas passeando pela rua como se fosse um domingo como outro qualquer.
+A marchinha Eu brinco, de autoria de Pedro Caetano (1911 – 1992) e Claudionor Cruz (1910 – 1995) interpretada pelo popularíssimo cantor Francisco Alves (1898 – 1952), foi um grande sucesso e foi composta no contexto da polêmica que ameaçou a realização do Carnaval de 1944.
+ 
+Ouça aqui a Marchinha Eu brinco.
+Com pandeiro ou sem pandeiro
+Eh eh eh eh, eu brinco
+Com dinheiro ou sem dinheiro
+Eh eh eh eh eu brinco
+No céu a lua caminha
+Tão triste sozinha
+Pra não ser triste também
+com pandeiro ou sem pandeiro
+Com pandeiro ou sem pandeiro
+Eh eh eh eh eu brinco
+Com dinheiro ou sem dinheiro
+Eh eh eh eh eu brinco
+Tudo se acaba na vida
+Morena querida
+Se o meu dinheiro acabar
+Com dinheiro ou sem dinheiro
+Meu amor, eu brinco
+ 
+Francisco Alves e Dalva de Oliveira / Scena Muda, 29 de fevereiro de 1944
+ 
+Série “Carnavais de antigamente”
+“O carnaval é a expressão da nossa alegria. O ruído, o barulho, o tantã espancam a tristeza que há nas nossas almas, atordoam-nos e nos enchem de prazer”.
+Lima Barreto (1881 – 1922), em O Morcego (1915)
+ 
+Série “Carnavais de antigamente” I – O carnaval nas primeiras décadas do século XX, publicado em 5 de fevereiro de 2016, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica
+Série “Carnavais de antigamente” II – O carnaval do Cordão da Bola Preta, publicado em 9 de fevereiro de 2018, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica
+Série “Carnavais de antigamente” III – A Batalha de Flores, publicado em 19 de fevereiro de 2018, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica
+Série “Carnavais de antigamente” IV - As Camélias Japonesas no carnaval de Alagoas pelas lentes do fotógrafo amador Luiz Lavenère Wanderley (1868 – 1966), publicado em 21 de fevereiro de 2020, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica
+Série “Carnavais de antigamente” V – Cenas da folia em Manaus em 1913, publicado em 28 de fevereiro de 2020, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica
+Série “Carnavais de antigamente” VI - Baile de Carnaval em Santa Teresa – Di Cavalcanti, Klixto e Helios Seelinger, na casa de Raul Pederneiras, publicado em 25 de fevereiro de 2022 , de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica
+Série “Carnavais de antigamente” VII e “Os Diários Associados na Brasiliana Fotográfica” III – O Rei Momo por Jean Manzon e por outros fotógrafos dos Diários Associados, publicado em 3 de fevereiro de 2023, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica
+Série “Carnavais de antigamente” VIII – Foliões do Carnaval de Diamantina por Chichico Alkmim, publicado em 17 de fevereiro de 2023 , de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica
+Série “Carnavais de antigamente” IX – Crianças no carnaval carioca de 1933 por Guilherme Santos, publicado em 8 de fevereiro de 2024, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica
+Série “Carnavais de antigamente” X – O carnaval de 1919: o carnaval da revanche, o carnaval triunfante!, publicado em 20 de fevereiro de 2025, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica
+Série “Carnavais de antigamente” XI – O carnaval e suas histórias, publicado em 27 de fevereiro de 2025, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica
+ 
+Andrea C.T. Wanderley
+Editora e pesquisadora da Brasiliana Fotográfica
+ 
+Fontes:
+BORGES, Luiz.“Eu brinco” e o Carnaval de 1944 in Site Observação & Análise, 1º de março de 2017
+DINIZ, André. Almanaque do carnaval: a história do carnaval, o que ouvir, o que ler, onde curtir. Rio de Janeiro: Jorge Zahar Ed ., 2008.
+Hemeroteca Digital da Biblioteca Nacional
+Jornal O Dia
+O GLOBO, 23 de fevereiro de 2017
+PEDREIRA, Flávia de Sá. Carnaval em Tempos de Guerra. O artigo é parte da tese de doutorado Chiclete eu misturo com banana: Carnaval e cotidiano de guerra em Natal (1920-1945), do Departamento de História, IFCH/Unicamp, março de 2004.
+SILVA, Sormani. “Vovó me avisou”: memórias do carnaval de guerra (1942-1943) no Rio de Janeiro in Confluências Culturais Revista Interdisciplinar, v. 14, n. 1: 80 anos do final da Segunda Guerra Mundial: memória, história e patrimônios
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/13825` — `itens/20.500.12156.1_13825/`
+
diff --git a/wordpress/41707-joaquim-insley-pacheco-nauta-entre-portugal-e-o-brasil-e-entre-o-imperio-e-a-rep.md b/wordpress/41707-joaquim-insley-pacheco-nauta-entre-portugal-e-o-brasil-e-entre-o-imperio-e-a-rep.md
new file mode 100644
index 0000000..f1bdac0
--- /dev/null
+++ b/wordpress/41707-joaquim-insley-pacheco-nauta-entre-portugal-e-o-brasil-e-entre-o-imperio-e-a-rep.md
@@ -0,0 +1,129 @@
+---
+id: 41707
+url: "https://brasilianafotografica.bn.gov.br/?p=41707"
+titulo: "Joaquim Insley Pacheco: nauta entre Portugal e o Brasil e entre o Império e a República por Pedro Karp Vasquez"
+autor: "Andrea Wanderley"
+data: "2025-12-02T07:11:02+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/14123", "20.500.12156.1/14130", "20.500.12156.1/4457", "20.500.12156.1/14122", "20.500.12156.1/3923", "20.500.12156.1/14125", "20.500.12156.1/14134", "20.500.12156.1/14133", "20.500.12156.1/508", "20.500.12156.1/492", "20.500.12156.1/14136", "20.500.12156.1/14131", "20.500.12156.1/14144"]
+fetched_at: "2026-09-10T10:22:06.804Z"
+---
+
+# Joaquim Insley Pacheco: nauta entre Portugal e o Brasil e entre o Império e a República por Pedro Karp Vasquez
+
+Publicamos hoje, quando completam-se 200 anos do nascimento de dom Pedro II (1825 – 1892), o artigo Joaquim Insley Pacheco: nauta entre Portugal e o Brasil e entre o Império e a República, de autoria do escritor e fotógrafo Pedro Karp Vasquez, sobre o fotógrafo português, um dos agraciados, ainda na década de 1850, pelo imperador, um entusiasta da fotografia, com o título de Fotógrafo da Casa Imperial. Disponibilizamos também uma cronologia atualizada sobre o fotógrafo realizada pela editora da Brasiliana Fotográfica, Andrea C. T. Wanderley.
+ 
+Joaquim Insley Pacheco. D. Pedro II, imperador do Brasil, s/d. Rio de Janeiro, RJ / Acervo IHGB
+ 
+Em 10 de agosto de 1855, Insley Pacheco fotografou o monarca, sua esposa, a imperatriz Teresa Cristina (1822 – 1889); e uma das filhas do casal, a princesa Leopoldina (1847 – 1871), na Quinta da Boa Vista (Diário do Rio de Janeiro, 9 de janeiro de 1856). Ao longo de sua trajetória fotografou diversos outros membros da Família Imperial como a Princesa Isabel (1846 – 1921) e seu marido, o Conde d´Eu (1842 – 1922); e realizou vistas da Quinta da Boa Vista e do Paço Imperial, dez das quais integram a coleção do Instituto Histórico e Geográfico Brasileiro (IHGB), uma das instituições parceiras da Brasiliana Fotográfica, e foram incluídas pelo historiador Daniel Rebouças no livro recentemente lançado pela Editora Capivara: O espelho de papel: A fotografia de Insley Pacheco na coleção do IHGB.
+ 
+O espelho de papel: A fotografia de Insley Pacheco na coleção do IHGB, 2025
+ 
+No artigo, além de destacarmos as fotografias de autoria de Insley recentemente incluídas no acervo fotográfico do portal e que pertencem ao IHGB, reunimos também imagens realizadas pelo fotógrafo provenientes de outros acervos presentes na Brasiliana Fotográfica: da Fundação Biblioteca Nacional e do Instituto Moreira Salles, suas instituições fundadoras; e do Arquivo Nacional e da Leibniz-Institut fuer Laenderkunde, suas parceiras.
+ 
+Acessando aqui o link para as fotografias de autoria de Joaquim Insley Pacheco do Instituto Histórico e Geográfico Brasileiro disponíveis na Brasiliana Fotográfica, o leitor poderá visualizar e magnificar as imagens.
+ 
+Joaquim Insley Pacheco. Família Imperial Brasileira: D. Pedro II, princesa Isabel, Imperatriz Tereza Cristina e princesa Leopoldina, s/d. Rio de Janeiro, RJ / Acervo IHGB
+ 
+Acessando aqui o link para todas as fotografias de autoria de Joaquim Insley Pacheco disponíveis na Brasiliana Fotográfica, o leitor poderá visualizar e magnificar as imagens.
+ 
+Joaquim Insley Pacheco. Imperador do Brasil, 1875 / Convênio Instituto Moreira Salles – Leibniz-Institut für Länderkunde
+ 
+ 
+JOAQUIM INSLEY PACHECO: NAUTA ENTRE PORTUGAL E O BRASIL E ENTRE O IMPÉRIO E A REPÚBLICA
+Pedro Karp Vasquez*
+ 
+Autorretrato de Joaquim Insley Pacheco, fotógrafo da Casa Imperial, 1865. Rio de Janeiro, RJ / Acervo IHGB
+ 
+ 
+A finalidade de um retrato não deve ser a de esclarecer,
+mas de contornar, sugerindo o enigma.
+De esforço em esforço, atingir a fisionomia plena,
+mas com o seu segredo, que é o que importa.
+Lúcio Cardoso
+ 
+Queremos a ilusão grande do mar,
+multiplicada em suas malhas de perigo.
+Queremos a sua solidão robusta,
+uma solidão para todos os lados,
+uma ausência humana que se opõe ao mesquinho formigar do
+mundo,
+e faz o tempo inteiriço, livre das lutas de cada dia.
+Cecília Meireles
+ 
+NAVEGAR É PRECISO…
+Joaquim José Pacheco nasceu na vila portuguesa de Cabeceiras de Basto, no distrito de Braga, em 31 de março de 1830 e faleceu no Rio de Janeiro em 14 de outubro de 1912, famoso sob o nome de Insley Pacheco. Foi agraciado com o prestigioso titulo de Fotógrafo da Casa Imperial, na década de 1850, sendo igualmente Cavalheiro da Ordem de Christo de Portugal, pois seu talento também foi reconhecido em vida na pátria natal. O que destoa favoravelmente da situação da maioria dos fotógrafos estrangeiros que atuaram no Brasil durante o século XIX, desfrutando de maior ou menor celebridade entre nós, porém permanecendo no anonimato em seus países de origem.
+ 
+Joaquim Insley Pacheco. Retrato de homem (verso), c. 1865. Rio de Janeiro, RJ / Acervo IMS
+ 
+Assim como muitos dos seus compatriotas que vieram tentar a sorte no Brasil, Joaquim José não teve vida fácil: órfão de pai e mãe, veio se juntar ao irmão mais velho, Bernardo José, no Recife, em 1843, sendo logo seguido pela irmã, Joaquina. Em algum momento da mesma década, mudou-se para Fortaleza, onde, em 1847, conheceu o daguerreotipista irlandês Frederick Walter (1811 – 18?) que contrabalançava a clientela rarefeita da época com o pitoresco ofício de mágico. Segundo Ary Bezerra Leite, em História da fotografia no Ceará (Edição do Autor, 2019), o jovem Pacheco trocou lições de daguerreotipia pela pintura de cenários para os espetáculos de magia do seu professor/empregador.
+De temperamento perfeccionista, Joaquim José Pacheco rumou para Nova York no segundo semestre de 1950, depois de ter atuado por conta própria em Fortaleza e na capital maranhense. Nos Estados Unidos, estudou com dois grandes profissionais que se tornariam emblemáticos em virtude da documentação da Guerra Civil norte-americana (1861-1865), hoje conservada na Biblioteca do Congresso dos EUA: Jeremiah Gurney e Mathew Brady. Sendo que este último montou uma equipe para o registro simultâneo de diferentes frentes de batalha para oferecer abrangente documentação do conflito em consonância com sua ambição de ser “testemunha ocular da história”. Pacheco estudou também com Henry Earle Insley, que não se tornou tão célebre quanto os dois professores citados, mas foi um retratista extremamente popular, mantendo um estúdio na Broadway durante duas décadas, a partir de 1840. Foi ele quem, certamente, causou impressão mais profunda no jovem Joaquim José, de tal forma que, após regressar ao Brasil, ele aposentou o José de origem em benefício do Insley, com o qual pretendia homenagear o mestre.
+De volta ao Brasil em 1851, Pacheco se instalou no Ceará dos seus primeiros passos na carreira, trabalhando em Fortaleza e Sobral. Depois fotografou também no Recife antes de buscar a clientela mais ampla e estável da Corte Imperial, no Rio de Janeiro, em fevereiro de 1855. Montou estúdio primeiro em um sobrado da rua do Ouvidor número 31, passando depois, quando já havia conquistado grande clientela, para um ateliê mais amplo e luxuoso no número 102 da mesma rua. Mas ocupou também, ao longo das seis décadas subsequentes, outros endereços na área central da cidade, que durante todo o século XIX concentrou a metade dos estúdios fotográficos do país. Pelo visto a adoção do Insley lhe deu sorte, pois depois de retratar belamente os principais membros da Família Imperial, Dom Pedro II, a imperatriz Thereza Christina e as princesas Isabel e Leopoldina, Insley Pacheco foi alçado, como foi dito, à honrosa condição de Fotógrafo da Casa Imperial. Manteve relacionamento pessoal e profissional com toda a família, inclusive com aqueles que se tornaram maridos das princesas, o conde d’Eu e o duque de Saxe, assim como os filhos de ambos os casais.
+ 
+Joaquim Insley Pacheco. Tereza Cristina, imperatriz do Brasil, s/d. Rio de Janeiro, RHJ / Acervo IHGB
+ 
+Joaquim Insley Pacheco. Princesa Leopoldina, princesa e duquesa de Saxe, s/d. Rio de Janeiro, RJ / Acervo IHGB
+ 
+Joaquim Insley Pacheco. Isabel, princesa e condessa d´Eu, s/d. Rio de Janeiro, RJ / Acervo IHGB
+ 
+Merecem destaque dois retratos que fez do imperador e da imperatriz que se tornaram antológicos não só pela mestria técnica demonstrada como também pelo uso original e inesperado de uma ambientação com diversas plantas evocativas da exuberante natureza tropical brasileira. Isso, quando a moda, em todo o mundo, era o uso de fundos pintados para sugerir ambientes domésticos ou campestres europeus, já que a maioria desses acessórios vinha de cidades europeias, sobretudo Paris, Viena e Londres.
+ 
+Joaquim Insley Pacheco. Pedro II, Imperador do Brasil : retrato, 1883 / Acervo FBN
+ 
+Joaquim Insley Pacheco. Teresa Cristina Maria, Imperatriz, consorte de Pedro II, Imperador do Brasil, 18? / Acervo FBN
+ 
+Insley Pacheco também retratou os membros da Família Imperial, assim como a maioria dos seus clientes, com o fundo neutro do estúdio e o mobiliário destinado a criar a ilusão de um ambiente caseiro abastado e que, nos primeiros tempos, servia para os retratados se apoiarem durante as longas sessões de pose: cadeiras, poltronas, balaustradas, colunas, assim como cortinas e tapetes destinados a acentuar a atmosfera doméstica.
+ 
+Joaquim Insley Pacheco. Pedro II, imperador do Brasil e Isabel, princesa, s/d. Rio de Janeiro, RJ / Acervo IHGB
+ 
+ 
+Joaquim Insley Pacheco. Gastão de Orleans, conde d’Eu, s/d. Rio de Janeiro, RJ / Acervo IHGB
+ 
+Recebeu do imperador a autorização de comercializar esses retratos, o que, além de lhe proporcionar bons ganhos, permitiu que a sociedade tivesse um vislumbre mais fidedigno dos integrantes da Família Imperial, cujas fisionomias só eram conhecidas até então por intermédio dos processos de gravura, em particular da litografia, também usada na impressão de livros e periódicos. Seu bom relacionamento com Dom Pedro II fez com que ele aceitasse uma encomenda fora do seu padrão: a realização de vistas da Quinta da Boa Vista e do Paço Imperial, dez das quais integram a coleção do Instituto Histórico e Geográfico Brasileiro (que possui um total de 397 fotos de Pacheco) e foram incluídas pelo historiador Daniel Rebouças no livro recentemente lançado pela Editora Capivara: O espelho de papel: A fotografia de Insley Pacheco na coleção do IHGB. A importância destas raras vistas de Pacheco já havia sido comprovada por sua inclusão pelo barão do Rio Branco no livro Le Brésil, de Levasseur, impresso em Paris, em 1889.
+ 
+Joaquim Insley Pacheco. Quinta da Boa Vista, s/d. Rio de Janeiro, RJ / Acervo IHGB
+ 
+ 
+As sólidas raízes de Cabeceiras de Basto, “uma terra antiga e por isso uma terra sábia”, fizeram de Joaquim José Pacheco um gajo rijo e longevo que chegou aos 82 anos, em uma época na qual a expectativa de vida ao nascer era apenas de 30 anos e o próprio imperador faleceu três dias após fazer 66 anos. Hoje Pacheco seria certamente centenário, mas tal longevidade tanto pode ser encarada como uma bênção quanto como uma provação, já que o destino do idoso é viver em uma continua despedida dos entes queridos. Com Pacheco isso não foi diferente: ele, que já havia perdido na juventude uma filhinha com apenas 18 meses, Emília, perdeu depois a esposa, Elvira Laura, o filho, Alfredo Henrique, e duas netas, Maria e Maria de Lourdes. É como bem lembrou Lúcio Cardoso em seu Diário: “Podemos não sentir a idade, mas ela se faz presente, através dos mortos que vai semeando em torno de nós”.
+ARLEQUIM SERVIDOR DE DOIS AMOS
+Além de excelente fotógrafo, Joaquim Insley Pacheco foi também pintor e aquarelista, desmentindo o mito do antagonismo entre pintura e fotografia na fase inicial dessa nova disciplina. Foi, inclusive, aluno de pintura de outro dublê de fotógrafo e pintor, Arsênio da Silva, que documentou o casamento da princesa Isabel, em 15 de outubro de 1864. É muito provável que ele tenha tido notícia do daguerreotipista alemão, Francisco Napoleão Bautz, o primeiro a se dividir entre pintura e fotografia entre nós, e muito certamente conheceu outro profissional na mesma condição, Karl Ernest Papf, que chegou ao Brasil para realizar as fotopinturas da Photographia Allemã, de Albert Henschel, no Recife, mas depois se radicou em Petrópolis, onde abriu estúdio próprio no qual foi assistido pelo filho, Jorge Henrique, mais tarde autor de um impressionante panorama de 360 graus da Cidade Imperial.
+Além de se aperfeiçoar na técnica do guache com Arsênio da Silva, Pacheco também foi aluno de pintura de Karl Linde e François-René Moreaux. Quando Silva faleceu, praticamente esquecido, em 1883, o discípulo deu uma bela prova de afeição pelo mestre: organizou uma ampla retrospectiva do seu trabalho no Salão Insley Pacheco, que foi prestigiada inclusive pelo imperador no dia 18 de outubro do mesmo ano, fato merecedor de registro na capa da Revista Illustrada (Número 358), na qual Angelo Agostini retratou o fotógrafo acompanhando Dom Pedro II na referida visita. Ressaltou ainda na legenda o fato de que Arsênio teria sido completamente esquecido se não fosse pela homenagem prestada por Insley Pacheco.
+ 
+Revista Illustrada, 1883 ANO 8, edição 358
+ 
+A prática do retrato fotográfico é tão fascinante quanto excruciante, pois é preciso admitir que o ser humano às vezes pode ser insuportável e as crianças, que têm índole melhor, costumam ser irrequietas, de tal forma que Pacheco chegou a anunciar na imprensa no começo da carreira sua especialidade no trato dos pequenos inevitavelmente enfastiados com as longas sessões de pose dos primórdios da fotografia. Para descansar das caras e bocas da prática cotidiana do retrato fotográfico, na pintura Insley Pacheco optou por se concentrar na produção de paisagens, com acentuado pendor pelas marinhas, que ele pintou em ambos os lados da Baía de Guanabara, no Rio de Janeiro e em Niterói, cujas belas praias seriam também a temática de predileção do Grupo Grimm, capitaneado pelo professor alemão Georg Grimm entre os anos de 1884 e 1886, em um capítulo fundamental do paisagismo na pintura brasileira.
+ 
+Quadro da Baía de Guanabara, pintado por Insley Pacheco / Museu da Vida, Fiocruz
+ 
+Bom pintor, Insley Pacheco não era, no entanto, fenomenal, não podendo se igualar a alguns dos integrantes do Grupo Grimm, como seu próprio líder, Giovanni Battista Castagneto, Domingo García y Vásquez e Antônio Parreiras. Mas, no âmbito da fotografia, era insuperável, como um talento inegável e um domínio técnico invejável, do mesmo nível que os maiores profissionais europeus e norte-americanos de seu tempo. Dominava uma série admirável de processos e Mello Morais Filho, seu contemporâneo, afirmou em Artistas do meu tempo (H. Garnier, Livreiro-Editor, 1904) ter sido ele o pioneiro da ambrotipia no Brasil, além de “Introdutor incontestável da platinotipia no Brasil (1883), os seus planos vingaram desde logo, sendo o sistema adotado sem reservas pela generalidade dos nossos fotógrafos.” O empenho de Pacheco em se aperfeiçoar e se modernizar manteve intacto até o fim da vida, de tal forma que, mais tarde os anúncios publicados por ele na imprensa carioca alardearam o surgimento de um processo de sua invenção denominado “ambro-cromo-tipo”, assim como de “hallotypo”, e, finalmente, em 1909, a tipocromia “um novíssimo e interessante invento”. Constando também entre suas inovações a criação da “Diafonografia”, a respeito da qual nada sabemos.
+ A PARTICIPAÇÃO DE INSLEY PACHECO NAS GRANDES EXPOSIÇÕES NACIONAIS E INTERNACIONAIS
+Como Insley Pacheco foi ombreado apenas por Marc Ferrez o fotógrafo do Império que mais participou de exposições, tanto no Brasil quanto no exterior, é oportuno reproduzir aqui, à guisa de referência, um trecho do meu livro Fotografia escrita: Nove ensaios sobre a produção fotográfica no Brasil (Senac, 2014) sobre a matéria:
+Foi em 1859 que ele participou pela primeira vez da Exposição Geral de Belas-Artes da Academia Imperial, na qual figuravam expoentes das nossas artes, como Jean-Baptiste Debret (incluído em caráter póstumo) e Victor Meirelles, bem como grandes mestres internacionais como Nicolas Poussin, Pieter Paul Rubens, Michelangelo Merisi da Caravaggio e Rafael Sanzio de Urbino.
+Dois anos mais tarde, em 1861, Insley Pacheco obteve sua primeira premiação, uma medalha de cobre da I Exposição Nacional, evento em que participou com retratos fotográficos (inclusive de membros da família imperial), e com pinturas de paisagens. No ano seguinte, participou da primeira mostra internacional, a prestigiosa Exposição Universal de Londres, onde mostrou apenas retratos. Categoria em que figuravam também dois dos maiores especialistas franceses: Nadar (Gaspard Félix Tournachon et Maillet, 1820-1910) e Etienne Carjat (1828-1906). Outros importantes mestres da fotografia francesa que também expuseram na ocasião foram Louis-Alphonse Davanne (1824-1912), um dos membros fundadores, e depois presidente, da Société Française de Photographie, e Louis-Alphonse Poitevin (1819-1882), também membro da SFP e inventor de processos de impressão de imagens a partir do daguerreótipo. Contudo a presença mais ilustre dentre todas foi, inquestionavelmente, a do inventor inglês da fotografia, William Henry Fox Talbot (1800-1877), em sua primeira e última participação num evento dessa natureza.
+Em 1864 Pacheco voltou a mostrar suas imagens fotográficas na Exposição Geral de Belas-Artes da Academia Imperial. E, no ano seguinte, teve participação destacada na Exposição Internacional do Porto, na qual conquistou a Medalha de Primeira Classe. Não deixando de participar também da Exposição Geral de Belas-Artes da Academia Imperial, no Rio de Janeiro. Em 1866 Insley Pacheco obteve medalhas de prata tanto por suas fotografias (na II Exposição Nacional), quanto por suas paisagens pintadas (na Exposição Geral de Belas-Artes da Academia Imperial). Em 1867, ele enviou retratos, inclusive em fotopintura, para a Exposição Universal de Paris, que também contou com a participação de Etienne Carjat. E, como sempre, compareceu à Exposição Geral de Belas-Artes da Academia Imperial, mostrando paisagens pintadas e fotografias, repetindo a dose com ambas as técnicas em 1868 também.
+Joaquim Insley Pacheco teve destacada participação na III Exposição Nacional, em 1873, conquistado duas premiações: medalha de prata e medalha de cobre. Neste mesmo ano foi premiado também na Exposição Universal de Viena, com uma menção honrosa, sendo interessante mencionar que esse evento contou com expressiva participação de fotógrafos sediados no Brasil, tais como: Henschel & Benque, George Leuzinger, Augusto Riedel, Marc Ferrez, Fleiuss Irmãos & Linde, Júlio Balla, Antonio Ricardi e João Ferreira Vilella. Em 1875, ele participou da IV Exposição Nacional (com desenhos e pinturas), e da Exposição Geral de Belas-Artes da Academia Imperial, com retratos fotográficos e uma série de paisagens pintadas em técnicas diversas, como óleo, guache, aquarela e fusain, numa impressionante comprovação de sua versatilidade como pintor.
+Em 1876, Insley Pacheco participou da Exposição Internacional da Filadélfia, comemorativa do primeiro centenário da independência dos Estados Unidos e da qual Dom Pedro II foi o convidado de honra, ocasião em que ocorreu o conhecido episódio do teste do telefone com seu inventor, Graham Bell, do qual nosso imperador foi um dos primeiros clientes e seguramente seu maior “garoto propaganda”. Consta inclusive que Pacheco teria sido premiado na ocasião, mas não consegui obter comprovação disto. Outro prêmio ainda indefinido foi aquele por ele obtido em 1882 na Exposição Continental de Buenos Aires, que Insley Pacheco fez questão de mencionar no verso de seus cartões-suporte a partir desta data, sem especificar no entanto que prêmio teria sido esse. A exemplo do que ocorreu também na Exposição Universal de Paris, de 1889. Esse foi o ano de inauguração da Tour Eiffel e Paul Nadar (Paul Tournachon, 1856-1939), filho do célebre Nadar também participou da exposição deste ano, bem como o suíço Frédéric Boissonnas (1858-1946). O Brasil também teve presença importante, com Albert Richard Dietze, Alfredo Ducasble, Marc Ferrez, Felipe Augusto Fidanza, Rodolpho Lindemann, Nicholson & Ferreira, José Tomás Sabino, José Ferreira Guimarães, George Leuzinger, Alfredo Ducasble e Paulo Robin & Cia.
+Para concluir, é importante ressaltar que Joaquim Insley Pacheco não encerrou sua dupla carreira, na fotografia e na pintura, no período imperial. Extraordinariamente ativo, ele se manteve criativo e produtivo até o fim dos seus dias, com sua última presença em um evento público ocorrendo em 1910, ano em que participou da décima-sétima edição da Exposição Geral de Belas Artes com uma série de pinturas a guache (A Imprensa, 29 de setembro de 1910, primeira coluna).
+ 
+*Pedro Karp Vasquez é escritor, fotógrafo e membro do Instituto Histórico e Geográfico Brasileiro.
+ 
+Acesse aqui a Cronologia de Joaquim Insley Pacheco (1830 – 1912) por Andrea C.T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/14123` — `itens/20.500.12156.1_14123/`
+- `20.500.12156.1/14130` — `itens/20.500.12156.1_14130/`
+- `20.500.12156.1/4457` — `itens/20.500.12156.1_4457/`
+- `20.500.12156.1/14122` — `itens/20.500.12156.1_14122/`
+- `20.500.12156.1/3923` — `itens/20.500.12156.1_3923/`
+- `20.500.12156.1/14125` — `itens/20.500.12156.1_14125/`
+- `20.500.12156.1/14134` — `itens/20.500.12156.1_14134/`
+- `20.500.12156.1/14133` — `itens/20.500.12156.1_14133/`
+- `20.500.12156.1/508` — `itens/20.500.12156.1_508/`
+- `20.500.12156.1/492` — `itens/20.500.12156.1_492/`
+- `20.500.12156.1/14136` — `itens/20.500.12156.1_14136/`
+- `20.500.12156.1/14131` — `itens/20.500.12156.1_14131/`
+- `20.500.12156.1/14144` — `itens/20.500.12156.1_14144/`
+
diff --git a/wordpress/4178-panorama-circular-do-rio-de-janeiro-visivel-do-morro-de-santo-antonio.md b/wordpress/4178-panorama-circular-do-rio-de-janeiro-visivel-do-morro-de-santo-antonio.md
new file mode 100644
index 0000000..48b2e9c
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+++ b/wordpress/4178-panorama-circular-do-rio-de-janeiro-visivel-do-morro-de-santo-antonio.md
@@ -0,0 +1,44 @@
+---
+id: 4178
+url: "https://brasilianafotografica.bn.gov.br/?p=4178"
+titulo: "Panorama circular do Rio de Janeiro, visível do Morro de Santo Antônio"
+autor: "Vinicius Martins"
+data: "2015-12-15T15:47:14+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/588"]
+fetched_at: "2026-09-10T10:22:09.999Z"
+---
+
+# Panorama circular do Rio de Janeiro, visível do Morro de Santo Antônio
+
+Panorama circular do Rio de Janeiro, visível do Morro de Santo Antônio
+Joaquim Marçal Ferreira de Andrade*
+
+ 
+Este Panorama circular da cidade de São Sebastião do Rio de Janeiro, Brasil, visível do Morro de Santo Antônio foi publicado em 1917 pela Empresa de Propaganda Brasileira que, com justeza, denominou-o um ‘indicador’. Sua execução gráfica ficou a cargo das oficinas do Jornal do Brasil, uma das primeiras a equipar-se, desde a virada do século, para a realização de trabalhos de reprodução fotomecânica pelo processo de autotipia, também conhecido como similigravura, meio-tom ou meia-tinta: a partir de uma fotografia, preparava-se um clichê onde os tons contínuos da imagem eram reduzidos a uma trama de retícula – minúsculos pontos, de dimensões variadas que, impressos, nos dão a impressão de estarmos vendo “uma fotografia de verdade”.
+Pois até os fins do século 19, a idéia de ‘fotografia’ estava, mesmo, vinculada a um objeto, um artefato fotográfico, uma fotografia original, produzida em laboratório. Mas a partir do advento da retícula, a fotografia se desvinculou do original, do artefato, tornando-se apenas uma imagem, multiplicada aos milhares em poucas horas, e rapidamente disseminada. Tornou-se onipresente, enfim.
+Desta primeira edição do panorama, teriam sido produzidos oito mil exemplares. Trata-se de um painel fotográfico circular com uma visão de 360° do centro do Rio de Janeiro, tomada a partir do Morro de Santo Antônio. Foram feitas oito fotos e de cada uma delas aproveitou-se o campo abrangido pelo ângulo de 30 graus. Assim, temos doze seções na imagem, nitidamente marcadas por uma linha vertical.
+ 
+Esquema para montagem do panorama circular do Rio de Janeiro, acompanhado de instruções escritas, no verso do mesmo.
+ 
+Esta é uma versão moderna das antigas rotundas, pintadas a mão, que tanto sucesso fizeram no passado. Os pintores Pedro Américo e Vítor Meireles foram mestres nesta técnica. O panorama giratório Baía e cidade do Rio de Janeiro de Vítor Meireles, apresentado em 1890 à população carioca, tinha 115 metros de comprimento e foi exibido inicialmente em uma rotunda na Praça 15. Dele só restaram alguns estudos em papel, que hoje integram o acervo do Museu Nacional de Belas Artes.
+Voltemos ao nosso panorama. Segundo informa o texto impresso no verso, esta peça gráfica serviria de guia “aos visitantes do grande panorama, ora em via de execução.” Se este empreendimento (do grande panorama) foi levado a cabo, desconhecemos. Quem sabe algum leitor de nosso portal Brasiliana Fotográfica não disporá dessas informações, tão valiosas?
+ 
+No anúncio da loja de produtos fotográficos de Felix Ottersbach, estão listados alguns dos produtos então utilizados, no momento em que ampliava-se um novo mercado, voltado aos amadores da fotografia.
+ 
+A descoberta dos raios X deu-se nos fins do século 19 e a sua utilização, no campo da medicina, foi quase imediata. A radiografia, entre outras aplicações, desenvolveu-se com rapidez.
+ 
+No trabalho apresentado em congresso e depois publicado na Revista do IHGB em 1984, Lygia Cunha discorreu sobre os “Panoramas e Cosmoramas. Distrações populares no Segundo Reinado.” A mais recente publicação deste ensaio deu-se no ano de 2010, em coletânea de estudos seus, integrantes do vol. 34 da Coleção Rodolfo Garcia, da Biblioteca Nacional, pp. 205-211: 
+Ali, a autora reproduz um anúncio dos antigos panoramas que foram exibidos em terras cariocas: “Panorama da rua do Teatro, n. 30. Faz-se ciente ao respeitável público que, durante os 9 dias da coroação, apresentará novas vistas, e igualmente o grande comboio que teve lugar em Paris pela morte do Grande Napoleão. Entrada 160 rs.” Jornal do Commercio, 18 e 19 de julho de 1841, p. 4 (segunda coluna, quase no meio da página).
+Como se vê, o fascínio do ser humano pelas ‘experiências imersivas’ faz parte de sua natureza e sempre o acompanhou, do homem das cavernas aos apreciadores de videogames e filmes 3-D. Convidamos, então, os visitantes de nosso portal para desfrutar da potente ferramenta de zoom que têm à sua disposição, percorrendo este panorama quase centenário. Estamos comemorando o aniversário dos 450 anos da cidade; momento mais que oportuno para este passeio.
+ 
+Empresa de Propaganda Brazileira : Panorama circular da cidade de São Sebastião do Rio de Janeiro, Brasil, visível do Morro de Santo-Antonio. Acervo FBN
+ 
+*Joaquim Marçal Ferreira de Andrade é curador, pela Biblioteca Nacional, do portal Brasiliana Fotográfica.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/588` — `itens/20.500.12156.1_588/`
+
diff --git a/wordpress/41818-o-paco-imperial-o-palacio-mais-antigo-do-rio-de-janeiro.md b/wordpress/41818-o-paco-imperial-o-palacio-mais-antigo-do-rio-de-janeiro.md
new file mode 100644
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--- /dev/null
+++ b/wordpress/41818-o-paco-imperial-o-palacio-mais-antigo-do-rio-de-janeiro.md
@@ -0,0 +1,63 @@
+---
+id: 41818
+url: "https://brasilianafotografica.bn.gov.br/?p=41818"
+titulo: "O Paço Imperial, o palácio mais antigo do Rio de Janeiro"
+autor: "Andrea Wanderley"
+data: "2026-06-07T09:58:36+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/4420", "20.500.12156.1/4675", "20.500.12156.1/6963", "20.500.12156.1/6986"]
+fetched_at: "2026-09-10T10:22:13.005Z"
+---
+
+# O Paço Imperial, o palácio mais antigo do Rio de Janeiro
+
+O Paço Imperial, o mais antigo palácio da cidade do Rio de Janeiro, além de importante historicamente – foi palco do Dia do Fico, da assinatura da Lei Áurea e o centro das decisões que ocasionaram a Proclamação da Independência – é também muito bonito, atrativo que certamente impressionou diversos fotógrafos. Hoje destacamos imagens  realizadas por Antonio Luiz Ferreira (18? – 19?), Camillo Vedani (18? – 1888), Georges Leuzinger (1813 – 1892), Guilherme Santos (1871 – 1966), Juan Gutierrez (c. 1860 – 1897), Marc Ferrez (1843 – 1923) e Revert Henrique Klumb (c. 1826 – c. 1886). Todos esses fotógrafos já foram personagens centrais de artigos publicados na Brasiliana Fotográfica. Há também imagens produzidas por fotógrafos ainda não identificados. As fotos são provenientes do acervos fotográficos das instituições fundadoras do portal – a Fundação Biblioteca Nacional e o Instituto Moreira Salles –  e de duas de suas instituições parceiras – o Leibniz-Institut fuer Laenderkunde e o Museu Histórico Nacional.
+ 
+Georges Leuzinger. Paço Imperial, c. 1865. Rio de Janeiro, RJ / Convênio Instituto Moreira Salles – Leibniz-Institut für Länderkunde
+ 
+Acessando o link para as fotografias selecionadas do Paço Imperial disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Marc Ferrez. Prédio do Paço Imperial, c. 1890. Rio de Janeiro, RJ / Acervo IMS
+ 
+O Paço Imperial foi, no século XVIII, a residência do governador e do Vice-Rei. Em 1808, com a vinda de dom João VI (1767 – 1826) para o Rio de Janeiro, passou a se chamar Paço Real e tornou-se a residência oficial da família real e o centro de poder do Reinado e do Império.  Recebeu o nome atual, em 1822, e passou a ser a sede administrativa do governo, além de abrigar eventos oficiais e festas. Com a Proclamação da República, em 15 de novembro de 1889, passou a sediar os Correios e Telégrafos.
+ 
+Paço Imperial quando sediou o Departamento de Correios e Telégrafos, após a Proclamação da República, em 15 de novembro de 1889, por um fotógrafo ainda não identificado / Revista do Patrimônio Histórico e Artístico Nacional, 1984
+ 
+Foi tombado pelo SPHAN, em 1938. Em 1982, a Fundação Nacional Pró-Memória, sob a direção de Aloisio Magalhães (1927-1982), deu partida ao processo de restauração do prédio. Em 1985, já reformado sob o comando do arquiteto Glauco Campello (1930-2015), passou a funcionar como um Centro Cultural.
+ 
+Antonio Luiz Ferreira. Assinatura da Lei Áurea no Paço Imperial, 13 de maio de 1888. Rio de Janeiro, RJ / Acervo IMS
+ 
+ 
+Camillo Vedani. Praça D. Pedro II, atual Praça XV de novembro; à direita, Paço Imperial; ao fundo, chafariz do mestre Valentim, c. 1865. Rio de Janeiro, RJ / Acervo IMS
+ 
+Seus 40 anos como centro cultural foram comemorados com a exposição coletiva Constelações, inaugurada em 28 de março e que termina hoje. A curadoria da mostra foi de Claudia Saldanha, Ivair Reinaldim e equipe do Paço Imperial.
+ 
+
+ 
+Leia aqui alguns artigos publicados na Revista do Patrimônio Histórico e Artístico Nacional de 1984 sobre a restauração do Paço Imperial:
+Paço Imperial: história e ressurreição de um palácio, por Pedro Calmon, então presidente do Instituto Histórico e Geográfico Brasileiro, ilustrada com imagens produzidas pelo austríaco Thomas Ender (1893 – 1875), pelo francês Jean-Baptiste Debret (1768 – 1868), do francês Louis-Auguste Moreau (1818 – 1877) e do suíço Abram Louis Buvelot (1814 – 1888), por Antonio Luiz Ferreira (18? – 19?), por Urias Antonio da Silveira (18? – ?), do arquiteto português Pinto Alpoim (1700 – 1775) e de Pedro Lobo (19? -?).
+A restauração do Paço: revendo 240 anos de transformações, por Glauco Campello, arquiteto e coordenador da restauração do Paço, ilustrada com aquarelas do inglês Richard Bate (1775 – 1856), de 1808, e do austríaco Thomas Ender (1893 – 1875), de 1817; com um desenho do alemão Karl Wilhelm von Theremin (1784-1852), de 1818, e com um do francês Louis-Auguste Moreau (1818 – 1877) e do suíço Abram Louis Buvelot (1814 – 1888), de 1842; e por fotografias de Marc Ferrez (1843 – 1923), de 1880, e de um fotógrafo ainda não identificado (posterior à Proclamação da República).
+O novo Paço: uma obra para debates, pelo arquiteto Cyro Corrêa Lyra, ilustrada com uma imagem produzida por Leandro Joaquim (1838 – 1898), de 1789.
+Estudos preliminares para a restauração do Paço, pelo arquiteto José de Souza Reis, com imagens de autoria do inglês William John Burchell (1781 – 1863), de 1825; e do arquivo pessoal do autor.
+A pesquisa arqueológica: primeiras notas, pelas arqueólogas Regina Coeli Pinheiro da Silva, Edna June Morley e Catarina Eleonora Ferreira da Silva, ilustrada com fotografias produzidas por Pedro Lobo (19?-?), por uma gravura da Biblioteca Nacional e por plantas das escavações.
+ 
+Andrea C.T. Wanderley
+Editora e pesquisadora da Brasiliana Fotográfica
+ 
+Fontes:
+CAVALCANTI, Lauro. Paço Imperial. Rio de Janeiro : Sextante Artes, 1999.
+Hemeroteca Digital da Biblioteca Nacional
+Portal IPHAN
+Portal MultiRio
+Site Enciclopédia Itaú Cultural
+Site Paço Imperial
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/4420` — `itens/20.500.12156.1_4420/`
+- `20.500.12156.1/4675` — `itens/20.500.12156.1_4675/`
+- `20.500.12156.1/6963` — `itens/20.500.12156.1_6963/`
+- `20.500.12156.1/6986` — `itens/20.500.12156.1_6986/`
+
diff --git a/wordpress/42040-serie-conflitos-xi-memorias-de-uma-enfermeira-febiana-no-front.md b/wordpress/42040-serie-conflitos-xi-memorias-de-uma-enfermeira-febiana-no-front.md
new file mode 100644
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--- /dev/null
+++ b/wordpress/42040-serie-conflitos-xi-memorias-de-uma-enfermeira-febiana-no-front.md
@@ -0,0 +1,88 @@
+---
+id: 42040
+url: "https://brasilianafotografica.bn.gov.br/?p=42040"
+titulo: "Série “Conflitos” XI – Memórias de uma enfermeira “febiana” no front"
+autor: "Andrea Wanderley"
+data: "2025-12-15T10:43:00+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/14041", "20.500.12156.1/14038", "20.500.12156.1/14059", "20.500.12156.1/14055", "20.500.12156.1/14050", "20.500.12156.1/14060"]
+fetched_at: "2026-09-10T10:22:16.401Z"
+---
+
+# Série “Conflitos” XI – Memórias de uma enfermeira “febiana” no front
+
+Memórias de uma enfermeira “febiana” no front
+Cristiane d’Avila e Laurinda Maciel*
+Há pouco mais de 80 anos, em 6 e 9 de agosto de 1945, os Estados Unidos lançavam sobre o Japão as bombas que ceifaram a vida de milhares de civis e devastaram parte das cidades de Hiroshima e Nagasaki, encerrando os seis longos anos da Segunda Guerra Mundial (1939-1945). Expressão da luta contra o nazismo e o fascismo, a contenda incluiu o envio de tropas brasileiras ao norte da Itália em apoio aos Aliados (Estados Unidos, Reino Unido, União Soviética, França, Polônia), após o Brasil declarar guerra à Alemanha e Itália. Parte dessa história pode ser conferida no Departamento de Arquivo e Documentação da Casa de Oswaldo Cruz (DAD/COC), em especial a partir do acervo documental de uma brasileira que vivenciou o conflito bélico no front: a enfermeira da Força Expedicionária Brasileira (FEB), Virgínia Maria de Niemeyer Portocarrero (1917-1923).
+ 
+Enfermeiras Doris, Virgínia, e Sylvinha, s/d. Pistoia, Itália / Acervo Casa de Oswaldo Cruz
+ 
+Nascida em 23 de outubro de 1917, no Rio de Janeiro, Virgínia era filha e sobrinha de generais. Bacharel em Ciências e Letras pelo Colégio Pedro II, formou-se em Enfermagem Samaritana pela Cruz Vermelha. Com o início da guerra, voluntariou-se para as Forças Armadas do Brasil, o que a levou a compor o Quadro de Emergência de Enfermeiras da Reserva do Exército (CEERE).
+ 
+Acessando o link para as fotografias relativas à enfermeira Virgínia Portocarrero disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Em 7 de julho de 1944 embarcou para Nápoles, Itália, como uma das 67 integrantes do Primeiro Escalão da Força Expedicionária Brasileira (FEB). Outras seis enfermeiras, egressas da Escola Anna Nery (EAN), compuseram o quadro da Força Aérea Brasileira (FAB). O grupo atuou nos seguintes hospitais de campanha do exército norte-americano instalados na Itália: 182th Station General Hospital, em Nápoles, 105th Station Hospital, em Cevitavecchia, 64th General Hospital, em Ardenza, 38th Evacuation Hospital, em Cecina, Florença e Pisa; 16th Evacuation Hospital, em Pistola, e 15th Evacuation Hospital, em Corvela.
+ 
+Vista da cidade de Pístola, onde funcionou um dos hospitais de campanha utilizados pela FEB durante a Segunda Guerra Mundial, na Itália, 1944/1945. Pistoia, Itália / Acervo Casa de Oswaldo Cruz
+ 
+Em 7 de julho de 1945, regressou ao Brasil e, em 1957, foi incorporada ao serviço ativo do Exército como 2º tenente e enfermeira na Policlínica Central do Exército. Passou para a reserva, em 25 de setembro de 1962, como 1º tenente, sendo promovida a capitão em 1963.
+O arquivo pessoal
+O arquivo pessoal de Virgínia, doado ao DAD/COC, em 2010, contém centenas de fotografias, cartas, recortes de jornais, panfletos, ilustrações, desenhos e gravações de canções, entre outros documentos, com destaque para o diário sobre sua experiência como enfermeira da FEB. Nele, ela conta em detalhes o cotidiano de trabalho no hospital de campanha, o atendimento aos feridos e os momentos de descontração, entre outras percepções sobre sua experiência nos campos de batalha.
+Em 2021, o arquivo completo foi digitalizado com recursos do Programa Iberarchivos, ação de fomento, acesso, organização, descrição, conservação e difusão do patrimônio documental das nações ibero-americanas voltada à promoção da igualdade de gênero e ao empoderamento de mulheres e meninas, em alinhamento ao 5º Objetivo de Desenvolvimento Sustentável (ODS) da Agenda 2030 da Organização das Nações Unidas (ONU)[1].
+Memórias de uma “‘febiana” no front
+Em 14 de março de 2008, Virgínia concedeu entrevista às historiadoras da COC Anna Beatriz de Sá Almeida, Laurinda Rosa Maciel e Margarida Maria Rocha Bernardes relatando sua experiência no front durante quase um ano de trabalho na Itália. Na sequência, destacamos trechos das falas:
+“Eu ouvia falar essa coisa toda, não sabe? Eu disse: “Não, eu vou fazer um curso para também ir para essa guerra para cuidar dos militares… com interesse de ir para guerra. E eu fiz o primeiro ano [do curso da Cruz Vermelha], e nisso saiu no jornal O Globo o [chamado para o] voluntariado. Eu aí fui em casa, apanhei os documentos; não disse a ninguém, me apresentei. Chegou de noite o jornal começou a publicar e dar os nomes, aí começaram a telefonar […] para a mamãe e pra mim. Porque a mamãe era uma mãe extraordinária, uma gracinha de mãe; o meu pai um amor, uma coisa formidável. [Eles não sabiam de nada] eu me apresentei e fiquei quietinha porque senão podiam dizer não, e aí que eu não ia fazer porque eu era obediente.
+ 
+Enfermeira Elza Cansanção ao lado de sua mãe Aristheia antes de embarcar para a Itália, s/d / Acervo Casa de Oswaldo Cruz
+ 
+E aí eu já era maior, podia me apresentar. […] Foi o seguinte: meu tio, irmão de papai mais novo, era chefe de gabinete de Prudente de Morais, general Prudente de Morais, era o general José Portocarrero. […] e eles foram lá pedir para me reprovar no exame de saúde porque eu saí muito bem classificada no curso. Eu fiz tudo que tinha que fazer: ginástica, essas coisas todas…  […] Tinha três em primeiro lugar, uma em segundo, e depois o meu foi o terceiro. Passei em tudo muito bem. Estudava que nem uma danada, não é? Eu não podia deixar de sair, porque eu queria ser aquilo. Já toda fardadinha…
+ 
+Enfermeiras da Força Expedicionária Brasileira em Pistoia , s/d / Acervo Casa de Oswaldo Cruz
+ 
+Embarquei para Natal. Na Base Aérea de Parnamirim e ficamos lá, não sabíamos para onde íamos. Eu e mais cinco e o major Ernestino [Homem de Oliveira], um portento de inteligência, um cirurgião maravilhoso”. 
+O trabalho nos hospitais de campanha
+“De lá [Argel] nós fomos para a Itália. Aí que nós que soubemos que [iríamos] para a Itália. […] Aí quando nós estávamos sentadas, muito bem clareou a cidade toda, que era madrugada, não é? Aí foi o batismo de fogo, porque começaram a bombardear Nápoles, em frente à nossa janela. Nós assistimos. Então o nosso batismo de fogo foi esse. Nós nem pernas tínhamos para sair, ficamos ali sentados, o major, nós duas… Olhando aquele bombardeio caindo na Baía de Nápoles. Estavam invadindo, tantos que morreram. Então, a Baía de Nápoles foi o nosso batismo. […] nós fomos cumprimentar as americanas. Comigo as americanas foram educadíssimas, […] me chamavam na hora da folga para a barraca delas jogar carta, para aprender a falar português, para me ensinar inglês, elas comigo foram fabulosas. 
+O banho era em conjunto com as americanas. Aquelas barracas grandes, abertas… Cada uma entrava num boxe, tomava banho. E tinha um saco que você jogava roupa suja, e a italiana tinha uma máquina de lavar, que lavava a roupa, mas ela só tinha ordem de lavar as das americanas. Nós levávamos aquilo, de noite na pia…
+ 
+Alojamento do hospital de Corvella, na Itália, durante a Segunda Guerra Mundial, s/d. Itália / Acervo Casa de Oswaldo Cruz
+ 
+Era uma rua de barracas; barracas para lá e barracas de lá e aqui a ruazinha. Eram americanas e brasileiras enfermeiras nesse pedaço. Na outra zona do nosso limite os médicos, e noutra os sargentos e os soldados. Era o nosso limite.
+Nessa enfermaria tinha sempre uma americana com uma brasileira para ensinar a rotina do hospital, que era tudo em inglês: os pedidos de medicamento, os médicos receitavam… Tinham médicos que não sabiam nada de inglês. Até à gente eles vinham, eu dizia: “Vê lá, eu de inglês eu… É melhor o senhor saber com americano porque o meu inglês é fraco”. 
+ 
+Tenente Jacyra no 38th Evac. Hospital, s/d. Itália / Acervo Casa de Oswaldo Cruz
+ 
+Às 7 horas da manhã a gente tinha que entrar. A colega da noite já tinha dado banho. E o banho das americanas elas nunca davam o banho geral. Elas botavam um biombo, porque era leito vago. Quando baixava coronel, general, queimado, paisano… Então eles botavam um biombo que ficava meio falta de respeito, não é? […] nós dávamos injeção na veia, passava no soro, e as americanas não passavam… os próprios americanos gostavam mais de tomar injeção com as brasileiras. Pegávamos o músculo e pow!
+Das 7h da manhã às 7h da noite; depois tínhamos um dia de folga total, e trabalhávamos das 7h da noite, às 7h da manhã, 15 dias; os que eram prisioneiros de guerra e estavam feridos iam para a mesma enfermaria. Eles davam pijama, escova de dente, sabonete, alimentação igual, não queriam conversa. Americano então tinha horror de conversar. E eles ficavam danados porque eles [prisioneiros] conversavam à beça comigo porque falavam francês, falavam italiano, espanhol, porque eram cultos; o alemão era cultíssimo. Agora o americano só falava inglês.
+Os americanos eram verdadeiras crianças; a gente botava o remédio para eles, tinha que botar na boca, mandar abrir a boca, e ficar segurando ver se eles não jogavam fora. Os alemães eram rigorosos e muito disciplinados. 
+A sala de choque era uma espécie de urgência, quando eles chegavam iam para ser atendidos logo ali; era uma espécie de boxes para tratamento geral, limpeza e tal. E se dividia pelo quadro: a enfermaria com a gravidade, com a maior gravidade, inclusive para a sala de operações. Era logo classificado. [tinha sala de operações, clínica e choque] e tinha de material cirúrgico, dando suporte […] Era hospital de campo, tudo em barracas, mas tudo [organizado]… Se o bombardeio durasse, [o hospital de campanha com as barracas] ficava enquanto durasse o bombardeio”.
+A produção de memória e o término da guerra
+“O nome dos vários pontos que nós passamos eu me lembrava porque o meu pai como era professor, ele me instruiu. Ele disse: “Você não mande nada, nada da tua vida militar em carta porque em tempo de guerra isso não vai chegar aqui. Você faz o seguinte: cada doente que você tiver alta, que ele tiver transferência para o Brasil, você dá o meu telefone, dá a ele, pede licença ao comando que vai mandar para o seu pai”. E o papai escreveu uma carta ao Major Ernestino pedindo que deixasse… que liberasse, que queria fazer o meu diário. O major Ernestino permitiu fazer. […] Eles telefonavam, papai ia ao HCE e apanhava.
+Ganhei uma máquina fotográfica porque fizeram uma vaquinha. Eu tenho fotografia de tudo. Tudo que eu queria eu tirava. [antes de ter a máquina] eu gostava de fotografia, mas não consegui levar máquina porque não deixaram. 
+[Ganhava] muitos presentes [dos pacientes], cartas, poesias, tudo, tudo, tudo. E aqui no Brasil eu recebo telefonemas de esposas que ainda estão vivas. 
+Que já tinha acabado a guerra, e eu vi o Mussolini pendurado de cabeça para baixo, a mulher do Mussolini [Clara Petacci] e três ministros. Vi em Milão, estava perto do Lago de Como, pendurado de cabeça para baixo, e os italianos foram que meteram canivetes, facas. Quem o matou foram os próprios italianos”. 
+ 
+O arquivo pessoal de Virgínia Portocarrero, os áudios das entrevistas realizadas, bem como a transcrição das mesmas estão disponíveis para consulta, que pode ser solicitada em https://www.gov.br/pt-br/servicos/consultar-arquivos-historicos-da-fiocruz .
+ 
+[1] Objetivo de Desenvolvimento Sustentável 5: “Igualdade de gênero – Alcançar a igualdade de gênero e empoderar todas as mulheres e meninas. Disponível em Sustainable Development Goal 5: Igualdade de gênero | As Nações Unidas no Brasil.
+
+*Cristiane d’Avila é jornalista e Laurinda Maciel é historiadora do Departamento de Arquivo e Documentação da Casa de Oswaldo Cruz (COC/Fiocruz)
+
+Esse artigo passou a integrar a série Conflitos, em 20 de março de 2026.
+
+Fontes:
+BERNARDES, M.M.R.; KAMINITZ, S.HC; MACIEL, L.R. et ali. ‘Uma enfermeira da Força Expedicionária Brasileira na Segunda Guerra Mundial: Fundo Virgínia Portocarrero da Casa de Oswaldo Cruz/Fiocruz’. Hist. cienc. saude-Manguinhos 29 (2) • Apr-Jun 2022, p.531-550.
+CASA DE OSWALDO CRUZ. Departamento de Arquivo e Documentação. Fundo Virgínia Portocarrero. Disponível em: https://basearch.coc.fiocruz.br/index.php/virginia-portocarrero. Acesso em: 09 nov 2025.
+D’AVILA, Cristiane. Força feminina contra o nazismo: a enfermeira brasileira Virgínia Portocarrero na Segunda Guerra Mundial (Artigo). In: Café História. Publicado em 1 mar de 2021. Disponível em: https://www.cafehistoria.com.br/enfermeiras-na-segunda-guerra-virginia-portocarrero/. ISSN: 2674-59.
+PORTOCARRERO, Virgínia Maria Niemeyer. FIOCRUZ. Rio de Janeiro. 14 de maio. 2008. Entrevista concedida à Anna Beatriz de Sá Almeida, Laurinda Rosa Maciel e Margarida Maria Rocha Bernardes. Acervo da Casa de Oswaldo Cruz. Disponível em: https://basearch.coc.fiocruz.br/index.php/virginia-maria-de-niemeyer-portocarrero-3. Acesso em: 09 nov 2025.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/14041` — `itens/20.500.12156.1_14041/`
+- `20.500.12156.1/14038` — `itens/20.500.12156.1_14038/`
+- `20.500.12156.1/14059` — `itens/20.500.12156.1_14059/`
+- `20.500.12156.1/14055` — `itens/20.500.12156.1_14055/`
+- `20.500.12156.1/14050` — `itens/20.500.12156.1_14050/`
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+
diff --git a/wordpress/42064-o-elevador-lacerda-um-dos-icones-de-salvador.md b/wordpress/42064-o-elevador-lacerda-um-dos-icones-de-salvador.md
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+---
+id: 42064
+url: "https://brasilianafotografica.bn.gov.br/?p=42064"
+titulo: "O Elevador Lacerda, um dos ícones de Salvador"
+autor: "Andrea Wanderley"
+data: "2026-03-29T10:28:52+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/329", "20.500.12156.1/2479"]
+fetched_at: "2026-09-10T10:22:19.719Z"
+---
+
+# O Elevador Lacerda, um dos ícones de Salvador
+
+A Brasiliana Fotográfica celebra os 477 anos de fundação de Salvador, ocorrida em 29 de março de 1549, destacando imagens do Elevador Lacerda, um dos maiores símbolos da cidade, um dos principais cartões postais da Bahia e o primeiro edifício urbano elevador do mundo. Os registros destacados foram realizados por Guilherme Gaensly (1843 – 1928), Marc Ferrez (1843 – 1923), Pedro Gonsalves da Silva (18?- 19?) e Rodolpho Lindemann (c. 1852 – 19?). Foram produzidos no século XIX e na década de 1910.
+ 
+Guilherme Gaensly. Vues de Bahia : Elevador Lacerda, 1870 – 1880. Salvador, Bahia / Acervo FBN
+ 
+As obras fotográficas do suíço Gaensly e do carioca Ferrez já foram diversas vezes abordadas em vários artigos da Brasiliana Fotográfica e sobre ambos foram realizados perfis e cronologias publicados no portal: São Paulo sob as lentes do fotógrafo Guilherme Gaensly (1843 – 1928) e O brilhante cronista visual Marc Ferrez (RJ, 07/12/1843 – RJ, 12/01/1923), respectivamente.
+Pouco se sabe até o momento sobre os fotógrafos Pedro Gonsalves da Silva e Rodolpho Lindemann. O primeiro era brasileiro ou português e trabalhou como fotógrafo na Bahia, nas décadas 1880 e 1890. Sucedeu Eduardo del Vechi no estúdio da rua Carlos Gomes, nº 116, em Salvador, que já havia pertencido a Antônio da Silva Lopes Cardoso, e batizou o estabelecimento de Photographia Nacional. Posteriormente, transferiu seu ateliê, denominado Photographia Pedro Gonsalves da Silva, como se lê no verso de uma fotografia de sua autoria (imagem abaixo), para a rua Direita do Palácio, nº 8. Destacou-se como retratista e, também de acordo com a imagem abaixo, seu estabelecimento foi premiado com uma medalha de ouro. É avô do fotógrafo baiano Armínio Archimedes Pedro Gonçalves Kaiser  (1925 – 2014), um dos fundadores do Foto Clube de Londrina.
+ 
+
+ 
+O alemão Rodolpho Frederico Francisco Lindemann tornou-se, na década de 1880, ajudante e, posteriormente, sócio do fotógrafo suíço Guilherme Gaensly (1843 – 1928), em Salvador. Segundo Geraldo da Costa Leal em Um cinema chamado saudade (1997), em 1874, Lindemann  já trabalharia com Gaensly.  Em 1888, Lindemann casou-se com Alaine, irmã de Gaensly. Em 1894, a próspera empresa Gaensly & Lindemann abriu uma filial em São Paulo. Gaensly foi chefiar a sede paulista e Lindemann permaneceu em Salvador. Terminou a sociedade entre Gaensly & Lindemann, em São Paulo, e Gaensly passou a atuar sozinho na Photographia Gaensly. Lindemann é considerado um grande fotógrafo de paisagens tendo produzido vistas de Salvador, de Alagoas e de Pernambuco. Várias vistas de Salvador produzidas por ele foram incluídas pelo barão do Rio Branco (1845 – 1912) no Album de vues du Brésil, lançado em Paris na ocasião da Exposição Universal de 1889, ocorrida entre 6 de maio e 31 de outubro de 1889, e fazia parte da segunda edição de Le Brésil, extrato da Grande Enciclopédia, trabalho dirigido pelo geógrafo Émile Levasseur  (1828-1911), para o qual o barão havia colaborado. Também em 1889 a Photographia Gaensly & Lindemann foi premiada na mencionada exposição.
+ 
+Almanach, 1896
+ 
+Foi inaugurada, em 1906, no Rio de Janeiro, uma exposição artística dos quadros de Lindemann (O Pharol (MG), 20 de maio de 1906, segunda coluna). No Almanak Laemmert de 1906, era noticiada a Photographia Gaensly e Lindemann, na Praça Castro Alves. No ano seguinte, a Photo Lindemann ficava na Praça Castro Alves, nº 33, mas pertencia a José Dias da Costa sob a gerência do gráfico Gramacho (Revista do Brasil (BA), 15 de outubro de 1907).
+ 
+Breve história do Elevador Lacerda
+ 
+Rodolpho Lindemann. Elevador da Conceição, atual Elevador Lacerda, c. 1885. Salvador, Bahia / Acervo IMS
+ 
+Acessando o link para as fotografias do Elevador Lacerda, em Salvador, disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Um grande desafio de engenharia na época, a construção do elevador foi iniciada, em 17 de outubro de 1869, pela Empresa de Trilhos Urbanos. Foi necessária a perfuração de dois túneis em rocha, um vertical, para abrigar a primeira torre, e outro horizontal, para dar acesso à rua. A Empresa de Trilhos Urbanos era comandada por Antônio de Lacerda (1834 – 1885), encarregado de administrar alguns bondes de tração animal em Salvador que, em parceria com seu irmão, o engenheiro Augusto Frederico de Lacerda (1836 – 1931), posteriormente condecorado como comendador da Imperial Ordem da Rosa, foi o responsável pelo empreendimento. Os irmãos nasceram em Valença, na Bahia, e eram filhos de Antonio Francisco de Lacerda (? – 18?) e Angelica Michelina de Sampaio Vianna (? – 18?).
+ 
+Os irmãos Augusto Frederico  e Antônio de Lacerda
+ 
+O Elevador Hydraulico da Conceição da Praia, nome de batismo do Elevador Lacerda, foi inaugurado, em 8 de dezembro de 1873,  para resolver um grande problema urbano de Salvador – seu desnível. Passou a ser o principal transporte entre a Cidade Baixa a Cidade Alta. Tinha 63 metros de altura, sendo, na época, o elevador mais alto do mundo. Era popularmente conhecido como Parafuso e de suas torres, vê-se a Baía de Todos os Santos, o Mercado Modelo, inaugurado em 1912; e o Forte de São Marcelo, construído no século XVII, outros ícones da paisagem soteropolitana.
+ 
+Relatório dos Trabalhos do Conselho Interior de Governo (BA), 1874
+ 
+Em 1896, por indicação do Instituto Geográfico e Histórico da Bahia, o Elevador passou a se chamar Elevador Antônio de Lacerda. Entre 1906 e 1907, foi eletrificado pela Companhia Linha Circular de Carris da Bahia (Bahia Illustrada, edição 10, 1918, segunda coluna). Em 1930, foram adicionados mais dois elevadores e uma nova torre. Foi nesta reforma, da qual a empresa norte-americana Otis participou, cujos melhoramentos foram inaugurados, em 15 de setembro de 1930, que sua arquitetura passou a ser em estilo art déco. Outras reformas e revisões foram realizadas ao longo de sua existência (Etc (BA), 15 de setembro de 1930; Jornal do Commercio, 15 e 16 de setembro de 1930, quinta coluna; O Jornal, 16 de setembro de 1930).
+ 
+O Jornal, 16 de setembro de 1930
+ 
+Em 1955, o Elevador Lacerda foi estatizado pela Prefeitura de Salvador e, em 1º de julho 1961, novos elevadores da Otis foram inaugurados, mais rápidos e dobrando a capacidade por cabine de 16 para 32 pessoas. Em 7 de dezembro de 2006, foi tombado pelo Instituto do Patrimônio Histórico e Artístico Nacional (Site Iphan).
+ 
+Marcel Gautherot. Rampa e arredores do Mercado Modelo, c. 1950. Salvador, Bahia / Acervo IMS. Em destaque, ao centro, o Elevador Lacerda.
+ 
+Entre 2011 e 2013,  o elevador foi transformado em um microprocessado — uma tecnologia inédita até então. Seu processo, antes mecânico, foi modificado e passou a funcionar através de uma base que envia informações e comandos para o seu funcionamento. O elevador instalado na modernização foi um projeto especial da empresa Otis para o Elevador Lacerda devido a sua complexidade e avançada tecnologia (Blog da Otis).
+ 
+Andrea C.T. Wanderley
+Editora e pesquisadora da Brasiliana Fotográfica
+ 
+Fontes:
+Biblioteca do IBGE
+Blog da Otis
+Dicionário Histórico-Biográfico da Fotografia
+Guia Salvador Antiga
+Hemeroteca Digital da Biblioteca Nacional
+KOSSOY, Boris. Dicionário histórico-fotográfico brasileiro: fotógrafos e ofício da fotografia no Brasil (1833-1910). São Paulo: Instituto Moreira Salles, 2002. 408 p., il. p&b.
+Site Academia Feirense de Letras
+Site Enciclopédia Itaú Cultural
+Site Family Search
+Site Iphan
+TRINCHÃO, Glaucia Maria Costa. O Parafuso: de meio de transporte a cartão-postal. Salvador : Editora da Universidade da Bahia, 2010.
+XAVIER, Xavier, Melquisedeque. Elevador Lacerda : Salvador, BA, 1957.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/329` — `itens/20.500.12156.1_329/`
+- `20.500.12156.1/2479` — `itens/20.500.12156.1_2479/`
+
diff --git a/wordpress/42168-os-200-anos-do-nascimento-de-dom-pedro-ii-e-a-brasiliana-fotografica-no-evento-p.md b/wordpress/42168-os-200-anos-do-nascimento-de-dom-pedro-ii-e-a-brasiliana-fotografica-no-evento-p.md
new file mode 100644
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--- /dev/null
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@@ -0,0 +1,222 @@
+---
+id: 42168
+url: "https://brasilianafotografica.bn.gov.br/?p=42168"
+titulo: "Os 200 anos do nascimento de dom Pedro II e a Brasiliana Fotográfica no evento “Pelas Lentes das Ciências, da História e das Artes: Pedro II em Debate”, no Colégio Pedro II"
+autor: "Andrea Wanderley"
+data: "2025-12-02T07:07:57+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/2947", "20.500.12156.1/2946", "20.500.12156.1/2943", "20.500.12156.1/2938", "20.500.12156.1/2937", "20.500.12156.1/508", "20.500.12156.1/2560", "20.500.12156.1/612", "20.500.12156.1/3923", "20.500.12156.1/2952"]
+fetched_at: "2026-09-10T10:22:23.040Z"
+---
+
+# Os 200 anos do nascimento de dom Pedro II e a Brasiliana Fotográfica no evento “Pelas Lentes das Ciências, da História e das Artes: Pedro II em Debate”, no Colégio Pedro II
+
+Dom Pedro II (1825 – 1891), um entusiasta da fotografia, já foi tema da Brasiliana Fotográfica em diversas publicações. Hoje o portal celebra os 200 anos do nascimento do monarca, destacando esses artigos e oferecendo a seus leitores uma seleção de imagens das viagens que o imperador fez ao Egito e às ruínas de Pompeia, que foram o assunto da exposição Uma viagem ao mundo antigo, cujo curador foi Joaquim Marçal, na ocasião pesquisador da Divisão de Iconografia da Biblioteca Nacional e curador da Brasiliana Fotográfica. Destacamos também a participação da Brasiliana Fotográfica no evento Pelas Lentes das Ciências, da História e das Artes: Pedro II em Debate, realizado nos dias 25 e 27 de novembro de 2025 no Colégio Pedro II, no Rio de Janeiro.
+ 
+
+ 
+Foram expostas, entre 30 de outubro de 2017 e 30 de janeiro de 2018, reinaugurando o Espaço Eliseu Visconti, na Biblioteca Nacional, 119 fotografias do acervo da instituição, uma das fundadoras do portal. Segundo Marçal, muitos desses registros foram expostos pela primeira vez e não contam apenas parte da história do Brasil e do mundo no século XIX, mas também da própria fotografia e da reprodutibilidade das imagens. O acervo integra a Coleção D. Thereza Christina Maria, da qual fazem parte cerca de 100 mil itens entre desenhos, estampas, fotografias, livros, mapas, partituras e outros documentos impressos e manuscritos. A exposição, ainda segundo Marçal, evocou a antiguidade a partir das ruínas do Egito Antigo e de Pompeia e, simultaneamente, alguns aspectos importantes da história das imagens e de sua reprodutibilidade – com destaque para a fotografia, mas sem deixar de levar em conta os processos que a antecederam e com ela coexistiram. A ideia é exibir as diversas técnicas de reprodução experimentadas no século XIX.
+ 
+Acessando o link para as fotografias das viagens de d. Pedro II disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Acesse aqui os outros artigos sobre o imperador dom Pedro II já publicados na Brasiliana Fotográfica:
+Dom Pedro II ( RJ, 2/12/1825 – Paris, 5/12/1891), um entusiasta da fotografia, e autoria de Andrea C.T. Wanderley, publicado em 2 de dezembro de 2016.
+Após encantar-se com Molière e Giulietta Dionesi, o imperador Pedro II sofre um atentado, de autoria de Andrea C.T. Wanderley, publicado em 15 de julho de 2020.
+Dom Pedro II fotografado pelo italiano Luis Terragno (c. 1831 – 1891), Fotógrafo da Casa Imperial, de autoria de Andrea C.T. Wanderley, publicado em 2 de dezembro de 2022.
+E o grande escritor Machado de Assis elogia o imperador Pedro II, de autoria de Andrea C.T. Wanderley, publicado em 5 de março de 2025.
+ 
+ Egito
+O Egito foi um dos destinos do imperador em sua primeira viagem ao exterior, quando foi à Europa e ao Oriente Médio. Partiu, em 25 de maio de 1871, a bordo do paquete Douro, e retornou ao Brasil, em 31 de março de 1872 (Diário do Rio de Janeiro, 26 de maio de 1871, segunda coluna; Diário do Rio de Janeiro, 1º de abril de 1872, primeira coluna).
+ 
+[D. Pedro II, D. Teresa Cristina Maria e comitiva no Egito], 187?. Egito / Acervo FBN
+
+ 
+Dom Pedro II caracterizado como uma esfinge egípcia / Charge de autoria de Ângelo Agostini (1843 – 1910) publicada na Revista Illustrada, em 1871 / Wikipedia
+ 
+Em 28 de outubro, Pedro II chegou a Alexandria e, em 2 de novembro, no Cairo. Em 4 de novembro de 1871, visitou as pirâmides de Gizé com um grupo de viajantes, dentre eles o fundador do atual Museu Egípcio no Cairo, o egiptólogos francês François Auguste Mariette (1821 – 1881) e o alemão Heinrich Karl Brugsch (1827 – 1894), também egiptólogo e futuro diretor da Biblioteca do Instituto de Alexandria. Pedro II ficou no Egito até 11 de novembro de 1871.
+Em seus diários, o imperador escreveu, em 4 de novembro de 1871:
+“Estou muito cansado e atirar-me-ia já na cama se as saudades não exigissem que lhe desse as mais afetuosas boas noites. Adeus, cara amiga! Nada me interessa completamente longe de Você. Adeus! Depois de ouvir missa na igreja dos Franciscanos à qual só a pé se pode chegar por causa destas ruas que parecem galerias de formigas fui às Pirâmides de Gizeh. O caminho quase todo por alamedas de acácias, das quais muitíssimas trançam entre si as comas do verde o mais esplêndido é condigno vestíbulo de tão venerando monumentos. Parecem pequenos até chegar a eles e só se faz idéia da altura da grande pirâmide quando se observam os que por ela trepam e vão-se tornando cada mais pigmeus. Subi facilmente ajudado pelos árabes e no cimo reunimo-nos mais de 30. Da minha companhia só foram Bom Retiro e o egiptólogo distinto dr. Brugsch, que muito tem simpatizado comigo e dado-me informações interessantíssimas. Também galgaram a pirâmide 11 de 17 moças nos Estados Unidos, que consta pertencerem a uma sociedade emancipadora [sic] das mulheres. Um rapaz e senhora de mais idade também as acompanharam. Logo que atingimos o alto da pirâmide soltamos muitos hurrahs, agitamos os lenços e eu assentado numa pedra do tempo de Chufu (Cheops dos gregos) escrevi algumas palavras a Você e os dados que o Brugsch comunicou-me a respeito da pirâmide”.
+Em 7 de novembro, visitou Mênfis e Sakkarah; em 9 de novembro, Mokattan; e, em 10 de novembro, retornou à Alexandria. No dia seguinte, retornou à Europa.
+ 
+Helios. Dom Pedro II, Teresa Cristina Maria e comitiva no Egito, : retrato, 1871. Egito / Acervo FBN
+ 
+
+H. Delie and E. Bechard. D. Pedro II, D. Teresa Cristina Maria e comitiva junto às pirâmides, 1871. Cairo, Egito / Acervo FBN
+ 
+Pedro II voltou ao Egito em sua segunda viagem ao exterior, a mais longa, realizada entre entre 26 de março de 1876 e 25 de setembro de 1877. Embarcou no paquete inglês Hevelius (Diário do Rio de Janeiro,  27 e 28 de março de 1876, quarta coluna; Diário do Rio de Janeiro, 26 de setembro de 1877, terceira coluna; 27 de setembro de 1877, quarta coluna). Visitou os Estados Unidos, o Canadá, diversos países da Europa, do Oriente Médio e da África. 
+ 
+A Grande Orchestra por Bordalo Pinheiro / O Mosquito, 1876, edição 354. Nesta charge, o português Rafael Bordalo Pinheiro (1846 – 1905), desenhou dom Pedro II carregando uma mala e deixando a cargo da princesa Isabel a regência da grande orquestra, que seria o país. É uma crítica ao monarca caracterizado como um viajante itinerante, despreocupado com o Brasil.
+ 
+Passou seu aniversário de 51 anos, em 2 de dezembro de 1876, no Santo Sepulcro, em Jerusalém. Chegou ao Egito, em 7 de dezembro de 1876, quando visitou diversas pirâmides. Viajou pelo Rio Nilo saindo do Cairo e foi até até Wadi Halfa, hoje o Sudão. Conheceu diversas cidades históricas, dentre elas Luxor, Karnal, Dandur e Assuã, além do célebre templo de Abu Simbel. Deixou o Egito, em 16 de janeiro de 1877.
+As fotos de dom Pedro II no Egito
+As fotos, que estão o acervo fotográfico da Brasiliana Fotográfica, de dom Pedro II no Egito, em 1871, são de autoria de Hippolyte Delie (1841 – 1889) e Emile Bechard (1844 – 1917), fotógrafos franceses ativos no Egito na década de 1870; e de Hélios, possivelmente o fotógrafo grego Hélio Zoulis (18? -?), cujo estúdio chamava-se Hélios Alexandrie & Caire. Há um registro realizado por um fotógrafo ainda não identificado que não está datado.
+Segundo o Metropolitan Museum of Art: “Émile Béchard continua sendo uma figura misteriosa, principalmente por causa da assinatura “H. Béchard”, que aparece nos negativo da maior parte de suas obras paisagísticas e arquitetônicas, inclusive nesta vista do Ramesseum. Desde o final dos anos 1980, muitos historiadores acreditavam que havia de fato dois fotógrafos, Émile e “Henri” Béchard, ambos operando no Egito. Mais recentemente, os estudiosos levantaram a hipótese de que talvez Émile tenha adotado esse segundo nome para distinguir os diferentes temas de suas várias séries (ou seja, retratos versus monumentos). A identificação de um irmão chamado Hippolyte Béchard, no entanto, levou a uma explicação mais lógica de que Hippolyte vendeu e distribuiu as fotos de Emile na França. A situação, porém, foi ainda mais complicado por um grupo de fotografias vendidas em outubro de 2015 no castelo de Saint-Brisson em Saint Brisson-sur-Loire, França. Inscrições em algumas das gravuras indicam que Hippolyte Béchard estava no Cairo em 1870, dando algum crédito à sugestão de Ken Jacobson de que Hippolyte Délié não era apenas sócio de Emile, mas possivelmente também seu irmão, Hippolyte Béchard, que, por algum motivo, mudou de endereço. nome. As identidades cambiantes associadas à “Maison Béchard” são um excelente exemplo das dificuldades frequentemente associadas à fotografia comercial do século XIX”.
+ 
+Pompéia
+ 
+Giorgio Sommer. [Pedro II, Teresa Cristina Maria e comitiva em visita as ruínas de Pompéia], 1888. Pompeia, Itália / Acervo FBN
+Em 30 de junho de 1887, dom Pedro II viajou pela terceira vez à Europa. Embarcou, no Rio de Janeiro no paquete francês Gironde e retornou ao Brasil, em 22 de agosto de 1888, quando chegou ao Rio de Janeiro (Gazeta de Notícias, 30 de junho de 1877, quarta coluna; 22 de agosto de 1888, primeira coluna, e 23 de agosto de 1888, primeira coluna). A motivação principal da viagem, durante a qual a princesa Isabel, pela terceira vez regente provisória, assinou a Lei Áurea, em 13 de maio de 1888, foi a recuperação de sua saúde. Em abril de 1888, foi para a Itália, onde visitou diversas cidades e, atendendo a um desejo de sua esposa, a napolitana dona Teresa Cristina Maria (1822 – 1889), esteve nas ruínas de Pompeia, um dos mais importantes sítios arqueológicos do mundo, cuja descoberta havia sido iniciada em 1748. Subiu à cratera do vulcão Vesúvio e o casal real percorreu as ruas da cidade.
+ As fotos de dom Pedro II em Pompeia
+As fotografias de dom Pedro II em Pompeia, que estão o acervo fotográfico da Brasiliana Fotográfica, são de autoria do alemão Giorgio Sommer (1834 – 1914) que começou a trabalhar como fotógrafo com 19 anos. Entre as décadas de 1850 e 1880, registrou milhares de imagens de ruínas arqueológicas, objetos de arte, paisagens e retratos. Em 1857, Sommer mudou-se para a Itália para Nápoles e, 10 anos depois, associou-se ao também alemão Edmund Behles (1841 – 1924), cujo estúdio ficava em Roma. Tornaram-se proprietários de um dos maiores e mais prolíficos estúdios fotográficos da Itália. Entre 1862 e 1873, ele ganhou medalhas nas Exposições Internacionais de Londres, Paris e Viena.
+ 
+Giorgio Sommer. Pedro II, Teresa Cristina Maria e comitiva em visita as ruínas de Pompéia, 1888. Pompeia, Itália / Acervo FBN
+ 
+Acesse aqui imagens de Uma viagem o mundo antigo – Egito e Pompeia 
+Andrea C.T. Wanderley
+Editora e pesquisadora da Brasiliana Fotográfica
+ 
+Pedro II desenhado por Rafael Bordalo Pinheiro, carregando uma mala. Publicado, em maio de 1880, no Álbum das Glórias, título de uma coleção de folhas volantes publicadas em duas séries (1880–1883 e 1902), com caricaturas de políticos, intelectuais, artistas, jornalistas e outras figuras públicas da época. As ilustrações eram de autoria de Bordalo Pinheiro e vinham acompanhadas de textos satíricos sobre o caricaturado de autoria, em sua maioria, de João Rialto -pseudônimo de Guilherme de Azevedo (1839-1882) -; e de João Ribaixo, pseudônimo de Ramalho Ortigão (1836 – 1915)
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora da Brasiliana Fotográfica
+ 
+Fontes:
+BNDigital
+CARVALHO, José Murilo de. D. Pedro II. São Paulo : Companhia das Letras, 2007.
+CARVALHO, Larissa Nunes de. A Egiptomania no Brasil: As viagens de D. Pedro II ao Egito em 1871 e 1876. Trabalho de Conclusão de Curso apresentado à Universidade Federal de São Paulo como requisito parcial para obtenção do grau em Licenciado em História, 2023.
+FARIAS, Andressa Brenda Ferreira. Uma visão sobre o orientalismo através do registro fotográfico de uma das viagens de Pedro II ao Egito. Trabalho de conclusão de curso de Bacharelado em História da Arte apresentado à Escola de Belas Artes da Universidade Federal do Rio de Janeiro como requisito parcial para a obtenção do título de Bacharel em História da Arte, 2020.
+Flickr
+Hemeroteca Digital, sítio da Hemeroteca Municipal de Lisboa
+Hemeroteca Digital da Biblioteca Nacional
+KAHTLAB, Roberto. As Viagens de Dom Pedro II. São Paulo :  Benvirá, 2015.
+LIRA, Heitor. Dom Pedro II. Rio de Janeiro : Editora Garnier, 2020.
+Portal Brasiliana Fotográfica
+REZUTTI, Paulo. D. Pedro II – A história não contada: O último imperador do Novo Mundo revelado por cartas e documentos inéditos. Portugal : Editora Leya, 2019.
+REZUTTI, Paulo. Viagem de Dom Pedro II em 1876. Youtube.
+SANTOS, Helio Ricardo dos. Representações de D. Pedro II na Imprensa Brasileira (1872-1889). Revista Minerva Universitária, 13 de fevereiro de 2022.
+SCHWARCZ, Lilia Moritz. As barbas do Imperador: D. Pedro II, um monarca nos trópicos. São Paulo: Companhia das Letras, 1998.
+Site Metropolitan Museum of Art
+Site Museu Imperial de Petrópolis
+Site Royal Academy
+Site Staedel Museum
+ 
+A Brasiliana Fotográfica no Colégio Pedro II
+ 
+Ronaldo Fernandes, do Museu Nacional; Késiah Pinheiro Viana e Andrea Wanderley, integrantes do Comitê Gestor da Brasiliana Fotográfica; Elizabeth Monteiro da Silva, coordenadora do Centro de Documentação e Memória do Colégio Pedro II, e Roberta Zanatta, coordenadora do Núcleo de Catalogação do Instituto Moreira Salles e gestora de conteúdo da Brasiliana Fotográfica, no seminário Pelas Lentes das Ciências, da História e das Artes: Pedro II em Debate, em 27 de novembro de 2025. Rio de Janeiro.
+ 
+A Brasiliana Fotográfica esteve presente no evento Pelas Lentes das Ciências, da História e das Artes: Pedro II em Debate, organizado pela bibliotecária Elisabeth Monteiro da Silva, coordenadora do Centro de Documentação e Memória do Colégio Pedro II, realizado nos dias 25 e 27 de novembro de 2025. Késiah Pinheiro Viana*, bibliotecária da Biblioteca Nacional e integrante do Comitê Gestor do portal; e eu, Andrea C.T. Wanderley, editora, pesquisadora e também integrante do Comitê Gestor da Brasiliana Fotográfica, fechamos o seminário com a palestra A Brasiliana Fotográfica e a Coleção Teresa Cristina Maria.
+Os outros palestrantes foram Vera Cabana; Victor Carlos Massena Fernandes, da Academia Luso Brasileira de Letras; Cristiana Aubin; Paulo Rezzutti, Angela Telles, do Real Gabinete de Leitura; Paulo Knauss, do Instituto Histórico e Geográfico Brasileiro, instituição parceira da Brasiliana Fotográfica; Mauricio Vicente e Alessandra Fragua, do Museu Imperial; e Regina Dantas e Ronaldo Fernandes, do Museu Nacional.
+ 
+
+ 
+Iniciei nossa apresentação traçando um perfil do portal e contando um pouco da história da invenção e da chegada do daguerreótipo no Brasil; e do entusiasmo e envolvimento de dom Pedro II com a fotografia.
+Abaixo a íntegra de minha participação:
+ 
+Um pouco da história do daguerreótipo e do interesse de Pedro II pela fotografia
+Andrea C. T. Wanderley
+ 
+ 
+Inicialmente, muito obrigada pelo convite para participar deste encontro. É realmente uma coroação para a Brasiliana Fotográfica falar para estudantes e professores. Esse sempre foi um dos objetivos do portal. Para mim, pesquisadora e editora do portal desde seu início, em abril de 2015, é uma grande emoção e uma realização importante.
+A Brasiliana Fotográfica é um espaço para dar visibilidade, fomentar o debate e a reflexão sobre os acervos deste gênero documental, abordando-os enquanto fonte primária mas também enquanto patrimônio digital a ser preservado. É uma plataforma de difusão de conhecimento imagético e textual que valoriza o papel da fotografia na escrita da história.
+Alguns números de nosso portal: fomos fundados pela Biblioteca Nacional e pelo Instituto Moreira Salles e atualmente reunimos 15 instituições. Além das fundadoras, os parceiros são, por ordem de chegada, o Leibniz Laenderkunde, de Leipzig, na Alemanha; o Arquivo Geral da Cidade do Rio de Janeiro, a Diretoria do Patrimônio Histórico e Documentação da Marinha, o Arquivo Nacional, a Casa de Oswaldo Cruz/Fiocruz, o Museu da República, o Museu Histórico Nacional, a Fundação Joaquim Nabuco, o Museu Aeroespacial, a Escola de Ciências Sociais FGV CPDOC, o Instituto Histórico e Geográfico Brasileiro – o IHGB -, o Instituto Brasileiro de Geografia e Estatística – o IBGE -, e o Museu Paraense Emílio Goeldi.
+Temos em nosso acervo cerca de 12.500 imagens – registros produzidos no século XIX até a década de 1940 – e 590 artigos publicados: 464 escritos por mim e o restante por parceiros e convidados. Temos 9 séries, dentre elas “Feministas, graças a Deus” e “O Rio de Janeiro desaparecido”; e 69 cronologias de fotógrafos, o que acreditamos seruma importante contribuição para a historiografia da fotografia no Brasil.
+E o mais importante: cerca de 82 milhões de visualizações! Porque esse trabalho, que envolve a dedicação e o empenho de dezenas de pessoas entre conservadores, digitalizadores, historiadores, profissionais de informática, pesquisadores e divulgadores teria pouco sentido se não estivesse chegando ao público.
+E vamos em frente!
+ 
+Um pouco da história do daguerreótipo e do interesse de Pedro II pela fotografia
+ 
+Em 7 de janeiro de 1839, na Academia de Ciências da França, foi anunciada a descoberta da daguerreotipia, um processo fotográfico desenvolvido pelos franceses Joseph Nicèphore Niépce (1765 – 1833) e Louis Jacques Mandé Daguerre (1787 – 1851).
+ 
+
+ 
+Cerca de sete meses depois, em 19 de agosto, durante um encontro realizado no Instituto da França, o cientista François Arago (1786 – 1853), secretário da Academia de Ciências, explicou o processo e comunicou que o governo francês havia adquirido o invento, colocando-o em domínio público e, dessa forma, fazendo com que o “mundo inteiro” tivesse acesso à invenção. Um daguerreótipo consiste em uma imagem única e positiva, formada diretamente sobre placa de cobre, revestida com prata e, em seguida, polida e sensibilizada por vapores de iodo. Depois de exposta na câmera escura, a imagem é revelada por vapores de mercúrio e fixada por uma solução salina.
+ 
+
+ 
+A notícia do invento do daguerreótipo chegou ao Brasil muito rapidamente: cerca de quatro meses depois do anúncio da descoberta, foi publicado no Jornal do Commercio, de 1º de maio de 1839, sob o título “Miscellanea”, um artigo sobre o assunto. A historiadora Ana Maria Mauad comenta em seu texto Imagem e auto-imagem no Segundo Reinado, de 1997, que “apesar de sua possível reprodutibilidade, o daguerreótipo aparecia como uma peça única, acondicionada em estojo de luxo às vezes considerado como uma jóia”.
+ 
+Jornal do Commercio, 1º de maio de 1839
+ 
+O interesse de dom Pedro II pela fotografia teve quase a mesma idade do próprio daguerreótipo.
+A introdução da daguerreotipia no Brasil se deu com a chegada do navio-escola  L’Oriental-Hydrographe, da Marinha Mercante da França, em fins de 1839, sob o comando  do  capitão Augustin  Lucas, que havia estado no ateliê de Daguerre, em 1839. A viagem de circunavegação foi pensada como uma escola flutuante e começou a ser planejada, em 1838, quando seu projeto, pedagógico e mercantil, foi apresentado ao ministro da Marinha francesa, Claude Rosamel (1774 – 1848).
+Segundo a historiadora Maria Inez Turazzi (1957-), autora de um livro definitivo sobre a viagem do L’Oriental-Hydrographe, a presença do daguerreótipo a bordo assim como a de outros instrumentos inovadores, abre aspas não foi casual ou improvisada…É possível afirmar que a viagem de circunavegação do Oriental-Hydrographe teve início com a expectativa de consagrá-la como a primeira do gênero a utilizar a fotografia como meio de registro da experiência. Fecha aspas.
+O navio partiu do porto Paimboeuf, na França, em 25 de setembro de 1839, e, após alcançar o Brasil, onde aportou no Recife e em Salvador, chegou ao Rio de Janeiro,em dezembro de 1839. O abade francês Louis Comte (1798 – 1868), encarregado pela assistência intelectual e espiritual e pelo ensino de religião, música e canto durante a viagem, produziu alguns daguerreótipos na cidade, em 16 de janeiro de 1840.
+ 
+Jornal do Commercio, 17 de janeiro de 1840
+ 
+
+ 
+
+ 
+Sobre essa última imagem há uma discussão de autoria: seria de Comte ou do fotógrafo Morand (c. 1818 – 1896)? Mas isso é uma outra história.
+Alguns dias depois, Louis Comte apresentou o invento a dom Pedro II. O imperador, meses depois, com apenas 14 anos, adquiriu o equipamento. Aliás, aqui chamo atenção para o fato do monarca ser muitíssimo culto e interessado por diversos assuntos. Um verdadeiro polímata – tinha um profundo conhecimento em várias áreas como ciência, arte e filosofia.
+ 
+
+ 
+Por sediar o Império, o Rio de Janeiro foi a capital da fotografia no Brasil. O imperador foi retratado por diversos fotógrafos, dentre eles Marc Ferrez (1843 – 1923), Revert Henrique Klumb (c. 1816 – c. 1886) e Joaquim Insley Pacheco (1830 – 1912), tendo conhecido praticamente o trabalho de todos eles. A fotografia tornou-se um símbolo de civilização e status e passou a ser um poderoso instrumento de divulgação da imagem de dom Pedro II, “moderna como queria que fosse o reino“, segundo comenta Lilia Moritz Schwarcz (1857-) no livro As barbas do Imperador: D. Pedro II, um monarca nos trópicos.
+ 
+Joaquim Insley Pacheco. Pedro II, Imperador do Brasil : retrato, 1883 / Acervo FBN
+ 
+Marc Ferrez. Retrato de Pedro II, c. 1885. Rio de Janeiro, RJ / Acervo IMS
+ 
+Revert Henrique Klumb. Pedro II, Imperador do Brasil: retrato, 18? / Acervo FBN
+ 
+Foi um dos primeiros monarcas a oferecer seu real patrocínio a um fotógrafo, juntamente com a rainha Vitoria da Inglaterra (1819 – 1901), quando, em 1851, permitiu que Buvelot & Prat, que haviam realizado uma série de daguerreótipos de Petrópolis – todos desaparecidos – usassem as armas imperiais na fachada de seu estabelecimento fotográfico.
+ 
+Selo de Fotógrafo de Suas Majestades e Altezas Imperiais na capa do Guia do Viajante de Klumb
+ 
+Selo de Fotógrafo da Casa Imperial no cartão de Insley Pacheco
+ 
+Dom Pedro II reinou no Brasil de 23 de julho de 1840 a 15 de novembro de 1889 e, segundo José Murilo de Carvalho (1939 – 2023), o fez “com os valores de um republicano, com a minúcia de um burocrata e com a paixão de um patriota. Foi respeitado por quase todos, não foi amado por quase ninguém”. Durante seu reinado de quase 50 anos, o tráfico de escravizados e a escravidão foram abolidos, a unidade do Brasil foi consolidada, as principais capitais brasileiras se modernizaram, a ciência e a cultura se desenvolveram. Sinais, sobretudo estes últimos, de um reinado que, não obstante o conservadorismo escravista dominante, perseguiu sempre uma pauta liberal, humanista e civilizatória. De fato, no século XIX, muito do que se fez no Brasil nos campos das letras e das ciências deveu-se a ele, um dos monarcas mais eruditos de sua época.
+ 
+Pedro Hees. Pedro II, Imperador do Brasil: retrato, 18? / Acervo FBN
+ 
+Em seu diário de 1862, Pedro II declarou: “Nasci para consagrar-me às letras e às ciências, e, a ocupar posição política, preferia a de presidente da República ou ministro a imperador“.
+Uma curiosidade: o escritor Machado de Assis (1839 – 1908) nasceu no mesmo ano em que nasceu a fotografia: 1839. Escreveu sobre o assunto em sua coluna do Diário do Rio de Janeiro de 7 de agosto de 1864. Comentou sobre suas visitas à casa do Pacheco (o fotógrafo português Joaquim Insley Pacheco) e também a história da chegada do daguerreótipo na cidade. Termina seu passeio perguntando-se “Até onde chegará o aperfeiçoamento do invento de Daguerre?
+ 
+Diário do Rio de Janeiro, 7 de agosto de 1864
+ 
+Na apresentação que minha colega Késiah Pinheiro Viana, bibliotecária da Fundação Biblioteca Nacional e integrante do Comitê Gestor da Brasiliana Fotográfica, vai fazer agora sobre a Coleção Teresa Cristina Maria, composta por cerca de 23 mil fotografias e doada à Biblioteca Nacional por Pedro II, vocês farão um passeio iconográfico onde ficará evidenciada a diversidade dos interesses do imperador.
+E, para finalizar, uma imagem do decreto da criação do Colégio Pedro II, nosso anfitrião de hoje, fundado em 2 de dezembro de 1837, data em que o imperador completou 12 anos. Na época chamava-se Imperial Collegio Pedro II e localizava-se no antigo Seminário São Joaquim. O decreto foi publicado na primeira página do Jornal do Commercio, de 9 de dezembro de 1837, assinado por Pedro de Araújo Lima (1793 – 1870), o marquês de Olinda, então regente do Império, e por Bernardo Pereira de Vasconcellos (1795 – 1850), ministro da Justiça. Foi aberto em 25 de março do ano seguinte, conforme publicado no Jornal do Commercio de 27 de março de 1838. O resto é história! História de sucesso!
+ 
+Jornal do Commercio, 9 de dezembro de 1837
+ 
+Parabéns e muito obrigada!
+ 
+Collegio de Pedro II e Igreja de São Joaquim. Litografia de Pieter Godfred Bertichem, 1856 / Acervo da Coleção Brasiliana Itaú do Itaú Cultural
+ 
+Em seguida, a bibliotecária Késiah exibiu diversas fotografias da Coleção Teresa Cristina Maria, evidenciando a diversidade de interesses do imperador, um dos monarcas mais eruditos de todos os tempos. Dividiu sua apresentação em cinco módulos. No primeiro, mostrou fotografias de EXPOSIÇÕES, dentre elas da Segunda Exposição Nacional, em 1866; e da Exposição Continental, Buenos Aires, em 1882, que já foram temas abordados em artigos do portal.
+ 
+ 
+Samuel Boote. Álbum da Exposição Continental de Buenos Aires e, 1882 / Acervo FBN
+ 
+No segundo módulo, o das CIÊNCIAS, foram selecionadas fotos de cientistas e de exploradores, dentre eles dos franceses Louis Pasteur (1822 – 1895) e Ferdinand de Lesseps (1805 – 1894); fotomicrografias, além de imagens relativas à paleontologia, à medicina, à engenharia e às ferrovias.
+ 
+Pierre Petit. Louis Pasteur, 1872. França / Acervo FBN
+ 
+Ferdinand de Lesseps, 186?> / Acervo FBN
+ 
+Em seguida, no módulo cujo assunto era EDUCAÇÃO, Késiah apresentou registros de instituições de ensino e de bibliotecas, como por exemplo imagens da antiga sede da Biblioteca Nacional, na rua do Passeio; de professores, de escritores e de jornalistas.
+ 
+Antigo prédio da Biblioteca Nacional à Rua do Passeio, 1916 / Acervo FBN
+ 
+No módulo ARTES, foram exibidas fotos de teatros, atores, dentre eles da atriz francesa Sarah Bernhardt (1844 – 1923); de ópera e de artistas de circo como, por exemplo, da australiana Ella Zuila (1854–1926).
+ 
+Paul Nadal. Sarah Bernhardt, c. Paris, França / Acervo FBN
+ 
+Luis A. Pozzi. Ella Zuila, 1878? / Acervo FBN
+ 
+A ASTRONOMIA foi o assunto do último módulo e foram mostradas fotos da Lua, de telescópios, de observatórios, de expedições astronômicas e de astrônomos.
+ 
+Lua cheia, 18? / Acervo FBN
+ 
+*Késiah Pinheiro Viana é graduada em Biblioteconomia e Documentação pela Universidade Federal Fluminense, com pós-graduações em Arquivologia e História da Arte. Desde 1996 atua como servidora e bibliotecária na Divisão de Iconografia da Biblioteca Nacional, dedicando-se especialmente ao tratamento técnico (pesquisa e catalogação) do acervo fotográfico, e colaborando em diversas exposições sobre as fotografias da Coleção D. Teresa Cristina Maria.
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora da Brasiliana Fotográfica
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/2947` — `itens/20.500.12156.1_2947/`
+- `20.500.12156.1/2946` — `itens/20.500.12156.1_2946/`
+- `20.500.12156.1/2943` — `itens/20.500.12156.1_2943/`
+- `20.500.12156.1/2938` — `itens/20.500.12156.1_2938/`
+- `20.500.12156.1/2937` — `itens/20.500.12156.1_2937/`
+- `20.500.12156.1/508` — `itens/20.500.12156.1_508/`
+- `20.500.12156.1/2560` — `itens/20.500.12156.1_2560/`
+- `20.500.12156.1/612` — `itens/20.500.12156.1_612/`
+- `20.500.12156.1/3923` — `itens/20.500.12156.1_3923/`
+- `20.500.12156.1/2952` — `itens/20.500.12156.1_2952/`
+
diff --git a/wordpress/42245-os-200-anos-do-ginasio-pernambucano-no-recife-a-mais-antiga-escola-em-funcioname.md b/wordpress/42245-os-200-anos-do-ginasio-pernambucano-no-recife-a-mais-antiga-escola-em-funcioname.md
new file mode 100644
index 0000000..63d8ed9
--- /dev/null
+++ b/wordpress/42245-os-200-anos-do-ginasio-pernambucano-no-recife-a-mais-antiga-escola-em-funcioname.md
@@ -0,0 +1,103 @@
+---
+id: 42245
+url: "https://brasilianafotografica.bn.gov.br/?p=42245"
+titulo: "Os 200 anos do Ginásio Pernambucano, no Recife, a mais antiga escola em funcionamento no Brasil"
+autor: "Andrea Wanderley"
+data: "2025-12-30T11:18:05+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/6910", "20.500.12156.1/2055", "20.500.12156.1/7004", "20.500.12156.1/6911"]
+fetched_at: "2026-09-10T10:22:26.392Z"
+---
+
+# Os 200 anos do Ginásio Pernambucano, no Recife, a mais antiga escola em funcionamento no Brasil
+
+A Brasiliana Fotográfica despede-se de 2025 publicando um artigo que homenageia a educação,  fator poderoso para a formação de pessoas com pensamento crítico e aptas a contribuir para a construção de um país mais justo e próspero. Com fotografias provenientes do acervo fotográfico da Fundação Joaquim Nabuco, uma das instituições parceiras do portal, e produzidas pelos fotógrafos Manoel Tondella (1861 – 1921) e João José de Oliveira (18? – 19?), sócios na Photographia Popular, destacamos os 200 anos do Ginásio Pernambucano, no Recife, a mais antiga escola em funcionamento no Brasil e patrimônio simbólico de Pernambuco. Brasileiros ilustres estudaram lá, dentre eles os escritores Ariano Suassuna (1927 – 2014) e Clarice Lispector (1920 – 1977), o professor e cientista social Josué de Castro (1908 – 1973), o grande líder abolicionista Joaquim Nabuco (1849 – 1910), o jornalista Assis Chateaubriand (1892 – 1968), o economista Celso Furtado (1920 – 2004) e o presidente da República, Epitácio Pessoa (1865 – 1942). Pioneira, a escola foi a primeira a implementar, no Brasil, o ensino integral, em 2004.
+Manoel Tondella, de ascendência portuguesa, foi um dos mais importantes fotógrafos de Pernambuco da segunda metade do século XIX, período a partir do qual Recife tornou-se referência histórica para a fotografia no Brasil. Documentou em imagens as transformações da cidade, entre os anos 1890 e as duas primeiras décadas do século XX.
+ 
+Almanach de Pernambuco, 1901
+ 
+O Ginásio Pernambucano localiza-se na rua da Aurora, às margens do rio Capibaribe, onde ficam outros prédios importantes como o da Assembleia Legislativa de Pernambuco, que aparece nas três fotos publicadas neste artigo; o Cinema São Luiz e o Museu de Arte Moderna Aloísio Magalhães, dentre outros.
+ 
+Photographia Popular Oliveira & Tondella. Assembleia Legislativa de Pernambuco, à direita, o Ginásio Pernambucano, 1900. Recife, Pernambuco / Acervo Fundaj
+ 
+Acessando aqui o link para as fotografias do Ginásio Pernambucano, na rua da Aurora, disponíveis na Brasiliana Fotográfica, o leitor poderá visualizar e magnificar as imagens.
+ 
+Foi fundado como Liceu Provincial de Pernambuco, em 1º de setembro de 1825, logo após a Confederação do Equador, a partir de um decreto do então presidente da província, José Carlos Mayrink da Silva Ferrão (1771 – 1846), responsável pela transferência da capital de Pernambuco de Olinda para Recife. Funcionava no Convento do Carmo. Seu primeiro diretor foi o religioso, jornalista e deputado Miguel do Sacramento Lopes Gama (1793 – 1852), conhecido como Padre Carapuceiro. Foi a primeira instituição criada em Pernambuco especificamente para o ensino secundário.
+ 
+Miguel do Sacramento Lopes Gama (1793 – 1852), conhecido como Padre Carapuceiro
+ 
+O Liceu Pernambucano era estruturado em um curso literário, composto pelas cadeiras de geometria, retórica, filosofia, racional e moral, latim e desenho. Além de ser uma escola, era fiscalizador do ensino público e privado da província. Exerceu essa última atribuição até 1851.
+O estabelecimento mudou algumas vezes de local nas décadas de 1840 e 1850 – rua dos Pires, prédio da Alfândega e prédio onde funcionava a Companhia dos Operários Engajados, casa de sessões do júri, rua da Praia e rua do Hospício. Em 1842, passou a chamar-se Ginásio Provincial de Pernambuco.
+Em 1855, uma lei transformou o Liceu em internato de educação pública e de instrução secundária com o nome de Ginásio Pernambucano. Realizou-se uma profunda reforma pedagógica inspirada no Colégio Pedro II, do Rio de Janeiro.
+ 
+Diário Pernambuco, 22 de março de 1855
+ 
+O Ginásio Pernambucano foi inaugurado, na rua do Hospício, em 7 de setembro de 1855, por José Bento da Cunha e Figueiredo (1808 – 1891), governador de Pernambuco, e demais autoridades civis e eclesiásticas, onde funcionou até 1866 (Correio Mercantil, 21 de setembro de 1855, primeira coluna).
+ 
+Francisco du Bocage. Boa Vista e rua do Hospício, c. 1910 . Recife, Pernambuco / Acervo Fundaj
+ 
+Detalhe da foto destacando a sede do Ginásio Pernambucano, na rua do Hospício
+ 
+Uma nova sede, na histórica rua da Aurora, começou a ser construída, também em 1855. O projeto do edifício neoclássico, um dos marcos arquitetônicos da cidade, foi do engenheiro recifense José Mamede Alves Ferreira (1820 – 1865), então chefe da Repartição de Obras Públicas do Estado, e autor de outros projetos importantes como o da Casa de Detenção do Recife, do Cemitério de Santo Amaro e do casario da rua da Aurora.
+ 
+José Mamede Alves Ferreira (1820 – 1865) / José Mamede Alves Ferreira Sua Vida – Sua Obra 1820 – 1865
+ 
+A pedra fundamental da nova sede foi lançada em 15 de agosto de 1855 (Diário de Pernambuco, 22 de março de 1855, primeira coluna;  17 de agosto de 1855, última coluna). Várias loterias foram realizadas em prol do Ginásio Pernambucano ao longo deste ano (Diário de Pernambuco, 23 de agosto de 1855).
+ 
+
+Diário de Pernambuco, 17 de agosto de 1855, última coluna
+ 
+O Ginásio Pernambucano recebeu a visita de dom Pedro II (1825 – 1891), em 9 e em 14 de dezembro de 1859. O museu do ginásio e seu criador, o naturalista Louis Jacques Brunet (1811 – c. 1877), taxidermista e professor de Ciências Naturais, foram os principais interesses do imperador, que escreveu em seu diário:
+“A tarde fui ao gabinete de história natural arranjado pelo Brunet no Ginásio e depois de o examinar com atenção, tendo observado peixes fósseis em incrustações calcáreas muito curiosas apanhadas nos sertões do Norte do Brasil, creio que na Serra do Araripe e um quadrúpede entre o macaco e os carneiros chamado no rótulo Kincajú paraná, que só se encontra no sertão desta Província, informei-me do resultado das explorações do Brunet dizendo-me ele que da primeira vez fora só encarregado de explorar pontos próprios para açudes no interior da Paraíba e da segunda da coleta das diversas terras, que chegando no Recife o Presidente (ilegível) mandou deitar no aterro do cais por de traz do Palácio, não lhe abonando as despesas da condução; ficou de levar-me e eu verei a exatidão do que ele me referiu”.
+Lembramos aqui que o Ginásio Pernambucano possui o único museu escolar de Pernambuco, o Museu Luiz Jacques Brunet, criado pelo naturalista Louis Jacques Brunet (1811 – c.1877)*, que conta com um acervo de mais de quatro mil objetos.
+ 
+Louis Jacques Brunet (1811 – c. 1877)
+ 
+Finalmente, em 1866, o Ginásio Pernambucano foi instalado em sua nova sede.
+ 
+J. J Oliveira, Manoel Tondella. Assembleia Legislativa e Ginásio Pernambucano, 1900. Recife, Pernambuco / Acervo Fundaj
+ 
+Na década de 1890, recebeu o nome de Instituto Benjamim Constant e, nos anos 1940, passou a chamar-se Colégio Pernambucano e Colégio Estadual de Pernambuco. Por um decreto de 31 de dezembro de 1974, do governador Eraldo Gueiros Leite (1912 – 1983), voltou à  denominação de Ginásio Pernambucano. Foi também em 1974, que o colégio tornou-se o embrião do ensino médio integral no Brasil.
+Em 1984, foi tombado pelo Instituto do Patrimônio Histórico e Artístico Nacional, o Iphan (Sphan Pro Memória Boletim, março e abril de 1984).
+ 
+Photographia Popular Oliveira & Tondella. Ponte Santa Isabel: no centro, a Assembleia Legislativa e , à direita, o Ginásio Pernambucano, 1900. Recife, Pernambuco / Acervo Fundaj
+ 
+Em 2012, a comunidade escolar ganhou uma nova sede, situada na avenida Cruz Cabugá, no Bairro de Santo Amaro. Em 2020, o Ginásio Pernambucano foi transformado em Escola Técnica Estadual Ginásio Pernambucano.
+ 
+Escola Técnica Estadual Ginásio Pernambucano, na avenida Cruz Cabugá
+ 
+Em 2025, quando comemora seus 200 anos, após anos sem reformas estruturais, o Ginásio Pernambucano passa por uma restauração orçada em 7 milhões de reais, já autorizada pelo governo estadual. Conta com 720 alunos do ensino médio distribuídos em 17 turmas.
+ 
+
+ 
+* Foi durante uma de suas expedições científicas pelo Nordeste do Brasil, em 1852, quando passou pela cidade de Areia, na Paraíba, que Brunet se impressionou com o talento precoce de um menino de 9 anos, Pedro Américo de Figueiredo e Melo (1843 – 1905), que se tornou um dos maiores pintores brasileiros do século XIX, autor do famoso quadro Independência ou Morte, então com 9 anos, que contratou como desenhista assistente da expedição. Em 1854, por intermédio de um pedido de Brunet ao presidente da Paraíba do Norte, Antônio Coelho de Sá e Albuquerque (1821 – 1868) e ao seu sucessor, Flávio Clementino da Silva Freire (1816 – 1900) que ajudassem o jovem que não tinha recursos financeiros para estudar . A presidência encaminhou o caso ao Ministério do Império que levou ao Imperador Pedro II, que permitiu o seu ingresso na Imperial Academia de Belas Artes, no Rio de Janeiro. Pedro Américo e Brunet se corresponderam até a morte do pintor.
+
+Independência ou Morte, de Pedro Américo
+
+ 
+Andrea C.T. Wanderley
+Editora e pesquisadora da Brasiliana Fotográfica
+ 
+Fontes:
+ALBUQUERQUE, Cleonir Xavier de; ACIOLI, Vera Lúcia Costa. José Mamede Alves Ferreira Sua Vida – Sua Obra 1820 – 1865. Pernambuco : Secretaria de Turismo Cultura e Esportes do Governo do Estado de Pernambuco, 1985.
+Biblioteca IBGE
+CAVALCANTI, Carlos Bezerra. O Ginásio Pernambucano, por Carlos Bezerra Cavalcanti in Jornal O Poder, 7 de junho de 2025.
+GONZALES, Rômulo José Benitez de Freitas. A musealização de coleções de ensino no século XIX: o caso do Ginásio Pernambucano. Tese de Doutorado apresentada ao Programa de Pós-Graduação em Museologia e Patrimônio. O presente trabalho foi realizado com apoio da Coordenação de Aperfeiçoamento de Pessoal de Nível Superior – Brasil (CAPES) – Código de Financiamento 001 Orientadora: Professora Doutora Priscila Faulhaber Barbosa. UNIRIO/MAST – RJ, 03 de junho de 2022.
+Hemeroteca Digital da Biblioteca Nacional
+MONTENEGRO, Olívio. Memórias do Ginásio Pernambucano. Recife: Assembleia Legislativa de Pernambuco, 1979.
+Portal Agência Brasil
+Portal G1
+Portal NE 9
+Portal Secretaria de Educação do Estado de Pernambuco
+Revista Exame, 1º de dezembro de 2025
+WANDERLEY, Andrea C.T. Cronologia de Manoel Tondella in Brasiliana Fotográfica, 6 de janeiro de 2021.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/6910` — `itens/20.500.12156.1_6910/`
+- `20.500.12156.1/2055` — `itens/20.500.12156.1_2055/`
+- `20.500.12156.1/7004` — `itens/20.500.12156.1_7004/`
+- `20.500.12156.1/6911` — `itens/20.500.12156.1_6911/`
+
diff --git a/wordpress/42290-serie-teatros-e-cinemas-do-brasil-xv-fotos-aereas-da-cinelandia-no-centenario-da.md b/wordpress/42290-serie-teatros-e-cinemas-do-brasil-xv-fotos-aereas-da-cinelandia-no-centenario-da.md
new file mode 100644
index 0000000..679f63b
--- /dev/null
+++ b/wordpress/42290-serie-teatros-e-cinemas-do-brasil-xv-fotos-aereas-da-cinelandia-no-centenario-da.md
@@ -0,0 +1,62 @@
+---
+id: 42290
+url: "https://brasilianafotografica.bn.gov.br/?p=42290"
+titulo: "Série “Teatros e cinemas do Brasil” XV – Fotos aéreas da Cinelândia no centenário da revista “Cinearte”"
+autor: "Andrea Wanderley"
+data: "2026-03-03T10:38:11+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/12662", "20.500.12156.1/12335", "20.500.12156.1/7800"]
+fetched_at: "2026-09-10T10:22:29.621Z"
+---
+
+# Série “Teatros e cinemas do Brasil” XV – Fotos aéreas da Cinelândia no centenário da revista “Cinearte”
+
+Com diversas fotos aéreas da Cinelândia, provenientes dos acervos do Museu Aeroespacial e do Instituto Moreira Salles (IMS), instituições parceira e fundadora da Brasiliana Fotográfica, respectivamente, o portal publica o 15º artigo da série Teatros e cinemas do Brasil, que celebra o centenário da primeira edição da revista Cinearte, importante publicação para a crítica e para o estudo do cinema nacional, produzida por advogados, cineastas, críticos de cinema, educadores, intelectuais e jornalistas. 
+ 
+Expediente da Cinearte, 3 de março de 1926
+ 
+A Cinelândia, idealizada pelo empresário espanhol Francisco Serrador (1872 – 1941), foi durante muito tempo, ao longo do século XX, o epicentro da vida cultural do Rio de Janeiro, com uma grande concentração de cinemas, teatros, bares e restaurantes. Fica no entorno da Praça Marechal Floriano, onde se encontram os prédios da Biblioteca Nacional, do Theatro Municipal do Rio de Janeiro, do Palácio Pedro Ernesto e do Centro Cultural da Justiça Federal e o Palácio Monroe, demolido em 1976.
+ 
+Escola de Aeronáutica Militar. Vista Aérea da Cinelândia – Rio de Janeiro, 30 de setembro de 1938. Rio de Janeiro, RJ / Acervo Museu Aerospacial
+ 
+As fotos aéreas destacadas nesse artigo são das décadas de 1920, 1930 e 1940. A mais antiga foi produzida em torno de 1926 pela The Aircraft Operating Co. Ltd. e pertence ao IMS. Lembramos aqui que as primeiras fotos aéreas no Brasil foram realizadas, em 1916, pelo fotojornalista Jorge Kfuri (1893 – 1965) que, na época, trabalhava para o periódico A Noite.
+ 
+The Aircraft Operating Co. Ltd.. Vista aérea da Avenida Rio Branco, c. 1926. Rio de Janeiro, RJ / Acervo IMS
+ 
+Acessando o link para as fotos aéreas da Cinelândia disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Escola de Aviação Militar. Vista aérea da Cinelânda, 18 de maio de 1935. Rio de Janeiro, RJ / Acervo Museu Aeroespacial
+ 
+Breve história da revista Cinearte
+ 
+Primeira edição da revista Cinearte
+ 
+A Cinearte foi lançada, em 3 de março de 1926, por Mário Marino de Carvalho Behring (1876 – 1933), na época diretor da Biblioteca Nacional, cargo que ocupou entre 1924 e 1932; e pelo cineasta, ator, produtor e crítico de cinema brasileiro, Adhemar Gonzaga (1901 – 1978). Teve como origem a sessão de cinema da revista cultural Para Todos…, onde Gonzaga era repórter. Após 561 edições, sua circulação foi encerrada, em julho de 1942. Inspirada na revista norte-americana Photoplay, lançada em 1910, seus principais assuntos eram os filmes, a indústria e as fofocas de Hollywood, a defesa do cinema brasileiro e da necessidade da criação de uma indústria audiovisual nacional. Tinha muitas propagandas de produtoras estrangeiras e de salas de cinema. Surgiu quando a mídia passava a ter lugar de destaque na formação cultural da sociedade e o interesse pelo cinema crescia. A imprensa acompanhou o fenômeno.
+ 
+Mário Behring (1876 – 1933)
+ 
+Um dos pioneiros do cinema nacional, Adhemar foi um dos fundadores, em 1917, com  jovens intelectuais como Otávio de Faria (1908 – 1980) e Plínio Sussekind Rocha (1911 – 1972), de um dos  primeiros cineclubes do Brasil, o Cineclube Paredão, cujo objetivo era estudar o cinema como uma arte. Fundou também a Cinédia, em março de 1930, o mais completo estúdio cinematográfico brasileiro de sua época. Está em funcionamento até hoje. Lançou grandes nomes do cinema brasileiro como Humberto Mauro (1897 – 1983) e Carmen Miranda (1909 – 1955). Produziu 40 filmes, dirigiu nove, foi roteirista e argumentista. Entre os filmes que dirigiu estão Barro Humano (1928), Brasa Dormida (1928), Lábios sem Beijos (1930), Ganga Bruta (1933) e O Descobrimento do Brasil (1937). Também escreveu o livro Setenta Anos do Cinema Brasileiro (1966).
+ 
+Adhemar Gonzaga por Jack Freulish, junho de 1932 / Jornal do Brasil
+ 
+Andrea C.T. Wanderley
+Editora e pesquisadora da Brasiliana Fotográfica
+ 
+Fontes:
+BNDigital
+CATELLI, Rosana Elisa. A revista Cinearte e o projeto de modernização cultural pelo cinema, 2012.
+Hemeroteca Digital da Brasiliana Fotográfica
+Jornal do Brasil, 25 de agosto de 2021
+LUCAS, Tais Campelo. Cinearte: o cinema brasileiro em revista. Dissertação apresentada ao programa de Pós-graduação em História do Instituto de Ciências Humanas e Filosofia da Universidade Federal Fluminense como requisito parcial para a obtenção do grau de Mestre em História, 2005.
+Site Academia Maçônica Ribeiraopretana de Letras
+Site Centro Memória do Circo
+Site Museu da Imagem e do Som de São Paulo
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/12662` — `itens/20.500.12156.1_12662/`
+- `20.500.12156.1/12335` — `itens/20.500.12156.1_12335/`
+- `20.500.12156.1/7800` — `itens/20.500.12156.1_7800/`
+
diff --git a/wordpress/42301-serie-teatros-e-cinemas-do-brasil-xvi-e-serie-os-arquitetos-do-rio-de-janeiro-x-.md b/wordpress/42301-serie-teatros-e-cinemas-do-brasil-xvi-e-serie-os-arquitetos-do-rio-de-janeiro-x-.md
new file mode 100644
index 0000000..16fad80
--- /dev/null
+++ b/wordpress/42301-serie-teatros-e-cinemas-do-brasil-xvi-e-serie-os-arquitetos-do-rio-de-janeiro-x-.md
@@ -0,0 +1,76 @@
+---
+id: 42301
+url: "https://brasilianafotografica.bn.gov.br/?p=42301"
+titulo: "Série “Teatros e cinemas do Brasil” XVI e Série “Os arquitetos do Rio de Janeiro” X – O centenário do Cinema Odeon"
+autor: "Andrea Wanderley"
+data: "2026-04-03T10:19:55+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/8162"]
+fetched_at: "2026-09-10T10:22:32.903Z"
+---
+
+# Série “Teatros e cinemas do Brasil” XVI e Série “Os arquitetos do Rio de Janeiro” X – O centenário do Cinema Odeon
+
+O atual prédio do Cinema Odeon, fotografado pelo alagoano Augusto Malta (1864 – 1957), em torno de 1930, foi inaugurado em 3 de abril em 1926, na Praça Floriano, nº 7, no auge da presença de salas de cinema na Cinelândia, no centro do Rio (O Paiz, 4 de abril de 1926, segunda coluna). Possuía capacidade para 1.344 pessoas, entre plateia e camarotes. (Jornal do Commercio, 2 de abril de 1926, quarta coluna; O Paiz, 4 de abril de 1926, segunda coluna). O edifício, cujo arquiteto foi o alemão Ricardo Wriedt (? – 1961), combina elementos estruturais clássicos com detalhes decorativos Art Déco. Wriedt também projetou a casa, de estilo normando, de Eva Klabin (1903 – 1991), na Lagoa; e o Edifício Novo Mundo, na Lapa. Ele tem projetos tanto no Rio de Janeiro como em outras cidades do Brasil.
+O cinema Odeon passou por reformas em fins do século XX e, sob a administração do Grupo Estação, foi fechado em 2014, devido a dívidas. Reaberto, em 2015, como Centro Cultural Luiz Severiano Ribeiro, passou a ser, além de sala de cinema, um espaço para cursos, palestras e espetáculos.
+O Cine Odeon mantém viva a tradição dos cinemas de rua do Rio de Janeiro e é um monumento à memória do cinema brasileiro e à vitalidade cultural carioca. É a sala de cinema mais icônica do Rio de Janeiro e resiste no quarteirão dos antigos palácios de cinema da cidade. Seu nome tem origem na Antiguidade: os odeons eram os prédios greco-romanos onde aconteciam espetáculos musicais e competições de poesias. Eram menores do que os teatros e possuíam uma cobertura para melhorar a acústica. Muitos teatros e cinemas de todo o mundo trazem este mesmo nome.
+ 
+Augusto Malta. Cine Odeon, c. 1930. Rio de Janeiro, RJ / Acervo IMS
+ 
+“É o mais belo, o mais luxuoso, o mais confortável e o mais tudo quanto pode desejar de agradável em um cinema, de quantos que existem no Rio…É a realização plena de um sonho desse grande idealista do cinema entre nós, o Sr. Francisco Serrador”.
+ Jornal do Commercio, 2 de abril de 1926, quarta coluna
+ 
+Jornal do Commercio, 2 de abril de 1926
+ 
+
+Aspectos da inauguração do Cinema Odeon / Cinearte, 21 de abril de 1926
+ 
+O primeiro filme exibido na nova sala foi Graustark ou Amor de Príncipe, estrelado por Norma Talmadge (1894 – 1957), Eugene O’Brien (1880-1966) e Marc McDermott (1871-1929).
+ 
+Cartaz do filme Graustark ou Amor de Príncipe, o primeiro a ser exibido no Cinema Odeon na Praça Floriano / Site IMDB
+ 
+ 
+Café Odeon / Frou-Frou, julho de 1926
+ 
+Restaurante Odeon / O Malho, novembro de 1926
+ 
+Passou por reformas em fins do século XX e, sob a administração do Grupo Estação, foi fechado em 2014, devido a dívidas. Reaberto, em 2015, como Centro Cultural Luiz Severiano Ribeiro – o Cine Odeon passou a ser, além de sala de cinema, um espaço para cursos, palestras e espetáculos.
+ 
+” O ODEON é parte da memória cultural do Rio de Janeiro e representa uma época em que o cinema e o Centro da cidade se confundiam e se completavam. Sua história acompanha as mudanças da cidade ao seu redor ao longo dos seus 90 anos e continua a encantar o público, combinando com maestria a tradição e a renovação, o clássico e o contemporâneo, sem nunca perder a força da sua identidade“.
+Site do Cine Odeon (desativado)
+ 
+Luciano Ferrez. Fachada do Odeon, 1926. Rio de Janeiro, RJ / Acervo Arquivo Nacional
+ 
+O primeiro Cinema Odeon
+ 
+O primeiro Cinema Odeon / Fon-Fon, 3 de fevereiro de 1917
+ 
+Lembramos aqui que o primeiro Cinema Odeon foi inaugurado, em 16 de agosto de 1909, na então Avenida Central, atual Rio Branco, nº 137, esquina com a Rua Sete de Setembro, instalada pelo Srs. Zambelli & C., no Palacete Guinle.
+ 
+O Paiz, 15 de agosto de 1909
+ 
+Entre 1909 e 1913, o pianista Ernesto Nazareth (1863 – 1934) tocava na sala de espera, tendo merecido um elogio do também pianista e compositor Henrique Oswald (1852 – 1931), que o ouviu no Cinema Odeon: “É admirável esse moço. Que música ele faz! Eu mesmo seria incapaz de interpretá-la com aquela mestria, aquele prodígio de ritmo. E aqui, perdido nesta indiferença…”. Nazareth havia dedicado o tango Batuque (1901) a Oswald.
+ 
+Ernesto Nazareth / Exposição comemorativa do centenário do nascimento de Ernesto Nazareth : 1863-1934
+ 
+Nazareth retornou ao cinema, entre 1913 e 1918, como pianista da orquestra de Eduardo Andreozzi (1892-1979). Villa-Lobos (1887 – 1959) era, na ocasião, o violoncelista. O compositor e professor francês Darius Milhaud (1892 – 1974), que passou uma temporada no Brasil, também o ouviu tocar no Odeon e, posteriormente, escreveu sobre ele em sua autobiografia Notes san musique. Foi também no Odeon que o pianista polonês Arthur Rubinstein (1887-1982) o ouviu tocar, tendo ficado impressionado com sua performance. Sua composição, o tango Odeon, publicado em 1909 pela Casa Mozart (E. Bevilacqua & Cia.) foi dedicado “à distinta empresa Zambelli & Cia.”, proprietária, como já mencionado, do Cinema Odeon. A primeira gravação foi realizada por ele com Pedro Alcântara (1866 – 1929) ao flautim, em 1912. Não foi, na época, uma peça de especial destaque, mas tornou-se um de seus maiores sucessos na segunda metade do século XX.
+ 
+O jurista e político baiano Ruy Barbosa (1849 – 1923) era um dos ilustres frequentadores do Cinema Odeon / Fon-Fon, 5 de março de 1910
+ 
+Antigo Cinema Odeon
+ 
+Andrea C.T. Wanderley
+Editora e pesquisadora da Brasiliana Fotográfica
+ 
+Fontes:
+Hemeroteca Digital da Biblioteca Nacional
+Site Ernesto Nazareth 150 Anos – Instituto Moreira Salles
+Site Musica Brasilis
+Youtube
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/8162` — `itens/20.500.12156.1_8162/`
+
diff --git a/wordpress/42333-o-centenario-do-palacio-tiradentes.md b/wordpress/42333-o-centenario-do-palacio-tiradentes.md
new file mode 100644
index 0000000..07e900d
--- /dev/null
+++ b/wordpress/42333-o-centenario-do-palacio-tiradentes.md
@@ -0,0 +1,88 @@
+---
+id: 42333
+url: "https://brasilianafotografica.bn.gov.br/?p=42333"
+titulo: "O centenário do Palácio Tiradentes"
+autor: "Andrea Wanderley"
+data: "2026-05-06T11:29:39+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/2784", "20.500.12156.1/11278", "20.500.12156.1/11058", "20.500.12156.1/10232", "20.500.12156.1/9465"]
+fetched_at: "2026-09-10T10:22:36.234Z"
+---
+
+# O centenário do Palácio Tiradentes
+
+O Palácio Tiradentes foi construído no local onde existia a Casa de Câmara e Cadeia Velha, prédio erguido em torno de 1640, que foi demolido em 1922, quando foi lançada, com a presença do presidente da República, Epitácio Pessoa (1865 – 1942), a pedra fundamental do prédio da nova sede do Legislativo. Cerca de um ano antes, em 1921, foi aprovado um projeto dos arquitetos  Archimedes Memória (1893 – 1960) e  Francisque Couchet (18? -19?) para a sua construção. Inspirado no Grand Palais, o Palácio Tiradentes foi inaugurado em 6 de maio de 1926 e hoje, com fotografias de Augusto Malta (1864 – 1957), de Guilherme Santos (1871 – 1966) e de fotógrafos ainda não identificados, a Brasiliana Fotográfica celebra seu centenário.
+ 
+Augusto Malta. Palácio Tiradentes, c. 1926. Rio de Janeiro, RJ / Acervo IMS
+ 
+Acessando o link para as fotografias do Palácio Tiradentes disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+O Palácio Tiradentes foi construído no local onde existia a Casa de Câmara e Cadeia Velha, prédio erguido em torno de 1640, quando os membros do Senado e da Câmara do Rio de Janeiro solicitaram a construção de um edifício para abrigar os trabalhos do legislativo. No século XVII, usualmente, nas cidades coloniais da América portuguesa nesses mesmos prédios ficavam as prisões.
+ 
+Augusto Malta. Câmara e Cadeia Velha, 1911. Rio de Janeiro, RJ / Acervo IMS
+ 
+Em 25 de dezembro de 1921, foi aprovado um projeto do cearense Archimedes Memória e do franco-suíço Francisque Couchet, ambos arquitetos, para a construção do Palácio Tiradentes, no local onde existia a Cadeia Velha (Architectura no Brasil, janeiro de 1922). Eles trabalhavam no Escritório Técnico Heitor de Mello (1875 – 1920), que havia falecido, em 1920. Memória e Couchet foram sócios até 1929.
+ 
+Projeto de Archimedes Memória e Francisco Couchet para o Palácio Tiradentes
+ 
+Archimedes e Couchet foram também responsáveis pelos projetos do Palácio das Festas e do Palácio das Grandes Indústrias, na Exposição Internacional do Centenário da Independência (1922), um dos maiores eventos internacionais já realizados no Brasil, inaugurada no Rio de Janeiro em 7 de setembro de 1922 e encerrada em 24 de julho do ano seguinte; além dos edifícios do Palácio Pedro Ernesto (1923), cujo projeto foi desenvolvido por eles, já que seu autor, Heitor Mello (1875 – 1920), faleceu em 1920; do Hotel Balneário da Urca (1925), futuro Cassino da Urca e sede da TV Tupi carioca; do Jockey Club Brasileiro, na Gávea (1926), e do Botafogo Futebol e Regatas (1928).
+ 
+Archimedes Memória / Academia Ipuense de Letras, Ciências e Arte
+ 
+Augusto Malta. Sentados, da esquerda para a direita: Nestor de Figueiredo, Adolpho Morales de los Rios (pai) e Francisque Cuchet. Em pé, na mesma ordem: Archimedes Memoria, Adolpho Morales de los Rios (filho), Celestino Severo de Juan e Edgar Viana, 7 de setembro de 1922. Rio de Janeiro, RJ / Rio Antigo, por Charles Dunlop.
+ 
+O prédio da Cadeia Velha foi demolido, em 1922, quando foi lançada, com a presença do presidente da República, Epitácio Pessoa, a pedra fundamental do prédio da nova sede do Legislativo (O Combate, 19 de junho de 1922; Fon-Fon, 24 de junho de 1922).
+ 
+O Combate, 19 de junho de 1922
+ 
+Fon-Fon, 24 de junho de 1922
+ 
+ 
+Demolição do Morro do Castelo; ao fundo, a Ilha Fiscal e o Palácio Tiradentes em construção, c. 1922. Rio de Janeiro, RJ / Acervo IMS
+ 
+Detalhe da foto anterior com destaque para o Palácio Tiradentes em construção
+ 
+No estilo do palácio é Luiz XVI, moderno, segundo a revista Architectura no Brasil, de janeiro de 1922, foi inspirado no Grand Palais de Paris. O Palácio Tiradentes foi inaugurado em 6 de maio de 1926, no dia em que se completava Um século de vida legislativa no Brasil. Seu nome homenageia Joaquim José da Silva Xavier, o Tiradentes (1746 – 1792), um dos líderes da Inconfidência Mineira, que passou cinco dias na Cadeia Velha, da onde foi levado à forca, em 21 de abril de 1792.
+Por ordem do então presidente da Câmara, Arnolfo de Azevedo (1868 – 1942), o Palácio Tiradentes foi construído com muita economia, tendo custado 15 contos de réis, metade do custo do Palácio Pedro Ernesto, inaugurado em 1923. Toda sua estrutura é de concreto e tijolo; as estátuas são de massa. Ricos cafeicultores e o estado de São Paulo foram responsáveis pela doação de vários móveis para a nova Câmara Federal, abrigada no Palácio Tiradentes, que ali funcionou de 1926 até 1960 (Correio de Manhã, 7 de maio de 1926; O Paiz, 6 de maio e 7 de maio de 1926; Architectura no Brasil, junho/julho de 1926).
+
+ 
+O Paiz, 7 de maio de 1926
+ 
+Na mesma ocasião, foi descerrada, em frente ao plácio, a estátua de Tiradentes, de autoria do escultor Francisco de Andrade  (1893-1953). Em bronze, tem 4,5 metros de altura e, em sua base, lê-se Libertas Quæ Sera Tamen – Liberdade ainda que tardia -, lema dos inconfidentes mineiros inscrito na bandeira oficial do Estado de Minas Gerais.
+Francisco de Andrade havia, em 1914, vencido o concurso para realizar a estátua de Tiradentes. A peça deveria representar Tiradentes no momento, em que estava sendo conduzido à forca, em 21 de abril de 1792, no Largo da Lampadosa, atual Praça Tiradentes. O local escolhido para a fixação da estátua é o mesmo ponto onde se localizava a cela em que Tiradentes esteve preso. A estátua foi alvo de críticas e reparos à época, pois representava o alferes mór do Brasil muito velho, vestindo uma túnica de condenado que lembrava desagradavelmente uma camisola de dormir. Representava-o, igualmente, barbado e cabeludo, atributos que à época, já se sabia que Tiradentes nunca os tivera por ser militar (Site Palácio Tiradentes).
+ 
+O escultor Francisco de Andrade (1893 – 1953) e sua obra, a estátua de Tiradentes / Site Palácio Tiradentes
+ 
+Cerca de dois anos depois, o presidente dos Estados Unidos, Herbert Hoover (1874 – 1964), fez uma visita ao Palácio Tiradentes, em 22 de dezembro de 1928 (Fon-Fon, 29 de dezembro de 1928).
+ 
+Guilherme Santos. Herbert Clark Hoover, presidente dos Estados Unidos, durante visita à Câmara dos Deputados, 22 de dezembro de 1928. Rio de Janeiro, RJ / Acervo IMS
+ 
+Abaixo, um imagem de autoria do fotógrafo amador Guilherme Santos (1871 – 1966) no dia da Constituinte de 1934, em 16 de julho de 1934, com a cavalaria e civis diante do Palácio Tiradentes.
+ 
+Guilherme Santos. Cavalaria e civis em frente ao Palácio Tiradentes, no dia da Constituinte de 1934, 16 de julho de 1934. Rio de Janeiro, RJ / Acervo IMS
+ 
+O Parlamento foi fechado pelo presidente Getulio Vargas (1882 – 1954) no período do Estado Novo, de 1937 a 1945, e o Palácio Tiradentes passou a sediar o Ministério da Justiça e o Departamento de Imprensa e Propaganda (DIP), órgão de censura do regime. Com a saída de Vargas, em 1945, o Palácio Tiradentes voltou a abrigar a Assembleia Constituinte.
+Quando Brasília tornou-se a capital do Brasil, em 1960, no Palácio Tiradentes passou a funcionar a Assembleia Legislativa do Estado da Guanabara (ALEG) que, com a fusão dos estados da Guanabara e do Rio de Janeiro, efetivada em 1975, passou a se chamar Assembleia Legislativa do Estado do Rio de Janeiro (ALERJ).
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+CASTRO, Ramiro Berbert de. Edifícios da Cadeia Velha, Palácio Monroe e Biblioteca Nacional. Rio de Janeiro : Empresa Brasil Editora, 1926.
+Diário do Rio
+Hemeroteca Digital da Biblioteca Nacional
+O GLOBO, 10 de novembro de 2011
+Site Academia Ipuense de Letras, Ciências e Artes
+Site Palácio Tiradentes
+Site Rio Memórias
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/2784` — `itens/20.500.12156.1_2784/`
+- `20.500.12156.1/11278` — `itens/20.500.12156.1_11278/`
+- `20.500.12156.1/11058` — `itens/20.500.12156.1_11058/`
+- `20.500.12156.1/10232` — `itens/20.500.12156.1_10232/`
+- `20.500.12156.1/9465` — `itens/20.500.12156.1_9465/`
+
diff --git a/wordpress/42376-novos-acervos-museu-paraense-emilio-goeldi.md b/wordpress/42376-novos-acervos-museu-paraense-emilio-goeldi.md
new file mode 100644
index 0000000..a1e8c8d
--- /dev/null
+++ b/wordpress/42376-novos-acervos-museu-paraense-emilio-goeldi.md
@@ -0,0 +1,239 @@
+---
+id: 42376
+url: "https://brasilianafotografica.bn.gov.br/?p=42376"
+titulo: "Novos acervos: Museu Paraense Emílio Goeldi"
+autor: "Andrea Wanderley"
+data: "2026-01-12T10:54:18+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/14230", "20.500.12156.1/14252", "20.500.12156.1/14235", "20.500.12156.1/14234", "20.500.12156.1/14261", "20.500.12156.1/14254", "20.500.12156.1/14260", "20.500.12156.1/14245", "20.500.12156.1/14246", "20.500.12156.1/14233", "20.500.12156.1/14262", "20.500.12156.1/14257", "20.500.12156.1/14263", "20.500.12156.1/14243", "20.500.12156.1/14253", "20.500.12156.1/14264", "20.500.12156.1/14265", "20.500.12156.1/14267", "20.500.12156.1/14266", "20.500.12156.1/14268", "20.500.12156.1/14269", "20.500.12156.1/14270", "20.500.12156.1/14271", "20.500.12156.1/14258", "20.500.12156.1/14272", "20.500.12156.1/14248", "20.500.12156.1/14247", "20.500.12156.1/14251", "20.500.12156.1/14232", "20.500.12156.1/14259", "20.500.12156.1/14256", "20.500.12156.1/14273", "20.500.12156.1/14274", "20.500.12156.1/14275"]
+fetched_at: "2026-09-10T10:22:39.692Z"
+---
+
+# Novos acervos: Museu Paraense Emílio Goeldi
+
+A Brasiliana Fotográfica inicia 2026 anunciando com alegria e entusiasmo a adesão do Museu Paraense Emílio Goeldi como sua 15ª instituição parceira. Fundado em 1866, localiza-se em Belém, capital do Pará, e é o mais antigo instituto de pesquisa da Amazônia. Vinculado ao Ministério da Ciência e Tecnologia e Inovação do Brasil, como museu e instituto de pesquisa é essencial tanto para a produção como para a difusão de conhecimento sobre a maior floresta tropical do mundo, a Floresta Amazônica. Nosso novo parceiro estreia no portal com o artigo Belém na coleção fotográfica do Museu Goeldi, de autoria de Nelson Sanjad, Lilian Bayma de Amorim e Pablo Borges, servidores da instituição, no dia em que Belém do Pará completa 410 anos de fundação, ocorrida em 12 de janeiro de 1616. A maior parte das imagens do artigo é publicada aqui pela primeira vez. Ao ingressarem na Brasiliana Fotográfica, esses registros ficarão disponíveis para a consulta e para futuras pesquisas nos campos da história, das artes e em outros possíveis caminhos. Boas-vindas, Museu Paraense Emílio Goeldi!
+ 
+
+No final do artigo, está disponibilizada a matéria da edição do Diário do Pará dos dias 10 e 11 de janeiro de 2026, Belém em imagens raras: acervo histórico ganha primeira exposição digital, com chamada na capa do jornal, sobre a entrada do Museu Paraense Emílio Goeldi na Brasiliana Fotográfica. Sobre o mesmo assunto, o jornal O Liberal, de 19 de janeiro de 2026, publicou a reportagem Belém antiga no portal Brasiliana, também disponibilizada no final deste artigo.
+ 
+Belém na coleção fotográfica do Museu Goeldi
+Nelson Sanjad, Lilian Bayma de Amorim e Pablo Borges*
+ 
+A fundação de Belém é celebrada no dia 12 de janeiro. Em 2026, contam-se 410 anos desde que o capitão português Francisco Caldeira Castelo Branco deu início à construção do Forte do Presépio e do povoado Feliz Lusitânia. Não foi o primeiro entreposto militar nem a primeira vila fundada pelos europeus no norte do Brasil, pois Gurupá e Vigia de Nazaré antecedem Belém. Essa cidade, contudo, ganharia, nos séculos seguintes, uma importância estratégica para a colonização de toda a bacia amazônica e também para a conexão da região com os principais portos europeus. Em Belém se concentram os marcos arquitetônicos e históricos do processo de conquista do território amazônico, incentivado, sobretudo, pela exploração de recursos vegetais pelas metrópoles imperiais, primeiro Lisboa, com as drogas do sertão; e depois Londres, com a borracha.
+O final do século XIX é um momento particularmente importante na história da cidade, quando a população e a economia cresceram de maneira exponencial em razão do comércio da borracha. No extraordinário livro de Rosário Lima Silva e Paulo Chaves Fernandes (1996) é possível apreciar a produção de imagens da cidade no período através de cartões postais. Eles documentam a rápida expansão da malha urbana, a instalação de infraestrutura, os meios de transporte, a ampliação do comércio, a construção de praças e parques, a introdução de edificações de padrão eclético, a eliminação das florestas próximas e o desenvolvimento de um modo de vida burguês e cosmopolita – pelo menos entre as classes privilegiadas.
+Na coleção fotográfica do Museu Goeldi também existem vários registros de Belém, feitos a partir de 1890. Esses registros incluem negativos de vidro, reproduções em papel, cópias digitais de coleções privadas (cuja reprodução e divulgação foram autorizadas) e impressões em fototipia. Todos os registros são de autoria de pesquisadores e técnicos que trabalharam no Museu Goeldi e que fizeram da fotografia uma tecnologia auxiliar para a documentação de cidades, artefatos, pessoas, paisagens, plantas e animais. Isso significa que as imagens aqui divulgadas têm origem nas atividades de pesquisa da própria instituição, em eventos familiares e em interesses pessoais dos funcionários.
+Organizamos cinco conjuntos de imagens, acompanhados de comentários para a devida contextualização. Todas as fotografias estão preservadas no Arquivo Guilherme de La Penha, do Museu Goeldi. A maior parte delas é publicada aqui pela primeira vez. Ao ingressarem na Brasiliana Fotográfica, ficarão disponíveis para a consulta e para futuras pesquisas nos campos da história, das artes e em outros possíveis caminhos.
+ 
+Acessando o link para as fotografias do acervo do Museu Paraense Emílio Goeldi mostradas neste artigo, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+A modernização da cidade
+A arquitetura em ferro e as ferrovias são os grandes símbolos da modernização de cidades ocidentais no final do século XIX (Derenji, 1993; Borges, 2011; Palácios, Sanjad, Oliveira, 2024). Esses são os elementos destacados em uma fotografia do alemão Ernst Lohse (1873-1930), datada de 15 de agosto de 1901. Em primeiro plano, uma locomotiva a vapor puxa vários vagões do bonde urbano, em direção à estação ferroviária, no atual bairro de São Brás. Por trás, ergue-se a imensa caixa d’água em ferro fundido, importada da Europa e inaugurada em 1885 (Ramos, 2019). Essa caixa d’água, ainda existente, mas não funcional, é um ícone da arquitetura em ferro de Belém, não apenas pela impressionante estrutura capaz de sustentar 1,5 milhão de litros de água, mas também porque representa a instalação do sistema de tratamento e distribuição de água na cidade. Das nascentes existentes próximas ao Igarapé do Utinga (ver fotos adiante), a água era transferida para esta caixa d’água, sendo de lá redistribuída.
+São Brás é um bom exemplo do que aconteceu com muitos bairros de Belém. Localizado na periferia da cidade e habitado por pequenos agricultores, transformou-se rapidamente com a inauguração da Estação Ferroviária, em 1884, e da caixa d’água, no ano seguinte. Na fotografia de Lohse, vê-se, à esquerda, postes da fiação elétrica e pequenas casas já alinhadas na antiga Estrada da Independência, incluindo a Pharmácia S. Braz, no canto; mas também ainda existia, do outro lado da rua, uma chácara, à direita, como era comum na periferia da cidade. O movimento das pessoas denuncia que era um local de grande circulação: um rapaz olha para o fotógrafo diante dos trilhos do trem, um homem mais velho avança pelo outro lado, dois carregadores levam imensos cestos às costas e pessoas caminham no comércio que já se estrutura nas imediações. Pequenos detalhes, quase imperceptíveis, revelam o contraste que o bairro já vivia: estacas de madeira, possivelmente sendo transportadas em uma carroça, à esquerda, sugerem que obras estavam sendo executadas por perto, enquanto uma galinha aparece sobre o chão, bem junto da locomotiva que avança intrepidamente.
+ 
+Ernst Lohse. Largo de São Brás, 15 de agosto de 1901. Belém, PA / Acervo Museu Paraense Emílio Goeldi
+ 
+O bonde puxado por locomotiva aparece em uma outra foto, não assinada nem datada, mas certamente feita por Lohse na mesma época. A foto também foi feita no bairro de São Brás, na Estrada da Independência, ao lado do Museu Goeldi. Em primeiro plano, um homem bem vestido atravessa a rua, em direção a uma padaria. Na sequência, aparecem os trilhos do bonde, os postes de ferro da iluminação pública, algumas mangueiras ainda bem jovens (e que depois se tornariam um dos símbolos de Belém), a rede elétrica, o trem, algumas casas e um sobrado. Sobre a rua, montes de paralelepípedos revelam que obras de calçamento estavam sendo executadas.
+ 
+Estrada da Independência, c. 1901. Belém, PA / Acervo Museu Paraense Emílio Goeldi
+ 
+Em uma terceira fotografia, datada de 26 de junho de 1901, Lohse continua a registrar o processo de modernização do bairro de São Brás: ali estão os trilhos do bonde, os paralelepípedos que estavam sendo assentados na rua e a fiação elétrica que cruzava os céus. Essa foto, em particular, feita na esquina da Estrada da Independência com a Travessa Vinte e Dois de Junho (atual Av. Alcindo Cacela), do outro lado do Museu Goeldi, é notável pelo enquadramento e pela composição. Uma enorme árvore plantada no passeio público domina o centro da fotografia (seria remanescente da antiga floresta?), enquanto um homem portando maleta e guarda-sol atravessa os trilhos, carroceiros passam com seus veículos e um garoto sentado no meio da rua sorri para o fotógrafo. Ao fundo, mais mudas de mangueiras aparecem plantadas na calçada e uma grande cerca de madeira sugere a existência de uma chácara.
+ 
+Travessa Vinte e dois de junh0, 25 de junho de 1901. Belém, PA / Acervo Museu Paraense Emílio Goeldi
+ 
+Duas outras fotografias merecem destaque por registrarem outro ícone da modernização de Belém, o Ver-o-Peso. Esse mercado existe desde o século XVII, quando foi criado um entreposto fiscal para aferir as mercadorias que chegavam do interior, vendidas ali mesmo, ao lado da “Casa do Haver o Peso” (Cruz, 1962). No final do século XIX, uma grande reforma transformou completamente a feira que se espalhava do Forte do Presépio até o porto da cidade, com a construção de armazéns, de um mercado de carne e outro mercado de peixe. Este último também é conhecido como “mercado de ferro”, pois foi importado da Europa e montado na antiga feira para a comercialização do pescado ali desembarcado. A fotografia de Ernst Lohse, tirada no ano da inauguração desse mercado (1902), mostra uma das laterais do edifício, com suas pequenas lojas voltadas para a rua. Ao fundo, vê-se os mastros dos barcos fundeados na doca, o necrotério e galpões do porto. Os transeuntes, incluindo o cachorro e a mulher que leva um paneiro à cabeça, à esquerda, dão movimento à cena.
+A outra foto, reproduzida em papel e em estado de conservação delicado, é um registro bem mais raro. Foi feito pelo botânico suíço Jacques Huber (1867-1914), antes de 1910. Huber apontou a lente da câmera não para o mercado de ferro, mas para a feira que se estendia entre ele e o porto – escolha pouco usual entre os fotógrafos da época. Em primeiro plano, à esquerda, vários carros de mão estão posicionados lado a lado. Não é possível depreender se os homens presentes vendem algum produto ou se aguardam pedidos para transportar algo. À direita, trabalhadores preparam caixas de madeira para serem embarcadas em um navio. Muitas pessoas aparecem ao fundo, assim como um galpão do porto, um pequeno quiosque, mastros, postes de ferro, um cavalo e uma pilha de paneiros, embalagem bastante comum ainda hoje para o transporte de gêneros alimentícios. A mureta que separava a feira da praia, à direita, comprova a data da imagem. Essa mureta existiu até o início das obras de ampliação do porto, a partir de 1907 (Penteado, 1973; Teixeira, 2003).
+ 
+Mercado do Ver-o-Peso, c. 1902. Belém, PA / Acervo Museu Paraense Emílio Goeldi
+ 
+Jacques Huber, Feira do Ver-o-Peso, antes de 1910. Belém, PA / Acervo Museu Paraense Emílio Goeldi
+ 
+Os quintais de Belém
+Os quintais de Belém foram mencionados por muitos viajantes desde o século XVIII. Por exemplo, o naturalista luso-brasileiro Alexandre Rodrigues Ferreira (1756-1815), que chegou à cidade em 1783, notou a grande diversidade de vegetais cultivados em quintais e chácaras. Ele concluiu, em suas próprias palavras, que eram “espaços de experimentação”, isto é, locais onde as plantas trazidas do interior eram introduzidas e domesticadas pelos colonos (Sanjad, Pataca, Santos, 2021). Podemos considerá-los verdadeiros laboratórios, que cumpriram uma função essencial no processo de globalização de espécies vegetais amazônicas. Ainda hoje são estudados como repositórios de conhecimentos etnobotânicos, como bancos de diversidade genética e local de sociabilidade familiar e feminina (WinklerPrins e Oliveira, 2010; Tourinho e Silva, 2016).
+Em Belém restam muito poucos quintais e nenhuma chácara ou “rocinha” – o nome que se dava até meados do século XX para pequenas unidades de produção agrícola, localizadas na periferia da cidade e associadas a uma casa de família (Soares, 1996). Temos, contudo, registros fotográficos desses quintais, feitos no início do XX por Jacques Huber. Na foto abaixo, tirada em 17 de setembro de 1902, vê-se uma esquina da Estrada Boaventura da Silva (atual Rua Boaventura da Silva), onde uma enorme Cassia fastuosa se ergue em flor por trás de uma cerca de estacas. Essa cerca e a rua perpendicular à estrada, sem calçamento e bem arborizada, com alguns poucos transeuntes, dão um ar bucólico à cena, apesar de este quintal estar localizado bem próximo ao centro da cidade.
+ 
+Rua Boaventura da Silva, s/d. Belém, PA / Acervo Museu Paraense Emílio Goeldi
+ 
+As três fotografias abaixo também são registros de quintais, mas das casas ocupadas pelo próprio Museu Goeldi ou pelos seus pesquisadores (Suescun, Sanjad, Okada, 2018). A primeira delas apresenta uma bela composição, com uma cerca de tábuas (tomada por formigueiros), troncos, folhagens, com destaque para os tajás, e, à direita, o canto de uma gaiola. Na foto seguinte, uma cerca também bloqueia a visão do espectador, dando proeminência a um uxizeiro que se ergue à frente, árvore muito comum nos quintais da época, mas, por incrível que pareça, ainda não descrita pelos botânicos. Foi exatamente esse pé de uxi – plantado no pomar da rocinha de Bento José da Silva Santos, que Huber utilizou para descrever a espécie Sacoglottis uchi (atual Endopleura uchi (Huber) Cuatrec.) (Huber, 1898). Finalmente, um pé de urucum (Bixa orellana) tomado por flores e frutos foi registrado em outro quintal. O fruto era (e ainda é) utilizado como condimento e na produção de tintura, matéria-prima do vermelho vibrante utilizado pelos indígenas em pinturas corporais e para colorir artefatos. O homem que aparece bem junto ao arbusto, envolto na folhagem, não foi identificado e muito provavelmente foi ali colocado pelo fotógrafo como escala para a apreensão do real tamanho da planta.
+ 
+Cerca de madeira com formigueiros e tajás, Museu Goeldi, s/d. Belém, PA / Acervo Museu Paraense Emílio Goeldi
+ 
+Jacques Huber. Árvore de uxi,  Museu Goeldi, c. 1898. Belém, PA / Acervo Museu Paraense Emílio Goeldi
+ 
+Jacques Huber. Urucum no Parque Zoobotânico do Museu Goeldi, antes de 1900. Belém, PA / Acervo Museu Paraense Emílio Goeldi
+ 
+A Ilha do Mosqueiro
+Mosqueiro é uma das 42 ilhas que compõem o município de Belém. É a maior delas, eleita, desde o final do século XIX, como balneário da elite econômica da cidade. Curiosamente, foram os estrangeiros os primeiros a construir casas para o veraneio nas principais praias da ilha. Atribui-se aos ingleses a urbanização dessas praias, a partir da antiga vila localizada na ponta oeste da ilha (Meira Filho, 1978).
+Mosqueiro foi visitada por um grupo de funcionários do Museu Goeldi e suas famílias entre o final de julho e o início de agosto de 1901. Essa é a época do verão amazônico. O objetivo da viagem foi declarado no verso de uma das fotografias tiradas por Ernst Lohse, em expressão anotada por Jacques Huber: “Verlobungsausflug nach Mosqueiro”. O termo Verlobungsausflug é utilizado em países de língua alemã para caracterizar uma “viagem de noivado”, isto é, uma viagem a um local considerado especial, com a intenção de oficializar um pedido de casamento. Os locais prediletos dos nubentes eram praias ao pôr-do-sol e montanhas. O compromisso matrimonial era sacramentado durante caminhadas e piqueniques.
+O noivado celebrado em Mosqueiro ocorreu entre o próprio Huber e Sophie Müller (1875-1959), filha de uma família suíça residente em Belém, proprietária de uma escola para imigrantes denominada Colégio Suíço-Brasileiro. De sua viagem de noivado existem quatro registros na coleção fotográfica do Museu Goeldi. As duas primeiras imagens documentam a paisagem da ilha, tanto a costa mais elevada que caracteriza a antiga vila (28/07/1901) quanto uma das praias próximas, em maré baixa, ainda margeada por densa vegetação (04/08/1901).
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+Ilha de Mosqueiro, 28 de julho de 1901. Ilha do Mosqueiro, Belém, PA / Acervo Museu Paraense Emílio Goeldi
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+Ernst Lohse. Praia na Ilha do Mosqueiro, 4 de agosto de 1901. Ilha do Mosqueiro, Belém, PA / Acervo Museu Paraense Emílio Goeldi
+ 
+As outras duas imagens foram, certamente, feitas para a memória familiar. Na primeira, de 4 de agosto de 1901, Emílio Goeldi aparece na praia, com um guarda-sol, acompanhado de seu filho mais velho, Walther Eugen (1890-1960) e de um homem não identificado. A segunda registra parte do grupo que celebrava o noivado, posando sobre rochas próximas à água. Goeldi aparece mais elevado, em pose majestática, olhando para o horizonte. Logo abaixo estão suas três filhas, Mathilde (1894-1983), Cornélia (1891-1975) e Leonie (1892-1965). Ao lado, o casal Sophie e Jacques, em trajes muito formais para uma caminhada na praia, um homem e uma menina não identificados e mais dois filhos de Goeldi, Oswaldo (1895-1961) e Walther Eugen. Foi no verso dessa fotografia que Huber anotou a razão da viagem, confirmando o lugar que Mosqueiro já havia assumido para o sociedade belenense. O casamento de Sophie e Jacques foi celebrado em Belém no dia 7 de dezembro de 1901 (Aerni, 1991).
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+Ernst Lohse. Praia na Ilha de Mosqueiro, 4de agosto de 1901. Ilha do Mosqueiro, Belém, PA / Acervo Museu Paraense Emilio Goeldi
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+Ernst Lohse. Passeio à Ilha do Mosqueiro, 4 de agosto de 1901. Ilha do Mosqueiro, Belém, PA / Acervo Museu Paraense Emílio Goeldi
+ 
+Cidade-Floresta
+No final do século XIX, ainda havia muitas áreas florestadas no entorno de Belém. Emílio Goeldi (1897, p. 23), em um de seus relatórios ao governador do Pará, afirmou não ser “preciso ir muito longe [de Belém] para aprender, investigar e até descobrir”, pois havia, nas proximidades da cidade, florestas repletas de animais e vegetais à espera de pesquisadores. De fato, nas coleções e na documentação preservada no Museu Goeldi são frequentes as menções a coletas feitas nos bairros de São Brás, Pedreira, Sacramenta, Marco da Légua, Val de Cans, Utinga e mesmo Nazaré, hoje completamente urbanizados. Os animais e as plantas coletados nesses locais, assim como as fotografias preservadas no Arquivo Guilherme de La Penha, são testemunhos de ambientes, de uma fauna e de uma flora que não existem mais.
+Um dos registros mais importantes dos ecossistemas originais de Belém foi publicado por Jacques Huber em 1900. A foto foi feita na  “mata de Jupatituba”, onde hoje se estende o bairro superpovoado da Terra Firme. Huber quis registrar o ambiente onde a palmeira mumbaca (Astrocaryum gynacanthum) ocorre e o fez com extrema habilidade fotográfica. O local era densamente vegetado, com pouca luz e nenhuma distância entre as plantas. Para fotografar a pequena palmeira de sub-bosque, Huber limpou o terreno à frente da planta e posicionou um homem para fazer as vezes de escala. O resultado é uma imagem com belo jogo de sombras e texturas, com a palmeira ocupando o centro da foto.
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+Jacques Huber. Palmeira Mumbaca, Jupatituba, antes de 1900. Belém, PA / Acervo Museu Paraense Emilio Goeldi
+ 
+Outro local usualmente frequentado pelos pesquisadores do Museu Goeldi era o entorno do Igarapé do Utinga. Nessa região havia muitas nascentes e o local foi escolhido para a instalação da primeira usina de bombeamento de água de Belém, na década de 1880 (Ramos, 2019). Na primeira foto, feita em 1900 por Gottfried Hagmann (1874-1946), vê-se a casa das máquinas a vapor, alguns trabalhadores vestidos apenas com largas calças e um funcionário do museu, possivelmente Andreas Goeldi. A floresta domina a paisagem. A segunda foto, do mesmo autor e feita na mesma data, mostra algo completamente diferente: uma criança negra posa para o fotógrafo, com uma cabana de madeira e palha ao fundo, além da floresta. Podemos crer que a cabana era a residência da família dessa criança – o que corrobora ser as matas do Utinga local de refúgio de afrodescendentes libertos ou escravizados, desde o século XIX. Atualmente, há pelo menos uma comunidade quilombola reconhecida naquela região, o Quilombo de Abacatal (Sousa, Ribeiro e Sanches, 2020).
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+Gottfried Hagmann. Mata do Utinga, 1900. Belém, PA / Acervo Museu Paraense Emilio Goeldi
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+Gottfried Hagmann. Criança e casa no Utinga, 1900. Igarapé do Utinga, Belém, PA / Acervo Museu Paraense Emílio Goeldi
+ 
+No outro lado da cidade, às margens da Baía de Guajará, o Igarapé do Una também era visitado pelos pesquisadores do Museu Goeldi para coletas botânicas e zoológicas. Hoje em dia, a região do entorno desse igarapé é ocupada pelos bairros do Telégrafo, da Sacramenta e do Barreiro, com cursos d’água completamente degradados e nenhuma cobertura vegetal. Há 120 anos, a paisagem era outra: três fotografias de Jacques Huber, tiradas entre junho de 1901 e dezembro de 1902, mostram uma floresta pujante, observada a partir de uma embarcação que margeava a baía e adentrava a Bacia do Una.
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+Jacques Huber. Foz do Igarapé do Una, junho de 1901. Igarapé do Una, Belém, PA / Acervo Museu Paraense Emílio Goeldi
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+Jacques Huber. Vegetação no Igarapé do Una, dezembro de 1902. Igarapé do Una, Belém, PA / Acervo Museu Paraense Emílio Goeldi
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+Jacques Huber. Vegetação no Igarapé do Una, dezembro de 1902. Igarapé do Una, Belém, PA / Acervo Museu Paraense Emílio Goeldi
+ 
+Um pouco mais ao norte da Foz do Una, também às margens da Baía de Guajará, localizava-se a Fazenda Val-de-Cans, antiga propriedade dos Padres Mercedários, construída no século XVII (Meira Filho, 1976). No final do século XIX, a fazenda pertencia a Joaquim Francisco de Araújo Danin. A partir de 1907, foi sendo desmembrada pelos herdeiros e pelas desapropriações feitas pelo governo em benefício da Estrada de Ferro Belém-Bragança e da companhia inglesa responsável pela construção do porto. Na década de 1930, a área foi escolhida para receber o aeroporto de Belém e, depois, a base aérea norte-americana, durante a Segunda Guerra Mundial. Na década seguinte, ali também foram instalados a Base Naval de Val-de-Cans e o Terminal Petroquímico de Miramar. Todo esse complexo deu origem aos atuais bairros que margeiam o aeroporto e a base naval, como a Maracangalha, o Marex, a Pratinha, o Bengui, a Cabanagem e o Tapanã (Ventura Neto e Moura, 2021; Lopes et al., 2023; Costa, Chagas e Netto, 2025).
+Existem alguns poucos registros fotográficos da antiga fazenda que deu origem à toda a região norte de Belém, até o distrito de Icoaraci. O levantamento fotográfico feito por Gottfried Hagmann em julho de 1901 talvez seja o menos conhecido. Aqui apresentamos uma sequência de fotografias feitas durante uma excursão do Museu Goeldi, que documenta a sede da fazenda, as margens da baía e o interior da floresta. Na última delas, Hagmann aparece de pé, com roupas brancas, portando uma espingarda. O outro homem carrega um puçá aos ombros e o menino sentado pesca com uma vara no igarapé.
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+Gottfried Hagmann. Sede da Fazenda de Val-de-Cans, julho de 1901. Fazenda Val-de-Cans, Belém, PA / Acervo Museu Paraense Emílio Goeldi
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+Gottfried Hagmann. Antigo trapiche na Fazenda de Val-de-Cans, julho de 1901. Fazenda Val-de-Cans, Belém, PA / Acervo Museu Paraense Emílio Goeldi
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+Gottfried Hagmann. Vegetação na Fazenda de Val-de-Cans, julho de 1901. Fazenda Val-de-Cans, Belém, PA / Acervo Museu Paraense Emílio Goeldi
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+Gottfried Hagmann. Grupo de naturalistas na Fazenda de Val-de-Cans, julho de 1901. Fazenda Val-de-Cans, Belém, PA / Acervo Museu Paraense Emílio Goeldi
+ 
+Assim como as áreas continentais, as ilhas no entorno de Belém também mereceram a atenção dos pesquisadores do Museu Goeldi. A maior delas é a Ilha do Mosqueiro, já aqui mencionada. A mais populosa é a Ilha de Caratateua, onde fica o distrito de Outeiro. Em todas elas existem ecossistemas complexos, alternando-se entre várzeas, igapós, praias e manguezais (Moreira, 1966; Sales, 2005). As duas fotos abaixo documentam a várzea da Ilha das Onças, que não pertence a Belém, e sim ao município vizinho de Barcarena, embora essa ilha esteja mais próxima e seja mais integrada à economia da capital. Ambas as fotos são de Hagmann, feitas em 1901.
+A primeira é um belo registro de um dos igarapés que cortam a ilha, enquadrado a partir do tronco de uma samaumeira, à esquerda. Em primeiro plano, destacam-se a lama característica da várzea amazônica e restos de uma canoa e de uma jangada. Um aningal aparece à margem do outro lado do igarapé. A segunda foto parece ser um igapó ou uma várzea inundada durante uma maré muito alta, com a vegetação parcialmente submersa. Ambas são preciosos documentos de uma paisagem característica de Belém, na qual a água é o elemento preponderante. Hoje essa paisagem desapareceu por completo da cidade, mas as ilhas do entorno, felizmente, pouco mudaram desde que Hagmann lá esteve, há mais de 120 anos.
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+Gottfried Hagmann. Ilha das Onças, 1901. Barcarena, PA / Acervo Museu Paraense Emílio Goeldi
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+Gottfried Hagmann. Várzea na Ilha das Onças, 1901. Ilha das Onças, Barcarena, PA / Acervo Museu Paraense Emílio Goeldi
+ 
+Floresta-Ruína
+De todos os pesquisadores do Museu Goeldi que manejaram a máquina fotográfica no final do século XIX e início do XX, Jacques Huber foi o único que criou um conjunto significativo de imagens, não apenas em razão do número de fotos assinadas ou atribuídas a ele, mas por ter desenvolvido uma técnica e uma estética particulares. Esse mérito já foi reconhecido por historiadores da fotografia e da ciência (Fieschi, 2008; Sanjad, 2016, 2023a, 2023b), não cabendo aqui retomar o assunto. O que importa ressaltar é que a linguagem fotográfica de Huber contrasta com a produção imagética de outro grande fotógrafo da instituição, Ernst Lohse. Isso decorre da posição que ambos ocupavam no museu e dos usos atribuídos por eles à tecnologia fotográfica. Enquanto Lohse aparece como o fotógrafo “oficial” do Museu Goeldi, produzindo imagens que documentam as atividades institucionais e a serviço de demandas da direção do museu ou do próprio governo do estado, Huber, enquanto vice-diretor e depois diretor, tinha muito mais liberdade para experimentar a aplicação da fotografia em suas atividades científicas e até mesmo para forçar os limites dessa tecnologia enquanto meio de expressão e documentação. A série de fotografias do Círio de Nazaré, produzida entre 1902 e 1905, e o álbum iconográfico “Arboretum Amazonicum”, publicado entre 1900 e 1906, têm sido estudados como indícios do poder criativo de Huber e de sua capacidade em expandir a técnica fotográfica e as tecnologias de reprodução de imagens.
+Um bom exemplo do contraste entre Lohse e Huber pode ser observado nas fotografias que ambos fizeram de Belém. Lohse, como já vimos, produziu imagens extraordinárias da cidade que se modernizava, com todos os ícones característicos da época: a locomotiva, a arquitetura de ferro, a rede de iluminação pública, o calçamento de ruas, os trabalhadores braçais etc. Huber, por sua vez, ao olhar para Belém, não via uma cidade em expansão ou o processo acelerado de urbanização, mas uma floresta que estava desaparecendo, sendo substituída, se arruinando. Trata-se de uma inversão epistêmica, que repõe, no lugar do humano, o vegetal como o principal protagonista das imagens que ele criou.
+Observemos a sequência de fotografias que Huber fez ao redor do próprio museu, à época, localizado na periferia da cidade, o bairro de São Brás, que, como já mencionamos, transformava-se rapidamente. A primeira delas é o registro da Travessa Vinte e Dois de Junho (atual Av. Alcindo Cacela), que passa ao lado do Museu Goeldi. Na foto, produzida em abril de 1896, observamos a larga avenida, ainda ocupada por chácaras de ambos os lados. Alguns poucos transeuntes e uma única carruagem, talvez a do próprio Huber, foram enquadrados, dando a impressão de grande quietude ou pouco movimento urbano. Mas veja o leitor que o destaque não foi dado para a grande rua vazia, uma das muitas abertas em Belém no final do século XIX e que atraíram a atenção de tantos viajantes. Huber utiliza as margens da avenida como ponto de fuga, para dar profundidade à sua foto e para ressaltar o lindo pé de angelim (Andira retusa) “esquecido” no meio fio. Sim, trata-se de um remanescente da floresta que havia naquele local – e que não foi removido por razões imponderáveis. Ele permaneceu ali, no meio do caminho, como árvore-ruína.
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+Jacques Huber. Árvore Angelim na Travessa Vinte e Dois de Junho, abril de 1896. Belém, PA / Acervo Museu Paraense Emílio Goeldi
+ 
+Na Estrada da Constituição (atual Av. Gentil Bittencourt), que passa nos fundos do museu, Huber registrou em junho de 1896 outro habitante da antiga floresta que dominava a cidade: um enorme exemplar de cumaru (Dipteryx odorata), também mantido no meio do caminho da estrada que estava sendo ampliada e rapidamente ocupada por novos habitantes – os humanos. Um pouco mais adiante, já no Largo de São Brás, um visgueiro (Parkia pendula) resiste em meio à construção de várias casas. A foto foi feita em 18 de setembro de 1895. O mesmo acontecia com um segundo visgueiro, também fotografado no Largo de São Brás, mas em data incerta. Nessa terceira imagem, a copa da árvore aparece junto aos postes da fiação elétrica e da iluminação pública, como se já fosse um incômodo ou um obstáculo à expansão da cidade.  Esse antigo habitante da floresta parece deslocado de seu próprio chão.
+ 
+Jacques Huber. Árvore de Cumarú na Estrada Gentil Bittencourt, junho de 1896. Belém, PA / Acervo Museu Paraense Emílio Goeldi
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+Jacques Huber. Visgueiro no Largo de São Brás, 18 de setembro de 1895. Belém, PA / Acervo Museu Paraense Emílio Goeldi
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+Jacques Huber. Visgueiro no Largo de São Brás, s/d. Belém, PA / Acervo Museu Paraense Emilio Goeldi
+ 
+Huber seguiu registrando as árvores-ruína pela Estrada de Ferro Belém-Bragança (atual Av. Almirante Barroso), que saia dali mesmo, do Largo de São Brás. No bairro vizinho do Marco, fotografou um bacurizeiro (Platonia insignis) por trás do edifício da Escola de Agronomia do Pará, do qual só se veem as torres e os prédios anexos. Mais adiante, uma outra árvore permaneceu de pé junto a uma casa, à margem da estrada de ferro. Parece ser o único remanescente da floresta original em toda a redondeza.
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+Jacques Huber. Bacurizeiro no Marco da Légua, s/d. Belém, PA / Acervo Museu Paraense Emílio Goeldi
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+Jacques Huber. Árvore na beira da Estrada de Ferro, s/d. Belém, PA / Acervo Museu Paraense Emílio Goeldi
+ 
+Além da solidão de grandes árvores mantidas vivas em meio à cidade, quando todo o seu entorno já havia sido devastado, Huber documentou ecossistemas naturais que ainda existiam na zona urbana. Um deles foi o igapó ao sul do Museu Goeldi, onde hoje está o canal da Travessa Três de Maio. Em junho de 1896, a área ainda não havia sido ocupada pelos humanos: não havia rua, a mata dominava o cenário e o curso d’água corria livremente até o rio Guamá. Ao longo do século XX, o igapó foi drenado e canalizado. Suas águas transformaram-se em esgoto a céu aberto, percorrendo os bairros da Condor e do Guamá. É considerado uma sub-bacia hidrográfica em uma área densamente ocupada (Araújo Júnior, 2014). Nenhuma parcela da vegetação registrada por Huber foi mantida.
+Outro igapó preservado até o final do século XIX ficava ao sul da igreja de Nossa Senhora de Nazaré, onde atualmente corre a Travessa Quatorze de Março. Na fotografia de Huber, datada de junho de 1896, um grupo de homens, mulheres e crianças, todos aparentemente negros, aparece em meio à vegetação, em uma área que parece estar em declive até um curso d’água. Ao fundo, vê-se uma igreja com torre única, em área mais elevada. Na legenda da foto, anotada no verso por Huber, lê-se: “Kirche von Nazareth, in vordergrund Igapó” (Igreja de Nazaré; em primeiro plano, igapó). Assim como na Travessa Três de Maio, o igarapé original foi drenado, canalizado e transformado em esgoto a céu aberto. Ele compõe uma outra sub-bacia hidrográfica, indo unir-se aos canais que descem da Avenida Generalíssimo Deodoro e da Travessa Dr. Moraes, para depois desaguar no Rio Guamá pelo canal da Travessa Quintino Bocaiúva (Araújo Júnior, 2014).
+ 
+Jacques Huber. Igapó, junho de 1896. Belém, PA / Acervo Museu Paraense Emílio Goeldi
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+Jacques Huber. Igapó (Travessa Quatorze de Março), junho de 1896. Belém, PA / Acervo Museu Paraense Emílio Goeldi
+ 
+O registro das transformações nos ambientes naturais de Belém também foi feito por Ernst Lohse. Por exemplo, em fotografia de 15 de agosto de 1901, feita em local não identificado, um igarapé repleto de ninfeias aparece em primeiro plano, enquanto, ao fundo, à esquerda, um conjunto de edificações começa a substituir a vegetação. O contraste com o ambiente natural é evidente – e anuncia que, em breve, toda aquela mata que aparece à direita desaparecerá, assim como o curso d’água à frente.
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+Ernst Lohse. Igapó, 15 de agosto de 1901. Belém, PA / Acervo Museu Paraense Emilio Goeldi
+ 
+Nessa imagem, assim como no conjunto fotográfico de Huber, a presença humana, seja explícita ou sugerida, como no caso das casas em construção ou de um simples trilho de trem, já caracteriza o entorno como ruína ou resto. A solidão de imensas árvores em ambiente já urbanizado as transforma em destroços, em fantasmas que sobrevivem à destruição. A cidade que se modernizava era, também, a que degradava um mundo de águas e vegetais, um mundo que deixou de existir ou que estava prestes a sucumbir. Através dessas fotografias pode-se contar a história de Belém de uma outra maneira, caso nos permitamos estranhar as narrativas que exaltam a modernidade e se ufanam do progresso.
+ 
+O que as imagens antigas podem nos contar
+A leitura que fizemos das 34 fotografias aqui apresentadas é muito particular. Ela tem origem nas investigações que desenvolvemos no Arquivo Guilherme de La Penha, voltadas, simultaneamente, para as técnicas fotográficas utilizadas no Museu Goeldi desde o final do século XIX, para os usos das imagens pelos pesquisadores e administradores da instituição, para a circulação e para o contexto de produção dessas imagens. Nosso universo de pesquisa inclui fotografias produzidas por Emilio Goeldi, Jacques Huber, Ernst Lohse, Gottfried Hagmann, Emilia Snethlage, Andreas Goeldi, Friedrich Katzer, Adolf Ducke, Rodolpho de Siqueira Rodrigues e outros funcionários que sabiam manejar a máquina e a carregavam toda vez que se deslocavam pela cidade de Belém e pelas excursões que faziam no território amazônico.
+Os registros produzidos por esses homens e por essas mulheres podem nos contar muito sobre os habitantes da região, humanos e não humanos; sobre as paisagens do passado, a cultura material, a arquitetura de cidades; sobre nosso legado colonial e também sobre nossa perspectiva de futuro. Esperamos que, ao estudar e interpretar esse acervo, possamos valorizá-lo no que ele tem de melhor: a diversidade de olhares e de percepções do mundo que nos rodeia.
+ 
+* Lilian Bayma de Amorim, é jornalista e museóloga; Nelson Sanjad é historiador e Pablo Borges é administrador especialista em gestão pública. São todos servidores do Museu Paraense Emilio Goeldi.
+ 
+Referências:
+AERNI, Agathon. Jacques (Jakob) Huber. Schaffhauser Beiträge zur Geschichte (Biographien V), Schaffhausen, v. 68, p. 87-93, 1991.
+ARAÚJO JÚNIOR, Antônio Carlos Ribeiro. Áreas de Proteção Permanente ou Áreas de Ocupação Permanente: sub-bacias hidrográficas Quintino e Três de Maio, Belém (PA). Seminário Nacional sobre o Tratamento de Áreas de Preservação Permanente em Meio Urbano e Restrições Ambientais ao Parcelamento do Solo – APPUrbana, Anais. Belém, Universidade Federal do Pará, 2014, s.p.
+BORGES, Barsanufo Gomides. Ferrovia e modernidade. Revista UFG, v. 13, n. 11, p. 27-36, 2011.
+COSTA, Antônio Cleison; CHAGAS, Clay Anderson; NETTO, Roberto Magno. Materialidade e resistências na Amazônia urbana: pensando os aspectos socioespaciais da historicidade do bairro Cabanagem em Belém/PA. Revista da Casa da Geografia de Sobral, v. 27, n. 1, p. 161-180, 2025.
+CRUZ, Ernesto. O Ver-o-Peso: um capítulo da história colonial do Pará. Revista de História USP, v. 24, n. 50, p. 519-526, 1962.
+DERENJI, Jussara. Arquitetura do ferro: memória e questionamento. Belém: CEJUP, 1993.
+FIESCHI, Caroline. Photographier les plantes au XIXe siècle: la photographie dans les livres de botanique. Paris : CTHS Éditions, 2008.
+GOELDI, Emílio. Relatório apresentado pelo Director do Museu Paraense ao Sr. Dr. Lauro Sodré, Governador do Estado do Pará. Boletim do Museu Paraense de História Natural e Ethnographia, Belém, v. 2, n. 1, p. 1-27, 1897.
+HUBER, Jacques. Notícia sobre o “Uchi” (Saccoglottis uchi nov. spec.). Boletim do Museu Paraense de Historia Natural e Ethnographia, Belém, v. 2, n. 4, p. 489-495, 1898.
+HUBER, Jacques. Arboretum Amazonicum. Iconographia dos mais importantes vegetaes espontâneos e cultivados da região amazonica. Primeira década (1-10). Belém: Museu Paraense de História Natural e Ethnographia, 1900a.
+HUBER, Jacques. Arboretum Amazonicum. Iconographia dos mais importantes vegetaes espontâneos e cultivados da região amazonica. Segunda década (11-20). Belém: Museu Paraense de História Natural e Ethnographia, 1900b.
+HUBER, Jacques. Arboretum Amazonicum. Iconographia dos mais importantes vegetaes espontâneos e cultivados da região amazonica. Terceira década (21-30). Belém: Museu Paraense de História Natural e Ethnographia, 1906a.
+HUBER, Jacques. Arboretum Amazonicum. Iconographia dos mais importantes vegetaes espontâneos e cultivados da região amazonica. Quarta década (31-40). Belém: Museu Paraense de História Natural e Ethnographia, 1906b.
+LOPES, Rebeca; LIMA, José Júlio; FISCHER, Luly; MIRANDA, Thales. Presença militar na Amazônia e seus impactos urbanos: a ocupação do Cinturão Institucional de Belém. Revista Amazônia Moderna, v. 3, p. 1-34, 2023.
+MEIRA FILHO, Augusto. Evolução histórica de Belém do Grão-Pará. Volume 1. Belém: Grafisa, 1976.
+MEIRA FILHO, Augusto. Mosqueiro: ilhas e vilas. Belém: Grafisa, 1978.
+MOREIRA, Eidorfe. Belém e sua expressão geográfica. Belém: Imprensa Universitária, 1966.
+PALÁCIOS, Flávia; SANJAD, Thaís; OLIVEIRA, Mário. A trajetória da arquitetura de ferro em Belém (PA, Brasil): do apogeu ao desaparecimento dos edifícios inteiramente metálicos da Belle Époque. Revista Angelus Novus, v. 15, n. 20, 211433, 2024.
+PENTEADO, Antônio Rocha. O sistema portuário de Belém. Belém: Universidade Federal do Pará, 1973.
+RAMOS, Marina Fonseca. A história de uma ausência: a caixa d’água de Belém. Monografia (Curso de Arquitetura e Urbanismo), Universidade Federal do Pará, 2019.
+SALES, Gil Mendes. Ecologia da paisagem da Ilha de Mosqueiro, NE do Estado do Pará. Dissertação (Mestrado em Geologia). Universidade Federal do Pará, Instituto de Geociências, 2005.
+SANJAD, Nelson. De Basileia a Belém: a carreira transnacional do botânico Jacques Huber (1867-1914). In: CAVALCANTE, Maria Juraci; HOLANDA, Patrícia; LUSTOSA, Francisca; DIAS, Roberto (Orgs.). Histórias da Pedagogia, Ciência e Religião: discursos e correntes de cá e do além-mar. Fortaleza: Edições UFC, 2016. p. 159-181.
+SANJAD, Nelson. O moderno nas imagens híbridas de Jacques Huber. In: Heloisa Espada (Org.). Moderna pelo avesso: fotografia e cidade, Brasil, 1890-1930. São Paulo: Instituto Moreira Salles, 2023a. p. 34-42.
+SANJAD, Nelson. O Círio negro de Jacques Huber. Portal Ensaio, 19 set. 2023b. Disponível em: https://medium.com/@ensaio/o-c%C3%ADrio-negro-de-jacques-huber-6b21e4502689. Acesso em: 21 dez. 2025.
+SANJAD, Nelson; PATACA, Ermelinda; SANTOS, Rafael Rogério Nascimento. Knowledge and Circulation of Plants: Unveiling the Participation of Amazonian Indigenous Peoples in the Construction of Eighteenth and Nineteenth Century Botany. Journal of History of Science and Technology – HoST, v. 15, p. 11-38, 2021.
+SILVA, Rosário Lima; FERNANDES, Paulo Chaves. Belém da Saudade: a memória de Belém do início do século em cartões-postais. Belém: Secult, 1996.
+SOARES, Roberto de la Rocque. Vivendas rurais do Pará: rocinhas e outras (do século XIX ao XX). Belém: Fumbel, 1996.
+SOUSA, Eliezilda Oliveira; RIBEIRO, Priciane Cristina C.; SANCHES, Heloisa Negri. Os reflexos socioambientais da expansão metropolitana de Belém sobre a Comunidade Remanescente Quilombola de Abacatal (CRQA). Cerrados, v. 18, n. 1, p. 129-158, 2020.
+SUESCUN, Lilian; SANJAD, Nelson; OKADA, Wanda. Construção do espaço museal: ciência, educação e sociabilidade na gênese do Parque Zoobotânico do Museu Goeldi (1895-1914). Anais do Museu Paulista: História e Cultura Material, v. 26, p. 1-67, 2018.
+TEIXEIRA, Luciana Guimarães. Intervenções em áreas portuárias e revitalização urbana: o caso da zona portuária de Belém do Pará. Dissertação (Mestrado em Arquitetura e Urbanismo) – Universidade Presbiteriana Mackenzie, São Paulo, 2003.
+TOURINHO, Helena Lucia Zagury; SILVA, Maria Goreti Costa A. Quintais urbanos: funções e papéis na casa brasileira e amazônica. Boletim do Museu Paraense Emílio Goeldi. Ciências Humanas, v. 11, n. 3, p. 633-651, 2016.
+VENTURA NETO, Raul; MOURA, Beatriz. Das linhas (in)visíveis da Fazenda Val-De-Cães aos muros e condomínios fechados da Nova Belém. In: LIMA, José Júlio Ferreira (Org.). Mudanças espaciais e no modo de morar na Nova Belém. Belém: Paka-Tatu, 2021. p. 43-68.
+WINKLERPRINS, Antoinette; OLIVEIRA, Perpetuo Socorro S. Urban agriculture in Santarém, Pará, Brazil: diversity and circulation of cultivated plants in urban homegardens. Boletim do Museu Paraense Emílio Goeldi. Ciências Humanas, v. 5, n. 3, p. 571-585, 2010.
+ 
+ Repercussão na imprensa do Pará
+Na edição do Diário do Pará dos dias 10 e 11 de janeiro de 2026 foi publicado o artigo Belém em imagens raras: acervo histórico ganha primeira exposição digital, com chamada na capa do jornal, sobre a entrada do Museu Paraense Emílio Goeldi na Brasiliana Fotográfica.
+Link do artigo: https://dol.com.br/digital/Page?editionId=3342#book/13
+ 
+
+ 
+ 
+Na edição de O Liberal, de 19 de janeiro de 2026, foi publicado o artigo Belém do passado no portal Brasiliana:
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/14230` — `itens/20.500.12156.1_14230/`
+- `20.500.12156.1/14252` — `itens/20.500.12156.1_14252/`
+- `20.500.12156.1/14235` — `itens/20.500.12156.1_14235/`
+- `20.500.12156.1/14234` — `itens/20.500.12156.1_14234/`
+- `20.500.12156.1/14261` — `itens/20.500.12156.1_14261/`
+- `20.500.12156.1/14254` — `itens/20.500.12156.1_14254/`
+- `20.500.12156.1/14260` — `itens/20.500.12156.1_14260/`
+- `20.500.12156.1/14245` — `itens/20.500.12156.1_14245/`
+- `20.500.12156.1/14246` — `itens/20.500.12156.1_14246/`
+- `20.500.12156.1/14233` — `itens/20.500.12156.1_14233/`
+- `20.500.12156.1/14262` — `itens/20.500.12156.1_14262/`
+- `20.500.12156.1/14257` — `itens/20.500.12156.1_14257/`
+- `20.500.12156.1/14263` — `itens/20.500.12156.1_14263/`
+- `20.500.12156.1/14243` — `itens/20.500.12156.1_14243/`
+- `20.500.12156.1/14253` — `itens/20.500.12156.1_14253/`
+- `20.500.12156.1/14264` — `itens/20.500.12156.1_14264/`
+- `20.500.12156.1/14265` — `itens/20.500.12156.1_14265/`
+- `20.500.12156.1/14267` — `itens/20.500.12156.1_14267/`
+- `20.500.12156.1/14266` — `itens/20.500.12156.1_14266/`
+- `20.500.12156.1/14268` — `itens/20.500.12156.1_14268/`
+- `20.500.12156.1/14269` — `itens/20.500.12156.1_14269/`
+- `20.500.12156.1/14270` — `itens/20.500.12156.1_14270/`
+- `20.500.12156.1/14271` — `itens/20.500.12156.1_14271/`
+- `20.500.12156.1/14258` — `itens/20.500.12156.1_14258/`
+- `20.500.12156.1/14272` — `itens/20.500.12156.1_14272/`
+- `20.500.12156.1/14248` — `itens/20.500.12156.1_14248/`
+- `20.500.12156.1/14247` — `itens/20.500.12156.1_14247/`
+- `20.500.12156.1/14251` — `itens/20.500.12156.1_14251/`
+- `20.500.12156.1/14232` — `itens/20.500.12156.1_14232/`
+- `20.500.12156.1/14259` — `itens/20.500.12156.1_14259/`
+- `20.500.12156.1/14256` — `itens/20.500.12156.1_14256/`
+- `20.500.12156.1/14273` — `itens/20.500.12156.1_14273/`
+- `20.500.12156.1/14274` — `itens/20.500.12156.1_14274/`
+- `20.500.12156.1/14275` — `itens/20.500.12156.1_14275/`
+
diff --git a/wordpress/42596-o-primeiro-campo-do-clube-de-regatas-do-flamengo-por-augusto-malta.md b/wordpress/42596-o-primeiro-campo-do-clube-de-regatas-do-flamengo-por-augusto-malta.md
new file mode 100644
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--- /dev/null
+++ b/wordpress/42596-o-primeiro-campo-do-clube-de-regatas-do-flamengo-por-augusto-malta.md
@@ -0,0 +1,63 @@
+---
+id: 42596
+url: "https://brasilianafotografica.bn.gov.br/?p=42596"
+titulo: "O primeiro campo do Clube de Regatas do Flamengo por Augusto Malta"
+autor: "Andrea Wanderley"
+data: "2026-02-27T12:06:06+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/12440"]
+fetched_at: "2026-09-10T10:22:42.686Z"
+---
+
+# O primeiro campo do Clube de Regatas do Flamengo por Augusto Malta
+
+Produzida pelo fotógrafo alagoano Augusto Malta (1864 – 1957), em torno de 1926, a imagem destacada no artigo de hoje da Brasiliana Fotográfica mostra um aspecto do primeiro campo do Clube de Regatas do Flamengo – O Estádio da Rua Paissandu. Na época, Malta era o fotógrafo oficial da Prefeitura do Rio de Janeiro, cargo criado para ele, que o ocupou entre 1903 e 1936, quando se aposentou. Fotografou no período as transformações urbanas e os grandes eventos da cidade, personalidades políticas, intelectuais e artísticas; paisagens, monumentos, lojas, o casario e as ressacas. Registrou também aspectos da vida carioca como, por exemplo, o carnaval de rua, o movimento dos quiosques, os eventos sociais e esportivos, os moradores de cortiços, os vendedores ambulantes, as prostitutas, os marinheiros e cenas de praia. Seu legado iconográfico é essencial para a preservação da memória da cidade.
+ 
+Augusto Malta. Clube de Regatas do Flamengo – Estádio da Rua Paysandu, c. 1926. Rio de Janeiro, RJ / Acervo IMS
+ 
+O Estádio da Rua Paissandu, cercado de palmeiras imperiais, localizava-se na esquina da Rua Paissandu com a Pinheiro Machado. A família Guinle era a proprietária do terreno, que foi arrendado pelo Flamengo, em fins de 1914, quando o Paissandu Atlético Clube deixou de ser o mandante em amistosos e jogos não oficiais do campo. Em 31 de outubro de 1915, foi realizado o primeiro jogo oficial do Flamengo no estádio: foi uma goleada de 5 a 1 sobre o Bangu, que valeu ao rubro-negro o título do Campeonato Carioca daquele ano. Depois viriam, ainda no campo da Rua Paissandu, os títulos de 1920, 1921, 1925 e 1927. Seu último jogo no estádio, em 25 de setembro de 1932, foi contra o Sport Club Brasil e o rubro-negro ganhou de 5 a 0. O Flamengo devolveu o terreno no fim de 1932 (A Noite, 26 de setembro de 1932).  Os maiores públicos do estádio foram Flamengo 0 x 3 Fluminense, em 23  de junho de 1918, e Flamengo 1 x 3 Fluminense, em 24 de agosto de 1919; ambas as partidas registrando cerca de 15 mil pagantes. Em 4 de setembro de 1938, foi inaugurado o novo estádio do Flamengo, o Estádio da Gávea, à beira da Lagoa Rodrigo de Freitas, com um jogo pelo Campeonato Carioca, entre o Flamengo e o Vasco, que venceu por 2 a 0, gols de Leonídio Fantoni, conhecido como Niginho (1912-1975).
+ 
+
+ 
+O Flamengo, cuja torcida é atualmente a maior do mundo, foi fundado, como clube de regatas, em 15 de novembro de 1895. Apenas em 1912, adotou o futebol. Antes de arrendar o Estádio da Rua Paissandu, o time não tinha estádio próprio e realizava seus jogos nos campos do Fluminense, em Laranjeiras; e no do Botafogo, na General Severiano – campos que voltou a utilizar entre 1932 e 1938. Seu atual estádio é o da Gávea (A Noite, 4 de setembro de 1938; Jornal dos Sports, 6 de setembro de 1938).
+ 
+Careta, 20 de novembro de 1915
+ 
+Careta, 20 de novembro de 1915
+ 
+ 
+
+Algumas curiosidades sobre o estádio da Rua Paissandu
+ 
+Em 1872, foi fundada uma agremiação chamada Rio Cricket Club, na rua Berquó, atual Rua General Polidoro, semente do Paissandu Atlético Clube. Em 1880, o Rio Cricket Club mudou-se para um terreno alugado na Rua Paissandu e passou a chamar-se Paysandú Cricket Club. Na nova sede, foi construída uma pista de corrida em volta da quadra de críquete, além de quadras de tênis e de um pavilhão onde ficavam as senhoras que vinham assistir aos jogos. O terreno pertencia a Gastão d´Orleans (1842 – 1922), o conde D´Eu e sua esposa, a princesa Isabel (1846 – 1921), frequentava o clube para ver jogos e campeonatos…
+ 
+Rua Paissandu vista de dentro do Palácio Guanabara. À direita, a sede do Paysandú Cricket Club. Foto sem data, impressa em cartão postal da editora F. Manzieri de São Paulo.
+ 
+Sede do Paysandú Cricket Club junto ao Morro Novo Mundo
+ 
+…quando ainda era denominado Paysandú Cricket Club foi o local do primeiro jogo do Fluminense Futebol Clube, em 19 de outubro de 1902, quando o time tricolor venceu o amistoso contra o Rio Futebol Clube por 8 a 0 (Revista da Semana, 26 de outubro de 1902, primeira coluna)…
+ 
+
+ 
+…em 13 maio de 1917, o estádio foi palco de um jogo amistoso da seleção brasileira de futebol, que venceu o Barracas da Argentina por 2 a 1 (O Paiz, 14 de maio de 1917, primeira coluna).
+ 
+O Imparcial, 14 de maio de 1917
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora da Brasiliana Fotográfica
+ 
+Fontes:
+Hemeroteca Digital da Biblioteca Nacional
+PARDO, Aristides Leo. Os Estádios de Futebol do Estado do Rio de Janeiro: Bola, História e Cultura – Vol. 3. Rio de Janeiro : Editora Tide Karioca, 2025.
+Site Fla Estatística
+Site Fluminense Futebol Clube
+Site Globo Esporte
+Site Museu Flamengo
+Site Paissandu Atlético Clube
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/12440` — `itens/20.500.12156.1_12440/`
+
diff --git a/wordpress/42625-serie-os-diarios-associados-na-brasiliana-fotografica-viii-o-estadio-do-maracana.md b/wordpress/42625-serie-os-diarios-associados-na-brasiliana-fotografica-viii-o-estadio-do-maracana.md
new file mode 100644
index 0000000..1307b65
--- /dev/null
+++ b/wordpress/42625-serie-os-diarios-associados-na-brasiliana-fotografica-viii-o-estadio-do-maracana.md
@@ -0,0 +1,225 @@
+---
+id: 42625
+url: "https://brasilianafotografica.bn.gov.br/?p=42625"
+titulo: "Série “Os Diários Associados na Brasiliana Fotográfica” VIII – O Estádio do Maracanã, no Rio de Janeiro, fotografado por Angelo Regato e por fotógrafos ainda não identificados"
+autor: "Andrea Wanderley"
+data: "2026-06-16T11:11:13+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/14405", "20.500.12156.1/11566", "20.500.12156.1/14401", "20.500.12156.1/14403", "20.500.12156.1/14407", "20.500.12156.1/14402", "20.500.12156.1/14396", "20.500.12156.1/14397", "20.500.12156.1/14400", "20.500.12156.1/11751", "20.500.12156.1/11928"]
+fetched_at: "2026-09-10T10:22:46.070Z"
+---
+
+# Série “Os Diários Associados na Brasiliana Fotográfica” VIII – O Estádio do Maracanã, no Rio de Janeiro, fotografado por Angelo Regato e por fotógrafos ainda não identificados
+
+Com imagens do Estádio do Maracanã do acervo dos Diários Associados – Rio de Janeiro, conjunto de fotos incorporado, em 2016, por um dos fundadores da Brasiliana Fotográfica, o Instituto Moreira Salles, o portal publica o oitavo artigo da série Os Diários Associados na Brasiliana Fotográfica, celebrando os 76 anos de uma das arenas esportivas mais icônicas do planeta, um templo do futebol mundial, símbolo de uma das grandes paixões nacionais, patrimônio cultural brasileiro e orgulho dos cariocas. Foi construída para a Copa de 1950.
+ 
+Angelo Regato. Estádio de Maracanã, 1948 – 1950. Rio de Janeiro, RJ / Diários Associados (RJ) – Acervo IMS
+ 
+Os registros são de autoria de fotógrafos ainda não identificados e do italiano Angelo Regato (1912 – 1993), que ficou conhecido como um dos primeiros fotojornalistas a usar uma teleobjetiva no Brasil, provavelmente o primeiro. Chefiou o Departamento de Fotografia dos Diários Associados de 1952 até 1975, quando se aposentou, encerrando sua carreira no Jornal do Commercio. Sobre ele, publicamos um breve perfil e uma cronologia, a 72ª da seção Cronologia de Fotógrafos, da Brasiliana Fotográfica. Selecionamos também imagens aéreas do Maracanã do acervo do Museu Aeroespacial, uma das instituições parceiras do portal. Mostram o estádio, carinhosamente apelidado de Maraca, ainda sendo construído, em 1949, e também do ano de sua inauguração, ocorrida em 16 de junho de 1950. Vida longa ao Maraca!
+ 
+Escola da Aeronáutica. Estádio Municipal (Maracanã), 5 de janeiro de 1950. Rio de Janeiro, RJ / Acervo Museu Aeroespacial
+ 
+ 
+Acessando o link para as fotografias do Estádio do Maracanã pertencente ao acervo da Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+ 
+Didi e Pelé por Cássio Loredano. Didi foi o autor do primeiro gol marcado no Maracanã e Pelé marcou seu primeiro gol pela seleção brasileira e também seu milésimo gol no estádio / Pasmado, 3 de junho de 2026
+ 
+A partir de algumas fotografias exibidas neste artigo, mais uma vez pode-se constatar que as hemerotecas digitais, no caso a Hemeroteca Digital da Biblioteca Nacional, são ferramentas de pesquisa poderosas e indispensáveis, principalmente na busca de registros históricos nos periódicos. Porém, devido a velhos sistemas de impressão, as imagens ficam prejudicadas. Daí a importância da conservação dos acervos fotográficos originais, que nenhuma hemeroteca conserva com a mesma nitidez. 
+ 
+Angelo Regato. Serviço de auto-falante do Estádio do Maracanã, publicado em 3 de junho de 1950, no O Jornal. Rio de Janeiro, RJ / Diários Associados (RJ) – Acervo IMS
+ 
+ 
+O Jornal, 3 de junho de 1950
+ 
+Em 1946, o Brasil foi escolhido pela FIFA como sede da Copa do Mundo de 1950 e precisava de um grande estádio para receber os jogos. A construção do Maracanã foi muito criticada pelo então vibrante e emergente orador e vereador pela União Democrática Nacional (UDN), Carlos Lacerda (1914 – 1977), devido aos gastos e à localização escolhida para o estádio, defendendo que fosse edificado em Jacarepaguá. O compositor Ary Barroso (1903 – 1964), já consagrado internacionalmente, então vereador no Rio de Janeiro, também pela UDN, e defensor da construção do estádio no terreno do antigo Derby Club, na Tijuca, encomendou ao Ibope uma pesquisa de opinião para que a população escolhesse entre os dois locais. O instituto fez a pesquisa durante jogos dos principais clubes de futebol cariocas. Resultado: 56,8% dos entrevistados escolheram o Derby Club e 9,7%, Jacarepaguá; 6,9% sugeriram outras regiões como Centro, Gávea, Quinta da Boavista e Cascadura. Além disso, 79,2% achavam necessária a construção de um estádio para a cidade e 53,6% se dispunham a arcar com algum ônus tributário para que a prefeitura financiasse a obra. O poeta venceu o tribuno!
+A pedra fundamental do Estádio do Maracanã foi lançada em 20 de janeiro de 1948. O coronel Herculano Gomes (1899 – 1963) presidia a Comissão de Construção do Estádio Municipal. Seus arquitetos eram Antonio Dias Carneiro, Orlando Azevedo, Pedro Paulo Bernardes Bastos e Rafael Galvão.  E seus engenheiros estruturais, Alberto Rodrigues da Costa, Antonio Alves Noronha, Paulo Fragoso e Sergio Matos de Souza (O Jornal, 21 de janeiro de 1948).
+ 
+Angelo Regato. Lançamento da pedra fundamental do Estádio do Maracanã, 20 de janeiro de 1948. Na foto de cima, à esquerda, o prefeito do Rio de Janeiro, Mendes de Moraes, discursando e sendo observado pelo cardeal do Rio de Janeiro, dom Jaime Câmara (1894 – 1971). Na foto de cima, à direita, Mendes de Moraes. Rio de Janeiro, RJ / Diários Associados (RJ) – Acervo do IMS
+ 
+O Jornal, 21 de janeiro de 1948
+ 
+O Jornal, 21 de janeiro de 1948
+ 
+Em junho de 1948, Angelo Regato registrou o local onde seria erguido o Maracanã e as obras ainda não haviam sido iniciadas.
+ 
+Angelo Regato. Estádio do Maracanã, 22 de junho de 1948. Rio de Janeiro, RJ. Local onde seria construído do Maracanã / Diários Associados (RJ) / Acervo IMS 
+ 
+ 
+Há 5 meses e dois dias foi lançada aqui a pedra fundamental do Estádio Municipal…mas a terra é seca, até hoje não brotou… Angelo Regato, autor da foto, não foi creditado/ Diário da Noite, 22 de junho de 1948
+ 
+O maior estádio do mundo* começou a ser erguido em 17 de agosto de 1948, cerca de sete meses após o lançamento de sua pedra fundamental (Diário da Noite, 17 de agosto de 1948, terceira coluna). No inicio das obras, havia 1.500 homens trabalhando. Nos últimos meses eram 3.000 operários. “A arquitetura de formato oval mede 317 metros no eixo maior e 279 metros no menor. A altura do estádio corresponde a um prédio de seis andares. Os ferros utilizados dariam volta e meia no planeta; foram 500 mil sacos de cimento, 60.000 m2 de pedras e 45.000 m2 de areia” (Jornal da Unicamp, 22 de abril e 4 de maio de 2003).
+ 
+Pela primeira vez um flagrante real e honesto das atividades de construção do Estádio Municipal só agora efetivamente iniciadas. Foto de Parreira / Diário da Noite, 19 de agosto de 1948
+ 
+O Maracanã foi inaugurado com a presença do então presidente da República, general Eurico Gaspar Dutra (1883 – 1974), de todos os seus ministros, do prefeito do Rio de Janeiro, o general Ângelo Mendes de Moraes (1894 – 1990), e de várias outras autoridades. Foi abençoado pelo cardeal dom Jaime Câmara (1894 – 1971). Tornou-se o maior estádio de futebol do mundo, com capacidade técnica para cerca de 155.000 a 200.000 pessoas, superando o Hampden Park, na Escócia. Atualmente, o Maracanã é o 25º – hoje só pode abrigar oficialmente 94 751 pessoas. O maior do mundo é o Estádio Rungrado Primeiro de Maio (114.000 lugares), na Coreia do Norte, inaugurado em 1º de maio de 1989 (Diário da Noite, 16 de junho de 1950; Site Lance).
+ 
+Estádio do Maracanã. O presidente Eurico Gaspar Dutra (1883 – 1974), no centro da foto, estava presente na inauguração do estádio, 16 de junho de 1950. Do seu lado direito, o prefeito do Rio de Janeiro, Ângelo Mendes de Moraes (1894 – 1990). Rio de Janeiro, RJ / Diários Associados (RJ) – Acervo IMS
+ 
+O Jornal, 17 de junho de 1950
+ 
+Sobre a grandiosidade da obra titânica, a maior construção em concreto armado até então realizada, com capacidade para mais de 150 mil pessoas, José Lins do Rego (1901 – 1957) escreveu:
+ 
+José Lins do Rego sobre o Estádio do Maracanã / O Jornal, 17 de junho de 1950
+ 
+No dia seguinte à inauguração, foi realizado um jogo entre as seleções do Rio de Janeiro e de São Paulo. Os paulistas venceram por 3 a 1, mas foi o carioca Didi (1928 – 2001), do Fluminense, que marcou o primeiro gol no estádio (O Jornal, 18 de junho de 1950).
+ 
+O Jornal, 18 de junho de 1950
+ 
+Poucos dias depois, foi o palco da abertura da Copa do Mundo de 1950, em 24 de junho, quando a seleção brasileira goleou a mexicana por 4 a 0 (Diário da Noite,  24 de junho de 1950 e 26 de junho de 1950). E também foi o cenário da final docampeonato, em 16 de julho, que ficou conhecida como Maracanaço, quando o Brasil foi derrotado pelo Uruguai por 2 a 1. Foi, como escreveu Nelson Rodrigues (1912 – 1980), a nossa Hiroshima: “Uma humilhação jamais cicatrizada, que ainda pinga sangue”. O Maracanã, com quase 200 mil pessoas, oficialmente 199.584, até hoje recorde de espectadores em um jogo de futebol, ficou em silêncio. Foi uma verdadeira tragédia esportiva nacional. Antonio Olinto (1919 – 2009), José Lins do Rego e Vargas Neto (1903 – 1977) publicaram crônicas sobre a derrota no Jornal dos Sports, de 18 de julho de 1950.
+ 
+A Derrota
+José Lins do Rego
+“Vi um povo de cabeça baixa, de lágrimas nos olhos, sem fala, abandonar o Estádio Municipal, como se voltasse de enterro de um pai muito amado. Vi um povo derrotado, e mais que derrotado, sem esperança. Aquilo me doeu o coração. Toda a vibração dos minutos iniciais da partida reduzida a uma pobre cinza de fogo apagada. E, de repente, chegou-me a decepção maior, a ideia fixa de que éramos mesmo um povo sem sorte, um povo sem as grandes alegrias das vitórias, sempre perseguido pelo azar, pela mesquinharia do destino. A vil tristeza de Camões, a vil tristeza dos que nada tem a esperar, seria assim o alimento podre dos nossos corações. Não dormi, senti-me alta noite, como que mergulhado num pesadelo. E não era pesadelo, era a terrível realidade da derrota”.
+ 
+Sobre o assunto, o jornalista e caricaturista Cássio Loredano escreveu o artigo Tempo e placar do Maracanaço, na seção “Por dentro dos acervos”, do Instituto Moreira Salles, de 13 de julho de 2020. Nele publicou “três instantâneos metidos numa das dezenas de pastas do assunto ‘futebol’ no arquivo fotográfico dos Diários Associados no Rio, atualmente incorporado ao acervo do Instituto Moreira Salles. E aqui se publicam pela primeira vez”. Eram os placares da terrível derrota.
+ 
+“E aí está. Às 4:15 está Brasil 1 a 0, Friaça marcara a 1 minuto e meio do segundo tempo. 
+ 
+Estádio do Maracanã. Final da Copa do Mundo de 1950 entre Brasil e Uruguai, 16 de julho de 1950. Cena do Maracanazo. Brasil vencendo por 1 a 0. Rio de Janeiro, RJ / Diários Associados (RJ) – Acervo IMS
+ 
+Aos 20, Schiaffino empatou, placar às 4:29.
+ 
+Estádio do Maracanã. Final da Copa do Mundo de 1950 entre Brasil e Uruguai, 16 de julho de 1950. Cena do Maracanazo. Brasil e Uruguai empatados: 1 a 1. Rio de Janeiro, RJ / Diários Associados (RJ) – Acervo IMS
+ 
+E três minutos depois Ghiggia tinha posto o 2 lá em cima. Fazendo o que se orgulhava de só ele, Frank Sinatra e João Paulo II terem conseguido: calar o estádio que vaiava até minuto de silêncio”.
+Cássio Loredano
+Estádio do Maracanã. Final da Copa do Mundo de 1950 entre Brasil e Uruguai, 16 de julho de 1950. Cena do Maracanazo. Vitória do Uruguai por 2 a 1. Rio de Janeiro, RJ / Diários Associados (RJ) – Acervo IMS
+ 
+Cerca de oito anos depois, às vésperas do Copa do Mundo de 1958, na Suécia, Nélson Rodrigues, em uma crônica publicada na Manchete Esportiva de 31 de maio de 1958, referiu-se à derrota de 1950 e declarou: …desde 50, nosso futebol tem pudor de acreditar em si mesmo. Foi também nesta crônica que criou a expressão complexo de vira-latas.
+As seleções brasileira e uruguaia voltaram a se enfrentar numa Copa do Mundo, desta vez no México, em 17 de junho de 1970, no Estádio Jalisco, em Guadalajara, em um dos jogos da semifinal do campeonato. O Brasil venceu de 3 a 1  e os gols foram marcados por Clodoaldo (1949-), Jairzinho (1944-) e Rivelino (1946-). Pelo Uruguai, Luis Cubilla (1940 – 2013).  O Brasil eliminou o Uruguai  e superou o fantasma de 1950.
+ 
+O Jornal, 18 de junho de 1970
+ 
+Continuando a história do Maracanã…
+ 
+Em 1966, o nome oficial do Maracanã passou a ser Estádio Jornalista Mário Filho, a partir de um projeto apresentado pelo deputado Jamil Haddad (1926-2009) e subscrito pelo deputado Raul Brunini (1919 – 2009); aprovado em 27 de setembro de 1966, poucos dias após o falecimento de Mário Filho (1908 – 1966), em 16 de setembro. Mário Filho foi um dos maiores apoiadores da construção do Maracanã e a ideia do novo nome para o estádio foi de Waldir Amaral (1926–1997), um dos maiores locutores esportivos do rádio brasileiro (Jornal dos Sports, 20 de setembro de 1966; 28 de setembro de 1966). Em 8 de abril de 2021, o então governador do Rio de Janeiro, Cláudio Castro (1979 -), tornou público o veto à lei que mudava o nome do Estádio do Maracanã. Com isso, o projeto que pretendia alterar o nome oficial de Estádio Jornalista Mário Filho para Rei Pelé foi arquivado.  A decisão de mudança havia sido tomada em março deste ano pela Assembleia Legislativa do Estado do Rio de Janeiro e o pedido de desistência foi feito pelo então presidente da Casa, André Ceciliano (1968-), um dos idealizadores do projeto que tinha como intuito, segundo ele, homenagear Pelé (1940 -2022) em vida (Portal dos Jornalistas, 9 de abril de 2021).
+ 
+Mário Filho (1908 – 1966), no Maracanã, em 1949 ou 1950 / Portal dos Jornalistas
+ 
+O Maraca também foi a sede da final da Copa do Mundo de 2014, das cerimônias de abertura e encerramento dos Jogos Pan-Americanos de 2007 e dos Jogos Olímpicos do Rio de Janeiro de 2016, quando em seus gramado a seleção brasileira de futebol conquistou o ouro olímpico derrotando a Alemanha nos pênaltis. Sediou campeonatos estaduais, a Copa Rio, Mundiais de Clubes. Foi no Maracanã que Mané Garrincha (1933 – 1983) consagrou-se com a camisa do Botafogo e da seleção brasileira, tendo feito lá seu jogo de despedida em 19 de dezembro 1973. Foi no seu gramado que Pelé marcou seu primeiro gol pela seleção brasileira em 7 de julho de 1957, na derrota por 2 a 1 para a Argentina, pela Copa Roca; e também seu milésimo gol, em  19 de novembro de 1969, durante a vitória do Santos por 2 a 1 contra o Vasco, pela Taça de Prata.
+Foi também palco de grandes shows como o dos cantores Frank Sinatra (1915 – 1998), em janeiro de 1980; e Paul McCartney (1942-), em abril de 1990 e em dezembro de 2023; e das cantoras Tina Turner (1939 – 2023), em janeiro de 1998; Madonna (1958 -), em novembro de 1993 e em dezembro de 2008; e Ivete Sangalo (1972 -), em dezembro de 2006. Além disso, o papa João Paulo II rezou missas no estádio em julho de 1980 e em outubro de 1987; e o estádio sediou o festival de música Rock in Rio II, em janeiro de 1991.
+Alguns importantes eventos esportivos não futebolísticos aconteceram lá. Um deles, em 23 de outubro de 1951, com a presença do vice-presidente Café Filho (1899 – 1970), quando foi realizado um duelo de artes marciais entre o brasileiro Hélio Gracie (1913 – 2009), lutador de jiu-jitsu; e o judoca japonês Masahiko Kimura (1917 – 1993), vencedor do combate (Correio da Manhã, 24 de outubro de 1951).
+ 
+
+ 
+Em 2000, nas comemorações de seus 50 anos, o Maracanã ganhou uma Calçada da Fama com as marcas dos pés de vários jogadores como Romário (1966 -), Ronaldo Fenômeno (1976 -) e Zico (1953 -).
+O estádio deixou de ser o maior do mundo com as obras para os Jogos Pan-americanos de 2007, quando o campo foi rebaixado e o setor conhecido como Geral foi eliminado – era o espaço mais democrático e popular do futebol. A maior reforma realizada no Maracanã ocorreu entre 2010 e 2013 para adequar o estádio para a Copa de 2014 dentro do padrão Fifa. Tornou-se mais confortável, mas para muitos perdeu sua identidade histórica, que fazia dele uma arena única e especial. Para os Jogos Olímpicos de 2016, foram realizadas novas intervenções para adequar o estádios às cerimônias de abertura e encerramento do evento (Valor Econômico, 8 de outubro de 2012; Site OneFootball).
+ 
+Escola de Aeronáutica. Estádio Municipal (Maracanã), 23 de junho de 1950. Rio de Janeiro, RJ / Acervo Museu Aeroespacial
+ 
+ 
+Brevíssimo perfil do fotojornalista Angelo Regato (1912 – 1993)
+ 
+Angelo Regato (1912 – 1993) / Jornal do Commercio, 1º de outubro de 1993
+
+Mineiro de Estrela Dalva, Angelo Regato nasceu em 27 de outubro de 1912 e, ainda na juventude, veio para o Rio de Janeiro. Começou a se aproximar do jornalismo, em 1929, quando foi empregado na empresa de teatro e cinema de Paschoal Carlos Magno (1906 – 1980). Ele levava os anúncios dos filmes e das peças para os jornais. No ano seguinte, começou a trabalhar como fotógrafo no jornal A Pátria, onde permaneceu até 1940. Sua máquina fotográfica era a alemã Contessa Nettel. Desta época até meados da década de 1930, trabalhava à noite como porteiro de cinema ou montador de cartaz.
+Em entrevista, Regato comentou as condições de trabalho dos fotógrafos da época (O GLOBO, 30 de setembro de 1987).
+“Ao mesmo tempo que era fascinante, o emprego era muito puxado. Naquele tempo, o fotógrafo fornecia desde o filme até o ampliador. O jornal só fornecia um quartinho para que pudéssemos revelar as chapas”.
+Foi Regato que deu o tiro do magnésio para que fosse feita a foto, de autoria de Arnaldo Vieira (1904 – 1974), da prisão do presidente deposto pela Revolução de 1930, Washington Luís (1869 – 1957), saindo do Palácio Guanabara, residência oficial do chefe de governo, rumo ao Forte Copacabana, onde ficou preso até seguir, exilado, para os Estados Unidos. Era o fim de seu mandato presidencial, iniciado em 15 de novembro de 1926, o último da chamada República Velha. O primogênito de Irineu Marinho, Roberto Marinho (1904 – 2003), que assumiria a direção do jornal, em 1931, atuava na ocasião como repórter de O GLOBO e teve uma participação decisiva neste furo de reportagem. Ele estava no palácio e viu o momento em que Washington Luís entrou no carro, um luxuoso Lincoln. Para tornar a fotografia possível, colocou arbustos no caminho, fazendo com que o carro tivesse que parar por alguns segundos, e assim o fotógrafo que o acompanhava conseguiu fazer o registro. O registro fotográfico, um importante furo jornalístico, foi publicado na capa da terceira edição de O GLOBO de 24 de outubro de 1930 e republicada no dia seguinte. De acordo com o jornal esta fotografia é O mais eloquente documento histórico da deposição do Sr. Washington Luis e É um documento único e cujo valor não será mais preciso exaltar.
+ 
+O presidente deposto, Washington Luís, acompanhado pelo cardeal Dom Sebastião Leme, deixa o Palácio Guanabara, em direção ao Forte Copacabana, onde permaneceu detido até seguir viagem para os Estados Unidos, 24 de outubro de 1930. Rio de Janeiro, RJ / Acervo FGV CPDOC
+ 
+Em 1935, Regato passou a trabalhar também no jornal A Nota. Em 1938, foi trabalhar para A Notícia e para veículos dos Diários Associados e foi, como já mencionado, chefe do Departamento de Fotografia do referido conglomerado de mídia, de 1952 até 1975.
+“Comandava uma equipe de 35 profissionais, que trabalhavam 24 horas por dia. Atendíamos aos jornais da rede e ao departamento de publicidade. Os fotógrafos vibravam quando iam aos concursos de miss”.
+Participou de diversas coberturas de eventos importantes da história do Brasil como a já mencionada Revolução de 1930, a chegada ao Brasil dos pracinhas da Força Expedicionária Brasileira com o fim da Segunda Guerra Mundial e a realização da Assembleia Nacional Constituinte de 1946. Registrou a remoção da Igreja São Pedro dos Clérigos sobre gigantescos rolimãs para a abertura da Avenida Presidente Vargas, em 1944; e, de 1936 a 1939, acompanhou o presidente Getúlio Vargas em uma peregrinação pelo país. Acompanhou também Assis Chateaubriand (1892 – 1968), fundador e dono dos Diários Associados, em diversas viagens pelo Brasil.
+ 
+O Jornal, 23 de agosto de 1945
+ 
+Foto de Angelo Regato de um Pracinha comemorando com a família após a chegada da Itália com o fim da Segunda Guerra Mundial, 22 de agosto de 1945. Rio de Janeiro, RJ / Diários Associados (RJ) – Acervo IMS
+ 
+Na enquete Em quem você votaria?, realizada pelo jornal O GLOBO, disse que ainda não havia se definido: “Sou do contra — declarou — Quero novidades. Quero gente nova. É preciso que se dêem oportunidades a outros brasileiros de valor até então desconhecidos por força do regime em que vivíamos. Sou ainda favorável à anistia e pela pacificação da família brasileira” (O GLOBO, 6 de abril de 1945).
+Fazendo a cobertura do Circuito da Gávea de automobilismo, foi um dos fotógrafos agredidos pela polícia (O Jornal, 22 de abril de 1947, segunda coluna).
+ 
+O Jornal, 22 de abril de 1947
+ 
+Pela primeira vez, fotos de sua autoria foram publicadas na revista O Cruzeiro, também dos Diários Associados. Foi na reportagem Energia para o Nordeste, de Theophilo de Andrade (1903 – 1994) (O Cruzeiro, 12 de julho de 1947).
+O Diário da Noite foi um inovador na fotografia, publicando, inicialmente clichês de 6 a 8 colunas, e, posteriormente, alcançando sucesso com as fotos colhidas pela teleobjetiva de Angelo Regato, que a usou pela, primeira vez, no dia 4 de Julho de 1948, no Torneio Início do Campeonato Carioca de Futebol (Diário da Noite, 5 de julho de 1948, página 11 e página 28).
+ 
+Foto realizada por Regato com uma teleobjetiva / Diário da Noite, 5 de julho de 1948
+ 
+Antes, os fotógrafos de futebol ficavam alojados atrás do gol, sujeitos a pedradas dos torcedores e impossibilitados de variar a produção de imagens. Regato havia participado da cobertura jornalística de um eclipse solar, em Bocaiuva, no interior de Minas Gerais, em maio de 1947 (O Jornal, 21 de maio de 1947). Ele usava sua Contessa Nettel e observou um colega norte-americano trabalhando com uma teleobjetiva Garflex. Foi quando decidiu adquirir a sua, que comprou, à prestação, na Mesbla (O GLOBO, 1º de março de 1962; Boletim da ABI, de 1975).
+Passou a morar no Méier em 1949. Nesta época, o futuro e importante colunista social, Ibrahin Sued (1924 – 1995), era seu ajudante.
+Em 6 de abril de 1950, fez, de um teco-teco, fotos do descarrilamento do Noturno Campista sobre a ponte do Rio Tanguá. Os registros foram publicados no Diário da Noite. Considerava essa uma de suas melhores coberturas jornalísticas.
+É de sua autoria a primeira foto do Maracanã lotado, durante um treino da seleção brasileira para a Copa de 1950. Jogou contra o quadro de aspirantes do Vasco da Gama reforçado por profissionais do time (Diário da Noite, 19 de junho de 1950).
+ 
+Diário da Noite, 19 de junho de 1950
+ 
+Participou da cobertura da Copa do Mundo de 1954 na Suíça (Jornal do Sports, 10 de março de 1977, penúltima coluna).
+Em 1956, foi um dos fundadores da Associação de Repórteres Fotográficos do Rio de Janeiro, cuja iniciativa foi apoiada por Herbert Moses (1884 – 1972), presidente a Associação Brasileira de Imprensa (ABI), onde, até ter sede própria, a associação de fotógrafos funcionou.
+Foi ele que levou Evandro Teixeira (1935 – 2024), recém chegado da Bahia ao Rio de Janeiro, em 1957, até a redação do Diário da Noite. Os dois jornais eram sediados no mesmo edifício da rua Sacadura Cabral, nº 103, na Praça Mauá. Não havia vaga disponível naquele momento, mas, no ano seguinte, Evandro começou a fotografar para o Diário da Noite e a produzir registros para O Jornal. Seus dois primeiros trabalhos no Diário da Noite não deram certo: fotografou, com uma Rolleiflex fornecida pelo jornal, o casamento de uma alemã com um negro, apesar da orientação racista do jornal. Foi demitido pelo diretor do jornal, o mineiro Paulo Vial Correa (1919 – 1975). Angelo Regato deu uma segunda chance a ele: fotografar o desfile de fantasias do Baile do Teatro Municipal, mas Evandro chegou atrasado e Regato teve que providenciar as fotos da revista O Cruzeiro sem o carimbo. Veio então a sua terceira, que seria sua última chance: fazer a cobertura do desfile das escolas de samba na Avenida Rio Branco. Foi um sucesso e Evandro finalmente iniciou sua carreira profissional no Rio de Janeiro, tornando-se um dos maiores fotojornalistas brasileiros de todos os tempos.
+“O Angelo Regato realmente foi uma pessoa maravilhosa, devo muito a ele que logo me apresentou ao diretor de redação”.
+Evandro Teixeira em Arfoc
+Participou da cobertura do Campeonato Sul-Americano de Futebol, realizado em Buenos Aires entre 7 de março de 4 de abril de 1959. Participaram da disputa sete seleções: Argentina, campeã do torneio; Bolívia, Brasil, Chile, Paraguai, Peru e Uruguai. O jornalista Armando Nogueira (1927 – 2010), pelo Jornal do Brasil; e o fotógrafo Ângelo Gomes (19? -?), pelo Jornal dos Sports, também participaram da cobertura do evento (Jornal do Brasil, 3 de julho de 1994, segunda coluna).
+Em 1968, era um dos dirigentes da Associação de Repórteres Fotográficos do Rio de Janeiro. Pelo menos até 1979 integrava a entidade, pela qual foi condecorado com o título de comendador (O GLOBO, 16 de fevereiro de 1968; Jornal do Commercio, 9 de fevereiro de 1979, penúltima coluna; Jornal do Commercio, 1º de outubro de 1993, penúltima coluna).
+ 
+Na foto, Regato é o primeiro à direita / O GLOBO, 16 de fevereiro de 1968
+ 
+Foi noticiado que um retrato de Regato seria inaugurado na sede da Associação de Repórteres Fotográficos e Cinematográficos do Estado do Rio, cujo presidente era Walter Quirino (19? -?) (Jornal do Commercio, 15 de janeiro de 1970, quarta coluna).
+Foi homenageado, no Palácio do Comércio, em Niterói, recebendo das mãos de Moacyr Moreira Leite, presidente da Associação Comercial e Industrial do Estado do Rio de Janeiro, um diploma da Associação de Repórteres Fotográficos e Cinematográficos do Estado do Rio, fundada no ano anterior. Regato era um dos fundadores da associação congênere do Rio de Janeiro (O Jornal, 22 de março de 1970, primeira coluna).
+ 
+
+O Jornal, 22 de março de 1970
+ 
+Em 13 de maio de 1970, foi um dos profissionais condecorados com as insígnias do Mérito Jornalístico, da Ordem dos Velhos Jornalistas, em uma solenidade realizada na Associação Brasileira de Imprensa. Os outros  foram Dinah Silveira de Queiroz (1911 – 1982), Carlos de Souza Areas, Fernando Hupsel de Oliveira (19? -?), Alceu de Amoroso Lima (1893 – 1983), Raul Pilla (1892 – 1973), Gomes Maranhão (1907 – 1992), Antônio Herrera Filho (c. 1911 – 1980), Alberto Torres e Archimedes Fortini (18? – 1973). Na ocasião, Regato foi apresentado como o primeiro repórter a usar a teleobjetiva na imprensa brasileira. A Medalha do Mérito Jornalístico foi instituída pela Ordem dos Velhos Jornalistas e reconhecida oficialmente  pelo Decreto n° 52.206, de 28 de junho de 1963 (Jornal do Commercio, 14 de maio de 1970, quarta coluna). Pela conquista da Medalha, foi homenageado por colegas de A Notícia e de O Dia (O Jornal, 22 de maio de 1970, segunda coluna).
+Integrava a equipe dos Diários Associados responsável pela cobertura jornalística da Copa Mundial de Futebol do México (O Jornal, 17 de abril de 1970).
+O Diário da Noite Futebol Clube, clube dos Diários Associados, promoveu, no Social Marabu, no Encantado, um torneio de futebol de salão denominado Angelo Regato, em homenagem ao fotógrafo (O Jornal, 27 de novembro de 1971, primeira coluna).
+Publicação da reportagem A bola é redonda para a família Antunes, de Yata Anderson (1944 – 2026), com fotos de autoria de Regato. Da família, fazia parte os jogadores Edu (1947 -), Nando (19?-), Antunes (19?-) e Zico (1953-). Uma curiosidade: Yata foi o único repórter a entrevistar Pelé em campo no seu último jogo no Maracanã, em 1974, e por isso, ficou conhecido como o Amigo do Rei (O Jornal, 7 de novembro de 1970).
+Regato devolveu sua Leika e aposentou-se, em 1º de maio de 1975, encerrando sua carreira no Jornal do Commercio, após 46 anos de trabalho. Era, então, o mais antigo repórter fotográfico em atividade do Rio de Janeiro (Boletim da ABI, março e abril de 1975). Continuou trabalhando como profissional independente e visitava ocasionalmente seus amigos nas redação do Jornal do Commercio.
+ 
+Angelo Regato / Boletim da ABI, março/abril de 1975
+ 
+Em 1982, foi um dos fotógrafos contatados pelo Núcleo de Fotografia da Funarte para dar um depoimento acerca de seu trabalho de fotógrafo de copas do mundo. Na época, a Funarte estava promovendo em sua galeria a exposição Fotografias nas Copas do Mundo. Segundo Regato, os fotógrafos ficavam, normalmente, atrás do gol  (O GLOBO, 9 de junho de 1982).
+Foi entrevistado pelo jornal O GLOBO (O GLOBO, 30 de setembro de 1987).
+ 
+
+ 
+Para aqueles que quisessem se aproximar do mundo da fotografia, Regato deu o seguinte conselho:
+“A pessoa deve aguçar a sensibilidade. É preciso que ela seja paciente e criativa”.
+ 
+Faleceu, em 30 de setembro de 1993, em sua residência, na Rua Domingues Freire, no Méier, vítima de um enfarte (Jornal do Commercio, 1º de outubro de 1993, penúltima coluna; Boletim da ABI, de setembro/outubro de 1993, segunda coluna).
+ 
+Jornal do Commercio, 1º de outubro de 1993
+ 
+Foi casado com Fernandina Maria Mesquita, com quem teve quatro filhos: Angelo, José, Carlos e Fernanda (Site Family Search; Jornal do Commercio, 6 de junho de 1976, penúltima coluna;  27  de junho de 1976, última coluna).
+Em uma de suas colunas, o jornalista Armando Nogueira escreveu:
+ “Faço um saudoso parêntese pra relembrar, com ternura, o velho Angelo Regato. Era um mestre. Morreu sem jamais ter perdido um flagrante de um gol num clique de sua fiel speed graf”.
+Tribuna da Imprensa, 26 de junho de 1996
+ 
+Acesse aqui a Cronologia de Angelo Regato (1912 – 1993)
+ 
+*Atualmente o maior estádio do mundo é o Estádio Primeiro de Maio Rungrado, localizado em Pyongyang, na Coreia do Norte, com capacidade para 150 000 espectadores.
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora da Brasiliana Fotográfica
+ 
+Fontes:
+ANTUNES, Fátima Martin Rodrigues Ferreira. Com Brasileiro, Não Há Quem Possa! Futebol e identidade nacional em José Lins do Rego, Mário Filho e Nelson Rodrigues. São Paulo: EdUNESP, 2004.
+Hemeroteca Digital da Biblioteca Nacional
+Jornal da Unicamp, 22 de abril e 4 de maio de 2003
+MÁXIMO, João. Maracanã: meio século de paixão. Rio de Janeiro: DBA, 2000.
+O GLOBO, 30 de setembro de 1987.
+Portal Maracanã
+NELSON, Rodrigues. A pátria de chuteiras. Rio de Janeiro: Nova Fronteira, 2013
+Revista Superinteressante
+SIMAS, Luiz Antônio. Maracanã: quando a cidade era terreiro. Rio de Janeiro : Mórula Editorial, 2021.
+Site Arfoc Rio
+Site Lance
+Site Os Divergentes
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/14405` — `itens/20.500.12156.1_14405/`
+- `20.500.12156.1/11566` — `itens/20.500.12156.1_11566/`
+- `20.500.12156.1/14401` — `itens/20.500.12156.1_14401/`
+- `20.500.12156.1/14403` — `itens/20.500.12156.1_14403/`
+- `20.500.12156.1/14407` — `itens/20.500.12156.1_14407/`
+- `20.500.12156.1/14402` — `itens/20.500.12156.1_14402/`
+- `20.500.12156.1/14396` — `itens/20.500.12156.1_14396/`
+- `20.500.12156.1/14397` — `itens/20.500.12156.1_14397/`
+- `20.500.12156.1/14400` — `itens/20.500.12156.1_14400/`
+- `20.500.12156.1/11751` — `itens/20.500.12156.1_11751/`
+- `20.500.12156.1/11928` — `itens/20.500.12156.1_11928/`
+
diff --git a/wordpress/42632-no-dia-nacional-do-futebol-fotos-de-estadios-de-times-cariocas.md b/wordpress/42632-no-dia-nacional-do-futebol-fotos-de-estadios-de-times-cariocas.md
new file mode 100644
index 0000000..5f97f6f
--- /dev/null
+++ b/wordpress/42632-no-dia-nacional-do-futebol-fotos-de-estadios-de-times-cariocas.md
@@ -0,0 +1,55 @@
+---
+id: 42632
+url: "https://brasilianafotografica.bn.gov.br/?p=42632"
+titulo: "No Dia Nacional do Futebol, fotos de estádios de times cariocas"
+autor: "Andrea Wanderley"
+data: "2026-07-19T11:36:04+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/3023", "20.500.12156.1/10846", "20.500.12156.1/4589", "20.500.12156.1/11201", "20.500.12156.1/12440", "20.500.12156.1/12025", "20.500.12156.1/7340"]
+fetched_at: "2026-09-10T10:22:49.562Z"
+---
+
+# No Dia Nacional do Futebol, fotos de estádios de times cariocas
+
+Hoje é celebrado o Dia Nacional do Futebol e, coincidentemente, será disputada a final da Copa do Mundo de 2026, entre as seleções da Argentina e da Espanha (que sagrou-se bicampeã*), no MetLife Stadium, localizado na cidade de East Rutherford, no estado de Nova Jersey, nos Estados Unidos. Com uma seleção de imagens de estádios de times de futebol, a Brasiliana Fotográfica homenageia a data, que foi instituída pela Confederação Brasileira de Desportos, atual Confederação Brasileira de Futebol, em 1976. Os registros pertencem às instituições fundadoras do portal, que são a Biblioteca Nacional e o Instituto Moreira Salles; e às seguintes instituições parceiras: o Arquivo Geral da Cidade do Rio de Janeiro, a Diretoria do Patrimônio Histórico e Documentação da Marinha e o Museu Aeroespacial. São fotografias aéreas, uma delas de autoria de S.H. Holland (1883 – 1936), além de registros realizados pelo fotógrafo Augusto Malta (1864 – 1957) e por seu filho Uriel (1910 – 1994). A data do Dia Nacional do Futebol foi escolhida porque o Sport Club Rio Grande, fundado em 19 de julho de 1900, é o mais antigo time de futebol brasileiro em atividade. O Congresso Nacional oficializou a efeméride (Jornal do Brasil, 20 de julho de 1984, última coluna).
+ 
+S.H. Holland. Fluminense Football Club, 1930. Rio de Janeiro, RJ / Acervo FBN
+ 
+Foto aérea do Estádio do Fluminense, 16 de novembro de 1934. Rio de Janeiro, RJ / Acervo Museu Aeroespacial
+ 
+Acessando o link para as fotografias de estádios de futebol disponíveis na Brasiliana Fotográfica, o leitor poderá visualizar e magnificar as imagens.
+ 
+Uriel Malta. Clube Botafogo de Futebol e Regatas, 1º de abril de 1941. Rio de Janeiro, RJ / Acervo AGCRJ
+ 
+ 
+Escola de Aeronáutica Militar. Vista Aérea do Estádio do Clube de Regatas Vasco da Gama, 21 de maio de 1941. Rio de Janeiro, RJ / Acervo Museu Aeroespacial
+ 
+Brevíssima história da chegada do futebol ao Brasil
+ 
+Charles Miller (1874 – 1953)
+ 
+O futebol chegou ao Brasil pelas mãos do paulista Charles William Miller (1874 – 1953), filho de um inglês e de uma brasileira. Após 10 anos estudando na Inglaterra, em 1894, Miller chegou ao Brasil, vindo de Southampton, a bordo do paquete inglês Magdalena, para trabalhar na São Paulo Railway. Trouxe duas bolas usadas, um par de chuteiras, um livro com as regras do futebol, uma bomba de encher bolas e uniformes usados ( O Paiz, 23 de outubro de 1894, na sexta coluna, sob o título “Movimento Marítimo” ). Aproximadamente um ano depois, em 14 de abril de 1895, foi realizada a primeira partida de futebol do Brasil, na Várzea do Carmo, em São Paulo, onde atualmente está localizado o Largo do Gasômetro. Foi disputada entre os funcionários da Companhia de Gás de São Paulo (Gas Company of São Paulo) e da Companhia Ferroviária de São Paulo (São Paulo Railway). O time de Charles Miller venceu por 4 a 2. Segundo o historiador John Mills, autor do livro Charles Miller, o Pai do Futebol Brasileiro,  o único documento que existe sobre esse jogo é o depoimento que Miller deu ao jornalista Thomaz Mazzoni , que foi publicado na Gazeta Esportiva, em 1942. Alguns historiadores contestam o pioneirismo de Charles Miller.
+ 
+Augusto Malta. Clube de Regatas do Flamengo – Estádio da Rua Paysandu, c. 1926. Rio de Janeiro, RJ / Acervo IMS
+ 
+Vista geral do Estádio Jair de Albuquerque na Escola de Aprendizes-Marinheiros de Pernambuco, 1936. Recife, Pernambuco / Acervo DPHDM
+ 
+Destacamento de Aviação de Curitiba. Vista Aérea do Estádio Belfort Duarte, 4 de abril de 1933. Curitiba, Paraná / Museu Aeroespacial
+ 
+*Informação acrescentada ainda no dia 19 de julho de 2026.
+ 
+Andrea C.T. Wanderley
+Editora e pesquisadora da Brasiliana Fotográfica
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/3023` — `itens/20.500.12156.1_3023/`
+- `20.500.12156.1/10846` — `itens/20.500.12156.1_10846/`
+- `20.500.12156.1/4589` — `itens/20.500.12156.1_4589/`
+- `20.500.12156.1/11201` — `itens/20.500.12156.1_11201/`
+- `20.500.12156.1/12440` — `itens/20.500.12156.1_12440/`
+- `20.500.12156.1/12025` — `itens/20.500.12156.1_12025/`
+- `20.500.12156.1/7340` — `itens/20.500.12156.1_7340/`
+
diff --git a/wordpress/42638-dia-nacional-da-imprensa.md b/wordpress/42638-dia-nacional-da-imprensa.md
new file mode 100644
index 0000000..a93bdc6
--- /dev/null
+++ b/wordpress/42638-dia-nacional-da-imprensa.md
@@ -0,0 +1,197 @@
+---
+id: 42638
+url: "https://brasilianafotografica.bn.gov.br/?p=42638"
+titulo: "Dia Nacional da Imprensa"
+autor: "Andrea Wanderley"
+data: "2026-06-01T10:56:43+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/14356", "20.500.12156.1/11905"]
+fetched_at: "2026-09-10T10:22:53.017Z"
+---
+
+# Dia Nacional da Imprensa
+
+Com uma fotografia do acervo do Instituto Histórico e Geográfico Brasileiro (IHGB), uma das instituições parceiras da Brasiliana Fotográfica, lembramos o Dia Nacional da Imprensa. Na imagem destacada neste artigo, produzida por um fotógrafo ainda não identificado, estão retratados Manuel Cícero Peregrino da Silva (1866-1956) e Max Fleiuss (1868 – 1943), na Exposição Comemorativa do Primeiro Centenário da Imprensa Periódica no Brasil, promovida, em 1908, pelo IHGB, na época presidida por José Maria da Silva Paranhos Jr., o barão do Rio Branco (1945 – 1912). O pernambucano Manoel Cícero, bibliotecário, professor e político, presidiu o IHGB entre 1938 e 1939. O carioca Max Fleuiss, filho do famoso pintor e caricaturista Henrique Fleuiss (1823- 1882), foi jornalista, historiador, professor, escritor e, como membro do IHGB, foi um dos idealizadores da comemoração. Conforme escrito na fotografia, em 20 de junho de 1933, Bras Vianna (18? – 19?)* a ofereceu – não sabe-se a quem – como recordação da Exposição da Imprensa de 1908.
+ 
+Centenário da Imprensa Brasileira, 1908. Rio de Janeiro, RJ. Na foto, Manoel Cícero Peregrino da Silva (1866 – 1956) e Max Fleuiss (1868 – 1943) / Acervo IHGB 
+ 
+A Exposição do Centenário da Imprensa, realizada em 1908, foi o tema de um dos seis módulos da Exposição sobre os 190 anos da imprensa no Brasil, promovida pelo IHGB, entre 13 e 27 de maio de 1998, sob a presidência de Arno Wehling (1947-). A imagem de Manoel Cícero com Fleuiss foi uma das fotografias expostas na mostra. Os outros módulos da exposição de 1998 foram: Antecedentes, Impressão Régia, Primórdios da Imprensa, Bibliografia e Imprensa brasileira atual. Houve também uma conferência. Foram utilizadas peças do acervo do IHGB e também do acervo particular do casal de historiadores Marcello de Ipanema (1924 – 1993) e Cybelle Moreira de Ipanema (1924 -), então 1º secretária da instituição.
+ 
+A Exposição Comemorativa do Primeiro Centenário da Imprensa Periódica no Brasil 
+promovida pelo IHGB, em 1908
+ 
+
+ 
+A Exposição Comemorativa do Primeiro Centenário da Imprensa Periódica no Brasil foi a primeira realizada pelo IHGB e aconteceu durante a Exposição Nacional de 1908, ocorrida entre 11 de agosto e 15 de novembro de 1908, na Urca, no Rio de Janeiro. Eram comemorados os 100 anos da Abertura dos Portos às Nações Amigas, decretada em 28 de janeiro de 1808, pelo então príncipe regente de Portugal, dom João de Bragança, futuro dom João VI (1767 – 1826). Foi promovida pelo governo federal e exibiu um “inventário” do Brasil através de seus produtos industriais, agrícolas, pastoris e artísticos. A cidade do Rio de Janeiro havia sido recentemente urbanizada e saneada pelo prefeito Francisco Pereira Passos (1936 – 1913) e pelo cientista Oswaldo Cruz (1872 – 1917), respectivamente.
+O conde Afonso Celso (1860 – 1938), futuro presidente do IHGB, entre  1912 e 1938,  presidiu a Comissão Executiva da Exposição da Imprensa.
+ 
+Conde Afonso Celso / Site ABL
+ 
+Porém a iniciativa de sua realização foi de Max Fleuiss e do engenheiro Alfredo de Carvalho (1870 – 1916), respectivamente o primeiro secretário perpétuo e o segundo secretário do IHGB.
+ 
+Alfredo de Carvalho (1871 – 1916 por Borges de Melo, 24 de fevereiro de 1905 / Wikipedia
+ 
+Na décima terceira sessão ordinária que se realizou em 29 de julho de 1907, no IHGB,  Fleuiss propôs “uma solenidade, de caráter essencialmente histórico, para comemorar o primeiro centenário da imprensa periódica no Brasil”. Seu modelo seria a Exposição de História do Brasil promovida pela Biblioteca Nacional, em 1881 (O Paiz, 31 de julho de 1907, penúltima coluna).
+“Considerando que a 13 de maio de 1908 se completa o primeiro centenário do estabelecimento definitivo da Imprensa no Brasl, com a promulgação do decreto que criou a Imprensa Régia, propomos que o Instituto Histórico e Geográfico Brasileiro promova a celebração condigna de data tão memorável, por meio de uma exposição jornalística, a ser inaugurada naquele dia, procurando angariar para este fim o auxílio dos poderes públicos e da Imprensa de todo o país. Para organizar o programa da comemoração e tratar dos meio de realizá-la o Instituto nomeará uma comissão dentre os seus membros” .
+A proposta foi assinada por Max Fleuiss, pelo Barão de Studart (1856 – 1938), por Alfredo de Carvalho, por Orville A. Derby (1851 – 1915) e por José Américo dos Santos (1848 – 1918), todos membros do IHGB.
+Seu programa seria: “a exposição de todos os jornais publicados no Brasil entre 1808 e  31 de dezembro de 1907;  a publicação de uma monografia ou memória histórica sobre a gênese e os progressos da imprensa periódica no Brasil; a publicação de um catálogo metódico de todos os itens da exposição; e a cunhagem de uma medalha comemorativa”. Foi formada uma comissão para a realização do evento.
+ 
+
+ 
+ 
+ 
+Proposta apresentada pelos sócios Max Fleuiss, Barão de Studart, Alfredo de Carvalho, Orville A. Derby e José Américo dos Santos para que o IHGB organizasse uma exposição jornalística comemorativa do primeiro centenário da imprensa no Brasil. Com parecer aprovando a iniciativa e nomeando uma comissão para conduzir os trabalhos. Rio de Janeiro, 29.07.1907. Biblioteca do IHGB.
+ 
+As medalhas comemorativas da exposição seriam feitas por Hans Frei (1868 – 1947), artista de Zurique, devido ao recente falecimento de Julius Meili (1839 – 1907).
+Em 20 de agosto de 1907, foi realizada a segunda reunião da comissão executiva da exposição, quando foram indicados nomes que se incumbiriam dos diversos catálogos que seriam produzidos (O Paiz, 20 de agosto de 1907, segunda coluna).
+Em 19 de dezembro de 1907, Fleuiss enviou uma carta ao ministro Miguel Calmon (1879 – 1935), ministro da Indústria Viação e Obras Públicas, informando ter enviado circulares às redações de jornais de todo o  Brasil, às bibliotecas públicas e particulares, a presidentes das Câmaras Municipais, colecionadores, etc, e que estava recebendo grande cópia de informações e specimens para a Exposição. Informava que seria elaborada por Alfredo Ferreira de Carvalho uma memória relativa à origem e desenvolvimento da imprensa.
+Inicialmente, o evento estava programado para 13 de maio de 1908, data exata dos 100 anos da Imprensa ou Impressão Régia, porém foi adiado para julho e, posteriormente, para agosto. Então, na data exata do centenário, durante a sessão do IHGB, a efeméride foi festejada e o conde de Afonso Celso discursou sobre o tema (Gazeta de Notícias, 13 de maio de 1908, quarta coluna; 14 de maio de 1908, penúltima coluna). Dias depois, João Barreto de Menezes (1872 – 19?), comentou o evento (O Paiz, 18 de maio de 1908, quarta coluna).
+A Exposição Comemorativa do Primeiro Centenário da Imprensa Periódica no Brasil foi inaugurada em 11 de agosto, em um dos salões do Palácio dos Estados ou Pavilhão dos Estados, que tinha uma dupla função e caráter: espaços monumentais de exposição com estandes com produtos de todos os estados da Federação exibidos nos dois pavimentos e espaços de luxo nos salões de festas e recepções da elite política brasileira. Com estilo neoclássico e ornamentos e composição de características greco-romanas, foi mantido após o encerramento da Exposição de 1908 e atualmente abriga a CPRM – Comissão de Pesquisa de Recursos Minerais, empresa vinculada ao Ministério das Minas e Energia (COSTA, 2018).
+ 
+Augusto Malta. Pavilhão dos Estados, 1908. Rio de Janeiro, RJ / Acervo Museu Histórico Nacional
+ 
+A Biblioteca Nacional (BN), uma das instituições fundadoras da Brasiliana Fotográfica, participou da exposição com seu acervo de jornais e revistas. Foram separados e selecionados cerca de 10 mil itens de publicações periódicas brasileiras de seu acervo, a maior das coleções enviadas (Anais da Biblioteca Nacional, 1909). Outra instituição que contribuiu significativamente para o evento, além do IHGB e da BN, foi a Biblioteca da Marinha (Gazeta de Notícias, 13 de maio de 1808, quarta coluna).
+Providências para o sucesso e segurança da exposição foram tomadas. Por exemplo:
+De acordo com um ofício enviado, em 14 de agosto de 1908, por Fleuiss ao chefe da Secretaria do IHGB, um regime de plantão entre funcionários da instituição deveria ser seguido para que o salão da exposição não ficasse nunca sem vigilância. Durante o período da mostra, ficaria destacado o servente Tibúrcio, que trabalharia das 10h até a hora do encerramento. Das 4 horas da tarde até o encerramento, quatro funcionários se revezariam a partir de uma escala de plantão organizada pelo chefe da secretaria entre Francisco Martins Guimarães, Pedro Borges Leitão, Henrique Carmo Netto e Alexandre Camisão. De acordo com outro ofício enviado de novo por Fleuiss ao chefe da Secretaria, em 24 de agosto de 1908,  a afluência à exposição era incesssante e numerosíssima e, no dia anterior, apenas Tiburcio ficou de plantão entre 12 h e a hora do encerramento. Fleuiss, que havia chegado, às 12h, juntou-se a ele.
+“ Não obstante o o Dr. Netto não compareceu, de sorte que para atender às exigências da fiscalização nem eu nem o servente Tiburcio pudemos jantar. Tenho dado sobejas provas de ser amigo dos meus companheiros de trabalho no Instituto e assim é de justiça que também receba provas de amizade. O serviço na Exposição é extraordinário e de pouca duração; o sacrifício, pois, não é dos maiores, desde que haja regular distribuição dos serviços. Recomendo-lhe as providências necessárias…O que sucedeu ontem foi, até certo ponto, uma desatenção pessoal para comigo e uma crueldade. Espero não ter que recomendar novas medidas”.
+Integrando as comemorações do centenário da imprensa, em 10 de setembro, data da primeira publicação pela Impressão Régia, em 1808, do jornal Gazeta do Rio de Janeiro, considerado o primeiro periódico publicado no Brasil, Xavier da Silveira (1864 – 1912), proferiu uma palestra , na sede do IHGB. Na ocasião, o general Emydgio Dantas Barreto (1850 – 1931) tornou-se sócio da instituição (O Paiz, 11 de setembro de 1908, quarta coluna).
+ 
+Xavier da Silveira (1864 – 1912) / A Imprensa, 6 de março de 1912
+ 
+A exposição foi encerrada em 30 de setembro de 1908, com uma sessão presidida pelo barão do Rio Branco, com uma palestra do conde Afonso Celso (O Paiz, 29 de setembro de 1908, primeira coluna;  Jornal da Exposição, 1º de outubro de 1908, segunda coluna; A Imprensa, 1º de outubro de 1908, penúltima coluna; A Imprensa, 6 de abril de 1909, segunda coluna).
+ 
+Jornal da Exposição, 1º de outubro de 1908
+ 
+Na comemoração dos 70 anos do IHGB, em 21 de outubro de 1908, foram distribuídos dois volumes do tomo especial da Revista do Instituto Histórico e Geográfico Brasileiro consagrados à exposição comemorativa do centenário da imprensa (O Paiz, 22 de outubro de 1908, quarta coluna). O primeiro trazia Gênese e Progressos da Imprensa no Brasil, de autoria de Alfredo de Carvalho com mais de 50 fotogravuras reproduzindo jornais antigos (Revista do IHGB, 1908).
+ 
+Tomo Consagrado à Exposição Comemorativa do Primeiro Centenário da Imprensa Periódica no Brasil, parte I
+ 
+De acordo com o I Tomo, a Exposição Comemorativa do Centenário da Imprensa contou com 25 mil jornais e 10 mil ficaram de fora. Ainda no Tomo I, publicação do discurso do conde de Afonso Celso ressaltando a importância da imprensa e da coleta de dados para realização do evento:
+“… a Exposição Nacional lacunosa seria, se nela não figurasse uma seção de jornais. Porque a imprensa foi a colaboradora preciosíssima e fomentadora, a defensora, a preconizadora insuprível de todos os melhoramentos industriais e artísticos que opulentam a Exposição. Não fora a imprensa, e a Exposição deixara de ser o que é, dificilmente existiria”.
+No Tomo Consagrado à Exposição Comemorativa do Primeiro Centenário da Imprensa Periódica no Brasil, parte II, volume I, constavam as listagens dos periódicos e pequenos históricos da imprensa nos seguintes estados brasileiros, entre 1808 e 1907:
+ 
+
+Tomo Consagrado à Exposição Comemorativa do Primeiro Centenário da Imprensa Periódica no Brasil, parte II, volume I
+ 
+Alagoas por Joaquim Thomaz Pereira Diegues, sócio efetivo e orador do Instituto Histórico e Geográfico Alagoano; Amazonas por João Batista de Faria e Souza, delegado à Comissão Central do Estado do Amazonas e membro da comissão nomeada pelo Governo para representar o mesmo estado, no Rio de Janeiro, por ocasião das festas comemorativas do 1º centenário da Imprensa periódica no Brasil e apontado como o possuidor da mais completa coleção de jornais do Amazonas; pelo Ceará, o Barão Studart, sócio correspondente do IHGB e conhecido pelo especial pendor que consagra a trabalhos de semelhante natureza; pelo Maranhão, o ilustrado Augusto Olimpio Viveiros de Castro; pelo Pará, o senador Manoel de Mello Cardoso Barata, sócio honorário do IHGB e apaixonado investigador de assuntos históricos; pela Paraíba, Diógenes Caldas; por Pernambuco, Alfredo de Carvalho, que da história de suas imprensas (Pernambuco e Bahia) possui conhecimentos especiais; pelo Piauí, Abdias Neves; pelo Rio Grande do Norte, Luiz Fernandes; e por Sergipe, o desembargador Manoel Armindo Cordeiro Guaraná.
+ 
+O Paiz, 17 de setembro de 1911
+ 
+Os originais do  2º volume da parte II  foram perdidos em um incêndio ocorrido, em 15 de setembro de 1911, na Imprensa Nacional. E não existiam cópias. Foram perdidos os catálogos dos seguinte estados: Bahia, Distrito Federal, Espírito Santo, Goiás, Minas Gerais, Mato Grosso, Paraná, Rio de Janeiro, Rio Grande do Sul, Santa Catarina e São Paulo (O Paiz, 17 de setembro de 1911; A Imprensa, 20 de setembro de 1911, penúltima coluna; Revista do Instituto Histórico e Geográfico Brasileiro, 1911).
+ 
+Revista do Instituto Histórico e Geográfico Brasileiro, 1911
+ 
+Os organizadores dos capítulos por estado seriam: Bahia, Alfredo de Carvalho; Distrito Federal e Rio de Janeiro, o médico, político e bibliotecário Vieira Fazenda; Espírito Santo, o político Bernardo Horta, formado em Humanidades e Farmácia; Goiás, o advogado e político Joaquim Xavier Guimarães Natal; Minas Gerais, Antônio Augusto de Lima; Mato Grosso, Estevão de Mendonça; Paraná, o diretor de museu, político, jornalista e historiador Romário Martins; Rio Grande do Sul, Victor Silva; Santa Catarina, Lucas Arthur Boiteaux; e São Paulo, Affonso A. de Freitas (COSTA, 2017).
+Foram publicados catálogos avulsos de três estados: de Pernambuco, de autoria de Alfredo de Carvalho; do Paraná, de autoria de Alfredo Romário Martins; e o de São Paulo, de autoria de Affonso A. de Freitas. Os dois primeiros foram publicados, em 1908. O último, em 1914.
+
+ 
+
+ 
+
+ 
+ 
+Abaixo, a relação dos expositores que concorreram para a Comemoração do Centenário da Imprensa no Brasil. Secretaria do IHGB, 23.11.1908 (Biblioteca do IHGB).
+ 
+
+ 
+ Breve histórico do Dia Nacional da Imprensa
+ 
+
+ 
+O dia 1º de junho foi instituído como o Dia da Imprensa, por meio da lei n. 9.831, de 13 de setembro de 1999, no governo do presidente Fernando Henrique Cardoso (1931-), e celebra a primeira publicação do periódico O Correio Brazilienze ou Armazém Literário, editado por Hipólito José da Costa Pereira Furtado de Mendonça (1774 – 1823), em Londres. Por expressar críticas ao governo de dom João VI circulava clandestinamente no Brasil e em Portugal. Era mensal e existiu até 1822, quando o Brasil tornou-se independente. O Correio Braziliense foi, entre junho 1808 até dezembro de 1822, o nosso único jornal – informativo, doutrinário e pugnaz -, mau grado seu relativo inatualismo e deficiente distribuição, e as perseguições que sofreu do real governo. Produzido em Londres, na oficina de W. Lewis, saiu regulamente todos os meses enquanto existiu, num total de 175 números. Compreendia quatro seções: Política, Comércio e Artes, Literatura e Ciências e Miscelânea. Trazia por divisa os seguintes versos de Camões:
+ 
+Na quarta parte nova os campos ara,
+E se mais mundo houvera lá chegara
+ 
+Capa do primeiro volume do Correio Braziliense ou Armazém Literário, de junho de 1808
+ 
+Na mesma edição, gravura retratando Hipólito José da Costa
+ 
+Até  1999, o Dia Nacional da Imprensa era celebrado, em 10 de setembro, quando foi publicado o primeiro número do jornal Gazeta do Rio de Janeiro, em 1808, pela Imprensa Régia ou Impressão Régia. Considerado o primeiro periódico impresso no Brasil, a Gazeta do Rio de Janeiro veiculava o pensamento oficial da corte portuguesa e pertencia à Secretaria de Estado dos Negócios Estrangeiros e da Guerra. Tinha quatro páginas, raramente 6 ou 8. Seria publicada aos sábados, mas desde seu segundo número declarou circular também às quartas-feiras. Sua assinatura semestral custava, a domicílio,  3$800, incluídas a edições extras, e o exemplar avulso $080, na loja de Paulo Martin Filho, mercador de livros. Passou a trimestral em julho de 1821. Era redigida por Tiburcio José da Rocha (17? – 18?), oficial da Secretaria de Estrangeiros e Guerra. Trazia por epígrafe os versos de Horácio:
+ 
+Doctrina sed vi promovet insitam, rectique cultus pectora roborant.
+A instrução (ou educação) estimula a força inata, e o cultivo da virtude (ou o bom ensino) fortalece o peito (a alma/o caráter).
+ 
+Gazeta do Rio de Janeiro, 10 de setembro de 1808
+ 
+ 
+Brevíssima história da vinda da corte portuguesa no Brasil e o início da imprensa nacional
+ 
+
+ 
+A história da Imprensa Nacional começou na década de 1800. Cerca de um ano antes da vinda da corte portuguesa para o Brasil, o governo português havia comprado da Inglaterra prelos e material tipográfico para a Secretaria de Negócios Estrangeiros e de Guerra. Na fuga da corte de Portugal para o Brasil, o futuro Conde da Barca, dom Antônio de Araújo de Azevedo (1754-1817), despachou o material, que nem havia sido desencaixotado, na nau Medusa, que fazia parte da esquadra que veio para o Brasil.
+ 
+O conde da Barca (1754 – 1817) por Charles Simon Pradier (1783 – 1947)/ Acervo IMS
+ 
+Decretado o Bloqueio Continental por Napoleão (1769 – 1821), imperador dos franceses, contra a Grã-Bretanha, grande inimiga da França, Portugal se vê diante de um impasse: ou mantém relações comerciais com a Grã-Bretanha, o que ocasionaria a invasão francesa, ou corta os laços com Londres, traindo sua tradicional aliada desde a Idade Média, com a provável perda de suas colônias. Chega a Portugal o embaixador Percy Smith (1780- 1855), Visconde de Stangford, para lutar pelos interesses britânicos. O príncipe regente dom João, futuro dom João VI, tenta defender os interesses de seu país negociando a neutralidade. Diante da iminência da invasão francesa, decide partir com a Família Real para o Brasil, mantendo a soberania da maior colônia portuguesa e também não se rendendo a Napoleão.
+ 
+Pintura de Henry L´Éveque (1768 -1845) do embarque do príncipe regente de Portugal, dom João, e toda família real para o Brasil no cais de Belém, na cidade de Lisboa, em novembro de 1807 / Biblioteca Nacional de Portugal.
+ 
+A corte embarcou em 27 de novembro de 1807, mas devido a um temporal, só partiu dois dias depois. Escoltados pela armada da Inglaterra, deixaram o país a rainha Dona Maria I (1734 – 1816), o príncipe herdeiro e regente, sua esposa, Carlota Joaquina (1775 – 1830) com seus nove filhos, o aparelho burocrático e a elite do país. Vinte e quatro horas depois, as tropas francesas lideradas pelo marechal Junot (1771 – 1813) chegaram a Lisboa e Portugal tornou-se palco da guerra franco-britânica. A Família Real chegou a Salvador e seu desembarque aconteceu com uma grande solenidade, em 22 de janeiro de 1808.
+Ainda em Salvador, em 28 de janeiro, o príncipe regente Dom João, assinou a Carta Régia decretando a Abertura dos Portos às Nações Amigas. Era o fim do monopólio português de comércio com o Brasil. Com a presença da corte no Brasil tornou-se interessante para Portugal o desenvolvimento da colônia. O governo português passou a angariar recursos com os impostos nas alfândegas. A Inglaterra foi a maior beneficiada, pois passou a ter no comércio com o Brasil uma compensação para o bloqueio que sofria na Europa. Os termos da Carta Régia, endereçada ao vice-rei do Brasil, João de Saldanha da Gama Melo Torres Guedes Brito (1773 – 1809), o conde da Ponte, foram inspirados pelo futuro visconde de Cairu, José da Silva Lisboa (1756 – 1835), simpatizante dos princípios liberais do filósofo e economista escocês Adam Smith (1723 – 1790) e orientador da política econômica de dom João no Brasil.
+ 
+Decreto de Abertura dos Portos às Nações Amigas / Acervo Arquivo Nacional
+ 
+Em 26 de fevereiro, a esquadra partiu para o Rio de Janeiro, onde chegou em 7 de março de 1808. No dia seguinte, dom João e Dona Carlota desembarcaram na cidade. Pela primeira vez uma colônia recebia um soberano europeu em sua terras.
+Poucos meses depois, em 13 de maio de 1808, dia do 41º aniversário do príncipe regente dom João (1767-1826), foi constituída a Impressão Régia. Assinado por dom João, o decreto de Rodrigo de Souza Coutinho (1755-1812), futuro conde de Linhares, e ministro da Secretaria de Estado dos Negócios Estrangeiros e da Guerra, determinava a instalação no Rio de Janeiro dos prelos trazidos de Lisboa após a fuga da corte portuguesa. A Impressão Régia ficou submetida à mencionada secretaria.
+ 
+Conde de Linhares (1755 – 1812) por José Maria Caggiani (1816-1891) / Biblioteca Nacional de Portugal
+ 
+Decreto real de D. João VI criando o serviço de impressão / Código Brasiliense – Wikipédia
+ 
+Na mesma data, foi impresso o primeiro trabalho da Impressão Régia, uma Relação de Despachos com os documentos oficiais desde a chegada da corte ao Brasil até aquela data. Era um folheto de 27 páginas e era vendido na loja do livreiro Manuel Jorge da Silva, na Rua do Rosário.
+ 
+
+ 
+A administração da Impressão Régia coube, por decisão de 24 de julho de 1808,  a uma junta composta por José Bernardes de Castro (17? – 18?), oficial da Secretaria de Estrangeiros e da Guerra; Mariano da Fonseca (1773 – 1848), o antigo consórcio de Silva Alvarenga na jacobina Sociedade Literária, e José Silva Lisboa (1756 – 1835). Primeiramente a Impressão Régia foi instalada na casa do conde da Barca, na Rua do Passeio nº 42, e, em 1810, foi transferida para o andar térreo de um prédio da Rua dos Barbonos (atual Evaristo da Veiga), esquina com a Rua das Marrecas.
+A criação da Impressão Régia marcou o início da indústria editorial e da imprensa oficial no Brasil, que foi, segundo Alberto Dinis, o 12º país da América Latina a obter da respectiva metrópole o direito de impressão. Anteriormente, por determinação da Ordem Régia de 6 de julho de 1747  era proibida o uso da tipografia no Brasil – a administração colonial não permitia a tipografia e o jornalismo no Brasil porque os reis de Portugal temiam a difusão de ideias revolucionárias.
+Segundo informado por Ana Maria Camargo e Moraes, em Bibliografia da Impressão Régia do Rio de Janeiro (1993), o primeiro livro impresso pela Impressão Régia foi Observações sobre o Commercio Franco no Brazil, de autoria de José da Silva Lisboa (1753 – 1835), o futuro visconde de Cairu.
+ 
+
+ 
+O estabelecimento da Imprensa Régia e o Decreto de Abertura dos Portos às Nações Amigas, foram as decisões de dom João VI que abriram o Brasil para o mundo do ponto de vista cultural e político.
+Porém, tudo que seria impresso passava por uma censura prévia. Os originais eram encaminhados à Imprensa Régia por aviso da Secretaria de Estrangeiros e da Guerra, após examinados pelos censores régios e pelo Desembargo do Paço. Também eram proibidas notícias de livros estrangeiros sem permissão da Intendência da Polícia. Compunham a mesa censória o frade Antônio de Arrábida (1771 – 1850), o padre João Manzoni (17? -18?), José da Silva Lisboa e Luís José Carvalho e Melo (1764 – 1826).
+A primeira tentativa de libertação da palavra escrita no Brasil aconteceu na Revolução Pernambucana de 1817. Na Constituição que deveria reger a efêmera república, declarava-se no artigo 25: “A liberdade de imprensa é proclamada, ficando porém o autor de qualquer obra e seus impressos sujeitos a responder pelos ataque à religião, à Constituição, aos bons costumes e caráter dos indivíduos, na maneira determinada pelas leis em vigor”. Mas a censura prévia no Brasil só foi abolida, em 28 de agosto de 1921, por dom Pedro I.
+A criação da Impressão Régia também propiciou o surgimento da arte da gravura no Brasil, em 1809, com o notável João Caetano Rivara (c. 1770 – 1824), discípulo de Francesco Bartollozzi (1727–1815); Romão Eloi Casado de Almeida (17? – 18?) e Paulo dos Santos Ferreira Souto. Os dois últimos vieram para o país com o Frade José Mariano da Conceição Veloso (1742 – 1811), certamente do Arco do Cego, importante editora e oficina tipográfica ativa em Lisboa, entre 1799 e 1801, dirigida pelo referido religioso. Foram todos para a Imprensa Régia. Neste mesmo ano foram editados os Elementos da Geometria de Legendre, com 13 figuras gravadas por Souto, as primeiras abertas no Brasil e, em 1812, estampava-se a grande Planta do Rio de Janeiro, levantada em 1808, desenhada por J.A. dos Reis e também aberta por Souto, sob a direção de Rivara. Romão gravou a portada e o retrato de Pope para a edição do Ensaio sobre a Crítica, traduzido pelo conde de Aguiar e impresso em 1810.
+ 
+Agradeço à importante colaboração de Sônia Nascimento de Lima, chefe do arquivo do IHGB e de Fábio Thomas Pinheiro Souza, assistente da Biblioteca do IHGB, para a elaboração deste artigo.
+*Provavelmente o jornalista Braz Vianna.
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora da Brasiliana Fotográfica
+ 
+Fontes:
+ABREU, Márcia; BRAGANÇA, Aníbal (orgs). Impresso no Brasil: Dois séculos de livros brasileiros. São Paulo: Editora Unesp, 2010.
+ABREU, Márcia. Impressão Régia do Rio de Janeiro: novas perspectivas. Parte do Projeto Temático Caminhos do romance no Brasil· séculos XVIII e XIX, financiado pela FAPESP. Revista Convergência Lusíada, 21 – 2005
+BARROS, Maria Pia Fontes Lins de; WANDERLEY, Andrea C. T. Agenda do Centro de Documentação da TV Globo.
+BETONI, Nicholas Simão. O livro como objeto de coleção: Um recorte da Coleção Rubens Borba de Moraes da Biblioteca Brasiliana Guita e José Mindlin. Dissertação apresentada ao Programa de Pós-Graduação  Interunidades m Museologia da Universidade de São Paulo, 2021.
+CAMARGO, Angélica Ricci. Censores régios, Arquivo Nacional, julho, 2011.
+CAMARGO, Angélica Ricci. Impressão Régia. Arquivo Nacional, agosto, 2011.
+Catálogo dos 190 anos de Imprensa no Brasil 1808 – 1998. Exposição documental 13 a 27 de maio de 1998, IHGB.
+COSTA, Alvaro Daniel. A comemoraçãodo centenário da imprensa perióidica brasileira no IHGB: uma memória do jornalismo nacional (1908). Dissertação de Mestrado apresentada ao Programa de Pós-Graduação em História da Universidade Estadual de Ponta Grossa para a obtenção do Título de Mestre em História, Área de História, culturas e identidades, agosto de 2017.
+COSTA, Carla. Série “Exposições” III e Série “O Rio de Janeiro desaparecido” II – A Exposição Nacional de 1908 na Coleção Família Passos in Brasiliana Fotográfica, 5 de abril de 2018.
+DINES, Alberto. ‘Aventuras e Desventuras de Antônio Isidoro da Fonseca – nova documentação sobre a malograda Tipografia do Rio de Janeiro no século XVIII, com achegas aos 190 anos da imprensa brasileira in: DINES, Alberto; FALBEL, Nachman; MILGRAM, Avraham (org.) Em nome da fé. São Paulo: Perspectiva, 1999.
+Hemeroteca Digital da Biblioteca Nacional
+Minuta da carta de Fleuiss ao ministro Miguel Calmon, ministro da Indústria Viação e Obras Públicas sobre as providências já tomadas em relação à exposição do centenário da imprensa no Brasil; e propondo o Palácio Monroe para a realização da mesma. Rio de Janeiro, 19.12.1907. Biblioteca do IHGB.
+Ofício de Miguel Calmon, ministro da Indístria, Viação e Obras Públicas acusando o recebimento da comunicação da iniciativa do IHGB em comemorar o centenário da imprensa no Brasil. Rio de Janeiro, 04.09.1907.
+Ofício circular expedido a todos os membros da comissão executiva do centenário da imprensa no Brasil. Rio de Janeiro, 31.07.1907. Biblioteca do IHGB.
+PESSOA, Ana; SANTOS, Ana Lucia V. Moradas de engenho e arte: as casas do Conde da Barca no Novo Mundo. Revista do IHGB, Rio de Janeiro, set./dez. 2017.
+Portaria do Instituto Histórico e Brasileiro estabelecendo escala de plantão dos funcionários durante a exposição comemorativa do centenário da imprensa. Rio de Janeiro, 14-08-1908. Biblioteca do IHGB.
+Portaria do Instituto Histórico e Brasileiro estabelecendo reclamando da escala de plantão dos funcionários durante a exposição comemorativa do centenário da imprensa. Rio de Janeiro, 24-08-1908. Biblioteca do IHGB.
+Proposta apresentada pelos sócios Max Fleuiss, Barão de Studart, Alfredo de Carvalho, Orville A. Derby e José Américo dos Santos para que o IHGB organizasse uma exposição jornalística comemorativa do primeiro centenário da imprensa no Brasil. Com parecer aprovando a iniciativa e nomeando uma comissão para conduzir os trabalhos. Rio de Janeiro, 29.07.1907. Biblioteca do IHGB.
+Relação dos expositores que concorreram para a Comemoração da º Centenário da Imprensa no Brasil. Secretaria do IHGB, 23.11.1908. Biblioteca do IHGB.
+Revista do IHGB, número 31, 2024
+Revista do Instituto Histórico e Geográfico Brasileiro- Tomo Consagrado à Exposição Comemorativa do Primeiro Centenário da Imprensa Periódica no Brasil. Rio de Janeiro: Imprensa Nacional, 1908, parte I.
+Revista do Instituto Histórico e Geográfico Brasileiro- Tomo Consagrado à Exposição Comemorativa do Primeiro Centenário da Imprensa Periódica no Brasil. Rio de Janeiro: Imprensa Nacional, 1908, parte II, volume I.
+RIZZINI, Carlos. O livro, o jornal e a tipografia no Brasil, 1500 – 1822 com um breve estudo geral sobre a informação. Livraria Kosmos Editora. Erich Eichner & Cia Ltda. Rio de Janeiro São Paulo Porto Alegre, s/d.
+ROMANCINI, Richard. Inventando tradições: os historiadores e a pesquisa inicial sobre o jornalismo in Revista Pj:Br, 1º semestre de 2004.
+Site Ministério da Cultura
+Site IHGB
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/14356` — `itens/20.500.12156.1_14356/`
+- `20.500.12156.1/11905` — `itens/20.500.12156.1_11905/`
+
diff --git a/wordpress/42669-e-o-oscar-vai-para-ii.md b/wordpress/42669-e-o-oscar-vai-para-ii.md
new file mode 100644
index 0000000..72ef884
--- /dev/null
+++ b/wordpress/42669-e-o-oscar-vai-para-ii.md
@@ -0,0 +1,69 @@
+---
+id: 42669
+url: "https://brasilianafotografica.bn.gov.br/?p=42669"
+titulo: "E o Oscar vai para…(II)"
+autor: "Andrea Wanderley"
+data: "2026-03-13T09:27:52+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/2515", "20.500.12156.1/9817"]
+fetched_at: "2026-09-10T10:22:56.501Z"
+---
+
+# E o Oscar vai para…(II)
+
+No próximo domingo, o filme brasileiro O Agente Secreto (2025), de Kleber Mendonça Filho (1968-), concorre em quatro categorias na premiação do Oscar, que será realizada em Los Angeles, nos Estados Unidos: Melhor Filme, Melhor Filme Estrangeiro, Melhor Ator – com Wagner Moura (1976-); e pelo prêmio de Melhor Seleção de Elenco, categoria que faz sua estreia na premiação este ano, com Gabriel Domingues (19?-) concorrendo. Além disso, o brasileiro Adolpho Veloso (1989-) foi indicado na categoria Melhor Fotografia pelo filme Sonhos de Trem. A Brasiliana Fotográfica homenageia o cinema brasileiro destacando os 15 artigos publicados na Série Teatros e Cinemas do Brasil e também o artigo E o Oscar vai para…  Viva o cinema nacional! Viva a cultura brasileira!
+ 
+Marc Ferrez. Cinema Pathé, c. 1919. Rio de Janeiro, RJ / Acervo IMS
+ 
+Nestes artigos, o leitor poderá navegar por inúmeras fotos presentes em nosso acervo, produzidas por diversos fotógrafos como Alfredo Krausz (1902 – 1953), Augusto Malta (1864 – 1957) e Marc Ferrez (1843 – 1923); e conhecer um pouco mais da história do cinema e do teatro brasileiro e também sobre Benjamin Abrahão Calil Botto (1901 – 1938), Jorge Kfuri (1893 – 1965), João Stamato (1886 – 1951), Nicola Parente (1847 – 1911), Marc Ferrez (1843 – 1923) e seus filhos; e Walter Garbe (18? – 19?), fotógrafos que fizeram parte da história do cinema no Brasil, e que já foram temas de artigos publicados na Brasiliana Fotográfica.
+ 
+Alfredo Krausz. Cine Parisiense, c. 1933. Rio de Janeiro, RJ / Acervo IMS
+ 
+E o Oscar vai para…, de autoria de Andrea C.T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 2 de março de 2025
+ 
+Série “Teatros e cinemas do Brasil”
+ 
+Série “Teatros e cinemas do Brasil” I e Série “O Rio de Janeiro desaparecido” I – Salas de cinema do Rio de Janeiro do início do século XX, de autoria de Andrea C.T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica,  publicado em 26 de fevereiro de 2016
+Série “Teatros e cinemas do Brasil ” II – Os teatros do Brasil, de autoria de Andrea C.T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 21 de março de 2016
+Série “Teatros e cinemas do Brasil” III – A inauguração do Theatro Municipal do Rio de Janeiro, de autoria de Andrea C.T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 14 de julho de 2017
+Série “Teatros e cinemas do Brasil” IV - Cinema no Brasil – a primeira sessão e um pouco da história do Cinema Odeon, de autoria de Andrea C.T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 8 de julho de 2021
+Série “Teatros e cinemas do Brasil” V e Série “O Rio de Janeiro desaparecido” XII – O Teatro Lírico (Theatro Lyrico), de autoria de Andrea C.T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 16 de setembro de 2021
+Série “Teatros e cinemas do Brasil” VI - O Theatro de Santa Isabel, de autoria de Andrea C.T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 28 de outubro de 2021
+Série “Teatros e cinemas do Brasil VII – Teatro Amazonas (Theatro Amazonas), em Manaus, a “Paris dos Trópicos”, de autoria de Andrea C.T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 28 de dezembro de 2021
+Série “Teatros e cinemas do Brasil” VIII - O Teatro João Caetano, no Rio de Janeiro, no Dia Mundial do Teatro, de autoria de Andrea C.T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 27 de março de 2023
+Série “Teatros e cinemas do Brasil” IX – Dia do Cinema Brasileiro, de autoria de Andrea C.T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 19 de junho de 2023
+Série “Teatros e cinemas do Brasil” X e Série “O Rio de Janeiro desaparecido” XXV – O Theatro Phenix, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado em 5 de setembro de 2023
+Série “Teatros e cinemas do Brasil” XI – O Theatro da Paz, em Belém do Pará, inaugurado em 15 de fevereiro de 1878, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado em 15 de fevereiro de 2024
+Série “Teatros e cinemas do Brasil ” XII - A Lanterna Mágica que iluminava o Cine Delícia: imagens e cinema na coleção Jota Soares – FUNDAJ, de autoria do historiador Tásso Brito – FUNDAJ, publicado em 29 de maio de 2024
+Série “Teatros e cinemas do Brasil” XIII – Marc Ferrez e o cinema, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 19 de junho de 2024
+Série “Teatros e cinemas do Brasil” XIV – O Cinema Íris, o mais antigo cinema em atividade no Rio de Janeiro, de autoria de Andrea C.T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, em 5 de fevereiro de 2026
+Série “Teatros e cinemas do Brasil” XV – Fotos aéreas da Cinelândia no centenário da revista “Cinearte” , de autoria de Andrea C.T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, em 3 de março de 2026
+ 
+Concorrentes de O Agente Secreto no Oscar 2026
+ 
+
+ 
+Na categoria Melhor Filme os concorrentes são: Bugonia, F-1, Frankenstein, Hamnet, Marty Supreme, Uma Batalha após a outra, Valor Sentimental, Pecadores e Sonhos de Trem. O vencedor foi Uma Batalha após a outra.
+Na categoria Melhor Filme Estrangeiro os concorrentes são: A voz de Hind Rajab (Tunísia), Foi apenas um acidente (França), Sirat (França) e Valor Sentimental (Noruega). Este último foi o vencedor.
+Na categoria Melhor Ator, Wagner Moura concorre com Timothée Chalamet (1995-) por Marty Supreme, Leonardo DiCaprio (1974-) por Uma Batalha após a outra, Ethan Hawke (1970-) por Blue Moon, e Michael B. Jordan (1987-) por Pecadores. Jordan foi o vencedor.
+Finalmente, na categoria estreante Melhor Seleção de Elenco, Gabriel Domingues concorre com Nina Gold (1967-) por Hamnet, Jennifer Venditti (19?-) por Marty Supreme, Cassandra Kulukundis (1971-) por Uma Batalha após a outra e Francine Maisler (19?-) por Pecadores. O vencedor foi  Uma Batalha após a outra.
+ 
+Charge de autoria de Thiago Lucas publicada na capa do Jornal do Commercio (PE) de 23 de janeiro de 2026
+ 
+Concorrentes de Adolpho Veloso por Sonhos de Trem na categoria Melhor Fotografia
+ 
+Os concorrentes do brasileiro Adolpho Veloso são: Dan Laustsen (1954-) por Frankenstein, Darius Khondji (1955-) por Marty Supreme, Michael Bauman (19?) por Uma Batalha após a outra e Autumn Durald Arkapaw (1979-) por Pecadores, que foi a vencedora.
+ 
+Estatueta do Oscar
+ 
+Andrea C.T. Wanderley
+Editora e pesquisadora da Brasiliana Fotográfica
+Esse artigo foi atualizado em 15 de março de 2026.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/2515` — `itens/20.500.12156.1_2515/`
+- `20.500.12156.1/9817` — `itens/20.500.12156.1_9817/`
+
diff --git a/wordpress/4274-o-suicidio-do-fotografo-felipe-augusto-fidanza-1844-1903.md b/wordpress/4274-o-suicidio-do-fotografo-felipe-augusto-fidanza-1844-1903.md
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+---
+id: 4274
+url: "https://brasilianafotografica.bn.gov.br/?p=4274"
+titulo: "O suicídio do fotógrafo Felipe Augusto Fidanza (1844 – 1903)"
+autor: "Andrea Wanderley"
+data: "2016-01-31T07:29:58+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/3988", "20.500.12156.1/4358", "20.500.12156.1/2521"]
+fetched_at: "2026-09-10T10:22:59.822Z"
+---
+
+# O suicídio do fotógrafo Felipe Augusto Fidanza (1844 – 1903)
+
+Reprodução do retrato de Fidanza, Álbum do Pará em 1899
+O Jornal do Brasil de 31 de janeiro de 1903 noticiou o suicídio do português Felipe Augusto Fidanza (1844 – 1903), um dos mais importantes fotógrafos que atuaram no norte do Brasil no século XIX e no início do século XX: “Atirou-se ao mar, de bordo do vapor Christiannia, em viagem de Lisboa para esta capital (Belém), o conhecido photographo Felippe Fidanza” ( Jornal do Brasil, 31 de janeiro de 1903, na primeira coluna ). Ele havia se jogado ao mar na altura da ilha da Madeira quando retornava de Portugal com a mulher e os filhos. Havia viajado para cuidar de uma encomenda dos governos do Pará e do Amazonas de 10 mil álbuns de vistas destes estados. Parece que foi mal sucedido e já havia, inclusive, tentado se matar em Lisboa ( O Pharol, 6 de março de 1903, na quinta coluna).
+Filho de Fernando Gabriel Fidanza e Maria de Jesus Fidanza, nasceu em 4 de setembro de 1844, em Lisboa. Foi batizado em 5 de outubro de 1844, na paróquia/freguesia de São José, em Lisboa. Era bisneto e neto dos atores italianos Raimondo e Giulio Fidanza, respectivamente, que participaram da cena teatral de Portugal. Raimondo, que também era bailarino, foi empresário teatral na Ilha da Madeira.
+Até hoje pouco se sabe de sua vida antes de sua chegada ao Brasil, em fins da década de 1860. Em 1º de janeiro de 1867, o Diario do Gram-Pará publicou o anúncio : “PHOTOGRAPHIA, ao largo das Mercez , nº. 5, Fidanza & Com”, o que prova que nessa época ele já estava estabelecido no Pará. Ainda em 1867, Fidanza realizou seu primeiro trabalho de importância nacional: o registro dos preparativos para a recepção da comitiva de dom Pedro II. O imperador foi ao Pará para participar das solenidades da abertura dos portos da Amazônia ao comércio exterior. Segundo Pedro Vasquez,  com esse trabalho, Fidanza “documentou de forma inovadora e antecipatória o espírito jornalístico”. No Diário de Belém, de 29 de agosto de 1869, há uma propaganda do ateliê Photographia Fidanza.
+Era o predileto da aristocracia paraense e destacou-se por sua produção de retratos e também pelo registro das paisagens e documentações do início do desenvolvimento urbano de Belém e de Manaus, ocasionado pela riqueza do ciclo da borracha.  Essas imagens de paisagens urbanas foram divulgadas por álbuns fotográficos encomendados pelos governos do Pará e do Amazonas. A modernização de Belém e do Pará foram registradas nas coleções Álbum do Pará (1899) e Álbum de Belém (Correio da Manhã, de 22 de outubro de 1903, na quarta coluna sob o título “Intendência Municipal de Belém”).
+O Álbum do Amazonas (1902), cujo contrato havia sido assinado por Fidanza para o fornecimento de 6 mil álbuns ilustrados destinados à propaganda para o desenvolvimento daquele estado (Diário Oficial, de 16 de março de 1900, na segunda coluna sob o título “Indústria”), foi impresso em Paris sem a supervisão do fotógrafo e continha várias imperfeições, o que gerou uma série de comentários negativos sobre seu caráter. Aparentemente este fato pode ter sido uma das causas de seu suicídio, em janeiro de 1903.
+ 
+Felipe Augusto Fidanza. Álbum do Amazonas, 1901-1902 / Acervo FBN
+ 
+Em seu estúdio, Fidanza fotografou tipos sociais diversos. Retratou no formato carte de visite negros, mulatos e índios. Para tornar essas fotografias, que vendia, exóticas, utilizava adereços e construía cenários. Representou na capital paraense a firma Huebner & Amaral, sediada em Manaus, e foi um dos pioneiros do cartão-postal fotográfico no Brasil.  Seu estúdio era também palco de exposições de pintores que passavam por Belém para mostrar seus trabalhos.
+ 
+Felipe Augusto Fidanza. Índio no rio Negro. c. 1873. Pará / Acervo Convênio Instituto Moreira Salles – Leibniz-Institut für Länderkunde
+ 
+Enquanto morou no Brasil, viajou várias vezes para a Europa, tendo sempre se mantido ligado às tendências internacionais da fotografia. Viveu a febre dos cartes de visite e dos cartes cabinet. Participou da IV Exposição Nacional de 1875, com fotografias de orquídeas da região amazônica, e das Exposições Universais de Paris, em 1889, quando foi premiado com uma medalha de bronze, e de Chicago, em 1893.
+Em sua produção fotográfica, Fidanza usou vários processos e sistemas de apresentação disponíveis em sua época, demonstrando conhecimento técnico e estético na escolha dos temas e dos enquadramentos, ângulos e composição do cenário, segundo as historiadoras Rosa Pereira e Maria de Nazaré Sarges. O trabalho de Fidanza reúne um acervo documental significativo para a história de Belém e de seus tipos sociais na segunda metade do século XIX e início do XX.
+ 
+Felipe Augusto Fidanza. Reduto, c. 1875. Belém, Pará / Acervo IMS
+ 
+Cinco meses após sua morte, seu estúdio foi leiloado por sua viúva. Teve diversos proprietários, dentre eles os sócios Georges Huebner (1862 – 1935) e Libânio do Amaral (?-1920).  Segundo o jornalista Cláudio de La Rocque Leal, o estabelecimento fotográfico sob o nome “Fidanza” fez parte da história até 1969. Fidanza tornou-se uma marca da fotografia visto que, mesmo após a morte, seu nome permaneceu no cenário da produção fotográfica e na memória paraense, tanto que outros profissionais, ao adquirirem o seu ateliê, mantiveram o mesmo nome.
+ 
+Acessando o link para as fotografias de Felipe Augusto Fidanza disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Cronologia de Felipe Augusto Fidanza (1844 – 1903)
+ 
+1844 - Nascimento, em Lisboa, em 4 de setembro, de Felipe Augusto Fidanza, filho de Fernando Gabriel Fidanza e Maria de Jesus Fidanza. Foi batizado em 5 de outubro de 1844, na paróquia/freguesia de São José em Lisboa. Era bisneto e neto dos atores italianos Raimondo e Giulio Fidanza, respectivamente, que participaram da cena teatral de Portugal. Raimondo, que também era bailarino, foi empresário teatral na Ilha da Madeira.
+ 
+Arquivo Nacional – Torre do Tombo, Portugal
+ 
+Fins da década de 1860 – Chegada ao Brasil.
+1867 – Em 1º de janeiro de 1867, o Diario do Gram-Pará publicou o anúncio : “PHOTOGRAPHIA, ao largo das Mercez , nº. 5, Fidanza & Com”, o que prova que nessa época ele já estava estabelecido no Pará.
+Fidanza realizou seu primeiro trabalho de importância nacional: o registro dos preparativos para a recepção da comitiva de dom Pedro II. O imperador foi ao Pará para participar das solenidades da abertura dos portos da Amazônia ao comércio exterior. Fidanza produziu três registros no dia 7 de setembro: duas do Arco em papelão montado para as solenidades, uma vista da baía para a cidade e outra da cidade para a baía; e uma do Largo do Palácio com a bela construção de Giuseppe Landi, do século XVIII.
+1868 - Publicação de uma propaganda do ateliê de Fidanza (Diário de Belém, de 29 de agosto de 1868).
+ 
+Diário de Belém, 29 de agosto de 1868
+ 
+1875 – Participou da IV Exposição Nacional de 1875, com fotografias de orquídeas da região amazônica.
+1889 – Participou da Exposição Universal de Paris de 1889, quando foi premiado com uma medalha de bronze.
+1893 – Participou da Exposição Universal Chicago de 1893.
+1896 - Fidanza fotografou o maestro Carlos Gomes (1836 – 1896), que morreu em Belém. Além do registro do próprio, fotografou o velório e o cortejo fúnebre.
+1897 – Em Belém, o fotógrafo, botânico e naturalista alemão George Huebner (1862 – 1935) colaborou com Fidanza.
+1900-  Foi assinado um contrato por Fidanza para o fornecimento de 6 mil álbuns ilustrados destinados à propaganda para o desenvolvimento do  Amazonas, o O Álbum do Amazonas (1902) (Diário Oficial, de 16 de março de 1900, na segunda coluna sob o título “Indústria”). foi impresso em Paris sem a supervisão do fotógrafo e continha várias imperfeições, o que gerou uma série de comentários negativos sobre seu caráter. Aparentemente este fato pode ter sido uma das causas de seu suicídio, em janeiro de 1903.
+1902 - O Álbum do Amazonas (1902) foi impresso em Paris sem a supervisão do fotógrafo e continha várias imperfeições.
+1903 – O Jornal do Brasil de 31 de janeiro de 1903 noticiou o suicídio do português Felipe Augusto Fidanza: “Atirou-se ao mar, de bordo do vapor Christiannia, em viagem de Lisboa para esta capital (Belém), o conhecido photographo Felippe Fidanza” ( Jornal do Brasil, 31 de janeiro de 1903, na primeira coluna ). Ele havia se jogado ao mar na altura da ilha da Madeira quando retornava de Portugal com a mulher e os filhos. Havia viajado para cuidar de uma encomenda dos governos do Pará e do Amazonas de 10 mil álbuns de vistas destes estados. Parece que foi mal sucedido e já havia, inclusive, tentado se matar em Lisboa ( O Pharol, 6 de março de 1903, na quinta coluna).
+Cinco meses após sua morte, seu estúdio foi leiloado por sua viúva e comprado por George Huebner (1862 – 1935), dono das Photographias Alemã de Manaus e de Recife, em sociedade com Libânio do Amaral (?-1920). Foi realizada uma grande reforma e o estúdio, localizado na Rua Conselheiro João Alfredo, nº 22, foi reaberto em 1906. Segundo o jornalista Cláudio de La Rocque Leal, o estabelecimento fotográfico sob o nome “Photo Fidanza” fez parte da história até 1969 – desde fins dos anos 1950, funcionava na Travessa Manoel Barata e seu último proprietário foi Carlos Dauer. Fidanza tornou-se uma marca da fotografia visto que, mesmo após a morte, seu nome permaneceu no cenário da produção fotográfica e na memória paraense, tanto que outros profissionais, ao adquirirem o seu ateliê, mantiveram o mesmo nome.
+1985 – Suas fotografias integraram a mostra Dom Pedro II e a Fotografia no Brasil, realizada na Casa do Bispo, no Rio de Janeiro.
+1986 – Foi um dos fotógrafos integrantes da exposição Photographie Bresilienne au Dix-Neuvieme Siecle, realizada em Paris.
+1995 – No Centro Cultural Banco do Brasil, no Rio de Janeiro, fotografias de sua autoria foram expostas na mostra Mestres da Fotografia no Brasil: Coleção Gilberto Ferrez.
+1997 – Em janeiro, no Centro Cultural Banco do Brasil, no Rio de Janeiro, fotografias de sua autoria foram expostas na mostra A Coleção do Imperador: fotografia brasileira e estrangeira no século XIX. Em abril, a exposição seguiu para a Pinacoteca do Estado de São Paulo e, em julho, foi inaugurada no Museu Nacional de Belas Artes, de Buenos Aires, na Argentina.
+2000 - Em junho, a exposição A Coleção do Imperador: fotografia brasileira e estrangeira no século XIX foi aberta no Centro Português de Fotografia, na cidade do Porto, em Portugal.
+2012 – Em maio, no Centro Cultural Banco do Brasil, no Rio de Janeiro, abertura da exposição Amazônia, Ciclos de Modernidade, com imagens de diversos fotógrafos, dentre eles, Fidanza.
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+Arquivo Nacional – Torre do Tombo – imagem: PT-ADLSB-PRQ-PLSB45-001-B18_m0390.TIF
+BRAGA, Teófilo. Historia do theatro portuguez: seculo XVIII. A Baixa comedia e a opera. Volume 3 in: Historia da Litteratura Portugueza, 1870/1871.
+KOSSOY, Boris. Dicionário histórico-fotográfico brasileiro: fotógrafos e ofício da fotografia no Brasil (1833-1910). São Paulo: Instituto Moreira Salles, 2002. 408 p., il. p&b.
+LAGO, Bia Corrêa do;LAGO, Pedro Corrêa do. Coleção Princesa Isabel: fotografia do século XIX. Rio de Janeiro: Capivara, 2008.432p.:il., retrs.
+LEAL, Cláudio de La Rocque. Retrato Paraense. Belém: Fundação Rômulo Maiorana, 1998.
+MAUAD, Ana Maria. Imagens de um outro Brasil: o patrimônio fotográfico da Amazônia oitocentista. Minas Gerais : Universidade Federal de Juiz de ForaLocus Revista de História – Dossiê – Patrimônio Histórico e Cultural, vol 16, nº2
+PEREIRA, Rosa Cláudia Cerqueira. Paisagens urbanas: fotografias e modernidades na cidade de Belém (1846-1908). Tese de Mestrado em História. Pará: Universidade Federal do Pará, 2006
+PEREIRA, Rosa Cláudia Cerqueira; SARGES, Maria de Nazaré. Photografia Fidanza: um foco sobre Belém (XIX/XX). Revista Estudos Amazônicos. Belém: PPGHSA, UFPA, v. VI, no. 2., p. 01-31, 2011
+RODRIGUES, Maria da Paz Ferreira. As Artes Performativas no Funchal Oitocentista (1820-1913), 2011.
+Site da Enciclopédia Itaú Cultural
+Site O Índio na Fotografia Brasileira
+TURAZZI, Maria Inez. Poses e Trejeitos: a fotografia e as exposições na era do espetáculo: 1839-1889. Rio de Janeiro: Funarte: Rocco, 1995 . (Coleção Luz e Reflexão, 4)
+VASQUEZ, Pedro. O Brasil na Fotografia Oitocentista. São Paulo: Metalivros, 2003
+ 
+Nota da editora: a data de nascimento e de batismo de Fidanza passaram a constar deste artigo em 17 de outubro de 2022. As informações foram fornecidas pelo leitor, sociólogo e genealogista Daniel Taddone, a quem a Brasiliana Fotográfica agradece.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/3988` — `itens/20.500.12156.1_3988/`
+- `20.500.12156.1/4358` — `itens/20.500.12156.1_4358/`
+- `20.500.12156.1/2521` — `itens/20.500.12156.1_2521/`
+
diff --git a/wordpress/42778-achados-e-perdidos-imagens-ineditas-do-rio-de-janeiro-1937-1945-do-acervo-do-arq.md b/wordpress/42778-achados-e-perdidos-imagens-ineditas-do-rio-de-janeiro-1937-1945-do-acervo-do-arq.md
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@@ -0,0 +1,153 @@
+---
+id: 42778
+url: "https://brasilianafotografica.bn.gov.br/?p=42778"
+titulo: "“Achados e Perdidos: imagens inéditas do Rio de Janeiro (1937-1945)”, do acervo do Arquivo Geral da Cidade do Rio de Janeiro. Destaque para a identificação da casa de Tia Ciata"
+autor: "Andrea Wanderley"
+data: "2026-02-10T10:59:45+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/14339", "20.500.12156.1/14324", "20.500.12156.1/14342", "20.500.12156.1/14336", "20.500.12156.1/14329", "20.500.12156.1/14334", "20.500.12156.1/14341", "20.500.12156.1/14343", "20.500.12156.1/14332", "20.500.12156.1/14338", "20.500.12156.1/14333", "20.500.12156.1/14325", "20.500.12156.1/14328", "20.500.12156.1/14326"]
+fetched_at: "2026-09-10T10:23:03.252Z"
+---
+
+# “Achados e Perdidos: imagens inéditas do Rio de Janeiro (1937-1945)”, do acervo do Arquivo Geral da Cidade do Rio de Janeiro. Destaque para a identificação da casa de Tia Ciata
+
+A Brasiliana Fotográfica publica imagens inéditas do Rio de Janeiro, do acervo do Arquivo Geral da Cidade do Rio de Janeiro (AGCRJ), instituição parceira do portal desde abril de 2016, quando celebrávamos um ano de existência. Sob a presidência do internacionalista e doutor em Ciência Política, Eliseu Santiago, em parceria com a Aprazível Edições, do jornalista, editor de livros, curador de museus e exposições, Leonel Kaz, o AGCRJ lançou o livro digital Achados e Perdidos: imagens inéditas do Rio de Janeiro (1937-1945), que revela um valioso e inédito acervo iconográfico da cidade do Rio no período do Estado Novo, sob a presidência de Getúlio Vargas (1882 – 1954).  A publicação reforça a importância da preservação e difusão do patrimônio histórico e iconográfico do Rio de Janeiro.
+ 
+Capa do livro digital Achados e Perdidos: imagens inéditas do Rio de Janeiro (1937-1945)
+ 
+O livro digital está disponível gratuitamente no site do Arquivo Geral da Cidade do Rio de Janeiro e da Aprazível Edições promovendo acessibilidade e difusão cultural. Foi financiado pelo Programa de Fomente à Cultura Carioca – PRÓ-CARIOCA LINGUAGENS, via Edição PNAB – Política Nacional Aldir Blanc. Lembramos aqui que o acervo do AGCRJ reúne cerca de quatro milhões de itens identificados, além de outros milhões de documentos, fotos e registros ainda em processo de organização.
+ 
+Link para o livro digital Achados e Perdidos: imagens inéditas do Rio de Janeiro (1937-1945) 
+ 
+Hoje a Brasiliana Fotográfica disponibiliza 20 das centenas de imagens publicadas no livro. A partir de recursos tecnológicos como a digitalização e o zoom, os registros fotográficos passam a ter outra visibilidade, podendo ser acessados em sua qualidade plena.
+ 
+Acessando o link para as fotografias publicadas no livro Achados e Perdidos: imagens inéditas do Rio de Janeiro (1937 -1945) disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Provável autoria de Uriel Malta. Praça da República, 9 de maio de 1941. Rio de Janeiro, RJ / Acervo AGCRJ. Vista panorâmica da Praça da República tomada do alto do Paço Municipal
+ 
+Provável autoria de Uriel Malta. Praça da República, 24 de janeiro de 1944. Rio de Janeiro, RJ / Acervo AGCRJ. Obras de redução da Praça da República para a abertura da Avenida Presidente Vargas
+ 
+Achados e Perdidos: imagens inéditas do Rio de Janeiro (1937-1945) é o resultado de uma extensa pesquisa, da recuperação e da digitalização de imagens realizadas por diversos profissionais do AGCRJ. São fotografias inéditas produzidas pelos filhos de Augusto Malta (1864 – 1957) – Aristógiton (1904-1954) e Uriel (1910 – 1994). Augusto Malta foi, entre 1903 e 1936, o fotógrafo oficial da prefeitura do Rio de Janeiro – cargo criado para ele -, e o mais  importante cronista fotográfico da cidade nas primeiras décadas do século XX, responsável por um legado fotográfico incontornável.
+ 
+Anônimo. Augusto Malta. Rio de Janeiro. Acervo Arquivo Geral da Cidade do Rio de Janeiro
+ 
+Aristógiton Malta, nasceu em 1904, no Rio de Janeiro, e começou a auxiliar o pai na prefeitura, em 1925, ano em que Augusto, quando prestava um serviço para a Sul América, teve um de seus dedos dilacerados, devido a uma explosão ocasionada pelo flash de sua máquina fotográfica. Foi operado e ficou internado no Hospital da Ordem Terceira da Penitência. Aristógiton era filho da primeira esposa de Augusto, Laura Oliveira Campos (1874 – 1905).  Casou-se com Helena de Freitas Moutinho (1906 – 1975), em 1933. Em 25 de agosto de 1936, Augusto Malta aposentou-se da Prefeitura e foi substituído por ele, a partir de 9 de setembro do mesmo ano. Em 1938, O presidente da República, Getúlio Vargas (1882 – 1954), visitou a “Feira de Amostras”,  uma exposição de diversas secretarias da Prefeitura do Rio de Janeiro. Um dos stands de maior sucesso foi o da Secretaria de Viação, Trabalho e Obras Públicas, que expôs fotos de Augusto Malta e de seu filho, Aristógiton (A Noite, 31 de outubro de 1938, sob o título “A evolução do Rio através da fotografia”). Foi noticiado que uma foto de sua autoria do Estádio do Maracanã estava nas paredes de todas as repartições da Prefeitura, no hall do Banco da Prefeitura, e também em hotéis em países da Europa, da América do Sul e nos Estados Unidos (A Noite, 18 de maio de 1953, primeira coluna). Faleceu em 15 de agosto de 1954 (A Noite, 18 de maio de 1953, primeira coluna; Diário de Notícias, 17 de agosto de 1954, sexta coluna).
+ 
+Aristógiton Malta (1896-1954) / Site Family Search
+ 
+Uriel Malta nasceu, em 28 de setembro de 1910, no Rio de Janeiro, filho da segunda esposa de Augusto, Celina Augusta Verscheuren (1884 – 1969). Passou a trabalhar com o irmão, no Serviço de Fotografia da Prefeitura, em 1937. Já era casado com Hilda de Abreu em 1944. Foi fotógrafo da Prefeitura até fins da década de 1960 e, em 1970, teve assinada a apostila fixando os proventos anuais de inatividade. Uriel faleceu, em Magé, em 5 de agosto de 1994 (Registro Civil do Rio de Janeiro, Site Family Search; Gazeta de Notícias, 4 de julho de 1935, terceira coluna; Jornal do Brasil, 12 de março de 1937, primeira coluna; Diário de Notícias, 3 de abril de 1968, segunda coluna; Diário de Notícias, 20 de outubro de 1968, primeira coluna; Diário de Notícias, 31 de janeiro de 1969, terceira coluna; Diário de Notícias, 7 de abril de 1970, última coluna).
+ 
+Uriel Malta / Site Family Search
+ 
+O trabalho de Aristógiton e Uriel ficou durante muitas décadas à sombra da extraordinária obra de seu pai. As imagens de Achados e Perdidos: imagens inéditas do Rio de Janeiro (1937-1945) resgatam a importância do trabalho dos filhos de Augusto Malta, que fotografaram os últimos anos da belle époque carioca assim como seu desaparecimento.
+ 
+Aristógiton e Uriel Malta / Achados e Perdidos: imagens inéditas do Rio de Janeiro (1937-1945), página 288 – Acervo AGCRJ
+ 
+O lançamento do livro digital foi realizado, em 27 de janeiro último, por Elizeu Santiago e Leonel Kaz, em um evento no AGCRJ. Em seguida, o professor Antonio Edmilson Martins Rodrigues proferiu a palestra Reformas Urbanas e Cultura no Rio do Estado Novo. O Conselho de Arquitetura e Urbanismo do Rio de Janeiro (CAU/RJ), entidade que apoiou a publicação do livro, foi representada pelo seu presidente, Sydnei Menezes. No dia seguinte, foi realizada uma roda de conversa sob o tema O Rio de Janeiro no Estado Novo: uma perspectiva iconográfica, com os professores Pedro Marreca e Rafael Martins de Araujo, gerente e sub-gerente de Pesquisa do AGCRJ, respectivamente.
+ 
+Provável autoria de Uriel Malta. Magazine Parc Royal, 14 de julho de 1943 . Rio de Janeiro, RJ / Acervo AGCRJ. Aspecto do edifício da Magazine Parc Royal durante sua demolição
+ 
+Provável autoria de Uriel Malta. Abertura da Avenida Brasil, 3 de abril de 1941. Rio de Janeiro, RJ / Acervo AGCRJ. Trabalhadores durante obras para abertura da Avenida Brasil. Ao fundo, à esquerda, o Pavilhão Mourisco, ocupado pela Fundação Oswaldo Cruz.
+ 
+Provável autoria de Uriel Malta. Avenida Delfim Moreira, 25 de abril de 1940. Rio de Janeiro, RJ / Acervo AGCRJ. Trabalhadores durante obras de canalização da Avenida Delfim Moreira, no Leblon
+ 
+O lançamento do livro digital foi antecedido pelo resgate de cerca de 14 mil imagens – em positivos com nitrato de prata e negativos – distribuídas em 11 álbuns, que ainda estão em tratamento arquivístico e que futuramente serão disponibilizadas nos bancos de dados do AGCRJ. Foi uma das descobertas mais relevantes realizadas pela instituição nos últimos anos. As imagens capturam as transformações urbanas, culturais e sociais do Rio de Janeiro, entre 1937 e 1945, quando o interventor do então Distrito Federal, o Rio de Janeiro, era Henrique Dodsworth (1895 – 1975).
+ 
+O presidente da República, Getúlio Vargas, e o interventor do Distrito Federal, Henrique Dodsworth, visitam o Instituto de Educação por ocasião do batismo de fogo da Força Expedicionária Brasileira na Segunda Guerra Mundial , 1944. Rio de Janeiro, RJ / Achados e Perdidos: imagens inéditas do Rio de Janeiro (1937-1945), página 24 – Acervo AGCRJ
+ 
+Retratam um período de grandes transformações na cidade do Rio: por exemplo, a abertura da Avenida Presidente Vargas e da Avenida Brasil, a expansão dos subúrbios, a urbanização da Pavuna e da Zona Sul, a finalização da esplanada do Castelo e a inauguração do Jardim de Alah. Mais de 500 edifícios desapareceram.
+
+Provável autoria de Uriel Malta. Esplanada do Castelo, 15 de março de 1941. Rio de Janeiro, RJ / Acervo AGCRJ
+ 
+Essas obras realizadas na região pela Prefeitura do Rio de Janeiro reduziram muito a Praça Onze de Junho. Logo no início da década de 40, durante o Estado Novo, o então presidente Getúlio Vargas (1882 – 1954) decidiu construir a avenida Presidente Vargas e, pelo projeto, os quarteirões entre as ruas Visconde de Itaúna e Senador Eusébio desapareceriam para sua abertura (O Malho, dezembro de 1941).
+ 
+Provável autoria de Uriel Malta. Abertura da Avenida Presidente Vargas, 14 de outubro de 1941. Rio de Janeiro, RJ / Acervo AGCRJ. Aspecto da Rua Visconde de Itaúna com prédios já demolidos para abertura da Avenida Presidente Vargas. Ao fundo, a torre do relógio da Central do Brasil, ainda em obras
+ 
+Começaram as demolições. Inúmeras famílias foram desalojadas, prédios foram derrubados, dentre eles algumas construções históricas, como a Igreja de São Pedro dos Clérigos.
+ 
+Provável autoria de Uriel Malta. Igreja de São Pedro dos Clérigos, 9 de janeiro de 1944. Rio de Janeiro, RJ / Acervo AGCRJ. Obras de demolição para abertura da Avenida Presidente Vargas. Destaque para Igreja de São Pedro dos Clérigos, trecho da Avenida Rio Branco e, ao fundo, a Igreja da Candelária
+ 
+Provável autoria e Uriel Malta. Rua Visconde de Itaúna, 19 de fevereiro de 1941. Rio de Janeiro, RJ / Acervo AGCRJ. Aspecto da Rua Visconde de Itaúna, esquina com a Rua General Caldwell
+ 
+Provável autoria de Uriel Malta. Edifício demolido – Rua Visconde de Itaúna, 22-24, 6 de maio de 1941. Rio de Janeiro, RJ / Acervo AGCRJ. Trabalhadores durante remoção de escombros dos edifícios de número 22 e 24 da Rua Visconde de Itaúna.
+ 
+O segundo trecho da nova avenida foi concluído em 10 de novembro de 1942; e, em 10 de novembro de 1943, foi batizada de Presidente Vargas. Finalmente, em 7 de setembro de 1944, foi inaugurada (O Malho, dezembro de 1942, abril de 1943, dezembro de 1943; O País, 10 de novembro de 1943; Jornal do Brasil, 8 de setembro de 1944).
+ 
+Jornal do Brasil, 8 de setembro de 1944
+ 
+Na fotografia abaixo, foi identificada a casa da lendária Tia Ciata (1854 – 1924), Hilária Batista de Almeida, localizada na Rua Visconde de Itaúna, 117.
+ 
+Provável autoria de Uriel Malta. Rua Visconde de Itaúna, 19 de fevereiro de 1941. Rio de Janeiro, RJ / Acervo AGCRJ. A casa de Tia Ciata éstá identificada pelo número 117
+ 
+A casa ficava na região da Pequena África do Brasil, expressão baseada numa afirmação do cantor e pintor Heitor dos Prazeres (1898 – 1966) se referindo à área que começava no Porto do Rio de Janeiro e abrangia os atuais bairros da Saúde, Estácio, Santo Cristo, Gamboa e Cidade Nova, até a Praça Onze de Junho. Foi lá que, a partir da década de 1870, a comunidade baiana se estabeleceu no Rio de Janeiro, fazendo da área um local de concentração de diversas manifestações da cultura afro-brasileira. Havia também as tias Bebiana, Carmen e Mônica, dentre outras, que fizeram de suas casas pontos de referência e de convívio, que garantiram a manutenção das tradições africanas na cidade. Nessas casas eram cultuadas a música e a religiosidade afro-brasileira. As casas de Tia Prisciliana, mãe de João da Baiana (1887-1974), e, principalmente, a de Tia Ciata, considerada a matriarca do samba, foram espaços fundamentais da música popular carioca e eram frequentados por Donga, Pixinguinha (1897 – 1973), João da Baiana (1887-1974), o jornalista e dramaturgo Vagalume, pseudônimo de Francisco Guimarães (c. 1880 – 1946), e agitadores culturais como, por exemplo, Hilário Jovino (1873- 1933), Germano Lopes da Silva (? – 1933), o compositor e jornalista Mauro de Almeida(1882 -1956), dentre outros. Foi também na Pequena África que a Deixa Falar, considerada a primeira escola de samba, foi fundada, em 12 de agosto de 1928, pelos sambistas Bide, Mano Edgar, Brancura, Baiaco, dentre outros, além de Ismael Silva, que reivindicava a autoria da expressão escola de samba.
+Na época da demolição, a Praça Onze não era apenas um logradouro carioca, mas uma espécie de bairro, pois englobava todas as ruas das imediações. Hoje, esta importante referência na história da formação do Rio de Janeiro, da cultura brasileira e da criação do samba, não existe mais, porém sua região continua sendo importante para o samba: o Sambódromo e o Terreirão do Samba, inaugurados em 1984 e 1991, respectivamente, estão localizados na área. Da Praça Onze resta um pequeno jardim, onde foi instalado um monumento em homenagem a Zumbi, em 1986.
+ 
+Aristógiton Malta. Mesa do Imperador, 14 de julho de 1938. Rio de Janeiro, RJ / Acervo AGCRJ. Trabalhadores durante obras na Mesa do Imperador, localizada no Parque Nacional da Tijuca
+ 
+Provável autoria de Uriel Malta. Rua do Lavradio, 30 de janeiro de 1940, Rio de Janeiro, RJ / Acervo AGCRJ. Aspecto da Rua do Lavradio após enchente, em quadra compreendida entre a Rua do Rezende e a Avenida Mém de Sá. Vê-se, ao fundo, Hospital da Ordem do Carmo e morro de Santa Tereza
+ 
+Aristógiton Malta. Esplanada do Castelo, 14 de julho de 1938. Rio de Janeiro, RJ / Acervo AGCRJ. Panorâmica da Esplanada do Castelo. À esquerda, o prédio do Ministério da Agricultura. Ao fundo, o Aeroporto Santos Dumont em obras
+ 
+Obras no antigo terminal de bondes no Largo da Carioca, conhecido como o Tabuleiro da Baiana. À direita, o prédio do Liceu Literário Português e a escultura da águia do Teatro Municipal, 8 de fevereiro de 1939. Rio de Janeiro, RJ / Achados e Perdidos: imagens inéditas do Rio de Janeiro (1937-1945), página 101 – Acervo AGCRJ
+ 
+Praça da Bandeira alagada, 29 de janeiro de 1940. Rio de Janeiro, RJ / Achados e Perdidos: imagens inéditas do Rio de Janeiro (1937-1945), página 134 – Acervo AGCRJ
+ 
+Sede do Cordão da Bola Preta, na Rua 13 de maio, 31 de dezembro de 1941. Rio de Janeiro, RJ /Achados e perdidos: imagens inéditas do Rio de Janeiro (1937-1945), página 143 – Acervo AGCRJ
+ 
+Canalização Botafogo. Obras de melhoramentos urbanos na orla de Botafogo. Destaque para o frentista postado diante da antiga bomba de gasolina da Empresa Nacional de Petróleo, 17 de junho de 1940. Rio de Janeiro, RJ / Achados e perdidos: imagens inéditas o Rio de Janeiro (1937-1945, página 193 – Acervo AGCRJ
+ 
+Duas fotografias do relógio da Central do Brasil. Rio de Janeiro, RJ / Achados e Perdidos: imagens inéditas do Rio de Janeiro (1937 – 1945), página 85- Acervo AGCRJ
+ 
+Rua Copacabana, atual Avenida Nossa Senhora de Copacabana, 2 de janeiro de 1939. Rio de Janeiro, RJ / Achados e Perdidos: imagens inéditas do Rio de Janeiro (1937-1945) , página 220- Acervo AGCRJ
+ 
+Jardim de Alah, 8 de janeiro de 1942. Rio de Janeiro, RJ / Achados e Perdidos: imagens inéditas do Rio de Janeiro (1937-1945), páginas 238 e 239 – Acervo AGCRJ
+ 
+Avenida Vieira Souto, Ipanema, 21 de novembro de 1938. Rio de Janeiro, RJ / Achados e Perdidos: imagens inéditas do Rio de Janeiro (1937-1945), página 240 e 241 – Acervo AGCRJ
+ 
+Estrada Velha da Pavuna, 22 de junho de 1938. Rio de Janeiro, RJ / Achados e Perdidos: imagens inéditas do Rio de Janeiro (1937-1945), página 269 – Acervo AGCRJ
+ 
+São esses os profissionais responsáveis pelo extraordinário Achados e Perdidos: imagens inéditas do Rio de Janeiro (1937-1945):
+ 
+
+ 
+O livro físico foi lançado em 14 de julho de 2026, no Palácio da Cidade, no Rio de Janeiro, Na ocasião, discursaram Lucas Padilha, secretário de Cultura do Rio de Janeiro, e Eliseu Santiago, como já mencionado, presidente do Arquivo Geral da Cidade do Rio de Janeiro (informação inserida no texto em 14 de julho de 2026).
+ 
+Andrea C.T. Wanderley
+Editora e pesquisadora da Brasiliana Fotográfica
+ 
+Fontes:
+BUENO, Eduardo. TIA CIATA E A PRAÇA ONZE: COMO SURGIRAM AS ESCOLAS DE SAMBA
+
+Diário do Rio – Avenida Presidente Vargas
+
+Diário do Ri0 – Praça Onze
+Dicionário de Música Cravo Alvim
+GERSON, Brasil. História das Ruas do Rio. Rio de Janeiro: Bem-Te-Vi, 2013.
+Hemeroteca Digital da Biblioteca Nacional
+MALAMUD, Samuel. Recordando a Praça Onze. 1ª edição, Rio de Janeiro, Editora Kosmos, 1988
+MOURA, Roberto. Tia Ciata e a pequena África no Rio de Janeiro. Rio de Janeiro: Funarte, 1983.
+SILVA, Beatriz Coelho. Negros e Judeus na Praça Onze. A História que não ficou na memória. Rio de Janeiro : Bookstart, 2015.
+Site Arquivo Geral da Cidade do Rio de Janeiro
+Site Family Search
+WANDERLEY, Andrea C.T. O alagoano Augusto Malta, fotógrafo oficial do Rio de Janeiro entre 1903 e 1936 in Brasiliana Fotográfica, 10 de julho de 2015.
+__________________. Série “O Rio de Janeiro desaparecido” XVIII – A Praça Onze in Brasiliana Fotográfica, 20 de abril de 2022.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/14339` — `itens/20.500.12156.1_14339/`
+- `20.500.12156.1/14324` — `itens/20.500.12156.1_14324/`
+- `20.500.12156.1/14342` — `itens/20.500.12156.1_14342/`
+- `20.500.12156.1/14336` — `itens/20.500.12156.1_14336/`
+- `20.500.12156.1/14329` — `itens/20.500.12156.1_14329/`
+- `20.500.12156.1/14334` — `itens/20.500.12156.1_14334/`
+- `20.500.12156.1/14341` — `itens/20.500.12156.1_14341/`
+- `20.500.12156.1/14343` — `itens/20.500.12156.1_14343/`
+- `20.500.12156.1/14332` — `itens/20.500.12156.1_14332/`
+- `20.500.12156.1/14338` — `itens/20.500.12156.1_14338/`
+- `20.500.12156.1/14333` — `itens/20.500.12156.1_14333/`
+- `20.500.12156.1/14325` — `itens/20.500.12156.1_14325/`
+- `20.500.12156.1/14328` — `itens/20.500.12156.1_14328/`
+- `20.500.12156.1/14326` — `itens/20.500.12156.1_14326/`
+
diff --git a/wordpress/42996-cronologia-de-aristogiton-malta-1904-1954.md b/wordpress/42996-cronologia-de-aristogiton-malta-1904-1954.md
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+++ b/wordpress/42996-cronologia-de-aristogiton-malta-1904-1954.md
@@ -0,0 +1,154 @@
+---
+id: 42996
+url: "https://brasilianafotografica.bn.gov.br/?p=42996"
+titulo: "Cronologia de Aristógiton Malta (1904 – 1954)"
+autor: "Andrea Wanderley"
+data: "2026-04-29T09:44:31+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/14354"]
+fetched_at: "2026-09-10T10:23:06.465Z"
+---
+
+# Cronologia de Aristógiton Malta (1904 – 1954)
+
+Cronologia de Aristógiton Malta (1904 – 1954)
+ 
+Aristógiton em uma foto com dedicatória para sua filha Maryse, s/d. Rio de Janeiro, RJ / Acervo pessoal de Maryse Muller
+ 
+1904 - Nascimento, em 25 de agosto, de Aristógiton Malta, filho do fotógrafo Augusto Malta (1864 -1957) e de Laura Oliveira Campos (1874 – 1905). Na ocasião, Augusto já era fotógrafo da Prefeitura do Rio de Janeiro, cargo criado para ele, em 1903, e que ocupou até 1936 (O Imparcial, 25 de agosto de 1925, terceira coluna).
+1905 - Em fins de junho, falecimento de sua mãe, Laura Oliveira Campos (Jornal do Brasil, 3 de julho de 1905, segunda coluna). Aristógiton passou a morar com uma irmã de sua mãe, a Tia Glória (ERMAKOFF, 2009). Segundo depoimento de sua filha, Maryse, Tia Glória era avó do cantor Dick Farney (1921 – 1987) e do ator Cyl Farney (1925 – 2003), e Aristógiton só foi  morar com ela anos após a morte de Laura.
+1906 – O nome dele e de suas irmãs, filhas de Augusto e Laura – Luthgardes (05/01/1896 – 05/02/1928), Arethusa (1898 – 31/03/1913), Callisthene (26/07/1900 – 20/02/1919) e Aristocléa (21/06/1903 – 03/1934), afilhada do prefeito Pereira Passos; constavam na subscrição em favor das famílias atingidas pela tragédia de Jacuecanga –  o naufrágio do encouraçado Aquidabã da Marinha do Brasil na enseada de Jacuecanga, em Angra dos Reis, no Rio de Janeiro (Tico-Tico, 14 de março de 1906, segunda coluna). Suas irmãs aqui citadas morreram todas de tuberculose.
+ 
+Augusto Malta. Calisthene, Aristógiton e Aristocléa no ateliê de Malta, 3 de setembro de 1906. Rio de Janeiro, RJ / Acervo Mauro Malta
+ 
+Em torno deste ano, Augusto Malta passou a viver maritalmente com Celina Augusta Verscheuren (16/03/1884 – 1969), que trabalhava desde os 15 anos como babá dos filhos de Malta e Laura. Com Celina, Malta teve mais quatro filhos: Dirce (1907 – 10/1971), Eglé (20/09/1909 – 11/1941), o futuro fotógrafo Uriel (28/09/1910 – 05/08/1994) e Amalthea (12/12/1912 – 12/03/2007).
+1913 – Aristógiton foi fotografado por seu pai com suas irmãs Aristocléa, Calisthene e Dirce; e com duas moças ainda não identificadas.
+ 
+Augusto Malta. Da esquerda para a direita: Aristocléa, Calisthene e Dirce; e duas moças ainda não identificadas. Atrás, Aristógiton com os braços abertos, 1913. Rio de Janeiro, RJ / Acervo Mauro Malta
+ 
+1914 – Aristógiton recebeu um brinde oferecido pela revista O Tico-Tico e pelo Bazar Hollandez. Residia na Rua Câmara, nº 260 (O Tico-Tico, 28 de setembro de 1914, primeira coluna).
+1916 – Participava de concursos promovidos pela revista O Tico-Tico (O Tico-Tico, 15 de março de 1916, primeira coluna).
+Estudava na Escola Profissional Souza Aguiar (Jornal do Commercio, 26 e 27 de dezembro de 1916, penúltima coluna).
+1917 - Participou da regata promovida pelo Clube de Regatas do Flamengo sob os auspícios da Federação Brasileira das Sociedades do Remo (Jornal do Commercio,- Edição da Tarde, 8 de outubro de 1917, terceira coluna).
+1918 - Remou no festival aquático na enseada de Gragoatá e ficou em primeiro lugar em uma das competições na categoria estreantes. Participou de outras competições de remo (Jornal do Commercio,- Edição da Tarde,  26 de fevereiro de 1918, primeira coluna; 17 de junho de 1918, última coluna; 12 de agosto de 1918, terceira coluna; 20 de dezembro de 1918, última coluna).
+Participou de um concurso da revista O Tico-Tico (O Tico-Tico, 10 de abril de 1918, segunda coluna).
+No dia da inauguração da Escola de Artes e Ofícios Venceslau Brás, que contou com a presença do presidente da República, Venceslau Brás (1868 – 1966), estava, como aluno da Escola Profissional Souza Aguiar, trabalhando em uma das oficinas (Jornal do Brasil, 10 de novembro de 1918, quinta coluna).
+1919 –  Participou de outras competições de remo (Jornal do Commercio,- Edição da Tarde, 30 de junho de 1919, terceira coluna; O Paiz, 1º de julho de 1919, terceira coluna; 29 de outubro de 1919, quarta coluna).
+1920 – Na categoria de patrão, foi pesado na Federação Brasileira das Sociedades do Remo (Gazeta de Notícias, 16 de junho de 1920, penúltima coluna).
+1922 – Participou da temporada de remo (Jornal do Commercio, 18 de junho de 1922, primeira coluna).
+1923 – Participou da temporada de remo (Jornal do Commercio, 21 de outubro de 1923, segunda coluna).
+Foi fotografado pelo pai no aniversário de 39 anos de sua madrasta, Celina.
+ 
+Augusto Malta. Aniversário de 39 anos de Celina. Em pé, da esquerda para a direita: duas pessoas ainda não identificadas, Celina, Aristocléa e o Tio Teófilo, irmão de Malta. Sentados: Aristógiton e moças ainda não identificadas. O quadro na parede da direita é um retrato de Laura. Na parede atrás do grupo, no centro o quadro é um retrato de Calisthene, entre retratos de Celina e Malta, 1923. Rio de Janeiro, RJ / Acervo Mauro Malta
+ 
+1925 – Quando Augusto Malta prestava um serviço para a Sul América, uma explosão ocasionada pelo flash de sua máquina fotográfica dilacerou um de seus dedos. Foi operado e ficou internado no Hospital da Ordem Terceira da Penitência. Aristógiton começou a auxiliá-lo na Prefeitura (O Imparcial, 25 de agosto de 1925, terceira coluna).
+Segundo o artigo de Regina da Luz Moreira, Augusto Malta, dono da memória fotográfica do Rio, publicado no Portal Augusto Malta do Acervo Geral da Cidade do Rio de Janeiro, em termos técnicos, Augusto Malta manteve-se sempre fiel ao seu equipamento, só admitindo mudanças a partir do momento em que o filho Aristógiton passou a trabalhar com ele. Foram então introduzidas câmaras americanas e alemãs, as mais modernas então existentes.
+Participou de competições de remo (Gazeta de Notícias, 14 de junho de 1925, terceira coluna; 16 de agosto, quinta coluna; 18 de outubro, terceira coluna),
+1926 - Foi um dos remadores amadores que pediu registro na Federação Brasileira das Sociedades do Remo. Fazia parte do Grupo de Regatas Gragoatá (Rio Sportivo, 27 de junho de 1926, penúltima coluna).
+Participou de competições de remo (Jornal do Commercio, 15 de agosto de 1926, segunda coluna).
+1927 - Participou de competições de remo (Jornal do Brasil, 26 de junho de 1927, última coluna).
+1928 – Participou da competição de amadores do remo entre o Clube Icaraí e Gragoatá (O Jornal, 28 de outubro de 1928, penúltima coluna).
+1929 – Participou da regata nacional realizada na Lagoa Rodrigo de Freitas e da regata de abertura da temporada náutica carioca da Federação Brasileira das Sociedades do Remo, promovida pelo Clube de Regatas Guanabara (O Jornal, 25 de maio de 1929, sexta coluna; A Manhã, 29 de junho de 1929, de 1929, primeira coluna).
+1930 –Fazia parte da comissão de buffet do baile do Grupo de Regatas Gragoatá (Correio da Manhã, 27 de março de 1930, sétima coluna)
+Participou de competições de remo (Correio da Manhã, 13 de maio de 1930, sétima coluna).
+1931 – Participou de competições de remo (Correio da Manhã, 16 de agosto de 1931, primeira coluna).
+1932 – Foi eleito diretor de remo do Grupo de Regatas Gragoatá (Correio da Manhã, 22 de janeiro de 1932, segunda coluna).
+Aristógiton foi nomeado auxiliar de fotografia da Diretoria de Engenharia da Prefeitura. Seu pai e João Montenegro Cordeiro foram nomeados fotógrafos (Jornal do Brasil, 3 de março de 1932, segunda coluna; Correio da Manhã, 3 de março de 1932, quinta coluna).
+Foi noticiado o noivado de Aristógiton com Helena de Freitas Moitinho (1906 – 1975), filha de Domingos Moitinho (1871 – 19?) e Sarah de Freitas das Neves (1881 – 1948) (Revista da Semana, 3 de setembro de 1932, primeira coluna).
+Domingos havia sido um dos fundadores do Fluminense, em 21 de julho de 1902, na casa de Horácio da Costa Santos (1880 -19?), na Rua Marquês de Abrantes, número 51. A sessão de fundação foi presidida por Manoel Rios (18? -19?) e secretariada por Oscar Cox (1880 – 1931) e Américo da Silva Couto (18? -19?). Ele foi eleito tesoureiro da primeira diretoria do clube (Fon-Fon, 23 de agosto de 1952). Já havia sido um dos fundadores, em 5 de fevereiro de 1895, do Grupo de Regatas Gragoatá (Semana Sportiva, 3 de fevereiro de 1903, penúltima coluna; O Imparcial, 19 de junho de 1921, quarta coluna).
+1933 - Foram publicadas fotos do casamento de Aristógiton e Helena (A Scena Muda, 28 de março de 1933).
+ 
+Aristógiton e Helena no dia do casamento / A Scena Muda, 28 de março de 1933
+ 
+Helena com suas damas de honra / A Scena Muda, 28 de março de 1933
+ 
+A família de Laura era muito rica e foi contra o casamento. O avô de Laura, também chamado Domingos Moitinho (c. 1825 – 1895) era português, migrou para o Brasil, onde fez fortuna, e tornou-se comendador. Era o diretor da Estrada de Ferro de Teresópolis e estava presente no dia da fundação da cidade e foi também proprietário da Estrada de Ferro de Bananal, que adquiriu em 1891. A estação ferroviária de Bananal, com dois pavimentos, toda importada da Bélgica e montada aqui, cujas chapas, até no telhado, são metálicas, e o assoalhos são de pinho de Riga, foi uma doação do comendador. Em 1893, adquiriu de Domiciana Maria de Almeida (18? -?), viúva de Manoel de Aguiar Valim (18? – 1878), a Fazenda Resgate, em Bananal, desde 1969 tombada pelo IPHAN, além de outros bens, que posteriormente hipotecou. Foi proprietário de diversas empresas (Gazeta de Notícias, 28 de julho de 1895, sexta coluna).
+ 
+O comendador Domingos Moitinho, avô de Laura, mulher de Aristógiton, está sentado com um chapéu da mão, 6 de julho de 1890. Legenda: Várzea, 1890 – Praça Santa Thereza, hoje Balthazar da Silveira. Assinatura, aos 6 de Julho de 1890, do Decreto de elevação de Therezópolis à cidade pelo então Governador do Estado do Rio de Janeiro, Dr. Francisco Portella, que para ela transferiu a capital do Estado por Decreto de 5 de Outubro seguinte. 1) Sr. Figueiredo; 2) Dr. 3) Sr. Palhares: 4) Pintor Nicoláo Facchinetti; 5) Barão de Mesquita, Presidente da Companhia EF Therezopolis; 6) Dr. Francisco Portella, Governador do Estado; 7) Alferes João Crisóstomo; 8) Dr. Godofredo Cunha, Chefe de Polícia do Estado, depois Ministro do Supremo Tribunal Federal; 9) Francisco P. dos Santos Leal, farmacêutico local; 10) Engenheiro Floresta de Miranda; 11) Joaquim de Abreu Lacerda, antigo redator do Jornal do Commercio; 12) Domingos Moitinho, Diretor da Cia. EF Therezópolis; 13) José Bandeira Vianna, depois Colecionador Estadual; 14) Capitão Silva Brandão; 15) Major Eloy; 16) Félix Cardoso da Silva, guarda livros da Cia. EF Therezópolis / THEREZOPOLIS, de Armando Vieira, 1938, Irmãos Pongetti Editores
+ 
+Aristógiton e Laura tiveram sete filhos: Marcus Moitinho Malta (1933 – 1977), Maryse Malta Muller (1935 – ), Mauro Moitinho Malta (1937 – ), Marcelo Moitinho Malta (1940 – 2020), Marcio Moitinho Malta (1946 -), Antonio Carlos Moitinho Malta (1947 – 1950) e Monica Moitinho Malta (1952 -1952) (Site Family Search; A Noite, 31 de março de 1950, penúltima coluna; 6 de fevereiro de 1953, segunda coluna; 24 de março de 1955, segunda coluna),
+ 
+Helena, mulher de Aristógiton, com Marcus e Maryse, os primeiros filhos do casal, c. 1935. Rio de Janeiro, RJ / Acervo pessoal de Maryse Muller
+ 
+Aristógiton seguia como auxiliar de fotografia da Diretoria de Engenharia Geral da Prefeitura do Rio de Janeiro, enquanto seu pai e João Montenegro Cordeiro eram fotógrafos (Jornal do Brasil, 9 de novembro de 1933, terceira coluna).
+Era um dos sócios da firma Barros, Malta e Cia de comércio de materiais para construção, na Rua do Rosário, 52. Os outros sócios eram José de Barros e Agostinho Rodrigues Torres (Correio da Manhã, 22 de junho de 1933, última coluna).
+1936 – Em 25 de agosto, Augusto Malta aposentou-se da Prefeitura e foi substituído por Aristógiton, a partir de 9 de setembro do mesmo ano.
+1937 – Seu irmão, Uriel, passou a trabalhar com ele. Entre este ano e a década de 1950, os irmãos fotografaram exaustivamente as reformas urbanas realizadas no Rio de Janeiro.
+1938 – O prefeito, Henrique Dodsworth (1895 – 1975), fixou os rendimentos de Aristógiton, que era o chefe do Gabinete Fotográfico da Prefeitura do Distrito Federal (Jornal do Brasil, 15 de março de 1938, segunda coluna; Diário de Notícias, 25 de agosto de 1938, primeira coluna).
+ 
+Aristógiton com sua filha Maryse, c. 1938. Rio de Janeiro, RJ / Acervo pessoal de Maryse Muller
+ 
+O presidente da República, Getúlio Vargas (1882 – 1954), visitou a “Feira de Amostras”,  uma exposição de diversas secretarias da Prefeitura do Rio de Janeiro. Um dos stands de maior sucesso foi o da Secretaria de Viação, Trabalho e Obras Públicas, que expôs fotos de autoria de Augusto Malta e de seu filho, Aristógiton (A Noite, 31 de outubro de 1938, sob o título “A evolução do Rio através da fotografia”).
+ 
+A Noite, 31 de outubro de 1938
+ 
+1939 – Visitou com Edson Passos, secretário-geral da Viação, do Trabalho e Obras Públicas do Rio de Janeiro, em Ribeirão das Lajes, a convite da firma Dahne & Conceição que estava realizando as obras de melhoramentos de abastecimento de água na cidade, a fábrica de tubos da empresa, seguido de um almoço no Monumento Rodoviário (Gazeta de Notícias, 27 de junho de 1939, penúltima coluna).
+1940 – Foi noticiado o aniversário do filho de Aristógiton, Marcus, cuja festa se realizaria na casa dos pais, em Ipanema (A Batalha, 9 de janeiro de 1940, primeira coluna).
+Aderiu ao almoço em homenagem a Jorge Dodsworth (1884 – 1974), secretário-geral de Administração, que ser realizaria, em 26 de setembro , no Clube Ginástico Português (O GLOBO, 25 de setembro de 1940, coluna).
+Era candidato a integrar a União Beneficente dos Chauffeurs do Rio (Diário de Notícias, 31 de outubro de 1940, terceira coluna).
+Foi de sua autoria uma fotomontagem publicada na revista Vamos Ler!, de 28 de novembro de 1940.
+ 
+Vamos Ler!, 28 de novembro de 1940
+ 
+1941 - Foi designado pelo prefeito, Henrique Dodsworth, como o fotógrafo da Comissão Técnica Especial da Avenida Presidente Vargas e Esplanada do Castelo (Diário de Notícias, 6 de fevereiro de 1941, terceira coluna; Correio da Manhã, 6 de fevereiro de 1941, quinta coluna).
+ 
+O Imparcial, 6 de fevereiro de 1941
+ 
+Foi um dos nomeados pelo presidente da República, Getúlio Vargas, delegado do Brasil no II Congresso Interamericano de Municípios, que se realizaria, em Santiago do Chile, entre 15 e 22 de setembro de 1946 (Correio da Manhã, 26 de agosto de 1941, segunda coluna).
+1947 – Foi convocado a comparecer ao cartório da Comarca de Duque de Caxias para pagar prestações vencidas para a Companhia Frigoríficos Reunidos do Brasil (Diário de Notícias, 5 de agosto de 1947, penúltima coluna).
+1948 – O secretário-geral de Finanças da Prefeitura do Rio de Janeiro o designou para a Superintendência do Financiamento Urbanístico (Diário de Notícias, 1º de junho de 1948, quinta coluna).
+1949 – Publicação da reportagem Rui na intimidade, com texto de Raymundo Athayde (1905 – 19?) e fotos de Augusto Malta e Aristógiton Malta (O Cruzeiro, 12 de novembro de 1949).
+ 
+O Cruzeiro, 12 de novembro de 1949
+ 
+1950 - Faleceu seu filho, Antônio Carlos (A Noite, 31 de março de 1950, penúltima coluna).
+1951 - Foi concedido a ele, pela Prefeitura, salário-família (Correio da Manhã, 19 de julho de 1950, sexta coluna).
+Foi removido para o Departamento de Patrimônio da Secretaria de Finanças da Prefeitura (Correio da Manhã, 9 de outubro de 1950, quarta coluna).
+1953 – Em sua residência, na Rua Redentor nº 330, em Ipanema, quase aconteceu uma tragédia. Seu filho, Marcelo, de 12 anos, brincando com um revólver, atirou em seu irmão, Mauro, de 15 anos. Felizmente, a bala atingiu a vítima de raspão (Gazeta de Notícias, 6 de fevereiro de 91953, primeira coluna).
+Nas eleições para a escolha da nova diretoria da Associação de Repórteres Fotográficos, quando Mozart Alves da Silva foi eleito presidente, empatou com com Raul Machado para o cargo de segundo presidente. Novas eleições seriam realizadas (A Manhã, 16 de abril de 1953, primeira coluna).
+Foi noticiado que uma foto de sua autoria do Estádio do Maracanã, produzida em 1950, estava nas paredes de todas as repartições da Prefeitura, no hall do Banco da Prefeitura, e também em hotéis em países da Europa, da América do Sul e nos Estados Unidos (A Noite, 18 de maio de 1953, primeira coluna).
+1954 - Foi noticiado que Augusto Malta, que completaria 90 anos, em 14 de maio, havia deixado um arquivo com cerca de 100 mil fotos do Rio de Janeiro aos cuidados de Aristógiton (O Jornal, 13 de maio de 1954, penúltima coluna).
+Aristógiton Malta faleceu, em 15 de agosto de 1954, no Rio de Janeiro. Na ocasião estava lotado na Sala de Imprensa do prefeito. Foi enterrado no Cemitério da Ordem Terceira do Carmo (A Noite, 16 de agosto de 1954, terceira coluna, Diário de Notícias, 17 de agosto de 1954, sexta coluna). Abaixo, seu Atestado de Óbito (Site Family Search).
+ 
+
+ 
+ 
+A Noite, 16 de agosto de 1954
+ 
+Em nota do O GLOBO, foi noticiado que ele havia produzido durante o Campeonato Mundial de Futebol de 1950 a maior e mais difundida fotografia do Estádio do Maracanã.
+ 
+O GLOBO, 16 de agosto de 1954
+ 
+A Noite, 17 de agosto de 1954
+ 
+Sua missa de 7º Dia foi celebrada na Igreja do Carmo, na Rua 1º de março, em 23 de agosto de 1954 (A Noite, 20 de agosto de 1954, primeira coluna).
+ 
+Diário de Notícias, 21 de agosto de 1954
+ 
+Acompanhada de suas filha, a viúva de Aristógiton, Helena de Freitas Moutinho, esteve no gabinete do prefeito, Dulcídio do Espírito Santo Cardoso (1896 – 1978), para agradecer as atenções dispensadas e também às providências para proteger seus filhos menores (Diário de Notícias, 27 de agosto de 1954, primeira coluna).
+Meses depois, em 30 de dezembro, foi efetuado o pagamento de encerramento da folha de pagamento de Aristógiton na Prefeitura (Diário de Notícias, 30 de dezembro de 1954, primeira coluna).
+1955 – Foi noticiado o casamento de sua filha, Maryse, com Paulo Muller, engenheiro da Prefeitura (A Noite, 24 de março de 1955, segunda coluna).
+1975 – Em 4 de março, falecimento de sua viúva, Laura Freitas Moutinho Malta (Registro Civil – Family Search).
+ 
+
+ 
+1989 - Na seção “O Leitor escreve”, publicação de um texto de Oromar Terra, que havia trabalhado no Palácio da Guanabara, na década de 1950. Em 1953, foi trabalhar na Sala de Imprensa do Palácio da Prefeitura como representante do jornal Última Hora e conheceu diversos fotógrafos, dentre eles Aristógiton Malta, de quem se tornou amigo. Segundo Oromar, Aristógiton nasceu, viveu e morreu em silêncio, fotografando as migalhas que o pai lhe deixara (O Fluminense, 1º de setembro de 1989, primeira coluna).
+2004 – Publicação da matéria O Rio que ninguém viu, de autoria de Marcia Cezimbra, sobre a descoberta feita por bisnetas de Augusto Malta e netas de Aristógiton, Lucca e Gabriela, de fotografias produzidas por eles (O GLOBO, 29 de novembro de 2004).
+ 
+
+O GLOBO, 29 de novembro de 2004
+ 
+2026 – Em 27 de janeiro, sob a presidência do internacionalista e doutor em Ciência Política, Eliseu Santiago, em parceria com a Aprazível Edições, do jornalista, editor de livros, curador de museus e exposições, Leonel Kaz, o Arquivo Geral da Cidade do Rio de Janeiro lançou o livro digital Achados e Perdidos: imagens inéditas do Rio de Janeiro (1937-1945), que revela um valioso e inédito acervo iconográfico da cidade do Rio no período do Estado Novo, sob a presidência de Getúlio Vargas (1882 – 1954). São fotografias inéditas produzidas por Aristógiton e Uriel. As imagens do livro resgatam a importância do trabalho dos filhos de Augusto Malta, que fotografaram os últimos anos da belle époque carioca assim como seu desaparecimento.
+ 
+Aristógiton Malta, s/d. Rio de Janeiro, RJ / Acervo AGCRJ
+ 
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora da Brasiliana Fotográfica
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/14354` — `itens/20.500.12156.1_14354/`
+
diff --git a/wordpress/42998-cronologia-de-uriel-malta-1910-1994.md b/wordpress/42998-cronologia-de-uriel-malta-1910-1994.md
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+---
+id: 42998
+url: "https://brasilianafotografica.bn.gov.br/?p=42998"
+titulo: "Cronologia de Uriel Malta (1910 – 1994)"
+autor: "Andrea Wanderley"
+data: "2026-04-29T09:44:44+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/14355"]
+fetched_at: "2026-09-10T10:23:09.372Z"
+---
+
+# Cronologia de Uriel Malta (1910 – 1994)
+
+Cronologia de Uriel Malta (1910 – 1994)
+ 
+Uriel Malta / Site Family Search
+ 
+1910 – Uriel Malta nasceu, em 28 de setembro de 1910, no Rio de Janeiro, filho do importante fotógrafo alagoano Augusto Malta (1864 – 1957) e da belga Celina Augusta Verscheuren (16/03/1884 – 1969) (Registro Civil do Rio de Janeiro, Site Family Search; O Jornal, 28 de setembro de 1926, segunda coluna). Augusto Malta foi fotógrafo da Prefeitura do Rio de Janeiro de 1903 até 1936 – o cargo foi criado para ele.
+Augusto Malta, que havia ficado viúvo, em 1905, com o falecimento de Laura Oliveira Campos (1874 – 1905), passou a viver maritalmente com Celina, mãe de Uriel, em torno de 1906. Ela trabalhava desde os 15 anos como babá dos filhos de Malta e Laura. Com Celina, Malta teve, além de Uriel, quatro filhas: Dirce (1907 – 10/1971), Eglé (20/09/1909 – 11/1941) e Amalthea (12/12/1912 – 12/03/2007). Celina era de origem belga e ela e sua irmã ficaram órfãs de pai e mãe, ainda menores. Foram internadas em um pensionato na Glória. Com 15 anos, como já mencionado, Celina foi trabalhar na casa da família Malta. Sua irmã tornou-se professora.
+ 
+Uriel e sua irmã, Amalthea, s/d. / Acervo Jean Jacques Malta Carlini
+
+Os irmãos de Uriel do primeiro casamento de seu pai eram Luthgardes (05/01/1896 – 05/02/1928), Arethusa (1898-31/03/1913), Callisthene (26/07/1900 – 20/02/1919), Aristocléa (21/06/1903 – 03/1934), e Aristógiton (25/08/1904 – 15/08/1954).
+
+1920 – Com nove anos, Uriel sofreu um acidente em casa e teve duas fraturas (Gazeta de Notícias, 19 de junho de 1920, sexta coluna).
+1921 – Foi batizado em 13 de março de 1921 e seus padrinhos foram João Augusto de Godoy e Adélia Godoy de Almeida (Site Family Search).
+ 
+Certidão de Batismo de Uriel Malta / Site Family Search
+ 
+1926 - O aniversário do menino Uriel Malta foi noticiado (O Jornal, 28 de setembro de 1926, segunda coluna).
+1931 - Viajou para São Paulo no vapor Raul Soares, vindo do Rio de Janeiro (Tribuna (SP), 4 de agosto de 1931, última coluna).
+1935 - Foi noticiado que ele estava envolvido em um caso policial sobre o sequestro de meninos para trabalho em um garimpo ilegal no Mato Grosso. O crime foi denunciado pelos pais de um dos menores encontrados na casa do inglês Harold Bold, suposto chefe da quadrilha. Uriel foi inicialmente identificado como um dos menores, mas na verdade já tinha 24 anos. Ele seria o cinegrafista do grupo. Foi preso, interrogado e solto (Gazeta de Notícias, 4 de julho de 1935, terceira coluna; 6 de julho de 1935, última coluna; 11 de julho de 1935, quarta coluna; Jornal do Brasil, 3 de julho de 1935, quinta coluna; O Jornal, 4 de julho de 1935, terceira coluna; Diário Carioca, 3 de julho de 1935; Diário de Notícias, 4 de julho de 1935, quarta coluna).
+ 
+Uriel Malta está de frente na fotografia da esquerda / A Noite, 4 de julho de 1935
+ 
+Uriel foi à redação do jornal A Manhã e fez uma declaração sobre o caso, desmentindo a notícia. Bold declarou que ele chefiaria uma expedição aventureira pelo Mato Grosso, onde elaboraria um filme e  se lançaria à aventura dos garimpos (A Manhã, 4 de julho de 1935, primeira coluna).
+ 
+A Manhã, 4 de julho de 1935
+ 
+1937 – Passou a trabalhar com o irmão, Aristógiton, no Serviço de Fotografia da Prefeitura (Jornal do Brasil, 12 de março de 1937, primeira coluna). Entre este ano e a década de 1950, os irmãos fotografaram exaustivamente as reformas urbanas realizadas no Rio de Janeiro.
+1941 – Foi chamado para preencher uma proposta na Caixa Reguladora de Empréstimos da Prefeitura (Correio da Manhã, 19 de abril de 1941, primeira coluna).
+1944 – Casou-se com a carioca Hilda de Abreu Malta (1908 – 1976), em 15 de abril. Tiveram pelo menos três filhos: Claudius Vinicius de Abreu Malta (1945-2010), Lelia Sandra de Abreu Malta (19? – ?) e Lelia Egle de Abreu Malta (19? – ?) (Registro Civil do Rio de Janeiro, Site Family Search; O Fluminense, 13 de agosto de 1960, segunda coluna; O Fluminense, 17 de agosto de 1960, segunda coluna).
+ 
+Certidão de Casamento Civil / Site Family Search
+ 
+1945 – A Prefeitura concedeu a Uriel salário-família (Diário de Notícias, 20 de março de 1945, segunda coluna).
+A Prefeitura fixou os proventos de Uriel (Diário de Notícias, 8 de junho de 1945, terceira coluna).
+Em um anúncio, Uriel seria a pessoa a ser procurada para receber ofertas em relação à venda de lotes em Jacarepaguá e também em Paquetá (Correio da Manhã, 15 de setembro de 1945, sexta coluna; 16 de setembro de 1945, terceira coluna).
+1950 – Foi concedido pela Prefeitura salário-família para Uriel (Correio da Manhã, 19 de julho de 1950, sexta coluna).
+Na década de 1950, seu pai, Augusto, recebia muitas visitas de compradores de suas fotografias e um dos mais constantes era o colunista Arthur Faveret (? – 1968), que fazia diversas encomendas de vistas da cidade. Como laboratorista, Uriel ajudava o pai, produzindo as cópias solicitadas.
+1953 - Foi designado pelo prefeito, Dulcídio do Espírito Santo Cardoso (1896 – 1978), para a Secretaria de Viação e Obras, cujo secretário-geral o designou para o Departamento de Propaganda Urbanística (Correio da Manhã, 3 de fevereiro de 1953, terceira coluna; Diário de Notícias, 11 de fevereiro de 1953, segunda coluna).
+1955 – Foi designado para a Secretaria de Administração da Prefeitura (Diário de Notícias, 31 de março de 1955, segunda coluna).
+1957 – A Prefeitura concedeu a Uriel nove meses de licença (Jornal do Brasil, 28 de junho de 1957, última coluna).
+A Prefeitura aumentou o salário de Uriel em 20% (Jornal do Commercio, 6 de setembro de 1957, quinta coluna).
+1959 - A filha de Uriel e Hilda, Lélia Eglé, participou do baile de debutantes do Clube Central (O Fluminense, 19 de agosto de 1959, segunda coluna).
+A Prefeitura requisitou seu comparecimento urgente (Diário de Notícias, 28 de novembro de 1959, quarta coluna).
+Seu pagamento de montepio foi deferido (Diário de Notícias, 17 de dezembro de 1959, quarta coluna).
+1964 - Foi designado para a Secretaria de Turismo da Prefeitura (O Jornal, 14 de novembro de 1964, quarta coluna).
+Foi colocado à disposição da Assembleia Legislativa (Diário de Notícias, 21 de maio de 1964, quarta coluna).
+1965 – Foi designado para a Secretaria de Obras Públicas da Prefeitura (Diário de Notícias, 27 de fevereiro de 1965, primeira coluna).
+1968 - Por ter completado o tempo de serviço exigido pela lei, ganhou uma licença-prêmio de nove meses. Foi promovido (Diário de Notícias, 3 de abril de 1968, terceira coluna; Diário de Notícias, 20 de outubro de 1968, primeira coluna). 
+1969 – A Prefeitura concedeu a Uriel um aumento trienal (Diário de Notícias, 31 de janeiro de 1969, terceira coluna).
+1970 – Teve assinada a apostila fixando os proventos anuais de inatividade (Diário de Notícias, 7 de abril de 1970, última coluna).
+1976 - Falecimento de sua esposa, Hilda de Abreu Malta.
+ 
+O GLOBO, 5 de agosto de 1976
+ 
+1994 – Uriel faleceu, em Magé, em 5 de agosto de 1994 (Registro Civil do Rio de Janeiro, Site Family Search)
+2026 – Em 27 de janeiro, sob a presidência do internacionalista e doutor em Ciência Política, Eliseu Santiago, em parceria com a Aprazível Edições, do jornalista, editor de livros, curador de museus e exposições, Leonel Kaz, o Arquivo Geral da Cidade do Rio de Janeiro lançou o livro digital Achados e Perdidos: imagens inéditas do Rio de Janeiro (1937-1945), que revela um valioso e inédito acervo iconográfico da cidade do Rio no período do Estado Novo, sob a presidência de Getúlio Vargas (1882 – 1954). São fotografias inéditas produzidas por Aristógiton e Uriel. As imagens do livro resgatam a importância do trabalho dos filhos de Augusto Malta, que fotografaram os últimos anos da belle époque carioca assim como seu desaparecimento.
+ 
+Uriel Malta, s/d. Rio de Janeiro, RJ / Acervo AGCRJ
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora da Brasiliana Fotográfica
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/14355` — `itens/20.500.12156.1_14355/`
+
diff --git a/wordpress/43086-breves-perfis-e-cronologias-dos-irmaos-e-fotografos-malta-aristogiton-1904-1954-.md b/wordpress/43086-breves-perfis-e-cronologias-dos-irmaos-e-fotografos-malta-aristogiton-1904-1954-.md
new file mode 100644
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@@ -0,0 +1,82 @@
+---
+id: 43086
+url: "https://brasilianafotografica.bn.gov.br/?p=43086"
+titulo: "Breves perfis e cronologias dos irmãos e fotógrafos Malta: Aristógiton (1904-1954) e Uriel (1910 – 1994)"
+autor: "Andrea Wanderley"
+data: "2026-04-29T09:44:57+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/14354", "20.500.12156.1/14326", "20.500.12156.1/14355", "20.500.12156.1/14330", "20.500.12156.1/6658"]
+fetched_at: "2026-09-10T10:23:12.434Z"
+---
+
+# Breves perfis e cronologias dos irmãos e fotógrafos Malta: Aristógiton (1904-1954) e Uriel (1910 – 1994)
+
+Hoje a Brasiliana Fotográfica publica breves perfis e as 70ª e 71ª cronologias de fotógrafos presentes no acervo fotográfico do portal. São dos irmãos e fotógrafos Aristógiton e Uriel Malta. As cronologias estão todas reunidas na página inicial da Brasiliana Fotográfica na aba Cronologia de Fotógrafos. Aristógiton e Uriel são filhos de Augusto Malta (1864 – 1957), que foi fotógrafo da Prefeitura do Rio de Janeiro, entre 1903 e 1936. O cargo foi criado para ele, que tornou-se o principal cronista visual da cidade nas primeiras décadas do século XX. Disponibilizamos hoje também uma versão revisada e ampliada do artigo O alagoano Augusto Malta, fotógrafo oficial do Rio de Janeiro entre 1903 e 1936, e da Cronologia de Augusto Malta, originalmente publicados no portal, em 10 de julho de 2015.
+O trabalho de Aristógiton e Uriel ficou durante muitas décadas à sombra da extraordinária obra de seu pai. A publicação, em 27 de janeiro de 2026, do livro digital Achados e Perdidos: imagens inéditas do Rio de Janeiro (1937-1945) , com fotografias produzidas pelos filhos de Augusto Malta pertencentes ao acervo do Arquivo Geral da Cidade do Rio de Janeiro, resgatam a importância do trabalho deles, que fotografaram os últimos anos da belle époque carioca assim como seu desaparecimento.
+ 
+Aristógiton Malta (1904-1954)
+ 
+Aristógiton Malta, s/d. Rio de Janeiro, RJ / Acervo AGCRJ
+ 
+Aristógiton nasceu em 25 de agosto de 1904, no Rio de Janeiro, e era filho da primeira esposa de Augusto Malta, Laura Oliveira Campos (1874 – 1905). De temperamento alegre e afável, era um desportista e praticou remo durante muitos anos. Casou-se com Helena de Freitas Moutinho (1906 – 1975), no início da década de 1930. Tiveram sete filhos: Marcus Moitinho Malta (1933 – 1977), Maryse Malta Muller (1935 – ), Mauro Moitinho Malta (1937 – ), Marcelo Moitinho Malta (1940 – 2020), Marcio Moitinho Malta (1946 -), Antonio Carlos Moitinho Malta (1947 – 1950) e Monica Moitinho Malta (1952 -1952).
+ 
+O casal Aristógiton e Helena com os filhos Maryse, Marcus, Mauro e Marcelo no colo da mãe, 1940 / Acervo pessoal de Maryse Muller
+ 
+Em 1932, foi contratado como fotógrafo assistente da Prefeitura do Rio de Janeiro. Em 25 de agosto de 1936, Augusto Malta aposentou-se da Prefeitura e foi substituído por Aristógiton, a partir de 9 de setembro do mesmo ano. Em 1938, o presidente da República, Getúlio Vargas (1882 – 1954), visitou a “Feira de Amostras”,  uma exposição de diversas secretarias da Prefeitura do Rio de Janeiro. Um dos stands de maior sucesso foi o da Secretaria de Viação, Trabalho e Obras Públicas, que expôs fotos de Augusto e Aristógiton. Em 1953, foi noticiado que uma foto de sua autoria do Estádio do Maracanã estava nas paredes de todas as repartições da Prefeitura, no hall do Banco da Prefeitura, e também em hotéis em países da Europa, da América do Sul e dos Estados Unidos. Faleceu em 15 de agosto de 1954.
+ 
+Aristógiton Malta, s/d / Site Family Search
+ 
+Acesse aqui a Cronologia de Aristógiton Malta (1904 – 1954)
+ 
+Aristógiton Malta. Esplanada do Castelo, 14 de julho de 1938. Rio de Janeiro, RJ / Acervo AGCRJ
+ 
+Acessando o link para as fotografias de autoria de Aristógiton Malta disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Uriel Malta (1910 – 1994)
+ 
+Uriel Malta, s/d. Rio de Janeiro, RJ / Acervo AGCRJ
+ 
+Uriel Malta nasceu, em 28 de setembro de 1910, no Rio de Janeiro, filho da segunda esposa de Augusto, Celina Augusta Verscheuren (1884 – 1969). Passou a trabalhar com o irmão, Aristógiton, no Serviço de Fotografia da Prefeitura, em 1937. Casou-se com Hilda de Abreu Malta (1908 – 1976), em 1944. Tiveram pelo menos três filhos: Claudius Vinicius de Abreu Malta (1945-2010), Lelia Sandra de Abreu Malta (19? – ?) e Lelia Egle de Abreu Malta (19? – ?). Foi fotógrafo da Prefeitura até fins da década de 1960 e, em 1970, teve assinada a apostila fixando os proventos anuais de inatividade. Uriel faleceu, em Magé, em 5 de agosto de 1994.
+ 
+Acesse aqui a Cronologia de Uriel Malta (1910- 1994)
+ 
+Provável Uriel Malta. Trecho da Avenida Beira-Mar, 7 de setembro de 1940. Rio de Janeiro, RJ / Acervo AGCRJ
+ 
+Acessando o link para as fotografias de autoria de Uriel Malta disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Augusto Malta (1864 – 1957)
+ 
+Augusto Malta, s/d . Rio de Janeiro, RJ/ Acervo AGCRJ
+ 
+Acesse aqui a publicação O alagoano Augusto Malta, fotógrafo oficial do Rio de Janeiro entre 1903 e 1936 e a Cronologia de Augusto Malta (1864 – 1957), revisadas e ampliadas.
+ 
+Agradeço à colaboração generosa da filha de Aristógiton Malta, Maryse Muller, e de uma de suas netas, Christiana Malta, que me deram um depoimento fundamental para a elaboração deste artigo, em 20 de março de 2026.
+ 
+Christiana Malta e Maryse Muller, neta e filha de Aristógiton Malta, respectivamente, comigo, Andrea Wanderley, editora e pesquisadora da Brasiliana Fotográfica, 20 de março de 2026. Rio de Janeiro
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora da Brasiliana Fotográfica
+ 
+Fontes:
+Achados e Perdidos (livro eletrônico): Imagens inéditas do Rio de Janeiro (1937-1945)/Eliseu Santiago de Souza…(Et.Al.) — 1ª edição. Rio de Janeiro: Aprazível Edições e Arte e UQ Editions, 2025 PDF. Outros autores: Pedro Marreca, Rafael Martins, Leonel Kaz.
+Blogspot Domingos Moitinho
+DUNLOP, Charles Julius. Rio Antigo, volume II. Rio de Janeiro: Editora Rio Antigo, 1956.
+ERMAKOFF, George. Augusto Malta e o Rio de Janeiro: 1903-1936 / George Ermakoff; tradução para o inglês Carlos Luís Brown Scavarda. Rio de Janeiro: G. Ermakoff Casa Editorial, 2009. 288p. : il.; 28cm
+FROSSARD, Heloisa (org.) Augusto Malta – Catálogo da série Negativo em vidro Aristógiton Malta. Arquivo Geral da Cidade do Rio de Janeiro – Coleção Biblioteca Carioca, 1994.
+HEEREN, Alice. Affective Rhetorics of Contagion – Augusto Malta in Belle Époque Rio de Janeiro, 2020.
+Hemeroteca Digital da Biblioteca Nacional
+Nosso Século. São Paulo; Abril Cultural, 1980. vol. 1 (1900-1910)
+Portal Augusto Malta do Arquivo Geral da Cidade do Rio de Janeiro
+Site A Casa Senhorial
+WANDERLEY, Andrea C. T. “Achados e Perdidos: imagens inéditas do Rio de Janeiro (1937-1945)”, do acervo do Arquivo Geral da Cidade do Rio de Janeiro. Destaque para a identificação da casa de Tia Ciata in Brasiliana Fotográfica, 10 de fevereiro de 2026
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/14354` — `itens/20.500.12156.1_14354/`
+- `20.500.12156.1/14326` — `itens/20.500.12156.1_14326/`
+- `20.500.12156.1/14355` — `itens/20.500.12156.1_14355/`
+- `20.500.12156.1/14330` — `itens/20.500.12156.1_14330/`
+- `20.500.12156.1/6658` — `itens/20.500.12156.1_6658/`
+
diff --git a/wordpress/43272-sertoes-distantes-por-ricardo-augusto-dos-santos.md b/wordpress/43272-sertoes-distantes-por-ricardo-augusto-dos-santos.md
new file mode 100644
index 0000000..7902452
--- /dev/null
+++ b/wordpress/43272-sertoes-distantes-por-ricardo-augusto-dos-santos.md
@@ -0,0 +1,60 @@
+---
+id: 43272
+url: "https://brasilianafotografica.bn.gov.br/?p=43272"
+titulo: "“Sertões distantes” por Ricardo Augusto dos Santos"
+autor: "Andrea Wanderley"
+data: "2026-03-20T10:06:35+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/14169", "20.500.12156.1/14346", "20.500.12156.1/14300", "20.500.12156.1/5723", "20.500.12156.1/14347"]
+fetched_at: "2026-09-10T10:23:15.731Z"
+---
+
+# “Sertões distantes” por Ricardo Augusto dos Santos
+
+Sertões Distantes
+                                                                                                 Ricardo Augusto dos Santos*
+ 
+Combate à malária no Rio de Gato, 192?. Campo Grande, Rio de Janeiro / Acervo Casa de Oswaldo Cruz 
+ 
+ 
+“Se raros escapam à doença, muitos têm duas ou mais infestações. Veem-se, muitas vezes, confrangido e alarmado, nas nossas escolas públicas, crianças a bater os dentes com o calafrio das sezôes… E isso não nos confins do Brasil, aqui no Distrito Federal, em Guaratiba, Jacarepaguá, Tijuca… Porque não nos iludamos, o nosso sertão começa para os lados da Avenida Central”. 
+Discurso Pronunciado por Afrânio Peixoto em 19/05/1918
+ 
+Esta frase de Afrânio Peixoto (1876-1947) marcou o campo intelectual nas primeiras décadas do século XX. Estava em pauta qual era a verdadeira identidade do país. Alguns afirmavam que existia uma divisão entre o Brasil real e o ideal. Este último representado pelas cidades do litoral e instituições republicanas. Enquanto o verdadeiro habitava os sertões distantes. Eram constantes as referências críticas realizadas por um determinado grupo de intelectuais. Eles apresentavam o desconhecimento do Brasil profundo por amplas parcelas da sociedade.
+No entanto, para os autores ufanistas, o Brasil era um paraíso terrestre. O sanitarista Belisário Penna (1868-1939) lamentava que esses agentes sociais, iludidos por uma visão edênica, pensassem o país através das reformas urbanas que transformaram uma parte do centro do Rio de Janeiro numa Paris Tropical. Penna criticava a ausência de uma consciência da nacionalidade. Confirmando a frase de Afrânio Peixoto – os sertões começam no fim da Avenida Central!!-, Penna advertia os idealistas da nação imaginada: Voces estão enxergando o país como um paraíso, pois vivem nas avenidas recém-construídas à beira-mar. Para o sanitarista, os intelectuais ufanistas, deslumbrados com a reforma que derrubou cortiços e importou pardais, eram detentores de um “monopólio do saber”, mas não conheciam a “realidade dos fatos”, pois “na sua quase totalidade não conhecem do Brasil senão o trecho que vai da praia de Ipanema à cidade de Petrópolis.” Para Penna, eram um “grupinho, sem documentação e sem base”.
+Mas, como Belisário Penna e Afrânio Peixoto chegaram a essas conclusões? Lembrando que, segundo os críticos mais realistas e rígidos, nunca alcançaríamos o progresso das demais nações.
+Percorrendo o interior do país entre 1911 e 1913, as expedições científicas do Instituto Oswaldo Cruz desempenharam um papel fundamental no debate sobre os problemas nacionais, influenciando as propostas do movimento sanitarista em relação ao progresso do país. Essas viagens forneceram as representações sociais que ainda hoje inspiram o imaginário social. Penna integrou uma das viagens científicas que rasgaram o país, visitando as mais distantes localidades. O diagnóstico da realidade fez com Belisário Penna qualificasse de forma especial sua pregação pelo saneamento. Não se via como mais um intelectual a falar, mas como alguém que conhecera de perto o Brasil real.
+ 
+Leito em construção, 192?. Mesquita, Rio de Janeiro / Acervo Casa de Oswaldo Cruz
+ 
+O tema do combate às doenças não serviu apenas de justificativa para expedições científicas e campanhas de saneamento, mas como ideologias de construção nacional. Falar dos sertões abandonados, habitados por um povo doente, mas capaz de produzir, depois de curado, tornava-se necessário para convencer os políticos, fazendeiros e industriais de que, acima das diferenças que marcavam o país, havia os interesses nacionais.
+As expedições científicas exerceram, portanto, um ato político extremamente relevante: um projeto de nacionalidade. A ciência orientaria os peregrinos da modernização. Em nome desse projeto justificavam-se as iniciativas higienizadoras dos corpos, cidades e instituições. Esse era o projeto da nacionalidade brasileira. Um ideal a ser perseguido. A construção da nação brasileira nascia sob o signo da doença, miséria e ignorância.
+ 
+Saneamento rural no Rio Sarapuí, 8 de janeiro de 1923, Mesquita, Rio de Janeiro / Acervo Casa de Oswaldo Cruz
+ 
+Ao atribuir uma condição inferior do país em relação às nações devido à ausência de saúde e educação, Penna e os sanitaristas apresentavam uma solução original para a tragédia nacional, recusando os determinismos biológico, climático e geográfico, ainda predominante no pensamento social brasileiro. Por que somos miseráveis se o país é tão rico? Porque conhecemos tantos problemas, se nossas florestas são plenas de riquezas? Por que somos um povo doente e pobre?
+ 
+Visita do Presidente da República Epitácio Pessoa ao Posto de Pilares no Rio de Janeiro, 11 de novembro de 1919. Pilares, Rio de Janeiro / Acervo Casa de Oswaldo Cruz
+ 
+Um dos projetos sanitários executados pelo estado foi o aterro de pântanos e saneamento de rios nos arrabaldes do Rio de Janeiro. Portanto, nosso sertão estava muito perto. Como sugerem centenas de fotografias dos fundos documentais de Belisário Penna e da Fundação Rockffeler, ambos sob a guarda da Casa de Oswaldo Cruz, o Brasil abandonado estava a poucos quilômetros das novas avenidas, do porto recém-construído e dos prédios monumentais, como a Biblioteca Nacional e Teatro Municipal.
+No Fundo Pessoal Belisário Penna, estão depositadas mais de 1.500 fotografias, reunindo imagens de familiares e amigos, bem como de sua atuação política e profissional. No entanto, desejamos resgatar as imagens das obras de saneamento no Rio de Janeiro e demais estados. Documentando as obras do Serviço de Saneamento e Profilaxia Rural encontramos 529 imagens.
+ 
+Posto Rural de Jacarepaguá, 192?. Lagoa do Camorim, em Jacarepaguá, Rio de Janeiro / Acervo Casa de Oswaldo Cruz
+ 
+*Ricardo Augusto dos Santos é  Pesquisador Titular da Fundação Oswaldo Cruz.
+ 
+Fontes: 
+DOS SANTOS, Ricardo Augusto. O sanitarista Belisário Penna (1868-1939), um dos protagonistas da história da saúde pública no Brasil in Brasiliana Fotográfica, 28 de setembro de 2018.
+DOS SANTOS, Ricardo Augusto. A Fundação Rockefeller no Brasil in Brasiliana Fotográfica, in Brasiliana Fotográfica, 15 de julho de 2024.
+DOS SANTOS, Ricardo Augusto. BELISÁRIO PENNA (1868-1939). In: DANTAS, Carolina Vianna & ENGEL, Magali. (Org.). Trajetórias e sociabilidades intelectuais no Rio de Janeiro (séculos XIX e XX).1º ed. Rio de Janeiro: Editora Contracapa, 2017, p. 158-168.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/14169` — `itens/20.500.12156.1_14169/`
+- `20.500.12156.1/14346` — `itens/20.500.12156.1_14346/`
+- `20.500.12156.1/14300` — `itens/20.500.12156.1_14300/`
+- `20.500.12156.1/5723` — `itens/20.500.12156.1_5723/`
+- `20.500.12156.1/14347` — `itens/20.500.12156.1_14347/`
+
diff --git a/wordpress/43517-ignacio-fernandes-mendo-18-um-fotografo-da-casa-imperial-pelas-provincias-do-nor.md b/wordpress/43517-ignacio-fernandes-mendo-18-um-fotografo-da-casa-imperial-pelas-provincias-do-nor.md
new file mode 100644
index 0000000..55ea2f5
--- /dev/null
+++ b/wordpress/43517-ignacio-fernandes-mendo-18-um-fotografo-da-casa-imperial-pelas-provincias-do-nor.md
@@ -0,0 +1,142 @@
+---
+id: 43517
+url: "https://brasilianafotografica.bn.gov.br/?p=43517"
+titulo: "Ignacio Fernandes Mendo (18? – ?), um Fotógrafo da Casa Imperial pelas províncias do Nordeste do Brasil"
+autor: "Andrea Wanderley"
+data: "2026-06-26T11:32:55+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/549", "20.500.12156.1/563", "20.500.12156.1/545", "20.500.12156.1/542"]
+fetched_at: "2026-09-10T10:23:18.946Z"
+---
+
+# Ignacio Fernandes Mendo (18? – ?), um Fotógrafo da Casa Imperial pelas províncias do Nordeste do Brasil
+
+Pouco se sabe, até hoje, sobre a vida, tanto pessoal como profissional, do fotógrafo brasileiro, provavelmente maranhense, Ignacio Fernandes Mendo (18? – ?). Fotógrafo itinerante, trabalhou em várias províncias da região Nordeste do Brasil e foi o último profissional a receber o título de Fotógrafo da Casa Imperial, concedido em 6 de agosto de 1889, por dom Pedro II (1825 – 1891), um entusiasta da fotografia. Ainda não se sabe que tipo de contato ele teve com o monarca e nem de como suas obras poderiam ter chegado para a apreciação do imperador.
+Era também compositor e dedicou uma música às cataratas de Paulo Afonso. Sua cronologia é a 73ª publicada na seção Cronologia de Fotógrafos da Brasiliana Fotográfica, que reuniu as imagens de autoria de Mendo disponíveis em seu acervo fotográfico para que seus leitores conheçam um pouco do legado fotográfico deixado por ele. São fotos da Estrada de Ferro de Paulo Afonso, produzidas em 1880, e pertencem ao acervo fotográfico da Fundação Biblioteca Nacional (FBN), uma das fundadoras do portal. É também o autor de uma das raras  fotografias existentes sobre as comemorações da abolição da escravidão no Brasil: registrou uma celebração realizada na Bahia no domingo seguinte à divulgação da Lei Áurea, em 13 de maio de 1888.
+ 
+Ignacio F. Mendo. [Estrada de Ferro de Paulo Afonso] : Kilometro 26, 1880/ Acervo FBN
+O historiador Pedro Vasquez observou a respeito de Mendo em seu livro O Brasil na Fotografia Oitocentista (2003):
+“É interessante notar que as mudanças de razão social da empresa espelham uma segurança profissional crescente [em Mendo]: começa com a Photographia Popular, em Sobral; passa para Photographia Maranhense, em Aracaju; e termina com a Photographia Universal, em Salvador, no ano de 1888 […] Particularmente interessantes são as vistas de Porto de Piranhas, onde já haviam precedido dois bons fotógrafos na década anterior, Abílio Coutinho e Augusto Riedel, transformando assim a distante e modesta vila situada às margens do Rio São Francisco numa referência para fotografia brasileira oitocentista”.
+ 
+Ignacio F. Mendo. [Estrada de Ferro de Paulo Afonso] : Piranhas (01), 1880. Alagoas, Acervo FBN
+Nas fotografias destacadas nestes artigo, Mendo retratou a Estrada de Ferro de Paulo Afonso (EFPA ), que começou a ser construída justamente em Piranhas, em Alagoas, em 23 de outubro de 1878, tendo sido aberta ao tráfego dois anos depois, em 1880. O trecho final foi inaugurado em 2 de agosto de 1883, em Jatobá de Tacaratu, atual Petrolândia, em Pernambuco. Sua construção foi uma iniciativa do governo imperial  e objetivava conjugar interiorização e crescimento econômico. A EFPA havia sido idealizada pelo engenheiro militar e empresário abolicionista André Rebouças (1838 – 1898) com o propósito de ligar baixo e médio São Francisco, e socorrer os flagelados da terrível seca de 1877. O planejamento ficou a cargo do norte-americano William Milnor Roberts (1810 – 1881) e a autorização da obra foi dada por João Lins Vieira Cansanção de Sinimbu (1810 – 1906), o Visconde de Sinimbu, alagoano e Conselheiro do Império.
+ 
+Gazeta de Notícias, 23 de junho de 1878
+ 
+Os registros de Mendo nos convidam a um passeio, passando pelo porto de Piranhas, por casas , cortes na mata, por trabalhadores e casas no caminho da estrada de ferro.
+ 
+Ignacio F. Mendo. Estrada de Ferro de Paulo Afonso] : Kilometro 30, 1880 / Acervo FBN
+ 
+ 
+Acessando o link para as fotos de autoria de Ignacio Fernandes Mendo disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+De acordo com um anúncio de sua Photographia Popular, Mendo produzia fotografias pelos sistemas mais modernos adotados nas principais capitais da América e da Europa (Sobralense, 14 de março de 1875).
+Mendo foi um dos fotógrafos cujas imagens integraram a exposição A Coleção do Imperador: fotografia brasileira e estrangeira no século XIX, realizada entre 29 de janeiro e 23 de março de 1997, pela Biblioteca Nacional, no Centro Cultural do Banco do Brasil, no Rio de Janeiro. Ainda em 1997, a exposição foi apresentada na Pinacoteca de São Paulo e no Museu Nacional de Belas Artes de Buenos Aires, na Argentina. Em 2000, foi apresentada no Centro Português de Fotografia, no Porto, em Portugal. Integraram também a exposição registros de autoria de Albert Frisch (1840 – 1918), Albert Richard Dietze (1838 – 1906), Arsênio da Silva (1833 – 1883), Augusto Amoretty (1845 – 1906), Augusto Riedel (1836 – ?), Benjamin R. Mulock (1829 – 1863), Felipe Augusto Fidanza (1844 – 1903), Franz Keller-Leuzinger (1835 – 1890), Henrique Rosen (1840 – 1892), Joaquim Insley Pacheco (1830 – 1912), Louis Niemeyer, Luis Terragno, Marc Ferrez (1843 – 1923), Revert Henrique Klumb (c. 1826 – c. 1886) e Victor Frond (1821 – 1881), dentre outros.
+ 
+Ignacio F. Mendo. [Estrada de Ferro de Paulo Afonso] : Corte grande do Pico do Curralinho, kilo. 26, 1880 / Acervo FBN
+ 
+Cronologia de Ignacio Fernandes Mendo (18? – ?)
+ 
+Echo Sergipano, 24 de abril de 1881
+ 
+1866 – Ignacio Fernandes Mendo começou a atuar como fotógrafo provavelmente neste ano (SILVA, 2009).
+Esteve, nos anos 1860, no Piauí (BASTOS, 1994), onde também atuavam, na referida década, os fotógrafos Joaquim Joze Avellino (18? -?), que abriu seu estabelecimento fotográfico, em Teresina, em 1865; Miguel Carlos (18? -?), que, em julho de 1868, anunciava ter um bom sortimento para o trabalho de fotografia; e Justino Rocha Pereira (18? -?), fotógrafo itinerante que, em 1860, esteve em Teresina (Liga e Progresso (PI), 3 de abril de 1865; A Imprensa (PI), 18 de julho de 1868; e O Propagador (PI), 22 de abril de 1860).
+1875 - Mendo anunciava os serviços de sua Photographia Popular, instalada na Rua Boa Vista, nº 15, em Sobral, no Ceará (Sobralense, 14 de março de 1875). Foi contemporâneo, no Ceará, de Joaquim Antônio Correia (18? – ?), autor de um conjunto de fotografias que pertence, atualmente, ao acervo da Biblioteca Nacional de vítimas da seca de 1877-1878.  São imagens chocantes, em formato de cartes de visite, e retratam crianças, homens e mulheres desnutridos e maltrapilhos, de aparência doentia. Também atuavam no estado, nos anos 1870, Pinto de Sampaio (18? -?), o prussiano Carlos Frederico Johann Reeckel (18? – c. 189?), do dinamarquês Niels Olsen (1843 –  1911) e o norte-americano R. H. Furmann (18? -?), dentre outros. Este último anunciou, em 1876, que era o único fotógrafo no Brasil que usava o Método Rembrant e o de porcelana para produzir fotografias (O Cearense, 21 de dezembro de 1871, primeira coluna; 2 de julho de 1874, terceira coluna; 30 de setembro de 1875, última coluna; 12 de março de 1876, terceira coluna; 25 de abril de 1879, terceira coluna; 12 de setembro de 1880, última coluna).
+ 
+Sobralense, 14 de março de 1875 / Transcrição copiada de BEZERRA (2019)
+ 
+Meses depois, a Photographia Popular estava estabelecida, na Rua da Palma, nº 17, em Fortaleza (Pedro II (CE), 7 de novembro de 1875).
+1876 - Passou por Açu, no Rio Grande do Norte (Correio do Assú, 25 de outubro de 1876).
+ 
+Correio do Assu, 25 de setembro de 1876 / Transcrição copiada de BEZERRA (2019)
+ 
+1878 - Encontrava-se em Alagoas, onde realizou uma série de vistas da cachoeira e da Estrada de Ferro de Paulo Afonso, e também do porto de Piranhas (BEZERRA, 2019). Viajantes estrangeiros, como Augusto Stahl (1828 – 1877) e Augusto Riedel (1836 – ?), e depois o brasileiro Marc Ferrez (1843 – 1923) também fotografaram a Cachoeira de Paulo Afonso.
+ 
+Ignacio F. Mendo. Cachoeira de Paulo Afonso, 1880 / Acervo FBN
+ 
+1881 – Anunciou a abertura de seu estabelecimento fotográfico, a Photographia Maranhense, em Aracaju (Echo Sergipano, 24 de abril de 1881).
+ 
+Echo Sergipano, 24 de abril de 1881
+ 
+
+Echo Sergipano, 24 de abril de 1881 / Transcrição copiada de BEZERRA (2019)
+
+ 
+1884 – Seu estabelecimento fotográfico, a Photographia Maranhense, ficava na Rua Conde d´Eu, em Feira de Santana, na Bahia (Jornal da Feira (BA), 1º de agosto de 1884, primeira coluna).
+ 
+Jornal da Feira (BA), 1º de agosto de 1884
+ 
+1885 – Seu nome aparece na lista de estudantes da Faculdade de Medicina da Bahia para os exames da primeira série de Farmácia (BEZERRA, 2019).
+1886 – Estava trabalhando em Cachoeira, mas tinha a intenção de se mudar para Salvador. Anunciava um processo rápido ideal para os retratos de pessoas nervosas ou crianças (A Ordem (Cachoeira, BA), 14 de abril de 1886).
+1888 – Estava estabelecido na Photographia Universal, na rua Direita do Colégio, esquina com rua São José, em Salvador. Também atuavam como fotográfos, nos anos 1880, na cidade, o alemão Alberto Henschel (1827 – 1882) e o suíco Guilherme Gaensly (1843 – 1928), dentre outros.
+ 
+A Locomotiva, 13 de dezembro de 1888
+ 
+Produziu uma das raras fotografias existentes sobre as comemorações da abolição da escravidão no Brasil, feita na Bahia, logo no domingo seguinte à divulgação da Lei Áurea (VASCONCELLOS, 2006).
+ 
+Phot. Universal de Ignacio Mendo. Cópia sobre cartão “Grande Missa Campal no adro do Bonfim, em ação de Graças pela redempção dos escravos no Brazil, em 13 de maio de 1888, celebrada pelo Padre Arsenio Pereira da Fonseca, deputado provincial pelo 1º districto e capellão da Libertadora Bahiana, sendo pregador o conego Dr. João Nepomuceno deputado pelo 4º districto e promovida por E. Carigé e o Club José Bonifácio” / Acervo Museu de Arte da Bahia
+ 
+“O público da missa evidencia a diversidade social da cidade. Nesse primeiro plano, próximo ao fotógrafo, concentraram-se os homens afrodescendentes e brancos. Usam o mesmo modelo de paletó, gravata, chapéu e bigode. Isso demonstra que, fora do estúdio, homens afrodescendentes e brancos usavam os mesmos modelos de traje, enquanto as mulheres pretas se distinguiam pelo uso do turbante branco”.
+ Christiane Silva de Vasconcellos
+em O  circuito social da fotografia da gente negra Salvador 1860-1916, página 111
+ 
+Anunciou que havia obtido diversas medalhas de ouro e que seguia produzindo retratos com perfeição e modicidade em preços (Folha Nova (BA), 4ª semana de setembro de 1888, primeira coluna; A Locomotiva (BA), 13 de dezembro de 1888).
+ 
+Folha Nova (BA), 4ª semana de setembro de 1888
+ 
+ 
+“Aos olhos do mundo civilizado apresentamos nessa página de honra a gravura que representa o edifício onde funciona a popularíssima fábrica Leite & Alves, nesta capital, à Caçada do Bom-fim, nº 95, cópia de uma bela fotografia do sr. Ignacio Mendo (A Locomotiva, 2 de dezembro de 1888).
+ 
+Gravura produzida sobre foto de Mendo da Antiga Imperial Fábrica de Cigarros de S. Domingos, cujo proprietário era Leite & Alves / A Locomotiva, 2 de dezembro de 1888
+ 
+A Locomotiva, 13 de dezembro de 1888
+ 
+1889 – Uma cópia fiel de uma fotografia da Grande Fábrica de Cigarros a Vapor de Martins Fernandes de sua autoria foi publicada (A Locomotiva, 13 de janeiro de 1889, primeira coluna).
+ 
+A Locomotiva, 22 de janeiro de 1889
+ 
+ 
+Compôs uma música em homenagem às cataratas de Paulo Afonso: “Recebemos a polca Cachoeira Paulo Afonso – brilhante produção do nosso simpático amigo Ignacio Mendo, acreditado fotógrafo desta capital” (A Locomotiva (BA), 9 de fevereiro de 1889, primeira coluna).
+ 
+A Locomotiva, 9 de fevereiro de 1889
+ 
+Foi agraciado por dom Pedro II (1825 – 1891), um entusiasta da fotografia, com o título de Fotógrafo da Casa Imperial, em 6 de agosto de 1889, cerca de três meses antes da Proclamação da República no Brasil, em 15 de novembro do mesmo ano. No dia seguinte, 16 de novembro, a família real portuguesa foi banida do país (Decreto nº 2, 16 de novembro de 1889). Ainda não se sabe nem se ele teve contato com o imperador nem de como sua obra teria chegado à apreciação do monarca.
+1997 – Foi um dos fotógrafos cujas imagens integraram a exposição A Coleção do Imperador: fotografia brasileira e estrangeira no século XIX, realizada entre 29 de janeiro e 23 de março de 1997, pela Biblioteca Nacional, no Centro Cultural do Banco do Brasil, no Rio de Janeiro. Integraram também a exposição registros de autoria de Albert Frisch (1840 – 1918), Albert Richard Dietze (1838 – 1906), Arsênio da Silva (1833 – 1883), Augusto Amoretty (1845 – 1906), Augusto Riedel (1836 – ?), Benjamin R. Mulock (1829 – 1863), Felipe Augusto Fidanza (1844 – 1903), Franz Keller-Leuzinger (1835 – 1890), Henrique Rosen (1840 – 1892), Joaquim Insley Pacheco (1830 – 1912), Louis Niemeyer, Luiz Terragno, Marc Ferrez (1843 – 1923), Revert Henrique Klumb (c. 1826 – c. 1886) e Victor Frond (1821 – 1881), dentre outros.
+ 
+Catálogo da exposição A Coleção do Imperador: fotografia brasileira e estrangeira no século XIX
+ 
+Entre 20 de abril e 25 de maio, foi apresentada na Pinacoteca de São Paulo.
+Entre 4 e 31 de julho, foi apresentada no Museu Nacional de Belas Artes, em Buenos Aires, na Argentina.
+2000 - A exposição A Coleção do Imperador: fotografia brasileira e estrangeira no século XIX, foi realizada entre 8 de junho e 30 de julho de 2000, no Centro Português de Fotografia, no Porto, em Portugal.
+2020 – Apresentação de A experiência da aceleração: paisagem, infraestrutura e o imaginário da modernidade no Brasil (1870/1910),  de Felipe Ziotti Narita, trabalho de pós-doutorado, ao Departamento de Sociologia e ao Programa de Pós-Graduação em Sociologia da Universidade Federal de São Carlos (UFSCar) como requisito para conclusão de pesquisa junto ao Programa de Pós-Doutorado (PPD/UFSCar).
+Sobre o álbum das obras da Estrada de Ferro Paulo Afonso, produzido por Ignacio Mendo, Narita comentou:
+“Ignacio Mendo foi fotógrafo da Casa Imperial nos anos 1880, quando também acompanhou as obras da Estrada de Ferro de Paulo Afonso. O álbum, com vapores e caminhos de ferro cruzando casebres precários e construções muitos dispersas, além de assinalar as condições de um território ermo, privilegia paisagens e perspectivas abertas, realçando um esvaziamento da própria figura humana. Exceto pequenas aparições de trabalhadores dos trechos ferroviários na paisagem vazia (Figura 125), predomina um desenho temático completamente ausente de movimento (Figuras 126, 127 e 128). A atmosfera estacionária do vazio oferece o material bruto a partir do qual as linhas de força do sistema-mundo moderno subsumia os mais remotos rincões à lógica social da circulação e da produção”.
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora da Brasiliana Fotográfica
+ 
+Fontes:
+BASTOS, Cláudio. Dicionário histórico e geográfico do Piauí. Teresina: Fundação Cultural Monsenhor Chaves, 1994.
+BEZERRA, Ari Leite. História da fotografia no Ceará do século XIX. Edição do autor, 2019. Página 152
+CASTRO, Danielle Ribeiro de. PHOTOGRAPHOS DA CASA IMPERIAL A Nobreza da Fotografia no Brasil do Século XIX. Monografia apresentada ao curso de PósGraduação em História da Arte da Fundação Armando Álvares Penteado, como exigência parcial para obtenção do certificado de conclusão, sob a orientação de Rubens Fernandes Junior, 2010.
+Enciclopédia Itaú Cultural
+Hemeroteca Digital da Biblioteca Nacional
+KOSSOY, Boris. Dicionário histórico-fotográfico brasileiro: fotógrafos e ofício da fotografia no Brasil (1833-1910). São Paulo: Instituto Moreira Salles, 2002. 408 p., il. p&b.
+——————-Origens e expansão da fotografia no Brasil: século XIX. Rio de Janeiro: Funarte, 1980
+NARITA, Felipe Ziotti. A experiência da aceleração: paisagem, infraestrutura e o imaginário da modernidade no Brasil (1870/1910). Relatório de pós-doutorado apresentado ao Departamento de Sociologia e ao Programa de Pós-Graduação em Sociologia da Universidade Federal de São Carlos (UFSCar) como requisito para conclusão de pesquisa junto ao Programa de Pós-Doutorado (PPD/UFSCar), 2020.
+OLIVEIRA, Evelina Antunes. Nos Trilhos da História do Baixo São Francisco: um ensaio sobre a Estrada de Ferro Paulo Afonso in Mneme Revista de Humanidades, V.4 – N.8 – abr./set. de 2003– Semestral.
+SILVA, TELMA Cristina Damasceno. A fotografia artística na Bahia e sua inserção nos salões oficiais de arte. Dissertação apresentada ao Programa de Pós-Graduação em Artes Visuais, Escola de Belas Artes, Universidade Federal da Bahia, como requisito parcial para obtenção do grau de Mestre em Artes Visuais., 2009.
+VASCONCELLOS, Christiane Silva de. O  circuito social da fotografia da gente negra Salvador 1860-1916. Dissertação apresentada ao Programa de Pós-graduação em História da Universidade Federal da Bahia, como requisito parcial para a obtenção do grau de Mestre em História sob a orientação da Prof. Dr. Joao Jose Reis, 2006.
+VASQUEZ, Pedro Karp. A fotografia no Império. Rio de Janeiro: Jorge Zahar, 2002.
+—————————Dom Pedro II e a fotografia no Brasil. Rio de Janeiro: Fundação Roberto Marinho: Companhia Internacional de Seguros: Ed. Index, 1985.
+—————————O Brasil na Fotografia Oitocentista. São Paulo: Metalivros, 2003.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/549` — `itens/20.500.12156.1_549/`
+- `20.500.12156.1/563` — `itens/20.500.12156.1_563/`
+- `20.500.12156.1/545` — `itens/20.500.12156.1_545/`
+- `20.500.12156.1/542` — `itens/20.500.12156.1_542/`
+
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@@ -0,0 +1,426 @@
+---
+id: 43543
+url: "https://brasilianafotografica.bn.gov.br/?p=43543"
+titulo: "O Dia Mundial do Livro e do Direito de Autor e um breve histórico do uso da expressão “Cidade Maravilhosa” como referência ao Rio de Janeiro"
+autor: "Andrea Wanderley"
+data: "2026-04-23T09:56:54+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/2554", "20.500.12156.1/3683", "20.500.12156.1/2777", "20.500.12156.1/9866", "20.500.12156.1/6291", "20.500.12156.1/6658", "20.500.12156.1/5345", "20.500.12156.1/4024", "20.500.12156.1/2044", "20.500.12156.1/2609", "20.500.12156.1/2276", "20.500.12156.1/2612", "20.500.12156.1/2614", "20.500.12156.1/12329", "20.500.12156.1/2718", "20.500.12156.1/2765", "20.500.12156.1/4072", "20.500.12156.1/3183"]
+fetched_at: "2026-09-10T10:23:22.144Z"
+---
+
+# O Dia Mundial do Livro e do Direito de Autor e um breve histórico do uso da expressão “Cidade Maravilhosa” como referência ao Rio de Janeiro
+
+Hoje, quando é comemorado o Dia Mundial do Livro e do Direito de Autor, o Rio de Janeiro, a Cidade Maravilhosa, passa a Rabat, capital de Marrocos, o posto de Capital Mundial do Livro, que assumiu há exatamente um ano. O Rio foi a primeira cidade de língua portuguesa escolhida para receber este título, um reconhecimento da excelência de seus programas de promoção da leitura. Em homenagem à cidade, cuja beleza e vocação exibicionista são inequívocas, a Brasiliana Fotográfica publica uma seleção de fotos da paisagem carioca, de alguns de seus símbolos mais icônicos e conta uma pouco da história do uso da expressão Cidade Maravilhosa, que tornou-se seu epíteto.
+ 
+Marc Ferrez. Copacabana, c. 1895. Rio de Janeiro, RJ / Acervo IMS
+ 
+Segundo o poeta e editor Alexei Bueno (1963 – ), a poetisa francesa Jane Catulle Mendès (1867 – 1955) foi, senão a criadora, a oficializadora do epíteto do Rio de Janeiro. Para o jornalista Rafael Sento Sé, autor do livro que inspirou esse artigo, foi ela que criou o sonho de um Rio de Janeiro da Belle Époque. 
+ 
+Phototypia A. Ribeiro; Maison Chic. Avenida Central, 1912?. Rio de Janeiro, RJ / Acervo FBN
+ 
+ 
+Augusto Malta. Vista Chinesa, 1906. Rio de Janeiro, RJ / Acervo IMS
+ 
+Mas a expressão se popularizou, de fato, a partir da canção homônima de André Filho (1906 – 1974), gravada, em 1934, por ele e por Aurora Miranda (1915 – 2005) e sucesso no carnaval de 1936. O epíteto tornou-se eterno!
+Viva a leitura! Viva a fotografia! Viva a Cultura! Viva a Cidade Maravilhosa!
+ 
+Etapa da construção da estátua do Cristo Redentor – cabeça, c. 1930 . Rio de Janeiro, RJ / Acervo IMS
+ 
+Foram selecionados para essa publicação registros produzidos por fotógrafos ainda não identificados, e por Antônio Caetano da Costa Ribeiro (18? – 19?), Augusto Malta (1864 – 1957), Juan Gutierrez (c. 1860 – 1897) e Marc Ferrez (1843 – 1923). São belas imagens produzidas desde fins do século XIX até as primeiras décadas do século XX. Do primeiro, Costa Ribeiro, ainda não temos informações consistentes sobre sua vida e trajetória profissional.
+ 
+Juan Gutierrez. Panorama da Glória, 189?. Rio de Janeiro, RJ / Acervo Museu Histórico Nacional
+ 
+Acessando o link para fotos selecionadas da Cidade Maravilhosa de autoria de Antônio Caetano da Costa Ribeiro, Augusto Malta, Juan Gutierrez e Marc Ferrez disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Augusto Malta (1864 – 1957)
+Foi na gestão do engenheiro Francisco Pereira Passos (1836 – 1913) como prefeito do Rio de Janeiro que, pela primeira vez, a prefeitura contratou um fotógrafo, o alagoano Augusto Malta, para documentar as obras da cidade. Ele ocupou o cargo até 1936, quando se aposentou. Incansável, elegante e bem-humorado, foi com seus olhos irrequietamente falantes o principal cronista visual do Rio de Janeiro nas primeiras décadas do século XX. Além de ter documentado as transformações urbanas e os grandes eventos da cidade como a Exposição Nacional de 1908, a construção do Teatro Municipal, em 1909; a Revolta da Chibata, em 1910; e a inauguração do Cristo Redentor, em 1931; fotografou personalidades políticas, intelectuais e artísticas; paisagens, monumentos, lojas, o casario decadente e as ressacas. Registrou também aspectos da vida carioca como, por exemplo, o carnaval de rua, o movimento dos quiosques, os eventos sociais, os moradores de cortiços, os vendedores ambulantes, as prostitutas, os marinheiros e cenas de praia.
+ 
+Augusto Malta, s/d. Rio de Janeiro, RJ / Acervo AGCRJ
+ 
+Juan Gutierrez (c.1860 – 1897)
+Provavelmente nascido nas Antilhas, em torno de 1860, Juan Gutierrez foi um dos mais importantes fotógrafos paisagistas do século XIX e um dos maiores cronistas visuais do Rio de Janeiro, tendo registrado a transição da cidade imperial para a cidade republicana. Entre 1892 e 1896, produziu a maior parte de suas fotografias de paisagens cariocas, que eram vendidas para estrangeiros que visitavam a cidade. Partiu para Canudos, em 1897, onde, em 28 de junho, foi mortalmente ferido.
+ 
+Desenho retratando Juan Gutierrez publicado no jornal O Paiz, 14 de julho de 1897
+ 
+Marc Ferrez (1843 – 1923)
+O carioca Marc Ferrez foi um brilhante cronista visual das paisagens e dos costumes do Rio de Janeiro da segunda metade do século XIX e do início do século XX. Sua vasta e abrangente obra iconográfica se equipara a dos maiores nomes da fotografia do mundo. Estabeleceu-se como fotógrafo com a firma Marc Ferrez & Cia, em 1867, na rua São José, nº 96, e logo se tornou o mais importante profissional da área no Rio de Janeiro. Cerca de metade da produção fotográfica de Ferrez foi realizada na cidade e em seus arredores, onde registrou, além do patrimônio construído, a exuberância das paisagens naturais.
+ 
+Família Ferrez, c. 1912. Marc Ferrez está em pé. Rio de Janeiro, RJ / Acervo IMS
+ 
+Breve histórico do uso da expressão Cidade Maravilhosa como referência ao Rio de Janeiro
+ 
+Antônio Caetano da Costa Ribeiro. Rio de Janeiro : Vista do Corcovado, 1905?. Rio de Janeiro, RJ / Acervo FBN
+ 
+A Cidade Maravilhosa e Alfredo Maia (1850 -1887)
+ 
+O escritor e oficial da Marinha Portuguesa Alfredo Maia usou a expressão cidade maravilhosa ao referir-se ao Rio de Janeiro no capítulo XIII de seu folhetim Viagens de um marinheiro, publicado no jornal português Jornal da Noite (Jornal da Noite (Portugal), 05 e 06 de agosto de 1879, terceira coluna).
+“A capital do império brasileiro goza créditos de uma cidade maravilhosa e a sua baía rivaliza, diz-se, com o porto de Constantinopla e de Lisboa. Vamos lá ver tudo isso e sejamos justos em nossa admiração pelo que virmos…Com efeito, é esplêndido o magnífico porto do Rio de Janeiro, onde cabem à larga todas as esquadras do mundo!”.
+ 
+Jornal da Noite (Portugal), 5 e 6 de agosto de 1879
+ 
+Marc Ferrez, c. 1890. Entrada da baía de Guanabara, vista de Niterói. Rio de Janeiro, RJ / Acervo IMS
+ 
+Alfredo de Lacerda Maia, nascido em Alijó, cidade localizada na região do Douro, em 1850, foi redator dos jornais portugueses Atlantico, folha destinada ao Brasil e repúblicas do Rio da Prata, do Jornal do Noite e do Mercantil . Foi também colaborador da revista Chronicas Modernas. Em 1883, era segundo-tenente, comandante da lancha Rio Minho e por sua atuação recebeu uma nota de louvor do Ministério da Marinha de Portugal. Em 1886, já como capitão-tenente, era o governador do Timor e, pelos serviços que prestou ao comércio, recebeu dos negociantes da mencionada colônia portuguesa uma espada de honra. No mesmo ano, foi agraciado pelo governo português com a Comenda de Aviz. De Surabaia, foi enviado um telegrama para governo português informando que Maia havia sido assassinado pelos indígenas. Foram pedidos socorros para Macau. O assassinato ocorreu, em 3 de março de 1887, em Díli. Ele era casado e deixou um filho de 10 anos. Foi publicado, no Correio da Manhã, em 14 de março, poucos dias após seu assassinato, um artigo de sua autoria sobre uma visita que havia realizado ao sultão de Zanzibar (Jornal da Noite (Portugal), 26 e 27 de janeiro de 1880, última coluna; 27 e 28 de dezembro de 1880, quinta coluna; 7 e 8 de abril de 1881, segunda coluna; 23 e 24 de julho de 1883, terceira coluna; 11 e 12 de março de 1886, terceira coluna; 25 e 26 de agosto de 1886, quarta coluna; 11 e 12 de março de 1887, segunda coluna; Correio da Manhã (Portugal), 1º de outubro de 1886, terceira coluna; 8 de novembro de 1886, primeira coluna; 11 de março, de 1887, quarta coluna; 14 de março de 1887; 27 de abril de 1887, quarta coluna).
+ 
+Jornal da Noite (Portugal), 11 e 12 de março de 1887
+ 
+A Cidade Maravilhosa e o escritor italiano Edmondo de Amicis (1846 – 1908)
+ 
+Edmondo de Amicis / Literatura Italiana Traduzida
+ 
+Segundo o escritor e filósofo Ivo Karytowski (1951 -), em seu artigo Origem do epíteto “Cidade Maravilhosa” para designar o Rio de Janeiro: lenda e verdade, foi feita uma referência ao Rio de Janeiro como uma cidade maravilhosa, em 1902, em um artigo escrito pelo italiano Edmondo de Amicis e publicado no suplemento La Lettura do jornal milanês Corriere della Sera. Amicis, em 1884, retornando de uma viagem à Argentina, fez uma rápida escala no porto do Rio. Segue o trecho do artigo em que a expressão foi usada:
+“– Por que o senhor nunca escreveu nada sobre o Rio de Janeiro? 
+Esta pergunta me foi feita uma centena de vezes durante os dezoito anos que se passaram desde que fui ao Brasil, e cem vezes dei sempre a mesma resposta pronta, tal como fazem os deputados quando conversam com os eleitores: 
+– Porque fiquei apenas três dias, quando o Sírio, o navio em que viajei de Buenos Aires para Gênova, fez uma escala no porto da cidade. Amigos bondosos se desdobraram para me mostrar tudo, levando-me para todos os lados de carruagem, de bonde e em via férrea, desde cedo até a noite, como alguém que quisessem salvar da caça de uma banda de credores; vi muito, mas vi tudo correndo, afobado e com os olhos ofuscados pelo cansaço, de forma que me esqueci de muitas coisas, e de outras só tenho uma vaga lembrança, e até das imagens que se mantiveram mais vivas tenho lacunas obscuras, sobre as quais mesmo se reflito longamente nunca consegui captar uma mínima recordação. O que poderia escrever? Seria como descrever um sonho.
+A esta resposta de sempre, poucos dias atrás, um intrépido italiano, que recentemente voltou do Brasil para Itália, rebateu sagazmente: – Mas o senhor não se sente tentado a fazer a descrição de uma cidade maravilhosa (E non la tenta la descrizione d’uma città maravigliosa, no original italiano), onde permaneceu somente poucas horas, e da qual se lembra apenas como um sonho?”
+– Eis aí uma ideia – pensei.
+E aquela ideia colocou-me a pena na mão e pregou-me à escrivaninha.
+[…]
+Sim, Mantegazza tinha razão quando me escreveu: – Queira me desculpar, mas o Rio de Janeiro é mais bonito que Constantinopla. – Não é que a cidade seja mais bonita, mas sim o lugar, as águas, toda a natureza que a circunda. Oh, não há comparação!”
+Transcrito do artigo Origem do epíteto “Cidade Maravilhosa” para designar o Rio de Janeiro: lenda e verdade,
+de Ivo Karytowski,  2022.
+ 
+Augusto Malta. Vista do Rio de Janeiro, 1906. Rio de Janeiro, RJ / Acervo IMS
+ 
+O escritor e militar italiano Edmundo De Amicis nasceu em Oneglia, em 21 de outubro de 1846, e faleceu em Bordighera, em 11 de março de 1908. Sua maior obra foi o livro Coração (1886). A viagem durante a qual passou rapidamente no Rio de Janeiro, entre Gênova e Montevidéu, na primavera de 1884, a bordo do vapor Nord America, inspirou o livro de sua autoria, Sull’oceano (No oceano), publicado em 1889, misto de romance e diário de bordo. Seu tema é a emigração italiana para a América do Sul no final do século XIX. Foi traduzido para o português por Adriana Marcolini e publicado em 2017, no Brasil, com o título Em Alto-mar.
+ 
+A Cidade Maravilhosa e o carnaval de 1904
+ 
+
+ 
+Numa notícia sobre o préstito carnavalesco do Clube de São Cristóvão, foi publicada, no jornal O Paiz, de 16 de fevereiro de 1904, versos que protestavam contra as carrocinhas que pegavam cachorros nas ruas. Na última estrofe, foi usada a expressão cidade maravilhosa, referind0-se ao Rio de Janeiro. Foi, muito provavelmente, a primeira vez que a expressão, referindo-se ao Rio de Janeiro, foi publicada na imprensa brasileira.
+ 
+O Paiz, 16 de fevereiro de 1904
+ 
+Marc Ferrez. Avenida Beira Mar, 1906. Rio de Janeiro, RJ / Acervo IMS
+ 
+Daí por diante, na imprensa, volta e meia a expressão aparecia em referência à cidade (O Paiz, 4 de maio de 1904, quinta coluna; O Malho, 24 de novembro de 1906, A Notícia, 22 e 23 de maio de 1907, primeira coluna; 6 e 7 de julho de 1909, terceira coluna; 26 e 27 de julho de 1909, penúltima coluna; 15 e 16 de agosto de 1910, terceira coluna; 21 e 22 de setembro de 1909, penúltima coluna; Revista da Semana, de 3 de novembro de 1907, terceira coluna; A Imprensa, 8 de agosto de 1909, terceira coluna; Gazeta de Notícias, 4 de agosto de 1909, quinta coluna.
+ 
+O Malho, 24 de novembro de 1906
+ 
+Em 1908, a expressão cidade maravilhosa foi usada diversas vezes não se referindo à cidade do Rio de Janeiro, mas ao espaço onde se realizou a Exposição Nacional Comemorativa do Centenário da Abertura dos Portos, na Urca (O Paiz, 24 de agosto de 1908, primeira coluna; 17 de novembro de 1908, primeira e segunda colunas; 16 de dezembro de 1908, primeira coluna; Gazeta de Notícias, 16 de outubro de 1908, quarta coluna; Jornal do Commercio, 27 de setembro de 1908, penúltima coluna).
+Uma curiosidade: ainda nos anos 1900, Paris, São Paulo, o vale de Sorgues, Buenos Aires, Sevilha e Veneza foram referidas na imprensa brasileira como cidades maravilhosas (O Paiz, 9 de fevereiro de 1900, primeira coluna; 3 de abril de 1905, segunda coluna; 24 de março de 1907, segunda coluna; A Notícia, 13 de 14 de junho de 1904, primeira coluna; Gazeta de Notícias, 9 de dezembro de 1906, segunda coluna; 12 de janeiro de 1908, última coluna; Jornal do Commercio, 18 de outubro de 1907, quarta coluna; Revista da Semana, 2 de novembro de 1902, primeira coluna).
+ 
+A Cidade Maravilhosa e Coelho Neto (1864 – 1934)
+ 
+Coelho Neto / Academia Brasileira de Letras
+ 
+Coelho Neto foi um importante escritor e teatrólogo brasileiro, tendo sido um dos fundadores da Academia Brasileira de Letras, em 1897. Nasceu em 21 de fevereiro de 1864, em Caxias, no Maranhão, e faleceu, em 28 de novembro de 1934, no Rio de Janeiro.
+A polêmica em torno de ele ser ou não o autor da expressão cidade maravilhosa em referência ao Rio de Janeiro é antiga: o uso da expressão pela poetisa francesa Jane Catulle Mendés, de quem falaremos mais adiante, foi lembrada na biografia do compositor Mário Penaforte (1876 – 1928), lançada no livro intitulado O rei da valsa, em 1958, escrito pelo poeta e tradutor Onestaldo de Pennafort (1902 – 1987) (Correio da Manhã, de 1958, 19 de agosto de 1958, quarta coluna). O filho de Coelho Neto, Paulo (1893 – 1985), publicou um pequeno livro de 16 páginas, Restabelecendo a verdade, defendendo o pai como autor da expressão (Correio da Manhã, 2 de novembro de 1958, primeira coluna). Onestaldo e Paulo comentaram a polêmica no jornal Correio da Manhã nos artigos Controvérsia em torno da “Cidade Maravilhosa” e Cidade Maravilhosa, respectivamente (Correio da Manhã, 15 de novembro de 1958  e 22 de novembro de 1958, terceira coluna). A polêmica voltou à baila, em 1965, quando se comemoravam os 400 anos do Rio de Janeiro, quando foi sugerido por leitores do jornal O GLOBO que Jane Catulle Mendès nomeasse um logradouro carioca já que teria sido a criadora da expressão. No dia seguinte, Paulo Coelho Neto, em uma matéria publicada no jornal voltou a afirmar que seu pai era o autor do epíteto. Não adiantou: uma praça em Campo Grande foi batizada com o nome Catulle Mendès (O GLOBO, 18 e 19 de maio de 1965).
+ 
+O GLOBO, 18 de maio de 1965
+ 
+O GLOBO, 19 de maio de 1965
+ 
+Vamos aqui listar o uso da expressão por Coelho Neto:
+No capítulo VII do folhetim Mistério de Natal, Coelho Neto usou a expressão cidade maravilhosa, mas ela não se referia ao Rio de Janeiro (O Paiz, 14 de dezembro de 1904, penúltima coluna).
+Segundo uma carta do general Paulo de Bittencourt Amarante enviada para a coluna “Encontro Matinal”, da Eneida (1904-1971), grande cronista do carnaval carioca, Coelho Neto teria se referido ao Rio de Janeiro como cidade maravilhosa na palestra Antiga Cidade, proferida em 10 de outubro de 1908, na Academia Nacional de Música (Diário de Notícias, 19 de fevereiro de 1965, primeira coluna). Porém, na leitura da palestra, não se encontra a expressão (Palestras da Tarde (1911), página 33).
+ 
+Diário de Notícias, 19 de fevereiro de 1965
+ 
+Na crônica Os Sertanejos, também de autoria de Coelho Neto, publicada no jornal A Notícia, de 29 e 30 de outubro de 1908, ele voltou a usar a expressão cidade maravilhosa, desta vez para referir-se à área onde foi realizada a Exposição Nacional Comemorativa do Centenário da Abertura dos Portos, realizada entre 11 de agosto e 15 de novembro de 1908, e não à cidade do Rio de Janeiro. A crônica conta a história de um grupo de matutos que se apresentaria no evento, mas, impressionados com a modernidade do Rio de Janeiro, não conseguem se apresentar bem, decepcionando o público (A Notícia, 28 e 29 de outubro de 1908, primeira coluna). Na crônica (1), quando adentraram a exposição:
+“Era ao cair da tarde, uma tarde elegíaca, violácea, quieta, sem o silvo de uma cigarra. Os penhascos pareciam de lápis lazuli e os palácios, ainda mais brancos sobre o fundo escuro das rochas portentosas, alvejavam marmóreos. Longe, nos estábulos, o gado tino mugia, nostálgico, pondo no silêncio enlevado a tristeza bucólica das várzeas, em contraste com o requinte da cidade maravilhosa… Estacaram deslumbrados. A Cidade Maravilhosa resplandecia como nas lendas. No fundo, na concha do palácio das Indústrias, a água escachoava colorindo-se à refração das luzes. Surgiram monstros flamineos acaçapados, no relvedo, esguicharam repuchos policromicos e a mísera gente tremia e encomendavam-se aos santos, fazendo promessas árduas, arrependida de haver seguido o diabo sedutor que a fora buscar no repouso feliz da sua terra para arrojá-la naquele inferno”.
+ 
+A Notícia, 29 e 30 de outubro de 1908. As edições de 1908 de A Notícia não constam da Hemeroteca Digital da Biblioteca Nacional, só estando disponíveis em microfichas na instituição
+ 
+Parece que Cidade Maravilhosa não se referia ao Rio de Janeiro, mas ao recinto onde se realizava a Exposição de 1908.
+Em 10 de novembro de 1927, Coelho Neto publicou no Jornal do Brasil uma versão modificada de Os Sertanejos, agora com o título Sertanejos, e nela a expressão Cidade Maravilhosa se referia certamente ao Rio de Janeiro (Jornal do Brasil, 10 de novembro de 1927, penúltima coluna).
+
+“- Ocê uviu, Clódina ? A modi qu’é boi berrando. Não vá sê genti incantada! Era a hora angelical e o bando poz-se a rezar baixinho, á medida que a noite começa a desengranzar o seu rosario de estrellas. Subito, uma deflagração. Collares de lampadas de fogo e a linha dos edificios debruada a luzes. Foi um medo panico indizivel: “Misericordia! Credo! Abrenuntio! P’ras areias gordas!”
+
+– Sê tá vendo, Clódina ? Eu não dixe qu ́é u inferno ? Oia cumu tudo s’accendeu d’uma vez ! sem phosque. Estacaram deslumbrados. 
+
+A Cidade maravilhosa resplandecia como nas lendas. E a misera gente tremia e encommendava-se a Deus, a Nossa Senhora e aos santos, fazendo promessa, arrependida de haver seguido o demonio tentador que a fôra buscar no repouso feliz da sua terra. E quando appareceu um automovel urrando, com os dois immensos olhos accesos em clarões, a debandada foi tumultuosa e gritos e esconjuros atroaram. Foi em tal estado d’alma que os sertanejos ensaiaram no cinema os cantos e as danças em que são exímios”.
+
+ 
+Jornal do Brasil, 10 de novembro de 1927
+ 
+Posteriormente, em 1928, ele lançou o livro A Cidade Maravilhosa, mas no conto que dá nome à obra o Rio de Janeiro não é descrito. O termo se referia a uma cidade dos sonhos, uma cidade imaginária.
+ 
+Cidade Maravilhosa (1928) por Coelho Neto
+ 
+Augusto Malta. Pedra da Gávea, 1906. Rio de Janeiro, RJ / Acervo IMS
+ 
+“Aqui a tem a sua cidade maravilhosa. Viu-a de longe, era linda. Veja agora. Ilusões, fanciulla…Ilusões…Adriana olhava estarrecida. Mas não era a destruição das árvores, não eram aquelas cinzas pardacentas, ainda mornas, não eram aqueles troncos denegridos, aqueles ramos que rechinavam amojados de seiva que a comoviam, mas a lembrança da cena da estrada, da sedução do homem sinistro a mostra-lhe, ao longe, no fogaréu rutilante, a cidade maravilhosa, cidade do sonho, cidade do amor”.
+ 
+A Cidade Maravilhosa e Vicente Blasco Ibáñez (1867 – 1928)
+ 
+Vicente Blasco Ibáñez / Biblioteca Virtual Miguel de Cervantes
+ 
+Em uma entrevista para o correspondente de O Estado de S. Paulo em Buenos Aires, o escritor, jornalista e político espanhol Vicente Blasco Ibáñez referiu-se ao Rio de Janeiro como cidade maravilhosa. Tinha estado por poucos dias na cidade (Diário do Maranhão, 27 de agosto de 1909, segunda coluna).
+ 
+Diário do Maranhão, 27 de agosto de 1909
+ 
+Blasco Ibáñez nasceu em Valencia, na Espanha, em 29 de janeiro de 1867, e faleceu, em Menton, na França, em 28 de janeiro de 1928. Tornou-se um dos mais famosos romancistas espanhóis de seu tempo. Era contra a monarquia e fundou, em 1894, o jornal El Pueblo. Foi deputado, representante do Partido Republicano, entre 1898 e 1907. Em 1914, quando teve início a I Grande Guerra Mundial,  tornou-se correspondente. Seu livro de maior sucesso foi Os quatro ginetes do Apocalipse (1916).
+ 
+Augusto Malta. Copacabana, c. 1910. Rio de Janeiro, RJ / Acervo IMS
+ 
+A Cidade Maravilhosa e Jane Catulle Mendès (1867 – 1955)
+ 
+ Fon Fon, 21 de outubro de 1911
+ 
+Cidade Maravilhosa – La Ville Merveilleuse -, é o nome do livro onde os poemas enaltecendo o Rio de Janeiro, de autoria da escritora e feminista francesa Jane Catulle Mendès (1867 – 1955), foram publicados, em 1913. Pela primeira vez, a expressão dava título a um livro.
+ 
+
+ 
+Ilustração de Jane Catulle Mendès no frontispício do livro
+ 
+Ainda em 1913, foi publicada no Jornal do Brasil, de 11 de maio, uma crítica extremamente favorável ao livro. Nela, está a poesia Promenade, que Jane escreveu dedicada a Fernando Mendes de Almeida (1845 – 1921), redator-chefe do jornal.
+ 
+Jornal do Brasil, 11 de maio de 1913
+ 
+Ela havia passado uma temporada no Rio de Janeiro que, a princípio, seria de três semanas, mas que se estendeu de 20 de setembro a 6 de dezembro de 1911, quando Jane se encantou pela cidade, cuja elite era profundamente influenciada pela cultura francesa. Chegou no Rio a bordo do paquete Amazon, vindo de Buenos Aires, acompanhada por sua secretária, Mathilde Grimaud (18? -19?), desembarcando no Cais Pharoux, onde foi recebida por uma comissão da Associação Brasileira de Imprensa.
+ 
+Jane Catulle Mendès e sua secretária, Mathilde Grimaud passeando na Avenida Central / Careta, 28 de outubro de 1911
+ 
+Já no dia de sua chegada declarou: “Rio de Janeiro est une ville merveilleuse dont je suis eblouie” – O Rio de Janeiro é uma cidade maravilhosa pela qual estou deslumbrada -, conforme publicado na primeira página do jornal A Imprensa, de 21 de setembro de 1911 (O Paiz, 20 de setembro, quarta coluna; 21 de setembro, segunda coluna, 6 de dezembro, primeira coluna de 1911; A Imprensa, 21 de setembro de 1911).
+ 
+A Imprensa, 21 de setembro de 1911
+ 
+Havia sido colaboradora do jornal La Fronde, fundado pela atriz e jornalista Marguerite Durand (1864–1936), em 1897, e produzido exclusivamente por mulheres até 1905, quando foi fechado. Jane era viúva do escritor francês Catulle Abraham Mendès (1841 – 1909), expoente do parnasianismo, com quem foi casada entre 1897 e 1909.
+Ela partiu de volta à Europa no paquete Danube (O Paiz, 6 de dezembro, primeira coluna de 1911; Gazeta de Notícias, 7 de dezembro de 1911, terceira coluna).
+ 
+Jane Catulle Mendès sendo entrevistada pelo jornalista Ernesto Senna, do Jornal do Commercio, na Avenida Central. Ao lado, sua secretária, Mathilde Grimaud / O Malho, 7 de outubro de 1911
+ 
+A passagem de Jane Catulle Mendès pelo Rio de Janeiro foi um grande sucesso. A cidade acabara de passar por uma grande reforma urbanística durante a gestão de Francisco Pereira Passos (1836 – 1913) como prefeito. Jane encantou-se pela beleza das paisagens cariocas, tanto pelas naturais como pelas construídas. Ficou hospedada no Hotel dos Estrangeiros, aonde recebeu jornalistas no dia em que chegou no Brasil, segundo o jornalista Rafael Sento Sé, foi uma coletiva de imprensa, subterfúgio até hoje comum no mundo do showbiz e que Jane organiza de forma pioneira no Rio de Janeiro.
+ 
+Augusto Malta. Estátua de José de Alencar; em frente ao Hotel dos Estrangeiros, 1906. Rio de Janeiro, RJ / Acervo IMS
+ 
+Conheceu diversas personalidades da época, como os escritores João do Rio (1881 – 1921) e Julia Lopes de Almeida (1862 – 1934), que escreveu uma crônica a respeito dela publicada no jornal O Paiz, de 3 de outubro de 1911; a socialite, promotora cultural e feminista Laurinda Santos Lobo (1878 – 1946), o maestro Arthur Napoleão (1843 – 1925), o chargista Emílio Cardoso Ayres (1890 -1916), por quem foi retratada; o casal Stella (1879 – 1971) e Fernando Guerra Duval (18? – 1959), ela, feminista e uma das criadoras da Pró-Matre, e ele, fotógrafo amador, barítono e poeta; e o presidente da República, Hermes da Fonseca (1855 – 1923). Frequentou salões cariocas, o Club dos Diários e visitou diversos lugares da cidade como os morros do Corcovado e do Silvestre, os bairros à beira-mar da Zona Sul, a Biblioteca Nacional e o Jardim Botânico. E passeou muito pela Avenida Central (Careta, 28 de outubro; 4 de novembro, primeira coluna; O Paiz, 24 de setembro, primeira coluna; 30 de setembro, primeira coluna; 3 de outubro; 20 de outubro, quinta coluna; 29 de outubro, primeira coluna, 1º de novembro, primeira coluna; 9 de novembro , primeira coluna; Gazeta de Notícias, 21 de setembro, penúlltima coluna; 2 de novembro, segunda coluna, de 1911).
+Seu poema, Rio de Janeiro, dividido em quatro partes – Matin, Crepuscule, Nocturne e Adieu – foi publicado em O Paiz, de 22 de outubro de 1911.
+ 
+Augusto Malta. Vista de Botafogo e Pão de Açúcar, c. 1910. Rio de Janeiro, RJ / Acervo IMS
+ 
+Fez durante sua temporada carioca três conferências: a primeira, O heroísmo da mulher francesa, em 29 de setembro, no salão da Associação dos Empregados do Comércio (Gazeta de Notícias, 29 de setembro, 30 de setembro, quarta coluna; O Paiz, 2 de outubro de 1911, segunda coluna).
+ 
+Plateia na 1ª conferência de Jane Catulle Mendès, no Rio de Janeiro / O Malho, 7 de outubro de 1911
+ 
+A segunda, intitulada A Parisiense, realizou-se no salão nobre do Jornal do Commercio, em 12 de outubro (Jornal do Commercio, 12 de outubro de 1911, primeira coluna).
+ 
+Jornal do Commercio, 12 de outubro de 1911
+ 
+A última foi proferida, em 24 de outubro, no Teatro Municipal sobre As escritoras francesas (O Paiz, 25 de outubro de 1911, primeira coluna).
+ 
+O Paiz, 24 de outubro de 1911
+ 
+No ano seguinte a sua partida, o jornal A Notícia, de São Paulo, promoveu um sorteio entre seus assinantes cujo terceiro prêmio seria um belo passeio ao Rio de Janeiro, à cidade maravilhosa, conforme a qualificou a notável poetiza francesa Jane Catulle Mendès (A Notícia (SP), 3 de dezembro de 1912, quarta coluna).
+Segundo Alexei Bueno (1963 – ), no livro Rio Belle Époque: Álbum de imagens: Parece-nos, portanto, que a hoje totalmente esquecida Jane Catulle Mendès foi, senão a criadora, a oficializadora do epíteto do Rio de Janeiro (Jornal do Brasil, 16 de dezembro de 1965, última coluna). Conforme o título do livro de Rafael Sento Sé, fruto de 13 anos de pesquisa, foi Jane Catulle Mendès que criou o sonho de um Rio de Janeiro da Belle Époque.
+ 
+
+ 
+A Cidade Maravilhosa e Eugênio de Lemos (18? – 19?)
+ 
+No mesmo ano da publicação do livro de Jane Catulle Mendés, 1913, no jornal A Notícia, na coluna “Contos de Hoje”, de Eugenio de Lemos, foi publicada a crônica A Cidade Maravilhosa. Acredita-se que esta foi a primeira vez que a expressão deu título a um artigo artigo jornalístico sobre o Rio de Janeiro. Nela, o autor comentava as belezas da cidade (A Notícia, 20 e 21 de março de 1913).
+ 
+A Notícia, 20 e 21 de março de 1913
+ 
+Augusto Malta. Praia de Botafogo, c. 1910. Rio de Janeiro, RJ / Acervo IMS
+ 
+A Cidade Maravilhosa e Olegário Mariano (1889 – 1958)
+ 
+Olegário Mariano por Cândido Portinari, c. 1931
+ 
+O poeta e político recifense Olegário Mariano Carneiro da Cunha nasceu em 24 de março de 1899.  Publicou, em 1922, pela editora Pimenta de Mello, o livro de poesias Cidade Maravilhosa. Uma segunda edição, ampliada, foi editada pela Companhia Editora Nacional, em 1930. O livro traz 14 poemas, sendo quatro alusivos aos Rio de Janeiro: Cidade Maravilhosa, O aspecto mais lindo da cidade, Na feira livre de Copacabana e O crepúsculo na Quinta da Boa Vista. O príncipe dos poetas faleceu em 28 de novembro de 1958, no Rio de Janeiro (O Jornal, 21 de novembro de 1968).
+ 
+Cidade Maravilhosa, de Olegário Mariano, edição de 1930 da Companhia Editora Nacional de São Paulo
+ 
+Antônio Caetano da Costa Ribeiro. Vista tirada do Pão d’Assucar, c. 1914. Rio de Janeiro, RJ / Acervo FBN
+ 
+Cidade Maravilhosa 
+Olegário Mariano
+
+Cidade maravilhosa!
+Na luz do luar, fluídica e fina,
+Lembra excêntrica bailarina,
+Corpo de náiade ou sereia,
+Desfolhando-se em pétalas de rosa,
+Com os pés nus sobre a areia.
+
+Cidade do gozo e do vício!
+Flor de vinte anos, rosa do desejo!
+Corpo vibrando para o sacrifício,
+Seios à espera do primeiro beijo.
+
+Cidade do Amor e da Loucura,
+Das estrelas errantes…Para vê-las,
+Vibra no olhar de cada criatura
+Uma ânsia indefinida
+Pelo brilho longínquo das estrelas
+Que é, como tudo, efêmero na vida.
+
+Cidade do Êxtase e da Melancolia,
+De dias tristes e de noites quietas;
+Sombra desencantada da alegria
+Dos que vivem de lágrimas, os poetas.
+
+Cidade de árvores e sinos. 
+De crianças e jardins. Flor das Cidades;
+Berço de ouro de todos os Destinos,
+Fonte eterna de todas as Saudades.
+
+Olegário Mariano foi membro da Academia Brasileira de Letras. Seu livro de estreia foi Angelus, em 1911. Sua obra poética foi publicada nos dois volumes de Toda uma vida de poesia (1957), publicados pela José Olímpio. Também publicou, durante anos, nas revistas Careta e Para Todos, sob o pseudônimo de João da Avenida, uma seção de crônicas mundanas em versos humorísticos, que foram reunidas nos livros: Bataclan (1927) e Vida, caixa de brinquedos (1933).
+ 
+Manuel Faria (1895 – 1980) e a Cidade Maravilhosa 
+ 
+O Cruzeiro, 27 de dezembro de 1930
+ 
+
+O pintor Manuel Faria (1895 – 1980), um poeta do pincel que se vem revelando invulgarmente, aplicando-se em mostrar os panoramas deslumbrantes da cidade, inaugurou, no Palace Hotel, sob os auspícios do Centro Carioca, uma exposição em que a Cidade Maravilhosa encontra o seu pintor entusiasta e escrupuloso. Os quadros eram de paisagens do Rio de Janeiro e o pintor pretendia a partir da mostra organizar um álbum ilustrado que seria intitulado Cidade Maravilhosa (O Cruzeiro, 27 de dezembro de 1930, Jornal do Brasil, 16 de dezembro de 1930, segunda coluna).
+ 
+Exposição com quadros da Cidade Maravilhosa por Manuel Faria / O Cruzeiro, 27 de dezembro de 1930
+ 
+Jornal do Brasil, 16 de dezembro de 1930
+ 
+Manuel Faria Guimarães estudou na Escola Nacional de Belas Artes, tendo sido discípulo de João Baptista da Costa (1865 – 1926), Lucílio de Albuquerque (1877 – 1939) e Rodolfo Chambelland (1879 – 1967). Ocupou a cadeira 9 da Academia Brasileira de Belas Artes.
+
+ 
+A Cidade Maravilhosa, livro de paisagens do Rio de Janeiro pelo pintor Manuel Faria, 1941
+ 
+A Light e a Cidade Maravilhosa
+Foi publicado, em 1932, o livro Crônicas da Cidade Maravilhosa, editado pelo Departamento de Publicidade da Light. Na edição de Vida Literária, de dezembro de 1931, foi publicado seu prefácio que informava que tratava-se de uma obra de pura publicidade, mas que seria também uma obra literária (Vida Literária, dezembro de 1931).
+ 
+Vida Literária, dezembro de 1931
+ 
+O  livro, que seria um reflexo de nossa invejáveis belezas naturais e de nosso adiantamento industrial e de nossa civilização urbana, reunia artigos de escritores e artistas publicados em jornais e revistas sobre alguns dos melhores serviços da Light à população do Rio de Janeiro. Um exemplar do livro foi enviado para a revista Brasil Feminino (Brasil Feminino, julho de 1932).
+ 
+Brasil Feminino, julho de 1932
+ 
+César Ladeira (1910 – 1969) e a Cidade Maravilhosa
+ 
+César Ladeira, c. 1940. Rio de Janeiro, RJ / Acervo IMS
+ 
+César Ladeira, um dos mais famosos locutores do Brasil e um dos ícones da Era de Ouro da rádio brasileira, foi contratado, em 1933, pela Rádio Mayrink Veiga como locutor e diretor artístico e mudou-se para o Rio de Janeiro. Em 1º de setembro de 1933, estreou no programa Crônicas da Cidade Gozada, onde lia crônicas de Genolino Amado (1902 – 1989). De acordo com Henrique Foréis Domingues, pseudônimo Almirante (1908 – 1980), em seu livro No Tempo de Noel Rosa: O Nascimento do Samba e a Era de Ouro da Música (2013), devido a críticas dos ouvintes, o programa teve seu nome mudado para Crônicas da Cidade Maravilhosa. Ladeira também publicava na revista O Malho a coluna “A Crônica da Cidade Maravilhosa” (O Malho, 30 de novembro de 1933; Gazeta de Notícias, 6 de setembro de 1935, quinta coluna; Fon-Fon, 3 de setembro de 1938, segunda coluna).
+ 
+O Malho, 30 de novembro de 1933
+ 
+A revista Cidade Maravilhosa, de César Ladeira, estreou no Teatro Recreio, em 4 de janeiro de 1935, e foi um sucesso. No elenco, estrelavam Aracy Cortes (1904 – 1985), Eva Todor (1919 – 2017), Ítala Ferreira (1901 – 1967), Zaira Cavalcanti (1913 – 1981), Henrique Chaves (19? – ?) e João Martins (19? – ?), dentre outros. Depois de um breve intervalo, voltou ao cartaz, em 12 de março de 1935. Sua última apresentação aconteceu em 17 de março (Gazeta de Notícias, 11 de janeiro de 1935, quarta coluna; O Jornal, 2 de janeiro de 1935, última coluna, 4 de janeiro de 1935, última coluna; 6 de janeiro de 1935, quinta coluna, 11 de janeiro de 1935, sétima coluna; 12 de março de 1935, última coluna; 16 de março de 1935, penúltima coluna).
+ 
+O Jornal, 12 de janeiro de 1935
+ 
+Ainda em 1935, o enredo do bloco carnavalesco Caçadores de Veados foi Cidade Maravilhosa (O Jornal, 21 de fevereiro de 1935, quarta coluna).
+ 
+A Cidade Maravilhosa, hino oficial do Rio de Janeiro, e André Filho (1906 – 1974), seu autor
+ 
+Augusto Malta. Visita de estudantes ao Cristo Redentor, 1931. Rio de Janeiro, RJ / Acervo IMS
+ 
+Foi a marchinha Cidade Maravilhosa que consagrou definitivamente a expressão como epíteto do Rio de Janeiro! Antônio André de Sá Filho (1906 – 1974), que ficou conhecido como André Filho, nascido na Rua da Carioca, em 21 de março de 1906, compôs a música, que foi gravada por ele e por Aurora Miranda, em 4 de setembro de 1934 (Diário de Notícias, 24 de janeiro de 1965, primeira coluna; Correio da Manhã, 17 de fevereiro de 1965, terceira coluna).
+ 
+Aurora Miranda e André Filho / Correio da Manhã, 2 de junho de 1960
+ 
+O disco, cuja outra canção era Toda gente cantando, foi lançado no mês seguinte pela Odeon.
+
+ 
+Coleção José Ramos Tinhorão / Acervo IMS
+ 
+Cidade Maravilhosa
+André Filho
+Cidade maravilhosa, cheia de encantos mil
+ Cidade maravilhosa, coração do meu Brasil!
+Aurora entoa então, em tom menor, a primeira estrofe da segunda parte:
+Berço do samba e das lindas canções
+Que vivem n’alma da gente
+És o altar dos nossos corações
+Que cantam alegremente
+Jardim florido de amor e saudade
+ Terra que a todos seduz
+Que Deus te cubra de felicidade
+Ninho de sonho e de luz
+ 
+A marchinha Cidade Maravilhosa foi inscrita, no ano seguinte, no Concurso de Carnaval da Prefeitura da Cidade do Rio de Janeiro, obtendo, para indignação de André Filho e da plateia, a segunda colocação na categoria Marcha. A final aconteceu, em 10 de fevereiro de 1935, no Teatro João Caetano, e a canção vencedora foi Coração Ingrato, interpretada por Silvio Caldas (1908 – 1998), de autoria de Antônio Nássara (1910 – 1996) e Eratóstenes Alves Frazão (1901 – 1977). O terceiro lugar ficou para Joia falsa, de Osvaldo Santiago (1902 – 1976). Silvio Caldas foi muito vaiado e a André Filho foi feita grande manifestação, com toda a plateia de pé (A Noite, 11 de fevereiro de 1935; O Jornal, 12 de fevereiro de 1935, quinta coluna).
+Na visita que fez à redação do jornal A Noite, no mesmo dia do concurso, André Filho declarou:
+“O julgamento eu coloco em plano secundário. O povo, o verdadeiro juiz, deu ao meu modesto trabalho o valor que eu, realmente, não imaginava ter “.
+ 
+André Filho (sentado) visitou a redação do jornal A Noite / A Noite, 11 de fevereiro de 1935
+ 
+No mesmo concurso, na categoria Samba, a classificação foi a seguinte: em primeiro lugar, Implorar, do italiano Kid Pepe (1909 – 1961) e do português Germano Augusto (1901 – 1950), curiosamente, dois estrangeiros. Este samba causou uma polêmica pública quanto a sua real autoria, pois segundo alguns, seria do falecido sambista Cedá, que o vendera a Kid Pepe por 30 mil réis. Segundo depoimento de Kid Pepe reproduzido no livro “A canção no tempo”: “João Gaspar me mostrou um estribilho que gostei. Consegui então autorização dele, por escrito, para consertar o estribilho (que estava quebrado) e compor uma segunda parte e a introdução. Desse jeito fizemos “Implorar”. Agora, se provarem que o coro apresentado pelo Gaspar não lhe pertence, darei minha á família do falecido a parte dele” (Dicionário Cravo Albim da Música Popular Brasileira). Em segundo lugar, classificou-se o samba Foi ela, de Ary Barroso (1903 – 1964); e, em terceiro, Agradeça a mim, de Ismael Silva (1905 – 1978).
+No mesmo ano, Cidade Maravilhosa foi incluída na trilha sonora do filme Alô, Alô, Brasil! (1935), dirigido por Alberto Ribeiro (1902 – 1971), João de Barro (1907 – 2006) e Wallace Downey (1902 – 1967), estrelado por Almirante, Ary Barroso, Aurora e Carmen Miranda (1909 – 1955), dentre outros.
+Em 1936, estourou no carnaval! E o epíteto Cidade Maravilhosa se eternizou!
+Sobre a inspiração de André Filho para escrever a música, que tradicionalmente encerra os bailes carnavalescos, há uma polêmica, destacada no site Discografia Brasileira, do Instituto Moreira Salles:
+“Na coleção de jornais do seu acervo – que se encontra desde 2006, ano do seu centenário, sob a guarda do Instituto Moreira Salles –, há um recorte sem data de A Notícia com matéria que explica como o compositor teria se inspirado para fazer a música. Diz o texto que ele “Estava na Praia de Botafogo, pelos idos de 1933, eterno enamorado da beleza natural do Rio de Janeiro (…). Numa tarde assim, sentiu pulsar com intensidade toda a sua alegria de cidadão carioca (…). Ocorreu-lhe então a expressão: Cidade Maravilhosa”.
+Versão que sua ex-mulher, Joana, contestaria: ao jornal O Globo de 12/01/1965, ela – já separada de André Filho – diria que o clássico surgiu em 1934, durante uma das madrugadas insones do então companheiro, e que, após escutar a melodia e a letra cantada por André, que batucava numa caixa de fósforos, teria sido interrogada por ele: “Ciganinha, você acha que deve ser marcha ou samba?”. Resposta dela: “Marcha!”. Difícil saber qual das duas narrativas é a verdadeira.
+Ou se nenhuma delas, a julgar pelo que contam Jairo Severiano e Zuza Homem de Mello no primeiro volume de “A canção no tempo” (Editora 34, 1997): “No início da década de 1930, o Rio era embelezado com a estátua do Cristo Redentor e a modernização de vários trechos da cidade, criando maiores condições para deixar o turista maravilhado. Foi nesta ocasião que, motivado por uma promoção chamada Festa da Mocidade, em que se elegia a Rainha da Primavera, André Filho compôs ‘Cidade maravilhosa’”. 
+Cidade maravilhosa tornou-se a marcha oficial da Cidade do Rio de Janeiro, através da Lei nº 5, de maio de 1960, proposta pelo vereador Salles Neto (1910 – 1961) e promulgada pelo então governador da Guanabara, Carlos Lacerda (1914 – 1977) (Correio da Manhã, 20 de abril de 1960, quarta coluna; 29 de maio de 1960, quarta coluna; Diário de Notícias, 1º de maio de 1960, sexta coluna).
+ 
+Encontro de André Filho e Aurora Miranda, em 1º de junho de 1960, na Sociedade Brasileira de Autores Teatrais, quando relembraram a gravação de Cidade Maravilhosa / Diário de Notícias, 2 de junho de 1960
+ 
+Mas em duas ocasiões tentaram destituir a canção como marcha oficial da cidade. A primeira vez, em 1962, quando a deputada Lygia Lessa Bastos (1919 – 2020) liderou um movimento para que o hino da cidade fosse uma música que possuísse “as características técnico-musicais peculiares e inconfundíveis do gênero“. Na opinião da deputada, a composição de André Filho não refletiria “na tradição, o sentimento patriótico da gente carioca” (Diário de Notícias, 14 de maio de 1961, quinta coluna; Jornal do Brasil, 13 de março de 1962, quarta coluna; 22 de março de 1962).
+Em sua coluna no Jornal do Brasil, “Música Naquela Base”, o jornalista Sérgio Cabral publicou o resultado de uma enquete acerca do assunto que realizou consultando personalidades de várias áreas e apenas o historiador Ariosto Berna (18? – 1988), do Instituto Histórico e Geográfico do Rio de Janeiro; e o jornalista Prudente de Morais Neto (1904 – 1977) eram a favor da mudança. Os  seguintes foram contra: o crítico musical Lúcio Rangel, Carlos Lacerda, governador do Estado da Guanabara; o maestro e compositor César Guerra-Peixe, Cristóvão de Alencar, presidente da União Brasileira de Compositores; o compositor Miguel Gustavo e Stanislaw Ponte Preta, o jornalista Sérgio Porto (Jornal do Brasil, 22 de março de 1962). Cidade Maravilhosa seguiu como o hino da cidade!
+ 
+Jornal do Brasil, 22 de março de 1962
+ 
+O poeta Carlos Drummond (1902 – 1987) defendeu a manutenção da marchinha como hino na crônica Hino carioca (Correio da Manhã, 27 de abril de 1962, penúltima coluna).
+ 
+
+ 
+Em 1968, pela segunda vez, seu status de hino foi ameaçado: o deputado Frederico Trotta (1899 – 1980) foi o autor do projeto de lei sugerindo à Assembleia Legislativa a criação de um concurso para a escolha de um novo hino para a cidade promulgado, em 27 de  julho de 1968.  A marchinha Cidade Maravilhosa tinha, segundo ele, uma “música alegre, balanceante, carnavalesca e irreverente para o ritual das solenidades sérias e imponentes, às quais se torna forçoso o comparecimento de autoridades dos três poderes constituídos, bem como de personalidades estrangeiras”. Houve protestos e, em agosto de 1968, o presidente da Assembleia voltou atrás e sancionou a lei do deputado Everardo Magalhães Castro (1933 – 2010) que restituía Cidade maravilhosa à condição de hino oficial da cidade (Jornal do Brasil, 28 de julho de 1968, penúltima coluna; 6 de agosto, segunda coluna; O Jornal, 10 de agosto de 1968, segunda coluna; Correio da Manhã, 27 de julho de 1968, última coluna, 28 de julho de 1968, quinta coluna;).
+André Filho faleceu, no Rio de Janeiro, em 2 de julho de 1974, no Hospital Souza Aguiar, vítima de uma úlcera. Foi velado no Museu da Imagem e do Som e sepultado no Cemitério São Francisco Xavier, no Caju (Jornal do Brasil, 3 de julho de 1974, quarta coluna).
+ 
+Jornal do Brasil, 8 de julho de 1974
+ 
+Ouça aqui várias gravações da marchinha Cidade Maravilhosa.
+ 
+Abaixo, reprodução de um artigo publicado em O GLOBO, de 5 de agosto de 1968.
+ 
+
+ 
+(1)  A transcrição da crônica Os Sertanejos, de Coelho Neto, pode ser lida na página 282 do artigo Origem do epíteto “Cidade Maravilhosa” para designar o Rio de Janeiro: lenda e verdade, de Ivo Karytowsky.
+Leia aqui o artigo André Filho além dos ‘encantos mil’: os 120 anos do compositor ‘beijoqueiro’ que era um dos preferidos de Carmen Miranda, de autoria de Pedro Paulo Malta (1976-), publicada no site Discografia Brasileira do Instituto Moreira Salles .
+
+Nota da editora: A inspiração para a publicação deste artigo surgiu quando assisti ao espetacular evento Cidade-Musa, no dia 6 de março de 2026, promovido pelo Arquivo Geral da Cidade do Rio de Janeiro, em sua sede, quando o jornalista Rafael Sento Sé proferiu uma maravilhosa palestra sobre seu livro A poeta da Cidade Maravilhosa: Jane Catulle Mendès e a viagem que criou o sonho de um Rio de Janeiro na Belle Époque, seguida pela sensacional aula musicada Cidade-musa: a história do Rio em marcha, samba e bossa, com Pedro Paulo Malta e Luís Filipe de Lima. Ao longo de minhas leituras para esse artigo, conheci o excelente artigo Origem do epíteto “Cidade Maravilhosa” para designar o Rio de Janeiro: lenda e verdade, de Ivo Karytowski, que se tornou uma espécie de bússola para minha pesquisa. Como sempre, a Hemeroteca Digital da Biblioteca Nacional tem um papel decisivo em meus escritos. Obrigada pelo talento de vocês!
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora da Brasiliana Fotográfica
+ 
+Fontes:
+Blog Literatura, Rio de Janeiro & São Paulo
+BUENO, Alexei. Rio Belle Époque: Álbum de imagens. Rio de Janeiro : Bem-Te-Vi Editora, 2016.
+Cidade Maravilhosa por Olegário Mariano
+COELHO NETO. Palestras da Tarde. Rio de Janeiro : Livraria Garnier Irmãos, 1911.
+Dicionário Cravo Albim da Música Popular Brasileira
+DOMINGUES, Henrique Foréis. No Tempo de Noel Rosa: O Nascimento do Samba e a Era de Ouro da Música. Rio de Janeiro : Editora Indigo Brasil, 2013
+EFEGÊ, Jota. Figuras e coisas da Música Popular Brasileira vol1 e 2. Rio de Janeiro : Funarte, 1978.
+Hemeroteca Digital da Biblioteca Nacional 
+
+KARYTOWSKI, Ivo. Origem do epíteto “Cidade Maravilhosa” para designar o Rio de Janeiro: lenda e verdade. IHGB, Rio de Janeiro, a. 183(488): 265-294, jan./abr. 2022.
+SÉ, Rafael Sento. A poeta da Cidade Maravilhosa: Jane Catulle Mendès e a viagem que criou o sonho de um Rio de Janeiro na Belle Époque. Belo Horizonte (MG) : Autêntica Editora, 2025.
+Site Discografia Brasileira – IMS
+Site Literatura é bom para a vista
+
+VALENÇA, Suetônio Soares. Tra-la-lá : vida e obra de Lamartine Babo – 3. ed., rev. e ampl. – Rio de Janeiro : FUNARTE, 2014.
+
+XAVIER, Priscila. Cidade Maravilhosa: discursos entre o imaginário e o mito.
+ 
+
+ 
+ 
+ Análise de documento 
+ 
+ 
+ Adriana Marcolini, Alfredo de Lacerda Maia, Alfredo Maia, Antonio Caetano da Costa Ribeiro, Augusto Malta, Capital Mundial do Livro, Cesar Ladeira, Cidade Maravilhosa, Coelho Neto, Dia Mundial do Livro e do Direito de Autor, Edmondo de Amicis, expressão Cidade Maravilhosa, Jane Catulle Mendès, Juan Gutierrez de Padilla, Marc Ferrez, Olegário Mariano, Rio de Janeiro 
+ 
+ Deixe um comentário
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/2554` — `itens/20.500.12156.1_2554/`
+- `20.500.12156.1/3683` — `itens/20.500.12156.1_3683/`
+- `20.500.12156.1/2777` — `itens/20.500.12156.1_2777/`
+- `20.500.12156.1/9866` — `itens/20.500.12156.1_9866/`
+- `20.500.12156.1/6291` — `itens/20.500.12156.1_6291/`
+- `20.500.12156.1/6658` — `itens/20.500.12156.1_6658/`
+- `20.500.12156.1/5345` — `itens/20.500.12156.1_5345/`
+- `20.500.12156.1/4024` — `itens/20.500.12156.1_4024/`
+- `20.500.12156.1/2044` — `itens/20.500.12156.1_2044/`
+- `20.500.12156.1/2609` — `itens/20.500.12156.1_2609/`
+- `20.500.12156.1/2276` — `itens/20.500.12156.1_2276/`
+- `20.500.12156.1/2612` — `itens/20.500.12156.1_2612/`
+- `20.500.12156.1/2614` — `itens/20.500.12156.1_2614/`
+- `20.500.12156.1/12329` — `itens/20.500.12156.1_12329/`
+- `20.500.12156.1/2718` — `itens/20.500.12156.1_2718/`
+- `20.500.12156.1/2765` — `itens/20.500.12156.1_2765/`
+- `20.500.12156.1/4072` — `itens/20.500.12156.1_4072/`
+- `20.500.12156.1/3183` — `itens/20.500.12156.1_3183/`
+
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+---
+id: 43694
+url: "https://brasilianafotografica.bn.gov.br/?p=43694"
+titulo: "Cronologia de Ignacio Fernandes Mendo (18? – ?)"
+autor: "Andrea Wanderley"
+data: "2026-06-26T11:25:04+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: []
+fetched_at: "2026-09-10T10:23:25.334Z"
+---
+
+# Cronologia de Ignacio Fernandes Mendo (18? – ?)
+
+Cronologia de Ignacio Fernandes Mendo (18? – ?)
+ 
+Echo Sergipano, 24 de abril de 1881
+ 
+1866 – Ignacio Fernandes Mendo começou a atuar como fotógrafo provavelmente neste ano (SILVA, 2009).
+Esteve, nos anos 1860, no Piauí (BASTOS, 1994), onde também atuavam, na referida década, os fotógrafos Joaquim Joze Avellino (18? -?), que abriu seu estabelecimento fotográfico, em Teresina, em 1865; Miguel Carlos (18? -?), que, em julho de 1868, anunciava ter um bom sortimento para o trabalho de fotografia; e Justino Rocha Pereira (18? -?), fotógrafo itinerante que, em 1860, esteve em Teresina (Liga e Progresso (PI), 3 de abril de 1865; A Imprensa (PI), 18 de julho de 1868; e O Propagador (PI), 22 de abril de 1860).
+1875 - Mendo anunciava os serviços de sua Photographia Popular, instalada na Rua Boa Vista, nº 15, em Sobral, no Ceará (Sobralense, 14 de março de 1875). Foi contemporâneo, no Ceará, de Joaquim Antônio Correia (18? – ?), autor de um conjunto de fotografias que pertence, atualmente, ao acervo da Biblioteca Nacional de vítimas da seca de 1877-1878.  São imagens chocantes, em formato de cartes de visite, e retratam crianças, homens e mulheres desnutridos e maltrapilhos, de aparência doentia. Também atuavam no estado, nos anos 1870, Pinto de Sampaio (18? -?), o prussiano Carlos Frederico Johann Reeckel (18? – c. 189?), do dinamarquês Niels Olsen (1843 –  1911) e o norte-americano R. H. Furmann (18? -?), dentre outros. Este último anunciou, em 1876, que era o único fotógrafo no Brasil que usava o Método Rembrant e o de porcelana para produzir fotografias (O Cearense, 21 de dezembro de 1871, primeira coluna; 2 de julho de 1874, terceira coluna; 30 de setembro de 1875, última coluna; 12 de março de 1876, terceira coluna; 25 de abril de 1879, terceira coluna; 12 de setembro de 1880, última coluna).
+ 
+Sobralense, 14 de março de 1875 / Transcrição copiada de BEZERRA (2019)
+ 
+Meses depois, a Photographia Popular estava estabelecida, na Rua da Palma, nº 17, em Fortaleza (Pedro II (CE), 7 de novembro de 1875).
+1876 - Passou por Açu, no Rio Grande do Norte (Correio do Assú, 25 de outubro de 1876).
+ 
+Correio do Assu, 25 de setembro de 1876 / Transcrição copiada de BEZERRA (2019)
+ 
+1878 - Encontrava-se em Alagoas, onde realizou uma série de vistas da cachoeira e da Estrada de Ferro de Paulo Afonso, e também do porto de Piranhas (BEZERRA, 2019). Viajantes estrangeiros, como Augusto Stahl (1828 – 1877) e Augusto Riedel (1836 – ?), e depois o brasileiro Marc Ferrez (1843 – 1923) também fotografaram a Cachoeira de Paulo Afonso.
+ 
+Ignacio F. Mendo. Cachoeira de Paulo Afonso, 1880 / Acervo FBN
+ 
+1881 – Anunciou a abertura de seu estabelecimento fotográfico, a Photographia Maranhense, em Aracaju (Echo Sergipano, 24 de abril de 1881).
+ 
+Echo Sergipano, 24 de abril de 1881
+ 
+
+Echo Sergipano, 24 de abril de 1881 / Transcrição copiada de BEZERRA (2019)
+
+ 
+1884 – Seu estabelecimento fotográfico, a Photographia Maranhense, ficava na Rua Conde d´Eu, em Feira de Santana, na Bahia (Jornal da Feira (BA), 1º de agosto de 1884, primeira coluna).
+ 
+Jornal da Feira (BA), 1º de agosto de 1884
+ 
+1885 – Seu nome aparece na lista de estudantes da Faculdade de Medicina da Bahia para os exames da primeira série de Farmácia (BEZERRA, 2019).
+1886 – Estava trabalhando em Cachoeira, mas tinha a intenção de se mudar para Salvador. Anunciava um processo rápido ideal para os retratos de pessoas nervosas ou crianças (A Ordem (Cachoeira, BA), 14 de abril de 1886).
+1888 – Estava estabelecido na Photographia Universal, na rua Direita do Colégio, esquina com rua São José, em Salvador. Também atuavam como fotográfos, nos anos 1880, na cidade, o alemão Alberto Henschel (1827 – 1882) e o suíco Guilherme Gaensly (1843 – 1928), dentre outros.
+ 
+A Locomotiva, 13 de dezembro de 1888
+ 
+Produziu uma das raras fotografias existentes sobre as comemorações da abolição da escravidão no Brasil, feita na Bahia, logo no domingo seguinte à divulgação da Lei Áurea (VASCONCELLOS, 2006).
+ 
+Phot. Universal de Ignacio Mendo. Cópia sobre cartão “Grande Missa Campal no adro do Bonfim, em ação de Graças pela redempção dos escravos no Brazil, em 13 de maio de 1888, celebrada pelo Padre Arsenio Pereira da Fonseca, deputado provincial pelo 1º districto e capellão da Libertadora Bahiana, sendo pregador o conego Dr. João Nepomuceno deputado pelo 4º districto e promovida por E. Carigé e o Club José Bonifácio” / Acervo Museu de Arte da Bahia
+ 
+“O público da missa evidencia a diversidade social da cidade. Nesse primeiro plano, próximo ao fotógrafo, concentraram-se os homens afrodescendentes e brancos. Usam o mesmo modelo de paletó, gravata, chapéu e bigode. Isso demonstra que, fora do estúdio, homens afrodescendentes e brancos usavam os mesmos modelos de traje, enquanto as mulheres pretas se distinguiam pelo uso do turbante branco”.
+ Christiane Silva de Vasconcellos
+em O  circuito social da fotografia da gente negra Salvador 1860-1916, página 111
+ 
+Anunciou que havia obtido diversas medalhas de ouro e que seguia produzindo retratos com perfeição e modicidade em preços (Folha Nova (BA), 4ª semana de setembro de 1888, primeira coluna; A Locomotiva (BA), 13 de dezembro de 1888).
+ 
+Folha Nova (BA), 4ª semana de setembro de 1888
+ 
+“Aos olhos do mundo civilizado apresentamos nessa página de honra a gravura que representa o edifício onde funciona a popularíssima fábrica Leite & Alves, nesta capital, à Caçada do Bom-fim, nº 95, cópia de uma bela fotografia do sr. Ignacio Mendo (A Locomotiva, 2 de dezembro de 1888).
+ 
+Gravura produzida sobre foto de Mendo da Antiga Imperial Fábrica de Cigarros de S. Domingos, cujo proprietário era Leite & Alves / A Locomotiva, 2 de dezembro de 1888
+ 
+A Locomotiva, 13 de dezembro de 1888
+ 
+1889 – Uma cópia fiel de uma fotografia da Grande Fábrica de Cigarros a Vapor de Martins Fernandes de sua autoria foi publicada (A Locomotiva, 13 de janeiro de 1889, primeira coluna).
+ 
+A Locomotiva, 22 de janeiro de 1889
+ 
+ 
+Compôs uma música em homenagem às cataratas de Paulo Afonso: “Recebemos a polca Cachoeira Paulo Afonso – brilhante produção do nosso simpático amigo Ignacio Mendo, acreditado fotógrafo desta capital” (A Locomotiva (BA), 9 de fevereiro de 1889, primeira coluna).
+ 
+A Locomotiva, 9 de fevereiro de 1889
+ 
+Foi agraciado por dom Pedro II (1825 – 1891), um entusiasta da fotografia, com o título de Fotógrafo da Casa Imperial, em 6 de agosto de 1889, cerca de três meses antes da Proclamação da República no Brasil, em 15 de novembro do mesmo ano. No dia seguinte, 16 de novembro, a família real portuguesa foi banida do país (Decreto nº 2, 16 de novembro de 1889). Ainda não se sabe nem se ele teve contato com o imperador nem de como sua obra teria chegado à apreciação do monarca.
+1997 – Foi um dos fotógrafos cujas imagens integraram a exposição A Coleção do Imperador: fotografia brasileira e estrangeira no século XIX, realizada entre 29 de janeiro e 23 de março de 1997, pela Biblioteca Nacional, no Centro Cultural do Banco do Brasil, no Rio de Janeiro. Integraram também a exposição registros de autoria de Albert Frisch (1840 – 1918), Albert Richard Dietze (1838 – 1906), Arsênio da Silva (1833 – 1883), Augusto Amoretty (1845 – 1906), Augusto Riedel (1836 – ?), Benjamin R. Mulock (1829 – 1863), Felipe Augusto Fidanza (1844 – 1903), Franz Keller-Leuzinger (1835 – 1890), Henrique Rosen (1840 – 1892), Joaquim Insley Pacheco (1830 – 1912), Louis Niemeyer, Luiz Terragno, Marc Ferrez (1843 – 1923), Revert Henrique Klumb (c. 1826 – c. 1886) e Victor Frond (1821 – 1881), dentre outros.
+ 
+Catálogo da exposição A Coleção do Imperador: fotografia brasileira e estrangeira no século XIX
+ 
+Entre 20 de abril e 25 de maio, foi apresentada na Pinacoteca de São Paulo.
+Entre 4 e 31 de julho, foi apresentada no Museu Nacional de Belas Artes, em Buenos Aires, na Argentina.
+2000 - A exposição A Coleção do Imperador: fotografia brasileira e estrangeira no século XIX, foi realizada entre 8 de junho e 30 de julho de 2000, no Centro Português de Fotografia, no Porto, em Portugal.
+2020 – Apresentação de A experiência da aceleração: paisagem, infraestrutura e o imaginário da modernidade no Brasil (1870/1910),  de Felipe Ziotti Narita, trabalho de pós-doutorado, ao Departamento de Sociologia e ao Programa de Pós-Graduação em Sociologia da Universidade Federal de São Carlos (UFSCar) como requisito para conclusão de pesquisa junto ao Programa de Pós-Doutorado (PPD/UFSCar).
+Sobre o álbum das obras da Estrada de Ferro Paulo Afonso, produzido por Ignacio Mendo, Narita comentou:
+“Ignacio Mendo foi fotógrafo da Casa Imperial nos anos 1880, quando também acompanhou as obras da Estrada de Ferro de Paulo Afonso. O álbum, com vapores e caminhos de ferro cruzando casebres precários e construções muitos dispersas, além de assinalar as condições de um território ermo, privilegia paisagens e perspectivas abertas, realçando um esvaziamento da própria figura humana. Exceto pequenas aparições de trabalhadores dos trechos ferroviários na paisagem vazia (Figura 125), predomina um desenho temático completamente ausente de movimento (Figuras 126, 127 e 128). A atmosfera estacionária do vazio oferece o material bruto a partir do qual as linhas de força do sistema-mundo moderno subsumia os mais remotos rincões à lógica social da circulação e da produção”.
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora da Brasiliana Fotográfica
+ 
+Fontes:
+BASTOS, Cláudio. Dicionário histórico e geográfico do Piauí. Teresina: Fundação Cultural Monsenhor Chaves, 1994.
+BEZERRA, Ari Leite. História da fotografia no Ceará do século XIX. Edição do autor, 2019. Página 152
+CASTRO, Danielle Ribeiro de. PHOTOGRAPHOS DA CASA IMPERIAL A Nobreza da Fotografia no Brasil do Século XIX. Monografia apresentada ao curso de PósGraduação em História da Arte da Fundação Armando Álvares Penteado, como exigência parcial para obtenção do certificado de conclusão, sob a orientação de Rubens Fernandes Junior, 2010.
+Enciclopédia Itaú Cultural
+Hemeroteca Digital da Biblioteca Nacional
+KOSSOY, Boris. Dicionário histórico-fotográfico brasileiro: fotógrafos e ofício da fotografia no Brasil (1833-1910). São Paulo: Instituto Moreira Salles, 2002. 408 p., il. p&b.
+——————-Origens e expansão da fotografia no Brasil: século XIX. Rio de Janeiro: Funarte, 1980
+NARITA, Felipe Ziotti. A experiência da aceleração: paisagem, infraestrutura e o imaginário da modernidade no Brasil (1870/1910). Relatório de pós-doutorado apresentado ao Departamento de Sociologia e ao Programa de Pós-Graduação em Sociologia da Universidade Federal de São Carlos (UFSCar) como requisito para conclusão de pesquisa junto ao Programa de Pós-Doutorado (PPD/UFSCar), 2020.
+SILVA, TELMA Cristina Damasceno. A fotografia artística na Bahia e sua inserção nos salões oficiais de arte. Dissertação apresentada ao Programa de Pós-Graduação em Artes Visuais, Escola de Belas Artes, Universidade Federal da Bahia, como requisito parcial para obtenção do grau de Mestre em Artes Visuais., 2009.
+VASCONCELLOS, Christiane Silva de. O  circuito social da fotografia da gente negra Salvador 1860-1916. Dissertação apresentada ao Programa de Pós-graduação em História da Universidade Federal da Bahia, como requisito parcial para a obtenção do grau de Mestre em História sob a orientação da Prof. Dr. Joao Jose Reis, 2006.
+VASQUEZ, Pedro Karp. A fotografia no Império. Rio de Janeiro: Jorge Zahar, 2002.
+—————————Dom Pedro II e a fotografia no Brasil. Rio de Janeiro: Fundação Roberto Marinho: Companhia Internacional de Seguros: Ed. Index, 1985.
+—————————O Brasil na Fotografia Oitocentista. São Paulo: Metalivros, 2003.
diff --git a/wordpress/4376-serie-carnavais-de-antigamente-i-o-carnaval-nas-primeiras-decadas-do-seculo-xx.md b/wordpress/4376-serie-carnavais-de-antigamente-i-o-carnaval-nas-primeiras-decadas-do-seculo-xx.md
new file mode 100644
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--- /dev/null
+++ b/wordpress/4376-serie-carnavais-de-antigamente-i-o-carnaval-nas-primeiras-decadas-do-seculo-xx.md
@@ -0,0 +1,42 @@
+---
+id: 4376
+url: "https://brasilianafotografica.bn.gov.br/?p=4376"
+titulo: "Série “Carnavais de antigamente” I – O carnaval nas primeiras décadas do século XX"
+autor: "Andrea Wanderley"
+data: "2016-02-05T08:12:16+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/3944", "20.500.12156.1/2740", "20.500.12156.1/4221"]
+fetched_at: "2026-09-10T10:23:28.412Z"
+---
+
+# Série “Carnavais de antigamente” I – O carnaval nas primeiras décadas do século XX
+
+Augusto Malta. Grupo de homens fantasiados para o carnaval, As Marrequinhas, 1913. Rio de Janeiro, RJ / Acervo IMS
+ 
+Com uma seleção de fotografias produzidas nas primeiras décadas do século XX, a Brasiliana Fotográfica convida seus leitores para uma viagem rumo aos carnavais de antigamente. São registros dos festejos carnavalescos feitos por A. Filgueiras, Aliwu, Augusto Malta (1864 – 1957), Guilherme Santos(1871 – 1966) e por fotógrafos ainda não identificados. O carnaval brasileiro é o maior e mais conhecido do mundo. Comemorado em todo o país nas ruas e nos clubes, nos blocos carnavalescos e nos desfiles de escolas de samba, com diversos ritmos musicais, é a festa mais popular do Brasil.
+ 
+Augusto Malta. Desfile do corso durante do carnaval, 1914. Rio de Janeiro, RJ / Acervo IMS 
+ 
+Apesar de ter origem incerta, acredita-se que o carnaval tenha surgido ainda na Antiguidade, por volta do ano 520 a. C., na Grécia. Era uma festa realizada em torno do deus Dionísio em celebração à chegada da primavera e da fertilidade. Nos primeiros anos da era cristã, a comemoração tornou-se popular na Roma Antiga.
+No Brasil, teve início, em torno do século XVII, quando os portugueses introduziram o entrudo, jogo típico da região de Açores e de Cabo Verde: era uma brincadeira em que as pessoas jogavam, uma nas outras, água, ovos e farinha.
+Inspirados nos costumes da França, os primeiros bailes mascarados realizados no Brasil – de que se tem notícia até hoje – aconteceram no Rio de Janeiro, em 1835, no Café Neuville, localizado no largo do Paço, e no Hotel D´Italia, na então rua Espírito Santo, perto da Praça Tiradentes ( Jornal do Commercio, de 27 de fevereiro de 1835, na segunda coluna; e de 5 de junho de 1835, na terceira coluna). Nesses bailes, dançavam-se ritmos não brasileiros como a valsa e a polca. Em 23 de fevereiro de 1846, foi promovido pela cantora lírica Clara Delmastro o primeiro baile mascarado em um teatro ( Jornal do Commercio, de 23 de fevereiro de 1846, na primeira coluna). Aconteceu no Theatro de São Januário, que ficava na rua do Cotovelo, no Castelo, onde localiza-se, atualmente, o Palácio da Justiça.
+As sociedades carnavalescas, formadas pelas elites, surgiram por volta de 1855, assim como os ranchos e os cordões, estes formados pelas camadas sociais mais populares. Os corsos tornaram-se muito populares no início do século XX: neles as pessoas desfilavam fantasiadas em carros decorados. A festa foi crescendo e, com a ajuda das marchinhas carnavalescas, tornando-se cada vez mais popular e animada.
+ 
+Acessando o link para as fotografias de carnaval disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Augusto Malta. Batalha das Flores, 1902. Rio de Janeiro, RJ / Acervo FBN
+ 
+Acessando o link para as fotografias de Carnaval disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+Acesse aqui todos os artigos da Série Carnavais de antigamente.
+ 
+Andrea C. T. Wanderley
+Editora-assistente e pesquisadora do portal Brasiliana Fotográfica
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/3944` — `itens/20.500.12156.1_3944/`
+- `20.500.12156.1/2740` — `itens/20.500.12156.1_2740/`
+- `20.500.12156.1/4221` — `itens/20.500.12156.1_4221/`
+
diff --git a/wordpress/4382-os-fortes-do-brasil.md b/wordpress/4382-os-fortes-do-brasil.md
new file mode 100644
index 0000000..54be70f
--- /dev/null
+++ b/wordpress/4382-os-fortes-do-brasil.md
@@ -0,0 +1,20 @@
+---
+id: 4382
+url: "https://brasilianafotografica.bn.gov.br/?p=4382"
+titulo: "Os fortes do Brasil"
+autor: "Andrea Wanderley"
+data: "2016-02-22T11:25:07+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: []
+fetched_at: "2026-09-10T10:23:31.548Z"
+---
+
+# Os fortes do Brasil
+
+A Brasiliana Fotográfica fez uma seleção de imagens de fortes do litoral brasileiro do século XIX e do princípio do século XX. São registros que os fotógrafos Augusto Malta (1864 – 1957), Augusto Stahl (1828 – 1877), Juan Gutierrez (1859 – 1897), Marc Ferrez (1843 – 1923), Pedro Gonsalves da Silva (18? – 19-?) e Revert Henrique Klumb (c.1826 – c. 1886), produziram de fortalezas em Niterói, em Recife, no Rio de Janeiro e em Salvador. Ao longo da história do Brasil, centenas de fortes foram construídos e tinham como função principal preservar a integridade do território nacional.
+Segundo o Instituto do Patrimônio Histórico e Artístico Nacional, por ser considerado um testemunho material único de um contato produzido entre diferentes culturas do Velho e do Novo Mundo e por ter tido um papel significativo na ocupação territorial da América do Sul, o conjunto de fortificações do Brasil foi um dos seis bens culturais incluídos pela Organização das Nações Unidas para a Educação, a Ciência e a Cultura (Unesco) na Lista Indicativa brasileira do Patrimônio Mundial, em 2015. Poderá ser, futuramente, apresentado ao comitê do Patrimônio Mundial.
+ 
+Acessando o link para as fotografias de fortes brasileiros disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Andrea C. T. Wanderley
+Editora-assistente e pesquisadora da Brasiliana Fotográfica
diff --git a/wordpress/43857-serie-feministas-gracas-a-deus-xxi-uma-alema-que-amava-a-amazonia-emilia-snethla.md b/wordpress/43857-serie-feministas-gracas-a-deus-xxi-uma-alema-que-amava-a-amazonia-emilia-snethla.md
new file mode 100644
index 0000000..c83fe11
--- /dev/null
+++ b/wordpress/43857-serie-feministas-gracas-a-deus-xxi-uma-alema-que-amava-a-amazonia-emilia-snethla.md
@@ -0,0 +1,105 @@
+---
+id: 43857
+url: "https://brasilianafotografica.bn.gov.br/?p=43857"
+titulo: "Série “Feministas, graças a Deus” XXI – Uma alemã que amava a Amazônia: Emília Snethlage no Museu Goeldi"
+autor: "Andrea Wanderley"
+data: "2026-04-13T10:58:26+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/14389", "20.500.12156.1/14390", "20.500.12156.1/14391", "20.500.12156.1/14392", "20.500.12156.1/14386", "20.500.12156.1/14387", "20.500.12156.1/14388"]
+fetched_at: "2026-09-10T10:23:34.744Z"
+---
+
+# Série “Feministas, graças a Deus” XXI – Uma alemã que amava a Amazônia: Emília Snethlage no Museu Goeldi
+
+No 21º artigo da série Feministas, graças a Deus, do historiador Nelson Sanjad, do Museu Paraense Emílio Goeldi, que é, desde o início de 2026, uma das instituições parceiras da Brasiliana Fotográfica, vamos conhecer a espetacular trajetória da alemã Emília Snethlage, nascida em 13 de abril de 1868. Foi uma cientista pioneira, que chegou ao Brasil, em 1905, e a primeira mulher diretora do Museu Goeldi, cargo que exerceu entre 1914 e 1921. Em 1926, tornou-se membro correspondente da Academia Brasileira de Ciências (O Paiz, 28 de outubro de 1926, penúltima coluna).
+Suas escolhas foram sempre avançadas: estudou zoologia, quando a entrada de mulheres em universidades era ou proibida ou mal vista; decidiu não casar e veio para um país estrangeiro. Decisões feministas.
+ 
+Emilie Snethlage, 1906 / Museum für Naturkunde Berlin/Historische Bild-und Schriftgutsammlungen 
+ 
+Em 1926, foi uma das signatárias da mensagem em apoio à candidatura de Washington Luis (1869 – 1957) à presidência da República da Federação Brasileira pelo Progresso Feminino, dirigida pela bióloga Bertha Lutz  (1894 – 1976) (Jornal do Brasil, 2 de fevereiro de 1926, segunda coluna).
+Foi convidada para integrar o conselho da União Universitária Feminina, fundada, no Rio de Janeiro, em 13 de janeiro de 1929, sob a direção da engenheira e urbanista Carmen Portinho (1903 – 2001). As outras criadoras ou conselheiras da entidade foram: a engenheira civil Amélia Sapienza (? -19?), Bertha Lutz, a advogada Natércia da Cunha Silveira (1905 – 1993),  a professora Heloisa Marinho (1903 – 1994), as médicas Herminia de Assis (? -19?) e Juana Lopes (? -19?), as advogadas Maria Alexandrina Ferreira Chaves (? -19?), Maria Ester Correia Ramalho (? -19?), Myrthes de Campos ( 1875 – 1965) e Orminda Ribeiro Bastos (1899 – 1971) (Correio da Manhã, 15 de janeiro de 1929, quinta coluna).
+Emília Snethlage faleceu, em Porto Velho, capital de Rondônia, em 25 de novembro de 1929. Trabalhava desde 1922 no Museu Nacional (Correio da Manhã, 28 de novembro de 1929, primeira coluna).
+ 
+Correio da Manhã, 29 de novembro de 1929
+ 
+Série “Feministas, graças a Deus” XXI – Uma alemã que amava a Amazônia: Emília Snethlage no Museu Goeldi
+Nelson Sanjad*
+Emília Snethlage (1868-1929) é dessas figuras que causam comoção: sua trajetória ainda surpreende pelas escolhas que tomou ao longo da vida, sobretudo quando decidiu estudar zoologia – em uma época em que o acesso das mulheres à universidade era proibido ou mal visto; quando decidiu não se casar; quando quis trabalhar em um país estrangeiro num ofício dominado por homens – a pesquisa científica; e quando aceitou o desafio de dirigir um museu de história natural, o Museu Goeldi, em 1914, feito que talvez nenhuma outra mulher havia experimentado antes dela.
+Como se isso não bastasse, Snethlage, que trocou a Alemanha pelo Brasil aos 37 anos, em 1905, gostava de viajar sozinha ou com apenas um acompanhante pelos rincões do interior do país. Era exímia coletora de aves, sendo responsável pelo acréscimo de muitos milhares de exemplares à coleção ornitológica do Museu Goeldi. E também produziu uma obra científica atualmente considerada fundacional para a ciência brasileira, especialmente para a taxonomia de aves e a biogeografia. No século XX, apenas cinco cientistas (homens), descreveram mais espécies de aves do que ela: os norte- americanos Frank Chapman (1864 – 1945), John Zimmer (1889 – 1957) e Walter Todd (1874 – 1969); o austríaco Carl Hellmayr (1878-1944) e o alemão Hans von Berlepsch (1850 – 1915). Ela foi a única a trabalhar em instituições brasileiras – o Museu Goeldi e o Museu Nacional – e criou 46 nomes de aves válidos atualmente, descritos entre 1906 e 1928. Por fim, foi ela quem delineou uma agenda de investigações que perdura até nossos dias, dedicada à compreensão do papel dos grandes rios na distribuição de espécies de aves pelo território nacional.
+Acessando o link para as fotos de Emília Snethlage disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+A esta longa lista de qualificativos, podemos acrescentar mais alguns: Emília Snethlage foi a primeira pessoa não-indígena a explorar um interflúvio amazônico, percorrendo a pé, em companhia de sete indígenas Kuruaya, o divisor de águas entre o Xingu e o Tapajós, em 1909. Posteriormente, em 1914, revisitou aquele mesmo povo indígena, e mais os Xipaya, reunindo uma coleção com mais de 150 artefatos. Snethlage inscreveu seu nome na história da antropologia por ter não apenas feito a primeira (e única) coleção etnográfica de ambos os povos, como também por ter sido a primeira mulher a fazer uma etnografia e a coletar em aldeias indígenas na Amazônia. Antes dela, somente a princesa Teresa da Baviera vinculou seu nome a uma coleção etnográfica, mas esta não foi obtida em aldeias e nem junto a indígenas, mas comprada nos mercados das cidades amazônicas por onde viajou na década de 1880.
+Esses episódios vêm sendo explorados por pesquisadoras e pesquisadores capturados pela memória de Emília Snethlage. Nos últimos 25 anos, brasileiros e alemães revisitaram publicações, relatórios, cartas, fotografias, desenhos, mapas, coleções e toda sorte de documentos relacionados a Snethlage, com motivações diversas, mas todos movidos – ou comovidos – pela extraordinária vida de Snethlage e pelo imenso legado que ela deixou. A lista é longa, mas faço questão de registrar os nomes (em ordem alfabética) para que o/a leitor/a tenha a dimensão desse recente movimento de construção historiográfica: Aline Ariela Pereira, Beatrix Hoffmann-Ihde, Carla Bedran, Cilene Trindade Rohr, Diana Alberto, Gabriel Ramos Pacheco, Gleice Mere, Leila Mourão Miranda, Lilian Bayma de Amorim, Luiz Felipe Santos, Marcelo de Castro Silva, Marco Crozariol, Matheus Camilo Coelho, Miriam Junghans, Nelson Sanjad, Pablo Borges, Peter Schroeder, Reinhard Michael Arnegger, Rosanne Castelo Branco e possivelmente outros. Esses nomes se uniram a pesquisadores mais antigos, pioneiros no estudo da vida e da obra de Snethlage, como Osvaldo Cunha e Marisa Corrêa.
+Já é possível registrar alguns avanços significativos no conhecimento da vida e do legado de Snethlage: Junghans (2009) e Coelho (2026) fizeram  belas análises das viagens e do trabalho de campo da ornitóloga; Hoffmann-Ihde (2015) fez o mais importante estudo das coleções Kuruaya e Xipaya, preservadas no Ethnologisches Museum Berlin; Pereira (2024) seguiu os passos (literalmente) de Snethlage pelo Ceará e revisitou as coleções ornitológicas que ela formou, semelhante ao que Santos e colegas (2024, 2025) fizeram, mas para o caso da Amazônia; Alberto (2022) introduziu Snethlage nos estudos de gênero, enquanto Sanjad (2019) mapeou as relações científicas que ela estabeleceu entre os etnólogos (homens) alemães; por fim, Crozariol (2025) lançou luz sobre as circunstâncias da morte de Snethlage, graças à descoberta de documentos inéditos do Museu Nacional do Rio de Janeiro, felizmente salvos do grande incêndio de 2018. Vale registrar, ainda, os esforços para divulgar importantes trabalhos de Snethlage, como os seus estudos etnográficos, pouco lidos e quase nunca citados, traduzidos ao português, pela primeira vez, por Michael Arnegger e Nelson Sanjad (Snethlage, 2023a) e por Cilene Rohr e Rosanne Castelo Branco (Snethlage, 2023b). Todas as referências bibliográficas seguem listadas abaixo para a devida orientação do/a leitor/a.
+O desenvolvimento da historiografia, na dimensão e com a qualidade aqui demonstrados, só é possível com bons levantamentos documentais e com coleções bem preservadas em museus e arquivos. Com esse horizonte, o Arquivo Guilherme de La Penha, do Museu Goeldi, organizou e inventariou toda a documentação produzida e recebida pela instituição entre 1914 e 1921, anos em que Snethlage esteve à frente da direção do museu; e também desenvolveu a Coleção Especial Emília Snethlage, que reúne cartas pessoais conservadas no próprio arquivo do museu e cópias digitais de documentos preservados pela Família Snethlage, residente na Alemanha, e por outras instituições, como o Museum für Naturkunde Berlin, Ethnologisches Museum Berlin, Philipps-Universität Marburg, Albert-Ludwigs-Universität Freiburg, Natural History Museum London, Staatsarchiv des Kantons Basel-Stadt e Naturhistorisches Museum Wien. Esses documentos vêm sendo reunidos há pelo menos 15 anos por Nelson Sanjad, Beatrix Hoffmann-Ihde, Miriam Junghans, Rotger Snethlage e Gleice Mere.
+Esse enorme conjunto documental dará origem a duas publicações: o livro “Emília Snethlage no Arquivo Guilherme de La Penha”, contendo o Catálogo Descritivo da Gestão Emília Snethlage no Museu Goeldi (1914-1921) e o Catálogo Descritivo da Coleção Especial Emília Snethlage (1907-1924), ambos organizados por Lilian Bayma de Amorim, Pablo Borges e Nelson Sanjad, com previsão de publicação em 2026; e o livro “Emília Snethlage: cartas e inéditos”, contendo a transcrição e tradução das cartas e dos textos inéditos de Snethlage encontrados até o momento, organizados por Nelson Sanjad, Beatrix Hoffmann-Ihde, Rotger Snethlage e Marco Aurélio Crozariol, com previsão de publicação em 2027.
+Essas são notícias alvissareiras para celebrarmos o aniversário de Emília Snethlage neste 13 de abril de 2026, quando se completam 158 anos de seu nascimento – alvissareiras porque os documentos a serem publicados certamente darão ensejo a novos estudos, ampliando ainda mais o conhecimento que dispomos sobre a biografia de Snethlage e a construção de sua obra científica.
+Nesta postagem, adiantamos a publicação de algumas fotos preservadas no Arquivo Guilherme de La Penha, devidamente contextualizadas com o auxílio de outros documentos. A primeira delas é o célebre retrato das funcionárias do Museu Goeldi, tirado em março de 1907 por pessoa não identificada. Snethlage aparece de pé, com suas características roupas claras, mangas bufantes e cabelo preso. Ela trabalhava há um ano e meio como assistente de Emílio Goeldi na Seção de Zoologia, tendo sido indicada ao cargo pelo ornitólogo alemão Anton Reichenow (1847-1941), curador do Museum für Naturkunde Berlin, que assegurou sua competência e habilidade nos trabalhos museais (Sanjad, 2010). Quando Goeldi se retirou de volta para a Suíça, em 1907, Snethlage assumiu a chefia da seção e depois, com o falecimento de Jacques Huber (1867-1914), a direção do próprio museu, ali permanecendo até 1921 (com exceção de um breve período em que precisou se afastar em razão da Primeira Guerra Mundial).
+ 
+Funcionárias do Museu Goeldi em 1907. Retrato das três mulheres que trabalhavam no Museu Goeldi em 1907, tirado no Parque Zoobotânico da instituição, em Belém: de pé, a ornitóloga alemã Emília Snethlage (1868-1929), contratada em 1905; sentadas, à esquerda, Anna de Aragão Carreira (1894-?) e, à direita, Abigayl Esther de Mattos (1889-1958), ambas secretárias e contratadas em 1907, março de 1907. Belém, Pará /Acervo Museu Paraense Emílio Goeldi
+ 
+As moças sentadas são Anna de Aragão Carreira (1894-?), à esquerda, e Abigayl Esther de Mattos (1889-1958), à direita. Ambas foram contratadas em 1907, após o secretário José Lobo Pessanha ser demitido e seu salário dividido em dois, sendo uma parte paga para Anna Carreira, como encarregada de confeccionar os rótulos e as etiquetas das coleções, e a outra para Abigayl Mattos, encarregada da secretaria e da biblioteca. As duas moças, uma com 13 e a outra com 18 anos, passaram a desempenhar as mesmas funções que Pessanha, somadas às atividades incessantes de apoio às coleções, mas recebiam apenas a metade do salário do antigo “oficial de secretaria”. A ideia foi apresentada pelo sucessor de Goeldi, Jacques Huber, como uma medida muito inteligente, “permitindo assim obter maior soma de trabalho sem acréscimo notável de despesas” (Huber, 1909, p. 4).
+Ainda que esse experimento trabalhista nos soe como um disparate e muito injusto, a iniciativa de Goeldi e Huber foi inovadora para a época. Snethlage foi a primeira funcionária pública do Estado do Pará, logo seguida pelas outras duas, sendo a mais nova (Anna, 13) contratada como “aprendiz”. O Museu Goeldi talvez seja a primeira instituição científica do país onde as mulheres passaram a ocupar funções finalísticas, como Snethlage, e administrativas, incluindo aí um programa de estágio para adolescentes, denominado “Jovens Aprendizes”. A avaliação da experiência de inserir mulheres no ambiente de trabalho, feita por Huber (1909, p. 4), foi bastante positiva:
+Felizmente esta experiência, ainda que única no Pará, deu resultados de todo satisfatórios para o Museu, sendo de louvar o zelo e a aplicação com que as ditas funcionárias se houveram no desempenho de suas funções. Provavelmente o nosso Museu é o único na América latina onde o trabalho feminino seja tão largamente aproveitado.
+As próximas quatro fotos foram feitas em dezembro de 1908, por pessoa não identificada, mas que certamente carregava uma máquina portátil. Essas fotos fazem parte de um conjunto maior, somando oito negativos de vidro produzidos quando uma chimpanzé chegou no Museu Goeldi. Essa história é muito curiosa: o animal pertencia ao médico Harold Wolferstan Thomas  (1875–1931), chefe da missão da Escola de Medicina Tropical de Liverpool em Manaus. Em 17 de novembro de 1908, ele escreveu a Huber perguntando se ele poderia cuidar da chimpanzé enquanto viajava à Europa. Ela já era adulta, estava cativa há dois anos, era “bem mança e accostumada com gente” [sic]. Dr. Thomas foi prontamente atendido por Huber, mas quem recebeu e cuidou do animal foi Snethlage, responsável pelo zoológico da instituição, e seu assistente preparador, João Batista de Sá (?-1909). São eles que aparecem acolhendo a chimpanzé: na primeira foto, Sá, vergado e segurando um balde (com comida?), dá a outra mão ao animal – que parece estranhar o ambiente. Snethlage está observando a cena logo atrás, com as mãos na cintura. Huber está bem no fundo, de paletó branco e chapéu, mas um de seus filhos quis se aproximar da nova moradora do parque. É o menino que aparece à esquerda, de branco (o outro menino, atrás de Snethlage, não foi identificado).
+ 
+Chegada de uma chimpanzé ao Museu Goeldi. Funcionários do Museu Goeldi recebendo uma chimpanzé. O preparador de zoologia João Batista de Sá (?-1909) aparece vergado e segurando um balde (com comida?), com a outra mão segurando a chimpanzé; Emilia Snethlage (1868-1929) está observando a cena logo atrás, com as mãos na cintura; Jacques Huber (1867-1914) está bem no fundo, de paletó branco e chapéu; a criança com roupa branca à esquerda é seu filho. dezembro de 1908. Belém, Pará / Acervo Museu Paraense Emílio Goeldi
+ 
+Na sequência, a chimpanzé aparece agarrada às grades da jaula dos pequenos felinos. Ela provavelmente emite algum som, enquanto uma jaguatirica a observa atentamente à esquerda. Snethlage, com cabelos bem mais esbranquiçados do que na foto tirada no ano anterior, ainda mantêm distância da chimpanzé, com Sá ao seu lado (cujo corpo é apenas parcialmente visível).
+Na próxima foto, a chimpanzé já está junto à jaula dos macacos barrigudos, identificada por uma plaqueta que pende à direita, em cima. Dois deles permanecem empoleirados, enquanto um terceiro desce para ver de perto a visitante. Nesse momento, Snethlage inclina-se, permitindo-nos ver seus longos cabelos arrumados em um coque. Ela toca as costas da chimpanzé, enquanto Sá, do outro lado, parece estar de prontidão para conter o animal. A chimpanzé vira-se para Snethlage – e quase podemos ouvi-la chiar agudamente. A cena é terna e tensa ao mesmo tempo.
+Na quarta foto, ainda junto à jaula dos macacos barrigudos, Snethlage e Sá permitem que a chimpanzé suba em uma tábua, talvez para interagir melhor com os macacos, que parecem se movimentar no interior. O balde volta às mãos de Sá, enquanto Snethlage encosta-se no guarda-corpo, dizendo algo para o fotógrafo.
+ 
+Funcionários do Museu Goeldi recebendo uma chimpanzé. A chimpanzé aparece agarrada às grades da jaula dos pequenos felinos. Uma jaguatirica a observa atentamente à esquerda. Emilia Snethlage (1868-1929) aproxima-se, com João Batista de Sá (?-1909) ao seu lado (cujo corpo é apenas parcialmente visível)., dezembro de 1908. Belém, Pará / Acervo Museu Paraense Emílio Goeldi
+ 
+ 
+Funcionários do Museu Goeldi recebendo uma chimpanzé. A chimpanzé está junto à jaula dos macacos barrigudos, identificada por uma plaqueta que pende à direita, em cima. Dois deles permanecem empoleirados, enquanto um terceiro desce para ver de perto a visitante. Nesse momento, Emilia Snethlage (1868-1929) inclina-se e toca as costas da chimpanzé, enquanto o preparador de zoologia João Batista de Sá (?-1909), do outro lado, parece estar de prontidão para conter o animal, dezembro de 1908. Belém, Pará / Acervo Museu Paraense Emílio Goeldi
+ 
+ 
+Funcionários do Museu Goeldi recebendo uma chimpanzé. A chimpanzé está junto à jaula dos macacos barrigudos. Emilia Snethlage (1868-1929) e o preparador de zoologia João Batista de Sá (?-1909) permitem que a chimpanzé suba em uma tábua, talvez para interagir melhor com os macacos, que parecem se movimentar no interior. Sá está segurando um balde, enquanto Snethlage encosta-se no guarda-corpo, dizendo algo para o fotógrafo, dezembro de 1908. Belé, Pará / Acervo Museu Paraense Emílio Goeldi
+ 
+Em 25 de junho de 1909, Dr. Thomas escreve de Liverpool: “How is my chimpazee behaving in the museum?” – e anuncia a sua volta para novembro do mesmo ano. Huber respondeu em agosto, em tom bem humorado: “A chimpanzé fêmea está prosperando em sua nova residência; ela é a principal atração do zoológico e está plenamente consciente de sua importância. Agora, ela está mais forte e mais animada do que nunca.”
+Em outra fotografia, podemos ver Snethlage novamente em ação no zoológico do Museu Goeldi, junto a uma equipe de tratadores de animais. Desta vez, eles estão ocupados com uma onça, que aparece amarrada atrás das grades. Dois homens tencionam uma corda, sendo um deles João Batista de Sá, mais próximo à jaula. Snethlage olha a cena, vestida como de costume, mas com chapéu (estava chegando da rua?). É difícil decifrar o que está acontecendo, mas é certamente algo que demanda cuidado e atenção. Além da longa corda tencionada e que se enrola pelo chão, um terceiro homem, ao lado de Sá, puxa uma segunda corda, mais fina e menor, que talvez estivesse contendo as patas traseiras da onça; e um quarto homem, ao lado de Snethlage, também segura uma corda, com um laço na ponta, certamente utilizado no pescoço do animal. Podemos imaginar que uma onça estava chegando no museu, tendo sido transportada completamente amarrada. Os homens parecem estar no processo de desamarrá-la, enquanto a onça rosna e esperneia do lado de dentro.
+ 
+Chegada de uma onça no Museu Goeldi. Emília Snethlage (1868-1929) e tratadores de animais no zoológico do Museu Goeldi, junto à jaula de uma onça. Ela aparece amarrada atrás das grades. Dois homens tencionam uma corda, sendo um deles João Batista de Sá (?-1909), mais próximo à jaula. Além da longa corda tencionada e que se enrola pelo chão, um terceiro homem, ao lado de Sá, puxa uma segunda corda, mais fina e menor, que talvez estivesse contendo as patas traseiras da onça; e um quarto homem, ao lado de Snethlage, também segura uma corda, com um laço na ponta, certamente utilizado no pescoço do animal. Os homens parecem estar desamarrando a onça. Coleção privada, negativo de vidro. Cópia digital disponível no Fundo Jacques Huber, Arquivo Guilherme de La Penha, Museu Goeldi. Reprodução digital e publicação autorizadas pelos proprietários, / Acervo Museu Paraense Emílio Goeldi
+ 
+Alguns autores já escreveram sobre a intimidade dos funcionários do museu e de suas famílias com os animais residentes no zoológico. A chegada da chimpanzé mobilizou toda a instituição, pois na série de fotos é possível ver os funcionários e familiares que acorreram para testemunhar a entrada do animal no museu. Por sua vez, Suescún Florez e colegas (2018) analisaram o Museu Goeldi como local para a sociabilidade dos funcionários e das suas famílias, chegando a divulgar uma foto dos filhos de Huber brincando dentro do viveiro de jabotis, montando nos animais como se fossem cavalos, enquanto uma tia ri alegremente.
+A tese de Alberto (2022) dá ênfase à relação de afeto que Snethlage mantinha com os animais. Apesar de ser exímia caçadora, não hesitando em apertar o gatilho para abater o animal que desejasse, Snethlage cuidava com zelo e carinho dos habitantes do zoológico, convivendo com alguns deles dentro de casa. Por exemplo, em um diário de viagem ao rio Tocantins que ela mandou para a família, na Alemanha, em 1907, Snethlage dá notícias de como encontrou o zoológico ao retornar ao museu:
+Estava tudo bem também com a maioria dos bichos; naturalmente, alguns casos de animais mortos, mas nenhum dos mais valiosos. Em compensação, recebemos nesse tempo três onças jovens, sujeitos muito cândidos, de fisionomia simpática e movimentos desengonçados. Ainda tentarei tornar-me amiga delas, embora sejam bem ariscas e pouco afeitas a seres humanos. Encontrei bem espertas as minhas duas corujinhas. A menor transformou-se de lá para cá e está com a aparência tão imponente quanto sua companheira mais velha. Também reencontrei os dois gatos maracajás jovens. Um fica muito tempo no meu quarto e, no começo, deixava as corujas apavoradas, especialmente quando pulava sobre as gaiolas e mostrava sua avidez por restos de carne. Agora, elas já estão mais acostumadas e deixaram o gato um pouco de lado (Sanjad e colegas, 2013, p. 210).
+Um desses maracajás ainda vivia em 1912. Em uma carta ao irmão Viktor Snethlage, datada de 18 de julho, Emília conta como o gato a fez relembrar um episódio de infância:
+Ontem não houve como eu não me lembrar da história do teu pardal. Precisei deixar meu gato maracajá sozinho em casa por algumas horas e, quando voltei, ele tinha aberto uma gaiola e liquidado um de meus roedores, que eu criava já fazia um ano e meio (um sauiá, não o rato vermelho).  Também isso estava bem perto de acontecer, mesmo que houvesse um roedor só. Claro que não posso pôr a culpa no gato, senão em mim mesma, mas a gaiola estava muito bem trancada.
+Temos a sorte de poder conhecer esse gato maracajá, que gostava de assustar corujinhas e apreciava comer sauiás. Ele talvez fosse o mais querido entre os animais silvestres criados por Snethlage entre o seu quarto de dormir e os viveiros do zoológico: por volta de 1907 ou pouco depois, Jacques Huber registrou em uma foto o carinho de Snethlage pelo gato. Eles estão junto à porta dos fundos do pavilhão de exposições, conhecido como Rocinha. Snethlage, sempre de branco e com cabelos amarrados, olha ternamente para o animal em seu colo. A foto comove pelo inusitado da cena: o desejo dela em documentar seu afeto por um animal silvestre, e bem junto ao corpo, como um abraço.
+ 
+Jacques Huber. Retrato de Emilia Snethlage com gato-maracajá. Emilia Snethlage (1868-1929) com seu gato-maracajá de estimação, na porta dos fundos do pavilhão de exposições (Rocinha) do Museu Goeldi. Coleção privada, negativo de vidro. Cópia digital disponível no Fundo Jacques Huber, Arquivo Guilherme de La Penha, Museu Goeldi. Reprodução digital e publicação autorizadas pelos proprietários, c. 1907. Belém, Pará / Acervo Museu Paraense Emílio Goeldi
+ 
+
+* Nelson Sanjad é historiador e servidor do Museu Paraense Emílio Goeldi
+ 
+Referências:
+ALBERTO, Diana. Emília Snethlage e Heloisa Alberto Torres: gênero, ciência e turismo na Amazônia do século XX. Tese (Doutorado em História) – Universidade Federal do Pará, Belém, 2022.
+COELHO, Matheus Camilo. Ciência em campo: patronato e redes de conhecimento na Amazônia (1894-1918). Tese (Doutorado em História) – Universidade Federal do Pará, Belém, 2026.
+CROZARIOL, Marco Aurélio. O último voo: documentos inéditos relativos ao falecimento e ao espólio de Emília Snethlage, 1868-1929. História, Ciências, Saúde – Manguinhos, v. 32, e202501, 2025.
+HOFFMANN-IHDE, Beatrix. 100 Jahre Xipaya- und Kuruaya- Sammlung im Ethnologischen Museum, Staatliche Museen zu Berlin. Baessler-Archiv, v. 62, p. 45-66, 2015.
+HUBER, Jacques. Relatório sobre a marcha do Museu Goeldi no ano de 1907 apresentado ao Exmo. Snr. Dr. Secretário do Estado da Justiça, Interior e Instrução Pública pelo Dr. J. Huber, Diretor do Museu. Boletim do Museu Goeldi (Museu Paraense) de História Natural e Ethnopgraphia, v. 6, p. 1-21, 1909.
+JUNGHANS, Miriam. Avis Rara: a trajetória científica da naturalista alemã Emília Snethlage (1868-1929) no Brasil. Dissertação (Mestrado em História das Ciências e da Saúde) – Fundação Oswaldo Cruz, Rio de Janeiro, 2009. Disponível em:
+PEREIRA, Aline Ariela. Seguindo os passos de Emilia Snethlage no Ceará (1910 e 1915): uma análise comparativa e atual. Dissertação (Mestrado em Ciência Biológicas) – Universidade Federal do Rio de Janeiro, Rio de Janeiro, 2024.
+SANJAD, Nelson. A coruja de minerva: o Museu Paraense entre o Império e a República (1866-1907). Brasília: Instituto Brasileiro de Museus; Belém: Museu Paraense Emílio Goeldi; Rio de Janeiro: Fundação Oswaldo Cruz, 2010.
+SANJAD, Nelson. Nimuendajú, a Senhorita Doutora e os ‘etnógrafos berlinenses’: rede de conhecimento e espaços de circulação na configuração da etnologia alemã na Amazônia no início do século XX. Asclepio, v. 71, n. 2, p273, 2019.
+SANJAD, Nelson; SNETHLAGE, Rotger; JUNGHANS, Miriam; OREN, David. Emília Snethlage (1868-1929): um inédito relato de viagem ao rio Tocantins e o obituário de Emil-Heinrich Snethlage. Boletim do Museu Paraense Emílio Goeldi. Ciências Humanas, v. 8, p. 195-221, 2013.
+SANTOS, Luiz Felipe Farias; SANJAD, Nelson; AMORIM, Lilian Bayma. Redes de conhecimento e representações: um estudo das coleções ornitológicas formadas por Emília Snethlage no Museu Paraense Emílio Goeldi entre 1905 e 1921. Revista Eletrônica História em Reflexão, v. 20, p. 131–160, 2024.
+SANTOS, Luiz Felipe Farias; AMORIM, Lilian Bayma. Coleções e redes de intercâmbios na Amazônia do início do século XX: considerações sobre o legado de Emília Snethlage. Boletim do Museu Paraene Emílio Goeldi: Ciências Humanas, v. 20, e20230097, 2025.
+SNETHLAGE, Emilia. Sobre a Etnografia dos Xipaya e Kuruaya. Tradução de Reinhard Michael Eugen Arnegger e Nelson Sanjad. Cadernos de Tradução, v. 41, n. esp. 1, p. 366-418, 2023a.
+SNETHLAGE, Emilia. As  etnias  indígenas do Médio Xingu: em especial a Xipaya e a Kuruaya. Tradução de Cilene Trindade Rohr e Rosanne Castelo Branco. Cadernos de Tradução, v. 41, n. esp. 1, p. 423-503, 2023b.
+SUESCÚN-FLOREZ, Lilian; SANJAD, Nelson; OKADA, Wanda. Construção do espaço museal: ciência, educação e sociabilidade na gênese do Parque Zoobotânico do Museu Goeldi (1895-1914). Anais do Museu Paulista: História e Cultura Material, v. 26, p. 1-67, 2018.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/14389` — `itens/20.500.12156.1_14389/`
+- `20.500.12156.1/14390` — `itens/20.500.12156.1_14390/`
+- `20.500.12156.1/14391` — `itens/20.500.12156.1_14391/`
+- `20.500.12156.1/14392` — `itens/20.500.12156.1_14392/`
+- `20.500.12156.1/14386` — `itens/20.500.12156.1_14386/`
+- `20.500.12156.1/14387` — `itens/20.500.12156.1_14387/`
+- `20.500.12156.1/14388` — `itens/20.500.12156.1_14388/`
+
diff --git a/wordpress/4400-dia-nacional-do-fotografo.md b/wordpress/4400-dia-nacional-do-fotografo.md
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+---
+id: 4400
+url: "https://brasilianafotografica.bn.gov.br/?p=4400"
+titulo: "Dia Nacional do Fotógrafo"
+autor: "Andrea Wanderley"
+data: "2016-01-08T12:28:55+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/508"]
+fetched_at: "2026-09-10T10:23:37.811Z"
+---
+
+# Dia Nacional do Fotógrafo
+
+Joaquim Insley Pacheco. Pedro II, Imperador do Brasil : retrato, 1883. Rio de Janeiro, RJ / Acervo FBN
+A Brasiliana Fotográfica faz uma homenagem ao Dia Nacional do Fotógrafo, destacando uma imagem de d. Pedro II, o primeiro brasileiro a possuir um daguerreótipo e, provavelmente, o primeiro fotógrafo nascido no Brasil. Seu interesse foi decisivo para a divulgação e o desenvolvimento da fotografia no país. O registro foi produzido pelo pintor e fotógrafo português Joaquim Insley Pacheco (c. 1830 – 1912), um dos mais  prestigiados e famosos retratistas do Brasil no século XIX.
+Menos de um ano após o anúncio oficial da invenção, em 19 de agosto de 1839, na França, d. Pedro, aos 14 anos – antes de ser sagrado imperador – adquiriu o equipamento, em março de 1840, cerca de três meses depois que o abade francês Louis Comte (1798 – 1868) apresentou-lhe a novidade, no Rio de Janeiro – como se lê no Jornal do Commercio (Jornal do Commercio, 17 de janeiro de 1840, primeira coluna; e 20 de janeiro de 1840. terceira coluna).
+A realização dos primeiros daguerreótipos no Brasil aconteceu, em 16 de janeiro de 1840 apenas 4 meses depois da produção do primeiro daguerreótipo feito nas Américas, até hoje conhecido. A imagem, de autoria de D.W. Seaver, retratou a igreja de São Paulo, em Nova York, em 16 de setembro de 1839. Foi exibida na drugstore do dr. James Chilton, situada na Broadway, 263. Pouco tempo depois, Samuel Morse (1791 – 1872), o inventor do telégrafo, e John William Draper (1811 – 1882), professor da Universidade de Nova York, produziram daguerreótipos da Igreja Unitária, em diferentes ocasiões, em Nova York. Todas essas imagens produzidas em Nova York estão desaparecidas, o que torna ainda mais importante a existência dos daguerreótipos pioneiros do Brasil.
+ 
+Andrea C. T. Wanderley
+Editora-assistente e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+FERREZ, Gilberto; NAEF, Weston J.. Pioneer Photographers of Brazil, 1840-1920. New York: Center for Inter-American Relations, 1976.
+Hemeroteca Digital da Biblioteca Nacional
+VASQUEZ, Pedro Karp. Dom Pedro II e a fotografia no Brasil. Rio de Janeiro: Fundação Roberto Marinho, 1985.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/508` — `itens/20.500.12156.1_508/`
+
diff --git a/wordpress/44066-a-inauguracao-da-estatua-de-jose-bonifacio-no-largo-de-sao-francisco-em-1872.md b/wordpress/44066-a-inauguracao-da-estatua-de-jose-bonifacio-no-largo-de-sao-francisco-em-1872.md
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+---
+id: 44066
+url: "https://brasilianafotografica.bn.gov.br/?p=44066"
+titulo: "A inauguração da estátua de José Bonifácio no Largo de São Francisco, em 1872"
+autor: "Andrea Wanderley"
+data: "2026-09-01T10:06:36+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/4694", "20.500.12156.1/2779"]
+fetched_at: "2026-09-10T10:23:41.148Z"
+---
+
+# A inauguração da estátua de José Bonifácio no Largo de São Francisco, em 1872
+
+Em 7 de setembro de 1872, foi inaugurada, no Largo de São Francisco, na época o ponto de maior circulação da corte, a estátua de José Bonifácio de Andrada e Silva (1763 – 1838), o Patriarca da Independência. A fotografia destacada neste artigo foi realizada em torno de 1910, por Augusto Malta (1864 – 1957), que foi fotógrafo oficial da Prefeitura do Rio de Janeiro de 1903 a 1936. Incansável, elegante e bem-humorado, com seus olhos irrequietamente falantes definiu a fisionomia do Rio de Janeiro a partir de sua extensa e importante produção de imagens. Documentou as transformações urbanas e os grandes eventos da cidade, as paisagens, os monumentos, as lojas, o casario decadente e as ressacas. Registrou também aspectos da vida carioca.
+ 
+Augusto Malta. Augusto Malta em seu ateliê, c. 1906. Rio de Janeiro, RJ / Acervo IMS
+ 
+O escultor da estátua foi o francês Louis Rochet (1813 – 1878), agraciado com a comenda Ordem de Cristo. Ele também foi o autor da estátua equestre de dom Pedro I, a primeira escultura pública do Brasil, inaugurada na Praça da Constituição, atual Praça Tiradentes, no centro do Rio de Janeiro, em 30 de março de 1862. A iniciativa da construção da estátua de Bonifácio foi do Instituto Histórico e Geográfico Brasileiro (IHGB), uma das instituições parceiras da Brasiliana Fotográfica, e foi realizada a partir de uma subscrição popular (Diário do Rio de Janeiro, 31 de março de 1862; Diário do Rio de Janeiro, 8 de setembro de 1872, primeira coluna).
+ 
+Augusto Malta. Estátua de José Bonifácio, c. 1910. Rio de Janeiro, RJ / Acervo IMS
+ 
+A inauguração foi solene e contou com a presença de dom Pedro II (1825 – 1891), dona Teresa Cristina (1822 – 1889), do conde d´Eu (1842 – 1922), de autoridades , de representantes do corpo diplomático e das principais corporações do Estado, além do presidente do IHGB, o conselheiro Campos Melo; e do mais próximo parente de Bonifácio, Antônio Carlos César de Melo Andrade (? -?). A estátua foi descoberta ao som do Hino da Independência, houve uma salva de 19 tiros da artilharia colocada no Morro de Santo Antônio e o visconde do Bom Retiro (1818 – 1886) deu uma viva à independência, calorosamente repetido pelos presentes. O discurso foi proferido por Joaquim Manuel de Macedo (1820 – 1882), na qualidade de orador do IHGB.
+ 
+Uma curiosidade sobre a obra de Louis Rochet
+ 
+O escultor francês Louis Rochet ostentando as medalhas da Imperial Ordem de Cristo, presenteadas pelo Imperador Dom Pedro II, 1865.
+ 
+Rochet é o autor da provavelmente única escultura em bronze de um negro brasileiro feita naquela época. Rochet esteve no Brasil, em 1856, para fazer estudos e acertar seu contrato para a realização da já mencionada estátua eqüestre de com Pedro I.
+Segundo o professor Paulo Knauss, vice-presidente do IHGB:
+“Enquanto esteve no Brasil, Louis Rochet preparou uma outra escultura pouco conhecida e que merece uma distinção especial pela sua excepcionalidade. Trata-se do busto de um negro, classificada no Museu do Homem, na cidade de Paris, França, onde se encontra atualmente, como buste de Brésilien, ou busto de brasileiro. A obra em bronze é assinada por L. Rochet e datada de 1856. Entre itens diversos e inúmeras peças de arte, é no catálogo da coleção Louis Rochet, exibida e posta a venda, na cidade de Paris, em 1878, que, no lote de mármores e bronzes, encontra-se indicado o busto chamado Le Négre Horace, ou O Negro Horácio. Em seguida, o catálogo lista também o modelo em gesso do mesmo busto”.
+Era a imagem de um escravo e cozinheiro de negociantes franceses, com a idade de 40 anos, que se chamava Horácio, nascido na região de Cassange, no atual território angolano. É, provavelmente, a primeira escultura etnográfica de um africano feita no Brasil.
+ 
+ 
+O Negro Horácio por Louis Rochet / Brazil Imperial – Facebook
+ 
+Rochet e seu irmão Charles Rochet (1819 – 1900) foram os criadores do monumento do imperador Carlos Magno, estátua equestre em bronze situada no pátio em frente à Catedral de Notre-Dame, na Île de la Cité, em Paris, exibida pela primeira vez na Exposição Universal de 1878. Rochet foi o escultor da estátua representando Napoleão I, aos 15 anos de idade, vestind o uniforme da escola militar de Briénne. Realizada em 1857, a escultura original em gesso está no Castelo de Malmaison.
+ 
+Andrea C.T. Wanderley
+Editora e pesquisadora da Brasiliana Fotográfica
+Fontes:
+Brazil Imperial – Facebook
+Hemeroteca Digital da Biblioteca Nacional
+KNAUSS, Paulo. Imaginação escultórica e identidade étnica no século XIX: O Negro Horácio, de Louis Rochet, entre a França e o Brasil. XXXI Colóquio CBHA 2011 – [Com/Con]tradições na História da Arte, Universidade de Campinas, outubro de 2011.
+Site Monumentos do Rio
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/4694` — `itens/20.500.12156.1_4694/`
+- `20.500.12156.1/2779` — `itens/20.500.12156.1_2779/`
+
diff --git a/wordpress/44170-cronologia-de-angelo-regato-1912-1993.md b/wordpress/44170-cronologia-de-angelo-regato-1912-1993.md
new file mode 100644
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@@ -0,0 +1,100 @@
+---
+id: 44170
+url: "https://brasilianafotografica.bn.gov.br/?p=44170"
+titulo: "Cronologia de Angelo Regato (1912 – 1993)"
+autor: "Andrea Wanderley"
+data: "2026-06-16T11:11:01+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/11928"]
+fetched_at: "2026-09-10T10:23:44.797Z"
+---
+
+# Cronologia de Angelo Regato (1912 – 1993)
+
+Cronologia de Angelo Regato (1912 – 1993)
+ 
+Jornal do Commercio, 1º de outubro de 1993
+
+ 
+1912 – Mineiro de Estrela Dalva, Angelo Regato nasceu em 27 de outubro de 1912 e, ainda na juventude, veio para o Rio de Janeiro. Foi casado com Fernandina Maria Mesquita, com quem teve quatro filhos: Angelo, José, Carlos e Fernanda (Site Family Search; Jornal do Commercio, 6 de junho de 1976, penúltima coluna;  27  de junho de 1976, última coluna).
+1929 /década de 1930- Começou a se aproximar do jornalismo, em 1929, quando foi empregado na empresa de teatro e cinema de Paschoal Carlos Magno (1906 – 1980). Ele levava os anúncios dos filmes e das peças para os jornais. No ano seguinte, começou a trabalhar como fotógrafo no jornal A Pátria, onde permaneceu até 1940. Sua máquina fotográfica era a alemã Contessa Nettel. Desta época até meados da década de 1930, trabalhava à noite como porteiro de cinema ou montador de cartaz.
+Em entrevista, Regato comentou as condições de trabalho da época (O GLOBO, 30 de setembro de 1987).
+“Ao mesmo tempo que era fascinante, o emprego era muito puxado. Naquele tempo, o fotógrafo fornecia desde o filme até o ampliador. O jornal só fornecia um quartinho para que pudéssemos revelar as chapas”.
+Em outubro de 1930, foi Regato que deu o tiro do magnésio para que fosse feita a foto, de autoria de Arnaldo Vieira (1904 – 1974), da prisão do presidente deposto pela Revolução de 1930, Washington Luís (1869 – 1957), saindo do Palácio Guanabara, residência oficial do chefe de governo, rumo ao Forte Copacabana, onde ficou preso até seguir, exilado, para os Estados Unidos. Era o fim de seu mandato presidencial, iniciado em 15 de novembro de 1926, o último da chamada República Velha. O registro fotográfico, um importante furo jornalístico, foi publicado na capa da terceira edição de O GLOBO de 24 de outubro de 1930 e republicada no dia seguinte. De acordo com o jornal esta fotografia é O mais eloquente documento histórico da deposição do Sr. Washington Luis e É um documento único e cujo valor não será mais preciso exaltar. 
+ 
+O presidente deposto, Washington Luís, acompanhado pelo cardeal Dom Sebastião Leme, deixa o Palácio Guanabara, em direção ao Forte Copacabana, onde permaneceu detido até seguir viagem para os Estados Unidos, 24 de outubro de 1930. Rio de Janeiro, RJ / Acervo FGV CPDOC
+ 
+1935 – Passou a trabalhar também no jornal A Nota.
+1938 – Foi trabalhar para A Notícia e para veículos dos Diários Associados.
+1940 – Deixou de trabalhar como fotógrafo no jornal A Pátria.
+1944 – Fotografou a remoção da Igreja São Pedro dos Clérigos sobre gigantescos rolimãs para a abertura da Avenida Presidente Vargas.
+1945 – Fotografou a chegada ao Brasil dos pracinhas da Força Expedicionária Brasileira após o término da Segunda Guerra Mundial.
+ 
+O Jornal, 23 de agosto de 1945
+ 
+Foto de Angelo Regato de um Pracinha comemorando com a família após a chegada da Itália com o fim da Segunda Guerra Mundial, 22 de agosto de 1945. Rio de Janeiro, RJ / Diários Associados (RJ) – Acervo IMS
+ 
+Na enquete Em quem você votaria?, realizada pelo jornal O GLOBO, disse que ainda não havia se definido: “Sou do contra — declarou — Quero novidades. Quero gente nova. É preciso que se dêem oportunidades a outros brasileiros de valor até então desconhecidos por força do regime em que vivíamos. Sou ainda favorável à anistia e pela pacificação da família brasileira” (O GLOBO, 6 de abril de 1945).
+1946 – Fotografou a realização da Assembleia Nacional Constituinte de 1946.
+1947 – Fazendo a cobertura do Circuito da Gávea de automobilismo, foi um dos fotógrafos agredidos pela polícia (O Jornal, 22 de abril de 1947, segunda coluna).
+ 
+O Jornal, 22 de abril de 1947
+ 
+Pela primeira vez, fotos de sua autoria foram publicadas na revista O Cruzeiro, também dos Diários Associados. Foi na reportagem Energia para o Nordeste, de Theophilo de Andrade (1903 – 1994) (O Cruzeiro, 12 de julho de 1947).
+1948 -O Diário da Noite foi um inovador na fotografia, publicando, inicialmente clichês de 6 a 8 colunas, e, posteriormente, alcançando sucesso com as fotos colhidas pela teleobjetiva de Angelo Regato, que a usou pela, primeira vez, no dia 4 de Julho de 1948, no Torneio Início do Campeonato Carioca de Futebol (Diário da Noite, 5 de julho de 1948, página 11 e página 28).
+ 
+Foto realizada por Regato com uma teleobjetiva / Diário da Noite, 4 de julho de 1948
+ 
+Antes, os fotógrafos de futebol ficavam alojados atrás do gol, sujeitos a pedradas dos torcedores e impossibilitados de variar a produção de imagens. Regato havia participado da cobertura jornalística de um eclipse solar, em Bocaiuva, no interior de Minas Gerais, em maio de 1947 (O Jornal, 21 de maio de 1947). Ele usava sua Contessa Nettel e observou um colega norte-americano trabalhando com uma teleobjetiva Garflex. Foi quando decidiu adquirir a sua, que comprou, à prestação, na Mesbla (O GLOBO, 1º de março de 1962; Boletim da ABI, de 1975).
+1949 – Passou a morar no Méier. Nesta época, o futuro colunista social, Ibrahin Sued (1924 – 1995), era seu ajudante.
+1950 – Em 6 de abril de 1950, fez, de um teco-teco, fotos do descarrilamento do Noturno Campista sobre a ponte do Rio Tanguá. Os registros foram publicados no Diário da Noite. Considerava essa uma de suas melhores coberturas jornalísticas.
+É de sua autoria a primeira foto do Maracanã lotado, durante um treino da seleção brasileira para a Copa de 1950. Jogou contra o quadro de aspirantes do Vasco da Gama reforçado por profissionais do time (Diário da Noite, 19 de junho de 1950).
+ 
+Diário da Noite, 19 de junho de 1950
+ 
+1952 - Tornou-se chefe do Departamento de Fotografia dos Diários Associados, cargo que exerceu até 1975 (O GLOBO, 30 de setembro de 1987).
+“Comandava uma equipe de 35 profissionais, que trabalhavam 24 horas por dia. Atendíamos aos jornais da rede e ao departamento de publicidade. Os fotógrafos vibravam quando iam aos concursos de miss”.
+1954 – Participou da cobertura da Copa do Mundo de 1954 na Suíça (Jornal do Sports, 10 de março de 1977, penúltima coluna).
+1956 – Foi um dos fundadores da Associação de Repórteres Fotográficos do Rio de Janeiro, cuja iniciativa foi apoiada por Herbert Moses (1884 – 1972), presidente a Associação Brasileira de Imprensa (ABI), onde, até ter sede própria, a associação de fotógrafos funcionou.
+1957 - Levou o fotógrafo Evandro Teixeira (1935 – 2024), recém chegado ao Rio de Janeiro até a redação do Diário da Noite. Os dois jornais eram sediados no mesmo edifício da rua Sacadura Cabral, nº 103, na Praça Mauá. Não havia vaga disponível naquele momento, mas, no ano seguinte, Evandro começou a fotografar para o Diário da Noite e a produzir registros para O Jornal. Seus dois primeiros trabalhos no Diário da Noite não deram certo: fotografou, com uma Rolleiflex fornecida pelo jornal, o casamento de uma alemã com um negro, apesar da orientação racista do jornal. Foi demitido pelo diretor do jornal, o mineiro Paulo Vial Correa (1919 – 1975). Angelo Regato deu uma segunda chance a ele: fotografar o desfile de fantasias do Baile do Teatro Municipal, mas Evandro chegou atrasado e Regato teve que providenciar as fotos da revista O Cruzeiro sem o carimbo. Veio então a sua terceira, que seria sua última chance: fazer a cobertura do desfile das escolas de samba na Avenida Rio Branco. Foi um sucesso e Evandro finalmente iniciou sua carreira profissional no Rio de Janeiro, tornando-se um dos maiores fotojornalistas brasileiros de todos os tempos.
+ 
+“O Angelo Regato realmente foi uma pessoa maravilhosa, devo muito a ele que logo me apresentou ao diretor de redação”.
+Evandro Teixeira em Arfoc
+1959 – Participou da cobertura do Campeonato Sul-Americano de Futebol, realizado em Buenos Aires entre 7 de março de 4 de abril de 1959. Participaram da disputa sete seleções: Argentina, campeã do torneio; Bolívia, Brasil, Chile, Paraguai, Peru e Uruguai. O jornalista Armando Nogueira (1927 – 2010), pelo Jornal do Brasil; e o fotógrafo Ângelo Gomes (19? -?), pelo Jornal dos Sports, também participaram da cobertura do evento (Jornal do Brasil, 3 de julho de 1994, segunda coluna).
+1968 – Era um dos dirigentes da Associação de Repórteres Fotográficos do Rio de Janeiro. Pelo menos até 1979 integrava a entidade, pela qual foi condecorado com o título de comendador (O GLOBO, 16 de fevereiro de 1968; Jornal do Commercio, 9 de fevereiro de 1979, penúltima coluna; Jornal do Commercio, 1º de outubro de 1993, penúltima coluna).
+ 
+Na foto, Regato é o primeiro à direita / O GLOBO, 16 de fevereiro de 1968
+ 
+1970 – Foi noticiado que um retrato de Regato seria inaugurado na sede da Associação de Repórteres Fotográficos e Cinematográficos do Estado do Rio, cujo presidente era Walter Quirino (1? -?) (Jornal do Commercio, 15 de janeiro de 1970, quarta coluna).
+Foi homenageado, no Palácio do Comércio, em Niterói, recebendo das mãos de Moacyr Moreira Leite, presidente da Associação Comercial e Industrial do Estado do Rio de Janeiro, um diploma da Associação de Repórteres Fotográficos e Cinematográficos do Estado do Rio, fundada no ano anterior. Regato era um dos fundadores da associação congênere da Guanabara (O Jornal, 22 de março de 1970, primeira coluna).
+ 
+
+O Jornal, 22 de março de 1970
+ 
+Em 13 de maio de 1970, foi um dos profissionais condecorados com as insígnias do Mérito Jornalístico, da Ordem dos Velhos Jornalistas, em uma solenidade realizada na Associação Brasileira de Imprensa. Os outros  foram Dinah Silveira de Queiroz (1911 – 1982), Carlos de Souza Areas, Fernando Hupsel de Oliveira (19? -?), Alceu de Amoroso Lima (1893 – 1983), Raul Pilla (1892 – 1973), Gomes Maranhão (1907 – 1992), Antônio Herrera Filho (c. 1911 – 1980), Alberto Torres e Archimedes Fortini (18? – 1973). Na ocasião, Regato foi apresentado como o primeiro repórter a usar a teleobjetiva na imprensa brasileira. A Medalha do Mérito Jornalístico foi instituída pela Ordem dos Velhos Jornalistas e reconhecida oficialmente  pelo Decreto n° 52.206, de 28 de junho de 1963 (Jornal do Commercio, 14 de maio de 1970, quarta coluna). Pela conquista da Medalha, foi homenageado por colegas de A Notícia e de O Dia (O Jornal, 22 de maio de 1970, segunda coluna).
+Integrava a equipe dos Diários Associados responsável pela cobertura jornalística da Copa Mundial de Futebol do México (O Jornal, 17 de abril de 1970).
+Publicação da reportagem A bola é redonda para a família Antunes, de Yata Anderson (1944 – 2026), com fotos de autoria de Regato. Da família, fazia parte os jogadores Edu (1947 -), Nando (19?-), Antunes (19?-) e Zico (1953-). Yata foi o único repórter a entrevistar Pelé em campo no seu último jogo no Maracanã, em 1974, e por isso, ficou conhecido como o Amigo do Rei (O Jornal, 7 de novembro de 1970).
+1971 – O Diário da Noite Futebol Clube, clube dos Diários Associados, promoveu, no Social Marabu, no Encantado, um torneio de futebol de salão denominado Angelo Regato, em homenagem ao fotógrafo (O Jornal, 27 de novembro de 1971, primeira coluna).
+1975 - Devolveu sua Leika e aposentou-se, em 1º de maio de 1975, encerrando sua carreira no Jornal do Commercio, após 46 anos de trabalho. Era, então, o mais antigo repórter fotográfico em atividade do Rio de Janeiro (Boletim da ABI, março e abril de 1975). Continuou exercendo atividades como profissional independente e visitava ocasionalmente seus amigos nas redação do Jornal do Commercio.
+ 
+Angelo Regato / Boletim da ABI, março/abril de 1975
+ 
+1982 – Foi um dos fotógrafos contatados pelo Núcleo de Fotografia da Funarte para dar um depoimento acerca de seu trabalho de fotógrafo de copas do mundo. Na época, a Funarte estava promovendo em sua galeria a exposição Fotografias nas Copas do Mundo. Segundo Regato, os fotógrafos ficavam, normalmente, atrás do gol  (O GLOBO, 9 de junho de 1982).
+1987 – Foi entrevistado pelo jornal O GLOBO (O GLOBO, 30 de setembro de 1987).
+ 
+
+ 
+1993 - Faleceu, em 30 de setembro de 1993, em sua residência, na Rua Domingues Freire, no Méier, vítima de um enfarte (Jornal do Commercio, 1º de outubro de 1993, penúltima coluna; Boletim da ABI, de setembro/outubro de 1993, segunda coluna).
+ 
+Jornal do Commercio, 1º de outubro de 1993
+ 
+ 
+Andrea C.T. Wanderley
+Editora e pesquisadora da Brasiliana Fotográfica
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/11928` — `itens/20.500.12156.1_11928/`
+
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+---
+id: 44802
+url: "https://brasilianafotografica.bn.gov.br/?p=44802"
+titulo: "Gioconda Rizzo: além do pioneirismo, por Joanna Barbosa Balabram"
+autor: "Andrea Wanderley"
+data: "2026-05-27T10:05:14+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/14424", "20.500.12156.1/14423"]
+fetched_at: "2026-09-10T10:23:48.143Z"
+---
+
+# Gioconda Rizzo: além do pioneirismo, por Joanna Barbosa Balabram
+
+Gioconda Rizzo: além do pioneirismo
+Joanna Balabram*
+ 
+Gioconda Rizzo é frequentemente apresentada como a primeira mulher a manter um estúdio fotográfico próprio na cidade de São Paulo. O pioneirismo, sem dúvida, ajuda a inscrevê-la na história da fotografia brasileira. Mas também pode funcionar como um limite: transforma uma trajetória complexa em uma exceção curiosa, quase isolada no tempo.
+Ao pesquisar por Gioconda Rizzo no Google, as primeiras referências à fotógrafa reiteram justamente essa condição de pioneira. No entanto, ao buscar “quem foi a primeira fotógrafa do Brasil?”, o mecanismo de busca corrige automaticamente a palavra “fotógrafa” para “fotografia” e responde outra pergunta: “qual foi a primeira fotografia feita no Brasil?”. Curiosamente, o mesmo não acontece quando se pesquisa “quem foi o primeiro fotógrafo do Brasil?”. Esse pequeno equívoco do sistema de buscas do Google aponta para uma dificuldade histórica em reconhecer mulheres como produtoras de imagens, e não apenas como objetos de representação. Recuperar a história dessas mulheres é fundamental, mas isso não basta quando elas continuam sendo apresentadas na narrativa histórica como casos excepcionais, pioneiras isoladas, em suma, exceções. A historiadora da arte Linda Nochlin, em seu artigo seminal Por que não houve grandes mulheres artistas?, chamou atenção para esse mecanismo ao discutir como mulheres artistas são frequentemente apresentadas como exceções extraordinárias dentro da história da arte. Em vez de transformar a narrativa histórica, muitas vezes elas acabam inseridas nela apenas como figuras raras, quase deslocadas de seu próprio contexto. Deste modo, esse mecanismo não questiona por que tantas trajetórias femininas foram apagadas, mas frequentemente reforça o mito do “gênio” artístico (quase sempre associado a figuras masculinas) e transforma mulheres em exceções dentro de uma narrativa que continua sendo predominantemente masculina.
+Voltando para a fotógrafa Gioconda Rizzo, não apenas como “a primeira”, mas como uma mulher que atuou dentro de redes, contextos sociais, históricos e construções visuais específicas de seu tempo, interessa destacar aspectos de sua trajetória comuns a muitas mulheres que atuaram no campo fotográfico nas primeiras décadas do século XX. Afinal, a experiência feminina no campo fotográfico existia antes de uma mulher poder ter seu próprio estúdio ou assinar suas fotografias[1].
+Na história da arte a herança familiar de um ofício frequentemente aparece como um facilitador na trajetória de artistas mulheres. No caso de Gioconda, o estúdio fotográfico de seu pai, Michelle Rizzo, funcionava inicialmente no mesmo edifício em que a família Rizzo residia. A proximidade cotidiana com o estúdio e o interesse de Gioconda pela fotografia foram fundamentais para sua formação profissional.  Ela atuava não apenas na tomada das imagens, mas também no laboratório e retoques fotográficos.
+O Ateliê Rizzo, ou Photographia Central, como também era conhecido, funcionava como uma empresa familiar, envolvendo diferentes membros da família em etapas variadas do trabalho, desde o atendimento e a preparação das poses, até o laboratório, os retoques e finalização das fotografias. Com o aprimoramento de Gioconda na técnica fotográfica, seu pai Michelle abriu para a filha um estúdio próprio: o Photo Femina.[2]
+Tanto o Photographia Central como o Photo Femina ficavam localizados na Rua Direita, região central da cidade de São Paulo e importante espaço de circulação e consumo da elite paulistana naquele período. Diferentemente dos outros estúdios fotográficos, o Photo Femina dedicava-se exclusivamente ao retrato de mulheres e crianças. Essa especialização também respondia a uma exigência moral da época, já que não era considerado apropriado que uma mulher permanecesse sozinha com um homem em um ambiente fechado.  Deste modo, o estúdio atendia a uma demanda por retratos femininos ao mesmo tempo em que preservava sua reputação moral.
+A vigilância sobre a conduta feminina era tão importante que todas as sessões fotográficas eram supervisionadas por Giuseppina Rizzo, a mãe de Gioconda. A proximidade entre o Photo Femina e o estúdio do pai facilitava esse controle. Mesmo tendo seu próprio estabelecimento, Gioconda ainda precisava atuar dentro de condições bastante diferentes daquelas vividas por fotógrafos homens. O lucro obtido com a atividade do estúdio, por exemplo, permanecia sob administração paterna, o que limitava sua autonomia financeira. Ainda assim, essa foi uma experiência possível para uma mulher branca de classe média ter um estúdio fotográfico no início do século XX.
+As restrições que atravessavam a experiência profissional de Gioconda Rizzo também faziam parte de uma condição mais ampla da experiência feminina na modernidade. Como observa a historiadora da arte Griselda Pollock em A Modernidade e os espaços de feminilidade, a vivência das mulheres na cidade moderna ocorria de maneira distinta da masculina, marcada por limites de circulação, vigilância moral e acesso restrito aos espaços públicos. Enquanto a figura masculina moderna era frequentemente associada à liberdade de observar e ocupar a cidade, as mulheres precisavam constantemente negociar sua presença nesses espaços.
+Nas primeiras décadas do século XX, a expansão dos estúdios fotográficos nas grandes cidades esteve diretamente ligada às transformações da vida urbana e à consolidação de novos hábitos sociais e à uma cultura visual moderna. As mulheres também participaram dessas mudanças, experimentando novas formas de se apresentar diante da câmera e também de atuar como produtoras de imagens, atrás da câmera. O estúdio Photo Femina funcionava como esse lugar intermediário entre o público e o privado onde foi possível colocar em prática esses novos modelos. Voltado exclusivamente para mulheres e crianças, o estúdio oferecia um ambiente considerado socialmente seguro para suas clientes, ao mesmo tempo, as imagens produzidas por Gioconda revelavam mudanças na representação feminina: poses menos rígidas, enquadramentos mais próximos, tecidos leves, ombros à mostra e uma atmosfera de intimidade pouco comum nos retratos tradicionais de estúdio.
+A seguir estão dois retratos de Wanda Massucci produzidos por Gioconda Rizzo em diferentes períodos. No primeiro retrato, Wanda ainda era uma criança e, em função disso, destaca-se nessa imagem o tecido translúcido que escorrega do ombro para o braço dela trazendo uma sensualidade sutil. A luz difusa e o foco suave criam a atmosfera de uma figura etérea prestes a desaparecer na vinheta que se forma no fundo. O enquadramento em plano americano aproxima a retratada do espectador e a composição estabelece dois pontos de destaque: a menina no centro e o bouquet quase encaixado no canto inferior direito. Ela parece relaxada e confortável diante da câmera que ela encara.
+ 
+Gioconda Rizzo. Wanda Massucci, 1904. São Paulo, SP / Acervo IMS 
+ 
+Em seguida vemos Wanda no início da juventude, enquadramento em plano fechado, rosto de perfil e olhar suave para fora da imagem. Em destaque no centro, o colar e o brinco. O ombro, parte das costas e nuca à mostra contrastam com o tecido que ganha a cor azul na pintura sobre a fotografia. O tom rosado da pele do rosto e dos lábios transmitem uma atmosfera de sensualidade.
+ 
+Gioconda Rizzo. Wanda Massucci, década de 1920. São Paulo, SP / Acervo IMS
+ 
+Nas duas fotografias não há apenas o registro da menina ou da jovem Wanda, mas uma construção visual produzida na relação entre fotógrafa e retratada. E é esse o aspecto de destaque dessas fotografias, uma experiência compartilhada entre mulheres. Se a visualidade moderna na virada do século XIX para o XX foi amplamente construída a partir do olhar masculino sobre os corpos femininos (como nas pinturas Olimpya e Almoço na relva, de Édouard Manet, Les Demoiselles d’Avignon, de Pablo Picasso, e a fotografia O violino de Ingres, de Man Ray), as fotografias de Gioconda Rizzo sugerem que havia outras formas de representação do corpo feminino.
+A trajetória de Gioconda revela não apenas os limites impostos às mulheres que atuavam no campo fotográfico nas primeiras décadas do século XX, mas também as negociações e possibilidades que permitiram sua presença nesse espaço. Mais do que uma exceção isolada na história da fotografia brasileira, Gioconda Rizzo pode ser entendida como parte de uma experiência da modernidade que foi eclipsada. Talvez o desafio atual não seja apenas recuperar o nome dessas mulheres, mas também criar formas de narrar suas trajetórias sem reduzi-las apenas à condição de “pioneiras” ou exceções de talento extraordinário.
+Este artigo é inédito e tem como base a dissertação de mestrado de autoria de Joanna Barbosa Balabram, intitulada Gioconda Rizzo: vestígios de uma trama fotográfica, defendida em dezembro de 2025 no Programa de Pós-Graduação em História da Arte da Universidade do Estado do Rio de Janeiro, com apoio da CAPES, sob orientação da Prof.ª Dr.ª Fernanda Pequeno.
+ 
+[1] Para mais informações sobre o assunto consultar o artigo COSTA, Helouise. No limite da invisibilidade: mulheres fotógrafas no Brasil na primeira metade do século XX. In: COSTA, Helouise; ZERWES. Erika. Mulheres Fotógrafas / Mulheres Fotografadas: fotografias e gênero na América Latina. São Paulo: Intermeios, 2021. Disponível em: <https://repositorio.usp.br/item/003072112>. Acesso em: 10 mai. 2026
+[2] O estúdio Photo Femina funcionou aproximadamente entre 1914 e 1918. O fechamento do estúdio ocorreu após o irmão mais velho de Gioconda, Vicente, contar ao pai, Michelle Rizzo, que o espaço estava sendo frequentado por cortesãs. Após o fechamento de seu estúdio, Gioconda volta a trabalhar no Ateliê Rizzo, ainda fotografando apenas mulheres e crianças.  A cronologia completa de Gioconda Rizzo está disponível na Brasiliana: https://brasilianafotografica.bn.gov.br/?p=28653
+ 
+*Joanna Balabram é mestre em História da Arte pela UERJ e curadora assistente na coordenadoria de Fotografia do Instituto Moreira Salles, onde atua na organização e processamento de coleções de fotografia do século XIX.
+ 
+Referências:
+COSTA, Helouise. No limite da invisibilidade: mulheres fotógrafas no Brasil na primeira metade do século XX. In: COSTA, Helouise; ZERWES. Erika. Mulheres Fotógrafas / Mulheres Fotografadas: fotografias e gênero na América Latina. São Paulo: Intermeios, 2021. Disponível em: <https://repositorio.usp.br/item/003072112>. Acesso em: 10 mai. 2026
+IBRAHIM, Carla J. As retratistas de uma época: fotografas de São Paulo na primeira metade do século XX. Dissertação de mestrado, Instituto de Artes, Universidade Estadual de Campinas, 2005. Disponível em: < https://repositorio.unicamp.br/acervo/detalhe/359360 >. Acesso em: 9 mai. 2026.
+NOCHLIN, Linda. Por que não houve grandes artistas mulheres? ArtNews, 1971.
+POLLOCK, Griselda. A modernidade e os espaços da feminilidade. (1988). In: PEDROSA, Adriano; CARNEIRO, Amanda;
+MESQUITA, André (org.). História das Mulheres, histórias feministas: Antologia. MASP: São Paulo, 2019
+WANDERLEY, Andrea C.T. No Dia Internacional da Fotografia, fotógrafas pioneiras no Brasil in Brasiliana Fotográfica, 19 de agosto de 2022. Disponível em: <https://brasilianafotografica.bn.gov.br/?p=26902>. Acesso em: 29 abr. 2026.
+ 
+Breve perfil de Gioconda Rizzo (1897 – 2004)
+Andrea C. T. Wanderley*
+ 
+Foto de autoria de Gioconda Rizzo,19?. São Paulo, SP / Acervo IMS
+ 
+“Fotografia é uma coisa maravilhosa, que a gente tira o retrato quando era criança e depois quando é velho está vendo a figura dele quando era criança, é uma coisa maravilhosa. É muito bonito!”
+Gioconda Rizzo, 2002
+Autorretrato de Gioconda Rizzo, 1913. As retratistas de uma época: fotógrafas de São Paulo na primeira metade do século, por Carla Ibrahim, página 35.
+ 
+O avô da paulistana Gioconda Rizzo (1897 – 2004), Vincenzo Rizzo, já se encontrava em São Paulo, em 1887, e era fabricante de cerveja (L´Italia, 21 de maio de 1887, quarta coluna). Seu filho e pai de Gioconda, Michelle (Miguel) Rizzo (1869 – 1929), sofreu um acidente que afetou seus olhos. Foi para a Itália se tratar, sem sucesso, e lá aprendeu fotografia com B. Lauro, retratista da família real italiana.
+Já de volta ao Brasil, Michelle inaugurou, em 10 de março de 1892, a Photographia Central, na Rua Direita nº 55, em São Paulo (O Estado de São Paulo, de 10 de março de 1892, página 1, antepenúltima coluna).
+ 
+O Estado de São Paulo, 10 de março de 1892
+ 
+O Estado de São Paulo, 15 de maio de 2012
+ 
+Em um anúncio veiculado pelo Fanfulla, de 8 de agosto de 1896, página 4, Michelle anunciava-se como proprietário da primeira photografia italiana no Brazil. Em 1906, estava na relação de fotógrafos italianos que atuavam em São Paulo (Il Brasile e gli Italiani, 1906, página 1165).
+ 
+Michelle Rizzo, do Acervo da Família Rizzo / As retratistas de uma época: fotógrafas de São Paulo na primeira metade do século, por Carla Ibrahim, página 36
+ 
+Cartão de Boas Festas do ateliê de Michelle Rizzo, 1906. São Paulo, SP / Entre o estúdio e a rua: a trajetória de Vincenzo Pastore, fotógrafo do cotidiano, por Fabiana Beltramin, página 86 / Coleção de Rubens Fernandes Junior
+ 
+Foi com ele, seu grande incentivador, que Gioconda iniciou seus experimentos em fotografia, tendo sido a primeira mulher a ter um estabelecimento fotográfico, em São Paulo, a Photo Femina, aberto em 1914. Desde a adolescência Gioconda só enxergava com o olho direito. Sempre foi apaixonada por fotografia e aos 12 anos tirou um autorretrato e também fotografou uma amiga:
+ 
+Autorretrato de Gioconda Rizzo, 1912, do Acervo da Família Rizzo / As retratistas de uma época: fotógrafas de São Paulo na primeira metade do século, por Carla Ibrahim, página 39
+ 
+“Eu comecei a tirar foto de mim mesma… então meu pai quando viu aquela chapa… a primeira coisa que fiz… viu a chapa… disse: “Quem foi que fez isso?” “Fui eu papai”; ele disse: “Ihhhh! Esta vai me passar a perna!”
+ Depoimento de Gioconda Rizzo a Carla Ibrahim. São Paulo, setembro de 2002.
+ 
+Michelle muitas vezes viajava para o interior, de onde enviava fotografias para processamento, retoque e finalização em São Paulo. Quando estava ausente, seu filho Armando (1894 – 19?) cuidava dos negócios. Gioconda trabalhava com o irmão e participava desde a recepção e ambientação dos clientes no ateliê até o trabalho de revelação e acabamentos, como retoques e acondicionamento das fotos em álbuns, molduras ou estojos. Conhecia e dominava todas as etapas do processo fotográfico.
+Em 1914, Michelle abriu para Gioconda o ateliê Femina, também na Rua Direita, número 8A, perto do seu, que ficava, então, na mesma rua, no número 10 C. O Femina atendia somente crianças e mulheres, pois, na época, não era adequado que uma mulher ficasse sozinha na presença de homens. Mesmo com essa restrição, a mãe de Gioconda, Giuseppina, sempre a acompanhava em  suas sessões fotográficas.
+“Fui a primeira fotógrafa a se especializar em fotos assim. Fotografei, então, muitas mulheres de barões do café e muitas atrizes. Todas gostavam de minha maneira de fazer as fotos porque eu enfocava só meio corpo, realçando o rosto e usando tapetes nas paredes para servirem de fundo”.
+Gioconda Rizzo, Folha de São Paulo, 12 de abril de 1982
+ 
+Ainda em 1914, na revista A Cigarra, edição de 31 de dezembro, na seção “A Formiga”, foi publicada uma fotografia de autoria de Gioconda Rizzo com a assinatura do ateliê Femina.
+ 
+Fotografia de Wanda Massucci (a maior), de autoria de Gioconda Rizzo / A Cigarra, 31 de dezembro de 1914
+ 
+Para criar diferentes figurinos e cenários, Gioconda possuia em seu estúdio almofadas, banquinhos, diversas cadeiras, colunas de mármore, estátuas de cães, laços, sombrinhas, véus, e outros objetos e adereços. Fazia também uso de uma balança para fotografar bebês, como sua filha, Wanda Pasqualucci (1926-), retratada, em 1926, na foto abaixo.
+ 
+Wanda Pasqualucci, 1926, fotografada por sua mãe, Gioconda Rizzo, do Acervo da Família Rizzo / As retratistas de uma época: fotógrafas de São Paulo na primeira metade do século, por Carla Ibrahim, página 46
+ 
+Criava poses que descontraíssem suas clientes, que tinham uma tendência a ficar muito sérias na hora da foto. Buscava em seus retratos a beleza, a sensualidade. Criava uma atmosfera de sonho, romântica. Suas retratadas sorriam, deixavam ombros e colos muitas vezes desnudos e os cabelos soltos, sem chapéus, enfeitados com flores.
+Gioconda participou, trabalhando no pavilhão Gradisca, da quermesse realizada no parque da avenida Paulista, promovido pela sub-comissão italiana do bairro da Consolação para socorrer as famílias dos reservistas que haviam partido para a Itália (Correio Paulistano, 19 de julho de 1915, segunda coluna).
+Em torno de 1916, Michelle trouxe da Itália o flash de magnésio que possibilitava a captação de poses mais rapidamente, o que facilitava enormemente fotografar crianças. Uma vez, Gioconda sofreu uma queimadura na mão direita quando utilizava a nova ferramenta. Também por volta deste ano, seu irmão, Vicente, descobriu que o ateliê Femina recebia cortesãs francesas e polonesas e contou para Michelle, que decidiu fechá-lo. Gioconda voltou a trabalhar com seu pai e seu irmão, Armando Rizzo. Passaram a produzir fotografias coloridas a óleo e a fazer fundos de paisagens aplicadas nas chapas. Também produziam muitas fotos de formaturas de escolas e faculdades.
+Em 1926, Gioconda casou-se com o comerciante Onofre Pasqualucci (c. 1898 – 1935) e, no mesmo ano, nasceu sua única filha, Wanda.
+ 
+Gioconda Rizzo
+ 
+Em 1931, devido à crise financeira deflagrada pela quebra da Bolsa de Valores de Nova York, a família Rizzo fechou, após cerca de 40 anos de funcionamento, o ateliê da Rua Direita, e abriu outro na Rua Líbero Badaró, 63, chefiado por Armando. Nesse mesmo ano, Gioconda fotografou a Miss Universo, Yolanda Pereira (1910 – 2001).
+ 
+A Miss Universo Yolanda Pereira fotografada por Gioconda, em 1931, do Acervo da Família Rizzo / As retratistas de uma época: fotógrafas de São Paulo na primeira metade do século, por Carla Ibrahim, página 69
+ 
+Ela aprendeu as técnicas de fotografias fundidas em esmalte para joias com o fotógrafo espanhol Medina, estabelecido no Rio de Janeiro. Adaptou as técnicas à porcelana e passou a produzir fotojoias e decorações tumulares para o ateliê Photo do Carmo, do italiano Sestilio Fiorelli. Instalou em sua casa, no bairro do Cambuci, um ateliê e um forno para a produção das peças, que eram vitrificadas a uma temperatura de 1.000º C.
+ 
+“Essas fotos em porcelana dão muito trabalho e se desenvolvem em várias fases até que se consegue uma película aplicada sobre a louça. Queima-se então a uma temperatura de 1000 graus e está pronta”.
+Gioconda Rizzo, Folha de São Paulo, 12 de abril de 1982
+ 
+Fotos em porcelana de autoria de Gioconda Rizzo,19?. São Paulo, SP / Acervo IMS
+ 
+Em 14 de junho de 1935, Gioconda ficou viúva e foi com a fotografia em porcelana que sobreviveu com sua filha. Aposentou-se na década de 60.
+ 
+O Estado de São Paulo, 15 de junho de 1935
+ 
+Cinco décadas mais tarde, entre 12 e 30 de abril de 1982, houve uma exposição de parte de sua obra na Galeria Fotoptica, em São Paulo: 20 fotos em papel, 15 em porcelana e algumas coloridas a óleo.
+Faleceu em 22 de março de 2004, pouco antes de completar 107 anos, e foi sepultada no Cemitério da Consolação.
+Uma curiosidade: a capa do livro Anarquistas, Graça a Deus, da escritora Zélia Gattai (1916 – 2008), foi ilustrada com uma foto da família Da Col – Gattai, de autoria de Gioconda.
+Abaixo, reprodução do texto O real e a representação nos retratos de Gioconda, de autoria da fotógrafa e crítica de arte Stefania Bril (1922 – 1992), publicado em O Estado de São Paulo, de 30 de abril de 1982:
+ 
+
+ 
+Acesse aqui uma entrevista com Gioconda Rizzo para o programa Moviola
+ 
+Gioconda Rizzo fotografada por Maira Soares, em 2003 / Wikipedia
+ 
+Acesse aqui a Cronologia de Gioconda Rizzo (1897 – 2004).
+ 
+*Andrea C. T. Wanderley é editora e pesquisadora da Brasiliana Fotográfica
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/14424` — `itens/20.500.12156.1_14424/`
+- `20.500.12156.1/14423` — `itens/20.500.12156.1_14423/`
+
diff --git a/wordpress/44908-dia-mundial-da-fotografia-19-de-agosto.md b/wordpress/44908-dia-mundial-da-fotografia-19-de-agosto.md
new file mode 100644
index 0000000..bbb77fd
--- /dev/null
+++ b/wordpress/44908-dia-mundial-da-fotografia-19-de-agosto.md
@@ -0,0 +1,66 @@
+---
+id: 44908
+url: "https://brasilianafotografica.bn.gov.br/?p=44908"
+titulo: "Dia Mundial da Fotografia – 19 de agosto"
+autor: "Andrea Wanderley"
+data: "2015-08-19T11:32:34+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: []
+fetched_at: "2026-09-10T10:23:51.416Z"
+---
+
+# Dia Mundial da Fotografia – 19 de agosto
+
+A data escolhida para a comemoração do Dia Internacional da Fotografia ou Dia Mundial da Fotografia tem sua origem no ano de 1839, quando, em 7 de janeiro, na Academia de Ciências da França, foi anunciada a descoberta da daguerreotipia, um processo fotográfico desenvolvido por Joseph Nicèphore Niépce (1765-1833) e Louis Jacques Mandé Daguerre (1787-1851). Cerca de sete meses depois, em 19 de agosto, durante um encontro realizado no Instituto da França, em Paris, com a presença de membros da Academia de Ciências e da Academia de Belas-Artes, o cientista François Arago, secretário da Academia de Ciências, explicou o processo e comunicou que o governo francês havia adquirido o invento, colocando-o em domínio público e, dessa forma, fazendo com que o “mundo inteiro” tivesse acesso à invenção. Em troca, Louis Daguerre e o filho de Joseph Niépce, Isidore, passaram a receber uma pensão anual vitalícia do governo da França, de seis mil e quatro mil francos, respectivamente.
+A velocidade com que a notícia do invento do daguerreótipo chegou ao Brasil é curiosa: cerca de 4 meses depois do anúncio da descoberta, foi publicado no Jornal do Commercio, de 1º de maio de 1839, sob o título “Miscellanea”, na segunda coluna, um artigo sobre o assunto – apenas 10 dias após de ter sido o tema de uma carta do inventor norte-americano Samuel F. B. Morse (1791 – 1872), escrita em Paris em 9 de março de 1839, para o editor do New York Observer, que a publicou em 20 de abril de 1839.
+ 
+Câmara de daguerreótipo Succe Frères, de 1839 / Westlicht Photography Museum, em Viena, na Áustria
+ 
+Um daguerreótipo consiste em uma imagem única e positiva, formada diretamente sobre placa de cobre, revestida com prata e, em seguida, polida e sensibilizada por vapores de iodo. Depois de exposta na câmera escura, a imagem é revelada por vapores de mercúrio e fixada por uma solução salina.
+ 
+O ateliê do artista: um daguerreótipo realizado, em 1837, pelo inventor do processo, Louis Jacques Mandé Daguerre / Sociedade Francesa de Fotografia
+ 
+Para comemorar a data, a Brasiliana Fotográfica apresenta a seus leitores um glossário de técnicas e processos fotográficos do século XIX, adaptado de sua publicação original no catálogo da exposição “Panoramas: a paisagem brasileira na coleção Moreira Salles”, em 2011. As ilustrações são detalhes de fotografias e impressões em processos fotomecânicos que exemplificam cada técnica.
+ 
+Glossário de algumas técnicas e processos fotográficos do século XIX
+ 
+Colotipia
+Processo fotomecânico de impressão introduzido em 1870 e utilizado até hoje em pequena escala. Uma base de metal ou vidro recoberta com gelatina bicromatada é exposta à luz, em contato com um negativo, e produz uma matriz para impressão de imagens em pigmento. O endurecimento e a reticulação da gelatina, em função da exposição à luz, permitem a absorção diferencial de tinta pela matriz correspondente à gradação tonal da imagem fotográfica no negativo e posterior impressão de cópias (em geral utilizadas para ilustrações de publicações ou cartões-postais).
+
+Fotogravura
+Processo de impressão fotomecânica desenvolvido por Henry Talbot em 1850 e aperfeiçoado pelo tcheco Karl Klic em 1879, também conhecido como “heliogravura”. Utiliza a luz para formar uma imagem fotográfica em uma chapa de cobre que, após ser tratada em ácido, recebe tinta e é impressa em papel de algodão. A chapa, recoberta por gelatina bicromatada fotossensível, é texturizada, como uma água-tinta, pelo depósito de grãos de resina. Em seguida, o cobre é mergulhado em sucessivos banhos de ácido, deixando a chapa pronta para ser entintada.
+
+Fotolitografia 
+Processo de impressão litográfica em que o desenho é transferido para a pedra por meio da fotografia. Derivada dos experimentos com substâncias asfálticas, a pedra litográfica era revestida em betume fotossensível e exposta à luz em contato com a matriz fotográfica. A pedra revestida era lavada em terebentina, tingida e impressa, produzindo imagens em meio-tom. Alphonse Poitevin empregou o albúmen dicromatado, que era lavado em água para produzir uma superfície planográfica. O processo foi a base para a transferência fotolitográfica e a cromolitografia. Também levou à fotozincografia, em que se usa uma placa de zinco, posteriormente adaptada à litografia off-set.
+
+Negativo / Colódio Úmido
+Introduzido em 1851 por Frederick Scott Archer. A placa de vidro recebia uma camada de colódio (nitrato de celulose dissolvido em éter e álcool) contendo iodeto de potássio. Em seguida, era imersa num banho de nitrato de prata. A exposição devia ser feita com a placa ainda úmida, e o negativo era revelado imediatamente depois, numa solução ácida de sulfato de ferro, sendo em seguida fixado numa solução de cianeto de potássio. Os primeiros fotógrafos a utilizar esse processo enfrentavam uma série de dificuldades, como o inglês Roger Fenton, que, ao fotografar a Guerra da Crimeia, teve problemas devido à temperatura excessivamente alta, que secava suas placas antes que pudesse fazer os registros.
+
+Negativo / Gelatina
+Introduzido em 1871 pelo inglês R.L.Maddox, era também conhecido como placa seca, em oposição às precedentes placas de colódio úmido, que deviam ser expostas à luz logo após o banho de sensibilização em solução de nitrato de prata. As placas de vidro, emulsionadas com gelatina, eram de manuseio mais fácil, pois podiam ser compradas já pré-sensibilizadas e expostas na câmera diretamente, sem nenhuma intervenção maior do fotógrafo. O preparo das emulsões de gelatina já contendo haletos de prata fotossensíveis para posterior aplicação sobre diversos suportes (vidro, papel, filme flexível) permitiu o desenvolvimento da indústria fotográfica tal qual a conhecemos hoje.
+
+Papel Albuminado
+Introduzido pelo francês Louis Désiré Blanquart-Evrard em 1850, tornou-se o papel mais utilizado em cópias fotográficas até 1890. tem esse nome porque recebia uma camada de albúmen contendo cloreto de sódio e era sensibilizado em seguida com nitrato de prata. Obtido diretamente da clara do ovo de galinha, o albúmen é uma substância composta por várias proteínas e outros constituintes. Forma a camada adesiva transparente que mantém em suspensão sobre a superfície do papel a substância formadora da imagem fotográfica processada, isto é, a prata metálica. Fez sucesso devido a sua superfície bastante uniforme e regular, o que proporcionava uma fineza de detalhes superior à dos papéis usados até então (saltpapers).
+
+Papel de Gelatina e Prata
+Introduzido comercialmente por volta de 1880, permanece em uso desde então. Os dois principais tipos são: aqueles em que a imagem é produzida pela ação direta da luz (printing-out paper); e aqueles em que, após uma exposição de curta duração, a imagem latente é revelada quimicamente (development papers), e que possuem sensibilidade suficiente para permitir ampliações de negativos. Esse fato, no final do século XIX, revolucionou não só a prática de laboratório (não acondicionando mais a produção de cópias exclusivamente à exposição por contato dos negativos originais), como permitiu o desenvolvimento de câmeras e filmes fotográficos de pequeno formato.
+
+Platinotipia
+Processo fotográfico para obtenção de cópias em papel que utiliza sais de ferro fotossensíveis e platina precipitada para a formação da imagem final. A imagem obtida é depositada diretamente sobre as fibras do papel, apresentando uma escala tonal rica e de extrema fineza. É um dos processos fotográficos considerados permanentes.
+______________________________________________________________________________
+ 
+Uma matéria no jornal A Noite Ilustrada, de 21 de março de 1939, registra o centenário da fotografia (A Noite Ilustrada, 21 de março de 1939).
+
+ 
+A Noite Ilustrada, 21 de março de 1939
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Leia aqui os artigos já publicados na Brasiliana Fotográfica sobre o Dia Mundial da Fotografia:
+ 
+Os 180 anos da invenção do daguerreótipo – Pequeno histórico e sua chegada no Brasil, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 19 de agosto de 2019
+Os 180 anos da invenção do daguerreótipo – Os álbuns da Comissão Geológica do Império com fotografias de Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 19 de agosto de 2019
+Autorretratos de fotógrafos – Uma homenagem no Dia Mundial da Fotografia, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 19 de agosto de 2021
+No Dia Internacional da Fotografia, fotógrafas pioneiras no Brasil, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 19 de agosto de 2022
+Dia Mundial da Fotografia, uma retrospectiva de artigos,  de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 19 de agosto de 2023
diff --git a/wordpress/4493-diamantina-chichico-alkmim-1886-1978-e-carlos-drummond-de-andrade-1902-1987.md b/wordpress/4493-diamantina-chichico-alkmim-1886-1978-e-carlos-drummond-de-andrade-1902-1987.md
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+---
+id: 4493
+url: "https://brasilianafotografica.bn.gov.br/?p=4493"
+titulo: "Diamantina, Chichico Alkmim (1886 – 1978) e Carlos Drummond de Andrade  (1902 – 1987)"
+autor: "Andrea Wanderley"
+data: "2016-03-06T03:17:33+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: []
+fetched_at: "2026-09-10T10:23:54.392Z"
+---
+
+# Diamantina, Chichico Alkmim (1886 – 1978) e Carlos Drummond de Andrade  (1902 – 1987)
+
+A Brasiliana Fotográfica homenageia Diamantina, cidade mineira fundada em 6 de março de 1831, com uma seleção de imagens produzidas no século XIX e nas primeiras décadas do século XX. As fotografias do século XIX são de autoria de Augusto Riedel e foram produzidas durante uma expedição pelo interior do Brasil acompanhando a comitiva de D. Luis Augusto Maria Eudes de Saxe Coburgo Gotha e por seu irmão D. Luis Philippe, em 1868.
+Os registros produzidos entre as décadas de 1910 e 1950 são do mineiro Chichico Alkmim (1886 – 1978), autodidata e pioneiro da fotografia em Diamantina. A gestão do acervo do fotógrafo, de 5.549 negativos de vidro, foi transferida para o Instituto Moreira Salles, em 2015. A obra de Chichico, que compreende imagens da arquitetura diamantinense, sua religiosidade, costumes, ritos e retratos de seus habitantes, é uma das principais referências da memória visual de Minas Gerais. Foi o mestre do fotógrafo Assis Horta(1918 – 2018), mineiro de Diamantina, que se tornou conhecido por registrar a classe trabalhadora na era Vargas.
+Além disso, a Brasiliana Fotográfica oferece a seus leitores a crônica Encanto de Diamantina, do poeta e escritor mineiro Carlos Drummond de Andrade (1902 – 1987), publicada no Jornal do Brasil, de 19 de outubro de 1972 (Jornal do Brasil, 19 de outubro de 1972, última coluna).
+ 
+“Encanto de Diamantina”
+Carlos Drummond de Andrade
+De Diamantina se pode dizer o que em Diamantina se diz musicalmente no famoso tim-tim:
+Quem não gosta dela,
+de quem gostará?
+Quem, conhecendo Diamantina, será capaz de não gostar de Diamantina? Mesmo não conhecendo: ouvindo falar. Pois, entre outras excelências, povo de Diamantina é povo que canta, e isto significa riqueza de coração. Canta, sem necessidade de festival de canção, essa psicose do grito que já começa a invadir cidades mineiras.
+À noite, depois do batente – é Aires da Mata Machado Filho que informa – há sempre um barzinho aberto a pessoas de temperamento melódico. Finda a libação mais ou menos discreta – o que depende antes do frio do que da vontade – os cidadãos saem para a rua, providos de violão, clarineta, saxofone, flauta. Saem “cantando à toa”. Pelo prazer de cantar. Depois é que se lembram, aniversário de Fulano? Então vamos lá? Vamos. Em frente à janela fechada de Fulano – fechada, parece, deliberadamente, para o gosto de abrir-se às lufadas de música – a turma bate um castelo. Pode ser noite alta, olha lá a janela se abrindo feliz. Havendo modinha, Diamantina ignora o sono. Acabada a cantoria, pensam que os seresteiros vão dormir? Aí começa a segunda parte, mais íntima, de ternura ou dor-de-cotovelo: eles se dispersam, mas em direção a outras janelas, atrás das quais dormem (ou esperam) suas respectivas amadas. Nesse deambular já de madrugada, os seresteiros voltam a encontrar-se, cruzando os caminhos do sentimento. Assim é a noite em Diamantina: música por todos os lados, abrindo janela e alma, entre o chão e os sobrados. E, em boa parte, música de tradição local, obra de compositores e poetas diamantinenses, conhecidos ou anônimos, que desafiam o tempo.
+O peixe-vivo, marca de Diamantina, que cobre vasta região mineira, conta-nos o mesmo Aires, foi enriquecido de trovas feitas no Rio de Janeiro, por volta de 1939. Manuel Bandeira fez quatro, a primeira delas aproveitada, com variante, na Lira dos Cinquent´anos:
+Vi uma estrela tão alta,
+Vi uma estrela tão fria.
+Estrela, por que me deixas
+sem a tua companhia?
+Vinícius de Morais fez duas por conta própria, e uma de parceria com Pedro Nava. Este, por sua vez, compôs duas e mais uma quintilha. Ouçamos Nava:
+Dom Diniz, o rei poeta,
+derrotou a mouraria
+para merecer um pouco
+dessa tua companhia.
+E Carlos Sá, cearense-mineiro:
+Vivo alegre na tristeza
+vivo triste na alegria,
+no desejo e na saudade
+dessa tua companhia.
+Mas Diamantina não é apenas serenata e coreto. Como nas boas cidades antigas de Minas, tem tesouro escondido, como por exemplo “duas garrafas de ouro e três chifres de diamante”, e quem cavar junto ao córrego Pururuca, atrás do quartel do III BP, é capaz de encontrá-los: segredos de padre, à espera de decifrador. Lendas, festas religiosas e populares que teimam em resistir na medida do possível à descaracterização universal da sociedade mercantil. Igrejas antigas de fino acabamento artístico, sobrados que a gente desejaria ver em pé para sempre, não vá o progresso arrasá-los. Diamantina enfrenta o problema da industrialização. Precisa criar riquezas outras além das que derivam do temperamento amável de seus filhos. Lá se fala agora em incentivos fiscais, energia elétrica, e até já se exporta a flor da sempre-viva para outros países.
+Que Deus conserve Diamantina gostosa, musical e hospitaleira depois que subir nas asas do chamado desenvolvimento. É o voto que faço depois de ler Dias e Noites em Diamantina, livro que o bom Aires acaba de publicar corajosamente em edição de autor, e tão chamativo, tão cheio de graça e apelo sensorial, que dá vontade de sair correndo, e:
+_ Rápido, uma passagem para Diamantina, mas de ida só, porque eu fico por lá!
+ 
+
+Acessando o link para as fotografias de Diamantina disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Pequeno histórico de Diamantina
+A formação de Diamantina está ligada à exploração de diamante e de ouro.  Foi  Jerônimo Gouvêa que, a partir da descoberta de uma grande quantidade de ouro nas confluências do Rio Piruruca e do Rio Grande, deu início à ocupação do território. O povoado, então denominado Arraial do Tejuco, começou a ser formado nas primeiras décadas do século XVIII, sempre seguindo as margens dos rios que eram garimpados. Aos poucos foi surgindo o conjunto urbano de Diamantina. O Arraial do Tijuco emancipou-se do município do Serro, em 1831, e passou a se chamar Diamantina.
+Uma das cidades históricas mais conhecidas e visitadas do Brasil, Diamantina, o Portal do Vale do Jequitinhonha, é  também o ponto inicial da Estrada Real, que levava ouro e diamantes até Paraty, no Rio de Janeiro. A cidade conserva o casario colonial, as edificações históricas e as igrejas seculares. Em 1938, o conjunto arquitetônico de seu centro histórico foi tombado pelo Instituto do Patrimônio Histórico e Artístico Nacional, e, em 1999,  recebeu da Unesco o título de Patrimônio Cultural da Humanidade. Além do patrimônio construído, a cidade possui um rico patrimônio natural e cultural, com uma marcante tradição religiosa, folclórica e musical.
+Foi em Diamantina, na época Arraial do Tijuco, que a escrava alforriada Chica da Silva (c. 1732-1796) viveu. É também a cidade natal do ex-presidente do Brasil, Juscelino Kubitschek (1902-1976).
+ 
+Publicações relacionadas a Chichico Alkmim:
+ 
+Família, texto de Silviano Santiago sobre uma fotografia de autoria de Chichico Alkmim
+O anfitrião de Chichico, por Elvia Bezerra.
+O retratista de Diamantina, por Manya Millen
+ 
+Andrea C. T. Wanderley
+Editora-assistente e pesquisadora do portal Brasiliana Fotográfica
diff --git a/wordpress/44978-missa-campal-de-17-de-maio-de-1888-e-a-descoberta-de-uma-nova-fotografia-por-car.md b/wordpress/44978-missa-campal-de-17-de-maio-de-1888-e-a-descoberta-de-uma-nova-fotografia-por-car.md
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@@ -0,0 +1,111 @@
+---
+id: 44978
+url: "https://brasilianafotografica.bn.gov.br/?p=44978"
+titulo: "Missa Campal de 17 de maio de 1888 e a descoberta de uma nova fotografia por Carlos Lima Junior"
+autor: "Andrea Wanderley"
+data: "2026-05-17T12:08:44+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/1795", "20.500.12156.1/6709"]
+fetched_at: "2026-09-10T10:23:57.596Z"
+---
+
+# Missa Campal de 17 de maio de 1888 e a descoberta de uma nova fotografia por Carlos Lima Junior
+
+Devido à importante e recente descoberta de uma foto inédita da Missa Campal de 17 de maio de 1888, realizada pelo historiador Carlos Lima Junior, professor da Universidade Federal de São Paulo, em seu pós-doutorado, a Brasiliana Fotográfica republica o artigo “Missa Campal de 17 de maio de 1888″, de 17 de maio de 2015, de autoria da pesquisadora e editora do portal, Andrea C.T. Wanderley, que identificou a presença do escritor Machado de Assis no evento, no qual compareceram cerca de 30 mil pessoas. A imagem descoberta por Carlos Lima Junior foi produzida pelo fotógrafo amador Antônio de Barros Araújo, que a ofertou à Princesa Isabel. O registro estava no Castelo d´Eu, na França, onde atualmente funciona o Museu Louis-Philippe. A fotografia deve ser exibida ao público até o fim de 2026, em uma exposição sobre os 200 anos da invenção da fotografia.
+ 
+Antônio Luiz Ferreira. Missa campal celebrada em ação de graças pela Abolição da Escravatura no Brasil, 1888. São Cristóvão, Rio de Janeiro. / Acervo IMS
+ 
+A pesquisadora e editora-assistente da Brasiliana Fotográfica, Andrea Wanderley*, identificou a presença de Machado de Assis na fotografia da Missa Campal de Ação de Graças pela Abolição da Escravatura realizada no dia 17 de maio de 1888, no Campo de São Cristóvão, no Rio de Janeiro. O autor da foto foi Antonio Luiz Ferreira.
+A identificação de Machado de Assis foi confirmada por Eduardo Assis Duarte, doutor em Teoria da Literatura e Literatura Comparada (USP) e professor da Faculdade de Letras da UFMG , que considerou a fotografia um documento histórico da maior importância. Segundo ele, Machado de Assis teve uma “atitude mais ou menos esquiva na hora da foto, em que praticamente só o rosto aparece, dando a impressão de que procurou se esconder, mas sem conseguir realizar sua intenção totalmente. Atitude esta plenamente coerente com o jeito encolhido e de caramujo que sempre adotou em público, uma vez que dependia do emprego público para viver e eram muitas as perseguições políticas aos que defendiam abertamente o fim da escravidão.”
+Eduardo Assis Duarte, que organizou “Machado de Assis afrodescendente” (2007) e a coleção “Literatura e afrodescendência no Brasil: antologia crítica” (2011, 4 vol.), e é coordenador do Literafro – Portal da Literatura Afro-brasileira, justificou a proximidade de Machado da princesa Isabel. Segundo ele, “Machado foi abolicionista em toda a sua vida e, a seu modo, criticou a escravidão desde seus primeiros escritos. Nunca defendeu o regime servil nem os escravocratas. Além disso, era amigo próximo de José do Patrocínio, o grande líder da campanha abolicionista e, junto com ele, foi à missa campal do dia 17, de lá saindo para com ele almoçar… Como Patrocínio sempre esteve próximo da princesa em todos esses momentos decisivos, é plenamente factível que levasse consigo o amigo para o palanque onde estava a regente imperial. A propósito, podemos ler no volume 3 da biografia escrita por Raimundo Magalhães Júnior :
+‘Na manhã de 17 de maio, foi promovida uma grande missa campal, comemorativa da Abolição, em homenagem à Princesa Isabel, que compareceu, e houve em seguida um almoço festivo no Internato do Colégio Pedro II. Terminada a missa, José do Patrocínio foi para sua casa, à rua do Riachuelo, com dois amigos que convidara para almoçar em sua companhia: um deles era Ferreira Viana, ministro da Justiça do Gabinete de João Alfredo. E o outro era Machado de Assis, a quem, aliás, o grande tribuno abolicionista oferecera a carta autógrafa que recebera, em 1884, em Paris, de Victor Hugo.’ (MAGALHÃES JÚNIOR, Vida e obra de Machado de Assis. Rio de Janeiro: Civilização Brasileira / INL-MEC, 1981, vol. 3, Maturidade, p. 125).”
+O biógrafo, continua Eduardo Assis Duarte, “não diz onde estava Machado durante a missa, mas pode-se concluir perfeitamente que ele compareceu e que estava junto a José do Patrocínio. Daí minha conclusão: se a imagem que aparece na foto não for de Machado, é de alguém muito parecido.”
+Segundo Ubiratan Machado, jornalista, escritor, bibliófilo e autor do “Dicionário de Machado de Assis”, lançado pela Academia Brasileira de Letras, a identificação de Machado de Assis na foto foi uma dupla descoberta: “Não há dúvida que se trata do Machado, atrás de um senhor de barbas brancas e mil condecorações no peito. O fato do seu rosto estar um pouco escondido não atrapalha em nada a identificação. É o velho mestre, perto de completar 50 anos. Igualzinho aos dos retratos que conhecemos desta fase de sua vida.  A segunda revelação é a de Machado ter ido à missa de ação de graças, fato até hoje desconhecido pelos biógrafos. A foto tem ainda outra importância: mostrar que ele se preocupava com a libertação dos escravos, acabando de vez com a idiotice de alguns que afirmam ser ele indiferente ao destino da raça negra no Brasil. É a prova visual da alegria embriagadora que ele sentiu com a abolição, como narra em seu conhecido depoimento (Gazeta de Notícias, edição de 14 de maio de 1893, sob o título “A Semana”).
+Machado de Assis participou também, no dia 20 de maio de 1888, do préstito organizado pela Comissão de Imprensa para celebrar a Abolição. Na ocasião, ele desfilou no carro do fundador da Gazeta de Notícias, o Sr. Ferreira de Araújo (1848 – 1900) (Gazeta de Notícias, edição de 21 e 22 de maio de 1888, na última coluna) .  Antes dessas festividades, Machado havia sido agraciado com a Imperial Ordem da Rosa, que premiava civis e militares que houvessem se destacado por serviços prestados ao Estado ou por fidelidade ao imperador.
+Além disso, em 16 de maio, dia anterior à realização da missa campal, Machado de Assis havia participado de uma homenagem prestada pelos empregados da secretaria de Agricultura e repartições anexas ao conselheiro Rodrigo Silva (1833 – 1889), autor e co-assinante da Lei Áurea, ministro dos Negócios da Agricultura e interino dos Negócios Estrangeiros, integrante do Gabinete de 10 de março de 1888, proferindo as seguintes palavras:
+“Todos os vossos empregados que eram vossos amigos agradecidos pela elevação do trato e confiança com que são acolhidos, são hoje vossos admiradores pelo imorredouro padrão de glória a que ligastes vosso nome, referendando a lei que declarou para sempre extinta a escravidão no Brasil” (Gazeta de Notícias, 17 de maio de 1888, na terceira coluna). O conselheiro Rodrigo Silva estava presente à missa campal.
+Machado também foi apontado como um dos funcionários da secretaria de Agricultura que muito fizeram em prol da causa da abolição e que “no silêncio do gabinete …dedicaram-se durante anos a velar com solicitude na defesa dos direitos dos escravos, a tirar das leis de liberdade todos os seus naturais corolários, a organizar e tornar efetiva a emancipação gradual pela ação do Estado, a marcar por laboriosas estatísticas o andamento do problema, a estabelecer hermenêutica sã como reguladora dos casos controversos, a saturar a atmosfera, enfim, de princípios fecundos na sua aplicação prática, firmando o corpo de doutrina e, na realidade, sustentando verdadeira propaganda eficacíssima para a aspiração da liberdade”(Gazeta de Notícias, 18 de maio de 1888, na quarta coluna).
+ 
+Detalhe da foto
+ 
+A Brasiliana Fotográfica convida os leitores a participar do desafio de identificar outras personalidades presentes na foto da solenidade. Abaixo, destacamos na foto e em sua silhueta o grupo em torno da princesa Isabel (1) e do conde D’Eu (2). Machado de Assis é o número 5. Possivelmente o número 7 é José do Patrocínio, atrás de um estandarte e segurando a mão de seu filho, então com três anos. Quem serão os outros?
+ 
+
+ 
+Numeramos alguns dos presentes, mas a identificação de qualquer pessoa que esteja na fotografia é bem-vinda.
+ 
+Um pouco da história da foto
+ 
+A Missa Campal em São Cristóvão, no Rio de Janeiro, em 17 de maio de 1888, foi uma celebração de Ação de Graças pela libertação dos escravos no Brasil, decretada quatro dias antes, com a assinatura da Lei Áurea. A festividade contou com a presença da princesa Isabel, regente imperial do Brasil, e de seu marido, o conde D´Eu, príncipe consorte, que, na foto, está ao lado da princesa, além de autoridades e políticos. De acordo com os jornais da época, foi um “espetáculo imponente, majestoso e deslumbrante”, ocorrido em um “dia pardacento” que contrastava com a alegria da cidade.
+Cerca de 30 mil pessoas estavam no Campo de São Cristóvão. Dentre elas, o fotógrafo Antonio Luiz Ferreira que há muito vinha documentando os eventos da campanha abolicionista brasileira desde suas votações e debates até as manifestações de rua e a aprovação da Lei Áurea. Não se conhece um evento de relevância nacional que tenha sido tão bem fotografado anteriormente no Brasil. No registro da missa campal é interessante observar a participação efetiva da multidão na foto, atraída pela presença da câmara fotográfica, o que proporciona um autêntico e abrangente retrato de grupo. Outra curiosidade é a cena de uma mãe passeando com seu filho atrás do palanque, talvez alheia à multidão, fazendo um contraponto de quietude à agitação da festa.
+Antonio Luiz Ferreira presenteou a princesa Isabel com 13 fotos de acontecimentos em torno da Abolição. A maior parte dessas fotos faz parte da Coleção Princesa Isabel que se encontra em Portugal, conservada por seus descendentes. Ferreira produziu duas fotos das duas missas realizadas em ação de graças pela Abolição. Uma delas, a principal,  intitulada “Missa campal celebrada em ação de graças pela Abolição da escravatura no Brasil”, é a que está aqui destacada e faz parte da Coleção Dom João de Orleans e Bragança. A outra missa foi celebrada pela Irmandade de Nossa Senhora do Rosário e São Benedito dos Homens Pretos. Outros três registros foram feitos por Ferreira no dia 22 de agosto de 1888 e documentaram o retorno do imperador Pedro II ao Brasil. A prova da fotografia da missa campal, que ficou em exposição na papelaria Guimarães & Ferdinando, foi entregue à princesa em junho de 1888 (Diário de Notícias, 9 de junho de 1888, na segunda coluna).
+Ao todo, Antonio Luiz Ferreira fotografou 18 cenas ligadas às celebrações de 1888 e com isso, apesar de ter tido uma carreira discreta, tornou-se um importante fotógrafo do século XIX. As imagens captadas por ele nessas datas tão marcantes da história do Brasil caracterizam-se pela expressividade dos rostos retratados, decorrência da relevância do fato e da fascinação causada pela câmara fotográfica. Também foi responsável por um Álbum de vistas da Biblioteca Nacional, em 1902.
+Ampliando-se a fotografia abaixo clicando em cima dela, vê-se, no alto à esquerda, um anúncio da Photographia Central de Antonio Luiz Ferreira no Largo da Carioca onde está anunciado que trabalhava-se mesmo com mau tempo**:
+ 
+Marc Ferrez. Largo da Carioca com chafariz com 35 bicas, 1895. Rio de Janeiro, RJ / Acervo IMS
+ 
+Acessando o link para a fotografia Missa campal celebrada em ação de graças pela Abolição da Escravatura no Brasil produzida  Antonio Luiz Ferreira,  disponível na Brasiliana Fotográfica, o leitor poderá magnificar a imagem e verificar todos os dados referentes a ela.
+ 
+ 
+Foto inédita da missa campal de 17 de maio de 1888 foi encontrada na França***
+ 
+Em 13 de maio de 2026, foi noticiado que uma foto inédita da missa campal havia sido encontrada na França pelo pelo historiador Carlos Lima Junior, professor da Unifesp (Universidade Federal de São Paulo), em seu pós-doutorado. Ele pesquisou sobre obras brasileiras preservadas no Castelo d´Eu, no norte da França.
+Leia aqui o artigo Foto inédita de missa campal após Lei Áurea é encontrada na França, da Folha de São Paulo, de 13 de maio de 2026:
+ 
+Foto inédita de missa campal após Lei Áurea é encontrada na França
+João Pedro Pitombo
+
+Registro foi produzido em 17 de maio de 1888 por fotógrafo amador e dado de presente à princesa Isabel
+Imagem revela minúcias de ato que exaltou Família Imperial e deixou abolicionistas em segundo plano
+
+Salvador – Uma fotografia esquecida por mais de um século na reserva técnica de um museu no interior da França revela detalhes de um dos momentos mais importantes da história brasileira, cuja narrativa em torno dos seus protagonistas vem sendo disputada ao longo de décadas.
+A imagem é um registro inédito da missa campal realizada em 17 de maio de 1888, quatro dias após a assinatura da Lei Áurea pela princesa Isabel. O ato, que completa 138 anos nesta quarta-feira (13), pôs fim a mais de três séculos de escravidão no Brasil, mas não garantiu direitos nem compensações para a população negra que havia sido escravizada.
+Produzida pelo fotógrafo amador Antônio de Barros Araújo, a imagem tem 49 centímetros de largura por 11,5 de altura. Em plano aberto, mostra uma multidão reunida na praça Pedro 1º, situada no bairro de São Cristóvão, no Rio de Janeiro. Eram cerca de 50 mil pessoas, segundo estimativas dos jornais da época.
+ 
+
+ 
+A foto foi encontrada pelo historiador Carlos Lima Junior, professor da Unifesp (Universidade Federal de São Paulo), em seu pós-doutorado. Ele pesquisou sobre obras brasileiras preservadas no Castelo d´Eu, no norte da França, que abrigou a família imperial no exílio após a proclamação da República.
+“Recebi fotografia ainda um pouco coberta de poeira e logo vi que era um segundo registro, ainda desconhecido, da grande missa que foi feita após a assinatura da Lei Áurea. Apesar de ser uma foto não tão grande de tamanho, ela tem uma importância gigante para a história do país”, afirma Carlos Lima Junior.
+Até então, a principal imagem conhecida da cerimônia era a fotografia de Antônio Luiz Ferreira, que retornou ao Brasil e atualmente faz parte do acervo do Instituto Moreira Salles. Essa fotografia circulou amplamente já no final do século 19 e havia se consolidado como retrato oficial da celebração da abolição.
+A imagem descoberta na França, por outro lado, permaneceu praticamente fora de circulação desde sua produção. Em 1888, o jornal A Gazeta de Notícias mencionou que a foto de Barros Araújo foi dada de presente à princesa Isabel, mas o registro não chegou a ser reproduzido pelo jornal.
+A hipótese mais provável, aponta o pesquisador, é que a fotografia tenha sido incorporada aos pertences pessoais da princesa e enviada à França logo após a queda do Império.
+Os detalhes da descoberta da foto resultaram em um artigo publicado na Revista de História da Arte e da Cultura da Unicamp. No estudo, Carlos Lima Junior mostra como a família imperial teve cuidado em preservar objetos que reforçassem a memória da princesa Isabel como uma espécie de redentora.
+A própria missa teve papel importante nessa construção simbólica. Organizada pela Associação Imprensa Fluminense, a cerimônia religiosa buscava sacralizar o ato de assinatura da Lei Áurea.
+No livro “Flores, Votos e Balas”, Angela Alonso, socióloga e colunista da Folha, destaca que as celebrações da abolição foram transformadas em uma elegia da tradição imperial. Os abolicionistas que aturaram pelo fim da escravidão ficaram em segundo plano.
+O ato explicitava a aliança entre Igreja e Estado, sobretudo no uso do vocabulário religioso para redefinir a princesa como a “redentora”. “Catolicismo e monarquia se apropriavam dos louros da abolição”, disse a autora.
+Entre carruagens e vendedores ambulantes
+Na avaliação de Carlos Lima Junior, a nova foto altera parcialmente a visão consolidada sobre a missa campal. Enquanto a imagem conhecida de Antônio Luiz Ferreira destaca a família imperial, a fotografia de Antônio de Barros Araújo é uma tomada panorâmica que privilegia a dimensão popular do ato.
+O artigo descreve minuciosamente a cena. A foto mostra carruagens espalhadas pelas extremidades da praça, pessoas equilibradas sobre os veículos para enxergar o altar, oficiais montados a cavalo observando a multidão e moradores acompanhando a cerimônia das janelas das casas vizinhas.
+O enquadramento também evidencia desigualdades sociais presentes naquela celebração: embora houvesse grande quantidade de carros e bondes, o transporte não era acessível à maior parte da população. Muitos participantes seguiram a pé até o local.
+A imagem registra ainda personagens anônimos como vendedores ambulantes espalhados pela praça e pessoas que nem sequer observavam a missa.
+Ao mesmo tempo, a foto também evidencia os limites daquela celebração, por encobrir a presença de negros que foram figuras de destaque na luta pela liberdade e os movimentos abolicionistas que impulsionaram o debate sobre o fim da escravidão no Brasil.
+“Ela também nos faz lembrar como foi difícil o dia seguinte, o 14 de maio, para a população que foi escravizada.”
+A fotografia segue preservada no Castelo d’Eu, onde atualmente funciona o Museu Louis-Philippe. A imagem deve ser exibida ao público até o fim deste ano em uma mostra sobre os 200 anos da invenção da fotografia.
+___________________________________________________________________________________________
+ 
+Abaixo, a reprodução da notícia sobre a fotografia da missa campal de autoria do fotógrafo amador identificado como Antonio de Barros Araujo (18? -?), publicada na primeira página da Gazeta de Notícias, de 14 de junho de 1888. Conforme a nota, o registro, “ricamente emoldurado em pelluche de duas cores”,  seria oferecido à Princesa Isabel. Barros Araujo era comerciante na Rua do Ouvidor, nº 74 A (Almanak Administrativo Mercantil e Industrial do Rio de Janeiro, 1885).
+ 
+Gazeta de Notícias, 14 de junho de 1888, terceira coluna
+ 
+Por uma notícia, veiculada na Gazeta da Tarde, de 22 de março de 1884, sabe-se que ele era abolicionista, tendo doado uma saleira de madeira em forma de globo geográfico à Kermesse da Confederação Abolicionista (Gazeta da Tarde, 22 de março de 1884, terceira coluna).
+ 
+Gazeta da Tarde, 22 de março de 1884
+ 
+Leia aqui o artigo Imagem (re)velada: sobre uma fotografia desconhecida da “Missa Campal 17 de maio 1888” no acervo do Musée Louis-Philippe, Castelo d’Eu, de Carlos Lima Junior.
+ 
+Contribuíram para esta pesquisa Elvia Bezerra (IMS) e Luciana Muniz (BN).
+ 
+*O texto desta publicação foi revisto em 15 de maio de 2018.
+**Essa informação foi inserida no artigo em 9 de setembro de 2019.
+*** O artigo sobre a Foto inédita da missa campal de 17 de maio de 1888 foi encontrada na França foi inserido em 13 de maio de 2026.
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/1795` — `itens/20.500.12156.1_1795/`
+- `20.500.12156.1/6709` — `itens/20.500.12156.1_6709/`
+
diff --git a/wordpress/44991-no-dia-mundial-da-fotografia-destaque-para-a-secao-cronologia-de-fotografos-da-b.md b/wordpress/44991-no-dia-mundial-da-fotografia-destaque-para-a-secao-cronologia-de-fotografos-da-b.md
new file mode 100644
index 0000000..6bb1e77
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+++ b/wordpress/44991-no-dia-mundial-da-fotografia-destaque-para-a-secao-cronologia-de-fotografos-da-b.md
@@ -0,0 +1,205 @@
+---
+id: 44991
+url: "https://brasilianafotografica.bn.gov.br/?p=44991"
+titulo: "No Dia Mundial da Fotografia, destaque para a seção “Cronologia de Fotógrafos” da Brasiliana Fotográfica"
+autor: "Andrea Wanderley"
+data: "2026-08-19T10:42:26+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/2133"]
+fetched_at: "2026-09-10T10:24:00.943Z"
+---
+
+# No Dia Mundial da Fotografia, destaque para a seção “Cronologia de Fotógrafos” da Brasiliana Fotográfica
+
+No Dia Mundial da Fotografia, a Brasiliana Fotográfica, portal voltado para a pesquisa e reflexão sobre a fotografia como fonte primária e essencial para a escrita da nossa história, homenageia mais uma vez a data comemorativa, instituída em 1991. Com o incentivo do fotógrafo indiano O. P. Sharma (1937-), a Sociedade de Fotógrafos de Mídia da América (American Society of Media Photographers – ASMP) e A Sociedade Real Fotográfica (The Royal Photographic Society – RPS) declararam o Dia Mundial da Fotografia na data de 19 de agosto.
+Celebramos também os 200 anos da fotografia, marcado pela produção da primeira imagem permanente de que se tem notícia até hoje, a Vista da janela em Le Gras, realizada pelo inventor francês Joseph Nicéphore Niépce (1765 – 1833), a partir de um processo heliográfico, e destacamos as cronologias de fotógrafos já publicadas no portal. Já são 73 e estão reunidas na seção Cronologia de Fotógrafos, publicada na página de abertura da Brasiliana Fotográfica. Acreditamos que esse conjunto de cronologias seja uma importante contribuição do portal à historiografia da fotografia no Brasil. Todas foram escritas pela editora e pesquisadora do portal, Andrea C. T. Wanderley.
+Ao longo desses 200 anos, a partir, principalmente, de meados do século XIX, a fotografia, com sua riqueza estética, tem se desenvolvido, reinventado e recriado permanentemente. Com seus usos científicos e artísticos ou com sua utilização política, educacional e social, em todo mundo as fotografias são, sem dúvida, essenciais na difusão de conhecimento e de informações de diversas formas – pelos livros, pelos jornais, pelas revistas, por exposições, por álbuns, pela internet. Viva a fotografia! Vida longa à fotografia!
+ 
+Vincenzo Pastore; Retrato de criança sentada sobre câmera de estúdio, c. 1910. São Paulo, SP / Acervo IMS
+ 
+
+Cronologia de fotógrafos
+
+Abrahão, Benjamim (1901 – 1938)
+
+Alkmim, Chichico (1886 – 1978)
+
+Azevedo, Militão Augusto de (1837 – 1905)
+
+Bianchi, Luís (1876 – 1943)
+
+Bippus, Carlos (18? – 19?)
+
+Bocage, Francisco du (1860 – 1919)
+
+Boscagli, José (1862 – 1945)
+
+Buvelot, Abram-Louis (1814 – 1888)
+
+Coelho Sobrinho, Horacio Gusmão (1890 – 1963)
+
+Correia, Joaquim Antônio (18? – ?)
+
+Dietze, Albert Richard (1838 – 1906)
+
+Ducasble, Alfred (18? – 19?)
+
+Ferreira, Antonio Luiz (18? – 19?)
+
+Ferrez, Marc (1843 –1923)
+
+Fidanza, Felipe Augusto (1844 – 1903)
+
+Firpo, João (1839 – 1899)
+
+Florence, Hercule (1804 – 1879)
+
+Frisch, Christoph Albert (1840 –1918)
+
+Frond, Jean Victor (1821 – 1881)
+
+Gaensly, Guilherme (1843 – 1928)
+
+Garbe, Walter (18? – 19?)
+
+Guimarães, José Ferreira (1841 –1924)
+
+Gutierrez, Juan (c. 1860 – 1897)
+
+Hees, Otto (1870 – 1941)
+
+Hees, Pedro (1841 – 1880)
+
+Henschel, Alberto (1827 – 1882)
+
+Holland, S. H. (1883 – 1936)
+
+Huebner, George (1862 – 1935)
+
+Junior, José Christiano (1832 – 1902)
+
+Keller-Leuzinger, Franz (1835 – 1890)
+
+Kfuri, Jorge (1893 – 1965)
+
+Klumb, Revert Henrique (c. 1826 – c. 1886)
+
+Lamberg, Moritz (18? – 19?)
+
+Leuzinger, Georges (1813 – 1892)
+
+Lunara (1864 – 1937)
+
+Malta, Aristógiton (1904 – 1954)
+
+Malta, Augusto (1864 – 1957)
+
+Malta, Uriel (1910 – 1994)
+
+Mascarenhas, Therezio (18? – 19?)
+
+Menezes, João Xavier de Oliveira, o J. Menezes
+
+Menna da Costa, Hermina de Carvalho (18? -?)
+
+Morand, Augustus (c. 1818 – 1897)
+
+Mulock, Benjamin Robert (1829 – 1863)
+
+Pacheco, Joaquim Insley (1830 – 1912)
+
+Parente, Nicola (1847 – 1911)
+
+Pastore, Elvira Leonardi (1876 – 1972); e Pastore, Vincenzo (1865 – 1918)
+
+Pastore, Vincenzo (1865 – 1918)
+
+Piereck, Louis (1880 – 1931)
+
+Preising, Theodor (1883 – 1962)
+
+Prugner, Gustavo (1884-1931)
+
+Quaas, Otto Rudolf (c. 1862 – c. 1930)
+
+Reeckell, Izabel Jacintha Cunha, a Madame Reeckell (1837 – 19?)
+
+Rizzo, Gioconda (1898 – 2004)
+
+Rósen, Henrique (1840 – 1892)
+
+Santos, Guilherme (1871 – 1966)
+
+Scheidemantel, Bernardo (1834 – 1908)
+
+Silva, Joaquim Pinto da (J. Pinto) (1884-1951)
+
+Skarke, Fernando (1858 – 1935)
+
+Sobrinho, Archanjo Correia de Mello (18? – 1941)
+
+Stahl, Augusto (1828 – 1877)
+
+Stamato, João (1886 – 1951)
+
+Terragno, Luis (c.1831 – 1891)
+
+Tondella, Manoel (1861 – 1921)
+
+Vedani, Camillo (18? – 1888)
+
+Vianna, José Baptista Barreira (1860 – 1925)
+
+Vieira, Valério (1862 – 1941)
+
+Villela, João Ferreira (18? –?)
+
+Volk, Fanny Paul (c. 1867 – 1948)
+
+Wanderley, Luiz Lavenère (1868 – 1966)
+
+Wessel, Conrado (1891 – 1993) e Guilherme (1862 – 1940)
+
+Wischral, Arthur Júlio (1894 – 1982)
+
+ 
+O Bicentenário da Fotografia
+ 
+Joseph Nicephore Niépce (1765 – 1833), c. 1875 / Hulton Archive/Getty Images, Enciclopédia Britannica
+ 
+Os 200 anos da fotografia celebram o desenvolvimento da primeira imagem fotográfica com uma câmera escura, realizada pelo cientista francês Joseph Nicéphore Niépce (1765 – 1833). O inventor foi o primeiro a produzir uma imagem fotográfica permanente, tendo registrado a vista de seu ateliê em uma placa de estanho, Vista da janela em Le Gras – Point de Vue du Gras - realizada entre
+ 1826 e 1827, em Saint-Loup-de-Varennes, na França. Algumas fontes afirmam que, na verdade, as primeiras fotografias foram produzidas por Niépce, em 1824. O Ministério da Cultura da França está celebrando o bicentenário em 2026/2027.
+ 
+Vista da janela em Le Gras, realizada entre 1826 e 1827, por Niépce Nicéphore em Saint-Loup-de-Varènnes, França
+ 
+Niépce usou uma placa metálica revestida com betume — substância derivada do petróleo e fotossensível, que endurece quando exposta à luz. O método, a heliografia, funcionava assim: consistia em deixar a placa exposta ao sol por longos períodos até que as áreas iluminadas se fixassem, enquanto as partes não endurecidas eram removidas, revelando a imagem.
+Em 2003, a revista Life incluiu a fotografia Vista da janela em Le Gras na lista das 100 Fotografias que Mudaram o Mundo.
+ 
+Capa da revista Life – 100 Photographs that changed the World, edição de 1º de agosto de 2003 / Wikipedia
+ 
+Niépce foi, com Louis Jacques Mandé Daguerre (1787-1851), um dos desenvolvedores da daguerreotipia. E essa descoberta tem a ver com a escolha da data da comemoração do Dia Mundial da Fotografia, que tem sua origem no ano de 1839, quando, em 7 de janeiro, na Academia de Ciências da França, foi anunciada a descoberta da daguerreotipia, um processo fotográfico desenvolvido por, como já mencionado Niépce e Daguerre.
+
+Cerca de sete meses depois, em 19 de agosto, durante um encontro realizado no Instituto da França, em Paris, com a presença de membros da Academia de Ciências e da Academia de Belas-Artes, o cientista François Arago (1786 – 1853), secretário da Academia de Ciências, explicou o processo e comunicou que o governo francês havia adquirido o invento, colocando-o em domínio público e, dessa forma, fazendo com que o “mundo inteiro” tivesse acesso à invenção.
+ 
+François Arago por Ary Scheffer (1795 – 1858), 1842 / Wikipedia
+ 
+
+Em troca, Louis Daguerre e o filho de Joseph Niépce, Isidore, passaram a receber uma pensão anual vitalícia do governo da França, de seis mil e de quatro mil francos, respectivamente. Um daguerreótipo consiste em uma imagem única e positiva, formada diretamente sobre placa de cobre, revestida com prata e, em seguida, polida e sensibilizada por vapores de iodo. Depois de exposta na câmera escura, a imagem é revelada por vapores de mercúrio e fixada por uma solução salina.
+Andrea C. T. Wanderley
+Editora e pesquisadora da Brasiliana Fotográfica
+ 
+Fontes:
+Enciclopédia Britânica
+O GLOBO, 1º de maio de 2026
+Site Biccentenaire de la Photographie
+Site Ministério da Cultura da França
+Site The Digital Journalist
+WANDERLEY, Andrea C.T. Os 180 anos do invento do daguerreótipo – Pequeno histórico e sua chegada no Brasil in Brasiliana Fotográfica, 19 de agosto de 2019.
+Wikipedia
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/2133` — `itens/20.500.12156.1_2133/`
+
diff --git a/wordpress/45264-rio-de-encantos-mil-por-cristiane-d-avila.md b/wordpress/45264-rio-de-encantos-mil-por-cristiane-d-avila.md
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+---
+id: 45264
+url: "https://brasilianafotografica.bn.gov.br/?p=45264"
+titulo: "Rio de encantos mil, por Cristiane d´Avila"
+autor: "Andrea Wanderley"
+data: "2026-07-01T09:26:48+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/14448", "20.500.12156.1/14441", "20.500.12156.1/14447", "20.500.12156.1/14446", "20.500.12156.1/14450", "20.500.12156.1/14449", "20.500.12156.1/14445", "20.500.12156.1/14443", "20.500.12156.1/14442"]
+fetched_at: "2026-09-10T10:24:03.915Z"
+---
+
+# Rio de encantos mil, por Cristiane d´Avila
+
+Rio de encantos mil
+Cristiane d´Avila*
+ 
+Este artigo é uma homenagem à natureza do Rio de Janeiro imortalizada nas belas fotografias e nos negativos de vidro sob a guarda do Departamento de Arquivo e Documentação da Casa de Oswaldo Cruz. São imagens da paisagem natural, do início do século XX, registros de um tempo em que a cidade ainda mantinha sua vegetação quase intocada, distante das intervenções urbanísticas que a transformariam. Nelas, é possível viajar no tempo em busca da cidade imaginada, “esfinge amorosa”, como bem definiu o carioca Carlos Lessa. Rio dos cronistas e escritores, músicos e pintores; Rio do encantamento e das ruas que têm alma; Rio cartão-postal, Cidade Maravilhosa, cheia de encantos mil, coração do Brasil.
+ 
+Enseada de Botafogo com vista do Pão de Açúcar ao fundo, s/d. Rio de Janeiro, RJ / Acervo Casa de Oswaldo Cruz
+ 
+Acessando o link para as fotografias das belezas naturais do Rio de Janeiro do  acervo da Casa de Oswaldo Cruz / Fiocruz disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+A beleza natural do Rio de Janeiro inspira, há séculos, viajantes e artistas das mais variadas nacionalidades e tendências. Narrada em prosa, cantada em versos, retratada em óleo e aquarela ou revelada pela fotografia, a natureza do Rio jamais deixou de despertar encantamento. Ainda hoje, impressiona pela harmoniosa combinação entre montanhas, mar e vegetação, singularidade reconhecida e admirada no mundo inteiro.
+ 
+Baía de Guanabara com Fortaleza de Santa Cruz e Pão de Açúcar ao fundo, 17 de maio de 1913. Rio de Janeiro, RJ / Acervo Casa de Oswaldo Cruz
+ 
+No século XIX, a paisagem carioca fascinava a Europa por meio das fotografias de Marc Ferrez (1843-1922) e dos panoramas imortalizados por George Leuzinger (1813-1892). Nesse mesmo período, artistas como Émile Taunay (1795-1881), Victor Meirelles (1832-1903) e William Smith (1769-1839) produziram imagens idílicas da Lagoa Rodrigo de Freitas, da Baía de Guanabara, da Floresta da Tijuca, da Gávea, da Praia de Botafogo e de Santa Teresa. Para esses artistas, a natureza estava longe de ocupar um papel estático no imaginário nacional: ela adquiria protagonismo próprio, convertendo-se em expressão viva de uma nação concebida sob os signos da riqueza e exuberância natural.
+ 
+Lagoa Rodrigo de Freitas com o Corcovado ao fundo, s/d. Rio de Janeiro, RJ / Acervo Casa de Oswaldo Cruz
+ 
+O mesmo ardor que exaltava, e ainda hoje celebra, a beleza do Rio de Janeiro, também alimentava movimentos de resistência à degradação de suas riquezas naturais. Moradores e visitantes, movidos por afeição declarada pela paisagem carioca, produziram discursos ora entusiasmados, ora melancólicos, em defesa de sua preservação. Manifestações suscitadas pelo avanço do crescimento urbano sobre sua natureza pujante, porém vulnerável, símbolo da identidade nacional, permanecem até hoje inscritas no imaginário coletivo.
+ 
+Enseada de Botafogo, s/d. Rio de Janeiro, RJ / Acervo Casa de Oswaldo Cruz
+ 
+Segundo o historiador e crítico de arte Giulio Carlo Argan (1909 – 1992), a natureza nunca perdeu o lugar do mito e do sagrado na construção da cidade. Ela compõe o espaço do não construído, não protegido, não organizado, que tremula ao redor do recinto sagrado erguido pela civilização. Representa, para o autor, “o limite, a fronteira entre o habitado e o inabitável, entre a cidade e a selva, entre o espaço geométrico ou mensurável e a dimensão ilimitada, incomensurável do ser”. Daí o símbolo da beleza, a “cidade maravilha”, o emblemático cartão-postal não ter sua imagem suplantada pela do Rio “partido”, na expressão cunhada pelo jornalista Zuenir Ventura (1931 -), o Rio da violência, da degradação ambiental – purgatório do caos.
+ 
+Fortaleza de São João, 17 de maio de 1913. Rio de Janeiro, RJ / Casa de Oswaldo Cruz
+ 
+Em Cronistas do Rio, a ensaísta Beatriz Resende (1948-) apresenta a cidade como parte integrante e inseparável da vida de seus moradores e motivo de inspiração, de juras apaixonadas e também de indignação diante de sua descaracterização. Resende recupera, nesse contexto, o olhar de Machado de Assis (1839 – 1908) e seu apego “quase provinciano” às marcas autênticas da cidade, perceptível na melancolia com que lamentava, em suas crônicas, a derrubada de uma árvore ou o aterramento de uma praia, ocasionadas pela remodelação urbana do centro do Rio conduzida pelo prefeito Pereira Passos, no início do século XX.
+ 
+Praia de Copacabana, 22 de novembro de 1941. Rio de Janeiro, RJ / Casa de Oswaldo Cruz
+ 
+Em seu Lima Barreto e o Rio de Janeiro em Fragmentos, Beatriz Resende ressalta a paixão do escritor pela cidade. Segundo a autora, a contemplação da paisagem carioca, suas formas, cores e atmosferas naturais, fez com que Lima considerasse a perda de uma casa, uma árvore, o pior dos castigos. Na obra, ela observa ainda que, em seu Diário Íntimo, Lima Barreto (1881 – 1922) descreve sua “amada”, a cidade, em passagens marcadas por uma sensualidade quase erótica, nos quais a natureza é expressada com delicadeza e lirismo: “As ondas verde-claro rebentam antes da praia em franjas de espuma. Pelo ar havia meiguice, e blandícias tinha o vento a sussurrar”.
+ 
+Caminho aéreo do Pão de Açúcar, s/d. Rio de Janeiro, RJ / Acervo Casa de Oswaldo Cruz
+ 
+No livro de contos Marcovaldo ou As Estações na Cidade, do escritor e jornalista Italo Calvino (1923 – 1985), a natureza está além das fronteiras da cidade, ela está afastada, quase inacessível, destacada do frenesi urbano. No universo fantástico do escritor, acolhe aqueles que escapam à lógica rígida da vida moderna — figuras deslocadas, capazes de perceber o sublime, o ilimitado e tudo aquilo que a cidade tenta conter ou silenciar. Nos contos, o protagonista Marcovaldo transita no espaço urbano sem jamais pertencer inteiramente a ele, como observador suspenso entre dois mundos. Nesta obra de Calvino, a natureza assumirá a função de refúgio e deslocamento, de instrumento capaz de proporcionar instantes de plenitude e efêmera esperança, quase sempre atravessados pela aridez da experiência urbana e a fugacidade da vida moderna.
+ 
+Igreja da Penha e arredores, s/d. Rio de Janeiro, RJ / Acervo Casa de Oswaldo Cruz
+ 
+A natureza do Rio de Janeiro surge ainda como cenário de acontecimentos singulares e memoráveis vividos pelo jornalista e cronista carioca João do Rio (1881-1921). Durante a passagem da bailarina norte-americana Isadora Duncan (1877-1927) pela cidade, em 1916, ele e o escritor Gilberto Amado (1887-1969) conduziram a artista em um passeio noturno à praia de Ipanema e à Cascatinha da Tijuca. Raimundo Magalhães Júnior (1907 – 1981), primeiro biógrafo do jornalista, rememorou o episódio relatado a ele por Gilberto Amado na obra A vida vertiginosa de João do Rio:
+“Foram à Cascatinha, que [Duncan] já vira e queria rever ao clarão da lua. Isadora atordoou-se com o vozeio assombrador da mata”. Segundo Gilberto, a cena culmina na cascata da Floresta da Tijuca, onde a artista se banhou ao luar, nua, em um gesto de entrega e fascínio diante da exuberância natural: “foi acometida de uma espécie de delírio no meio dos sibilos, uivos e gemidos da mata, interrompidos apenas pelo som das ondas quebrando na praia. Oh God!, largou Isadora como que acordando”. Em carta ao amigo português João de Barros, João do Rio declara paixão avassaladora pela bailarina: “passei os 15 dias mais felizes da minha vida no êxtase amoroso, no verdadeiro amor, com uma criatura que é gênio, Bondade divina – tudo. Essa criatura que me olhou que me desejou, que quase me faz secretário humilde foi Isadora. Nunca amei assim! A minha vida está dentro do sol. Meu Deus! Mas é assim o amor? Eu só o senti assim agora aos 35 anos! Foi transfiguração”.
+É o Rio de Janeiro que apaixona e arrebata!
+ 
+Aspecto da Praia do Flamengo após ressaca na Baía de Guanabara. Ao fundo, o Morro da Viúva, s/d. Rio de Janeiro, RJ / Acervo Casa de Oswaldo Cruz
+ 
+ 
+*Cristiane d´Avila é é jornalista do Departamento de Arquivo e Documentação Casa de Oswaldo Cruz/Fiocruz.
+ 
+Referências:
+ARGAN, Giulio Carlo. História da arte como história da cidade. São Paulo: Martins Fontes, 2005, p. 213.
+CALVINO, Italo. Marcovaldo ou as estações na cidade. São Paulo: Companhia das Letras, 1994.
+LESSA, Carlos. O Rio de todos os Brasis. Rio de Janeiro: Record, 2000.
+MAGALHÃES JÚNIOR, Raimundo de. A vida vertiginosa de João do Rio. Brasília: Civilização Brasileira, 1997, p. 267.
+RESENDE, Beatriz. Lima Barreto e o Rio de Janeiro em fragmentos. Rio de Janeiro: ed. UFRJ: Ed. UNICAMP, 1993, p. 99.
+RESENDE, Beatriz (Org.). Cronistas do Rio. Rio de Janeiro: José Olympio, 1995.
+RIO, João do. Cartas de João do Rio: a João de Barros e Carlos Malheiro Dias. Introdução, organização e notas: Cristiane d’Avila. Prefácio: Zuenir Ventura. Rio de Janeiro: FUNARTE, 2012, p. 252.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/14448` — `itens/20.500.12156.1_14448/`
+- `20.500.12156.1/14441` — `itens/20.500.12156.1_14441/`
+- `20.500.12156.1/14447` — `itens/20.500.12156.1_14447/`
+- `20.500.12156.1/14446` — `itens/20.500.12156.1_14446/`
+- `20.500.12156.1/14450` — `itens/20.500.12156.1_14450/`
+- `20.500.12156.1/14449` — `itens/20.500.12156.1_14449/`
+- `20.500.12156.1/14445` — `itens/20.500.12156.1_14445/`
+- `20.500.12156.1/14443` — `itens/20.500.12156.1_14443/`
+- `20.500.12156.1/14442` — `itens/20.500.12156.1_14442/`
+
diff --git a/wordpress/45436-vapor-ferro-e-alcool-120-anos-da-cooperativa-alcoolica-da-bahia-por-diana-ramos.md b/wordpress/45436-vapor-ferro-e-alcool-120-anos-da-cooperativa-alcoolica-da-bahia-por-diana-ramos.md
new file mode 100644
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@@ -0,0 +1,74 @@
+---
+id: 45436
+url: "https://brasilianafotografica.bn.gov.br/?p=45436"
+titulo: "Vapor, ferro e álcool: 120 anos da Cooperativa Alcoólica da Bahia, por Diana Ramos"
+autor: "Andrea Wanderley"
+data: "2026-07-27T11:33:53+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/14466", "20.500.12156.1/14465", "20.500.12156.1/14470", "20.500.12156.1/14464"]
+fetched_at: "2026-09-10T10:24:06.947Z"
+---
+
+# Vapor, ferro e álcool: 120 anos da Cooperativa Alcoólica da Bahia, por Diana Ramos
+
+Vapor, ferro e álcool: 120 anos da Cooperativa Alcoólica da Bahia. Um retrato fotográfico da industrialização baiana
+Diana Ramos*
+Quando se pensa na Bahia das primeiras décadas do século XX, é comum imaginar engenhos, canaviais e uma economia ainda fortemente ligada a estruturas agrárias tradicionais. As fotografias da Cooperativa Alcoólica da Bahia, preservadas no acervo da Fundação Biblioteca Nacional, entretanto, revelam outra paisagem: um universo de chaminés, caldeiras, correias de transmissão, oficinas mecânicas e trabalhadores especializados que testemunham a rápida incorporação de tecnologias industriais ao setor açucareiro. O xarope dos velhos engenhos transformava-se em álcool industrial.
+Fundada em 1906, na cidade de Santo Amaro, coração da zona açucareira baiana, a Cooperativa surgiu como iniciativa do Sindicato Açucareiro da Bahia, reunindo proprietários de engenhos e usinas da região e o Banco Comercial da Bahia. A empresa tornou-se uma das mais modernas destilarias do país, equipada com maquinário francês e inglês, geradores de eletricidade e sistemas de refrigeração. A usina alcançou uma produção diária de milhares de litros de álcool e de aguardente. Desenvolveu fortemente o espírito industrial, constituindo-se em um dos principais expoentes da modernização industrial baiana do início do século XX.
+ 
+Acessando o link para as fotografias da Cooperativa Alcoólica a Bahia disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.  As imagens revelam mais do que registros arquitetônicos: constituem uma experiência visual da industrialização brasileira raramente documentada na Bahia do início do século XX.
+ 
+O conjunto de 11 fotografias apresenta diferentes dimensões desse empreendimento. As imagens externas registram os edifícios administrativos e industriais, revelando uma arquitetura funcional, marcada pela simplicidade das construções e pela presença dominante da chaminé, símbolo da industrialização. Em uma das vistas, a torre da fábrica ergue-se acima das demais edificações, antecipando visualmente a escala do maquinário encontrado no interior da usina.
+ 
+Cooperativa Alcoólica da Bahia : Uma secção do edificio, 193?. Santo Amaro, Bahia / Acervo FBN
+ 
+Outras fotografias conduzem o observador para dentro do complexo industrial. Tanques, colunas de destilação, tubulações e estruturas metálicas ocupam quase toda a composição, enquanto figuras humanas aparecem reduzidas diante da monumentalidade das máquinas. A opção do fotógrafo por enquadramentos frontais e simétricos reforça a ideia de ordem, eficiência e controle técnico — valores frequentemente associados ao discurso do progresso industrial naquele período.
+ 
+Cooperativa Alcoólica da Bahia : Secção dos aparelhos para fabricação de álcool e aguardente, 193?. Santo Amaro, Bahia / Acervo FBN
+ 
+Particularmente expressiva é a imagem do escritório da administração. Nela, alguns homens posam em torno de uma mesa de trabalho, cercados por móveis, relógios e instrumentos que remetem à organização burocrática necessária para gerir um empreendimento de grande porte. A fotografia complementa a narrativa técnica da fábrica ao evidenciar que a modernidade industrial dependia não apenas de máquinas, mas também de novas formas de administração e controle.
+ 
+ Cooperativa Alcoólica da Bahia : Escriptorio e Administração, 193?. Santo Amaro, Bahia / Acervo FBN
+ 
+As oficinas e a tanoaria revelam outro aspecto fundamental da Cooperativa: sua capacidade de manter uma infraestrutura própria para reparos e produção de vasilhames. Nas imagens, barris em diferentes estágios de fabricação dividem espaço com ferramentas, peças mecânicas e operários, registrando atividades indispensáveis para o armazenamento e transporte dos produtos. Esses ambientes mostram que a usina funcionava como um complexo produtivo integrado, onde o trabalho da madeira, do metal e da química industrial coexistiam em um mesmo espaço.
+ 
+Cooperativa Alcoólica da Bahia : Secção de tanoaria, 193?. Santo Amaro, Bahia / Acervo FBN
+ 
+Além do conteúdo histórico, as fotografias possuem significativo valor documental enquanto objetos materiais. Impressas em gelatina de prata e montadas individualmente em cartões ornamentados, seguem um padrão comum aos álbuns institucionais e empresariais do início do século XX, concebidos para demonstrar prosperidade, eficiência e capacidade tecnológica. Mais do que simples registros, eram instrumentos de representação corporativa destinados a divulgar uma imagem de modernidade e progresso.
+Esse conjunto, de autoria desconhecida, foi doado à Biblioteca Nacional pelo Dr. Armando Fragoso, em agosto de 1937, juntamente com outros documentos fotográficos relacionados à Bahia. Os títulos das imagens foram transcritos de anotações manuscritas registradas no verso dos cartões originais.
+Premiada na Exposição Nacional de 1908 e também na Exposição Internacional de Bruxelas, em 1910, a Cooperativa Alcoólica da Bahia buscava afirmar-se como símbolo do desenvolvimento econômico regional. A grandiosa destilaria teve suas atividades encerradas em 1935, quando seu valioso maquinário foi desligado. Mais tarde, suas instalações seriam ressignificadas pela indústria no Recôncavo Baiano.
+Essas fotografias preservam não apenas a memória de uma empresa, mas também os vestígios visuais de uma transformação econômica que alterou profundamente a paisagem do Recôncavo Baiano. Ao observar cada detalhe — das construções aos trabalhadores, das caldeiras aos barris — o visitante encontra um retrato singular do momento em que a tradição açucareira baiana passou a dialogar com a engenharia, a eletricidade e a indústria moderna.
+ 
+Sobre as fontes:
+Premiações e outros registros das atividades da Cooperativa e de seus gerentes mais proeminentes da firma Magalhães & Cia. foram recuperados nos periódicos disponíveis na Hemeroteca Digital Brasileira. As primeiras notícias tratam das premiações obtidas na Exposição Nacional de 1908, registradas no Almanak Laemmert, enquanto as mais recentes datam do início da década de 1940, quando as instalações da antiga Cooperativa Alcoólica da Bahia já se encontravam sob a administração do Instituto do Açúcar e do Álcool.
+O livro Impressões do Brazil no Seculo Vinte (originalmente intitulado Impressions of Brazil in the Twentieth Century), um volume monumental de 1.080 páginas publicado em 1913 e impresso na Inglaterra pela Lloyd’s Greater Britain Publishing Company, Ltd. oferece um panorama detalhado das condições socioeconômicas do Brasil às vésperas da Primeira Guerra Mundial. A obra constitui fonte indispensável para a contextualização histórica da Cooperativa Alcoólica da Bahia, fornecendo os detalhes técnicos e administrativos da empresa que permitem compreender a dimensão e a modernidade dos documentos fotográficos aqui apresentados.
+ 
+*Diana Ramos é curadora do portal Brasiliana Fotográfica e Chefe da Divisão de Iconografia da Fundação Biblioteca Nacional.
+ 
+Fontes:
+LLOYD, Reginald (dir.). Impressões do Brazil no seculo vinte: sua historia, seu povo, commercio, industrias e recursos. Londres: Lloyd’s Greater Britain Publishing Company Limited, 1913. p. 893.
+ 
+Hemeroteca Digital da Biblioteca Nacional:
+A ILLUSTRAÇÃO BRAZILEIRA. Rio de Janeiro: Sociedade Anonyma O Malho, ano 4, n. 34, jun. 1923. p. 188.
+http://memoria.bn.gov.br/DocReader/107468/7555
+ALMANAK LAEMMERT: administrativo, mercantil e industrial do Rio de Janeiro. Rio de Janeiro: Companhia Typographica do Brazil, 1909. nº 66, p. 2350-2373.
+http://memoria.bn.gov.br/DocReader/313394/38991
+http://memoria.bn.gov.br/DocReader/313394/38995
+A NOITE. Rio de Janeiro: [s.n.], ano 18, n. 6.018, 20 ago. 1928. p. 8.
+http://memoria.bn.gov.br/DocReader/348970_02/23552
+BRASIL AÇUCAREIRO. Rio de Janeiro: O Instituto, ano 1, n. 17, 5 ago. 1933. p. 38-39.
+http://memoria.bn.gov.br/DocReader/002534/688
+DIÁRIO DE PERNAMBUCO. Recife: Diário de Pernambuco, ano 99, n. 61, 15 mar. 1923. p. 5.
+http://memoria.bn.gov.br/DocReader/029033_10/8579
+DIARIO DO PIAUHY: orgão official dos poderes do estado. Teresina: [s.n.], ano 1, n. 32, 1911. p. 2.
+http://memoria.bn.gov.br/DocReader/231371/130
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/14466` — `itens/20.500.12156.1_14466/`
+- `20.500.12156.1/14465` — `itens/20.500.12156.1_14465/`
+- `20.500.12156.1/14470` — `itens/20.500.12156.1_14470/`
+- `20.500.12156.1/14464` — `itens/20.500.12156.1_14464/`
+
diff --git a/wordpress/45451-serie-conflitos-xii-a-revolucao-constitucionalista-de-32-e-juscelino-kubitschek-.md b/wordpress/45451-serie-conflitos-xii-a-revolucao-constitucionalista-de-32-e-juscelino-kubitschek-.md
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+---
+id: 45451
+url: "https://brasilianafotografica.bn.gov.br/?p=45451"
+titulo: "Série “Conflitos” XII – A Revolução Constitucionalista de 32 e Juscelino Kubitschek nas fotografias da Coleção Cristóvão Barcelos, por Maria de Fatima Morado"
+autor: "Andrea Wanderley"
+data: "2026-07-09T09:27:04+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/14474", "20.500.12156.1/14472", "20.500.12156.1/14476", "20.500.12156.1/14477", "20.500.12156.1/14478", "20.500.12156.1/14480"]
+fetched_at: "2026-09-10T10:24:10.271Z"
+---
+
+# Série “Conflitos” XII – A Revolução Constitucionalista de 32 e Juscelino Kubitschek nas fotografias da Coleção Cristóvão Barcelos, por Maria de Fatima Morado
+
+O artigo A Revolução Constitucionalista de 32 e Juscelino Kubitschek nas fotografias da Coleção Cristóvão Barcelos, o décimo segundo da série “Conflitos”, é de autoria de Maria de Fátima Morado, historiadora do Arquivo Histórico e Institucional do Museu da República, uma das instituições parceiras da Brasiliana Fotográfica. Estão destacadas, na publicação, dez fotografias da Coleção Cristóvão Barcelos. Ele, como coronel, combateu os paulistas durante a Revolução Constitucionalista liderando o Destacamento Coronel Barcelos na região da Serra da Mantiqueira, em Minas Gerais. Em algumas dessas fotos vê-se o futuro presidente do Brasil,  Juscelino Kubitschek (1902 – 1976), que, enquanto médico do Hospital Militar da Força Pública de Minas Gerais, foi enviado pelo comando-geral para atender as tropas mineiras e instalar um hospital de sangue em Passa Quatro.
+ 
+A Revolução Constitucionalista de 32 e Juscelino Kubitschek nas fotografias da Coleção Cristóvão Barcelos 
+Maria de Fatima Morado*
+Coronel Cristóvão Barcelos, 1932. Minas Gerais / Acervo Museu da República
+ 
+A Revolução Constitucionalista foi deflagrada no dia 9 de julho de 1932 por lideranças de São Paulo que iniciaram um conflito armado exigindo autonomia para o governo do estado e a constitucionalização do país. Nesse período, o Brasil vivia o sob o Governo Provisório de Getúlio Vargas, que teve início após a Revolução de 1930 – movimento organizado pela Aliança Liberal que depôs o presidente Washington Luís em 24 de outubro de 1930 – e se estendeu até 1934, quando Getulio Vargas foi eleito presidente pelo Congresso Nacional dando início ao Governo Constitucional.
+Getulio Vargas, ao assumir o poder, nomeou João Alberto como interventor em São Paulo, o que provocou reações dos integrantes do Partido Democrático (PD), que havia participado da Aliança Liberal e defendia a nomeação de Francisco Morato para esse cargo. Essa contrariedade provocou reações em São Paulo que resultaram na prisão dos líderes democráticos. Logo após, ocorreu o rompimento com o interventor e o lançamento de um manifesto para a instauração de uma Assembleia Constituinte no país estabelecendo a base para a organização do movimento constitucionalista com apoio da oligarquia cafeeira e das classes médias paulistas.
+ 
+Acessando o link para as fotografias da Revolução Constitucionalista de 1932 do acervo do Museu da República disponíveis na Brasiliana Fotográfica, o leitor poderá visualizar e magnificar as imagens.
+ 
+Ao longo do ano de 1931 até o levante em 9 de julho de 1932 ocorreram iniciativas para que não se recorresse ao uso das armas como também para formar uma articulação para o caso dessa decisão ser inevitável. Entre esses movimentos estavam: negociações para acordo com o governo federal; troca de interventores; formação da FUP (Frente Única Paulista), que uniu os partidos rivais, Partido Democrático (PD) e Partido Republicano Paulista (PRP); crescente mobilização em São Paulo, incluindo comícios e protestos; e a promessa de apoio do Rio Grande do Sul e de uma corrente de líderes políticos de Minas Gerais. Quando os paulistas decidiram pelo início do movimento armado, em 9 de julho, a perspectiva concreta de adesão do Rio Grande do Sul e de Minas Gerais foi frustrada devido à desistência de tomarem parte na aventura. Além disso, o Governo Provisório debelou as tentativas de levantes em apoio ao estado de São Paulo, que acabou ficando isolado. Esse isolamento se tornou ainda maior devido ao fato de os paulistas terem uma força bélica muito inferior às forças federais.
+Após alguns meses de confronto, as negociações para o fim do conflito entre o Governo Provisório e os revolucionários paulistas incluíram, de um lado, a exigência do desarmamento da Força Pública Paulista e a aceitação do calendário eleitoral proposto para a formação de uma Constituinte e, de outro lado, a nomeação de uma nova junta governativa federal e o reconhecimento do governo revolucionário paulista que havia assumido o poder. A Revolução Constitucionalista terminou sem a formalização de um acordo e com a deposição do governo revolucionário feita pelo próprio comando da Força Pública Paulista, no dia 2 de outubro. Logo depois, em 1º de novembro, os membros do governo revolucionário e líderes constitucionalistas foram presos e exilados.
+ 
+Posto de observação durante a Revolução Constitucionalista. Coronel Cristóvão Barcelos (segurando binóculo, em segundo, da esquerda para direita), Major Juarez Távora (segurando binóculo, em terceiro, da esquerda para direita) e o Major Ernesto Dornelles (em primeiro, esquerda para direita), 1932. Minas Gerais / Acervo Museu da República
+ 
+As dez fotografias aqui apresentadas expõem aspectos dos campos de batalhas pelo lado dos combatentes do Governo Provisório e fazem parte da Coleção Cristóvão Barcelos, acervo do Arquivo Histórico e Institucional do Museu da República. Cristóvão de Castro Barcelos (1883-1946), nasceu em Campos dos Goytacazes (RJ) e teve a carreira militar marcada pela participação em eventos fundamentais: em 1918, como primeiro-tenente foi para a França, para cumprir missão na I Guerra Mundial (sobre esse assunto ver a publicação Registros raros da participação militar brasileira na I Guerra Mundial); em 1930, como tenente-coronel participou da Revolução de 30 e, em 1932, já promovido a coronel, combateu os paulistas durante a Revolução Constitucionalista liderando o Destacamento Coronel Barcelos na região da Serra da Mantiqueira (MG).
+ 
+Visita do general Góis Monteiro (ao centro), comandante do Exército do Leste, ao setor do túnel da Mantiqueira sob comando de Cristóvão Barcelos (segundo, da direita para a esquerda). Vê-se também o major Ernesto Dornelles (segundo, da esquerda para direita) e o major Juarez Távora (terceiro, da esquerda para direita), 1932. Túnel da Mantiqueira, Minas Gerais / Acervo Museu da República
+ 
+Nessa região foi travada um dos maiores confrontos entre as tropas paulistas e as forças do governo federal. O Túnel da Mantiqueira era um ponto estratégico já que está localizado na divisa dos estados de São Paulo e Minas Gerais, entre os municípios de Cruzeiro (SP) e Passa Quatro (MG).
+Em algumas dessas fotos destaca-se a presença de Juscelino Kubitschek que, enquanto médico do Hospital Militar da Força Pública de Minas Gerais, foi enviado pelo comando-geral para atender as tropas mineiras e instalar um hospital de sangue em Passa Quatro. Em setembro de 1932, quando as tropas paulistas se retiraram da área do Túnel, Juscelino foi encarregado de realizar a transferência dos feridos para as cidades mineiras de Guaxupé e Varginha, seguindo para Campinas para enfim retornar a Belo Horizonte.
+ 
+Enterro do coronel Fulgêncio da Força Pública Mineira, em Passa Quatro (MG). Vê-se o Coronel Cristóvão Barcelos (à frente, com os braços cruzados) e o então capitão-médico Juscelino Kubitschek (à esquerda de Cristóvão Barcelos), 1932. Passa Quatro, Minas Gerais/ Acervo Museu da República
+ 
+Em seu livro de memórias, Juscelino relata sua experiência no palco de guerra. Sobre Cristóvão Barcelos diz: “Eu me encontrava sob o comando do coronel Cristóvão Barcelos, pouco depois promovido a general, homem de sólida cultura e possuidor de excepcionais qualidades de caráter.”
+Ao relembrar como era feito o atendimento aos feridos em um hospital de sangue improvisado, destaca a importância desse evento que para ele significou um marco em sua vida: “É curioso notar como pequenos fatos às vezes têm consequências profundas e chegam mesmo a modificar, de forma surpreendente, uma existência humana. No meu caso, a ida para o Setor do Túnel representou um desses “pequenos fatos”. Fui para Passa Quatro apenas por ser médico. Entretanto, ali o sucesso me sorriu. Conquistei amigos. Salvei vidas humanas. Enfrentei situações difíceis e, para vencê-las, fui obrigado a lançar mão de forças que existiam em mim, em estado latente e que eu, na verdade, desconhecia.”
+ 
+Visita ao hospital da Força Pública Mineira. Na primeira fila: vê-se o coronel Cristóvão Barcelos (terceiro, da esquerda para direita), o prefeito de Pará de Minas, Benedito Valadares (quarto, da esquerda para a direita); Juracy Magalhães (quinto, da esquerda para direita). Na terceira fila, de cima para baixo: Manoel Linhares, Washington Pires e o capitão médico da corporação, Juscelino Kubitschek (ao centro), 1932. Belo Horizonte, Minas Gerais / Acervo Museu da República
+ 
+Quando analisa a situação de São Paulo no conflito, Juscelino lembra o isolamento do estado que sustentou a guerra com recursos das indústrias e com a atuação dos jovens combatentes dos centros urbanos, mas sem a participação dos operários e trabalhadores do campo que não viam seus interesses representados pela campanha constitucionalista, estando “ambas as categorias, naquela época, inteiramente alheias às competições político-partidárias.”.
+Após sua retirada da região do Túnel da Mantiqueira para fazer o acompanhamento dos feridos em Guaxupé e Varginha, Juscelino seguiu para o quartel-general instalado por Cristóvão Barcelos em Campinas (SP). Ali pôde vivenciar a hostilidade da população paulista que dizia compreender: “Aquele ódio coletivo constrangia-me. No íntimo, nutria consideração pela causa de São Paulo e via, com angústia, o sofrimento do povo que havia lutado sozinho por uma Constituição e que, em face da derrota, voltaria a ser mais uma vez humilhado.”
+Juscelino considerava o Setor do Túnel uma “sementeira de uma nova geração de políticos. Naquela área, verificava-se, de fato, intensa fermentação política. O prestígio, que algumas pessoas ali adquiriram, levou-as mais tarde às mais elevadas posições no país.”
+ 
+Visita de oficiais das forças legalistas ao Palácio da Liberdade após sua vitória sobre o movimento constitucionalista. Na primeira fila vê-se o coronel Cristóvão Barcelos ( quinto, da esquerda para direita), Benedito Valadares (quarto da esquerda para direita), Gustavo Capanema (terceiro, da esquerda para direita), Juracy Magalhães (sexto, da esquerda para direita) e Juscelino Kubitschek (primeiro à direita); entre outros não identificados, 1932. Belo Horizonte, Minas Gerais / Acervo Museu da República
+ 
+As fotografias da coleção Cristóvão Barcelos mostram alguns desses personagens, homens que ao conviverem no campo de batalha construíram relações que passaram de profissionais e pessoais para políticas. Dos atores aqui destacados, após a guerra, Cristóvão Barcelos participou da fundação do Partido Socialista Fluminense ainda em 1932, desligando-se dois meses depois para criar o partido União Progressista Fluminense (UPF), legenda pelo qual foi eleito deputado para a Assembleia Constituinte em maio de 1933. Após o fim dos trabalhos da Constituinte em julho de 1934, disputou o governo do estado do Rio de Janeiro em um processo marcado pela interferência do governo federal e pela violência. Ao ser derrotado voltou para o exército sendo promovido a general em 1938. Juscelino Kubitschek foi eleito presidente da República em 1955.
+ 
+*Maria de Fátima Morado é historiadora do Arquivo Histórico e Institucional do Museu da República.
+ 
+Fontes:
+ASSEMBLEIA LEGISLATIVA DO ESTADO DE SÃO PAULO (ALESP). Sessão comemorativa aos 25 anos da Revolução contou com a presença de Juscelino Kubitschek. Informativo da Divisão de Acervo Histórico, São Paulo, ALESP, ano 7, n. 28, maio/junho/julho. 2022.
+AUGUSTO. Flávio Antônio Silva. JK, o médico da Força Pública Mineira. Revista do IGHMB, Rio de Janeiro, ano 84, n. 115, especial, 2025.
+BRASIL. Ministério da Gestão e Inovação de Serviços Públicos. Estado, administração e reforma: o Governo Provisório de Getúlio Vargas (1930-1934). MAPA/Arquivo Nacional.
+DAVIDOFF. Carlos Henrique. Revolução de 1932. In: Dicionário Histórico-Biográfico Brasileiro. Rio de Janeiro: Editora FGV.
+JUSCELINO KUBITSCHEK. In: Dicionário Histórico Biográfico Brasileiro pós 1930. 2ª ed. Rio de Janeiro: Editora FGV, 2001
+KUBITSCHEK, Juscelino. Meu caminho para Brasília: A experiência da humildade. Brasília: Edições do Senado Federal, 2020. v.1.
+LEMOS, Renato. Cristóvão Barcelos. In: ABREU, Alzira Alves de (org.). Dicionário histórico-biográfico da Primeira República (1889-1930). Rio de Janeiro: Editora FGV, 2015.
+MOREIRA. Regina da Luz. A Revolução Constitucionalista de 1932. Rio de Janeiro: Editora FGV.
+RIBEIRO. Antônio Sérgio. Revolução Constitucionalista de 1932 – 80 anos de uma epopeia. Assembleia Legislativa do Estado de São Paulo (ALESP), São Paulo, 2012.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/14474` — `itens/20.500.12156.1_14474/`
+- `20.500.12156.1/14472` — `itens/20.500.12156.1_14472/`
+- `20.500.12156.1/14476` — `itens/20.500.12156.1_14476/`
+- `20.500.12156.1/14477` — `itens/20.500.12156.1_14477/`
+- `20.500.12156.1/14478` — `itens/20.500.12156.1_14478/`
+- `20.500.12156.1/14480` — `itens/20.500.12156.1_14480/`
+
diff --git a/wordpress/45515-dia-de-machado-de-assis.md b/wordpress/45515-dia-de-machado-de-assis.md
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@@ -0,0 +1,156 @@
+---
+id: 45515
+url: "https://brasilianafotografica.bn.gov.br/?p=45515"
+titulo: "Dia de Machado de Assis"
+autor: "Andrea Wanderley"
+data: "2026-06-21T15:58:23+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/7182", "20.500.12156.1/1795"]
+fetched_at: "2026-09-10T10:24:13.548Z"
+---
+
+# Dia de Machado de Assis
+
+Pelo Decreto Rio nº 58.207/26, de 18 de junho de 2026, a Prefeitura do Rio de Janeiro instituiu o Dia de Machado de Assis que será celebrado anualmente em 21 de junho, data de nascimento do carioca Joaquim Maria Machado de Assis (21/06/1839 – 29/09/1908), considerado o maior escritor brasileiro de todos os tempos e um dos maiores autores da literatura de língua portuguesa. A data foi incluída no Calendário Oficial de Eventos e Datas Comemorativas da cidade, cenário constante da obra do escritor – lugares e ruas do Rio de Janeiro são constantemente citados nas crônicas, contos e livros de Machado, tendo sido o principal cronista do cotidiano carioca no século XIX.
+ 
+O Cruzeiro, 24 de junho de 1939
+ 
+Nasceu no Morro do Livramento e viveu muitos anos, entre 1883 e 1908, no Cosme Velho, fato que originou o apelido O Bruxo do Cosme Velho, epíteto eternizado pelo escritor mineiro Carlos Drummond de Andrade (1902 – 1987), autor do poema A um bruxo, com amor* (Correio da Manhã, 28 de setembro de 1958).
+ 
+Casa na Rua Cosme Velho, onde Machado de Assis viveu entre 1883 e 1908 / Acervo Arquivo Nacional
+ 
+“Perde a nossa língua um de seus mais vigorosos e profundos escritores. Com ele desaparece a mais leve e a mais encantadora das nossas prosas, a mais completa e a mais perfeita das organizações literárias que possuímos. Poeta, romancista, dramaturgo e jornalista, era Machado de Assis o tipo culminante e o mais simpático de nosso mundo de letras“.
+Correio da Manhã, 30 de setembro de 1908, 
+dia seguinte à morte de Machado
+ 
+A Brasiliana Fotográfica celebra a iniciativa da criação do Dia de Machado de Assis destacando duas imagens do escritor. A primeira foi produzida pelo fotógrafo e pintor português Joaquim Insley Pacheco (1830 – 1912), em torno de 1880. Insley foi um dos mais prestigiados e famosos retratistas do Brasil no século XIX, que “tem tido a honra de copiar todos os narizes do Rio…”, de acordo com o poeta e jornalista Faustino Xavier de Novais (1820 – 1869), irmão da esposa de Machado, Carolina Augusta (1835 – 1904) (Correio Mercantil, 24 de outubro de 1863, terceira coluna).
+Machado escreveu em sua coluna do Diário do Rio de Janeiro de 7 de agosto de 1864 sobre suas visitas à casa do Pacheco (justamente Insley Pacheco), que definiu como o mais luxuoso Templo de Delos do Rio de Janeiro, exaltando poder ver no mesmo álbum fotográfico os rostos mais belos do Rio de Janeiro, falo dos rostos femininos. Contou também a história da chegada do daguerreótipo na cidade e, em seguida, elogiou o trabalho realizado pelo artista  J.T. da Costa Guimarães, uma miniatura de Diane de Poitiers, exposto no estabelecimento de Insley Pacheco. Finalmente, revelou que havia chegado há pouco tempo no referido ateliê um aparelho fotográfico destinado a reproduzir em ponto grande as fotografias de cartão. Termina seu passeio perguntando-se “Até onde chegará o aperfeiçoamento do invento de Daguerre?”
+ 
+Joaquim Insley Pacheco. Retrato de Machado de Assis, c. 1880. Rio de Janeiro, RJ / Acervo IMS
+ 
+A segunda é de autoria de Antônio Luiz Ferreira (18? – 19?) e retrata a Missa campal celebrada em ação de graças pela Abolição da Escravatura no Brasil, em 17 de maio de 1888, em São Cristóvão, no Rio de Janeiro. A presença de Machado na fotografia foi descoberta por mim, pesquisadora e editora do portal, e revelada no artigo Missa Campal de 17 de maio de 1888, publicado em 17 de maio de 2015.
+A Missa Campal em São Cristóvão foi uma celebração de Ação de Graças pela libertação dos escravos no Brasil, decretada quatro dias antes, com a assinatura da Lei Áurea. A festividade contou com a presença da princesa Isabel, regente imperial do Brasil, e de seu marido, o conde D´Eu, príncipe consorte, que, na foto, está ao lado da princesa, além de autoridades e políticos. De acordo com os jornais da época, foi um “espetáculo imponente, majestoso e deslumbrante”, ocorrido em um “dia pardacento” que contrastava com a alegria da cidade. Cerca de 30 mil pessoas estavam no Campo de São Cristóvão.
+ 
+Antonio Luiz Ferreira. Detalhe da foto da Missa campal celebrada em ação de graças pela Abolição da Escravatura no Brasil, 17 de maio de 1888. São Cristóvão, Rio de Janeiro.
+ 
+A decisão da criação do Dia de Machado de Assis foi tomada pelo prefeito Eduardo Cavaliere (1994 -) após reunião com o jornalista Merval Pereira (1949 – ), presidente da Academia Brasileira de Letras (ABL), instituição da qual Machado foi um dos fundadores e primeiro presidente. A ideia é que o dia 21 de junho tenha uma programação dedicada à obra machadiana, semelhante ao Bloomsday, data celebrada anualmente, em 16 de junho, em homenagem ao escritor irlandês James Joyce (1882 – 1941).
+ 
+
+ 
+ 
+Bibliografia de Machado de Assis (ABL)
+Queda que as mulheres têm para os tolos, tradução, 1861.
+Desencantos, 1861.
+Teatro, 1863.
+Quase ministro, 1864.
+Crisálidas, 1864.
+Os deuses de casaca, 1866.
+Falenas, 1870.
+Contos fluminenses, 1870.
+Ressurreição, 1872.
+Histórias da meia-noite, 1873.
+A mão e a luva, 1874.
+Americanas, 1875.
+Helena, 1876.
+Iaiá Garcia, 1878.
+Memórias póstumas de Brás Cubas, 1881.
+Tu, só tu, puro amor, 1881.
+Papéis avulsos, 1882.
+Histórias sem data, 1884.
+Quincas Borba, 1891.
+Várias histórias, 1896.
+Páginas recolhidas, 1899.
+Dom Casmurro, 1899.
+Poesias completas, 1901.
+Esaú e Jacó, 1904.
+Relíquias de casa velha, 1906.
+Memorial de Aires, 1908.
+Crítica, 1910.
+Outras relíquias, 1910.
+Correspondência, 1932.
+Crônicas, 4 vols., 1937.
+Crítica literária, 1937.
+Casa velha, 1944.
+ 
+*A um bruxo, com amor
+Carlos Drummond de Andrade
+Em certa casa da Rua Cosme Velho
+(que se abre no vazio)
+venho visitar-te; e me recebes
+na sala trastejada com simplicidade
+onde pensamentos idos e vividos
+perdem o amarelo,
+de novo interrogando o céu e a noite.
+Outros leram da vida um capítulo, tu leste o livro inteiro.
+Daí esse cansaço nos gestos e, filtrada,
+uma luz que não vem de parte alguma
+pois todos os castiçais
+estão apagados.
+Contas a meia-voz
+maneiras de amar e de compor os ministérios
+e deitá-los abaixo, entre malinas
+e bruxelas.
+Conheces a fundo
+a geologia moral dos Lobo Neves
+e essa espécie de olhos derramados
+que não foram feitos para ciumentos.
+E ficas mirando o ratinho meio cadáver
+com a polida, minuciosa curiosidade
+de quem saboreia por tabela
+o prazer de Fortunato, vivisseccionista amador.
+Olhas para a guerra, o murro, a facada
+como para uma simples quebra da monotonia universal
+e tens no rosto antigo
+uma expressão a que não acho nome certo
+(das sensações do mundo a mais sutil):
+volúpia do aborrecimento?
+ou, grande lascivo, do nada?
+O vento que rola do Silvestre leva o diálogo,
+e o mesmo som do relógio, lento, igual e seco,
+tal um pigarro que parece vir do tempo da Stoltz e do gabinete Paraná,
+mostra que os homens morreram.
+A terra está nua deles.
+Contudo, em longe recanto, a ramagem começa a sussurrar alguma coisa
+que não se entende logo
+e parece a canção das manhãs novas.
+Bem a distingo, ronda clara:
+é Flora,
+com olhos dotados de um mover particular
+entre mavioso e pensativo;
+Marcela, a rir com expressão cândida (e outra coisa);
+Virgília,
+cujos olhos dão a sensação singular de luz úmida;
+Mariana, que os tem redondos e namorados;
+e Sancha, de olhos intimativos;
+e os grandes, de Capitu, abertos como a vaga do mar lá fora,
+o mar que fala a mesma linguagem
+obscura e nova de D. Severina
+e das chinelinhas de alcova de Conceição.
+A todas decifraste íris e braços
+e delas disseste a razão última e refolhada
+moça, flor mulher flor
+canção de manhã nova…
+E ao pé dessa música dissimulas (ou insinuas, quem sabe)
+o turvo grunhir dos porcos, troça concentrada e filosófica
+entre loucos que riem de ser loucos
+e os que vão à Rua da Misericórdia e não a encontram.
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora da Brasiliana Fotográfica
+ 
+Fontes:
+Hemeroteca Digital da Biblioteca Nacional
+Revista Aventuras na História
+Site Academia Brasileira de Letras
+Site Migalhas
+WANDERLEY, Andrea C.T. Missa Campal de 17 de maio de 1888 in Brasiliana Fotográfica, 17 de maio de 2015
+___________________O retratista português Joaquim Insley Pacheco (31 de março de 1830 – 14 de outubro de 1912) in Brasiliana Fotográfica, 14 de outubro de 2016
+Wikipedia
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/7182` — `itens/20.500.12156.1_7182/`
+- `20.500.12156.1/1795` — `itens/20.500.12156.1_1795/`
+
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+---
+id: 45563
+url: "https://brasilianafotografica.bn.gov.br/?p=45563"
+titulo: "O Pombal da Fiocruz: Ciência, Educação e Cultura, por Ricardo Augusto dos Santos & Thayane Vicente Vam de Berg"
+autor: "Andrea Wanderley"
+data: "2026-08-03T09:53:37+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/14430", "20.500.12156.1/14427", "20.500.12156.1/14426", "20.500.12156.1/14425", "20.500.12156.1/6542", "20.500.12156.1/5579", "20.500.12156.1/5578", "20.500.12156.1/5146", "20.500.12156.1/6215", "20.500.12156.1/9187", "20.500.12156.1/10273"]
+fetched_at: "2026-09-10T10:24:17.053Z"
+---
+
+# O Pombal da Fiocruz: Ciência, Educação e Cultura, por Ricardo Augusto dos Santos & Thayane Vicente Vam de Berg
+
+Ricardo Augusto dos Santos e Thayane Vicente Vam de Berg, pesquisadores do Departamento de Arquivo e Documentação da Casa de Oswaldo Cruz, Fiocruz, uma das instituições parceiras da Brasiliana Fotográfica, são os autores do artigo O Pombal da Fiocruz: Ciência, Educação e Cultura. Com fotografias produzidas no início do século XX, eles nos contam a história do Biotério de Manguinhos, também conhecido como Pombal, inaugurado em 1907,  para abrigar animais de pequeno porte utilizados em pesquisas científicas. Foi projetado pelo arquiteto Luiz Moraes Júnior (1868 – 1955). Recentemente, o Pombal passou por uma reforma e foi reinaugurado, em março, com a exposição Pombal: do mangue ao mundo. Ao final do artigo, publicação de um Breve perfil do arquiteto português Luiz de Moraes Junior (1868 – 1955), de autoria de Andrea C.T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica.
+ 
+O Pombal da Fiocruz: Ciência, Educação e Cultura 
+Ricardo Augusto dos Santos e Thayane Vicente Vam de Berg@
+ 
+ 
+Biotério / Pombal, início do século XX. Manguinhos, Rio de Janeiro, RJ / Acervo Casa de Oswaldo Cruz
+ 
+O Biotério da Fundação Oswaldo Cruz, localizado no Rio de Janeiro, em Manguinhos, é um dos espaços mais representativos do conjunto arquitetônico histórico da Fiocruz e representa o projeto da ciência brasileira de inícios do século XX. Construído em 1904, no contexto da origem do Instituto Soroterápico Federal, o local foi projetado pelo arquiteto Luiz de Moraes Júnior (1867-1955). Nas imagens das obras do Biotério, podemos observar os operários em ação. Trabalhadores comuns, capazes de erguer prédios marcantes e que lhes exigia habilidade técnica para a materialização do projeto concebido. Eles foram fundamentais para a concretização dos lugares onde a produção científica seria realizada e pelas transformações urbanas da capital do Brasil.
+ 
+Construção do Pombal, c. 1907. Manguinhos, Rio de Janeiro, RJ / Acervo Casa de Oswaldo Cruz
+ 
+ 
+O antigo Biotério para animais foi planejado para atender às demandas da nascente produção científica em saúde pública, servindo de apoio às atividades de pesquisa, especialmente na criação de animais destinados à produção de soros e vacinas. Cercadas por um muro, suas oito construções circulares rodeiam uma torre que está acima das unidades. Estas divisões possuíam gaiolas para cobaias de pequeno porte, como aves, ratos e coelhos. Estes animais sadios ficavam distantes dos inoculados.
+ 
+Acessando o link para as fotografias do Biotério de Manguinhos disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Diferentemente das construções monumentais, como o Pavilhão Mourisco, o famoso Castelo da Avenida Brasil, o Pombal apresenta uma concepção funcional. Algumas fontes indicam que a torre abrigava pombos-correios utilizados para comunicação. Por este motivo, o Biotério também é conhecido como Pombal. Tal função reforça o valor histórico do local como testemunho material das práticas e das condições de produção do conhecimento científico em Manguinhos.
+ 
+Pombal, início do século XX. Manguinhos, Rio de Janeiro, RJ / Acervo Casa de Oswaldo Cruz
+ 
+Nas últimas décadas, o Pombal passou por transformações, acompanhando as alterações institucionais e científicas da Fiocruz e hoje o espaço é preservado como patrimônio histórico. Iniciativas culturais no início da década de 1990, como o movimento Pombal Gira, transformaram o local em ponto de encontro para a comunidade científica da Fiocruz. Recém-saído de uma ditadura, a Fundação Oswaldo Cruz viveu experiências marcantes que modificaram o antigo biotério da instituição. Criado a partir da ideia da cultura como elemento agregador, o evento promovia apresentações de teatro, música, confraternizações e atividades da colônia de férias dos filhos dos funcionários. Foi um período de reaproximação da Fiocruz com os trabalhadores, possibilitando momentos de inspiração para os tempos democráticos.
+Em 2026, o espaço foi restaurado e reinaugurado no mês de março, trazendo novas perspectivas de uso com um espaço educativo voltado a temas como saúde, meio ambiente e educação patrimonial. Aberto ao público, se torna mais um local histórico da cidade, além de estabelecer, na contemporaneidade, um espaço ativo de mediação entre ciência, cultura, educação e cidadania.
+ 
+
+ 
+O Pombal passou por usos científicos, quando foi biotério, por usos culturais, com shows e encontros do Pombal Gira, e agora foi agregado o uso educativo patrimonial, com uma exposição. Portanto é um “lugar de memória”, registro da memória coletiva e um patrimônio cultural e científico multifacetado, que possibilita o diálogo da ciência e da educação patrimonial com a sociedade. Este “lugar de memória” não se encontra congelado no tempo. Pelo contrário, é renovado com usos que o aproximam do olhar curioso do visitante e reafirmam os espaços científicos e históricos da Fiocruz como patrimônio da saúde.
+A revitalização do antigo biotério, no campus de Manguinhos da Fiocruz, insere esta construção singular no circuito de visitação e ativa o uso social desse patrimônio, reforçando o papel educativo e científico da instituição que se aproxima da sociedade oferecendo um novo espaço de lazer, cultura e ciência na Zona Norte da cidade do Rio de Janeiro, que carece de bens culturais acessíveis e preservados que divulguem conhecimento e fortaleçam as ações de cidadania. Afinal, a preservação e proteção do patrimônio precisa ser efetivada não somente restaurando, mas ativando democraticamente o uso do bem público, possibilitando o acesso e a apropriação pelos cidadãos.
+Nas fotografias selecionadas visualizamos todos esses usos, sabendo que outros ainda poderão surgir.
+ 
+Prédio do pombal com vista da torre central do Biotério, s/d. Manguinhos, Rio de Janeiro, RJ / Acervo Casa de Oswaldo Cruz
+ 
+* Ricardo Augusto dos Santos e Thayane Vicente Vam de Berg são pesquisadores do Departamento de Arquivo e Documentação/ Casa de Oswaldo Cruz.
+ 
+Referências:
+ALBUQUERQUE, Cristiane. Construções históricas tornam-se patrimônio da saúde pública brasileira. 2018. Disponível em: https://agencia.fiocruz.br/construcoes-historicas-tornam-se-patrimonio-da-saude-publica-brasileira
+FONSECA, Maria Cecília Londres. O patrimônio em processo: trajetória da política federal de preservação no Brasil. Rio de Janeiro: UFRJ, 2017. 328p.
+BENCHIMOL, Jaime Larry. Manguinhos do Sonho à Vida: A Ciência na Belle Époque. Rio de Janeiro: Editora Fiocruz, 2020.
+FIOCRUZ (Fundação Oswaldo Cruz). Restauração do antigo biotério gera ações de educação patrimonial. Casa de Oswaldo Cruz (COC). 2024. Disponível em: https://www.coc.fiocruz.br/todas-as-noticias/restauracao-do-antigo-bioterio-gera-acoes-de-educacao-patrimonial/
+NORA, Pierre. Entre memória e história: a problemática dos lugares. Projeto História, São Paulo, n.10, dez. 1993, p.7-28.
+RODRIGUES, Karine. Edificação centenária, antigo biotério da Fiocruz será restaurado. 2023. Disponível em: https://fiocruz.br/noticia/2023/05/edificacao-centenaria-antigo-bioterio-da-fiocruz-sera-restaurado
+ 
+Breve perfil do arquiteto português Luiz de Moraes Junior (1868 – 1955)
+ Andrea C. T. Wanderley**
+ 
+O arquiteto português Luiz Moraes Junior (1868 – 1955) / Portal da Fiocruz
+ 
+O Desinfetório de Botafogo foi projetado pelo arquiteto português Luiz de Moraes Junior, que nasceu em 28 de janeiro de 1868, e passou sua infância e a adolescência, na cidade de Faro, cidade onde nasceu e capital do Algarve. Formado pela Universidade de Lisboa, iniciou sua carreira como engenheiro ferroviário. Casou e teve duas filhas. Em 1900, sem sua família, veio para o Brasil como técnico de uma grande firma alemã. No Rio de Janeiro, fiscalizou os imóveis do Mosteiro de São Bento e das Ordens Religiosas e, a convite do padre Ricardo, vigário-geral da Igreja da Penha, deu início às obras de restauração da fachada desta igreja. Em 1901, residia na Rua General Câmara , 64 (Almanak Laemmert, 1902, primeira coluna; A Notícia, 31 de julho de 1904, quarta coluna; A Notícia, 5 e 6 de outubro de 1907, terceira coluna).
+Foi durante o trajeto de trem para o trabalho que conheceu Oswaldo Cruz, que fazia o mesmo percurso até Manguinhos. Ficaram amigos e Oswaldo Cruz o convidou para realizar o Castelo Mourisco, sede da Fiocruz em Manguinhos, construído entre 1905 e 1918, e símbolo da instituição (Jornal do Brasil, 14 de agosto de 1905, terceira coluna).
+ 
+Vista do Castelo da Fiocruz antes da abertura da Avenida Brasil, s/d. Rio de Janeiro, RJ / Acervo Casa de Oswaldo Cruz
+ 
+Também executou os projetos de instalações que, atualmente, formam o Núcleo Arquitetônico Histórico de Manguinhos (NAHM), composto pelo Pavilhão do Relógio ou da Peste; a Cavalariça; o Quinino ou Pavilhão Figueiredo Vasconcellos; o Pombal ou Biotério para Pequenos Animais; o Hospital Evandro Chagas; e a Casa de Chá.
+ 
+Vista das antigas instalações da Fazenda de Manguinhos. Ao fundo, em construção, o edifício que abrigaria a Cavalariça e o Pavilhão do Relógio ou Pavilhão da Peste, s/d. Rio de Janeiro, RJ / Acervo Casa de Oswaldo Cfruz
+ 
+ 
+J. Pinto. Biotério para pequenos animais. Conhecido com “Pombal”, 1910. Rio de Janeiro, RJ / Acervo Casa de Oswaldo Cruz
+ 
+ 
+J. Pinto. Hospital de Manguinhos é rebatizado como Hospital Evandro Chagas após a morte do cientista, em 1940. Rio de Janeiro, RJ / Acervo Casa de Oswaldo Cruz
+ 
+ 
+Interior da casa de Chá: Henrique Aragão e Gustav Giemsa; 2º mesa: S. Von Prowazek e Oswaldo Cruz, 1908? . Rio de Janeiro, RJ / Acervo Casa de Oswaldo Cruz
+ 
+Participou de todas as obras sanitárias realizadas por Oswaldo Cruz em combate à febre amarela e à peste organizadas pela Diretoria Geral de Saúde Pública com o objetivo de higienizar o Rio de Janeiro. Em 1910, foi um dos promotores de uma homenagem a Oswaldo Cruz, o ilustre cientista brasileiro a quem o Rio de Janeiro deve a prodigiosa obra do seu saneamento e o Brasil o brilho de uma representação científica das mais gloriosas no estrangeiro, realizada no Palácio Monroe (A Notícia, 31 de agosto e 1º de setembro de 1910, penúltima coluna; Correio da Manhã, 4 de setembro de 1910, primeira coluna).
+No campo da arquitetura hospitalar, sanitária e médico-experimental, Moraes Junior desenvolveu diversos outros empreendimentos, dentre eles a sede da Policlínica do Rio de Janeiro, na antiga Avenida Central, atual Rio Branco (Gazeta de Notícias,4 de março de 1909, penúltima coluna); os Dispensários da Fundação Gaffré Guinle; e a reforma do Hospital do Engenho de Dentro e da Beneficência Portuguesa do Rio de Janeiro. Foi o realizador prático do projeto de Assepsia Integral do médico Mauricio Gudin (1883 – 1959), construindo na Beneficência Portuguesa e no Hospital-Escola de Niterói os blocos que tornaram realidade o processo concebido por Gudin (O Paiz, 7 de novembro de 1923, segunda coluna). Foi também autor do projeto do edifício da Escola Nacional de Medicina, cuja pedra fundamental foi assentada em 22 de maio de 1916 (Correio da Manhã, 23 de maio de 1916, segunda coluna).
+Também atuou em outras áreas da arquitetura, tendo construído a casa da família de Oswaldo Cruz, na Praia de Botafogo, e do túmulo do cientista, no Cemitério São João Batista.
+ 
+Túmulo de Oswaldo Cruz no Cemitério São João Batista / Acervo Casa de Oswaldo Cruz
+ 
+Em Petrópolis, foi o responsável pelo Grande Hotel e pelo prédio do jornal Tribuna de Petrópolis. Na Alemanha, participou do projeto de construção e decoração do Pavilhão do Brasil na Exposição Internacinal de Higiene de Dresden, realizada em 1911 (Correio da Manhã, 11 de junho de 1917, terceira coluna).
+ 
+Exposição Internacional de Higiene e Demografia em Dresden, 1911. Dresden, Alemanha / Acervo Casa de Oswaldo Cruz
+ 
+Foi amigo dos presidente do Brasil, Nilo Peçanha (1867 – 1924) e Rodrigues Alves (1848 – 1919) e de diversos outros políticos e empresários de destaque no Brasil. Foi nomeado Cônsul Geral do Haiti no Rio de Janeiro, em 18 de junho de 1919, cargo que exerceu durante toda sua vida.  Tornou-se Comendador da Ordem Nacional do Haiti Honneur et Merite, em 1933; e da Ordem Nacional do Cruzeiro do Sul, do Brasil, em 1937. Foi membro do Instituto de Engenharia (Correio Paulistano, 24 de junho de 1919, quinta coluna; Almanak Laemmert, 1927, última coluna; Jornal do Brasil, 15 de julho de 1927, primeira coluna; Correio da Manhã, 13 de abril de 1933, segunda coluna; O Jornal, 5 de fevereiro de 1937, quinta coluna; Relatórios do Ministério das Relações Exteriores, 1940).
+Desportista, em 1907, foi o tesoureiro da primeira diretoria do Automóvel Club do Brasil, do qual foi um dos fundadores. Durante décadas seguiu fazendo parte da instituição. Em 1928, dirigiu as obras de renovação do interior do prédio, na Rua do Passseio (O Jornal, 8 de julho de 1928, terceira coluna). Em 1939, tornou-se seu sócio benemérito (Jornal do Commercio, 31 de maio de 1939, segunda coluna).
+ 
+Brasil Sport, 16-28 de fevereiro de 1907
+ 
+Ainda em 1907 foi juiz de chegada de uma corrida de automóveis realizada na Avenida Beira-Mar, em Botafogo. Em 1908 e 1909, foi um dos promotores de corridas de automóveis partindo de Niterói e percorrendo diversas cidades fluminenses. Foi admitido como membro do Jockey Club, em 1908 (Gazeta de Notícias, 15 de março de 1907, quinta coluna; A Imprensa, 14 de julho de 1908, última coluna; O Fluminense, 25 de setembro de 1908, quarta coluna; O Fluminense, 2 de junho de 1909,quarta coluna).
+Na Exposição Nacional de 1908, ganhou a Medalha de Ouro na categoria de Arquitetura (Jornal do Brasil, 21 de novembro de 1908, terceira coluna). No ano seguinte,conquistou outra Medalha de Ouro, desta vez pelo plano e projeto de um hospital moderno, na Exposição Internacional de Higiene do Rio de Janeiro (Correio da Manhã, 24 de outubro de 1909, quarta coluna).
+Em 1910, integrou o júri, presidido por Marciano Aguiar Moreira, presidente do Jockey Club, que julgou o projeto da nova sede social da instituição, na então Avenida Central, atual Rio Branco. Os outros jurados foram Domingos Cunha, Francisco de Oliveira Passos (1878 – 1958), engenheiro civil e filho do prefeito do Rio de Janeiro, Francisco Pereira Passos (1836 – 1913), entre 1902 e 1906; e o professor e escultor Rodolpho Bernardelli (1852 – 1931). Venceu o projeto de Heitor de Mello (1875 – 1920) (O Paiz, 11 de agosto de 1910, terceira coluna; Jornal do Commercio, 2 de setembro de 1913, sexta coluna; Correio da Manhã, 6 de setembro de 1913, sexta coluna). Ainda em 1910, foi premiado na categoria Escola Profissional em um concruso para prédios escolares promovidos pelo Serviço de Inspeção Sanitária Escolar (Correio da Manhã, 28 de novembro de 1910, segunda coluna).
+Era zelador da Venerável Irmandade de Nossa Senhora da Penha no Irajá (O Paiz, 7 de outubro de 1913, penúltima coluna). Em 1920, participou do Congresso Brasileiro de Proteção à Infância (O Paiz, 2 de dezembro de 1919, última coluna). Em 1915, integrava a comissão organizadora de um evento carnavalesco, o Garden Tea Dansant Masque (Correio da Manhã, 14 de fevereiro de 1915, segunda coluna).
+Em 1921, aderiu a uma homenagem ao professor Carlos Chagas (1878 – 1934), na sede do Club dos Diários, do qual era tesoureiro (O Paiz, 14 de agosto de 1921, segunda coluna; O Paiz, 30 de abril de 1924, penúltima coluna). Foi um dos supervisores da construção da  estrada Rio-Petrópolis, inaugurada em 1928, da qual foi um dos subscritores (O Paiz, 29 de janeiro de 1923, segunda coluna; Automóvel-Club, maio de 1926; O Jornal, 6 de setembro de 1928, sexta coluna).
+ 
+Automóvel-Club, maio de 1926
+ 
+Trecho da estrada Rio-Petrópolis / Automóvel-Club, fevereiro de 1927
+ 
+Em 1923, recebeu um título honorífico do Real Gabinete Português de Leitura, do qual era sócio (O Brasil, 15 de maio de 1923, terceira coluna).
+Em 1925, sofreu um acidente de carro, na Avenida Beira-Mar, perto da Rua do Russel. Ele residia na rua Assunção, nº 65 (Correio a Manhã, 24 de setembro de 1925, terceira coluna). Fez parte da comissão da 1ª Exposição de Automobilismo, Autopropulsão e Estradas de Rodagem (O Paiz, 26 de agosto de 1925, última coluna;  O Paiz, 25 de outubro de 1925, quarta coluna; Automovel-Club, setembro 1925).
+ 
+Automóvel-Club, julho de 1925
+ 
+Em 1926, a convite da Sociedade Interamericana de Mulheres, as cientistas Marie Curie (1867 – 1934) e Irène Joliot-Curie (1897 – 1956), mãe e filha, em visita ao Brasil, foram a Petrópolis acompanhadas por Bertha Lutz, pela embaixatriz da França e pela sra. Paul Hazard, e por Luiz Moraes Junior e Armando Godoy, ambos da diretoria do Automóvel Clube do Brasil, que forneceu os carros usados no trajeto. Foram recebidas pelo prefeito da cidade, Francisco de Avelar Figueira de Melo (1883 – 1938), e o senador Joaquim Moreira (1853 – 1929) ofereceu um almoço ao grupo (O Paiz, 6 de agosto de 1926, quarta coluna).
+Em 1929, participou, como Cônsul do Haiti, do 2º Congresso Pan-americano de Estradas de Rodagem, quando proferiu um discurso (Automóvel-Club, agosto/setembro de 1929).
+Integrou a primeira diretoria, como suplente, de uma a associação de turismo, a Rio Turing S.A (O Paiz, 7 de dezembro de 1933, terceira quarta coluna).
+Participou, em 1934, de uma inspeção nas obras realizadas no Circuito da Gávea de automobilismo (Jornal do Commercio, 19 de setembro 1934, quarta coluna). Integrava a comissão técnica das corridas internacionais de automóveis (Correio da Manhã, 30 de setembro de 1934, penúltima coluna).
+ 
+Correio da Manhã, 2 de junho de 1935
+ 
+Durante a gestão do prefeito Pedro Ernesto (1884 – 1942), construiu vários hospitais no Rio de Janeiro. Houve uma polêmica em torno de sua indicação sem a realização de uma concorrência pública (Correio da Manhã, 26 de agosto de 1934; Jornal do Brasil, 29 de agosto de 1934, primeira coluna).
+Foi membro da Sociedade Filatélica Brasileira e possuía uma das coleções de selos mais valiosas do Brasil. Participou, em 1934, da Exposição Filatélica Nacional, realizada no Palácio das Festas, na Feira Internacional de Amostras. Em 1938, foi um dos patronos da Exposição Filatélica Internacional, na Escola de Belas Artes. Possuia um par de selos olho de boi dos valores de 30 e 90, unidos – uma raridade (D. Quixote, 20 de maio de 1925, primeira coluna; D. Quixote, 1º de julho de 1925, primeira coluna; Jornal do Commercio, 26 de setembro de 1934, terceira coluna; O Carioca, 9 de novembro de 1935, segunda coluna; Jornal do Commercio, 15 de junho de 1938, segunda coluna; A Noite, 24 de outubro de 1938, segunda coluna; O Cruzeiro, 19 de novembro de 1938).
+Uma apólice mineira sorteada com mil contos foi vendida pelo corretor a Luiz Moraes Junior e ao deputado Augusto Cursino (Diário da Noite, 4 de janeiro de 1935).
+Em 1942, participou da X Conferência Sanitária Panamericana, no Palácio Tiradentes, no Rio de Janeiro (Gazeta de Notícias, 2 de setembro de 1942).
+Em 1953, era o tesoureiro do Petrópolis Country Club (Jornal do Brasil, 22 de fevereiro de 1907, quarta coluna; Jornal do Brasil, 19 de março de 1953, terceira coluna; Jornal do Brasil, 24 de setembro de 1953, sexta coluna; O Jornal, 16 de julho de 1955; O Jornal, 22 de setembro de 1957).
+Faleceu em 15 de julho de 1955, na Beneficência Portuguesa, de onde era sócio graduado, no Rio de Janeiro. Era casado, em segunda núpcias com Gelmina Fazzioni de Moraes. O casal não teve filhos (Jornal do Brasil, 16 de julho de 1955).
+ 
+Correio da Manhã, 19 de julho de 1955
+ 
+Automóvel-Club, janeiro de 1927. Luiz Moraes Junior está em pé, à direita.
+ 
+Outras de suas realizações foram o Palacete Seabra, no Flamengo e o Rio Hotel, na Praça Tiradentes, além do Grande Hotel e da sua residência localizada em Petrópolis.
+ 
+**Andrea C. T. Wanderley é pesquisadora e editora do portal Brasiliana Fotográfica
+ 
+Fontes:
+Biblioteca Virtual Oswaldo Cruz
+Hemeroteca Digital da Biblioteca Nacional
+Portal da Fiocruz
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/14430` — `itens/20.500.12156.1_14430/`
+- `20.500.12156.1/14427` — `itens/20.500.12156.1_14427/`
+- `20.500.12156.1/14426` — `itens/20.500.12156.1_14426/`
+- `20.500.12156.1/14425` — `itens/20.500.12156.1_14425/`
+- `20.500.12156.1/6542` — `itens/20.500.12156.1_6542/`
+- `20.500.12156.1/5579` — `itens/20.500.12156.1_5579/`
+- `20.500.12156.1/5578` — `itens/20.500.12156.1_5578/`
+- `20.500.12156.1/5146` — `itens/20.500.12156.1_5146/`
+- `20.500.12156.1/6215` — `itens/20.500.12156.1_6215/`
+- `20.500.12156.1/9187` — `itens/20.500.12156.1_9187/`
+- `20.500.12156.1/10273` — `itens/20.500.12156.1_10273/`
+
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@@ -0,0 +1,453 @@
+---
+id: 45699
+url: "https://brasilianafotografica.bn.gov.br/?p=45699"
+titulo: "Em defesa do voto feminino, republicação do artigo “E as mulheres conquistam o direito do voto no Brasil!”, o 13º da Série “Feministas, graças a Deus!”"
+autor: "Andrea Wanderley"
+data: "2026-07-13T13:38:32+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/5061", "20.500.12156.1/5028", "20.500.12156.1/6472", "20.500.12156.1/6648", "20.500.12156.1/6581"]
+fetched_at: "2026-09-10T10:24:20.738Z"
+---
+
+# Em defesa do voto feminino, republicação do artigo “E as mulheres conquistam o direito do voto no Brasil!”, o 13º da Série “Feministas, graças a Deus!”
+
+A trajetória da conquista do voto feminino no Brasil, um marco fundamental na história da democratização do país, começou ainda no século XIX e tornou-se o principal tema do feminismo nas primeiras décadas do século XX. Neste momento, em pleno século XXI, inacreditavelmente, questiona-se o direito das mulheres ao voto! Portanto, a Brasiliana Fotográfica republica o 13º artigo da série “Feministas, graças a Deus”, E as mulheres conquistam o direito do voto no Brasil!, que conta um pouco da história desta grande, inquestionável e inegociável conquista, além de homenagear algumas feministas fundamentais na história do movimento pela emancipação feminina, defensoras dedicadas e aguerridas dos direitos das mulheres. Lembramos que a série “Feministas, graças a Deus!” já tem 21 artigos publicados, todos reunidos na primeira página de nosso portal, e convidamos nossos leitores a lê-los, relê-los e a divulgá-los.
+ 
+Série “Feministas, graças a Deus!” XIII – E as mulheres conquistam o direito do voto no Brasil!
+Com a publicação do 13º artigo da Série Feministas, graças a Deus!, a Brasiliana Fotográfica celebra a conquista do voto feminino no Brasil, a partir do Decreto nº 21.076, de 24 de fevereiro de 1932, que instituiu o Código Eleitoral Provisório, assinado pelo presidente Getulio Vargas (1882 – 1954), reconhecendo o direito de voto das mulheres.
+ 
+“Art. 2º É eleitor o cidadão maior de 21 anos, sem distinção de sexo, alistado na forma deste código”.
+Decreto nº 21.076, 24 de fevereiro de 1932
+ 
+A Constituição promulgada em 16 de julho de 1934 aprovou a igualdade de direitos políticos entre homens e mulheres, desde que maiores de 18 anos e alfabetizados:
+ 
+Art. 108. São eleitores os brasileiros de um e de outro sexo, maiores de 18 anos, que se alistarem na forma da lei.
+Parágrafo único. Não se podem alistar eleitores:
+a) os que não saibam ler e escrever;
+b) os praças-de-pré, salvo os sargentos, do Exército e da Armada e das forças auxiliares do Exército, bem como os alunos das escolas militares de ensino superior e os aspirantes a oficial;
+c) os mendigos;
+d) os que estiverem, temporária ou definitivamente, privados dos direitos políticos. 
+Art. 109. O alistamento e o voto são obrigatórios para os homens e para as mulheres, quando estas exerçam função pública remunerada, sob as sanções e salvas as exceções que a lei determinar.
+ 
+Era a vitória de décadas de mobilização em favor do sufrágio feminino no Brasil.
+ 
+Primeiras eleitoras do Brasil na cidade de Natal, 1928. Natal, Rio Grande do Norte / Acervo Arquivo Nacional
+ 
+No artigo de hoje, estão destacadas as imagens do acervo fotográfico do portal relativas às feministas e a suas pautas – os registros são do acervo do Arquivo Nacional, uma de nossas instituições parceiras, e seus autores foram J. Bonfioti, a Photo Skarke, a Fotografia Alemã, Louis Piereck (1880 – 1931), o Serviço Photographico de Vida Doméstica, além de fotógrafos ainda não identificados. Também publicamos breves perfis de sufragistas brasileiras importantes na luta pelo voto feminino.
+ 
+Acessando o link para as imagens relativas ao feminismo disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Charge mostra a resistência ao voto feminino / O Malho, 23 de junho de 1917
+ 
+A trajetória da conquista do voto feminino no Brasil, um marco fundamental na história da democratização do país, começou ainda no século XIX e tornou-se o principal tema do feminismo nas primeiras décadas do século XX, quando a feminista Bertha Lutz (1894 – 1976), fundadora da Federação Brasileira pelo Progresso Feminino, foi uma das mais importantes vozes na luta pela emancipação feminina, que também teve outras defensoras dedicadas e aguerridas.
+ 
+Nísia Floresta Brasileira Augusta (1810 – 1885), 
+ precursora dos ideais de igualdade e independência da mulher brasileira
+ 
+Nísia Floresta / Wikipedia
+ 
+“Nísia Floresta surgiu – repita-se–como uma exceção escandalosa. Verdadeira machona entre as sinhazinhas dengosas do meado do século XIX. No meio de homens a dominarem sozinhos todas as atividades extra domésticas, as próprias baronesas e viscondessas mal sabendo escrever, as senhoras mais finas soletrando apenas livros devotos e novelas que eram quase histórias do Trancoso. causa pasmo ver uma figura como a de Nísia”.
+Gilberto Freyre, Sobrados e Mocambos (1936)
+ 
+Ainda no Brasil Império, a escritora e educadora potiguar Nísia Floresta Brasileira Augusta (1810 – 1885), pseudônimo de Dionísia Gonçalves Pinto, foi a primeira mulher brasileira a defender o direito à educação científica para as meninas. A explicação do pseudônimo que criou para ela é a seguinte: “Nísia”, uma referência ao seu nome de batismo; depois, ao sítio Floresta onde nasceu; em seguida, ao seu país; e, finalmente, a Augusto, o nome do marido de quem ficou viúva. 
+Nasceu, em 12 de outubro de 1810, em Papari, no Rio Grande do Norte, onde casou-se com Manuel Alexandre Seabra de Melo. Tinha apenas 13 anos, mas ainda no primeiro ano do casamento voltou para a casa dos pais, o advogado português Dionísio Gonçalves Pinto (17? – 1828) e a brasileira Antônia Clara Freire (17? – 1855). Seus irmãos eram Clara e Joaquim. Mudou-se com a família para  Pernambuco, onde morou em Goiana, Recife e Olinda. 
+Em 1828, seu pai foi assassinado (Diário de Pernambuco, 22 de setembro de 1830, segunda coluna). No mesmo ano, Nísia passou a viver com Manoel Augusto de Faria Rocha, estudante de Direito da Faculdade de Olinda, natural de Goiana (Diário de Pernambuco, 16 de abril de 1829, segunda coluna), com quem teve três filhos na década de 1830: Lívia (1930-?), um filho, que viveu poucos meses (1831 – 1831 ou 1832); e Augusto Américo (1933-?). Era acusada de adúltera pelo ex-marido. 
+Iniciou sua carreira literária, em 1931, publicando, com o pseudônimo de Brasileira Livre, artigos sobre a condição feminina no jornal pernambucano Espelho das Brasileiras, que pertencia ao francês Adolphe Emile de Bois Garin (Espelho das Brasileiras, 13 de maio de 1931). A defesa dos direitos das mulheres e dos indígenas no Brasil, e a crítica à escravidão foram temas recorrentes em sua produção literária.
+ 
+“Esta foi, com certeza, uma das primeiras mulheres no Brasil a romper os limites do espaço privado e a publicar textos na grande imprensa, pois, desde 1830, seu nome era uma presença constante em periódicos nacionais, comentando questões polêmicas, como o direito das mulheres – e, também, dos índios e dos escravos – a uma vida digna e respeitável. Aliás, nesse gosto pela polêmica e no fato de viver sempre à frente de seu tempo, estariam, a nosso ver, também, traços de modernidade da autora”.
+ Constância Lima Duarte sobre Nísia em Feminismo e literatura no Brasil (2003)
+ 
+Em 1832, publicou, no Recife, o livro Direito das Mulheres e a Injustiça dos Homens, primeiro texto de uma brasileira a falar em direitos das mulheres. Existe uma polêmica em torno da autoria deste livro: alguns pesquisadores consideram o livro como uma tradução livre de A Vindication of the Rights of Woman, de Mary Wollstonecraft (1759-1797), e outros como a tradução de Woman not Inferior to Man, de Mary Wortley (1689-1762), que teria sido infuenciada pelo livro De l´egalité des deux sexes, de François Poullain de La Barre, publicado em 1673. 
+ 
+
+ 
+Em novembro de 1832, foi para o Rio Grande do Sul, com Lívia, sua filha; sua mãe viúva e com seu companheiro, Manoel Augusto, que, em agosto de 1833, poucos meses após o nascimento de Augusto Américo, em janeiro de 1833, faleceu. Manoel Augusto havia ocupado o cargo de juiz municipal de São Pedro do Rio Grande do Sul (Correio Official, 25 de outubro de 1833, primeira coluna). Ainda em 1833, Nísia publicou a segunda edição de Direito das Mulheres e a Injustiça dos Homens, em Porto Alegre, pela Typographia de V. F. Andrade. Escreveu para alguns jornais de Porto Alegre, dentre eles o Belano, que circulou entre 1832 e 1833. Entre 1834 e 1837, manteve uma escola. Segundo o professor Luis Carlos Freire, professor de Artes da Universidade Federal do Rio Grande do Norte e um dos maiores pesquisadores de Nísia, provavelmente ela ensinava em casa, como era costume na época. 
+Em 1837, foi para o Rio de Janeiro. Provavelmente, a tensão causada pela Guerra dos Farrapos contribuiu para essa mudança. Em 1838, fundou o Colégio Augusto, para meninas, que dirigiu com algumas interrupções até 1856. Posteriormente, o colégio, que existiu até 1894, foi dirigido por seu filho (Jornal do Commercio, 31 de janeiro de 1838, segunda coluna). Nísia tinha uma proposta de educação inclusiva para meninos e meninas, tanto na esfera pública, quanto na privada, e era influenciada pelo pensamento positivista do francês Auguste Comte (1798 – 1857), de quem era amiga. Em 1839, foi publicada, já no Rio de Janeiro, a terceira edição de Direito das Mulheres e a Injustiça dos Homens, pela Casa do Livro Azul.
+ 
+Almanak Laemmert, 1950
+ 
+Por ensinar Caligrafia, Dança, Desenho e Costura, Francês, Geografia, História, Inglês, Italiano, Latim, Matemática, Música, Português, Piano e Religião a suas alunas e não a fazer vestidos e camisas foi criticada (O Mercantil (MG), 17 de janeiro de 1947, primeira coluna).
+ 
+O Mercantil (MG), 17 de janeiro de 1847
+ 
+Publicou, em 1847, três obras de caráter pedagógico: Fany ou o modelo das donzelas; Discurso que às suas educandas dirigiu Nísia Floresta Brasileira Augusta, um breve texto de seis páginas; e Daciz ou a jovem completa. 
+Em 2 de novembro de 1849, acompanhada dos dois filhos, Nísia viajou pela primeira vez à Europa. Embarcaram, rumo a Havre, na galera francesa Ville de Paris. Ficou em Paris e em Lisboa, retornando ao Brasil em 1852 (Diário do Rio de Janeiro, 3 de novembro de 1849, última coluna). Nesse período, ela frequentou as conferências de Auguste Comte sobre História Geral da Humanidade no Palais Cardinal, em Paris. 
+Em 1853, lançou o Opúsculo Humanitário, que dedicou a seu irmão, Joaquim Pinto Brasil. Nele a autora nos conta a história do papel das mulheres nas sociedades ocidentais, dando exemplos e refletindo sobre a condição feminina. Antes da primeira impressão reunida, parte dos textos foi publicada nos jornais Diário do Rio de Janeiro, sob  pseudônimo B.A.
+“Dê-se ao sexo uma educação religiosamente moral, desvie-se dele todos os perniciosos exemplos que tendem a corromper-lhe, desde a infância, o espírito, em vez de formá-lo á virtude, adornem-lhe a inteligência de úteis conhecimentos, e a mulher será não somente o que ela deve ser — o modelo de família — mas ainda saberá conservar dignidade, em qualquer posição que porventura a sorte a colocar.”
+Nísia Floresta em O Opúsculo Humanitário, 1853
+ 
+Trabalhou como voluntária no combate a uma epidemia de cólera no Rio de Janeiro, em 1855 (Correio Mercantil, 4 de outubro de 1955, segunda coluna). Também entre este ano e 1856 publicou alguns artigos no Brasil Illustrado: Passeio ao Aqueduto Carioca, Páginas de Uma Vida Obscura, Um Improviso, na manhã de 1º do corrente, ao distinto literato e grande porta Antônio Castilho e O pranto Filial.
+O último registro do Almanak Laemmert de Nísia como diretora do Colégio Augusto é de 1855 (Almanak Laemmert, 1855). Em 10 de abril de 1856, Nísia viajou no paquete a vapor Cadix com sua filha para a Europa, onde permaneceu até 1871.  Em 1872, um retrato e um pequeno perfil dela foi publicado no jornal ilustrado brasileiro publicado em Nova York, O Novo Mundo, fundado por José Carlos Rodrigues (Diário do Rio de Janeiro, 10 de abril de 1856, quarta coluna; O Novo Mundo, 23 de maio de 1872). 
+ 
+Novo Mundo, 23 de maio de 1872
+ 
+Entre 1872 e 1875, Nísia esteve no Brasil. Retornou à Europa em 24 de março de 1875, rumo à Inglaterra, onde encontrou sua filha. Passaram um tempo em Londres e em Lisboa (Jornal do Commercio, 24 de março de 1875, terceira coluna). Em 1878, já morando na França, publicou seu último trabalho, Fragments d’un ouvrage inédit: Notes biographiques. Entre idas e vindas, Nísia morou na França e na Itália, visitando a Alemanha, Bélgica, Grécia, Inglaterra e Suíça. Enviava artigos para publicação em jornais cariocas (Correio do Brazil, 7 de janeiro de 1872, quinta coluna; Diário de S. Paulo, 11 de dezembro de 1875, última coluna; A Reforma, 31 de dezembro de 1875, última coluna). 
+Faleceu em 24 de abril de 1885, em Rouen, na França, de pneumonia. Foi enterrada no cemitério de Bonsecours (Jornal do Commercio, 26 de maio de 1885, quinta coluna; Novo e Completo Indice Chronologico da Historia do Brasil (RJ) – 1842 a 1889, 1885; Jornal do Commercio, 31 de maio de 1885, quinta coluna).
+ 
+Gazeta de Notícias, 29 de maio de 1885
+ 
+Jornal do Commercio, 24 de junho de 1885
+ 
+Sua cidade natal, Papari, foi rebatizada com a aprovação da Lei n° 146, de 23 de dezembro de 1948, como Nísia Floresta. Em 1954, o Estado do Rio Grande do Norte repatriou seus restos mortais para a cidade (O Poti (RN), 22 de agosto de 1954).
+ 
+Nísia Floresta / Geledés
+ 
+A quarta edição do livro Direito das Mulheres e a Injustiça dos Homens saiu apenas em 1989, pela Cortez, com introdução posfácio de Constância Lima Duarte. Em 2012, foi inaugurado o Museu Nísia Floresta, em sua cidade natal.
+Alguns de seus livros que não foram mencionados ao longo deste artigo são Conselhos a minha filha (1842), Lágrimas de um Caeté (1849) Itinerário de uma viagem à Alemanha (1857), Três anos na Itália, seguidos de uma viagem à Grécia (vol 1, em 1864, e vl 2, em 1872); e Cintilações de uma Alma Brasileira (1859). Publicou, ao todo, 15 livros.
+ 
+Maria Firmina dos Reis (1822- 1977)
+ 
+Imagem de Maria Firmina dos Reis recriada a partir de computação gráfica — Foto: Divulgação/Grupo de pesquisadores de Maria Firmina dos Reis
+ 
+A escritora e professora maranhense Maria Firmina dos Reis (1822-1917), nasceu, em 11 de março de 1822, que tornou-se o Dia da Mulher Maranhense*. Era filha de um homem branco, João Pedro Esteves, com uma ex-escravizada alforriada, Leonor Filipa. Foi a primeira romancista negra do Brasil e, provavelmente, a primeira mulher negra a publicar um romance na América Latina.  Era prima do gramático Sotero dos Reis (1800 – 1871). Tornou-se professora de escola primária em 1847, quando foi aprovada em um concurso público na cidade de Guimarães, no Maranhão.
+É a autora de Úrsula (1859), considerado o primeiro romance afro-brasileiro, pioneiro da literatura abolicionista e feminista no Brasil. O livro teve boa aceitação da crítica quando publicado, sob o pseudônimo de Uma Maranhense, mas acabou caindo no esquecimento. Seria redescoberto, em 1962, pelo historiador paraibano Horácio de Almeida (1896-1983) que encontrou, em um sebo carioca, uma edição do romance. Também é autora de Gupeva (1861), Cantos à beira-mar (1871) e A escrava (1887).
+ 
+
+ 
+Publicador Maranhense, 9 de agosto de 1860
+ 
+No início da década de 1880, Maria Firmina fundou o que seria a primeira escola gratuita e mista do Brasil, no povoado de Maçaricó, na cidade de Guimarães. Uma das lutas das feministas brasileiras desde o século XIX foi pela igualdade de ensino para as meninas. Pouco depois se aposentou. Em 1888, compôs a letra e a melodia do Hino da libertação dos escravos.
+Faleceu, em 11 de novembro de 1917. Não se identificou, até hoje, um retrato ou uma pintura de Maria Firmina.
+ 
+Busto que foi feito em homenagem a Maria Firmina e que teve como base os depoimentos de pessoas que foram próximas à escritora
+ 
+Em 2019, pela passagem de seu 194º aniversário foi homenageada com um doodle do Google. A ilustração foi criada pelo designer paulista Nik Neves.
+
+Em 2021, foi instituído pela Coordenadoria Estadual da Mulher em Situação de Violência Doméstica e Familiar do Tribunal de Justiça do Maranhão o Concurso Literário Maria Firmina dos Reis.
+Foi homenageada na 20ª edição da Flip (Festa Literária Internacional de Paraty), de 2022.
+*Até pouco tempo o dia 11 de outubro de 1825 era tido como o de seu nascimento. Porém, em 21 de julho de 1847, no ofício nº 45, o inspetor da Instrução Pública, declarou que a requerente ao concurso para a cadeira feminina da Vila de São José de Guimarães, Maria Firmina dos Reis, podia ser admitida ao concurso por ter provado ter nascido em 11 de março de 1822, sendo, portanto, maior de 25 anos, conforme a exigência para o exercício docente (CRUZ, 2018).
+ 
+Izabel de Souza Matos ou Izabel de Mattos Dillon (1861 – 1920)
+ 
+Izabel de Sousa Mattos ou Izabel de Mattos Dillon / A Rua, 20 de janeiro de 1917
+ 
+A sufragista Izabel de Souza Matos ou Izabel de Mattos Dillon (1861 – 1920) nasceu na Bahia, em 20 de janeiro de 1861 e concluiu o  curso de Cirurgia Dentária e Prótese pela Faculdade de Medicina do Rio de Janeiro, em maio de 1883 (Gazeta de Notícias, 1º de maio de 1883, sexta coluna). Exerceu a profissão de cirurgiã dentista na cidade de Pelotas, no Rio Grande do Sul, e participou de atividades abolicionistas no Rio Grande (Diário do Brazil, 21 de fevereiro de 1884, última coluna; A Federação, 4 de dezembro de 1884, última coluna). Casou-se, em fevereiro de 1885, com o também cirurgião-dentista Thomas Cantrell Dillon (1861 – 1933), futuro cônsul da Grã-Bretanha no Rio Grande do Sul (Almanak Laemmert, 1926). 
+ 
+Assinaturas de Isabel de Souza Mattos e Thomaz Cantrel Dillon na ocasião de seu casamento, em fevereiro de 1884
+ 
+Em 1886, quando ainda residia no Rio Grande do Sul, exigiu na Justiça o registro de eleitora, garantido pela Lei Saraiva a todos os brasileiros com título científico. Porém, José Vieira da Cunha, juiz municipal de Rio Grande, negou o pedido (Correio Paulistano, 21 de dezembro de 1886, terceira coluna). Segundo ela, posteriormente teve o título concedido e votou no candidato republicano Julio Mendonça Moreira (1853 -?), em São José do Norte, no Rio Grande do Sul. Ele havia sido promotor na comarca de Rio Grande e não foi eleito na ocasião – foi eleito deputado estadual de 1891 a 1895. O fato foi citado por Izabel em um artigo publicado no jornal A Rua, de 20 de janeiro de 1917; e também pelo deputado Mauricio de Lacerda (1888 – 1959), este último na sessão da Câmara de 22 de dezembro de 1916 e algumas outras vezes na imprensa (Diário Carioca, 18 de setembro de 1928, terceira coluna). Terá sido então Izabel Dillon, na verdade, a primeira eleitora do Brasil, ainda no século XIX?
+ 
+Maurício de Lacerda / Anais da Câmara, sessão de 22 de dezembro de 1916, página 205.
+ 
+Em 1888, anunciou que abriria um consultório de dentista no Rio de Janeiro, onde foi colaboradora das revistas O Corymbo e  A Família (A Verdade, 29 de novembro de 1888, segunda coluna).
+Em 1890, Izabel solicitou a transferência de seu título de eleitor para o Rio de Janeiro, onde voltara a residir, mas José Cesário de Faria Alvim (1839 – 1903), ministro do Interior, julgou improcedente seu pleito e assim como o de outras mulheres (A Ordem (MG), 2 de abril de 1890, última coluna).
+ 
+Revista Illustrada, 29 de março de 1890
+ 
+Ainda em 1890, Izabel concorreu a deputada pela Bahia, mas não se elegeu ( Gazeta de Notícias, 25 de agosto de 1890, terceira coluna; Pequeno Jornal (BA), 17 de setembro de 1890, segunda coluna; A Família, 18 de setembro de 1890, última coluna; A Lanterna, 22 de dezembro de 1916, segunda coluna; A Rua, 20 de janeiro de 1917).
+ 
+ 
+Gazeta de Notícias, 25 de agosto de 1890
+ 
+Era opositora de Floriano Peixoto (1839 – 1895), participou da Revolta da Armada e foi presa (A Rua, 20 de janeiro de 1917). Foi membro do Centro do Partido Operário, criado em 1890 por José Augusto Vinhais (1858 – 1941); e do Partido Republicano Feminino, fundado em 1910, por Leolinda Daltro (1859 – 1935).
+ 
+Izabel Dillon e Leolinda Daltro, secretária e presidente do Partido Republicano Feminino, respectivamente, com alunas da Escola Orsina da Fonseca / A Faceira, 16 de novembro de 1917
+ 
+Em 1913, sua única filha, Niobe Elisabeth Gonçalves (1893 – 1913) morreu, grávida de seu quarto filho com o cirurgião-dentista Basílio Gonçalves, seu marido. Houve uma investigação policial por suspeitas de aborto autoinduzido por medicamentos ingeridos por Niobe e também de imperícia médica. O caso repercutiu na imprensa do Rio de Janeiro e ficou conhecido como o Caso da Rua Paraná (O Século, 11 de fevereiro de 1913, quarta coluna; Correio da Manhã, 12 de fevereiro de 1913, quinta coluna; O Paiz, 25 de janeiro de 1913, quinta coluna). 
+ 
+Correio da Manhã, 14 de fevereiro de 1913
+ 
+Izabel faleceu em 19 de junho de 1920 e foi enterrada como indigente no Cemitério de Inhaúma, no Rio de Janeiro. A educadora Mariana Coelho (1857 – 1854) mencionou tanto Nísia Floresta como Izabel Dillon em seu artigo O feminismo no Brasil, publicado no Correio da Manhã, 3 de janeiro de 1937.
+ 
+Josephina Alvares de Azevedo (1851 – 1913),  fundadora do jornal A Família
+ 
+ 
+Josephina Alvares de Azevedo por Libânio do Amaral / A Família, número especial, 1889
+
+ 
+“O fundamento universal de todos os que opinam contra a nossa emancipação é esse — que a mulher não tem capacidade política. Porque? perguntamos nós, e a essa pergunta não nos dão resposta cabal. Em geral, os casos de incapacidade politica são estes — menoridade, demência, inhabilitações, restriccão de liberdade por pena cominada, etc. etc. A esses addusem os legisladores a «diferença de sexo». Mas em que essa diferença pode constituir razão de incapacidade eleitoral? A mulher educada, instruída, em perfeito uso de suas faculdades mentaes, exercendo com critério as suas funcções na sociedade, é uma personalidade equilibrada, apta para discernir e competente para escolher entre duas idéas aquella que melhor convém. Não pude por conseguinte estar em pé de igualdade com os dementes, com os menores, com os imbecis. Assim sendo, é absurdo o principio de sua incapacidade electiva.” 
+Josephina Alvares de Azevedo
+A Família, 21 de dezembro de 1889
+ 
+Também no século XIX, destacou-se na luta pela emancipação feminina a jornalista e literata pernambucana Josephina Alvares de Azevedo (1851 – 1913), nascida em 5 de maio de 1851, no Recife. Existem até hoje várias lacunas e dúvidas em relação a sua vida pessoal. O local e a data de seu nascimento – pode ter sido Paraíba, Recife, em Pernambuco, ou Itaboraí, no Rio de Janeiro – assim como seu grau de parentesco com o do poeta Manoel Antônio Alvares de Azevedo (1831-1852), ainda são incertos. De acordo com Augusto Victorino Blake, autor do Dicionário Bibliográfico Brasileiro, ela seria filha de Ignácio Manoel Alvares de Azevedo (?-1873) e, portanto, irmã, pelo lado paterno, do referido poeta. Porém em um artigo em A Família, de 23 de fevereiro de 1889, Josephina se refere ao poeta como primo. Sua mãe era Amália Alvares de Azevedo Cunha (? – 1896) e, sua avó materna, Emília Amália de Azevedo Coutinho (? – 1892) (Gazeta de Notícias, 29 de fevereiro de 1892, penúltima coluna; O Paiz, 16 de maio de 1896, quarta coluna).
+O dia, mês e ano de seu nascimento aqui publicados baseiam-se em uma noticia referente a seu aniversário e nas notícias de seu falecimento, em 1913, onde está indicado que ela tinha 62 anos na ocasião (Gazeta da Tarde, 5 de maio de 1890, quinta coluna; Diário de Notícias, 5 de maio de 1890, primeira coluna; A Família, 9 de maio de 1891, primeira coluna; A Época, 3 de setembro de 1913, segunda coluna; O Paiz, 5 de setembro de 1913, última coluna). Em relação ao local, acredito que ela tenha nascido no Recife, conforme seu próprio depoimento em A Família, 7 de dezembro de 1889, descrevendo seu retorno à sua terra natal em julho de 1889. Na ocasião foi à Photographia Ducasble, onde foi retratada. Ainda na cidade, publicou um número especial de A Família (Diário de Pernambuco, 23 de julho de 1889, penúltima coluna. De lá, seguiu para o Ceará, onde permaneceu cerca de 10 dias (A Família, 7 de dezembro de 1889, A Constituição (CE), 11 de agosto e 1891, segunda coluna).
+Josephina viveu até 1877, no Recife. Foi fundadora do jornal semanal A Família, em 1888 (A Família, 18 de novembro de 1888), cuja atuação na imprensa brasileira foi importante no período de transição entre o regime monárquico e a República no país. 
+ 
+A Família, 18 de novembro de 1888, primeiro número
+ 
+Inicialmente editado em São Paulo e impresso pela tipografia União- São Paulo, o periódico mudou-se para o Rio de Janeiro, em maio de 1889, e circulou ininterruptamente até 1897 – ficava na Travessa do Barbosa, nº 12 (A Família, 18 de maio de 1889; O Jacobino, 5 de junho de 1897, primeira coluna; Almanak Laemmert, 1898). Provavelmente, voltou a circular em 1898, mas logo deixou de existir (A Mensageira, 15 de maio de 1898). Entre as colaboradoras do jornal estavam a escritora baiana Ignez Sabino (1853 – 1911) e Izabel Dillon (1861 – 1920), além de estrangeiras como as feministas Guiomar Torrezão (1844-1898), escritora portuguesa; e a francesa Eugénie Potonié Pierre (1844 -1898), fundadora da Federação Francesa das Sociedades Feministas; que enviavam seus textos de seus respectivos países.
+ 
+A Família, 16 de janeiro de 1890
+ 
+Josephina escreveu para A Família diversos artigos em defesa da emancipação feminina a partir da educação, do trabalho, do voto feminino e pelo direito ao divórcio. Desde o início enfrentou resistência, inclusive de mulheres e de instituições católicas, como fica exemplificado na edição do periódico de 12 de janeiro de 1889; e também na notícia publicada pelo jornal O Apóstolo, 28 de março de 1890, primeira coluna.
+ 
+A Família, 12 de janeiro de 1889
+ 
+Destacamos os artigos O Direito ao Voto, publicado em 7 de dezembro de 1889, O Divórcio, de 2 de outubro de 1890; Emancipação da Mulher, de 18 de julho de 1891 e A Questão das Mulheres, de 30 de janeiro de 1892. Às vezes, os assinava como Zefa.
+ 
+Novidade, 17 de junho de 1890
+ 
+Com a Proclamação da República, em 15 de novembro de 1889, as mulheres vislumbraram a possibilidade de terem mais participação política. A própria Josephina escreveu no editorial de A Família, de 30 de novembro de 1889:
+“No fundo escuro e triste do quadro de provações a que votaram a mulher na sociedade, brilhará, com a fulgente aurora da República Brasileira, a luz deslumbradora da nossa emancipação?…Queremos o direito de intervir nas eleições, de eleger e ser eleitas, como os homens, em igualdade de condições. Ou estaremos fora do regime das leis criadas pelos homens, ou teremos também o direito de legislar para todas. Fora disso, a igualdade é uma utopia, senão um sarcasmo atirado a todas nós…”
+Porém, em 1891, criticou muito o fato de que na primeira Constituição da República, promulgada em 24 de fevereiro de 1891, as mulheres continuarem sendo espectadoras da vida política do país (A Família, 5 de março de 1891), circunstância retratada no quadro Compromisso Constitucional de 1891 (1896), de Aurélio de Figueiredo (1854 – 1916), onde um grupo de mulheres aparece justamente nesta condição.
+ 
+Aurélio de Figueiredo: Compromisso Constitucional de 1891
+ 
+Em 1891, o jornal A Família passou a pertencer à Companhia Imprensa Familiar, mas Josephina permaneceu como sua diretora mental e redatora (A Família, 25 de abril de 1891; O Paiz, 11 de maio de 1891, penúltima coluna; Diário de Notícias, 19 de julho de 1891, última coluna).
+Foi homenageada com a publicação de seu retrato na primeira página de A Família, de 9 de maio de 1891.
+ 
+A Família, 9 de maio de 1891
+
+ 
+Foi autora da comédia O Voto Feminino, que estreou no Rio de Janeiro, em 26 de maio de 1890, no Theatro Recreio Dramático, enérgica e vibrante peça de combate em favor dos direitos políticos do bello sexo. Foi encenada pelos atores Antonio Pereira Fontana e Castro, português radicado no Brasil; Germano, Bragança e Pinto; e pelas atrizes Elisa de Castro, Isolina Monclar e Luisa. A peça foi inspirada pelas constantes recusas de alistamento eleitoral feminino, já exemplificado neste artigo pelo caso de Izabel Dillon (A Família, 31 de maio de 1890, primeira coluna).  O Voto Feminino é uma peça emblemática do sufragismo brasileiro em fins do século XIX.
+ 
+O Paiz, 26 de maio de 1890
+ 
+Também em 1890, foi encenada sua tradução livre da peça Os Companheiros do Sol, de Paul Jay (Gazeta de Notícias, 6 de agosto de 1890, penúltima coluna).
+A partir de 1892, o número de colaboradoras de A Família e os artigos escritos por Josephina diminuíram muito. Em 1893, foi noticiado que ela estava doente, vitimada pela terrível influenza (A Família, 17 de maio de 1893). Ela residia na rua da Quitanda (Almanak Laemmert, 1893).
+Em 1896, ofertou à biblioteca do Grêmio Dramático Arthur Azevedo, de São Paulo, 20 obras  (A Arte, 12 de outubro de 1896, segunda coluna).
+Em 1904, foi citada como uma distintíssima escritora brasileira em uma carta aberta da escritora espanhola Eva Canel (1857 – 1932), Em defesa da mulher brasileira, uma resposta a um artigo da escritora e jornalista argentina Conception Gimeno del Flaquer (1850 – 1919) (Il Bersagliere, 5 de maio de 1904, segunda coluna).
+Ao longo de sua vida, Josephina publicou três livros: Retalhos (1890), A Mulher Moderna: trabalhos de propaganda (1891), que dedicou em signal de admiração e respeito à Viscondessa de Leopoldina e à D. Maria José Paranhos Mayrink; e Galleria illustre (Mulheres célebres) (1897) (O Paiz, 2 de fevereiro de 1890, sexta coluna; Diário do Commercio, 9 de fevereiro de 1891, penúltima coluna).
+ 
+
+ 
+
+ 
+Josephina faleceu em 1º de setembro de 1913, viúva, de acordo com as notícias veiculadas na época, no Rio de Janeiro, e foi enterrada no Cemitério de São Francisco Xavier, em 2 de setembro de 1913. Sua irmã, Maria Amelia de Azevedo Costa, e seus filhos, Alfredo e Moacyr Alvares de Azevedo, convidaram para a missa de Sétimo Dia, realizada na Igreja de Nossa Senhora da Conceição e Dores, em São Cristóvão. Residia na rua Luiz Barbosa, número 102 (A Época, 3 de setembro de 1913, segunda coluna; O Paiz, 5 de setembro de 1913, última coluna).
+ 
+Jornal do Brasil, 8 de setembro de 1913
+ 
+Comentando sobre a conquista do direito ao voto pelas mulheres inglesas, Antenor Thibau lembrou, em um artigo no Jornal do Brasil, a atuação de Josephina em prol da emancipação feminina no Brasil (Jornal do Brasil, 27 de fevereiro de 1918, segunda coluna).
+ 
+Jornal do Brasil, 27 de fevereiro de 1918
+ 
+Leolinda Daltro (1859 – 1935), Mariana de Noronha Horta (18? – 19?), Mietta Santiago (1903 – 1995) e Diva Nolf Nazário (1897 – 1966)
+ 
+ Leolinda Daltro
+Outra sufragista importante foi a professora, feminista e indigenista baiana Leolinda Daltro (1859 – 1935), fundadora do Partido Republicano Feminino, em 1910. Ela será tema de um artigo futuro da Brasiliana Fotográfica.
+ 
+Leolinda de Figueiredo Daltro
+ 
+Mariana de Noronha Horta
+A professora de Belo Horizonte Mariana de Noronha Horta (18? – 19?) também teve um atuação relevante na luta pelo voto feminino: em agosto de 1916, encaminhou um requerimento pedindo aos deputados que aprovassem o sufrágio feminino. No acervo de documentos da Câmara Federal, esta é a primeira manifestação formal de uma mulher solicitando direitos políticos (Correio Paulistano, 17 de agosto de 1916; Site da Câmara dos Deputados).
+ 
+Correio Paulistano, 17 de agosto de 1916
+ 
+Requerimento da professora Mariana de Noronha Horta ao Congresso Nacional pedindo aos senhores deputados que fosse decretado o direito de voto das mulheres / Arquivo Histórico da Câmara dos Deputados
+ 
+Mietta Santiago
+Eleitora pioneira em Minas Gerais, a escritora e advogada Mietta Santiago (1903 – 1995), como ficou conhecida Maria Ernestina Carneiro Santiago Manso Pereira, nasceu em Varginha, em 1903, e, aos 11 anos, foi viver na capital mineira, onde estudou na Escola Normal de Belo Horizonte. Casou-se, em 1923, após passar cerca de seis meses na Europa, com o médico João Manso Pereira.
+Com apenas 25 anos, em 1928, impetrou um mandado de segurança alegando que o veto ao voto das mulheres seria contrário ao artigo 70 da Constituição Brasileira de 24 de fevereiro 1891, então em vigor (O Paiz, 16 de setembro de 1928, quarta coluna; (Diário Carioca, 18 de setembro de 1928, terceira coluna; O Paiz, 23 de setembro de 1928).
+ 
+O Paiz, 16 de setembro de 1928
+ 
+Tornou-se eleitora e candidatou-se a deputada federal, mas não conseguiu se eleger. O fato, uma verdadeira audácia para a época, mereceu versos do poeta, também mineiro, Carlos Drummond de Andrade (1902 – 1987):
+ 
+
+ 
+Além disso, Mietta fundou a Liga de Eleitoras Mineiras. Era amiga de políticos como Getulio Vargas (1882 – 1954) e Tancredo Neves (1910 – 1985) e de escritores como o memorialista Pedro Nava (1903 – 1984) e o poeta Carlos Drummond de Andrade (1902 – 1987). Como escritora, publicou as obras Namorada da Deus (1936), Maria Ausência (1940); e, em 1981, Uma consciência unitária para a humanidade e As 7 poesias. Faleceu, em 1995, no Rio de Janeiro.
+Em 2017, foi instituída a Medalha Mietta Santiago, condecoração concedida anualmente pela Secretaria da Mulher e pela Presidência da Câmara de Deputados (Site da Câmara de Deputados).
+ 
+Diva Nolf Nazário
+Diva Nolf Nazário / Acervo Biblioteca da Câmara dos Deputados
+ 
+A advogada paulista Diva Nolf Nazário tentou, em 1922, quando ainda era estudante na Faculdade de Direito da Universidade de São Paulo, fazer o seu registro de eleitora para votar para presidente do Brasil. Foi negado. No ano seguinte, publicou o livro Voto Feminino e Feminismo, Um Ano de Feminismo entre Nós, onde descreveu sua tentativa, escreveu sobre os debates acerca do direito ao sufrágio feminino e compilou reportagens sobre direitos das mulheres na política do Brasil.  O livro foi republicado em 2009 pela editora Imprensa Oficial, do Governo de São Paulo.
+“As linhas por mim escritas foram traçadas ao correr da pena, nos raros momentos de folga entre estudos e trabalhos. Na simples intenção de divulgar melhor o que se há dito a respeito e servir quiçá a nobre causa do feminismo que, no Brasil, há de ser brevemente vencedora, para a glória da nossa pátria e o respeito a suas magnas leis”
+Diva Nolf Nazário, introdução de Voto Feminino e Feminismo, Um Ano de Feminismo entre Nós (1923)
+ 
+Foi integrante da Liga Paulista de Senhoras, entidade ligada à Federação Brasileira pelo Progresso Feminino, e foi secretária-geral da Aliança Paulista pelo Sufrágio Universal. 
+ 
+Outras sufragistas brasileiras de destaque
+ 
+Outras feministas destacadas na luta pelo voto feminino foram a urbanista, arquiteta e engenheira mato-grossense Carmen Portinho (1903 – 2001), a sindicalista alagoana Almerinda Farias Gama (1899 – 1999), a advogada mineira Elvira Komel (1906 – 1932), Maria Prestia (? – 1988), líder de um minoritário grupo de feministas de São Paulo; Júlia Augusta de Medeiros (1896 – 1972), uma das pioneiras no jornalismo, na educação e no feminismo no Rio Grande do Norte; e a advogada gaúcha Natércia da Cunha Silveira (1905 – 1993). Todas já foram temas de artigos publicados na Brasiliana Fotográfica.
+ 
+Excursão das participantes do II Congresso Internacional Feminista ao Recreio dos Bandeirantes no Rio de Janeiro, junho de 1931. Bertha Lutz está em pé e é a terceira, da direita para a esquerda. Carmen está sentada e é a terceira, também da direita para a esquerda. Almerinda Gama está sentada, a primeira da esquerda para a direita. Rio de Janeiro, RJ / Acervo Arquivo Nacional
+ 
+Elvira Komel / A Noite, 7 de outubro de 1931
+ 
+Maria Préstia / Correio Paulistano, 1º de julho de 1951
+ 
+Julia Medeiros votando em 5 de abril de 1928. Natal, Rio Grande do Norte / O Paiz, 4 de novembro de 1928
+ 
+Meses após à conquista do voto das mulheres no Brasil, ainda em 1932, Natércia e Bertha foram nomeadas para integrar a comissão para elaborar o anteprojeto da nova Constituição (Correio da Manhã, 14 de julho de 1932, terceira coluna; Correio da Manhã, 19 de julho de 1932, primeira coluna; Brasil Feminino, dezembro de 1932). Em 1934, o sufrágio feminino estava contemplado na Constituição Federal.
+ 
+Membros da Comissão Elaboradora do Anteprojeto da Constituição de 1934, 11 de setembro de 1932. Bertha Lutz, primeira mulher, da esquerda para a direita, e Natércia da Cunha Silveira. Rio de Janeiro, RJ / Acervo Arquivo Nacional
+ 
+Sobre a importância da conquista do sufrágio feminino, em entrevista, Carmen Portinho declarou que ela deveria ser um estímulo para outros avanços: “Obtivemos a nossa emancipação política, mas esse direito assim isolado, de que nos serve?” (A Noite, 17 de agosto de 1933, última coluna).
+Cerca de seis meses antes da assinatura do Decreto nº 21.076, o jornal A Batalha, de 13 de setembro de 1931, publicou uma reportagem intitulada A nova legislação eleitoral e o voto feminino, com a história do movimento feminista no Brasil, onde a Federação Brasileira pelo Progresso Feminino, dirigido por Bertha, a União Universitária Feminina, sob a direção de Carmen Portinho (1903 – 2001); e a Aliança Nacional de Mulheres, liderado por Natércia da Cunha Silveira (1905 – 1993), foram citadas como importantes iniciativas para a emancipação da mulher no país. Na matéria foi publicada também a lista dos países onde as mulheres já possuíam direito ao voto e comentada a liderança do Rio Grande do Norte na concessão de direitos políticos às mulheres, por intermédio do governador Juvenal Lamartine de Faria (1874 – 1956). Foi transcrito também o discurso proferido por Ruy Barbosa (1849 – 1923) no Teatro Lyrico em apoio à causa feminina (A Batalha, 13 de setembro de 1931).
+ 
+Capa do jornal A Batalha, 13 de setembro de 1931
+ 
+Em 1933, houve eleição para a Assembleia Nacional Constituinte, e as mulheres puderam votar e terem seus votos reconhecidos pela primeira vez. A primeira mulher eleita foi Carlota Pereira de Queiróz (1892 – 1992), em São Paulo.
+ 
+Carlota Pereira de Queiróz / A Noite Illustrada, 16 de fevereiro de 1935
+ 
+Outra pioneiras, eleitas deputadas um ano depois, em 1934, foram Antonieta de Barros (1901-1952), a primeira deputada negra do Brasil, em Santa Catarina; Bertha Lutz (1894 – 1976), no Rio de Janeiro; Zuleide Bogéa (1897 – 1984) e Hildenê Gusmão Castelo Branco (c. 1910 – ?), e Rosa Castro, cuja eleição foi impugnada, no Maranhão; Maria José Salgado Lages, conhecida como Lili Lages (1907-2003), em Alagoas, Maria do Céu Pereira Fernandes (1910 -2001), no Rio Grande do Norte; Maria Luiza Dória Bittencourt (1910 – 2001), na Bahia; Maria de Miranda Leão  (1887-1976), no Amazonas; Quintina Diniz de Oliveira Ribeiro (1878 – 1942), em Sergipe; Maria Theresa Nogueira de Azevedo (1889-1966), Maria Theresa Silveira de Barros Camargo (1894-1975), Alayde Pinheiro Borba (?-?), e Carlota Pereira de Queiróz (1892 – 1992) por São Paulo. 
+ 
+Zuleide Bogéa (1897 – 1984)
+ 
+Bertha Lutz / Revista da Semana, 27 de junho de 1931
+ 
+Maria Luiza Dória Bittencourt / A Noite Illustrada, 16 de fevereiro de 1935
+ 
+Lili Lages / A Noite Illustrada, 16 de fevereiro de 1935
+ 
+Quintina Diniz de Oliveira / A Noite Illustrada, 16 de fevereiro de 1935
+ 
+Maria de Miranda Leão / Beira-Mar, 31 de outubro de 1936
+ 
+Maria do Céu Fernandes/ Fundação José Augusto
+ 
+ 
+Alayde Borba / A Noite Illustrada, 16 de fevereiro de 1935
+ 
+Maria Teresa de Barros Camargo e Maria Theresa Nogueira de Azevedo
+ 
+A primeira deputada estadual negra do Brasil foi Antonieta de Barros (1901 – 1952), em Santa Catarina, em 1934 (República (SC), 17 de janeiro de 1935). Foi eleita como suplente do Partido Liberal Catarinense, mas como Leônidas Coelho de Souza não tomou posse por ter sido nomeado prefeito de Caçador, ela assumiu a titularidade do mandato entre 1935 e 1937. Filha de escrava liberta, jornalista e professora, Antonieta foi pioneira no combate à discriminação dos negros e das mulheres. Acreditava que a educação era a chave para a emancipação social. Em Santa Catarina, sua proposta de criação do Dia do Professor em 15 de outubro foi aprovada em 1948 e, posteriormente, em1963, foi estendida a todo o Brasil. Fundou e dirigiu o jornal A Semana entre os anos de 1922 e 1927. Dirigiu, em 1930, a revista quinzenal Vida Ilhoa e escrevia artigos para jornais. Com o pseudônimo de Maria da Ilha, escreveu, em 1937, Farrapos de Ideias. Em 5 de janeiro de 2023, o presidente Luiz Inácio Lula da Silva sancionou sua inclusão no Livro dos Heróis e Heroínas da Pátria.
+ 
+Antonieta de Barros (1901 – 1952)
+ 
+Nas eleições de outubro de 2022 no Brasil, o número de mulheres que tiveram suas candidaturas registradas junto à Justiça Eleitoral foi de 9.415, 33,28% do total de políticos elegíveis – 91 mulheres foram eleitas a deputadas federais e quatro para o Senado. As mulheres representavam 53% do eleitorado do país – 82 milhões de votantes. Há ainda um longo caminho a percorrer.
+ 
+O voto feminino no Brasil por Teresa Cristina de Novaes Marques
+ 
+ 
+O Rio Grande do Norte e a vanguarda do voto feminino
+ 
+Juvenal Lamartine de Faria, governador do Estado do Rio Grande do Norte, e sufragistas, 1928. Natal, Rio Grande do Norte / Acervo Arquivo Nacional
+ 
+Em 1927, houve uma eleição no Rio Grande do Norte e Juvenal Lamartine de Faria (1874 – 1956), que havia renunciado ao Senado, concorreu ao governo de seu estado e venceu o pleito. Tomou posse em 1º de janeiro de 1928. Foi necessário realizar eleições complementares para a escolha de um novo senador. Juvenal apoiava a causa do voto das mulheres. Em 25 de outubro de 1927, ainda durante o governo de José Augusto Bezerra de Medeiros, passou a vigorar a Lei Estadual nº 660, com a emenda Regular o Serviço Eleitoral do Estado, que estabelecia a não distinção de sexo para o exercício do sufrágio e, tampouco, como condição básica de elegibilidade.
+Há uma polêmica em torno da primeira eleitora do Brasil na historiografia do feminismo no Brasil no século XX: a natalense e professora Júlia Alves Barbosa Cavalcanti (1898 – 1943) requereu seu alistamento eleitoral no dia 22 de novembro de 1927, porém, dada à sua condição de solteira, o juiz da 1ª vara da Capital retardou o deferimento de seu pleito, que só foi publicado, no Diário Oficial do Estado, no dia 1º de dezembro do mesmo ano. Em 25 de novembro de 1927, a professora Celina Guimarães Viana (1890 – 1972), de Mossoró, deu entrada em uma petição, requerendo sua inclusão na lista de eleitores, que foi aprovada rapidamente, pelo fato de ser casada com um advogado e professor (O Paiz, 2 de dezembro de 1927, primeira coluna). Reivindicando o voto das mulheres, a escritora cearense Rachel de Queiroz (1910 – 2003), com apenas 17 anos, escreveu o artigo Essa questão do voto feminino, publicado no jornal A Jandaia, em 14 de janeiro de 1928. As eleições municipais foram realizadas no dia 5 de abril de 1928, mas os votos das eleitoras foram anulados porque o Senado não reconheceu o direito de voto das mulheres.
+ 
+Celina Guimarães Viana votando em abril de 1928. Mossoró. Rio Grande do Norte 
+
+Júlia Alves Barbosa Cavalcanti foi eleita para a Câmara Municipal de Natal.
+ 
+Júlia Alves Barbosa Cavalcanti
+ 
+“Apesar de, do ponto de vista eleitoral, o estado do Rio Grande do Norte ter reconhecido esta igualdade, faltava, porém, a concretização do “voto de saias”, o que ocorreu nas eleições municipais realizadas no dia 05 de abril de 1928. Em Natal votaram Antônia Fontoura, Carolina Wanderley, Júlia Barbosa e Lourdes Lamartine. Em Mossoró, além de Celina Guimarães, votaram Beatriz Leite e Eliza da Rocha Gurgel. Em Apodi as primeiras eleitoras foram Maria Salomé Diógenes e Hilda Lopes de Oliveira. Em Pau dos Ferros, Carolina Fernandes Negreiros, Clotilde Ramalho, Francisca Dantas e Joana Cacilda Bessa. Ainda em Caicó e Acari, respectivamente, Júlia Medeiros e Martha Medeiros. Além de votar, algumas mulheres, a exemplo de Júlia Alves Barbosa em Natal e Joana Cacilda de Bessa em Pau dos Ferros,  foram também eleitas para o cargo de intendente municipal, equivalente a vereador atualmente.“
+Centro de Memória do Tribunal Regional Eleitoral do Rio Grande do Norte
+ 
+Banquete oferecido no Hotel Glória à Júlia Barbosa, pela Federação Brasileira pelo Progresso Feminino, 23 de junho de 1928. Rio de Janeiro, RJ / Acervo Arquivo Nacional
+ 
+ 
+Acesse aqui a linha do tempo da conquista do voto feminino publicada no portal da Câmara dos Deputados
+ 
+ 
+Alguns países e o ano da aprovação do voto feminino
+ 
+1893 – Nova Zelândia
+1902 – Austrália
+1906 – Finlândia
+1907 –  Noruega
+1915 - Dinamarca e Islândia
+1917 - Rússia
+1918 – Áustria, Alemanha, Polônia, Lituânia, Reino Unido e Irlanda
+1920 - Estados Unidos
+1929 – Equador
+1931 – Espanha e Portugal (com limitações). Na Espanha, o direito foi suspenso em 1936 e só voltou a vigorar em 1977.
+1932 – Brasil e Uruguai
+1934 - Turquia
+1944 - França
+1945 – Itália e Japão
+1947 - Argentina e Índia
+1952 – Grécia
+1953 - China e México
+1955 – Honduras
+1956 - Egito
+1962 - Bahamas e Mônaco
+1970 – Andorra
+1971 – Suíça
+1980 – Iraque
+1994 – Omã
+2015 – Arábia Saudita
+ 
+Andrea C. T. Wanderley
+
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Este artigo foi atualizado em 13 de julho de 2026.
+Fontes:
+ARAÚJO, Rita de Cássia de. O voto de saias: a Constituinte de 1934 e a participação das mulheres na política. Mulher, mulheres • Estud. av. 17 (49) • Dez 2003
+BARBOSA, Lia Pinheiro; MAIA, Vinicius Madureira. Nísia Floresta e ainda a controvérsia da tradução de Direitos das mulheres e injustiça dos homens. Revista Estudos Feministas, 28 (2), 2020.
+BARP, Guilherme. A luta de Josefina Álvares de Azevedo pelos direitos das mulheres em A mulher moderna (1891). Nau Literária, Vol. 18, n. 01 (2022) – Dossiê: Racismo, sexismo e Direitos Humanos. Organizado pela Profa. Dra. Regina Zilberman (UFRGS), 5 de setembro de 2022.
+BBC News Brasil
+Cadernos do Mundo Inteiro
+CAMPOI, Isabela Candeloro. O livro “Direitos das mulheres e injustiça dos homens” de Nísia Floresta: literatura, mulheres e o Brasil do século XIX. História (São Paulo) v.30, n.2, p. 196-213, ago/dez 2011.
+Centro de Referências em Educação Integral
+COELHO, Catarina Alves. Direito das Mulheres e Injustiça dos Homens: a tradução utópico-feminista de Nísia Floresta. Dissertação (Mestrado) – Faculdade de filosifia, Letras e Ciências Humanas da Universidade de São Paulo, 2019.
+CORREA E SILVA, Laila. O direito ao voto feminino no século XIX brasileiro: a atuação política de Josephina Álvares de Azevedo (1851-1913). Aedos, Porto Alegre, v. 10, n. 23, p. 114-131, Dez. 2018.
+CRUZ, Marileia dos Santos; MATOS, Érica de Lima; SILVA, Ediane Holanda. “Exma. Sra. d. Maria Firmina dos Reis, distinta literária maranhense”: a notoriedade de uma professora afrodescendente no século XIX. Notandum 48 set-dez 2018 CEMOrOc-Feusp / Universidade Autônoma de Barcelona
+DUARTE, Constância Lima. As viagens e o discurso autobiográfico de Nísia Floresta. Matraga, Rio de Janeiro, v.16, n.25, jul./dez. 2009.
+DUARTE, Constância Lima. Imprensa feminina e feminista no Brasil: século XIX . Belo Horizonte: Autêntica, 2016.
+DUARTE, Constância Lima. Narrativas de viagem de Nísia Floresta. Via Atlântica, n. 2 jul. 1999.
+DUARTE, Constância Lima. Nísia Floresta: Incompreensão em relação à sua genialidade. Ciência & Trópico, Recife, v. 26, n. 2, p. 253-260,julho /dez, 1998. 
+DUARTE, Constância Lima. Nísia Floresta: a primeira feminista do Brasil. Florianópolis: Editora Mulheres, 2005.
+DUARTE, Constância Lima. Nísia Floresta: vida e obra. Natal: Editora Universitária/UFRN, 1995.  
+FLORESTA , Nísia. Opúsculo humanitário / Nísia Floresta ; prefácio Maria da Conceição Lima Alves ; notas Maria Helena de Almeida Freitas, Mônica Almeida Rizzo Soares. – Brasília : Senado Federal, 2019
+Folha de São Paulo, 2 de março de 2025
+G1, 27 de outubro de 2022
+Guia do Estudante
+HAHNER, June E. A mulher brasileira e suas lutas sociais e políticas: 1850-1937. São Paulo: Brasiliense, 1981.
+HALLEWELL, Laurence. (2005). O livro no Brasil: sua historia. São Paulo : Edusp, 2055.
+Hemeroteca Digital da Biblioteca Nacional
+ITAQUI, Antônio Carlos de Oliveira. Nísia Floresta: ousadia de uma feminista no Brasil do século XIX. Trabalho de Conclusão de Curso apresentado como requisito parcial à obtenção do grau de Licenciatura Plena em História, do Departamento de Humanidades e Educação da Universidade Regional do Noroeste do Estado do Rio Grande do Sul, 2013.
+KARAWEJCZYK, Monica. Mulher Deve Votar? O Código Eleitoral de 1932 e a Conquista do Sufrágio Feminino através das páginas dos jornais Correio da Manhã e A Noite. São Paulo : Paco Editorial, 2019.
+LEMES, Camila Assis. O jornal Familia e o debate sobre o voto feminino nos primeiros anos da república brasileira. XIV Encontro Regional de História. UEPR, 2014.
+LUCA, Leonora de. A mensageira: uma revista de mulheres escritoras na modernização bra-sileira. 1999. 581 f. Dissertação (Mestrado em Sociologia) – Curso de Mestrado em Sociologia, Instituto de Filosofia e Ciências Sociais, Universidade Estadual de Campinas, Campinas, 1999.
+MARQUES, Teresa Cristina de Novaes. O voto feminino do Brasil. Brasília : Edições Câmara, 2019.
+MELO, Ezilda. Nísia Floresta: uma mulher à frente de seu tempo. Empório do Direito, 19 de novembro de 2015.
+Memorial Legislativo – Câmara Municipal de Natal
+MARRA, Laissa. A narrativa de Maria Firmina dos Reis: nação e colonialidade. Tese apresentada ao Programa de Pós-Graduação em Letras: Estudos Literários da Faculdade de Letras da Universidade Federal de Minas Gerais, como requisito parcial para obtenção do título de Doutora em Letras: Estudos Literários, 2020.
+MENDES, Algemira Macedo. Maria Firmina dos Reis e Amélia Beviláqua na história da literatura brasileira: representação, imagens e memórias nos séculos XIX e XX. Tese apresentada como requisito parcial para a obtenção do grau de Doutor em Letras, na área de concentração de Teoria da Literatura. Pontifícia Universidade Católica do Rio Grande do Sul.
+MUZART, Zahidé Lupinacci (Org.). Escritoras brasileiras do século XIX: antologia. 2. ed. vol. II. Florianópolis: Editora Mulheres; Santa Cruz do Sul: EDUNISC, 2000.
+OLIVEIRA, Ellen dos Santos (organizadora). 200 anos de Maria Firmina dos Reis, primeira educadora e escritora negra do Brasil. SERGIPE : J. Alves Editora e Livraria, 2022.
+PACHECO, Maria da Glória Costa. GÊNERO E POLÍTICA: conquista e repercussão do voto feminino no Maranhão (1900-1934). Outros Tempos, www.outrostempos.uema.br, ISSN 1808-8031, Vol. 1 esp., 2007, p. 46-63
+PALLARES-BURKE, Maria Lúcia Garcia. Pela liberdade das mulheres. Mais! Folha de São Paulo, 10 de setembro de 1995.
+Portal da Câmara dos Deputados
+Portal Geledés
+Portal Literafro
+Portal do Senado
+RIBEIRO, Antônio Sérgio. A mulher e o voto. São Paulo: ALESP, 2012.
+SABINO, Ignez. Mulheres Illustres do Brazil. Edição fac-similar. Florianópolis: Editora das Mulheres, 1996.
+SANTOS, Renata Carolina Pereira dos. “Às Urnas, Cidadãs”: O voto feminino nas páginas do Boletim da Federação Brasileira pelo Progresso Feminino (1934-1935). INSTITUTO LATINO-AMERICANO DE ARTE, CULTURA E HISTÓRIA (ILAACH), 2024.
+SCHUMAHER, Schuma; BRAZIL, Erico Vital (organizadores). Dicionário mulheres do Brasil: de 1500 até a atualidade biográfico e ilustrado. Rio de Janeiro : Jorge Zahar Ed., 2000.
+SCHUMAHER, Schuma; CERVA, Antonia Cerva. Mulheres no Poder – trajetórias políticas a partir da luta das sufragistas do Brasil.
+SOUZA DA SILVA, Ellen Carla. Uma voz feminina na luta antiescravista: Nísia Floresta. Nau Literária, Vol. 18, n. 01 (2022) – Dossiê: Racismo, sexismo e Direitos Humanos. Organizado pela Profa. Dra. Regina Zilberman (UFRGS), 5 de setembro de 2022.
+SILVA, Elizabeth Maria da. A Imprensa Pedagógica e Feminista no Brasil: Nísia Floresta e a Educação das Mulheres no século XIX. Tese de Doutorado. Universidade de Salamanca. Departamento de TEoria e História da Faculdade de Educação, 2018.
+Site Elas na Política
+Site Fundação José Augusto
+Site Fundação Perseu Abramo
+Site Geledés
+Site Insider
+Site Musica Brasilis
+Site Superior Tribunal Eleitoral
+Site Tribunal Regional Eleitoral do Rio Grande do Norte
+Site Uvesp
+SOUTO-MAIOR, Valéria Andrade. O florete e a máscara: Josephina Álvares de Azevedo, dramaturga do século XIX. Dissertação (Mestrado em Letras) – Curso de Pós-Graduação em Letras – Literatura Brasileira e Teoria Literária, Universidade Federal de Santa Catarina (UFSC), Florianópolis, 1995.
+TRINDADE, Hélgio; NOLL, Maria Izabel. Subisídios para a história do Parlamento Gaúcho (1890-1937). Porto Alegre : CORAG, 2005.
+Wikipedia
+ 
+Acesse aqui os outros artigos da Série “Feministas, graças a Deus!“
+
+Série “Feministas, graças a Deus!” I – Elvira Komel, a feminista mineira que passou como um meteoro, publicado em 25 de julho de 2020, de autoria da historiadora Maria Silvia Pereira Lavieri Gomes, do Instituto Moreira Salles, em parceria com Andrea C. T. Wanderley, editora e pesquisadora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” II  – Natércia da Cunha Silveira (1905 – 1993), o jequitibá da floresta, publicado em 20 de agosto de 2020, de autoria de Andrea C.T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” III  – Bertha Lutz e a campanha pelo voto feminino: Rio Grande do Norte, 1928, publicado em 29 de setembro de 2020, de autoria de Maria do Carmo Rainha, doutora em História e pesquisadora do Arquivo Nacional
+Série “Feministas, graças a Deus!” IV  – Uma sufragista na metrópole: Maria Prestia (? – 1988), publicado em 29 de outubro de 2020, de autoria de Claudia Heynemann, doutora em História e pesquisadora do Arquivo Nacional
+Série “Feministas, graças a Deus!” V – Feminista do Amazonas: Maria de Miranda Leão (1887 – 1976), publicado em 26 de novembro de 2020, de autoria de Maria Elizabeth Brêa Monteiro, mestre em História e pesquisadora do Arquivo Nacional
+Série “Feministas, graças a Deus!” VI – Júlia Augusta de Medeiros (1896 – 1972) fotografada por Louis Piereck (1880 – 1931), publicado em 9 de dezembro de 2020, de autoria de Andrea C.T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” VII – Almerinda Farias Gama (1899 – 1999), uma das pioneiras do feminismo no Brasil, publicado em 26 de fevereiro de 2021, de autoria de Andrea C.T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” VIII – A engenheira e urbanista Carmen Portinho (1903 – 2001), publicado em 6 de abril de 2021, de autoria de Andrea C. T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” IX – Mariana Coelho (1857 – 1954), a “Beauvoir tupiniquim”, publicado em 15 de junho de 2021, de autoria de Andrea C. T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” X – Maria Luiza Dória Bittencourt (1910 – 2001), a eloquente primeira deputada da Bahia, publicado em 25 de março de 2022, de autoria de Andrea C. T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” XI e série “1922 – Hoje, há 100 anos” VI – A fundação da Federação Brasileira pelo Progresso Feminino, publicado em 9 de agosto de 2022, de autoria de Andrea C. T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” XII e série “1922 – Hoje, há 100 anos” XI – A 1ª Conferência para o Progresso Feminino, publicado em 19 de dezembro de 2022, de autoria de Maria Elizabeth Brêa Monteiro, historiadora do Arquivo Nacional
+Série “Feministas, graças a Deus!” XIV – No Dia Internacional da Mulher, Alzira Soriano, a primeira prefeita do Brasil e da América Latina, publicado em 8 de março de 2023, de autoria de Andrea C T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” XV – No Dia dos Povos Índígenas, Leolinda Daltro,”a precursora do feminismo indígena” e a “nossa Pankhurst, publicado em 19 de abril de 2023, de autoria de Andrea C T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica
+Série “Feministas, graças a Deus!” XVI – O I Salão Feminino de Arte, em 1931, no Rio de Janeiro, de autoria de Andrea C. T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica, publicado em 30 de junho de 2023
+Série “Feministas, graças a Deus!” XVII – Anna Amélia Carneiro de Mendonça e o Zeppelin, equipe de Documentação da Escola de Ciências Sociais FGV CPDOC, em parceira com Andrea C.T. Wanderley, publicado em 5 de janeiro de 2024
+Série “Feministas, graças a Deus!” XVIII – Júlia Lopes de Almeida (1862 – 1934), a “escritora da Belle Époque tropical”, de autoria de Andrea C. T. Wanderley, pesquisadora e editora do portal Brasiliana Fotográfica, publicado em 5 de junho de 2024
+Série “Feministas, graças a Deus!” XIX – A aviadora Anésia Pinheiro Machado (1904-1999), de autoria de Andrea C.T. Wanderley, publicado em 23 de outubro de 2024
+Série “Feministas, graças a Deus” XX – A líder feminista pernambucana Edwiges de Sá Pereira (1884-1958), a “Eva Militante”, de autoria de Cibele Barbosa, da Fundação Joaquim Nabuco, em parceira com Andrea C.T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 16 de dezembro de 2024 
+Série “Feministas, graças a Deus” XXI – Uma alemã que amava a Amazônia: Emília Snethlage no Museu Goeldi, de autoria do historiador Nelson Sanjad, do Museu Paraense Emílio Goeldi, em parceira com Andrea C.T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 13 de abril de 2026
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/5061` — `itens/20.500.12156.1_5061/`
+- `20.500.12156.1/5028` — `itens/20.500.12156.1_5028/`
+- `20.500.12156.1/6472` — `itens/20.500.12156.1_6472/`
+- `20.500.12156.1/6648` — `itens/20.500.12156.1_6648/`
+- `20.500.12156.1/6581` — `itens/20.500.12156.1_6581/`
+
diff --git a/wordpress/46010-duas-fotos-por-dois-antonios-as-imagens-da-missa-campal-de-acao-de-gracas-pela-a.md b/wordpress/46010-duas-fotos-por-dois-antonios-as-imagens-da-missa-campal-de-acao-de-gracas-pela-a.md
new file mode 100644
index 0000000..0ebd0e1
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+++ b/wordpress/46010-duas-fotos-por-dois-antonios-as-imagens-da-missa-campal-de-acao-de-gracas-pela-a.md
@@ -0,0 +1,52 @@
+---
+id: 46010
+url: "https://brasilianafotografica.bn.gov.br/?p=46010"
+titulo: "Duas fotos, por dois “Antônios”: as imagens da Missa Campal de Ação de Graças pela Abolição da Escravatura por Andrea Wanderley e Carlos Lima Junior"
+autor: "Andrea Wanderley"
+data: "2026-08-11T09:57:06+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/1795"]
+fetched_at: "2026-09-10T10:24:23.855Z"
+---
+
+# Duas fotos, por dois “Antônios”: as imagens da Missa Campal de Ação de Graças pela Abolição da Escravatura por Andrea Wanderley e Carlos Lima Junior
+
+A memória visual da Missa Campal de Ação de Graças pela Abolição da Escravatura, realizada em 17 de maio de 1888, no Campo de São Cristóvão, no Rio de Janeiro, organizada pela “Imprensa Fluminense“, ficou preservada por duas fotografias. Uma delas, de autoria de Luiz Antonio Ferreira, hoje pertencente ao acervo do Instituto Moreira Salles, uma das instituições fundadoras da Brasiliana Fotográfica, foi bastante disseminada logo após sua produção. A de Antonio de Barros Araújo, pertencente ao acervo do Musée Louis-Philippe, na França, e recentemente descoberta por Carlos Lima Junior, nem tanto. Esses dois registros fotográficos são o tema do artigo de hoje, “Duas fotos, por dois “Antônios”: as imagens da Missa Campal de Ação de Graças pela Abolição da Escravatura celebrada em 17 de maio de 1888“, escrito por Andrea C. T. Wanderley, editora e pesquisadora do portal; e pelo já citado Carlos Lima Junior, docente do Departamento de História da Unifesp.
+ 
+Duas fotos, por dois “Antônios”: as imagens da Missa Campal de Ação de Graças 
+pela Abolição da Escravatura celebrada em 17 de maio de 1888
+Andrea Wanderley & Carlos Lima Junior*
+ 
+Na manhã do dia 17 de maio de 1888 não foram poucas as carruagens que se deslocaram de diversos pontos da cidade do Rio de Janeiro em direção à praça d. Pedro I, no Campo de São Cristóvão. E muitas foram as pessoas – muitas mesmo – que se deslocaram até lá a pé. Tal mobilização tinha motivo certo: a Missa Campal de Ação de Graças pela Abolição da Escravatura, realizada poucos dias depois da assinatura da Lei Áurea, em 13 de maio. Para a celebração solene que congregava diversos setores da sociedade civil e militar, um altar foi especialmente armado, alocado próximo da tribuna reservada para a família imperial. A princesa Isabel (1846-1921) havia sido convidada diretamente pela “Imprensa Fluminense”, comissão organizadora do evento religioso. De acordo com os jornais da época, sob um “céu pardacento”, reuniram-se por volta de 30 mil pessoas em júbilo pela Abolição no Brasil (Gazeta de Notícias, 18 de maio de 1888, quarta coluna).
+Para além dos inúmeros registros que se veicularam a respeito da Missa nos mais diversos folhetins da corte do Rio, a memória visual da celebração ficou preservada a partir de duas fotografias – uma delas, bastante disseminada logo após a sua produção; já a outra, nem tanto.
+Olhando para as duas imagens da Missa Campal, a primeira diferença que salta aos olhos é a perspectiva. Enquanto a fotografia produzida por Antonio Luiz Ferreira (18? – 19?) destaca o palanque onde estavam as autoridades, a de autoria de Antonio de Barros Araújo (18? -?) mostra um panorama mais amplo, com a presença de muitas carruagens, onde a dimensão pública do evento fica mais evidente. Uma seria uma imagem mais oficial, em que a princesa Isabel tem protagonismo. A outra, mais mundana, tem a multidão como o tema central do registro.
+Antonio Luiz Ferreira já era um conhecido fotógrafo, enquanto o abolicionista Antonio de Barros Araujo era um fotógrafo amador – sua atividade profissional era ligada ao comércio, estabelecido na rua do Ouvidor, no centro do Rio. Os dois levaram suas fotografias à redação de jornais afamados. Ferreira a levou às redações do Diário de Notícias e de O Paiz (Diário de Notícias, 3 de junho de 1888, sexta coluna; e O Paiz, 3 de junho de 1888, sétima coluna). Já Barros de Araújo a exibiu na Gazeta de Notícias (Gazeta de Notícias, 14 de junho de 1888, terceira coluna). A estratégia tinha por finalidade disseminar a existência das imagens produzidas especialmente para resguardar a memória do feito da Abolição a partir de uma linguagem tida por moderna à época, como era a fotografia.
+Segundo veiculado na imprensa, a foto de Ferreira era de uma fidelidade pasmosa, media 52 x 32 cm e era emoldurada em pelúcia auriverde e suas margens tinham iluminuras realizadas pelo calígrafo R. Santos (18? -?). O registro de Barros de Araújo, por sua vez, era ricamente emoldurado em pelluche de duas cores e possuia 11,5 x 49 centímetros. As duas imagens seriam oferecidas à princesa Isabel.
+ 
+Diario de Notícias, 3 de junho de 1888
+ 
+O Paiz, 3 de junho de 1888
+ 
+Gazeta de Notícias, 14 de junho de 1888
+ 
+Importante pensar na trajetória dessas duas fotos, produzidas por esses dois “Antônios”: a de autoria de Luiz Ferreira está no acervo do Instituto Moreira Salles (IMS) e faz parte da coleção dom João de Orleans e Bragança. A de Antonio de Barros Araújo está preservada no Musée Louis-Philippe, situado na cidade de Eu, ao norte da Normandia, na França
+ 
+Antônio Luiz Ferreira. Missa campal celebrada em ação de graças pela Abolição da Escravatura no Brasil, 1888. São Cristóvão, Rio de Janeiro / Acervo IMS
+ 
+O fato de a fotografia de Ferreira ter sido adquirida em comodato pelo IMS e a descoberta da presença de Machado de Assis (1839 – 1908) no palanque das autoridades, realizada por Andrea Wanderley (1964 – ), editora e pesquisadora da Brasiliana Fotográfica, e revelada pelo portal na publicação Missa Campal de 17 de maio de 1888, de 17 de maio de 2015, reviveu a imagem. Gerou matérias de jornal, de televisão e diversos artigos, dentre eles Machado de Assis vai à missa, de autoria do historiador José Murilo de Carvalho (1939 – 2023), publicado também aqui no portal, em 29 de maio de 2015. Além disso, várias outras personalidades foram identificadas no registro, dando vida e mais contexto à imagem, que renasceu!
+Mais recentemente, Carlos Lima Junior (1987 -), historiador e professor da Universidade Federal de São Paulo (UNIFESP), durante sua pesquisa de pós-doutorado financiada pela Fapesp e realizada entre 2022 e 2024 no Departamento de História da Unicamp, com período de pesquisa na École des Hautes Études en Sciences Sociales, em Paris, na França, redescobriu a foto produzida por Antônio de Barros Araújo. Esquecida após o fim do Império, a foto foi possivelmente enviada junto com a coleção privada da princesa Isabel para a França, quando do exílio da família imperial por ocasião da Proclamação da República. A obra se encontra na reserva técnica do acervo do Musée Louis-Philippe, situado no Castelo d’Eu, antiga residência da princesa no exílio. Ficou inédita durante mais de um século. Sua redescoberta foi celebrada tanto pelo meio acadêmico como pela imprensa (Revista de História da Arte e da Cultura, Campinas SP,v.6, n.1,jan-jun2025; Brasiliana Fotográfica, 17 de maio de 2026). Destacamos aqui um trecho do comentário feito pela professora e historiadora Lilia Schwarcz (1957 – ) acerca do assunto: … E ela nos ajuda a entender como se construiu a ideia de Isabel como “redentora” da abolição, além de mostrar a dimensão popular daquele momento histórico.
+ 
+Antonio de Barros Araújo. A Sua Alteza a Princesa Imperial. Missa Campal 17 de Maio .1888.Fotografia, 42, 5 x 79 cm (com moldura); 11,5 x 49 cm (sem moldura). Musée Louis-Philippe, Le Château d’Eu, Normandia, França.
+ 
+Antonio de Barros Araújo. A Sua Alteza a Princesa Imperial. Missa Campal 17 de Maio 1888. (Detalhe).Fotografia, 42, 5 x 79 cm (com moldura); 11,5 x 49 cm (sem moldura). Musée Louis-Philippe, Le Château d’Eu, Normandia, França.
+ 
+A história instigante desses dois registros provoca reflexões em torno dos caminhos por eles percorridos, seus arquivamentos e esquecimentos. Evidencia também o valor das pesquisas históricas nos acervos fotográficos, que podem gerar novas perguntas ao passado, por intermédio das imagens que chegam até nós, no presente.
+ 
+*Andrea Wanderley é editora e pesquisadora da Brasiliana Fotográfica & Carlos Lima Junior é docente do Departamento de História da Unifesp.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/1795` — `itens/20.500.12156.1_1795/`
+
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+---
+id: 46075
+url: "https://brasilianafotografica.bn.gov.br/?p=46075"
+titulo: "Série “Exposições” XIII – A Exposição do Centenário pelas lentes de Augusto Malta, por Diana Ramos"
+autor: "Andrea Wanderley"
+data: "2026-09-07T09:23:35+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/14582", "20.500.12156.1/14644", "20.500.12156.1/14522", "20.500.12156.1/14527", "20.500.12156.1/14559", "20.500.12156.1/14604", "20.500.12156.1/14579", "20.500.12156.1/14544", "20.500.12156.1/14570", "20.500.12156.1/14597", "20.500.12156.1/14547"]
+fetched_at: "2026-09-10T10:24:27.008Z"
+---
+
+# Série “Exposições” XIII – A Exposição do Centenário pelas lentes de Augusto Malta, por Diana Ramos
+
+A Brasiliana Fotográfica já publicou imagens de diferentes coleções, além de artigos que abordam diversos aspectos da Exposição do Centenário da Independência, realizada entre 7 de setembro de 1922 e 24 de julho de 1923, evento muito importante para a história do Rio de Janeiro, do país e para a própria fotografia no Brasil. No artigo de hoje, o 13º da série Exposições, de autoria de Diana Ramos, uma das curadoras do portal, entre os registros preservados pela Fundação Biblioteca Nacional foram acrescentados ao nosso acervo fotográfico dois conjuntos de Augusto Malta, fotógrafo oficial da Prefeitura do Distrito Federal durante mais de três décadas. Reunidos, esses conjuntos vão além do caráter documental. Eles permitem acompanhar a transformação urbana da cidade, observar a arquitetura efêmera dos pavilhões, perceber a circulação dos visitantes e compreender como a fotografia participou da construção da imagem de um Brasil moderno.
+ 
+A Exposição do Centenário pelas lentes de Augusto Malta
+Diana Ramos*
+ 
+Quando a Exposição Internacional do Centenário da Independência abriu suas portas em setembro de 1922, o Rio de Janeiro tornou-se uma vitrine da modernidade que o Brasil pretendia apresentar ao mundo. Sobre os aterros da antiga área do Morro do Castelo ergueu-se uma cidade efêmera composta por pavilhões monumentais, jardins, canais artificiais, pontes, praças e largas avenidas, onde países de diferentes continentes exibiam suas realizações em uma celebração aos cem anos da Independência. Poucos acontecimentos da Primeira República deixaram um registro fotográfico tão amplo e diversificado quanto esse.
+O Portal da Brasiliana Fotográfica já publicou imagens de diferentes coleções, além de artigos que abordam diversos aspectos desse evento de importância inequívoca para a história da cidade, do país e da própria fotografia no Brasil.
+Entre os registros preservados pela Fundação Biblioteca Nacional acrescentamos ao portal dois conjuntos de Augusto Malta (1864–1957), fotógrafo oficial da Prefeitura do Distrito Federal durante mais de três décadas. Reunidos, esses conjuntos vão além do caráter documental. Eles permitem acompanhar a transformação urbana da cidade, observar a arquitetura efêmera dos pavilhões, perceber a circulação dos visitantes e compreender como a fotografia participou da construção da imagem de um Brasil moderno.
+A construção de uma cidade efêmera 
+O primeiro conjunto possui caráter essencialmente documental. Formado por 113 fotografias avulsas, reúne imagens produzidas ainda durante as obras de implantação da Exposição Internacional do Centenário. Antes da inauguração oficial, Malta acompanhou sistematicamente o avanço da construção, registrando uma paisagem em constante transformação.
+Andaimes envolvem cúpulas e torres, operários trabalham entre pilhas de materiais, trilhos provisórios atravessam os canteiros, enquanto estruturas metálicas ainda permanecem expostas. Em diversas fotografias coexistem dois momentos da história da cidade: ao fundo surgem igrejas coloniais, remanescentes do centro histórico e o próprio Morro do Castelo em processo de desmonte; em primeiro plano, consolida-se uma nova paisagem marcada pelo concreto, pelo ferro e pela monumentalidade da arquitetura expositiva.
+ 
+Augusto Malta. Exposição do Centenário do Brasil Foto 36, 15 de junho de 1922. Rio de Janeiro, RJ / Acervo FBN. Em junho de 1922, Augusto Malta registra o intenso ritmo das obras da Exposição Internacional do Centenário, tendo ao fundo o Morro do Castelo em processo de demolição. A fotografia evidencia o contraste entre a antiga configuração urbana e a nova paisagem construída para as comemorações da Independência.
+ 
+Essas fotografias ajudam a dimensionar o alcance das intervenções urbanas realizadas para a Exposição. A abertura da Avenida das Nações, os aterros sobre a Baía de Guanabara e a construção dos novos pavilhões alteraram profundamente a configuração daquela região da cidade. Embora produzidas como documentação técnica de uma grande obra pública, as imagens revelam constante preocupação com a composição fotográfica. Malta recorre frequentemente a pontos elevados de observação, explorando linhas de perspectiva que conduzem o olhar por toda a área da exposição e valorizam a escala do empreendimento.
+ 
+Augusto Malta. Exposição do Centenário foto 41, 9 de julho de 1922. Rio de Janeiro, RJ / Acervo FBN. Vista panorâmica elevada da área da Exposição. A composição conduz o olhar em direção às águas da Baía de Guanabara, delimitadas por quebra-mares e pequenos cais, tendo ao fundo a paisagem montanhosa do Rio de Janeiro.
+ 
+Reunidas, essas fotografias constituem uma documentação de extraordinário valor histórico. A série acompanha diferentes etapas do empreendimento, começando pela construção, registra a inauguração e segue durante o funcionamento da Exposição, abrangendo desde os canteiros de obras até os pavilhões em plena atividade, vistas panorâmicas, interiores expositivos e fotografias noturnas. Diferentemente das imagens produzidas para álbuns comemorativos, esse conjunto documenta o processo construtivo, permitindo acompanhar uma cronologia visual da montagem da Exposição.
+ 
+Acessando o link para as fotografias deste conjunto disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+A trajetória desse conjunto também merece atenção. Originalmente composto por 130 fotografias avulsas, além de três cópias, foi incorporado ao acervo da Fundação Biblioteca Nacional, em 1948, por doação de Jorge Bailly. A única exceção é uma fotografia da inauguração do Pavilhão dos Estados Unidos, doada por Arnaldo Monteiro em 1924 e posteriormente integrada ao conjunto.
+Infelizmente, parte dessa coleção foi perdida em consequência do furto ocorrido na Divisão de Iconografia, em 2005. Dos 130 registros, dezessete foram subtraídos. Ainda assim, é possível conhecer parte desse material por imagens de referência geradas a partir de negativos de segunda geração, disponíveis no catálogo da Fundação Biblioteca Nacional: http://acervo.bn.gov.br/Sophia_Web/acervo/detalhe/1007549
+A cidade efêmera em pleno esplendor 
+O segundo conjunto acrescentado ao Portal apresenta um olhar distinto. Trata-se de um álbum comemorativo composto por 49 fotografias, também incorporado ao acervo da Biblioteca Nacional por doação de Jorge Bailly, em 1948, que registra a Exposição Internacional do Centenário já em pleno funcionamento. As obras foram entregues, a arquitetura está pronta, os jardins encontram-se concluídos e os espaços passam a ser ocupados pelos visitantes. A sequência das imagens acompanha quase um percurso pelo recinto expositivo, conduzindo o observador desde os portais monumentais até os pavilhões nacionais e estrangeiros, passando pelos canais, praças e áreas de convivência. Mais do que reunir belas vistas da Exposição, o álbum constrói uma narrativa visual destinada a destacar a monumentalidade e o caráter cosmopolita do evento.
+ 
+Augusto Malta. Exposição de 1922: portão da Av. Rio Branco 1, 1922. Rio de Janeiro, RJ / Acervo FBN. Os portais monumentais da Exposição Internacional do Centenário foram concebidos como verdadeiros arcos triunfais de tradição romana, marcando simbolicamente o ingresso do visitante em uma cidade construída para celebrar a modernidade brasileira.
+ 
+A arquitetura desempenha papel central nesse percurso. Cada país procurou afirmar sua identidade nacional por meio de soluções arquitetônicas próprias, transformando os pavilhões em instrumentos de representação cultural. O álbum registra muitos dos edifícios brasileiros, além das construções erguidas pelas nações participantes, ressaltando a diversidade de linguagens presentes na Exposição. Enquanto o Pavilhão Japonês adota telhados curvos e estruturas inspiradas na tradição construtiva oriental, os pavilhões da França e da Inglaterra recorrem à inspiração clássica enquanto o México investe em uma fachada ricamente ornamentada, demonstrando como a arquitetura integrava o discurso de afirmação nacional construído para o evento.
+ 
+Augusto Malta. Exposição de 1922: Dia do Japão 2, 1922. Rio de Janeiro, RJ / Acervo FBN. O Pavilhão Japonês destaca-se pelos telhados curvos, pela estrutura aparente de madeira e pelos elementos inspirados na arquitetura tradicional japonesa, como jardins e lanternas decorativas. A presença de um público majoritariamente infantil, provavelmente em visita escolar, acrescenta à cena um registro da circulação de visitantes e da atmosfera cotidiana da Exposição.
+ 
+Ao fotografar esses edifícios, Augusto Malta privilegia enquadramentos predominantemente frontais, valorizando a simetria das fachadas e a riqueza de seus elementos decorativos. Apesar do protagonismo concedido à arquitetura, a dimensão humana nunca desaparece. Pequenos grupos caminham pelas avenidas, automóveis circulam entre os pavilhões e embarcações atravessam os canais artificiais. As figuras humanas raramente ocupam o centro da composição, mas estão sempre presentes, conferindo escala e vitalidade aos espaços.
+A água constitui outro elemento estruturador das imagens. Muito além de um recurso paisagístico, canais e espelhos d’água organizavam a circulação interna e ampliavam o efeito cenográfico da arquitetura. Em algumas fotografias, pequenas embarcações permanecem atracadas diante do Pavilhão de Caça e Pesca; em outras, hidroaviões repousam sobre as águas da Baía de Guanabara, lembrando que a aviação figurava entre as principais demonstrações tecnológicas apresentadas durante a Exposição. A presença constante da água reforça a sensação de amplitude do conjunto e cria superfícies que refletem edifícios e iluminações, recurso que Augusto Malta exploraria de maneira particularmente expressiva em suas fotografias noturnas.
+ 
+Augusto Malta. Exposição de 1922: Caça e pesca n1, 1922. Rio de Janeiro, RJ / Acervo FBN. Vista do Pavilhão de Caça e Pesca, evidenciando a integração entre arquitetura e água. Mais do que elemento ornamental, os canais estruturavam a organização espacial da Exposição e contribuíam para a construção da experiência visual e paisagística do visitante.
+ 
+ 
+Acessando o link para as fotografias do Álbum Comemorativo do  Centenário da Independência doado por Jorfe Bailly à Biblioteca Nacional disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Um mesmo olhar sobre a modernidade: aspectos comuns aos dois conjuntos
+Embora possuam características e finalidades distintas, os dois conjuntos compartilham procedimentos que revelam a forma de trabalho de Augusto Malta e seu rigor na documentação da Exposição Internacional do Centenário.
+Um dos aspectos mais evidentes é a presença de inscrições gravadas diretamente nos negativos. A assinatura “Malta Phot.” — ou pequenas variações dessa identificação — permite reconhecer imediatamente a autoria das imagens. As legendas incorporadas ao próprio negativo registram, de forma sistemática, o local fotografado, a data, o número do negativo e outras informações abreviadas que permitiam reconhecer cada imagem de maneira imediata. Essa padronização revela a preocupação em associar o registro fotográfico aos seus principais dados documentais já no momento da produção, facilitando sua organização e recuperação. Mais do que simples anotações técnicas, essas inscrições evidenciam um método de trabalho cuidadosamente estruturado, compatível com a função documental que Augusto Malta desempenhava como fotógrafo oficial da Prefeitura do Distrito Federal.
+Também se repetem escolhas compositivas características de sua produção. A preferência por pontos elevados de observação, o rigor na verticalidade das linhas arquitetônicas e a ampla profundidade de campo conferem unidade visual aos dois conjuntos e aparecem de forma recorrente em sua obra. Não por acaso, Augusto Malta consolidou-se como um dos principais cronistas visuais das transformações urbanas do Rio de Janeiro nas primeiras décadas do século XX.
+Para conhecer mais deste fotógrafo, consulte a Cronologia de Augusto Malta disponível no Portal Brasiliana Fotográfica.
+Outro núcleo de especial interesse é formado pelas fotografias dos interiores dos pavilhões. Esses registros constituem uma documentação rara da museografia praticada nas grandes exposições internacionais do início do século XX. Os espaços organizam-se em longos corredores, onde vitrines envidraçadas, mobiliário de madeira, máquinas industriais, esculturas, tecidos, objetos manufaturados e peças artísticas são dispostos segundo uma lógica enciclopédica, característica desse modelo de exposição. A iluminação natural proveniente das amplas janelas laterais, é complementada por luminárias elétricas suspensas, ressaltando o papel da eletricidade não apenas como inovação tecnológica, mas também como recurso expositivo.
+ 
+Augusto Malta. Exposição do Centenário do Brasil foto 102, 1922. Rio de Janeiro, RJ / Acervo FBN. Interior do Pavilhão da Itália, revelando a organização simétrica das vitrines, expositores e objetos apresentados ao público durante a Exposição Internacional do Centenário.
+ 
+Entre todas as imagens produzidas por Malta, as vistas noturnas ocupam um lugar singular. A iluminação elétrica — então um dos maiores símbolos da modernidade urbana — transforma completamente a paisagem da Exposição. As fachadas iluminadas refletem-se nas águas tranquilas da Baía de Guanabara, formando extensas faixas luminosas que prolongam visualmente a arquitetura. As ruas aparecem quase desertas e a ausência de movimento, consequência dos longos tempos de exposição exigidos pelos materiais fotográficos da época, confere às cenas uma atmosfera silenciosa e quase teatral.
+ 
+Augusto Malta. Exposição do Centenário do Brasil foto 93, 1922. Rio de Janeiro, RJ / Acervo FBN. Vista noturna da Exposição Internacional do Centenário. A longa exposição permitiu registrar simultaneamente a iluminação dos edifícios e seus reflexos contínuos sobre as águas calmas da Baía de Guanabara, produzindo uma das imagens mais emblemáticas do conjunto.
+ 
+A riqueza desse acervo permite, inclusive, comparar diferentes ampliações realizadas a partir de um mesmo negativo. Embora representem exatamente a mesma tomada fotográfica, pequenas variações no processo de ampliação em papel de gelatina e prata, na revelação química, nas condições de conservação e até na digitalização alteram significativamente o contraste, a luminosidade e a resposta tonal das cópias. Cada exemplar preserva, assim, uma história material própria, demonstrando que a fotografia não se resume à imagem registrada no negativo, mas também aos processos físicos que lhe deram forma ao longo do tempo.
+ 
+Augusto Malta. Exposição de 1922: Vista à noite 1, 1922. Rio de Janeiro, RJ / Acervo FBN. Duas ampliações produzidas a partir do mesmo negativo, nº 9342. As diferenças de contraste, luminosidade e intensidade dos reflexos resultam de processos distintos de ampliação, revelação, envelhecimento e digitalização, demonstrando como a trajetória material de cada cópia interfere em sua aparência final.
+ 
+Variações semelhantes podem ser observadas em outras imagens dos dois conjuntos, revelando que cada ampliação constitui um objeto documental único, mesmo quando deriva da mesma matriz fotográfica.
+A realização dessas vistas noturnas ressalta o elevado domínio técnico de Augusto Malta. Fotografar à noite em 1922 exigia equipamentos estáveis, planejamento cuidadoso e conhecimento das limitações dos materiais fotográficos disponíveis. As fotografias noturnas da Exposição constituem um capítulo à parte e ainda carecem de estudos mais aprofundados. Além das realizadas por Malta, há registros de notável complexidade técnica produzidos por Carlos Bippus, Photo Lopes e Thiele & Kollien que ampliam a compreensão das diferentes soluções empregadas para registrar, em baixa luminosidade, a arquitetura e a iluminação do evento.
+Embora experiências de fotografia em baixa luminosidade e com recursos de iluminação artificial já fossem conhecidas no Brasil desde o século XIX, como demonstram as experiências pioneiras de Marc Ferrez com o flash de magnésio empregado para fotografar em ambientes pouco iluminados, as imagens produzidas durante a Exposição Internacional do Centenário destacam-se pela quantidade e pela variedade dos registros noturnos. Como observa Beaumont Newhall ao tratar do desenvolvimento técnico da fotografia, o aperfeiçoamento das fontes luminosas ampliou as possibilidades de fotografar em lugares escuros, permitindo realizar imagens em condições antes muito mais restritivas. A evolução da sensibilidade dos materiais fotográficos, o aperfeiçoamento dos equipamentos e a disponibilidade de recursos de iluminação artificial contribuíram, em conjunto, para tornar as fotografias noturnas cada vez mais viáveis.
+Em 1922, a escala monumental da Exposição, sua intensa luz elétrica e a multiplicidade de fotógrafos envolvidos resultaram em uma documentação noturna excepcional. O contraste entre os edifícios iluminados e o céu profundamente escuro confere às imagens uma força visual que permanece impressionante mais de um século depois. Pela extensão e pela diversidade dos registros, eles ocupam um lugar de destaque na história da fotografia no Brasil. Essa relevância também se manifesta na materialidade dos exemplares preservados, que permitem acompanhar a trajetória dessas imagens ao longo do tempo.
+Além do conteúdo iconográfico, os próprios objetos preservam marcas de sua história. As ampliações em papel de gelatina e prata conservam excelente definição dos detalhes arquitetônicos, permitindo distinguir esculturas, ornamentos, esquadrias e até pequenas figuras humanas distribuídas pelos pavilhões. Apesar dos sinais naturais de envelhecimento — como amarelamento do papel e pequenas perdas de contraste em algumas cópias —, os conjuntos permanecem em condições bastante satisfatórias, sem comprometimento significativo da informação visual.
+No caso do álbum comemorativo, sua materialidade amplia ainda mais o interesse histórico do conjunto. A preservação da encadernação original permite compreender não apenas as fotografias, mas também o projeto editorial concebido para sua apresentação.
+ 
+Exposição de 1922: capa, 1922. Rio de Janeiro, RJ / Acervo FBN. Capa original do álbum fotográfico da Exposição Internacional do Centenário da Independência. A fotografia aplicada sobre a capa e o próprio revestimento concentram as marcas mais evidentes da ação do tempo. Decorada em baixo-relevo e inspirada em repertórios da tradição clássica e da Art Nouveau, a encadernação transforma o álbum em um objeto de interesse histórico e artístico, para além das imagens que reúne.
+ 
+ 
+Para além da Exposição
+Embora tenham sido produzidas para documentar a Exposição Internacional do Centenário da Independência, as fotografias de Augusto Malta extrapolam os limites do evento. Os pavilhões e sua arquitetura monumental permanecem como protagonistas, mas, ao redor deles, a cidade também se revela. Ruas, embarcações, automóveis, trabalhadores, visitantes e edifícios do centro do Rio de Janeiro inserem a exposição no cotidiano da então capital federal e ampliam as possibilidades de leitura desses conjuntos.
+É justamente nessa convivência entre o efêmero e o cotidiano que reside uma de suas maiores riquezas. As imagens registram não apenas a arquitetura erguida para as comemorações, mas também aspectos da cultura material, da moda, dos meios de transporte, das tecnologias em circulação e das formas de sociabilidade presentes no Rio de Janeiro do início da década de 1920. A exposição deixa de ser apenas o objeto fotografado para tornar-se cenário de uma cidade em transformação.
+Os personagens que aparecem dispersos pelas imagens contribuem para essa leitura. Operários ainda trabalham nos canteiros de obras, funcionários recebem visitantes, engenheiros acompanham a execução dos serviços, militares circulam pelos espaços e grupos escolares percorrem os pavilhões ao lado de famílias e expositores. Embora raramente ocupem o centro da composição, essas figuras conferem escala aos edifícios e ajudam a compreender como diferentes grupos sociais vivenciaram aquele espaço.
+O vestuário observado nessas fotografias também oferece indícios sobre os costumes e as transformações sociais da época. Homens aparecem usando ternos escuros, gravatas e chapéus-coco, ao lado de trajes mais leves, compostos por camisas, calças de brim e boinas. Entre as mulheres, predominam saias abaixo dos joelhos e vestidos longos, acompanhados por chapéus ornamentados e luvas. Como observa Daiane Lopes Elias (2022), a indumentária presente na Exposição ultrapassava os critérios de elegância e também funcionava como marcador de distinção social, integrando a imagem de modernidade que o evento buscava projetar. A moda dos anos 1920, período que Silvana Gontijo (1987) relembra como os “anos loucos”, refletia as transformações sociais do pós-guerra. No Rio de Janeiro em processo de modernização, essa mudança pode ser observada também nas análises de Paula Acioli (2019), que identifica uma tendência à simplificação do vestuário, em contraste com o luxo predominante até então. Para além dos trajes e dos costumes, as fotografias registram outros sinais da modernidade que a Exposição procurava apresentar ao público.
+As fotografias também documentam a infraestrutura criada para atender ao grande fluxo de visitantes. Automóveis destinados ao transporte interno circulam entre os pavilhões, enquanto hidroaviões atracados junto à Baía de Guanabara mostram a presença da aviação entre as principais demonstrações tecnológicas da Exposição. Ao registrar esses equipamentos integrados à paisagem arquitetônica, Malta reforça visualmente a associação entre mobilidade, progresso técnico e monumentalidade, aspectos centrais do discurso de modernização construído pelas comemorações do Centenário.
+ 
+Augusto Malta. Exposição do Centenário do Brasil foto 104. Rio de Janeiro, RJ / Acervo FBN. Automóvel utilizado no serviço de transporte interno da Exposição Internacional do Centenário. Mais do que registrar um veículo, a fotografia exibe a infraestrutura organizada para atender ao intenso fluxo de visitantes e associa mobilidade, tecnologia e monumentalidade arquitetônica.
+ 
+ 
+Augusto Malta. Exposição de 1922: Vista à noite 4, 1922. Rio de Janeiro, RJ / Acervo FBN. Hidroaviões atracados na Baía de Guanabara durante a Exposição. A presença da aviação integra a narrativa visual de progresso construída por Augusto Malta, incorporando uma das principais inovações tecnológicas apresentadas ao público.
+ 
+Passado mais de um século, esses conjuntos permanecem como fontes privilegiadas para compreender não apenas a Exposição Internacional do Centenário, mas também a cidade que a acolheu e a cultura visual que ajudou a construir. Muito já se escreveu sobre o evento e sobre a obra de Augusto Malta. Ainda assim, cada geração formula novas perguntas aos documentos que herda. Sob essa perspectiva, as fotografias recentemente incorporadas ao Portal Brasiliana Fotográfica não apenas ampliam o conjunto de imagens disponíveis ao público, mas renovam as possibilidades de investigação sobre a arquitetura, a fotografia, a urbanização, a circulação de pessoas, a cultura material e os modos de representação do Brasil nas primeiras décadas do século XX.
+Observados em conjunto, os dois núcleos documentais se complementam. Enquanto o primeiro acompanha a construção da Exposição, o segundo registra sua plena realização e a imagem de modernidade que o Brasil buscava projetar internacionalmente. Um documenta a transformação física do espaço; o outro revela sua apropriação pelos visitantes e pelos países participantes. Em ambos, o olhar atento de Augusto Malta ultrapassa a simples documentação oficial e transforma acontecimentos efêmeros em registros duradouros da história urbana brasileira.
+A maior parte dos pavilhões desapareceu poucos anos após o encerramento da Exposição. A cidade construída para celebrar o Centenário foi desmontada, modificada ou incorporada à expansão urbana do Rio de Janeiro. Permaneceram, contudo, as fotografias.
+Como sintetiza Boris Kossoy,
+“A fotografia é um resíduo do passado. Um artefato que contém em si um fragmento determinado da realidade registrado fotograficamente. Se, por outro lado, este artefato nos oferece indícios quanto aos elementos constitutivos (assunto, fotógrafo, tecnologia) que lhe deram origem, por outro o registro visual nele contido reúne um inventário de informações acerca daquele preciso fragmento de espaço/tempo retratado” (KOSSOY, 2020, p.49)
+Essa compreensão da fotografia como documento histórico encontra plena expressão nos registros da Exposição Internacional do Centenário. Mais de um século depois, essas imagens continuam permitindo revisitar não apenas a arquitetura efêmera erguida para as comemorações, mas também a experiência de seus visitantes, a cultura visual da época e o projeto de modernidade que o Brasil buscava apresentar ao mundo. Como todo documento histórico, elas permanecem abertas a novas perguntas e interpretações. É justamente nessa permanente possibilidade de novas leituras que o legado de Augusto Malta se mantém vivo e o interesse por sua obra se renova.
+ 
+Continue explorando a Exposição do Centenário e muito mais no Portal Brasiliana Fotográfica
+As imagens reunidas neste artigo constituem apenas uma parte do amplo conjunto documental divulgado em nosso Portal. O convite permanece aberto: explorar essas e outras coleções é também uma forma de renovar as perguntas sobre a história da fotografia, da cidade e da cultura visual brasileira.
+Explore outras fotografias da Exposição Internacional do Centenário:
+https://brasilianafotografica.bn.gov.br/brasiliana/discover?rpp=10&page=11&query=%22centen%C3%A1rio+da+independ%C3%AAncia%22&group_by=none&etal=0
+A cobertura da Exposição também é tema de outros artigos publicados no Portal, que abordam diferentes perspectivas sobre o evento, seus personagens e seus desdobramentos.
+Leia outros artigos sobre o Centenário da Independência:
+https://brasilianafotografica.bn.gov.br/?s=%22centen%C3%A1rio+da+independ%C3%AAncia%22
+Se este artigo despertou seu interesse pela obra de Augusto Malta, vale a pena conhecer outras fotografias produzidas pelo autor. Seu trabalho documenta as transformações do Rio de Janeiro nas primeiras décadas do século XX e constitui uma das mais importantes referências visuais para compreender a história da cidade.
+Continue o passeio pelas lentes de Augusto Malta:
+https://brasilianafotografica.bn.gov.br/brasiliana/discover?query=%22malta%2C+augusto%22
+As comemorações do Centenário da Independência integraram um ano particularmente marcante para a história do Brasil. A série “1922 – Hoje, há 100 anos” reúne onze artigos que apresentam outros acontecimentos políticos, culturais, artísticos e sociais que também marcaram aquele ano.
+Conheça a série “1922 – Hoje, há 100 anos”:
+https://brasilianafotografica.bn.gov.br/?page_id=36973
+ 
+Sobre as fontes:
+O Instituto Moreira Salles no projeto Cadernos de Marc Ferrez nos disponibiliza uma preciosa fonte utilizada para contextualizar as experiências pioneiras de Marc Ferrez com o emprego do flash de magnésio na fotografia brasileira já em 1888. O caderno técnico [Procedimentos e fórmulas], pertencente ao Fundo Família Ferrez, sob guarda do Arquivo Nacional, contém os registros do fotógrafo, entre outros procedimentos, da fórmula do pó iluminador. A fonte também apresenta a fotografia Pari – interior de mina, realizada com flash de magnésio, como exemplo do emprego desse recurso em ambientes pouco iluminados ainda em 1888.
+ 
+Beaumont Newhall (1908–1993), historiador e curador norte-americano, é autor de The History of Photography: From 1839 to the Present Day, obra de referência para a história da fotografia mundial, utilizada neste artigo como fonte para a contextualização do desenvolvimento técnico da fotografia. Embora não trate especificamente da fotografia brasileira, Newhall aborda, no capítulo “The Conquest of Action”, a evolução das emulsões fotográficas, o aumento da sensibilidade dos materiais e a redução dos tempos de exposição, além de discutir, em seção dedicada ao desenvolvimento das câmeras de pequeno formato, o emprego de fontes luminosas mais potentes e do flash para fotografar em lugares escuros.
+ 
+* Diana Ramos é curadora do portal Brasiliana Fotográfica e Chefe da Divisão de Iconografia da Fundação Biblioteca Nacional.
+ 
+Fontes primárias: 
+MALTA, Augusto. Exposição de 1922: Rio de Janeiro. 1 álbum (49 fotos : gelatina, p&b, 16 x 22,1cm a 17,3 x 23,2cm) ; 24 x 33,5cm.
+MALTA, Augusto. [Exposição do Centenário do Brasil]. 130 fotos (gelatina, p&b, 17 x 23 cm e 23 x 17 cm).
+ 
+Referências: 
+ACIOLI, Paula. Um Rio moderno. In: ACIOLI, Paula. A culpa é do Rio!: a cidade que inventou a moda do Brasil. Rio de Janeiro: Senac Rio, 2019. p. 304-317.
+ELIAS, Daiane Lopes. Centenária Exposição: os cem anos da Exposição Internacional do Centenário da Independência do Brasil (1922-1923). Revista Maracanan, Rio de Janeiro, n. 31, p. 63-88, set./dez. 2022. Disponível em: https://www.e-publicacoes.uerj.br/maracanan/article/view/69084/44887. Acesso em: 1 jul. 2026.
+GONTIJO, Silvana. 1920-1929: os anos loucos. In: GONTIJO, Silvana. 80 anos de moda no Brasil. Rio de Janeiro: Nova Fronteira, 1987. p. 24-36.
+INSTITUTO MOREIRA SALLES. Cadernos de Marc Ferrez: procedimentos e fórmulas. [S. l.]: Instituto Moreira Salles, [s. d.]. Disponível em: https://ims.com.br/cadernos-de-marc-ferrez/procedimentos-e-formulas/. Acesso em: 6 jul. 2026.
+KOSSOY, Boris. Fotografia & história. 5. ed. rev. Cotia, SP: Ateliê Editorial, 2020.
+MALTA, Augusto. Augusto Malta e o Rio de Janeiro, 1903-1936. Rio de Janeiro: G. Ermakoff, 2009.
+NEWHALL, Beaumont. The history of photography: from 1839 to the present. Completely rev. and enl. ed. New York: The Museum of Modern Art, 1949.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/14582` — `itens/20.500.12156.1_14582/`
+- `20.500.12156.1/14644` — `itens/20.500.12156.1_14644/`
+- `20.500.12156.1/14522` — `itens/20.500.12156.1_14522/`
+- `20.500.12156.1/14527` — `itens/20.500.12156.1_14527/`
+- `20.500.12156.1/14559` — `itens/20.500.12156.1_14559/`
+- `20.500.12156.1/14604` — `itens/20.500.12156.1_14604/`
+- `20.500.12156.1/14579` — `itens/20.500.12156.1_14579/`
+- `20.500.12156.1/14544` — `itens/20.500.12156.1_14544/`
+- `20.500.12156.1/14570` — `itens/20.500.12156.1_14570/`
+- `20.500.12156.1/14597` — `itens/20.500.12156.1_14597/`
+- `20.500.12156.1/14547` — `itens/20.500.12156.1_14547/`
+
diff --git a/wordpress/4622-a-fundacao-do-recife.md b/wordpress/4622-a-fundacao-do-recife.md
new file mode 100644
index 0000000..f7a9bc5
--- /dev/null
+++ b/wordpress/4622-a-fundacao-do-recife.md
@@ -0,0 +1,29 @@
+---
+id: 4622
+url: "https://brasilianafotografica.bn.gov.br/?p=4622"
+titulo: "A fundação do Recife"
+autor: "Andrea Wanderley"
+data: "2016-03-12T00:01:47+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: []
+fetched_at: "2026-09-10T10:24:30.026Z"
+---
+
+# A fundação do Recife
+
+A Brasiliana Fotográfica homenageia a mais antiga capital dos estados brasileiros. Terra antes habitada por tapuias e depois por tupis, Recife foi fundada em 12 de março de 1537. O português Duarte Coelho Pereira (c. 1480-1554), que havia iniciado a povoação de Pernambuco em 1536 – um ano após receber a doação da Capitania de Pernambuco do rei dom João III, de Portugal – referiu-se à cidade como “Ribeira de Mar dos Arrecifes dos Navios” em Carta de Foral então concedida à Câmara de Olinda.
+O portal fez uma seleção de registros de ruas, pontes, teatros, bairros e igrejas recifenses produzidos por Augusto Stahl (1828 – 1877), Francisco du Bocage (1860-1919), Guilherme Gaensly (1843 – 1928) , João Ferreira Villela (18?-1901), Marc Ferrez (1843 – 1923) e Moritz Lamberg (18?-19?).
+Acessando o link para as fotografias do Recife disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar e verificar todos os dados referentes a elas.
+A cidade enfrentou um período de ocupação holandesa (1630-1645) cuja herança ainda hoje se faz presente. Sob o comando da Companhia das Índias Ocidentais, representada pelo conde Mauricio de Nassau (1604-1679), Recife tornou-se a capital do Brasil holandês. Amante das artes, Nassau tinha na sua equipe grandes artistas, como Franz Post (1612-1680) e Albert Eckhout (1610-1666), pioneiros na documentação visual da paisagem brasileira e do cotidiano dos seus habitantes.
+Em em 15 de fevereiro de 1827, o Recife tornou-se oficialmente a capital da província de Pernambuco por ordem imperial, consolidando sua importância comercial.
+ 
+Aspecto da missa campal celebrada no dia do centenário da elevação do Recife a capital / Revista da Semana, 26 de fevereiro de 1927, página 17
+ 
+Imediatamente após o anúncio do primeiro processo fotográfico patenteado – o daguerreótipo, na França – um navio-escola saído daquele país, trazendo entre seus tripulantes o padre Louis Comte com seu exemplar dessa nova e revolucionária invenção, tocou o continente americano através do porto do Recife.
+E mais à frente, quando as imagens originalmente obtidas em fotografia começaram a ser transcritas na imprensa ilustrada, Recife estava na vanguarda, mais uma vez. A partir de meados do século XIX, vários fotógrafos estabeleceram-se ou passaram pelo Recife, o que tornou a cidade referência inescapável na história da fotografia no Brasil.
+A Veneza brasileira, localizada às bordas do rio Capibaribe junto ao oceano, com sua geografia, seus mangues, suas pontes e construções marcantes, visceralmente conectada a Olinda, segue sendo um dos cartões postais do Brasil.
+ 
+Brasão do Recife
+ 
+Andrea C. T. Wanderley
+Pesquisadora e editora assistente da Brasiliana Fotográfica
diff --git a/wordpress/4742-a-fundacao-de-salvador.md b/wordpress/4742-a-fundacao-de-salvador.md
new file mode 100644
index 0000000..192fc45
--- /dev/null
+++ b/wordpress/4742-a-fundacao-de-salvador.md
@@ -0,0 +1,44 @@
+---
+id: 4742
+url: "https://brasilianafotografica.bn.gov.br/?p=4742"
+titulo: "A fundação de Salvador"
+autor: "Andrea Wanderley"
+data: "2016-03-29T12:05:49+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: []
+fetched_at: "2026-09-10T10:24:33.090Z"
+---
+
+# A fundação de Salvador
+
+São Salvador” de Dorival Caymmi (1914 – 2008)
+
+“São Salvador, Bahia de São Salvador
+ A terra de Nosso Senhor
+ Pedaço de terra que é meu
+ São Salvador, Bahia de São Salvador
+ A terra do branco mulato
+ A terra do preto doutor
+ São Salvador, Bahia de São Salvador
+ A terra do Nosso Senhor
+ Do Nosso Senhor do Bonfim
+ Oh Bahia, Bahia cidade de São Salvador
+ Bahia oh, Bahia, Bahia cidade de São Salvador”
+ 
+No dia de sua fundação, Salvador, capital da Bahia e primeira capital do Brasil, é homenageada pela Brasiliana Fotográfica. São imagens da segunda metade do século XIX até 1916 produzidas pelo inglês Benjamin R. Mulock (1829 – 1863), pelo italiano Camillo Vedani (18? – ?), pelo suíço Guilherme Gaensly (1843 – 1928), pelos alemães Joseph Schleier (1827 – 1903) e Rodolfo Lindemann (c. 1852-19?), e pelos brasileiros Marc Ferrez (1843 – 1923) e Pedro Gonsalves da Silva (18? -19?).
+A cidade foi fundada com o nome de Cidade do Salvador e foi a capital do Brasil de 1549 a 1763. A data oficial de sua fundação foi determinada pela portaria 299 de 11 de março de 1952, assinada pelo então prefeito Osvaldo Veloso Gordilho, e marca o dia em que o português Tomé de Sousa (1503 – 1579) desembarcou no atual Porto da Barra, em 29 de março de 1549, dando início à construção da cidade-fortaleza. Ele havia sido nomeado primeiro governador-geral do Brasil pelo rei dom João III (1502 – 1557). Chegou com seis embarcações, trazendo mais de mil pessoas para o país. A razão principal de sua vinda para o Brasil foram as revoltas promovidas pelos indígenas, onde a presença dos portugueses não era efetiva.
+Painel de azulejos que integra o monumento Marco de Fundação da Cidade do Salvador, do artesão Eduardo Gomes
+Atualmente, há no local do desembarque de Tomé de Souza o monumento Marco de Fundação da Cidade do Salvador, inaugurado em 29 de março de 1952 – uma estrutura vertical, esculpida por João Fragoso (1913 – 2000) em pedra de lioz portuguesa, com o símbolo da Coroa Portuguesa e a Cruz de Cristo, além de um painel de azulejos, originariamente de autoria de Joaquim Rebucho, que retrata a chegada de Tomé de Souza. O painel atual, uma réplica do original, foi feito, em 2003, pelo artesão Eduardo Gomes.
+ 
+Acessando o link para as fotografias de Salvador disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Trecho  de Aquarela Brasileira, de Silas de Oliveira (1916 – 1972),
+samba-enredo da Escola de Samba Império Serrano em 1964
+“E fiquei radiante de alegria
+Quando cheguei na Bahia
+Bahia de Castro Alves, do acarajé
+Das noites de magia, do candomblé”
+ 
+ 
+Andrea C. T. Wanderley
+Editora-assistente e pesquisadora da Brasiliana Fotográfica
diff --git a/wordpress/4748-serie-teatros-e-cinemas-do-brasil-ii-os-teatros-do-brasil.md b/wordpress/4748-serie-teatros-e-cinemas-do-brasil-ii-os-teatros-do-brasil.md
new file mode 100644
index 0000000..272675e
--- /dev/null
+++ b/wordpress/4748-serie-teatros-e-cinemas-do-brasil-ii-os-teatros-do-brasil.md
@@ -0,0 +1,44 @@
+---
+id: 4748
+url: "https://brasilianafotografica.bn.gov.br/?p=4748"
+titulo: "Série “Teatros e cinemas do Brasil” II – Os teatros do Brasil"
+autor: "Andrea Wanderley"
+data: "2016-03-21T11:05:10+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/2586"]
+fetched_at: "2026-09-10T10:24:36.268Z"
+---
+
+# Série “Teatros e cinemas do Brasil” II – Os teatros do Brasil
+
+Na semana em que se comemora o Dia Mundial do Teatro, em 27 de março, a Brasiliana Fotográfica oferece a seus leitores fotografias de teatros brasileiros do século XIX e das primeiras décadas do século XX. São fotografias realizadas por Augusto Malta (1864 – 1957), A. Ribeiro (18? – ?), Augusto Stahl (1828 – 1877), Felipe Augusto Fidanza (1847 – 1903), George Huebner (1862 – 1935), Guilherme Gaensly (1843-1928), Marc Ferrez (1843 – 1923), Moritz Lamberg (18? – ?) e também por fotógrafos ainda não identificados.
+ 
+Marc Ferrez. Teatro Municipal, c. 1910. Rio de Janeiro, RJ / Acervo IMS
+ 
+ 
+O Instituto Internacional do Teatro (IIT) criou a data em 1961 e, desde o ano seguinte, o Dia Internacional do Teatro é celebrado (Jornal do Brasil, 27 de março de 1962). A comemoração conta com a realização de diversas manifestações teatrais e também com a difusão de uma mensagem, sempre redigida por uma personalidade de renome da cena teatral, convidada pelo IIT. A instituição foi fundada em Praga, em 1948, pela UNESCO (Organização das Nações Unidas para a Educação, a Ciência e a Cultura) e por personalidades do mundo teatral, durante o I Congresso Mundial do Teatro. O encontro contou com representantes da Áustria, da Bélgica, do Brasil, do Chile, da China, da Tchecoslováquia, da França, da Itália, da Polônia, do Reino Unido, da Suíça e dos Estados Unidos.
+ 
+Acessando o link para as fotografias de teatros brasileiros disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Andrea C. T. Wanderley
+Editora-assistente e pesquisadora da Brasiliana Fotográfica
+ 
+Outros artigos publicados na Brasiliana Fotográfica sobre teatros e cinemas
+ 
+Série O Rio de Janeiro desaparecido I - Salas de cinema do Rio de Janeiro do início do século XX, publicado em 26 de fevereiro de 2016.
+A inauguração do Theatro Municipal do Rio de Janeiro, publicado em 14 de julho de 2017
+Cinema no Brasil – a primeira sessão e um pouco da história do Cinema Odeon, publicado em 8 de julho de 2021
+Série “O Rio de Janeiro desaparecido” XII – O Teatro Lírico (Theatro Lyrico), publicado em 16 de setembro de 2021
+O Theatro de Santa Isabel, publicado em 28 de outubro de 2021
+O Teatro Amazonas (Theatro Amazonas), em Manaus, a “Paris dos Trópicos”, publicado em 28 de dezembro de 2021
+O Teatro João Caetano, no Rio de Janeiro, no Dia Mundial do Teatro, publicado em 27 de março de 2023
+Dia do Cinema Brasileiro, publicado em 19 de junho de 2023
+Série O Rio de Janeiro desaparecido XXV – O Theatro Phenix, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado em 5 de setembro de 2023
+O Theatro da Paz, em Belém do Pará, inaugurado em 15 de fevereiro de 1878, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado em 15 de fevereiro de 2024
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/2586` — `itens/20.500.12156.1_2586/`
+
diff --git a/wordpress/4787-serie-teatros-e-cinemas-do-brasil-i-e-serie-o-rio-de-janeiro-desaparecido-i-sala.md b/wordpress/4787-serie-teatros-e-cinemas-do-brasil-i-e-serie-o-rio-de-janeiro-desaparecido-i-sala.md
new file mode 100644
index 0000000..75a6f7b
--- /dev/null
+++ b/wordpress/4787-serie-teatros-e-cinemas-do-brasil-i-e-serie-o-rio-de-janeiro-desaparecido-i-sala.md
@@ -0,0 +1,88 @@
+---
+id: 4787
+url: "https://brasilianafotografica.bn.gov.br/?p=4787"
+titulo: "Série “Teatros e cinemas do Brasil” I e Série “O Rio de Janeiro desaparecido” I – Salas de cinema do Rio de Janeiro do início do século XX"
+autor: "Andrea Wanderley"
+data: "2016-02-26T11:35:08+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/2515", "20.500.12156.1/2423", "20.500.12156.1/2424", "20.500.12156.1/2793"]
+fetched_at: "2026-09-10T10:24:39.521Z"
+---
+
+# Série “Teatros e cinemas do Brasil” I e Série “O Rio de Janeiro desaparecido” I – Salas de cinema do Rio de Janeiro do início do século XX
+
+Na semana da premiação do Oscar pela Academia de Artes e Ciências Cinematográficas, nos Estados Unidos, a Brasiliana Fotográfica destaca quatro antigas salas de cinema localizadas no Rio de Janeiro: o Pathé Palace e os cinemas Capitólio, Íris e Pathé. São fotografias produzidas pelos mais importantes fotógrafos da cena urbana carioca no século XIX – Marc Ferrez (1843 – 1923) – e nas primeiras décadas do século XX – Augusto Malta (1864 – 1957). O Pathé Palace e o Cine Pathé eram de propriedade da família do fotógrafo Marc Ferrez, que teve  participação destacada na introdução do cinema no Brasil.
+ 
+Marc Ferrez. Cine Pathé, 1919. Rio de Janeiro, RJ / Acervo IMS
+ 
+Ferrez, que havia conhecido em Paris as fotografias animadas dos irmãos Lumière, decidiu investir na novidade. Apoiado pelos filhos, inaugurou , em 18 de setembro 1907, o Cinematographo Pathé, na então novíssima Avenida Central. Em sua propaganda de estreia, anunciava “projeções animadas perfeitas, interessantes e maravilhosas” (Jornal do Brasil, 18 de setembro de 1907, no pé da página). Julio Ferrez, filho do fotógrafo, firmou um contrato com a Maison Pathé-Frères, de Paris, para o fornecimento de filmes e de equipamentos para montagem de salas de cinema (Jornal do Brasil, 15 de agosto de 1907, na terceira coluna).  Em 1928, após a morte do fotógrafo, a Casa Marc Ferrez inaugurou, na Cinelândia, o Pathé Palace, em de abril de 1928, com a exibição de uma extensa programação, que incluía o filme “Paga para amar” (O Paiz, 18 de março, na primeira coluna; 23 de março, na terceira coluna; e 9 e 10 de abril de 1928).
+ 
+Augusto Malta. Pathé Palace, 1928. Rio de Janeiro, RJ / Acervo IMS
+ 
+O Cinema Capitólio, também na Praça Floriano, na Cinelândia, foi inaugurado em 23 de abril de 1925 (Jornal do Brasil, 22 de abril de 1925) com a exibição do filme “A voz do minarete” e também com a execução do “Guarany” por uma orquestra. Foi construído pela Companhia Brasil Cinematographica e foi descrita pela imprensa como “uma casa de diversões que honra o grau de desenvolvimento e de cultura no Rio de Janeiro e representa, como os demais em construção, o esforço considerável de um homem de extraordinária energia, o senhor Francisco Serrador, e a sua fé viva nos negócios cinematográficos” (Jornal do Brasil, 23 de abril de 1925, na quinta coluna).
+ 
+Augusto Malta. O Pathé Palace e o Capitólio, 1929. Rio de Janeiro, RJ / Acervo IMS
+ 
+Das três salas, a única que ainda existe é o Cine Íris, fundado em outubro de 1909 como Cinema Soberano com a exibição de diversos filmes, dentre eles “A cidade das flores “ e “Lili Borboleta” (Jornal do Brasil, de 30 de outubro de 1909, na sétima coluna). O nome da sala de cinema foi uma homenagem de seu fundador, João Cruz Junior, a um de seus cavalos. Localizado na rua da Carioca, no centro do Rio de Janeiro, em 1912, passou a se chamar Cinema Íris (Correio da Manhã, 16 de julho de 1912, segunda coluna). Em 1978, foi tombado pelo Instituto Estadual do Patrimônio Cultural do Rio de Janeiro. O prédio foi construído no estilo art-nouveau e seu interior é decorado com azulejaria e mármores portugueses, escadarias de ferro, lustres  e espelhos de cristais franceses.
+ 
+Augusto Malta. Cine Íris, 1921. Rio de Janeiro, RJ / Acervo IMS
+ 
+Acessando o link para as fotografias dos cinemas cariocas disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+O título deste artigo foi alterado de Salas de cinema do Rio de Janeiro do início do século XX para Série O Rio de Janeiro desaparecido I – Salas de cinema do Rio de Janeiro do início do século XX, em 16 de setembro de 2021.
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Links para os outros artigos da Série O Rio de Janeiro desaparecido
+ 
+Série O Rio de Janeiro desaparecido II – A Exposição Nacional de 1908 na Coleção Família Passos, de autoria de Carla Costa, historiadora do Museu da República, publicado na Brasiliana Fotográfica, em 5 de abril de 2018.
+Série O Rio de Janeiro desaparecido III – O Palácio Monroe, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica, em 9 de novembro de 2016.
+Série O Rio de Janeiro desaparecido IV - A via elevada da Perimetral, de autoria da historiadora Beatriz Kushnir, publicado na Brasiliana Fotográfica em 23 de junho de 2017.
+Série O Rio de Janeiro desaparecido V – O quiosque Chopp Berrante no Passeio Público, Ferrez, Malta e Charles Dunlop, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 20 de julho de 2018.
+Série O Rio de Janeiro desaparecido VI – O primeiro Palácio da Prefeitura Municipal do Rio de Janeiro, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 12 de setembro de 2018.
+Série O Rio de Janeiro desaparecido VII – O Morro de Santo Antônio na Casa de Oswaldo Cruz, de autoria de historiador Ricardo Augusto dos Santos da Casa de Oswaldo Cruz, publicado na Brasiliana Fotográfica em 5 de fevereiro de 2019.
+Série O Rio de Janeiro desaparecido VIII – A demolição do Morro do Castelo, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 30 de abril de 2019.
+Série O Rio de Janeiro desaparecido IX – Estrada de Ferro Central do Brasil: estação e trilhos, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 12 de novembro de 2019.
+Série O Rio de Janeiro desaparecido X – No Dia dos Namorados, um pouco da história do Pavilhão Mourisco em Botafogo, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 12 de junho de 2020.
+Série O Rio de Janeiro desaparecido XI – A Estrada de Ferro do Corcovado e o mirante Chapéu de Sol, de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 22 de julho de 2021.
+Série O Rio de Janeiro desaparecido XII – o Teatro Lírico (Theatro Lyrico), de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 15 de setembro de 2021.
+Série O Rio de Janeiro desaparecido XIII – O Convento da Ajuda, de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 12 de outubro de 2021.
+Série O Rio de Janeiro desaparecido XIV – O Conselho Municipal, de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 19 de novembro de 2021.
+Série O Rio de Janeiro desaparecido XV – A Praia de Santa Luzia no primeiro dia do verão, de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 21 de dezembro de 2021.
+Série O Rio de Janeiro desaparecido XVI – O prédio da Academia Imperial de Belas Artes, de autoria de Andrea C.T. Wanderley, publicado na Brasiliana Fotográfica em 13 de janeiro de 2022.
+Série O Rio de Janeiro desaparecido XVII – Igreja São Pedro dos Clérigos, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 18 de março de 2022.
+Série O Rio de Janeiro desaparecido XVIII – A Praça Onze, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 20 de abril de 2022.
+Série O Rio de Janeiro desaparecido XIX – A Igrejinha de Copacabana, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 23 de junho de 2022.
+Série O Rio de Janeiro desaparecido XX – O Pavilhão dos Estados, futuro prédio do Ministério da Agricultura, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 26 de julho de 2022.
+Série O Rio de Janeiro desaparecido XXI – O Chafariz do Largo da Carioca, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 19 de setembro de 2022. 
+Série O Rio de Janeiro desaparecido XXII – A Cadeia Velha que deu lugar ao Palácio Tiradentes, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 11 de abril de 2023
+Série O Rio de Janeiro desaparecido XXIII e Avenidas e ruas do Brasil XVII - A Praia e a Rua do Russel, na Glória, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 15 de maio de 2023
+Série O Rio de Janeiro desaparecido XXIV – O luxuoso Palace Hotel, na Avenida Rio Branco, uma referência da vanguarda artística no Rio de Janeiro, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 4 de julho de 2023
+Série O Rio de Janeiro desaparecido XXV – O Theatro Phenix, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 5 de setembro de 2023
+Série O Rio de Janeiro desaparecido XXVI – Conclusão do arrasamento do Morro do Castelo por Augusto Malta, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 14 de dezembro de 2023
+Série O Rio de Janeiro desaparecido XXVII e Série Os arquitetos do Rio de Janeiro V – O Jockey Club e o Derby Club, na Avenida Rio Branco e o arquiteto Heitor de Mello (1875 – 1920), de autoria de Andrea c. T. Wanderley, editora e pesquisadora do portal, em 15 de janeiro de 2024
+ 
+Outros artigos publicados na Brasiliana Fotográfica sobre teatros e cinemas
+ 
+ 
+Os teatros do Brasil, publicado em 21 de março de 2016
+A inauguração do Theatro Municipal do Rio de Janeiro, publicado em 14 de julho de 2017
+Cinema no Brasil – a primeira sessão e um pouco da história do Cinema Odeon, publicado em 8 de julho de 2021
+Série “O Rio de Janeiro desaparecido” XII – O Teatro Lírico (Theatro Lyrico), publicado em 16 de setembro de 2021
+O Theatro de Santa Isabel, publicado em 28 de outubro de 2021
+O Teatro Amazonas (Theatro Amazonas), em Manaus, a “Paris dos Trópicos”, publicado em 28 de dezembro de 2021
+O Teatro João Caetano, no Rio de Janeiro, no Dia Mundial do Teatro, publicado em 27 de março de 2023
+Dia do Cinema Brasileiro, publicado em 19 de junho de 2023
+Série O Rio de Janeiro desaparecido XXV – O Theatro Phenix, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado em 5 de setembro de 2023
+O Theatro da Paz, em Belém do Pará, inaugurado em 15 de fevereiro de 1878, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado em 15 de fevereiro de 2024
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/2515` — `itens/20.500.12156.1_2515/`
+- `20.500.12156.1/2423` — `itens/20.500.12156.1_2423/`
+- `20.500.12156.1/2424` — `itens/20.500.12156.1_2424/`
+- `20.500.12156.1/2793` — `itens/20.500.12156.1_2793/`
+
diff --git a/wordpress/4812-a-fundacao-do-rio-de-janeiro.md b/wordpress/4812-a-fundacao-do-rio-de-janeiro.md
new file mode 100644
index 0000000..5e845a0
--- /dev/null
+++ b/wordpress/4812-a-fundacao-do-rio-de-janeiro.md
@@ -0,0 +1,45 @@
+---
+id: 4812
+url: "https://brasilianafotografica.bn.gov.br/?p=4812"
+titulo: "A fundação do Rio de Janeiro"
+autor: "Andrea Wanderley"
+data: "2016-03-01T00:06:20+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/2044"]
+fetched_at: "2026-09-10T10:24:42.477Z"
+---
+
+# A fundação do Rio de Janeiro
+
+A fundação do Rio de Janeiro
+Cidade Maravilhosa
+ 
+E o Rio de Janeiro completa mais um ano… Agora são 451 anos desde sua fundação. Sua beleza e vocação exibicionista fez da cidade personagem de muitas fotografias desde o século XIX. A Brasiliana Fotográfica presta uma homenagem à cidade maravilhosa com uma seleção de 10 imagens de paisagens cariocas. São registros de Marc Ferrez (1843 – 1923) e Augusto Malta (1864 – 1957), os mais importantes fotógrafos do Rio de Janeiro no século XIX e nas primeiras décadas do século XX. Também convidamos os leitores para uma visita aos posts sobre os dois fotógrafos, anteriormente publicados pela Brasiliana Fotográfica: Ferrez e Malta.
+ 
+Marc Ferrez. Entrada da baía de Guanabara, vista de Niterói, c. 1890. Rio de Janeiro, RJ / Acervo IMS
+ 
+Cerca de metade da produção fotográfica de Marc Ferrez foi realizada no Rio de Janeiro e em seus arredores, onde fotografou, além do patrimônio construído, a exuberância das paisagens naturais. O alagoano Augusto Malta começou a fotografar em 1900, quando trocou sua bicicleta, que usava para entregar os tecidos que comercializava, por uma máquina fotográfica. Foi, em 1903, contratado pela Prefeitura do Rio de Janeiro como fotógrafo oficial, cargo criado para ele. Passou a documentar a radical mudança urbanística promovida pelo então prefeito da cidade, Francisco Pereira Passos (1836-1913), período que ficou conhecido como o “bota-Abaixo”. Essas transformações foram definidas por Alberto Figueiredo Pimentel (1869-1914), autor da seção “Binóculo”, da Gazeta de Notícias, com a máxima “O Rio civiliza-se”, que se tornou o slogan da reforma urbana carioca. Augusto Malta trabalhou na Prefeitura até 1936, quando se aposentou.
+Uma curiosidade:  Cidade Maravilhosa – La Ville Merveilleuse -, é o nome do livro onde os poemas Amor ao Rio, de autoria da francesa Jane Catulle Mendès (1867 – 1955), foram publicados em 1913. Ela havia passado uma temporada, de setembro a dezembro de 1911, no Rio de Janeiro, quando se encantou pela cidade. Na verdade, a princípio só ficaria três semanas (O Paiz, 20 de setembro, quarta coluna; e 6 de dezembro, primeira coluna de 1911).
+ 
+ Fon Fon, 21 de outubro de 1911
+ 
+
+ 
+Acessando o link para as fotografias do Rio de Janeiro de autoria de Augusto Malta e Marc Ferrez selecionadas para esse post e disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Andrea C. T. Wanderley
+Editora assistente e pesquisadora do portal Brasiliana Fotográfica
+ 
+Outros artigos publicados na Brasiliana Fotográfica em comemoração ao aniversário do Rio de Janeiro
+ 
+Uma homenagem aos 452 anos do Rio de Janeiro: o Corcovado e o Pão de Açúcar, publicado em 1º de março de 2017, de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal Brasiliana Fotográfica
+O Rio de Janeiro de Juan Gutierrez, publicado em 1º de março de 2019, de autoria de Maria Isabel Ribeiro Lenzi, Doutora em História pela UFF e historiadora do Arquivo Histórico do Museu Histórico Nacional ; e de Andrea C.T. Wanderley, editora e pesquisadora do portal Brasiliana Fotográfica
+A Praça Paris no aniversário do Rio de Janeiro, publicado em 1° de março de 2023, de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal Brasiliana Fotográfica
+O Rio de Janeiro nos cartões-postais da Papelaria e Typographia Botelho, publicado em 1° de março de 2024, de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal Brasiliana Fotográfica
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/2044` — `itens/20.500.12156.1_2044/`
+
diff --git a/wordpress/4924-ipanema-pelas-lentes-de-jose-baptista-barreira-vianna-1860-1925.md b/wordpress/4924-ipanema-pelas-lentes-de-jose-baptista-barreira-vianna-1860-1925.md
new file mode 100644
index 0000000..6cf2ebb
--- /dev/null
+++ b/wordpress/4924-ipanema-pelas-lentes-de-jose-baptista-barreira-vianna-1860-1925.md
@@ -0,0 +1,84 @@
+---
+id: 4924
+url: "https://brasilianafotografica.bn.gov.br/?p=4924"
+titulo: "Ipanema pelas lentes de José Baptista Barreira Vianna (1860 – 1925)"
+autor: "Andrea Wanderley"
+data: "2016-04-26T11:48:06+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/4629", "20.500.12156.1/4643", "20.500.12156.1/2583"]
+fetched_at: "2026-09-10T10:24:45.827Z"
+---
+
+# Ipanema pelas lentes de José Baptista Barreira Vianna (1860 – 1925)
+
+A Brasiliana Fotográfica homenageia Ipanema, um dos mais emblemáticos bairros do Rio de Janeiro, com uma seleção de registros de autoria do fotógrafo amador, o comerciante português José Baptista Barreira Vianna (1860-1925), que chegou ao Rio de Janeiro, em 1875. Deixou como legado dois álbuns com 98 fotografias em cada um, que atualmente pertencem ao acervo do Instituto Moreira Salles, uma das instituições fundadoras do portal. Um dos álbuns traz imagens de paisagens, prioritariamente, da Tijuca e de Ipanema, produzidas entre 1897 e 1905; o outro, cenas de família, retratos e vistas de interiores, no período entre 1897 e 1907. Essas fotografias são importantes documentos da virada do século no Rio de Janeiro.
+ 
+José Baptista Barreira Vianna. Residência da família Barreira Vianna, em Ipanema na esquina da avenida Vieira Souto e rua Francisco Otaviano. Ilhas Cagarras ao fundo, 1903. Rio de Janeiro, RJ / Acervo IMS
+ 
+Barreira Vianna trabalhou no comércio e abriu uma loja de produtos importados da Europa no Largo da Carioca. Com a esposa, Laura Moreira, e seis filhos, vivia no tradicional bairro da Tijuca. Possuía um espírito progressista e tinha como hobbies a marcenaria e a fotografia. Com um amigo fotógrafo, Sr. Mendes, produzia imagens com sua máquina, uma Eastman Kodak. No final da década de 1890, comprou um terreno do loteamento de José Antônio Moreira Filho (1830-1899), o barão e conde de Ipanema, exatamente na esquina das atuais avenida Vieira Souto e rua Francisco Otaviano, ao lado de onde seria construído, mais tarde, o Colégio São Paulo. A residência da família Barreira Vianna, cujo projeto e construção ficou a cargo do arquiteto italiano Raphael Rebecchi (18? – 1922), foi a primeira na praia e uma das primeiras de Ipanema. Uma curiosidade: Rebecchi, fundador da empresa Rebecchi & Cia, foi o vencedor do projeto contemplado com o 1º prêmio do concurso de fachadas da avenida Central, tendo projetado cinco edificações e construído outras quatro na referida avenida durante a reforma do prefeito Pereira Passos (1836 – 1913) (O Malho, 2 de abril de 1904).
+Barreira Vianna possuía uma oficina – que ficava ao lado da casa – onde construiu uma miniatura de bondinho elétrico, que corria em trilhos que ficavam no jardim e atravessava uma ponte sobre um lago. Anos depois, devido a problemas financeiros, ele vendeu a casa para o conde Modesto Leal.
+ 
+José Baptista Barreira Vianna. Bonde nas proximidades da pedra do Arpoador, c. 1900. Rio de Janeiro, RJ / Acervo IMS
+ 
+Acessando o link para as fotografias de José Baptista Barreira Vianna disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Cronologia de José Baptista Barreira Vianna (1860 – 1925)
+ 
+José Baptista Barreira Vianna. Autorretrato, c. 1900. Rio de Janeiro, RJ / Acervo do IMS
+ 
+1860 – Nascimento de José Baptista Barreiros, em Vianna do Castelo, em Portugal.
+1875 - Chegou ao Brasil com seu irmão, José Lourenço. Ele se fixa no Rio de Janeiro e emprega-se no comércio. Seu irmão estabeleceu-se em São Paulo. Por ter nascido em Vianna do Castelo, José Baptista Barreiros foi chamado por seus amigos da colônia portuguesa de Vianna. Adotou o apelido como sobrenome e também mudou seu sobrenome de Barreiros por Barreira, passando a chamar-se José Baptista Barreira Vianna.
+1884 - Casou-se com Laura Carlota Moreira (O Apóstolo, de 9 de março de 1884, na última coluna). Tiveram seis filhos: Maria Alice, João Jorge, Henriqueta, Rita, José e Lívia.
+1887 - Solicitou um seguro de vida à empresa New York Life Insurance Company (Jornal do Commercio, de 10 de julho de 1887, na terceira coluna).
+Década de 1890 – Durante essa década, a família Barreira Vianna residia na rua Santa Carolina, na Tijuca. José tinha como hobbies a marcenaria e a fotografia. Com um amigo fotógrafo, Sr. Mendes, produzia imagens com sua máquina, uma Eastman Kodak. Adquiriu um terreno do loteamento do Barão de Ipanema, na esquina das atuais Francisco Otaviano e Vieira Souto.
+1891 - Tornou-se um dos membros do conselho fiscal do Banco Incorporador (Diário do Commercio, de 15 de fevereiro de 1891, na sétima coluna e em anúncio de 16 de fevereiro).
+Integrava a diretoria da Companhia Manufactora e Importadora de Calçado Brasil como tesoureiro (Gazeta de Notícias, de 21 de fevererio de 1891).
+Firmou um contrato comercial de uma empresa de importação situada na rua General Câmara, número 72, em sociedade com Manoel Cândido de Azambuja, Francisco dos Santos Romano e Miguel de Magalhães Fonseca (Jornal do Commercio, de 14 de março de 1891, na terceira coluna, sob o título “Contratos Commerciaes”).
+1894 -  Firmou um contrato de um comércio de armarinho com Manoel Cândido de Azambuja, Francisco dos Santos Romano e Miguel de Magalhães Fonseca (Jornal do Commercio, de 6 de junho de 1894, na sétima coluna).
+Foi noticiado o aniversário de sua esposa, Laura Vianna (O Paiz, de 23 de setembro de 1894, na terceira coluna).
+ 
+José Baptista Barreira Vianna. D. Laura, esposa de José Baptista Barreira Vianna, c. 1900. Rio de Janeiro, RJ / Acervo IMS
+ 
+1895 – Participou de um abaixo-assinado apoiando a medida da gerência da empresa New York Life Insurance Company em relação a um projeto de lei discutido na Câmara dos Deputados sobre companhias estrangeiras de seguro atuantes no Brasil (Cidade do Rio, de 21 de agosto de 1895, sob o título “Segurados da New York”, na segunda coluna).
+1896 – Foi para a Europa com sua esposa e um filho, no paquete francês Brésil (Jornal do Brasil, de 16 de março de 1896, na terceira coluna).
+Voltou para o Brasil, no paquete francês Chili (A Notícia, de 6 de setembro de 1896, na última coluna sob o título “Visita”).
+Foi eleito um dos suplentes da Sociedade Portugueza de Beneficência (Liberdade, 23 de dezembro de 1896, sob o título “Sociedade Portugueza de Beneficencia, na quarta coluna).
+1897 – A diretoria da Sociedade Portugueza de Beneficência tomou posse e Barreira Vianna foi um dos suplentes (Cidade do Rio, 29 de março de 1897, na sexta coluna).
+Firmou um contrato com Francisco dos Santos Romano para o comércio de material de construção (O Paiz, de 25 de abril de 1897, na segunda coluna).
+Integrou o grupo da colônia portuguesa que se organizou para oferecer um navio de guerra à Portugal como parte das comemorações do quarto centenário do descobrimento do caminho marítimo para as Índias (Jornal do Brasil, de 15 de novembro de 1897, na terceira coluna, sob o título “Grande subscripção patriotica portugueza“).
+1899 – Já estava morando com a família na casa de Ipanema, cujo projeto e construção foram do arquiteto italiano Raphael Rebecchi (18? – 1922). Foi a primeira casa da praia e uma das primeiras do bairro. Dos dois lados da casa, havia duas construções onde ficavam as dependências dos empregados, a lavanderia e uma oficina. São dessa época as fotografias que produziu das áreas internas e externas da residência. Embora a eletricidade não houvesse chegado à Ipanema, a casa possuía eletricidade produzida por um gerador movido por motor à explosão alimentado por acetileno.
+1900 – Firmou um contrato com Viríssimo Barbosa de Souza, Luiz José Monteiro e José Antônio Teixeira Barroso para o comércio de sabão na Praia de São Cristóvão, números 5 e 7 (O Paiz, de 21 de agosto de 1900, na terceira coluna).
+Em 29 de dezembro,  falecimento do pintor João Baptista Castagneto (1862 – 1900), de quem José Baptista Barreira Vianna era muito amigo. Também fazia parte de seu rol de amizades o pintor João Baptista da Costa (1865 – 1926), que era professor de pintura de seus filhos.
+1900 a 1903 – Do moinho de vento, que pertencia à propriedade e puxava água do sub-solo para a lavagem externa da casa, Barreira Vianna produziu fotografias do Leme, de Copacabana, do Arpoador, de Ipanema, do Leblon, da Gávea e da Lagoa.
+1902 – Foi um dos escolhidos pela Associação Comercial do Rio de Janeiro para compor uma comissão para discutir os problemas gerados pela multiplicidade de taxas cambiais (Jornal do Commercio Retrospecto Commercial, edição de 1902, na primeira coluna).
+1906 – Foi um dos patronos da conferência que John R. Mott (1865 – 1955) proferiu na Associação dos Empregados do Commercio. Mott iria presidir, em São Paulo, a Convenção Nacional da Associação Cristã dos Moços, aberta em 19 de julho de 1906 (Gazeta de Notícias, de 19 de julho de 1906, na sétima coluna).
+1909 – Firmou um contrato com Theophilo Rufino Bezerra de Menezes, Carlos Frederico Oberlaender e José Pinto de Almeida para o comércio de sal na rua da Gamboa, números 193 e 795 (O Paiz, de 7 de aogosto de 1909, na terceira coluna).
+1925 – Foi noticiado o falecimento de Barreira Vianna, que na época morava na rua João Alfredo, número 31. Ele foi enterrado no Cemitério Francisco Xavier (O Paiz, 4 de julho de 1925, na sexta coluna). Foi anunciada sua missa de 30º dia (Jornal do Brasil, 2 de agosto de 1925, na quinta coluna).
+ 
+Um pouco da história de Ipanema
+ 
+José Antônio Moreira Filho (1830-1899), o barão e conde de Ipanema, comprou, em 1878, do tabelião e empresário Francisco José Fialho (1820? – 1885) um lote de terras que ia desde a atual rua Barão de Ipanema até o atual Canal do Jardim de Alah. Criou, então, um novo bairro, que batizou de “Villa Ipanema”, em homenagem a seu pai, o primeiro barão e conde de Ipanema, o paulista João Antônio Moreira (1797 – 1879). O nome Ipanema significa em tupi água ruim e foi inspirado por uma das propriedades do barão, em Minas Gerais.
+A Villa Ipanema foi inaugurada, em 15 de abril de 1894, pelo barão e por seu sócio José Silva com a presença do prefeito Henrique Valladares, que no mesmo dia inaugurou a ampliação das linhas de bonde da empresa de Ferro Carril do Jardim Botânico, da Praça Malvino Reis, atual Serzedelo Correia, até a ponta da Igrejinha, que era a Igreja de Nossa Senhora de Copacabana, erguida no século XVIII e derrubada em 1918, próxima à rua Francisco Otaviano (Gazeta de Notícias, 16 de abril de 1894, terceira coluna). Em 26 de abril de 1894, foi assinada a ata de fundação definitiva do bairro Villa Ipanema, com a presença do então prefeito Henrique Valadares e do barão e conde de Ipanema, que lançou, em seus terrenos, um enorme loteamento, berço do que é ainda hoje um dos bairros mais valorizados da cidade do Rio de Janeiro. No princípio, foram abertas 13 ruas, uma avenida e duas praças no areal sem valor, tomado por pitangueiras, cajueiros e araçazeiros. Até hoje essas vias são as mais importantes artérias do bairro. Entre elas, a avenida Vieira Souto e as ruas Prudente de Moraes e Visconde de Pirajá, essa última batizada inicialmente de Vinte de Novembro. Ipanema conservou a denominação de vila até a década de 20. Apesar de alguns autores considerarem outras datas, o dia 26 de abril de 1894 é a data mais aceita como marco de referência da fundação do bairro. Ipanema tornou-se, ao longo do século XX, reduto de artistas, intelectuais, jornalistas e boêmios, um dos símbolos do comportamento de vanguarda, exportando a moda e os costumes cariocas para o resto do país.
+Ipanema tornou-se, ao longo do século XX, reduto de artistas, intelectuais, jornalistas e boêmios, um dos símbolos do comportamento de vanguarda, exportando a moda e os costumes cariocas para o resto do país.
+ 
+Acessando o link para as fotografias do bairro de Ipanema disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Destacamos uma fotografia produzida por Marc Ferrez ( 1843 – 1923), em torno de 1895.
+ 
+Marc Ferrez. Ipanema, circa 1895. Rio de Janeiro, RJ / Acervo do IMS
+ 
+Andrea C. T. Wanderley
+Editora-assistente e pesquisadora do portal Brasiliana Fotográfica
+ 
+Para a elaboração desse post, a Brasiliana Fotográfica baseou-se em diversos periódicos pesquisados na Hemeroteca Digital da Biblioteca Nacional, no depoimento deixado por um dos netos de Barreira Vianna, que tinha 9 anos quando ele faleceu; no site da Multirio, na dissertação Avenida Central: arquitetura e tecnologia no início do século XX, de Sandra Zagari-Cardoso; e também no artigo A cidade em direção a Copacabana e Ipanema: transição para a modernidade, publicado no blog do Instituto Moreira Salles na ocasião da abertura da exposição Rio, primeiras poses – Uma visão da cidade a partir da chegada da fotografia – 1840 – 1930, realizada entre 28 de fevereiro de 2015 e 28 de fevereiro de 2016.
+ 
+*Esse artigo foi ampliado em 18 de junho de 2019.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/4629` — `itens/20.500.12156.1_4629/`
+- `20.500.12156.1/4643` — `itens/20.500.12156.1_4643/`
+- `20.500.12156.1/2583` — `itens/20.500.12156.1_2583/`
+
diff --git a/wordpress/4975-novos-acervos-leibniz-institut-fuer-laenderkunde-leipzig.md b/wordpress/4975-novos-acervos-leibniz-institut-fuer-laenderkunde-leipzig.md
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+---
+id: 4975
+url: "https://brasilianafotografica.bn.gov.br/?p=4975"
+titulo: "Novos acervos: Leibniz-Institut fuer Laenderkunde, Leipzig"
+autor: "Andrea Wanderley"
+data: "2016-04-04T10:19:59+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/4407", "20.500.12156.1/4396"]
+fetched_at: "2026-09-10T10:24:48.951Z"
+---
+
+# Novos acervos: Leibniz-Institut fuer Laenderkunde, Leipzig
+
+A Brasiliana Fotográfica completa um ano e, ao longo do mês de abril, vai divulgar os novos acervos que passam a integrar o portal. O primeiro deles reúne um conjunto de 460 imagens do Brasil produzidas até 1900, que pertence ao acervo do Leibniz-Institut für Länderkunde.  Mediante convênio, o conjunto foi incorporado ao acervo do Instituto Moreira Salles por meio da digitalização das fotos em alta resolução. Já estão disponíveis na Brasiliana Fotográfica 216 fotografias do conjunto, as restantes estarão no portal até o final do ano. O Leibniz-Institut für Länderkunde, sediado na cidade de Leipzig, reúne o mais importante acervo de fotografia brasileira do século XIX  na Alemanha, em especial pelas imagens reunidas na coleção Stübel.
+ 
+ Marc Ferrez. Rio São Francisco, c. 1875. Bahia / Convênio Instituto Moreira Salles – Leibniz-Institut für Länderkunde
+ 
+São imagens da fauna, da flora, de paisagens, de cidades, de índios, de igrejas, de escravos e de vários outros temas produzidas por diversos fotógrafos, dentre eles Alberto Frisch, Alberto Henschel, Carlos Dhein, Felipe Augusto Fidanza, Franz Keller, Georges Leuzinger, Joaquim Insley Pacheco, Marc Ferrez e também de fotógrafos ainda não identificados.
+ 
+Albert Frisch. Jacaré, c. 1865. Amazonas / Convênio Instituto Moreira Salles – Leibniz-Institut für Länderkunde
+ 
+O geólogo alemão Moritz Alphons Stübel (1835 – 1904) viajou, entre 1868 e 1877, pela América do Sul com o também geólogo Wilhelm Reiss (1838 – 1908), que retornou um ano antes para a Alemanha. Stübel formou uma importante coleção de fotografias, composta originalmente por quase duas mil imagens. A Collection Alphons Stübel, a maior coleção de fotografias sul-americanas do século XIX, até agora conhecida, da Alemanha – e provavelmente da Europa – está preservada no Leibniz-Institut für Länderkunde.
+ 
+Moritz Alphons Stübel
+
+ 
+Acessando o link para as fotografias do acervo do Leibniz-Institut für Länderkunde disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Uma breve história do Leibniz-Institut für Länderkunde
+ 
+O Leibniz-Institut für Länderkunde foi fundado em sua forma atual em 1992, mas seu início remonta ao ano de 1896, quando o Museu de Etnologia de Leipzig fez uma exposição da coleção do geólogo Alphons Stübel. Em 1907, esse museu tornou-se o Museu Regional de Geografia. A partir de 1930, o museu também passou a ser um instituto de pesquisa. Sob a direção do geógrafo e cartógrafo Edgar Lehman, o Instituto Alemão Regional de Geografia passou a ser o Instituto de Pesquisa de Geografia da República Democrática da Alemanha. Em 1976, passou a se chamar Instituto de Geografia e Geoecologia. Foi extinto e reinaugurado em 1º de janeiro de 1992 como o Instituto Leibniz Regional de Geografia.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/4407` — `itens/20.500.12156.1_4407/`
+- `20.500.12156.1/4396` — `itens/20.500.12156.1_4396/`
+
diff --git a/wordpress/4991-novos-acervos-arquivo-geral-da-cidade-do-rio-de-janeiro.md b/wordpress/4991-novos-acervos-arquivo-geral-da-cidade-do-rio-de-janeiro.md
new file mode 100644
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+++ b/wordpress/4991-novos-acervos-arquivo-geral-da-cidade-do-rio-de-janeiro.md
@@ -0,0 +1,40 @@
+---
+id: 4991
+url: "https://brasilianafotografica.bn.gov.br/?p=4991"
+titulo: "Novos acervos: Arquivo Geral da Cidade do Rio de Janeiro"
+autor: "Andrea Wanderley"
+data: "2016-04-11T13:21:03+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/4290"]
+fetched_at: "2026-09-10T10:24:52.010Z"
+---
+
+# Novos acervos: Arquivo Geral da Cidade do Rio de Janeiro
+
+No mês de seu aniversário de um ano, a Brasiliana Fotográfica está apresentando ao longo de abril os acervos das novas instituições que se integraram ao portal. Dessa vez, apresentamos o Arquivo Geral da Cidade do Rio de Janeiro com um artigo de sua diretora, Beatriz Kushnir.
+ 
+Esforços de resgate: a recuperação da informação de parte das fotografias furtadas do arquivo Malta
+Beatriz Kushnir*
+O Arquivo Geral da Cidade do Rio de Janeiro (AGCRJ) aceitou com entusiamo o convite para integrar a iniciativa pioneira desenvolvida pela Fundação Biblioteca Nacional (FBN) e pelo Instituto Moreira Salles (IMS), que resultou no portal Brasiliana Fotográfica. Para tal, selecionamos, neste primeiro momento, 112 imagens, que foram gentilmente digitalizadas pelo IMS. Setenta já estão disponíveis na Brasiliana Fotográfica e as demais poderão ser acessadas até o fim de abril.
+Esse conjunto espelha alguns critérios de escolha. Um deles é o estético: os eventos e locais registrados, como o Largo da Carioca, as ressacas na Praia de Copacabana, a Ilha de Paquetá e as obras em Bonsucesso. Outro é a autoria: as imagens são dos Malta – Augusto e seus filhos Aristógiton e Uriel. Este segundo critério de escolha refere-se ao olhar que as capturam, apontando para o seu contratante: o Poder Público.
+Acessando o link para as fotografias do acervo do Arquivo Geral da Cidade do Rio de Janeiro disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+Enquanto fotógrafo oficial da então Prefeitura do Distrito Federal, Augusto Malta (1864 – 1957) exerceu a função entre 1903 e 25 de agosto de 1936, sendo nomeado para um cargo até então não existente, pelo prefeito Francisco Pereira Passos (30/12/1902 – 14/11/1906). Suas atividades ficaram subordinadas à Diretoria Geral de Obras e Viação da Prefeitura.  Aristógiton Malta veio auxiliar o pai a partir de 1925 e substituiu-o quando ele se aposentou, convocando o irmão Uriel Malta, a partir de 1937, para ajudá-lo.
+Durante a gestão do interventor Adolpho Bergamini (24/09/ 1930 a 21/09/1931), mais precisamente a partir de 13 de abril de 1931, conforme o Decreto nº 3.489, a Diretoria Geral de Obras e Viação transformou-se na Diretoria Geral de Engenharia, de modo que Augusto Malta foi igualmente  incumbido de organizar todo o arquivo fotográfico, incluindo os serviços por ele executados. Isto acarretou a transferência do acervo para o então Arquivo Geral do Distrito Federal(1).
+A escolha destas 112 fotografias levou em consideração ainda outro componente, certamente o principal aqui: elas foram pinçadas de um universo de 1.500 negativos identificados a partir de 2013 e cujas imagens podem corresponder a uma parcela dos originais furtados em junho de 2006. Isto só foi possível a partir de diversas iniciativas de mapeamento, controle, tratamento técnico e arquivístico do extenso acervo custodiado, do qual destacamos os negativos do Fundo Secretaria Geral de Educação e Cultura, ora em tratamento.
+Infelizmente, o AGCRJ foi vítima daquele furto, em junho de 2006. Assim como ocorreu em diversas outras instituições do país,  segundo a Polícia Federal, é possível que a subtração de imagens já ocorresse há muito mais tempo. A ausência de instrumentos de controle do acervo em depósito, como constatei ao assumir a Direção-Geral desta instituição, em abril de 2005, e as iniciativas para empreendê-los – como o Portal Augusto Malta, no ar desde 2008 -, podem apontar para o que tenha ocorrido. Se não existia controle e o estávamos construindo, uma última investida ousada foi realizada para retirar itens “desejados” no âmbito privado. Tema sempre doloroso para as instituições, os furtos devem ser publicizados e enfrentados para serem solucionados (2).
+Em sua maioria, as fotografias aqui selecionadas são oriundas de negativos, alguns de segunda geração, e que nos permitiram reaver parte das informações furtadas, tendo por marco final o ano de 2006. O empenho para localizar vestígios do que se perdeu, permitiu esses primeiros achados. E a partir deles, se desencadeou a prospecção em outros conjuntos documentais em depósito no AGCRJ. Neste sentido, a mensagem que a Instituição quer afirmar é a demonstração do compromisso do Arquivo da Cidade em reconquistar os registros ora considerados perdidos, em virtude da ação privatizadora e destruidora de acervos públicos e, por consequência, da memória da eterna cidade-capital  do Brasil.
+Assim, este conjunto incial de imagens do AGCRJ que você poderá consultar no portal Brasiliana Fotográfica é a demonstração de uma equipe engajada em dar um sinal positivo a esta instituição, após uma fatalidade. Imagens que se acreditavam perdidas, porque furtadas, podem ser novamente admiradas e consultadas por retornarem ao lugar de patrimônio de todos nós!
+Notas:
+(1) Refiro-me a seguinte obra: ARQUIVO GERAL DA CIDADE DO RIO DE JANEIRO. Administração Pública Municipal: a estrutura e os titulares: da Comissão de Intendência à Prefeitura do Rio (1889-2012). Idealização de Beatriz Kushnir e Coordenação de Sandra Horta. Rio de Janeiro: Prefeitura da Cidade do Rio de Janeiro/ Secretaria Municipal da Casa Civil/ Arquivo Geral da Cidade do Rio de Janeiro, 2014, p. 45. Publicação eletrônica em e-book: <http://www.rio.rj.gov.br/ebooks/revista/>.
+(2) KUSHNIR, Beatriz. “Da manchete à notinha de canto: os furtos do patrimônio público, a privatização dos acervos do cidadão”. Museologia e Patrimônio, vol.II, nº1, jan.-jun./2009, pp. 9-21. Disponível em http://revistamuseologiaepatrimonio.mast.br/index.php/ppgpmus/article/viewFile/42/22>.
+
+ * Beatriz Kushnir é a Diretora-Geral do Arquivo Geral da Cidade do Rio de Janeiro.
+
+Augusto Malta. Praia do Russell, 1904. Rio de Janeiro / Acervo do AGCRJ
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/4290` — `itens/20.500.12156.1_4290/`
+
diff --git a/wordpress/5002-novos-acervos-diretoria-do-patrimonio-historico-e-documentacao-da-marinha.md b/wordpress/5002-novos-acervos-diretoria-do-patrimonio-historico-e-documentacao-da-marinha.md
new file mode 100644
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--- /dev/null
+++ b/wordpress/5002-novos-acervos-diretoria-do-patrimonio-historico-e-documentacao-da-marinha.md
@@ -0,0 +1,30 @@
+---
+id: 5002
+url: "https://brasilianafotografica.bn.gov.br/?p=5002"
+titulo: "Novos acervos: Diretoria do Patrimônio Histórico e Documentação da Marinha"
+autor: "Andrea Wanderley"
+data: "2016-06-07T10:34:24+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/3905", "20.500.12156.1/3541"]
+fetched_at: "2026-09-10T10:24:55.434Z"
+---
+
+# Novos acervos: Diretoria do Patrimônio Histórico e Documentação da Marinha
+
+A Marinha do Brasil e os primórdios da fotografia aérea
+A Diretoria do Patrimônio Histórico e Documentação da Marinha (DPHDM) tem o propósito de preservar e divulgar o patrimônio histórico e cultural da Marinha, contribuindo para a conservação de sua memória e para o desenvolvimento da consciência marítima brasileira. Além disso, cabe ainda à DPHDM a administração do Arquivo da Marinha, localizado na Praça Barão de Ladário s/n°, Ilha das Cobras, dentro do complexo do Comando do 1º Distrito Naval.
+O Arquivo da Marinha é integrante do Sistema Nacional de Arquivos (SINAR) e reconhecido como Instituição Arquivística Pública, com o acervo tombado pelo Instituto Estadual do Patrimônio Cultural (INEPAC). No acervo fotográfico, há imagens do século XIX até os dias atuais. A partir deste mês, passa a integrar o portal Brasiliana Fotográfica, compartilhando valiosas imagens.
+Centro da Cidade: Praça Mauá e arredores
+Jorge Kfuri. Centro da Cidade : Praça Mauá e arredores, década de 20. Rio de Janeiro, RJ / Acervo DPHDM
+A imagem capturada na primeira metade da década de 1920 mostra a atual avenida Rio Branco em toda a sua extensão, da Praça Mauá (em primeiro plano) até a então Praia de Santa Luzia. Ao longo da avenida aparece a arborização, entre as pistas, que resistiu desde a sua inauguração até 1948. Na parte central da imagem, à direita da Avenida Rio Branco, está o Morro da Conceição com seu casario que persiste, até hoje. No lado oposto, junto ao mar, o Armazém do Sal, edificação construída pelos monges beneditinos em meados do século XVIII e hoje preservada como a sede do Comando do Primeiro Distrito Naval.
+No canto superior esquerdo está a Igreja da Candelária, ainda cercada de sobrados, antes da abertura da Avenida Presidente Vargas, na primeira metade da década de 1940. Neste mesmo canto, na margem da imagem, vê-se o que parece uma mancha, mas é parte da aeronave da Aviação Naval da Marinha do Brasil onde o fotógrafo Jorge Kfuri registrou diversos locais da então Capital Federal.
+Kfuri, como um dos primeiros especialistas na fotografia aérea, até então a serviço do jornal A Noite, foi contratado pela Marinha do Brasil para adestrar as tripulações das aeronaves da Aviação Naval no seu ofício – quando recebeu a patente honorária de Segundo-Tenente.
+Acessando o link para as fotografias do acervo da Diretoria do Patrimônio Histórico e Documentação da Marinha disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/3905` — `itens/20.500.12156.1_3905/`
+- `20.500.12156.1/3541` — `itens/20.500.12156.1_3541/`
+
diff --git a/wordpress/5008-desafios-e-alternativas-para-a-preservacao-digital.md b/wordpress/5008-desafios-e-alternativas-para-a-preservacao-digital.md
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@@ -0,0 +1,24 @@
+---
+id: 5008
+url: "https://brasilianafotografica.bn.gov.br/?p=5008"
+titulo: "Desafios e alternativas para a preservação digital"
+autor: "Andrea Wanderley"
+data: "2016-04-17T05:25:21+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: []
+fetched_at: "2026-09-10T10:24:58.854Z"
+---
+
+# Desafios e alternativas para a preservação digital
+
+Continuando a comemoração pelo primeiro ano da Brasiliana Fotográfica, publicamos o primeiro artigo  da seção de Preservação Digital do portal, do pesquisador e professor Rubens Ribeiro Gonçalves da Silva.
+ 
+Desafios e alternativas para a preservação digital
+Rubens Ribeiro Gonçalves da Silva*
+ 
+Marc Ferrez. Viaduto da estrada de ferro Paranaguá-Curitiba, c. 1884. Paraná / Acervo IMS
+ 
+Pensar a preservação digital nas instâncias públicas implica em pensar e agir cooperativamente. Creio que não temos saída, ou permaneceremos presos apenas às vontades de realização, mas sem os produtos digitais (quero dizer aqui os produtos eficientes e eficazes) que almejamos. Esse deve ser o “novo” fundamento das ações de preservação de nossa memória visual e de nosso patrimônio documental no universo digital, quando a cada dia geramos mais e mais arquivos nato-digitais, e a cada dia geramos novas versões digitais das imagens fotográficas mantidas em nossas instituições, originalmente criadas nos mais diferentes processos técnicos já históricos, um monumento gigantesco à memória fotográfica nacional.
+Se nossa atenção está voltada aos acervos fotográficos, sejam estes de viés arquivístico, museológico ou de caráter biblioteconômico-documental, devemos concentrar esforços em dois sentidos: primeiramente, interrompendo a cultura de “cada um inventa a sua própria roda”: temos que trabalhar em equipes multi-institucionais, para alcançar aprendizados e soluções comuns a todos (não são exatamente as instituições e suas “rodas” que interessam aqui, mas o público em geral a quem se destina a documentação); depois, criando as condições para que o resultado deste trabalho das instituições seja um ambiente digital seguro, tecnicamente e tecnologicamente adequado, não somente para acesso às imagens, mas principalmente visando à preservação das versões digitais de nosso patrimônio fotográfico. Procedimentos padrão para o acesso remoto e a preservação digital de nosso patrimônio fotográfico são possíveis. Já há alternativas para que isso seja realizado. A Brasiliana Fotográfica é uma destas iniciativas formidáveis de acesso multi-institucional, que promove, estimula, aperfeiçoa e possibilita o compartilhamento e a criação de resultados concretos do trabalho cooperativo interinstitucional. Vida longa à Brasiliana Fotográfica!
+ 
+* Rubens Ribeiro Gonçalves da Silva é doutor em Ciência da Informação, pesquisador e professor titular do Instituto de Ciência da Informação, da Universidade Federal da Bahia.
diff --git a/wordpress/5045-noticia-da-viagem-do-fotografo-albert-frisch-31-05-1840-30-05-1918-a-amazonia.md b/wordpress/5045-noticia-da-viagem-do-fotografo-albert-frisch-31-05-1840-30-05-1918-a-amazonia.md
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+++ b/wordpress/5045-noticia-da-viagem-do-fotografo-albert-frisch-31-05-1840-30-05-1918-a-amazonia.md
@@ -0,0 +1,122 @@
+---
+id: 5045
+url: "https://brasilianafotografica.bn.gov.br/?p=5045"
+titulo: "Notícia da viagem do fotógrafo Albert Frisch (31/05/1840 – 30/05/1918) à Amazônia"
+autor: "Andrea Wanderley"
+data: "2016-05-31T11:01:34+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/484", "20.500.12156.1/4366", "20.500.12156.1/4518", "20.500.12156.1/2020"]
+fetched_at: "2026-09-10T10:25:02.393Z"
+---
+
+# Notícia da viagem do fotógrafo Albert Frisch (31/05/1840 – 30/05/1918) à Amazônia
+
+Christoph Albert Frisch; Casa Leuzinger. Alto Amazonas ou Solimões (du Brésil): la cuisine de la malocca : qui se trouve toujours à une petite distance de l’habitation, 1867. Alto Amazonas ou Solimões, Amazonas / Acervo FBN
+ 
+Christoph Albert Frisch (1840 – 1918) foi o fotógrafo responsável pela impressionante e pioneira série de 98 fotografias realizadas em 1867 na Amazônia: foram os primeiros registros que chegaram até nós de índios brasileiros da região, além de aspectos de fauna e flora e de barqueiros de origem boliviana que atuavam como comerciantes itinerantes nos rios amazônicos. Ele seguiu, comissionado pelo editor e fotógrafo Georges Leuzinger (1813 – 1892), considerado um dos mais importantes fotógrafos e difusores para o mundo da fotografia sobre o Brasil no século XIX, além de pioneiro das artes gráficas no país, para quem trabalhava, com os engenheiros alemães Joseph e Franz Keller (1835 – 1890), pai e filho, respectivamente. Este último casou-se, em 1867, com Sabine (1842 -1915), filha de Leuzinger ( 1813 – 1892). Partiram em 15 de novembro de 1867, a bordo do paquete Paraná. Frisch levou um escravizado, e a esposa de Franz e a filha de Joseph também estavam no navio (Diário do Povo, de 15 de novembro de 1867, primeira coluna).
+Acessando o link para as fotografias de Christoph Albert Frisch disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Albert Frisch. Canoa no rio Japurá leva produtos ao mercado de Coari, c. 1867. Rio Japurá, Amazonas / Convênio Instituto Moreira Salles – Leibniz-Institut für Länderkunde
+ 
+Albert Frisch acompanhou os engenheiros somente até Manaus … percorreu 400 léguas pelo rio Amazonas e seus afluentes durante 5 meses…, num barco acompanhado por dois remadores, desde Tabatinga até Manaus. Produziu, na ocasião, uma pioneira série de 98 fotografias com os primeiros registros que chegaram até nós de índios brasileiros da região, além de aspectos de fauna e flora e de barqueiros de origem boliviana, que atuavam como comerciantes itinerantes nos rios amazônicos.
+Seu retorno ao sul do Brasil, a bordo do vapor Cruzeiro do Sul, está registrado no Jornal Pedro II, de 24 de novembro de 1868, quarta coluna.
+As imagens produzidas por Frisch durante a viagem à Amzônia, copiadas em papel albuminado, foram comercializadas com sucesso pela Casa Leuzinger a partir do catálogo Resultat d’une expédition phographique sur le Solimões ou Alto Amazonas et Rio Negro.
+ 
+
+ 
+Foi Frisch o autor das primeiras fotografias dos tipos indígenas brasileiros em seu próprio habitat conhecidas até hoje e, em sua produção fotográfica, reforçava a ideia de uma Amazônia selvagem e exótica. Ele anexava às imagens informações tais como relações de parentesco e status social dos líderes indígenas fotografados. Na época, esses registros eram muito valorizados por estudiosos de etnografia europeus e por viajantes estrangeiros em geral.
+Segundo Pedro Karp Vasquez (1954 – ), Frisch tinha uma grande habilidade técnica, que usou para contornar problemas impossíveis de serem solucionados com o equipamento de que dispunha na época: obter exposição e focos simultaneamente perfeitos tanto do retratado no primeiro plano quanto da paisagem ribeirinha ao fundo. Segundo Karp, empregando “… um astucioso estratagema para realizar os retratos de índios na região do Alto Solimões…”,  Frisch fotografava seus modelos diante de um fundo neutro e produzia separadamente algumas vistas para compor o segundo plano. Para produzir as cópias fotográficas, combinava os dois negativos, alcançando assim o resultado desejado.
+ 
+Albert Frisch. Índio Umauá na antiga Província do Alto Amazonas, região do rio Solimões (fotomontagem), c. 1867. Província do Alto Amazonas (atual região do rio Solimões, Amazonas / Convênio Instituto Moreira Salles – Leibniz-Institut für Länderkunde
+ 
+Como mencionado anteriormente, até hoje as fotografias dos índios da região norte do Brasil produzidas por Frisch são consideradas as primeiras que se conhece, apesar de antes dele, em 1843,  o fotógrafo norte-americano Charles DeForest Fredricks (1823 – 1894) ter viajado pelos rios Orenoco e Amazonas. Nessa expedição, alguns daguerreótipos teriam sido produzidos, porém perdidos. Segundo Joaquim Marçal Ferreira de Andrade, um dos curadores da Brasiliana Fotográfica, “… houve ainda o trabalho de fotografia antropométrica, em sua maioria de mestiços da região amazônica, realizado em 1865 – 1866 por Walter Hunnewell em Manaus, a pedido de Louis Agassiz, da Expedição Thayer, hoje arquivados num museu da Universidade de Harvard. O casal Agassiz publicou sua obra A Journey in Brazil em 1868 e dela constam reproduções xilográficas de algumas fotografias de Leuzinger, duas fotos de índios feitas pelo ‘Dr. Gustavo, of Manaos’, mas nenhuma de Frisch”.
+Até o final do século XX, o alemão Albert Frisch, que nasceu em Augsburgo, em 31 de maio de 1840, e faleceu em Berlim, em 30 de maio de 1918, era um personagem misterioso na história da fotografia. Segundo o site do Instituto Moreira Salles, “…o estudo dos documentos reunidos pela família Leuzinger, doados ao IMS em 2000, e a posterior localização de Klaus Frisch, neto do fotógrafo, pelo pesquisador Frank Stephan Kohl, permitiram reconstituir a trajetória de Frisch”. Antes de vir para o Rio de Janeiro, em torno de 1864, havia estado em Buenos Aires, na Argentina, e em Asunção, no Paraguai. Voltou definitivamente para a Alemanha, após passagens pela França e pelos Estados Unidos, em 1872.
+ 
+Cronologia de Christoph Albert Frisch (1840 – 1918)
+ 
+Autorretrato de Frisch no Tarumã, afluente do rio Negro, c. 1867. Rio Tarumã, Amazonas / Acervo IMS
+1840 – Christoph Albert Frisch nasceu em Augsburgo, na Baviera, na região sul da Alemanha, em 31 de maio, filho de Johanes Nepomuk Frisch e Auguste Korber. Seu pai possuia uma tecelagem e vários imóveis e era sócio de Eberhard Rugendas, possivelmente parente do desenhista Moritz Rugendas (1802 – 1858), também nascido em Augsburgo, que esteve no Brasil e produziu uma importante obra iconográfica do país.
+Nos anos 1840, as empresas de seu pai foram à falência.
+1849 – Devido à morte de sua mãe, foi criado, assim como seus irmãos homens, em um orfanato na Francônia. As irmãs foram entregues pelo pai a uma tia materna.
+Final da década de 1850 – Foi trabalhar como confeiteiro.
+Frisch partiu para Munique, capital da Bavária, onde começou a trabalhar no comércio de arte, na loja de Friedrich Gypen.
+1861 – Com o apoio de seu empregador, trabalhou como aprendiz na litografia do impressor e editor Adolphe Goupil (1803 – 1893), em Paris.
+Partiu para Buenos Aires, capital da Argentina, onde chegou por volta de 13 de dezembro. Tentou, sem sucesso, se estabelecer como comerciante de estampas de imagens religiosas, inspirado pela grande quantidade de imagens religiosas que goupil exportava para a América do Sul.
+ 
+Adolphe Goupil por Achille Devéria, c. 1831 /Museu Carnavalet, Paris
+ 
+Trabalhou, então, na região dos Pampas, como professor particular e gerente de um criador de gado alsaciano.
+1862 – Frisch retornou a Buenos Aires onde, aos 23 anos, começou sua carreira de fotógrafo, quando o alemão W. Raabe, que ele havia conhecido em uma taverna, o recomendou para seu empregador, o norte-americano Arthur Therry, dono de um renomado estúdio fotográfico, na calle Florida, 70,onde a alta sociedade argentina era retratada. As fotografias produzidas por Frisch nesse período não são conhecidas, mas segundo ele, teria retratado as sobrinhas do ditador argentino Juan Manuel Rozas (1793 – 1877).
+ 1863 – Poucos meses depois, Frisch foi para o Paraguai abrir um estúdio fotográfico, em Assunção, a pedido do próprio presidente do país, Solano Lopez (1827- 1870), que havia estado em Buenos Aires, no ano anterior, com sua esposa, a irlandesa Elisa Lynch (1833 – 1866), e seus dois filhos. Na ocasião, havia visitado o estúdio de Terry, onde conheceu Frisch.
+c. 1864 – Provavelmente, devido à Guerra do Paraguai, Frisch foi para o Rio de Janeiro.
+1865 - Começou a trabalhar no recém-inaugurado setor de fotografia da Casa Leuzinger, no Rio de Janeiro, cujo proprietário era o editor e fotógrafo suíço Georges Leuzinger (1813 – 1892), considerado um dos mais importantes fotógrafos e difusores para o mundo da fotografia sobre o Brasil no século XIX, além de pioneiro das artes gráficas no país.
+1866 - Encontrava-se na Europa.
+1867 – Viajou ao Pará, comissionado por Leuzinger para acompanhar uma expedição liderada pelo engenheiro alemão Joseph Keller e por seu filho, o fotógrafo, desenhista e pintor Franz Keller (1835 – 1890) (Diário do Povo, 15 de novembro de 1867, na primeira coluna).  Este último era casado com Sabine Christine (1842 – 1915), filha de Georges Leuzinger ( 1813 – 1892). Transitaram pela região dos rios Madeira e Mamoré, onde o governo imperial pretendia construir uma estrada de ferro.
+ 
+Diário do Povo, 15 de novembro de 1867
+ 
+Albert Frisch acompanhou os engenheiros somente até Manaus … percorreu 400 léguas pelo rio Amazonas e seus afluentes durante 5 meses…, num barco acompanhado por dois remadores, desde Tabatinga até Manaus. Produziu, na ocasião, uma pioneira série de 98 fotografias com os primeiros registros que chegaram até nós de índios brasileiros da região, além de aspectos de fauna e flora e de barqueiros de origem boliviana, que atuavam como comerciantes itinerantes nos rios amazônicos. Segundo o livro de Ernesto Senna, O velho commercio do Rio de Janeiro, a expedição fotográfica de Frisch à Amazônia foi fruto de uma solicitação feita pelo suíço Louis Agassiz (1807 – 1873) a Leuzinger.
+“Satisfazendo ao pedido de Agassiz, fez Leuzinger tirar vistas até Tabatinga, na fronteira do Amazonas com a República do Peru, vistas que serviram não só para os trabalhos científicos daqule sábio, como também para ilustrações europeias. Quando o engenheiro Keller foi em comissão explorar os rios Madeira e Mamoré, Georges Leuzinger mandou um fotógrafo da casa acompanhar a expedição, que trouxe depois daquelas incomparáveis regiões graande cópia de clichês, da flora, da fauna, de paisagens, e fotograafias de silvícolas e de suas tabas, aldeamentos, instruentos, armas, etc. Estas coleções, de graande valor para estudos etnográficos, eram muito interessantes sob qualquer ponto de vista e muito procuradas por viajantes estrangeiros”.
+Agassiz havia, entre 1865 e 1866, comandado a Comissão Thayer no Brasil, que percorreu boa parte do território brasileiro entre o Rio de Janeiro e a Amazônia, viagem que deu origem ao livro A journey in Brazil, editado em Boston, em 1868. A comissão foi financiada pelo empresário e filantropo norte-americano Nathaniel Thayer, Jr. (1808-1883), ex-aluno de Agassiz no Museu de Zoologia Comparada, em Harvard.
+Vale lembrar que Charles Frederick Hartt (1840 – 1878), o futuro chefe da Comissão Geológica do Império (1875 – 1878), integrada pelo fotógrafo Marc Ferrez (1843-1923), participou da Comissão ou Expedição Thayer – foi a primeira vez que esteve no Brasil.
+1868 – Frisch retornou ao sul do Brasil, a bordo do vapor Cruzeiro do Sul (Jornal Pedro II, de 24 de novembro de 1868, na quarta coluna).
+1869 – As imagens produzidas por Frisch durante a expedição pela Amazônia começaram a ser comercializadas a partir de um catálogo publicado pela Casa Leuzinger, Resultat d’une expédition phographique sur le Solimões ou Alto Amazonas et Rio Negro.
+ 
+Acervo FBN
+ 
+c. 1870 – Foi para Montevidéu e depois para Paris, onde trabalhou na litografia de Lemercier & Cie. Foi expulso do país, devido à guerra entra França e Alemanha (1870-1871), e perdeu tudo.
+Retornou à Alemanha e passou a trabalhar com o fotógrafo alemão Joseph Albert (1825 – 1886), que aperfeiçoou a técnica da colotipia, e com quem aprendeu as mais novas tecnologias de impressão fotomecânica da época. Verveer Den Haag, fotógrafo da corte da Holanda, e o mestre da litogravura, o francês Lemercier (1803 – 1887), também eram aprendizes de Joseph Albert.
+ 
+O fotógrafo Joseph Albert / Historic Camera
+ 
+1871 - Chegou, em 14 de março, a Nova York, onde instalou o processo de colotipia na empresa Bierstadt & Co. Trabalhando foi envenenado por cromo, tendo que ficar um tempo afastado da colotipia para cuidar da saúde.
+1872 – Voltou para a Alemanha, e foi funcionário numa fábrica de água mineral em Bad Homburg vor der Hohe.
+1873 – Em Bad Homburg vor der Hohe, abriu a empresa Frisch & Co, que trabalhava com albertotipia, colotipia e fotografia.
+1874 – Durante esse ano, Frisch trabalhou por um curto período com o fotógrafo Johannes Nöhring (1834 – 1913), de Lübeck, na empresa Nöhring & Frisch.
+1875 – Frisch mudou-se para Berlim e abriu o Kunstanstalt Albert Frisch, especializado na produção de reproduções fotomecânicas de alta qualidade. Depois de sua morte, seu filho, também Albert, continuou o negócio.
+1918 – Faleceu em Berlim, em 30 de maio.
+1925 – Lançamento de um livro em comemoração dos 50 anos da Casa Frisch, em Berlim, com textos escritos pelo filho do fotógrafo, Albert Frisch Junior.
+1930 - Edição de um álbum raríssimo com 109 reproduções de fotografias, sendo 106 imagens de Albert Frisch Senior.
+“As 106 fotografias reunidas neste álbum são reproduções dos originais, feitos por Albert Frisch sênio (nascido em 13 de maiode 1840 em Augsburg) no Brasil nos anos 60. Elas restaram de um número muito maior de fotografias que foram tiradas por Albert Frisch sênior depois que ingressou na empresa Keller & Leuzinger, Rio de Janeiro. Elas foram feias durante muitos anos em diversas excursões na região do rio Amazonas e em outras regiões do Brasil.”
+1942 - Impressão de uma história da família Frisch escrita por Eberhard, filho de Frisch. Nele há um esboço de uma autobiografia redigida pelo próprio Frisch, que revela que ele havia escrito uma autobiografia completa, destuída por ele mesmo no início da Primeira Guerra Mundial (1914 – 1918).
+Durante a Segunda Guerra Mundial (1939 – 1945), o acervo da Casa Frisch, em Berlim, foi totalmente destruído.
+2019 – Em outubro de 2019, o Instituto Moreira Salles, que já abrigava em seu acervo aproximadamente 40 imagens de Frisch, algumas delas pertencentes à série da Amazônia, arrematou, num leilão da Sotheby’s, em Nova York, um conjunto completo das 98 imagens, tal como editadas e comercializadas por Geroges Leuzinger*.
+ 
+*Esse parágrafo foi acrescentado em dezembro de 2019.
+ 
+Andrea C. T. Wanderley
+Editora-assistente e pesquisadora do portal Brasiliana Fotográfica
+ 
+Link para o artigo Os Miranhas e as fotografias de Albert Frish, de Maria Luísa Lucas, publicado no site do Instituto Moreira Salles, em 17 de dezembro de 2019
+ 
+Fontes:
+ANDRADE, Joaquim Marçal Ferreira de. As primeiras fotografias da Amazônia. BN Digital, 2013.
+FERREZ, Gilberto; NAEF, Weston J.. Pioneer Photographers of Brazil, 1840-1920. New York: Center for Inter-American Relations, 1976.
+FRANCESCHI, Antonio Fernando de. Um jovem mestre da fotografia na Casa Leuzinger. Christoph Albert Frisch e sua expedição pela Amazônia in Cadernos de Fotografia: Georges Leuzinger: um pioneiro do século XIX(1813-1892). São Paulo: Instituto Moreira Salles, 2006.
+GÂMBERA, José Leonardo Homem de Mello. Fotografia na Amazônia Brasileira: considerações sobre o pioneirismo de Christoph Albert Frisch (1840-1918). Revista de Programa da Pós-Graduação em Arquitetur ae Urbanismo da FAUUSP,dez de 2013
+Hemeroteca Digital da Biblioteca Nacional 
+KOHL, Frank Stephan. Albert Frisch and the first images of the Amazon to go around the world  in Explorers and Entrepreneurs behind the Camera The Stories behind the pictures and photographs from the image archive of the Ibero-American Institute. Berlim: Ibero-American Instituto, 2015.
+KOHL, Frank Stephan. Um jovem mestre da fotografia na Casa Leuzinger: Christoph Albert Frisch e sua expedição pela Amazônia. In: Cadernos de fotografia brasileira, 3. São Paulo: Instituto Moreira Salles, 2006.
+KOSSOY, Boris. Dicionário histórico-fotográfico brasileiro: fotógrafos e ofício da fotografia no Brasil (1833-1910). São Paulo: Instituto Moreira Salles, 2002
+MARCOLIN, Neldson. Retratos na Selva, Revista Pesquisa Fapesp, setembro de 2014.
+MOURA, Carlos Eugênio Marcondes de. Estou aqui. Sempre estive. Sempre estarei. Indígenas do Brasil. Suas imagens (1505/1955). São Paulo: Editora da Universidade de São Paulo, 2012.
+SENNA, Ernesto. O Velho Comércio do Rio de Janeiro. 2ª edição. Rio de Janeiro: G Ermakoff, 2006.
+Site da Enciclopédia Itaú Cultural
+Site do Instituto Moreira Salles
+Site O Índio na Fotografia Brasileira
+TACCA, Fernando de. O índio na fotografia brasileira: incursões sobre a imagem e o meio. História, ciências, saúde – Manguinhos – Vol. 18, nº 1, p.191-223. Rio de Janeiro., 2011
+TURAZZI, Maria Inez. Poses e Trejeitos: a fotografia na era do espetáculo (1839 – 1889). Rio de Janeiro: Funarte/Rocco, 1995.
+VASQUEZ, Pedro Karp. A. Frisch, ladrão de almas na Amazônia Imperial. Piracema – arte e cultura. Rio de Janeiro, nº1, ano 1, p.90-95, 1993
+VASQUEZ, Pedro Karp. Dom Pedro II e a fotografia no Brasil. Rio de Janeiro: Fundação Roberto Marinho, 1985.
+VASQUEZ, Pedro Karp. Fotógrafos alemães no Brasil do século XIX / Deutsche Fotografen des 19. Jahrhunderts in Brasilien. São Paulo: Metalivros, 2000
+VASQUEZ, Pedro Karp. O Brasil na fotografia oitocentista. São Paulo: Metalivros, 2003
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/484` — `itens/20.500.12156.1_484/`
+- `20.500.12156.1/4366` — `itens/20.500.12156.1_4366/`
+- `20.500.12156.1/4518` — `itens/20.500.12156.1_4518/`
+- `20.500.12156.1/2020` — `itens/20.500.12156.1_2020/`
+
diff --git a/wordpress/5089-dia-das-maes.md b/wordpress/5089-dia-das-maes.md
new file mode 100644
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--- /dev/null
+++ b/wordpress/5089-dia-das-maes.md
@@ -0,0 +1,30 @@
+---
+id: 5089
+url: "https://brasilianafotografica.bn.gov.br/?p=5089"
+titulo: "Dia das Mães"
+autor: "Andrea Wanderley"
+data: "2016-05-08T00:40:33+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/506"]
+fetched_at: "2026-09-10T10:25:05.283Z"
+---
+
+# Dia das Mães
+
+Henschel & Benque. Isabel, Princesa do Brasil: retrato, c. 1875. Rio de Janeiro, RJ / Acervo FBN
+ 
+Com uma fotografia da Princesa Isabel (1846 – 1921) com seu filho Pedro de Alcântara, ainda bebê, a Brasiliana Fotográfica faz uma homenagem ao Dia das Mães. Também conhecida como “A Redentora”, por ter assinado a Lei Áurea, em 13 de maio de 1888, que acabou com a escravidão no Brasil, Isabel teve três filhos com com Gastão d´Orleans (1842-1922), o conde D´Eu, com quem se casou em 15 de outubro de 1864: Pedro (1875 – 1940), Luis Maria (1878 – 1920) e Antonio Gastão (1881 – 1918).
+Na fotografia destacada, ela está segurando seu primeiro filho, Pedro, único que não faleceu antes dela. O registro é da Photographia Alemã, que pertencia aos alemães Alberto Henschel (1827 – 1892) e Francisco Benque (1841 – 1921).
+O Dia das Mães é comemorado no Brasil no segundo domingo de maio, de acordo com um decreto assinado pelo presidente Getulio Vargas, em 1932, mas a origem da comemoração remonta à Grécia Antiga, quando a deusa Reia, mãe comum de todos os seres, era homenageada. A celebração tomou um caráter cristão nos primórdios do cristianismo e realizava-se em torno da Virgem Maria, a mãe de Jesus.
+ 
+Acessando o link para as fotografias que remetem ao tema da maternidade disponíveis na Brasiliana Fotográfica, o leitor poderá visualizar e magnificar as imagens.
+ 
+Andrea C. T. Wanderley
+Editora-assistente e pesquisadora da Brasiliana Fotográfica
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/506` — `itens/20.500.12156.1_506/`
+
diff --git a/wordpress/5104-real-gabinete-portugues-de-leitura.md b/wordpress/5104-real-gabinete-portugues-de-leitura.md
new file mode 100644
index 0000000..8917839
--- /dev/null
+++ b/wordpress/5104-real-gabinete-portugues-de-leitura.md
@@ -0,0 +1,57 @@
+---
+id: 5104
+url: "https://brasilianafotografica.bn.gov.br/?p=5104"
+titulo: "Real Gabinete Português de Leitura"
+autor: "Andrea Wanderley"
+data: "2016-05-14T09:32:08+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/2139"]
+fetched_at: "2026-09-10T10:25:08.448Z"
+---
+
+# Real Gabinete Português de Leitura
+
+Marc Ferrez. Real Gabinete Português de Leitura, c. 1887. Rio de Janeiro, RJ / Acervo IMS
+Hoje o Real Gabinete Português de Leitura completa 179 anos. O portal Brasiliana Fotográfica homenageia a instituição com a publicação de uma fotografia produzida por Marc Ferrez (1843 – 1923), o brilhante cronista visual das paisagens e dos costumes cariocas da segunda metade do século XIX e do início do século XX.
+Fundado em 14 de maio de 1837, o Real Gabinete Português de Leitura é a mais antiga associação criada pelos portugueses do Brasil após a independência do país, em 1822. Teve sua origem numa reunião realizada por 43 emigrantes portugueses no Rio de Janeiro, dentre eles o advogado e jornalista José Marcelino Rocha Cabral (1806 – 1849), que iria ser eleito primeiro presidente da instituição. O encontro aconteceu na casa do Dr. Antonio José Coelho Lousada (? – 18?), na antiga Rua Direita, nº 20 – hoje Rua Primeiro de Março. A seção foi presidida pelo conselheiro João Baptista Moreira (? – 18?), na época cônsul geral de Portugal e, na ocasião, o grupo decidiu criar uma biblioteca para uso de seus sócios e dos portugueses residentes no Rio de Janeiro. No dia 28 de maio, duas semanas depois, reuniram-se para discutir os estatutos da recém fundada instituição cultural. Seu secretário interino e redator dos primeiros estatutos foi Francisco Eduardo Alves Vianna (? – 18?) (Diário do Rio de Janeiro, de 26 de maio de 1837, na primeira coluna).
+A primeira sede do Real Gabinete localizava-se em um sobrado, na Rua de São Pedro, número 83, e a primeira reunião com os acionistas ocorreu, em 10 de setembro de 1837.
+ 
+“[…] não posso resistir ao entusiasmo que me inspira a presença da primeira reunião de portugueses, que tem havido no Império em um estabelecimento próprio, por eles criado, no intuito da sua ilustração, da ilustração geral e de concorrer para restaurar a glória literária da sua pátria”.
+Trecho do discurso de José Marcelino da Rocha Cabral, em 10 de setembro e 1837,
+na primeira sede do Real Gabinete Português de Leitura
+ 
+Em 1842, transferiu-se para a Rua da Quitanda, nº 55, e oito anos depois, para a Rua dos Beneditinos, nº 12. A sede atual, construída em estilo neomanuelino e fotografada por Ferrez, foi projetada pelo arquiteto português Rafael da Silva Castro (? -?), inspirado no Mosteiro dos Jerônimos, em Lisboa. Em sua fachada, construída por Germano Salles (? -18?), em pedra de lioz, em Lisboa, e trazida de navio para o Rio, ficam as estátuas de quatro ilustres portugueses, esculpidas por Simões de Almeida (1844 – 1926): Pedro Álvares Cabral (1467 – 1520), Luis de Camões (1524 – 1580), Infante Dom Henrique (1394 – 1460) e Vasco da Gama (c. 1468 – 1524).
+Teve sua pedra fundamental lançada pelo imperador Dom Pedro II (1825 – 1891) em 10 de junho de 1880, data do tricentenário de morte do grande escritor português Luis de Camões. Por iniciativa do Real Gabinete, foi cunhada em Paris pelo gravador francês Victor Janvier (1851–1911) com desenho feito por Angelo Agostini (1843 – 1910) uma medalha para marcar o assentamento da pedra fundamental do novo edifício da associação e para celebrar o tricentenário de Camões.
+Foi também promovido pelo Gabinete um sarau artístico, no Imperial Theatro D. Pedro II, com a presença do casal imperial, de diversas autoridades, de cerca de três mil pessoas. O orador oficial do evento foi Joaquim Nabuco (1849 – 1910), que era brasileiro, fato que gerou a indignação do médico português Figueiredo Magalhães (1838–1895)(Revista Illustrada, 27 de março de 1880, segunda coluna). Foram lidas poesias e foi encenada a peça Tu só, puro amor, escrita por Machado de Assis (1839 – 1908), especialmente para a ocasião. Nos papéis principais de Catarina de Atayde e Camões, atuaram Lucinda Simões (1850 – 1928) e Furtado Coelho (1831 – 1900). O maestros Arthur Napoleão (1843 – 1925) e Leopoldo Miguez (1850 – 1902) dirigiram o espetáculo. Foi também realizada a Exposição Camoniana, na Biblioteca Nacional, primeira mostra oficial da história da instituição, então sob a direção de Ramiz Galvão (1846 – 1938); e diversas outras celebrações em torno da data (Gazeta de Notícias, 10 de junho de 1880, primeira coluna, 11 de junho de 1880, na quinta coluna sob o título “Terceiro Centenário de Camões”; Revista Illustrada, 22 de maio de 1880, primeira coluna; 19 de junho de 1880).
+ 
+Revista Illustrada, 19 de junho de 1880
+ 
+O prédio foi inaugurado em 10 de setembro de 1887 pela Princesa Isabel (1846 – 1921) e por seu marido, o Conde d´Eu (1842 – 1922) (Gazeta de Notícias, de 11 de setembro de 1887, na última coluna). Os monarcas foram recebidos ao som do Hino Nacional, executado por uma orquestra regida por Arthur Napoleão. Depois, foi executada a sinfonia “O Guarani“, e Ramalho Ortigão (1836 – 1915), presidente da diretoria do Real Gabinete, fez um discurso.
+ 
+Gazeta de Notícias, 21 de maio de 1900
+ 
+Estão sob a guarda do Real Gabinete Português de Leitura cerca de 350.000 volumes, incluindo milhares de obras raras, dentre elas um exemplar da edição princeps de Os Lusíadas, de Luis de Camões, de 1572, e de Amor de Perdição, obra do escritor português Camilo Castelo Branco (1825 – 1890). O acervo pode ser consultado por qualquer pessoa pois o Real Gabinete tornou-se biblioteca pública, em 1900. Funciona também como centro de estudos e polo de pesquisas literárias. A biblioteca do Real Gabinete possui a maior coleção de obras portuguesas fora de Portugal. Na biblioteca foram realizadas as cinco primeiras sessões solenes da Academia Brasileira de Letras, sob a presidência de Machado de Assis (1839 – 1908).
+Na edição de 28 de julho de 2014 da Revista Time o Real Gabinete Português de Leitura foi destacado como uma das 20 bibliotecas mais bonitas do mundo. Localiza-se na rua Luís de Camões, 30, no Centro do Rio de Janeiro.
+Em 2023, foi declarado Patrimônio Cultural Imaterial do Estado do Rio de Janeiro*.
+Em 15 de janeiro de 2026, no Consulado Geral de Portugal no Rio de Janeiro, realização da cerimônia de imposição da Ordem de Camões, no grau de Membro Honorário, em reconhecimento do Estado português aos relevantes serviços prestados pelo Real Gabinete na salvaguarda e projeção da Língua Portuguesa no mundo**.
+ 
+
+ 
+*Esta informação foi acrescentada em setembro de 2023.
+**Esta informação foi acrescentada em janeiro de 2026.
+ 
+Andrea C. T. Wanderley
+Editora-assistente e pesquisadora da Brasiliana Fotográfica
+ 
+Fontes:
+ANACLETO, Regina. Real Gabinete Português de Leitura do Rio de Janeiro: ponte de artistas entre dois mundos.
+AZEVEDO, Fabiano Cataldo de. Contributo para o perfil do público leitor do Real Gabinete Português de Leitura (1837-1847). Cultura Revista de História e Teoria das Ideias Vol. 28, 2011.
+Hemeroteca Digital da Biblioteca Nacional
+Revista Time
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/2139` — `itens/20.500.12156.1_2139/`
+
diff --git a/wordpress/520-dia-da-abolicao-da-escravatura.md b/wordpress/520-dia-da-abolicao-da-escravatura.md
new file mode 100644
index 0000000..918cc83
--- /dev/null
+++ b/wordpress/520-dia-da-abolicao-da-escravatura.md
@@ -0,0 +1,57 @@
+---
+id: 520
+url: "https://brasilianafotografica.bn.gov.br/?p=520"
+titulo: "Dia da Abolição da Escravatura"
+autor: "Andrea Wanderley"
+data: "2015-05-13T07:01:14+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/2137", "20.500.12156.1/2311", "20.500.12156.1/6239", "20.500.12156.1/2929", "20.500.12156.1/6963"]
+fetched_at: "2026-09-10T10:25:11.724Z"
+---
+
+# Dia da Abolição da Escravatura
+
+Marc Ferrez. Escravos na colheita de café, c. 1882. Vale do Paraíba, RJ / Acervo IMS
+  Dia da Abolição da Escravatura*
+ 
+“A escravidão foi o processo mais violento, mais cruel, mas mais eficiente de obter, conservar, preservar e explorar o trabalho alheio. Ele não via em quem ele escravizava um semelhante, mas via um adversário e um ser inferior a ele.”
+Alberto da Costa e Silva, diplomata, escritor e africanólogo
+A escravidão no Brasil foi amplamente documentada pelos fotógrafos do século XIX. Contribuíram para isto o fato de ter a fotografia chegado cedo ao país, em 1840, sendo o imperador Pedro II um grande entusiasta do invento, além de ter sido o último país das Américas a abolir a escravatura, em 1888. Por cerca de 350 anos, o Brasil – destino de cerca de 4,5 milhões de escravizados africanos – foi o maior território escravagista do Ocidente, mantendo este sistema tanto no campo como na cidade. O lugar de trabalho era o lugar do escravizado.
+ 
+Georges Leuzinger. Fazenda do Quititi, c. 1865. Jacarepaguá, Rio de Janeiro, RJ / Acervo IMS
+ 
+Muitas vezes o objetivo das fotografias não era a denúncia e sim o estético ou, ainda, o registro do exótico. A Galeria do Dia da Abolição da Escravatura exibe fotos de escravizados em situações de trabalho, em momentos de descanso ou mesmo em poses obtidas em estúdios. São imagens apaziguadoras da escravidão e das várias funções dos escravizados. Dentre seus autores estão Alberto Henschel, Augusto Riedel, Augusto Stahl, Georges Leuzinger, João Goston, Marc Ferrez, Revert Henrique Klumb, além de alguns anônimos.
+ 
+Acessando o link para as fotografias de escravizados disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+As fotos revelam uma representação naturalizada da escravidão, deixando a impressão de que seria normal a posse de homens por outros homens, o que fica evidenciado pela venda dessas imagens para o exterior como um produto exótico de um país tropical distante. Porém, percebe-se em não poucas dessas fotografias, segundo a antropóloga Lilia Schwarcz, que mais do que propriedades ou figurantes com papéis prévia e exteriormente demarcados, os escravizados negociam efetivamente nos registros fotográficos, nos pequenos sinais que deixaram no tempo e na imagem, seu lugar e condição.
+ 
+Augusto Stahl. Escravo com escarificações no rosto. c, 1864. Rio de Janeiro, RJ / Acervo IMS
+ 
+A Abolição da Escravatura foi o acontecimento histórico mais importante do Brasil após a Proclamação da Independência, em 1822. No dia 13 de maio de 1888, após seis dias de votações e debates no Congresso, a princesa Isabel assinou a Lei Áurea, que decretava a libertação dos escravizados no país (O Paiz, 14 de maio de 1888 e A Gazeta de Notícias, 14 de maio de 1888).
+ 
+J. Courtois. Isabel, Princesa do Brasil, 18? / Acervo FBN
+ 
+Sobre este dia, Machado de Assis escreveu na coluna “A Semana”, no jornal carioca Gazeta de Notícias de 14 de maio de 1893: Verdadeiramente, foi o único dia de delírio público que me lembra ter visto.
+Até hoje se manifestam na sociedade brasileira as consequências sociais e culturais da longevidade e do alcance da escravatura no país.
+ 
+Antonio Luiz Ferreira. Assinatura da Lei Áurea no Paço Imperial, 13 de maio de 1888. Rio de Janeiro, RJ / Acervo IMS
+ 
+Link para a série Entre cantos e chibatas – conversa com Lilia Schwarcz, produzida pelo Instituto Moreira Salles em 2011.
+
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+*Esse artigo foi atualizado em maio de 2020
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/2137` — `itens/20.500.12156.1_2137/`
+- `20.500.12156.1/2311` — `itens/20.500.12156.1_2311/`
+- `20.500.12156.1/6239` — `itens/20.500.12156.1_6239/`
+- `20.500.12156.1/2929` — `itens/20.500.12156.1_2929/`
+- `20.500.12156.1/6963` — `itens/20.500.12156.1_6963/`
+
diff --git a/wordpress/5219-brasiliana-fotografica-dois-anos.md b/wordpress/5219-brasiliana-fotografica-dois-anos.md
new file mode 100644
index 0000000..e2cf2d7
--- /dev/null
+++ b/wordpress/5219-brasiliana-fotografica-dois-anos.md
@@ -0,0 +1,36 @@
+---
+id: 5219
+url: "https://brasilianafotografica.bn.gov.br/?p=5219"
+titulo: "Brasiliana Fotográfica: dois anos"
+autor: "Andrea Wanderley"
+data: "2017-04-17T11:04:05+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/2578", "20.500.12156.1/1795", "20.500.12156.1/570", "20.500.12156.1/1794", "20.500.12156.1/2504", "20.500.12156.1/2549"]
+fetched_at: "2026-09-10T10:25:14.803Z"
+---
+
+# Brasiliana Fotográfica: dois anos
+
+Marc Ferrez. Panorama parcial do Rio de Janeiro, c. 1885. Rio de Janeiro, RJ 
+ 
+O portal Brasiliana Fotográfica, uma iniciativa da Fundação Biblioteca Nacional e do Instituto Moreira Salles, completa hoje dois anos com mais de 10 milhões de visualizações e mais de 6 milhões de pesquisas realizadas. Nesse período, foram publicados 90 artigos, que fornecem um panorama da fotografia no Brasil desde as suas origens no século XIX até as primeiras décadas do século XX.
+Ainda em seu primeiro ano, no blog do portal, tivemos uma publicação de relevância histórica: a presença de Machado de Assis (1839 – 1908) na fotografia da Missa Campal pela comemoração da abolição da escravatura (de autoria de Antonio Luiz Ferreira), realizada em 17 de maio de 1888, no Campo de São Cristóvão, com a presença da princesa Isabel. A descoberta foi saudada em outra publicação do blog pelo historiador José Murilo de Carvalho.
+Os curadores Sergio Burgi, do Instituto Moreira Salles, e Joaquim Marçal, da Fundação Biblioteca Nacional, contribuíram ao longo desses dois anos com artigos sobre acontecimentos históricos como a Guerra de Canudos e a história da fotografia médica no Brasil, e também trabalharam no sentido de viabilizar, juntamente com a equipe da BN Digital, a participação de instituições nacionais e internacionais no portal, quais sejam: o Arquivo Geral da Cidade do Rio de Janeiro, a Diretoria do Patrimônio Histórico e Documentação da Marinha e o Leibniz-Institut fuer Laenderkunde, de Leipzig, Alemanha.
+As próximas instituições que vão aderir a essa plataforma colaborativa são o Arquivo Nacional (ainda esta semana), o Museu da República e a Casa de Oswaldo Cruz – Fiocruz. Mais à frente, esperamos trazer o Museu Histórico Nacional e a Fundação Casa de Rui Barbosa – entre outras instituições que já manifestaram interesse.
+Acessando o link para uma seleção de fotografias publicadas ao longo desses dois anos na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+Vários fotógrafos, alguns já muito conhecidos pelo público e outros menos explorados, foram temas de nossas publicações, dentre eles Augusto Malta  (1864 – 1957), Georges Leuzinger (1813 – 1892), Jean Victor Frond (1821 – 1881), José Augusto Fidanza (c. 1847 – 1903), José Baptista Barreira Vianna (1860-1925), Marc Ferrez (1843 – 1923), Militão Augusto de Azevedo (1837 – 1905) e Valério Vieira (1862 – 1941). Seus perfis são sempre acompanhados por galerias de suas fotografias disponíveis no acervo da Brasiliana Fotográfica e por cronologias biográficas. Essas cronologias são elaboradas a partir de uma extensa pesquisa na bibliografia disponível e também na Hemeroteca Digital da Biblioteca Nacional – com os links para as notícias da época em que os fatos ocorreram. A Brasiliana Fotográfica também abordou assuntos como os teatros, as praias, as igrejas, as salas de cinema e os carnavais de antigamente.
+Um dos objetivos do portal é divulgar mais questões ligadas à preservação digital, um assunto que toca não apenas às instituições de memória, mas a todos aqueles que produzem imagens digitais em seu dia a dia sem, no entanto, cuidar de sua preservação. Uma iniciativa já tomada nesse sentido foi a publicação do artigo Desafios e alternativas para a preservação digital, de autoria do professor Rubens Ribeiro Gonçalves da Silva, doutor em Ciência da Informação, pesquisador e professor titular do Instituto de Ciência da Informação, da Universidade Federal da Bahia. Embora esta seção ainda não tenha sido devidamente implementada, esperamos que isto ocorra ainda este ano.
+Os itens mais acessados pelos leitores nesses dois anos foram as fotografias Missa campal celebrada em ação de graças pela Abolição da escravatura no Brasil, de Antonio Luiz Ferreira; Índios Botocudos, de Walter Garbe; A Família Imperial reunida, de Alberto Henschel; Índios da Tribo Carajás, de autoria desconhecida; e Avenida Central, atual avenida Rio Branco, de Marc Ferrez.
+A Brasiliana Fotográfica convida todos para acessar o portal, que ora conta com cerca de 3 mil e 700 fotografias, e publica semanalmente novos artigos em seu blog, além de ser periodicamente atualizado com novos registros. O endereço é https://brasilianafotografica.bn.gov.br
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/2578` — `itens/20.500.12156.1_2578/`
+- `20.500.12156.1/1795` — `itens/20.500.12156.1_1795/`
+- `20.500.12156.1/570` — `itens/20.500.12156.1_570/`
+- `20.500.12156.1/1794` — `itens/20.500.12156.1_1794/`
+- `20.500.12156.1/2504` — `itens/20.500.12156.1_2504/`
+- `20.500.12156.1/2549` — `itens/20.500.12156.1_2549/`
+
diff --git a/wordpress/5252-dia-do-ferroviario.md b/wordpress/5252-dia-do-ferroviario.md
new file mode 100644
index 0000000..234a4b6
--- /dev/null
+++ b/wordpress/5252-dia-do-ferroviario.md
@@ -0,0 +1,41 @@
+---
+id: 5252
+url: "https://brasilianafotografica.bn.gov.br/?p=5252"
+titulo: "Dia do Ferroviário"
+autor: "Andrea Wanderley"
+data: "2016-04-30T01:44:21+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/2250", "20.500.12156.1/8719", "20.500.12156.1/713", "20.500.12156.1/957"]
+fetched_at: "2026-09-10T10:25:17.778Z"
+---
+
+# Dia do Ferroviário
+
+Augusto Stahl. Locomotiva nº 1 da Recife and São Francisco Railway Company, 1858. Recife, Pernambuco / Acervo IMS
+ 
+A Brasiliana Fotográfica homenageia o Dia do Ferroviário com uma seleção de fotografias de ferrovias, trens e estações do século XIX e do início do século XX. As ferrovias foram registradas por diversos fotógrafos, por Arthur Wischral, Augusto Stahl, Benjamin R. Mulock, D. B. Merrill, Guilherme Gaensly (1843 – 1928), Henschel & Benque, Ignácio F. Mendo, J.S. Trindade, Marc Ferrez, Revert Henrique Klumb e também por fotógrafos ainda não identificados.
+ 
+Arthur Wischral. Viaduto do Taquaral – Marumby, 1928. Estrada de ferro Curitiba-Paranaguá, Paraná. Acervo do IMS
+ 
+ 
+O Dia do Ferroviário é comemorado em 30 de abril pois nesta data, no ano de 1854, foi inaugurada a Imperial Companhia de Navegação a Vapor e Estrada de Ferro de Petrópolis, a primeira linha ferroviária do Brasil, construída por Irineu Evangelista de Sousa (Jornal do Commercio, de 2 de maio de 1854, na quinta coluna). Foi concedido ao empresário o título de Barão de Mauá pelo sucesso desse empreendimento. Essa primeira ferrovia brasileira tinha como objetivo ligar a Baía de Guanabara com a Serra de Petrópolis e a primeira viagem em linha de ferro no Brasil teve a presença do imperador Dom Pedro II e da imperatriz Tereza Cristina. O primeiro trecho tinha uma extensão de 14 quilômetros e meio e ligava o porto de Mauá à estação de Fragoso. O passeio inaugural foi realizado na locomotiva Baronesa, nome dado em homenagem à esposa do Barão de Mauá, Dona Maria Joaquina.  No dia seguinte, abriu-se o tráfego ao público (Jornal do Commercio, de 30 de abril de 1854, na quarta coluna sob o título “Estrada de Ferro de Petrópolis”). O transporte de cargas iniciou-se somente seis meses mais tarde (Jornal do Commercio, de 13 de novembro de 1854, na quarta coluna). Em 1856, foi inaugurado o trecho até a Raiz da Serra, ficando assim a ferrovia com 16,1 quilômetros de extensão.
+ 
+Revert Henrique Klumb; Paulo Robin. Fragozo : Débarcadère du chemin de Fer Mauá, 1860. Fragozo, Magé, RJ / Acervo FBN
+ 
+Acessando o link para as fotografias de ferrovias disponíveis na Brasiliana Fotográfica, o leitor poderá visualizar e magnificar as imagens.
+ 
+Guilherme Gaensly. S. P. R. Estação da Luz, 1902 (?). São Paulo, SP / Acervo FBN
+ 
+Contribuiu para esta pesquisa a pesquisadora da arte Jovita Santos (IMS).
+Andrea C. T. Wanderley
+Editora-assistente e pesquisadora do portal Brasiliana Fotográfica
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/2250` — `itens/20.500.12156.1_2250/`
+- `20.500.12156.1/8719` — `itens/20.500.12156.1_8719/`
+- `20.500.12156.1/713` — `itens/20.500.12156.1_713/`
+- `20.500.12156.1/957` — `itens/20.500.12156.1_957/`
+
diff --git a/wordpress/528-missa-campal-de-17-de-maio-de-1888.md b/wordpress/528-missa-campal-de-17-de-maio-de-1888.md
new file mode 100644
index 0000000..fc7e230
--- /dev/null
+++ b/wordpress/528-missa-campal-de-17-de-maio-de-1888.md
@@ -0,0 +1,103 @@
+---
+id: 528
+url: "https://brasilianafotografica.bn.gov.br/?p=528"
+titulo: "Missa Campal de 17 de maio de 1888"
+autor: "Andrea Wanderley"
+data: "2015-05-17T09:39:28+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/1795", "20.500.12156.1/6709"]
+fetched_at: "2026-09-10T10:25:21.245Z"
+---
+
+# Missa Campal de 17 de maio de 1888
+
+Antônio Luiz Ferreira. Missa campal celebrada em ação de graças pela Abolição da Escravatura no Brasil, 1888. São Cristóvão, Rio de Janeiro / Acervo IMS
+ 
+A pesquisadora e editora-assistente da Brasiliana Fotográfica, Andrea Wanderley*, identificou a presença de Machado de Assis na fotografia da Missa Campal de Ação de Graças pela Abolição da Escravatura realizada no dia 17 de maio de 1888, no Campo de São Cristóvão, no Rio de Janeiro. O autor da foto foi Antonio Luiz Ferreira.
+A identificação de Machado de Assis foi confirmada por Eduardo Assis Duarte, doutor em Teoria da Literatura e Literatura Comparada (USP) e professor da Faculdade de Letras da UFMG , que considerou a fotografia um documento histórico da maior importância. Segundo ele, Machado de Assis teve uma “atitude mais ou menos esquiva na hora da foto, em que praticamente só o rosto aparece, dando a impressão de que procurou se esconder, mas sem conseguir realizar sua intenção totalmente. Atitude esta plenamente coerente com o jeito encolhido e de caramujo que sempre adotou em público, uma vez que dependia do emprego público para viver e eram muitas as perseguições políticas aos que defendiam abertamente o fim da escravidão.”
+Eduardo Assis Duarte, que organizou “Machado de Assis afrodescendente” (2007) e a coleção “Literatura e afrodescendência no Brasil: antologia crítica” (2011, 4 vol.), e é coordenador do Literafro – Portal da Literatura Afro-brasileira, justificou a proximidade de Machado da princesa Isabel. Segundo ele, “Machado foi abolicionista em toda a sua vida e, a seu modo, criticou a escravidão desde seus primeiros escritos. Nunca defendeu o regime servil nem os escravocratas. Além disso, era amigo próximo de José do Patrocínio, o grande líder da campanha abolicionista e, junto com ele, foi à missa campal do dia 17, de lá saindo para com ele almoçar… Como Patrocínio sempre esteve próximo da princesa em todos esses momentos decisivos, é plenamente factível que levasse consigo o amigo para o palanque onde estava a regente imperial. A propósito, podemos ler no volume 3 da biografia escrita por Raimundo Magalhães Júnior :
+‘Na manhã de 17 de maio, foi promovida uma grande missa campal, comemorativa da Abolição, em homenagem à Princesa Isabel, que compareceu, e houve em seguida um almoço festivo no Internato do Colégio Pedro II. Terminada a missa, José do Patrocínio foi para sua casa, à rua do Riachuelo, com dois amigos que convidara para almoçar em sua companhia: um deles era Ferreira Viana, ministro da Justiça do Gabinete de João Alfredo. E o outro era Machado de Assis, a quem, aliás, o grande tribuno abolicionista oferecera a carta autógrafa que recebera, em 1884, em Paris, de Victor Hugo.’ (MAGALHÃES JÚNIOR, Vida e obra de Machado de Assis. Rio de Janeiro: Civilização Brasileira / INL-MEC, 1981, vol. 3, Maturidade, p. 125).”
+O biógrafo, continua Eduardo Assis Duarte, “não diz onde estava Machado durante a missa, mas pode-se concluir perfeitamente que ele compareceu e que estava junto a José do Patrocínio. Daí minha conclusão: se a imagem que aparece na foto não for de Machado, é de alguém muito parecido.”
+Segundo Ubiratan Machado, jornalista, escritor, bibliófilo e autor do “Dicionário de Machado de Assis”, lançado pela Academia Brasileira de Letras, a identificação de Machado de Assis na foto foi uma dupla descoberta: “Não há dúvida que se trata do Machado, atrás de um senhor de barbas brancas e mil condecorações no peito. O fato do seu rosto estar um pouco escondido não atrapalha em nada a identificação. É o velho mestre, perto de completar 50 anos. Igualzinho aos dos retratos que conhecemos desta fase de sua vida.  A segunda revelação é a de Machado ter ido à missa de ação de graças, fato até hoje desconhecido pelos biógrafos. A foto tem ainda outra importância: mostrar que ele se preocupava com a libertação dos escravos, acabando de vez com a idiotice de alguns que afirmam ser ele indiferente ao destino da raça negra no Brasil. É a prova visual da alegria embriagadora que ele sentiu com a abolição, como narra em seu conhecido depoimento” (Gazeta de Notícias, edição de 14 de maio de 1893, sob o título “A Semana”).
+Machado de Assis participou também, no dia 20 de maio de 1888, do préstito organizado pela Comissão de Imprensa para celebrar a Abolição. Na ocasião, ele desfilou no carro do fundador da Gazeta de Notícias, o Sr. Ferreira de Araújo (1848 – 1900) (Gazeta de Notícias, edição de 21 e 22 de maio de 1888, na última coluna) .  Antes dessas festividades, Machado havia sido agraciado com a Imperial Ordem da Rosa, que premiava civis e militares que houvessem se destacado por serviços prestados ao Estado ou por fidelidade ao imperador.
+Além disso, em 16 de maio, dia anterior à realização da missa campal, Machado de Assis havia participado de uma homenagem prestada pelos empregados da secretaria de Agricultura e repartições anexas ao conselheiro Rodrigo Silva (1833 – 1889), autor e co-assinante da Lei Áurea, ministro dos Negócios da Agricultura e interino dos Negócios Estrangeiros, integrante do Gabinete de 10 de março de 1888, proferindo as seguintes palavras:
+“Todos os vossos empregados que eram vossos amigos agradecidos pela elevação do trato e confiança com que são acolhidos, são hoje vossos admiradores pelo imorredouro padrão de glória a que ligastes vosso nome, referendando a lei que declarou para sempre extinta a escravidão no Brasil” (Gazeta de Notícias, 17 de maio de 1888, na terceira coluna). O conselheiro Rodrigo Silva estava presente à missa campal.
+Machado também foi apontado como um dos funcionários da secretaria de Agricultura que muito fizeram em prol da causa da abolição e que “no silêncio do gabinete …dedicaram-se durante anos a velar com solicitude na defesa dos direitos dos escravos, a tirar das leis de liberdade todos os seus naturais corolários, a organizar e tornar efetiva a emancipação gradual pela ação do Estado, a marcar por laboriosas estatísticas o andamento do problema, a estabelecer hermenêutica sã como reguladora dos casos controversos, a saturar a atmosfera, enfim, de princípios fecundos na sua aplicação prática, firmando o corpo de doutrina e, na realidade, sustentando verdadeira propaganda eficacíssima para a aspiração da liberdade”(Gazeta de Notícias, 18 de maio de 1888, na quarta coluna).
+ 
+Detalhe da foto
+ 
+A Brasiliana Fotográfica convida os leitores a participar do desafio de identificar outras personalidades presentes na foto da solenidade. Abaixo, destacamos na foto e em sua silhueta o grupo em torno da princesa Isabel (1) e do conde D’Eu (2). Machado de Assis é o número 5. Possivelmente o número 7 é José do Patrocínio, atrás de um estandarte e segurando a mão de seu filho, então com três anos. Quem serão os outros?
+ 
+
+ 
+Numeramos alguns dos presentes, mas a identificação de qualquer pessoa que esteja na fotografia é bem-vinda.
+ 
+Um pouco da história da foto
+ 
+A Missa Campal em São Cristóvão, no Rio de Janeiro, em 17 de maio de 1888, foi uma celebração de Ação de Graças pela libertação dos escravos no Brasil, decretada quatro dias antes, com a assinatura da Lei Áurea. A festividade contou com a presença da princesa Isabel, regente imperial do Brasil, e de seu marido, o conde D´Eu, príncipe consorte, que, na foto, está ao lado da princesa, além de autoridades e políticos. De acordo com os jornais da época, foi um “espetáculo imponente, majestoso e deslumbrante”, ocorrido em um “dia pardacento” que contrastava com a alegria da cidade.
+Cerca de 30 mil pessoas estavam no Campo de São Cristóvão. Dentre elas, o fotógrafo Antonio Luiz Ferreira que há muito vinha documentando os eventos da campanha abolicionista brasileira desde suas votações e debates até as manifestações de rua e a aprovação da Lei Áurea. Não se conhece um evento de relevância nacional que tenha sido tão bem fotografado anteriormente no Brasil. No registro da missa campal é interessante observar a participação efetiva da multidão na foto, atraída pela presença da câmara fotográfica, o que proporciona um autêntico e abrangente retrato de grupo. Outra curiosidade é a cena de uma mãe passeando com seu filho atrás do palanque, talvez alheia à multidão, fazendo um contraponto de quietude à agitação da festa.
+Antonio Luiz Ferreira presenteou a princesa Isabel com 13 fotos de acontecimentos em torno da Abolição. A maior parte dessas fotos faz parte da Coleção Princesa Isabel que se encontra em Portugal, conservada por seus descendentes. Ferreira produziu duas fotos das duas missas realizadas em ação de graças pela Abolição. Uma delas, a principal,  intitulada “Missa campal celebrada em ação de graças pela Abolição da escravatura no Brasil”, é a que está aqui destacada e faz parte da Coleção Dom João de Orleans e Bragança. A outra missa foi celebrada pela Irmandade de Nossa Senhora do Rosário e São Benedito dos Homens Pretos. Outros três registros foram feitos por Ferreira no dia 22 de agosto de 1888 e documentaram o retorno do imperador Pedro II ao Brasil. A prova da fotografia da missa campal, que ficou em exposição na papelaria Guimarães & Ferdinando, foi entregue à princesa em junho de 1888 (Diário de Notícias, 9 de junho de 1888, na segunda coluna).
+Ao todo, Antonio Luiz Ferreira fotografou 18 cenas ligadas às celebrações de 1888 e com isso, apesar de ter tido uma carreira discreta, tornou-se um importante fotógrafo do século XIX. As imagens captadas por ele nessas datas tão marcantes da história do Brasil caracterizam-se pela expressividade dos rostos retratados, decorrência da relevância do fato e da fascinação causada pela câmara fotográfica. Também foi responsável por um Álbum de vistas da Biblioteca Nacional, em 1902.
+Ampliando-se a fotografia abaixo clicando em cima dela, vê-se, no alto à esquerda, um anúncio da Photographia Central de Antonio Luiz Ferreira no Largo da Carioca onde está anunciado que trabalhava-se mesmo com mau tempo**:
+ 
+Marc Ferrez. Largo da Carioca com chafariz com 35 bicas, 1895. Rio de Janeiro, RJ / Acervo IMS
+ 
+Acessando o link para a fotografia Missa campal celebrada em ação de graças pela Abolição da Escravatura no Brasil produzida  Antonio Luiz Ferreira,  disponível na Brasiliana Fotográfica, o leitor poderá magnificar a imagem e verificar todos os dados referentes a ela.
+ 
+A Missa Campal em São Cristóvão, no Rio de Janeiro, em 17 de maio de 1888, foi uma celebração de Ação de Graças pela libertação dos escravos no Brasil, decretada quatro dias antes, com a assinatura da Lei Áurea.
+Foto inédita da missa campal de 17 de maio de 1888 foi encontrada na França***
+ 
+Em 13 de maio de 2026, foi noticiado que uma foto inédita da missa campal havia sido encontrada na França pelo pelo historiador Carlos Lima Junior, professor da Unifesp (Universidade Federal de São Paulo), em seu pós-doutorado. Ele pesquisou sobre obras brasileiras preservadas no Castelo d´Eu, no norte da França.
+Leia aqui o artigo Foto inédita de missa campal após Lei Áurea é encontrada na França, da Folha de São Paulo, de 13 de maio de 2026:
+ 
+Foto inédita de missa campal após Lei Áurea é encontrada na França
+João Pedro Pitombo
+
+Registro foi produzido em 17 de maio de 1888 por fotógrafo amador e dado de presente à princesa Isabel
+Imagem revela minúcias de ato que exaltou Família Imperial e deixou abolicionistas em segundo plano
+
+Salvador – Uma fotografia esquecida por mais de um século na reserva técnica de um museu no interior da França revela detalhes de um dos momentos mais importantes da história brasileira, cuja narrativa em torno dos seus protagonistas vem sendo disputada ao longo de décadas.
+A imagem é um registro inédito da missa campal realizada em 17 de maio de 1888, quatro dias após a assinatura da Lei Áurea pela princesa Isabel. O ato, que completa 138 anos nesta quarta-feira (13), pôs fim a mais de três séculos de escravidão no Brasil, mas não garantiu direitos nem compensações para a população negra que havia sido escravizada.
+Produzida pelo fotógrafo amador Antônio de Barros Araújo, a imagem tem 49 centímetros de largura por 11,5 de altura. Em plano aberto, mostra uma multidão reunida na praça Pedro 1º, situada no bairro de São Cristóvão, no Rio de Janeiro. Eram cerca de 50 mil pessoas, segundo estimativas dos jornais da época.
+ 
+
+ 
+A foto foi encontrada pelo historiador Carlos Lima Junior, professor da Unifesp (Universidade Federal de São Paulo), em seu pós-doutorado. Ele pesquisou sobre obras brasileiras preservadas no Castelo d´Eu, no norte da França, que abrigou a família imperial no exílio após a proclamação da República.
+“Recebi fotografia ainda um pouco coberta de poeira e logo vi que era um segundo registro, ainda desconhecido, da grande missa que foi feita após a assinatura da Lei Áurea. Apesar de ser uma foto não tão grande de tamanho, ela tem uma importância gigante para a história do país”, afirma Carlos Lima Junior.
+Até então, a principal imagem conhecida da cerimônia era a fotografia de Antônio Luiz Ferreira, que retornou ao Brasil e atualmente faz parte do acervo do Instituto Moreira Salles. Essa fotografia circulou amplamente já no final do século 19 e havia se consolidado como retrato oficial da celebração da abolição.
+A imagem descoberta na França, por outro lado, permaneceu praticamente fora de circulação desde sua produção. Em 1888, o jornal A Gazeta de Notícias mencionou que a foto de Barros Araújo foi dada de presente à princesa Isabel, mas o registro não chegou a ser reproduzido pelo jornal.
+A hipótese mais provável, aponta o pesquisador, é que a fotografia tenha sido incorporada aos pertences pessoais da princesa e enviada à França logo após a queda do Império.
+Os detalhes da descoberta da foto resultaram em um artigo publicado na Revista de História da Arte e da Cultura da Unicamp. No estudo, Carlos Lima Junior mostra como a família imperial teve cuidado em preservar objetos que reforçassem a memória da princesa Isabel como uma espécie de redentora.
+A própria missa teve papel importante nessa construção simbólica. Organizada pela Associação Imprensa Fluminense, a cerimônia religiosa buscava sacralizar o ato de assinatura da Lei Áurea.
+No livro “Flores, Votos e Balas”, Angela Alonso, socióloga e colunista da Folha, destaca que as celebrações da abolição foram transformadas em uma elegia da tradição imperial. Os abolicionistas que aturaram pelo fim da escravidão ficaram em segundo plano.
+O ato explicitava a aliança entre Igreja e Estado, sobretudo no uso do vocabulário religioso para redefinir a princesa como a “redentora”. “Catolicismo e monarquia se apropriavam dos louros da abolição”, disse a autora.
+Entre carruagens e vendedores ambulantes
+Na avaliação de Carlos Lima Junior, a nova foto altera parcialmente a visão consolidada sobre a missa campal. Enquanto a imagem conhecida de Antônio Luiz Ferreira destaca a família imperial, a fotografia de Antônio de Barros Araújo é uma tomada panorâmica que privilegia a dimensão popular do ato.
+O artigo descreve minuciosamente a cena. A foto mostra carruagens espalhadas pelas extremidades da praça, pessoas equilibradas sobre os veículos para enxergar o altar, oficiais montados a cavalo observando a multidão e moradores acompanhando a cerimônia das janelas das casas vizinhas.
+O enquadramento também evidencia desigualdades sociais presentes naquela celebração: embora houvesse grande quantidade de carros e bondes, o transporte não era acessível à maior parte da população. Muitos participantes seguiram a pé até o local.
+A imagem registra ainda personagens anônimos como vendedores ambulantes espalhados pela praça e pessoas que nem sequer observavam a missa.
+Ao mesmo tempo, a foto também evidencia os limites daquela celebração, por encobrir a presença de negros que foram figuras de destaque na luta pela liberdade e os movimentos abolicionistas que impulsionaram o debate sobre o fim da escravidão no Brasil.
+“Ela também nos faz lembrar como foi difícil o dia seguinte, o 14 de maio, para a população que foi escravizada.”
+A fotografia segue preservada no Castelo d’Eu, onde atualmente funciona o Museu Louis-Philippe. A imagem deve ser exibida ao público até o fim deste ano em uma mostra sobre os 200 anos da invenção da fotografia.
+___________________________________________________________________________________________
+ 
+Abaixo, a reprodução da notícia sobre a fotografia da missa campal de autoria do fotógrafo amador identificado como Antonio de Barros Araujo (18? -?), publicada na primeira página da Gazeta de Notícias, de 14 de junho de 1888. Conforme a nota, o registro seria oferecido à Princesa Isabel. Barros Araujo era comerciante na Rua do Ouvidor.
+ 
+Gazeta de Notícias, 14 de junho de 1888, terceira coluna
+ 
+Contribuíram para esta pesquisa Elvia Bezerra (IMS) e Luciana Muniz (BN).
+ 
+*O texto desta publicação foi revisto em 15 de maio de 2018.
+**Essa informação foi inserida no artigo em 9 de setembro de 2019.
+*** O artigo sobre a Foto inédita da missa campal de 17 de maio de 1888 foi encontrada na França foi inserido em 13 de maio de 2026.
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/1795` — `itens/20.500.12156.1_1795/`
+- `20.500.12156.1/6709` — `itens/20.500.12156.1_6709/`
+
diff --git a/wordpress/5290-a-criacao-do-jardim-botanico-do-rio-de-janeiro.md b/wordpress/5290-a-criacao-do-jardim-botanico-do-rio-de-janeiro.md
new file mode 100644
index 0000000..b159306
--- /dev/null
+++ b/wordpress/5290-a-criacao-do-jardim-botanico-do-rio-de-janeiro.md
@@ -0,0 +1,43 @@
+---
+id: 5290
+url: "https://brasilianafotografica.bn.gov.br/?p=5290"
+titulo: "A criação do Jardim Botânico do Rio de Janeiro"
+autor: "Andrea Wanderley"
+data: "2016-06-13T12:11:42+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/4050", "20.500.12156.1/2283", "20.500.12156.1/4052", "20.500.12156.1/2031"]
+fetched_at: "2026-09-10T10:25:24.764Z"
+---
+
+# A criação do Jardim Botânico do Rio de Janeiro
+
+Com uma seleção de fotografias, a Brasiliana Fotográfica homenageia o Jardim Botânico do Rio de Janeiro, criado, em 13 de junho de 1808, cerca de três meses após o desembarque da família real portuguesa no Brasil, ocorrido em 8 de março de 1808. São registros feitos por importantes fotógrafos do século XIX e das primeiras décadas do século XX como Alberto Henschel, Antonio Caetano da Costa Ribeiro, Augusto Stahl, Georges Leuzinger, Marc Ferrez, Revert Henrique Klumb e também por fotógrafos ainda não identificados. O Jardim Botânico do Rio de Janeiro foi inaugurado pelo então príncipe regente português Dom João, que havia decidido instalar no local uma fábrica de pólvora e um jardim para aclimatação de espécies vegetais originárias de outras partes do mundo.
+Acessando o link para as fotografias do Jardim Botânico do Rio de Janeiro disponíveis na Brasiliana Fotográfica, o leitor poderá visualizar e magnificar as imagens.
+ 
+Antonio Caetano da Costa Ribeiro. Jardim Botânico, c. 1914. Rio de Janeiro, RJ / Acervo FBN
+ 
+Link para a notícia da comemoração do centenário do Jardim Botânico do Rio de Janeiro, no jornal O Paiz, de 14 de junho de 1908.
+ 
+Marc Ferrez. Avenida das Palmeiras Imperiais, 1885. Rio de Janeiro, RJ / Acervo IMS
+ 
+Link para a notícia da comemoração dos 200 anos do Jardim Botânico do Rio de Janeiro, no Jornal do Brasil de 14 de junho de 2008.
+ 
+Antonio Caetano da Costa Ribeiro. Jardim botânico, c. 1914. Rio de Janeiro, RJ / Acervo FBN
+ 
+ 
+Georges Leuzinger. Lago e coqueiro no Jardim Botânico, c. 1867. Rio de Janeiro, RJ / Acervo IMS
+ 
+Link para fotografias do Jardim Botânico publicada na revista Illustração Brasileira de novembro de 1922.
+ 
+Andrea C. T. Wanderley
+Editora-assistente e pesquisadora do portal Brasiliana Fotográfica
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/4050` — `itens/20.500.12156.1_4050/`
+- `20.500.12156.1/2283` — `itens/20.500.12156.1_2283/`
+- `20.500.12156.1/4052` — `itens/20.500.12156.1_4052/`
+- `20.500.12156.1/2031` — `itens/20.500.12156.1_2031/`
+
diff --git a/wordpress/5365-o-paco-a-praca-e-o-morro.md b/wordpress/5365-o-paco-a-praca-e-o-morro.md
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--- /dev/null
+++ b/wordpress/5365-o-paco-a-praca-e-o-morro.md
@@ -0,0 +1,33 @@
+---
+id: 5365
+url: "https://brasilianafotografica.bn.gov.br/?p=5365"
+titulo: "O Paço, a praça e o morro"
+autor: "Andrea Wanderley"
+data: "2016-06-24T01:08:30+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/2576", "20.500.12156.1/2294", "20.500.12156.1/2429", "20.500.12156.1/2731"]
+fetched_at: "2026-09-10T10:25:28.127Z"
+---
+
+# O Paço, a praça e o morro
+
+Marc Ferrez. Praça D. Pedro II, atual praça XV de Novembro, c. 1895. Rio de Janeiro, RJ / Acervo IMS
+Será inaugurada hoje no Paço Imperial a exposição O paço, a praça e o morro, que reúne imagens que construíram a representação fotográfica do Rio de Janeiro. São 200 registros de grandes mestres da fotografia brasileira do século XIX e das primeiras décadas do século XX, como Augusto Malta, Camillo Vedani, Georges Leuzinger, Guilherme Santos, Juan Gutierrez e Marc Ferrez, além de trabalhos produzidos por fotógrafos ainda não identificados. As fotografias fazem parte do acervo do Instituto Moreira Salles e a exposição é um desdobramento da mostra Rio, primeiras poses, realizada no centro cultural do IMS na Gávea, ao longo de 2015. Desta vez, o olhar é dirigido especificamente ao território onde a cidade nasceu e a partir do qual se desenvolveu em direção a sua configuração atual de grande metrópole, reconhecida internacionalmente como sítio urbano privilegiado pela conjunção única de paisagem natural e cultural.
+As profundas e constantes transformações na região central do Rio de Janeiro nos últimos 120 anos são fundamentais para se compreender a cidade dos dias de hoje. As fotografias de época reunidas nesta exposição permitem que se compreenda o processo de crescimento e expansão urbana do Rio de Janeiro. No ano em que a cidade recebe um dos mais importantes eventos mundiais, a Olimpíada de 2016, revisitar estes marcos fundadores da cidade por meio do olhar de grandes nomes da fotografia brasileira é também um convite à imersão na paisagem e na vida de uma região que novamente passa por um processo de revitalização e transformação.
+Georges Leuzinger. Largo do Paço e o chafariz de Mestre Valentim, c. 1865. Rio de Janeiro, RJ / Acervo IMS
+Além disso, realizar esta exposição no próprio Paço Imperial permite que se lance um olhar privilegiado sobre este importante edifício, de valor referencial único na cidade. Os registros fotográficos aqui reunidos são uma oportunidade de se confrontar in loco a evolução histórica de uma importante região da cidade, formada por este edifício e seu entorno − a praça ou largo do Paço, hoje praça XV de Novembro, e o próprio marco fundador da cidade, o morro do Castelo, removido há quase um século da paisagem e, consequentemente, também da própria memória que se tem da cidade.
+Augusto Malta. Morro do Castelo, 14/11/1914. Rio de Janeiro, RJ / Acervo IMS
+Centro da vida econômica, social e política do Rio de Janeiro nos seus primeiros séculos de ocupação, o Paço Imperial, a praça XV e o morro do Castelo moldaram o crescimento da cidade a partir de sua configuração geográfica e urbana original até a virada para o século XX. Nesse momento, o centro do Rio sofreu grandes transformações e intervenções urbanas, associadas às reformas realizadas pelo prefeito Pereira Passos. Os dois grandes marcos dessa transformação foram a abertura da Avenida Central e o início do “bota-abaixo”, processo de expansão, valoração, modernização e gentrificação urbana que levaria ao total desmonte do morro do Castelo no final da década de 1920.
+Augusto Malta. Demolição do morro do Castelo, 23 /03/1925. Rio de Janeiro, RJ / Acervo IMS
+A exposição apresenta imagens que mostram a cidade no período anterior a essas mudanças e outras que documentam e acompanham as reformas urbanas do início do século XX, em registros de fotógrafos profissionais, como Marc Ferrez, Augusto Malta e Guilherme Santos, e amadores. Ferrez e Malta construíram, com seus trabalhos, o principal legado da fotografia para a memória da cidade nesse período. Por meio das imagens aqui expostas, é possível acompanhar o processo de transformação da cidade desde a chegada da daguerreotipia ao Rio de Janeiro em 1840, pouco antes da posse, no ano seguinte, de d. Pedro II como imperador, aos 15 anos, até o final da década de 1920, momento de fortes mudanças econômicas, sociais e políticas que culminariam na revolução de 1930 e lançariam o país e a própria cidade do Rio de Janeiro na modernidade e na contemporaneidade.
+Acessando o link para as fotografias do Paço Imperial, da Praça XV e do Morro do Castelo disponíveis na Brasiliana Fotográfica, o leitor poderá visualizar e magnificar as imagens.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/2576` — `itens/20.500.12156.1_2576/`
+- `20.500.12156.1/2294` — `itens/20.500.12156.1_2294/`
+- `20.500.12156.1/2429` — `itens/20.500.12156.1_2429/`
+- `20.500.12156.1/2731` — `itens/20.500.12156.1_2731/`
+
diff --git a/wordpress/5382-o-fotografo-paisagista-camillo-vedani-18-italia-1888-brasil.md b/wordpress/5382-o-fotografo-paisagista-camillo-vedani-18-italia-1888-brasil.md
new file mode 100644
index 0000000..1dac26f
--- /dev/null
+++ b/wordpress/5382-o-fotografo-paisagista-camillo-vedani-18-italia-1888-brasil.md
@@ -0,0 +1,72 @@
+---
+id: 5382
+url: "https://brasilianafotografica.bn.gov.br/?p=5382"
+titulo: "O fotógrafo paisagista Camillo Vedani (18?, Itália – 1888, Brasil)"
+autor: "Andrea Wanderley"
+data: "2016-07-13T10:40:25+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/2464", "20.500.12156.1/2459", "20.500.12156.1/2468"]
+fetched_at: "2026-09-10T10:25:31.675Z"
+---
+
+# O fotógrafo paisagista Camillo Vedani (18?, Itália – 1888, Brasil)
+
+Um dos mais talentosos fotógrafos que atuou no Brasil no século XIX, o italiano Camillo Vedani foi o desenhista da comissão encarregada do estudo do traçado da ferrovia Madeira e Mamoré, em 1883. Identificava-se como “Photographo Paizagista” e no verso do cartão-suporte de suas fotografias apareciam os endereços Rua da Assembleia, 76 e  Rua do Ouvidor, 143. Apresentava-se também como professor de desenho e da língua italiana. Segundo Gilberto Ferrez, no livro A fotografia no Brasil: 1840 – 1900, Vedani estabeleceu-se no Rio de Janeiro, em 1853. Produziu excelentes registros da cidade e também da Bahia, onde residiu entre 1860 e 1865. Na ocasião, trabalhou para a Bahia and São Francisco Railway.  Voltou para o Rio de Janeiro e morou durante um período em Campos.
+ 
+Verso do cartão-suporte das fotografias de Camillo Vedani
+ 
+Pedro Karp Vasquez considera a fotografia abaixo a obra-prima de Vedani. É uma vista do Largo do Paço “tomada do ângulo oposto ao que seus colegas costumavam utilizar , mostrando a praça a partir da rua Direita, com a fachada lateral do Paço Imperial reduzida a mero elemento auxiliar da composição. Nessa única obra ele soube demonstrar todo o seu talento, afiado em anos de prática do desenho, elaborando uma composição irretocável, em que as linhas diagonais das canaletas embutidas no calçamento dialogam admiravelmente com aquelas formadas pelo prédio do Paço e por outros elementos secundários do enquadramento – uma fotografia que é uma verdadeira aula de perspetiva e composição”.
+ 
+Camillo Vedani. Largo do Paço, 1865. Rio de Janeiro, RJ / Acervo IMS
+ 
+Acessando o link para as fotografias de Camillo Vedani disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Camillo Vedani. A cidade de Salvador, 1860. Salvador, Bahia / Acervo IMS
+ 
+Andrea C. T. Wanderley
+Editora-assistente e pesquisadora do portal Brasiliana Fotográfica
+ 
+Breve Cronologia de Camillo Vedani (18? – 1888)
+Camillo Vedani. Passeio Público, c. 1868. Rio de Janeiro, RJ / Acervo IMS
+ 
+Década de 1850 – O fotógrafo italiano Camillo Vedani se estabeleceu no Rio de Janeiro.
+1860 / 1865 – Durante esse período viveu em Salvador, capital da Bahia. Produziu belas vistas da cidade, além de ter trabalhado na Bahia and São Francisco Railway. Provavelmente esteve também em Alagoas e em Sergipe.
+1869 – Na Bahia, realizou um trabalho de engenharia: o estabelecimento de uma linha telegráfica que faria a comunicação entre o Palácio da Presidência, o Comando das Armas e a Secretaria de Polícia. Pelo serviço, ganhou  575 réis (Relatório dos Trabalhos do Conselho interino do Governo, 1869).
+Década de 1870 – Durante algum tempo, nos últimos anos dessa década, residiu em Campos (RJ), onde trabalhou como engenheiro desenhista na construção da ferrovia do Carangola, cuja pedra fundamental foi lançada em 14 de junho de 1875.
+1875 – Em 11 de agosto, Camillo Vedani foi naturalizado brasileiro. Foi identificado como italiano, católico, casado e engenheiro (Diário do Rio de Janeiro, 13 de agosto de 1875, na segunda coluna e Ministério do Império, 1876).
+1876 - Notícia de que a esposa de Camillo, dona Antonieta Novelli Vedani, havia embarcado no Rio de Janeiro, em um vapor, com destino a Imbitiba, cidade perto de Campos (O Globo, 22 de maio de 1876, na quarta coluna).
+1878 – Vedani participou de uma reunião na casa do sr. Francisco Portella, propagador do Café Liberia (O Monitor Campista, 29 de maio de 1878, na terceira coluna sob o título “Café da Libéria”).
+Esclareceu não ser o autor de um pasquim insultando o sr. Biolchini, com quem era brigado (O Monitor Campista, 15 de dezembro de 1878, na terceira coluna sob o título “A pedido”).
+A partir de 25 de dezembro, Vedani expôs um presépio de sua autoria, na rua Direita, nº 99, na cidade de Campos. Foi elogiado por sua inteligência e apresentado como engenheiro desenhista da estrada de ferro do Carangola. A renda dos ingressos para apreciar o presépio foi revertido para uma obra beneficente (O Monitor Campista, 28 de dezembro de 1878, na primeira coluna).
+1879 - Camillo Vedani, como um dos engenheiros da estrada de ferro do Carangola, assinou uma manifestação em homenagem ao Sr. Julio Barbosa, diretor da construção da ferrovia, que havia sido exonerado da função (O Monitor Campista, 24 de outubro de 1879, na última coluna sob o título “A pedido”).
+1880 – Ele e o fotógrafo Marc Ferrez (1843 – 1923) foram contratados foram contratados para documentar os trabalhos realizados na Estrada de Ferro Central do Brasil.
+1882 –  Notícia da formação de uma comissão para estudos do traçado da ferrovia Madeira e Mamoré. Vedani era o desenhista do grupo, que partiria no dia 10 de janeiro de 1883 para efetuar o trabalho, sob a direção do engenheiro-chefe Carlos Morsing ( Revista de Engenharia, 1882).
+1883 – Camillo Vedani foi cumprimentar, com os outros membros da comissão para estudos da ferrovia Madeira e Mamoré, suas majestades imperiais, na primeira semana de janeiro ( Gazeta de Notícias, 20 de janeiro de 1883, na quinta coluna).
+Notícia com o histórico da construção da ferrovia Madeira e Mamoré (Jornal do Commercio, 9 de janeiro de 1883, na quarta coluna, sob o título “Gazetilha”).
+Vedani e sua esposa embarcaram para o Pará no vapor Espírito Santo. Os demais membros da comissão para estudos da ferrovia Madeira e Mamoré também viajaram para o norte (Gazeta de Notícias, 10 de janeiro de 1883, na sexta coluna sob o título “Passageiros” e Jornal do Commercio, 9 de janeiro de 1883, na quarta e quinta colunas, sob a seção “Gazetilha” ).
+1884 – Em Manaus, faleceu, em fevereiro, Antonieta Novelli  Vedani, esposa de Camillo, identificado como o desenhista da comissão de estudo do Madeira e Mamoré. Ela teve um ataque cerebral (Diário de Notícias, 16 de fevereiro de 1884, terceira coluna e Gazeta de Notícias, 4 de março de 1884, na segunda coluna).
+Notícias de 10 de abril de 1884 sobre a comissão para estudos da ferrovia Madeira e Mamoré: dos 17 que embarcaram no Rio de Janeiro, só dois continuavam no Amazonas: Vedani e o chefe da comissão, o engenheiro Carlos Morsing. Os outros tiveram problemas de saúde (Brazil, 9 de maio de 1884, na terceira coluna).
+De volta ao Rio de Janeiro, Vedani mostrou fotografias do Amazonas de sua autoria. Algumas eram de Manaus e da Cachoeira do Xingu (Folha Nova, 30 de abril de 1884, na quinta coluna).
+Em reunião do Club de Engenharia, Vedani ofereceu 11 fotografias de sua autoria (Jornal do Commercio, 6 de dezembro de 1884, na terceira coluna, sob o título “Club de Engenharia”)
+1888 -  Falecimento de Vedani (Gazeta de Notícias, 13 de maio de 1888, na última coluna). A notícia é que um amigo havia mandado celebrar uma missa pela alma do fotógrafo.
+Esse post contou com a colaboração do historiador Rodrigo Bozzetti, do Instituto Moreira Salles.
+ 
+Andrea C. T. Wanderley
+Editora-assistente e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+Enciclopédia Itaú Cultural
+FERREZ, Gilberto. A fotografia no Brasil: 1840 – 1900. Rio de Janeiro: Fundação Nacional Pró-Memória/Funarte, 1985.
+Guia Geográfico Salvador Antiga
+Hemeroteca Digital da Biblioteca Nacional
+KOSSOY, Boris. Dicionário Histórico-Fotográfico Brasileiro. Rio de Janeiro: IMS, 2002.
+VASQUEZ, Pedro Karp. A fotografia no império. Rio de Janeiro: Zahar, 2002.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/2464` — `itens/20.500.12156.1_2464/`
+- `20.500.12156.1/2459` — `itens/20.500.12156.1_2459/`
+- `20.500.12156.1/2468` — `itens/20.500.12156.1_2468/`
+
diff --git a/wordpress/5398-o-fotografo-juan-gutierrez-de-padilla-c-1860-28-6-1897.md b/wordpress/5398-o-fotografo-juan-gutierrez-de-padilla-c-1860-28-6-1897.md
new file mode 100644
index 0000000..d7efb18
--- /dev/null
+++ b/wordpress/5398-o-fotografo-juan-gutierrez-de-padilla-c-1860-28-6-1897.md
@@ -0,0 +1,98 @@
+---
+id: 5398
+url: "https://brasilianafotografica.bn.gov.br/?p=5398"
+titulo: "O fotógrafo Juan Gutierrez de Padilla (c. 1860 – 28/6/1897)"
+autor: "Andrea Wanderley"
+data: "2016-06-28T11:39:41+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/4663", "20.500.12156.1/4656", "20.500.12156.1/3039"]
+fetched_at: "2026-09-10T10:25:34.801Z"
+---
+
+# O fotógrafo Juan Gutierrez de Padilla (c. 1860 – 28/6/1897)
+
+Juan Gutierrez. Praia da Lapa e Morro da Glória, c. 1894. Rio de Janeiro, RJ / Acervo IMS
+ 
+Juan Gutierrez de Padilla foi um dos mais importantes fotógrafos paisagistas dos oitocentos, no Brasil. Foi, ao lado de Marc Ferrez (1843 – 1923) e George Leuzinger (1813 – 1892), ambos do século XIX, e de Augusto Malta (1864 – 1957), já no século XX, um dos maiores cronistas visuais do Rio de Janeiro. Foi um dos fotógrafos principais da transição da cidade imperial para a cidade republicana. Entre 1892 e 1896, produziu a maior parte de suas fotografias de paisagens do Rio de Janeiro, que eram vendidas para estrangeiros que visitavam a cidade. Registrou a Revolta da Armada, entre 1893 e 1894, e, em 1895, produziu as fotografias do álbum  Recordação das festas nacionais, em homenagem aos cinco anos da proclamação da República brasileira.
+ 
+Verso do cartão-suporte da Photographia União
+ 
+Em 1889, já trabalhava na Photographia União, localizada na rua da Carioca, nº114 . Nesse mesmo ano, em 3 de agosto, recebeu o título de “Fotógrafo da Casa Imperial“. Em 1º de janeiro de 1892,  foi inaugurado o edifício da Companhia Photographica Brazileira, na rua Gonçalves Dias, 40, sob a direção técnica de Juan Gutierrez (Jornal do Commercio, 2 de janeiro de 1892, na sétima coluna sob o título “Companhia Photographica” ). Noticiou-se que, pela primeira vez, fotografias perfeitas eram produzidas no Rio de Janeiro e que isso se devia ao talento e ao trabalho de Gutierrez (O Combate, 27 de fevereiro de 1892, na quinta coluna). Em 17 de junho, a sociedade da Companhia Photographica Brazileira foi dissolvida e o maior credor do empreendimento, o conselheiro Francisco de Paula Mayrink, recebeu os imóveis sociais e demais ativos da empresa. Em 29 de setembro, Gutierrez solicitou à Junta Comercial do Rio de Janeiro permissão para a abertura de uma nova firma, chamada J. Gutierrez, no mesmo endereço da anterior.
+ 
+Verso do cartão-suporte do ateliê fotográfico J. Gutierrez, sucessor da Companhia Photographica do Brazil
+ 
+Gutierrez foi beneficiado pelos avanços técnicos da fotografia: utilizou as chapas secas de gelatina e prata que permitiam a tomada de instantâneos e eram de manejo mais fácil, além de mais sensíveis que as chapas de colódio úmido. Suas fotografias revelam uma visão única da topografia carioca e, também, de sua natureza. O periódico A Cigarra, de 29 de agosto de 1895 elogiou a arte do fotógrafo: “Que homem este Gutierrez! Tenacidade, talento, amor e trabalho!”.
+ 
+Juan Gutierrez. Morro do Castelo visto da Igreja do Carmo, c. 1894. Rio de janeiro, RJ / Acervo IMS
+ 
+Gutierrez registrou a Revolta da Armada ( 1893 – 1894), tornando-se um dos pioneiros da fotografia dos conflitos armados no Brasil. Em 1896, eclodiu o conflito de Canudos e foi por seu entusiamo republicano que, após a derrota da expedição comandada pelo coronel Moreira César (1850 – 1897), decidiu incorporar-se como ajudante de ordens do general João da Silva Barbosa. Foi ferido mortalmente, em 28 de junho de 1897. Sua trágica morte o tornou, talvez, o primeiro repórter fotográfico morto durante um trabalho de campo, no Brasil, apesar de, até hoje, não se conhecer nenhum registro fotográfico que ele tenha feito do conflito.
+ 
+Juan Gutierrez. Bateria Fonseca Ramos, Revolta da Armada, 1893. NIterói, Rio de Janeiro / Acervo FBN
+ 
+Gutierrez tinha um temperamento boêmio e entre seus amigos estavam alguns dos mais importantes artistas e escritores do Rio de Janeiro, como Olavo Bilac (1865 – 1918) e José do Patrocínio (1854 – 1905). Foi descrito por Artur Azevedo (1855 – 1908) como …Cavalheiroso, insinuante, folgazão e liberal, era uma das figuras mais sympathicas da sociedade fluminense… (A Estação, 31 de julho de 1897, sob o título “Chroniqueta”).
+Acessando o link para as fotografias de Juan Gutierrez de Padilla disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Cronologia de Juan Gutierrez de Padilla (c. 1860 – 1897)
+Desenho retratando Juan Gutierrez publicado no jornal O Paiz, de 14 de julho de 1897, com um artigo de Luiz Murat
+ 
+c. 1860 – O espanhol Juan Gutierrez de Padilla nasceu, provavelmente, nas Antilhas, na época, uma colônia espanhola. Porém, outras fontes afirmam que ele teria nascido em Cuba ou na África.
+1885 / 1887- Período provável de sua chegada ao Brasil, vindo da cidade do Porto, Portugal.
+1889 – Trabalhava na Photographia União, localizada na rua da Carioca, nº 114.
+Em 3 de agosto, recebeu o título de “Fotógrafo da Casa Imperial”.
+Participou do movimento pela Proclamação da República como tenente da Guarda Nacional.
+Gutierrez naturalizou-se brasileiro, aproveitando o decreto de Deodoro da Fonseca (1827 – 1892), o primeiro presidente do Brasil, que concedeu aos estrangeiros que residiam no país na data de 15 de novembro, quando a República foi proclamada, a nacionalidade brasileira.
+1890 – Foi concedida licença para que Gutierrez usasse as armas da República no seu estabelecimento, a Photographia União (Diário de Notícias, 18 de julho de 1890, na quinta coluna, sob o título “Armas da República”).
+Em 29 de setembro, foi constituída uma sociedade anônima denominada Companhia Photographica Brazileira, com 31 acionistas. Gutierrez foi eleito diretor técnico do negócio. De um total de cinco mil ações, era proprietário de 100 ações do empreendimento (Jornal do Commercio, 30 de setembro de 1890, na primeira coluna).
+Agregou às atividades do estabelecimento, o comércio de produtos e equipamentos fotográficos. Foi anunciada a incorporação da Companhia Photographica Brazileira pelo Banco Constructor (Diário do Commercio, 25 de setembro de 1890).
+Foi publicada a ata da instalação da Companhia Photographica Brazileira (Gazeta da Tarde, 24 de outubro de 1894, na primeira coluna).
+1891 – Gutierrez anunciou a venda da Photographia União (Jornal do Commercio, 17 de dezembro de 1891, na quarta coluna, sob o título “Photographia à venda“).
+1892 – Em 1º de janeiro, foi inaugurado o edifício da Companhia Photographica Brazileira, na rua Gonçalves Dias, 40, sob a direção técnica de Juan Gutierrez (Jornal do Commercio, 2 de janeiro de 1892, na sétima coluna sob o título “Companhia Photographica” ).
+Foi noticiada a inauguração das oficinas de fototipia da Companhia Photographica Brazileira. De acordo com a notícia, pela primeira vez fotografias perfeitas eram produzidas no Rio de Janeiro e isso se devia ao talento e ao trabalho de Gutierrez (O Combate, 27 de fevereiro de 1892, na quinta coluna).
+Em 17 de junho, a sociedade da Companhia Photographica Brazileira foi dissolvida e o maior credor da empresa, o conselheiro Francisco de Paula Mayrink, recebeu os imóveis sociais e demais ativos do empreendimento.
+Em 29 de setembro, Gutierrez solicitou à Junta Comercial do Rio de Janeiro permissão para a abertura de uma nova firma, chamada J. Gutierrez, no mesmo endereço da anterior.
+1893 - Foi fundado o semanário O Álbum e Gutierrez tornou-se responsável pelos trabalhos fotográficos. Artur Azevedo (1855 – 1908) era o diretor literário da publicação. Na edição de maio, Castro Soromenho dedicou-lhe o poema “Desegaño”, no qual confessava seu amor pelo fotógrafo. Imediatamente o poeta foi impedido de frequentar a redação de O Álbum e, em 12 de junho, foi definitivamente afastado do periódico.
+Em 6 de setembro, início da Revolta da Armada, comandada pelo almirante Custódio de Mello (1840 – 1902), amplamente fotografada por Gutierrez.
+1894 - Em 13 de março, fim da Revolta da Armada.
+Foi noticiada a exposição, no ateliê de Gutierrez, de um quadro fotográfico retratando o marechal Eneas Galvão (1832 – 1895) rodeado por seus ajudantes de ordem. O quadro seria ofertado ao marechal, que foi ministro da Guerra durante o governo de Floriano Peixoto (1839 – 1895) (O Paiz, 23 de maio de 1894, na segunda coluna).
+O primeiro número da publicação quinzenal Illustração Sul-Americana trazia diversos retratos de autoria de Gutierrez: do marechal Floriano Peixoto (1839 – 1895), de Affonso Pena (1847 – 1909), do presidente da República Prudente de Moraes (1841 – 1902), do capitão-tenente José Carlos de Carvalho e do jornalista Artur Azevedo (1855 – 1908) (O Paiz, de 21 de julho de 1894, nas sexta e sétima colunas).
+Em 17 de setembro, foi inaugurada a Confeitaria Colombo, ao lado do ateliê de Gutierrez, onde ele, além de trabalhar, residia. Logo a confeitaria tornou-se um dos pontos mais concorridos da cidade, contribuindo para o aumento do movimento em torno da casa fotográfica de Gutierrez.
+Em novembro, Gutierrez foi o fotógrafo do álbum Recordação das festas nacionais, em homenagem aos cinco anos da proclamação da República brasileira. Registrou grandes manifestações populares em vários pontos da cidade: banquetes, desfiles militares , além de cerimônias cívicas e inaugurações de monumentos. Esse trabalho pode ser considerado um exemplo precursor da linguagem da fotografia jornalística.
+
+Foi publicada uma propaganda dos cigarros Bouquet: “em cada carteira contem o retrato de uma das notabilidades brazileiras ou estrangeiras, perfeição, creditadas pela casa J. Gutierrez & C., sucessora da Companhia Photographica. A colecção completa comprehenderá 200 RETRATOS” (O Paiz, 14 de novembro de 1894).
+1895 – O periódico A Cigarra, de 29 de agosto de 1895 elogiou a arte do fotógrafo: Que homem este Gutierrez! Tenacidade, talento, amor e trabalho!1896 – Foi publicado um elogio às fotografias produzidas por Gutierrez  pela técnica da platinotipia: “…nada há mais perfeito do que o trabalho de Gutierrez…” (O Paiz, 3 de junho de 1896, na última coluna, sob o título “Commercio, Industria e Arte).
+Eclodiu o conflito em Canudos e, após a derrota da expedição comandada pelo coronel Moreira César (1850 – 1897), Gutierrez decidiu incorporar-se como ajudante de ordens do general João da Silva Barbosa.
+1897 – Antes de partir para Canudos, Gutierrez lavrou seu testamento e nomeou como testamenteiros e inventariantes Manoel Rodrigues Monteiro de Azevedo, Francisco de Paula Mayrink, José Carlos de Carvalho e José do Patrocínio (1853 – 1905). Suas beneficiárias foram sua mãe, Francisca Vicente Vandrel e sua amiga, a viúva Orlandina Aurora Rosani.
+Juan Gutierrez foi promovido de tenente a capitão da Guarda Nacional (O Paiz, 19 de fevereiro de 1897, na sexta coluna).
+Desembarcou em Salvador, em 2 de abril, e seguiu para  Canudos.
+Sua ida para Canudos foi um dos assuntos da coluna “Semanaes”, de Anselmo Ribas (A Notícia, 10 e 11 de julho de 1897).
+Em 28 de junho, foi mortalmente ferido (Jornal do Commercio, 13 de julho de 1897, na terceira coluna sob o título “Expedição de Canudos” e O Paiz, 7 de setembro de 1897, na primeira coluna).
+Sua morte foi também noticiada no O Paiz, de 14 de julho de 1897, na primeira página, com um artigo de Luiz Murat (1861 – 1929) em sua homenagem.  No livro Os Sertões, Euclides da Cunha (1866 – 1909) referiu-se a ele como um Oficial honorário, um artista que fora até lá atraído pela estética sombria das batalhas.
+Foi publicado o que um dos amigos mais próximos de Gutierrez, o tenente Frederico Luiz da Costa, escreveu a respeito dele (O Paiz, de 23 de julho de 1897, na primeira coluna).
+Foram realizadas na Igreja de São Francisco de Paula, as missas em sufrágio da alma de Juan Gutierrez. Foi celebrada pelo monsenhor Amorim, ajudado pelo cônego Polinca e pelos padres Teixeira, Colaço, Próspero, Guimarães e Pitta. Uma multidão lotou a igreja, onde a marcha fúnebre foi executada por uma banda militar. No dia anterior, na mesma igreja, havia sido celebrada uma missa na intenção de Gutierrez por Antônio Costa e Orlandina Aurora Rosani, que recebeu um terço dos bens do fotógrafo (O Paiz, 19 de agosto de 1897, na quarta coluna e 20 de agosto de 1897, na sexta coluna).
+Fim da Guerra de Canudos, em 5 de outubro de 1897.
+1898 – O ateliê fotográfico de Juan Gutierrez encontrava-se em processo de liquidação (O Paiz, 3 de janeiro de 1898, na última coluna). Havia uma disputa em torno do estabelecimento envolvendo Frederico Luiz da Costa, Alfredo Franco e Luis Musso ( O Paiz, 12 de fevereiro de 1898, na quarta coluna).
+A Associação dos Empregados do Comércio do Rio de Janeiro comprou o prédio da Gonçalves Dias, nº 40, onde havia funcionado o ateliê fotográfico de Gutierrez (O Paiz, 15 de junho de 1898, na quinta coluna).
+ 
+Andrea C. T. Wanderley
+Editora-assistente e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+BITTENCOURT, José Neves. Em Portugal, Denise (org). O Rio de Janeiro de Juan Gutierrez. Rio de Janeiro: Museu Histórico Nacional, 1997. CD-ROM.
+ERMAKOFF, George. Juan Gutierrez. Rio de Janeiro: Editora Capivara, 2001.
+FERNANDES JUNIOR, Rubens;LAGO, Pedro Corrêa do.O século XIX na Fotografia Brasileira.Coleção Pedro Corrêa do Lago. São Paulo: Fundação Armando Alvares Penteado, 2000.
+Hemeroteca Digital da Biblioteca Nacional
+KOSSOY, Boris. Dicionário Histórico-Fotográfico Brasileiro. Rio de Janeiro: IMS, 2002.
+LAGO, Bia Corrêa do;LAGO, Pedro Corrêa do. Coleção Princesa Isabel: fotografia do século XIX. Rio de Janeiro: Capivara, 2008.432p.:il., retrs.
+LAGO, Bia Corrêa do;LAGO, Pedro Corrêa do. Os Fotógrafos do Império. Rio de Janeiro: Capivara, 2005. 240p.:il
+VASQUEZ, Pedro. Fotógrafos Pioneiros no Rio de Janeiro: V. Frond, G. Leuzinger, M. Ferrez e J. Gutierrez / por Pedro Vasquez. – Rio de Janeiro: Dazibao, 1990.
+ 
+Link para o artigo O Rio de Janeiro de Juan Gutierrez, publicado na Brasiliana Fotográfica em 1º de março de 2019.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/4663` — `itens/20.500.12156.1_4663/`
+- `20.500.12156.1/4656` — `itens/20.500.12156.1_4656/`
+- `20.500.12156.1/3039` — `itens/20.500.12156.1_3039/`
+
diff --git a/wordpress/5453-a-fundacao-de-copacabana.md b/wordpress/5453-a-fundacao-de-copacabana.md
new file mode 100644
index 0000000..86f56a1
--- /dev/null
+++ b/wordpress/5453-a-fundacao-de-copacabana.md
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+---
+id: 5453
+url: "https://brasilianafotografica.bn.gov.br/?p=5453"
+titulo: "A fundação de Copacabana"
+autor: "Andrea Wanderley"
+data: "2016-07-06T10:22:42+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/858", "20.500.12156.1/2614"]
+fetched_at: "2026-09-10T10:25:37.921Z"
+---
+
+# A fundação de Copacabana
+
+Marc Ferrez. Copacabana, Ipanema, c. 19?. Rio de Janeiro, RJ / Acervo FBN
+ 
+Com uma seleção de fotografias de Copacabana, a Brasiliana Fotográfica homenageia a Princesinha do Mar, um dos bairros mais emblemáticos e bonitos do Rio de Janeiro, que hoje completa 124 anos. São registros produzidos por Antônio Caetano da Costa Ribeiro, Aristogeton Malta (1904-1954), Augusto Malta (1864 – 1957), Jorge Kfuri (1892/3? – 1965), José Baptista Barreira Vianna (1860 – 1925), Marc Ferrez (1843 -1923), Uriel Malta (1910-1994) e por fotógrafos ainda não identificados.
+Com a ligação estabelecida entre Copacabana e Botafogo, o bairro começou a se integrar ao resto da cidade. Isso aconteceu em 6 de julho de 1892, quando foi inaugurado pela Companhia Ferro-Carril do Jardim Botânico – atual Light – o Túnel de Real Grandeza, atual Túnel Velho – ligando a rua Real Grandeza, em Botafogo, com a rua do Matoso, atual rua Siqueira Campos. Com a presença do presidente, marechal Floriano Peixoto, foi lavrada uma ata que marcou, oficialmente, o nascimento do bairro de Copacabana (O Paiz, 7 de julho de 1892, na sexta coluna; Site Prefeitura do Rio de Janeiro; Correio da Manhã, 21 de abril de 1960).
+Sobre a origem do nome Copacabana há algumas versões: uma da língua quíchua, falada pelos Incas e que significa lugar luminoso, praia azul, mirante azul. Já a outra possibilidade vem da língua aimará, da Bolívia e significa vista do lago.
+ 
+Augusto Malta. Copacabana, c. 1910. Rio de Janeiro, RJ / Acervo IMS
+ 
+Copacabana é atualmente o bairro mais populoso da Zona Sul carioca com mais de 160 mil moradores. Possui mais de quatro quilômetros de orla e é palco de uma das mais famosas festas de fim de ano no mundo. Além disso, foi a inspiração de várias canções da música popular brasileira como Copacabana , de Alberto Ribeiro e Braguinha, originalmente gravada por Dick Farney, em 1946, e regravada por mais de 20 artistas, dentre eles Sarah Vaughan. Destaca-se também a canção Sábado em Copacabana, de Dorival Caymmi, gravada primeiramente por Lúcio Alves, em 1951. Copacabana foi cenário de enredos de diversos livros de autores como Antônio Olinto, Luiz Alfredo Garcia-Roza, Fausto Fawcett e Rubem Braga. No cinema, o documentário de Eduardo Coutinho, “Edifício Master” (2002), se passa no bairro, em um edifício da rua Domingos Ferreira. Há ainda o filme Copacabana (2001), de Carla Camuratti, e Copacabana mon amour (1970), de Rogério Sganzela, dentre vários outros.
+Link para a matéria do Jornal do Brasil, de 5 de julho de 1992, sobre as comemorações do centenário de Copacabana.
+Acessando o link para as fotografias de Copacabana disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Andrea C. T. Wanderley
+Editora-assistente e pesquisadora da Brasiliana Fotográfica
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/858` — `itens/20.500.12156.1_858/`
+- `20.500.12156.1/2614` — `itens/20.500.12156.1_2614/`
+
diff --git a/wordpress/5545-o-fotografo-amador-guilherme-santos-1871-1966.md b/wordpress/5545-o-fotografo-amador-guilherme-santos-1871-1966.md
new file mode 100644
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--- /dev/null
+++ b/wordpress/5545-o-fotografo-amador-guilherme-santos-1871-1966.md
@@ -0,0 +1,124 @@
+---
+id: 5545
+url: "https://brasilianafotografica.bn.gov.br/?p=5545"
+titulo: "O fotógrafo amador Guilherme Santos (1871 – 1966)"
+autor: "Andrea Wanderley"
+data: "2016-07-28T11:40:13+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/2064", "20.500.12156.1/2065"]
+fetched_at: "2026-09-10T10:25:41.336Z"
+---
+
+# O fotógrafo amador Guilherme Santos (1871 – 1966)
+
+Retrato do fotógrafo amador Guilherme Santos, publicado em O Malho de setembro de 1951
+ 
+O fotógrafo amador Guilherme Antônio dos Santos (1871 – 1966) era um entusiasta da fotografia estereoscópica, tendo sido um dos pioneiros dessa técnica no Brasil, ao adquirir, em 1905, na França, o Verascope, um sistema de integração entre câmera e visor, que permitia ver imagens em 3D, produzidas a partir de duas fotos quase iguais, porém tiradas de ângulos um pouco diferentes. Eram impressas em uma placa de vidro e reproduziam a sensação de profundidade de maneira bem próxima da visão real. Antes dele, entre os anos de 1855 e 1862, o “Photographo da Casa Imperial”, Revert Henrique Klumb (1826 – c. 1886), favorito da imperatriz Teresa Christina e professor de fotografia da princesa Isabel, havia produzido vários registros utilizando a técnica da estereoscopia. A Casa Leuzinger também produziu fotografias estereoscópicas.
+ 
+Guilherme Santos. Carnaval, 1932. Rio de Janeiro, RJ / Acervo IMS
+ 
+Guilherme Santos, cuja produção mais intensa ocorreu entre 1910 e 1958, registrou a paisagem, o cotidiano e os hábitos do carioca a partir da produção de fotografias dos antigos carnavais na avenida Central, de teatros, da inauguração do Cristo Redentor, de visitantes ilustres como os aviadores pioneiros Sacadura Cabral (1881 – 1924) e Gago Coutinho (1869 – 1959) e do voo do dirigível Zeppelin. Também registrou os pavilhões da Exposição Internacional de 1922. Sua série predileta era a de fotografias do Morro do Castelo – ele nunca se conformou com sua destruição.
+ 
+Guilherme Santos. Ruínas do Morro do Castelo, c. 1920. Rio de Janeiro, RJ / Acervo IMS
+ 
+A técnica da estereoscopia foi desenvolvida pelo escocês David Brewster (1781 – 1868), em 1844, poucos anos após a invenção da fotografia. Segundo Pedro Vasquez, a definição da fotografia estereoscópica é a seguinte: “Consistia em pares de fotografias de uma mesma cena que, vistas simultaneamente em um visor binocular apropriado, produziam a ilusão da tridimensionalidade. Esse efeito era obtido porque as fotografias eram tiradas ao mesmo tempo com uma câmera de objetivas gêmeas, cujos centros óticos eram separados entre si por cerca de 6,3cm – a distância média que separa os olhos humanos”.
+ 
+Acessando o link para as fotografias de Guilherme Santos disponíveis na Brasiliana Fotográfica, o leitor poderá visualizar e magnificar as imagens.
+ 
+Em 1851, David Brewster apresentou sua invenção na Exposição Universal de Londres e, a partir daí, o comércio das fotografias estereocópicas tornou-se uma febre, tendo Paris e Londres como seus dois centros de produção e difusão. Com o desenvolvimento da tecnologia tanto das chapas, que tornaram-se mais sensíveis, como das câmeras, com mais recursos óticos e mecânicos, a partir da década de 1860, começaram a surgir as primeiras estereoscopias retratando pessoas em movimento.  A pornografia passou a ser um dos temas das fotografias estereoscópicas. Alguns autores especulam que a associação da estereoscopia com a pornografia teria sido uma das causas de seu declínio como prática de consumo. Só no final do século XIX voltou a ser popular. O lançamento do Verascope, pela Maison Richard, na França, em 1893, contribuiu para que a estereoscopia voltasse a se proliferar, atraindo a atenção de fotógrafos amadores e de foto clubes europeus.
+Guilherme Santos se interessou pela técnica, em 1905, quando viajou em férias para Paris e adquiriu um Verascope, após visitar uma exposição de fotografias estereoscópicas e constatar que havia pouquíssimos registros do Brasil. Sobre o fato, declarou em reportagem da Noite Ilustrada, de 1º de agosto de 1950:
+“Tendo viajado à Europa em 1905 e verificado a maneira deprimente como era julgado e apresentado o Brasil em certas fotografias e, coincidindo com o interesse que então me despertava a arte fotográfica, um ideal dominou o meu sentimento de brasileiro: fazer um arquivo de fotografias que um dia provasse que o Brasil não era aquilo que estava sendo apresentado; minhas criações fotográficas mostrariam em quadros, com expressão artística, um Brasil adiantado e cheio de atrações, civilizado, habitado por uma raça superior e, não olhando sacrifícios, nem gastos, vencendo obstáculos e suportando e prejudicando interesses, em atividade constante nestes últimos quarenta e dois anos, consegui reunir o arquivo que está em condições de ter aproveitamento para a educação, cultura do povo e propaganda do Brasil”.
+A fotografia passou a ser seu hobby. Foi membro do Photo Clube Brasileiro e publicou na edição de maio de 1925 da Photo Revista do Brasil um artigo defendendo a estereoscopia e conclamando os leitores a aderirem a uma campanha sobre o desenvolvimento do gosto dos brasileiros pela fotografia.
+ 
+Verascope. c. 1894 / ignomini.com
+ 
+Monarquista, bem humorado e otimista, Guilherme Santos fazia parte da alta burguesia carioca, tendo sido amigo de famílias importantes como os Guinle e os Marinho. Além de comerciante e fotógrafo amador, era um colecionador de selos e pinturas. Foi sócio do Theatro Lírico e membro da Sociedade Brasileira de Belas Artes. Em sua casa de veraneio petropolitana, cultivava um jardim de cravos e orquídeas, uma das formas de expressar seu amor pela natureza, também manifestado em várias de suas fotografias. Escrevia poesias e tocava piano. Baixo, magro e de olhos verdes, era considerado parecido com o presidente do Brasil Epitácio Pessoa (1865 – 1942). Uma de suas frases preferidas era “O homem que não vive para servir não serve para viver”.
+A Coleção Guilherme Santos foi adquirida pelo Banco do Estado da Guanabara, em 28 de abril de 1964, para iniciar, juntamente com a coleção de fotografias de Augusto Malta (1864 – 1957), o acervo visual do Museu da Imagem e do Som do Rio de Janeiro, inaugurado em 3 de setembro de 1965 (Diário de Notícias, 29 de agosto de 1965). Malta, contemporâneo e amigo de Santos, foi o fotógrafo oficial da prefeitura do Rio de Janeiro entre 1902 e 1936. Antes da venda, Santos guardava seu acervo fotográfico em um cofre Fichet à prova de fogo, que ele mesmo havia mandado construir, já que era o representante brasileiro da fábrica belga de cofres. Após um incêndio ocorrido em sua loja, na rua do Rosário, 146, em 23 de dezembro de 1954, quando a única coisa que se salvou foi seu acervo de fotografias, decidiu vendê-lo para preservá-lo.
+A maior parte da obra de Santos, que inclui 17.812 mil negativos e 9.310 mil positivos (em vidro), além de 1.302 ampliações em papel feitas a partir dos negativos, está guardada no MIS-RJ. Um conjunto de cerca de 3000 imagens produzidas pelo fotógrafo foi adquirida pelo Instituto Moreira Salles, em 2013.
+ 
+Reprodução de uma das primeiras notícias de comercialização do Verascope no Brasil. Jornal do Brasil de 21 de dezembro de 1909, sob o título “Pechincha”, onde se lê “Vende-se uma machina photographica Versacope Richard com lentes Zeiss, por 350$, na rua Gonçalves Dias nº 52, sobrado, casa Bastos Dias”
+ 
+ 
+Cronologia de Guilherme Antônio dos Santos (1871 – 1966)
+ 
+1871 – No Rio de Janeiro, em 12 de fevereiro, nasceu Guilherme Antonio dos Santos, cuja família residia na Rua do Rezende. Seu pai era o joalheiro José Antonio dos Santos (? – 1905).
+1883 - No encerramento das aulas do Colégio Aquino, onde fez seus estudos, Guilherme Santos e Escragnolle Doria (1869 – 1948) receberam do imperador Pedro II medalhas por terem respondido “com prontidão e segurança a todas as suas perguntas sobre História do Brasil” (Correio da Manhã, 31 de maio de 1952).
+1896 – Guilherme casou-se com Maria Mendonça dos Santos, conhecida como dona Mariquinhas. Tiveram quatro filhos: Guilherme dos Santos Júnior (? – 1980), médico que foi diretor do Souza Aguiar e do Hospital Paulino Werneck; Amália Santos Pinto da Silva (? – 1986), Manoel Antônio dos Santos , que sempre trabalhou com o pai na representação dos cofres belgas Fichet; e Francisca Mendonça dos Santos (1901 – ?) . Os filhos estudaram no Colégio São Vicente de Paulo e as filhas no Colégio Santa Isabel, em Petrópolis.
+dezembro de 1898 – A joalheria e galeria de arte Luiz de Rezende & Cia, cujo um dos sócios era o pai de Guilherme Santos, José Antonio dos Santos, foi roubada. Ficava na rua do Ouvidor 88 e 89 e na rua Ourives 69 ( Gazeta de Notícias, 6 de dezembro de 1898, na última coluna e  Jornal do Brasil, 19 de dezembro de 1903, na sétima coluna, sob o título “O buraco do Rezende”). Anteriormente, a joalheria chamava-se Santos Moutinho e Cia. Na época do roubo, que teve grande repercussão, Guilherme Santos morava no último andar da loja.
+1901 – Guilherme Santos foi empossado no conselho da Sociedade Animadora da Corporação dos Ourives (Jornal do Brasil, 31 de julho de 1901, na última coluna). Nasceu sua filha caçula, Francisca, (Jornal do Brasil, de 16 de dezembro de 1901, na quarta coluna). Nos Almanak Laemert de 1901, 1902, 1903, 1904, 1905, 1906 e 1907, Guilherme e seu irmão, Francisco Antonio, aparecem como dois dos sócios da joalheria Luiz de Rezende & Cia. Luiz de Rezende ( – 1927) era português e foi com o pai de Guilherme Santos, José Antônio, que ele aprendeu a ourivesaria.
+1905 / 1906 – No Almanak Laemert de 1905, Guilherme Santos aparece como o 2º secretário da Sociedade Animadora da Corporação dos Ourives. Viajou para Paris com a família para, a conselho de seu pai, se tratar de um estado de nervosismo permanente ocasionado pelo roubo à joalheira em 1898. Cuidou-se com um tratamento de auto-sugestão cujo lema era “Hoje sob todos os pontos de vista vou cada vez melhor”. Interessou-se pela técnica da estereoscopia e adquiriu um equipamento Verascope, da Maison Richard, após visitar uma exposição de fotografias estereocópicas no Grand Palais. Lá constatou que havia pouquíssimos registros do Brasil, todos de mulheres negras vendendo abacaxis. Santos começou a praticar a fotografia amadora e foi em Portugal que produziu seu primeiro registro, no pinhal de Caldas da Rainha. Seu pai, José Antonio dos Santos, faleceu (Correio da Manhã, 20 de maio de 1952).
+1907 – Provavelmente, foi um dos proprietários do Cinema Pavilhão Progresso, na rua Hadock Lobo, 16. O cinema foi inaugurado em 31 de outubro de 1907 (Jornal do do Brasil, 30 de outubro de 1907, na primeira coluna).
+1920 – Guilherme Santos morava na rua Conde de Bonfim, 86, na Tijuca.
+1922 – Santos cedeu ao então ministro do Exterior, José Manuel de Azevedo Marques (1865 – 1943), milhares de reproduções estereográficas de quadros da natureza brasileira que foram distribuídas aos estrangeiros que vieram representar seus países nas comemorações do centenário da independência do Brasil. Deixou de trabalhar na Casa Luiz de Rezende ( Correio da Manhã, 20 de maio de 1952).
+1923 – Foi criado o Photo Club Brasileiro, uma associação de fotógrafos, no Rio de Janeiro, pelos associados do Photo Club do Rio de Janeiro, fundado em 1910, que se juntaram a fotógrafos de arte para debater as relações entre fotografia e arte. O Photo Club Brasileiro promovia cursos, concursos, exposições e excursões. Publicou as revistas Photo Revista do Brasil (1925 – 1926) e Photogramma (1926 – 1931). Também organizava salões anuais, o primeiro deles inaugurado em 4 de julho de 1924, no Liceu de Artes e Ofícios (artigo de Fernando Guerra Duval, na Gazeta de Notícias, 9 de julho de 1924), além de divulgar novas técnicas e estéticas, mantendo correspondência com sociedades internacionais de fotografia. Até o fim da década de 1940, foi uma instituição fundamental na difusão da ideia da fotografia como arte. Uma matéria da revista Para Todos, de 17 de setembro de 1927, sobre a quarta exposição anual do Photo Club ilustrava essa função primordial da associação. Alguns de seus membros de destaque foram Alberto Friedmann, Barroso Neto, Fernando Guerra Duval, Herminia Borges, João Nogueira Borges, Oscar de Teffé e Silvio Bevilacqua.
+ 
+Aspecto da quarta exposição anual promovida pelo Photo Club Brasileiro / Revista da Semana, 1º de outubro de 1927
+ 
+maio de 1925 –  Guilherme Santos tornou-se membro do Photo Club Brasileiro. Publicou na edição de lançamento da Photo Revista do Brasil, órgão oficial da associação, o artigo “Photographia Estereoscópica”. No expediente da revista, aparece como um de seus principais colaboradores. E, nas páginas dedicadas às notícias do Photo Club, que acabava de se instalar em uma nova sede, na rua 13 de maio, 35, aparece como um dos membros recentes da associação. O presidente e o vice-presidente do Photo Club Brasileiro eram Alberto Friedmann e Fernando Guerra Duval (18? – 1959), respectivamente.
+ 
+“Photographia Estereoscópica”
+Por Guilherme A Santos
+Confeccionar uma photographia é quasi sempre reconstruir uma recordação!
+Nenhuma outra photographia trabalhada pelos processos conhecidos, pôde dar-nos tamanha satisfação, produzir-nos impressão tão viva  e tão nitida daquilo que quizermos recordar como a photographia estereoscopica! Seja o retracto de um ente querido, seja uma paysagem, ou ainda uma reunião de família, cujo objecto exprima um momento feliz da nossa existencia!
+A sensação do relevo e da perspectiva que nos dá um positivo sobre vidro, copia de um cliche estereoscopico, introduzido no instrumento apropriado, é inegualavel! inconfundivel! incomparavel!
+Ao olhar, apresentam-se as imagens das creaturas, da Natureza ou dos objectos, com a expressão a mais perfeita e verdadeira , mostrando-nos em destaque todos os planos que as objectivas colheram na extensão do angulo focal!
+Como passa tempo, o que é possível de encontrar que seja mais agradável, mais divertido do que os positivos sobre vidro da photoestereoscopia!?
+Reunidos em família e acompanhados de bons amigos sentados em redor de uma mesa, passa-se de mão em mão o apparelho estereoscópicos exibindo as differentes séries de positivos! Algumas, despertando recordações aos que, num afogar de saudades revêem os bons momentos que passaram, contemplando imagens de creaturas que talvez nunca mais encontrem no caminho da vida e que fizeram a delícia daqueles momentos, em uma estação de águas, em uma excursão, em cidades de verão, a bordo de um transatlântico, na convivência íntima de uma longa viagem, etc.
+Outras séries apresentando o esplendor da Natureza em grandes quadros compostos com senso esthético, com observação artística que estasiam, que empolgam e que nunca cançaríamos de contemplar são photografias que provam como é impossível negar o extraordinário poder que tem a natureza, de impressionar e fazer vibrar a alma das creaturas com suas majestosas creações!
+Nesse particular a nossa terra recebeu do CREADOR um dote precioso, o qual infelizmente em vez de ser transportado para as chapas da photographia por meio das objectivas dos differentes apparelhos, tem o homem esbanjado e destruido quasi inconscientemente sem considerar o grande mal que causa ao bem commum e sem reflectir no crime que pratica!
+Disse PAULO MANTEGAZZA, capitulo IV no “O LIVRO DAS MELANCHOLIAS” de uma forma encantadora e com a alma amargurada: que se conhecesse DEUS, dir-khe-hia que na sua infinita misericordia, perdoasse todos os peccados dos homens e reservasse toda a sua ira, toda as suas vinganças, tododos seus raios, para o homem que destróe uma “FLORESTA”!!…
+Faço minhas as palavras do primoroso escriptor, mas accrescento que o homem que dedicar-se á photographia, de preferenciaa estereoscopica, no contacto intimo e constante que ele tiver com a NATUREZA, quando a tiver estudado bem, irá lentamente habituando-se a apreciar devidamente a sua obra grandiosa, sentirá despertar em sua alma, sentimentos delicadosque até então desconhecia e difficilmente será capaz de derrubar uma arvore ou consentir que alguem o faça em sua presença!
+A falta de amor e o abandono ás nossa bellezas naturaes é patente! Cito um exemplo mui recente:
+Por uma destas lindas manhãs de ABRIL (era dia feriado) percorremos uma parte da estrada que liga o ALTO DA BOA VISTA ao SUMARÉ.
+É uma das maravilhas da TIJUCA! A vegetação é abundante e variada e conta-se ás dezenas, arvores gigantescas cujas ramadas projectam sombras extensas sobre o caminho!
+O sol imprimia uma luz de oiro sobre o verde esmeralda do arvoredo e fazia pensar que foi a NATUREZA quem inspirou os nossos antepassados sobre a escolha das cores para a nossa bandeira!
+Caminhamos cerca de 6 kilometros ida e volta e gastamos cerca de 5 horas. Pois bem, nesse demorado percurso, cruzamos com 3 outros grupos de excursionistas, todos elles, compunham-se de estrangeiros!
+Nem um brasileiro! nem um amador da photographia! Digo, encontramos um brasileiro, que empunhando uma vara que tinha um sacco de gaze preso a uma das extremidades, caçava as lindas borboletas azues de grandes azas que faziam o encanto daquellas paragens! aquelle rapaz de 20 annos presumives, de bella estaturaphysica, fazia-o como meio de vida! Contamos estendidas sobre um jornal, 20 daquellas borboletas, apanhadas em menos de uma hora! Pobrezinhas! a  NATUREZA limitou-lhes curtíssima existência, nem mesmo a essas deixam viver!
+Creio ser o momento de ser transformada essa situação. A Photo-Revista vem preencher uma lacuna e acreditamos que uma campanha sustentada com perseverança por todos os seus collaboradores, daria bom resultado, no sentido de desenvolver o gosto dos brasileiros pela arte photographica: talvez conseguíssemos convence-los de trocar uma ou outra vez (às horas de ócio) os encantos do lar doméstico, pelos encantos naturaes, lembrando-lhes que em companhia de nossa família e em contacto com a floresta, também construímos lares provisorios sob a benção da mãe de tudo e de todos que é a NATUREZA!
+(Photo Revista do Brasil, vol 1, maio de 1925, pg 14)
+Além disso, a fotografia da capa era de sua autoria (O Brasil, 31 de maio de 1925, na sexta coluna, sob o título “Publicações”). E, na mesma edição da revista, foi publicada uma propaganda das fotografias estereoscópicas de Guilherme. O endereço, rua Buenos Aires, 93, é o mesmo do escritório dos cofres belgas Fichet, empresa que ele representava no Brasil. Posteriormente, o escritório foi transferido para a rua do Rosário, 146.
+1937 – Resumo do assalto ocorrido na Casa Luiz de Rezende, em 1898, com retratos dos sócios Luiz de Rezende e José Antonio dos Santos, pai de Guilherme (Noite Illustrada, 25 de maio de 1937).
+1942 – Publicação da matéria “Rio desaparecido”, de Escragnolle Doria, sobre a importância dos arquivos fotográficos de Augusto Malta e Guilherme Santos (Revista da Semana, 30 de maio de 1942).
+1945 – Publicação no Boletim de Belas Artes de outubro de um artigo sobre o desmonte do Morro do Castelo com entrevista de Guilherme Santos (Correio da Manhã, 8 de maio de 1952).
+1950 – Publicação de matéria elogiando a coleção de fotografias de Guilherme Santos (Jornal do Brasil, 24 de março de 1950, na última coluna sob o título “Belas Artes). Publicação de uma reportagem de Walter Sampaio sobre o “Arquivo Guilherme dos Santos”. Na matéria, Santos revelou ter vontade de “expor em um museu o seu valioso arquivo histórico e estereoscópico nacional”. (A Noite Ilustrada, 1º de agosto de 1950).
+ 
+Guilherme Santos, aos 85 anos, retratado com um aparelho estereoscópico na Noite Ilustrada de 1º de agosto de 1950
+ 
+1951 – O Departamento de História e Documentação do Rio de Janeiro examinou a coleção fotográfica de Guilherme Santos (O Malho, setembro de 1951).
+1952 – Faleceu sua esposa, Maria Mendonça dos Santos, em 26 de maio ( Correio da Manhã, 30 de maio de 1952, na primeira coluna). Na coluna “Pequenas Reportagens”, é lembrado um artigo do Boletim de Belas Artes de outubro de 1945, onde Guilherme Santos comentava seus registros fotográficos do desmonte do Morro do Castelo (Correio da Manhã, 8 de maio de 1952). Na mesma coluna, foi publicada uma matéria sobre Guilherme Santos ( Correio da Manhã, 20 de maio de 1952). Finalmente na coluna de 31 de maio de 1952, o assunto foi a coleção de fotografias de Santos.
+ 
+Propaganda dos cofres Fichet, representados por Guilherme Santos, publicado no Almanak do Correio da Manhã,  de 1953
+ 
+1954 –  Às vésperas do Natal, a sede da G.A. Santos & CIA, localizada na Rua do Rosário, 146, sofreu um incêndio. A única coisa resgatada foi o acervo de fotografias de Guilherme que estava dentro de um cofre à prova de fogo. Foi devido a esse fato que Santos decidiu vender sua coleção de fotografias (Correio da Manhã, 24 de dezembro de 1954).
+1956 – Na primeira página do Jornal do Brasil, foi publicada a matéria “O Rio de Janeiro através da estereoscopia”, assinada por Augusto Maurício, sobre a coleção de fotografias de Guilherme Santos ( Jornal do Brasil, 27 de maio de 1956).
+1964 – A Coleção Guilherme Santos foi adquirida pelo Banco do Estado da Guanabara, em 28 de abril de 1964, para iniciar, juntamente com a coleção de fotografias de Augusto Malta (1864 – 1957), o acervo do Museu da Imagem e do Som do Rio de Janeiro. O contrato de compra e venda foi assinado pelo filho e procurador de Guilherme, Manoel Antônio dos Santos.
+1965 – Inauguração do Museu da Imagem e do Som do Rio de Janeiro, em 3 de setembro de 1965 (Diário de Notícias, 2 de setembro de 1965). A maior parte da obra de Santos, que inclui 17.812 mil negativos e 9.310 mil positivos (em vidro), além de 1.302 ampliações em papel feitas a partir dos negativos, está sob a guarda da instituição.
+janeiro de 1966 – Guilherme Santos faleceu em 26 de janeiro, na casa de sua filha Francisca, na Ilha do Governador. Na época, ele morava na rua Cesário Alvim, 39. Anúncio da missa de sétimo dia de Guilherme Santos (Diário de Notícias, 30 de janeiro de 1966).
+1984 – Fotografias do Rio Antigo de autoria de Guilherme Santos fizeram parte da exposição “19 anos do Museu da Imagem e do Som” (Última Hora, 27 de dezembro de 1984, na última coluna).
+2013 – Um conjunto de cerca de 3000 imagens produzidas pelo fotógrafo foi adquirida pelo Instituto Moreira Salles, em 2013.
+ 
+Andrea C. T. Wanderley
+Editora-assistente e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+A hora e o lugar – organizadores Sergio Burgi e Samuel Titan Jr. IMS – Rio de Janeiro, 2015.
+Antologia Brasil: 1890-1930 – Pensamento crítico em Fotografia. Organização Ricardo Mendes – FUNARTE – Rio de Janeiro, 2013.
+Cenas cariocas: o Rio de Janeiro através das estereoscopias de Guilherme dos Santos, de Maria Isabela Mendonça dos Santos – UFF – Niterói, 2014.
+Depoimento oral de Lilia Maria Maya Monteiro na série Projetos Especiais – Projeto Guilherme Santos, Museu da Imagem e do Som do Rio de Janeiro, em 22 de janeiro de 1988.
+Hemeroteca Digital da Biblioteca Nacional
+PARENTE, José Inacio. A Estereoscopia no Brasil. Sextante – Rio de Janeiro, 1999.
+Site do Instituto Moreira Salles
+Site do Museu da Imagem e do Som
+MELLO, Maria Teresa Bandeira de. Arte e fotografia: o movimento pictorialista no Brasil. Edição Frederico Gomes; apresentação Angela Magalhães. Rio de Janeiro: Funarte, 1998. (Luz & reflexão, 7)., p. 68.
+PESSANHA, Maria Edith de Araújo. A Estereoscopia: o Mundo em Terceira Dimensão. Rio de Janeiro, 1991.
+SANTOS, Maria Isabela Mendonça dos. Cenas cariocas: o Rio de Janeiro através das estereoscopias de Guilherme Santos (1910 – 1957). Niterói: Universidade Federal Fluminense. Programa de Pós-Graduação em História, 2014.
+TURAZZI, Maria Inez. Poses e Trejeitos: a fotografia na era do espetáculo (1839 – 1889). Rio de Janeiro: Funarte/Rocco, 1995.
+VASQUEZ, Pedro Karp. A Fotografia no Império. Rio de Janeiro: Jorge Zahar Editor. 2002.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/2064` — `itens/20.500.12156.1_2064/`
+- `20.500.12156.1/2065` — `itens/20.500.12156.1_2065/`
+
diff --git a/wordpress/5695-dia-nacional-do-futebol.md b/wordpress/5695-dia-nacional-do-futebol.md
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+---
+id: 5695
+url: "https://brasilianafotografica.bn.gov.br/?p=5695"
+titulo: "Dia Nacional do Futebol"
+autor: "Andrea Wanderley"
+data: "2016-07-19T11:01:57+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/4310"]
+fetched_at: "2026-09-10T10:25:44.482Z"
+---
+
+# Dia Nacional do Futebol
+
+No Dia Nacional do Futebol, a Brasiliana Fotográfica homenageia o esporte mais popular do Brasil com a fotografia O foot-ball na Escola de Aprendizes Marinheiros do Ceará, de 1917. Sob o título de Companhia de Aprendizes-Marinheiros, a escola foi criada em 26 de novembro de 1864, mas foi instalada somente em 26 de fevereiro de 1865. A imagem destacada pertence ao acervo da Diretoria de Patrimônio Histórico da Marinha, uma das parceiras do portal. O Dia Nacional do Futebol foi instituído pela Confederação Brasileira de Desportos e a data foi escolhida porque o Sport Club Rio Grande, fundado em 19 de julho de 1900, é o mais antigo time de futebol brasileiro em atividade. O Congresso Nacional oficializou a data (Jornal do Brasil, 20 de julho de 1984, na última coluna).
+ 
+Anônimo. O foot-ball na Escola de Aprendizes Marinheiros do Ceará, 1917. Fortaleza, Ceára / Acervo DPHDM
+ 
+O futebol chegou ao Brasil pelas mãos do paulista Charles William Miller (1874 – 1953), filho de um inglês e de uma brasileira. Após 10 anos estudando na Inglaterra, em 1894, Miller chegou ao Brasil, vindo de Southampton, a bordo do paquete inglês Magdalena, para trabalhar na São Paulo Railway. Trouxe duas bolas usadas, um par de chuteiras, um livro com as regras do futebol, uma bomba de encher bolas e uniformes usados ( O Paiz, 23 de outubro de 1894, na sexta coluna, sob o título “Movimento Marítimo” ). Aproximadamente um ano depois, em 14 de abril de 1895, foi realizada a primeira partida de futebol do Brasil, na Várzea do Carmo, em São Paulo, onde atualmente está localizado o Largo do Gasômetro. Foi disputada entre os funcionários da Companhia de Gás de São Paulo (Gas Company of São Paulo) e da Companhia Ferroviária de São Paulo (São Paulo Railway). O time de Charles Miller venceu por 4 a 2. Segundo o historiador John Mills, autor do livro Charles Miller, o Pai do Futebol Brasileiro,  o único documento que existe sobre esse jogo é o depoimento que Miller deu ao jornalista Thomaz Mazzoni , que foi publicado na Gazeta Esportiva, em 1942. Alguns historiadores contestam o pioneirismo de Charles Miller.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/4310` — `itens/20.500.12156.1_4310/`
+
diff --git a/wordpress/5708-dia-dos-pais.md b/wordpress/5708-dia-dos-pais.md
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+---
+id: 5708
+url: "https://brasilianafotografica.bn.gov.br/?p=5708"
+titulo: "Dia dos Pais"
+autor: "Andrea Wanderley"
+data: "2016-08-14T00:39:04+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/1792"]
+fetched_at: "2026-09-10T10:25:47.728Z"
+---
+
+# Dia dos Pais
+
+Alberto Henschel. Princesa Isabel, Conde D’Eu e os filhos D. Pedro de Alcântara, príncipe do Grão-Pará, D. Luís Maria e D. Antônio Gastão, c. 1884 / Acervo IMS
+Com uma fotografia  do Conde D´Eu (1842-1922), com sua esposa, a Princesa Isabel (1846 – 1921), e com os filhos do casal Dom Pedro de Alcântara, Dom Luís Maria e Dom Antônio Gastão, produzida por Albert Henschel (1827 – 1882) a Brasiliana Fotográfica homenageia o Dia dos Pais, data que foi comemorada pela primeira vez, em 1910, nos Estados Unidos. No Brasil, a ideia de criar esta data partiu do publicitário Sylvio Bhering e o jornal O Globo começou uma campanha para difundir a efeméride (O Globo, 1º de junho de 1953), festejada pela primeira vez no dia 16 de agosto de 1953 (Jornal do Brasil, 16 de agosto de 1953). Posteriormente, o Dia dos Pais passou a ser comemorado no segundo domingo de agosto.
+Gastão de Orleans, o Conde  D´Eu (1842 – 1922), e a Princesa Isabel (1846 – 1921) casaram-se em 15 de outubro de 1864  (Diário do Rio de Janeiro, edição de 16 de outubro de 1864). Onze anos depois, em 15 de outubro de 1875, em Petrópolis, nasceu o primeiro filho do casal, Pedro de Orléans e Bragança (Diário do Rio de Janeiro, edição de 16 de outubro de 1875, sob o título “Diário do Rio”). Ele faleceu em 29 de janeiro de 1940, na mesma cidade em que nasceu. Em 26 de janeiro de 1878, ocorreu o nascimento do segundo filho, Luis Maria de Orléans e Bragança, em Petrópolis (Diário do Rio de Janeiro, edição de 27 de janeiro de 1878, na segunda coluna). Ele faleceu em Cannes, na França, em março de 1920. Finalmente, em 9 de agosto de 1881, nasceu, em Paris, o terceiro e último filho do casal, Antonio Gastão de Orléans e Bragança (Gazeta de Notícias, edição de 10 de agosto de 1881, na primeira coluna). Ele faleceu em 29 de novembro de 1918, devido a um desastre de avião, em Londres.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/1792` — `itens/20.500.12156.1_1792/`
+
diff --git a/wordpress/5734-a-fundacao-de-joao-pessoa.md b/wordpress/5734-a-fundacao-de-joao-pessoa.md
new file mode 100644
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--- /dev/null
+++ b/wordpress/5734-a-fundacao-de-joao-pessoa.md
@@ -0,0 +1,31 @@
+---
+id: 5734
+url: "https://brasilianafotografica.bn.gov.br/?p=5734"
+titulo: "A fundação de João Pessoa"
+autor: "Andrea Wanderley"
+data: "2016-08-05T09:54:42+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/4687"]
+fetched_at: "2026-09-10T10:25:50.697Z"
+---
+
+# A fundação de João Pessoa
+
+Com uma seleção de fotografias, a Brasiliana Fotográfica homenageia João Pessoa, capital da Paraíba, estado do nordeste brasileiro. Uma das mais antigas capitais do Brasil, é também conhecida como “Porta do Sol” porque no município está localizada a Ponta do Seixas, ponto mais oriental do continente americano. Foi fundada por colonizadores portugueses com o nome de Cidade Real de Nossa Senhora das Neves, em 5 de agosto de 1585.
+ 
+Anônimo. Ângulo da Praça Venancio Neiva, c. 1925. João Pessoa, Paraíba / Acervo IMS
+ 
+Passou a se chamar Filipeia de Nossa Senhora das Neves, em 1588, em homenagem ao rei Filipe da Espanha e de Portugal. Durante a invasão holandesa, em 1634, tornou-se Frederikstad. A partir de 1654, seu nome foi trocado para Parahyba do Norte. A denominação de João Pessoa foi aprovada em  setembro de 1930 (Correio da Manhã, 7 de setembro de 1930, na sexta coluna, sob o título “…e do Senado“) como uma homenagem ao político paraibano homônimo, assassinado em 26 de julho de 1930, na Confeitaria Glória, em Recife, por João Duarte Dantas (1888 – 1930), quando era governador da Paraíba e candidato a vice-presidente na chapa de uetúlio Vargas. O assassinato de João Pessoa ( 1878 – 1930), causou grande comoção popular e foi considerado o estopim da Revolução de 30, que depôs o presidente Washington Luís e levou Getulio Vargas ao poder.
+ 
+O brasão de João Pessoa
+ 
+Link para o Hino a João Pessoa (o político), composto por Eduardo Souto e Oswaldo Santiago, cantado por Francisco Alves
+Alguns historiadores afirmam que, apesar da fundação ser comemorada em 5 de agosto, quando, em 1585, foi selada a paz entre os portugueses e os tabajaras, a data real seria 4 de novembro do mesmo ano, quando o português Martim Leitão teria iniciado a construção da cidade.
+Acessando o link para as fotografias da cidade de João Pessoa disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/4687` — `itens/20.500.12156.1_4687/`
+
diff --git a/wordpress/5754-o-palacio-imperial-de-petropolis.md b/wordpress/5754-o-palacio-imperial-de-petropolis.md
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+---
+id: 5754
+url: "https://brasilianafotografica.bn.gov.br/?p=5754"
+titulo: "O Palácio Imperial de Petrópolis"
+autor: "Andrea Wanderley"
+data: "2016-08-23T10:01:34+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/2246"]
+fetched_at: "2026-09-10T10:25:53.833Z"
+---
+
+# O Palácio Imperial de Petrópolis
+
+Revert Henrique Klumb. Palácio Imperial, c. 1860. Petrópolis, Rio de Janeiro / Acervo IMS
+ 
+A Brasiliana Fotográfica traz para seus leitores fotografias do Palácio Imperial de Petrópolis, que começou a ser construído em 1845 e foi concluído em 1862. São imagens produzidas por Georges Leuzinger (1813 – 1892), Phillip Peter Hees (1841 – 1880), que ficou conhecido como Pedro Hees; e Revert Henrique Klumb ( 18? – c. 1886). Em 16 de março de 1843, dom Pedro II assinou o decreto da criação de Petrópolis e muitos imigrantes da Europa, principalmente da Alemanha, comandados pelo major e engenheiro alemão Julius Friedrich Koeler (1804 – 1847), começaram a colonização da região.
+Acessando o link para as fotografias do palácio imperial de Petrópolis disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+Dom Pedro I se encantou com a região serrana, em 1822, quando viajava para Minas Gerais na busca de apoio à independência do Brasil. Ficou hospedado na fazenda do Padre Correia (1759 – 1824), cuja sede ficava na confluência dos rios Morto e Piabanha. A fazenda oferecia hospedagem e alimentação aos tropeiros. O padre Correia recusou uma oferta feita pelo imperador para a compra de sua propriedade. Então, em 1830, dom Pedro I comprou a fazenda do Córrego Seco, localizada no topo da Serra da Estrela, por considerá-la situada em uma região de salubridade e beleza ideais, o que beneficiaria sua filha, a princesa dona Paula (1823 – 1833), que tinha sérios problemas de saúde. D. Pedro I queria construir ali um palácio para o verão, o Palácio da Concórdia. Porém, sua abdicação, em 1831, e sua morte, em 1834, o impediram de realizar seu desejo. Seus credores entraram nas justiças europeia e brasileira e a fazenda foi destinada para cobrir suas dívidas. Em 1839, o governo do Brasil foi autorizado a comprar a propriedade ( Diário do Rio de Janeiro, 21 de setembro de 1839, na primeira coluna ) e, em 1840, ela passou a pertencer a dom Pedro II e a seus sucessores ( Diário do Rio de Janeiro, 15 de outubro de 1840, na terceira coluna). A fazenda foi então arrendada por Frederico Koeler, que se tornou seu superintendente. Ele teria que edificar um palácio para o imperador, uma igreja e um cemitério, além de povoar a região.
+Foi da dotação pessoal de Pedro II que vieram os recursos para a construção do palácio. O projeto original foi de Koeler e depois de seu falecimento, em 1847 (Diário de Notícias, 24 de novembro de 1847, na segunda coluna), foi alterado pelo italiano Cristóforo Bonini, responsável pelo acréscimo do pórtico de granito ao corpo central do edifício. Sob orientação de Pedro II, o botânico e paisagista francês Jean-Baptiste Binot (1810-1894) planejou e executou os jardins imperiais. O barão de Santo Ângelo, Manuel Araújo Porto Alegre (1806 – 1879), colaborou na decoração. Os arquitetos João Cândido Guillobel (1787 – 1859) e José Maria Jacinto Rebelo (1821 – 1871), ambos ligados à Academia Imperial de Belas-Artes, também participaram da obra. 
+Com o banimento e o exílio da família real na Europa, ocorrido logo após a proclamação da República, em 15 de novembro de 1889, e com a morte da imperatriz dona Teresa Cristina na cidade do Porto, em Portugal, em 28 dezembro de 1889, e o falecimento, em 5 de dezembro de 1891, de dom Pedro II , a princesa Isabel (1846 – 1921) tornou-se a única herdeira do palácio. Ela o alugou para o Educandário Notre Dame de Sion, entre 1893 e 1908. Entre 1909 e 1939, o Colégio São Vicente de Paulo funcionou no prédio.
+O político e historiador Alcindo de Azevedo Sodré (1895 – 1952), que havia estudado no Colégio São Vicente de Paulo, foi o mentor da transformação do seu antigo colégio em um museu histórico. O presidente Getulio Vargas criou, em 29 de março de 1940, pelo Decreto-Lei n° 2.096, o Museu Imperial, inaugurado em 16 de março de 1943, na comemoração do centenário de Petrópolis (Jornal do Brasil, 18 de março de 1943). Azevedo Sodré foi seu primeiro diretor.
+ 
+Andrea C. T. Wanderley
+Editora-assistente e pesquisadora da Brasiliana Fotográfica
+ 
+Fontes:
+CARVALHO, José Murilo. Pedro II: ser ou não ser. São Paulo: Companhia das Letras, 2007.
+Hemeroteca Digital da Biblioteca Nacional
+SCHWARCZ, Lilia Moritz. As barbas do Imperador: D. Pedro II, um monarca nos trópicos. São Paulo: Companhia das Letras, 1998.
+Site A História de Petrópolis
+Site do Museu Imperial de Petrópolis
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/2246` — `itens/20.500.12156.1_2246/`
+
diff --git a/wordpress/5809-revert-henrique-klumb-o-fotografo-da-familia-real-do-brasil.md b/wordpress/5809-revert-henrique-klumb-o-fotografo-da-familia-real-do-brasil.md
new file mode 100644
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+++ b/wordpress/5809-revert-henrique-klumb-o-fotografo-da-familia-real-do-brasil.md
@@ -0,0 +1,120 @@
+---
+id: 5809
+url: "https://brasilianafotografica.bn.gov.br/?p=5809"
+titulo: "Revert Henrique Klumb, o fotógrafo da família real do Brasil"
+autor: "Andrea Wanderley"
+data: "2016-08-31T01:06:24+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/4225", "20.500.12156.1/3919", "20.500.12156.1/3648"]
+fetched_at: "2026-09-10T10:25:57.204Z"
+---
+
+# Revert Henrique Klumb, o fotógrafo da família real do Brasil
+
+Revert Henrique Klumb. Autorretrato, 186? / Acervo FBN
+Um dos primeiros fotógrafos estrangeiros a se estabelecer no Brasil, o francês Revert Henrique Klumb (c. 1826 – c. 1886) foi o fotógrafo preferido da família imperial brasileira, tendo sido agraciado com o título de “Fotógrafo da Casa Imperial”, em 1861. Um dos pioneiros na produção comercial de imagens sobre papel fotográfico e uso de negativo de vidro em colódio no Brasil, inaugurou seu estabelecimento fotográfico em 1855 ( Correio Mercantil , de 4 de novembro de 1855, na última coluna ). Foi professor de fotografia da princesa Isabel e, provavelmente, o introdutor da técnica estereoscópica no Brasil, com a qual entre os anos de 1855 e 1862 produziu ampla documentação sobre o Rio de Janeiro.
+Foi também o autor do livro Doze horas em diligência. Guia do viajante de Petrópolis a Juiz de Fora, única obra do Brasil do século XIX a ser idealizada, fotografada, escrita e publicada por uma só pessoa. Também foi o primeiro livro de fotografia inteiramente litografado e produzido no país. Dois exemplares estão conservados na Divisão de Obras Raras da Biblioteca Nacional.
+Doze horas em diligência descreve o trajeto  entre Petrópolis e Juiz de Fora, realizado entre seis horas da manhã e seis horas da tarde, duração padrão do percurso nas diligências da Companhia União e Indústria. O fotógrafo dedicou o livro a sua protetora, a imperatriz Teresa Cristina (1822 – 1889): “Quando concebi o projeto de escrever esse pequeno livro, meu primeiro pensamento foi que só a VOSSA MAJESTADE me era permitido dedicar este simples ensaio descritivo de uma das mais belas estradas do Império. Sou talvez muito presunçoso ousando oferecer a Vossa Majestade a dedicatória deste opúsculo; no entanto ouso esperar que VOSSA MAJESTADE me fará a graça insigne de aceital-o, ainda que não fosse mais senão para servir ao sentimento que me inspirou. No benévolo acolhimento de VOSSA MAJESTADE – que já se dignou a fazer tanto por mim – procurarei os meios para realizar trabalhos mais importantes que tenciono fazer no futuro…”.
+No prefácio, Klumb afirmou: …Num trabalho feito a galope, não se pode esperar encontrar estilo elegante e florido, mas sim uma ligeira descrição dos lugares notáveis, atravessados por uma estrada magnífica. Essa obra não tem o merecimento senão o de ser: o primeiro guia do viajante, feito no país, guia ilustrado de desenhos copiados da fotografia …
+São de autoria de Klumb diversas imagens da família imperial brasileira, que deixam clara sua proximidade com a realeza. No Rio de Janeiro, fotografou tanto a natureza como a paisagem urbana da cidade. Registrou edifícios e logradouros públicos, como o Passeio Público, o Jardim Botânico e a Floresta da Tijuca; monumentos, hotéis e residências, tendo sido pioneiro na realização de uma sistemática e abrangente documentação das paisagens cariocas. Registrou tanto a fábrica de gás como a ferrovia de Irineu Evangelista de Souza, o barão de Mauá ( 1813 – 1889 ). Também fotografou a paisagem urbana de Petrópolis, acrescentando efeitos noturnos, uma importante inovação. Essa série é considerada extremamente significativa do ponto de vista estético, formal e dos limites da linguagem na época.
+Link para o comentário “Os efeitos de Klumb”,  por Sérgio Burgi, curador do portal Brasiliana Fotográfica e Coordenador de Fotografia do Instituto Moreira Salles.
+ 
+Revert Henrique Klumb. A Imperatriz D. Teresa Cristina com as princesas Isabel e Leopoldina ao fundo, 1861. Rio de Janeiro, RJ / Acervo IMS
+ 
+Acessando o link para as fotografias de Revert Henrique Klumb disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Revert Henrique Klumb; Paulo Robin. Embarcadère de la cie. Ferry : Calle Pharoux, c. 186?. Rio de Janeiro, RJ / Acervo FBN
+ 
+ 
+Breve cronologia de Revert Henrique Klumb (c. 1826 – c. 1886)
+ 
+c. 1826 – Nascimento de Revert Henry Klumb, no Departamento de Seine e Oise, na França, filho de lavradores-proprietários. Alguns estudiosos afirmam que ele teria nascido em Berlim, na Alemanha. Porém, em um documento que está no Arquivo Nacional, conforme publicado no livro Rio de Janeiro – 1840 -1900 – Uma crônica fotográfica, de 2006, de George Ermakoff, Klumb se reconhece como francês. Também em uma matéria do Jornal do Commercio, de 1859, foi identificado como francês (Jornal do Commercio, de 27 de junho de 1859, na quinta coluna).
+1852 / 1853 – Klumb chegou ao Rio de Janeiro com Affonso Rouel, trazendo uma máquina fotográfica. Eles eram, segundo consta no livro Artistas de meu tempo, de Mello Morais Filho, fugitivos do exército francês. Em algum momento de sua estadia no país, Klumb aportuguesou seu nome do meio para Henrique.
+1855 – Anúncio do estabelecimento Photographia de François Rene Moreaux, Klumb e Cia, na rua do Rosário, 134 (Diário de Rio de Janeiro, 16 de março de 1855, na segunda coluna). Klumb e Rouel se associaram a Moreaux e, segundo Melo Moraes Filho em seu livro Artistas do meu tempo, foram os primeiros a produzir fotografias sobre papel no Brasil.
+Já em novembro, foi publicado um anúncio da abertura da galeria de exposição de Klumb, na rua dos Ourives, 64 , atual rua Miguel Couto ( Correio Mercantil , de 4 de novembro de 1855, na última coluna, além do anúncio).
+ 
+Anúncio da abertura da galeria de exposição de Klumb no Correio Mercantil de 4 de novembro de 1855
+ 
+Foi anunciado que um quadro de autoria de Manuel Araujo de Porto Alegre (1806 – 1879), diretor da Academia Imperial de Belas Artes, seria copiado em ponto pequeno na officina photographica do sr. Klumb (A Semana, 8 de dezembro de 1855).
+Em anúncio do estabelecimento de Klumb, foi noticiada a presença do artista M. Muller no ateliê, responsável pelos serviços de pintura e desenho (Jornal do Commercio, 10 de julho de 1956, na sexta coluna)
+1856 – Anúncio do estabelecimento fotográfico de Klumb, com aprovação do governo imperial (Gazeta Mercantil, de 6 de fevereiro de 1856, na primeira coluna).
+Propaganda do estabelecimento fotográfico de Klumb, anunciando a descoberta por ele de um novo processo por meio do qual obtem-se retratos em fumo e coloridos, da mais absoluta perfeição, podendo-se entrega-los depois de um quarto de hora (Gazeta Mercantil, de 18 de julho de 1856, na quarta coluna).
+Klumb anunciou a venda do retrato do marquês do Paraná (1801 – 1856), em seu leito de morte, produzido em 3 de setembro de 1856,  que serviu como base para uma litografia de Clement Bernard Louis Thérier (Jornal do Commercio, de 16 de novembro de 1856). Thérier havia chegado ao Rio de Janeiro, em fevereiro de 1853, contratado por Francisco de Paula Brito (1809 – 1861) para trabalhar na Marmota Fluminense.
+1857 - Anúncio do leilão da casa de fotografia de Klumb (Jornal do Commercio, de 20 de janeiro de 1857, na última coluna).
+Sob o título “Lições de Photographia”, Klumb anunciava-se como professor de fotografia na ladeira do Castello, nº 18, onde residia ( Jornal do Commercio, de 29 de janeiro de 1857, na segunda coluna).
+Klumb trabalhou como empregado no estabelecimento do fotógrafo Pierre Benoit Loup, na rua dos Latoeiros, 60 ( Jornal do Commercio, de 7 de março de 1857, na quarta coluna ).
+1858 – Klumb embarcou para São João da Barra ( Jornal do Commercio, de 9 de fevereiro de 1858, na terceira coluna, sob o título “Movimento do Porto” )
+1859 – Klumb viajou para Campos, e foi identificado como francês (Jornal do Commercio, de 27 de junho de 1859, na quinta coluna ).
+1860 -Participou do Salão Imperial da Academia de Belas Artes, inaugurado em 23 de dezembro, expondo 15 fotografias: 6 retratos, duas vistas do dique da Ilha das Cobras, duas reproduções de estátuas em gesso, uma vista da Floresta da Tijuca, uma vista da Cascatinha da Tijuca, uma vista de uma chácara na Tijuca, uma vista de uma chácara às margens do rio Paraíba, em Campos; e um quadro contendo vistas estereocópicas e três retratos no formato carte de visite.  No catálogo do evento constava “Sr. Henrique Klumb, photographo da Academia. Rua dos Latoeiros, nº 44″.
+1861 – Foi publicada uma crítica sobre o Salão Imperial da Academia de Belas Artes com elogios a Klumb (Diário do Rio de Janeiro, 31 de janeiro de 1861 ).
+Com a presença de Pedro II e da imperatriz Teresa Cristina, foi realizada a cerimônia de premiação dos artistas que participaram do Salão Imperial da Academia de Belas Artes de 1860. Klumb foi agraciado com uma Menção Honrosa (O Correio da Tarde, 8 de julho de 1861, na segunda coluna).
+Em 23 de julho, Klumb documentou a inauguração da estrada União Indústria e as comemorações que se seguiram em Juiz de Fora na casa do construtor Mariano Procópio Ferreira Lage (1821 – 1872), com a presença da família imperial brasileira. A União Indústria foi a primeira estrada de rodagem macadamizada do Brasil, além de ter sido a maior obra de engenharia da América Latina, na época. Na sua construção não foi utilizada mão de obra escrava.
+Em 24 de agosto, foi agraciado com o título de “Fotógrafo da Casa Imperial”.
+No segundo semestre, começou a dar aulas de fotografia para a princesa Isabel.
+Por encomenda de dom Pedro II, fotografou os interiores do Palácio de São Cristóvão, remodelado pelo decorador italiano Mario Bragaldi ( 1809 – 1873) e pelo arquiteto da Casa Imperial, Teodoro Marx.
+1862 - Vendeu vistas estereoscópicas para as princesas Isabel e Leopoldina.
+1864 – Anúncio da Photographia Brazileira, de Klumb, na rua São José, 94 e 96 (Jornal do Commercio,  de outubro de 1864, na quarta coluna).
+1865 –  A imperatriz Teresa Cristina, uma das melhores clientes de Klumb, gastou 480 mil réis em retratos, vistas e esteoroscopias de sua autoria.
+Anúncio da oficina do litógrafo Paul Théodore Robin (? – 1897), dirigida por Klumb, na Rua São José, 96 ( Almanak Administrativo, Mercantil e Industrial do Rio de Janeiro, de 1865 ). Klumb  foi sucedido no local por Marc Ferrez (1843 – 1923), então com 22 anos.
+“O francês Paul Théodore Robin (-1897) deve ter chegado ao Rio de Janeiro em 1853 ou mesmo 1854, já com experiência litográfica, pois nesse último, conforme se observou, formou a sociedade Alfredo Martinet & Paulo Robin, com litografia na Rua da Ajuda, 113, embora com a duração de apenas alguns meses. Reencontrar-se-á Robin em 1860 com ateliê de “fotografia e ambrotipia” na Rua dos Ourives, 117, primeiro andar, na sociedade Maupoint & Robin, uma prática que iria beneficiá-lo futuramente, quando montasse oficina de fotogravador. A sociedade com Maupoint não foi além de 1861: em 1862 já possuía seu próprio ateliê fotográfica, na Rua São José, 94 e 96, a “Officina de Paulo Robin, dirigida por Henrique Klumb”, que foi dos mais estimados fotógrafos do Brasil”(FERREIRA, 1994).
+1865 / 1866 – Klumb foi morar em Petrópolis, na rua dos Artistas, nº 10, em frente à praça Coblenz. Fez uma extensa documentação da paisagem urbana da cidade, inclusive com efeitos noturnos – uma grande inovação na época. Devido a problemas financeiros, no período em que residiu em Petrópolis, também trabalhou no comércio de vinho.
+1872 – Anúncio da abertura da Photographia Franceza, de Klumb e outros fotógrafos, na residência do sr. Figueira de Melo, na rua do Ouvidor, nº 49 (Jornal do Commercio, 22 de maio de 1872, na última coluna ).
+Foi publicado o livro Doze horas em diligência – Guia do viajante de Petrópolis e Juiz  de Fora, editado na Casa do Editor J.J.da Costa Pereira Braga, na rua Nova do Ouvidor, 25 e 26. Foi um dos primeiros livros de fotografia produzidos no Brasil.
+ 
+Doze horas em diligência – Guia do viajante de Petrópolis e Juiz de Fora, dedicado à princesa Isabel
+ 
+1873 – Crítica ao livro Doze horas em diligência – Guia do viajante de Petrópolis e Juiz  de Fora ( A Vida Fluminense, 19 de julho de 1873, na segunda coluna).
+Anúncio da venda do livro Doze horas em diligência – Guia do Viajante de Petrópolis a Juiz de Fora (Jornal do Commercio, de 26 de julho de 1873, na última coluna).
+ 
+Jornal do Commercio, 26 de julho de 1873
+ 
+1874 - Publicação do livro Petrópolis e seus arrabaldes, com fotografias produzidas por Klumb.
+1875 – Anúncio e crítica da exposição de fotografias de Petrópolis, de autoria de Klumb, em Petrópolis (O Globo, de 10 de janeiro de 1875 , na segunda coluna, O Mercantil, de 6 e 9 janeiro de 1875  e de 6 de fevereiro de 1875).
+Dom Pedro II e a imperatriz Tereza Cristina visitaram a exposição (O Mercantil, de 10 de janeiro de 1875, na terceira coluna).
+Klumb anunciou seus serviços de fotógrafo na cidade Petrópolis aos domingos, segundas, terças e dias santos na rua D. Januária (O Mercantil, de 17 de fevereiro de 1875, na terceira coluna).
+A exposição de fotografias de Klumb foi anunciada como uma das atrações de Petrópolis (O Mercantil, de 22 de dezembro de 1875, na primeira coluna).
+Entre 1875 e 1886 – Nesse período, de cerca de 10 anos, não há notícias sobre Klumb.
+1886 – Klumb estava em Paris e de lá escreveu à imperatriz Teresa Cristina pedindo que ela financiasse a volta dele e de sua família para o Brasil. Era casado com a baiana Hermelinda Barreto, com quem tinha duas filhas. O pedido foi deferido, e ele e sua família deveriam embarcar para o Brasil em outubro de 1886. Porém, não se sabe se ele chegou a vir para o Brasil. Essa é a última notícia que se tem, até o momento, sobre Klumb.
+ 1952 – Foi publicado o artigo Segredos e Revelações da História do Brasil – Primeiro Guia Turístico do Brasil, sobre Doze horas em diligência – Guia do Viajante de Petrópolis a Juiz de Fora, escrito pelo criador e primeiro diretor do Museu Histórico Nacional, Gustavo Barroso (1888-1959) (O Cruzeiro, de 1º de novembro de 1952).
+ 
+Andrea C. T. Wanderley
+Editora-assistente e pesquisadora do portal Brasiliana Fotográfica
+ 
+Outros artigos publicados na Brasiliana Fotográfica em torno da obra de Revert Henrique Klumb:
+As versões diurna e noturna na fotografia de Revert Henrique Klumb, 28 de dezembro de 2018
+Petrópolis, a Cidade Imperial, pelos fotógrafos Marc Ferrez e Revert Henrique Klumb, 16 de março de 2020
+“Doze horas em diligência”, o primeiro guia turístico do Brasil, por Revert Henrique Klumb (c. 1826 – c. 1886), 8 de maio de 2020
+Série “Avenidas e ruas do Brasil” II – A rua do Imperador em Petrópolis por Klumb, Leuzinger e Stahl, 16 de junho de 2020.
+O Hotel Pharoux por Revert Henrique Klumb, em 15 de junho de 2022
+ 
+Fontes:
+BRITTO PEREIRA, Cecilia Duprat. Revert Henrique Klumb – Fotógrafo da Família Imperial Brasileira. Rio de Janeiro: Anais da Biblioteca Nacional, 1982.
+ERMAKOFF , George. Rio de Janeiro 1840 – 1900 – Uma crônica fotográfica. Rio de Janeiro: G. Ermakoff Casa Editorial, 2006.
+FERREIRA, Orlando da Costa. Imagem e Letra – Introdução à Bibliografia Brasileira: A Imagem Gravada. 2ª ed. São Paulo: Edusp, 1994.
+FERREZ, Gilberto. Fotografia no Brasil e um de seus mais dedicados servidores : Marc Ferrez ( 1843 – 1923 ). Rio de Janeiro: Revista do IPHAN, nº 26, 1997.
+FERREZ, Gilberto; NAEF, Weston J.. Pioneer Photographers of Brazil, 1840-1920. New York: Center for Inter-American Relations, 1976.
+Hemeroteca Digital da Biblioteca Nacional
+KOSSOY, Boris. Dicionário Histórico-Fotográfico Brasileiro: fotógrafos e ofício da fotografia no Brasil(1833-1910). São Paulo: Instituto Moreira Salles, 2002. ISBN 85-86707-07-4
+LAGO, Bia Corrêa do;LAGO, Pedro Corrêa do. Coleção Princesa Isabel: fotografia do século XIX. Rio de Janeiro: Capivara, 2008.432p.:il., retrs.
+LAGO, Bia Corrêa do;LAGO, Pedro Corrêa do. Os Fotógrafos do Império. Rio de Janeiro: Capivara, 2005. 240p.:il
+MARTIM, Ricardo (pseudônimo de Guilherme Auler). Dom Pedro II e a fotografia. Tribuna de Petrópolis. Petrópolis, 1 de abril de 1956.
+MORAES FILHO, Alexandre de Mello. Artistas do meu tempo. Rio de Janeiro: Garnier, 1905.
+SCARRONE, Marcelo. Doze horas numa diligência. Rio de Janeiro: Revista de História, 14/06/2008.
+Site do Instituto Moreira Salles
+Site da Enciclopédia Itaú Cultural
+TURAZZI, Maria Inez. Poses e trejeitos: a fotografia e as exposições na era do espetáculo: 1839/1889. Prefácio Pedro Karp Vasquez. Rio de Janeiro: Funarte. Rocco, 1995. 309 p., il. p&b. (Coleção Luz & Reflexão, 4). ISBN 85-85781-08-4.
+TURAZZI, Maria Inez. Paisagem construída – fotografia e memória dos “melhoramentos urbanos” na cidade do Rio de Janeiro. Varia história, vol.22 no.35. Belo Horizonte. Jan/Junho 2006
+VASQUEZ, Pedro Karp. Dom Pedro II e a fotografia no Brasil. Introdução João de Orleans e Bragança. Rio de Janeiro: Fundação Roberto Marinho : Cis, [1985]. 243 p., fotos p&b.
+VASQUEZ, Pedro Karp. Fotógrafos Alemães no Brasil do Século XIX: Deutsche Fotografen des 19. Jahrhunderts in Brasilien. Apresentação Winston Fritsch; prefácio Joaquim Marçal; projeto editorial Pedro Karp Vasquez, Ronaldo Graça Couto; projeto gráfico Victor Burton. São Paulo: Metalivros, 2000. 203 p., il. p&b. ISBN 85-85371-28-5.
+VASQUEZ, Pedro Karp. Mestres da fotografia no Brasil: Coleção Gilberto Ferrez. Traducao Bill Gallagher. Rio de Janeiro: Centro Cultural Banco do Brasil, 1995. 272 p., il. p&b. ISBN 85-85688-04-1.
+VASQUEZ, Pedro Karp. Revert Henrique Klumb: um alemão na Corte Imperial brasileira. Apresentação Joaquim Marçal, Demosthenes Madureira de Pinho Filho; coordenação de coleção Pedro Corrêa do Lago; coordenação editorial Pedro Corrêa do Lago, Luiz Eduardo Meira de Vasconcellos; design Victor Burton; fotografia César Barreot, Miguel Pacheco e Chaves; pesquisa Pedro Karp Vasquez; tradução Carlos Luís Brown Scavarda. Rio de Janeiro: Capivara, 2001 229p., il. p&b. (Visões do Brasil, 4). ISBN 85-86011-49-5.
+VASQUEZ, Pedro Karp. A fotografia no Império. Rio de Janeiro: Jorge Zahar Editor, 2002. 72 p., il. p&b.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/4225` — `itens/20.500.12156.1_4225/`
+- `20.500.12156.1/3919` — `itens/20.500.12156.1_3919/`
+- `20.500.12156.1/3648` — `itens/20.500.12156.1_3648/`
+
diff --git a/wordpress/5880-serie-avenidas-e-ruas-do-brasil-i-avenida-central-atual-rio-branco.md b/wordpress/5880-serie-avenidas-e-ruas-do-brasil-i-avenida-central-atual-rio-branco.md
new file mode 100644
index 0000000..aa0aef8
--- /dev/null
+++ b/wordpress/5880-serie-avenidas-e-ruas-do-brasil-i-avenida-central-atual-rio-branco.md
@@ -0,0 +1,62 @@
+---
+id: 5880
+url: "https://brasilianafotografica.bn.gov.br/?p=5880"
+titulo: "Série “Avenidas e ruas do Brasil” I – Avenida Central, atual Rio Branco"
+autor: "Andrea Wanderley"
+data: "2016-09-07T00:15:41+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/2549", "20.500.12156.1/3683"]
+fetched_at: "2026-09-10T10:26:00.716Z"
+---
+
+# Série “Avenidas e ruas do Brasil” I – Avenida Central, atual Rio Branco
+
+Série “Avenidas e ruas do Brasil” I – Avenida Central, atual Rio Branco*
+ 
+Marc Ferrez. Avenida Central, atual avenida Rio Branco, na altura da rua do Ouvidor com rua Miguel Couto, 1906. Rio de Janeiro, RJ / Acervo IMS
+ 
+A Brasiliana Fotográfica fez uma seleção de imagens da Avenida Central, atual Avenida Rio Branco, produzidas por fotógrafos ainda não identificados, por Aristógiton Malta (1904-1954), Augusto Malta (1864 – 1957), Marc Ferrez  (1843 – 1923), João Martins Torres e pela Phototypia A. Ribeiro. Foram produzidos no início do século XX, quando surgia o Rio de Janeiro da Belle Époque. A abertura da avenida foi uma das principais marcas da reforma urbana realizada por Francisco Pereira Passos (1836 – 1913), o bota-abaixo, entre 1902 e 1906, período em que foi prefeito do Rio de Janeiro. Essas transformações foram definidas por Alberto Figueiredo Pimentel (1869-1914), autor da seção “Binóculo”, da Gazeta de Notícias, com a máxima “O Rio civiliza-se”, que se tornou o slogan da reforma urbana carioca.
+Essa reforma urbana tornou o Rio uma cidade cosmopolita, moderna. A Avenida Central inaugurou um novo eixo da cidade em direção ao mar, a orla foi embelezada com a Avenida Beira-Mar, aberta em 1906, e a cidade, antes portuária, incorporou à sua vida urbana as praias de Copacabana, Ipanema e Leblon.  Abria-se, então, o caminho para o litoral da zona oeste através da Avenida Niemeyer, inaugurada oficialmente em 27 de setembro de 1920, pelo rei Alberto I da Bélgica (1875 – 1934) , em visita ao Brasil. Em um período de cerca de 20 anos, o Rio de Janeiro assumia sua identidade de cidade balneária.
+Voltando à Avenida Central. É de autoria do fotógrafo Marc Ferrez o Álbum Avenida Central: 8 de março de 1903-15 de novembro de 1906, importante registro da reforma da principal via da então capital federal, onde ele contrapôs reproduções das plantas às fotografias das fachadas de cada edifício documentado. Esse tipo de fotografia foi fundamental para a construção e para a difusão de uma nova imagem do Rio de Janeiro, uma imagem associada aos ideais de civilização e progresso.
+A linha central da avenida foi inaugurada pelo presidente Rodrigues Alves (1848 – 1919), em 7 de setembro de 1904 (O Paiz, 8 de setembro de 1904, na sexta coluna, sob o título “Avenida Central” e Gazeta de Notícias, de 8 de setembro de 1904, na última coluna). No ano seguinte, 1905, sob um temporal, a avenida foi aberta oficialmente, em 15 de novembro (O Paiz, 16 de novembro de 1905, na quinta coluna, sob o título “15 de Novembro”). O engenheiro chefe de sua construção foi André Gustavo Paulo de Frontin (1860 – 1933). A Avenida Central, que ligava o novo porto, onde atualmente está a Praça Mauá, à região da Glória, tornou-se logo a principal via de circulação da cidade, e também seu polo econômico e de entretenimento. Seu nome foi mudado, por decreto, em 15 de fevereiro de 1912, para Avenida Rio Branco, uma homenagem ao diplomata e ministro das Relações Exteriores do Brasil, o barão de Rio Branco ( 1845 – 1912 ), que havia falecido cinco dias antes (O Paiz, 16 de fevereiro de 1912, sob o título “Barão do Rio Branco”).
+ 
+Phototypia A. Ribeiro; Maison Chic. Avenida Central, 1912?. Rio de Janeiro, RJ / Acervo FBN
+ 
+Na época de sua inauguração, a Avenida Central tinha 1.800 metros de extensão e 33 metros de largura. Cerca de 300 casas coloniais foram demolidas para a construção dos novos edifícios, cujas fachadas foram escolhidas por concurso. Alguns dos jurados foram o prefeito Pereira Passos, o engenheiro Paulo de Frontin, Lauro Muller (1863 – 1926), ministro da Viação e Obras Públicas; e Oswaldo Cruz (1872 – 1917), diretor-geral da Saúde Pública. Além de edifícios do governo, ergueram-se, na avenida, jornais, clubes, hotéis e sedes de empresas. O calçamento, em mosaico português, foi feito por artesãos vindos de Portugal. Passear pela Avenida Central era passear pela espinha dorsal do mundo das compras e do lazer dos elegantes, dos negócios e da cultura. Alguns remanescentes da primeira geração de prédios da avenida são o Teatro Municipal, o Clube Naval, a Biblioteca Nacional, o Museu Nacional de Belas Artes e o Centro Cultural da Justiça Federal.
+ 
+Capa da Fon-Fon, 21 de agosto de 1909
+ 
+Acessando o link para as fotografias da Avenida Central disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+Link para a entrevista com a arquiteta italiana Maria Pace Chiavari. Um dos temas abordado  é o Álbum Avenida Central: 8 de março de 1903-15 de novembro de 1906, de Marc Ferrez.
+ 
+*Em junho de 2020, a Brasiliana Fotográfica lançou a série “Avenidas e ruas do Brasil”, mas como já havia essa publicação no portal, consideramos esse artigo o primeiro da série.
+ 
+Andrea C. T. Wanderley
+Editora-assistente e pesquisadora do portal Brasiliana Fotográfica
+ 
+Links para as outras publicações da série “Avenidas e ruas do Brasil”
+ Série “Avenidas e ruas do Brasil” II – A Rua do Imperador em Petrópolis por Klumb, Leuzinger e Stahl, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 26 de junho de 2020
+Série “Avenidas e ruas do Brasil” III – A Rua do Bom Jesus, no Recife, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 6 de agosto de 2020
+Série “Avenidas e ruas do Brasil” IV – A Rua 25 de Março, em São Paulo, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 1º de setembro de 2020
+Série “Avenidas e ruas do Brasil” V – A Rua Direita, a Rua das Mercês e a Rua Macau do Meio, em Diamantina, Minas Gerais, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 22 de outubro de 2020
+Série “Avenidas e ruas do Brasil” VI  – Rua Augusto Ribas e outras, em Ponta Grossa, no Paraná, pelo fotógrafo Luiz Bianchi, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 16 de novembro de 2020
+Série “Avenidas e ruas do Brasil” VII – A Avenida Atlântica, em Copacabana, no Rio de Janeiro, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 23 de dezembro de 2020
+Série “Avenidas e ruas do Brasil VIII – A Rua da Carioca por Cássio Loredano, de autoria de Cássio Loredano, publicada em 20 de janeiro de 2021
+Série “Avenidas e ruas do Brasil” IX – Ruas e panoramas do bairro do Catete, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 14 de julho de 2021
+Série “Avenidas e ruas do Brasil” X – A Rua da Ajuda, no Rio de Janeiro, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 9 de novembro de 2021
+Série “Avenidas e ruas do Brasil” XI – A Rua da Esperança, em São Paulo, por Vincenzo Pastore, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 14 de dezembro de 2021
+Série “Avenidas e ruas do Brasil” XII – A Avenida Paulista, o coração pulsante da metrópole, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 21 de janeiro de 2022
+Série “Avenidas e ruas do Brasil” XIII – A Rua Buenos Aires no Centro do Rio de Janeiro, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal,  publicada em 19 de julho de 2022
+Série “Avenidas e ruas do Brasil” XIV – A Avenida Presidente Vargas,, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 31 de agosto de 2022
+Série “Avenidas e ruas do Brasil” XV – Misericórdia: rua, largo e ladeira, no Rio de Janeiro, por Cássio Loredano, de autoria de Cássio Loredano, publicada em 8 de dezembro de 2022
+Série “Avenidas e ruas do Brasil” XVI – “Alguma coisa acontece no meu coração”, a Avenida São João nos 469 anos de São Paulo, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 25 de janeiro de 2023
+Série “Avenidas e ruas do Brasil” XVII  e série “O Rio de Janeiro desaparecido” XXIII – A Praia e a Rua do Russel, na Glória, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 15 de maio de 2023
+Série “Avenidas e ruas do Brasil” XVIII – Avenida Beira-Mar, de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal, publicada em 22 de janeiro de 2024
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/2549` — `itens/20.500.12156.1_2549/`
+- `20.500.12156.1/3683` — `itens/20.500.12156.1_3683/`
+
diff --git a/wordpress/5950-a-viagem-dos-reis-da-belgica-ao-brasil-sob-as-lentes-de-guilherme-santos.md b/wordpress/5950-a-viagem-dos-reis-da-belgica-ao-brasil-sob-as-lentes-de-guilherme-santos.md
new file mode 100644
index 0000000..2d58707
--- /dev/null
+++ b/wordpress/5950-a-viagem-dos-reis-da-belgica-ao-brasil-sob-as-lentes-de-guilherme-santos.md
@@ -0,0 +1,83 @@
+---
+id: 5950
+url: "https://brasilianafotografica.bn.gov.br/?p=5950"
+titulo: "A viagem dos reis da Bélgica ao Brasil sob as lentes de Guilherme Santos"
+autor: "Andrea Wanderley"
+data: "2016-09-26T11:14:06+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/4721", "20.500.12156.1/4725", "20.500.12156.1/4269"]
+fetched_at: "2026-09-10T10:26:04.215Z"
+---
+
+# A viagem dos reis da Bélgica ao Brasil sob as lentes de Guilherme Santos
+
+Nesse segundo artigo sobre a viagem dos reis da Bélgica ao Brasil em 1920, a Brasiliana Fotográfica conta um pouco dessa história e disponibiliza para seu leitores fotografias do acontecimento produzidas pelo fotógrafo amador Guilherme Santos (1871 – 1966), guardadas no acervo do Instituto Moreira Salles. No primeiro artigosobre o assunto, “Viagens do encouraçado São Paulo conduzindo os reis belgas em visita oficial ao Brasil“, publicado no último dia 19, foram destacadas as imagens da Diretoria do Patrimônio Histórico e Documentação da Marinha, insitituição parceira do portal.
+ 
+Guilherme Santos. Chegada dos reis da Bélgica – Carro a Dumond vendo-se o rei Alberto I e o presidente Epitácio Pessoa, 1920. Rio de Janeiro, RJ / Acervo IMS
+ 
+A visita do rei Alberto I da Bélgica (1875 – 1934) ao Brasil, entre 19 de setembro e 15 de outubro de 1920, foi a primeira realizada por uma monarca europeu à América do Sul (A Noite, 2 de junho de 1920). Ele veio acompanhado de sua esposa, a rainha Elisabeth (1876 – 1965), e o filho do casal, o príncipe Leopoldo (1901 – 1983), futuro rei Leopoldo III, juntou-se a eles no princípio de outubro. Durante sua estadia no país, o casal real foi sempre aclamado pela população e os jornais comumente referiam-se ao soberano como o “rei herói” ou o “rei soldado”, devido à sua atuação na Primeira Guerra Mundial (Jornal do Brasil, 8 de abril de 1920).
+Em artigo assinado pelo jornalista e escritor Gilberto Amado (1887 – 1969) foi ressaltada a capacidade do “grande rei católico” de conciliar em sua pessoa “o espírito democrático do nosso tempo com as tradições da velha casa dinástica” e sua visita ao Brasil seria, então, “um extraordinário acontecimento que representa uma honra para o Brasil e uma glória para o governo que o propicia” e uma oportunidade para o povo brasileiro “aclamar uma das mais belas figuras morais do mundo moderno” (O Paiz, 14 de junho de 1920). Segundo o primeiro-ministro belga, Léon Delacroix (1867 – 1929), a viagem teria como consequência uma estreita aproximação comercial entre os dois países (O Paiz, 4 de setembro de 1920). De fato, um dos frutos da viagem foi a criação da Companhia Belgo Mineira, em 1921.
+O convite formal para a viagem dos reis da Bélgica foi feito pelo delegado do Brasil na Conferência de Versalhes, em 1919, Epitácio Pessoa. Foi precedida por vários preparativos como a reforma do Palácio da Guanabara (O Paiz, 27 de abril de 1920), o restabelecimento da Ordem do Cruzeiro – criada por Dom Pedro I, em 1822, e extinta com a proclamação da República (Gazeta de Notícias, 15 de junho de 1920) – , e a criação de um protocolo para recebê-los. Vários eventos foram programados para recepcionar os reis, desde festas públicas a jantares protocolares e visitas a instituições como ao Jardim Botânico e ao Instituto Oswaldo Cruz. Os soberanos também foram a São Paulo e a Minas Gerais.
+ 
+Acessando o link para as fotografias da viagem dos reis da Bélgica ao Brasil em 1920, de autoria de Guilherme Santos e disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Reveja as fotografias do encouraçado São Paulo e de outros aspectos da viagem dos reis da Bélgica ao Brasil em 1920, do acervo da Diretoria do Patrimônio Histórico e Documentação da Marinha publicadas no post do dia 19 de setembro, Viagens do Encouraçado São Paulo conduzindo os reis belgas em visita oficial ao Brasil.
+ 
+Cronologia da viagem dos reis da Bélgica ao Brasil em 1920
+ 
+Ilustração da primeira página de O Paiz de 19 de setembro de 1920
+ 
+19/09 – Chegada dos reis da Bélgica, Alberto I e Elisabeth, ao Rio de Janeiro, a bordo do encouraçado São Paulo. Desembarcaram no cais Mauá e a população os  recebeu de forma “apoteótica”. Seguiram com o presidente da República, Epitácio Pessoa (1865 – 1942), pela avenida Rio Branco, até o Palácio Guanabara, onde alunas do Instituto Nacional de Música e do Liceu Francês cantaram o hino da Bélgica, La Brabançonne. Na avenida Rio Branco, senhoritas da Cruz Vermelha venderam mais de 3500 edelweiss e 1500 laços com as cores da Bélgica em favor da Cruzada Nacional contra a Tuberculose. Às 18h, realização do círculo diplomático, quando os reis foram apresentados a vários embaixadores. O casal real chegou ao Palácio do Catete, às 17:35, para a visita protocolar ao presidente da República. Voltaram para o Palácio da Guanabara e, à noite, foram a um jantar íntimo no Palácio do Catete. Estavam presentes além dos reis, do presidente e da primeira-dama, a senhorita Laurita Pessoa e a condessa de Chimay (Correio da Manhã, 20 de setembro de 1920).
+20/09 – Às 11h, no Palácio da Guanabara, os reis da Bélgica receberam os representantes do Congresso Nacional e outras autoridades. Às 15h, o rei Alberto I foi recebido no Palácio Monroe, para onde foi acompanhado pelo presidente da República. Foi saudado pelo presidente do Senado, Antonio Azeredo (1861 – 1936), e pelo presidente da Câmara, Bueno Brandão (1858 – 1931). Às 16h, seguiu então para o Supremo Tribunal Federal. Foi saudado pelo ministro André Cavalcanti (1834 – 1927). À noite, realização de um banquete para os reis no Palácio do Catete (O Paiz, 21 de setembro de 1920).
+21/09 – Pela manhã, o rei Alberto I foi tomar um banho de mar em Copacabana. Depois deu uma volta de carro pelo Centro, pela Glória e por outros pontos da cidade. Visitou a igreja da Candelária. A rainha Elisabeth também foi tomar um banho de mar em Copacabana. À tarde, em companhia do presidente da República e da primeira-dama, o casal real foi visitar a Escola Nacional de Belas Artes e o Instituto Histórico e Geográfico (O Paiz, 22 de setembro de 1920).
+ 
+Guilherme Santos. Alberto I, o Rei da Bélgica, em trajes de banho na praia, 1920. Rio de Janeiro, RJ / Acervo IMS
+ 
+22/09 - Pela manhã, em horários diferentes, o rei e a rainha voltaram a Copacabana onde tomaram um banho de mar. O rei, depois, passeou pelo bairro. À tarde, o rei Alberto I foi ao Segundo Regimento da Cavalaria, onde montou a cavalo. Depois, a rainha Elisabeth chegou em companhia de Epitácio Pessoa. Foi realizada uma parada militar, quando o rei passou em revista as tropas, tendo sido aclamado pela multidão que assistia ao cortejo. À noite, foram ao Corcovado (O Paiz, 23 de setembro de 1920).
+23/09 – Às 11h, os reis receberam no prédio da legação da Bélgica, em Botafogo, os membros da colônia belga residentes no Rio de Janeiro. Foi oferecido um cheque de 50 mil francos para as obras de caridade da rainha. Dois pescadores portugueses ofereceram ao casal um cherne de cerca dede 80 quilos. Acompanhados pelo ministro da Bélgica, uma comissão dos presidentes das associações francesas do Rio de Janeiro visitaram a rainha e ofertaram um cheque de 25 mil francos para a Obra de Beneficência Belga. À tarde, o rei foi visitar o Colégio Militar em companhia de Epitácio Pessoa. Foram recebidos pelo ministro da Guerra. Os alunos jogaram pétalas de rosas no rei. Suas majestades visitaram o Pão de Açúcar, onde foi servido um chá.  À noite, no salão nobre do Club dos Diários, realização de uma solenidade promovida pelas associações científicas e literárias em homenagem aos reis. Foram saudados pelo barão Ramiz Galvão (1846 – 1938), presidente do Conselho Superior de Ensino e reitor da Universidade, após ouvirem a protofonia do “O Guarany”. O presidente do Instituto Histórico e Nacional, Afonso Celso (1860 – 1938), ofereceu a sua majestade o título de presidente honorário da mencionada instituição. O rei Alberto I condecorou o sr. Ramiz Galvão com a Ordem de Leopoldo II (O Paiz, 24 de setembro de 1920). A congregação dos professores da Academia de Comércio do Rio de Janeiro, por proposta de seu diretor, Cândido Mendes de Almeida (1866 – 1939), aclamou o rei Alberto I professor honoris causa da instituição (O Paiz, 26 de setembro de 1920).
+24/09 – O rei começou o dia com o usual banho de mar em Copacabana. Depois, a bordo de uma lancha, passeou pela baía de Guanabara. A rainha ficou no Palácio da Guanabara lendo sua correspondência. O rei foi, ainda pela manhã, passear pela Floresta da Tijuca. Almoçou com sua comitiva no Hotel do Itamaraty. Uma curiosidade: o rei apreciou muito o bacalhau à brasileira, um dos pratos servidos, que chegou a repetir. Continuou então o passeio, escalou o Pico da Tijuca e ficou entusiasmado com a beleza da natureza. Chegou ao Palácio da Guanabara, às 18h. O major Mario Coutinho, intendente do palácio do governo, e vários oficiais do encouraçado São Paulo foram condecorados pelo rei Alberto I com o oficialato do rei Leopoldo II. Noticiou-se que as negociações para a reabertura da Câmara de Comércio Belgo Brasileira estavam intensificadas. Em Bruxelas, foi aceita a proposta para a criação da cátedra de português na Universidade da Bélgica. Nos cinemas da capital da Bélgica, foram projetados filmes sobre o Brasil (O Paiz, 25 de setembro de 1920).
+25/09 – O rei começou o dia com o usual banho de mar em Copacabana. No meio da manhã, foi para o Derby Club, onde a colônia belga havia preparado uma recepção para o soberano. Às 14h, Alberto I foi com o presidente Epitácio Pessoa visitar o Instituto Oswaldo Cruz (Manguinhos). Foram recebidos pelo doutor Carlos Chagas (1878 – 1934) e seus assistentes. Às 17h, a rainha Elisabeth foi visitar o Museu Nacional, tendo sido recebida pelo professor Bruno Lobo (1884 – 1945), diretor da instituição, que a presentou com um livro contendo os arquivos do museu ”ricamente encadernado”. O ministro da Marinha, Raul Soares (1877 – 1924), foi convidado para o almoço que os reis ofereceram no dia 26 na legação da Bélgica. O casal real foi visitado, no Palácio da Guanabara, por Max Fleuiss (1868 – 1943), Carlos de Laet (1847 – 1927), Ramiz Galvão (1846 -1938) e por Fontoura Xavier (1856 – 1922), embaixador do Brasil em Londres. A imprensa belga elogiou o Brasil e os brasileiros pela acolhida a seus soberanos (O Paiz, 26 de setembro de 1920).
+26/09 - Apesar da chuva, os soberanos iniciaram o dia com um banho de mar em Copacabana. O rei foi seguido pelas senhoritas Zoraida Cavalcanti e Angelina Cock. Em seu passeio até o Leme, foi presenteado por uma caixa de charutos pela baiana Alva Leoni, filha do deputado baiano Arlindo Leoni (1869 – 1936). Às 9 horas, o casal assistiu à missa solene realizada no Palácio São Joaquim pelo cardeal Arcoverde (1850 – 1930). Almoçaram no Palácio da Guanabara, onde foram visitados por Hilário de Gouveia (1843 – 1923), sr. e sra. Bento Oswaldo Cruz, e pelo senador Irineu Machado (1872 – 1942). Moradores da estação do Encantado mandaram uma carta para o diretor da Estrada de Ferro Central do Brasil pedindo que o nome da estação fosse mudado para Sua Majestade Elisabeth. Com a presença de Epitácio Pessoa e do casal real, realização no Derby Club de um páreo com o nome de Alberto I (O Paiz, 27 de setembro de 1920). Cerca de 35 mil pessoas compareceram ao estádio do Fluminense para participar da homenagem aos reis belgas. Segundo a imprensa: “foi uma apoteose sem igual!”. Cerca de 1500 jogadores de futebol, dos clubes da Liga Metropolitana, desfilaram para o casal real. Realizou-se uma partida de futebol entre os times da zona norte e da zona sul da Liga Metropolitana. A zona sul venceu por 3 a 0 (O Paiz, 27 de setembro de 1920).
+27/09 – O soberano belga começou o dia com seu habitual banho de mar em Copacabana. Às 11:15, o rei recebeu no Palácio da Guanabara a imprensa brasileira. Saudou os jornalistas e Raul Pederneiras (1874 – 1953), presidente da Associação de Imprensa, apresentou a ele cada diretor de jornal presente à cerimônia. Na sede da legação da Bélgica, na praia de Botafogo, o rei Alberto ofereceu um almoço ao presidente da República, Epitácio Pessoa. Depois foram juntos, acompanhados pelo prefeito do Rio, Carlos Sampaio (1861 – 1930), e por outras autoridades dar um longo passeio pela Tijuca. Voltaram pela Gávea e o rei inaugurou oficialmente a avenida Niemeyer. A rainha Elisabeth visitou o Instituto Oswaldo Cruz (Manguinhos). À noite, jantaram no Palácio da Guanabara (O Paiz, 28 de setembro de 1920). Abaixo, uma fotografia da Avenida Niemeyer, dias antes de sua inauguração.
+ 
+Augusto Malta. Obras na Avenida Niemeyer, 12 de setembro de 1920. Rio de Janeiro / Acervo AGCRJ
+ 
+28/09 –  Os reis belgas e a comitiva real foram para Teresópolis em companhia de Epitácio Pessoa e outras autoridades. Seguiram no vapor Presidente até a estação Piedade, onde passaram para um trem especial da Estrada de Ferro Teresópolis. O casal real ficou hospedado no palacete do sr. Sloper. Almoçaram no bosque da Caixa d´Água e depois visitaram o salto do Imbuhy e o bosque da residência do comendador Gonçalo de Castro. Jantaram na Villa Sloper  e foram saudados com um show de fogos de artifício (O Paiz, 29 de setembro de 1920).
+29/09 – O grupo partiu pela manhã para Petrópolis, onde hospedou-se na residência da sra. Franklin Sampaio. Almoçaram no Palácio da Prefeitura e depois visitaram o Colégio São Vicente de Paula. Chegaram ao Arsenal de Marinha, no Rio de Janeiro, depois das 20h (O Paiz, 30 de setembro de 1920).
+30/09 –  Após trocar de roupa no palacete Mackenzie, o rei Alberto tomou seu habitual banho de mar em Copacabana. A rainha Elisabeth foi visitar o Jardim Botânico e o rei Alberto foi ao reservatório do Trapicheiro, na Fábrica das Chitas. Também percorreu a Floresta do Andaraí. O casal real almoçou no Palácio da Guanabara. O rei Alberto recebeu em audiência especial brasileiros que haviam cursado universidades belgas. À tarde, o soberano visitou o Jardim Botânico, onde a pedido do diretor da instituição, Pacheco Leão, plantou uma árvore. A rainha Elisabeth recebeu um donativo das senhoras da Cruz Vermelha. O governo brasileiro ofereceu ao soberanos uma garden party nos jardins do Palácio do Catete, a partir das 16:30. Foram apresentados vários bailados executados pela companhia Bonetti. Os soberanos se retiraram às 19h. Foram ao Teatro Municipal onde foi realizado um concerto de gala em homenagem ao casal, sob a regência dos maestros Francisco Braga (1868 – 1945), Elpidio Pereira (1872 – 1961), Octaviano Gonçalves (1892 – 1962) e de Villa-Lobos (1887 – 1959). Depois do espetáculo, o rei foi passear na Tijuca, subindo pela Gávea, de onde retornou por volta das duas horas da madrugada (O Paiz, 1º de outubro de 1920).
+01/10 – Para “encanto” da população, os reis belgas percorreram ruas do centro do Rio de Janeiro. Após o almoço, o soberano visitou a brigada policial. A rainha Elisabeth voltou ao Jardim Botânico. A congregação da Faculdade de Direito do Rio de Janeiro decidiu dar o título de doutor honoris causa para o rei Alberto da Bélgica. Às 19:10, o casal real embarcou para Belo Horizonte, em Minas Gerais. O comboio real partiu da Estação Central do Brasil. Como de hábito, a comitiva real foi aclamada pela população. O filho dos reis belgas, o príncipe Leopoldo (1901 – 1983), futuro Leopoldo III, rei da Bélgica, chegou no Recife, a bordo do transatlântico belga Pays de Waes (O Paiz, 2 de outubro de 1920).
+02/10 –  A chegada dos soberanos a Belo Horizonte foi marcada pela aclamação popular. Epitácio Pessoa, outras autoridades e a comitiva real também foram para a capital mineira. Recebidos por Artur Bernardes (1875 1955), governador de Minas Gerais, ficaram hospedados no Palácio da Liberdade, para onde foram após o cortejo pela cidade. Almoçaram no palácio e depois visitaram Artur Bernardes. Receberam diversas autoridades e depois, em companhia de Epitácio Pessoa e sua mulher, foram visitar o Conselho Deliberativo e o Tribunal da Relação. Na Praça da Liberdade, alunos de escolas públicas cantaram o hino belga. Foi noticiado que o rei havia recebido o título de “Cidadão Carioca” (O Paiz, 3 de outubro de 1920).
+Link para imagens da visita do Rei Alberto I a Belo Horizonte.
+03/10 -   Às 9:00, o rei Alberto, acompanhado por Epitácio Pessoa e Artur Bernardes , visitou o quartel da força pública de Belo Horizonte. Às 10:30, em companhia da rainha Elisabeth, assistiu à missa no Colégio de Santa Maria das Irmãs Dominicanas, celebrada pelo abade Nols.  Almoçaram no palacete Afonso Penna. Os reis visitaram a Lagoa Santa. A Assembleia Legislativa do estado de Mato Grosso fez uma sessão em homenagem aos reis. O príncipe Leopoldo desembarcou em Salvador, onde foi recebido pelo cônsul belga e por representantes do governador da Bahia. Às 13:30, o transatlântico zarpou com destino ao Rio de Janeiro (O Paiz, 4 de outubro de 1920).
+04/10 - Às 8 horas, o grupo seguiu para São Paulo de trem. No caminho, visitou a mineração de ouro em Morro Velho, em Vila Nova de Lima. Foram recebidos na residência do superintendente da companhia, Dr. Chalmers, onde foi servido um café da manhã e, mais tarde, um almoço. Às 16h, seguiram para Raposos, onde se despediram do governador de Minas e de outras autoridades do governo mineiro (O Paiz, 5 de outubro de 1920).
+05/10 - O comboio real chegou em Rezende, às 10:40, e foi recebido pelo prefeito da cidade, o Dr. Cotrim Filho. Chegou na Estação da Luz, em São Paulo, às 19:20h, onde foi recebido pelo governador do estado, Washington Luís (1869 – 1957), e por outras autoridades, em meio a uma grande aclamação popular. Foram executados os hinos do Brasil e da Bélgica e os soberanos seguiram em um cortejo até a Chácara do Carvalho, onde ficaram hospedados. Na entrada da chácara estava escrito: Gloire a vous Albert Premier, vainqueur de la bataille de Flandres, personification de l´honneur devant les générations. Foram recebidos pelo prefeito de São Paulo, Firmiano de Moraes Pinto (1861 – 1938). O presidente da República ficou hospedado no palacete Martinho Prado. No Tribunal do Juri, houve uma manifestação de “regojizo” pela visita dos soberanos a São Paulo. Chegada, às 20h, do príncipe Leopoldo ao Rio de Janeiro. Foi conduzido ao Palácio da Guanabara, onde ficou hospedado (O Paiz, 6 de outubro de 1920).
+06/10 -  Às 9h, no Palácio dos Campos Elísios, o rei Alberto visitou Washington Luís, a quem entregou o cordão da Ordem de Leopoldo II. Às 10h, os soberanos assistiram, na avenida Tiradentes, a uma parada e desfile da força pública. Visitaram a escola de educação física da força pública, onde foram saudados por uma pirâmide humana. À tarde, o rei foi visitar o Palácio das Indústrias e percorreu vários pontos da cidade (O Paiz, 7 de outubro de 1920). O príncipe Leopoldo visitou o Corcovado, o Pão de Açúcar e a Tijuca. Foi visitado pelo senador Antonio Azeredo e pelos senhores Honório e Álvaro Guimarães, com quem havia estudado na Inglaterra. Recebeu também diversos embaixadores e ministros (Gazeta de Notícias, 7 de outubro de 1920).
+07/10 - O príncipe Leopoldo chegou a São Paulo com sua comitiva. Os reis belgas, o presidente da República, e membros de suas comitiva visitaram o Instituto Butantan. Voltaram para a Chácara do Carvalho onde receberam ex-alunos da Universidades de Liège, membros das colônias francesa e belga da capital e de Santos, além de uma comissão da imprensa. Os soberanos foram muito presenteados e a rainha Elisabeth determinou que todas as flores que ela havia recebido fossem distribuídas pelos hospitais de São Paulo. À tarde, visitaram em companhia de Washington Luís, sua esposa e do príncipe Leopoldo, a Escola Normal, onde assistiram a um espetáculo musical e à uma demonstração de ginástica calistênica. Foram calorosamente saudados pelas alunas. Os soberanos se retiraram às 16:30 e voltaram para a Chácara do Carvalho. Às 19:30, partiram da Estação da Luz para a fazenda Guatapará. O comboio passou por Campinas e os soberanos jantaram em Rio Claro (O Paiz, 8 de outubro de 1920).
+08 e 09/10 - Visita à Fazenda Guaratapá (O Paiz, 9 de outubro de 1920 e 10 de outubro de 1920).
+10/10 – O rei Alberto iniciou o dia fazendo exercícios na piscina. Após o café da manhã, percorreu a propriedade em companhia do dr. Alves de Lima, diretor presidente da Companhia da Fazenda Guaratapá. No almoço só foram servidos pratos brasileiros. À tarde foi com Alves de Lima a Ribeirão Preto, onde assistiu a um jogo de futebol entre o Palestra e um clube local. Retornou por volta das 18h. A rainha Elisabeth e o príncipe Leopoldo , com a condessa Caraman Chimay e com o dr. Adolpho Lutz, fizeram um passeio de canoa pelo rio Mogi-Guaçu, onde pescaram e caçaram borboletas. Dois cinegrafistas da comitiva do rei fizeram um voo com o piloto Edu Chaves (O Paiz, 11 de outubro de 1920).
+11/10 - O casal real, o príncipe Leopoldo e a comitiva voltaram a São Paulo. Chegaram na Estação da Luz por volta das 17:30 e seguiram para a Chácara do Carvalho. A Rainha Elisabeth foi então percorrer a avenida Paulista. De volta à chácara, ela, seu marido e seu filho passearam pelos jardins até a hora do jantar (O Paiz, 12 de outubro de 1920).
+12/10 - O casal real, o príncipe Leopoldo e a comitiva visitaram a cidade de Santos, onde chegaram por volta das 12:10h. Seguiram em cortejo pela cidade, onde foram aclamados, e seguiram para o Parque Balneário, onde foi servido um banquete. À noite, partiram de São Paulo de volta ao Rio de Janeiro (O Paiz, 13 de outubro de 1920).
+13/10 - Já no estado do Rio, na cidade de Pinheiros, os soberanos visitaram o Patronato de Menores e o Posto Zootécnico do governo federal. Chegaram ao Rio de Janeiro por volta das 16:30. Seguiram em cortejo para o Palácio da Guanabara. O casal foi nadar na praia de Copacabana, da onde retornaram por volta das 18:30 (O Paiz, 14 de outubro de 1920).
+14/10 – Os reis foram ao Palácio do Catete, às 14h, de onde seguiram com o presidente da República e sua mulher para a Quinta da Boa Vista, onde assistiram à festa das crianças. Como lembrança da viagem ao Brasil, os reis belgas ofereceram ao presidente Epitácio Pessoa uma coleção de pratos de porcelana de Bruxelas com pinturas das principais cidades da Bélgica. À esposa de Epitácio Pessoa ofereceram um relógio pulseira e às filhas do casal pendentifs de platina e pedras preciosas. O presidente assinou um decreto dando cidadania brasileira ao rei Alberto e o tornando marechal do Exército nacional. Além disso, o decreto previa a construção de um monumento em homenagem à viagem dos belgas ao Brasil (O Paiz, 15 de outubro de 1920).
+15/10 - Às 12h, o senador Rui Barbosa (1849 – 1923) chegou ao Palácio da Guanabara, onde almoçou com os soberanos belgas. À tarde, o rei visitou com o prefeito Carlos Sampaio o Campo de Santana. Foi presenteado com vários exemplares de palmeiras. Por ordem do presidente Epitácio Pessoa a legação da Bélgica foi elevada à categoria de embaixada. Os soberanos belgas receberam diversos presentes, dentre eles uma “rica e luxuosa encadernação de um volume da Constituição Brasileira e outra do Código Civil Brasileiro, acondicionada em uma bela caixa de veludo verde escuro guarnecida de ouro, tendo gravada na tampa as armas da República”, ofertada pelo diretor da Imprensa Nacional, sr. Castelo Branco. O casal presidencial jantou no Palácio da Guanabara com os reis belgas. Foi realizada na baía da praia de Botafogo a festa veneziana organizada pelo Conselho Municipal em homenagem aos reis da Bélgica, que compareceram com o príncipe Leopoldo e com Epitácio Pessoa e sua esposa. A festa teve a apresentação de um préstito de embarcações das sociedades de regatas associadas à Federação Brasileira das Sociedades de Remo, a execução de diversas músicas e fogos de artifício. A população lotou toda a enseada de Botafogo. Quando a festa terminou, os soberanos passearam pela enseada a bordo da lancha Internacional e se retiraram (O Paiz, 16 de outubro de 1920).
+16/10 –  Às 10:30, o presidente Epitácio Pessoa e sua esposa, acompanhados de outras autoridades, chegaram ao Palácio da Guanabara, onde foram recebidos pelo casal real. Meia hora depois, o cortejo real partiu para a praça Mauá, passando pela rua Paissandu, e pelas avenidas Beira-Mar e Rio Branco. Foram aclamados por todo o trajeto, que contava com tropas de terra e de mar, sob o comando do general Luiz Barbedo. No cais Mauá, foram recebidos por várias autoridades. Embarcaram com o príncipe Leopoldo, com Epitácio Pessoa e sua esposa, e com mais algumas autoridades e membros de sua comitiva no galeão Dom João VI em direção ao encouraçado São Paulo. Demais membros da comitiva embarcaram na lancha Olga. Os soberanos foram recebidos no São Paulo pelo comandante Gomensoro e por toda a oficialidade. Foram para o salão de honra do navio, onde houve os últimos cumprimentos e a despedida. Às 14h, o encouraçado teve suas âncoras suspensas e iniciou a viagem de volta dos reis belgas (O Paiz, 17 de outubro de 1920).
+ 
+Uma curiosidade: em seu livro Metrópole à beira-mar: o Rio moderno dos anos 20 (2019), o escritor Ruy Castro (1948-) conta que a rainha da Bélgica por pouco teria sido vítima de uma bala perdida, que atingiu seus aposentos, no Palácio da Guanabara, em Laranjeiras. Após investigações, descobriu-se que o autor do tiro havia sido um menino, João Coelho Netto (1905-1979), que ficou conhecido como Preguinho, futuro jogador de futebol e filho do escritor Coelho Netto (1864-1934). Ele estava caçando passarinhos com uma espingarda Winchester no terreno da sede do clube do Fluminense. Como punição, seu pai o proibiu de frequentar o Fluminense por um mês.
+Segundo Castro:
+“Acharam que o tiro teria sido dado por um anarquista, um carbonário, que eram pessoas que costumavam ter como alvos os monarcas – embora o rei e a rainha belgas fossem pessoas queridas. Só que depois foi descoberto que o tiro foi dado por um menino, de uns 12 anos, que estava caçando pássaros na região com uma espingarda. Detalhe que esse menino era filho do escritor Coelho Neto. Coelho Neto foi até chamado no Palácio para pedir desculpas. Depois de um tempo, o garoto virou jogador de futebol, jogou no Fluminense e foi até convocado para a Seleção Brasileira“.
+ 
+O jogador Preguinho (1905-1979), um dos primeiros ídolos do Fluminense e autor do primeiro gol do Brasil em Copa do Mundo, em 1930
+ 
+ 
+Andrea C. T. Wanderley
+Editora-assistente e pesquisadora do portal Brasiliana Fotográfica
+Para a elaboração dessa cronologia, a Brasiliana Fotográfica consultou diversos periódicos da Hemeroteca Digital da Biblioteca Nacional.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/4721` — `itens/20.500.12156.1_4721/`
+- `20.500.12156.1/4725` — `itens/20.500.12156.1_4725/`
+- `20.500.12156.1/4269` — `itens/20.500.12156.1_4269/`
+
diff --git a/wordpress/6048-o-retratista-portugues-joaquim-insley-pacheco-31-de-marco-de-1830-14-de-outubro-.md b/wordpress/6048-o-retratista-portugues-joaquim-insley-pacheco-31-de-marco-de-1830-14-de-outubro-.md
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@@ -0,0 +1,89 @@
+---
+id: 6048
+url: "https://brasilianafotografica.bn.gov.br/?p=6048"
+titulo: "O retratista português Joaquim Insley Pacheco (31 de março de 1830 – 14 de outubro de 1912)"
+autor: "Andrea Wanderley"
+data: "2016-10-14T13:50:22+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/3923", "20.500.12156.1/508"]
+fetched_at: "2026-09-10T10:26:07.386Z"
+---
+
+# O retratista português Joaquim Insley Pacheco (31 de março de 1830 – 14 de outubro de 1912)
+
+Joaquim Insley Pacheco. Retrato de homem (verso), c. 1865. Rio de Janeiro, RJ / Acervo IMS
+Um dos mais prestigiados e famosos retratistas do Brasil no século XIX, o fotógrafo e pintor português Joaquim José Pacheco, posteriormente Joaquim Insley Pacheco, nasceu em Cabeceiras de Bastos, em 31 de março de 1830. Era muito requisitado pela corte imperial brasileira e, além de ter sido muito procurado para a execução de retratos, era reconhecido por seu trabalho com fotopintura.
+Uma crônica do poeta e jornalista Faustino Xavier de Novais (1820 – 1869), de 24 de outubro de 1863, chamava atenção para a popularidade de Insley Pacheco no Rio de Janeiro:
+“…Pouco distante do meu pouso eleva-se uma casa cuja fachada pintada de cores vivas provoca a atenção dos que passam. É aí o palácio do fotógrafo mais afamado da capital, J. Insley Pacheco, que tem tido a honra de copiar todos os narizes do Rio…”
+No fim dos anos 1840, já estava em Fortaleza, capital do Ceará, onde teve contato com a fotografia com o daguerreotipista e mágico irlandês Frederick Walter (1811- 18?)*, uma das figuras mais pitorescas do início da fotografia no Brasil, que tornou-se seu mestre. Insley produzia desenhos para as exibições de mágica de Walter e, em troca, Walter ensinava a ele a arte da daguerreotipia. Segundo Mello Moraes Filho, Insley possuía uma natureza em demasia curiosa, índole decidida e aventureira. De acordo com o mesmo autor, Insley foi o introdutor da ambrotipia no Brasil. Ele teria adquirido, de um capitão de navio ancorado no porto do Rio de Janeiro, fórmulas e máquinas do referido processo.
+O primeiro estabelecimento fotográfico de Insley de que se tem notícia ficava na rua Formosa, em Fortaleza. Entre 1950 e 1951, viajou pelos Estados Unidos, onde estudou com os fotógrafos Mathew Brady (c.1822 – 1896), Jeremiah Gurney (1812 – 1895) e Henry E. Insley (1811 – 1894). Acredita-se que em homenagem a esse último adotou o sobrenome Insley.
+ 
+Acessando o link para as fotografias de Joaquim Insley Pacheco disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas. 
+ 
+Em 1851, após uma breve passagem por São Luís, no Maranhão, voltou à Fortaleza e seu estúdio ficava na rua da Palma (O Cearense, 9 de maio de 1851, na última coluna).  Um ano depois, vendeu por menos de seu valor todos os utensílios pertencentes a sua profissão de retratista (Pedro II (CE), 21 de agosto de 1852, na terceira coluna). Partiu para Sobral (Pedro II (CE), 8 de dezembro de 1852) e depois de uma rápida permanência em Pernambuco, em 1854, onde seu ateliê ficava no Aterro da Boa Vista, nº 4, no Recife, foi para o Rio de Janeiro e anunciava, em 1855, sua Novíssima e esplêndida galeria de retratos pelo sistema cristalotipo, em seu novo estúdio fotográfico, na rua do Ouvidor, nº 31, posteriormente 40 (Jornal do Commercio  7 de fevereiro de 1855 e Correio Mercantil, 9 de fevereiro de 1855 ). Já assinava com o sobrenome Insley. No estabelecimento, também eram comercializados quadros, caixas, molduras e alfinetes (Jornal do Commercio, 2 de agosto de 1855). O ateliê também funcionava, eventualmente, como uma galeria para exposições de artes plásticas.
+Insley Pacheco fotografou, em 10 de agosto de 1855, o imperador Pedro II (1825 – 1891), a imperatriz Teresa Cristina (1822 – 1829) e a filha do casal, princesa Leopoldina (1847 – 1871), na Quinta da Boa Vista (Diário do Rio de Janeiro, 9 de janeiro de 1856). Segundo Guilherme Auler (1914-1965), sob o pseudônimo de Ricardo Martim, em dois artigos publicados na Tribuna de Petrópolis, em 1º e 8 de abril de 1956, Insley teria sido agraciado com o título de “Fotógrafo da Casa Imperial”, em 22 de dezembro de 1855. Mas o fato só foi noticiado em 19 de dezembro 1857, no Diário do Rio de Janeiro. Foi também agraciado com a Ordem de Cavaleiro Real da Ordem de Cristo.
+ 
+Diário do Rio de Janeiro, 19 de dezembro de 1857
+ 
+Tudo isso contribuiu para que seu público fosse consistentemente de representantes da elite e retratos realizados em seu estabelecimento eram presenças constantes em álbuns fotográficos de famílias da alta sociedade do século XIX.
+Em 1858, foi anunciado um grande passo na arte fotográfica no ateliê de Insley Pacheco: É o ambrotipo e a pintura dando-se as mãos para reunirem a fidelidade da cópia à duração e à persistência das cores (Diário do Rio de Janeiro, 17 de janeiro de 1858, na quarta coluna). No mesmo ano, em um anúncio de seu estabelecimento, apresentava-se como primeiro e único retratista em vidro (Jornal do Commercio, 13 de maio de 1858).
+Em 1860, a firma Pacheco e Irmão Ambrotypista da Augusta Caza Imperial abriu um estúdio em Salvador, que fecharia no mesmo ano, e outro em São Luís, fechado em 1861. Em 1863, abriu um novo estabelecimento, na rua do Ouvidor, nº 102, no Rio de Janeiro (Diário do Rio de Janeiro , 1º de abril de 1863, na quarta coluna).
+Após diversas tentativas fracassadas, o Ministério do Império, com o decreto 5613, de 25 de abril, concedeu privilégio de cinco anos a Joaquim Insley Pacheco, para fazer fotografias de sua invenção, aplicadas à porcelana, vidro opalino e marfim (Diário do Rio de Janeiro, 15 de maio de 1874, na última coluna).
+Insley Pacheco foi condecorado pelo governo português com a Ordem de Cristo  (Semana Ilustrada, 3 de março de 1866) e participou das exposições universais de Paris (1867 e 1889), de Viena (1873), e da Filadéfia (1876) e de outras exposições internacionais como as do Porto (1865), de Santiago do Chile (1875), de Buenos Aires (1882) e de Chicago (1893). No Brasil, esteve presente em diversas exposições nacionais e também em várias exposições da Academia Imperial de Belas Artes.
+Em torno de 1892, na folha de proteção sobreposta às suas fotografias, Insley Pacheco identificava-se como Fotógrafo e pintor. Cavaleiro da Real Ordem de Cristo. Premiado com a Menção de Honra nas exposições de Vienna e mais 16 medalhas nas exposições de Philadelphia, Porto, Brazil, Chile, Buenos Aires e Chicago. Novo sistema de platinotipia – Rua dos Ourives, 38 – Rio de Janeiro.
+Nas artes plásticas, seu mestre foi o pintor Arsênio da Silva (1833 – 1883) e seus quadros foram muitas vezes premiados. Eram adquiridos por destacadas figuras da sociedade como o Barão do Rio Branco (1845 – 1912). Insley Pacheco foi, em 1903, o primeiro presidente da Associação dos Aquarelistas. Em seu ateliê foram realizadas diversas exposições de pintores como Firmino Monteiro (1855 – 1888) e Pedro Weingarten (1853 – 1929).
+Em 14 de outubro de 1912, faleceu Joaquim Insley Pacheco, o fotógrafo tradicional do Rio (Jornal do Brasil, 15 de outubro de 1912 e O Paiz, 16 de outubro de 1912, ambos na penúltima coluna).
+ 
+Joaquim Insley Pacheco. Pedro II, imperador do Brasil: retrato, 1883 / Acervo FBN
+ 
+Comentário de Boris Kossoy sobre o retrato acima: …um retrato do imperador, entretanto, datado de 1883, isto é, quando contava 58 anos de idade, é particularmente interessante pelo “clima” tropical criado no ateliê: cenário de natureza “plantada” como fundo para o retrato (bem ao contrário dos tradicionais fundos com paisagens europeias complementados por uma mescla de mobiliário vitoriano e clássico, recursos tão utilizados pelos fotógrafos no século XIX). Com a nova montagem do velho teatro tem-se explicitada a ideologia de uma civilização nos trópicos” (KOSSOY, Boris. Dicionário histórico-fotográfico brasileiro: fotógrafos e ofício da fotografia no Brasil (1833-1910). São Paulo: Instituto Moreira Salles, 2002. 408 p., il. p&b.).
+ 
+Acesse aqui a Cronologia de Joaquim Insley Pacheco (1830 – 1912)
+ 
+Joaquim Insley Pacheco, s/d / Acervo FBN
+ 
+*Segundo Mello Moraes Filho  (1844 – 1919), Frederick Walter “desembarcara no Ceará, trazendo consigo um aparelho de daguerreótipo, que usava durante o dia, e um gabinete de mágica, que funcionava à noite nos teatrinhos“. Walter tornou-se o mestre do jovem Pacheco.
+ 
+Mello Moraes Filho em “Artistas do meu tempo” / Correio da Manhã, 5 de abril de 1903
+ 
+O nome abrasileirado do mestre irlandês de Insley era Guilherme Frederico Walter e ele havia trabalhado, em 1840, no Rio de Janeiro, com o mágico Jacomo Luiz Marques (18?-?); e, em 1846, no Recife, como assistente do mágico inglês George Sutton (18? -?) (Jornal do Commercio, 12 de setembro de 1840, penúltima coluna; e Diário de Pernambuco, 9 de maio de 1846, última coluna).
+ 
+Jornal do Commercio, 12 de setembro de 1840
+ 
+Diário de Pernambuco, 9 de maio de 1846
+ 
+Após as apresentações no Recife, Walter seguiu para São Luís, capital do Maranhão, onde aprendeu a daguerreotipia com o norte-americano Charles DeForest Fredericks (1823 – 1894) que, na ocasião, estava trabalhando na cidade (O Espelho de Papel – A fotografia de Insley Pacheco na coleção do IHGB (2025)). Em 1849, no Recife, Walter estabeleceu sua galeria de daguerreótipos na Rua da Cadeia de Santo Antônio, nº 26, no segundo andar (Diário de Pernambuco, 21 de fevereiro de 1849, última coluna).
+Segundo História da fotografia no Ceará (Edição do Autor, 2019), de Ary Bezerra Leite, Pacheco pintava cenários para os espetáculos de magia do seu professor/empregador e, em troca, recebia dele aulas de daguerreotipia.  Guilherme Frederico Walter chegou ao Ceará, em 30 de maio de 1848, e anunciou, poucos dias depois, que tirava retratos pelo daguerreótipo com toda a perfeição. Assim começava a história da fotografia no Ceará (O Cearense, 8 de junho de 1848, última coluna).
+ 
+O Cearense, 8 de junho de 1848 ( no anúncio está escrito, erradamente, 1849)
+ 
+Andrea C.T. Wanderley
+Editora e pesquisadora da Brasiliana Fotográfica
+ 
+Fontes:
+ERMAKOFF , George. Rio de Janeiro 1840 – 1900 – Uma crônica fotográfica. Rio de Janeiro: G. Ermakoff Casa Editorial, 2006.
+FÁBIO, Flávia. Insley Pacheco: um álbum imaginário. Tese de Mestrado em Multimeios, Universidade Estadual de Campinas, 2005.
+FERREZ, Gilberto. A Fotografia no Brasil: 1840-1900 / Gilberto Ferrez; [prefácio por Pedro Vasquez] – 2ª ed. – Rio de Janeiro: FUNARTE: Fundação Nacional Pró-Memória, 1985.
+FERREZ, Gilberto; NAEF, Weston J.. Pioneer Photographers of Brazil, 1840-1920. New York: Center for Inter-American Relations, 1976.
+GONÇALVES, Joaquim Castro. O fotógrafo do imperador. O Castro Manco, 9 de fevereiro de 2016.
+KOSSOY, Boris. Dicionário histórico-fotográfico brasileiro: fotógrafos e ofício da fotografia no Brasil (1833-1910). São Paulo: Instituto Moreira Salles, 2002. 408 p., il. p&b.
+LAGO, Bia Corrêa do;LAGO, Pedro Corrêa do. Coleção Princesa Isabel: fotografia do século XIX. Rio de Janeiro: Capivara, 2008.432p.:il., retrs.
+MEIRELLES, Victor. “Photographia” In BRASIL. Exposição Nacional. Relatório da Segunda Exposição Nacional de 1866, publicado […] pelo Dr. Antonio José de Souza Rego, 1o secretário da Commissão Directora. Rio de Janeiro: Typ. Nacional, 1869, 2ª parte, pp. 158-170
+MORAES FILHO, Melo. Artistas do meu tempo. Rio de Janeiro: Garnier, 1904.
+PINHO, Wanderley. Salões e Damas do Segundo Reinado. São Paulo:Martins, 1942.
+Site Emerald Insight
+Site Encilopédia Itaú Cultural
+Site Family Search
+Site O Castro Manco
+TURAZZI, Maria Inez. Poses e trejeitos: a fotografia e as exposições na era do espetáculo: 1839/1889. Prefácio Pedro Karp Vasquez. Rio de Janeiro: Funarte. Rocco, 1995. 309 p., il. p&b. (Coleção Luz & Reflexão, 4). ISBN 85-85781-08-4.
+VASQUEZ, Pedro Karp. Mestres da fotografia no Brasil. Centro Cultural do Banco do Brasil Rio de Janeiro, 1995.
+VASQUEZ, Pedro Karp. O Brasil na fotografia oitocentista. Editora Metalivros, 2003.
+A Brasiliana Fotográfica também pesquisou em diversos periódicos na Hemeroteca Digital da Biblioteca Nacional.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/3923` — `itens/20.500.12156.1_3923/`
+- `20.500.12156.1/508` — `itens/20.500.12156.1_508/`
+
diff --git a/wordpress/6123-viagens-do-encouracado-sao-paulo-conduzindo-os-reis-belgas-em-visita-oficial-ao-.md b/wordpress/6123-viagens-do-encouracado-sao-paulo-conduzindo-os-reis-belgas-em-visita-oficial-ao-.md
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+---
+id: 6123
+url: "https://brasilianafotografica.bn.gov.br/?p=6123"
+titulo: "Viagens do Encouraçado São Paulo conduzindo os reis belgas em visita oficial ao Brasil, em 1920"
+autor: "Andrea Wanderley"
+data: "2016-09-19T00:06:13+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/4696", "20.500.12156.1/4691"]
+fetched_at: "2026-09-10T10:26:10.442Z"
+---
+
+# Viagens do Encouraçado São Paulo conduzindo os reis belgas em visita oficial ao Brasil, em 1920
+
+Carlos André Lopes da Silva*
+Antes da difusão do avião, o principal meio de contato entre povos separados por grandes distâncias, os navios dominavam o transporte de passageiros, como ainda hoje prevalecem no transporte de carga. Neste contexto, era comum que chefes de estado e outros dignitários fossem conduzidos em viagens transoceânicas por navios de guerra como uma forma de demonstrar o poderio daquela nação mesmo para países com os quais mantinham boas relações.
+ 
+Acessando o link para as fotografias do encouraçado São Paulo e de outros aspectos da visita dos reis belgas ao Brasil, em 1920, do acervo da Diretoria do Patrimônio Histórico e Documentação da Marinha disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Após a Primeira Guerra Mundial e durante um período marcado pela agitação política e crise econômica também no Brasil, o recém-eleito presidente Epitácio Pessoa pretendia elevar a precária posição do país no contexto internacional, percepção consolidada quando chefiou a delegação nacional na Conferência de Paz, em Versalhes. Foi lá que manteve contato com o soberano belga, Alberto I, apelidado de “rei soldado” por liderar, em campo de batalha, o exército de seu país contra a invasão alemã. O convite para uma visita oficial foi feito e logo aceito pelo monarca europeu, não sem despertar críticas dos que por aqui viam incoerência em uma ainda nova República se utilizar de um monarca para ampliar sua visibilidade internacional.
+ 
+Anônimo. O Encouraçado São Paulo fundeado ao largo da Praça Mauá, 1920. Rio de Janeiro, RJ / Acervo DPHDM
+ 
+Para fornecer um transporte adequado à posição do rei belga e sua consorte, Rainha Elisabeth, o governo primeiro pretendeu utilizar um navio de transporte de passageiros de uma das companhias de navegação nacionais, claro, escoltado por um navio de guerra da Marinha do Brasil. Porém, a excelente impressão que teve o presidente da República quando inspecionou as acomodações do navio de escolta, o Encouraçado São Paulo, fez com que a missão de transporte do casal real recaísse naquele navio que acabara de retornar de uma modernização em estaleiro estadunidense. O São Paulo era um dos dois encouraçados adquiridos junto à Inglaterra no final da primeira década daquele século junto com toda uma nova Esquadra. A Marinha do Brasil tornou-se uma das primeiras operadoras mundiais daquele tipo de navio, os encouraçados denominados tipo Dreadnought, elevando o Brasil a uma potência naval no contexto sul-americano. Embora o São Paulo, como seu “irmão”, o Minas Gerais, já estivesse algo desatualizado perante o rápido progresso dos navios de guerra durante o conflito de 1914 a 1918 – ainda abastecia-se com carvão quando o uso do óleo combustível já se encontrava disseminado –, a belonave de 150 metros de comprimento, mais de 20 mil toneladas de deslocamento e tripulada por mil homens ainda era um poderoso símbolo para uma nação que pretendia participação mais ativa no concerto internacional. Àquela missão somariam-se outras duas, quando da viagem de retorno dos monarcas à Europa, o navio faria visitas protocolares aos aliados europeus no conflito recém-encerrado – sim, aliados conquistados com a declaração de guerra do Brasil à Tríplice Aliança em 1917, que redundou no envio de uma flotilha da Marinha do Brasil para atuar em operações antissubmarino no último ano da Guerra – e, na última parada europeia, em Lisboa, novamente serviria a monarcas, repatriando os restos mortais do último Imperador brasileiro e sua esposa, Pedro II e Teresa Cristina.
+As adaptações nas acomodações para transportar o casal real e sua comitiva numa viagem transatlântica foram realizadas pelo Estaleiro de Henrique Lage e, em 27 de julho de 1920, o São Paulo partiu com destino a Zeebrugge, porto comercial no Mar do Norte, de intenso simbolismo naquela Europa recém-pacificada, por ter sido local de intensas lutas na última fase do conflito. A utilização desse porto para o embarque dos reis belgas foi desaconselhada por aquele governo e por autoridades navais britânicas, ambas envolvidas nos trabalhos de desobstrução do canal navegável, bloqueado por vários cascos propositalmente afundados pela Marinha britânica para inviabilizar o uso da base naval ali montada pelos alemães. Mesmo assim, a tripulação do São Paulo, em manobra precisa e arriscada, conseguiu realizar a atracação em 28 de agosto. Quatro dias depois, o casal real embarcou e foi recebido por uma salva de 21 tiros. No regresso ao Brasil, deram-se os festejos do 7 de setembro e a tradicional cerimônia naval da passagem do Equador, porém houve um momento de intensa tristeza. Durante a travessia, faleceu, vítima de um acidente, o grumete Francisco Soares Lima; a cerimônia fúnebre foi realizada no mar pelo capelão que acompanhava o casal real. Testemunhas afirmaram que os marinheiros ficaram tocados com a consternação da Rainha Elisabeth, que se ajoelhou ao lado do caixão para orar pelo grumete. Em 19 de setembro, o encouraçado já se aproximava do Rio de Janeiro e recebeu a escolta de outros navios da Marinha do Brasil, hidroaviões da Aviação Naval brasileira sobrevoavam a formação e inúmeros mercantes saíram porto afora para receber os ilustres visitantes. Coube à Galeota D. João VI, que serviu durante décadas aos Orleans e Bragança da Casa Imperial brasileira, conduzir a comitiva no último e menor trecho da viagem, do navio de guerra fundeado até a Praça Mauá, seguindo dali o séquito pela Avenida Rio Branco para receber a aclamação popular.
+ 
+Anônimo. Desembarque do rei Alberto na praça Mauá, 1920. Rio de Janeiro, RJ / Acervo DPHDM
+ 
+Menos de um mês depois, em 16 de outubro, o casal real voltava a embarcar no São Paulo para seu retorno à Europa. Em 1º de novembro, o Rei Alberto I desembarcou em Lisboa, e a Rainha Elisabeth permaneceu a bordo até a conclusão daquela missão, quando foi deixada junto com sua comitiva no porto belga de Dunquerque. O navio ainda aportou em Portsmouth, Antuérpia e Cherburgo, cumprindo o roteiro de visitas protocolares aos aliados da Primeira Guerra Mundial. A derradeira missão se iniciou em 19 de outubro, quando o São Paulo chegou a Lisboa para receber os restos mortais dos últimos imperador e imperatriz do Brasil. O cortejo fúnebre que saiu do Panteão dos Bragança  reuniu grande multidão nas ruas da capital portuguesa; acompanharam os corpos até o navio brasileiro o Conde D’Eu e o Príncipe D. Pedro. No mesmo dia o São Paulo deixou Portugal e, em 7 de janeiro de 1921, atracava na Praça Mauá encerrando com sucesso as três missões consecutivas iniciadas quase seis meses antes, quando percorreu sem falhas mais de 40 mil quilômetros.
+ 
+*  Carlos André Lopes da Silva é pesquisador da Diretoria do Patrimônio Histórico e Documentação da Marinha
+ 
+Em 26 de setembro de 2016, foi publicado um segundo artigo sobre o assunto, de autoria da pesquisadora Andrea C. T. Wanderley: A viagem dos reis da Bélgica ao Brasil sob as lentes de Guilherme Santos
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/4696` — `itens/20.500.12156.1_4696/`
+- `20.500.12156.1/4691` — `itens/20.500.12156.1_4691/`
+
diff --git a/wordpress/6150-o-fotografo-augusto-stahl-italia-23-05-1828-franca-30-10-1877.md b/wordpress/6150-o-fotografo-augusto-stahl-italia-23-05-1828-franca-30-10-1877.md
new file mode 100644
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@@ -0,0 +1,71 @@
+---
+id: 6150
+url: "https://brasilianafotografica.bn.gov.br/?p=6150"
+titulo: "O fotógrafo Augusto Stahl (Itália 23/05/1828 – França, 30/10/1877)"
+autor: "Andrea Wanderley"
+data: "2016-10-30T10:21:17+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/1790", "20.500.12156.1/2324", "20.500.12156.1/2319", "20.500.12156.1/2154"]
+fetched_at: "2026-09-10T10:26:13.601Z"
+---
+
+# O fotógrafo Augusto Stahl (Itália 23/05/1828 – França, 30/10/1877)
+
+Théophile Auguste Stahl é considerado um dos mais importantes fotógrafos que atuaram no Brasil no século XIX, tendo se dedicado tanto aos retratos como às paisagens – rurais e urbanas -, sempre com uma alta qualidade técnica e estética. Também destacou-se na reportagem etnográfica. Nascido em Bergamo, na Itália, em 23 de maio de 1828, originário de uma família da Alsácia, na França, pouco se sabe sobre sua vida na Europa antes de vir para o Brasil, onde desembarcou do vapor inglês Thames, na cidade do Recife, em 31 de dezembro de 1853. Não se sabe com quem e onde aprendeu a fotografar.  É autor de uma obra importante e abrangente e foi um dos primeiros fotógrafos a produzir cartões de visita, os cartes de visite, no país. Teve estúdios no Recife e, a partir de 1862, estabeleceu-se no Rio de Janeiro. Foi agraciado por d. Pedro II (1825 – 1891) com o título de “Fotógrafo de S.M , o Imperador”. O ex-curador de fotografia do Museu Getty, na Califórnia, e do Museu Metropolitano de Nova York, Weston Naef (1942 – ), no livro Pioneer photographers of Brazil, de 1976, referiu-se a Stahl como um dos fotógrafos da vanguarda dos anos 1850 … a acuidade de sua visão e notável aptidão para descobrir o ângulo mais apropriado para fotografar um tema o coloca entre os 12 mais importantes fotógrafos de todos os tempos….
+Acessando o link para as fotografias de Augusto Stahl disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Augusto Stahl. Mina Nagô, c. 1865 / Acervo IMS
+ 
+No Recife, onde ficou de 1853 a 1861, teve três estúdios: na rua do Crespo, na rua Nova e no Aterro da Boa Vista, posteriormente rebatizada como rua da Imperatriz. Além de produzir retratos, fotografou as paisagens do Recife, de Olinda, de Goiana e do interior de Pernambuco. Também registrou a estrada de ferro Recife – São Francisco. Em 1858, associou-se ao químico fotógrafo Adolpho Schmidt e ao artista pintor Germano Wahnschaffe, alemão de Hamburgo. Uma das pinturas de Germano, a Cachoeira de Paulo Afonso, foi publicada no artigo O interesse de d. Pedro II pelo rio São Francisco, da Brasiliana Iconográfica.
+Em 1859, mesmo ano em que Schmidt deixou a sociedade, dom Pedro II e a imperatriz Teresa Cristina (1822 – 1889) visitaram o norte do país. No Recife, Stahl fotografou o evento e o próprio casal real, em 1º de dezembro. Stahl inovou registrando a chegada e o desembarque dos monarcas na direção contrária, ou seja, do mar para a terra. Stahl & C. receberam de Pedro II a licença de usar o título de Fotógrafo de Sua Majestade Imperial.
+ 
+Augusto Stahl. Desembarque da Família Imperial, 1850. Recife, Pernambuco / Acervo IMS
+ 
+O imperador sugeriu que ele fotografasse as quedas de Paulo Afonso, no norte da Bahia. Uma imagem que ele produziu de Paulo Afonso é considerada muito importante na história da fotografia no Brasil. Segundo Bia Correa do Lago, no livro Os fotógrafos do império: ...Justapõe dois negativos para transmitir plenamente – dentro dos limites técnicos da época – toda a monumentalidade do fenômeno natural , e escolhe deliberadamente como personagem central, para aumentar a escala, uma criança negra.
+Stahl participou de diversas mostras, tendo sido premiado com uma menção honrosa na Primeira Exposição Nacional, em 1861. Na Segunda Exposição Nacional, em 1866, participou com fotografias, retratos da família real em fotopintura por Ulrich Steffen, retratos de negros, vistas de subúrbios e um panorama do Rio de Janeiro. Foi premiado com a medalha de prata.
+ 
+Augusto Stahl. Panorama da cidade de Recife, c. 1855. Recife, Pernambuco / Acervo IMS
+ 
+Em 4 de fevereiro de 1862, embarcou para o Rio de Janeiro a bordo do vapor Paraná e deixou como sucessor, no Recife, Leon Chapelin. Estabeleceu-se na rua do Ouvidor, 117 , e, nos cerca de oito anos durante os quais possuiu estúdio no Rio de Janeiro, fez inúmeros e importantes registros da cidade, sendo o Panorama em cinco partes da cidade do Rio de Janeiro vista da Ilha das Cobras, produzida em torno de 1863, considerada uma de suas obras-primas. Stahl & Wahnschaffe foram agraciados, em 21 de abril de 1862, com o título de “Fotógrafos da Casa Imperial”. Entre 1862 e 1863, Stahl voltou à Europa, onde se casou com Marie Julie Bing (1835 – 1921), nascida em Ostheim, na Alsácia. O casal teve dois filhos, Olga Marie e Paul Theodor Waldemar, ambos nascidos no Rio de Janeiro, em 1864 e 1865, respectivamente.
+ 
+Augusto Stahl e sua esposa Marie Julie Bing, c. 1863 / Site Family Search
+
+Em 1865, Stahl produziu para a missão científica Thayer, chefiada pelo naturalista suíço naturalizado norte-americano Louis Agassiz (1807 – 1873), retratos de “tipos” do país: portraits e fotografias antropométricas de chineses que residiam no Rio de Janeiro e de escravizados negros. A obra Voyage au Brésil – 1865 – 1866 foi resultado dessa missão, realizada sob os auspícios de dom Pedro II. 
+Provavelmente, as atividades do estúdio de Stahl & Wahnschaffe terminaram em 1870, já que o estabelecimento não foi anunciado pelo Almanaque Laemmert de 1871. Os equipamentos foram vendidos para os fotógrafos Cypriano & Silveira (Jornal do Commercio, 22 de maio de 1870). A família de Stahl retornou à Europa. Em 1875, ele partiu do Rio de Janeiro no paquete francês Senegal (O Globo, 26 de julho de 1875, na primeira coluna). Augusto Stahl faleceu em 30 de outubro de 1877, no Estabelecimento Público de Saúde Alsace Nord.
+ 
+Augusto Stahl. Nossa Senhora da Glória do Outeiro, c. 1865. Rio de Janeiro, RJ / Acervo IMS
+ 
+Link para a Cronologia de Augusto Stahl (1828 – 1877)
+ 
+Andrea C. T. Wanderley
+Editora-assistente e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+Catalogue de la troisième exposition de la Société Française de Photographie
+ERMAKOFF , George. Rio de Janeiro 1840 – 1900 – Uma crônica fotográfica. Rio de Janeiro: G. Ermakoff Casa Editorial, 2006.
+FERREZ, Gilberto. A Fotografia no Brasil: 1840-1900 / Gilberto Ferrez; [prefácio por Pedro Vasquez] – 2ª ed. – Rio de Janeiro: FUNARTE: Fundação Nacional Pró-Memória, 1985.
+FERREZ, Gilberto; NAEF, Weston J.. Pioneer Photographers of Brazil, 1840-1920. New York: Center for Inter-American Relations, 1976.
+Hemeroteca Digital da Biblioteca Nacional
+KOSSOY, Boris. Dicionário histórico-fotográfico brasileiro: fotógrafos e ofício da fotografia no Brasil (1833-1910). São Paulo: Instituto Moreira Salles, 2002. 408 p., il. p&b.
+LAGO, Bia Correia do. Augusto Stahl: obra completa em Pernambuco e Rio de Janeiro. Rio de Janeiro: Editora Capivara, 2001.
+LAGO, Bia Corrêa do;LAGO, Pedro Corrêa do. Coleção Princesa Isabel: fotografia do século XIX. Rio de Janeiro: Capivara, 2008.432p.:il., retrs.
+LAGO, Bia Corrêa do;LAGO, Pedro Corrêa do. Os Fotógrafos do Império. Rio de Janeiro: Capivara, 2005. 240p.:il
+LAGO, Pedro Corrêa do. Brasiliana Itaú: uma grande coleção dedicada ao Brasil / curadoria da coleção: Pedro Corrêa do Lago, Ruy Souza e Silva. Rio de Janeiro: Capivara, 2009.
+MARTIM, Ricardo (pseudônimo de Guilherme Auler). Dom Pedro II e a fotografia. Tribuna de Petrópolis. Petrópolis, 1 de abril de 1956.
+MEIRELLES, Victor. “Photographia” In BRASIL. Exposição Nacional. Relatório da Segunda Exposição Nacional de 1866, publicado […] pelo Dr. Antonio José de Souza Rego, 1o secretário da Commissão Directora. Rio de Janeiro: Typ. Nacional, 1869, 2ª parte, pp. 158-170
+MELLO, José Antonio Gonsalves de. Diário de Pernambuco: arte e natureza no Segundo Reinado. Recife:Fundação Joaquim Nabuco/Editora Massangana, 1985.
+Site Encilopédia Itaú Cultural
+Site Instituto Moreira Salles
+Site Société Française de Photographie
+TURAZZI, Maria Inez. Poses e trejeitos: a fotografia e as exposições na era do espetáculo: 1839/1889. Prefácio Pedro Karp Vasquez. Rio de Janeiro: Funarte. Rocco, 1995. 309 p., il. p&b. (Coleção Luz & Reflexão, 4). ISBN 85-85781-08-4.
+VASQUEZ, Pedro Karp. Mestres da fotografia no Brasil. Centro Cultural do Banco do Brasil Rio de Janeiro, 1995.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/1790` — `itens/20.500.12156.1_1790/`
+- `20.500.12156.1/2324` — `itens/20.500.12156.1_2324/`
+- `20.500.12156.1/2319` — `itens/20.500.12156.1_2319/`
+- `20.500.12156.1/2154` — `itens/20.500.12156.1_2154/`
+
diff --git a/wordpress/6248-serie-o-rio-de-janeiro-desaparecido-iii-o-palacio-monroe.md b/wordpress/6248-serie-o-rio-de-janeiro-desaparecido-iii-o-palacio-monroe.md
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+---
+id: 6248
+url: "https://brasilianafotografica.bn.gov.br/?p=6248"
+titulo: "Série “O Rio de Janeiro desaparecido” III – O Palácio Monroe"
+autor: "Andrea Wanderley"
+data: "2016-11-09T10:00:48+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/796", "20.500.12156.1/2720", "20.500.12156.1/3776", "20.500.12156.1/4723", "20.500.12156.1/11604", "20.500.12156.1/4761", "20.500.12156.1/2788"]
+fetched_at: "2026-09-10T10:26:16.967Z"
+---
+
+# Série “O Rio de Janeiro desaparecido” III – O Palácio Monroe
+
+Marinho, P.; A. Editora. Exposição Universal de S. Luiz : o pavilhão do Brasil, 1904?. Missouri, Estados Unidos / Acervo FBN
+ 
+O Palácio Monroe, que na época de sua construção não tinha esse nome, foi a sede do pavilhão do Brasil na Exposição Universal de Saint Louis, também conhecida como Feira Mundial de Saint Louis, realizada entre 30 de abril e 1º de dezembro de 1904, em conjunto com os III Jogos Olímpicos da Era Moderna.
+ 
+O Palácio Monroe na Praça das Nações, em Saint Louis, 1904
+ 
+Foi com uma premiação do Monroe que, pela primeira vez, a arquitetura brasileira recebia reconhecimento internacional. O prédio de estilo eclético, cujo projeto foi do político e engenheiro Francisco Marcelino de Souza Aguiar (1855 – 1935), que já havia projetado o Pavilhão do Brasil na Feira de Chicago, em 1893, conquistou o principal prêmio de arquitetura do evento, o Grande Prêmio Medalha de Ouro. Foi prefeito do Rio de Janeiro, entre 1906 e 1909, e imortalizado como nome de hospital.
+ 
+Marechal Francisco Marcelino de Souza Aguiar (1855 – 1935), autor do projeto do Palácio Monroe / Acervo Arquivo Nacional
+ 
+Acessando o link para as fotografias do Palácio Monroe disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+A primeira página da edição dominical do jornal The St. Louis Republic de 10 de abril de 1904 foi dedicada à obra brasileira:
+“Observando, procura-se em vão uma simples falha, um ponto onde a vista sinta a aspereza de uma linha, onde uma curva, uma janela, qualquer decoração desagrade. Essa construção representa um poema”.
+No The Post Dispatch, de 24 de maio de 1904, lia-se:
+“O edifício do Brasil que vai ser hoje inaugurado é um dos mais belos da Exposição e também do mundo. Bastaria que as mesmas ideias seguidas no projeto e na construção, quanto à ordem, proporções, harmonia e, sobretudo, apropriações fossem tomadas como norma na vida de qualquer país para desenvolvê-lo, torná-lo grandioso em tudo quanto o espírito de seu povo possa conceber e as mãos humanas executar”.
+Como sua estrutura era toda metálica, o prédio pode ser desmontado e remontado. Sua pedra fundamental foi lançada, no Rio de Janeiro, em novembro de 1905, com a presença de Rodrigues Alves (1848 – 1919), presidente da República, ministros e outras autoridades (Correio da Manhã, 20 de novembro de 1905, na quinta coluna, sob o título “Pavilhão de S. Luiz”). Foi remontado no final da Avenida Central. Com três domos, o maior erguido a 40 metros de altura, leões esculpidos em mármore de Carrara e ladeado por 36 colunas gregas, destacava-se na paisagem à beira-mar.
+Em 1906, o Palácio do Itamaraty foi descartado para sediar o III Congresso Pan-americano, no Rio de Janeiro, e decidido que o então Pavilhão de São Luiz, futuro Palácio Monroe, abrigaria o evento (O Paiz, 27 de abril de 1906, na sétima coluna). Foram realizadas obras e ele foi erguido no fim da rua do Passeio, na avenida Central, atual Rio Branco, ponto mais nobre da capital do Brasil (O Paiz, 5 de junho de 1906, na quinta coluna). O congresso foi aberto em 23 de julho de 1906 e prolongou-se até o dia 27 de agosto de 1906 (O Paiz, 24 de julho de 1906).
+ 
+Augusto Malta. Pelotão de ciclistas da marinha em frente ao palácio Monroe, 1906. Rio de Janeiro, RJ / Acervo IMS
+ 
+Originalmente, o prédio ia se chamar Palácio São Luiz porém, durante o evento, o ministro das Relações Exteriores, o barão do Rio Branco (1845 – 1912), batizou o edifício de Palácio Monroe, uma homenagem ao presidente norte- americano James Monroe (1758 – 1831), idealizador do Pan-americanismo.
+ 
+Antônio Caetano da Costa Ribeiro. Entrada da barra do Rio de Janeiro, Brazil : : vista panorâmica, 1910 – 1915. Rio de Janeiro, RJ / Acervo FBN
+ 
+O Palácio Monroe tornou-se um ícone do Rio de Janeiro e sua imagem foi estampada em porcelanas, pratos, talheres, caixas de jóias, tinteiros, cartões-postais e em papéis de carta (O Globo) . Também ilustrou a cédula de 200 réis emitida em 1919.
+ 
+
+Cédula de 200 reis que circulou entre a década de 20 e 50
+ 
+Nos anos que se seguiram ao III Congresso Pan-americano, o Palácio Monroe sediou recepções, formaturas, congressos e até velórios. Entre 1911 e 1914, foi a sede provisória do Ministério da Viação. De 1914 a 1922 sediou a Câmara dos Deputados. Em 20 de setembro de 1920, o palácio foi palco de uma homenagem ao rei Alberto I da Bélgica (1875 – 1934), em visita oficial ao Brasil (O Paiz, 21 de setembro de 1920). Em junho de 1922, passou a sediar a Comissão Executiva da Exposição do Centenário da Independência do Brasil.
+ 
+Guilherme Santos. Visita do Rei da Bélgica, Alberto I, 1920. Rio de Janeiro, RJ / Acervo IMS
+ 
+A partir de 1925, abrigou o Senado Federal, anteriormente sediado no Palácio Conde dos Arcos (Jornal do Brasil, 28 de abril de 1925 e O Paiz, 4 e 5 de maio de 1920). Entre 1923 e 1925, para adaptar-se às necessidades de seu novo ocupante,  sofreu grandes mudanças arquitetônicas: construção de um piso intermediário e de um ao redor da cúpula e do terraço, além da instalação de elevadores e do envidraçamento de duas loggias laterais – espécie de varandas.
+Durante a Revolução de 30, foi o quartel-general das tropas gaúchas, no Rio de Janeiro.
+ 
+Revolução de 1930; tropa gaúcha a cavalo em frente ao Palácio Monroe e ao Obelisco, 1930. Rio de Janeiro, RJ / Acervo IMS
+ 
+Em 1945, foi provisoriamente sede do Tribunal Superior Eleitoral. Voltou a abrigar o Senado em 1946. Com a transferência da capital federal do Rio para Brasília, em 1960, o Senado seguiu para a nova capital, mas manteve o “Senadinho” no Monroe até 1975 (Jornal do Brasil, 29 de abril de 1975). Em 1961, o Monroe passou a sediar o Estado Maior das Forças Armadas.
+Em julho de 1972, o Instituto de Arquitetos do Brasil (IAB) propôs ao Instituto do Patrimônio Histórico Nacional (IPHAN) o tombamento do conjunto arquitetônico remanescente da antiga avenida Central, atual Rio Branco, composto pelo Obelisco, pelo Tribunal de Justiça, pela Biblioteca Nacional, pela Escola de Belas Artes, pelo Derby Clube, pelo Jockey Club, pelo Clube Naval, pelo Teatro Municipal, pelo Monroe e pela Assembleia. O parecer do relator do processo, o arquiteto Paulo Santos (1904 – 1988), foi favorável à preservação. Cerca de dois meses depois, o arquiteto e urbanista Lúcio Costa (1902 – 1998) apresentou ao IPHAN, de onde era aposentado, o texto “Problema Mal Posto”, rebatendo o parecer de Paulo Santos. Nele justificava a demolição do Monroe por uma questão de “desafogo da área”. Para a geração dos arquitetos modernistas, da qual Lúcio Costa era um importante integrante, o ecletismo não era considerado autêntico.
+Em fevereiro de 1973,  o conselho superior do IPHAN realizou a sessão final sobre o processo de tombamento, quando a proposta de Lúcio Costa de avaliar, em separado, os prédios foi aprovada. Não entraram no livro de tombamento o Jockey Club, o Derby Clube e o Palácio Monroe.
+ 
+Augusto Malta. Avenida Rio Branco, após substituição da iluminação a gás por lâmpadas incandescentes; ao fundo, o Palácio Monroe, c. 1920. Rio de Janeiro, RJ / Acervo IMS
+ 
+Em 1974, foi iniciado o debate em torno da destruição do Monroe que supostamente estaria atrapalhando a obra da estação Cinelândia do metrô carioca. A polêmica tomou conta dos jornais e uma comissão do Instituto Geográfico e Histórico Brasileiro aprovou um parecer que recomendava ao IPHAN a preservação do prédio (Jornal do Brasil, 29 de agosto de 1974, na primeira coluna). O Clube de Engenharia também manifestou-se contra a demolição (Jornal do Brasil, 17 de janeiro, na primeira coluna e 22 de fevereiro de 1975, na terceira coluna). Em 04 de julho de 1974, o arquiteto e professor da Universidade Federal do Rio de Janeiro, Wladimir Alves de Souza (1908 – 1994), declarou que a demolição do Palácio Monroe possibilitaria à cidade ganhar uma área ajardinada, um complemento do Passeio Público (O Globo, 4 de julho de 1974).
+Após uma intensa campanha em prol da destruição do Monroe, que contou com o apoio do jornal O GLOBO, a demolição do prédio foi autorizada pelo presidente da República, Ernesto Geisel (1907 – 1996), em outubro de 1975 (Jornal do Brasil, 10 de outubro de 1975, no “Informe JB” e O Globo, 11 de outubro de 1975, pág. 2). Foi iniciada em 5 de janeiro de 1976 por 15 operários da Aghil Comércio de Ferro Ltda cujo proprietário era propriedade de Antônio Gonçalves da Silva (19? ?), que havia ganhado a concorrência para demolir o palácio  (Jornal do Brasil, 3 de janeiro e 6 de janeiro de 1976). Em junho, foi derrubada sua última parede (Jornal do Brasil, 7 de junho de 1976).
+ 
+Augusto Malta. Palácio Monroe, c. 1910. Rio de Janeiro, RJ / Acervo IMS
+ 
+Os objetos de valor foram removidos, dentre eles os vitrais e as estátuas. Dois dos icônicos leões de mármore, obras do escultor italiano Vaccari Sonino, estão na  entrada da Fazenda São Geraldo, em Uberaba, Minas Gerais, e outros dois estão expostos no Instituto Ricardo Brennand no Recife. Algumas das peças do Monroe estão no Museu do Senado, em Brasília.
+ 
+
+ 
+O GLOBO, 27 de fevereiro de 1976
+ 
+No lugar do Palácio Monroe, existe hoje a Praça Mahatma Gandhi, com um estacionamento subterrâneo e com o maior chafariz do Rio de Janeiro – com 10 metros de altura -, comprado na Áustria pelo governo imperial brasileiro, em 1878.  Em homenagem ao palácio, é chamado de Chafariz do Monroe. No estilo Napoleão III,  é uma obra do escultor francês Mathurin Moreau (1822 – 1912), que foi executada na fundição francesa Societé Anonyme des Hauts-Fourneaux & Fonderies du Val d’Osne.
+ 
+Mathurin Moreau  (182-1912)
+ 
+Chafariz do Monroe / Diário do Rio
+ 
+Em setembro de 2015, o Museu do Senado redescobriu peças históricas do Palácio Monroe. Dezesseis caixas que estavam fechadas havia quatro décadas foram abertas e revelaram um acervo de enorme valor histórico: lustres, espelhos e outros objetos que pertenceram ao Palácio Monroe.
+Link para o filme “Arquivo S conta a história do Palácio Monroe, antiga sede do Senado”.
+Link para a matéria Vesperal no Palácio Monroe, publicada na revista A Cigarra, de agosto de 1948, de José Leal com fotografias de Marcel Cognac.
+Link para a matéria A beleza do Palácio Monroe, publicada no O Globo de 12 de julho de 2014, que traz imagens da demolição do prédio.
+Link para a carta do historiador Feliciano Thaumaturgo Mendes de Moraes em defesa do Palácio Monroe, publicada no Jornal do Commercio de 21 de agosto de 1974.
+ 
+O título desse artigo foi alterado de O Palácio Monroe para Série O Rio de Janeiro desaparecido III – O Palácio Monroe, em 16 de setembro de 2021.
+ 
+ 
+Andrea C. T. Wanderley
+Editora-assistente e pesquisadora do portal Brasiliana Fotográfica
+ 
+Links para os outros artigos da Série O Rio de Janeiro desaparecido
+ 
+Série O Rio de Janeiro desaparecido I - Salas de cinema do Rio de Janeiro do início do século XX, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 26 de fevereiro de 2016.
+Série O Rio de Janeiro desaparecido II – A Exposição Nacional de 1908 na Coleção Família Passos, de autoria de Carla Costa, historiadora do Museu da República, publicado na Brasiliana Fotográfica, em 5 de abril de 2018.
+Série O Rio de Janeiro desaparecido IV - A via elevada da Perimetral, de autoria da historiadora Beatriz Kushnir, publicado na Brasiliana Fotográfica em 23 de junho de 2017.
+Série O Rio de Janeiro desaparecido V – O quiosque Chopp Berrante no Passeio Público, Ferrez, Malta e Charles Dunlop, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 20 de julho de 2018.
+Série O Rio de Janeiro desaparecido VI – O primeiro Palácio da Prefeitura Municipal do Rio de Janeiro, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 12 de setembro de 2018.
+Série O Rio de Janeiro desaparecido VII – O Morro de Santo Antônio na Casa de Oswaldo Cruz, de autoria de historiador Ricardo Augusto dos Santos da Casa de Oswaldo Cruz, publicado na Brasiliana Fotográfica em 5 de fevereiro de 2019.
+Série O Rio de Janeiro desaparecido VIII – A demolição do Morro do Castelo, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 30 de abril de 2019.
+Série O Rio de Janeiro desaparecido IX – Estrada de Ferro Central do Brasil: estação e trilhos, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 12 de novembro de 2019.
+Série O Rio de Janeiro desaparecido X – No Dia dos Namorados, um pouco da história do Pavilhão Mourisco em Botafogo, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 12 de junho de 2020.
+Série O Rio de Janeiro desaparecido XI – A Estrada de Ferro do Corcovado e o mirante Chapéu de Sol, de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 22 de julho de 2021.
+Série O Rio de Janeiro desaparecido XII – o Teatro Lírico (Theatro Lyrico), de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 15 de setembro de 2021.
+Série O Rio de Janeiro desaparecido XIII – O Convento da Ajuda, de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 12 de outubro de 2021.
+Série O Rio de Janeiro desaparecido XIV – O Conselho Municipal, de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 19 de novembro de 2021.
+Série O Rio de Janeiro desaparecido XV – A Praia de Santa Luzia no primeiro dia do verão, de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 21 de dezembro de 2021.
+Série O Rio de Janeiro desaparecido XVI – O prédio da Academia Imperial de Belas Artes, de autoria de Andrea C.T. Wanderley, publicado na Brasiliana Fotográfica em 13 de janeiro de 2022.
+Série O Rio de Janeiro desaparecido XVII – Igreja São Pedro dos Clérigos, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 18 de março de 2022.
+Série O Rio de Janeiro desaparecido XVIII – A Praça Onze, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 20 de abril de 2022.
+Série O Rio de Janeiro desaparecido XIX – A Igrejinha de Copacabana, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 23 de junho de 2022.
+Série O Rio de Janeiro desaparecido XX – O Pavilhão dos Estados, futuro prédio do Ministério da Agricultura, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 26 de julho de 2022.
+Série O Rio de Janeiro desaparecido XXI – O Chafariz do Largo da Carioca, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 19 de setembro de 2022. 
+Série O Rio de Janeiro desaparecido XXII – A Cadeia Velha que deu lugar ao Palácio Tiradentes, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 11 de abril de 2023
+Série O Rio de Janeiro desaparecido XXIII e Avenidas e ruas do Brasil XVII - A Praia e a Rua do Russel, na Glória, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 15 de maio de 2023
+Série O Rio de Janeiro desaparecido XXIV – O luxuoso Palace Hotel, na Avenida Rio Branco, uma referência da vanguarda artística no Rio de Janeiro, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 4 de julho de 2023
+Série O Rio de Janeiro desaparecido XXV – O Theatro Phenix, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 5 de setembro de 2023
+Série O Rio de Janeiro desaparecido XXVI – Conclusão do arrasamento do Morro do Castelo por Augusto Malta, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 14 de dezembro de 2023
+Série O Rio de Janeiro desaparecido XXVII e Série Os arquitetos do Rio de Janeiro V – O Jockey Club e o Derby Club, na Avenida Rio Branco e o arquiteto Heitor de Mello (1875 – 1920), de autoria de Andrea c. T. Wanderley, editora e pesquisadora do portal, em 15 de janeiro de 2024
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/796` — `itens/20.500.12156.1_796/`
+- `20.500.12156.1/2720` — `itens/20.500.12156.1_2720/`
+- `20.500.12156.1/3776` — `itens/20.500.12156.1_3776/`
+- `20.500.12156.1/4723` — `itens/20.500.12156.1_4723/`
+- `20.500.12156.1/11604` — `itens/20.500.12156.1_11604/`
+- `20.500.12156.1/4761` — `itens/20.500.12156.1_4761/`
+- `20.500.12156.1/2788` — `itens/20.500.12156.1_2788/`
+
diff --git a/wordpress/6252-dia-da-bandeira-do-brasil.md b/wordpress/6252-dia-da-bandeira-do-brasil.md
new file mode 100644
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+++ b/wordpress/6252-dia-da-bandeira-do-brasil.md
@@ -0,0 +1,23 @@
+---
+id: 6252
+url: "https://brasilianafotografica.bn.gov.br/?p=6252"
+titulo: "Dia da Bandeira do Brasil"
+autor: "Andrea Wanderley"
+data: "2016-11-19T00:45:04+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/4340"]
+fetched_at: "2026-09-10T10:26:20.109Z"
+---
+
+# Dia da Bandeira do Brasil
+
+Aristógiton Malta. Comemoração aos 50 Anos da Bandeira Nacional, 19 de novembro de 1939. Rio de Janeiro, RJ / Acervo do AGCRJ
+A Brasiliana Fotográfica homenageia a bandeira nacional com uma imagem produzida pelo fotógrafo Aristógiton Malta (1904-1954) da comemoração do cinquentenário do Dia da Bandeira, ocorrida em 19 de novembro de 1939. A fotografia é de um aspecto da celebração da efeméride com a presença do presidente Getúlio Vargas (1882 – 1954), no campo do Russell (Correio da Manhã, 21 de novembro de 1939). Aristógiton Malta era filho do importante cronista fotográfico do Rio de Janeiro da primeira metade do século XX, Augusto Malta (1864 – 1957), que foi fotógrafo da prefeitura da cidade, entre 1903 e 1936. Aristógiton começou a trabalhar como seu assistente, em 1925, e, em 25 de agosto de 1936, quando seu pai se aposentou, o substituiu. A fotografia destacada pertence ao Arquivo Geral da Cidade do Rio de Janeiro, acervo integrante do portal Brasiliana Fotográfica.
+O portal identificou na imagem o ministro da Guerra, Eurico Gaspar Dutra (1883 – 1974), o ministro da Marinha, Aristides Guilhem (1875 – 1949), ambos fardados, estando o primeiro de gravata e segurando o cap. Logo à esquerda e atrás do presidente Getúlio Vargas, com um lenço na lapela, está, de óculos, o ministro da Educação, Gustavo Capanema (1900 – 1985). O outro ministro usando óculos, alinhado com Getúlio, é Francisco Luís da Silva Campos (1891 – 1968), da Justiça e dos Negócios Interiores.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/4340` — `itens/20.500.12156.1_4340/`
+
diff --git a/wordpress/6330-o-palacio-real-de-sao-cristovao.md b/wordpress/6330-o-palacio-real-de-sao-cristovao.md
new file mode 100644
index 0000000..e88482c
--- /dev/null
+++ b/wordpress/6330-o-palacio-real-de-sao-cristovao.md
@@ -0,0 +1,44 @@
+---
+id: 6330
+url: "https://brasilianafotografica.bn.gov.br/?p=6330"
+titulo: "O Palácio Real de São Cristóvão"
+autor: "Andrea Wanderley"
+data: "2016-10-03T08:29:42+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/2309", "20.500.12156.1/2452"]
+fetched_at: "2026-09-10T10:26:23.154Z"
+---
+
+# O Palácio Real de São Cristóvão
+
+O Palácio Real de São Cristóvão*
+ 
+Georges Leuzinger. O Palácio Imperial, c. 1870. São Cristóvão, Rio de Janeiro, RJ / Acervo IMS
+ 
+A Brasiliana Fotográfica destacou fotografias do Palácio Real de São Cristóvão, que atualmente abriga o Museu Nacional da Universidade do Rio de Janeiro, produzidas por  Augusto Malta (1864 – 1957), Augusto Stahl (1828 – 1877), Georges Leuzinger (1813 – 1892), Joaquim Insley Pacheco (1830 – 1912) e Revert Henrique Klumb (c. 1826 – c. 1886) . O Palácio Real ou Paço Real, localizado no bairro de São Cristóvão, no Rio de Janeiro, havia sido um casarão de um rico comerciante, o traficante de escravos Elias Antônio Lopes, que possuía a área da Quinta da Boa Vista. Devido à carência de espaços residenciais no Rio de Janeiro, Elias doou sua propriedade ao então príncipe regente dom João quando ele chegou ao Brasil, em 1808. A partir de 1817, transformou-se na moradia da família real até 1889, quando foi proclamada a República no Brasil e a família partiu para Portugal (Gazeta de Notícias, edição de 18 de novembro de 1889, sob o título “O Embarque do Imperador”, na segunda coluna). Após a proclamação, o palácio sediou os trabalhos da Assembleia Nacional que resultaram na Constituição Brasileira promulgada em 24 de fevereiro de 1891 (Gazeta de Notícias, 25 de fevereiro de 1891, na primeira coluna).
+Em 1892, o Museu Nacional do Brasil, criado em 6 de junho de 1818 por dom João VI e sediado no Campo de Santana, mudou-se para o Palácio da Quinta (O Paiz, 13 de março de 1892, na terceira coluna). Hoje é chamado Museu Nacional da Universidade Federal do Rio de Janeiro e é um um dos maiores museus de antropologia e de história natural das Américas.
+Acessando o link para as fotografias do Palácio Imperial de São Cristóvão disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+O Museu Nacional da Universidade Federal do Rio de Janeiro, a mais antiga instituição científica do Brasil e da própria cultura do país, foi atingido, em 2 de setembro de 2018, por um incêndio de grandes proporções, foi atingido por um incêndio de grandes proporções, que consumiu cerca de 85% de 20 milhões de itens, incluindo múmias, fósseis de dinossauros e muitos objetos que contribuíam para a história do Brasil e de outros países.
+Em março de 2020, foi criado o Projeto Museu Nacional Vive, que coordena a reconstrução do Paço, a reforma da Biblioteca Central e a implementação do Campus de Pesquisa e Ensino Museu Nacional / UFRJ. Trata-se de uma cooperação técnica entre a UFRJ, a UNESCO e ao Instituto Cultural Vale. No ano seguinte, ornamentos históricos e artísticos que sobreviveram ao incêndio foram higienizados e protegidos; réplicas foram produzidas; artefatos foram resgatados a partir do monitoramento arqueológico e o restauro das fachadas e coberturas do Paço começou pelo bloco histórico. Quatorze mil novos itens foram conquistados para o Museu. Em 2022, na celebração do bicentenário da independência, sua fachada principal estava inteiramente restaurada e as obras de restauração continuam avançando.
+Em 21 junho de 2026, foram inauguradas, no Museu Nacional, duas exposições temporárias: Bastidores da Ciência e Rescaldo das Memórias. A primeira, desenvolvida pelas equipes do Museu e do Projeto Museu Nacional Vive, apresenta os processos, técnicas e práticas envolvendo a produção do conhecimento científico. Na segunda, o artista visual Vik Muniz (1961-) transformou cinzas e fragmentos do incêndio em 11 fotografias e 9 esculturas.
+ 
+Augusto Malta Museu Nacional, c. 1930. São Cristóvão. Rio de Janeiro, RJ / Acervo IMS
+ 
+ 
+Vik Muniz. Museu Nacional da série Museu das cinzas
+ 
+Link para o artigo O Museu Nacional, publicado na Brasiliana Fotográfica, em 3 de setembro de 2018.
+Link para a página “Redescobrindo a casa do imperador”, no site do Museu Nacional.
+ 
+*Esse artigo foi atualizado em 24 de junho de 2026.
+
+Andrea C. T. Wanderley
+Editora-assistente e pesquisadora do portal Brasiliana Fotográfica
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/2309` — `itens/20.500.12156.1_2309/`
+- `20.500.12156.1/2452` — `itens/20.500.12156.1_2452/`
+
diff --git a/wordpress/6720-para-uma-historia-da-fotografia-medica-no-brasil.md b/wordpress/6720-para-uma-historia-da-fotografia-medica-no-brasil.md
new file mode 100644
index 0000000..fbba9f4
--- /dev/null
+++ b/wordpress/6720-para-uma-historia-da-fotografia-medica-no-brasil.md
@@ -0,0 +1,48 @@
+---
+id: 6720
+url: "https://brasilianafotografica.bn.gov.br/?p=6720"
+titulo: "Para uma história da Fotografia Médica, no Brasil"
+autor: "Vinicius Martins"
+data: "2016-10-23T15:07:50+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/369", "20.500.12156.1/802"]
+fetched_at: "2026-09-10T10:26:26.469Z"
+---
+
+# Para uma história da Fotografia Médica, no Brasil
+
+Como seria a nossa vida, hoje, sem os diagnósticos médicos por imagem?
+E qual tem sido a contribuição da fotografia no processo de ensino e aprendizagem da medicina, no Brasil, desde o século XIX?
+Cabe aos pesquisadores da história da imagem médica e, mais especificamente, da fotografia médica – no Brasil – respondê-la.
+ 
+O que se vê acima são detalhes de fotografias que integram um conjunto maior, já amplamente divulgado, a partir de 1997, quando iniciou-se a itinerância da exposição A coleção do imperador – fotografia brasileira e estrangeira no século XIX que, no Brasil, foi apresentada no Rio de Janeiro (Centro Cultural do Banco do Brasil)  e em São Paulo (Pinacoteca do Estado).
+Mas as perguntas persistem: foram feitas a pedido de quem, e para que usos? Como funcionava o sistema local de produção de fotografias para o campo da medicina, ao final dos oitocentos?
+Façamos uma leitura preliminar destas imagens, levando em conta o que se segue: em meados da década de 1880 e a pedido de um médico, supõe-se, o jovem cidadão compareceu ao estúdio fotográfico de João Xavier de Oliveira Menezes, instalado à rua da Quitanda, no Centro do Rio de Janeiro. O estabelecimento estava configurado para produzir retratos – vide o tapete, a cena campestre no fundo pintado e a coluna ornada, sobre a qual o paciente apoiou as suas calças e pousou, de braços cruzados, revelando certa deformidade nos membros inferiores. O formato da fotografia, uma carte-cabinet, ainda era popular, naqueles tempos em que a democratização do fazer fotográfico não havia se cumprido. Observe-se a marca do fotógrafo, incluindo as palavras-chave “portrait” e “álbum.”
+Tempos depois de submetido a tratamento, supõe-se, o paciente voltou ao estúdio para novo registro – desta vez, o fotógrafo tomou certos cuidados (técnicos) e desprezou outros (estéticos), realizando uma fotografia mais fria e objetiva, montada em um cartão neutro; observe-se, ainda, a base de um aparelho de pose, atrás de seus pés. O instrumento era utilizado para conferir maior estabilidade ao retratado, no ato da tomada da foto. Quase nada sabemos acerca da atuação do fotógrafo J. Meneses no campo médico.
+Segundo o Dicionário Histórico-Fotográfico Brasileiro de Boris Kossoy, J. Menezes era então proprietário da “antiga casa Christiano Junior & Pacheco” o que nos leva a indagar: teria sido ele o sucessor de Christiano Junior no atendimento à classe médica da corte? Pois o álbum Elephantiasis (que também integra o repositório deste portal) mostra pacientes nus, com hipertrofia e espessamento de tecidos decorrentes dessa doença (a filariose) e teria sido realizado por Christiano Junior durante seu período de atuação no Rio de Janeiro, antes de prosseguir para Buenos Aires – onde realizou estupendo trabalho documental daquele país e de seu povo, já estudado por Abel Alexander e Luis Priamo.[1]
+No catálogo da primeira exposição do Club Industrial de Buenos Aires, em 1877, Christiano Junior escreveu [acerca de suas fotos médicas, realizadas no Brasil] que “segundo o parecer dos médicos nacionais e estrangeiros, nenhum fotógrafo, até aquela data [1866] havia tirado do natural um trabalho semelhante.”
+Entre a década de 1860 e a virada do século, há registros da atuação de José Christiano de Freitas Henriques Junior em Maceió AL (onde teria iniciado as suas atividades), Rio de Janeiro RJ, Desterro SC, Mercedes (Uruguai) e diversas cidades argentinas por onde passou, antes de vir a falecer em Assunção, Paraguai, em 1902. Foi um dos maiores e mais versáteis fotógrafos dos oitocentos, além de empresário atuante em diversos ramos.
+ 
+Acessando o link para as fotografias médicas disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas. 
+ 
+Voltemos à fotografia médica. É na coleção de fotografias formada pelo último imperador do Brasil, guardada em sua maior parte na Biblioteca Nacional e inscrita no programa Memória do Mundo, da Unesco, que encontra-se um dos possíveis pontos de partida a motivar mais investigação neste campo. “Nasci para consagrar-me às letras e às ciências”, anotou em seu diário, em 1862. Natural, assim, que a medicina estivesse entre os seus interesses. Na biografia de d. Pedro II por José Murilo de Carvalho, encontramos alguns desses indícios. As reuniões anuais da Academia de Medicina eram realizadas no Paço Imperial. Também gostava de assistir aos concursos públicos da Faculdade de Medicina. Doou 100 mil francos para a criação do Instituto Pasteur, em Paris.
+Detalhes das fotomicrografias de sedimentos da urina humana, realizadas pelo dr. Ultzmann, de Viena – à esquerda, o ácido úrico “proveniente de cálculos urinários” e à direita, “precipitado pelo ácido clorídrico da urina normal.”
+Os detalhes reproduzidos acima foram extraídos de fotomicrografias integrantes de um álbum de sua coleção. Foram realizadas pelo médico húngaro Robert Utzmann, importante referência mundial no campo da urologia, investigador e professor na Universidade de Viena. D. Pedro não perdia uma oportunidade para dialogar com a classe médica, aqui ou no exterior, mantendo-se a par dos progressos – inclusive das interseções com a fotografia. Bem sabemos que ele era dotado de profunda consciência e fascínio pelo conhecimento que certos aparatos de visão proporcionavam, tais como os telescópios e os microscópios, aproximando-o de outros mundos, invisíveis a olho nu.
+No final de sua vida, exilado em Paris, d. Pedro II seguiu acompanhando de perto os progressos no campo das tecnologias da imagem (inclusive da fotografia a cores) mas não teve tempo de vivenciar o fascínio do “ver através’: quando Wilhelm Conrad Roentgen descobriu os raios-X, em 1895, ele havia falecido, havia poucos anos.
+Sobre o emprego dos raios-X no campo médico, vale lembrar, o Brasil também deu importante contribuição. Hoje um tanto esquecida – mas ainda cultuada – a abreugrafia, uma radiografia do tórax em dimensões reduzidas  idealizada em 1936 pelo dr. Manoel de Abreu – cujo nome integra o panteão dos indicados ao Prêmio Nobel de Medicina de 1946, 51 e 53 –  já foi exame obrigatório do trabalhador brasileiro, visando a detecção da tuberculose em indivíduos aparentemente sadios, já que a doença é assintomática, em sua fase inicial.
+Encerro este texto com a firme esperança de que médicos e demais interessados na história da imagem médica no Brasil se manifestem – através deste blog – comentando, corrigindo ou acrescentando informações relacionadas a estas imagens históricas. Precisamos avançar neste campo, cuja constituição e trajetória pouco conhecemos.
+Seleção de imagens de Fotografia Médica na Brasiliana Fotográfica
+ 
+ 
+Joaquim Marçal Ferreira de Andrade
+Curador, pela FBN, do portal Brasiliana Fotográfica
+ 
+[1] Un país en transición : fotografías de Buenos Aires, Cuyo y el Noroeste, 1867/1883 – Christiano Junior. Buenos Aires [Argentina] : Ediciones Fundación Antorchas, 2000.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/369` — `itens/20.500.12156.1_369/`
+- `20.500.12156.1/802` — `itens/20.500.12156.1_802/`
+
diff --git a/wordpress/6798-a-imperatriz-teresa-cristina-maria-a-mae-dos-brasileiros-italia-14-03-1822-portu.md b/wordpress/6798-a-imperatriz-teresa-cristina-maria-a-mae-dos-brasileiros-italia-14-03-1822-portu.md
new file mode 100644
index 0000000..4189afb
--- /dev/null
+++ b/wordpress/6798-a-imperatriz-teresa-cristina-maria-a-mae-dos-brasileiros-italia-14-03-1822-portu.md
@@ -0,0 +1,55 @@
+---
+id: 6798
+url: "https://brasilianafotografica.bn.gov.br/?p=6798"
+titulo: "A imperatriz Teresa Cristina Maria, a mãe dos brasileiros (Itália, 14/03/1822 – Portugal, 28/12/1889)"
+autor: "Andrea Wanderley"
+data: "2016-12-27T23:56:08+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/3919", "20.500.12156.1/4779", "20.500.12156.1/1794", "20.500.12156.1/350"]
+fetched_at: "2026-09-10T10:26:29.900Z"
+---
+
+# A imperatriz Teresa Cristina Maria, a mãe dos brasileiros (Itália, 14/03/1822 – Portugal, 28/12/1889)
+
+Revert Henrique Klumb. A Imperatriz D. Teresa Cristina com as princesas Isabel e Leopoldina ao fundo, 1861. Rio de Janeiro, RJ / Acervo IMS
+A Brasiliana Fotográfica homenageia dona Teresa Cristina Maria (1822 – 1889) com uma seleção de imagens da imperatriz produzidas por alguns dos mais importantes fotógrafos que atuaram no Brasil no século XIX como Abram-Louis Buvelot (1814 – 1888), Alberto Henschel (1827 – 1882), Joaquim Insley Pacheco (1830 – 1912), Marc Ferrez (1843-1923) e Revert Henrique Klumb (c. 1826 – c. 1886), dentre outros. Em vida, Teresa Cristina Maria foi chamada de “mãe dos brasileiros” e, em 1998, quando foi homenageada com uma exposição no Museu Imperial de Petrópolis, foi tratada como “a imperatriz silenciosa”. Ela dá nome a uma das mais importantes coleções de fotografia do século XIX, com cerca de 25 mil fotografias, além de livros, mapas e outros documentos, doada à Biblioteca Nacional por seu marido, dom Pedro II (1825 – 1891), depois do banimento da família real do Brasil e do falecimento da imperatriz, em 1889. Segundo Pedro Vasquez, a Collecção Dona Thereza Christina Maria – a monumental biblioteca de Pedro II – é, até hoje, “o mais diversificado e precioso acervo dos primórdios da fotografia brasileira jamais reunido por um particular, e tampouco por uma instituição pública”.
+Teresa Cristina Maria, princesa do Reino das Duas Sicílias, nasceu em Nápoles, na Itália, em 14 de março de 1822,  filha do rei Francisco I (1777 – 1830), do ramo italiano da Casa de Bourbon, e da infanta Maria Isabel da Espanha (1789 – 1848).  Em 30 de maio de 1843, casou-se com dom Pedro II  por procuração, em sua cidade natal. Como eles eram primos, tiveram que obter licença de Roma. Em 3 de setembro, ela chegou ao Rio de Janeiro e eles se encontraram pela primeira vez, a bordo da fragata Constituição (Jornal do Commercio, de 4 de setembro, na última coluna; e de 5 de setembro de 1843, na primeira coluna, ambas sob o título “Jornal do Commercio”). Dom Pedro II ficou muito decepcionado com a aparência de sua esposa, fato percebido por ela. Segundo José Murilo de Carvalho, no livro D. Pedro II, ele se sentiu “enganado e queixou-se amargamente a Paulo Barbosa e d. Mariana. Chorou nos ombros do mordomo e reclamou da aia: “Enganaram-me, Dadama!””.
+Acessando o link para as fotografias da imperatriz Teresa Cristina disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Buvelot & Prat. Imperatriz Thereza Christina, 1852. RJ / Acervo IMS
+ 
+Em 23 de fevereiro de 1845, nasceu o primeiro filho do casal, dom Afonso (Diário de Rio de Janeiro, de 24 de fevereiro de 1845, sob o título “O Diário”), que faleceu em 11 de junho de 1847 (Diário do Rio de Janeiro, de 12 de junho de 1847). Em 29 de julho de 1846, nasceu a princesa Isabel (1846 – 1921) (Diário do Rio de Janeiro, edição de 30 de julho de 1846, sob o título “Parte official”). Cerca de um ano depois, em 13 de julho de 1847, nasceu a princesa Leopoldina (Diário do Rio de Janeiro, de 14 de julho de 1847, sob o título “O Diário”). Em 19 de julho de 1848, nasceu dom Pedro Afonso (Diário do Rio de Janeiro, de 20 de julho de 1848), que faleceu em 10 de janeiro de 1850 (Diário do Rio de Janeiro, de 11 de janeiro de 1848).
+Em 15 de novembro de 1889, foi proclamada a República no Brasil, dom Pedro II foi deposto e, dois dias depois, a família real partiu para o exílio, na Europa, a bordo do Alagoas (Gazeta de Notícias, edição de 18 de novembro de 1889, sob o título “O Embarque do Imperador”, na segunda coluna). Chegaram em Lisboa em 7 de dezembro e a imperatriz Teresa Cristina Maria faleceu, em 28 de dezembro, na cidade do Porto (Jornal do Commercio, 2 de janeiro de 1892, na última coluna e 3 de janeiro, na segunda coluna).
+ 
+Alberto Henschel. A Família Imperial reunida. Da esquerda para a direita: d. Antônio, em pé, princesa Isabel, sentada, tendo à sua frente d. Luís, sentado, d. Pedro de Alcântara, príncipe do Grão-Pará, e d. Augusto Leopoldo, ambos em pé; d. Pedro II, sentado, segurando um guarda-chuva, conde d’Eu, em pé, d. Teresa Cristina e d. Pedro Augusto, ambos sentados, 1887. Rio de Janeiro, RJ / Acervo IMS
+Teresa Cristina foi uma entusiasta da arqueologia, atividade a qual seus antepassados haviam se dedicado em escavações nas cidades italianas de Herculano e Pompéia. Devido a esse interesse da imperatriz, o Brasil possui a maior coleção de arqueologia clássica da América Latina, com cerca de setecentas peças. Na bagagem que trouxe para o Brasil, encontravam-se várias peças provenientes da região da Campânia, na península itálica, que seriam, posteriormente, o núcleo da coleção que recebeu o seu nome e está em exposição no Museu Nacional da Quinta da Boa Vista, no Rio de Janeiro. Além disso, ela patrocinou escavações nas redondezas de Roma e estabeleceu com seu irmão, Fernando II (1810 – 1859) um intercâmbio entre antiguidades pertencentes ao Real Museu Bourbônico e peças de artesanato indígena.
+Uma curiosidade: seu nome completo era Teresa Cristina Maria Josefa Gaspar Baltasar Melchior Januária Rosalía Lúcia Francisca de Assis Isabel Francisca de Pádua Donata Bonosa Andréia de Avelino Rita Liutgarda Gertrude Venância Tadea Spiridione Roca Matilde.
+ 
+Joaquim Insley Pacheco. Teresa Cristina Maria, Imperatriz, consorte de Pedro II, Imperador do Brasil : retrato, 187? / Acervo FBN
+ 
+Illustração Brasileira, novembro de 1922
+ 
+Andrea C. T. Wanderley
+Editora-assistente e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+AVELLA, Aniello Angelo. Teresa Cristina Maria de Bourbon, uma imperatriz silenciada. In: Anais do XX Encontro Regional de História: História e Liberdade. ANPUH/SP – UNESP-Franca. São Paulo, set. 2010.
+BESOUCHET, Lídia. Exílio e morte do Imperador. Rio de Janeiro: Editora Nova Fronteira, 1975
+CARVALHO, José Murilo. Pedro II: ser ou não ser. São Paulo: Companhia das Letras, 2007.
+CALMON, Pedro. História de D. Pedro II. – Rio de Janeiro: J. Olympio, 1975. Cinco Vols.
+GUIMARAES, Lucia Maria Paschoal. Teresa Cristina de Bourbon (1822-1889): a face oculta da imperatriz silenciosa. In: Anais do XXVI Simpósio Nacional de História – ANPUH. São Paulo, Jul. 2011.
+HARING, Bertita. O Trono do Amazonas – a história dos Braganças no Brasil – José Olympio, RJ, 1944.
+PRIORE, Mary Del. Condessa de Barral.  – Rio de janeiro: Objetiva, 2008.
+SCHWARCZ, Lilia Moritz. As barbas do imperador. – 2ª Edição – São Paulo: Companhia das Letras, 2012.
+Site da Biblioteca Nacional
+Site Rainhas Trágicas
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/3919` — `itens/20.500.12156.1_3919/`
+- `20.500.12156.1/4779` — `itens/20.500.12156.1_4779/`
+- `20.500.12156.1/1794` — `itens/20.500.12156.1_1794/`
+- `20.500.12156.1/350` — `itens/20.500.12156.1_350/`
+
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+---
+id: 7021
+url: "https://brasilianafotografica.bn.gov.br/?p=7021"
+titulo: "Do natural ao construído: O Rio de Janeiro na fotografia de Marc Ferrez"
+autor: "Andrea Wanderley"
+data: "2016-12-19T10:01:28+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/4772", "20.500.12156.1/2575"]
+fetched_at: "2026-09-10T10:26:33.573Z"
+---
+
+# Do natural ao construído: O Rio de Janeiro na fotografia de Marc Ferrez
+
+Marc Ferrez. Corcovado, c. 1886. Rio de Janeiro, RJ / Acervo IMS
+A Brasiliana Fotográfica publica o texto Do natural ao construído: O Rio de Janeiro na fotografia de Marc Ferrez, de Sérgio Burgi, curador do portal e coordenador da área de Fotografia do Instituto Moreira Salles, publicado originariamente no livro Marc Ferrez – Rio, editado pelo IMS e pela Steidl, em 2015.  Conta um pouco da história da fotografia no Brasil do século XIX, ressaltando a importância de Ferrez na construção da representação visual do Rio de Janeiro.
+Sergio Burgi*
+Sua estranheza, seu surrealismo, seu onirismo – aos nossos olhos atuais – são resultado de um cuidado extremo de preparação e estruturação da imagem… O registro direto de certos aspectos da realidade pode nos conquistar com muito mais força do que a ficção. Com Ferrez, nós nos deslocamos para aquele momento. Ele procura nos encantar. Ele constrói para o mundo um Brasil do mito, um Brasil da vertigem. Assim é formada essa documentação-ficção que até hoje nos fascina. Ele abre o diafragma da câmera para captar uma fantasia, um sonho de Brasil.
+Laurent Gervereau 1
+Acessando o link para as fotografias de Marc Ferrez disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+A paisagem é uma marca indelével na história e na representação do Rio de Janeiro. Desde os primeiros relatos sobre a baía de Guanabara, a iconicidade de sua geografia já se fazia presente. Artistas viajantes do século 18 e início do 19 retrataram em desenhos, pinturas e gravuras sua singular localização, incrustada entre o mar e as montanhas, que molda a cidade desde a sua fundação, em 1º de março de 1565.
+Os primeiros registros fotográficos feitos do Rio, logo no começo de 1840, são vistas urbanas do Paço Imperial, do Chafariz do Mestre Valentim, na atual Praça xv, e do mosteiro de São Bento, sobre o morro de mesmo nome que se projeta sobre as águas da baía. Todas são tomadas de um pavimento elevado do antigo Hotel Pharoux, na Praça xv. Até essa época, ainda não tinham sido explorados os diversos pontos de vista naturais oferecidos pela própria geografia da cidade, que seriam a marca de toda a documentação fotográfica posterior do Rio de Janeiro. Mesmo assim, essas primeiras imagens já indicam os caminhos que a representação fotográfica da cidade percorreria daí em diante, buscando o registro simultâneo do natural e do construído.
+Fotógrafos como Revert Henry Klumb, Victor Frond, Augusto Stahl e Georges Leuzinger produziram entre 1856 e 1875 uma extensa documentação do Rio de Janeiro e de sua paisagem. Marc Ferrez, que iniciou suas atividades profissionais em 1867, interagiu com todos eles e, a partir de 1875, passa a ser o principal fotógrafo do Rio de Janeiro, realizando uma obra única de registro da paisagem urbana e natural da então capital do país.
+O Rio de Janeiro do século 19, além de capital política, econômica e cultural do Império, foi também a capital da fotografia. Do ponto de vista quantitativo, esse fenômeno pode ser nitidamente percebido pelo “mapeamento preliminar” elaborado pelo historiador Boris Kossoy sobre as firmas fotográficas que existiam na cidade no período.
+Em seu Dicionário histórico-fotográfico brasileiro, editado pelo Instituto Moreira Salles, o pesquisador afirma que “durante o século 19, concentrava-se no Rio de Janeiro o maior número de estabelecimentos. Era, pois, o mais importante centro para a atividade fotográfica no país”.2 Mas a força da fotografia no Rio se expressava ainda na qualidade com que essa atividade era desenvolvida.
+Como no resto do mundo, também no Brasil os fotógrafos profissionais operavam suas câmeras em estabelecimentos fixos nas grandes cidades e em ateliês improvisados e ambulantes no interior, sobretudo os retratistas – aliás, o uso mais frequente da fotografia das primeiras décadas foi o de fixar a imagem do homem, não a de vistas ou paisagens. Nos primeiros anos após a apresentação da daguerreotipia, os processos fotográficos se modernizaram com rapidez. O avanço tecnológico, o desenvolvimento de novos processos, com destaque para o negativo-positivo, em poucos anos tornaram obsoleta aquela técnica primeira. Lentes e substâncias químicas fotossensíveis mais eficientes propiciaram uma expressiva melhora do resultado fotográfico. A partir de 1851, à medida que o mercado e o acesso a informações técnicas se expandiam, a obtenção de um negativo de colódio úmido de qualidade para a produção de múltiplas impressões em papel albuminado – processo mais comum na segunda metade do século 19 – foi ficando, aos poucos, menos complexa e mais barata.
+Em Paris, com os chamados carte-de-visite, André Adolphe-Eugène Disdéri gerou uma verdadeira febre de retratos. Em vários países, nos anos de 1860, abriram-se estúdios que os produziam em formato carte-de-visite, cabinet e outros, cada vez com menos custo e mais qualidade.
+Sem dúvida desde a invenção da daguerreotipia, embora em quantidade muito menor, houve também fotógrafos dedicados a paisagens. As chamadas “vistas” ou “panoramas” eram desafios extremamente atraentes e interessantes para muitos pioneiros, que trabalhavam como os pintores paisagistas antes do advento da fotografia. Existiam muito menos paisagistas que retratistas em parte devido às dificuldades de se trabalhar fora do ateliê, em parte devido à pouca demanda desse tipo de imagem. Se na década de 1860 – apesar das oscilações evidenciadas pelas frequentes mudanças de endereços e associações entre profissionais – a profissão de retratista já formava um mercado, foi somente mais tarde, entre 1870 e 1880, que os especialistas em paisagens passaram a viver de seu ofício. E foi Marc Ferrez o precursor e principal fotógrafo a se dedicar a esse campo da fotografia no Brasil.
+Quase metade da produção fotográfica de Ferrez foi realizada na cidade do Rio de Janeiro e seu entorno. A outra parte registra as regiões do Brasil que ele regularmente percorreu em seus diversos trabalhos comissionados, tanto como fotógrafo da Comissão Geológica do Império, em meados dos anos 1870, quanto como fotógrafo das construções ferroviárias no Brasil, especialmente entre 1880 e 1890, quando produziu um grande panorama da paisagem brasileira de sua época. Em suas fotografias do Rio de Janeiro, além do espaço construído, registra a exuberância da natureza que a envolve.
+Sempre atento às inovações tecnológicas, Marc Ferrez aumentou suas possibilidades de fotografar paisagem com a câmera Brandon, equipamento de fotografia panorâmica de varredura, sendo o único fotógrafo da década de 1880 a fazer esse tipo de registro em grande formato no Brasil, que o levou mais tarde a suas magistrais fotografias de arquitetura produzidas durante a construção da avenida Central no Rio de Janeiro e também a seu envolvimento com a introdução do cinema e da fotografia estereoscópica em cores no Brasil no início do século 20.
+Ferrez foi o único fotógrafo no século 19 a percorrer todas as regiões do território nacional e isso o ajudou a se tornar, já em meados dos anos 1870, o principal responsável, em seu século, pela divulgação da imagem do Brasil no exterior, participando de exposições internacionais, publicando imagens em diversas revistas e almanaques do período e por meio da intensa e constante produção e comercialização de imagens do Brasil no seu estabelecimento, na capital do Império.
+Ferrez inaugurou seu ateliê durante a Guerra do Paraguai, em 1867, sob o nome Marc Ferrez & Cia., fato confirmado pela pesquisa feita por Maria Inez Turazzi no Arquivo Geral da Cidade do Rio de Janeiro:
+“A Casa Marc Ferrez & Cia. envia requerimento à Câmara Municipal da cidade do Rio de Janeiro, no dia 12 de março [de 1867], solicitando licença para funcionar à rua de São José, 96, bem como o registro de efetuação do pagamento do imposto de indústria e comércio vigente”.3
+O primeiro anúncio da loja foi divulgado na edição de 1868 do Almanak Laemmert,4 na seção “Photographos”, à página 671. Ele informava o público da Corte sobre o início do funcionamento, à rua de São José, 96, do empreendimento “Marcos Ferrez & C.”, usando a forma aportuguesada do seu nome e indicando sua associação a outros profissionais. Instalou-se no mesmo endereço onde os fotógrafos Robin & Klumb e Oscar Delaporte tinham se estabelecido no ano anterior, aproveitando a infraestrutura de um ateliê e do laboratório fotográfico, fato comum nas sucessões comerciais fotográficas no século 19. Outra explicação para isso é que Ferrez iniciou sua carreira numa provável associação com Klumb e sob influência de outros fotógrafos paisagistas do período, trabalhando como fotógrafo na capital do Império antes mesmo de 1867.
+A hipótese é reforçada pelos carimbos e impressos de Ferrez no período que sucedeu seu primeiro anúncio no Almanak Laemmert. Os cartes-de-visite da época em que ele utilizou a inscrição “Marc Ferrez & Cia.” eram impressos no verso exatamente com o mesmo “Photographia Brazileira” usado por Robin & Klumb. Quando a inscrição na face do carte-de-visite passou a ser apenas “Marc Ferrez”, incluiu-se no verso o nome do fotógrafo, e o termo “Photographia Brazileira” passou a ocupar um espaço menor. Mais tarde, possivelmente a partir de 1872, esse termo deixou de aparecer e os cartões foram graficamente reformulados por completo.
+Em um anúncio5 no Jornal do Comércio de 1869, Ferrez ainda usou o “Photographia Brazileira”. Em inglês, ele oferece fotografias de paisagem do Rio de Janeiro e arredores e variados serviços de fotografia: “specialty of views of Rio and surroundings of all dimensions. Views taken of chacras [sic], ships, monuments, etc., etc. of all sizes at resoable [sic] rates”. Em 1881, Marc Ferrez publicou um pequeno catálogo intitulado Exposição de paisagens photographicas. Productos do artista brasileiro Marc Ferrez, photographo da Marinha Imperial e da Comissão Geologica em que declara: “Este estabelecimento dedicado especialmente a fazer vistas do Brazil foi fundado em 1860” – provavelmente se referindo ao empreendimento “Photographia Brazileira”, cujo início foi justamente nessa década.
+Revert Henry Klumb, procedente da Europa, chegou provavelmente ao Brasil em 1852, estabelecendo-se no Rio de Janeiro. Nos dias 2 e 3 de novembro de 1855, publicou o seguinte anúncio na página 4 do Jornal do Comércio:
+“O sr. Henrique Klumb, discípulo dos melhores professores de Paris (Mayer, Disderé [sic] e Belloc), dono deste magnífico estabelecimento, o primeiro deste gênero no Brasil, tem a honra de avisar aos amantes das bellas artes e ao respeitável público que domingo, 4 do corrente, abrirá a sua galeria de exposição, onde se poderá julgar o alto ponto de perfeição a que tem levado este insigne professor a arte do daguerreótipo”.
+Além da daguerreotipia, Klumb tinha trabalhado, já em 1856, com negativos de colódio úmido, produzindo retratos, vistas e vistas estereoscópicas sobre papel salinizado e albuminado. Em 1866 transferiu-se para Petrópolis, onde fez um excepcional trabalho de fotografia de paisagem, exposto naquela cidade em 1875. Dois aspectos devem ser ressaltados nessa série de imagens de Petrópolis: os registros dos céus e nuvens e as fotografias que sugerem registros noturnos. O desafio de Klumb, em ambas as situações, é antes de tudo a luz e seu pleno domínio. Considerando que ele tenha trabalhado no período em que os fotógrafos preparavam cada chapa de vidro de colódio úmido, os resultados são excepcionais.
+Os originais dessa série em albumina fotografada em Petrópolis e muitos de seus negativos hoje fazem parte do acervo do Instituto Moreira Salles. Esse conjunto representa uma das mais importantes descobertas da fotografia brasileira do século 19. Os negativos deixam claro que o registro da área de céu nessas imagens foi obtido diretamente e evidenciam o elaborado trabalho de Klumb para controlar a exposição à luz e para formular suas emulsões de colódio, que lhe permitiram fotografar as nuvens simultaneamente à paisagem.
+Os negativos de Klumb integram o conjunto de negativos de Marc Ferrez pertencentes à Coleção Gilberto Ferrez/Acervo IMS, mais um fato que reforça a hipótese de que os dois fotógrafos tenham trabalhado juntos já em meados da década de 1860, sem contar a existência de pelo menos três negativos de Klumb cujo retratado muito possivelmente seja o próprio Marc Ferrez. O estudo do trabalho de Klumb feito no início da década de 1870 em Petrópolis permite também uma comparação direta com a obra de Marc Ferrez do mesmo período. Em 1875, Ferrez produziu paisagens do Brasil para a Comissão Geológica do Império com uma abordagem semelhante, registrando o rio São Francisco, a cachoeira de Paulo Afonso e o Recife em imagens com uma importante presença de céus e nuvens. O exame comparativo dos negativos originais de Klumb e Ferrez desse período revela semelhanças de procedimentos e de técnica que permitem supor que os dois fotógrafos mantiveram parceria por mais ou menos uma década (1865 e 1875), e por isso é realmente muito provável que a indicação “Photographia Brazileira” nas obras de Ferrez não se deva apenas à sucessão comercial entre eles. Ferrez, em seu catálogo de 1881, Exposição de paisagens photographicas, escreve: “As vistas de effeito de luar obtidas por meios chimicos descobertos pelo photographo dono do estabelecimento são entregues pelos mesmos preços, acima indicados”, ou seja, talvez ele tenha trabalhado com Klumb na busca de soluções para o registro de nuvens e também para os chamados “efeitos noturnos” ou “efeitos de luar” nessa série de Petrópolis.
+Único no Brasil do século 19 a fazer de seu trabalho documental e de paisagem uma atividade exclusiva e rentável por mais de 50 anos, Ferrez passou a ocupar um lugar cada vez mais destacado entre os fotógrafos da corte. Frond tinha deixado a cidade em 1862. Klumb e Stahl também já não trabalhavam no Rio de Janeiro desde o início da década de 1870. Com o encerramento das atividades fotográficas da Casa Leuzinger, em 1875, nenhum fotógrafo paisagista de renome permaneceu ativo na capital do Império além de Ferrez, que se dedicou naquela década à reconstrução de sua vida profissional após o incêndio que destruiu em 1873 seu ateliê, onde também morava, à rua de São José.
+A partir desse período, Ferrez engajou-se em grandes projetos documentais comissionados pelo governo, fazendo o acompanhamento fotográfico das obras de construção e expansão de ferrovias, de captação e abastecimento de água, do cultivo de café, então o principal produto de exportação do país, e como fotógrafo da Marinha Imperial. Foi nessa época que Ferrez se consolidou como o maior fotógrafo paisagista do século 19 no Brasil.
+Aos 32 anos, quando trabalhava para a Comissão Geológica do Império (1875 e 1876), principal missão científica do país financiada pelo governo, o artista já estava em seu pleno domínio técnico. Seu controle de luz e sua precisão na escolha do ponto de vista ressaltaram com mestria os aspectos formais das cenas registradas. O elemento humano participa de maneira discreta, conferindo escala aos cenários naturais ou urbanos e levando o olhar a percorrer a imagem em todas as suas dimensões.
+O trabalho feito por Ferrez para a Comissão Geológica coloca-o definitivamente no mesmo patamar de outros importantes fotógrafos viajantes do século 19, como Francis Frith, no Egito, Samuel Bourne, na Índia, John Thomson, na China, e Carleton E. Watkins, nos Estados Unidos. Foi com esse trabalho que sua atividade profissional como fotógrafo de paisagem evoluiu, pois precisou na época buscar soluções técnicas ainda mais arrojadas. Aprimorou as vistas panorâmicas e adquiriu em 1878, em Paris, o aparelho inventado e construído por David Hunter Brandon. Aperfeiçoado por Ferrez, o equipamento permitia a produção de vistas panorâmicas sobre chapas de vidro de 40 x 110 cm.
+O que caracteriza a produção de Ferrez no final dos anos 1870 e início dos anos 1880 é justamente o constante investimento em câmeras de grande formato e panorâmicas, como a câmera panorâmica de varredura Brandon, e por isso foi o único fotógrafo comissionado brasileiro capaz de operar no limite das possibilidades técnicas e formais daquele momento. O emprego de negativos de vidro de grande formato (42 x 52 cm) atinge seu maior virtuosismo na série sobre a construção da avenida Central e de edificações associadas a ela, a que se dedicou de 1903 a 1911. A imagem do Teatro Municipal, feita em negativo de vidro de formato 42 x 52 cm, expressa todo seu domínio em operar equipamentos de ponta e de grande porte, tanto pela qualidade da imagem como pelo rigor de sua estruturação formal.
+Adotadas desde o início da carreira e raras entre os demais estúdios fotográficos do período, as paisagens naturais e vistas urbanas compõem a mais poderosa vertente de seu trabalho, imagens únicas que marcariam para sempre a iconografia brasileira do século 19. Ferrez percorre os arredores da cidade, seja na montanha ou na baía, construindo uma visão pessoal e poética do espaço urbano com suas fotografias dos locais de fronteira entre o natural e o construído, áreas mágicas que até hoje caracterizam a grande metrópole em que se transformou a cidade do Rio de Janeiro ao longo do século 20.6
+Da paisagem ao retrato: associações e parcerias
+A maior parte dos retratos de Marc Ferrez foi produzida fora de estúdio, normalmente durante seus trabalhos comissionados. Destacam-se aqui os retratos dos índios Botocudo, no sul da Bahia, feitos em 1875 e 1876 quando trabalhou na Comissão Geológica do Império; as vendedoras negras nos mercados do Rio de Janeiro, também na década de 1870; e os retratos do imperador d. Pedro II, da princesa Isabel e do conde D’Eu, em meados de 1880.
+Em muitos de seus trabalhos, retratou personalidades do mundo científico, como o geólogo Charles Frederick Hartt, diretor da Comissão Geológica do Império, e Paul Ferrand, professor da Escola de Minas de Ouro Preto, ambos em plena atividade. São registros que combinam um forte senso de estruturação da fotografia de paisagem com a presença da figura humana em escala, porém aqui com o objetivo de realização de um retrato ambientado, onde paisagem e retratado se fundem em um único registro que combina a vertente paisagística de Ferrez com o retrato de personalidades em sua atividade profissional. Outros retratos, como o de Luís Cruls, astrônomo e diretor do Observatório Astronômico do Rio de Janeiro, são evidência de seu relacionamento profissional e colaboração com o meio científico da época, também exemplificado por seu trabalho em associação com Henrique Morize, engenheiro, geógrafo, astrônomo e catedrático de física experimental na Escola Politécnica do Rio de Janeiro, com quem Ferrez realizou experiências fotográficas com raios-x.
+A trajetória de Ferrez é, portanto, marcada por um permanente convívio com as atividades culturais e científicas de sua época e também por um contato permanente com os principais desenvolvimentos tecnológicos do período. Como principal fotógrafo das ferrovias e das obras de abastecimento de água, por exemplo, realizará retratos emblemáticos do imperador e suas comitivas em imagens hoje referenciais dentro de sua produção fotográfica. Fruto dessa convivência com intelectuais e cientistas, e também com o próprio imperador d. Pedro ii, podemos citar também os retratos que Ferrez realiza da própria família imperial, inclusive em registros mais privados, como os da Princesa Isabel e da Baronesa de Muritiba no Paço Isabel, hoje Palácio Guanabara, em Laranjeiras, no Rio de Janeiro.
+Ferrez buscou ampliar a representação da paisagem social e humana do país em sua obra com projetos fotográficos e editoriais desenvolvidos em parceria com outros editores e fotógrafos, como Henri Gustave Lombaerts e Joaquim Insley Pacheco. Análises recentes em seus negativos indicam que retratos antes atribuídos exclusivamente a ele foram na verdade feitos por outros fotógrafos, mas integram seu acervo justamente por causa desses projetos desenvolvidos em parceria entre 1880 e 1910, principalmente os editoriais (nos quais foram usados processos fotomecânicos da época, como a colotipia e a fotogravura). Alguns desses negativos, sobretudo os das séries de retratos, portanto, ou são de outros autores ou foram feitos em conjunto com fotógrafos com os quais Ferrez associou-se por muito tempo, como Joaquim Insley Pacheco, possível autor do retrato de Machado de Assis, conforme indicam documentos recentemente localizados na Biblioteca Nacional.
+Entre os registros de índios, em especial de Goiás, sabe-se que algumas imagens são de autoria do fotógrafo José Severino Soares. Já entre as fotografias de ambulantes, a revisão do acervo de negativos originais evidenciou que alguns deles trazem a assinatura de Gomes Junior, o que indica que essa série do início do século 20 ou foi incorporada ao acervo de Ferrez por aquisição ou comissionamento, ou possivelmente desenvolvida em conjunto pelos dois fotógrafos.
+As novas informações sobre sua obra reafirmam a clara opção de Marc Ferrez pela fotografia de paisagem, à qual se dedicou durante toda sua trajetória profissional e que o levou também a desenvolver sua linguagem autoral e a expandir os limites da representação visual do período. Além disso, estendeu suas ações (nesse caso principalmente como editor e produtor) para outros segmentos, como a impressão fotomecânica, alguns campos do retrato, a fotografia estereoscópica e em cores (autocromos), e também o cinema, na maioria das vezes associando-se a outros profissionais, inclusive seus filhos Júlio e Luciano, que a partir de 1905 integraram a sociedade Casa Marc Ferrez & Filhos. O acervo de mais de cinquenta anos de carreira evidencia suas diversas associações profissionais, que vão desde sua provável parceria nos anos 1860 com Revert Henry Klumb até, por exemplo, seus projetos editoriais feitos com processos fotomecânicos do final do século 19 e início do século 20.
+Graças à preservação de seu acervo, que inclui a expressiva série de mais de cinco mil negativos de vidro originais hoje reunidos no IMS, além de milhares de tiragens originais, entre fotografias, estereoscopias, autocromos e impressões fotomecânicas, a trajetória de Marc Ferrez em todas as suas fases pode hoje ser pesquisada e reconstruída. Esta publicação é mais um passo nessa direção.
+1 – Laurent Gervereau, “Da foto ao filme”, in O Brasil de Marc Ferrez, São Paulo: Instituto Moreira Salles. 2005. p. 115
+2 – Boris Kossoy, Dicionário Histórico Fotográfico brasileiro: fotógrafos e ofício da fotografia no Brasil (1833 – 1910). São Paulo: Instituto Moreira Salles, 2002, p, 27
+3 – Maria Inez Turazzi, Marc Ferrez. São Paulo: Cosac Naify, 2000, p. 113
+4 – O Almanak Laemmert, periódico anual, é editado pela primeira vez em 1844 no Rio de Janeiro pelos irmãos Henrique Eduardo Laemmert. Foi publicado até o século XX. Reuniu as informações mais importantes sobre o Rio de Janeiro, até 1889, capital do Império e em seguida capital da República.
+5 – Jornal do Comércio, 6 de junho de 1869, p. 3
+6 – Este texto baseia-se, em sua primeira parte, no trabalho de pesquisa feito por Sergio Burgi e Frank Stephen Kohl, publicado anteriormente em Sergio Burgi; Frank Stephen Kohl. “O fotógrafo e seus contemporâneos: influências e confluências”, in INSTITUTO MOREIRA SALLES, O Brasil de Marc Ferrez. São Paulo: Instituto Moreira Salles, 2005
+Fontes:
+INSTITUTO MOREIRA SALLES. O Brasil de Marc Ferrez. São Paulo: IMS, 2005.
+Prata, José Expedicto (org). O álbum de Jorge Henrique. São Paulo. Edição do autor, 2014.
+TURAZZI, Maria Inez. A “criatura” e o “espelho”: o retrato de Machado de Assis por Marc Ferrez – Aletria Revista de Estudos de Literatura [Online], 24:2 (2014 Dez 26).
+TURAZZI, Maria Inez. In Marc Ferrez. São Paulo: Cosac Naify, 2000
+ 
+*Sergio Burgi é curador da Brasiliana Fotográfica e coordenador da área de Fotografia do Instituto Moreira Salles.
+ 
+Publicações da Brasiliana Fotográfica em torno da obra do fotógrafo Marc Ferrez 
+ 
+Marc Ferrez aos 33 anos, c. 1876. Rio de Janeiro, RJ / Acervo IMS
+O Rio de Janeiro de Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 30 de junho de 2015
+Obras para o abastecimento no Rio de Janeiro por Marc Ferrez , de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 25 de janeiro de 2016
+O brilhante cronista visual Marc Ferrez (7/12/1843 – 12/01/1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 7 de dezembro de 2016
+No primeiro dia da primavera, as cores de Marc Ferrez (1843 – 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 22 de setembro de 2017
+Marc Ferrez , a Comissão Geológica do Império (1875 – 1878) e a Exposição Antropológica Brasileira no Museu Nacional (1882), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica,  publicada em 29 de junho de 2018
+Série “O Rio de Janeiro desaparecido” V – O quiosque Chopp Berrante no Passeio Público, Ferrez, Malta e Charles Dunlop, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 20 de julho de 2018
+Uma homenagem aos 175 anos de Marc Ferrez (7 de dezembro de 1843 – 12 de janeiro de 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 7 de dezembro de 2018 
+Pereira Passos e Marc Ferrez: engenharia e fotografia para o desenvolvimento das ferrovias, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 5 de abril de 2019
+Fotografia e ciência: eclipse solar, Marc Ferrez e Albert Einstein, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 24 de junho de 2019
+Os 180 anos da invenção do daguerreótipo – Os álbuns da Comissão Geológica do Império com fotografias de Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 19 de agosto de 2019
+Celebrando o fotógrafo Marc Ferrez (1843 – 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 4 de dezembro de 2019
+Uma homenagem da Casa Granado ao imperial sob as lentes de Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 7 de fevereiro de 2020
+Ressaca no Rio de Janeiro invade o porão da casa do fotógrafo Marc Ferrez, em 1913, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado 6 de março de 2020
+Petrópolis, a Cidade Imperial, pelos fotógrafos Marc Ferrez e Revert Henrique Klumb, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 16 de março de 2020
+Bambus, por Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 5 de junho de 2020
+O Baile da Ilha Fiscal: registro raro realizado por Marc Ferrez e retrato de Aurélio de Figueiredo diante de sua obra, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 9 de novembro de 2020
+O Palácio de Cristal fotografado por Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 2 de fevereiro de 2021
+A Estrada de Ferro do Paraná, de Paranaguá a Curitiba, pelos fotógrafos Arthur Wischral (1894 – 1982) e Marc Ferrez (1843 – 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 22 de março de 2021
+Dia dos Pais – Julio e Luciano, os filhos do fotógrafo Marc Ferrez, e outras famílias, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 6 de agosto de 2021
+No Dia da Árvore, mangueiras fotografadas por Ferrez e Leuzinger, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 21 de setembro de 2021
+Retratos de Pauline Caroline Lefebvre, sogra do fotógrafo Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 28 de abril de 2022
+A Serra dos Órgãos: uma foto aérea e imagens realizadas pelos mestres Ferrez, Leuzinger e Klumb, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 30 de junho de 2022
+O centenário da morte do fotógrafo Marc Ferrez (1843 – 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 12 de janeiro de 2023
+O Observatório Nacional pelas lentes de Marc Ferrez, amigo de vários cientistas, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 29 de maio de 2023
+No Dia Mundial do Meio Ambiente, a potente imagem da Cachoeira de Paulo Afonso, por Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 5 de junho de 2023
+A Fonte Adriano Ramos Pinto por Guilherme Santos e Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 18 de julho de 2023
+Os 180 anos de nascimento do fotógrafo Marc Ferrez (1843 – 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 7 de dezembro de 2023
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/4772` — `itens/20.500.12156.1_4772/`
+- `20.500.12156.1/2575` — `itens/20.500.12156.1_2575/`
+
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+---
+id: 705
+url: "https://brasilianafotografica.bn.gov.br/?p=705"
+titulo: "Militão Augusto de Azevedo (1837 – 1905) e sua obra-prima, o “Álbum comparativo da cidade de São Paulo 1862-1887″"
+autor: "Andrea Wanderley"
+data: "2015-05-24T10:16:58+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: []
+fetched_at: "2026-09-10T10:26:36.911Z"
+---
+
+# Militão Augusto de Azevedo (1837 – 1905) e sua obra-prima, o “Álbum comparativo da cidade de São Paulo 1862-1887″
+
+Militão Augusto de Azevedo. Álbum Comparativo da Cidade de São Paulo, 1887. São Paulo / Acervo IMS
+…como Verdi despedindo-se da música escreveu o seu “Otello”, eu quis despedir-me da photografia fazendo o meu. É um álbum comparativo de São Paulo de 1862 e 1887. Parece-me um trabalho útil e talvez o único que se tem feito em photografia pois ninguém tem tido a pachorra de guardar clichês de 25 anos. Tenho trabalhado muito e creio que nada farei. Conheces o meu gênio: não sirvo para pedir.
+Foi assim, com um tom quase poético, que revela sua alma de artista, que o fotógrafo carioca Militão Augusto de Azevedo (1837 – 1905), numa carta a um amigo chamado Portilho, referiu-se, em 1º de junho de 1887, ao seu  Álbum Comparativo.
+Um dos mais importantes fotógrafos brasileiros do século XIX, Militão foi um dos precursores da documentação da cidade de São Paulo. O Álbum comparativo da cidade de São Paulo 1862-1887, sua obra-prima, foi o primeiro realizado com o objetivo de mostrar as mudanças ocorridas na capital paulista, devido ao progresso. O álbum evidencia o valor que Militão dava à fotografia como documento de época inserido em projeto artístico que sugere um passeio pela cidade no período de 1862 a 1887. O trabalho do fotógrafo muito contribuiu para a formação da imagem moderna de São Paulo.
+A obra é formada por 60 fotografias – tomadas parciais de ruas, largos e prédios públicos e algumas vistas panorâmicas, todas coladas sobre cartão impresso. Dezoito delas são pares comparativos que criam uma atmosfera do antes e do depois. Feitas a partir de tomadas simples, que privilegiam a cidade construída, as fotos foram produzidas utilizando-se o processo negativo do colódio úmido. Sobre a técnica e as características das fotografias de Militão, Sergio Burgi, Coordenador de Fotografia do Instituto Moreira Salles e um dos curadores do portal Brasiliana Fotográfica, escreveu o artigo Composição em preto-e-branco. Os panoramas de 360º de Militão Augusto de Azevedo (in São Paulo 450 Anos. Caderno de Fotografia Brasileira, volume 2, do Instituto Moreira Salles).
+Acessando o link para as fotografias de Militão Augusto de Azevedo disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+Militão mostrou com suas fotografias uma grande mudança na paisagem paulistana no período em que São Paulo foi palco de grandes transformações ocasionadas por intensa expansão urbana. Capital da província, a cidade abrigava a Faculdade de Direito, que atraia jovens de todo o Brasil, o que criou novas demandas como a realização de eventos culturais e a inauguração de teatros como o São José, em 1864. Bairros, ruas e avenidas surgiam no lugar de chácaras e sítios. A cidade crescia e com isso foram inaugurados os hotéis Itália, Europa e Globo, além de confeitarias e casas comerciais. O primeiro mercado de São Paulo, conhecido como Mercado dos Caipiras, foi criado em 1867 . Houve também a multiplicação de estradas de ferro, a expansão cafeeira e a imigração europeia. Na imprensa, o Correio Paulistano consolidava-se e Ângelo Agostini (1843 – 1910) fundava os jornais humorísticos Diabo Coxo (1864) e O Cabrião (1866). A população da cidade em 1883 era de 35 mil pessoas e, em 1887, chegou a cerca de 47 mil. De cidade provinciana, São Paulo passou a ser a metrópole do café.
+Provavelmente, foi em uma viagem à Europa, em 1886, que Militão percebeu a viabilidade comercial da venda, no mercado brasileiro, de fotografias de aspectos da cidade. Como havia preservado os negativos produzidos em 1862, decidiu fazer o Álbum Comparativo. Numa carta de 21 de janeiro de 1887 ao amigo Anatole Louis Garraux (1833 – 1904), na ocasião já residente na França e que havia sido proprietário da popular Livraria Garraux durante anos estabelecida em São Paulo, Militão escreveu: Rogo-lhe o obséquio de me remeter o mais depressa possível a encomenda constante da nota junta; estou fazendo um trabalho, que julgo ser muito importante e talvez pouco rendoso. É um álbum comparativo de São Paulo antigo e moderno. Tenho os clichês de 1862 e estou fazendo os comparativos atuais.
+O álbum demorou a ficar pronto e sobre isto um Militão desapontado escreveu ao ator e amigo Jacinto Heller, em 25 de julho de 1887: eu ainda estou com o maldito álbum que, se nesses quinze dias ficar pronto, devo estar aí em setembro. No dia 11 de agosto de 1887, no jornal A Província de São Paulo, primeiro nome do atual O Estado de São Paulo,  o álbum era anunciado acompanhado do artigo A Velha e a Nova Cidade de São Paulo:
+‘Vimos um álbum comparativo da cidade de S. Paulo em 1862 e 1887, trabalho da PHOTOGRAPHIA  AMERICANA, do sr. Militão, nesta capital. Aí figuram bairros, ruas, praças, jardins e edifícios com a sua cor local de 1862 e depois com a de 1887. É o progresso de São Paulo fotografado. O interessante trabalho do sr. Militão, que é por sua vez atestado do progresso de sua arte, traz-nos as recordações de outros tempos, da simplicidade dos costumes, do pouco luxo das edificações, mas também da falta de comodidade e de atividade industrial da velha cidade. O confronto é agradável e útil comparado com as estatísticas, o álbum de vistas fotográficas do sr. Militão tem um grande valor para se verificar o progresso da província, medido pela transformação da capital nos últimos 25 anos. O Álbum que temos entre as mãos não é somente um entretenimento para os que desejam passar alguns minutos e ver as alterações da cidade em suas velhas construções e esburacadas e mal calçadas ruas e praças; é mais que isso: tem o mérito de proporcionar a todos nós, os homens de hoje,um estudo real da cidade de São Paulo. Para nós, o trabalho do sr. Militão vale mais como fonte de estudo para a formação de uma opinião favorável ao engrandecimento da província do que como obra de arte. Não quer isto dizer que o trabalho artístico  não tenha mérito e que, apreciado por essa face, não seja melhor julgado por outros. E, de fato, o tem. Aplaudimos a obra o laborioso e inteligente artista que de tal forma concorre para a verificação do progresso da capital da província. Em nosso escritório acha-se uma lista para aquelas pessoas que desejarem assinar o Álbum‘.
+Apesar de sua importância histórica, o álbum foi um fracasso comercial e poucos foram comercializados. Sobre isto Militão escreveu a Garraux, em 7 de dezembro de 1887: Muito pouco se vende e é preciso pedir pelo amor de Deus aos fregueses e ainda para eles pagarem quando quiserem. Isto está futricado, como o amigo sabe tão bem quanto eu.
+Como o álbum não era assinado, Militão caiu no esquecimento, mas suas fotos foram ficando famosas ao longo do século XX devido à publicação de álbuns e livros ilustrados por elas, porém sem crédito ao autor. Muitos dos quadros pintados pelo importante artista plástico Benedito Calixto (1853-1927) para a comemoração do Centenário da Independência, em 1922, foram baseados em fotos de Militão. As pinturas foram encomendadas por Afonso d´Escragnolle Taunay (1876 – 1958), na época diretor do Museu Paulista. Na década de 1930, o fotógrafo Benedito Junqueira Duarte (1910 – 1995), na ocasião responsável pela Seção de Iconografia do Departamento de Cultura da Prefeitura de São Paulo, e o historiador Nuto Santana (1889 – 1975) organizaram, catalogaram e identificaram os negativos de vidro de Militão, que haviam sido reproduzidos, em 1914, pelo fotógrafo Aurélio Becherini (1879-1939).
+Em 1946, foi publicado na Revista do Patrimônio Histórico e Artístico Nacional, o ensaio de Gilberto Ferrez A fotografia no Brasil e um dos seus mais dedicados servidores: Marc Ferrez (1843-1923). No artigo, considerado um marco na história da fotografia no Brasil, o autor destacou a obra de Militão. Na década de 1950, na ocasião da comemoração do IV Centenário da cidade de São Paulo, foi editada uma série de cartões-postais com fotos do Álbum Comparativo sem crédito para  Militão. Também sem indicação de autoria, em 1953, foram publicadas dezenas de fotografias de Militão numa série de três livros São Paulo Antigo – São Paulo Moderno, da editora Melhoramentos.
+Foi no início da década de 70, quando a professora Ilka Brunhilde Laurito (1925 – 2012) identificou um álbum com as vistas e outro com cartes de visite levadas por uma tetraneta de Militão para o colégio, que a obra do fotógrafo renasceu. Ilka Brunhilde Laurito escreveu então um artigo para o Suplemento Literário do jornal O Estado de São Paulo, de 31 de dezembro de 1972, intitulado O século XIX na fotografia de Militão, e chamou a atenção de historiadores e pesquisadores.
+Em 1973, Pietro Maria Bardi (1900 – 1999) e Boris Kossoy (1941 -) organizaram no Museu de Arte de São Paulo, a 1ª Exposição da Fotografia Brasileira. Foi então mostrada uma série de retratos e imagens do álbum. Dois anos depois, o Museu da Imagem e do Som de São Paulo publicou o catálogo da exposição Memória Paulistana, organizada por Rudá de Andrade (1930 – 2009), destacando a obra de Militão. Em 1976, o trabalho do fotógrafo internacionalizou-se quando imagens de seus retratos e do Álbum Comparativo foram incluídas na exposição e no livro Pioneer Photographers of Brazil, realizados no Inter-American Relations, em Nova York. Em 1978, Boris Kossoy escreveu sua tese de mestrado sobre o fotógrafo, Militão Augusto de Azevedo e a documentação fotográfica de São Paulo (1862-1887); recuperação da cena paulistana através da fotografia. Em 1981, um bisneto de Militão, Ruy Brandão Azevedo, coordenou a mostra Fotografia: Arte e Uso, no Museu de Arte de São Paulo, com cópias do Álbum comparativo restauradas por João Sócrates de Oliveira. No mesmo ano, foi lançado pela Secretaria Municipal de Cultura de São Paulo o Álbum comparativo da cidade de São Paulo: 1862-1887: Militão Augusto de Azevedo, de Benedito Lima de Toledo, Boris Kossoy e Carlos Lemos.
+A obra de Militão, além de fotografias de aspectos urbanos e do interior, inclui também com um grande número de retratos para a produção de cartes de visite tanto de anônimos como de pessoas importantes na história do Brasil, como, por exemplo, Joaquim Nabuco (1849 – 1910), Castro Alves (1847 – 1871) e Ruy Barbosa (1849 – 1923). Foram 12.500 mil pessoas retratadas, entre 1876 e 1886, cerca de um terço da população de São Paulo na época. Esses retratos formam um verdadeiro compêndio visual de documentação de todo o arco da sociedade paulistana e brasileira da época. Militão também realizou os álbuns de vistas de São Paulo(1862), de Santos (1864-65) e da Estrada de Ferro Santos-Jundiaí (1868).  Além disso, preservou um Livro Copiador de Cartas enviadas por ele entre 1883 e 1902, com mais de 400 páginas de cópias de cartas pessoais e profissionais, recibos, cobranças, balanços e notas sobre a importação de material fotográfico.
+O trabalho de Militão Augusto de Azevedo é precioso para o estudo da sociedade e da cidade de São Paulo no século XIX, uma referência para historiadores, fotógrafos e estudiosos.
+ 
+ Cronologia de Militão Augusto de Azevedo
+ 
+Militão Augusto de Azevedo fotografado por A. Liébert. Photographie Americaine / Acervo IMS
+1837 – Em 18 de junho, nascimento de Militão Augusto de Azevedo, no Rio de Janeiro, filho de Antonio Ignácio de Azevedo e Lauriana Augusto de Azevedo.
+1858 – 1860 – No Rio de Janeiro, Militão trabalhou como cantor lírico e também como ator na Companhia Teatral Joaquim Heliodoro e na  companhia do Gymnasio, denominada Sociedade Dramática Nacional, sob a direção de Joaquim Augusto Ribeiro de Souza (Entreacto, 15 de setembro de 1860)..
+Na Ópera Nacional, realização de um espetáculo em seu benefício (Correio da Tarde, de 3 de setembro de 1858, terceira coluna).
+Foram encenadas peças em seu benefício (Correio Mercantil, 10 de outubro de 1859, terceira coluna).
+Morava na rua das Mangueiras, 49 (Almanak Administrativo, Mercantil e Comercial do Rio de Janeiro, 1861).
+1862 - Em 21 de junho,  nascimento de Luiz Gonzaga de Azevedo, seu filho com a atriz Benedita Maria dos Santos Pedroso, com quem vivia.
+Participou da reunião que decidiu criar o Monte-Pio dos Artistas Dramáticos (Diário do Rio de Janeiro, 11 de agosto de 1862, quinta coluna).
+Foi com a família para São Paulo como ator da Sociedade Dramática Nacional  para participar da estreia da peça Luxo e vaidade, de Joaquim Manoel de Macedo, que aconteceu em 29 de novembro (Correio Paulistano, 28 de novembro de 1862).
+Militão produziu cerca de 90 fotografias de São Paulo. Segundo Afonso d´Escragnolle Taunay (1876 – 1958), no livro Velho São Paulo (1954), até 1860, data que nos aparece a providencial série de fotografias, aliás, ótimas de Militão de Augusto de Azevedo, os arrolamentos de peças de iconografia paulistana mantêm-se insignificantes. Realiza o Álbum de vistas de São Paulo 1862, com trinta dessas fotos. Muitas serão utilizadas no trabalho que publicaria em 1887, o Álbum Comparativo da cidade de São Paulo 1862-1887.  Inicia seu trabalho como fotógrafo por volta deste ano, ou no ano seguinte, com Joaquim Feliciano Alves Carneiro e Gaspar Antonio da Silva Guimarães, proprietários do estúdio Carneiro & Gaspar, cuja matriz localizava-se no Rio de Janeiro, na rua Gonçalves Dias, 60. Em São Paulo, o estabelecimento ficava na rua do Rosário, 38. Depois o estúdio transferiu-se para a rua da Imperatriz, 58.
+1863 – Em 26 de agosto realizou-se o espetáculo Recordações da Mocidade, em benefício de Militão (Correio Paulistano, 26 de agosto de 1863, terceira coluna).
+Publicação do anúncio do Álbum de vistas de São Paulo 1862, destinado sobretudo aos estudantes de Direito que terão assim uma recordação agradável da cidade onde passarão talvez a melhor época da vida (Correio Paulistano, 22 de outubro de 1863, última coluna).
+1864 a 1885 – Realizou dois álbuns importantes de vistas: o Álbum de Santos e o Álbum da Estrada de Ferro Santos-Jundiaí.
+Militão catalogou cerca de 12.500 retratos.
+1868 – Militão, que trabalhava na Photographia Academica de Carneiro & Gaspar, desde 1866 como sócio gerente (Diário de São Paulo, 19 de agosto de 1866, primeira coluna), foi para o Rio de Janeiro estudar novos processos fotográficos, dentre eles o de fotografia sobre porcelana, ainda não conhecido no Brasil senão em duas casas do Rio de (O Ypiranga, de 19 de fevereiro de 1868).
+ 
+O Ypiranga, 19 de fevereiro de 1868
+ 
+1870 – Nascimento de seu primeiro filho, Francisco de Paula Azevedo, com sua nova companheira Maria Affonso das Dores.
+Participou de uma reunião promovida para instalar-se uma associação dramática particular. Foi escolhido para ser seu ensaiador e também para elaborar seu regulamento interno (Correio Paulistano, 27 de março de 1870, primeira coluna).
+1871 - Nascimento de seu segundo filho com Maria Affonso das Dores, Francisco Militão Affonso de Azevedo.
+1872 – Militão ficou viúvo e sua mãe, Lauriana Augusta de Azevedo, passou a se encarregar da criação de seus filhos.
+1875 – Participou da IV Exposição Nacional com uma coleção de vistas de São Paulo.
+Com a morte do português Gaspar Antonio da Silva Guimarães (18? – 1875) e com a venda da parte de Joaquim Feliciano Alves Carneiro (18? – 188?), Militão, que era sócio-gerente da Photographia Academica, tornou-se seu proprietário (Correio Paulistano, 28 de novembro de 1875, segunda coluna).
+ 
+Correio Paulistano, 28 de novembro de 1875
+ 
+Rebatizou o estúdio com o nome de Photographia Americana. Uma curiosidade: no período de transição, nas cartes de visite do estabelecimento, o fotógrafo improvisou, apagando o antigo nome e o endereço no Rio de Janeiro e carimbando a nova denominação.
+1878 – Viajou para a Europa no paquete francês Hoogly para estudar os aperfeiçoamentos da arte fotográfica (O Cruzeiro, 1º de maio de 1878, última coluna). A fotografia de Militão que ilustra esta cronologia foi tirada durante essa viagem por Alphonse J. Liébert (1827 – 1913), no estúdio Photographie Americaine, em Paris, e enviada de presente a sua mãe. Retroenou em setembo, no paquete francês Congo (O Cruzeiro, 15 de setembro de 1878, penúltima coluna).
+A Photographia Americana ficou sob a responsabilidade do fotógrafo e pintor retratista Caetano Ligi, que trabalhava no estúdio.
+1879 – Foi eleito diretor do mês do Club Euterpe Comercial (Jornal da Tarde, 11 de março de 1879, segunda coluna).
+1881 – Enviou para o Correio Paulistano uma vista fotográfica, cópia da do edifício da exposição brasileira-alemã em Porto Alegre (Correio Paulistano, 18 de setembro de 1881, quarta coluna).
+1883 – Ele, Alberto Henschel e Carlos Hoenen estavam na lista de fotógrafos da Província de São Paulo (Almanak Administrativo, Mercantil e Comercial do Rio de Janeiro, 1883).
+1885 – Em 7 de agosto, falecimento de sua mãe, Lauriana Augusta de Azevedo (Correio Paulistano, 8 de agosto de 1885, quarta coluna).
+Enviou ao Correio Paulistano uma fotografia tirada de um curioso trabalho litográfico representando o retrato do poeta francês Victor Hugo (1802 – 1885) executado pelo belga M.Gaillard (Correio Paulistano, 20 de dezembro de 1885, última coluna).
+ 
+Correio Paulistano, 20 de dezembro de 1885
+ 
+ 
+Em 31 de dezembro, Militão encaminhou um ofício às autoridades municipais informando sobre o fim da Photographia Americana.
+1886 – Militão tentou passar adiante a Photographia Americana, mas não conseguiu. Reformou e alugou a casa e vendeu aos poucos o equipamento fotográfico. Sobre isso, escreveu a seu amigo, o ator Jacinto Heller, em 5 de abril: Como deve saber estou hoje vagabundo. Liquidei mal e porcamente a fotografia, fazendo leilão no qual só vendi os trastes (vendi é um modo de dizer porque quase os dei) ficando com tudo de fotografia porque os colegas estão como eu.
+1887 –  Teve a a ideia de montar um álbum de vistas de São Paulo de 1862 e 1887. Retornou então aos mesmos lugares das fotos que havia tirado em 1862 e produziu uma nova série de fotografias.
+No jornal A Província de São Paulo, do dia 11 de agosto, foi anunciada a obra-prima de Militão: o Álbum Comparativo da cidade de São Paulo 1862-1887 acompanhado do artigo A Velha e a Nova Cidade de São Paulo. Com sessenta fotografias, 18 pares comparativos e 24 vistas isoladas, foram postos à venda a 50 mil réis por exemplar – até o dia 31 de agosto: depois custariam 70 mil réis.
+1888 - Abandonou definitivamente a fotografia.
+1889 - Viajou à Europa. Entre este ano e 1905, voltou a viver no Rio de Janeiro, mas em algum momento retornou a São Paulo, possivelmente em 1902, onde viveu com seu filho Luiz Gonzaga, um bem sucedido advogado.
+1892 – Viajou aos Estados Unidos.
+1900 – Viajou à Europa.
+1905 – Falecimento de Militão de Augusto de Azevedo, em São Paulo, no dia 24 de maio (Correio Paulistano, 30 de maio de 1905, penúltima coluna).
+ 
+Correio Paulistano, 30 de maio de 1905
+ 
+A Brasiliana Fotográfica destaca instituições detentoras de importantes acervos da obra de Militão Augusto de Azevedo: a Biblioteca Mário de Andrade, a Casa da Imagem, o Museu Paulista e o Instituto Moreira Salles.
+ 
+Contribuiu para esta pesquisa Virginia Albertini (IMS).
+ 
+Andrea C. T. Wanderley
+Editora-assistente e pesquisadora do portal Brasiliana Fotográfica
+ 
+Leia também A cidade de Santos de Militão Augusto de Azevedo (1837 – 1905), publicada na Brasiliana Fotográfica em 26 de janeiro de 2018.
+ 
+Fontes:
+CALDATTTO BARBOSA, Gino; MEDEIROS, de CARVALHO FONTENELLE de, Marjorie; FERRAZ de LIMA, Solange; CARNEIRO de CARVALHO, Vania. Santos e seus arrabaldes: Álbum de Militão Augusto de Azevedo; organização de Gino Caldatto Barbosa, Marjorie de Carvalho Fontenelle de Medeiros, Solange Ferraz de Lima, Vânia Carneiro de Carvalho. São Paulo: Magma Cultural e Editora, 2004. 167 p., il. ISBN 85-98230-02-2.
+DEAECTO, Marisa Midori. Anatole Louis Garraux e o comércio de livros franceses em São Paulo (1860-1890). Revista Brasileira de História, vol. 28, núm. 55, janeiro-junho, 2008, pp. 85-106 Associação Nacional de História São Paulo, Brasil.
+FERNANDES JUNIOR, Rubens; BARBUY, Heloisa; FREHSE, Fraya. Militão Augusto de Azevedo. São Paulo: Cosac Naify, 2012. 220pp.,ils ISBN 978-85-405-0235-2
+Hemeroteca Digital da Biblioteca Nacional
+KOSSOY, Boris. Dicionário Histórico-Fotográfico Brasileiro: fotógrafos e ofício da fotografia no Brasil(1833-1910). São Paulo: Instituto Moreira Salles, 2002. ISBN 85-86707-07-4
+KOSSOY, Boris. Militão Augusto de Azevedo e a documentação fotográfica de São Paulo (1862-1887): a recuperação da cena paulistana através da fotografia. Direção de Antonio Rubbo Müller. São Paulo: [s.n.], 1978. 121 p., il.
+LAGO, Pedro Correa do. Militão Augusto de Azevedo: São Paulo nos anos 1860. Dedicatória de Rubens Fernandes Junior. Rio de Janeiro: Capivara, 2001. v. 2. 263 p., il. (Coleção Visões do Brasil; v. 2). ISBN 8586011479.
+LAURITO, Ilka Brunhilde; LEMOS, Carlos A.C.; RODRIGUES, Eduardo de Jesus; MACHADO, Lucio Gomes. São Paulo em Três Tempos – Álbum Comparativo da cidade de São Paulo(1862-1887-1914). Casa Civil / Imprensa Oficial do Estado S.A./ Secretaria da Cultura / Arquivo do Estado. São Paulo, 1982.
+MAGOSSI, Eduardo; LUQUET, Mara. São Paulo relembrada: Militão, um novo álbum comparativo: 1862-1887 e 2003. São Paulo: JCN, 2003. 147 p., il. ISBN 8585985143.
+TOLEDO, Benedito Lima de; KOSSOY, Boris; LEMOS, Carlos. Álbum comparativo da cidade de São Paulo – 1862-1887: Militão Augusto de Azevedo. São Paulo: Secretaria de Cultura, 1981. 53 p.
+Site do Instituto Moreira Salles
+Site da Enciclopédia Itaú Cultural
diff --git a/wordpress/7057-a-beleza-das-baianas-na-fotografia-do-seculo-xix-no-brasil.md b/wordpress/7057-a-beleza-das-baianas-na-fotografia-do-seculo-xix-no-brasil.md
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@@ -0,0 +1,39 @@
+---
+id: 7057
+url: "https://brasilianafotografica.bn.gov.br/?p=7057"
+titulo: "A beleza das baianas na fotografia do século XIX no Brasil"
+autor: "Andrea Wanderley"
+data: "2016-11-25T00:01:23+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/4491", "20.500.12156.1/4489", "20.500.12156.1/2570"]
+fetched_at: "2026-09-10T10:26:39.868Z"
+---
+
+# A beleza das baianas na fotografia do século XIX no Brasil
+
+Alberto Henschel. Duas negras pousando em estúdio, c. 1869. Salvador, Bahia / Convênio Instituto Moreira Salles – Leibniz-Institut für Länderkunde
+A Brasiliana Fotográfica homenageia a beleza das baianas na fotografia do século XIX no Brasil na data da comemoração do Dia Nacional da Baiana de Acarajé, publicando imagens produzidas por Alberto Henschel (1827 – 1882) e por Marc Ferrez (1843 – 1923). Estas fotografias da segunda metade do século XIX, período ainda de vigência do trágico regime de escravidão que marcou e moldou a história de nosso país, nos colocam face a face com mulheres que vivenciaram diretamente a sociedade daquele momento em todas as suas contradições, algumas libertas, outras ainda na condição de escravizadas, todas, entretanto, integrantes da construção deste legado de cultura e de resistência. Os registros revelam sua beleza, dignidade e altivez.
+A baiana, oriunda das ruas de Salvador, tornou-se ao longo da história uma figura emblemática e tradicional da cultura brasileira. Dá nome, inclusive, a uma ala obrigatória das escolas de samba do país. Foi na casa de uma baiana, Hilária Batista de Almeida, a Tia Ciata (1854 – 1924), no coração da Pequena África, apelido da Praça XI, que o samba nasceu, no Rio de Janeiro. Foi em 27 de novembro de 1916 que o compositor Donga (1889 – 1974) registrou na Biblioteca Nacional a música “Pelo telefone”, considerada o primeiro samba, composta em uma das festas da casa de Tia Ciata.
+Acessando o link para as fotografias de baianas de autoria de Alberto Henschel e de Marc Ferrez disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+O Dia Nacional da Baiana de Acarajé foi instituído pela Lei nº 12.206, de 19 de janeiro de 2010, e é, desde então, comemorado anualmente, no dia 25 de novembro, em todo o país. Anteriormente só era festejado na Bahia. O ofício das baianas de acarajé é considerado patrimônio cultural imaterial do Brasil, um reconhecimento oficial e da sociedade à importância da atividade.
+“Este bem cultural de natureza imaterial, inscrito no Livro dos Saberes em 2005, é uma prática tradicional de produção e venda, em tabuleiro, das chamadas comidas de baiana, feitas com azeite de dendê e ligadas ao culto dos orixás, amplamente disseminadas na cidade de Salvador, Bahia. Dentre as comidas de baiana destaca-se o acarajé, bolinho de feijão fradinho preparado de maneira artesanal, na qual o feijão é moído em um pilão de pedra (pedra de acarajé), temperado e posteriormente frito no azeite de dendê fervente. Sua receita tem origens no Golfo do Benim, na África Ocidental, tendo sido trazida para o Brasil com a vinda de escravos dessa região.”
+Alguns dos aspectos abordados quando o ofício foi registrado foram a indumentária da baiana, a preparação do tabuleiro e locais onde se instalam e os significados atribuídos pelas baianas ao seu ofício.
+ 
+Alberto Henschel. Negra da Bahia, c. 1869. Salvador, Bahia / Convênio Instituto Moreira Salles – Leibniz-Institut für Länderkunde
+ 
+Marc Ferrez. Negra da Bahia, c. 1885. Salvador, Bahia / Acervo IMS
+ 
+Link para o artigo O enigma da “negra da Bahia”, de Hanayrá Negreiros, publicado em 16 de março de 2021, na Revista de Fotografia Zum*
+*Essa informação foi inserida no artigo em 17 de março de 2021.
+ 
+Andrea C. T. Wanderley
+Editora-assistente e pesquisadora do portal Brasiliana Fotográfica
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/4491` — `itens/20.500.12156.1_4491/`
+- `20.500.12156.1/4489` — `itens/20.500.12156.1_4489/`
+- `20.500.12156.1/2570` — `itens/20.500.12156.1_2570/`
+
diff --git a/wordpress/7080-o-passeio-publico-do-rio-de-janeiro.md b/wordpress/7080-o-passeio-publico-do-rio-de-janeiro.md
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+++ b/wordpress/7080-o-passeio-publico-do-rio-de-janeiro.md
@@ -0,0 +1,44 @@
+---
+id: 7080
+url: "https://brasilianafotografica.bn.gov.br/?p=7080"
+titulo: "O Passeio Público do Rio de Janeiro"
+autor: "Andrea Wanderley"
+data: "2017-01-31T09:57:48+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/74", "20.500.12156.1/2268", "20.500.12156.1/2039"]
+fetched_at: "2026-09-10T10:26:43.414Z"
+---
+
+# O Passeio Público do Rio de Janeiro
+
+Revert Henrique Klumb. Jardin Public, 1860. Rio de Janeiro, RJ / Acervo FBN
+ 
+Concorrido ponto de encontro da população carioca nos séculos XVIII e XIX e primeiro parque ajardinado do Brasil, o Passeio Público foi tema de importantes fotógrafos. A Brasiliana Fotográfica selecionou imagens do parque produzidas por Augusto Malta (1864 – 1957), Camillo Vedani (18? – 1888), Georges Leuzinger (1813 – 1892), Jorge Kfuri (1892/3? – 1965) e Revert Henrique Klumb (c. 1826 – c. 1886). Construído entre 1779 e 1783, o Passeio Público localiza-se no centro histórico do Rio de Janeiro, entre a Lapa e a Cinelândia, e foi concebido pelo mineiro Valentim da Fonseca e Silva, mais conhecido como Mestre Valentim (c. 1745 – 1813), um dos maiores artistas do período colonial brasileiro. Ele desenhou um jardim em estilo francês para o qual fez várias obras de arte, dentre elas esculturas, chafarizes e pirâmides como o Chafariz dos Jacarés ou Fonte dos Amores, duas pirâmides de granito com as inscrições À Saudade do Rio e Ao Amor do Público, e a Fonte do Menino com a escultura do menino da bica.
+ 
+Acessando o link para as fotografias do Passeio Público disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+No local do Passeio Público existiu, até fins do século XVIII, a Lagoa Boqueirão da Ajuda, única que desaguava no mar e onde a população despejava seus dejetos. Por sua insalubridade, foi aterrada por ordem do vice-rei do Estado do Brasil, dom Luís Vasconcelos (1742 – 1809), que decidiu ocupar a área com um jardim público. O aterramento ocasionou a abertura das ruas do Passeio e das Belas Noites – atual rua das Marrecas. Inaugurado em 1783, já em 1786, o Passeio Público foi o cenário das grandes festas em comemoração ao casamento de dom João VI (1767 – 1826) e Carlota Joaquina (1775 – 1830).
+ 
+Marc Ferrez. Passeio Público do Rio de Janeiro, c. 1880. Rio de Janeiro, RJ / Acervo IMS
+ 
+Em 1815, o frade carmelita Frei Leandro do Sacramento (1778 – 1829), futuro diretor do Jardim Botânico (1824), começou a ministrar aulas de Botânica ao ar livre, no Passeio Público. Ao longo do século XIX, o jardim passou por algumas reformas, tendo sido a mais importante realizada pelo paisagista francês Auguste François Marie Glaziou (1828 – 1906), que teve início em 1861, por determinação de dom Pedro II (1825 – 1891). Glaziou alterou o traçado original do Mestre Valentim e o Passeio Público foi reinaugurado na ocasião da celebração do 40º aniversário da Proclamação da Independência, em 7 de setembro de 1862 (Diário do Rio de Janeiro, 7 de setembro de 1862, na quarta coluna sob o título “O Passeio Público”).
+ 
+Augusto Stahl. Passeio Público, c. 1862. Rio de Janeiro, RJ / Acervo IMS
+ 
+Já no século XX, entre 1902 e 1906, na gestão do prefeito Francisco Pereira Passos (1836 – 1913), o Passeio Público recebeu diversos melhoramentos e foi inaugurado o primeiro aquário de água salgada da América do Sul, em 18 de setembro de 1904 (Gazeta de Notícias, 19 de setembro de 1904, na última coluna sob o título “O Aquarium”).
+Em 1920, durante a administração do prefeito Carlos Sampaio (1861 – 1930), foi demolido o belvedere do parque. Em seu lugar, foi inaugurado, em 1926, o Teatro-Cassino Beira Mar, projeto do arquiteto Heitor de Mello (1875 – 1920).  Na administração do prefeito Henrique Dodsworth (1895 – 1975) foram demolidos os prédios onde funcionava o Teatro-Cassino, fato abordado na matéria “O Passeio Público e as suas transformações”, publicado em 14 de outubro de 1937, no jornal A Noite. Em junho de 1938, o Passeio Público do Rio de Janeiro foi tombado pelo Serviço do Patrimônio Histórico e Artístico Nacional, atual Instituto do Patrimônio Histórico e Artístico Nacional.
+O Departamento Geral de Parques e Jardins da Secretaria Municipal de Obras e Serviços Públicos empreendeu uma nova reforma no Passeio Público, recuperando mil metros do parque, em 1988. Dez anos depois, em fevereiro de 1998, foi realizado um trabalho de limpeza no Passeio e, em 1999, seus gradis foram restaurados. Em 2004, passou por outra reforma, que durou cerca de um ano, e foi reinaugurado em 14 de dezembro de 2004 (Jornal do Brasil, 15 de dezembro de 2004).
+Segundo o site Passeio Público do Rio de Janeiro, uma das fontes consultadas para a elaboração desse post: 
+“Os 33.649 m² de área do Passeio são habitados por espécies vegetais variadas e por algumas espécies animais. O parque possui mais de 90 espécies de grande porte, como mangueiras, goiabeiras, figueiras, pitangueiras, pau-mulato, bambus, coqueiros, palmeira-areca, cacto-rabo-de-rato, bromélias, flamboyants, pés de tamarindo, baobás, gameleiras, pau-rosa, pau-ferro, pau-rei, oitizeiro, carvalho negro do Brasil, jequitibá, ipê roxo, perobeira, palmeira imperial, uma grande amendoeira e até pau-brasil. A fauna é composta por muitas aves que freqüentemente pousam nas árvores e nos jardins, como rolinhas, sabiás, bem-te-vis, saíras-amarelas, garças e beija-flores”.
+ 
+Andrea C. T. Wanderley
+Editora-assistente e pesquisadora do portal Brasiliana Fotográfica
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/74` — `itens/20.500.12156.1_74/`
+- `20.500.12156.1/2268` — `itens/20.500.12156.1_2268/`
+- `20.500.12156.1/2039` — `itens/20.500.12156.1_2039/`
+
diff --git a/wordpress/7087-o-centenario-do-dia-do-fico-pelo-fotografo-augusto-malta.md b/wordpress/7087-o-centenario-do-dia-do-fico-pelo-fotografo-augusto-malta.md
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@@ -0,0 +1,36 @@
+---
+id: 7087
+url: "https://brasilianafotografica.bn.gov.br/?p=7087"
+titulo: "O centenário do Dia do Fico pelo fotógrafo Augusto Malta"
+autor: "Andrea Wanderley"
+data: "2017-01-09T09:20:50+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/4778"]
+fetched_at: "2026-09-10T10:26:46.863Z"
+---
+
+# O centenário do Dia do Fico pelo fotógrafo Augusto Malta
+
+O centenário do Dia do Fico foi comemorado, no Rio de Janeiro, em 9 de janeiro de 1922, com diversas festividades (O Paiz, 10 de janeiro de 1922). Uma delas foi a inauguração, na igreja do Rosário e de São Benedito dos Homens Pretos, localizada na rua Uruguaiana, no Centro, de uma placa esculpida por Rodolfo Bernardelli (1852 – 1931). A Brasiliana Fotográfica destaca uma imagem da celebração em frente à igreja, produzida pelo alagoano Augusto Malta (1864 – 1957), na época, fotógrafo oficial da cidade.
+ 
+Augusto Malta. Evento de comemoração aos cem anos do Dia do Fico, 9 de janeiro de 1922. Rio de Janeiro, RJ / Acervo IMS
+ 
+Foi justamente dessa igreja que, em 9 de janeiro de 1822, uma comitiva liderada pelo presidente do Senado, José Clemente Pereira (1787 – 1854), saiu para entregar a dom Pedro de Alcântara, posteriormente Pedro I (1798 – 1834), a mensagem do povo do Rio de Janeiro, com mais de oito mil assinaturas, pedindo por sua permanência no Brasil, já que as Cortes Portuguesas haviam ordenado seu regresso a Portugal. Ao apelo, dom Pedro respondeu:
+“Convencido de que a presença de minha pessoa no Brasil interessa ao bem de toda a nação portuguesa, e conhecido que a vontade de algumas províncias assim o requer, demorarei a minha saída até que as Cortes e meu Augusto Pai e Senhor deliberem a este respeito, com perfeito conhecimento das circunstâncias que têm ocorrido” (Diário do Rio de Janeiro, 10 de janeiro de 1822).
+Porém, a frase que marcou esse acontecimento, mais forte e assertiva do que a do texto original, foi proferida no dia seguinte e daria nome ao episódio que passou para a história do Brasil como o Dia do Fico:
+“Como é para o bem de todos e felicidade geral da Nação, estou pronto! Diga ao povo que fico” (Diário do Rio de Janeiro, 11 de janeiro de 1822).
+O Dia do Fico foi um passo importante na direção da proclamação da Independência do Brasil , ocorrida cerca de nove meses depois, em 7 de setembro de 1822.
+ 
+Placas comemorativas do centenário do Dia do Fico / Álbum da Cidade do Rio de Janeiro Comemorativo do 1º Centenário da independência do Brasil
+ 
+Leia aqui o artigo O primeiro centenário do “Fico”, publicado em 10 de janeiro de 1922 pelo O Jornal.
+ 
+Andrea C. T. Wanderley
+Editora-assistente e pesquisadora do portal Brasiliana Fotográfica
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/4778` — `itens/20.500.12156.1_4778/`
+
diff --git a/wordpress/7183-dom-pedro-ii-rj-2-12-1825-paris-5-12-1891-um-entusiasta-da-fotografia.md b/wordpress/7183-dom-pedro-ii-rj-2-12-1825-paris-5-12-1891-um-entusiasta-da-fotografia.md
new file mode 100644
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@@ -0,0 +1,274 @@
+---
+id: 7183
+url: "https://brasilianafotografica.bn.gov.br/?p=7183"
+titulo: "Dom Pedro II ( RJ, 2/12/1825 – Paris, 5/12/1891), um entusiasta da fotografia"
+autor: "Andrea Wanderley"
+data: "2016-12-02T10:52:05+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/1794", "20.500.12156.1/2944", "20.500.12156.1/2951"]
+fetched_at: "2026-09-10T10:26:50.393Z"
+---
+
+# Dom Pedro II ( RJ, 2/12/1825 – Paris, 5/12/1891), um entusiasta da fotografia
+
+Alberto Henschel. A Família Imperial reunida. Da esquerda para a direita: d. Antônio, em pé, princesa Isabel, sentada, tendo à sua frente d. Luís, sentado, d. Pedro de Alcântara, príncipe do Grão-Pará, e d. Augusto Leopoldo, ambos em pé; d. Pedro II, sentado, segurando um guarda-chuva, conde d’Eu, em pé, d. Teresa Cristina e d. Pedro Augusto, ambos sentados, 1887. Rio de Janeiro, RJ / Acervo IMS
+ 
+Dom Pedro II ( RJ, 2/12/1825 – Paris, 5/12/1891), um entusiasta da fotografia*
+ 
+Dom Pedro II foi um entusiasta da fotografia, seja como mecenas seja colecionador. Foi o primeiro brasileiro a possuir um daguerreótipo, e, provavelmente, o primeiro fotógrafo nascido no Brasil. Devido ao seu interesse no assunto, implantou e ajudou decisivamente o desenvolvimento da fotografia no país. Sua filha, a princesa Isabel (1846-1921), foi, inclusive, aluna do fotógrafo alemão Revert Henrique Klumb (c. 1826- c. 1886). Ao ser banido do país, em 1889, pelos republicanos, Pedro II doou à Biblioteca Nacional a coleção de cerca de 25 mil fotografias, que então denominou, juntamente com a coleção de livros, de Coleção Dona Theresa Christina Maria (Jornal do Commercio, 16 de março de 1892, penúltima coluna; Anais da Biblioteca Nacional, 1897, volume 19, página 230). Segundo Pedro Vasquez, essa coleção é, até hoje, “o mais diversificado e precioso acervo dos primórdios da fotografia brasileira jamais reunido por um particular, e tampouco por uma instituição pública“.
+ 
+Jornal do Commercio, 16 de março de 1892o
+ 
+A velocidade com que a notícia do invento do daguerreótipo chegou ao Brasil é curiosa: em 7 de janeiro de 1839, na Academia de Ciências da França, foi anunciada a descoberta da daguerreotipia, um processo fotográfico desenvolvido por Joseph Nicèphore Niépce (1765-1833) e Louis Jacques Mandé Daguerre (1787-1851); cerca de 4 meses depois, foi publicado no Jornal do Commercio, de 1º de maio de 1839, sob o título “Miscellanea”, na segunda coluna, um artigo sobre o assunto – apenas 10 dias após de ter sido o tema de uma carta do inventor norte-americano Samuel F. B. Morse (1791 – 1872), escrita em Paris em 9 de março de 1839, para o editor do New York Observer, que a publicou em 20 de abril de 1839.
+Acessando o link para as fotografias de dom Pedro II disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+O interesse de dom Pedro II pela fotografia teve quase a mesma idade do próprio daguerreótipo: menos de um ano após o anúncio oficial da invenção, feito por François Arago, em 19 de agosto de 1839, na França, ele, aos 14 anos, adquiriu o equipamento, em março de 1840, mesmo ano em que o abade francês Louis Comte (1798 – 1868) apresentou-lhe o invento, no Rio de Janeiro (Jornal do Commercio, de 17 de janeiro de 1840, na primeira coluna; e de 20 de janeiro de 1840, na terceira coluna).
+Por sediar o Império, o Rio de Janeiro foi a capital da fotografia no Brasil. O imperador foi retratado por diversos fotógrafos, dentre eles Marc Ferrez (1843-1923) e Joaquim Insley Pacheco (1830 – 1912), tendo conhecido praticamente o trabalho de todos eles. A fotografia passou a ser o instrumento de divulgação da imagem de dom Pedro II, “moderna como queria que fosse o reino”, segundo comenta Lilia Moritz Schwarcz no livro As barbas do Imperador: D. Pedro II, um monarca nos trópicos, e tornou-se também mais um símbolo de civilização e status.
+Foi um dos primeiros monarcas a oferecer seu real patrocínio a um fotógrafo, juntamente com a rainha Vitória da Inglaterra (1819 – 1901), quando, em 1851, permitiu que Buvelot & Prat, que haviam realizado uma série de daguerreótipos de Petrópolis – todos desaparecidos – usassem as armas imperiais na fachada de seu estabelecimento fotográfico.
+Dom Pedro II governou o Brasil de 23 de julho de 1840 a 15 de novembro de 1889 e, segundo José Murilo de Carvalho, o fez “com os valores de um republicano, com a minúcia de um burocrata e com a paixão de um patriota. Foi respeitado por quase todos, não foi amado por quase ninguém“. Em seus quase 50 anos de governo, o tráfico de escravizados e a escravidão foram abolidos, a unidade do Brasil foi consolidada, as principais capitais brasileiras se modernizaram, a ciência e a cultura se desenvolveram. Sinais, sobretudo estes últimos, de um reinado que, não obstante o conservadorismo escravista dominante, perseguiu sempre uma pauta liberal, humanista e civilizatória.
+Em seu diário de 1862, Pedro II declarou: “Nasci para consagrar-me às letras e às ciências, e, a ocupar posição política, preferia a de presidente da República ou ministro a imperador”. De fato, no século XIX, muito do que se fez no Brasil nos campos das letras e das ciências deveu-se a ele, um dos monarcas mais eruditos de sua época.
+Lista dos Fotógrafos da Casa Imperial, na ordem cronológica em que foram agraciados com este título, segundo Guilherme Auler (1914-1965), sob o pseudônimo de Ricardo Martim, em dois artigos publicados na Tribuna de Petrópolis, em 1º e 8 de abril de 1956, segundo o livro O Brasil na fotografia oitocentista, de Pedro Vasquez:
+Buvelot & Prat, título concedido em 8 de março de 1851 (província do Rio de Janeiro)
+Joaquim Insley Pacheco, título concedido em 22 de dezembro de 1855 (província do Rio de Janeiro)
+João Ferreira Villela, título concedido em 18 de setembro de 1860 (província de Pernambuco)
+Revert Henrique Klumb, título concedido em 24 de agosto de 1861 (província do Rio de Janeiro)
+Stahl & Wahnschaffe, título concedido em 21 de abril de 1862 (província do Rio de Janeiro)
+Diogo Luiz Cipriano, título concedido em 20 de setembro de 1864 (província do Rio de Janeiro)
+Antonio da Silva Lopes Cardoso, título concedido em 30 de novembro de 1864 (província da Bahia)
+Thomas King, título concedido em 18 de maio de 1866 (província do Rio Grande do Sul)
+José Ferreira Guimarães, título concedido em 13 de setembro de 1866 (província do Rio de Janeiro)
+Pedro Satyro da Silveira*, título concedido na década de 1870  (província do Rio de Janeiro)
+José Tomás Sabino, título concedido em 13 de agosto de 1873 (província do Pará)
+Henschel & Benque, título concedido em 7 de dezembro de 1874 (província do Rio de Janeiro)
+Pedro Hees *, título concedido em 1876 (província do Rio de Janeiro)
+Antonio Henrique da Silva Heitor, título concedido em 2 de março de 1885 (província do Rio de Janeiro)
+Fernando Skarke, título concedido em 14 de dezembro de 1886 (província de São Paulo)**
+Juan Gutierrez de Padilla, título concedido em 3 de agosto de 1889 (província do Rio de Janeiro)
+Ignácio Fernandes Mendo, título concedido em 6 de agosto de 1889 (província da Bahia)
+Apesar de não estarem na lista de Auler, os fotógrafos Mangeon & Van Nyvel, radicados no Rio de Janeiro e Luiz Terragno (c. 1831 – 1891), do Rio Grande do Sul, também anunciavam esse título e as armas imperiais no verso de suas fotografias. Já Marc Ferrez foi o único com a distinção de Fotógrafo da Marinha Imperial. Seis fotógrafos estrangeiros também foram agraciados com o título de fotógrafos imperiais: o francês Alphonse Liebert, o português Joaquim Coelho da Rocha, o austríaco Guilherme Perimutter, os tchecos Franz Piedrich e Charles Molock; e o italiano Francesco Pesce.
+Pedro Hees e Pedro Satyro da Silveira foram incluídos na lista desse artigo em março de 2019. A inclusão foi baseada no trabalho Photographos da Casa Imperial: A Nobreza da Fotografia no Brasil do Século XIX, de Danielle Ribeiro de Castro.
+
+Cronologia de dom Pedro II 
+Alphonse Léon Nöel; Victor Frond. Dom Pedro II, 1861. Paris, França / Acervo FBN
+ 
+1825 – Em 2 de dezembro, nascimento de Pedro II, às 2h30 da manhã, no Paço de São Cristóvão, no Rio de Janeiro, filho mais novo do imperador dom Pedro I do Brasil (1798 – 1834) e da imperatriz dona Maria Leopoldina de Áustria (1797 – 1826) (Diário do Rio de Janeiro, de 5 de dezembro de 1825).
+Foi batizado, em 9 de dezembro, e seu nome completo era Pedro de Alcântara João Carlos Leopoldo Salvador Bibiano Francisco Xavier de Paula Leocádio Miguel Gabriel Rafael Gonzaga de Bragança e Bourbon. Um pouco menor que o nome do seu pai, Alcântara Francisco António João Carlos Xavier de Paula Miguel Rafael Joaquim José Gonzaga Pascoal Cipriano Serafim de Bragança e Bourbon (Império do Brasil: Diário Fluminense, de 10 de dezembro de 1825).
+1826 – Em agosto, foi oficialmente reconhecido como herdeiro do trono brasileiro com o título de príncipe imperial .
+Sua mãe, a imperatriz Leopoldina, faleceu em 11 de dezembro de 1826, poucos dias após dar a luz a um menino natimorto (Diário do Rio de Janeiro, de 15 de dezembro de 1826). Foi com a monarca que Carl Friedrich Phillip von Martius (Erlanger, Alemanha, 1794 – Munique, Alemanha, 1868), renomado naturalista do século XIX, veio ao Brasil, onde ficou de 1817 a 1820, como um dos integrantes da Missão Austríaca, que a acompanhou na ocasião de seu casamento com D.Pedro I.
+1829 – O imperador Pedro I casou-se com a duquesa Amélia de Leuchtenberg (1812 – 1873), com quem, apesar de ter convivido pouco, o príncipe Pedro estabeleceu um relacionamento afetuoso (Imperio do Brasil: Diário Fluminense, de 8 de outubro de 1829, sob o título “Baviera”).
+1831 – Em 7 de abril, o imperador Pedro I abdicou (Aurora Fluminense, de 11 de abril de 1831). O príncipe imperial Pedro tornou-se “Dom Pedro II, Imperador Constitucional e Defensor Perpétuo do Brasil“, sendo aclamado por uma multidão. Dom Pedro I deixou seu filho aos cuidados do tutor José Bonifácio de Andrada (1763 – 1838), de dona Mariana Carlota de Verna Magalhães Coutinho (? – 1855), tornada condessa de Belmonte, em 5 de maio de 1844, aia de Pedro II desde seu nascimento, a quem ele chamava de Dadama; e de Rafael, que era um empregado do paço em quem Pedro I possuía grande confiança.
+No mesmo dia da abdicação, foi eleita, no Senado, a Regência Provisória, formada pelos senadores Nicolau do Campos Vergueiro (1788 – 1859), por José Joaquim de Campos (1768 – 1836), o Marquês de Caravelas, e pelo senador Francisco de Lima e Silva (1785 – 1853), pai de Luís Alves de Lima e Silva (1803 – 1880), o Duque de Caxias.
+Dom Pedro I partiu para a Europa com dona Amélia, em 13 de abril (Diário do Rio de Janeiro, de 14 de abril de 1831). Links para as cartas de despedida de dona Amélia, disponível no Correio IMS, e de Pedro I, ambas para dom Pedro II.
+Em 17 de  junho, a Regência Trina Permanente foi eleita pela Assembleia Geral. Era composta pelo deputado da Bahia, José da Costa Carvalho (1796 – 1860), o Marquês de Monte Alegre; do Maranhão, João Bráulio Moniz (1796 – 1835), e pelo senador Francisco de Lima e Silva (1785 – 1853), do Rio de Janeiro (Aurora Fluminense, de 20 de junho de 1831, na primeira coluna, sob o título “Rio de Janeiro”).
+1833 - Em 15 de dezembro, José Bonifácio foi substituído pelo marquês de Itanhaém, Manuel Inácio de Andrada Souto Pinto Coelho (1782 – 1867), que passou a ser, por decreto, tutor de dom Pedro II (Jornal do Commercio, 17 de dezembro de 1833, na segunda coluna, sob o título “Rio de Janeiro”).
+1834 - Em 12 de agosto foi aprovado o Ato Adicional, que estipulou o fim da Regência Trina e alterou a Constituição de 1824, autorizando cada uma das províncias a criar uma Assembleia Legislativa. A situação política do país se acalmou.
+Em 24 de setembro, morreu, em Portugal, dom Pedro I (Diário do Rio de Janeiro, 4 de dezembro de 1834).
+1835 - Em 7 de janeiro, teve início a Cabanagem no Pará.
+Em abril, realizaram-se as eleições para a primeira Regência Una. Venceu o padre Diogo Antônio Feijó (1784 – 1843), um dos líderes progressistas e antigo ministro da Regência Trina Permanente.
+Em 20 de setembro, iniciou-se a revolta Farroupilha, no Rio Grande do Sul.
+Diogo Antônio Feijó (1784 – 1843) assumiu a Regência Una em outubro (Aurora Fluminense, de 12 de outubro de 1835).
+1837 - Para tentar acabar com o avanço da Cabanagem e da Farroupilha, movimentos revoltosos contra o governo, Feijó pediu a aprovação, pela Câmara dos Deputados, do aumento dos efetivos militares do governo. Seu pedido foi negado e ele renunciou. O presidente da Câmara dos Deputados e líder da facção regressista, o marquês de Olinda, Pedro Araújo Lima (1793 – 1870), assumiu provisioriamente a regência (Jornal do Commercio, de 25 de setembro de 1837, na primeira coluna).
+Em novembro, teve início a Sabinada, na Bahia.
+Em 2 de dezembro, por decreto, foi fundado o Colégio Pedro II.
+1838 – O senador Pedro Araújo Lima (1793 – 1870) foi eleito o novo regente, cujo mandato se prolongaria até 1842.
+Foi criado, em 21 de outubro, o Instituto Histórico e Geográfico Brasileiro (Jornal do Commercio, de 18 de outubro de 1838, na primeira coluna).
+Em 13 de dezembro, teve início a Balaiada no Maranhão.
+1839 – O Instituto Histórico e Geográfico Brasileiro recebeu o patronato do imperador dom Pedro II , que além de seu protetor, tornou-se um ativo membro, tendo presidido centenas de sessões.
+1840 – O abade francês Louis Comte (1798 – 1868), capelão da corveta L´Oriental-Hydrographe, fez na hospedaria Pharoux, a primeira apresentação do daguerreótipo no Brasil e na América Latina, realizando um ensaio fotográfico (Jornal do Commercio, de 17 de janeiro de 1840, na primeira coluna). Dias depois, apresentou o invento a dom Pedro II (Jornal do Commercio, de 20 de janeiro de 1840, na terceira coluna). Em março do mesmo ano, com menos de 15 anos, dom Pedro II adquiriu o equipamento, através do negociante Felício Luzaghy.
+O Brasil encontrava-se em uma situação delicada com as revoltas e dom Pedro II só poderia ser declarado maior com 18 anos de idade. Além disso, a Regência sempre motivaria conflitos políticos. Em abril, o senador do Partido Liberal, José Martiniano de Alencar (1794 – 1860), pai do romancista José de Alencar, propôs a criação da Sociedade Promotora da Maioridade, que passou a se chamar Clube da Maioridade. Seu presidente, Antônio Carlos de Andrada (1773 – 1845), levou a campanha para as ruas, conseguindo a adesão do povo.
+Em 23 de julho, dom Pedro II foi emancipado pela Assembleia Geral Legislativa do Brasil (Diário do Rio de Janeiro, de 27 de julho de 1840, sob o título “Rio de Janeiro”).
+1841 – Em 18 de julho, realização da sagração e da coroação de dom Pedro II, imperador do Brasil (Diário do Rio de Janeiro, de 19 de julho de 1941, Jornal do Commercio, de 18 e 19 de julho de 1941, na segunda coluna e de 20 de julho, com ilustração de dom Pedro II coroado e da varanda da coroação). A cidade do Rio de Janeiro foi embelezada para a cerimônia e as festas se estenderam até o dia 24 de julho, quando foi realizado um grande baile de gala no Paço da cidade.
+Terminou a revolta da Balaiada.
+1842 / 1843 – Entre dezembro de 1842 e princípio de 1843, d.Pedro II foi apresentado ao fotógrafo norte-americano Augustus Morand, que ficou no Rio de Janeiro até abril de 1843, tendo produzido daguerreótipos do monarca, da família imperial e vistas dos arredores do Palácio Real de São Cristóvão.
+1843 – Em 30 de maio, dom Pedro II e dona Teresa Cristina (1822 – 1889), princesa das Duas Sicílias, casaram-se por procuração, em Nápoles. Como eles eram primos, tiveram que obter licença de Roma. Em 3 de setembro, ela chegou ao Rio de Janeiro. Eles se encontraram pela primeira vez, a bordo da fragata Constituição (Jornal do Commercio, de 4 de setembro, na última coluna; e de 5 de setembro de 1843, na primeira coluna, ambas sob o título “Jornal do Commercio”). Dom Pedro II ficou muito decepcionado com a aparência de sua esposa .
+1845 – Em 23 de fevereiro, nasceu o primeiro filho do casal, dom Afonso (Diário de Rio de Janeiro, de 24 de fevereiro de 1845, sob o título “O Diário”).
+Em 1º de março, fim da Farroupilha.
+Em 6 de agosto, dom Pedro II viajou para o sul do Brasil e visitou as províncias de Santa Catarina, Rio Grande do Sul e São Paulo.
+1846 – Nasceu a primeira filha do casal real, a princesa Isabel, em 29 de julho (Diário do Rio de Janeiro, edição de 30 de julho de 1846, sob o título “Parte official”).
+1847 – Morreu dom Afonso, em 11 de junho (Diário do Rio de Janeiro, de 12 de junho de 1847) e nasceu a princesa Leopoldina, segunda filha do casal, em 13 de julho (Diário do Rio de Janeiro, de 14 de julho de 1847, sob o título “O Diário”). Dom Pedro II percorreu a província do Rio de Janeiro.
+1848 – Nasceu dom Pedro Afonso, segundo filho do casal, em 19 de julho (Diário do Rio de Janeiro, de 20 de julho de 1848).
+Teve início a Revolução Praieira, em Pernambuco. De caráter liberal e federalista, ganhou o nome de Praieira, pois a sede do jornal Diário Novo, comandado pelos revoltosos, ficava na rua da Praia.
+1849 – O primo de d. Pedro II, Henrique Guilherme Adalberto da Prússia (1811-1873), em seu diário sobre a visita que havia feito ao Brasil, comentou que d. Pedro II fazia experimentos com o daguerreótipo.
+1850 – Morreu dom Pedro Afonso, em 10 de janeiro (Diário do Rio de Janeiro, de 11 de janeiro de 1850). O túmulo dos únicos filhos homens de Dom Pedro II e Dona Teresa Cristina, os Príncipes Imperiais Afonso Pedro de Bragança (1845 – 1847) e Pedro Afonso de Bragança (1848 – 1850) estão no Mausoleu do Convento de Santo Antônio, no Rio de Janeiro.
+Foram promulgados o Código Comercial, baseado nos Códigos de Comércio de Portugal, França e Espanha; e a Lei de Terras,  que foi regulamentada em 1854. Esta lei estabelecia a compra como a única forma de acesso à terra e abolia, em definitivo, o regime de sesmarias.
+Fim da Revolução Praieira (O Brasil, de 16 de abril de 1850, sob o título “Notícias Provinciaes”, na primeira coluna).
+Em 4 de setembro, a Lei Eusébio de Queiroz pôs fim ao tráfico negreiro (Diário do Rio de Janeiro, de 5 de setembro de 1850).
+O governo brasileiro rompeu relações com a Confederação Argentina, governada por Juan Manuel de Rosas (1793 – 1877).
+1851 – Brasil, Uruguai e as províncias argentinas de Entre Ríos e Corrientes firmaram, em Montevidéu, uma aliança ofensiva e defensiva contra Rosas, que declarou guerra ao Império brasileiro.
+Tornou-se um dos primeiros monarcas a oferecer seu real patrocínio a um fotógrafo, juntamente com a rainha Vitória da Inglaterra (1819 – 1901), quando, em 8 de março de 1851, permitiu que Buvelot & Prat, que haviam realizado uma série de daguerreótipos de Petrópolis – todos desaparecidos – usassem as armas imperiais na fachada de seu estabelecimento fotográfico.
+1852 – Em fevereiro, Rosas foi derrotado pelo general Justo José de Urquiza (1801-1870) com o apoio do Brasil, na Batalha de Monte Caseros (Correio da Tarde, de 24 de fevereiro de 1952).
+Início da telegrafia elétrica no Brasil. Telegramas foram trocados entre o imperador, que se encontrava na Quinta de São Cristóvão, e o ministro da Justiça, Eusébio de Queiroz (1812 – 1868), e o professor Guilherme Schüch de Capanema (1824 – 1908), que estavam no Quartel General, no Campo da Aclamação, atual Campo de Santana.
+1854 – No Rio de Janeiro, instalação da iluminação à gás (Jornal do Commercio, de 25 de março de 1854, na penúltima coluna).
+Inauguração da estrada de ferro que ligava a Corte à Petrópolis (Jornal do Commercio, de 1º de maio de 1854, na última coluna).
+1855 - Em 17 de outubro, morte de Mariana Carlota de Verna Magalhães Coutinho (1779 – 1855), a Dadama, aia e governanta de dom Pedro II, vitimada pela cólera-morbo (Diário do Rio de Janeiro, 18 de outubro de 1855, na segunda coluna).
+1856 – Dom Pedro II conheceu a tutora de suas filhas, a condessa de Barral, Luisa Margarida Portugal de Barros (1816 – 1891), por quem se apaixonou e se correspondeu intensamente ao longo de 26 anos de relacionamento. Cartas trocadas entre os dois estão disponíveis no Correio IMS: em 12 de junho de 1876, em 15 de março de 1877, em 29 de março de 1877 e em 7 de junho de 1880.
+1857 – Foi criada a Imperial Academia de Música e a Ópera Nacional (Jornal do Commercio, de 7 de junho de 1857, sob o título “Publicações a pedido”).
+1859 – Publicação de um esboço biográfico de dom Pedro II, de autoria, segundo a historiadora Cristiane Garcia Teixeira, doutoranda do Programa de Pós-Graduação da Universidade Federal de Santa Catarina, de Machado de Assis (1839 – 1908) (O Espelho, 6 de novembro de 1859; Uol, 17 de setembro de 2020).
+Dom Pedro II viajou para as províncias do Espírito Santo, Bahia, Sergipe, Alagoas, Pernambuco e Paraíba. Quando visitou Recife, em outubro, o fotógrafo João Ferreira Villela (18? -?) ofereceu a ele seis molduras douradas com imagens obtidas sobre chapas metálicas: do Pavilhão construído a mando da Câmara Municipal para a recepção do imperador, do porto de desembarque do imperador com quiosque, dois barracões, chafariz e cais do Colégio; da continuação da citada vista com o mastro norte do pavilhão da Câmara e mosqueiro com todas as embarcações ali fundeadas; de uma marinha, do Templo dos Ingleses, na rua da Aurora; e do fim da rua da Cruz com o princípio do arsenal de Marinha. S. Majestade, com a bondade que todos conhecem, dignou-se receber o mimo, declarar que conhecia todas as vistas e achava bom o trabalho. Encomendou a Villela vistas de locais no interior de Pernambuco que havia conhecido. Ficou combinado que seriam remetidas para o Rio de Janeiro. É mais uma prova do quanto nosso adorado monarca aprecia e anima as artes assim como do valor e importância que dá ao que é nosso (Diário de Pernambuco, 26 de dezembro de 1859, quarta coluna).
+1861 - Em dezembro, início da Questão Christie com o naufrágio e posterior pilhagem do navio inglês Prince of Wales nas costas do Rio Grande do Sul. O incidente diplomático envolvendo o Brasil Império e a Inglaterra foi batizado com esse nome porque o embaixador britânico no Brasil era William Dougal Christie (1816-1874).
+1862 - Em 5 de dezembro, foram presos por terem causado distúrbios três oficiais da fragata inglesa Fort. Eles estavam bêbados e à paisana. O embaixador Christie exigiu a punição do chefe da polícia. Também cobrou o pagamento da indenização de 6 mil libras esterlinas pela pilhagem do navio inglês Prince of Wales. Esse fato teria gerado, segundo o historiador Bóris Fausto, um clima de “exaltação patriótica”. Houve manifestações populares contra a Grã-Bretanha, no Rio de Janeiro
+1863 – Em janeiro, o governo brasileiro não atendeu às exigências de Christie e a Marinha inglesa fundeada no Rio de Janeiro bloqueou a baía de Guanabara e apreendeu 5 navios brasileiros. Sob protesto, em 26 de fevereiro, o Brasil pagou a indenização pelo Prince of Wales e Christie foi obrigado a deixar o país. O governo imperial brasileiro rompeu relações diplomáticas com a Inglaterra, em 25 de maio, pela ausência de desculpas do governo britânico.
+1864 – Em 15 de outubro, casamento da princesa Isabel com o conde d´Eu (Diário do Rio de Janeiro, edição de 16 de outubro de 1864) e, em 15 de dezembro, casamento da princesa Leopoldina com o duque de Saxe (Diário do Rio de Janeiro, de 16 de dezembro de 1864). O conde d´Eu e o duque se Saxe eram primos.
+O Paraguai declarou guerra ao Brasil, em dezembro.
+1865 – Em 1º de maio, foi assinado o Tratado da Tríplice Aliança – Argentina, Brasil e Uruguai – contra o Paraguai.
+Em 10 de julho, dom Pedro II partiu para o Rio Grande do Sul, devido à Guerra do Paraguai (Correio Mercantil, 20 de julho de 1865, primeira coluna). Foi publicado o poema O Embarque de Sua Majestade Imperial para o Rio Grande do Sul, de Sanches de Frias (1845 – 1922) (Correio Mercantil, 19 de julho de 1865, quinta coluna).
+No Rio Grande do Sul, foi fotografado pelo italiano Luiz Terragno (c. 1831 – 1891).
+Em 23 de setembro, as relações diplomáticas entre o Brasil e a Inglaterra foram reatadas (Jornal do Commercio, de 5 de outubro de 1865, na sétima coluna, sob o título “27 de setembro”).
+1870 - Solano López morreu e a Guerra do Paraguai terminou (O Paiz, suplemento de 14 de abril de 1870).
+1871  – Em 7 de fevereiro de 1871, a filha de dom Pedro II, a princesa Leopoldina de Saxe-Coburgo faleceu, em Viena (Diário de Notícias, de 7 de março de 1871).
+Em 28 de de setembro de 1871, foi promulgada a Lei do Ventre Livre (Diário do Rio de Janeiro, edição de 30 de setembro de 1871).
+1871 / 1872 – Em 25 de maio de 1871, dom Pedro II viajou pela primeira vez para a Europa e para o Oriente Médio. A princesa Isabel tornou-se, pela primeira vez, regente provisória. Em Lisboa, seu primeiro destino, dom Pedro visitou dona Amélia (1812 – 1873), viúva de dom Pedro I (1798 – 1834), no palácio das Janelas Verdes. Conheceu diversos intelectuais portugueses, entre eles, Alexandre Herculano (1810 – 1877). Depois foi à Espanha, à França, onde encontrou a condessa de Barral (1816 – 1891) e o filósofo Arthur de Gobineau (1816 -1882); à Inglaterra, à Bélgica, à Alemanha, onde conheceu o compositor Richard Wagner (1813 – 1883); à Áustria, à Itália, ao Egito, à Creta e à Suíça. Em 31 de março de 1872, retornou ao Rio de Janeiro (Diário do Rio de Janeiro, 1º de abril de 1872), trazendo o duque de Saxe, viúvo de de sua filha Leopoldina, e seus dois netos, Pedro Augusto (1866 – 1934) e Augusto Leopoldo (1867 – 1922), que seriam educados no Brasil.
+1874 – Em 22 de junho, foi efetivada a ligação do Brasil a Portugal por telégrafo.
+Teve início a revolta do Quebra-Quilos, quando várias cidades do nordeste se rebelaram contra o decreto que impunha a implantação de um novo sistema métrico. No ano seguinte, com a forte repressão promovida pelo governo imperial, a região foi pacificada.
+1876 – Em março, dom Pedro II viajou para os Estados Unidos e para a Europa. Embarcou no Rio de Janeiro, no navio americano Hevelius, sob o comando do capitão Markwell (Diário do Rio de Janeiro, 26 de março de 1876, na terceira coluna). Acompanhando a comitiva real, estava o repórter J. O´Kelly, do jornal New York Herald. Chegou em Nova York, em 15 de abril (Diário do Rio de Janeiro, 20 de bril de 1876, segunda coluna). Visitou outras cidades como Chicago, Pittsburg e Washington. Inaugurou a Exposição da Filadélfia, que abriu ao lado do presidente Ulysses S. Grant (1822 – 1885), em 10 de maio, em meio a uma multidão de cerca de 200 mil pessoas. A cerimônia de abertura terminou no pavilhão de máquinas e equipamentos com Grant e Dom Pedro II acionando o motor a vapor Corliss Steam Engine (Diário do Rio de Janeiro, 12 de maio de 1876, primeira coluna).  Na exposição, esteve com os cientistas Thomas Edison (1847 – 1931) e Grahan Bell (1847 – 1922), que apresentou ao imperador sua invenção – o telefone. Foi também à Niagara Falls. Em 12 julho, partiu para a Europa no vapor Russia, da Cunard Line: foi a Londres e Bruxelas, onde encontrou o famoso médico francês Jean-Marie Charcot (1825 – 1893). Deixou a imperatriz Teresa Cristina em Gastein, na Áustria, para tratamento de saúde e partiu para a Grécia. No Oriente, a imperatriz e a condessa de Barral o encontraram. Foi à Roma, Viena e Paris, onde conheceu os intelectuais Jean Louis Quatrefages (1810 – 1892), Ernest Renan (1823 – 1892), Louis Pasteur (1822 – 1895) e Victor Hugo (1802 – 1885). Retornou em setembro.
+1877 – Por ordem de dom Pedro II, foram instaladas linhas telefônicas entre as residências dos ministros e o palácio da Quinta da Boa Vista.
+O New York Herald relembrou a visita de Pedro II aos Estados Unidos, e apresentou a seguinte proposta: “Para nossa chapa Centenária, indicamos Dom Pedro II e Charles Francis Adams, para presidente e vice-presidente. Estamos cansados de gente comum, e sentimo-nos dispostos a apoiar gente de estilo”. O advogado, político, diplomata e escritor americano Charles Frances Adams ( 1807 – 1886) era neto do presidente John Adams e filho do presidente John Quincy Adams.
+1878 – Dom Pedro II viajou para a província de São Paulo.
+1879 – Inauguração da iluminação elétrica na Estação Central da Estrada de Ferro Dom Pedro II.
+Em 28 de dezembro de 1879, início no Rio de Janeiro da Revolta do Vintém, contra a cobrança de um tributo instituído pelo ministro da fazenda, o visconde de Ouro Preto, Afonso Celso de Assis Figueiredo (1836 – 1912), de vinte réis, ou seja, um vintém, nas passagens dos bondes. O ministério, desmoralizado, caiu no ano seguinte e o imposto foi revogado.
+1880 – Criação da Telephone Company of Brazil, primeira companhia telefônica nacional.
+Dom Pedro II viajou ao Paraná, onde participou do lançamento da pedra fundamental da estrada de ferro Paranaguá – Curitiba, a ferrovia do Paraná (Dezenove de Dezembro, 9 de junho de 1880).
+1881 – Em 9 de janeiro, aprovação da Lei Saraiva, que estabeleceu o voto direto e proibiu o voto dos analfabetos.
+Dom Pedro II viajou para Minas Gerais.
+1882 –  Caso do “Roubo das jóias da Coroa”: na madrugada de 17 para 18 de março de 1882, um ladrão invadiu o Palácio de São Cristóvão, residência da família imperial, e roubou  todas as jóias da imperatriz Teresa Cristina e da princesa Isabel. O tesouro foi avaliado em 400 contos de réis – verdadeira fortuna na época (Gazeta de Notícias, de 19 de março de 1882, na primeira coluna). As jóias foram encontradas dias depois na casa de um ex-empregado do palácio, Manuel de Paiva (Gazeta de Notícias, de 22 de março de 1882, na segunda coluna).
+1883 – A cidade de Campos (RJ) tornou-se o primeiro município da América do Sul a receber iluminação elétrica pública.
+Início da Questão Militar, uma série de conflitos entre autoridades da monarquia e os oficiais do Exército brasileiro, que fortaleceu a campanha republicana.
+1885 – Promulgação da Lei dos Sexagenários, em 28 de setembro.
+1886 – Dom Pedro II, dona Teresa Cristina e a comitiva imperial viajaram para a província de São Paulo entre outubro e novembro (Correio Paulistano, 19 de outubro e  20 de novembro de 1886).
+1887 / 1888 – Em 30 de junho de 1887, dom Pedro II viajou pela terceira vez para a Europa. Seu primeiro destino foi Portugal. De lá, seguiu para Paris. Aconselhado por médicos, seguiu para Baden-Baden, e retornou a Paris, onde visitou intelectuais, entre eles, Louis Pasteur. Fez um cruzeiro pela Riviera italiana e foi para a estação de cura de Aix-les-Bains, na França. Também visitou, atendendo a um desejo de sua esposa, dona Teresa Cristina Maria, as ruínas de Pompeia (Gazeta de Notícias, 17 de junho de 1888, quarta coluna). Em 22 de agosto de 1888, retornou ao Rio de Janeiro (Gazeta de Notícias, 23 de agosto de 1888, primeira coluna).
+1888 – Foi abolida a escravidão no Brasil, em 13 de maio de 1888 (O Paiz, de 14 de maio de 1888).
+1889 – Dom Pedro II (1825 – 1891) foi alvo de um atentado quando saía do Theatro Sant´Anna, no Rio de Janeiro, com alguns membros de sua família, em 15 de julho de 1889 (O Paiz, 16 de julho de 1889, sexta coluna).
+Em 9 de novembro, foi realizado o baile da Ilha Fiscal (Gazeta de Notícias, de 11 de novembro de 1889), que passou à história como o último baile da monarquia no Brasil. Reza a lenda que dom Pedro II, durante a festividade, teria tropeçado em um tapete e teria comentado: “O monarca tropeçou, mas a monarquia não caiu“. Ironia do destino?
+Em 15 de novembro, foi proclamada a República (Gazeta de Notícias, 16 de novembro de 1889). Quando foi deposto, dom Pedro II tinha governado por 49 anos, três meses e 22 dias.
+Em 17 de novembro, a família real partiu para o exílio, na Europa, a bordo do Alagoas (Gazeta de Notícias, edição de 18 de novembro de 1889, sob o título “O Embarque do Imperador”, na segunda coluna).
+Chegaram em Lisboa em 7 de dezembro. Visitaram Coimbra e o Porto, onde a imperatriz Teresa Cristina faleceu, em 28 de dezembro.
+1890 / 1891 – Pedro II passou esses anos entre Cannes, Vichy, Versalhes e Baden-Baden.
+1891 – Em 14 de janeiro, faleceu a Condessa de Barral, em Paris (Diário de Notícias, 16 de janeiro de 1891).
+Em Cannes, em abril, Pedro II escreveu seu testamento político, intitulado Fé de Ofício, uma declaração de seus sentimentos e de seus feitos pelo Brasil. Foi seu último ato público. Discutiu seu texto com o engenheiro abolicionista André Rebouças (1838 – 1898)e sua versão final foi redigida pelo visconde de Taunay (1843 – 1899). Foi publicado no Jornal do Commercio de 28 de maio de 1891 (Jornal do Commercio, 28 de maio de 1891, segunda coluna).
+ 
+Texto publicado no Jornal do Commercio, de 28 de maio de 1891, introduzindo a Fé do Ofício, de autoria de Pedro II
+ 
+
+Transcrição do texto publicado no Jornal do Commercio, de 28 de maio de 1891, introduzindo a Fé do Ofício, de autoria de Pedro II
+O EX-IMPERADOR
+É uma espécie de testamento político, ou antes um memorial, em que são anotados com uma forma por vezes brusca, sempre concisa, e são gravados em traços vigorosos e lapidares todos os desígnios, todos os ideais, todas as preocupações que agitaram e fizeram agir o homem probo e patriota, que, durante mais de meio século, dirigiu os destinos da mais bela porção desta América, que ele chama em uma frase simples e tocante, da qual transuda o mais entranhado amor — “o meu caro Brasil.” 
+A forma testamentária desse documento não nos obriga, entretanto, a proferir o juízo que os contemporâneos tenham já formado do papel político que D. Pedro II representou no Brasil. Essa tarefa incumbe, no nosso entender, à posteridade, que tem a perspectiva dos acontecimentos que nos falece a nós, e assim pode gravar o seu juízo inexorável e infalível.
+O que queremos apenas testemunhar, o que queremos assinalar com o maior relevo é que, no declínio da existência, nessa melancólica paragem da vida humana, em que se arrefecem todas as aspirações e ambições e a vida moral não se inebria mais com a voluptuosidade alentadora das esperanças, aquele venerando Ancião volve irresistivelmente os seus olhos já cansados para a terra que lhe foi berço, que ele ama estremecidamente, e deixa entrever o desejo de que aqueles, a cuja comunhão os destinos o acaso o fez presidir, julguem-no também pelas suas intenções, que foram límpidas como o cristal, pelo amor infinito que dedicou e dedica a esta terra; e do mais profundo do coração lembra, com as luzes da sua longa experiência, o caminho da felicidade, no qual quer ver encarreirado o “seu caro Brasil”.
+Fé de Ofício“Creio em Deus.
+Fez-me a reflexão sempre conciliar as suas qualidades infinitas: Previdencia, Omnisciencia e Misericordia. Possuo o sentimento religioso, innato ao homem, é despertado pela comtemplação da natureza. Sempre tive fé e acreditei nos dogmas. O que sei, devo-o, sobretudo, á pertinacia.
+Reconheço que sou muito somenos do que é relativo aos dotes da imaginação, que posso bem apreciar nos outros. Muito me preocuparam as leis sociaes; e não sou o mais competente para dizer a parte que de continuo tomei em meu estudo de applicação. Sobremaneira me interessei pelas questões economicas, estudando com todo o cuidado as pautas das alfandegas no sentido de proteger as industrias naturaes até o período do seu prospero desenvolvimento.
+Invariavelmente propendi para a instrucção livre, havendo sómente inspecção do Estado quanto á moral e á hygiene, devendo pertencer a parte religiosa ás famílias e aos ministros das diversas religiões. Pensei tambem no estabelecimento de duas Universidades uma no norte e outra no sul, com as faculdades e institutos necessarios e portanto apropriados ás differentes regiões, sendo o provimento das cadeiras por meio de concurso.
+Egreja livre no Estado livre; mas isso quando a instrucção do povo pudesse aproveitar de taes institutos. Estudei com cuidado o que era relativo á moeda corrente e se prendia á questão dos bancos. Quanto á legislação sobre privilegio, oppuz-me aos que se ligam á propriedade literaria, sustentando assim as opiniões de Alexandre Herculano antes que elles as tivesse manifestado.
+Cautelosa e insistentemente estudei questões de immigração sobre a base da propriedade e o aproveitamento das terras, explorações para o conhecimento das riquezas naturaes, navegação de rios e differentes vias de communicação. Pensava na installação de um bom observatorio astronomico, moldado nos mais modernos estabelecimentos desse genero. Segundo as minhas previsões e estudos, poderia ser superior ao de Nice.
+Cogitei sempre em todos os melhoramentos para o exercito e a marinha, afim de que estivessemos preparados para qualquer eventualidade, embora contrario ás guerras. Buscava assim evital-as. Preocuparem-me seriamente os estudos de hygiene publica e particular de modo a nos livrar das epidemias; e isso sem grande vexame para as populações.
+Acompanhava-me sempre a idéa de vêr o Brasil que me é tão caro, o meu Brasil sem ignorancia, sem falsa religião, sem vicios e sem distancias. Para mim o homem devia ser regenerado e não suprimido; e por isso, muito estudava a penalidade, tomando grande parte no que se fez relativamente a prisões e pensando todas as questões modernas, que tendiam ao seu melhoramento.
+Procurei abolir a pena capital, tendo encarregado o Visconde de Ouro Preto de apresentar ás Camaras um projecto para a abolição legal da mesma pena.
+Pacientemente compulsava todos os processos para a commutação da pena ultima: quando não encontrava base para isso, guardava-os, sendo a incerteza já uma pena para os réos.
+Muito me esforcei pela liberdade das eleições e, como medida provisoria, pugnei pela representação obrigada do terço, preferindo a representação uninominal de circulos bem divididos; pois o systema, ainda por ora impraticavel, deve ser o da maioria de todos os votantes de uma nação. Conselho de Estado, organizado o mais possivel como o da França, reformando-se a Constituição para que pudesse haver direito administrativo contencioso.
+Provimento de logar de magistratura, por concurso perante tribunal judiciario para formar lista dos mais habilitados, onde o governo pudesse escolher; concurso tambem para os logares de administração; categorias de presidencias para que se preparassem os que devião regel-as, conforme a importancia de cada um. Trabalhei muito para que só votasse quem soubesse ler e escrever, o que supõe riqueza moral e intelectual, isto é, a melhor.
+Sempre procurei não sacrificar a administração á politica.
+Cogitava na construção de palacios para os ramos legislativo e judiciario e para a administração, para bibliotheca e exposições de differentes especies, para conferencias publicas. Nunca me descuidei de sorte physica do povo, sobretudo em relação as habitações salubres e a preço commodo é á sua alimentação. Nunca deixei de estudar um só projecto, discutindo com os seus autores e procurando estabelecer-me.
+O meu dia era todo ocupado no serviço publico e jamais deixei de ouvir e fallar a quem quer que fosse. Lia todas as folhas e jornais da capital e alguns das províncias para tudo conhecer por mim quanto possivel, e mandava fazer e fazia extractos nos das províncias dos fatos mais importantes que se ligavam á administração, com a idéa constante de justiça a todos.
+Assisti a todos os actos públicos para poder vêr e julgar por mim mesmo.
+Em extremo gostei do theatro dramático e lyrico, cogitando sem cessar da idéa de um theatro nacional. Nunca me esqueci da Academia de Bellas Artes, pintura, esculptura, desenho e gravura, e fiz o que pude pelo Lyceu de Artes e Officios. Desejava estabelecer maior numero de dioceses, conforme comportasse o território, assim como differentes seminarios. Sempre me interessei pelas expedições scientificas, desde a do Ceará, que publicou trabalhos interessantes, lembrando-me agora a de Agassiz e de algumas que ilustrarão nossos patricios no continente europeu.
+Presidia ultimamente a comissão encarregada do Codigo Civil e esperava que, em pouco tempo, apresentasse ella trabalho digno do Brasil.
+Pensava na organização de instituto scientifico e literario, como o de França, utilisando para isso alguns estabelecimentos de instrucção superior que já possuimos; e para isso eu encarreguei o Dr. Silva Costa e outros de formarem projectos de estatutos.
+Sempre procurei animar palestras, sessões, conferencias scientificas e literarias, interessando-me muito pelo desenvolvimento do Museu Nacional.
+O que ahi fez o Dr. Conty tornou esse estabelecimento conhecido na Europa; muitos dos trabalhos do Museu são hoje citados e applaudidos.
+Preocuparam-me as escolas praticas de agricultura e zootechnia.
+Dei toda a atenção ás vias de comunicação de todas as especies no Brasil, tendo feito, além de outros, estudo especial dos trabalhos do celebre engenheiro Haukshaw relativos aos melhoramentos da barra do Rio Grande do Sul. Do mesmo modo, tudo quanto se referia estabelecer a circulação do Brasil por agua desde o Amazonas até ao Prata e dahi ao S. Francisco, da fóz para o interior ligando-se por estradas de ferro a região dos Andes ás bacias do Prata e Amazonas.
+Oxalá pudesse a navegação por balões aerostaticos tudo dispensar e, elevando-se bem alto assim como submarina aprofundando-se bastante, nos livrassem ambas das tempestades.
+São, porem, devaneios…
+Nas preocupações scientificas e no constante estudo é que acho consolo e me preservo das tempestades moraes…”
+Dom Pedro de Alcantara
+Cannes, 23 de abril de 1891.
+ 
+Em 24 de outubro, dom Pedro II chegou em Paris, onde se hospedou no Hotel Bedford, número 17 da rua de l’Arcade.
+Em 5 de dezembro, Pedro II faleceu, de pneumonia (O Paiz, de 6 de dezembro de 1891, e Gazeta de Notícias, de 6 de dezembro de 1891).
+
+Registro de morte de dom Pedro II
+
+Tradução do registro de morte do imperador:
+‘Nós, abaixo assinados, Professores da Faculdade de Medicina e doutores em medicina, certificamos que Dom Pedro II d’Alcantara morreu em 5 de Dezembro de 1891 à meia noite e 35 (da manhã) no hotel Bedford, 17 rue de l’Arcade, em Paris, em conseqüência de uma pneumonia aguda do pulmão esquerdo.
+Paris, 5 de dezembro de 1891
+J.M Charcot
+C. de Motta Maia
+Bouchard‘
+Link para o registro da morte de Pedro II.
+ 
+ 
+Quando seu corpo estava sendo preparado para o velório, foi encontrado um pacote lacrado nos aposentos do imperador com a mensagem: “É terra de meu país. Desejo que seja posta no meu caixão, se eu morrer fora de minha pátria”. Em seu leito de morte, um livro, simbolizando que sua mente descanava sobre o conhecimento, foi colocado sob sua cabeça.
+ 
+
+Nadar; Pacheco & Filho. Pedro II, Imperador do Brasil, 1891. Paris, França / Acervo FBN
+
+ 
+Ao final da tarde do dia 5, centenas de coroas de flores, uma delas enviada pela rainha Vitória , e mais de cinco mil telegramas já haviam chegado ao Hotel Bedford. O caixão foi coberto pela bandeira imperial e o presidente francês, Sadi Carnot (1837 – 1894), determinou honras militares, fatos que irritaram o governo brasileiro.
+Segundo o historiador José Murilo de Carvalho, a morte do imperador teve grande repercussão no Brasil “apesar dos esforços do governo para a abafar. Houve manifestações de pesar em todo o país: comércio fechado, bandeiras a meio pau, toques de finados, tarjas pretas nas roupas, ofícios religiosos“.
+Na noite do dia 8, seu corpo, já embalsamado, foi levado, em cortejo oficial no mesmo carro usado nos funerais do ex-presidente Adolphe Thiers (1797 – 1877), para a igreja da Madeleine. No dia seguinte,  houve exéquias solenes com a presença de autoridades francesas e de outros países, além de personalidades como sua filha, a princesa Isabel; o escritor português Eça de Queirós (1845 – 1900) e o diplomata Joaquim Nabuco (1849 – 1910), na época correspondente do Jornal do Brasil na França, que escreveu:
+“Mais do que isso, infinitamente, D. Pedro II preferia ser enterrado entre nós, e por certo que o tocante simbolismo de fazerem o seu corpo descansar no ataúde sobre uma camada de terra do Brasil interpreta o seu mais ardente desejo. Ao brilhante cortejo de Paris ele teria preferido o modesto acompanhamento dos mais obscuros de seus patrícios, e daria bem a presença de um dos primeiros exércitos do mundo em troca de alguns soldados e marinheiros que lhe recordassem as gloriosas campanhas nas quais seu coração se enchera de todas as emoções nacionais. Mas foi a sua sorte morrer longe da Pátria. É uma consolação, para todos os brasileiros que veneram o seu nome, ver que ele, na sua posição de banido, recebeu da gloriosa nação francesa as supremas honras que ela pode tributar. No dia de hoje o coração brasileiro pulsa no peito da França.”
+Jornal do Brasil, 9 de dezembro de 1891, terceira coluna
+Da igreja partiu um imenso cortejo – calcula-se que cerca de 200 mil pessoas o acompanhou – e, ao som da Marcha Fúnebre de Frédéric Chopin (1810 – 1849), o corpo foi levado para a estação de Austerlitz, seguindo de trem para Portugal. No dia 12, foram realizados os funerais em São Vicente de Fora, nos arredores de Lisboa. O corpo de dom Pedro II foi colocado no jazigo da família Bragança, entre o de sua esposa, Teresa Cristina (1822 – 1889), e de sua madrasta, dona Amélia de Leuchtenberg (1812 – 1873).
+ 
+
+Os funerais do imperador do Brasil / Le Petit Journal, 26 de dezembro de 1891
+
+ 
+No New York Times, de 5 de dezembro, vários elogios foram feitos a dom Pedro II: havia sido o mais ilustrado monarca do século e havia tornado o Brasil tão livre quanto uma monarquia pode ser. A imprensa brasileira também manifestou-se, em sua maioria, elogiosamente a ele. A exceção foi o Diário de Notícias, e alguns clubes republicanos que protestaram contra as homenagens, vendo nelas, segundo o historiador José Murilo de Carvalho, “manobras monarquistas. Foram vozes isoladas“.
+Mesmo os republicanos como Quintino Bocaiuva (1836 – 1912) e José Veríssimo (1857 – 1916), seus adversários políticos, salientaram suas qualidades, dentre elas a simplicidade, o patriotismo, o espírito de justiça e liberdade.
+Sobre Pedro II, Quintino Bocaiuva declarou: “A república, que na hora do seu trinfo foi magnânima; hoje, no momento em que desaparece dentre os vivos o Sr. D. Pedro de Alcântara, só pode ter e só deve ter para com a sua memórioa o respeito devido a um brasileiro ilstre que, ao menos pelo seu carater e virtudes pessoais, não desonrou o Brasil e desempenhou, como pode, ou como soube, com boa intenção e ânimo reto, as altas funções de que foi investido como chefe supremo da nação brasileira ” (O Paiz, 6 de dezembro de 1891, penúltima coluna).
+Segundo Veríssimo em sua coluna “Às Segundas-feiras”, intitulada Pedro II, durante o governo do monarca: “Todos pensávamos como queríamos e dizíamos o que pensávamos. Eu não sei que maior elogio se possa fazer a um estadista” (Jornal do Brasil, 8 de dezembro de 1891, última coluna).
+1920 – O projeto do deputado mineiro Francisco Valadares (18? – 1933) requerendo a revogação do banimento da família imperial do Brasil, que havia sido apresentado em dezembro de 1919 e arquivado, recebeu em 1920 um parecer favorável da Comissão de Constituição e Justiça e foi rapidamente aprovado no Congresso. Em 3 de setembro de 1920, no Palácio do Catete, o presidente Epitácio Pessoa (1865 – 1942) assinou, com uma caneta de ouro adquirida a partir da arrecadação de dinheiro mediante subscrição pública promovida pelo jornal A Rua, o decreto que revogava o banimento da família imperial. A cerimônia foi realizada com a presença de comissões de instituições importantes como o Instituto Histórico Geográfico Brasileiro, a Academia Brasileira de Letras e a Associação Brasileira de Imprensa. O decreto também autorizava o Poder Executivo, mediante concordância da família do ex-imperador e do governo de Portugal, a trasladar para o Brasil os despojos mortais de dom Pedro II e de dona Teresa Christina (A Rua, 4 de setembro de 1920, primeira coluna).
+1921 - Chegaram no Rio de Janeiro os corpos de dom Pedro II e de dona Teresa Cristina, que estavam no Mosteiro de São Vicente de Fora, em Lisboa. Viajaram no encouraçado São Paulo, que havia transportado do Brasil à Europa os reis da Bélgica. O conde d´Eu (1842 – 1922), seu filho, o príncipe Dom Pedro (1875 – 1940), e o barão de Muritiba (1839 – 1922) acompanharam a viagem dos despojos (O Paiz, de 9 de janeiro de 1921; Careta, 15 de janeiro de 1921). A princesa Isabel não chegou a se beneficiar da revogação do banimento da família real do Brasil porque faleceu em 14 de novembro de 1921. Os corpos de dom Pedro II e de dona Teresa Cristina ficaram na Catedral Metropolitana.
+ 
+
+“A reprodução que damos aqui da veneranda figura do antigo monarca é histórica, por ser a última fotografia de Pedro II, no exílio. (Da preciosa pertencente à coleção da Ex.ma Sra Baronesa de Loreto” / Capa da Fon-Fon, 8 de janeiro de 1921
+
+ 
+
+Careta, 15 de janeiro de 1921
+
+ 
+1925 – Os  restos mortais dos monarcas foram para a Catedral de Petrópolis.
+Foi publicada em O Jornal, primeiro órgão de comunicação dos Diários Associados, uma edição comemorativa pelo centenário de nascimento de d. Pedro II, com um artigo escrito pelo proprietário do grupo, Assis Chateaubriand, intitulado “Professor de elites – A obra mais interessante de Pedro II consistiu na formação das elites no Brasil” (O Jornal, 2 de dezembro de 1925).
+1939 – Em 5 de dezembro, foram para o Mausoléu Imperial, uma capela localizada à direita da entrada da Catedral de Petrópolis, numa cerimônia na qual estava presente o presidente da República, Getulio Vargas (1882 – 1954). O túmulo foi esculpido em mármore de Carrara pelo francês Jean Magrou (1869 – 1945) e pelo brasileiro Hildegardo Leão Veloso (1899 – 1966) (Jornal do Brasil, de 6 de dezembro de 1939).
+1978 – Durante o 2º Encontro de Astronomia do Nordeste (EANE), realizado no Recife, entre 30 de junho e 2 de julho, astrônomos de todo o Brasil elegeram Pedro II  Patrono da Astronomia Brasileira. O dia de seu nascimento, 2 de dezembro, passou a ser celebrado informalmente como o Dia Nacional da Astronomia. A data foi oficializada pela Lei nº 13.556, de 21 de dezembro de 2017. 
+ 
+Para a elaboração dessa cronologia, além da pesquisa em inúmeros jornais da Hemeroteca da Biblioteca Nacional, a Brasiliana Fotográfica também se valeu, principalmente, dos livros Pedro II: ser ou não ser, de José Murilo de Carvalho, e As barbas do Imperador: D. Pedro II, um monarca nos trópicos, de Lilia Moritz Schwarcz.
+Com curadoria de Paulo Knauss e Marcia Mello, realização, no Museu da Justiça, no Rio de Janeiro, foi inaugurada em 10 de julho de 2025 a exposição A partilha de Pedro II que aborda a memória e o legado do ex-imperador reunindo mais de 100 obras de acervos como o Instituto Histórico e Geográfico Brasileiro, o Museu Imperial, o Museu Histórico Nacional, o Museu Histórico da Cidade e o Museu de Arte do Rio, entre outros.***
+ 
+Andrea C. T. Wanderley
+Editora-assistente e pesquisadora do portal Brasiliana Fotográfica
+*Esse artigo foi atualizado em 17 de setembro de 2020.
+**Essa data foi modificada em 27 de outubro de 2020, baseada no documento original enviado para a pesquisadora Andrea Wanderley pelo bisneto do fotógrafo, Luiz Pitombo.
+***Esse parágrafo foi inserido em julho de 2025.
+Fontes:
+BARMAN, Roderick J. Imperador cidadão: e a Construção do Brasil. São Paulo : Editora UNESP, 2012.
+BESOUCHET, Lídia. Exílio e morte do Imperador. Rio de Janeiro: Editora Nova Fronteira, 1975
+CARVALHO, José Murilo. Pedro II: ser ou não ser. São Paulo: Companhia das Letras, 2007.
+DIAS, Fabiana Rodrigues. Polifonia e consenso nas páginas da Revista do IHGB: a questão da mão de obra no processo de consolidação na nação, na revista História da Historiografia, de setembro de 2010.
+FLETCHER, James Cooley ; KIDDER, Daniel Parrish. O Brasil e os brasileiros. Brasil: Companhia Editora Nacional, 1941.
+HARING, Bertita. O Trono do Amazonas – a história dos Braganças no Brasil – José Olympio, RJ, 1944.
+Hemeroteca Digital da Biblioteca Nacional
+KHATLAB, Roberto. As viagens de D. Pedro II: Oriente médio e áfrica do norte, 1871 e 1876. São Paulo : Benvirá, 2015.
+PAGANO, Sebastião. Eduardo Prado e Sua Época – O Cetro, SP, 1960.
+REZUTTI, Paulo. D. Pedro II – A história não contada: O último imperador do Novo Mundo revelado por cartas e documentos inéditos. Portugal : Editora Leya, 2019.
+SCHWARCZ, Lilia Moritz. As barbas do Imperador: D. Pedro II, um monarca nos trópicos. São Paulo: Companhia das Letras, 1998.
+SCHWARCZ, Lilia; COSTA; Angela Marques da; AZEVEDO, Paulo Cesar de. A longa viagem da biblioteca dos reis. São Paulo : Companhia das Letras, 2002.
+SEGALLA, Lygia: Victor Frond – Luzes sobre um Brasil pitoresco, 2007.
+SILVA, Mauro Costa; MOREIRA, Ildeu de Castro. A introdução da telegrafia elétrica no Brasil (1852-1870), publicado na Revista da SBHC, Rio de Janeiro, v. 5, n. 1, p. 47-62, jan | jul 2007
+Site Câmara dos Deputados
+Site Ministério das Relações Exteriores
+Site Museu Imperial
+Site MultiRio
+VASQUEZ, Pedro Karp. O Brasil na fotografia oitocentista. São Paulo: Metalivros, 2003.
+VASQUEZ, Pedro Karp. Dom Pedro II e a fotografia no Brasil. Rio de Janeiro: Fundação Roberto Marinho, 1985.
+WILLIAMS, Mary Wilhelmine. Dom Pedro the Magnanimous – the second emperor of Brazil. Oxon, Inglaterra: Frank Cass & Company Limited, 1966.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/1794` — `itens/20.500.12156.1_1794/`
+- `20.500.12156.1/2944` — `itens/20.500.12156.1_2944/`
+- `20.500.12156.1/2951` — `itens/20.500.12156.1_2951/`
+
diff --git a/wordpress/7199-a-gruta-da-imprensa.md b/wordpress/7199-a-gruta-da-imprensa.md
new file mode 100644
index 0000000..1e476d6
--- /dev/null
+++ b/wordpress/7199-a-gruta-da-imprensa.md
@@ -0,0 +1,27 @@
+---
+id: 7199
+url: "https://brasilianafotografica.bn.gov.br/?p=7199"
+titulo: "A Gruta da Imprensa"
+autor: "Andrea Wanderley"
+data: "2017-01-16T10:42:04+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/4634"]
+fetched_at: "2026-09-10T10:26:53.612Z"
+---
+
+# A Gruta da Imprensa
+
+Augusto Malta. Gruta da Imprensa. Avenida Niemeyer, Rio de Janeiro / AGCRJ
+A Brasiliana Fotográfica destaca uma imagem da Gruta da Imprensa, localizada na Niemeyer, uma das mais bonitas avenidas do Rio de Janeiro. O registro foi produzido por Augusto Malta ( 1864 – 1957), fotógrafo oficial da prefeitura do Rio de Janeiro, de 1903 a 1937, e pertence ao Arquivo Geral da Cidade do Rio de Janeiro, uma das instituições parceiras do portal. A Gruta da Imprensa foi inaugurada pelo prefeito Carlos Sampaio (1861 – 1930), dias antes do início da viagem dos reis da Bélgica ao Brasil, em 1920, e sua denominação foi uma homenagem do prefeito à imprensa carioca (Correio da Manhã, 19 de setembro de 1920, na segunda coluna e O Globo, 10 de março de 1926, sob o título “Loucura que passou”).
+“Em meio dessa avenida, a comitiva fez alto para inaugurar a “Gruta da Imprensa”, delicada homenagem do Sr. Prefeito. Trata-se de uma gigantesca laje, que da margem da avenida se aprofunda no oceano, deixando , por um capricho da natureza, larga abertura, formando gruta, de fácil acesso, onde o mar irrompe violento sem, contudo, oferecer perigo. Uma longa escadaria com balaustrada foi construída levando a gruta à entrada da qual o Sr. Carlos Sampaio fez colocar em cimento o dístico: – Gruta da Imprensa” (Jornal do Brasil, 18 de setembro de 1920, na quinta coluna).
+Tornou-se, na época, um concorrido ponto turístico. Em 1926, foi cogitada a construção de um bar no local, mas os técnicos responsáveis pelas vistorias alegaram falta de segurança na região e alertaram para o iminente desaparecimento da Gruta, devido à “fácil deterioração pela ação da água” (O Globo, 10 de março de 1926, sob o título “Loucura que passou”). Contrariando as previsões de destruição, a Gruta da Imprensa continua lá, mas já não é uma área de lazer utilizada pelos cariocas. Sua presença foi de novo notada na ocasião do desabamento da Ciclovia Tim Maia, justamente na altura da Gruta da Imprensa, em 21 de abril de 2016, cerca de três meses após sua inauguração.
+Durante as corridas de automóveis do Circuito da Gávea ou Trampolim do Diabo, concorrido acontecimento social e esportivo que acontecia no entorno do Morro Dois Irmãos e da Avenida Niemeyer, entre os anos 1933 e 1954, e chegava a reunir até 300 mil espectadores, alguns jornalistas esportivos acompanhavam as provas apoiados na mureta da gruta. Em 1935, a Associação Brasileira de Imprensa (ABI) foi presenteada pelo pintor Álvaro de Almeida com um quadro retratando a Gruta da Imprensa. Na ocasião, o gesto foi saudado pelo conselheiro da ABI, jornalista Carlos Maul: “É um quadro que tem para nós dupla valia: a de ser uma obra de beleza e a de fixar um dos mais formosos aspectos da paisagem carioca em que um governo da cidade perpetuou o nome da nossa classe. Esse quadro avivará em nosso espírito a memória do símbolo que ele exprime: a resistência heroica a todas as tempestades” (O Globo, 27 de abril de 2016).
+Andrea C. T. Wanderley
+Editora-assistente e pesquisadora do portal Brasiliana Fotográfica
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/4634` — `itens/20.500.12156.1_4634/`
+
diff --git a/wordpress/7260-sao-paulo-sob-as-lentes-do-fotografo-guilherme-gaensly-1843-1928.md b/wordpress/7260-sao-paulo-sob-as-lentes-do-fotografo-guilherme-gaensly-1843-1928.md
new file mode 100644
index 0000000..abe3f2e
--- /dev/null
+++ b/wordpress/7260-sao-paulo-sob-as-lentes-do-fotografo-guilherme-gaensly-1843-1928.md
@@ -0,0 +1,173 @@
+---
+id: 7260
+url: "https://brasilianafotografica.bn.gov.br/?p=7260"
+titulo: "São Paulo sob as lentes do fotógrafo Guilherme Gaensly (1843 – 1928)"
+autor: "Andrea Wanderley"
+data: "2017-01-25T10:07:27+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/984", "20.500.12156.1/958", "20.500.12156.1/2572", "20.500.12156.1/979"]
+fetched_at: "2026-09-10T10:26:56.816Z"
+---
+
+# São Paulo sob as lentes do fotógrafo Guilherme Gaensly (1843 – 1928)
+
+A Brasiliana Fotográfica homenageia os 463 anos de São Paulo, a maior cidade da América do Sul e a quarta maior do mundo, com imagens produzidas pelo suíço Guilherme Gaensly (1843 – 1928). Ele nasceu em Wellhausen, cantão de Thurgau, e foi para Salvador, na Bahia, aos 5 anos de idade. Em 1871, após um período de aprendizado no ateliê de Alberto Henschel (1827 – 1882) na capital baiana, estabeleceu-se como fotógrafo. Destacou-se como retratista e como fotógrafo de paisagens urbanas e rurais. Na década de 1880, Rodolpho Lindemann (c. 1852 – 19?) tornou-se seu sócio e, em 1894, a próspera empresa Gaensly & Lindemann abriu uma filial em São Paulo, onde Gaensly foi morar.
+ 
+Guilherme Gaensly. Jardim da Luz 1902(?). São Paulo, SP / Acervo FBN
+ 
+Foi o autor de importantes registros do estado e da cidade de São Paulo, vendidos como fotografias em papel albuminado e colotipias impressas na Suíça e comercializadas em álbuns. Foi o mais importante divulgador da nova imagem do estado como líder do Brasil.
+ 
+“As imagens de Gaensly foram fartamente utilizadas pelas primeiras publicações ilustradas, oficiais ou não, num contexto promocional, interessadas em divulgar a imagem do Estado de São Paulo no plano internacional. Gaensly, de sua parte, veicularia amplamente sua produção através dos cartões postais…Se, por um lado, enquanto fotógrafo proprietário de um esta belecimento comercial as vistas urbanas e rurais se incluíam em sua atividade profissional constituindo-se no seu meio de vida, por outro, ele colaborou definitivamente para a construção da imagem oficial da cidade: aquela idealizada pelas elites e pelo Estado, a imagem de uma cidade que se “apresentava” moderna através de estilos “neoclássicos”.
+Boris Kossoy in Realidades e ficções na trama fotográfica, 2002
+ 
+Guilherme Gaensly. S. P. R. Estação da Luz, 1902 (?). São Paulo, SP / Acervo FBN
+ 
+Ao lado de seu contemporâneo Marc Ferrez (1843 – 1923), Gaensly foi provavelmente o fotógrafo mais publicado em postais no Brasil. Em 1899, a empresa The São Paulo Railway, Light and Power Company, o contratou como fotógrafo oficial, função que exerceu até 1925, três anos antes de sua morte. Na ocasião, a presença da Light representava a modernização da área urbana e dos serviços da cidade.
+ 
+Acessando o link para as fotografias de São Paulo produzidas por Guilherme Gaensly, disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+“Essa documentação, assinada por um fotógrafo plenamente maduro e no auge da carreira, possui particular importância já que Gaensly valia-se ainda da tecnologia e do olhar estético característico da fotografia do final do século XIX, o que lhe permitiu conferir peculiar qualidade a seus registros, fazendo-os mesmo transcender os aspectos estritamente técnicos das imagens que sabia capturar com extremo rigor formal e poder de síntese”.
+Catálogo da Exposição comemorativa da doação do Acervo Brascan ao IMS – 
+Guilherme Gaenly e Augusto Malta: dois mestres da fotografia brasileira no Acervo Brascan, p.10)
+ 
+Apesar de nunca ter sido o fotógrafo oficial de São Paulo, como foi Augusto Malta (1864 – 1957) no Rio de Janeiro, Gaensly foi o autor de uma abrangente obra sobre a capital paulista nas primeiras décadas do século XX, o que o coloca nessa posição. Ele e Militão Augusto de Azevedo (1837 – 1905) são considerados os fotógrafos que mais cultuaram São Paulo. Gaensly fotografou a cidade em plena transição para a modernidade, tendo registrado todos os aspectos urbanos da nova metrópole que surgia. Registrou a inauguração dos bondes elétricos que substituíram as carroças, o Jardim da Luz, a agitação do comércio na região do entorno da Praça da Sé, o crescimento da avenida Paulista, além de palacetes, chácaras, edifícios públicos, igrejas, escolas, teatros e hospitais. Essas vistas de São Paulo foram comercializadas em álbuns impressos na Suíça a partir de fotografias em papel albuminado e de colotipias. Fotografou também a chegada de imigrantes italianos em Santos e em São Paulo. Dentre os prêmios que recebeu, está uma medalha de prata conquistada na Exposição Universal de Saint Louis, em 1904.
+ 
+Guilherme Gaensly. Avenida São João, c. 1902. São Paulo, SP / Acervo IMS
+ 
+“Guilherme Gaensly foi sem dúvida o fotógrafo que mais aproximou o seu trabalho das necessidades e exigências do ideário republicano de progresso social e material. Dedicado e ativo nas primeiras décadas do século passado, produziu uma visão da metrópole emergente com requinte e elegância, buscando interpretá-la como um espaço urbano harmonioso; uma memória que não ultrapassa o estritamente fotográfico, mas que hoje se evidencia como um dos principais fios condutores da história da cidade”
+Rubens Fernandes Junior, in Guilherme Gaensly, 2011
+ 
+Cronologia de Guilherme Gaensly  (1843 – 1928)
+ 
+Guilherme Gaensly. Avenida Paulista, c. 1902. São Paulo, SP / Acervo FBN
+ 
+1843 – Em 1º de setembro (provavelmente), nascimento de Wilhelm (Guilherme) Gaensly, em Wellhausen, cantão de Thurgau, na Suíça, fronteira com a atual Alemanha, filho de Jacob Heinrich (c. 1804 – 1868) e Anna Barbara Kin (c. 1813 – 1895). Teve 4 irmãos: Ferdinand (c. 1837 – 1915), Frederick (c. 1838 – 1902), Julia (c.1848 – 1936) e Alaine (c.1852 – ?). Nesse mesmo ano, seu pai veio para o Brasil, repetindo a experiência de primos e irmãos, chegando em Salvador, em 19 de setembro.
+1848 – Em julho, chegada de Anna Barbara com os filhos Ferdinand, Frederick e Guilherme em Salvador, na época a segunda cidade mais populosa do Brasil – a primeira era o Rio de Janeiro.
+1850/1851 – Criação do Bahia Fremden Kirschhof, o Cemitério dos Estrangeiros. Os pais e irmãos de Gaensly estão enterrados lá, na área dos protestantes.
+1868 – Morte de Jacob Heinrich em 4 de janeiro. Alberto Henschel (1827 – 1882) anuncia a técnica da marfimographia, a contratação de novos profissionais e a iminente abertura de uma filial da Photographia Allemã em Salvador, na Bahia (Jornal de Recife, edição de 21 de julho de 1868, quarta e quinta colunas, no pé da página). Em algum momento entre a inauguração do ateliê e 1871 Gaensly trabalhou para Henschel.
+Década de 1870 – Segundo Kossoy, durante essa década, Gaensly também foi associado ao fotógrafo alemão Joseph Schleier (1827 – 1903), que havia chegado em Salvador em 1851.
+1871 – Após um período de aprendizado no ateliê de Henschel, situado na rua da Piedade, 16 (Jornal da Bahia, 16 de setembro de 1871), Gaensly estabeleceu-se como fotógrafo na firma Maison Gaensly & Lange (segundo Kossoy, Waldemar Lange), com a colaboração de Karl Gustaff ( c. 1837 – 1872), alemão que também havia prestado serviços para Henschel. Provavelmente, a Maison Gaensly & Lange ficava na Estrada do Manguinho.
+1874 – Segundo Geraldo da Costa Leal em Um cinema chamado saudade (1997), nessa época, o europeu Rodolpho Frederico Francisco Lindemann (c. 1852 – 19?) já trabalharia com Gaensly.
+1875 – No Jornal da Bahia de 29 de agosto de 1875, na página 3, de 31 de agosto, na página 4, e de 4 de setembro, na página 4, foram publicadas propagandas da Photographia do Commercio, de Gaensly, na Ladeira de São Bento, 1. A propaganda foi publicada outra vez em 14 e 19 de abril de 1876 no mesmo jornal.
+Novo estabelecimento
+montado com todo o gosto
+Photographia do Commercio
+Guilherme Gaensly
+1- Ladeira de S. Bento – 1
+na localidade que ocupava a I.l.L. M. Sociedade Recreativa
+Tendo sido todos os utensílios para esta nova galeria como instrumentos, mobílias, fundos, decorações, etc, escolhidos pessoalmente na minha última viagem à Europa onde visitei os maiores estabelecimentos deste gênero, venho oferecer ao respeitável público o ATELIER melhor montado desta capital garantindo trabalhos perfeitos e de DURAÇÃO visto que adotei todos os melhoramentos feitos nestes últimos anos.
+A ótima colocação do ATELIER permite pela boa luz tirar constantemente bons resultados ainda nos dias chuvosos.
+Sempre tem um trem  especial pronto para sair a qualquer chamado mediante prévio ajuste.
+Preços reduzidos
+A maior coleção de vidros da Bahia, Cartões de visita, Cartões imperiais, Cartões Bombés, Retratos Maiores 
+1876 – Segundo Kossoy, Gaensly anunciou seu estabelecimento, a Photographia do Commercio, no Largo do Teatro, 1, no Jornal da Bahia, de 20 de junho de 1876.
+1877 – Foi agraciado com 3 medalhas pelo Imperial Liceu de Artes e Ofícios da Bahia.
+1881 – Participou da grande mostra da Biblioteca Nacional, Exposição de História do Brasil, que reunia integrantes do acervo da instituição e também da coleção de dom Pedro II (1825 – 1891) e do barão Homem de Mello (1837 – 1918). Apresentou 28 fotografias de quadros a óleo de pessoas públicas como o padre Antônio Vieira (1608 – 1697) e o conde de Cavalleiros (1750 – 1807). Expôs também vistas da Bahia produzidas provavelmente durante a década de 1870 com o alemão Joseph Schleier (1827 – 1903) (Anais da Biblioteca Nacional, 1881 – 1882, volume 2, nas páginas 1418, 1419, 1421, 1495, 1501, 1542, 1544, 1545, 1546, 1552, 1554, 1555, 1558, 1566, 1571, 1572, 1574, 1575, 1576, 1578, 1579, 1581, 1582, 1583, 1589, 1591, 1592 e 1597).
+A presença de Schleier no catálogo da Exposição de História do Brasil parece confirmar a associação entre ele e Gaensly. As imagens são do Terreiro de Jesus com a cathedral e Faculdade de Medicina (antigo colégio dos jesuitas). Segundo Ricardo Mendes, “Considerando a abrangência do trabalho de Gaensly ao registrar a cidade de Salvador, não teria sentido a inclusão de imagens de locais tão conhecidos, a não ser que se tratasse de uma associação efetiva. De J. Schleier existem poucas referências, além de raras imagens no acervo da Biblioteca Nacional e dos Instituto Geográfico e Histórico da Bahia”.
+Nesse ano o endereço de seu ateliê mudou para Largo do Teatro n° 92 – ao lado do Teatro São João – local que anos depois ficaria conhecido como Praça Castro Alves. O estúdio, um grande sobrado, era, provavelmente, também a residência de Gaensly.
+Gaensly e Rodolpho Frederico Francisco Lindemann (c. 1852 – 19?), futuramente seu sócio e cunhado, fotografaram a inauguração do segundo trecho da Estrada de Ferro Central da Bahia, entre São Félix e Tapera, atual Taperi (Diário de Pernambuco, 1º de janeiro de 1882, na última coluna).
+1882 – Informava-se ao público novas mudanças e melhorias na Fotografia premiada de Guilherme Gaensly, que além de ateliê fotográfico funcionava também como uma galeria de seus trabalhos e anunciava  “a melhor coleção de vistas dos pontos mais bonitos da capital e subúrbios. Chama especial atenção para os retratos de tamanho natural pela câmara solar, retocados por um hábil artista de Paris”. O retoque deveria ser uma referência ao acabamento de fotopintura. (Diário de Notícias, 1 de janeiro de 1882).
+Gaensly apresentou “excelentes trabalhos photographicos” na exposição dos 10 anos do Imperial Liceu de Artes e Ofícios (Diário de Pernambuco, 28 de outubro de 1882, na última coluna).
+Foi agraciado com uma medalha do Imperial Liceu de Artes e Ofícios da Bahia.
+Admitiu como ajudante Rodolpho Frederico Francisco Lindemann (c. 1852 – 19?), que no final dessa década tornou-se seu sócio.
+1883 –  Foi publicado um anúncio do ateliê fotográfico de Gaensly, com a denominação Photographia Gaensly, na Praça de Castro Alves (Diário de Notícias, 4 de abril de 1883).
+“O conhecido e acreditado photographo Gaensly” registrou o grupo que estava presente ao lançamento da pedra fundamental para as obras do primeiro engenho central da companhia Bahia Central Sugar Factories, um empreendimento do engenheiro britânico Hugh Wilson, organizador da Companhia Anônima da Imperial Estrada de Ferro Central da Bahia (Jornal do Commercio, 3 de junho de 1883, na primeira coluna).
+Foi agraciado com uma medalha do Imperial Liceu de Artes e Ofícios da Bahia.
+1884 – Foi agraciado com uma medalha do Imperial Liceu de Artes e Ofícios da Bahia.
+1885 – Foi agraciado com uma medalha do Imperial Liceu de Artes e Ofícios da Bahia.
+1888 - Em 5 de maio, Guilherme casou-se com Ida Itschner (c.1863 – 1933), na residência dos pais da noiva, João Jacob Itschner e Elisabet Wolf Itschner. Teve como testemunhas seu sócio, Rodolfo Lindemann, e um de seus irmãos, Frederick. A cerimônia foi celebrada pelo pastor A.L. Blackford, um dos fundadores da igreja presbiteriana no Brasil.
+Rodolfo Lindemann havia se casado com a irmã de Guilherme, Alaine, em 23 de abril, no ateliê fotográfico dele e de Guilherme, tendo como testemunhas os irmãos de Gaensly, Frederick e Ferdinand.
+Rodolfo Lindemann havia se casado com a irmã de Guilherme, Alaine, em 23 de abril, no ateliê fotográfico dele e de Guilherme, tendo como testemunhas os irmãos de Gaensly, Frederick e Ferdinand.
+Acervo IMS
+1889 – Rodolpho Lindemann, do ateliê Gaensly & Lindemann, foi premiado na Exposição Universal de Paris, no Campo de Marte, com uma medalha de bronze com quadros fotográficos da Bahia e de Pernambuco.
+1891 – Gaensly embarcou rumo à Europa no paquete alemão Rosário (Diário de Notícias, 14 de janeiro de 1891, na penúltima coluna).
+O casal Guilherme e Ida Gaensly embarcou no paquete alemão Mondevidéu rumo a Santos (O Paiz, 2 de julho de 1891, na última coluna).
+1892 – Foi noticiado que o beco ao lado do ateliê fotográfico de Gaensly & Lindemann, na praça Castro Alves, em Salvador, havia se tornado um “mictório” (Jornal de Notícias, 28 de maio de 1892, na primeira coluna).
+1893 – O casal Guilherme e Ida Gaensly embarcaram no paquete alemão Olinda rumo à Europa (Gazeta de Notícias, 9 de julho de 1893, na última coluna).
+1894 – Inauguração da filial da firma Gaensly & Lindemann, em São Paulo, na rua XV de Novembro, 28, onde se concentrava o comércio de alto padrão na capital. Gaensly foi chefiar a sede paulista e Lindemann permaneceu em Salvador. A firma baiana teve seu nome alterado para Photographia Cosmopolita. Tudo indica que a crescente concorrência em Salvador e a queda do desempenho da economia baiana devido à seca foram as causas da abertura do ateliê em São Paulo.
+Entre 1894 e  1897, editou a série de grandes estampas fotográficas de São Paulo.
+O ateliê fotográfico Gaensly & Lindemann foi o responsável pela produção de um quadro com os retratos de todos os arcebispos da Bahia. Foi organizado por iniciativa de Olavo de Freitas Martins, um dos fundadores do Instituto Geográfico e Histórico da Bahia. “O trabalho artístico do systema photogravura foi executado pelo artista sr. Rodolpho Lindemann, ficando perfeito”. A matéria também informava que a sede paulista do ateliê Gaensly & Lindemann estava produzindo um quadro com os retratos dos arcebispos de São Paulo (Jornal de Recife, 24 de outubro de 1894, na quinta coluna).
+As edições de 1894 e 1895 do livro São Paulo, de Gustav Köenigswald, foram ilustradas com as primeiras séries de vistas da capital paulista produzidas por Gaensly.
+1895 – Aos 82  anos, faleceu em Salvador a mãe de Gaensly, Anna Barbara.
+1896 – Anúncio em francês da Photographia Gaensly & Lindemann, com os endereços em São Paulo – rua Quinze de Novembro,28 – e em Salvador – Largo Castro Alves, 92 (Almanach, 1896).
+Elogio à fotografia Otto de bicicleta, produzida pelo ateliê Gaensly & Lindemann, exposta na casa de música do sr. Luiz Levy, na rua Quinze de Novembro, em São Paulo (A Bicycleta, 12 de julho de 1896, na primeira coluna).
+O fotógrafo Juan Gutierrez (c. 1860 – 1897) anunciou que Gaensly e Lindemann haviam cedido “gentilmente” a ele o seu “magnífico atelier” na rua Quinze de Novembro, 28, na capital paulista. Gutierrez estava expondo suas fotografias no salão da Associação Comercial (O Commercio de São Paulo, 24 de novembro de 1896, na quinta coluna).
+No periódico paulista A música para todos, exemplar de dez.1896 / jan.1897, foi anunciada a Photographia Gaensly & Lindemann recomendada aos nossos assinantes. No mesmo anúncio,  foi também noticiada a exposição de mais de cinquenta fotografias do ateliê na redação da revista.
+1898 – Foi comercializado o álbum “Colleções de 27 cartões com vistas da Cantareira, Jardim Publico, Quartel de Policia, Serra de Santos, Fazendas de Café, Poços de Caldas, Escola Normal de Campinas, Estação de Campinas, Largo de São Bento, Largo do Palacio, Ypiranga e outros”, cartões postais impressos por Victor Vergueiro Steidel (1868 – 1906). Não foi apresentada a autoria das imagens, mas foram, muito provavelmente, baseadas em fotografias de Gaensly, de Paulo Kowalsky e de Marc Ferrez(1843 – 1923). O fotógrafo Kowalsky teria atuado em São Paulo entre 1891 e 1897.
+Para a Escola Politécnica, o estúdio Gaensly & Lindemann produziu o quadro de formatura da turma de Engenheiros Geógrafos.
+1899 – Gaensly & Lindemann presentearam o Correio Paulistano com “uma bella collecção de bilhetes postais contendo vistas dos principais edificios e dos logares mais pitorescos” de São Paulo (Correio Paulistano, 4 de agosto de 1899, na última coluna). Seria sua primeira série de postais, Lembrança de São Paulo.
+Gaensly & Lindemann anunciaram o envio da Grande Collecção de Vistas de São Paulo para a Exposição Universal de Paris de 1900.
+Em abril, foi constituída em Toronto, por um grupo de investidores canadenses estimulados por empresários paulistas a The São Paulo Railway, Light and Power Company Limited.  Em 17 de junho, a empresa obteve autorização para funcionar no Brasil e logo em seguida iniciou seus trabalhos no país.
+Gaensly foi contratado pela companhia e foi seu principal fotógrafo até 1925. Com equipamentos de grande porte (negativos em vidro 24 x 30cm), passou, então, a documentar os trabalhos da empresa, produzindo registros das transformações urbanas de São Paulo, causadas por obras de implantação de linhas de bonde elétrico, de iluminação pública, imagens de casas de máquina e interiores de oficinas de manutenção, além de fotografias da construção de barragens e das hidrelétricas da Light no estado. A primeira fotografia produzida por ele para a Light foi das obras da rua 25 de março, em 5 de julho.
+ 
+Guilherme Gaensly. A imagem zero. Obras na Rua 25 de Março, 5 de julho de 1899. São Paulo, SP / Acervo da Light
+ 
+1900 – Terminou a sociedade entre Gaensly & Lindemann, em São Paulo, e Gaensly passou a atuar sozinho na Photographia Gaensly (Alkmanak Lammert, 1901). No mesmo Almanak, consta o ateliê Gaensly & Lindemann, em Salvador.
+Produção da segunda série de postais, também denominada Lembrança de São Paulo, dessa vez apenas com a assinatura de Gaensly. A terceira série deve ter sido editada logo em seguida.
+1901 – Foi noticiado que a Photographia Gaensly & Lindemann de Salvador havia fotografado uma criança natimorta e hermafrodita, que estava despertando a curiosidade da população e de médicos, dentre eles o professor  de medicina legal, Nina Rodrigues (1862 – 1906) (Diário do Maranhão, 31 de outubro de 1901, na última coluna sob o título “Criança fenomenal”).
+1902 - As imagens publicadas no primeiro Relatório de Diretoria da Light dirigido aos acionistas no exterior foram baseadas em fotografias de Gaensly e Lindemann, produzidas especificamente para a empresa ou para o álbum Lembrança de São Paulo, editado pelo Instituto Politécnico de Zurique e impresso em colotipia.
+O estúdio fotográfico Gaensly & Lindmann continuava funcionando em Salvador (Almanak Laemmert, 1903).
+1903 - Para “auxiliar a propaganda do café” na Exposição de Saint Louis (1904), Gaensly começou a documentar as instalações e a  lavoura cafeeira da colônia americana em Santa Bárbara (Correio Paulistano, 6 de dezembro de 1903).
+Enviou ao Correio Paulistano uma coleção de dez cartões-postais coloridos e 50 em planotipia (Correio Paulistano, 26 de abril de 1903, na primeira coluna).
+1904 – Gaensly entregou “as vistas produzidas no interior da exposição (Saint Louis) e as dos mapas do café” (Correio Paulistano, 12 de fevereiro de 1904, na primeira coluna).
+Gaensly integrou uma comitiva que visitou a Ilha dos Búzios, parte do Arquipélago de Ilhabela, onde seria instalada uma colônica correcional. O conhecido fotógrafo Gaensly tinha a tarefa de tirar vistas dos trechos mais pitorescos e menos conhecidos dos Búzios e das histórias do fortes coloniais de Bertioga, São Sebastião e Villa Bella. Dentre vários, também estavam na expedição o escritor e engenheiro Euclides da Cunha (1866 – 1909), autor de Os Sertões, e o pintor Benedito Calixto (1853 – 1927), além de autoridades como o secretário do Interior de São Paulo e o chefe de polícia (Correio Paulistano, 8 de agosto de 1904, na quarta coluna, e 12 de agosto de 1904, na última coluna).
+Anúncio da Photographia de Guilherme Gaensly, antiga Gaensly & Lindemann. A propaganda seria publicada diversas vezes durante 1904 e 1905 (Correio Paulistano, 1º de novembro de 1904, na sétima coluna). Foi contemporâneo dos fotógrafos húngaro José Wollsack (1847 – 1927), do austríaco Otto Rudolf Quaas (c. 1862 – c. 1930) e do brasileiro Valério Vieira (1862 – 1941).
+ 
+Correio Paulistano, 1º de novembro de 1904
+ 
+Na Exposição Mundial de Saint Louis, realizada entre 30 de abril e 1º de dezembro de 1904,  Gaensly ganhou medalha de prata na categoria “Photographia” (Almanak Laemmert, 1905).
+O estúdio fotográfico Gaensly & Lindmann continuava funcionando em Salvador (Almanak Laemmert, 1905).
+1905 - Entre 1905 e 1907, nas notas fiscais da Photographia Gaensly existem muitas referências a serviços de reproduções de mapas para a Comissão Geográfica e Geológica.
+Início das atividades da Rio de Janeiro Railway, Light and Power Company Limited e contratação do fotógrafo Augusto Malta (1864 – 1957).
+Foi publicada uma fotografia de autoria de Gaensly da festa do Club da Guarda Nacional, realizada no Jardim da Luz, em 26 de julho de 1905 (Revista da Semana, 20 de agosto de 1905).
+c. 1905 – Gaensly editou uma série no formato postal, que ficou conhecida como a série A, com cinquenta imagens. Foi produzida com uma técnica de impressão que resultava numa melhor visualização, próxima ao da cópia fotográfica.
+1906 - Guilherme Gaensly estava na folha de pagamento da Secretaria de Agricultura de São Paulo (Correio Paulistano, 1º de novembro de 1906, na última coluna).
+Foi elogiada como magnífica a fotografia do quadro da turma de graduandos da Escola de Farmácia de Ouro Preto, produzida por Gaensly (O Pharol, 11 de dezembro de 1906, na sexta coluna, sob o título “Municípios”).
+Último registro do funcionamento do estúdio fotográfico Gaensly & Lindmann, em Salvador, no Almanak Laemmert, 1906.
+1907 – Guilherme Gaensly estava na folha de pagamento da secretaria de Agricultura de São Paulo (Commercio de São Paulo, 22 de novembro de 1907, na primeira coluna).
+1908 – Guilherme Gaensly estava na folha de pagamento das secretarias do Interior e da Agricultura de São Paulo (Commercio de São Paulo, 12 de janeiro de 1908, na primeira coluna, 26 de fevereiro, na quinta coluna, 8 de maio, na terceira coluna e Correio Paulistano, 30 de outubro de 1908, na sexta coluna e 15 de dezembro de 1908, na última coluna).
+Participou da Exposição Nacional e obteve a medalha de ouro na seção de “Photographia” (Commercio de São Paulo, 27 de novembro de 1897, na quarta coluna, sob o título “Notas e Notícias”, e Almanak Laemmert, 1909).
+1909 – Guilherme Gaensly estava na folha de pagamento da secretaria de Agricultura de São Paulo (Correio Paulistano, 13 de julho de 1909, na penúltima coluna).
+1910 – Iniciou a produção de um novo conjunto de 50 imagens de São Paulo no formato postal, posteriormente conhecida como a série B.
+1911 - O naturalista Hermann von Ihering (1850-1930), que dirigiu o Museu Paulista entre 1894 e 1916, pediu à Diretoria de Terras, Colonização e Imigração um coleção de fotografias dos núcleos coloniais “ultimamente tiradas pelo dr. Gaensly” (Correio Paulistano, 29 de abril de 1911, na segunda coluna).
+Uma coleção de fotografias de Guilherme Gaensly foi um dos prêmios da rifa organizada por artistas em prol das vítimas de uma inundação ocorrida em Santa Catarina e no Paraná (O Paiz, 18 de dezembro de 1911, na última coluna)
+c. 1912 – O ateliê de Gaensly mudou-se para a rua Boa Vista, 39 (Almanak Laemmert, 1913).
+1915 - Foi publicada no jornal Germania, da comunidade alemã, em 15 de junho de 1914, uma propaganda do ateliê do fotógrafo na rua Boa Vista, 39.
+1917 – Gaensly prestou serviços à Prefeitura de São Paulo (Correio Paulistano, 4 de dezembro de 1917, na última coluna).
+1922 – Fotografou os participantes do Sínodo Presbiteriano Independente reunido em São Paulo em 24 de maio, um importante evento da igreja presbiteriana. A imagem foi publicada na edição de 2 de março de 1922 na capa do jornal O Estandarte e encontra-se arquivada no Centro de Documentação e História Reverendo Vicente Themudo Lessa.
+1925 – Gaensly deixou de trabalhar para a The São Paulo Railway, Light and Power Company Limited.
+1927 –  Último registro do funcionamento de seu ateliê na rua Boa Vista, 39, no Almanak Laemmert de 1927.
+1928 – Guilherme Gaensly morreu em 20 de junho de pneumonia, em São Paulo.
+ 
+Andrea C. T. Wanderley
+Editora-assistente e pesquisadora do portal Brasiliana Fotográfica
+Fontes:
+BURGI, Sergio;DIETRICH, Ana Maria;MENDES,Ricardo. Imagens de São Paulo – Gaensly no acervo da Light 1899 – 1925, organização Vera Maria de Barros Ferraz. São Paulo:Fundação Patrimônio Histórico da Energia de São Paulo, 2001.
+Catálogo da Exposição comemorativa da doação do Acervo Brascan ao IMS – Guilherme Gaenly e Augusto Malta: dois mestres da fotografia brasileira no Acervo Brascan. Rio de Janeiro: Instituto Moreira Salles, 2002
+FERREZ, Gilberto; NAEF, Weston J.. Pioneer Photographers of Brazil, 1840-1920. New York: Center for Inter-American Relations, 1976.
+HANNAVY, John. Encyclopedia of Nineteenth-Century Photography. New York:Taylor and Francis Group, 205.
+KOSSOY, Boris. Dicionário histórico-fotográfico brasileiro: fotógrafos e ofício da fotografia no Brasil (1833-1910). São Paulo: Instituto Moreira Salles, 2002. 408 p., il. p&b.
+KOSSOY, Boris. Origens e Expansão da fotografia no Brasil: século XIX. Rio de Janeiro:Funarte, 1980.
+KOSSOY, Boris. Realidades e ficções na trama fotográfica. São Paulo : Ateliê Editorial, 2002.
+KOSSOY, Boris. São Paulo, 1900. Rio de Janeiro:Editora Kosmos, 1988.
+KOSSOY, Boris; FERNANDES JUNIOR, Rubens;SEGAWA, Hugo. Guilherme Gaensly. São Paulo:Cosac Naify, 2011.
+LAGO, Bia Corrêa do;LAGO, Pedro Corrêa do. Os Fotógrafos do Império. Rio de Janeiro: Capivara, 2005. 240p.:il
+LIMA, Solange Ferraz de. São Paulo na virada do século. As imagens da razão urbana: a cidade nos álbuns fotográficos de 1887 a 1919. São Paulo:Universidade de São Paulo, 1995.
+OLSZEWSKI FILHA, Sofia. A fotografia e o negro na cidade de Salvador, 1840 – 1914. Salvador:EGBA, Fundação Cultural do Estado da Bahia, 1989.
+Revista Carta Capital
+Site da Enciclopédia Itaú Cultural
+Site do Instituto Moreira Salles
+TEIXEIRA, Cid. Professores de daguerreotipia: eles deixaram a Imagem do Senhor-de-Engenho e Sinhazinhas. Jornal da Bahia, 10 e 11 de novembro de 1963.
+TURAZZI, Maria Inez. Poses e trejeitos: a fotografia e as exposições na era do espetáculo: 1839/1889. Prefácio Pedro Karp Vasquez. Rio de Janeiro: Funarte. Rocco, 1995. 309 p., il. p&b. (Coleção Luz & Reflexão, 4). ISBN 85-85781-08-4.
+VASQUEZ, Pedro. Mestres da fotografia no Brasil: Coleção Gilberto Ferrez. Rio de Janeiro: Centro Cultural Banco do Brasil, 1995.
+Para a elaboração dessa cronologia foi realizada uma ampla pesquisa em inúmeros jornais da Hemeroteca da Biblioteca Nacional.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/984` — `itens/20.500.12156.1_984/`
+- `20.500.12156.1/958` — `itens/20.500.12156.1_958/`
+- `20.500.12156.1/2572` — `itens/20.500.12156.1_2572/`
+- `20.500.12156.1/979` — `itens/20.500.12156.1_979/`
+
diff --git a/wordpress/7462-o-barao-do-rio-branco-1845-1912-e-o-album-de-vistas-do-brasil-1889.md b/wordpress/7462-o-barao-do-rio-branco-1845-1912-e-o-album-de-vistas-do-brasil-1889.md
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+++ b/wordpress/7462-o-barao-do-rio-branco-1845-1912-e-o-album-de-vistas-do-brasil-1889.md
@@ -0,0 +1,55 @@
+---
+id: 7462
+url: "https://brasilianafotografica.bn.gov.br/?p=7462"
+titulo: "O barão do Rio Branco (1845 – 1912) e o Álbum de vistas do Brasil (1889)"
+autor: "Andrea Wanderley"
+data: "2017-02-10T10:42:18+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/2418"]
+fetched_at: "2026-09-10T10:27:00.417Z"
+---
+
+# O barão do Rio Branco (1845 – 1912) e o Álbum de vistas do Brasil (1889)
+
+Augusto Malta. Francisco Pereira Passos e José Maria da Silva Paranhos Júnior, barão do Rio Branco, 14 de junho de 1911. Rio de Janeiro, RJ / Acervo IMS
+O carioca José Maria da Silva Paranhos Júnior (RJ, 20/04/1845 – RJ, 10/02/1912), patrono da diplomacia brasileira, recebeu da Princesa Isabel o título de barão do Rio Branco, em 1888 (Diário de Notícias, 20 de maio de 1888, na terceira coluna, sob o título “Paranhos”, e Jornal do Commercio, 2 de junho de 1888, na quarta coluna sob o título “Gazetilha”).  Na época, ela exercia pela terceira e última vez a regência do Brasil (junho de 1887 a agosto de 1888) – o imperador Pedro II estava viajando pela Europa. A foto destacada pela Brasiliana Fotográfica (ao lado) é um registro do embarque do ex-prefeito do Rio de Janeiro, Francisco Pereira Passos (1836 – 1913) – no centro da imagem -, para a Europa (O Paiz, 15 de junho de 1911, na quinta coluna). Na ocasião, o barão do Rio Branco (1845 – 1912) – de chapéu claro – era o ministro das Relações Exteriores e havia ido ao cais Pharoux para despedir-se de Leitão da Cunha, que também estava partindo para a Europa, no transatlântico inglês Avon (Gazeta de Notícias, 15 de junho de 1911, na quinta coluna). O autor do registro foi Augusto Malta (1864 – 1957), fotógrafo oficial da prefeitura do Rio de Janeiro, de 1903 a 1936.
+O barão do Rio Branco (1845-1912) foi o responsável pelo Album de vues du Brésil, considerada a última peça para a promoção do Brasil imperial, representando um resumo iconográfico do país e de suas riquezas. Foi um dos livros que inaugurou a ilustração fotográfica do Brasil e é considerado por muito uma espécie de balanço final do período imperial. Nas palavras do barão, o álbum pretendia “mostrar a fisionomia atual das principais cidades do Brasil e seus arredores. Sob esse aspecto, a presente coleção é a mais completa publicada até hoje”. Trazia fotografias produzidas por Augusto Riedel (1836 -?), Joaquim Insley Pacheco (1830 – 1912), Marc Ferrez (1843 – 1923) e Rodolpho Lindemann (c. 1852 – 19?), dentre outros. Foi lançado em Paris na ocasião da Exposição Universal de 1889, ocorrida entre 6 de maio e 31 de outubro e fazia parte da segunda edição de Le Brésil, extrato da Grande Enciclopédia, trabalho dirigido pelo geógrafo Émile Levasseur  (1828-1911), para o qual o barão havia colaborado.
+“Àquela altura, Rio Branco recebeu um impulso extraordinariamente importante para sua trajetória. Rui Barbosa publicou, no Diário de Notícias de 14 de outubro de 1889, às vésperas da República, artigo no qual ressaltou sua colaboração na Grand Encyclopedie. Segundo Álvaro Lins, foi esta a primeira vez que o nome do Barão do Rio Branco apareceu perante o público do Brasil como “grande historiador erudito”. Rui Barbosa ressaltou um atributo do barão que se revelou fundamental para o êxito de suas atividades de historiador/diplomata: “O sentimento do real, esse movimento da vida, essa impressão de contacto direto das coisas.“(Barão do Rio Branco : 100 anos de memória, p.38).
+ 
+Propaganda da Livraria Contemporânea de Lopes da Cunha & C. Jornal do Commercio, 1º de junho de 1894
+ 
+O Album de vues du Brésil foi o primeiro do gênero publicado depois do Brasil Pitoresco (1861), primeiro livro de fotografia realizado na América Latina, com imagens de Jean Victor Frond (1821 – 1881) e texto do jornalista e político francês Charles Ribeyrolles (1812-1860), reeditado em 1941.
+Filho de José Maria da Silva Paranhos (1819 – 1880), o visconde do Rio Branco, uma das maiores figuras do período monárquico brasileiro, o barão do Rio Branco – professor, jornalista, diplomata, político e historiador – tornou-se sinônimo da tradição da diplomacia brasileira. Teve destacada atuação na definição das fronteiras brasileiras em várias ocasiões, quando se sobressaiu como hábil negociador, tendo assinado tratados com diversos países. Participou das negociações de paz da Guerra do Paraguai (1865-1870). Foi diretor do jornal A Nação e entre 6 de dezembro de 1875 e 1886, foi cônsul-geral do Brasil em Liverpool, na Inglaterra, na época, o principal porto comercial de interesse para o Brasil. Em 1884, recebeu a Ordem da Rosa, maior condecoração do Império, e o convite para ser o delegado do governo na Exposição Universal de São Petersburgo. Depois da proclamação da República, em 1891, substituiu o conselheiro Antônio Prado (1840 – 1929), como superintendente-geral na Europa da emigração para o Brasil, cargo que exerceu até 1893.
+Foi o representante brasileiro na disputa da região dos Sete Povos das Missões com a Argentina e também na disputa do Amapá entre o Brasil e a Guiana Francesa, tendo obtido resultados favoráveis ao Brasil em 1895 e em 1900, respectivamente. Em 1901, foi como ministro plenipotenciário para Berlim, na Alemanha, onde ficou até 1902, quando foi nomeado ministro das Relações Exteriores do Brasil, cargo que exerceu até sua morte. Com a assinatura do Tratado de Petrópolis, em 1903, garantiu a posse do Acre, reivindicado pela Bolívia. A partir de vários tratados com países da América do Sul – em 1904, com o Equador; em 1907, com a Colômbia; em 1904 e 1909, com o Peru; em 1909, com o Uruguai; e em 1910, com a Argentina, definiu, de um modo geral, os atuais contornos do território brasileiro.
+Ainda como ministro das Relações Exteriores, participou da III Conferência Americana, realizada no Palácio Monroe, no Rio de Janeiro, de 23 de julho a 27 de agosto de 1906. Foi também responsável pelas gestões junto à Santa Sé para a criação do primeiro cardinalato brasileiro, o que aconteceu em 1905, e enviou Rui Barbosa (1849 – 1923) à Conferência da Paz, em Haia, em 1907.
+Foi eleito, em 1º de outubro de 1898, o segundo ocupante da cadeira 34 da Academia Brasileira de Letras, na sucessão de João Manuel Pereira da Silva (1817 – 1898). Sócio do Instituto Geográfico Histórico Brasileiro desde 1867, foi seu presidente entre 1907 e 1912.
+Faleceu em 10 de fevereiro de 1912, às vésperas do Carnaval (Jornal do Brasil, 11 de fevereiro de 1910). Como homenagem, o governo adiou a folia momesca para abril. Não adiantou. O povo brincou os dois carnavais, cantando a seguinte marchinha: “Com a morte do Barão/ tivemos dois carnavá/ Ai que bom, ai que gostoso/ Se morresse o Marechá”. O ‘Marechá’ era o então presidente, marechal Hermes da Fonseca.
+Outras homenagens feitas ao barão do Rio Branco após sua morte, ocorrida em 10 de fevereiro de 1912 (Jornal do Brasil, 11 de fevereiro de 1910):
+1 – O nome da avenida Central, aberta oficialmente em 1905, que foi durante muito tempo a principal via de circulação do Rio de Janeiro, que ligava o novo porto, onde atualmente está a praça Mauá, à região da Glória, foi mudado, por decreto, em 15 de fevereiro de 1912, para avenida Rio Branco, cinco dias depois do falecimento do diplomata (O Paiz, 16 de fevereiro de 1912, sob o título “Barão do Rio Branco”).
+2 – Em 1945, nas comemorações do centenário de seu nascimento, foi criado o Instituto Rio Branco, uma das academias diplomáticas mais antigas do mundo, depois da Academia de Viena e da Academia Pontifícia.
+3 – O barão dá também nome à condecoração Ordem do Rio Branco, instituída pelo Decreto nº 51.697, de 5 de fevereiro de 1963, com o objetivo de ao “distinguir serviços meritórios e virtudes cívicas, estimular a prática de ações e feitos dignos de honrosa menção”. Tem 5 graus: Grã-Cruz, Grande Oficial, Comendador, Oficial e Cavaleiro, além de uma Medalha anexa à Ordem. É concedida pelo Ministério das Relações Exteriores, geralmente, em 20 de abril, Dia do Diplomata, data de nascimento do barão.
+Segundo o regulamento: “A insígnia da Ordem é uma cruz de quatro braços e oito pontas esmaltadas de branco, tendo no centro a esfera armilar, em prata dourada, inscrita, num círculo de esmalte azul, a legenda “Ubique Patriae Memor”, do mesmo metal. No reverso dourado, as datas 1845-1912.” As datas se referem aos anos do nascimento e da morte do barão e a expressão “Ubique Patriae Memor” foi extraída do ex-libris do Barão do Rio Branco e se traduz como “Em qualquer lugar, terei sempre a Pátria em minha lembrança”.
+Um pouco da vida pessoal do barão:
+“Não lhe faltaram, no entanto, contrariedades e angústias. No início de 1872, Juca (apelido do barão) encontrou no Alcazar Lyrique uma jovem belga chamada Marie Philomène Stevens, de 22 anos, por quem se apaixonou. O casamento era impossível, pois ela era apenas uma bela atriz de pouca instrução, que viera faire l’Amérique no Rio de Janeiro. Juca Paranhos parecia bastante ingênuo, talvez cego pelo amor, pois chegou a escrever para um amigo dizendo que Marie lhe havia chegado aos braços “perfeitamente pura!”. Logo ela engravidou e, ao longo de 26 anos de convívio interrompido, tiveram cinco filhos. Quando foi nomeado para Liverpool, o Barão do Rio Branco instalou-a em Paris, onde viveu até morrer, em 1898. Nunca mais regressou ao Brasil. No entanto, demoraram a casar-se, o que finalmente ocorreu em 1890, em Londres, quando os primeiros filhos já eram quase adultos” (Vasco Mariz in Barão do Rio Branco : 100 anos de memória).
+Andrea C. T. Wanderley
+Editora-assistente e pesquisadora do portal Brasiliana Fotográfica
+Fontes:
+Barão do Rio Branco : 100 anos de memória / Manoel Gomes Pereira (Org.).– Brasília:FUNAG, 2012.
+HEINSFELD, Adelar. O Barão e o cardeal : Rio Branco e a conquista do cardinalato para o Brasil. Passo Fundo:PPGH/UPF, 2012.
+LAGO, Pedro Corrêa do. Brasiliana Itaú: uma grande coleção dedicada ao Brasil / curadoria da coleção: Pedro Corrêa do Lago, Ruy Souza e Silva. Rio de Janeiro: Capivara, 2009.
+LINS, Álvaro. O Barão do Rio Branco. Rio de Janeiro:Editora José Olympio, 1945.
+MORAES, Antônio Carlos Robert. O Barão do Rio Branco e a Geografia, in Revista Terra Brasilis. São Paulo:Universidade de São Paulo, dezembro de 2015.
+MOSSÉ, Benjamin. Dom Pedro II, Imperador do Brasil: o Imperador visto pelo barão do Rio Branco / Benjamin Mossé. – Brasília : FUNAG, 2015.
+MOURA, Cristina Patriota de. Herança e Metamorfose: a Construção Social de dois Rio Branco, in Revista Estudos Históricos. Rio de Janeiro:Fundação Getulio Vargas, dezembro de 1999.
+RICÚPERO, Rubens. Um personagem da República, in José Maria da Silva Paranhos, Barão do Río Branco: uma biografia fotográfica. Brasília:Fundação Alexande de Gusmão, 1995.
+Site do Instituto Geográfico e Histórico Brasileiro
+Site do Ministério das Relações Exteriores
+VIANA FILHO, Luiz. A vida do Barão do Rio Branco. Rio de Janeiro:Editora José Olympio, 1959.
+A Brasiliana Fotográfica fez também uma extensa pesquisa na Hemeroteca Digital da Biblioteca Nacional.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/2418` — `itens/20.500.12156.1_2418/`
+
diff --git a/wordpress/7530-uma-homenagem-aos-452-anos-do-rio-de-janeiro-o-corcovado-e-o-pao-de-acucar.md b/wordpress/7530-uma-homenagem-aos-452-anos-do-rio-de-janeiro-o-corcovado-e-o-pao-de-acucar.md
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@@ -0,0 +1,48 @@
+---
+id: 7530
+url: "https://brasilianafotografica.bn.gov.br/?p=7530"
+titulo: "Uma homenagem aos 452 anos do Rio de Janeiro: o Corcovado e o Pão de Açúcar"
+autor: "Andrea Wanderley"
+data: "2017-03-01T11:10:04+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/4072", "20.500.12156.1/4588", "20.500.12156.1/4772", "20.500.12156.1/2609"]
+fetched_at: "2026-09-10T10:27:03.686Z"
+---
+
+# Uma homenagem aos 452 anos do Rio de Janeiro: o Corcovado e o Pão de Açúcar
+
+Antonio Caetano da Costa Ribeiro. Vista tirada do Pão d´Assucar, c. 1914. Rio de Janeiro, RJ / Acervo FBN
+ 
+A beleza e a vocação exibicionista fez do Rio de Janeiro personagem constante de muitas fotografias desde o século XIX, quando, em 1843, o abade Conte chegou à cidade trazendo um daguerreótipo (Jornal do Commercio, 17 de janeiro de 1843, na primeira coluna). Na data de aniversário de sua fundação, a Brasiliana Fotográfica presta uma homenagem à cidade maravilhosa com uma seleção de registros dos morros do Corcovado, onde fica o Cristo Redentor, e do Pão de Açúcar, onde, desde 1912, funciona o bondinho. São seus principais pontos turísticos e marcas registradas da cidade. As imagens são de autoria de Alberto Henschel (1827 – 1882), Antonio Caetano da Costa Ribeiro, Augusto Malta (1864 – 1957), Augusto Stahl(1828 – 1877), F. Antunes, Georges Leuzinger (1813 – 1892), Jorge Kfuri (1892/3? – 1965), José Augusto de Paiva Meira, José Baptista Barreira Vianna (1860 – 1925), Juan Gutierrez (c. 1860 – 1897), Marc Ferrez (1843 – 1923), Revert Henrique Klumb (c. 1826 – c. 1886), Thiele, do aviador Sidney Henry Holland (1883 – 1936) e da firma LTM.
+ 
+Jorge Kfuri. O Pão de Açúcar. Rio de janeiros, RJ / Acervo DPHDM
+ 
+Acessando o link para as fotografias do Corcovado e do Pão de Açúcar disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Marc Ferrez. Corcovado, c.1886. Rio de Janeiro, RJ / Acervo IMS
+ 
+Um dos mais importantes símbolos e pontos turísticos do Rio de Janeiro e do Brasil, o Cristo Redentor é um dos maiores e mais famosos monumentos em estilo art déco do mundo. Localizado no morro do Corcovado, a 710 metros de altitude, a estátua tem 38 metros de altura e pesa 1.145 toneladas. Foi inaugurada pelo presidente Getulio Vargas (1882-1954) e por Pedro Ernesto (1884-1942), interventor do Distrito Federal (Diário de Notícias, 13 de outubro de 1931 e O Cruzeiro, 17 de outubro de 1931).
+ 
+Augusto Malta. Vista do Rio de Janeiro, 1906. Rio de Janeiro, RJ / Acervo IMS
+Em 27 de outubro de 1912, foi inaugurado um caminho aéreo no Rio de Janeiro, entre a Praia Vermelha e o Morro da Urca, que se tornaria o mundialmente famoso Bondinho do Pão de Açúcar (Careta, 5 de outubro de 1912). Alguns dias antes, houve uma visita da imprensa às obras (Correio da Manhã, 10 de outubro de 1912). Em 1º de dezembro, foi inaugurada a iluminação elétrica no caminho aéreo (Jornal do Brasil, 1º de dezembro de 1912, na última coluna). O bondinho no segundo trecho, entre o Morro da Urca e o Pão de Açúcar, numa extensão de 750 metros e 396 metros de altura, começou a funcionar no dia 18 de janeiro de 1913, completando a ligação até o alto do pico do Pão de Açúcar (O Paiz, 19 de janeiro, na quarta coluna).
+ 
+Propaganda do Jornal do Brasil de 3 de novembro de 1912.
+ 
+Andrea C. T. Wanderley
+Editora-assistente e pesquisadora do portal Brasiliana Fotográfica
+ 
+Outros artigos publicados na Brasiliana Fotográfica em comemoração ao aniversário do Rio de Janeiro
+A fundação do Rio de Janeiro, publicado em 1º de março de 2016, de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal Brasiliana Fotográfica
+O Rio de Janeiro de Juan Gutierrez, publicado em 1º de março de 2019, de autoria de Maria Isabel Ribeiro Lenzi, Doutora em História pela UFF e historiadora do Arquivo Histórico do Museu Histórico Nacional ; e de Andrea C.T. Wanderley, editora e pesquisadora do portal Brasiliana Fotográfica
+A Praça Paris no aniversário do Rio de Janeiro, publicado em 1º de março de 2023, de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal Brasiliana Fotográfica
+O Rio de Janeiro nos cartões-postais da Papelaria e Typographia Botelho, publicado em 1° de março de 2024, de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal Brasiliana Fotográfica
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/4072` — `itens/20.500.12156.1_4072/`
+- `20.500.12156.1/4588` — `itens/20.500.12156.1_4588/`
+- `20.500.12156.1/4772` — `itens/20.500.12156.1_4772/`
+- `20.500.12156.1/2609` — `itens/20.500.12156.1_2609/`
+
diff --git a/wordpress/7566-o-prefeito-pereira-passos-1836-1913-e-o-fotografo-augusto-malta-1864-1957.md b/wordpress/7566-o-prefeito-pereira-passos-1836-1913-e-o-fotografo-augusto-malta-1864-1957.md
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@@ -0,0 +1,79 @@
+---
+id: 7566
+url: "https://brasilianafotografica.bn.gov.br/?p=7566"
+titulo: "O prefeito Pereira Passos (1836 – 1913) e o fotógrafo Augusto Malta (1864 -1957)"
+autor: "Andrea Wanderley"
+data: "2017-03-10T12:47:32+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/4694", "20.500.12156.1/2418", "20.500.12156.1/4289"]
+fetched_at: "2026-09-10T10:27:06.906Z"
+---
+
+# O prefeito Pereira Passos (1836 – 1913) e o fotógrafo Augusto Malta (1864 -1957)
+
+Foi na gestão do engenheiro Francisco Pereira Passos como prefeito do Rio de Janeiro que, pela primeira vez, a prefeitura contratou um fotógrafo, o alagoano Augusto Malta (1864 – 1957), para documentar as obras da cidade. Na imagem abaixo, do ateliê de Malta, há um retrato de Pereira Passos, um senhor de cabelo, barba e bigode brancos, na parede à esquerda do fotógrafo.
+ 
+Augusto Malta. Augusto Malta em seu ateliê, c. 1902. Rio de Janeiro, RJ / Acervo IMS
+ 
+Em 30 de dezembro de 1902, por decreto, Francisco Pereira Passos (29 de agosto de 1836 – 2 de março de 1913) foi nomeado prefeito do então Distrito Federal, o Rio de Janeiro, pelo presidente Rodrigues Alves (1848 – 1919) e assumiu no mesmo dia (Gazeta de Notícias, 31 de dezembro de 1902, na sexta coluna), sucedendo Carlos Leite Ribeiro (1858 – 1945). Ocupou o cargo até 16 de novembro de 1906, quando foi sucedido por Francisco Marcelino de Sousa Aguiar (1855 – 1935) (O Paiz, 17 de novembro de 1906, na sexta coluna). Durante seu mandato, o prefeito Passos realizou uma significativa reforma urbana na cidade. Para saneá-la e modernizá-la realizou diversas demolições, conhecidas popularmente como a política do “bota-abaixo”, que contribuiu fortemente para o surgimento do Rio de Janeiro da Belle Époque. 
+ 
+O Malho, 18 de março de 1905
+ 
+Essas transformações foram definidas por Alberto Figueiredo Pimentel (1869-1914), considerado o inventor do colunismo social no Brasil e autor da seção “Binóculo”, da Gazeta de Notícias, com a máxima “O Rio civiliza-se”, que se tornou o slogan da reforma urbana carioca. Figueiredo Pimentel tornou sua coluna a mais lida e popular da imprensa carioca, um oráculo de boas maneiras. Foi dele a ideia de criar o corso de automóveis na Praia de Botafogo, um desfile carnavalesco de carros enfeitados realizado no inverno (Fon-Fon!, 14 de fevereiro de 1914; A Notícia, 19 e 20 de outubro de 1912, segunda coluna, e 6 e 7 de fevereiro de 1914, segunda coluna).
+ 
+ 
+Figueiredo Pimentel, primeiro à esquerda, nas ruas do Rio de Janeirio / Fon-Fon, 18 de janeiro de 1908
+ 
+Sobre Pereira Passos:
+“O ex-prefeito imortal, rompendo todos os embaraços da chamada tradição e surdo às ameaças da rotina, conseguiu no seu governo essa coisa estupenda: fez o carioca mudar-se de uma velha cidade tortuosa e colonial para uma opulenta e encantadora capital sem que esse arredasse o pé do Rio de Janeiro” (Correio da Manhã, de 3 de março de 1913).
+ 
+Augusto Malta. Francisco Pereira Passos e José Maria da Silva Paranhos Júnior, barão do Rio Branco, 14 de junho de 1911. Rio de Janeiro, RJ / Acervo IMS
+ 
+Alguns meses após a nomeação de Pereira Passos como prefeito, o alagoano Augusto Malta (1864 – 1957), foi contratado pela Prefeitura do Rio de Janeiro, em junho de 1903, como fotógrafo oficial, cargo criado para ele e que ocupou até 1936. Pereira Passos precisava de um fotógrafo para registrar as obras e os imóveis a serem desapropriados para posteriores pagamentos de indenizações e Malta passou a documentar a radical mudança urbanística promovida por ele. Sobre sua contratação, Malta declarou na entrevista “Malta – o que fotografou Passos e Rio Branco”, feita por Raymundo de Athayde e publicada pela Revista da Semana, edição de Natal de 16 de dezembro de 1944:
+Anônimo. Augusto Malta. Rio de Janeiro. Acervo Arquivo Geral da Cidade do Rio de Janeiro.
+“Confesso que sentia grande sensação quando via surgirem no papel as belas e surpreendentes imagens que o sal de prata revelava e o hipossulfito fixava a meus olhos, na câmara escura improvisada em minha casa. E vivia assim nesse ingênuo amadorismo, quando um fornecedor da Prefeitura, meu amigo (o empreiteiro Antônio Alves da Silva Júnior), levou-me para tirar fotografias das obras que então o grande Pereira Passos realizara em 1903. Na época, o Rio começava a mudar a indumentária e remoçar. Por acaso o insuperável Prefeito viu as fotografias que eu tirava por esporte e gostou. Propôs-me um emprego na Prefeitura e eu, sem relutâncias, aceitei”
+Passos e Malta tornaram-se muito próximos, tendo o prefeito sido padrinho de uma das filhas do fotógrafo, Aristocléa (1903-1934).
+Anos depois, os filhos de Malta, Aristógiton (1904 – 1954) e Uriel (1910 – 1994), também trabalharam como fotógrafos da prefeitura.
+Acessando o link para as fotografias de autoria de Augusto Malta e de seus filhos Aristógiton e Uriel disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Uma das marcas da reforma urbana realizada por Pereira Passos foi a abertura da avenida Central e da avenida Beira-Mar. Segundo a publicação virtual Coleção Estudos Cariocas, abrigada no portal de informações do Instituto Municipal de Urbanismo Pereira Passos da Secretaria Municipal de Urbanismo da Prefeitura do Rio de Janeiro, as principais obras realizadas durante a gestão do prefeito Passos foram:
+ 
+Augusto Malta. Av. Central ( Av. Rio Branco com Rua Sete de Setembro). Rio de Janeiro, RJ / Acervo AGCRJ
+ 
+“1903: inauguração do Pavilhão da Praça 15 (21/6); prolongamento da Rua do Sacramento – atual Avenida Passos, até a Rua Marechal Floriano (27/06); inauguração do Jardim do Alto da Boa Vista (11/10); início do alargamento da antiga Rua da Prainha (atual Rua do Acre);
+1904: término do alargamento da antiga Rua da Prainha – atual Rua do Acre (fevereiro); demolições do Morro do Castelo (8/03); construção do aquário do Passeio Público (18/9); melhoramento da Rua 13 de Maio.
+1905: início da construção do Theatro Municipal (03/01); inauguração da nova estrada de rodagem da Tijuca (4/1); alargamento e prolongamento da Rua Marechal Floriano até o Largo de Santa Rita (2/2); decreto de alargamento da Rua do Catete (28/4); alargamento e prolongamento da Rua Uruguaiana (setembro); decreto de construção da Avenida Atlântica, em Copacabana (4/11); inauguração da Avenida Central (atual Av. Rio Branco), marco da administração Pereira Passos (15/11); inauguração da Escola-Modelo Tiradentes (24/11); decreto de abertura da Rua Gomes Freire de Andrade, entre a Rua Riachuelo e a do Núncio (29/12); decreto de abertura da Avenida Maracanã (30/12).
+1906: alargamento da Rua da Carioca (janeiro e fevereiro); inauguração da fonte do Jardim da Glória (24/2); inauguração da nova Fortaleza na Ilha de Lage (28/6); inauguração do palácio da exposição permanente de São Luiz (futuro Palácio do Monroe), para os trabalhos da 3ª Conferência Pan-Americana (22/7); inauguração do alargamento da Rua 7 de Setembro no trecho entre a Av. Central e 1º de Março (6/9); conclusão das obras de melhoramento do porto do Rio de Janeiro e do Canal do Mangue (9/11); inauguração das obras de melhoramento e embelezamento do Campo de São Cristóvão – jardim e escola pública (11/11); inauguração da Avenida Beira-Mar (23/11); melhoramento do Largo da Carioca; inaugurações dos quartéis do Méier, da Saúde, São Cristóvão e Botafogo; aterramento das praias do Flamengo e Botafogo, com construção de jardins; construção do Pavilhão Mourisco, em Botafogo; construção do Restaurante Mourisco, próximo à estação das barcas, no Centro; melhorias no abastecimento de água para a capital.
+Além destas, merecem registro: melhoramentos da zona suburbana do DF; saneamento da cidade; arborização de diversas áreas da cidade; renovação do calçamento da cidade; e inauguração de calçamento asfáltico; alargamento da Rua Camerino; abertura da Avenida Salvador de Sá; canalização do Rio Carioca (da Praça José de Alencar ao Cosme Velho); construção da Avenida Atlântica; inauguração da Escola-Modelo Rodrigues Alves, no Catete; liberação de verbas para a construção da Biblioteca Nacional; início da construção do novo edifício da Escola Nacional de Belas Artes; início das obras do edifício do Congresso Nacional; criação do novo Mercado Municipal“.
+Além disso, promoveu a renovação do porto e instituiu a vacinação obrigatória, posta em prática pelo sanitarista Oswaldo Cruz (1872 – 1917), fato que desencadeou a Revolta da Vacina, em novembro de 1904, reação popular à campanha (Gazeta de Notícias, 14, 15, 16, 17, 18 de novembro de 1904).
+ 
+Acessando o link para as fotografias de Pereira Passos e de seu cortejo fúnebre disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Em 19 de fevereiro de 1913, Pereira Passos partiu para a Europa, no navio inglês Araguaia (O Paiz, 20 de fevereiro de 1913, na terceira coluna) e faleceu a bordo, em 2 de março de 1913 (O Paiz e Correio da Manhã, 3 de março de 1913). Pereira Passos teve uma syncope cardíaca fulminante em seu camarote e foi assistido pelo médico Victor Godinho (1862 – 1922), que nada pode fazer. Seu esquife chegou em Lisboa, em 5 de março, foi para o Posto de Desinfecção e seguiu para o cemitério dos Prazeres (Correio da Manhã, 6 de março de 1913, na penúltima coluna).
+ 
+Convite para a missa de 7º dia de Pereira Passos, publicado no Correio da Manhã de 7 de março de 1913.
+ 
+Em 30 de maio de 1913, chegaram ao Rio de Janeiro, a bordo do Cap Finistere, os despojos de Pereira Passos, que foram transportados para terra no vapor D. João VI. A banda do Corpo de Bombeiros executou a marcha fúnebre de Chopin e foi grande a manifestação popular em torno da chegada da urna funerária do ex-prefeito, que, do arsenal de Marinha, foi levada para a Prefeitura (O Paiz, 31 de maio de 1913). No dia seguinte, um grande cortejo fúnebre com a participação de autoridades e da população carioca  aconteceu entre a Prefeitura e o cemitério São Francisco Xavier, onde Pereira Passos foi enterrado (O Paiz, 1º de junho de 1913).
+ 
+Andrea C. T. Wanderley
+Editora-assistente e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+BENCHIMOL, Jaime Larry. Pereira Passos: um Haussmann tropical. Rio de Janeiro, SMCTT, 1990.
+DEL BRENNA, Giovanna Rosso (org.). O Rio de Janeiro de Pereira Passos: Uma cidade em questão II. Rio de Janeiro:Index, 1985
+DE LOS RIOS FILHO, Adolfo Morales. Dois Notáveis Engenheiros: Pereira Passos e Vieira Souto. Rio de Janeiro: Editora A Noite, 1991.
+LENZI, Maria Isabel Ribeiro. Pereira Passos: Notas de Viagens. Rio de Janeiro:Editora Sextante, 2000.
+OLIVEIRA REIS, José de. O Rio de Janeiro e seus prefeitos, evolução urbanística da cidade. vol.3, Rio de Janeiro, Prefeitura da Cidade do Rio de Janeiro, 1977.
+PINHEIRO, Manoel Carlos;FIALHO JR, Renato. Pereira Passos: vida e obra in coleção Estudos Cariocas. Rio de Janeiro:IPP/Prefeitura da Cidade do Rio de Janeiro, 1996.
+Portal Augusto Malta do Arquivo Geral da Cidade do Rio de Janeiro
+Site do Instituto Pereira Passos
+Além das fontes supracitadas, a Brasiliana Fotográfica fez uma ampla pesquisa na Hemeroteca Digital da Biblioteca Nacional.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/4694` — `itens/20.500.12156.1_4694/`
+- `20.500.12156.1/2418` — `itens/20.500.12156.1_2418/`
+- `20.500.12156.1/4289` — `itens/20.500.12156.1_4289/`
+
diff --git a/wordpress/7603-becos-cariocas.md b/wordpress/7603-becos-cariocas.md
new file mode 100644
index 0000000..44f8b7e
--- /dev/null
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@@ -0,0 +1,37 @@
+---
+id: 7603
+url: "https://brasilianafotografica.bn.gov.br/?p=7603"
+titulo: "Becos cariocas"
+autor: "Andrea Wanderley"
+data: "2017-05-03T11:50:10+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/4299"]
+fetched_at: "2026-09-10T10:27:10.167Z"
+---
+
+# Becos cariocas
+
+Augusto Malta. Beco do Paço, 1º de agosto de 1941. Rio de Janeiro, RJ / Acervo AGCRJ
+A Brasiliana Fotográfica traz algumas imagens do Rio de Janeiro de antigamente. São fotografias de becos cariocas produzidas pelo fotógrafo Augusto Malta (1864 – 1957) e por seu filho Aristógiton Malta (1904-1954), que pertencem ao acervo do Arquivo Geral da Cidade do Rio de Janeiro, um dos parceiros do portal. São registros dos becos da Batalha, dos Ferreiros, da Fidalga, da Música, do Paço e do Rosário, todos no Centro. Alguns deles foram citados pelo historiador e memorialista Luiz Edmundo (1878 – 1961) no livro O Rio de Janeiro do meu tempo (1938), na descrição do aspecto das ruas cariocas do período colonial e do ínicio do século XX: As ruelas que se multiplicam para os lados da Misericórdia – Cotovelo, Fidalga, Ferreiros, Música, Moura e Batalha – são estreitas, com pouco mais de metro e meio de largura. São sulcos tenebrosos que cheiram a mofo, a pau-de-galinheiro, a sardinha frita e suor humano.
+Acessando o link para as fotografias de becos cariocas disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Um pouco da história desses becos
+ 
+Beco da Batalha, dos Ferreiros e da Fidalga: ficavam no bairro da Misericórdia e não existem mais. A origem do nome do Beco da Batalha foi a existência de um oratório dedicado à devoção de Nossa Senhora da Batalha no próprio beco ou no largo do mesmo nome. No Beco dos Ferreiros moravam muitos chineses e em suas casas se fumava ópio. No Beco da Fidalga morava dona Maria Antônia de Alencastro, parente do militar português Gomes Freire (1757 -1817).
+Beco da Música: também no antigo bairro da Misericórdia, liga a avenida Antônio Carlos à rua Dom Manuel.  Seu nome era Beco do Administrador, mas foi rebatizado como Beco da Música, quando músicos do Regimento do Moura, aquartelados nas vizinhanças, passaram a ensaiar no local onde havia sido a sede da administração do monopólio do sal. Segundo o historiador Felisberto Freire (1858 – 1916), nele estiveram os portões do Rio de Janeiro, no século XVI, quando a cidade “malnascida no Castelo, dispunha embaixo, na várzea, de uma muralha para melhor protegê-la”.
+Beco do Paço: ficava perto da rua Dom Manuel e foi destruído para a abertura da rua Erasmo Braga.
+Beco do Rosário: fica perto da rua Reitor Azevedo Amaral. Foi em uma lanchonete situada no beco que, em 1967, num sábado de Aleluia, começou um incêndio que destruiu grande parte da Igreja de Nossa Senhora do Rosário e São Benedito.
+ 
+ 
+Fontes:
+EDMUNDO, Luiz. O Rio de Janeiro do meu tempo. Rio de Janeiro:Editora: Imprensa Nacional, 1938.
+COSTALLAT, Benjamim. Mistérios do Rio. Rio de Janeiro:Biblioteca Carioca, Secretaria Municipal de Cultura, 1995.
+GERSON, Brasil. História das Ruas do Rio. Rio de Janeiro:Bem-Te-Vi, 2013.
+Site Rio & Cultura
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/4299` — `itens/20.500.12156.1_4299/`
+
diff --git a/wordpress/7629-inauguracao-da-estatua-equestre-de-dom-pedro-i-na-atual-praca-tiradentes.md b/wordpress/7629-inauguracao-da-estatua-equestre-de-dom-pedro-i-na-atual-praca-tiradentes.md
new file mode 100644
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+++ b/wordpress/7629-inauguracao-da-estatua-equestre-de-dom-pedro-i-na-atual-praca-tiradentes.md
@@ -0,0 +1,82 @@
+---
+id: 7629
+url: "https://brasilianafotografica.bn.gov.br/?p=7629"
+titulo: "Inauguração da estátua equestre de dom Pedro I, na atual Praça Tiradentes"
+autor: "Andrea Wanderley"
+data: "2017-03-30T11:57:46+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/4005", "20.500.12156.1/3579", "20.500.12156.1/2153"]
+fetched_at: "2026-09-10T10:27:13.611Z"
+---
+
+# Inauguração da estátua equestre de dom Pedro I, na atual Praça Tiradentes
+
+Micheles (Fotógrafo); Rochet, Louis, 1813-1878; Mafra, João Maximiniano. Estátua equestre de Dom Pedro I, 1861. Paris, França / Acervo FBN
+A estátua equestre de dom Pedro I (1798 – 1834), primeira escultura pública do Brasil, foi inaugurada na Praça da Constituição, atual Praça Tiradentes, no centro do Rio de Janeiro, em 30 de março de 1862 (Diário do Rio de Janeiro, 31 de março de 1862), e uma grande festa cívica aconteceu na cidade para celebrar o evento. Segundo Paulo Knauss, “Esta inauguração consagrou a afirmação da escultura pública no Brasil e instalou uma tradição que atravessou os tempos até os dias de hoje“. A inauguração estava programada para se realizar no dia 25 de março, data da ratificação da Constituição Brasileira de 1824, mas fortes chuvas adiaram o evento para o dia 30 de março (Diário do Rio de Janeiro, 26 de março e 31 de março de 1862). O monumento foi colocado de frente para a Rua da Imperatriz em direção a então sede da Academia Imperial de Belas Artes. Do outro lado, a Rua Sete de Setembro levava até a praça da estátua, estabelecendo a ligação com a sede do governo, que ficava no Largo do Paço.
+A ideia do projeto de construção de uma estátua em homenagem a dom Pedro I havia surgido, por iniciativa da Câmara Municipal, em 1825, 38 anos antes da inauguração do monumento. A Brasiliana Fotográfica lembra a efeméride com a publicação de três fotografias da estátua: uma de Augusto Stahl (1828 – 1877), uma de Manoel Banchiere, que nessa época possuía um estabelecimento fotográfico na Rua do Hospício, 104; e uma de Micheles. Na estátua, esculpida pelo francês Louis Rochet (1813 – 1878), que foi agraciado com a comenda Ordem de Cristo, dom Pedro I está proclamando a Independência do Brasil com o Manifesto às Nações na mão (Diário do Rio de Janeiro, 1º de abril de 1862, na primeira coluna).
+No monumento, as principais datas da vida do homenageado estão inscritas no gradil: 12 de outubro de 1798 (nascimento) – 6 de novembro de 1817 (casamento com dona Leopoldina) – 9 de janeiro de 1822 (Dia do Fico) – 13 de maio de 1822 (tornou-se Defensor Perpétuo do Brasil) – 12 de outubro de 1822 (aclamação como imperador do Brasil) – 1 de dezembro de 1822 (coroação) – 25 de março de 1824 (ratificação da primeira Constituição Brasileira) – 17 de outubro de 1829 (casamento com dona Amélia). No pedestal, há imagens de animais e indígenas em quatro alegorias dos rios nacionais. A do rio São Francisco traz um indígena sentado perto de uma capivara e de um tamanduá bandeira; a do rio Madeira, é representada por um indígena com arco e flexa em um movimento de disparo junto a uma ave, um peixe e uma tartaruga; a do rio Amazonas mostra uma indígena com uma criança nas costas, um indígena com os pés sobre um jacaré e uma arara; e, finalmente, a do rio Paraná, tem como alegoria um indígena segurando uma flexa e uma indígena. Os brasões das vintes províncias imperiais também estão representados. Abaixo da estátua está escrito “D. Pedro I, gratidão dos brasileiros”.
+ 
+Acessando o link para as fotografias da estátua equestre de dom Pedro I disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Manoel Banchieri. Estátua equestre de Pedro I, 1862. Rio de Janeiro, RJ / Acervo FBN
+ 
+A Câmara Municipal, centro político do movimento de independência no Brasil, lançou o projeto da construção de uma estátua equestre de dom Pedro I, em 1825 (Diário do Rio de Janeiro, 11 de maio, 14 de julho, 17 de outubro, 8 de novembro  e 9 de novembro de 1925; O Despertador Constitucional, 24 de maio de 1825) .
+No dia 13 de maio de 1825, foi solicitada a dom Pedro I permissão para levá-la a efeito:
+“Senhor – O Senado da Câmara desta muito leal e heroica cidade do Rio de Janeiro, tendo sido até aqui fiel intérprete dos sentimentos da nação brasileira e executor dos seus desejos em todas as épocas memoráveis da sua feliz emancipação, sondando atualmente a opinião pública, tem penetrado ser sua vontade que a muito leal e poderosa pessoa de V. M. I. se inaugurasse um monumento público que, fazendo recordar a presente e futuras gerações à memória dos altos feitos de V. M., possa ao mesmo tempo servir de eterno padrão da sua sensibilidade e de sua gratidão.
+Neste sentir, pois, Senhor, o Senado da Câmara se apressa a rogar a V. M. I. queira benigno permitir-lhe a faculdade de poder dar o primeiro passo para tão augusta e magnânima empresa, lisonjeando-se de a pedir neste feliz aniversário já tão memorável nos fastos da nação.
+Digne-se, pois, V. M., acolhendo benignamente a súplica do Senado desta cidade, anuir aos ardentes desejos dele, do povo por quem representa e, sem receio de errar, se pode dizer de todo o povo do Império. – O presidente, Lúcio Soares Teixeira de Gouveia. – Os vereadores, Manuel Frazão de Sousa Rondon, Antônio Gomes de Brito, Lourenço Antônio do Rego. – Procurador interino, José Agostinho Barbosa.”
+O Imperador respondeu:
+“Acato a lembrança do Senado e agradeço”.
+O pintor Jean-Baptiste Debret (1768 – 1848) e o arquiteto Grandjean de Montigny (1776 – 1850), membros da Missão Francesa que havia chegado no Rio de Janeiro em 1816, faziam parte da comissão formada para encarregar-se do plano da estátua equestre. Os artistas e irmãos franceses Zeferino (1797 – 1851) e Marcos Ferrez (1788 – 1850) fizeram parte da lista de subscritos para a construção da estátua do imperador (Diário do Rio de Janeiro, 28 de dezembro de 1825). O homenageado autorizou o projeto e o Campo de Santana, onde ele havia sido aclamado, em 1822, foi escolhido para abrigar o monumento. Porém, a situação política que levou à abdicação do monarca, em 1831, deu fim ao empreendimento, para o qual Grandjean de Montigny (1776 – 1850) já havia preparado dois projetos (Aurora Fluminense, de 11 de abril de 1831).
+No fim da década, em 1839, houve uma reunião na casa de Francisco Vilela Barbosa, o marquês de Paranaguá (1769 – 1946), quando formou-se uma comissão para a retomada do projeto da estátua equestre. Além do anfitrião, faziam parte da comissão Paulo José de Mello (1779 – 1848), José Antonio Lisboa (1777 – 1850), Cornélio Ferreira (1802 – 1878), Maciel Monteiro (1804 – 1868) e Manoel Manoel de Araújo Porto-Alegre (1806 – 1879). Este último proferiu um discurso, em 23 de abril de 1839, sobre a necessidade de construir-se uma estátua em homenagem a dom Pedro I e para esse fim continuar a subscrição para o projeto e arrecadar o produto da antiga, que estaria depositado no Tesouro Nacional.  Foi encaminhada à regência uma petição com esse objetivo. O senador Bernardo Pereira de Vasconcellos (1795 – 1850) nomeou José Antonio Lisboa (1777 – 1850) presidente da comissão, mas, devido às circunstâncias políticas, após uma viagem à Europa, Lisboa adiou as providências para o desenvolvimento do projeto.
+Em 1840, um leitor do Diário de Rio de Janeiro, que se identificou como Um do povo, enviou uma carta ao jornal cobrando a realização da estátua (Diário do Rio de Janeiro, 14 de janeiro de 1840, na primeira coluna). Outro, que se identificou como O Curioso, perguntava para onde havia ido o produto da subscrição aberta nesta corte e em melhores tempos para a a estátua equestre do FUNDADOR DO IMPÉRIO, o sr. Dom Pedro 1º (Diário do Rio de Janeiro, 29 de julho de 1842, na primeira coluna). Em 1844, Porto Alegre conversou com o senador José Clemente (1787 – 1854) que revelou o desejo de retomar o plano de construção da estátua. Para isso, pediu toda a documentação e também encomendou um desenho a Porto Alegre. Mais uma vez as circunstâncias políticas desviaram a atenção ao projeto. Em 1846, um leitor, Um brasileiro de 1822, felicitava o sr. Dias da Motta por ter feito uma proposta à Câmara de Deputados, uma moção pedindo a execução do monumento (Diário do Rio de Janeiro, 28 de julho de 1846, na primeira coluna).
+Diário do Rio de Janeiro, 23 de outubro de 1854.
+Finalmente, a Câmara Municipal do Rio de Janeiro deliberou, em sessão extraordinária de 7 de setembro de 1854, sob a presidência de Francisco Lopes da Cunha (? – 1874) e por proposta de Roberto Jorge Haddock Lobo (1817 – 1869), a retomada da intenção da construção da estátua e foi aberta uma subscrição pública para esse fim (Diário do Rio de Janeiro, 23 de outubro de 1854, na penúltima coluna e 24 de outubro de 1854, na primeira coluna). Em 24 de setembro de 1854, aconteceu a primeira sessão da comissão nomeada pela Câmara Municipal para a construção da estátua equestre de dom Pedro I, na casa do conselheiro Eusébio de Queiroz Coutinho Mattoso Câmara (1812 -1868), presidente da comissão – ele passou para a história como o autor da Lei Eusébio de Queiroz, que reprimia o tráfico de escravos, e do Código Comercial, ambos de 1850. Faziam parte da comissão o barão do Bonfim (1790 – 1873), Manoel de Araújo Porto-Alegre (1806 – 1879), João Antonio de Miranda (1805 – 1861), Polydoro Jordão (1802 – 1879), João Affonso Lima Nogueira, Joaquim Norberto de Souza e Silva (1820-1891) e Roberto Jorge Haddock Lobo (1817 – 1869). Foi divulgada a convocação de artistas nacionais e estrangeiros a apresentarem em concurso um pensamento para a execução de uma estátua equestre em bronze (Diário do Rio de Janeiro, 23 de setembro de 1854, na terceira coluna). No mesmo ano, 1854, o Instituto Histórico e Geográfico Brasileiro passou a apoiar a iniciativa e foi justamente Manuel de Araújo Porto-Alegre, um de seus membros e também professor da Academia Imperial de Belas Artes, quem defendeu, no jornal O Guanabara, a opção pela estátua equestre associada ao gesto que traduz o ato da Independência.
+Em 2 de janeiro de 1855, foi enviada a proposta do artista francês Louis Rouchet (1813 – 1878) ao presidente da comissão, Eusébio de Queiroz Coutinho Mattoso Câmara (Diário do Rio de Janeiro, 19 de junho de 1855, na quarta coluna). Foi realizada, na Academia de Belas Artes, a entrega dos projetos para a escolha do escultor da estátua (Diário do Rio de Janeiro, 11 de março de 1855, na segunda coluna). De 27 de junho a 11 de julho de 1855, os desenhos e projetos apresentados para a escultura ficaram expostos na Academia (Diário do Rio de Janeiro, 27 de junho de 1855, na quinta coluna). Uma coluna foi dedicada à crítica aos projetos, e, segundo a crítica, nenhum deles era satisfatório (Diário de Rio de Janeiro, 4 de julho de 1855, na primeira coluna). Três dos 35 inscritos para o projeto da escultura foram premiados e o professor substituto de Pintura Histórica da Academia Imperial das Belas Artes, o brasileiro João Maximiano Mafra (1823 – 1908), ficou em primeiro lugar. O artista alemão Ludwig Georg Bappo (Luiz Jorge Bappo), em segundo, e o francês Louis Rochet (1813 – 1878), em terceiro. Estavam subscritos com os pseudônimos de “Independência ou Morte”, “Dem berten strebe nack” e “Vivere arbitratu suo”, respectivamente. Na ocasião não ficou decidido o artista que executaria o monumento (Diário do Rio de Janeiro, 30 de agosto de 1855, na segunda coluna e Jornal do Commercio, 2 de setembro de 1856, na sexta coluna). Porém, em artigo de Porto Alegre, na segunda edição da Revista Popular de 1859, ele afirmava que Rochet havia ficado em primeiro lugar no concurso e João Maximiano Mafra em segundo. De acordo com o historiador Paulo Knauss, foi devido a dificuldades técnicas para a confecção da obra no Brasil que coube ao francês Louis Rochet (1813 – 1878) a tarefa de desenvolver em seu ateliê parisiense o projeto de Mafra reorganizado por ele (Diário do Rio de Janeiro, 21 de abril de 1856, na terceira coluna).
+ 
+Augusto Stahl. Praça da Constituição, atual praça Tiradentes, destaque para a estátua equestre de Pedro I, c. 1865. Rio de Janeiro, RJ / Acervo IMS
+ 
+Em 12 de outubro de 1855, data de aniversário de dom Pedro I, aconteceu a primeira cerimônia pública dos trabalhos no monumento. O malhete que bateu a primeira estaca foi guardado no Instituto Histórico Geográfico Brasileiro (Diário do Rio de Janeiro, 13 de outubro de 1855, na quarta coluna e Jornal do Commercio, 13 de outubro de 1855, na segunda coluna). Cerca de um ano depois, dom Pedro II foi à Academia de Belas Artes para ser apresentado aos riscos e modelos da estátua equestre de seu pai (Diário do Rio de Janeiro, 24 de setembro de 1856, na primeira coluna).
+Em 8 de julho de 1856, o escultor Louis Rochet chegou ao Brasil (Correio Mercantil, 9 de julho de 1856, na segunda coluna). Retornou à Europa em 29 de outubro de 1856 (Diário do Rio de Janeiro, 29 de outubro de 1956, na terceira coluna). Em 19 de outubro de 1861, a bordo do navio Reine du Monde, vindo do Havre, na França, chegaram ao Rio a estátua equestre e o pedestal do monumento (Diário de Pernambuco, 21 de outubro de 1861, na última coluna). Rochet voltou ao Brasil, a bordo do navio francês Bearn, em 17 de novembro de 1861 (Courrier du Brésil, 24 de novembro de 1861, na primeira coluna) para fazer o levantamento do monumento. Sua pedra fundamental foi lançada em 1º de janeiro de 1862 (Diário do Rio de Janeiro, 7 de janeiro de 1862, na primeira coluna).
+Como já mencionado, a inauguração estava programada para acontecer no dia 25 de março de 1862, mas fortes chuvas adiaram o evento para o dia 30 de março (Diário do Rio de Janeiro, 26 de março e 31 de março de 1862). Rochet partiu do Rio de Janeiro em abril de 1862 (Diário do Rio de Janeiro, 25 de abril de 1862, na segunda coluna). A estátua foi tombada pelo Instituto Estadual do Patrimônio Cultural, em 26 de setembro de 1978.
+Um pequeno histórico do monumento foi publicado no Diário de Notícias de 5 de setembro de 1943. Há uma história curiosa sobre as imagens dos indígenas que estão nas laterais do monumento. Durante algum tempo, acreditou-se que eram obras do célebre escultor francês Auguste Rodin (1840 – 1917), mas, segundo a biografia de Louis Rochet, escrita por seu sobrinho, André Rochet, a informação de que Rodin teria trabalhado no ateliê do do tio surgiu no Brasil, de uma “opinião puramente pessoal” formulada pelo colecionador Djalma Hermes da Fonseca (Época, 27 de outubro de 2016).
+ 
+Aspecto da inauguração solene, no largo do Rocio, em dezembro de 1892, da estátuta equestre de D. Pedro I, primeiro Imperador Constitucional e Defensor Perpétuo do Brasil. Ampliação feita duma litografia da época, existente no Instituto Histórico e Geográfico Brasileiro /  Fon-Fon, 7 de setembro de 1922
+ 
+A estátua foi reformada pela prefeitura do Rio para a comemoração do bicentenário da Independência do Brasil, em setembro de 2022.  No início de dezembro do mesmo ano foi vandalizada: teve pelo menos oito estrelas de ferro instaladas na parte superior de um gradil que a protege furtadas e cinco pedaços do gradeamento, em forma de seta e instalados na parte inferior, também foram levados.**
+ 
+Intervenção na estátua equestre de dom Pedro I proposta por Diambe da Silva, realizada em janeiro de 2020*
+ 
+“Em janeiro de 2020,  por volta das dez horas da noite, um grupo de vinte pessoas chegou à praça Tiradentes, no centro do Rio de Janeiro, carregando roupas, tonéis de gasolina e palitos de fósforo. Era o dia de “Devolta” uma proposição artística de Diambe da Silva que buscou intervir no território onde hoje está a estátua equestre de Dom Pedro I.”
+Assim Pollyana Quintela inicia o texto Dom Pedro I sitiado: contrausos para a primeira escultura pública do Brasil, publicado na revista Palavra Solta, em 22 de junho de 2020, onde a autora propõe uma reflexão em torno, imagem, poder, memória e iconoclastia a partir de uma intervenção artística realizada por Diambe da Silva com a participação de Agrade Camíz, Agripina Manhattan, Ana Almeida, Carla Villa Lobos, Clara Tito, Camilla Braga, Daniel Sepulveda, Derrete, Gilson Plano, Julia Quimera, Laís Amaral, Lorena Pini, Mayara Velozo, Nel da Silva, Pamella Magno, Raphael Cruz, Rodrigo Rosm, Sophia Pinheiro e Walla Capelobo. O grupo foi acompanhado pelos advogados Lucas van Hombeeck e Marianna Borges Soares. A intervenção em imagens públicas podem recriá-las e ressignificá-las.
+“Naquela noite de janeiro, o grupo de artistas circundou o monumento com peças de roupas, em seguida rasgadas, cuidadosamente embebidas de gasolina e incendiadas. A ação aconteceu ao som de “Resplandescente”, de Ventura Profana, enquanto alguns integrantes faziam fotos e vídeos. Laminas lascivas, nossa brasa é fogo ardente, entoava a música da cantora negra, travesti e nordestina. Tudo não durou mais de 30 minutos. Quando a polícia chegou, o grupo, como a fumaça, já havia se dispersado sem confronto“.
+Nesse momento da história, depois da morte do norte-americano George Floyd (1973 – 2020), covardemente assassinado, em 25 de maio de 2020, por um policial em Mineápolis, cujas últimas palavras foram “Eu não posso respirar”, diversos monumentos considerados racistas foram derrubados em diferentes países como, por exemplo, a estátua do comerciante de escravizados, Edward Colston (1636 – 1721), em Bristol, na Inglaterra; e, na Bélgica, um busto do rei Leopoldo II (1835 – 1909), colonizador do Congo. Que destino seria dado a essas imagens?
+A questão está posta e a discussão em torno do tema apresenta soluções bastante divergentes…”deslocá-las para museus, onde poderão ser recontextualizadas e debatidas criticamente; acompanhá-las de texto explicativo que pondere sobre o que representam; transformá-las a partir de apropriações e reconfigurações contemporâneas, com a colaboração de artistas e outros agentes, ou mesmo destruí-las. O que fazer com elas?
+História é matéria viva e sempre reescrita.
+Ainda segundo Pollyana Quintela: Aliás, a cada estátua derrubada, atualizamos a constatação de que o passado está vivo no modo como construímos nossas memórias coletivas.
+ 
+*Esse trecho do artigo foi acrescentado no dia 15 de julho de 2020.
+** Este parágrafo foi acrescentado em 2 de dezembro de 2022.
+ 
+Andrea C. T. Wanderley
+Editora-assistente e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+KNAUSS, Paulo. A festa da imagem: a afirmação da escultura pública no Brasil do século XIX. 19&20, Rio de Janeiro, v.V, n.4, out/dez. 2010.
+KNAUSS, Paulo. Às margens do pedestal. Revista de História da Biblioteca Nacional, Rio de Janeiro, julho de 2016.
+QUINTELA, Pollyana. Dom Pedro I sitiado: contrausos para a primeira escultura pública do Brasil in Revista Palavra Solta, 22 de junho de 2020.
+RIBEIRO, Maria Eurydice de Barros. “Memória em Bronze: A estátua equestre de D. Pedro I”. In: Knauss, Paulo (org.). Cidade Vaidosa. Imagens Urbanas do Rio de Janeiro. Rio de Janeiro: Sete Letras, 1999.
+Site Instituto Estadual do Patrimônio Cultural
+Site Inventário dos Monumentos
+Site Palácio Nacional de Queluz
+Veja Rio, 2 de dezembro de 2022
+A Brasiliana Fotográfica fez também uma extensa pesquisa na Hemeroteca Digital da Biblioteca Nacional.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/4005` — `itens/20.500.12156.1_4005/`
+- `20.500.12156.1/3579` — `itens/20.500.12156.1_3579/`
+- `20.500.12156.1/2153` — `itens/20.500.12156.1_2153/`
+
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+---
+id: 7661
+url: "https://brasilianafotografica.bn.gov.br/?p=7661"
+titulo: "Os trinta Valérios, uma fotografia bem-humorada de Valério Vieira (1862 – 1941)"
+autor: "Andrea Wanderley"
+data: "2017-03-21T09:51:51+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/4"]
+fetched_at: "2026-09-10T10:27:17.578Z"
+---
+
+# Os trinta Valérios, uma fotografia bem-humorada de Valério Vieira (1862 – 1941)
+
+O fotógrafo, pianista e compositor Valério Vieira (1862 – 1941) apresentou na Exposição Universal de Saint Louis, nos Estados Unidos, realizada entre de 30 de abril e 1 de dezembro de 1904, a curiosa e bem-humorada fotografia Os trinta Valérios, que lhe valeu a medalha de prata. O original autorretrato realizado por Valério, uma combinação de dois gêneros da fotografia – o retrato e a fotomontagem – tem caráter teatral e humorístico e é um marco na história da fotografia brasileira. Na imagem, vê-se a apresentação de uma orquestra, onde todos os músicos, além das figuras da plateia, dos garçons, do busto em cima do móvel e dos quadros pendurados na parede são retratos do fotógrafo. Ao todo, são 30 imagens de Valério Vieira.
+ 
+Valério Vieira. Os trinta Valérios, c. 1901. Acervo FBN
+ 
+Segundo Joaquim Marçal Ferreira de Andrade, um dos curadores da Brasiliana Fotográfica:
+“O retrato é um dos mais antigos gêneros de fotografia produzidas no mundo. O francês Daguerre , inventor do daguerreótipo (1839), e o inglês Fox Talbot, inventor do calótipo (1841), – considerados os pais da fotografia – já apontavam esse caminho, entre muitos outros, através de seus retratos. O surgimento de novos processos e formatos nos anos 1850 populariza a produção de retratos fotográficos, num processo crescente e ininterrupto que vem até os nossos dias.
+A  fotomontagem é um gênero de fotografia que surge também nessa mesma década. O sueco radicado na Inglaterra Oscar Rejlander apresentou numa exposição, em 1857, uma alegoria intitulada ‘Two Way of Life’, resultado da composição de trinta negativos em papel fotográfico, num trabalho que durou seis semanas para ser realizado; obteve grande sucesso e acabou sendo adquirido pela rainha Vitória.
+A combinação desses dois gêneros, o retrato e a fotomontagem, ocorre também nessa época… No Brasil, o fotógrafo Valério Octaviano Rodrigues Vieira se destacou nessa combinação de gêneros…” (Preciosidades do acervo – “Os trinta Valérios”, p. 218, in Anais da Biblioteca Nacional, vol 114, 1994).
+Inicialmente, a fotografia Os trinta Valérios, produzida em torno de 1901, chamava-se Valerio Fregoli, possivelmente uma referência ao ator italiano Leopoldo Fregoli (1867 – 1936), que representava diferentes papéis numa mesma encenação, com rápida troca de caracterização.
+Nascido em Angra dos Reis, em 16 de novembro de 1862, Valério Otaviano Rodrigues Vieira ficou conhecido por seu senso de humor, inventividade e pela manipulação das imagens fotográficas de sua autoria. Na década de 1880, Valério estabeleceu-se como fotógrafo e atuou em cidades do Vale do Paraíba e em Ouro Preto, após um período de estudo no Rio de Janeiro. Na década seguinte, fixou-se em São Paulo, onde formou uma representativa clientela e tornou-se popular entre os paulistanos. Frequentemente, são identificados retratos de sua autoria em álbuns de família. Elegante e requintado, o estúdio de Valério, na rua Quinze de Novembro nº 19, em São Paulo, era muito frequentado por artistas, políticos e mecenas da sociedade paulistana. Foi, segundo o professor Boris Kossoy (1941 – ), o responsável pelo lançamento, em São Paulo, da moda dos retratos de formatura (O Estado de São Paulo, 13 de agosto de 1998, pagina 141).
+Dedicou-se aos portraits e à exploração das possibilidades técnicas e criativas da fotografia como a fotomontagem e os painéis de grandes dimensões. Foi, ao lado de Guilherme Gaensly (1843 – 1928) e Militão Augusto de Azevedo (1837-1905), um dos mais conhecidos e importantes fotógrafos ativos em São Paulo no final do século XIX. Segundo Ricardo Mendes, as imagens realizadas por eles integram o principal núcleo de fotografias remanescentes sobre a cidade de então, registrando uma transformação dramática dos aspectos físicos e humanos.
+Além de aplicar a técnica da fotomontagem também em cartões de boas festas, produziu os retratos bouquet, que são fotografias mostrando o rosto da mesma pessoa em sete poses diferentes. Também inventou o Degradador Valério. Apresentou na Exposição Nacional do Rio de Janeiro, realizada entre 11 de agosto e 15 de novembro de 1908, em comemoração ao centenário da Abertura dos Portos, o Panorama de São Paulo, anunciado como a maior fotografia do mundo, com 11 x 1.43 metros. Mereceu grande atenção do público e da crítica e obteve o Grande Prêmio do Grupo de Fotografia do estado de São Paulo (Almanak Laemmert, 1909 e O Commercio de São Paulo, 23 de novembro de 1908, na quarta coluna).
+Valério era também compositor e pianista. Suas partituras foram editadas por Buschmann & Guimarães, no Rio de Janeiro, e pela Casa Levy, em São Paulo, onde se apresentava em saraus. Dentre suas composições mais famosas estão as valsas Vivi, Adamastor e As tuas lágrimas, as polcas Ai! Ai!, Catita, Polca-Tango e Paulista, além da cake walk Capoeira. Na capa da partitura desta última, Valério aparecia representado várias vezes, como na fotomontagem “Os trinta Valérios”. Não raramente dedicava suas composições a seus amigos e esposas e algumas de suas músicas têm títulos relacionados à fotografia: Photographica, Photovalsa e Retratista.
+ 
+Capoeira, de Valério Vieira. Capa da partitura. São Paulo, s/d. Acervo Peri Coli Machado e Maria Lúcia de Oliveira Machado Leonardo. Reprodução da imagem publicada na dissertação de mestrado de Sonia Umburanas Balady, Valério Vieira, um dos pioneiros da experimentação fotográfica no Brasil.
+ 
+ 
+Cronologia de Valério Vieira (1862 – 1941)
+ 
+Valério Vieira, 1882, Rio de Janeiro / Reprodução fotográfica autoria desconhecida / Enciclopédia Itaú Cultural
+ 
+1862 - Em 16 de novembro, nascimento de Valério Octaviano Rodrigues Vieira, em Angra dos Reis, filho dos imigrantes portugueses Octaviano, fazendeiro de café, e Anna Rodrigues Vieira.
+1869 / 1874 – Provavelmente, estudou na Escola do Convento do Carmo, em Angra dos Reis.
+1875 – Transferiu-se para o Rio de Janeiro com seu único irmão, Luiz Delfino, vinte anos mais velho e médico na Corte Imperial. De acordo com o catálogo da mostra Memória Paulistana, realizada no Museu da Imagem e do Som de São Paulo, em 1975, fez isso contra a vontade de seus pais.
+1876 / 1884 – Provavelmente, frequentou nesse período a Academia Imperial de Belas Artes, no Rio de Janeiro, como aluno ouvinte.
+Década de 1880 – Casou-se com Irene Maria Moura e trabalhou como assistente no estúdio do fotógrafo português José Ferreira Guimarães (1841 – 1924), profissional de muito prestígio, agraciado com o título de Fotógrafo da Casa Real, em 13 de setembro de 1866.
+1886 - Falecimento de sua esposa Irene Maria, no Rio de Janeiro. Foi enterrada no cemitério São João Batista. A ela, Valério dedicou, no ano seguinte, a composição La Irenita (Diário de Notícias, 27 de setembro de 1887, na segunda coluna).
+1887 –  Valério mudou-se para Pindamonhangaba, onde abriu seu primeiro estúdio fotográfico, especializado em retratos.
+A habanera La Irenita, composição de Valério, foi anunciada como uma das novidades musicais à venda na Casa Buschmann & Guimarães, no número 52, na rua do Ourives, atual rua Miguel Couto, no Rio de Janeiro (O Programma Avisador, 16 de outubro de 1887). O anúncio foi repetido diversas vezes ao longo do ano.
+Pelos mesmos editores, foi publicada a polca Catita, de autoria de Valério (Jornal do Commercio, 27 de outubro de 1887, na penúltima coluna).
+1889 – Casou-se em Taubaté com Carmen Augusta Vieira, em 16 de maio. O casal teve quatro filhos: José do Patrocínio (26/04/1891 – 12/07/1911), Maria Catarina (02/09/1892 – 1918), Roque (1893 – 03/1977) e Francisco (1900 – 1971).
+ 
+Valério Vieira. Carmen Augusta Vieira. Reprodução fotográfica autoria desconhecida / Enciclopédia Itaú Cultural
+ 
+O casal mudou-se para Ouro Preto, onde Valério montou a Photographia União, em sociedade com Riberi, na rua Bobadela, posteriormente rua Direita.
+Fotografou a inauguração do início dos trabalhos do traçado final da ferrovia entre Ubatuba e Taubaté. Estavam presentes na cerimônia o concessionário da ferrovia, Francisco de Moura Escobar, e os senadores Leão Veloso (1828 – 1902) e Joaquim Floriano de Godoy (1826 – 1907), dentre outros (Gl´Italiani in San Paulo, 21/22 de março de 1889, na última coluna).
+Década de 1890 – Valério fixou-se em São Paulo, onde formou uma representativa clientela e tornou-se popular entre os paulistanos. Frequentemente são identificados retratos de sua autoria em álbuns de famílias da cidade.
+1890 – Os editores Buschmann & Guimarães enviaram para o periódico A Republica a polca tango Ai!Ai!, de autoria de Valério Vieira (A Republica, 24 de novembro de 1890, na última coluna).
+1891 – Já era o único proprietário da Photographia União, em Ouro Preto.
+Em 26 de abril, nascimento do primeiro filho do casal, José do Patrocínio, batizado em homenagem ao abolicionista de mesmo nome.
+Por volta desse ano, tornou-se muito amigo do jornalista e artista francês Émile Rouéde (1848 – 1908), que viveu em Ouro Preto entre 1890 e 1894. Rouéde foi também amigo dos escritores e irmãos Aluísio (1857 – 1913) e Artur Azevedo (1865 -1908), de Coelho Netto (1864 – 1934), José do Patrocínio (1854 – 1905) e Olavo Bilac (1865 – 1918).
+Anunciou que, após uma viagem a Caxambu e ao Rio de Janeiro, estava de volta ao seu estabelecimento fotográfico, a Photographia União (Jornal de Minas, 20 de abril de 1891).
+Os editores Buschmann & Guimarães enviaram para o periódico O Vassourense a valsa Tuas Lágrimas, de autoria de Valério Vieira (O Vassourense, 1º de fevereiro de 1891, na última coluna).
+ 
+Anúncio da venda das composições de Valério Vieira na Gazeta de Notícias de 15 de janeiro de 1891.
+ 
+Foi o autor do quadro com todos os membros do Congresso Mineiro (A Ordem, 11 de julho de 1891, na primeira coluna).
+Seu pedido de exoneração do cargo de professor de desenho do Externato do Ginásio Mineiro foi concedido, em 1º de setembro (Minas Gerais, 2 de julho de 1892, na segunda coluna).
+1892 – Em 2 de setembro, nascimento da única filha do casal, Maria Catarina (O Estado de São Paulo, 2 de setembro de 1910, página 7, na sétima coluna).
+Em um dos artigos da série “Na terra do ouro”, a Photographia União foi citada como um dos estabelecimentos que atestavam o adiantamento da cidade de Ouro Preto, sendo dirigido com muita perícia e gosto pelo sr. Valério Vieira (O Paiz, 15 de janeiro de 1892, na terceira coluna).
+ 
+Anúncio veiculado pelo periódico Minas Gerais, 26 de abril de 1892.
+ 
+Foi noticiado que ele se encontrava em São Paulo e que na casa Aguiar, na rua São Bento, estava exposto um grande quadro da cidade mineira de Caxambu de sua autoria. Mencionava-se que Valério gostaria de se fixar em São Paulo (Diário Popular, 24 de julho de 1892, página 2).
+1893 – Nascimento de Roque, o terceiro filho do casal.
+1894 - Com a mudança de sua família, estabeleceu-se definitivamente em São Paulo.
+1895 - No salão do periódico O Paiz, exposição de uma fotografia do ator baiano Xisto Bahia (1841 – 1894) em seu leito de morte, produzida por Valério Vieira, em Caxambu. O retrato foi oferecido ao jornalista e dramaturgo Artur de Azevedo (1855 – 1908) por Paulo da Fonseca (O Paiz, 16 de janeiro de 1895, na sexta coluna).
+Valério fotografou a decoração do refeitório do Colégio de Ytu na ocasião da festa realizada em homenagem ao padroeiro do estabelecimento, São Luiz Gonzaga (Jornal do Brasil, 10 de julho de 1895, na terceira coluna).
+Abertura de seu estúdio fotográfico na rua Quinze de Novembro, nº 19, em São Paulo. Essa data é baseada em uma notícia, reproduzida abaixo, publicada no O Estado de São Paulo, de 30 de outubro de 1909, na página 7, na sétima coluna, informando sobre a comemoração dos 14 anos do ateliê de Valério em São Paulo. Algumas fontes apontam 1892 ou 1893 como os anos de fundação do ateliê de Valério.
+ 
+Notícia sobre a comemoração dos 14 anos do ateliê de Valério Vieira em São Paulo / O Estado de São Paulo, 30 de outubro de 1909.
+ 
+1896 – Iniciou a sociedade com Aguiar, no estúdio Photographia Valério & Aguiar.
+1897 – Foi publicado o seguinte anúncio na edição de janeiro de 1897, da revista A Música para todos:
+“Photographia. – Valerio e Aguiar, na rua Quinze de Novembro, 19 – Casa de primeira ordem – Recomendamos esta casa pela elegância e solicitude dos trabalhos. Todos os artistas antes de irem em qualquer outro lugar, devem visitar o elegante atelier do simpático sr. Valério, que há poucos dias acabou o grande tableau alegórico do Veloce Club Olympico Paulista.”
+Estavam em exposição na vitrine do escritório do jornal Correio Paulistano algumas fotografias da passagem do 1º Batalhão de Polícia pelas ruas de São Paulo e da missa campal que se realizou na Praça da República, produzidas pelos sócios Valério e Aguiar. O trabalho exposto se recomenda por sua nitidez e perfeição (Correio Paulistano, 30 de outubro de 1897, na quarta coluna).
+1898 – Valério participou da inauguração do Hotel Internacional, em Santos (Correio Paulistano, 4 de outubro de 1898, na primeira coluna).
+Em novembro de 1898, Valério & Aguiar expuseram no pavimento térreo do Banco União sete quadros executados por diferentes processos. Fora muito elogiados, principalmente os quadros da srta. Bulcão e a do sábio Vastecer e a matéria termina com a afirmação: já temos photographias em São Paulo (Correio Paulistano, 19 de novembro de 1898, na última coluna). A senhorita Bulcão era Isabel Bulcão, que havia vencido um concurso de beleza em São Paulo, realizado pela Revista do Brasil.
+Foi noticiado o falecimento de Antonio Ribeiro Netto, concunhado do distinto fotógrafo Valério Vieira (Correio Paulistano, 1º de dezembro de 1898, na sexta coluna).
+Durante um almoço no salão nobre da Rotisserie, oferecido aos oficiais do cruzador português Adamastor, Valério tocou ao piano sua valsa homônima e foi muito aplaudido (O Commercio de São Paulo, 8 de dezembro de 1898, na quarta coluna).
+1899 – Provavelmente, a sociedade Valério & Aguiar terminou nesse ano como indica a nota sobre uma exposição na Charutaria Neumann de “um grande quadro com retratos dos membros da câmara dos deputados do Estado.”, obra que “muito recomenda a Photographia Valerio…” (Diário Popular, 05 de agosto de 1899, página 1). Alguns autores indicam 1900 como o ano do fim da sociedade.
+Valério foi um dos participantes da reunião para deliberar sobre a realização de homenagens ao pintor José Ferraz de Almeida Júnior (1850 – 1899), no Club Internacional, em São Paulo. O pintor havia sido vítima de um crime passional (Cidade do Rio, 18 de novembro de 1899, na quinta coluna). Valério ofereceu-se para fotografar gratuitamente todos os quadros de Almeida Júnior (Jornal do Commercio, 21 de novembro de 1899, na segunda coluna ).
+1900 – Nascimento de seu quarto filho, Raymundo Nonato.
+Realizou um painel retratando os membros que formavam o senado no Congresso Paulista.
+Valério estava na folha de pagamento da Secretaria do Interior de São Paulo (Lavoura e Commercio, 20 de março de 1900, na primeira coluna).
+Expôs na rua Quinze de Novembro, nº 44, vários trabalhos de sua autoria, dentre eles um retrato da senhorita Edith Reis, belo trabalho de miniatura a ponto, pintado com lente, segundo o processo de Meissonier, fotografias aquareladas (fotocromia), entre as quais uma da senhorita Bulcão, vários retratos em tamanho natural pelo processo de platinotipia e bem assim variada coleção de retratos bebés, última novidade no gênero... (Correio Paulistano, 21 de março de 1900, na quarta coluna).
+Foram enviadas pela Casa Levy & Irmão à redação do jornal O Estado de São Paulo as partituras das polcas Photographica e Paixão recolhida , ambas de Valério Vieira (O Estado de São Paulo, 5 de abril de 1900, página 2, na quinta coluna).
+Em Rio Claro, no interior do estado de São Paulo, Valério fotografou um almoço oferecido pela Companhia Elétrica com a presença de políticos e autoridades da cidade (O Estado de São Paulo, 4 de junho de 1900, página 1, na sétima coluna).
+Mostrou no salão do jornal O Paiz, no Rio de Janeiro, fotografias em relevo, que no dia seguinte poderiam ser vistas em exposição no Liceu de Artes e Ofícios. Eram fotografias pintadas a aquarela e diversos tipos de retratos (O Paiz, 26 de julho de 1900, na terceira coluna).
+Fotografou a abertura da Galeria de Cristal, em São Paulo, inaugurada com uma exposição de seus trabalhos e com as presenças do governador de São Paulo, Rodrigues Alves (1848 – 1919), e de outras autoridades. A galeria, de Christiano Webendorf, ligava a rua Quinze de Novembro à Boa Vista (O Paiz, 15 de novembro de 1900, na quarta coluna e A Imprensa, 16 de novembro de 1900, na primeira coluna).
+O seu estúdio, que passou a chamar-se Photographia Valério, continuava à rua Quinze de Novembro, nº 19. Oferecia  retratos convencionais, além de imagens coloridas com aquarela e pastel, ou ampliadas em materiais como espelho, porcelana e marfim. No número 28 da mesma rua, havia o ateliê de Guilherme Gaensly (1843 – 1928). O estabelecimento de Valério era um dos estúdios mais frequentados por artistas, políticos e intelectuais, dentre eles o deputado Rodolfo Miranda (1882 – 1954), o político Lins de Vasconcelos (1853 – 1916), o fotógrafo Militão Augusto de Azevedo (1837-1905) e o mecenas José Freitas do Valle (1870 – 1958) (Almanak Laemmert, 1901).
+1901 – Em torno desse ano, realizou a fotomontagem “Os trinta Valérios”, inicialmente batizada de “Valerio Fregoli”. É também dessa época a fotomontagem Tribunal de Justiça de São Paulo, na qual foi retratado o conselheiro Duarte de Azevedo (1831 – 1912) discursando na tribuna. 
+Nascimento de seu filho caçula, Francisco.
+No atelier de Valério, exposição de um quadro de todos os senadores do estado de São Paulo (Commercio de São Paulo, 30 de junho de 1901, na segunda coluna).
+Na Galeria Cristal, foi inaugurada uma exposição de trabalhos fotográficos do conceituado artista Valério Vieira, que ali expôs, além de alguns retratos à aquarela, que são primorosamente trabalhados, dois grandes quadros de admirável confecção artística – um com os retratos dos bacharelando em Direito de nossa Faculdade, e outro, do Senado Paulista (O Commercio de São Paulo, 13 de agosto de 1901, na quinta coluna).
+Foi noticiado que João Berniles e A. Bueno, representantes da Photographia Valerio Vieira, haviam seguido para o interior (O Commercio de São Paulo, 21 de setembro de 1901, na quarta coluna).
+Fotografou a conclusão das obras na Estação da Luz e exibiu a imagem na porta de seu estúdio fato que, segundo Boris Kossoy, gerou uma confusão matrimonial : …Um senhor que por ali passava, ao examinar a fotografia reconheceu sua esposa presente à inauguração de mãos dadas com um estranho. Pode se prever o que se seguiu, procura de satisfações e grande pancadaria… (Artigo de Boris Kossoy publicado no O Estado de São Paulo, 4 de março de 1973, na página 5 do “Suplemento Literário”). 
+Conforme descrito por Antônio Francisco Bandeira Junior no livro A Indústria de São Paulo em 1901, páginas 116 e 117, Valério havia inventado o Degradador Valério: um pequeno aparelho que se adapta em qualquer máquina, sendo sua principal qualidade abreviar 8 procedimentos dando maior realce à fotografia, saindo a chapa da máquina quase concluída. Esse invento trouxe um grande aperfeiçoamento à arte da fotografia.
+1902 – Valério era aguardado na Pensão Mineira, em Caxambu (Gazeta de Notícias, 7 de março de 1902, na penúltima coluna).
+Na notícia da reabertura do estabelecimento de Valério, na rua Quinze de Novembro, em 8 de março, há uma longa descrição dos trabalhos expostos e menções às obras Fé, esperança e caridade e Os trinta Valérios, sob o nome de Valério Fregoli – possivelmente uma referência ao ator italiano Leopoldo Fregoli (1867 – 1936), que representava diferentes papéis numa mesma encenação com rápida troca de caracterização. Na ocasião, estavas expostas esplêndidos processos como sejam a l´Art Noveau, fototipia, aquarelas, pastel, óleo, carvão, miniaturas, alto relevo e geminatura, novidade em São Paulo, isto é: gravação de retratos sobre cristal de espelho (O Commercio de São Paulo, 9 de março de 1902, na sétima coluna).
+Valério anunciou que estava estudando um novo processo de fotografia sobre porcelana e que tinha a intenção de fazer uma exposição com os frutos desses estudos e também com o Álbum de fotografias, de paisagens, marinhas, panoramas e curiosidades artísticas do estado de São Paulo, que estava em execução (O Commercio de São Paulo, 11 de setembro de 1902, na quinta coluna).
+O sr. Valério Vieira, proprietário da Photographia Artística exibiu na redação de O Estado de São Paulo retratos produzidos por grapho photo, processo inteiramente novo, que o hábil artista conseguiu aplicar a photographia, de modo a dar-lhe um aspecto lindíssimo (O Estado de São Paulo, 4 de novembro de 1902, página 2, na quinta coluna).
+Valério comemorou seu aniversário com um reunião em sua residência (O Estado de São Paulo, 16 de novembro de 1902, página 3, na quinta coluna).
+Uma comissão de redatoras do periódico Educação escolheu as mais interessantes fotografias tiradas de crianças entre 1 e 7 anos durante o ano de 1902 dos seguintes estúdios fotográficos do centro de São Paulo: o de Valério, o de José Vollsack, o de Rodolfo Neuhaus, o de Giovanni Sarracino e o Quaas & Cia (O Commercio de São Paulo, 22 de dezembro de 1902, na segunda coluna).
+1903 – Foi noticiada a intenção de Valério de mandar construir uma câmara de 1 metro e 50 centímetros por 80 centímetros, a primeira que nessas condições se tem até hoje fabricado. Com ela pretendia fotografar vistas do Brasil para apresentá-las no exterior (Correio Paulistano, 5 de maio de 1903, na última coluna).
+Anunciou ter regressado da Europa, tendo trazido novos aparelhos e materiais. Anunciou também uma liquidação em seu estabelecimento (O Commercio de São Paulo, 6 de outubro de 1903, na quarta coluna). Seu retorno foi registrado com uma charge na revista Vida Paulista, de 10 de outubro de 1903.
+ 
+Charge sobre a volta de Valério Vieira da Europa, publicada na revista Vida Paulista, de 10 de outubro de 1903, página 8 / Acervo do Arquivo Público do Estado de São Paulo
+ 
+Valério foi um dos subscritos para participar da exposição preparatória de Saint Louis (Correio Paulistano, 29 de outubro de 1903, na sexta coluna).
+Distribuiu um cartão de Boas Festas para seus clientes, onde seu rosto aparecia no lugar das flores em um buquê.
+ 
+  
+Valério Vieira. Boas Festas, 1902/1903. Reprodução fotográfica autoria desconhecida / Enciclopédia Itaú Cultural
+1904 – Notícia sobre a Exposição Universal de Saint Louis, nos Estados Unidos (O Commercio de São Paulo, 21 de janeiro de 1904, na primeira coluna). Com sua obra mais conhecida, Os trinta Valérios, ganhou a medalha de prata. Na mesma exposição, o pintor Eliseu Visconti (1866 – 1944) ganhou a medalha de ouro na Seção de Arte – Pintura e Desenho (Almanak Laemmert, 1905).
+Nas vitrines do Mundo Elegante, exposição de duas fotografias de autoria de Valério Vieira, uma do deputado Eugenio Egas (1863 – 1956) e outra do coronel Argemiro Sampaio. As fotografias seriam posteriormente colocadas na sala da música da banda da força policial de São Paulo (O Estado de São Paulo, 3 de março de 1904, página 2, na quarta coluna).
+Era anunciada a venda da partitura do cakewalk Capoeira, em elegante edição, composição de Valério, na Casa di Franco, em São Paulo (Correio Paulistano, 3 de dezembro de 1904, na primeira coluna).
+No artigo “A Fotografia em São Paulo”, o jornalista Múcio Teixeira (1857 -1926) elogiou a obra de Valério:
+“…Esse moço é uma das mais completas organizações artísticas da atualidade; apto para os mais arrojados cometimentos, de uma coragem heróica, de uma tenacidade japonesa, não trepida em sacrificar os haveres e a própria saúde numa elaboração perseverante e prolongada, no intuito exclusivo de desbravar caminhos por outros não trilhado…”(Correio Paulistano, 18 de dezembro de 1904, na segunda coluna).
+1905 – Na edição de 8 de janeiro do Correio Paulistano foi publicado um clichê tirado de uma fotografia do conselheiro Antônio da Silva Prado (1840 – 1929), de autoria de Valério (Correio Paulistano, 9 de janeiro de 1905, na primeira coluna).
+A colônia síria de São Paulo ofereceu ao prefeito de São Paulo, conselheiro Antônio da Silva Prado (1840 – 1929), um retrato a óleo pintado por Valério Vieira (O Paiz, 9 de janeiro de 1905, na quarta coluna). Dias depois, Valério foi um dos convidados do baile em homenagem ao prefeito (O Commercio de São Paulo, 15 de janeiro de 1905, na quarta coluna).
+Valério foi um dos retratados na edição comemorativa do primeiro aniversário da Folha Nova (A Republica, 18 de janeiro de 1905, na última coluna).
+Em São Paulo, era discutida a fundação de uma nova revista sob a direção artística de Valério Vieira e direção literária de Múcio Teixeira (1857 -1926) (O Pharol, 19 de janeiro de 1905, na terceira coluna).
+O atelier dos fotógrafo Guilherme Gaensly (1843 – 1928) era vizinho do de Valério. Ficava na rua Quinze de Novembro, nº 28 (Correio Paulistano, 4 de fevereiro de 1905, na sétima coluna).
+No Teatro Sant´Anna, como parte das homenagens ao trigésimo dia de morte de José do Patrocínio (1853 – 1905), foi exposta uma alegoria do abolicionista, de autoria do artista fotógrafo Valério Vieira (O Commercio de São Paulo, 25 de fevereiro de 1905, na quarta coluna). O filho primogênito de Valério chamava-se José do Patrocínio em homenagem ao abolicionista.
+A fotomontagem Tribunal de Justiça de São Paulo, na qual foi retratado o conselheiro Duarte de Azevedo (1831 – 1912) discursando na tribuna, foi publicada na segunda edição de 1905 do periódico Archivo Illustrado e seus integrantes foram nomeados.
+Em um dos intervalos do vaudeville O Lambe Feras, em cartaz no Teatro Polytheama, era executada a valsa Aeronave, de autoria de Valério (O Commercio de São Paulo, 29 de março de 1905).
+Foi anunciado na “Crônica social” o aniversário de José do Patrocínio, primogênito de Valério (Correio Paulistano, 26 de abril de 1905, na última coluna).
+A fotografia do Panorama de São Paulo foi tirada em 1º de julho em um esplêndido dia de sol a 1 hora da tarde, a partir do Santuário do Sagrado Coração de Jesus. Foram cinco chapas perfeitas (O Commercio de São Paulo, 19 de novembro de 1905).
+Requereu à Câmara Municipal de São Paulo uma ajuda de seis contos de réis para a conclusão do grande painel fotográfico que estava realizando da cidade de São Paulo (O Pharol, 5 de agosto de 1905, na primeira coluna).
+Valério foi nomeado um dos peritos em um caso de investigação de falsificação de dinheiro no bairro de Perdizes, em São Paulo (Jornal do Commercio, 12 de novembro de 1905, na segunda coluna).
+Em entrevista, Valério Vieira explicou a realização do Grande Panorama de São Paulo, anunciada como a maior fotografia do mundo, com 11 x 1.43 metros, batendo o recorde anterior que pertenceria a um registro de um fotógrafo alemão. Este sucesso extraordinário, este notável acontecimento na arte fotográfica deve 0 São Paulo aos esforços, à perícia, à coragem e ao apaixonado sentimento artístico de um distinto conterrâneo nosso, o exímio fotógrafo sr. Valério Vieira (O Commercio de São Paulo, 19 de novembro de 1905).
+Lauro Müller (1863 – 1926), ministro da Indústria, em visita a São Paulo, foi ver o panorama da cidade que estava sendo executado por Valério (Correio Paulistano, 30 de novembro de 1905, na segunda coluna).
+Um leitor rebateu a informação de que o Panorama de São Paulo fosse a maior fotografia do mundo. Segundo ele, havia sido apresentado na Exposição de Saint Louis um registro do Panorama da Baía de Nápoles, produzida pela Companhia Fotográfica de Hamburgo, com 12 metros por 1 metro e 50 (O Commercio de São Paulo, 14 de dezembro de 1905, na última coluna).
+Valério promoveu uma exposição individual no Salão Progredior, de propriedade do conde de Prates (1860 – 1928), e o mais elegante da belle époque paulistana. A inauguração contou com cerca de quatro mil visitantes e foi um grande acontecimento social e cultural. Os convidados recebiam, ao chegar, o catálogo da exposição, um exemplar do cakewalk Capoeira, composição de Valério, e cartões postais com os retratos do governador e dos secretários do estado de São Paulo. Entre 10 de dezembro e 06 de janeiro, foram expostos 54 trabalhos, dentre eles o Panorama da Fazenda Santa Gertrudes, em Rio Claro, propriedade do conde de Prates,  Os trinta Valérios, José do Patrocínio, Palácio do Governo e a primeira versão do Panorama de São Paulo, com cerca de de 11 metros de comprimento por 2 metros de largura, o clou da exposição. A exposição deste panorama foi autorizado pela prefeitura de São Paulo (Correio Paulistano, 8 de dezembro de 1905, na quinta coluna). A imagem havia sido realizada em maio de 1905,  tomada da torre da Igreja do Sagrado Coração de Jesus, no bairro dos Campos Elíseos, e cobria um amplo arco indo do Bom Retiro, a leste, até Higienópolis, a oeste (Correio Paulistano, 11 de dezembro de 1905, na última coluna).
+ 
+Exposição do ‘Panorama nº 1 de Valério Vieira no Salão Progredior, em São Paulo, 1905 / Reprodução de fotografia publicada na edição de janeiro de 1906 da Revista Santa Cruz
+ 
+Foi noticiado que Valério estava planejando a execução de um panorama do Rio de Janeiro nos moldes do que realizou de São Paulo (Jornal do Brasil, 20 de dezembro de 1905, sétima coluna).
+Foi noticiado que iria figurar na próxima exposição de Milão de 1906 um panorama de São Paulo, a maior cópia fotográfica que se tem feito no mundo. Para a realização da obra, seu autor, Valério Vieira, pediu à prefeitura de São Paulo uma ajuda financeira (A Federação, 23 de dezembro de 1905, na quinta coluna)
+O ministro do Interior e da Justica, J.J. Seabra (1855 – 1942), e outras autoridades visitaram a exposição de Valério no Salão Progredior (O Commercio de São Paulo, 27 de dezembro de 1905, na quarta coluna). No dia seguinte o governador de São Paulo, Jorge Tibiriçá Piratininga (1855 – 1928), visitou a exposição (Gazeta de Notícias, 28 de dezembro de 1905, na terceira coluna).
+1906 – A edição de janeiro da revista Santa Cruz trazia um extenso artigo, assinado por Vera-Cruz, sobre a exposição no Salão Progredior. Relacionava as obras e as técnicas empregadas, além de trazer, segundo Ricardo Mendes, o mais antigo registro visual conhecido de uma exposição fotográfica em São Paulo.
+ 
+Fotógrafo não identificado. Exposição de Valério Vieira no Salão Progredior, 1905. São Paulo, SP / Reprodução de fotografia publicada na edição de janeiro de 1906 da Revista Santa Cruz
+ 
+O sucesso da exposição do Salão Progredior foi tão grande que foi prorrogada até dia 6 de janeiro (Correio Paulistano, 1º de janeiro de 1906, na quarta coluna). Foi anunciado que o conde de Prates havia feito um bom donativo para que o artista realizasse outras mostras (O Commercio de São Paulo, 6 de janeiro de 1906). Na mesma data, o Correio Paulistano publicou a matéria O Panorama e o Valério, de autoria de Hilário Freire, que o classificou como uma poderosa síntese fotográfica de quase todo São Paulo.
+Foi noticiada a exposição, no Rio de Janeiro, de um grande panorama fotográfico de São Paulo feito pelo sr. Valério Vieira por encomenda do governo daquele estado para figurar na próxima exposição de Milão (Jornal do Commercio, 13 de fevereiro de 1906, na oitava coluna).
+No Rio de Janeiro, Valério convidou o ministro do Interior e da Justica, J.J. Seabra (1855 – 1942), para ir à inauguração da exposição do Panorama de São Paulo na Avenida Central, nº 133 (A Notícia, 16 de fevereiro de 1906, na terceira coluna). Foi noticiada a inauguração da exposição: alguns dos trabalhos era feitos por processos inventados por ele, ainda não conhecidos. Apesar da chuva, muitas pessoas compareceram ao evento, inclusive um representante do presidente da República, o capitão-tenente César de Mello. Dentre os 57 quadros expostos estavam o Panorama de São Paulo e Os trinta Valérios. Esse último, segundo a reportagem, já havia sido reproduzido em vários jornais da Inglaterra. Encontravam-se também expostos quadros do presidente da República, Francisco de Paula Rodrigues Alves (1848 – 1919), e do governador de São Paulo, Jorge Tibiriçá Piratininga (1855 – 1928) (Jornal do Commercio, 18 de fevereiro de 1906, na última coluna). O presidente da República visitou a exposição ( Correio Paulistano, 25 de fevereiro de 1906, na quarta coluna).
+Retornou a São Paulo em 29 de março, tendo quase concluído o contrato para a organização do grande panorama do Rio de Janeiro (Correio Paulistano, 30 de março de 1906, na segunda coluna).
+O Panorama de São Paulo embarcou para a Europa (Correio Paulistano, 1º de abril de 1906, na sexta coluna).
+Valério visitou o sr. Carlos Botelho (1855 – 1942), secretário de Agricultura de São Paulo, para quem mostrou diversas fotografias de fazendas e de estabelecimentos públicos. Anunciou sua breve partida para uma viagem pela Europa (O Commercio de São Paulo, 10 de abril de 1906, na terceira coluna). Na mesma ocasião, apresentou o processo fotográfico a gelo-albuminite de platina que dá a reprodução exata da chapa, conservando com fidelidade absoluta todos os traços fisionômicos da pessoa fotografada (Correio Paulistano, 10 de abril de 1906, na última coluna).
+Participou da Exposição Universal de 1906, também conhecida como Exposição Internacional del Sempione, em Milão, realizada entre 28 de abril a 31 de outubro de 1906.
+O Cardeal Arcoverde (1850 – 1930) celebrou uma missa na capela do Paço Episcopal de São Paulo, seguida de uma recepção. Em um ateliê improvisado, representando o fundo da vista o interior de uma das dependências do Vaticano, Valério Vieira fotografou o religioso (O Estado de São Paulo, 29 de junho de 1906, página 3, na terceira coluna).
+Valério participou da cerimônia de formatura da turma de Engenharia da Escola Politécnica de São Paulo (Correio Paulistano, 30 de junho de 1906, na terceira coluna).
+Acompanhou o primeiro cardeal da América Latina, o Cardeal Arcoverde (1850 – 1930), em  Itu, onde se realizavam festejos em torno do religioso (Correio Paulistano, 1º de julho de 1906, na última coluna).
+Foi inaugurado, no Conservatório Dramático e Musical de São Paulo, um retrato em tamanho natural do governador de São Paulo, Jorge Tibiriçá Piratininga (1855 – 1928), de autoria de Valério (Correio Paulistano, 23 de julho de 1906, na penúltima coluna).
+Valério fotografou em seu ateliê o presidente da República eleito, Afonso Pena (1847 – 1909) (Correio Paulistano, 2 de agosto de 1906, na última coluna).
+Foi noticiado que Valério publicaria em breve o Cicerone Paulista, pequeno guia da capital, que seria editado em uma gráfica alemã (Correio Paulistano, 24 de agosto de 1906, na primeira coluna).
+O diplomata Joaquim Nabuco (1849 – 1910), em visita a São Paulo, foi fotografado no ateliê de Valério (Correio Paulistano, 18 de setembro de 1906, na quarta coluna).
+Na Casa Bonilha, na rua Quinze de Novembro, exposição de um quadro de Valério Vieira que havia conquistado o primeiro lugar no último garden party realizado no Jardim da Luz. O quadro representava o menino Nonô, filho do sr. Francisco de Castro Júnior (Correio Paulistano, 24 de setembro de 1906, na quinta coluna).
+Foi realizada no estúdio de Valério a exposição individual do artista plástico José Joaquim Monteiro França(1876 – 1944) (Correio Paulistano, 24 de novembro de 1906, na sexta coluna).
+Exposição na Câmara de Deputados de São Paulo de uma fotografia de autoria de Valério Vieira retratando os deputados da legislatura corrente (O Commercio de São Paulo, 16 de dezembro de 1906, na segunda coluna).
+Valério dedicou a composição Valériopolka à imprensa paulista.
+No livro Il Brasil e gli Italiani, publicado pelo jornal Fanfulla, em 1906, no segmento Arti e Artistici, metade do espaço foi dedicado à obra de Valério. O Fanfulla, fundado em 1893, era um famoso periódico de imigrantes italianos de São Paulo.
+ 
+Il Brasil e gli Italiani, 1906.
+ 
+1907 - No Salão Progredior, foi inaugurado um gabinete para a exposição permanente da obra de Valério (Correio Paulistano, 5 de maio de 1907, na última coluna).
+O tenente La Brousse, da missão francesa, foi levado pelo oficial de gabinete da Secretaria de Justiça e Segurança de São Paulo, Sebastião Pereira Sobrinho, ao atelier de Valério Vieira que, sob a supervisão do tenente, fotografou um cabo do 1º  Batalhão para ilustrar e dar um caráter mais prático às instruções aos soldados da Força Pública (O Commercio de São Paulo, 7 de junho de 1907, na primeira coluna).
+Valério expôs no Salão Progredior um retrato do poeta Olavo Bilac (1865 – 1918), de grande tamanho que muito justamente prendeu a atenção do público (Correio Paulistano, 31 de julho de 1907, na segunda coluna).
+Foi noticiado que o quadro da turma dos bacharelandos em Ciências e Letras do Ginásio Paulista seria realizado por Valério Vieira (Correio Paulistano, 20 de agosto de 1907, na última coluna).
+Os participantes do Sexto Congresso Brasileiro de Medicina e Cirurgia foram fotografados por Valério, na Escola Normal (O Commercio de São Paulo, 7 de setembro de 1907, na quarta coluna). Doutorandos de 1885, que participavam do congresso, também foram fotografados por ele (Correio Paulistano, 14 de setembro de 1907, na quarta coluna). Os congressistas membros da seção de Farmacologia, ofereceram, no Parque Antártica, uma recepção a seu presidente, o farmacêutico Vicente Werneck, e Valério fotografou o evento (O Estado de São Paulo, 14 de setembro de 1907, página 1, na última coluna). Foi publicada na primeira página do Correio Paulistano de 15 de setembro de 1907 uma fotografia de autoria de Valério de participantes do congresso médico.
+Valério Vieira foi um dos vários que foram ver o vulto imponente do Barão do Rio Branco (1845 – 1912), que estava visitando São Paulo (Correio Paulistano, 5 de outubro de 1907, na quarta coluna).
+Valério Vieira assistiu a um concerto de violino de Celina Branco, realizado no salão do jornal Correio Paulistano (Correio Paulistano, 7 de novembro de 1907, na primeira coluna).
+O aniversário de Valério foi registrado na coluna “Crônica Social”, do Correio Paulistano de 16 de novembro de 1907.
+Valério Vieira estava na folha de pagamentos da Secretaria da Fazenda (O Commercio de São Paulo, 28 de novembro de 1907, na primeira coluna).
+1908 – Valério foi o idealizador do quadro que seria executado por Oscar Pereira da Silva (1867 – 1939) simbolizando o estado de São Paulo recebendo Portugal, que seria ofertado pela colônia portuguesa paulista ao rei de Portugal, dom Carlos (1863 – 1908), durante sua visita a São Paulo (A Notícia (PR), 21 de janeiro de 1908, na quarta coluna). A viagem não se realizou devido ao assassinato do monarca.
+Foi inaugurado no atelier de Valério um novo salão de exposições. O anfitrião recebeu os convidados com uma composição musical de sua lavra e um copo de cerveja (O Commercio de São Paulo, 23 de fevereiro de 1908, na terceira coluna).
+Participou da solenidade promovida pelo Centro de Ciências e Artes de Campinas em homenagem ao cinquentenário da fundação da imprensa campinense (O Commercio de São Paulo, 7 de abril de 1908, na segunda coluna).
+No Salão Steinway, foi realizada a quarta audição orquestral da escola de violino do professor Giulio Bastiani, italiano que havia se estabelecido em São Paulo por volta de 1882. Uma composição de Valério Vieira fazia parte do programa (O Commercio de São Paulo, 9 de abril de 1908, na quinta coluna).
+Valério estava na folha de pagamentos da Secretaria de Agricultura de São Paulo pelo fornecimento de fotografias para a Exposição preparatória da Exposição Nacional em comemoração ao centenário da Abertura dos Portos, realizada no Rio de Janeiro (O Commercio de São Paulo, 21 de junho de 1908, na quarta coluna).
+Foi noticiada a participação de Valério com seu Panorama de São Paulo na Exposição Nacional do Rio de Janeiro (Correio da Manhã, 26 de julho de 1906, na sexta coluna).
+Apresentou na Exposição Nacional do Rio de Janeiro, realizada entre 11 de agosto e 15 de novembro de 1908, em comemoração ao centenário da Abertura dos Portos, o Panorama de São Paulo, que mereceu grande atenção do público e da crítica.
+Antonio de Barros Barreto, presidente da comissão executiva do estado de São Paulo na Exposição Nacional recepcionou o ministro da Indústria, Miguel Calmon du Pin e Almeida (1879 – 1935), o secretário de Fazenda de São Paulo, Olavo Egydio (1862 – 1928), outras autoridades e jornalistas em uma visita às seções do estado de São Paulo na exposição. Na ocasião, Valério ofereceu aos visitantes vários quadros fotográficos (Jornal do Commercio e Jornal do Brasil, 3 de setembro de 1908, Correio Paulistano, 4 de setembro de 1908, na quinta coluna). O adido da legação argentina no Rio de Janeiro, Ricardo Sollá, visitou a seção paulista da exposição e considerou os trabalhos fotográficos de Valério esplêndidos (A Imprensa, 6 de setembro de 1908, na quinta coluna).
+Publicação de uma excelente crítica sobre os trabalhos de Valério Vieira exibidos na Exposição Nacional (O Subúrbio, 3 de outubro de 1908, na última coluna).
+Valério obteve o Grande Prêmio do Grupo de Fotografia do estado de São Paulo (Almanak Laemmert, 1909, e O Commercio de São Paulo, 23 de novembro de 1908, na terceira coluna). Foi publicada lista dos premiados do estado de São Paulo. Na categoria Arte Fotográfica, além de Valério, foi premiado o italiano Giovanni Sarracino que apresentou retratos de Manuel Joaquim de Albuquerque Lins (1852 – 1926), Jorge Tibiriçá Piratininga (1855 – 1928), Washington Luís (1869 – 1957) e Olavo Egydio (1862 – 1928), Carlos Botelho (1855 – 1942) e Siqueira Campos (1898 – 1930), entre outros (Correio Paulistano, 24 de novembro de 1908, na sexta coluna).
+Diogo José da Silva, a Companhia Clark, Isidoro Nardelli, Dallo & Filhos, Marino del Favero, Francisco Pitoresi e Valério, todos expositores paulistas da Exposição Nacional de 1908, convidavam para uma reunião para deliberações sobre a recepção a Barros Barreto e para a comissão executiva do estado de São Paulo na Exposição Nacional de 1908.  A reunião aconteceu no ateliê de Valério, que foi um dos secretários da assembleia (O Estado de São Paulo, 20 de dezembro de 1908, página 12, na quarta coluna, e Correio Paulistano, 27 de dezembro de 1908, na quarta coluna). A contribuição dos expositores para a compra de um presente e para a realização da recepção deveria ser entregue no ateliê de Valério, na rua Quinze de Novembro, nº 19, sede da comissão formada para organizar os festejos (O Estado de São Paulo, 26 de janeiro de 1909, página 5, na última coluna).
+1909 – Valério ofereceu ao secretário da Agricultura, Cândido Rodrigues (1850 – 1934), um quadro representando o pavilhão de São Paulo, na Exposição nacional de 1908 (O Estado de São Paulo, 8 de janeiro de 1909, página 1, na quinta coluna).
+Foi enviado à diretoria do Povoamento do Solo um requerimento de Valério Vieira solicitando o envio de algumas fotografias de seu atelier para a Europa a título de propaganda. Elas haviam feito parte da Exposição Nacional (O Paiz, 24 de janeiro de 1909, na terceira coluna).
+Foi noticiado que Valério iria contratar com a União o fornecimento de colossais panoramas de vistas de várias cidades do Brasil destinados à propaganda no estrangeiro (Jornal do Brasil, 5 de fevereiro de 1909, na quinta coluna e Gazeta de Notícias, 5 de fevereiro de 1909, na última coluna).
+Iria encontrar-se com o ministro da Indústria, Miguel Calmon du Pin e Almeida (1879 – 1935), no Hotel dos Estrangeiros (O Século, 16 de fevereiro de 1909, na quarta coluna). Valério Vieira propôs ao então Ministro da Indústria, Viação e Obras Públicas, Miguel Calmon (1879 – 1935), a quem visitou no Rio de Janeiro, uma plano para a exposição de panoramas do Brasil na Europa (O Século, 17 de fevereiro, na quarta coluna, e O Commercio de São Paulo, 17 de fevereiro de 1909, na segunda coluna).
+Valério foi uma das dezenas de pessoas que foi a gare do Norte, em São Paulo, para recepcionar Antonio de Barros Barreto, presidente da comissão executiva do estado de São Paulo na Exposição Nacional, e seus auxiliares (O Commercio de São Paulo, 8 de fevereiro de 1909, na segunda coluna).
+Valério levou ao escritório do ministro da Indústria, Miguel Calmon du Pin Almeida (1879 – 1935), várias ampliações de fotografias, medindo 3 metros de comprimento por 1 de largura, dentre elas da Avenida Beira- Mar e do Pavilhão da Bahia na Exposição Nacional (Jornal do Commercio, 18 de fevereiro de 1909, na sexta coluna e O Paiz, 18 de fevereiro de 1909, na terceira coluna).
+Valério foi o fotógrafo oficial da visita do presidente da República, Afonso Penna (1847 – 1909), a São Paulo (Correio Paulistano, 1º de abril de 1909, e Jornal do Commercio, 2 de abril de 1909, na sexta coluna).
+Estava no Rio de Janeiro, hospedado no Hotel Avenida (Correio da Manhã, 14 de junho de 1909, na quinta coluna).
+Valério foi um dos convidados para participar da viagem de trem do presidente da República, Afonso Penna (1847 – 1909), ao Paraná (Gazeta de Notícias, 9 de maio de 1909, na quarta coluna).
+Foi inaugurada uma exposição para comemorar os 14 anos do atelier de Valério (O Commercio de São Paulo, 30 de outubro de 1909, na terceira coluna).
+Foi noticiado que Valério fotografaria Rui Barbosa (1849 – 1923) e sua comitiva (O Século, 14 de dezembro de 1909, na primeira coluna). O fotógrafo anunciou que colocaria na frente de seu estabelecimento a fotografia do jurista medindo dois metros e cinquenta centímetros (O Commercio de São Paulo, 14 de dezembro de 1909, na terceira coluna).
+Foi noticiado que Valério havia enviado ao Correio Paulistano um criativo cartão de Boas Festas: estampando a pauta musical onde, à guisa de notas, se vêem os retratos do talentoso artista e dos membros de sua exma família (Correio Paulistano, 3 de janeiro de 1910, na quarta coluna).
+1910 – No Rio de Janeiro, Valério visitou o ministro da Agricultura, Rodolfo Nogueira da Rocha Miranda (1862 – 1943). Estava hospedado no Hotel Avenida (A Imprensa, 11 de janeiro de 1910, na penúltima coluna e Gazeta de Notícias, 11 de janeiro de 1910, na terceira coluna). Foi contratado, meses depois, por Rocha Miranda para confeccionar seis grandes panoramas da cidade do Rio de Janeiro e um grande número de cartões postais de várias cidades do Brasil para figurarem nas exposições de Turim e Roma (A Republica, 1º de julho de 1910, na quarta coluna).
+Como parte das comemorações do centenário de morte do poeta português Alexandre Herculano (1810 – 1877), foram expostos na Casa Garraux, em São Paulo, retratos do homenageado, primoroso trabalho de Valério Vieira. Seu ateliê era um dos locais onde foram distribuídos os convites para a aula magna em homenagem a Alexandre Herculano, realizada na Faculdade de Direito de São Paulo (Correio Paulistano, 23 de abril de 1909, na segunda coluna, e A Imprensa, 29 de abril de 1910, na quinta coluna). Retratos do homenageado, de autoria de Valério, foram distribuídos na faculdade (Correio Paulistano, 27 de abril de 1910, na quinta coluna). 
+Valério chegou ao Rio de Janeiro para permanecer alguns dias e foi saudado pelo jornal A Imprensa como …uma figura finamente cavalheiresca e o mais completo feitor da arte fotográfica em todo o Brasil…  (A Imprensa, 21 de junho de 1910, na última coluna)
+A Secretaria de Agricultura de São Paulo comunicou a aceitação da proposta de Valério para a confecção de um panorama de São Paulo para a Exposição Internacional de Roma e recusando a proposta de realização de cartões-postais e pequenos álbuns com o mesmo fim (Correio Paulistano, 22 de julho de 1910, na primeira coluna).
+Quando soube da visita do rei de Portugal, dom Carlos (1863 – 1908), ao Brasil, Valério fez um croquis de sua chegada no Rio de Janeiro e por isso recebeu o título de Comendador de Portugal. A visita não aconteceu porque o rei foi assassinado em 1º de fevereiro de 1908 (Artigo de Boris Kossoy publicado no O Estado de São Paulo, 4 de março de 1973, na página 5 do “Suplemento Literário”). Valério ofertou ao rei de Portugal, dom Manuel (1889 – 1932), o croquis da aquarela que deveria ter sido executada na ocasião da visita do rei dom Carlos ao Brasil, algumas fotografias e uma composição, a valsa “Adamastor”, de sua autoria. Recebeu uma carta de agradecimento do camareiro do rei, o conde de São Lourenço (Jornal de Recife, 19 de agosto de 1910, na quarta coluna). 
+Durante o Segundo Congresso Brasileiro de Geografia, o Centro Acadêmico Onze de Agosto, da Faculdade de Direito de São Paulo, ofereceu ao professor José Lobo D´Ávila Lima (1885 – 1957?), da Universidade de Coimbra, uma fotografia de autoria de Valério, retratando a diretoria da agremiação (Correio Paulistano, 17 de setembro de 1910, na sexta coluna).
+Valério fotografou os bispos que participaram da Conferência do Episcopado Sul-Americano para realizar um quadro artístico comemorativo do evento, realizado em São Paulo (O Estado de São Paulo, 8 de outubro de 1910, página 6, na segunda coluna).
+Valério comunicou ao ministro da Agricultura, Pedro Manuel de Toledo (1860 – 1935), que o panorama do Rio de Janeiro, que seria exibido na Exposição Internacional de Turim, já estava pronto (O Estado de São Paulo, 14 de dezembro de 1910, página 2, sétima coluna).
+1911 - Foi noticiado que Valério havia entregue ao ministro da Agricultura, Pedro Manuel de Toledo (1860 – 1935) o panorama do Rio de Janeiro que seria apresentado na Exposição Internacional de Turim. O panorama seria exposto nos salões do Museu Comercial antes de embarcar para a Itália (O Século, 27 de janeiro de 1911, na sexta coluna).
+Valério esteve no Rio de Janeiro (O Estado de São Paulo, 5 de março de 1911, página 1, na segunda coluna)
+A Câmara Municipal de São Paulo mandou arquivar o pedido de auxílio feito por Valério Vieira com o fim de confeccionar um grande panorama de São Paulo para a Exposição Internacional de Roma (Correio Paulistano, 20 de abril de 1911, na sexta coluna).
+Quatro retratos a óleo, do governador de São Paulo, Manuel Joaquim de Albuquerque Lins (1852 – 1926), do secretário do Interior, Carlos Guimarães (1862 – 1927), do deputado Mario Tavares (1874 – 1958) e do senador Antônio de Lacerda Franco (1853 – 1936), de autoria de Valério e de E. Távola, foram expostos no salão do jornal Correio Paulistano. Foram realizados por encomenda da Câmara Municipal de Pirassununga, para onde serão levados (Correio Paulistano, 27 de abril de 1911, na segunda coluna).
+Para distribuição durante as exposições de Roma e Turim, Valério Vieira mandou imprimir, por ordem do Ministério da Agricultura, 776 mil cartões postais de paisagens e edifícios públicos brasileiros. Também por encomenda do governo federal, Valério produziu seis telas reproduzindo aspectos da Exposição Nacional de 1908, da baía de Guanabara, das avenidas Beira-Mar e Central (A Imprensa, 25 de abril de 1911, na quinta coluna e O Pharol, 29 de abril de 1911, na quinta coluna). Foram pagos a Valério 12 contos de réis (O Estado de São Paulo, 14 de dezembro de 1911, página 2, sétima coluna).
+Segundo artigo de Boris Kossoy, publicado no O Estado de São Paulo, de 4 de março de 1973, Valério participou da Exposição Universal de Turim, realizada entre 29 de abril e 19 de novembro de 1911, durante a qual foi agraciado com a comenda de Cavaleiro da Coroa, concedida pelo rei da Itália, por sua defesa da causa da imigração italiana para o Brasil.
+A Câmara Municipal de Bauru encomendou de Valério três retratos para sua sala de honra: do governador de São Paulo, Manuel Joaquim de Albuquerque Lins (1852 – 1926); do secretário da Justiça e da Segurança Pública, Washington Luís (1869 – 1957); e do senador Bernardino José de Campos Júnior (1841 – 1915) (Correio Paulistano, 20 de maio de 1911, na terceira coluna).
+Em 12 de julho, seu primogênito, José do Patrocínio, faleceu repentinamente. Sua missa de sétimo dia foi celebrada na igreja de São Gonçalo (Correio Paulistano, 13 de julho de 1911, na terceira coluna e 19 de julho de 1911, na última coluna).
+Foi julgada por sentença a desistência requerida por José Paulino Nogueira Filho da ação executiva que movia contra Valério (Correio Paulistano, 5 de agosto de 1911, na segunda coluna).
+Foi noticiado que o senhor João de Barros estaria interessado em abrir uma filial do ateliê fotográfico de Valério Vieira no Rio de Janeiro (Diário da Tarde, 31 de agosto de 1911, na quarta coluna). Valério apresentou queixa à polícia contra ele, que também esteve no interior de São Paulo e no Paraná, apresentando-se, falsamente, como representante da Photographia Valério (Correio Paulistano, 7 de setembro de 1911, na quarta coluna).
+1912 – Valério fazia parte de um grupo de artistas que fotografou, em Pindamonhangaba, a chegada do governador de São Paulo, Manuel Joaquim de Albuquerque Lins (1852 – 1926), e de seus secretários à estação de trem da cidade. A comitiva foi inaugurar o Haras Paulista e o Posto Zootécnico Dr. Francisco Romeiro, além de outros melhoramentos na cidade. Valério também participou do baile oferecido a eles pela Câmara Municipal de Pindamonhangaba, no palacete de Elói Bicudo Varela Lessa (1844 – 1922), o barão de Lessa (Correio Paulistano, 28 de abril, na sexta coluna e 29 de abril, na quarta coluna).
+Foi publicado no Correio Paulistano, ao longo de 1912, o seguinte endereço de Valério: Largo de São Paulo, nº 71 (Correio Paulistano, 18 de maio de 1912, na terceira coluna).
+Valério esteve em Uberaba (MG), hospedado do Hotel do Comércio e em Igarapava(SP) (O Estado de São Paulo, 23 de setembro de 1912,  página 2, na terceira coluna, e Correio Paulistano, 29 de setembro de 1912, na segunda coluna). Recebeu diversas encomendas de retratos que seriam colocados nos salões do grupo escolar e do Fórum de Igarapava. Para o fórum, seriam fotografias de todos os juízes de Direito da comarca, desde sua instalação. Para o grupo escolar, retratos do ex-deputado Francisco Martins, e de outros políticos (Correio Paulistano, 8 de outubro de 1912, na quarta coluna).
+1913 – Valério Vieira estava em Igarapava (SP)(Correio Paulistano, 16 de maio de 1913, na última coluna).
+Participou da inauguração da estátua do Regente Feijó (1784 – 1843), na Praça da Liberdade, em São Paulo (Correio Paulistano, 25 de maio de 1913).
+1914 – Valério estava visitando Barretos (SP)(Correio Paulistano, 23 de janeiro de 1914, na última coluna). De volta a Barretos, expôs no salão do Central Hotel, onde estava hospedado, vários retratos de pessoas proeminentes da sociedade da cidade (Correio Paulistano, 13 de março de 1914, na quarta coluna).
+Foi exposta na Casa Alemã, em Campinas, uma fotografia realizada por Valério dos professorandos de 1914 da Escola Normal da cidade (Correio Paulistano, 12 de dezembro de 1914, na primeira coluna).
+1915 - Reabertura do ateliê fotográfico de Valério na rua Quinze de Novembro, nº 43 montado segundo todas as exigências da arte moderna (Correio Paulistano, 11 de fevereiro de 1915, na primeira coluna e 13 de fevereiro, na quinta coluna).
+Valério ofereceu uma prenda à barraca da Bélgica, dirigida por Gladys Nisseus de Saint Remy, na quermesse realizada no Jardim da Luz em prol dos flagelados do Norte e dos desamparados da Bélgica (Correio Paulistano, 2 de outubro de 1915, na quarta coluna).
+1916 – O ateliê fotográfico de Valério ficava na rua Quinze de Novembro, porém no número 43 (Almanak Laemmert, 1917).
+Havia uma letra de câmbio em um cartório na rua da Boa Vista, 58, em São Paulo sacada à vista contra Valério Vieira (O Estado de São Paulo, 28 de fevereiro de 1916, página 9, na quinta coluna).
+Fotografou o polêmico médium Carlos Mirabelli (1899 – 1951) (Correio Paulistano, 18 de junho de 1916).
+Recebeu pagamento da Secretaria da Fazenda de São Paulo (Correio Paulistano, 6 de julho de 1916, na segunda coluna).
+1917 – Realizou o quadro dos bacharelandos da Faculdade de Direito de São Paulo de 1917 (Correio Paulistano, 16 de outubro de 1917, na quarta coluna).
+Falecimento de Antonio Marjues Teixeira, pai de Augusta, esposa de Valério. Ele era professor público e um dos mais antigos guarda-livros nesta capital (O Estado de São Paulo, 18 de outubro de 1917, página 3, na penúltima coluna).
+1918 – Foi representado por seu filho, Roque, no enterro do italiano Vincenzo Pastore (1865 – 1918), fotógrafo que assim como Valério produzia retratos de múltipla exposição, revelando um traço de humor (Correio Paulistano, 19 de janeiro de 1918, na terceira coluna).
+Com 26 anos, falecimento da única filha de Valério, Maria Catarina. Deixou uma filha, Lydia (1914 – 1993), que passou a morar com Valério e Augusta.
+1921 - Pediu à Prefeitura de São Paulo auxílio para a confecção de uma nova versão do Panorama de São Paulo, apresentado na Exposição de 1908. O trabalho seria exibido na Exposição do Centenário da Independência, em 1922, no Rio de Janeiro (Correio Paulistano, 20 de janeiro de 1921, na quarta coluna, 30 de janeiro, na segunda coluna, 2 de fevereiro, na segunda coluna). O pedido foi autorizado pelo prefeito Firmiano de Moraes Pinto (1861- 1938) (Correio Paulistano, 18 de fevereiro de 1921).
+Valério esteve no Rio de Janeiro (O Estado de São Paulo, 20 de março de 1921, página 4, na sétima coluna)
+1922 - Foi inaugurada a exposição provisória do Panorama de São Paulo, na rua São Bento , nº 24, anunciada como a maior fotografia já realizada no mundo, com 16 metros (Correio Paulistano, 6 de setembro de 1922, na segunda coluna e 7 de setembro, na quarta coluna). O trabalho foi apresentado na Exposição do Centenário da Independência, no Rio de Janeiro, realizada entre 7 de setembro de 1922 e 24 de julho de 1923. Foi Conrado Wessel (1891 – 1993) que possibilitou a impressão da foto fornecendo a fórmula da emulsão química, uma solução de brometo de sais de prata que foi aplicada sob luz vermelha, para evitar que a emulsão fosse velada. Amigos e parentes de Vieira providenciaram a água necessária para a revelação do panorama, trazida em baldes e bacias para o antigo cineteatro São Paulo. As imagens do panorama foram obtidas do alto da torre da igreja do Liceu Sagrado Coração de Jesus, em Campos Elíseos. Com um ângulo visual de 180 graus, o registro foi realizado entre 1919 e 1921. Depois de pronta, as imagens em preto-e-branco foram pintadas para destacar os planos entre as ruas e as casas e para dar maior durabilidade da tela (Folha de São Paulo, 2 de março de 1995; O Estado de São Paulo, 13 de agosto de 1998, página 140).
+O ateliê fotográfico de Valério na rua Quinze de Novembro, nº 43, foi anunciado pela última vez no Almanak Laemmert de 1922.
+1923 – Inauguração do Estabelecimento Modelo, novo ateliê e uma escola para fotógrafos amadores de Valério Vieira, na rua Quinze de Novembro, nº 3 (Correio Paulistano, 17 de março de 1923, na sexta coluna e A Gazeta, 19 de março de 1923, na quarta coluna).
+Mudou seu estúdio para o Largo São Paulo, 16, no Cambuci.
+1924 - De tuberculose, falecimento de seu filho, Raymundo Nonato (Correio Paulistano, 25 de janeiro de 1924, na terceira coluna).
+Propôs à Câmara Municipal de São Paulo a execução de um quadro artístico com as fotografias dos vereadores em alto relevo (Correio Paulistano, 23 de setembro de 1924, na quarta coluna).
+1925 – Realizou um painel com a legislatura de 1923 a 1926 da Câmara Municipal de São Paulo.
+Fechamento definitivo de seu estúdio.
+1925 / 1940 – Continuou fotografando São Paulo e estâncias próximas à cidade como Águas de Lindóia e Caxambu.
+1929 – Recebeu pagamentos das secretarias da Fazenda e da Agricultura de São Paulo (Correio Paulistano, 2 de julho de 1929, na primeira coluna, e 6 de setembro de 1929, na quinta coluna).
+1941 – Valério Vieira faleceu, aos 79 anos, em 26 de julho, de colapso cardíaco, e foi enterrado no cemitério da Consolação (Correio Paulistano, 29 de julho de 1941, na terceira coluna e Estado de São Paulo, 27 de julho de 1941, página 5, na quinta coluna).
+1949 – Numa carta enviada por Augusto Nunes, que na época trabalhava no Sindicato dos Músicos do Rio de Janeiro, para o compositor, ator e cantor carioca Almirante (1908 – 1980), datada de 18 de fevereiro de 1949, ele se referia a Valério como um ótimo pianista e compositor… solicitado em todos os salões…
+1971 – Falecimento de seu filho, Francisco.
+1972 – O Panorama de São Paulo, de sua autoria, foi exposto nas comemorações do cinquentenário da Semana de Arte Moderna, no Museu de Arte de São Paulo.
+1975 – Suas obras foram expostas na mostra Memórias Paulistanas, realizada pelo Museu da Imagem e do Som de São Paulo, entre 26 de fevereiro e 6 de março.
+1977 - Em março, falecimento de seu filho Roque (O Estado de São Paulo, 6 de março de 1977, página 56).
+1999 – O Panorama de São Paulo foi o grande destaque do 4º mês Internacional da Fotografia realizado no Museu da Imagem e do Som de São Paulo, entre 19 de maio e 15 de julho de 1999. A exposição Valério Vieira foi organizada pelo fotógrafo Fausto Chermont (1961 -) (O Estado de São Paulo, de 19 de abril de 1999, página D5 do “Caderno 2″).
+Andrea C. T. Wanderley
+Editora-assistente e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+ANDRADE, Joaquim Marçal Ferreira de. Preciosidades do acervo – Os trinta Valérios, in Anais da Biblioteca Nacional, vol. 114, p. 218. Rio de Janeiro: Biblioteca Nacional, 1994.
+BALADY, Sonia Umburanas. Valério Vieira: um dos pioneiros da experimentação fotográfica no Brasil (dissertação de mestrado). São Paulo:USP, 2012
+BANDEIRA JUNIOR, Antonio Francisco. A industria no Estado de São Paulo em 1901 / estudo de Antonio Francisco Bandeira Junior. São Paulo: Typ. do Diario Official, 1901. xxix, 227 p.
+G 1 – Valério Vieira e a fotografia no início do século XX
+G 1 – G1 recria a ‘maior photographia do mundo’ em 1922, feita no Brasil
+GUARIGLIA, Ana Maria. Imagens contam histórias do Rio e de São Paulo. São Paulo, 1993.
+KOSSOY, Boris. Dicionário histórico-fotográfico brasileiro: fotógrafos e ofício da fotografia no Brasil (1833-1910). São Paulo: Instituto Moreira Salles, 2002. 408 p., il. p&b.
+KOSSOY, Boris. Origens e Expansão da fotografia no Brasil: século XIX. Rio de Janeiro:Funarte, 1980.
+O Estado de São Paulo, 13 de agosto de 1998
+MENDES, Ricardo. O Valério cumprimenta-vos: persona e invenção na virada do século. Museu da Imagem e do Som – SP, 2006.
+POLETTO, Ana Julia. Escritas de luz: o “noivado” entre palavras e imagens de Osman Lins (dissertação de mestrado). Santa Catarina:Universidade Federal de Santa Catarina, 2006.
+Revista da Faculdade de Comunicação da Faap, 2º semestre de 2002.
+Site de Alberto de Sampaio
+Site do CPDOC – Centro de Pesquisa e Documentação de HistóriaContemporânea do Brasil da Fundação Getulio Vargas
+VALÉRIO Vieira, Rio. In: ENCICLOPÉDIA Itaú Cultural de Arte e Cultura Brasileiras. São Paulo: Itaú Cultural, 2017. Verbete da Enciclopédia.ISBN: 978-85-7979-060-7
+Para a elaboração desse texto, a Brasiliana Fotográfica também fez uma extensa pesquisa na Hemeroteca Digital da Biblioteca Nacional.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/4` — `itens/20.500.12156.1_4/`
+
diff --git a/wordpress/7777-o-carnaval-nas-primeiras-decadas-do-seculo-xx.md b/wordpress/7777-o-carnaval-nas-primeiras-decadas-do-seculo-xx.md
new file mode 100644
index 0000000..bf89142
--- /dev/null
+++ b/wordpress/7777-o-carnaval-nas-primeiras-decadas-do-seculo-xx.md
@@ -0,0 +1,73 @@
+---
+id: 7777
+url: "https://brasilianafotografica.bn.gov.br/?p=7777"
+titulo: "O carnaval nas primeiras décadas do século XX"
+autor: "Andrea Wanderley"
+data: "2017-02-22T10:44:05+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/3944", "20.500.12156.1/2740", "20.500.12156.1/4221", "20.500.12156.1/4220", "20.500.12156.1/5044", "20.500.12156.1/6206", "20.500.12156.1/10684", "20.500.12156.1/11417", "20.500.12156.1/5236"]
+fetched_at: "2026-09-10T10:27:21.093Z"
+---
+
+# O carnaval nas primeiras décadas do século XX
+
+Augusto Malta. Grupo de homens fantasiados para o carnaval, As Marrequinhas, 1913. Rio de Janeiro, RJ / Acervo IMS
+ 
+Com uma seleção de fotografias produzidas nas primeiras décadas do século XX, a Brasiliana Fotográfica convida seus leitores para uma viagem rumo aos carnavais de antigamente. São registros dos festejos carnavalescos feitos por A. Filgueiras, Aliwu, Augusto Malta (1864 – 1957), Guilherme Santos(1871 – 1966) e por fotógrafos ainda não identificados. O carnaval brasileiro é o maior e mais conhecido do mundo. Comemorado em todo o país nas ruas e nos clubes, nos blocos carnavalescos e nos desfiles de escolas de samba, com diversos ritmos musicais, é a festa mais popular do Brasil.
+ 
+Augusto Malta. Desfile do corso durante do carnaval, 1914. Rio de Janeiro, RJ / Acervo IMS
+ 
+Apesar de ter origem incerta, acredita-se que o carnaval tenha surgido ainda na Antiguidade, por volta do ano 520 a. C., na Grécia. Era uma festa realizada em torno do deus Dionísio em celebração à chegada da primavera e da fertilidade. Nos primeiros anos da era cristã, a comemoração tornou-se popular na Roma Antiga.
+No Brasil, teve início, em torno do século XVII, quando os portugueses introduziram o entrudo, jogo típico da região de Açores e de Cabo Verde: era uma brincadeira em que as pessoas jogavam, uma nas outras, água, ovos e farinha.
+Inspirados nos costumes da França, os primeiros bailes mascarados realizados no Brasil – de que se tem notícia até hoje – aconteceram no Rio de Janeiro, em 1835, no Café Neuville, localizado no largo do Paço, e no Hotel D´Italia, na então rua Espírito Santo, perto da Praça Tiradentes ( Jornal do Commercio,  27 de fevereiro de 1835, na segunda coluna, e 5 de junho de 1835, na terceira coluna). Nesses bailes, dançavam-se ritmos não brasileiros como a valsa e a polca. Em 23 de fevereiro de 1846, foi promovido pela cantora lírica Clara Delmastro o primeiro baile mascarado em um teatro (Jornal do Commercio, de 23 de fevereiro de 1846, na primeira coluna). Aconteceu no Theatro de São Januário, que ficava na rua do Cotovelo, no Castelo, onde localiza-se, atualmente, o Palácio da Justiça.
+As sociedades carnavalescas, formadas pelas elites, surgiram por volta de 1855, assim como os ranchos e os cordões, estes formados pelas camadas sociais mais populares. Os corsos tornaram-se muito populares no início do século XX: neles as pessoas desfilavam fantasiadas em carros decorados. A festa foi crescendo e, com a ajuda das marchinhas carnavalescas, tornando-se cada vez mais popular e animada.
+ 
+Acessando o link para as fotografias de carnaval disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Augusto Malta. Batalha das Flores, 1902. Rio de Janeiro, RJ / Acervo FBN
+ 
+Andrea C. T. Wanderley
+Editora-assistente e pesquisadora do portal Brasiliana Fotográfica
+ 
+Links para artigos sobre carnaval já publicados na Brasiliana Fotográfica
+ 
+
+O carnaval do Cordão da Bola Preta, publicado em 9 de fevereiro de 2018
+ 
+Anônimo. Salve! “Cordão da Bola Preta”, Penha de 1936, 1936. Rio de Janeiro, RJ / Acervo FBN
+ 
+As Camélias Japonesas no carnaval de Alagoas pelas lentes do fotógrafo amador Luiz Lavenère Wanderley (1868 – 1966), publicado em 21 de fevereiro de 2020
+ 
+L. Lavenère. Lembrança de Maceió /[Um clube carnavalesco], 1906. Maceió, Alagoas / Acervo Arquivo Nacional
+Cenas da folia em Manaus em 1913, publicado em 28 de fevereiro de 2020
+ 
+Carnaval, 1913. Manaus, Amazonas / Acervo Casa de Oswaldo Cruz
+ 
+Baile de Carnaval em Santa Teresa – Di Cavalcanti, Klixto e Helios Seelinger, na casa de Raul Pederneiras, publicado em 25 de fevereiro de 2022
+ 
+Baile de Carnaval, c. 1921. Santa Teresa, Rio de Janeiro / Acervo FBN
+ 
+O Rei Momo por Jean Manzon e por outros fotógrafos dos Diários Associados, publicado em 3 de fevereiro de 2023
+ 
+Jean Manzon. Carnaval antigo – a Rainha do Baile das Atrizes (Mara Rúbia) e o Rei Momo (Francisco de Moraes Cardoso) Jean Manzon, 28 de fevereiro de 1946. Teatro João Caetano, Rio de Janeiro / Diários Associados (RJ) – Acervo IMS
+ 
+Foliões do Carnaval de Diamantina por Chichico Alkmim, publicado em 17 de fevereiro de 2023
+ 
+Chichico Alkmim. Carnaval, s/d. Diamantina, Minas Gerais / Acervo IMS
+ 
+Acessando o link para as fotografias de Carnaval disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/3944` — `itens/20.500.12156.1_3944/`
+- `20.500.12156.1/2740` — `itens/20.500.12156.1_2740/`
+- `20.500.12156.1/4221` — `itens/20.500.12156.1_4221/`
+- `20.500.12156.1/4220` — `itens/20.500.12156.1_4220/`
+- `20.500.12156.1/5044` — `itens/20.500.12156.1_5044/`
+- `20.500.12156.1/6206` — `itens/20.500.12156.1_6206/`
+- `20.500.12156.1/10684` — `itens/20.500.12156.1_10684/`
+- `20.500.12156.1/11417` — `itens/20.500.12156.1_11417/`
+- `20.500.12156.1/5236` — `itens/20.500.12156.1_5236/`
+
diff --git a/wordpress/7817-o-navio-escola-benjamin-constant.md b/wordpress/7817-o-navio-escola-benjamin-constant.md
new file mode 100644
index 0000000..502344d
--- /dev/null
+++ b/wordpress/7817-o-navio-escola-benjamin-constant.md
@@ -0,0 +1,46 @@
+---
+id: 7817
+url: "https://brasilianafotografica.bn.gov.br/?p=7817"
+titulo: "O Navio-Escola Benjamin Constant"
+autor: "Andrea Wanderley"
+data: "2017-02-16T10:08:53+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/4782", "20.500.12156.1/4781", "20.500.12156.1/4786"]
+fetched_at: "2026-09-10T10:27:24.362Z"
+---
+
+# O Navio-Escola Benjamin Constant
+
+A Brasiliana Fotográfica selecionou registros do Navio-Escola Benjamin Constant que pertencem ao acervo da Diretoria do Patrimônio Histórico e Documentação da Marinha, um dos integrantes do portal. As fotografias foram produzidas por H & J Tourte Éditeurs, em 1906. Com um artigo do pesquisador da DPHDM, o Capitão de Corveta (T) Carlos André Lopes da Silva, os leitores poderão conhecer a história do navio.
+ 
+H&J Tourte Éditeurs. Faina de arriar um escaler no Cruzador Benjamin Constant, 1906. Paris, França / Acervo Acervo DPHDM
+ 
+Navio-Escola Benjamin Constant
+ Carlos André Lopes da Silva*
+O recrutamento de pessoal para as marinhas de guerra sempre foi mais difícil do que para os exércitos. Enquanto o treinamento básico para as tropas de terra, durante muito tempo, se limitou ao uso das armas individuais e às marchas coletivas, o emprego do navio como plataforma de armas obrigava não apenas a instrução com armamento, mas o aprendizado de uma variada gama de tarefas especializadas necessárias às viagens oceânicas, passando até pela adaptação fisiológica do homem ao jogo da embarcação no alto-mar.
+No tempo das marinhas a vela, a solução difundida entre as marinhas de guerra era o recrutamento do pessoal que já labutava no mar, marinheiros dos navios mercantes e pescadores, que adestravam, durante as próprias viagens, os novatos que completavam as tripulações. Em uma época que a guerra no mar era algo pouco complexo, onde a vitória vinha pela abordagem, combates corpo-a-corpo nos conveses de navios inimigos emparelhados, o aprendizado se dava pela prática. Mesmo na formação dos oficiais, os homens que comandavam as equipes de um navio de guerra, o aprendizado vinha essencialmente pela convivência com os oficiais mais experientes durantes as travessias oceânicas.
+Acessando o link para as fotografias do cruzador Benjamin Constant disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+O gradual aperfeiçoamento da guerra no mar e a aplicação cada vez maior de ciências como a matemática na navegação, induziu diversas marinhas a criarem escolas para formação profissional de oficiais e, algum tempo depois, de marinheiros. Contudo, o emprego do navio como ferramenta   para a formação profissional nunca foi abandonado.
+Durante o século XIX, diversos navios de guerra foram eventualmente utilizados para instrução de futuros oficiais, os guardas-marinha, e marinheiros. Desde pequenos navios que realizavam cruzeiros de poucos dias no litoral brasileiro, como o Patacho Aprendiz-Marinheiro, até grandes veleiros equipados com máquinas a vapor que chegaram a realizar viagens de circunavegação instruindo guardas-marinha, como a Corveta Vital de Oliveira, em 1879, e o Cruzador Almirante Barroso, em 1888. O primeiro pensado desde o início como um navio-escola foi o Cruzador Benjamin Constant, um navio equipado como ferramenta de ensino prático para realizar longas viagens oceânicas com os guardas-marinha que terminavam o aprendizado teórico na Escola Naval.
+ 
+H&J Tourte Éditeurs. O Commandante e um grupo de Officiaes do Cruzador Benjamin Constant, 1906. Paris, França / Acervo DPHDM
+ 
+ 
+Construído pelo estaleiro francês Société Nouvelle des Forges et Chantiers de la Méditerranée entre 1891 e 1894, o navio foi batizado em homenagem a Benjamin Constant Botelho de Magalhães, militar do Exército Brasileiro e professor da Escola Militar da Praia Vermelha, um dos principais líderes do movimento republicano de 1889. Ainda inacabado, o Benjamin Constant recebeu em seus alojamentos a tripulação do Cruzador Almirante Barroso, naufragado no Mar Vermelho, em 1893, no meio de uma viagem de instrução com guardas-marinha. No ano seguinte, quando foi entregue ao governo brasileiro, recebeu uma tripulação heterogênea, em grande parte formada pelo Exército, pois parte dos militares da Marinha tinham se sublevado contra Floriano Peixoto no evento que ficou demarcado na história como a Revolta da Armada.
+Esse grande veleiro de três mastros, com 74 metros de comprimento e quase três mil toneladas de deslocamento, conduziu inúmeras turmas de guardas-marinha e aprendizes-marinheiros em cruzeiros de instrução pelo litoral brasileiro e por águas internacionais. Em 1908, realizou a terceira viagem de circunavegação de um navio da Marinha do Brasil, durante a qual  salvou um grupo de 20 náufragos do navio japonês Toyoshima Maru que tinham se asilado na desabitada Ilha Wake, no Pacífico Sul. Dez anos antes, durante outra viagem de instrução com guardas-marinha, foi o Benjamin Constant que formalizou a incorporação ao território brasileiro da Ilha da Trindade, com a instalação de um marco de posse naquele que é o ponto insular principal de um arquipélago, então disputado com a Grã-Bretanha, situado à 1.200 quilômetros do nosso litoral. Já na viagem de instrução de guardas-marinha realizada em 1917, que transcorreu logo após a entrada do Brasil na Primeira Guerra, a sua tripulação apresou o navio mercante alemão Blucher no porto de Recife.
+ 
+H&J Tourte Éditeurs. Um grupo de marinheiros do Cruzador Benjamin Constant, 1906. Paris, França / Acervo DPHDM
+ 
+ 
+O imponente navio recebeu de suas tripulações o afetuoso apelido de Garça Branca. Além de todos os compartimentos e equipamentos próprios a um navio de guerra do período, contava com uma biblioteca, alojamentos e banheiros reservados para os alunos e instrutores e uma sala de estudos. Desgastado pelo intenso emprego nas viagens de instrução e tornado obsoleto pelo rápido progresso tecnológico que atingiu os navios de guerra entre o início do século XX e o fim da Primeira Guerra Mundial, foi “aposentado” em 1926.
+ 
+*  Carlos André Lopes da Silva é pesquisador da Diretoria do Patrimônio Histórico e Documentação da Marinha
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/4782` — `itens/20.500.12156.1_4782/`
+- `20.500.12156.1/4781` — `itens/20.500.12156.1_4781/`
+- `20.500.12156.1/4786` — `itens/20.500.12156.1_4786/`
+
diff --git a/wordpress/8034-serie-conflitos-iii-registros-da-guerra-do-paraguai-1864-1870.md b/wordpress/8034-serie-conflitos-iii-registros-da-guerra-do-paraguai-1864-1870.md
new file mode 100644
index 0000000..7185568
--- /dev/null
+++ b/wordpress/8034-serie-conflitos-iii-registros-da-guerra-do-paraguai-1864-1870.md
@@ -0,0 +1,107 @@
+---
+id: 8034
+url: "https://brasilianafotografica.bn.gov.br/?p=8034"
+titulo: "Série “Conflitos” III – Registros da Guerra do Paraguai (1864 – 1870)"
+autor: "Andrea Wanderley"
+data: "2017-04-10T10:18:08+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/4183", "20.500.12156.1/3637", "20.500.12156.1/3983", "20.500.12156.1/4154", "20.500.12156.1/4937", "20.500.12156.1/3991"]
+fetched_at: "2026-09-10T10:27:27.599Z"
+---
+
+# Série “Conflitos” III – Registros da Guerra do Paraguai (1864 – 1870)
+
+Registros da Guerra do Paraguai (1864 – 1870) *
+ 
+Anônimo. Capitania em Humaitá : vista do lado de terra, 1868. Humaitá, Paraguai / Acervo FBN
+ 
+A Brasiliana Fotográfica traz para seus leitores registros de aspectos da Guerra do Paraguai, o maior conflito armado internacional ocorrido na América do Sul. Sua iconografia fotográfica é escassa, apesar da importância do evento e do fato de que na época já existia um bom número de fotógrafos atuando no continente. Porém, segundo o historiador André Toral: O registro fotográfico da guerra do Paraguai contra a Tríplice Aliança (1864-1870) foi, em termos gerais, uma continuidade do tipo de fotografia que se fazia na época. Mas foi, também, mais do que isso. A cobertura in loco e a força do assunto trouxeram maneiras inovadoras de se representar o conflito, o que colaborou para a constituição de uma linguagem fotográfica com características próprias em relação à pintura ou gravura do período dedicadas à guerra.
+ 
+Acessando o link para as fotografias de aspectos da Guerra do Paraguai disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+A Guerra do Paraguai abriu um lucrativo mercado para os fotógrafos itinerantes. Eles retratavam os soldados tanto nos acampamentos como em casa, antes da partida, tirando-os do anonimato, dando a eles um rosto, o que aumentava o custo humano dos combates. Os registros ainda não eram publicados nos jornais, devido à falta de arcabouço técnico, mas circulavam de mão em mão a partir de álbuns vendidos ao público. As capitais dos países envolvidos no conflito e algumas das províncias foram visitadas por esses profissionais, que também registravam os locais e seus costumes.
+As imagens do acervo do portal sobre o assunto são de autoria de Agostinho Forni, de Carlos Cesar, do estúdio Bate & CA, de Frederico Trebbi, de José Ferreira Guimarães (1841 – 1924), de Luiz Terragno (c.1831-1891) e de outros fotógrafos ainda não identificados. Retratam aspectos de várias cidades como Assunção, Humaitá, Lambaré e Luque; a batalha de 18 de julho, casas de militares como os generais José Antônio Correia da Câmara (1824-1893) e Joaquim Andrade Neves (1807 – 1869), a casa de Elisa Lynch (1835 – 1886), mulher do presidente do Paraguai, Francisco Solano Lopez Filho ( 1827 – 1870); acampamentos militares, igrejas, estações de ferro e hospitais, dentre outros. Há também uma fotografia do quadro Passagem de Humaitá, do pintor Victor Meirelles (1832 – 1903), produzida por José Ferreira Guimarães (1841 – 1924).
+ 
+José Ferreira Guimarães e Victor Meirelles. Passagem de Humaitá: pintura de Victor Meirelles, 1872 / Acervo FBN
+ 
+A Guerra do Paraguai, primeiro conflito a receber uma cobertura visual na imprensa sul-americana e um de seus assuntos preponderantes entre 1864 e 1870, foi um importante marco da fotorreportagem no Brasil, tema central da tese de doutorado A Semana Illustrada e a guerra contra o Paraguai: primórdios da fotorreportagem no Brasil, de autoria de Joaquim Marçal de Andrade, um dos curadores do portal Brasiliana Fotográfica. Diversas ilustrações de episódios da guerra e de alguns de seus participantes foram publicadas. A litografia propiciava a reprodução de fotografias, daguerreótipos e pinturas levando as imagens da guerra a um público maior. No início do conflito ainda não havia tecnologia capar de realizar a reprodução direta da fotografia pela prensa, então as fotografias foram largamente utilizadas como base para as ilustrações produzidas pelos litógrafos e publicadas pela imprensa.
+O engenheiro militar, historiador, teatrólogo e músico Alfredo Maria Adriano d’Escragnolle Taunay (1843 – 1899), futuro visconde de Taunay, título que recebeu de D. Pedro II em 6 de setmbro de 1889, participou da cobertura da Guerra do Paraguai. Integrou as expedições militares entre 1865 e 1867 e entre 1869 e 1870 e seus escritos circularam na Semana Ilustrada. Parte dos textos jornalísticos do visconde de Taunay foram reunidos por Affonso Taunay (1876 – 1958) na coletânea Recordações de Guerra e de Viagem. Entre suas obras está o clássico A Retirada da Laguna, sobre um dos episódios da Guerra do Paraguai, quando a tropa brasileira, adoecida por beribéri, cólera e tifo foi forçada a se retirar sob os constantes ataques da cavalaria paraguaia.
+ 
+
+Destacamos no periódico Semana Illustrada, do alemão Henrique Fleuiss (1824 – 1882), edição de 10 de setembro de 1865, as publicações de ilustrações da Batalha Naval de Riachuelo e de dom Pedro II e do duque de Saxe em traje de campanha.
+ 
+Semana Ilustrada, 10 de setembro de 1865
+Semana Ilustrada, 10 de setembro de 1865
+ 
+Segunda antropóloga Lúcia Stumpf que em 2019 defendeu a tese de doutorado Fragmentos de Guerra: Imagens e Visualidades contra a Guerra do Paraguai (1865-1881):
+Além de sua importância histórica, a guerra contra o Paraguai se apresenta como um estudo de caso muito interessante para pesquisas de cultura visual… Isso porque a eclosão da guerra coincidiu, no Brasil, com o auge do desenvolvimento de novas tecnologias óticas e de impressão, que impactavam as artes e a indústria, no que chamamos, em referência ao famoso ensaio de Walter Benjamin, de era da reprodutibilidade técnica.
+Grande parte da documentação fotográfica do conflito constitui-se por de cartes-de-visite de generais, soldados, governantes e outros envolvidos na guerra, produzidos entre 1864 e 1870. A guerra rendeu aos fotógrafos uma nova clientela de militares. Eram fotografados nos ateliês de suas cidades antes de irem para os combates.
+Durante a Guerra do Paraguai, em 1865,  d. Pedro II  esteve no Rio Grande do Sul e foi retratado pelo fotógrafo italiano Luiz Terragno (c. 1831 – 1891 ), um dos fotógrafos pioneiros do Rio Grande do Sul.
+ 
+Luiz Terragno. Pedro II, Imperador do Brasil : retrato, 1865. RS/ Acervo FBN
+ 
+Terragno fotografou, entre 1865 e 1867, outros personagens envolvidos no conflito como o Conde d´Eu (1842 – 1922) e o Duque de Saxe (1845 – 1907). Algumas dessas fotos e outras também de autoria de Terragno, de vistas de Porto Alegre, foram exibidas na Exposição de História do Brasil realizada pela Biblioteca Nacional e aberta por Pedro II, em 2 de dezembro de 1881, dia em que o monarca completava 56 anos. A exposição foi um dos mais importantes eventos da historiografia nacional.  Foi organizada por Benjamin Franklin de Ramiz Galvão (1846 – 1938), diretor da Biblioteca Nacional de 1870 a 1882.
+O conde d´Eu (1842-1922), marido da Princesa Isabel (1846 – 1921), assumiu a chefia das tropas, em 1869, substituindo Luis Alves de Lima e Silva, o Duque de Caxias (1803 – 1880).
+ 
+Anônimo. S. A. Real Conde d’Eu com seu estado maior em Lambaré, 1868. Lambaré, Paraguai / Acervo FBN
+ 
+Bartolomeu Mitre (1821 – 1906) foi presidente da Argentina durante a Guerra do Paraguai.
+ 
+Francisco Benque e Alberto Henschel. Bartolomeu Mitre, 1874. Rio de Janeiro, RJ / Acervo Arquivo Nacional
+ 
+Um pouco sobre a Guerra do Paraguai
+ 
+Travada entre o Paraguai e a Tríplice Aliança, – cujo tratado foi assinado em 1º de maio de 1865 entre o Brasil, a Argentina e o Uruguai -, a Guerra do Paraguai ocorreu entre 1864 e 1870 e foi, como já mencionado, o maior conflito armado internacional ocorrido na América do Sul.  O Uruguai estava em guerra civil e cidadãos brasileiros foram perseguidos e tiveram suas fazendas atacadas. Apesar dos esforços do Brasil, da Argentina e da Inglaterra para pôr fim à crise, com representantes reunindo-se tanto com o presidente Aguirre e o chefe da rebelião, Venâncio Flores, a guerra civil continuou, e com ela os ataques aos brasileiros. Em agosto, o governo brasileiro ameaçou intervir militarmente no Uruguai e o Paraguai protestou. O Uruguai rompeu relações com o Brasil, que invadiu o país em 12 de outubro de 1864. Como retaliação, o Paraguai sequestrou, em 12 de novembro de 1864, o vapor brasileiro Marquês de Olinda, que havia partido de Buenos Aires, em 3 de novembro, e transportava o novo presidente do Mato Grosso, o coronel Frederico Carneiro de Campos (1800 – 1867).
+O presidente do Paraguai, Francisco Solano Lopez Filho ( 1827 – 1870), declarou guerra ao Brasil em 13 de dezembro de 1864 e, à Argentina, em 18 de março do ano seguinte. O conflito, durante o qual cerca de de 280 mil paraguaios, na época a metade da população do país, e 120 mil soldados argentinos, uruguaios e brasileiros morreram, terminou em 1870, com a vitória da Tríplice Aliança e com a destruição do Paraguai. A origem do conflito é motivo de divergência entre historiadores, mas algumas de suas causas foram as questões de fronteiras entre os países, rivalidades históricas e a navegação nos rios platinos.
+No Campo da Aclamação, atual Praça da República, foi construído um monumento, o Templo da Vitória, um pavilhão de madeira onde foi celebrada, em 10 de julho de 1870, o Te Deum em comemoração ao término da Guerra do Paraguai, com a presença de dom Pedro II e de outros membros da família real e de ministros do império. A data foi escolhida devido à chegada de dom Pedro II, cinco anos antes, à cidade de Uruguaiana, local da primeira rendição paraguaia.
+A construção do templo teria que ser feita rapidamente e como os cofres públicos estavam depauperados foi criado um impoto extraordinário para financiá-la. A obra e sua concepção foram de Fachinetti e a decoração das ruas do entorno foram entregues ao escritório de arquitetura ligado a Pietro Bosisio, genro do ministro da Fazenda, o visconde de Itaboraí (A Reforma, 17 de maio de 1870, sugunda coluna). Anteriomente, havia se informado que a obra havia ficado a cargo do próprio Bosisio (A Reforma, 15 de maio de 1870, quarta coluna). O empreendimento foi muito criticado e ele foi apelidado na imprensa como o templo de papelão, já que apesar de uma aparência sólida, o edifício foi feito com papelão, lona, gesso e sarrafo. A missa foi um fiasco, com cerca de 200 pessoas nas arquibancadas quando cerca de 8 mil convites haviam sido enviados pelo ministro da Guerra. No mesmo mês de sua inauguração foi desmanchado (A Reforma, 10 de julho de 1870, primeira coluna e quarta coluna); Diário do Rio de Janeiro, 11 de julho de 1870, quarta coluna; A Reforma, 12 de julho de 1870, primeira coluna; Correio Nacional, 13 de julho de 1870, primeira coluna; A Reforma, 29 de julho de 1870, segunda coluna; e A Reforma, 31 de julho de 1870, terceira coluna).
+ 
+Anônimo. Templo da Vitória, 1870. Rio de Janeiro, RJ / Acervo FBN
+ 
+Na edição do Correio Nacional de 13 de julho de 1870, há uns versos sob o título “Cousas do Crispim”, onde foram comentados os eventos envolvendo o Templo da Vitória.
+ 
+Acesse a reportagem A Guerra do Paraguai vista por um pintor suíco, de Theofilo Andrade, publicada na revista O Cruzeiro, 14 de abril de 1971.
+Acesse o artigo Edoardo de Martino, pintor dos tempos de guerra, publicado na Brasiliana Iconográfica em 19 de julho de 2021.
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+* O texto desse artigo foi atualizado em 18 de maio de 2020.
+Esse artigo passou a integrar a série Conflitos, em 20 de março de 2026.
+ 
+Fontes:
+ANDRADE, Joaquim Marçal Ferreira de. A Semana Illustrada e a guerra contra o Paraguai: primórdios da fotorreportagem no Brasil. Rio de Janeiro : Universidade Federal do Rio de Janeiro – Tese de doutorado, 2011.
+ANDRADE, Joaquim Marçal Ferreira de. História da fotorreportagem no Brasil. Rio de Janeiro: Elsevier, 2004.
+CARVALHO, José Murilo. Pedro II: ser ou não ser. São Paulo : Companhia das Letras, 2007.
+CHIAVENATO, Júlio José. Genocídio americano: a Guerra do Paraguai. Rio de Janeiro : Editora Guanabara, 1979.
+CUARTEROLO, Miguel Angel. Soldados de la memoria: imágenes y hombres de la Guerra del Paraguay. Argentina : Planeta,em 2000.
+DORATIOTO, Francisco Fernando Monteoliva. Maldita Guerra.São Paulo:Companhia das Letras, 2002.
+FAUSTO, Boris. História do Brasil.São Paulo:Editora Universidade de São Paulo, 1998.
+FRAGOSO, Augusto Tasso.História da guerra entre a Tríplice Aliança e o Paraguai. Rio de Janeiro : Biblioteca do Exército, 2012.
+GOMES, Laurentino. 1889. Rio de Janeiro : Globo Editora, 2013.
+História Militar em debate
+LAGO, Bia Corrêa do;LAGO, Pedro Corrêa do.Coleção Princesa Isabel: fotografia do século XIX. Rio de Janeiro : Capivara, 2008.432p.:il., retrs.
+LIMA, Luiz Octavio de. A Guerra do Paraguai. São Paulo:Planeta do Brasil, 2016.
+MAESTRI, Mário. Guerra no Papel: história e historiografia da Guerra do Paraguai (1864 – 1870). Passo Fundo:PPGH/UPF, 2013.
+MORENO, Leila Yaeko Kiyomura. Na Guerra do Paraguai, a imprensa inovou em reportagens visuais. Jornal da USP, 2020
+MOTA, Isabela; PAMPLONA, Patricia. Vestígios da Paisagem Carioca: 50 lugares desaparecidos do Rio de Janeiro. Rio de Janeiro: Mauad X, 2019.
+QUEIROZ, Silvânia de. Revisando a Revisão: Genocídio americano: a Guerra do Paraguai. Porto Alegre: FCM Editora, 2014.
+SALLES, Ricardo. Guerra do Paraguai – Memórias e Imagens. Rio de Janeiro:Biblioteca Nacional, 2003.
+SCHWARCZ, Lilia Moritz. As barbas do Imperador: D. Pedro II, um monarca nos trópicos. São Paulo: Companhia das Letras, 1998.
+Site As histórias dos monumentos
+Site Enciclopédia Itaú Cultural
+Site MultiRio
+STUMPF, Lúcia Klück. Fragmentos de Guerra: Imagens e Visualidades contra a Guerra do Paraguai (1865-1881). Tese de doutorado. São Paulo: Faculdade de Filosofia, Letras e Ciências Humanas da USP, 2019.
+TORAL, André. Imagens em desordem: a iconografia da Guerra do Paraguai. São Paulo : Universidade de São Paulo, 2001.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/4183` — `itens/20.500.12156.1_4183/`
+- `20.500.12156.1/3637` — `itens/20.500.12156.1_3637/`
+- `20.500.12156.1/3983` — `itens/20.500.12156.1_3983/`
+- `20.500.12156.1/4154` — `itens/20.500.12156.1_4154/`
+- `20.500.12156.1/4937` — `itens/20.500.12156.1_4937/`
+- `20.500.12156.1/3991` — `itens/20.500.12156.1_3991/`
+
diff --git a/wordpress/8204-novos-acervos-arquivo-nacional.md b/wordpress/8204-novos-acervos-arquivo-nacional.md
new file mode 100644
index 0000000..1a5e7d1
--- /dev/null
+++ b/wordpress/8204-novos-acervos-arquivo-nacional.md
@@ -0,0 +1,42 @@
+---
+id: 8204
+url: "https://brasilianafotografica.bn.gov.br/?p=8204"
+titulo: "Novos acervos: Arquivo Nacional"
+autor: "Andrea Wanderley"
+data: "2017-04-20T08:38:07+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/5055", "20.500.12156.1/4884", "20.500.12156.1/5053"]
+fetched_at: "2026-09-10T10:27:31.118Z"
+---
+
+# Novos acervos: Arquivo Nacional
+
+O Arquivo Nacional e a Brasiliana Fotográfica: primeiro encontro
+ Claudia Beatriz Heynemann e Maria do Carmo Rainho*
+Participar da Brasiliana Fotográfica representa para o Arquivo Nacional sua integração em rede a grandes acervos públicos ou privados, com os quais necessariamente sempre dialogou no campo da história da fotografia e das instituições de guarda.
+ 
+Editores & propriedade de Rodrigues e Co. Rua do Ouvidor, 57. Aqueduto da Carioca, 1890 – 1900. Rio de Janeiro, RJ / Acervo Arquivo Nacional
+ 
+Em diferentes mídias, a imagem fotográfica conservada pela instituição atingiu um público vasto e variado por meio da pesquisa realizada por seus usuários e pelos projetos de difusão como livros, mostras, exposições virtuais, sites e peças gráficas. Transformadas pelo uso e pelas intervenções realizadas existe, por outro lado, algo que é próprio a cada fotografia ou às séries, sempre sujeitas a renovadas interpretações.
+Com alguns poucos daguerreótipos provenientes dos fundos Família Werneck e Família Bicalho, a fotografia oitocentista no Arquivo Nacional adquire vulto com os retratos de estúdio que inundaram o mundo todo, produzidos no Brasil por nomes como Joaquim Insley Pacheco, Joaquim Feliciano Alves Carneiro, Alberto Henschel, Guilherme Gaensly e Rodolfo Lindemann reunidos em diversos arquivos privados e na coleção Fotografias Avulsas. Esta inclui formatos como panorama, carte de visite, carte cabinet e estereogramas, numa cronologia que se estende de 1860 a 1964. Encontramos também, nesse conjunto, vistas e cenas urbanas do Brasil, como as paisagens do Rio de Janeiro por Juan Gutierrez, Marc Ferrez, Bippus e Lopes; ruas e prédios históricos da cidade de Ouro Preto, em fotos de J. Brandi; Salvador por Antônio da Silva Lopes Cardoso; e Santa Catarina por Augusto Schmidt. Somam-se ainda álbuns referentes às missões religiosas e à participação brasileira na Exposição Internacional de Filadélfia, em 1876; na Exposição Continental de 1882, em Buenos Aires; e na Exposição Universal de Paris, de 1889, aqui apresentadas.
+Acessando o link para as fotografias do acervo do Arquivo Nacional disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+Se os próprios álbuns eram dispositivos óticos que integravam o fenômeno das exposições universais, nas últimas décadas do século XIX, evidencia-se a estreita conexão entre os estereogramas e esses eventos, quando a estereoscopia se torna um dos principais meios de propagação da fotografia: em 1851, a técnica cai no gosto popular ao ser apresentada na Exposição Universal de Londres. O estereograma proporcionava ao espectador uma experiência em três dimensões, aproximando-o do real. Vidro e ferro, vitrines, produtos, países, culturas, uma sincronia que alinhava fenômenos análogos em seu esforço de síntese, como os catálogos, enciclopédias, e mesmo as viagens.
+As mais antigas estereoscopias a circular no país são da década de 1850, de autoria de Revert Henrique Klumb. Depois de um período de declínio em quase todos os países, entre 1870 e 1880, ela voltou a despertar grande interesse, conhecendo seu apogeu na virada do século XIX para o XX. No Brasil este fomento teve como responsável, entre outros, o conde de Agrolongo que montou, no Rio de Janeiro, a Grande Manufatura de Fumos e Cigarros Marca Veado que distribuía figurinhas com fotografias estereoscópicas de tamanho reduzido (2,5 x 7 cm) em seus maços.
+A série de estereogramas selecionadas inclui vistas do Rio de Janeiro retomando perspectivas consagradas em gravuras e aquarelas, mas que comportavam novas tomadas que começavam a desenhar outra cidade. Lembrando o caráter de grande circulação deste gênero de imagem, temos as séries produzidas para difundir a reforma do centro do Rio de Janeiro, particularmente a abertura da Avenida Central e, finalmente, retornando a uma dada origem, os estereogramas da Exposição Nacional de 1908 que destacavam o progresso dos transportes, da iluminação, dos grandes pavilhões e do elegante público afluente.
+ 
+Editores & propriedade de Rodrigues & Co. Rua do Ouvidor, 57. Panorama do Rio de Janeiro a partir da Ilha das Cobras, 1890 – 1900. Rio de Janeiro, RJ / Acervo Arquivo Nacional
+ 
+Entre os arquivos privados de homens públicos, apresentamos parte do fundo Afonso Pena que contém 445 imagens, dentre elas vistas de localidades brasileiras, em álbuns ou molduras, como Santa Bárbara, em Minas Gerais; Maceió, em Alagoas e Floresta dos Leões, em Pernambuco, estradas de ferro, obras federais, áreas assistidas pela Comissão de Açudes e Irrigação e registros de Afonso Pena com autoridades e em visita a estados brasileiros, como o Amazonas.
+Um outro país, que se desenhava nos anos 1920 e 1930 com as lutas femininas pelos direitos civis, se dá a ver no acervo da Federação Brasileira pelo Progresso Feminino, fundada em 1922, por Berta Lutz, no Rio de Janeiro. Seus documentos fotográficos registram as ações para a conquista do voto e da emancipação das mulheres; eventos, congressos, assembleias e conferências feministas nacionais e internacionais; a atuação de Berta Lutz na defesa dos direitos da mulher; seu trabalho como pesquisadora do Museu Nacional; as sufragistas brasileiras e estrangeiras, além de homens públicos envolvidos com a causa do movimento.
+Com a inserção das fotografias do Arquivo Nacional, esperamos contribuir para uma nova configuração do universo de pesquisa que a Brasiliana Fotográfica proporciona, permitindo o estabelecimento de conexões entre diferentes acervos e a análise das ocorrências de temas, fotógrafos e técnicas, entre tantos aspectos que permitem uma escrita da história da fotografia.
+*Claudia Beatriz Heynemann – Doutora em História | Supervisora de Pesquisa do Arquivo Nacional
+* Maria do Carmo Rainho – Doutora em História | Pesquisadora do Arquivo Nacional
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/5055` — `itens/20.500.12156.1_5055/`
+- `20.500.12156.1/4884` — `itens/20.500.12156.1_4884/`
+- `20.500.12156.1/5053` — `itens/20.500.12156.1_5053/`
+
diff --git a/wordpress/8222-missa-campal-de-17-de-maio-de-1888-mais-identificacoes.md b/wordpress/8222-missa-campal-de-17-de-maio-de-1888-mais-identificacoes.md
new file mode 100644
index 0000000..3b46459
--- /dev/null
+++ b/wordpress/8222-missa-campal-de-17-de-maio-de-1888-mais-identificacoes.md
@@ -0,0 +1,74 @@
+---
+id: 8222
+url: "https://brasilianafotografica.bn.gov.br/?p=8222"
+titulo: "Missa Campal de 17 de maio de 1888 – Mais identificações"
+autor: "Andrea Wanderley"
+data: "2017-05-17T10:54:28+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/1795"]
+fetched_at: "2026-09-10T10:27:34.295Z"
+---
+
+# Missa Campal de 17 de maio de 1888 – Mais identificações
+
+Dois anos após a publicação da fotografia produzida por Antônio Luiz Ferreira, Missa campal celebrada em ação de graças pela Abolição da Escravatura no Brasil, realizada no Rio de Janeiro, em 17 de maio de 1888, a Brasiliana Fotográfica a republica com mais uma identificação, dessa vez, do padre baiano José Alves Martins do Loreto (1845 – 1896), redator e sócio proprietário do jornal O Apóstolo. O reconhecimento foi feito pelo leitor Pedro Juarez Pinheiro. Além das identificações iniciais, que incluíram Machado de Assis (1839 – 1908), muitas outras já foram realizadas a partir de indicações feitas pelos leitores desse portal, que aceitaram o desafio de apontar outras pessoas presentes no evento. Mas ainda há muito trabalho pela frente. Novos reconhecimentos são bem-vindos! Na silhueta abaixo, o padre Loreto é o número 21.
+ 
+
+ 
+
+ 
+Acessando o link para a fotografia Missa campal celebrada em ação de graças pela Abolição da Escravatura no Brasil produzida  Antônio Luiz Ferreira,  disponível na Brasiliana Fotográfica, o leitor poderá magnificar a imagem e verificar todos os dados referentes a ela.
+1 – Princesa Isabel (1846-1921) – princesa imperial do Brasil e três vezes regente do Império do Brasil. Ficou conhecida como a Redentora por ter assinado a Lei Áurea.
+2 – Luis Filipe Maria Fernando Gastão de Orléans, o conde d´Eu (1842-1922) – príncipe do Brasil por seu casamento com a princesa Isabel.
+3 – Não identificada.
+4 – Possivelmente o Marechal Hermes Ernesto da Fonseca (1824-1891) – político e militar brasileiro, irmão do general Deodoro da Fonseca, primeiro presidente do Brasil,  e pai do futuro presidente do Brasil, Hermes Rodrigues da Fonseca.
+5 – Machado de Assis (1839-1908) – um dos maiores escritores brasileiros de todos os tempos.
+6 – Possivelmente José de Miranda da Silva Reis, marechal de campo e Barão Miranda Reis (1824-1903) – foi ajudante de campo e camarista do imperador Pedro II e participou da Guerra do Paraguai. Exerceu importantes cargos, dentre eles foi ministro do Superior Tribunal Militar e dirigiu a Escola Superior de Guerra e o Arsenal de Guerra do Rio de Janeiro.
+7 – Possivelmente José do Patrocínio (1854-1905) – escritor e jornalista, uma das maiores figuras do movimento abolicionista. Na foto está segurando a mão de seu filho primogênito, que ao fim da missa foi beijado pela princesa Isabel.
+8 – Jornalista (?) não identificado.
+9 – Possivelmente José Ferreira de Souza Araujo, conhecido como Ferreira Araujo(1848-1900) – um dos mais importantes jornalistas da época, foi diretor da Gazeta de Notícias e sob o pseudônimo Lulu Sênior escreveu as muito populares colunas Macaquinhos no Sótão, Balas de Estalo e Apanhados. Foi o vice-diretor da Comissão Central da Imprensa Fluminense, formada para organizar e programar os festejos em torno da Abolição.
+10 – Thomaz José Coelho de Almeida (1838-1895) – ministro da Guerra, integrante do Gabinete de 10 de março de 1888.
+11 – Rodrigo Silva (1833-1889) – ministro dos Negócios da Agricultura e interino dos Negócios Estrangeiros, integrante do Gabinete de 10 de março de 1888.
+12- José Fernandes da Costa Pereira Junior (1833-1899) – ministro do Império, integrante do Gabinete de 10 de março de 1888.
+13- João Alfredo Correia de Oliveira (1835-1919) – presidente do Conselho de Ministros do Gabinete de 10 de março de 1888.
+14- Maria José Velho de Avelar, Baronesa de Muritiba (1851-1932) – dama do Paço e amiga íntima da princesa Isabel.
+15- Maria Amanda de Paranaguá Dória, Baronesa de Loreto (1849-1931) – dama do Paço e amiga íntima da princesa Isabel.
+16- Fernando Mendes de Almeida (1845-1921) – na época, diretor e redator-chefe do Diário de Notícias. Era o segundo secretário da Comissão Central da Imprensa Fluminense, formada para organizar e programar os festejos em torno da Abolição.
+17- Jornalista (?) não identificado.
+18- Jornalista (?) não identificado.
+19- Senador ou deputado (?) não identificado.
+20- Possivelmente Ângelo Agostini (1843-1910) – italiano, um dos primeiros e mais importantes cartunistas do Brasil. Fez uma intensa campanha pela abolição da escravatura. Fundou e colaborou com diversos jornais e revistas, dentre eles a “Revista Illustrada”, que circulou entre 1876 e 1898.
+21- Padre José Alves Martins do Loreto (1845 – 1893), redator e sócio proprietário do jornal “O Apóstolo”.
+À esquerda da fotografia, estão vários padres diante do altar, que ainda não conseguimos identificar. Dentre eles, segundo a imprensa da época, estariam o celebrante da missa, padre Cassiano Coriolano Collona, capelão do Exército e um dos fundadores da Confederação Abolicionista, criada em 19 de fevereiro de 1888; o padre-mestre Escobar de Araújo, vigário de São Cristóvão; os padres Castelo Branco e Telemaco de Souza Velho e o padre Loreto, agora identificado.
+O missal usado na cerimônia, em veludo carmezin, tinha a seguinte inscrição: “13 de maio de 1888 – Esse missal foi o que serviu na missa campal, celebrada em 17 de maio de 1888, no campo de S. Cristóvão, em ação de graças pela promulgação da lei que extinguiu a escravidão no Brasil”. O missal e a campainha utilizados foram, assim como a garrafa de vinho Lacryma Christi, doados. Segundo a imprensa da época, formavam as alas do altar as ordens terceiras de São Francisco de Paula, de São Francisco da Penitência e de Nossa Senhora do Carmo, além das irmandades de São Cristóvão e do Rosário com seus galões e candelabros. Estandartes de associações e de escolas podem ser vistas na foto.
+A importância dos jornais do Rio de Janeiro no processo da Abolição da Escravatura fica evidenciada na missa campal por dois fatos: antes do início da cerimônia, o ministro da Guerra, Thomaz José Coelho de Almeida(identificado na foto – número 10), “ergueu um viva à imprensa nacional”; e, representando a imprensa, o jornalista Fernando Mendes de Almeida (identificado na foto – número 16, vestindo uma toga) ajudou na celebração da missa campal.
+A missa campal do dia 17 de maio de 1888 foi um dos festejos pela Abolição da Escravatura organizada pela Comissão Central da Imprensa Fluminense. Possivelmente, seus integrantes estão identificados na foto usando uma faixa na qual podemos ler a palavra imprensa.
+ 
+Pequeno perfil do padre José Alves Martins do Loreto (1845 – 1896)
+ 
+O padre José Alves Martins do Loreto nasceu na Bahia, em 1845, e era neto paterno de José Ferreira de Carvalho (1783-1866), fundador da Vila do Raso, atual cidade baiana de Araci. Iniciou a carreira eclesiástica como vigário da Igreja da Vitória, em Salvador, após sua ordenação como padre, em 1868. Em Salvador, foi com seu irmão, o também padre Urbano Cecílio Martins, diretor do Colégio Atheneu.
+Em 1887, pediu licença ao então arcebispo da Bahia, Dom Luís Antônio dos Santos (1817-1891), e seguiu para o Rio de Janeiro para tratamento de saúde. Oito meses depois, pediu autorização para renunciar à Paroquia da Vitória e se estabeleceu definitivamente no Rio. Já no ano seguinte, tornou-se, ao lado do padre cearense João Scaligero Augusto Maravalho (1844 – 1905), editor-chefe do jornal católico O Apóstolo, fundado em 1866 pelo monsenhor José Gonçalves Ferreira (? – 1883). O padre Loreto era amigo próximo de José do Patrocínio (1854-1905), uma das figuras mais importantes no movimento abolicionista brasileiro, e foi Patrocínio que fez o discurso de despedida em seu enterro (O Apóstolo, 19 de abril de 1896).
+A identificação do Padre Loreto, feita por Pedro Juarez Pinheiro, foi divulgada pelo Portal Folha e foi possível a partir da comparação da fotografia da Missa Campal de 17 de maio de 1888 com uma ilustração feita pelo cartunista Ângelo Agostini (1843-1910) que acompanhava o texto No púlpito e na impressa, uma homenagem ao padre Loreto na ocasião de sua morte, publicada no jornal ilustrado Don Quixote, de 18 de abril de 1896.
+ 
+Don Quixote, 18 de abril de 1896
+ 
+A presença de Lima Barreto na Missa Campal
+ 
+Apesar de não estar identificado na fotografia de Antonio Luis Ferreira, o escritor e jornalista Afonso Henriques de Lima Barreto (13/05/1881 – 1/11/1922), na época com 7 anos, contou em uma crônica publicada na Gazeta de Tarde, de 4 de maio de 1911, que esteve presente a esse momento histórico, levado por seu pai, João Henriques de Lima Barreto. Escreveu: Houve missa campal no Campo de São Cristóvão. Eu fui também com meu pai; mas pouco me recordo dela, a não ser lembrar-me que, ao assisti-la, me vinha aos olhos a “Primeira Missa”, de Vítor Meireles. Era como se o Brasil tivesse sido descoberto outra vez… A crônica de Lima Barreto foi transcrita no blog do Instituto Moreira Salles.
+Uma curiosidade: Lima Barreto nasceu em 13 de maio de 1881, exatamente 7 anos antes do dia da abolição da abolição da escravatura no Brasil, ocorrida em 13 de maio de 1888.
+ 
+Outras publicações da Brasiliana Fotográfica sobre a Missa Campal de 17 de maio de 1888:
+Missa Campal de 17 de maio de 1888
+Machado de Assis vai à missa, de José Murilo de Carvalho
+Missa Campal de 17 de maio de 1888 – Novas identificações
+
+ 
+Andrea C. T. Wanderley
+Editora-assistente e pesquisadora do portal Brasiliana Fotográfica
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/1795` — `itens/20.500.12156.1_1795/`
+
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+---
+id: 8290
+url: "https://brasilianafotografica.bn.gov.br/?p=8290"
+titulo: "Abram-Louis Buvelot (Suíça, 03/03/1814 – Austrália, 30/05/1888)"
+autor: "Andrea Wanderley"
+data: "2017-05-30T11:25:25+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/4779"]
+fetched_at: "2026-09-10T10:27:37.915Z"
+---
+
+# Abram-Louis Buvelot (Suíça, 03/03/1814 – Austrália, 30/05/1888)
+
+Suíço, nascido em Morges, o pintor e fotógrafo Abram-Louis Buvelot (1814 – 1888), chegou ao Brasil, em 1835, e foi, com seu associado, o francês Prat (? – 1852), o primeiro fotógrafo no Brasil a receber o real patrocínio de um monarca quando, em 8 de março de 1851, d. Pedro II autorizou o uso das armas imperiais na fachada do estabelecimento fotográfico Buvelot & Prat, na rua dos Latoeiros, no centro do Rio de Janeiro. Buvelot pintou, sob encomenda da imperatriz dona Teresa Cristina, uma paisagem de floresta brasileira, que foi exibida na Exposição Geral de Belas Artes de 1846. A obra agradou muito a d. Pedro II, que o agraciou com o título de Cavaleiro da Imperial Ordem do Rosa, em 1847 (Diário Novo, 22 de março de 1847, na segunda coluna). A imperatriz dava de presente a suas irmãs em Nápoles, Paris e Viena quadros de Buvelot.
+ 
+Buvelot & Prat. Imperatriz Thereza Christina, 1852. Rio de Janeiro / Acervo IMS
+ 
+Buvelot foi aluno do pintor suíço Marc Louis Arlaud (1772 – 1845), na Escola de Desenho de Lausanne, de Jean-George Volmar (1769 – 1831), em Berna, e do francês Camille Flers (1802 – 1868), em Paris. Este último havia passado uma temporada no Rio de Janeiro, onde trabalhou como cozinheiro, pintor e bailarino.
+Em  Salvador, sua primeira residência no Brasil, Buvelot foi professor de pintura. Em 1840, passou a morar no Rio de Janeiro e produziu vistas, cenas de costumes urbanos da cidade que estão no álbum litográfico Rio de Janeiro Pitoresco, realizado com o pintor francês Louis Auguste Moreaux (1818 – 1877) e publicado em fascículos entre 1942 e 1945, ano em que foi publicado, na íntegra, pela Heaton & Rensburg. Foi o primeiro álbum de gravuras impresso no Brasil (de que se tem notícia até hoje) e possuía 18 pranchas com dezenas de imagens litografadas, dentre elas registros da Ladeira de Santa Teresa e Santa Luzia, do Chafariz do Aragão, do Largo do Paço, além de cenas de escravizados e de outros personagens da cena carioca.
+Entre 1840 e 1852, participou de todas as exposições da Academia Imperial de Belas Artes, exceto nos anos de 1842, 1845 e 1851. Fundou, em torno de 1845, um estabelecimento fotográfico na rua dos Latoeiros, 36 (atual Gonçalves Dias), tornando-se um dos primeiros profissionais da daguerreotipia no Rio de Janeiro. A oficina de Buvelot prestou diversos serviços para a Casa Imperial, dentre eles a produção de retratos de d. Pedro II, dona Teresa Cristina e de sua filha, a princesa Isabel, que integram a Coleção de Dom Pedro de Orleans e Bragança. Com seu associado, Prat, realizou, em 1851, uma série de daguerreótipos de Petrópolis – todos desaparecidos. Estiveram na cidade entre 25 de fevereiro a 1º de março e entre 9 e 15 de abril para fotografar aspectos da então colônia imperial e receberam da mordomia imperial 2:595$000. Foram pagos 92$000 ao Hotel Suíço de Francisco Gabriel Chifelli e ao colono Davi Heiderich pelo aluguel de carros que os transportou do Porto da Estrela a Petrópolis. Esses daguerreótipos estão desaparecidos. Segundo o historiador Guilherme Auler (1914-1965), alguns foram descritos por d. Pedro II em um dos manuscritos que estão no Arquivo da Casa Imperial. Seriam a descrição dos registros do palácio, ainda não concluído; do Hotel Suíço, da serraria, da residência do ministro da Rússia, além de aspectos da rua do Imperador e da rua Dona Francisca, dentre outros. Auler levantou a hipótese dessas fotografias terem sido ofertadas a Dona Francisca, a Princesa de Joinville que semestralmente recebia de maneira oficial, com correspondência da Mordomia da Casa Imperial ao Ministro brasileiro em Paris, caixas de doce de abacaxi, farinha de mandioca, feijão preto, barril de aguardente, caixas de goiabada e sementes de quiabo… A feijoada recordava o Brasil. E se havia o cuidado de remeter tais coisas, para o culto da saudade, certamente um daguerreótipo representava muito mais (Jornal do Brasil, 2 de junho de 1957). 
+Em 1852, Buvelot retornou à Suíça, onde tentou, sem sucesso se estabelecer como fotógrafo. Em 1865, fixou-se na Austrália, onde tornou-se um dos maiores pintores paisagistas do país. Entre 1866 e 1882, contribuiu com paisagens em várias exposições nacionais e internacionais. Faleceu em 30 de maio de 1888.
+Em uma carta enviada em 1877 para um de seus amigos mais próximos, o pintor francês Eugene Girardet (1853 – 1907), refletindo sobre as circunstâncias de sua vida e seu envelhecimento, Buvelot escreveu:
+
+Apenas uma faculdade persiste em força total e esta é um sentimento pela natureza que unido a um coração sempre jovem para amar e valorizar aqueles que escolheu…me faz encontrar um charme na vida.
+
+Cronologia de Abram-Louis Buvelot (1814 – 1888)
+ 
+M. Louis Buvelot. Xilografia publicada no Australasian Sketcher, em 12 de julho de 1888 / Acervo da Coleção La Trobe Picture
+ 
+1814 – Nascimento de Abram-Louis Buvelot, em 3 de março, em Morges, na Suíça, segundo filho de François-Simeon (? – 1848), funcionário do Correio, e de Jeanne-Louise-Marguerite Heizer (? – 1856), diretora escolar. Tinha um irmão, Eugene-Jean-Louis-Henri (c. 1820- 1852), gravador e litógrafo. A família Buvelot havia se estabelecido em Morges em 1677, onde chegou como refugiada protestante da cidade de Condé-en-Barrois, na França.
+1830 – Em dezembro, Buvelot deixou sua cidade natal, provavelmente para estudar na Escola de Desenho de Lausanne, dirigida pelo pintor suíço Marc Louis Arlaud (1772 – 1845), que havia sido aluno do célebre pintor francês Louis David (1748-1825).
+1834 – Provavelmente, deixou a Suíça e passou alguns meses em Paris, onde foi aluno do pintor francês Camille Flers (1802 – 1868). Flers havia vivido no Rio de Janeiro entre 1821 e 1823.
+1835 - Buvelot chegou em Salvador, na Bahia, onde deu aulas de pintura. Seu tio, François Buvelot (1777 – ?) possuía uma plantação de café no estado entre 1825 e 1842. Buvelot permaneceu em Salvador até 1840 e os quadros que pintou da cidade, intitulados Vista da Bahia e Vista das Fortalezas da Entrada da Bahia, além de um retrato de Minerva Candida d’Albuquerque, o destacou entre as famílias europeias abastadas que viviam na Bahia.
+1839 – Anunciou ao público ter aberto uma casa onde desenhava paisagens, retratos de todos os tamanhos e tudo quanto diz respeito a essa arte (Correio Mercantil, 9 de fevereiro de 1939, na segunda coluna).
+1840 – Anunciou com o pintor francês Louis Auguste Moreau (1818 – 1877) aulas de desenho e pintura na rua Direita do Palácio, nº 65 (Correio Mercantil, 29 de janeiro, na segunda coluna, e 4 de fevereiro de 1840, na segunda coluna).
+Em outubro, chegou ao Rio de Janeiro, a bordo do patacho Minerva. Três dias depois, compareceu à Polícia e no livro de legitimação de passaportes identificou-se como Luis Buvelot, suíço, solteiro, 27 anos, retratista. Como a maioria dos imigrantes, viveu um tempo no Hotel Pharoux, e depois teve várias moradias, dentre elas na ruas do Rosário, do Cano, Santa Teresa e Ourives (Jornal do Commercio, 31 de outubro de 1840, na terceira coluna e Jornal do Brasil, 2 de junho de 1957). 
+Em dezembro, participou da III Exposição Geral de Belas Artes com duas paisagens representando a praia de Santa Luzia e o Saco da Gamboa com o cemitério inglês (Jornal do Commercio, 16 de dezembro de 1840 e Diário de Pernambuco, 13 de janeiro de 1841, na primeira coluna). Na ocasião, Zeferino Ferrez (1797 – 1951), pai do fotógrafo Marc Ferrez, foi condecorado.
+1841 – Foi anunciada a venda de uma litografia de Heaton & Rensburg representando a coroação e a sagração de d. Pedro II, quando ele se apresentou ao povo na varanda Largo do Paço, baseada em um desenho do pintor francês Louis Auguste Moreaux (1818 – 1877) e Buvelot. Estava à venda nas lojas de Georges Leuzinger (1813 – 1892) e Laemmert, dentre outras (Jornal do Commercio, 4 de agosto de 1841, na segunda coluna).
+Participou da Exposição Geral de Belas Artes com quadros representando a Lagoa Rodrigo de Freitas e Botafogo (Jornal do Commercio, 6 de janeiro de 1842, na terceira coluna).
+1842 – Foi publicado o primeiro número do Rio de Janeiro Pitoresco com seis estampas de vistas e figuras desenhadas por Buvelot e pelo pintor francês Louis Auguste Moreaux (1818 – 1877). Estava à venda nas lojas de Georges Leuzinger (1813 – 1892) e Laemmert (Jornal do Commercio, 24 de março de 1842, na terceira coluna).
+Embarcou no navio Bom Sucesso, rumo a Vila Viçosa e Campos (Jornal do Commercio, 17 de novembro de 1842, na última coluna).
+1843 - Em novembro, Buvelot casou-se com a parisiense Marie-Félicité Lalouette (1816 – ?), filha de Nicolas-Joseph e Appaline-Rosalie Piquet, meses depois do nascimento de Jeanne-Louise-Sophie, única filha do casal, em 24 de fevereiro.
+Ele e o pintor cearense José dos Reis Carvalho (1800 – 1872) ganharam medalha de ouro na Exposição Geral de Belas Artes.
+1844 – A imperatriz dona Teresa Cristina, que havia chegado ao Rio de Janeiro, em 3 de setembro de 1843, comprou todos os quadros de Buvelot expostos na Exposição do Rio de Janeiro: Cemitério Inglês na Gamboa, Vista do Convento de Santo Antônio, Canto do Beco do Cairu, Vista da Cidade do Rio de Janeiro observado do Andaraí Pequeno e Vista de Nossa Senhora da Glória observada dos aquedutos. O recibo, no valor de 300$000, de 1º de fevereiro de 1844, encontra-se no Arquivo da Casa Imperial. (Jornal do Commercio, 23 de fevereiro de 1844, na primeira coluna e Jornal do Brasil, 2 de junho de 1957).
+Buvelot participou da Exposição Geral de Belas Artes com quatro quadros: Vista da cidade e da Baía observada da Fábrica de Rapé, no Andaraí; Vista da passagem da Boa Vista observada do mesmo lugar; Vista do Corcovado e da Lagoa Rodrigo de Freitas observada da Boa Vista da Gávea; e Vista de Botafogo observada do caminho novo da praia Vermelha (Jornal do Commercio, 21 de dezembro de 1844, na primeira coluna e Jornal do Brasil, 2 de junho de 1957).
+c. 1845 – Fundou seu estabelecimento fotográfico, na rua dos Latoeiros (atual rua Gonçalves Dias), tornando-se um dos primeiros profissionais da daguerreotipia no Rio de Janeiro.
+1845 – Foi publicado pela Heaton & Rensburg o álbum litográfico Rio de Janeiro Pitoresco, realizado por Buvelot e pelo pintor francês Louis Auguste Moreaux (1818 – 1877). Reunia três séries de gravuras realizadas desde 1842 (Anuário do Museu Imperial, 1960).
+Consta dos livros de fevereiro da mordomia imperial um recibo no valor de 500$000 para o pagamento de uma vista da Lagoa Rodrigo de Freitas, de autoria de Buvelot (Jornal do Brasil, 2 de junho de 1957).
+Francisco Buvelot, provavelmente François Buvelot, o tio de Louis Buvelot, partiu para a França, na barca francesa Emile (Jornal do Commercio, 20 de junho de 1845, na última coluna).
+1846 – Era o professor de desenho do Colégio de São Pedro de Alcântara (Jornal do Commercio, 18 de outubro de 1846, na segunda coluna).
+Pintou, sob encomenda da imperatriz dona Teresa Cristina, uma paisagem de floresta brasileira, Vista de mato virgem, que foi exibida na Exposição Geral de Belas Artes de 1846. Pelo quadro, foram pagos 300$000 conforme recibo de 4 de dezembro de 1846 existente no Arquivo da Casa Imperial (Jornal do Brasil, 2 de junho de 1957).
+1847 – D. Pedro II o agraciou com o título de Cavaleiro da Imperial Ordem do Rosa  pelo mesmo decreto que tornou Grandjean de Montigny (1776 – 1850) Oficial da mesma Ordem (Diário Novo, 22 de março de 1847, na segunda coluna).
+Apresentou uma aquarela na Exposição Geral de Belas Artes (Jornal do Brasil, 2 de junho de 1957).
+1848 – Apresentou seis pinturas na Exposição Geral de Belas Artes: Vista de uma casa nas Laranjeiras, Vista de uma choupana, Vista do caminho dos aquedutos, Vista de uma casa em Catumbi, Vista da Gávea observada da Lagoa; e Vista das Laranjeiras (Jornal do Brasil, 2 de junho de 1957).
+1848 a 1951 – Seu estabelecimento, intitulado Louis Buvelot  foi anunciado na seção de “Pintores e Retratistas” do Almanak Administrativo, Mercantil e Industrial do Rio de Janeiro de 1848, 1849, 1950 e 1951. Em 1951, foi anunciado também na seção de “Daguerreótipos”, no mesmo endereço, mas intitulado Officina de Buvelot, 6, & Prat, r. dos Latoeiros, 36.
+1849 – Em 30 de novembro, a Família Real pagou a Buvelot  544$000 pela realização de 19 retratos e pelo fornecimento de 20 estojos de daguerreótipos (Jornal do Brasil, 2 de junho de 1957). 
+Buvelot foi saudado como o artista que melhor sente e executa a natureza do Brasil, na Exposição da Academia de Belas Artes. Ele apresentou duas vistas (Correio Mercantil, 18 de dezembro de 1849, na terceira coluna).
+1850 – Uma conta de 404$000 de retratos de d. Pedro II foi paga pela mordomia imperial, em setembro. A partir dessa informação, o historiador Guilherme Auler concluiu que o retrato do imperador que se encontra no Palácio do Grã-Pará é de autoria de Buvelot & Prat e sua data é 1850 (Jornal do Brasil, 2 de junho de 1957).
+Em uma crítica às obras apresentadas na Exposição da Academia de Belas Artes, foi escrito: as paisagens do sr. Buvelot não podem ser mais naturais! Lamentamos que esse homem não seja brasileiro ou ao menos lente de paisagem da academia, que a esse respeito está muito mal servida… Ele apresentou duas aquarelas (Gazeta Mercantil, 17 de dezembro de 1850, na segunda coluna e Jornal do Brasil, 2 de junho de 1957).
+1851 – Buvelot e Prat estiveram em Petrópolis entre 25 de fevereiro a 1º de março e entre 9 e 15 de abril para fotografar aspectos da então colônia imperial e receberam da mordomia imperial 2:595$000. Foram pagos 92$000 ao Hotel Suíço de Francisco Gabriel Chifelli e ao colono Davi Heiderich pelo aluguel de carros que os transportou do Porto da Estrela a Petrópolis. Esses daguerriótipos estão desaparecidos. Segundo o historiador Guilherme Auler, alguns foram descritos por d. Pedro II em um dos 114 manuscritos que estão no Arquivo da Casa Imperial. Seriam a descrição dos registros do palácio, ainda não concluído; do Hotel Suíço, da serraria, da residência do ministro da Rússia, além de aspectos da rua do Imperador e da rua Dona Francisca, dentre outros. Auler levantou a hipótese dessas fotografias terem sido ofertadas a Dona Francisca, a Princesa de Joinville que semestralmente recebia de maneira oficial, com correspondência da Mordomia da Casa Imperial ao Ministro brasileiro em Paris, caixas de doce de abacaxi, farinha de mandioca, feijão preto, barril de aguardente, caixas de goiabada e sementes de quiabo… A feijoada recordava o Brasil. E se havia o cuidado de remeter tais coisas, para o culto da saudade, certamente um daguerreótipo representava muito mais  (Jornal do Brasil, 2 de junho de 1957).
+Foi o primeiro fotógrafo no Brasil, com seu associado Prat, a receber o real patrocínio de um monarca quando, em 8 de março de 1851, d. Pedro II autorizou o uso das armas imperiais na fachada do estabelecimento fotográfico Buvelot & Prat.
+ 
+Propaganda do ateliê fotográfico Buvelot & Prata, Correio Mercantil de 4 de junho de 1851.
+ 
+1852 – O estabelecimento fotográfico foi anunciado no Almanak Administrativo, Mercantil e Industrial do Rio de Janeiro como Officina Imperial de Buvelot, 6, & Prat, r. dos Latoeiros, 36.
+Apresentou  um quadro na Exposição Geral de Belas Artes (Jornal do Brasil, 2 de junho de 1957).
+Buvelot retornou à Suíça por motivos de saúde, provavelmente havia contraido malária. Porém, no livro Famous Australian Artists, de Lois Hunter, publicado na Austrália, em 2003, foi mencionado que o motivo real de Buvelot ter deixado o Brasil teria sido a pressão pública devido a um escândalo desencadeado por um caso que ele teria tido com uma estudante. Algumas fontes informam que o ano foi 1851.
+Viveu entre julho de 1852 e dezembro de 1853 em Vevey, Vaud, onde tentou, sem sucesso, se estabelecer como retratista.
+1853 - Em dezembro, mudou-se com Marie-Felicité e sua filha Jeanne-Louise-Sophie (1844 – ?) para Lausanne. 
+1854 – Foi com o artista austríaco Ferdinand Krumholtz (1810 – 1878), que ele havia conhecido no Rio de Janeiro, para Calcutá, na Índia, onde tentaram as carreiras de pintor e fotógrafo.
+1855 - Buvelot teria ido para a Escócia antes de voltar à Suíça (Jornal do Brasil, 2 de junho de 1957). Começou a trabalhar como desenhista na Escola de Design em La Chaux-de-Fonds, Neuchâtel. Permaneceu na cidade com sua mulher e filha até setembro de 1864. Nesse período, contribuiu inúmeras vezes em exposições organizadas pela Sociedade dos Amigos das Artes de Neuchâtel.
+1856 – Participou da Exposição de Berna com a pintura de uma paisagem.
+Pela última vez a Oficinna Imperial Buvelot & Prat foi anunciada no Almanaque Administrativo, Mercantil e Industrial do Rio de Janeiro. O último anúncio  publicado no Correio Mercantil e Instrutivo, Político, Universal foi publicado em 21 de janeiro de 1956, na terceira coluna.
+1857 – A oficina foi anunciada no Auxiliador da Administração do Correio da Tarde de 1857.
+1859/1860 – Buvelot participou da Exposição Geral de Belas Artes de 1859 e de 1860 (Revista Popular, janeiro a março de 1861).
+1864 – Buvelot trabalhou em um comitê que estabeleceu o Museu de Belas Artes em La Chaux-de-Fonds.
+Segundo informação do dicionário de Emmanuel Bénézit (1854 – 1920), Buvelot teria voltado ao Brasil durante esse ano (Jornal do Brasil, 2 de junho de 1957).
+Em setembro, deixou sua família em La Chaux-de-Fonds e, dois meses depois, partiu de Liverpool para a Austrália acompanhado de Caroline-Julie Beguin (? – 1902), que havia sido sua colega como professora de francês na Escola de Design de La Chaux-de-Fonds. Viveram juntos até a morte de Buvelot, em 1888.
+1865 – Chegou em 18 de fevereiro em Melbourne, em Vitória, estado da Austrália, onde comprou um estúdio fotográfico na rua Bourke, nº 92.
+1866 – Mudou-se para a rua La Trobe, nº 88 e retomou sua carreira de pintor. Caroline-Julie dava aulas de francês para ajudá-lo a se estabelecer como artista em Melbourne. Tornou-se conhecido, recebeu diversos prêmios, tendo-se notabilizado por suas paisagens. Entre 1866 e 1882, contribuiu com paisagens em várias exposições nacionais e internacionais. Segundo o crítico de arte do jornal australiano Argus, James Smith, ele reproduzia integralmente as paisagens australianas nas mais diversas técnicas: aquarelas, óleos e crayons.
+1868 - Inscreveu-se para ser o instrutor das aulas de arte na Galeria Nacional de Vitória, sem sucesso. Dois anos depois, o austríaco Eugen von Guerad (1811 – 1901) foi designado para o cargo.
+1869 – Em torno desse ano sua reputação como o principal pintor das paisagens da colônia australiana estava firmada.
+Foi professor de desenho de paisagens na Escola de Design de Artisan, em Carlton, subúrbio de Melbourne.
+Os quadros Winter morning near Heidelberg and Summer afternoon, Templestowe foram adquiridos pela Biblioteca Pública, como parte dos preparativos da Coleção Australiana para a Galeria Nacional de Vitória.
+1870 / 1874 – Serviu no comitê da Academia de Artes de Vitória e também participou de exibições do grupo.
+1873 –  O casal Buvelot mudou-se para o cottage Ma Retrait, na rua George, em Fitzroy, um subúrbio de Melborne.
+1884 - Devido a problemas na visão e nas mãos, deixou de pintar.
+1888 – A Academia de Belas Artes do Brasil adquiriu uma paisagem de Buvelot (Brasil. Ministério do Império, 1888).
+Buvelot faleceu, em 30 de maio, na Austrália. Foi enterrado no cemitério de Kew, onde foi construído um memorial em sua homenagem.
+1890 – Seu quadro, Vista da Gamboa, participou da Exposição Geral de Belas Artes de 1890 (Catálogo da Exposição Geral de Belas Artes de 1890).
+1894 – A Galeria Grosvenor da Galeria Nacional de Vitória passou a chamar-se Galeria Buvelot.
+ 
+Foster e Martin. Retrato de Louis Buvelot, c. 1883 / La Trobe Picture Collection, Biblioteca de Vitória, Austrália
+ 
+1953 – Integrou a mostra A Paisagem Brasileira até 1900, organizada por Rodrigo Melo Franco de Andrade (1898 – 1969) para a II Bienal de São Paulo.
+1961 – Na Biblioteca Estadual da Guanabara, foi um dos pintores expostos na mostra O Rio na Pintura Brasileira.
+1962 – Foi um dos artistas da mostra Pintura Australiana: colonial, impressionista e contemporânea, realizada em Perth e em Adelaide, na Austrália.
+1976 – Integrou a exposição Arte Australiana nos 1870s, em Melbourne e em Sidney, na Austrália.
+1977 - Integrou a exposição Aspectos da Paisagem Brasileira: 1816-1916, no Museu Nacional de Belas Artes.
+1982 – Integrou a mostra 150 Anos de Pintura de Marinha na História da Arte Brasileira, realizada no Museu Nacional de Belas Artes.
+1983 - Integrou a exposição Arcádia Australiana, em Sidney, na Austrália.
+ 1992 – Integrou a mostra Natureza: Quatro Séculos de Arte no Brasil, no Centro Cultural Banco do Brasil, no Rio de Janeiro.
+ 
+Andrea C. T. Wanderley
+Editora-assistente e pesquisadora do portal Brasiliana Fotográfica
+ 
+Acesse as obras de Buvelot disponíveis no acervo da Brasiliana Iconográfica.
+Fontes:
+AULER, Guilherme. O Paisagista e Retratista Buvelot, Jornal do Brasil, 2 Junho de 1957, Rio de Janeiro.
+Australian Dictionary of Biography
+CAMPOFIORITO, Quirino. História da pintura brasileira no século XIX. Prefácio Carlos Roberto Maciel Levy. Rio de Janeiro: Pinakotheke, 1983. 292 p., il. p&b. color.
+COLMAN, Anne. Buvelot, the Migrant Artist. Interpreting New Worlds in Brazil and Australia. Austrália: La Trobe Journal, 2005.
+ERMAKOFF , George. Rio de Janeiro 1840 – 1900 – Uma crônica fotográfica. Rio de Janeiro: G. Ermakoff Casa Editorial, 2006.
+FREIRE, Laudelino. Um século de pintura: apontamentos para a história da pintura no Brasil de 1816-1916. Rio de Janeiro: Fontana, 1983. 677 p.
+FOREL, M. F. Louis Buvelot, Peintre Vaudois. Gazette de Lausanne, 31 de março de 1906.
+GRAY, J. R. Louis Buvelot His Life and Work. Tese de mestrado. Universidade de Melbourne, 1968.
+Hemeroteca Digital da Biblioteca Nacional
+KOSSOY, Boris. Dicionário histórico-fotográfico brasileiro: fotógrafos e ofício da fotografia no Brasil (1833-1910). São Paulo: Instituto Moreira Salles, 2002.
+LAGO, Pedro Corrêa do. Brasiliana Itaú: uma grande coleção dedicada ao Brasil / curadoria da coleção: Pedro Corrêa do Lago, Ruy Souza e Silva. Rio de Janeiro: Capivara, 2009.
+LEVY, Carlos Roberto Maciel. Exposições gerais da Academia Imperial e da Escola Nacional de Belas Artes: período monárquico, catálogo de artistas e obras entre 1840 e 1884. Rio de Janeiro: Pinakotheke, 1990. 317 p. / v.1
+MELO JUNIOR, Donato. Buvelot no Brasil i (apontamentos 1963) e Buvelot no Brasil ii (novos apontamentos à guisa de adendo 1986). Boletim do Museu Nacional de Belas Artes. Rio de Janeiro, 5 (13–5): 9–15, jan.-dez. 1986. il.
+PONTUAL, Roberto. Dicionário das artes plásticas no Brasil. Texto Mário Barata, Lourival Gomes Machado, Carlos Cavalcanti et al. Rio de Janeiro: Civilização Brasileira, 1969. 559 p.
+RAPPAPORT, Helen. Queen Victoria: A Biographical Companion. Santa Barbara, California:ABC – CLIO Biographical Companions, 2013.
+SMITH, Bernard. Australian Painting 1788-1960. London:Oxford University Press, 1962.
+STICKEL, Erico João Siriuba. Uma pequena biblioteca particular – Subsídios para o estudo da iconografia no Brasil. São Paulo:Editora da Universidade de São Paulo – Imprensa Oficial do Estado de São Paulo, 2004.
+TURAZZI, Maria Inez. Poses e trejeitos: a fotografia e as exposições na era do espetáculo: 1839/1889. Prefácio Pedro Karp Vasquez. Rio de Janeiro: Funarte. Rocco, 1995. 309 p., il. p&b. (Coleção Luz & Reflexão, 4). ISBN 85-85781-08-4.
+VASQUEZ, Pedro Karp. O Brasil na fotografia oitocentista. São Paulo: Metalivros, 2003.
+VASQUEZ, Pedro Karp. Dom Pedro II e a fotografia no Brasil. Rio de Janeiro: Fundação Roberto Marinho, 1985.
+Site da Enciclopédia Itaú Cultural
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/4779` — `itens/20.500.12156.1_4779/`
+
diff --git a/wordpress/8414-novos-acervos-museu-da-republica.md b/wordpress/8414-novos-acervos-museu-da-republica.md
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@@ -0,0 +1,40 @@
+---
+id: 8414
+url: "https://brasilianafotografica.bn.gov.br/?p=8414"
+titulo: "Novos acervos: Museu da República"
+autor: "Andrea Wanderley"
+data: "2017-09-15T09:42:31+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/4996", "20.500.12156.1/4886", "20.500.12156.1/5005", "20.500.12156.1/5002"]
+fetched_at: "2026-09-10T10:27:41.362Z"
+---
+
+# Novos acervos: Museu da República
+
+A Reforma Urbana do Rio de Janeiro na Coleção Família Passos
+Magaly Cabral*
+Augusto Malta. Família Passos: Pereira Passos, Maria Rita Passos, Maria Paula Passos de Castro, Francisco de Oliveira Passos, Olímpia Passos e Maria Ernestina T. de Castro, 14 de novembro de 1910. Rio de Janeiro, RJ / Acervo Museu da República
+No município do Rio de Janeiro, o primeiro grande projeto de intervenção na configuração espacial e funcional da cidade, após a instauração da República, em 1889, se deu na gestão de Francisco Pereira Passos (1836-1913) como prefeito do Distrito Federal (1902-1906). Passos era um engenheiro experiente e foi nomeado para este cargo pelo presidente Rodrigues Alves (1848 – 1919), que governou o Brasil de 1902 a 1906. Sua missão como prefeito era bem definida: transformar o Rio em uma cidade moderna, cosmopolita e civilizada, digna de ser a capital da jovem república brasileira e atrair para cá visitantes, mão-de-obra imigrante e negócios.
+A reforma urbana executada por Passos aconteceu em associação com as obras de modernização do porto do Rio de Janeiro e da construção da Avenida Central (atual Rio Branco), promovidas pelo governo federal, visando à melhoria na capacidade de escoamento e circulação de produtos, principalmente os importados. Como a capital federal era a principal consumidora desse tipo de produto e como a União tinha competência exclusiva sobre os impostos de importação, as reformas na cidade eram fundamentais para o equilíbrio orçamentário da federação.
+Acessando o link para as fotografias do acervo do Museu da República disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+Além das alterações no traçado viário, das melhorias de infraestrutura e das novidades urbanísticas e arquitetônicas na cidade, a “Reforma Passos” também alterou costumes do carioca e suas relações com o espaço. Novas posturas municipais buscaram implementar hábitos de higiene e comportamento na população. O centro da cidade, onde até então moravam muitas pessoas de baixa renda, teve seus cortiços e estreitas vielas coloniais arrasados para se transformar num espaço de cultura, comércio, negócios e governo. A falta de moradia, por sua vez, levou ao processo de favelização dos morros. O grave problema das epidemias foi neutralizado através da vacinação obrigatória, resultando na “Revolta da Vacina” de 1904. O caráter modernizador, mas também excludente, da Reforma Passos (lembrada como “bota-abaixo”) gerou questões que até hoje se impõem quando pensamos nos processos de transformação urbana acontecidos ao longo do século XX e das primeiras décadas do XXI.
+ 
+Augusto Malta. Largo da Carioca, 1903. Rio de Janerio, RJ / Acervo Museu da República
+ 
+Aqui, iremos apresentar um recorte temático de 118 fotografias pertencentes à Coleção Família Pereira Passos, uma das mais importantes sob guarda do Arquivo Histórico e Institucional do Museu da República. Ela é formada por cerca de 5.592 documentos textuais e 1.147 fotografias, produzidos entre 1806 e 1960, pelo titular e seus familiares. A coleção faz parte do acervo do Museu da República desde 1965, quando a primeira e maior leva de documentos foi doada pela família de Pereira Passos. Em 1966, foi acrescida através de novas doações de sua neta, Maria Passos, e pela transferência de fotos até então pertencentes ao Museu Histórico Nacional, já em 1980. Essa nova contribuição do Arquivo Histórico e Institucional do Museu da República ao projeto Brasiliana Fotográfica soma-se à Coleção Canudos, registrada pela Unesco, em 2009, na categoria Memória do Mundo e já disponível ao público.
+O autor da maioria das fotos aqui apresentadas é o alagoano Augusto Malta (1864 – 1957), contratado por Pereira Passos para documentar a reforma urbana. Essas fotos mostram as obras de mudança no centro da cidade e também em bairros próximos, como Tijuca, Estácio, Cidade Nova, Glória, Catete, Laranjeiras e Botafogo. As fotografias de Luis Musso, sobre a maquete do Teatro Municipal, e finalização de sua construção, também merecem destaque. Musso prestava serviços de documentação para a firma Antônio Januzzi Irmãos e cia, pertencente ao engenheiro italiano de mesmo nome, responsável pela construção da maioria dos prédios da Avenida Central, símbolo das reformas urbanas dos governos Pereira Passos e Rodrigues Alves.
+ 
+Augusto Malta. Igreja de São Joaquim, 1903. Rio de Janeiro, RJ / Acervo Museu da República
+Nesse conjunto de fotos, a maioria dos documentos destaca a região central da cidade, a principal área afetada pelas reformas de Pereira Passos. As imagens mostram uma época de tapumes, andaimes e restos de demolições pelas ruas, resgatam a memória de cenários que tiveram que desaparecer para dar lugar a novas ruas e prédios, como é o caso da Igreja de São Joaquim e do chafariz do Largo da Carioca. São lembrados também os elementos da paisagem urbana surgidos naquele momento, mas que já não existem, parcial ou inteiramente, como é o caso dos prédios neoclássicos da Avenida Central e da Avenida Beira-Mar, antes do Aterro do Flamengo.
+Embora ruas e prédios pareçam ser as estrelas das fotos, podemos ver nelas a presença do carioca de então. Os operários, os elegantes passeadores das ruas, os homens que se reúnem num quiosque pra conversar e beber e as pessoas que tentam se proteger do calor com sombrinhas em meio a uma inauguração de início de obras. Por falar em pessoas, o próprio Pereira Passos aparece em várias fotos, cortando fitas, sendo homenageado ou em visita à Câmara Municipal, a mesma que permaneceu fechada nos seis primeiros meses de seu mandato, para que ele pudesse, sem obstáculos legislativos, tomar as medidas para a execução de seu ambicioso projeto.
+*Magaly Cabral é diretora do Museu da República
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/4996` — `itens/20.500.12156.1_4996/`
+- `20.500.12156.1/4886` — `itens/20.500.12156.1_4886/`
+- `20.500.12156.1/5005` — `itens/20.500.12156.1_5005/`
+- `20.500.12156.1/5002` — `itens/20.500.12156.1_5002/`
+
diff --git a/wordpress/8448-dia-das-maes.md b/wordpress/8448-dia-das-maes.md
new file mode 100644
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+++ b/wordpress/8448-dia-das-maes.md
@@ -0,0 +1,26 @@
+---
+id: 8448
+url: "https://brasilianafotografica.bn.gov.br/?p=8448"
+titulo: "Dia das Mães"
+autor: "Andrea Wanderley"
+data: "2017-05-15T09:46:45+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/3919"]
+fetched_at: "2026-09-10T10:27:44.826Z"
+---
+
+# Dia das Mães
+
+Revert Henrique Klumb. A Imperatriz D. Teresa Cristina com as princesas Isabel e Leopoldina ao fundo, 1861. Rio de Janeiro, RJ / Acervo FBN
+ 
+Com uma fotografia da imperatriz Teresa Cristina (1822 – 1889) com suas filhas Isabel (1846 – 1921) e Leopoldina (1847 – 1871), a Brasiliana Fotográfica faz uma homenagem ao Dia das Mães. A fotografia destacada é de autoria do francês Revert Henrique Klumb (c. 1826 – c. 1886), considerado o fotógrafo preferido da família imperial brasileira e um dos primeiros fotógrafos estrangeiros a se estabelecer no Brasil. Foi agraciado com o título de “Fotógrafo da Casa Imperial”, em 1861.
+O Dia das Mães é comemorado no Brasil no segundo domingo de maio, de acordo com um decreto assinado pelo presidente Getulio Vargas, em 1932, mas a origem da comemoração remonta à Grécia Antiga, quando a deusa Reia, mãe comum de todos os seres, era homenageada. A celebração tomou um caráter cristão nos primórdios do cristianismo e realizava-se em torno da Virgem Maria, a mãe de Jesus.
+ 
+Acessando o link para as fotografias que remetem ao tema da maternidade disponíveis na Brasiliana Fotográfica, o leitor poderá visualizar e magnificar as imagens.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/3919` — `itens/20.500.12156.1_3919/`
+
diff --git a/wordpress/8499-novos-acervos-casa-de-oswaldo-cruz-fiocruz.md b/wordpress/8499-novos-acervos-casa-de-oswaldo-cruz-fiocruz.md
new file mode 100644
index 0000000..6f3185b
--- /dev/null
+++ b/wordpress/8499-novos-acervos-casa-de-oswaldo-cruz-fiocruz.md
@@ -0,0 +1,71 @@
+---
+id: 8499
+url: "https://brasilianafotografica.bn.gov.br/?p=8499"
+titulo: "Novos acervos: Casa de Oswaldo Cruz / Fiocruz"
+autor: "Andrea Wanderley"
+data: "2017-08-30T10:12:03+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/5139", "20.500.12156.1/5018", "20.500.12156.1/5117", "20.500.12156.1/5098"]
+fetched_at: "2026-09-10T10:27:48.042Z"
+---
+
+# Novos acervos: Casa de Oswaldo Cruz / Fiocruz
+
+Fotografia, Ciência e Saúde Pública 
+ 
+J. Pinto. Curso de Aplicação do Instituto Oswaldo Cruz, 1931. Rio de Janeiro, RJ / Acervo Casa de Oswaldo Cruz
+ 
+As imagens aqui apresentadas integram o acervo histórico da Fundação Oswaldo Cruz, instituição de referência internacional na área das ciências biomédicas e cuja trajetória encontra-se intrinsecamente relacionada à formulação, planejamento e execução de políticas públicas de saúde no Brasil. Este acervo encontra-se sob a guarda da Casa de Oswaldo Cruz, unidade da Fiocruz e centro de pesquisa e documentação dedicado à memória, à história das ciências biomédicas e da saúde pública e à educação e divulgação em ciência e saúde.
+As origens da Fundação Oswaldo Cruz remetem ao Instituto Soroterápico Federal, criado em 1900, no bairro de Manguinhos, no Rio de Janeiro, com o objetivo de produzir soros e vacinas contra a peste bubônica e que, em curto espaço de tempo, já como Instituto Oswaldo Cruz (IOC) em homenagem ao seu primeiro diretor Oswaldo Cruz (1872 – 1917) -, transformou-se no maior centro de medicina experimental da América Latina. O IOC – considerado o primeiro instituto de pesquisa da história do Brasil a trazer contribuições científicas durante um período constante, e o primeiro a dar ao país uma reputação científica internacional -, proporcionou os fundamentos para o desenvolvimento contínuo das ciências biomédicas no Brasil na primeira metade do século XX.
+ 
+Acessando o link para as fotografias do acervo da Fiocruz disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Desde os primeiros anos de atividade, o IOC já contava com laboratório fotográfico próprio, e integrava em seus quadros funcionais o fotógrafo Joaquim Pinto da Silva, contratado ainda na primeira década do século XX. Desde a origem do Instituto, a produção de registros fotográficos, entre outros suportes de informação tais como plantas arquitetônicas, correspondências, impressos etc, se firmou como uma das mais prolíficas, sendo instituída, formalmente, como um dos setores de produção institucional. A existência de um laboratório próprio no Instituto Oswaldo Cruz denota o interesse e a importância da produção de registros fotográficos para os trabalhos que ali seriam desenvolvidos.
+As fotografias foram originadas durante o processo de constituição, institucionalização, crescimento e legitimação do IOC desde sua origem até meados do século passado. Esse período é caracterizado pela expansão e fortalecimento do Instituto Soroterápico Federal a partir de alguns sucessos obtidos. O primeiro deles diz respeito às bem sucedidas campanhas de Oswaldo Cruz contra a febre amarela, a peste bubônica e a varíola na capital da República. Na época, Oswaldo Cruz encontrava-se à frente da Diretoria de Saúde Pública, cargo que acumulou juntamente com a direção do Instituto até 1909. Outra vitória acumulada refere-se ao reconhecimento científico internacional das atividades desenvolvidas no IOC, através da premiação com a medalha de ouro na Exposição de Higiene de Berlim, em 1907, e do anúncio da descoberta de uma nova doença – a doença de Chagas – na Exposição Internacional de Higiene de Dresden, em 1911.
+Após a morte de Oswaldo Cruz, seu trabalho à frente do IOC teve continuidade com o médico sanitarista Carlos Chagas (1879 – 1934) que, coincidentemente, também acumulou por um período (1920-1926) a direção do Instituto e da recém-criada Diretoria Nacional de Saúde Pública, restabelecendo mais uma vez uma ligação direta entre aquela instituição e o Estado brasileiro naquilo que se refere à saúde pública. Na gestão de Chagas (1917 – 1934), o IOC já era uma instituição consolidada, com autonomia financeira e administrativa suficientes para garantir uma expansão considerável das atividades de pesquisa, ensino e produção ali desenvolvidas.
+ 
+J. Pinto. Núcleo arquitetônico original de Manguinhos, 1910. Rio de Janeiro, RJ / Acervo Casa de Oswaldo Cruz
+ 
+A conformação institucional do IOC nos primeiros anos do século XX teve como consequência uma expansão de seu quadro de funcionários e a contratação de um fotógrafo reforça esse fato. A importância dada aos registros visuais pode ser também aferida pelo espaço que a atividade vai ganhando institucionalmente, seja na ocupação de ambientes considerados “nobres” no principal espaço edificado para abrigar o IOC – o castelo mourisco -, onde ocupou gabinetes específicos destinados à fotografia e à cinematografia, seja pela importância da atividade na hierarquia interna, consubstanciada pela obrigatoriedade de apresentação de um relatório anual de atividades à direção do IOC contendo informações veiculadas na forma de textos e imagens.
+Hoje, o acervo fotográfico remanescente desse período inicial de consolidação do Instituto – embora tenha sofrido perdas importantes causadas por crises pelas quais passou o IOC –, é marcante e minucioso na sua potência de registro de uma memória do período. Assim, a série fotográfica ora apresentada diz respeito a três dimensões dos impactos da atuação do IOC no contexto sócio, político e científico do período que compreende as primeiras décadas do século XX: a construção de suas instalações na então pouco conhecida região de Manguinhos e suas articulações com o entorno; a era das expedições científicas ao interior do país visando mapear as condições de vida e saúde da população rural e que originou um importante debate político sobre os males da nova república e seus obstáculos ao “progresso”; e flagrantes do cotidiano da instituição, representados por registros de visitantes ilustres, dos professores e alunos dos cursos que o IOC promovia, de algumas atividades de laboratório e, sobretudo, a vida intramuros da instituição.
+ 
+Expedição do Instituto Oswaldo Cruz ao Amazonas e Acre: Margem do rio Purus, 1913. Rio Purus, Peru e Brasil / Acervo Casa de Oswaldo Cruz
+ 
+Fontes:
+BENCHIMOL, Jaime Larry. Manguinhos, do sonho à vida: a ciência na Belle Epoque. Rio de Janeiro: Fiocruz/COC, 1990.
+Fundação Oswaldo Cruz. Casa de Oswaldo Cruz. A ciência a caminho da roça. Imagens das expedições científicas do Instituto Oswaldo Cruz ao interior do Brasil entre 1911 e 1913. Rio de Janeiro: Fiocruz/Casa de Oswaldo Cruz, 1991.
+LACERDA, Aline Lopes de; Mello, Maria Teresa Villela Bandeira de. Imágenes de la salud pública: la institucionalización del Instituto Oswaldo Cruz em Brasil. Dymanis. Acta Hispanica ad Medicinae Scientiarumque Historiam Illustrandam. Vol. 25, 2005, p. 179-198.
+THIELEN, Eduardo Vilela. Imagens da saúde pública do Brasil: a fotografia na institucionalização da saúde pública. Dissertação de mestrado, Pontifícia Universidade Católica de São Paulo, 1992, p.158.
+Fotografia, Ciência e Saúde Pública 
+ 
+J. Pinto. Curso de Aplicação do Instituto Oswaldo Cruz, 1931. Rio de Janeiro, RJ / Acervo Casa de Oswaldo Cruz
+ 
+As imagens aqui apresentadas integram o acervo histórico da Fundação Oswaldo Cruz, instituição de referência internacional na área das ciências biomédicas e cuja trajetória encontra-se intrinsecamente relacionada à formulação, planejamento e execução de políticas públicas de saúde no Brasil. Este acervo encontra-se sob a guarda da Casa de Oswaldo Cruz, unidade da Fiocruz e centro de pesquisa e documentação dedicado à memória, à história das ciências biomédicas e da saúde pública e à educação e divulgação em ciência e saúde.
+As origens da Fundação Oswaldo Cruz remetem ao Instituto Soroterápico Federal, criado em 1900, no bairro de Manguinhos, no Rio de Janeiro, com o objetivo de produzir soros e vacinas contra a peste bubônica e que, em curto espaço de tempo, já como Instituto Oswaldo Cruz (IOC) em homenagem ao seu primeiro diretor Oswaldo Cruz (1872 – 1917) -, transformou-se no maior centro de medicina experimental da América Latina. O IOC – considerado o primeiro instituto de pesquisa da história do Brasil a trazer contribuições científicas durante um período constante, e o primeiro a dar ao país uma reputação científica internacional -, proporcionou os fundamentos para o desenvolvimento contínuo das ciências biomédicas no Brasil na primeira metade do século XX.
+Acessando o link para as fotografias do acervo da Fiocruz disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+Desde os primeiros anos de atividade, o IOC já contava com laboratório fotográfico próprio, e integrava em seus quadros funcionais o fotógrafo Joaquim Pinto da Silva, contratado ainda na primeira década do século XX. Desde a origem do Instituto, a produção de registros fotográficos, entre outros suportes de informação tais como plantas arquitetônicas, correspondências, impressos etc, se firmou como uma das mais prolíficas, sendo instituída, formalmente, como um dos setores de produção institucional. A existência de um laboratório próprio no Instituto Oswaldo Cruz denota o interesse e a importância da produção de registros fotográficos para os trabalhos que ali seriam desenvolvidos.
+As fotografias foram originadas durante o processo de constituição, institucionalização, crescimento e legitimação do IOC desde sua origem até meados do século passado. Esse período é caracterizado pela expansão e fortalecimento do Instituto Soroterápico Federal a partir de alguns sucessos obtidos. O primeiro deles diz respeito às bem sucedidas campanhas de Oswaldo Cruz contra a febre amarela, a peste bubônica e a varíola na capital da República. Na época, Oswaldo Cruz encontrava-se à frente da Diretoria de Saúde Pública, cargo que acumulou juntamente com a direção do Instituto até 1909. Outra vitória acumulada refere-se ao reconhecimento científico internacional das atividades desenvolvidas no IOC, através da premiação com a medalha de ouro na Exposição de Higiene de Berlim, em 1907, e do anúncio da descoberta de uma nova doença – a doença de Chagas – na Exposição Internacional de Higiene de Dresden, em 1911.
+Após a morte de Oswaldo Cruz, seu trabalho à frente do IOC teve continuidade com o médico sanitarista Carlos Chagas (1879 – 1934) que, coincidentemente, também acumulou por um período (1920-1926) a direção do Instituto e da recém-criada Diretoria Nacional de Saúde Pública, restabelecendo mais uma vez uma ligação direta entre aquela instituição e o Estado brasileiro naquilo que se refere à saúde pública. Na gestão de Chagas (1917 – 1934), o IOC já era uma instituição consolidada, com autonomia financeira e administrativa suficientes para garantir uma expansão considerável das atividades de pesquisa, ensino e produção ali desenvolvidas.
+ 
+J. Pinto. Núcleo arquitetônico original de Manguinhos, 1910. Rio de Janeiro, RJ / Acervo Casa de Oswaldo Cruz 
+ 
+A conformação institucional do IOC nos primeiros anos do século XX teve como consequência uma expansão de seu quadro de funcionários e a contratação de um fotógrafo reforça esse fato. A importância dada aos registros visuais pode ser também aferida pelo espaço que a atividade vai ganhando institucionalmente, seja na ocupação de ambientes considerados “nobres” no principal espaço edificado para abrigar o IOC – o castelo mourisco -, onde ocupou gabinetes específicos destinados à fotografia e à cinematografia, seja pela importância da atividade na hierarquia interna, consubstanciada pela obrigatoriedade de apresentação de um relatório anual de atividades à direção do IOC contendo informações veiculadas na forma de textos e imagens.
+Hoje, o acervo fotográfico remanescente desse período inicial de consolidação do Instituto – embora tenha sofrido perdas importantes causadas por crises pelas quais passou o IOC –, é marcante e minucioso na sua potência de registro de uma memória do período. Assim, a série fotográfica ora apresentada diz respeito a três dimensões dos impactos da atuação do IOC no contexto sócio, político e científico do período que compreende as primeiras décadas do século XX: a construção de suas instalações na então pouco conhecida região de Manguinhos e suas articulações com o entorno; a era das expedições científicas ao interior do país visando mapear as condições de vida e saúde da população rural e que originou um importante debate político sobre os males da nova república e seus obstáculos ao “progresso”; e flagrantes do cotidiano da instituição, representados por registros de visitantes ilustres, dos professores e alunos dos cursos que o IOC promovia, de algumas atividades de laboratório e, sobretudo, a vida intramuros da instituição.
+ 
+Expedição do Instituto Oswaldo Cruz ao Amazonas e Acre: Margem do rio Purus, 1913. Rio Purus, Amazonas / Acervo Casa de Oswaldo Cruz
+ 
+Fontes:
+BENCHIMOL, Jaime Larry. Manguinhos, do sonho à vida: a ciência na Belle Epoque. Rio de Janeiro: Fiocruz/COC, 1990.
+Fundação Oswaldo Cruz. Casa de Oswaldo Cruz. A ciência a caminho da roça. Imagens das expedições científicas do Instituto Oswaldo Cruz ao interior do Brasil entre 1911 e 1913. Rio de Janeiro: Fiocruz/Casa de Oswaldo Cruz, 1991.
+LACERDA, Aline Lopes de; Mello, Maria Teresa Villela Bandeira de. Imágenes de la salud pública: la institucionalización del Instituto Oswaldo Cruz em Brasil. Dymanis. Acta Hispanica ad Medicinae Scientiarumque Historiam Illustrandam. Vol. 25, 2005, p. 179-198.
+THIELEN, Eduardo Vilela. Imagens da saúde pública do Brasil: a fotografia na institucionalização da saúde pública. Dissertação de mestrado, Pontifícia Universidade Católica de São Paulo, 1992, p.158.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/5139` — `itens/20.500.12156.1_5139/`
+- `20.500.12156.1/5018` — `itens/20.500.12156.1_5018/`
+- `20.500.12156.1/5117` — `itens/20.500.12156.1_5117/`
+- `20.500.12156.1/5098` — `itens/20.500.12156.1_5098/`
+
diff --git a/wordpress/8540-o-inventor-alberto-santos-dumont-1873-1932-pelo-fotografo-jorge-kfuri-1893-1965.md b/wordpress/8540-o-inventor-alberto-santos-dumont-1873-1932-pelo-fotografo-jorge-kfuri-1893-1965.md
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@@ -0,0 +1,149 @@
+---
+id: 8540
+url: "https://brasilianafotografica.bn.gov.br/?p=8540"
+titulo: "O inventor Alberto Santos Dumont (1873 – 1932) pelo fotógrafo Jorge Kfuri (1893 – 1965)"
+autor: "Andrea Wanderley"
+data: "2017-07-23T02:44:58+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/4565", "20.500.12156.1/5164", "20.500.12156.1/4345", "20.500.12156.1/6597", "20.500.12156.1/4245", "20.500.12156.1/3549"]
+fetched_at: "2026-09-10T10:27:51.524Z"
+---
+
+# O inventor Alberto Santos Dumont (1873 – 1932) pelo fotógrafo Jorge Kfuri (1893 – 1965)
+
+Jorge Kfuri. Visita do Presidente Wenceslau Braz e Santos Dumont à Escola de Aviação Naval na Ilha das Enxadas, 1918. Rio de Janeiro, RJ / Acervo DPHDM
+ 
+O fotógrafo Jorge Kfuri (1893 – 1965), autor das primeiras fotografias aéreas do Rio de Janeiro, registrou a visita que o então presidente do Brasil, Wenceslau Braz (1868 – 1966), e Alberto Santos Dumont (1873 – 1932), conhecido como o “Pai da Aviação”, fizeram, em novembro de 1918, à Escola de Aviação Naval, na Ilha das Enxadas, localizada na Baía de Guanabara. O inventor e o presidente conversaram sobre os progressos da aviação e foram recebidos pelo então ministro da Marinha, o almirante Alexandrino de Alencar (1848 – 1926), que participou da Guerra do Paraguai e da Revolta da Armada, e que também foi ministro da Marinha dos presidentes Affonso Pena (1847 – 1909), Nilo Peçanha (1867 – 1924), Hermes da Fonseca (1855 – 1923),  e Arthur Bernardes (1875 – 1955). O almirante mostrou a seus convidados o serviço de aviação naval por ele organizado: uma flotilha de cerca de 30 aparelhos modernos, oficina para reparos e construção de aviões, quatro hangares e a Escola de Aviação. Na época, o capitão de fragata Henrique Aristides Guilhem (1875 – 1949), futuro ministro da Marinha entre 1935 e 1945, comandava a flotilha dos aviões de guerra.
+Acessando o link para as fotografias de autoria de Jorge Kfuri disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+Durante a visita, foram feitos vários experimentos com o explosivo Brazilita, invento do químico brasileiro Álvaro Alberto da Silva desenvolvido por seu filho, o então 1º tenente Álvaro Alberto da Mota e Silva (1889 – 1976) e futuro presidente do CNPq, Conselho Nacional de Desenvolvimento Científico e Tecnológico, entre 1951 e 1955. (O Paiz, 13 de novembro de 1918, na última coluna e Gazeta de Notícias, 13 de novembro de 1918, na primeira coluna).
+Desde 1945, a Ilha das Enxadas sedia o Centro de Instrução Almirante Wandenkolk, destinado à formação de oficiais da Marinha da área de Saúde, Engenharia, dos Quadros Técnico, Complementar e de Capelães Navais. Anteriormente, abrigou depósito de carvão, depósito de construção naval, a Escola de Aviação Naval, a Escola Naval, e a Escola de Educação Física.
+Uma curiosidade: foi nas proximidades da Ilha da Enxada que, em 1960, Americo Santarelli (1925 – 1987), pioneiro do mergulho livre, campeão de caça submarina e um dos maiores “apneístas”, superou o recorde mundial de mergulho livre (Jornal do Brasil, 1º de junho de 1960).
+ 
+Brevíssimo perfil de Alberto Santos Dumont
+ 
+Anônimo. Alberto Santos Dumont, c. 1930. Rio de Janeiro, RJ / Acervo IMS
+ 
+
+Alberto Santos Dumont nasceu em 20 de julho de 1873, na fazenda Cabangu, paróquia de Palmira, em Minas Gerais. Sua cidade natal tem hoje o seu nome. Em 1906, em Paris, no campo de Bagatelle, Santos Dumont conseguiu voar em um aparelho – o 14 Bis – mais pesado do que o ar, que se elevou no ar sem ajuda externa. O feito foi realizado diante de uma comissão oficial e na presença de centenas de pessoas (A Gazeta de Notícias, 26 de outubro de 1906, na segunda coluna e Gazeta de Notícias, 14 de novembro de 1906, na quarta coluna). Santos Dumont faleceu em 23 de julho de 1932, no Guarujá, estado de São Paulo (A Noite, 25 de julho de 1932). Pela lei 165, de 5 de dezembro de 1947, passou a figurar permanentemente no quadro de oficiais-aviadores da Aeronáutica militar brasileira, com o posto de tenente-brigadeiro (Correio da Manhã, 6 de dezembro de 1947, na sexta coluna). A lei 3.636, de 22 de setembro de 1959, atribuiu-lhe o posto honorífico de marechal-do-ar. Pela lei 7.243, de 4 de novembro de 1984, tornou-se patrono da Aeronáutica e da Força Aérea Brasileira. No ano do centenário do voo do 14 Bis, 2006, Santos Dumont teve seu nome inserido no Livro dos Heróis da Pátria (Correio Braziliense, 5 de maio de 2006 e 27 de julho de 2006).
+ 
+
+   Pequeno perfil e cronologia do fotógrafo Jorge Kfuri (1893 – 1965)
+Jorge Kfuri / Careta, 1º de dezembro de 1928.
+O fotógrafo aviador Jorge Kfuri nasceu em 3 de setembro de 1893, na Síria ou no Líbano, e naturalizou-se brasileiro, em 19 de março de 1921 (O Paiz, 5 de maio de 1921, na terceira coluna, Relatório da Marinha de 1922 e Relatório do Ministério da Justiça de 1922)*. Foi o autor das primeiras fotografias aéreas do Rio de Janeiro, em 1916, quando voou com o piloto naval Virginius de Lamare, futuro major-brigadeiro, no C-1, uma das três aeronaves Curtiss Flying Boats. Foram encomendadas pelo então ministro da Marinha, almirante Alexandrino de Alencar (1848 – 1926), e chegaram ao Brasil em 9 de julho de 1916 (A Noite, 24 de outubro de 1953, na quarta coluna).
+ 
+1893 – Nascimento de Jorge Kfuri, no Líbano ou na Síria, em 3 de setembro, filho de Amelia (18? -1931) e Calile Kfuri (18?- ?)*.
+1913 - Esteve na festa em comemoração ao primeiro ano do jornal O Imparcial (O Imparcial, 18 de agosto de 1913, última coluna).
+1914 - Havia trabalhado para o jornal O Século e ia para a Europa. Foi substituído por Joaquim Alberto Vieira (Correio da Noite, 11 de maio de 1914, última coluna; O Século, 23 de junho de 1914, segunda coluna).
+1916 –  Kfuri já trabalhava como fotógrafo do jornal A Noite, quando passou mal, com sintomas de intoxicação, após tomar um chocolate em um café do Largo da Carioca. Foi noticiado que esses casos de envenenamento aconteciam porque os donos dos estabelecimentos usavam vasilhames de cobre, o que era proibido pela Saúde Pública e, para isso, contavam com a desonestidade dos fiscais (A Noite, 2 de abril de 1916, na última coluna).
+Um falso advogado foi preso e no caminho para a delegacia tentou agredir Kfuri (A Razão, 12 de junho de 1917, na terceira coluna).
+Kfuri foi o autor das até hoje conhecidas primeiras fotografias aéreas do Rio de Janeiro, em 1916, quando voou com o piloto naval Virginius de Lamare, futuro major-brigadeiro, no C-1, uma das três aeronaves Curtiss Flying Boats. Foram encomendadas pelo então ministro da Marinha, almirante Alexandrino de Alencar (1848 – 1926), e chegaram ao Brasil em 9 de julho de 1916 (A Noite, 24 de outubro de 1953, na quarta coluna).
+ 
+Jorge Kfuri. Hidroavião Curtiss F na Baía de Guanabara junto à Praça Mauá, 1916. Rio de Janeiro, RJ / Acervo DPHDM
+ 
+ 
+1918 – Kfuri presenteou a Associação Brasileira de Imprensa com uma fotografia produzida por ele do sr.presidente da República em companhia dos ministros do Estado num dos maiores momentos históricos da vida nacional – assinando a declaração de guerra do Brasil à Alemanha (O Imparcial, 8 de outubro de 1918, na última coluna). O presidente era Wenceslau Braz (1868 – 1966) e a assinatura aconteceu em 26 de outubro de 1917.
+1919 –  Fez parte do time de futebol de fotógrafos que jogou na festa do Audax Club (O Paiz, 16 de janeiro de 1919, na primeira coluna) e, ainda trabalhando no jornal A Noite, foi arrolado como testemunha de irregularidades praticadas em uma casa de saúde ( Jornal, 7 de outubro de 1919, na penúltima coluna). Participou da cobertura jornalística da prisão de um criminoso envolvido no tráfico de cocaína (A Noite, 23 de outubro de 1919, na terceira coluna).
+1920 – Trabalhando como fotógrafo do jornal A Noite, Kfuri sofreu queimaduras de primeiro grau no dorso da mão direita pela explosão de magnésio quando se preparava para tirar uma chapa no edifício do Senado Federal. Na época, ele residia na rua Senador Dantas, nº 14, e foi identificado como sírio com a idade de 27 anos (O Jornal, 4 de maio de 1920, na última coluna).
+Kfuri foi aceito como associado na Associação Brasileira de Imprensa (Jornal do Brasil, 23 de junho de 1920, na penúltima coluna).
+1921 – Kfuri, referido como sírio, naturalizou-se brasileiro, em 19 de março (O Paiz, 5 de maio de 1921, na terceira coluna e Relatórios do Ministério da Justiça de 1922).
+Kfuri foi contratado como encarregado técnico do serviço de fotografia aérea da Aviação Naval (O Paiz, 21 de dezembro de 1921, na primeira coluna, e O Relatório do Ministério da Marinha de 1922).
+ 
+O Paiz, 21 de dezembro de 1921
+ 
+Sofreu um pequeno acidente aéreo com o piloto Epaminondas Santos, no aeromarino 40 (O Paiz, 28 de dezembro de 1921, na quarta coluna).
+1922 – Publicação de fotos de autoria de Kfuri da Ilha das Cobras e do Cemitério do Caju (Fon-Fon, 4 de fevereiro de 1922).
+Kfuri estava no avião Avro nº 2, pilotado pelo tenente Luiz Leal Netto dos Reis, que sobrevoou a casa de Santos Dumont (1873 – 1932), em Petrópolis, onde deixaram cair um para-quedas com uma mensagem de saudações a ele, que a recolheu (O Paiz, 16 de março de 1922, na terceira coluna).
+ 
+Jorge Kfuri. Exposição do centenário da Independência, 1922. Rio de Janeiro, RJ / Acervo DPHDM
+ 
+Foto de Kfuri publicada na revista Illustração Brasileira de 15 de novembro de 1922
+ 
+1923 –  Para servir como encarregado técnico do serviço de fotografia aérea da Aviação Naval, o Ministério da Marinha contratou o sr. Jorge Kfuri, servindo também como operador cinematográfico em qualquer dos departamentos da Marinha para que seja requisitado (Jornal do Commercio, 14 de maio de 1923, na segunda coluna).
+O ministro da enviou ao presidente do Tribunal de Contas uma cópia do contrato celebrado com Jorge Kfuri para servir como fotógrafo da Marinha (Última Hora, 15 de junho de 1923, na terceira coluna e O Paiz, 16 de junho de 1923, na última coluna).
+Kfuri integrou como segundo tenente honorário da Marinha a esquadrilha de quatro hidroaviões que foi para a Bahia, sob o comando do capitão de mar e guerra e futuro ministro da Marinha Protógenes Pereira Guimarães (1876 – 1938) (Gazeta de Notícias, 26 de junho de 1923, na quinta coluna e A Rua, 2 de julho de 1923, na penúltima coluna). A esquadrilha voltou para o Rio de Janeiro e foi muito homenageada (O Paiz, 9 de agosto de 1923). Kfuri foi um dos convidados para o banquete oferecido no Palace Hotel pelo Aero Club Brasileiro a Protógenes e a seus comandados no raid de aviação entre Rio e Aracaju (O Imparcial, 30 de agosto de 1923, na segunda coluna).
+Foi um dos tripulantes dos três hidroaviões que regressaram de Santos para o Rio de Janeiro (Jornal do Commercio, 12 de setembro de 1923, na quarta coluna).
+1926 – Fez parte da tripulação de um dos aviões que recepcionou a chegada, no Rio de Janeiro, do avião Plus Ultra, que havia partido da Europa, pilotado por Ramon Franco (1896 – 1938), um dos pioneiros da aviação espanhola (A Manhã, 3 de fevereiro de 1926 e Jornal do Brasil, 10 de fevereiro de 1926, na terceira coluna).
+Participou do segundo voo do avião 322 no serviço postal (O Paiz, 4 de abril de 1926, na sexta coluna).
+Houve uma tentativa de assalto na casa de Kfuri na rua Taylor, nº 80 (Gazeta de Notícias, 21 de abril de 1926, na quarta coluna).
+Kfuri fez parte da tripulação dos aviões que receberam o hidroavião Buenos Aires, pilotado pelos aviadores argentinos Duggan e Olivero (O Paiz, 19 e 20 de julho de 1926).
+Integrava a equipe da esquadrilha da Marinha de Guerra, de três aviões, que partiu para pela primeira vez voar entre o Rio de Janeiro e Belo Horizonte. Estava no avião, pilotado pelo capitão-tenente Luiz Leal Netto dos Reis, que sofreu uma pane e caiu nos arredores de Petrópolis (O Brasil, 4 de agosto de 1926, O Paiz, 4 de agosto de 1926, na sexta coluna e O Jornal, 4 de agosto de 1926).
+ 
+O piloto Netto Reis, de uniforme escuro, e Jorge Kfuri / O Jornal, 4 de agosto de 1926
+ 
+1927 –  Sua participação na documentação fotográfica das pesquisas sobre os explosivos super-rupturita foi elogiada em um ofício encaminhado pelo diretor da comissão dos estudos desse tipo de explosivo ao diretor-geral da Aeronáutica (O Brasil, 11 de novembro de 1927, na última coluna).
+1928 – Jorge Kfuri foi elogiado por seu trabalho à disposição do comando da esquadra no segundo período dos exercícios gerais, em dezembro de 1927, e que satisfazendo os desejos do referido comando, conseguiu organizar para o Diretório da Aeronáutica da Armada, valioso documento cinematográfico demonstrativo das fainas e exercícios naquela ocasião (O Paiz, 10 de agosto de 1928, na quinta coluna).
+Kfuri foi um dos oficiais escalados para velar o corpo do aviador italiano Carlo del Prete (1897 – 1928), na Embaixada da Itália, no Rio de Janeiro. O italiano havia sofrido um acidente na Ponta do Galeão (Jornal do Commercio, 17 de agosto de 1928, na segunda coluna).
+Na Escola de Grumetes de Angra dos Reis, Kfuri foi um dos três oficiais feridos com a explosão de uma bomba que deveria ser utilizada pelos aviadores navais durante os exercícios da Armada. Dois oficiais morreram (A Noite, 27 de novembro de 1928, O Estado, 28 de novembro de 1928 e Careta, 1º de dezembro de 1928).
+ 
+Jorge Kfuri. O Chapéu do Sol no morro do Corcovado, s/d. Rio de Janeiro, RJ / Acervo DPHDM
+ 
+1929 - Foi ferido em um acidente no avião MF 4, pilotado por Raul Bandeira (Diário Nacional, 12 de junho de 1929, na última coluna, Jornal do Brasil, 12 de junho de 1929 e O Paiz, 13 de junho de 1929, na segunda coluna).
+No Almanak Laemmert de 1929 e de 1931, Jorge Kfuri foi listado como o encarregado do serviço fotográfico da Escola de Aviação Naval.
+1931 – Falecimento da mãe de Kfuri, dona Amélia Kfuri, no Rio de Janeiro (Diário da Noite, 16 de março de 1931, na primeira coluna).
+A família de Kfuri mandou rezar uma missa em Ação de Graças por seu restabelecimento após o acidente de 1929 (Diáro da Noite, 11 de junho de 1931, na segunda coluna).
+1932 – O ministro da Marinha, Protógenes Pereira Guimarães (1876 – 1938), elogiou a conduta de Kfuri no navio Belmonte, como auxiliar do aviador João Correia Dias Costa (Correio da Manhã, 21 de fevereiro de 1932, na terceira coluna).
+Por decreto do Ministério da Marinha, Kfuri foi efetivado no lugar de encarregado técnico dos serviços fotográficos dos Centros e Escola de Aviação Naval com as honras e vantagens do posto de 1° tenente da Armada (Correio da Manhã, 14 de maio de 1932, na sétima coluna).
+1933 – A reportagem Aspectos de Belém foi ilustrada com fotografias produzidas por Jorge Kfuri (A Noite Ilustrada, 19 de julho de 1933)
+Kfuri foi um dos oficiais integrantes da 4ª Divisão de Esclarecimento e Bombardeio Aéreo que atuou no Alto Solimões na vigilância da neutralidade do Brasil no conflito entre a Colômbia e o Peru. A divisão foi comandada pelo capitão de corveta aviador Álvaro de Araújo (Jornal da Noite, 28 de junho de 1933, na terceira coluna, e Correio da Manhã, 21 de junho de 1933, na terceira coluna).
+Entrevista com Kfuri sobre suas impressões da região do Alto Solimões nos 45 dias que passou lá (Jornal da Noite, 3 de julho de 1933).
+Kfuri produziu a primeira fotografia aérea de Belo Horizonte, durante uma viagem do ministro da Marinha, Protógenes Pereira Guimarães (1876 – 1938), a Minas Gerais. Kfuri voou em um avião Fairey pilotado pelo capitão de corveta Álvaro de Araújo (Diário da Noite, 19 de julho de 1933, na quinta coluna).
+ 
+O Fairey comandado pelo capitão de corveta Álvaro de Araújo pousado em Ponta Nova durante a viagem a Minas Gerais. Kfuri é o primeiro a esquerda e o capitão Araújo está com o uniforme todo escuro / Jornal da Noite, 3 de outubro de 1933
+ 
+Kfuri ficou ferido em um acidente aéreo perto de Petrópolis, quando voava em um avião da Marinha em exercício no território fluminense, pilotado pelo capitão de corveta Álvaro Araújo. O terceiro tripulante era o aviador civil Raphael Chrisóstomo de Oliveira. Esses dois últimos sofreram pequenas escoriações. A aeronave, Fairey 55, ficou inutilizada. Kfuri foi referido comoum dos nossos aviadores navais mais arrojados…Fotógrafo, talvez, o mais hábil da nossa aviação naval… (Pequeno Jornal, 3 de outubro de 1933, na quarta coluna, Jornal da Noite, 3 de outubro de 1933, e Jornal do Brasil, 4 de outubro de 1933). Segundo a matéria do Jornal da Noite, foi a sétima vez que Kfuri estava em uma avião que caiu (Jornal da Noite, 3 de outubro de 1933, na penúltima coluna).
+1934 – Foi um dos filhos de libaneses homenageados pela Missão Libanesa Maronita do Rio de Janeiro (Jornal do Brasil, 30 de janeiro de 1934).
+Kfuri iria integrar como responsável pelo serviço aerofotográfico o grupo da Marinha que faria o levantamento aerotopográfico do litoral nortista (Jornal da Noite, 27 de abril de 1934, na sétima coluna).
+1935 – O ministro da Marinha, Protógenes Pereira Guimarães (1876 – 1938), solicitou ao consultor geral da República a extensão do abono salarial a três oficiais honorários da Armada brasileira e Kfuri era um deles (Jornal do Brasil, 2 de outubro de 1935, na segunda coluna).
+1936 – Terrenos da aviação naval no campo de São Bento, na Ilha do Governador, estavam ameaçados de despejo pela Companhia Indústria e Comércio. Kfuri era um dos oficiais da Armada que possuía um dos lotes (O Imparcial, 27 de junho de 1936 e 28 de junho de 1936, na última coluna).
+1939 – Participou de um cruzeiro aéreo entre o Rio de Janeiro e São Paulo (Correio Paulistano, 18 de julho de 1939, na última coluna).
+1941 – Kfuri estava presente na posse do coronel Dias Costa como presidente do Aeroclube do Brasil (Jornal do Brasil, 1º de agosto de 1941, na quinta coluna).
+1942 – O ministro da Aeronáutica, Joaquim Pedro Salgado Filho (1888 – 1950), tornou sem efeito a transferência e nomeação de Jorge Kfuri para monitor de fotografia aérea da Escola de Especialistas da Aeronáutica (Diário de Notícias, 23 de maio de 1942, na segunda coluna, e A Manhã, 7 de julho de 1942, na quarta coluna).
+1954 – Kfuri servia no gabinete do ministro da Aeronáutica (Correio da Manhã, 1º de setembro de 1954, na sétima coluna).
+1956 – Em uma coluna sobre reportagens antigas do jornal A Noite,  o jornalista Bento Malafaia relatou que o fotógrafo Kfuri havia participado de uma reportagem onde ele se fez passar como secretário de um suposto faquir, na verdade, o redator Eustachio Alves. O “consultório” fez muito sucesso na cidade. Depois de revelada a verdade, foram tomadas medidas contra a exploração de faquires e cartomantes abrandando a crendice popular (A Noite, 24 de julho de 1956, na penúltima coluna).
+ 
+Jorge Kfuri. Pão de Açúcar, Rio de Janeiro, 1919. Rio de Janeiro, RJ / Acervo FBN
+ 
+1957 – Em cerimônia realizada na praça Salgado Filho, com a presença do presidente da República, Juscelino Kubitschek (1902 – 1976), e de Thomas White, Chefe do Estado Maior da Força Aérea dos Estados Unidos, Kfuri foi condecorado com o grau de Cavaleiro da Ordem do Mérito Aeronáutico. Foi publicada uma fotografia de Kfuri sendo condecorado (Correio da Manhã, 24 de outubro de 1957 e Jornal do Brasil, 24 de outubro de 1957, na primeira coluna).
+1959 – O presidente da República, Juscelino Kubitschek (1902 – 1976), assinou um decreto suprimindo o cargo de chefe do Serviço Fotográfico da Aeronáutica, vago em virtude da aposentadoria de Jorge Kfuri (Jornal do Dia, 15 de setembro de 1959, na quarta coluna).
+1965 – Falecimento de Jorge Kfuri, em 21 de janeiro, no Hospital Central da Aeronáutica. Sua esposa, Hilda Carelli Kfuri, publicou um anúncio do enterro, realizado no cemitério São João Batista. Na sua certidão de óbito, consta que ele teria nascido no Líbano (Correio da Manhã, 22 de janeiro de 1965, na primeira coluna).
+1965 – Falecimento de Jorge Kfuri, em 21 de janeiro, no Hospital Central da Aeronáutica. Sua esposa, Hilda Carelli Kfuri, publicou um anúncio do enterro, realizado no cemitério São João Batista (Correio da Manhã, 22 de janeiro de 1965, na primeira coluna).
+ 
+Correio da Manhã, 22 de janeiro de 1965
+ 
+No seu atestado de óbito consta que ele havia nascido no Líbano.
+ 
+Atestado de óbito de Jorge Kfuri / Site Family Search
+ 
+1999 – No Espaço Cultural da Marinha, no Rio de Janeiro, foi realizada, entre dezembro de 1999 e abril de 2000, a exposição Imagens da Aviação Naval com fotografias pertencentes ao acervo do Serviço de Documentação da Marinha, que fazem parte de um álbum de 555 imagens produzidas por Kfuri com registros da aviação naval desde seu início, de vistas aéreas do Rio de Janeiro e de acontecimentos importantes na cidade.
+ 
+Jorge Kfuri / Jornal da Noite, 3 de outubro de 1933
+ 
+*Em matérias de jornal, ele é referido ora como sírio ora como libanês. Em seu atestado de óbito consta que ele era libanês.
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+ANDRADE, Joaquim Marçal Ferreira. Milan Alram. Rio de Janeiro: Bazar do Tempo, 2015.
+Arquivo Nacional
+Diretoria do Patrimônio Histórico e Documentação da Marinha
+Hemeroteca da Biblioteca Nacional
+Site da Biblioteca da Presidência da República
+Site da Câmara dos Deputados
+Site da Secretaria de Estado de Cultura do Distrito Federal
+Site da Presidência da República – Casa Civil
+Site do CPDOC
+Site do Senado Federal
+Site do Superior Tribunal Militar
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/4565` — `itens/20.500.12156.1_4565/`
+- `20.500.12156.1/5164` — `itens/20.500.12156.1_5164/`
+- `20.500.12156.1/4345` — `itens/20.500.12156.1_4345/`
+- `20.500.12156.1/6597` — `itens/20.500.12156.1_6597/`
+- `20.500.12156.1/4245` — `itens/20.500.12156.1_4245/`
+- `20.500.12156.1/3549` — `itens/20.500.12156.1_3549/`
+
diff --git a/wordpress/8553-inauguracao-da-estatua-da-amizade-em-4-de-julho-de-1931.md b/wordpress/8553-inauguracao-da-estatua-da-amizade-em-4-de-julho-de-1931.md
new file mode 100644
index 0000000..e1f4c37
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+++ b/wordpress/8553-inauguracao-da-estatua-da-amizade-em-4-de-julho-de-1931.md
@@ -0,0 +1,30 @@
+---
+id: 8553
+url: "https://brasilianafotografica.bn.gov.br/?p=8553"
+titulo: "Inauguração da Estátua da Amizade em 4 de julho de 1931"
+autor: "Andrea Wanderley"
+data: "2017-07-04T09:08:32+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/5071", "20.500.12156.1/5072"]
+fetched_at: "2026-09-10T10:27:55.163Z"
+---
+
+# Inauguração da Estátua da Amizade em 4 de julho de 1931
+
+Augusto Malta. Inauguração da Estátua da Amizade em frente a Igreja de Santa Luzia, 4 de julho de 1931. Rio de Janeiro, RJ / Acervo IMS
+ 
+Com dois registros do fotógrafo Augusto Malta (1864 – 1957), a Brasiliana Fotográfica lembra a história da Estátua da Amizade. Em 1922, no centenário da independência do Brasil, por iniciativa da Câmara de Comércio Norte-Americana no Brasil, foram angariados cerca de 40 mil dólares para a confecção de um monumento que simbolizasse a amizade entre os dois países. Foi presenteada ao país uma escultura de bronze de uma mulher, em pé, sustentando na mão esquerda os pavilhões norte-americano e brasileiro ornados com folhas de louro e, na direita, uma palma de louros.
+A Amicitia, que ficou conhecida como Estátua da Amizade, de autoria de Charles Keck (1875 – 1951), tem pouco mais de 4 metros de altura, cerca de 9 toneladas e foi fundida nas oficinas de Henry Bonnard, em Nova York. Na época em que a escultura foi ofertada ao Brasil, o prefeito do Rio de Janeiro era Carlos Sampaio (1861 – 1930). Passaram-se as administrações de Alaor Prata (1882 – 1964) e de Antonio da Silva Prado Júnior (1880 – 1955) e a estátua permanecia guardada nos Armazéns da Companhia Expresso Federal (Correio da Manhã, 21 de outubro de 1930, na penúltima e última colunas).
+Em 1931, sob a gestão do interventor federal Adolfo Bergamini (1886 – 1945), atendendo à solicitação de diversas personalidades e instituições, dentre elas o Centro Carioca, por iniciativa de Pedro Viana da Silva, diretor de Arborização e Jardins, o escultor Benevenuto Berna (1865 – 1940) finalmente concebeu um pedestal para a estátua: dois medalhões entrelaçados, com os bustos de George Washington e de José Bonifácio, com duas palmas, representando as duas nações, envolvidas por folhas de hera para simbolizar a amizade.
+No dia da comemoração dos 155 anos da independência dos Estados Unidos, 4 de julho de 1931, o monumento foi inaugurado na confluência das avenidas Santos Dumont e presidente Wilson, em frente à igreja de Santa Luzia. Estavam presentes Getulio Vargas (1882 – 1954), chefe do Governo Provisório, Edwin Morgan, embaixador dos Estados Unidos, Oswaldo Aranha (1894 – 1960), ministro da Justiça e Assuntos Internos, além de várias outras autoridades e diplomatas (Jornal do Brasil, 4 de julho de 1931, e Correio da Manhã, 5 de julho de 1931). Foi um evento muito concorrido na cidade e o fotógrafo da prefeitura, Augusto Malta, não poderia deixar de registrar o acontecimento.
+Onze anos depois, em 9 de julho de 1942, com um pedestal bem mais alto, a estátua foi reinaugurada na praça Quatro de Julho, em frente ao atual consulado dos Estados Unidos com a presença de diversas autoridades, dentre elas o prefeito do Rio de Janeiro, Henrique Dodsworth (1895 – 1975), o embaixador norte-americano Jefferson Caffery e o ministro das Relações Exteriores, Oswaldo Aranha (Jornal do Brasil, 10 de julho de 1942).
+ 
+Augusto Malta. Inauguração da Estátua da Amizade em frente a Igreja de Santa Luzia, 4 de julho de 1931. Rio de Janeiro, RJ / Acervo IMS
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/5071` — `itens/20.500.12156.1_5071/`
+- `20.500.12156.1/5072` — `itens/20.500.12156.1_5072/`
+
diff --git a/wordpress/8567-os-indios-sob-as-lentes-de-walter-garbe-em-1909.md b/wordpress/8567-os-indios-sob-as-lentes-de-walter-garbe-em-1909.md
new file mode 100644
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--- /dev/null
+++ b/wordpress/8567-os-indios-sob-as-lentes-de-walter-garbe-em-1909.md
@@ -0,0 +1,119 @@
+---
+id: 8567
+url: "https://brasilianafotografica.bn.gov.br/?p=8567"
+titulo: "Os índios sob as lentes de Walter Garbe, em 1909"
+autor: "Andrea Wanderley"
+data: "2017-05-23T14:13:56+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/570", "20.500.12156.1/567"]
+fetched_at: "2026-09-10T10:27:58.506Z"
+---
+
+# Os índios sob as lentes de Walter Garbe, em 1909
+
+Walter Garbe. Indígenas Botocudos : foto 04, 1909. Santa Leopoldina, Espírito Santo / Acervo FBN
+Os registros de indígenas referidos como “botocudos” produzidos no Espírito Santo por Walter Garbe (18? – 19?), em 1909, apesar de claramente encenados, mostram os indígenas no local onde viviam realizando tarefas do cotidiano e não retratados em estúdios fotográficos como fazia boa parte dos fotógrafos da época. Por Garbe eles foram fotografados, por exemplo, caçando e fazendo fogo. Essas imagens transmitem uma certa interação entre ele e os indígenas.
+“Botocudo” ou aimoré era, segundo Fernando de Tacca, uma denominação usada pelos colonizadores portugueses para se referir ao conjunto de indígenas que usavam botoques nos lábios e nas orelhas. No artigo Os botocudos do Rio Doce, de autoria do alemão Herman von Ihering (1850 – 1930), diretor do Museu Paulista entre 1894 e 1915, publicado na revista da instituição, em 1911, foi descrita e comentada a coleção de peças etnográficas dos indígenas da margem esquerda do rio Doce no estado do Espírito Santo, obtida por Walter Garbe, durante as várias excursões que fez à região entre março e maio de 1909.
+Segundo o artigo de von Ihering, Walter Garbe havia produzido uma bela série de vistas fotográficas dos índios “botocudos”. Também havia trazido para o Museu Paulista o crânio de uma indígena de 22 anos por ele retratada e que havia se afogado no rio Doce, além de objetos indígenas relacionados a seus usos. Garbe fez um minucioso relato dos hábitos dos “botocudos”.
+Anteriormente, em 1906, Walter, excelente auxiliar e fotógrafo artista, em companhia de seu pai, o alemão Ernst (Ernesto) Garbe (1853 – 1925), naturalista-viajante do Museu Paulista desde 26 de dezembro de 1902, explorou a região do rio Doce, desde a fronteira do estado de Minas Gerais até Linhares e na Lagoa Juparana. Obtiveram valiosas coleções zoológicas, mas, na ocasião, não se relacionaram com os indígenas.
+ 
+Walter Garbe. Indígenas Botocudos : foto 01, 1909. Santa Leopoldina, Espírito Santo / Acervo FBN
+ 
+Acessando o link para as fotografias de autoria de Walter Garbe disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+ Breve Cronologia de Walter Garbe (18? – 19?) e de seu pai, Ernst Garbe (1853 – 1925)
+ 
+1853 – Nascimento de Ernst Garbe, em 22 de novembro, em Gorlitz, na Alemanha, filho de Augusto e Henriqueta Garbe.
+1882 - Ernst Garbe veio pela primeira vez ao Brasil e daqui levou grandes carregamentos de animais vivos da fauna sul-americana para Hamburgo, além de grande quantidade de couros de aves, mamíferos e peixes.
+1901/1902 - Ernst Garbe explorou a região do rio Juruá, no norte do Brasil, subvencionado pelo Museu Paulista.
+1902 – Ernst Garbe trouxe para o Museu Paulista os primeiros exemplares de mico-leão-preto: três espécimes, uma fêmea e dois machos, coletados em Vitoriana, município de Botucatu, em São Paulo. Foi o segundo registro histórico da espécie.
+Foi contratado como naturalista-viajante do Museu Paulista em 26 de dezembro, por proposta do então diretor da instituição, o alemão Hermann von Inhering (1850 – 1930). Exerceu esse cargo até sua morte, em 1925.
+1904 – Publicação de um artigo sobre a expedição feita por Ernst Garbe, entre 1901 e 1902, no rio Juruá, no norte do Brasil (Boletim do Museu Paraense, 1904).
+1905 – Ernst e seu filho, Walter Garbe, partiram do Rio de Janeiro para Caravelas, na Bahia, a bordo do Guarany (Brazilian Review, 17 de outubro de 1905, primeira coluna).
+1906 - Walter, excelente auxiliar e fotógrafo artista, em companhia de seu pai, o alemão Ernst (Ernesto) Garbe explorou a região do rio Doce, desde a fronteira do estado de Minas Gerais até Linhares e na Lagoa Juparanã, no Espírito Santo. Obtiveram valiosas coleções zoológicas, mas, na ocasião, não se relacionaram com os indígenas.
+1907 – Walter Garbe chegou ao Rio de Janeiro a bordo do paquete Muqui, que vinha de Caravelas, na Bahia, tendo feito escala em Guarapari, no Espírito Santo (Correio da Manhã, 18 de abril de 1907, na terceira coluna).
+Ernst Garbe partiu rumo a Manaus e escalas no paquete Maranhão (Gazeta de Notícias, 27 de outubro de 1907, na última coluna).
+1908 - Ernst Garbe chegou a Vitória vindo de Caravelas, na Bahia, a bordo do Guanabara (O Estado do Espírito Santo, 20 de dezembro de 1908, na primeira coluna). No dia seguinte, chegou ao Rio de Janeiro (Jornal do Brasil, 21 de dezembro de 1908, na última coluna).
+1909 – Entre março e maio, Walter Garbe fez diversas excursões à margem esquerda do rio Doce, no Espírito Santo, e obteve uma coleção de peças etnográficas dos índios “botocudos”.
+1911 – Walter Garbe partiu para Manaus e escalas no paquete Alagoas (Gazeta de Notícias, 1º de julho de 1911, quinta coluna).
+Walter Garbe chegou a Vitória, procedente do Rio de Janeiro, no paquete Bahia (Diário da Manhã, 14 de setembro de 1911, quarta coluna).
+1912 – Walter Garbe embarcou no paquete Manaus, que seguiu para Manaus e escalas (O Paiz, 19 de janeiro de 1912, segunda coluna).
+No Rio de Janeiro, Ernst Garbe ficou hospedado no Hotel Familiar Globo (O Paiz, 14 de maio de 1912, na quinta coluna).
+1913 - Publicação na primeira página do Correio Paulistano de 23 de fevererio de 1913 da matéria Fauna e flora do Brasil – As excursões e os trabalhos de um naturalista-viajante, ilustrada com uma fotografia de Ernst Garbe.
+ 
+Fotografia na primeira página do Correio Paulistano de 23 de fevereiro de 1913 com a legenda O sr. Ernesto Garbe preparando sua caça para o Museu Paulista.
+ 
+Ernst Garbe naturalizou-se brasileiro (Jornal do Commercio, 25 de julho de 1913, na sexta coluna).
+Walter Garbe e família chegaram ao Brasil a bordo do paquete alemão Tucuman, vindo de Hamburgo e escalas (O Imparcial, 5 de novembro de 1913, na segunda coluna).
+1915 – Foi noticiado que Ernst Garbe acabara de fazer uma excursão zoológica ao longo do rio Uruguai, no Rio Grande do Sul (Correio Paulistano, 23 de julho de 1915, primeira coluna).
+1917 – Ernst Garbe tornou-se sócio da União Internacional Protetora dos Animais (Correio Paulistano, 1º de maio de 1917, na segunda coluna).
+1919 - A secretaria do Interior de São Paulo fez um pagamento a Ernst Garbe (Correio Paulistano, 28 de março de 1919, na quarta coluna).
+Foi publicada a matéria O resultado das recentes pesquisas realizadas pelo naturalista sr. Ernesto Garbe (Correio Paulistano, 7 de setembro de 1919, na penúltima coluna).
+1920 - A secretaria do Interior solicitou do presidente do Lloyd Brasileiro no Rio de Janeiro passagem daquele porto para Belém e de Belém a Manaus para Ernst Garbe, naturalista viajante do Museu Paulista (Correio da Paulistano, 13 de abril de 1920, na terceira coluna).
+Ernst Garbe seguiu para o Rio de Janeiro, vindo de São Paulo, no primeiro trem noturno (O Paiz, 28 de abril de 1920, na penúltima coluna).
+No mês de abril, Ernst Garbe seguiu para a Amazônia. Essa foi a última excursão que realizou.
+No trem noturno, Walter Garbe seguiu do Rio para São Paulo (Correio Paulistano, 6 de agosto de 1920, sexta coluna).
+1921 – A secretaria do Interior fez um pagamento a Ernst Garbe (Correio Paulistano, 20 de janeiro de 1921, na sétima coluna).
+Durante o carnaval, em Santa Thereza, no Espírito Santo, O sr Walter Garbe, conhecido fotógrafo, tirou várias fotografias inclusive a do salão principal do Governo Municipal (O Povo, 13 de fevereiro de 1921, primeira coluna).
+O diretor do Museu Paulista informou que Ernst Garbe estava desde abril de 1920 explorando a Amazônia, tendo coletado mais de 300 mamíferos, cem aves, ofídios, répteis, batráquios, aracnideos, crustáceos, lepdopteros, insetos e peixes. Elogiou os trabalhos feitos por ele em outras regiões do Brasil (Correio Paulistano, 21 de maio de 1921, na sétima coluna).
+A secretaria da Fazenda de São Paulo fez um pagamento a Ernst Garbe (Correio Paulistano, 25 de agosto de 1921, na quinta coluna).
+1922 – Walter Garbe esteve no palácio do Governo do Espírito Santo (Diário da Manhã, 7 de janeiro de 1922, na segunda coluna).
+O fotógrafo Walter Garbe residia em Santa Leopoldina, no Espírito Santo (Diário da Manhã, 8 de janeiro de 1922, na quarta coluna).
+O senhor Elpidio Pimentel havia recebido da secretaria de Agricultura do Espírito Santo 76 fotografias produzidas por Walter Garbe (Diário da Manhã, 3 de agosto de 1922, na quarta coluna).
+A coleção exposta na sala de ornitologia do Museu de Ciências foi ampliada com a presença de aves amazônicas trazidas pelo naturalista Ernst Garbe (Correio Paulistano, 4 de setembro de 1922).
+A prefeitura de Santa Leopoldina mandou, pelo hábil fotógrafo Walter Garbe, tirar diversos filmes cinematográficos da cidade, com a sua movimentada vida comercial, das nossas vias de comunicação; das nossas quedas d´água; do transporte do café da colônia para aqui e daqui para Vitória, via fluvial, e também das imponentes festas do Centenário aqui realizadas (O Jornal, 11 de novembro de 1922, na coluna).
+1923 – Walter Garbe requereu da secretaria de Agricultura o pagamento por serviços fotográficos em diversos municípios do Espírito Santo (Diário da Manhã, 31 de agosto de 1923, na quarta coluna).
+1924 – Walter Garbe esteve no palácio do governo do Espírito Santo (Diário da Manhã, 18 de março de 1924, na última coluna).
+Ernst Garbe foi mencionado na matéria Uma visita ao Museu do Ypiranga como o responsável pelas recentes aquisições de animais da Amazônia (Gazeta de Notícias, 23 de março de 1924).
+Walter Garbe foi um dos compradores da cidade de Vitória da Empresa Territorial Nova Capital Federal (Diário da Manhã, 15 de julho de 1924).
+Walter Garbe foi um dos convidados ao casamento do prefeito de Vitória, Otávio Peixoto, com Elida Avidos (Diário da Manhã, 20 de novembro de 1924, na última coluna).
+Ernst Garbe foi citado no artigo Porto Seguro em princípios do século XIX, de autoria de Afonso d’Escragnolle Taunay (1876 – 1958), na época diretor do Museu Paulista (América Brasileira, novembro – dezembro de 1924).
+1925 – Ernst Garbe ainda ocupava o cargo de naturalista-viajante do Museu Paulista (Almanak Laemmert, 1925).
+Falecimento de Ernst Garbe em 4 de julho, em São Paulo (O Dia, 5 de julho de 1925, na segunda coluna e O Paiz, 9 de julho de 1925, na quarta coluna). Publicação de um perfil sobre ele, escrito pelo então diretor do Museu Paulista, Afonso d’Escragnolle Taunay (1876 – 1958) (Correio Paulistano, 7 de julho de 1925).
+1928 – A prefeitura de São Paulo indeferiu um pagamento a Walter Garbe (Correio Paulistano, 21 de março de 1928, na segunda coluna).
+1929 – A secretaria da Fazenda de São Paulo fez um pagamento a Walter Garbe (Correio Paulistano, 28 de dezembro de 1929, na segunda coluna).
+1932/1933 – De outubro de 1932 a abril de 1933, Walter Garbe participou com Carlos Camargo de uma expedição comandada por Olivério Pinto. Foram coletadas aves do estado da Bahia – no vale do rio das Contas e nos arredores de Caravelas. Perto de Salvador, coletaram também na ilha da Madre de Deus.
+1937 – Walter Garbe era um dos componentes da Bandeira Anhanguera que após uma temporada na região do rio das Mortes, onde teve contato com os índio xavantes, sob o comando do sertanista e escritor Hermano Ribeiro da Silva(? – 1937), retornou a São Paulo (Correio Paulistano, 5 de dezembro de 1937, na primeira coluna).
+ 
+Breve perfil do naturalista Ernst Garbe (1853 – 1925), pai do fotógrafo Walter Garbe
+ 
+O naturalista Ernst Garbe (1853 – 1925), pai do fotógrafo Walter Garbe / Fotografia publicada no livro Quantos anos faz o Brasil?, sem autoria e sem data
+ 
+O alemão Ernst Garbe nasceu em 22 de novembro de 1853, em Gorlitz, na Silesia. Durante longos anos viajou por conta do grande comerciante mundial de animais selvagens Carl Hagenbeck (1844 – 1913), de Hamburgo. Veio pela primeira vez ao Brasil, em 1882. Daqui levou grandes carregamentos de animais vivos da fauna sul-americana para Hamburgo, além de grande quantidade de couros de aves, mamíferos e peixes. Tornou-se naturalista viajante do Museu Paulista em 26 de dezembro de 1902 , por proposta do então diretor da instituição o alemão Hermann von Inhering (1850 – 1930), que esteve a frente da instituição de 1894 até 1915.  No ano anterior, 1901, Ernst Garbe já havia ido à região do rio Juruá, no norte do Brasil, subvencionado pelo museu. Em 1902, trouxe para o Museu Paulista os primeiros exemplares de mico-leão-preto, três espécimes, uma fêmea e dois machos, coletados em Vitoriana, município de Botucatu, em São Paulo. Foi o segundo registro histórico da espécie. Percorreu áreas remotas em praticamente todos os biomas brasileiros, coletando uma quantidade expressiva de material. Segundo vários pesquisadores estrangeiros que visitaram o museu, foi graças a Ernst Garbe que Ihering pode reunir a melhor coleção zoológica da América do Sul na ocasião. Naturalizou-se brasileiro, em 1913. Teve uma congestão cerebral em sua mesa de trabalho, no Museu Paulista, e faleceu em 1925. Sobre ele, Afonso d’Escragnolle Taunay (1876 – 1958), diretor do Museu Paulista de 1917 a 1945, declarou: Nasceu e viveu para levar a existência do naturalista colecionador, apaixonadamente amou a sua carreira e jamais quis saber de outro modo de vida.
+ 
+Breve perfil de Hermann Friedrich Albrecht von Ihering (1850 – 1930), diretor do Museu Paulista de 1894 a 1915
+ 
+Hermann von Ihering, 1920 / Wikipedia
+ 
+O zoólogo alemão Herman Friedrich Albrecht von Ihering nasceu em 9 de outubro de 1850, em Kiel e era filho do destacado jurista Caspar Rudolf von Ihering (1818-1892). Frequentou as universidades de Giessen, de Leipzig, de Berlim e de Göttingen.  Passou uma temporada na Itália, onde lecionou zoologia na Universidade de Nápoles. Radicou-se no Brasil em 1880. Naturalizou-se brasileiro em 1885. Foi naturalista-viajante do Museu Imperial e Nacional, além de pesquisador da Comissão Geográfica e Geológica do Estado de São Paulo. Em 1894, sucedeu o norte-americano Orville Adelbert Derby (1851 – 1915) na direção do Museu Paulista, cargo que ocupou até 1915, quando foi substituído por Armando Prado. A exemplo do que se fazia nas instituições europeias afins, Ihering dedicou-se à parte expositiva e também ao trabalho científico. Para tal, contratou vários naturalistas que percorreram o Brasil em busca de exemplares naturais para o Museu. Dentre os contratados, estiveram Ernest e Walter Garbe. Durante sua gestão, o Museu Paulista teve o apoio de sociedades e instituições científicas como o Museu Britânico, o Museu de Paris, o Museu Nacional dos Estados Unidos e o Smithsonian Institute. Foi visitado por diversos pesquisadores estrangeiros como Franz Heger, do Museu Imperial de Viena, e John Hasemann, do Carnegie Museum. Também recebeu coleções de museus argentinos, uruguaios e chilenos. Pesquisadores brasileiros colaboraram com a classificação das coleções, entre eles  Adolph Hempel, do Instituto Agronômico de Campinas e Adolpho Ducke, do Museu Emílio Goeldi. Naturalistas contratados pelo museu foram Beniamino Bicego,  Helmuth Pinder, Francisco Leonardo de Lima e Hermann Lünderwaldt, dentre outros. Von Ihering escreveu com seu filho, Rodolpho Theodor Wilhelm Gaspar von Ihering, os Catálogos de Fauna Brazileira vol 1. As aves do Brazil, editado pelo Museu Paulista, em 1907. Voltou para a Europa em 1920 e faleceu, na Alemanha, em 24 de fevereiro de 1930.
+ 
+Andrea C. T. Wanderley
+Editora-assistente e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+ABREU, Adilson Avansi de. Quantos anos faz o Brasil?. São Paulo: Editora da Universidade de São Paulo, 2000. – (Uspiana Brasil 500 Anos)
+Blog do IMS. Entrevista Os índios na fotografia brasileira, feita por Luiz Fernando Vianna a Leonardo Wen, em 26 de novembro de 2013.
+Boletim do Instituto Paulista de Oceanografia
+Dicionário Histórico-Biográfico das Ciências da Saúde no Brasil (1832-1930) Casa de Oswaldo Cruz / Fiocruz
+EHRENREICH, Paul. Índios Botocudos do Espírito Santo no século XIX. Tradução de Sara Baldus; organização e notas de Júlio Bentivóglio. Vitória, Arquivo Público do Estado do Espírito Santo, 2014. Título original: Ueber die Botocudos der brasilianischen Provizen Espiritu Santo und Minas Geraes. 1887.
+IHERING, Hermann von. Os botocudos do Rio Doce. São Paulo:Revista do Museu Paulista, 1911.
+KOSSOY, Boris. Dicionário histórico-fotográfico brasileiro: fotógrafos e ofício da fotografia no Brasil (1833-1910). São Paulo: Instituto Moreira Salles, 2002
+
+LOPES, Maria Margaret Lopes;PODGORNY, Irina. Entre mares e continentes: aspectos da trajetória científica de Hermann von Ihering, 1850-1930. Hist. cienc. saude-Manguinhos vol.21 no.3 Rio de Janeiro Aug./Sept. 2014
+NOMURA,Hitoshi. Hermann von Ihering (1850-1930), o Naturalista. In: Cadernos de História da Ciência, vol.8 no.1 São Paulo jan./jun. 2012
+OLIVEIRA, Roberto Gonçalves de. As aves-símbolos dos estados brasileiros. Porto Alegre, RS: AGE Editora, 2003.
+
+Revista do Museu Paulista, 1911
+REZENDE, Gabriela Cabral. Mico-leão-preto: A história de sucesso na conservação de uma especie ameaçada. São Paulo: Matrix Editora, 2014.
+SCHWARCZ, Lilia Moritz. O Museu Paulista ou Museu do Ypiranga. In: O Espetáculo das Raças: cientistas, instituições e questão nacional no Brasil – 1870-1930. São Paulo: Companhia das Letras, 1993. p. 78-83.
+Site O índio na fotografia brasileira
+Site do Museu de Zoologia da USP
+TACCA, Fernando de. O índio na fotografia brasileira: incursões sobre a imagem e o meio. História, ciências, saúde – Manguinhos – Vol. 18, nº 1, p.191-223. Rio de Janeiro., 2011
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/570` — `itens/20.500.12156.1_570/`
+- `20.500.12156.1/567` — `itens/20.500.12156.1_567/`
+
diff --git a/wordpress/8684-manguinhos-e-os-sertoes.md b/wordpress/8684-manguinhos-e-os-sertoes.md
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+---
+id: 8684
+url: "https://brasilianafotografica.bn.gov.br/?p=8684"
+titulo: "Manguinhos e os sertões"
+autor: "Andrea Wanderley"
+data: "2017-10-09T10:00:46+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/5102", "20.500.12156.1/5094", "20.500.12156.1/5096"]
+fetched_at: "2026-09-10T10:28:01.415Z"
+---
+
+# Manguinhos e os sertões
+
+A Brasiliana Fotográfica traz a seus leitores fotografias relativas ao tema Manguinhos e os sertões, do acervo de um dos parceiros do portal, a Casa de Oswaldo Cruz/Fiocruz. Manguinhos é o bairro onde se situa a instituição. As imagens correspondentes às viagens – produzidas por fotógrafos especialmente contratados para tais missões – registram a associação do Instituto Oswaldo Cruz aos esforços governamentais de interiorização do Estado brasileiro nas primeiras décadas do século XX. Cobrindo as regiões Norte, Nordeste e Centro-Oeste do país, as imagens construíram um inventário pioneiro do interior do Brasil.
+As cinco expedições realizadas pelo Instituto Oswaldo Cruz foram:
+1911 – Expedição aos Vales dos Rios São Francisco e Tocantins
+Entre setembro de 1911 e fevereiro de 1912, o médico e pesquisador Astrogildo Machado (1885 – 1945) e o farmacêutico Antônio Martins forneceram suporte médico aos engenheiros da Estrada de Ferro Central do Brasil, que tinham por missão estabelecer o traçado definitivo da linha ferroviária que, partindo de Pirapora, no noroeste mineiro, deveria chegar até Belém do Pará. Percorreram os vales do São Francisco e do Tocantins e, após alcançarem a capital paraense, retornaram ao Rio de Janeiro por via marítima.
+ 
+João Stamato. Expedição aos vales dos rios São Francisco e Tocantins. Membros da Expedição, 1911. Vale do Tocantins / Acervo Casa de Oswaldo Cruz
+ 
+1912-  Expedições ao Nordeste e Centro-Oeste
+Ocorreram nesse ano três viagens de cientistas do Instituto, patrocinadas pela Inspetoria de Obras contra as Secas, para realizar pesquisas sobre a geografia, fauna, flora e as condições sanitárias da região. Arthur Neiva (1885 – 1945) e Belisário Penna (1868-1939) percorreram o norte da Bahia, o sudeste de Pernambuco, o sul do Piauí e Goiás de norte a sul, enquanto João Pedro de Albuquerque (c. 1874 – 1934) e José Gomes de Faria (1887 – 1962). Seguiram para o Ceará e para o norte do Piauí.  A terceira expedição, conduzida por Astrogildo Machado (1885 – 1945) e Adolpho Lutz (1855 – 1940), atravessou o trajeto de Pirapora até Juazeiro, a bordo de uma gaiola pelo rio São Francisco.
+ 
+José Teixeira. Expedição do Instituto Oswaldo Cruz ao Nordeste e Centro Oeste : acampamento dos membros da expedição, entre eles Belisário Penna e Arthur Neiva (2° e 3° à esquerda), 1912. Piauí / Acervo Casa de Oswaldo Cruz
+ 
+1912/1913 – Expedição à Região Amazônica
+Carlos Chagas (1879 – 1934), Pacheco Leão (1872 – 1931) e João Pedroso Barreto de Albuquerque (18? – 1936) realizaram a última grande expedição do período, a serviço da Superintendência da Defesa da Borracha. Percorreram parte da Bacia Amazônica, em especial o trecho acima de Manaus.
+ 
+Anônimo. Expedição do Instituto Oswaldo Cruz ao Amazonas e Acre: Carlos Chagas e Pacheco Leão na Amazônia, 1913. São Gabriel da Cachoeira, Rio Negro, Amazonas / Acervo Casa de Oswaldo Cruz
+ 
+Acessando o link para as fotografias das expedições realizadas pelo do Instituto Oswaldo Cruz disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+As fotografias e negativos remanescentes dessas expedições, com aproximadamente 1700 itens, foram produzidos por câmeras grandes, pesadas, que utilizavam negativos de gelatina seca sobre base de vidro no formato 13 x 18 centímetros. Sobre os fotógrafos conhecemos apenas dois, José Teixeira, que acompanhou a expedição chefiada por Arthur Neiva (1885 – 1945) e Belisário Penna (1868-1939), e João Stamato (1886-1951), cinegrafista do Rio de Janeiro na década de 1910, que documentou a expedição aos Vales dos Rios São Francisco e Tocantins, em 1911.
+ 
+Para saber mais sobre as expedições do Instituto Oswaldo Cruz, acesse o artigos publicados na Brasiliana Fotográfica:
+As expedições do Instituto Oswaldo Cruz entre 1911 e 1913, publicado em 14 de março de 2019
+Nos passos de Oswaldo: imagens das expedições do IOC aos portos do Brasil entre 1911 e 1913, publicado em 25 de maio de 2020
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/5102` — `itens/20.500.12156.1_5102/`
+- `20.500.12156.1/5094` — `itens/20.500.12156.1_5094/`
+- `20.500.12156.1/5096` — `itens/20.500.12156.1_5096/`
+
diff --git a/wordpress/8703-manguinhos-e-a-cidade-do-rio-de-janeiro.md b/wordpress/8703-manguinhos-e-a-cidade-do-rio-de-janeiro.md
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+++ b/wordpress/8703-manguinhos-e-a-cidade-do-rio-de-janeiro.md
@@ -0,0 +1,32 @@
+---
+id: 8703
+url: "https://brasilianafotografica.bn.gov.br/?p=8703"
+titulo: "Manguinhos e a cidade do Rio de Janeiro"
+autor: "Andrea Wanderley"
+data: "2018-01-19T16:02:53+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/5143", "20.500.12156.1/5122", "20.500.12156.1/5152"]
+fetched_at: "2026-09-10T10:28:04.459Z"
+---
+
+# Manguinhos e a cidade do Rio de Janeiro
+
+J. Pinto. Cais por onde atracavam os barcos que se dirigiam a Manguinhos, 1904. Baía de Guanabara, Rio de Janeiro / Acervo Casa de Oswaldo Cruz
+ 
+A região de Manguinhos vem acompanhando, há mais de cem anos, as transformações de uma cidade que não para de crescer. Área de difícil acesso e pouco habitada, no início do século XX, ela se tornava ideal para se trabalhar com soros e vacinas. Neste local, se instalaria o Instituto Oswaldo Cruz. Manguinhos era acessada apenas pela estrada de ferro ou por meio de barcos. Ao longo do século XX, passaria por uma série de intervenções, justificadas pela necessidade de sanear e urbanizar os subúrbios cariocas. As fotos apresentadas, de autoria de Joaquim Pinto da Silva (c.1884- 1951), imortalizado como J. Pinto, procuram revelar um pouco do passado da instituição, na sua relação com a cidade do Rio de Janeiro.
+Acessando o link para as fotografias relativas a Manguinhos e a cidade do Rio de Janeiro disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+J. Pinto. Construção do Hospital Oswaldo Cruz, atual Hospital Evandro Chagas, 1912. Manguinhos, Rio de Janeiro / Acervo  Casa de Oswaldo Cruz
+ 
+J.Pinto. Baía de Guanabara, a partir de Manguinhos, 1910. Rio de Janeiro, RJ / Acervo Casa de Oswaldo Cruz
+ 
+Equipe da Casa de Oswaldo Cruz / Fiocruz
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/5143` — `itens/20.500.12156.1_5143/`
+- `20.500.12156.1/5122` — `itens/20.500.12156.1_5122/`
+- `20.500.12156.1/5152` — `itens/20.500.12156.1_5152/`
+
diff --git a/wordpress/8707-o-cotidiano-de-manguinhos.md b/wordpress/8707-o-cotidiano-de-manguinhos.md
new file mode 100644
index 0000000..d15fa65
--- /dev/null
+++ b/wordpress/8707-o-cotidiano-de-manguinhos.md
@@ -0,0 +1,30 @@
+---
+id: 8707
+url: "https://brasilianafotografica.bn.gov.br/?p=8707"
+titulo: "O cotidiano de Manguinhos"
+autor: "Andrea Wanderley"
+data: "2019-04-24T08:45:44+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/5138", "20.500.12156.1/5126"]
+fetched_at: "2026-09-10T10:28:07.565Z"
+---
+
+# O cotidiano de Manguinhos
+
+J. Pinto. Pesquisadores no Laboratório, 1930. Instituto Oswaldo Cruz, Rio de Janeiro / Acervo Casa de Oswaldo Cruz
+ 
+O serviço de fotografia do Instituto Oswaldo Cruz registrou o cotidiano das ações realizadas na instituição: a pesquisa em laboratório, a produção de soros e vacinas e a promoção de cursos. Visitas de personalidades do mundo científico e político também foram objeto da câmera e ajudaram a consolidar o prestígio que desfrutava. Essas imagens serviram tanto à constituição de uma memória institucional, quanto a um projeto mais amplo de legitimação do Instituto nas esferas do poder público brasileiro e dos círculos científicos nacionais e internacionais da época. São de autoria dos fotógrafos J. Pinto (1884- 1951) e Silvio Cunha.
+ 
+Acessando o link para as fotografias sobre o cotidiano de Manguinhos disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+J.Pinto. Visita de Albert Einstein ao Instituto Oswaldo Cruz, 8 de maio de 1925. Manguinhos, Rio de Janeiro / Acervo Casa de Oswaldo Cruz
+ 
+Equipe da Fiocruz
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/5138` — `itens/20.500.12156.1_5138/`
+- `20.500.12156.1/5126` — `itens/20.500.12156.1_5126/`
+
diff --git a/wordpress/871-missa-campal-de-17-de-maio-de-1888-novas-identificacoes.md b/wordpress/871-missa-campal-de-17-de-maio-de-1888-novas-identificacoes.md
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+---
+id: 871
+url: "https://brasilianafotografica.bn.gov.br/?p=871"
+titulo: "Missa Campal de 17 de maio de 1888 – Novas identificações"
+autor: "Andrea Wanderley"
+data: "2015-06-02T12:21:03+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/1795"]
+fetched_at: "2026-09-10T10:28:10.680Z"
+---
+
+# Missa Campal de 17 de maio de 1888 – Novas identificações
+
+Quinze dias depois da publicação da foto de Antonio Luiz Ferreira, Missa campal celebrada em ação de graças pela Abolição da Escravatura no Brasil, realizada no Rio de Janeiro, em 17 de maio de 1888,  a Brasiliana Fotográfica a republica com novas identificações, além das iniciais, que incluíram Machado de Assis. Muitas identificações foram realizadas a partir de indicações feitas pelos leitores desse portal, que aceitaram o desafio de apontar outras pessoas presentes no evento. Foram identificadas 15, mas ainda há muito trabalho pela frente. Novos reconhecimentos são bem-vindos!
+
+ 
+
+Acessando o link para a fotografia Missa campal celebrada em ação de graças pela Abolição da Escravatura no Brasil produzida  Antonio Luiz Ferreira,  disponível na Brasiliana Fotográfica, o leitor poderá magnificar a imagem e verificar todos os dados referentes a ela.
+1 – Princesa Isabel (1846-1921) – princesa imperial do Brasil e três vezes regente do Império do Brasil. Ficou conhecida como a Redentora por ter assinado a Lei Áurea.
+2 – Luis Filipe Maria Fernando Gastão de Orléans, o conde d´Eu (1842-1922) – príncipe do Brasil por seu casamento com a princesa Isabel.
+3 – Não identificada.
+4 – Possivelmente o Marechal Hermes Ernesto da Fonseca (1824-1891) – político e militar brasileiro, irmão do general Deodoro da Fonseca, primeiro presidente do Brasil,  e pai do futuro presidente do Brasil, Hermes Rodrigues da Fonseca.
+5 – Machado de Assis (1839-1908) – um dos maiores escritores brasileiros de todos os tempos.
+6 – Possivelmente José de Miranda da Silva Reis, marechal de campo e Barão Miranda Reis (1824-1903) – foi ajudante de campo e camarista do imperador Pedro II e participou da Guerra do Paraguai. Exerceu importantes cargos, dentre eles foi ministro do Superior Tribunal Militar e dirigiu a Escola Superior de Guerra e o Arsenal de Guerra do Rio de Janeiro.
+7 – Possivelmente José do Patrocínio (1854-1905) – escritor e jornalista, uma das maiores figuras do movimento abolicionista. Na foto está segurando a mão de seu filho primogênito, que ao fim da missa foi beijado pela princesa Isabel.
+8 – Jornalista (?) não identificado.
+9 – Possivelmente José Ferreira de Souza Araujo, conhecido como Ferreira Araujo(1848-1900) – um dos mais importantes jornalistas da época, foi diretor da Gazeta de Notícias e sob o pseudônimo Lulu Sênior escreveu as muito populares colunas Macaquinhos no Sótão, Balas de Estalo e Apanhados. Foi o vice-diretor da Comissão Central da Imprensa Fluminense, formada para organizar e programar os festejos em torno da Abolição.
+10 – Thomaz José Coelho de Almeida (1838-1895) – ministro da Guerra, integrante do Gabinete de 10 de março de 1888.
+11 – Rodrigo Silva (1833-1889) – ministro dos Negócios da Agricultura e interino dos Negócios Estrangeiros, integrante do Gabinete de 10 de março de 1888.
+12- José Fernandes da Costa Pereira Junior (1833-1899) – ministro do Império, integrante do Gabinete de 10 de março de 1888.
+13- João Alfredo Correia de Oliveira (1835-1919) – presidente do Conselho de Ministros do Gabinete de 10 de março de 1888.
+14- Maria José Velho de Avelar, Baronesa de Muritiba (1851-1932) – dama do Paço e amiga íntima da princesa Isabel.
+15- Maria Amanda de Paranaguá Dória, Baronesa de Loreto (1849-1931) – dama do Paço e amiga íntima da princesa Isabel.
+16- Fernando Mendes de Almeida (1845-1921) – na época, diretor e redator-chefe do Diário de Notícias. Era o segundo secretário da Comissão Central da Imprensa Fluminense, formada para organizar e programar os festejos em torno da Abolição.
+17- Jornalista (?) não identificado.
+18- Jornalista (?) não identificado.
+19- Senador ou deputado (?) não identificado.
+20- Possivelmente Ângelo Agostini (1843-1910) – italiano, um dos primeiros e mais importantes cartunistas do Brasil. Fez uma intensa campanha pela abolição da escravatura. Fundou e colaborou com diversos jornais e revistas, dentre eles a “Revista Illustrada”, que circulou entre 1876 e 1898.
+À esquerda da fotografia, estão vários padres diante do altar, que ainda não conseguimos identificar. Dentre eles, segundo a imprensa da época, estariam o celebrante da missa, padre Cassiano Coriolano Collona, capelão do Exército e um dos fundadores da Confederação Abolicionista, criada em 19 de fevereiro de 1888; o padre Loreto, o padre-mestre Escobar de Araújo, vigário de São Cristóvão; e os padres Castelo Branco e Telemaco de Souza Velho.
+O missal usado na cerimônia, em veludo carmezin, tinha a seguinte inscrição: “13 de maio de 1888 – Esse missal foi o que serviu na missa campal, celebrada em 17 de maio de 1888, no campo de S. Cristóvão, em ação de graças pela promulgação da lei que extinguiu a escravidão no Brasil”. O missal e a campainha utilizados foram, assim como a garrafa de vinho Lacryma Christi, doados. Segundo a imprensa da época, formavam as alas do altar as ordens terceiras de São Francisco de Paula, de São Francisco da Penitência e de Nossa Senhora do Carmo, além das irmandades de São Cristóvão e do Rosário com seus galões e candelabros. Estandartes de associações e de escolas podem ser vistas na foto.
+A importância dos jornais do Rio de Janeiro no processo da Abolição da Escravatura fica evidenciada na missa campal por dois fatos: antes do início da cerimônia, o ministro da Guerra, Thomaz José Coelho de Almeida(identificado na foto – número 10), “ergueu um viva à imprensa nacional”; e, representando a imprensa, o jornalista Fernando Mendes de Almeida (identificado na foto – número 16, vestindo uma toga) ajudou na celebração da missa campal.
+A missa campal do dia 17 de maio de 1888 foi um dos festejos pela Abolição da Escravatura organizada pela Comissão Central da Imprensa Fluminense. Possivelmente, seus integrantes estão identificados na foto usando uma faixa na qual podemos ler a palavra imprensa.
+Um pouco mais da história dos festejos pela Abolição da Escravatura no Brasil promovidos pela imprensa
+No dia 12 de de maio de 1888, quatro dias após a apresentação na Câmara pelo ministro Rodrigo Silva(identificado na foto – número 11) do projeto para o fim da escravidão no Brasil, representantes dos periódicos Jornal do Commercio, Cidade do Rio, Diário de Notícias, Revista Illustrada, A Epoca, Gazeta da Tarde,  Novidades, Apóstolo e Gazeta de Notícias decidiram promover festejos populares para celebrar a iminente promulgação da Lei Áurea. Reuniram-se com colegas de outros jornais no Clube de Esgrima e Tiro, localizado na rua São Francisco de Paula, n°22, e formaram a Comissão Central da Imprensa Fluminense(Gazeta de Notícias, edição de 13 de maio de 1888). José do Patrocínio, representando o jornal O Paiz, participou do encontro.
+No dia seguinte, 14 de maio, em uma segunda reunião realizada no Clube de Esgrima e Tiro, foi nomeada a diretoria da Comissão Central da Imprensa Fluminense. Foi formada pelos redatores- chefes dos principais jornais: João Carlos de Souza Ferreira, do Jornal do Commercio, na direção; José Ferreira de Souza Araujo, da Gazeta de Notícias, na vice-diretoria; e como primeiro e segundo secretários Demerval da Fonseca, da Gazeta de Notícias; e Fernando Mendes de Almeida, do Diário de Notícias, respectivamente. A tesouraria ficou a cargo de Henrique Villeneuve, do Jornal do Commércio; e de Artur Azevedo, da A Estação. As festas promovidas pela Comissão começaram com a missa campal no dia 17 e terminaram no dia 20 com a queima de fogos de artifício em diversos pontos da cidade(Gazeta de Notícias, edição de 15 de maio de 1888).  Mais um baile foi programado para o dia 19 à noite, na praça da Aclamação, atual Campo de Santana.
+A fim de envolver toda a população do Rio de Janeiro nos festejos, a Comissão Central da Imprensa Fluminense publicou pedidos nos jornais para que todos os moradores da cidade se empenhassem na iluminação e na ornamentação das ruas e para que os estabelecimentos comerciais fechassem durante as festas. Convocou também mestres de obras para a construção de coretos e arquibancadas. Comerciantes doaram dinheiro para a realização das festas. O Sport Club pôs à disposição da comissão a arrecadação do páreo 13 de maio de 1888 e artistas se encarregaram dos fogos de artifício. O importante cenógrafo Frederico de Barros ofereceu seus serviços à comissão. Enfim, toda a cidade participou da celebração da Lei Áurea.
+Além de organizar os festejos, a Comissão Central da Imprensa Fluminense decidiu publicar um jornal especial, intitulado A Imprensa Fluminense, que foi o único a ser distribuído no dia 21 de maio de 1888.
+Essas comemorações promovidas pela imprensa fluminense, e as fotografias de Antonio Luiz Ferreira sobre os vários eventos em torno do mais importante acontecimento histórico no Brasil, após a proclamação da Independência, são fundamentais para a formação da memória da Abolição da Escravatura. A euforia e o entusiasmo dos brasileiros, mostrados tanto nas festas como nas fotos de Ferreira, e também os textos publicados nos jornais da época podem ser interpretados como um contraponto a tão longa duração do regime escravocrata no país.
+Leia a primeira publicação sobre a presença de Machado de Assis na foto da Missa Campal de 17 de maio de 1888
+Leia o comentário do professor José Murilo de Carvalho sobre a identificação de Machado de Assis na Missa Campal de 17 de maio de 1888
+Contribuíram para esta pesquisa o designer Daniel Arruda(IMS) e os historiadores Luciana Muniz(BN) e Rodrigo Bozzetti(IMS).
+Andrea C. T. Wanderley
+Editora-assistente e pesquisadora do portal Brasiliana Fotográfica
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/1795` — `itens/20.500.12156.1_1795/`
+
diff --git a/wordpress/8890-o-cronista-visual-de-diamantina-chichico-alkmim-fotografo-1886-1978.md b/wordpress/8890-o-cronista-visual-de-diamantina-chichico-alkmim-fotografo-1886-1978.md
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@@ -0,0 +1,97 @@
+---
+id: 8890
+url: "https://brasilianafotografica.bn.gov.br/?p=8890"
+titulo: "O cronista visual de Diamantina: Chichico Alkmim, fotógrafo (1886 – 1978)"
+autor: "Andrea Wanderley"
+data: "2017-08-22T10:41:03+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/5160", "20.500.12156.1/5156", "20.500.12156.1/5233", "20.500.12156.1/5235", "20.500.12156.1/5226"]
+fetched_at: "2026-09-10T10:28:14.131Z"
+---
+
+# O cronista visual de Diamantina: Chichico Alkmim, fotógrafo (1886 – 1978)
+
+Chichico Alkmim. Parque Municipal da Cavalhada Velha, atual praça Doutor Prado, 1945. Diamantina, Minas Gerais / Acervo IMS
+ 
+O ateliê é o mundo
+Eucanaã Ferraz*
+ 
+As fotografias de Chichico Alkmim (1886 – 1978) são, antes de tudo emocionantes. Mas já o primeiro olhar reconhece o domínio dos recursos técnicos. Aprende a fotografar ainda muito jovem e, em Diamantina, abre seu primeiro estúdio em 1912. Depois de passar por outros endereços, muda-se em 1919 para o beco João Pinto, 86, na parte alta da cidade. Ali, monta seu ateliê definitivo, cujo funcionamento se estenderá até meados de 1950. O pavimento ao nível da rua é destinado ao laboratório fotográfico. Outro cômodo, na parte superior, é adaptado para estúdio, conforme o padrão da época: ampla janela envidraçada em uma das paredes e claraboia; sobre ambas, um cortinado leve, deslizante graças a um sistema de cordas, compondo um mecanismo de controle da luz natural; na parede ao fundo, uma viga de madeira serve como suporte para os painéis pintados com paisagens viçosas e motivos arquitetônicos de gosto classicizante; algum mobiliário – cadeiras, pequenas mesas, apoios para jarros, tapetes, cortina – ajuda a compor os cenários. Vivia-se ainda há pouco na escravidão de homens e mulheres roubados à África. Nas casas de família, tocam-se pianos juvenis. Lá fora, portugueses pobres cantam violões tristíssimos. Os negros fazem festas, vão à igreja. Procissões desfilam em latim enquanto nos cafés os chapéus falam francês. Há muitos padres e carnavais. Há meninos negros de terno em pés descalços. Tudo tão antigo e tão recente esta gente de papel convida a esquecer o tempo – até que a voz de um galo nos acorde.
+*Eucanaã Ferraz é poeta e consultor de literatura do Instituto Moreira Salles.
+ 
+Acessando o link para as fotografias de autoria de Chichico Alkmim disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Pequeno perfil de Chichico Alkmim
+ Andrea C. T. Wanderley*
+ 
+Chichico Alkmim. Crianças na atual Macau do meio, s/d. Diamantina, Minas Gerais / Acervo IMS
+ 
+O mineiro Chichico Alkmim (1886 – 1978), autodidata, pioneiro da fotografia de estúdio em Diamantina, e primeiro cronista visual da cidade, atuou na profissão, que adotou em 1907, até 1955. Seu primeiro ateliê foi inaugurado em 1912. A obra de Chichico, que compreende imagens da arquitetura diamantinense, sua religiosidade, costumes, ritos e retratos de seus habitantes, é uma das principais referências da memória visual de Minas Gerais. Foi o mestre do fotógrafo Assis Horta (1918 – 2018), mineiro de Diamantina, que se tornou conhecido por registrar a classe trabalhadora na era Vargas. Uma curiosidade: a fotografia predileta de Assis Horta foi produzida por Chichico no dia de seu casamento: Eu mesmo levei a máquina para o Chichico fazer o retrato.
+Chichico retratou a burguesia e também os trabalhadores ligados ao pequeno garimpo, ao comércio e à indústria. Produziu imagens de casamentos, batizados, funerais, festas populares e religiosas, paisagens e cenas de rua. De 1955, quando parou de  fotografar, até 1978, ano de sua morte, continuou cuidando de seu acervo, que guardava no porão de sua casa.
+A gestão do acervo de Chichico Alkmim, de 5.549 negativos de vidro, foi transferida para o Instituto Moreira Salles (IMS), em 2015. Além dos negativos em vidro, existem no acervo alguns poucos negativos flexíveis, documentos, objetos e dezenas de fotografias de época.
+Foi inaugurada em 13 de maio e 1º de outubro de 2017, na sede do IMS, no Rio de Janeiro, a exposição “Chichico Alkmim, fotógrafo”, cuja curadoria é do poeta Eucanaã Ferraz (1961-). Será encerrada em 1º de outubro de 2017. Segundo Eucanaã, “Chichico é daqueles fotógrafos que parecem ter o poder de fazer vir ao primeiro plano a vida de seus modelos. E é patente a densidade existencial que se expressa no conjunto de características físicas que chamamos fisionomia, compreendida como a realização momentânea de um destino”.
+ 
+ Cronologia de Chichico Alkmim
+ 
+Chichico Alkmim. Chichico Alkmim e sua esposa, Maria Josephina Netto Alkmim, s/d. Diamantina, Minas Gerais / Acervo IMS
+ 
+1886 – Filho de Herculano Augusto d’Alkmim e Luiza Gomes d’Alkmim, Francisco Augusto de Alkmim, o Chichico Alkmim, nasceu em 28 de março, na fazenda do Sítio, município de Bocaiuva.
+ 
+1890 – 1900 – Em 7 de abril de 1890, falecimento de sua mãe, em Bocaiuva. Chichico e sua irmã Carmina foram levados para a fazenda do Caeté Mirim, localizada próximo ao distrito de São João da Chapada, das suas tias Tereza de Jesus Gomes Ribeiro e Maria Amélia de Jesus Ribeiro. A irmã mais velha, Amanda, permaneceu em Bocaiuva. Nessa década, na fazenda, foi educado pelas tias, com quem aprendeu a ler e escrever.
+1900-1910 – Nesse período, Chichico ajudou nos negócios da fazenda e nos trabalhos de mineração de diamantes empreendidos por suas tias. Realizou várias viagens, a maioria delas em companhia de seu pai, que comercializava gado. Os deslocamentos em tropa davam-se entre Caeté Mirim, São João da Chapada, Diamantina, Bocaiuva, Montes Claros, Buenópolis, Coração de Jesus, Januária, Carinhanha (Bahia) e várias outras localidades do vale do São Francisco, chegando algumas vezes até a Vila de Posse, atual cidade de Posse, em Goiás. Nessas viagens, Chichico vendia jóias e, possivelmente, foi em uma delas que, entre 1900 e 1902, conheceu a fotografia.
+1907 – Adotou a profissão de fotógrafo.
+1912 - No fim do ano, passou a residir em Diamantina. Sua casa e seu primeiro ateliê ocupavam parte do sobrado situado à praça Francisco Sá, 53, largo do Bonfim (atual sede da Casa da Cultura). Nos anos seguintes, mudou de endereço várias vezes, tendo permanecido por mais tempo em um sobrado localizado no alto da rua da Romana, 37.
+1913 – Em 14 de junho, casou-se com Maria Josephina Netto, a Miquita.
+1914 – No fim do ano, seu irmão por parte de pai, José Maria Alkmim (1901 – 1974), futuro político e vice-presidente do Brasil, entre 1964 e 1967, passou a residir em sua casa, até completar os estudos em 1921.
+1916 - Em 30 de junho, nasceu sua primeira filha, Maria de Jesus Alkmim, que faleceu poucos meses depois.
+1917 – Em 20 de agosto, nasceu a segunda filha, Maria Bernadette.
+1919 – Em 17 de abril, nasceu a filha Déa Maria.
+Em 9 de outubro, Chichico mudou-se para o beco João Pinto, 86, na parte alta da cidade, onde montou seu ateliê definitivo.
+1920 – Em 20 de outubro, nasceu a filha Luíza Marilac.
+1923 – Em 13 de outubro, nasceu a filha Maria Ruth.
+1924 – Em 12 de novembro, nasceu o filho José Antônio.
+1955 – Chichico  encerrou a carreira de fotógrafo.
+1978 – Faleceu em consequência de um colapso cardíaco, em 22 de agosto.
+1980 – Na inauguração do Centro de Documentação e Pesquisa da Casa da Cultura de Diamantina, durante o 16º Festival de Inverno da Universidade Federal de Minas Gerais (UFMG), realizou-se a primeira exposição de fotografias de Chichico, no Museu do Diamante/Ibram/MinC.
+1998 – O acervo fotográfico de Chichico, constituído por aproximadamente 5.500 negativos, começou a ser higienizado, indexado e catalogado na Faculdade de Filosofia e Letras da Fundação Educacional do Vale do Jequitinhonha (Fevale), em projeto financiado pela Fundação de Amparo à Pesquisa no Estado de Minas Gerais (Fapemig) e apoio da UFMG.
+1999 – Chichico Alkmim foi apresentado como um artista do circuito fotográfico brasileiro na mostra Minas: minas memorial e contemporânea, realizada no MIS-SP, com curadoria do fotógrafo Bernardo Magalhães.
+2002 – O acervo fotográfico de Chichico foi doado pelos seus herdeiros à Fevale.
+2005 – Foi lançado o livro O olhar eterno de Chichico Alkmim, pela Editora B, organizado por Flander de Sousa e Verônica Alkmim França.
+2008 – Foi realizada a exposição Chichico Alkmim, na galeria da Escola Guignard, Universidade Estadual de Minas Gerais (Uemg), em Belo Horizonte.
+2010 – Com a extinção da Fevale, o acervo fotográfico retornou aos herdeiros.
+2013 - Foi realizada a exposição Paisagens humanas — Paisagens urbanas, no Memorial Minas Gerais Vale, em Belo Horizonte.
+2015 – O acervo de Chichico Alkmim passou a integrar em regime de comodato o acervo de fotografias do Instituto Moreira Salles.
+2017 – Foi aberta a exposição Chichico Alkmim, fotógrafo, no Instituto Moreira Salles, no Rio de Janeiro, em 13 de maio, com curadoria de Eucanaã Ferraz.
+ 
+Chichico Alkmim. À direita, Maria Josefina Alkmim, Miquita, esposa de Chichico, década de 10. Diamantina, Minas Gerais / Acervo IMS
+ 
+Chichico Alkmim. Retrato de estúdio, década de 1910. Diamantina, Minas Gerais / Acervo IMS
+ 
+ 
+*Andrea C. T. Wanderley
+Editora-assistente e pesquisadora do portal Brasiliana Fotográfica
+Esse artigo contou com a colaboração de Gabriella Vieira Moyle, da equipe do IMS.
+ 
+Publicações relacionadas a Chichico Alkmim:
+Diamantina, Chichico Alkmim (1886 – 1978) e Carlos Drummond de Andrade (1902 – 1987)
+Elegância brasileira, por Carolina Casarin
+Família, por Silviano Santiago sobre uma fotografia de autoria de Chichico Alkmim
+O anfitrião de Chichico, por Elvia Bezerra.
+O retratista de Diamantina, por Manya Millen
+
+Fontes:
+Chichico Aklmim, fotógrafo. IMS, 2017.
+FRANÇA, Verônica Alkmim; SOUZA, Flander de (orgs). O olhar eterno de Chichico Alkmim. Belo Horizonte: Editora B, 2005.
+HARAZIM, Dorrit. O instante certo. São Paulo: Companhia das Letras, 2016.
+Site do Instituto Moreira Salles
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/5160` — `itens/20.500.12156.1_5160/`
+- `20.500.12156.1/5156` — `itens/20.500.12156.1_5156/`
+- `20.500.12156.1/5233` — `itens/20.500.12156.1_5233/`
+- `20.500.12156.1/5235` — `itens/20.500.12156.1_5235/`
+- `20.500.12156.1/5226` — `itens/20.500.12156.1_5226/`
+
diff --git a/wordpress/8946-um-fotografo-ingles-na-bahia-benjamin-robert-mulock-18-06-1829-17-06-1863.md b/wordpress/8946-um-fotografo-ingles-na-bahia-benjamin-robert-mulock-18-06-1829-17-06-1863.md
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+++ b/wordpress/8946-um-fotografo-ingles-na-bahia-benjamin-robert-mulock-18-06-1829-17-06-1863.md
@@ -0,0 +1,124 @@
+---
+id: 8946
+url: "https://brasilianafotografica.bn.gov.br/?p=8946"
+titulo: "Um fotógrafo inglês na Bahia: Benjamin Robert Mulock (18/06/1829 – 17/06/1863)"
+autor: "Andrea Wanderley"
+data: "2017-06-19T11:08:58+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/3544", "20.500.12156.1/2223", "20.500.12156.1/2221"]
+fetched_at: "2026-09-10T10:28:17.857Z"
+---
+
+# Um fotógrafo inglês na Bahia: Benjamin Robert Mulock (18/06/1829 – 17/06/1863)
+
+Benjamin R. Mulock. Locomotive engine : Bahia & San Francisco Railway, entre 1859 e 1861. Bahia / Acervo FBN
+ 
+Entre 1º de novembro de 1859, quando chegou ao Brasil, e abril de 1862, quando voltou à Inglaterra, o fotógrafo e engenheiro inglês Benjamin Robert Mulock (1829 – 1863) documentou a construção da estrada de ferro da Bahia a São Francisco, uma das primeiras do Brasil, cuja primeira seção foi inaugurada em 28 de junho de 1860. Vinte e sete dessas fotografias, que narram a história da construção da ferrovia, e também 32 imagens da cidade de Salvador e do interior da Bahia, atribuídas a Mulock, foram presenteadas a d. Pedro II pelo empreiteiro da obra, o engenheiro civil inglês John Watson (1816-1890), por volta de 1861.
+Mulock é considerado um dos mais interessantes e expressivos paisagistas urbanos da fotografia oitocentista no Brasil, onde trabalhou, na Bahia. Um grande panorama fotográfico de Salvador, produzido por ele, a partir do Forte do Mar, entre 1859 e 1861, é uma das mais importantes fotografias da cidade no século XIX. Com muita nitidez, veem-se os principais prédios da capital baiana, cuja série de vistas de sua autoria é um importante e excelente registro de imagens de Salvador. A produção de Mulock é marcada por um caráter racional decorrente, talvez, de sua formação de engenheiro. Seus conhecimentos nessa área o habilitavam, em suas fotografias relativas à estrada de ferro, a escolher as melhores perspectivas e a reconhecer os elementos indispensáveis para uma documentação fotográfica útil para futuras construções ferroviárias.
+Segundo Pedro Vasquez, seu estilo antecipou a abordagem direta que viria a ser adotada no século XX, a straight photography (a fotografia direta)(1), levada ao paroxismo da depuração e impacto pelo norte-americano Walker Evans (1903 – 1975).
+Ainda sobre o estilo de Mulock, Weston J. Naef (1942 – ) e Gilberto Ferrez (1908 – 2000) comentaram no livro Pioneer photographers of Brazil: 1840-1920:
+‘Em suas cenas urbanas, Mulock cultivava um estilo totalmente desprovido de artifícios derivados das convenções artísticas tradicionais. Ele gostava de posicionar sua câmara bem no meio da rua, como se qualquer ponto de vista fosse bom o bastante, mas ainda assim sua composição possui uma intensa coerência visual baseada numa construção estritamente fotográfica, de tal forma que seria difícil produzir a mesma imagem a partir de qualquer outro meio de expressão‘.
+ 
+Benjamin Mulock. Ladeira de São Bento, c. 1860. Salvador, Bahia / Acervo IMS
+ 
+Acessando o link para as fotografias de autoria de Benjamin Robert Mulock disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Pouco antes da chegada de Mulock ao Brasil, o italiano de origem alsaciana Augusto Stahl (1828 – 1877) realizou uma série de registros da construção de outra estrada de ferro, a Recife-São Francisco, em 1858. O fotógrafo suíço Guilherme Gaensly (1843 – 1928) foi contemporâneo de Mulock e muitas das vistas produzidas pelos dois da capital baiana eram bastante parecidas.
+ 
+Breve perfil e cronologia de Benjamin Robert Mulock
+A vida familiar de Benjamin Mulock foi bastante conturbada devido à insanidade de seu pai, o irlandês Thomas Samuel Mulock (1789 -1868), que se casou com Dinah Mellard (1794-1845), em 7 de junho de 1825. Seus irmãos foram Thomas Mellard Mulock (1827 – 1847), que estudou pintura com William Holman Hunt (1827 – 1910), fundador, em 1848, juntamente com Dante Gabriel Rossetti (1828 – 1882) e John Everett Millais (1829 – 1896), do grupo artístico Irmandade Pré-Rafaelita; e Dinah Maria Mulock Craik (20/04/1826 – 12/10/1887), que se tornaria uma famosa poeta e romancista. Durante sua vida, Benjamin trabalhou como fotógrafo e engenheiro, tendo morado em diferentes cidades da Inglaterra, na Austrália, no País de Gales, no Brasil e na Rússia. Tentou casar-se e também buscou obter uma estabilidade financeira, o que nunca conseguiu. Em 1863, foi internado por suas tendências suicidas, fugiu do hospital, foi atropelado e faleceu em 17 de junho do mesmo ano.
+Benjamin Robert Mulock, em 1858 / Site Benjamin R. Mulock Photographer
+1829 – Benjamin Robert Mulock nasceu em 18 de junho, no condado de Staffordshire, na Inglaterra, filho do pregador evangélico dublinense Thomas Samuel Mulock (1789 – 1869), um fanático religioso de origem humilde, e da inglesa Dinah Mellard (1794-1845), órfã de um próspero industrial do ramo de curtumes. Eles haviam se casado em 7 de junho de 1825. Benjamin foi o mais novo entre seus irmãos Thomas Mellard Mulock (1827 – 1847) e Dinah Maria Mulock Craik (20/04/1826 – 12/10/1887).
+1830 - Seu pai, Thomas Samuel Mulock foi, pela primeira vez, internado no Stafford County Lunatic Asylum, hospital para doentes mentais, onde ficou do dia 1º ao dia 10 de maio.
+1831 - Thomas Samuel Mulock perdeu sua paróquia e a família foi viver em Newcastle-under-Lyme.
+1832 - Em 2 de dezembro, o pai de Benjamin, que devido a seu temperamento era conhecido como Moloch Sangrento, uma alusão a um demônio da tradição cristã e cabalística, foi internado de novo no Stafford County Lunatic Asylum, onde permaneceu sete anos.
+Nos últimos anos dessa década, Dinah Mellard, mãe de Benjamin, fundou, com a ajuda de sua filha, uma pequena escola em Newcastle-under-Lyme.
+1839 –  Com a morte da avó materna de Benjamin, a família Mulock herdou algum dinheiro.
+Em 31 de dezembro, seu pai deixou o Stafford County Lunatic Asylum.
+1840 - A família foi para Londres, onde passou a ter uma vida mais confortável. Moravam em Earls Court Terrace. Benjamin começou a estudar piano e concertina. Entre esse ano e por volta de 1845, quando Dinah, a mãe, faleceu, os Mulock tiveram uma vida cultural interessante. Thomas Samuel tornou-se amigo de Charles Mathews, gerente do Covent Garden, que convidava constantemente os Mulock para ocuparem uma frisa no teatro. Conviveram com atores, comediantes, e escritores, como George (1804 – 1878) e Maria Lovell (1803-1877), também atriz; a poeta Eliza Leslie (1787 – 1858), e o editor Samuel Carter Hall (1800 – 1889).
+1842 – Sua mãe começou a apresentar problemas de saúde.
+1843 – Benjamin começou a se interessar por Engenharia Civil.
+1844 – Sua mãe e sua irmã voltaram temporariamente para o condado de Staffordshire, provavelmente na esperança de que a saúde da mãe melhorasse.
+ 
+O pai de Benjamin, Thomas Samuel Mulock, c. 1823. Fotografia publicada no livro The Mellards and Their Descendants, 1915.
+ 
+1845 – Em Londres, Benjamin, seus irmãos e mãe foram abandonados pelo pai, em 21 de março de 1845, Sexta-Feira da Paixão.
+Sua mãe, Dinah Mellard Mulock, faleceu em 3 de outubro. Thomas Samuel tentou se reaproximar da filha Dinah.
+1846 – Por motivos financeiros, seu irmão Thomas teve que abandonar seus estudos de pintura e passou a trabalhar como capitão de navios. Ele havia estudado pintura com William Holman Hunt (1827 – 1910), que fundou, em 1848, juntamente com Dante Gabriel Rossetti (1828 – 1882) e John Everett Millais (1829 – 1896), o grupo artístico Irmandade Pré-Rafaelita.
+1847/ 1848 /1849 - Em Londres, morte de seu irmão, Thomas, em 12 de fevereiro de 1847, após uma queda do navio em que faria sua segunda viagem como capitão da Marinha Mercante.
+Benjamin vivia com sua irmã, Dinah, em alojamentos nas cercanias de Tottenham Court Road, e estudava no University College London latim, matemática e filosofia natural como preparação para a Engenharia. No século XIX, a filosofia natural englobava o estudo da astronomia, cosmologia, geologia, física e quimíca.
+Dinah completou 21 anos e recebeu sua parte do trust de sua mãe. Ela escrevia contos e poemas que vendia para revistas, jornais e para os anuários de moda de Lady Blessington (1789 – 1849), além de percorrer editoras fazendo contatos. Em 1849, Dinah, publicou seu primeiro romance, The Ogilvies.
+1850 – Benjamim completou 21 anos, recebeu sua parte do trust de sua mãe e foi para a Austrália. Desse ano até 1853, estabeleceu uma criação de ovinos e participou da corrida ao ouro no país.
+1854 – Entre esse ano e 1855, Mulock retornou à Europa para tratar um problemas nos olhos, na Suíça e em Marienberg, na Alemanha.
+1855 - Alistou-se na Army Works Corps e serviu como engenheiro em uma ferrovia durante a guerra da Criméia, conflito que ocorreu entre 1853 e 1856, na península da Criméia, no mar Negro, ao sul da Rússia e nos Bálcãs.
+1856 – Retornou à Inglaterra, em julho, e entrou para o Liverpool Public Offices Engineers Department. Como engenheiro, trabalhou para os Correios de Liverpool. Em torno dessa época, Mulock tornou-se um fotógrafo autodidata.
+Nesse ano, sua irmã publicou John Halifax. No período em que escreveu o livro, foi sustentada por Benjamin.
+Seu pai voltou a ser internado no asilo de doentes mentais do condado de Stafford, onde permaneceu até 1860.
+1857 - Em 31 de março, foi lançada a pedra fundamental da ferrovia da Bahia ao São Francisco, que ligava Salvador a Alagoinhas, a primeira da Bahia. Os planos da obra foram levantados pelos engenheiros civis ingleses Henrique Law e John Blount e sua execução contratada a John Watson (1816-1890), que dela encarregou o engenheiro H. Vignoles (1793 – 1875) (Diário de Pernambuco, 14 de abril de 1857, na segunda coluna sob o título “Bahia”, e Jornal do Commercio, 11 de março de 1858, na quarta coluna). Na época, o presidente da província da Bahia era o desembargador João Lins Vieira Cansansão de Sinimbú (1810 – 1906), presente na cerimônia do lançamento da pedra fundamental da obra.
+1858 – Benjamim vivia em Liverpool e sua irmã, Dinah, foi morar com ele.
+ 
+Os irmãos Dinah e Benjamin Mulock, em 1858, no Jardim de Linacre Grange, em Bootle, cidade próxima a Liverpool. Fotografia publicada no livro The Mellards and Their Descendants, 1915.
+ 
+1859 – Dinah e Benjamin mudaram-se para Londres e foram viver em Wildwood Cottage, perto de Hampstead, uma área rural da cidade. Entre fins de 1858 e 1859, Benjamin trabalhou como fotógrafo para John Jabez Edwin Paisley Mayall (1813 -1901), profissional famoso por sua produção de fotografias no formato cartões de visita da rainha Victoria (1819 – 1901). No período que se dedicou à fotografia, provavelmente entre 1858 e 1862, Benjamin sofreu doenças de pele decorrentes do uso de produtos químicos no processo fotográfico.
+Benjamin embarcou no paquete inglês Oneida, que partiu de Southampton, e chegou ao Brasil em 1º de novembro, onde ficou até 1862. Teria sido contratado na França, onde aprimorava seus conhecimentos de fotografia, pela firma empreiteira do engenheiro civil inglês John Watson (1816-1890), para documentar a construção da estrada de ferro da Bahia ao São Francisco. Segundo o site Salvador Antiga, teria escrito sobre a Bahia: Eu nunca vi um lugar que me agradasse tanto à primeira vista. A Cidade alonga-se pela Baía, de forma crescente. A orla é alta e as casas erguem-se umas sobre as outras, misturando-se com a vegetação dominada por bananeiras e coqueiros, tudo tão verde.
+ 
+Site Family Search – Entrada de Passageiros na Bahia – Tabela com ano, mês, dia, procedência, nome da embarcação e nome do passageiro
+ 
+1860 - Duas fotografias de sua autoria produzidas na Bahia foram publicadas na Illustrated London News, fundado em 1842 e primeiro jornal ilustrado semanal do mundo.
+Em uma carta enviada por sua irmã, Dinah, a ele, em 4 de setembro, ficava evidenciada sua tendência à melancolia: Você trabalhar de modo silencioso e constante apesar das dificuldades, tenho orgulho disso, mas quando você se esfalfa de modo descuidado e inútil, e então fica irritado e vê as coisas de modo melancólico, bem, isto me preocupa bastante, eu admito.
+c. 1861 – Em torno desse ano, vinte e sete fotografias da construção da ferrovia e também 32 imagens da cidade de Salvador e do interior da Bahia foram presenteadas a d. Pedro II pelo empreiteiro John Watson.
+1862 – Em abril, deixou o Brasil e voltou para a Inglaterra, onde passou a viver com sua irmã, Dinah, em Hampstead.
+1863 –  Em janeiro e fevereiro, trabalhou em Swansen, cidade no País de Gales, como engenheiro. Em abril, Benjamin retornou à Inglaterra e voltou a morar com sua irmã em Hampstead, em Londres.
+Benjamin começou a dar sinais de melancolia. Sua irmã, que cuidou dele, tinha medo que ele cometesse suicídio. Em 7 de junho, foi internado na clínica para doentes mentais do Dr. Harrington Tukes, em Hammersmith, Londres. Fugiu cinco dias depois e foi atropelado, tendo morrido dos ferimentos em 17 de junho (Weekly Freeman’s Journal, 27 de junho de 1863).
+Segundo o artigo Mrs. Craik, da escritora escocesa Margaret Oliphant (1828 – 1887), publicado em 1887,  na Macmillan’s Magazine, seria impossível penetrar suficientemente nas linhas da reticência vitoriana para descobrir se o problema de Benjamin era com o álcool, com o ópio ou instabilidade mental; ele aparecia e desaparecia, era muito falado, ternamente recebido pela irmã, causando nela ansiedade; rejeitado pelos amigos dela, mas nunca por ela.
+1865 - Casamento de Dinah com George Lillie Craik  (1798–1866), escritor e crítico literário escocês.
+1869 – Morte de seu pai, Thomas Samuel Mulock.
+1887 – Morte de Dinah Maria Mulock Craik, em 12 de outubro.
+ 
+Benjamin R. Mulock. Cemitério dos Ingleses, c. 1860. Salvador, Bahia / Acervo IMS
+ 
+(1) Fotografia direta – Straight photography – O conceito foi  usado para caracterizar uma vertente da fotografia moderna surgida nos Estados Unidos nos anos 1910. O termo foi definido, no texto Um Apelo em Favor da Fotografia Direta, do poeta e crítico de arte Sadakichi Hartmann (1867 – 1944), publicado na revista American Amateur Photographer, em março de 1904. Refere-se a imagens feitas pelo contato direto da câmera com a realidade, sem intervenções no laboratório ou na cópia, enfatizando a noção de fotografia como expressão subjetiva. Alguns dos expoentes da fotografia direta foram Alfred Stieglitz (1864 – 1946), Anselm Adams (1902 – 184), Edward Weston (1886 – 1958)  e Paul Strand (1890 – 1976).
+Andrea C. T. Wanderley
+Editora-assistente e pesquisadora do portal Brasiliana Fotográfica
+Fontes:
+ANDRADE, Joaquim Marçal (org.). A coleção do imperador: fotografia brasileira e estrangeira no século XIX. Rio de Janeiro: Centro Cultural Banco do Brasil, 1997. 71 p.
+BOURRIER, Karen. Narrating insanity in the letter of Thomas Mulock and Dinah Mulock Craik in Victorian Literature and Culture,Vol. 39, No. 1, 2011. Cambridge University Press.
+CRAIK, Dinah Mulock. John Halifax, Gentleman. Canadá: Broadviews Edition, 2005
+HANNAVY, John. Encyclopedia of Nineteenth-Century Photography. Inglaterra: Taylor & Francis Group, 2008
+ERMAKOFF, George. Rio de Janeiro 1840 – 1900 Uma crônica fotográfica. Rio de Janeiro: G. Ermakoff Casa Editorial, 2006.
+FERREZ, Gilberto; NAEF, Weston J.. Pioneer Photographers of Brazil, 1840-1920. New York: Center for Inter-American Relations, 1976.
+FERREZ, Gilberto. A fotografia no Brasil: 1840- 1900. Prefácio Pedro Karp Vasquez. 2. ed. Rio de Janeiro: Funarte, 1985. 248 p. (História da fotografia no Brasil, 1).
+FERREZ, Gilberto. Bahia: velhas fotografias 1858/1900. Apresentação Katia Queirós Mattoso. 2. ed. Rio de Janeiro: Kosmos, 1999. 199 p., il. p&b.
+FOSTER, Shirley. Victorian Women’s Fiction: Marriage, Freedom, and the Individual. Oxon: Routledge, 2012
+KASTAN, David Scott (editor). The Oxford Encyclopedia of British Literature. Oxford: Oxford University Press, 2006.
+
+KOSSOY, Boris. Dicionário histórico-fotográfico brasileiro: fotógrafos e ofício da fotografia no Brasil (1833-1910). São Paulo: Instituto Moreira Salles, 2002. 408 p., il. p&b.
+LAGO, Bia Corrêa do;LAGO, Pedro Corrêa do. Os Fotógrafos do Império. Rio de Janeiro: Capivara, 2005. 240p.:il
+MARIEN, Mary Warner. Photography: A Cultura History. Grã-Bretanha: Laurence King Publishing, 2002.
+MARTIN, Frances. Mrs. Craik, in Athenaeum, 22 de outubro de 1887.
+MITCHEL, Sally. Dinah Mulock Craik. Londres: Twayne, 1983.
+OLIPHANT, Margaret. Mrs. Craik, in Macmillan’s Magazine. 57, 1887.
+READE, Aleyn Lyell. The Mellards and Their Descendants. London: 1915.
+Site Benjamim R. Mulock, photographer
+Site Enciclopédia Itaú Cultural
+Site Family Search – Entrada de Passageiros na Bahia
+Site Grace’s Guide to British Industrial History 
+Site Illustrated London News
+Site National Art Gallery
+Site Online Archive of California
+Site Salvador Antiga
+Site Tapas Project
+Site Taylor & Franis Online
+Site The J. Paul Getty Museum
+SPINOLA, José. Benjamin Mulock – O fotógrafo da velha Bahia. eBook Kindle, 2019
+VASQUEZ, Pedro Karp. Dom Pedro II e a fotografia no Brasil. Rio de Janeiro: Fundação Roberto Marinho, 1985.
+VASQUEZ, Pedro Karp. Mestres da fotografia no Brasil: Coleção Gilberto Ferrez. Tradução Bill Gallagher. Rio de Janeiro: Centro Cultural Banco do Brasil, 1995. 272 p.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/3544` — `itens/20.500.12156.1_3544/`
+- `20.500.12156.1/2223` — `itens/20.500.12156.1_2223/`
+- `20.500.12156.1/2221` — `itens/20.500.12156.1_2221/`
+
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+---
+id: 8972
+url: "https://brasilianafotografica.bn.gov.br/?p=8972"
+titulo: "Data Magna da Marinha do Brasil"
+autor: "Andrea Wanderley"
+data: "2017-06-11T00:09:02+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/4294", "20.500.12156.1/3541", "20.500.12156.1/4287"]
+fetched_at: "2026-09-10T10:28:21.212Z"
+---
+
+# Data Magna da Marinha do Brasil
+
+Batalha Naval do Riachuelo – A Data Magna da Marinha do Brasil
+Diretoria do Patrimônio Histórico e Documentação da Marinha
+A Batalha Naval do Riachuelo, ocorrida em 11 de junho de 1865, assinalou um momento capital na Guerra da Tríplice Aliança contra o Governo do Paraguai (1864-1870), o maior conflito entre Estados ocorrido na América. O controle dos rios Paraná e Paraguai, conquistado após a vitória sobre a Marinha paraguaia em Riachuelo, inviabilizou a ofensiva adversária sobre os territórios brasileiro e argentino, e também impediu que o Governo de Solano López ( 1827 – 1870) recebesse armamentos comprados no exterior.
+Desde o início do conflito, com a invasão do Mato Grosso pelo Exército paraguaio, em dezembro de 1864, o Brasil e a Argentina sofriam seguidas derrotas no campo de batalha. O território de ambas as Nações foi invadido e algumas de suas cidades fronteiriças foram pilhadas pelas tropas adversárias, como Uruguaiana, no Rio Grande do Sul, e Corrientes, na Argentina. A vitória brasileira na Batalha Naval do Riachuelo foi o primeiro triunfo aliado em quase sete meses de confronto e provocou uma grande onda de entusiasmo na população dos centros urbanos do País, antes apreensiva com os rumos da guerra.
+O êxito da Força Naval, comandada pelo Chefe de Divisão Francisco Manoel Barroso da Silva (1804 – 1882), alcançado a quase 1.700 quilômetros da Capital do Império, continuou a ser celebrado nos anos posteriores à Guerra e deixou marcas profundas nas tradições da Marinha do Brasil. Tradições que não apenas cultuam a vitória através da figura do Almirante Barroso, mas os que tombaram em combate. Mesmo que muitos tenham perecido no bombardeio mútuo entre navios, foi na luta corpo a corpo que tomou conta do convés da Corveta brasileira Parnaíba, quando abordada por tripulações de três navios paraguaios, que emergiram os heróis que permanecem sendo celebrados pelos nossos marinheiros após um século e meio: o Guarda-Marinha João Guilherme Greenhalgh (1845 – 1865) e o Marinheiro de 1ª Classe Marcílio Dias (1838 – 1865).
+ 
+Anônimo. Salão Riachuelo – Aula na Escola de Aprendizes Marinheiros do Ceará, 1917. Fortaleza, Ceará / Acervo DPHDM
+ 
+Na imagem acima, registrada em 1917, ano que o Brasil entrava na Grande Guerra (1914-1918), a primeira guerra externa que o país se envolvia desde a travada no Paraguai, se vê uma das salas de aula da Escola de Aprendizes-Marinheiros do Ceará, instituição dedicada à formação militar dos novos tripulantes dos navios de guerra da Marinha do Brasil. O espaço, nomeado “Salão Riachuelo”, foi todo dedicado à celebração da Batalha. Na parede à direita dos alunos foram destacados os nove navios brasileiros que combateram naquele 11 de junho de 1865, expondo sua organização tática em duas divisões e o nome de cada um dos seus comandantes. À frente, onde todos os olhos se fixam, coroa o tablado designado ao professor o retrato do Almirante Barroso, ladeado pelas bandeiras do Regimento de Sinais que representaram os chamamentos daquele líder às tripulações durante os períodos mais adversos da Batalha: “Sustentar o fogo que a vitória é nossa” e “O Brasil espera que cada um cumpra o seu dever”. Encerrando aquela composição, à esquerda dos alunos há o retrato do Guarda-Marinha Greenhalgh e à direita o do Marinheiro Marcílio Dias, expostos como exemplos a serem perseguidos por aqueles jovens na busca por se tornarem combatentes na Marinha do Brasil.
+Acessando o link para as fotografias do acervo da Diretoria do Patrimônio Histórico e Documentação da Marinha disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+___________________________________________________________________
+As fotografias do acervo da DPHDM disponibilizadas no portal são de autoria de Boute, H&J Tourte Éditeurs, Jorge Kfuri (1892/3 – 1965), um dos primeiros especialistas na fotografia aérea; Marc Ferrez (1843 – 1923) e de fotógrafos ainda não identificados. São imagens da visita do rei Alberto I da Bélgica ao Brasil em 1920, da Escola de Aprendizes Marinheiros do Ceará, do navio-escola Benjamin Constant, do cruzador Tamandaré e fotografias aéreas do Rio de Janeiro, além de outras.
+ 
+Anônimo. Officialidade da Escola de Aprendizes Marinheiros do Ceará, 1917. Fortaleza, Ceará / Acervo DPHDM
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/4294` — `itens/20.500.12156.1_4294/`
+- `20.500.12156.1/3541` — `itens/20.500.12156.1_3541/`
+- `20.500.12156.1/4287` — `itens/20.500.12156.1_4287/`
+
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+---
+id: 9008
+url: "https://brasilianafotografica.bn.gov.br/?p=9008"
+titulo: "“Sete de Setembro: uma ponte entre dois maurícios”, por Pedro Vasquez"
+autor: "Andrea Wanderley"
+data: "2017-06-29T12:10:25+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/2675", "20.500.12156.1/2694", "20.500.12156.1/237", "20.500.12156.1/4736", "20.500.12156.1/2566", "20.500.12156.1/2656"]
+fetched_at: "2026-09-10T10:28:24.773Z"
+---
+
+# “Sete de Setembro: uma ponte entre dois maurícios”, por Pedro Vasquez
+
+Sete de Setembro: uma ponte entre dois maurícios
+Pedro Karp Vasquez*
+Moritz Lamberg. Ponte 7 de setembro, c. 1880. Recife, Pernambuco / Acervo IMS
+ 
+Esta magnífica fotografia ilustra a importância de dois maurícios para o Recife, ambos alemães: Moritz Lamberg, que tão bem a focalizou em fins do século XIX, e Johan Maurits van Nassau-Singen, que a fez edificar na primeira metade do século XVII, durante o domínio holandês no Brasil.
+Do ponto de vista estritamente fotográfico é uma imagem irretocável, como quase todas aquelas produzidas por Lamberg desde que assumiu o comando da Photographia Allemã pernambucana, criada por seu compatriota Alberto Henschel, em 1867. Atuando de início como assistente de Henschel, Lamberg o sucedeu quando ele seguiu para o Rio de Janeiro, em 1870, para abrir outra casa fotográfica de idêntica denominação, depois de ter feito o mesmo em Salvador. Rivalizando com o mestre na prática do retrato fotográfico, sustentáculo do estúdio, Lamberg o ultrapassou amplamente na fotografia paisagística, demonstrando um talento capaz de ombrear com os melhores cultores do gênero no Brasil oitocentista, tais como Revert Henry Klumb, Augusto Stahl , Marc Ferrez e Juan Gutierrez. Lamberg foi sob todos os aspectos um fotógrafo completo, conforme comprova o imponente álbum de sua autoria conservado na Coleção Dona Thereza Christina Maria, da Biblioteca Nacional. Todavia, por um destes misteriosos caprichos do destino, ainda não mereceu a devida consagração póstuma, como a edição de um moderno livro de fotografia de caráter monográfico.
+Acessando o link para as fotografias de autoria de Moritz (Maurício) Lamberg disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+A atribuição de intenções aos fotógrafos oitocentistas é sempre arbitrária, pois com frequência eles eram mobilizados por intenções e preocupações diferentes daquelas de seus colegas da atualidade. É lícito especular, no entanto, que Lamberg tenha optado pelo enquadramento frontal para destacar os lampadários da entrada e os arcos metálicos da ponte, que não ficariam claramente visíveis em uma tomada lateral ou em diagonal, como as empregadas por outros fotógrafos de seu tempo, como João Ferreira Villela, por exemplo. Esta frontalidade – antecipatória daquela que seria preconizada por Walker Evans em meados do século seguinte –, também fez sobressair os trilhos de bonde no primeiro plano, que conduzem o olhar para o ponto de fuga da imagem como se convidassem o observador a atravessar a ponte rumo ao bairro de Santo Antônio, passando sob o arco de mesmo nome visível no centro da composição. Existia outro, à sombra do qual Lamberg deve ter instalado sua câmara, o arco da Conceição, situado no bairro do Recife, no limiar da antiga Cidade Maurícia. Ambos persistiram até o século seguinte, sendo demolidos, respectivamente, em 1913 e 1917, por medida de segurança já que estavam bastante corroídos, apresentando risco de desabamento.
+A presença de populares observando a faina de Moritz Lamberg comprova o fato de que ainda na década de 1880 um fotógrafo paisagista era figura rara e merecedora de atenção nas ruas brasileiras.
+Toda fotografia de época é um convite para uma viagem no tempo. Portanto, para melhor evocar o Recife retratado por Lamberg vale a pena acompanhar um ilustre visitante paulista, que percorreu a cidade exatamente na época em que o mestre alemão a perenizava com sua técnica requintada. Joaquim de Almeida Leite de Moraes, que foi presidente da província de Goiás, registrou suas impressões no livro Apontamentos de viagem, publicado em 1883 e relançado em 2011, por iniciativa do Prof. Antonio Candido de Mello e Souza. Assim viu a capital pernambucana aquele que viria a ser mais tarde avô de Mário de Andrade:
+‘Recife, essa Veneza brasileira, é talvez a segunda cidade do Império, não em sua extensão, senão em beleza e sob o ponto de vista comercial.
+Percorri todas as suas linhas de bondes; vi de passagem alguns de seus principais edifícios, palácio do governo, da assembleia, teatro, igrejas, etc. O teatro é um grande edifício e de custosa arquitetura. Ruas largas e estreitas; em geral bem calçadas; cidade nova e cidade velha; becos imundos, casas altas e baixas, mercado animado e sofrível: grande agitação comercial: o fluxo e refluxo popular em todas as ruas: suas pontes magníficas ligando as duas cidades, separadas pelo rio, coalhado de navios’.[1]
+Por trás do véu argênteo 
+Somente o esteta impenitente pode apreciar uma fotografia de época apenas pelo prisma de sua beleza, sem se preocupar em erguer o véu argênteo para contemplar o que se esconde sob a fina e ofuscante superfície dos sais de prata. Isto porque uma imagem antiga esconde mais do que desvela, concentrando numerosas informações a respeito do tema retratado ao mesmo tempo em que antecipa sua vida futura, de modo que só é plenamente compreendida quando a ela são adicionadas as informações invisíveis que mascara.
+Cumpre lembrar, portanto, ter sido esta a primeira grande ponte do Brasil, nascida com o nome de Ponte do Recife, interligando os bairros do Recife e de Santo Antonio por sobre o rio Capibaribe. Distingue-se hoje como a mais antiga ponte em funcionamento contínuo do país, sob a denominação de ponte Maurício de Nassau. Isto porque foi Nassau quem a mandou construir e a inaugurou em 28 de fevereiro de 1644 com uma festa que pode ser considerada a fundadora da propaganda política no Brasil. Com efeito, o sagaz administrador do Brasil holandês havia prometido à população pernambucana que faria um boi voar para festejar a abertura da ponte ao tráfego. Prometeu e cumpriu! De tal forma que a multidão acumulada na ponte de fato viu, com deslumbre e estupor, um boi cruzar os céus sobre suas cabeças. Este episódio entrou na história como o caso do “Boi voador”, consolidado no folclore recifense e cantado em prosa e verso até hoje por repentistas e cordelistas. O príncipe Johan Maurits van Nassau-Singen foi, inegavelmente, um dos mais competentes administradores a atuar no Brasil colonial e um homem verdadeiramente prodigioso, mas não era mágico nem feiticeiro, de modo que seu boi celeste tem explicação bem terra-a-terra: era um animal empalhado suspenso em cabos que, graças a um engenhoso sistema de roldanas, parecia voar de moto próprio.
+Pernambuco recuperado pelos portugueses, o período colonial encerrado, assim como o Primeiro Império, a ponte do Recife permaneceu em plena atividade, sofrendo naturalmente ao longo do tempo reparos e melhorias, até que em 7 de setembro de 1865 adquiriu a nova denominação de ponte Sete de Setembro, evocadora da Independência do Brasil.
+Os trilhos e os lampiões visíveis na imagem sublinham o fato de o Recife ser uma das mais modernas e importantes cidades brasileiras ao ser fotografada por Maurício Lamberg na década de 1880, quando sua população de mais de 100 mil habitantes era superada apenas por Salvador e Rio de Janeiro. Os lampadários a gás carbônico, percebidos no primeiro plano, foram implantados na década de 1860, destronando progressivamente os velhos lampiões que funcionavam desde 1822 com azeite de carrapateira e de cachalote e, a partir de 1856, com óleo de peixe. Pernambuco conheceu a estrada de ferro quatro anos apenas após a sede da Corte Imperial, com a implantação da ferrovia ligando as cidades de Recife e do Cabo, a Recife and S. Francisco Railway, documentada por Augusto Stahl, em 1858. Ao passo que a Brazilian Street Railway Limited instalou o serviço de trens urbanos em 1867. Não tardou para que suas locomotivas fossem apelidadas de Maxambombas, corruptela de machinepump. Para reiterar a modernidade recifense, este foi o primeiro serviço de trens urbanos da América Latina.
+* Pedro Karp Vasquez é escritor, fotógrafo e membro do Instituto Histórico e Geográfico Brasileiro.
+ 
+Pequeno perfil de Moritz Lamberg (18? – 19-?)
+Andrea C. T. Wanderley**
+Em 1880, o gerente da Photographia Allemã de Recife, Constantino Barza, anunciou a chegada do fotógrafo europeu Moritz (Mauricio) Lamberg(1), para cuidar da parte técnica e artística do ateliê do berlinense Alberto Henschel (1827 – 1882). Lamberg foi apresentado como celebridade europeia e insigne artista, que havia dirigido estabelecimentos em Berlim e em Viena e obtido prêmios em Paris e em Viena nas exposições de 1868 e 1873. Porém, como um de seus  filhos, o pianista Emilio Lamberg, nasceu em Pernambuco, em torno de 1863, e teria ido para para Viena, com a família, aos 3 anos, é provável que Lamberg tenha estado no Brasil, nessa época, antes de trabalhar para Henschel.
+Em 1885, foi concedida a ele a carta de naturalização. Ora identificado como austríaco ora como alemão, em artigo escrito por ele, em 1899, declarou-se teuto-brasileiro. Além de fotógrafo, foi referido pela imprensa como homem de ciência, professor de alemão, ilustre explorador e sócio correspondente de várias agremiações e revistas de ciência do estrangeiro.
+ 
+Anúncio da Photographia Allemã, apresentando Mauricio Lamberg / Diário de Pernambuco 30 de janeiro de 1880.
+ 
+Provavelmente nesse período, entre 1880 e 1885, produziu diversos registros de Recife, capital de Pernambuco. Vinte dessas fotografias foram reunidas no  álbum Ansichten Pernambuco’ s Recife Photographia Allemã, dedicado a d. Pedro II, que faz parte do acervo da Biblioteca Nacional. Outras 48 imagens estão no álbum Vistas de Pernambuco, pertencente ao acervo do Instituto Moreira Salles.
+Lamberg produziu também imagens de núcleos coloniais, tipos populares, casas coloniais, espécies do reino vegetal e das principais cidades do Brasil. Fotografou a família imperial no Palácio Itamaraty, no Rio de Janeiro, em 1887.  Em suas fotografias, Lamberg já usava as placas secas de gelatina, inventadas em 1871, o que conferia a elas, segundo Pedro Vasquez, uma invulgar mobilidade.
+ 
+Moritz Lamberg. Rua do Bom Jesus, c. 1880. Recife, Pernambuco / Acervo IMS
+ 
+Sobre seu talento para a realização de fotografias do mar e de embarcações, Pedro Vasquez comentou que ele poderia ser classificado sem dúvida alguma como um fotógrafo de marinhas, com tanto talento para o gênero quanto Marc Ferrez (1843 – 1923), o único no Brasil a se ter especializado nesse campo, a ponto de se tornar Fotógrafo da Marinha Imperial.
+ 
+Moritz Lamberg. Barra de Pernambuco, 1880 – 1885. Recife, Pernambuco / Acervo FBN
+ 
+Provavelmente Lamberg foi morar no Rio de Janeiro em 1887 e, em 1890, tornou-se professor de alemão do Instituto Nacional de Instrução Secundária, atual Colégio Pedro II. Em 1892, Maurício Lamberg embarcou para a Europa, a bordo do paquete inglês Clyde, rumo a Southampton e outras escalas. Em 1894, já se encontrava no Rio de Janeiro. Em 1902, Lamberg estava na Áustria comissionado em propaganda de imigração.
+Entusiasta da imigração de europeus para o Brasil, Maurício Lamberg publicou, em 1896, o livro O Brazil, sobre o qual o historiador Sacramento Blake (1827 – 1903) comentou:  “[…] trata da natureza do Brazil e das diversas raças que contém; de sua lavoura, do solo, da imigração e colonização; de suas florestas…”. Para escrever o livro, Lamberg viajou durante anos pelo norte e por parte do sul do país. Escrita originariamente em alemão, a obra, que abrange assuntos como história, geografia, fontes de renda e costumes, foi vertida para o português pelo jornalista e crítico musical Luiz de Castro (1863 – 1920), editado pela Casa Lombaerts e impresso na Tipografia Nunes, com 381 páginas distribuídos em 15 capítulos.
+ 
+Livro O Brasil, de autoria de Maurício Lamberg, lançado em 1896, editado pela Casa Lombaerts e impresso na Typographia Nunes
+ 
+
+ 
+Possuía heliografias executadas e impressas por Dontor F. Albert & Cia, em Munique, e por Verlag von Hermann Zieger, em Leipzig, na Alemanha, além de registros produzidos por ele e por fotógrafos como Marc Ferrez (1843 – 1923), dentre outros. As duas imagens abaixo estão na obra.
+ 
+Marc Ferrez. Negra da Bahia, c. 1885. Bahia / Acervo IMS
+ 
+Marc Ferrez. Negra com seu filho, c. 1884. Salvador , Bahia / Acervo IMS
+ 
+Segundo Lamberg, por se preocuparem em demasia com a África e com a Ásia, os países europeus negligenciavam as vantagens econômicas e climáticas que o Brasil oferecia para os europeus do norte. Aconselhava que os recém-chegados ao Brasil evitassem o consumo de frutas em excesso e também tivessem cuidado com a exposição ao sol. Mencionava também o perigo da febre amarela.
+Seu filho, o pianista e organista Emilio Lamberg (c.1863 – 1919), fez bastante sucesso, tendo se apresentado com os mais destacados músicos de sua época. Porém, morreu paupérrimo (Correio da Manhã, 18 de agosto de 1919, na sexta coluna). Seu outro filho, Manfredo Carlos Lamberg (18? – 1921), que ele chamava de Fred e o acompanhou em algumas de suas viagens ao norte do Brasil, foi major, professor de alemão, telegrafista, agrimensor e engenheiro (O Cearense, 25 de dezembro de 1890, na primeira coluna, Jornal do Brasil, 15 de junho de 1891, na segunda coluna, Diário de Notícias, 5 de janeiro de 1895, na sexta coluna, O Pará, 31 de março de 1900, na primeira coluna, A Época, 23 de dezembro de 1912 e O Paiz, 24 de julho de 1914, na primeira coluna).
+ 
+Cronologia de Moritz (Maurício) Lamberg 
+ 
+Moritz Lamberg. Rua Nova, c. 1880. Recife, Pernambuco / Acervo IMS
+ 
+1863 – De acordo com a dissertação de Regina Beatriz Quariguasy Schlochauer, A presença do piano na vida carioca no século passado, apresentada ao Departamento de Música da Escola de Comunicação e Artes da Universidade de São Paulo, sob orientação do Prof. Dr. Amilcar Zani Netto, o pianista Emílio Lamberg, filho de Maurício Lamberg, teria nascido em Pernambuco, em 1863, e ido para para Viena, com a família, aos 3 anos. Segundo noticiado pelo jornal O Paiz, de 18 de agosto de 1919, ele teria falecido com 52 anos em 1919, ou seja, teria nascido em 1867 ou 1868. Com essas informações, pode-se deduzir que, possivelmente, nessa época Maurício Lamberg estava vivendo no Brasil.
+1880 – O gerente da Photographia Allemã de Recife, Constantino Barza, anunciou a chegada do fotógrafo europeu Maurício Lamberg para cuidar da parte técnica e artística do ateliê do berlinense Alberto Henschel (1827 – 1882). Lamberg foi apresentado como celebridade europeia e insigne artista, que havia dirigido estabelecimentos em Berlim e Viena e obtido prêmios em Paris e em Viena nas exposições de 1868 e 1873 (Diário de Pernambuco, 30 de janeiro de 1880).
+O Instituto Moreira Salles possui o álbum Vistas de Pernambuco, com 48 fotografias da cidade de Recife, produzidas por Lamberg em torno desse ano.
+ 
+Capa do álbum Vistas de Pernambuco, com fotografias de Lamberg, que pertence ao acervo do Instituto Moreira Salles
+ 
+1880 – 1885 – O álbum de sua autoria, Ansichten Pernambuco’ s Recife Photographia Allemã, foi provavelmente produzido nesse período. Dedicado a d. Pedro II, faz parte do acervo da Biblioteca Nacional, e possui 2o fotografias de Recife.
+ 
+Capa do álbum Ansichten Pernambuco’ s Recife Photographia Allemã, com fotografias produzidas por Lamberg, que pertence ao acervo da Biblioteca Nacional.
+ 
+1881 – Lamberg fez uma petição à Associação Comercial da cidade do Recife para que se ordenasse o registro da escritura da compra que fez do estabelecimento denominado Photographia Allemã, que era de propriedade de Alberto Henschel (1827 – 1882) (Diário de Pernambuco, 19 de setembro de 1881, na quarta coluna).
+Alberto Henschel e Lamberg convidavam o público para apreciar os trabalhos de nossa casa, que vão ser exibidos na próxima exposição que terá lugar no Rio de Janeiro (Diário de Pernambuco, 14 de novembro de 1881).
+ 
+Diário de Pernambuco, 14 de novembro de 1881
+ 
+1884 – Após uma longa temporada de estudo na Europa, o filho de Lamberg, o pianista e organista Emilio Lamberg (1860 – 1919), chegou ao Brasil, no vapor Niger, que havia partido da França (Diário de Pernambuco, 6 de março de 1884, na primeira coluna; e Diário de Pernambuco, de 13 de março de 1884, na primeira coluna). Dias depois, Emilio fez uma apresentação no primeiro andar do sobrado onde ficava a Photographia Allemã, na rua Barão da Vitória, nº 52 (Diário de Pernambuco, 29 de março de 1884, na penúltima coluna). Maurício Lamberg convidou o público para a apresentação de seu filho, no Teatro deSanta Isabel, inicialmente agendada para o dia 19 de abril e depois transferida para o dia 24 do mesmo mês. O recital foi um sucesso e Emilio se apresentou várias outras vezes (Diário de Pernambuco, 9 de abril de 1884, na quarta coluna; Diário de Pernambuco, 18 de abril de 1884, na segunda coluna; e Diário de Pernambuco, 27 de abril de 1884, na quinta coluna).
+1885 – Foi concedida a Maurício Lamberg, identificado como um súdito austríaco, a carta de naturalização (Diário de Pernambuco, 12 de abril de 1885, na primeira coluna e 29 de abril, na quarta coluna).
+Em uma notícia sobre o suicídio de um empregado no estabelecimento Photographia Allemã, localizada na rua Barão da Vitória, em Recife, Lamberg foi identificado como proprietário da casa fotográfica (Jornal do Commercio, 27 de maio de 1885, na quarta coluna; e Diário de Pernambuco, 15 de maio de 1885, na primeira coluna).
+1887 – Representando a casa fotográfica Alberto Henschel, seu sócio viajante Lamberg esteve de janeiro a março de 1887, em Vitória, no estabelecimento fotográfico de Ayres, provavelmente Joaquim Ayres, que iniciou sua carreira como funcionário do fotógrafo Joaquim Insley Pacheco (1830 – 1912), no Rio de Janeiro. O estabelecimento seria a Photographia Artística Vitoriense (O Espírito-Santense, 1º de janeiro de 1887, e A Província do Espírito Santo, 26 de fevereiro de 1887, na última coluna, e O Espírito Santense, 2 de março de 1887, na última coluna). Dias depois, Lamberg anunciou a exposição das fotografias produzidas em sua estadia em Vitória (A Província do Espírito Santo, 13 de março de 1887, na primeira coluna). Na época, a Photographia Artística Vitoriense ficava no Largo do dr. João Clímaco, nº 6.
+No estabelecimento fotográfico de Alberto Henschel, a Photographia Allemã, na rua dos Ourives, nº 40, atual rua Miguel Couto, no Rio de Janeiro, foi inaugurada uma exposição de vistas fotográficas de pontos do norte do país, produzidas por Lamberg, na época, um dos sócios do ateliê (The Rio News, 5 de maio de 1887, na primeira coluna; Diário de Notícias, 20 de maio de 1887, na penúltima coluna sob o título “Vistas fotográficas”; e Novidades, 21 de maio de 1887, na segunda coluna). As fotografias serviriam de modelos para as gravuras em madeira que viriam a ilustrar o livro, na época intitulado “Esquissos sobre o norte do Brasil em relação à colonização”, que estava sendo escrito, em alemão, por Lamberg. Eram imagens de núcleos coloniais, tipos populares, casas coloniais, espécies do reino vegetal, entre outras. Sobre o conjunto de imagens, escreveu-se: é uma coleção curiosa mesmo para quem a vir desacompanhada de texto explicativo (Jornal do Commercio, 22 de maio de 1887, na sexta coluna; O Cearense, 20 de julho de 1887, na quarta coluna).
+ 
+Propaganda da exposição de fotografias de Lamberg, publicada no The Rio News de 5 de outubro de 1887
+ 
+Em 1º de junho, Lamberg fotografou a família imperial no Palácio Itamaraty. Ficou assim o grupo: ao centro o imperador e a imperatriz; à direita do imperador, a princesa imperial com seu filho o príncipe d. Luiz e junto a si o príncipe d. Antonio e o príncipe do Grão-Pará, o conde d´Eu e o príncipe d. Augusto, ficando estes no segundo plano. À esquerda da imperatriz, figurou sentado o príncipe d. Pedro (O Paiz, 20 de junho de 1887, na quarta coluna, sob o título “Noticiário” e A Federação, 28 de junho de 1887, na primeira coluna).
+Na reunião da diretoria da Sociedade Central de Imigração, presidida pelo senador Escragnolle Taunay, após a leitura do expediente, apresentou-se Lamberg, austríaco, que faz sentir a facilidade com que poderiam instalar-se no Brasil vários compatriotas seus, trabalhadores de primeira ordem que na Europa já não podem conseguir certas condições de bem estar. Devido à complexidade da questão, foi pedido para que Lamberg comparecesse na reunião seguinte da diretoria, no dia 5 de maio (A Immigração, 30 de junho de 1887, na segunda coluna).
+A visita que Lamberg fez à redação do Correio Paulistano foi registrada pelo jornal com a publicação da matéria “Um estrangeiro amigo no Brasil”(Correio Paulistano, 29 de julho de 1887, na primeira coluna).
+ 
+“Um estrangeiro amigo do Brasil”, publicado no Correio Paulistano, 29 de julho de 1887
+ 
+Foi veiculada uma propaganda da Photographia Allemã: Alberto Henschel & Co – Retratos em fotografia e a óleo, sendo estes feitos pelo artista E. Paft e aqueles pelo artista sr. Lamberg. Rua dos Ourives, 40, das 9 horas da manhã às 4 da tarde (Jornal do Commercio, 2 de outubro de 1887, na segunda coluna).
+Seu filho, o pianista Emilio Lamberg chegou ao Rio de Janeiro.
+1888 – Lamberg e seu filho, o pianista e organista Emilio Lamberg, visitaram a redação do jornal Diário de Notícias. Foi anunciado que Emilio se apresentaria no dia 19 de junho no Club Beethoven, inaugurado em 1882, que abrigava saraus com os principais nomes da música clássica. De acordo com o jornal, Emilio Lamberg havia estudado na Academia de Música de Berlim e nos conservatórios de Viena e de Paris, tendo sido aluno do músico francês Camille Saint-Saens (1835 – 1921). Nesta matéria Lamberg foi identificado como escritor e viajante austríaco (Diário de Notícias, 9 de novembro de 1888, na última coluna, sob o título “Echos e Notas”).
+1889 – Seu filho, Manfredo Carlos Lamberg, prestou exames para a Escola Normal, no Rio de Janeiro (Jornal do Commercio, 28 de janeiro e 12 de fevereiro de 1889, ambos na segunda coluna).
+1890 – Mauricio Lamberg foi nomeado professor substituto da cadeira de alemão do Instituto Nacional de Instrução Secundária, atual Colégio Pedro II (Diário de Notícias, 7 de fevereiro de 1890, na penúltima coluna). Inscreveu-se para a vaga de professor efetivo (Jornal do Commercio, 15 de junho de 1890, na terceira coluna).
+Foi noticiado que um parecer sobre a obra de Lamberg, um estudo sobre o Brasil sob uma ótica econômica e social, seria apresentado ao presidente do Brasil, marechal Deodoro da Fonseca (1827 – 1892). Para escrever o livro, Lamberg teria viajado durante anos pelo norte e por parte do sul do país (Diário de Notícias, 5 de março de 1890, na penúltima coluna). Uma curiosidade: quando esteve em Santa Catarina, conheceu o fotógrafo e agente consular Albert Richard Dietze (1839 – 1906), que o hospedou. Na ocasião, houve um sarau com dança na casa do anfitrião (O Brazil, pág. 256).
+Emilio Lamberg era professor de piano da Academia de Música, fundada em 1885 pelo Club Beethoven. Funcionava na Escola de São José (Gazeta de Notícias, 26 de abril de 1890, no centro da página). Foi admitido como professor de órgão no Instituto Nacional de Música (Jornal do Commercio, 30 de agosto de 1890, na última coluna). Pouco depois viajou para a Europa onde foi acompanhar a construção do órgão encomendado pelo Instituto à casa Wilhelm Sauer, em Frankfurt, na Alemanha (Jornal do Commercio, 17 de novembro de 1890, na sétima coluna). Ficou na Europa até 9 de junho de 1894 (Jornal do Commercio , 20 de agosto de 1904, na sexta coluna).
+1892 – Maurício Lamberg embarcou no dia 19 de abril para a Europa a bordo do paquete inglês Clyde, rumo a Southampton e outras escalas (O Paiz, 20 de abril de 1892, na penúltima coluna).
+Emilio Lamberg foi demitido do cargo de professor de órgão no Instituto Nacional de Música, a bem do serviço público. Posteriormente, tornou-se um professor particular de sucesso (Diário de Notícias, 26 de agosto de 1892, na terceira coluna e Jornal do Brasil, 26 de agosto de 1892, na primeira coluna).
+1894 – Maurício Lamberg estava inscrito para o concurso para amanuense da Diretoria do Interior e Estatísticas, da Prefeitura do Rio de Janeiro (O Paiz, 16 de setembro de 1894, na quinta coluna). Amanuense era o funcionário de repartições públicas que faziam cópias, registros e cuidavam da correspondência.
+Foi anunciado que Moritz Lamberg, depois de ter viajado pelo nosso país oito anos, escreveu um importante trabalho – O Brazil, que vai ser editado pela casa H. Lombaerts & C, desta capital. O livro, que será luxuosamente impresso, contém um estudo sobre a nossa história, geografia, fontes de renda, costumes, caráter do povo e 50 fotografias representando trechos de nossas matas virgens e seculares e vistas das cidades mais importantes (O Paiz, 30 de dezembro de 1894, na sexta coluna).
+1895 – Transcrição do capítulo  “As classes baixas do Brasil –  caboclos, mulatos, cabras, negros e antigos escravos”, do livro de Lamberg, O Brasil, que ainda não havia sido lançado. O trecho foi traduzido pelo professor Cândido Jucá (1865 – 1929) (Diário de Pernambuco, 13 de fevereiro de 1895, na primeira coluna).
+Notícia sobre o livro O Brazil, identificado como um estudo completo da história sociológica do país (A Semana, 16 de fevereiro de 1895, na segunda coluna).
+Maurício Lamberg estava relacionado em uma lista da Secretaria do Interior e Justiça do Estado do Rio de Janeiro para completar o sello dos respectivos requerimentos (Jornal do Commercio, 20 de junho de 1895, na terceira coluna).
+Na Câmara dos Deputados, era pleiteada uma verba para ajudar a publicação do livro de Lamberg em quatro línguas, como reforço do fomento que o Governo fazia à imigração, estabelecendo superintendências na Europa (O Paiz, 8 de junho de 1895, na quinta coluna, e Jornal do Commercio, 9 de novembro de 1895, na terceira coluna).
+1896 – Emilio Lamberg e sua mulher, professores de música, comunicaram sua mudança para Petrópolis (Jornal do Commercio, 2 de fevereiro de 1896, na penúltima coluna).
+Maurício Lamberg apresentou à Câmara de Deputados uma petição pedindo isenção de direito para as gravuras e capas que ilustrariam o livro sobre o Brasil que ele estava prestes a publicar (Jornal do Commercio, 4 de dezembro de 1896, na segunda coluna, e The Rio News, 8 de dezembro de 1896, na terceira coluna). O pedido foi indeferido (Liberdade, 2 de dezembro de 1896, na última coluna).
+Foi publicado seu livro, O Brazil, editado pela Casa Lombaerts e impresso na Tipografia Nunes, com 381 páginas (Diário do Rio, 2 de abril de 1897, na quarta coluna).
+1897 – Maurício Lamberg, identificado como professor, tinha estado no Palácio Itamaraty (O Paiz, 19 de janeiro de 1897, na quinta coluna).
+Foi enviado um exemplar do livro O Brazil para a redação do Jornal do Brasil (Jornal do Brasil, 31 de março de 1897, na terceira coluna).
+Foi publicado um comentário sobre O Brazil, referido como um importantíssimo livro, cuja edição era primorosa e as gravuras admiráveis de nitidez (Revista Illustrada, abril de 1897, na segunda coluna).
+Publicação de uma crítica ao livro O Brazil (A Notícia, 8 de abril de 1897, na penúltima coluna, na coluna “Semana Literária”). Outra crítica foi publicada descrevendo os temas do livro, com a transcrição do trecho em que se refere aos jornalistas atuais (Gazeta de Notícias, 27 de abril de 1897, na primeira coluna). O livro estava à venda na Livraria Laemmert, na rua do Ouvidor, 66 (A Notícia, 26 e 27 de abril, na última coluna).
+Em comentário do dr. Figueiredo Magalhães, transcrição de um trecho do livro O Brazil, de autoria de Moritz Lamberg, sobre a pretensa descoberta da vacina amarela pelo dr. Domingos Freire (1849 – 1899), professor da Academia de Medicina no Brasil. Lamberg afirmava que conhecidos dele haviam morrido de febre amarela depois de terem sido vacinados (Jornal do Commercio, 11 de abril de 1897, na primeira coluna). Devido a esse trecho de seu livro, Lamberg foi convidado a comparecer ao Instituto Bacteriológico dr. Domingos Freire a fim de dar esclarecimentos, certo de que se não o fizer no espaço de oito dias sua afirmação será tida como falsa e aleivosa (O Paiz, 13 de abril de 1897, na quinta coluna).
+ 
+Propaganda do livro O Brasil, na Gazeta de Petrópolis, em 20 de abril de 1897
+ 
+A Casa Garraux, na rua Quinze de Novembro, em São Paulo, onde estava à venda o livro O Brasil , enviou um exemplar para a redação do Correio Paulistano (Correio Paulistano, 29 de maio de 1897, na terceira coluna).
+1898 – O livro O Brasil estava à venda na Livraria A. Lavignasse Filho & C, na rua dos Ourives, 7 (A Notícia, 12 e 13 de agosto de 1898, na última coluna).
+Publicação do texto “Viagem ao Pará”, de 12 de outubro de 1898, de autoria de Lamberg. Ele descreveu sua viagem de 14 dias, a bordo do paquete Alagoas, do Lloyd Brasileiro, que partiu do Rio de Janeiro em 24 de setembro de 1898, até o Pará. Tive ocasião de ver de novo as capitais do Norte, que eu havia visitado 13 anos atrás e que descrevi no meu livro Bresilien.  Antes de chegar em Belém, o navio parou nos portos de Vitória, Salvador, Maceió, Recife, João Pessoa, Natal, Fortaleza e São Luis. Ele exaltou a opulência do Pará: O Pará! Que diferença de todas as outras cidades do Brasil – Aqui não há indústria, toda a riqueza vem da natureza (Jornal do Brasil, 25 de setembro de 1898, na primeira coluna e Gazeta de Petrópolis, 10 de novembro de 1898, na terceira coluna). Em sua passagem por São Luís, no Maranhão, e Belém, no Pará, foi identificado como engenheiro (O Pará, 9 de outubro de 1898, na penúltima coluna, e Diário do Maranhão, 15 de novembro de 1898, na terceira coluna).
+Após uma longa estada no rio Acará, retornou a Belém o ilustre explorador Moritz Lamberg (O Pará, 11 de dezembro de 1898, na primeira coluna). Escreveu o artigo “Excursão ao rio Acará (O Pará, 13 de dezembro de 1898, na quarta coluna, 15 de dezembro de 1898, na última coluna, 17 de dezembro, na segunda coluna).
+1899 – Lamberg regressou ao rio Acará, onde chefiava a discriminação de lotes para a fundação de um núcleo colonial ali (O Pará, 2 de janeiro de 1899, na última coluna).
+Lamberg, identificado como ilustre homem de ciência, embarcou no vapor Brasil para Manaus, no Amazonas (República, 18 de maio de 1899, na última coluna).
+Lamberg escreveu o artigo “Brasil-Alemanha”, publicado com a assinatura de Julio Lamberg. No dia seguinte, o jornal corrigiu o erro (A República, 19 de maio de 1899, na segunda coluna, e 20 de maio de 1899, na quinta coluna). O artigo foi uma resposta a uma matéria publicada no jornal A Província do Pará, publicada alguns dias antes, em dia 14 de maio, sobre uma publicação de um jornal de Bremen, na Alemanha, aconselhando o governo alemão a hastear sua bandeira n’um estado do sul do Brasil.
+Seu livro, O Brasil, já estava traduzido para o italiano, para o francês e para o inglês. Embarcou para o rio Madeira no vapor Porto de Moz. Ele era sócio correspondente de várias agremiações e revistas de ciência do estrangeiro (Commercio do Amazonas, 8 de julho de 1899, na penúltima coluna).
+1900 – No início de fevereiro, estava em Belém (O Pará, 5 de fevereiro de 1900, na penúltima coluna). No paquete Pernambuco, Lamberg regressou do Amazonas para o Rio de Janeiro. Esteve também na Bolívia e no Peru. Trouxe grande cópia de informações geográficas e etnográficas, notas sobre a vida prática e comercial de todas aquelas regiões, uma monografia sobre a borracha e descrição das duas capitais brasileira e da de Iquitos, no Peru, tratando nela da vida social, política e cultural, e grande quantidade de fotografias interessantíssimas dos diversos pontos que percorreu (Jornal do Commercio, 20 de março de 1900, na última coluna)
+O livro O Brasil estava no catálogo do leilão da livraria de A. Pinheiro (Jornal do Commercio, 23 de novembro de 1900, na primeira coluna).
+1901 – No artigo Por que me ufano de meu país, do poeta mineiro Affonso Celso (1860-1938), foi mencionado que Lamberg afirmava que o céu do Brasil era mais bonito do que o da Europa (A Cidade, 20 de julho de 1901, na primeira coluna).
+1902 – Lamberg estava na Áustria comissionado em propaganda de imigração e para ele foi enviado uma via de letra em florins para Viena (O Commercio de São Paulo, 18 de maio de 1902, na sexta coluna).
+Na edição de 20 de setembro de 1902 da publicação Relatórios dos Presidentes dos Estados Brasileiros foi transcrito um trecho do livro O Brasil sobre a inferioridade educacional dos fazendeiros do país: O fazendeiro possuía apenas alguns conhecimentos empíricos sobre a lavoura e era por demais fidalgo para se ocupar seriamente com ela…
+Sobre a indiferença dos governos em relação à indústria agrícola, foram transcritas algumas palavras de Lamberg, na edição de 20 de setembro da publicação Mensagens do governador do Rio de Janeiro para a Assembleia: A situação lamentável da lavoura teria materialmente falando arruinado qualquer outro país; mas o Brasil assemelha-se ao gigante de Anteu que assim que tocava a terra adquiria novas forças.
+1903 – Em um vibrante opúsculo escrito para a colônia italiana que emigra por Pasquale Vincenti e publicado em Nápoles, a obra O Brazil foi mencionada (Gazeta de Notícias, 3 de dezembro de 1903, na terceira coluna).
+1904 – No concerto realizado em 14 de agosto, no salão do Instituto Nacional de Música, Emilio Lamberg não pode usar o órgão porque o conservador do mesmo não havia executado os consertos necessários ao instrumento. Devido à reação que teve diante do problema, foi proibido pelo ministro das Belas Artes a alugar o mesmo salão para futuros concertos. Dias depois, Emilio Lamberg afirmou, em uma nota assinada, que sua demissão do Instituto Nacional de Música, quando se encontrava na Europa, em 1892, havia sido o resultado da ação de seus desafetos. Esclareceu que, na verdade, a demissão foi declarada sem efeito, já que o contrato celebrado para que ele fosse o titular do órgão do Instituto havia sido celebrado em 18 de setembro de 1890 e só duraria um ano. Afirmou também já ter quitado sua dívida com o Tesouro Federal. Terminou a nota declarando: Depois disso – creio que posso esperar me deixem em paz os infatigáveis zoilos que tão desumana e covardemente me perseguem. Nada mais direi ainda mesmo provocado. Teve negado seu pedido de reintegração ao cargo de professor da cadeira de órgão do Instituto Nacional de Música (Correio da Manhã, 16 de agosto de 1904, na penúltima coluna, Jornal do Commercio , 20 de agosto de 1904, na sexta coluna, Correio da Manhã, 28 de agosto de 1904, na quinta coluna e Relatórios do Ministério da Justiça, março de 1905).
+1905 – O professor Emilio Lamberg dirigiu um concerto de sucesso, no Club dos Diários, no Rio de Janeiro. Apresentou-se com Annunziata Palermini e Leopoldo Duque-Estrada Júnior (Gazeta Fluminense, 12 de abril de 1905, na terceira coluna).
+1906 – Emilio Lamberg, protegido pelo pianista compositor alemão de origem polaca Moritz Moszkowski (1854 – 1925) estabeleceu-se em Paris. Foi assistente do célebre professor de canto polonês Jean Reszké (1850 – 1925). Viajou à Alemanha e à Áustria para conhecer os novos processos da arte pianística (Jornal do Commercio, 8 de dezembro de 1914, na quarta coluna).
+1907 – Em abril, Emilio Lamberg deu um concerto na Sala Erard, em Paris (Jornal do Commercio, 8 de dezembro de 1914, na quarta coluna).
+1908 – Em março, Emilio Lamberg deu um outro concerto na Sala Erard, em Paris, dessa vez com a participação do violoncelista catalão Pablo Casals (1876 – 1973). Repetiu a apresentação em Londres, o que lhe valeu um convite para tocar, no ano seguinte, na Sociedade Filarmônica, sob a regência de Mr Woord. (Jornal do Commercio, 8 de dezembro de 1914, na quarta coluna).
+1909 – Numa apreciação do seu livro O Brasil, Lamberg foi identificado como alemão (A Província, 5 de outubro de 1909, na quarta coluna).
+Em Londres, Emílio Lamberg  esteve em um recital do pianista português Vianna da Motta (1868 – 1948) (Jornal do Commercio, 8 de dezembro de 1914, na quarta coluna).
+Foi publicada uma notícia sobre um drama histórico escrito por M. Lamberg, provavelmente Maurício Lamberg, identificado como alemão, sobre a proclamação da República no Brasil. O livro, Dom Pedro II von Bragança und sein Paladon, estava sendo impresso em Viena pelo editor F.B. Zelanoroski. Segundo a notícia, o autor referia-se com carinho a Saldanha da Gama (1846 – 1895) e enaltecia o Visconde de Ouro Preto (1836 – 1912) (O Commercio de São Paulo, 13 de novembro de 1909, na penúltima coluna e Diário da Tarde, Paraná, 15 de novembro de 1909, na última coluna). No ano seguinte, 1910, o Jornal do Brasil noticiou ter recebido possivelmente o mesmo drama histórico mencionado, de autoria de Moniz Lamberg, de origem polaca (Jornal do Brasil, 6 de fevereiro de 1910, na terceira coluna).
+1910 – Emilio Lamberg fez uma turnê pela Europa com a violoncelista portuguesa Guilhermina Suggia (1885 – 1950), primeira mulher de Pablo Casals.
+1911 e 1912 – Com Pablo Casals, Emilio fez turnês pela Áustria, Alemanha, Holanda, Hungria e Rússia.
+1912 – O livro O Brazil foi identificado como uma importantíssima obra sobre o Brasil (Jornal do Commercio, 15 de abril de 1912, na quarta coluna).
+1914 – Após uma permanência de oito anos na Europa, Emilio Lamberg retornou ao Brasil e comunicou que voltaria a dar aulas de piano. Nessa matéria, ele descreveu sua vida nesse período europeu (Jornal do Commercio, 8 de dezembro de 1914, na quarta coluna).
+1915 – Emilio Lamberg chegou a Curitiba, onde hospedou-se na casa de Raul dos Guimarães Bonjean (Diário da Tarde, Paraná, 5 de janeiro de 1915, na última coluna). Apresentou-se no salão do Ginásio Paraná (Diário da Tarde, Paraná, 19 de janeiro de 1915, na quinta coluna).
+Uma propaganda anunciava que Emilio Lamberg havia chegado recentemente da Europa e oferecia aulas de piano no Rio de Janeiro e em Petrópolis (A Notícia, 30 / 31 de janeiro de 1915, na última coluna).
+1918 – Emilio Lamberg estava gravemente doente. Em seu benefício, foi realizado um concerto no salão nobre do Jornal do Commercio (O Paiz, 28 de dezembro de 1918, na primeira coluna).
+1919 – Emilio Lamberg faleceu, em 16 de agosto, no Hospital Nacional de Alienados, devido a uma arteriosclerose generalizada e foi enterrado no Cemitério São João Batista. Foi rezada uma missa em sua memória na Igreja da Glória (Última Hora, 17 de agosto de 1919, na segunda coluna, Correio da Manhã, 18 de agosto de 1919, na sexta coluna, O Paiz, 18 de agosto de 1919, na terceira coluna e Jornal do Commercio, 5 de setembro de 1919, na segunda coluna). No convite para a missa constava como sua mulher Lily Lamberg, que na ocasião estava em Paris, e, como seu irmão, Manfredo Carlos Lamberg (18? – 1921). Osmar, Olga, Elza, Oscar e José Carlos, citados no anúncio, seriam netos de Moritz (Correio da Manhã, 26 de agosto de 1919, na última coluna e O Paiz, 16 de junho de 1926, na quarta coluna).
+1921 – Em Minas Gerais, falecimento do engenheiro Manfredo Carlos Lamberg, o outro filho de Moritz. Foi realizada, em sua homenagem, uma missa da igreja da Glória, no Largo do Machado (Correio da Manhã, 7 de março de 1921, na segunda coluna). Sobre ele, Lamberg escreveu no capítulo VIII de seu livro O Brazil: …tinha uma estatura de gigante, a quem a natureza dera ossos duplamente fortes e a força quíntupla de um homem comum. Não era uma grande ilustração mas todos os seus gestos indicavam coragem e energia e seus nos seus olhos refletia-se a  intrepidez.
+1957 – Em seu livro, Ordem e Progresso, sobre a transição do regime monarquista ao republicano no Brasil, da abolição da escravatura à Primeira Guerra Mundial, o pernambucano Gilberto Freyre (1900 – 1987), considerado um dos mais importantes sociólogos do século XX, cita e discorda de uma passagem no capítulo “Pernambuco” do livro Brazil, de Lamberg, a quem se refere como teuto-sergipano do Recife: … A causa de não contribuírem os brasileiros do Norte e do Sul do Império com nenhum trabalho de “importância universal” para as ciências e o saber, julgou encontrá-la Lamberg – esquecido de todo de um José Bonifácio, de um Teixeira de Freitas, de um José Vieira – não “na falta de inteligência e boa vontade” mas “na natureza do habitante do trópico, incapaz de consagrar toda a sua existência ao exame de um problema científico, sacrificando muitos gozos da vida, como faz o sábio das zonas temperadas e frias…” . Lamberg fazia uma exceção a Tobias Barreto (1839 – 1889). Freyre achava significativo Lamberg reconhecer que tanto o Pará como Pernambuco estavam procurando “recuperar o tempo perdido” em relação às artes e às ciências. Em outro trecho, Freyre citou o conselho que Lamberg dava àqueles que contraíssem febre amarela: preferir se consultar com médicos brasileiros, em sua opinião, mais preparados do que os europeus para o tratamento da doença.
+ 
+Alguns trechos do livro O Brazil, de Moritz (Maurício) Lamberg
+No Preâmbulo
+Sabemos, por experiência, que a grande República sul-americana é, em geral, sobre o ponto de vista de sua vida íntima, pouco ou nada conhecida e até mesmo goza injustamente de uma reputação duvidosa.
+Considerando, pois, que a revolução social e política que seu deu nesse país fez com que ele tomasse parte mais saliente nos interesses cronológicos do mundo civilizado e que, além disso, a América do Norte em consequência dos embaraços que opôs ultimamente à imigração, parece querer ceder tacitamente ao Brasil o primeiro lugar nesse sentido, resolvemos reunir as notas que tomamos durante os dezesseis anos de permanência neste país e os oito anos de viagem pelo interior e oferecê-las ao público.
+Na Introdução
+Não se pode bem precisar qual o verdadeiro descobridor do Brasil. As primeiras notícias dessa região da América foram enviadas ao seu soberano, El-Rey d. Manoel de Portugal, pelo almirante Pedro Alvares Cabral que em derrota para as Índias ali aportara por acaso.
+No capítulo I “Pernambuco”
+Sobre a pouca tendência dos brasileiros à dedicação às ciências:
+A causa não está na falta de inteligência ou de boa vontade, mas na natureza do habitante dos trópicos incapaz de consagrar toda a sua existência ao exame de um problema científico, sacrificando muitos gozos da vida, como faz o sábio das zonas temperadas e frias(pág. 12).
+No capítulo III  “As classes baixas do Brasil –  caboclos, mulatos, cabras, negros e antigos escravos”
+Quanto às baixas classes cultas do país convenceram-se longos anos de minuciosa e exata observação que os homens dessa classe acima são os mais felizes desse mundo sub-lunar. Necessidade e miséria são para eles coisas quase inteiramente desconhecidas e só em sentido científico pode-e-lhe aplicar a teoria da luta pela vida. 
+O que se lhes torna a vida tão leve não é pobreza de espírito ou falta de suscetibilidade e sentimento, é. ao contrário, uma qualidade ingênita, um estoicismo inato, que os faz atravessar a vida alegres e satisfeitos, e não se alteram com as paixões humanas como a cobiça, a inveja e a ambição. Somente o amor agita de vez em quando essas existências tranquilas (pág. 36).
+No capítulo IV “As classes médias e altas no Brasil”
+Sobre caráter, moralidade, hipocrisia e relação entre homens e mulheres brasileiros:
+O caráter do brasileiro é bom, agradável, obsequiador e, no todo, amável. Falta-lhe, porém em geral uma base moral sólida. Substituem frequentemente a moralidade por dogmas sociais, elevado à altura de uma lei moral. Esses dogmas, com que se cobrem abusos, contêm muitos pontos que restringem a liberdade na vida social e proíbem a franqueza nas palavras e nos atos, mais do que em qualquer parte do mundo civilizado, resultando daí, a hipocrisia.
+Este defeito torna-se sobretudo saliente nas relações entre o homem e a mulher. Ostenta-se um puritanismo como raras vezes se se nota alhures. As aparências degeneram não raro nas mulheres em afetação. Por exemplo, a nenhuma moça é permitida caminhar na rua sem ir acompanhada por um parente muito próximo. Não a pode acompanhar o próprio noivo, que, aliás, não se atreve a tomar com a noiva nenhuma das acostumadas familiaridades ou carinhos.
+Se formos a considerar os fenômenos que se dão diariamente nas relações entre os dois sexos, encontraremos desde logo uma diferença capital entre os costumes brasileiros e os alemães. Enquanto na Alemanha, como aliás nos países anglo-saxônicos, o noivado dura às vezes anos, estabelecendo-se entre o rapaz e a rapariga relações que têm por base o amor ideal, aqui, pelo contrário, o noivado é a bem dizer curto, e o amor, que chega por vezes às raias da loucura, parece vir mais do sangue do que da alma. Isto observa-se, aliás, na raça latina, em geral, cujo temperamento é diverso do nosso; e para isso influi, e não pouco, o clima, particularmente no Brasil (pág. 54).
+Sobre mulheres e sobre  a relação entre pais e filhos:
+No Brasil, com efeito, a mulher não é considerada como um ser independente, que possui o direito de dispor de seu destino tal qual um homem qualquer, mas como um brinquedo mais ou menos brilhante, mais ou menos precioso e agradável, delicioso e frágil…A essas mulheres não falta inteligência, mas essa inteligência não é de natureza forte, sadia; degenera muitas vezes em meditações fantásticas que as impossibilitam de serem donas de casa ativas. Onde reina, ou antes, onde passa a vida em sonhos uma jovem dona de casa como essa, não é possível haver ordem, e quem mais sofre com isso é a educação das crianças.
+O pai, que é quem mais gosta de lidar com elas, está todo dia fora de casa, por causa dos negócios. Em um casal assim, é também o dono de casa quem sempre toma a si, durante a noite, o papel de ama-seca e quem até certo ponto consegue por ordem na casa. O carinhos dos pais pelos filhos, enquanto pequenos, chega a não ter limites, e é principalmente o pai quem se ocupa com eles, quando têm um minuto livre. ama-os, até a fraqueza e, até certa idade, atura as suas malcriações. Não há nada que mais o moleste do que ver alguém corrigir seu filho. Quando marido e mulher saem de casa, seja para visitarem uma família, seja para irem a alguma festa, levam consigo todos os filhos, com as suas respectivas amas, e é ainda o pai quem carrega todo o trabalho, agarrando-se-lhe os pequenos ao pescoço, às mãos, às abas do casaco: enquanto a mãe raras vezes olha pra eles, e , a passos largos, coberta de jóias, caminhando orgulhosamente na frente, deixa com toda calma ao marido os cuidados da família (pág 55).
+Sobre relações familiares e hospitalidade:
+O filho, embora barbado, só raras vezes toma a liberdade de acender um cigarro na presença do pai, sem que este dê licença. Os pais tratam sempre os filhos e a si próprios na terceira pessoa e às vezes até por senhor e senhora e isso em todas as classes sociais, o que não impede que o sentimento de família se ache neles desenvolvido em alto grau. Quando um parente está na miséria, todos os membros da família acodem em seu auxílio…Às vezes, até o parentesco não está provado genealogicamente; isso porém, não influi sobre a hospitalidade, que é, sem dúvida alguma, a maior virtude dos brasileiros (pág.57).
+Sobre a educação da mulher brasileira:
+As filhas das classes médias aprendem a ler e a escrever ou em alguma escola pública, ou em algum colégio, onde se acostumam também a fazer alguns trabalhos manuais fino. (È singular que no Brasil não saibam fazer meias!) A arte culinária e os trabalhos domésticos comuns não são aqui objeto de ensino. Assim que conseguem pronunciar algumas frases em francês e arranhar piano, está terminada a sua educação. Saem da escola e são moças, que os pais, com o máximo cuidado, preservam de qualquer contato com os homens.
+É verdade que, no Rio, como nas outras cidades do país, há escolas normais cujo intuito é continuarem o ensino superior; mas são, em geral, pouco frequentadas, e isso mesmo unicamente pelas filhas das famílias menos favorecidas, as quais se preparam para professoras de escola, etc (pág. 59).
+No capítulo VII  “O solo, Imigração, Colonização, Agricultura, Comércio, Indústria, os relativos estabelecimentos estaduais e particulares e Finanças”
+Sobre a situação da lavoura e a força vital do Brasil:
+A situação lamentável da lavoura no Norte teria, materialmente falando, arruinado qualquer outro país, mas o Brasil assemelha-se ao gigante Anteu que, assim que tocava na terra, adquiria novas forças. Um país cuja fonte material de vida reside única e exclusivamente na cultura do solo, de que, porém, a parte baixa do povo se descuida por indolência, e que as classes elevadas em parte não compreendem, em parte não possuem os meios e auxílios materiais necessários para isso, fechando de mais a mais o Governo olhos e ouvidos para viver apenas segundo seus interesses políticos; um país que apesar de tudo isso satisfaz, sem dificuldades especiais, todas as necessidades que exigem uma situação política muito dispendiosa e o progresso da civilização deve possuir grandes riquezas naturais e indestrutível força vital. E aí está porque é com razão que se tem esperança no seu futuro (pág. 81).
+O gigante Anteu é um personagem da mitologia grega que era extremamente forte quando estava em contato com a Terra e que ficava extremamente fraco se fosse levantado ao ar.
+No capítulo XIII “Rio de Janeiro”
+Sobre a beleza do Rio de Janeiro:
+O Rio de Janeiro é uma cidade que não posso comparar a nenhuma outra do continente europeu. Logo ao sairmos do centro da capital, cerca-nos a mai opulenta e mais pujante natureza. Em frente dela – joga essa natureza o mar com suas reentrâncias, com suas ilhas e ilhotas, esquisitamente conformadas, com suas montanhas e rochas cônicas, entre as quais se distingue e se assinala o Pão de Açúcar, que me parece mais semelhante a um barrete de dormir quando engomado, e que serve de barômetro aos habitantes da cidade. Pela parte posterior, é ela circundada de montes e vales não menos admiravelmente configurados e soberbos de uma luxuriante e imponente vegetação (pág 259).
+Sobre a febre amarela e sua suposta cura pela vacina do dr. Domingos Freire (1849 – 1899):
+O professor da Academia de Medicina, dr, Freire, julgou ter descoberto, há anos, uma vacina que devia ser excelente preservativo contra a febre amarela. Abstraindo mesmo que esta ainda não foi reconhecida por nenhuma corporação científica do exterior, eu mesmo tive infelizmente ocasião de observar a influência duvidosa desse preservativo em cinco amigos meus que, apesar de vacinados, morreram todos de febre amarela. Todavia, deve-se confessar que esse sábio é um dos poucos que aqui fazem muito para o desenvolvimento e popularização da ciência em prol da higiene pública. (pág. 294)
+Sobre o Observatório Astronômico do Rio de Janeiro:
+O Observatório, sob direção do astrônomo belga Kruls, tornou-se vantajosamente conhecido na Europa e tem prestado bons serviços(pág. 295)
+O nome completo de Kruls é Louis (Luis) Ferdinand Cruls (1848 – 1908). Dirigiu o Observatório de 1881 a 1908.
+Sobre o Colégio Pedro II e sobre a mocidade brasileira:
+O colégio mais importante e mais bem dirigido de todo o Brasil é o o Ginásio Nacional, outrora Colégio Pedro II, no Rio. Parece-se a um ginásio real alemão, com um internato e um externato, tendo ambos mais ou menos 40 professores. Exteriormente, ambas essas instituições têm bela aparência, mas o interior deixa ainda a desejar. Não há dúvida que ali se aprende tudo que faz parte do ensino secundário, e que o curso dura 7 anos, mas os alunos ao deixarem essa instituição não possuem os conhecimentos que têm os bacharéis das escolas austríacas, alemães e suíças; embora a mocidade brasileira não seja, como inteligência e talento, de forma alguma inferior à Europa. Posso afirmá-lo com segurança como antigo professor desse colégio. (pág. 296)
+ 
+(1) – Todas as vezes que aparecer somente o sobrenome Lamberg, sem ser antecedido pelo prenome, o texto estará se referindo a Moritz (Maurício) Lamberg.
+ 
+**Andrea C. T. Wanderley
+Editora-assistente e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+FERREZ, Gilberto. Velhas Fotografias Pernambucanas 1851 – 1890. Rio de Janeiro: Campo Visual, 1988.
+FREYRE, Gilberto. Ordem e Progresso (recurso eletrônico). São Paulo: Global 2013.
+Hemeroteca Digital da Biblioteca Nacional
+KOSSOY, Boris. Dicionário histórico-fotográfico brasileiro: fotógrafos e ofício da fotografia no Brasil (1833-1910). São Paulo: Instituto Moreira Salles, 2002.
+LAMBERG, Moritz. O Brazil. Rio de Janeiro: Casa Lombaerts, 1896.
+LEITE, Míriam Lifchitz Moreira (org.). A condição feminina no Rio de Janeiro, século XIX: antologia de textos de viajantes estrangeiros. São Paulo: Editora da Universidade de São Paulo, 1993.
+LISBOA, Karen Macknow. Insalubridade, doenças e imigração: visões alemãs sobre o Brasil in História, ciência, saú de-Manguinhos vol.20 no.1 Rio de Janeiro Jan./Mar. 2013.
+Site da Brasiliana da USP
+Site do Colégio Pedro II
+Site do Senado Federal
+VASQUEZ, Pedro. Fotógrafos alemães no Brasil. São Paulo: Metalivros, 2000.
+WOLFF, Gregor (ed). Explorers and Entrepreneurs behind the Camera. Berlin: Ibero-AmerikanischesInstitut, 2015, 168 pp.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/2675` — `itens/20.500.12156.1_2675/`
+- `20.500.12156.1/2694` — `itens/20.500.12156.1_2694/`
+- `20.500.12156.1/237` — `itens/20.500.12156.1_237/`
+- `20.500.12156.1/4736` — `itens/20.500.12156.1_4736/`
+- `20.500.12156.1/2566` — `itens/20.500.12156.1_2566/`
+- `20.500.12156.1/2656` — `itens/20.500.12156.1_2656/`
+
diff --git a/wordpress/9042-a-foto-em-foco.md b/wordpress/9042-a-foto-em-foco.md
new file mode 100644
index 0000000..a909ca6
--- /dev/null
+++ b/wordpress/9042-a-foto-em-foco.md
@@ -0,0 +1,34 @@
+---
+id: 9042
+url: "https://brasilianafotografica.bn.gov.br/?p=9042"
+titulo: "A foto em foco"
+autor: "Vinicius Martins"
+data: "2017-06-05T14:33:37+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/1795"]
+fetched_at: "2026-09-10T10:28:28.049Z"
+---
+
+# A foto em foco
+
+Em nota publicada dia 27 de maio pelo jornal Folha de S.Paulo na coluna Painel das Letras, assinada por Maurício Meireles, a historiadora Lilia Moritz Schwarcz teria afirmado que houve uma montagem na fotografia de Antonio Luiz Ferreira, que registrou, em 17 de maio de 1888, a missa campal realizada no Rio de Janeiro para celebrar a Abolição da Escravatura. Foi dito na coluna que os rostos de personalidades, entre elas Machado de Assis, que aparecem no palanque onde estava a Princesa Isabel, foram encaixados “de forma artificial” pelo fotógrafo.
+A mesma coluna Painel das Letras do dia 3 de junho faz correções. Numa delas a historiadora Lilia Schwarcz diz “não assegurar que a imagem tenha sido manipulada” ou que Machado de Assis tenha sido “incluído artificialmente ali”, pois o escritor “não é alvo de sua pesquisa”. A coluna relata também que o Instituto Moreira Salles, “detentor da imagem”, reagiu afirmando “não haver evidência de manipulação da fotografia”. E que “a inclusão de personagens nela seria impossível sem deixar vestígios”.
+
+Missa campal celebrada em ação de graças pela abolição da escravatura no Brasil. Campo de São Cristóvão, Rio de Janeiro, 17/5/1888. Antonio Luiz Ferreira/ Coleção Dom João de Orleans e Bragança sob guarda do IMS
+
+Esta imagem de Antonio Luiz Ferreira está desde 2008 no acervo do IMS – veio com a Coleção de Dom João de Orleans e Braganca – e foi publicada em 2015 no portal Brasiliana Fotográfica, parceria firmada entre o Instituto Moreira Salles e a Biblioteca Nacional.
+Na verdade, o Instituto Moreira Salles disse mais do que está registrado na correção do jornal, que se trata de um resumo da nota enviada ao titular da coluna Painel das Letras. Leia a íntegra:
+“É um sério erro afirmar que houve manipulação ou montagem na foto feita por Antonio Luiz Ferreira da missa em ação de graças pela Abolição da Escravatura no dia 17 de maio de 1888 no Campo de São Cristóvão, Rio de Janeiro. A foto está no acervo do Instituto Moreira Salles desde 2008 e junta-se a outras mais de 700 que fazem parte da Coleção de Dom João de Orleans e Bragança.
+O original de época em papel, assinado pelo fotógrafo, tem 28,5cm x 51,5cm. A foto é panorâmica. Abarca a multidão de milhares de pessoas que compareceu à missa. Seu foco não é o palanque que está no canto esquerdo da imagem onde ficaram a Princesa Isabel e um conjunto de personalidades. Neste conjunto, figura o rosto de Machado de Assis, que mede no original aproximadamente 5 milímetros. Tomar a parte pelo todo leva a grave equívoco.
+Para uso em exposições e no portal de internet Brasiliana Fotográfica, parceria firmada em 2015 entre o IMS e a Biblioteca Nacional, a imagem foi magnificada. Em 2015 percebeu-se, com uso de zoom, que entre os rostos de personalidades estava o de Machado de Assis.
+A implantação no original da foto de vários rostos em corpos que supostamente não lhes pertenciam seria impossível sem deixar vestígios. E não há vestígios. A imagem mostra que todas as passagens e gradação de tons entre os rostos ali registrados são contínuas e sem nenhuma evidência de montagem.”
+Detalhe da foto, com Machado de Assis ao centro
+Equipe IMS
+Nota originalmente publicada no Blog do IMS
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/1795` — `itens/20.500.12156.1_1795/`
+
diff --git a/wordpress/9138-serie-o-rio-de-janeiro-desaparecido-iv-a-via-elevada-da-perimetral.md b/wordpress/9138-serie-o-rio-de-janeiro-desaparecido-iv-a-via-elevada-da-perimetral.md
new file mode 100644
index 0000000..c647b41
--- /dev/null
+++ b/wordpress/9138-serie-o-rio-de-janeiro-desaparecido-iv-a-via-elevada-da-perimetral.md
@@ -0,0 +1,97 @@
+---
+id: 9138
+url: "https://brasilianafotografica.bn.gov.br/?p=9138"
+titulo: "Série “O Rio de Janeiro desaparecido” IV – A via elevada da Perimetral"
+autor: "Andrea Wanderley"
+data: "2017-06-23T11:08:01+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/5204", "20.500.12156.1/5171", "20.500.12156.1/5177", "20.500.12156.1/5181", "20.500.12156.1/5188", "20.500.12156.1/5206", "20.500.12156.1/5221", "20.500.12156.1/5207"]
+fetched_at: "2026-09-10T10:28:31.678Z"
+---
+
+# Série “O Rio de Janeiro desaparecido” IV – A via elevada da Perimetral
+
+A via elevada da Perimetral
+Arquivo Geral da Cidade do Rio de Janeiro
+Beatriz Kushnir*
+Elevado da Perimetral, s/d. Rio de Janeiro, RJ / Secretaria de Obras Públicas – Acervo AGCRJ
+É com muito prazer que mais uma vez o Arquivo Geral da Cidade do Rio de Janeiro (AGCRJ) integra a Brasiliana Fotográfica. Para comemorar os dois anos do portal, escolhemos o processo de construção do Elevado da Perimetral e as transformações urbanas em consequência dessa via expressa no Rio de Janeiro. O AGCRJ selecionou dentro do seu acervo, em diferentes fundos e coleções, 53 imagens que mapeiam as etapas dessa obra monumental em escala, tempo, alteração da paisagem e das relações de locomoção na cidade.
+Acessando o link para as novas fotografias do acervo do Arquivo Geral da Cidade do Rio de Janeiro que passam a integrar a Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+O primeiro delineamento da Perimetral, em 1946, foi elaborado pelo Departamento de Urbanismo da Prefeitura do Distrito Federal, na administração de Hildebrando de Araújo Góis (1946-7), e previa a inauguração de uma via sem qualquer elevação. À sua concepção acompanhou a execução de outros planos que projetavam o Rio para a volumosa circulação de veículos automotores. Assim, a partir da implantação de um complexo viário que afirmava o predomínio do carro e do ônibus como meios de transporte da cidade, desprezava-se a escala do pedestre.
+Par e passo à construção da Perimetral, diversos traçados para esta cidade dos carros foram implementados como as vias expressas do Aterro do Flamengo – inauguradas nos festejos do 4oº Centenário, em 1965, e cuja construção advém do desmonte do morro de Santo Antônio, iniciada, em 1955. Resultou também na abertura da avenida Chile, que cruzando o Centro, prolonga-se pelas avenidas Almirante Barroso e Alfredo Agache, em sentido perpendicular à Perimetral.
+ 
+Desmonte do Morro de Santo Antônio, 1950 – 1960. Rio de Janeiro, RJ / Secretaria Geral de Educação e Cultura – Acervo AGCRJ
+ 
+ 
+Aterro do Flamengo, c. 1960. Rio de Janeiro, RJ / Coleção Iconográficos – Acervo AGCRJ
+ 
+Essas intervenções incluíram a abertura dos túneis Santa Bárbara, inaugurado em 1963, e Rebouças, concluído em 1967, que redefiniram a ligação da Zona Sul e Zona Norte. A partir destas duas obras, ergueram-se vias expressas elevadas atravessando os bairros do Catumbi e do Rio Comprido, respectivamente. Em outra frente, se implementou a Radial Oeste – que conduz da Praça da Bandeira à Zona Norte –, e se construiu o complexo do Trevo dos Estudantes e do Viaduto dos Marinheiros– que organiza o fluxo contínuo das avenidas Presidente Vargas e Radial Oeste, na região do Canal do Mangue. Concomitantemente, o alargamento das avenidas Suburbana (atual Dom Helder Câmara), Automóvel Clube e Brasil aumentaram a capacidade de fluxo de veículos pela Zona Norte. É da mesma época o planejamento das quatro Linhas, onde a Vermelha só seria construída na década de 1990, cobrindo a tradicional rua Bela, no bairro de São Cristóvão, com um elevado duplo.
+ 
+Túnel Santa Bárbara, 13/02/1963. Rio de Janeiro, RJ / Secretaria de Obras Públicas – Acervo AGCRJ
+ 
+ 
+Túnel Rebouças, s/d. Rio de Janeiro, RJ / Secretaria de Obras Públicas – Acervo AGCRJ
+ 
+A Perimetral, para muitos urbanistas e engenheiros do período, era a solução para o avanço do tráfego de veículos na cidade e seguia uma tendência internacional, especialmente dos Estados Unidos, que valorizava o rodoviarismo nas vias urbanas. Iniciada efetivamente em 1957, na gestão do então prefeito do Distrito Federal, Negrão de Lima (1956-58), a administração seguinte, de José Joaquim Sá Freire Alvim (1958-60), deu prosseguimento às obras do período anterior da qual ele havia sido Secretário de Administração. Assim, em 1960, o primeiro trecho da Perimetral, interligando as avenidas General Justo e Presidente Vargas, que se estendia do aeroporto Santo Dumont à Candelária, foi inaugurado pelo presidente Juscelino Kubitscheck.
+A segunda etapa que alcançava a Praça Mauá, contornando o Mosteiro de São Bento e passando por cima do Distrito Naval, foi executada na gestão de Negrão de Lima como governador do Estado da Guanabara (1966-71). A última fase da construção, já na década de 1970, chegou à região do Gasômetro e da Rodoviária Novo Rio, junto à avenida Francisco Bicalho, cruzando por cima da Avenida Rodrigues Alves, margeando os armazéns do porto do Rio e cortando os bairros da Saúde e Gamboa, garantindo a ligação com avenida Brasil e a Ponte Rio-Niterói. Inaugurada em 31 de maio de 1978, pelo general-presidente Ernesto Geisel, a manchete do Jornal do Brasil resumia a trajetória: “Obra prioritária chega ao fim após 25 anos”.
+ 
+Elevado da Perimetral, s/d. Rio de Janeiro, RJ / Secretaria de Obras Públicas – Acervo AGCRJ
+ 
+A conclusão do primeiro trecho da Perimetral enfrentou a necessidade da derrubada do antigo Mercado Público, inaugurado em 1907. Foi necessária intervenção judicial para viabilizá-lo até a Candelária. Da grande estrutura de ferro e vidro construída no início do século XX foi preservado um dos seus torreões, onde se manteve sempre um restaurante. Já a construção do viaduto pôs abaixo o edifício histórico do Hotel Pharoux, um dos mais emblemáticos do conjunto da Praça XV.
+O segundo intervalo da Perimetral deparou-se com influentes setores de Estado: a Companhia de Navegação Lloyd Brasileiro, que pretendia erguer sua nova sede justamente num trecho da via expressa projetada, e a resistência da Marinha do Brasil, que via risco a passagem viária sobre o terreno junto ao Gabinete do Ministro e o Distrito Naval. Felizmente, o Instituto do Patrimônio Histórico e Artístico Nacional considerou que a alternativa de um túnel sob o morro que abriga o Mosteiro de São Bento podia ameaçar uma das construções coloniais mais importantes da cidade. Com a concordância da Marinha, a solução implicou na demolição de alguns prédios, entre eles o da Capitania dos Portos.
+O terceiro trecho previa não apenas abrir caminho para o fluxo de veículos em direção à avenida Brasil e o acesso à Baixada Fluminense, mas igualmente a perspectiva de construção da Ponte Rio-Niterói. Concluída em 1974, substituiria definitivamente as balsas de carro na praça XV, no coração do Centro da cidade. Neste trecho do elevado, a estrutura de concreto foi substituída por metálica, produzida pela Companhia Siderúrgica Nacional.
+A finalização das três etapas da Perimetral ocorreu no segundo choque do petróleo, que colocou em xeque o modelo de desenvolvimento urbano definido a partir dos anos de 1950, no Brasil. A crítica a esse modelo de desenvolvimento urbano conduziu a novas soluções urbanísticas integrando a vida urbana ao meio-ambiente, revalorizando a escala do pedestre e reforçando espaços públicos de encontro e interação. A demolição do Elevado da Perimetral, com os seus sete quilômetros de extensão, começou a ser discutida a partir da gestão do prefeito Luiz Paulo Conde (1997-2000), voltando à baila na última administração do prefeito Cesar Maia (2005-8). As advertências do caos no trânsito, assim como o alto custo da iniciativa, frearam o projeto.
+ 
+Elevado da Perimentral, s/d. Rio de Janeiro, RJ / Secretaria de Obras Públicas – Acervo AGCRJ
+ 
+Na gestão do prefeito Eduardo Paes, iniciada em 2009, no contexto dos projetos de preparação da cidade do Rio de Janeiro para as Olimpíadas de 2016, o projeto de revitalização da Zona Portuária encontrou condições de viabilidade, favorecendo a constituição de alternativas viárias para a promoção do bairro como um novo centro de expansão de atividades profissionais e de moradia na cidade. A demolição da grande estrutura de engenharia viária se definiu em favor de uma ampla frente marítima da cidade para o passeio pedestre contemplativo da paisagem.
+No tempo de seu erguimento, o gigantismo e a visibilidade da Perimetral fizeram da obra um monumento da engenharia urbana carioca, mais vinculado a funcionalidade do que a estética. A trajetória de sua construção envolveu uma geração de engenheiros e arquitetos, muitos deles funcionários da Prefeitura da cidade e que reúne nomes, como Emílio Ibrahim, Jorge Bandeira de Melo, Ronald Young, Afonso Canedo, Gilberto Morand Paixão, Armando Abreu, Walter Pinto Costa, entre outros, cuja memória se preserva numa coleção de entrevistas existente no Arquivo Geral da Cidade do Rio de Janeiro, numa parceria com a Seaerj – Sociedade dos Engenheiros e Arquitetos do Estado do Rio de Janeiro. Em seus depoimentos, destacam os vários desafios de engenharia e de política que representou a Perimetral, como também a centralidade do papel governamental executado pela SURSAN – Superintendência de Urbanização e Saneamento –, órgão instituído na administração Negrão de Lima como governador da Guanabara, e cujo presidente foi Raymundo de Paula Soares, também secretário de Obras Públicas. As entrevistas poderão ser conferidas no livro Com régua e compasso, os traços da cidade. Engenheiros e arquitetos do Rio, sua trajetória na administração pública (2017, no prelo).
+* Beatriz Kushnir é Doutora em História (Unicamp) e Diretora do Arquivo Geral da Cidade do Rio de Janeiro.
+Versões desse texto foram apresentadas no Seminário Internacional “Ponta do Calabouço e Adjacências: história, memória e patrimônio nos 450 anos da cidade do Rio de Janeiro” (Museu Histórico Nacional, 06/10/2015), e compõe um dos verbetes do livro organizado por Paulo Knauss, “Objetos do Rio: 450 anos de história nos acervos públicos da cidade” (no prelo).
+ 
+Elevado da Perimetral, s/d. Rio de Janeiro, RJ / Secretaria Geral de Educação e Cultura – Acervo AGCRJ
+ 
+O título deste artigo foi alterado de A via elevada da Perimetral para Série O Rio de Janeiro desaparecido IV – A via elevada da Perimetral, em 16 de setembro de 2021.
+ 
+Links para os outros artigos da Série O Rio de Janeiro desaparecido
+ 
+Série O Rio de Janeiro desaparecido I - Salas de cinema do Rio de Janeiro do início do século XX, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 26 de fevereiro de 2016.
+Série O Rio de Janeiro desaparecido II – A Exposição Nacional de 1908 na Coleção Família Passos, de autoria de Carla Costa, historiadora do Museu da República, publicado na Brasiliana Fotográfica, em 5 de abril de 2018.
+Série O Rio de Janeiro desaparecido III – O Palácio Monroe, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica, em 9 de novembro de 2016.
+Série O Rio de Janeiro desaparecido V – O quiosque Chopp Berrante no Passeio Público, Ferrez, Malta e Charles Dunlop, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 20 de julho de 2018.
+Série O Rio de Janeiro desaparecido VI – O primeiro Palácio da Prefeitura Municipal do Rio de Janeiro, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 12 de setembro de 2018.
+Série O Rio de Janeiro desaparecido VII – O Morro de Santo Antônio na Casa de Oswaldo Cruz, de autoria de historiador Ricardo Augusto dos Santos da Casa de Oswaldo Cruz, publicado na Brasiliana Fotográfica em 5 de fevereiro de 2019.
+Série O Rio de Janeiro desaparecido VIII – A demolição do Morro do Castelo, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 30 de abril de 2019.
+Série O Rio de Janeiro desaparecido IX – Estrada de Ferro Central do Brasil: estação e trilhos, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 12 de novembro de 2019.
+Série O Rio de Janeiro desaparecido X – No Dia dos Namorados, um pouco da história do Pavilhão Mourisco em Botafogo, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 12 de junho de 2020.
+Série O Rio de Janeiro desaparecido XI – A Estrada de Ferro do Corcovado e o mirante Chapéu de Sol, de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 22 de julho de 2021.
+Série O Rio de Janeiro desaparecido XII – o Teatro Lírico (Theatro Lyrico), de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 15 de setembro de 2021.
+Série O Rio de Janeiro desaparecido XIII – O Convento da Ajuda, de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 12 de outubro de 2021.
+Série O Rio de Janeiro desaparecido XIV – O Conselho Municipal, de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 19 de novembro de 2021.
+Série O Rio de Janeiro desaparecido XV – A Praia de Santa Luzia no primeiro dia do verão, de autoria de Andrea C.T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 21 de dezembro de 2021.
+Série O Rio de Janeiro desaparecido XVI – O prédio da Academia Imperial de Belas Artes, de autoria de Andrea C.T. Wanderley, publicado na Brasiliana Fotográfica em 13 de janeiro de 2022.
+Série O Rio de Janeiro desaparecido XVII – Igreja São Pedro dos Clérigos, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 18 de março de 2022.
+Série O Rio de Janeiro desaparecido XVIII – A Praça Onze, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 20 de abril de 2022.
+Série O Rio de Janeiro desaparecido XIX – A Igrejinha de Copacabana, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 23 de junho de 2022.
+Série O Rio de Janeiro desaparecido XX – O Pavilhão dos Estados, futuro prédio do Ministério da Agricultura, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 26 de julho de 2022.
+Série O Rio de Janeiro desaparecido XXI – O Chafariz do Largo da Carioca, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 19 de setembro de 2022. 
+Série O Rio de Janeiro desaparecido XXII – A Cadeia Velha que deu lugar ao Palácio Tiradentes, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado na Brasiliana Fotográfica em 11 de abril de 2023
+Série O Rio de Janeiro desaparecido XXIII e Avenidas e ruas do Brasil XVII - A Praia e a Rua do Russel, na Glória, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 15 de maio de 2023
+Série O Rio de Janeiro desaparecido XXIV – O luxuoso Palace Hotel, na Avenida Rio Branco, uma referência da vanguarda artística no Rio de Janeiro, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 4 de julho de 2023
+Série O Rio de Janeiro desaparecido XXV – O Theatro Phenix, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 5 de setembro de 2023
+Série O Rio de Janeiro desaparecido XXVI – Conclusão do arrasamento do Morro do Castelo por Augusto Malta, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicada em 14 de dezembro de 2023
+Série O Rio de Janeiro desaparecido XXVII e Série Os arquitetos do Rio de Janeiro V – O Jockey Club e o Derby Club, na Avenida Rio Branco e o arquiteto Heitor de Mello (1875 – 1920), de autoria de Andrea c. T. Wanderley, editora e pesquisadora do portal, em 15 de janeiro de 2024
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/5204` — `itens/20.500.12156.1_5204/`
+- `20.500.12156.1/5171` — `itens/20.500.12156.1_5171/`
+- `20.500.12156.1/5177` — `itens/20.500.12156.1_5177/`
+- `20.500.12156.1/5181` — `itens/20.500.12156.1_5181/`
+- `20.500.12156.1/5188` — `itens/20.500.12156.1_5188/`
+- `20.500.12156.1/5206` — `itens/20.500.12156.1_5206/`
+- `20.500.12156.1/5221` — `itens/20.500.12156.1_5221/`
+- `20.500.12156.1/5207` — `itens/20.500.12156.1_5207/`
+
diff --git a/wordpress/915-machado-de-assis-vai-a-missa.md b/wordpress/915-machado-de-assis-vai-a-missa.md
new file mode 100644
index 0000000..072c277
--- /dev/null
+++ b/wordpress/915-machado-de-assis-vai-a-missa.md
@@ -0,0 +1,36 @@
+---
+id: 915
+url: "https://brasilianafotografica.bn.gov.br/?p=915"
+titulo: "Machado de Assis vai à missa"
+autor: "Andrea Wanderley"
+data: "2015-05-29T14:32:04+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/1084", "20.500.12156.1/953", "20.500.12156.1/1795"]
+fetched_at: "2026-09-10T10:28:34.624Z"
+---
+
+# Machado de Assis vai à missa
+
+Machado de Assis fotografado por Joaquim Insley Pacheco, em 1884, no Rio de Janeiro. Cópia fotográfica de Marc Ferrez. / Acervo FBN
+José Murilo de Carvalho*
+Bendito o olhar de lince de Andrea Wanderley, que identificou o rosto de Machado de Assis na foto de Antonio Luiz Ferreira da missa celebrada em 17 de maio de 1888, no Campo de São Cristóvão, em ação de graças pela passagem da lei do dia 13 desse mês que abolira a escravidão no Brasil.
+A foto está disponível no portal Brasiliana Fotográfica, fantástica iniciativa da Biblioteca Nacional em parceria com o Instituto Moreira Salles. Outras figuras são identificáveis, além, naturalmente, da princesa Isabel e do conde d’Eu. O presidente do Conselho de Ministros do Gabinete conservador que fez passar a lei, João Alfredo Correia de Oliveira, está à direita de Isabel, um pouco abaixo.
+Os responsáveis pelo portal veem José do Patrocínio à frente do grupo, segurando a mão do filho. Ampliando o foco, deverão aparecer outros políticos e outros militantes da causa abolicionista. Nabuco não foi à missa, mas André Rebouças, quase íntimo da família imperial, estava lá. Também certamente estavam seus companheiros da Confederação Abolicionista, com quem se fizera fotografar na véspera, acompanhados de Ângelo Agostini, João Clapp, presidente da Confederação, Taunay,  grande amigo de Rebouças, Silveira da Mota, filho, Quintino Bocaiúva… Dezenas de outros certamente também estavam presentes e podem ser, eventualmente, identificados.
+A escravidão no Brasil foi bastante fotografada, mas a abolição, sobretudo a semana de 13 a 20 de maio, nem tanto, mesmo na capital onde havia muitos fotógrafos.  A razão disso não sei. É quase total a ausência de fotos fora da Corte (há apenas duas), quando se sabe que as festividades ganharam todo o país. Mas a consequência disso é que os poucos registros até agora descobertos, umas 25 fotos, ganham extraordinária importância. E o destaque vai todo para Antônio Luiz Ferreira, autor das 15 fotos com que presenteou Isabel. Sua foto mais espetacular é, sem dúvida, a da sessão da Câmara do dia 10 de maio, quando foi aprovado o projeto da abolição. A foto mais curiosa é a de Luís Stigaard, tirada na colônia Isabel, no Rio Grande do Sul. Retrata dezenas de colonos, imigrantes europeus, disciplinadamente organizados em filas, comemorando a abolição, em contraste com a exuberância das celebrações na capital do Império.
+Mas o registro importante hoje é a descoberta de que Machado foi à missa. Não era pessoa de frequentar igrejas. Também não apreciava manifestações multitudinárias. Mas a essa missa, a esse ajuntamento de milhares de pessoas, ele compareceu e fica claro na foto seu esforço para aparecer, prensado entre duas robustas figuras uniformizadas. Anos depois, em crônica (Gazeta de Notícias, 14/5/1893), ele anotou sobre o 13 de maio,  “Verdadeiramente, foi o único dia de delírio público que me lembra ter visto”. A missa foi continuação do delírio e é muito bom saber que o tímido, circunspecto e cético Machado estava lá.
+[Ver sobre o assunto, Pedro e Bia Corrêa do Lago, Coleção Princesa Isabel. Fotografia do Século XIX. Rio de Janeiro: Capivara, 2008.]
+ 
+Antonio Luiz Ferreira. Missa campal celebrada em ação de graças pela Abolição da escravatura no Brasil, 17 de maio de 1888. Rio de Janeiro, RJ / Acervo IMS
+ 
+Acessando o link para a fotografia Missa campal celebrada em ação de graças pela Abolição da Escravatura no Brasil produzida  Antonio Luiz Ferreira,  disponível na Brasiliana Fotográfica, o leitor poderá magnificar a imagem e verificar todos os dados referentes a ela.
+ 
+*Natural de Minas Gerais, José Murilo de Carvalho é bacharel em Sociologia e Política (Universidade Federal de Minas Gerais) e doutor em Ciência Política (Stanford University). Foi professor na UFMG e na Universidade Federal do Rio de Janeiro e  professor visitante nas universidades de Stanford, California-Irvine, Notre Dame (Estados Unidos), Leiden (Holanda), London e Oxford (Inglaterra) e maître de conférence  na École des Hautes Études en Sciences Sociales (França). Foi pesquisador visitante do Institute for Advanced Study de Princeton. É professor emérito da Universidade Federal do Rio de Janeiro, pesquisador emérito do CNPq, membro da Academia Brasileira de Ciências e da Academia Brasileira de Letras. Em 2015, recebeu o título de Doutor Honoris Causa da Universidade de Coimbra. É autor de vários livros, entre os quais A construção da ordem e Teatro de sombras (Civilização Brasileira, 2003); Os bestializados: o Rio de Janeiro e a República que não foi (Cia. das Letras, 1987); A formação das almas: o imaginário da República (Cia. das Letras, 1990); Cidadania no Brasil: o longo caminho (Civilização Brasileira, 2001, 2013) e D. Pedro II, ser ou não ser (Cia. das Letras, 2oo7).
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/1084` — `itens/20.500.12156.1_1084/`
+- `20.500.12156.1/953` — `itens/20.500.12156.1_953/`
+- `20.500.12156.1/1795` — `itens/20.500.12156.1_1795/`
+
diff --git a/wordpress/9392-serie-exposicoes-i-o-pintor-victor-meirelles-e-a-fotografia-na-ii-exposicao-naci.md b/wordpress/9392-serie-exposicoes-i-o-pintor-victor-meirelles-e-a-fotografia-na-ii-exposicao-naci.md
new file mode 100644
index 0000000..882a11c
--- /dev/null
+++ b/wordpress/9392-serie-exposicoes-i-o-pintor-victor-meirelles-e-a-fotografia-na-ii-exposicao-naci.md
@@ -0,0 +1,118 @@
+---
+id: 9392
+url: "https://brasilianafotografica.bn.gov.br/?p=9392"
+titulo: "Série “Exposições” I – O pintor Victor Meirelles e a fotografia na II Exposição Nacional de 1866"
+autor: "Andrea Wanderley"
+data: "2017-08-17T12:22:55+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/5263", "20.500.12156.1/4442"]
+fetched_at: "2026-09-10T10:28:38.225Z"
+---
+
+# Série “Exposições” I – O pintor Victor Meirelles e a fotografia na II Exposição Nacional de 1866
+
+Na semana do Dia Internacional da Fotografia ou Dia Mundial da Fotografia, comemorado anualmente no dia 19 de agosto, a Brasiliana Fotográfica lembra um texto escrito pelo renomado pintor brasileiro, Victor Meirelles (1832 – 1903), na ocasião em que foi jurado da seção “Fotografia”, da II Exposição Nacional de 1866. Segundo Tadeu Chiarelli, com esse texto, o pintor traçou …aquela que talvez seja a primeira história da fotografia escrita no Brasil (talvez a primeira em língua portuguesa)…
+‘A descoberta da fotografia, importante auxiliar das artes e ciências, e que há mais de meio século preocupava o espírito de doutos tornando-se objeto de estudo de alguns sábios da Inglaterra e da França, só nesses últimos tempos atingiu ao grande aperfeiçoamento que apresenta e que bem pouco deixa a desejar’.
+Foi com essas palavras que Victor Meirelles iniciou o capítulo “Fotografia”, que constou no Relatório sobre a II Exposição Nacional de 1866, realizada no Palácio da Moeda do Rio de Janeiro entre 19 de outubro e 16 de dezembro de 1866. O pintor deixou claro seu amplo conhecimento sobre o assunto, desde sua história até as peculiaridades dos processos fotográficos já desenvolvidos. Mostrou-se também entusiasmado com as aplicações da fotografia. Seu julgamento das obras expostas expressava rigor crítico e admiração. Usou em sua avaliação valores e parâmetros que eram, tradicionalmente, utilizados na crítica de pinturas como, por exemplo, os efeitos de luz e a nitidez das imagens. Com sua apreciação, Meirelles incentivou o diálogo entre a fotografia e a pintura.
+Na opinião do pintor, os quinze fotógrafos que participaram da exposição equiparavam-se pouco mais ou menos em perfeição. Mas os registros do fotógrafo  George Leuzinger (1813 – 1892) foram os que mais elogiou.
+ 
+Vitor Meireles, 18? / Acervo FBN
+ 
+Victor Meirelles (Santa Catarina, 18 de agosto de 1832 – Rio de Janeiro, 22 de fevereiro de 1903) é considerado um dos mais importantes pintores brasileiros do século XIX (Jornal do Commercio, 23 de fevereiro de 1903, na terceira coluna). São de sua autoria quadros icônicos da história das artes plásticas no Brasil como A Batalha dos Guararapes, A Primeira Missa do Brasil, Juramento de Princesa Isabel, Moema e Passagem do Humaitá.
+ 
+A Primeira Missa do Brasil (1861), óleo de Victor Meirelles / Acervo do Museu Nacional de Belas Artes
+ 
+Acessando o link para alguns registros realizados por fotógrafos que participaram da II Exposição Nacional de 1866 disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+A II Exposição Nacional foi realizada no Rio de Janeiro no palácio que abriga atualmente o Arquivo Nacional, de 19 de outubro a 16 de dezembro de 1866. Sua abertura foi anunciada como uma demonstração de coragem e patriotismo dos brasileiros já que o evento aconteceu em meio a dolorosas preocupações de uma guerra formidável – a Guerra do Paraguai (Jornal do Commercio, 19 de outubro de 1866, na primeira coluna). O evento foi visto por de cerca de 52.000 pessoas, inclusive por d. Pedro II, que a visitou diversas vezes e compareceu às cerimônias de inauguração e de encerramento (Semana Ilustrada, 21 de outubro de 1866, na primeira coluna e 23 de dezembro de 1866, na primeira coluna, Diário do Rio de Janeiro, 20 de outubro de 1866, na terceira coluna e  Diário do Rio de Janeiro, 10 de novembro de 1866, na última coluna).
+Pela primeira vez a fotografia apareceu como categoria específica, separando-se do grupo destinado às Belas Artes. A importância conferida à fotografia na II Exposição Nacional e a qualidade do material exposto fica evidente na publicação da Semana Ilustrada de 18 de novembro de 1866. :
+‘Na sala imediata a das pinturas acham-se colocadas as fotografias que formam uma parte bem distinta da atual exposição… Não há dúvida que a fotografia entre nós é exercida com uma perfeição que não deve temer a confrontação com os trabalhos europeus…’
+Porém, ainda se discutia se a fotografia deveria ser incluída como uma das belas-artes, como pode-se ler em uma carta enviada pelo conde de La Hure, erudito francês que residia no Brasil e autor de várias obras sobre temas brasileiros, a Machado de Assis (1839 – 1908), publicada no Diário do Rio de Janeiro, de 28 de outubro de 1866, terceira coluna, na época dirigido pelo escritor. De La Hure também fez uma apreciação das fotografias expostas:
+‘Deve-se por a fotografia entre as belas-artes? A questão tem sido e está sendo debatida…Adhue sub judice est. Não serei eu quem a resolva. Não posso deixar a sala de produtos dessa arte sem mencionar os retratos de tamanho notável, a fumo ou coloridos, e outros muitos dos senhores Guimarães & C, Stahl & Wahnschaffe, Gaspar & Guimarães, e Pacheco. Os retratos de Suas Majestades o Imperador e a Imperatriz do sr. Stahl & Wahnschaffe são de boa e bela execução. O sr. Leuzinger expõe panoramas, paisagens, reproduções de gravuras ou litografias, em que a fotografia trabalha com perfeita fidelidade, igualando o que se faz de melhor atualmente. Diante da fotografia do sr. Leuzinger, indico-lhe como perfeição tipográfica a página dos preços correntes desse expositor, impressa na mesma casa dele, com tinta de diversas cores, tudo de um lindo gosto e de um belo efeito. 
+O sr. Guimarães, como artista que é, quis que a tabuleta de sua exposição de fotografias não fosse uma obra vulgar, e pediu que outro artista a fizesse (o sr. A. James). O escudo do Brasil e a coroa que lhe está sobreposta são do melhor efeito e execução; as folhagens que servem de moldura à tabuleta toda são lindíssimas, graciosas e de gosto… (Diário do Rio de Janeiro, de 28 de outubro de 1866, terceira e quarta colunas)’.
+ 
+Parte do traçado do edifício da Exposição e Jardins Anexos, Jornal do Commercio, 19 de outubro de 1866
+ 
+A classe de “Fotografia” foi dividida entre “panoramas”, “panoramas  diversos para álbuns”, “estereoscópios”, “álbuns” e “retratos”. Foram premiados com medalha de prata José Ferreira Guimarães (1841 – 1924), Joaquim Insley Pacheco (1830 – 1912), Carneiro & Gaspar, Augusto Stahl (1828 – 1877) & Germano Wanchaeffer (1832 – ?) e E.J. Van Nyvel; com medalha de bronze Christiano Junior (1832 – 1902), Modesto e Jacy Monteiro & Lobo. Finalmente, obtiveram menções honrosas José de Melo Arguelles, Luiz Terragno ( c. 1831 – 1891), João Ferreira Villela (18? – ?) e Leon Chapelin (18? -?). Na categoria “Paisagem”, a medalha de prata foi obtida por Georges Leuzinger (1813 – 1892).
+O relatório do evento foi realizado por Antônio José de Souza Rego (1829 – 1889), 1º secretário da comissão diretora da exposição, e foi publicado pela Tipografia Nacional, em 1869. Em 20 de novembro de 1866, Victor Meirelles o assinou em nome do júri do quarto grupo – onde se incluía a fotografia. O quarto grupo era presidido por Antônio Félix Martins (1812 – 1892).
+ 
+Charge sobre a popular II Exposição Nacional, publicada na Semana Ilustrada, 21 de outubro de 1866.
+ 
+Sobre os premiados, Meirelles escreveu:
+1ª Medalha de Prata – José Ferreira Guimarães (1841 – 1924):
+Cabe a honra de ser classificado em primeiro lugar, obtendo a medalha de prata, o sr. J. F. Guimarães, estabelecido na rua dos Ourives, nº 40, por seus retratos de cartões de visita, e chapas de diferentes dimensões. Os trabalhos do Sr. Guimarães sobressaem-se pela fineza, nitidez e perfeição dos objetos representados e também pelo vigor dos tons que são bem calculados e de uma cor agradável, posições escolhidas com gosto e naturalidade.
+2ª Medalha de Prata – Joaquim Insley Pacheco (1830 – 1912):
+Pelos seus retratos que se recomendam pela perfeição do trabalho, nitidez e beleza das meias tintas, efeitos de luz agradáveis, tornando-se sobretudo notável nessa parte, que é tratada artisticamente, a bela prova fotográfica representando uma senhora, que graciosamente e com bastante naturalidade descansa sobre o espaldar de uma poltrona.
+3ª Medalha de Prata – Carneiro & Gaspar:
+Os seus trabalhos fotográficos, que reúnem em geral as condições e qualidades que constituem o verdadeiro merecimento da arte fotográfica, são ainda muito recomendáveis e de incontestável merecimento. As provas de grandes dimensões, que são obtidas pelo sistema conhecido de amplificação, teriam para nós outro valor e delas formaríamos mais acertados juízo, se em vez de terem sido apresentadas com retoques, tivéssemos de julgar unicamente o trabalho puro e propriamente dito fotográfico.
+4ª Medalha de Prata – Augusto Stahl (1828 – 1877) & Germano Wahnschaffe (1832 – ?)
+São ainda dignos de toda atenção os trabalhos fotográficos destes senhores. As provas que representam diversos tipos da raça africana reúnem as qualidades essenciais, que sem elas a fotografia seria imperfeita. As de grandes dimensões, dos retratos de SS. MM. Imperiais obtidos também pelo sistema de amplificação pecam um pouco por não serem mais firmes e caírem excessivamente no efeito oposto, que os artistas chamam mole. Bem sabemos quanto é difícil em uma prova dessa dimensão obter-se melhor resultado. Acreditamos que essas provas foram antes ali representadas para que o público julgue o quanto são suscetíveis de serem depois coloridas a guache ou retocadas a óleo, como as que se acham expostas. As vistas do panorama da cidade do Rio de Janeiro e de algumas outras localidades pitorescas dos nosso subúrbios são trabalhos que ficam recomendados também por sua perfeição”.
+5ª Medalha de Prata – E. J. Van Nyvel:
+Sentimos que os limitados trabalhos fotográficos deste senhor não nos fornece mais ampla comparação entre os seus companheiros. Não podemos entretanto deixar de reconhecer por alguns de seus retratos ditos cartões de visita que seu autor sustem-se dignamente no ponto de honra que seguramente o induziu a vir apresentar-se nesta festa da indústria.
+1ª Medalha de Bronze – Christiano Junior (1832 – 1902):
+Os trabalhos deste senhor não são menos dignos de atenção por algumas boas qualidades que contêm. As reproduções das gravuras da obra ilustrada: Os Lusíadas, de Camões, publicada em 1817, por D. José Maria de Souza Botelho – Morgado de Mateus, etc, etc, são bem copiadas, e não podemos deixar de louvar tão feliz lembrança, bem como o serviço que presta aos artistas e amadores das belas artes pela propagação dessas belas composições artísticas devidas ao lápis dos célebre pintores Gerard e  Fragonard.        
+2ª Medalha de Bronze – Modesto Ribeiro:
+Os seus trabalhos fotográficos não estão longe de atingirem a perfeição que seu autor se esforça para obter. Nos trabalhos que expôs em cartões de visita, prima um retrato de meio corpo que se encontra colocado no centro do quadro grande, no qual estão expostas diversas provas; notando-se ainda o de uma criança que está deitada sobre uma cadeira de encosto, pela nitidez, vigor das sombras e beleza das meias tintas. Grande número das outras provas de grandes dimensões deixam a desejar pela falta de firmeza, nitidez e transparência das sombras.
+3ª Medalha de Bronze – Jacy Monteiro & Lobo:
+Apesar de serem ainda suscetíveis de aperfeiçoamento os trabalhos fotográficos destes senhores, vê-se entretanto algumas provas que não são sem merecimento, reunindo as qualidades desejáveis. Quero crer que a falta de melhor efeito nas menos felizes, provenha o defeito do clichê.
+Os fotógrafos sabem bem pela prática quanto é pernicioso ao bom resultado da prova positiva obter-se a prova negativa com muito custo, e a poder de reforços, e quanto esta perde de sua transparência, por ser impossível evitar-se aquela espécie de véu, que se forma sobre a imagem e que é proveniente da acumulação dos diversos precipitados que se aderem na camada do colódio e por isso quanto deve influir na nitidez e vigor das provas positivas; mais alguma atenção nesta parte influirá certamente para que se obtenham melhores resultados.
+1ª Menção Honrosa – José de Melo Arguelles:
+Este senhor expôs alguns retratos em cartões de visita que não são absolutamente privados de alguma boa qualidade não obstante pequem principalmente pelo efeito de luz, que dão a seu trabalho um aspecto de dureza, proveniente da falta de meias tintas suaves que ligando-se mais harmoniosamente com os claros e as sombras, tanto contribuem para a beleza das formas, dando-lhes perfeito relevo.
+2ª Menção Honrosa – Luiz Terragno em Porto Alegre ( c. 1831 – 1891):
+Não são inteiramente privadas de merecimento as provas fotográficas enviadas por este senhor. Nota-se o retrato de uma senhora que foi também reproduzido sobre fino tecido de um lenço; bem como as outras provas, representando algumas vistas.
+3ª Menção Honrosa – João Ferreira Villela e Leon Chapelin de Pernambuco:
+Os trabalhos fotográficos que esses senhores apresentaram não são absolutamente sem defeitos e, salvo algumas provas mais felizes, pecam em geral pela aparência que têm de dureza, e pouca transparência nas sombras, tendo alguns retratos os fundos pouco convenientes, e de modo que prejudicam antes o relevo das figuras, por não lhes dar maior destaque.
+O efeito do contraste bem calculado é uma das qualidades essenciais, de que nem todos sabem tirar bom partido, e que requer mesmo muito estudo.
+Medalha de Prata na categoria “Paisagem” – Georges Leuzinger (1813 – 1892):
+Os trabalhos fotográficos desse senhor primam pela nitidez, vigor e fineza dos tons e também por uma cor muito agradável. Pode-se dizer desses trabalho, que são perfeitos, pois que representam fielmente com todas as minudências os diversos lugares pitorescos de nosso característico país. Algumas provas são obtidas com tanta felicidade que parece antes um trabalho artisticamente estudado e que neste ponto rivalizam com a mais perfeita gravura em talhe doce; direi que estas provas poderiam perfeitamente servir de estudo aos artistas que se dedicam a arte bela da pintura de paisagens. As formas são ali reproduzidas com toda a fidelidade da perspectiva linear, e o que sobretudo torna-se ainda mais digno de atenção é a perspectiva aérea, tão difícil de obter-se na fotografia sem grande alteração.
+Aquela gradação dos planos que tão bem se destacam entre si e vão gradualmente desaparecendo no horizonte até o último é obtida de modo a não ter-se mais que desejar, sendo nesta parte notáveis as seguintes vistas:
+Gavia do lado da Tijuca
+Vale do Andarahy
+Montanha dos Órgãos vista da barreira
+Vista da Praia Grande
+A planície abaixo da cascata na Tijuca         
+O rochedo de Quebra Cangalhas
+Panorama da cidade do Rio de Janeiro
+Montanha dos Órgãos do lado de Teresópolis
+O Garrafão, e muitas outras que deixaremos de mencionar’
+Georges Leuzinger. O Dedo de Deus na Serra dos Órgãos, c. 1867. Serra dos Órgãos, Rio de Janeiro, RJ / Convênio Instituto Moreira Salles – Leibniz-Institut fuer Laenderkunde
+ 
+Andrea C. T. Wanderley
+Editora-assistente e pesquisadora do portal Brasiliana Fotográfica
+ 
+Nota da editora: esse artigo passou a integrar uma série e mudou de título em 1º de dezembro de 2025
+ 
+Fontes:
+ASSIS, Machado de, 1839-1908. Correspondência de Machado de Assis : tomo II, 1870-1889 / coordenação e orientação Sergio Paulo Rouanet ; reunida, organizada e comentada por Irene Moutinho e Sílvia Eleutério. – Rio de Janeiro : ABL, 2009. (Coleção Afrânio Peixoto ; v. 92). 560 p. ; 21 cm.
+CHIARELLI, Tadeu. História da arte / história da fotografia no Brasil – século XIX: algumas considerações. ARS (São Paulo) vol.3 no.6. São Paulo, 2005.
+CHIARELLI, Tadeu. Para ter algum merecimento: Victor Meirelles e a fotografia. Boletim (USP. Grupo de Estudos do Centro de Pesquisas em Arte & Fotografia do Departamento de Artes Plásticas), v. 1, p 14-23.
+Hemeroteca Digital da Biblioteca Nacional
+MEIRELLES, Victor. “Photographia” In BRASIL. Exposição Nacional. Relatório da Segunda Exposição Nacional de 1866, publicado […] pelo Dr. Antonio José de Souza Rego, 1º secretário da Comissão Diretora. Rio de Janeiro: Typ. Nacional, 1869, 2ª parte, pp. 158-170
+MEIRELLES, Victor. Relatório da II Exposição Nacional de 1866. Boletim (USP. Grupo de Estudos do Centro de Pesquisas em Arte & Fotografia do Departamento de Artes Plásticas), v. 1, p. 6-13.
+SILVA, Maria Antonia Couto da. As relações entre pintura e fotografia no Brasil do século XIX: considerações acerca do álbum Brasil Pitoresco de Charles Ribeyrolles e Victor Frond. Fênix : Revista de História e Estudos Culturais (Uberlândia), v. 04, p. 01-18, 2007.
+Site da Enciclopédia Itaú Cultural
+Site do Dicionário Histórico-Biográfico das Ciências da Saúde no Brasil 
+Site do Museu Histórico Nacional
+TURAZZI, Maria Inez. Marc Ferrez. São Paulo: Cosac & Naify, 2000, p. 12. (Espaços da Arte Brasileira)
+TURAZZI, Maria Inez. Poses e trejeitos: a fotografia e as exposições na era do espetáculo: 1839/1889. Prefácio Pedro Karp Vasquez. Rio de Janeiro: Funarte. Rocco, 1995. 309 p., il. p&b. (Coleção Luz & Reflexão, 4). ISBN 85-85781-08-4.
+XEXEO, Monica. Victor Meirelles: um desenhista singular. In: TURAZZI, M.I. (org) Victor Meirelles: novas leituras. São Paulo: Studio Nobel, 2009.
+ 
+Links para os artigos sobre exposições nacionais ou internacionais publicados na Brasiliana Fotográfica
+A festa do progresso: o Brasil na Exposição Continental, Buenos Aires, 1882, de autoria de Maria do Carmo Rainho, Arquivo Nacional, publicado em 29 de março de 2018.
+Série “O Rio de Janeiro desaparecido” II – A Exposição Nacional de 1908 na Coleção Família Passos, de autoria de Carla Costa, Museu da República, publicado em 5 de abril de 2018.
+Marc Ferrez, a Comissão Geológica do Império (1875 – 1878) e a Exposição Antropológica Brasileira no Museu Nacional (1882), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 29 de junho de 2018.
+Paris, 1889: o álbum da exposição universal, de autoria de Claudia B. Heynemann, Arquivo Nacional,publicado em 27 de julho de 2018.
+Café Brasil: o Império na Exposição Internacional de Filadélfia, de autoria de Claudia B. Heynemann, Arquivo Nacional, publicada em 4 de dezembro de 2019.
+Festa das Artes e da Indústria Segunda Exposição Nacional, 1866, de autoria de Claudia Beatriz Heynemann e Maria Elizabeth Brêa Monteiro, Arquivo Nacional, em 5 de abril de 2020.
+A apresentação do Departamento Nacional de Saúde Pública na Exposição Internacional do Centenário da Independência, de Ricardo Augusto dos Santos, Fiocruz, publicado em 13 de abril de 2020.
+A Exposição Internacional de Higiene de Dresden, de Cristiane d´Avila, Fiocruz, publicado em 5 de janeiro de 2022.
+Série 1922 – Hoje, há 100 anos VIII – A abertura da Exposição Internacional do Centenário da Independência do Brasil e o centenário da primeira grande transmissão pública de rádio no país, de autoria de Andrea C. T. Wanderley, publicado em 7 de setembro de 2022, na Brasiliana Fotográfica.
+Três álbuns fotográficos da Exposição Nacional de 1908 no Museu Histórico Nacional: Boscagli, Malta e Musso, de autoria de Maria Isabel Ribeiro Lenzi, historiadora do Museu Histórico Nacional, publicado em 25 de agosto de 2023, na Brasiliana Fotográfica.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/5263` — `itens/20.500.12156.1_5263/`
+- `20.500.12156.1/4442` — `itens/20.500.12156.1_4442/`
+
diff --git a/wordpress/9445-serie-teatros-e-cinemas-do-brasil-iii-a-inauguracao-do-theatro-municipal-do-rio-.md b/wordpress/9445-serie-teatros-e-cinemas-do-brasil-iii-a-inauguracao-do-theatro-municipal-do-rio-.md
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+---
+id: 9445
+url: "https://brasilianafotografica.bn.gov.br/?p=9445"
+titulo: "Série “Teatros e cinemas do Brasil” III – A inauguração do Theatro Municipal do Rio de Janeiro"
+autor: "Andrea Wanderley"
+data: "2017-07-14T12:10:28+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/2586", "20.500.12156.1/4995", "20.500.12156.1/4906", "20.500.12156.1/4985"]
+fetched_at: "2026-09-10T10:28:41.397Z"
+---
+
+# Série “Teatros e cinemas do Brasil” III – A inauguração do Theatro Municipal do Rio de Janeiro
+
+A Brasiliana Fotográfica homenageia o Theatro Municipal do Rio de Janeiro, inaugurado na Cinelândia, em 14 de julho de 1909, com as fotografias de Augusto Malta (1864 – 1957), A. Ribeiro, Jorge Kfuri (1892/3? – 1965), Luis Musso (18? – 1908), Marc Ferrez (1843 – 1923) e Uriel Malta (1910-1994), pertencentes aos acervos do Arquivo Geral da Cidade do Rio de Janeiro, da Biblioteca Nacional, da Diretoria do Patrimônio Histórico da Marinha, do Museu da República e do Instituto Moreira Salles. O prédio do Theatro Municipal do Rio de Janeiro, de estilo eclético, é um dos mais bonitos e imponentes da cidade e sua história mistura-se à trajetória cultural do Brasil. Considerado uma das mais importantes salas de espetáculos da América do Sul, ao longo de seus mais de 100 anos recebeu os maiores artistas nacionais e internacionais, como as cantoras Bidu Sayão (1902 – 1999), Maria Callas (1923 – 1977) e Renalta Tebaldi (1922 – 2004); os maestros Arturo Toscanini (1867 – 1957), Igor Stravinsky (1882 – 1971) e Heitor Villa-Lobos (1887 – 1959); a atriz Sarah Bernhardt (1844 – 1923) e os bailarinos Margot Fonteyn (1919 – 1991), Rudolf Nureyev (1938 – 1993), Ana Botafogo (1957-) e Mikhail Baryshnikov (1948-); além de importantes personalidades como o papa Francisco (1936-) e o ex-presidente dos Estados Unidos, Barack Obama (1961-).
+Acessando o link para as fotografias do Theatro Municipal do Rio de Janeiro disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Marc Ferrez. Teatro Municipal, c. 1910. Rio de Janeiro, RJ / Acervo IMS
+ 
+Um dos maiores entusiastas da construção do Theatro Municipal foi o dramaturgo Arthur Azevedo (1855-1908), que faleceu nove meses antes de sua inauguração. Foi o prefeito do Rio de Janeiro, Francisco Pereira Passos (1836 – 1913), que, durante seu mandato, de 1902 a 1906, realizou uma significativa reforma urbana na cidade, que ficou conhecida como o “bota-abaixo”. Foi aberta uma concorrência pública para a escolha do projeto arquitetônico do futuro teatro (Gazeta de Notícias, 20 de março de 1904, na quarta coluna e na última coluna). Em 20 de setembro de 1904, a subcomissão formada pelo o diretor da Estrada de Ferro Central do Brasil, José de Andrade Pinto, pelo arquiteto Adolfo Morales de los Rios (1858 – 1928), pelo escultor Rodolfo Bernardelli (1852 – 1931), pelo industrial Carlos Hargreaves e pelo próprio Arthur Azevedo, reuniu-se para estudar os projetos apresentados (Gazeta de Notícias, 21 de setembro de 1904, na quinta coluna). Finalmente, a comissão encarregada para a escolha do melhor projeto decidiu pelo empate entre os projetos Áquila e Isadora (Gazeta de Notícias, 22 de setembro de 1904, sétima coluna).
+ 
+Fachada do Theatro Municipal – Projeto Áquila, de Pereira Passos
+ 
+Fachado do Theatro Municipal – Projeto Isadora, de Albert Guilbert
+ 
+O autor do primeiro foi o engenheiro Francisco de Oliveira Passos (1878 – 1958), filho do prefeito, e, o do segundo, o arquiteto francês Albert Guilbert (1866 – 1949), vice-presidente da Associação dos Arquitetos Franceses.
+ 
+Anônimo. Francisco de Oliveira Passos, 1907. Rio de Janeiro, RJ / Acervo Museu da República
+ 
+O arquiteto francês Albert Guilbert / Wikipedia
+ 
+O parentesco do prefeito com um dos vencedores causou uma grande polêmica e a autoria do Áquila foi questionada: suspeitou-se que a seção de arquitetura da Prefeitura teria sido responsável pelo projeto. Os dois projetos premiados, inspirados na Ópera de Paris, se fundiram e resultaram no projeto final.
+ 
+Projeto final para a fachada do Theatro Municipal
+ 
+Em janeiro de 1905, as primeiras estacas necessárias à construção do teatro começaram a ser colocadas (Gazeta de Notícias, 4 de janeiro de 1905, na sétima coluna). Em 20 de maio do mesmo ano, com a presença do presidente da República, Rodrigues Alves (1848 – 1919), e das mais importantes autoridades do país, foi lançada sua pedra fundamental (Gazeta de Notícias, 19 de maio, na sexta coluna, e 21 de maio, na primeira coluna, de 1905). Artistas de renome como os irmãos Rodolfo Bernardelli (1852 – 1931) e Henrique Bernardelli (1857 – 1936), Eliseu Visconti (1866 – 1944) e Rodolfo Amoedo (1857 – 1941) participaram da decoração do teatro.
+ 
+Augusto Malta. Teatro Municipal, 15 de março de 1905. Rio de Janeiro, RJ / Acervo Museu da República
+ 
+Fon-Fon, 10 de julho de 1909
+ 
+Em 14 de julho de 1909,  com capacidade para 1.739 espectadores, o Theatro Municipal do Rio de Janeiro foi inaugurado na praça Marechal Floriano, esquina com a então avenida Central, atual Rio Branco. O evento teve a presença do presidente Nilo Peçanha (1867 – 1924) e do prefeito Francisco Marcelino de Sousa Aguiar (1855 – 1935), dentre outras personalidades. A um discurso de Olavo Bilac (1865 – 1918) seguiu-se a programação artística: sob a regência do maestro Francisco Braga (1868 – 1945) foram executados o poema sinfônico de sua autoria, Insomnia, e do noturno da ópera Condor, de Carlos Gomes (1836 – 1896). Depois foi encenado um delicioso ato em prosa do grande estilista Coelho Neto, Bonança. A terceira e última parte do espetáculo foi a apresentação da ópera Moema, de Delgado de Carvalho. Após o espetáculo, vários espectadores foram para o Salão Assyrio, restaurante do teatro (O Paiz, 14 de julho e 15 de julho de 1909; e Gazeta de Notícias, 15 de julho de 1909).
+ 
+Luis Musso. Teatro Municipal, 1908. Rio de Janeiro, RJ / Acervo Museu da República
+ 
+Desde 1909, o teatro passou por quatro grandes reformas: 1934, 1975, 1996 e 2008. A última foi realizada em comemoração aos cem anos do Theatro Municipal do Rio de Janeiro, que foi reinaugurado em 27 de maio de 2010. Atualmente tem 2.252 lugares. Atravessa, em 2017, uma grande crise financeira. Funcionários do teatro protestaram, em 9 de maio de 2017, contra os atrasos salariais e a falta de investimentos na instituição com um espetáculo de ópera e música clássica na escadaria no prédio.
+ 
+Fon-Fon, 31 de julho de 1909
+ 
+Em celebração aos 117 anos da inauguração do Theatro Municipal, em julho de 2026, o Arquivo Geral da Cidade do Rio de Janeiro (AGCRJ), uma das instituições parceiras da Brasiliana Fotográfica, inaugurou, em parceria com o teatro a exposição Perspectivas de uma Cidade em Movimento, que reúne imagens e documentos sobre as transformações urbanas do entorno do Theatro Municipal e da região central. É um convite ao público para revisitar diferentes momentos da história carioca a partir do patrimônio preservado pelo AGCRJ (1).
+(1) Esse parágrafo foi acrescentado em17 de julho de 2026.
+ 
+Andrea C. T. Wanderley
+Editora-assistente e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+ERMAKOFF, George. Theatro Municipal do Rio de Janeiro 100 Anos. Rio de Janeiro : Editora George Ermakoff, 2010.
+FORTE, Ana Maria Siems. Turismo cultural no Rio de Janeiro: um ponto de vista a partir do Theatro Muncipal do Rio de Janeiro. Trabalho de Conclusão de Curso apresentado ao Programa de Pós Graduação em História Política e Bens Culturais (PPHPBC) do Centro de Pesquisa e Documentação de História Contemporânea do Brasil – CPDOC Para a obtenção do grau de Mestre em Bens Culturais e Projetos. Fundação Getulio Vargas, março de 2006.
+Hemeroteca da Biblioteca Nacional
+SANTOS, Nubia Mehlen (organizadora). Theatro Municipal do Rio de Janeiro – um século em cartaz. Rio de Janeiro : Editora Senac Rio, 2011.
+Site CPDOC
+Site Rio de Janeiro aqui
+Site Secretaria de Estado de Cultura e Economia Criativa RJ
+Site Theatro Municipal do Rio de Janeiro
+ 
+Outros artigos publicados na Brasiliana Fotográfica sobre teatros e cinemas
+ 
+Série O Rio de Janeiro desaparecido I - Salas de cinema do Rio de Janeiro do início do século XX, publicado em 26 de fevereiro de 2016.
+Os teatros do Brasil, publicado em 21 de março de 2016
+Cinema no Brasil – a primeira sessão e um pouco da história do Cinema Odeon, publicado em 8 de julho de 2021
+Série “O Rio de Janeiro desaparecido” XII – O Teatro Lírico (Theatro Lyrico), publicado em 16 de setembro de 2021
+O Theatro de Santa Isabel, publicado em 28 de outubro de 2021
+O Teatro Amazonas (Theatro Amazonas), em Manaus, a “Paris dos Trópicos”, publicado em 28 de dezembro de 2021
+O Teatro João Caetano, no Rio de Janeiro, no Dia Mundial do Teatro, publicado em 27 de março de 2023
+Dia do Cinema Brasileiro, publicado em 19 de junho de 2023
+Série O Rio de Janeiro desaparecido XXV – O Theatro Phenix, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado em 5 de setembro de 2023
+O Theatro da Paz, em Belém do Pará, inaugurado em 15 de fevereiro de 1878, de autoria de Andrea C. T. Wanderley, editora e pesquisadora do portal, publicado em 15 de fevereiro de 2024
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/2586` — `itens/20.500.12156.1_2586/`
+- `20.500.12156.1/4995` — `itens/20.500.12156.1_4995/`
+- `20.500.12156.1/4906` — `itens/20.500.12156.1_4906/`
+- `20.500.12156.1/4985` — `itens/20.500.12156.1_4985/`
+
diff --git a/wordpress/9527-serie-conflitos-iv-lampiao-e-outros-cangaceiros-sob-as-lentes-de-benjamin-abraha.md b/wordpress/9527-serie-conflitos-iv-lampiao-e-outros-cangaceiros-sob-as-lentes-de-benjamin-abraha.md
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@@ -0,0 +1,251 @@
+---
+id: 9527
+url: "https://brasilianafotografica.bn.gov.br/?p=9527"
+titulo: "Série “Conflitos” IV – Lampião e outros cangaceiros sob as lentes de Benjamin Abrahão"
+autor: "Andrea Wanderley"
+data: "2017-07-28T10:26:31+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/5252", "20.500.12156.1/5253", "20.500.12156.1/5243", "20.500.12156.1/5244", "20.500.12156.1/5239", "20.500.12156.1/5241", "20.500.12156.1/5245", "20.500.12156.1/5259", "20.500.12156.1/5255"]
+fetched_at: "2026-09-10T10:28:45.133Z"
+---
+
+# Série “Conflitos” IV – Lampião e outros cangaceiros sob as lentes de Benjamin Abrahão
+
+Com registros do fotógrafo sírio Benjamin Abrahão Calil Botto (1901 – 1938), a Brasiliana Fotográfica lembra Lampião, Virgolino Ferreira da Silva (c. 1898 – 1938), o rei do cangaço, e seu bando. A iconografia produzida por Benjamin – registros fotográficos e filme – não é a única sobre o cangaço, mas por sua extensão contribuiu enormemente para o conhecimento da história dos cangaceiros no Brasil. É uma comprovação visual da marcante estética dos bandoleiros da caatinga e os trouxe para os jornais e à imaginação popular. Logo os personagens do cangaço passaram a protagonizar lendas do sertão, canções e cordéis populares e, apesar de sua violência, Lampião tornou-se, para muitos, uma espécie de mártir dos oprimidos. As notícias chamavam atenção ou para a crueldade dos cangaceiros ou a sua bravura. Seriam bandidos ou heróis? Muito provavelmente o rei do cangaço e seus bandoleiros não seriam tão famosos atualmente se não fosse pela realização por Benjamin da série de fotografias dele e de seu bando.
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+Benjamin Abrahão. Lampião. Sertão nordestino, nas proximidades do rio São Francisco / Acervo IMS
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+Outros fotógrafos registraram os cangaceiros e as volantes – forças especiais criadas para combater o cangaço. Foram eles Alcides Fraga, Chico Ribeiro, Eronildes de Carvalho, Lauro Cabral e Pedro Maia, todos na década de 1920. Há também imagens de autoria desconhecida.
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+Acessando o link para as fotografias do cangaço disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
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+Cerca de um ano após a morte do Padre Cícero, de quem Benjamin havia sido secretário particular, ocorrida em 20 de julho de 1934, Benjamin levou a Adhemar Bezerra de Albuquerque (1892 – 1975) sua ideia de fotografar e filmar Lampião e seus cangaceiros. Adhemar, pai do fotógrafo Chico Albuquerque (1917 – 2000), havia fundado, em 1934, a Aba Film, em Fortaleza, para a qual, trabalhando como cinematografista, Benjamin produziu entre 1936 e 1937 fotografias e um filme sobre o rei do cangaço e seu bando. Adhemar forneceu a Benjamin equipamentos cinematográficos e fotográficos, além de filmes. Também passou a Benjamin noções básicas de como utilizá-los.
+No primeiro encontro, Benjamin foi levado pelos cangaceiros Juriti e Marreca a Lampião, que o recebeu oferecendo comida e conhaque, dizendo: Não sei como você veio bater aqui com vida, bicho velho. Só mesmo obra de Marreca que é muito camarada. Benjamin, então, armou a máquina e quando ia bater as fotografias, foi impedido por Lampião, que examinou o equipamento e ordenou: Primeiro a gente tira o seu retrato. Depois disso, Benjamin pode fazer seus registros, até ser interrompido por Lampião. Uma observação: na matéria do Diário de Pernambuco acima citada, um dos cangaceiros mencionados como tendo levado Benjamin a Lampião foi Mergulhão. Em janeiro de 1937, Benjamin esclareceu que tratava-se de Marreca.
+Quatro meses depois, teve um novo encontro com Lampião e seu bando. Nessa ocasião, passou três dias com o grupo e pode registrar vários de seus hábitos como a reza da missa de domingo, celebrada pelo próprio Lampião, o almoço e a maneira de se vestirem e se comportarem. Revelou também que Maria Bonita, devido a uma promessa não trabalhava aos sábados, domingos e segundas-feiras.
+Ao longo de 1937, várias fotos de Lampião e de seu bando produzidas por Benjamin foram publicadas pelos Diários Associados.
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+Diário de Pernambuco, 16 de janeiro de 1937
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+Tanto as fotografias como o documentário de Benjamin Abrahão foram considerados uma afronta ao governo federal. Todo o material foi apreendido após uma exibição do filme em sessão fechada para autoridades locais no Cine Moderno, em 10 de abril de 1937, em Fortaleza. Segundo o fotógrafo Chico Albuquerque, quando, em 1941, os sócios da empresa tentaram reaver o filme apreendido, receberam apenas 20 contos como indenização (Novidades Fotoptica, novembro de 1970).
+Segundo Angelo Osmiro Barreto, muitos anos depois, os negativos do filme e das fotos foram encontrados empoeirados e jogados em um canto qualquer de uma sala de repartição pública. Foram recuperados por Alexandre Wulfes (1901 – 1974) e Al Ghiu (1925 – ) e montados em 1955. Posteriormente, a Cinemateca Brasileira recuperou as imagens e encontrou aproximadamente mais cinco minutos do filme original. Segundo Ricardo Albuquerque, filho de Chico Albuquerque e neto de Adhemar, depois o material foi reavaliado e novamente montado seguindo um critério estritamente documental do filme. Uma curiosidade: trechos do filmes foram usados, muitos anos depois, no documentário Memória do Cangaço, dirigido por Paulo Gil Soares (1935-2000) e produzido por Thomas Farkas (1924-2011); e nos filmes Baile Perfumado (1996), dirigido por Lírio Ferreira (1965-) e Paulo Caldas (1964-); Corisco e Dadá (1996) dirigido por Rosemberg Cariry (1953-); e Os últimos cangaceiros (2015), dirigido por Wolney Oliveira (1960-).
+Nas palavras de Elise Jasmin, Lampião era manipulador, estrategista, dotado de um senso inato de comunicação – soube como poucos se utilizar do poder da fotografia, em especial quando estampada nas páginas da imprensa, que ajudavam a torná-lo onipresente. E mesmo perto do fim de sua “carreira”, quando – depois de aterrorizar sete estados nordestinos – optou por uma vida sedentária, sua imagem circulava em grande parte do sertão, como um corpo figurado que vinha substituir simbolicamente o corpo real do guerreiro que antes percorria a região (Joaquim Marçal de Andrade in Cangaceiros, 2014).
+Segundo o historiador Frederico Pernambucano de Mello, autor do livro Guerreiros do Sol (1985), um clássico sobre a história do cangaço, não há dúvidas de que Lampião foi derrotado e morto pelas forças policiais em julho de 1938. Porém sua derrota não teria sido completa: se perdeu militarmente, o rei do cangaço foi vitorioso esteticamente. Seu chapéu e uniforme cheio de ouro e detalhes bordados estão entre os principais símbolos do nordeste brasileiro; e, não por acaso, seja em uma visão romantizada ou através do repúdio, Lampião continua sendo alvo de fascínio (Jornal do Comércio, 20 de outubro de 2015).
+As cenas filmadas por Benjamin do cotidiano do bando de Lampião, das quais restaram aproximadamente 15 minutos, inspiraram os filmes O Cangaceiro, de 1953, dirigido por Victor Lima Barreto (1906 – 1982), e O Baile Perfumado, de 1997, de Paulo Caldas e Lírio Ferreira.
+Em 2013, o Instituto Moreira Salles adquiriu junto ao Instituto Cultural Chico Albuquerque o direito de uso dessas imagens para fins culturais.
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+Um pouco sobre o cangaço e sobre a morte de Lampião
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+Benjamin Abrahão. Benjamin Abrahão com Maria Bonita e Lampião, 1936. Sertão nordestino, nas proximidades do rio São Francisco / Acervo IMS
+O cangaço, segundo Moacir Assunção, é um fenômeno social característico da sociedade rural brasileira.  No nordeste, existiu desde o século XVIII, quando José Gomes, o Cabeleira aterrorizava populações rurais de Pernambuco. O movimento atravessou o século XIX, só terminando em 25 de maio 1940, com a morte de Corisco (1907 – 1940), sucessor de Lampião e seu principal lugar-tenente, pela volante de Zé Rufino (Diário de Pernambuco, 1º de junho de 1940, na sexta coluna).
+‘Os homens do cangaço espalhavam fama, violência e aplicavam um conceito muito particular de justiça em sete estados do Nordeste. Ceará, Rio Grande do Norte, Paraíba, Pernambuco, Alagoas, Sergipe e Bahia sofriam não apenas nas mãos desses grupos nômades, mas também com a seca, com a fome e com uma sociedade desigual e injusta, que perpetuava um modelo pérfido de exploração do trabalho.'(Ângelo Osmiro Barreto in Iconografia do Cangaço, 2012)
+Em 28 de julho de 1938, na grota de Angico, em Sergipe, perto da divisa com o estado de Alagoas, o bando de Lampião foi cercado por uma força volante comandada pelo tenente João Bezerra da Silva (1898 – 1970), pelo aspirante Ferreira Mello e pelo sargento Aniceto da Silva. Além de Lampião, foram mortos sua mulher, Maria Gomes de Oliveira (c. 1911 – 1938), conhecida como Maria Bonita, e os cangaceiros Alecrim, Colchete, Elétrico, Enedina, Luiz Pedro, Macela, Mergulhão, Moeda e Quinta-feira. Foram todos decapitados. No combate, foi morto o soldado Adrião Pedro de Souza. João Bezerra e outro militar ficaram feridos (Jornal do Brasil, 30 de julho de 1938, na primeira coluna, Diário de Pernambuco, 30 de julho de 1938, com uma fotografia de autoria de Benjamin, Diário de Pernambuco, 31 de julho de 1938, 3 de agosto de 1938 e  25 de agosto de 1968). Quando Lampião foi morto o, o fotógrafo Benjamin Abrahão havia sido assassinado há cerca de dois meses.
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+Diário de Pernambuco, 31 de agosto de 1938
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+No dia seguinte à morte de Lampião, foi publicada uma entrevista dada por Chico Albuquerque (1917 – 2000), filho do proprietário da Aba Film, na primeira página do Diário da Noite, onde contou a história da produção do filme sobre Lampião produzido por Benjamin (Diário da Noite, 29 de julho de 1938).
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+Chico Albuquerque dando uma entrevista que foi publicada no Diário da Noite de 29 de julho de 1938
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+As cabeças decapitadas dos cangaceiros, após exposição em Piranhas, Santana de Ipanema e em outras cidades de Alagoas, seguiram para a capital do estado, Maceió (Diário de Pernambuco, 30 de julho de 1938, primeira coluna; Diário de Pernambuco, 30 de julho de 1938, penúltima coluna ,Diário de Pernambuco, 2 de agosto de 1938). As duas fotos abaixo foram publicadas no Diário de Pernambuco de 3 de agosto de 1938.
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+Anônimo. Os trágicos troféus de Angico, 28 de julho de 1938. Piranhas, Alagoas / Acervo IMS
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+Diário de Pernambuco, 31 de julho de 1938
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+Anônimo. Os trágicos troféus de Angico, 28 de julho de 1938. Piranhas, Alagoas / Acervo IMS
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+De lá, seguiram para Salvador. Ficaram no Museu Nina Rodrigues, também conhecido como Museu Antropológico Estácio de Lima. Em 1969, as cabeças de Lampião e Maria Bonita foram enterradas no cemitério Quinta dos Lázaros, na mesma cidade (Correio da Manhã, 13 de fevereiro de 1969, na última coluna).
+Uma curiosidade a respeito do apelido de Lampião, segundo publicado no Diário da Noite de 8 de fevereiro de 1937, na primeira coluna:
+ ‘Lampião é um cabra desconfiado e perverso. O apelido que usa é o seu maior orgulho. Foi lhe dado num combate no início de sua carreira criminosa quando se filiou ao cangaço do famoso Luiz Padre. Na peleja, travada ao descambar da tarde, Virgolino atirava com tanta rapidez que da boca do seu rifle saia verdadeira faixa de fogo, iluminando o chão.
+_ “Nós não precisa mais de sol porque já temos um lampião!”, gritavam os cangaceiros.
+E desde aí ficou ele com o seu nome de guerra consagrado’.
+Uma curiosidade: em 22 de fevereiro de 2023, a escola de samba do Grupo Especial Imperatriz Leopoldinense sagrou-se campeã do carnaval carioca com um enredo do carnavalesco Leandro Vieira (1983-) sobre Lampião, intitulado O aperreio do cabra que o excomungado tratou com má-querença e o santíssimo não deu guarida. Foi inspirado nos cordéis A Chegada de Lampião no Inferno e O grande debate que teve Lampião com São Pedro, de José Pacheco. A única filha de Lampião e Maria Bonita, Expedita Ferreira (1932-),  desfilou à frente de um carro alegórico*.
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+Breve perfil do fotógrafo Benjamin Abrahão Calil Botto (1901 – 1938)
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+Anônimo. Benjamin Abrahão subindo em marinete (ônibus), c, 1936. Sertão nordestino, nas proximidades do rio São Francisco / Acervo IMS
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+Segundo seus familiares, Benjamin Abrahão Calil Botto nasceu, em 1901, em Zahle, na época uma cidade da Síria e atualmente do Líbano, e veio para o Brasil, na década de 1910, provavelmente, fugindo da Primeira Guerra Mundial. Segundo o próprio, havia nascido em Belém, mesma cidade natal de Jesus Cristo. Tinha parentes no Recife. Trabalhou como mascate na cidade e no interior nordestino. Foi durante algum tempo secretário particular do venerado padre Cícero Romão Batista (1844 – 1834), na cidade de Juazeiro do Norte, no Ceará. O reverendo havia ficado impressionado pelo fato de Benjamin ter nascido em Belém.
+Foi em 1926 que Benjamin provavelmente conheceu Lampião, que havia ido fazer uma visita ao Padre Cícero, organizada por Floro Bartolomeu (1876 – 1926), deputado federal e coronel poderoso da região do Cariri (Jornal do Recife, 10 de abril de 1926).  Na ocasião, Lampião e seu bando foram convencidos a entrar para o Batalhão Patriótico, uma milícia para combater a Coluna Prestes, e Lampião recebeu a patente de capitão, armamentos e uniformes do Exército. Pouco tempo depois, o acordo foi desfeito.
+Cerca de um ano após a morte do Padre Cícero, ocorrida em 1934, Benjamin levou a Adhemar Bezerra de Albuquerque (1892 – 1975), proprietário da Aba Fim, em Fortaleza, um projeto para fotografar e filmar Lampião e seu bando. Adhemar forneceu a Benjamin equipamentos cinematográficos e fotográficos, além de filmes e, entre 1936 e 1937, Benjamin produziu fotografias e um filme sobre o rei do cangaço.
+Em matéria publicada no Diário de Pernambuco de 27 de dezembro de 1936, Benjamin foi apresentado como sírio naturalizado brasileiro e como fundador do periódico Cariri, em Juazeiro do Norte. Segundo a mesma reportagem, em meados de 1935 ele havia tido a ideia de documentar a vida de Lampião. Meteu-se numa roupa de brim azulão, sacudiu a tiracolo sua máquina fotográfica e se internou nas caatingas. Ao longo de 18 meses, viajou pelo sertão de Alagoas, Bahia, Paraíba, Pernambuco e Sergipe, e encontrou-se duas vezes com Lampião.
+Ao longo de 1937, várias fotos de Lampião e de seu bando produzidas por Benjamin foram publicadas pelos Diários Associados. Foi também divulgado um bilhete escrito por Lampião atestando a autenticidade dos registros de Benjamin (Diário de Pernambuco, 18 de fevereiro de 1937).
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+Diário de Pernambuco, 18 de fevereiro de 1937.
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+‘Illmo Sr. Bejamim Abrahão
+Saudações
+Venho lhe afirmar que foi a primeira pessoa que conseguiu filmar eu com todos os meus pessoal cangaceiros, filmando assim todos os movimentos da nossa vida nas caatingas dos sertões nordestinos.
+Outra pessoa não conseguiu nem conseguirá nem mesmo eu consentirei mais.
+Sem mais do amigo
+Capm Virgulino Ferreira da Silva
+Vulgo Capm Lampião’
+Benjamin Abrahão foi assassinado com 42 facadas, em Águas Belas, hoje Itaíba, no interior de Pernambuco, em maio de 1938 (Diário da Noite, 9 de maio de 1938, na quarta coluna,  Diário de Pernambuco, 10 de maio de 1938, na quarta coluna e Diário de Pernambuco, 19 de maio de 1938, na quinta coluna). Os motivos de sua morte ainda não estão esclarecidos. As hipóteses vão desde crime passional até queima de arquivo, já que ele sabia do envolvimento de autoridades com Lampião.
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+Diário de Pernambuco, 10 de maio de 1938
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+Breve cronologia de Benjamin Abrahão Calil Botto (1901 – 1938)
+Cronologia de Benjamin Abrahão Calil Botto (1901 – 1938)
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+Anônimo. Benjamin Abrahão, uma criança e a matriarca dos Elihimas, 1938. Recife, Pernambuco / Acervo IMS
+1901 – Segundo sua família, Benjamin Abrahão Calil Botto nasceu em Zahle (na época, cidade na Síria e, atualmente, do Líbano). Segundo o próprio, havia nascido em Belém, local de nascimento de Jesus Cristo.
+c. 1910 – Por volta desse ano, todo fim de mês ia para Damasco, na Síria, com um tio que armava caravanas para a venda de utensílios aos beduínos.
+1915 – Benjamin desembarcou no porto de Recife, fugindo ao alistamento militar obrigatório devido à Primeira Guerra Mundial. Aqui fez contato com parentes distantes, os Elihimas, que trabalhavam no comércio da cidade, no ramo de miudezas por atacado, das ferragens, de equipamentos de caça e da pesca, na Rua Visconde de Inhaúma, nº 83-91, com filiais em João Pessoa e em Campina Grande, Paraíba.
+c. 1915 – Fugiu do colégio onde os seus primos Elihimas o matricularam e foi para Rio Branco, atual Arcoverde. Devolvido aos parentes, passou a trabalhar como mascate.
+1916 – Em São Bento do Una, ficou amigo do fazendeiro José Ferreira de Morais é foi acolhido na casa-grande.
+1916 / 1917 – Em Arcoverde, toma conhecimento da existência do Padre Cícero Romão Batista (1844 – 1834), o Padim Ciço, por romeiros que partiriam para Juazeiro do Norte, no Ceará, onde morava o sacerdote, considerado virtuoso e místico, que havia se ordenado no Seminário de Fortaleza, em 1870. O religioso obteve sua aura de santidade ao transformar a hóstia em sangue na boca da beata Maria de Araújo, em 6 de março de 1889. O fato teria se repetido diversas vezes durante cerca de dois anos.
+Benjamin, soube que milhares de nordestinos iam a Juazeiro do Norte para receber a bênção do padre pelo menos uma vez por ano, o que tornara a cidade um excelente local para negócios. Decide então ir para Juazeiro do Norte.
+Todos os dias, o Padim Ciço dava uma bênção, de sua casa, a seus fiéis. A mensagem costumeira era: Meus amiguinhos, quem matou, não mate mais! Quem roubou, não roube mais! Quem pecou, não peque mais! Os amancebados se casem! Um dia, Benjamin conseguiu ser avistado pelo sacerdote, que perguntou a ele sua origem. Benjamin identificou-se como natural de Belém, a terra de Jesus, e pediu para ficar na cidade, sob a proteção do religioso. O padre então respondeu: Fique meu filho. Seja bom e pode sentir-se aqui como se fosse a sua própria casa.
+Benjamin foi morar na casa de Pelúsio Correia de Macedo (1867 – 1955), pessoa da inteira confiança do Padre Cícero. Pelúsio foi dono da primeira oficina mecânica da cidade e também fundou a primeira escola de música, onde surgiu a primeira banda de Juazeiro do Norte, que animava desfiles e festas sob sua regência. Foi também proprietário do Cine Iracema, primeiro telegrafista da Estação Telegráfica de Juazeiro do Norte, além de fabricante de quase todos os relógios públicos da região.
+Padre Cícero mandou matricular Benjamin no Colégio São Miguel, do professor Manuel Pereira Diniz (1887 – 1949).
+Foi incumbido de fotografar a primeira visita feita por um governador do Ceará, José Tomé de Sabóia e Silva (1870 – 1945), a Juazeiro do Norte.
+Retomou o ofício de ourives, tentando aprimorar os rudimentos que havia trazido da casa de seus pais. Estudou no Crato com o mestre Teofisto Abath.
+c. 1920 – Como ourives, viajou por Cajazeiras, Crato, Jardim e Barbalha. Teve a notícia da morte de sua mãe e recebeu uma herança, enviada por seus primos de Recife.
+Abriu um armazém de artigos religiosos e fixou-se em Juazeiro do Norte, em 1920.
+Benjamin tornou-se secretário particular do Padre Cícero e passou a morar na casa paroquial. Pouco tempo depois, recebeu as chaves da casa. Como assistente pessoal do sacerdote passou a ter muito poder e a exercer diversas atribuições públicas e privadas. Conheceu personalidades de destaque nacional, clérigos, políticos, militares e educadores.
+Benjamin começou a prosperar com a venda aos romeiros de objetos supostamente abençoados pelo Padre Cícero.
+Participou também de jogatinas e do desvio de valores doados à igreja, o que decepcionou Joana Tertulina de Jesus, a beata Mocinha, que mais prestígio tinha com o Padre Cícero.
+1924 – Benjamin, que dizia-se jornalista, no periódico O Ideal, envolveu-se na denúncia feita pelo farmacêutico José Geraldo da Cruz com o auxílio de Manuel Diniz sobre o fuzilamento sumário de presos tirados da cadeia pública pelo médico e político baiano Floro Bartolomeu da Costa (1876 – 1926), velho amigo do Padre Cícero. Foi Floro que, em 1914, liderou o episódio que ficou conhecido como a Sedição de Juazeiro, um confronto entre as oligarquias cearenses e o governo federal, quando um exército de jagunços derrotou as forças do governo federal e Marcos Franco Rabelo (1851 – 1940) foi deposto do governo do Ceará. Além disso, Floro havia sido importante na ocasião da emancipação de Juazeiro do Norte, em 1911, quando o Padre Cícero tornou-se o primeiro prefeito da cidade.
+1925 - Na festa de descerramento da estátua de bronze do Padre Cícero, em 11 de janeiro, ocasião em que a cidade atraiu cerca de 40 mil romeiros, no intervalo dos discursos, Benjamim tentou falar algumas palavras, mas foi interrompido por Floro Bartolomeu, que abriu seu paletó e gritou Desça daí! Seguiu-se a fala do Padre Cícero.
+O padre Manuel Correia de Macedo, filho de Pelúsio de Macedo, acusou Floro Bartolomeu de déspota, de subjugador do Padre Cícero e de corrupto no livro Juazeiro em foco, publicado em Fortaleza pela Editora de Autores Católicos.
+Em junho, José Landim, compadre de Floro e escrivão da Coletoria, agrediu Benjamin, durante os festejos de recepção ao padre Macedo, em Juazeiro.
+Em agosto, Floro alegou ter sido alvejado à bala pelo turco Benjamin Abrahão quando participava de uma reunião na casa de Francisco Alencar. Benjamin foi preso. Segundo telegrama enviado por Floro ao advogado Raimundo Gomes de Matos, em Fortaleza: Não podendo ser provado que o turco Benjamin Abrahão realmente quisesse cometer um atentado, por isso que não chegeui a lançar mão da arma, e mais ainda porque escreveu carta, para ser publicada, declarando querer morar aqui e outreas coisas, foi solto completamente encabulado.
+1926 - Nesse ano, Benjamin já vivia com Josefa Araújo Alves, com quem teve dois filhos: Atallah e Abdallah. O primeiro foi criado como filho por seu amigo, Gonçalo Mundó.
+De 4 a 7 de março, Lampião e seu bando ficaram em Juazeiro do Norte em visita organizada por Floro Bartolomeu (1876 – 1926), que faleceu em 8 de março, no Rio de Janeiro. Foi na ocasião dessa visita que Benjamin provavelmente conheceu Lampião. Foram realizados saraus dançantes em homenagens a Lampião, que participou de conferências com autoridades públicas. Encontrou-se com o Padre Cícero e com o coronel Pedro Silvino, comandante do Batalhão Patriótico, uma milícia para combater a Coluna Prestes. Lampião e seu bando entraram para o citado batalhão e Lampião recebeu a patente de capitão honorário das Forças Legais de Combate aos Revoltosos, manuscrita por Pedro de Albuquerque Uchoa, ajudante de inspetor agrícola federal. Ele e seu bando receberam armamentos, munição e uniformes do Exército. Pouco tempo depois, o acordo foi desfeito. Em Juazeiro, os cangaceiros foram fotografados por Lauro Cabral de Oliveira Leite e por Pedro Maia (Jornal do Recife, 10 de abril de 1926).
+Durante sua estada em Juazeiro do Norte, quando já estava hospedado no sobrado de João Mendes de Oliveira, Lampião foi visitado pelos ourives da região, levados por Benjamin Abrahão.
+1927 – Benjamin prestava serviços a jornais do Rio de Janeiro e de São Paulo.
+1929 – Benjamin residia na casa do Padre Cícero (A Razão, 17 de outubro de 1929, na terceira coluna).
+Benjamin despachou para todo o sertão emissários com a notícia, falsa, de que o Padre Cícero daria uma bênção de despedida aos romeiros. Juazeiro foi invadida por romeiros e Benjamin, que havia reforçado o estoque de sua loja, lucra muito.
+Benjamim foi confirmado como colaborador especial do jornal O Globo, no Cariri.
+A Razão, 3 de outubro de 1929. Benjamin participa de almoço com o padre Cícero
+1930 – Em 4 de janeiro, Benjamin fundou o jornal O Cariri, dirigido pelo advogado do Padre Cícero, Antônio Alencar Araripe, e editado pelos professores Manuel Diniz e J. Rocha. Teve pelo menos doze edições até março de 1931, quando teve seu título arrematado por editores do Crato.
+Benjamin foi recebido pelo presidente do estado do Ceará, Manuel Fernandes Távora (1877 – 1977) (A Razão, 18 de outubro de 1930, na terceira coluna).
+1932 – Era uma das pessoas mais influentes do círculo do Padre Cícero (O Jornal, 19 de maio de 1932, na segunda coluna).
+1933 – Após uma viagem a Juazeiro do Norte, Otacílio Alecrim publicou no Diário de Pernambuco o artigo “O desencanto de Macunaíma”, em que estranhou dois fatos quando visitou a casa paroquial do Padre Cícero: uma vitrola de corda e a onipresença de um secretário turco: Francamente, com um turco e uma vitrola, não há messias que possa ser levado a sério…(Diário de Pernambuco, 12 de fevereiro de 1933, na penúltima e última colunas).
+ 
+Benjamin concluiu ao lado de dezessete rapazes de Juazeiro do Norte e de cidades ao redor, a primeira turma do Tiro de Guerra 48, implantado no Juazeiro em 1931.  A instrução havia sido suspensa, em 1932, devido ao movimento constitucionalista de São Paulo. Benjamin tornou-se, assim, reservista do Exército.
+1934 - Falecimento do Padre Cícero, em 20 de julho. Segundo o escritor Otacílio Anselmo, em meio às dezenas de repórteres , um deles chama a atenção de todos, tanto pela mobilidade como pelo modo de manejar sua máquina, provida de pequena manivela…o tal cinegrafista era o sírio Benjamin Abrahão, antigo leão de chácara do sacerdote, aproveitando o acontecimento para concluir um filme sobre a vida do famoso líder sertanejo.
+Benjamin fotografou o morto de diversos modos e cortou uma mecha de seu cabelo, que vendeu a diversos devotos até que um deles se seu conta que o padre não tinha tanto cabelo…
+Fundação da Aba Film por Adhemar Bezerra de Albuquerque (1892 – 1975), funcionário do Bank of London & South America Limited em Fortaleza. A empresa era de material fotográfico e de produção de imagens, inclusive cinematográficas. Adhemar era pai do fotógrafo Chico Albuquerque (1917 – 2000) e de Antônio Albuquerque.
+Adhemar foi para Juazeiro do Norte realizar o documentário Funerais de Padre Cícero. Provavelmente, nessa ocasião, conheceu Benjamin Abrahão.
+1935 – Abrahão apresentou seu projeto de fotografar e filmar Lampião e seu bando à Aba Film. Adhemar forneceu a Benjamin equipamentos cinematográficos e fotográficos, além de filmes. Também passou a Benjamin noções básicas de como utilizá-los.
+Benjamin meteu-se numa roupa de brim azulão, sacudiu a tiracolo sua máquina fotográfica e se internou nas caatingas. Ao longo de 18 meses, viajou pelo sertão de Alagoas, Bahia, Paraíba, Pernambuco e Sergipe, e encontrou-se mais duas vezes com Lampião (Diário de Pernambuco de 27 de dezembro de 1936).
+Segundo anotações em sua caderneta de campo, esse foi o início de seu trajeto:
+10 de maio – partiu de Fortaleza para a missão/ 12 de maio – está em Missão Velha / 13 de maio – Brejo Santo / 14 de maio – Jati / 15 de maio – Belmonte, e Fazenda Boqueirão, em Pernambuco / 16 a 21 de maio – Vila Bela, atual Serra Talhada / 22 e 23 de maio – Custódia e Rio Branco, atual Arcoverde / 24 de maio – Pedra de Buíque / dian25 de maio – de Negras a Jaburu, quando deixa Pernambuco e chega a Alagoas / dia 26 de maio – de Caititu a Mata Grande / 27 de maio – de Manuel Gomes ao Capiá / 28 de maio – Olho d´Água do Chicão/ 3 de junho – Maravilha.
+Benjamin radicou-se na vila do Pau Ferro, município de Águas Belas, em Pernambuco, tomando o lugar como sua base de operações. Inaugurou a parte terrestre de sua busca em Maravilha, no estado de Alagoas. Assim começava a aventura de Benjamin em busca de Lampião e seu bando.
+No segundo semestre, perambulou pelos sertões de Alagoas e de Pernambuco. Em Pau Ferro, hospedava-se na casa de Antônio Paranhos, motorista de Audálio Tenório de Albuquerque , chefe do lugar, e protetor de Lampião.
+1936 - Em 20 de janeiro, Benjamin autorretratou-se contra uma cerca com seu equipamento trançado em xis sobre os ombros. Naquela altura, ainda não havia encontrado os cangaceiros.
+Ao longo do ano, encontrou-se duas vezes com Lampião e seu bando.
+ 
+Benjamin Abrahão. Lampião, Maria Bonita, o fotógrafo Benjamin Abrahão e outros cangaceiros, 1936. Sertão nordestino, nas proximidades do rio São Francisco / Acervo IMS
+ 
+O historiador Frederico Pernambucano de Mello estima que o primeiro encontro tenha acontecido em fins de março, nas caatingas alagoanas da ribeira do Capiá, soltas bravias do Canapi, então do município de Mata Grande, no limite entre as fazendas Lajeiro Alto e Poço do Boi. A localização do encontro foi revelada em entrevista por Aristeia, mulher do cangaceiro Catingueira, em depoimento de 2004. Benjamin foi levado até Lampião pelos cangaceiros Juriti e Marreca. Almoçaram bode assado com farinha de mandioca e beberam conhaque Macieira. Segundo matéria publicada no jornal O Povo, de 12 de janeiro de 1937, Benjamin ficou com o grupo central, o de Lampião, por cinco dias.
+Benjamin viajou para Fortaleza, em 17 de maio para, na Aba Film, situada na rua Major Fecundo, iniciar a revelação dos negativos realizados de Lampião e seu bando.
+Em meados de julho, voltou a encontrar Lampião, com quem passou três dias.
+‘…Lampião estava pronto para confirmar sua presença na História através da linguagem moderna do cinema. Benjamin passava de solicitante a solicitado, revalando para a garupa do projeto, a ser tocado doravante pelo próprio cangaceiro. Pior seria ficar a pé…
+Somente a ocorrência dessa troca de postos, soprada pelo sírio a Antônio Paranhos no segundo regresso ao Pau Ferro, explica o número de cenas que se irá obter nos cerca de quinze minutos de película e cerca de noventa fotografias que se salvaram para a história, a variedade das revelações desveladas a cada segundo – algumas pungentes, como a do bando a rezar, todos descobertos, momentaneamente desarmados, joelhos fincados na poeira – e a docilidade dos “atores”, a tudo se prestando diante das câmeras. Não somente da Ica, cinematográfica, mas da Universal, de fotografia, uma “caixão” de objetiva dupla, também da Zeiss, negativos de 6 x 6 cm’ (Frederico Pernambucano de Mello in Benjamin Abrahão – entre anjos e cangaceiros).
+Em 28 de setembro, os cangaceiros atacaram a cidade de Piranhas, em Alagoas, para libertar Inhacinha, a mulher do cangaceiro Gato, que havia sido baleada e presa pela volante do tenente João Bezerra da Silva (1898 – 1970). Porém, ela estava presa na cadeia da Pedra de Delmiro Gouveia. Foram recebidos por uma resistência feita apenas por civis, homens e mulheres. Uma das mulheres era dona Cira de Brito Bezerra, mulher do tenente João Bezerra. Os cangaceiros espalharam que a prenderiam caso Inhacinha não fosse encontrada ou morresse durante a ação. Sobre o ocorrido, Benjamin comentou:
+‘Atravessava o rio quando se travou o combate. Encontrava-me a uma distância de meia légua da cidade. Corrio ansioso para lá. Era uma oportunidade que não devia deixar escapar. Infelizmente, cheguei tarde. Os bandidos já se retiravam. Bem junto a mim, em um sofá, ferido, passou Gato, chefe do grupo. Quando entrava na cidade, tomaram-me por bandido e, por um triz, não me bateram‘.
+Até outubro, Benjamin fez diversas incursões a cada um dos chefes de subgrupos de Lampião. Produziu mais fotografias e um filme.
+ 
+Benjamin Abrahão. O cangaceiro Corisco e Dadá, sua companheira, com a cachorra Jardineira, 1936. Sertão nordestino, nas proximidades do rio São Francisco / Acervo IMS
+ 
+No Recife, deu uma entrevista, publicada no Diário de Pernambuco de 27 de dezembro de 1936, quando anunciou a realização de um filme e a produção de diversas fotografias de Lampião e seu bando. Foi apresentado como sírio naturalizado brasileiro e como fundador do periódico Cariri, em Juazeiro.
+ 
+Diário de Pernambuco de 27 de dezembro de 1936
+ 
+Benjamin apresentou-se na Aba Film, em Fortaleza, no dia 28 de dezembro, mesma data em que João Jacques publicou no jornal O Povo, matéria intitulada Carta ao Leota, na qual questionava o fato de Lampião e seu bando ter sido filmado e fotografado e continuar solto. Leota é Leonardo Mota, autor do livro No tempo de Lampião, de 1930.
+‘Que acha desse furo? Que me diz sobre o caso? Será possível, meu amigo, que se possa ainda, por esses tempos tão mudados, filmar um bandoleiro, um gangster, um assassino mil vezes assassino e não se tenha meios de apanhá-lo?‘
+No dia seguinte, dia 29, foi publicada na primeira página do jornal O Povo a matéria intitulada Sensacional vitória da Aba Film: uma das mais importantes reportagens fotográficas dos últimos tempos, Lampião, sua mulher e seus sequazes filmados em pleno sertão, ilustrada por fotografias de Benjamin ao lado de Lampião, de Maria Bonita, e da guarda pessoal do cangaceiro. A tiragem do jornal foi duplicada e totalmente esgotada.
+No dia 31 de dezembro, o jornal O Povo publicou uma fotografia inédita de Maria Bonita sentada com os cachorros Ligeiro e Guarani.
+1937 – No dia 10 de janeiro, Benjamin, que havia estado no sertão, retornou a Fortaleza.
+No jornal O Povo, de 12 de janeiro de 1937, Benjamin revelou que Maria Bonita escolheu ser mulher de Lampião por livre e espontânea vontade, contrariando a versão de que ela havia sido raptada e estuprada pelo cangaceiro.
+Foi publicada pelos Diários Associados, uma fotografia onde Benjamin aparecia ao lado do casal Lampião e Maria Bonita (Diário de Pernambuco, 16 de janeiro de 1937). Dias antes, o Diário da Noite, havia publicado uma notícia sobre o encontro de Benjamin com Lampião. Benjamin revelou que havia trazido também, além de imagens, a primeira entrevista escrita e assinada pelo bandido (Diário da Noite, 8 de janeiro de 1938, na última coluna). Outras fotografias de Lampião foram publicadas, uma delas mostrando o cangaceiro lendo um romance policial. Segundo Benjamin, Lampião gostava muito dos livros do belga Georges Simenon (1903 – 1989) e do inglês Edgard Wallace (1875 – 1932) (Diário de Pernambuco, 20 de janeiro de 1937, 12 de fevereiro de 1937, 14 de fevereiro de 1937, 17 de fevereiro, 19 de fevereiro, 20 de fevereiro de 1937, 21 de fevereiro,  30 de julho de 1938; Diário da Noite, 8 de fevereiro de 1937, 29 de julho de 1938 e  30 de julho de 1938). Foram também publicadas fotografias das volantes (Diário de Pernambuco, 27 de abril de 1937).
+Segundo o comerciante Farid Aon, amigo de Benjamin, dias depois do carnaval, terminado em 10 de fevereiro, Benjamin foi ao quartel da Sétima Região Militar, no Recife, para tentar obter uma licença do general para exibir o filme sobre Lampião em cinemas públicos. A oficialidade exigiu o exame do filme e, ao assistir à projeção, achou que o documentário era vergonhoso para o Brasil, ficou irritada, rebentou o filme e o projetor, e Benjamin foi maltratado e detido por uma semana.
+Lampião escreveu um bilhete atestando a autenticidade dos registros de Benjamin (Diário de Pernambuco, 18 de fevereiro de 1937).
+Na revista O Cruzeiro, de 6 de março de 1937, publicação de uma página com cinco fotografias de Lampião, de autoria de Benjamin, com o título Filmando Lampeão! Na matéria, mais uma vez, foi questionado o fato do bando de cangaceiros ainda estar solto.
+ 
+O Cruzeiro, 6 de março de 1937
+ 
+As fotografias dos cangaceiros em poses que transmitiam orgulho e segurança irritaram o presidente Getulio Vargas, fato que impulsionou o definitivo esforço de repressão que exterminaria os bandoleiros do sertão. Além disso, o documentário sobre Lampião foi apreendido.
+Não poderá ser exibido o filme de Lampião! Com essa manchete na primeira página do jornal O Povo, de 3 de abril de 1937, ilustrada com uma fotografia de Benjamin ladeando Lampião e Maria Bonita, era informado que o documentário sobre o cangaceiro deveria ser apreendido, por ordem do dr. Lourival Fontes (1899 – 1967), diretor do Departamento de Imprensa e Propaganda, durante o governo de Getulio Vargas (1882 – 1954). O filme não poderia ser exibido nos cinemas do país, por atentar contra os créditos da nacionalidade.
+Foi publicada no Correio do Ceará, 7 de abril de 1937, a transcrição da ordem dada por Lourival Fontes, que por telegrama determinou a apreensão do filme Lampião, que se exibia em Fortaleza:
+
+‘Secretário Segurança Pública Estado do Ceará – Fortaleza.
+Tendo chegado ao conhecimento do Departamento Nacional de Propaganda, estar sendo annunciado ou exhibido na capital ou cidades desse Estado, um filme sobre Lampeão, de propriedade de “Aba Film”, com sede á rua Major Facundo, solicito vos digneis providenciar no sentido de ser apprehendido immediatamente o referido filme, com todas suas copias, e respectivo negativo, e remettel-os a esta repartição, devendo ser evitado seja o mesmo negociado com terceiros e enviado para fora do paiz.
+Attenciosos cumprimentos. Lourival Fontes, director do Departamento Nacional de Propaganda do Ministério da Justiça.’
+
+Em 10 de abril, houve uma exibição especial do filme, às 17h, no Cinema Moderno, em Fortaleza, para o chefe de Polícia, o capitão Manuel Cordeiro Neto (1901 – 1992), assistido também pelo secretário do Interior do Ceará, pelo juiz federal de Fortaleza,pelos delegados de polícia da capital, pelos comandantes do 23º Batalhão de Caçadores do Exército e da Força Pública do Estado, por representantes de jornais e de empresas telegráficas. Em 22 de junho de 1979, o então já reformado general do Exército Brasileiro, Cordeiro Guerra, declarou sobre o filme apreendido: Se nada do conteúdo do filme ficou na minha lembrança de maneira viva, é porque as cenas a que assisti, em exibição especial que solicitei, ao lado de um conjunto de autoridades, eram triviais, coisas domésticas.
+Foi publicado o artigo O reduto do “Caldeirão” do beato José Lourenço, de autoria de Benjamin Abrahão (Diário de Pernambuco, 2 de junho de 1937). Fiel seguidor do Padre Cícero, José Lourenço (1872 – 1946) foi o líder da comunidade Caldeirão de Santa Cruz do Deserto, localizada na zona rural do Crato, extinta em 9 de maio de 1937. Segundo revelou a seu sobrinho Aziz, escreveu o artigo para sobreviver publicamente e regressar à imprensa.
+Na edição de 7 de agosto do Diário de Pernambuco, o poeta e folclorista Ascenso Ferreira (1895 – 1965) convidava para a vaquejada de Surubim, em Pernambuco, evento de maior destaque dos esportes regionais do estado. Benjamin, que estava hospedado, no Recife, na casa de dona Wadia, matriarca da família Elihimas, viu na convocação para as vaquejadas uma oportunidade de trabalho. Como uma das vaquejadas mais tradicionais acontecia na fazenda Barra Formosa, no Pau Ferro de Águas Belas, Benjamin foi para lá a tempo de se engajar nos preparativos da festa, que aconteceria em novembro. A fazenda era de propriedade do coronel Audálio Tenório de Albuquerque (1906 – ?), grande amigo de Lampião. O coronel Audálio deixou que Benjamin explorasse a jogatina durante o evento, além de instalar tendas de bebidas e aperitivos.
+Chegou em Pau Ferro um carregamento da Aba Film, de Fortaleza, para Benjamin: centenas de fotografias em diferentes tamanhos, com predominância do formato de cartão-postal, de cangaceiros dos vários grupos de Lampião. Começaria, então, a distribuir seu produto, barato e muitíssimo vendável, pelas feiras livres e pelo comércio fixo de Pernambuco. Começaria, assim, a tentar recuperar parte do prejuízo causado pela apreensão do filme que repercutiu sobre o patrimônio da Aba Film e da Benjamin & Cia, do Juazeiro.
+Em meados de outubro, as fotografias estavam espalhadas por todo o sertão. O major Lucena Maranhão, comandante da unidade sertaneja da polícia de Alagoas, homem temido em todo o nordeste e perseguidor ferrenho de Lampião, mandou recolher as imagens. Benjamin, então, tocou fogo nas fotografias estocadas. Benjamin foi a Recife obter do Diário de Pernambuco uma declaração de que está em Pau Ferro como colaborador do jornal.
+Em 5 de novembro, foi aberta a vaquejada do Pau Ferro, com a presença do major Lucena Maranhão. Benjamin fotografou o evento e quatro imagens produzidas por ele foram publicadas no Diário de Pernambuco de 13 de novembro de 1937. Também realizou um filme documental do acontecimento, fazendo com que a vaquejada do Pau Ferro se tornasse a primeira a ser filmada em Pernambuco. Fotografou uma cena inédita: o coronel Audálio Tenório, maior amigo de Lampião em Pernambuco passeando de braços dados com Lucena Maranhão, maior inimigo do cangaceiro em Alagoas, ladeados pelos coronéis Gerson Maranhão e João Nunes.
+Em 10 de novembro, foi estabelecido o Estado Novo, regime político fundado pelo presidente Getulio Vargas (1882 – 1954). Vigorou até 31 de janeiro de 1946.
+No Diário de Pernambuco, de 13 de novembro de 1937, foram publicadas quatro fotografias da vaquejada da fazenda Barra Formosa, em Águas Belas, produzidas por Benjamin Abrahão.
+Em 23 de novembro, Benjamin filmou a vaquejada da fazenda Lagoa Queimada e, em 25 de novembro, a da fazenda Riachão, ambas no município de Quebrangulo, em Alagoas.
+O tenente Luís Mariano da Cruz, sertanejo de São José de Belmonte, oficial a serviço da volante de Pernambuco revelou em entrevista dada ao Diário de Pernambuco, de 24 de novembro de 1937, que Lampião fazia uso de seus retratos com salvo-condutos autenticados com suas assinaturas. Esse retratos foram confeccionados pela Aba Film, em operação intermediada por Benjamin. Na entrevista, o tenente traçou os roteiros de Lampião, descreve o poderio bélico de seu bando e acusa alguns militares de omissão ou cumplicidade. Sobre a confecção dos cartões para Lampião, foi feito um relato por Chico Albuquerque, na Gazeta de Alagoas, de 2 de agosto de 1938.
+1938 - O lucro das bancas de vaquejada foi desastroso. Benjamin discutiu com um de seus auxiliares, tendo chamado um deles de ladrão.
+O coronel Audálio Tenório, com quem Benjamin tinha negócios, cobrou o que havia sido previsto na comercialização de tudo o que fornecera a Benjamin, que prometeu levantar a quantia com seus familiares no Recife. Emitiu promissórias que venceriam em 18 de fevereiro.
+No Recife, hospedou-se com dona Wadia, a matriarca dos Elihimas, e com o primo Francisco, na casa nº 579, da avenida Rui Barbosa, no bairro das Graças. Solicitou a Francisco três contos de réis e teve seu pedido negado.
+De 5 a 9 de fevereiro, brincou o carnaval e foi todas as noites aos bailes do Clube Internacional. Na Quarta-Feira de Cinzas, embriagado, quase foi atropelado por um bonde da rua Nova.
+Em 18 de fevereiro, Benjamin nem resgatou as promissórias nem deu satisfações. Seguiu tentando conseguir empréstimos entre Recife e Juazeiro.
+No início de maio, Benjamin voltou a Pau Ferro, município de Águas Belas, dizendo que pagaria tudo o que devia. Alguns atribuíram a ousadia de seu retorno ao fato de estar apaixonado por Alaíde Rodrigues de Siqueira. Ao amigo Antônio Paranhos, confessou não ter nem a metade do que devia e que estava pensando em vender seu silêncio, já que com seu convívio com Lampião e seu bando em 1936 teria tido acesso a várias informações que seriam incômodas para a elite sertaneja.
+Segundo o ex-cangaceiro Manuel Dantas Loiola, conhecido como Candeeiro, em 6 de maio, véspera do assassinato de Benjamin, Lampião e seu bando estavam acampados perto do riacho do Mel, a menos de duas léguas do Pau Ferro.
+Benjamin Abrahão foi assassinado com 42 facadas, em Águas Belas, hoje Itaíba, no interior de Pernambuco, em 7 de maio de 1938. Saiu do bar rumo à pensão onde se hospedava quando as ruas principais da cidade ficaram às escuras. Foi atacado, gritou por socorro e seu amigo Antônio Paranhos foi ao seu encontro, mas foi detido pela voz de um desconhecido que o avisou Arreda, cabra, que é encrenca (Diário da Noite, 9 de maio de 1938, na quarta coluna,  Diário de Pernambuco, 10 de maio de 1938, na quarta coluna e Diário de Pernambuco, 19 de maio de 1938, na quinta coluna). Seu assassino confesso foi Zé da Rita, marido de Alaíde Rodrigues de Siqueira, por quem Benjamin estaria apaixonado. Mas o fato dele ser franzino e paralisado da cintura para baixo gerou dúvidas quanto a sua capacidade de dominar Benjamin, que era um homem corpulento. Sendo assim, os motivos de sua morte ainda são misteriosos. As hipóteses vão desde a possibilidade de um crime passional até a de queima de arquivo, já que ele sabia do envolvimento de autoridades com Lampião. Em sua missa de sétimo dia, só estava presente o padre celebrante, Nelson de Barros Carvalho.
+Em 28 de julho, na grota de Angico, em Sergipe, o bando de Lampião foi cercado por uma força volante comandada pelo tenente João Bezerra da Silva (1898 – 1970), pelo aspirante Ferreira Mello e pelo sargento Aniceto da Silva. Além de Lampião, foram mortos sua mulher, Maria Gomes de Oliveira (c. 1911 – 1938), conhecida como Maria Bonita, e os cangaceiros Alecrim, Colchete, Elétrico, Enedina, Luiz Pedro, Macela, Mergulhão, Moeda e Quinta-feira. Foram todos decapitados (Jornal do Brasil, 30 de julho de 1938, na primeira coluna, Diário de Pernambuco, 30 de julho de 1938, com uma fotografia de autoria de Benjamin, Diário de Pernambuco, 31 de julho de 1938, 3 de agosto de 1938 ).
+ 
+Benjamin Abrahão. Os bandos de Lampião, Juriti e Luis Pedro, com Nenê, 1936. Sertão nordestino, nas proximidades do rio São Francisco / Acervo IMS
+ 
+Publicação de uma entrevista com Chico Albuquerque, que contou toda a história de Benjamin e Lampião (Diario da Manhã (PE), 31 de julho de 1938, terceira coluna).
+ 
+Andrea C. T. Wanderley
+Editora e pesquisadora do portal Brasiliana Fotográfica
+Para a elaboração dessa cronologia, a pesquisa da Brasiliana Fotográfica valeu-se, principalmente, dos livros Iconografia do Cangaço, organizado por Ricardo Albuquerque, e Benjamin Abrahão – Entre anjos e cangaceiros, de Frederico Pernambucano de Mello, além de inúmeras consultas à Hemeroteca Digital da Biblioteca Nacional.
+ 
+Andrea C. T. Wanderley
+Editora-assistente e pesquisadora do portal Brasiliana Fotográfica
+ 
+Algumas novas informações foram incorporadas ao texto em janeiro de 2023.
+*Este parágrafo foi acrescentado ao artigo em 22 de fevereiro de 2023.
+Esse artigo passou a integrar a série Conflitos, em 20 de março de 2026.
+ 
+Acesse aqui o artigo Samba traz de volta Lampião, publicado no portal Testemunha Ocular, em 24 de fevereiro de 2023.
+ 
+Links para outras publicações da Brasiliana Fotográfica sobre conflitos:
+A Revolta da Armada
+Guerra de Canudos pelo fotógrafo Flavio de Barros
+Registros da Guerra do Paraguai (1864 – 1870)
+ 
+Fontes:
+AON, Farid. Do cedro ao mandacaru. Recife : Fida Editorial Comunicação Especializada, 1979.
+ALBUQUERQUE, Ricardo (org). Iconografia do Cangaço. São Paulo: Editora Terceiro Nome, 2012.
+ANDRADE, Joaquim Marçal de. Os cangaceiros in Revista de História da Biblioteca Nacional, 6 de abril de 2014.
+BARRETO, Ângelo Osmiro. Assim era Lampião e outras histórias. Minas Gerais : Sociedade Brasileira de Estudos Clássicos, 2012.
+CASCUDO, Luiz da Câmara. Vaqueiros e cantadores para jovens. Minas Gerais: Editora Itatiaia, 1984.
+Hemeroteca Digital da Biblioteca Nacional
+JASMIN, Élise. Cangaceiros. Apresentação de Frederico Pernambucano de Mello. São Paulo : Editora Terceiro Nome, 2006.
+LUSTOSA, Isabel. De olho em Lampião: violência e esperteza. São Paulo: Claro Enigma, 2011.
+MELLO, Frederico Pernambucano de. Benjamin Abrahão: entre anjos e cangaceiros. São Paulo: Escrituras, 2012.
+MELLO, Frederico Pernambucano de. Guerreiros do Sol. São Paulo: Girafa, 2003.
+MELLO, Frederico Pernambucano de. Estrelas de couro: a estética do cangaço. São Paulo: Escrituras, 2010.
+MELLO, Frederico Pernambucano de. Quem foi Lampião. Recife: Stahli, 1993.
+Site Cinema Cearense
+Site História do Cinema Brasileiro
+Site Miséria
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/5252` — `itens/20.500.12156.1_5252/`
+- `20.500.12156.1/5253` — `itens/20.500.12156.1_5253/`
+- `20.500.12156.1/5243` — `itens/20.500.12156.1_5243/`
+- `20.500.12156.1/5244` — `itens/20.500.12156.1_5244/`
+- `20.500.12156.1/5239` — `itens/20.500.12156.1_5239/`
+- `20.500.12156.1/5241` — `itens/20.500.12156.1_5241/`
+- `20.500.12156.1/5245` — `itens/20.500.12156.1_5245/`
+- `20.500.12156.1/5259` — `itens/20.500.12156.1_5259/`
+- `20.500.12156.1/5255` — `itens/20.500.12156.1_5255/`
+
diff --git a/wordpress/9679-a-fundacao-de-sao-luis-do-maranhao.md b/wordpress/9679-a-fundacao-de-sao-luis-do-maranhao.md
new file mode 100644
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--- /dev/null
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+---
+id: 9679
+url: "https://brasilianafotografica.bn.gov.br/?p=9679"
+titulo: "A fundação de São Luís do Maranhão"
+autor: "Andrea Wanderley"
+data: "2017-09-08T01:17:44+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/5266", "20.500.12156.1/5264", "20.500.12156.1/5265"]
+fetched_at: "2026-09-10T10:28:48.509Z"
+---
+
+# A fundação de São Luís do Maranhão
+
+Brasão de São Luís do Maranhão
+Com três imagens da capital do Maranhão, São Luís, produzidas por fotógrafos até hoje não identificados, e com a reprodução de seu mapa, datado de 1912, a Brasiliana Fotográfica lembra a fundação da cidade, em 8 de setembro de 1612. Localizada entre as baías de São Marcos e São José de Ribamar, na ilha Upaon-Açu, denominação que significa Ilha Grande - dada pelos índios tupinambás – São Luís é a única cidade do Brasil que foi fundada por franceses. Surgiu da tentativa francesa de criar a França Equinocial e o líder da expedição que fundou a cidade foi Daniel de la Touche.
+Posteriormente, São Luís foi invadida por holandeses e colonizada pelos portugueses. É a cidade natal dos escritores Aluísio de Azevedo (1857 – 1913), Arthur Azevedo (1855 – 1908), Ferreira Gullar (1930 – 2016), Gonçalves Dias (1823 – 1864), Graça Aranha (1868 – 1931) e Odylo Costa Filho (1914 – 1979); da cantora Alcione (1947-), do músico Catulo da Paixão Cearense (1866 – 1946) e do carnavalesco Joãozinho Trinta (1933 – 2011). Além disso, São Luís também é conhecida por ritmos como o bumba-meu-boi, o reggae e o tambor-de-crioula. O nome da cidade foi uma homenagem ao rei da França, Luís XIII (1601 – 1643).
+ 
+Acessando o link para as fotografias de São Luís do Maranhão disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Anônimo. Avenida Maranhense, c. 1910. São Luís, Maranhão / Acervo IMS
+ 
+Planta da cidade de São Luís, 1912 / Acervo FBN
+ 
+Anônimo. Praça Gonçalves Dias, c. 1910. São Luís, Maranhão / Acervo IMS
+ 
+Anônimo. Largo do Quartel, c. 1911. São Luís, Maranhão / Acervo IMS
+ 
+Leia na Brasiliana Iconográfica o artigo Franceses no Maranhão e tupinambás na França, publicado em 9 de fevereiro de 2021.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/5266` — `itens/20.500.12156.1_5266/`
+- `20.500.12156.1/5264` — `itens/20.500.12156.1_5264/`
+- `20.500.12156.1/5265` — `itens/20.500.12156.1_5265/`
+
diff --git a/wordpress/9688-aquedutos-do-rio-de-janeiro.md b/wordpress/9688-aquedutos-do-rio-de-janeiro.md
new file mode 100644
index 0000000..d41da1c
--- /dev/null
+++ b/wordpress/9688-aquedutos-do-rio-de-janeiro.md
@@ -0,0 +1,39 @@
+---
+id: 9688
+url: "https://brasilianafotografica.bn.gov.br/?p=9688"
+titulo: "Aquedutos do Rio de Janeiro"
+autor: "Andrea Wanderley"
+data: "2017-10-19T08:45:33+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/4433", "20.500.12156.1/2135", "20.500.12156.1/2767", "20.500.12156.1/205"]
+fetched_at: "2026-09-10T10:28:51.563Z"
+---
+
+# Aquedutos do Rio de Janeiro
+
+Georges Leuzinger. Arcos, Santa Thereza e Glória, c. 1867. Rio de Janeiro, RJ / Acervo Convênio Instituto Moreira Salles – Leibniz-Institut für Länderkunde
+ 
+Com uma seleção de fotografias produzidas por Augusto Malta (1864 – 1957), Georges Leuzinger (1813 – 1892), Marc Ferrez (1843 – 1923), Revert Henrique Klumb (c. 1826 – c. 1886) e por Editores & propriedade de Rodrigues & Co, a Brasiliana Fotográfica destaca imagens de aquedutos pertencentes aos acervos do Arquivo Nacional, do Instituto Moreira Salles, da Leibniz-Institut für Länderkunde e da Fundação Biblioteca Nacional, que integram o portal.
+O Aqueduto da Carioca, construído no século XVIII e também conhecido como Arcos da Lapa, é um símbolo do Rio de Janeiro antigo e um dos cartões postais da cidade.
+ 
+Marc Ferrez. Aqueduto da Carioca, também conhecido como Arcos da Lapa, 1905 / Acervo IMS
+ 
+Acessando o link para as fotografias de aquedutos disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Augusto Malta. Arcos da Lapa, c. 1905. Rio de Janeiro, RJ / Acervo IMS
+ 
+Há também, além de registros de outros aquedutos do Rio de Janeiro, imagens daqueles que foram construídos durante a realização de obras de abastecimento de água, ocorridas entre 1877 e a década de 1880, e que foram documentadas pelo fotógrafo Marc Ferrez.
+ 
+Marc Ferrez. Obras do abastecimento d’agua do Rio de Janeiro : Rio do Ouro : vista geral do aqueducto, ponte, caixas de reunião de arêa, etc, 1876-1882. Rio de Janeiro, RJ / Acervo FBN
+ 
+Acesse também o artigo Arcos da Lapa: de aqueduto a viaduto, publicado na Brasiliana Iconográfica, em 24 de outubro de 2019.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/4433` — `itens/20.500.12156.1_4433/`
+- `20.500.12156.1/2135` — `itens/20.500.12156.1_2135/`
+- `20.500.12156.1/2767` — `itens/20.500.12156.1_2767/`
+- `20.500.12156.1/205` — `itens/20.500.12156.1_205/`
+
diff --git a/wordpress/9714-no-primeiro-dia-da-primavera-as-cores-de-marc-ferrez-1843-1923.md b/wordpress/9714-no-primeiro-dia-da-primavera-as-cores-de-marc-ferrez-1843-1923.md
new file mode 100644
index 0000000..751a426
--- /dev/null
+++ b/wordpress/9714-no-primeiro-dia-da-primavera-as-cores-de-marc-ferrez-1843-1923.md
@@ -0,0 +1,90 @@
+---
+id: 9714
+url: "https://brasilianafotografica.bn.gov.br/?p=9714"
+titulo: "No primeiro dia da primavera, as cores de Marc Ferrez (1843 – 1923)"
+autor: "Andrea Wanderley"
+data: "2017-09-22T09:45:38+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/5347", "20.500.12156.1/5341", "20.500.12156.1/5361", "20.500.12156.1/5357", "20.500.12156.1/2575", "20.500.12156.1/5346"]
+fetched_at: "2026-09-10T10:28:54.773Z"
+---
+
+# No primeiro dia da primavera, as cores de Marc Ferrez (1843 – 1923)
+
+Marc Ferrez. Vichy – O jardim de rosas, c. 1916. Vichy, França / Acervo IMS
+ 
+O fotógrafo Marc Ferrez (1843 – 1923) iniciou suas experiências com fotografia colorida, em 1912, utilizando as placas autocromos Lumière, primeiro processo industrializado para esse fim, lançado comercialmente pela fábrica francesa, em 1907. Dedicou-se à fotografia estereoscópica em cores e as primeiras imagens coloridas realizadas nesse período são diferentes das fotografias panorâmicas e de grandes obras públicas, produzidas por ele no século XIX e na primeira década do século XX. São imagens do interior de sua casa e de sua intimidade familiar, onde aparecem sua mulher Marie (c. 1849 – 1914), seu filho Julio (1881 – 1946), sua nora Claire (1888 – 1980) e seus dois netos, Gilberto (1908 – 2000) e Eduardo. Nesse momento, Ferrez também refez, em cores, algumas das fotografias de paisagens, edificações e monumentos que se tornaram clássicas em preto e branco, como a Pedra de Itapuca, vistas do Jardim Botânico, o Theatro Municipal do Rio de Janeiro , o Palácio Monroe e a Pedra da Gávea, dentre outras.
+ 
+Marc Ferrez. Pedra de Itapuca, c. 1912. Niterói, Rio de Janeiro / Acervo IMS
+ 
+Pouco menos de um ano após a morte de sua esposa Marie, em 28 de junho de 1914, Ferrez foi, em abril de 1915, para a Europa. Em Paris, estava, segundo sua correspondência com seus filhos, entusiasmado e distraindo-se com a realização de fotografias coloridas. Já em 1917, referindo-se ao prenúncio do inverno ainda em setembro, ele emitiu em uma carta a seus filhos um dos poucos comentários sobre sua atividade fotográfica na época: “adeus às fotografias coloridas”.
+Acessando o link para as fotografias coloridas produzidas por Marc Ferrez disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+Ferrez voltou ao Brasil, em fevereiro de 1920, e pouco depois de um ano, em maio de 1921, partiu do Rio de Janeiro, rumo à França, onde permaneceu até agosto de 1922. Em Paris, instalou-se no Hotel Brebant. Em correspondência com Malia Frucht Ferrez (1890 – 1953), casada com seu filho Luciano Ferrez (1884 – 1955), Marc contou que havia produzido belas fotografias de flores, em sua visita ao roseiral do Parque de La Bagatelle, no Bois de Boulogne, local que frequentava enquanto Luciano e Malia estavam com ele em Paris, em 1919.
+ 
+Marc Ferrez. Jardins de Bagatelle, junho de 1917. Paris, França / Acervo IMS
+ 
+São alguns desses registros em cores produzidos no Rio de Janeiro e na Europa, que a Brasiliana Fotográfica destaca para celebrar com as cores de Ferrez a chegada da primavera, que se inicia hoje às 17h02 e termina em 21 de dezembro de 2017, às 13h28.
+ 
+Marc Ferrez. Vista do Pão de Açúcar tomada do morro da Urca, c. 1912. Rio de Janeiro, RJ / Acervo IMS
+ 
+ Pequeno perfil de Marc Ferrez
+ 
+Marc Ferrez. Marc Ferrez aos 33 anos de idade, c. 1876. Rio de Janeiro, RJ / Acervo IMS
+ 
+Marc Ferrez  foi um brilhante cronista visual das paisagens e dos costumes cariocas da segunda metade do século XIX e do início do século XX. Sua vasta e abrangente obra iconográfica se equipara a dos maiores nomes da fotografia do mundo. Estabeleceu-se como fotógrafo com a firma Marc Ferrez & Cia, em 1867, na rua São José, nº 96, e logo se tornou o mais importante profissional da área no Rio de Janeiro. Cerca de metade da produção fotográfica de Ferrez foi realizada na cidade e em seus arredores, onde registrou, além do patrimônio construído, a exuberância das paisagens naturais.
+Ferrez nasceu em 7 de dezembro de 1843, no Rio de Janeiro, cidade onde também faleceu, em 12 de janeiro de 1923. Foi o sexto e último filho de Zépherin (Zeferino) Ferrez (31/07/1797 – 22/07/1851) e Alexandrine Caroline Chevalier (18? – 1851). Seu pai, o escultor e gravador francês Zeferino, e seu tio Marc (Marcos) Ferrez (14/09/1788 – 31/03/1850), também escultor, chegaram ao Rio de Janeiro, via Nova York, conforme informado nos livros da polícia de Registros Estrangeiros guardados no Arquivo Nacional. Eram formados pela Escola de Belas Artes de Paris e passaram a integrar a Missão Francesa, um dos marcos do desenvolvimento das artes no Brasil, que havia se instalado na cidade em 1816, chefiada por Joachim Le Breton (1760 – 1819).
+ 
+Acessando o link para as fotografias de Marc Ferrez disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Marc Ferrez. Morro do Corcovado, c. 1912. Rio de Janeiro, RJ / Acervo IMS
+ 
+Colaboraram nessa pesquisa Ileana Pradilla Ceron e Mariana Newlands, ambas da equipe do Instituto Moreira Salles.
+Acesse aqui “Ferrez em cores”, com texto de Mariana Newlands, edição de Laura Liuzzi e narração de Guilherme Freitas, publicado pelo Instituto Moreira Salles, em 24 de maio de 2020.*
+ 
+Andrea C. T. Wanderley
+Editora-assistente e pesquisadora do portal Brasiliana Fotográfica
+ 
+*Esse link foi inserido nessa publicação em 27 de maio de 2020.
+ 
+Publicações da Brasiliana Fotográfica em torno da obra do fotógrafo Marc Ferrez 
+ 
+Marc Ferrez aos 33 anos, c. 1876. Rio de Janeiro, RJ / Acervo IMS
+O Rio de Janeiro de Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 30 de junho de 2015
+Obras para o abastecimento no Rio de Janeiro por Marc Ferrez , de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 25 de janeiro de 2016
+O brilhante cronista visual Marc Ferrez (7/12/1843 – 12/01/1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 7 de dezembro de 2016
+Do natural ao construído: O Rio de Janeiro na fotografia de Marc Ferrez, de autoria de Sérgio Burgi, um dos curadores da Brasiliana Fotográfica, publicada em 19 de dezembro de 2016
+Marc Ferrez , a Comissão Geológica do Império (1875 – 1878) e a Exposição Antropológica Brasileira no Museu Nacional (1882), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica,  publicada em 29 de junho de 2018
+Série “O Rio de Janeiro desaparecido” V – O quiosque Chopp Berrante no Passeio Público, Ferrez, Malta e Charles Dunlop, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 20 de julho de 2018
+Uma homenagem aos 175 anos de Marc Ferrez (7 de dezembro de 1843 – 12 de janeiro de 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 7 de dezembro de 2018 
+Pereira Passos e Marc Ferrez: engenharia e fotografia para o desenvolvimento das ferrovias, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 5 de abril de 2019
+Fotografia e ciência: eclipse solar, Marc Ferrez e Albert Einstein, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 24 de junho de 2019
+Os 180 anos da invenção do daguerreótipo – Os álbuns da Comissão Geológica do Império com fotografias de Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 19 de agosto de 2019
+Celebrando o fotógrafo Marc Ferrez (1843 – 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 4 de dezembro de 2019
+Uma homenagem da Casa Granado ao imperial sob as lentes de Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicada em 7 de fevereiro de 2020
+Ressaca no Rio de Janeiro invade o porão da casa do fotógrafo Marc Ferrez, em 1913, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado 6 de março de 2020
+Petrópolis, a Cidade Imperial, pelos fotógrafos Marc Ferrez e Revert Henrique Klumb, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 16 de março de 2020
+Bambus, por Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 5 de junho de 2020
+O Baile da Ilha Fiscal: registro raro realizado por Marc Ferrez e retrato de Aurélio de Figueiredo diante de sua obra, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 9 de novembro de 2020
+O Palácio de Cristal fotografado por Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 2 de fevereiro de 2021
+A Estrada de Ferro do Paraná, de Paranaguá a Curitiba, pelos fotógrafos Arthur Wischral (1894 – 1982) e Marc Ferrez (1843 – 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 22 de março de 2021
+Dia dos Pais – Julio e Luciano, os filhos do fotógrafo Marc Ferrez, e outras famílias, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 6 de agosto de 2021
+No Dia da Árvore, mangueiras fotografadas por Ferrez e Leuzinger, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 21 de setembro de 2021
+Retratos de Pauline Caroline Lefebvre, sogra do fotógrafo Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 28 de abril de 2022
+A Serra dos Órgãos: uma foto aérea e imagens realizadas pelos mestres Ferrez, Leuzinger e Klumb, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 30 de junho de 2022
+O centenário da morte do fotógrafo Marc Ferrez (1843 – 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 12 de janeiro de 2023
+O Observatório Nacional pelas lentes de Marc Ferrez, amigo de vários cientistas, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 29 de maio de 2023
+No Dia Mundial do Meio Ambiente, a potente imagem da Cachoeira de Paulo Afonso, por Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 5 de junho de 2023
+A Fonte Adriano Ramos Pinto por Guilherme Santos e Marc Ferrez, de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 18 de julho de 2023
+Os 180 anos de nascimento do fotógrafo Marc Ferrez (1843 – 1923), de autoria de Andrea C. T. Wanderley, editora e pesquisadora da Brasiliana Fotográfica, publicado em 7 de dezembro de 2023
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/5347` — `itens/20.500.12156.1_5347/`
+- `20.500.12156.1/5341` — `itens/20.500.12156.1_5341/`
+- `20.500.12156.1/5361` — `itens/20.500.12156.1_5361/`
+- `20.500.12156.1/5357` — `itens/20.500.12156.1_5357/`
+- `20.500.12156.1/2575` — `itens/20.500.12156.1_2575/`
+- `20.500.12156.1/5346` — `itens/20.500.12156.1_5346/`
+
diff --git a/wordpress/9787-memoria-das-lutas-feministas.md b/wordpress/9787-memoria-das-lutas-feministas.md
new file mode 100644
index 0000000..e127d2c
--- /dev/null
+++ b/wordpress/9787-memoria-das-lutas-feministas.md
@@ -0,0 +1,58 @@
+---
+id: 9787
+url: "https://brasilianafotografica.bn.gov.br/?p=9787"
+titulo: "Memória das lutas feministas"
+autor: "Andrea Wanderley"
+data: "2017-08-08T09:12:36+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/5030", "20.500.12156.1/5029", "20.500.12156.1/5025", "20.500.12156.1/5028", "20.500.12156.1/4942", "20.500.12156.1/5061"]
+fetched_at: "2026-09-10T10:28:58.385Z"
+---
+
+# Memória das lutas feministas
+
+Claudia Beatriz Heynemann e Maria do Carmo Rainho*
+Nas quase 500 fotografias que integram o fundo Federação Brasileira pelo Progresso Feminino – FBPF -, do Arquivo Nacional, evidencia-se a rede formada por mulheres em várias partes do mundo – dos Estados Unidos à Turquia, da Argentina à República Tcheca – na luta por seus direitos, por trabalho, educação, mas, sobretudo, por representatividade política através do voto.
+A estas imagens que informam sobre congressos, assembleias, alistamentos, encontros de caráter político e tantas iniciativas voltadas para o universo feminino somam-se retratos daquelas que romperam com os papéis reservados a elas, sobretudo, nos anos 1920 a 1940. São aviadoras: Ruth Rowland Nichols e Jean Gardner Batten; juízas de paz como Mabel Moir-Byres; as cientistas Marie Curie e Bertha Lutz; engenheiras como Carmen Portinho; políticas como Frances Coralie Perkins, secretária do Trabalho nos Estados Unidos, de 1933 a 1945, e a principal arquiteta do New Deal. Entre as brasileiras, destacam-se, ainda, as fotografias das primeiras eleitoras como Esther Caldas, no estado de Alagoas, e das mulheres eleitas, a começar por Alzira Soriano, a primeira prefeita do Brasil e da América do Sul.
+Acessando o link para as fotografias de memórias das lutas feministas disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+Ao posar no avião, um meio de transporte ainda recente, marcado pelo risco, a velocidade, a altitude, durante campanha pelo alistamento feminino, em 1928, no Rio Grande do Norte, Bertha Lutz evidencia a ousadia, um dos ingredientes que marcam a luta pelos direitos das mulheres e o papel da Federação pelo Progresso Feminino que ela havia fundado em 1922 **. Em 1928, ao homenagear Carrie Chapman Catt, primeira presidente da IWSA – International Woman Suffrage Alliance, criada em 1904, em um impresso em língua inglesa, a organização reconhecia dever sua existência a Chapman, reproduzindo ali o escudo da República brasileira e o avião com os dizeres “voto feminino”.[1]
+ 
+Anônimo. Berta Lutz na cidade de Natal, um dos locais em que fez campanha pelo voto feminino, 1928. Natal, Rio Grande do Norte / Acervo Arquivo Nacional
+ 
+O nascimento da FBPF, precedida pela Liga para a Emancipação Intelectual da Mulher, criada pela cientista Bertha Lutz, em 1919, era declaradamente vinculado ao movimento sufragista internacional, principal tendência do feminismo no início do século XX, entre as demais reivindicações de igualdade e independência. A partir dali, seriam promovidos diversos encontros, seguindo a tendência da belle époque, como o Congresso Internacional Feminista de 1922 no Rio de Janeiro, ao qual compareceu Carrie Chapman, ou o IX Congresso da Aliança Internacional Feminista, no ano seguinte, realizado em Roma.
+ 
+Anônimo. IX Congresso da Aliança Internacional pelo Sufrágio Feminino, maio de 1923. Roma, Itália / Acervo Arquivo Nacional
+ 
+O internacionalismo feminista está presente nessas fotografias, em diálogo com os encontros nacionais que, ao final dos anos 1920 e nos anos 1930, se sucedem, incluindo aqueles com o presidente Getulio Vargas. Este último ocorreu durante o III Congresso Nacional Feminista no Rio de Janeiro quando Bertha Lutz já ocupava a vaga de deputada federal na vaga deixada pelo titular. Vista em retrospecto, a recepção no Catete ordena a marcha dos acontecimentos a partir da Revolução de 1930 de cujos líderes as integrantes da FBPF, sobretudo cariocas, haveriam de se aproximar.
+ 
+Anônimo. Participantes do III Congresso Nacional Feminista em audiência com presidente Vargas, 1936. Rio de Janeiro, RJ / Acervo Arquivo Nacional
+ 
+O grupo sorridente de 1931 é formado pelas delegadas ao II Congresso Internacional Feminista. Reunidas na praia deserta e invernal do Recreio dos Bandeirantes, registra entre suas fileiras Carmem Portinho, uma das fundadoras e vice-presidente da Federação. O evento teve em suas sessões uma representante do governo nomeada por decreto. No ano seguinte o novo código eleitoral estendeu o direito de voto às brasileiras.
+ 
+Anônimo. Excursão das participantes do II Congresso Internacional Feminista ao Recreio dos Bandeirantes no Rio de Janeiro, junho de 1931. Rio de Janeiro, RJ / Acervo Arquivo Nacional
+ 
+Uma das fotografias mais representativas das lutas feministas e do espaço ocupado pelas mulheres na política nas primeiras décadas do século XX faz parte desta amostra de imagens. Nela, temos Maria José Salgado Lages, primeira deputada eleita pela Assembleia Legislativa do Estado de Alagoas, circundada por deputados, todos eles homens, após a cerimônia de posse em Maceió, em 1935. Elegantemente vestida para os padrões da época – conforme a moda europeia de vestidos mais longos, retos, com pregas até o meio da perna e tecidos encorpados e escuros, adequados à crise econômica dos anos 1930, Maria José não se furta, em meio à austeridade que faz da sua indumentária quase uma versão feminina dos ternos, a escolher bolsa e luvas brancas, cor também utilizada para os detalhes da parte superior do vestido. Frescor e juventude num visual sério, conforme pedia a solenidade da ocasião.
+ 
+Maria José Salgado Lages, primeira mulher eleita deputada da Assembleia Legislativa do Estado de Alagoas e deputados após cerimônia de posse em Maceió, 26/05/1935. Maceió, Alagoas / Acervo Arquivo Nacional
+ 
+Àquela época, a deputada, também conhecida como Lily Lages, nascida em Maceió, havia trilhado um caminho bastante rico para uma moça de 28 anos: estudou em Olinda, em escola fundada por beneditinas alemãs; formou-se na Faculdade de Medicina da Bahia (1931), enfrentando a oposição do pai; foi a única mulher a pertencer ao Grêmio Literário Guimarães Passos, onde tomou posse em 1931; fundou a Associação pelo Progresso Feminino, em Alagoas (1932). Antes de se eleger já lutara pela instituição de cursos de puericultura e economia doméstica nos estabelecimentos de ensino secundário, como forma de combater a mortalidade infantil. Longe de uma fragilidade que seu corpo franzino pode expressar, em meio a tantos homens de terno, Maria José e seu sorriso discreto evidenciam que aquele instante era apenas um passo em uma trajetória de conquistas, em meio a batalhas enfrentadas em diferentes campos e há muito tempo.
+ 
+Anônimo. Primeiras eleitoras do Brasil na cidade de Natal, 1928. Natal, Rio Grande do Norte / Acervo Arquivo Nacional
+ 
+ 
+[1] International Women’s News / Nouvelles Féministes Internationales. Centenary Edition 1904-2004.
+ 
+*Claudia Beatriz Heynemann – Doutora em História | Pesquisadora do Arquivo Nacional e Maria do Carmo Rainho – Doutora em História | Pesquisadora do Arquivo Nacional
+** Esse trecho do texto e a legenda da fotografia abaixo dele foram alterados em 5 de junho de 2019.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/5030` — `itens/20.500.12156.1_5030/`
+- `20.500.12156.1/5029` — `itens/20.500.12156.1_5029/`
+- `20.500.12156.1/5025` — `itens/20.500.12156.1_5025/`
+- `20.500.12156.1/5028` — `itens/20.500.12156.1_5028/`
+- `20.500.12156.1/4942` — `itens/20.500.12156.1_4942/`
+- `20.500.12156.1/5061` — `itens/20.500.12156.1_5061/`
+
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+---
+id: 9800
+url: "https://brasilianafotografica.bn.gov.br/?p=9800"
+titulo: "O fotógrafo português Francisco du Bocage (14/04/1860 – 22/10/1919)"
+autor: "Andrea Wanderley"
+data: "2017-10-30T11:47:37+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/2047", "20.500.12156.1/2052", "20.500.12156.1/2048"]
+fetched_at: "2026-09-10T10:29:01.586Z"
+---
+
+# O fotógrafo português Francisco du Bocage (14/04/1860 – 22/10/1919)
+
+O fotógrafo português Francisco du Bocage (14/04/1860 – 22/10/1919)*
+ 
+Francisco du Bocage em primeiro plano. Fotografia de 1907 publicada na página 224 do livro Railways of Brazil in Postcards and Souvenir Albums (2005).
+ 
+Considerado um dos mais importantes fotógrafos que atuava em Pernambuco na virada do século XIX para o XX, pouco se conhece da biografia de Francisco du Bocage (1860 – 1919), que intitulava-se fotógrafo artista, evidenciando sua preocupação com o valor estético de sua produção. Foi autor de uma importante documentação de Olinda e também do Recife. Seus registros, muitos dos quais foram editados como cartões-postais, revelaram a capital pernambucana, a Veneza brasileira, no auge de sua beleza. Documentou, também, obras do porto do Recife durante as administrações dos governadores Herculano Bandeira de Melo (1850 – 1916), Emídio Dantas Barreto (1850 – 1931) e Manuel Borba (1864 – 1928), no período entre 1908 e 1919. Sua obra fotográfica registrou o processo de modernização da cidade. 
+ 
+Francisco du Bocage. Recife Antigo, c. 1910. Recife, Pernambuco / Acervo IMS
+ 
+Acessando o link para as fotografias de Francisco du Bocage disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Foi saudado no Jornal do Recife como hábil fotógrafo português (Jornal do Recife, 14 de março de 1895, na quarta coluna), mas algumas publicações se referem a ele como francês. Bocage foi correspondente, no Recife, do Jornal do Brasil e da Revista da Semana. Foi também dono de uma oficina de chapéus para senhoras e crianças e, em um período, ofereceu serviços de massagem e de ginástica médica sueca em seu estabelecimento na rua da Imperatriz, nº 31.
+Segundo um documento de identificação expedido em 10 de abril de 1918, no Recife, Bocage era português, naturalizado brasileiro, casado, tinha 1m68 de altura, olhos castanhos escuros, cabelos grisalhos, bigodes brancos, barba raspada e sua profissão era comerciante. Traz ainda uma imagem e a assinatura do fotógrafo. Esse documento foi trazido aos IMS, em fins de 2018, por seu bisneto, Sergio du Bocage.
+ 
+
+Documento de identificação de Francisco du Bocage, trazido aos IMS, em fins de 2018, pelo bisneto do fotógrafo, Sergio du Bocage.
+ 
+Sabe-se que foi casado com a alemã Anna du Bocage, com quem teve quatro filhos: Beatriz Augusta, Dinah, Daniel e George. Faleceu em 22 de outubro de 1919, na cidade de Bezerros, no interior de Pernambuco.
+ 
+Cronologia de Francisco du Bocage (1860 – 1919)
+ 
+Francisco du Bocage. Porto do Recife, c. 1910. Recife, Pernambuco / Acervo IMS
+ 
+1860 –  Nascimento de Francisco du Bocage, em 14 de abril de 1860, em Portugal, filho de Albino José Pereira e Anna Maria de Oliveira Bocage.
+1889 – Francisco du Bocage seria o diretor do curso noturno de Escrituração Mercantil e Línguas, em Salvador, na rua Conselheiro Pedro Luis, n. 38 (Diário do Povo, 15 de maio de 1889, na última coluna). Nesse ano, foi publicado no Almanach Literário um poema , de sua autoria de Francisco Bocage, intitulado “Chromo”. Seria o próprio fotógrafo ou um homônimo?
+1892 – Francisco du Bocage chegou no Recife a bordo do vapor nacional Olinda, vindo do sul do Brasil (Diário de Pernambuco, 17 de fevereiro de 1892, na segunda coluna).
+No ateliê do fotógrafo, pintor, escultor, músico, colecionador e antiquário Alfredo Ducasble (18? – ?), localizado na rua Barão da Vitória, nº 65, no Recife, Bocage expôs chapéus e capotas (Diário de Pernambuco, 24 de fevereiro de 1892, quarta coluna e Jornal do Recife, 24 de fevereiro de 1892, terceira coluna).
+ 
+Diário de Pernambuco, 24 de fevereiro de 1892
+ 
+1894 – Francisco du Bocage declarou, em 11 de janeiro de 1894, a compra da oficina de chapéus para senhoras e crianças do sr. A. Damour, localizada na rua da Imperatriz, 31, que passaria a ser dirigida  pela modista A. du Bocage, sua esposa, Anna. Qualquer reclamação a fazer sobre venda e compra da dita oficina deverá ser dirigida ao signatário deste até o dia 20 do corrente mês, sob pena de nenhum efeito (Diário de Pernambuco, 14 de janeiro de 1894, na terceira coluna).
+Nascimento da primeira filha do casal, Beatriz Augusta du Bocage, em 2 de agosto de 1894.
+Produziu uma fotografia do cruzador Benjamin Constant, quando o navio esteve no Recife (Jornal do Recife, 13 de setembro de 1894, na sexta coluna).
+O Diário de Pernambuco agradeceu o oferecimento feito por Bocage de três esplêndidas fotografias de sua autoria (Diário de Pernambuco, 29 de setembro de 1894, quarta coluna).
+ 
+Diário de Pernambuco, 29 de setembro de 1894
+ 
+Bocage, do Centro Fotográfico Pernambucano, voltou a presentear o Diário de Pernambuco, dessa vez com duas belíssimas fotografias com cenas movimentadas, tomadas rapidamente, instantaneamente. São ambas de admirável perfeição e dão a exata medida não só da excelência do aparelho fotográfico empregado, mas também da habilidade do operador (Diário de Pernambuco, 17 de outubro de 1894, na quarta coluna).
+1895 – Ofereceu ao Jornal do Recife uma fotografia de sua autoria. No agradecimento do jornal, foi saudado como um hábil fotógrafo português (Jornal do Recife, 14 de março de 1895, na quarta coluna).
+Bocage colocou à venda retratos de Manoel Ferreira de Assumpção, assassino de Maria Joaquina, personagem de um crime de esquartejamento ocorrido em Pernambuco.
+Ofereceu ao Jornal do Recife, fotografias da parte externa do Colégio Salesiano (Jornal do Recife, 4 de julho de 1895, na quinta coluna).
+Fotografou a Estrada de Ferro Central de Pernambuco, durante uma visita que várias autoridades e engenheiros fizeram a Caruaru quando os trilhos chegaram à referida cidade (Jornal do Recife, 3 de agosto de 1895, na sétima coluna).
+1896 – Foi anunciada a conclusão e a abertura ao público do ateliê da Empresa Centro Artístico Fotográfico, na rua da Imperatriz, 31, sob a direção técnica de Bocage (Jornal do Recife, 5 de janeiro de 1896, na sétima coluna).
+ 
+Jornal do Recife, 5 de janeiro de 1896
+ 
+A Recebedoria do Estado de Pernambuco deferiu um pedido de Bocage (Diário de Pernambuco, 21 de abril de 1896,  primeira coluna).
+Bocage fotografou sua filha Beatriz com um chapéu formado pelo Jornal do Recife. O registro foi classificado pelo periódico como um esplêndido reclame (Jornal do Recife, 4 de junho de 1896, quarta coluna).
+Nascimento de sua filha, Dinah du Bocage, em 12 de junho de 1896.
+No mesmo endereço do ateliê da Empresa Centro Artístico Fotográfico, na rua da Imperatriz, 31, Anna du Bocage continuava a modernizar chapéus e capotas, cingindo-se às prescrições dos mais rigorosos figurinos (Jornal do Recife, de outubro de 1896, última coluna). O anúncio é publicado outras vezes ao longo do ano e também em janeiro do ano seguinte.
+1898 – Bocage havia importado da França envelopes, cartões, chaminés de vidro e obras de cobre (Jornal do Recife, 21 de abril de 1898, segunda coluna e Diário de Pernambuco, 30 de abril de 1898, última coluna).
+Nascimento de seu filho, George.
+1899 – Bocage estava listado como um dos devedores do imposto das casas comerciais do Recife, no endereço rua da Imperatriz, 31 (Diário de Pernambuco, 3 de julho de 1899, segunda coluna).
+1901 – Bocage estava listado como um dos devedores do imposto de bombeiros das casas comerciais do Recife. Seu endereço era ainda rua da Imperatriz, 31 (Jornal do Recife, 3 de janeiro de 1901, quinta coluna).
+1904 – O British Colony Photo Club anunciou que tinha uma carta endereçada a Francisco du Bocage, na rua do Apolo, n. 42 (A Província, 12 de março de 1904, primeira coluna).
+Bocage fotografou a inauguração do Asilo Magalhães Bastos, na Várzea, no Recife (Jornal Pequeno, 27 de junho de 1904, segunda coluna).
+Em Igarassu, Bocage fotografou a inauguração de uma fábrica de cimento da firma Cunha & C. Segundo a notícia, era a primeira fábrica do gênero a funcionar no Brasil (A Província, 17 de novembro de 1904, última coluna).
+Foi noticiado que Bocage deu de presente ao jornal A Província uma fotografia da fábrica de cimento São José, em Maria Farinha, e outra da construção do quarto fio telegráfico para Olinda. Na época, o fotógrafo residia na rua Hospital Pedro II, n.5 (A Província, 29 de novembro de 1905, sexta coluna).
+1905 – Fotografou a visita de oficiais da canhoneira portuguesa Pátria ao Recife (Diário de Pernambuco, 29 de agosto de 1905, última coluna, Diário de Pernambuco, 30 de agosto de 1905, sexta coluna e Jornal do Recife, 30 de agosto de 1905,  última coluna).
+Bocage retratou os convidados para o piquenique dos alunos do Colégio 7 de setembro, realizado no engenho Valha-me Deus. Na ocasião, o futuro magnata das comunicações no Brasil, Francisco de Assis Chateaubriand Bandeira de Mello (1892 – 1968), e seu irmão, Oswaldo, recitaram poesias. Seu pai, o sr. Francisco José Chateaubriand Bandeira de Mello, presentou o Jornal do Recife com uma das fotografias do piquenique produzida por Bocage (Jornal do Recife, 10 de setembro de 1905, primeira coluna e Jornal do Recife, 28 de outubro de 1905, última coluna).
+1906 - Bocage fotografou a visita do presidente da República eleito Afonso Pena (1847 – 1909) a Carpina, em Pernambuco (A Província, 8 de junho de 1906, sexta coluna).
+Era o correspondente em Pernambuco do periódico Jornal do Brasil e da Revista da Semana, ambos do Rio de Janeiro.
+Ofertou ao jornal A Província duas fotografias de sua autoria da chegada de Joaquim Nabuco (1849 – 1910) no Recife (A Província, 19 de julho de 1906, quarta coluna).
+ 
+A Província, 19 de julho de 1906
+ 
+Anna Luiza Bocage, esposa de Francisco, foi distinguida com a carta de assistente pelo Hospital Pedro II por ter sido aprovada no curso de obstetrícia (A Província, 26 de novembro de 1906, quinta coluna).
+O postal abaixo, publicado no site www.delcampe.net, tem sua produção atribuída a Francisco du Bocage, em 1906. Traz uma imagem do próprio no ato de fotografar.
+ 
+
+ 
+1907 – Foram anunciados os serviços da parteira alemã, Mme. A. Luise Hurst du Bocage. Pouco depois, foi anunciada a transferência de sua residência para a rua da Imperatriz, 31. Antes, residia na rua Hospital Pedro II, n. 5 (A Província , 27 de novembro de 1906, segunda coluna). Ainda em 1907, foi anunciada sua nova residência na rua do Dr. Rosa e Silva, 31.  A. Luise Hurst du Bocage é Anna du Bocage, mulher de Francisco (Jornal do Recife, 26 de janeiro de 1907, sexta coluna, Jornal do Recife, 8 de março de 1907, quinta coluna e Jornal do Recife, 12 de março, primeira coluna).
+Bocage anunciou seus serviços de massagem e de ginástica médica sueca diversas vezes ao longo de 1907 (Jornal do Recife, 5 de abril de 1907, terceira coluna).
+ 
+Jornal do Recife, 5 de abril de 1907 
+ 
+No anúncio veiculado pelo Jornal do Recife, 4 de julho de 1907, terceira coluna, Bocage explicava seu trabalho como massagista e dos métodos que utilizava em seus exercícios físicos, além de apresentar Mme du Bocage como parteira e massagista.
+ 
+Jornal do Recife, 4 de julho de 1907
+ 
+ 
+1908 – Chegou à Alfândega do Recife, proveniente de Hamburgo, na Alemanha, no vapor alemão San Nicola, aparelhos fotográficos importados por Bocage (Diário de Pernambuco, 31 de março de 1908, terceira coluna).
+No vapor brasileiro Bahia, chegaram, de novo de Hamburgo, artigos fotográficos para Bocage (Diário de Pernambuco, 26 de julho de 1908, terceira coluna).
+Bocage possuía produtos em armazéns da Alfândega do Recife (Jornal do Recife, 8 de agosto de 1908, terceira coluna).
+No Recife, Bocage registrou o plantio de aglaias na rua Camarão, obedecendo ao plano traçado pelo ilustre doutor Archimedes de Oliveira, prefeito desta capital  para o embelezamento desta cidade (Diário de Pernambuco, 19 de setembro de 1908, quarta coluna).
+1909 – Bocage fotografou a festa realizada pelo Instituto de Proteção à Infância (A Província, 26 de janeiro de 1909,  quinta coluna).
+Chegaram ao porto do Recife, a bordo do vapor alemão Corrientes, proveniente de Nova York, placas fotográficas importadas por Bocage (Diário de Pernambuco, 4 de fevereiro de 1908, quinta coluna).
+O escriturário Lacerda de Almeida, da Recebedoria do Estado, cientificou ao sr. F. du Bocage, a rua do dr. Rosa e Silva n. 31 a coleta de um imposto no valor de 200$000 (Diário de Pernambuco, 26 de fevereiro de 1909, sexta coluna).
+Chegaram ao porto do Recife, provenientes de Hamburgo, na Alemanha, a bordo do vapor alemão Etruria, quatro caixas de artigo para farmácia importadas por Bocage (Diário de Pernambuco, 7 de abril de 1909, terceira coluna).
+No vapor alemão Petrópolis, vindo de Hamburgo, na Alemanha, chegaram no porto de Recife 4 caixas de material fotográfico importados por Bocage (Diário de Pernambuco, 24 de julho de 1909, quinta coluna).
+Bocage foi um dos autores do serviço fotográfico do Álbum de Pernambuco, organizado pelo jornalista Manuel Monteiro, cuja impressão ficou a cargo da casa do comendador Francisco Pastor. Os outros fotógrafos foram Manuel Tondella, Fernando Piereck, João José de Oliveira, Umbelino Silva, Mario Ribeiro e Luiz Santiago (Diário de Pernambuco, 24 de agosto de 1909, última coluna e Jornal Pequeno, 24 de agosto de 1909, última coluna).
+ 
+Diário de Pernambuco, 24 de agosto de 1909
+ 
+No vapor alemão São Paulo, chegada de material fotográfico, importado de Hamburgo por Bocage (Diário de Pernambuco, 4 de novembro de 1909, quarta coluna).
+Foram enterradas no Cemitério de Santo Amaro, com um intervalo de 9 dias, Beatriz Bocage, de 15 anos, e Carmen du Bocage, de 16 anos. A Brasiliana Fotográfica acredita que, provavelmente, elas eram filhas de Anna e Francisco du Bocage (A Província, 25 de novembro de 1909, segunda coluna e A Província, 30 de novembro de 1909, segunda coluna).
+1910 – Bocage continuava a importar artigos fotográficos (Diário de Pernambuco, 19 de fevereiro de 1910, quarta coluna;  10 de março de 1910, na quinta coluna; 7 de maio, quinta coluna; 5 de junho, quarta coluna;17 de setembro, quarta coluna; 5 de outubro, sexta coluna).
+1911 – A administração dos Correios publicou que Anna e Francisco du Bocage estavam na relação de pessoas que haviam autorizado a entrega de suas correspondências registradas (Jornal do Recife, 21 de julho de 1911, terceira coluna).
+Durante o ano, Bocage seguiu fazendo importações de artigos fotográficos (Diário de Pernambuco, 28 de maio de 1911, quarta coluna; 7 de julho, sétima coluna; 8 de junho, terceira coluna; 8 de agosto, quinta coluna; 22 de agosto, quarta coluna; e 20 de outubro, quarta coluna).
+Bocage utilizava em seu estabelecimento, a Photographia Industrial e Artística, os filmes Ensign, considerado por ele como superior a qualquer outro (A Província, 14 de setembro de 1911, quarta coluna).
+Bocage fotografou a chegada do general Emidio Dantas Barreto (1850 – 1931), futuro governador de Pernambuco, no Recife (A Província, 14 de outubro de 1911, terceira coluna).
+1912 – Publicação de duas fotografias de autoria de Bocage nas capas das edições de 5 e 6 de fevereiro do Jornal Pequeno.
+ 
+Jornal Pequeno, 5 de fevereiro de 1912
+ 
+Jornal Pequeno, 6 de fevereiro de 1912
+ 
+Embarcou no vapor Ilheus rumo a Aracaju, de onde retornou, no vapor Canavieiras (Jornal do Recife, 11 de março de 1912, última coluna, e Jornal do Recife, 23 de março de 1912, última coluna).
+A família Porto Carrero fez uma agradecimento a algumas pessoas, dentre elas, Anna du Bocage, pelos cuidados, dedicação e carinho que havia tido com Maria Emilia Uchoa Porto Carrero  (Jornal do Recife, 5 de maio de 1912, quinta coluna).
+Francisco du Bocage ofereceu à Biblioteca da Escola Regimental da Força Pública do Estado um grande número de obras de subido valor (Jornal do Recife, 3 de setembro de 1912, sexta coluna).
+Chegaram no Recife, a bordo do vapor alemão Queen Eleonora, vindo de Hamburgo, três caixas de material fotográfico importados por Bocage (Jornal do Recife, 20 de novembro de 1912, terceira coluna). Uma caixa de papel fotográfico chegou para ele em um vapor alemão, vindo de Nova York (Jornal do Recife, 9 de dezembro de 1912, quarta coluna).
+Bocage fotografou a festa de encerramento das aulas da Escola de Aprendizes Marinheiros (Jornal do Recife, 19 de dezembro de 1912, oitava coluna)
+1913 – Seguiam as importações de artigos fotográficos feitas por Bocage (Diário de Pernambuco, 30 de março, quinta coluna).
+Embarcou no vapor Pará, rumo a Natal (Diário de Pernambuco, 29 de abril de 1913, última coluna).
+Bocage fez o brinde ao dr. Gouveia de Barros, diretor de Higiene do Recife, após uma visita às obras do Matadouro de Peixinhos (Jornal do Recife, 2 de novembro de 1913, segunda coluna).
+Seu nome constava em um despacho da prefeitura do Recife (Jornal do Recife, 5 de novembro de 1913, quarta  coluna).
+1914 - Bocage foi contratado pelo Jockey Club para registrar as chegadas dos cavalos no fim de cada páreo e, no caso de dúvidas sobre algum resultado, revelar a chapa imediatamente (Jornal do Recife, 19 de abril de 1914, na última coluna).
+Anna du Bocage e George, filho do casal Bocage, embarcaram para Bremen, na Alemanha, no vapor alemão Erlangen (Jornal do Recife, 12 de julho de 1914, segunda coluna).
+O outro filho do casal Bocage, Daniel, tornou-se conselheiro do recém fundado Riachuelo Football Club (Diário de Pernambuco, 26 de julho de 1914, terceira coluna). Ele estudava no Ginásio Ayres Gama (Diário de Pernambuco, 22 de novembro de 1914, quinta coluna).
+1915 – Chegou no Recife, a bordo do vapor inglês Justin, vindo de Nova York, artigos fotográficos, envelopes e produtos químicos para fotografia, importados por Bocage (Jornal do Recife, 2 de julho de 1915, sexta coluna). Dias depois, chegada de papel fotográfico, também importado por ele, vindo de Liverpool, a bordo do vapor inglês Southampton (Jornal do Recife, 25 de julho de 1915, quinta coluna).
+Bocage foi convidado a comparecer na 1ª seção dos Correios (Diário de Pernambuco, 24 de novembro, quarta coluna).
+Bocage partiu para a Bahia no vapor Olinda e retornou para o Recife no vapor Itapura (A Província, 4 de novembro de 2015, quarta coluna; e Jornal do Recife, 13 de dezembro de 1915, quarta coluna).
+1916 - Bocage foi e voltou à Bahia, no vapor Itatinga (A Província, 15 de maio de 1916, primeira coluna; e Jornal do Recife, 28 de agosto de 1916, quarta coluna).
+O ministro da Fazenda negou provimento ao recurso ex-oficio interposto pelo Delegado Fiscal de Pernambuco, do seu ato, julgando improcedente o auto lavrado contra Francisco du Bocage, por infração do regulamento dos impostos de consumo (Jornal do Commercio, 6 de junho de 1916, sétima coluna).
+1917 – George, filho de Bocage e Anna,  voltou da Europa, a bordo do vapor holandês Hollandia (Jornal do Recife, 5 de janeiro de 1917, primeira coluna).
+De volta de uma viagem a Bezerros, Bocage foi saudado como distinto fotógrafo (Diário de Pernambuco, 20 de maio de 1917, primeira coluna).
+Acessórios fotográficos e medicamentos importados por Bocage chegaram no Recife a bordo do vapor brasileiro Tapajós, vindo de Nova York (Diário de Pernambuco, 14 de março, terceira coluna e Jornal do Recife, 17 de março de 1917, quarta coluna).
+Foi anunciado pela Casa du Bocage, na rua Imperatriz, n. 31, a produção de retratos pelo sistema fotomecânico, perfeitos e inalteráveis…únicos e a preços baratíssimos. O anúncio foi repetido diversas vezes ao longo do ano, mas a partir de julho, o endereço passou a ser rua Imperatriz, n. 13 (Jornal Pequeno, 7 de abril de 1917, primeira coluna e Jornal Pequeno, 5 de julho de 1917, quarta coluna).
+Bocage fez uma exposição fotográfica muito elogiada com o tema Maternidade: Pernambuco pode apresentar  Bocage como um grande artista e seus belos trabalhos fotográficos honram qualquer galeria e podem figurar em qualquer certame artístico (A Província, 27 de julho de 1917, primeira coluna).
+ 
+A Província, 27 de julho de 1917
+ 
+1918 – Com o título “Photographia Industrial”, Bocage anunciou não autorizar ninguém a fazer dívidas em seu nome (Diário de Pernambuco, 21 de janeiro de 1918, primeira coluna).
+Bocage chegou do Maranhão a bordo do vapor Cururupu (Diário de Pernambuco, 24 de agosto de 1918, segunda coluna).
+Após uma viagem ao norte do Brasil, Bocage anunciou o recomeço de seus trabalhos fotográficos, na rua da Imperatriz, 121 (Jornal do Recife, 1º de setembro de 1918, terceira coluna). Dias depois, veiculou uma propaganda de seu estúdio fotográfico (Jornal do Recife de 6 de setembro de 1918).
+ 
+Propaganda de Bocage no Jornal do Recife, 6 de setembro de 1918
+ 
+1919 – Chegada de material fotográfico importado por Bocage, no vapor inglês Somme, vindo de Londres (Jornal do Recife, 4 de outubro de 1919, terceira coluna).
+George du Bocage, filho de Francisco e Anna, estava na relação dos alistados para o serviço militar da cidade do Recife (Diário de Pernambuco, 8 de outubro de 1919, terceira coluna).
+Francisco du Bocage faleceu, em 22 de outubro de 1919, na cidade de Bezerros, onde se achava em tratamento de grave enfermidade e onde foi enterrado. Sua esposa, Anna du Bocage, declarou que continuava no mesmo ramo de negócios de seu falecido marido, Francisco du Bocage, à rua da Imperatriz, 121, dedicando-se especialmente ao serviço de amadores postais, vistas, etc, esperando a mesma confiança e boa vontade da parte de seus estimado fregueses ( Jornal Pequeno, 24 de outubro de 1919, terceira coluna; A Rua, 25 de outubro de 1919, quinta coluna; e Jornal do Recife, 26 de outubro de 1919, quarta e sexta colunas).
+ 
+Jornal Pequeno, 24 de outubro de 1919
+ 
+ 
+Jornal do Recife, 26 de outubro de 1919
+ 
+A Casa Bocage anunciou a venda de iluminação à gasolina e de material fotográfico (Diário de Pernambuco, 30 de outubro, na terceira coluna; e 31 de outubro, primeira coluna).
+Seu filho, George, tornou-se o proprietário da Casa Bocage (Jornal do Recife, 28 de dezembro de 1919, terceira coluna).
+ 
+Francisco du Bocage. Estação Estrada de Ferro, c. 1910. Recife, Pernambuco / Acervo IMS
+ 
+ 
+As informações sobre nacionalidade, data de nascimento e filiação de Bocage foram fornecidas por seu bisneto Sergio du Bocage, entre 27 de novembro e 20 de dezembro de 2018.
+*Esse artigo foi atualizado em 18 de junho de 2020.
+ 
+Andrea C. T. Wanderley
+Editora-assistente e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+Hemeroteca Digital da Biblioteca Nacional
+GERODETTI, João Emilio; CORNEJO, Carlos. Railways of Brazil in Postcards and Souvenir Albums. São Paulo: Solaris Edições Culturais, 2015.
+KOSSOY, Boris. Dicionário Histórico Fotográfico Brasileiro. São Paulo: Instituto Moreira Salles, 2002.
+O Brasil na máquina do tempo: coleção referencial da história da fotografia brasileira / [Organizadores] Imager – Centro de Estudos da Imagem Fotográfica e Eduardo Castanho. São Paulo: Instituto Cultural  Itaú, 1997.
+Site da Enciclopédia Itaú Cultural
+Site da Fundação Joaquim Nabuco
+Site do IMS
+VASQUEZ, Pedro. Três mestres da fotografia brasileira no século XIX. Acervo, Revista do Arquivo Nacional, Rio de Janeiro, v. 6, n 1-2, jan./dez. 1993, p. 3.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/2047` — `itens/20.500.12156.1_2047/`
+- `20.500.12156.1/2052` — `itens/20.500.12156.1_2052/`
+- `20.500.12156.1/2048` — `itens/20.500.12156.1_2048/`
+
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+---
+id: 9866
+url: "https://brasilianafotografica.bn.gov.br/?p=9866"
+titulo: "O fotógrafo austríaco Otto Rudolf Quaas e o construtor Ramos de Azevedo"
+autor: "Andrea Wanderley"
+data: "2017-09-28T11:45:44+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/1960", "20.500.12156.1/1968", "20.500.12156.1/1992"]
+fetched_at: "2026-09-10T10:29:04.845Z"
+---
+
+# O fotógrafo austríaco Otto Rudolf Quaas e o construtor Ramos de Azevedo
+
+fotógra Otto Rudolf Quaas. Álbum Escritório Técnico do Engenheiro e Arquiteto F. P. Ramos d’Azevedo, São Paulo, Álbum de Construções, c. 1900. São Paulo, SP / Acervo IMS
+ 
+O fotógrafo austríaco Otto Rudolf Quaas (c. 1862 – c. 1930) registrou diversas obras projetadas ou executadas pelo Escritório Técnico Ramos de Azevedo, cujo proprietário, o paulista Francisco de Paula Ramos de Azevedo (1851–  1928) era, entre a virada do século XIX e as primeiras décadas do século XX, o grande construtor de São Paulo. Nesse período, a cidade passou por grandes transformações devido à riqueza gerada pela cafeicultura e pela chegada de levas de imigrantes. As construções de traços coloniais davam lugar às com influência europeia, modernas. A Brasiliana Fotográfica destaca algumas imagens da documentação das obras desse construtor, um dos trabalhos mais importantes produzidos por Quaas, reunidos no Álbum Escritório Técnico do Engenheiro e Arquiteto F. P. Ramos d’Azevedo – São Paulo – Álbum de Construções. Quaas fotografou, dentre vários projetos, palacetes, o portal do Cemitério da Consolação, o Quartel de Polícia, o Hospício dos Alienados e a Escola Politécnica. Sua obra registrou também diversos aspectos da capital e do interior do estado de São Paulo. Quaas foi muito bem sucedido em sua profissão e residia na rua das Palmeiras com sua esposa, Emma Quaas, e três filhos.
+ 
+Otto Rudolf Quaas. Álbum Escritório Técnico do Engenheiro e Arquiteto F. P. Ramos d’Azevedo, São Paulo, Álbum de Construções – Fachada da Escola Politécnica, c. 1900. São Paulo, SP / Acervo IMS
+ 
+Acessando o link para as fotografias de  Otto Rudolf Quaas disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Breve Cronologia de Otto Rudolph Quaas
+A Cigarra, 15 de abril de 1920
+c. 1862 – Segundo Boris Kossoy, Otto Rudolph Quaas nasceu na Áustria por volta desse ano.
+1895 – Quaas chegou em São Paulo, vindo da Europa, nos primeiros dias de 1895 e estabeleceu seu ateliê fotográfico na rua do Gasômetro, n. 20 (O Commercio de São Paulo, 16 de janeiro de 1895, na quarta coluna).
+Chegou num dos últimos dias a essa capital e tomou a direção do atelier fotográfico da rua do Gazometro n. 20, o sr. Otto Rudolf Quaas, que nos dizem ser um artista de muitíssimo merecimento. O público vai ter ocasião de avaliar dos progressos daquela casa, em virtude de tão excelente aquisição (O Estado de São Paulo, 16 de janeiro de 1895).
+ 
+Propaganda da Photographia Artistica, de Otto Rudolf Quaas, no O Estado de São Paulo, 28 de janeiro de 1895
+ 
+Em maio, transferiu-se para o Largo Sete de Setembro, nº 11, casa onde esteve por muito tempo o estabelecimento dos srs. Victor Steidel & C. Neste novo prédio o atelier do sr. Otto, enriquecido como foi ultimamente com novos aparelhos ficará sendo, senão o primeiro, pelo menos um dos primeiros estabelecimentos fotográficos de S. Paulo (O Estado de São Paulo, 8 de maio de 1895).
+1896 – Mudou-se para a rua de São Bento, n. 30, e inaugurou a nova Photographia Artística, em 26 de fevereiro de 1896 (O Commercio de São Paulo, 26 de fevereiro de 1896, quarta coluna). Ficava defronte do Grande Hotel e estava montada com todo o capricho e com os aperfeiçoamentos mais modernos (O Estado de São Paulo, 26 de fevereiro de 1896).
+ 
+Anúncio da Photographia Artística, na rua de São Bento nº 30, no Estado de São Paulo, 19 de março de 1896
+ 
+1898 – A Photographia Artística transferiu-se para o número 46 da rua de São Bento, em frente a Rotisserie Sportsman.
+ 
+Anúncio da mudança da Photographia Artística, no O Estado de São Paulo, 2 de julho de 1898
+ 
+No último dia de 1898, foi anunciada uma Grande Inauguração no ateliê de Quaas com a apresentação de um grande repertório de óperas, músicas e cantos. Anunciava como a última novidade a Photographia de Voz. Avisamos especialmente o distinto público que todas as pessoas que tirarem uma dúzia de retratos Imperiais, no atelier fotográfico, têm direito de falar na máquina, podendo ouvir e levar logo depois o cilindro com a sua própria voz gravada eternamente para mandar aos seus afeiçoados.
+ 
+O Estado de São Paulo, 31 de dezembro de 1898
+ 
+1899 – O tcheco Gustavo Figner (18? – 1934), depositário da Casa Inana, no Rio de Janeiro, e futuro fundador da Casa Edison de São Paulo, anunciou a venda de um fonógrafo de corda na fotografia O. R. Quaas e Cia (O Estado de São Paulo, 5 de janeiro de 1899). Ele era irmão de Fred Figner (1866 – 1947), fundador da Casa Edison no Rio de Janeiro e primeiro produtor fonográfico do Brasil.
+ 
+O Estado de São Paulo, 5 de janeiro de 1899
+ 
+Nesse mesmo ano, o atelier de Quaas, foi uma das lojas que sofreram danos consideráveis causados pelo estampido e pela água, devido a um incêndio na Loja do Japão, na rua de São Bento (O Estado de São Paulo, 6 de julho de 1899). Dias depois, Quaas enviou à redação do jornal O Estado de São Paulo uma vista de um trecho da rua S. Bento na ocasião do incêndio (O Estado de São Paulo, 11 de julho de 1899).
+ 
+Otto Rudolf Quaas. Álbum Escritório Técnico do Engenheiro e Arquiteto F. P. Ramos d’Azevedo, São Paulo, Álbum de Construções – Quartel de Polícia, c. 1900. São Paulo, SP / Acervo IMS
+ 
+1900 – A Photographia Artística enviou à redação do O Estado de São Paulo uma coleção de 15 magníficas fotografias com vistas de diversos pontos da exposição universal de Paris. Essas vistas são reproduzidas no atelier do sr. Quaas e constituem um trabalho que acredita o conhecido estabelecimento artístico (O Estado de São Paulo, 23 de novembro de 1900).
+1901 –  Estava exposto em seu ateliê um retrato em grande formato da rainha Vitória (1819 – 1901), do Reino Unido, que havia falecido em 22 de janeiro (O Estado de São Paulo, 24 de janeiro de 1901).
+Quaas registrou a visita que o ministro plenipotenciário da Áustria-Hungria, Eugen Kuezyuski, fez à Sociedade Auxiliadora Austro-Húngara (O Estado de São Paulo, 27 de abril de 1901).
+Era um dos membros da comissão da Sociedade Auxiliadora Austro-Húngara (O Estado de São Paulo, 24 de setembro de 1901).
+Trabalhou para a Companhia Paulista de Estradas de Ferro, tendo fotografado a inauguração do ramal de Rincão a Martinho Prado, em 30 de dezembro de 1901 (O Correio Paulistano, 4 de janeiro de 1902, na quarta coluna).
+1902 – Quaas presenteou o governador do estado de São Paulo, Rodrigues Alves (1848 – 1919), e outras autoridades com uma coleção de pequenas fotografias da inauguração do ramal ferroviário do Rincão (O Estado de São Paulo, 14 de janeiro de 1902).
+Quaas foi eleito vice-presidente da Instituição Imperador Francisco José I (O Estado de São Paulo, 12 de julho de 1902).
+No salão de honra da Santa Casa da Misericórdia de São Paulo, Quaas registrou a entrega, realizada pelo cônsul da França, Numa Antigeon, do diploma de Oficial da Academia à superiora da instituição, Maria Arsênia, nome religioso de Anna Berthet (O Estado de São Paulo, 19 de julho de 1902)
+Uma comissão de redatoras do periódico Educação escolheu as mais interessantes fotografias tiradas de crianças entre 1 e 7 anos durante o ano de 1902 dos seguintes estúdios fotográficos do centro de São Paulo: o de Quaas & Cia, o de José Vollsack, o de Rodolfo Neuhaus, o de Giovanni Sarracino e o de Valério Vieira (O Commercio de São Paulo, 22 de dezembro de 1902, na segunda coluna).
+Quaas foi de novo eleito vice-presidente da instituição Imperador Francisco José I (O Estado de São Paulo, 24 de dezembro de 1902).
+1903 – Quaas ofereceu à redação do O Estado de São Paulo uma magnífica fotografia de Santos Dumont (O Estado de São Paulo, 19 de setembro de 1903).
+1904 – Na Revista Ilustração Brasileira, de dezembro de 1904, seu trabalho foi elogiado por sua nitidez e fidelidade incríveis. A casa Quass é a única que está habilitada em S. Paulo a trabalhar à noite.
+1905 – A Secretaria de Agricultura de São Paulo requisitou um pagamento a Otto Quaas (O Estado de São Paulo, 4 de março de 1905).
+Estava envolvido na criação de um Club de Retratos em Cores e anunciou, no O Estado de São Paulo de 19 de maio de 1905, o adiamento do club até segundo aviso.
+Os credores da falência de Otto Quaas reuniram-se na segunda vara comercial de São Paulo (O Estado de São Paulo, 13 de julho de 1905).
+1907 - Quaas fotografou a Villa Penteado iluminada, na ocasião em que hospedou o ex-presidente da Argentina, general Julio Argentino Roca (1843 – 1914), que havia participado da Guerra do Paraguai (O Estado de São Paulo, 23 de março de 1907).
+Fotografou o eclipse solar ocorrido em 10 de julho (O Estado de São Paulo, 12 de julho de 1907).
+Foi um dos premiados no concurso de fotógrafos promovido pela Secretaria de Agricultura do Estado de São Paulo (O Estado de São Paulo, 18 de agosto de 1907).
+1908 – Seu estabelecimento, a Photographia Quaas, ficava na rua Barra Funda, 149 (O Estado de São Paulo, 25 de novembro de 1908).
+Participou da Exposição Nacional, com 24 quadros com fotografias, pinturas a pastel, sepiotipias, aumentos, platinotipia e fotografia em alto relevo, tendo recebido uma das medalhas de ouro da seção de fotografias. Outro fotógrafo agraciado com uma medalha de ouro foi Guilherme Gaensly (1843 – 1928). Os grandes prêmios foram conquistados por Valério Vieira (1862 – 1941) e Giovanni Sarracino (O Estado de São Paulo, 23 de novembro de 1908 e Catálogo da Exposição, 1908).
+ 
+Anúncio da Photographia Quaas, no O Estado de São Paulo, 18 de dezembro de 1908
+ 
+1910 - Quaas participou da comemoração pelo octagésimo aniversário de Francisco José I, rei da Áustria-Hungria, realizada no consulado do país, em São Paulo (O Estado de São Paulo, 19 de agosto de 1910).
+1911 – A Photographia Quaas publicou um anúncio para a contratação de um bom impressor com prática de atelier, de um ajudante com bastante prática e de um aprendiz de fotógrafo. Ainda se localizava na rua Barra funda, 149 (O Estado de São Paulo, 19 de março, 3 de de junho e 25 de setembro de 1911).
+Participou da Exposição de Turime ganhou a medalha de prata.
+1912 – A Photographia Quaas publicou um anúncio para a contratação de um bom impressor e retocador (O Estado de São Paulo, 6 de janeiro de 1912).
+1913 – Seu estabelecimento ficava na rua das Palmeiras, 59, onde residia com sua família.
+1920 – Em uma matéria sobre a história da Casa Edison de São Paulo, cujo proprietário era Gustavo Figner (? – 1934), foi relembrado que em fins do século XIX, um fonógrafo do empresário esteve em exposição no estabelecimento de Quaas, na época localizado na rua São Bento (O Estado de São Paulo, 13 de junho de 1920).
+ 
+O Estado de São Paulo, 13 de junho de 1920
+ 
+1926 – Fotografou a inauguração da pista de atletismo do Sport Club Germânia, atual Esporte Clube Pinheiros (Revista do Esporte Clube Pinheiros, março de 2014). Também do Germânia, fotografou, no fim da década de 20, panoramas do rio com os cochos, a casa de barcos e a figueira de tronco duplo, além das festas ao ar livre e também no salão da Rua Dom José de Barros (Site do Esporte Clube Pinheiros).
+1929 / 1930 – Segundo depoimento de Vicentina Mello Cunha concedido a Boris Kossoy, Quaas faleceu por volta de 1929 e 1930, com cerca de 68 anos.
+ 
+Andrea C. T. Wanderley
+Editora-assistente e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+Acervo de O Estado de São Paulo
+Acessa SP
+Efedeportes.com
+Hemeroteca Digital da Biblioteca Nacional
+KOSSOY, Boris. Dicionário histórico-fotográfico brasileiro: fotógrafos e ofício da fotografia no Brasil (1833-1910). São Paulo: Instituto Moreira Salles, 2002.
+NASCIMENTO, Ana Paula. Engenharia e sociabilidade – a trajetória de Samuel das Neves no Rio de Janeiro. 19&20, Rio de Janeiro, v. XII, n. 1, jan./jun. 2017.
+SÃO PAULO 450 Anos: a imagem e a memória da cidade no acervo do Instituto Moreira Salles. São Paulo: Bei Editora,agosto 2004.
+Site da Secretaria da Administração Penitenciária de São Paulo
+
+Site do Esporte Clube Pinheiros
+Site Enciclopedia Itaú Cultural
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/1960` — `itens/20.500.12156.1_1960/`
+- `20.500.12156.1/1968` — `itens/20.500.12156.1_1968/`
+- `20.500.12156.1/1992` — `itens/20.500.12156.1_1992/`
+
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+---
+id: 9996
+url: "https://brasilianafotografica.bn.gov.br/?p=9996"
+titulo: "O fotógrafo português José Ferreira Guimarães (1841 – 30/01/1924)"
+autor: "Andrea Wanderley"
+data: "2017-11-30T10:50:12+00:00"
+categorias: ["Análise de documento", "Biografia", "Cronologia", "Curadoria", "Efemérides", "Convidados", "Preservação digital", "Sem categoria"]
+handles_referenciados: ["20.500.12156.1/5402", "20.500.12156.1/5406", "20.500.12156.1/5404", "20.500.12156.1/5390", "20.500.12156.1/5409", "20.500.12156.1/5407", "20.500.12156.1/5027", "20.500.12156.1/5398", "20.500.12156.1/5391", "20.500.12156.1/5399"]
+fetched_at: "2026-09-10T10:29:08.029Z"
+---
+
+# O fotógrafo português José Ferreira Guimarães (1841 – 30/01/1924)
+
+No Arquivo Nacional, o estúdio de José Ferreira Guimarães
+Claudia Beatriz Heynemann e Maria do Carmo Rainho*
+ 
+Uma pequena e significativa série de retratos originados no prestigiado estúdio do fotógrafo José Ferreira Guimarães, instalado na rua dos Ourives ou no endereço da rua Gonçalves Dias, integra a coleção Fotografias Avulsas e o fundo Afonso Pena no Arquivo Nacional. O conjunto, resultado acidental da trajetória do ateliê até a incorporação em um arquivo público, é de todo modo significativo em face de outras séries de fotógrafos oitocentistas com número inferior de exemplares no acervo. Significativa também é a galeria de retratados em que figuram juristas, políticos do Império, alguns identificados na década de 1880, outros que passam aos quadros republicanos, e uma representante feminina, ligada ao declínio monárquico e ao exílio da família imperial. Nesse conjunto de imagens, não figuram crianças, tampouco casais. Os retratos etnográficos, como aqueles produzidos por Marc Ferrez, Alberto Henschel e Cristiano Junior, não eram foco de atenção de Guimarães.
+ 
+Acessando o link para as fotografias de autoria de José Ferreira Guimarães que pertencem ao acervo do Arquivo Nacional e estão disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+Em formato carte de visite, carte cabinet, as imagens deslizam entre os planos da vida pública e da esfera privada, transferidas de sua singularidade no estúdio do Guimarães até sua organização nos arquivos. Entre as funções cumpridas por esses artefatos, a representação social e os laços pessoais confundem-se em dedicatórias e cartas. Assim o retrato de Maria Amanda de Paranaguá Dória, a baronesa de Loreto, é um indexador do lugar da fotografia no âmbito da vida familiar, tal como descrito no estudo de caso desenvolvido pelos historiadores Ana Maria Mauad e Itan Cruz, no qual as cartas e os retratos trocados entre a dama de companhia da princesa Isabel e a imperatriz Tereza Cristina nos permitem identificar a presença da fotografia nas relações sentimentais do século XIX, sobretudo com o crescimento da produção da modalidade carte de visite, a partir dos anos de 1870, na corte do Rio de Janeiro. No período em que as cartas foram trocadas, fotógrafos estabelecidos nas principais capitais do país eram responsáveis por uma produção significativa de retratos em estúdio voltados para a frequência da aristocracia imperial. [1]
+ 
+José Ferreira Guimarães. Retrato da baronesa de Loreto, Maria Amanda de Paranaguá Dória, 1881 – 1884. Rio de Janeiro / Acervo Arquivo Nacional
+ 
+O retrato de Maria Amanda, que se encontra no artigo citado, pertence à coleção da Fundação Joaquim Nabuco e foi realizado no estúdio de José Ferreira Guimarães no Rio de Janeiro, muito provavelmente na mesma sessão em que o exemplar ora apresentado; diferem pelo ângulo, aqui com a cabeça voltada para o lado, no outro, com o olhar dirigido às lentes, ambos nas características molduras em formato oval e com a mesma roupa e penteado.[2] Formava-se de modo mais ou menos evidente uma trama que passava por esse álbum de família estendido, caso de Domingos Farani, outro retratado por Guimarães, que chegou ao Brasil acompanhando a mudança da futura imperatriz, a napolitana d. Teresa Cristina. Joalheiro da Casa Imperial, ele estava entre os amigos mais próximos dos Ribeiro Avelar, viscondessa e visconde de Ubá, na corte, como evidencia a troca de cartas e retratos que eram parte constitutiva dos vínculos mantidos entre esses atores. Como observa a historiadora Mariana Muaze somente [fotos das] crianças pertencentes ao grupo familiar ou filhos de amigos muitíssimos próximos como Domingos Farani, por exemplo, foram colecionadas pela viscondessa.[3] Farani, como era comum no meio, se fez retratar também no endereço de Guimarães à rua Gonçalves Dias em um busto oval que excluía o cenário do estúdio, concentrando-se na fisionomia e expressão dos indivíduos e de insígnias, como a ostentada na lapela, provavelmente relacionada ao título de comendador, e mesmo o alfinete, que ostentava o ofício de origem.
+ 
+José Ferreira Guimarães. Retrato de Domingos Farani, 1890 – 1900. Rio de Janeiro / Acervo Arquivo Nacional
+ 
+No ateliê de Guimarães entraram obrigatoriamente bacharéis e políticos do Império e da República, personagens paradigmáticos da passagem do século XIX ao XX, como Saldanha Marinho, pernambucano formado na Faculdade de Direito de Olinda em 1836 e que, entre muitos cargos, foi deputado federal pelo Rio de Janeiro, presidente de província de Minas Gerais e de São Paulo, um dos fundadores do Clube Republicano no Rio de Janeiro, signatário do Manifesto Republicano, redator de A República, firmando-se como um dos protagonistas dos momentos iniciais do novo regime.[4] Saldanha Marinho, fotografado com barba exuberante, não aparada, seguia a tendência dos homens da segunda metade do oitocentos quando o rosto barbeado era visto com suspeição, denotando pouca seriedade. Conforme Gilda de Mello e Souza, o fim do século XVII e o século XVIII talvez por causa das perucas, foram tempos de cara raspada, mas, no princípio do século XIX os bigodes e suíças se espalham pelos exércitos de Napoleão, e já em 1810 Tkackeray nos apresenta aos sensacionais moustachios de Jos Sedley. A moda, durante algum tempo privilégio dos militares e símbolo de ferocidade, difunde-se rapidamente, e em breve o homem se entrega a uma desenfreada decoração capilar.[5]
+ 
+José Ferreira Guimarães. Retrato de Joaquim Saldanha Marinho, 1885. Rio de Janeiro / Acervo Arquivo Nacional
+ 
+Roupas escuras, barba e bigode também compuseram o retrato de Carlos Augusto de Carvalho: formado na faculdade de Direito de São Paulo em 1873, responsável, como presidente de província no Paraná, pela eclosão da Revolta do Vintém, Carvalho iria se destacar como ministro das Relações Exteriores nos anos 1890 reivindicando a ilha de Trindade aos ingleses, contando então com o apoio de Raul Pompeia e de Joaquim Portela, que, na época, eram diretores da Biblioteca Nacional e do Arquivo Público, provendo-o de informações. Em 1904 volta à cena, arbitrando o conflito entre o Brasil e a Bolívia.[6] Nesse retrato, Carlos de Carvalho não se circunscreve ao oval delimitado: está cercado pela névoa indefinida que é também uma das marcas do período, a volta de um tom crepuscular ao qual se referiu Walter Benjamin, em um artifício utilizado para reviver a aura dos primeiros tempos da fotografia, partilhado nos ateliês fotográficos das grandes capitais, superando distâncias de diferentes ordens.
+ 
+Retrato de Carlos Augusto Carvalho, 1896 – 19?. Rio de Janeiro / Acervo Arquivo Nacional
+ 
+Pelo estúdio fotográfico de Guimarães também passaram militares como Henrique Pedro Carlos de Beaurepaire Rohan, o visconde de Beaurepaire, entre outros não identificados, todos com suas fardas e condecorações. Em fotos de busto ou corpo inteiro, nas poses rígidas, como se espera desses retratados, evidencia-se o desejo de registrar para a posteridade o lugar social e, sobretudo, demarcar hierarquias. A fotografia de Beaurepaire, gentil-homem da Imperial Câmara, grã-cruz da Imperial Ordem de Avis, dignitário da Imperial Ordem da Rosa e comendador da Imperial Ordem de Cristo, uniformizado, portando algumas dessas condecorações, como a Imperial Ordem da Rosa e a Ordem de Cristo, nos anos 1890, é exemplar também de alguém que, sob o regime republicano, deixava clara a sua vinculação com o governo imperial.
+ 
+José Ferreira Guimarães. Retrato do visconde de Beaurepaire, Henrique Pedro Carlos de Beaurepaire Rohan, 1890 – 1894. Rio de Janeiro / Acervo Arquivo Nacional
+ 
+Ana Mauad, observa que o sucesso do retrato carte-de-visite deve-se justamente à capacidade de adaptar o cliente a moldes preestabelecidos e de possível escolha através de um catálogo de objetos e situações; o estúdio do fotógrafo passa a ser um depósito de complementos escolhidos para caracterizar diferentes papéis sociais que se quer fabricar. […] O próprio cliente se converteu, ele mesmo, num acessório de estúdio, suas poses obedeciam a padrões estabelecidos e já institucionalizados de acordo com a sua posição social.[7] Nas imagens de busto, como a de Beaurapaire ou no “retrato de homem fardado“, dos anos 1880, o fotografado posiciona-se mais próximo da câmera; as expressões faciais ganham destaque, o tronco elevado revela mais claramente elementos como insígnias e condecorações. Já nos retratos de corpo inteiro, como a intitulada “fotografia homem fardado”, além das dragonas e das condecorações, da exibição do conjunto do uniforme, da pose altiva, alguns elementos chamam a atenção como a barretina com penacho apoiada em uma banqueta e a espada e seu fiador em uma das mãos. Os elementos cenográficos, comuns aos retratos de meio corpo ou corpo inteiro são acessórios; não roubam a centralidade do retratado.
+Outro registro interessante produzido por Guimarães é a de Lúcio de Mendonça, em 1896. Advogado, jornalista, magistrado, escritor, idealizador da Academia Brasileira de Letras, seu retrato, a começar pelas roupas e pose, denota despojamento e uma despreocupação em perenizar a imagem de homem sofisticado. A ausência de elementos decorativos, adornos, a simplicidade mesma do paletó escuro e camisa branca estão sob medida para um republicano, um burguês que, diferente da aristocracia num passado recente, não necessitava fazer da moda um elemento de distinção. E a dedicatória à Ferreira do Araújo, fundador da Gazeta de Notícias, e por quem Lúcio possuía grande admiração, evidencia a inscrição do fotografado no círculo dos intelectuais da segunda metade do século XIX.
+ 
+José Ferreira Guimarães. Retrato de Lúcio Eugênio de Menezes e Vasconcelos Drummond Furtado de Mendonça, 1896. Rio de Janeiro / Acervo Arquivo Nacional
+ 
+Além das dedicatórias, algumas das imagens aqui apresentadas, trazem, no verso, dados referentes ao estúdio de Guimarães, sua participação em exposições, seus títulos – Fotógrafo da Casa Imperial, Cavaleiro da Ordem da Rosa – seus prêmios. Como era comum a fotógrafos da sua envergadura, essas informações, ao mesmo tempo em que o distinguia dos concorrentes, o aproximava da sua clientela, homens e mulheres da boa sociedade que aumentavam seu capital simbólico justamente por se darem a ver através das suas lentes.
+ 
+[1] MAUAD, Ana Maria, RAMOS, Itan Cruz. Fotografias de família e os itinerários da intimidade na História. Acervo, Rio de Janeiro, v. 30, n. 1, p. 155-178, jan./jun. 2017, p. 159.
+[2] Outro retrato da baronesa de Loreto produzido por Insley Pacheco e igualmente parte da coleção do Arquivo Nacional, pode ser visto neste portal. Disponível em https://brasilianafotografica.bn.gov.br/brasiliana/handle/20.500.12156.1/5027
+[3] MUAZE, Mariana de Aguiar F. O império do retrato: família, riqueza e representação social no Brasil oitocentista (1840-1889). Tese de doutorado. Programa de Pós graduação em História da Universidade Federal Fluminensse, 2006, p. 296.
+[4] Cf. Alzira Alves de ABREU et al (coords.). Dicionário Histórico-Biográfico Brasileiro – Pós-1930. Rio de Janeiro: CPDOC, 2010. In: http://cpdoc.fgv.br/sites/default/files/verbetes/primeira-republica/MARINHO,%20Saldanha.pdf Acesso em: 20/11/2017.
+[5] Ver SOUZA, Gilda de Mello e. O espírito das roupas: a moda no século XIX, São Paulo: Cia. das Letras, 1087, p. 75.
+[6] Cf. Alzira Alves de ABREU et al (coords.). Dicionário Histórico-Biográfico Brasileiro – Pós-1930. Rio de Janeiro: CPDOC, 2010. In: http://cpdoc.fgv.br/sites/default/files/verbetes/primeira-republica/CARVALHO,%20Carlos%20Augusto%20de.pdf Acesso em: 20/11/2017
+[7] MAUAD, Ana. Poses e flagrantes: ensaios sobre história e fotografias. Rio de Janeiro: EDUFF, 2008, p. 129-130.
+ 
+*Claudia Beatriz Heynemann – Doutora em História | Pesquisadora do Arquivo Nacional
+*Maria do Carmo Rainho – Doutora em História | Pesquisadora do Arquivo Nacional
+ 
+ 
+Breve perfil e cronologia do fotógrafo português José Ferreira Guimarães (1841 – 30/01/1924)
+  Andrea C. T. Wanderley**
+ 
+José Ferreira Guimarães e sua esposa, Virginia Prata Guimarães. Fotografia reproduzida no O Estado de São Paulo, 4 de dezembro de 1977
+ 
+Um dos fotógrafos preferidos da corte brasileira, amigo do imperador d. Pedro II (1825 – 1891), o português José Ferreira Guimarães (1841 – 1924), nascido em Guimarães, chegou ao Brasil com 11 anos, a bordo de um veleiro carregado de repolhos. Foi lavador de pratos, servente em tascas na beira do porto e vendedor de armarinhos. Começou sua carreira de fotógrafo associando-se a Eduardo Isidoro Van Nyvel, no Rio de Janeiro, em 1862. Quatro anos depois, passou a anunciar-se sozinho no mesmo ateliê na Rua dos Ourives, 40. Em 13 de setembro de 1866, recebeu o título de Fotógrafo da Casa Imperial. Fez, assim como o fotógrafo Joaquim Insley Pacheco (1830 – 1912), fortuna com seus retratos em foto-pintura – retrato ampliado pintado a óleo ou guache ou pastel por um pintor. Guimarães ia frequentemente à Europa e aos Estados Unidos para comprar equipamentos e se atualizar com o que havia de mais moderno no campo da fotografia. Além disso, inventou o Relâmpago Guimarães.
+Revista da Semana, 12 de agosto de 1900
+José Ferreira Guimarães foi comendador da Ordem de Cristo e da Ordem da Rosa. Foi premiado com a medalha de prata na Exposição Geral de Belas Artes da Academia Imperial de 1865, 1866 e 1867; e na Exposição Nacional de 1866 e de 1873.  Após uma passagem pela rua do Ourives, 38, inaugurou, em 1886, um novo ateliê que, segundo Gilberto Ferrez, era um verdadeiro palácio da fotografia. Foi a maior casa fotográfica brasileira do século XIX e ficava na rua Gonçalves Dias, nº 2, esquina com a rua da Assembleia.
+Passava temporadas na Europa mas, foi durante a década de 1910, que, provavelmente, transferiu-se definitivamente para a França, onde morou em um palacete nos arredores de Paris, na rue de La Paix, 21, em Bois Colombe. A casa enorme, apelidada pela esposa de Guimarães, Virginia Prata Guimarães, de Little Castle, foi construída em um estilo acastelado, que tornou-se moda entre os paulistas endinheirados pela cafeicultura, nas primeiras décadas do século XX.
+ 
+ 
+ 
+Acessando o link para as fotografias de autoria de José Ferreira Guimarães disponíveis na Brasiliana Fotográfica, o leitor poderá magnificar as imagens e verificar todos os dados referentes a elas.
+ 
+José Ferreira Guimarães. Retrato de mulher em pé, c. 1889. Rio de Janeiro, RJ / Acervo IMS
+ 
+Nas palavras do fotógrafo Benedito Junqueira Duarte (1910 – 1995), seu discípulo e sobrinho neto de sua esposa, José Ferreira Guimarães era um tipo humano raro e versátil, além de ter uma invejável agilidade mental e ser de uma honestidade a toda prova. Era muito bem relacionado e foi amigo íntimo do fotógrafo francês Félix Nadar(1820 – 1910) e também do peruano Léopold-Émile Reutlinger (1863 – 1937). Segundo Junqueira Duarte, Guimarães era vaidoso e tinha longas barbas branquíssimas, sempre impecavelmente aparadas, era ereto e elegante, apesar da idade, e tinha um riso de tolerância e compreensão a esconder-se por detrás de fartos bigodes.
+Sobre a obra de Guimarães e a invenção do Relâmpago Guimarães, Junqueira Duarte escreveu:
+‘…Pela qualidade e refinamento de seu trabalho e rigor profissional que manipulava sua obra, do retoque a bico de lápis à apresentação formal de seus retratos, da viragem a ouro à técnica do esmalte a fogo dos medalhões que produzia – pareciam pequenos camafeus colorido a mão – desfrutou de grande prestígio na aristocracia brasileira e fez uma vultosa fortuna…Com José Ferreira Guimarães, desaparecia um homem de inteligência privilegiada, de espírito criador incomum, a quem deve a fotografia de todos os povos uma de suas grandes invenções – o engenho produtor de luz artificial em ambiente fechado, a partir da combustão instantânea do magnésio, própria para impressionar, em fração mínima de segundo, uma chapa fotográfica. A esse aparelho que encenava em si a luz do sol, deu ele o nome sugestivo e profético de Relâmpago Guimarães, apresentado com grande êxito na famosa Exposição Universal de Paris, em 1900. Muitos anos mais tarde, meio que por volta de 1935 ou 36, aperfeiçoado, miniaturizado e industrializado pelos norte-americanos, o engenho de José Ferreira Guimarães, surgiram no comércio fotográfico as lâmpadas (ou bulbos) em todo o mundo e em breve conhecidas sob o nome de Flash, ou seja, Relâmpago.
+Não creio que algum historiador da fotografia, da arte e de sua técnica, tenha mencionado em seus livros, como legítimo inventor do processo flash o nome de José Ferreira Guimarães, o pequeno emigrante português que tronou grande sua arte, criador original da enorme gaiola de vidro, munido de grosso tubo exaustor para a saída da fumaça de magnésio e de um ventilador aspirante, destinado a apressar a evacuação dos pesados rolos de fumo produzidos pela incandescência da mistura química geradora de fortíssimo lampejo azulado…
+…Que de benefícios trouxe a engenhosa invenção de José Ferreira Guimarães para a Humanidade, no estudo minucioso da Dinâmica dos corpos, na ilustração de variadas pesquisas científicas realizadas com a fotografia feita em curtíssima exposição, como a documentação endoscópica, ou a do fundo do olho, para apenas citar esses dois exemplos, colhidos por entre a incessante atividade dos documentaristas na Medicina e a Cirurgia!…‘
+ 
+Cronologia de José Ferreira Guimarães
+ 
+José Ferreira Guimarães. Retrato de homem fardado, verso, 1886. Rio de Janeiro, RJ / Acervo Arquivo Nacional
+ 
+1841 – Nascimento de José Ferreira Guimarães, em Guimarães, na região do Minho, em Portugal.
+c. 1852 – Aos 11 anos, emigrou sozinho para o Brasil, a bordo de um veleiro carregado de repolhos.
+1860 – Guimarães radicou-se no Rio de Janeiro.
+1862 – Provavelmente, nesse ano iniciou sua trajetória como fotógrafo, associando-se a Eduardo Isidoro Van Nyvel (18? – ?), na rua do Ouvidor, nº 75. Anunciaram que em seu estabelecimento fotográfico, aberto há poucos dias, executava-se retratos pelos sistemas do ambrótipo e cartões de visita (Jornal do Commercio, 9 de setembro de 1862).
+1863 – Publicação de uma propaganda do estabelecimento fotográfico de Van Nyvel e Guimarães no qual anunciaram ter recebido de Alexandre Ken, o primeiro fotógrafo do globo, o processo de cartões de visita, além de uma máquina…para fazer oito retratos em um só vidro e outra que com um único tubo tira quatro posições diferentes em um vidro (Jornal do Commercio, 10 de junho de 1863).
+ 
+Jornal do Commercio, 10 de junho de 1863
+ 
+1864 - Van Nyvel e Guimarães mudaram-se para a rua do Ourives, nº 40 (Jornal do Commercio, 22 de março de 1864, primeira coluna).
+1865 – Guimarães ganhou a medalha de prata na Exposição Geral de Belas Artes da Academia Imperial.
+1866 – Passou a anunciar-se sozinho no mesmo endereço, rua do Ourives, nº 40. Em outubro de 1866, Van Nyvel abriu um novo estabelecimento na Rua dos Ouvires, 65 (Jornal do Commercio, 2 de outubro de 1866, terceira coluna).
+Foi agraciado por d. Pedro II com o título de fotógrafo da Casa Imperial, em 13 de setembro.
+Ganhou a medalha de prata na 2ª Exposição Nacional. Sobre ele, o pintor Victor Meirelles, representando o júri do quarto grupo, onde se incluía a fotografia, escreveu no relatório do evento:
+‘1ª Medalha de Prata – José Ferreira Guimarães (1841 – 1924):
+Cabe a honra de ser classificado em primeiro lugar, obtendo a medalha de prata, o sr. J. F. Guimarães, estabelecido na rua dos Ourives, nº 40, por seus retratos de cartões de visita, e chapas de diferentes dimensões. Os trabalhos do Sr. Guimarães sobressaem-se pela fineza, nitidez e perfeição dos objetos representados e também pelo vigor dos tons que são bem calculados e de uma cor agradável, posições escolhidas com gosto e naturalidade.’
+1867 - Produziu um retrato em tamanho natural no formato de 2 x 1,35 m, a maior fotografia realizada no Brasil até então.
+Ganhou a medalha de prata na Exposição Geral de Belas Artes da Academia Imperial.
+Informava ter partido para a Europa (Jornal do Commercio, 25 de julho de 1867, sexta coluna).
+De volta de Paris, anunciou uma exposição de retratos sobre placas de porcelana na casa do Sr. Bernasconi & Moncada (Jornal do Commercio, 15 de novembro de 1867; Correio Mercantil, 15 de novembro de 1867, quinta coluna).
+ 
+Jornal do Commercio, 15 de novembro de 1867
+ 
+1869 – Anunciou ter regressado da Europa, aonde havia ido pela terceira vez, e também a abertura de seu novo estabelecimento na rua do Ourives, nº 38, segundo andar (Jornal do Commercio, 10 de outubro de 1869, página 3, Segunda Folha).  
+1872 – Fotografou a pintura Combate Naval do Riachuelo, de Victor Meirelles (1832 – 1903), empregando seu sistema de ampliação para fazer reproduções de obras de arte de grande formato. Produziu a fotografia em placa de porcelana pelo processo inalterável…Para execução dessa fotografia serviu-se o habilísssimo fotógrafo José Ferreira Guimarães de placa denominada pelos fotógrafos “negativo”…Foram tirados e distribuídos alguns “positivos” sobre papel albuminado…(Relatório da Repartição dos Negócios do Império, 1882).
+1873 – Ganhou a medalha de prata na 3ª Exposição Nacional.
+Teria voltado, nesse ano, a sua cidade natal, Guimarães.
+1875 - Retratou Marie Caroline Lefebvre (c. 1849 – 1914), mulher do fotógrafo Marc Ferrez (1843 – 1923).
+Na coluna “Folhetim da Gazeta de Notícias –  Bellas Artes”, o português Julio Huelva (1840 – 1904), pseudônimo do músico e arquiteto Alfredo Camarate, elogiou a fotografia produzida no Brasil e destacou os trabalhos dos ateliês de José Ferreira Guimarães  (1841 –1924), Joaquim  Insley Pacheco (1830 – 1912) e de Albert Henchel (1827 – 1892) e Franz (Francisco) Benque (1841-1921). O autor cobrou também a presença de fotógrafos do Rio de Janeiro na Exposição Universal da Filadélfia, que se realizaria em 1876 (Gazeta de Notícias, 21 de dezembro de 1875).
+Década de 1880 - Durante esta década, o fotógrafo Valério Vieira (1862 – 1941) trabalhou como assistente no estúdio do fotógrafo José Ferreira Guimarães.
+1882 - No Almanack Laemmert, foi veiculado um anúncio de Guimarães: Retratos vitrificados fixados a fogo, como as porcelanas de Sèvres. Perpétua duração, constituindo por isso uma verdadeira e imorredoura relíquia de família (Almanaque Laemmert, 1882).
+Segundo relatório do diretor da Academia das Belas Artes, a instituição comprou a fotografia produzida por Guimarães da primeira versão da pintura Combate Naval do Riachuelo, de Victor Meirelles, perdida durante a Exposição Internacional da Filadéfia, em 1876 (Relatório da Repartição dos Negócios do Império, 1882).
+Segundo consta em um de seus cartões, foi premiado com a medalha de ouro na Exposição Continental de Buenos Aires, inaugurada em 15 de março de 1882 – a seção brasileira foi inaugurada no dia 1º de abril, ocupando uma área de 600 m2 (Diário de Pernambuco, 10 de julho de 1882, terceira coluna).
+1884 – Recebeu o título de Comendador da Ordem da Rosa.
+Guimarães anunciou que Waldemar Lange executava fotografias de grupos de família pelo sistema americano de John Carbutt, da Filadélfia (Jornal do Commercio, 17 de julho de 1884, na página 8). Segundo Boris Kossoy, Lange havia sido associado na Bahia ao fotógrafo Guilherme Gaensly (1843 – 1928). Na época, seu ateliê ficava na rua dos Ourives, nº 38.
+ 
+Jornal do Commercio, 17 de julho de 1884
+ 
+Participou da Exposição da Academia de Belas Artes com esmaltes, platinotipos e algumas fotografias instantâneas, obtidas pelo processo denominado gelatino bromureto de prata  (Jornal do Commercio, 26 de setembro de 1884, segunda coluna).
+A fotografia produzida por Guimarães da turma do sexto ano dos doutorandos de medicina foi exposta na casa de Narciso & Arthur Napoleão. É um trabalho, como todos os deste artista, muito notável (Diario Portuguez, 20 de dezembro de 1884, segunda coluna).
+1885 – Foi encomendado à casa Guimarães um retrato a óleo de Francisco de Assis Mascarenhas. Foi realizado por Victor Meirelles e exposto na galeria Moncada. Os dois artistas foram referidos, na nota do jornal, como comendadores (Jornal do Commercio, 2 de agosto de 1885, sexta coluna).
+ 
+Jornal do Commercio, 2 de agosto de 1885
+ 
+1886 – A Casa Guimarães, na rua do Ourives, nº 38, foi substituída pela Photographia Americana, passando a pertencer a Roltgen, antigo retocador da Casa Guimarães, e do sr. Silva, antigo sócio-gerente da fotografia Carneiro & Tavares (O Paiz, 31 de julho de 1886, primeira coluna).
+ 
+O Paiz, 31 de julho de 1886
+ 
+Guimarães inaugurou um verdadeiro palácio da fotografia, a maior casa fotográfica brasileira do século XIX, na rua Gonçalves Dias, nº 2, esquina com a rua da Assembleia. A casa, de 4 andares, foi durante algum tempo o mais alto prédio do Rio de Janeiro e foi construída expressamente para sediar o estabelecimento fotográfico de Guimarães. Os três primeiros pavimentos abrigavam as diversas seções de fotografia e o último servia de moradia do fotógrafo (Revista do Iphan, 1946, p. 199 e O Rio de Janeiro, 8 de agosto de 1886, quarta coluna).
+ 
+José Ferreira Guimarães. Retrato de mulher (em pé) – verso, c. 1889. Rio de Janeiro, RJ / Acervo IMS
+ 
+Uma menina se acidentou quando passou em frente à casa fotográfica de Guimarães e uma tábua que servia de andaime caiu sobre sua cabeça. O fotógrafo prestou assistência à acidentada e responsabilizou-se pelo ocorrido (O Paiz, 18 de agosto de 1886, na última coluna).
+1877 – Guimarães participou com fotografias das obras mais importantes da estrada de D. Pedro II da Exposição Internacional de Caminhos de Ferro no Bois de Vincennes, em Paris, em comemoração ao cinquentenário das ferrovias na França. Essas fotografias e também outras, de autoria de Marc Ferrez (1843 – 1923), foram expostas no Liceu de Artes e Ofícios (O Paiz, 18 de julho de 1887, terceira coluna).
+Na casa Chameaux, exposição de uma pintura a óleo, de autoria do artista francês Battu, realizado com muita suavidade a partir de uma fotografia produzida pelo distinto fotógrafo Guimarães de uma menina vestida à moda das camponesas do norte de Portugal (Jornal do Commercio, 26 de julho de 1887, sétima coluna).
+1888 – No salão do jornal O Paiz, exposição de um retrato do apregoado atirador Bento Moraes, produzido por Guimarães. Moraes era a primeira figura de uma companhia de variedades que se apresentaria no Polytheama (O Paiz, 13 de março de 1888, sétima coluna).
+A Casa Guimarães, na rua de Gonçalves Dias, canto da da Assembleia foi enfeitada para participar dos festejos da cidade pelo retorno do imperador Pedro II (1825 – 1891) e da imperatriz Teresa Cristina (1822 – 1889), que ficaram ausentes do Brasil por quase um ano, na terceira viagem do soberano à Europa. Haviam partido em 30 de junho de 1887 (Diário de Notícias, 23 de agosto de 1888, terceira coluna).
+ 
+Diário de Notícias, 23 de agosto de 1888
+ 
+1890 – Antes de cometer suicídio, o português e guarda-livros José Custódio de Oliveira enviou uma carta a Guimarães (Diário de Notícias, 22 de jumho de 1890, segunda coluna).
+1891 - A partir de janeiro, José Ferreira Guimarães estaria até o fim da estação, às segundas e terças-feiras, em seu ateliê de Petrópolis (Jornal do Commercio, 11 de janeiro de 1891).
+1894 – A Photographia Guimarães funcionava em Petrópolis, aos domingos, segundas e terças-feiras, em um chalé ao lado do Hotel Orleans (Gazeta de Petrópolis, 7 de março de 1894, terceira coluna).
+Estava exposto na casa Palais Royal um quadro com os retratos dos doutorandos de 1894, produzido pela Photographia Guimarães (Gazeta de Notícias, 7 de novembro de 1894, na penúltima coluna).
+Alguns membros da comissão da República Oriental do Uruguai, em visita ao Brasil, iriam ser fotografados na Photographia Guimarães (A Notícia, 8 e 9 de novembro de 1894, terceira coluna).
+1895 – Na primeira página do Jornal do Brasil, era noticiado que a Photographia Guimarães & C continuava a merecer o favor público pela excelência de seus trabalhos artísticos (Jornal do Brasil, 10 de março de 1895, quarta coluna).
+ 
+Jornal do Brasil, 10 de março de 1895
+ 
+1896 – Na edição 36 de A Bruxa, foi publicada uma fotografia de F. Guimarães, conhecido proprietário da Photographia Guimarães (Commercio de São Paulo, 13 de outubro de 1896, última coluna). A Bruxa foi uma revista dirigida pelo poeta Olavo Bilac  (1865-1918) e pelo ilustrador português Julião Machado (1863 – 1930), entre 1896 e 1897.
+Foi noticiado que a Photographia Guimarães produziria fotografias das salas do Club dos Repórteres com convidados por um processo novo de notável sucesso na arte fotográfica cuja primeira experiência foi realizada ontem (A Notícia, 24 e 25 de outubro de 1896, segunda coluna).
+Estava exposto na vitrine da casa Colussi, na rua do Ouvidor, uma fotografia do presidente Prudente de Morais (1841 – 1902), produzida pela Photographia Guimarães. De acordo com a notícia, poderia se dizer que a obra é uma nova descoberta da photographia pois que o retrato…é feito em esmalte photográphico vitrificado a fogo, tão inalterável como as pinturas da porcelana de Sèvres e de Limoges… (Jornal do Brasil, 8 de novembro de 1896, quinta coluna).
+1897 – O fotógrafo Alfredo Musso, irmão de Luis Musso, trabalhava na Photographia Guimarães (Jornal do Commercio, 1º de fevereiro de 1897, penúltima coluna).
+Luis Musso, sócio da Photographia Guimarães, levou de presente à redação do Jornal do Brasil uma fotografia em platinotipia de um grupo de jornalistas que haviam assistido à inauguração da luz artificial para obter fotografias instantâneas (Jornal do Brasil, 12 de março de 1897, segunda coluna). Luis Musso havia sido o primeiro operador da Companhia Photographica Brazileira, dirigida pelo fotógrafo Juan Gutierrez (c. 1860 – 1897), desde sua fundação, em 1892, até 31 de março de 1894 (Jornal do Commercio, 13 de fevereiro de 1898, na última coluna). Em 1905, os irmãos Musso estavam estabelecidos na rua Uruguayana sob a razão social L. Musso & C, que também se anunciava como Photographia Brazileira.
+Foi encomendada à Photographia Guimarães um retrato do engenheiro e primeiro diretor da Estrada de Ferro Pedro II, Christiano Ottoni (1811 – 1896), que seria ofertado à Escola Naval por seu filho, o industrial Julio Ottoni (Jornal do Brasil, 17 de setembro, sétima coluna).
+1898 – Herrero Vargas, empregado da Photographia Guimarães, retratou um grupo da Estudantina do Cassino Espanhol em excursão a Santa Teresa (Gazeta de Notícias, 28 de fevereiro de 1898, primeira coluna).
+O presidente da República, Prudente de Morais (1841 – 1902), presenteou o redator-chefe da Cidade do Rio, José do Patrocínio (1854 – 1905), fotografias de sua família produzidas pela Photographia Guimarães (Cidade do Rio, 10 de novembro de 1898, terceira coluna).
+Na Casa Merino, estavam expostas três fotografias em platinotipia produzidas pela Photographia Guimarães: do presidente e do vice-presidente da República, Campos Salles (1841 – 1913) e Rosa e Silva (1857 – 1929), respectivamente, e do novo ministério do governo (Jornal do Commercio, 15 de novembro de 1898, sexta coluna).
+1899 – O Sr. Musso, da Photografia Guimarães, registraria o cruzador italiano Fieramosca (A Notícia, 5 e 6 de agosto de 1899, segunda coluna).
+Joaquim Insley Pacheco (1830 – 1912), Marc Ferrez (1843 – 1923) e José Ferreira Guimarães foram nomeados para formar a comissão de propaganda da classe de fotografia da Exposição do Quarto Centenário do Brasil, em 1900, promovida pela Sociedade Propagadora das Belas Artes (A Imprensa, 31 de outubro de 1899, quarta coluna).
+1900 – Horacio Garcia Vidal trabalhava na Photographia Guimarães (Cidade do Rio, 24 de janeiro de 1900, na última coluna).
+Publicada na Revista da Semana, de 22 de julho de 1900, um instantâneo do Largo da Carioca, tirado do segundo andar da afamada Photographia Guimarães.
+Apresentou na Exposição Universal de Paris o Relâmpago Guimarães, uma espécie de flash que permitia tirar fotografias em ambientes obscurecidos ou no período da noite.
+‘A luz produzida por ele é exatamente a necessária para substituir a claridade do dia, suprindo-a em todo o seu vigor, mas permitindo respeitar as nuances do modelo, por mais delicado que seja.
+O acolhimento que foi feito na Europa à invenção de nosso compatriota, proprietário da afamada Photographia Guimarães, deve ser muito lisonjeiro para os fotógrafos nacionais‘ (Revista da Semana, 12 de agosto de 1900).
+ 
+Propaganda do Relâmpago Guimarães, reproduzida no O Estado de São Paulo de 4 de dezembro de 1977
+ 
+1901 – Guimarães era sócio de Luis Musso e Julio D. Roltgen (Almanak Laemmert, 1901).
+Julio Roltgen, da Photographia Guimarães, foi o autor do registro do “batismo da Salamina”, festa realizada no club de Regatas Botafogo. A imagem foi publicada na revista quinzenal Brasil Náutico, número 4, e foi considerada a nota elegante da edição (A Notícia, 8 e 9 de maio de 1901, terceira coluna).
+Um retrato do senador do Império, Cândido Mendes de Almeida (1818 – 1881), executado pela Photographia Guimarães e emoldurado pela fábrica Martins Seabra & C., foi ofertado ao Jornal do Brasil (Jornal do Brasil, 31 de maio de 1901, sétima coluna).
+Foi noticiado que o Relâmpago Guimarães havia obtido a medalha de 1ª classe na Exposição Universal de Paris de 1900. A Photographia Guimarães foi referida como admirável estabelecimento da rua Gonçalves Dias, esquina do largo da Carioca e, devido ao Relâmpago Guimarães estava executando trabalhos de inigualável perfeição. Os retratos produzidos na Casa Guimarães eram verdadeiras maravilhas de arte pela naturalidade da pose e pela incomparável nitidez (Gazeta de Notícias, 4 de julho de 1901, sétima coluna).
+Por encomenda do presidente da República, Campos Sales (1841 – 1913), a Photographia Guimarães produziu um quadro medindo 1 metro por 80 centímetros com as fotografias do governo provisório da República organizado em 15 de novembro de 1889. O quadro ficaria no salão de despachos do Palácio do Catete (A Notícia, 26 e 27 de novembro de 1901, segunda coluna).
+1902 – Na Igreja da Candelária, foi rezada uma missa pela turma de guardas-marinha de 1879. Nove deles estiveram presentes à cerimônia e depois foram retratados na Photographia Guimarães (Gazeta de Notícias, 9 de março de 1902, sétima coluna).
+Luis Musso estava na direção da Photographia Guimarães (Jornal do Brasil, 24 de julho, sexta coluna).
+1903 – Em anúncio, a Photographia J.F. Guimarães & C afirmava acreditar que nada devia à praça e pedia que, caso houvesse qualquer reclamação, que fosse levada a seu proprietário até o dia 10 de dezembro de 1903 (Jornal do Brasil, 6 de dezembro de 1903, primeira coluna).
+1904 – Tendo deixado de trabalhar na Photographia Guimarães, Alfredo e Luis Musso e Julio D. Beltgen anunciaram a abertura de um novo estabelecimento fotográfico, na rua Uruguaiana, nº 10 (Gazeta de Notícias, 21 de fevereiro de 1904, terceira coluna).
+Recém chegado da Europa, Guimarães anunciou a reabertura de seus ateliers modelos onde o high life poderia encontrar o chic da fotografia moderna (Jornal do Brasil, 24 de fevereiro de 1904, quinta coluna e Gazeta de Notícias , 21 de fevereiro, terceira coluna).
+ 
+Jornal do Brasil, 24 de fevereiro de 1904
+ 
+1905 – Estava exposta na Photographia Guimarães uma fotografia de Oswaldo Cruz (1872 – 1917), diretor da Saúde Pública, com um tamanho que nunca se fez entre nós (Gazeta de Notícias, 12 de abril, sexta coluna).
+A Photographia Guimarães continuava na rua Gonçalves Dias (A Notícia, 10 e 11 de junho de 1905, quarta coluna).
+1906 – A Photographia Guimarães funcionava sob a direção de José Ferreira Guimarães e A. Pinto, na rua da Assembleia, 78 (A Notícia, 25 e 26 de outubro, segunda coluna). Novo anúncio, no mês seguinte, só menciona Guimarães na direção do estabelecimento fotográfico (A Notícia, 6 e 7 de novembro de 1906, quinta coluna).
+1907 – A Photographia Guimarães informava não ter nem funcionários ambulantes nem filiais pelo Brasil. As encomendas deveriam ser feitas na rua da Assembleia, 78 (A Notícia, 31 de janeiro e 1º de fevereiro de 1907, segunda coluna).
+A turma de formandos em Odontologia e Medicina encomendaram quadros alegóricos na Photographia Guimarães. Seriam feitos em Paris, sob a supervisão do comendador Guimarães, que mais uma vez daria provas de seu bom gosto artístico (A Notícia, 27 e 28 de julho de 1907, quarta coluna).
+A Photographia Guimarães anunciou que o funcionário Augusto Cezar Osório não trabalhava mais no estabelecimento (Jornal do Brasil, 14 de setembro de 1907, sétima coluna).
+Exposição, na Photographia Guimarães de uma fotografia de Oswaldo Cruz (1872 – 1917), diretor da Saúde Pública (A Notícia, 4 e 5 de novembro de 1907, terceira coluna).
+1909 / 1910 / 1911 / 1912 /1913 - A Photographia Guimarães funcionava em um sobrado, na rua da Assembleia, 100 (A Notícia, 22 e 23 de maio de 1909, terceira coluna e Almanak Laemmert, 1911, terceira coluna).
+1909 – Publicação na revista Careta, 21 de agosto de 1909, de duas fotografias do escritor Euclides da Cunha (1866 – 1909), produzidas na Photographia Gumarães. Pouco antes de sua morte, o escritor havia oferecido ao jornalista Ernesto Senna (1858-1913) uma fotografia sua produzida na Photographia Guimarães (Correio Paulistano, 17 de agosto de 1909, primeira coluna).
+Década de 1910 – Provavelmente, durante essa década, mudou para a França, onde morou em Bois Colombe.
+1911 – Publicação de um retrato do cientista Carlos Chagas (1879 – 1934), produzido na Photographia Guimarães (A Noite, 8 de agosto e 9 de agosto de 1911).
+1912 – Do terceiro andar da Photographia Guimarães, o comandante Souza Aguiar dirigia o trabalho dos bombeiros para debelar um grande incêndio no coração da cidade (O Paiz, 25 de março de 1912, na última coluna).
+Proprietário e empregados de estabelecimentos fotográficos requisitaram que os mesmos não mais abrissem aos domingos. Dois empregados da Photographia Guimarães participaram do abaixo-assinado endereçado aos vereadores da cidade do Rio de Janeiro (A Imprensa, 13 de abril de 1912, segunda coluna).
+1913 – Foi roubada uma mercadoria – papel sensibilizado – destinada a José Ferreira Guimarães (Correio da Manhã, 23 de janeiro de 1913, segunda coluna).
+Uma dúzia de retratos de Boudoir, última novidade, criação da afamada Photographia Guimarães, seria o 2º Prêmio do Grande Concurso Extraordinário D, promovido pelo semanário O Tico-Tico: Jornal das Crianças (O Tico-Tico, 4 de junho de 1913).
+1914 - Pela última vez a Photographia Guimarães foi anunciada no Almanak Laemmert.
+Uma dúzia de retratos da Photographia Guimarães foi o 1º prêmio do Grande Concurso Extraordinário K, promovido pelo semanário O Tico-Tico: Jornal das Crianças (O Tico-Tico, 7 de outubro de 1914).
+1915 – A capa do Jornal das Moças foi ilustrada com uma imagem de Carolina Pereira dos Santos, filha de um empresário do Rio de Janeiro. O trabalho fotográfico foi da Casa Guimarães e a gravura foi realizada no ateliê de Alois Fabien (Jornal das Moças, 1º de março de 1915).
+1916 – Um dos prêmios sorteados pelo semanário O Tico-Tico seriam retratos da Photographia Guimarães (O Tico-Tico, 9 de fevereiro de 1916).
+Após longos anos na Europa, José Ferreira Guimarães voltou a dirigir seu estabelecimento fotográfico no
+Rio de Janeiro (A Noite, 5 de agosto de 1916, quinta coluna).
+ 
+A Noite, 5 de agosto de 1916
+ 
+ 
+1917 – Foi anunciado que o segundo andar da Photographia Guimarães poderia ser alugado para dentista ou negócio de luxo. O prédio, que possuia elevador, foi referido como aristocrático (Jornal do Brasil, 28 de julho de 1917, quarta coluna). Nesse mesmo ano, foi anunciado que A Photographia Huebner & Amaral havia reaberto em 11 de setembro, na rua da Assembleia, 100, antigo endereço da Photographia Guimarães (Jornal do Commercio, 9 de setembro de 1917).
+1919 - Neste ano, Maria Aparecida, uma sobrinha neta de sua esposa, foi residir com eles, na França.
+1921 – O sobrinho neto de sua mulher, Benedito Junqueira Duarte (1910 – 1995), viajou para Paris, tornando-se discípulo de Guimarães. Posteriormente, Benedito trabalhou na Seção de Fotografia do Departamento de Cultura de São Paulo a convite de Mário de Andrade (1893 – 1945), além de ter sido sócio-fundador do Foto Cine Clube Bandeirante.
+1924 – José Ferreira Guimarães faleceu na França, em 30 de janeiro, provavelmente, de infecção pulmonar. Foi enterrado no cemitério de Bois Colombe.
+ 
+**Andrea C. T. Wanderley
+Editora-assistente e pesquisadora do portal Brasiliana Fotográfica
+ 
+Fontes:
+AULER, Guilherme, sob o pseudônimo de Ricardo Martim, em dois artigos publicados na Tribuna de Petrópolis. Petrópolis, 1º e 8 de abril de 1956.
+ERMAKOFF , George. Rio de Janeiro 1840 – 1900 – Uma crônica fotográfica. Rio de Janeiro: G. Ermakoff Casa Editorial, 2006.
+DUARTE, Benedito J. José Ferreira Guimarães, fotógrafo da Corte Imperial. O Estado de São Paulo. São Paulo, 4 dez, 1977 (Suplemento Cultural).
+FERNANDES JUNIOR, Rubens. B.J. Duarte Invenção e modernidade na fotografia documental.
+FERREZ, Gilberto. A fotografia no Brasil: 1840- 1900. Prefácio Pedro Karp Vasquez. 2. ed. Rio de Janeiro: Funarte, 1985. 248 p. (História da fotografia no Brasil, 1).
+Hemeroteca Digital da Biblioteca Nacional
+KOSSOY, Boris. Dicionário histórico-fotográfico brasileiro: fotógrafos e ofício da fotografia no Brasil (1833-1910). São Paulo: Instituto Moreira Salles, 2002.
+KOSSOY, Boris. Origens e expansão da fotografia no Brasil : século XIX. Prefácio Boris Kossoy. Rio de Janeiro: Funarte, 1980. 128 p.
+Site da Enciclopédia Itaú Cultural
+VASQUEZ, Pedro Karp. Dom Pedro II e a fotografia no Brasil. Rio de Janeiro: Fundação Roberto Marinho: Companhia Internacional de Seguros: Ed. Index, 1985. 243 p.
+
+VASQUEZ, Pedro Karp. O Brasil na fotografia oitocentista. São Paulo: Metalivros, 2003.
+
+---
+
+**Itens do acervo referenciados neste post:**
+
+- `20.500.12156.1/5402` — `itens/20.500.12156.1_5402/`
+- `20.500.12156.1/5406` — `itens/20.500.12156.1_5406/`
+- `20.500.12156.1/5404` — `itens/20.500.12156.1_5404/`
+- `20.500.12156.1/5390` — `itens/20.500.12156.1_5390/`
+- `20.500.12156.1/5409` — `itens/20.500.12156.1_5409/`
+- `20.500.12156.1/5407` — `itens/20.500.12156.1_5407/`
+- `20.500.12156.1/5027` — `itens/20.500.12156.1_5027/`
+- `20.500.12156.1/5398` — `itens/20.500.12156.1_5398/`
+- `20.500.12156.1/5391` — `itens/20.500.12156.1_5391/`
+- `20.500.12156.1/5399` — `itens/20.500.12156.1_5399/`
+